Author: Alex Wilkinson

Full Frame LUMIX is here. You’ve been asking for it. Panasonic have delivered… and wow, they really have delivered! Not one, but two brand new full frame mirrorless cameras, both loaded with amazing features.

 

 

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The LUMIX S1R

Ultimate Resolution. Professional performance.

A new 47.3 megapixel CMOS sensor that delivers incredibly realistic detail – the highest resolution currently available in a full frame mirrorless camera and impressive low-light performance. This is a sensor designed to give outstanding stills performance.
Lumix S1 and Lumix S1R

 

The LUMIX S1

The Ultimate Hybrid – fulfilling your video and still needs.

A new 24.2 megapixel CMOS sensor that delivers incredibly realistic detail plus 4K video recording with no time limit, low-noise and great colour fidelity. A 4:2:2 10-bit output, V-Log and HDR capabilities are planned to be made available by a software upgrade option in the future. This sensor has been designed to offer excellent stills performance but also deliver incredible video to meet professional video requirements.

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Lumix L Lenses

The L Mount

This is also the launch of a new mount system for LUMIX, the L mount. L Mount is a collaboration between Leica, Sigma and Panasonic.  Mix and match Leica L and SL lenses and take advantage of new and existing lenses from Sigma featuring the L Mount.

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The Build:

Both models feature the same high quality magnesium alloy body. It’s dust, splash and freeze resistant to -10C and its shutter is rated to 400,000 actuations.

It also features the “largest in class” viewfinder, an astounding 5.760k-dot resolution. The OLED live view finder is incredibly realistic, with no noticeable lag – we think it’s the most impressive LVF we’ve used to date.

It’s not small, but this is a mirrorless camera aimed at the traditional DSLR user. It offers all the benefits of mirrorless and is packed with technology. But, it’s larger size will appeal to those who prefer a good grip and a better balance between large full frame lens and smaller mirrorless body. Yes, it’s big – but it’s well laid out and will appeal to people who already use or are looking to upgrade to full frame, professional level cameras.

Existing LUMIX G9 users will definitely feel immediately at home with the LUMIX S1 or S1R.

Dual card slots will appeal to professionals and the LUMIX S series features an SD and XQD. Future firmware updates will also allow the support of CFExpress cards.

The tri-axial tilt rear monitor ensures that it is durable, but still offers a multitude of viewing angles and the top status LCD panel ensures you have maximum visibility of your settings.

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The Technology:

Stabilisation

6-stop 5-axis Dual I.S. 2 image stabilisation technology uses both the in-body 5-axis stabilisation and the lens O.I.S. (optical image stabiliser) on LUMIX S lenses. Low light, telephoto shots or one-handed shooting are now possible with up to 6-stops slower shutter speed.

 

High Resolution Mode (187MP on the LUMIX S1R and 96MP on the LUMIX S1)

Sensor shift technology combines 8 consecutive images to provide ultra-high precision shooting. This is ideal for landscapes, architecture, detail-heavy or still life macro. But, it can be used in situations with moving subjects too.

 

HLG Photo Mode

If you have compatible Panasonic 4K TV, then this mode is for you. Chances are you don’t, but it may be that this technology is more widely adopted in the future. Hybrid Log Gamma Photo Mode provides a wider dynamic range to reproduce light and shadows with natural contrast.

Sadly, you can only see the results on a compatible Panasonic TV for the time being.

 

High Precision Shutter Unit

Offering a maximum shutter speed of 1/8000 second to capture fast-moving subjects and to use a high-speed lens with a fully open aperture, even outdoors. The external flash can be synchronised with the industry’s current fastest shutter speed of a maximum of 1/320 second.

 

High speed, high precision AF of approximately 0.08sec.

Lens, sensor and the new Venus imaging engine combine to achieve lightning fast, precise autofocus.

Combining Contrast AF with Panasonic’s DFD (Depth from Defocus) technology, both the S1 and the S1R achieve autofocus of approximately 0.08 seconds.

 

Low light AF in -6EV

The LUMIX S1 and LUMIX S1R excel in low-light shooting. Even down to -6EV, autofocus is reliable and fast.

 

Adoption of AI Technology

The LUMIX S1 and LUMIX S1R is programmed to detect specific subjects. Humans and fast-moving animals (including wolves, foxes, big cats and bird species). The S1 and S1R will track these automatically, even if they turn away from the camera.

 

Video Recording Performance

4K 60p/50p video recording is available in the LUMIX S1 and LUMIX S1R. The LUMIX S1 is capable of recording a full-pixel readout of signals and a crop factor of 1.0x in 30p/25p with no time limit (this is limited to 29minutes 59 seconds in 4K 60p/50p) at both 4K and Full HD, as well as HDR video recording.

 

The LUMIX S1 will also have an optional, chargeable upgrade available to enable 4:2:2 10-bit 4K 30p/25p internal video recording, 4K 60p/50p HDMI output and V-Log.

 

High Speed Video

The High Speed Video lets you record slow motion video in 4K (max. 60 fps/50fps) and Full HD (max. 180fps/150fps).

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Lumix Pro Logo

LUMIX PRO

These cameras mark Panasonic’s entry into the professional market and they know that pro’s need support. Welcome LUMIX PRO. This is a global support and service network for LUMIX Professionals with a range of levels depending on your equipment.

A range of domestic and global maintenance and repair service benefits will be available – including complementary maintenance such as sensor, EVF, body cleaning or a lens calibration*. Members will also have access to expedited and guaranteed turnaround time, or access to loan equipment when turnaround time cannot be met. The bundle of services and support within the multi-tiered programme is designed to fit the requirements of the individual photographer.

Existing LUMIX G Series and new LUMIX S Series users can now register their equipment and start to receive the benefits of the LUMIX Pro service. This will be free of charge if you register before March 31st 2019. The level of support will depend on the equipment registered.

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Sample Images:

These were taken on a Lumix S1r sample unit at a recent press launch in Barcelona.

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Pre-Orders Offers:

Pre-Order with a £100 deposit

Pre-orders are now being taken for the LUMIX S1, LUMIX S1R and LUMIX S Lenses. You can choose to pay a £100 deposit, which is fully refundable should you change your mind. We’ll add you to the pre-order list and allocate stock on a first come, first served basis. First stocks are expected March 13th onwards. When your camera is due to arrive, we’ll be in touch to let you know and to arrange for the balance to be paid.

If you wish to pay using the 0% Finance offer, please select the “Payment in Full” option. Please ensure you follow the instructions for applying for 0% Finance offers as found at wilkinson.co.uk/finance

The finance agreement will only begin once your order is shipped.

 

Part-Exchange and save at least £200

Part-ex your old equipment and we’ll add £200 to the value when you’re buying a LUMIX S1, LUMIX S1R, or LUMIX S lens. If your old equipment is worth £10… we’ll give you £210!

We’ll give you £200 on Body only options, Lens kits and LUMIX S lenses. Buying a LUMIX S camera along with a new LUMIX S 50mm F1.4 or 70-200mm F4 lens? You’ll get the bonus on the camera and each lens. So you can save up to £600!

 

12 Month’s Platinum Subscription to LUMIX PRO

Pre-order a LUMIX S1 or LUMIX S1R and you will be eligible to register at Platinum level at LUMIX PRO.

 

FREE Sony XQD 32GB card worth £89

Free Sony XQD 32GB card worth £89 when you pre-order a LUMIX S1 or LUMIX S1R by March 31st 2019.

 

24 Month’s 0% Finance Available

Spread the cost of upgrading to LUMIX S over 24 months, Interest Free. Find out about Interest Free Finance options at wilkinson.co.uk/finance

You will need to select the “Payment in full” option if you wish to take advantage of this offer. Your 24 months will begin from the day you receive your camera, not the date that the order is placed. Please ensure you follow the instructions for applying for 0% Finance offers as found at wilkinson.co.uk/finance

Finance is subject to status. 0% APR representative.

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Preview Days

Liverpool | 10th February
Preston | 10th March

 

Call into Preston or Liverpool to see the new S1 or S1R. See the camera for yourself, test it out and ask and get expert advice. Call in any time between 10am and 4pm.

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Panasonic has developed two models of its first Digital Single Lens Mirrorless camera with a 35 mm full-frame image sensor, the LUMIX S1R and the S1. These models are equipped with the world’s first *1 4K 60p/50p video recording function and the Dual I.S. image stabilization system. As part of the LUMIX S series, Panasonic aims to release them on the global market early 2019.

 

Official Press Release:

5th September 2018 – Panasonic has announced the development of two Mirrorless camera models with a 35 mm full-frame image sensor: the S1R and the S1. Equipped with the world’s first*1 4K 60p/50p video recording function and a Dual I.S. image stabilisation system, these cameras form the new LUMIX S Series due for global release in early 2019.

Panasonic will also expand its line-up of LUMIX S Series compatible lenses, developing more than ten by 2020, including a 50mm/F1.4 prime lens, 24-105mm standard zoom lens, and 70-200mm telephoto zoom lens.

 

Panasonic Lumix S - Full Frame without compromise

 

The key features of the newly developed S1R and S1 cameras are as follows:

1. Newly-developed 35 mm full-frame image sensor and image processing engine (Effective pixels: approximately 47M for the S1R and 24M for the S1)

2. World’s first*1 support for 4K 60p/50p video recording in a full-frame Digital Single Lens Mirrorless camera

3. World’s first*1 full- frame camera equipped with Dual I.S. image stabilisation enabling handheld shots for dark or distant scenes that would previously have required additional equipment

4. A double slot for XQD memory cards and SD memory cards: a first for Panasonic

5. A rugged triaxial tilt LCD: emphasising ease of use and supporting professional photography and videography

6. Utilising Leica Camera’s L-Mount, making it possible to use alternative lenses that meet the L-Mount specifications of partners*4 Leica Camera and Sigma, increasing options for alternative lenses

Designed to incorporate an entire array of Panasonic technology refined over a century in the consumer electronics business and ten years developing Mirrorless cameras, the new S1R and S1 models will retain essential user-friendliness and robustness as tools for photography or videography by professionals.

For the existing LUMIX G series of Micro Four Thirds Mirrorless cameras, Panasonic will begin developing a Leica DG VARIO-SUMMILUX 10-25mm F1.7 lens that will achieve the world’s first*5 zoom with a constant aperture value of F1.7. In addition, support services for professional photographers and videographers will be available in selected European markets and the United States this year.

The GH5, G9, and GH5s high-end Mirrorless cameras that Panasonic has released since 2017 have already gained a solid reputation among professionals and high-level amateurs across the world for the quality of their pictures and ability to capture the vitality and beauty of life. This success is thanks to Panasonic’s world’s-first*6 support for 4K 60p/50p video recording, and the world’s fastest autofocus*7 function using the company’s proprietary DFD technology.

Panasonic will continue to reach the professional market through the introduction of the full-frame LUMIX S series and the greater reach of its support system, as well as continuing to support the Lumix G Micro Four Thirds System.

 

Panasonic Lumix S1R

 

Notes:

*1. World’s first support for 4K 60p/50p recording in a full-frame Digital Single Lens Mirrorless camera. Regarding the inclusion of the Dual I.S. image stabilisation system, this is for a full-frame Digital Interchangeable Lens System Camera: As of September 25, 2018 when announced at Photokina (Germany), according to Panasonic data.
*2. For a Digital Interchangeable Lens System Camera: As of September 12, 2008, according to Panasonic data.
*3. The GH4 Digital Single Lens Mirrorless camera capable of 4K video (as a Digital Single Lens Mirrorless camera, as of February 7, 2014), and the GX8 Digital Single Lens Mirrorless camera with Dual I.S. onboard (as a Digital Interchangeable Lens System Camera, as of July 16, 2015) according to Panasonic data.
*4. “The L-Mount Alliance: a strategic cooperation between Leica Camera, Panasonic and SIGMA”(announced on September 25, 2018 in Germany.
*5. For an interchangeable lens for use with a Digital Interchangeable Lens System Camera. As of September 25, 2018 when announced in Germany, according to Panasonic data.
*6. As a Digital Single Lens Mirrorless camera. As of January 4, 2017, according to Panasonic data.
*7. For a Digital Interchangeable Lens System Camera. As of November 8, 2017, according to Panasonic data
Angela Nicholson – SheClicks Founder & Camera Jabber Co-founder

Could Female Focus Out Shoot the Boys?

There’s a revolution going on.  Controversial? Possibly. Undeniable talent?  Most definitely.  Gin?  Optional.

From a seed of feedback at last year’s Digital Splash Photography Show, journalist, gear-tester-extraordinaire and Camera Jabber founder Angela Nicholson has created a ‘women only’ photography group called SheClicks.

Experience and research has always shown that women see, shoot, learn and approach camera gear in a completely different way to their male counterparts.  So begins an incredible journey to encourage and promote female photographers across the UK and worldwide.

In this EXCLUSIVE interview with Angela, we chatted about the reasons behind SheClicks, the blossoming numbers of photographers joining and the incredible collection of images that is evolving within this inspiring community:

 

What inspired the creation of SheClicks – why the female-only focus?

A combination of things have inspired me, but one was a conversation I had with a few women on a photo walk I was leading for Wilkinson Cameras at Digital Splash last year. They said that they felt more comfortable being taught about photography by a woman. My boyfriend has also been saying for years that I should do something for women photographers, but a website didn’t seem like the right approach.

More recently, a friend from the US told me about how popular female photographer communities are over there and it got me thinking. Social media has the power to connect people who live many miles apart and a Facebook Group seemed like the perfect solution.

 

Why the need for a female only group?

I’ve met a lot of great female photographers who just get on with their photography, quietly being brilliant and never quite getting the recognition they deserve. This is a generalisation, but men tend to be better at promoting themselves.

The aim for SheClicks is to create a place where women feel comfortable, where they can ask questions, show their images and get feedback without feeling intimated.

We have a mixture of experience levels so everyone can learn from everyone else. We’re all learning.

Of course, not everyone wants to be a professional photographer, but most members want to improve their photography in some way or have questions they want answering.

I hope that SheClicks will help female photographers feel more confident. We will also champion and support their photography.

 

What has the reaction been so far?

The reaction has been brilliant. I started inviting people to the Facebook Group one Sunday afternoon and it just took off. Within half an hour, people were sharing images and the photography was amazing. Everyone involved has remarked upon the creativity of the images being shared and lots of members have mentioned that they’ve been inspired to try new techniques as a result.

Photography by Angela Nicholson

 

Membership is growing super fast with over 800 members in under a month – why do you think a female only group is so appealing?

I think women are naturally supportive. And again at the risk of making generalisations, different images and subjects appeal to them. Many websites and magazines are run by or produced for men, so they don’t appeal to women in the same way. And equally, the editors don’t always appreciate women’s photography as much as they should.

 

How will things differ from a group, which is open to both sexes?

If you look at the images being shared on SheClicks, there’s a feminine twist. The landscape images look different from those captured by men, for example. I think women are generally better at capturing emotions in photographs.

 

What are the aims and objectives of the group – any courses, meet ups, exhibitions etc planned?  Recognising that women learn in a different way to men, do you foresee a different approach for female photography training for instance?

Lots!

We’re going to start offering free webinars to the group very soon. Some of the best female photographers in the business have offered their services to the group. I’ve started a list of the subjects we’ve been asked to cover and I’m hoping we’ll be able to offer webinars to address all of them.

We also have our first meet-up planned for 22nd September in London. There will be more! Some will be chats over coffee/tea/wine/gin others will be photoshoots.

The training events will offer plenty of encouragement and support. A lot of photography is about confidence. Hearing from other women can really help with that, but there’s no substitute for clear explanations and the opportunity to practice what you’ve been taught in a supportive environment.

And yes, I’m thinking about an exhibition and looking for sponsorship.

 

There’s a lot of creativity in the group already – work shared so far has a beautiful arty, ethereal quality  – including lots of in camera movement, textures, multiple exposures etc   Do you think women are naturally more creative than men?

I do. I think many women are drawn to photography by the creativity and as a means of expression. They then learn the technical side to help them express themselves better. It’s often the other way around with men. They’re drawn by the technical side but have to learn to be more creative with their images.

 

It’s great to see a variety of kit being used – from brand new, right through to vintage!  Obviously a certain level of kit is essential, but are women less susceptible to the constant need to upgrade or have the latest gadget?

Hmmm, well I’m a self-confessed kit-lover! I think women love kit as much as men but perhaps different kit and for different reasons. When SheClicks members have asked about kit they usually have quite a clear purpose in mind, there’s a type of photograph that they want to capture and they want to know what will help them. So it’s image-led but the kit’s importance is recognised.

Photography by SheClicks members Gillian Morgan, Sue Woollard and Nicki Gwynn-Jones

 

As the historical custodians of the family album/image library, do you think women are more likely to print images?

I think they probably are. Women often treasure special moments so they’re more likely to create an album or book to remember holidays and birthdays offline. They’re also usually quick to see when an image would good hanging on a wall.

 

What challenges do women face in photography – is it harder to be seen, gain profile and ultimately succeed as a professional photographer?

As I mentioned earlier, there are exceptions, but women are less inclined to approach magazines and promote their photography or enter competitions. Editors are also under increasing pressure, so they often fall back on the photographers that they know, and most of them are men.

However, I think women are good at using social media and creating local networks. That’s something that SheClicks is tapping into to help promote women’s photography.

To what level are female photographers also embracing moving images ie video or techniques such as drones?

I’m starting to see more videos shot by women, but I don’t think the technology has been widely embraced yet. The same goes for drones. I’d love to run an event to help more women to try flying a drone to capture aerial stills and video.


Photography by SheClicks members Sylvia Slavin and Miriam Dee

 

Which female photographers do you see (so far, or historically) as pioneering in the advance/future of female photographers?

There are so many! I bet the RPS Hundred Heroines nominations list is huge!

If I had to pick one, though I’d go for Annie Leibovitz. Her creative vision is widely recognised and she’s captured some truly memorable images so that even people who aren’t into photography know her name.

Some people dismiss her saying that she’s not very technical, but I think that misses the point, she’s an artist.

 

If you could guarantee one outcome for the group, on the quest to promote female photographers, what would that be?

I’d like to see equality in the camera manufacturer’s ambassador line-up. It would be great if girls picking up a camera for the first time could see more female photographers getting recognition for their work and feel it’s a potential career or suitable hobby for them.

 

Find out more:

SheClicks’ Twitter, Facebook Group and Instagram Profiles

 

About SheClicks:

The SheClicks Facebook Group is for female photographers and has a friendly, informative vibe. It’s a place where you can ask questions, seek advice or just chat with likeminded people.

The group is open to any women interested in photography whether you shoot on a phone, film camera, DSLR or the latest mirrorless model.

To get involved visit facebook.com/sheclicksnet and request to join the SheClicks Facebook Group.

 

You can also follow SheClicks on Facebook, Twitter and Instagram at or tag them using @sheclicksnet

Fujifilm announce the brand new X-T3 mirrorless digital camera, the world’s first APS-C sensor size camera to feature 4K/60P 10 bit recording to meet the needs of professional videographers, plus enhanced features for sports and wildlife photographers with a substantial AF performance improvement, enhanced subject tracking and blackout-free burst shooting up to 30 fps.

Fujitfilm X-T3 & 18-55

The X-T3 takes full advantage of a new X-Trans CMOS 4 sensor and X-Processor 4 processing engine to deliver:

Higher image quality:

Highest level of 26.1MP resolution in APS-C size sensor. Also, it achieves keeps as low level of noise as current models (*3) even increasing the number of pixels.

 

Dramatically improved AF performance:

1.5 times faster processing speed than current models (*3) to deliver faster and more accurate AF, and substantially enhanced performance in face / eye detection AF thanks to 2.16M phase detection pixels arrayed at entire frame.

 

Significant improvement in tracking performance of fast-moving subject:

Delivering blackout-free continuous shooting (*4) of up to 30 fps while using smooth Live View of 60fps to check your subject.

 

Video performance for professionals:

Supporting 4K/60P 4:2:0 10bit internal SD card recording as well as 4K/60P 4:2:2 10bit HDMI output, which can be filmed at the same time. Also, featuring the video-specialized Film Simulation mode “ETERNA,” popular with the X-H1.

 

 

Main Features:

The highest image resolving performance, color reproducibility and fastest processing in the history of the X Series

The X-T3 features the X Series’ fourth-generation APS-C sensor, newly developed “X-Trans CMOS 4” (26.1MP, without low-pass filter). It uses the unique color filter array synonymous to X-Trans CMOS sensors to control moire and false colors and adopts the Series’ first back-illuminated structure to improve image resolution without compromising the S/N ratio. Furthermore, the sensitivity of ISO160, previously available only as extended ISO, is now part of the normal ISO range. It is very useful in daylight outdoor shooting or when trying to achieve bokeh with a fast large-aperture lens.

The X-T3 uses the new “X-Processor 4” image processing engine to add the new “monochrome adjustment” function to the Film Simulation modes, which are based on FUJIFILM’s proprietary technology to deliver diverse color expressions. Warm black and cool black, conventionally achieved with a choice of specific photographic papers and developers, have been faithfully reproduced digitally to broaden the scope of monochrome expressions. This function is available in the standard “Monochrome” mode as well as the “ACROS” mode, which provides smooth halftones, deep blacks and beautiful textures.

The “Color Chrome Effect,” previously only available in FUJIFILM’s medium-format mirrorless digital camera “GFX50S,” is featured in the X-T3, the first in the X Series. The effect produces deeper colors and gradation in subjects with highly saturated colors, such as vivid-colored flowers with shadows, a notoriously difficult photo subject for gradation reproduction. The high-speed processing power of the X-Processor 4 means this effect can be applied not only in single shots but also in continuous shooting.

Significant improvement in AF performance in low light and when tracking a moving subject

The X-Trans CMOS 4 has 2.16M phase detection pixels, more than 4 times compared to current models (*3), increasing the phase detection AF area to entire frame (approx. 100%). Fast and accurate phase detection AF can be used even on a subject that is positioned away from the center of the frame. The low-light phase detection autofocus limit has also been extended by around 2 stops from -1EV to -3EV, making it possible to accurately focus in low light conditions, e.g. a scene lit only with candlelight, or night-time photography. Furthermore, the X-Processor 4’s high processing speed and improved phase detection algorithm means the camera refocuses (AF) and meters (AE) 1.5 times more frequently than current models (*3) to enable accurate autofocus even when shooting sports involving fast and erratic movements across the frame.

The performance of face-detection AF on a moving person has been doubled over current models (*3). The eye-detection AF supports the AF-C mode, maintaining accurate focus tracking even in portrait photography that involves movements. The X-T3 focuses accurately when shooting a person front-on or side-on, even in situations where the face- or eye-detection AF previously had difficulty. The face- and eye-detection AF is available also during video recording to achieve smooth filming of persons.

Enhanced viewfinder performance improving the ability to track a moving subject

The X-T3 features a 3.69-million-dot high resolution EVF with a high magnification ratio of 0.75x. The display time lag of just 0.005 seconds and refresh rate of approx. 100 fps ensure smooth display of motions, allowing you to precisely identify subject movements and focus positions. Unlike current models (*3), continuous shooting of 11 fps with the mechanical shutter no longer requires the optional vertical grip, enabling fast continuous shooting while keeping the camera weight low.

The new “Sports finder mode” makes it easy to capture a moving subject. The mode shows approx. 16.6M (1.25x crop) area marking in the LCD/viewfinder, and shoots the area within the marking. This is particularly useful for sports photography and wildlife photography, as you can check the movements of a subject just outside the shooting frame and take advantage of shorter-than-usual blackout time.

Increased read speed from the sensor and high-speed processing capability have made it possible to enjoy AF/AE-tracking, blackout-free continuous shooting(*4) of up to 30 fps in approx. 16.6M (1.25x crop) mode, while using smooth Live View of 60fps to check your subject. The rolling shutter distortion, a typical issue of electronic shutters, has been halved compared to current (*3) models.

In order to never miss a crucial shutter moment, the X-T3 has the new “Pre-Shoot” function (*4), in which the camera starts shooting as soon as the shutter button is half-pressed. You will never miss an important photo opportunity, previously caused by time lag between the moment when the shutter button is fully pressed and the moment when a photo is actually taken.

 

Design / operability and expandability

The X-T3 inherits X-T2’s popular design features such as the positioning of dials on the top panel, central viewfinder style for added sense of stability, and excellent grip design for comfort. It’s styling that reminds you of traditional film cameras is combined with outstanding practicality, making it photographic equipment that is a pleasure to own for many years to come.

Further improvements include:

  • EVF’s diopter adjustment is lockable achieved by pulling out and rotating a diopter knob, so as to prevent unintended adjustments while carrying the camera.
  • The X-T3 uses a touchscreen panel with higher contrast, wider viewing angle and better operability than those in previous models to enable intuitive operation.
  • The X-T3 inherits X-H1’s features such as large top-panel dials / rear-panel buttons and comfortable clicking touch of front and rear command dials.
  • A headphone jack is provided on the camera body so that all accessories required for video recording, such as microphone and HDMI devices can be centrally connected to the body for added mobility in videography.
  • Terminal cover is removable, providing easy connectivity for HDMI cables, microphones, headphones. Also it will not disturb when setting up with rig for movie shooting.
  • The USB terminal supports USB Type-C (USB3.1 Gen1) specifications. An Anker (*5) battery can be connected to significantly increase the maximum number of frames per charge and the maximum duration of video recording.

 

Enhanced video performance

This is the world’s first (*2) mirrorless digital camera capable of internal SD card recording 4K/60P 4:2:0 10bit. It is also the world’s first (*2) mirrorless digital camera with APS-C or larger sensor capable of 4K/60P 4:2:2 10bit HDMI output. Supported video formats include the widely-used H.264/MPEG-4 AVC as well as H.265/HEVC for greater data compression. This enables the use of high 200Mbps bitrate in recording of 4K/60P 4:2:0 10bit, as well as simultaneous HDMI output while recording. Video compression options available are ALL-Intra (*6) and Long GOP. When using ALL-Intra, video is recorded at 400Mbps (*7).

The sensor’s read speed is about 50% faster than current models (*3), which enables fast 17msec reading of 4K/60P video. The rolling shutter distortion has been reduced for smooth replay of a fast-moving subject. The camera’s support for 10bit color depth boosts the amount of color information 64 times compared to 8bit. This is combined with 400% (approx. 12 stops) dynamic range for capturing materials of rich gradation, such as a sunset landscape.

The introduction of a new noise reduction process and new “4K interframe noise reduction” function have reduced noise by the equivalent of approx. 2 stops. The new NR process has an enhanced level of noise-identifying accuracy for appropriate denoising performance. The 4K interframe NR function (*7) uses differential data between adjacent frames to reduce noise. Furthermore, the minimum sensitivity for shooting F-Log and DR400% footage has been extended from the current models’ (*3) ISO800 to ISO640, meeting the needs of videographers.

In addition to the abovementioned functions, the X-T3 will, after applying a firmware update to be released by the end of 2018, support video recording in the Hybrid Log Gamma (HLG), one of the formats defined in the ITU-R BT.2100 international standards. In response to user feedback, the firmware update is also due to give the X-T3 an ability to simultaneously output Film Simulation and F-Log footage.

*1 X-TransTM is FUJIFILM Corporation’s trademark or registered trademark. The sensor has a unique non-periodic filter array to reduce the appearance of moire patterns and false colors without the use of an optical low-pass filter
*2 As of September 6, 2018, according to FUJIFILM data
*3 Comparison with current models “FUJIFILM X-T2” and “FUJIFILM X-H1”
*4 Available only when using the electronic shutter
*5 Anker is trademark or registered trademark of Anker Innovations Limited or associated companies.
*6 Available at 4K/29.97P, 25P, 24P, 23.98P, and FHD/59.94P, 50P, 29.97P, 25P, 24P, 23.98P when H.265/HEVC is selected. Not compatible with H.264.
*7 Available at 4K/29.97P, 25P, 24P or 23.98P.
*8 Requires an SD card with the video speed class of V60 or above to record at the bitrate of 400Mbps

Today Canon announced the brand new EOS R Full Frame mirrorless system.

New releases include:

These will be available for pre-order soon, with first stocks currently estimated from October 9th onwards.

 

Canon EOS R Full Frame Mirrorless Camera

 

Here’s the official low-down from Canon:

EOS R – A pioneering full-frame EOS R camera for professionals and advanced enthusiasts

Building on over 30 years of EOS innovation and design heritage, EOS R sets the standard for the camera of tomorrow with a pioneering lens mount, offering responsive, high-speed auto-focus in as little as 0.05 seconds*. Along with a range of RF lenses, EOS R also is fully compatible with existing EF and EF-S lenses via choice of 3 adapters, plus boasts 4K video and state-of-the art connectivity for greater creative possibilities. A stylish and customisable magnesium alloy body brings new levels of operability to EOS users thanks to intuitive controls and a high degree of elegance.

The highlights:

  • Achieve new levels of creativity made possible by pioneering technology
  • Capture more detail thanks to advanced quality standards in photography and video
  • Use your EF and EF-S lenses via adapter and EOS accessories plus innovative RF optics
  • Camera designed for you with refined ergonomics and responsive handling
  • Connect and share your images and movies with intelligent connectivity options

 

Achieve new levels of creativity made possible by pioneering technology

With a lens mount designed for the future, EOS R is compatible with the beginning of a new era in lens design, the Canon EOS R range. These lenses have been designed to work at the optimum distance from a full-frame sensor. The combination of high performance optics and the RF mount pushes forward the frontiers of creative capture thanks to cutting edge optics and advanced image processing in both stills and video.

 

Capture more detail thanks to advanced quality standards in photography and video

EOS R offers a full-frame 30.3 Megapixel Dual Pixel CMOS AF sensor which focuses without compromise thanks to its advanced phase detection system allowing the user to select between 5655 AF positions*. Images and video are recorded with all the delicate subtleties of detail, colour and dynamic range thanks to advanced DIGIC 8 processing and in-camera Digital Lens Optimizer.

*In small area 1pt AF mode

 

Use your EF and EF-S lenses, Speedlite flash, EOS accessories plus innovative RF optics

One of the advantages of the EOS system is its large range of EF lenses, accessories and flashes all of which can be used with the EOS R. For photographers and filmmakers who already have a range of EF and EF-S lenses, the EOS R can accept them easily via a range of Mount Adapters EF-EOS R with no loss of performance or quality*. Canon’s Speedlite flash range offers flexible and creative lighting possibilities while a range of EOS R System lenses, specially designed for the EOS R, opens the door to greater creativity.

*see specifications

 

Camera designed for you with refined ergonomics and responsive handling

EOS R offers a comfortable and familiar EOS handgrip coupled with a high degree of customisation, superb weather-proofing and a Vari-Angle screen. It makes it a camera designed for the user with speed of operation in mind. A multi-function touch bar allows easy thumb adjustment over a wide range of customisable settings while a Flexible Priority AE (Fv) mode enables either full manual or automatic setting of shutter speed, aperture or ISO and access to exposure compensation with the flick of dial.

 

Connect and share your images and movies with intelligent connectivity options

The EOS R has been designed for photographers and filmmakers on the move. The always-on Bluetooth allows a smartphone to be paired and GPS data recorded on images, plus for additional creative capture remote shooting via the Canon Camera Connect app offers greater freedom for flexible and creative shooting. The EOS R can even be remotely tethered to a computer via USB 3.1 or Wi-Fi for instant image review, making it the ideal tool when working in a studio.

 

Stunning 4K video quality with Dual Pixel CMOS AF, Digital Movie IS, 10-bit output and Canon Log

Filmmakers will love EOS R just as much as stills photographers. With audio control, a vari-angle screen, manual focus peaking and compatibility with EF and EF-S lenses via adapter, it’s a highly accomplished filmmaking tool. Able to deliver stunning 4K video footage via HDMI output in 10-bit for the ultimate in high quality and grading possibilities. The EOS R boasts Canon Log, a recording setting that captures footage in neutral contrast with up to 12-stops of dynamic range at ISO 400 allowing post-production grading to extract every subtle nuance of colour and detail in shadows and highlights. Additionally, advanced Digital Movie IS provides 5-axis image stabilisation, giving the ultimate in smooth, shake-free footage.

 

 

EOS R System

The highlights:

  • The ultimate shooting experience developed from over three decades of innovation
  • Performance and quality at the core of the system to unlock greater creativity
  • Compatibility with EF and EF-S lenses* and accessories to enhance to your existing EOS kitbag
  • Adaptable and intuitive for a better shooting experience
  • Built with movies in mind for the filmmakers of today and tomorrow

A pioneering System that opens up new frontiers in photography and filmmaking for professionals and enthusiasts.

Building on over three decades of continuous Canon innovation, the EOS R System offers greater creative possibilities and even more dynamic ways of capturing every moment. It redefines the future frontiers of photography and filmmaking.

 

The ultimate shooting experience developed from three decades of innovation

The RF mount at the heart of the EOS R System is the perfect balance of optical, mechanical and electronic engineering enabling unrivalled optical designs, faster autofocus and communication between camera and lens.

 

Performance and quality at the core of the system to unlock greater creativity

The EOS R System lenses are optimised for the full-frame format with enhanced functionality made possible by an innovative lens mount design which optimises quality and resolving power. Dual Pixel CMOS AF in the EOS R full-frame sensor radically improves autofocus acquisition and tracking capability while Digital Lens Optimizer information is stored in the EOS R System lenses and shared with the camera in real-time, ensuring the highest possible standards of performance.

 

Compatibility with EF and EF-S lenses and accessories to enhance to your existing EOS kitbag

For users of existing Canon EOS full-frame or APS-C DSLR cameras, who have already invested in additional lenses, the EOS R System allows full integration to EF and EF-S lenses via the Mount Adapters EF-EOS R as well as access to EOS accessories and Speedlite flashes.

 

Adaptable and intuitive for a better shooting experience

The EOS R System is designed to be an extension of you, thanks to comfortable, intuitive handling, exceptional ergonomics and customisation designed to give you a better, more responsive performance.

 

Built with movies in mind for the filmmakers of today and tomorrow

The EOS R System is a perfect tool for the agile filmmaker, offering exceptional lenses plus class leading movie autofocus performance thanks to Canon’s unique sensor-based Dual Pixel CMOS AF technology.

 

 

*As of 5th September 2018, based on Canon research. Measured using CIPA-compliant guidelines, and internal measurement method with the RF 24-105mm f/4 L IS USM lens at 24mm setting and AF set to one-shot AF

Canon Autumn Cashback 2018

Canon Autumn Cashback

 

Get ready to capture those Autumn colours with a new Canon DSLR, mirrorless camera, compact, video camera or lens. Don’t forget to print off your pictures  too, with our range of Canon Pixma and PROGRAF printers.

Plus, don’t forget that if you’re buying a lens alongside selected Canon EOS DSLR or Mirrorless cameras, you could also be eligible for Canon Lens Reward Cashback too!

(Cashback only available on selected models, please see full information below).

How do I claim Canon Autumn Cashback?

Simply buy one of the items below between September 1st and October 17th 2018 and submit an online claim. Once you have submitted your claim, Canon will check that it’s all ok and then they’ll send the cashback value to your bank account within a 4-6 weeks.

You can claim here.

Important points:

  • The product must be bought within the promotional period (01/09/18 to 17/10/18)
  • Make sure you claim before the November 17th claim deadline.
  • Canon Lens Reward cashback must be claimed separately – see separate blog post about this additional offer.

 

 

What’s included and how much can I claim?

DSLR & Mirrorless Camera

Cashback

Options

EOS 5D Mark IV £250 Included in Lens Reward offer – shop our Lens Bundle Kits
EOS 6D Mark II £50 Included in Lens Reward offer – shop our Lens Bundle Kits
EOS 7D Mark II £120 Includes WE-1 Wi-Fi Adapter
EOS 80D £100 Included in Lens Reward offer – shop our Lens Bundle Kits
EOS M5 £100 Also available in a Value Kit & Included in Lens Reward offer

 

Compact Camera

Cashback

Options

PowerShot G1 X Mark III £100
PowerShot G3 X £60 Also available in a Value Kit
PowerShot G5 X £60 Also available in a Value Kit

 

DSLR Lenses & Flash

Cashback

Options

EF 16-35mm f/2.8L III USM £260 Included in Lens Reward offer
EF 24-70mm f/2.8L II USM £220 Included in Lens Reward offer
EF 85mm f/1.2L II USM £220 Limited ex-display stock available – save over £400, plus claim cashback!
EF 35mm f/1.4L II USM £220 Included in Lens Reward offer
EF 70-300mm f/4-5.6L IS USM £85 Included in Lens Reward offer
EF 100mm f/2.8 Macro USM £60 Included in Lens Reward offer
Speedlite 600EX II-RT £110

 

Video

Cashback

Options

XC15 £300

 

Printers

Cashback

Options

PIXMA iP8750 £35
PIXMA PRO 100s £50
PIXMA PRO 10s £75
ImagePROGRAF PRO-1000 £100

 

 

Save even more money with Ex-Display Canon

Save with Canon Ex-Display

You can even claim cashback on eligible ex-display models or take part in any other ongoing promotions. See the “Promotions” section on individual products for detailed offer information. All Ex-display items come with a standard 12 month warranty, unless otherwise stated.

 

Finally revealed! Nikon introduce the Z-Series – a brand new line-up of professional full-frame mirrorless camera bodies along with an all-new array of high-speed lenses.

Meet the Z Series

Nikon have announced the introduction of their new full frame mirrorless camera lineup – the Z-Series. Aimed at the semi-professional and professional photographer, the Z7 & Z6 offer superb performance with advanced technology designed to disrupt yet revolutionize the mirorless market.

Nikon Z7

Incredible detail. Phenomenal focus.

The back-illuminated 45.7 MP full-frame CMOS sensor with focal-plane phase-detection AF captures razor-sharp images.

Beyond fast

The blazing EXPEED 6 image processor delivers images with low noise and stunning dynamic range at both high and low ISO values.

Advanced 3686k-dot electronic view finder

Nikon’s advanced 3686k-dot electronic view finder keeps the view clear. The ultra-bright, ultra-sharp EVF doesn’t leave anything out of the frame. Aspherical glass elements and protective coatings prevent flare, reflections, and dirt from limiting your view. Benefit from high visibility at night, and clear views in bright light.

Focus freely

The AF system spots movement instantly. Even small or fast-moving subjects are tracked with absolute precision in any light. And you can use Pinpoint AF mode to hone in on the smallest details.

Rock-steady Vibration Reduction

In-camera five-axis optical Vibration Reduction (VR) compensates for camera shake in five directions. Sport Mode delivers a stable viewfinder image when shooting exceptionally fast action, or when panning. When shooting video, the five-axis optical VR works with electronic VR to deliver incredibly steady footage.

Mesmerizing action

Record full-frame 4K/UHD movies at 30p. Achieve enthralling slow motion with richly detailed Full HD movies at up to 120p. You can easily capture still frames while filming in 4K or Full HD.

10-Bit N-LOG

Create character. Record at a high 10-bit depth and retrieve 4x more information than with a standard 8-bit recording, giving you maximum image quality for editing and grading. Activate View Assist to see a standard image with simple grading compensation.

 

Nikon Z6

All the way sharp

The back-illuminated 24.5 MP full-frame CMOS sensor with focal-plane AF captures richly detailed, razor-sharp images.

Beyond fast

The blazing EXPEED 6 image processor delivers images with low noise and stunning dynamic range at both high and low ISO values.

Timing is everything

12 fps continuous shooting. Find full frames of beauty inside the action.

Rock-steady Vibration Reduction

In-camera five-axis optical Vibration Reduction (VR) compensates for camera shake in five directions. Stills stay sharp. Video is steady.

100–51200 ISO. Inspired, even after dark.

From 3am city scenes to low-light portraits, you have the freedom to catch details in the dark.

Create widely

Stay sharp with ultra-wide autofocus (AF) coverage across 90 % of the frame. Combined with the incredible focusing power of Nikon Z mount lenses, even subjects at the edge of the frame are easily detected. And vertical shooting is incredibly precise.

Focus freely

The AF system spots movement instantly. Even small or fast-moving subjects are tracked with absolute precision in any light. And you can use Pinpoint AF mode to hone in on the smallest details.

Capture the expression

An intelligent Face-Detection-AF processor detects and holds faces. That glance. That expression. It’s yours—even if someone is moving quickly.

If you can see it – you can catch it

Compose freely. Nikon’s advanced 3686k-dot electronic viewfinder keeps the view smooth. The ultra-bright, ultra-sharp EVF doesn’t leave anything out of the frame.

Mesmerizing action

Record full-frame 4K/UHD movies at 30p. Achieve enthralling slow motion with richly detailed Full HD movies at up to 120p. You can easily capture still frames while filming in 4K or Full HD.

 

Nikon Z-Mount – the world’s widest full-frame mount

“Its 55 mm diameter makes this the world’s widest full-frame mount. Edge-to-edge sharpness surpasses anything you’ve seen.”

In addition to the Z6 and Z7, Nikon have also developed a new range of lenses to match. The S-Line NIKKOR Z lenses are faster, quieter and sharper. The ultra-wide Nikon Z mount enables compact full-frame lenses that can take in more light across the entire frame. Bright is brighter. Depth is deeper. Sharpness is all the way to the edge.

Nikon also have plans in place to expand the new lens series. Nikon say ‘this is just the beginning’ with the family of NIKKOR Z lenses set to expand over the coming years.

 

 

FTZ Mount Adapter

The FTZ Mount Adapter lets you take full advantage of F-mount lenses when you shoot stills or video with your Nikon Z camera. There’s no loss in image quality. And NIKKOR lenses without Vibration Reduction (VR) will find new levels of sharpness.

 

 

Available to Pre-order now

The full range of the new Nikon Z-series is now available to pre-order. Click here to learn more.

 

 

 

 

 

Wilkinson Cameras Liverpool store now located on Bold Street

Bold Street is now home to Liverpool’s best camera shop!

After a successful five years based on Lord Street in Liverpool city centre, Wilkinson Cameras has moved to a brand new city centre store on Bold Street.
This new location at 4 Bold Street, is in the heart of Liverpool’s Ropewalks neighbourhood; a bustling hub for art, music culture and independent businesses.

The shop has been completely refitted and features a flexible workshop space and studio upstairs.
On the ground floor, you’ll find a huge range of photography and video equipment, binoculars and spotting scopes, tripods, bags and accessories to browse and try. There will be two instant print and photo gift kiosks where customers can print from their phone, tablet or memory card or order custom artwork and photobooks.

Additional showroom space upstairs will also display studio lighting, specialist video production equipment and large professional photo printers.

As well as being available to hire, the upstairs workshop space and studio will host several in-house events and workshops with leading photography brands, brand ambassadors and professional photographers.

The new store on Bold Street opened on Monday July 16th, 2018 with the existing store on Lord Street closing permanently on July 15th 2018.

 

David Parkinson Wilkinson Cameras
David Parkinson, Wilkinson Cameras’ Managing Director said, “We’re really excited about our new store. Liverpool has been a great home for our flagship shop since we moved to the city in 2013. This new space will allow us to offer photographers and videographers in Liverpool and surrounding areas an even better shopping experience in one of the most creative parts of the city.

 

 

For more information about the new Liverpool store follow Wilkinson Cameras on Facebook, Twitter and Instagram or sign up to the email newsletter.

 

A brief history of Wilkinson Cameras Liverpool:

Wilkinson Cameras, established in Preston in 1986 has several other stores around the Northwest as well as a successful online presence. The Liverpool store first opened in 2013. When a major competitor went into administration, they knew it was a chance to take on a new city with a new store concept, featuring a workshop and studio space. They looked forward to bringing the photographers and videogaphers of Liverpool their enhanced customer service, passion and knowledge. Fortunately, Liverpool welcomed them with open arms and it is now their flagship store. Here’s to several more successful years in Liverpool!

 

Find the new store:

The new Wilkinson Cameras Liverpool store on Bold Street is just a short walk up the road from the original store and just around the corner from Liverpool Central station.

Canon Autumn Cashback 2018

Canon Autumn Cashback

 

Get ready to capture those Autumn colours with a new Canon DSLR, mirrorless camera, compact, video camera or lens. Don’t forget to print off your pictures too, with our range of Canon Pixma and PROGRAF printers.

Plus, don’t forget that if you’re buying a lens alongside selected Canon EOS DSLR or Mirrorless cameras, you could also be eligible for Canon Lens Reward Cashback too!

(Cashback only available on selected models, please see full information below).

How do I claim Canon Autumn Cashback?

Simply buy one of the items below between September 1st and October 17th 2018 and submit an online claim. Once you have submitted your claim, Canon will check that it’s all ok and then they’ll send the cashback value to your bank account within a 4-6 weeks.

You can claim here.

Important points:

  • The product must be bought within the promotional period (01/09/18 to 17/10/18)
  • Make sure you claim before the November 17th claim deadline.
  • Canon Lens Reward cashback must be claimed separately – see separate blog post about this additional offer.

 

 

What’s included and how much can I claim?

DSLR & Mirrorless Camera

Cashback

Options

EOS 5D Mark IV £250 Included in Lens Reward offer – shop our Lens Bundle Kits
EOS 6D Mark II £50 Included in Lens Reward offer – shop our Lens Bundle Kits
EOS 7D Mark II £120 Includes WE-1 Wi-Fi Adapter
EOS 80D £100 Included in Lens Reward offer – shop our Lens Bundle Kits
EOS M5 £100 Also available in a Value Kit & Included in Lens Reward offer

 

Compact Camera

Cashback

Options

PowerShot G1 X Mark III £100
PowerShot G3 X £60 Also available in a Value Kit
PowerShot G5 X £60 Also available in a Value Kit

 

DSLR Lenses & Flash

Cashback

Options

EF 16-35mm f/2.8L III USM £260 Included in Lens Reward offer
EF 24-70mm f/2.8L II USM £220 Included in Lens Reward offer
EF 85mm f/1.2L II USM £220 Limited ex-display stock available – save over £400, plus claim cashback!
EF 35mm f/1.4L II USM £220 Included in Lens Reward offer
EF 70-300mm f/4-5.6L IS USM £85 Included in Lens Reward offer
EF 100mm f/2.8 Macro USM £60 Included in Lens Reward offer
Speedlite 600EX II-RT £110

 

Video

Cashback

Options

XC15 £300

 

Printers

Cashback

Options

PIXMA iP8750 £35
PIXMA PRO 100s £50
PIXMA PRO 10s £75
ImagePROGRAF PRO-1000 £100

 

 

Save even more money with Ex-Display Canon

Save with Canon Ex-Display

You can even claim cashback on eligible ex-display models or take part in any other ongoing promotions. See the “Promotions” section on individual products for detailed offer information. All Ex-display items come with a standard 12 month warranty, unless otherwise stated.

 

Terry Donnelly presents his use of Sony Full Frame Mirrorless Cameras in his photography

Sony UK will be attending with the full range of Alpha series Full Frame mirrorless cameras and lenses for people to handle and try if they wish. Sony will also have a digital imaging expert on site to answer any questions. Wilkinson Cameras will also be present for any extra help and advice.

 

 

About the evenings:

These events take place at various local Camera Clubs and are typically two 45 minute presentations with a 15 minute refreshment break.

The first presentation being about Terry’s photography and use of Sony mirrorless cameras, explaining the technological advancements and innovations in Sony Full Frame mirrorless cameras and how these have improved Terry’s photographic workflow.

The second presentation features Terry’s distinction work and personal projects with plenty of examples of pictures and explanations of how the pictures were taken.

 

Terry Donnelly:

Terry is a professional freelance photographer from Liverpool, working in sport editorial, PR, promotions and is an ambassador for Sony UK and Fotospeed, as well as a Rotolight ‘Master of Light’.
Being the holder of three Fellowships, and an MPAGB, Terry has a broad and sound understanding of photography on several levels, and is regularly invited to judge photographic competitions and as a selector for international photography exhibitions.
Terry’s work has been exhibited in over of 25 countries, receiving over 240 international awards since 2012, and he has been the recipient of several photographer of the year awards in 2014,2015,2016 and 2017.

Website www.terrydonnelly.co.uk
Twitter @terrydonnelly01
Facebook @TerryDonnellyPhoto
Instagram @terrydonnelly01

 

 

When & Where:

Bolton Camera Club

Date: 10th May 2018
Start Time: 7.30pm for 7.45pm start.
Venue: Trinity Methodist Church, Bury Road,Tonge Fold, Bolton, BL2 6BH

————————————————-

St Helens Camera Club

Date: 3rd September 2018
Start Time: 7.45pm for 8.00pm start.
Venue: Police Club, Bishop Road, St Helens WA10 6SX (entrance on Windleshaw Road)

————————————————

Lancaster Photographic Socieity

Date: 22nd October 2018
Start Time: 7.15pm for 7.30pm start.
Venue: Cameron House, White Cross Industrial Estate, South Road, Lancaster, LA1 4XF

————————————————

Heswall Photographic Society

Date: 2nd November 2018
Start Time: 7.30pm for 8.00pm start.
Venue: St Peters Centre, Village Road, Lower Heswall, Wirral, CH60 0DZ.

————————————————

Formby Photo Group

Date: 15th November 2018
Start Time: 7.45pm for 8.00pm start.
Venue: Formby Christian Fellowship Centre, 93 Church Road, Formby, L37 3NB.

————————————————-

Blackburn Camera Club

Date: 10th December 2018
Start Time: 7.15pm for 7.30pm start.
Venue: The Canberra Club, Samlesbury Aerodrome, Balderstone, BB2 7LF


 

Please note that tickets must be arranged via the individual clubs. All the club websites are linked to above – here you should find any information you require. We do not have any involvement in the arrangement of the events or provision of tickets.
 

Panasonic Lumix G9 Header

Save money with a Panasonic Lumix Lens Bundles

We’ve put together a selection of money saving Panasonic Lumix Lens Kits. Plus, for a limited time these are available with 12 months Interest Free Finance

Finance is subject to status. Terms & Conditions apply. Find out more here.

 

Shop Lumix Lens Kits

Lumix G9

Lumix GH5

Lumix GH5s

Lumix G9 Lens Kit Lumix GH5 Lens Kit Lumix GH5S Lens Kit
 

Plus these other great offers:

£100 Part-Ex bonus until 29/05/18

12 months 0% finance until 31/05/18

Free Battery Grip until 10/07/18

 

Plus these other great offers:

£100 Part-Ex bonus until 29/05/18

Claim £100 cashback until 29/05/18

12 months 0% finance until 31/05/18

Plus these other great offers:

£200 Part-Ex bonus until 29/05/18

12 months 0% finance until 31/05/18

 

 

 

Free 3 year warranty Wilkinson Cameras

Plus we’re including a free 3 year CoverPlus warranty with all the models above until 31/05/18

Panasonic Cashback – Save up to £200

 

 

Mirrorless / Compact System Camera

Cashback

Options

Lumix GH5 & Leica 12-60mm £200  Save money with a Lens Bundle
Lumix GH5 & G 12-60mm £150
Lumix GH5 Body £100  Save money with a Lens Bundle
Lumix GX8 & G 12-60mm £100
Lumix G80 & G 12-60mm £100 Also available as a Value Kit with case, card and 3 year warranty
Lumix G80 Body £50 Also available as a Value Kit with case, card and 3 year warranty
Lumix GX80 & 12-32mm £50 Also available as a Value Kit with case, card and 3 year warranty
Lumix G7 & 12-60mm £50 Also available as a Value Kit with case, card and 3 year warranty
Lumix G7 & 14-42mm £50 Also available as a Value Kit with case, card and 3 year warranty

 

Video

Cashback

Options

HC-X1E £150
HC-X100E £100

 

Compact Cameras

Cashback

Options

Lumix LX100 £50 Also available as a Value Kit
Lumix LX15 £50 Also available as a Value Kit
Lumix FZ2000 £100 Also available as a Value Kit
Lumix FZ1000 £50 Also available as a Value Kit
Lumix FZ330 £50 Also available as a Value Kit
Lumix FZ82 £30 Also available as a Value Kit
Lumix TZ100 £50 Also available as a Value Kit
Lumix TZ90 £30 Also available as a Value Kit
Lumix TZ80 £30 Also available as a Value Kit

 

 

Important Information:

Panasonic cashback runs from March 17th to May 29th 2018 inclusive.

Claims for cashback must be made no later than 29th July 2018.

Claims can only be made 35 days after the original purchase date.

Cashback must be claimed online from Panasonic UK. For more information about Panasonic cashback, including claims and T&C’s, please visit promotions.panasonic.co.uk

Canon Spring Cashback

 

Canon Spring Cashback 2018

 

Camera

 Cashback

Options

EOS 5DS R £250
EOS 5DS £250
EOS 5D Mark IV £250 Save more with a Lens Reward Value Kit
EOS 6D Mark II £160 Save more with a Lens Reward Value Kit
EOS 80D £85 Save more with a Lens Reward Value Kit
EOS M5 £100 Save more with a Lens Reward Value Kit
PowerShot G1 X Mark III £80
PowerShot G5 X £40 Also available as a Value Kit with case, card and 3 year warranty
PowerShot G3 X £40 Also available as a Value Kit with case, card and 3 year warranty

 

Video

Cashback

Options

XC15 £250
Legria GX10 £170

 

Lenses / Speedlite

Cashback

Options

EF 16-35mm F2.8L III USM £250  Plus an extra £130 Canon Lens Reward when bought with eligible bodies
EF 24-70 F2.8L II USM £220  Plus an extra £105 Canon Lens Reward when bought with eligible bodies
EF 70-200mm F2.8L IS II USM £220  Plus an extra £105 Canon Lens Reward when bought with eligible bodies
EF 85mm F1.2L II USM £220  Plus an extra £105 Canon Lens Reward when bought with eligible bodies
EF 35mm F1.4L II USM £220  Plus an extra £105 Canon Lens Reward when bought with eligible bodies
EF 50mm F1.2L USM £170  Plus an extra £85 Canon Lens Reward when bought with eligible bodies
EF 70-300mm F4.5-5.6L IS USM £150  Plus an extra £85 Canon Lens Reward when bought with eligible bodies
EF 100mm F2.8 Macro USM £60  Plus an extra £60 Canon Lens Reward when bought with eligible bodies
Speedlite 600EX II-RT £110

 

Printers

Cashback

Options

Pixma iP8750 £35
Pixma Pro 100S £50
Pixma Pro 10S £75
imagePROGRAF PRO-1000 £100

 

Important Information:

Canon cashback runs from March 14th to May 15th 2018 inclusive. Claims for Spring cashback must be made no later than16th June 2018.

Cashback must be claimed online from Canon UK. For more information about Canon Spring cashback, including claims and T&C’s, please visit canon.co.uk/springcashback

Please note that some items are eligible for both Canon Spring Cashback and the Canon Lens Reward promotion. There are two separate claims procedures to follow online. Please ensure you claim both the Canon Spring Cashback AND the Canon Lens Reward Cashback if buying an eligible product. This will be highlighted in the “promotions” section on Value Kits where both promotions are applicable.

For more information about Canon Spring cashback, including claims and T&C’s, please visit canon.co.uk/springcashback

For more information about Canon Lens Reward, including claims and T&C’s, please visit canon.co.uk/lens-promo

We have created a guide to help explain the Canon Lens Reward promotion. Alternatively, please contact us and we will be happy to help. Please let us know all the items you wish to buy so we can make sure we give you a summary of any promotional activity.

Try the Lumix G9 in Preston and Liverpool stores soon!

Try the brand new LUMIX G9 first with Wilkinson Cameras. Join Panasonic Imaging Expert Joshua Cunningham in Preston on Monday November 13th and in Liverpool on Sunday November 19th for an exciting first look and hands-on day with the LUMIX G9. You’ll be able to touch and try the G9, try out a huge selection of Lumix G lenses and get expert advice from Joshua. Just call in any time from 10am until 4pm.

 

Pre-order Special Offers: Free Grip and £100 Part-Ex Bonus

First G9 stocks due January, first 200mm F2.8 lens stock due December – make sure you’re at the front of the queue!

 

FREE Battery Grip worth £309 when you Pre-Order a Lumix G9 between November 8th and January 14th 2018 inclusive. The DMW-BCG9 Battery Grip must be redeemed from Panasonic.

 

PLUS £100 Part-Exchange bonus! Whatever your old equipment is worth, we’ll give you £100 more when you part exchange against a Lumix G9 or Leica 200mm lens pre-order.

This means, whatever your old equipment is worth, we’ll give you an extra £100! For example, if your old lens is worth £50, we’ll give you £150 when you buy a Panasonic Lumix G9, G9 & G 12-60mm or G9 & Leica 12-60mm or Lumix Leica 200mm F2.8 lens

If you’re thinking of upgrading and taking advantage of the pre-order special offer, then bring your existing equipment along to one of the Touch & Try events, where one of our knowledgeable staff members will value your equipment while you try out the brand new Lumix G9. If you can’t make it to a Lumix G Touch and Try Event, then you can fill out a part-ex form online or visit your local store any time. Please note that values given on part-exchange requests online do not include part-ex bonuses. These are added on at the time of purchase.

 

Panasonic Lumix G9 & Leica 12-60mm

New LUMIX G9: new flagship camera combines speed and durability – the perfect match for wildlife photography.

  • Featuring the best ever image quality from a LUMIX G Mirrorless Camera
  • 80 megapixel (equivalent) images in both JPEG and RAW
  • High-speed, high-precision contrast AF system for both photo and video recording

 

Get ready to capture images like never before with Panasonic’s brand new LUMIX G9. Providing photographers with the ultimate combination of high image quality, perfect portability and ultra-high-speed shooting, the G9 is the perfect match for wildlife and action photographers.

Building on the success of the superb GH5, the G9 is the new flagship model for stills photographers, featuring the best ever image quality from a LUMIX G Camera. At the heart of the G9 is a 20.3 megapixel sensor, which when combined with the latest Venus processing engine, delivers exceptional imagery with high detail, low noise, fantastic colours and brightness. Tricky conditions, such as the backlighting that occurs when photographing animals against a bright sky, are handled with ease thanks to special AR coating on the sensor to reduce ghosting and flare.

 

A new High Resolution Mode can deliver incredible 80 megapixel (equivalent) images in both JPEG and RAW – ideal for landscape and macro photographers. In essence, this mode works by combining together 8 images taken concurrently while shifting the sensor – a tripod is therefore essential when using this mode.

 

Sharper images than ever before are guaranteed with an upgraded in-body IS system for the LUMIX G9. You can now shoot at shutter speeds up to 6 speeds slower and still get crisp results – perfect when using the G9 handheld with long telephoto lenses to capture distant subjects.

 

Get the shot every time with enhanced autofocus and fast frame rates

 

Those all elusive nature subjects are now easier than ever to track thanks to an improved high-tracking autofocus performance, plus a shutter release lag of just 0.04 seconds – the fastest in the industry. There’s also no need to worry about missing the shot, as a frame rate of a market-leading 20fps is available at full-resolution with continuous autofocus (AF-C). Fix the focus to the first frame (AF-S) and you can enjoy an amazing burst speed of 60fps.

 

As if that wasn’t enough, both 4K Photo and 6K Photo are on-hand to help you capture your best moments. Panasonic’s unique technology means you can shoot at up to 30fps (6K) or 60fps (4k) and extract a still big enough to make large, high-quality prints. Other handy features make use of 4K technology, such as Post Focus – where you can change the point of focus after shooting, and Focus Stacking, to change the depth of field after shooting by combining multiple images.

 

When it comes to composing your stunning images, the G9’s viewfinder is the largest in its class. The Live Viewfinder (LVF) offers a high magnification ratio of 0.83x (35mm equivalent) and, better yet, offers zero blackout even when shooting at high speeds, allowing you to always keep track of your subject. With a high-resolution of 3,680k-dots, the viewfinder offers a 100% view so you can always be sure that what you see is what you get. There’s also a night mode, plus an AF Point Scope integrated into the viewfinder design.

 

At the rear of the camera you’ll find a free-angle, 3-inch 1040k-dot touch-sensitive LCD screen, perfect for framing your shots from all sorts creative angles. Designed to be highly visible even in bright conditions, you can also apply a night mode for low-light shooting.

 

A design ready for anything

The G9’s design offers both functionality and durability. A Status LCD on the top of the G9 – the largest in its class – helps you to see at a glance the settings you’ve currently got selected. A function (Fn) lever allows for rapid changes to settings, while a joystick is on hand to quickly change the focus point without the need to remove the camera from your eye. You’ll also find intuitively placed dials and customisable buttons to ensure the G9 works exactly as you want it to.

 

To make sure that the G9 is ready for whatever conditions you need to shoot in, it has a magnesium alloy full die-cast front and rear frame. It’s splash-proof, dust-proof and freeze-proof down to -10 degrees. Designed for extensive field-use, there’s sealing for every joint, dial and button to keep it secure from the elements.

 

Dual SD card memory slots are both compatible with the super-fast UHS-II format, a first for LUMIX G cameras. You can use the slots however you feel most comfortable; as extra storage, as a backup slot, or for different types of media (for example, one slot for video, another for JPEG/RAW files).

 

Sharing your images has never been more important, so the G9 has you covered with Bluetooth and Wi-Fi compatibility. You can use Bluetooth to maintain an always-on, low-power connection to easily transfer your shots to your smartphone or tablet ready for sharing with the world.

 

A range of accessories, designed to enhance the G9’s usability, are also available. A Battery Grip extends the shooting life of the camera, as well as making shooting in vertical orientation more comfortable. There’s also an Eye-Cup, a quick battery charger and a shoulder strap.

 

New LEICA DG ELMARIT 200mm f/2.8 Power OIS Lens offers 400mm (equivalent) shooting at super-fast speeds

Panasonic Lumix G9 & Leica 200mm F2.8

 

The perfect shooting partner for the G9, Panasonic is also pleased to announce the first LEICA branded fixed focal length super-telephoto lens.

 

Ideal for wildlife, sports and action subjects, the LEICA DG ELMARIT 200mm f/2.8 Power OIS Lens gets you closer to the subject while boasting sharpest-ever corner-to-corner image quality. A 1.4x Teleconverter(DMW-TC14) comes bundled with the lens to boost the focal length  to 560mm (35mm equivalent) – a nature lover’s dream. Available separately, the LEICA DG ELMARIT 200mm f/2.8 Power OIS Lens can also be used with the 2.0x Teleconverter DMW-TC20 for an equivalent focal length of 800mm.

 

Capture sharp wildlife shots handheld with Power OIS

 

The fast f/2.8 aperture enables capture of fast-moving subjects, while the Power O.I.S (Optical Image Stabilizer) provides effective compensation for hand-shake, making it possible to shoot handheld, or in low-light conditions without the need for a tripod. The lightweight and compact design of the lens is also ideal for readjusting your shooting position on the move.

 

The lens is designed with Leica’s stringent quality control, and is comprised of 15 elements in 13 groups, including two UED (Ultra Extra-Low Dispersion) lenses. This allows for high resolution, high contrast images with minimal distortion and chromatic aberration, perfect for all kinds of subjects, including shooting wildlife against a vibrant sun.

 

Just like the G9, the LEICA DG ELMARIT 200mm f/2.8 Power OIS Lens is splash-proof, dust-proof and freeze-proof down to -10 degrees. A triple linear motor and max 240 fps sensor drive ensures autofocusing is incredibly precise – in fact it’s excellent enough to record 4K video.

 

The Panasonic LUMIX G9 will be available from January 2018 in three kit options;

 

The LEICA DG ELMARIT 200mm f/2.8 Power OIS Lens will be available from December 2017,

 

For the latest news and information, follow @LumixUK on Facebook, Twitter and Instagram.

Nikon releases the D850 digital SLR camera

And you can get your hands on it in our Liverpool store on Sunday 3rd September. Nikon will be there along with a Nikon D850 for you to try out for yourselves. Be one of the first people in the country to try this brand new full frame DSLR from Nikon. No booking required, simply pop in to Wilkinson Cameras Liverpool on Sunday 3rd September any time between 11am and 4pm.

Already been waiting too long for the D850? Pre-orders are now being taken. Order yours now.

 

Official Press release:

August 24, 2017

The next-generation full-frame digital SLR camera with an optimized combination of high resolution and high-speed performance across multiple genres of photography

 

TOKYO – Nikon Corporation is pleased to announce the release of the D850, a Nikon FX-format digital SLR camera that optimizes the combination of high resolution and high-speed performance to set the standard for next-generation full-frame cameras for professional photographers and serious hobbyists across landscape, commercial sports, fashion and wedding genres, and multimedia content. Development of the D850 was announced on July 25, 2017.

The D850 has an effective pixel count of 45.7 megapixels, and supports the ISO 64-25600 range of standard sensitivities (expansion to Lo 1, ISO 32 equivalent and Hi 2, ISO 102400 equivalent is possible). The camera itself is capable of high-speed continuous shooting at approximately 7 fps*1, but when the optional MB-D18 Multi-Power Battery Pack is used, the rate increases to approximately 9 fps*1,*2. Adoption of the same high-speed, high-precision 153-point AF system used by the D5 gives the D850 greater certainty of capturing moving subjects. It has a new backside illumination Nikon FX-format CMOS sensor and the latest image-processing engine, EXPEED 5.

Movie capabilities have also been enhanced even further for multimedia content creators who wish to shoot both stills and videos. With the D850, Nikon introduces its own full-frame recording of 4K UHD (3840 x 2160)/30p movies, as well as 4x and 5x slow-motion movies*3 in Full HD. This will enable impressive expressions of movement in Full HD. In addition, the camera supports the creation of 8K time-lapse videos*4 from still images captured using interval timer photography, while also offering silent photography, and in-camera batch processing of RAW images, all of which demonstrate the strength of the D850 as a multimedia digital SLR.

From landscape, commercial sports, fashion, and wedding photography to multimedia applications, the D850, combined with the power of NIKKOR’s extensive selection of lenses, greatly expands the possibilities for versatile imaging expression across a wide variety of photographic genres. Catering not only to professional photographers and serious hobbyists, the D850 also targets the hybrid photographers who require both photo and video qualities that play an equally important part in their work.

  • *1With continuous-servo AF, manual or shutter-priority auto exposure, a shutter speed of 1/250 s or faster, and other settings at default values.
  • *2When an EN-EL18b/EN-EL18a Rechargeable Li-ion Battery (available separately) is used. Optional BL-5 Battery Chamber Cover is required for use of the EN-EL18b/EN-EL18a.
  • *3Image quality is fixed at normal and image area is fixed at DX regardless of settings.
  • *4Requires third-party software for creation.

Primary Features

  • 1.An effective pixel count of 45.7 megapixels and a new backside illumination Nikon FX-format CMOS sensor

    The D850 is Nikon’s first digital SLR camera to be equipped with a backside illumination CMOS sensor. Together with the camera’s low-noise performance, this enables it to achieve a maximum standard sensitivity of ISO 25600 (with expansion up to Hi 2, ISO 102400 equivalent) despite its high pixel count, with incident light more effectively guided to the photodiodes. The same minimum standard sensitivity of ISO 64 (with expansion to Lo 1, ISO 32 equivalent) supported by the D810 is also offered by the D850, achieving an incredibly broad range of sensitivities. In addition, no optical low-pass filter means that the D850 is able to make the most of high-resolution NIKKOR lenses to produce extremely sharp and clear images. Images captured with the D850 can be enlarged up to A2 size* for printing, and even used for 8K digital signage displays.

    • *At 300 dpi.
  • 2.High-speed continuous shooting at approximately 7 fps/9 fps captures motion

    The D850 is equipped with a backside illumination CMOS sensor capable of high-speed readout of high-volume data, the EXPEED 5 image-processing engine that processes an incredibly large amount of information at high speed, and newly designed shutter and mirror mechanisms. These three features work together to enable high-speed continuous shooting at up to approximately 7 fps*1 with just the camera, and up to approximately 9 fps*1,*2 when the MB-D18 Multi-Power Battery Pack is used. What’s more, up to approximately 51 14-bit or 170 12-bit (image size L) RAW images with lossless compression can be captured in a single burst of continuous shooting*3. Further, adoption of the same high-performance 153-point AF system used by the D5 ensures certain capture of intended subjects including those that are moving, in a wide variety of scenes, effectively expanding the practical range of this high-pixel-count camera.

    • *1With continuous-servo AF, manual or shutter-priority auto exposure, a shutter speed of 1/250 s or faster, and other settings at default values.
    • *2When an EN-EL18b/EN-EL18a Rechargeable Li-ion Battery (available separately) is used. Optional BL-5 Battery Chamber Cover is required for use of the EN-EL18b/EN-EL18a.
    • *3When a Sony QD-G64E XQD memory card and EN-EL15a/EN-EL15 are used with shooting at ISO 100.
  • 3.Silent photography eliminates the sound of shutter release and mechanical vibrations with capture of 45-MP images

    The D850 is equipped with a silent photography feature with which the image sensor performs operations normally performed by the mechanical shutter’s front and rear curtains with live view photography, enabling silent capture of full-frame images. The sound of shutter release and mechanical vibrations are completely eliminated, making this an effective choice in situations when the sound of shutter release is distracting or impolite, as at a museum or wedding, or when mechanical vibrations are a concern, such as when photographing starscapes or heavenly bodies.

    • Note:In M (manual) or A (aperture-priority auto) exposure mode. In P (programmed-auto) or S (shutter-priority auto) exposure mode, the sound of aperture operation can be heard.
  • 4.Nikon’s first digital SLR camera to support full-frame 4K UHD (3840 x 2160) movie recording

    The D850 supports full-frame, 4K UHD (3840 x 2160)/30p recording, allowing users to record movies that make the most of wide-angle lenses’ broad angles of view, as well as the superior resolution at the edges of the frame exhibited by NIKKOR lenses. In addition, 4x and 5x slow-motion movies* can be recorded in Full-HD format (100- or 120-fps readout is recorded at 24p, 25p, or 30p). This enables dramatic expression of a moment’s movement in slow motion. Further, the addition of a dedicated movie shooting menu, the ability to choose the format in which movies are recorded from MOV and MP4, and the ability to apply detailed settings for highlight display make the D850 a much more convenient way to record movies for multimedia users.

    • *Image quality is fixed at normal and image area is fixed at DX regardless of settings.
  • 5.8K time-lapse video creation that makes the most of interval timer photography

    The interval timer shooting function has been significantly enhanced with the D850. The interval timer shooting function is not only capable of recording still images (8256 x 5504) that can be used to create time-lapse movies with a frame size that exceeds that of the 8K format*1, but it also offers a silent photography option that can be enabled to capture a large volume of images without concern for the mechanical shutter wear. When silent interval timer photography and exposure smoothing options are enabled, not only are the variations in exposure between individual shots effectively suppressed, but the camera is also able to meter exposure with significantly less light than the -3 EV*2 that is minimally required. This makes it possible for photographers to use A (aperture-priority auto) exposure mode in situations where it is impossible to use manual exposure to capture a series of images, all of which exhibit optimal exposure, of the sky’s transition from sunset to starry night sky or from starry night sky to sunrise, for example. The D850 also meets the requirements of professional time-lapse movie creation, offering fast, in-camera batch processing of a huge number of RAW images.

    • *1Requires third-party software for creation.
    • *2ISO 100, f/1.4 lens, 20°C/68°F, using matrix or center-weighted metering.
  • 6.Other Features
    • Equipped with a 180K-pixel RGB sensor that greatly increases the precision and accuracy of automatically controlled functions, such as autofocus (AF), auto exposure (AE), and auto white balance (AWB)
    • Auto Picture Control, with which the camera automatically fine-tunes images in accordance with the scene
    • The new natural light auto white balance option that achieves more accurate color reproduction for a variety of scenes captured under natural lighting
    • RAW image size can be selected from large, medium*1, and small*1 depending upon how images will be used
    • A magnification of approximately 0.75x that enables a broad view has been achieved for the optical viewfinder
    • The convenient 8-cm/3.2-in., approximately 2359k-dot, tilting TFT touch-sensitive LCD monitor
    • A power-saving design that enables capture of approximately 1,840 shots or approximately 70 minutes of movie recording*2 on a single charge*3
    • A focus shift function that makes it easy to acquire the materials (shots) needed for the technique known as focus stacking*4, used to increase depth of field
    • A negative digitizer that makes it easy to convert color or black-and-white film negatives to digital data (JPEG)*5
    • Support for radio-controlled Advanced Wireless Lighting, which increases the flexibility of multi-flash photography
    • *1Recorded in 12-bit, lossless compressed format.
    • *2With testing in accordance with CIPA standards. Maximum length is 29 min. 59 s. with a single recording.
    • *3When an EN-EL15a/EN-EL15 Rechargeable Li-ion Battery is used.
    • *4Focus stacking requires third-party editing software.
    • *5The ES-2 Film Digitizing Adapter (available separately) is required.
  • *Specifications, design, product name and supplied accessories may differ by country or area. Specifications and equipment are subject to change without any notice or obligation on the part of the manufacturer.

The period from late spring to early summer is perhaps the best time of year to shoot macro photos of insect. From woodlands to meadows to local wetlands, you’ll find that butterflies are at their peak, dragonflies buzzing about and damselflies basking in the sun on vegetation.

In this month’s guest blog from Camera Jabber you’ll learn ten great tips for shooting macro photography of insects in your own garden.

The great thing about this time of year for macro photographers is that you don’t have to travel beyond your garden to capture great images. Below we’ll share our best advice for going on a macro safari of your garden and capturing its miniature wildlife in fascinating detail. But first…

 

Understanding magnification ratios

When shooting macro photography, its important to understand the relationship between the actual size of the subject being photographed and its image size on your camera’s imaging sensor.

You’ve probably heard the term magnification rate, and this is the relationship between these factors only expressed as a percentage. For instance, a quarter, a half or three-quarters. And then there is life-size representation, which is a ratio of 1:1.

When you take a picture of any subject below life-size, this means it will appear on your sensor smaller than its true size.

 

Shooting greater than life-size

When you’re taking macro photos at magnifications beyond life-size, the final image can look spectacular… but you’ll need some patience, as it can be quite challenging.

The problem lies with the elements. When you are shooting at magnification ratios beyond 1:1, obstacles like wind and subject movement become even bigger problems.

These might be minor focusing errors in low-level close-ups, but at this size they can totally spoil an image. Even at small apertures your depth of field is reduced to a few millimetres at most. The best solution in these instances is to use flash.

 

10 ways to improve your garden macro photography

 

01 Know your subject

It sounds simplistic, but it’s something we all forget to do. Research your subjects, even just a little bit, and you’ll get clues on where to find them based on their habitat preferences, and you’ll discover how and when to capture them best based on their behaviour and flight periods.

02 Static subjects

It’s not always possible to capture that dragonfly, but there are plenty of great static subjects like snails or beetles you can photograph with much more ease. When there’s less time pressure, you’ll have more opportunity to experiment with different equipment and techniques.

If you’re using flash, try capturing subjects with medium tones and avoid the paler creepy crawlies.

03 Lure in insects

We’re not suggesting anything sinister here, just that certain types of flowers and plants are great for attracting butterflies and other insects to your garden. A quick Google search will give you a long list of plants. Or better yet, pop down to your local garden centre and the staff there will be able to point you to numerous plants that will do the job.

04 Slow it down

When it’s warm outside, insects are at their most active and aware. The best way to capture them is to keep your movements slow and direct. Vary the angles from which you shoot, as well as the distance. This will ensure you at least come away with something if the insect decides to buzz off.

05 Shoot in the morning

On that note, you’ll get better pictures if you avoid the warmest parts of the day altogether. Insects are very active and mobile during these times. If you can shoot in the early morning or late afternoon and evening when temperatures are lower, you’ll have a much better hit rate.

06 Shoot in the rain

We tend to use the rain as an excuse to put our cameras away, but a light rain won’t harm your camera and can yield some fantastic, atmospheric shots! In particular, look for sheltered spots where it might be a little bit warmer. Insects always seek out shelter when it rains.

 

07 Find the hot spots

You know your garden better than anyone. Are there areas where bugs all tend to congregate? Find these so-called hot spots, and seek these out on those days when the conditions are poor. You’re more likely to find a great shot on a day when you’d otherwise have none.

08 Get support

Use a tripod whenever possible. A tripod not only provides support and reduces the risk of camera shake and allows you to shoot at slower shutter speeds, but it will also help you give some consistency to your compositions

09 Diffusing your flash

When you’re shooting close-up shots of very small insects it’s important to diffuse the light from your flashgun, otherwise you’ll likely end up with unwanted reflections. Flash diffusers aren’t expensive and you can even fashion one from a plastic milk carton. Look for subjects with backgrounds that are fairly close, and this will also help avoid flash fall-off.

10 Add interest

Look beyond the beauty of your subjects themselves and look for ways you can capture action, their lives, tell a story about them. If you’re patient you might find groups attacking each other, insects feeding, babies and other types of interesting behavior. If all your shots are head-on shots of insects, as striking as they may be your portfolio may end up looking a bit samey. Think about ways you can mix it up. Wait for the best light. Maybe even try a wider lens to capture more environmental context.

Feeling Inspired?

Camera Jabber is the home of digital photography, with in-depth camera reviews, buying guides, news and photography tips to help you master your camera. For more great content on everything photography, click through to Camera Jabber’s website, here.

And to read more of our blog posts, click here.

Why not take a look at our wide range of macro lenses available on our website, here.

Cashback on selected Canon lenses, when bought with selected compatible Canon Cameras

 

 

 

 

 

 

 

 

Promotional Lens (EF Mount)

Cashback

Compatible Promotional Body

EF 14mm 2.8 L II USM  £210

EOS 6D Mark II

EOS 5DS

EOS 5DS R

EOS 5D Mark IV

EOS 1D X Mark II

 

EOS 77D

EOS 80D

EOS 7D Mark II

 

EOS C100 Mark II

 

EOS R

EF 20mm f/2.8 USM  £50
EF 24mm f/1.4L II USM  £85
EF 24mm f/2.8 IS USM  £60
EF 28mm f/1.8 USM  £50
EF 28mm f/2.8 IS USM  £50
EF 35mm f/1.4 L II USM  £105
EF 35mm f/2 IS USM  £60
EF 40mm f/2.8 STM  £20
EF 50mm f/1.2 L USM  £85
EF 50mm f/1.4 USM  £45
EF 50mm f/1.8 STM  £20
EF 85mm f/1.2 L II USM  £105
EF 85mm f/1.8 USM  £45
EF 100mm f/2 USM  £50
EF 135mm f/2 L USM  £105
EF 200mm f/2.8 L II USM  £85
EF 200mm f/2 L IS USM  £470
EF 300mm f/2.8L IS USM II  £510
EF 300mm f/4 L IS USM  £130
EF 400mm f/2.8L IS USM II  £685
EF 400mm f/4 DO IS II USM  £510
EF 400mm f/5.6 L USM  £105
EF 500mm f/4 L IS USM II  £685
EF 600mm f/4 L IS USM II  £685
EF 800mm f/5.6 L IS USM  £855
EF 200-400mm f/4L IS USM Extender 1.4x  £855
EF 8-15mm f/4L Fisheye USM  £130
EF 11-24mm f/4L USM  £260
EF 16-35mm f/4L IS USM  £65
EF 16-35mm f/2.8L III USM  £130
EF 17-40mm f/4L USM  £130
EF 24-70mm f/2.8L II USM  £105
EF 24-70mm f/4L IS USM  £85
EF 24-105mm f/4L IS II USM £70
EF 24-105mm f/3.5-5.6 IS STM  £50
EF 28-300mm f/3.5-5.6L IS USM  £255
EF 70-200mm f/4L IS USM  £70
EF 70-200mm f/2.8L USM  £130
EF 70-200mm f/2.8L IS USM II  £105
EF 70-300mm f/4.5-5.6 DO IS USM  £125
EF 70-300mm f/4-5.6L IS USM II  £85
EF 100-400mm f/4.5-5.6L IS II USM  £105
EF 100mm f/2.8 Macro USM  £60
EF 100mm f/2.8L Macro IS USM  £60
EF 180mm f/3.5L Macro USM  £170
TS-E 17mm f/4L  £210
TS-E 24mm f/3.5L II  £210
TS-E 45mm f/2.8  £170
TS-E 90mm f/2.8  £170
MP-E 65mm f/2.8 1-5x Macro Photo  £130
EF 100mm f/2.8L Macro IS USM £60
EF 180mm f/3.5L Macro USM £170
TS-E 17mm f/4L £210
TS-E 24mm f/3.5L II £210
TS-E 45mm f/2.8 £170
TS-E 90mm f/2.8 £170
MP-E 65mm f/2.8 1-5x Macro Photo £130
RF 24-105mm F4L IS USM £170
RF 28-70mm F2L USM £275
RF 35mm F1.8 MACRO IS STM £45
RF 50mm F1.2L USM £210

 

Promotional Lens (EF-S Mount)

Cashback Value

Compatible Promotional Body

EF-S 17-55mm f/2.8 IS USM  £50

EOS 77D

EOS 80D

EOS 7D Mark II

EF-S 18-55mm f/3.5-5.6 IS STM  £30
EF-S 18-135mm f/3.5-5.6 IS USM  £45
EF-S 18-200mm f/3.5-5.6 IS  £45
EF-S 55-250mm f/4-5.6 IS STM  £26
EF-S 10-18mm f/4.5-5.6 IS STM  £20
EF-S 15-85mm f/3.5-5.6 IS USM  £85
EF-S 24mm f/2.8 STM  £10
EF-S 60mm f/2.8 Macro USM  £50

 

Promotional Items EOS M

Cashback Value

Compatible Promotional Body

EF-M 11-22mm f/4.5-5.6 IS STM  £45

EOS M50

EOS M5

EOS M6

EF-M 55-200mm f/4.5-6.3 IS STM  £35
EF-M 28mm f/3.5 Macro IS STM  £35
EF-M 22mm f/2 STM  £26
Mount Adapter EF-EOS M  £45
EVF-DC2  £70

 

 

Cashback details:

  • Canon Lens and camera body must be purchased within 90 days of one another, but they do not need to be bought together.
  • Claims must be made within 30 days of purchase of the second item (i.e. if you buy an included body first, followed by a lens within 90 days, you must then claim within 30 days of the date of purchase of the lens.)
  • Only one lens claim per camera body can be made. i.e. If you buy two lenses, you may only claim for the cashback on one.
  • Lens Cashback is not valid on standard camera kits, i.e. Canon EOS 80D & 18-135mm F/3.5-5.6 IS USM. It is valid on any Wilkinson Camera kits, such as the EOS 1D X Mark II & EF 100-400mm – if you have any doubt, please contact us before making a purchase.
  • From June 1st 2017, this promotion can be combined with other seasonal cashback offers*, for example; Spring Cashback, Summer Cashback, etc. See example below.

Example of combined* seasonal cashback and Lens Reward Cashback:

If you were buying a Canon EOS 5DS today (13/06/17) with a Canon EF 70-200mm F4L IS USM lens, you can claim £80 cashback against the lens in Canon Summer Cashback 2017 (offer ends 31/08/17) AND £70 in the Lens Reward Cashback offer, making a total of £150.

Remember that these are separate offers and you must remember to claim for both within the relevant timelines (within 30 days of purchasing the lens for any Lens Reward claims and within the seasonal cashback promotional period for offers such as Summer Cashback or Winter Cashback).

*Please note that if there is a special offer such as “double cashback,” then you cannot claim any Lens Reward cashback amounts.

 

If you’re not sure about any offers or would like us to clarify any cashback amounts for you, then we’re available on Live Chat Monday-Friday 9.15am until 5pm, reply to email within one working day or you can pop into or contact your local store.

 

For full information about the offer, including FAQ, included items, Terms & Conditions and Claims, please visit canon.co.uk/lens-promo

Full terms & Conditions here

Claim here

There are lots of great offers to choose from on a range of Nikon products including Nikon DSLR and Nikon Coolpix bridge cameras. All offers are available in-store and online.

 

 

Save up to £150 on Nikon D750 and D500

Offer ends July 12th 2017

£150 instant discount on Nikon D750 or Nikon D500.

Add any new Nikon D750, or Nikon D500 to your basket and watch the price drop! Don’t forget you can trade in your old camera equipment as well!

 

Nikon Spring Cashback – Travel & Macro

Offer ends August 4th 2017

Save money on a range of Nikon DSLRs, Nikkor zoom lenses and dedicated Nikkor Micro lenses with Nikon’s Travel & Macro Cashback offer. For full terms and conditions please visit the Nikon website here.

Please note: Cashback is only on the Nikon cameras listed below, not across the range. i.e. Cashback is available on the D5600 & AF-P 18-55mm VR kit, but not on the D5600 & AF-P 18-140mm kit.

Cashback must be claimed from Nikon online no later than September 4th inclusive. See Terms & Conditions.

DSLR Cameras

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Sports photography can give some of the most dramatic shots in your portfolio, and can be mastered with practice, the right choice of kit and techniques. Of course, you won’t start off by shooting the Olympics with full press accreditation that gets you right next to the track, but there are lots of smaller sporting events where you can get access to the action. Here are Adam’s top tips to getting some creative shots of sports or action in general.

Adam Duckworth is an award-winning professional photographer and videographer with over 25 years experience and clients including Red Bull, Honda, Kawasaki, Manfrotto and Lastolite, to name but a few.

See more of his photography at www.adamduckworth.com or for more of Adam’s writing including how-to’s, reviews and more visit www.hashtagflash.com

Here are Adam’s top tips to getting some creative shots of sports or action in general.

 

1. USE THE RIGHT KIT

A DSLR is the tool of choice for the vast majority of action photographers, although you can get great photos with mirrorless or even compacts. You can take action shots with a compact, but the snappy autofocus, fast motordrive and the ability to use a whole range of lenses make DSLRs and modern mirrorless cameras ideal.

For successful action pics, a range of lenses will make a big difference to your shots. If you can get in close to your subject, a wide-angle lens will add drama and give a sense of location. Look for different and unique angles.

A telephoto zoom means you can fill the frame with your subject for more impact. Super-fast pro-spec lenses with fast f/2.8 apertures are expensive and heavy but allow you to keep shooting when light levels fall.

A monopod can be useful, too, for taking the strain out of holding a heavy lens all day and for giving shake-free shots.

2. CHOOSE THE RIGHT VIEWPOINT

There’s no substitute for getting to the venue early so you can check it out for viewpoints which will give your pictures dramatic composition. Like a mountain biker framed against the sky or a footballer against a packed grandstand of cheering fans.

One of the biggest problems with sports images is messy, confusing backgrounds. Look for clean, uncluttered backgrounds or try to blur them with a shallow depth of field by using a wide aperture.

 

3. GIVE THE IMPRESSION OF MOVEMENT

Sports photography is often about making something that’s moving actually appear like it’s moving in a still frame. The easiest way to fool the brain into thinking something is moving is to use some blur. So a runner at full speed with blurred legs or a racing car zooming past a blurred grandstand at a circuit gives the clear message of speed and it helps the subject pop out from the background.

To do this, choose a slow shutter speed and, ideally, a long focal length lens. As your subject comes into view, try to lock focus on. Then as it passes you, keep it as still as you can in your frame by smoothly panning with the subject.

Alternatively you can freeze the action with the subject doing something that your brain knows can happen naturally, so quickly works out that the subject is in motion. Like a hurdler mid-leap, for example. Or a motorbike leaned right over in a corner. Your brain knows the bike would fall over unless it was in motion!

 

4. CHOOSE THE CORRECT SHUTTER SPEED

There’s no hard and fast rule for choosing the right speed, as freezing or blurring the action depends on how fast the subject is moving, how far away you are, whether the subject is coming towards you or across your field of view, how big the subject is in the frame and the focal length of the lens. Having said that, a speed quicker than 1/1000th second is quick enough to freeze most subjects at most focal lengths. And anything slower than 1/250th can usually result in some blur, though you can go as low as 1/30th if you have a steady hand. You have to experiment! Image stabilisation can work in some circumstances, but it’s not a cure-all the camera manufacturers may claim. Experiment and see what works for you.

If you are using fast shutter speeds, you may have to increase your ISO to get the right exposure. In general, the lower the ISO the better the quality of the final photo.

 

5. SELECT THE CORRECT EXPOSURE MODE

Shutter priority – sometimes called Tv or Sv – lets you select the shutter speed you want and the camera works out the right aperture for you. You may want a high shuter speed – like 1/1000th sec or faster – to freeze the action. Or a slow speed to give blur.

However, light or dark subjects can easily fool your meter. If you’re shooting a car race and a black car comes round the corner, followed by a white car, the camera meter can be all over the place. So sometimes it can be better to set the exposure manually. Try metering off a neutral tone – like light-coloured tarmac or grass – then set that exposure. Take a test shot and check your exposure using the histogram.

If you’re a real beginner and your camera has it, a dedicated Sport mode may be easiest until you’re feeling confident enough to take more control.

 

6. GET IT IN FOCUS!

Getting your subject in pin-sharp focus is the goal of the action photographer. And if you’re using a long lens which gives a shallow depth of field, it’s even more critical and tricky to get right.

Set your camera’s autofocus to Servo or Continuous, then try to track the subject in the viewfinder before you trip the shutter at the right moment.  If your camera has intelligent autofocus tracking, give it a try. Alternatively, you can manually pre-focus if you know where the action will take place – like a pole vaulter at the peak of his leap – then fire the shutter at the right time.

 

7. IT’S ALL ABOUT THE TIMING…

The age-old theory of The Decisive Moment is never more apt than in action photography. It’s all about timing your photo at the peak of the action, like at the apex of a corner or a footballer scoring the winning goal. The best sports photographers know their subjects well and can predict the peak of the action. Like when a BMX rider pulls of a high jump or judo pro throws his opponent to the floor.

 

8. CONSIDER USING FLASH

Many sports allow you to use flash – just be sure to check first! Flash can be used to provide a burst of light to freeze the action if the sport is indoor, or can fill in the shadows and reduce contrast outdoors. Many skateboard and BMX photographers use it all the time – sometimes strobing to get a sequence shot. You can also use your motordrive to do this, if you’re not using flash.

 

9. DON’T JUST SHOOT THE ACTION

Lots of photographers take lots of tightly-cropped action shots but don’t include anything else. The crowd celebrating, a fisheye shot showing an impressive stadium, tight detail shots of sporting equipment and portraits of competitors can really build up a more complete coverage of a sporting event.

 

10. PRACTICE, PRACTICE, PRACTICE!

There are plenty of local or amateur sports that welcome photographers, and it’s great practice! Nobody starts out as a sports photography master, but the more you do it, the better you get. You really get a feeling for how your camera works and how to control it, improve your timing and really get to know the sport you’re shooting so you can predict when things might happen. And it’s fun!

 

See more of Adam’s photography at www.adamduckworth.com or for more of Adam’s writing including how-to’s, reviews and more visit www.hashtagflash.com

 

FEELING INSPIRED?

April 2017’s Digital Splash Awards Photography Competition theme is Action and Sport – Find out what you could win and how to enter on the Digital Splash website or by clicking here.
Please note: The Digital Splash Awards run from February until October every year with a different theme each month. This year’s Sport theme runs from April 1st 2017 until April 30th 2017.

Please note that from Sunday March 5th, the Blackburn store will be closed permanently.

No other stores are affected and we will continue our commitment to providing excellent customer service online, on the phone or from our other 9 stores.

If you are a Blackurn customer and have in-store gift vouchers, these may be used at any of our other stores or we can convert them into online vouchers for you, if this is more convenient.
Your purchases will not be affected and any product warranties will remain valid. In the event of a fault occurring which is covered by a warranty, please email support@wilkinson.co.uk or call 01772 252 188 or visit any of our other stores.

The nearest Wilkinson Cameras stores to Blackburn are Preston, Burnley and Bury. Our general enquiries number is 01772 252 188 or emails can be sent to sales@wilkinson.co.uk.

You will still be able to see staff members Sandy and Luke as they will be relocating to Preston and Burnley respectively. Store manager Bill Burrow was offered a position at Preston, but has decided to retire. We wish him the very best and thank him for his work over the last 9 years. We will pass on any messages you wish to leave Bill or the other staff members.

Thank you for shopping at Wilkinson Cameras Blackburn over the years. We hope to see you at one of our other stores soon and at our annual Photography show, Digital Splash, on October 7th and 8th.

Wilkinson Cameras

Fujifilm Press Release: 19/09/16

The game has changed. Medium-format re-invented. Large sized sensor and large-diameter realize the highest image quality in the history of Fujifilm.

FUJIFILM Corporation (President: Kenji Sukeno) is proud to announce the development of the mirrorless digital camera system “GFX” to deliver the highest image quality in the history of Fujifilm electronic imaging. The company will release mirrorless digital camera FUJIFILM GFX 50S which features the FUJIFILM G Format 43.8 × 32.9mm sensor with 51.4 megapixels and six lenses that will be introduced under the new FUJINON GF Lens series of interchangeable lenses after early 2017 sequentially for professional photographers and photo enthusiasts. The new series deliver the highest image quality Fujifilm offers as well as outstanding expandability and functionality as a camera system.

Over the course of its proud history that extends over 80 years, Fujifilm has developed and manufactured photographic films with advanced image resolution and outstanding color and tone reproduction to meet the needs of professional photographers and photo enthusiasts, an extensive range of professional cameras under the consistent philosophy that “a camera is a tool for producing artwork,” and high quality FUJINON lenses which forms an indispensable part of camera systems. All these technologies have been amassed to develop the GFX, which uses a medium-format sensor to achieve the highest level of image quality and a completely new type of mirrorless system, and its companion FUJINON GF lenses.

As a long-term manufacturer of photographic films and medium-format film cameras, Fujifilm was always aware of the impact which different format sizes have on photographic expressions. Using a larger format gives ultimate enhancement to a camera’s ability to capture “texture quality,” “stereoscopic effect” and “aerial feeling,” which cannot be attained even by substantially increasing the sensor’s pixel count. Since the launch of the X Series, an increasing number of professional photographers and photo enthusiasts expressed their desire to achieve the ultimate world of photographic expression with the X Series’ signature color reproduction. The GFX camera system with “G Format” is Fujifilm’s response to their desire.

Highlight Features

(1) Obtaining the ultimate in photo image quality

Since the introduction of the X100 in 2011, Fujifilm has strived to achieve the best image quality possible with its X Series of cameras. The latest and the most advanced addition is the new medium-format mirrorless camera GFX. It uses the new large-diameter “G Mount” and incorporates a large 43.8 × 32.9mm CMOS sensor. Boasting the effective pixel count of 51.4 million, the camera delivers superior sharpness and image quality that will satisfy professional photographers shooting commercial, fashion or fine-art landscapes. The sensor’s 51.4 megapixels can be adapted to various aspect ratios, including 4:3 (default), 3:2, 1:1, 4:5, 6:7 and 6:17, which were available in film cameras of the large- and medium-formats. The camera uses the “X-Processor Pro” imaging processor, which provides Fujifilm’s outstanding color and tone reproduction at an extremely high level. The result is the ultimate capability in photographic expressions that only Fujifilm can deliver thanks to its extensive knowledge in medium-format cameras and large-format films.

(2) Mirrorless camera system with a large sized sensor

The GFX is an all-new mirrorless camera system that revolutionizes the concept of medium-format cameras. Compared to conventional medium-format digital SLR cameras, the GFX is lighter weight, achieving a far more compact form factor. With regards to functionality, the camera follows in the footsteps of the X Series by featuring numerous physical buttons and dials, and is designed with an ergonomic grip, shaped carefully and optimized for the camera body and lenses. This model becomes Fujifilm’s first model to use a detachable electronic viewfinder, which you can remove when using an external monitor or wanting to make the system even lighter. In addition, an optional adapter makes it possible to fit the EVF in any angle, giving greater freedom in the choice of shooting angle. Other optional accessories that will be released at the same time, include the Vertical Battery Grip, which enhances functionality when shooting in the portrait orientation. The camera also supports tethered shooting, which has become an essential part of the professional photographers’ workflow, and will be compatible with various RAW conversion application software.

(3) New lenses with a new lens mount for added descriptive performance

A new lineup of FUJINON GF lenses, designed specifically for the GFX, supports the new G Mount. Taking advantage of the mirrorless system’s structure, the G Mount has the short flange back distance of just 26.7mm to shorten the back focus distance as much as possible. This prevents vignetting to achieve edge-to-edge sharpness of the world’s highest level. The initial lineup on launch is to include the following six lenses:

  • Standard prime “GF63mmF2.8 R WR” (equivalent to 50mm in the 35mm format)
  • Wide-angle standard zoom “GF32-64mmF4 R LM WR” (equivalent to 25-51mm in the 35mm format)
  • Mid-telephoto macro 1:0.5 “GF120mmF4 Macro R LM OIS WR” (equivalent to 95mm in the 35mm format)
  • Fast aperture mid-telephoto “GF110mmF2 R LM WR” (equivalent to 87mm in the 35mm format)
  • Ultra wide “GF23mmF4 R LM WR” (equivalent to 18mm in the 35mm format)
  • Wide “GF45mmF2.8 R WR” (equivalent to 35mm in the 35mm format)

The lenses feature an aperture ring, a popular feature in the X Series, and have the new C (Command) Position on the ring to enable aperture adjustments with the Command Dial on the camera body. All the lenses feature dust and weather resistant construction that withstands operation at temperatures as low as minus 10 degrees Celsius, allowing you to take them outdoors with peace of mind. This gives these lenses a strong potential, suitable for professional use in tough conditions.

* Design and specifications may be subject to change without notice.

Fujifilm GF Lenses

While the endless months of cloud and rain that have enveloped us here in the UK have left many of us eagerly awaiting the first real signs of Spring, for internationally renowned Landscape photographer Joe Cornish, the weather has been a joyous backdrop for his work.

Joe Cornish Photography - Glen Affric

Click on any of the images in the article to see a larger version.

‘The beauty of living and working here IS the weather – that and the amazing diversity of our landscape. For landscape photography you need variety and that is the beauty of Britain – we have such a rich diversity in such a small space.

‘Changing weather, changing light and endless beautiful and dramatic natural environments. The geology in the UK is amazing; wonderful for a landscape photographer. And what’s more you can get from one side of the country to the other in a matter of a few hours.

Joe Cornish Yosemite National ParkJoe Cornish Yosemite National Park

‘Whenever I see unbroken blue sky I put my camera away. Luckily we don’t get much of that here,’ says Joe who was born in Exeter in 1958.

Joe fell under the spell of photography while studying at Reading University and in a career spanning 30 years has become renowned as one of the world’s leading landscape photographers – a man inspired by wild places and the wilderness, which he has captured to stunning effect.

It was as an expedition photographer with Raleigh International on a visit to Alaska in 1991, that Joe’s commitment to the great outdoors was really fired. Since then, he has travelled the world but says the need to travel is minimised by the quality on his doorstep.

‘Scotland is a world class destination for landscape photography so when you have so much to work with right on your doorstep, you really don’t need to go too far afield.’

Whether leading photographic groups – an increasing part of his life – or working on his own, Joe is often to be found clambering over rocks by the North Yorkshire coast near his home, or climbing mountains in the Lakes, Snowdonia and Scotland.

Joe Cornish Yosemite National ParkJoe Cornish South Stack North WalesJoe Cornish Hawnby

So for a man who loves the great outdoors and spends the majority of his time capturing it – what equipment does he use?

While by his own admission, Joe is ‘not great with technology’, he has fully embraced it where his choice of camera is concerned. Recognised as a lifetime devotee of traditional large format film cameras, these days Joe’s ‘go to’ camera is the Sony A7rII and he has nothing but high praise for the lightweight compact system. Its predecessor, the original A7r – Joe’s first Sony camera – still holds a place in his heart too, and remains a trusted back-up.

By placing a 35mm full-frame CMOS sensor into a mirrorless compact system camera, Sony created not one but two world firsts with the A7 and the A7r.

‘I recall the day I heard the fateful declaration, ‘from today, film is dead’ – uttered by a wedding photographer at a meeting for professional photographers in the mid-1990s – as if it were yesterday.

‘The initial response to this news was to totally refute it and concentrate on 5x4inch film. It was clear digital was coming, but I was reluctant to follow the mainstream and felt that adopting large format film was a way to be different, even if I was ‘going back to the future’. Besides, most of my heroes in landscape photography both past and present, had mostly used large format equipment. But in the late 2000s I gradually let go of my beloved analogue film cameras and started to use digital,’ says Joe.

Joe Cornish Woolpacks Kinder ScoutJoe Cornish Woolpacks Kinder Scout Morning

The once reluctant man has however fully embraced the digital format.

Joe firmly believes the best camera is the one you have with you. And yes, that may well be a mobile phone.

‘One highlight has been the arrival of the Sony A7R and subsequently, the A7R II. Both are light and small, with superb resolution (42megapixels in the A7rII) and work with both terrific Zeiss-for-Sony lenses as well as my older legacy optics via adapters.

‘The A7R II has excellent and easy to use colour characteristics ‘straight out of the box’. In many ways it has put a lot of the fun back into photography for me. I have written an article on the original A7R, describing it as the smallest, lightest technical view camera in the world (even if that was not Sony’s intention) thanks to the availability of tilt and shift adapters.’

‘I can now climb a mountain without a mountainous load and still produce technically high quality pictures, so it works brilliantly in my world.’

Joe Cornish Yosemite National ParkJoe Cornish Yosemite National Park

Such is his commitment to the mirrorless system, Joe has now become a Sony Global Image Ambassador.

‘Sony approached me just as I was looking at the A7R so I guess it was meant to be! However there is no way I would have adopted the camera itself unless it really worked for, and excited me. I really like the way they work – light, easy to carry, great colour and resolution, and most importantly, it all works easily and reliably.

‘The ability to use legacy lenses was absolutely crucial. I do use several Sony and Zeiss lenses and they are great, but the ability to use other optics is a huge part of the appeal and gives it an edge over conventional DSLR systems.

‘Although I do still use other cameras for specialist applications, the A7R II is my Go-To camera, the great all-rounder ’ says Joe. High praise indeed for a man who loves film!

Joe Cornish Strath FarrarJoe Cornish Yosemite National Park

So what does the future hold for Joe?

‘While still busy doing my own work, leading workshops is increasingly part of my life. For many years I didn’t feel qualified to lead groups. But experience has brought confidence, and I love doing them now, and have learned a great deal in the process, about photography and people. It’s a privilege and pleasure to be involved in guiding, teaching and sharing knowledge and experiences: I consider photography from more than just a selfish point of view.

‘Leading workshops has encouraged me to think about the act of picture-making differently and I am looking forward to doing more of that.’

‘It’s exciting to see how Sony are developing the system into the future, especially the new G Master lens range, because the lens is still the most important link in the imaging chain. But the traditionalist in me also says film is not dead. There is no film/digital divide, only the joy of photography.’

 

www.joecornishgallery.com

This month saw Fujifilm celebrate 5 years of Fuji X Series – their flagship compact system camera range.

Paul Edmondson, Director at Wilkinson Cameras was invited to Japan to join the celebrations and attend the launch of the much-anticipated Fujifilm X-Pro2. We also spoke to Paul to find out about his role within the business & 23 years with Wilki – as well as his report on the trip and the new kit!!

Warning: this feature contains details of gorgeous new cameras, Japanese hospitality & may create much travel envy…

PME-HS‘Before I’d even left school, my career in photo retail had already begun, with a part time job in the Dixons store in Burnley,’ said Paul Edmondson.

‘As soon as I left school, I went straight into a full time retail position – and joined Dixons. I was there for a year when I decided I wanted to concentrate on just selling photographic products. I spent a further seven years working in the independent photographic retail sector before I joined the Wilkinson Cameras team as manager of the Blackburn store. Ten months after joining the business, I was asked to manage the flagship store in Preston – staying there for a good number of years before becoming area manager. I then moved to work along David Parkinson (Wilki MD) at our head office, which is where I am today. I became a Director of the company in 2014. I assist with the buying along with many other roles.

‘Being invited to Japan was really exciting (especially with the product launches planned) and certainly a lovely break from the awful weather in the North of England in January!’

 

 

Destination Tokyo

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‘It was a very wet Tuesday night on the platform of Wigan North Western Station, where my long Journey to Japan was to begin. Armed with my X-T10 & 18-55 I was off half way around the world with the team from Fujifilm, fellow retailers and key photo journalists, to attend the Fujifilm 5 year anniversary celebrations in Tokyo.

‘The celebration marks a change in the direction that Fuji had to take due to the rapid decline in sales of compact digital cameras. Back in 2011 Fujifilm introduced the X100 premium compact camera and then later in 2013 the X-Pro1 was launched along with several lenses. An excellent range of small high quality lenses soon followed which paved the way for more models such as the X-E1 and X-T1.

‘So after 5 years Fujifilm was to celebrate its success by launching not one, but five, new products – including the long awaited X-Pro2.

‘As the snow capped Mount Fuji scrolled past the aircraft window I knew it wouldn’t be long before we landed at Haneda international airport and after checking in at the New Otani Hotel, we soon left to visit the Skytree Tower. Standing at 634 metres tall the tower hosts a 360 degree viewing platform giving spectacular views of Tokyo. The elevator took just 50 seconds to take us up the observation deck and the weather couldn’t have been better – clear sunny conditions made for some great pictures.

‘We then made a short journey by taxi to visit an old Japanese temple. We walked through the Kaminarimon Gate where we were greeted by a market. There was a vast array of market stalls selling a variety of Japanese food, gifts and touristy type products. The X-T10 was great in this environment, small and unobtrusive, it easily allowed me to get some shots of the local market traders.

‘On the first evening the jet lag was kicking in, but we still managed to enjoy dinner in a traditional Japanese restaurant. After removing our shoes, our dinner was cooked in front of us by ladies in traditional Japanese outfits. The cuisine is called Shabu Shabu and is very thin slices of marbled beef cooked in a broth. The beef only takes 5 seconds to cook and is then served in a little bowl along with rice and soy sauce. Heads were really dropping at this stage, so not too many food blogging pictures!!!

Friday the 14th January: Launch Day

4‘We arrived at midtown Tokyo around 1.00pm for the launch of 5 new products from Fuji. The presentation would be delivered simultaneously to 400 people from all over the world.

‘At 13.30 prompt the conference began. The Senior Vice President of Fujifilm Corporation Mr Toru Takahashi explained why they had to change direction and then went on to thank the photographers and the retailers for all their support in making this new system a success.

‘He also went on to say how Fuji helped millions of families restore their images which were damaged in the tsunami, which was quite a moving moment.

‘Then for the new products! Toshi Iieda, Fuji’s Sales & Marketing General Manager went through the new products and features:

X-Pro 2 was first, followed by X-E2s, X70, XF100-400 and the EF X500 Flash. Toshi invited on to the stage Fuji X-Photographers David Alan Harvey and Jeff Carter to discuss their own photography and what they liked about the new X-Pro2.

‘Toshi revealed some huge images suspended from the ceiling that had been taken on the X-Pro2 and we then went to view many more images taken on the new camera. The gallery was stunning; attention to detail was 1st class. On route to the gallery we visited the Fuji museum, where you could go back in time to see many of their earlier cameras, again the content was superb.’

Saturday 15th January: Getting hands on with the X-Pro2 in Kyoto

‘We took the Shinkansan Super Express – better known as the bullet train – to Kyoto. This was an amazing journey with top speeds of over 280kph! Once in Kyoto we received our X-Pro2 equipped with the XF 18-55 lens, complete with a 32 GB storage card.

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‘Within ten minutes of checking into our hotel, we were then on a bus to Kinkaku (The Golden Temple). A beautiful location with the Temple situated in the middle of a lake, the lighting was perfect. Late afternoon sunshine broke through the clouds and illuminated the Temple itself. This was a great opportunity to try some of the various film modes on the camera. Most of my shots were taken using the Velvia film mode, however I shot some using the classic chrome setting and was amazed at just how much the effect resembles a certain type of slide film!

‘As the sun dipped it’s head and the temperature dropped we headed back towards the centre of Kyoto, but not before more photography – we were off to another market, street photography here we come!

‘As we entered into the market there was a distinct smell of fish. There were hundreds of stalls selling fish, cooking fish, there were fish swimming in buckets and you could even buy squid on a lollipop stick, if it involved fish they were doing it! The crowds were fantastic and this added to the atmosphere. As the hot air from the stoves hit the cold air, steam rose from the stalls creating fantastic opportunities for some great photography.

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‘I really enjoyed using the X-Pro2 camera in this environment; unobtrusive and small it allowed me to capture images without anyone knowing I was there. I’ve never done this type of photography before, but it was really fun. I used the black and white mode here and it brought back fond memories of when I used to print my own black and white pictures. These film modes can really enhance the look of a picture.

‘Dinner that night was at a very traditional Japanese restaurant – no guesses what was for dinner tonight? You got it! FISH. With the smell of the market embedded in my nostrils it made the food tricky to eat. Let’s just say I left feeling rather hungry!

‘The next morning we set off to visit Nara Park in south-central Honshu – where the deer roam freely – if you purchase some of the biscuits from one of the stalls, the deer will bow, in order to receive a treat. Situated at the park is the Todai-Ji Temple, Great Buddha Hall. This is quite simply photographic paradise – so picturesque and with many different lighting conditions to really put the X-Pro2 through its paces.

‘We also visited another area of the park where we visited a shrine at Kasuga Taisha. All the paths leading up to and around the shrine had lanterns made from stone, which are lit up in the evening. Some of the lanterns had vivid green moss growing on the top of them. The images I took here really show just how well the Fuji lenses perform.

‘Then it was back on to the bus for our Journey back to Kyoto Station for our onward journey back to Tokyo. I can’t believe how big the railway stations are in Japan, they are enormous, full of shops and restaurants. Our train, as you can imagine, arrived bang on time and we were soon speeding towards Tokyo.

‘After a quick shower to get that fishy smell out of my head once and for all, dinner tonight was on the top floor of our hotel. The restaurant had a 360 degree view and as we were seated I realised that the whole restaurant rotated delivering stunning views of Tokyo by night. I had a wonderful meal that night which finished off a truly brilliant trip and an experience I won’t forget. Sadly we had to hand back the cameras, but I did get to keep the SD card – which has the most important bit – the images and memories!

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‘It was another early start the following morning as we set off to the airport for our flight back to London. At the hotel reception we were greeted by six inches of snow! We had been told we might see snow and sure enough we did! In true Japanese style the taxis arrived as normal and whisked us off to the airport without any delays.

‘If I had to say what made the trip to Japan memorable – I would have to say the Japanese people and their culture, it’s amazing! And of course, the new cameras & lens – huge thanks to Fujifilm for an amazing trip.’

JonathanChritchleyWe’ve often heard the phrase ‘less is more’, and when you’re looking at the cream of the crop of minimal landscapes, there’s only one name to check out: Jonathan Chritchley.

One of our fantastic professional photographer speakers at this year’sDigital Splash in October, we caught up with Jonathan in between his extensive travels, to find out the secrets to his success and what draws him to the ocean for the making his signature images.

You’ve risen to ‘fame’ rapidly in recent years – where many have been struggling to break through for decades. How did you get into photography/what did you do before? What’s the secret to success?

I had been taking photographs for a long time, starting in the film and darkroom days, shooting black and white film and developing them in the kitchen of my flat. I needed to earn a living and was offered a job with a surf company, initially driving a van around selling t shirts and surfboards, then as the brand grew I ended up running the French office. I learned a lot in this time about brands, marketing, advertising, the power of an image – and when I decided to work for myself as a photographer these skills proved invaluable.

I treated myself as a brand, finding my style, shooting what I loved and not venturing ‘off-brand’ too much so as to keep the style strong and coherent. Luckily there were others who liked what I was doing and within a year or two I started to get a bit of a name, which was very pleasing.

Ocean related images form a large part of your portfolio – what draws you the ocean so much?

The ocean and my relationship with it, came way before photography. When I was 12 I decided I was going to go into the Royal Navy and train at Dartmouth. Life got in the way of the plans and I ended up doing a variety of water based jobs, mostly lifeguarding, that sort of thing.

When I wanted to really get into photography it seemed entirely logical that it should be water that I follow. I always believe you should shoot what you feel most comfortable with. Those photographers who follow their passions are often the most successful. The sea has always been a place of solace, a place to get strength, a place to feel at once humble and empowered. It’s a part of me and I don’t see that ever changing!

_JC10180-web Willow and Fish, Fir Lake, Guilin, China JC18467-web

Click on image to see full size.

You have a very distinctive style – what have been your influences in achieving this?

I looked at a lot of books of different photographers over the years, and certain images and styles stood out for me. The stunning early sailing photography of Beken of Cowes and the Rosenthals of the USA was an influence, as was the work of Bill Schwab and Michael Kenna. In addition, there are influences outside photography too – the film director and cinematographer Luc Besson stunned me with his use of space – and of course William Turner’s paintings – his skies and light – still reduce me to near tears. I think you take a bit from every source and add your own ideas and then stay true, just pushing the boundaries from time to time, and that’s what creates a style.

Some of your images are truly minimalist – what draws you to this style?

I like simplicity, space, and of course light. It depends on my mood and the location but I love to push the simplicity to extremes and basically create space with an extra element, whether it be a sail, a pier or whatever. I feel small when at the coast – small and vulnerable – and I like to emphasise that feeling by creating space within my photographs.

Your sailing images remain some of your most iconic and popular – what’s next on this front?

If I told you I’d have to kill you….but seriously I have a few things planned including working with sailing vessels around the world – the shapes, forms and colours are so varied and I like to document this.

The feedback on your training courses and tours is also phenomenal – what makes a good photography trip?

I started Ocean Capture 8 years ago with the intention of providing high quality photography tours and workshops to the best water locations worldwide. Over the years this has grown and developed enormously, and today we visit over 15 different countries and run tours with such great fine art names as Michale Levin and Leeming and Paterson.

I still run many of the trips myself and am very proud of the 85% rebooking rate we have. I always try and offer the client more than they expect photographically, but also very importantly as regards the experience. We never take anything for granted, paying close attention to the accommodation, the safety aspect, the food and the fun. It seems to be a formula that works and I couldn’t be happier.

Zen Jetty, Les Landes, France MCF3162-web

Click on image to see full size.

We loved in your biog where is says, ‘In today’s hyperactive, overpopulated world, our minds are never at peace. We constantly run from one thing to the next, rarely reflecting on our lives, on our dreams, or on what we really want or need. The mind is like water; only able to reflect when it is perfectly still.’ With such successful business how to you find time to reflect?

This was written by Pierre-Yves Cousteau, son of Jacques Cousteau, as a forward to my first book, and I loved it so much I asked him if I could use it on the website. The very process of my photography – being in these wonderful locations, feeling the wind, the spray of the ocean – is such that it allows time for reflection.

It isn’t a burden, having the business and trying to keep it successful – it is an absolute pleasure – it is my passion, my hobby, and a big part of my life and the lives of my family. So taking the helm and steering us away from occasional troubled water is second nature. It’s just what I do.

Being named in the Sunday Times top 100 Photographers of All Time must be a huge honour – how do you feel about that?

Yes it was amazing. It started with Professional Photographer Magazine’s Top 100 Photography Heroes and this was then picked up by the Sunday Times. I resisted the urge to include it in my email signature, but it was close! But seriously, yes the whole thing is very humbling and of course a real honour.

Silver – your first book – is, excuse the cliché – a work of art with fabulous reviews. Was that a fulfilling project for you? Could there be another book on the horizon?

Thank you! It was fulfilling, terrifying, frustrating, wonderful and awful. And yes I’d do it again. Like a shot. I’m going to leave it a year or two but have some ideas for the next one. And the next one!

One photographer dead or alive you’d like to meet/invite to dinner?

I had the honour last year of working with three photographers whose work I had admired for years, and each representing the 3 different aspects of my photography. Firstly, Michael Levin, whose minimalist work has always fascinated me. I ran a workshop with him in France and it was great to sit down at a table with him and talk through his experiences, his ideas and vision. Secondly I spent a day, also in France, with the great equine photographer Tony Stromberg, shooting, drinking wine and eating good food. And three days later I was on a fast speedboat off the coast of St Tropez shooting classic sailing yachts with the Rolex Yacht Photographer Carlo Borlenghi. Working with Carolo was amazing – I learned so much, as I did from the other two. Working with your peers is a fabulous way to grow and each of these experiences proved to me that I still have so much to learn!

But if I had to choose one to meet, I’d choose the wonderful sailing photographer Maurice Rosenfeld. He was quite a difficult man I believe, but his work ethic and courage has inspired me so much over the years.

One tip for people just starting out in photography?

Photography isn’t about the camera, or even the photograph. It’s entirely about the experience that the photograph captures. Enjoy this experience, shoot what you love, embrace every second, only listen to the advice of photographers who are better than you and never stop improving.

What else is in your kit bag?

Nikon D800 bodies, battery pack, Nikon 24-70 F2.8, 70-200 F2.8, 80-400, Zeiss 21mm, Zeiss 50mm. Lee Filters system.

Fishing Hut, Charente Maritime, France 2011Jonathan will be giving two talks at Digital Splash 2016, which now takes place in the city of Liverpool across an entire weekend! For full details & to book tickets visitwww.digitalsplash.tv

Or you can join Jonathan on social media:

Facebook:  Jonathan Chritchley Photography

www.jonathanchritchley.com

To find out more about Jonathan’s exciting photography workshops & experiences visit: www.oceancapture.com

It’s the 5th anniversary of the Fujifilm X-series and what better way to celebrate than by welcoming along the brand new Fujifilm X-Pro2.

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We were lucky enough to get a sneak preview of a sample model. It’s also available to pre-order for £1349.00, with stocks due in early February. All pre-orders are eligible to claim a free Limited Edition Globe Trotter Leather Strap from Fujifilm.

The headliners:

  • x-pro2New X-Trans™* CMOS III sensor & X Processor Pro
  • New Advanced Hybrid Multi Viewfinder
  • New 1/8000 sec. Mechanical Shutter
  • New Film Simulation “ACROS”
  • New 7×7 Phase Detection AF Area
  • New Compressed RAW file format
  • Weather resistant structure

 

 

XPro2-IH-front-close

Build wise, it looks very much like the X-Pro1, with little change in the overall design. Noticeable changes are the button layout on the back, and inclusion of a new toggle navigation button, a nifty new dual function dial on the top plate, and a larger optical viewfinder.

For X-Pro1 users, the X-Pro2 will be satisfyingly familiar, with that same quality build and rangefinder styling as its predecessor. We were quite surprised by how little it had changed, but we appreciate that no changes have been made for changes sake.

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On the inside, it’s a completely different story. A brand new sensor, boasting the highest ever pixel count for a Fujifilm X-series camera, the 24.3MP X-trans CMOS III APS-C promises highly detailed images thanks to removal of the Optical Low Pass Filter. Combined with a new processor, the X-Processor Pro engine, and phase detection AF over a larger area of the sensor, the X-Pro2 promises not only highly detailed images, but fast Auto Focus and fast processing; perfect for shooting moving subjects.

XPro2-EVF Xpro2-OVFEVF

One of the best features of the X-Pro1 was the hybrid viewfinder and the X-Pro2 ensures this legacy is not only continued, but improved. The hybrid viewfinder combines an optical viewfinder with an electronic rangefinder and viewfinder. A quick flick of the lever beside the viewfinder allows you to flick between optical, EVF and electronic rangefinder.

The overlay of information over the optical viewfinder image is crisp and clear and the frame guideline and magnification changes automatically dependant on which lens you are using. Of course, the added advantage of a true optical viewfinder, is not only the ability to truly see what you are shooting, rather than an electronic image of it, but also there is no delay, however slight it may be with modern EVF’s.

So why would you even need an EVF? With a simple flick to EVF mode, you can see the end result of your chosen settings before you take the shot. Depth of field, exposure, film simulation modes all come to life so you can see what your final shot will look like without having to check the LCD screen after each shot.

The Electronic Rangefinder, mode displays a small EVF image over the optical image, which allows you to zoom in on an area to check various settings, focus, etc. in real time even when using the optical viewfinder. We were very impressed with the results and it was a nice combination of OVF meets EVF.

XPro2-AFpoints Xpro2-splitscreenfocus

Focussing is improved on the X-Pro2, with the number of selectable focus points now at 77 (increased from 49) and around 40% of the imaging area is covered by fast, phase-detection AF pixels, ideal for fast moving subjects.

The new joystick button aka the Focus Lever, can move in 8 directions for super quick area selection. It’s really quick and easy to change with just a couple of thumb flicks. It can also be used to change the selected enlarged area when using MF (Manual Focus) assist mode. MF assist also has a new Digital Split Image mode – it wouldn’t be a Fujifilm X series camera without a retro touch!

XPro2-IH-dualbutton

 

Another new feature is the dual-function ISO dial. Where the dial was previously a simple shutter speed control, the dual control dial allows quick ISO adjustment without adding clutter to the top of the camera and gives quick, easily visible ISO access and information. You simply lift the ring up and twist to control ISO or use as normal for shutter speed. It’s really easy to use and a nice addition to the X-Pro2.

xpro2-IH-dualcardFor more control, with minimal clutter, a new front command dial has been added to the front of the camera. In the menu system, a new “My Menu” allows you to build your own quick access menu of frequently used items for even more customised control.

Build-wise, the X-Pro2 body has that great sturdy feel of the X-Pro1 and both are built on magnesium alloy chassis. The grip has had minor cosmetic changes, but our testers preferred the new grip to the old one; it sits nicely in your hand. X-Pro1 users will know this isn’t a one of the lightest compact system cameras, but it is well balanced and feels robust. The dials are made from aluminium with knurled sides from grip, and are smooth to operate whilst satisfyingly mechanical as you click between settings.

The biggest change to the build, is that the X-Pro2 is dust-proof, splash-proof and freeze-proof, so now you can take it anywhere. The focal plane shutter promises to be highly durable and has a maximum speed of 1/8000 seconds. Dual SD card slots also allow you to shoot for longer or use one as a backup card, or sort jpg and RAW files onto separate cards, which will definitely appeal to a lot of photographers. Slot 1 is compatible with UHS-II standards, so with suitable cards and the incredible speeds of the X-Pro2’s AF and processing systems, you won’t miss a moment of action.

xpro2-film-bracketing

Extra functions include AE bracketing, ISO Sensitivity Bracketing, Film Simulation Bracketing and White Balance Bracketing. Essentially, whichever mode you are in one press of the shutter will give you three outputs per exposure. No time or crucial moments lost as you decide which settings you want to use.

xpro2-double-exposure

Multiple exposure capture is a fun creative option, allowing you to overlay to scenes in-camera. The first shot can even be displayed on the LCD screen while framing and shooting the second shot – much easier than the guesswork of multiple exposures shot on film, and much quicker and more fun than editing post production.

As other brands are heading in the 4K direction and adding a myriad of professional video features, the X-Pro2 is Full HD with a section of frame rates, from 60fps to 24fps. It’s not a serious videographer’s camera, but then the X-Pro2 is a photographer’s camera through and through and not attempting to be anything else.

Finally, Fujifilm have a new dedicated app “Fujifilm Camera Remote” offering Wi-Fi connectivity to a smart device allowing you to shoot remotely, but also change settings and adjust focus with a simple touch on your smart device’s touch screen. As well as controlling the X-Pro2, you can send images across to your smart phone or tablet for easy sharing and even on-the-go editing with suitable software and geotag using your phone’s location data.

Was the Fujifilm X-Pro2 worth the wait? Most definitely. You can pre-order yours today

Other new products announced today include:

• FUJINON XF100-400mm F4.5-5.6 R LM OIS WR

• Fujifilm X70

• Fujifilm XP90

The biggest technology show of the year, CES, is well under way… and whilst we may not be living it up in Las Vegas, we will be bringing you all the latest camera and lens news. Keep checking back for the latest releases.

It’s going to be quite a year for Olympus Micro Four Thirds users, with two impressive new telephoto lenses announced from both Olympus and Panasonic. Wildlife and sports photographers looking for a slightly smaller setup or micro 4/3 users who felt they were missing some of the high quality, telephoto glass on offer to DSLR users should be very, very excited by both lenses.

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Panasonic Lumix Leica DG Vario-Elmar 100-400mm F4.0-6.3 ASPH

With sleek good looks and pro features, this compact, lightweight ultra-telephoto zoom lens is splashproof and dustproof and is a must-have for sports and wildlife photographers. Fast 240fps AF Drive, Optical Image Stabilisation, tripod mount, zoom lock and Silent Zoom to name just a few!

Silent Zoom operation and stepless aperture design also mean it is perfectly suited to video use. The high resolution, Leica optics also lend themselves nicely to Panasonic’s 4K video line up of CSC’s.

H_RS100400_k_side

Offering a 35mm equivalent focal length of 200-800mm, this is a serious telephoto lens. Excellent stabilization is therefore a must, and it incorporates Panasonic’s Power O.I.S. (Optical Image Stabilization) to remove camera shake and keep your shots crisp. An easily accessible switch on the body of the lens, means you can quickly turn this feature off when using a tripod, with the included tripod collar.

This two part mount allows quick switching between portrait and landscape modes and even ensures that Focus Limiting, Power O.I.S. and the manual focus switch buttons remain in the same convenient place.

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A 9 blade rounded diaphragm for smooth, beautiful bokeh mean even your out of focus background areas will look great. And a built in hood, means you can be sure you won’t lose it or be affected by stray sunlight.

At 171.5 x 83mm and weighing just less than 1kg, this lens is far from small for the Micro Four Thirds lens line up, but it’s a tiny for the pro specs and focal length on offer. With an RRP of £1349, this provides a lot of bang for your buck. Due March 2016.

Olympus M.ZUIKO DIGITAL ED 300mm F4 IS PRO

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Next up for Micro Four Thirds telephoto fans is the Olympus M.ZUIKO DIGITAL ED 300mm F4 IS PRO lens. This is the latest addition to Olympus’ impressive PRO lens series.

According to Olympus, this is the world’s most compact 300mm lens. With dimensions of 92.5 x 227mm and a total weight of less than 1.5kg, dust and weather proofing, this F4 prime lens is pocket sized compared to its 600mm full frame cousins. For sports and wildlife photographers looking to travel light and achieve professional results, it should prove to be very popular.

When combined with Olympus OM-D E-M5 Mark II and OM-D E-M1 models (both feature 5 axis image stabilisation), the lens offers an extremely impressive, class leading, 6 stop compensation.

We tried it out on a Panasonic Lumix G7 and the AF was very quick and Image Stabilisation beyond impressive. We were shooting indoors on a grey day, handheld and the results were perfectly sharp images. Let’s just put that into perspective… hand held with a 600mm equivalent F4 lens, in poor light… we’re wondering how much use the tripod collar will get!

This lens is small for the focal length on offer, but for micro four thirds, it’s a large piece of kit. As a four thirds user, the first thing you’ll notice is the size. It’s a serious piece of glass. Once it’s in your hand, the exceptional build quality is hard to ignore. It’s heavy enough to know that this isn’t a cheap lens, but light enough to easily carry in your kit bag and shoot handheld for long periods.

The Lumix G7 is small and light, and we weren’t totally convinced that this mammoth lens wouldn’t just pull the lens mount right off the camera! We couldn’t have been more wrong. When attached to a body, the lens is perfectly balanced in your hand.

The tripod collar switches quickly from portrait to landscape mode and the focus ring has a beautiful fluid movement for easy manual focus. Switching between manual and auto focus is quick thanks to a ring switch (focus clutch) around the barrel of the lens. Use this to flick between the high-speed AF and pre-defined focus settings. Even small hands can quickly flick a little finger and switch between modes. It has a nice solid movement and a satisfying mechanical “click” so you can be sure you’ve switched.

Oly-300mm-focus-clutch

Oly-300mm-focus-buttonsThe built-in lens hood is barely noticeable and quickly clicks into place when in use, sliding discreetly back around the barrel when you no longer need it.

A particularly nice feature is the L-Fn button, which you can customize, choosing from 27 assignable functions.

If you feel that 600mm (full frame equivalent) just isn’t enough, you can also use it with the Olympus 1.4x converter, which would give you 840mm focal length at 35mm equivalent values.

Our verdict – a must have for serious wildlife / sports / aviation photographers looking to downsize their DSLR kit. With lenses like this and the new Panasonic 100-400mm, it’s no wonder a lot of pros are switching to mirrorless.

You can pre-order the Olympus M.ZUIKO DIGITAL ED 300mm F4 IS PRO today for £2199.99. First stocks

Panasonic Lumix TZ100

TZ100_ZS100k_front

The Panasonic Lumix TZ series has been leading the way in the compact superzoom category for almost a decade. The TZ100, is a bit of a shakeup to the previous models, favouring a new, larger 1 inch sensor with a 10 x zoom.

Rather than being up against rival Sony’s HX90 superzoom, this sensor upgrade makes it more comparable to the Sony RX100 series, but the TZ100’s 10x zoom puts them several steps ahead in terms of versatility. If you’re looking for a compact travel camera without compromising sensor size, then the TZ100 is going to be a hit.

TZ100_ZS100k_hand1

The Leica optics ensure sharp images and offer an 35mm equivalent of 25-250mm, F2.8 at the widest through to F5.9 at the telephoto end. Image stabilization is in the form of electronic 5 axis IS. Combined with the larger sensor with a max ISO of 12,800 and F2.8 at the widest, low-light shooting shouldn’t prove problematic either.

The build quality feels and looks great. It’s really very small considering the sensor and lens size, measuring just 110.5 x 64.5 x 44.3 mm and weighing 312g complete with battery. The front is sleek, simple and clutter free, while the top and back controls are placed ergonomically and will be instantly familiar to existing Panasonic users.

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The built in electronic viewfinder (EVF) is small, but it certainly does the job. You won’t be buying this camera for the viewfinder, but it will be an added bonus in bright light, particularly as the LCD screen isn’t articulated like in previous models. However, the 3 inch screen is now touch sensitive, particularly useful for AF area selection, and allowing you to navigate menu systems much more quickly.

A new Panasonic model wouldn’t be complete without 4K video, and the TZ100 is no exception. You can record 4K video at 3840 x 2160 at either 25 or 30fps, and of course Full HD video is also an option. 4K video capability has also led to the inclusion of Panasonic’s 4K Photo mode, allowing you to shoot a short 4K video and pick single stills from the image. You can read more about 4K and 4K photo here.

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Another nice feature, previously found only in the Panasonic Lumix G series of CSC’s is Post Focus. This clever mode takes several pictures of a scene selecting various focus points, allowing you to choose which focus point you’d like after the image is taken.

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First stocks are due in mid-March 2015 and the RRP is £549. The various high end features, teamed with ease of use makes this camera both an ideal pocket compact for enthusiasts who want image quality and features in a small package, but also a novice user who wants to take great quality point-and-shoot pictures of family and holidays. Small, versatile and bound to be a popular choice for 2016 and beyond.

Panasonic have also refreshed their camcorder lineup, including 2 new 4K models, the VX980 and VXF990 both retailing below £800.

Tesni-WardThis month we had the pleasure of interviewing one of the UK’s newest up and coming wildlife photographers, Tesni Ward. Having set up her photography business just one year ago, Tesni’s work is already gaining a strong following worldwide.

We spoke to her to see how she juggles a growing photography business, alongside a full time job – while enduring the cold, shooting in freezing conditions!

How & when did you first become interested in photography?

When I was younger my step dad was very interested in photography, spending a lot of time composing and taking images when we went on our yearly holidays. When they gave me my first point and shoot camera, I was hooked from the start, always out to try and capture pictures of everything and anything.

What was your first camera?

I think I had a small Olympus waterproof camera, which unfortunately managed to drown in the ocean. After that I had a Panasonic Lumix, which was an outstanding point-and-shoot camera in every respect.

Tesni-sunset

What inspired you to set up your photography business?

I think something just popped into my head and made me think why not? I love photography and dream of one day being able to dedicate my time to projects and adventures across the world. I figured I couldn’t achieve my dreams if I don’t take the first steps towards it.

What have been the biggest challenges and how did you overcome them/how are you working on them?

Money and time. Photography is not a cheap pursuit, especially for the subjects I’m so eager to photograph. My full time job pays the way for the most part, but it also gives me time restrictions on how many trips I can make each year and for how long. It can be a frustrating limitation at times, however I’m being patient.

Tesni-Seal

What’s the best thing about being a photographer?

The amazing things you get to see that you otherwise wouldn’t. On my recent trip to Alaska, I was blessed to spend two full weeks in close proximity of grizzly bears in the wilderness. Spending this amount of time away from civilisation in nature is a truly unique and amazing experience. This would never have happened if I hadn’t been so passionate about photography.

What’s the toughest thing about being a photographer?

Sometimes it’s very glamorous, everything goes your way and you end up with numerous images that you’re over the moon with. In reality, these occasions are few and far between. There are some images I’ve been wanting to capture for years, with no success, but instead have memories of lying down in boggy, freezing conditions waiting for the animal to appear. Cold weather doesn’t agree with me, especially when you need to fingers to take the pictures in the first place!

Tesni-Cow

So far, which of your images are you most proud of, and why?

This is such a difficult question, for so many reasons! I guess my favourite landscape photograph so far is the Old Road at sunrise, with the mist teasing the sides.

In the Peak District it is very difficult these days to find images that haven’t been shot numerous times before, but this is one image I haven’t seen. For wildlife, I would say the Silhouetted Bear image, with water dripping from his beard. I was really chuffed with this image as it was so unexpected after a grey and miserable day. The light burst through a small opening in the clouds, just before it slipped behind the mountains.

Tesni-Road

Why the passion for wildlife?

Wildlife is so unexpected in so many ways. I love everything about nature, but when you photograph wildlife the personality of individual animals begins to shine through, the more time you spend with them. I love nothing more than trying to capture these small quirks and behaviours that make each animal as unique as you or I.

What’s next for you?

I will be having a few more small key trips in the UK in preparation for my next big trip in to the Masi Mara in Africa. I’ve dreamed of going on safari for years, long before I had ever picked up a camera, so this trip will truly be an amazing experience. I hope to bring back some amazing photos!

Tesni-Bear

What’s your ‘must have’ piece of kit for the trip & why?

You’ll always find these pieces in my wildlife camera bag!

Canon EOS 7D Mark II

EF 500mm f/4L IS II USM with Extender EF 1.4x III

Canon EF 100-400mm f/4.5-5.6L IS II USM

Benro Tripod & Gimbal head

The cropped sensor on the EOS 7D Mark II, paired with either the incredibly sharp Canon EF 500mm or the more flexible Sigma 150-600mm Sport, allows me to get more intimate and up close images of wildlife without the need to disturb or otherwise make them feel uncomfortable. I find this helps to achieve images that bring across their natural behaviours and personality. My Benro tripod, paired with the Gimbal head, works very well when it comes to handling these heavy lenses for extended periods of time.

Follow Tesni’s work and adventure’s at www.tesniward.co.uk or join her on facebookat facebook.com/Tesniphotography

Tesni-Ladybower-Plug

Did you know that you can see the Milky Way with the naked eye in certain “dark sites” in the UK? What if you want to see it up close, or look even deeper into space? For that, you’ll need a telescope.

 

Buying your first telescope isn’t as difficult as it sounds. Let our simple guide help you to start exploring the night sky. A Dark Site is an area with particularly low levels of light pollution, leaving clear, dark skies. These offer the best views for astronomers, and are usually in more rural areas. Dark Sky Discovery is a UK based site with a map of ideal stargazing locations.

When you buy your first telescope, we also recommend getting a planisphere and a simple star map or guide. These will help you to navigate the night sky and make sense of what it is that you are looking at.

Telescopes work by gathering light. A telescopes power isn’t measured by its magnification, but by the aperture, aka the diameter of the main lens or mirror. Like in photography a larger aperture, means more light. But in astronomy aperture is referred to as a measurement in millimetres or inches. Telescopes are often named in the same way. For example the Celestron Astromaster 76 EQ has a 76mm aperture.

Magnification

Magnification changes depending on which eye piece you are using with which telescope. To work out the magnification or power of an eyepiece when used with your telescope, you simply divid the focal length of the telescope by the focal length of the eyepiece. These measurements can be found in the specifications for each item.

Example: Celestron AstroMaster 76EQ comes with two eyepieces. The focal length of the telescope is 700mm. The first eyepiece focal length is 20mm. This would therefore give a magnification of 35x.The second eyepiece has a focal length of 10mm, giving a magnification of 70x.

You can buy additional eyepieces to change the magnification.

There are two main types of telescope – refractors and reflectors.

Refractor telescopes

refractor-telescope

Refractors use a lens to produce the image you see with your eye. You look through an eye piece at the end of the tube, at the focussing point of the refracted image. It’s similar to how a pair of glasses work, but on a much larger scale. They look like a stereotypical telescope, long and thin. They produce a high contrast image, but the image is dimmer than a reflector.

They require the least maintenance, and smaller models are light enough to mount on a camera tripod, making them great “grab and go” telescopes. Because of this, their ease of use and their simple, robust design, they are ideal telescopes for beginners. In dark locations a Bushnell Voyager 70x800mm Telescope will show the moon’s craters, Saturn’s rings and even some distant galaxies and even features “SkyTour” a built in voice tour of the night sky – great for beginners.

Reflector Telescopes:

reflector-scope

Reflectors use a system of mirrors to produce an image. This type of telescope tends to be shorter, but have a larger diameter. They’re therefore much more compact if space is an issue. But, they are much more delicate and if transporting from site to site, they will need “collimating” (essentially, calibrating the mirrors) before each use. Their larger aperture makes these telescopes brighter, and therefore better for viewing very distant or dimmer celestial objects.

The Bushnell NorthStar 114 x 900mm Motorised Go To Telescope is a reflector telescope with a motor drive. This allows easy tracking of stars as they move across the sky and even comes with a simple to use module which automatically locks on to one of over 20,000 celestial bodies with just the press of a button. The 114mm aperture means it offers a bright image.

Mounts

You might have noticed that all 3 Celestron models mentioned above were followed by the letters “EQ”. The letter following the model name and aperture size refers to the type of mount that comes with the telescope. To a photographer, a mount is a type of tripod. But, there are different types available:

Alt-azimuth (AZ)
A very simple mount which moves up and down and left to right. The name is a combination of “altitude” (up and down) and azimuth (left and right).

Equatorial (EQ)
An equatorial mount takes into account the movement of the earth. One of the mount’s axes is aligned parallel to the Earth’s axis and using either a small motor or a weight-driven system, the mount follows the stars as they move through the stars.

Go-to-mounts: (SLT)
A go-to-mount has a motor attached to both the altitude and azimuth (up and down, left and right) axes. The two motors are connected to an on-board computer. These can locate objects and track them using large star databases. An example of this is the Celestron NexStar 130SLT.

Astrophotography

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Did you know that you can easily connect your DSLR or CSC to most telescopes?

All you need is a T mount adapter or camera adpater and a T2 adapter. The T mount adapter attaches to your telescope, where the eye piece goes. The T2 adapter goes onto your camera lens mount and allows you to connect your camera to your telescope.

Instead of using your camera’s lens, you use the telescope as a lens – allowing you to take pictures the stars. Of course, you could also use it to take pictures of the land, but remember than many telescopes have an inverted image – so the building you are looking at may appear upside down!

Getting started:

The Philip’s Practical Astronomy Kit contains a 3-in-1 beginners guide to astronomy. It includes a planisphere and makes an ideal gift to go alongside a telescope but can also be used to identify stars with the naked eye all year round.

first-view2

An ideal gift for children is the Celestron FirstScope. The simple table top design is small and very easy to use.

All our Celestron and Bushnell telescopes feature a quick and easy setup.

Whether you are looking for a pair of binoculars or a scope, let our handy guide help you choose the perfect optic for your needs. A lot of your buying choices may come down to personal choice, such as how it feels in your hand or what purpose you have in mind, but here is an overview to help you.

swarovski-binocular

Binoculars are usually hand held devices made up of two small telescopes which allow you to view distant objects. These produce an image with a greater impression of depth, i.e. a three dimensional image, made up from two images – one from each telescope.

hawke-scope

Spotting scopes are a single telescope which really require a tripod due to their size. They are referred to as spotting scopes or field scopes to differentiate them from an astronomical telescope. Spotting scopes tend to have much larger magnifications than binoculars and much larger objective lenses.

 

Numbering

Binoculars and scopes all follow a very similar and simple numbering/naming system. i.e. RSPB 8 x 25 Rambler binoculars have a magnification of 8 and an objective lens diameter of 25mm.

Scopes are very similar, but some have variable/zoom magnifications, or allow you to choose an eyepiece with your chosen magnification. For example, the Hawke Endurance 16-48×68 Spotting Scope has a variable magnification of between 16x and 48x, and an objective lens 68mm wide.

 

Objective lens

This is the lens/lenses that you see on the front of the binocular or scope. The larger this lens, the more light can be gathered and the brighter the resulting image. The higher the magnification, the more light is required, which is why scopes use much larger lenses.

 

Magnification

How much bigger the object will appear to you when looking through the binocular/scope. Large magnifications require lots of light to achieve a clear image. The higher the magnification, the more difficult it becomes to stabilise the image. This is because any shake or movement is also magnified by that amount.

 

Brightness

Brightness refers to how much light can be gathered. For the clearest, most colourful image, both necessary when trying to identify wildlife, you want as higher a brightness as possible. You can roughly assess brightness by dividing the diameter of the objective diameter by the magnification. More expensive binoculars/scopes use precision lenses and special lens coatings to ensure more light passes through the lens and therefore increases brightness. When looking at model specifications, the higher the brightness number, the brighter the image will appear.

 

Field of View

field-of-view

 

This is the “width” you will see when looking through the optic. When tracking an object, such as a bird, a wide field of view will make following a moving object much easier. Field of view is measured in degrees, and is calculated as the width in metres or feet that you will see 1000 yards/metres away i.e. Hawke Endurance 8×42 binoculars have a field of view of 388ft / 129m, whereas Hawke Endurance 10x 42 have a field of view of 304ft / 101m.

 

Close Focus

If you also want to look at plants, dragonflies or other subjects which are nearer to you, you need to look for a model with a close focus of about 3m or less. Generally, 8x binoculars offer closer focus than 10x.

 

Lenses and lens coatings

The lenses and coatings used within the binoculars/scopes are key to the quality of the final image as every time the light passes through a lens, or is reflected off an internal prism, there is the chance of degradation. Manufacturers use a series of coatings and extremely precise optical lenses to preserve as much light as possible, resulting in a sharp and accurate image. Models with ED (Extra-low Dispersion) lenses, use special glass in the lens elements to improve colour accuracy.

 

Eye Pieces and Eye-Cups

If you wear glasses, you can usually keep these on whilst using optics of any kind, but in order to get the most from your binocular/scope, you will need to choose a design with twist-down eyecups. This is so you can wear your glasses and still achieve the same “eye relief” as non-glasses-wearers. This is simply the distance between the eyepiece lens and your eye. Too much eye relief (distance) will result in vignetting (darkening of the edge of the image) and a potentially distorted view.

dioptre

Many binoculars have a dioptre adjustment. This is to compensate for any differences between your eyes and calibrating your binocular to your eyesight will result in more accurate focussing and a better image.

Many high end scopes are sold as a separate body and interchangeable eye piece. This allows you to tailor the scope to your needs, whether the magnification, brightness, size or weight is a key factor.

 

Digiscoping

digiscoping

Digiscoping is using a digital camera (whether a compact, SLR/CSC or even smart phone) to take a picture through a scope. In the case of DSLR’s or CSC’s, the scope becomes your camera lens using a special “T Adaptor” designed to work with your brand of camera and scope.

 

Price

Generally speaking with optics, the higher the price, the more features, such waterproofing, fog proofing, ED glass, better lens coatings, more complex lens elements, higher quality body materials, precision engineering, etc.

However, there is a binocular or scope for every budget and type of activity you have in mind. We really recommend trying and comparing some models in-store to see which will suit your needs the best. Our friendly, knowledgeable staff will help you find the perfect fit.

Sigma20mmF14sideNew full frame ultra-wide angle lens from Sigma Global Vision Art range

Sigma have just officially announced their latest addition to the Sigma Global Vision Art series; the world’s first F1.4 ultra-wide angle lens for full frame DSLRs – the Sigma 20mm F1.4 DG HSM

Sigma have been creating quite a stir since the launch of their Global Vision lens ranges, split into Sport, Art and Contemporary categories. You can read more about Sigma Global Vision here. Their Art lenses have been extremely well reviewed and awarded with a number of highly recognised awards. It’s no surprise when they are designing cutting edge, high quality lenses, solving problems for photographers, all without breaking the bank.

New releases to the Art range in particular are highly anticipated, with numerous speculations as to which lens will be next (you can get in touch on Facebook or Twitter with your own speculations!) and how far Sigma will push the boundaries on their next release. It’s safe to say that they haven’t disappointed with this one! A “world first,” photographer favourite F1.4 aperture, ultra-wide angle… That’s several popular boxes ticked already.

Sigma20mmF14With a focal length of 20mm and F1.4 aperture, this new lens promises to deliver outstanding brightness whilst maintaining a shallow depth of field and beautiful bokeh. It will be an ideal lens for not only ultra-wide angle subjects including landscape and star-filled skies, but also offers outstanding low-light and indoor shooting thanks to the F1.4 aperture.

Sigma have achieved this by using a 15 elements (in 11 groups) design, incorporating a large double aspherical lens. This is quite a remarkable achievement and is the culmination of research and development of previous break-through original lenses, including the 18-35mm F1.8 DC HSM Art. The 20mm F1.4 Art uses these technologies to achieve an optical design which minimises distortion, chromatic aberration, flare, ghosting and vignetting.

We’re certain this will be a popular new addition to the Sigma Art range and we’re sure it won’t be long before we can refer to it as “the award winning Sigma 20mm F1.4.” We certainly can’t wait to get our hands on one!

Available in Nikon and Canon mounts, both to be priced at around £849.99, we expect to see this lens towards the middle of November and pre-orders will be available soon.

ColorMunki1000x350

Why Colour Manage your monitor?

Many of the customers we speak to feel like they should be using colour management tools. However, they are not always clear on what the main benefits are.

‘So what?’ you could say. ‘If I’m doing it, why does it matter whether I know what the key benefits are, so long as I have an accurate screen?’ In truth though, if we don’t fully buy into something, then it’s pretty unlikely that we’ll fully commit to doing it well and consistently – meaning we won’t actually get the best results.

We could probably summarise the answer to this question, with a quote from one of X-Rite’s Coloratti Masters, Adrian Weinbrecht:

“Would a concert pianist perform on a piano that wasn’t tuned? Would a F1 racer race in a car that wasn’t tuned? Would a serious photographer view a monitor that wasn’t calibrated?”

“Without Calibration how do you confidently know what you’re looking at? Calibration is tuning for your monitor. If you don’t calibrate you might as well shoot blindfolded. Good calibration shows you exactly what you’ve got. It’s even critical with Black and White, as calibration isn’t just about colour – it’s about all the tones from the lightest white to the darkest black.“

In talking with our customers, there are four key benefits that come from monitor calibration.

Confidence

This is a big one, and it starts from when we take our first shot. A basic white balance in the camera gives us confidence that we have an accurate image to work from. Better still, capturing the ColorChecker Passport before shooting gives us even more control across a full range of colour.

Once on screen, the ability to edit and adjust images, knowing that you are accurately seeing the slight adjustments you make, means you can feel free to edit (or not) as you feel. Monitor calibration tools such as the ColorMunki Smile, ColorMunki Display, and i1Display Pro provide easy to use and accurate ways of achieving excellent on-screen colour.

Finally, when you hit the print button, knowing that the printed image will mirror what you’re seeing on screen and the image you first shot is a great feeling. The ColorMunki Photo is a an ideal solution for achieving producing colour accurate prints.

More time to shoot

For most photographers, both professional and amateur, what they truly love is actually taking photographs; the creative process of composing and capturing a great shot. The editing process is also enjoyable, but only when it’s seamless and you’re getting the results you really want.

A quick, easy-to-use and colour accurate workflow streamlines that editing process, enabling many photographers to get back to what they love doing: taking photographs!

Saving money!

Producing great photos, whether that’s the time to shoot and edit, or the costs involved in ink and paper to print your images, can be an expensive exercise.

If you earn money from your photography, then editing time wasted because you’re not looking at the right colours on screen is time lost. Clients won’t pay for that time, and you can’t be doing another job if you’re sitting in front of a computer.

If you send an image to print, whether at home or through a lab, and it doesn’t come back the way you want it, each print can be pretty expensive. Good colour management prevents wasted time and repeated printing, saving ink and paper.

Consistency

When you’re putting your name to a photo, whether on screen or in print, the standards you set for that work come across. For many photographers, a colour managed workflow is about ensuring that whether it’s a piece of work produced at the beginning of the month or the end, the quality of the final result is the same. The regular calibration of your workflow ensures that the ‘drift’, which our devices suffer from, doesn’t impact our results.

Summary

By controlling the colour in our workflow, we remove the variables. We allow ourselves to focus on the craft of our photography, and we give ourselves confidence.

Why colour manage? Because colour management is like tuning for our workflow, and no one wants to be singing out of tune.

X-Rite’s range of colour management tools provide photographers with an ideal combination of unrivalled accuracy and ease of use.

Sigma-lab3rd party doesn’t mean 2nd rate, especially where Sigma are concerned. This multiple award-winning brand is the world’s leading independent lens designer and even offers a 3 year warranty on all UK lenses.

All Sigma’s lenses are made to the highest standards in Japan in their own factory. In fact, they are one of the few manufacturers whose products are solely made in Japan and they never outsource to cut cost. Even their moulds and parts, with the odd unavoidable exception, are made in Japan and production takes place under a single integrated production system. This is just one way that they maintain consistently high quality products.

On top of this every single lens in the Sigma Global Vision line up – far beyond industry standards – is analysed by ultra-high definition sensors and approved before it can leave the factory.

Why you should consider a Sigma Lens

Lenses are one of the most important parts of your kit. First of all, you can replace your camera but still use your lenses going forward. Secondly, as the fundamental element of photography is light, how the light is affected as it passes through the lens to the sensor is a crucial factor to consider, with regards to the final image.

Lenses increase in price for a variety of reasons. In theory, the amount you pay for a lens should reflect its optical performance. How important the optical performance is to you will depend on your budget and the type of photography you do.

When comparing lenses within a single brand, the more expensive the lens, then generally, the better it will be. As an example: for a Canon L series pro lens compared to an entry level lens, you aren’t paying hundreds of pounds extra for a red band and the letter “L”. You are paying for a better build, better quality elements, higher precision optics and coatings all designed to capture the light with as little deterioration as possible. This lens hierarchy is present in every brand of lenses, whether Canon, Nikon, etc. or a 3rd party manufacturer such as Sigma.

Choosing whether a lens made by Sigma, Canon or Nikon is the “best” lens can’t be determined by price or brand name. Some Sigma lenses actually out-perform leading brands’ own, some offer low-cost alternatives and some simply cannot be compared, because Nikon, Canon, etc. haven’t made a similar lens. Examples of this are the Sigma DG 150-600MM F5/6.3 “S” OS HSM, a super telephoto lens covering a wide range of focal lengths in one lens, which simply doesn’t exist in Canon or Nikon. Or, the extremely high quality prime lens, the Sigma 50mm F1.4 DG HSM | A.

Sigma produce lenses which find solutions to a problem. Whether the problem is budget or demand for a lens that currently doesn’t exist. These solutions are an excellent reason to look beyond your DSLR brand and consider investing in a Sigma lens.

Sigma-Global-VisionSigma Global Vision

In 2012 Sigma announced Sigma Global Vision, aimed at simplifying the lens selection process for photographers and in turn enabling them to get the most out of their DSLR.

All the latest lenses fall into 3 classes:

contemporary

The Contemporary line strikes a balance between optical performance, convenience and affordability.

These lenses incorporate the very latest technology and keep size and weight to a minimum, without compromising their advanced optical performance or utility. High-performance, versatile, compact and superbly portable, these lenses will be largely comprised of standard zooms, telephoto zooms and high-magnification zooms for an array of photography, including landscape and travel photography, and casual portraiture.

Examples:

ZW7B7438 17-70-C
           18-300mm F3.5-6.3 DC            17-70mm F2.8-4 DC Macro OS HSM

 

Art

The Art line concentrates mainly on very high quality, fast lenses from wide angle to classic focal length primes.

These lenses are developed with an emphasis on artistic touch and are designed to meet the expectations of users who value a creative, dramatic outcome. Along with landscapes, portraits, still-life, close-up and casual snaps, these lenses are perfect for the kind of photography that unleashes the inner artist. Ideal for studio photography, they offer just as much of an expressive scope when capturing architecture, starry skies, underwater shots and many other scenes. This category will be comprised of many focal lengths and designs, such as large-aperture prime lenses, wide-angle lenses, ultra wide-angle lenses, and macro and fisheye lenses.

Examples:

35mm-f1 50mmf1.4-A
           35mm F1.4 DG HSM 50mm F1.4 DG HSM

 

Sport

The Sports line is aimed at sports and wildlife photographers and includes super-tele-photo lenses designed to be used in the toughest, most challenging conditions.

With their high-level optical performance and expressive power, these lenses can capture fast-moving subjects, even at distance. This line also offers a variety of functions to aid the photographer in challenging conditions and scenarios. Besides sports photography, the lenses are also ideal for nature shots featuring birds, wild animals and other creatures, and for the capture of aircraft, trains, race cars and more. The Sports line is also unique in that users can adjust the lenses’ focus speeds and the focus limiters via a button on the lens. The Sports category will be comprised of telephoto lenses, telephoto zoom lenses, super telephoto lenses, super telephoto zoom lenses, and more.

Examples:

 

120-300-C 150-600-s
          120-300mm F2.8 GD OS HSM            150-600mm F5-6.3 DG OS HSM

Understanding Sigma Lenses

Every manufacturer has different names and abbreviations for the lens coatings, image stabilisation systems and sensor size. Here is a key to the Sigma system:

DG – Optimised for digital cameras, featuring the latest multi-layered lens coatings for the best light capture

DC – Lenses designed for APS-C or Crop Sensor lenses. In Nikon this would be a DX lens, and in Canon an EF-S lens. Not compatible with full frame cameras, as the image circle is too small. Remember to take into account crop factors when thinking about the focal length. (1.5 x for Nikon / 1.6x for Canon) i.e. Sigma DC 18-300mm F3.5/6.3 Macro OS HSM | C would give the equivalent focal lengths of 27- 450mm on a Nikon APS-C DSLR (i.e. D3200, D7100) and 29-480mm on a Canon APS-C DSLR (i.e. EOS 100D, EOS 750D).

HSM – Hyper Sonic Motor. Used in Sigma’s newer lenses this auto-focus motor is virtually silent and very quick. Only available in Canon and Nikon fit lenses. Similar to Canon’s USM feature, and Nikon’s AF-S. As with Nikon’s own AF-S system, certain older models cannot be used with HSM lenses. Please check that your Nikon DSLR is compatible or you will lose Auto Focus functionality with these lenses.

OS – Optical Stabilizer (sic.) – built-in stabilisation feature allowing hand held shooting with shutter speeds up to 4 stops faster. Equivalent to Canon IS and Nikon VR.

WR – Water Resistant – refers to Sigma filters with the WR rating. These filters feature the new nano coating, also seen on some of the Sigma Global Vision Sports lenses, providing water, oil and dust repellence.

DN – DN lenses are lenses for mirrorless or compact system cameras. The range is currently (as of August 2015) available in Micro-four thirds for Panasonic Lumix G and Olympus PEN and OM-D sand Sony E-mount for Sony’s mirrorless Alpha range (formerly known as NEX).

Macro

– a lens with close focus ability and a large reproduction ratio. Sigma offers more lenses with macro capabilities than any other lens or camera maker.

C – Contemporary

A – Art

S – Sport

Example: 18-300mm F3.5-6.3 DC Macro OS HSM | C Nikon Fit

This is therefore a Sigma Global Vision Contemporary line lens designed for APS-C, offering an equivalent focal length of 27-450mm on a Nikon DSLR, with macro capabilities, image stabilisation and a fast, silent autofocus motor.

The latest range of Panasonic Lumix cameras all incorporate Panasonic’s 4K Photo Mode as well as 4K video. Models with 4K capability include the CM1 smartphone camera, FZ1000, LX100 and GH4 as well as the brand new Lumix G7 and the Lumix GX8.

What is 4K, anyway?

4K has definitely been the buzzword of the previous 12 months, not only in the photographic and imaging world, but also in the Audio-Visual world with the introduction of 4K TV’s and with BT TV, Sky and Netflix all planning to begin to broadcast 4K / Ultra HD footage.

4K (Confusingly also known as UHD or Ultra High Definition for reasons we won’t bore you with – but for the curious, here is a nice article explaining why) is essentially 4 times the resolution of Full HD (High Definition) at a staggering 3840 x 2160 pixels, or the equivalent of a 8.3MP image per frame. This means that video taken on a 4K device contains 4 times as much information as a normal HD video and therefore 4 times as much detail. If you think that HD movies look impressive compared to their standard definition counterparts, then imagine the detail you’ll see with 4K.

4K-compared-web
Original image by Matthew Lally, Warrington Store Manager

Above you can see a comparison of resolutions for standard definition, High Definition and 4K. You should be able to see a noticeable difference betweeb standard (on the left) and HD (centre).

From a film or television point of view, you may question whether the difference between HD (centre) and 4K (right) is noticeable enough to get excited about? Whilst is it true that the human eye can only see so much detail, especially depending on how far away you are from the image you are viewing, there is still 4 times as much detail stored within each frame. In photography terms, it is the difference between seeing a 2MP picture versus the same image at 8MP. You should be able to see that the 4K image, on the right above,  has smoother clouds, as there are more pixels making up the image.

This image below clearly shows how the resolutions compare between HD, Full HD and 4K.

4K-resolutions

What has all this got to do with photography?

Imagine you shot a video and saw the potential for a great still image within it. Pulling a single frame from an HD video gives an approximate image size of 2MP, or a printable size of about A6. Which isn’t really worth the time it takes to go through finding that perfect moment, frame by frame.

But, 4K is 4 times the resolution of HD video. Apart from the growing demand for high quality video as a result of more and more people shooting video, when footage is made up of individual 8.3MP frames and up to 30 frames a second, it means that there is potential to pull single frames out of the video with a high quality, printable size of A4. Welcome to 4K Photo.

Up to 30 frames per second for an A4 sized print isn’t bad at all, when you consider a fast DSLR will shoot around 7 frames per second. Don’t worry… we’re not suggesting that wildlife photographers and sports photographers should throw away their DSLR’s and start shooting 4K video! There’s obviously lots of other factors to take into account, but for the everyday photographer it’s certainly a very useful tool.

Panasonic 4K Photo Mode

Panasonic know that not everyone wants, or has the skills or computer power to pull out single frames from a video to find the perfect moment. Besides, at up to 30 frames per second… or 30 photo quality images a second, who has the time? That’s why they invented 4K Photo Mode. 4K Photo Mode makes picking out the perfect moment quick and easy.

4K Photo mode is currently available on Lumix GH4, Lumix GX8, Lumix G7, Lumix FZ1000, Lumix LX100 and the Lumix CM1smartphone camera. If you own a GH4 or FZ1000 and are thinking, “Wait… I don’t have 4K Photo…” then that’s because it was introduced to those models as a firmware upgrade. You can find the relevant firmware upgrade for the Lumix FZ1000 here, and for the Lumix GH4 here, along with relevant instructions.

Using 4K photo mode also means that you might not miss a crucial moment, like the perfect picture of someone blowing out the candles on a birthday cake, the splash as someone jumps into a pool, or a bird in mid-flight; even the perfect pose on a photo shoot.

With Panasonic’s 4K Photo, you shoot a 30 second 4K video clip and then you can easily pull single frames out either in-camera or in post-production software such as adobe Lightroom, simply by browsing through the frames until you find the perfect moment, or moments. You can then choose to save that as a single jpeg image.

Another reason for 4K Photo having a separate mode is that it offers up different aspect ratios, which aren’t available in the movie recording mode, such as 4:3, 3:2, or 1:1, rather than the native 4K aspect ratio 16:9 (wide screen).

Of course, videographers can still take individual frames from a 4K video shot as a movie, rather than in 4K photo mode, but the choice of aspect ratios and the smaller clip lengths of the dedicated 4K Photo mode are appealing to stills photographers and less experienced users.

Is 4K Photo cheating?

The coming about of 4K Photo has sparked a debate as to whether it’s “cheating.” Obviously, a lot of skill, practice and patience goes into taking a sports, wildlife or moving object picture and we’re not debating that. But, is using a 7 fps camera cheating? Or taking 100 images to narrow down to 10? Is autofocus cheating?

4K Photo is simply another evolution in digital photography and a tool that we can choose to use to help us get the most from our photgraphy.  In Damien Demolder’s Lumix G Street Photography Workshops he even talks of the benefits of using 4K Photo mode to  achieve certain shots, that he may otherwise have been unable to obtain.

Whether you use all the tools available to you as a photographer is up to you and it will depend on the type of photography you focus on, but we’ll certainly be using 4K Photo!

It’s all about the Decisive Moments & Details, according to Damien Demolder.

Damien Demolder headshot 6x8inPanasonic Ambassador, Damien Demolder. Damien tells us what street means to him and shares a few tips to help you improve, or get started in, your street photography.

But street photography to some is still a mystery – why do we do it? How do we capture a great image? Are we just watching the world go by? We caught up with Damien, to find out a bit more before we venture out!

‘Street photography for me, like most types of photography, is about capturing the atmosphere of the moment and packaging it all up into a single image so that the folks back home can get a feel for what it was like to be there at that particular time. There are the big grand shots that encompass what a place looks like, and the little tiny shots that reveal the magic details that most people completely fail to see. To do this well we need to switch out of our everyday mode, where we just exist somewhere or pass through on route, and turn on our powers of observation. We have to begin to look and to see. For most people that isn’t a natural state of being.

‘When I’m out shooting I try to blend in, to become a part of the place and not to stick out as a photographer. I like to capture a moment as it would have been had I not been there, and I try to avoid changing anything by my presence. It isn’t always possible. Great shots can be had when people are aware of what you are doing, but my basic aim is to go unnoticed. I don’t intrude and I don’t get in the way or upset people, but I like to get close – as close as you would if you were there just walking by without a camera. Obviously I don’t ask permission of my subjects as that shifts the situation away from being from natural. Occasionally someone will notice what I am doing, but they are very rarely annoyed. I’ll be friendly and open and let them see the pictures I’ve taken. I don’t set out to mock people or show them in a bad light, so I don’t feel I have to hide what I have done.

‘When we are capturing magic moments we need patience, anticipation and quick reactions. Street photography is a form of action photography – we are shooting in fluid situations where everything is changing second by second. I show my students how to spot a scene with potential, and then we analyse it, determining what we want from it and how we want it to look. Then we wait for the right things to happen. Like in fishing, sometimes the magic doesn’t happen, so then we learn to accept that and to move on.

‘One of the great things about street photography is that you can do it anywhere – you don’t have to cross the globe to find the perfect location. The busier the place, the more opportunities there are, but even quiet country villages have potential. I love to shoot in the city and as I live near London it is one of my favourite locations. Any town or city will do though. It is stimulating to shoot in places where the surroundings and the people look different, and where people behave in different ways. I’d love to spend more time in the Far East, and shoot some more in Japan. I know though that I’ll be just as excited about shooting in Liverpool. There are so many places in the UK that I still have to visit.

Damien4

‘My street work is shot while I’m testing a new camera, for fun and when I travel. I’m building a collection that I want to exhibit and use in a book. I don’t sell my work to libraries, as that’s not something I’m interested in at the moment, but the kind of pictures I take can be sold for editorial use – but not to advertise anything. I’d need a model release for that, and it isn’t part of what I do.

‘I don’t have favourite street photographers so much as favourite street pictures – everyone has lucky and off days, and not everything any one person appeals to me. Saul Leiter is an acceptation though, and I recommend him to anyone for some inspiration.

‘I like to use small cameras that don’t stand out and which don’t advertise the fact that I’m hanging around taking pictures. Micro four thirds cameras have always been small and light, but only a few years ago they weren’t really up to producing the image quality that I like or the AF speed I need to keep up with a moving subject. Fortunately, that has changed, and I’ve been able to take advantage of their size and their massively improved performance, as well as the massive lens range of the system.

‘The cameras I use most are the Panasonic Lumix G bodies – the GH4, GX7 and GM1. I love the speed and flexibility of the touch AF system, the control layout and the fact that my whole kit can fit in the pockets of my coat. The 4K video of the GH4 is excellent too, and although I’m not yet a fully-fledged videographer (and may never be) I’m really enjoying the new opportunities that the 4K Photo mode brings with it.

‘Shooting 8MP images at 30 frames per second, that can be grabbed from the video in-camera, allows me to get pictures that are impossible in conventional stills mode. Cameras have to move on, as does my photography, and this is great step in a new direction.’

Damien3

To find out more about Damien and to see more of his work, visit: www.damiendemolder.com . Or catch up with him on social media:

Facebook: http://facebook.com/demolder

Twitter: http://twitter.com/damiendemolder

Just announced from Canon, the ME20F-SH, a professional, 35mm sensor video camera with a maximum ISO setting in excess of 4 million; which effectively means that this camera can see in the dark!

ME20F-SH-FSL

Its design is delightfully simple and will suit the modular nature of video, allowing you to add the accessories of your choice or built it into a current rig. Plus for Canon Cinema EOS users or Canon DSLR users, the EF lens mount will enable you use your existing lenses.

There’s only one downside. You’re going to have to wait until around December 2015 until you can get your hands on one! But, with an estimated US price of $30,000, the wait might give you a chance to save up – or drop some serious Christmas present hints.

Read the full specifications of the new ME20F-SH here (opens a PDF), or see below for the official press release.

Need some brand new video gear in your life before December?

760416_e53635e0d66714716bb2e1b152dcc22b

We’ll be one of the first people with the Canon EOS C300 Mark II. Exclusively at our FREE Canon Pro Video Day in Liverpool on Saturday August 8th. More information and registration here.

Official Canon Press Release below:

See the unseen; Canon launches the ME20F-SH – Full HD colour video footage in extremely low light

United Kingdom, Republic of Ireland, 30 July 2015 – Canon today announces the launch of the ME20F-SH, a professional multi-purpose video camera capable of capturing full colour images in extremely low-light environments. Boasting an industry leading unrivalled maximum ISO in excess of 4 million (+75dB), the ME20F-SH is designed to be as small as possible whilst delivering high quality professional grade Full HD footage.

Supporting image capture in situations where it previously would not have been possible, the ME20F-SH is ideal for use within specialist applications such as TV productions of nighttime wildlife, deep sea/cave exploration, astronomy and surveillance. The ability to install the camera in a semi-permanent location, with remote control operability also means that for documentary and natural history filmmakers, long term projects and events can be captured with minimum staffing. Due to the specialist nature and demand for this product, the ME20F-SH will only be available to selected partners.

First class infrared capability

Capturing video in low-light conditions often requires the use of infrared illumination, a technique that traditionally only yields footage in black and white. The ME20F-SH however, achieves impressive high-sensitivity performance enabling the capture of colour Full HD video with reduced noise, even in low-light conditions and without the need for infrared illumination.

Exceptionally high sensitivity

Designed to be used in situations where ambient light levels are extremely low, the ME20F-SH features a newly developed Full Frame 35mm with 2.26 MP CMOS sensor and a DIGIC DV4 processor. The sensor’s pixels and readout circuitry use Canon’s proprietary technologies to achieve both reduced noise and exceptionally high sensitivity, allowing you to capture subjects illuminated with less than 0.0005 lux. Similar to Canon’s Cinema EOS cameras, the ME20F-SH includes Canon Log and Wide DR settings, which enable a wide dynamic range (800%), delivering high-quality results across a variety of ambient lighting conditions, without the need for supplemental lighting.

Connectivity

The ME20F-SH offers several options with regard to connectivity to external third party devices for recording or remote viewing purposes, and is also compatible with Canon’s RC-V100¹ for full remote control over the camera.

Enabling a wide range of imaging possibilities

The new ME20F-SH employs Canon’s EF mount with Cinema Lock, as found on the Cinema EOS C500, allowing users to take advantage of the company’s extensive lineup of interchangeable lenses². By enabling operators to select the ideal lens based on their shooting or application requirements, taking into consideration such factors as angle of view and level of brightness, the multi-purpose camera facilitates a wide range of shooting possibilities.

ME20F-SH Key features:

Ultra low-light performance at ISO 4million High quality Full HD 1080p/1080i/720p output Flexible control with auto and custom settings Compatible with a wide range of EF lenses² Remote control of camera settings and built-in ND and IR cut filters possible Small and lightweight for ease of integration

¹ Along with other compatible devices
² A list of compatible lenses to be confirmed

Sara-Penwarden-1Mention the name Sara Penwarden to anyone in the photographic trade and you’ll get a smile, we almost guarantee it. The same goes for customers who drive long distances, just to shop at the Southport store, under Sara’s management.

You can also guarantee she’ll probably kill us for such a glowing review!! We’ve had to twist her arm to answer our questions this month, as Sara is a little shy of the spotlight – but what she doesn’t know about photography and customer service – simply ain’t worth knowing!

How long have you been at Wilki, any previous roles within the business before store manager at Southport? What did you do before working at Wilki – and what made you go into photographic retail?

I started as the assistant manager in the Preston store 17 years ago then went on to Blackburn as manager, and I have been here in Southport for the last 4 years.

I was always an arty person in school and loved graphic design. My grandfather passed away in 1984 and I was left his camera and binoculars, I was very lucky ~ the camera was a Leica single lens reflex with some lenses. The quality of some of the pictures it produced was amazing and this gave me the bug. My only SLR camera use previous to this was with a Zenith, which didn’t even meter through the lens!

As soon as I left school in 1985 I applied for a job in a photographic/ hifi store in Blackpool called Whitley’s and subsequently go it. So 30 years on I am still enjoying working in the photographic retail trade and never tire of taking photographs.

Our range of customers in Southport is extremely broad, one minute we are assisting a respected professional photographer and the next we are helping a family print some pictures from their smartphone. In the words of Forrest Gump – life is like a box of chocolates, you just don’t know what you are going to get. The pleasure in the job is that our customer is happy – it does sound corny I know but it is most definitely true.

Sara-Penwarden-Blackpool
Blackpool Long Exposure – Sara’s winning image in a staff competition.

The Southport store is one of the ‘flagship’ branches of the business – as a Pro Dealer for the premium camera brands including Nikon, Canon & Leica. You cater for all experience levels. What advice do you give those wishing to learn more?

Some customers will already be aware that we offer training and informative seminars aimed at all levels. Each manager, with the help of the staff, run 2-hour workshops at their respective stores after hours – these fill up quickly.

Also, if our customers would like to continue to learn, perhaps in a particular type of photography we cater for groups in our purpose builtLearning Suite situated above our store in Liverpool. We don’t want to ‘just sell customers a box of equipment’ – the idea is they are invited to a workshop and this in turn should help them to progress and enjoy their photography – we’re with them every step of the way.

It is a great feeling when people come back into the store filled with confidence and desperate to show you their pictures.

We hear that you are leading a group of Wilki Photographers (staff) to go out and shoot more – what’s this all about?

We are trying to encourage members of the Wilki team to go out collectively, and use their own equipment – we’re currently working under the name of the Wilki Wanderers! The idea is to have an enjoyable time whilst building up a library of images, helping each other & sharing knowledge. We have some very good photographers in our midst, who are happy to pass on information and help our new team members.

We also hear that you are a big fan of Instagram – why Insta, over say FB & Twitter?

We have adopted almost all platforms as a company and there is no doubt that it works – we have lots of customers who come into store and talk about conversations or offers via our Facebook or Twitter pages.

I started an Instagram account 2 ½ years ago after a good customer persuaded me and I admit I enjoy the fun of it. He is trying to convince me to Tweet but I have my reservations! I like the fact that on IG the image is the main focus – and the square format reminds me of using an old 2 1/4 square camera but for the modern world!

I do contribute to our Wilki Instagram account (which you can follow on Instagram @wilkinsoncameras or see the images here) it makes it more interesting with a few of us on board!

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Perched Waxwing by Sara Penwarden

Outside of work, what do you like to shoot/what kit do you shoot on?

I sold my Leica SLR in 1987, why you ask, would you sell that? I wanted a 70-210 zoom and at the time it was well over a thousand pounds and since I was only earning £22.50 a week on Y.T.S needless to say I could not afford it! Now I am a Canon user and after investments over the years in their “L” lenses you tend to stick with a brand. I have a Fuji X compact and a pair of Leica binoculars in my car all the times.

I have always loved taking pictures and hate being photographed, perhaps because apart from my wedding, I have never been professionally photographed.

My favourite kind of photography is Natural History – I am happy to wait a while to get the shot. I am fascinated by animal behavior and if I cannot photograph I am happy to observe, hence my binoculars close at hand. A recent LEE Filter purchase early last year, has encouraged me get out to take seascapes and long exposures, which I have thoroughly enjoyed. Detail in close ups and quirky angles are also of interest too.

We always ask about cameras – but – what’s you’re ‘must have’ accessory?

Can I have a few?? Spare battery, cable release, tripod.

If you could spend the day with any photographer shooting alongside them or just picking their brains, who would it be?

There’s a long list, including: Jari Peltomaki, Laurie Campbell, Steve McCurry, Dorothea Lange & Elliot Erwitt to name just a few. There are also 2 customers whose work I admire greatly – they probably know who they are without mentioning names!

My favourite image – or the one I would have loved to take – is “Earthrise” shot in 1968 by an astronaut called William Anders. It is an amazing shot and never tire of seeing it.

Who would I most like to spend the day on location with? Probably Jari Peltomaki.

Of your own images, which you are most proud?

A long exposure seascape taken last year, my Mum loved it so I got it printed, mounted and framed for her. It was her Christmas present. Sadly she recently died but every time she walked passed it she said how lovely it was.

Mary's Shell at Cleveleys Beach
Mary’s Shell at Cleveleys Beach

People travel for miles to come to the Southport store, to see you and your team. What’s behind the secret to this success? (Sara blushes!!!!)

Goodness knows! We are honest and enthusiastic, polite and across the whole team have a wealth of knowledge and experience. I feel we have a genuine interest in our customers.

And finally:

As Sara is a little coy, a final message from Wilki MD David Parkinson: ‘Sara plays such a key part in the overall Wilkinson team – and we’re lucky to have her.

‘One thing that Sara hasn’t mentioned is that she was officially crowned the Sales Person Of the Year in 2014 by at the Pixel Trade Awards – a national award voted for by the whole industry & a major achievement.

‘That’s it Sara, we’re done – we’ll leave you alone now! Thanks for your continued contribution to the team!’, David.

Sigma Imaging has announced the Sigma 24-35mm F2 DG HSM A. This wide-angle, constant aperture zoom for full frame cameras is the latest in the A or “Art” Series.

Sigma2435f2

The new 24-35mm F2 DG HSM promises to do the work of 3 prime lenses; a 24mm, 28mm and 35mm. As well as it being a great wide angle lens for landscape, it should also prove to be a perfect lens for street and wedding photographers offering both low light shooting, shallow depth of field and a wide range of focal lengths without switching lenses.

The Sigma Art series is designed with a focus on sophisticated optical performance and expressive power and typically features large aperture prime lenses, ultra-wide angle lenses, macro and fisheye lenses.

No release date or pricing available yet, but we can tell you that it will be available in Nikon and Canon mounts and that we will have it available to buy or preorder as soon as we know more.

Official Press Release Below:

SIGMA 24-35mm F2 DG HSM | Art

The Sigma Corporation is pleased to announce that we are going to introduce the SIGMA 24-35mm F2 DG HSM | Art, the world’s first*1 large-aperture full-frame wide-angle zoom lens offering F2 brightness throughout the zoom range.

While offering the premier optics of the Art line, this lens covers 24mm, 28mm and 35mm focal lengths. Incredible performance overturns the conventional perception of a zoom lens.

SIGMA was determined to create a zoom lens that offers the same brightness and resolution as a fixed focal length lens: in other words, the highest level of optical performance. The result of this challenge was the SIGMA 18-35mm F1.8 DC HSM | Art, the world’s first zoom to offer a fast F1.8 aperture value throughout the zoom range. Building on this concept, SIGMA has developed the new SIGMA 24-35mm F2 DG HSM | Art for 35mm full frame sensor. It allows photographers to carry one lens to do the work of three fixed focal length lenses, a 24mm, 28mm and 35mm — with F2 brightness and top optical performance. One package delivers flexible functionality and high convenience. In particular, at the 24mm and 35mm focal lengths, this lens offers the performance that is equivalent to that of two prime lenses in the Art line. Instead of changing one high-performance fixed focal length lens for another, simply zoom. This is a new zoom lens for 35mm full frame sensor SLRs that offers the quality of a fixed focal length lens at various angles of view.

Key features

1. The world’s first large-aperture full-frame zoom lens offering a wide open aperture of F2 throughout the zoom range

A large-diameter zoom lens covering the full frame image sensor. Optical performance equivalent to a fixed focal length lens throughout the entire zoom range. These are the concepts the SIGMA 24-35mm F2 DG HSM embodies. It covers three of the most commonly used prime lenses, 24mm, 28mm and 35mm all in one lens. In order to achieve an attractive bokeh effect at wide aperture, we have developed the world’s first zoom lens for the 35mm full frame sensor with an F2 aperture value throughout the zoom range*1.

2. Outstanding optical performance of the fixed focal length lenses in SIGMA’s Art line

The SIGMA 24-35mm F2 DG HSM builds on the concept of the SIGMA 18-35mm F1.8 DC HSM | Art, the world’s first zoom lens to offer F1.8 brightness throughout the zoom range. Thanks to the outstanding optical performance, the lens provides the quality of high performance fixed focal length lenses in the Art line.

3. Covering the range of three fixed focal length wide-angle lenses

Delivering excellent functionality and convenience, one lens offers the equivalent quality of three high-performance fixed focal length lenses at F2 brightness: 24mm, 28mm and 35mm. With a minimum focusing distance of 28cm and a maximum magnification ratio of 1:4.4, this lens is suitable for close-up shooting, portraits with an attractive bokeh and deep-focus landscape photography. Photographers have access to the angle of view equivalent to that of three wide-angle lenses without having to switch them. While achieving the desired background effect can be difficult with a conventional wide-angle lens, the large diameter of this lens allows photographers to open the aperture wide and use the shallow focus to achieve stunning results.

4. Incorporating SIGMA’s latest technologies

To realize a large-diameter zoom lens for full frame cameras with F2 brightness, SIGMA designed each and every part with uncompromising care and quality. The lens incorporates large-diameter aspherical lens elements, which require advanced technologies to manufacture, one FLD (“F” Low Dispersion)*2 glass and seven SLD (Special Low Dispersion) glass elements, of which two are aspherical lenses. The advanced optics and optimized lens power distribution minimize spherical aberration, axial chromatic aberration and field curvature, resulting in outstanding optical performance. Even at widest aperture, this lens delivers breathtaking image quality.

5. Convenient handling

The inner focusing system eliminates front lens rotation, enhancing the lens’ stability and allowing use of Circular Polarizing filters. This specification is particularly convenient for shooting video.

Other features

Minimum focusing distance of 28cm

With a minimum focusing distance of 28cm and a maximum magnification ratio of 1:4.4, this lens is excellent for close-up photography.

Designed to minimize flare and ghosting

From an early stage in the lens design process, flare and ghosting have been measured to establish an optical design resistant to strong incident light sources such as backlighting. The Super Multi-Layer Coating reduces flare and ghosting and provides sharp and high contrast images even in backlit conditions. The included lens hood can be attached to block out extraneous light, which can have a negative effect on rendering performance.

Hyper Sonic Motor ensures High AF Speed

The HSM (Hyper Sonic Motor) ensures a silent, high-speed AF function. By optimizing the AF algorithm, smoother AF is achieved. Also, this lens offers full-time MF by rotating the focus ring of the lens while auto focusing*3. Without changing the AF/MF Focus Mode Switch, it allows faster focus adjustment.

Rounded Diaphragm

The 9 blade-rounded diaphragm creates an attractive blur to the out-of-focus areas of the image.

Brass bayonet mount

This lens incorporates a brass bayonet mount which has both high accuracy and durability. A special treatment to reinforce its strength is applied to the surface giving it greater strength and making it highly resistant to long-term use.

Applicable for the Mount Conversion Service

As an experienced lens manufacturer that has been creating a diverse range of interchangeable lenses, we have started the innovative “Mount Conversion Service*4”. With this chargeable service, the mount of your current SIGMA lenses can be changed to another mount of your choice. It gives new life to your favorite lenses when you wish to use them on a different camera body.

Art line delivers high-level artistic expression

SIGMA is organizing all its interchangeable lenses into three product lines; Contemporary, Art, and Sports, where each line has a distinctive concept. Designed with a focus on sophisticated optical performance and abundant expressive power, our Art line delivers high-level artistic expression. With the astonishing rendering performance that meets the highest standard, along with landscapes, portraits, still-lifes, close-ups, and general snaps, they are perfect for the kind of photography that unleashes the inner artist. Ideal for studio photography, they offer just as much expressive scope when capturing architecture and starry skies and many other scenes.

Customization and flexible adjustment for convenience or a specific purpose is possible. SIGMA USB DOCK that is designed exclusively for the new lens line-ups.

With the optional SIGMA USB DOCK, you can update your lens firmware, adjust focus points and customize Full-time MF function settings as well as the timing to operate the Full-time MF function. By attaching this lens to a SIGMA USB DOCK, which is connected to a computer, the dedicated software “SIGMA Optimization Pro” offers various types of customization and adjustment.

New product lines from SGV concepts that are setting new benchmarks for image quality.

Design Concept

With the new product lines, supplied hoods incorporate rubber for the connected part. Lens caps and AF/MF switches are also newly designed in order to improve usability. For the internal parts, various metals and a new material called TSC (Thermally Stable Composite)*5, which works well with metal, are located to achieve products with high accuracy. The lens barrel includes the year of release, engraved for users to recognize when the lens was released.

Evaluation with SIGMA’s own MTF measuring system “A1”

We used to measure lens performance with an MTF measuring system using conventional sensors. However, we’ve now developed our own proprietary MTF (modulation transfer function) measuring system (A1) using 46-megapixel Foveon direct image sensors. Even previously undetectable high-frequency details are now within the scope of our quality control inspections. All SIGMA 24-35mm F2 DG HSM lenses will all be checked using “A1*6” before they are shipped.

Made in Japan

All SIGMA’s manufacturing – right down to molds and parts – with a few exceptions, are carried out under a single integrated production system, entirely in Japan. We are now one of the very few manufacturers whose products are solely “made in Japan”. We like to think our products are somehow imbued with the essence of our homeland, blessed as it is with clean air and water, and focused, hard-working people. We pride ourselves on the authentic quality of SIGMA products, born of a marriage between highly attuned expertise and intelligent, advanced technology. Our sophisticated products have satisfied professionals and lovers of photography all over the world, because our manufacturing is based on genuine craftsmanship, underpinned by the passion and pride of our experts.

Footnotes

*1 Among interchangeable lenses for 35mm full frame image sensors (June, 2015)

*2 FLD glass is the highest level low dispersion glass available with extremely high light transmission. This optical glass has a performance equal to fluorite glass which has a low refractive index and low dispersion compared to current optical glass. It also benefits from high anomalous dispersion. These characteristics give excellent correction for residual chromatic aberration (secondary spectrum) which cannot be corrected by ordinary optical glass and ensures high definition and high contrast images.

*3 The default setting of Full-time MF function varies for each mount.

*4 This “Mount Conversion Service” is different from a normal repair. In order to apply for the service, please contact your nearest authorized subsidiary / SIGMA distributor.

*5 TSC (Thermally Stable Composite) offers thermal expansion characteristics similar to those of aluminum. Parts made with TSC deform less, making possible lens construction of extremely high precision. As compared to polycarbonate containing 20% glass, a commonly used material, TSC offers approximately 70% higher elasticity. As compared to polycarbonate containing 30% glass, it offers 25% higher elasticity. (Comparison is between SIGMA-produced components.)

*6 A1:Aizu 1

The Sony HX90V is the smallest superzoom compact camera on the market (at the time of writing) and unlike the Sony HX60, which was essentially an upgraded HX50, the new Sony HX90V has been built from scratch. Sony went back to the drawing board, with a new body, new lens design and, despite the HX90V being significantly smaller than its predecessors, the inclusion of an impressive pop-up electronic viewfinder.

Sony will be joining us at the Liverpool store on Friday June 26th with the HX90V so you can try it out and see what all the hype is about. We’re sure you’ll be as impressed as we are. Sony will be able to answer all your questions about the HX90V as well as the full Sony range, from compacts to their full frame mirrorless a7 series. Don’t miss your chance to pick their brains!

We were given a sneak preview at the launch event in London a little while back, and we loved it! Now we’ve been able to get hands-on, we’re even more impressed. It’s a small, stylish and remarkably powerful compact camera which is ideal for every day shooting and perfect for your summer holidays, especially with the built in GPS for geotagging your pictures.

Despite its small size, the HX90V contains a 24-720mm equivalent or 30x optical zoom. This has been achieved by completely rebuilding the lens (30% smaller) using a floating rear optical group and an aspherical element. The Zeiss Vario-Sonnar T* lens is also a step up from previous models, using reknowned Zeiss optics as previously only seen in the Sony RX range, including the RX100. Teaming sharp optics with 5-axis image stabilisation, you won’t have to worry about camera shake; even at full optical zoom. This is an improvement on the HX60, which only featured 3-axis stabilisation.

hx90vxhx60
The Sony Cybershot HX90V on the left, compared to the Sony Cybershot HX60 on the right. Along with a sleeker looking body, the HX90V is both smaller and thinner than its predecessor, the HX60. Sony have achieved this by making the lens smaller, as you can see in the image above, without losing any quality and maintaining the 30x zoom.

The 1 / 2.3-inch type Exmor R CMOS sensor along with the Bionz X processor combine to produce up to 18.2MP images with minimal noise for sharp and detailed pictures. Autofocus has been improved, using Fast Intelligent AF, inherited from Sony’s A7 series of interchangeable lens cameras, so even fast moving subjects can be captured with ease.

The biggest changes, apart from the size, are the inclusion of a pop-up OLED electronic viewfinder. Similar in style to the viewfinder found on the Sony RX100 Mark III premium compact, the HX90V viewfinder features a slightly wider viewing angle and rubber seals to keep out any dust. Like on the RX100 Mk III, the viewfinder is discreetly hidden away in the body of the camera, until you need it, keeping the sleek design of the and maintaining the pocketable size. There is also a pop-up flash concealed alongside the viewfinder.

hx90evf
The OLED Electronic Viewfinder is neat and simple to use, and simply pops back into the camera when you’ve finished using it.

The LCD screen on the back of the camera is a large 3-inch 921,000 dot monitor which can be tilted through 180 degrees, which is great for taking pictures at different levels and for selfie lovers or timed group shots. When you flip to screen the full 180 degrees, face-detection mode is automatically enabled and pressing the shutter button starts a countdown timer so you have enough time to perfect a pose, or run back to your group.

Don’t love the idea of running, potentially falling over and having the photographic evidence to remember it by? Turn on the camera Wi-Fi, connect to your mobile or tablet using the Sony PlayMemories App, and you’ll be able to see what your camera sees and use your phone as a remote shutter control. You can even zoom and change settings quickly and easily. When you’ve got the shot, you can instantly save it to your mobile device for quick and simple sharing with friends.

hx90LCD
For selfie lovers and group shots, the screen flips a full 180 degrees and automatically turns on facial recognition and a count down timer so you have time to perfect your pose.

For the more serious photographers, Sony have included a control ring around the lens, which can be used for stepped zoom control, or customised for manual focus or other controls depending on your style. When in Aperture Priority mode, the control ring changes the aperture by default and the shutter speed when in Shutter Speed Priority mode. There is a small and very effective grip on the front of the camera providing a firm, steady hold even at full zoom.

Modes include Intelligent Auto, Superior Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure, Memory Recall, Movie, Panorama and Scene Selection giving you the option of taking control or easy to use point and shoot options.

hx90top
The control ring can be customised to suit your shooting style, or default settings vary by shooting mode. It’s smooth, easy to use and adds an extra professional touch to the HX90V.

Movie mode allows you to record Full HD at 50p & 60p up in either XACV S or AVCHD codecs, and also offers dual recording in MP4 standard so you can create web-ready videos alongside the full quality original. This can be transferred straight to your mobile device using the PlayMemories App for sharing online.

This is a superb all round camera that really should be with you at all times. With nods towards Sony’s RX100 series both in terms of performance and design, but with easy handling auto modes and a huge 30x zoom it will suit a wide variety of photographers… from serious shooters as an every-day pocket camera right through to people who would never even consider themselves a “photographer”.

With a digital camera so powerful, so compact and so versatile, there’s no excuse for not taking it everywhere with you. Say “Goodbye!” to poor quality mobile phone pictures and “Hello!” to the SonyHX90V this summer.

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