The Icon Publications image library includes over 30,000 original photographs ranging from vintage 1970s b/w photojournalism to the latest views of international destinations. With over 28,000 images by David Kilpatrick and more by the rest of our team, using the search window here will automatically cover the entire collection and give access to direct licensing through Alamy. Simply use the search box to find what we’ve got. Try Venice or Tenerife or ‘Scottish Borders’ for example. Imagine you are using Google, the search works pretty much the same way.
Destinations and subjects recently covered by David Kilpatrick and the Icon team include: UK especially southern Scotland and the Borders, NE England, North Wales, northern England, airports; Spain, Majorca, Ibiza, the Adriatic, Tenerife, Gran Canaria, Fuerteventura, Lanzarote, La Palma, Midi-Pyrenees, France, Morocco, Greece, Turkey, Italy, Ireland; Barbados, Mexico, California, Arizona, Nevada, Florida, Route 66; photographic equipment.
David Kilpatrick won the UK Press PR & Stock Photographer of the Year 2009 title in the Master Photography Awards held in October 2009, and an Award of Excellence winner in 2010. David’s work from 1968 onwards has appeared in books, newspapers and magazines worldwide and he is a Fellow of both the BIPP and the MPA (Hon) as well as a qualified journalist and now a qualified professional with The Guild of Photographers.
Cameracraft, which celebrates ten years of publication in summer 2022, is the successor to several photo magazine titles David has created and edited since 1989 when he launched PHOTOpro. It’s simply very different to any other printed photo magazine you’ll see, and it does not sell through newsagents as we have a zero waste policy – every single copy printed finds a home, it’s printed without using plastics on FSC certified paper stock, and we mail out using compostable wrappers. Subscribe through Icon Publications home page, or read it on your desktop/tablet/mobile using a digital app from Pocketmags (below, the name of the app can’t be changed so it still remain f2 Freelance Photographer).
Dear David,
In collaboration with Sony Switzerland I just published a beautiful 200p large-size book about the a900 and all the good old alpha lenses (Minolta, Sony, Zeiss). I’d like to send you a copy. You’ll find a few pdfs here:
http://artaphot.ch/alpha-systembuch
Greetings & all the best from southern Switzerland 😉
Stephan Kölliker
Strada dra Pesa 6
CH-6968 Sonvico
(Switzerland)
Hello David
I hope you don’t mind me asking you a Alamy related question via this website.
I have read various posts of yours on the Alamy forums and think you seem to know what you are talking about, I have also read that you are a Mac & Aperture user.
So I was wandering if you could tell me what is your workflow using Aperture to submit to Alamy.
Regards
Richard Turner
David: I saw your YouTube video about NEX-3 adapters. I have a bunch of old Nikon AI lenses. Do you have any recommendations? Thanks so much.
Alan
I don’t use Aperture, I use ACR/Bridge. That’s mainly because I use the lens profiles and camera colour profiles in ACR/Lightroom. I do not like raw processors which try to catalogue or organise your files in libraries etc. For that, I use Expression Media 2 and it is the master catalogue for all my finished images. I do have Aperture installed it’s just too slow and non-intuitive for individual file processing. I do not shoot it batches and therefore find all batch-type processors (including LR, DxO, C1) less than efficient. Every picture is individually processed.
Kipon make affordable adaptors. I have their tilt adaptor, they make one for Nikon fit. It’s rather fun to use. Anything much cheaper (generic Chinese) can be very variable; anything more expensive (Sony Approved Voigtlander, LensBaby) can be a silly price relative to the cost of the NEX itself.
I have a Minolta 7000i prototype it is my understanding that they were sent only to Distributers. Years ago I contacted Konica Minolta a management person emailed me said he also had one & that I was the only one he knew of that even heard of it’s existence. Is there anyone out there that has information as to how many were produced? It is very similar to the final product some markings, buttons & card slot are different. Mine is from the Distributor in Canada.
Warren wetzlarcharternet
David – been suggested I try contact yourself, as the expert on all things Minolta.
I have a Dimage Scan Dual IV and need to get hold of a replacement 35mm slide tray.
Are you aware of any spares specialist or a breakers yard for Minolta ?
Sorry, didn’t pick this up when you posted it (this site is extremely slow and flaky). I do not have any spares though I do still have one of the scanners, unused. My mail to Adrian Paul (minoltamania, Photostore) is now being returned and I’m not sure if he’s trading.
Hi David, I just read your latest blog post about the new Sony G Master lenses. You said that you use the Sigma 70mm f2.8 macro. Is that the EX DG please? Thanks Gareth
You know I have never bothered to check its designation. It’s a fairly old design, with a body-drive AF in Sony mount, but it is labelled DG MACRO asnd also EX – which makes it an EX DG period lens. I’m also using the Sony 50mm f/2.8 (redesigned Minolta without hot spot flare from digital sensors).
Hello, around 2010 we communicated about vectis lenses on Sony Nex…. your gaffer tape experiment. Now apparently there is an adapter ? Monster Minolta v to Sony Nex. This solves the electronic Aperture issue may resolve the focus issue on VeCtis lenses that have manual focus too. Called “Monster” adapter and a “few” were made. Maybe this will get puplicity and be affordable sometime ?
I’m afraid that at $250 it’s too much for me – I really only have another 80-240mm which is worth using, no 50mm macro or 17mm or 400mm. I guess its main value would be for the A6500 now with the 400mm (stabilised manual focus mirror lens) and your galleries seem to support that. The 80-240mm remains a stunningly good lens and I must remember to try it on full frame with the original gaffer tape adaptor (I think that was removed a while ago). I now have many more adaptation options including helical focus mounts, and the cameras allow focal length and aperture entry for EXIF and stabilisation.
Hi there! I’ve read Your article about Sigma lenses: http://www.photoclubalpha.com/2012/08/06/sigma-ultrawide-zooms-old-and-new-12-24s-versus-8-16mm/ and I wonder is there a big difference between their built-in lens hoods. Maybe You will know this filter holder ->http://www.ebay.pl/itm/332299476501?ul_noapp=true can be compatible with older Sigma 12-24 f4.5-5.6?
Sorry for my English 🙂
Greetings from Poland
The lens hoods on the three versions of the 12-24mm which now exist, and the 8-16mm, are all different. You would need to get a specific holder for each one. Sigma may be able to remove the hood entirely from some of the latest lenses, as a factory modification. They are being asked to do so by photographers who shoot with 35mm format lenses on the Fujifilm GFX medium format body (and for other reasons related to virtual reality multi-camera rigs where lenses and clustered together).
Hello David. I’m interested in having an email discussion about Vectis lenses. I know that there was an adapter made some years back but what I’m interested in is knowing if there is information available about pinning and voltage levels, protocol, etc. It seems the ball was dropped after a few adapters were produced.
Hi Michael – sorry I missed this, but I could not have helped. I don’t have any tech manuals or data sheets and my Minolta UK contacts are long gone. – David
Hello David. while cataloguing my books archive I came across 6 copies of 35mm Photographer ISSN 1365-6252 A5 Format. Please could you tell me when these were published?
Do you still feel the Konica Minolta 5d,7d cameras render the best color reproduction in cameras?
Within the limits of what was essentially 10-bit colour (12-bit nominal), yes. Within the dynamic range, their colour remains almost unmatched – nothing quite the same. However, later cameras – I guess from the CMOS era A700/900 on – have more useful recoverable highlight and shadow information and by the time you get to today’s sensors which capture 14-bit depth and often match early 16-bit formats even for medium format sensors, those original 6 megapixel CCDs are definitely outdated. But… at 6 megapixels, shooting raw, with the latest converters (these have made a HUGE difference) and camera profiles the 7D and 5D can still deliver. I do not use them any more, but I do sometimes need to go back to my old raw files. Using the latest Adobe Camera Raw with its Enhance super resolution, vastly improved noise reduction and huge range of presets and profiles means they can match later 12 megapixel shots – and keep the colour benefits.
Sorry I missed this! The series started in 1996, and if you read the first page of No 1 carefully you’ll see that. We did not get the support needed from the industry to make it work, regrettably as it was a good title and it was Shirley’s baby. It only lasted six issues, 18 months. Ironically if we had not decided to make it A5 size it might have done better. Because we were ahead on technology, we could resize adverts supplied digitally, and we assumed all the much bigger agencies and photo firms would be up to speed. Actually they were not. Many stayed locked in to needing physical film and proofs, and only a few like Fujifilm started sending ads as digital design files or PDFs or even TIFFs – on CD or DVD media. The costs charged by agencies to their clients to produce reduced size A5 versions doubled the cost of placing every changed advert, so our idea of an eco-friendly, less paper use, less postage, easier to store, easier to carry in a camera bag magazine was only supported by companies we already worked for (we did the advertising design and file production for a dozen or more photo companies) and a few with advanced in-house graphic design. At that time is was the ad agency world which was holding back progress as their revenues were increased by physical film production – and it’s fair to say Icon Publications Ltd gained, as we had some of the earliest colour separation making kit in the UK being run by a publisher (printers of course invested in this and bigger and better). So we handled output for some of the companies who wouldn’t advertise in an A5 publication because of that cost, and used to send page films to all the other photo magazines. I have two sets of 35mm Photographer kept. Still flip through occasionally – nostalgia!