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Evaluative, Centre or Spot? What to choose and when
FRESH IDEAS
GO ON A STAG PARTY!
How to photograph these noble creatures in the wild
KIT ADVICE
Master dicult lighting with these sub-(( stars
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ISSUE 104 OCTOBER 2010
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LETTER FROM THE EDITOR
WELCOME
03
Welcome to your all-new

o there I was, standing on Solsbury Hill near Bath (Peter Gabriel fans will know it), and it struck me again how lucky we are in this country theres so much photogenic scenery within striking distance. The challenge is finding the time to make the most of it, so to help our readers to seize the day, our main feature this issue (starting on page 36) is about shooting from dawn til dusk. Intrepid mag staffers Ben Brain and Paul Grogan start shooting as the sun rises and dont pack up their SLRs until after dark, passing on essential tips and insights that you can use to get great shots of a place whatever time you get there, and however pushed your schedule. On the subject of time-savers, dont miss the two free field guides that come with this issue. Theyre full of advice and inspiration on photographing wildlife and landscapes, and are small and durable enough to carry around on photo shoots. Enjoy the issue and keep in touch!
Geoff Harris, editor geoff.harris@futurenet.com
Meet your photo experts
Ben Brain
Deputy editor Bens an ex-pro who built his first darkroom when he was just 12!
Paul Grogan
Technique editor Pauls a travel and sports nut who joins us from PhotoPlus.
Ali Jennings
Digital editor Alis our disc mastermind and an authority on photo-editing.
George Cairns
Technique writer Georges disc tutorials make Photoshop a joy to learn. Digital Camera October 2010
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Story of the Cover

behind the image
05
Story of the Cover

Palouse Lupines
Chip Phillips Washington, USA www.chipphillips photography.com
The lupines were moving in the wind, so I took two exposures one at ISO500 at f/11, focusing on the foreground, and one using the same settings, but focusing on the mid-ground, says Chip Phillips, who took this issues amazing cover image. I then shot two more exposures to get maximum dynamic range in the sky, both at f/22 at ISO100. I later blended them all in Photoshop.
CanonEOS5DwithCanonEF16-35mm f/2.8L USMlens at16mm; fourexposures combined inPhotoshop
Behind the image
Recreate Chips striking landscape
by taking multiple shots Chip was able to use a shutter speed fast enough to freeze movement and get an exposure that captured essential detail in the shadows and highlights.
to achieve greater depth of field, Chip took two foreground images with different points of focus, before blending the images with adjustment Layers and masks in Photoshop.
You can ensure vibrant colour and detail in skies by using Photoshops merge to hdR tool. this blends differently exposed shots to maximise an images dynamic range.
Digital Camera October 2010
06 6
Contents
ISSUE 104/OCTOBER 2010
66

8 8
Expert photo advice

Essentials
18
Kickstart your creativity by tackling a new subject or technique today
10 Things to Try Right Now
66 73 85
This issue our roving troubleshooter helps a reader master outdoor portraits Expert advice for perfecting your photos and applying creative effects after the shot
The Photo Fixer
28
Winners of our latest photo challenge explain how they got such great results The bulletproof Robert Yager talks about his awesome shots of LA gang culture
Your Mission Winners
Photoshop School
30 36 49
Postcards from the Edge
We answer all your SLR and Photoshop queries and give you feedback on your shots Legendary Guardian photographer Eamonn McCabe reects on a packed career
Photo Advisor
Seize the day and master your D-SLR as we pass on 24-hours worth of photography tips Sixteen pages of expert camera skills advice to help you perfect your photography
Shoot From Dawn to Dusk
94
The Digital Camera Interview
Shoot!
05 08 34 46 S 71 101 162
Story of the Cover Hotshots
ChipPhillipsonthisissuesalluringimage Getinspiredbythebestreaderphotos
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Free with issue 104 of Digital Camera
TEACH YOURSELF PHOTOSHOP

Cameras and gear
1 Selection tools basics with George Cairns
2 Use Adjustment Layers 3 Refine your selections with George Cairns with George Cairns
104 106 108 114 116 121 122
How We Test... Hot new SLRs Sigma SD15
Ourin-depthtestingprocessrevealed NewCanons,NikonsandfastSonys Full test of a new Foveon-sensor SLR
4 Replace colours with George Cairns
5 Multiple selections with George Cairns
6 Selections in CS5 with George Cairns

MAGAZINE SUPPORT VIDEOS
Serif PhotoPlus X4 Field Tested
KeenlypricedPhotoshoprivalreviewed
Retouching basics with Ali Jennings Get the tilt-shift look with Paul Grogan Advanced RAW editing with George Cairns
Latestaccessoriesreviewedandrated
Mini Test: Flashguns
Illuminatingsub-250flashgunstested
Group Test: Telephoto lenses

Thebest-buyzoomlensesrevealed

Whenever you see this logo on a page, there is corresponding content on the video disc
Sigma SD15 in action with Ali Jennings
THISPRODUCTISNOTENDORSEDORSPONSOREDBYADOBESYSTEMSINCORPORATED,PUBLISHEROF PHOTOSHOPCS5,PHOTOSHOPEXTENDED,PHOTOSHOPLIGHTROOM AND PHOTOSHOPELEMENTSPRODUCTS
08
inspiring reader phOtOgraphy
hotshots
09
HotsHots
Get inspired by nine pages of the very best reader photography from around the world
10
hotshots
Previous page
Mary Kay Greece
The Dark Traveller
I went for a long exposure, taking advantage of the rough sea to create a misty eect surrounding the ship, and chose a composition that excluded every trace of the land and beach to create the illusion of a ghost ship travelling in the middle of the ocean.
NikonD300withNikkorAF-S18-200mmf/3.5-5.6GEDDXVRlens at55mm; ISO200; 10secs atf/11
Looking to Nowhere
Rodrigo Winkler Chile
the shot was taken in the city of Bucaramanga, Colombia. I was waiting in a restaurant when this old lady started to look down the street. I couldnt resist the temptation and grabbed my camera.
CanonEOS400DwithCanonEF-S55-250mm f/4-5.6 ISlensat250mm;ISO100;1/25secatf/10
Zebra
Anastasovski Goran Macedonia
While I was walking in the zoo in my hometown of skopje, Macedonia, I noticed two zebras playing. After 15 minutes I saw this perfect composition come together and captured it.
CanonEOS-1DMarkIIIwithCanonEF300mmf/2.8L ISII USMlensat300mm;ISO400;1/800secatf/8
lov e s
darren has created a technically well-crafted image thats also loaded with an eerie mood and dark atmosphere. i think its great
BenBrain,deputyeditor
No More Tears
Darren Wooldridge Doncaster, UK
the light was nicely diused so I wanted to avoid using ash. I made three exposures in RAW and combined them in Photomatix, before converting to black and white using silver Efex Pro.
NikonD60withSigma10-20mmf/4-5.6EXDCHSM lens at13mm;ISO100;1secatf/11
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hotshots
Opera House
Nick Walker st Ives, UK
I wanted to go for a slightly dierent take on a well-photographed icon. I thought a vertical panoramic would suit the location and conditions, so I shot ve frames and manually stitched them together in Photoshop.
NikonD40xwithNikkorAF-SDX18-55mm f/3.5-5.6GEDIIlensat38mm;ISO100;10secsatf/8
lov e s
nick has done a great job of giving an oftphotographed scene an original look. i love the subtle colour palette and glassy reections
SophieSpicer,operationseditor
Gill
Samantha Mooney UK
I was asked to collaborate on a shoot with a fashion student. she had designed some clothes and needed shots, but it also worked for my college project. With the help of my two friends/ assistants we created images that we hoped would complement the clothes.
CanonEOS5DMarkIIwithCanonEF24-105mmf/4L ISUSMlensat47mm;ISO100;1/220secatf/4.5
I wanted to go for a slightly dierent take on a well-photographed icon. I thought a vertical panoramic would suit the location
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14
hotshots
Glass Wall
Dana Underwood san Francisco, UsA
In a hidden corner of a park on the west side of Manhattan is this stained glass wall. Its hard to believe something so subtle and peaceful resides relatively undetected in the middle of such a bustling area. Because it was so dark, I had to shoot at 1/60 sec.
CanonEOS5DMarkIIwithCanonEF24-105mmf/4L ISUSMlensat40mm;ISO200;1/60secatf/4.5
Floodlit Football Pitch

Neil Parker Bristol, UK
this image was taken from tokyo towers main observatory, which overlooks the city below. A wide-angle lens on a full-frame D-sLR was ideal for this type of shot. In the rapidly failing light I was drawn to the oodlit football pitch sandwiched between the skyscrapers that beamed out. A great vantage point for tilt-shift photography.
lov e s
CanonEOS5DMarkIIwithCanonEF24-70mm f/2.8LUSMlensat24mm;ISO400;1/20secatf/2.8
the use of colour and tilt-shift techniques make the oodlit pitch really stand out as the focus in neils striking photograph
Simon Middleweek,arteditor
15
learn how to recreate this effect in Photoshop on
page 78
In the failing light I was drawn to the oodlit football pitch sandwiched between the skyscrapers that beamed out. A great vantage point for tilt-shift photography
16
hotshots
10
Spring Light
Pierre Pellegrini lugano-Aldesago, switzerland
10
I often see places to photograph when Im driving and wonder if I should stop. Id travelled along this road several times before deciding to take a picture. to get into the right position for a good composition my car nearly sank in the mud, but the end result was worth it.
send us yOur shOts! W

ant to see your photos printed in Hotshots? then create a photo gallery on photoradar (www.photoradar.com/ photos) and email the link to digitalcamera@futurenet.com, putting hotshots in the subject line. if we like your pictures, you will join
the ranks of fellow Digital Camera readers who have featured on these pages over the years! submit your shots today at:
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18
19
01 Organise a stag party

T
he rutting season lasts from the end of September until the end of October, which makes now the best time to capture a seasonal image of a stunning bellowing stag. We tend to associate the rutting season with stags locking horns in combat, says leading wildlife pro Mark Hamblin, but its more common to see them bellowing and roaring as they vie for the attention of does. This shot of a red deer in Leicesters Bradgate Park was taken using a 500mm lens, but I probably could have got away with a 300mm lens, because deer in public parks tend to be fairly accustomed to people, and stags are often a bit preoccupied when theyre rutting. That said, it's always sensible to stop and wait every few steps to test their reactions.
wilDlife
Its the rutting season for red deer, so get out there with your camera!
* Rutting activity reaches a peak at around daybreak, so get up early and get yourself into your chosen position before the sun comes up. The light is also softer at this time of day, helping to gently illuminate and bring out detail in the shadows. * To ensure that the stags breath is clearly visible, make sure the sun is behind it, shoot on a cold morning and try to position yourself so that the stag is against a dark background. * If youre shooting towards the light, expose for the background, but if necessary adjust your exposure (using your camera's exposure compensation function) to retain some detail in the stag, otherwise there's a danger that it will just look like a black cardboard cut-out.
Get started today...
Mark Hamblin
20
10things
to try right now
The very shallow depth of field thats achievable at very wide apertures focuses attention on the subject, lending an ethereal glow that you cant otherwise get
03 Capture the silkiest of smooth seas

Get creative with slow shutter speeds
sCeniCs
sing a slow shutter speed is great for smoothing out stormy seas and eliminating unwanted distractions, but it takes patience and persistence. This shot of Crackington Haven in Cornwall [below] was taken at high tide on a stormy day, says landscape pro Adam Burton. The waves were crashing all over me and a couple of times I had to turn my back on the waves and tuck my camera and tripod into my chest. An exposure time of 120 seconds meant I couldnt just fire off a few frames and hope for the best! In terms of timing, Adam has this advice: A lot of photographers are all about the sunset, but I love the moody, dusky blue you get just as its getting dark.
above and left A 50mm lens is ideal for environmental portraits, as it encourages you to get up close and personal with your subject, helping to create a more intimate portrait than you would with a longer lens
See the world through a 50mm lens
02 Get primed for portraits

50mm lens gives a view similar to that of the human eye, and was long seen as the standard lens for SLRs. Today, this tends to be closer to 35mm or 28mm, but for many photographers the humble 50mm is still the lens by which to judge others. Portrait photographer Brett Harkness is one of them: If youre used to zoom lenses, the first thing youll notice is how sharp it is, and not just in the middle of the frame, he says. The extremely shallow depth of field also lends an ethereal quality you cant get with other lenses.
portraits
* Check the weather forecast to avoid shooting into the wind sea spray isnt always obvious, but it can ruin images. * Get as close to the waters edge as possible to ensure that any moving water comes right to the bottom of your frame. * Time your exposure for when the waves drag back across the rocks, because these are often hidden by the water when waves break over them.
You do have to encroach on peoples personal space to fill the frame. But getting in close often gives much more intimate images.
* 50mm lenses include a lot more background than longer lenses, so you need to think more carefully about how to compose your shot. * At wide apertures, focusing can be tricky; if youre having trouble, switch to manual and move the camera, rather than the focusing ring, back and forth.
Brett Harkness
Adam Burton
to try right now
10things
21
Why not try an al-fresco nude shot before it gets too chilly?
ude shots are typically taken in a bedroom or studio, but they dont have to be. Location shoots, which have long been a staple of the fashion industry, are becoming more and more popular among 'boudoir' photographers; posing a model in a certain location, and with specific clothes and props, gives a sense of story thats often missing from standard shots. And in these enlightened times, its no longer just advertising agencies and lads mags that are commissioning outdoor nudes, says boudoir photographer Emma DelvesBroughton: Its usually women who commission me: they sometimes hire me to take pictures for their partners, but often they just want the images for themselves. If you can find a model whos game, why not try shooting them in some secluded countryside or woodland? Here are Emmas top tips for shooting in the great outdoors...
04 Get back to nature
nuDes
Women commission me to take pictures for their partners, or themselves
* Try to get an idea beforehand of what your model will be comfortable with. * Obviously try to find a spot thats as secluded as possible and choose the right time. So maybe not a Sunday afternoon in a local beauty spot, then! * With amateur models, concentrate on their best features, and give them as much positive encouragement and direction as possible. * Have a few accessories to hand such as spare lingerie, false eyelashes and wigs to get the look and feel your subject is after.
Nude photography needn't be limited to the boudoir outdoor settings can work extremely well, particularly if your model really gets into character
Get started today
Emma Delves-Broughton
22
10things
to try right now
In this graphic image, the positioning of the tree and the gentle curve of the rolling hillside combine to create a beautifully balanced composition
Maximise colourful sunrise and sunset shots
05 Get creative with silhouettes
sCeniCs
arly autumns a great time of year to shoot silhouettes, thanks to a combination of red-sky sunsets and moody blue skies. In this respect, weather is obviously critical, but so is having an image in mind, as landscape guru Guy Edwardes advises: The key to shooting silhouettes is seeing that a particular subject or skyline has potential, then going back to it at the right time of year and in the right light. For this shot of a silhouetted tree, I returned to the location a dozen times before I got what I wanted.
* Keep an eye out for colourful skies, but steer clear of clouds that are too textured, because this can interfere with the silhouette. * Dont just assume that a wide-angle lens is your best option; zooming in to isolate a specific part of the scene can make for a striking image. * Focus on the silhouette's edge and minimise Photoshop sharpening to avoid obvious halos. * If in doubt, over-expose slightly (without clipping the highlights), then decrease exposure in Photoshop, as this creates less noise.
sport
Landscape silhouettes dont have to be literal, as this shot of a cliff top in Dorset shows
W
Jeff Gross
Get to grips with golf photography

ith the Ryder Cup (1-3 October) just around the corner, theres no better time to get into the swing of shooting golf. But thats not to say you have to attend one of the majors to get good images: the great thing about golf is that you dont need a stadium full of spectators or a state-of-the-art racing car to make your shots look professional a close-up of a mate taking a good swing on your local course wont look much different from shots taken by the professionals on the luxurious Celtic Manor green. All you need is a
06 Shoot a hole in one!

willing model and a long lens that offers a wide maximum aperture.
* If your camera has a beep function to let you know when your shot is in focus, turn it off! * Timing is everything a golf swing looks at its best at or near the end of the swing, when the golfer is gazing after the ball. * Use foreground elements such as bunkers and hillocks to blur out the foreground and direct attention towards your subject.
Get started today
June 2010 Digital Camera October 2010
Paul Grogan (Future)
Guy Edwardes
Speed & Control
Steady Ready Shoot, Giottos Series II Ball Heads really do offer the best of both worlds Speed and Control. Speed simply unlock the single Ball Lock Control and the head will pan, tilt and level in one movement. Control the Friction Control allows you to adjust the amount of tension on the unlocked ball. By increasing friction, the head movement becomes stiffer making more precise camera positioning possible. Other features include an independent Pan Lock control and hollow machined ball to reduce weight. Choose from a range of seven models weighing between 0.35kg and 0.75kg and with weight capacities from 8kg to 20kg. Giottos Helpline 0845 250 0792 www.giottos-tripods.co.uk
24
10things
to try right now
textures
Mix up textures for eye-catching mosaics
07Take the rough with the smooth
atterns and textures are often used to add interest to existing images by creating double exposures, either in-camera or in Photoshop. But textures also make for striking images in their own right, both singly and as part of larger mosaics. And as our very own texture aficionado Ben Brain explains, photographing them couldnt be easier: Once you start to look for them, its amazing how many textures you can find in a very limited area, he says. Places such as disused railways and old harbours are ideal, but if youre prepared to think laterally, you can find interesting textures pretty much anywhere.
above A series of textures arranged as a mosaic can make for a really arresting image left Blending a texture with another image in Photoshop to mimic a double exposure can help to add interest
* Try not to be too literal photographing texture is all about looking at the world in a more abstract way. * Keep an eye out for bright colours, particularly when creating mosaics, as they add interest and variety to your finished composite. * If youre planning to create any double exposures, keep a library of textures for future reference, but remember that some textures are more suitable for this than others.
Get started today
Ben Brain (Future)
To download free textures, search for 'textures' in the Technique section of PhotoRadar.com
D
Don McCullin
Be inspired by legendary photojournalist Don McCullin

on McCullin is one of the worlds most acclaimed photojournalists. He covered multiple conflicts for The Observer and The Sunday Times, including the Vietnam War. Known for portraying the human cost of conflict, he once said: Photography for me isn't looking, its feeling. If you cant feel what youre looking at, you won't get others to feel anything. Shaped by War, the biggest ever UK retrospective of his work, will be on show at Baths Victoria Art Gallery from 11 September until 21 November. Admission is free.
08 Learn from a master
photojournalism
* If you want to know more about McCullins work, his autobiography, Unreasonable Behaviour, is a riveting, if harrowing, read. * His contemporaries include Philip Jones Griffiths, the man behind Vietnam Inc one of the 20th centurys most important photobooks.
Get started today
to try right now
10things
25
Theres a very small window when the sky is a deep, dusky blue, and the foreground and sky are nicely balanced
Paul reveals his top five spots for shooting architecture on
page 63
Photograph an architectural icon as day turns into night

arly autumn is the best time of year to shoot buildings at dusk, as award-winning architectural photographer Paul Freeman explains: If a client wants a dusk shot in June, I try to persuade them to wait until early autumn, because the evening light is better then and also so I dont have to wait until 10pm for dusk to fall! For dusk shots, Paul says, the light is at its best about 15 minutes after sunset if its clear, or slightly later if its cloudy. Theres a very small window when the sky is a deep, dusky blue, and the foreground and sky are nicely balanced. If you time it right, you shouldnt need any graduated filters, and youll also avoid blown-out lights.
09 Capture moody blues

Get started today
arChiteCture
* Use an online sunset calculator to find * Invest in (or rent from www.lenses
out when the sun will set at your location.
Paul Freeman
forhire.com) a tilt-shift lens to correct converging verticals. * Expose so that the histogram is as far to the right as possible, using Photoshop to deepen the shadows if necessary.
26
10things
to try right now
Your Mission
10Take our latest photo challenge
Go for a walk in the woods for a chance to see your work in print and to win a fantastic Lowepro rucksack worth 120
his months mission is all about getting down and dirty in the undergrowth and capturing the colour and texture of life on the forest floor. As summer turns to autumn, the UKs woodlands provide a unique opportunity to get magical macro shots, from dew-dropped spiders webs that look as though theyve been strung with pearls to backlit mushrooms that resemble miniature parachutes. Were looking for shots that really focus in on what makes our native woodland so special. Maybe youve always wanted to try using a ringflash to make dew-drops glisten, or lighting a fern to bring out texture and colour? If so,
nows the time to take a walk on the wild side and show us what you can do. * A dedicated macro lens isnt vital, but it certainly helps, because it enables you to fill the frame with subjects that are the same size as, or smaller than, your D-SLRs sensor. To try before you buy, visit www.lensesforhire.com. * Woods can be quite dark, even on bright days, so use a tripod and a cable release to ensure you achieve sharp shots. * Avoid windy days, because even the lightest breeze can cause motion blur in something as delicate as a spiders web or flower.
WIN a Lowepro Flipside 400 AW
Each month were 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 days shooting whether in rain or shine. * This high-performance camera backpack offers an expanded capacity, with room for a professional D-SLR with a zoom lens attached, plus up to six additional lenses. * The Flipside 400 AW features a unique 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
Ifyougodownto thewoodstoday
eeling short of inspiration for this months Mission? Take a look at the work of photographers such as Guy Edwardes, Mark Hamblin and David Maitland. As you can see from our main image, Guy is a fan of using backlighting whether sunlight or off-camera flash to emphasise texture and detail. He also has a keen eye for composition, colour and texture, as the images on the right illustrate.
how to enter Create a gallery on www.photoradar.com, upload your entry and email the link to digitalcamera@futurenet.com with Your Mission: Woodlands in the subject line by 18 October 2010. The three best shots will be printed in issue 106, on sale 16 November 2010. A selection of the best shots will appear on our website.
27
See issue 102s best entries overleaf!
Fresh approaches you can use to bring the forest oor to life
Guy Edwardes
Raindrops and dew make for great subjects, particularly when sidelit, as in this shot of water droplets on a leaf. The key is experimenting with framing for balanced compositions.
Contrasting textures and complemetary colours also look great in macro shots. Here, the spiky green leaves really contrast with the curved edges of the mushroom.
Keep an eye out for images that focus in on abstract details. By removing any hint of context, you can create an image thats more shape and texture than a subject.
Focus on colour in autumn, it can become a subject in itself, as in this image of vivid red and yellow leaves. Again, complementary colours often work best.
28
Your Mission
Winners
issue 102s Mission was Travel. Here are the top three shots...
1st Japanese Toy Cars

By peter BarBour
This image was taken from an upperfloor restaurant in Kyoto. The low light in the scene along with internal reflections created by shooting through
a window proved challenging, so I used my 50mm prime for the shot. The fake tilt-and-shift effect was applied afterwards using GIMP image-
editing software to emphasise the car's toy-like proportions.

Canon eos 400D with Canon ef 50mm f/1.8 ii lens; iso800; 1/50 sec at f/1.8
2nd Kismet
By maCki haer
I chose to Spot meter this man's eyes, because it seemed to me that they told the story of his life. I did some post-processing in Photoshop CS3 in order to bring out the contrast and sharpness in his face.
nikon D200 with nikkor af-s 18-200mm f/3.5-5.6G Vr lens; iso200; 1/160 sec at f/5
3rd Blue on White
By james eDwarDs
I wanted to take shots out of direct sunlight, with strong, clean contrast. I focused above the window and later edited the image in CS5.
Canon eos 7D with sigma 18-50mm f/2.8-4.5 DC os hsm lens; iso200, 1/500 sec at f/8
Fancy your chances at this issues Mission? Upload your shots today on our website
COMPETITION
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Dont miss this exclusive opportunity to win a photo getaway in the beautiful Balearics
Win a photography break in Menorca!

ummers over, but dont get depressed heres a chance to win a photographic break in Menorca, arguably the most beautiful and unspoilt of Spains Balearic Islands. In conjunction with the Menorca Tourist Board, we're offering one lucky reader a four-night stay in a luxurious bed-and-breakfast for two people, with two excursions thrown in. So the winner can take one other person with them all youll have to do is pay for your flights. The holiday must be taken between April-June or September-October 2011 and is only open to UK residents.
HOW TO ENTER
What is the Menorcan capital of Mahn known as in Spanish? A Ma B Mayo C Miaow KNOW THE ANSWER?
TEXT YOUR ANSWER TO 87474
To win this fantastic photo break, simply answer the following easy question...
Answers must be received by 18 October 2010. The winner will be selected at random from all correct entries received between these dates. The winner will be notified within 28 days of the closing date. The prize is as stated: no alternatives, cash or otherwise, are available. Only UK residents aged 16 and over may enter by text, which will be charged at 1 plus your normal network tariff. The editors decision is final and no correspondence will be entered into. By entering this competition, you consent to us using your personal details to send you information about products and services of Future and Menorca Tourist Board that may be of interest to you. If you do not want to receive this information, please include the word STOP at the end of your text message. For full terms and conditions please visit www.futuretcs.com.
MENORCA: FALL IN LOVE
Forget any preconceptions you might have about Spanish holiday resorts: Menorca is a great destination for the serious photographer. It was declared as a Biosphere Reserve by UNESCO in 1993, which means building has been kept to a minimum and its natural character, charm and beauty has been allowed to flourish. As well as beautiful rolling countryside, stunning beaches and lots of wildlife, Menorca features picturesque old towns, such as Mahn, Ferreries and Ciutadella.
* Text the word Menorca followed by a space and then the letter of your selected answer (A, B or C) followed by a space, plus your full name and address, to 87474 * Or you can enter this competition online for free by going to www.photoradar.com/win-a-holiday and following the on-screen instructions
postCarDs
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frOm the edge
MISSION FACTFILE
Who: Robert Yager, professional photographer. What: To capture gang culture as it really is, through evocative, well composed images that tell the intimate stories of individuals. Where: After growing up in London, Robert has based himself in Los Angeles, California, since 1986, after a year spent in Mexico City. Kit list: Nikon D3 with AF-S VR Nikkor 70-200mm f/2.8G ED, AF-S 2x teleconverter, AF-S Nikkor 14-24mm f/2.8G ED, Nikkor 50mm f/1.4. Canon EOS 5D with EF 24-70mm f/2.8L USM, EF 70-200mm f/2.8L IS USM, EF 16-35mm f/2.8L II USM, EF 100mm f/2.8 Macro USM, EF 1.4x II teleconverter and two Canon 580EX II flashguns. More info at: www.robertyager.com
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CapturingLA gangculture
Hanging out with crack dealers and getting whacked by the LAPD... Robert Yager looks back on 18 years of recording life in gangs
ow did you come to photograph gangs in Los angeles? I have been interested in youth culture since my teens. At rst it was Charles Bronson and Clint Eastwood icks, West Side Story and organised crime movies. But The Warriors, in particular, touched a nerve in me. I used to wander around the streets of Mexico City and take photos. In 1991, armed with a portfolio of images Id shot during my time in Latin America in 1985-86, I went to see the editor of Buzz, a local LA magazine. He asked me to suggest a photo essay, and I mentioned that the Latino gang culture hadnt been well documented at that time. I worked on the project for several months, but after the riots of April 1992, the editor felt that LA had seen too much violence and that they couldnt publish the story. I decided to continue with the work anyway.
Times Magazine, Time and The Observer Magazine. I also photographed the Cypress Park gang for the LA Weekly and have worked with others, such as the Avenues, Mara Savatrucha, 18th Street, Crazy Riders, East LA and Echo Park gangs.
Which gangs have you photographed? Ive been photographing The Playboys Gang since January 1992 and received assignments to work with them from The New York
How did you make contact with the gangs? I looked through copies of Teen Angels magazine, which gave some great insights into the culture. I then drove around randomly looking for gang members. Just like cops, theres never a gang around when you want one, but eventually I heard about a mural o of Pico Boulevard in mid-city Los Angeles and headed over there. It was a storyboard of gang life painted on a liquor store wall. I stood around and took some photos of it, then two kids came out. One of them gestured proudly with a hand sign and said Eh! Saca-me una foto! , asking me to take his picture. I took a few shots and gave them a couple of Polaroids. We chatted for a while and I was invited to head with them down an alleyway to another street where other
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postCarDs
frOm the edge
01 at Gunpoint (previous page) Muerto points his revolver, which is loaded with hollow-point bullets. He also flashes the hand sign for The Playboys Gang, in the shape of a rabbit 02 Cash Money collected from crackcocaine sales is counted while the baby sleeps 03 Group shot Members of The Playboys Gang flash their hand signs and some guns in the back yard of an abandoned house they controlled 04 Haircut Laffey cuts his sons hair to give him the same shaved head appearance preceding a week of family outings. Laffey is helped by Chava, his brother, who isnt a gang member
02
06
03
04
05
Id been taking photos at a Playboys gang party when the police burst in, fully attired in riot gear. they ripped the camera away, broke it and destroyed the lm
members of the gang congregated. From that day on I went back to the streets of the Playboys neighbourhood almost every week for ten years. legitimate. But in 1994, it was the Rampart CRASH unit, a notoriously corrupt police unit, who sealed the gangs trust in me. Id been taking photos at a Playboys Gang party when the police burst in, fully attired in riot gear. I took a couple of shots as they whacked away at anyone and then the ocers turned to me. They knew who I was and had even seen my LAPD-issued press pass on previous occasions. It was supposed to grant me passage through police lines, but one ocer whacked me in the neck and a group of them jumped on me. They ripped the camera away, broke it and destroyed the lm. They even tried to press charges against me for assault on a police ocer. The LA Weekly ran a story about the episode and the District Attorney threw out the charges against me. I had to take the LAPD to court to get my press pass back and compensation for the broken camera. But I didnt get compensation for the destroyed
07
How did you gain their trust? It helped that I had an unusual car a uniquely spray-painted Impala and also that I spoke Spanish, had lived in Mexico, but came from England. I wasnt afraid of them or of just being myself: Im a pretty laid-back guy who imposed no judgment and felt it best to ask no questions. At rst I even held back from taking photos. I also needed to trust them. As time went by I was able to get them to regard me as a y on the wall. I stopped using Polaroids and would just bring prints from previous visits to pass on to them. That way I was able to have a negative of each image and keep it all to 35mm lm. After they saw the images in magazines they knew I was
lm, which later would have been incredibly valuable, once the corruption scandal surfaced and all the major news magazines were doing features on this same police unit.
Look! The Homeboys have your respect, but dont let them down. Then he gave it back and put the gun away.
Have you ever been in personal danger? Many times. I was once driving through South Central to go to a party with a few of The Playboys Gang members. We pulled up at a trac light next to three carloads of rival 18th Street members and someone suddenly said to take o down a side street. We heard gunshots behind us as we sped o. Another scary moment occurred when I was hanging out down an alley with a group of homeboys. An older member, who I hadnt photographed by that time, shoved a revolver into my stomach.Give me your camera! he said. I hesitated, to see if he was kidding, and the guys around me just shrugged. He repeated himself and I handed it over. He took it and, staring me in the eyes, said
Whats the most terrible scene you have witnessed? Somehow, Ive never seen anyone killed. In fact, no-ones even been shot in front of me. The worst beating I ever saw was when two girls attacked a woman for bringing trouble to their neighbourhood. One of them repeatedly stabbed the victim with a small pair of scissors. On another occasion in Coney Island, New York, an internal dispute broke out and one of the guys stabbed his fellow gang member, who bled profusely and had to be rushed to the hospital. Ive been to too many funerals. Needless to say, I nd them incredibly depressing, especially as Ive known so many of the people whove been killed and all have been younger than myself.
05 In the Hood First photo, first day in The Playboys Gang neighbourhood, January 1992. Muerto and Midget flash Playboys hand signs by one of their gangs murals on a liquor store wall on Kenmore Avenue in mid-city Los Angeles 06 Gun Lesson Chava (not a gang member) shows his nephew how to fire a ball-bearing gun. He said he was aiming for the kids next door as they played outside. The gun uses compressed air and lets out a bang, at which Anthony gasps 07 War Wound 357 shows his scar. He had been shot and hit with seven bullets. At USC Medical Center he was cut open by doctors in order to check for internal bleeding
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The place to air your views on the magazine and share your photographic experiences
Get your views heard Wed 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
ViewFinder
useful when harsh light falls on a white wedding dress , but in one of my books it says Evaluative metering does a good job of calculating exposure, but it can get thrown o when a dark subject is set against a bright background, or vice versa . Could you please clarify? Ian Couch
STAR LETTER
RESOLVING THE MATTER
A company was interested in one of my images for their website and promo work. Not having heard back from them after a month, I made enquiries and was told that although they liked my shot, its resolution was too low. Im building an online gallery so my images get reduced to ease publication. I have read that stock libraries ask for certain file sizes or specific dots per inch, and as this was the first opportunity for me to sell an image, only to be foiled by lack of dpi, Im keen not to lose out to this again. Is there a standard resolution accepted by the industry? Drew Stephens Although it depends on the dimensions of the image and the requirements of the
Use Photoshops Image Size window to check the resolution of your images before theyre printed
customer, pictures prepared for print are usually set at 300 dots per inch (dpi), and for the web at 72dpi. By the way, did you shoot in RAW? If so you should have the original file at the highest resolution your camera can deliver. Never shrink a digital image without backing-up the original.
In Evaluative metering mode your camera divides the scene into segments and takes an average from them all. There are advantages and disadvantages to using this mode. Photographing wedding dresses or dark subjects set against white backgrounds is challenging in any mode, which is why we suggested checking the histogram to assess the exposure and then using exposure compensation to make adjustments.
WIN A NATIONAL GEOGRAPHIC NGTT2 TRIPOD
ROCK AND A HARD PLACE
Drew wins a tripod and bag worth over 100. For more information on this and other National Geographic kit, visit www.geographicbags.co.uk.
As an amateur photographer, taking pictures at gigs has always been fun, if not a bit hit-and-miss. Sure, it would be great to get into a pit and get exclusive access, but unless youre
IPADDING IT OUT
Im a subscriber from Italy and I discovered Digital Camera a year ago. It was love at rst sight, but now with your new look, the magazine is even easier to read and more interesting. Im wondering if youve already thought about a digital version, an ad-hoc iPad (or other tablet) version,
for example. It would be excellent if it could include video contents or quick previews of image processing. I hope Digital Camera will become digital in every way possible. Patrizio Marcocci
Were currently looking at several ways of optimising material for the iPad, but in the meantime you can get the mag digitally via zinio.com. See www. photoradar.com too (pictured left).
As an amateur photographer you might not get access to big gigs, so start local and build your portfolio
METER MADE
On page 69 of issue )A) (July :A)A) you gave advice about when to shoot in Evaluative mode. You said this is
Followuson www.twitter.com/photoradar
Have you thought about a digital, iPad, version of Digital Camera, including video contents or quick previews of image processing?
www.facebook.com/PhotoRadar
WHATS WORKED FOR YOU? OR NOT!

I am new to photography and bought issue 102 of Digital Camera, in which I read the piece about shooting cricket in Ten Things to Try.... I am hoping to do sports photography (which I know is difficult), so went to my local cricket club to try my hand at some cricket shots with my Nikon D5000. I have sent
For a first attempt, were pretty impressed by Tommys sports shot
you some of my shots (some are a bit blurred) and would appreciate any feedback. Tommy Hindle
a pro or a good blagger its not really an option. The problem is exacerbated by overzealous stewards who insist on stopping you from taking pictures from the crowd. In your Things to Try... article in issue (July ), you say of shooting gigs: You can still get amazing shots from the crowd . The last time I tried, I was told I had to stop shooting because I didnt have press accreditation and because I was using a professional-looking camera. How is this fair for people like me, who are trying to better themselves so that one day, maybe, Ill be good enough to get access to the pro area? Alex Dodd
SNAP SHOTS
Views from the forum
Although in general a photograph should be technically correct, when the photographer wants to speak about emotions, I believe you can follow instinct. For example, an inclined photo uphill can speak about difficulties, an effort to achieve something. An inclined downhill can speak about a slide, an instability, or desperation... A Ritsos This picks up on some feedback about the seemingly slapstick shot I entered into this weeks competition on the photoradar.com forum. I love exploring how light cuts through deep shadow, so the items were placed under the dichroic filters; not a perfect composition, but one I hope shows how light bounces around off objects and surfaces, with interesting effect. Beax Reflects
READING A PHOTO
Point taken, but you can start by honing your skills photographing local or upcoming bands, where photo access is easier. Then you can build up a portfolio, and if one of these smaller bands make it, youll have impressive images to help you get a pit pass. Its tough, but as top rock photographer Mick Hutson said in issue 103, its possible with the right attitude!
Ive just read your July issue. You ask for reader comments The standard is ABSYMAL! Ive never seen such messed-around landscapes and overmanipulated pictures. Also, for Gods sake leave out the endless Photoshop tutorials . This might be cheap copy , but it is not photography! I will not be buying another copy for a long time. Dick Church
STOP, YOURE KILLING US
Thanks for your feedback, Dick. Well take it on the chin, but are glad to report that other comments have been overwhelmingly positive. What do other readers think?
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While staying out late can be rather tiresome, youll be repaid by great photo opportunities
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to
Dusk
Photography: Ben Brain & Paul Grogan (Future)
Seize the day and master your D-SLR as Ben Brain and Paul Grogan present a 24-hour photographic primer
odern digital SLRs are complex beasts, but theres no reason at all why you cant get to grips with them and produce really great shots in the space of just one day. So, presuming you can persuade your partner or kids to give you a bit of time o for good behaviour, how do you make the most of this precious window of photographic opportunity? In this feature, were going to share 24 great tips thatll help you to
get the best from your limited time and also to develop your camera skills. Were going to show you how to exploit the magic hours around dawn and dusk, and reveal just why dragging yourself out of bed before sunrise and staying up late at night can be worth the extra eort. Well also share shooting tips that will help you to get the best out of other times of the day, too, when most photographers hang up their gear in the hard light of noon or the ethereal light of the moon to create striking and creative images
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Shooting landscapes at dawn isnt without its challenges, but it often provides two bites at the cherry one of any pre-dawn colour in the clouds before the sun comes up, and one of the sunrise itself
Dawn
Local weather conditions are incredibly important for dawn shots, so you need to do your research before you arrive at your chosen location. For our shoot at Corfe Castle in Dorset, for example, we were hoping for some low-lying fog, which typically forms on clear nights when cold, heavy air settles in hollows. We timed our shoot with this in mind, and made sure to keep a keen eye out for heavy dew the night before usually a sign that the air is cold enough to condense water droplets in the air. In the end, the fog wed been hoping for sadly didnt materialise, but fortunately we still managed to get plenty of other great shots.
Be a weather foreCaster
Get to know the lie of the land, because you need to determine the best vantage point, or points, for your subject based on whether you want to shoot into, or away from, the sun. If possible, its a good idea to do a daylight recce beforehand so that you dont have to yomp around in the dark looking for the best spot. If this isnt possible, take a look at the relevant Ordnance Survey map (www.ordnance survey.co.uk/oswebsite/getamap) to determine where to park, which path to take, and so on. When trying to decide how early to get up, remember that the sky is often at its most colourful before the
Do a reCCe
above Exploring your location in daylight enables you to plan out the best vantage points in advance. This reduces the need for panic as the light levels change
sun comes up (just as sunsets are at their most colourful in the minutes after the sun has disappeared). This means you need to be in position with your tripod set up and lters in place long before the sun actually rises. Despite timing our arrival at Corfe Castle perfectly, we still almost missed the colour in the clouds. They came and went in what seemed like seconds, and were at their most intense just long enough for us to re o a handful of frames.
3Get there early
The thing to remember when youre processing dawn shots is that the colours are often quite saturated already
Shoot from DAWN to DUSK
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Keep shooting all day

Good light is the key to any location shoot, so unless the forecast looks promising, you might as well hold off until the weather improves. Check out www.metcheck.com for a detailed and from our experience accurate forecast. No less critical when it comes to dawn, dusk and night shoots is knowing when the sun or moon is due to rise or set at your chosen location. For precise times at any location in the world, visit www.goflying.org.
Six essential photo tips that apply whatever the hour

Shooting in low light usually requires slow shutter speeds, and long exposures will soon drain your cameras batteries this is especially problematic if youre out and about for a full 24 hours. To avoid running out of juice, take plenty of spares or invest in a car charger. Its always advisable to shoot in RAW, but this is especially true when it comes to landscapes, seascapes and nightscapes. This is because RAW files provide much smoother tonal information than JPEGs, particularly in large expanses of colour such as skies and are much more forgiving if you need to tweak exposure in Photoshop. When youre shooting in the middle of the day (or the middle of the night, for that matter), the exposure is often the same for both the foreground and the sky, but at dawn and dusk, the sky is invariably much brighter than the foreground, making it tricky to expose for both in the same shot. The simple answer is to use graduated Neutral Density filters, which hold back the bright light of the sky without affecting the foreground. You need a sturdy tripod for any landscape shoot, but a remote cable release is also vital to avoid jogging the camera when you press the shutter button when using slow shutter speeds. If you dont have a cable release, you can minimise camera shake by using your cameras two- or ten-second self-timer mode instead.
4exPose to the riGht
Exposure can be tricky at dawn, particularly if youre shooting towards a rising sun, when the sky will invariably be much brighter than the foreground. Graduated Neutral Density (ND) lters will help (see Keep shooting all day , above), but it can still be tricky to determine optimum exposure using the LCD. The solution is to tweak exposure so that your shots histogram is as far to the right as possible without it being clipped (pushed o the end of the graph) at the highlight end. This is partly because sensors are most sensitive at this end and partly because recovering detail from bright highlights post-shoot creates less noise than recovering detail from dark shadows.
The sky is brighter than the foreground at dawn, so youll need to keep an eye on your exposure
Its also a good idea to bracket your shots, because the less you have to tweak your exposure in Photoshop, the lower the risk of adding unwanted noise to the image.
gave us a shutter speed of 25 secs at f/13 plenty long enough to blur the water and create a silky-smooth sea.
Things dont always go according to plan, so its a good idea to have a back-up plan. After capturing some pre-sunrise colour at Corfe Castle, our hoped-for sunrise came to nothing, so rather than waste time ogging a at sky, we decided to head to nearby Swanage, safe in the knowledge that the disappointing overcast conditions would actually suit a long-exposure seascape. Our image of an old stone pier was shot using a ten-stop ND lter, which
have a Plan B
6KeeP Colours suBtle

As is the case with any shoot, the creative process will continue long after youve taken your photograph. The thing to remember when youre processing dawn and sunrise shots is that the colours are often quite saturated already. The temptation is to ramp them up using Curves or the Saturation lter in Adobe Camera Raw, but keeping them subtle will yield far more eective results. Nightscapes, by contrast, often need a helping hand when it comes to giving their dusky blues a boost in post-processing.
Below Using an ND filter will give you a slow enough shutter speed for smooth water shots
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The magic hours around dawn and dusk arent the only times to capture stunning shots. Dont hang up your camera at lunchtime there are good shots to be had in the harsh midday light
Noon
DitCh the triPoD
above Watch out for eye-catching colours and textures that will really reflect the harsh midday light
The bright midday light will result in fast shutter speeds, making lunchtime the perfect opportunity to ditch the tripod and try shooting handheld. Not only will this free you from the hassle of lugging a heavy piece of kit around, youll also be able to compose shots more spontaneously. Its much easier to experiment with new angles without a tripod. Even in bright light its possible to get camera shake, so ensure that your shutter speed is fast enough to avoid this. As a general rule of thumb, use a shutter speed thats no slower than the longest focal length of the lens youre using. For example, if youre using a 60mm lens, ensure your shutter speed is 1/60 sec or faster.
8Go aBstraCt
The usually unattractive bright light and hard shadows created by the midday sun are perfect for abstract photography, so get creative and free yourself from the constraints of composition, leading lines or bothersome foreground interest. By denition, abstract implies that the subject is separated from its context; that the visual elements of the image are about form, shape, texture and colour rather than a true representation of an object or scene.
We found a small boatyard, which proved a veritable gold mine of abstract delights. Bold, bright and vibrant colours, peeling paint, rusted metals and dynamic shapes were plentiful, and it was dicult to know where to start!
9use the histoGram
Getting your exposure right in bright light is just as essential as at any other time of the day. Viewing your cameras LCD screen will be more dicult in these conditions, and
The harsh shadows of noon are generally considered a nuisance for photographers, but they can be used to your advantage
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youll get a skewed impression of the exposure, so its vital to use the histogram to check your exposures are right. Ideally, youre looking for a histogram thats clumped to the right, but not clipped.
thinK aBout 10Colour theory
Experiment with colour. The contrasting primary colours in this boatyard (above) were perfect for colourful abstracts. While the contrasting blues and reds alongside bold shapes made good photos, so too did the more muted colour palettes of old peeling paint and rusty metals (left). These tertiary hues also made a great subject for colour abstracts. In most cases, setting your D-SLRs white balance to Auto (AWB) will help you to achieve great results. However, its worth experimenting with dierent presets to accentuate colour try Tungsten in daylight to boost blues or Shade in sunlight to make colours warmer.
that looked great in the bright light. The hard shadows actually helped to accentuate the shapes of these features, which in turn made the shots look really strong and eective. It can be dicult to capture detail in both the shadow and the highlight areas after a bit of trial and error, we found it best to let the shadows fall into a deep black while keeping the detail in the highlights. This subject also worked particularly well in black and white (see below right), so its a good idea to think about how your image might look in mono as you shoot.
above Thinking of your shots as a triptych will help you to get creative with colour
Better 12threes than one
Below Noon shadows can be harsh, but you can still use them for strong definition within your images
Whatever youre shooting, try to envisage your images as a triptych a group of three images presented together. Triptychs have their roots in early Christian art, in which they were the standard way of presenting paintings, but have since been embraced by contemporary artists and photographers. You dont even need to restrict yourself to triptychs: grids can work just as well. Think about how nine images on a similar theme might work as a three-by-three grid, for example.
with 11worK the shaDows
The harsh shadows of noon are generally considered a nuisance for photographers, but if you look at them in the right way, they can be used to your advantage, because crisp, high-contrast shadows help to dene lines, textures and shapes. We headed for the beach searching for sand ripples and mini tributaries
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Dusk
The time just before and after dusk is called the golden hour for good reason. In the right conditions, the angle and quality of light add life to any scene
13
Shooting at dusk will inevitably mean using slow shutter speeds, so take all the usual precautions, such as using a sturdy tripod, cable release and locking your cameras internal mirror in the up position. However, be careful. Once or twice while shooting at Durdle Door (see above) we had to quickly move our tripod out of the way of unexpected waves, so dont suspend your precious kit bag from the central column for extra stability. Keep it on your back and use a bag of stones instead. Whatever terrain youre shooting on, make sure that your tripods feet are rmly rooted in the ground to ensure the sharpest shots possible.
try lonG exPosures
above Time your exposure for when a wave recedes to achieve a gorgeous blurred water effect
14exPeriment with Blur
Take advantage of low light and the long exposures youll need to get creative with water shots. As always, keep an eye out for eective leading lines and a strong focal point. Its dicult to predict exactly how water will look during a two-to-vesecond exposure, so theres a certain amount of trial and error needed. The results will be worth it, though, so make sure youve got plenty of space
on your memory card and take lots of shots to maximise your chances of capturing something good. Blurred water will look best as a wave recedes, so get your timing right and release the shutter just as a wave hits its highest point it should start to wash back during the exposure. We used a 0.6 Lee ND lter to increase the shutter speed by two stops, from 0.5 sec to 2 secs. We also used a soft ND grad to slightly darken the sky and help balance the exposure.
Whenever possible, its best to time your coastal photography around a receding tide, so that youre following the water out
15follow the tiDe
Getting the timing of tides and sunsets right is essential for capturing a good shot, so check online before you head out. There are plenty of websites that will provide this
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David Clapp
Composition is king, so look for strong leading lines that draw the viewers eye into the shot above Using an Ordnance Survey map can help you to judge more precisely where the sun will set at your chosen location
information, such as the weather section of www.bbc.co.uk. Whenever possible, its best to time your coastal photography around a receding tide. This way, youll be following the tide out rather than being chased up the beach by incoming water. Working with wet feet is a nasty experience. Trust us.
graphic shapes that work perfectly as silhouettes and create a strong leading line into the shot. Expose for the sky and let the foreground go black. Your histogram will look clipped towards the lefthand side, but this is absolutely ne.
16
Its crucial to understand that at dierent times of the year in the UK, the sun will set at dierent points. Its not just a case of the sun rising in the east and setting in the west; in the summer, the sun rises to the south east and sets to the north west (south east and south west in the winter). An Ordnance Survey map is very useful for working out your position in relation to the setting sun, but so too is local knowledge. If you dont know the area, nd someone who does and pick their brains. Shooting at dusk can be so engrossing that its easy to forget to look around, meaning that you might miss some potentially great shots. While we were photographing the falling light hitting Durdle Door, there was a wonderful sunset behind us. We only had to turn around for a number of new photo opportunities. When shooting towards a sunset, look for subjects that will make a bold silhouette against the sky, such as a fence or line of trees, which will create
Get your timinG riGht
your imaGes 18maKe really PoP
Get your shots right in-camera and keep your post-processing to a minimum by concentrating on your camera craft. The digital darkroom
Below A sturdy tripod is key to a landscape shoot, but be careful not to expose your kit to the water
should be used as a powerful tool to make a good shot better, and never as a means of salvaging a du one. Shoot in RAW so that you can squeeze as much detail and quality from your images as possible. We used Adobe Camera Raw post-shoot to enhance the tones of shots by boosting the contrast, then brought out the colour of the light using the Vibrance slider. Despite using an ND grad at the point of capture, we also used the Graduated Filter tool (CS4 and above) to give the eect a boost.
17its BehinD you
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Shooting landscapes at night will almost guarantee striking results, even in wellphotographed places. All you need are clear skies, a full moon, and a high-powered torch
AfterDark
19taKe a test shot 20loCK your lens

We timed our night shoot at Portland Bill lighthouse to coincide with the full moon, which gave us plenty of ambient light to work with. Before we even set up our tripod, we selected our cameras highest ISO (3200) and widest aperture (f/4) and took a few test shots. At this stage, it didnt matter that the images were noisy, or that they were a bit blurred, because the shutter speed wasnt fast enough to shoot handheld all we were doing was seeing what might work, without having to set up our tripod and wait the 30 seconds or more it would have taken to expose a shot at ISO100. When we were done, we set our ISO back to 100 to ensure grain-free shots.
Once youre happy with your composition, try mounting the camera on a tripod and placing the central focus point over the part of the scene you want to focus on. For the shot above, we chose the light of the lighthouse, as it had a bright, sharp edge for the lens to lock on to. Once wed focused by half-pressing the shutter button, we then switched our lens to Manual to lock the focus and recomposed our shot before
above Taking a few handheld shots before setting up your tripod enables you to see what compositions will or wont work
locking o our tripod head. With the shot set up, we also locked up our SLRs mirror to reduce the vibrations caused by it opening and closing, reducing the risk of camera shake. We also hung a heavy bag from the central column of our tripod, and sheltered the camera from the wind with our bodies, again to try and eliminate blur.
21oPen wiDe
When youre processing night shots, its a good idea to do so twice once for the sky and a second time for the landscape
At night, exposure is a trade-o between depth of eld on one hand and how long youre prepared to wait on the other. Most landscape pros set an aperture of f/16 during the day to ensure a good depth of eld, but at night this can mean exposure times of 30 minutes or more, which isnt always realistic.
45
Torch song
The humble torch can work wonders

If theres not enough ambient light in your foreground, try using a torch to paint light into your scene during long exposures. Any torch will do, but the brighter the better for large areas. You will need to experiment with timing, but slow, sweeping strokes work best just ensure that the end of each stroke isnt in shot, otherwise youll end up with obvious hotspots. Another way of adding interest is to include moonlit water in your image. The long exposure will blur any movement in the water and give everything an ethereal, otherworldly glow. To work out when the moon is going to be full in your chosen location, try an online calculator (we recommend www.goflying.org).
23set B for BulB
For most night shots, you have to set your camera to Bulb (see page 62), because at ISO100 your exposure will almost certainly be longer than your cameras longest shutter speed. However, thanks to the light from the full moon, we were able to get away with a shutter speed of 30 secs. We then timed our exposure to include some fastmoving clouds, which registered as a wispy blur, adding an element of interest and drama to the night sky. If youre really into night photography, get a remote shutter release with a timer function, as this will enable you to set exposures from 1 sec up to 99 hours without having to check your watch all the time.
above Moonlit water is an easy way of adding subtle ambient light to a shot
the noise 24KeeP Down
Below Help to minimise blur from camera shake at slow shutter speeds by using a cable release
When youre processing night shots post-shoot, its a good idea to process them twice once for the sky, using noise reduction software, and a second time for the landscape, without noise reduction. Noise is much more noticeable in large expanses of colour, such as skies, than it is in areas with plenty of detail, but because noise reduction smooths out pixels, if you try to reduce noise across the whole image, youll also lose detail and sharpness in your landscape. Once youre happy with the processing, you can then merge the noise-free sky with the sharp landscape using layers and Layer Masks in Photoshop.
In reality, though, foreground detail isnt as critical as it is during the day its often in shadow, so you can usually get away with f/5.6 for wide-angle shots.
22iGnore your lCD
When it comes to working out exposure on a shot, try not to rely on your LCD at night, as it will tend to look overly bright use the histogram instead. Because our scene was darker than mid-grey, we made sure that our histogram was bunched over towards the left but not so far across that the shadows were clipped (and therefore detail-free), as this would have resulted in black shadows that would have proved impossible to recover in Photoshop.
46
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49
16 PAGES OF EXPERT ADVICE FOR SLR USERS
D-SLR CAMERA SKILLS
Your complete camera skills improvement plan

THIS MONTHS HIGHLIGHTS
S HOOT !
53
50
Get exposure spot on every time with our essential guide to your cameras metering modes
Core Skills
Essential tips to make sure your tripod does its job, whatever terrain youre shooting in
Gear Craft
54
Create magical mono seascapes with our guide to getting creative with black and white
Creative Zone
58
Dumbfounded by depth of eld? Then read our straightforward guide to taking control of focus
Jargon Busting
64
Protect yourself and your kit from the elements this autumn with a homemade brolly holder!
Kit Hacks
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D-SLR CAMERA SKILLS
MASTER METERING INMINUTES

CORE SKILLS
When it comes to getting the best image quality from your camera, correct metering is one of the most crucial ingredients. So dont second-guess it
What you see isnt always what you get. The human eye copes with high-contrast scenes much better than digital cameras do, so photographic images often have washed-out highlights or lack detail in the shadows. Most current D-SLRs feature systems that can effectively boost dynamic range, such as Canons Auto Lighting Optimizer and Nikons Active D-Lighting but, even so, theres no substitute for nailing the correct exposure setting to do full justice to the most important aspects of a scene. Evaluative metering, also known as Multisegment or Average metering, is a catch-all mode where the cameras light metering system takes in the whole frame and makes a best guess at the exposure setting that will give a good balance. The catch, and its a big one, is that a good balance is often the last thing you want, because it can make people in backlit portraits look like silhouettes, or dumb down bright white objects to a dingy grey. For effective metering, one option is to stick with the Evaluative mode and to dial in an appropriate amount of +/-EV (Exposure Value) bias, generally referred to as exposure compensation. For example, in a heavily backlit portrait, you might need to apply between +2EV and +3EV exposure compensation. The background will most likely be washed out to white, but the all-important skin tones in the
Ben Brain (Future)
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D-SLR CAMERA SKILLS
GET TO KNOW YOUR CAMERAS METERING MODES

Use our quick guide to master your SLRs advanced settings
Evaluative (or Matrix)
Many cameras lock or at least bias the metering setting at the moment when autofocus is achieved, so beware when focusing on particularly light or dark objects in a scene and then recomposing the frame. Take a subsequent reading if necessary.
Centre-weighted
This is a good choice for highcontrast scenes, because it allows you to lock the exposure value to correlate with a specific area. You may still need to apply a little exposure compensation for perfect results.
Spot metering
In this metering mode, a light reading is taken from only a tiny point in a scene, so it can be tricky to use. Its usually best practice to take readings from several points in a scene and to average out the readings to attain the best overall exposure setting.
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Top tips FOR ACCURATE EXPOSURES

When you want to avoid pale skies washing out to white and youre aiming for really deep, saturated colours, err on the side of under-exposure. Its easier to boost brightness at the editing stage than it is to recapture blown highlights, which are usually lost forever. A little over-exposure can go a very long way in portraiture, making for beautiful, dreamylooking skin tones. Similarly, for very bright outdoor scenes like snowy mountains or palecoloured beaches, a bit of overexposure will make images look more like nature intended. One of the joys of digital is that you can review images as you shoot, rather than having to wait until your films are developed to check exposures. Most cameras include a blinking highlights option, so you can see blown highlights and re-shoot if necessary. For ultimate accuracy when reviewing shots, dont rely on the LCD alone. Switch to Histogram view for a graphical representation of exposure. If the peaks are mostly on the left, the image is probably under-exposed, and vice versa.
PHOTO SCIENCE
Why this photo works
1
Try under-exposing
1 With a restrained exposure value, detail is retained in the highlights, without them blowing out to pure white. 2 Midtones are vibrant, with great colour saturation, whereas they would have looked bland and lacking in punch if a greater exposure value had been set. 3 The lowlight areas are rich and dark, adding to the overall perception of contrast. This adds drama and richness and gives the whole image a lift.
Over-expose instead
Blinking highlights
portrait should be lively and vibrant, rather than dull and muddy. At the other end of the scale, when shooting a subject against a very dark background, you will typically need to apply negative exposure compensation to ensure that the main subject is correctly exposed, at the expense of lowlights (which are generally of
secondary importance) descending into gloominess. For greatest accuracy in tricky light, its worth switching to a more selective metering mode, like Centre-weighted, Partial or Spot metering. The Centre-weighted option automatically gives metering prominence to the central region of the frame, taking
Check the histogram
For accurate skin tones, use Evaluative metering and exposure compensation
less account of how bright or dark the scene is towards the sides and corners. Partial and Spot go a step further, completely disregarding everything outside respectively small and tiny areas of the frame. In any metering mode, and especially in Partial or Spot, its vital to make a distinction between accurate and good metering. Technically, a cameras in-built light meter sets an exposure that corresponds to the amount of light reflected from an 18% grey card. This is fine if the subject youre photographing happens to equate to 18% grey but if, for example, youre taking a portrait of somebody with fair skin, youll still need to add around +0.5EV exposure compensation to avoid the skin tones looking dull and muddy. Settings for outdoor landscapes are often comparatively straightforward, as green grass typically corresponds very closely with the reflected light value of 18%, usually resulting in wonderfully vibrant scenic shots.
DO IT YOURSELF...
Take full control in Manual shooting mode for ultimate flexibility

Many cameras only offer as little as +/-2EV exposure compensation, which often isnt enough for very tricky lighting conditions. So switch to Manual mode and you can dial in the exact exposure values you want. Try bracketing your exposures, taking several shots across a spread of EV settings. Its true that if you shoot in RAW you can adjust the EV at the editing stage but, for the very best quality, youll need to be within half a stop of the ideal EV when shooting.
-2 EV 0 EV +2 EV
Ed Godden (Future)
Ben Brain (Future)
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Having problems getting a solid base for your SLR? Heres a quick guide to beating camera shake whatever the weather or terrain
Setting up your tripod should be a pretty straightforward task, but its surprising how many people make a fist of it. Actually, maybe its not that surprising, as most tripod manuals are perfunctory to say the least. Obviously you should follow a few basic guidelines, such as making sure the head is level, using a cable release and locking the mirror up, but when the terrain or weather conditions become more challenging, you need some more advanced tripod techniques. In this guide, well show you how to set up quickly and create a solid base in any location (essential for capturing long exposures). So next time youre setting up, dont just extend the tripod to its full length and start firing away: take a moment to work out how to compose your shot without the tripod. Then, as youre adjusting your tripod, use our guide to ensure shake-free shots.
Advanced tripod tips
GEAR CRAFT
Set up your tripod right first time so you dont miss photo opps fiddling with it later
01
When buying a tripod, choose one that combines strength and weight (we like the Giottos 9361B model with MH5001 head). When setting up, extend the fatter legs first, then release each of the other leg sections in succession until the tripod is at the correct height.
Fat legs first
02
Make sure that all three legs are on firm ground, giving them a slight push to ensure they dont move. Adjust their length to ensure that the central column is vertical rather than at a slight tilt. If your tripod includes a bubble level then use this to ensure that everything is straight.
Vertical central column
03
Attach your camera bag to the central column hook; the extra weight will help to lower the centre of gravity, creating a firmer base. If its very windy, attach a bungee cord between the hook and bag and then adjust the length so that the bag is just touching the ground.
Weigh it down
04
Low-angled landscapes really benefit from a steady tripod base and most tripods are designed with a removable central column for this reason. With the column removed, position the tripod flat to the ground, then use the angle and length of the legs to level the camera.
Get down low
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Learn how to recreate this effect in Photoshop on
page 78
A different perspective
Pro shooter David Clapp on how he uses a Zrk to give his shots an unusual model village look
What on earth is a Zrk? The Zrk Multi Focus System is a multidirectional tilt tube a focusing tube that allows the focal plane to be tilted in any direction, unlike conventional tilt-shift lens systems, which lock the tilt into a vertical and horizontal axis. I attach it to my Canon EOS-1Ds Mark III D-SLR body. This gives me the ability to tilt the image by as much as 20, making it a highly creative tool. The miniaturising visual effect adds another dimension to my work. Zrks Rodenstock glass is a gem its incredibly sharp and full of contrast. What subjects do you tend to give the Zrk treatment? Like a traditional tilt-shift lens, the most mundane of scenes can be transformed with startling effect as long as there are objects of relative scale to visually reference. Bustling city life is great for miniaturising, because people, cars and buildings provide scale and reference, yet the effect also works incredibly well for subjects photographed on the coast or in the countryside. Whats your top tip for tilt-shift work? Its very important to capture a strong focal point in the image or the eye will wander around looking for a visual hook. You also need to look down on the scene youre shooting, otherwise the effect is greatly reduced. Choose high viewpoints: city buildings, clifftops, hilltops, ledges This gives the viewer the feeling that they are very large, and that what they are observing is very small.
FIVE-MINUTE MASTERCLASS
Ben Brain shows you how to get creative with black and white on a blustery day by the sea
In our hectic, image-saturated world its easy to see why Zenlike minimalist compositions have become popular. Simple framing, long exposures, square crops and eery mono treatments can create stunning and visually soothing results. The good news is that theyre also simple to create. While many subjects can work for a minimalist composition, scenes that capture the tranquillity of water work exceptionally well. So, with that in mind, we headed to the seaside town of Clevedon, Somerset. The brown, muddy water didnt lend itself to colour images, but looked great in black and white. To master this simple technique you need to find a visual anchor, so we searched for objects that we could use to lead the viewers eye into the frame. We created a symmetrical composition to reinforce the simplicity of the framing and pre-visualised a square crop. Here, well share more tips that will help you to get similar shots of your own, including how to use an ND filter to slow shutter speeds, avoid camera shake and convert your RAW file to black and white.
Minimalist monos
CREATIVE ZONE
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Its essential to pre-visualise how your whole scene will look as a long exposure and in black and white before you start shooting
Initially we tried to avoid the people in this shot, but in retrospect they added a haunting human presence thats surprisingly effective
A long exposure of 15 secs and a simple, symmetrical composition helped to create this strong minimalist scene
How to SET UP FOR STUNNING SEASCAPES
Three simple ways to get arty shots that look good enough to frame
01
To avoid blur caused by camera shake during the long exposure, take all the usual precautions, such as using a tripod, a cable release (or self-timer) to fire the shutter, and locking the mirror in the up position.
Keep your camera still
02
Compose and focus your image, then attach an ND (Neutral Density) filter to your lens to reduce the amount of light that hits the sensor, in this case by ten stops. On our shoot, this gave an exposure of 15 secs.
Slow things down
03
Use your RAW editor to make a mono conversion (we used the Black and White Mix tab in Lightroom 3). Create a square crop, then use Graduated Filter to apply an ND Grad effect that gently darkens the sky.
Edit your RAW file
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D-SLR CAMERA SKILLS
What are the ingredients for a truly great shot? We dive in for a closer look at Andy Rouses stunning image of a Galapagos Green Turtle
UNDERWATER WONDER
PHOTO ANATOMY
Focus
Camera technique
Underwater theres too much to worry about to consider doing anything clever with autofocus, so Rouse used the central AF point, which is the most accurate anyway. This ensured his moving subject was captured sharply.
Rouse used a Nikon D700 and 20mm lens in an Aquatech sport housing. The ISO was set to 800 to give a shutter speed of 1/250 sec with an aperture of f/8.
EXPERT TIP
You dont need expensive underwater housings and special scuba diving qualications to get good underwater shots. Use a basic snorkel set-up with a relatively inexpensive underwater housing such as the Ewa Marine U-A (www. ewa-marine.com) or a waterproof compact such as the Olympus Tough 8000 (www. olympus.co.uk) and youll be able to get some great results.
Ben Brain, deputy editor
Reading the scene is allimportant. Here, Rouse did some furious finning to get ahead of the swimming turtle so that it would swim through the shoal of fish. Including the fish gives the image a much greater sense of place.
Environment
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Lighting
Underwater light levels and colours fade after 10ft, so Rouse shot close to the surface while snorkelling. The angle of the sun through the water is vital to reduce shadows and the snorkelling photographer must always be aware of this.
Composition
To simplify the composition Rouse used a fixed (prime) 20mm lens. Placing the fish below the turtle gives balance to the bottom of the image; the top is held in by the suggestion of a surface reflection.
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D-SLR CAMERA SKILLS
To maximise depth of field for landscapes, use a wide lens, set a small aperture (such as f/22), and choose your focus point with care
JARGON BUSTING
DEPTH OF FIELD?
What the hell is
Ever wondered why backgrounds are pin-sharp in some shots and out of focus in others? Heres how to take full control
Whats depth of eld all about? Depth of eld is a measure of how much of a picture is in focus. A lens can only precisely focus on one plane at a time. However, theres always a certain amount of the picture in front of, and behind, this plane that also appears to be sharp. It is this zone of acceptable sharpness that is the depth of eld. Anything outside of this zone appears blurred or out of focus. The amount of depth of eld varies from picture to picture, depending on a number of dierent factors. How does knowing this help to improve my shots? Depth of eld is one of the most important creative controls available to the photographer. By
learning how to control it, you can ensure that everything from your feet to the horizon appears pin sharp. Alternatively, you can make sure that depth of eld is restricted to such an extent that parts of your picture are thrown anonymously out of focus, for artistic eect or to hide distracting features in a scene. So whats the dark secret, then? Its not just one factor that aects the amount of depth of eld that you end up with, but several working in tandem. Some of these factors, however, are much easier for photographers to control than the others. Whats the easiest way to control depth of eld? The aperture setting you use is the simplest and most
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D-SLR CAMERA SKILLS

f/2.8 f/5.6 f/11 f/22
Setting a wide aperture restricts how much of your image will be in focus
This is the widest aperture that many lenses will allow you to go to
A narrow aperture offers more depth of field, so more of your shots in focus
The smallest apertures maximise whats in focus within the image
straightforward way of altering depth of eld because you can do this without changing equipment or shooting position. The smaller the aperture you set, the more depth of eld you get and the more of your shot appears in focus. So on a typical zoom, a narrow aperture of f/66 will keep more of the shot in focus than a wider aperture of f/.2. The aperture can easily be altered by the photographer in a number of exposure modes, including Shutter Priority and Aperture Priority. So I can set the depth of eld precisely for every shot? Yes and no. You can increase and decrease the amount of depth of eld by adjusting the aperture. However, you dont always have a free choice, because changing the aperture will aect the shutter speed, and some shutter speeds will not suit every situation; slow shutter speeds will cause moving subjects to appear blurred, for instance, or will create visible camera shake. More importantly, you only have a limited range of apertures, so often you cant set the zone of sharpness precisely to suit your needs. But using the other factors can give you more control What are these other factors? The two most signicant factors are the focal length and the focused distance. The wider the angle of view of the lens, and the shorter the corresponding focal length, the more depth
Top tips LEARNING THE LINGO

Depth of field
A measure of how much of a picture is in focus, from the nearest point in the scene to the camera that looks sharp, to the furthermost point that looks sharp.
Depth of Field Preview
PHOTO SCIENCE
Changing the focal length of the lens youre using creates dramatic changes in depth of field. Here, three portraits are taken with a mid-range D-SLR focused at 4.5m (15ft) and set to an aperture of f/8. With a 200mm telephoto, depth
of eld you get. A wide-angle lens setting, therefore, gives you more depth of eld than a telephoto one. The subject distance (or more accurately, the distance the lens is focused at) also has its role; the closer the focused distance, the less depth of eld you get. Is depth of eld spread evenly in front of and behind the point you are focused on? Almost never. In most normal situations, depth of eld extends
How focal length affects depth of field

of field stretches just a few centimetres from 4.43-4.57m. With a 55mm lens setting, depth of field increases to 2m, from 3.68-5.79m. But with a wide-angle 18mm lens setting, everything from 1.4m to infinity is recorded sharply.
further behind the plane of focus than in front of it. Often the dierence will be dramatic. When shooting with a wideangle lens and a small aperture, there will typically be a metre of depth of eld your side of the focused point, but everything behind as far as the eye can see will also be sharp. What about photographing macro subjects? Depth of eld at very close distances is evenly
A feature on some cameras that enables you to see the viewfinder image at the actual aperture youll be using for the exposure. This will give you a visual indication of how much depth of field there is.
Circle of confusion
A point on a subject only appears as a point on the image if its perfectly in focus. If it is not, the point appears as a circle in the picture. The more blurred the picture, the bigger the circle. If the circles are small enough, however, that part of the picture will still look sharp. The largest-sized disk that looks like a point is known as the least circle of confusion; this scientific measurement is fundamental to accurate calculation of depth of field.
Infinity
Optical term to describe objects so far away that light from them reaches the lens as parallel rays. It is generally used to describe objects that are on or near the horizon.
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spread in front of and behind the focus point (but perhaps just a millimetre or two in each direction). So what do I have to do to maximise depth of eld? First, set a narrow aperture (such as f/66). It may be necessary to use a tripod, or to increase the ISO to make small apertures feasible in anything but bright light. Next, use the widest lens you can get away with for the subject, and stand as far away as possible. Finally, focus on a point about a third of the way up the frame to ensure as much of the shot as possible is sharp. And what do I have to do to minimise depth of eld and to maximise blur? Use the longest lens you can get away with, and/or get as close to the subject as possible. Now set the maximum aperture available on your lens.Fast lenses with wider-than-average maximum apertures are much better at this eect. Cameras that come with larger sensors also oer more restricted depth of eld than those with smaller sensors. In other words, all D-SLRs are better than point-and-shoot digital cameras, but full-frame D-SLRs are better than budgetpriced D-SLRs.
Restricting depth of field, so only small parts of the picture are sharp, can be an extremely useful artistic effect providing an obvious focal point to the picture
How to MONITOR DEPTH OF FIELD
Use Depth of Field Preview and check your test shots to ensure everything is as sharp as you want
01
The viewfinder on a digital SLR is designed to be as bright as possible, and should give you an idea of what the shot would look like if you used the widest lens aperture available.
Dont trust the viewfinder
02
Most digital SLRs come with a Depth of Field Preview button. When pressed, this helpful button closes the lens diaphragm to the aperture currently set, so you can check the amount of depth of field.
Use the Preview button
03
The problem with the Depth of Field Preview, however, is that it makes the viewfinder image go much darker making it harder to see the effect that this feature is actually trying to show!
Instant darkness
04
A better solution than using the Depth of Field Preview button is to take a test picture, and then review it on the LCD screen. Use the zoom function key (signified by a magnifying glass and a plus sign).
Zoom in
05
The zoomed-in preview of your test shot on the LCD will typically give you 10x magnification, enabling you to check exactly which parts of the picture are sharp or how much they are blurred.
Look at the detail
06
Use the cursor keys to move around the magnified image, so that you can see the full extent of the depth of field, and whether you need to adjust the aperture to get a better result.
Check in every corner
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D-SLR CAMERA SKILLS
Use our top tips to get sharp handheld shots with impeccable colour and contrast, even in low light
AFTER
Improve your interiors
PHOTO RESCUE
GETTING THE SHOT RIGHT
Improve your images in three simple steps
01
Artificial lighting often falls outside the range covered by Auto White Balance, so switch to a Tungsten (Incandescent) or Fluorescent white balance setting instead. Better still, try setting up a Custom setting (see Photo Advisor, page 85, for details).
Set your White Balance
02
Unless youre using a tripod, slow shutter speeds are likely to cause camera shake and result in blurry, unusable images. Switch to a high sensitivity setting of around ISO1600 (noise is better than blur) and use Image Stabilisation (IS) if featured on your camera or lens.
Increase your ISO
BEFORE
03
Matthew Richards
Sun pouring in through windows often splits interiors into bright highlights and dark shadows. Reduce the contrast with Active D-Lighting (Nikon), Auto Lighting Optimizer (Canon) or similar dynamic range options. You can often vary the effects strength.
Boost the shadows
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Master the Bulb setting

Great photography is all about capturing a moment frozen in time or events that happen in the blink of an eye. So what happens when you choose to leave the shutter completely open and record the scene in front of you? Well, if youre shooting something thats stationary in relation to your camera then it will be sharp, while all movement will become beautiful oaty shapes and streams of light. If you check out the shutter speed range on your D-SLR youll see that the longest automatic setting is *1 seconds. One click below that is Bulb , which allows you to manually
Nothing to do with flash, this extra slow shutter speed is very handy
hold the shutter open for as long as you keep the shutter button pressed down. Grab your camera, switch it to Manual shooting mode, wind the shutter speed to Bulb and give it a go. Bulb is an essential creative feature for shots when minutes worth of exposure are needed rather than seconds when capturing star trails, for example. As you point your camera skywards on a clear night, the slow earthly rotation will demand many minutes of exposure to record the trails. Light grati is another situation where youll need to lock the shutter open to get into the frame and paint your scene.
Grab your camera, switch it to Manual shooting mode, wind the shutter speed to Bulb and give it a go
By holding the shutter open at night you can create arty streaks of colour from the head- and tail-lights of passing traffic as it moves through the frame
How to SHOOT WITH THE SHUTTER OPEN
Learn to use your cameras Bulb setting and let your creativity flow
01
Any camera movement will ruin the effect, so be sure to place your camera firmly on a tripod with a solid level base, or rest it on a wall, to avoid camera shake and creating a massive blurry mess.
Steady your camera
02
Pressing the camera shutter button and holding it down will cause minute shaking movements, so instead use a remote shutter release cable or wireless shutter release for rock-steady results.
Use a remote shutter release
03
As metering becomes redundant when using the Bulb setting, switch your camera to its Manual shooting mode, select an appropriate aperture, starting at around f/11, and do several test exposures.
Switch to Manual
Ben Birchall
D-SLR DISCOVERIES
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Cityscapes

Glasgow
A pros favourite places to photograph

EXPERT TIP
Professional photographer Paul Freeman reveals his top five cities to shoot in
This is a city with many interesting locations. My choice here is the Clyde waterside, with the fairly extraordinary Clyde Auditorium colloquially known as the Armadillo. This looks good shot as either a whole building or an interesting abstract element.
Try using a high ISO such as ISO1600 so you can work handheld and keep a low prole without attracting too much attention toyourself.
PaulFreeman,architecturalphotographer
Leicester
I love the National Space Centre because of its sheer strangeness. Designed by Nicholas Grimshaw, it resembles nothing less than a giant maggot, with the Blue Steel rocket inside appearing like its alimentary canal. Mad as a box of photographers.
London
London has some great contemporary buildings, but the historic architecture takes some beating. I photographed Battersea Power Station for an ad campaign with a Leaf Aptus 75, from a boat bobbing about on the Thames. Its hard to take a bad picture of this landmark.

Birmingham
Birmingham has its fair share of iconic buildings, with the futuristic Selfridges store the most famous. There are restrictions on shooting anywhere around the shopping centre, but if you stand next to the church you can get good shots of the alien facade.

Salford

Salfords waterfront has the Imperial War Museum North and the Lowry. Both provide opportunities for creating intriguing abstract images. Theres also a fascinating pedestrian bridge, and Manchester has many other interesting things to shoot.
64
D-SLR CAMERA SKILLS
BIG BENS KIT HACKS Bad weather neednt stop play. Ben Birchall reveals
how to make a brolly holder to protect your kit
However, getting yourself and your gear wet during a freak downpour isnt so appealing. Holding an umbrella is a pain and a waterproof camera cover isnt going to stop your lens getting wet. The solution? A hands-free brolly holder. Heres how to make one... Shooting landscapes is rewarding at any time of the year and its no secret that the best images are often shot in adverse weather conditions. They help to add drama to a scene as the clouds, light and powerful skies work together to create maximum impact.
01
Buy two steel 90-angle brackets and a straight section with pre-drilled holes from a hardware store. Lay them out in a T shape and use two screws to bolt them together.
Making a bracket
02
Most tripod heads can be separated, so unscrew yours and place the brolly bracket over the tripod head screw. Then secure the tripod head back on top.
Brolly good show
03
Cut a small section of steel or copper pipe, spray it matte black along with all the other parts and attach two P clamps (used to clamp radiator pipes) with two small bolts.
Create the brolly holder
04
Using two nuts or washers to bulk out the space between the P clamps and the edge of the round pipe, bolt the holder onto the bracket attached to the tripod.
Bolt it on
05
Buy a golf-style brolly, preferably with a foam handle that is easy to remove with a craft knife. Make sure it fits snugly into your steel pipe after the handle is removed.
Get some protection
06
In bad weather, the brolly holder will keep your camera, lens and tripod dry while you concentrate on taking amazing shots of the unfurling landscape in front of you.
Try it out...
If youre out taking action shots or simply dont want to lug a heavy tripod around, this brolly holder will work perfectly if mounted on a monopod, too.
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66
thePhotoFixer
reader Mark loves shooting portraits, but is in the dark about using flash outdoors. Can paul grogan illuminate him?
READER SOS: pROBLEMS WITH FLASH
dave Caudery (Future)
Mark tizard, Crewe
Ive wanted to learn how to use on and off-camera ash for years, but my attempts have always been a bit hit and miss. I rarely seem to be able to get whats in my head, and spend a lot of time in Photoshop trying to x things. not grasping the basic principles is whats holding me back. Can you help shine a light on my problem?
We ansWer a reader sOs
thephotoFixer
67
Flash of inspiration
eader Mark runs a hair salon in Cheshire, and wants to take better portraits to showcase his creations. He confesses to using his ash without any real understanding of what settings to use, and if he gets a shot that works, its more by luck than judgement. Marks being a bit hard on himself: in the image of the girl against the wall (below), hes almost there. But getting it to this stage has taken a fair amount of tinkering in Photoshop. To discover the cause of Marks misses , and to help him ensure his hits will no longer be a ash in the pan, I meet up with him at Westonbirt Arboretum, Gloucestershire. Will I be able to brighten up his images, and his day, without blinding him with science? Read on
Background information
the Diagnosis
Marks portfolio shows promise; he just needs a few pointers to show him why some of his shots dont work
the photo Fixers advice
On the left, shooting from down low doesnt flatter the model. The shot on the right is much more successful in terms of pose and exposure, but the on-camera flash has created obvious shadows and highlights
Mark, who uses a Canon EOS 50D, tends to use his ash, a Canon 580EX Mark II, like a larger version of his built-in ash. He struggles with knowing how to get the eects he wants. When it comes to exposure he feels he needs to go back to basics. I suggest setting his camera to Aperture Priority (Av) mode, so he can use it to control depth of eld. Hes read that taking a Spot meter reading is useful for portraits, but to demonstrate how his cameras built-in light meter works (and how to override it) I encourage him to use Evaluative metering, then dial-in exposure compensation as needed. Mark owns Canons superb 100mm f/2.8 macro lens, which is ideal for portraits, but because its a xed-length lens it requires him to move back and forth if he wants to crop in or zoom out. To give him more exibility and to encourage him to try a variety of dierent crops and compositions, I lend him my Canon 70-200 f/4 IS lens, with IS activated so he has the freedom to shoot handheld.
68
thephotoFixer
essential kit
shooting aDviCe
Reflector If youre serious about portraits, a reflector is essential. Its worth investing in a collapsible model, ideally with one white side and one silver side, as this enables you to vary how much light is reflected, and how soft the light is. If in doubt, bigger is better, because you can always use a large reflector for headshots.
Diffuser direct flash can look cold, and creates harsh shadows. dialling in flash compensation can help, but to make your flash behave more like a studio softbox you need a diffuser. Viewfinder Photographys softlite reflector offers an ideal balance between power on the one hand and softening the light on the other.
I encouraged Mark to concentrate on composition and exposure, using only the light from the sky overhead, and a reflector to bounce some of this light back into the shadows it creates
Keep it natural
irst I encourage Mark to get back to basics and make the most of natural light. Putting our model, Jenny, in the shade means he neednt worry about unattering shadows and
photo Fix #1
Remote trigger Once youve mastered one flash, invest in a second to balance light, fill in shadows or provide a backlight. Compatible units communicate via an infrared beam, which is fine indoors and at close range, but less reliable outdoors. The answer is a radio trigger such as seculines Twinlink T2d.
On the left, overhead light creates harsh shadows. A reflector softens these, and a catchlight helps to bring the portrait to life
can focus on getting his exposure spot on. I suggest setting his aperture to f/4 to blur out the background and his ISO to 400 to ensure a shutter speed fast enough to shoot handheld. The built-in light meter is under-exposing Jennys face slightly, so I advise Mark to dial-in exposure compensation of +1. Only once hes happy with his exposure do I recommend using a reector. Theres enough ambient light from overhead to produce unwanted shadows. With a white reector just below Jennys face, and slightly o to one side, Mark can bounce the light into these shadows for a more attering result. Finally, I show Mark how to use his ashs catchlight reector to give the eyes added sparkle, without altering the overall exposure or lighting.
thephotoFixer
69
Fill in the details
photo Fix #2
In the first shot, direct sunlight produces harsh shadows, while in the second, direct flash makes the image a bit too bright. In the third shot, shooting into the sun and attaching a diffuser results in a more flattering image
nce Mark has got the hang of natural light, we take a look at using his ash to provide additional lighting. With the ash o, I urge him to try a few test shots in direct sunlight (above left). I then suggest using his ash set to full auto (above right). The exposures ne, but the result looks a bit overlit. Again, the answer is to avoid sunlight altogether, so we position Jenny with the sun behind her. As before, I encourage Mark to get his exposure right rst, before he even turns on his ash. I then attach a
Softlite Reector to his ash to provide a more diused light. Even this is a tad bright with the ash on auto, so we dial in ash compensation of -1 and again use a large white reector positioned below Jennys face to ll in shadows. The result is a vast improvement on his sunlit original. The face is evenly lit thanks to the diuser and the reector, the latter creating a striking catchlight. And the sunlight coming from behind creates a rimlight that makes her stand out from the darker background.
did we fix Mark's pics? Turn over to see the results...
To take control of lighting on location, you need to be able to position your flash (or flashes) precisely where you want them, rather than on top of your camera. With this in mind, I lend Mark a wireless flash trigger. For a direct comparison, Mark fires off a few frames using on-camera flash set at -1, with a softlite attached. I then suggest positioning the flash off to one side. even with a reflector, this creates a strong sidelight that results in a much more dramatic image. now that hes mastered exposing for ambient light first, Mark has the confidence to deliberately underexpose the background and set his flashs output manually to light up the model and make the most of this dramatic side lighting.
Take remote control
photo Fix #3
By way of a final flourish, we graduate on to two flash units: one mounted on Marks camera with a softlite attached, and one mounted directly behind Jenny to provide a rimlight around her hair. Mark then under-exposes the background tree and adjusts the power of both flashes to get the effect hes after. The tricky part, as Mark discovers, is pointing the flash thats behind Jenny in the right direction. We try a snoot a long cone that attaches to the head of the flash to direct the light where we want it but its beam is too narrow to provide a rimlight all the way round Jennys head. In the end we use direct flash, making sure its far enough off to the side that it doesnt spill into the lens and create unwanted flare.
Under-exposing the background and placing the flash off to one side creates a completely different look
An on-camera flash provides a diffused key-light, while an off-camera flash adds a dramatic rim-light
70
thephotoFixer

the veRDiCt
Flash forward
The Photo Fixer says
Mark was getting all hung up on trying to calculate stop dierences between foreground and background. By getting to grips with exposing for his subject in ambient light, and only then using reectors and ash to soften skin tones or create additional lighting eects, he soon got the hang of knowing what to look out for, and how to tweak the light to get the eect he was after. It was a measure of Marks growing condence that by the end of day he was making suggestions as to how to expose foreground and background to best eect. All he needs to do now is acquire a few essential accessories, and hell soon be shooting eye-catching images of his award-winning hairstyles. Before, using ash had always been something of a lottery, but once I realised that I could expose for the subject rst, and then use ash as a creative tool to soften features or create additional lighting eects, everything fell into place. The thing that really struck me was how much experimentation is involved when it comes to lighting location portraits it was reassuring to realise that even the experts spend a long time ddling with settings and angles to get the results theyre after.
With thanks to Westonbirt Arboretum. Visit www. forestry.gov.uk/westonbirt for more info.
PHOTO FixeD!
Mark says
The difference between Marks original portrait (right) and his shot of the day from Westonbirt is dramatic
do you need help?

how you can contact the photo Fixer for assistance
Could your photography benefit from the help of an expert? If youd like a day out with the Digital Camera experts, send us an email at digitalcamera@futurenet.com. Make sure you put Photo Fixer
in the subject line, and explain what your favourite photography subjects are, which area of your photography you would like to improve and what camera kit and accessories you own.
Next issue
71
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73
Photoshop School
74 78 80
presents
THIS MONTH
74 Photoshop Basics
Ensure your portraits are blemish free with our guide to the retouching tools Learn how to use selective blur to recreate a quirky tilt-shift lens effect Use Adobe Camera Raws powerful editing tools to ensure luscious landscapes
78 Get the Look
80 Advanced Skills
The only Adobe Photoshop guide you need
74
PhotoshopSchool
PHOTOSHOP BASICS
AFTER
BEFORE
WHAT YOULL NEED Photoshop Elements 6 or Photoshop CS, or above WHAT YOULL LEARN How to use Elements retouching tools to improve a simple portrait IT ONLY TAKES 20 minutes
Retouch your portraits
STEP BY STEP
W
Need a crash course in Photoshops retouching tools? Ali Jennings explains them step by step
hen it comes to portraits, everyone wants to look their best. But with todays high-resolution D-SLRs, every spot, blemish and aw can appear in startling detail. There are of course a few shooting techniques you can use to minimise these, such as bouncing light with reectors to avoid strong shadows, and using o-camera ash to control the direction of the light to complement the model. However, you dont need to get bogged down with dierent techniques and equipment to get great portraits, because Photoshop Elements has a range of tools specially designed for seamless retouching. In this tutorial well start by taking a look at how to make the most of a portraits colour and tone within Adobe Camera Raw (ACR), before moving onto Elements powerful retouching tools. Taking a look at our start image, above, you can see that it has a cool colour cast, and while the overall exposure is good, the skin tones are a touch light and lacking in tone. In the rst few steps well look at how to use ACR to quickly remove this unattractive cold cast, warm the skin and adjust the exposure to create a more striking portrait with deeper skin tones and detail. Once the RAW adjustments have been made well take a look at Photoshop Elements special retouching tools and how they can be easily applied to instantly brighten eyes and teeth, as well as quickly remove unwanted spots and blemishes. So with your portrait ready, lets give it a go
ZINIO FILES http://mos.futurenet.com/resources/dcm/DCM104_Retouch_your_portraits 2.zip
Ali Jennings (Future)
PhotoshopSchool
CREATE PERFECT PORTRAITS
75
Learn the lingo
Healing Brushes
Open the source file portrait_before.NEF, which will automatically open in the Adobe Camera Raw interface. To correct the slight cast, select the White Balance tool and click into the white of the left eye. The Temperature of the image will change to around 5100 and Tint to -10, giving a more natural colour.
Correct colour casts
Recover shadow detail
The skin and background is looking bright now, but at the same time we want to lighten detail in the shadows. To recover the shadow detail, drag the Exposure slider +0.25 and increase the Fill Light slider to +5. Next, to darken the image, reduce the Brightness slider to +25.
lements has two tools that have been designed especially to quickly retouch images. The first is the Spot Healing Brush, which samples the area around the brush head, concealing small spots and scratches. The second is the Healing Brush, which requires you to pick a sample area, which is then blended over the affected area.
The adjustments to the shadows have left the shot looking flat. To help increase the contrast while minimising the effect on the tones, increase the Clarity slider to +25. Youll see how this increase improves the definition of the facial features. Finally, to enhance the skin colour, increase the Vibrance slider to +30.
Improve tone and colour
Click Open Image in the bottom right of the ACR interface to open the file into Photoshop Elements. From the Layers menu, select Layer>DuplicateLayer and click OK, then zoom into the image (Ctrl and +) to 100%. You can check on the size by looking at the bottom left, just above the Project Bin tab.
Open in Elements
Hold down the space bar and left mouse-click to move the image so the forehead fills the screen. From the Tools palette, select the Spot Healing Brush and adjust its size so that its just larger than the spots. Click to remove each spot in turn. Once finished, move around the image to remove any other spots.
Remove spots
Tackle blemishes
Moving around the image youll see there are a few blemishes that cant be removed with the Spot Healing Brush. Click and hold onto the Spot Healing Brush tool and select the Healing Brush instead. Hold down Alt and click just below the blemish to take a sample, then paint over the blemish to remove it.
76
PhotoshopSchool
PHOTOSHOP BASICS
E X P ER T T I P
The simplest way to soften skin and sharpen features is to use selections. Once a selection has been made on the image, any adjustments you make will only affect that area.
Ali Jennings, digital editor
Dark areas under eyes need to be lightened and smoothed. Go to Layer>New>Layer, select the Polygonal Lasso tool and select the area under the eye. Click Refine Edge, then set Smooth to 30 and Feather to 5. Select the Healing Brush tool and at the top of the screen select Sample All Layers.
Brighten tired eyes
Make sure the new layer is selected in the Layers palette and then hold down Alt. Click just below the selected area. Paint over the area, with the brush covering the dark patches. Once finished, repeat for the other eye and then lower the layer opacity to 65%. Hit Ctrl+E to flatten the layer onto the image.
Remove dark patches
Tidy the hair
The skin is looking better, but a few hairs need tidying. Select the Spot Healing Brush and move around the image, pinpointing stray hairs that fall across the face, plus a few in the background. To remove the grey hair that stands out from the rest, select the Healing Brush to get a better blend.
Select the Polygonal Lasso tool and ensure you have Add to Selection clicked. Select the white areas of both eyes, then Refine Edge with a Smooth of 30 and Feather of 2. Go to Layer>NewAdjustment Layer>Hue/Saturation and from the drop-down menu select Red and reduce Saturation to -60.
Whiten eyes
10
Did you know?
Whitening
hen it comes to whitening the eyes and teeth of your model in Photoshop Elements, the drop-down menu contained within the Hue/Saturation window offers an easy way to pinpoint the colours you want to adjust. Tackling red eyes and yellow teeth in this way is easy, and gives a natural end result.
Hold down Ctrl on your keyboard and click into the Hue/Saturation layers Layer Mask. Youll see the selection you previously made reappear. Go to Layer>NewAdjustmentLayer>Levels and move the Highlights slider to the left so that its value reads 200, lightening the whites of the eyes.
Lighten the whites
11
Grab the Polygonal Lasso tool. Select the teeth, then Refine as before. Go to Layer>New AdjustmentLayer>Hue/Saturation. Select Yellow, then set Saturation to -80 and Lightness to +15. Reselect the teeth as in step 11. Go to Layer>NewAdjustment Layer>Levels. Move the Highlights slider to 230.
Brighten the teeth
12
PhotoshopSchool
CREATE PERFECT PORTRAITS
77
Did you know?
Masks in Elements
lthough its not possible to directly add a Layer Mask to an image layer in Photoshop Elements, there is a handy workaround. This works by clipping an Adjustment Layer to the bottom of an image layer. Once this is in place, you can then use a black brush in the mask to hide the layers content or a white brush to reveal it.
Deepen the lip colour
13
Click back on the image layer, then select the Healing Brush. Reduce the brush size to 40px and set Opacity to 20%. Alt-click to pick a source area, then smooth out any dry areas. Pick the Sponge tool, set Mode to Saturate and Flow to 5%, then use it to deepen the colour. Select Layer>FlattenImage.
Smooth the skin
14
Duplicate the Background layer. Go to Filter> Noise>Median and set Median to 20, then Filter>Blur>GaussianBlur and set Blur to 3. Create a Levels Adjustment Layer and drag it below the image layer. Hold Alt, drag the cursor between the layers, then click between layers when the cursor changes.
Learn the lingo
M
Select a black brush and click into the Levels layers mask. Use the brush on the background, hair, eyes and lips to remove the effect of the Median layer. Reduce the Opacity of the brush to 20% and carefully paint over the delicate facial features. Now reduce the layers Opacity to 30%.
Median Blur
Reveal detail
15
Sharpen detail
16
Select Layer>FlattenImage. Grab the Lasso tool and select Add to Selection. Draw around the eyes, eyebrows, teeth and the edge of the hair. Refine the edge with a Smooth of 30 and Feather of 5. Go to Enhance>AdjustSharpness and set Amount to 60% and Radius to 1.2. Click OK to finish.
edian Blur is a filter perfectly suited to smoothing skin. A mild Gaussian Blur should also be applied as the smoothing effect of the Median filter will split the colours into visibly flat tones with the visual effect of a comic strip. Once the Median image layer is blended with the original image it will gently smooth the skin.
How we retouched our portrait
Correct the colour tones
The shot was suffering from a slight colour cast. To correct this we used the White Balance tool and then adjusted the Temperature slider to warm up the tones.
We used the Median filter to smooth the skin on a duplicate layer, and then reduced the opacity of the layer to give a natural end result.
Smooth skin
Remove spots
By using the Spot Healing Brush we were able to quickly remove spots with a single click, without affecting the detail and tone of the skin.
To sharpen up our models facial features we used multiple selections to select just the eyes, teeth and hair this way we managed to avoid any introduction of noise in the smoothed out skin.
Sharpen features
78
PhotoshopSchool
GET THE LOOK
AFTER
BEFORE
WHAT YOULL LEARN How to use Photoshops Gradient tool to give shots a new perspective IT ONLY TAKES 15 minutes
B
The model/toy look is really on trend. Paul Grogan shows you how easy it is with selective blur
y limiting the depth of eld in an urban scene so that only a narrow band is in focus, its possible to make it look like a miniature model. This illusion works because models are usually photographed using macro lenses, which tend to reduce depth of eld and throw everything in the foreground and background out of focus. Our brains are so used to this convention that when we see a scene with an extremely narrow depth of eld were momentarily fooled into thinking that the objects in the scene must be tiny. This tilt-shift eect, as its known, is very popular at the moment, and can be seen in everything from TV adverts to property shows. Its traditionally achieved using a tilt-shift lens. This enables you to limit depth of eld to a very narrow band by tilting the front elements of the lens either horizontally or vertically so that theyre no longer parallel with the rear elements. Thanks to the power of layers and the versatility of the Gradient tool in Elements and CS, however, you can avoid the expense of buying such a lens and recreate the eect in a matter of minutes
ZINIO FILES http://mos.futurenet.com/resources/dcm/DCM104_Get_the_look_Tilt_Shift.zip
Paul Grogan (Future)
WHAT YOULL NEED Photoshop Elements 7 or Photoshop CS, or above
Mimic a tilt-shifteffect
STEP BY STEP
PhotoshopSchool
GET A MODEL VILLAGE EFFECT
79
E X P ER T TI P
Create a duplicate
Open tiltshift_before.jpg in Elements. Right-click on the Background layer. Select Duplicate Layer from the drop-down. Call this layer Blur, then click OK. You can now blur this layer without affecting your original Background layer this is important because youre going to need this sharp Background layer later on.
To blur the layer youve just created, make sure its selected in the Layers palette and then go to Filter>Blur>GaussianBlur. In the window that appears, set Radius to around 15 pixels, then click OK. This will completely blur your duplicate layer, temporarily obscuring the sharp layer below.
Add some blur
When shooting potential tilt-shift images of your own, try to look out for vantage points that allow you to get up high, as model towns tend to be shot from above, rather than at street level. Looking down adds to the illusion of a world in miniature.
Paul Grogan, technique editor
Fake a mask
Photoshop Elements doesnt have Layer Masks, so click the half-moon icon at the bottom of the Layers palette and select Levels. Next, drag the Adjustment Layer youve just created below your Blur layer. Holding down Alt, hover your mouse between these two layers and click to clip them together.
With the Levels Layer Mask selected, grab the Gradient tool and select Foreground To Background. Click on the cylinder icon. Draw a short vertical line between the pool and the roof of the building. This creates a black mask that masks out the Blur layer to reveal the sharp layer below.
Draw a gradient
Did you know?
R
Keep redrawing the line until you get the effect you want. Select the Blur layer. Click on the half-moon again, this time selecting Hue/Saturation. In the adjustment pane, drag Saturation up to +20 to give the colours a boost, making them look more like the overly bright colours of kids toys and models.
Convergence varies
educing the horizontal convergence of the pool in step 6 helps add to the toytown illusion. If you shot a model of a tall building from level with its base, the sides would hardly converge at all, because the building would be so small relative to the field of view of the lens. The same is true of horizontal convergence.
Saturate the colours
Select the top layer. Press Shift+Ctrl+Alt+E to merge the existing layers into a new layer. Zoom out slightly then use the Rectangular Marquee tool to select the entire image. Go to Image>Transform> Skew and drag the corners on the right up and down, as in the image above, to reduce convergence.
Reduce convergence
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PhotoshopSchool
ADVANCED SKILLS
AFTER
BEFORE
WHAT YOULL NEED Photoshop CS4 or above, or Photoshop Lightroom 3 WHAT YOULL LEARN How to bring out hidden colours and enhance detail in your RAW shots IT ONLY TAKES 20 minutes
The right way to process RAW les
STEP BY STEP
L
Shooting in RAW but not sure how to edit your files effectively? George Cairns has all the answers
ike modern digital photographers, traditional lm-based photographers used (and still use) Neutral Density lters to help them avoid over-exposing the sky while preserving a scenes colours. Theyd use the cameras light meter to set aperture and shutter speed to capture a balanced exposure. However, lm photographers knew that when they pressed the shutter button that was only half their task to capture a perfect print. The job would continue in their darkroom as they developed the negative dodging and burning selective areas to reveal detail where it was required. Many digital photographers review their shots on the back of the camera and make an instant judgement about the success or failure of the photo. A shot may look like it has little detail in the shadows and suers from a blown-out sky, but thats like criticising an undeveloped negative. When you shoot in your cameras RAW format, the image is crammed full of information regarding the scenes colours and tones. Only by processing your RAW les in Photoshops Adobe Camera Raw (ACR) editor can you really assess the quality of the images and create a perfect picture. The latest incarnation of Adobe Camera Raw boasts a number of powerful new processing tools, making your digital darkroom even more eective. You can coax colour and texture from apparently blown-out skies thanks to the new Graduated Filter, the selective Adjustment Brush lets you dodge and burn specic areas, and the Spot Removal tool clobbers ugly sensor spots into submission. Well put all of these powerful tools through their paces in this advanced walkthrough to show you how to make a good shot great.
ZINIO FILES http://mos.futurenet.com/resources/dcm/DCM104_Advanced_RAW.zip
David Clapp
PhotoshopSchool
RAW EDITING TECHNIQUES
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E X P ER T TI P
Adjust the exposure
Open the file named raw_before.dng. Start by adjusting the grounds tones, as the murky mountains make up most of the shot. You can fix the sky later. Increase Exposure to +0.30 to make a global adjustment, then slide Fill Light up to +19 to reveal more midtone detail in the backlit mountains.
Tweak the contrast
For a healthy range of tones from black shadows through to bright highlights, drag Blacks to 10. This will darken the shadows of the foreground stones. Increase the Contrast to +41 to reveal a lighter mist against darker midtones. This helps to reveal shapes in the landscape.
You can of course make selective adjustments using tools in the standard Photoshop editor (like Dodge and Burn), but it pays to do as much editing as you can in your RAW editor. By editing in RAW format you have more colour and tonal information to work with.
George Cairns, technique writer
By pushing the Vibrance slider up to +57, you can bring out features such as the warm yellowing grass and the cold looking greenery on the background hills, drawing attention to various textures in the scene. Warm the cold background up a little by sliding Temperature up to 5600.
Colour and detail
To capture sky detail on location we would have needed to close down the aperture by a couple of stops, but this would have plunged the backlit landscape into darkness. To make a selective sky adjustment, grab the Graduated Filter tool. Set the Exposure to -2.15 and the Contrast to -30.
Add a graduated filter
Learn the lingo
Targeted Adjustment
T
Draw a gradient
Click at the top of the frame and drag the Graduated Filter down towards the top of the mountains. This will create a gradient that darkens the sky, revealing hidden textures and colours. It will also gently darken the top of the mountains, making them stand out from the rest of the scene.
Selective adjustment
Select the Adjustment Brush from the top tool bar. Set Exposure to +0.35, Size to 6 and Feather to 56. Next, spray over the stone path to lighten it a little this will help to lead the viewers eye into the scene. Use the left square bracket key on your keyboard to shrink the brush tip when required.
he Targeted Adjustment tool helps to lighten or darken specific areas. This mimics the traditional technique of placing coloured filters over the lens when shooting with black and white film. A red filter will darken blues, making white clouds stand out, for example. You have much more tonal control than you would get using the oldschool filter technique.
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ADVANCED SKILLS
E X P ER T T I P
It can be tricky to see how good the edit is due to the circular overlays used by the tool. Untick the Show Overlay box in the Spot Removal palette to see the edited areas unobscured.
Lighten the mist
Click New in the Adjustment Brush palette. Set Exposure to +10 for a more subtle exposure adjustment, and then spray the brush tip over the distant mist to lighten it a little. The increase in contrast makes the dark mountains stand out more from the lighter mist.
Grab the Zoom tool and magnify the image to 100%. Next, click on the Spot Removal tool and set the Radius to 4. Hold down the space bar and click to pan around the magnified shot. Click on sensor spots in the sky to replace them with an adjacent clear patch.
Remove sensor spots
Set the Spot Removal Type to Clone and then push the Radius up to 10. Click the red overlay on the piece of litter that is overlapping the foreground rocks. Next, drag the green overlay over a clear patch of grass. The sampled grass patch will now replace the distracting litter.
Pick up litter
Reduce the noise
10
Zoom in to 100% magnification or you wont be able to make an effective noise reduction. Click on the Detail tab, then push the Luminance slider up to 25 to reduce the grain without blurring any delicate details. You can drag the Colour slider up to 100% without causing blurring.
Learn the lingo
Vibrance
hen you boost the colours in a RAW shot using the Saturation slider, you run the risk of creating over-saturated colours. The Vibrance slider helps you avoid this by only boosting the saturation of weaker colours in the shot. Its also biased towards boosting typical landscape colours such as greens and blues.
Improve the composition
11
To straighten the horizon, grab the Straighten tool from the tool bar and draw a line from the peak of the mountain on the left to the top of the hill at the far right. Next, to give your image an extra colour boost, go back to the Basic tab and increase the Saturation slider to +17.
Click on Open and you will see what your image looks like once it has been cropped and rotated by the Straighten tool. You can save and print this new version, safe in the knowledge that all the adjustments you made to the RAW file can be finetuned later in Camera Raw if required.
Open the image
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Master mono conversions
B
1
Create a more moody-looking black and white image using your RAW editors colour-based adjustment tools
y removing the shots colour information you can dramatically change its mood, and create a stark and striking monochrome landscape. However, simply dragging the Vibrance and Saturation sliders to -&77 will produce a drab monochrome shot that loses landscape detail in a wash of grey. To bring out the shapes and forms in a black and white landscape you need to adjust specic areas. Fortunately, Camera Raw has a range of tools (such as the powerful Targeted Adjustment tool) that enable you to lighten or darken the tones of specic colours, so you can emphasise particular areas more eectively.
WHAT YOULL NEED Photoshop CS4 or above, or Photoshop Lightroom 3 WHAT YOULL LEARN How to control colours in your black and white conversions IT ONLY TAKES 5 minutes
Convert to Greyscale
Click on the HSL/Greyscale tab, then tick the Convert to Greyscale button to discard all colour. The colour sliders will adjust automatically. Tick the Default button to set them all to 0 its best to adjust the sliders manually to emphasise the shapes and textures in the mono conversion.
To make the shape of the mountains stand out more from the background, drag the Reds slider up to 100. This will instantly lighten the sky. Next, by dragging the Oranges slider up to +62, you can continue lightening the sky and bring out the texture of the foreground grass.
Selective adjustments
E X P ER T TI P
Targeted adjustments
Select the Targeted Adjustment tool from the tool bar. Now click the cursor on a patch of mist and drag it to the right. This will lighten the subtle blues hiding in the mist. A Blues value of +43 will create more contrast between the mist and mountains. Set Purples to -30 and Yellows to -32.
Darken the sky
Select the Graduated Filter tool and set Exposure to -2.55 and Contrast to -30. Draw a gradient down from the top of the shot to create a brooding sky. Activate the Adjustment Brush, then click on the existing pin marking the path. Increase the Exposure to +0.75 and youre done.
When youre dodging or burning an area using the Adjustment Brush, a pin is placed on the image. Click on this, then drag the Exposure slider to lighten or darken the initial adjustment. Hold the mouse over the pin and a white mask shows you the area thats adjusted.
FULL CONTROL
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photo advisor
THe PHOTO ADvisOr TeAm
Geoff Harris, editor A decade testing cameras has taught geoff what can go wrong and how to fix it
Where the experts help you perfect your photography

Got a photographic problem? send the details to digitalcamera@futurenet.com and let our experts provide the solution
Ben Brain, deputy editor rPs associate and former portrait pro Ben is an oracle of creative advice
use a custom white Balance setting to ensure colour fidelity when shooting indoors under mixed lighting
Paul Grogan, technique ed Pauls a travel and sports nut who joins us from our sister mag, PhotoPlus
GetcoLour riGhtiNdoors
Q
Many of my indoor shots have very poor colour rendition, usually with a nasty yellow cast. is this normal, or am i doing something wrong? Graham Wallace, via email
Ali says the poor colour delity is likely caused by inaccurate white balance. the auto White Balance setting of D-SlRs typically does a good job of reacting to varying daylight conditions, such as bright sunshine, cloudy skies or shade, but the colour temperature of indoor lighting generally falls outside of the range covered. the usual result is that interiors lit by general-purpose lights have a yellow colour cast. the quickest solution is to switch to the tungsten (also called Incandescent) white balance setting when shooting
CAMeRA SKILLS
Ali Jennings, digital editor Alis an expert on everything to do with Photoshop and photo editing
under standard interior light bulbs, or the Fluorescent setting for strip lighting. things get trickier when you have a mix of lighting when daylight is streaming in through a window and youve got interior room lights switched on as well, for example. to ensure accuracy in these conditions, its best to use a grey card like the lastolite ezyBalance, but a sheet of white paper usually works as a budget solution. In either case, hold the card or paper as close as possible to the object you want to shoot, then capture a Custom White Balance setting on your camera and use this for successive shots. to keep your options open, shoot RaW, then you can adjust the white balance setting to your liking at the editing stage.
Digital Camera october 2010
86
PhotoAdvisor
CAMeRA SKILLS
your photos critiqued
Which AF poiNt shouLd i use?
if i use multi-point AF my sLr often focuses on the wrong part of the scene but, if i switch to centre-point AF, focus and recompose, my metering is inconsistent. Whats the solution? Mick flannery, via email
Paul says In multi-point autofocus, the camera generally focuses on the closest point in the scene that corresponds to one or more of its multiple aF points, which may well not be the point you want to focus on. Switching to centre-point aF, you can aim at the point you want to use, like the eyes of a portrait subject, then reposition the camera while maintaining a light press on the shutter button to lock autofocus. the problem is that most cameras lock the exposure value at the moment autofocus is achieved, or bias it towards this setting, so subsequent swivelling of the camera can lead to severe exposure errors. one simple solution is to take a meter reading and lock the exposure value before you capture autofocus. alternatively, select whichever non-central aF point most closely matches the part of the scene you want to focus on, to minimise any subsequent movement of the camera. this should ensure that metering is more consistent.
especially for high-contrast scenes, its best to choose the single AF point that most closely lines up with the focus target
a l ay m a n'S Gu I De to
reMotecoNtroLLers
What is a camera remote? remotes enable you to shoot without having to touch the camera. Advanced versions replicate all functions of the shutter button, including initiation of autofocus and metering, as well as sometimes incorporating features such as time-lapse photography. How do they work? There are three main types, the most basic using an infrared connection that must have an uninterrupted line of sight to the cameras built-in receiver. more advanced models use an electronic cable connection or a wireless rF link. Who makes them? camera manufacturers make remote controllers for their own cameras, and independent
makers include Hahnel, Hama and secureline. Prices range from around 15 to 100, depending on the features. When should I use them? Theyre ideal for avoiding camera shake when the camera is mounted on a tripod. without a remote controller, youre likely to unsettle the camera when you press the shutter button at the beginning of the exposure. How do I attach them to my SLR? infrared remote controllers have no physical connection to the camera, but cable-connected controllers plug in to a socket on the camera body. The receiver module of an rF wireless controller also plugs into an electronic socket on the camera, as well as usually being seated in the hotshoe.
Touching the camera to release the shutter unsettles it
A remote control minimises the risk of camera shake
PhotoAdvisor
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e X P er T Ti P
experiment with noise reduction in camera raw, but bear in mind that reducing noise will also smooth out ne detail.
Ben Brain, deputy editor
High magnification in playback mode reveals noise, so you can keep an eye on the quality as youre shooting
upping your isO setting to enable sharp handheld shots is well worth the trade-off of increased image noise
hoW cAN i MAKe the Most oF iso?
CAMeRA SKILLS
ive read that i should avoid using high iso settings as theyll increase noise in my shots, but whats the safe limit and are there any practical alternatives to using high isos in low light? eleanor Pinkney, via email
Ben says any camera will produce its best images at its base ISo setting. Increasing the ISo generates more noise, which makes for grainier pictures. Its not all bad news, though, because most of the latest D-SlRs turn out very respectable results even at high ISo settings thanks to built-in, advanced image processing techniques for smoothing out grain, albeit with a slight loss of ne detail in images.
For ultimate image quality in low-light, use a tripod and a low ISo. however, if the person or object youre shooting is moving even slightly, youll need to increase your ISo to enable a faster shutter speed. the quicker theyre moving, the higher the shutter speed youll need. most current SlRs oer good image quality up to around ISo1600, but the quality can drop o quite alarmingly beyond that. only use extended ISo as a last resort.
How to reDuce nOise AFTer sHOOTing
Give a little more gloss to high iso photos in photoshop elements
1reduce noise filter
Open your image in Photoshop elements and select noise>reducenoise from the Filter pull-down menu, previewing your actions at 100% magnification using the filters dialog box.
2 chrominance noise
its mainly the coloured speckles in high isO shots that give them a grainy appearance, so drag the reduce colour noise slider to about 45%. You can then increase the amount if necessary.
3 luminance noise
use the strength slider to reduce luminance noise only if necessary, as it kills fine detail (as shown in this orange peel) even if you also use a fairly high companion setting for Preserve Details.
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PhotoAdvisor
SpeeDy SolutIonS
R ate my photo
orange day
By Andrej Lahucky FlAsH sHADOws
BefORe
Pentax K-7/ SMC Pentax-DA f/3.5-5.6 18-55mm AL WR lens/ 4 secs at f/25, ISO100
When using a ashgun for indoor portraits, I usually end up with a dark shadow on the wall to one side of the persons head. Is there any way of avoiding this?
Andrejs slow shutter technique has resulted in attractive blur, but the colours are a bit strong
Trevor Bridewell, via email
Geoff says try and keep some distance between your portrait subject and the wall behind them, then bounce the flash off the ceiling to reduce the harshness of shadows. Better still, use a diffusion dome and an off-camera flash cord, so you can hold the flashgun higher up and slightly to one side.
Ive tried using the Depth of Field preview button on my camera to gauge the depth of eld in landscape shots when using a small aperture of around f/16. however, the viewnder image becomes so dark that I can hardly make anything out at all.
DOF Preview
What you told us

Andrej says This photograph was taken during a trip to the Peak District. i was amazed at how the water had turned an orange colour, probably because of the soil in that area. To take the shot i had to set up my tripod in the water, and was forced to use a large aperture value together with my circular polarising filter to remove the reflections and slow the shutter speed down to about 5 seconds (it was a bright day). i processed the rAw file, then cropped and sharpened the image in Photoshop.
our experts say

Geoff says This is a good attempt at a slow shutter speed shot. The swirls of water in the foreground are interesting and draw the eye into the image. However, im not too keen on the bright orange colours. were they really this strong, or have you been a bit heavy handed with your postshoot editing? Paul says The slow shutter speed and the autumnal colours are the keys to this striking shot, but the colours look a bit too warm, and compared to the simplicity and serenity of the foreground, the rocks at the top are distracting. it might have worked better taken from higher up, and cropped tighter to make more of the swirls in the water.
Will Borthwick, via email
Ben says the easiest way around this problem is to take a test shot and then review the results on the cameras rear Lcd screen, zooming in to check sharpness at various points in the scene from foreground to background, then adjusting your aperture and focus point if necessary. see page 58 for more advice on mastering depth of field.
The shutter speed is spot on; long enough to blur the swirls The warm autumnal colours are great, but a bit over-cooked
verdict
The rocks look cluttered and dont really anchor the shot Theres too much space on the left, which weakens the image
PhotoAdvisor
AfTeR
89
weve strengthened the shot with a new square crop and a subtle tweak to the colours
email photos to digitalcamera@ futurenet.com with the subject 'rate my Photo'
Get critiqued!
How to imPrOve cOmPOsiTiOn AnD cOlOur
subtle rAW adjustments and some judicious cropping are all thats needed in this shot
1essential adjustments
in camera raw, drag Blacks to 15 to slide the histogram to the left and deepen the shadows. Drag clarity to +50 to boost local contrast and make the swirls stand out, and drag vibrance and saturation to +20 to boost the blues and the reds.
2 change the crop
grab the crop tool, set width and Height to the same size (in this case around 20cm at 300dpi) and click and drag to crop out the empty area on the left and some of the clutter at the top. The square crop now looks much more balanced.
3Brighten the shot
create a curves Adjustment layer. Drag the midtones and highlights up slightly. This will brighten the shot, but lock the shadows end of the curve in position, boosting contrast and making the swirls stand out against the water.
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PhotoAdvisor

CAMeRA SKILLS
e X P er T T i P
exercise caution when using dynamic range optimisation, as it can cause an unwanted reduction in contrast, as well as increasing image noise in low-light areas of the shot. it can also counteract the effect of adding +/-eV exposure compensation.
Paul grogan, technique editor
optiMise your cAMerAs dyNAMic rANGe
June Springate, via email
My sLr seems so intent on retaining highlights that shadowy areas descend into near total darkness. how can i recapture some low-light detail?
Paul says In most cases, dark shadows are preferable to lost highlights, as they can be recaptured at the editing stage. most new cameras also oer features for boosting dynamic range at the shooting stage, such as Canons auto lighting optimizer, nikons active D-lighting and Sonys Dynamic Range optimizer, which rein in highlights while raising the brightness of low-lights. Dierent strengths of lighting optimisation are available, so you can select the most appropriate, or shoot in RaW and adjust the parameters at the editing stage. Some cameras, like the pentax K-7, go a step further, with an in-camera hDR mode that automatically merges multiple exposures.
nikons Active D-lighting works especially well when it comes to boosting low-light detail in high-contrast images
eXposure Modes
CAMeRA SeTTINGS
Chris Carnes, via email
im trying to move on from my cameras auto scene modes, but am a bit confused about when to use the program Ae, Aperture priority, shutter priority and Manual modes. can you help?
1Program shift (P)
This mode enables you to shift exposure settings, enabling faster or slower shutter speeds, just by turning the main control dial.
2 Aperture Priority (A or Av)
use this when you want to select a large aperture to blur the background, or a small aperture for extending your depth of field.
Geoff says One of the main problems with scene modes (landscape, Portrait, sports etc) is that they often prevent you from making changes to other useful shooting parameters, such as isO, autofocus mode and white balance. switch to your cameras more advanced modes (P, A, s, m) and you can put all of your cameras settings under your control. The Program shooting mode is a good place to start, as it gives an ideal balance of aperture and shutter speed for most scenarios, linked in to the zoom setting of your lens.
3shutter Priority (s or Tv)
when shutter speed is all-important, either fast for freezing the action or slow for creating blur, this is the ideal shooting mode.
4 manual (m)
Perfect in studios, or in very high-contrast scenes where the exposure compensation you need exceeds the range offered by the camera.

The brighter the sky relative to the plane, the more exposure compensation youll need
PhotoAdvisor
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dutchF-16
By Mpelley (Mark pelleymounter)

Canon eOS 50D/Canon ef 100-400mm f/4.5-5.6L IS USM lens/1/2000 sec at f/8, ISO400
PHOTO feeDBACK from our online community
Youll need smaller amounts of exposure compensation if shooting against a deep blue sky with the sun behind you
iMproVe your BAcKLit shots
CAMeRA SKILLS
Mark says i took this shot at the Fairford international Air Tattoo. i waited for the orange jet to meet some blue sky, as i knew the colours would work well. i was lucky to get it at the right moment so that the jet exhaust rippled the white clouds.
At a recent air display my sLr, which usually has faultless metering, captured very dark pictures in almost every case. What caused this? Doug frampton, via email
Ali says the good news is that its unlikely theres anything wrong with your cameras metering system. Whats happening is that the metering system is reacting to a big expanse of bright sky, so the relatively small and often backlit area of the plane itself looks dark by comparison. With most backlit photographs its easiest to switch to Spot metering, so the metering system disregards bright surroundings but, with fast-moving planes, this can be a hit and (mostly) miss aair. the safest bet is to stick with evaluative metering, which exposes for the whole scene, and to apply anything from +1eV exposure compensation if shooting deep blue skies to +2eV or more for pale grey skies. another major factor is the position of the sun relative to the plane. If the sun is fairly low in the sky and behind you towards the beginning or the end of the day youll need to use less exposure compensation. If youre shooting at more of an angle into the light, greater amounts of exposure compensation will be required. Whatever the lighting conditions, keep a constant check on results as youre shooting, zooming in for careful inspection of exposures on the planes themselves.
PHOTOrADAr users sAY:
PhotoRadarsays Great colours and a clean composition the planes been caught at the right moment. nice rippling vapour from the exhaust, too. Leewomsays Stunning. I now know that I need to get myself a decent lens and get down to the air tattoo next year! absolutely superb photo I love the orange and it contrasts so well with that sky and those vapour trails. DaiBatchelorsays a super capture of the dutch F-16. a big contrast to some of the day cloudy skies, which turned blue when this aircraft appeared. Deano638says Well done. Its not always an easy task getting the picture sharp when youre contending with moving subjects and dierent lighting. Canon45od says Well done on the capture the image is sharp as! I dont know what else to say about it though. Im not really blown away, but under pressure you got what you wanted.
want one of your pictures to be featured here? we scour the Photoradar galleries for amazing shots, so upload your photos today!
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SpeeDy SolutIonS
Rate my photo Pro
hydrangea
By Nick pratt
Sony a200/ Tamron SP 90mm f/2.8 Di Macro lens/ 1/250 secs at f/3.2, ISO100
Is there any way I can accurately predict where the sun will set each day, so I can plan locations for taking sunset shots and avoid disappointment? Anthony fuller, via email
sun cOmPAss
email photos to digitalcamera@ futurenet.com with the subject 'rate my Photo Pro'
Get critiqued!
Paul says theres a cunning little device called a sun position compass, which is available from many photographic dealers and online stores for about 20. simply line up the compass with magnetic north and it displays the direction of sunrise and sunset for any time of year.
I bought a monopod a while ago and its greatly improved the sharpness of my shots. however, Id also like to use it for portrait-orientation shooting. Can I get an adaptor, or do I need to buy another monopod with a swivel head? Grace Roberts, via email
TAking POrTrAiTs wiTH A mOnOPOD
Nick says i was inspired by The Photo Fixer in issue 102 and decided to have a go at some handheld macro flower shots. i tried to follow the advice about shooting the essence of the flower, and here i was trying to get a sense of the sheer density and depth of the hydrangea flower heads and a huge bush bursting with colour. i would be grateful for your thoughts. Professional photographer and naturalist, Geoff Simpson, says An image where everything is in focus and the background is diffused and is technically perfect can be offset against those images that are not technically perfect, but the soft
Does the image capture the essence of a blue hydrangea? Yes it does!
and out-of-focus areas are considered art. nicks image falls into the latter category. Attempting to shoot such a large flower head will always make it hard to maximise depth of field when handholding the camera. A tripod and cable release would have allowed more control over the depth of field, focus and composition. i would have liked to have seen a little more separation
Ali says Various companies make ball heads specifically for use with monopods, but theyre often a bit flimsy. the best plan is to buy a compact ball head thats intended for use with a regular tripod and use it on your monopod instead. the Manfrotto 494rc2 Mini ball head is very good and costs about 50.
between the main flower head and those in background, which i think compete for the viewers attention. shooting from a higher viewpoint would have helped to make this possible. colour-wise, the image looks somewhat over-cooked in the saturation department. Perhaps you could think about toning this down and controlling the highlight contrast in Photoshop to weaken the gaudy appearance. All this said, youve shot a difficult subject and this is a good attempt. Does the image capture the essence of a blue hydrangea? Yes it does!
Youve definitely captured the essence of your subject The image has an attractive, arty feel to it
verdict
Shooting handheld has made it hard to get max depth of field The colour is a bit OTT, but this could easily be toned down
YOUR PHOTOS CRITIQUED
PhotoAdvisor
93
Kit Advisor
Name: June Lazenby Age: 42 Budget: 2,800 Wants: To upgrade her Canon EOS 450D and extend her lens collection for shooting stills and video clips of landmark buildings while on business trips.
Find the perfect camera and gear for your needs

THE SECRET GARDENER
Need some buying advice? Email your wish-list and budget to digitalcamera@futurenet.com with 'Kit Advisor' as the subject
THE ARCHITECTURE BUFF
Name: Emma Warren Age: 37 Budget: 800 Wants: To set up a basic home studio mostly for taking portraits. Emma has never used studio flash before, so wants a simple yet effective set-up.
THE STUDIO SHOOTER
Name: Susan Wong Age: 30 Budget: 1,100 Wants: This Nikon D90 and 18-55mm kit lens-wielding National Trust member is keen to take gorgeous garden shots on visits to sites around the country.
WE RECOMMEND:
CANON EOS 550D, 690 Boasts a highresolution 18Mp sensor plus a host of clever features, coupled with the most advanced high-def video capabilities of any camera in its class. www.canon.co.uk CANON TS-E 24MM F/3.5L II, 1,800 The new edition of Canons tilt-shift lens allows perfect perspective correction, and has a useful focal length of 38mm on the 550D. www.canon.co.uk GIOTTOS MT8240B, 155 Weighing just 1kg and folding down to 50cm in length, this carbonfibre tripod makes the ideal travelling companion, and has a maximum load rating of 3kg. www.giottos-tripods.co.uk HOYA CIRCULAR POLARISER, 50 Ideal for reducing reflections in windows, the standard version of Hoyas screw-in circular polarising filter costs between 35 and 100, depending on size. www.intro2020.co.uk
WE RECOMMEND:
ELINCHROM D-LITE IT 4 STUDIO 2 GO, 580 Two ultra-intuitive studio flash heads, plus 66x66cm soft boxes, 16cm reflector, wireless controller, stands and carry bags. www.elinchrom.com ELINCHROM 83CM UMBRELLA SET, 55 As an alternative to the soft boxes that come with the kit, this pair of translucent and silver brollies allow a wider range of lighting effects. www.elinchrom.com SEKONIC L308S, 130 Wonderfully simple to use, the Sekonic is highly accurate and very useful for balancing the power of multiple flash heads. It also works well for shooting outdoors. www.sekonic.com INTERFIT INT232 5-IN-1 32-INCH REFLECTOR, 25 32-inch reflector set including white, silver and gold surfaces, as well as a black option for reducing the transmission of unwanted light. www.interfitphotographic.com
WE RECOMMEND:
SIGMA 10-20MM F/3.5 EX DC HSM, 450 This constantaperture Sigma ultra-wide zoom lens is a great budget buy for capturing sweeping landscape gardens in all their glory. www.sigma-imaging-uk.com TAMRON 90MM F/2.8 SP DI MACRO, 350 Perfect not only for extreme close-ups, but also for isolating flowers against a blurred background with its large maximum aperture. www.intro2020.co.uk NISSIN DI866 PROFESSIONAL FLASHGUN, 215 A good flashgun is essential to lift plants and flowers out of the shadows. The top-performing Nissin is a steal at the price. www.kenro.co.uk NIKON SC-29 TTL REMOTE CORD, 65 For a convincing 3D lighting effect, you cant beat using your flashgun off-camera. This Nikon remote cord, with AF illuminator, fits the bill perfectly. www.nikon.co.uk
YOUR VERDICT:
June says: The TS-E lens costs twice as much as everything else put together, but it still tops my list of essential purchases.
YOUR VERDICT:
Emma says: Im surprised I can get so much for the money, as that seems to cover everything apart from backgrounds.
YOUR VERDICT:
Susan says: I can save 550 by buying those third-party lenses and the flashgun, compared with Nikon's equivalent kit.
94
The Digital Camera inTerview
Sylvester Mittee
All images: Eamonn McCabe
I focused on the bandages with a 180mm lens. I've seen this shot copied in ads, but they never get it right, as it's too perfect. The original has a bit of movement in it that adds to the mood Digital Camera October 2010
eamonn McCabe
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eamonn w McCabe
e dont have many things to thank Alvin Stardust for, but this spangly embodiment of 1970s na apparently helped to persuade eamonn McCabe to become a press photographer. when i was younger, i was a very keen music photographer, but when people like Alvin Stardust and Gary Glitter came along, i got very disillusioned with the music scene so that was why i got into sport. Anyone with an appreciation of great news and sports photography will recognise McCabes name: as a photographer and then picture editor at The Guardian, hes been responsible for some of the most iconic press images of the past 30 years. intelligent is an adjective frequently applied to McCabes sports photography, but his approach is more than purely cerebral hes also got a visceral love of the subject, particularly when it comes to shooting the likes of football, rugby and boxing. i loved football, so it was easy to drift over from music photography in the early 1970s, he remembers.As with rock, i loved the unpredictability of it all. McCabe cut his teeth on local papers such as the Hampstead & Highgate Express, learning a lot in the process.The papers taught me how to turn up on time, shoot to size and barter with people so i learned about the business side of photography. Because of the area it covered, the Hampstead & Highgate Express was a bit like a local The Guardian. i used to cover Arsenal, Spurs and the Saracens rugby team before they got big.
The award-winning press and portrait photographer looks back on a long and fascinating career with Geo Harris
* Born in London in 1948, Eamonn McCabe was named Sports photographer of the Year four times between 1978 and 1984. * In 1988 he became picture editor of The Guardian and went on to win picture Editor of the Year five times. * Since returning to full-time photography, his speciality has been portraits. His work often appears in the national press.
prole
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Juliet Binoche
I only got ten minutes with her at her hotel, so I was determined to break the ice. I admired her shoes, which caused her to look down and smile. I was pleased, as she can be very serious
Jude Law (top, above)
Jude was rehearsing for a play in South London and probably didnt want to be shot in his lunch break, but he was great. I used a softbox and a 120mm lens. Im not sure why he looked down, perhaps to compose himself for the portrait, but it works well
In THE Bag
I love the weight of the Canon EoS 5D Mark II it feels like a real camera, you cant lose or drop it, he says. as a sports photographer, Id duck and dive and change between nikon and Canon, but Ive stuck with Canon now. as for lenses, I use a 35mm f/2 lens a lot, along with a 50mm and an 85mm.
McCabes inuences were ed Lacey, who died in the early 1980s and worked for The Guardian and The Telegraph, and Chris Smith of The Observer.i was also a great admirer of the US magazine Sports Illustrated, he recalls. Their photographers had huge budgets, would light whole stadiums i would try to do it with just a single ash! Looking back at my shots from that time, i can see i was a real observer, looking in from the outside. now im more of a director. im old enough now to have the condence to take portraits of people like Mick Jagger, and to direct them. As McCabes reputation grew, he graduated from local papers to The Guardian and The Observer. So which of his sports images is he most proud of? it would probably be of a Chinese table tennis player in north London. Or the boxer Sylvester Mittee (see page 94), or the Cambridge boat crew sinking in 1978. The turning point for me was the heysel Stadium disaster in 1985 id gone there to cover a
From observer to DireCtor
Liverpool/Juventus match, but i ended up photographing 39 people dying. i thought,if this is sports photography, you can stu it . McCabe branched out into more general press photography, before reinventing himself again as a picture editor. working on the other side of the fence, McCabe noticed a worrying trend among some press photographers.i was disappointed that a lot of the photographers werent very aware of the work of other great photographers. i used to encourage them to go to galleries and exhibitions, but sometimes they just werent interested. its very important to study great photography; youll miss a trick if you dont.
Despite his frustration at some of his contributors cultural ignorance, McCabe enjoyed his time as a picture editor.it was a good time to be a picture editor in the 1980s and 1990s; there was a lot of debate about how we covered disasters, for instance.
viDeo killeD the stills star?
Looking back, i was a real observer, looking in from the outside. now i'm more of a director. i'm old enough now to have the condence to take portraits of people like Mick Jagger, and to direct them
eamonn McCabe
97
Pel
I was very nervous, but pel is a really nice, happy guy. I got as close as I dared, again using one softbox for lighting. I find that if you work simply, your subjects are more likely to give you more time and attention Digital Camera October 2010
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BEHInD THE IMagE
The BeAUTy Of DiGiTAL CAMerAS fOr Me iS The eLeMenT Of TriAL AnD errOr. yOU CAn TAke AS MAny frAMeS AS yOU neeD UnTiL yOU GeT iT riGhT
Eamonn McCabe
I decided that a good way to shoot the Indian sculptor Anish Kapoor would be by reflecting him in some of his own creations. I tried a few compositions, but this image seems to work particularly well with his face.
Lighting
I just used a little bit of flash to make the structure of the artwork shine. I used a flashgun on a cable to achieve this, rather than anything more complicated in terms of lighting set-ups. I shot on a Canon EOS 5D Mark II at an aperture of f/11.
Focusing
They say the eyes are key to portrait photography, and Im not about to argue with this. I focused on Kapoors eyes here and they really stand out, despite everything else thats going on in the picture.
Exposure
I didn't have a fixed idea of how to approach this shot in terms of exposure I didn't have time to work it all out before I arrived. It was just a question of trial and error, adjusting my 5D Mark II's settings as necessary until I got the right exposure.
eamonn McCabe
Maradona (below left)
I got this shot of the 18-year-old Maradona on West germanys tour of South america. He was fouled badly, but even then he was really playing to the camera!
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Linford Christie (below, top right)
Hes the bane of my life and I always found him to be really awkward to shoot. once he was retired, he was all sweetness and light he needed the publicity!
That day, my luck was just in. I caught Keegan as he literally jumped over me, and the dead bodies of the Scottish players on the ground work really well
Kevin Keegan, 1982 (below, bottom right)
And it was easier in the pre-digital age. you could avoid marking the shots you didnt like on the contact sheets youd take to the editorial meetings; now, everyone gathers around the PC to see what the photographer has submitted, and often theyll pick the images you hate! McCabe also worries that the stills photographer could become a thing of the past as picture editors resort to pulling images from hD video feeds.its happening more and more, and you can certainly imagine a time when all the still shots of the fA Cup nal are just pulled from video. Since leaving the picture desk at The Guardian, McCabe has devoted more and more time to shooting portraits, either for press commissions or for his own projects. his portraits are mainly in black and white: i love its shape and form for portraits the black-and-white portraits of irvine Penn or edward weston still stand up today, and they continue to inspire me. McCabe now feels he has the maturity and experience to do portraits properly. Also, i enjoy meeting people whom i admire. when i was still a picture editor, i would volunteer to shoot artists, poets, writers
i love portraits of loners and mavericks; theyre the people who interest me.
the ease oF Digital
im proud of a portrait if it lasts if its fresh and it stands the test of time, then ive cracked it The hardest job is taking a portrait of someone you wouldnt recognise
All that time spent on picture desks has obviously sharpened McCabes critical eye, so what is it that makes him proud of a particular portrait? im proud of a portrait if it lasts if its fresh and it stands the test of time, then ive cracked it. People still enjoy the portraits i took of the writer Zadie Smith and the actor Jude Law, for example. The hardest job is taking a portrait of somebody who you wouldnt recognise, like a writer or a poet who shuns the limelight. Something else thats got harder in the celebrity age is access.when taking a portrait of a famous sitter, you have to work really fast now, and deal with armies of Prs. Thats something else thats changed for the worse. i only got 30 seconds to photograph Bill Gates, for example. McCabe found the transition to digital photography to be a fairly smooth one, and hes now the satised owner of a Canon 5D Mark ii.its brilliant, but i do worry that the ease of working with digital means that you tend to just keep shooting away for the sake of it. Too easy isnt always good for photographers. im great friends with the cartoonist ronald Searle, whos now in his nineties. he told me that when things get too comfortable, too easy, hell put a sticking plaster or something on his little nger almost like a means of giving himself a kind of deliberate handicap.
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pro insight
Eamonn McCabe shares his tips for stunning portraits
Focus on the eyes in portraits; I like to get my subjects gazing to camera. If youre nervous as a photographer, your subjects look away.
Paul Weller
Taken at a recording studio. I liked Weller's posh parka, so ran outside and borrowed a bike as I couldn't find a scooter! It was shot quickly; I find that subjects will usually try new things if it only takes a few minutes
Experiment with light but keep it simple; I just use one softbox with one light source. If you complicate things with too many lights, you can get into such a state that it will affect the picture. You really must get the background right when taking photographs of people. Indeed, Im a great believer that if you get a good background, youre halfway towards getting a good portrait. Its pointless taking a nice shot of someone, then spoiling it with extraneous objects such as trees sticking out of the tops of their heads in the background!
returning to press photography, one of McCabes recent projects has been to compile the images for Decade, a lavishly produced retrospective of the past ten years in world history (the book is published by Phaidon). Some 500 photographs were chosen, tackling subjects ranging from the 9/11 terrorist attacks to the death of Michael Jackson. how did McCabe nd this mammoth task? fascinating. i tried to recreate the thrill of Phaidons earlier book, Century. But instead of having to hunt through boxes and dusty photo archives, i did all my work on screen. Doing so, i noticed that a lot
looking baCk anD ForwarD
i do worry that the ease of working with digital means that you tend to just keep shooting away for the sake of it. Too easy isn't always good for photographers
of great photos were still being taken, but not always being used nowhere near as many photo essays are being published in news magazines. i tried to nd a quirkiness, something beyond the obvious Bob Martins shot of the diver leaving his articial legs behind, for example (see the Martin interview in Digital Camera issue 58). McCabe is still shooting for The Guardian, but is spending more and more time on his own work experimenting with large-format cameras, portraits, lectures, exhibitions, and so on . More books could be in the ong, too. One of his best-known works is The Making of Great Photographs. i looked this up on Amazon recently, and where it says,Customers viewing this page might also be interested in... , they had recommended a book on how to make great curries! i didnt mind because im a big curry fan, too...
View more of McCabes images at www.eamonnmccabe.co.uk.
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OUR tests explained
The UKs most in-depth reviews
Digital Cameras 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. 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.
How we test
Real world testing
Trusted Tests D
Rigorous Accurate Independent Fair
igital Camera is brought to you by the UKs 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 any further convincing, heres why our tests are the best: graded. take a look at the opposite page for more details. supplement our real world testing with benchmarks.
putting equipment through its paces in the field is at the heart of the Digital Camera testing process
Benchmarking
the second pillar of our testing policy involves testing the image output of cameras and lenses
passion
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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 its fit for purpose or not.
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.
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our scores and awards explained
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 are credibly
Objectivity
although scientific data wont tell you everything about a product, its a great way to draw direct comparisons and sense check our real world conclusions, so weve devised a series of controlled tests for cameras and lenses that
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.
wo philosophies underpin our scoring system: transparency and flexibility. transparency involves keeping our scoring accurate and explaining why we reach a verdict. 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 a digital slr. each of our tests
OUR tests explained
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105
tHe appliance oF science
camera tests
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 imatests imatest Master software to analyse shots of test cards heres how each test works
lens tests
our controlled test environment enables us to benchmark cameras and lenses
exposure accuracY this measures how accurate a cameras 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.
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 sigmas 50mm f/1.4 ex dG HsM prime lens, which is available for every camera system. next, we perform an analysis of the test images using imatests 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 you to tell the wheat from the 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 wont 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 products capabilities. no other magazine goes this far to deliver test results you can really trust.
distortion this 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.
dYnaMic ranGe this 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.
cHroMatic aBerration this 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.
colour accuracY this 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.
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sHarpness Here 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.
noise this 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.
106
KITZONE
D-SLR PREVIEW
New D-SLRs
Typical. You wait months for big new SLR releases and then several come along at once. Get ready to meet the newbies
D-SLR Canon EOS 60D with Canon EF-S 17-85mm IS USM > 1,449 D-SLR Nikon D3100 with Nikkor AF-S 18-55mm VR > 579
First look at the hottest
Canon EOS 60D Nikon D3100

a higher maximum ISO. The Unlike the heavyweight joystick controller and magnesium alloy "BD and Release some of the rear-panel !BD, Canons new 6BD date buttons of the !BD features a lightweight plastic shell as per the September have been replaced with 2010 Multi-Controllers, but !!BD along with the its the rst Canon SLR new iFCL metering system, to feature a pivoting LCD. full HD movie recording and
It also adds a feast of new Leapfrogging nearly all of features compared with Nikons more upmarket Release the older D:BBB, D-SLRs in terms of date including Live View resolution, the D:-BB September mode and full HD movie introduces a new 2010 capture. Maximum -".;Mp CMOS sensor, standard sensitivity is one which feeds a revamped stop higher at ISO:;BB. EXPEED; image processor.
Zooming in on the Canon EOS 60D
Memory The memory card type for the 60D has been downsized from CompactFlash to SecureDigital, and is also compatible with SDHC and SDXC. Plastic case The 60D is built on an aluminium chassis, but by using a shell made of polycarbonate resin and glass fibre, its lighter than the 50D.
Zooming in on the Nikon D3100
Sensor For resolution, the entry-level D3100 outstrips some of Nikons top professional models, thanks to its new 14.2Mp sensor. Viewfinder Theres more magnification in the D3100s Pentamirror viewfinder than in the D3000s, but the difference is barely noticeable.
Multi-controller The joystick-like multi-controller is replaced by dual MultiController and Quick Control Dial actuators. Pivoting LCD This 3-inch screen has a 3:2 aspect ratio to match photos, and also adds full tilt and swivel pivoting.
Live View Live View was lacking on the D3000, but its here now, along with facerecognition autofocus. LCD Its a 3-inch screen, but resolution is disappointing at just 230k pixels, and it lacks a pivoting facility.
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Sony SLT-A55
Zooming in on the Sony Alpha SLT-A55
D-SLR
Sony Alpha SLT-A55 with DT 18-55mm > 749
autofocus sensor. So Sony Sonys bombshell is its new claims this enables better Single Lens Translucent Release AF during video capture, design. Basically, the date and a faster continuous translucent mirror splits September shooting rate of ten the optical path from 2010 frames per second for the lens, feeding it to the still images. Gone is the image sensor as well as to optical viewnder, however. a separate phase-detection
Sensor Like the a580, you get a decent 16.2Mp resolution from the Exmor sensor. The SLTA33 will cost about 100 less, featuring a 14.2Mp sensor. Translucent mirror Helped by the mirror not having to flip up when capturing images, the continuous frame rate is a fast 10fps.
Sony a580
Although based on a more conventional SLR design than the A55 and A33, the a580 now oers full HD video recording, along with dual-mode Live View operation, a rened HDR mode for
D-SLR
Sony a580 with DT 18-55mm > 729
automatically merging three (instead of two) bracketed Release exposures and a fast 5fps date maximum burst rate. October Theres even a :D Sweep 2010 Panorama mode, which is compatible with Sonys :D HD televisions.
Sensor The Exmor APS HD CMOS sensor offers a high 16.2Mp res. The slightly cheaper a560, due next spring, will be almost identical, but with a 14.2Mp sensor. Movie mode Video shooting is now very much on the menu, with a dedicated button on the back plate for movie clips.
Zooming in on the Sony a580
Viewfinder The electronic viewfinder is large and gives 100% coverage, but lacks the precision of an optical finder. LCD Unlike a580, this features full pivot facilities, which are useful for Live View shooting and movie capture.
Top plate A secondary LCD, but at least there are quick-access buttons for D-Range, drive modes and ISO. LCD The high-res LCD has a basic tilt facility, hinging out from the back of the camera, but no full pivot feature.
How the latest D-SLRs compare

> Canon EOS 60D
Sensor Focal length conversion Memory Viewnder ISO range Metering modes Focus modes LCD Shutter speed Exposure modes Autofocus points Max burst rate 18Mp CMOS 1.6x SD, SDHC, SDXC 96%, 0.95x Pentaprism 100-6400 (12800 extended) Evaluative, Partial, Spot, Centreweighted AI, One Shot, AI Servo 3-inch, 1040k pixels 1/8000 to 30 secs Auto, Flash-off, Creative Auto, P, A, S, M, Custom, Scene 9 (all cross-type) 5.3fps
> Nikon D3100

Sensor Focal length conversion Memory Viewnder ISO range Metering modes Focus modes LCD Shutter speed Exposure modes Autofocus points Max burst rate 14.2Mp CMOS 1.5x SD, SDHC, SDXC, Eye-Fi 95%, 0.8x Pentamirror 100-3200 (12800 extended) Matrix, Centreweighted, Spot Single, Continuous, Auto 3-inch, 230k pixel 1/4000 to 30 secs Auto, Flash-off, Guided, P, A, S, M, Scene 11 (one cross-type) 3fps
> Sony Alpha SLT-A55

Sensor Focal length conversion Memory Viewnder ISO range Metering modes Focus modes LCD Shutter speed Exposure modes Autofocus points Max burst rate 16.2Mp CMOS 1.5x MemoryStick Pro Duo, Pro-HG Duo, SD, SDHC, SDXC 100%, 1.1x, electronic 100-12800 (25600 extended) Multi-segment, Centre-weighted, Spot Single, Continuous, Auto 3-inch, 921k 1/4000 to 30 secs Auto, Flash-off, P, A, S, M, Scene 15 (3 cross-point) 10fps
> Sony a580

Sensor Focal length conversion Memory Viewnder ISO range Metering modes Focus modes LCD Shutter speed Exposure modes Autofocus points Max burst rate 16.2Mp CMOS 1.5x MemoryStick Pro Duo, Pro-HG Duo, SD, SDHC, SDXC 95%,0.8x,Pentamirror 100-12800 (25600 extended) Multi-segment, Centre-weighted, Spot Single, Continuous, Auto 3-inch, 921k 1/4000 to 30 secs Auto, Flash-off, P, A, S, M, Scene 15 (3 cross-point) 7fps
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kitzone
d-slr review
> the SpeCS
Sensor Focal length conversion Memory Viewnder iSo range Metering modes Focus modes lCD screen size Shutter speed exposure modes lens mount Flash modes Weight autofocus points Max burst rate Self-timer Video resolution power supply Foveon X3, 14.6Mp (4.69 million x3), 20.7x13.8mm 1.7x sd/sdHC Optical pentaprism, 98% coverage, 0.9x magnication Auto (100-200), Auto with Flash (100-400), 100-1600 (50-3200 extended) evaluative, Centreweighted Average, Centre Area, spot single AF, Continuous AF (AF Predict function), MF 3-inch, 460,000 dots 1/4000 sec to 30 secs, Bulb Program, Aperture Priority, shutter Priority, Manual sigma sA bayonet mount Normal Flash, red-eye reduction, wireless TTl 680g (body only) 5 3fps 2 and 10 secs N/A li-ion battery BP-21
igmas best known for its lenses, but it also produces two very interesting cameras. One is the DP1s/DP2s compact (same camera, dierent lenses) and the other is the SD series of D-SLRs. First came the 3Mp SD9 in 2002, which was followed by an improved SD10 in 2003, and then by the 4.7Mp SD14 in 2007. The SD15 is a development of the SD14, but at its heart is the same Foveon X3 sensor. But while other makers bring out new sensors every couple of years, Sigmas Foveon X3 technology moves more slowly. As a result, the SD15 is more of a redesign than a new camera, despite the fact that its been three years since the SD14 hit the market. The Foveon X3s low pixel count sounds unimpressive these days, but the gures are misleading. Because of the way the images are created, and the high levels of sharpness they display, the SD15 is a pretty good match for any other APS-C D-SLR. But even if it is as good as any other SLR, why buy the SD15? First, the extreme sharpness of the images gives them a visual quality you dont get with other cameras, even if the resolution is lower. Second, 4.7Mp les take up a lot less space than 12-14Mp images. Third, the
Sensor adventure
SD15 uses a traditional design that oers refreshing simplicity, and if you already know your way around a camera, its nice not to have to negotiate layers of gadgets and automation to get to key controls. The SD15 is only a modest upgrade from the SD14, but it now uses SD/ SDHC memory cards and has a 100,000-cycle shutter mechanism and a good-quality 460,000-dot LCD display. And like other Sigma cameras, it comes with Sigmas Photo Pro
D-SlR Sigma SD15 > 790 (body only) > www.sigma-imaging-uk.com
sigmas Foveon X3 sensor design is unique, but does the sd15 move it any further forward? Rod lawton finds out
RAW conversion software. You can open and convert its les with Adobe Camera Raw, but the Sigma software is better-tuned to the cameras own colour modes, and gives rather better performance at high ISOs.
BuilD quality anD hanDling
You immediately notice the SD15s heavy, slab-like body. It feels tough and durable, but the plastic nish feels like it belongs on a cheaper body.
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exposure
Exposures can be unpredictable in the multi-segment mode, as if the SD15 places too much emphasis on the active focus point.
Colour
Colour and contrast is strong, particularly if you use the automatic setting in the Sigma Photo Pro RAW conversion software.
Definition
You only get 4.7 megapixels, but each pixel is razor-sharp. The SD15s definition makes up for its lack of pixels.
Our BesT sHOT

Our guide to what we like most about the images from the Sigma SD15
Real-WoRlD peRFoRManCe
Stick or twist? upgrade advice

If youve already got an SD9 or SD10 and want the extra resolution of the SD15, then go for it. If youve got an SD14, dont bother. If youre upgrading from a digital compact, you might want to pick a more novicefriendly mainstream SLR than this one the SD15 demands a good depth of photographic knowledge. It could be an interesting choice for a longtime film user now ready to take the plunge into digital, though.
Mirror lock explained

When you take a picture with a digital SLR, the flipping action of the mirror introduces vibration that can take the edge of the pictures sharpness. A mirror lock-up option locks the mirror in the up position in advance of the exposure so that this doesnt happen.
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zooming in on the Sigma SD15

key settings such as flash and AF mode are accessed with this Func button
Feeling tReateD
A quick tour of the cameras key features

These three buttons adjust the ISO, metering mode and AF point
This Dust Protector is a smart idea, and you can remove it if you need to
The sensor delivers small images but terrific depth and definition
The three-inch 460,000-dot LCD display is very good, but theres no Live View mode
Other essential adjustments (white balance, file format/ quality, photo style) use this QS button
The control dial is stiff and its position makes it even harder to turn
Feeling CheateD
Why do we need this Func button as well as the quick Set menu?
The mode dial is plain and simple, with just four PASm exposure modes
This dial on the top of the camera can be used to change the drive mode
The SD15 takes SD/SDhC memory cards, which slot in here
There are some neat design touches, though. Theres a mirror lock-up mode for cutting shake with macro shots and extreme telephoto lenses, and inside the lens throat theres a glass Dust Protector designed to prevent dust getting into the mirror box and on to the sensor. The controls are a little patchy. Some are very good, such as the main mode dial, which has just four positions for the cameras Program, Aperture Priority, Shutter Priority and Manual exposure modes. Theres no idiot-proof auto mode, no scene modes and no movie mode.
On the left-hand side of the pentaprism is another dial, this time for setting the drive mode. Again, its plain, straightforward and simple. On the top of the grip on the right-hand side is a single control dial. Its a mild disappointment that theres only one, and it means that in Manual mode you have to hold down the exposure compensation button to toggle between shutter speed and aperture adjustment. Most SLRs in this price bracket have two dials. This control dial has quite a heavy action, too, and it would have been better if it had overhung the front of
the camera because it would be easier to get a proper grip on it.
ContRolS anD FeatuReS
Meet the rivals
See how the SD15 fares against the competition
pentax k-7 Price: 765 Like the SD15, the k-7 prioritises tools over technological showboating. Our score: 87% Issue reviewed: 88
nikon D90 Price: 630 Blends sturdy common-sense design with excellent overall picture quality. Our score: 95% Issue reviewed: 79
Canon eoS 50D Price: 670 Soon to be replaced, this old-school EOS SLR is tough, fast and really powerful. Our score: 90% Issue reviewed: 79
There are a couple of issues on the back of the camera, too. Theres a cluster of buttons at the top right for altering the ISO, metering and focus point, but these are a little too easy to press by accident if you rest your thumb in the wrong place. In addition, the functions of some of the buttons arent clear. Theres a red asterisk button alongside the LCD, which is used in playback mode for marking, rotating or locking images building this into the main menus would be simpler. Plus, theres a Cancel button below the navipad on the right with no immediately obvious purpose, since you can cancel your way out of menus using the Menu button. Theres more than one way to change camera settings, too. The Quick Set button is in charge of the photo style (Standard, Vivid, Neutral, Portrait, Landscape), le format (RAW or JPEG), white balance and image quality (if youre shooting JPEGs). But theres also a Func button, which lets you select the ash and AF mode.
kitzone
digiTAl slr BeNCHMArks
sigma sd15 Nikon d90 Canon eOs 50d
0.0 0.1 0.2 0.3
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sigMA sd15
How does the sigma sd15 measure up?

ExPOSuRE ERROR Lowscoresarebetter
COLOuR ACCuRACY Closesttotenisbest

0 2 4 6 8 10 12
DYnAmIC RAngE highscoresarebetter

5 5.5 6 6.5 7
nOISE Lowscoresarebetter
sigma sd15
Do the SD15's sophisticated metering options help its overall performance? Not exactly. The standard multi-pattern metering mode proved distinctly unpredictable
This button also displays a focus grid showing you the currently selected AF point, plus sundry other camera settings including the exposure mode, ISO, shutter speed and aperture. And yet this isnt the information display itself. This is another screen, showing some of the same information, which is activated by the i button alongside the LCD. Frankly, its a bit of a mess. Theres not much to say about the SD15s features that hasnt been said already. Theres no movie mode, Live View or special scene modes to talk about. The 3fps continuous shooting speed is only adequate for a camera in this price range, although it can keep it up for 21 RAW frames in succession. The 500-shot battery life is, again, adequate without being exceptional, as is the 77-segment auto-exposure sensor, which links the exposure to the currently selected focus point. You do get four metering modes, though, including Centre Area mode, which acts like a large spot mode and is similar to the Partial mode you get on some Canon cameras.
Nikon d90 Canon eOs 50d

0 0.2 0.4 0.6 0.8 1
DIgITAL SLR BEnChmARk VERDICT
iMage quality
So do the SD15s sophisticated metering options help its overall performance? Not exactly. The standard multi-pattern metering mode proved distinctly unpredictable, especially with high-contrast subjects. A slight dierence in viewpoint could produce big dierences in exposure, possibly because of the shift in focus point and hence the way the meter reacted to the new subject. Otherwise, though, the SD15 is very impressive. If you havent seen what the Foveon sensor can do, youll be amazed at the clarity of the ne detail it produces. Each pixel is
The Sigma SD15, Canon EOS 50D and nikon D90 were tested in the Digital Camera test suite to check key image quality factors. The results were compared, and although close, the Sigmas Foveon processor confirmed Sigmas claims about performance. The SD15s exposure system was almost spot on and although the colour accuracy didnt have the vibrancy of the Canon or nikon it produced good natural colour. It also showed good dynamic range and noise at lower ISOs. When it comes What'S thiS? to image quality at low ISOs the Sigma outFind out how performs both other models, but if you need we test on the higher ISOs go for the Canon or nikon. page 104
above left In our tests, the SD15's Foveon sensor produced portraits with good colour rendition
razor sharp. The 17-70mm Sigma lens supplied for this review proved rather good, too, with low levels of distortion, little chromatic aberration and terric edge-to-edge sharpness. This camera cant shoot RAW and JPEG les simultaneously, so its likely most users will choose to shoot RAW. The conversions created by the Sigma Photo Pro software are rich, contrasty
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tech briefing The Foveon sensor
onventional sensors use a pattern of red, green and blue-sensitive photosites in a single layer, and the camera then interpolates full-colour data for each photosite using the data from its neighbours. The Foveon sensor is different. It too captures red, green and blue data, but uses silicon to capture all three at each photosite. Silicon responds to different light frequencies (colours) at different depths and the Foveons designers have found a way to separate and capture the red, green and blue colour components of a digital image at these different depths. In effect, the red, green and blue photosites are stacked vertically rather than alongside each other. Indeed, as Sigma points out, although the SD15 produces 4.7mp images, it actually has 14.1 red, green and blue pixels combined and its the total of these red, green and blue pixels that all other camera manufacturers use to quote megapixels.
and highly saturated perhaps a little too saturated now and again if you use the Sigma Photo Pro softwares automatic setting. You can also adjust the exposure, colour, white balance and other settings manually, or use the original camera settings. This
Above If you can put up with the small image files, you'll be rewarded with exceptionally sharp, high-quality photos
Left The SD15's main control layout is refreshingly simple, but disappointingly frustrating to use
gives more consistent results, even if it involves a little more work. At low ISOs theres no signicant noise at all, but it does increase rapidly as the ISOs go up. This is one area where the SD15 does lag behind conventional D-SLRs. Having said that, the conversions produced by the Sigma Photo Pro software from ISO1600 originals arent at all bad, and you can trade o noise against smoothing to get a balance youre comfortable with.
ouR ConCluSion
Where the SD15 does fall down is in the most mundane, straightforward areas of design and usability. Its big and tough, but also feels rather crude. And the controls are too muddled and confused: its a simple camera thats been made unnecessarily frustrating. And thats a shame. Its great to see such an innovative approach to digital imaging, and the quality of the Foveon X3 sensors images is remarkable. We can only imagine what could be achieved if it could be developed into larger, higher-resolution versions.
Some might see the Foveon X3 sensor as the SD15s weak point, but it isnt. It produces small les, true, but they have such astonishing clarity and sharpness that theyre a fair match for any regular APS-C format D-SLR. The lack of features isnt really a problem, either. Using a D-SLR thats been stripped down to its basics will be a refreshing experience for experienced photographers who favour a thinking, methodical approach rather than complicated high-tech automation.
FEATuRES ImAgE quALITY
hAnDLIng VALuE
Overall
We Say The best thing about the sd15 is its sensor. The back-to-basics approach is appealing too, but ultimately the somewhat crude feel, confusing controls and stiff price tag are asking a bit too much.
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soFtWARE REVIEW
Photoshop on a budget?
he maths is stark. Photoshop CS5 has a list price of 644, whereas PhotoPlus X4 can be yours for just 70. But is it a fair comparison? Can a mid-priced image-editing tool like this really be compared to the worlds most prestigious image editor? PhotoPlus comes from Serif, a publisher with a deserved reputation for creating giant-killing applications in the DTP, design and photography world. PhotoPlus X4 is just the latest version of an application that combines a Photoshop look and feel with a price tag that puts it more in line with Photoshop Elements. Like Photoshop, PhotoPlus displays its tools in a vertical palette running down the left of the screen, many of them with y-outs for additional tool > tHe sPeCs
system requirements raW support Layers adjustment Layers Windows PC, Windows xP sP2, Vista or Windows 7, 512Mb RAM, 460Mb hard disk space RAW studio Image layers, Adjustment layers, Filter layers, shape layers, text layers levels, Curves, Colour Balance, Brightness/ Contrast, hue/saturation/ lightness, selective Colour, Channel Mixer, Gradient Map, lens Filter, Black & White Film, threshold, Negative Image, Posterize Clone tool, Pattern tool, Blemish Remover, scratch Remover, Patch tool, Red-Eye tool, spot Repair, Makeover studio No AlbumPlus organizer
iMaGe-eDitinG soFtWare PhotoPlus X4 > 69.99 > www.serif.com
Who needs Photoshop when PhotoPlus X4 is one-tenth the price? Rod lawton checks out serifs latest image-editing app
options. If youre used to Photoshop, youll recognise many of these tools straight away. On the right is a set of vertically stacking palettes for layers, channels and Macros (PhotoPluss answer to Actions), adjustments, history, histogram and navigator displays. There are dierences, but theyre outweighed by the similarities. Like the latest versions of Photoshop, PhotoPlus adds Levels, Curves, Hue/Saturation and other enhancements as Adjustment Layers. These work just like Adjustment Layers in Photoshop. In fact, although PhotoPlus uses its own proprietary le format, it can open and export layered Photoshop les directly, and Adjustment Layers, Blending Modes and Layer Masks are preserved intact. There are a couple of exceptions. For example, PhotoPlus doesnt have an equivalent to Photoshops Photo Filter Adjustment Layers, and Photoshop doesnt recognise X4s PhotoFix lters. In general, though, the compatibility and indeed the similarity between PhotoPlus and Photoshop is striking.
Above With the PhotoFix feature you can apply a series of nondestructive enhancements to a single image layer, masking their effects to a single area if necessary
tHe DeViLs in tHe DetaiL

Whatever Photoshop does, PhotoPlus does too, almost down to the smallest detail though its in the details that the dierences start to show. Where Photoshop uses Adobe Camera Raw to open RAW les, PhotoPlus uses its own RAW Studio. Its a bit basic and limited to white balance, highlight recovery, noise reduction and chromatic aberration correction. Its not that fast, and it doesnt support
retouching tools
Quick Fix tools File manager
some lesser-known formats: it wouldnt open Sigma Foveon les, or pictures from a Sony Cyber-shot R1. Like Photoshop, PhotoPlus has an HDR Merge option that combines images from a series of exposures. It doesnt do a bad job in terms of tones and exposure, but its auto-alignment doesnt seem as smart as Photoshops, and the controls are more basic. PhotoPlus has many interestinglooking features, but they dont always live up to expectations. The new Cutout Studio sounds a great idea, providing tools for isolating and then cutting out individual objects. In practice, though, the selections it creates are quite crude and likely to need further renement. And, like Photoshop, PhotoPlus has a Filter Gallery, where you can browse through the available lters before applying them. Actually, in this instance PhotoPlus does rather better its Artistic lters are a lot more convincing than Photoshops. They can take around 30 seconds to render,
kitzone
zooming in on... serif PhotoPlus X4
A quick tour of the softwares key tools and features
X4 applies enhancements as Adjustment Layers, just like latest versions of Photoshop
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PhotoPlus x4
Layers and masks are handled in the same way as Photoshop. You can import and export PsD files
these PhotoFix adjustments can be used to apply a set of non-destructive adjustments
the Tools palette offers similar tools to Photoshop. the arrow indicates further options
though, and each time you move a slider it starts all over again.
tWo eDitors in one?
There is one thing in PhotoPlus that Photoshop does not have, and thats its PhotoFix mode. Its powerful, in that you can use it to apply a range of adjustments including white balance, lighting, Curves, lens distortion and Unsharp Mask, then the adjustments are applied as a PhotoFix adjustment attached to the current layer. Its even possible to use a mask for these PhotoFix lters, which automatically selects similar areas, rather like an intelligent selection brush (though, as with the Cutout Studio, the selections arent always particularly rened).
PhotoPlus is ne if you know your way around an image editor, but not if youre just starting out
However, its odd that PhotoFix duplicates many of the tools and processes youd apply outside this window using the normal adjustment tools. Its like using two image editors in one, which is unnecessarily complex. There are many areas where PhotoPlus lacks nesse or depth, but it makes up for it with value for money. You also get Serifs new AlbumPlus Organiser (a simpler version of the Photoshop Elements Organizer) and PanoramaPlus.
What you dont get, though, is much beginner-friendliness. PhotoPlus is ne if you already know your way around an image editor, but not if youre just starting out and need a helping hand. It does have a series of step-by-step guides and video tutorials, but its not the same as the simple editing modes available in Photoshop Elements, say. PhotoPlus X4 is fantastic value and a great buy for more experienced photographers on a budget. But its not aimed at the same level as Photoshop, and not quite as novice friendly as Elements, either, so it lies somewhere in the middle.
Meet the rivals
Features results
ease oF use value
See how the PhotoPlus X4 fares against the competition
Photoshop Cs5 Price: 644 Is it worth the extra outlay? on paper, no, but its tools are richer, more sophisticated and often more effective
Photoshop elements 8 Price: 63 Doesnt have some of the high-end tools of X4, but its better in other areas, including overall user-friendliness
Corel Paint shop Pro X3 Price: 79 Has clever features, but like X4 it takes a different route to Photoshop in many areas so it means going out on a limb
Overall
We say PhotoPlus x4 offers photographers the Photoshop experience at a fraction of the price, but while it does provide excellent value for money, it has some rough edges. so long as you bear this in mind, its a great buy. Digital Camera october 2010
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Field Tested
new photo gear reviewed and rated
Using off-camera flash is one of the easiest ways to transform your flash photography
Get professional lighting effects with your hotshoe flash

emoving the flash from your hotshoe gives you the flexibility to direct the light independently from the camera, enabling you to create directional effects or even backlight subjects with relative ease. The Pocket Wizard Plus II Twin kit consists of two identical units that can act as both receiver or transmitter. One plugs directly into the hotshoe mount on your camera, the other plugs into your flashs PC sync (or into the PC Sync socket attached to your flash). Once its in place and set to the same channel, youre ready to go. The back of the units have three simple buttons from which you can select transmit mode, channel (select the same
POCKET WIZARD PLUS II TWIN KIT

for both) or test the system. As the units work with most models of camera, the usual ETTL for Canon or equivalent flash metering systems for other models wont work, so you do need to use flash on manual and adjust as necessary. Theyre easy to set up and straightforward to use. Once youve adjusted the power of the flash, you can shoot from up to a staggering 1,600 feet away, which is great for lighting subjects that are difficult to get close to, such as wild birds. The downside is the relatively steep price, but if you want a wireless flash system that will work with hotshoe and studio lights this is a great solution.
HotsHoe FLAsH Pocket Wizard Plus II Twin Kit > 369.99 > www.johnsons-photopia.co.uk
photo gear on test

BACkPACk Tamrac Adventure 10 > 102.16 > www.intro2020.co.uk
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Tamrac Adventure10
Large capacity backpack that can handle a bucketload of kit

his large backpack is divided into two sections, enabling you to fit in a decent amount of kit. the open cavity top provides enough room to easily stash a jacket and a few supplies, while the bottom section uses adjustable Velcro dividers to securely hold a medium-to-large camera, lenses, flash and a few accessories comfortably. When the bag is fully loaded the straps distribute the weight exceptionally well, and with chest and waist straps buckled, the bag is still comfortable.
The Digital Photography reference system

For 60 you get a fancy case, some slim reference books and a tips card, but the excellent Michael Freeman DVD goes some way to justifying the cost. 59.99, www.ilex-press.com
Easy access to your kit is provided by quick-access dual zips BeLLows Macro extension bellows > 49.99 > www.premier-ink.co.uk
Macro extension bellows

Convert your lens into a macro cheaply and easily
itting between your camera and lens, these bellows enable you to get exceptionally close to any subject. You can use any lens to shoot macro and at just 50 this is a great value choice. there are drawbacks less light gets to the sensor so exposure times are longer but this is still one of the best and cheapest macro products weve seen.
Trek Tech Optera 230

this small flexible tripod acts as a sturdy mini support. the only downside? the mount needs to be attached to the base of your camera with an allen key. 45.99, www.johnsons-photo pia.co.uk
It may look like some sort of antique, but the system works very well
GeLs Rasco Strobost Kit > 9.99 > www.packshot.biz
Rasco Strobost Kit

Get creative colour effects with your flash
tenner for a massive set of colour correction and effect gels sounds like a steal to us. said gels cover the front of your flash to create different coloured or correctional lighting effects. to attach them you can either use a bit of tape or the gel Clip from go pro photo, which is available for 9.99 from www.goprophoto.com (once in place, the clip Velcros onto your flash and each gel can be quickly slotted in place). In use, the gels work well, so if youd rather use a rather old-school solution than photoshop, this is a good buy.
Paramo Halcon Jacket

the hi-tech nikwax analogy fabrics provide warmth and protection against wind and rain, whilst remaining lightweight. the price is a little high, but this is reflected in the quality. 291, www.paramo.co.uk
Gels belles! A bumper gel collection for the cost of a takeaway Digital Camera october 2010
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photo gear on test
epson p-3000
Arctic Butterfly SD800 Pro Kit
this sensor cleaning kit uses static charged brush fibres to lift dust particles from the sensor, helping to avoid damage from heavy-handed cleaning. 109.99, www.manfrotto distribution.co.uk
viewer Epson P-3000 > 298 > www.epson.co.uk
Back up and preview your images out in the field

he main function of any multimedia storage viewer is to store and display your media when youre away from a computer, which is ideal if you need to check through your images on location. the p-3000 comes with a built-in 40gb hard drive, so more than enough space for a good few days worth of shoots. the viewing screen is just four inches, which is only an inch larger than most modern D-sLrs rear LCDs. this extra size does make a difference, however, enabling you to see your images with greater detail and clarity. although its possible to view some raW files as thumbnails, recent D-sLr raW file formats have limited compatibility but if you shoot raW and Jpeg, you really dont need to worry. as well as stills you can also view movies, but again there are compatibility issues with the latest digital cameras. although the benefits are instantly apparent, the size and cost is a bit off-putting. the idea is good, but in practice its often let down by limited file compatibility and battery life.
Lens Baby pinhole

slotting directly into the Lens Baby Composer, the pinhole/ zone plate includes a series of pinholes that reduces your camera to a pinhole. great fun, but does require the additional purchase of the Composer. 29.99, www.intro2020.co.uk
Save faffing about with memory cards by using this 40Gb viewer
Peli 1050 micro case

kitbag essentials
Ezybox Hotshoe Kit 60x60

CompactFlash Ultimate 266X
With the latest D-sLr producing huge raW files, a card with some clout is essential. 32gb of storage makes this a great choice for stills, but the speed might still be an issue for video. 115, www.kingston.co.uk
Transform your hotshoe flash into a studio softbox

ont want to splash out on a full studio kit, or just need a single light? then the ezybox hotshoe Kit makes a great alternative. the kit quickly assembles around your cameras hotshoe flash, creating a single softbox perfect for home studios. If you need to add further lights to your setup then a budget flash kit will actually cost you less, but if you just need a single softbox this simple kit will work well.
oDDs & soDs
Once sealed, this case provides a waterproof container, perfect for safeguarding your SD cards and batteries. 26.56, www. newprouk.co.uk
Hoya Softener A lter
This filter scatters the light as it passes through minute lenses on the surface, creating a soft romantic graduation. 37, www.intro2020. com
HotsHoe Ezybox Hotshoe Kit 60X60 > 191 > www.lastolite.co.uk
The kit assembles around your hotshoe flash, creating a softbox Digital Camera october 2010
2006 / 2007 / 2008 WINNER 2009 Highly Commended What Digital Camera 2005 / 2006 / 2007 / 2008 WINNER 2009 Highly Commended GEAR OF THE YEAR
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D3000 & 18-55mm VR ......................329.99 D3000, 18-55mm VR, 55-200mm VR rrp 817.97 SAVE 318 ........................499.99 D90 Body only ...................................599.99 D90 & 16-85mm VR ..........................989.99 D90 & 18-105mm VR ........................769.99 D90 & 18-200mm VR ......................1149.99 D90 & Sigma 18-200mm OS ............869.99 D700 Body rrp 2324.99 SAVE 565 .....1759.99 D700 & 24-70mm f/2.8 ...................2969.99 D300s Body rrp 1499.99 ....................1119.99 D300s Body & MB-D10 ..................1329.99 D300s & 18-55mm VR ....................1199.99 D300s & 16-85mm VR ....................1499.99 D300s & 18-200mm VR ..................1599.99
EOS 500D & 18-135mm

IS lens
rrp 999.99 SAVE 350
HUG SAV IN E
G!
580 with 18-55mm & 75-300mm ............................................................799.99 290 & 18-55mm ...........................329.99 390 & 18-55mm ...........................389.99 390 with 18-55mm & 75-300mm ............................................................549.99 550 & 18-55mm f/2.8 SAM was 749.99 SAVE 250 ......................439.99 25-75mm f2.8 SAM lens was 799.99 SAVE 250 ......................549.99
K-7 with 18-55mm & 55-300mm rrp 1099.99 SAVE 200 ....................899.99 55-300mm f/4-5.8 ED DA L................179.99
779.99
E-620 & 14-42mm rrp 589.99 SAVE 90 ..........................469.99 E-620 with 14-42mm & 40-150mm II rrp 719.99 SAVE 150 ........................569.99 9-18mm f/4-5.6 NEW!........................499.99
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rrp 749.99
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649.99
LENSES NEW! 70-300mm
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Award-winning 12.4 Megapixel DSLR with Live View & image stabilisation. rrp 599.99 SAVE 200
Also available in Blue, Red or White.
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GF1 & 14-45mm rrp 599.99 SAVE 70 ..........................529.99 GF1 with 20mm f/1.7 & 14-45mm rrp 899.99 SAVE 110 ........................789.99
599.99
Sony NP-FW50 li-ion battery worth 64.99 with NEX-5.
FREE SPARE BATTERY worth 65
K-x with 18-55mm & 55-300mm rrp 679.99 SAVE 150 ......................529.99
399.99
LUMIX G2
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In Black, Blue or Red.
& 14-42mm
WEB
NEX-5 & 16mm Pancake.....................519.99 NEX-5 & 18-55mm ...........................579.99 NEX-5 with 16mm & 18-55mm ......649.99
GXR
Beyond SLR Expanding modular system camera with compact or APS-C sensors suit yourself! rrp 549.99 SAVE 50 .99 GXR with P10, 28-300mm Macro & VF-2 rrp 769.97 SAVE 70 ...............................699.99 GXR with S10 24-72mm VC
509.99
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rrp 449.99
LENSES 28-300mm f/3.5-5.6G ED VR NEW!
8-15mm f/4 L USM fish-eye NEW!.........................WEB 28mm f2.8 EF rrp 209.99 SAVE 60 .......149.99 35mm f/2 EF rrp 274.99 SAVE 75 ........199.99 50mm f/1.8 EF rrp 114.99 SAVE 35 .......79.99
28-300mm f/3.5-5.6 VC
& P10
G2 with 14-42mm & 20mm .............739.99 G2 with 14-42mm & 45-200mm ......739.99
& 16mm Pancake lens
869.99
24-120mm f4 ED AF-S VR NEW!......1049.99 55-300mm f4.5-5.6G ED VR NEW! ....369.99 85mm f1.4G AF-S NEW! ...................1499.99
rrp 779 SAVE 279
PIXMA Pro 9500 MK II
369
.99
499
SAVE 50
399.99
499.99
NEX-3 & 18-55mm ............................399.99 NEX-3 with 16mm & 18-55mm ......................................499.99
was 699.99 SAVE 100
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KIT ZONE MINI-TEST
Want to buy a good bounce and swivel flashgun that doesnt cost the Earth? Matthew Richards uncovers some affordable options
Price: 220 Web: www.canon.co.uk This Speedlite is easy to use, with direct access to advanced modes such as high-speed sync and rear-curtain flash, along with super-fast, silent recycling circuitry. It also works well as a wireless slave in multi-flashgun setups, but maximum flash power is a little on the low side.
Dedicated ashguns
Price: 79 Web: www.jessops.com A dedicated alternative for Canon, Nikon and Sony cameras, this flashgun has a fairly limited feature set, although the basics are pretty well covered. The motorised zoom is quite slow, as is recycling speed, but the flashgun works effectively as a light-sensitive slave unit.
1 Canon Speedlite 430EX II
2 Jessops 360 AFD
Price: 230 Web: www.nikon.co.uk The Nikon combines good performance with solid build quality, based around a 24-85mm motorised zoom that features the typical flip-down wide-angle diffuser. Applying flash exposure compensation is childs play, but more advanced functions are fiddly to use.
3 Nikon Speedlight SB-600
Price: 215 Web: www.kenro.co.uk Made in Canon or Nikon dedicated options, this is one of the best flashguns on the market, with a nice LCD display, plenty of power and a huge range of upmarket features, including full master/slave wireless operation. A secondary sub-flash is good for fill-in lighting and theres an optional quick-change battery cradle.
4 Nissin Speedlite Di866 Pro
Price: 200 Web: www.sigma-imaging-uk.com Coming in a wealth of dedicated options for various cameras, the Sigma offers a host of features and easy access to high-speed sync and rear-curtain functions. Build quality is reasonable and theres a neat range of wireless and light-sensitive master/slave options.
5 Sigma EF-530 DG Super
Price: 120 Web: www.intro2020.co.uk Built in Canon, Nikon and Sony options, this dedicated flashgun builds motorised zoom, bounce and swivel, autofocus assist and TTL metering into a neat and compact package. There arent any wireless master/slave functions, but the Sunpak is a solid performer thats very easy to use. Its a bargain at the price.
6 Sunpak PZ42X
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Lens group test

1 tamron Af 70-300mm f/4-5.6 Di lD macro, 130 2 Sigma 50-200mm f/4-5.6 DC oS HSm, 175 3 Canon ef-S 55-250mm f/4-5.6 iS, 220 4 nikon 55-200mm f/4-5.6g Af-S Vr DX if-eD, 240 5 olympus zuiko Digital 40-150mm f/4-5.6 eD, 240 6 Sigma 70-300mm f/4-5.6 Dg oS, 295 7 nikon 70-300mm f/4-5.6g Af-S Vr ii if-eD, 420 8 Canon ef-S 70-300mm f/4-5.6 iS uSm, 425
MOUNT KEY
tHe ContenDerS
Sg
See which lens is available for your SLr with this handy key. C is a Canon mount, Nikon is N, Olympus is O, Pentax is P, Sony is S and Sigma is Sg. SPECIAL AWARD
To make this test as relevant as possible, weve created a special award to tell you which lens is best for each camera system.
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Zoom service
KIT ZONE
Extend your reach and get closer to the action with a budget telephoto lens. Matthew Richards checks out all the choices to nd the best buys
teLepHoto ZooMs testeD
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ost D-SLRs come complete with a kit lens that has an eective zoom range of roughly 28-80mm, which is adequate at the wide-angle end but leaves you bereft of telephoto reach. The conundrum is whether to supplement your standard lens with a telephoto, or ditch your kit lens for an all-in-one superzoom, such as the Tamron 18-270mm VC. Theres no denying that superzoom lenses are enormously convenient but, when it comes to optical quality, theyre a bit of a compromise, typically being less sharp (and having more irregular distortions) throughout the zoom range. For those serious about photography, the sensible money goes on a telephoto zoom, but how much do you need to pay? A fast 70-200mm telephoto zoom with a constant f/2.8 aperture will typically cost between 1,000 and
ptical stabilisation systems all work in essentially the same way. The lens contains a floating group of elements, driven by a microprocessorcontrolled system that senses lens vibration and applies an equal, opposite movement to cancel it out. The idea is that the image is stabilised before reaching the sensor. It works best if you allow a second or so between activating autofocus and taking the shot.
2,000 so, unless youre going to be using it all the time or have deep pockets, its a pretty expensive option. On the other hand, more modest telephoto zooms with a maximum aperture stretching from f/4-5.6 as you go through the zoom range, start at little more than 100, rising to just over 400. Theyre not built to take the knocks of full-on professional usage like more upmarket glassware but, at a fraction of the cost, they still have a lot to oer. In terms of sharpness, contrast and overall picture quality, its often dicult to spot the dierence between these budgetfriendly options and the big boys. sensors, so one of the rst decisions to make before buying a telephoto zoom is whether to go for one thats specically designed for this type of camera, or splash out on a full-frame compatible model. As always, there are pros and cons to both sides, and you cant sit on the fence. A bonus of an APS-C-specic telephoto zoom is that its likely to be more compact and lightweight than a full-frame equivalent. Indeed, some of the APS-C and Four-Thirds lenses in our round-up are less than half the weight of full-frame versions, making them an attractive proposition for those who may be carrying or using lenses for hours on end. The downside is that you dont get as much outright telephoto reach most APS-C lenses have zoom
kit anatomy optical stabilisation
Below Need extra reach to get cracking wildlife shots from a distance? A telephoto zoom lens will do the trick
APS-C or full-frAme?
Most of us use D-SLRs with APS-C (Advanced Photo System type C)
In terms of sharpness, contrast and overall quality, its often dicult to spot the dierence between these budgetfriendly options and the big boys
How we test lenses Advice you can trust
e use a two-stage testing system that combines real-world shooting scenarios and rigorous lab tests. To start with, we check the handling characteristics of each of the lenses, ensuring that the zoom and focus rings operate smoothly and precisely, and that the natural placement of these rings enables comfortable use. Moving on, we check the speed, accuracy and quietness of autofocus systems, complete with extras such as full-time manual focus override, where fitted. To accurately gauge the
Ben Brain (Future)
effectiveness of the lenss optical stabilisation, a series of handheld shots is taken at increasingly slower shutter speeds so that we can check for consistent levels of sharpness in the results, compared with having stabilisation switched off. Other factors include overall build quality and value for money. For optical quality, all in-camera features that might flatter lens performance, including corrections for peripheral illumination, lateral chromatic aberration and distortion, are switched off.
Digital editor Ali Jennings tests a lens in Digital Cameras test suite

ranges of between 50-200mm and 55-250mm, which give a fairly modest eective reach of between 300mm and 375mm on most APS-C cameras, or 320-400mm on Canon D-SLRs. Fit a full-frame telephoto zoom, with a typical zoom range of 70-300mm, to your APS-C camera and you get a more impressive eective reach of 450mm (480mm on a Canon). For some, this alone will make a bigger, more expensive lens worth the extra cost, but there are other bonuses as well. Because youre only using the central region of a full-frame lens on an APS-C camera, you can expect better sharpness right to the corners of the frame, so the lenss optical quality is attered in practical use. Another advantage is that if you decide to upgrade to a full-frame camera at some point in the future, you wont have the added expense of having to change your lens as well. Naturally, if youre already using a full-frame camera, your choice is somewhat more limited.
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equiPment know-How
FeAtures to Look For

telephoto reach
After applying an APS-C cameras multiplication factor, the difference in reach between 50-200mm and 70-300mm lenses is even more pronounced, at around 300mm and 450mm respectively.
What to consider when choosing a telephoto zoom lens

Autofocus
Action and wildlife shooting benefit from fast autofocus performance. Canon USM, Nikon AF-S and Sigma HSM systems tend to be quicker than standard micro motors, but this isnt always the case.
manual focus override
Full-time manual focus override avoids the need to switch between autofocus and manual focus. This enables you to tweak the focus setting, once autofocus has been achieved, before you shoot.
riDing witH StAbiliSerS
One area in which modestly priced telephoto zooms cant compete with their pricier siblings is speed. With a typical maximum aperture of f/5.6, theyre two stops slower than a constant f/2.8 lens, so you wont be able to get as tight a depth of eld and theres an inevitable loss of shutter speed. For example, in lighting conditions where youd be able to shoot at 1/500 sec on an f/2.8 lens, youd only be able to shoot at 1/125 sec with one of these telephotos. The rule of thumb is that once you take the crop factor (or focal length multiplier) into account, you need a shutter speed thats at least the reciprocal of the focal length to avoid camera shake. To make these lenses more usable without resorting to a tripod, most of the latest models feature built-in optical stabilisation, which enables you to shoot fairly consistently at between three and four stops slower than you would normally expect without suering the unwanted eects of camera shake. Even so, no amount of stabilisation can counteract the eects of movement on the part of the subject, so for sporting action or wildlife, theres no option but to increase your cameras ISO setting. Even so, some of the telephoto lenses in this class have plenty of pulling power.
Stabilisation modes
Some lenses feature additional stabilisation modes, such as a high-strength active mode, or a dedicated panning mode (sometimes automatic), in which stabilisation is only applied in one plane.
optical stabilisation
Without particularly fast maximum apertures, optical stabilisation is a big bonus for handheld shooting at long telephoto focal lengths, especially on cameras without sensor-shift stabilisation.
Sensor size
Canon EF, Sigma DG and Tamron Di lenses are suitable for use with full-frame or APS-C cameras, whereas Canon EF-S, Nikon DX, Sigma DC and Tamron Di II are only designated for use with APS-C cameras.
watch out for Internal focusing
hen a lens features internal focusing, the full range of focus adjustment is carried out by moving groups of elements inside the lens. one advantage is that the overall length of the lens remains fixed throughout the focus
range, but a bigger bonus is that the front element doesnt rotate with focusing adjustments, making direction-specific filters much easier to use. In this group, only the nikon lenses, the olympus and the sigma 50-200mm feature internal focusing.
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Lens group test
CAnon eF-s 55250MM F/4-5.6 Is

member of the same class as the 18-55mm IS kit lens sold with cameras such as the EOS 450D, the larger EF-S 55-250mm IS has almost identical looks, feel and build quality, right down to its plastic (rather than metal) mounting ring. Further similarities include the same latest-generation Image Stabilizer, which combines a highly eective four-stop advantage with quiet operation and minimal battery drain, along with automatic detection for panning and tripod use. It also features the same standard micro motor autofocus system as the smaller lens which, surprisingly, turned out to be both faster and quieter than the much vaunted USM (UltraSonic Motor) system tted to the bigger Canon 70-300mm on test.
This little Canon is full of surprises
CAnon eF-s 70-300MM F/4-5.6 Is usM

High flyer or under-achiever?
onsiderably bigger and beeer than the other Canon tested, this fullframe-friendly EF 70-300mm lens looks and feels a more solid proposition, with credentials such as a proper metal mounting ring, USM autofocus, dualmode image stabilisation and a zoom lock switch, which is just as well, because zoom creep was appalling on our test sample. On a Canon APS-C camera with a focal length magnication factor of 1.6x, the maximum telephoto reach of 480mm is considerably longer than the more modest 400mm of the smaller Canon lens.
quAlitY oPtiCS
While the plasticky exterior looks and feels a bit cheap, theres better quality where it really counts. Once the preserve of professional L-series (Luxury) lenses, this comparatively inexpensive, lightweight oering nevertheless features a UD (Ultra-low Dispersion) element, designed to reduce chromatic aberrations and increase sharpness and contrast, as well as Canons latest design of Super Spectra coatings for suppressing ghosting and are. With its EF-S designation, you cant use this lens with a full-frame Canon body, but its compatible with all APS-C Canon cameras. Indeed, with the high resolution sensors tted in some cameras, you can get away with a little creative cropping, making spending twice the price on the 70-300mm even harder to justify.
tech focus Ultra-quiet, highly effective four-stop stabilisation, with automatic detection for panning and tripod use. The drain on the battery life is also much less than with some of Canons previous stabiliser models
CoulD Do better
FEATUrES BUILD QUALITY IMAGE QUALITY vALUE
OvErALL
Despite this, there are still similarities between the two Canon oerings once you get under the skin, but its some of the dierences that surprise more. Does the EF 70-300mm go far enough? Canon boasts fast and whisper-quiet autofocus from its USM actuator but, in our tests, this was actually slower and noisier than in Canons 55-250mm lens, which only features a basic micro motor. Autofocus proved particularly sluggish at the 300mm end of the zoom range, and lacks the full-time manual override thats often available in USM lenses. Similarly, the three-stop Image Stabilizer is less eective than the four-stop version tted to the 55-250mm lens, much noisier in operation, and has no automatic panning detection, so you have to switch manually between static and panning modes.
tech focus This should triumph over cheaper Canon lenses, but we found the USM slow and noisy. Theres also no full-time manual focus override, and the front element rotates during focusing, too
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nIkon 55-200MM F/4-5.6g AF-s Vr DX IF-eD

Neat tricks but lacks reach
he 55-200mm AF-S VR Nikons closest competitor to Canons EF-S 55-250mm IS lens is a DX model for APS-C cameras, though it can also be used in crop mode on most full-frame Nikon D-SLRs. There are some notable similarities and dierences to the Canon oering. Firstly, the build quality is pretty much the same, with a reasonably sturdy but plastic construction, including a plastic lens mount. Also, like the Canon, this Nikon lens lacks a focus distance scale. On this lens the manual focus ring looks almost like an afterthought tacked on to the front end of the lens. As well as its small size, the focus ring has very high gearing, making it dicult to use for accurate manual focusing. Switch to autofocus and the Nikon fares massively better, with a superquiet, highly accurate AF-S (AF Silent Wave) system thats a major improvement over Canons more humble micro motor. The three-stop stabiliser isnt the latest and greatest, but its pretty eective nonetheless.
nIkon 70-300MM F/4-5.6g AF-s Vr II IF-eD

major upgrade to Nikons highly popular 70-300mm ED lens, the newer VR II edition ticks every box on the wish list for a lens in this class. The 70-300mm zoom range is useful on a full-frame camera and multiplies up to an eective range of 105-450mm on Nikon APS-C bodies. Build quality is the best of any lens in the group, with a silky-smooth zoom ring and a wonderfully precise manual focus ring thats conveniently placed near the rear of the lens and oers full-time override in autofocus mode. It also comes complete with a neat focus distance scale (something entirely lacking on the pricier Canon 70-300mm lens), placed neatly beneath a viewing window. Also, unlike the Canon equivalent, the Nikon comes complete with petal-shaped lens hood and carrying pouch. The autofocus system is ultra-quiet, unerringly accurate and impressively fast, as well as boasting internal focusing so the front element remains xed. Optical quality is boosted by two ED (Extra-low Dispersion) glass elements in the lenss construction.
Real power with precision control
tech focus Nikons AF-S autofocus is a treat on a lens at this price, and while autofocus isnt as rapid as on some AF-S lenses, its whisper-quiet and accurate even in tricky conditions
tech focus While many lenses offer a four-stop advantage in optical stabilisation, we found Nikons system to have the edge in our tests, producing sharp handheld shots with great consistency
limiteD reACH
The only really limiting factor in this Nikon is its outright telephoto reach, which works out to 300mm when you take the 1.5x crop factor into account. By comparison, the Canons 1.6x crop factor puts the EF-S 55-250mm to a much more generous 400mm. Even so, there are still a couple of extra pluses for the Nikon, as it comes with a hood and soft pouch, which you have to pay extra for when buying most Canon lenses.
going SteADY
OvErALL
To combat camera shake, the lens is tted with VR II, the latest generation of Nikons Vibration Reduction system, which proved every bit as good as its four-stop promise in our tests. As well as automatic panning detection, the system features Normal and Active VR modes. Weighing in at 745g, its noticeably heavier than any other lens in the group, but feels every inch a winner.
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S Sg
oLyMpus ZuIko DIgItAL 40-150MM F/4-5.6 eD

Travel light with this tiny lens
he unfeasibly small Olympus 40-150mm is smaller than most standard 18-55mm zoom lenses, yet oers a respectable 80-300mm eective zoom range, thanks to the 2x focal length conversion factor of the Four Thirds system used in Olympus SLRs. Weighing in at 220g, its less than a third of the weight of the mighty Nikon 70-300mm lens and only half its length, making it an ideal travelling companion. A major contributor to the lightness is the lenss plastic construction but, even so, build quality feels fairly robust. The zoom ring is very slightly jerky but the focus ring is supersmooth and features full-time manual focus override in autofocus mode. Autofocus itself is based on a rather sluggish micro motor system, but there are no issues with accuracy and the front element doesnt rotate during focusing, providing another plus point.
sIgMA 50-200MM F/4-5.6 DC os HsM

Small but perfectly formed
ompared with the Canon 55-250mm and Nikon 55-200mm lenses, this Sigma DC (designed for APS-C) lens is 45 or 65 cheaper respectively. Build quality is fairly similar, though the Sigma features a metal mounting ring and HSM (HyperSonic Motor) autofocus, which is quicker and quieter than the Canons micro motor system and alike in performance to Nikons AF-S autofocus actuator. Other bonuses include a distance scale, which is lacking from both the Canon and Nikon lenses, although its only printed onto the end of the focus ring, which sits just behind the front element. Another advantage over the Canon lens is that, like the Nikon, the front element doesnt rotate during focusing, making for easy use of rotation-specic lters. However, unlike some of Sigmas more upmarket HSM lenses, theres no full-time manual focus override on this model.
tech focus Manual focusing is carried out by an electronic rather than mechanical connection between the focus ring and the internal focus actuator. Its very low-geared, enabling precise adjustments
tech focus Quiet, accurate and fast, Sigmas HSM autofocus system is a joy to use. Along with effective optical stabilisation, it shows that Sigma can match camera manufacturers own lens technology
Like all of the lenses in this group apart from the Canons, the Olympus is supplied with a lens hood, and an ED (Extra-low Dispersion) element helps to boost optical quality. One thing thats noticeably absent is optical stabilisation, but the lens is still a safe bet on bodies with sensor-shift stabilisation built in. Overall, the Olympus 40-150mm amply demonstrates that, while the Four-Thirds system might struggle at the ultra-wide-angle end, it grants great space-saving benets for telephoto shooting.
little eXtrAS
PiCk A flAVour
OvErALL
A major selling point of this and many other independent lenses is that its available in a wide variety of tting options, in this case Canon, Nikon, Pentax, Sigma and Sony. More impressively, Sigmas proprietary Optical Stabilizer system works in all ttings, with the exception of Pentax *ist and K100 series bodies. That said, many current Pentax and Sony D-SLRs have sensor-shift stabilisation built in, but at least you get the choice of using one or the other of these stabilisation methods. In our tests, the extremely quiet Sigma OS system gave a fairly consistent four-stop benet.
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sIgMA 70-300MM F/4-5.6 Dg os

The return of big brother
long-standing rm favourite in the budget telephoto zoom arena, Sigmas 70-300mm APO lens is now joined by this newer model, which loses the APO tag, dropping from two SLD (Super-Low Dispersion) elements in the front group to just one and ditching its 0.5x macro facility. Better news is that the new lens features the major addition of Sigmas four-stop Optical Stabiliser, which worked every bit as impressively as on the smaller Sigma 50-200mm OS lens in our tests. Again, the OS is compatible with Canon, Nikon, Pentax (apart from *ist and K100 series), Sigma and Sony bodies. Taking the step up to full-frame coverage, the 70-300mm lens goes the extra mile on APS-C cameras, giving extra eective reach that puts it on a par with the Canon, Nikon and Tamron 70-300mm lenses in the group.
tAMron AF 70300MM F/4-5.6 DI LD MACro

long-established telephoto zoom of old-school design, the Tamron 70-300mm is one of only two lenses in the group not to feature optical stabilisation the other being the Olympus 40-150mm. Thats all set to change with the imminent introduction of Tamrons new 70-300mm VC (Vibration Correction) lens but, unlike the existing model, the new lens wont be available in Pentax t and its optical stabilisation wont function on Sony bodies. With this in mind, the existing lens is a potentially attractive choice for owners of Pentax and Sony bodies with built-in sensorshift stabilisation, because its super-cheap at only 130. After all, why pay for optical stabilisation if you dont need it?
Telephoto reach, macro advantages
tech focus Essential for lowlight handheld shooting on bodies without internal sensor-shift stabilisation, this offers a consistent four-stop benefit
tech focus With a 0.5x max magnification factor, or 1:2 ratio macro facility, this is the best in the group for close-ups, adding a neat sideline to its telephoto duties
Build quality looks and feels almost identical for both Sigma lenses in the group, although the zoom ring on the 70-300mm is particularly smooth throughout the whole zoom range. The manual focus ring is similarly smooth but, as with most of the lenses in the group apart from the Nikon and Olympus models, its a little annoying that the focus ring rotates in autofocus mode, because its all too easy to foul it accidentally with your ngers. Autofocus itself is less impressive than with the Sigma 50-200mm, as this lens lacks the smaller models HSM system, resorting to a standard Micro Motor thats comparatively slow and noisy, along with a rotating front element.
quAlitY Control
reADY for Your CloSe-uP?
OvErALL
Now that Sigmas new 70-300mm lens has given up the macro credentials of its predecessor, the Tamron is virtually alone in oering a 0.5x macro facility. Sure, it cant match the full 1.0x magnication factor of a genuine macro prime lens, but its the next best thing, enabled by a switch that limits the zoom range to 180300mm while lengthening the focus travel. Build quality is pretty good overall, but does feel a little imsy compared with the Sigma lenses on test, though its quite light in weight for a full-frame lens of its size. Indeed, the Nikon 70-300mm on test weighs nearly twice as much and is three times as pricey. As a budget option, the Tamron is a worthy contender.
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IMAge quALIty In FoCus

CAnon 55-250MM CAnon 70-300MM nIkon 55-200MM nIkon 70-300MM
sHArpness test
Centre- to mid-frame sharpness is good throughout the focal range, but does tail off towards the edges especially at 250mm.
Centre-frame sharpness at 70mm is excellent, and halfway and edgeframe performance is good. At 300mm the sharpness does reduce.
Our test images showed a good, even sharpness at all focal lengths, and across the frame there was only a slight drop-off.
At the 70mm and 135mm centre, mid and edge sharpness was excellent, only dropping off at the narrowest focal length of 300mm.
FrIngIng test
At all focal lengths there was little sign of aberration at the centre of the frame, with only a mild increase mid-way across the frame.
The larger Canon showed little sign of aberration at the centre of the frame, and only a mild influence at the edges.
Centre and edge aberration are minimal, and while the test does show signs at the mid-frame point, theyre not visible to the naked eye.
Theres little aberration at the centre of the frame, but the mid-way does show very mild signs of blue fringing.
DIstortIon test
At 55mm there was a slight barrel distortion and, as you move through the focal range, this changes to a pinch at 300mm.
Barrel distortion is minimal at 70mm, and even at 300mm the pinch distortion is mild and not visually noticeable.
At 55mm the lens showed no sign of barrel distortion, but the 1.3% pinch at 200mm was slightly higher than the others tested.
From the widest to narrowest focal lengths, the influence of distortion was slight, with only a mild pinch visible at 300mm.
IMAGE TEST vErDICT
Although the build quality feels cheap, the optics on this lens are excellent, providing good sharpness across the entire focal range.
IMAGE TEST vErDICT

Sharpness across the focal range at the centre frame is good, as is the minimal distortion, but the drop-off at the edges is disappointing.
IMAGE TEST vErDICT
The images produced by this lens showed little or no signs of fringing at all focal lengths and provide a good sharpness across the frame.
IMAGE TEST vErDICT
Providing excellent centre sharpness despite a slight fall at 300mm and little distortion, this lens proved to be a good all-round performer.
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you can download all our test shots and graphs and view an archive of previous test shots at our website. Visit www.photoradar.com/testing for more details
oLyMpus 40-150MM sIgMA 50-200MM sIgMA 70-300MM tAMron 70-300MM
The smaller focal range of the Olympus showed in the consistency of the results, with all ranges displaying similar sharpness.
Similar in performance to the Canon and Nikon models, the Sigma showed good centre to edge sharpness throughout.
Although not the sharpest of the large zoom lenses at 70 and 135mm, its sharpness at 300mm was better than the other two.
At the widest and halfway focal lengths, the Tamron performed well, but sharpness softened at the narrowest focal length.
Aberration at the centre of the frame was good, although signs of blue fringing began to show towards the edges.
Generally good at all focal lengths, but a slight blue and red fringe did appear towards the edges at 50 and 200mm.
The influence of aberration across the focal range and frame was minimal, with only a slight green fringe at 300mm.
The lens performed well at all focal lengths, with just a slight purplishgreen aberration appearing towards the edges of the frame.
With the smallest focal range in the test group, the Olympus lens displayed visually apparent barrel distortion at 40mm.
Barrel distortion at 50mm was just becoming apparent, and at 200mm the effect of pinch distortion could also be seen.
Distortion at all focal lengths was excellent, with no sign of barrel distortion at 70mm and only a slight influence of pinch at 300mm.
The Tamron showed only a mild pinch at 70mm, and even at 300mm there was no visually apparent distortion.
IMAGE TEST vErDICT
The Olympus lens might have the shortest focal range of the lenses tested, but the image quality shown at all focal lengths was excellent.
IMAGE TEST vErDICT

A good all-rounder with excellent performance at the widest and narrowest focal lengths, but does suffer from pinch distortion at 200mm.
IMAGE TEST vErDICT

Good, solid build quality and, while this wasnt the sharpest lens on test, results for sharpness throughout were generally consistent.
IMAGE TEST vErDICT

The build quality feels cheap, but price and good sharpness and fringing results show that this lens does contain quality optics.
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kitzone
Lens group test
Lens BenCHMArks
See how each lens performed in our lab tests
SHArPNESS Highscoresarebetter
Canon 55-250mm f/4-5.6 Canon 55-300mm f/4-5.6 Nikon 55-200mm f/4-5.6G Nikon 70-300mm f/4-5.6G Olympus 40-150mm
1059 1046 766 858 1039 1140 1372 1260
hese detailed tests confirm the findings of our image quality tests on pages 132-133. the sharpness results were extremely revealing, showing that most of the lenses on test had excellent centre sharpness across their focal ranges, but that this sharpness dropped off towards the edges, particularly on lenses with a greater focal reach. the best lenses in our tests produced good centre to edge sharpness at all focal lengths, with the nikon 70-300mm proving to have a winning combination of sharpness, fringing and distortion at all focal lengths and across the frame. Both sigma lenses performed well, with a good balance of all image quality factors as well as wHAt'S tHiS? competitive prices. the tamron lens, as the cheapest Find out how featured in the test group, performed well and, we test on despite its somewhat flimsy feel, produced good, page 104 consistent results.
1249
1454
1074 1223
1273 1421 1442 1272
Sigma 50-200mm f/4-5.6 Sigma 70-300mm f/4-5.6 Tamron 70-300mm f/4-5.6

771
KEY Widest Halfway Narrowest
1518
1105 1163 1272 1188
1079 1058
700
950
1200
1450
1700
We measure sharpness by dividing line width by pixel height. readings are taken at the centre, middle and edge of the frame and are then averaged
DISTOrTION Lowscoresarebetter
0.99%
FrINGING Lowscoresarebetter
widest Halfway narrowest
Canon 55-250mm f/4-5.6

0.90%
Canon 55-250mm f/4-5.6 Canon 55-300mm f/4-5.6

1.3%
0.24 0.18 0.08 0.18 0.16 0.01 0.45 0.20
0.14 0.11 0.07 0.08 0.05 0.26 0.26 0.18
0.24 0.46 0.06 0.61 0.16 0.21 0.85 0.15
Canon 55-250mm f/4-5.6 Nikon 55-200mm f/4-5.6G

0.73%
Nikon 55-200mm f/4-5.6G Nikon 70-300mm f/4-5.6G Olympus 40-150mm

1.43%
Nikon 70-300mm f/4-5.6G

0.64%
Olympus 40-150mm Sigma 50-200mm f/4-5.6
Sigma 50-200mm f/4-5.6 Sigma 70-300mm f/4-5.6
0.71%
Sigma 70-300mm f/4-5.6 Tamron 70-300mm f/4-5.6
0.85%
Tamron 70-300mm f/4-5.6
0.5
1.5
Here, we measured distortion at the narrowest focal length for each lens at an aperture of f/8. The perfect result in the test would be 0%
Shooting at f/8, we measure fringing (or chromatic aberration) in pixels at three focal lengths. The perfect result in this test would be 0%
HoW tHe Lenses CoMpAre

Canon ef-S Canon ef-S 55-250mm f/4-5.6 iS 70-300mm f/4-5.6 iS uSm Contact Street price mount options Autofocus motor filter size Accessories Dimensions (Dxl) weight Micro Motor 58mm none 70x108mm 390g ultrasonic 58mm none 77x143mm 630g silent Wave 52mm Hood, pouch 73x100mm 335g silent Wave 67mm Hood, pouch 80x144mm 745g Micro Motor 58mm Hood 66x72mm 220g Hypersonic 55mm Hood 74x102mm 420g www.canon.co.uk 220 www.canon.co.uk 425 nikon 55-200mm f/4-5.6g Af-S Vr DX if-eD www.nikon.co.uk 240 nikon 70-300mm f/4-5.6g Af-S Vr ii if-eD www.nikon.co.uk 420 olympus zuiko Digital 40-150mm f/4-5.6 eD www.olympus.co.uk 240 Sigma 50-200mm f/4-5.6 DC oS HSm Sigma 70-300mm f/4-5.6 Dg oS tamron Af 70-300mm f/4-5.6 Di lD macro
sigma-imaging-uk.com sigma-imaging-uk.com www.intro2020.co.uk 175

Sg
295
Sg
130
Micro Motor 62mm Hood 77x126mm 610g
Micro Motor 62mm Hood 77 x 117mm 435g
feAtureS builD quAlitY imAge quAlitY VAlue oVerAll
kitzone
135
nIkon rAIses tHe BAr

ith unbeatable autofocus performance from its super-fast, ultra-quiet Silent Wave system, complete with full-time manual override, top-performing Vibration Reduction to fend o camera shake, excellent build quality and fabulous optics, the Nikon 70-300mm VR II sets a very high standard in its class. Its perfect for use on both full-frame and APS-C cameras and, in this respect, the next best thing is the Sigma 70-300mm OS, although the Sigmas
tHe DigitAl CAmerA VerDiCt
High-end, top-performing features and great optics put the Nikon 70-300mm at the top of the pile
standard Micro Motor autofocus system is relatively slow and noisy. Compared with both of these lenses, the Canon 70-300mm IS proved a bit of a disappointment, with a cumbersome USM autofocus that didnt live up to its billing, along with slightly less eective than expected optical stabilisation. The Tamron 70-300mm lacks optical stabilisation completely, but its incredibly low price less than a third of the cost of the Nikon and Canon equivalents still makes it an
attractive buy for use with current Pentax and Sony bodies featuring built-in sensorshift stabilisation. Choosing between lenses specically designed for APS-C cameras, Canon strikes back with its fairly inexpensive 55-250mm IS. Build quality may look and feel a little cheap, but it boasts the most powerful zoom range and telephoto reach in its class, and punches well above its weight when it comes to optical quality. The Nikon 55-200mm and Sigma 50-200mm lenses more or less match the Canon on build quality, but the 200mm maximum telephoto reach is comparatively disappointing, even though both of these lenses feature faster, near-silent autofocus systems. Finally, the Olympus 40-150mm gives roughly the same eective reach as the latter two lenses, but does so in an amazingly small package.
teLepHoto Best-Buys
nIkon 70-300MM CAnon eF-s 55-250MM We recommend the good: superb optical quality and Whats good: good optics and stabilisation at best lens in the group Whats class-leading feature set. a reasonable price. for the each of the Whats bad: expensive and weighty Whats bad: Lacks the refinement of Canons compared with some of the competition. usM autofocus system. main camera brands Our verdict: A top performer on every level, Our verdict: High all-round performance, the perfect choice for any nikon camera. but build quality could be better. on the market
oLyMpus 40-150MM
Whats good: smaller and lighter in weight even than most standard zooms. Whats bad: Autofocus could be faster and outright telephoto reach is mediocre. Our verdict: this Four-thirds lens comes into its own when its small size that matters.
Whats good: High all-round quality, compact size and fast, quiet HsM autofocus. Whats bad: A bit near-sighted with its maximum focal length of 200mm. Our verdict: Ideal balance for a lightweight sLr such as the pentax k-x.
sIgMA 50-200MM
tAMron AF 70-300MM
Whats good: great value for current sony cameras with internal sensor-shift stabilisation. Whats bad: Build quality feels a bit flimsy but its nicely light in weight. Our verdict: A good-quality telephoto zoom for its price, with the added bonus of macro.
136
KITZONE
SLR BUYERS GUIDE
Filter kits
Money to burn?
Even in our Photoshop age, filters are great for balanced exposures and strong skies
SLRBuyersGuide
D-SLRS
CANON
Product Price Sensor type Contact
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
Reviewed
Canon EOS 450D 507 APS-C, CMOS, 12.2Mp www.canon.co.uk, 01737 220000 Issue 73 Our verdict: The 450Ds features and handling are excellent, but its picture quality is variable. As with other EOS cameras, you need to shoot RAW files for the best definition. Its quick to blow highlight details, too, so its 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: Dont buy the 550D solely for its resolution, because this doesnt necessarily translate into extra real-world definition. Canons 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 a bid to re-assert itself in the semi-pro market. In doing so its produced a great camera, and while it might not convert existing Nikon and Sony owners, its the ideal upgrade for any Canon user. Canon EOS 7D 1,200 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 thats no guarantee that all your action shots will be sharp. The technology is great, but for many non-pro users the package may offer too many choices and be just a bit over-engineered. 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 were the 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 camera with excellent performance and quality of images. Images shot at impressively high ISOs deliver well, and metering and colour rendition is accurate right out of the box. Unlikely to disappoint.
Cokin H250A ND Gradual Filter Kit
Price: 50 Contact: www.cokin.co.uk, 01628 674411 Reviewed: Issue 101 Our verdict: ND Grad filters even out exposure differences in landscapes, and these square filters are handy. The kit comes with P121L (one-stop), P121M (two-stop) and P121S (three-stop) filters. Great value.
Canon EOS-1Ds Mark III 5,249 Full-frame, CMOS, 21.1Mp www.canon.co.uk, 01737 220000 Issue 69 Our verdict: Theres no doubt about it, Canons EOS-1Ds was, at the time of its release, the Rolls-Royce of digital SLRs. The build quality is beyond reproach and the degree of customisation is awesome.
Price: 75 Contact: www.intro2020. co.uk, 01628 674411 Reviewed: Issue 101 Our verdict: These filters are super-slim to reduce vignetting andhavemulti-coatedsurfaces to reduce ghosting and flare. The Hoya kit combines a clear lens protection filter and a circular polariser.
Hoya Pro1 Digital Twin Filter Kit (58mm)
NIKON
Nikon D3000 299 APS-C, CCD, 10.2Mp www.nikon.co.uk, 0800 230 220 Issue 91 Our verdict: While Nikons D3000 is certainly beginner-friendly, its by no means perfect in that respect. Nonetheless, the camera is competitively 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 a well thought-out SLR with something for everyone. Its 720p video recording mode is not as versatile as that of Canons 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 620 APS-C, CMOS, 12.3Mp www.nikon.co.uk, 0800 230 220 Issue 79 Our verdict: For this kind of money you can get cameras with pro levels of build quality, features and resolution. But while its not the best in every respect, the D90 blitzes the rest overall, partly because of its huge list of features and partly because its 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 its quite hard to take a bad picture with this camera. The camera is fast, smart and built to last, with impressive performance at higher ISOs. Its 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: Nikons 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. Its a refresh rather than a new camera, though, and its 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 are inherited from the D3. A superb camera, no doubt, but one thats already ageing.
Cokin H200A Portrait 1 Filter Kit
OLYMPUS
Price: 40 Contact: www.cokin.co.uk, 01628 674411 Reviewed: Issue 101 Our verdict: Includes a warmup filter for warm skin tones and a diffuser for a soft-focus look. Theres also a Centre Spot Warm Incolour 2 filter to keep the central area of the frame sharp and all else blurred. Digital Camera October 2010
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 thats only part of the story. This is a compact, well-featured camera with a decent kit lens, which goes well towards offsetting the smaller sensor. Olympus E-520 500* Four Thirds, Live MOS, 10Mp www.olympus.co.uk, 0800 111 4777 Issue 75 Our verdict: Its probably not going to attract a rush of existing E-510 owners into an upgrade, but the wealth of functions, the great image 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: Its tempting to focus on a specific area when reviewing cameras and overlook the rest. If the E-620 has a disadvantage compared with APS-C cameras, its a slight one, and outweighed by its handling, controls and flexible viewing system. Olympus E-30 739 Four Thirds, Live MOS, 12.3Mp www.olympus.co.uk, 0800 111 4777 Issue 83 Our verdict: This is a great upgrade for existing Olympus E-series users. Those who are more interested in pixel peeping and cheap lenses may not like it, but if you enjoy creative photography then the Olympus E-30 is a great camera that deserves a closer inspection.
SLR BUYERS GUIDE

Product Price Sensor type Contact Reviewed
KITZONE
Money to burn?
137
Olympus E-3 977 Four Thirds, Live MOS, 10.1Mp www.olympus.co.uk, 0800 111 4777 Issue 68 Our verdict: Olympus did everything it possibly could to make a camera that could match the build quality and imaging performance of the much-loved E-1. In this it has 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 concentrate on smooth, slick, electronic finesse before hands-on photographic tools. Pentax does it the other way round. First impressions can be negative as a result, but the K-x reaffirms Pentaxs 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: There is much to like and enjoy on the Pentax K-7. Its a quality product with great handling, plenty of features and it delivers image files that are capable of big prints. Its price could put off the uncommitted, but existing Pentax owners should form a queue.
Wide-angle lenses
Forget about going large go wide instead with lenses that broaden your horizons
SIGMA
Sigma SD15 790 Foveon X3, 14.6Mp www.sigma-imaging-uk.com, 01707 329999 Issue 104 Our verdict: The best thing about Sigmas SD15 is its unique Foveon X3 sensor. The cameras back-to-basics approach is appealing too, but ultimately the somewhat crude feel, confusing controls and stiff price tag are asking a bit too much.
SONY
Sony Alpha a230 290 APS-C, CCD, 10.2Mp www.sony.co.uk, 08700 104107 Issue 100 Our verdict: Overall, the a230 is a reasonable budget-buy SLR for those who like to stick to Full Auto or Program shooting modes, but more adventurous photographers will more than likely find the camera a little too restrictive. Sony a390 400 APS-C, CCD, 14,2Mp www.sony.co.uk, 08700 104107 Issue 103 Our verdict: The a390 is versatile and cheap, but its also unrefined and not particularly nice to handle. Its a solid budget buy, but will suffer tough competition from the new interchangeable lens hybrids. Sony Alpha a380 439** APS-C, CCD, 14.2Mp www.sony.co.uk, 08700 104107 Issue 90 Our verdict: Ultimately, this is an entry-level camera, and as such, we think it succeeds. For the price, the Sony Alpha a380 is a great bargain, but the omission of an HD video recording function is disappointing, especially from Sony. Sony Alpha a450 480*** APS-C, CMOS, 14.2Mp www.sony.co.uk, 08700 104107 Issue 100 Our verdict: Compared with similarly priced SLRs, the a450 fails to give such satisfying results and quality is more inconsistent. Image quality is average and metering errors can be a problem over-exposure is common. Sony Alpha a500 479 APS-C, CMOS, 12.3Mp www.sony.co.uk, 08700 104107 Issue 101 Our verdict: This 12.3Mp Sony is cheaply priced and battery life is good. The camera offers better handling than some of Sonys older 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 a thing 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: Sonys done an extraordinary job in getting such a good full-frame D-SLR to the market. But while its Canon and Nikon rivals ooze class, the a900 still has a few rough edges and Sonys yet to prove it can match Nikon and Canons pro lenses.
Price: 450 Contact: www.sigma.co.uk, 01707 329999 Reviewed: Issue 102 Our verdict: A solid all-round performer with top centre-tomidframe sharpness at both 10 and 14mm, plus acceptable levels of fringing and distortion. A standout winner when it comes to optical quality and value. For all SLR lens mounts.
Sigma 10-20mm f/3.5
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 camera with undeniable appeal but rather too many flaws. And if its serious about prising open a Micro Four 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 a huge improvement on its predecessor, thanks to its excellent electronic viewfinder. This alone makes it a much more viable alternative to a conventional D-SLR. The lack of built-in flash, however, is a serious weakness and one that you cant 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, excellent lens and strong, natural colour rendition. But after a while 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 isnt a camera wed 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 99 Our verdict: With its sleek design, outstanding lens quality and handy creative modes, the GF1 is a force to be reckoned with. Its 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.
Price: 600 Contact: www.nikon.co.uk, 0800 230220 Reviewed: Issue 102 Our verdict: Top of our group test for lens sharpness, the Nikon alsominimises chromatic aberration. Whats more, its razor sharp at the centre of the frame, has great AF and a big zoom range. If you own a Nikon DX SLR you cant buy better.
Nikon 10-24mm f/3.5-4
SAMSUNG
Samsung NX10 474** APS-C, CMOS, 14.6Mp www.samsungcamera.co.uk, 0845 67267864 Issue 100 Our verdict: The NX10 is an impressive camera. Colour quibbles aside, it delivers a level of image quality you wouldnt 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.
SONY
Sony NEX-5 600**** APS-C, CMOS, 14.2Mp www.sony.co.uk, 08700 104107 Issue 102 Our verdict: This camera is a great achievement in so many ways, but its also a disappointment in others. Sony has spent so much time developing clever features and fancy technology that usability seems to have taken a back seat.
* Includes 14-42mm kit lens ** includes 18-55mm kit lens *** including 14-45mm kit lens **** including 18-55mm 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.
Price: 620 Contact: www.canon.co.uk, 01737 220000 Reviewed: Issue 102 Our verdict: Our favourite ultra-wide-angle lens for Canon mounts offers lightweight but solid build quality, good optics and smart autofocus. Fringing and barrel distortion are relatively mild too, so whats not for Canon users to like?
Canon 10-22mm f/3.5-4.5
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Body Only 599.99 Inc.18-55mmIS 689.00 Inc.18-135mmIS 799.99
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1099.00 1199.99 1449.99
EOS 60D Body Only EOS 60D inc. 18-55mmIS EOS 60D inc. 17-85mmIS
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Canon LP-E6 Battery...................79.99 Canon BG-E7 Grip..................149.99 Canon WFT-E5B Transmitter......449.99
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Canon LP-E6 Battery.................229.99 Canon BG-E6 Grip....................49.99 Canon 80-N3 Remote Switch.....45.99
LP-E6 Battery BG-E6 Grip 80-N3 Remote Switch
16.1 MEGAPIXELS
HD Video Mode Live View ISO 102400 10 fps
21.1 MEGAPIXELS
Full Frame CMOS Sensor ISO 1600 5 fps
1694.99 2549.99 2299.99
Body Only
3599.99
Body Only
5299.99
KEY ACCESSORIES
Canon LP-E4 Battery.................129.99 Canon WFT-E2 II Transmitter.....599.99 Canon 80-N3 Remote Switch.....45.99
KEY ACCESSORIES
Canon LP-E4 Battery.................129.99 Canon WFT-E2 II Transmitter.....599.99 Canon 80-N3 Remote Switch.....45.99
CANON EF LENSES
EF 16-35mm f4 L USM EF 17-40mm f4 L IS USM EF 24-105mm f2.8 L USM EF 24-70mm f2.8 L USM EF 28-135mm f3.5-5.6 IS USM EF 28-200mm f3.5-5.6 USM EF 28-300mm f3.5-5.6 L IS USM EF 55-200mm f4.5-5.6 USM II EF 70-200mm f4 L IS USM EF 70-300mm f4-5.6 USM IS EF 70-300mm f4.5-5.6 DO IS USM EF 75-300mm f4-5.6 USM III EF 100-400mm f4.5-5.6 L IS USM EF 14mm f2.8 L USM II EF 15mm f2.8 Fisheye EF 20mm f2.8 USM EF 24mm f1.4 L USM IS EF 24mm f2.8 EF 28mm f1.8 USM EF 28mm f2.8 EF 35mm f1.4 L USM EF 35mm f2 EF 50mm f1.8 II
(USM - Ultra fast near silent operation. IS - Image Stabiliser to reduce camera shake. L - All weather professional lens with ultimate performance) EF 50mm f1.4 USM EF 50mm f1.2 L USM EF 85mm f1.8 USM EF 85mm f1.2 L USM II EF 100mm f2 USM EF 135mm f2 L USM EF 200mm f2 L IS USM EF 200mm f2.8 L USM II EF 300mm f2.8L IS USM EF 300mm f4 L IS USM EF 400mm f2.8 L IS USM EF 400mm f4 DO IS USM EF 400mm f5.6 L USM EF 500mm f4 L IS USM EF 600mm f4 L IS USM EF 800mm f5.6 L IS USM EF-S 15-85mm f3.5-5.6 IS USM EF-S 10-22mm f3.5-4.5 USM EF-S 17-55mm f2.8 IS USM EF-S 17-85mm f4-5.6 IS USM EF-S 18-55mm f3.5-5.6 IS EF-S 18-135mm f3.5-5.6 IS EF-S 18-200mm f3.5-5.6 IS 289.99 1259.99 309.99 1749.99 369.99 899.99 4838.00 629.99 3599.99 1149.99 6479.00 5299.00 1099.99 5469.00 7149.00 9999.00 609.99 649.99 799.99 369.99 149.00 339.99 409.99 EF-S 55-250mm f4-5.6 IS USM EF-S 60mm f2.8 Macro USM EF 50mm f2.5 Macro MP-E 65mm f2.8 Macro EF 100mm f2.8 L Macro USM EF 100mm f2.8 L Macro IS USM EF 180mm f3.5L Macro USM TS-E 17mm f4 L TS-E 24mm f3.5 L TS-E 45mm f2.8 TS-E 90mm f2.8 EF 1.4x II Extender (L lenses) EF 2x II Extender (L lenses) 219.99 359.99 229.99 829.99 429.99 729.99 1239.00 1949.99 1699.99 1099.99 1099.99 269.99 269.99 1499.99 599.99 7499.99 11499.99 CALL CALL 549.99 549.99
1099.99 619.99 934.99 1019.99 369.99 299.97 2169.00 245.99 959.99 429.99 1099.00 2429.99 1279.99 1849.99 579.99 399.99 1319.99 359.99 379.99 159.99 1139.99 214.99 89.99
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 EOS 7D Canon BG-E7..........149.99 EOS 550D Canon BG-E8..........149.99
BG-E6 BG-E5
BATTERIES
EOS 500D/450D/1000D Canon LP-E5............49.99 Energizer LP-E5........29.99 Hahnel LP-E5............29.99 EOS 550D Canon LP-E8............49.99 EOS 50D Canon BP-511A.......99.99 Energizer BP-511.....29.99 Hahnel BP-511........29.99 EOS 5D MKII/7D Canon LP-E6............79.99 Hahnel LP-E6............59.99 EOS 1DS MKIII/1DMKIV Canon LP-E4.........129.99
EF-S 18-135mm
EF 55-200mm
EF 100mm Macro
NEW CANON LENSES LAUNCHED! EF 8-15mm f4 L Fisheye USM EF 70-300mm f4-5.6L IS USM EF 300mm f2.8L IS USM II LENSES EF 400mm f2.8L IS USM II EF 500mm f4L IS USM II COMING EF 600mm f4L IS USM II SOON EF 1.4x III Extender EF 2x III Extender
NEW CANON
WIRELESS
EOS 1DMKIV/1DSMKIII Canon WFT-E2 II......599.99 EOS 50D Canon WFT-E3........799.99 EOS 5D MKII Canon WFT-E4........749.99 EOS 7D Canon WFT-E5........449.99
EF 800mm
HAHNEL PRO WIRELESS
Hahnel Wireless Remote (EOS).....................48.99
CANON SPEEDLITES
GRIPS FLASH ACCESSORIES
270EX Speedlite 99.99
430EXII Speedlite 580EXII Speedlite MR14EX Macrolite MT24EX Macrolite 199.99 374.00 739.99 449.99
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 DRF14C Di866..259.99 Di622..119.99
Flex TT5 (EOS) ..............229.99 EOS 1D/1Ds/5DMkII/50D Mini TT1 (EOS) Canon Remote Switch 80N3........45.99 ..............209.99 Hama Remote Switch 80N3.........29.99 Canon Remote Switch TC80N3..149.99 EOS 500D/550D/1000D FreeXWire Canon Remote Switch 60E3.........24.99 Canon TTL Adapter Hama Remote Switch 60E3..........20.99 ..............81.99 Canon Remote Control IR RC5......19.97
WIRED/ IR
BIRMINGHAM BRISTOL CARDIFF DERBY EDINBURGH HULL LEEDS LEICESTER LIVERPOOL LONDON CHELSEA
0845 600 6055

www.jacobsdigital.co.uk
D3100
14.2 Megapixels Live View Full HD Video ISO 12800 Face Recognition D3000
STUDENT ONLY CASHBACK*
T&CS APPLY 31/10/10
ORDER HOTLINE

10%
COMING SOON
NEW!
D5000
T&CS APPLY 31/10/10
D300S
10%
WHEN PURCHASED WITH A NIKON LENS OVER 400 31/10/10
CASHBACK
200
10.2 MEGAPIXELS
Body Only 299.00 Inc. 18-55mmVR 345.00
KEY ACCESSORIES
Nikon EN-EL9a Battery........... ..55.99 Nikon ML-L3 Remote Control... .19.99 Nikon EH-5AC Adaptor........ ...99.99
14.2 MEGAPIXELS
D3100 Body Only D3100 inc. 18-55mm VR
KEY ACCESSORIES
Nikon EN-EL14 Battery....................................................................................CALL Nikon MC-DC2 Remote Cord........................................................................26.99 Nikon EH-5AC Adaptor................................................................................99.99
12.3 MEGAPIXELS
Body Only 469.00 Inc. 18-55mmVR 479.00 18-55/55-200VR 699.99
KEY ACCESSORIES
Nikon EN-EL9a Battery...............55.99 Nikon MC-DC2 Remote Cord.....26.99 Nikon DK-24 Eyecup....................5.99
12.3 MEGAPIXELS
Body Only 1139.00
499.99 579.99
Nikon EN-EL3e Battery................66.99 Nikon MB-D10 Grip.................249.99 Nikon EH-5AC Adapter..............99.99
D90
Professional
D700
T&CS APPLY 31/10/10
10%

T&CS APPLY 31/10/10
10%
D3S
12.1 Megapixels 1:1 CMOS Sensor Live View Anti Dust Feature HD Video Mode ISO 102400

T&CS APPLY 31/10/10
10%
D3X

T&CS APPLY 31/10/10
10%
12.3 MEGAPIXELS
Body Only 628.00 Inc. 18-105mm 779.00
KEY ACCESSORIES
Nikon EN-EL3e Battery...............66.99 Nikon MB-D80 Grip................149.99 Nikon ML-L3 Remote Control......19.99
12.1 MEGAPIXELS
Body Only 1764.00 D3S Body Only
KEY ACCESSORIES
Nikon EN-EL4a Battery...............119.99 Nikon EH-6AC Adapter................99.99 Nikon WT4 Transmitter...............599.97
EN-EL4a Battery EH-6AC Adapter
12.1 MEGAPIXELS
3589.00 Body Only
24.5 MEGAPIXELS
4798.00
KEY ACCESSORIES
Nikon EN-EL3e Battery...............66.99 Nikon MB-D10 Grip................249.99 Nikon WT4 Transmitter............599.97
KEY ACCESSORIES
WT-4
Nikon EN-EL4a Battery.............119.99 Nikon EH-6AC Adapter..............99.99 Nikon WT4 Transmitter.............599.97
NIKON ACCESSORIES GRIPS

D80/ D90 Nikon MB-D80 ........149.99 Hahnel MB-D80..........99.99 D300/D300s/D700 Nikon MB-D10.........249.99 Hahnel MB-D300.....129.99

T&CS APPLY 31/10/10
10%
NIKON SPEEDLITES
NISSIN SPEEDLITES
GRIPS
FLASH ACCESSORIES
BATTERIES
MB-D10

MB-D80
10%
T&CS APPLY 31/10/10
D60/ D5000 Nikon EN-EL9a........55.99 Energizer EN-EL9.....39.99 Hahnel EN-EL9........39.99 D3100 Nikon EN-EL14........CALL D90/D300/D300s/D700 Nikon EN-EL3e........66.99 Energizer EN-EL3e...40.99 Hahnel EN-EL3e.......40.99 D3/D3x Nikon EN-EL4a......119.99
WT-4
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 OmniMARUMI RING FLASH Bounce DRF 14N......................................132.99
SB400 Speedlite 127.99
Di622 Speedlite 119.99
Di866 Speedlite 259.99
NIKON LENSES
14-24mm f2.8 AF-S G ED 18-35mm f3.5-4.5 D IF-ED 24-85mm f2.8-4 D IF 24-120mm f3.5-5.6 G AF-S VR 24-70mm f2.8 G AF-S ED 70-200mm f2.8 G AF-S VR II IF-ED 70-300mm f34.5-5.6 G AF-S VR IF-ED 80-400mm f4.5-5.6 D VR ED 200-400mm f4 G AF-S VR IF-ED II 14mm f2.8 D ED 16mm f23.8 D Fisheye 20mm f2.8 D 24mm f2.8 D 28mm f2.8 D STUDENT ONLY 35mm f2 D CASHBACK* 50mm f1.8 D T&CS APPLY 31/10/10 50mm f1.4 D 50mm f1.4 G AF-S 85mm f1.4 D 85mm f1.8 D
(DX - for Nikon DX SLRs. VR - Reduces image blur. AF-S - Lightening quick with whisper quiet focusing. ED - Helps reduce chromatic aberration) 1296.99 498.00 520.99 539.00 1190.00 1639.99 419.00 1169.99 6249.99 1189.00 598.99 459.00 329.00 225.00 254.99 107.99 229.00 298.00 887.99 305.99 105mm f2 D DC 135mm f2 D DC 180mm f2.8 D IF STUDENT ONLY 200mm f2 G AF S CASHBACK* 300mm f2.8 AF-S T&CS APPLY 31/10/10 300mm f4 D AF-S IF-ED 400mm f2.8 G AF-S VR ED 500mm f4 G AF-S VR ED 600mm f4 G AF-S VR ED 10.5mm f2.8 DX G ED 35mm f1.8 DX G AF-S 10-24mm f3.5-4.5 DX G AF-S ED 12-24mm f4 DX G IF 16-85mm f3.5-5.6 DX G AF-S VR 17-55mm f2.8 DX AFS IF-ED 18-105mm f3.5-5.6 DX G VR ED 18-200mm f3.5-5.6 DXGAF-S VRII IFED 55-200mm f4-5.6 DX AF-S VR IF-ED 799.00 959.99 619.00 3069.00 4299.00 968.99 6518.00 5739.00 6927.99 521.99 169.00 629.99 799.00 434.00 1049.99 239.99 579.00 238.99 55-200mm f4-5.6 DX AFS ED 200-400mm f4G IF ED AF-S VR NEW! 60mm f2.8 G AF-S ED Micro 85mm f3.5 G AF-S DX Micro 105mm f2.8 G AF-S VR IF-ED Micro 200mm f4 IF-ED Micro PC-E 24mm f3.56 D ED PC-E 45mm f2.8 D ED PC-E 85mm f2.8 D ED TC-14E II Teleconverter TC-17E II AF-S Teleconverter TC-20E III Teleconverter 182.99 4669.00 398.99 449.99 614.99 1109.00 1369.00 1389.00 1349.00 305.99 304.99 399.99
WIRELESS HAHNEL PRO WIRELESS WIRED/ IR
D300/D700/D3/D3x Nikon WT-4...................................599.97 Hahnel Wireless Remote (NIK)..........48.99

T&CS APPLY 31/10/10
10%
10%
18-200mm
70-200mm
FreeXWire D300/D700/D3 Nikon Remote Cord MC-30.............59.99 Nikon TTL Adapter ...... 66.99 Hama Remote Cord MC30..............40.99 D90/D5000 Nikon Remote Cord MC-DC2.........129.99 D80/D70s Hama Remote Cord MC-DC1...........20.99 Fire flash units & D40/D60 cameras up to Nikon Remote Control ML-L3 IR.........19.99 hundreds of feet away.
10%
85mm Micro
NEW NIKON LENSES LAUNCHED!

NEW NIKON LENSES COMING SOON
600mm
AF-S 85mm f1.4G AF-S 24-120mm f4G ED VR AF-S 28-300mm f3.5-5.6G ED VR AF-S DX 55-300mm f4.5-5.6G VR
CALL CALL CALL CALL
*Only open to students attending a higher education photographic or media course - proof required. 10% Cashback on any Nikon product: 1/9/10 - 31/10/10. Not to be used in conjunction with any other Nikon offer. Claim direct from Nikon.
LONDON WEST END LONDON CITY WESTMINSTER MANCHESTER NOTTINGHAM NEWCASTLE SHEFFIELD
KEY ACCESSORIES
PLEASE CALL OR VISIT OUR WEBSITE FOR THE LATEST COMPETITIVE PRICE
WE ARE CONSTANTLY UPDATING OUR PRICES!
To find out more about Jacobs Pro Lounges please visit:
www.jacobsdigital.co.uk/pro
London New Oxford Street Manchester Edinburgh

Alpha A33 Alpha A580
JACOBS PRO LOUNGES

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
16mm f2.8 Fisheye 20mm f2.8 28mm f2.8 35mm f1.4G 50mm f1.8 50mm f1.4 50mm f2.8 Macro 100mm f2.8 Macro 11-18mm f4.5-5.6 DT 16-105mm f3.5-5.6 DT 18-200mm f3.5-5.6 DT 18-250mm f3.5-5.6 DT 55-200mm f4-5.6 DT 70-200mm f2.8 G 70-300mm f4.5-5.6 SSM G 75-300mm
579.99 449.99 189.99 1099.99 139.99 229.99 429.99 529.99 499.99 449.99 429.97 449.99 162.99 1475.99 699.99 199.99
NEW!
Alpha A55
NEW!
NEW!
K-x
K-7
14.2 MEGAPIXELS
Body Only 599.99 Inc.18-55mm 649.99 18-55/55-200 849.99
16.2 MEGAPIXELS
Body Only 699.99 Inc.18-55mm 749.99 18-55/55-200 949.99
16.2 MEGAPIXELS
Body Only 649.99 Inc.18-55mm 749.99 18-55/55-200 899.99 Inc.18-55mm Inc.18-55 & 55-300mm
12.4 MEGAPIXELS
399.00 549.00
428.98 794.98 693.99 464.98
14.6 MEGAPIXELS
Inc.18-55mm Inc.18-55 & 50-200mm
50-200mm f4-5.6 ED DA 55-300mm f4-5.8 ED DA 14mm f2.8 DA ED IF 50mm f2.8 Macro 55mm f1.4 SDM 100mm f2.8 Macro
1 2 3
799.00 929.00
229.99 269.99 539.00 404.99 649.99 479.97
FEATURES 9/10 BUILD/HANDLING 9/10 NOISE/RESOLUTION 28/30 DYNAMICRANGE 8/10 AWB/COLOUR 9/10 METERING 8/10 AUTOFOCUS 7/10 LCD/VIEWFINDER 8/10
4 5 6 7 8 9 10
KEY ACCESSORIES
28-75mm f2.8 SAM 599.99
70-400mm f4-5.6 SSM 1299.99
Sony NP FW-50 Battery........59.99 Sony RM-S1AM Remote Commander....................... 40.99
KEY ACCESSORIES
Sony NP FW-50 Battery........59.99 Sony RM-S1AM Remote Commander....................... 40.99
KEY ACCESSORIES
Sony NP FM500H Battery....61.99 Sony FVG-B50AM Grip.... 129.00
PENTAX LENSES
10-17mm f3.5-4.5 DA Fisheye 12-24mm f4 DA 16-50mm f2.8 ED ALIF SDM 17-70mm f4 SDM DA749.99
COMPACT SYSTEM CAMERAS

ALPHA NEX-3
Smaller than a DSLR but more powerful & Creative than a compact.
ALPHA NEX-5
M9
18 Megapixels 1.5x CCD Sensor Rangefinder ISO 2500 2 fps
NX10
86
Tested as Entry-level hybrid camera Rated Good
CASHBACK
ENDS 30/9/10
50 14.6 MEGAPIXELS
*INC. UP TO
SONY ALPHA NEX AVAILABLE IN STORE ONLY.
18.0 MEGAPIXELS
Inc.16mm 499.00 Inc.18-55mm 549.00 Inc.18-200mm 899.00
21mm f2.8 Elmarit-M ASPH f2.8 Elmarit-M ASPH 4955.99 24mm 28mm f2.8 Elmarit-M ASPH 35mm f2.0 Summicron-M ASPH KEY ACCESSORIES 50mm f1.4 Summilux-M ASPH Leica Lithium-ion Battery......... 71.99 50mm f2.5 Summarit-M Leica SF24D Flash.............. 264.99 75mm f2.0 Summicron-M ASPH Leica SF58D Flash.............. 539.99 90mm f2.5 Summarit-M
Inc.16mm 399.00 Inc.18-55mm 449.00 Inc.16 & 18-55 529.00
KEY ACCESSORIES
Sony NP-FW50 Battery.......59.99 Sony Case.........................52.99 Sony Fisheye Converter.... 124.99
NEX 3 - BLACK, SILVER OR RED NEX 5 - BLACK, OR SILVER Interchangeable Lenses Sweep Panorama (3D available in Firmware upgrade) HD Video Mode 3 Vari Angle LCD Screen Includes External Flash
Body Only Steel Grey or Black
LEICA LENSES
2755.99 2525.99 1293.99 1862.99 2254.99 887.99 2105.99 1095.99
Inc.18-55mm 419.99* Inc.18-55mm & 50-200mm 479.99*
KEY ACCESSORIES
Sony NP-FW50 Battery.......59.99 Sony Case..........................52.99 Sony Fisheye Converter..... 124.99
KEY ACCESSORIES
Samsung BP1310 Battery.....27.99 Samsung SEF20A Flash..... 105.99 Samsung SR9NX01 Shutter.....14.99
PEN FLASH SYSTEM
E-PL1
12.3 2x L-MOS Live View HD Video ISO 6400 Art Filters
CASHBACK
ENDS 30/9/10
75
*INC.
E-P2
E-P1 Inc.17mm Silver
Olympus FL-14 Flash.............159.99
SPECIAL OFFER ONLY 399.00!

WHILE STOCKS LAST
ACCESSORY PORT
Olympus Viewfinder - 2.......261.99 Olympus Viewfinder -1..........99.99 Olympus Microphone Set
Viewfinder
12.3 MEGAPIXELS
Leather Body Jackets
HD Video Live View Art Filters ISO 6400
12.3 MEGAPIXELS
840.99 887.99
HD Video Live View Art Filters ISO 6400
12.3 MEGAPIXELS
OLYMPUS PEN LENSES

M ZUIKO Digital ED 9-18mm f4-5.6 499.97 M ZUIKO Digital ED 14-42mm f3.5-5.6 224.99 M ZUIKO Digital ED 17mm f2.8 Pancake 279.99
PEN ADAPTERS
MMF-1 Adapter MF-2 Adapter 99.99 149.99
17mm f2.8 Pancake
Inc.14-42mm
424.99*
Inc.14-42mm Inc.17mm
Inc.17mm f2.8 Pancake & Viewfinder 399.00 HALF PRICE! WAS: 799.99
KEY ACCESSORIES
Olympus PS-BLS1 Battery..................................................................49.99 Olympus Leather Body Jacket (brown or white leather).......................69.99
KEY ACCESSORIES
Olympus PS-BLS1 Battery.....49.99 Olympus Leather Body Jacket................................69.99
KEY ACCESSORIES
Olympus PS-BLS1 Battery.....49.99 Olympus Leather Body Jacket................................69.99
PANASONIC LENSES
7-14mm f4 Vario G ASPH 45-200mm f4-5.6 G ASPH 20mm f1.7 G ASPH 45mm f2.8 ASPH 1199.99 279.99 299.99 649.99 14-140mm f4-5.6 Vario G HD 699.99
Lumix G10
12.1 Megapixels L-MOS Sensor Live View HD Video Mode Dust Reduction
Lumix GF1
Lumix G2
Lumix GH1
12.1 MEGAPIXELS
Inc.14-42mm 439.00 Inc.20mm Inc.14-45mm
12.1 MEGAPIXELS
629.00 549.00 Inc.14-42mm Inc.14-42 & 45-200mm
12.1 MEGAPIXELS
549.00
829.00
12.1 MEGAPIXELS
Inc.14-140mm 899.00
PANASONIC FLASH
Panasonic DMW-FL28......102.99 Panasonic DMW-FL220....148.99 Panasonic DMW-FL360....204.99
KEY ACCESSORIES
Panasonic DMW-BLB13E Battery........ 64.99 Panasonic DMW-LVF1 View Finder... 169.99 Panasonic DMW-FL220 Flashgun..... 148.99
BLB13E Battery LVF1 Viewfinder
KEY ACCESSORIES
DMW-BLB13E Battery........ 64.99 DMW-LVF1 View Finder... 169.99 DMW-FL220 Flashgun..... 148.99
KEY ACCESSORIES
KEY ACCESSORIES
0845 600 6055

LENSES
(available in different fits) 589.99 505.99 399.99 399.99 449.99 336.99 77.97 183.99 336.99 267.99 228.99 289.99 399.99 589.99 631.99 505.99 505.99 420.99 336.99 379.99 699.99 2272.99 3956.99 4209.99 255.99 349.99 402.99 589.99 247.99 301.99
105mm 10-20mm
ORDER HOTLINE

FILTERS
PROTECT YOUR INVESTMENT! Protect your lens from grit and scratches.
CLEANING & PROTECTION

Cleaning Pen....9.99
Macro 50mm f2.8 EX DG Macro 70mm f2.8 EX DG Macro 105mm f2.8 EX DG Macro 150mm f2.8EX DG HSM APO IF Macro Teleconverters 1.4x Converter EX DG APO 2x Converter EX DG APO
50mm
18-270mm
28-300mm
55-200mm
LENS CASES
Jacobs
Lens Pouch S.......9.99 Lens Pouch M...11.99 Lens Pouch L.....12.99
Lowepro
Air Duster Refill Air Duster Valve 10.99 9.99
JACOBS
JACOBS
Domke
Zoom Lenses 12-24mm f4.5-5.6 EX DG HSM ASP IF 24-70mm f2.8 EX DG HSM ASP IF 70-200mm f2.8 EX DG HSM APO IF Macro II 70-200mm f2.8 EX DG OS HSM NEW! 70-300mmm f4-5.6 DG Macro 70-300mm f4-5.6 DG OS 120-300mm f2.8 EX DG HSM APO IF 120-400mm f4.5-5.6 DG HSM APO RF OS 150-500mm f5-6.3 DG HSM APO RF OS 200-500mm f2.8 EX DG HSM APO IF 300-800mm f5.6 EX DG HSM APO IF
11 Wrap.......14.99 15 Wrap.......16.99 19 Wrap.......18.99
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
699.99 449.99 673.99 1299.99 133.99 299.99 1852.99 639.99 749.99 20,203. 5892.99
Hoya Pro
LCD Protector Microfibre Cloth 4.99 4.99
JACOBS
JACOBS
AF 10-17mm f3.5-4.5 AT-X 107 DX Fisheye AF 11-16mm f2.8 AT-X Pro DX AF 12-24mm f4 AT-X 124 Pro DX AF 12-24mm f4 AT-X 124 Pro DXII AF 16-50mm f2.8 AT-X Pro DX AF 50-135mm f2.8 AT-X 535 Pro DX AF 80-400mm f4.5-5.6 AT-X 840D AF 35mm f2.8 Macro AT-X Pro DX AF 100mm f2.8 Macro AT-X 100 AF Pro D
499.99 549.99 499.99 574.99 699.99 649.99 649.99 399.99 399.99
Revolutionary performance in light transmission & colour balance. Glass just 1mm thick, mounted in a super slim 3mm ring and 12 layers of super multi-coating. Pro-1D 52mm Protector ............39.99 Pro-1D 52mm UV.....................39.99 Pro-1D 52mm PL-CIRC .............84.99 Pro-1D 55mm Protector ...........39.99 Pro-1D 55mm UV.....................39.99 Pro-1D 55mm PL-CIRC .............89.99 Pro-1D 58mm Protector ...........44.99 Pro-1D 58mm UV.....................44.99 Pro-1D 58mm PL-CIRC .............94.99 Pro-1D 62mm Protector ...........49.99 Pro-1D 62mm UV.....................49.99 Pro-1D 62mm PL-CIRC .............99.99 Pro-1D 67mm Protector ...........59.99 Pro-1D 67mm UV.....................59.99 Pro-1D 67mm PL-CIRC ...........119.99 Pro-1D 72mm Protector ...........64.99 Pro-1D 72mm UV.....................64.99 Pro-1D 72mm PL-CIRC ..........134.99 Pro-1D 77mm Protector ...........74.99 Pro-1D 77mm UV.....................74.99 Pro-1D 77mm PL-CIRC ...........169.99 Pro-1D 82mm Protector ...........79.99 Pro-1D 82mm UV.....................79.99 Pro-1D 82mm PL-CIRC ......... 189.99
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 Circ-PL Filter..................29.99 52mm UV Filter ......................14.99 55mm Circ-PL Filter..................29.99 55mm UV Filter ......................14.99 58mm Circ-PL Filter..................34.99 58mm UV Filter ......................16.99 62mm Circ-PL Filter..................39.99 62mm UV Filter ......................19.99 67mm Circ-PL Filter..................44.99 67mm UV Filter ......................21.99 72mm Circ-PL Filter..................49.99 72mm UV Filter ......................25.99 77mm Circ-PL Filter..................54.99 77mm UV Filter ......................29.99
Cleaning Kit 9.99
JACOBS
Blower Brush 8.99
JACOBS
METZ FLASHGUNS
(Most available in Canon, Nikon, Olympus, Panasonic, Sony and Pentax fits)
POCKETWIZARD WIRELESS
Plus II set..........................369.99 Plus II Transceiver..............189.99 Multimax Transceiver.........249.99 PC1 Cable...........................8.99
Rocket Air (L) 11.99
GIOTTOS
GIOTTOS
Q Ball Air 11.99
PROPHOT
Wet Wipes 3.99
HILDOZINE
20 C-2 39.99 36 AF-4 74.99 48 AF-1 188.99 58 AF-1 278.99
SensorScope Kit 81.99
DELKIN
Safely secure your pocketwizard with confidence. Transceiver Caddy..............12.99 Protective Storgae Jacket.......7.99
STUDIO LIGHTING
Jacobs Studio 160 Lighting Kit 199.99
Strobies Portrait Kit STR100 99.99
Lightweight & portable STROBIES lighting accessories, ideal for the mobile photographer, indoors or outdoors. Simple to put together using a Flex Mount on your flashgun, no glue, velcro or rubber bands needed! Swap between the Beauty Dish or the Globe Diffuser in seconds
LASTOLITE LIGHTING ACCESSORIES

Ezybalance
1250 30cm .......18.99
Reflector Brackets
Xpobalance
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 a deluxe studio carrying bag.
1558 38cm .......35.99
Ezybalance Hotshoe
Trigrip 2430 bracket .........71.99 Universal 1100 bracket .....49.99 Pocket 1113 bracket .........42.99 2402 Tilthead shoe adapt .17.99
2438 38x38cm ...92.99 2462 60x60cm ...99.99
Background Supports Backgrounds
1108 3m wide ...........................148.99 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
Bowens 4713 Gemini 200 2 Head Kit

Inc. two Gemini 200Ws, two Bowens 90cm Silver/White Umbrellas, two 120 Wide-Angle Umbrella reflectors and two Bowens support stands.
Bowens 4850 Gemini 500R 3 Head Kit
Ezybalance Softboxes
2460 60x60cm ...........122.99
Interfit Strobies EFX Kit STR101..............69.99 Interfit Strobies XS Softbox Kit ...............99.99
459.99
Includes three Gemini 500Ws, two Bowens 115cm Silver/White Umbrellas, two 120 Wide-Angle Umbrella reflectors, one Softbox and three support stands.
2201 Micro Apollo 45 ..27.99 2204 Micro Apollo 60 ..30.99
Micro Apollo
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.
TriGrip Reflectors
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
1480.99
Interfit Interfit Interfit Interfit
EX150 MkIII Kit Includes three Heads .....419.99 EXD200 Kit All in 1 kit .......................289.99 EXD300 Kit Softbox umbrella kit ............469.99 EXD400 Kit Softbox umbrella kit ............539.99
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
HiLite Backgrounds Umbrellas
8867 1.8x2.15m ..318.99 8857 1.5x2.15m ..266.99 3203 silver 80cm ........24.99 3207 white satin 80cm 17.99
ePhotomaket Kit
2484 small .....51.99 3684 large .....81.99
TriFlip Kit
3696 75cm 19 ..........................92.99
Studio Cubelite Kit

8825 70cm ..461.99
DC Lenses 4.5mm f2.8 EX HSM DC Circ Fisheye 10mm f2.8 EX HSM DC 30mm f1.4 EX HSM DG 10-20mm f4-5.6 EX DC HSM ASP IF 10-20mm f3.5 EX DC HSM ASP IF 17-70mm f2.8-4.5 DC ASP IF 18-50mm f3.5-5.6 DC ASP 18-50mm f2.8-4.5 DC HSM IF OS 18-50mm f2.8 EX DC HSM ASP IF 18-125mm f3.8-5.6 DC HSM IF OS 18-200mm f3.5-6.3 DC ASP IF 18-200mm f3.5-6.3 DC ASP IF OS 18-250mm f3.5-6.3 DC ASP IF OS 50-150mm f2.8 EX DC HSM APO IF II Prime Lenses 8mm f3.5 EX Circ Fisheye DG 15mm f2.8 EX Fisheye DG 20mm f1.8 EX DG ASP RF 24mm f1.8 EX DG ASP 28mm f1.8 EX DG ASP 50mm f1.4 EX DG HSM 85mm f1.4 EX DG HSM NEW! 300mm f2.8 EX DG HSM 500mm f4.5 EX DG HSM APO IF 800mm f5.6 EX DG HSM APO IF
30mm
17-70mm
18-200mm
Di-II Lenses 10-24mm f3.5-4.5 Di II LD ASP IF 17-50mm f2.8 XR Di II VC LD ASP 18-200mm f3.5-6.3 XR Di II LD ASP IF 18-250mm f3.5-6.3 Di II LD ASP IF 18-270mm f3.5-6.3 Di II VC LD ASP IF 55-200mm f4-5.6 Di II LD Zoom Lenses 28-75mm f2.8 XR Di LD ASP IF 28-300mm f3.5-6.3 XR Di ASP IF 28-300mm f3.5-6.3 XR Di VC LD ASP IF 70-200mm f2.8 Di LD IF 70-300mm f4.5-5.6 Di LD 200-500mm f5-6.3 Di LD IF Macro Lenses 60mm f2 Macro Di 90mm f2.8 Macro Di 180mm f3.5 Macro Di LD
379.99 339.99 169.00 388.97 399.99 115.00 359.00 299.00 499.99 619.00 139.00 869.00 389.99 349.00 699.00
37mm UV HMC ......................19.99 37mm Circular Polar ...............39.99 40.5mm UV HMC ..................19.99 49mm Circular Polar ...............39.99 49mm UV ...............................19.99 52mm Circular Polar ...............44.99 52mm UV ...............................19.99 55mm Circular Polar ...............44.99 55mm UV ..............................21.99 58mm Circular Polar ...............49.99 58mm UV ...............................24.99 62mm Circular Polar ...............69.99 62mm UV ..............................24.99 67mm Circ.Polariser.................79.99 67mm UV ...............................29.99 72mm Circular Polariser ..........84.99 72mm UV ...............................39.99 77mm Circ Polariser.................99.99 77mm UV ...............................44.99 82mm Circular Polariser ........129.99 82mm UV ...............................69.99 86mm UV ...............................69.99 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 Protector ................59.99 HD 62mm UV..........................59.99 HD 62mm PL-CIRC.................109.99 HD 67mm Protector .................64.99 HD 67mm UV..........................64.99 HD 67mm PL-CIRC ................134.99 HD 72mm Protector .................74.99 HD 72mm UV..........................74.99 HD 72mm PL-CIRC ................169.99 HD 77mm Protector ................94.99 HD 77mm UV..........................94.99 HD 77mm PL-CIRC ................199.99 HD 82mm Protector ................99.99 HD 82mm UV..........................99.99
Cokin P Series
LENSPEN
The original square filter system. Cokin P Series filters are designed for shorter focal lenghts 20-24mm or 28 mm as well as for wide angle zooms (24-50/28 -8 5/35-135mm) 49mm P Adaptor ....................12.99 52mm P Adaptor ....................12.99 55mm P Adaptor ....................12.99 58mm P Adaptor ....................12.99 62mm P Adaptor ....................12.99 67mm P Adaptor ....................12.99 72mm P Adaptor ....................12.99 77mm P Adaptor ....................12.99 82mm P Adaptor ....................12.99 P Holder & Catalogue (BP400).12.99 P Wide Angle Holder ..............14.99 P Digital 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 ...........................24.99 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 P153 Neutral Density x4 .........16.99 P154 Neutral Density x8 .........16.99 P164 Circular Polariser ...........84.99 P197 Sunset 1 ........................39.99 P830/P083 Diffuser 1.............19.99 P840/P084 Diffuser 2.............19.99
Sensor Klear Angled 15.00
LENSPEN
Sensor Klear Loupe 40.00
LENSPEN
VISIBLEDUST
Hoya HD
SL700 Arctic Butterfly.. 54.99 SL724 Arctic Brite Vue.84.99 Sensor Loupe (7x)....... 59.99 Zeeion Non Contact Dust Removal..................... 34.97 Mini Swab 1.3x......... 24.97 Mini Swab 1.6x......... 24.97 Vdust Plus 7.5ml......... 14.99
15mm
www.jacobsdigital.co.uk/used
To view or download the latest list of pre-owned equipment, please visit:

MANFROTTO TRIPODS
JACOBS PRE-OWNED EQUIPMENT

Brands include: Bronica, Canon, Contax, Fuji, Hasselblad, Leica, Mamiya, Nikon, Pentax, Rollei, Voigtlander & many more. MANFROTTO TRIPOD HEADS
All our pre-owned equipment comes with a 12month warranty.

UP TO
0207 436 55 44
10
MONOPODS
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
190X Range Featuring a patented design which allows the centre column to be used horizontally as an extending arm, or vertically.
190XPROB
108.99
055CX Range The 4-section 055CX PRO 4 combines the best performances of the 055 carbon family with lower dimensions. This tripod is compact and light, with the patented Q90system 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
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 ....39.99
Video Heads Small & lightweight heads with smooth fluid movement & pan & tilt locks. 128RC.. 65.99
ON SELECTED HEADS ENDS 30/9/10
CASHBACK*
Monopods Ever heard the one about a one legged tripod? You have now Monopods are perfect for those that need stability, speed and portability. 790B Modo.................. .....25.99 679B 3-Section ..................35.99 680B 4-Section ..................44.99 681B 3-Section...................49.99 685B Neotec ..................114.99 695CX ...........................139.99 694CX ...........................127.99 776YB M-Y ........................34.99
CASHBACK*
10
UP TO
700RC2 69.99....
118.99
496RC2 Compact Ball Head with RC2 Quick Release Plate ....54.99
498RC2 Midi Ball Head with RC2 Release Plate .....89.99
Joystick Heads Just grip the handle and you can position your camera anywhere within a 180 sphere. 222 Joystick Head .....76.99 322RC2 Heavy Duty Grip Head 88.99 324RC2 NEW! 109.99 327RC2 NEW! 164.99
055XB Tripod..................... 94.99 055XPROB Tripod............ 118.99
190XB..................................88.99 190X PROB........................108.99
Manfrotto Tripod Bags You look 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 a spring clip to fasten quickly at the shoulder of the tripod for a tight & secure grip. Manfrotto MN102 Tripod Strap............ 21.99
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...............44.99 797 Modo Pocket...............14.99
30/9/10 Pan & Tilt Heads Smooth control of pan, back and forward tilt plus side to side tilt movements.
ON SELECTED HEADS ENDS
CASHBACK*
10
UP TO
804RC2 Basic Head Q/R 594.99
CASHBACK*
10
UP TO
Monopod Heads 234 Simple tilt head allows 900 tilt for vertical or horizontal format.
460Mg Magnesium Head ...68.99
234 Tilt Head-M/Pod..........14.99 234RC Tilt Head Q/R ........24.99
*Selected Manfrotto Heads up to 100 - receive 5 Cashback, Selected Manfrotto Heads over 100 - receive 10 Cashback. 23/8/10 - 30/9/10. Claim direct from Manfrotto.
GIOTTTOS TRIPODS - 5 Year Warranty on all Giottos Tripods & Heads
GIOTTOS TRIPOD HEADS

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 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 a safety 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 Quick Release Plate Replacement Square Mount Plate for MH652. MH642 Q/R Plate 1/4 ......12.99 Pan & Tilt Heads
GIOTTOS MONOPODS
NEW!
Vitruvian VGR Tripod Kits Designed to offer photographers not only a truly lightweight and compact tripod, but a full 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 a unit that measures only 40cm long. Unscrew the tripod leg, remove the centre colum & head then join them together to produce a monopod with a maximum height of 162cm. Vitruvian VGR9255 & MN5310 .....................................199.99 Vitruvian VGR8255 & MN5310 ....................................329.99 MTL Adjustable Column Carbon Fibre Patented multi-function centre column allows for 180 vertical movement and 360 degree horizontal rotation as a lateral 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 MTL8361B Adjust Column .199.99 MTL8360B Adjust Column .189.99 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 MTL9351+MH5011 kit NEW119.99 MTL9361B Adjust Column ...98.99 MTL9361+MH5001 head .134.99 MTL3361B Adjust Column ...99.97 Giottos MH5001 Smooth control of pan, back & forward tilt plus side to side tilt movements. The quick pan head incorporates a special 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..........34.99 Giottos MML3270B......... 39.99 Giottos MNL3290B ........ 44.99
Gorillapods The Gorillapod firmly secures your camera to just about anything, it can be manipulated into a variety of positions to wrap around objects. Gorillapod Black................14.99 Gorillapod SLR...................29.99 Gorillapod SLR Zoom..........39.99 Gorillapod Green...............14.99 Gorillapod Focus................89.99 Gorillapod Magnetic NEW 24.99 Gorillapod BH1 Head.........39.99 Gorillapod BHX Head NEW..69.99
Velbon Tripods CX Mini Table inc. case.......19.99 CX-440 Tripod inc. case .....29.99 CX-540 Tripod inc. case .....39.99 CX-640 Tripod inc. case .....49.99 CX-740 Tripod inc. case .....69.99
GITZO TRIPODS - Available at our New Oxford Street store only and as a special order through other stores.
Systematic The strongest and most stable available, they also offer unsurpassed flexibility. GT3541LS Studex.............499.99 GT3511S Rapid Column...169.99 Leveling Revolutionary leveling tripod for photographers who need fast set-up and leveling accuracy. GT2540LLVL Leveling ........549.99 Traveler & Head An excellent choice for compact digital cameras and DSLRs, or even for lightweight camcorders. Come with the G1077M head. GT1550T Traveler ...............439.99 GK2580TQR with head.......599.99 Explorer A versatile support to explore new shooting perspectives. GT2531EX Explorer GLock...409.99 Mountaineer The worlds first carbon fibre tripod that maximises rigidity, vibration absorbtion and lightweight performance. GT2542L long version ......579.99 Aluminium 30% lighter than magnesium but just as strong and with great vibration dampening properties. GT3340L Aluminium ......384.99
GITZO TRIPOD HEADS New Oxford Street store only

Designed to meet the demands of professional photographers. GH2780QR Centre Ball 224.99 GH5380SQR Systematic Ball Head 274.99 G2180 Fluid Head 154.99
GITZO MONOPODS New Oxford Street store only
G2272M Low Profile 3 Way Head 199.99
Gitzo monopods continue to set the standard for professionals and advanced amateurs. GM2561T.......................189.99 GM3340L.......................139.99 GM5561T + G Lock....... 234.99 GH1780 Q/R Advanced Centre ball head .............169.99
GH3780QR Centre Ball 249.99
GH2750QR Off Centre Ball Head 164.99
G1173/14B QR Plate1/4 29.99
0845 600 6055

BACKPACKS - Some stock at selected stores only - Please check before making a special journey - 0845 600 6055
Slingshot Perfect for photojournalists. The worlds best selling slingshot design bags now features hide away tripod mount. Flipside Comfortable backpack series protects your digital SLR and laptop (250 & 350 models). Slide compartments give quick access to accessories. Flipside 200 Blue/Blk/Red....59.99 Flipside 300 Blue or Red.......69.99 Flipside 400 Blk ..................79.99 CompuDaypack Grey...........69.99 Fastpack 100 Blue................44.99 Fastpack 100 Black..............44.99 Fastpack 200 Blue................54.99 Fastpack 200 Blk or Red.......49.99 Fastpack 250 Blk/Red ..........54.99 Fastpack 350 Blue................69.99 Fastpack 350 Black/Red.......69.99 Inverse 100AW Blu/Blk/Grn.59.99 Inverse 200AW Blue.............69.99 Inverse 200AW Black...........69.99 Inverse 200AW Green..........69.99 Versapack the ultimate dualcompartment DSLR backpack: flexible, lightweight and incredibly versatile.
ORDER HOTLINE

ACCESSORIES
NEW!
Shape Shifter Expands and contracts to fit your equipment. Holds photo gear & 17 laptop. Shape Shifter.....................213.50 Streetwalker Slim, vertically styled & lightweight. Street Walker........................96.99 Street Walker Pro................122.60 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.................101.70 Airport Acceleration V2......194.10
DPS Features innovative Thermo Shield Technology adding protective rigidity when needed. DPS DR-465i Black............54.99 DPS DR-466i Black............59.99 DPS DR-467i Black............69.99 3N1 Sling Backpack 10....59.99 3N1 Sling Backpack 20....89.99 3N1 Sling Backpack 30....99.99 3N1 Sling Laptop Small..119.99 3N1 Sling Laptop Med...139.99 3N1 Sling Laptop Large..159.99
NEW!
Versapack 200AW Blk, Blue.59.99 Pro Trekker 300AW............229.99 Pro Trekker 400AW............274.99 Pro Trekker 600AW............289.99 Rover AW2 Black/Grey........89.99 Vertex 100AW.....................89.99 Vertex 200AW...................114.99 Vertex 300AW...................149.99 Pro Runner 200AW NEW!...59.99 Pro Runner 300AW..............79.99 Pro Runner 350AW............119.99 Pro Runner 450AW............149.99 Pro Runner X 350AW.........199.99 Pro Runner X 450AW.........249.99 Primus AW Black..................89.97
Straps & Accessories Belt & Buckle......................19.99 DMC-Z Memory Wallet......15.99 Filter Pocket........................19.97 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..................19.97 Verbal Tech Shoulder Strap..29.99
Slingshot 102AW...............64.99 Slingshot 202AW...............84.99 Slingshot 302AW...............94.99 Classified Sling 180AW.....99.99 Classified Sling 220AW...129.99 Passport Sling Mica NEW!39.99 EXCLUSIVE TO JACOBS! COMING SOON.
HOLDALLS - Some stock at selected stores only - Please check before making a special journey - 0845 600 6055
Magnum An essential toolbox for the pro photographer. Extra-portable, durable & flexible with a sturdy base offering sturdy & stable protection.
Altus Quick access lid, card storage, adjustable strap & divider. Altus 140...........19.99 SAVE 5 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 5 Black...............22.99 Cirrus TLZ 5 Blue................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 69.99 Classified 160AW Black......84.99 Classified 160AW Sepia......84.99 Classified 200AW Blk/Sep..99.99 Classified 250AW Blk/Sep129.99
when bought with any DSLR/DSC.
Stealth Generous all-in-one bag. Stealth Reporter D100AW....64.99 Stealth Reporter D200AW....74.99 Stealth Reporter D300AW....84.99 Stealth Reporter D400AW....94.99 Stealth Reporter D550AW..104.99 Stealth Reporter D650AW..124.99 Edit 110 Video Case...........24.99
Digital Case Includes ample pockets and a waterproof cover. DC-433 Digital Case............24.99 DC-435 Digital Case............24.99 DC-439 Digital Case............36.99 DC-445 Digital Case............39.99
British made bags made from waterproof canvas, with non-absorbent lining and seams that are bound with waterproof tape.
Skin Components Skin 50..............................19.99 Skin Chimp Cage...............28.99 Skin Double Wide..............32.59 Skin 75 Pop Down..............25.99 Skin Strobe.........................25.60 Skin Set............................108.50 Tripod Case Bazooka............................42.99 Humungous Bazooka..........54.50
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
Urban Disguise Protect your equipment without attracting attention. Urban Disguise 10...............49.99 Urban Disguise 20...............69.99 Urban Disguise 30...............94.71 Urban Disguise 35.............108.50 Urban Disguise 40.............108.50 Urban Disguise 50.............122.99 Urban Disguise 60.............137.70 Urban Disguise 70 Pro.......138.70
Messenger Boys Fit DSLR & lenses into this snug shoulder bag. Features waterproof lining, adjustable strap & extra padding
Messenger Boy 2500 Blk......29.97 Messenger Boy 3000 Blk......34.97 Messenger Boy 5500 Blk......59.97 Messenger Boy 5500 White.59.99
Hadley Pro Khaki/Tan...........CALL Hadley Digital Khaki.............CALL Hadley Digital Black..............CALL Hadley Small Black...............CALL Hadley Small Khaki...............CALL Hadley Large Black...............CALL Hadley Large Khaki...............CALL L2 Khaki ..............................CALL S225 Khaki..........................CALL S335 Khaki..........................CALL S335 Black...........................CALL S445 Black or Khaki.............CALL SP40 Shoulder Pad Black......CALL 207 Shoulder Bag Black ......CALL 207 Shoulder Bag Khaki ......CALL 307 Shoulder Bag Khaki ......CALL MBIL f1.4 Khaki FibreNyte ....CALL MBIL f2.8 Khaki FibreNyte ....CALL MBIL f2.8 Black FibreNyte ....CALL
Rain Cover Hydrophobia 70-200.........99.99 Hydrophobia Flash 70-200.109.60 Hydrophobia 300-600.....108.97 Remote Control 10.............35.99 Remote Control 20.............43.80 Belt Packs Speed Racer.......................94.71 Speed Freak......................86.80 Speed Demon....................71.50 Pro Speed Belt V2..............25.60 Pixel Racing Harness V2.....25.97 Steroid Speed Belt V2.........34.60 Pro Speed Belt-S.................25.60 Thin Skin Belt V2................18.91 Accessories Camera Strap Black/ Grey..17.99 Camera Support Straps..........8.99 Camera Strap Black/Blue....17.99 Cable Management 10..........9.99 Digital Holster Harness........17.99 Belly Dancer Harness..........32.59 Shoulder Harness................19.70 Pixel Pocket Rocket..............11.99 Rotation 360...................184.70 EP-NSI................................25.60 ID Tag................................17.99 Cable Management 50.......19.99 EP-C...................................25.60 EP-CMIII.............................25.60 EP-N..................................25.60 AA Low Dividers.................27.99 AS Low Dividers.................42.99
TOPLOADERS - Some stock at selected stores only - Please check before making a special journey - 0845 600 6055
POUCHES
Tasca Neoprene fabric with clasp opening. Apex Inc. All weather cover. Apex 5AW Blue..................6.99 Apex 10AW Blk/Blue.........19.99 Apex 20AW Black..............19.99 Apex 20AW Blue...............19.97 Apex PV AW Blue..............19.99 Apex PV AW Black.............19.97 Napoli 5 Black...................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
Toploader Holster-style bag with strap & belt loop for DSL & lens
NEW!
Toploader Zoom 45AW........39.99 Toploader Zoom 50AW........44.99 Toploader Zoom 55AW........49.99 Toploader Zoom Pro 65AW..69.99 Toploader Zoom Pro 70AW..84.99 Toploader Zoom Pro 75AW..74.99 TLZ1 Black...........................29.97 TLZ1 Navy...........................39.97
Digi Holster For DSLRs, each feature two vertical lengths to accomodate different size lenses. Digital Holster 10.................32.99 Digital Holster 20.................39.99 Digital Holster 30.................49.99 Digital Holster 40.................49.99 Digital Holster 50.................57.90
Digi Holster Added protection plus fast & easy access when you need it.
Tasca 10 Blue/Red............5.99 Tasca 20 Blue...................5.97
DH-421 Dig Holster S...........24.97 DH-423 Dig Holster M..........29.99 DH-425 Dig Holster L............34.997
ROLLERS
PELI CASES
Watertight, crushproof, and dust proof.
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
Peli Cases Pro Roller X 100................299.99 Pro Roller X 200................349.99 Pro Roller X 300................399.99 Pro Roller 3.......................229.99 Airport International V2......234.99 Airport Airstream...............199.99 Airport Secruity V2............264.99 1500 Case with Foam..........129.99 1510 Case with Dividers......199.99 1510 Case with Foam..........169.99 1550 Case with Foam..........151.99 1560 Case with Dividers......234.99
Camera Wraps Wrap-Up Black ................14.99 Wrap-Up Black Quilted......14.99 Wrap-Up Pink Dots ...........14.99
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...........19.99 Jacobs Rain Cover M..........24.99 Jacobs Rain Cover L............29.99
Messenger Boy Half Photo Black, Green, Mahogany............89.97 Messenger Boy Half Photo White .......................................89.97
Modular Components Lens Drop In.......................25.60 Lens Changer 15................16.80 Lens Changer 25................17.99 Lens Changer 35................19.40 Lens Changer 50................19.99 Lens Chang 75 Pop Down...25.99 Lens Changer 300..............32.99 Large Lens Drop In..............28.99 Speed Changer..................35.99 Whip it Out........................32.59 R U Thirsty?........................16.99 The Chimp Cage................28.99 Lightening Fast....................25.60 Bum Bag............................25.60
WAYS TO BUY
Visit one of our 17 stores for great advice and a great deal! 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
Canon Powershot G11

Shop online at our fast and secure web store: www.jcaobsdigital.co.uk Call our order hotline: 0845 600 6055
Canon Powershot S95
10.0 Megapixels 3.8x Optical Zoom Image Stabiliser ISO 3200 RAW Shooting 3 LCD Screen HD Movies
DIGI COMPACTS
Powershot A495......... 99.99 Ixus 105................... 149.00 Ixus 130.................. 199.00 Ixus 210.................. 348.99 Powershot SX120IS... 179.00 Powershot SX20IS..... 299.00 Powershot D10......... 249.00 Powershot S90......... 329.00 Powershot SX1IS...... 399.97 ..
NEW!
Canon P/shot SX130IS
Megapixels ................ 12.1 Optical Zoom .............. 12x LCD Screen ............... 3-inch Colours:
NEW!
Canon P/shot SX210IS

Megapixels ................ 14.1 Optical Zoom .............. 14x LCD Screen ............... 3-inch Colours:
199.00
299.00
10.0 Megapixels 5x Optical Zoom Image Stabiliser ISO 12800 RAW Shooting 28mm Wide-angle 2.8 Vari-angle LCD Screen Dual Anti Noise System
Colours:
399.00
Colours:
429.00
Panasonic Lumix TZ6 Black
DIGI COMPACT CAMERAS

Lumix FP1................... 99.99 Lumix FS10............... 129.99 Lumix FS11............... 149.00 Lumix FS30.............. 169.00 Lumix TZ8................. 229.00 Lumix FZ38............... 249.99 Lumix FT2................. 329.00
Panasonic Lumix FP3

Megapixels ................ 14.1 Optical Zoom ................ 4x LCD Screen .............. 3-inch Colours:
169.00
10.1 Megapixels 12x Optical Zoom 2.7 LCD Face Detection Intelligent Auto mode 40MB Internal Memory
Panasonic Lumix ZX3

Megapixels ................ 14.1 Optical Zoom ................ 8x LCD Screen ........... 2.7-inch Colours:
Panasonic Lumix TZ10

Megapixels ................ 14.1 Optical Zoom .............. 12x LCD Screen ........... 2.7-inch Colours:
Panasonic Lumix LX3

Megapixels ................ 10.1 Optical Zoom ............. 2.5x LCD Screen .............. 3-inch Colours:
249.00
279.99
349.00
Colours
179.99
Fuji Finepix HS10

Finepix AV100 12MP, 3x Op Zoom..... 69.00 Finepix JX200 12MP, 5x Op Zoom..... 99.99 Finepix Z70 12MP, 5x Op Zoom..... 99.99 Finepix S1600 12MP, 15x Op Zoom..149.00
Fuji Finepix XP10

Megapixels ................ 12.2 Optical Zoom ................ 5x LCD Screen ............ 2.7-inch Colours:
Fuji Finepix JZ500

Megapixels ................ 14.1 Optical Zoom .............. 10x LCD Screen ........... 2.7-inch Colours:
Fuji Finepix F80EXR

Megapixels ................ 12.0 Optical Zoom .............. 10x LCD Screen .............. 3-inch Colours:
129.99
179.00
179.99
Fuji Finepix S2500HD

Megapixels ................ 12.2 Optical Zoom .............. 18x LCD Screen .............. 3-inch Colours:
179.99
10.3 Megapixels 30x Optical Zoom 3-inch Tilt LCD Full HD Movie Mode Triple Image Stabiliser Electronic Viewfinder Motion Panorana Motion Remover
Colours
349.99
SONY COMPACT CAMERAS
Nikon Coolpix S8000

14.2 Megapixels 10x Optical Zoom 3-inch LCD 720p HD Movie ISO 3200 Vibration Reduction Smart Portrait System Advanced Flash Control Colours

Olympus Mju 3000
Megapixels ................ 0.0 Optical Zoom .............. 0x LCD Screen ............ 0-inch Colours:

Coolpix L21................ 69.99 Coolpix L22................ 69.00 Coolpix L110........... 179.00 Coolpix P100............ 309.99
Nikon Coolpix S3000

AVAILABLE IN STORE ONLY
99.00
149.99
229.99
CompactFlash Ultra 8GB Ultra II................39.99
SP-800UZ................. 269.99 Mju Tough 8010....... 299.99
DSC-W350.............. 149.99 DSC-W380.............. 189.99 DSC-H55.................. 199.99 DSC-HX5................ 249.99*
*INC. 30 CASHBACK 19/8 - 3/10/10
DSC-HX1.................. 349.00
MEMORY CARDS & READERS

W90 Green w/proof 249.99 D-Lux 4..................... 549.00 ES-17 Black................ 74.97 DP1S........................ 279.97 DP2.......................... 526.99
CompactFlash Extreme 4GB Extreme III...........35.97 8GB 60Mbps.............68.99 16GB 60Mbps.........108.99 32GB 60Mbps...........88.99 Extreme Pro 16GB...178.99 32GB...298.99 64GB...548.99 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 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.....14.99 8GB Ultra Video HD.....24.99 16GB Ultra II Vid. HD...49.97 Memory Stick Pro Duo 2GB Pro Duo .................18.99 4GB Pro Duo .................25.99 8GB Pro Duo..................39.99 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
Pentax I10
Leica X1
129.99
1395.00
Megapixels ................ 12.2 Optical Zoom ................... LCD Screen ............ 2.7-inch Colours:
CAMCORDERS - Pocket, Standard Definition & High Definition

Canon HFM-306 Kit Panasonic HDC-SD60B
High Definition 3.3 Megapixels 2.7-inch LCD HD Video Lens Inc. 4Gb SDHC Card & Case High Definition 25x Optical Zoom Optical Image Stabiliser SDHC Card
CAMCORDERS
FS-306 Value-up kit inc.4GB SDHC card & Case. .......................................229.99 HFR-106 Value-up kit inc.4GB card, Case & Lead ......................................399.99
CAMCORDERS
SDR-S50B NEW! SDHC Camcorder
NEW!
Panasonic HDC-HS60
Type ........... High Definition Hard Drive ............. 120GB Optical Zoom ............. 25x Memory Card ...........SDHC
.........................................199.99
529.99
599.99
Sony HDR-CX115
High Definition 3.1 Megapixels 25x Optical Zoom 2.7-inch LCD Image Stabiliser SDHC Card
SR-H85 NEW! 80GB Hard Drive Camcorder ...............................299.99
399.99
JVC GC-FM1B
CAMCORDERS
Bloogie MHS-PM5 HD Pocket NEW!.....169.99 DCR-SX33 Blue..219.99 DCR-SR58............259.99 HDR-XR155 HD & 120GB .........................................529.99
NEW!
Flip Mino 2 HD
Type .................. HD Pocket Int. Memory ............... 8GB LCD ...............2 Anti Glare
CAMCORDERS
GZ-MS110 SDHC Camcorder NEW!........................149.99 GZ-MG750B 80GB Hard Drive NEW!................279.99 GZ-HM300 High Definition with time lapse record INC. 5 YR WARRANTY ........269.99
169.99
HD Pocket Camcorder 4x Optical Zoom High Definition Video 8 Megapixel Stills 2.0-inch LCD Image Stabiliser SDHC Card
399.99
109.99
5 Year Warranty to be claimed direct from JVC. Valid 1/5/10 - 30/9/10.
0845 600 6055

BINOCULARS
8x20 BCA Trinovid High-performance and compact design.. 319.99 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 10x40 T* Conquest Best-in-class s olution for those who need brilliant daylight performance.......................895.99 8x40 T* Conquest..............850.99 8x20 BT T* Victory Comp...379.97 8x32 T* FL Black. ............1199.99 8x42 T* FL Black..............1279.99 10x42 T* FL Highest light transmission of any binocular in its class > 90% with low stray light. .......1299.99 8.5x42 EL Swarovision A diamond-bright optic aids bird watching in poor light contions....1649.99 8x32 EL............................1288.99 10x32 EL .........................1299.99 10x42 EL Swarovision.......1399.97 8x30 SLC...........................749.99 10x42 SLC........................1143.99 10x25B Pocket Extremely small, handy compact binoculars with 10x magnification ....459.99 8x20 Pocket Binos...............419.99
ORDER HOTLINE

SPOTTING SCOPES
APO TELEVID 65 For users who are particulary active. Small size, big performance. 1918.99..........
Trailfinder II Compact Roof Prism binoculars, nitrogen sealed & waterproof, represent outstanding value for money. 8x25 Trailfinder II Green.....59.99 10x25 Trailfinder II Green...69.99 8x25 Imia DWCF................49.99 10x25 Imia DWCF..............59.99 8x32 Oregon LE WP...........89.99 8x42 Oregon LE WP...........99.99 10x42 Oregon LE WP.......109.99 8x32 Discovery WP PC.....129.99 8x42 Discovery WP PC.......99.97 10x42 Discovery WP PC...109.97 8x42 BGA Countryman.....249.99 10x42 BGA Countryman..204.97 8x42 Traveller BGA..........199.99 10x42 Traveller BGA........219.99
ATS80HD By far the lightest of the larger observation telescopes............1479.97 ATS65HD Extremely easy to handle & compact ........ 1069.97
85T* FL Angled Silver Scope With the photo adapter the Diascope is transformed into a super tele for SLR photography .. 1499.99
IS60 Kit Inc. eyepiece & case..268.99 GS665 Kit Rubber armoured & nitrogen waterproof ...... 510.99
Photo Adapter....................349.99
Piccolo 15-45x60...............90.99
CD-R Discs TDK CD-R 700MB x50.........7.99 TDK CD-R 700MB x100....15.99 Verbatim CD-R 700MB x1....0.99
VP5700 80GB Portable H/Drive Large 3.5 colour LCD. Store and display thousands of photos, music and video playback without a computer. 179.99
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 ...................................................SAVE 70! 329.99
Canon PR201 Pro Paper x10shts ..................25.99 Canon PT101 Platimun Pro x10shts...............29.99 Ilford Galerie Gold Fibre Silk x10sht..............39.99
A3+ Paper
A3 Paper
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 a cap. With blue LED light to signal when data is being transferred, also comes with password protection software. 9.99
VP8870160GB Portable H/Drive Multimedia storage viewer with 4.3inch colour LCD. Reads all memory cards, a speedy RAW image viewer, video player, photo viewer, voice recorder and video recorder. 259.99
Replacement Inks CLI-8 ........................................................from 14.99
Canon PR201 Pro Paper x20shts..................35.99 Canon PT101 Platimun Pro x20shts...............49.99 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
Pro 9500MkII A3+ Printer The A3+ Canon PIXMA Pro9500 Mark II produces gallery-quality, long-lasting prints, on a range of media. Pixma Pro 9500MkII ...................................................SAVE 80! 499.99
Replacement Inks PGI ..........................................................from 13.99 A new 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
R2880 A3+ Printer Enjoy stunning images thanks to Epson Ultra Chrome K3 with vivid Magenta ink a seriously good ink system for the serious photographer. R2880 .......SAVE 120! 599.99
Canon PR201 Pro Paper x20shts - WSL.........15.99 Canon PT101 Platimun Pro x20shts...............25.99 Epson A4 Gloss 225gsm x10shts BUY 1 GET 1 FREE........................................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 x25+10sht WSL.13.99 Ilford Galerie Smooth High Gloss x25sht.......15.97 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 3 FOR 2 (150shts in total)..............................9.97
6x4 Paper
SCANNERS
Summit Photofix Copier SP2 Transform your film negative and slide collection into to digital files, simply, quickly & at the touch of a button. ....69.99 Summit SP5 Copier Includes a 2.4 LCD screen. View and digitize your 35mm negatives, slides and 110 images on to an SD card....................................99.99
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 a single device. Bamboo Pen & Touch 79.99
DIGITAL FRAMES
Sony 10 High Res Frame DPF-X1000NB ..............229.99 Jacobs 7 Frame ..29.99 Sony 7 Frame DPF-E72 NBS HALF PRICE! ONLY 49.99 Sony 8 with 1GB mem DPF-D82 B..............144.99 Sony 8 High Res Frame DPF-V800 B............184.99
Canon PR201x50shts....................................10.99 Canon KP-36IP postcard x36shts....................14.99 Canon E-P50 postcard x50shts.......................16.99 Canon KP-108IN postcard x108shts...............34.99 Kodak Easyshare media x40shts.....................18.97 Sony SVM-F120P Photo Paper Kit...................25.99
MONITOR CALIBRATION
Spyder 3 Pro 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 3 easy steps. ..............64.99 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
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.......79.99
Spyder 3 Elite Display Calibration for Professional Photographers & Studios. ..............129.99 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 MANCHESTER 16 Cross Street M2 7AE T: 0161 834 7500 NEWCASTLE 55-57 Clayton Street NE1 5PW T: 0191 233 2678 NOTTINGHAM 22 King Street NG1 2AS T: 0115 941 2178 SHEFFIELD - NEW! 2 St. Pauls Parade S1 2JL T: 0114 272 1062
Plustek OpticFilm 7400 7200 dpi film scanner with Plusteks 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..........;.....288.99
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
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
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
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
E&OE. Prices correct at time of print. Subject to availability. Promotions not in conjunction with any other offer. Prices inc. VAT at 17.5%. *Cashbacks are included in the advertised price and are to be claimed direct from manufacturer, end dates vary.
DATA STORAGE
A3+ PRINTERS
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Our passion for photography means we stock

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NEW! NEX 5 + 16mm worth 98.98 + FREE Sony Battery 549 + a chance to NEW! NEX 5 + 18-55mm + FREE Sony Battery 579 your money back! NEW! 60D Body Only + FREE Battery 1099 + FREE SanDisk 4GB Card NEW! 60D + 18-55mm + FREE Battery 1199 + FREE SanDisk 4GB Card NEW! 60D + 18-135mm + FREE Battery EOS 7D 550D 1399 EOS + FREE SanDisk 4GB Card FROM FROM
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SONY A55 Body + FREE Sony Battery + FREE SanDisk 4GB Card
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699
749
NIKON D3100 Body + FREE Nikon/Crumpler Bag + FREE SanDisk 4GB Card
NEW! D3100 + 18-55mm VR + FREE Nikon/Crumpler Bag + FREE SanDisk 4GB Card 579
While stocks last
499
370 on RRP
RRP 1499.99
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619.01 on RRP
RRP 4199
SAVE
T&Cs apply - see website for details.
609
1195
EOS 5D MK2 FROM
1675
638
155 on RRP
RRP 919.99
D90 FROM
1129.99 1763.99 3579.99

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D300s FROM
D700 FROM
D3s FROM
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NEW LOW PRICE!
430.99 on RRP
RRP 1199.99
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70.99 on RRP
RRP 549.99
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649
A580 FROM
1499
A850 FROM
1889
SAVE
WAS 869
A900 FROM
K-x + 18-55 + 55-300mm
544
769
K-7 FROM
E-PL1 + 14-42mm
479
E-P2 + 14-42mm
619
G10 + 14-42mm
419
G2 + 14-42mm
539
4829.99
371.01
WAS 1999
D3x FROM
41.99 on RRP
RRP 129.99
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140
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CANON EF 50mm
f1.8 II
88
EF 100mm EF 70-300mm f2.8L Macro f4-5.6 IS USM IS USM
729
427.99
EF 85mm f1.8 USM
309
EF 24-70mm f2.8 L USM
998
1499
AF-S 85mm f1.4 G
AF-S AF-S AF-S 70-200mm 24-120mm 28-300mm f4 G ED VR f3.5-5.6 G ED VR f2.8G ED VR II
1049
869
1627.99
CANON CANON CANON CANON CANON CANON
NEW! EF 8-15mm f4.0L USM Fisheye........................1499.99 NEW! EF 70-300mm f4-5.6L IS USM..........................1599.99 NEW! EF 300mm f2.8L IS USM MkII ..........................7499.99 NEW! EF 400mm f2.8L IS USM MkII ..........................11499.99 NEW! EF 1.4x III Extender..........................................549.99 NEW! EF 2x III Extender ............................................549.99
SIGMA SIGMA SIGMA SIGMA SIGMA TAMRON
10-20mm f4-5.6 EX DC HSM ......................................399.99 10-20mm f3.5 EX DC HSM (Save 200 on RRP) ........449.99 18-250mm f3.5-6.3 DC OS HSM (+ FREE UV filter)..399.99 70-300mm f4-5.6 APO Macro Super DG....................173.99 150-500mm f5-6.3 DG OS HSM ................................749.99 18-270mm f3.5-6.3 DI II VC LD ..................................398.99
NEW!
SANDISK Ext. 8GB 400x UDMA
CANON LP-E6 Battery

(5DMK II/7D)
CANON BG-E7 Battery Grip

(EOS 7D II Grip)
67.99
69.99
189.99
NIKON ML-L3 Wireless Remote
16.49
HOYA 52mm Pro1 Digital UV Filter
34.99
COKIN H250A ND Gradual Filter Kit
LEE Big Stopper 10x Neutral Density Filter (Holder available separately)
49.99
89.99
SANDISK Memory prices from: Ultra II SD ......10.49 Ultra II CF ......17.99 Ext. III SDHC ..28.99 Ext. UDMA CF 67.99 Ext.Pro 600x ..179
Batteries & Grips prices from: Canon Fit ............11 Nikon Fit ............12.99 Canon Fit Grips ..59.99 Nikon Fit Grips....68.50 Sony Fit Grips ....89.99
Wireless Remotes prices from: Canon ..........16.99 Nikon............16.49 Sony..............26.99 Olympus ......24.99 Pentax ..........17.99
HOYA Filters prices from: 55mm ............37.99 58mm ............39.99 62mm ............43.99 67mm ............49.99 82mm ............69.99
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 ..............139
We also sell filter holders Prices FROM
11.99
01603 208769
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NEW!
NEW! iMac 21.5/3.06GHz/Intel Core i3/4GB Ram/500GB Hard Drive 979 NEW! iMac 21.5/3.20GHz/Intel Core i3/4GB Ram/1TB Hard Drive ....1229 NEW! iMac 27/3.20GHz/Intel Core i3 4GB Ram/1TB Hard Drive ........1369 NEW! iMac 27/2.80GHz/Intel Core i5 4GB Ram/1TB Hard Drive ........1599
MacBook Pro 13.3/2.4GHz /Intel Core 2 Duo/4GB Ram/ 250GB Hard Drive 964 MacBook Pro 13.3/2.66GHz /Intel Core 2 Duo/4GB Ram/320GB Hard Drive ..1209 MacBook Pro 15.4/2.53GHz/Intel Core i5 /4GB Ram/500GB Hard Drive ........1559 MacBook Pro 15.4/2.66GHz /Intel Core i7/4GB Ram/500GB Hard Drive......1699 MacBook Pro 17/2.53GHz /Intel Core i5/ 4GB Ram/500GB Hard Drive ..........1799 NEW! MacBook Pro 17.0/2.66GHz/Intel Core i7/8GB Ram/500GB Hard Drive ....................................................2458.99 Time Capsule 2TB Hard Drive ......364 Aperture 3 ..............................139.99
114.99
SAVE over 40%
Vertex 200 AW
F2 Original
194.99
389.99
550
Hadley Pro
134.99
Fastpack 250
WAS 75.95
39.99
ProRoller x100
286.99
3n1 20
89
Aerospeed 85
69
90 on RRP
RRP 299.95
SAVE
Lighter than the 055XPROB 190XPROB
104
Carbon Fibre lightweight Tripod 190CXPRO4
209.95
With quick action lever leg locks MTL9261B
74.99
Adjustable column Carbon Fibre Tripod MTL8360B
159.99
Built in spirit level on the plate GT3530LS Series 3 449
Legs are scaled for precise set up GEO E640
219.99
A.M.T. Super Titanium alloy legs Pro 700D
114.99
Monopod/ Tripod/Hiking stick in one! Go Pro
104.99
400 Twin Kit 430EX II
219
SB-900
316
69.99
36 AF-4
Flash Accessories FROM 8.40
Strobist Filter Collection
8.99
Mini Umbrella Flash bracket Kit
29.99
500R Twin Kit

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899
SEKONIC
NEW!
D-Lite IT Kits FROM 459
BXRi 500 Twin 6x7ft Hi-Lite Background Support 124.99 Kit 949 Inc. Train 279
129.99
L-308s
Plus II Set
319
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Visit our state of the art showroom in West Sussex, less than 15 miles from Brighton
York Road, Victoria Business Park, Burgess Hill, West Sussex, RH15 9TT
NEW!
18 MP APS-C CMOS sensor Advanced creative features Vari-angle 3.0 3:2 ratio LCD Screen Full HD movies DIGIC 4 ISO 100-6400, H:12800 5.3fps shooting for up to 58 JPEGs 9-point cross type AF System iFCL metering with 63-zone Dual-layer Sensor
Body SRP 1,099.00 Lens sold separately
NEW & DUE THIS AUTUMN!!
FIND YOUR OWN ANgLE WITH THE EOS 60D.
Pre-Orders taken now! See our website for details

Body SRP 1,499.99
14.2 MP DX-format CMOS image sensor EXPEED 2 image processing engine High ISO (100-3200) light sensitivity extendable up to 12800 D-Movie full HD (1920 x 1080) movie clips Large 3.0", high-resolution LCD monitor Lightweight body and superior ergonomics
D3100 Body SRP 499.99 | D3100 + 18-55mm VR SRP 579.99
Nikon D3100
Exceptional Agility. Creative Command.
Pre-Order the New EOS 60D with Park Cameras, and receive not only one of the rst cameras available in the UK, but also receive a Canon EOS Accessory Kit including Adobe Photoshop Elements 8.0, a Canon 100EG Shoulder Bag, and a Canon Cleaning Cloth + SanDisk 4GB Extreme SD HC Card FREE!!
10.1 MP CMOS sensor Up to 3 frames per sec. 2.5 LCD with Live View DIGIC III processor Compact & lightweight 15.1 MP CMOS sensor 3.4fps up to 170 JPEGs 3.0" LCD with Live View Full HD (1080p) movies Compact & lightweight 18 MP APS-C Sensor 3.7 frames per second ISO range up to 12800 3.0 LCD with Live View Full HD Movies
Park Cameras Canon EOS 60D Pre-Order Special Oer!
Due Late Sept. / Early Oct. 2010
1,129.99 1,649.99
COMPAC T D -SLR
Body Price
+18-200 VR II
12.3 megapixel DX format CMOS image sensor 7 fps continuous shooting Records beautiful, high-denition (HD) movie clips ISO 200-3200 extendable up to ISO 6400 D-Movie with stereo microphone terminal Dual card slots for CF/SD memory cards
Please see our website for the latest LOW PRICES and further money saving oers!!
AF-G 10.5mm 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 G ED 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 163.99 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 Micro ED 399.99 AF-S 85mm f/3.5G DX Micro 414.99 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 614.99 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 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 3,999.00 AF-S 300mm f/4 D IF-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 G IF-ED 819.00 AF-S 14-24mm f/2.8G ED 1,278.99 AF-S DX 16-35mm f/4 G ED VR 879.00 AF-S DX 16-85mm f/3.5-5.6G ED VR 399.99 AF-S 17-55mm f/2.8G IF-ED DX 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 190.00 AF-S 18-200mm f/3.5-5.6G ED DX VR II 527.99 AF-S 24-70mm f2.8G ED 1,189.00 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 159.99 AF-S 70-200mm f/2.8 G (IF) VR ED II 1,627.99 AF-S 70-300mm f/4.5-5.6G IF ED VR 389.99 AF-D 80-400mm f/4.5-5.6D ED VR 1,168.99 AF-S 200-400mm f/4G IF-ED VR II 6,199.00 TC-17E II 1.7x AF-S Teleconverter 309.00 TC-20E II 2.0x AF-S Teleconverter 229.99
COMPAC T D -SLR
Lenses
EOS 1000D + 18-55mm 354.99 1000D + 18-55 + 75-300 474.98

Please visit www.ParkCameras.com for further money saving deals.
Body Price 294.99
500D + 18-55mm IS 589.99 500D + 18-55 + 55-250 IS 739.00

Body Price 494.00
EOS 550D + 18-55mm IS EOS 550D Twin Lens Kit
Body Price 599.99
679.99 849.99
A powerful and versatile SLR camera that delivers superb still images & high denition D-movie clips with sound. D5000 + 18-55mm VR Nikon CF-DC2 Semi Soft Case Nikon EN-EL9a Battery
The D90 fuses technology from Nikons agship DSLRs with an array of functions to help you achieve superior results. D90 + 18-105mm VR Nikon CF-D80 Semi Soft Case Nikon EN-EL3e Battery
Body Price 429.00
469.99 40.99 39.99
Body Price 589.99
779.99 46.99 50.00
FULL FRAME D-SLR FULL FRAME D-SLR

18MP APS-C CMOS sensor 8fps shooting ISO range up to 12,800 Full HD movie Magnesium alloy body 16.1 MP APS-H CMOS 10fps shooting ISO range up to 102,400 Full HD movie (1080p)
The D700 incorporates groundbreaking technologies and performance into a discreetly-sized body. D700 + 105mm VR Micro D700 + 14-24mm f/2.8 ED Nikon EN-EL3e Battery
FX format professional SLR with a highly sensitive 12.1 megapixel CMOS sensor. Redraw Your Boundaries D3s + 24-70mm f/2.8 ED 4,758.99 D3s + SanDisk 16GB Ext. Pro 3,743.99 Nikon EN-EL4a Battery 93.00
Body Only 1,195.00
+ 15-85mm IS 1,559.99
Body Only 3,479.00

High-sensitivity 10.0 MP
Body Price 1,756.99
with the latest New Canon IXUS 105 149.00 3.8x wide Optical Zoom Image Stabilisation IXUS 130 199.00 Products?? Sign up to our 3.0 LCD IXUS 210 289.00 Only 299.00 FREE weekly e-newsletter IXUS 300 HS 319.00 SRP 439.00 PowerShot S95 PowerShot G11 IXUS 1000 HS NEW! See Web NEW! High-sensitivity 10.0 MP High-sensitivity 10.0 MP PowerShot SX120 IS 159.00 HS System and f/2 lens 5x wide Optical Zoom PowerShot SX130 IS NEW! See Web 3.8x wide Optical Zoom Image Stabilisation PowerShot SX210 IS 259.00 HD movies, HDMI 2.8 vari-angle LCD PowerShot SX20 IS 329.00 NOW IN STOCK!
SRP 399.00 SRP 569.00
Digital Cameras
PowerShot S90
Want to keep up-to-date
Coolpix L21 64.99 Coolpix L22 74.99 Coolpix S3000 As seen on TV! 99.99 Coolpix L110 179.99 Coolpix S8000 As seen on TV!199.99 Coolpix P100 299.99
Even More Nikon
2,377.98 3,036.98 50.00
Body Price 3,579.99
FULL FRAME D-SLR
Only 399.00
For all the latest new products, visit our website - updated daily!!
The D3X redenes high resolution SLR photography, whether you shoot in the studio or out on location. D3x + 24-70mm f/2.8 ED D3x + 14-24mm f/2.8 ED Nikon EN-EL4a Battery
Body Price 4,829.99
6,033.00 6,138.99 100.00
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 L USM 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 428.99 100mm f/2.8L Macro IS USM 719.00 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 200mm f/2.8L USM/2 651.99 300mm f/2.8L USM IS 3,879.00
LENSES
For money saving deals with lters & hoods, visit our website.
EF-S 18-135mm (Unboxed) 299.99 EF-S 18-200mm f/3.5-5.6 IS 420.00 EF-S 18-200mm IS (Unboxed) 409.00 24-70mm f/2.8L USM 978.99 24-105mm f/4.0L IS USM 879.99 24-105mm IS (White Box) 794.99 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 170.00 70-200mm f/2.8L IS II USM 1,899.99 70-200mm f/2.8L USM 979.00 70-200mm f/4.0L IS USM 899.99 70-200mm f/4.0L USM 539.00 70-300mm f/4.0-5.6 IS USM 399.99 70-300mm IS White Box 399.99 70-300mm f/4.0-5.6 L IS USM See Web 70-300 f/4.5-5.6 DO IS USM 1,155.00 75-300mm f/4.0-5.6 III 119.99 75-300mm f/4.0-5.6 USM III 242.99 100-300mm f/4.5-5.6 USM 299.99 100-400 f/4.5-5.6L USM IS 1,219.99 1.4x II extender 289.99 2x II extender 299.99 1.4x III extender NEW See Web 2x III extender NEW See Web
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 439.00 31mm f1.8 FA SMC Limited 1,099.00 35mm f/2.8 Macro Limited 4595.00 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 MACRO DFA SMC 429.99 55mm f1.4 SDM DA* 599.00 70mm f2.4 SMC DA Limited 449.00 77mm f1.8 SMC DA Ltd (Blk) 779.00 100mm f2.8 D FA Macro WR 549.99 200mm f/2.8 SMC DA* ED IF SDM 799.00 300mm f/4 SMC DA* ED IF SDM 1,039.00 10-17mm SMC f3.5-4.5 DA ED IF 429.99 12-24mm f4 DA ED AL (IF) 849.00 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* 719.99 18-55mm f/3.5-5.6 DA AL II 25.00 18-55mm f/3.5-5.6 DA AL WR 165.00 18-55mm DA AL WR (Unboxed) 65.00 50-135mm f/2.8 ED IF SDM DA* 765.00 50-200mm f/4-5.6 ED WR 110.00 55-300mm f/4.0-5.8 279.99 55-300mm f/4.0-5.8 (Unboxed) 145.99 60-250mm f4.0 ED (IF) SDM 999.00
300mm f/2.8L USM L IS II NEW See Web 300mm f/4.0L USM IS 1,179.99 400mm f/2.8L USM IS 6,664.00 400mm f/2.8L USM L IS II NEW See Web 400mm f/4.0 DO L USM 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 TSE 17mm f/4.0L 1,969.00 TSE 24mm f/3.5L II 1,839.99 TSE 45mm f/2.8 1,137.99 TSE 90mm f/2.8 1,137.99 8-15mm f/4.0 L USM F.Eye See Web EF-S 10-22mm f/3.5-4.5 USM 594.99 EF-S 15-85 f/3.5-5.6 IS USM 554.00 EF-S 15-85mm IS (Unboxed) 519.00 16-35mm f/2.8L II USM 1,099.00 17-40mm f/4.0L USM 569.00 EF-S 17-55mm f/2.8 IS USM 765.00 EF-S 17-85 f/4.0-5.6 IS USM 379.99 EF-S 17-85mm IS (Unboxed) 375.00 EF-S 18-55mm f/3.5-5.6 60.00 EF-S 18-55mm f/3.5-5.6 IS 115.00 EF-S 18-55mm IS (Unboxed) 70.00 EF-S 18-135mm f/3.5-5.6 IS 339.00
Pentax Lenses
2 year warranty available
The K-7 is completely ready for action in all possible conditions. Rain, dust, dirt or even frosts of up to -10C leave it cold. K-7 Body 758.00 14.6 million pixels Sensor shake system K-7 +18-55mm 799.00 Video Recording 3.0 LCD with Live View Please visit our website
for even more K-7 oers!

2 year warranty available
Advanced features & user-friendly functions ensure an outstanding level of photographic performance within a compact, lightweight body. K-x Black 12.4 million pixels +18-55mm 389.99 User-friendly operation K-x Black 549.00 4.7 fps Twin Kit 2.7 LCD Screen Please visit our website for the other K-x Colours!
Best D-sLR entRy LeveL
Pentax 18-55mm f/3.5-5.6 DA AL WR Unboxed at 65.00
Pentax 16-45mm f/4 ED AL SMC Our Price 219.99
Bags from 5.99!
Tripods from 19.99!
Filters from 7.99!
Binoculars from 39.99!
Scanners from 64.99!
Software from 49.99!
All prices include VAT @ 17.5% Opening times Mon-Sat 8:45-5:45pm; Thursday 8:45-7.30pm; Sunday 10:15-4.30pm. Sunday trading is for in-store only. Store address : York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT. We accept Visa, Mastercard, Switch/Maestro. Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print. All products are UK stock. E&OE. * = Please mention Digital Camera Magazine for this special price
Superb Service and Competitive Prices - all at Park Cameras

www.ParkCameras.com/DCAM
or e-mail us for sales advice using Visit our website - updated daily Phone one of our knowledgeable sales advisors Monday - Saturday
sales@parkcameras.com
01444 23 70 59
available 8.45am - 5:45pm
For the latest in Digital Compact Cameras, Digital Camcorders and the latest TV technology including 3D, please visit us in-store or on-line
For Interchangeable lens Digital Cameras, Compact Digital Cameras and Digital Camcorders all incorporating the latest technologies, please visit us in-store or on-line
Just because a camera is big on performance, doesnt mean it has to be big in size.
Megapixels LCD Screen Live View 12.1 HD Video 3.0 FPS
Panasonic Lumix g1 + 14-45mm O.I.S - Like and SLR, only SMLR
PL-150 Blue / Red / Purple

Twice the fun of any camera. Dual LCDs make it easy.
3 SD
With a 24mm wide angle lens and 15x Optical Zoom you can go deeper & wider
WB-650 Black
Slim and smart camera with 14 Megapixels, 7x Optical Zoom and a 3.7" Touchscreen.
ST-5500
Card Type
Blue 3 49.99
Black 364.00
SRP 179.99
The Lumix G1 is both compact and light. In fact, the only reason it isnt smaller is down to ergonomics you can go too far! These qualities allow the camera to be very portable making it an ideal travelling companion.
Only 149.99
PL150 + 4gB Micro SD Card
SRP 299.99
Only 239.00
WB-650 + 4gB SD Card
SRP 349.99
Only 299.99
ST-5500 + 4gB SD Card
Only 159.99*
Only 249.00
Only 309.99
Lumix g10 + 14-42 O.I.S Lumix g2 + 14-42 O.I.S

Advanced Functions and Performance with Simple Operation in a small design
Let your creativity run free with HD movies and touch screen controls
Only 3 79.00
SRP 499.99
Only 5 39.99
SRP 629.99
MICRO FOUR THIRDS LENSES 20mm f/1.7 Pancake ASPH 294.99 20mm f/1.7 Pan (Unboxed) 289.99 45mm f/2.8 Macro Leica DG 598.99 7-14mm f4.0 Asp Lumix G 914.99 14-140mm Lumix G Vario 689.99 45-200mm f4.0-5.6 O.I.S 240.00 For even more Panasonic Lenses and Accessories, please visit us in-store or at www.ParkCameras.com/PRP The Ultimate Hybrid Stylish Digital Camera with 1920x1080 Full HD Movie Recording
Specically designed for todays advanced photographers & enthusiasts
EX1
Why Capture? Create!
Only 3 49.99
SRP 399.99
NX10 + 30mm Pancake NX10 + 18-55 + 50-200

Cashback
30
g10 Double Zoom lens Kit
Only 599.99*
g2 Double Zoom lens Kit
Only 779.98*
EX1 + 4gB SD Card
Only 359.99*
50ck! ba Only Cash 9 499.9

SRP 699.99
Only 529.99
SRP 649.99
High Quality photo & High Denition Movie with 18x Zoom and O.I.S
Lumix DMC-FZ38
12x Optical Zoom Camera with AVCHD Lite Movie Recording featuring GPS
Lumix DMC-TZ10
Lumix DMC-FX700
Only 264.99
SRP 319.99 SRP 449.99
Only 289.99
SRP 379.99
There is a full range of Sony Digital SLR cameras, lenses and accessories to help every photographer realise their personal creative vision
NEW!
14.2 megapixels Up to 7fps Full HD 1080i Video
SRP 669.99
NEW & IN STOCK!

Please visit our website for the latest LOW PRICE!
NEW!
16.2 megapixels Up to 10fps Full HD 1080i Video
SRP 749.99
NEW!
16.2 megapixels 7fps Full HD 1080i Video
SRP 729.99
FZ38 + Panasonic 8gB SD Card TZ10 + Panasonic 8gB SD Card
Only 289.99*
Only 314.98*
24x Optical Zoom with HD Movie recording oering Active, Creative Photo and Movie
Lumix DMC-FZ45
High Quality photo & Full High Denition Movie with 24x Zoom and O.I.S
Lumix DMC-FZ100
Capture Creativity with the New LX5 with New High Sensitivity CCD & F2.0 LEICA lens
Lumix DMC-LX5
Due October 2010 Pre-Orders taken now
NEW!
14.2 megapixels MPEG4 720p video Sweep Panorama 3.0" Tilt-angle LCD
NEW!
Only 329.99
SRP 379.99 SRP 479.99
Only 419.99
SRP 479.99
NEW & IN STOCK!

Please visit our website for the latest LOW PRICE!
M agnesium body! 14.2 megapixels
LOW PRICE!
Full HD 1920x1080i Sweep Panorama 3.0" Tilt-angle LCD

SRP 759.00
14.2 megapixels SteadyShot INSIDE 3.0" LCD Screen
FZ45 + Panasonic 8gB SD Card FZ100 + Panasonic 8gB SD Card
Only 354.99*
Only 444.99*
IN STOCK!! ..... IN STOCK!! ..... See web for latest Low Price! See web for latest Low Price!
+ 18-55mm 449.00 See Web for details
For the latest in Epson Printer, Scanner and Projector technology, please visit us in-store or on-line
Stylus Photo PX820 FWD Stylus Photo R2880

Print, Scan, Copy & Fax from anywhere in the home with this wireless 4-in-1 printer.
Step into large-format printing with rst rate colour & black and white images
Stylus Photo Pro 3880

Big on quality, small in size - to t your oce, your studio and your budget
NEW & In Stock!

Visit us in-store or on-line for more details on this NEW Printer
Stylus Photo P50 Stylus Photo PX720WD Stylus Photo PX650 Stylus Photo R800 Stylus Photo 1400 Stylus Photo R1900 82.99 199.99 119.99 259.99 269.99 393.99
SRP 299.99 SRP 719.99
Only 549.99
R2880 + Extra Set of Inks
SRP 1,144.25
Only 974.99
Pro 3880 + Extra Set of Inks
Not a compact. Not an SLR. Its a PEN. 12.3 Megapixels E-P1 + 14-42mm 329.00 Built in I.S E-P1 Twin HD Movie 499.99 Kit + OVF 3.0 LCD Screen
Olympus E-450
Body Only 269.00
10 Megapixels AF Live View Dust Reduction System

+ 14-42 319.00
New Low Price!! See our website for more E-P1 Deals
Body SRP 349.99
Only 648.90
Only 1,441.99
EPSON PRINTERS
Stylus Pro 4880 1,999.99 Stylus Pro 7880 2,959.99 Stylus Pro 9880 5,799.99 For Paper & Ink deals, please visit www.ParkCameras.com/PRP
Perfection V30 Perfection V300 Perfection V500 Perfection V600 Perfection V700 Perfection V750
EPSON SCANNERS
New Generation System Camera . 12.3 Megapixels E-PL1 + 14-42mm 499.99 Built in I.S E-PL1 Twin HD Movie Kit + MMF-2 619.00 2.7 LCD Screen
1/2 PRICE when bought with E-PL1
Olympus E-620
Body Only 429.99
12.3 Megapixels 2.7 LCD Screen Dust Reduction System

+ 14-42 499.99
61.99 79.99 169.99 229.99 429.99 479.99*
E-PL1 Accessory Kit - Includes Card, 49.99 wbw aDD Ps-HlD5 griP for only Bag & Marriott Hotel Voucher!!
Body SRP 619.99
or 99.99
P-2000 (40gB Viewer)
In stock at only 129.99
SRP 349.99
In stock at only 389.99

Price!!
Not a compact. Not an SLR. Its a PEN. 12.3 Megapixels E-P2 + 14-42mm 649.99 Built in I.S E-P2 HD Movie 699.99 + 17mm 3.0 LCD Screen
Twin Kit 69.99 569.99 aDD Bls1 Battery for only Understanding 39.99 Your E-620 aDD BotH items for only 99.99 95.00
Olympus E-30
Body Only 729.00
SRP 440.42
In stock at only Special 399.99
Please visit our website for even more E-P2 oers!

Body SRP 999.99
SRP 538.29
For Olympus Lenses at LOW PRICES - please visit our state-of-the-art showroom, or visit www.ParkCameras.com/DCAM
12.3 Megapixels 2.7 LCD Screen Dust Reduction System

+ 12-60 1,378.00
- Software -
Adobe Photoshop Elements 8.0 (Windows / Mac)
- Colour Managment Eye-One Display 2
- Graphics Tablets -
Wacom Intuos 4 Wireless
Only 49.99
SRP 75.99
Only 135.00
SRP 172.50
Only 319.99
SRP 359.99
Adobe Premier Elements 8.0 59.99 Adobe Photoshop CS5 See Web Nikon Capture NX2 144.99 onOne Plug in Suite 5 329.99
Eye-One Display LT ColorMunki Photo Pantone huey Pantone hueyPRO
99.99 299.00 59.95 79.95
Wacom Bamboo Fun Small 89.99 Wacom Bamboo Fun Medium159.99 Wacom Bamboo Pen & Touch 69.99 Wacom Intuos4 Medium 299.99
Can't see what you are after?? See our website for a massive range of Lenses, Compact Digital Cameras, Printers, Scanners, Memory, and much, much more!!
4.5mm f/2.8 EX DC 574.99 18-50mm f/2.8-4.5 DC OS 169.99 70-200mm f/2.8 EX DG HSM II 657.99 8mm f/3.5 EX DG 617.00 18-50mm f/2.8 EX DC Macro 316.99 70-300mm f/4-5.6 APO Macro 176.99 20mm f/1.8 EX DG 499.99 18-125mm f/3.5-5.6 DC OS HSM 247.99 100-300mm f/4 EX DG 813.99 24mm f/1.8 EX DG 409.99 18-200mm f/3.5-6.3 DC 218.99 120-300mm f/2.8 EX DG HSM 1,764.00 50mm f/1.4 EX DG HSM 379.99 18-200mm f/3.5-6.3 DC OS 289.99 120-400mm f/4.5-5.6 DG OS 639.99 50mm f/2.8 EX DG Macro 244.99 24-70mm f/2.8 EX DG Macro 449.99 150-500mm f/5-6.3 DG OS HSM 749.99 70mm f/2.8 EX DG Macro 349.99 24-70mm f/2.8 IF EX DG HSM 599.99 200-500mm f/2.8 EX DG See Web 300mm f/2.8 APO EX DG 2,187.00 28-300mm f/3.5-6.3 DG Macro209.99 300-800mm f/5.6 EX DG HSM 5,598.99 500mm f/4.5 APO EX DG 3,799.00 50-150mm f/2.8 EX DC HSM II 568.99 For Sigma's whole range of 10-20mm f/4-5.6 EX DC HSM 399.99 55-200mm f/4-5.6 DC 69.99 12-24mm f/4.5-5.6 EX DG HSM 694.99 50-200mm f/4.5-5.6 DC OS 169.99 products including ashguns in a 17-70mm f/2.8-4 DC Macro OS 331.99 50-500mm f/4-6.3 EX DG HSM1,099.99 variety of ts, please see our website
All prices include VAT @ 17.5% Opening times Mon-Sat 8:45-5:45pm; Thursday 8:45-7.30pm; Sunday 10:15-4.30pm. Sunday trading is for in-store only. Store address : York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT. We accept Visa, Mastercard, Switch/Maestro. Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print. All products are UK stock. E&OE. * = Please mention Digital Camera Magazine for this special price
27-29 Bolton Street Brixham, South Devon TQ5 9BZ

Shop is Open 10am-5pm Monday-Friday. 9am-5pm Saturday. 10am-1pm Sunday.
Shop & Phones Closed Saturday Only 1pm till 1.30pm

U.K. Stock ONLY
Email - info@mifsuds.com Web - www.mifsuds.com PHONE LINES OPEN MON -FRI 9am - 5.30pm, SAT 9am - 5pm, SUN 10am - 1pm
01803 852400
Mail Order:
MIFSUDS ARE CANON PROFESSIONAL STOCKISTS
3429
5D MKII + 24-105 F4 L IS U . . . . . . . . . . . 2299 7D + 15-85 F3.5/5.6 IS U . . . . . . . . . 1649 7D + 18-135 F3.5/5.6 IS U . . . . . . . . .1419 60D body NEW!! . . . . . . . . . . . . . . .1099 60D + 18-55 F3.5/5.6 IS . . . . . . . . .1199 60D + 17-85 F4/5.6 IS U . . . . . . . . .1449 60D + 18-135 F3.5/5.6 IS U. . . . . . .1399 550D body . . . . . . . . . . . . . . . . . . . . .629 550D + 18-55 F3.5/5.6 IS . . . . . . . . .689 550D + 18-135 F3.5/5.6 IS U . . . . . . . 849 500D body . . . . . . . . . . . . . . . . . . . . .499 500D + 18-55 F3.5/5.6 IS . . . . . . . . .579
U.K. Stock ONLY
1D MKIV body
1679
POWERSHOT CAMERAS G11 . . . 399 S95. . . . . . . . . 399 EF-S NON FULL FRAME LENSES 10-22 F3.5/4.5 USM. . . . . . . . . 629 15-85 F3.5/5.6 IS U no box . . . 579 17-55 F2.8 IS USM. . . . . . . . . . 798 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 U no box . . 329 18-200 F3.5/5.6 unboxed. . . . . 419 55-250 F4/5.6 IS . . . . . . . . . . . 229 60 F2.8 Macro USM . . . . . . . . . 339 EF LENSES 8-15 F4 L U Fisheye. . . . . . . . . 549 14 F2.8 L USM MKII. . . . . . . . 1899 15 F2.8 Fisheye . . . . . . . . . . . . 599 16-35 F2.8 MKII L USM . . . . . 1089 17 F4 TSE L . . . . . . . . . . . . . . 1949 17-40 F4 USM L. . . . . . . . . . . . 597 20 F2.8 USM . . . . . . . . . . . . . . 399 24 F1.4 L II USM . . . . . . . . . . 1349 24 F2.8 . . . . . . . . . . . . . . . . . . . 369 24 F3.5 L TSE MKII . . . . . . . . 1749 24-70 F2.8 L USM . . . . . . . . . . . 989 24-105 F4 L IS USM unboxed . . . . . 749
5D MKII body
1187
EOS 7D body
Digital Products Camera
Canon
listed!
New
Please mention
when making an enquiry

STE2 Transmitter
EOS DSLRS + KITS
28 F1.8 USM .399 28 F2.8 . . . . . 175 28-135 F3.5/5.6 IS USM . . . . . 399 35 F1.4 L U . 1149 35 F2 . . . 219 45 F2.8 TSE . . . . . . . . . . . . . . 1129 50 F1.2 L USM . . . . . . . . . . . . 1289 50 F1.4 U .309 50 F1.8 II . . . . 95 50 F2.5 Macro . . . . . . . . . . . . . 239 65 MPE F2.8. . . . . . . . . . . . . . . 849 70-200 F2.8 IS U LII . . . . . . . . . .1899 70-200 F2.8 non IS L USM . . . . . . . .997 70-200 F4 L IS USM. . . . . . . . . 897 70-200 F4 L USM. . . . . . . . . . . 497 70-300 F4/5.6 L IS U . . . . . . . . .1599 70-300 F4.5/5.6 DO IS U . . . . . 1149 70-300 F4.5/5.6 IS USM . . . . . 399 85 F1.2 L II . . . . . . . . . . . . . . . 1779 85 F1.8 USM . . . . . . . . . . . . . . 319 90 F2.8 TSE . . . . . . . . . . . . . . 1139 100 F2.8 IS L U macro . . . . . . . 709 100 F2.8 Macro USM . . . . . . . . . . . 427 100-400 F4.5/5.6 IS L USM . . . 1249 135 F2 L USM . . . . . . . . . . . . . 899 180 F3.5 L USM Macro . . . . . 1249 200 F2.8 II L USM . . . . . . . . . . 629 300 F2.8 L IS II U . . . . . . . . . . POA
300 F2.8 L IS USM. . . . . . . . . 3799 300 F4 L IS USM . . . . . . . . . . 1169 400 F2.8 IS II L USM . . . . . . . POA 400 F2.8 IS L USM. . . . . . . . . 6479 400 F4 DO IS L USM . . . . . . . . 5298 400 F5.6 L USM . . . . . . . . . . . 1099 500 F4 IS L USM . . . . . . . . . . 5468 600 f4 IS L USM . . . . . . . . . . 7139 Ext tube 12 .79 Ext tube 25 . . 129 1.4x III or 2x III conv each . . . . 549 1.4x or 2x converter II each . . . 299 FLASH & ACCESSORIES Angle finder C. . . . . . . . . . . . . . 169 Compact batt pack CP-E4. . . . . . 127 BGE2N Grip (20/30/40D) . . . . . 149 BG-E6 grip (5D MKII) . . . . . . . . . 210 BG-E7 grip (7D) . . . . . . . . . . . . . 149 BG-E8 grip (550D) . . . . . . . . . . . 139 BG-E9 grip (60D) . . . . . . . . . . . 199 MR 14EX . 469 MT-24. . . . . . 749 430 EX II . . .209 580 EX II. . . . . . 349 Off camera shoe cord OC-E3 . . . . . 59 LC5 wireless set . . . . . . . . . . . . 369 STE2 Transmitter . . . . . . . . . . . 179 TC-80N3. . . . . . . . . . . . . . . . . . 109
580EXII Flash
179
349
100-400mm f4.5/5.6 IS L
1249
70-200mm f2.8 L U
997
24-105mm f4 100mm f2.8 L no IS L U box macro
749
709
MIFSUDS ARE NIKON PROFESSIONAL DEALERS

4699
D3X body
3549
DIGITAL ONLY LENSES 10.5 F2.8 DX. . . . . . . . . . . . . . . 499 10-24 F3.5/4.5 G AFS DX. . . . . 599 12-24 F4 DX . . . . . . . . . . . . . . 829 16-85 F3.5/5.6 AFS VR DX. . . . 397 17-55 F2.8 DX . . . . . . . . . . . . 1077 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 . . . . . 519 55-200 F4/5.6 VR DX . . . . . . . . 219 55-300 F4.5/5.6 G VR . . . . . . . 369 LENSES 14 F2.8 AFD . . . . . . . . . . . . . . 1249 14-24 F2.8 G ED AF-S . . . . . . 1229 16 F2.8 AF-D Fisheye. . . . . . . . 619 16-35 F4 AFS VR . . . . . . . . . . . 874 17-35 F2.8 D AFS. . . . . . . . . . 1499 20 F2.8 AF-D . . . . . . . . . . . . . . 459 24 F1.4 AFS . . . . . . . . . . . . . . 1849 24 F3.5 D PCE . . . . . . . . . . . . 1399 24 F2.8 AF-D . . . . . . . . . . . . . . 357 24-70 F2.8 G ED AFS. . . . . . . 1177
D3S body
1755
24-85 F2.8/4. . . . . . . . . . . . . . . 559 24-120 F4 G ED VR . . . . . . . . 1049 24-120 AF-S VR G . . . . . . . . . . 549 28 F2.8 AFD . . . . . . . . . . . . . . . 249 28-300 F3.5/5.6 G ED VR . . . . 869 35 F1.8 G . . . . . . . . . . . . . . . . . 189 35 F2 AF-D . . . . . . . . . . . . . . . . 269 45 F2.8 D PCE . . . . . . . . . . . . 1399 50 F1.4 AF-S G . . . . . . . . . . . . 289 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 AFS G . . . . . . . . . . . . 1499 85 F1.4 AFD . . . . . . . . . . . . . . . 879 85 F1.8 AF-D . . . . . . . . . . . . . . 307 85 F2.8 D PCE . . . . . . . . . . . . 1399 85 F3.5 G VR . . . . . . . . . . . . . . 379 105 F2.8 VR macro . . . . . . . . . 597 200 F2 G VR. . . . . . . . . . . . . . 2989 200-400 F4 VR II . . . . . . . . . . 5498 200-400 F4 VR . . . . . . . . . . . . 4379 300 F2.8 AFS G VR II . . . . . . . 3989 300 F4 AF-S . . . . . . . . . . . . . . . 999 400 F2.8 AFS VR . . . . . . . . . . 6499 500 F4 AFS VR. . . . . . . . . . . . 5799 600 F4 AFS VR. . . . . . . . . . . . 6929 TC14EII or TC17EII conv ea. . . 319 TC20EIII . .449 TC20EII. . . . . 247 FLASH & ACCESSORIES MBD10 Grip (D300/D700) . . . . 189 MBD80 grip (D80/D90). . . . . . . 119 MBD200 grip (D200). . . . . . . . . 159 DR-5/DR-6 angle finder each. . . 229 SBR200 wireless rem S/Lite . . . 199 SBR1 ringflash . . . . . . . . . . . . . 410 SBR1CI ringflash/command. . . 599 SB-600 . . .217 SB-900. . . . . 319 SC-28 . . . . 66 SC-29 . . . . . . 77 SU-800 flash slave . . . . . . . . . . 349 MC36 . . . . 129 MC30 . . . . . . 66 EN-EL3E . . .65 ENEL4A . . . . 116 NX Capture 2 . . . . . . . . . . . . . . 139
D700 body
1119
14-24mm f2.8 G ED AF-S
D300s body
D3X body . . . . . . . . . . . . . . . . . . . 4699 D3S body . . . . . . . . . . . . . . . . . . . 3549 D90 body . . . . . . . . . . . . . . . . . . . . . 629 D90 + 18-105 F3.5/5.6 G . . . . . . . . . 779 D5000 body . . . . . . . . . . . . . . . . . . . 459 D5000 + 18-55 F3.5/5.6VR. . . . . . . . . . 529 D3100 body NEW!! . . . . . . . . . . . . . 499 D3100 + 18-55 F3.5/5.6VR . . . . . . . . 579 D3000 body . . . . . . . . . . . . . . . . . . . 315 D3000 + 18-55 F3.5/5.6VR.. . . . . . . . . 349
U.K. Stock ONLY
DIGITAL SLR + KITS
16-35mm F4 AFS VR
874
1229
24-70mm F2.8 AFS 70-200mm F2.8 G ED VR II
1177
1629
200-400mm f4 VR
4379
300mm f2.8 AFS VRII
3989
MIFSUDS ARE SIGMA PRO LENS STOCKISTS HOYA Filters

UV /Sky 14 16 17 19 24 30 39 47 66 85 85
LIMITED STOCK
100-300mm f4 EX DG Sony fit 599.99
LIMITED STOCK
50-150mm f2.8 EX DC
4.5 F2.8 EX DC. . . . . . . . . . . . . . . . . . . . .599.99 8 F3.5 DG EX CAF/NAF . . . . . . . . . . . . . .649.99 8-16 F4.5/5.6 DC HSM . . . . . . . . . . . . . .599.99 10 F2.8 EX DC . . . . . . . . . . . . . . . . . . . . .499.99 10-20 F3.5 EX DC HSM . . . . . . . . . . . . . .449.99 10-20 F4/5.6 EX DC CAF/NAF . . . . . . . . . . . . 399.99 12-24 F4.5/5.6 EX DG . . . . . . . . . . . . . . . . . 629.99 15 F2.8 EX DG Sony . . . . . . . . . . . . . . . .449.99 17-50 F2.8 EX DC OS HSM . . . . . . . . . . .594.99 17-70 F2.8/4.5 DC OS . . . . . . . . . . . . . . .329.99 18-50 F2.8/4.5 OS . . . . . . . . . . . . . . . . . .199.99 18-125 F3.8/5.6 OS DC . . . . . . . . . . . . . .269.99
1699.99 1999.99 HSMII Sony/PK 399.99 749.99 18-200 F3.5/6.3 DC OS . . . . . . . . . . . . . . .289.99 70-300 F4.5/5.6 APO DG mac. . . . . . . . . . . . . 189.99 Many stocked in Pentax & Sony fits - price may 18-250 F3.5/6.3 DC OS . . . . . . . . . . . . . .399.99 70-300 F4.5/5.6 DG Mac NAF . . . . . . . . . .99.99 vary according to fit 24-70 F2.8 EX IF DG HSM . . . . . . . . . . . .649.99 85 F1.4 EX DG . . . . . . . . . . . . . . . . . . . . . . . 689.99
24-70 F2.8 EX DG . . . . . . . . . . . . . . . . . .449.99 30 F1.4 EX DC HSM. . . . . . . . . . . . . . . . . . . 399.99 50 F1.4 EX DG. . . . . . . . . . . . . . . . . . . . . . . . 379.99 50 F2.8 EX DG macro . . . . . . . . . . . . . . . .244.99 50-150 F2.8 EX DC II . . . . . . . . . . . . . . . .569.99 50-200 DC OS HSM . . . . . . . . . . . . . . . . . . 199.99 50-500 F4/5.6 OS HSM . . . . . . . . . . . . .1189.99 50-500 F4/6.3 EX DG CAF. . . . . . . . . . . .749.99 70 F2.8 EX DG macro. . . . . . . . . . . . . . . . . . 349.99 70-200 F2.8 EX DG OS . . . . . . . . . . . . . . . . 1299.99 70-200 F2.8 DG macro II. . . . . . . . . . . . . . . . 699.99 70-300 F4/5.6 DG OS . . . . . . . . . . . . . . . . . . . 275.99
50-500mm F4/6.3 EX DG CAF
120-300mm f2.8 EX DG CAF only
300mm f2.8 EX DG CAF/NAF
500mm f4.5 EX DG DEMO CAF
2999.99
17 17 20 30 35 40 49 50 49 99 85 119
Family Run Pro Dealership with Friendly, Knowledgable Staff. Open 7 days per week. Prices inc VAT. Commission Sale & Part Exchange Welcome. Collection Service Available. P&P Extra. E&OE.
We are happy to reserve new and used stock for customers planning to visit. Prices are based on current stock at time of compilation September 3rd 2010. 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.
105 F2.8 EX DG macro . . . . . . . . . . . . . . .389.99 120-300 F2.8 EX DG NAF . . . . . . . . . . . . . . . . . 1789.99 120-400 F4.5/5.6 APO OS . . . . . . . . . . . .639.99 150 F2.8 EX DG Mac . . . . . . . . . . . . . . . .579.99 150-500 F5/6.3 DG OS. . . . . . . . . . . . . . . . . 749.99 300 F2.8 EX DG CAF/NAF . . . . . . . . . . .1999.99 300-800 F5.6 EX DG. . . . . . . . . . . . . . . . . . . . . . 5999.99 500 F4.5 EX DG . . . . . . . . . . . . . . . . . . .3777.99 500 F4.5 EX DG DEMO CAF . . . . . . . . . .2999.99 1.4x EX DG converter. . . . . . . . . . . . . . . .199.99 2x EX DG converter . . . . . . . . . . . . . . . . .229.99 EM-140 DG macro flash. . . . . . . . . . . . . .329.99
46mm 52mm 55mm 58mm 62mm 67mm 72mm 77mm 82mm 86mm 95mm 105mm
SIGMA EX DG FILTERS SIZE UV Circ Pol

38 40 49 50 55 93 95 99 123 132 125 165
49mm 52mm 55mm 58mm 62mm 67mm 72mm 77mm 82mm 86mm 95mm
Pro1 D UV ----34 36 38 44 49 55 59 69 ---------
Circ Pol 36 37 40 47 62 67 72 79 110 149 ------
Pro1 D Circ Pol ----68 70 80 85 94 114 132 149 160 -----
HOYA 95mm Linear Polariser 99
HOYA
58mm 62mm 67mm 72mm 77mm
Pro1 D Infra Red G,O,R,Y Protector 81A/B/C ----39 16 38 49 19 42 69 24 45 69 28 49 89 30 WHILE STOCKS LAST
WANTED
QUALITY USED EQUIPMENT
ALL DIGITAL CANON 1D MKIII body ............1499 1D MKIIN body.............899 1D MKII body ...............699 5D body box.................799 50D body box...............569 40D body ....................... 449 450D body ..................... 379 400D body ..................... 269 1000D body ................... 249 20D body box................ 229 350D body ..................... 219 300D body ..................... 149 D30 body ....................... 149 BG-E1 . .49 BG-E2....... 79 BG-E2N............................ 99 BG-E5 .............................. 79 BG-ED3 box .................... 69 BG-E4 box ....................... 99 WFT-E4 box..................479 G7 compact ...................199 FUJI S5 body box.................499 S3 body box.................329 S2 body box.................199 MINOLTA/SONY Sony A700 body ........... 379 Sony N50 (A100) b/o .... 249 HLLF56AM flash...........229 NIKON D3 body Mint box....... 2399 D3 body box ............... 2199 300s body ..................... 949 D2X body ............... 699/999 D200 body....................429 D80 body box...............349 D70s body ....................239 D70 body......................199 D50 body......................199 MBD-100 (D100).............49 MBD-200 ........................99 EH-4 ...............................39 EH-6 AC adapter............49 OLYMPUS Pen E-P1 + 17 F2.8......369 E620 + 25 F1.8 M- .......469 E1 body box .................249 40-150 F3.5/4.5..............99 FL14 flash (Pen)..............99 FL36 flash.....................119 HLD5 box.............................59 HLD2 + batt + charg .......... 99 PANASONIC 14-45 F3.5/5.6..............189 PENTAX K7D body M- box.........649 ist 1DS body box .........149 DBG1 . 49 DBG2.........79 BAGS - LOWEPRO Nature Trekker AW .........79 Photo Trekker AWII.......129 Super Trekker AW.........169 LARGE FORMAT Cambo SC Monorail 5x4 (with standard rail)........199 Linhof Carden Supercolour ................ POA Linhof Super Angulon 65 F5.6 ....................... POA Linhof Super Angulon 90 F5.6 ....................... POA Linhof Symar 150 F5.6 .......199 Linhof Symar 210 F5.6 ..... POA Polaroid 545 Pro FH.......79 Polaroid 545i Back .........79 Polaroid 545 Back..........69 Schneider 72 F5.6 Super Angulon Mint box .......1099 Toyo 5x4 G ...................299 DDS Fidelity for Toyo........ 99 BRONICA ETRS 645 ETRSi comp M- box.....329 ETRSi comp .................249 ETRS comp ..................179 40 F4 PE.......................299 40 F4 E .........................149 45-90 F4/5.6 PE ...........379 50 F2.8 E ........................99 50 F2.8 PE....................199 75 F2.8 PE......................129 100-220 F4.8 M- ..........549 150 F3.5 E ......................99 150 F3.5 PE M- Box.....179 200 F4.5 E ....................149 200 F4.5 PE M- ............249 E14 or E28 ext tube .......49 All 120 RFH ....................49 Polaroid Back .................39 AEIII Prism ....................199 AEII Prism.......................99 WLF Boxed.....................59 Plain Prism E ..................69 Speed Grip .....................49 Metz SCA 386 ................49 BRONICA SQ 6x6 SQAi comp M- .............499 SQAi comp inc 80 ........449 SQA body.....................149 SQ + 80 + RFH.............199 SQ Body Boxed .............99 50 F3.5 PS....................249 50 F3.5 S ........................99 65 F4 PS Boxed199 65 F4 PS.................................149 110 F4 PS Mac (1:4)......279 135 F4 PS M- ...............279 150 F3.5 S ......................99 150 F4 PS.....................149 150 F4 PS M- Box........199 200 F4.5 S ....................149 Auto Mac Bellows ........179 Extention Tube S18 ........99 120 SQAi Back ...............69 120 SQA Back................49
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Collection can be arranged. Please email Your good quality cameras, lenses etc - part exchange - cash - commission sale. details in first instance... 5x4 & 6x9, CANON, LEICA, MINOLTA, NIKON, PENTAX, BRONICA, MAMIYA, HASSELBLAD, FUJI GS - GW - GX617 info@mifsuds.com
3 Month warranty on most equipment
Film Crank AC401 ..........20 MAMIYA TLR 6x6 C330 S Body + WLF.....199 C330 F Body + WLF.....169 Poroex ..........................49 Plain Prism......................99 Hood...............................20 MAMIYA 7 RF 6x7 7 body ..........................429 50 F4.5 + VF M- box .....849 50 F4.5 + VF.................499 65 F4 box .....................579 150 F4.5 L M-...............399 150/210 VF ...................149 Polarising filter..............110 Panoramic kit .................49 MAMIYA RB 6x7 RB Pro SD + 90 F3.5 KL + RFH ...........................599 Pro SD body box..........299 Pro S body ...................179 Prism early......................99 37 F4.5 fisheye .............449 90 F3.5 KL lovely..........279 150 F4 mint box ...........199 180 F4.5 KL mint..........299 180 F45.5 KL................249 180 F4.5 C....................149 Ext tube 1 or 2 each .........69 Ext tube 45 mint box ........99 Teleplus 2x conv.............69 Multi angle grip...............59 MAMIYA RZ 6x7 RZ Pro D + 110 + RFH M-......................999 RZ67 Pro II inc 110 + RFH ...........................699 RZ Pro + 90 + RFH ......599 RZ Pro D body .............799 RZ Pro II body ..............349 RZ Pro body .................199 50 F4.5 .........................249 250 F4.5 .......................199 No 1 ext tube .................99 AE prism early ..............149 FE701 prism AE............299 Polaroid back .................49 120 backs.......................39 L Grip..............................79 Left hand grip .................49 METZ 45CL4 niCad ..................99 45CL4 AA .......................69 CT4 . . 49 CT5.............49 MINOLTA AF Dynax 9 body ...............299 Dyn 7 B/O M- Box........199 Dynax 7 Body...............149 Dynax 800Si body ..........99 Dynax 700Si body ..........99 Dyn 600Si QD body .......79 Dynax 600Si body ..........69 Dynax 8000i Body ..........39 Dynax 303Si Body..........29 Sony 16-80 F3.5/4.5......499 Sony 18-70 F3.5/5.6.......69 18-70 F3.5/5.6...................69 28-80 F3.5/5.6 AF ..........39 28-80 F3.5/5.6 AF D.......29 28-80 F4/5.6 AF .............39 28-85 F3.5/4.5................99 35-80 F4/5.6...................29 50 F2.8 Macro 1:1 ........179 75-300 F4.5/5.6....................99 100-300 F4.5/5.6............... 149 100-400 F4.5/6.7 APO...... 399 Sony 2x conv M-..........239 2x II Conv Box..............219 VC600 .39 VC700........39 3600HSD flash .............129 5400HS flash ..................99 SIGMA MIN AF 50-150 F2.8 II DC ......... 369 100-300 F4 DG mint..... 569 170-500 F5/6.3 DG....... 349 1.4x EX DG box ............ 169 Kenko Pro 300 DG .......119 TAM 90 F2.8 Di.............269 MINOLTA MD X-700 body.....................69 SRT303 chr.....................49 X-300 Body Chr..............49 21 F2.8 MC.....................79 28 F2.8 MD.....................29 28 F3.5 MC.....................29 28 F3.5 MD.....................29 28-70 F3.8/4.8 MD .........49 35 F1.8 MC.....................79 35-70 F3.5 MD ...............49 35-70 F3.5/4.8 MD .........49 35-105 F3.5/4.5 MD .......79 50 F1.4 MD.....................69 50 F1.7 MD.....................29 70-200 F4 MD ................89 135 F2.8 MC...................29 135 F3.5 MC...................20 135 F3.5 QD ...................20 Motordrive 1 .................129 INDIE MD FIT LENSES Carl Zeiss 24 F2.8 ..........39 TOK 35-135 F4/5.6.........39 TOK 2x 7 ele conv ..........19 Teleplus 2x mac conv.....29 NIKON AF F5 body M- box .................449 F5 body..........................199 F100 + MB-15 ..............199 F100 b/o TO CLEAR..... 149 F4 body scruffy ............149 F90X body ......................99 F90X + MB-10 M-...........99 F80D/F80 silver each .....79 F801 or F801s body .......39 F65/F55/F50 body ea.....39 10.5 F2.8 DX.................429
Part exchange welcome
120J RFH (645)...............69 220 SQ Back ..................29 Polaroid back .................39 Plain Prism S Boxed ......99 45 Degree Prism.............99 AE Prism Early..............149 CDS Chimney.................99 ME Prism Finder...........129 Metz SCA 386 ................49 Rapid Focus Lever .........10 Lens Hood 50 PS ...........39 Lens Hood 65-80 ...........20 Lens Hood 105-150 S ......20 Speedgrip.......................79 BRONICA GS 6x7 GS-1 Body Boxed ........179 100 F3.5 PG .................149 150 F4 PG M-...............199 250 F5.6 PG M-............199 G18 Ext Tube Box 99 G36 Ext Tube Box ..................99 220 RFH (6x7).................49 Pro shade inc 82mm ......49 Polaroid Back .................39 Speed Grip ....................89 AE Prism Finder G........129 AE Rotary Prism ...........299 CANON AF EOS 3 body .................... 149 EOS 5 body ...................... 39 EOS 33 body .................... 49 EOS 300 or 300V body.......39 EOS 10 or 100 body......... 39 EOS 600 or 500 body..........39 EOS 500N or 50E body.......39 17-40 F4 L box.............449 17-85 F4/5.6 EFS .........239 18-55 F3.5/5.6 IS ...........99 18-55 F3.5/5.6................79 20-35 F3.5/4.5 USM ........199 22-55 F4/5.6 U...................79 24 F2.8..............................239 24-85 F3.5/4.5 U..............179 24-105 F4 L IS..................679 28-90 F4/5.6.......................69 28-105 3.5/4.5 U..............169 28-135 F3.5/5.6 U IS .......199 28-200 F3.5/5.6 U............199 35-70 F3.5/4.5......................69 50 F2.5 mac M- box..........189 55-200 F4.5/5.6 UII..............69 55-250 F4/5.6 IS ...................169 70-200 F2.8 IS L U..............1399 70-200 F2.8 U L....................849 70-200 F4 U L .......................449 70-300 F4/5.6 IS U ...............339 75-300 F4.5/5.6 U III....... 129 80-200 F4.5/5.6 II...............69 85 F1.2 LII U M- .........1379 100 F2.8 U ......................... 339 100-400 F4/5.6 L IS U ..... 999 180 F3.5 L U box .........999 300 F2.8 U L...............1899 400 F2.8 LII scruffy .......2899 400 F2.8 L IS U M-.....5399 500 F4 IS L U ............. POA 1.4x extender ...............189 1.4x or 2x MKII conv ea........249 12mm ext tube...................49 Tripod mnt AB/BW ea........69 BP-E1.................................69 BP-50 . 39 PB-E1 ...........49 PB-E2 fits EOS1n/3........99 SIGMA CAF 10-20 F4/5.6 EX DC...........329 17-35 F2.8/4 EX DG...........249 17-35 F2.8/4 EX ...................229 17-70 F2.8/4 DC OS........... 269 17-70 F2.8/4.5 DC ..........199 28-300 F3.8/6.3 DG...........179 30 F1.4 EX DC....................329 50 F2.8 EX DG mac...........189 50-150 APO DC ................ 299 50-500 F4/6.3 DG ..............599 70-200 F2.8 EX DG............499 70-300 F4/5.6 APO Sup......119 105 F2.8 EX box.................269 120-300 F2.8 EX ..............1299 170-500 F5/6.3 DG............439 300 F2.8 EX DG ...............1499 1.4x or 2x EX DG each......169 2x conv EX......................... 119 OTHER CAF TAM 11-18 DiII....................289 TAM 55-200 DiII ...................49 TAM 70-300 F4/5.6 M- ........89 TAM 200-400 F5.6 .............279 Teleplus 2x MC7 DG............79 Teleplus 2x MC7.............69 CANON FLASH 300EZ . 29 380EX ......119 540EZ .............................79 WFT-E3 box..................449 CANON FD F1N + AE Prism + Power Winder FN ..........349/399 F1 body early................199 A1 body ..........................99 T90 Body Boxed ............99 T70 Body........................49 AE-1 P Blk/Chr ...............69 17 F4 ............................279 50 F3.5 Macro ................99 50 F3.5 Mac + Tube .....149 100 F2.8 .......................149 100 F4 Macro ...............199 100-100-300 F5.6...........99 200 F2.8 .......................149 300 F4 hood/ filter........179 300 F5.6 .........................79 Sigma 600 F8 ...............149 Life Size adapt Fits FD 50mm F3.5 Macro ..........29 1.4x A Extender..............99 2X A Extender ................99
2X B Extender ................69 Angle Finder B................69 Auto Bellows Boxed.......79 AE Motordrive FN + Battery pack FN ........149 AE Powerwinder FN .......79 MA drive .........................49 Action finder F1N ...........99 CONTAX RF G2 black + 28 + 90 + case + TLA200.............799 21 F2.8 + VF chr box ..... 399 90 f2.8 G.......................199 FUJI MED FORMAT 250 F5.6 GX680 ...........249 GX617 + 90 F5.6 ........1999 Focus scrn GX617........149 GW690 MKIII M- ..........649 GW690 MKIII ................499 HASSELBLAD XPAN XPAN 2 + 90 M- box........ 1499 XPan 1 body ........................599 90 F4 lovely..........................449 HASSELBLAD 6x6 503CW chr + 80 CFE + A12 + WLF ..............1699 503CX + 80 CF F2.8 + A12 chrome...............799 503CW body ................699 503CX body..................399 500CM + 80 T* + A12 ...... 599 500CM body chr ..........239 500C body chr..............179 PM90 prism ..................199 45 prism late ...............169 45 prism early ...............89 Chimney .........................89 WLF early .......................49 A12 late chr/blk ............149 A16 black late...............199 A24 chr/blk latest .........149 A24 chr late ....................99 Polaroid Back 100..........39 40 F4 CF..................... POA 40 F4 Black T*..............699 50 F4 CF FLE ...............599 50 F4 CF.......................599 50 F4 black T* ..............249 60 F4.5 CF....................499 100 F3.5 CF..................599 135 F5.6 CF + macro bellows...........799 150 F4 CFI....................649 150 F4 CF.....................399 150 F4 black T* ............199 150 F4 chrome .............169 250 F5.6 T* ...................249 Late macro bellows.........299 Early macro bellows........149 Teleplus 2x conv.............69 LEICA M/COMPACT M7 body blk ..................1199 CL body........................299 28 F2.8 blk ...................699 90 F2 blk ......................649 CF FLash ........................69 CF-20 Flash....................99 Minilux Zoom................199 LEICA SLR R8 body blk box..............499 R4 body chr.....................199 15 F3.5 .......................1199 MAMIYA 645 645 Pro TL inc 80 F2.8 N + FE401 Prism + Pro Winder ................549 645 Pro SV Kit inc 80 F2.8 N + SV Prism + 120 RFH + Winder Box...................449 645 Pro + 80 F2.8 N + 120 RFH + FE401................479 645 Pro TL Body ..........269 M645 Super + 80 + RFH + AE prism ........249 M645 1000S + 80 + PD prism ...........199 M645 1000S + 80 + WLF...................169 645 Pro Body ...............199 645 Super Body .............99 M645 1000S body..........79 24 F4 M- Box ...............599 45 F2.8 N M- Box.........279 50 F4 Shift M- Box.......449 50 F4 Shift ....................399 55 F2.8 N......................199 70 2.8 C leaf ...................99 80 F1.9 C......................149 80 F2.8 N........................99 105-210 F4.5 ULD C.......299 110 F2.8 N....................129 150 F2.8 A ....................249 150 F3.5 C......................99 150 F4 C.........................99 210 F4 N M- .................169 210 F4 C.......................129 300 F5.6 N ULD-C Mint- & Box ..................349 Ext Tube 1,2, 3S ea ........49 Teleplus/Viv 2x conv.......69 FE401 AE Prism M-......199 AE Prism Box (Super) ........ 99 AE prism 1000S..............99 PD prism 1000S .............99 Plain Prism .....................39 WLF 1000S etc...............49 Polariod Back HP401.....39 120 Insert .......................29 HA401 120 RFH Box......59 120 Back 39 135 Back ......79 Cable Rel Ad RC402 ......20 645 Super Conn N .........20 Angle Finder ...................79 Winder ............................79 Cable Release A Box .....25
16-85 F3.5/5.6 VR M-.........349 17-55 F2.8 DX M- ...........849 18-55 F3.5/5.6 AFS...........79 18-70 F3.5/4.5.................169 18-105 F3.5/5.6 VR ........ 179 18-200 F3.5/5.6 VR.........369 20-35 F2.8 AFD...............399 24-70 F2.8 M- box........1049 24-85 F2.8/4 AFD............399 28 F2.8 AFD........................149 38 F1.4 AFS box .............159 50 F1.4 AF G M- .............249 50 F1.4 AFD box.............199 50 F1.4 AF .......................169 55-200 F4/5.6 VR............169 55-200 F4/5.6 AFS DX.......129 60 F2.8 AFD macro.........279 70-200 F2.8 VR .............1099 70-300 F4.5/5.6 VR.........339 70-300 F4/5.6 AFD .........179 70-300 F4.5/5.6 G.............79 80-200 F2.8 AFS.............799 80-200 F2.8 AFD N.........699 80-400 F4.5/5.6 VR.........999 80-400 F4.5/5.6 VR.........849 200-400 Mint box unused........................4199 200 F2 AFS VR...........2599 300 F2.8 AFS II ................POA 300 F2.8 AFS VR M-...... 3199 500 F4 AFS scruffy.....2999 400 F2.8 AFS VR........5499 400 F2.8 AFSII............4499 600 F4 AFS II..............4399 TC14EII M- ...................269 TC17EII.........................259 TC20EII M- ...................199 TC20E...........................169 SIGMA NAF 15-30 F3.5/4.5 DG M-...... 269 17-35 F2.8/4 EX DG ....... 249 17-35 F2.8/4 EX ............. 219 18-50 F2.8 EX DC Mac...... 229 18-125 F3.8/5.6.............. 139 18-200 F3.5/6.3 M- ........ 139 24-70 F2.8 EX DG...........299 28-70 F2.8 EX..................199 28-70 F2.8 non EX............99 28-200 F3.8/5.6.................49 28-300 F3.5/6.3..................129 30 F1.4 EX DC box ............319 30 F1.4 EX DC scruffy ........199 50 F2.8 EX DG ....................189 50-500 F4.5/6.3 EX DG .......649 50-500 F4.5/6.3 EX............549 55-200 F4/5.6 DC Mint....... 69 70-200 F2.8 EX.................499 70-200 F2.8 EX DG ..........499 70-300 APO mac DG .......129 70-300 mac DG..................79 80-400 F4.5/5.6 scruffy...... 399 100-300 F4 EX DG...........599 120-400 F4.5/5.6 DG ...... 529 135-400 F4.5/5.6.......... 299 150-500 F5/6.3 DG OS........629 170-500 F5/6.3................439 1.4x EX DG conv.............169 TAMRON NAF 10-24 F3.5/4.5 DiII M-.......329 18-200 F3.5/6.3 DiII ........119 18-250 F3.5/6.3 DiII ........219 18-270 F3.5/6.3 Di VC...... 339 19-35 F3.5/4.5 Mint ..........89 28-75 F2.8 XR Di.............249 28-200 F3.5/6.3 XR...........99 28-300 XR Di VC.............349 55-200 F4/5.6 DiII .............49 70-300 F4.5/5.6 Di ............89 90 F2.8 box .....................249 2x MC conv.......................49 TOK 11-16 F2.8 ATX.......399 TOK 28-105 F3.5/4.5........79 VIV 100-400 F4.5/6.7......169 FLASH/ACCESS SB-20 . . 39 SB-23......39 SB-24 . . 69 SB-25......69 SB-27 . . 69 SB-30 ....... 69 SB-28 or SB-28DX ea .......129 SB-50DX 49 SB-80DX ......129 SB-600 box ........................169 MB-16...................................39 MC-30 . 40 MC-36 ...........89 MH-15 . 49 MH-30 ...........79 NIKON MF F3 Body........................199 F2 Chr + DP1 Prism .....279 FM2n b/o chr/blk..........239 FE2 Body Black............149 FM2 Body Chrome.......149 FM Body Chr Box ..........89 FE body black ................89 24 F2.8 AI .....................169 28 F3.5 Shift ..........479/599 28 F3.5 AI .......................99 35 F2.8 shift early.........249 35-70 F3.5/4.5 AIS .........99 55 F2.8 AIS...................149 80-200 F4 AIS ..............199 85 F1.4 AIS...................449 85 F1.8 AI Dusty ............99 100-300 F5.6 AIS 149 105 F2.8 AIS micro..............299 135 F2 AIS.................. POA 135 F2.8 AI .....................89 135 F2.8 F Series ..........49 180 F2.8 AIS M- ......... POA 200 F4 AIS mac............349 300 F2.8 AIS.................999 300 F4.5 AI ...................149 400 F5.6 ED AIS...........849 TC14A Converter............99 TC200 Converter ............59 TC300 Converter ..........149 PB-6E ext bellows M-...... 149 PK-11/12 or 13 each......49
AS-1/AS-4/AS-6 ea ........17 SB-8E . 20 SB-15.........49 SB-16 or SB-16A ea ......79 SB-17 fit F3 ....................69 MB-4 fit F3 .....................49 MD-12 FM2n / FE2.........49 DR-3 Angle Finder..........69 DW-3 WLF fit F3.............69 MF-19 Data Back F301 ...... 39 MF-16 FM2N ..................49 OLYMPUS OM OM4Ti black .................349 OM1n chr body ............129 OM-10 chr body .............49 OM-40 black body..........79 24 F2.8 .........................139 35-105 F3.5/4.5............149 50 F1.8 ...........................29 50 F3.5 mac M- box .....149 135 F3.5 .........................39 135 F4.5 mac M- box .....249 400 F6.3 .......................449 Auto ext tube 14,25 ea...... 39 Manual ext tube 7, 14, or 25 ea ....................24 Auto Variable ext tube 65-116 ....................99 PENTAX 35mm AF MZS body.....................299 Z1P body......................149 MZ5 or MZ5N body........79 MZ50 body .....................39 16-50 F2.8 mint box.....579 18-55 F3.5/5.6................49 28-70 F2.8 FA AL .........499 43 1.9 box ....................399 50-200 F4/5.6 WR M-..........99 50-200 F4/5.6 M-.................79 55-300 F4/5.8 D AL ...........149 TOK 20-35 F2.8 ATX..... 199 SIGMA PKAF 17-35 F2.8 EX DG ........169 30 F1.4 EX DC M-..............299 50-150 F2.8 II DC.........369 TAM 17-35 F2.8/4.........119 TAM 70-300 F4/5.6 Di........... 99 PENTAX 35mm MF LX + FA1.......................249 K1000 chr body..............89 P30N body .....................69 MX chr body nice ...........89 MX chr body scruffy.......49 28-50 F3.5/4.5................69 40-80 F2.8/4...................69 50 F4 macro .................129 135 F3.5 compact ..........49 Auto bellows inc copy attachment ...................169 Auto ext tube set............69 PENTAX 645AF 645NII body..................649 645N body....................399 FA 45 F2.8 ....................369 FA 45-85 F4.5...............449 FA 120 F4 mac box......349 FA 150 F2.8 ..................299 FA 200 F4 box ..............299 FA 400 F5.6 ..................599 1.4x or 2x con ea .........199 Helicod ext tube .............79 Ext tube set ....................99 120 insert........................79 500FTZ flash.................129 PENTAX 645MF 645 Body + 75 F2.8 + 120 Insert ..................299 645 Body (No Insert) Scruffy ..........................149 45 F2.8 .........................249 45-85 F4.5 ....................299 55 F2.8 .........................169 75 F2.8 Leaf..................149 75 F2.8 ...........................99 80-160 F4.5 ..................299 120 F4 Macro ...............299 135 F4 Leaf...................249 150 F3.5 .......................169 200 F4 box ...................199 200 F4 ..........................149 300 F4 ED IF.................399 Helicoid Ext tube set ......79 Reverse adapter set .......39 1.4x or 2x Conv each .....199 120 Insert M- box ...........69 PENTAX 67 67II + AE + 90 F2.8.......999 67II + AE + 105.............999 67 MU + metered prism + 105 F2.4 latest...........699 67 MU body just serviced .................299 45 F4 latest M-................... 399 55 F3.5 Early ....................199 55 F4 latest...................299 55-100 F4.5 ..................599 75 F4.5 latest box.........249 75 F4.5 shift...................449 100 F4 mac latest.........449 105 F2.4 latest..............239 105 F2.4 early.................139 135 F4 mac latest.........369 135 F4 mac early..........149 150 F2.8 early ................... 139 165 F2.8 .......................149 165 F4 leaf....................429 200 F4 latest M- box..... 339 200 F4 latest.................299 200 F4 early lovely........149 300 F4 early scruffy....... 169 300 F4 latest.................379 Komura or Vivitar 2x converter each................39 Remote battery cord ......39 Quick focus ring B..........15 Wooden grip ...................79
We are PRO K7D body .....797 Dealers Kx body....... 399 Kx + 18-55mm ............... 429
PENTAX
NEW STOCK SPECIALS
379 379 139
10-24mm f3.5/4.5 SP Di II
TAMRON
17-50mm f2.8 SP XR Di II VC CAF/NAF 18-200mm f3.5/6.3 XR Di II NAF (no motor)

18-250mm f3.5/6.3 Di II NAF only
18-270mm f3.5/6.3 Di II VC LD CAF/NAF
269
399 359
60mm f2 Di II Macro CAF NAF + Sony

28-200mm F3.8/5.6 XR Di Sony/NAF 129 28-300mm F3.5/6.3 XR Di VC 499 90mm F2.8 Di Macro 339
Converters/Extension Tubes
KENKO
Pro 300 1.4x DG Converter................... 169 Pro 300 2x DG Converter...................... 199 Ext Tube Set DG CAF/NAF ................... 149
36AF4 Flashgun ........................ 79 45CL4 Flashgun NiCd.................149 48AF1 Flashgun ........................... 169 58AF1 Flashgun shown ................. 269
METZ
Expedition 4x ....................79.00 Expedition 5x ....................99.00 Expedition 6x....................119.00 Expedition 7x ................119.99 Expedition 8x ...............149.99 Expedition 9x (shown) .................179.00
TAMRAC Expedition 3 Rust ................29.00
Fastpack AW
LOWEPRO
100 Black only..............37 200 Black only..............45 250 Black only..............49 350 Black only..............59
KATA Bumblebee PL-220 ............... 259
Beetle PL-282........................ 269 Fly-By PL-74 ......................... 259 Fly-By PL-76 ......................... 299 TLB-300 Lens Backpack....... 179 TLB-600 Lens Backpack....... 219
G1257G ........... 249 G1258G ........... 249 G1258LVL ........ 299 GT1931............ 249 GT1940C ......... 249
GITZO Clearance GT2330 ............. 199
GT2340L ........... 199 GT2931EX......... 249 GT2941 ............. 249 GT2941LVL ....... 299
222 Joystick Grip Ball Head...............79
MANFROTTO
GITZO, MANFROTTO, TAMRAC, LOWEPRO, SONY, PENTAX, HOYA, KATA etc
WE STOCK IN DEPTH
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Prices correct when compiled September 3rd 2010. E&OE.
We are a small family owned and run company, specialising in photographic consumables. We are based in Leamington Spa, in the heart of Warwickshire - if you 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
EPSON
COMPATIBLE & ORIGINAL INK
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 a UK company called Jet Tec. Using Jet Tec Compatibles is a way of saving money, without compromising on the quality of your prints. Herere the results from two independent ink tests that agree
Jet Tecs colours were superb, with single greys and blacks very close to Epson so Jet Tec wins! - Total Digital Photography Magazine What were 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. Theres 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 26.99 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 Jet Tec Compatibles: 3.99 70ml, 3 for 10.99 3.99 20ml, 3 for 10.99 4.99 50ml, 3 for 13.99 4.99 70ml, 3 for 13.99 3.99 20ml, 3 for 10.99 4.99 50ml, 3 for 13.99 3.99 13ml, 3 for 10.99 4.99 31ml, 3 for 13.99 3.99 20ml, 3 for 10.99 4.99 46ml, 3 for 13.99 2.99 16ml, 3 for 7.99 2.99 26ml, 3 for 7.99 3.99 39ml, 3 for 10.99 3.99 48ml, 3 for 10.99 29.99, 3 sets for 87.99 4.99 21ml, 3 for 13.99 4.99 21ml, 3 for 13.99 Not Available. Not Available. Not Available. Not Available. 14.99, 3 sets for 42.99 4.99 21ml, 3 for 13.99 3.99 21ml, 3 for 10.99 19.99, 3 sets for 56.99 3.99 21ml, 3 for 10.99 3.99 21ml, 3 for 10.99 35.99, 3 sets for 99.99 3.99 21ml, 3 for 13.99 4.99 21ml, 3 for 13.99 4.99 21ml, 3 for 13.99 14.99, 3 sets for 42.99 4.99 21ml, 3 for 10.99 3.99 21ml, 3 for 10.99 Check Website. Check Website. Check Website. Check Website. 14.99, 3 sets for 42.99 4.99 21ml, 3 for 13.99 3.99 21ml, 3 for 10.99 14.99, 3 sets for 42.99 4.99 13ml, 3 for 13.99 3.99 13ml, 3 for 10.99 Check Website. Check Website. Check Website. 19.99, 3 sets for 57.99 3.99 13ml, 3 for 10.99 3.99 13ml, 3 for 10.99 Check Website. Check Website. Check Website. Check Website. Not Available. Not Available. Not Available. Not Available. Not Available. Not Available. Not Available.
Ink Test Winner
Canon Compatibles BCi3e Black 26ml 2.99 BCi3e C/M/Y 15ml 2.99 BCi6 B/C/M/Y 15ml 2.99 BCi6 PC/PM/R/G 15ml 2.99 PGi5 Black 29ml 5.99 CLi8 Black 15ml 4.99 CLi8 B/C/M/Y 15ml 4.99 CLi8 PC/PM 15ml 4.99 PGi520 Black 19ml 5.99 CLi521 B/C/M/Y/GY 9ml 4.99 BCi10 Black (3 pack) 4.99 BCi15 Black (2 pack) 4.99 BCi15 Colour (2 pack) 5.99 BCi24 Black 9ml 1.99 BCi24 Colour 16ml 2.99 PG37 Black 12ml 9.99 PG50 Black 28ml 12.99 CL38 Colour 12ml 12.99 CL51 Colour 24ml 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 PGi7 Black 25ml 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 PGi520 Black 19ml 9.99 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 CL41 Colour 12ml 19.99 CL51 Colour 21ml 26.99 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!
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
HP Compatibles No.15 Black 46ml 4.99 No.21 Black 10ml 7.99 No.22 Colour 21ml 11.99 No.45 Black 45ml 4.99 No.56 Black 24ml 9.99 No.57 Colour 24ml 12.99 No.58 Photo 24ml 12.99 No.78 Colour 45ml 9.99 No.88XL B/C/M/Y each 9.99 No.110 Colour 12ml 10.99 No.300XL Black 18ml 14.99 No.300XL Colour 18ml 16.99 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 No.22 Colour 5ml No.38 PB/MB/GY 27ml No.38 C/M/Y/PC/PM 27ml No.56 Black 19ml No.57 Colour 17ml No.58 Photo 17ml No.59 Grey 17ml No.100 Grey 15ml No.110 Colour 5ml No.300 Black 4ml No.300XL Black 11ml No.300 Colour 4ml No.300XL Colour 11ml No.337 Black 11ml No.338 Black 11ml No.339 Black 21ml No.343 Colour 7ml No.344 Colour 14ml No.350 Black 4.5ml No.350XL Black 25ml No.351 Colour 3.5ml No.351XL Colour 14ml No.363 Black 6ml No.363 C/M/Y/PC/PM each No.363 Set of 6 No.364 Black 6ml No.364 PB/C/M/Y 3ml No.901 Black 4ml No.901 Colour 9ml 11.99 14.99 26.99 26.99 16.99 24.99 22.99 22.99 22.99 18.99 10.99 22.99 12.99 26.99 17.99 17.99 24.99 18.99 26.99 11.99 25.99 13.99 27.99 13.99 8.99 39.99 8.99 7.99 11.99 16.99
Lexmark Compatibles No.1 Colour 10.99 No.2 Colour 11.99 No.3 Black 14.99 No.16 Black 10.99 No.17 Black 9.99 No.26 Colour 12.99 No.27 Colour 11.99 No.31 Photo 11.99 No.32 Black 9.99 No.33 Colour 11.99 No.34 Black 11.99 No.35 Colour 12.99 Lexmark Originals No.1 Colour 16.99 No.14 Black 16.99 No.15 Colour 18.99 No.17 Black 13.99 No.23 Black 14.99 No.24 Colour 16.99 No.27 Colour 14.99 No.28 Black 13.99 No.29 Colour 14.99 No.31 Photo 24.99 No.32 Black 15.99 No.33 Colour 17.99 No.34 Black 20.99 No.35 Colour 24.99 No.36 Black 16.99 No.37 Colour 18.99 No.43 Colour 22.99 No.44 Black 18.99
Many more in stock!
Photo 2100
C64, C66, C84, C86, CX3600/3650, CX6400, CX6600 R200, R220, R300, R320, R340 RX500, RX600, RX620, RX640 Photo R800, R1800
Brother Compatibles LC900 Black 3.99 LC900 C/M/Y 2.99 LC900 Set of 4 11.99 LC970 Black 3.99 LC970 C/M/Y 2.99 LC970 Set of 4 11.99 LC1000 Black 3.99 LC1000 C/M/Y 2.99 LC1000 Set of 4 11.99 LC980 / 1100 Black 3.99 LC980 / 1100 C/M/Y 2.99 LC980 / 1100 Set of 4 11.99
Brother originals also in stock!
Photo R240, R245, RX420, RX425, RX520, RX525 Photo R2400
Dell Compatibles Series 1 Black (T0529) 11.99 Series 1 Black (T0530) 12.99 Series 5 Black (M4640) 11.99 Series 5 Black (M4646) 12.99
Many more in stock!
Many more in stock!
Kodak Original Ink / Paper ESP Black Series 10 Ink 6.99 ESP Colour Series 10 Ink 11.99 ESP Black & Colour Ink 17.99 PrinterDock Ink/Paper CALL
Many more in stock!
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
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 a selection. As a PermaJet Premier Stockist, we supply the ENTIRE PermaJet range, including Baryta, Smooth and Textured Fine Art and Canvas. Below is just a selection.
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 FORMAT INK

EPSON Stylus Pro 3800, 3880 T5801/5802/5803/5804/5805/5806/5807/5808/5809/580A/B 80ml each 44.99 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 44.99 69.99
Limited Edition Selection Pack, 60 sheets Smooth Gloss 290g, 6x4, 100 sheets Smooth Gloss 290g, 7x5, 100 sheets Smooth Gloss 290g, A4, 25 +10 FREE 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 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
29.95 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 10.95 23.95 14.95 29.95 9.95 39.95
Sample Pack 30 sheets, 21 different papers ! Digital Gloss or Oyster 271g, 6x4, 50 Digital Gloss or Oyster 271g, 7x5, 50 Digital Gloss or Oyster 271g, A4, 50 Digital Gloss or Oyster 271g, A3, 25 Digital Gloss or Oyster 271g, A3+, 25 Double Sided Oyster 285g, A4, 25 Matt Proofing 160g, A4, 150 Matt Plus 240g, A4, 25 Matt Double Sided 220g, A4, 100 Baryta Fibre Base Gloss 295g, A4, 25 Baryta Fibre Base Royal 271g, A4, 25 Smooth Fine Art Portfolio 200g, A4, 25 Smooth Fine Art Portrait 300g, A4, 25 Textured FineArt Artist 210g, A4, 25 Textured Fine Art Parchment 285g, A4, 25 Canvas Artistic 400g, A4, 10 Canvas Photo Matt 350g, A4, 10
ICC profiles available for all PermaJet papers
14.95 7.95 10.95 19.95 21.95 29.95 26.95 19.95 9.95 21.95 24.95 28.95 19.95 26.95 19.95 21.95 14.95 16.95
ICC profiles available for all Ilford papers

Established in 1584, the Hahnemuhle name is synonymous with fine art printing. Full range now available at Premier Ink.
As an Official Fotospeed Stockist, we can supply the complete Fotospeed range. Below is just a tiny selection of their papers.
EPSON Stylus Pro 4800, 4880: T6051/6052/605B/6053/6054/6055/6056/605C/6057/6138/6059 110ml 44.99 T6061/6062/606B/6063/6064/6065/6066/606C/6067/6148/6069 220ml 69.99 EPSON Stylus Pro 7800, 7880, 9800: T6021/6022/602B/6023/6024/6025/6026/602C/6027/6118/6029 110ml 44.99 T6031/6032/603B/6033/6034/6035/6036/603C/6037/6128/6039 220ml 69.99
Please call or check our website for further details E&OE. Prices may be subject to change, but hopefully not !
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
9.95 23.95 26.95 28.95 25.95 26.95
Sample Pack 14 sheets, 7 different papers ! Pigment Friendly Gloss 270g, A4, 50 +15 FREE Pigment Friendly Lustre 270g, A4, 50 +15 FREE Pigment Friendly Satin 270g, A4, 50 +15 FREE Pigment Friendly Matt Duo 200g, A4, 100 Platinum Gloss 290g, A4, 20 Platinum Lustre 270g, A4, 20 NT Natural Textured 315g, A4, 20 NST Natural Soft Textured 315g, A4, 20
ICC profiles available for all Fotospeed papers
9.95 19.95 19.95 19.95 17.95 22.95 19.95 17.95 17.95
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.76 per order. All prices include VAT, and a full 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
MEMORY
COMPACT FLASH Sandisk Ultra 30MB/s
2GB 15MB/s 4GB 30MB/s 8GB 30MB/s 16GB 30MB/s 16.53 10.39 21.76 14.19 36.12 22.49 70.06 44.39
P-Type Filter System
The P-Type square/rectangular filter system consists of three parts: 1) An adapter ring that screws onto the front of your lens 2) A filter holder clips onto the ring 3) One or more P-Type (84mm wide) filters
BATTERIES
Camera Batteries
A comprehensive range of rechargeable li-ion batteries. Manufactured by respected independent battery manufacturers Energizer and Blumax. All batteries come with a 2 year guarantee.
SQUARE FILTERS
SCREW-TYPE FILTERS
Japanese Optical Glass Filters Coated to reduce lens flare and reflections. UV / Haze Filters
Used both to protect the lens of your camera, and to absorb ultraviolet rays that can cause photos to appear hazy.
KOOD
Circular Polarising Filters

These remove reflections from surfaces such as glass and water, as well as increasing contrast and saturation.
Sandisk Extreme 60MB/s

8GB 60MB/s 67.02 44.39 16GB 60MB/s 116.19 76.79 32GB 60MB/s 208.89 137.59
Extreme PRO 90MB/s

16GB 90MB/s 216.72 140.99 32GB 90MB/s 384.27 249.99 64GB 90MB/s 719.58 499.99
SECURE DIGITAL Sandisk Blue C2: 5MB/s

Sandisk Ultra C4: 15MB/s

Extreme HD Video C6: 20MB/s

4GB 20MB/s 8GB 20MB/s 16GB 20MB/s 21.33 13.59 37.42 23.79 72.02 48.59
Sandisk Extreme C10: 30MB/s

4GB 30MB/s 31.55 21.79 8GB 30MB/s 54.84 33.79 16GB 30MB/s 103.58 63.59 32GB 30MB/s 192.57 129.89 USB Pen Drives 8.84 5.89 2GB Sandisk 4GB Sandisk 11.44 7.79 8GB Sandisk 20.08 13.99 16GB Sandisk 37.35 24.99 xD Picture Cards 1GB Olympus 19.99 11.99 2GB Olympus 24.99 15.99
A range of protective shock resistant rubber lined memory card cases to keep your memory cards safe and secure
NB-1L for Canon 9.99 NB-2L/LH for Canon 9.99 NB-3L for Canon 9.99 NB-4L for Canon 9.99 NB-5L for Canon 9.99 NB-6L for Canon 9.99 NB-7L for Canon 9.99 NB-8L for Canon 9.99 BP-511 for Canon 12.99 LP-E5 for Canon 9.99 LP-E6 for Canon 29.99 LP-E8 for Canon 15.99 NP40 for Fuji 9.99 NP45 for Fuji 9.99 NP50 for Fuji 9.99 NP60 for Fuji 9.99 NP70 for Fuji 9.99 NP80 for Fuji 9.99 NP95 for Fuji 9.99 NP140 for Fuji 12.99 NP150 for Fuji 14.99 NP200 for Minolta 9.99 NP400 for Minolta 12.99 EN-EL1 for Nikon 9.99 EN-EL2 for Nikon 9.99 EN-EL3/3A for Nikon 9.99 EN-EL3E for Nikon 15.99 EN-EL5 for Nikon 9.99 EN-EL7 for Nikon 19.99 EN-EL8 for Nikon 9.99 EN-EL9 for Nikon 12.99 EN-EL10 for Nikon 9.99 EN-EL11 for Nikon 9.99 EN-EL12 for Nikon 9.99 Li10B/12B for Olympus 9.99 Li40B/42B for Olympus 9.99 Li50B for Olympus 9.99 BLM-1 for Olympus 12.99 BLS-1 for Olympus 12.99 CGA-S005 for Panasonic 9.99 CGR-S006 for Panasonic 9.99 CGA-S007 for Panasonic 9.99 CGA-S008 for Panasonic 9.99 BCF10E (V3) for Panasonic 19.99 BCG10E (V3) for Panasonic 19.99 BLB13 (V3) for Panasonic 19.99 D-Li8 for Pentax 9.99 D-Li50 for Pentax 12.99 D-Li78 for Pentax 9.99 DB60 for Ricoh 9.99 DB70 for Ricoh 9.99 SLM-1137D for Samsung 9.99 SLM-1674 for Samsung 12.99 BG-1 for Sony 19.99 NP-FM500H for Sony 19.99 NP-FH50 for Sony 19.99
Many more batteries in stock!
P-Type Adapter Rings 49mm Adapter Ring 4.99 52mm Adapter Ring 4.99 55mm Adapter Ring 4.99 58mm Adapter Ring 4.99 62mm Adapter Ring 4.99 67mm Adapter Ring 4.99 72mm Adapter Ring 4.99 77mm Adapter Ring 4.99 82mm Adapter Ring 4.99 P-Type Holders Holder Standard 5.99 Holder Wide Angle 9.99 Hood Modular 9.99 Hood Bellows 34.99 A to P Type Adapter 9.99 P-Type Bellows Hood
A new design of Bellows Hood that slots into the front slot of a standard P-Type Holder.
34.99 P-Type Filter Wallet

A smooth cushioned filter wallet, to protect and store up to 8 P-Type filters
9.99 We also stock Z-Pro (100mm) and A-Type (67mm) filters, holders and adapter rings
P-Type Filters (84mm wide) 27.99 Circular Polarizing 29.99 Infra Red R72 8.99 ND2 8.99 ND4 10.99 ND2 Soft Graduated ND2 Hard Graduated NEW 10.99 10.99 ND4 Soft Graduated ND4 Hard Graduated NEW 10.99 10.99 Light Blue Graduated 10.99 Dark Blue Graduated 10.99 Cool Blue Graduated Light Sunset Graduated 10.99 Dark Sunset Graduated 10.99 Light Tobacco Graduated 10.99 Dark Tobacco Graduated 10.99 Light Mauve Graduated 10.99 10.99 Dark Mauve Graduated 10.99 Light Red Graduated 10.99 Dark Red Graduated 10.99 Light Green Graduated 10.99 Dark Green Graduated Light Yellow Graduated 10.99 10.99 Dark Yellow Graduated 11.99 Starburst x4/6/8, each 11.99 Close-Up +1/2/4, each 8.99 Fog Light/Strong, each Diffuser Light/Strong, each 8.99 8.99 Spot White/Clear, each 8.99 80A, 80B, 80C, each 8.99 81A, 81B, 81C, each 8.99 82A, 82B, 82C, each 8.99 85A, 85B, 85C, each 8.99 Red, Orange, each 8.99 Yellow, Green, each
Many more P-Type filters in stock!
46mm UV / Haze 52mm UV / Haze 55mm UV / Haze 58mm UV / Haze 62mm UV / Haze 67mm UV / Haze 72mm UV / Haze 77mm UV / Haze 82mm UV / Haze 86mm UV / Haze Skylight Filters
5.99 5.99 6.99 7.99 8.99 9.99 11.99 14.99 17.99 22.99
46mm Circular Polarizing 52mm Circular Polarizing 55mm Circular Polarizing 58mm Circular Polarizing 62mm Circular Polarizing 67mm Circular Polarizing 72mm Circular Polarizing 77mm Circular Polarizing 82mm Circular Polarizing 86mm Circular Polarizing
More sizes in stock, from 24 to 86mm!
17.99 17.99 19.99 21.99 24.99 27.99 34.99 39.99 44.99 49.99
Neutral Density Filters 6.99 7.99 8.99 9.99 10.99 12.99 15.99
Used reduce the amount of light passing through the lens, reducing shutter speed without affecting colour contrast or balance. Available as ND4 (2 stop) and ND8 (4 stop).
Similar to a UV filter, but with a pinkish tinge to add a gentle warmth to your photos.
52mm Skylight 55mm Skylight 58mm Skylight 62mm Skylight 67mm Skylight 72mm Skylight 77mm Skylight
52mm ND4 / ND8 55mm ND4 / ND8 58mm ND4 / ND8 62mm ND4 / ND8 67mm ND4 / ND8 72mm ND4 / ND8 77mm ND4 / ND8
Close Up Filter Sets

Sets containing three filters, rated at +1, +2, and +4 diopters. Increases close up / macro ability of the lens they are fitted to. 52mm Close-Up Set 25.99 55mm Close-Up Set 28.99 58mm Close-Up Set 32.99 More sizes in stock, from 46 to 77mm!
10.99 12.99 14.99 16.99 19.99 24.99 29.99
Starburst Filters
These add a dramatic star cross flare to bright light sources, such as streetlights. They also give a slight soft focus effect. 52mm Starburst x4/6/8, each 11.99 58mm Starburst x4/6/8, each 15.99 67mm Starburst x4/6/8, each 21.99 72mm Starburst x4/6/8, each 27.99 More sizes in stock, from 46 to 82mm!
Lens Converters
Ideal for converting your kit lens to a 2.0X telephoto or 0.5X wide angle lens. 52mm 2.0X or 0.5X converter 35.99 55mm 2.0X or 0.5X converter 37.99 58mm 2.0X or 0.5X converter 39.99
P-Type Neutral Density Filter Kit
42.99
Neutral Density filters have a multitude of uses - from increasing detail in landscapes and reducing over-exposed skies, to creating stunning motion scenes by reducing shutter speeds. Here's a kit which includes all the popular ND filters, and everything you need to get started ! The kit contains: 1x ND2 Filter, 1x ND2 Soft Graduated Filter, 1x ND4 Filter, 1x ND4 Soft Graduated Filter, 1x P-Type Filter Holder, 1 x P-Type Adapter Ring of your choice (49-82mm). Just 45.99 - saving 5 on the individual prices.
We stock many other filter types, including multi-image, fog, split-field, red, orange, yellow and green filters in a range of sizes. A new and innovative solution to carrying multiple Neutral Density filters - one ND filter with an adjustable range from 2 to 8 stop reduction!
LENS HOODS & CAPS

Bayonet-Fit Lens Hoods Screw-Fit Lens Hoods 52mm Shaped Petal Hood 6.99 55mm Shaped Petal Hood 6.99 58mm Shaped Petal Hood 6.99 62mm Shaped Petal Hood 7.99 67mm Shaped Petal Hood 7.99 72mm Shaped Petal Hood 9.99 77mm Shaped Petal Hood 9.99 82mm Shaped Petal Hood 11.99 46mm Rubber Hood 3.99 52mm Rubber Hood 3.99 55mm Rubber Hood 3.99 58mm Rubber Hood 3.99 62mm Rubber Hood 4.99 67mm Rubber Hood 4.99 72mm Rubber Hood 5.99 77mm Rubber Hood 5.99 Lens Caps 30mm, 37mm, 40mm, 43mm, 46mm, 49mm, 52mm, 55mm, 58mm, 62mm, 67mm, 72mm, 77mm, 82mm, 86mm, 95mm 3.99 each We also stock a range of body caps and rear lens caps for Canon, Nikon, Olympus, Sony, Pentax, etc
Battery Grips
A range of professional battery grips from Hahnel. All can take two Li-ion batteries for double the battery power. AA battery compartment and/or vertical shutter release and/or infrared remote, depending on model.
For Canon 7D/5DMkII:

+1x LP-E6:
For Canon 30/40/50D:
137.99 +2x LP-E6:
112.99
Memory Cases
For Nikon D40/D60:

+1x EN-EL9:
+1x LP-E5:
For Canon 450/500/1000D: 69.99

78.99 +2x LP-E5: 51.99 +2x EN-EL9:
+1x BP-511: 111.99 +2x BP-511: 123.99 87.99
99.99
162.99
39.99
For Nikon D80/D90:
Vanguard 3D 2.99
4 cards, with keychain
For Nikon D300/D700: For Sony A200/A350:

+1x EN-EL3:
+1x EN-EL3E: 109.99 +2x EN-EL3E: 124.99
94.99
63.99
Kenro MC5 6.99
+1x EN-EL3E: 154.99 +2x EN-EL3E: 169.99 88.99 +2x EN-EL3: 107.99
139.99 69.99
2 cards, 8 AA batteries
ES-62 Canon 50/1.8 ES-71II Canon 50/1.4 ET-60 Canon 75-300/4-5.6 ET-65B Canon 70-300/4-5.6 ET-67 Canon 100/2.8 Macro ET-67B Canon 60/2.8 EW-60C Canon 18-55 IS EW-73B Canon 17-85 IS EW-78BII Canon 28-135 IS EW-78D Canon 18-200 IS EW-78E Canon 15-85 IS EW-83E Canon 17-40/4.0 EW-83J Canon 17-55/2.8 HB-25 Nikon 24-85, 24-120 HB-37 Nikon 55-200 VR HB-45 Nikon 18-55 VR SH-006 Sony 18-70/3.5-5.6 SH-108 Sony 18-55/3.5-5.6
A comprehensive range of aftermarket matt black bayonet-fit lens hoods for Canon, Nikon and Sony lenses.
Amazing but true - by simply rotating the outer element of the filter, the amount of light passing through the filter can be adjusted from a 2 stop to an 8 stop reduction. The FaderND filter is constructed from two opposing sheets of polarizing glass, the outer sheet mounted in an independently rotating frame. The new Mk II version features both imporvied optical elements, and a thinner, conical shaped frame to reduce the chance of vignetting.
LightCraftWorkshop FaderND Filters
FaderND MkII (2-8 stop) 52mm FaderND MkII 56.99 55mm FaderND MkII 59.99 58mm FaderND MkII 62.99 62mm FaderND MkII 69.99 67mm FaderND MkII 79.99 72mm FaderND MkII 89.99 77mm FaderND MkII 99.99 ND500MC (fixed 9 stop) 77mm ND500MC 64.99
Genuine LightCraftWorkshop filters - beware of immitations!
This is just a sample, more in stock!
9.99 9.99 9.99 9.99 9.99 9.99 7.99 9.99 9.99 9.99 12.99 12.99 12.99 12.99 7.99 7.99 9.99 9.99
STEPPING RINGS
Step-Up and Step-Down Rings
Stepping rings are used to step-up or step-down from one filter thread size to another.
34-37mm 37-43mm 43-46mm 46-49mm 49-52mm
52-55mm 58-55mm 67-62mm This is just a tiny 52-58mm 58-62mm 67-77mm fraction of our range. 55-52mm 58-67mm 72-67mm Over 160 different sizes from 25mm to 55-58mm 62-67mm 72-77mm in stock, 105mm. Probably 58-52mm 62-72mm 77-72mm the largest selection in the UK! All just 4.99 each!
MACRO PHOTOGRAPHY
Reversing Rings - 12.99
These fit to the camera body, between the camera and lens, leaving a screw thread to enable the reverse mounting of lenses. A way of obtaining a high reproduction ratio, allowing extreme Macro photography. Set of 3 tubes. They contain no optics, they simply move the lens further from the camera body, allowing closer focusing. Autofocus tubes available in Canon, Nikon and Sony fittings - manual tubes are also available in Pentax and Olympus fittings.
Extension Tubes
BATTERIES & CHARGERS

Standard Rechargeables AAA 1000mAh Duracell 6.99 AA 2450mAh Duracell 6.99 AA 2700mAh GP 9.99 AA 2850mAh Ansmann 13.99 AA 2900mAh Delkin 14.99 9.99 ReCyko+ Rechargeables
New technology, combining the benefits of Alkaline and Ni-MH rechargeable batteries. They come pre-charged, retain 90% of their charge after 6 months, and last 4 times as long as alkaline batteries ! High-power Ni-MH rechargeable AA and AAA batteries - all sold in packs of 4.
SPIRIT LEVELS
Bubble Spirit Levels
These simply mount onto the hot shoe of a DSLR camera.
Universal Charger
The NEW Hahnel UniPal charger is able to charge AA, AAA, Li-Ion batteries, cameras, phones, iPods and more ! Mains power cable, plus 12V car charger. Full details on our website.
Seculine Digital Spirit Level 7.99 7.99 9.99 9.99

A digital spirit level that mounts onto the hot shoe in the usual manner, and uses LEDs to confirm when the camera is perfectly level.
29.99
A universal Li-Ion charger, able to charge most camera batteries. Mains cable, plus 12V car charger. 14.99
Li-Ion Charger
Twin Axis Normal Hotshoe Twin Axis Sony Hotshoe Triple Axis Normal Hotshoe Triple Axis Sony Hotshoe
Canon: 52, 55, 58, 62, 67mm Manual Focus Tubes 17.99 Nikon: 52, 55, 58, 62, 67mm 129.99 Pentax K: 52, 55, 58, 62, 67mm Autofocus Tubes Olympus: 52, 55, 58, 62, 67mm Extension Bellows Sony: 52, 55, 58, 62, 67mm Acting like an adjustable set Coupling Rings - 11.99
Used to attach two lenses together via their filter threads, achieving high magnifications of extension tubes, they allow fine control over focusing distance. Nikon, Canon and Pentax fit.
29.99
CLEANING
Sensor Cleaning - DRY Sensor Loupe 7X with LED 54.95 ZEEion Anti-static Blower 37.95 SL700 Arctic Butterfly 52.95 Sensor Cleaning - WET Cleaning Solution (7.5ml) 15.99 Cleaning VSwabs (12) 29.99 EZ Kit (1ml Solution, 4 Swabs) 14.99 Camera / Lens Cleaning Kenair Master Kit 13.99 Kenair Spare Aerosol 7.99 LensPen Original 9.99 Spudz 6x6 inch 4.99 Spudz 10x10 inch 6.99 Kood Hurricane Blower 3.99 Camlink 5-in-1 Clean Kit 3.99
52-52mm, 52-55mm, 52-58mm 55-55mm, 55-58mm, 58-58mm T2 Mounts - 12.99 Canon, Nikon, Sony, Oly, Pentax
Series 7 Rings, Rollei Rings and Hasselblad Rings also in stock.
49.99
Right Angle Viewfinders

Adjustable eyepiece, adjustable magnification, 360 degree rotating body. Ideal for close-up work.
AAA 850mAh equivalent (4) AA 2050mAh equivalent (4) Ultimate Lithium
5.99 7.99
Energizer Ultimate Lithium: The longest lasting AA and AAA batteries in the world !
6.99 AAA Ultimate Lithium (4) AA Ultimate Lithium (4) 6.99 5.99
CR123A Energizer Lithium (1) CR2 Energizer Lithium (1) 2CR5 Energizer Lithium (1) CRV3 Energizer Lithium (1) LR44 Energizer Alkaline (2) CR2025, CR2032 etc
A comprehensive range of specialist batteries - see our website for full range.
Coin Cells, etc
1.99 1.99 3.99 5.99 1.99 1.99
1.0X-2.0X 1.0X-3.3X
49.99 64.99
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
Telephone: 01926 339977 or 0800 1077 211
We are a small family owned and run company, specialising in photographic consumables. We are based in Leamington Spa, in the heart of Warwickshire - if you 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.
FLASH GUNS
Nissin Di866 Speedlite
The worlds most powerful hotshoe flashgun ! A guide number of 60m/ISO100 and a clear, 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 Nikons i-TTL functionality with the option for full manual overrides. Covering a range 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.
CAMERA BAGS
Expedition Backpack
Tamracs famous range of Expedition backpacks have recently been upgraded and can carry huge amounts of camera kit in comfort ! Fully MAS compatible.
Metz 48 AF-1
A multi-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. Too much spec to list here - a superb flashgun !
Velocity Sling
A unique design of sling backpack, that opens away from your body for even faster access to your gear !
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. Left Backpack Right In backpack position you can Sling Mode Mode Sling Mode comfortably carry your equipment for long distance walking 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 a daypack 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.
239.95
An impressively powerful flash gun, with a guide 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.
METZ MADNESS !!! 20 AA BATTERIES - FREE FLASH DIFFUSER - FREE ...with every Metz 48-AF1
Expedition 4X Expedition 5X Expedition 6X Expedition 7X Expedition 8X Expedition 9X
74.95 87.95 99.95 124.95 142.95 166.95
Velocity 6X Velocity 7X Velocity 8X Velocity 9X Velocity 10X
29.95 36.95 42.95 49.95 59.95
Modular Accessory System

The patented Tamrac Modular Accessory System (MAS) allows photographers to customise their bags using accessories that attach to MAS slots on Tamrac bags.
SPECIAL OFFER PRICE

Dedicated TTL models for Canon, Nikon, Sony, Olympus, Panasonic, Pentax and Samsung !
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.
159.95
Metz 58 AF-1
Guide Number of 58m/ISO100. TTL models for Canon, Nikon, Sony, Olympus, Panasonic, Pentax and Samsung !
Water Bottle With Holder Lens Case Pro 50 Lens Case Pro 100 Aero Speed Pack Lens Case Pro 200 Dual access, dual compartment Flash Case Medium photo backpacks, with front Flash Case Large and side openings. Rain Cover Medium SpeedPack 75 56.95 Rain Cover Large SpeedPack 85 75.95 MAS Belt Medium
9.95 11.95 12.95 13.95 8.95 9.95 17.95 19.95 15.95
Kata 3N1-10 Kata 3N1-20 Kata 3N1-30
External Dimensions: 41.0 x 22.0 x 16.5cm Internal Dimensions: 28.5 x 19.0 x 15.0cm External Dimensions: 44.0 x 23.5 x 19.0cm Internal Dimensions: 31.5 x 22.0 x 16.0cm External Dimensions: 45.0 x 32.0 x 19.0cm Internal Dimensions: 32.5 x 29.5 x 16.0cm
65.95 75.95 85.95
249.95
Metz 36 AF-4
Guide Number of 33m/ISO100. TTL models for Canon, Nikon, Sony, Olympus, Panasonic, Pentax and Samsung !
92.95
Marumi DRF14 Ring Flash
The highly-acclaimed Marumi Ring Flash is a true ring flash - it consists of a main control unit and a seperate ring light which connects to the 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 a 14m/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.
Vanguard UP-Rise Messenger bags

A brand 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 !
Vanguard Pampas Sling Backpack

A range 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.
Kata 3N1-Tripod Holder 14.95

For Kata 3N1 bags.
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
Based in the award-winning 3N1-30, the new 3N1-33 has additional features, the most notable being a 15 laptop compartment. See website for details.
Kata 3N1-33 119.95
IMPROVED - Kata DPS Digital Rucksack

The Kata DPS Digital Rucksack gives top level protection to two DSLRs with mounted lenses, 3-4 single lenses, a flash, as well as your personal items. The rucksack can be converted from a camera bag into a daypack 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.
Pampas 37 Pampas 57
UP-Rise 28 Messenger 59.95 UP-Rise 38 Messenger 79.95
External Dimensions: 28.0 x 10.5 x 24.0cm Internal Dimensions: 36.0 x 22.5 x 32.0cm Laptop Compartment: 12 Laptop External Dimensions: 38.0 x 10.5 x 28.0cm Internal Dimensions: 44.5 x 22.5 x 36.0cm Laptop Compartment: 15/17 Laptop
External Dimensions: 34.0 x 21.5 x 21.5cm Internal Dimensions: 17.0 x 19.0 x 13.0cm
29.95 39.95
114.95
Vanguard Peking Shoulder Bag

Shoulder bags, with separate carryling handle and shoulder strap. Capable of carrying most DSLRs with kit lens attached. Two separate end compartments keep your accessories safe, tidy and well protected.
DR-465i 57.95
DR-466i 64.95
DR-467i 72.95 Press Reporter Bags PR-420 109.95 PR-440 129.95 PR-460 149.95
FLASH ACCESSORIES
Inverted Dome Pro Flash Diffuser Set
Comprising a clear vinyl body that simply slips onto the head of the flash gun, and an inverted frosted dome that clips onto the front. In addition to diffusing the flash directly hitting your subject, the inverted dome spreads light evenly through the sides of the clear vinyl body, lighting up the surrounding environment, thus producing a natural soft daylight effect. Especially useful for shooting interiors and portraits, and is a firm favourite with wedding photographers. Supplied with four domes - neutral, yellow, amber and blue, giving you a full range of natural, cool, or warm-up tones. Available in four sizes, to fit the heads of most flash guns:
Vanguard UP-Rise Backpacks

Gold award winning range of backpacks, featuring the patented UP-Rise expanding system. Smart & discreet. Durable & practical.
DC Shoulder Bags
A range of understated, yet surprisingly roomy and well-padded shoulder bags, each including a detachable rain cover.
Peking 21
UP-Rise 43 Slingbag UP-Rise 45 Backpack UP-Rise 46 Backpack UP-Rise 48 Backpack
59.95 Peking 25 21.95 75.95 External Dimensions: 34.0 x 23.0 x 19.5cm 79.95 Internal Dimensions: 25.0 x 17.0 x 12.0cm 89.95 Entire Vanguard range available !
18.95
DC 445 DC-435 DC-437 DC-439 DC-441 DC-443 DC-445
Kata Elements Covers

Protect your camera against the elements !
26.95 28.95 31.95 35.95 39.95 42.95
Insertrolley
Compatible with many Kata bags
E-690 for Small DSLR 36.95 E-702 for Large DSLR 49.95 E-704 lens extensions 54.95 49.95 Entire Kata range available !
29.95
Size 1: 62-65 x 39-42mm Nikon SB600, SB800, etc Size 2: 64-68 x 35-38mm Canon 420EX, 430EX, etc Size 3: 68-72 x 46-49mm Nikon SB26, 27, 28, etc Size 4: 73-77 x 46-49mm Canon 550EX, 580EX, etc
LIGHT METERS
L208 TwinMaster L758DR DigitalMaster L398A Deluxe III Adventure K3L
A spacious 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 x 36.8 x 48.3cm Interior Dimensions: Laptop Compartment: 28.0 x 3.8 x 35.5cm Camera Compartment: 16.5 x 29.2 x 15.2cm
Adventure K4L
A larger version of the K3L, able to accommodate most 17 laptops. External Dimensions: 33.0 x 35.6 x 52.1cm Interior Dimensions: Laptop Compartment: 33.0 x 3.8 x 40.6cm Camera Compartment: 19.0 x 29.8 x 17.8cm
69.95
Analogue, incident and reflected, ambient light only.
L308S FlashMate
Bounce Flash Diffuser

These popular, simple opaque plastic diffusers simply fit onto the front of your flash gun, creating a diffused bare bulb effect with even coverage. Huge range available for Canon, Nikon, Sony, Olympus, Pentax, Metz & Nissin. Below is just a sample of the range:
439.95
132.95
129.95
Digital, incident and reflected, ambient and flash light.
82.95
L358 FlashMaster
Canon 270EX / 380EX / 420EX Canon 430EX / 430EXII / 550EX Canon 580EX / 580EXII Nikon SB600 / SB800 / SB900 Nikon SB24 / SB25 / SB26 / SB28 Sony: HVL-F42AM / HVL-F58AM, Metz: 48AF1 / 58AF1 Nissin: Di466 / Di622 / Di866, Pentax: AF-540FGZ
10.95
RT-32 Radio Trigger Module 89.95 Grey Card 27.95 Profile Target SEPT2 129.95
199.95
Digital, incident and reflected, simultaneous ambient and flash light, rotating head.
69.95
U30 Backpack U60 Backpack U120 Backpack
32.95 44.95 69.95
Gossen DigiPro F Gossen DigiSix Gossen DigiFlash

Digital, incident and reflected, ambient and flash light. Multiple flash calculation, convenient rotating head.
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.
We are proud to announce that we have been appointed as an Authorised Billingham Specialist Centre.
Billinghams 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 Billinghams preoccupation with excellence and attention to detail be fully appreciated.
Lastolite Flashgun TiltHeads

These ingenious Lastolite tiltheads provide a way of attaching your flashgun or flashguns, plus umbrella, to a lightstand. The standard tilthead holds one flashgun, while the TriFlash can hold 1, 2 or 3, for those seeking extra power or quicker recycle times. Available individually, or as kits containing light stand and 80cm umbrella.
119.95
139.95
WAS 199.95
179.95
FLASH TRIGGERS
Hahnel Combi TF
Combination wireless remote shutter release and radio flash trigger. 2.4GHz, 100m range, 4 channels. 5 models available.
The Hadley Pro

Based on the Hadley Original, the Hadley Pro features a number of additional features, including a carrying handle and waterproofed zippered back pocket. Available in Khaki & Tan, Sage & Tan, Black & Tan, and Black & Black
The 5 Series
A firm 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.
38cm Ezybox Hotshoe 89.95 38cm Ezybox Hotshoe Kit 169.95 60cm Ezybox Hotshoe 109.95 60cm Ezybox Hotshoe Kit 169.95 76cm Ezybox Hotshoe 129.95 76cm Ezybox Hotshoe Kit 209.95 Handle Extendable 24-48cm 21.99 Handle Extendable 65-150cm 29.99 Diffuser Masks 38cm 39.99 Diffuser Masks 60cm 41.99 Clamp with spigot 12.99
JJC JF Flash Trigger Receiver & Transmitter Extra Receivers

Radio flash trigger with infrared sensor. 433MHz, 30m range, 4 channels. Radio flash trigger, 433MHz, 20m range, 4 ch.
TiltHead For Single Flashgun TiltHead Umbrella Kit TriFlash For 1-3 Flashguns TriFlash Umbrella Kit
16.99 89.99 39.99 95.99
Receiver & Transmitter Extra Receivers
59.95 39.95 Yongnuo CTR-301P
29.95 17.95
The Hadley Pro
122.95
Colour Balance and Exposure Control

Handy pop-up colour balance and exposure control grey and white cards from Lastolite.
Seculine Twin Link T2D

Radio flash trigger with LCD displays. 2.4GHz, 50m range, 16 channels.
TriGrip Mini 45cm 44.99 TriGrip Standard 75cm 59.99 TriFlip 8-in1 sleeves for TriGrip 39.99
Handy triangular pop-up reflectors with moulded handle.
EzyBalance 30cm EzyBalance 50cm Lastolite TriGrip XpoBalance 38cm
17.99 29.99 34.99
Receiver & Transmitter 119.95 Receiver & Transmitter Extra Receivers 79.95 Extra Receivers Plus II 169.95
Full range of Pocket Wizard cables stocked.
36.95 19.95
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
Billingham 225 Billingham 335 Billingham 445 Billingham 555
199.95 209.95 224.95 239.95 The 07 Range
Full Lastolite range available. Reflectors, Umbrellas, Paper Roll Backgrounds, HiLite Backgrounds ...and more!
Mini TT1 199.95 Flex TT5 219.95
Plus II (x2) 309.95
Billingham 107 Billingham 207 Billingham 307
New Billingham bags for 2009, constructed from FibreNyte - a lighter alternative to traditional Canvas. Available in Khaki & Chocolate or Black & Black.
199.95 216.95 233.95
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just 1.76 per order. All prices include VAT, and a full 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
SPECIAL DEALS
TRIPODS,MONOPODS & HEADS

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 AltaPROs Multi-Angle-CentralColumn (MACC) allows the user to position the hexagonal central column at ANY angle from 0 to 130 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 a matter 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 !
SHUTTER RELEASES
Hahnel Giga T Pro - NEW FOR 2010 Wireless Shutter Release & Interval Timer
The NEW Hahnel Giga T is a combined 100m wireless remote shutter release and timer remote control - as well as being able to be used as a short distance cable shutter release. Programmable features include a self-timer, 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 RRP: 89.95 with autofocus, single and continuous SPECIAL OFFER - SAVE 20 shooting, bulb mode and self-timer. Available for Canon, Nikon, Sony, .95 Olympus, Pentax and Samsung.
FREE HEAD
680B Monopod plus 234 Head Special Deal Price: While Stocks Last
FREE HEAD
694CX Monopod plus 234RC Head Special Deal Price:
FREE SPIRIT LEVEL

055XPROB Tripod plus 804RC2 Head plus SL2 Special Deal Price:
45.95
While Stocks Last
124.95 159.95
While Stocks Last
MANFROTTO TRIPODS
190XPROB Tripod
Aluminium 3-section legs, Q90 column
69
055XPROB Tripod
Aluminium 3-section legs, Q90 column
AltaPRO 263AT Tripod

Aluminium 3-section legs, magnesium canopy, Multi-Angle-Central-Column.
AltaPRO 264AT Tripod

Aluminium 4-section legs, magnesium canopy, Multi-Angle-Central-Column.
Hahnel Combi TF - NEW FOR 2010 Wireless Shutter Release & Wireless Flash Trigger
Ultra high frequency 2.4GHz professional radio remote control, with a range of up to 100 metres ! Autofocus, Bulb Function and Continuous Shooting functions. 4 digit code selector allows individual codes to be set to eliminate interference from other sources. Each kit contains a wireless transmitter, a receiver with camera shoe and connectors to allow it to plug into your camera. Also works as a wireless flash trigger, and with the addition of extra receivers, multiple flashguns can be fired RRP: 69.95 simultaneously. SPECIAL OFFER - SAVE 20 Available for Canon, Nikon, Sony, Olympus, .95 Panasonic, Pentax and Samsung.
Weight: 1.85kg Load: 5.0kg Folded: 57cm Height: 146cm
99.95
114.95
190CXPRO3
Carbon Fibre 3-section legs, Q90 column
190CXPRO4
055CXPRO3
055CXPRO4
119.95
129.95
Alta+ 263AT Tripod

Aluminium 3-section legs, magnesium canopy, standard central column.
Alta+ 264AT Tripod

Aluminium 4-section legs, magnesium canopy, standard central column.
209.95
219.95
249.95
259.95
MANFROTTO MONOPODS
790B Monopod
Aluminium 5-section
89.95
99.95
776YB Monopod
Aluminium 4-section
695CX Monopod
Carbon Fibre 5-section
Alta+ 233AT
Aluminium 3-section legs, standard column
Alta+ 234AT
Alta+ 235AT
Alta+ 224CT
Carbon Fibre 4-section legs, standard column
49
22.95
29.95
137.95
69.95
74.95
79.95
Hahnel Cable Remote Shutter Release

An innovative cable remote control for digital SLRs, with interchangeable camera connectors and a 2 metre 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, RRP: 29.95 Olympus, Panasonic, Pentax and SPECIAL OFFER - SAVE 10 Samsung. Excellent value for money - our best .95 selling remote shutter release !
179.95
679B Monopod
Aluminium 3-section
680B Monopod
Aluminium 4-section
681B Monopod
Aluminium 3-section
Special Package Deals

Alta+ 233AT Tripod PH22 Pan/Tilt Head Special Deal Price: 69.95 34.95 Alta+ 264AT Tripod PH31 Pan/Tilt Head Special Deal Price: 99.95 54.95
35.95
45.95
46.95
MANFROTTO HEADS
492 Ball Head
non quick-release 1/4 thread
79.95
SAVE 25
109.95 SAVE 45
CP324 Monopod
Caron Fibre 4-section legs
19
234 Tilt Head

Ideal for monopods
234RC Tilt Head

with RC2 quick release
VANGUARD MONOPODS
AP284 Monopod
Aluminium 4-section legs
TREKKING POLES
Trek Tech was formed in 2004 after the founders identified a market need based on personal outdoor experience the need for a sturdy, lightweight, multi-purpose device with the functionality of both a tripod and trekking pole/hiking staff. The result is the TrekPod, a lightweight, height-adjustable walking/hiking staff, with a fully integrated tripod, and a magnetic quick-release ball head system called the MagMount. The unique MagMount quick release system incorporates a Neodymium "super magnet" as the initial connection between the ball head and a steel quick-release plate, called a MagAdapter, that screws into the bottom of your camera. A safety 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.
Weight: 0.12kg Load: 2.0kg
29.95
14.95
AP324 Monopod
Aluminium 4-section legs
24.95
494 RC2 Ball Head

496 RC2 Ball Head

498 RC2 Ball Head

with RC2 q/release
Weight: 0.57kg Load: 8.0kg Folded: 51.5cm Height: 158cm
33.95
38.95
89.95
41.95
49.95
76.95
VANGUARD HEADS
SBH30 Ball Head
Lightweight magnesium alloy, single adjuster knob, 2 spirit levels, quick release plate
SBH50 Ball Head

Lightweight magnesium alloy, single adjuster knob, 2 spirit levels, quick release plate
SBH100 Ball Head

Lightweight magnesium alloy, twin adjuster knobs, 2 spirit levels, quick release plate
468MG RC2 Hydrostatic Ball Head

magnesium, with RC2 q/r
222 Grip Action Ball Head

with RC2 q/release
322RC2 Grip Action Ball Head

with RC2 q/r
169.95
78.95
94.95
39.95
49.95
64.95
804 RC2 Pan / Tilt

808 RC4 Pan / Tilt

410 Geared Head

PH21 Pan / Tilt

2-way fluid head, magnesium, spirit level, quick release
PH31 Pan / Tilt

TRIPOD BAGS
BAG50 7.95 BAG60 8.95 BAG70 9.95
Durable, lightweight, with shoulder strap.
TrekPod II - 69.95
A refined version of the original TrekPod, using aircraft-grade aluminium alloy, it comes complete with a MagMount STAR ball head, weighs 765g, and is capable of supporting a camera system weighing up to 4kg. Maximum height in tripod mode of 146cm, and a maximum height in monopod mode of 158cm. The TrekPod II collapses down to 90cm.
52.95
98.95
149.95
34.95
54.95
056 3D Head
non quick-release 1/4 thread
460MG 3D Head
magnesium, with RC2 q/release
26.95
64.95
This is just a small selection of the MANFROTTO range now available to try in our new showroom in Leamington Spa
PH22 Pan / Tilt

PH32 Pan / Tilt

34.95
54.95
This is just a small selection of the VANGUARD range now available to try in our new showroom in Leamington Spa
TrekPod GO PRO - 129.95

The TrekPod GO PRO is a more compact TrekPod, collapsing down to just 58cm, yet still expanding to the same maximum height as the TrekPod II. Supplied with a travel 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.
C324 Monopod
Aluminium 3-section
A new range of groundbreaking, lightweight yet study tripods, supplied complete with removeable heads.
4 section magnesium alloy tripod, legs extendable at 3 different angles, reversible centre column, built in spirit level. Supplied with alloy ball head, and carrying case.
NEW FOR 2010
Gorillapod Original (GP1)

The original gorillapod, designed for compact cameras, available in grey, yellow, green, blue, red and pink.
Trek Tech Optera 460
MagMount
The original MagMount ball head. Weighing in a just 73g, it is capable of holding 4kg.
MagMount STAR
The same size as a standard MagMount, with a Square 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.
MagMount PRO
Utilising the same Square Tooth Anti Rotation system as the MagMount STAR, the MagMount PRO is a larger ball head, weighing 127g, and capable of holding an impressive 6kg.
69.95
Hahnel Triad 30 Lite - 39.99
13.95 Gorillapod SLR (GP2)

An sturdier gorillapod, designed to take an SLR camera.
25.95 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 a soft 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. A camera is attached using Trek-Techs clever magnetic quick release system, and two MagAdapter quick release plates are supplied. The Optera 460 PRO has an extra long 460mm leg to support up to a 400mm zoom lens. Uniquely, it can also be wrapped around your camera for protection while being carried.
CF284 Tripod
Carbon Fibre 4-section
Weight: 1.2kg Max Load: 4.0kg Folded: 56cm Max Height: 142cm
197.95
BH02 Ball Head

Quick release plate, spirit level, 360 degree rotation, dual control knobs
4 section aluminium tripod, legs extendable at 3 different angles, reversible centre column, built in spirit level. Supplied with 3-way fluid damped pan/tilt head, and carrying case.
Hahnel Triad 60 Lite - 59.99
29.95 Gorillapod SLR-ZOOM (GP3)

An even sturdier gorillapod, designed to take an SLR camera with zoom lens.
All MagMount ball heads come with two MagAdapter quick release plates. These are also available separately:
Weight: 1.9kg Max Load: 5.0kg Folded: 61cm Max Height: 162cm
32.95 MagAdapter STAR 9.95
59.95 T-Pod
Table-top tripod, complete with MagMount STAR ball head.
An excellent value for money tripod

Amateur Photographer March 2010
34.95 Gorillapod FOCUS

Designed for professionals, is the strongest Gorillapod yet !
MagAdapter Light 5.95
22.95
39.95
BH22 Ball Head

Sliding quick release plate, spirit level, 360 degree rotation, triple control knobs
92.95 Gorillapod Ball Head

For the SLR-ZOOM or FOCUS.
Trek Tech Optera 230 37.95
31.95
39.95
A smaller version of the above, with 230mm long legs.
E&OE. Prices may be subject to change, but hopefully not !
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Telephone: 01926 339977 or 0800 1077 211
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3.95 4.95 8.95 10.95
2gb 4gb 4gb 4gb 8gb 8gb 8gb 16gb 16gb 16gb
Netac Supreme 4gb Kingston DT101 Kingston G2 Sandisk Cruzer Z50 Kingston G2 Kingston DT101 Sandisk Cruzer Z50 Kingston G2 Kingston DT101 Sandisk Cruzer Z50
5.99
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Prices include all applicable taxes. E&EO. All trademarks are acknowledged. Prices subject to change without notice. Our terms and conditions of trading apply. Copies are available on request.
VISIT OUR W W
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AMAZING SPECIAL OFFERS AT THE LOWEST PRICES EVER!

VR lens kit Nikon D90 SLR +18-105 mm AMAZING NEW
Stunning image quality, unmatched ergonomics, high performance, a newly developed DX-format CMOS image sensor and now takes high-quality movies with beautiful results are just a few features of this brilliant top of the range SLR camera from Nikon! REC RETAIL PRICE 12.3 Megapixels 18-105mm f/3.5-5.6G lens 3.0 inch LCD colour monitor Integrated Claening , .49 P , M, A & S Exposure modes ISO max 6400
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+18-55 mm VR lens kit Nikon D5000 SLR +18-55 mm VR lens kit Nikon D3000 SLR 12.3 Megapixels 18-55mm f/3.5-5.6G lens 10.2 Megapixels 23.6 x 15.8mm CCD sensor
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Nikon Coolpix S560

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229.95
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125.95
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Cartex (a division of IJT Direct Ltd) Polham Lane Industrial Estate, Polham Lane Somerton, Somerset TA11 6SP
1Gb 2Gb 2Gb 2Gb 4Gb 8Gb
XD Olympus XD Olympus XD Olympus Twin (2) Sandisk w/adapter MSP Sandisk w/adapter MSP Sandisk w/adapter
N/A 14.99 28.99 11.99 17.99 29.99
Nikon Coolpix S630

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239.95
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134.49
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Unless otherwise stated, all of these superb cameras are special return stock which have been expertly refurbished by the manufaturer to new stock quality and are sold with a full 12 month manufacturer warranty
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162
My Life in Focus
Travel and landscape phoTographer
"The market is awash with dirt cheap, or even free, imagery and never has the perceived value of photography been lower"
David Noton
Seasoned pro and workshop leader David Noton reveals what it takes to stay in the travel photography game
rofessional travel photography is no holiday O on holiday again? You call that work? Ive heard this sort of thing throughout my career. Over the past year, I've spent about eight months on the road, from the Bolivian Altiplano to the Canadian Rockies, and from Thailand to Umbria, in central Italy. It sounds great idyllic, even and it often is, but make no mistake: being a landscape and travel photographer is seriously hard work (just ask my longsuering wife). Its challenging, sometimes rewarding, often frustrating, usually exciting and sometimes even boring but its certainly no holiday.
The market is awash with dirt cheap, or even free, imagery and never has the perceived value of photography been lower. So now Im back to doing much more commissioned work, but thankfully not of takeaways.
Build yourself a reputation for reliability One lucky break or stunning picture wont do the trick; its a case of slowly but steadily inching your way up the professional ladder, starting at the bottom. It started for me with 30 jobs such as shooting a fast-food takeaway. All accomplished pros have done their time in the trenches. As you get known for reliability, the quality of work gets better until, after 25 years, you nd yourself shooting in the Seychelles. It's wise to stay flexible Ive gone full circle. For many years, stock photography drove my business, but now that ship has been scuppered.
* Born in Bedfordshire in 1957, david noton started taking photos when he was 13. * he became a pro photographer after leaving the Merchant navy and got his first break from athena posters. * notons images now appear in publications and websites all over the world and his workshops, which take place in locations including France and Italy, are in huge demand.
prole
Take care of business Earning a living in this game has never been easy. You need to keep evolving, looking for openings, thinking laterally and being entrepreneurial. The profession is littered with the stalled careers of good photographers who were just lousy businesspeople. Welcome to the house of fun... Ive always felt privileged to work in this profession. The bottom line is that photography is fun, as much as it ever has been. I feel like Im only just getting going. Find out more at www.davidnoton.com.
Next issue on sale Tuesday 19 October
clikpic
Websites for photographers
Professionally designed websites for only 35 p.a.

Clikpic is an easy-to-use service for photographers who want a website without the cost and hassle of setting one up. With minimal technical expertise required, you can use our online admin system and a wide choice of template designs to create and edit your own web site quickly, easily and very cost-effectively.
or change your site whenever you want. Update Have as many pages as you like, in a variety of formats. Dozens of features and options to customise your site and give it yourstyle own look, including adding your logo. Link up to PayPal or Google Checkout to sell your prints online you can even have a shopping 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). a slideshow; guest book; calendar; blog; an events diary. Add Image watermarking facility. With many more features available and more to come!
Dont just take our word for it!

Not only did we win the Best in Test with Black & White Photography magazine, but we also won a prestigious Gold Award from Digital Photo magazine. Heres what they said about us:
The Winner: Clikpic Clikpic impressed us with 10 attractive templates and a fine array of options in the Admin area. Building the website was uncomplicated and completely hassle-free. For the standard 35 fee youll be able to upload 100 of your finest shots and theres masses of options that let you control how theyre organised in the gallery. Choose your ideal domain name (budget 6-12 for this) and youll own a professional looking photo website in no time at all!
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 a FREE 14 day trial
Supercharged
Experience true creative freedom with the FinePix HS10. Its class-leading 24-720mm extreme zoom lens means you can shoot wide-angle vistas, zoom right into the action or capture incredible close-ups with ease. A high performance 10MP BSI CMOS sensor with advanced shooting modes means power, precision and performance at your ngertips. 30x optical zoom lens with Triple IS High resolution super wide Fujinon 24-720mm lens with manual barrel zoom and Triple Image Stabilisation. Full 1080p HD video Playback your photos and videos in stunning HD on any HD ready TV. Advanced image quality Introducing BSI CMOS sensor technology for incredible low light image quality even at the far end of telephoto zoom. Explore your creativity From swing panoramic shots, to high-speed 10fps image capture and 1000fps freeze frame movie playback, prepare to be amazed.
www.fujilm.co.uk/hs10

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Geoff Harris, editor geoff.harris@futurenet.com

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Digital editor Alis our disc mastermind and an authority on photo-editing.

Canon EOS 60D

Nikon D3100 with 18-55mm VR Lens 355-145B

Canon EOS 60D with 18-135mm Lens 321-349C

Canon Pixma Pro 9500 Mark II Printer

Sandisk SDHC Extreme 20MB/S

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4GB SDHC Extreme 8GB SDHC Extreme 16GB SDHC Extreme

604-215A 604-215B 604-215C

24.99 44.99 79.99

Calumet 8000 Series Tripods

08706 030303 www.calumetphoto.co.uk

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