Peter Flower

The name, Jack Thomas, will not be familiar to any of our newer members. However, as will become evident from the following tribute he held a special place in the memories and regard of longer-term members.

Members of the society come and go. Many leave for reasons of of family commitments, changes of jobs or moving out of the area. There are others, sadly, who pass away. This is the case with Jack Thomas. Although he had not been an active member for some time, due to health reasons, the fact is that he had been appointed a Life Member many years ago in recognition of his outstanding contributions to the society, including many years of service as a committee member.

His extremely lengthy membership warrants a token record of his time with us. The leading article in this special edition of the Newsletter is dedicated to his memory. We send our condolences to his family.

Tribute to Jack Thomas

© Peter Flower

Peter Flower

In 2006 I interviewed Jack Thomas for the purpose of preparing a 'Profile' for publication in the Newsletter. This was one of three Profiles that I wrote in that period, each one featuring an influential member of the society. I remember fondly the time that we spent together gathering memories from his past. These gave a fascinating insight into his family background, engineering career and service in the forces, as well as his experiences in photography. Unfortunately, due to the passage of time, the finished article is no longer available. The following article is based on a draft copy of my notes taken at that time for Jack's comments and possible corrections. These were prepared after our first session together, so do not include many of the details that we subsequently discussed , and which formed the completed article published in our Newsletter. Notes in italic indicate where checks were still outstanding or further details were to be added.


The choice of Jack as the next subject in this 'Profile' series was, for me, an obvious one. He has a long and distinguished association with the society. He holds the distinction of being the oldest member of the society – not in his age, he will be thankful to say, but in terms of membership. In fact, he joined the society on 27 February 1950, at which time he paid the handsome sum of ten shillings and sixpence for the privilege of membership. (For the benefit of our younger members, that equates to 52.5 pence in decimal! Interestingly, four years later, inflation had pushed annual membership fees up to fifteen shillings). However, concerns of monetary inflation do not concern Jack any more. In recent times (1971), as a recognition of his long-term services to the society, he was elected a life member. Having been a member over such a long period of time it was to be anticipated that Jack would be an excellent source of information about the development of the society. It is all to easy to forget that, at the time of his joining, the country was still recovering slowly from the after-affects of WW2, with severe constraints on the availability of quality camera equipment. The research for this profile would provide an interesting insight into Jack's character, set against the background of changing times for the society and photography in general.


The main purpose of these profiles is to provide information about their photographic interests, how they got started in photography, their involvement in the society, and their other interests. However, it is important that this is set in the context of their life generally.

In Jack's case this dates back to his birth in the Twenties. His father was in the Army. His mother was French (living in Belgium until the outset of WW1). Due to his father's military service, involving constant postings and the non-availability of married quarters, Jack spent some of his early years in the care of an aunt. It was she who called him Jack (his first name is actually John) and this name stayed with him. It was his mother who first gave him an interest in photography when (in 1937) she bought him an Ensign All-Distance “Twenty” roll film camera. Jack still has this camera.

The following photographs were taken at the time. They show the camera and detail of how the lens screws out for closer shots.

© Peter Flower - Ensign All-Distance “Twenty” camera

Jack's early years involved a fair amount of moving around and schooling at different locations. After schooling he took a number of jobs in engineering. Engineering, and all things mechanical, were to become a constant thread running through Jack's life, as will become evident from the number of photographic devices which he made in later years! Ironically, his second job was obtained by accident. His mother wrote an application on his behalf in answer to an advertisement, but sent it to the wrong company. When Jack went for interview he impressed them sufficiently to be awarded engineering training in Vauxhall Bridge Road, London. From then on he became totally immersed in engineering. In 1938 he moved to Gatton Park, and the following year started work at Monotype.

(Note: Remained there during the war years)

Between 1945 and 1948 he served in the army, first in the artillery and them R.E.M.E. The former involved driving heavy military vehicles , including Valentine tanks. He was also involved in giving tuition on Bren Gun carriers. Much of his time was spent in North Africa. Whilst there he bought his second camera, an Etui folding plate camera (taking 3 ½ x 2 ½ inch glass plates) in an Arab market. At Tripoli he had access to a darkroom. Due to the heat development times were very short and an essential piece of equipment was the cockroach trap! Jack's engineering skills enabled him to make a roll film holder to fit this camera.

Image from internet source

On his return to England he continued his photographic interests, interrupted only by his marriage to Grace in 1949, and the birth of several girls (check details) in subsequent years. Further photographic projects followed. The first was a home-made horizontal enlarger (incorporating a camera for the bellows and lens). Another involved the modification of a Reflex-Korelle 2 ¼ inch square single lens reflex camera to fit an Aero Ektar f/2.5 7-inch lens. Unfortunately he polished off the 'bloom', which was in fact an early form of lens coating! He also made his own exposure meter and a slide projector.

In 1950 Jack was persuaded by the then President Roland Sammes to join the society. (Roland Sammes was the father of Michael Sammes, best known as the leader of the Mike Sammes Singers) Shortly after joining, Jack's first competition entry was a small monochrome print of people walking in the park.

© Jack Thomas original, rephotographed by Peter Flower

By February 1952 his expertise had obviously developed considerably and he created a much larger print entitled 'The Artist' which was displayed at the exhibition of that year. This showed an artist drawing an idyllic country scene. The judge commented that it was so good to be able to actually see the pencil drawing on the artist's paper. Little did he know that, in fact, the pencil marks were real ones , added by Jack later after the print was made!

© Jack Thomas original, rephotographed by Peter Flower

The enlargement on the right shows the pencilled detail

Over the years Jack took an increasingly active part in the society's affairs, serving on the committee for a very long time. (Note: include details of 'This is Reigate' and Prague exhibition) He also made progress with the acquisition of more modern camera equipment. The list includes, Rolleicord; an old Leica (circa 1927), which he traded in for a Pentax K1000 (which he still owns); Pentax SFXn; Canon EOS 3000 (actually won by Grace in a raffle); and his current camera which is a Canon G5 digital camera.

Aside from photography, Jack's main interest is sailing. He has a boat at Weir Wood S.C., but which is also taken down for sailing on the south coast. Peter Flower – February 2006.”

We met more times before the article was completed. It is difficult to recall all the topics we discussed, but I do remember the the extensive talk on the subject of wood-turning. He showed me many examples of his brilliant craftsmanship. I photographed some of these, which are shown in the following images. He never revealed his secrets of how he crafted these apparently impossible objects. In addition to these I do recall seeing a snooker cue that he had made. If you think about the precision necessary to turn this long thin object, with the additional problem of it tapering from one end to the other, it will be evident that a great deal of skill was required. However, to compound this problem even further, the cue came in two parts which were screwed together. This enabled the snooker player to transport the cue in a short carrying case.

© Photographs by Peter Flower - example of Jack Thomas' wood-turned objects

In addition to these notes I have been able to find some other references to Jack -

This is Reigate

1963 marked the centenary celebrations of the local Borough and the 25th year for Reigate Photographic Society. A booklet was issued to celebrate the occasion.

Photograph by Peter Flower

Note: The photograph on this cover was taken by Keith Duerden, a member of the organising team. In historical terms It is interesting in two respects. Studied closely, it will be seen that there are traffic islands in the middle of the road, indicating the fact that two-way traffic operated in the High Street at that time. Looking at the top of the Old Town Hall, there are four pillars at the corner. These were removed quite some time ago.

Jack was involved with the organisation of events for this anniversary. In the brochure mention is made of the fact that he made the screens for the exhibition and had given help in many other directions including assistance in selecting prints.

In The News!

The following item appeared in a Reigate PS Random Report (predecessor to the Newsletter) in November 2012 -

Report by Peter Flower

The Surrey Mirror edition of 18 October 2012 featured a double-page spread on Reigate Photographic Society. The main topic was the fact that we were celebrating our 75th anniversary. Their reporter, Jenny Seymour, quoted comments from John Gall, our chairman, and Steve Lawrenson as well as giving a mention to Jack Thomas, our longest-standing member. There was a brief mention of the society's history as well as news of the opening that day of our three-day photographic exhibition at the Harlequin Theatre in Redhill.”

Members' presentations

It was not unusual for the first evening of the new programme of talks in September to have 15 minute presentations from members. This was the case on 6 September 2010.

Report by Peter Flower

Adrian Fisher gave a presentation on the subject of sailing at the Crawley Marine Sailing Club. In fact this was a combined effort, because additional photographs had been supplied by Steve Lawrenson and Jack Thomas who are also involved with this club. The subject was Junior Helm Week, when about 100 youngsters are invited along to undergo sail training in two different classes of small sailing dingies. Messing about in boats is a popular pastime, and judging by the photographs especially so with the young budding sailors. Anyone who has ever been involved with sailing will know how unpredictable boats can be, and how fickle the wind. A dunking in the water is never far away! However, this is not a prospect that deters the young, and it was obvious from the photos that they were having a cracking time. I was impressed by the close-up shots that the trio obtained from a position on the water. There must have been times when their cameras were in danger of taking a dip as well. In addition to the unplanned dunkings there were those that arose from exercises in checking how many could cram into a dingy before it sank. All good fun!

Summing up

With the passage of time it is always difficult to make an accurate recall of past events. However, the memory of my times with Jack, and especially the discussions that I had with him during the research for the 'Profile', remain as fresh as ever. He was a very special person, so interesting and full of fun. One of the problems with really getting to know someone in the society is the limited time that we have to socialise at the regular evening events. In addition to the time that I spent talking to him for the Profile I had the opportunity to relax with him when he visited us to give tuition to Jill on wood-turning and helping her with some projects. His lathe had been installed in our garden shed and he made numerous visits. On these occasions I would make the teas or coffees and then join them for the relaxed moments in our garden. In this environment I got to know even more about Jack and to appreciate the range of interests that he talked about. These were very special times.

Jill Flower

Jack was always fun and ready to get involved with projects. When I was at his flat one day helping him to sort out his computer and communications the subject of wood turning came up. I told him that I wanted to learn and that quickly led to Jack offering to loan me a small lathe and teach me. The lathe was installed in my shed and we spent many happy hours there and in the garden having a tea break with Peter. I don't think my skills in this area will ever be great but it was a happy and memorable time. Jack was always keen to help and encourage others and I really enjoyed his teaching and his company.

Saturday Natter – Denbies Vineyard – 3 February 2018

Report by Peter Flower

This was another well-attended meeting, with about twenty members present. As more people arrived it was necessary to extend with further tables. As always this makes it difficult to comment on all the discussions taking place, but I have attempted to get input from members at a separate table and at the far end from my own position.

Not all of the discussion is about photographic topics. Some early talk by Don Morley, John Fisher and myself was on the subject of motorcycling and cars. People who know Don well will know that, in addition to his life-long enthusiasm for all things Leica, he was also a keen motorcyclist. He took part in motor-cycle trials and had a photograph of him competing in one of them. In addition to a number of bikes he told us that he had once owned a Morgan three-wheeler car. Any three-wheeler vehicle could be driven with a motor-cycle licence provided that it did not have a reverse gear. The Morgan did have a gearbox with reverse. However, by fitting a plate that prevented reverse from being selected he was able to drive this on a motor-bike licence. In the case that he needed to go the other way the back was so light that his wife,Jo, could easily lift it round!

Warning! - If you're not interested in cars, skip the next few paragraphs.

Talk of three-wheelers then moved onto the topic of bubble cars that were popular in the 50s and early 60s. Most of them were fashioned after the Isetta, an Italian-designed microcar which was built under license in a number of different countries, including Argentina, Spain, Belgium, France, Brazil, Germany, and the United Kingdom. Because of its egg shape and bubble-like windows it became known as a bubble car.

The Isetta caused a sensation when it was introduced to the motoring press in Turin in November 1953. It was unlike anything seen before. Small (7.5 ft long by 4.5 ft wide) and egg-shaped, with bubble-type windows, the entire front end of the car hinged outwards to allow entry. In the event of a crash, the driver and passenger were to exit through the canvas sunroof. The steering wheel and instrument panel swung out with the single door, as this made access to the single bench seat simpler. The seat provided reasonable comfort for two occupants, and perhaps a small child. Ironically, a car manufacturer that most people will associate with luxury and sporty cars, BMW, also made the Isetta.

Another unusual car of that period, with production starting in June 1957, was the Zündapp Janus. Its novel design featured a front-opening door for access to the front seat, as well as a rear-opening door for access to the rear-facing rear seat. This "coming or going" design was given the name of the Roman god, Janus, usually pictured having two faces: one looks forward while the other one looks back.

The symmetrical design made it difficult to see which was the front and which was the rear. An interesting accessory was a fake steering wheel that could be placed at the back, causing consternation to drivers that went to overtake!

Taking a trip further down memory lane we discussed the very simple features of old cars and the contrast with the modern hi-tech features that we now take for granted. Whatever happened to the starting handle?!

Photography is back! - In the same way that we had fond memories of motoring as it was in the past, there is a growing nostalgia for film and cameras of the pre-digital age. There is no doubt that some camera manufacturers are getting the message that physical controls, rather than menu options on a touch screen, are being appreciated more and more. As a Leica owner, Don is very aware of the this aspect, but he also has Fujifilm cameras that have adopted this approach. The latest model from this company, the X-H1 which is described elsewhere, is a prime example of this.

The provision of so many control options on modern cameras, many of them tucked away in extensive menu systems, is becoming an increasing problem. This is a topic which is increasingly discussed. As an example, Louise Barker said that she was experiencing occasional problems with auto-focus on her camera. Not being familiar with Nikon it was not possible to suggest a solution, but subsequently I provided her with some information gleaned from the web that might be helpful.

Notes from Lester Hicks

Turnout was so good that latecomers Mike Weekes and myself were forced to set up an overflow table. Once Mike had finished his brunch and Jill Flower had joined us, conversation turned to her recently purchased Soviet-made Lubitel 166B twin-lens reflex camera.

© From Russia with love! - photographs by Lester Hicks

She had recently bought this on an impulse at High Street Radios in Croydon, bundled with a Cobra flash unit. This is a 2¼’ square format camera using 120 roll film, and it has the collector’s cachet “Made in USSR” on the lens mounting. She has tried out two rolls of film, and as can be seen from the attached images the results are promising.

© Jill Flower - images of the Suffolk coast and local windmill

After Peter Tucker had joined the table conversation turned to some of Jill’s work in her second year at Brighton University. Her tutors had been pleased with her first cut of an experimental short video narrative using the B-17 bomber crash site on Reigate Hill. She was now thinking of polishing that into a more finished form, and looking for other historic or atmospheric sites in south-east on which to base a portfolio of similar video diaries, maybe starting with Dungeness.

Looking back – 1

Peter Flower

In recent newsletters I have commented on the renewed interest in photography with film and instant cameras, in parallel with increasing sales of vinyl records. A recent survey of 2000 adults by British Airways revealed nostalgia for other technologies that are being missed. Of the list of 25 favourites, which ranged from making music tape compilations, buying CDs, carrying portable CD players, ringing the speaking clock (!) and playing traditional board games, photography featured several times. These were, No. 2 – putting photos into albums, No. 5 – the excitement of having photos developed before you can see them, and No. 15 – buying disposable cameras.

Looking back - 2

Peter Flower

At the Saturday Natter John Fisher mentioned that a friend of his had found an old trade paper when removing a partition wall in his house. This was 'VU', published bi-monthly by the Photographic Dealers' Association. This was Issue No. 5 from January 1969, priced at 6d (sixpence in old money!) Unfortunately many pages were missing, but those which John handed over provided fascinating reading. Noticeable on the front page were adverts for the Praktica Nova 1/1B (prices between £49-19-9 and £68-19-6 depending upon lens) from sole distributors J J Silber Ltd, London EC1, and the Yashica Minister 3 (priced at £34-8-11, plus ever-ready case at £4-1-6)) from Valentine & Carr Ltd (a Photax Company), London W1.

Coincidentally, I have a Yashica Minister 1 camera that John Packham gave me many years ago. I photographed this with the advertisement of the later model in the paper. These cameras were one of many that incorporated light metering in-camera at that time. However, it will be noted that the metering system has been moved from the panel above the lens to one which surrounds it. The light meter did not directly control the aperture/shutter. The reading on the top- plate had to be manually set on the lens. However, unlike today's metering systems there was the benefit that it was driven by a selenium cell, not requiring any batteries that ran out, or corroded internal connectors if accidentally left in-camera for a long time!

© Peter Flower

The first camera to feature automatic exposure was the selenium light meter-equipped, fully automatic Super Kodak Six-20 of 1938, but its extremely high price (for the time) of $225 ($3912 in present terms) kept it from achieving any degree of success. It cost much more than a contemporary Leica (and was about half the price of a new 1938 Ford car) and had a reputation for unreliability. Kodak employees had nicknamed it "the boomerang" for its regular returns for service. It was withdrawn in 1944. Production estimates vary between 714 and 725 being made. The following images show an original advertisement and the camera.

Images from internet source

Olympus E-PL9 camera


On 7 February 2018 announced this latest model in the series, with slight advances on the previous E-PL8 model. The new model features a 16 megapixel CMOS Sensor, an improved 121 point autofocus system, and the same TruePic VIII Image Processor as found in the OM-D E-M1 Mark II. Users can also shoot video in 4K up to 30fps. Also included are the tilt out/down touch screen, in-body image stabilisation, Bluetooth LE with Wi-Fi, HDR mode, and multiple exposure settings. Designed with first time dedicated camera users in mind, the E-PL9 features an Advanced Photo (AP) mode for simple creative control, as well as 16 creative effects including Bleach Bypass. Users can also download the OI.Share app which contains “How To” guides, allowing users to learn how to get the best out of their camera.

However, a major change is the lack of an accessory port directly below the hot shoe which allowed owners of the E-PL7 and E-PL8 to use a clip-on viewfinder. Those models also came with a small flash unit that fitted on the hot shoe. (Both units could not be used simultaneously, but this was a minor inconvenience) The new model has a built-in flash unit, which is convenient, but users of previous models are expressing considerable disquiet at the lack of any viewfinder provision. As it is they have to rely on the rear screen to frame their pictures which, for a camera at this price, is a serious operational disadvantage. The price comparison with the OM-D E-M10 Mark III makes this point painfully obvious. The new camera is due to be available in mid-March at a price of £579 (body only) or £649 with the M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ pancake lens. If the all-black finish doesn’t take your fancy, it will also be available in white or brown. For comparison, Park Cameras currently list the OM-D E-M10 Mk.3 (black) £599 body only, or £699 with 14-42mm kit lens.

Panasonic GX9 camera


On 13 February 2018 Panasonic introduced the latest model in the GX series. This is a 20 megapixel Micro Four Thirds camera. Its sensor does not use a low-pass filter in an effort to maximize sharpness, and a new L/Monochrome D Photo Style is on board for fans of black-and-white film. The GX9 does not have weather-sealing, unlike the GX8 and G9.

The 2.7 million-dot (equiv.) EVF that tilts 90° upward, and a 1.2 million-dot touchscreen that tilts up 80° and down by 45° is a departure from the G9 and GX8's fully articulated screens. An electromagnetic drive claims to reduce shutter shock by 90%, an attempt to mitigate the shutter-induced softness of previous GX models.

The camera relies on contrast detect autofocus with the help of Panasonic's Depth from Defocus technology when Panasonic lenses are used. 4K/30p/24p video is present with all of the affiliated 4K Photo Modes, including two new ones: Auto Marking and Sequence Composition. Auto Marking allows the camera to identify movement in a 4K clip and set a marker to quickly jump to the action, and Sequence Composition makes it easy to create composite images of action in-camera.

In-body 5-axis stabilization combines with dual-axis optical stabilization, resulting in a claimed 4-stop reduction in shake. Wi-Fi and Bluetooth are available for quick image sharing.

The GX9 will be available in March at a price of £699, body only, or £789 with the 12-32mm f/3.5-5.6 kit lens.

Panasonic TZ200 camera


The second image shows the amazing extent of the lens on full zoom

On 13 February 2018 announced this model which replaces the popular TZ100 compact travel zoom camera. With its 1” sensor this has the longest range of any competing pocketable camera. It is almost identical in size to the TZ100, which had a 25-250mm equivalent f/2.8-5.9 lens, but has a 24-360mm equivalent f/3.3-6.4 zoom range. It is noticeable that the extra zoom length comes at the cost of being almost half a stop slower at the shortest focal length.

The camera retains the 20.1 megapixel 1" type sensor but the TZ200 gains a higher resolution 2.33M dot equivalent electronic viewfinder compared to the 1.7M dot LVF on the TZ100. Panasonic has also added low power Bluetooth connectivity, in addition to Wi-Fi. It also gains a 3cm macro mode (available on the wide end only), Panasonic's L. Monochrome Photo Style, and a new highspeed 1080/120p video mode.

Disappointingly the camera retains the fixed rear screen of its predecessor, unlike many of its competitors.

This is no longer an inexpensive model in the Panasonic range. The price is £729, in comparison to £525 for its predecessor, the TZ100. Currently available on pre-order with first deliveries anticipated in early March.

Fujifilm X-H1 camera


On 15 February 2018 this flagship in their renowned range of X-Series mirrorless cameras was announced. The Fujifilm X-H1 is the first X-series camera to feature in-body image stabilisation, and it does so at up to 5.5 stops of compensation. The Fuji X-H1 is a professional level mirrorless camera with a rugged and durable build quality that features, among other things, a 24.3 megapixel APS-C X-Trans sensor with no low-pass filter, 3,690K-dot resolution viewfinder with 0.005 second lag time & 100 fps frame rate, 3-direction tilt, 3-inch, 1,040K-dot resolution electrostatic touch-panel rear LCD monitor, 4K video at up to 200 Mbps output, dual SD card slots, Wi-Fi and Bluetooth connectivity, and F-Log recording at 4K directly to the SD card.

Weighing only 673g (with battery and memory cards), the X-H1 has been built around the needs of professionals, fulfilling the desires of both photographers and videographers alike. The price is £1699 body only. On pre-order with expected delivery in March 2018.

Promotional videos showing the effectiveness of the in-body stabilisation can be seen at the following link -


Pentax K-1 Mk 2 camera


The images show the 5-axis stabilisation and the unusual articulating LCD

Announced on 22 February 2018, this model carries over the majority of the features of the original, but with some significant additional capabilities. It retains the superb image quality from its 36 megapixel CMOS sensor, 5-axis in-body image stabilization, the unique articulating LCD, and a body built like a tank. Due to a new 'accelerator unit' the ISO range has been improved from 100-204,800, to 100-819,200, greatly improving the camera’s performance in situations with challenging lighting. This also enables the new model to use the Pixel Shift high-resolution mode without a tripod, referred to as Dynamic Pixel Shift Resolution mode. This uses the natural shake of your hands to collect the four images needed to combine into a single high-resolution image. It is also claimed that the autofocus tracking has been improved.

This new model is currently on pre-order at a price of £1799 body only with availability scheduled for April.

Special note: In North America, between May 21st and September 30th, existing K-1 owners can send their camera to a Ricoh service centre. The logic board will be replaced with the one found in the Mark II. Pricing for the upgrade is set at $550 in the US and $690 CAD in Canada. It is not known whether the upgrade option will apply in other countries.


This company is one that has joined others in rushing to announce new cameras and equipment in the opening months of the year. The following reports are on no less than three EOS cameras, plus an intriguing new flash gun.

Canon EOS M50 camera


Perhaps the most significant new camera in the current rash of announcements is this model. Not for its outstanding features, but because of the fact that Canon appears, at last, to be entering the mirror-less arena with a camera that is a serious competitor in this market. Previous M models have each had shortcomings in their specification, apparently designed so that they did not impinge on Canon's traditional EOS range of DSLR-style models. The M5 model introduced in September 2016 was the first model that could be considered comparable in its capabilities to existing DSLR models. The M50, at a lower price point, has additional features and a specification that is likely to attract amateur photographers who might otherwise purchase one of the existing range of Canon EOS APS-C sensor models.

The new model is a beginner-friendly mirrorless camera that is the first in the company's M-series to offer 4K video capture. It uses a 24 megapixel APS-C sensor with Dual Pixel autofocus, a new Digic 8 processor and, unlike its M100 sibling, provides a built-in electronic viewfinder. Wi-Fi, NFC and Bluetooth are also included, enabling a new option to automatically transfer images from the camera to a smartphone after each shot. The camera's 2.36 million-dot OLED viewfinder complements a 1.04 million-dot fully articulated touchscreen. With focus locked the M50 will shoot up to 10 fps and 7.4fps with continuous auto-focus.

Availability is anticipated in April 2018. Body only price £539. With 15-45mm kit lens £649.

Canon EOS 2000D and 4000D cameras


On 26 February 2018 two conventional DSLR models were announced. These are, effectively, a replacement for the existing 1300D model, aimed at attracting potential new users into the world of exchangeable-lens cameras. The two models have similar specifications. Whilst the 4000D retains an 18 megapixel APS-C sensor the 2000D gains the 24.1 megapixel APS-C sensor of many newer EOS models. Both have WiFi, but the 2000D has added NFC for extra connectivity options. The Canon Connect App allows easy sharing and transfer of images. Both have in-camera guidance to help produce images, including Scene Intelligent Auto, allowing the user to just point and shoot for great results.

They share the fast DIGIC 4+ processor, but the rear screens are marginally different at 2.7” and 3.0 inch.

Prices – 2000D body only £369.99, with EF-S 18-55mm IS lens - £469.99 400D body only £329.99, with EF-S 18-55mm lens - £369.99 Availability March 2018.

Canon Speedlite 470EX-AI with Auto Intelligent Bounce

Rather than try to explain details of this quirky new flash unit I will direct you to the following two videos.

You may like to watch these during a Coffee Break



Kodak Professional T-MAX P3200 Film / TMZ


In an announcement from Rochester, New York, on 23 February 2018 Kodak Alaris announced that it is bringing back this multi-speed panchromatic black-and-white negative film. While the nominal film speed of P3200 TMZ is ISO 800, the “P” means it’s designed to be push processed to EI 3200 or higher. This film excels when shooting in low light or when capturing fast action. It is ideally suited for handheld street scene photography, night work, and in dimly lit venues where flash cannot be used. It will be issued in 135-36x format with availability scheduled for March.

Albany Cup Competition – 12 February 2018 – hosted by Guildford

Report by Lester Hicks

11 Society members travelled to Guildford to support our entry in this year’s Albany Cup competition; an invitation-only prints and panels event limited to 8 clubs in the Surrey Photographic Association.

Unfortunately, our entry, Auto Graphica (a selection of colours, lines, shapes and metallic texture on high performance cars) did not impress the judge, Rosemary Willman, a past President of the Royal Photographic Association. It came 8th in the marking of the 4 individual prints and 7th= for the panel as a whole. However, the evening was not entirely unproductive. The incisive comments of the judge on the qualities of each print and in combination as the panels, and the chance to see what worked for the more successful entries, should give us pointers on how to improve if we decide to hold on to our place in this elite competition.

For example, should we plan the entry before the photographs are taken, as the most successful clubs clearly do? Would it be possible to select topics, and possibly locations, that members could go off to photograph well in advance, either on their own or as part of one or more extra events? Might that be something for the Committee to think about?

Here is our entry: Auto Graphica and images of the judging.

© John Fisher

© John Fisher

Of our individual images, Corsa Rosso by Stephen Hewes scored highest, at 9 out of 10.

The 3 most successful panels this year were all based on wildlife themes:

1st place: Birds with Prey: Godalming.

2nd place: 26 Legs: Bracknell.

3rd place: A Knot of Frogs: Farnborough.


Albany Cup results: 2018


Club and title of entry

Total prints score out of 40

Panel score out of 40

Total score


Godalming: Birds of Prey





Bracknell: 26 legs





Farnborough: A Knot of Frogs





Windlesham & Camberley: Hidden Souls





Guildford: Autumn Woodlands





Molesey: Abandoned





Kingston: Curves





Reigate: Auto Graphica






Finally, our thanks go to John Fisher for organising this year’s entry and arranging all the printing and mounting.

RPS SPA Biennial Exhibition 2018 7-28 April 2018

Information from Mark Thomas

The following images have been selected by the SPA for the upcoming exhibition.


- David Lyon, Over the Wall.

- Nick Rogers, Team GB Bobsleigh, ‘Highly Commended’


- David Lyon, Harbour mouth, ‘Highly Commended’

- David Lyon, Standing firm.


- Nick Rogers, Grey Wagtail


- Nick Rogers, Bee-eater catching a dragon fly.

- Nick Rogers, Wildebeest migration.

- Nick Rogers, Bee-eater in flight.

The exhibition will be held on 7 April 2018 – 28 April 2018 at GUILDFORD HOUSE GALLERY, 155 High Street, Guildford. Open 10.00 to 16.45 Monday to Saturday (Gallery not open Sunday)

And finally . . . . . . .

Blown Away. Showing how intelligent use of perspective and considerable depth of field can produce an amusing image.

Attribution to Jeppe Olsen, image from internet source