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Saturday 4 January 2020

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ritish in Best of B e days when Brita

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Classics from th ry st u d in g in k a -m ra e m ca t a re had a g

12-page Passionate about photography since 1884

101

things to photograph

in 2020 12 pages of ideas to get you inspired this year

BUYING GUIDE

662 cameras & lenses listed & rated

Time for a change? Three people who transformed their photography

TESTED

Canon’s smallest pro tele-zoom The new RF 70-200mm f/2.8L IS USM on test

Magnum street photography The ultimate collection by masters of the genre

Tested Manfrotto Advanced2 Travel backpack ● Sealskinz all-weather socks

©Alex Stead

C AT C H T H E B E A U T Y Y O U S E E

C O M P A C T N I K O N Z Some cameras are born to go places. The agile Nikon Z 50 is ready to shoot the moment something catches your eye. Day or night, this tough, compact mirrorless camera will do justice to the way you see the world with superb photos and 4K movies. Fast Wi-Fi® and Bluetooth® connections plus Nikon’s SnapBridge app let you send photos and movies to any device for sharing or storage. What are you waiting for? 20.9 M P DX | 1 1 F PS W I T H A F/A E | 4 K MOV I E | T I LT I N G TOU C H S C R E E N | W I - F I ® / B LU E TO OT H ® For more information visit www.nikon.co.uk

7days

A week in photography COVER PICTURES © GETTY IMAGES/EYEEM / JOHN WADE

Do you suffer from creative block? I do. Until someone invents a creativity pill we all need some external stimulus in order to keep the brain juices flowing, so to kick off the year we’ve assembled 101 ideas for things to photograph this year. We’ve added tick boxes too so that you can see how many you have already done, and which ones you have yet to try.

This week’s cover image

Sometimes that spark comes from changing something – perhaps switching systems, or trying a different genre. This week we talk to three people who did just that, to find out how it put the jump leads on their photography. You’ll get a whole year’s worth of ideas and inspiration through your letterbox if you subscribe, so why not make that your New Year’s Resolution? See page 56 for details. Nigel Atherton, Editor

Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:

Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions. Pictures Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to appicturedesk@ti-media.com. Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.

This picture of a Dalmatian puppy is by Elles Rijsdijk, a former veterinary assistant and winner of the 2015 Frans Lanting Award

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This week in 1929

In this issue

TREASURES FROM THE HULTON ARCHIVE

3 7 days 12 It’s Good to Share 14 The power of change 21 Inbox 24 101 things to photograph before you die 38 Reader Portfolio 40 Join the Club 42 Best of British 51 Canon RF 70-200mm F2.8L IS USM 54 Accessories 57 Ask the Wexperts 82 Legends of Photography

59 Buying Guide

New Year’s Party by J.A. Hampton HAPPY New Year! This exuberant shot was taken on New Year’s Eve 1929 at a party held at Deauville Restaurant, Regent Street, London. It was taken by the legendary English photographer J A Hampton who would go on to become very well known for his London pictures in the late 1930s including the very famous ‘Leap of Faith’ shot of a man jumping over a

puddle. Hampton worked at the Topical Press Agency, which was established in 1903 and at its peak in 1929 – the year of this image – employed around 1,500 representatives in Britain and worldwide. Eventually the company went bankrupt in 1957, at which point the Hulton Picture Library acquired the bulk of Topical’s archive.

The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.

NEWS ROUND-UP By Geoff Harris and Andy Westlake

Super-rare Leica MP makes big money

Keep your eyes peeled for a Leica MP at any car boot sales, as an extremely rare black paint No.2 model recently fetched more than £860,000 at the 35th Leitz Photographica Auction in Vienna. Although the camera was the second off the production line, it was actually the first to be made in black, and only 412 Leica MPs were ever made.

Panasonic sells sensor arm

Panasonic has sold its sensor business to a Taiwanese firm called Nuvoton Technology Corp for $250 million, according to a Reuters report. The semiconductor arm, which was making a loss and suffering from the US-China trade war, is part of a wider attempt by Panasonic to boost profits and cut fixed costs by $920 million by 2022.

Mitakon manualfocus super-macro

New drone regulations have come into law, requiring those flying unmanned aircraft of between 250g and 20kg to register for an Operator ID from the Civil Aviation Authority (CAA). It costs £9, but you don’t need one if you only fly the drone indoors, or meet other exceptions. The ID covers the pilot, not the drone, so you can’t get one for a group, and you also have to pass a theory test. Visit register-drones.caa.co.uk.

New phase for Capture One

A new version of the image editing and raw file conversion software, Capture One 20, has been announced by Phase One. The software, which the company claims is easier to use, now offers enhanced noise-reduction, a new high dynamic range tool to boost detail recovery, support for the latest cameras and other usability tweaks. Try for free at www.captureone.com/en/download. 4

New drone laws now in force

The new Mitakon Creator 85mm f/2.8 1-5x Super Macro from Zhong Yi optics is a specialist lens for extreme close-ups and comes in a wide range of lens mounts. It doesn’t focus to infinity, but instead offers magnifications from 1-5x lifesize, equating to an image area of 4.8x7.2mm on fullframe cameras. Expect to pay around £500 from online stores.

BIG

picture

Stunning image of the Victoria & Albert Museum ONE OF the many photographs shortlisted in the Architectural Photography Awards 2019, this clever reﬂection shows the main hall of the Victoria & Albert Museum in London. The annual awards celebrate the best architectural photography, with the contest attracting more than 2,000 entries

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Words & numbers

Photography is the only language that can be understood anywhere in the world Bruno Barbey

ÂŁ222,918 How much a rare Leica Gun Rifle sold for alongside the Leica MP. Only 6-14 gun rifles were ever made

SOURCE: THE 35TH LEITZ PHOTOGRAPHICA AUCTION

from across 42 countries. Thomas Knowles (UK) took this beautiful shot, which was shortlisted in the Interiors category. The overall winner was announced in December at the World Architecture Festival and went to Laurian Ghinitoiu from Romania for his photo of The Twist Museum in Norway. For more information about the awards, and to see all of the winning entries, visit worldarchitecturefestival.com.

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Wex Photographer of the Year 2020 announced WEX PHOTO Video has revealed the winner and two runners-up in its #WexMondays Photographer of the Year 2020 contest. The title was won by Andi Campbell from Devon, while second place goes to 2019 winner Dan Portch from Kent. Third place was awarded to David Fieldhouse from Staffordshire (both Dave and Dan have also appeared in AP this year). As part of this popular competition, the retailer invites photographers each Monday to submit their favourite image captured during the previous seven days. Photos are entered via Twitter with the hashtag #WexMondays. Approximately 15,000 images from

Inside Jessops’ Brighton store

Jessops’ property arm goes into administration

One of Andi Campbell’s award-winning landscape shots

ADMINISTRATORS from an advisory ﬁrm called ReSolve have been called in to wind up JR Prop, the camera retailer’s property arm. Peter Jones, the Dragon’s Den panellist who owns Jessops, warned this was a possibility back in October, as the company tries to renegotiate rents and ﬁgure out what to do with loss-making stores in a challenging high-street environment. It is understood that the administrators were called in after landlords failed to approve a company voluntary agreement (CVA). At the time of going to press, Jessops’ main trading company, Jessops Europe, was not affected by the decision to put JR Prop into administration, and Jones will continue running the business as usual. There was also no suggestion of any job losses.

photographers throughout the UK were submitted over the past 12 months, competing for a main prize of £1,500 in vouchers. ‘I entered Wex Mondays after getting the bug and winning in one of the weeks last year,’ said Campbell. ‘The hardest part was ﬁnding something new and original to enter each week, regardless of the weather conditions or where I was able to photograph.’ Meanwhile, runners-up Dan Portch and Dave Fieldhouse get £500 and £250 in vouchers respectively. More than 40 images from the competition will be exhibited at the Wex Photo Video Gallery, 37-39 Commercial Road, London E1 1LF, from 16 to 31 January.

Wildlife contest gives power to the people

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YOU CAN now vote for your favourite images in the prestigious Wildlife Photographer of the Year competition. Voting for the LUMIX People’s Choice is open until 2pm (GMT) on 4 February, and you can choose from 25 images, pre-selected by the Natural History Museum from over 48,000 entries. Shortlisted images are currently on display at the Natural History Museum until voting ends. The winner will then be showcased until the exhibition closes on 31 May. The top ﬁve LUMIX People’s Choice Award images will also be displayed online at www. wildlifephotographeroftheyear.com. ‘The LUMIX People’s Choice images capture the essence of the competition; they all ignite a reaction about the natural world and make you see it differently,’ said the museum’s Tim

One of the shortlisted images, by David Doubilet

Littlewood, who is also a judge. ‘Showcasing breathtaking beauty, compassion and cruelty, it is impossible not to be moved by them.’ Vote for your people’s choice winner at bit.ly/ WPY-Lumix-peoples-choice-vote.

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A street crossing in Yerevan, Armenia

Magnum Streetwise

The Ultimate Collection of Street Photography Magnum is synonymous with street photography, and this book is a masterclass in the genre. Amy Davies delves inside its pages BOOK 8

Thames and Hudson, £28, hardback, 384 pages, ISBN 9780500545072 ★★★★★

eaturing more than 300 images from some of the finest names in street photography, this has got to be the ultimate bible for fans of the genre. Since its foundation in 1947, street photography has been at the cornerstone of Magnum Photos’ guiding principles. Ambitious in its scope, this is a book which delves deep into the extensive Magnum archive, revealing the images

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Also out now ‘If a photographer has made their name as a street photographer, you’ll find some of their work in this fascinating collection’

EXHIBITION

Feast for the Eyes: The Story of Food in Photography Runs until 9 February at The Photographer’s Gallery, London. £5/£2.50, free after 5pm

Workers unload sharks from vans at the Dubai Fish market © DAVID ALAN HARVEY/MAGNUM PHOTOS

A shot from Ipanema Beach, Rio de Janeiro, Brazil

that helped to define the genre itself. What was a modern concept to Henri Cartier-Bresson clearly evolves to the brilliant work of modern practitioners who continue to advocate and promote the notion of candid photography. If a photographer has made his or her name as a street photographer, it’s likely you’ll find some of their work in this fascinating collection. To name but a few, there’s Bruce Davidson, Elliott Erwitt, Trent Parke, Inge Morath, Bruno Barbey and so many more. Simply picking up the book and flicking to a page at random reveals a master of their craft, somebody to study and admire, and perhaps even seek to emulate. There are also fantastic sections on how the various agency members have photographed specific cities – the natural homes of street photography (London,

Paris, New York and Tokyo) – as well as how they have approached certain subjects, such as marketplaces, places of leisure and travel. Many photography books can be guilty of being a shelf or coffee table filler. You might look through it and enjoy it once or twice, but it’s not something you’d consider a reference manual. By contrast, Magnum Streetwise is a rare example of a book that you can take off the shelf time and time again and find something new to look at and enjoy – I expect this volume to be ever-so-slightly dog-eared this time next year. A lot of books pass through the Amateur Photographer office, but as a particular fan of this kind of photography, I haven’t seen a better one in a long time – and at the price of £28, it’s also a complete bargain.

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A FEAST in more ways than one, this is a veritable who’s who of photography – all with the common thread of examining food and our relationship with it. Featuring the likes of Nan Goldin, Man Ray, Martin Parr, Cindy Sherman, Weegee and more, the show includes ﬁne-art, commercial, scientiﬁc, fashion and photojournalistic images. Food as a subject matter is rich in symbolism, and has been used to convey many different meanings in photography and the wider world of art throughout history. Today, the genre is arguably more popular than ever thanks to the advent of social media – for many it’s almost as if the taking and sharing of images of their dinner is an integral part of the experience itself. A fun and irreverent collection, this exhibition is well worth a visit should you be in the area. Amy Davies

BOOK

End of Industry by John Myers, RRB Photobooks, £100, hardback, 164 pages, ISBN 978-1-999727567 AS A Black Country girl, I was instinctively drawn to this book, which covers the period between 1981 and 1988, when changes hit the area hard. Unemployment and bankruptcy were rife, as the area’s once-proliﬁc factories either realigned their business models or closed completely. It’s a mixture of nostalgia and poignancy looking through these images – but they’re an important record of an area which is still to this day dealing with and reacting to decisions that had far-reaching consequences. It’s a criticism I level at a lot of photo books, but once again I’m disappointed not to be given more context, especially for those unfamiliar with the subject matter. Still, if you’re a fan of social history – particularly if, like me, you hail from the surrounds – it’s an appealing record of a bygone era. ★★★★★ Amy Davies 9

In next week’s issue

Viewpoint

On sale Tuesday 7 January © PAUL WILLIAMS IMAGING 2012

Richard Sibley Richard Sibley gets a handle on his photographic kit in a belief that less is more

THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED

The ever-growing kit I used that kit for years and I shot everything with it - landscapes, travel shots, portraits, technique articles for this very magazine. Obviously it didn’t always produce the absolute sharpest images, but it did its job and served me well. But there was a need to get sharper images, to blur backgrounds more; to grow as a photographer meant needing a few more ‘bits and pieces’. Roll on several years and I’m up to my eyeballs in those bits and pieces. So many, in fact, that packing my camera bag for a weekend away has now become a pretty stressful experience. I pack for the ‘what if’. ‘What if I need that ﬁlter for a long exposure? Maybe I should bring my extension tubes for some close-up images. I should probably take at least one of my vintage 50mm lenses. Tripod or monopod? Maybe an articulated arm and a clamp.’ Don’t even get me started on what I need if I decide I ‘might’ want to shoot some video.

purchased small bits of kit I think would be handy to have - although, in my defence, you never know when you may need to mount a camera to a tree trunk. But now it stops. I’ve made a pact with myself to change. No more ‘what if’ kit. I’m becoming a photographic minimalist – and, no, that doesn’t mean I’m buying a limited-edition Leica with no screen. It means I want to use the photographic kit I own, rather than having it own me. Yes, there will be compromises. I have no doubt there will be times when I will miss a shot, or have to rely on cropping severely, but sometimes good, as opposed to perfect, will have to be ‘good enough’. In return, I hope there will be less stress, less doubt and ironically, more freedom to take images. Less really will be more.

Richard Sibley is a landscape and travel photographer, and the former deputy editor of AP. Follow him on Instagram @richsibley to see his beautiful work.

Do you have something you’d like to get off your chest? Send us your thoughts in around 500 words to the address on page 21 and win a year’s digital subscription to AP, worth £79.99 10

that heal

‘I’ve become a hoarder. I’ve purchased small bits of kit that I think would be handy to have’

Hoarding tendencies I’ve become a hoarder. There, I said it. I’ve got ‘what if’ kit in the same way people have that cupboard full of ‘oh, but I may need that one day’ stuff. I’ve

Pictures

Richard’s trusty Nikon D300 was the cornerstone of his kit in simpler times

How wildlife photography helped two people with their traumatic past experiences

Olympus OM-D E-M5 III CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE

hotography used to be simpler for me. I’m not talking about settings, or shooting on ﬁlm. I’m talking about kit - I didn’t really have any. Deciding what kit to take was basically ‘Do I take my Nikon D300 and 18-200mm f/3.5-5.6 lens or do I not take anything?’ Packing for a trip was easy. Weekend in the Lake District? Nikon D300 and18-200mm. Week in British Columbia, Canada? Nikon D300 and 18-200mm. Portraits? Nikon D300 and18-200mm, oh and throw in the 50mm f/1.8 to blur those backgrounds a little.

We take a look at this small, lightweight and versatile mirrorless camera

Club culture to crooners We ﬁnd out what keeps Tom Oldham photographing at the fringes of society

The wonder of water voles This small mammal is tricky to track down, but makes a rewarding subject

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The best pictures on social media this week

#appicoftheweek Oxford Street 2019 Christmas Lights By Mark ‘Jet’ Nepomuceno Nikon Z 6, 16-35mm, 1/4sec at f/11, ISO 400

*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

Every year, the Christmas lights in the UK’s capital bring festive joy to the city streets, and Mark took this image along Oxford Street in London, uploading it to Instagram using the hashtag #appicoftheweek. He’s been taking pictures of the Christmas lights in central London for almost six years, and it’s something he looks forward to each winter. He also enjoys shooting landscapes, seascapes, cityscapes and portraits. As Mark explains, ‘I took four shots each for the trails and the words from the Christmas lights. In post, I then combined them to achieve the light trails on both sides as well as the Christmas lights themselves.’ Go to @photosbyjet and @portraitsbyjet to see more. Picked by Nigel Atherton, Editor

Win!

Each week we choose our favourite picture on Facebook, Instagram, Flickr, Twitter or the reader gallery using #appicoftheweek. PermaJet proudly supports the online picture of the week winner, who will receive a top-quality print of their image on the finest PermaJet paper*. It is important to bring images to life outside the digital sphere, so we encourage everyone to get printing today! Visit www.permajet.com to learn more.

We also likedÉ Hen Comb By Steve Sulley

Nikon D3300, 190mm, 1/2000sec at f/5.6, ISO 4000 ‘I took up photography in spring 2015 following early retirement and the gift of a Nikon DSLR camera,’ says Steve, who uploaded this shot to Instagram using the hashtag #appicoftheweek. He took the striking image at a holiday cottage in Yorkshire, where a group of hens visited each day. ‘One day, I decided to take a few pictures, he says. ‘As it was raining, I shot from an open window – it was difficult to get clean images, but as one of the hens moved directly under me, I zoomed in and captured just the head with a shallow depth of field.’ See more of Steve’s images on Instagram @stevesulley1. Picked by Andy Westlake, Technical Editor 12

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SOCIAL MEDIA

Frozen Grass By Peter Lewis

Leica M-P (Typ 240), 40mm, 1/125sec at f/4, ISO 200 ‘I took this while walking in Holyrood Park, Edinburgh,’ says Peter, who uploaded his picture to our Flickr group at www.flickr.com/ groups/amateurphotographer. Peter took up photography in the early 1960s when he was a teenager, returning to it in his retirement. He enjoys photographing ‘things that don’t move around much’, such as architecture, landscape and still life. ‘I was attracted to the light and shade created on the frozen grasses by the low-angled sunlight,’ he says. ‘The raw file was processed with Iridient and converted to black & white in Silver Efex Pro2.’ Picked by Amy Davies, Features Editor

Ghost Live in Cardiff By Kayleigh Meek

Huawei P30 Pro, 135mm, 5sec at f/3.4, ISO 125 ‘I have no formal training but I learn as I go,’ says Kayleigh. ‘Usually, I’ll be found wandering around cemeteries taking photos of gravestones and the variety of wildlife found there. But I also love live music.’ This image was uploaded to Twitter using the hashtag #appicoftheweek. Kayleigh has been interested in photography since she was young, but it increased after purchasing her DSLR in 2011. ‘Usually, I’m not seen without my SLR but as an audience member you’re not allowed to take them into music venues. I am so impressed with the capabilities of the P30 Pro. I took this photo from the back of the arena and it turned out better than I could have expected.’ Picked by Geoff Harris, Deputy Editor

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Technique

CHANGING TIMES

The power of change

Sometimes, we need to consider making big changes. Tracy Calder talks to three photographers who embraced change – be it camera systems or their very way of life

formulaic: we have a favourite camera and lens combination, a preferred genre, perhaps we are loyal to a certain manufacturer. However, staying within our comfort zone can stop us from reaching our full potential. Here we speak to three professional photographers about the brave choices they made to realise their ambitions.

Kate Hopewell-Smith Specialising in wedding, portrait, personal branding and boudoir photography, Kate Hopewell-Smith has a passion for people. Getting to know her clients helps her to create images that will be cherished for a lifetime. Kate and her cinematographer husband, Brent, are Sony Europe Imaging Ambassadors. See www.katehopewellsmith.com.

Kate Hopewell-Smith – changed manufacturers, careers and camera systems

he only constant in this business is change,’ top wedding and portriat photographer Kate observes. Kate has always been creative, and looking after a young family, she found she needed a creative outlet. The choice came down to jewellery making and photography and she chose photography. Kate started to think seriously about turning her passion into a career. ‘I was never worried about running a business as I had done that before, but just had to get a lot better at photography!’ Sensing her enthusiasm, Kate’s then partner bought her a Nikon DSLR. ‘I desperately wanted to learn, but I didn’t choose the camera myself – I never stood in the camera shop 14

and weighed up the options,’ she reveals. ‘Later on people would say to me “Canon feels good in the hand” and I would have no idea!’ But, at the time, Kate was content with her Nikon, and between 2014 and 2016 she even worked as a UK Nikon Ambassador. But as the twoyear programme came to an end, Kate started to question whether her Nikon gear was serving her particular needs. To muddy the waters, her partner, Brent Kirkman (who was a cinematographer), was beginning to feel restricted by DSLRs and was moving towards Sony. ‘We work together a lot, so ideally we wanted to use the same platform,’ says Kate. ‘But I needed to decide for myself, so I tried Canon, Fuji, Panasonic

ALL PICTURES ON PAGES 14-15 © KATE HOPEWELL-SMITH

t this time of the year magazines and websites are all screaming ‘new year, new you’ in a bid to sell us the latest diet or exercise fad – but sometimes lasting change comes in a less obvious form. Just like all the other habits in our lives, our approach to photography can sometimes be

Kate is a visual storyteller who takes the trouble to get to know her subjects

etc – and then I tried Sony.’ One of the reasons that Kate was reluctant to change manufacturers was the sheer amount of glass she already owned, but Brent convinced

her it wasn’t a deal breaker. ‘We knew that Nikon and Canon were about to release mirrorless cameras,’ she explains, ‘but to make the most of the full-frame technology we

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Switching to the Sony mirrorless system has encouraged Kate to be more experimental with her photography

were going to have to replace our lenses anyway; while we could have used adapters in the short term, it really would have been a temporary ﬁx. Once I got my head around that, it opened up a full review of the market.’ Before making the leap, however, Kate borrowed a Sony A7 III and an A7R III (with a bunch of lenses) for a month, and shot a variety of commissions, from weddings to boudoir, using the equipment. At the end of the month she didn’t want to give the Sonys back, but that’s not to say it was all plain sailing. ‘I tend to use the analogy of driving a car,’ she says ‘as you are able to drive but still need to get used to the new model.’ Before long, using the Sony gear became second nature,

but Kate was still sad to see her Nikons go. ‘I didn’t jump easily,’ she reveals. ‘When I did the full exchange it was a sad day for me. I felt like I had to mourn the Nikon stuff.’ Her loyalty was such that she kept her battered Nikon D3S. ‘It has been through a lot with me,’ she admits. But her sadness was ﬂeeting, and since unboxing her new Sony gear she hasn’t looked back. Kate and Brent primarily use A9 and A7 III bodies (although they recently took delivery of some A9 IIs) and, for them, the switch to Sony full-frame mirrorless has been a real game-changer. ‘The effect it’s had on the way I shoot is dramatic,’ reveals Kate. ‘Now I rarely look through the viewﬁnder– I even use the LCD screen to move the

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focusing point. I compose differently too – I shoot from the ﬂoor to anywhere I can get my hands to.’ Being able to trust the technology has allowed Kate to take greater risks, and increased her conﬁdence when it comes to capturing fastmoving action. ‘I can rely on the autofocus system because it’s so fast and accurate,’ she proposes. ‘My hit rate has doubled. If anything I need to learn to slow down, to trust that I’ve nailed it.’ It sounds like Kate has found the dream camera system – but would she consider switching allegiance again if the right camera came along? ‘Of course,’ she exclaims. ‘A s professional photographers, we should be investing in the best kit we can to get the job done.’

Kate’s top tips 1

You’ve got to hold a camera and work with it to know if it’s for you. Don’t expect to be able to do this by reading reviews or reading the manual.

To begin with, using a new camera is a nightmare, but you will get used to it. And however intelligent the camera’s software is, you will need to be able to take control of the settings yourself.

Customise your camera. Brent and I have ours set up the same so we can, quite literally, throw them at each other during a shoot; but that’s quite unusual!

Technique Jody MacDonald

Having spent ten years sailing around the world on kiteboarding, paragliding and surfing expeditions, Jody MacDonald turned her passion for photography into a full-time career. Her work has appeared in many highprofile magazines including National Geographic and Men’s Journal. See www.jodymacdonaldphotography.com.

Jody MacDonald changed from amateur to pro few years in the office, however, she grew restless, and when someone asked if she wanted to go sailing in the South Pacific she was on board immediately. ‘I ended up creating a sailing business, and I lived at sea for 10 years straight,’ she reveals. ‘That really became my platform for developing my photography.’

Self taught Due to the isolation, Jody honed her photography skills through trial and error. ‘At the time I didn’t have access to the internet so I couldn’t just look up tutorials or go on YouTube,’ she recalls. ‘I just had to figure it out!’ As luck would have it, her clients often included professional kiteboarders and surfers, so she taught herself how to photograph these athletes at sea. For the most part Jody was using a Canon EOS 5D Mark II and a Canon EOS 7D, with housings. ‘I needed a couple of bodies as the chance of one failing due to the salt water was pretty high,’ she admits. But when she needed a new piece of kit she had a novel way of obtaining it. ‘I would order something and have it sent to one of my clients who would bring it out to me,’

ALL PICTURES ON PAGES 16-17 © JODY MACDONALD

hen Jody MacDonald was a child she wanted to be Indiana Jones. Jody spent 16 years living in the Middle East, but as a perk of her dad’s job the family received paid vacations, so they travelled extensively. ‘By the time I was a teenager I had seen a lot of the world, and this glimpse into how amazing the planet is made me dream of more adventures,’ she recalls. Having shown an aptitude for art and sports at school she went on to study outdoor recreation at university, where she took photography as an elective. ‘For me it was like lightning striking,’ she enthuses. ‘I was like, wow now I can combine my love of art and adventure!’ After graduating Jody became an outdoor guide, escorting clients into the wilderness – often on rafts. Everywhere she went, her camera went with her. ‘A fter a while I had the opportunity to be a photo editor for a big outdoor retail company,’ she explains. Jody embraced the role, and her experience on the editorial side proved invaluable when she later decided to progress her photography career. After a

A paraglider soars over remote dunes on the island of Bazaruto, Mozambique

‘I was seasick for pretty much ten years! But my love of exploration, adventure and photography outweighed the discomfort’ she reveals. It sounds like the perfect set-up, but there was one challenge that proved harder to overcome. ‘I was seasick for pretty much ten years,’ laughs Jody, ‘but my love for exploration, adventure and photography outweighed the discomfort – I just knew I had to suck it up and keep going!’

Rajan, India’s iconic swimming elephant, Andaman Islands, India 16

taking up all of your time and mental processes, and you’re selling enough to live off,’ she says. ‘For me, it ramped up over the ten-year period, but I was probably in the last three or four years of sailing before I could wholly support myself through photography.’ Jody’s story is unique, but for many people the comfort and When to give up the job security of a nine-to-five job is Jody’s transition from amateur hard to relinquish, even when to pro photographer was pretty photography is their passion. gradual – she started In such instances, Jody has submitting pictures to photo some advice. ‘You only have so editors at magazines (where much time and energy in a day, her editorial experience came so if you’re not quite there yet in useful), and over time her hit and you need something to pay rate grew. ‘There’s a point the bills take a job that’s easier where it’s all-consuming, it’s to quit. Go work at Starbucks 4 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Jody’s top tips 1

Think about where you live. Some people live in really expensive cities and their bills are so high that they can’t get out from under them. Obviously, some people can’t move, but if they can I say go somewhere cheaper! Go live in Southeast Asia for a while: the cost of living is cheaper and the photo opportunities are incredible. It will make it easier to make the transition because you’re not tied down with debt. Finding a niche is incredibly important. When you’re a beginner it’s hard to do, because you’re excited about so many different types of pictures, and taking pictures in general. As you get better you narrow things down and find your style. When you do this your work really stands out and you create your branding.

Society tells us we need so many things that we really don’t. When I buy something I’m always thinking about the choices I’m making – I ask myself is this ego-driven or do I really need it? It may sound simple, but it’s actually a step towards pursuing what you really want to be doing in life.

or get something part-time and spend the rest of your time on your photography. If you keep taking pictures you’ll get better and you’ll soon be able to wean yourself off the job – then it’s easy, because you have no emotional connection to it.’ But what about all the people who advise having six months of salary in the bank before jumping ship? ‘That’s just an excuse because you’re too scared to make the leap,’ laughs Jody. ‘I try to have the least amount of monthly bills as I can – I don’t take out loans or buy a car on loan, for example – I really feel that keeping these things to a minimum gives you more options and opportunities to pursue your dreams and passions.’

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Technique

ALL PICTURES © ELIA LOCARDI

An old pagoda and a sea of cherry blossoms frame the beautiful and timeless shape of Mount Fuji in Japan

Elia Locardi

The stars dance above Mount Bromo, Indonesia, as morning fog rolls through the caldera

Since becoming a full-time professional photographer, Elia Locardi has visited more than 65 countries, flown nearly two million miles, and teamed up with many high-profile brands, NGOs and tourism agencies. Elia specialises in travel photography, but is also a well-respected public speaker and educator. See www.elialocardi.com.

Elia Locardi changed careers, and everything else!

n 2012 Elia Locardi and his wife, Naomi, began jettisoning their personal possessions. Elia had been working more than 60 hours a week, balancing his freelance work with his job as a college professor in visual effects and motion graphics. The pair had taken out a sizeable mortgage and set up home, but after a few years, despite their best efforts, they were struggling to make ends meet. Elia then lost his job at the school, and soon found himself facing financial ruin. ‘I was ready to let the bank have it,’ he admits. ‘I didn’t want to live this life we had created for ourselves, or to do the same job any more, so I decided to leave my old life behind.’ As a result, Elia and Naomi sold their house and moved to an apartment on the beach. Once settled, they began to shift their goals from making money to enjoying life experiences. ‘It wasn’t so much about what we had or didn’t

have, but more about what we did with our time and who we spent it with,’ explains Naomi. After a family health scare, the pair found themselves in Italy visiting Elia’s uncle. ’When I went to Rome I was incredibly inspired,’ recalls Elia. ‘I had spent ten years not making a single piece of art for myself, it was all client driven; and here I was in an incredible city, taking photos and having a great time making art.’ At that point Elia decided to prioritise life experiences and become a full-time photographer.

Becoming a digital nomad Once the couple had defined their new dream, they shifted everything in their lives to make it a reality. They began to travel extensively, but still had bills from the apartment, car etc to pay, which essentially restricted their freedom. On a trip to Stockholm it occurred to them that they could become digital nomads – location independent individuals. ‘We

were trying to figure something out when we said what if we didn’t live anywhere and just kept travelling,’ enthuses Elia. It was a lightbulb moment. The pair knew that, provided there was a reliable internet connection, they could work on the road – Elia as a photographer and Naomi as a graphic designer. ‘Once we decided that was what we wanted we were 100% in,’ recalls Naomi. As soon as they got home they began getting

rid of their possessions, and drastically reducing their bills. It was a tough process, but allowed them to get on the road. ‘It also did one other thing for us: it eliminated the need for a round trip ticket,’ explains Elia. ‘The idea was to travel and spend more time in each location.’ The pair now run photo tours, teaching workshops, and using their travel experience to further their ambitions (though they now have a base in Florida).

Elia and Naomi’s top tips 1 2 3 Prioritise life experience over making money. Everyone is different but think about what really matters.

The barrier between getting what you want and not getting what you want is trying – you have to try.

Don’t put off things that are important to you, just to maintain a lifestyle you don’t really want.

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YOUR LETTERS

Inbox

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LETTER OF THE WEEK

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Advertising Email samuel.shaw@ti-media.com Inserts Call Mona Amarasakera, Canopy Media, on 0203 148 3710

Avoiding EVFs

Group Editor Nigel Atherton Geoff Harris Deputy Editor Andy Westlake Technical Editor Michael Topham Reviews Editor Amy Davies Features Editor Technique Editor Hollie Latham Hucker Jacqueline Porter Production Editor Chief Sub Editor/Features Jolene Menezes Acting Chief Sub/Features Amanda Stroud Sarah Foster Art Editor Steph Tebboth Senior Designer Andrew Sydenham Studio Manager Photo-Science Consultant Professor Robert Newman Hollie Bishop Ofﬁce Manager Special thanks to The moderators of the AP website: Andrew Robertson, lisadb, Nick Roberts, The Fat Controller

Advertising Head of Market Liz Reid 07949 179 200 Senior Account Manager Samuel Shaw 07970 615 618 Production Coordinator Chris Gozzett 0203 148 2694

Publishing team Chief Executive Officer Marcus Rich Group Managing Director Adrian Hughes Managing Director Kirsty Setchell Printed by Walstead UK Limited Distributed by Marketforce 5 Churchill Place, London E14 Telephone 0203 787 9001 Editorial Complaints We work hard to achieve the highest standards of editorial content, and we are committed to complying with the Editors’ Code of Practice (www.ipso.co.uk/ IPSO/cop.html) as enforced by IPSO. If you have a complaint about our editorial content, you can email us at complaints@ ti media.com or write to Complaints Manager, TI Media Limited Legal Department, 161 Marsh Wall, London E14 9AP. Please provide details of the material you are complaining about and explain your complaint by reference to the Editors’ Code. We will endeavour to acknowledge your complaint within 5 working days, and we aim to correct substantial errors as soon as possible. All contributions to Amateur Photographer must be original, not copies or duplicated to other publications. The editor reserves the right to shorten or modify any letter or material submitted. TI Media Limited or its associated companies reserves the right to re use any submission sent to the letters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer® is a registered trademark of TI Media Limited © TI Media Limited 2020 Amateur Photographer (incorporating Photo Technique, Camera Weekly & What Digital Camera) Email: amateurphotographer@ ti media.com Website: www.amateurphotographer.co.uk. TI Media Limited switchboard tel: 0203 148 5000 Amateur Photographer is published weekly (51 issues per year) on the Tuesday preceding the cover date by TI Media Limited, 161 Marsh Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London E14. ISSN 0002 6840. No part of this publication may be reproduced, stored in a retrieval or transmitted in any format or medium, whether printed, electronic or otherwise, without the prior written permission of the publisher or the editor. This is considered a breach of copyright and action will be taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed of in a mutilated condition or in any authorised cover by way, or by trade, or annexed to any publication or advertising matter without first obtaining written permission from the publisher. TI Media Limited does not accept responsibility for loss or damage to unsolicited photographs and manuscripts, and product samples. TI Media Limited reserves the right to use any submissions sent to Amateur Photographer Magazine in any format or medium, including electronic. One year subscription (51 issues) £155.50 (UK), e259 (Europe), $338.99 (USA), £221.99 (rest of world). The 2015 US annual DEU subscription price is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Subscriptions records are maintained at TI Media Limited, 161 Marsh Wall, London E14 9AP. Air Business Ltd is acting as our mailing agent.

LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

Editorial team

Regarding the letter from Jeremy O’Keefe about how EVFs give him motion sickness (AP, 7 December). I suffer from epilepsy after brain surgery some years ago. I looked into going mirrorless about five years ago but could find nothing I could manage, but I have a neck problem so I still wanted to reduce weight. At The Photography Show at the NEC I got chatting to the Olympus staff who were very helpful and explained about such things as refresh rates – but at the end of the day they couldn’t commit to saying they would be fine and said that I should try before I buy. Anyway I’m still an optical man. I have a Nikon D5500, a Fujifilm X20

Film buff Mark owns a Fujifilm X20 among other cameras, as he finds using EVFs difficult

and a Fujifilm X100S, all of which offer optical viewfinders. I am also okay with my Sony compact as long as I don’t use the viewfinder. In short I have found a workaround and just hope that Nikon doesn’t drop the optical viewfinder completely and that my D5500 keeps going. Mark Green

Win!

A Samsung 64GB EVO Plus microSDXC with SD adapter Class 10 UHS-1 Grade U3 memory card supports 4K UHD. Offering R/W speeds of up to 100MB/s /60MB/s and a 10-year limited warranty. www.samsung.com/uk/memory-cards.

Bridge of size

and seamless focal length I was a keen photographer adjustment. with my own darkroom in Put these two together the 1960s, and for many and behold - we have the years I read AP from which modern bridge camera. I I gained most of my now own several of these knowledge. I have recently and they have transformed returned to the hobby, and my photography. What I to your excellent magazine, would have given for one in and the changes in the 1960s! My question is, technology over the compared with DSLRs with intervening 40 or so years interchangeable lenses, are profound. why do bridge cameras We now have digital receive such relatively cameras with highsmall coverage in such an resolution sensors, and excellent magazine? bright, high-resolution John Gordon screens and viewﬁnders, while modern zooms Bridge cameras are ideal can now effectively offer for those who need long in a single lens system a zooms for, say, wildlife or very wide range of instant sports, and want a

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claim a lack of detail. What puzzles me most is how a potential camera or lens buyer can make the key decision to pick one item over another. I would be interested to know the average length of ownership among AP readers for gear choices, and what becomes the actual trigger to swap for a new alternative. Among my own circle of friends, who still use cameras and not smartphones, the typical period of ownership is ﬁve years before there is an inclination to spend again. Greg Sadler

compact all-in-one package. But the trade-off is they have much smaller sensors than interchangeablelens models, so the resolution, noise and dynamic range are not comparable. For those who don’t need a big zoom the larger sensor is a more valuable beneﬁt – Nigel Atherton, editor

I’m returning to photography after illness, and want to shoot print film and slides again. Where’s the best place to buy film these days, and get it processed? Prices for these services seem to be ten times what they were ten years ago! I used to shoot mostly Fuji Sensia transparencies, process paid. I’d return to slides if good film processing was still available and not outrageously priced. Otherwise print film, preferably Fuji. I live in North Yorkshire, on the edge of the Dales. Jonathan Herbert Most camera shops sell film and offer processing and there are still more processing labs offering an online service than we have space to list here. It would be interesting to hear the recommendations of our film-using readers – Nigel Atherton, editor

What’s the trigger?

The useful Buying Guide published in AP at the start of each month serves many purposes. Such is the variety and price spread of items featured, nobody could

Jonathan used to shoot Fuji Sensia transparencies 21

YOUR LETTERS

November issue of AP with two really good articles: Ditch the tripod this winter and Improve noisy photos in PhotoLab 2 – just the articles needed once the tours ﬁnish and the tripod ban comes into place. David Cook

Card error

A year ago I responded to a letter from a reader who was so frustrated by his Lumix camera’s failure to connect to his SD card, that he ‘threw the camera into a waste bin’. I responded that I have Photos in the WPOTY books have accompanying camera info owned Lumix cameras since the G1 launched and I had never experienced behind the pictures as On the theme of photo such a fault. However, it is well as full camera and disasters (‘Letter of the now time to perhaps eat exposure info. The week, 30 November) an humble pie. annual Wildlife aunt of mine who worked For my work, I use a Photographer of the for UNICEF was sent on a Year book features each Lumix FS10. which worldwide tour to explore captures thousands of year’s winners of the orphanages in many world’s most prestigious JPEGs in a typical working different countries. She year. Recently it suddenly wildlife photography took with her a rangefinder competition. The current refused to take camera and many reels of version is Portfolio 29, photographs, and insisted film. It was only at the end so there are many years’ that the SD card needed to of the tour when standing be reinserted, but no worth of previous in front of the pyramids in collections out there. The amount of fiddling with the Egypt that she was SD card would work. It British Wildlife approached by a stranger looked as though my Photography Awards who said, ‘Madam, are you (currently on book 10) faithful little camera had aware that you have a lens follows much the same given up the ghost. I was cap on?’ Every shot she format but focuses on UK forced to press my iPhone had taken in the preceding wildlife subjects – Nigel into service, which has a six months was blank. That Atherton, editor fine camera but you can’t to me takes the biscuit! use it one-handed, and it Ian Macilwain won’t hang on a strap around your wrist, as you make written notes. Then it I’m struggling to find a In the past few years many decided to flatten its hardback book of wildlife photos have graced the battery, by uploading photos with the camera pages of AP taken in the several hundred photos to settings alongside each slot canyons of the far west the cloud in a poor phone one. My wife has been of the USA. Having just signal area. Sigh! to South Africa, where returned from a holiday to At the weekend, rather she really got the bug for Utah and Arizona, I than throw my little photographing wild animals thought I might let your camera into a bin, I settled with a Sony camera and a readers know that the down to try to fix it. After number of lenses, and photographic tours to an hour I was about to wants a hardback book of Antelope Canyon near throw in the towel when a wildlife photos with the Page, Arizona, stopped in message popped up on camera settings for each December. the rear screen: ‘Try photo. My sorties so far This will mean tripods or another SD card’. I inserted have not been successful. supports will no longer be a spare SD card and the Ken Norton allowed to be taken in! In fault cleared immediately. future all photographs will So yes, I have now I can suggest two series have to be taken handheld, encountered the ‘reinsert of wildlife photography so it’s going to be a lot the SD card’ fault. But the books that both feature more difficult to get that fault appears to have been incredible photographs, winning photo. a worn-out SD card, and accompanied by detailed When I got home, I was not a worn-out camera. captions on the stories delighted to receive the 16 David Price

Back in the day

A wander through the AP archive. This week we pay a visit to January 1998

1998

Lens cap on

Wildlife book

Land of the tripod-free

AP KICKED OFF 1998 with two photography legends. The cover story was an interview with David Bailey on his 60th birthday (it’s on 2 January if you want to send him a card) at which he exclusively revealed that he didn’t ever want to die. You read it here ﬁrst, folks. At 82 he’s still on course for his wish to come true. Meanwhile ‘Carlos Clarke’s calendar capers’ showcased Bob’s latest work – the 1998 Powergen calendar, which featured a roll-call of both male and female celebrities of the day, including Denise van Outen with a tiger cub, Hugh Laurie as a biker, Angus Deayton as Zorro and, the most enduring image from the set, Zoe Ball standing on a ball. A great visual pun, though he missed the opportunity for a double by not shooting Dani Behr with a bear. Or indeed bare. The low point was AP’s crystal ball-gazer predicting a ‘rosy’ future for APS. ‘LOL’, as the kids say these days.

Zoe Ball, Dani Behr and Denise van Outen as shot by Bob

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101 things to before you die

You’ll never be short of inspiration with our huge bucket list of ideas. How many have you already crossed off?

brand new year is exactly the time that gets us thinking about challenges – both inside and outside of the world of photography. Perhaps you’ve already got a bucket list of experiences you’d like to complete before, well, the inevitable happens. We thought it would be fun to stretch that idea to photographic subjects – something you can refer to throughout the coming months and years – whenever you’re short of an idea or two. Of course, there are far more than 101 things on this planet (and beyond) you could photograph, but we thought printing 1,001 would be a little ambitious. Instead, use this list as a springboard that you can add to, tweak or even completely ignore whole sections of if you prefer. 24

It can also be fun to see how many of our suggestions you’ve already struck off your own list for a little ego boost. Where that’s the case, perhaps you can revisit the subject, challenging yourself to improve on images already captured. Another fun challenge is to see how many ‘things’ you can fit into one composition – a rainbow over a lake in a national park strikes three off in one go, for example. We’ve split the ideas into different genres or types, so you can jump straight to your favourite. It could also be an opportunity to try a completely new genre, too. Let us know which subjects are on your ultimate photography bucket list, at the usual address (see page 3). In the meantime, we hope you find the ideas on the following pages inspirational.

photograph 4

Locations & landscapes This is by far the biggest section in our list, simply because the genre is so wide-ranging. Indeed, we could have concentrated the whole list on locations. Use these ideas when you’re short of ideas for your next outdoor challenge...

1 A castle

2 A ruin

Britain over the past couple of millennia, so it’s an obvious, but classic choice that every photographer should have at least one image of.

the UK, you’re never too far from a historic ruin. Look out for those which form part of the landscape with a stunning backdrop, or go for close-up abstracts for another approach.

Thousands of castles ✓have been built in

country ✓soLivingrichininahistory as

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4 A British National Park are ✓There 15 National

Parks in the UK, so you shouldn’t be too far away from some gorgeous scenery. Why not try to photograph them all? Visit nationalparks.uk for the full list, as well as other useful information.

5 A foreign national park Once you’ve ✓crossed off

a British National Park, set your sights a little further afield. Nearly 100 countries across the globe have lands which are officially classified as national parks.

3 A light painting

✓

One for the creative among you. Light painting can be strangely addictive. While there’s plenty of specialist light-painting gear available on the market, all you need to get started is something simple such as a torch, or even your mobile phone.

6 A historical landmark

7 A monument

depending on how you want to play the game. Some countries, such as the US, have lists of National Historic Landmarks, which is a great place to start your research.

memorial buildings, and even the Pyramids. Spoiled for choice, you should find it relatively easy to add at least one monument to your list.

‘thing’ that is open ✓toAnother fairly broad interpretation,

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Monuments can cover ✓everything from statues to

101 things to

photograph beforeyoudie 8 An optical illusion

✓aAlotsillyofonefunyouwithcanwhilehavealso

learning to greater appreciate how perspective will impact your images.

9 A storm

Anyone can ✓take a picture

in fair-weather conditions, but a stormy landscape brings with it a great deal more drama. Coastal locations tend to be obvious places to catch waves crashing and the like – keep an eye on the Met Office website (metoffice. gov.uk) for the latest information about UK storms. Perhaps you could even try to photograph every officially named storm this year.

10 A pier

✓

There are all kinds of piers you could consider for this classic, quintessentially British subject. In terms of seaside piers, the National Piers Society gives a figure of 55 surviving examples in England and Wales.

11 A waterfall

project in its own right. Although the most aweinspiring examples tend to be overseas, we have plenty to choose from in the UK, too. Particularly beautiful falls can be found in Scotland and Wales – try searching for ‘UK’s best waterfalls’ online for ideas. 26

Waterfalls of the world ✓could easily be another

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Quickfire ideas Not enough inspiration listed here? Add these simple ideas to your list, too.

✓A16capital city ✓A17mountain ✓A18lake ✓A19beach ✓A20sunset ✓A21sunrise ✓A22snowscape ✓A23garden ✓A24religious building 25 Spring 26 Summer 27 Autumn 28 Winter 29 A city skyline 30 A bridge

✓ ✓ ✓ ✓ ✓ ✓ ✓

Whether you stand in your own back garden, or travel further afield, astrophotography will add something special to your collection of landscape photographs. Try searching online to find the best global locations for stargazing.

✓

Here’s another challenge for every landscape photographer to try. Daytime landscapes are one thing, but capturing the same scene after dark ticks another thing off the list.

14 A road

✓

Roads might be something of a trope when it comes to landscape photography, but everyone should have at least one classic road shot under their belt. Empty roads tell a story of escape and adventure, while busy ones can be used for other purposes, such as traffic trails. Just remember to always stay safe.

13 A nightscape

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12 A star trail

15 A UNESCO World Heritage Site

As of 2019, there were 1,121 World Heritage Sites ✓across the world. You have 167 countries to choose

from, with the highest concentration found in China and Italy. It could be a lifetime’s work to photograph them all – you’ll find 32 in the UK. Visit whc.unesco.org for a full list. 27

Sports & action

A challenging but satisfying genre. Here are some ideas to help you practise tracking, panning, motion blur and working with moving and unpredictable subjects

special events for this kind of photography. Head to your local skate park for some great action subjects – it’s best if you ask permission before you start pointing your lens, though.

31 Motorsport

34 A train

of events such as Formula One, Motocross, IndyCar, touring car racing, monster truck racing and many more. Try searching online for motoring calendars to give you an idea of what’s taking place near you. Smaller events may be more inclined to give you access to the photography pit – it’s worth emailing organisers in advance to ask.

fantastic opportunities for photographers to add a classic shot to their repertoire – with the movement slower and gentler than some of the subjects listed here, it makes for a great introduction to action photography.

Quite a broad subject in its ✓own right, you’ve got the pick

32 Cycling

✓

Another subject with many varieties – road and mountain biking in particular often takes place in extremely photogenic locations. Visit ukcyclingevents. co.uk to find a comprehensive list of nearby activities.

You don’t necessarily ✓need to seek out

Heritage railway ✓days and events offer

33 Urban sports

35 An airshow

36 Dance

events that are easy to find online. Keep an eye on local newspapers and websites for details of flyovers from display teams like the Red Arrows that you can access from public ground, too.

they add a special something to your photographic portfolio. Contact local dance groups and theatres – photographing their rehearsals is a great way to practise.

are dozens of airshows ✓inThere the UK every year, with

movements are ✓notGraceful easy to capture, but

Quickfire ideas Why not add these to your list, too?

37 ✓Team sports 38 ✓Athletics 39 ✓Watersports ✓A40boat

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101 things to

Street

probably never been ✓aThere’s more opportune time to

catch a protest. Candids, crowd shots, interesting characters – you’ll ﬁnd them all at a typical protest. Keep an eye on your local newspaper or news website to ﬁnd details of those happening nearby, even if you don’t agree with the cause.

photograph beforeyoudie

42 A rainy day

✓

Living in Britain means you don’t just have to put up with the rain – you really need to embrace it. Street photography is often boosted by the presence of a little moisture – with hurried passers-by, puddles (handy for reﬂections), umbrellas, splashes and more to take advantage of.

43 A candid moment Spotting candid moments ✓that will make excellent street

shots is an entire skill in itself. Luckily there’s plenty of opportunity to hone your practice with no cost attached – all you need to do is head to your nearest town or city, ﬁnd a spot to sit, watch, and wait.

41 A protest

Street is a genre that anyone can attempt, with myriad subjects ripe for the picking. Achieving good shots is another matter, though – here’s how to get started

44 A parade

costumes, more large crowd scenes and ✓yetOutlandish more interesting characters, parades are a great

time to practise your street photography. Generally people are happy to be photographed and it’ll boost your conﬁdence to get shots on more normal days. Again, local news sources will be your key places to go for details of events near you. © AMY DAVIES

45 A reflection are ✓anReﬂections easy subject

to tick off the list, but they nevertheless make compelling subjects. On the street, urban reﬂection opportunities abound, from puddles all the way up to canals and rivers.

Quickﬁre ideas Extra street subjects to have a go at

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46 ✓Statues 47 ✓Fountains 48 ✓Buskers 49 Street art/ ✓grafﬁ ti 29

101 things to

photograph before you die

Some of those subjects listed here can be tricky to find, while others you might not need to travel further than your own back garden or local park

50 A cat

51 An urban animal

great photographic subjects, but are much harder to please than dogs – you might find you have your work cut out to get one to do what you want it to.

Urban wildlife gives you plenty of options – foxes, badgers, hedgehogs, even herons are just some subjects to look out for. Visit wildlifetrusts.org for hints on where to find your closest urban wildlife.

Prefer a feline ✓companion? Cats make

You don’t need to travel far to capture ✓wildlife in its natural environment. © ALEX WITT / ALAMY

Animals & nature

54 A safari animal

Few things can beat the thrill of ✓seeing an animal in its natural

52 A bird

✓

Another subject which could easily fill the entirety of this list. Whether you favour exotic birds or those you’ll find at the end of your garden, you’re spoiled for choice when it comes to capturing winged creatures. Head to rspb.org.uk for an A-Z of birds you’ll be able to find here in the UK. 30

53 An underwater animal

This can be a frustrating ✓challenge, as it’s much harder

to find underwater animals – not to mention the fact that you’ll need specialist underwater equipment. But persist and you’ll be rewarded with some of the most stunning animal photography you’ll ever take.

environment. If you’re lucky enough to be able to partake in a safari, you’ll know how special the experience is. Staying closer to home, there are several safari parks right here in the UK.

Quickfire ideas

55 An insect or arachnid

✓

You could make an entire career getting up close and personal with creepy-crawlies. With thousands of species to choose from – some admittedly more photogenic than others - it should be relatively straightforward to tick this one off the list.

56 A dog

Nothing can ✓beat the bond

you have with your own dog, but asking the owner to be nearby during a dog portrait session will help to get the look you want.

A reptile ✓or57amphibian 58 ✓Funghi 59 A farm ✓animal 60 An animal ✓from your garden ✓A61tree

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101 things to

Portraits & people A surprisingly diverse subject that goes beyond just a simple ‘portrait’. Try one of these to add a little bit of personality to your portfolio

over every element of a portrait shoot, including backgrounds, lighting and costumes. Look for local photography studios in your area that allow you to hire by the hour or day.

62 A professional model

Photographing willing friends and family is ✓great, but a professional model is a completely

different experience. They’ll bring with them confidence, knowledge of how to pose and will probably have plenty of ideas of their own. Use sites like Model Mayhem and StarNow to look for models to hire – or you could offer ‘time for prints’ for those looking to build their portfolio while you’re practising.

63 A portrait with flash

Natural light portraits are beautiful, but working with ✓flash is a completely different set of skills. Whether

in the studio or used outdoors, using flash can elevate your portrait photography skills enormously.

beforeyoudie

Nowhere else will you ✓have complete control

photograph

67 A studio portrait

68 An environmental portrait Showing your subject in their ✓own environment creates a

story that is hard to replicate with just a close-up headshot. It could be in their home, their workplace, or somewhere else entirely that’s relevant to the sitter.

64 A re-enactor

65 A fine-art nude

66 A stranger

people portfolio – you’ll almost never come across a re-enactor that doesn’t want to be photographed. Keep an eye out for events which include those dressed in historical and vintage costume.

beauty of the human body. It can be daunting if it’s something you’ve never tried before – and it can be all too easy to err on the side of distasteful. Look for specialist workshops that will introduce you to the genre when you’re just starting out.

a nerve-racking experience, but it’ll soon have you thinking on your feet. Start by looking for those who are outlandishly dressed – they’re more likely to say yes to being photographed, which will give you a confidence boost.

This kind of photography ✓celebrates the natural

a stranger ✓toApproaching pose for you can be

A fun and inventive ✓way to add to your

72 A selfportrait

There’s a big ✓difference between

a self-portrait and a selfie. Turning the lens on yourself is a great way to learn about pose, lighting and expression – and the subject is always available.

Quickfire ideas Tried all those? Give these a go, too… 73 ✓Live music baby ✓or74aAchild ✓A75silhouette A member of ✓the76 royal family ✓A77celebrity

69 A wedding

70 Hands

A great way to shoot weddings without the pressure of being the main photographer is to offer to be a second-shooter for an established professional. You’ll be tasked with getting important, but slightly less crucial, shots from different vantage points.

You’ll often learn more about a person’s character and life from their hands than their face. They can also be used to tell or create a story.

✓

68 © TETRA IMAGES / ALAMY

71 A travel portrait

People offer ✓probably the best

insight into a destination’s culture, traditions and way of life. You don’t always need to travel far to find interesting characters, though, as even a trip to the next county can yield compelling subjects.

✓

Still life & macro

All of these can be shot without even having to leave the house – perfect for a rainy day, if you don’t have much time or you don’t fancy travelling

81 Frozen items

85 Smoke

Gather together items that you can freeze in blocks of ice – autumn leaves are an obvious one, but you can give anything a try.

the water splashes, the next home project to get under your belt is smoke. Again, you can have a lot of fun experimenting with different colours and shapes.

An easy project that requires ✓just a little forward planning.

Once you’ve ✓moved on from

82 Oil and water

can create beautiful abstract ✓You images with the simplest of

78 Jewellery and watches

Unleash your inner magpie by ✓gathering together your shiniest

possessions. Watches are particularly photogenic, especially vintage and retro pieces. Keep your eye out in junk and charity shops for great subjects – they don’t need to work (or be expensive) to make a great image.

Possibly the best thing about this subject is getting to eat the rewards afterwards. Baked goods are perennially popular, without the worry of the produce going cold or melting before you can photograph (or devour) it. Showing the process of food in production is also worth trying, as well as the ﬁnished article.

83 A water splash

There’s no better way to learn ✓about ﬂash than the classic

water splash. Once you’ve perfected the timing, work on different shapes and patterns – you can easily lose a day to this project.

86 A fruit

Bright colours, ✓unusual shapes,

a chance to bring out the macro lens – you don’t need to look further than your fruit bowl for a classic still-life subject to point your lens at.

Quickﬁre ideas Need more ideas for simple still-life subjects? How about these?

you don’t have the beneﬁt of ✓aIf cast of extras or models ready

to pose for you, get creative with toys or ﬁgurines instead.

80 Flowers

Of course there are thousands of ✓ﬂowers you could shoot outside,

✓

79 Figurines

but shooting cut ﬂowers in the comfort of your own home removes problems such as movement from the breeze, foliage getting in the way and, of course, getting rained on.

84 84 Food

82 © ALEXEY STIOP / ALAMY

ingredients. All you need to do is add some oil to water in a clear container, on top of a piece of card.

✓A87vegetable ✓An88antique 89 ✓Tools 90 ✓Coffee 4 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Everything else

Here’s a selection of subjects that finish off our list and didn’t quite fit into any of the other categories, but are still worthy of your attention

91 A religious holiday

92 Neon signs

Chances are you can tick this one off right away, with Christmas having just gone by. There are dozens of different opportunities throughout the year to capture something interesting, though. Head to interfaith.org.uk, which has a calendar of religious festivals throughout the year to give you ideas.

necessarily have to head to the Las Vegas strip or megalopolises such as Tokyo to find them – keep an eye out in your own local town or city, too.

beforeyoudie

95 The moon

Another subject for astronomy ✓fans, you can try photographing

96 Your home town It can be easy to dismiss ✓where you live as a potential

photographic subject – after all, you see it every day. But others haven’t, so look for projects, people, unusual sights, abstract shots and everything in between. Start with your street and then move further afield if you’re stuck for where to begin.

Once you’ve got moon shots under your belt, the ultimate challenge has to be capturing a total solar eclipse – not least because of how rarely they happen. According to estimations, on average they occur every 18 months somewhere on Earth – less than total eclipses might be a (slightly) easier task if you’re struggling.

94 A texture

✓

Once you start looking for textures to photograph, chances are you won’t stop seeing them. Whether it’s peeling paint on an old door or something created in nature, there’s beauty to be found in even the most mundane of scenes.

93 Total solar eclipse

✓

photograph the moon at its various phases. Visit moonphases.co.uk to check the dates for full moons, new moons, crescents, and everything in between.

✓

Tempting you in with their vivid colours, interesting shapes and bright ✓lights, neon signs make for fantastic photos. Great as they are, you don’t

101 things to

Quickfire ideas Round off your list with these last few ideas – and don’t forget to let us know your suggestions, too.

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✓or97fogMist ✓A98mask 99 ✓Fireworks 100 Abstract ✓light and shade ✓A101festival 35

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Reader Portfolio Spotlight on readers’ excellent images and how they captured them 1

Carrie Calvert, Cumbria

Carrie says she fell into photography when she moved from the city to the countryside and spotted some short-eared owls displaying and hunting near her house. Her favourite subject is wildlife as she loves to discover the

animals’ personalities and behavioural traits. She works in a hospital and naturally ﬁnds that time spent out on the fells, surrounded by beauty and wildlife, is a great tonic as well as an escape from the stresses of a demanding job. This superb selection of images is certainly a testament to time well spent in the great outdoors.

Black Grouse Calling

1 This image was taken in Scotland at dawn and Carrie took care not to blow out the white of the tail feathers with the wrong exposure. Nikon D7200, 300mm, 1/200sec at f/5.6, ISO 1250, bean bag

Fighting Terns

2 While on a visit to the Farne Islands in Northumberland, Carrie captured this great action shot in challenging bright conditions, luckily without getting pecked! Nikon D7200, 80-400mm, 1/8000sec at f/5.6, ISO 800 38

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NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

YOUR PICTURES IN PRINT

The Reader Portfolio winner chosen every week will receive a copy of Skylum Luminar 4, worth £81. See www.skylum.com

Submit your images Please see the ‘Send us your pictures’ section on page 3 for details or visit www.amateurphotographer. co.uk/portfolio

Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools with remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, while over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out.

The Horse Whisperers

4 Carrie took this in the pouring rain ‘to show you should go out whatever the weather’. The lighting was awkward as it was a grey, rainy day but a great result nonetheless. Nikon D5100, 70mm, 1/400sec at f/4, ISO 1000

Short-eared Owl at Dawn

5 Patience certainly pays off as Carrie had to wait three hours for this owl to appear. Using a wide aperture and making the most of the light has made for a successful shot. Nikon D5100, 80-400mm, 1/500sec at f/5.6, ISO 200, beanbag

Greylag Goslings

3 These goslings had lost their parents and so headed straight for Carrie at quite a pace on seeing her. A wonderful image, even more so when you consider she had to lie low in the grass to get the best angle for the shot, take it quickly and leave them alone so that their parents could then find them. Nikon D5100, 80-400mm, 1/320sec at f/6.3, ISO 800 subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 January 2020

YOUR PICTURES IN PRINT

1 Downpour in the City by Brian Cresswell This rainy-day scene has been given an effective black & white treatment.

2 Gannet by Mallory Mercer Capturing behaviour elevates this above what would be an ordinary bird study.

5 Sunset over Rum Cuillin by Dom Beresford This classic landscape has been framed perfectly.

6 A Young Audience by Stuart Gilder A sweet moment, well observed, captured and taken just at the right time.

Join

Club the

Ilkeston Photo 2000 is always happy to welcome new members

When was the club founded? It’s our 20th anniversary this year. We were founded in 2000 (hence the name Ilkeston Photo 2000) by members of the local arts club who wanted to concentrate on photography. What does your club offer to new members? We are a friendly, welcoming club and are always happy for new members to join us. The skill level of new members is not important because our more experienced people are always happy to answer any questions and offer advice if required. Some of our club evenings are dedicated to building up technical photography and members’ editing skills. Further help and photo critiques are available via our Facebook group.

Describe a typical club meeting. From September through to May we meet at 7.30pm finishing around 10pm with a break in the middle for refreshments. There are several types of meeting – guest speakers, competitions, studio evenings, digital presentations and more. Our print competitions are open whilst DPI ones are themed. This year the topics are Water, Song Titles, Curves and Contours and Mono Street Photography. Something for everyone to have a go at. In the summer we have a varied program of outings and photo walks offering the chance to take photos and practise our skills. Do you invite guest speakers? We have a guest speaker at least once a month during the season. In 2019 to 2020 our booked speakers include Ian Daisley, Ashley Franklin, Erica Oram and Glenys Garnett.

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YOUR PICTURES IN PRINT © PHIIL PEAT © GERALDINE CURTIS

3 Reds in Action by Phil Peat A great action shot that portrays all the excitement of the iconic display team.

4 Balloons at Chatsworth by Geraldine Curtis A vibrant landscape scene that has been very well composed. 7 Chelsea Pensioner by Jayne Woodward This portrait captures the mood of the scene extremely well. Excellent use of the poppy background, too.

8 Walking the Dog by RJ Bramley Superbly framed, all of the elements of this composition come together for a fantastic street shot – topped off by the dog’s expression.

9 The Sage at Gateshead by Sue Tawn The reflections in this beautiful night scene work extremely well to really set off the composition. Beautifully framed.

Club essentials

Ilkeston Photo 2000

Ilkeston, Derbyshire Meets Tuesdays, September-May. 7.30pm at the Shopmobility Centre, High Street, Ilkeston, DE7 5JA Membership £20 a year plus £2 per meeting attended Contact Via our Facebook page Ilkeston Photo 2000 Website www.ilkestonphoto2000.net

Do members compete in regional or national competitions? Yes, competition entry is encouraged but not an essential part of being a member. We are afﬁliated to the North & East Midlands Photographic Federation and through them to the Photographic Alliance of Great Britain (PAGB). Several of our members are keen competitors and also enter national salons. How many members do you have? There are currently about 30 members and we have room for more – please do come and join us.

Are any residential trips or outings planned? We are actively discussing some exciting options for next spring/summer. Several of our members enjoy bird and wildlife photography so a trip to Frampton Marsh is on the cards. Our summer programme may include Bempton Cliffs as well. Do you have any funny stories about the club? There are a couple. The ﬁrst involves our club secretary Sue who went to the bathroom at the end of the meeting. We thought everyone had left, set the alarm and locked her in. The

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second is where a guest lecturer was giving a talk on portraits and two members of the club recognised themselves dressed up as goths. What are the club’s goals for the future? We like to encourage photographic talent in the local community and so would welcome more members. We do very well in competitions for a club of our size but the competitive amongst us would like to win a few more.

Want to see your club featured on these pages? Drop us a line for more information at ap@ti-media.com 41

Testbench

VINTAGE CAMERAS

A wet-plate camera, made by Horne & Thornthwaite in London

Replica of one of Fox Talbot’s miniature cameras, made in Wiltshire

FILM STARS

Best of British John Wade fondly recalls the era when Britain had a strong and successful camera-making industry

cameras of a very traditional wood and brass design right up until the business closed in 2017. Into the roll film and 35mm age, names such as Ilford, Reid, Ensign, Wray, Coronet, Corfield and many more proliferated. So it went on, right up until the late 1950s when the Japanese began making inroads into the market with an initial trickle of cameras that soon became a deluge. What follows is a round-up of a small selection of cameras that were made in Britain. All of them are collectable. Many are still usable; most – especially those that take 35mm and 120 roll film – with ease, others with perhaps the need for a little ingenuity. Together they show the kind of quality, range and sometimes eccentricity that you might have read about in AP in the days before the shutters came down on the British photographic industry.

THIS PICTURE COURTESY OF GANDOLFI ALL OTHER PICTURES © JOHN WADE

hink about countries where cameras are made today and Japan comes immediately to mind. Go back 60 years or more and it was Germany that led the field. But right from the earliest days of photography, Britain held its own. When William Henry Fox Talbot shot the world’s first negative in 1835, he used a tiny camera made for him by a local carpenter at Lacock in Wiltshire. As photography moved into new eras, British manufacturers such as Dallmeyer, and Horne and Thornthwaite, both in London, began making cameras for the wet-plate process. Later still, as cameras moved towards the use of dry plates, names like Sanderson in London and Lancaster in Birmingham came to the fore. Then there was Gandolfi, which began life at Peckham in the 1880s, continuing to make plate

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The cameras

Newman & Guardia’s Special Sibyl

Special Sibyl LAUNCHED 1909

Sanderson Regular hand and stand camera

MANUFACTURER Newman & Guardia, London

made, notable for the universal swing movements of the front panel. The Regular is a smaller model, known as LAUNCHED 1902 a hand and stand camera, because it MANUFACTURER Houghton & Son, London could be used handheld or on a tripod. It takes quarter-plate (3.25x4.25in GUIDE PRICE TODAY £150-200 /8x11cm) glass plates and allows for Frederick Sanderson ﬁrst made cameras interchangeable lenses and shutters. A in London in 1895, before handing over hinged panel in the top accommodates manufacture to Houghton. Initially, large- the bellows when large amounts of rise format wood and brass cameras were are applied to the lens panel.

Sanderson Regular

Aptus Ferrotype Camera LAUNCHED 1913 MANUFACTURER Moore & Co, Liverpool GUIDE PRICE TODAY £300-350

The first Aptus cameras were made in the late 1800s and continued right up until the 1950s. This 1913 model is an early form of instant picture camera. It takes ferrotypes, or tintypes, which are held in the base of the camera, pulled into the shooting position by a leveroperated mechanism on the side, then dropped into a tank below the camera to develop in a one-shot developing and fixing solution in about five minutes. Because the images are made on tin, they can be removed from the processing solution with a magnet.

The Aptus, an early type of instant picture camera

GUIDE PRICE TODAY £150-250 Newman & Guardia began making cameras in 1908, and the Special Sibyl was launched the next year to take quarter-plate size glass plates or sheet film. It features a drop-down bed with runners each side to accommodate a domed front panel, which pulls out on scissor struts. The shutter, one of the quietest ever, is tensioned by twisting a lever below the lens and released by a small button to one side of the front plate. A reflecting, waist-level viewfinder unfolds as the lens panel is pulled out from the body to its shooting position.

Ruby Horizontal LAUNCHED 1915 MANUFACTURER Thornton Pickard, Altrincham GUIDE PRICE TODAY £75-100 Single lens reflexes (SLRs) did not begin with 35mm cameras. Way back in the glass-plate era, Thornton Pickard was among the manufacturers that produced plate camera versions, usually with waist-level viewfinders. This one has a focal-plane shutter speeded 1–1/1,000sec and a Ross Xpres 4.75in f/4.5 lens that moves back and forth on bellows to focus, adjusted by a knob on the side of the body. It takes 6x9cm cut film or plates, but for use today it can be equipped with a roll-film holder to shoot pictures on 120-size film. Ruby Horizontal, an early SLR made by Thornton Pickard in Cheshire 43

Testbench

VINTAGE CAMERAS

Coronet Vogue, made in Birmingham

Purma Special, a camera with a gravity shutter

Purma Special LAUNCHED 1937 MANUFACTURER Purma Cameras Ltd, London cameras and even subminiatures. The Vogue is one of the company’s more stylish cameras. Made in brown Bakelite, it features a drop-down bed and a self-erecting lens and shutter panel fronting brown bellows. Shutter speed, aperture and lens focus are all ﬁxed. It uses Vogue 35 ﬁlm, similar to, but not the same as, Kodak’s 828 size on which it produces 3x5cm images.

Coronet Vogue LAUNCHED 1937 MANUFACTURER Coronet Camera Company, Birmingham GUIDE PRICE TODAY £35-45 Coronet was proliﬁc in making simple, easy-to-use box cameras, folding

GUIDE PRICE TODAY £20-30 Purma cameras had one unusual feature – a gravity shutter. It provides three speeds, changed by a weight hanging from one curtain of the metal focal plane shutter. Holding the camera horizontally gives 1/150sec, holding it vertically one way gives 1/25sec, holding it vertically the other way gives 1/500sec. The camera is made of Bakelite with a metal interior and takes 16 exposures of 3x3cm on 127 roll ﬁlm.

Envoy Wide-Angle LAUNCHED 1950 MANUFACTURER Photo Developments Ltd, Birmingham GUIDE PRICE TODAY £300-350

Ilford Advocate

Ilford Advocate, with the later Wray lens, known as Britain’s first 35mm camera

LAUNCHED 1949 MANUFACTURER Kennedy Instruments, London

The standard lens on a roll-film camera that shoots 6x9cm images is usually around 105mm. The fixed lens on this camera is 64mm, which gives a wideangle image on each of its eight medium format exposures. The camera takes 120 roll film, but a special back allows the use of individual sheets of cut film. Although the viewfinder consists of no more than a wire frame, it incorporates a parallax adjustment on the rear sight.

GUIDE PRICE TODAY £80-150 Although designed and made by Kennedy Instruments, the Advocate was badged by parent company Ilford. It is generally regarded as Britain’s ﬁrst 35mm camera, even though the Reid, launched in 1951, was ﬁrst shown in 1947. The Advocate is distinctive for its ivory-coloured die-cast aluminium body. It was launched with a Dallmeyer f/4.5 lens, but that was later replaced by a Wray Lustrar f/3.5. Both were 35mm wideangle lenses. The shutter, speeded 1/25–1/200sec, was released by a lever unusually placed at the front of the top plate. 44

Envoy Wide-Angle, an unusual120 roll-film camera

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Attend The Societies 2020 London Photographic Trade Show for FrEE* All the latest photographic equipment, products and services will be on show, and attendees will be able to watch demonstrations from leading manufacturers on their products. All the major players in the industry will be exhibiting, so it’s a good opportunity to meet the key personnel behind the latest photography equipment.

Many of the 100+ exhibitors will also be offering special deals on their products and services, exclusive to the show with Cameraworld and Park Cameras the main supporting dealers.

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Agiflex I, a roll-film SLR

Agiflex I LAUNCHED 1946

Ensign Commando, originally made for the military

MANUFACTURER Agilux Ltd, Croydon GUIDE PRICE TODAY £80-120

Ensign Commando LAUNCHED 1945 MANUFACTURER Houghton-Butcher, London GUIDE PRICE TODAY £50-75 Originally made for the military, this civilian version was launched after the Second World War. It’s a folding roll-ﬁlm rangeﬁnder camera with an unusual

method of focusing. Instead of moving the lens back and forth in the traditional way, the lens remains static and a knob on the top of the body moves a plate that shifts the ﬁlm backwards and forwards. The camera shoots either 6x6cm or 6x4.5cm images, depending on whether or not a mask is used across the ﬁlm plane.

Although this was an English camera, its roots were in Germany, since its design was highly influenced by the German Reflex Korelle. It’s a waist-level SLR with a focal-plane shutter and shoots 6x6cm images on 120 roll film. Lenses are interchangeable on a bayonet mount, though be aware that lenses made for later models of the Agiflex are not compatible with the early cameras. The advantage of buying an Agiflex today, however, is that it’s likely to work, whereas the German Korelles are renowned for their faulty shutters.

Gnome Baby Pixie LAUNCHED 1951 MANUFACTURER Gnome Photographic Products, Cardiff GUIDE PRICE TODAY £10-15

Reid III LAUNCHED 1951 MANUFACTURER Reid & Sigrist, Leicester GUIDE PRICE TODAY £1,200-1,500 Despite being called the Reid III, this was actually the ﬁrst camera from its manufacturer. The Model II and I followed in later years, rather in the way that the Leica M3 preceded the M2 and

Reid III, an English Leica copy

M1. Originally known just as the Reid, it is an English copy of the Leica IIIb with a similar 1-1/1,000sec focal-plane shutter to its German cousin, but equipped with an English Taylor Hobson 50mm f/2 standard lens. The lens mount is the same as Leica screw cameras, so a vast range of Leitz lenses can be used.

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‘Made in Britain’ doesn’t always mean ‘Made in England’. This camera was manufactured in South Wales by a company better known for making enlargers and slide projectors. It’s a simple box-like camera with a ﬁxed shutter speed, aperture and focus, made to shoot 16 pictures on 620 roll ﬁlm, which is similar to 120, but wound on slimmer spools. Get hold of a couple of 620 spools and it’s relatively easy to wind 120 on to one of them (in the dark, of course) to breathe new life into old cameras like this.

Gnome Baby Pixie, made in Wales 47

Testbench

VINTAGE CAMERAS Microcord

Ilford Witness – probably the best ever British 35mm camera

LAUNCHED 1952 MANUFACTURER Micro Precision Products (MPP), Kingston-upon-Thames GUIDE PRICE TODAY £70-120

Ilford Witness LAUNCHED 1951 MANUFACTURER Petro Scott Electrical Instruments, Weybridge GUIDE PRICE TODAY £10,000-15,000 This was probably Britain’s most sophisticated 35mm coupled rangeﬁnder camera, showing inﬂuences

from both Leica and Contax. It features a 39mm screw lens mount that enables it to take Leica lenses, but three slots cut into the mount mean that Witness lenses can be removed and attached quickly with a bayonet movement. The standard lens is a Daron 5cm f/2.9 and the focal-plane shutter offers 1-1/1,000sec, the slow speeds from 1/25sec down operated by a separate control on the front of the body, similar to the Leica.

The Gilbert LAUNCHED 1953

After the launch of the German Rolleiflex in 1928, and then the Rolleicord five years later, the twin lens reflex (TLR) design took off around the world. This camera, largely influenced by the Rolleicord, was Britain’s contribution. It follows the traditional TLR design of having two lenses, one above the other. The lower lens shoots the 6x6cm picture on 120 roll film, the upper lens reflects its image up to a similar size ground-glass screen under a hood on top of the body.

The Microcord twin lens reflex

The Periflex1 in its second version black covering

MANUFACTURER RF Hunter, London GUIDE PRICE TODAY £50-80 Here’s a box camera with a difference, sporting a stainless steel body with imitation lizard skin covering. The slightly strange viewfinder is a tapered metal box above the lens, which revolves through 90 degrees for taking horizontal pictures. The lens has a focusing scale marked only for 8ft and 20ft. Everything in between has to rely on guesswork. Unusual in a camera of this type, the shutter release is linked to the film wind to offer double-exposure prevention. It has a twospeed shutter and shoots 6x9cm images, on 120 roll film.

Periflex 1 LAUNCHED 1953 MANUFACTURER KG Corﬁeld, Wolverhampton

The Gilbert, an unusual British box camera

GUIDE PRICE TODAY £100-150 Originally conceived as a body with a focal-plane shutter for Leica-ﬁt lenses, the Periﬂex eventually developed into a camera in its own right. It features

a small periscope that is manually pushed down into the film plane to magnify part of the image by a factor of eight. It’s meant more as a method of focusing, rather than an actual viewfinder and the camera still features a separate optical viewfinder. Early cameras were covered in pigskin, but after a year, that idea was abandoned in favour of the more traditional black leatherette covering seen here.

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Ensign Ful-Vue à la mode LAUNCHED 1952 MANUFACTURER Ross Ensign Ltd, Walthamstow GUIDE PRICE TODAY £25-35

Brownie 127 LAUNCHED 1952

Brownie127, one of Kodak’s most popular cameras

The ﬁrst Ful-Vue was a box camera launched in 1939, with a larger than usual brilliant viewﬁnder on top of the body. In 1946, Ensign produced

a new, more stylised version that incorporated the extra-large viewﬁnder into a rounded top. Originally, the camera was made only in black, but at Christmas 1952, in anticipation of the Queen’s Coronation the following year, the à la mode versions were launched. The original intention might have been to produce the cameras in red, white and blue. The reality was three cameras, still very stylish, but made in red, grey and blue.

MANUFACTURER Kodak Ltd, Harrow GUIDE PRICE TODAY £2-5 Although Kodak is known as an American company, it set up offices in London in the late 1800s, and made cameras in Harrow from the 1920s onwards. The Brownie 127 was one of the company’s simplest cameras, and one of its most popular, selling more than a million in its first two years and many millions more after. Made of Bakelite in a stylish design that echoes the art deco period, it has an optical viewfinder moulded into the body, a single shutter speed, fixed aperture and focus. It shoots eight 4x6cm exposures on 127 film.

The three colours of Ensign’s à la mode Ful-Vue cameras

Wrayflex Ia LAUNCHED 1953 MANUFACTURER Wray (Optical Works) Ltd, Bromley GUIDE PRICE TODAY £300-350 The Wrayflex was Britain’s only serious attempt at making a 35mm SLR. The first version, in 1951, shot 24x32mm images, but this was changed to the more traditional 24x36mm format in the Wrayflex Ia, which became the more popular camera. Both cameras use mirrors in the viewfinder rather than a pentaprism, which leads to a laterally reversed image. In 1959, the Wrayflex II was launched, a better camera with a pentaprism viewfinder system, but by then Japanese cameras had begun to flood the market, and Wrayflex SLRs never attained the success they deserved. Wrayflex Ia, the second version of Britain’s only 35mm SLR The well-specified Agimatic

Agimatic LAUNCHED 1956 MANUFACTURER Agilux Ltd, Croydon GUIDE PRICE TODAY £25-35 The Agimatic gets its name from a radial arm beside the lens that ﬁrst releases the shutter, then winds the ﬁlm, all in ry 2020

one stroke. It has a built-in rangefinder, but that isn’t coupled to the lens. So focusing has to be adjusted manually. A second window beside the viewfinder/ rangefinder incorporates an extinction meter, whose numbers are set on an exposure calculator on the top plate to indicate a suggested shutter speed and aperture combination. It was all a bit state-of-the-art back in the 1950s. 49

LENS TEST

Testbench A miniature steam locomotive pauses in the station on the Romney, Hythe and Dymchurch Railway in Kent Canon EOS R, Canon RF 70-200mm F2.8L IS USM at 170mm, 1/2500sec at f/2.8, ISO 400

Canon RF 70-200mm F2.8L IS USM Is the shortest and lightest 70-200mm f/2.8 lens for full-frame cameras a fine performer? Michael Topham put it to the test with the Canon EOS R

he ﬁrst time I set eyes on the RF 70-200mm F2.8L IS USM was at the Photography Show last year, where Canon had its ﬁrst sample on display behind glass. Waving my press pass in the right direction meant I was allowed to handle the mock-up. It was at this moment I became aware of how Canon had gone about making such a short and light 70-200mm f/2.8 zoom for interchangeable-lens cameras with a full-frame sensor. Unlike L-series EF-mount zooms that cover the same focal length, this fast tele-zoom has an extending barrel, which measures 203mm long when extended to 200mm and a modest 146mm when fully retracted to 70mm. The

questions this begs are: does this extending design in any way compromise optical quality, and has Canon been successful in delivering an exceptional multi-purpose lens for enthusiasts and professionals who use, or plan on switching to, the EOS R system?

Features The lens is the third member of what Canon calls its ‘trinity’ RF line-up – three RF lenses that cover ultra-wide, standard and telephoto zoom ranges for shooting in practically any situation. The other two are the RF 15-35mm F2.8L IS USM and RF 24-70mm F2.8L IS USM. However, it’s the RF 70-200mm F2.8L IS USM that’ll garner most interest from those

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after a workhorse of a telephoto zoom with a good reach that’s well suited to weddings, sports or wildlife as well as everyday subjects. Working out 28% lighter and 27% shorter than the existing EF-mount model, the RF 70-200mm F2.8L IS USM features an optical construction that’s made up of 17 elements in 13 groups, with nine diaphragm blades. Canon has used aspherical and Super UD elements within the construction to eliminate spherical aberrations and ensure optimum results are achieved across its f/2.8-f/32 aperture range. Canon’s Subwavelength structure coating (SWC) and Super Spectra Coatings are used to reduce unwanted internal reﬂections, which in turn reduces ghosting and 51

The short throw and consistently smooth motion of the zoom ring across a quarter turn makes it easy to get to your desired focal length quickly Canon EOS R, Canon RF 70-200mm F2.8L IS USM at 110mm, 1/100sec at f/2.8, ISO 1600

flare that can be problematic when shooting directly towards the light. Elsewhere, Canon has incorporated an electronic floating focus-control mechanism for the first time, which drives two lens groups individually using dual nano ultrasonic motors (USMs). The idea is to improve focus speed and reduce power consumption while making focusing smoother and quieter for stills and video shooting. The lens is also equipped with optical image stabilisation – an essential feature given that no EOS R model to date features in-body image stabilisation (IBIS). The image stabiliser is effective to five stops and has three modes. Mode 1 is intended for static subjects, with mode 2 detecting sweeping movements when panning and switching off the IS correction in that direction to help deliver sharper results. With mode 3, the IS

only activates when you fully press the shutter button, which can save the system trying to compensate for random rapid lens motion and is beneficial to sports photographers who move between subjects very quickly. Other features include its 70cm minimumfocusing distance, focus-limit switch (full or 2.5m to infinity) and acceptance of screw-in filters and adapters via its common 77mm filter thread. It comes with a plastic ET-83F lens hood that has its own lock release button, front and back caps, and the usual type of soft case Canon supplies with its pro-spec lenses.

Build and handling In keeping with the distinctive look of many Canon professional L-series EF lenses, it’s the first RF lens to be given a white heat shield coating to help reflect sunlight and keep the The new RF 70-200mm F2.8 L IS USM (right) is considerably shorter than the EF 70-200mm f/2.8L IS II USM (left) when retracted. It’s 4mm taller when extended to 200mm

‘It’s the first RF lens to gain a white heat shield coating’ lens cool in hot temperatures. This suggests future professional telephoto lenses in the line-up are also likely to be finished in white. Colour aside, it feels robust and purposeful. The tripod mount can be rotated by loosening the knurled release screw which can be pulled outwards to remove it altogether. My only criticisms are the lack of click stops every 90 degrees, and that the centre point on the lens, which helps align the tripod mount, isn’t obvious. The black-on-white focal length and switch markings are printed rather than engraved and both the zoom and focus ring are rubberised. In between the zoom and focus rings there’s a zoom lock switch that engages only at 70mm. Our sample didn’t suffer from zoom creep, so I rarely used it. As for the switches at the side, they operate positively and are well spaced. A slim control dial is positioned behind the tripod mount, close to the camera body. From the customise dials option in the camera menu, it can be set to change the aperture, shutter speed, ISO or exposure compensation, either directly, or by holding the metering button. Being located as close as it is to the rear, there’s a bit of a knack to using it. I personally found it easiest to rotate it with my left thumb underneath the barrel while still offering sufficient handheld support. The main concern, as with all zooms with extending barrels, is air being pumped on to the sensor when the zoom is retracted. The lens is weather-sealed, which should prevent dust ingress being a major issue, but I was

LENS TEST

Testbench

Canon RF 70-200mm F2.8L IS USM Resolution The results from our Image Engineering tests are very impressive indeed, with a quite astonishing performance at the corners. Our plotted results tell us it’s slightly sharper in the centre between 70mm and 135mm at f/2.8 than it is at 200mm. Sharpness improves at 200mm by stopping down to f/4. By f/5.6 the corners are close to being as sharp as the centre right across the zoom range.

An example of the vignetting at 200mm and maximum aperture Canon EOS R, 200mm, 1/800sec at f/2.8, ISO 400

aware of the fact that the lens does push air, which was noticeable when retracting quickly from 200mm to 70mm. I didn’t encounter any horrendous dust spots on my shots during testing, though, and took the precaution of setting the sensor clean cycle to operate when the Canon EOS R was switched on and off.

Image quality It didn’t take long to establish that the lens is a seriously impressive performer, delivering the kind of image quality and superb sharpness you’d expect from the sort of L-series lens that sets you back a pretty penny. The results from our Image Engineering tests confirm it’ll be a fine match for future high-end models that exceed the EOS R’s 30.3MP resolution. Using the lens at f/2.8 gives you images with an attractive depth, and as you extend the barrel and increase the focal length, you’ll observe a fast fall-off in focus. Sharpness at 200mm at f/2.8 dips just below the figures we recorded at 70mm and 135mm. Corner sharpness is very close to matching the sharpness in the centre of the frame at f/5.6 right across the zoom range. Users will find f/11 delivers very good edge-to-edge sharpness, too, but diffraction does slowly start to soften finer detail beyond this point. Inspecting raw files at high magnification revealed subtle traces of purple and green fringing along high-contrast edges, but this turned out to be a quick one-click fix by placing a tick in the ‘remove chromatic aberrations’ box in Lightroom. Vignetting is evident when the lens is used at f/2.8 and we measured corners to be 1.2EV darker than the centre at 200mm. The lens displays some mild barrel distortion at the wide end, which turns to pincushion distortion at around 100mm. This isn’t a major concern, though, as similarly to the vignetting the lens exhibits, this will be easy to correct for as soon as a lens profile is added to the list of those already available for Canon RF lenses.

Verdict

Canon has good reason to be proud of the third member in its trinity line-up of fast-aperture, high-performance RF lenses. As well as upholding the robust build quality and exemplary performance that Canon L-series lenses have a reputation for, they’ve succeeded at making it smaller, lighter and more convenient to carry than any fullframe 70-200mm f/2.8 zoom we’ve tested, but without compromising on image quality. Sharpness at the corners between f/4 and f/8 is a real strength of the lens. Add its fast, quiet focusing, effective ﬁve-stop image stabiliser and customisable control ring to the above and it results in a super-compact high-speed telephoto zoom that feels ﬁt for the future of Canon’s fullData file frame EOS R system. The only unnerving Price £2,699 factor is how much air is Filter diameter pushed in the direction 77mm of the sensor when Lens elements 17 retracting the zoom, but Groups 13 two weeks of testing Aperture f/2.8-f/32 didn’t expose dust spots Minimum focus distance 70cm to be of any concern. A quite brilliant tele-zoom! Dimensions 89.9x146mm (retracted) Weight 1,070g Lens mount Canon RF Includedaccessories Lens cap, rear cap, lens hood, lens case

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70mm centre 135mm centre 200mm centre

70mm corner 135mm corner 200mm corner

Shading Use the lens wide open at f/2.8 and you can expect corners to appear approximately 0.6EV darker at 70mm, 1EV darker at 135mm and 1.2EV darker at 200mm. Stop down to f/4 and you’ll notice the effect of vignetting subsides. You won’t notice corner shading in real-world shots taken at f/5.6.

70mm f/2.8

200mm f/2.8

Curvilinear distortion Barrel distortion is present at 70mm, which turns to pincushion distortion around the 100mm mark. The level of curvilinear distortion isn’t a major issue, though, and was only made obvious when we studied automatically corrected JPEGs alongside uncorrected raw files taken of our distortion chart.

SMIA TV = -1.4%

GOLD

70mm

SMIA TV =1.1%

200mm 53

Testbench

ACCESSORIES

Manfrotto Advanced Travel Backpack

At a glance ● Side-loading backpack ● Accepts full-frame DSLR

Andy Westlake tries out a neatly designed backpack that provides quick access to your kit ● £142.99 ● www.manfrotto.com/uk-en

ALL PRICES ARE APPROXIMATE STREET PRICES

BACKPACKS are great for carrying large amounts of kit, as they’re more comfortable than shoulder bags for moving heavy loads over any kind of distance. The usual problem is access – it’s Trolley strap invariably more awkward to get at your kit. A slim strap on the back For shooting on the move, the sideallows the bag to be slipped opening type tends to be the least over the handle of a wheeled inconvenient, and this is a fine example. suitcase for easier The reason why this bag works so well transportation. lies in its cleverly designed opening. A single, continuously-curving zip forms a figure-of-six shape, and opening it from one end gives unfettered access to the main compartment. But undoing it from the other end opens a Rain cover smaller flap that’s just large enough to give The supplied waterproof access to your camera, without exposing cover completely covers the rest of the bag’s contents. When used all of the zips to provide this way, a small plastic clip prevents the maximum protection for zip from opening too far, while a second your valuable kit. clip strap provides additional security. Another really neat feature is found on the other side. The entire side panel can unzip and fold out to form a full-height k ih d i top closure, that’s designed to But you could also use it to c a monopod or a folding stool also a stretchy pocket on the perfect for a drinks bottle. In terms of capacity, the ba a significant amount of kit. It’s best suited to full-frame cam large zoom lenses; small mirr bodies and prime lenses will r around inside somewhat. Thr padded horizontal dividers ar configure the space, along wi sub-dividers for separating le enough to hold a full-frame D and 70-200mm f/2.8 attach three more lenses at least. N part of the main compartmen clothing if you prefer. A small the bag is ideal for organising want to access quickly and ea headphones or toiletries when flying.

Verdict Not only is this backpack well designed, it’s really nicely made, with tough outer fabrics, generous padding and water-resistant zips. It’s also quite comfortable to carry heavily loaded, thanks to the padded and ventilated back, although there’s no belt to take the load off your shoulders. Overall, this is a really versatile and practical backpack. 54

GOLD

with 3-4 lenses ● Pocket for 15in laptop ● Carry-on-friendly size, 32x14x40cm

Tripod holders A small travel tripod can be carried in a fold-out side pocket, a while larger ones can be attached to the front using a pair of hideaway straps.

Tech compartment There’s space in the padded back compartment for a 10in tablet and a slim laptop up to 15in screen size.

Manfrotto s Advanced range, so make sure you pick the right one. Along with smaller, cheaper versions, two are similar in size to this Travel backpack. The Fast model provides access to your kit from either side, while the Gear version has a full-height front opening. Finally the Hybrid doubles up as a shoulder bag, but not particularly successfully. 4 January 2020 I www.amateurphotograp

Sealskinz All Weather Socks

AXIS BACKPACKS

l £35 l www.sealskinz.com

SEALSKINZ specialises in producing some of the best socks, gloves and hats for fighting the cold and protecting lovers of the great outdoors from extremely harsh conditions. But what is it about these Sealskinz socks that makes them different from others and worthy of a review? Unlike your average pair of socks, Sealskinz All Weather socks feature a three-layer construction with a merino wool lining to provide warmth, durability and waterproofing. Yes, that’s right, these socks are 100% waterproof, making them ideal for hiking and long walks to remote locations where it’s essential that your feet are kept warm and dry. The socks were given a good test on a long walk while photographing in the Lake District and proved to be extremely comfortable to wear with my hiking shoes. Water and mud that penetrated through or over my boots was effectively stopped from reaching my feet. With additional foot bed padding helping to reduce pressure and absorb shock, I found they provided excellent comfort throughout with no signs of rubbing. Sealskinz recommends washing the socks at 40°C and they can be tumble dried on a low-heat cycle, but shouldn’t be ironed. If you’d prefer your socks to be ankle length, these are also available for a slightly cheaper £30. Though they’re not the cheapest socks you’ll ever buy, these Sealskinz examples do a top job of keeping your feet dry and toasty, plus they can prevent you having to carry a spare pair and waste time changing into them. To sum up, these socks will make a great buy for outdoorsy types and photographers who regularly venture off the beaten track. Michael Topham

GOLD

Sealskinz All Weather socks are available in four sizes (S, M, L, XL) and four different colour variations including Grey/ Grey Marl (pictured)

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Take your photography and videography equipment with you to the most testing environments LEARN MORE: tenba.com/collections/axis

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Tech Talk

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Ask the

Looking for a new camera or accessory and need some advice? The experts at Wex Photo Video are here to help. Contact us at ap@ti-media.com or on Twitter at @AP_Magazine and #AskAP How can I remove stubborn sensor dust?

I recently went on a fantastic landscape photography trip to the Scottish Highlands where I took probably my best-ever images. The only disappointment was realising that at some point over the last few months I’d obviously got more than a bit of dust on my Canon EOS 5D Mark III’s sensor. I had to spend hours painstakingly removing the unsightly dark splotches it had produced in my shots. I have a rocket blower, but despite giving my sensor plenty of puffs, the dust doesn’t shift. What products are available to help remove stubborn dust? Jeremy Wilson

Best mirrorless cameras with a lens for under £550?

My 14-year old son has started taking a keen interest in photography and would really like his own camera to begin taking better images with – currently he’s using a mobile. I’d like to get him a set-up for his forthcoming birthday with a camera that he can use straight out of the box, which he can add to and grow with as his skills develop. My maximum budget for this camera and lens is around £550, but less would be preferable. I think a mirrorless device rather than a DSLR would appeal most to him as he particularly enjoys travel and street photography. What would your experts suggest? Terry Ashford

Our experts suggest

Dust spots in images are an extremely common issue, and extremely annoying. There are two approaches to solving this problem. The ﬁrst, and manufacturer-recommended, approach is to have the sensor cleaned by a professional. Our sister company Fixation can handle this for you at the price of £30 +VAT for crop-sensor cameras, or £55 +VAT for full-frame devices. See www. ﬁxationuk.com. Alternatively, you could consider cleaning it yourself, but be aware that this may void your camera’s warranty. When used carefully as directed though, these DIY products can be safely used to remove tough smears from a sensor. The Visible Dust EZ Cleaning Kit Plus includes everything you need for multiple cleans and is available Visible Dust EZ Cleaning Kit Plus in various sizes from £32.99.

With so many cameras with advanced features at competitive prices on the market, there has never been a better time for the photography bug to bite. With their compact form factor, access to a range of specialist lenses and excellent image quality, mirrorless cameras are a natural starting point for many new users. Deciding on which model, however, is a big decision. Not only will the camera you select determine the initial balance of features you have to play with, but also what accessories and optics it can be combined with. We recommend doing some wider research, but here are three fantastic options under £550.

Fujifilm X-A5 camera with XC15-45mm lens

Olympus Pen E-PL9 camera Sony Alpha A6000 with with 14-42mm lens 16-50mm Power Zoom lens

With its competitive price-tag the X-A5 is a fantastic entry point into Fujifilm’s popular X-series system. With an excellent-performing 24.2MP APS-C sensor at its core, it promises pleasing results with every click of the shutter. It also boasts 60fps full HD video recording, Bluetooth and Wi-Fi for remote control and image transfer from a mobile and all of Fujifilm’s popular film simulation options to add stylish effects to photos. It comes in a choice of three Neapolitan colours.

It may have a Micro Four Thirds sensor, which is smaller than its rivals in this round-up, but that’s still a substantially larger sensor than those found in mobile phones and many compacts, and the superior image quality compared to those devices is clear to see. It shoots 4K video at up to 30fps as well as Full HD, and has an in-built flash and sensor-based stabilisation. Its rear display can be flipped down for selfie use but it’s worth noting it doesn’t have a viewfinder. It comes in four funky colours.

With a blisteringly fast 11fps burst shooting mode paired with a best-in-test 0.06sec hybrid autofocus system with enhanced subject tracking, the A6000 may be one of the most affordable models in Sony’s line, but it’s certainly no slouch! Built around an APS-C sensor 1.6 times the area of Micro Four Thirds sensors, its image quality is fantastic, while it also provides full HD video shooting at 60fps. The A6000 also boasts a great OLED viewﬁnder and is available in four colour variants.

£349

£549

£499

● 24.2MP APS-C sensor ● Hybrid autofocus system ● 180° tilting selfie screen

● 16.1MP Micro Four Thirds

● 24.3MP APS-C sensor ● Up to 11fps continuous shooting ● Hybrid Focus system featuring 179

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Live MOS sensor ● Sensor-shift image stabilisation ● Contrast-detect autofocus system

phase-detection points 57

Sell your Nikon to Grays of Westminster are always seeking ﬁne examples of Nikon cameras, lenses & accessories including:

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TAKE THE WORRY OUT OF CLEANING YOUR SENSOR WITH FIND THE PROBLEM

n Lights and Loupes.

Unique Photographic Accessories

If you can’t see the dust and dirt - you can’t clean away the dust and dirt. Our products are designed to enable you to identify where and how to clean. We also advise that if you feel your sensor does not need attention after inspection, do nothing!

Luxury Pure Silk Camera Straps

LIGHT CLEANING NEEDED

A range of hand made straps made from pure silk by Japanese artisans, to give your camera a distinctive yet functional appearance. Various lengths and colours available. ACAM-312N shown.

n Dry cleaning.

Brushes and blowers with properties that lift dust and other non-oily materials away easily. Versions available for every sensor size regardless of camera brand. A range of blowers from a simple version to fully filtered, anti-static with dust free air ejection measures are available to suit your needs.

HEAVIER CLEANING NEEDED n Wet cleaning.

Liquids specifically designed and manufactured to remove greas oil, pollen, fingerprints etc whilst still being safe for your precious sensor. When used in conjunction with the correct swab they make light work of removing matter that would otherwise degrade your image. With the current popularity of mirrorless cameras and their potential for the ingress of dirt and foreign bodies due to lack of a mirror, keep these products in your gadget bag ready for use.

Vanity Pouches With Top Handles GUARANTEED safe to use with mirrorless cameras

OUT & ABOUT? TAKE VISIBLE DUST WITH YOU n Convenient kits.

The range of EZ kits bring together everything you need to ensure complete cleaning of your cameras sensor. Kits are available to tackle all of the various cleaning jobs you may have to carry out. They are colour coded BLUE for light cleaning, GREEN for everyday cleaning and RED for heavy cleaning. Kits available in all popular sensor sizes, and as with all VisibleDust products, they are suitable for all camera brands and sensors, with or without anti-aliasing filters.

See the entire range in detail at

www.visibledust.co.uk

For details of your nearest stockist please contact...

Tel: (Frazer Allen) 07725 081436 Tel: (Denys Nelson) 07909 227517

Store and protect your mirrorless camera, lens or accessory from dirt scratches. They can be placed within a larger camera or casual bag, providing protection and quick access to the equipment at all times. Available in 3 different sizes they can be configured to carry two bodies, three lenses or a combination of body and lens. ACAM-60N shown, ACAM-61N & ACAM-63N are alternatives.

Protective Camera Or Lens Wrap Store and protect your camera or lens from dirt and scratches. This wrap folds neatly around your equipment, the seamless rubber ring then slips over to hold the wrap securely in place. Ideal for carrying equipment in rucksacks or other bags not specifically designed for photo equipment. ACAM-80.

Casual Cord Camera Straps Made by traditional methods with the same care and precision of our silk straps, this new range offers photographers a colourful and comfortable way to carry their cameras. Available in the colourways shown, they are also available in 2 different lengths. ACAM-701 shown, ACAM-706 also available.

Further details and your nearest stockist can be obtained from... Alpha Optical Distribution Limited Tel: (Frazer Allen) 07725 081436 (Denys Nelson) 07909 227517 Email: info@alphaodl.co.uk Product website: www.artisan-n-artist.com

SPONSORED BY

Buyin Guide

662 cameras & lenses listed & rated

Our comprehensive listing of key specifications for cameras and lenses Controls

Cameras

Entry-level cameras tend to have simple, easy-to-understand controls, while more expensive models add lots of buttons and dials to give quick access to settings.

Interchangeable-lens cameras come in two types: DSLRs with optical viewfinders, and mirrorless models with electronic viewing

Handgrip

DSLRs traditionally have relatively large handgrips, while many mirrorless models have much smaller grips to keep size down. However, some can accept accessory grips to improve handling with larger lenses. SPONSORED BY

Lens mount

Each camera brand uses its own lens mount, and mirrorless cameras use different lenses to DSLRs even from the same brand. However, mirrorless models can often use DSLR lenses via a mount adapter.

Viewfinder

The biggest difference between DSLRs and mirrorless cameras is that the latter use electronic, rather than optical viewfinders. They’re more power hungry, but can display more information and show exactly how your pictures will turn out.

ALMOST all serious photographers prefer to use cameras with interchangeable lenses, as this gives the greatest degree of creative flexibility. At one time, this meant digital single-lens reflex (DSLR) cameras, but these have now been joined by mirrorless compact system cameras (CSCs) that use electronic viewfinders. Previously, these lagged behind DSLRs in some respects such as autofocus. But the

Size and weight

Mirrorless models tend to be smaller and lighter than DSLRs, and not just the cameras themselves, but their lens systems, too. However, there’s still a wider choice of lenses available for DSLRs.

latest models have narrowed the gap considerably, and are true alternatives to DSLRs, offering the same image quality and creative options. Camera manufacturers offer a range of models, from simple, relatively inexpensive beginner-friendly designs through to sophisticated professional models. In the middle of the range you’ll ﬁnd enthusiast cameras with more advanced control layouts.

Park Cameras was established in 1971 in Burgess Hill, West Sussex. For over 40 years they have forged a reputation across the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of all photographers, from enthusiasts through to professionals, through the very highest level of customer service.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 January 2020

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

NAME & MODEL

RRP SCORE

Canon EOS 2000D

£469

3★

Canon EOS 4000D

£369

Canon EOS 200D

SUMMARY Minor update to EOS 1300D gains 24.1MP sensor

SHOOTING

SCREEN

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

BATTERY LIFE (SHOTS)

ARTICULATED LCD TOUCHSCREEN

SCREEN SIZE (IN)

VF COVERAGE (%)

BUILT-IN WI-FI FLASH

MIC INPUT

AF POINTS BURST MODE (FPS)

VIDEO

MAX ISO

LENS MOUNT

SENSOR SIZE

DSLR cameras

RESOLUTION (MP)

BUYING GUIDE

DIMENSIONS

APS C 24.1 Canon EF 12,800 1080

9 3 95 • • 3

500 129

101.3 77.6 475

2.5★ Super cheap stripped back DSLR for budget conscious beginners

APS C 18

9 3 95 • • 2.7

500 129

101.6 77.1 436

£580

4.5★ Very compact entry level DSLR with fully articulated touchscreen

APS C 24.2 Canon EF 51,200 1080

• 9 5 95 • • 3

• •

Canon EOS 250D

£530

4★

APS C 24.1 Canon EF 51,200 3840

• 9 5 95 • • 3

• • 1070 122.4 92.6 69.8 449

Canon EOS 800D

£780

4.5★ Updates EOS 750D with sophisticated 45 point autofocus

APS C 24.2 Canon EF 25,600 1080

• 45 6 95 • • 3

• •

600 131

76.2 532

Canon EOS 77D

£830

4.5★ Same core spec as EOS 800D but in higher end body design

APS C 24.2 Canon EF 25,600 1080

• 45 6 95 • • 3

• •

600 131

100

76.2 540

Canon EOS 80D

£999

5★

Extremely capable mid range DSLR for enthusiast photographers

APS C 24.2 Canon EF 25,600 1080

• 45 7 100 • • 3

• •

960 139

105.2 78.5 730

Canon EOS 90D

£1210 4★

Mid range DSLR boasts 32.5MP sensor, 10fps shooting and 4K video

APS C 32.5 Canon EF 51,200 3840

• 45 10 100 • • 3

• • 1300 140.7 104.8 76.8 701

Canon EOS 7D Mk II

£1599 4.5★ High speed APS C DSLR includes sophisticated AF system

APS C 20.2 Canon EF 51,200 1080

• 65 10 100

Canon EOS 6D Mk II

£1999 4.5★ Includes 26.2MP full frame sensor and fully articulated screen

26.2 Canon EF 102,400 1080

• 45 6.5 98 •

Canon EOS 5D Mk IV

£3599 4.5★ Hugely accomplished workhorse model, but pricey

30.4 Canon EF 102,400 3840

• 61 7 7 100 •

3.2

Canon EOS 5DS

£2999

High resolution model with 50MP sensor

50.6 Canon EF 12,800 1080

• 61 5 100

Canon EOS 5DS R

£3199 5★

Same as the 5DS, but low pass filter removed for maximum resolution

50.6 Canon EF 12,800 1080

Canon EOS-1D X Mk II

£5199

Professional high speed sports and action model

Nikon D3400

£399

4★

Entry level DSLR that includes Bluetooth smartphone connectivity

Nikon D3500

£499

4★

Nikon D5300

Update to EOS 200D with 4K video recording but simplified controls

Canon EF 12,800 1080

• 3

650 122.4 92.6 69.8 453

670 148.6 112.4 78.2 910 • • 1,200 144 900 151

116

3.2

700 152

116.4 76.4 845

• 61 5 100

3.2

390 152

116.4 76.4 845

20.2 Canon EF 409,600 3840

• 61 14 100

3.2 • • 1,210 158

167.6 82.6 1340

24.2

Nikon F

25,600 1080

• 11 5 95

• 3

1,200 124

75.5 445

Easy to use entry level DSLR with Bluetooth connectivity

24.2

Nikon F

25,600 1080

11 5 95

• 3

1,550 124

69.5 415

£830

4.5★ Ageing mid range DSLR is now available at bargain prices

24.2

Nikon F

25,600 1080

• 23 5 95 • • 3.2 •

700 125

530

Nikon D5600

£800

4.5★ Excellent image quality and handling, plus Bluetooth connectivity

24.1

Nikon F

25,600 1080

• 39 5 95 • • 3.2 • •

970 124

465

Nikon D7200

£939

4★

24.2

Nikon F

25,600 1080

• 51 6 100 • • 3.2

1,100 135.5 106.5 76

765

Nikon D7500

£1299 4.5★ Places the excellent sensor from the D500 into a smaller body

20.9

Nikon F 1,640,000 3840

• 51 8 100 • • 3.2 • •

950 135.5 104

Nikon D500

£1729 5★

Probably the best DX format DSLR ever, with remarkable autofocus

20.9

Nikon F 1,640,000 3840

• 153 10 100 •

Nikon D610

£1800 5★

Nikon’s cheapest full frame model with a solid feature set

24.3

Nikon F

25,600 1080

• 39 6 100

Nikon D750

£1800 5★

Great all round enthusiast full frame model with tilting screen

24.3

Nikon F

51,200 1080

• 51 6.5 100 • • 3.2 •

Nikon DF

£2600 4★

Retro styled full frame model with excellent sensor

16.2

Nikon F 204,800

39 5.5 100

3.2

Nikon D810

£2699 5★

High resolution full frame DSLR offers superb image quality

36.3

Nikon F

51 12 100

• 3.2

Nikon D850

£3499 5★

High speed and superb image quality make this the best DSLR yet

45.7

Nikon F 102,400 3840

Nikon D5

£5199

Nikon’s top end sports and action model for professionals

20.8

Nikon F 3,280,000 3840

Pentax K-70

£600

4.5★ Solid performer with fully articulated screen and in body stabilisation APS C 24.2 Pentax K 102,400 1080

Pentax K-3 II

£769

4.5★ Well featured enthusiast model with in body stabilisation and GPS

Pentax KP

£1099 4★

Pentax K-1 II

£1799 4.5★ Well featured full frame DSLR that’s excellent value for money

Sigma SD Quattro

£850

Sigma SD Quattro H

£1499

Sony Alpha 68

£479

Sony Alpha 77 II

£1000 4.5★ Impressive autofocus and fast shooting, plus good handling

Sony Alpha 99 II

£2999 4.5★ Places the superb sensor from the Alpha 7R II in a DSLR-styled body

3★

Updates the D7100 with some useful extras such as Wi Fi

Compact but well specified DSLR with interchangeable hand grips

51,200 1080

3.2 • • 1,240 147

72.5 720 860

113

850

1,230 140.5 113

840

1,400 143.5 110

66.5 765

1,200 146

123

• 153 7 100 •

3.2 • • 1,840 146

124

78.5 1005

• 153 14 100

3.2 • • 3,780 160

158.5 92

• 3.2 •

11 6 100 • • 3

APS C 24.3 Pentax K 819,200 1080

• 27 7 100 • • 3

Pentax K 819,200 1080

890

• 27 8.3 100

115

APS C 24.3 Pentax K 51,200 1080

•

110.5 74.8 765

• 33 4.4 100 •

•

3.2

900 141

410 125.5 93

980

1405

688

720 131.5 102.5 77.5 785 •

390 131.5 101

703

3.2 •

670 136.5 110

85.5 1010

SD mount mirrorless camera with unique Foveon X3 sensor

APS C 19.6 Sigma SD 6400

9 3.6 100

TBC 147

95.1 90.8 703

Physically identical body to SD Quattro, but with larger APS H sensor

APS H 25.7 Sigma SD 6400

9 3.8 100

TBC 147

95.1 90.8 708

Excellent AF and sensor, but low resolution LCD screen and no Wi Fi

APS C 24

Sony A

25,600 1080

• 79 8 100

APS C 24.3

Sony A

25,600 1080

• 79 12 100 • • 3

•

480 142.6 104

Sony A 102,400 3840

• 79 12 100 • • 3

• •

100 142.6 104.2 76.1 849

42.4

• 2.7 •

580 142.6 104.2 82.8 675 81

647

We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will inevitably have crept in along the way: if you spot one, please let us know by emailing ap@ti-media.com. We don’t have space to list every single product on the market, so we don’t include the most expensive speciality optics such as long telephoto primes. Before making a purchase we advise you to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.

and CSC models at competitive ameras in store or online. expert team for free impartial perfect camera for your needs. Keep up to date with us on:

4 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

NEW

£449 Canon EOS M100 Canon EOS M200 £499 Canon EOS M50 £649 Canon EOS M6 Mark II £869 Canon EOS RP £1400 £2350 Canon EOS R Fujifilm X-A5 £549 Fujifilm X-A7 £699 Fujifilm X-E3 £849 Fujifilm X-H1 £1699 £619 Fujifilm X-T100 Fujifilm X-T20 £799 Fujifilm X-T30 £849 Fujifilm X-Pro2 £1349 Fujifilm X-Pro3 £1799 £1349 Fujifilm X-T3 Leica CL £2250 Leica TL2 £1700 £5500 Leica SL Leica SL2 £5300 £2099 Nikon Z 6 Nikon Z 7 £3399 Nikon Z 50 £849 Olympus PEN E-PL9 £650 Olympus PEN E-PL10 £599 Olympus OM-D E-M10 II £549 Olympus OM-D E-M10 II £699 Olympus OM-D E-M5 II £900 Olympus OM-D E-M5 III £1100 Olympus PEN-F £1000 Olympus OM-D E-M1 II £1850 Olympus OM-D E-M1X £2800 Panasonic Lumix G9 £1499 Panasonic Lumix G80 £699 Panasonic Lumix G90 £899 Panasonic Lumix GX880 £400 Panasonic Lumix GX9 £699 Panasonic Lumix GH5 £1299 Panasonic Lumix GH5S £2199 Panasonic Lumix S1 £2199 Panasonic Lumix S1H £3600 Panasonic Lumix S1R £3399 Sigma fp £1999 Sony Alpha 5100 £549 Sony Alpha 6000 £670 £830 Sony Alpha 6100 Sony Alpha 6300 £1000 Sony Alpha 6400 £1000 Sony Alpha 6500 £1500 £1450 Sony Alpha 6600 Sony Alpha 7 £1300 Sony Alpha 7 II £1498 Sony Alpha 7 III £1999 £2599 Sony Alpha 7R II Sony Alpha 7R III £3200 Sony Alpha 7R IV £3500 Sony Alpha 7S £2259 Sony Alpha 7S II £2500 £4500 Sony Alpha 9 Sony Alpha 9 II £4800

3★ 4.5★ 4★ 4★ 4★ 3.5★ 4.5★ 4.5★ 4★ 5★ 5★ 5★ 5★ 4.5★ 4★ 4★ 5★ 5★ 4★

Lightweight model for beginners, but overly simplistic Basic entry level viewfinderless model gains 4K video recording Very likeable and well specified entry level model with viewfinder Sports 32.5MP sensor and 14fps shooting, uses removable viewfinder Compact and affordable but over simplified full frame camera ever Canon’s first full frame mirrorless uses the EOS 5D Mark IV’s sensor Budget model with tilting screen and phase detection AF Updated entry level model gains large fully articulated LCD Excellent image quality in compact body that handles well Pro flagship with robust build and 5 axis in body stabilisation Attractively designed entry level model gives excellent image quality Small SLR style model with strong feature set including touchscreen Update to the X T3 with same sensor as X T3 and refined controls High end model with unique optical/electronic hybrid viewfinder Rangefinder like camera with unusual hidden rear LCD design New sensor and improved autofocus make it the best APS C camera yet Gorgeous APS C mirrorless model with viewfinder and touchscreen Update to the TL with 24MP sensor and much faster operation Leica’s full frame SLR style model has a superb 4.4m dot viewfinder Sports 47.3MP full frame sensor, in body stabilisation and 5K video Full frame mirrorless all rounder with 24MP sensor and 12fps shooting High resolution full frame mirrorless with in body stabilisation Well specified APS C mirrorless model boasts excellent handling Entry level model with built in flash and 4K video but no viewfinder

Near identical to the E PL9, entry level camera with no viewfinder 4.5★ Mid range model has a strong feature set and performs very well 4.5★ Excellent mid range camera with simplified, easy to use interface 5★ Combines great handling and image quality with stylish looks Places the sensor and AF of the E M1 II in a smaller, lightweight body 5★ Lovely retro rangefinder styled body with built in viewfinder 5★ Superb AF system, super fast shooting and remarkable in body IS 4.5★ Pro spec high speed model with built in vertical grip 4.5★ High speed, rugged photo centric flagship camera with in body IS 4.5★ SLR style model for enthusiasts with in body IS and 4K video 4.5★ Versatile SLR shaped stills/video hybrid with 4K video and in body IS Tiny easy to use pocket camera with tilting screen and 4K video 4★ Compact body with tilting screen and viewfinder, and 5 axis stabilisation 4.5★ Video focused high end model with in body stabilisation and 4K video Professional video version of GH5 with 10.2MP multi aspect sensor 4.5★ 24MP full frame mirrorless with exceptional viewfinder Specialist full frame mirrorless model designed for pro level video 4.5★ High resolution full frame mirrorless with in body stabilisation Tiny full frame mirrorless camera based on the Leica L mount 4★ One of the very best entry level cameras for video and image quality 4.5★ A fine camera for its time, but now very much showing its age Update to the A6000 with Sony’s latest AF technology and 4K video 4.5★ Improved version of A6000 with faster AF tracking and 4K video 4★ Extraordinary new autofocus system, but in an outdated body design 5★ Technically hugely accomplished, with in body image stabilisation Updated A6500 with real time subject tracking autofocus ★ 4.5 One of the lightest, smallest full frame cameras 5★ The full frame Alpha 7 II includes in body image stabilisation 5★ Remarkable all rounder with 10fps shooting and 4K video recording 5★ A big step up from the A7R; one of the best full frame cameras available 5★ Same sensor as A7R II, but faster and with improved body design 5★ Superb high resolution, full frame mirrorless with new 61MP sensor 4★ Remarkable low light and video capabilities 5★ A specialist camera for low light shooting and 4K video 5★ Super fast 20fps shooting and stunning overall performance A9 gains additional connectivity options and updated body design

SHOOTING APS C APS C APS C APS C FF FF APS C APS C APS C APS C APS C APS C APS C APS C APS C APS C APS C APS C FF FF FF FF DX 4/3

24.2 24.1 24.2 32.5 26.2 30.3 24.2 24.2 24.3 24.3 24.2 24.3 26.1 24.3 26.1 26.1 24.2 24 24 47.3 24 45.7 20.9 16.1

4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 4/3 FF FF FF FF APS C APS C APS C APS C APS C APS C APS C FF FF FF FF FF FF FF FF FF FF

16.1 16.1 16.1 16 20.4 20.3 20.4 20.4 20.3 16 20.3 16 20.3 20.2 10.2 24.2 24.2 47.3 24.6 24 24 24.2 24.2 24.2 24.2 24.2 24.3 24.3 24.2 42.4 42.4 61.0 12.2 12.2 24.2 24.2

Canon M 25,600 Canon M 25,600 Canon M 51,200 Canon M 51,200 Canon RF 102,400 Canon RF 102,400 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Fuji X 51,200 Leica L 50,000 Leica L 50,000 Leica L 50,000 Leica L 50,000 Nikon Z 204,800 Nikon Z 102,400 Nikon Z 204,800 Mic4/3 25,600 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Mic4/3 Leica L Leica L Leica L Leica L Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E Sony E

25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 25,600 204,800 204,800 204,800 51,200 102,400 25,600 25,600 51,200 51,200 102,400 51,200 102,400 25,600 25,600 204,800 102,400 102,400 102,400 409,600 409,600 204,800 204,800

1080 3840 3840 3840 3840 3840 3840 3840 3840 4096 3840 3840 3840 1080 4096 4096 3840 3840 4096 5120 3840 3840 3840 3840 3840 1080 3840 1080 4096 1080 3840 4096 3840 3840 3840 3840 3840 4096 4096 3840 4096 3840 3840 1080 1080 3840 3840 3840 3840 3840 1080 1080 3840 3840 3840 3840 1080 3840 3840 3840

• • • • • • • • • • • •

• • • •

• • • • • • •

• • • • • •

• • • • • • • • • • • • • • •

49 6.1 143 6.1 143 10 143 14 477 5 5655 8 91 6 TBC 6 325 5 325 14 91 8 325 8 425 8 77 8 425 20 425 20 49 10 49 20 49 11 225 20 273 12 493 9 209 11 121 8.6 121 8.6 81 8.5 121 8.6 81 10 121 10 81 10 121 18 121 60 225 9 49 9 49 9 49 5.8 49 9 225 12 225 11 225 9 225 9 229 9 49 18 179 6 179 11 425 11 425 11 425 11 425 11 425 11 117 5 117 5 693 10 399 5 399 10 567 10 25 5 169 5 693 20 693 20

• • • • • • • • • • • • • • • • • • • • • • • •

• • • •

3 3 3 3 3 3.2 3 3.5 3 3 3 3 3 3 3 3 3 3.7 3 3.2 3.2 3.2 3.2 3

• • • • • • • •

• • • • • •

• • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • •

• 3 • 3 • 3 3 3 • 3 3 3 3 • 3 • 3 • 3 • 3 3.2 3.2 3.2 3.2 3.2 3.2 • 3 • 3 • 3 • 3 • 3 • 3 • 3 3 3 3 3 3 3 3 3 3 3

• • •

• • • • • • • • • • • • • •

• • • • • • • • • •

• •

• • •

• •

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• • • •

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

BATTERY LIFE (SHOTS)

SCREEN

NOW IN STOCK! Ricoh GR III

ARTICULATED LCD TOUCHSCREEN

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

BURST MODE (FPS)

MIC INPUT

AF POINTS

VIDEO

MAX ISO

LENS MOUNT

SUMMARY

RRP SCORE

NAME & MODEL

RESOLUTION (MP)

Mirrorless cameras

SENSOR SIZE

SPONSORED BY

DIMENSIONS • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

295 315 235 305 250 350 440 270 350 310 430 350 380 250 370 390 220 250 400 370 330 330 320 350

108.2 108.2 116.3 119.6 132.5 135.8 119 119 121.3 139.8 121 118.4 118.4 140.5 140.5 132.5 131 134 147 147 134 134 126.5 117.1

67.1 67.1 88.1 70 85 98.3 67.7 67.7 73.9 97.3 83 82.8 82.8 82.8 82.8 92.8 78 69 104 107 100.5 100.5 93.5 68

35.1 35.1 58.7 49.2 70 84.4 41.1 41.1 42.7 85.5 47.4 41.4 46.8 45.9 46.1 58.8 45 33 39 42 67.5 67.7 60 39

302 299 387 398 485 660 320 320 337 673 448 383 383 495 497 539 403 399 847 835 675 675 450 380

350 320 330 750 310 330 440 2580 890 330 290 210 900 410 410 380 380 360 TBC 400 310 380 350 360 350 720 340 350 610 290 650 670 380 310 650 500

117.1 119.5 121.5 123.7 125.3 124.8 134.1 144.4 136.9 128.4 130.4 106.5 124 138.5 138.5 148.9 151 148.9 112.6 110 120 120 120 120 120 120 127 126.9 126.9 126.9 126.9 128.9 126.9 126.9 126.9 128.9

68 83.1 83.6 85 85.2 72.1 90.9 146.8 97.3 89 93.5 64.6 72.1 98.1 98.1 110 114.2 110 69.9 63 67 66.9 66.9 66.9 66.9 66.9 94 95.7 95.6 95.7 95.6 96.4 94.4 95.7 95.6 96.4

39 46.7 49.5 44.5 49.7 37.3 68.9 75.4 91.6 74.3 77.4 33.3 46.8 87.4 87.4 96.7 110.4 96.7 45.3 36 45 59.4 48.8 49.9 53.3 59 48 59.7 73.7 60.3 73.7 77.5 48.2 60.3 63 77.5

380 342 410 469 414 427 574 997 658 505 533g 270 450 725 660 899 1164 898 422 283 344 396 404 403 453 503 474 556 650 625 657 665 489 627 673 678

Sony a9 II

£4,799.00 61

BUYING GUIDE

Lens mounts

Each manufacturer has its own lens mount and most aren’t compatible with one another. For example, a Canon DSLR can’t use Nikon lenses, although you can use independent brands if you get them with the right mount.

Lenses Interchangeable lenses come in a huge array of types for shooting different kinds of subjects IN GENERAL, the easiest way to expand the kinds of pictures you can take is by buying different types of lenses. For example, telephoto lenses let you zoom in on distant subjects, while macro lenses enable close-ups of small objects. Largeaperture lenses allow you to isolate subjects against blurred backgrounds, or shoot in low light without having to raise the ISO too high. Meanwhile, all-in-one superzooms cover a wide range of subjects, but usually with rather lower optical quality.

Built-in focus motor

Most lenses now incorporate an internal motor to drive the autofocus, although some are still driven from the camera body. DSLR lenses often use ultrasonictype motors for fast focusing, while those for mirrorless cameras tend to employ video-friendly stepper motors.

Filter thread

Maximum aperture

A thread at the front of the camera will have a diameter, in mm, which will allow you to attach a variety of filters or adapters to the lens.

Wider apertures mean you can use faster, motion-stopping shutter speeds.

LENS SUFFIX GUIDE USED BY MANUFACTURERS

LENS

RRP SCORE

SUMMARY

Tamron’s Super Performance range Sony Supersonic Motor lenses Sony and Laowa Smooth Trans Focus Canon lenses with stepper motor Canon Tilt and Shift lens Ultra Multi Coated Canon lenses with an Ultrasonic Motor Tamron Ultrasonic Drive motor Tamron’s Vibration Compensation Nikon’s Vibration Reduction feature Tamron Extra Refractive Index glass Weather Resistant

MOUNT

WEIGHT (G)

SONY ALPHA

DSLR Lenses

SP SSM STF STM TS-E UMC USM USD VC VR XR WR

LENGTH (MM)

Low Dispersion glass Fujiﬁlm Linear Motor Canon’s high magniﬁcation macro lens Optical Image Stabilisation Sigma’s Optically Stabilised lenses Nikon tilt and shift lenses Nikon Phase Fresnel optics Tokina and Olympus Professional lenses Tamron Piezo Drive focus motor Sony Smooth Autofocus Motor Pentax’s Sonic Direct Drive Motor Pentax Super Multi Coating

DIAMETER (MM)

LD LM MP-E OIS OS PC-E PF PRO PZD SAM SDM SMC

FILTER THREAD (MM)

Extra low Dispersion elements Canon’s DSLR lenses for full frame Canon lenses for APS C sized sensors Canon’s lenses for its mirrorless M range Sigma’s ‘Excellent’ range Pentax full frame lenses Sony lenses for full frame mirrorless Nikon lenses without an aperture ring Sigma’s Hypersonic Motor Internal Focusing Canon’s Image Stabilised lenses Canon’s ‘Luxury’ range of lenses

MIN FOCUS (CM)

ED EF EF-S EF-M EX FA FE G HSM IF IS L

SIGMA FULL FRAME

Nikon defocus control portrait lenses Sigma’s lenses for APS C digital Sigma’s designation for full frame lenses Tamron lenses for full frame sensors Tamron lenses designed for APS C DSLRs Tamron lenses for mirrorless cameras Sigma’s lenses for mirrorless cameras Canon diffractive optical element lenses Sony lenses for APS C sized sensors Nikon’s lenses for DX format digital Nikon lenses with electronic apertures Sony lenses for APS-C mirrorless

PENTAX

DC DC DG Di Di-II Di-III DN DO DT DX E E

NIKON

Nikon AF lenses driven from camera Nikon lenses with Silent Wave Motor Nikon lenses with stepper motors Pentax lenses with aspheric elements Fujiﬁlm lenses with apodisation elements Sigma Apochromatic lenses Aspherical elements Tokina’s Advanced Technology Extra Pro Pentax all weather lenses SamyanglensesforAPS Ccroppedsensors Nikon lenses that communicate distance info Pentax lenses optimised for APS-C-sized sensors

CANON FOUR THIRDS

AF AF-S AF-P AL APD APO ASPH AT-X AW CS D DA

DIMENSIONS

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

CANON DSLR EF 8-15mm f/4 L USM EF-S 10-18mm f/4.5-5.6 IS STM EF-S 10-22mm f/3.5-4.5 USM EF 11-24mm f/4 L USM EF 14mm f/2.8 L II USM EF-S 15-85mm f/3.5-5.6 IS USM EF 16-35mm f/2.8 L II USM EF 16-35mm f/2.8 L III USM EF 16-35mm f/4 L IS USM TS-E 17mm f/4 L EF 17-40mm f/4 L USM EF-S 17-55mm f/2.8 IS USM EF-S 18-55mm f/3.5-5.6 IS STM EF-S 18-55mm f/4-5.6 IS STM EF-S 18-135mm f/3.5-5.6 IS STM EF-S 18-135mm f/3.5-5.6 IS USM EF-S 18-200mm f/3.5-5.6 IS EF 20mm f/2.8 USM EF 24mm f/1.4 L II USM EF 24mm f/2.8 IS USM EF-S 24mm f/2.8 STM TS-E 24mm f/3.5 L II EF 24-70mm f/2.8 L II USM 62

£1499

Impressive-looking ﬁsheye zoom lens from Canon

•

• 15 n/a 78.5

540

£299

4★

A superb ultra-wideangle that’s a must-have for anyone shooting landscapes and cityscapes

•

74.6

240

£990

4★

A good performer, with solid MTF curves and minimal chromatic aberration

•

83.5

89.8

385

£2799 5★

Long-awaited by Canon full-frame users, this is the world’s widest-angle rectilinear zoom lens

•

• 28 n/a

108

132

1180

£2810 4.5★

Impressive resolution at f/8 but less so wide open

•

• 20 n/a

645

•

81.6

87.5

575

£900

4★

Four-stop image stabilisation and Super Spectra coatings, together with a useful range

•

£1790 4.5★

A good performer with strong results at f/8 in particular

•

• 28

88.5

111.6

635

£2150

Revamped wideangle zoom includes new optics in a weather-sealed lens barrel

•

• 28

89.5

127.5

790

£1199

4★

£2920

Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full-frame cameras

•

• 28

82.6

112.8

615

Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings

•

• 25

88.9

106.9

820

•

• 28

83.5

96.8

500

£940

4★

Designed to match the needs of demanding professionals – and does so with ease

£795

4★

•

Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture

•

83.5

110.6

645

£195

Versatile, affordable standard zoom featuring four-stop image stabilisation

•

75.2

205

£220

Latest standard zoom for Canon’s APS-C EOS DSLRs, with compact design and updated optics

•

66.5

61.8

215

£478

Uses stepper motor for silent and fast autofocus that’s also well suited to video work

•

76.6

480

£500

Versatile zoom with new Nano USM focus technology and optional power zoom adapter

•

77.4

515

Automatic panning detection (for image stabilisation) and a useful 11x zoom range

•

78.6

102

595

•

• 25

77.5

70.6

405

£740

4★

£610

Wideangle lens with a ﬂoating rear-focusing system and a USM motor

£2010

Subwavelength structure coating, together with UD and aspherical elements

£750

4★

Small wideangle optic with image stabilisation

£165

4★

Bargain price, tiny carry-everywhere size and a highly competent imaging performance

•

• 25

83.5

86.9

650

•

• 20

68.4

55.7

280

•

68.2

22.8

125

£2550

Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings

•

• 21

88.5

106.9

780

£2300 5★

Professional-quality standard zoom lens with a fast aperture

•

• 38

88.5

113

805

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WEIGHT (G)

LENGTH (MM)

RRP SCORE

EF 24-70mm f/4 L IS USM EF 24-105mm f/4 L IS II USM EF 24-105mm f/3.5-5.6 IS STM EF 28mm f/1.8 USM EF 28mm f/2.8 IS USM EF 28-300mm f/3.5-5.6 L IS USM EF-S 35mm f/2.8 Macro IS STM EF 35mm f/2 IS USM EF 35mm f/1.4 L II USM EF 40mm f/2.8 STM TS-E 45mm f/2.8 EF 50mm f/1.2 L USM EF 50mm f/1.4 USM EF 50mm f/1.8 STM TS-E 50mm f/2.8L Macro EF-S 55-250mm f/4-5.6 IS STM EF-S 60mm f/2.8 Macro USM MP-E 65mm f/2.8 1-5x Macro EF 70-200mm f/2.8 L USM EF 70-200mm f/2.8 L IS II USM EF 70-200mm f/2.8 L IS III USM EF 70-200mm f/4 L USM EF 70-200mm f/4 L IS USM EF 70-200mm f/4L IS II USM EF 70-300mm f/4.5-5.6 IS II USM EF 70-300mm f/4-5.6 L IS USM EF 70-300mm f/4.5-5.6 DO IS USM EF 75-300mm f/4-5.6 III EF 75-300mm f/4-5.6 III USM EF 85mm f/1.2 L II USM EF 85mm f/1.4L IS USM EF 85mm f/1.8 USM TS-E 90mm f/2.8 TS-E 90mm f/2.8L Macro EF 100mm f/2 USM EF 100mm f/2.8 Macro USM EF 100mm f/2.8 L Macro IS USM EF 100-400mm f/4.5-5.6 L IS II USM EF 135mm f/2 L USM TS-E 135mm f/4L Macro EF 180mm f/3.5 L Macro USM EF 200mm f/2.8 L II USM EF 300mm f/4 L IS USM EF 400mm f/5.6 L USM

£1499

L-series zoom said to be compact, portable and aimed at both professionals and amateurs

•

• 38

83.4

£1129 4★

Reworked workhorse zoom for full-frame cameras uses an all-new optical design

•

• 45

83.5

118

795

3.5★

A versatile standard zoom lens that’s an ideal route into full-frame photography

•

• 40

83.4

104

525

•

• 25

73.6

55.6

310

3.5★

Lightweight and inexpensive lens, with a single aspherical element

•

• 30

67.4

42.5

185

£3290

L-series optic with expansive range, image stabilisation and a circular aperture

•

• 70

184

1670

£399

Features an innovative built-in dual-LED light for close-up shooting

•

69.2

55.8

190

£799

First 35mm prime from Canon to feature an optical stabilisation system

•

• 24

62.6

77.9

335

£1799 5★

An outstanding addition to the L-series line-up

•

• 28

80.4

104.4

760

£230

A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting

•

68.2

22.8

130

£1200

Tilt-and-shift lens designed for studio product photography

•

• 40

90.1

645 580

£570 £730

MOUNT

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

SIGMA FULL FRAME

PENTAX

LENS

£479

SUMMARY

NIKON

SONY ALPHA

IMAGE STABILISATION

DSLR Lenses

CANON FOUR THIRDS

SPONSORED BY

USM motor and an aspherical element, together with a wide maximum aperture

£1910

DIMENSIONS 600

Very wide maximum aperture and Super Spectra coatings, and a circular aperture

•

• 45

85.8

65.5

£450

5★

Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy, though

•

• 45

73.8

50.5

290

£130

5★

Lightest EF lens in the range, with wide maximum aperture and a Micro Motor

•

• 35

69.2

39.3

130

•

• 27

945

£2500

One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 45mm f/2.8

£265

A compact telephoto lens featuring smooth, quiet STM focusing when shooting movies

86.9

114.9

•

110 58

111.2

375

Great build and optical quality, with fast, accurate and near-silent focusing

•

69.8

335

£1250

Macro lens designed to achieve a magnification greater than 1x without accessories

•

• 24

710

£1540

Non-stabilised L-series optic, with rear focusing and four UD elements

•

• 150 77

84.6

£540

4★

•

193.6 1310

£1900 5★

A great lens but also a costly one. Peak resolution at 0.4 cycles-per-pixel is simply amazing

•

• 120 77

88.8

199

1490

£2150

Updates Canon’s excellent pro workhorse zoom with water-repellent fluorine coatings

•

• 120 77

88.8

199

1480

•

• 120 67

172

705

£790 £1210

A cheaper L-series alternative to the f/2.8 versions available 5★

£1300 £499

4.5★

A superb option for the serious sports and action photographer

•

• 120 67

172

760

Upgraded premium telephoto zoom promises five stops of image stabilisation

•

• 100 72

176

780

Mid-range telephoto zoom offers really good optics and fast, silent autofocus

•

• 120 67

145.5

710

£1600 5★

An L-series lens with a highly durable outer shell

•

• 120 67

143

1050

£1700

Three-layer diffractive optical element and image stabilisation

•

• 140 58

82.4

99.9

720

£300

Essentially the same lens as the 75-300mm f/4-5.6 III USM but with no USM

•

• 150 58

122

480

£350

2.5★

Good but not outstanding. The inclusion of a metal lens mount is positive, though

•

• 150 58

122

480

£2640 4★

A well-crafted lens, with fast and quiet AF with good vignetting and distortion control

•

• 95

91.5

84.0

1025

£1570 5★

Sublime, highly desirable portrait lens combines large aperture and optical image stabilisation

•

• 85

88.6

105.4

950

Non-rotating front ring thanks to rear-focusing system, as well as USM

•

• 85

71.5

425

£1670

Said to be the world’s first 35mm-format telephoto lens with tilt-and-shift movements

•

• 50

73.6

565

£2500

One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 90mm f/2.8

•

• 39

86.9

116.5

915

£559

A medium telephoto lens with a wide aperture, making it ideal for portraits

•

• 90

73.5

460 600

£470

£650

5★

4★

•

• 31

119

£1060 5★

A solid performer, but weak at f/2.8 (which is potentially good for portraits) Stunning MTF figures from this pro-grade macro optic

•

• 30

77.7

123

625

£1999 4.5★

L-series construction and optics, including fluorite and Super UD elements

•

• 98

193

1640

£1360

L-series construction with two UD elements and wide maximum aperture

•

• 90

82.5

112

750

£2500

One of a trio of tilt-and-shift macro lenses, with 1:2 magnification

•

• 49

88.5

139.1 1110

£1870

L-series macro lens with inner focusing system and USM technology

•

• 48

82.5

186.6 1090

£960

Two UD elements and a rear-focusing system in this L-series optic

£1740

Two-stop image stabilisation with separate mode for panning moving subjects

£1660

Super UD and UD elements, as well as a detachable tripod mount and built-in hood

£1299

Fisheye zoom for full-frame DSLRs that gives a circular view at 8mm and full-frame coverage at 15mm

•

• 150 72

83.2

136.2

765

•

• 150 77

221

1190

•

• 350 77

256.5 1250

NIKON DSLR 8-15mm f/3.5-4.5 E ED Fisheye AF-S 10-20mm f/4.5-5.6 G VR AF-P DX 10-24mm f/3.5-4.5 G ED AF-S DX 10.5mm f/2.8 G ED DX Fisheye 12-24mm f/4 G ED AF-S DX 14mm f/2.8 D ED AF 14-24mm f/2.8 G ED AF-S 16mm f/2.8 D AF Fisheye 16-35mm f/4 G ED AF-S VR 16-80mm f/2.8-4E ED VR AF-S DX 16-85mm f/3.5-5.6 G ED VR AF-S DX 17-55mm f/2.8 G ED-IF AF-S DX 18-35mm f/3.5-4.5 G ED AF-S 18-55mm f/3.5-5.6 G II AF-S DX 18-55mm f/3.5-5.6 G VR II AF-S DX 18-55mm f/3.5-5.6 G AF-P DX 18-55mm f/3.5-5.6 G VR AF-P DX 18-105mm f/3.5-5.6 G ED VR AF-S DX 18-140mm f/3.5-5.6 G ED VR AF-S DX 18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX 18-300mm f/3.5-5.6 G ED-IF VR 18-300mm f/3.5-6.3 G ED VR

£330

3.5★

Inexpensive wide zoom for DX DSLRs has effective image stabilisation but rather average optics

£834

4★

MTF performance is good from wide open to f/11, only breaking down past f/22

• •

• 16 n/a 77.5

485

•

230

•

82.5

460

£678

DX format fisheye lens with Nikon’s Close-Range Correction system and ED glass

•

14 n/a

62.5

300

£1044 4★

This venerable optic may be a little weak at f/4, but otherwise it’s a good performer

•

82.5

485

£1554 5★

A really nice lens that handles well and offers excellent image quality

•

• 20 n/a

86.5

670

£1670 5★

A remarkable piece of kit, producing sharp images with little chromatic aberration

•

• 28 n/a

131.5

970

£762

Full-frame fisheye lens with Close-Range Correction system and 25cm focus distance

•

• 25 n/a

290 685

£1072

5★

A fantastic lens that deserves to be taken seriously, with very little CA throughout

•

• 28

82.5

125

£869

4★

This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs

•

85.5

480

£574

4★

Boasting Nikon’s second-generation VR II technology and Super Integrated Coating

•

485

£1356 4★

A higher-quality standard zoom for DX-format DSLRs

•

85.5

110.5

755

£669

5★

Wideangle zoom with instant manual-focus override for full-frame DSLRs

•

• 28

385

£156

3.5★

Entry-level standard zoom lens

•

79.5

265

•

59.5

195

•

64.5

62.5

195 205

£229

Popular 3x zoom lens that is remarkably compact and lightweight, offering great portability

£149

A compact, lightweight DX-format zoom that’s an ideal walk-around lens

£199 £292

4.5★

£579

•

A compact, lightweight DX-format zoom lens with Vibration Reduction

•

64.5

62.5

Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction

•

n/a 67

420

A compact and lightweight DX-format zoom, this lens is a great all-rounder

•

490

£762

4.5★

Four-stop VR II system, two ED and three aspherical elements in this DX superzoom lens

•

96.5

560

£850

4★

DX-format zoom lens with wideangle to super-telephoto reach

•

120

830

New DX-format 16.7x zoom with super-telephoto reach – a compact walk-around lens

•

78.5

550

£849

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ALL PRICES ARE RRPS, STREET PRICES MAY VARY

LENS

RRP SCORE

19mm f/4 E ED PC 20mm f/1.8 G ED AF-S 20mm f/2.8 D AF 24mm f/2.8 D AF 24mm f/1.4 G ED AF-S 24mm f/1.8 G ED AF-S 24mm f/3.5 D ED PC-E 24-70mm f/2.8 G ED AF-S 24-70mm f/2.8 E ED VR 24-85mm f/3.5-4.5 G ED VR 24-120mm f/4 G ED AF-S VR 28mm f/1.4 E ED AF-S 28mm f/1.8 G ED AF-S 28mm f/2.8 D AF 28-300mm f/3.5-5.6 G ED AF-S VR 35mm f/1.8 G AF-S DX 35mm f/1.8 G ED AF-S 35mm f/2 D AF 35mm f/1.4 G ED AF-S 40mm f/2.8 G AF-S DX Micro 45mm PC-E f/2.8 D ED Micro 50mm f/1.4 D AF 50mm f/1.4 G AF-S 50mm f/1.8 D AF 50mm f/1.8 G AF-S 55-200mm f/4-5.6 G VR AF-S DX 55-200mm f/4-5.6 G VR II AF-S DX 55-300mm f/4.5-5.6 G VR AF-S DX 58mm f/1.4 G AF-S 60mm f/2.8 D AF Micro 60mm f/2.8 G ED AF-S Micro 70-200mm f/2.8 G ED VR II AF-S 70-200mm f/2.8 E FL ED VR AF-S 70-200mm f/4 G ED VR 70-300mm f/4.5-5.6 G ED AF-S VR 70-300mm f/4.5-5.6 E ED VR AF-P 70-300mm f/4.5-6.3 G AF-P DX 70-300mm f/4.5-6.3 G VR AF-P DX 80-400mm f/4.5-5.6 G ED VR AF-S 85mm f/3.5 G ED AF-S DX VR 85mm f/1.4 G AF-S 85mm f/1.8 G AF-S 85mm f/2.8D PC-E Micro 105mm f/1.4 E ED AF-S 105mm f/2.8 G AF-S VR II Micro 105mm f/2 D AF DC 135mm f/2 D AF DC 180mm f/2.8 D ED-IF AF 200mm f/4 D ED-IF AF Micro 200-500mm f/5.6 E ED VR AF-S 300mm f/4 E PF ED VR AF-S

£3300 £679 £584 £427 £1990 £629 £1774 £1565 £1849 £520 £1072 £2080 £619 £282 £889 £208 £479 £324 £1735 £250 £1393 £292 £376 £135 £200 £314 £251 £378 £1599 £405 £500 £2085 £2650 £1180 £556 £750 £300 £350 £1899 £522 £1532 £470 £1299 £2049 £782 £980 £1232 £782 £1429 £1179 £1230

5★

5★ 5★ 5★ 5★

SUMMARY

4.5★ 5★ 3★ 5★ 5★ 5★ 5★ 5★ 3.5★ 3★ 4★ 5★ 5★ 5★ 4★

5★ 5★ 5★

4.5★

5★

Super-wideangle tilt-and-shift lens for architecture and landscape photography A fast FX-format prime lens that’s compact and lightweight Compact wideangle lens with Nikon’s Close-Range Correction system Compact wide lens with Close-Range Correction system Nothing short of stunning. Aside from its high price, there is very little to dislike about this optic Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers Perspective Control lens with Nano Crystal Coating and electronic control over aperture An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens Nikon’s latest pro-spec standard zoom looks like its best lens yet FX-format standard zoom with Auto Tripod detection and VR Constant maximum aperture of f/4 and the addition of VR makes this a superb lens

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • •

If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers Compact wideangle lens with a minimum focusing distance of 25cm Technical testing shows this zoom to be, as Nikon claims, the ‘ideal walkabout lens’ Designed for DX-format DSLRs, a great standard prime lens Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture A Nano Crystal-coated lens designed for the FX range A budget-priced macro lens that delivers the goods on multiple fronts Perspective Control (PC-E) standard lens used in specialised fields such as studio and architecture Entry-level prime puts in a fine performance while offering backwards compatibility with AI cameras Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 Compact, lightweight, affordable prime, will stop down to f/22 A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs Designed for DX-format cameras, with Vibration Reduction and SWM technology Offers a versatile focal range and an ultra-compact design, perfect for smaller DX-format DSLRs Offers a wide telephoto coverage, but better options available FX-format full-frame premium prime lens with large f/1.4 aperture Nikon’s most compact Micro lens, with Close Range Correction (CRC) system Micro lens with 1:1 reproduction ratio, as well as a Silent Wave Motor and Super ED glass Very little to fault here, with stunning image quality and consistent results at different focal lengths Latest update to Nikon’s pro workhorse fast telephoto zoom brings electronic aperture control Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin Feature-packed optic, with a VR II system, 9-bladed diaphragm, SWM and ED glass Nikon’s first full-frame lens to feature a stepper motor for autofocus Budget telephoto zoom with stepper motor for AF and space-saving collapsible design Adds extremely useful optical stabilisation to Nikon’s budget compact telephoto Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass Fast mid-tele lens with an internal focusing system and rounded diaphragm Rear-focusing system and distance window in this medium telephoto lens Perspective Control (PC-E) telephoto, designed to be ideal for portraits and product photography A 105mm FX-format prime lens with bright f/1.4 aperture, ideal for portraiture A very sharp lens, with swift and quiet focusing and consistent MFT results A portrait lens with defocus control Defocus-Image Control and a rounded diaphragm in this telephoto optic Useful telephoto length and internal focusing technology, together with ED glass 1:1 reproduction range in this Micro lens, with a Close-Range Correction system A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras Light, compact AF-S full-frame telephoto lens with ED glass elements

•

• • •

• • • • • • • •

•

• •

WEIGHT (G)

LENGTH (MM)

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

SIGMA FULL FRAME

PENTAX

MOUNT

Boasts a dust and drip resistant build for reliable shooting in challenging weather conditions 5★

NIKON

SONY ALPHA

IMAGE STABILISATION

DSLR Lenses

CANON FOUR THIRDS

BUYING GUIDE

DIMENSIONS • • • • •

• • • • • • • • • • •

25 20 25 30 25 23 21 38 38 38 45 28 25 25 50 30 25 25 30 20 25 45 45 45 45 110 110 140 58 22 18 140 110 1000 1500 1200 110 110 175 28 85 80 39 100 31 90 110 150 50 220 140

n/a 77 62 52 77 72 77 77 82 72 77 77 67 52 77 52 58 52 67 52 77 52 58 52 58 52 52 58 72 62 62 77 77 67 67 67 58 58 77 52 77 67 77 82 62 72 72 72 62 95 77

89 82.5 69 64.5 83 77.5 82.5 83 88 78 84 83 73 65 83 70 72 64.5 83 68.5 82.5 64.5 73.5 63 72 73 70.5 76.5 85 70 73 87 88.5 78 80 80.5 72 72 95.5 73 86.5 80 83.5 94.5 83 79 79 78.5 76 108 89

124 80.5 42.5 46 88.5 83 108 133 154.5 82 103 100.5 80 44.5 114 52.5 71.5 43.5 89.5 64.5 112 42.5 54 39 52.5 99.5 83 123 70 74.5 89 209 202.5 178.5 143.5 146 125 125 203 98.5 84 73 107 106 116 111 120 144 104.5 267.5 147.5

885 335 270 270 620 355 730 900 1070 465 710 645 330 205 800 200 305 205 600 235 740 230 280 160 185 335 300 530 385 440 425 1540 1430 850 745 680 400 415 1570 355 595 350 635 985 720 640 815 760 1190 2300 755

• • • • • • •

18 47 17.3 12 18.5 24.7 90

77 74.8 n/a 38 n/a 65 77 83.8 62 95 67 125 67 98.9

82.8 408 82 64.7 70 72 76

609 474 400 410 503 638 745

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LAOWA DSLR 12mm f/2.8 Zero D 24mm F14 2x Macro Probe 25mm f/2.8 Ultra Macro 2.5x - 5x 15mm f/4 1:1 Macro 60mm f/2.8 2X Ultra Macro 100mm f/2.8 2:1 Ultra Macro APO 105mm f/2 (T3.2) STF

£899 £1599 £399 £449 4★ £319 3.5★ £469 £649 4★

Ultra-wideangle lens for full-frame DSLRs that exhibits minimal distortion Unique specialist macro lens with submersible front barrel and built-in LED lights Unusual lens designed solely for ultra-close-up shooting, with magnification from 2.5x to 5x Wideangle lens, with 1:1 Macro available in Canon, Nikon, Pentax, Sony E and Sony A With 2:1 Macro, an all-in-one option for normal portrait photography as well as ultra-macro Full-frame macro lens with twice-life-size magnification and apochromatic design Designed for full-frame DSLRS, and features an apodisation element that renders lovely bokeh

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of used cameras, lenses & y quality checked, tested & sensor clean on all cameras.

or Central London stores items, or for over 1,500 w.parkcameras.com/used. 64

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LENS

RRP SCORE

SUMMARY

MOUNT

WEIGHT (G)

LENGTH (MM)

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

SIGMA FULL FRAME

PENTAX

NIKON

SONY ALPHA

IMAGE STABILISATION

DSLR Lenses

CANON FOUR THIRDS

SPONSORED BY

DIMENSIONS

PENTAX DSLR DA 10-17mm f/3.5-4.5 HD Fisheye ED DA* 11-18mmF2.8 ED DC AW HD DA 12-24mm f/4 smc ED AL IF DA 15mm f/4 smc ED AL Limited FA 15-30mm f/2.8 ED SM WR HD DA* 16-50mm f/2.8 smc ED AL IF SDM DA 16-85mm f/3.5-5.6 ED DC WR DA 17-70mm f/4 smc AL IF SDM DA 18-50mm f/4-5.6 DC WR RE DA 18-55mm f/3.5-5.6 smc AL WR DA 18-135mm f/3.5-5.6 DA ED DC WR DA 18-270mm f/3.5-6.3 smc ED SDM DA 20-40mm f/2.8-4 ED Limited DC WR DA 21mm f/3.2 smc AL Limited FA 24-70mm f/2.8 ED SDM WR FA 28-105mm f/3.5-5.6 ED DC HD FA 31mm f/1.8 smc AL Limited FA 35mm f/2 smc AL FA 35mm f/2 HD DA 35mm f/2.8 smc Macro DA 35mm f/2.4 smc DS AL DA 40mm f/2.8 smc Limited FA 43mm f/1.9 smc Limited FA* 50mm f/1.4 SDM AW HD FA 50mm f/1.4 smc DA 50mm f/1.8 smc DA D-FA 50mm f/2.8 smc Macro DA* 50-135mm f/2.8 smc ED IF SDM DA 50-200mm f/4-5.6 smc ED WR DA* 55mm f/1.4 smc SDM DA 55-300mm f/4.5-6.3 ED PLM WR RE DA 55-300mm f/4-5.8 ED WR DA 60-250mm f/4 smc ED IF SDM DA 70mm f/2.4 smc AL Limited D-FA* 70-200mm f/2.8 ED DC AW FA 77mm f/1.8 smc Limited D-FA 100mm f/2.8 Macro WR FA 150-450mm f/4.5-5.6 ED DC AW DA* 200mm f/2.8 smc ED IF SDM DA* 300mm f/4 smc ED IF SDM

£499 £1399 £1050 £820 £1500 £950 £600 £630 £230 £229 £600 £699 £829 £600 £1149 £549 £1149 £550 £399 £640 £180 £450 £729 £1200 £399 £249 £550 £1200 £210 £800 £400 £399 £1450 £600 £1850 £1050 £680 £2000 £1000 £1300

3.5★

4.5★ 5★

4★ 4★ 4.5★

4.5★

5★ 4.5★

Updated fisheye zoom lens gains refreshed cosmetic design, new optical coatings and removable hood Premium fast ultra-wideangle zoom, includes all-weather construction and innovative focus clamp Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom Limited-edition lens with hybrid aspherical and extra-low-dispersion elements Weather-resistant ultra-wideangle zoom with fast maximum aperture and fixed petal-type hood A nice balance and robust feel, but poor sharpness at f/2.8 (which significantly improves from f/4 onwards) Weather-resistant, this zoom features a round-shaped diaphragm to produce beautiful bokeh Featuring Pentax’s Supersonic Direct-drive (SDM) focusing system Super-thin standard zoom that’s weather-resistant and features a round-shaped diaphragm A weather-resistant construction and an aspherical element, as well as SP coating A weather-resistant mid-range zoom lens 15x superzoom for company’s K-mount DSLRs featuring two extra-low-dispersion (ED) elements With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather resistant This limited-edition optic offers a floating element for extra-close focusing Full-frame-compatible premium standard zoom – includes a HD coating to minimise flare and ghosting Standard zoom lens for the K-1 full-frame DSLR that’s much more affordable than the 24-70mm f/2.8 Aluminium body; when used on a Pentax DSLR offers a perspective similar to that of the human eye A compact wideangle lens that weighs a mere 214g Updated version of classic Pentax fast prime features new multi-layer HD coating Despite slight edge softness, this lens performs excellently and is a pleasure to use A budget-priced prime lens for beginners Pancake lens with SMC coating and Quick Shift focusing system Focal length is ideal for portraits as well as everyday use, and features an SMC multi-layer coating Premium fast prime with dustproof, weather-resistant design and electromagnetic aperture Compact fast prime with film-era double-Gauss optics and traditional aperture ring Affordable short telephoto lens ideal for portraits Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects Weather-resistant construction, Quick Shift focus system and an SP coating Despite questions about the particular sample tested, this lens scores highly Compact weather resistant telephoto zoom has video-friendly fast and silent autofocus motor Weatherproof HD telephoto lens featuring quick shift focusing system With a constant f/4 aperture and an ultrasonic motor for speedy focusing Medium telephoto lens with an aluminium construction and a Super Protect coating New addition to Pentax’s high-performance Star (*) series developed for best image rendition With Pentax’s Fixed Rear Element Extension focusing system for ‘sharp, crisp images’ Street price makes this something of a bargain for a true macro offering full-frame coverage Super-telephoto lens with weather resistance, designed to produce extra-sharp, high-contrast images SDM focusing system on the inside, and dirtproof and splashproof on the outside This tele optic promises ultrasonic focus and high image quality thanks to ED glass

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14 30 30 18 28 30 35 28 30 25 40 49 28 20 38 50 30 30 30 14 30 40 45 40 45 45 19 100 n/a 45 95 140 110 70 120 70 30 200 120 140

n/a 82 77 49 n/a 77 72 67 58 52 62 62 55 49 82 62 58 49 49 49 49 49 49 72 49 52 49 67 49 58 58 58 67 49 77 49 49 86 77 77

70 67.5 317 90 100 704 83.5 87.5 430 39.5 63 212 98.5 143.5 1040 98.5 84 600 78 94 488 75 93.5 485 71 41 158 68.5 67.5 230 73 76 405 76 89 453 68.5 71 283 63 25 140 109.5 88.5 787 73 86.5 440 68.5 65 345 64 44.5 214 64 44.5 193 46.5 63 215 63 45 124 63 15 90 64 27 155 80 106 910 63.5 38 220 38.5 63 122 60 67.5 265 76.5 136 765 69 79.5 285 70.5 66 375 76.5 89 442 71 111.5 466 167.5 82 1040 63 26 130 91.5 203 1755 48 64 270 65 80.5 340 241.5 95 2000 83 134 825 83 184 1070

30 • 26 24 • 20 • 28 • 20 • 28 20 • 20 • 25 • 20 • 30 • 45 • 90 • 100 • 30 • 80

n/a n/a n/a n/a n/a n/a n/a n/a 77 77 82 77 77 77 72 67 77

75 95 86 77.3 95 90.5 94 89.4 83 95 86 83 74.7 88 78 72.5 82

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SAMYANG DSLR 8mm f/3.5 UMC Fisheye CS II 10mm f/3.5 XP MF 10mm f/2.8 ED AS NCS CS 12mm f/2.8 ED AS NCS Fisheye 14mm f/2.4 XP MF AF 14mm f/2.8 14mm f/2.8 ED UMC 16mm f/2.0 ED AS UMC CS 20mm f/1.8 ED AS UMC 24mm f/1.4 AS UMC 24mm f/3.5 ED AS UMS TS 35mm f/1.4 AS UMC 50mm f/1.4 AS UMC AF 85mm f/1.4 85mm f/1.4 IF MC 100mm f/2.8 ED UMC Macro 135mm f/2 ED UMC

£274 £950 £429 £430 £899 £649 £363 £389 £430 £499 £949 £369 £299 £599 £239 £389 £399

4.5★

3★ 4.5★ 3★

Wideangle fisheye lens designed for digital reflex cameras with APS-C sensors World’s widest-angle rectilinear lens promises 130° field of view with minimal distortion Features a nano crystal anti-reflection coating system and embedded lens hood Fisheye ultra wideangle prime lens for full-frame DSLRs High-end ultra-wideangle prime with premium optics and large maximum aperture Samyang’s first AF SLR lens features very decent image quality and weather-sealed construction Ultra-wideangle manual-focus lens; bulb-like front element means no filters can be used Fast wideangle lens for digital reflex cameras fitted with APS-C sensors Large-aperture manual focus wideangle lens for full-frame DSLRs Fast ultra-wideangle manual-focus lens comprising 13 elements arranged in 12 groups Tilt-and-shift wideangle lens for a fraction of the price of Canon and Nikon’s offerings While manual focus only, this prime impressed us in real-world use, making it something of a bargain Manual-focus fast standard prime for full-frame DSLRs Autofocus fast short telephoto portrait lens for use on Canon or Nikon full-frame DSLRs Short fast telephoto prime, manual focus, aimed at portrait photographers Full-frame compatible, the Samyang 100mm is a true Macro lens offering 1:1 magnification Manual focus portrait prime has fast aperture for subject isolation and background blur

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77.8 98.1 77 70.2 109.4 95.6 87 83 113.2 116 110.5 111 81.6 72 72.2 123.1 122

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LENS

RRP SCORE

SUMMARY

MOUNT

WEIGHT (G)

LENGTH (MM)

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

SIGMA FULL FRAME

PENTAX

NIKON

SONY ALPHA

IMAGE STABILISATION

DSLR Lenses

CANON FOUR THIRDS

BUYING GUIDE

DIMENSIONS

SIGMA DSLR 4.5mm f/2.8 EX DC HSM 8mm f/3.5 EX DG 8-16mm f/4.5-5.6 DC HSM 10mm f/2.8 EX DC 10-20mm f/3.5 EX DC HSM 12-24mm f/4 DG HSM | A 12-24mm f/4.5-5.6 II DG HSM 14mm f/1.8 DG HSM | A 14-24mm f/2.8 DG HSM | A 15mm f/2.8 EX DG 17-50mm f/2.8 EX DC OS HSM 17-70mm f/2.8-4 DC Macro OS HSM 18-35mm f/1.8 DC HSM 18-200mm f/3.5-6.3 DC OS 18-250mm f/3.5-6.3 DC OS HSM 18-250mm f/3.5-6.3 DC Macro OS HSM 18-300mm f/3.5-6.3 DC Macro OS HSM 20mm f/1.4 DG HSM | A 24mm f/1.4 DG HSM | A 24-35mm f/2 DG HSM | A 24-70mm f/2.8 DG OS HSM | A 24-105mm f/4 DG OS HSM | A 28mm f/1.4 DG HSM | A 30mm f/1.4 DC HSM | A 35mm f/1.4 DG HSM | A 40mm f/1.4 DG HSM | A 50mm f/1.4 DG HSM | A 50-100mm f/1.8 DC HSM | A 50-500mm f/4.5-6.3 DG OS HSM 60-600mm f/4.5-6.3 DG OS HSM | S 70mm f/2.8 DG Macro | A 70-200mm f/2.8 EX DG OS HSM 70-200mm f/2.8 DG OS HSM | S 70-300mm f/4-5.6 APO DG Macro 70-300mm f/4-5.6 DG Macro 85mm f/1.4 DG HSM | A 100-400mm f/5-6.3 DG OS HSM | C 105mm f/1.4 DG HSM | A 105mm f/2.8 EX DG OS HSM Macro 120-300mm f/2.8 DG HSM | S 135mm f/1.8 DG HSM | A 150mm f/2.8 EX DG OS HSM Macro APO 150-600mm f/5-6.3 DG OS HSM | C 150-600mm f/5-6.3 DG OS HSM | S 180mm f/2.8 EX DG OS HSM Macro APO 300mm f/2.8 APO EX DG HSM

£739 £799 £800 £599 £650 £1649 £649 £1679 £1399 £629 £689 £449 £799 £449 £572 £500 £499 £799 £799 £949 £1399 £849 £1099 £360 £799 £1100 £849 £829 £1499 £1899 £499 £1539 £1349 £235 £170 £1199 £799 £1499 £649 £3599 £1399 £999 £1199 £1599 £1499 £2899

4★ 5★ 5★

5★ 4★

5★ 4★ 4.5★

5★ 5★ 5★ 5★ 4.5★ 4.5★ 5★ 5★ 5★ 5★ 4★

5★ 3★ 5★ 4.5★ 4.5★ 4.5★ 5★

5★

Circular fisheye lens designed for digital, with SLD glass and a gelatin filter holder The world’s only 8mm lens equipped with autofocus also boasts SLD glass Excellent performance at 8mm, which sadly drops at the 16mm end A Hyper Sonic Motor (HSM) and built-in hood feature in this diagonal fisheye lens An absolute gem of a lens that deserves a place on every photographer’s wish list Premium full-frame wideangle zoom designed to have minimal distortion in its wideangle imagery Ultra-wideangle zoom for full-frame SLRs, available in all of the main mounts World’s first f/1.8 ultra-wideangle prime lens for full-frame DSLRs Pro-specification fast ultra-wide prime for full-frame DSLRs includes weather-sealed construction This fisheye optic puts in a very solid performance – not to be dismissed as a gimmick! FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation Compact redesign of this well-received lens launches the ‘Contemporary’ range Said to be the world’s first constant f/1.8 zoom; DoF equivalent of constant f/2.7 on full frame Excellent resolution and consistent performance, but control over CA could be a little better A very capable set of MTF curves that only shows minor weakness at wide apertures Ultra-compact 13.8x high zoom ratio lens designed exclusively for digital SLR cameras Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens An outstanding wideangle fixed-focal-length lens The latest addition to Sigma’s ‘Art’ line of high-quality fast primes The world’s first large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range Latest premium fast standard zoom for full frame includes optical image stabilisation Serious full-frame alternative to own-brand lenses at a lower price, with no compromises in the build High-quality, weathersealed fast wideangle prime for full-frame DSLRs Unique fast prime for APS-C DSLRs that gives 45mm equivalent ‘normal’ angle of view Superb large-aperture prime; first lens in company’s ‘Art’ series Large and heavy prime promising natural-looking perspective and top-quality optics This lens has a unique design that pays off in truly excellent image quality This APS-C-format lens aims to cover the focal lengths of three prime lenses in one A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters Weathersealed 10x zoom encompasses huge range from standard to super-telephoto The first macro lens in Sigma’s Art line-up features an extending-barrel focus-by-wire design Two FLD glass elements, said to have the same dispersive properties as fluorite Superb large-aperture telephoto zoom shows high sharpness and minimal chromatic aberration This telezoom lens has a 9-bladed diaphragm and two SLD elements Generally unremarkable MTF curves, and particularly poor at 300mm Optically stunning fast short telephoto prime is the ultimate portrait lens for DSLR users Relatively lightweight telezoom comes with weather-sealing and choice of push-pull or twist zoom Sigma’s ‘bokeh monster’ super-fast portrait lens is weathersealed and comes with a tripod foot An optically stabilised macro lens, this super-sharp lens is one of our favourites First lens in company’s ‘Sports’ series; switch enables adjustment of both focus speed and focus limiter Super-fast portrait prime designed to provide sufficient resolution for 50MP DSLRs A macro lens offering image stabilisation Budget ‘Contemporary’ version of Sigma’s long-range telephoto zoom is smaller and lighter This portable, high-performance telephoto zoom from Sigma’s Sports line is dust and splashproof 1:1 macro lens featuring three FLD glass elements and floating inner-focusing system Extra Low Dispersion (ELD) glass, multi-layer coatings and a Hyper Sonic Motor

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13 13 24 13 24 24 28 27 26 15 28 22 28 45 45 35 39 27.6 25 28 37 45 28 30 30 40 40 37.4 180 60 26 140 120 95 95 85 160 100 31.2 150 87.5 38 280 260 47 250

n/a n/a 72 n/a 82 n/a n/a n/a n/a n/a 77 72 72 45 72 62 72 n/a 77 82 82 82 77 62 67 82 77 82 95 105 49 77 82 58 58 86 67 105 62 105 82 72 95 105 86 46

76 73.5 75 75.8 87.3 101 87 95.4 96.4 73.5 83.5 79 78 79 79 73.5 79 90.7 85 87.6 88 89 82.8 63.3 77 87.8 85.4 93.5 104.4 120.4 71 86.4 94.2 76.6 76.6 95 86.4 115.9 78 124 91.4 79.6 105 121 95 119

77.8 68.6 105.7 83 88.2 132 120.2 126 135.1 65 92 82 121 100 101 88.6 101.5 129.8 90.2 122.7 107.6 109 107.1 74.2 94 131 100 170.7 219 268.9 106 197 202.9 122 122 126 182.3 131.5 126.4 291 114.9 150 260.1 290.2 204 214.5

470 400 555 475 520 1150 670 1170 1150 370 565 470 810 610 630 470 585 950 665 940 1020 885 TBC 435 665 1200 815 1490 1970 2700 515 1430 1805 550 545 1130 1160 1645 725 3390 1130 950 1930 2860 1640 2400

25 20 28 100 35 40 45 45 25 19 34 38 12 30 23 34 45 45 20 95 140 120 120

77 n/a 77 72 62 62 62 62 72 72 77 67 49 55 55 49 55 72 55 55 62 77 62

83 75 83 81 72 72 76 75 78 78 83 77.5 70 69 70 70 65.5 81 71.5 71.5 77 87 82.5

80.5 360 66.5 400 114 900 88 577 83 445 83 470 86 398 86 440 53.5 285 76 555 111 955 94 565 45 150 76 510 52 170 45 170 43 220 71.5 518 60 295 85 305 116.5 460 196.5 1340 135.5 760

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

SONY DSLR 11-18mm f/4.5-5.6 DT 16mm f/2.8 Fisheye 16-35mm f/2.8 ZA SSM II T* 16-50mm f/2.8 SSM 16-80mm f/3.5-4.5 ZA T* 16-105mm f/3.5-5.6 DT 18-135mm f/3.5-5.6 DT SAM 18-250mm f/3.5-6.3 DT 20mm f/2.8 24mm f/2 ZA SSM T* 24-70mm f/2.8 ZA SSM II T* 28-75mm f/2.8 SAM 30mm f/2.8 DT SAM Macro 35mm f/1.4 G 35mm f/1.8 DT SAM 50mm f/1.8 DT SAM 50mm f/1.4 50mm f/1.4 ZA SSM 50mm f/2.8 Macro 55-200mm f/4-5.6 DT SAM 55-300mm f/4.5–5.6 DT SAM 70-200mm f/2.8 G SSM II 70-300mm f/4.5-5.6 G SSM 66

£609 £709 £1999 £569 £709 £559 £429 £559 £559 £1119 £1899 £709 £179 £1369 £179 £159 £369 £1300 £529 £219 £309 £2799 £869

3★ 4.5★ 4★ 4.5★ 3★ 3.5★ 3.5★ 5★ 4★

4.5★ 5★ 4★

3.5★

A solid overall performance that simply fails to be outstanding in any way Fisheye lens with a close focusing distance of 20cm and a 180° angle of view High-end Zeiss wideangle zoom lens ideal for full-frame Alpha DSLRs and SLTs Bright short-range telephoto lens Carl Zeiss standard zoom lens An ambitious lens that is good in parts, although quality drops off at 105mm A versatile zoom with Direct Manual Focus Good overall, but performance dips at longer focal lengths Wideangle prime lens with rear focusing mechanism and focus range limiter An impressively bright wideangle Carl Zeiss lens Carl Zeiss mid-range zoom lens with superb optics ideal for full-frame Alpha DSLRs A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom Macro lens designed for digital with 1:1 magnification and Smooth Autofocus Motor With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass Budget-price indoor portrait lens A very useful lens that performs well and carries a rock-bottom price tag While this lens performs well overall, performance at f/1.4 could be better Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting A macro lens with a floating lens element Designed for cropped-sensor cameras, with a Smooth Autofocus Motor Compact, lightweight telephoto zoom offering smooth, silent operation High-performance G Series telephoto zoom lens G-series lens with ED elements, Super Sonic wave Motor and a circular aperture

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4 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

LENS

RRP SCORE

70-400mm f/4-5.6 G SSM II 85mm f/1.4 ZA Planar T* 85mm f/2.8 SAM 100mm f/2.8 Macro 135mm f/1.8 ZA Sonnar T* 135mm f/2.8 STF

£1799 £1369 £219 £659 £1429 £1119

SUMMARY

MOUNT

Redesign of original features a new LSI drive circuit and promises faster autofocus Fixed-focal-length lens aimed at indoor portraiture A light, low-price portraiture lens Macro lens with circular aperture, double floating element and wide aperture A bright, Carl Zeiss portrait telephoto lens Telephoto lens fitted with apodisation element to give attractive defocus effects

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WEIGHT (G)

LENGTH (MM)

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

SIGMA FULL FRAME

PENTAX

NIKON

SONY ALPHA

IMAGE STABILISATION

DSLR Lenses

CANON FOUR THIRDS

SPONSORED BY

DIMENSIONS • • • • • •

150 85 60 35 72 87

77 72 55 55 77 80

95 81.5 70 75 84 80

196 72.5 52 98.5 115 99

1500 560 175 505 1004 730

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24 24 28 28 39 28 29 49 49 45 38 38 33 49 30 20 45 29 23 95 130 95 95 150 95 80 29 30 150 220 270 47

77 77 n/a n/a 67 77 72 62 62 72 82 82 67 67 72 67 77 67 55 77 77 77 67 62 62 67 55 58 67 95 95 72

83.2 83.6 98.4 98.4 99.5 83.6 79.6 75 74.4 79 88.2 88.4 73 75 80.9 80.4 84 80.4 73 89.5 85.8 88 76 81.5 76.6 85 71.5 115 199 108.4 105.6 84.8

86.5 84.6 145 145 75 90 94.5 96.6 88 123.9 116.9 111 92 99.5 104.8 80.8 126.8 89.2 80 194.3 188.3 193.8 176.5 142.7 116.5 91 97 76.4 86.2 260.2 257.8 165.7

406 440 1100 1110 540 460 570 400 450 710 825 905 510 540 815 480 796 940 400 1150 1470 1500 860 765 435 700 405 550 1135 2010 1951 920

n/a 70 77 84 77 84 82 89 77 84 82 89 n/a 90 n/a 89 82 89 82 89.6 72 80 67 82 55 73

95 102.3 100.2 947 77 90 93 721 82 95.5 95 851 82 95.2 123 1225 67 73 98 600 58 64 90 460 58 72.4 72 580 72 78 122 850 72 84.8 124.8 1174 58 77 83 702 58 71 71 380 67 82.5 94 922 67 81 75.3 730 72 78 88 670 77 90 113 1280 67 80.5 104 843 77 129 132 1123

TAMRON DSLR 10-24mm f/3.5-4.5 SP AF Di II LD Asph IF 10-24mm f/3.5-4.5 Di II VC HLD 15-30mm f/2.8 SP Di VC USD 15-30mm f/2.8 SP Di VC USD G2 16-300mm f/3.5-6.3 Di II VC PZD Macro 17-35mm f/2.8-4 Di OSD 17-50mm f/2.8 SP AF XR Di II VC LD Asph IF 18-200mm f/3.5-6.3 AF Di II VC 18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro 18-400mm f/3.5-6.3 Di II VC HLD 24-70mm f/2.8 SP Di VC USD 24-70mm f/2.8 SP Di VC USD G2 28-75mm f/2.8 SP AF XR Di LD Asph IF Macro 28-300mm f/3.5-6.3 Di VC PZD 35mm f/1.4 SP Di USD 35mm f/1.8 SP Di VC USD 35-150mm F2.8-4 Di VC OSD 45mm f/1.8 SP Di VC USD 60mm f/2 SP AF Di II LD IF Macro 70-200mm f/2.8 SP AF Di LD IF Macro 70-200mm f/2.8 Di VC USD 70-200mm f/2.8 SP Di VC USD G2 70-210mm f/4 Di VC USD 70-300mm f/4-5.6 SP VC USD 70-300mm f/4-5.6 AF Di LD Macro 85mm f/1.8 SP Di VC USD 90mm f/2.8 SP AF Di Macro 90mm f/2.8 Di Macro 1:1 VC USD 100-400mm f/4.5-6.3 Di VC USD 150-600mm f/5-6.3 SP Di VC USD G2 150-600mm f/5-6.3 SP VC USD 180mm f/3.5 SP AF Di LD IF Macro

£511 £580 £950 £1279 £600 £629 £541 £169 £663 £650 £1099 £1249 £460 £529 £930 £580 £799 £580 £550 £817 £1099 £1350 £699 £300 £170 £749 £470 £579 £789 £1340 £1150 £896

3.5★ 4.5★ 4★ 4★ 4★ 4.5★ 4★ 3★ 4★ 5★

4.5★ 4.5★ 5★ 4★ 5★ 4.5★ 4★ 3.5★ 5★ 4★ 5★ 4★ 5★

Good consistency at 10mm and 18mm, but a steep decline at 24mm Wideangle zoom of APS-C with dust and splashproofing and optical stabilisation Excellent value, this is the only wideangle zoom with image stabilisation and an f/2.8 aperture Second-generation image-stabilised fast wide zoom includes weather-sealing and faster AF Versatile mega-zoom, a very good all-in-one solution, as long as you won’t need to enlarge to A2 size Most compact and lightest full-frame ultra-wideangle zoom in its class Very strong performance at longer focal lengths but weaker at the other end Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation The next-generation incarnation offers a new form of ultrasonic engine The longest-ranging telephoto zoom yet made turns in a surprisingly decent performance Fast zoom with image stabilisation for both full-frame and APS-C cameras Upgraded fast zoom with improved image stabilisation and moisture-resistant construction Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm A new, full-frame, high-power zoom incorporating PZD (Piezo Drive) Premium large-aperture prime with moisture-resistant construction, billed as Tamron’s best-ever lens Moderately wide prime combines ultrasonic focusing, image stabilisation and a fast aperture Unusual image-stabilised full-frame zoom designed for portraits, with large maximum aperture A lens that rewrites the standard focal length with a fast aperture coupled with optical stabilisation Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio No image stabilisation and no advanced AF system, but at this price it’s a steal Compact yet full-size telephoto zoom with vibration compensation Excellent telephoto zoom with updated autofocus and image stabilisation plus sealed construction Lightweight telezoom promises high optical performance, image stabilisation and weather-sealing Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation Low-dispersion glass and compatible with both full-frame and cropped-sensor DSLRs The first full-frame 85mm f/1.8 lens with image stabilisation, that’s also moisture resistant A very nice macro lens that is capable of producing some fine images Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation Relatively compact and lightweight telephoto zoom with moisture-resistant construction Updated version of Tamron’s popular long telezoom Longest focal length of any affordable enthusiast zoom on the market and produces excellent results Two Low Dispersion elements and internal focusing system in this 1:1 macro lens

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14 30 30 28 25 28 26 28 28 38 40 100 30

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25 25 22 25 25 17 24 30 30 30 45 45 24 100 80 88 80

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TOKINA DSLR AT-X 10-17mm f/3.5-4.5 AF DX Fisheye AT-X 11-16mm f/2.8 PRO DX II ATX-i 11-16mm f/2.8 CF AT-X 11-20mm f/2.8 PRO DX AT-X 12-28mm f/4 PRO DX AT-X 14-20mm f/2 PRO DX AT-X 16-28mm f/2.8 PRO FX Opera 16-28mm f/2.8 FF AT-X 17-35mm f/4 PRO FX AT-X 24-70mm f/2.8 PRO FX Opera 50mm f/1.4 FF AT-X 70-200mm f/4 PRO FX VCM-S AT-X 100mm f/2.8 AF PRO D Macro

£550 £449 TBC £499 £529 £849 £757 £699 £830 £679 £900 £691 £360

4★

5★ 4★ 5★

4★

Fisheye zoom lens with Water Repellent coating and Super Low Dispersion glass Popular large-aperture ultra-wideangle zoom with a handy focus-clutch mechanism to engage MF Gains a new waterproof top coating for the front element and updated cosmetic design Compact, ultra-wideangle lens with a fast maximum aperture and decent optical performance Replacement for 12-24mm f/4 wideangle zoom; for Nikon DX DSLRs Wideangle zoom with super-fast, super-bright, constant f/2 aperture for shooting in very low light A pro-end wideangle zoom aimed at full-frame cameras This large-aperture wide zoom for full-frame DSLRs is an updated version of the AT-X 16-28mm f/2.8 One of the most capable super-wide zooms available, though only available in Canon and Nikon mounts Three precision-moulded all-glass aspherical lens elements and a fast, constant f/2.8 aperture Premium fast prime designed for high-resolution DSLRs, with dust and weather-resistant construction Features a new Vibration Correction Module and ring-shaped ultrasonic style autofocus motor Some weaknesses wide open, but reasonable MTF curves make this a decent optic

• •

71.1 350 89.2 550 89 555 92 560 90 600 106 725 133 950 133.5 940 94 600 107.5 1010 107.5 950 167.5 980 95.1 540

ZEISS DSLR 15mm f/2.8 Milvus 18mm f/2.8 Milvus 21mm f/2.8 Milvus 25mm f/1.4 Milvus 25mm f/2 Distagon T* 25mm f/2.8 Distagon T* 28mm f/2 Distagon T* 35mm f/1.4 Distagon T* 35mm f/1.4 Milvus 35mm f/2 Milvus 50mm f/1.4 Planar T* 50mm f/1.4 Milvus 50mm f/2 Milvus Macro 85mm f/1.4 Planar T* 85mm f/1.4 Milvus 100mm f/2 Milvus Macro 135mm f/2 Milvus

£2329 £1999 £1299 £1999 5★ £1350 £738 £850 £1600 £1699 £829 £559 £949 5★ £949 £989 £1379 5★ £1299 £1899

This super-wideangle lens has an angle of view of 110° and uses an advanced retrofocus design Compact super-wideangle lens with premium optics including a floating focus system for close-ups Premium wideangle lens with complex optics designed to be free of distortion Optically excellent, large-aperture manual focus wideangle lens with weather-sealed construction A landscape lens with a fast aperture Relatively small and light wideangle prime, available in Nikon mount only For low-light shooting the 28mm lens has plenty of potential Promises to produce some stunning bokeh effects Large aperture, premium-quality manual-focus prime with weather-sealed construction Compact, moderate wideangle manual focus prime Classic double-Gauss design manual focus standard prime for full-frame SLRs An exceptionally good lens offering sharpness, detail, clean edges and a great user experience Manual-focus macro lens with half-life-size magnification and stunning optics Classic portrait prime designed to give smooth, rounded bokeh effects Fast 85mm manual-focus prime lens that’s perfect for portraiture A manual-focus macro lens with absolutely superb optics and half-life-size reproduction Telephoto lens with a large aperture and smooth bokeh, ideal for medium-distance portrait photography

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 January 2020

• • • • • • • • • • • • • • • •

LENS

RRP SCORE

SUMMARY

MOUNT

WEIGHT (G)

LENGTH (MM)

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

FULL FRAME

FUJIFILM X LEICA L

SONY E

NIKON Z

CANON RF

IMAGE STABILISATION CANON M

Mirrorless Lenses

MICRO 4 THIRDS

BUYING GUIDE

DIMENSIONS

CANON MIRRORLESS

EF-M 11-22mm f/4-5.6 IS STM EF-M 15-45mm f/3.5-6.3 IS STM EF-M 18-55mm f/3.5-5.6 IS STM EF-M 18-150mm f/3.5-6.3 IS STM EF-M 22mm f/2 STM EF-M 28mm f/3.5 IS STM Macro EF-M 32mm f/1.4 STM EF-M 55-200mm f/4.5-6.3 IS STM RF 15-35mm f/2.8L IS USM RF 24-70mm f/2.8L IS USM RF 24-105mm f/4L IS STM RF 24-240mm f/4-6.3 IS USM RF 28-70mm f/2L USM RF 35mm f/1.8 IS STM Macro RF 50mm f/1.2L USM RF 70-200mm f/2.8L IS USM RF 85mm f/1.2L USM RF 85mm f/1.2L USM DS

£355 £249 £269 £399 £220 £294 £500 £330 £2330 £2330 £1120 £800 £3050 £520 £2350 £2700 5★ £2800 £3250

Ultra-wideangle lens with a compact, retractable lens design Collapsible standard zoom for EOS M-series cameras that’s less bulky than the 18-55mm Compact and versatile zoom lens Wide-ranging 29-240mm equivalent superzoom with surprisingly good image quality Small and bright wideangle pancake lens Small, retractable lens with built-in LED lights for illuminating close-up subjects Large-aperture but lightweight prime that offers a 50mm equivalent angle of view Telephoto zoom that takes you closer to the action Premium f/2.8 optic with unusually wide maximum angle of view and optical image stabilisation Image-stabilised, large-aperture, standard zoom for Canon’s full-frame mirrorless EOS R system General-purpose standard zoom with useful range and image stabilisation Relatively affordable superzoom promises to be a versatile travel lens in combination with the EOS RP Groundbreaking, but huge, full-frame zoom with constant f/2 maximum aperture Multi-purpose fast prime that includes image stabilisation and 0.5x macro reproduction Heavyweight ultra-fast standard prime that promises exceptional low-light performance High-end constant maximum aperture telephoto zoom with unconventional extending barrel design Top-of-the-line, ultra-large aperture, short telephoto portrait prime for full-frame mirrorless Alternative version of the 85mm f/1.2 that includes special coatings for a Defocus Smoothing effect

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£329 £379 £1349 4.5★ £2199 5★ £999 £1049 £849 £599 £799 4.5★

Extremely compact and lightweight retractable kit zoom for Nikon’s DX-format mirrorless Entry-level telephoto zoom for DX mirrorless featuring retractable barrel design Remarkably compact ultra-wideangle zoom that accepts 82mm screw-in filters Premium fast standard zoom includes OLED display and customisable control dial General-purpose standard zoom for Nikon’s full-frame mirrorless system Large-aperture wideangle prime that aims to combine edge-to-edge sharpness with attractive bokeh Fast, moderate-wideangle prime designed for optimum optical performance Large-aperture prime that promises exceptional edge-to-edge sharpness Portrait prime for Nikon’s full-frame mirrorless system that promises beautiful bokeh

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15 25 25 25 15 9.7 23 100 28 38 45 50 39 17 80 70 85 85

55 61 58.2 220 49 60.9 44.5 130 52 61 61 210 55 60.9 86.5 300 43 61 23.7 105 43 60.9 45.5 130 43 60.9 56.5 235 52 60.9 86.5 260 82 88.5 126.8 840 82 88.5 127.7 900 77 83.5 107.3 700 72 80.4 122.5 750 95 103.8 139.8 1430 52 74.4 62.8 305 77 89.8 108 950 77 89.9 146 1070 82 103.2 117.3 1195 82 103.2 117.3 1195

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30 100 28 38 30 25 25 40 80

46 62 82 82 72 72 62 62 67

70 74 89 89 77.5 78 73 76 75

25 24 18 13 15 17 30 60 35 18 45 18 28 22 60 28 35 39 100 110 110 70 70 26.7 25 60 175

n/a 72 58 52 67 49 58 77 72 52 77 58 62 43 39 52 43 46 72 58 62 62 62 39 62 62 77

88 121.5 805 78 87 410 65 58.4 235 62.6 44.2 135 73.4 73 375 60 45.4 155 62.6 98.3 195 83.3 106 655 78.3 88.9 440 64.5 40.6 116 75.7 97.8 490 65 70.4 310 72 63 300 60 51.9 180 23 61.2 78 65 54.9 187 60 45.9 170 60 59.4 200 82.9 175.9 995 69.5 111 375 118 75 580 73.2 69.7 405 73.2 69.7 405 64.1 70.9 215 80 130 750 75 105 540 94.8 210.5 1375

NIKON MIRRORLESS

16-50mm f/3.5-6.3 VR Nikkor-Z DX 50-250mm f/4.5-6.3 VR Nikkor-Z DX 14-30mm f/4 S Nikkor-Z 24-70mm f/2.8 S Nikkor-Z 24-70mm f/4 S Nikkor-Z 24mm f/1.8 S Nikkor-Z 35mm f/1.8 S Nikkor-Z 50mm f/1.8 S Nikkor-Z 85mm f/1.8 S Nikkor-Z

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32 110 85 126 88.5 96.5 86 86.5 99

135 405 485 805 500 450 370 415 470

FUJIFILM MIRRORLESS

XF 8-16mm f/2.8 R LM WR XF 10-24mm f/4 R OIS XF 14mm f/2.8 R XC 15-45mm f/3.5-5.6 OIS PZ XF 16mm f/1.4 R WR XF 16mm f/2.8 R WR XC 16-50 f/3.5-5.6 OIS II XF 16-55mm f/2.8 R LM WR XF 16-80mm f/4 R WR OIS XF 18mm f/2 R XF 18-135mm f/3.5-5.6 R LM OIS WR XF 18-55mm f/2.8-4 R LM OIS XF 23mm f/1.4 R XF 23mm f/2 R WR XF 27mm f/2.8 XF 35mm f/1.4 R XF 35mm f/2 R WR XF 50mm f/2 R WR XF 50-140mm f/2.8 R LM OIS WR XC 50-230mm f/4.5-6.7 OIS II XF 55-200mm f/3.5-4.8 R LM OIS XF 56mm f/1.2 R XF 56mm f/1.2 R APD XF 60mm f/2.4 XF R Macro XF 80mm f/2.8 R LM OIS WR Macro XF 90mm f/2 R LM WR XF 100-400mm f/4.5-5.6 R LM OIS WR

£1799 £849 £729 £259 £729 £349 £359 £899 £769 £430 £699 £599 £649 £419 £270 £439 £299 £449 £1249 £315 £599 £899 £1159 £599 £1249 £699 £1399

Premium ultra-wideangle large-aperture zoom lens with weather-resistant construction Wideangle zoom lens, promising minimal ghosting with Fuji’s HT-EBC multi-layer coating 5★ Wideangle prime with high resolution into the corners, its performance justifies the price tag Lightweight retractable power zoom that’s set to be the entry-level kit lens for X-system cameras 5★ Weather-sealed fast prime for X-system users 4.5★ Attractively priced, weather-sealed, compact and lightweight wideangle prime Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range 5★ A flagship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance Weathersealed, constant maximum aperture zoom with an extremely useful focal-length range 4★ A compact wideangle lens with a quick aperture 4★ Weather-resistant zoom for Fujifilm X mount, designed to be the perfect partner for the Fujifilm X-T1 Short zoom lens with optical image stabilisation Premium wideangle prime lens with fast maximum aperture 5★ Compact weather-resistant wideangle prime lens A high-performance single-focal-length lens 4★ Shallow depth of field and bokeh effects are simple to achieve with this lens 5★ A powerful and weather-resistant lens that feels great and has the performance to match 5★ Lightweight weather-resistant short telephoto prime lens that’s ideal for shooting portraits A telephoto zoom with a constant maximum aperture and weather-resistance The XC lens range is designed to suit Fuji’s mid-range CSCs, and this lens has optical image stabilisation 4★ Telephoto with built-in optical image stabilisation plus aperture control ring 4★ This wide-aperture portrait lens for X-series cameras has great sharpness and detail and is great value 4★ Adds apodisation element of 56mm f/1.2 for even more attractive background blur A short lens designed for macro work with half-life-size magnification 4★ Fujifilm’s long-awaited 1:1 macro includes weather resistance and optical image stabilisation 5★ A classic portrait lens that’s sharp, with gorgeous bokeh 5★ This superb zoom is both water and dust resistant, and can operate in -10°C temperatures

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ALL PRICES ARE RRPS, STREET PRICES MAY VARY

LAOWA MIRRORLESS

4mm f/2.8 Fisheye MFT 7.5mm f/2 MFT 12mm f/1.8 MFT 17mm f/1.8 MFT 9mm f/2.8 Zero D 10-18mm f/4.5-5.6 FE Zoom 15mm f/2 FE Zero D

£249 £499 4.5★ TBC £189 £499 £899 £899 4.5★

Lightweight fisheye lens for Micro Four Thirds offering a circular image with a 210° angle of view Tiny but sharp wideangle prime for Micro Four Thirds featuring manual focus and aperture control Small, lightweight manual focus wideangle for Micro Four Thirds, with 24mm equivalent view Inexpensive compact prime for Micro Four Thirds cameras with manual focus and aperture operation Compact manual-focus prime for APS-C mirrorless cameras promises very low distortion The world’s widest zoom for full-frame Sony mirrorless, with manual focus and aperture control Manual-focus fast ultra-wideangle prime for full-frame Sony cameras, with minimal distortion

£1450 £1280 £1020 £1410 £1830 £1450 £1920

Wideangle zoom lens for Leica’s APS-C mirrorless system Relatively large, non-retractable zoom for APS-C mirrorless Slimline, extremely lightweight pancake prime with fast autofocus Compact, lightweight fast prime that offers a classic 35mm equivalent view on Leica’s APS-C CSCs High-end fast prime designed to give exceptional image quality Telephoto zoom that eschews image stabilisation in a bid for maximal optical quality Macro lens for Leica’s APS-C mirrorless cameras offers 1:1 life-size magnification

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8 n/a 45.2 12 46 50 14 46 55 15 46 55 12 49 60 15 37 70 15 72 66

25.5 55 50 50 53 90.9 82

135 170 165 160 215 496 500

20 45 30 30 30 100 16

73 61 21 38.1 77 110 89

368 256 80 153 428 500 320

LEICA MIRRORLESS

11-23mm f/3.5-4.5 TL 18-56mm f/3.5-5.6 Vario-Elmar TL 18mm f/2.8 Elmarit TL 23mm f/2 Summicron TL 35mm f/1.4 Summilux TL 55-135mm f/3.5-4.5 APO-Vario-Elmar-TL 60mm f/2.8 APO-Macro-Elmarit TL

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67 52 39 52 60 60 60

77 63.5 61 63.5 70 68 68

g without a lens attached! you’ll ﬁnd hundreds of lenses f uses, for a variety of budgets.

• Nikon • Olympus x • Samyang • Sigma Voigtlander • Zeiss 68

4 January 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

LENS

RRP SCORE

OLYMPUS MIRRORLES 7-14mm f/2.8 ED Pro 8mm f/1.8 Pro Fisheye 9-18mm f/4-5.6 ED 9mm f/8 Fish-eye Body Cap Lens 12mm f/2.0 ED 12-40mm f/2.8 ED Pro 12-50mm f/3.5-6.3 ED EZ 12-100mm f/4 IS ED Pro 12-200mm f/3.5-6.3 ED 14-42mm f/3.5-5.6 II R 14-42mm f/3.5-5.6 EZ 14-150mm f/4-5.6 II 15mm f/8 Body Cap Lens 17mm f/1.2 ED Pro 17mm f/1.8 MSC 17mm f/2.8 Pancake 25mm f/1.2 ED Pro 25mm f/1.8 30mm f/3.5 ED Macro 40-150mm f/2.8 ED Pro 40-150mm f/4-5.6 R 45mm f/1.2 ED Pro 45mm f/1.8 60mm f/2.8 Macro 75-300mm f/4.8-6.7 ED II 75mm f/1.8 ED 300mm f/4 IS Pro

£999 £799 £630 £89 £739 £899 £349 £1099 £800 £269 £329 £550 £69 £1300 £450 £300 £1099 £370 £249 £1299 £309 £1200 £279 £450 £499 £799 £2200

PANASONIC MIRRORLESS G 7-14mm f/4 G 8mm Fisheye f/3.5 DG 8-18mm f/2.8-4 Leica ASPH DG 10-25mm f/1.7 Leica ASPH DG 12mm f/1.4 Leica Summilux ASPH G 12-32mm f/3.5-5.6 MEGA OIS G X 12-35mm f/2.8 OIS II G 12-60mm f/3.5-5.6 OIS ASPH DG 12-60mm f/2.8-4 OIS Leica G 14mm f/2.5 II G X 14-42mm f/3.45-5.6 X PZ POWER OIS G 14-45mm f/3.5-5.6 MEGA OIS G 14-140mm f/3.5-5.6 ASPH POWER OIS G 14-140mm f/3.5-5.6 ASPH POWER OIS II DG 15mm f/1.7 Leica Summilux G 20mm f/1.7 ASPH II G 25mm f/1.7 ASPH DG 25mm f/1.4 Leica Summilux Asph DG 25mm f/1.4 Leica Summilux II Asph G 30mm f/2.8 Macro MEGA OIS G 35-100mm f/4-5.6 ASPH MEGA OIS G X 35-100mm f/2.8 Power OIS II DG 42.5mm f/1.2 Leica DG OIS G 42.5mm f/1.7 Power OIS DG 45mm f/2.8 OIS Macro Leica G 45-150mm f/4-5.6 MEGA OIS G X 45-175mm f/4-5.6 X PZ POWER OIS G 45-200mm f/4-5.6 MEGA OIS II DG 50-200mm f/2.8-4 OIS Leica G 100-300mm f/4-5.6 MEGA OIS II DG 100-400mm f/4-6.3 OIS Leica DG 200mm f/2.8 OIS Leica NEW S Pro 16-35mm f/4 S Pro 24-70mm f/2.8 S 24-105mm f/4 Macro OIS S Pro 50mm f/1.4 NEW S Pro 70-200mm f/2.8 OIS S Pro 70-200mm f/4 OIS

£740 £730 £1049 £1800 £1199 £270 £880 £439 £880 £249 £369 £189 £599 £619 £549 £249 £159 £550 £580 £300 £300 £970 £1399 £349 £539 £280 £400 £380 £1600 £570 £1349 £2699 £1499 £2250 £1750 £2300 £2599 £1300

SUMMARY

MOUNT

WEIGHT (G)

LENGTH (MM)

DIAMETER (MM)

FILTER THREAD (MM)

MIN FOCUS (CM)

FULL FRAME

FUJIFILM X LEICA L

SONY E

NIKON Z

CANON RF

IMAGE STABILISATION CANON M

Mirrorless Lenses

MICRO 4 THIRDS

SPONSORED BY

DIMENSIONS

4.5★ Super‑wideangle zoom lens that’s dustproof, splashproof and freeze‑proof Fisheye lens with impressive image quality that’s dustproof, splashproof and freeze‑proof This super‑wideangle lens offers an equivalent focal range of 18‑36mm in 35mm terms Slimline lens in a body cap with 140° angle of view 5★ A wideangle fixed lens for the Micro Four Thirds system Weather‑resistant standard zoom with top‑notch optics and a constant aperture of f/2.8 A weather‑resistant zoom lens with manual or electronic zoom 5★ Superb high‑end weather‑sealed superzoom lens featuring powerful in‑lens IS with Sync IS • 4★ 24‑400mm equivalent superzoom includes weather‑sealed construction and decent optics A redesigned variation of the standard kit lens Compact kit lens for Olympus PEN and OM‑D models with powerzoom control High‑powered zoom for all your needs – from wideangle to telephoto – plus weather‑resistance Strictly speaking an accessory rather than a lens, with basic optics in a tiny plastic housing High‑end, large‑aperture weather‑sealed prime designed for documentary or landscape work 5★ Wide‑aperture, wideangle prime boasting excellent peak sharpness and low colour fringing 4★ Tiny wideangle pancake prime with reasonable optics 5★ Large maximum‑aperture prime combines impressive sharpness with lovely bokeh and fast, reliable AF Compact prime lens with ultra‑bright f/1.8 aperture New in the M.Zuiko Premium range, this macro lens features super‑fast AF and weighs only 128g 4★ This powerful 80‑300mm 35mm‑equivalent focal‑length lens offers amazing portability for this pro class This middle‑distance zoom lens has an 80‑300mm 35mm‑equivalent focal length Large‑aperture lens designed for portrait photography with premium optics 5★ Fast‑aperture lens for taking portrait shots is sharp, quiet and has no colour fringing High‑precision macro lens that’s dustproof and splashproof Update featuring Zuiko Extra‑low Reflection Optical coating said to reduce ghosting 5★ Ultra‑fast prime lens ideal for portraits and action shots Compact ultra‑telephoto prime with optical image stabilisation, compatible with Sync IS •

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20 12 25 20 20 20 20 15 22 25 20 50 30 20 25 20 30 25 9.5 70 90 50 50 19 90 84 140

n/a n/a 52 n/a 46 62 52 72 72 37 37 58 n/a 62 46 37 62 46 46 72 58 62 37 46 58 58 77

78.9 105.8 534 62 80 315 56.5 49.5 155 56 12.8 30 56 43 130 69.9 84 382 57 83 211 77.5 116.5 561 77.5 99.7 455 56.5 50 112 60.6 22.5 93 63.5 83 285 56 9 22 68.2 87 390 57 35 120 57 22 71 70 87 410 57.8 42 137 57 60 128 79.4 160 760 63.5 83 190 70 84.9 410 56 46 116 56 82 185 69 117 423 64 69 305 92.5 227 1270

5★

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25 10 23 28 20 20 25 20 20 18 20 30 30 30 20 20 25 30 30 10 90 85 50 37 15 90 90 100 75 100 103 115 25 37 30 44 95 92

n/a 22 67 77 62 37 58 58 62 46 37 52 58 58 46 46 46 46 46 46 46 58 67 31 46 52 46 52 67 52 72 77 77 82 77 77 82 77

70 83.1 300 60.7 51.7 165 73.4 88 315 87.6 128 690 70 70 335 55.5 24 70 67.6 73.8 305 66 71 210 68 86 320 55.5 20.5 55 61 26.8 95 60 60 195 67 75 265 67 75 265 36 57.5 115 25.5 63 100 60.8 52 125 63 54.5 200 63 54.5 205 58.8 63.5 180 55.5 50 135 67.4 100 360 74 76.8 425 55 50 130 63 62.5 225 62 73 200 61.6 90 210 70 100 380 76 132 655 70 100 380 83 171.5 985 87.5 174 1245 85 99.6 500 90.9 140 935 84 118 680 90 130 955 94.4 208.6 1570 84.4 179 985

For a wideangle zoom, the overall level of resolution is very impressive The world’s lightest and smallest fisheye lens for an interchangeable‑lens camera Splashproof, dustproof and freezeproof ultra‑wideangle zoom with premium optics The world’s fastest standard zoom lens, with an unusual 20‑50mm equivalent range 4.5★ Compact fast wideangle quality with excellent optics and built‑in aperture ring Very compact with a versatile zoom range and three aspherical lenses Updated fast standard zoom with matte‑black finish and improved autofocus and aperture control 4★ Incorporates a stepping motor for a smooth, silent operation and features a dust and splashproof design Premium standard zoom with useful focal‑length range and weather‑resistant construction Wideangle pancake lens that should suit landscape photographers 4★ Powered zoom; impressive results in terms of both sharpness and chromatic aberration A lightweight and compact standard zoom featuring MEGA OIS optical image stabilisation Metal‑bodied zoom featuring company’s POWER OIS optical image stabiliser Weather‑resistant update to Panasonic’s optically stabilised superzoom lens 4★ High‑speed prime with a compact metal body, includes three aspherical lenses to cut down distortion Ultra‑compact fast prime with excellent optics but slower autofocus than more modern options 4.5★ Inexpensive fast normal prime for Micro Four Thirds 5★ A fast‑aperture fixed focal length standard lens from Leica Updated version of this lovely fast standard prime adds dust‑ and splash‑resistant construction 3★ Compact lens offering true‑to‑life magnification capability for better macro images Telephoto zoom equivalent to 70‑200mm on a 35mm camera Premium fast telephoto zoom with matte‑black finish and improved autofocus and aperture control 5★ Mid‑telephoto high‑speed Leica DG Nocticron lens with 2 aspherical lenses and ultra‑wide aperture Mid‑telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect Tiny macro lens with 1:1 magnification and optical image stabilisation 4★ Compact, lightweight telephoto zoom comprising 12 elements in nine groups 4★ A powered long‑focal‑length zoom lens Updated telephoto zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS Premium telephoto zoom that completes Panasonic’s Leica f/2.8‑4 series 4★ Updated long zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS Top‑quality super‑telephoto zoom with weather‑sealed construction and Dual IS support 5★ Stunning 400mm‑equivalent fast telephoto prime, comes with 1.4x teleconverter in the box Relatively compact and lightweight premium wideangle zoom with weather‑sealed construction Pro‑range fast standard zoom includes dust and splash resistance, along with a focus‑clutch mechanism L‑mount full‑frame standard zoom which offers half‑life‑size magnification Premium, fast standard prime for full‑frame mirrorless with built‑in aperture ring Pro‑spec fast telephoto zoom incorporating optical image stabilisation and weather‑sealing Image‑stabilised, weather‑sealed telephoto zoom for L‑mount full‑frame mirrorless

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SAMYANG MIRRORLESS 7.5mm f/3.5 UMC fisheye MFT 8mm f/2.8 UMC fisheye II 12mm f/2 NCS CS 21mm f/1.4 ED AS UMC CS 35mm f/1.2 ED AS UMC CS 50mm f/1.2 AS UMC CS 85mm f/1.8 ED UMC CS 300mm f/6.3 ED UMC CS Reflex

£253 £249 £330 £259 5★ £359 £299 5★ £319 £249

Fisheye manual‑focus lens with Ultra Multi Coated lens elements to reduce flare and ghosting Updated version of the Samyang 8mm f/2.8 UMC Fisheye lens, with improved optical construction Fast wideangle prime for APS‑C and Micro Four Thirds mirrorless cameras Manual‑focus low‑light lens for mirrorless cameras with APS‑C or smaller‑sized sensor Standard‑angle manual‑focus lens for mirrorless cameras with APS‑C sensor size Fast telephoto prime that can produce stunning results with a super‑shallow depth of field Manual‑focus medium‑telephoto portrait prime for APS‑C mirrorless cameras A compact reflex mirror lens dedicated for mirrorless compact system cameras

Tamron 17-28mm f/2.8 Di III RXD (Sony FE Mount)

Olympus 300mm f/4 IS PRO

SPREAD THE COST WITH OUR FINANCE OPTIONS Learn more in store or online!

£879.00 subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 January 2020

£1,999.00*

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9 n/a 48.3 30 n/a 60 20 67 72.5 28 58 54.3 38 62 67.5 50 62 67.5 65 62 67.5 90 58 73.7

60 64.4 59 67.9 74.2 74.5 81 64.5

197 290 245 290 420 380 423 320

SAVE £300

*Normally £ Offer ends

£629 £350 £280 £600 £279 £350 £499 £599

18mm f/2.8 FE AF 24mm f/2.8 FE AF 35mm f/1.4 FE AF 35mm f/2.8 FE AF 45mm f/1.8 FE AF 50mm f/1.4 FE AF 85mm f/1.4 FE AF

4.5★ 4.5★ 4.5★ 4.5★

•

70 62 64.7 73 66.6 62 78 110 67.2 68 93.2 62.6 63 62.2 62 62 63.8 77 87 88.5 78 87.6 73 83.4 80.5 75.4 64 72.5 162.5 73 65.6 61.5 83.5 68.6 70.8 64.4 80 80 84 78 89.5 79 85.2 93.9 89.5 111.5

63.5 22.5 29.9 100 75 60 110 167.5 88 98 99 20.4 65.6 45 55.5 62 108 142 117.4 121.6 98.5 136 94.5 113.3 118.5 92.4 60 83 105 94.5 73 36.5 108 59.5 71 70.5 175 175 143.5 82 107.5 130.5 118.1 205 127 318

225 67 116 494 308 194 427 1105 325 460 649 69 225 155 138 202 345 625 565 680 518 886 426 663 780 445 200 295 1215 630 280 120 778 186 236 281 840 840 854 371 820 602 700 1395 950 2115

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50 50 11 12 15 19 19

52 62 67 67 67 67 67

63.5 80.4 68 96.7 73 64 73 64 73 64 73 99 73 117.8

285 460 220 215 210 420 550

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28 28 30

62 62 55

69 73.4 74

81.5 490 81.5 464 123 570

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18 15 23 25 25 20 25 30 24 45 80 80 87

67 52 52 77 52 67 52 52 67 52 67 52 67

82 75 72 78 62 81 62 62 91 62 78 62.5 84

68 91 76 95 72 92 69.5 59 93 59 105 108 120

WEIGHT (G)

62 49 40.5 67 55 49 72 95 55 62 67 49 49 49 49 49 49 67 n/a 82 72 82 67 77 72 67 49 55 95 72 55 49 72 49 55 49 72 72 72 67 77 62 72 77 82 95

LENGTH (MM)

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25 24 25 33 35 25 45 40 45 50 30 20 16 30 9 39 100 110 28 28 28 38 40 38 50 24 29 30 95 30 22 35 45 45 16 50 100 100 90 80 80 28 57 98 70 240

MOUNT

Autofocus wideangle prime, now available in Canon RF as well as Sony FE mount Compact, lightweight autofocus wideangle prime for Sony full-frame mirrorless cameras Small, lightweight autofocus wideangle prime for full-frame mirrorless cameras Fast autofocus prime designed for maximum sharpness with a Linear Supersonic Motor for AF Compact, lightweight, inexpensive autofocus prime lens for full-frame mirrorless cameras Small standard prime for Sony full-frame mirrorless Excellent value for money fast prime for full-frame Sony mirrorless Large-aperture autofocus, short-telephoto portrait prime for Sony full-frame mirrorless

DIAMETER (MM)

FILTER THREAD (MM)

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25 67 72.2 92.3 405 30 52 64.8 73 140 50 55 66.5 59.5 280 28 n/a 85 131 795 38 82 87.8 122.9 835 30 82 87.8 136.2 1090 24 55 64 46.2 215

FUJIFILM X LEICA L

20 n/a 85.5 25 58 63.5 24 49 61.8 30 67 75.9 35 49 61.8 45 49 61.8 45 67 73.5 90 77 88

SONY E

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NIKON Z

CANON RF

SUMMARY

MIN FOCUS (CM)

RRP SCORE

14mm f/2.8 AF

FULL FRAME

LENS

IMAGE STABILISATION CANON M

Mirrorless Lenses

MICRO 4 THIRDS

BUYING GUIDE

DIMENSIONS

• • • • • • • •

97.5 60.5 37 115 33 56.1 97.7 99.5

505 145 93 645 86 162 585 568

SIGMA MIRRORLESS

£450 Large-aperture wideangle lens with dustproof and splashproof design £300 4★ A prime for Micro Four Thirds and Sony E-mount users, it’s impressively sharp even at f/1.4 £400 4.5★ Small, lightweight large-aperture portrait prime for APS-C Sony and Micro Four Thirds £1459 Ultra-wideangle zoom for full-frame mirrorless that’s two-thirds of the weight of its DSLR equivalent £1050 Large-aperture standard zoom for full-frame mirrorless that promises ‘best in class’ image quality £1459 World’s largest-aperture autofocus lens for either Sony E or Leica L mount promises top-notch optics £549 Ultra-compact full-frame standard prime should be a perfect match for the Sigma fp camera body

SONY MIRRORLESS

E 10-18mm f/4 OSS E 16mm f/2.8 E 16-50mm f/3.5-5.6 PZ OSS E 16-55mm f/2.8 G E 16-70mm f/4 ZA OSS Vario-Tessar T* E 18-55mm f/3.5-5.6 OSS E 18-105mm f/4 G PZ OSS E 18-110mm f/4 G PZ OSS E 18-135mm f/3.5-5.6 OSS E 18-200mm f/3.5-6.3 OSS LE E 18-200mm f/3.5-6.3 PZ OSS E 20mm f/2.8 E 24mm f/1.8 ZA Sonnar T* E 35mm f/1.8 OSS E 30mm f/3.5 Macro E 50mm f/1.8 OSS E 55-210mm f/4.5-6.3 OSS E 70-350mm f/4.5-6.3 G OSS FE 12-24mm f/4 G FE 16-35mm f/2.8 GM FE 16-35mm f/4 ZA OSS Vario-Tessar T* FE 24-70mm f/2.8 GM FE 24-70mm f/4 ZA OSS Vario-Tessar T* FE 24-105mm f/4 G OSS FE 24-240mm f/3.5-6.3 OSS FE 24mm F1.4 GM FE 28mm f/2 FE 28-70mm f/3.5-5.6 OSS FE 28-135mm PZ f/4 G OSS FE 35mm f/1.4 ZA Distagon T* FE 35mm f/1.8 FE 35mm f/2.8 ZA Sonnar T* FE 50mm f/1.4 ZA Planar T* FE 50mm f/1.8 FE 50mm f/2.8 Macro FE 55mm f/1.8 ZA Sonnar T* FE 70-200mm f/4 G OSS FE 70-200mm f/2.8 GM OSS FE 70-300mm f/4.5-5.6 G OSS FE 85mm f/1.8 FE 85mm f/1.4 GM FE 90mm f/2.8 Macro G OSS FE 100mm f/2.8 STF GM OSS FE 100-400mm f/4.5-5.6 GM OSS FE 135mm f/1.8 GM FE 200-600mm f/5.6-6.3 G OSS

TAMRON MIRRORLESS

14-150mm f/3.5-5.8 Di III 18-200mm f/3.5-6.3 Di III VC NEW 20mm f/2.8 Di III OSD M1:2 NEW 24mm f/2.8 Di III OSD M1:2 NEW 35mm f/2.8 Di III OSD M1:2 17-28mm f/2.8 Di III RXD 28-75mm f/2.8 Di III RXD

TOKINA MIRRORLESS

Firin 20mm f/2 FE MF Firin 20mm f/2 FE AF Firin 100mm f/2.8 FE Macro

£750 £220 £299 £1200 £839 £270 £499 £3300 £570 £489 £999 £309 £839 £399 £219 £219 £289 £830 £1700 £2300 £1289 £1799 £1049 £1199 £929 £1450 £419 £449 £2379 £1559 £630 £699 £1500 £240 £500 £849 £1359 £2500 £1150 £550 £1889 £1049 £1700 £2500 £1750 £1799

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

Super-wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation Pancake lens for APS-C mirrorless, with a circular aperture and Direct Manual Focus Tiny pancake lens with power zoom, ED glass and Optical SteadyShot image stabilisation Premium, high-resolution, weather-resistant standard zoom for APS-C mirrorless cameras A lightweight, versatile mid-range zoom with a constant f/4 aperture Optical SteadyShot, said to be silent during movie capture, and a circular aperture Sony G lens for E-mount cameras with a constant f/4 aperture Constant f/4 maximum aperture powerzoom for video production, for Super 35mm / APS-C cameras Lightweight, compact standard zoom designed to match Alpha 6000-series cameras Smaller and lighter than comparable lenses, this is an ideal high-magnification travel lens Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies Pancake wideangle lens promises to be the perfect walkaround partner for E-mount cameras Top-quality Carl Zeiss optic ideally suited to Alpha 6000-series bodies Lightweight, versatile prime with Optical SteadyShot image stabilisation A macro lens for Sony’s APS-C compact system cameras A handy, low-price image-stabilised portrait lens for the APS-C Alpha mirrorless range Lightweight optically stabilised telephoto zoom lens for APS-C mirrorless High-end long telephoto zoom for APS-C E-mount cameras includes optical stabilisation 4.5★ Compact, weather-resistant super-wideangle zoom with high-quality optics Premium G Master-series fast wideangle zoom with weather-resistant construction 5★ Zeiss full-frame wideangle zoom lens 5★ This pro-grade standard lens for the Sony full-frame FE mount gives exceptionally sharp results 5★ Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation 5★ Excellent full-frame standard zoom with optical stabilisation and weather-resistant design 3★ Ideal for travel, landscapes and more, with built-in stabilisation. Also dust and moisture resistant 5★ Compact, large-aperture wideangle prime includes aperture ring and weather-resistant construction 4★ This full-frame wideangle prime with a bright f/2 maximum aperture promises excellent sharpness Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range Constant f/4 maximum aperture powerzoom for video production, for full-frame cameras 4★ Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture 4.5★ Lightweight fast prime with fine optics and quick autofocus that’s well-matched to Alpha 7 series bodies When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver 5★ Optically stunning premium fast prime, but huge and heavy 4★ Features a new optical design with a single aspherical element 4★ Sony’s budget macro for full-frame CSCs offers decent optics but is slow at focusing 35mm full-frame prime lens with wide aperture allowing good images indoors or in low light 4★ G-series telephoto zoom lens, dust and water resistant, with built-in image stabilisation 5★ Compact, lightweight telephoto zoom lens for full-frame E-mount bodies Sony has added this lens to its growing range 4★ Relatively inexpensive portrait lens includes dust and moisture-resistant construction 5★ Stunning image quality from Sony’s premium ‘G Master’ portrait lens 5★ Optically excellent dedicated macro lens for Sony’s full-frame E-mount cameras Innovative portrait lens combines optical stabilisation and an apodisation filter for smooth bokeh 5★ Premium optically stabilised, weather-sealed telezoom designed to match the Alpha 9 5★ Large-aperture portrait prime for full-frame combines exceptional sharpness and attractive bokeh Weather-resistant super-telephoto, with easy-to-use internal zoom design

£699 5★ £799 £579

£959 £589 £700 £990 £1230 £980 £1190 £1015 £1130 £740 £909 £1199 £1749

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5★

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Impressively sharp fast wideangle prime for Sony mirrorless, with manual focus and aperture ring Autofocus version of the excellent Firin 20mm f/2 FE MF, featuring ultrasonic focus motor Relatively affordable autofocus 1:1 macro lens for Sony full-frame mirrorless cameras

Designed specifically for Sony NEX and Fujifilm X-series CSC cameras. Very impressive performance Macro 1:1 lens for extreme close-ups, as well as shooting portraits or panoramas as a light tele-lens 4.5★ Optimised for use with APS-C format sensors, a fast standard lens for Fujifilm X-series cameras The Batis range is for mirrorless full-frame system cameras from Sony Compact manual-focus wideangle prime purpose-designed for Sony Alpha 7-series cameras 5★ A wideangle lens for Sony full-frame users offering unrivalled quality 5★ Gorgeous but ever-so-pricey compact manual focus prime, with absolutely stunning optics Small wideangle manual-focus prime intended for Sony Alpha 7 users 5★ Bridges the gap between Batis 25mm and 85mm lenses and features close-focusing ability Manual-focus standard prime with premium optics and E mount for Sony Alpha 7 users 5★ A high-quality medium prime for wedding and portrait shooters, developed for Sony’s Alpha 7 series A compact, manual-focus, short telephoto lens for the mirrorless Sony Alpha series 5★ Absolutely stunning, super-sharp image-stabilised portrait lens for Sony full-frame mirrorless

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•

£370 4★ Micro Four Thirds superzoom is a competent performer, and extremely compact £390 Lightweight, compact, all-in-one zoom for mirrorless cameras, to cover practically any shooting situation • • TBC Widest of a trio of lightweight primes offering half life-size magnification and splash-proof build TBC Compact wideangle prime designed for high-resolution full-frame mirrorless cameras TBC Optimized Silent Drive (OSD) motor promises full compatibility with advanced autofocus modes £899 5★ Small and lightweight fast wideangle zoom boasts excellent optics and fast autofocus £699 4.5★ Fast zoom for full-frame mirrorless is relatively compact and has fine optics

ZEISS MIRRORLESS

Touit 12mm f/2.8 Distagon T* Touit 50mm f/2.8 Planar T* Touit 32mm f/1.8 Planar T* Batis 18mm f/2.8 Loxia 21mm f/2 Batis 25mm f/2 Loxia 25mm f/2.4 Loxia 35mm f/2 Batis 40mm f/2 CF Loxia 50mm f/2 Batis 85mm f/1.8 Loxia 85mm f/2.4 Batis 135mm f/2.8

4★ 4★

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270 290 200 330 394 355 375 340 361 320 475 594 614

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DIGITAL SLR Canon EOS 1DX Body Only�15_Day - E+ £949 -2099 EOS 1DS III Body Only�� E++ £649 EOS 1D II Body Only��E+ £169 EOS 5DS Body Only ��E+ - E++ £1249 -1299 EOS 5D III Body + BG-E11 Grip��E+ £949 EOS 7D II Body Only�� E++ £679 EOS 7D Body Only �� E+ £199 -219 EOS 7D + BG-E7 Grip ��E+ £249 EOS 70D Body Only �� E+ - E++ £349 EOS 60D Body Only ��E+ £219 EOS 50D Body Only ��E+ £119 EOS 760D Body Only �� E++ £349 EOS 750D Body Only ��E++ £319 -329 EOS 550D Body Only ��E+ £149 EOS 500D Body + BG-E5 Grip��E+ £129 EOS 500D + BG-E5 Grip ��E+ £129 EOS 1000D Body Only ��E+ £69 EOS 450D Body Only ��E+ £79 EOS 400D Body Only ��E+ £59 EOS 350D Body Only �� E+ £39 -49 EOS 350D + 18-55mm��Exc £59 EOS 350D Body + BG-E3 Grip��E+ £49 EOS 10D Infra Red Body Only��E+ £99 Nikon D4S Body Only��E++ £1999 -2249 D4 Body Only��E+ £1800 D3X Body Only��E+ - E++ £749 -799 D810 Body Only��E+ - E++ £949 -1150 D800E Body Only�� E++ £789 D800E Body + MB-D12 Grip�� E++ £899 D800 Body Only�� E+ £539 -749 D750 Body Only�� 15_Day - E++ £599 -889 D700 Body Only��15_Day - E+ £199 -329 D700 Body + MB-D10 Grip��E+ - E++ £349 -389 D600 Body Only��E+ - Mint- £449 -599 D600 Body + MB-D14 Grip��E+ £489 D300S Body Only��E+ £199 D300 Body Only��E+ £139 D300 + MB-D10 Grip��15_Day - E+ £129 -179 D200 IR Body Only�� 15_Day £179 D7500 Body Only�� Mint- - Mint £649 -699 D7200 Body Only��E++ - Mint- £459 -519 D7100 Body Only��E++ £319 -349 D7000 Body Only��E++ £169 -219 D5100 Body Only��E+ - E++ £129 -149 D3500 Body Only��Mint- £289 D3400 Body Only��E++ - Mint- £219 D3100 Body Only�� E++ £89 D80 Body Only�� E++ £79 Olympus E5 Body + HLD4 Grip �� E++ £499 E5 Body Only �� E++ £449 E3 Body Only ��E+ £179 E1 Body Only �� 15_Day £99 E30 Body Only ��E+ £159 E620 + 40-150mm��E+ £149 E600 + 14-42mm��E+ £129 E510 + 18-180mm��E+ £159 E510 + 14-42mm��15_Day - E+ £59 -129 E450 + 14-42mm + 40-150mm�� E++ £159 E420 + 14-42mm + 40-150mm��E+ £159 E410 + 14-42mm + 40-150mm�� E++ £169 DIGITAL Mirrorless Fujifilm X-E3 Body Only - Black�� E++ £399 X-E2s Black Body Only�� E++ £249 X-E2 Black Body Only �� 15_Day - E++ £99 -219 X-T1 Body + VPB-XT1 Vertical Grip��15_Day - E+ £129 -299 X-T1 Body Only�� 15_Day - E++ £189 -279 X-T20 Body Only - Silver��Mint- £449 X-T10 Black Body Only ��E+ - E++ £179 -219 X-A2 Body Only - Silver�� E++ £99 X-M1 Silver Body Only�� E++ £99 X-M1 + 16-50mm �� E++ £199 Leica CL + 18mm F2�8 - Silver ��Mint- £2499 T Black + 23mm F2�� E++ £1299 T Silver + 18-56mm Asph�� E++ £1099 Olympus E-M1 II Body + HLD-9 Grip�� E++ £949 E-M1 II Body Only��Exc £749 E-M1 Black Body Only �� E++ £299 E-M10 II Black Body Only��E++ - Mint- £179 -199 E-M5 II Body Only - Silver�� E++ £399 E-M5 Silver Body + HLD-6 Grip ��E+ £179

E-PM2 Red Body Only�� 15_Day £49 E-PM2 Black Body Only �� E++ £79 E-PM1 Black Body Only �� E++ £59 E-M1 Black Body + HLD-7 Grip ��E+ £349 Panasonic GH5 Body Only��E++ - Mint- £879 -899 GH5 Body + Grip�� E++ £949 GH4 Body Only��E+ £449 GX9 Body Only - Black�� E++ £349 G9 Body Only��E+ £699 G7 Body Only��E+ £239 GX85 Body Only��E+ £219 GX800 Body Only - Silver��Mint- £169 GX8 Body Only��E++ - Mint- £449 -469 GF6 Body Only�� E++ £99 GF3 Body Only��E+ £49 G2 Body Only��E+ £49 Sony Alpha 7R IV Body Only��Mint- £2949 Alpha 7R III Body Only��E+ - E++ £1399 -1799 Alpha 7R II Body Only��E++ £949 -1049 Alpha 7 II Body + Grip��Mint- £799 Alpha 7 II Body Only�� E++ £699 Alpha 7 Body Only �� E++ £499 Alpha 6300 Body Only ��E+ £419 Alpha 6000 Body Only ��E+ - E++ £219 -249 NEX C3 + 18-55mm �� E++ £129 Canon AF Lenses 8-15mm F4 L Fisheye USM��Mint- £899 10-22mm F3�5-4�5 EFS��E++ £199 -219 15-85mm F3�5-5�6 IS USM EF-S �� E++ £289 15mm F2�8 EF Fisheye ��15_Day - Mint- £99 -449 17mm F4�0 L TSE�� E++ £1439 17-40mm F4 L USM ��E+ - E++ £319 -339 17-85mm F4-5�6 IS USM��15_Day £79 -99 18-55mm F3�5-5�6 IS STM��E++ - Mint- £59 -69 18-55mm F3�5-5�6 EFS IS�� E++ £59 18-135mm F3�5-5�6 IS USM EF-S �� E++ £239 18-200mm F3�5-5�6 IS EFS�� E++ £219 24mm F1�4 L USM�� E++ £589 24mm F1�4 L USM II��E+ - Mint- £679 -819 24mm F3�5 L TS-E�� E+ £499 -549 24-70mm F2�8 L USM ��E+ - E++ £499 -599 24-70mm F2�8 L USM II��Exc - E++ £799 -1089 24-70mm F4 L IS USM �� E++ £489 24-105mm F4 L IS USM ��E+ - E++ £339 -429 28-70mm F2�8 L USM ��Exc - E++ £289 -399 28-135mm F3�5-5�6 IS USM��E+ £99 28mm F2�8 IS USM�� E++ £299 35mm F2�8 Macro IS STM EF-S��Mint- £269 40mm F2�8 STM�� E++ £109 45mm F2�8 TS-E ��E+ £549 50mm F1�8 EF II ��E++ £49 -55 50mm F1�8 EF Mk1�� E++ £119 55-250mm F4-5�6 EFS IS��E+ - E++ £69 -89 60mm F2�8 EFS Macro ��Mint- £219 70-200mm F4 L IS USM II�� E++ £1099 70-200mm F4 L IS USM ��E+ - E++ £449 -599 70-200mm F4 L USM �� E++ £349 70-200mm F2�8 L IS USM ��E+ - E++ £649 -799 70-300mm F4-5�6 L IS USM��E+ - E++ £699 -789 70-300mm F4�5-5�6 DO IS USM��15_Day - E++ £269 -449 75-300mm F4-5�6 IS USM��E+ £179 75-300mm F4-5�6 USM III��E++ £49 -59 80-200mm F4�5-5�6 EF II ��E+ £39 85mm F1�8 USM�� E++ £199 85mm F1�4 L IS USM��Mint- £999 -1049 90mm f2�8 TSE Shift�� E++ £599 90-300mm F4�5-5�6 EF��Unused £99 100mm F2�8 EF Macro �� E++ £179 100mm F2�8 L Macro IS USM�� E++ £569 100mm F2�8 USM Macro��E++ £249 -299 100-400mm F4�5-5�6 L IS USM��E++ £599 -699 100-400mm F4�5-5�6 L IS II USM�� E++ £1349 135mm F2 L USM�� E++ £499 200mm F1�8 L USM�� 15_Day £1199 200-400mm F4 L IS USM with Internal 1�4x Extender Lens��E++ £6989 -7349 300mm F4 L USM��E+ £399 300mm F4 L IS USM��E+ - Mint- £449 -599 300mm F2�8 L IS USM��Exc - E++ £1599 -2249 300mm F2�8 L USM��E+ - E++ £1049 -1499 300mm F2�8 L IS USM II��E++ £3489 -3499 400mm F5�6 L USM��E+ - E++ £599 -639

400mm F2�8 L IS USM��E+ £3449 400mm F4 DO IS USM�� E+ £1499 -1594 500mm F4�5 L USM��Exc - E++ £1249 -1649 500mm F4 L IS USM�� E++ £3099 500mm F4 L IS USM II�� E++ £5999 600mm F4 L USM��Exc £1849 600mm F4 L IS USM��Exc - E++ £3299 -3989 600mm f4 L IS USM II��E++ £6799 -6959 SIGMA - Canon AF Fit 8mm F3�5 EX DG Fisheye �� E++ £449 10-20mm F4-5�6 EX DC HSM ��E++ £159 -179 12-24mm F4�5-5�6 EX DG HSM ��E++ £249 -269 15mm F2�8 EX DG Fisheye��E++ - Mint- £299 -319 17-35mm F2�8-4 EX HSM ��E+ £119 17-50mm F2�8 EX DC OS HSM �� E++ £224 18-50mm F2�8 EX DC�� E++ £119 18-250mm F3�5-6�3 DC Macro OS HSM��E+ £159 20mm F1�8 EX DG �� E++ £259 28mm F1�8 EX DG �� E++ £179 50mm F2�8 EX DG Macro�� E++ £129 50mm F1�4 EX DG HSM �� 15_Day £129 55-200mm F4-5�6 DC �� E++ £39 70mm F2�8 EX DG Macro �� E++ £249 70-300mm F4-5�6 Apo ��E+ £39 70-200mm F2�8 APO EX DG II Macro ��E+ £199 70-210mm F2�8 Apo AF �� 15_Day £129 70-200mm F2�8 Apo EX DG HSM �� E++ £219 80-400mm F4�5-5�6 EX Apo DG OS ��E+ £289 100-600mm F5-6�3 DG OS HSM Sport �� E++ £899 105mm F2�8 Macro EX DG OS HSM�� E++ £259 120-300mm F2�8 EX HSM APO DG �� E++ £699 150-600mm F5-6�3 DG OS HSM Sport ��E+ £899 180mm F2�8 Apo Macro �� E++ £159 300mm F4 Apo AF �� 15_Day £159 300mm F2�8 APO EX DG HSM �� E++ - Mint £1349 -1399 400mm F5�6 Apo �� E++ £199 500mm F4�5 APO AF��E+ £449 500mm F7�2 Apo ��E+ £149 600mm F8 Reflex �� E++ £149 800mm F5�6 APO EX DG HSM �� E++ £3499 800mm F5�6 Apo��E+ £649 Nikon AF Lenses 10-20mm F4�5-5�6 G AF-P DX VR��Mint- £159 -169 10-24mm F3�5-4�5 G AFS DXE++ - Mint- £269 -299 10�5mm F2�8 G AF ED DX Fisheye��E++ £229 -259 12-24mm F4 G AFS DX ED�� E+ - E++ £249 14mm F2�8 AFD��E+ - E++ £579 -679 14-24mm F2�8 G AFS ED��Exc - E+ £599 -659 16mm F2�8 AFD Fisheye��E++ £379 -399 16-35mm F4 G AFS ED VR��E+ - Mint- £549 -649 16-80mm F2�8-4 E VR N��E++ £589 -599 16-85mm F3�5-5�6 G ED VR AFS DX�� E++ £199 17-35mm F2�8 ED AFS��15_Day - Mint- £289 -599 17-55mm F2�8 G AFS DX IFED��E+ - E++ £349 -379 18mm F2�8 AFD��E+ £449 18-35mm F3�5-4�5 AFS��E++ - Mint- £369 -429 18-35mm f3�5-4�5 AFD ��E++ £179 -189 18-105mm F3�5-4�5 G AFS ED DX VR��E+ - E++ £99 -119 18-55mm F3�5-5�6 G AF-P DX VR��Mint- £49 18-70mm F3�5-4�5 G AFS ED DX��E+ £75 18-135mm F3�5-5�6 G AFS DX ��E++ £99 -119 18-140mm F3�5-5�6 AF-S G ED VR DX�� E++ £169 18-200mm F3�5-5�6 G AFS DX VR ��E+ - E++ £159 -189 18-200mm F3�5-5�6 G AF-S DX ED VR II��E+ - E++ £179 -199 18-300mm F3�5-5�6 G ED AFS DX VR��E+ £399 20mm F1�8 G AFS ED ��E++ - Mint- £539 -549 20-35mm F2�8 AF ��E+ £279 24mm F1�8 AFS G ED ��E++ - Mint- £449 -499 24mm F1�4 AFS G ED ��Exc - E++ £749 -949 24mm F2�8 AFD��Exc - E+ £99 -199 24mm F3�5D ED PC-E��E++ £799 -899 24-70mm F2�8 G AFS ED��E+ - E++ £619 -849 24-70mm F2�8E AFS VR ED ��Mint- £1399 24-120mm F4 AFS G ED VR��E+ - E++ £349 -459 24-120mm F3�5-5�6 G AFS ED VR�� E++ £199 24-120mm F3�5-5�6 ED AFD �� 15_Day - E++ £99 -149 24-85mm F3�5-4�5 G AFS VR�� E++ £269 24-85mm F2�8-4 AFD�� E++ £179 28mm F1�4 AFS E ED�� E++ £1249 28mm F1�8 G AFS��E++ - Mint- £279 -299

28mm F2�8 AFN��E+ - E++ £89 -99 28mm F2�8 AFD��E++ £139 -149 28-70mm F2�8 AFS �� 15_Day - E++ £399 -499 28-70mm F2�8 D AFS�� 15_Day £299 28-85mm F3�5-4�5 AF��E+ £59 28-100mm F3�5-5�6 AFG�� E+ £39 -49 28-300mm F3�5-5�6 G ED AFS VR��E++ - Mint- £469 -549 35mm F2 AFN��Mint- £109 35mm F1�8 AFS G FX��Mint- £389 35mm F1�8 G AFS DX ��15_Day - Mint- £49 -109 35mm F2 AFD�� E++ £199 35-70mm F3�3-4�5 AFN�� E++ £49 35-70mm F2�8 AFN�� 15_Day- Unused £79 35-70mm F2�8 AFD�� 15_Day - E++ £149 -399 35-105mm F3�5-4�5 AF��E+ £49 40mm F2�8 G AFS DX Micro��Mint- £189 45mm F2�8 D PC-E ED Micro�� E++ £949 50mm F1�8 AFD��E+ - E++ £49 -79 50mm F1�8 G AFS��E++ - Mint- £129 -149 50mm F1�8 G AFS Special Edition��Mint- £149 -179 50mm F1�4 G AFS��E+ - E++ £189 -239 55-200mm F4-5�6 AFS DX G VR �� E++ £89 55-200mm F3�5-5�6 AFS DX G �� E++ £69 55-200mm F4-5�6 AFS DX G VR II��Mint- £119 -129 55mm F2�8 AF Micro ��E+ £199 60mm F2�8 AFD Micro��E+ - E++ £179 -209 60mm F2�8 AFS G ED Micro��E+ - E++ £279 -299 70-210mm F4-5�6 AF��E++ £49 -59 70-210mm F4-5�6 AFN��Mint £99 70-200mm F2�8 G AFS ED VR��E+ - E++ £699 -749 70-200mm F2�8 G AFS ED VRIIE+ - E++ £849 -1099 70-300mm F4-5�6 AFG��E+ - E++ £39 -49 70-300mm F4-5�6 ED AFD ��E+ - E++ £79 -89 70-300mm F4-6�3 G AF-P VR �� E++ £219 70-300mm F4-5�6 G AFS VR�� 15_Day - E++ £149 -299 70-200mm F4 G AFS ED VR��E++ - Mint- £659 -749 75-240mm F4�5-5�6 AFD�� E++ £89 80-200mm F2�8 ED AF ��E+ £199 80-200mm F2�8 ED AFD�� E+ £249 -299 80-400mm F4�5-5�6 AFD VR�� E+ £299 -589 85mm F1�4 AF-S G��E+ - E++ £679 -749 85mm F1�8 AFD�� E+ - E++ £199 85mm F1�8 AF-S G��E++ - Mint- £289 -319 85mm F1�4 G AFS��E+ £599 85mm F1�4 AFD��E+ £439 85mm F2�8 D PC Micro�� E++ £729 105mm F2�8 AFS G VR Micro��Exc - E++ £349 -459 135mm F2 D AF DC��E+ £689 180mm F2�8 ED AF��E+ £379 200-400mm F4 G VR AFS IFED ��E+ £1649 200-400mm F4 G AFS VR II�� 15_Day £2399 300mm F2�8 IFED AF��Exc - E+ £649 -699 300mm F2�8 IFED AF-i��E+ £989 300mm F2�8 D AFS��Exc £999 300mm F2�8 D AFS II��E+ £1749 300mm F4 E PF ED VR AFS��E++ - Mint- £1299 -1399 400mm F2�8 AFi IFED ��E+ £1949 400mm F2�8 AFS D II��E+ £2749 500mm F4 AFS IFED��E+ £1899 600mm F4 AFi ED D��E+ £1999

Sony E Lenses 12-24mm F4 G FE ��Mint- £1089 16mm F2�8 E�� E++ £79 18-55mm F3�5-5�6 SAM�� E++ £39 18mm F2�8 Batis Distagon T* - Zeiss E��Mint- £899 19mm F2�8 DN A - Silver - Sigma E��E+ £79 20mm F1�4 DG HSM Art - Sony E��E+ £449 20mm F1�8 ED AS UMC FE - Samyang E��Mint- £299 20mm F2 super Macro �� E++ £89 24-240mm F3�5-6�3 OSS FE��E+ - Mint- £479 -499 24-70mm F2�8 GM FE ��Mint- £1449 24-70mm F4 FE ZA OSS��E+ - E++ £449 -459 24mm F1�8 ZA E��E++ £399 -419 25mm F2 Batis Distagon T* - Zeiss E�� E++ - Mint- £699 -779 28mm F2 FE��Mint- £279 30mm F3�5 Macro E�� E++ £129 32mm F1�8 Touit - Zeiss E��Mint- £329 35mm F1�4 AF FE - Sony E�� E++ £429 35mm F1�4 FE T* ZA��Mint- £959 35mm F1�8 E OSS ��E+ £199 35mm F2 Loxia - Sony E��E++ - Mint- £589 -599 35mm F2�8 AF FE - Sony E�� E++ £189 35mm F2�8 FE ZA��Mint- £349 -439 50mm F1�8 FE��Mint- £129 50mm F2 Loxia Planar T* - Zeiss E��E++ - Mint- £475 -489 55-210mm F4�5-6�3 OSS �� E++ £129 55mm F1�8 FE ZA��E++ - Mint- £499 70-200mm F2�8 GM FE �� E++ £1899 70-200mm F4 G OSS FE��E++ - Mint- £919 -949 70-300mm F4�5-5�6 G OSS FE �� E++ £849 85mm F1�4 DG HSM Art - Sigma E�� Mint £699 85mm F1�4 GM FE��Mint- £1149 85mm F1�8 Batis Sonnar T* - Zeiss E��Mint- £699 85mm F2�4 Loxia Distagon T* - Zeiss E ��Mint- £719 90mm F2�8 Macro G OSS FE�� E++ £749 100-400mm F4�5-5�6 OSS GM FE ��Mint- £1899 105mm F1�4 DG HSM Art - Sigma E��Mint £1149 135mm F1�8 DG HSM Art - Sigma E�� E++ £839 135mm F1�8 G Master - Sony E��Mint- £1299

Sigma - Nikon AF Fit 4�5mm F2�8 EX DC Fisheye HSM �� E++ £399 10-20mm F3�5 EX DC HSM �� E++ £219 10-20mm F4-5�6 EX DC HSM �� E++ £159 15mm F2�8 EX DG Fisheye ��E+ - E++ £299 -349 17-50mm F2�8 EX DC OS HSM �� E++ £219 17-70mm F2�8-4 DC OS Macro HSM C �� E++ £219 18-50mm F2�8 EX �� E++ £129 24-70mm F2�8 IF EX DG HSM �� E++ £349 50-150mm F2�8 Apo EX DC HSM ��E+ £239 50mm F1�4 DG HSM ��E++ £189 -199 70-200mm F2�8 Apo EX DG HSM Macro�� E++ £219 70-210mm F2�8 Apo AF �� E++ £159 85mm F1�4 EX DG HSM ��Mint- £389 100-300mm F4 Apo IF ��E+ £269 105mm F2�8 EX DG Macro �� E++ £179 150-500mm F5-6�3 APO DG OS HSM ��Exc - E++ £259 -449 150mm F2�8 Apo DG HSM Macro �� E++ £499 200-500mm F2�8 APO EX DG �� E++ £8999 300mm F4 Apo AF �� E++ £149 400mm F5�6 AF ��E+ £159

Olympus Micro 4/3rd Lenses 12-32mm F3�5-5�6 OIS G - Panasonic��E++ - Mint- £89 -99 12-50mm F3�5-6�3 ED M�Zuiko ��E+ £99 12mm F2 ED M�Zuiko - SilverE++ - Mint- £329 -349 14-150mm F4-5�6 M�Zuiko ED II��Mint- £319 14-42mm F3�5-5�6 Asph OIS - Panasonic�� E++ £69 14-42mm F3�5-5�6 EZ M�Zuiko�� E++ £109 14-42mm F3�5-5�6 M�Zuiko �� E++ £69 15mm F8 Body Cap Lens��E++ - Unused £39 -45 17mm F1�8 M�Zuiko Black��E++ £219 -229 17mm F1�8 M�Zuiko Silver��Mint- £259 20mm F1�7 ASPH II - Panasonic��Mint- £179 25mm F1�2 M�Zuiko PRO��Mint- £649 25mm F1�8 M�Zuiko - Black �� E++ £199 35-100mm F2�8 GX OIS VarioE++ - Mint- £479 -529 35-100mm F4-5�6 OIS Asph G - Panasonic��E+ - Mint- £99 -129 40-150mm F4-5�6 ED M�Zuiko ��E+ £69 40-150mm F4-5�6 R ED M�Zuiko��E+ - E++ £69 -79 42�5mm F1�7 G ASPH OIS - Panasonic��E++ - Mint- £199 -219 45-150mm F4-5�6 Asph OIS - Panasonic�� E++ £89 45mm F1�2 M�Zuiko ED Pro �� E++ £789

Fujifilm X 10-24mm F4 XF R OIS�� E++ £649 14mm F2�8 XF��E++ - Mint- £399 -439 15-45mm F3�5-5�6 OIS PZ XC - Black �� E++ £129 16mm F1�4 R WR XF�� E++ £649 16-55mm F2�8 R LM WR XF ��E++ £649 -699 18mm F2 XF R��E++ - Mint- £259 -279 18-135mm F3�5-5�6 LM OIS WR XF��E+ - E++ £439 -479 18-55mm F2�8-4 R LM OIS XF��E+ - E++ £239 -279 23mm F1�4 XF R�� E++ £509 23mm F2 XF - Black��Mint- £319 27mm F2�8 XF��E++ - Mint- £169 -199 35mm F1�4 XF R��E++ - Mint- £329 -379 56mm F1�2 R XF��E++ - Mint- £579 -649 50-230mm F4�5-6�7 OIS XC ��Mint- £149 55-200mm F3�5-4�8 R LM OIS XF�� E+ - Mint- £399 -439 60mm F2�4 XF R Macro�� E++ £299 90mm F2 WR XF�� E+ £499 -549 MCEX-16 Macro Extension Tube 16mm - Fujifilm X��E++ £49

45mm F1�8 M�Zuiko - Silver ��E++ - Mint- £139 56mm F1�4 DC DN - Sigma ��Mint- £299 75-300mm F4�8-6�7 ED M�Zuiko - Black��Mint- £289 -299 75mm F1�8 ED M�Zuiko - Silver�� E++ £399 100-300mm F4-5�6 G OIS - Panasonic ��E+ £189 100-400mm F4-6�3 Power OIS - Panasonic��Mint- £939 200mm F2�8 Power DG OIS + 1�4x - Panasonic��E++ £1489 DMC-TC14E 1�4x Teleconverter - Panasonic �� Mint- £319 Pentax AF Lenses 14mm F2�8 SMC DA�� E++ £399 16-50mm F2�8 A* DA SDM�15_Day_Approval - Mint- £249 -549 16-85mm F3�5-5�6 ED DC WR�� Mint- - Mint £299 -379 17-70mm F4 DA AL (IF) SDM��E++ £239 -249 18-200mm F3�5-6�3 DC Macro OS HSM C - Pentax AF��E++ £169 18-55mm F3�5-5�6 DA AL�� E++ £29 24-70mm f2�8 D FA HD ED SDM WR��Mint- £749 28-105mm F3�5-5�6 D FA ED DC WR��Mint- £319 28-105mm F4-5�6 FA�� E++ £79 28-200mm F3�8-5�6 FA IF AL�� E++ £59 28-70mm F2�8 SMC AL FA*��E+ £549 28-70mm F4 FA AL��E+ - E++ £39 -49 28-80mm F3�5-5�6 FA�� E++ £49 35mm F2�4 DA AL��E++ - Mint- £69 -79 35mm F2�8 DA Macro HD��E+ - Mint- £299 -389 40mm F2�8 SMC DA XS��E+ - Mint- £149 -159 50-135mm F2�8 DA* ED SDM�� E++ £449 50-200mm F4-5�6 DA ED WR��E+ - Mint- £79 50mm F1�4 SMC FA��E+ £149 50mm F1�4 ZK Planar Zeiss�� E++ £299 50mm F1�8 SMC DA��E++ - Mint- £49 -79 50mm F2�8 SMC D FA Macro�� E++ £199 55-300mm F4-5�8 DA ED��E++ £149 -159 55-300mm F4-5�8 ED WR HD�� E++ £179 70mm F2�4 DA Limited Edition ��E+ £249 75-300mm F4�5-5�8 FA J AL�� E++ £39 80-200mm F4�7-5�6 FA��E+ £49 85mm F2�8 SMC FA Soft Focus�� E++ £349 100mm F2�8 D FA Macro��E+ £259 200mm F2�8 DA* ED (IF) SDM��E++ - Mint- £499 -599 Sony AF lenses 11-18mm F4�5-5�6 DT�� E++ £239 16-35mm F2�8 ZA SSM��E+ £649 16-50mm F2�8 DT SSM�� E++ £249 16-80mm F3�5-4�5 ZA�� E++ £399 16mm F2�8 Fisheye��E++ £399 -499 18-200mm F3�5-6�3 DT��E+ £199 18-55mm F3�5-5�6 DT SAM ��E+ - E++ £39 -49 18-70mm F3�5-5�6 DT��E+ - E++ £49 -59 24mm F2�8 AF�� E++ £199 28-70mm f2�8 AF ��E++ £269 -299 28-80mm F3�5-5�6 AF��E++ £19 -29 28mm F1�8 Asph - Sony AF ��Exc £99 28mm F2�8 AF��E+ - E++ £89 -99 30mm F2�8 SAM Macro��E++ - Mint- £79 -89 35-70mm F3�5-4�5 AF��E+ - E++ £15 -25 35-70mm F4 AF ��E+ £29 35-80mm F4-5�6 AF�� E++ £19 35mm F1�8 DT SAM ��E+ £79 50mm F1�7 AF�� E+ £49 -59 50mm F2�8 AF Macro �� E+ £79 -99 50mm F3�5 AF Macro �� E++ £119 55-200mm F4-5�6 DT��E+ £39 55-300mm F4-5�6 DT SAM �� E++ £179 70-210mm F3�5-4�5 AF�� E++ £49 70-210mm F4�5-5�6 AF�� E+ - E++ £39 75-300mm F4�5-5�6 AF��E+ - E++ £39 -49 75-300mm F4�5-5�6 D ��E+ - E++ £49 -59 85mm F1�4 ZA��E++ - Mint- £699 90mm F2�8 SP AF Macro - Tamron �� E++ £149 90mm F2�8 SP Di Macro -Tamron�� E++ £199 100-200mm F4�5 AF ��E+ £39 100-300mm F4�5-5�6 AF��E+ - E++ £59 -69 100-300mm F4�5-5�6 Xi�� E+ £49 -59 100mm F2�8 FE STM GM OSS ��Mint- £1099 105mm F2�8 Macro EX DG OS HSM - Sony AF��Mint- £279 300mm F2�8 G SSM ��Mint- £2349 300mm F2�8 G SSM II��E+ £4795

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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 4 January 2020

Legends

Friedlander had an eye for everyday scenes that had an inherent oddness

of photography

Lee Friedlander This influential photographer’s world carries within it hidden magic and strangeness, writes Oliver Atwell

here does the true power of photography lie? It’s a question that has plagued photographers since the medium’s inception. There is no definitive answer, but much of the time, it exists within the context of the photographer under discussion. Here’s one such example. Lee Friedlander’s work demonstrates that there is magic to be found in the mundane. He’s not alone in that. William Eggleston, Fred Herzog, Stephen Shore and Joel Meyerowitz all realised that the simple act of composing and framing an everyday scene can draw out the inherent beauty that would ordinarily lie dormant. 82

Friedlander’s work is a little different, though. A key influence on Friedlander, along with Robert Franks’ seminal publication The Americans, was Walker Evans, whose impactful and influential images showed that meaning need not be sought far afield. Evans and Franks took just a few steps outside their front doors and showed that the multifaceted and contradictory landscape of the US was ripe for documentation. With this idea in mind, Friedlander’s work reached maturity in the 1960s. His key concern was to capture and interrogate what he termed the ‘A merican social landscape’. All this really means – and this is not to disparage the term – is

that Friedlander shot the world around him. The results were revelatory to Friedlander. Prior to this, he had slogged for many years as a freelance, making a name for himself for his portraits of artists such as John Coltrane, Miles Davis and Aretha Franklin. But it was in urban work that his legacy was secured. Here, he was free of the shackles of commercial work and could indulge a free-form approach to photography.

Observing the ordinary

these, making them part of his view of the world. Sometimes, these images carried a hair of the absurd. Look at this picture, for example, taken in New York City in 1971. A young girl called Anna practises the trombone. Not strange in itself, but the added element of the dog, with its pale eyes looking the instrument’s way gives it an edge that is both amusing and absurd. It’s a scene exactly as found and one that shows the inherent beauty and strangeness of the everyday. Open your eyes and riches reveal themselves in the world around you. Friedlander understood this, and as a result, we have a body of work that is recognisable and alien at the same time.

Adverts, TVs and shop fronts became objects that carried as much artistic weight as a moody portrait of a musician. His images spoke of the kinetic energy of the city. In much the same way as the Modernists writers, 40 years earlier, had attempted to capture the true experience of metropolitan living through experimental prose, Friedlander wanted to visualise his subjective experience of existing in the modern world. Occasionally, there is something a little off about the images; small mistakes that other photographers would choose to exclude: an intrusive Friedlander First Fifty is published by shadow or compositional element. Friedlander embraced powerHouse books, price £42.80

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