amaphotograph04042020 by nickolportnov

Saturday 4 April 2020

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Why this sensatio t e y R L S D e th in fe li ’s re e th s prove

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BLACK & WHITE SPECIAL

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721 cameras & lenses listed & rated

Mono street Today’s street photography is tomorrow’s social history. Why shooting black & white is the perfect medium

Silver Efex Pro guide Get great results from arguably the best b&w image editor available

B&W portraits Peter Müller shares his lighting secrets

Daniel Meadows Exclusive interview with one of Britain’s most respected documentary photographers

Fujifilm X-T4 Meet the designer ● Leica M9 Why it’s a second-hand bargain

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7days COVER PICTURE © BRIAN LLOYD DUCKETT

A week in photography

This week’s cover image

This image by Brian Lloyd Duckett is from his book 52 Assignments: Street Photography, published by Ammonite Press

In this issue 3 7 days

6 AP meets Fujifilm 12 It’s good to share 14 Get great black & white street shots 21 Inbox 24 For eyes yet unborn 30 Shoot stunning black & white portraits 36 Guide to using Silver Efex Pro 40 Join the club 42 Nikon D780: full review 49 Second-hand Hall of Fame: Leica M9 52 Accessories 54 AP Subscription offer 55 Ask the Wexperts 57 Buying Guide 66 Final Analysis

THE WORLD is currently in the grip of a pandemic that will have a devastating effect not only on our health, but on the global economy too. Our readers often tell us how important their weekly ﬁx of AP is to them, and now that most of us are conﬁned to our homes for the foreseeable future, in some cases alone, keeping our minds occupied and our spirits up will be one of our greatest challenges. At AP we are fortunate that, thanks to modern technology, the majority of the team already work from home most of the time. Indeed some of us only go into the office once a month. So we are already fully equipped to produce AP remotely and will continue to do so for as long as the presses keep rolling and the channels of distribution are maintained.

May I also take this opportunity to remind you that the best way to maintain your weekly ﬁx of AP without having to brave the outside world is to take out a subscription. You’ll get it delivered to your door every Saturday and make a big cost saving, compared with buying it in the shops. You’ll ﬁnd the details of the latest subscription offer on page 54, for both the print and digital editions of AP.

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Heading outside

Of course those people working in key sectors will continue to go to work as usual, and most of the rest of us will still need to venture out for limited periods to buy food, walk the dog or take exercise. If you do go out it’s worth remembering the important role photography plays in documenting social history, as you’ll see with this week’s Big Picture, over the page. The coronavirus pandemic is something that will be written Keeping you occupied about in future history books, so be We will be changing some of our alert to photo opportunities that planned content over the coming capture the essence of the current weeks to reﬂect the current crisis for posterity. Take a camera if situation, with more ideas for you can, or just use your phone, but things to photograph at home, and be sensible: shoot with care and photo-related activities to keep you sensitivity, and adhere to the rules occupied. This is a great time to do about maintaining a safe distance some picture editing or organising, and avoiding unnecessary contact. to scan some old photos or build a Our main feature this week is website. Why not read one of the about black & white street many great photo books that we photography. Obviously it was feature every week, write us a commissioned and produced letter, or put a portfolio together to before the present emergency, but send in? The submission details are it may give you some ideas. below. Do check out our website Finally, this is a time for everyone too at amateurphotographer.co.uk to pull together and think about for more ideas, and follow us on each other. If you’re a member of a our social media channels. camera club that has been Our independent photo retailers suspended for the time being, or an will no doubt ﬁnd the coming online photography community, do weeks challenging. If you were check in on your social network to planning to buy a new camera in make sure that any vulnerable the near future why not help them members are okay, and that they out by ordering it now, and take are not struggling with their advantage of this time to study the physical or mental health during manual and really get to know this difficult time. your new toy inside out? Nigel Atherton, Editor

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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 join our website forum.

NEWS ROUND-UP By Geoff Harris and Andy Westlake

Manfrotto’s on the case

Once everyone starts flying again, Manfrotto is offering a new carry-on case for photographers going on shorter trips – the Manhattan Runner-50. Designed to carry a DSLR or mirrorless camera and several lenses, the case features the Flexy Camera Shell system; this bends to fit different kit sizes and keeps it all snugly protected, according to Manfrotto. It costs £255.95.

Adobe CC free offer for students and teachers

If you are a student or teacher who now has to work remotely owing to coronavirus, Adobe is offering its Creative Cloud software free of charge until 31 May. Students must have had access to Adobe CC apps while on campus, and the request must be made by the school or college’s IT administrator, via bit.ly/studentfree21.

Photography show Photokina, held in Cologne, will not now be held until 2022, the organisers have announced. As well as the coronavirus fears, the organisers cited the effect on exhibitors of ‘general economic trends as well as rescheduled events on the global trade fair calendar’. See www.photokina. com. The PhotoLondon fair is also postponed until autumn.

PhotoLab upgrade

LEE85 ﬁlters for mirrorless

LEE Filters has announced the LEE85 Filter System, designed for mirrorless cameras and smaller models. Four kits will be available: Discover, Develop, Aspire and Deluxe. Each includes a LEE85 Filter Holder, Polariser and additional filters, along with adapter rings. Prices and availability are still to be confirmed. Visit www.leefilters. com/index.php/camera.

Version 3.2 of the DxO PhotoLab photo editor has been released, with various improvements. There is also raw support for five new cameras, including the Nikon D780, Olympus OM-D E-M1 Mark III and Canon EOS-1D X Mark III. The upgrade is free to existing users but £112 for new customers. See www.dxo.com/dxo-photolab/ 4

Photokina 2020 cancelled

BIG

picture

Social distancing, 1918 style, during the Spanish Flu pandemic The last time there was a global health crisis on the scale of the current one was 100 years ago. From January 1918 to December 1920, a flu pandemic, known as Spanish flu (after Spain’s press were among the first to report on it) spread across the world infecting an estimated 500 million people – about a

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Words & numbers When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence Ansel Adams

American landscape photographer (1902-1984) subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 April 2020

15.4% The jump in the value of Fujifilm’s shares after an antiviral drug developed by its chemical arm was described as ‘clearly effective’ against coronavirus by Chinese health officials

SOURCE: TOKYO STOCK EXCHANGE

quarter of the world’s population at the time. The lowered immune systems due to the malnourishment and unsanitary conditions of millions living in the WW1 trenches no doubt exacerbated the problem. Photographs at the time depict people going about their lives wearing face masks; much like today. The Getty Archive has a fascinating collection including this image of baseball players in the USA, taken in 1918. See www.gettyimages.com.

AP meets top Fujifilm representatives For the second of his reports from a recent trip to Japan, Geoff Harris meets the planner of the Fujifilm X-T4 and other key representatives of this innovative company FUJIFILM was another company which invited AP to chat about its latest products, despite the cancellation of the CP+ camera show in Yokohama owing to coronavirus concerns. At one of the company’s sprawling manufacturing and research bases near Omiya, north of Tokyo, I spoke to Makoto Oishi, Manager, Sales and Marketing Group, Optical Device and Electronic Imaging Products Division; Jun Watanabe, Manager, Sales and Marketing Group, Optical Device and Electronic Imaging Products Division; and Shu Amano from the Sales and Marketing Group, Optical Device and Electronic Imaging Products Division (his division deals with North America and Europe). Oishi san dealt with my questions about the GFX

series and X100V, while Watanabe san dealt with the new X-T4 model. AP The X100V’s 23mm f/2 lens doesn’t include internal focusing, which would have given quicker AF. How much larger would the lens have been if it had internal focus? MO Actually, even if we changed to internal focusing, the focus speed would not be that much different. Changing the structure of the lens, with internal focus, it would also be approximately 5mm deeper or more. We didn’t want to change the compact philosophy which is behind this particular camera. AP: How have fans of the X100V reacted to the tilting Geoff met Jun Watanabe, the X-T4 product planner

1.62m-dot touchscreen LCD panel? MO That’s a hard question to answer because there has been a very varied response, maybe 50/50 for and against. It was quite a big decision for us as some users said they would never buy it if we incorporated a tilting screen. Meanwhile, other users very much wanted it, so it was hard to keep everyone happy! It’s the same situation with the hidden LCD on the X-Pro 3. AP What do you think are the key improvements on the X100V, compared to the previous version? MO I think the previous model to X100V, the X100F, was a kind of perfect camera. So it was hard to improve, but that was the

challenge we faced. We spent a long time thinking about what we need to do, and developed a new lens to perfectly match the new 26.1MP sensor. In terms of design, we wanted to keep the basic form, but we changed from using magnesium to aluminium, in order to make it feel more ‘premium,’ more beautiful. We also decided to mill the top plate and improve the look of the shutter speed dial. I wanted to make it the most beautiful camera ever. We even

As well as powerful stills and video specs, the X-T4 is very stylish

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Meeting the X-T4’s product planner Jun Watanabe, the product planner for the X-T4, gives some extra insight into this new camera AP What were the most important aspects of the X-T range you wanted to retain when designing the X-T4? JW Keeping the size and weight down while upgrading performance was a challenge. The IBIS (in-body stabilisation unit) is physically smaller than its predecessor, but 8x times more accurate. So it was a technical feat to pull off.

Fujifilm has revealed more about the innovation on its latest products

The GFX100 will shoot 400MP images due to a firmware update

AP Can you elaborate? JW We uniﬁed the magnetic devices; previously spring hooks were used for some parts. When it comes to the devices for position sensing and the actuator, there are only three in the X-T4 while the X-H1 had six. At the same time, this high-performance IBIS unit is 30% smaller and 20% lighter. We would like to expand the IBIS function to all our models. When using shorter focal-length lenses it offers a real advantage.

AP What impact has the spread of coronavirus had on

AP What was the thinking behind the screen design? JW We went for a free rotation design because some videographers told us that they wanted to shoot selﬁes, and to change and check focusing while recording. This can’t be done with the X-T3 but the X-T4 has a whole new mechanism. AP As the product planner, which aspects of the X-T4 are you most excited about? JW After announcing the X-T3, I met several pros, all over the world. Most of their requests made it into the X-T4 and the feedback so far has been really positive. They are happy, which makes me really happy, too. We hope to attract new Fujiﬁlm users with the X-T4, as well as people upgrading from older models – we are targeting new and existing users.

made the hotshoe flatter and again, milled the material. And of course the X100V has the latest X-Processor 4, an Advanced Hybrid Viewfinder, a tilting three-inch touchscreen, improved AF and many more features. AP Moving on, the Fujifilm GFX100 is getting a firmware camera update to improve the in-body image stabilisation so it can capture 400MP images via a high-resolution composite mode. What were the particular challenges of developing this? MO As you know the sensor is originally 100MP on the GFX100 so it’s a real challenge to maintain accuracy when you go up to 400MP.

balance the needs of both stills photographers and videographers in the X-T4? JW The number of serious photographers who also shoot video is increasing all the time, as they need to stay competitive. The X-T3 stepped into video a bit, but the X-T4 is much more of a full-blown stills and video hybrid – while keeping to the compact philosophy of the X-T range. The X-T4 is also a serious camera for videographers.

your business this year, particularly in regard to supply chains and labour? SA It has deﬁnitely had an impact, because the X-T3 and X-T30 models are made in China. After the Chinese new year ﬁnished, workers were supposed to have returned to work but only about half of them did. The situation is now improving, but this did cause delays. Also a lot of components come from China, so even factories in Thailand or Japan are dependent on Chinese parts.

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Jun Watanabe displays the powerful but compact IBIS unit from the X-T4

AP So is that why the battery has bigger capacity? JW No, that is more about still shooters and videographers wanting more frames per second overall and longer recording time on a single charge. So it wasn’t just the new IBIS unit that necessitated a new battery. AP How important was it to

The X-T4 is still compact but is ‘more of a full-blown stills and video hybrid’ 7

Selah

by Rory Lewis An exhibition by the celebrated British portrait photographer includes never-before-seen work, as Amy Davies finds out 3 -30 April 2020, WEX Photo Video Gallery, London E1 1LF. Entry free. Monday-Friday 9am-7pm Saturday 9am-6pm, Sunday 10am-4pm Please check with venue in case of any unforeseen closures

Clockwise from top: James Purefoy and Ciarán Hinds. Anna Passey. James Purefoy Below: The recreation of The Neophyte: (left to right) Tony Amendola, Peter Van Norden, Leo Marks, Bo Foxworth, James Sutorius and Frank Weitzel

ory Lewis is one of Britain’s most interesting contemporary portrait photographers, and I was lucky enough to meet him last year while he was hanging his Northerners exhibition in Manchester. And I was even brave enough to find myself on the other side of his lens – an image that we now use as a headshot whenever I write a Viewpoint column for this very magazine. Heavily influenced by painters, rather than other photographers, Rory has a special style that can best be described as ‘classical’. His work has found favour with many different audiences over the past 15 years, and in 2019 he was named winner of the Portrait of Britain award. Several of his fantastic portraits have been acquired by the National Portrait Gallery, but this latest show at Wex’s flagship London store shows the brand’s continued dedication to promoting photography (and if you happen to buy some kit, that’s a bonus). The latest show, entitled Selah, is inspired by the Hebrew word that appears throughout the Book of Psalms. Its precise meaning is not quite known, but it is often interpreted as a pause to breathe and reflect. Featured in the show are portraits of actors and personalities from the

EXHIBITION

UK and the USA. You’ll find James Purefoy, Dame Judi Dench, James Cromwell, Sir Patrick Stewart, Mark Margolis, Anna Passey and more. The exhibition is presented in association with Epson, who have printed the portraits on A2 and A0 Epson Premium Luster, some of which will be available to buy throughout the exhibition period. Speaking about the set of images, Rory says, ‘I have been greatly influenced by Renaissance Italian art in my portraiture, such as the work of the Old Masters including Rembrandt, Caravaggio, Titian, and in particular, Ribera. With Selah, I have attempted to faithfully recreate the light, atmosphere and tones of classical portrait paintings. It has been my aim throughout the project to reproduce meditative religious scenes, directing my subjects to capture the highest moment of drama, while exposing a quiescent vulnerability or fragility in their character at the same time.’ If you find yourself in need of portrait inspiration, this is an exhibition that comes highly recommended. 4 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Also out now The latest and best books from the world of photography © NAN GOLDIN

BOOK

The Other Side by Nan Goldin

192 pages, hardback, Steidl, €40, ISBN: 9783-95829-613-8 THIS expanded and updated version of one of Nan Goldin’s most famous works includes a revised introduction by Goldin herself. The ﬁrst photographs in the book are from the 1970s, at a time when Goldin lived with a group of drag queens and documented their glamour and vulnerability. Later, in the early ’80s, she captured the lives of transgender friends in New York when AIDS began to decimate her community. More recently, in the ’90s, she recorded the explosion of drag as a social phenomenon in New York, Berlin, Bangkok and the Philippines. Intended as a homage to Goldin’s friends – many of whom she’s lost – it’s a rich seam to mine if you like long-term documentary projects. We don’t anticipate every AP reader to ﬁnd the book appealing, but there will be many who love it. ★★★★★ Amy Davies

BOOK

100 Ideas That Changed Photography by Mary Warner Marien Laurence King, £14.99, paperback, ISBN: 9781786275684 I find books like this are great to have at the side of the bed, ready to be picked up and flicked through when you don’t have much time to really absorb yourself in a long-read. Each idea in this latest ‘100 ideas’ book is presented across just two pages, giving you carte blanche to dip in and out at will. Exploring everything from early photographic processes to more modern-day phenomena such as image sharing, it’s also illustrated by a number of influential and well-known photographs. For those who are not only interested in the process of taking pictures, but also the history behind it, this is an interesting read – and would make a great gift for other photographers in your life, too. ★★★★★ Amy Davies subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 April 2020

In next week’s issue

Viewpoint

On sale Tuesday 7 April © 52 ASSIGNMENTS INSTAGRAM PHOTOGRAPHY

Richard Sibley Richard Sibley discusses why we should all be trying out the areas of photography we find challenging, yet still enjoy doing

unlikely source – American comedian Jerry Seinfeld. What it means is that we should be looking to do the things that we find immensely difficult, yet we enjoy them all the same. You may be terrible at landscape photography, but still love it and still want to keep getting up on a cold and wet winter’s morning. You may find using telephoto lenses difficult, yet love the thrill of taking wildlife images. Just keep going, and practice of the skill becomes as much a part of the enjoyment as finally achieving that first image you are proud to enter in to a competition. Trying to make a D70 monochrome only is my torture. The accomplishment when I finally get an ageing 6-millionpixel camera to create a perfect black & white image will feel amazing. However, the journey in getting to that point is the fun stuff. I’m learning how to take a camera apart, what each part does and then there is the skill of actually removing the filter array itself. I’ve tried T-Cut and toothpaste... but I need an even milder, less minty, abrasive. Any suggestions welcome.

Instagram illumination Passionate Instagrammers share their tips for how you can succeed on Instagram

Richard Sibley was formerly Deputy Editor of Amateur Photographer. He now writes about cameras and photography and runs the Photo Gear News YouTube channel. Find him on Instagram at @richsibley.

Richard hard at work attempting to make his Nikon D70 monochrome

Olympus OM-D E-M1 Mk III

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

CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE

THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR T MED A L M TED

aving first picked up an SLR camera aged around14 years old there are few genres of photography that I haven’t tried at some point. Writing for this very magazine opened up many more opportunities to try new kit and new styles, and to write technique articles about the skills I had and the skills I had learnt. Naturally there were things that came very easily, and others that were hard work. Studio lighting I am good at; directing a subject to get the shot, not so good at. Taking macro shots of flowers = good. Macro shots of bugs with a bellows and focus stacking software = not so good, and not much fun either. But what I love about photography is the challenge of trying something new. Learning a new skill is something we should always be doing, but it can also be all too easy to give up when it’s simply too hard for us to do. I’ve destroyed two Nikon D70 cameras by taking them apart, getting to the sensor and using mild abrasives to remove the RGB Bayer filter array to create my own Nikon D70 Monochrom camera. Don’t worry, I have a third camera and haven’t given up – I know it’s possible, it’s just whether I can do it. ‘Find the torture you’re comfortable with’ is an incredible quote from an

This helps you get shots other cameras can’t, as Andy Westlake ﬁnds in his test

Covid-19: the longest week Peter Dench ﬁnds out how the Covid-19 pandemic is affecting photographers

Snap happy Instamatic cameras are still eminently usable, explains John Wade

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You canâ&#x20AC;&#x2122;t buy iconic new. A true icon earns its status. A powerhouse when launched, the M9 was the worldâ&#x20AC;&#x2122;s smallest, fullframe digital system camera - proving that small can truly pack a big punch. See our current stock of this Icon at www.mpb.com

Buy. Sell. Trade. Change gear.

The best pictures on social media this week

#appicoftheweek Feed the Birds by Paul Nash

Fujifilm X-Pro2, 18mm, 1/250sec at f/7.1, ISO 200

*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

Paul is based in Truro in Cornwall. He has always loved landscape photography and Cornwall provides excellent opportunities with its fantastic coastline. But as he says, ‘I have also been drawn to street photography as it documents everyday life. Last year I went on a street photography workshop in London, which provided me with an improved skill set. The challenge now is to take street images in small communities, I like to experiment and look for anything out of the ordinary.’ This shot was taken in the centre of Truro on a bright day. Paul knew the birds gathered there and that the location was a busy thoroughfare. After a 30-minute wait this image presented itself. The image was processed in Lightroom and Nik Silver Efex. See more of his work on Instagram @paulbnash. Chosen by Nigel Atherton, Editor as our #appicoftheweek

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 The Barge Graveyard by Mark Kench Nikon D5500, 20mm, 1/50sec at f/4.5, ISO 100

‘I have had an interest in photography from a fairly early age, but after a long break from it I only renewed my interest about three years ago having been introduced to Instagram by my kids. I posted a few photos (@markkench) and found that people actually liked them! This was shot at the barge graveyard in Maldon, Essex and I used a polarising filter to remove glare from the water.’ Mark uploaded this shot using the hashtag #appicoftheweek. Chosen by Andy Westlake, Technical Editor

SOCIAL MEDIA

SEC Centre, Glasgow by Simon McKee Canon EOS 750D, 21mm, 2sec at f/4, ISO 100 Simon loves nothing more than escaping into the peace and solitude of the countryside, however in this instance he shot something from the urban environment. He lives close to Glasgow and is familiar with this building, the SEC Armadillo, from attending various music events there. He certainly made the most of the rather damp conditions. See more of Simon’s work @mintygremlin. Chosen by Amy Davies, Features Editor

Snowdrops by Jo Stephen Sony Alpha 58, 90mm, 1/400sec at f/2.8, ISO 100 Jo is trained in ecology and wildlife conservation and uses photography and cyanotype to document nature around her home in rural Dorset. She says, ‘I wanted to capture the first snowdrops of the year in Dorset after a long grey winter break and found a group of very early flowers coming up in the village churchyard. I shot them facing into the winter sun from the ground with a wide aperture to maximise the bokeh.’ She uploaded this to Twitter using #appicoftheweek. She can be found on Twitter @JoAnnunaki. Chosen by Geoff Harris, Deputy Editor

Want to see your pictures here? Post them into our Instagram, Twitter, Flickr or Facebook communities or the gallery on our website. See page 3. 13

Technique

MONO STREET MASTERCLASS

Think negative and positive In this image by Brian Duckett, the large light areas (negative space) make the woman’s head (positive space) really stand out, and are a crucial component of the composition. ‘You use negative space to impose a sense of scale, making your subject more or less significant,’ he explains. ‘Seek out viewpoints that isolate your subject by contrasting it with its surroundings.’

Get great black & Effective black & white street shooting isn’t just about losing colour. Two top street and documentary shooters share their wisdom with Geoff Harris

treet photography is difficult enough as it is, without having to think about shooting in black & white (or converting images in software), so why bother? The answer, of course, is that most classic street and documentary photography was taken in black & white – think of masters of the 14

craft, like Eugène Atget, Henri Cartier-Bresson, Vivian Maier, Daido Moriyama and many more. Sure, there is plenty of great colour street photography too, but there is something about the absence of colour that helps to focus the viewer’s attention on the subject and essential elements of the composition.

Successful mono street shooting is not just about losing the colour, however: you need to learn to think and see in black & white, taking account of texture, contrast, and, of course, the crucial interplay of light and shadow. In this feature we get tips from Brian Lloyd Duckett, a street photography workshop leader and the author of the best-selling 52 Assignments: Street Photography, published by Ammonite Press. Edmond Terakopian meanwhile is a regular AP contributor and former British Press Awards Photographer of the Year. See terakopian.com.

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Always have something with you

Terakopian is a firm believer in there are no clichés, so don’t get hung up on this. ‘Who knows, your clichéd shot of x, y or z, may become the defining image. My advice is not to stop making pictures that have been done before. That’s not to say copy, but if you like CartierBresson’s work and you feel it, then shoot like that. Keep shooting, sharpening your eye, mind, soul and camera skills. Your own style will eventually and organically come through.’ So in other words don’t let anxiety ever get in the way.

Terakopian’s biggest tip is to always have a camera with you. ‘Smartphones are fine, but nothing beats a real camera. Sometimes though, a smartphone is the best tool for the job and when I’m shooting with my iPhone, I tend to shoot raw using the Halide app and then process on Lightroom Mobile.’ This is a good reason to upgrade your smartphone to one capable of taking high-quality images which can work in mono: the latest Google Pixels and iPhones are stand-out examples, as is the Samsung Galaxy Note10+.

Don’t worry so much about clichés

Great black & white portraits © BRIAN LLOYD DUCKETT

‘Street photography is not just about shooting candid shots when nobody is looking,’ notes Brian Duckett, who recommends setting yourself a street portrait project. ‘Try to shoot to a specific theme, such as people with a certain look, people in a specific location, people with dogs, motorbikes, doing a specific job… the possibilities are endless.’

white street shots Think in mono

‘Black & white photography is much more than a colour image without the colour,’ Edmond Terakopian explains. ‘Composition, the use of light and even the exposure are different for a good monochrome shot. Most of the time, when I’m looking at a scene, I already know it’s going to be in black & white and take this into account when setting my camera.’ If you are wondering how to learn to see in black & white, maybe check out some of your favourite street photographers and really think about why they decided to shoot a particular scene without colour?

Patience and skilful night technique helped Ed Terakopian nail this shot

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Don’t rush around

‘I think my first mistakes, which apply to street photography generally, were twofold,’ Terakopian observes. ‘One was the nervousness of causing offence to others and the other was always rushing around and hunting for an image, often unsuccessfully, as opposed to finding the scene and the light, then waiting for the elements to come to me.’ So, as with many other genres, patience is crucial in black & white street photography. Finding a location is one thing, but you often also have to wait for the right subject to come along, and the right light. 15

Technique

MONO STREET MASTERCLASS © EDMOND TERAKOPIAN

‘Love Your Job’ one of Edmond Terakopian’s best-loved images

Don’t let rain stop play One of Terakopian’s most successful and popular monochrome images ‘Love Your Job’ (above) was taken in heavy rain. ‘I was rushing to the car park after the Society of Wedding and Portrait Photographers show and saw the light from an advertising board, which was backlighting the rain. I found some shelter and waited for my picture. The adverts were on a loop and just as an advert reading “Love Your Job” came on, a businessman walked into frame, on this dull and dreary day.’ While murky, drab weather might not feel very inspiring, it can suit your subject and intent perfectly.

How ‘real’ do you want to be?

Better black & white composition ‘I’ve found that with experience, composition becomes more of an instinct, but my workflow for years was to look at the entire frame, not just where my subject is,’ Terakopian explains. ‘Check the corners as well as the middle. Make use of shapes and lines going into corners or the sides of the frame. Compose a frame within your frame, which then awaits your protagonist to walk into.’

While long exposures and motion blur are popular techniques in street photography – a classic example being the bicycle rider in Hyères by CartierBresson – they may be less appropriate for a more documentary style. ‘I do use tripods and love my Uniqball, but never on my street photography,’ says Terakopian. ‘For me, this genre of photography has to be more real; more daily life and of the moment.’ This is not to say more artistic effects are ‘wrong’ – it entirely depends on your approach. Without a clearly defined process, you will always struggle.

Small is beautiful As with all kinds of street photography, smaller cameras tend to work best. ‘But for me it’s because they’re lighter and therefore not as physically taxing,’ says Terakopian. ‘An entire day of walking around with a heavy camera or a camera bag full of kit isn’t conducive to street photography. I think the way one moves and behaves can either draw attention or make us blend into a scene. So it’s nothing to do with the camera, unless of course we go to the extremes of carrying two or three DSLRs with huge zooms and a super telephoto!’

As well as perfect timing, this image’s portrait format works perfectly

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Shadow play ‘To develop your “shadow skills”, head out in bright weather,’ says Brian Duckett. ‘Look for uncluttered areas (e.g. modern business areas) and plan ahead. Pre-visualise the images and think about the intensity and direction of light, and the best vantage point. Work out your options for exposure and shoot a wide variety of subjects as you practise getting the composition just right. Try shooting in manual mode and exposing for the highlights. This will intensify the shadows...’

Strong and dominant A lot of great black & white street photography incorporates punchy, high-contrast images made up of bright whites and intense blacks. ‘The strong light and dark tones, combined with a strong diagonal and the dominant block of unpainted wall, make this shot a winner,’ says Brian Duckett.

Don’t try to ‘hide’ in black & white

Keep learning from the masters ‘My ﬁrst lesson in monochrome was to get piles and piles of books on photographers whose work I loved,’ says Terakopian. ‘Everything from photojournalists like Sebastião Salgado to fashion photographers like Richard Avedon. I’ve never been one for still-life shots of ﬂowers, but Mapplethorpe’s work was also hugely educational. Black & white is primarily about shape and light. My advice is to just keep looking. The harder and more intensely you look, the more you see. Then it’s a question of timing and capturing the moment and juxtaposition.’

Whether you are shooting in colour or black & white, it’s all about finding great light; light that complements your subject and creative intent. Shoot in raw While masters like ‘Shooting a black & white JPEG is fine, but the raw file will give you Trent Parke can much more highlight and shadow detail, which will result in a get away with better end result,’ Terakopian adds. ‘So, I always shoot raw, process using very hard in Lightroom and then finish the monochrome treatment in my sunlight and very two favourite plug-ins; Exposure Software’s Exposure X5 or DxO strong shadow, Nik Collection’s Silver Efex Pro. Each has their strengths, so I make make sure your my decisions depending on what my vision is for that particular skills are good image.’ See our Silver Efex Pro guide on page 36. enough to ride this particular tiger. The same goes with trying to conceal softness in black & white, or lack of shadow detail due to clumsy exposure: an experienced viewer will soon see through your cynical ploy. Shooting in raw often gives maximum leeway for working up the shadows

Technique

MONO STREET MASTERCLASS Do some ghost hunting For Brian Duckett, slow shutter speeds and motion blur can help create some impressive street shots. It also gets you into the habit of finding suitable backgrounds for your subjects to ‘blur’ against, and this kind of background hunting comes in useful for street photography generally. Image and lens stabilisation is now so good with modern cameras that you no longer need to use a tripod, sometimes even with shutter speeds as slow as a second.

Be careful at night ‘Night shots need to look dark, but your camera’s light meter can easily overcompensate, leaving you with images that are too light,’ says Duckett. ‘So use exposure to dial things down.’ Another good tip is to wear darker clothes so you blend into the shadows better, and don’t attract the subject’s attention. But don’t look shifty or suspicious or you could also attract the wrong kind of attention.

You’re so square

Night shots can be very evocative, but be careful out there

Popular locations are fine too

C’mon bring (a bit of) the noise

As an example, Terakopian cites his popular shot of a little boy running into reflected lines of light at the Tate Modern. ‘It’s one of these clichéd locations, but as I mentioned before, this should never stop us exploring and making our own images. I was very fortunate that this image picked up several awards and nominations. I made the shot on a Lumix G9 with a Leica DG 50-200mm f/2.8-4.0 lens.’

While you should not try to use mono to hide poor exposure or focusing, Terakopian has no issue with a little bit of noise. ‘The cameras I choose work beautifully at up to the ISO 10,000 mark, producing accurate colours, which are essential for making a full tonal range in black & white. My black & white conversions generally have some grain added, which can cover any distracting noise.’

Mix prime and zoom lenses

It’s not so much about the location as about the light

52 Assignments: Street Photography (Ammonite Press, £12.99) is full of more great street shooting tips from Brian Duckett and is available from all good booksellers.

‘I generally prefer prime lenses in the range of 35mm to 50mm, although will happily shoot with a zoom,’ counsels Terakopian. ‘For my Micro Four Thirds Lumix bodies, I love the Leica DG 15mm Summilux, which gives a 30mm field of view, as well as the Lumix 25mm f/1.7. For zooms, I like the Leica DG 12-60mm f/2.8-4.0 or the Leica DG 10-25mm Vario Summilux f/1.7. On my Panasonic Lumix S1 and S1R, the Lumix S Pro 50mm f/1.4 is king. It renders so beautifully, is fast to focus and I’ve found the face and eye detection works wonders – a good tip for street shooters looking to upgrade.’

Some images just cry out for a 1:1 black & white format, so be mindful of this when you are out shooting so you can compose accordingly and avoid heavyhanded cropping later. ‘In this shot of climbers, the pattern of the netting helped make the decision to crop to a square,’ says Duckett. Michael Kenna is another master of the square format with black & white, so check out his work too.

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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.

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What a wonderful piece by Boyd Wild (Viewpoint, 29 February). I couldn’t agree with him more! At 58 I gave up 35 years in the same profession and became a student again at the wonderful Plymouth College of Art. I started a photography degree – the most enjoyable three years of my life. Our group ranged in age from 17 to 60+ (I wasn’t even the oldest person in the class) and was a really friendly, helpful and supportive bunch. The opportunities to try new things – different cameras, lenses, studio facilities, lighting rigs, holding exhibitions and so on – as well as study the history and development of photography, learn Photoshop from a professional and meet practising photographers was simply fabulous, as was being taught by staff who all were, or had been, professional photographers in a wide variety of ﬁelds.

Go manual II Ian was inspired at Plymouth College of Art

The experience available to students was quite amazing. Boyd is quite right about the beneﬁts of learning at any age. Don’t just think about it – go and talk to the photography staff at your local college; it could change your life – it did change mine. Ian Clark I went to Plymouth College of Art, back in the early 1980s. At 17 I was the youngest in my intake and, to be honest, with hindsight I’d have got more out of the course if I had been a little older and more mature. Well done to you for taking the plunge.

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Go manual

I love the magazine, and have done since I was a kid. I learned photography on a really basic camera, the Cosina CT-1A, which I saved my dinner money for a year to buy. It was manual focus, manual metering with a simple +/- meter, and so on. It was a great way to learn. So I was delighted to read Claire Gillo’s piece Take back control (AP 15 February) encouraging photographers to get off auto – excellent! What a great idea.

I felt though that using the ‘Under’, ‘Correctly’ and ‘Over’ exposed labels in reference to the histogram gives the wrong idea. What about low-key or high-key images? Perhaps they should have been better labelled ‘Dark’, ‘Balanced’ and ‘Bright’ respectively. I hate to moan without giving something back. So I would like to offer others a few pieces of advice: • Getting off auto often involves changing a variety of settings quickly. Put any regularly used settings into your custom menu or

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programmable button to bring up your custom menu. • If you start using Speedlights play around with the ﬂash compensation in TTL mode. Nikons try to light the whole world, so dial in –12∕3 stop compensation on the speedlight as a start. • Before spending money on a tripod, practise holding a camera steady with your body position and a ﬁrm old-school press against your face. Hold your breath halfway through an out-breath to take the shot. Neil Lynchehaun

custom proﬁles and, if you have a programmable button, then set the

Your Take back control feature was an excellent summary of the advantages of manual settings. I use manual exclusively, to produce movies with the multicamera technique. I ﬁlm in my lounge with ordinary room lighting. With club productions I use two cameras, but I have developed the system to ﬁve cameras – all Panasonic Lumix models giving excellent synchronisation. Following the advice from an article in AP some years ago the shutter speed is set at 1/50sec. Three cameras can be set at f/2.8, which necessitates an ISO of 500. The other two cameras require ISO 1000 but with no detrimental effect. I prefer to set white balance in Kelvin as it allows accurate cutting between shots. The room light is probably 3200K but I set to 3400K

Take back control – Claire Gillo’s feature from 15 February 21

that warms up flesh tones just enough. I use a Panasonic mic on the G7 which gives firstclass sound reproduction. The five cameras maintain single-frame accuracy even with a long take approaching the 30min maximum. Taking full control of settings can be so rewarding. Alexander Mollison

Four Thirds sensors

In his response (AP 7 March) to my letter about Four Thirds sensors Mr Heading has made an unfounded assumption on the basis of something that I did not say. Of course I do not use high ISO settings for my macro work: I use the lowest possible ISO setting. The high ISO test images to which I referred give an idea of a sensor’s signal-to-noise ratio, which degrades image quality whatever ISO setting is used. It does not go away at low ISO settings; it just becomes less obvious. I fully intended to purchase the Olympus E-M5 Mark III, but the AP test results, when compared with those of the Canon EOS M6 Mark II, caused me to reconsider. We are constantly told that larger sensors are better. The logic seems to be that a larger sensor will have larger pixels, which will give a better signal-tonoise ratio and produce ‘cleaner images’. However, the Canon sensor is 48% larger in area, but it has 59% more pixels, so its pixels are actually smaller than those of the Olympus. Yet, Canon’s smaller pixels seem to have a much better signal-to-noise ratio. Perhaps this is because the Canon sensor is new, and the Olympus sensor is now ﬁve or six years old? In contemplating spending a relatively large sum on a new camera that I will use for a number of years, I was forced to consider whether I was happy with this and concluded I was not. For 22

my speciﬁc requirements it appears the Canon would be a better choice. Though Olympus cameras are praised for their small size and weight, excellent handling and ergonomics, if their smaller Four Thirds sensors are not kept up to date with the latest technology they will lose sales. If I have got any of this wrong I would love to be put right, but before replying, please make sure that you have read and understood the argument. David Boettcher It’s true that the Canon EOS M6 Mark II’s sensor is, by any sensible measure, rather better than the Olympus OM-D E-M5 Mark III’s. It’s considerably higher in resolution, while giving lower noise at high ISOs. This reﬂects that it’s both larger in area, and newer technology. If that’s a serious concern for you, then it’s a perfectly valid reason to consider switching systems. However, lenses are just as important as sensors when it comes to image quality. Canon’s EF-M lineup is very limited, while Olympus’s Micro Four Thirds range is far wider, and includes optics of higher quality. As a result, the E-M5 III

fitted with the 1240mm f/2.8 will likely give just as good images in low light as the EOS M6 Mark II with the 15-45mm f/3.5-5.6, if not better. There are plenty of other factors to consider too, of course, including size and weight, fixed vs removable viewfinder, weather-sealing, image stabilisation and screen articulation. These all contributed to us rating the E-M5 Mark III more highly, on balance, than the EOS M6 Mark II. But everyone has different needs and preferences.

Back in the day

A wander through the AP archive. This week we pay a visit to 6 March 2010

2010

Aurora love

I’m getting back into photography and doing a course at a local college, moving from ﬁlm to digital, which has been a journey in itself. I tried your free Aurora software: as it was free, I didn’t expect much but I’m very impressed and it will probably now be my go-to. Having ofﬂine software is preferable for me than those that are subscription-based. Unless you’re constantly editing, I don’t think they are worth the money! Jorgen Anderson Readers can still download it – just visit skylum.com/ap-aurora.

Who needs full frame? That was the headline gracing our 8 February 2020 issue cover, just weeks ago. We thought we were being original, but alas, we were beaten to it ten years ago by Damien Demolder, AP’s Editor at the time. Still, recycling is good for the planet, right? Last month’s feature was about bucking the current trend for full-frame mirrorless, but in 2010 Technical Editor Angela Nicholson was comparing two DSLRs: the APS-C Canon EOS 7D and the full-frame EOS 5D Mark II. Today, users of either camera may feel that they’re slumming it with these ‘antiques’ (now available for peanuts) but Angela concluded that both cameras were equally excellent in most respects, and capable of producing astonishingly good A2 prints, so what more could you really want, even today? Elsewhere, the regular Icons of Photography series recalled the life and work of the late, great Bob Carlos Clarke, a great friend to AP who died tragically young.

Jorgen Anderson is impressed with his results using Aurora

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DANIEL MEADOWS

For

eyes yet unborn Cataloguing a vast and extensive archive, like that of documentary photographer Daniel Meadows, gave new meaning to his life’s work, as Amy Davies finds out

y own association with Daniel Meadows goes back many years to when I was a fresh-faced young student eager to undertake his Digital Storytelling module at Cardiff Journalism School (known as JOMEC) in the mid 2000s. Alas, as it was limited to only 25 students, I wasn’t early enough in the queue to make it. Having been following his work for some years previously, the disappointment was palpable. Later, on returning to JOMEC for a postgraduate diploma, there was Daniel again. This time giving a lecture as part of a series given by industry experts who mostly told us that the business we were all keenly about to enter was on its last legs. Although details of the exact content of Daniel’s lecture remain somewhat hazy, his enthusiasm and delivery remain firmly fixed in my mind – as well as his hope that we were not in fact, all doomed. Almost 15 years later at the end of 2019, while on a brief break in West Wales, I sat with Daniel’s latest 24

book on my lap and flicked on the television for background noise. To my surprise and amusement at the coincidence, there he was again in a segment of The One Show, talking about the exhibition that coincided with the book’s publication. It’s a few months later again when I finally get to meet the man himself when he kindly invites me into his home in Monmouth. Plonking myself down on the sofa and promptly furnished with a cup of tea and a jar of biscuits, we start a chat that would end 12,000 words later (according to the word count of the transcription it will take me a Above: A contact day to complete).

Newport I tell Daniel I’m due to meet his friend and former colleague David Hurn a couple of weeks later and that starts us off on a tangent about the famous documentary photography course at Newport that David started and Daniel taught on in the 1980s and 1990s. It ran as a BTEC and was intended as a way to teach students

sheet from the Free Photographic Omnibus, shot in Barrow-in-Furness, November 1974. With little funding, film was not expended on shooting each of the subjects more than once

not only the fundamentals of photographic technique, but how to actually make a living from it. He explains, ‘We had kids from YTS (Youth Training Schemes), middleaged people who were fed up having been made redundant, regular higher education students who’d done well at art subjects at school and were excited by photography, as well as those who used it as a kind of postgraduate course after attending some of the best

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DANIEL MEADOWS

ALL PICTURES © DANIEL MEADOWS

universities in the country. We had this wonderful mix of people on the same course – people who had degrees from the poshest universities in the same room as kids who couldn’t get a job because the steel works had closed – but what they all had to realise was that they could learn from each other.’ As soon as the writing was on the wall that the course was to be turned into a traditional type of degree David Hurn left, followed subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 April 2020

not far behind by Daniel, who went on to become a lecturer at Cardiff University, among other things. Throughout his time at Newport, and into his tenure at Cardiff, Daniel became preoccupied by the coming of what was being called ‘the digital age’, and what this would mean for photographers and journalists. Far from being fearful of what lay ahead, if anything, it was a chance for him to finally get recognition for the kind of multi-

dimensional stories he favoured. ‘I had always made audio recordings,’ he says. ‘It was always a frustration to me that you couldn’t put the pictures and the sound together unless, that is, you had industrial scale equipment and a big budget. It was really, really hard to imagine how the old industry would collapse and what would replace that.’ At first, this approach was less than popular with the students – Daniel describes how they 25

DANIEL MEADOWS

would boo and hiss at the suggestion that journalism was changing, and not necessarily for the better for everybody. Eventually though, people began to realise that what he was saying was true – and the students became incredibly attentive (just as I was).

Traditional methods The old, traditional way of ‘topdown’ reporting was starting to become a thing of the past. Daniel’s first true encounter of the new way of doing things came in 1996 as he worked on a project called 24 hours in Cyberspace. A book publisher had been creating projects based on 24 hours in the life of various places, and had the idea to conduct one via the newly emerging online space known as the world wide web. Daniel was tasked with researching a story via the internet (using the only computer in the department to have access to it at the time), photograph it, include an audio element and upload it to a website. He discovered that a doctor in mid-Wales was trying to use digital photography of the retina to help with the diagnosis and monitoring of diabetes patients. At the time, the only place to get photographed was in Cardiff – a journey that was not always practical for every member of the community. Travelling to Builth Wells in the snow, taking with him a computer and a modem – he photographed the doctor, convinced a Snappy Snaps to stay open to process the film (digital cameras weren’t good enough for the portraits at the time) and then getting home in time to file eight pictures. ‘I think I was still sending the material at about 11 o’clock at night, because it was taking more than an hour to upload one single image,’ he recalls. After the story was published, he received an email – itself an unusual novelty back then – from an American emergency room doctor in Kentucky. He wanted to know where one could procure one of these ‘digital cameras’, as he thought they could be useful in sending advance shots of road accident victims to hospitals. Daniel was able to hook up the American doctor with the Welsh one, as well as with a Mexican expert in digital photography. With relish, he tells me, ‘Then I got another email some time later that said “Thanks to a tweedy doctor in Builth Wells, a lanky academic in Cardiff and a 26

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DANIEL MEADOWS

A picture with a life of its own

THE PICTURE on the front of Daniel’s book shows an 11-year-old John Payne, a pigeon in hand and surrounded by two of his friends. Taken in 1974 while Daniel embarked on his Free Photographic Omnibus project, he shot just one frame of John and his friends. Yet it is this picture which has been used time and time again and become one of his best-known pictures. It featured in the book 1001 Photographs You Must See Before You Die and has been used in posters, books and various exhibitions over the years. It was used in The Times as the photograph to accompany an article about Arts Council-funded projects, and it has even been turned into a painting currently held by the National Museum of Wales. Jenny Donnison’s poem ‘Three Boys and a Pigeon’ was even inspired by the shot, while the fashion house Burberry also used it as part of a series of photographs that inspired a recent collection. Its protagonist, John Payne, was tracked down by The One Show in 2018, then in his mid-50s, who reunited Daniel with John for the opening of the exhibition at the Bodleian in Oxford.

Mexican expert in digital photography, we are saving lives in Madisonville, Kentucky!” I thought from then, the future of journalism isn’t about one-way storytelling, it’s about this interaction with the audience, that is only complete because this secondary person has got in touch with me and I absolutely loved that.’ At this point in the recording of our interview – 45 minutes in – I interject to remind Daniel that I haven’t actually had a chance to ask him any questions yet. That gives you an idea of the enthusiasm and joy that talking about the subject still brings him all these years later. Rewinding back to the 1970s, it was basically this approach that Daniel had been favouring and pioneering, perhaps without even realising it. While a student at Manchester Polytechnic (where he was a contemporary of several who

have gone on to have impressive careers including Peter Fraser, Brian Griffin, Charlie Meecham, Kate Mellor and Martin Parr), he rented a shop on Greame Street in Manchester’s Moss Side. There he offered free portraits to anybody who cared to drop by. Inspired by a lecturer who showed him the work of Irving Penn, Daniel felt that a room of his own could lead to some interesting work. At the time, Moss Side was home to a huge number of low-income and immigrant

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Top left: Residents of June Street, Salford, 1973. Daniel worked on this project with Martin Parr Far left: Charlie Sutton, 1976 Left: An interview with Charlie appears in Daniel’s latest book

communities, and was also undergoing huge changes with buildings being knocked down and regenerated. As such, renting an old barber’s shop – even for a student – was a cheap proposal. ‘People would just wander in and chat to me and ask what is this all about – that set up a practice that lasted me a long time throughout my life – setting up random encounters with strangers.’ After this experiment had worked so beautifully, Daniel had the idea to put it on wheels. Thus, 27

DANIEL MEADOWS

the Free Photographic Omnibus – the work for which he is perhaps best known and associated – came into being. Spending the whole of his last year at college fundraising for the project, he eventually managed to scrape together enough to convert an old bus, and put together an itinerary visiting towns where he’d received funding from local arts associations. At each stop, he’d invite people in, take their portrait, give it to them to keep and leave behind an exhibition.

Direction I’m curious to know if he offered any kind of direction to his subjects. ‘Not really,’ he says. ‘I’ve always been pushed by not having enough money, or the right camera, or being caught in the moment of being with a stranger who’s becoming engaging. I’d have loved to shoot an entire roll of film per person, but I didn’t have the funds. In order to dry film when I lived in the bus, I had to drive it around to get the engine warm enough to puff air into the drying cabinet, with the film swinging about. I washed the film in public lavatories, so I always cut my cloth according to what’s possible.’ He tells me his biggest regret is not being able to track down those exhibition prints now. ‘I made these beautiful exhibitions with captions, and now I can’t find them all – I made two copies of everything, but mine went into the windows of the bus and they all got condensation damage so I took them down. Wouldn’t it be great if readers of Amateur Photographer could help me track them down and find where they have been stored. There’s Southern Arts, South West Arts, East Midlands, West Midlands, Yorkshire that I can’t find.’ It’s clear that having a meaningful archive is of utmost importance to Daniel, which is where his most recent book, Now and Then: England 1970-2015 comes into play. The book coincides with the acquisition of his collection by the revered Bodleian Library in Oxford. A diagnosis of multiple sclerosis in 2013 placed extra urgency on sorting his lifetime’s work. Val Williams, a well-known curator, came to Daniel’s studio, with a view to putting on a retrospective – but she couldn’t find her way around the archive. Later, Pete James from the Library of Birmingham said they wanted the 28

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DANIEL MEADOWS

whole thing, but he also couldn’t make sense of the collection. From there, Daniel says he spent six years making lists. ‘In the middle of all that time, I was diagnosed, which had the effect of me deciding that I was going to stop teaching full-time and devote all my energy to getting my archive sorted, because otherwise my whole life’s work will have been meaningless. The point of documentary work is that you’re really making it for eyes that are yet unborn,’ he explains with poignancy.

Above: Florence Alma Snoad, photographed in 1974 (left) as part of the Free Photographic Omnibus. In 1999 (right), Daniel revisited several of those he had shot 25 years previously for his Now and Then project Left: An image from the free studio at Greame Street, 1972

Serendipity In 2015, the Library of Birmingham came to take away all of the archive to place into its brand new library, and Daniel felt he could relax. But, within months, it became clear that funding problems were going to become a big issue. ‘My archive had been acquired, but it hadn’t been accessioned, it hadn’t been mapped onto their database. There was nobody in their employment who knew what was there because there was no record of it. It disappeared as though it had never existed, and, if I wasn’t going to be around any more, nobody would even know it was there. I was desperate.’ Some time later, he was persuaded to give a talk at the Sotheby’s Institute. ‘I used to turn them [talks] down all the time because I haven’t the energy any more and anyway I thought I might be dead soon. But the woman from the Institute was very persuasive.’ It turned out to be serendipitous occasion. ‘I didn’t know who was going to be in the audience, but that night I got wired up and had a bit of a rant about what was happening in libraries and what would happen to my work. It turned out that in the subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 April 2020

The book, Now and Then: England 1970-2015, ISBN 978-185124-533-8 is published by the Bodleian Library. You can buy it for £25 from bodleianshop.co.uk

audience were a couple of grandees from the world of photography including Colin Ford, the founding director of the National Science and Media Museum (originally called the National Museum of Photography Film & Television) in Bradford. I already knew him because he was the director of the National Museum of Wales. He said, “Daniel, I’ve got one word for you – Bodleian.” I had no idea how to get into this bastion of the establishment, but within six months, Colin Ford had put me in touch with Richard Ovenden, Bodley’s Librarian, who set about raising the funds to acquire it.’ Not only did they acquire the archive, the Bodleian also hired somebody to do the archiving, which is now fully catalogued. A listing of everything within the archive can be searched online, leading you to a shelf number – 20.6 metres of shelving in fact. Not content with that, a book and an exhibition was planned to celebrate the acquisition, with both making their appearance at the end of 2019. Back to 2020, my afternoon at Daniel’s house seems to have evaporated. I arrived in daylight, but as our conversation starts to reach a conclusion, it’s dark outside and we’re now sitting in almost complete darkness. Having seen Daniel’s work displayed in various exhibitions over the years, I was sad not to be able to make it to Oxford in time to see it last year – but I’m cheered to discover that next year will see it displayed again as it goes on tour. Details are yet to be finalised, but there should be three venues across the UK. We will of course publish details closer to the time here in AP so you can be sure to catch what are guaranteed to be fantastic exhibitions. 29

Technique RIM & FILL LIGHTS ON A PORTRAIT

1 Without Rotolights

The studio Peter was working in has large windows, with walls in between, giving him large amounts of ambient light coming into his shooting set-up. This image shows what the model looks like purely shot with ambient light, without the use of any additional lighting from his Rotolight set-up. He later deployed two Rotolights to add in both rim lighting from the side and fill lighting to the front left for eliminating shadows that might be caused by the walls between the windows.

3 Head and body, seated portrait 2 Head and shoulders portrait With two Rotolight Anova PRO 2 lights in place for rim and fill lighting Peter shot the model looking to the left. Peter explains, ‘I try to use the Rotolights to mix the lights. You can see that there is not too much difference between the shots without and with light because it’s always my main concern that you don’t initially see that there was additional light to the ambient light. That’s part of my style.’ The settings were Nikon D5 and focal length was 160mm, 1/800sec at f/2.8; ISO 1000. 30

This head-on portrait again uses rim lighting to the left of the model and fill lighting from an Anova PRO 2 to the front left. As with many of Peter’s portraits the idea is to set up the lighting and be happy with it for the duration of the shoot without adjusting it regularly. He reveals, ‘Rotolights are really easy to work with and it doesn’t give you this artificial look of flash and so on.’ The shooting settings were Nikon D5 and focal length 170mm, 1/800sec at f/2.8; ISO 1000.

IN ASSOCIATION WITH

Shoot stunning B&W portraits ALL PICTURES © PETER MÜLLER

Portrait photographer Peter Müller reveals the secrets behind how he shoots superb mono portraits using Rotolight’s system Peter Müller

4 Body length portrait This longer-length body portrait demonstrates Peter’s subtle mix of ambient and artiﬁcial light. He reveals, ‘If you see the full set, my main light was from the window and between the windows there are walls. I used one light to give a rim light from the back, so it’s not too dark, and the other one was positioned where shadows might hit her because she was moving back and forth – that acted like a ﬁll light to extend the window light.’ Shooting settings were Nikon D5 and focal length 150mm, 1/1600sec, f/2.8; ISO 1000. The studio set-up featuring two Rotolight Anova PRO 2 units for rim and fill lighting

Peter Müller is a photographer and co-owner of NOIRStudio in Frankfurt, Germany, in partnership with Jean Noir. He is known for his emotive black & white portraits that are shot in-camera and require little retouching. He holds workshops around the world that explain how he conveys emotion and tells stories in his images. You can discover more of his work at www.500px.com/petermuller.

he powerful black & white portraits shot by Peter Müller combine a sense of emotion with conveying the essence of his subjects. What is almost unique about Peter’s work is that he likes to get it right in-camera, first time, without any need to retouch his images later on. Peter has built a reputation as one of Europe’s finest portrait photographers and cites his main influences as the late Peter Lindbergh and fellow Rotolight ‘Master of Light’ Greg Gorman. To help to creatively light his portraits Peter regularly deploys the range of Rotolight LED lights, all of which also offer High Speed Sync (HSS) flash capabilities. For his studio work he tends to rely on either the Anova PRO 2 or the

AEOS units. In order to supplement natural light for his location shoots Peter will tend to turn to the NEO 2 unit, which has the benefit of being lightweight, easy to carry and yet flexible in both light and HSS flash capabilities. Yet Peter tends to only deploy flash for his commercial work, relying on combinations of ambient light and Rotolights for his other work. Peter’s go-to camera system is Nikon and his black & white work is primarily shot on the Nikon D5 DSLR. His occasional colour fashion work is usually shot on a Nikon D810 camera. He estimates that ‘about 89%’ of his pictures are shot with a Nikkor 70-200mm f/2.8 zoom lens, which he uses ‘only with open apertures, so f/2.8 or f/3.2’, and he tends to shoot at ISO values from 640 up to around 3200.

Getting it right in-camera Peter explains: ‘I try to shoot as perfectly as possible in-camera. I try to create and give myself, and the model, a space in which the light is perfect. I try to create a light setting in which if she gets two steps in front of me, two steps back, if she turns right or left… it’s fine. That allows me to have the confidence that if she stays in my space I don’t have to work on my pictures later on because the light in all this part of the square is good enough for my final picture.’ 31

Technique

IN ASSOCIATION WITH

During shoots he directs his subjects and reveals he sometimes shoots up to 150 images in a just a two-minute period. He says, ‘I never look at the back of my camera; I just shoot. I trust that my camera is doing what it has to do and that my focus is where it has to be. I rely 100% on the quality of my camera. I trust my camera more than my eyes that it is sharp and it’s always the case.’ Discussing his shooting approach of RAW+JPEG, Peter reveals, ‘The JPEG in my camera is a monochrome, so with RAW+JPEG the JPEG is always a monochrome. In the Nikon I can go on to the monochrome setting and what I do is I have a very soft contrast, almost no contrast. The contrast setting in the Nikon could be from zero to -5 to ++5 and mine is on -1. I don’t want any contrast. In postproduction I can add contrast or more sharpness to my picture but I cannot delete it if it is already there. So, I shoot very soft.’ He adds, ‘More or less the only things I do in post-production are crop the frame, straighten the frame and then I add contrast or light or both or clarity, what’s needed to give the picture exactly the look I want to see. But I do all that in the JPEG. I only convert the raw file to black & white if my JPEG is so rotten – the whites are gone or the blacks are gone, whatever – that I can’t use it any more. Then I try to bring down the raw [file] to the level where I need it and then convert it to black & white.’ Peter deploys combinations of the Anova PRO 2, NEO 2 and AEOS Rotolights for his shoots, sometimes to fill in backlit subjects from the front or side and often as rim lights. He sometimes even ‘over-lights’ set-ups to darken the background and concentrate attention on the subject’s face.

‘OVER-LIGHTING’ A LOCATION PORTRAIT

▲ ‘Over-lighting’

technique

▲ The lighting set-up

Peter Müller explains, ‘What we have here is the famous German photographer Katrin Schöning and you can see the Rotolight Anova PRO 2 in shot. She asked me to take a picture of her. What you see is the set-up where I need this one Rotolight to light. It’s not totally in front of her, more from the left side. You can see all this ugly ambient light, pictures on the wall and there’s another car out – it was shot in the garage of a vintage car dealer.’

Peter reveals, ‘I shot this frame through the open car door. I put the Anova PRO 2 on 63% but I normally wouldn’t need that light to be that bright. I put it that bright so I could then turn my camera to a lower speed or a higher speed to get only her face lit and all the surroundings as dark as possible. I used that technique because I don’t want to see all of this crap – the frames, other cars and ugly walls. It’s a technique I often use; I highlight the subject with more light than I need so that all of the ambient light around gets darker. The reason why we put the Rotolight on 63% is that it was a good combination for still seeing a little bit of the car. If I’d put it on 100% you wouldn’t see any of the car. I just wanted to keep the information that she might be in a car and that it was shot through a window.’

PETER’S TOP TIPS Know your camera well

Get the light right

The moment anyone is in front of my camera they are the most important person in my life; not my wife, not my son, no one else. To make you feel that you are the most important person means that you have 100% of my concentration and attention. If, after every second shot, you’re looking at the back of your camera to ﬁnd out if the model’s eye is sharp or whatever you can imagine that the model doesn’t trust you and will think, ‘does the guy know what he’s doing? He’s always checking the camera’. Most people don’t even talk to the models; they just look at the camera. The model doesn’t know if it’s good, bad or that you like what they’re doing. So, know and trust your camera. It should be an extension of your eye and your arm, nothing more.

Try to put effort in so that you have the right light for the way you want to shoot the portrait – then you don’t have to adjust light during the session. Create one lighting set-up in which you believe that you can have a left shot, a right shot, you have the shadows where you want them etc. Make sure you’re not, after every second shot, going back to adjust the light. What you should do is, in the beginning, place the model, your assistant or your make-up artist in the set and play around a little bit at the time when it’s not important. The other person knows it’s not a shooting session yet; I’m testing and ﬁnding out the best light. If you really want to shoot well, trust the light and don’t change it.

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KIT LIST

▲ Anova PRO 2

An LED light and High Speed Sync (HSS) flash unit that combines continuous light with HSS wireless flash. It offers a 10,7000m lux output at 3 feet with a 72W power consumption.

▲ AEOS

Offers both powerful constant LED illumination and HSS flash with up to two hours’ runtime on a 95w/h battery. Ideal as a location light, it weighs just 1.4kg and has integrated handles.

▲ NEO 2

Offers a combination of bright, constant LED illumination and High Speed Sync (HSS) flash. It comes in at under £200 and with no recycling time you never miss a shot.

FILL-IN LIGHTS ON A STRONGLY BACKLIT SCENE Peter Müller says, ‘In the top left hand corner this ball of light is a 2000W HMI light and then you see the window light. The sun is out and the HMI light goes on her shoulder and into the top of her hair. So this is where all these reﬂections in the picture come from. To go against all of this light I used three Rotolights – two Anova PRO 2s and one NEO 2. I just wanted a ﬂat light, so I put one on one metre, the second was on 120 and the next one was on 140 like they were square, very close together. She was more or less looking in one Anova but on a face level. The second one was beside her on a similar level but a little higher and more to the right. The last one was more or less on

her hair level. All these lights were set on 100%.’ He adds, ‘It’s a combination of ambient light, Rotolights and other lights. I wanted this harsh rim light on her and to see the smoke of her cigarette. As you can imagine with 2000 watts going against your camera it had lots of ﬂare in it. I needed more light from the front so I could work a little bit against this HMI. Even so, I had to use Lightroom to bring a little bit more light on her body. The point is if I have light situations like this I always try to get a compromise. I underlit her body on purpose to enable me to highlight it a bit more in Lightroom, but then I had a good combination of the front and the back information.’

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▲ Nikon D5

This pro DSLR incorporates a 153-point AF system and an FX-format CMOS image sensor and a 180K-pixel RGB metering system to aid accurate subject recognition and image detail. 33

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Technique

SILVER EFEX PRO

Silver

machine

Silver Efex Pro is one of the best plug-ins for enhancing black & white images. Geoff Harris is your guide to the latest version, with ten great new film emulations

here are now myriad ways to convert and edit black & white images, but Silver Efex Pro is still hard to beat. It works as both a standalone program and a plug-in for Lightroom, Photoshop and more, and comes as part of the Nik Collection of editing tools. The latest version has ten new

emulations of classic black & white analogue ﬁlm: Adox Silver Max 21, Agfa Scala 200x, Bergger BRF 400 Plus, Foma 100, Fuji Neopan 400, Ilford Pan 100 and 400, Polaroid 667 and 672, and Rollei 100 Tonal. Read on to discover how get to grips with these emulations, and how to get the most from Silver Efex Pro generally.

The ten new Film Types are a very welcome addition

Finding the new film emulations

The basics

As mentioned, you can work with Silver Efex Pro as a standalone program as part of the Nik Collection, but to get the most of the new film emulations, and much else besides, we recommend opening it as a plug-in for your main editor, in this case Adobe Lightroom. To benefit from the colour sensitivity filters and powerful grain-control filters in Silver Efex Pro, it’s best to make essential adjustments to your original, colour raw image in Lightroom. You then carry out the black & white conversion, and subsequent editing of the image, by opening Silver Efex Pro as a plug-in, as our screenshot above shows (simply right click on the original and you should be able to edit it in Silver Efex Pro, as a converted black & white image). When finished, you can save it back into Lightroom for further editing or output it. Using Silver Efex Pro as a standalone program to tweak existing black & white JPEG images will work to a degree, but it’s a bit like buying a high-performance car and never getting above a low gear. 36

As with so much modern software, the maker DxO has really packed in the features, which is great, but they are not always immediately obvious. The black & white film emulations are located towards the bottom of the panel on the right and are labelled Film Types. Click the arrow to reveal them. The new film types are, helpfully, listed under ‘New.’ Easy enough, but remember that as soon as you hover your mouse over the name of a film type it is applied to the image, so you get a sense of whether it works. To go back to your original image without Film Types applied, click Neutral. Some other fundamentally important tools in this panel are the Grain and Sensitivity options, the Colour Filter and Selective Adjustments. If you are not happy with the exposure and contrast in your imported image, you can also adjust them with the Preset Library over to the left of the main screen.

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The Magnify and Compare tools The easiest way to get around the image is to use the Navigator box top right of the main screen: simply click the area you want to zoom into, adjusting the magniﬁcation accordingly to check everything over. To the left of the top bar is the Compare button, which enables you to compare your edited version with the original when you click and hold down the mouse. The History function, found at the bottom left of the main screen under the Presets Library, is a bit over-engineered, but the slider does enable you to pedal back through the adjustments if you’re not happy with some of them.

Which film type to use? The choice of Film Types can be overwhelming, but as mentioned, you can try them out by hovering your mouse over the name of the film. According to DxO, Adox Silver Max 21 was chosen for its fine grain and ability to produce deep blacks and a wide range of greys, making it useful for portraits. Bergger BRF 400 Plus was picked for its moderate contrast and average grain, which makes it suited to landscapes. Foma 100, a classic panchromatic film with a fine grain and high resolution, offers a wide range of greys even in bright light, so landscape and studio shooters might want to try it. Ilford 100 and 400 offer versatility and sharpness, while Rollei 100 Tonal offers a fine grain and soft contrasts, and is popular for architecture. Fuji Neopan 400, meanwhile, was originally designed for street photography and reportage. Agfa Scala 200x was a black & white slide film, while the Polaroid emulations are quirky and intriguing. Earlier Film Types are listed by ISO.

Colour sensitivity

Getting to grips with Grain

The grain, colour sensitivity and the specific Levels and Curves settings are essentially what make up these classic black & white film emulations. The colour levels and sensitivity are how the colours translate to black & white. If you want to adjust the colours in the Film Types, it’s easy enough, via the Sensitivity tool: move the red filter slider to the right, anything red will get brighter, or darker to the left. So don’t be afraid to experiment depending on the colours in your image, as you can get a totally different look to the original – making the blue sky in a landscape look infrared, for instance, or richer background tones, as below.

‘Grain’ is fundamental to analogue black & white photography, and Silver Efex Pro has some very smart tools for controlling all aspects of digital grain. Move the Grain per pixel slider right over to the left for example, and you get a very grainy, grungy look; slide it to the right and it becomes harder, increasing the contrast so the image looks sharper and ‘cleaner.’ So these tools enable you to amplify or subdue the grain structure for a particular black & white look. Note also that if you increase the brightness and contrast using the Global Adjustments tools at the top of the panel, you can see the look of the grain changing at the same time. Very clever indeed.

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Technique

SILVER EFEX PRO

Global adjustments

As with any editing program, there is a wide range of tools for tweaking your black & white image in its entirety. Essential functions such as Brightness and Contrast are listed under ‘Global Adjustments’ (they are called ‘global’ as they affect all of the image). ‘Structure’ is an interesting tool, and is one of Silver Efex Pro’s secret weapons: essentially, it gives images more ‘bite’ by exaggerating the contrast around edges, outlines and details. It needs to be used sparingly, however, in order to avoid halos and other artefacts, and works best with highly detailed areas or subjects. Use Tonality Protection, meanwhile, to keep detail in shadows and highlights, but these kind of issues are best fixed when editing the original raw file in Lightroom or Photoshop. Finishing Adjustments, right down the bottom of the panel, enables you to add vignettes, borders and other final touches.

Using Control Points and a last word on Presets Global adjustments are all very well but for ﬁne-tuning speciﬁc parts of your black & white image, Silver Efex Pro uses Control Points, another of its key weapons. It’s an ingenious design but takes a bit of getting used to. With your image open, go to Selective Adjustments, click on Control Point and then drag it to the part of the

Levels and curves

You might ﬁnd a lot of the Film Types are quite high contrast and while you can adjust this using Global Adjustment, it’s also wise to open the Levels and Curves graph, under Film Types. As with the Levels and Curves tools in Photoshop, you can easily move the points around to get exactly the look you want, or see how the graph changes for each particular ﬁlm. You can also access a Loupe and Histogram, which is right at the bottom of the screen, just above the Save option. 38

image you want to work on – the girl’s face in our screen shot (below left). You can then adjust a range of parameters, such as contrast, brightness, structure and so on. Drag the mini sliders to reduce or increase the effect, as required. After using brushes and other local selection tools in Adobe programs, Control Points can feel a bit weird but you do get used to them. It’s easy enough to duplicate Control Points by holding down the Option (Alt) key and dragging it to a new destination. Last but not least, while the new Film Types are great don’t forget all the existing Presets in the library, top left of the main screen. En Vogue and Classic are our favourites, and all can be ﬁne-tuned as shown.

Buying and using Silver Efex Pro

The Nik Collection 2.3 collection comes with six other useful tools for editing and sharpening your images, but Silver Efex Pro is the only dedicated black & white editing program. You also get a full copy of DxO Photolab 2 (Essential), a cut-down but effective general-purpose photo editor which also works seamlessly with the Nik programs. The whole suite retails at £125 and can be downloaded directly from the DxO website (Mac and PC). For the collection to work with Adobe, you will need: Website: See nikcollection.dxo.com/ where you can also find out about the system requirements for Mac and PC. System requirements: Adobe Photoshop CS5 (64 bits) through CC 2020. Adobe Photoshop Elements 12 through 2020 (apart from HDR Efex Pro 2, which is not compatible with Photoshop Elements). Adobe Photoshop Lightroom 3 through Classic CC 2020.

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5 The Office by Roger Walding The expressive tonal palette of this photograph lends itself to an evocative era. The laptop of its day!

6 Turning the Wheel by Sandra Walding There’s obviously a lot going on in this engine room and Sandra has done well to create order and a central focus.

Join

Club the

This club is located in the picturesque market town of Ross-on-Wye 40

1 Quiet Beauty by John Crowland The light on the skin and the diaphanous material make for a wonderfully natural portrait shot.

2 Stealth Mode by Cathy Cornes Cathy has framed this image very effectively, while capturing the essence of this long-eared owl.

When was the club founded? The market town of Ross-on-Wye is located in the magnificent Wye valley in rural Herefordshire. Bordered by the picturesque woodlands of the Forest of Dean and the castles of the Welsh Marches it offers the members of the local Ross Photographic Society rich opportunities for image making. The Society celebrates its 70th anniversary in 2020 and currently boasts some 42 members. Wider affiliation is with the Photographic Alliance of Great Britain (PAGB) via the Midland Counties Photographic Federation (MCPF). What does your club offer to new members? New members are always welcomed into the club; those interested can peruse our website for up-to-date details of the club’s programme of weekly meetings, outings, in-house and

external competitions, and exhibitions. Of particular interest is our instructional Project Group initiative; held monthly, it is led by experienced club members and addresses technical and artistic aspects of photography allowing new members to gain expertise and confidence in their image making. Describe a typical club meeting We meet weekly on Wednesday evenings from September to May. Proceedings kick off at 7:30pm and could typically feature an invited speaker, an in-house competition, an inter-club battle or a members’ evening. A break for coffee/ tea gives members the opportunity to chat and exchange recent ideas and experiences in photography. We wind up at around 10:00pm. Do you invite guest speakers? The Society’s central location allows us to invite

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YOUR PICTURES IN PRINT

7 Grasshopper by Darion Churchill A lovely macro shot that shows the intricate detail in the insect’s body while the flower head provides scale.

3 Seed Heads by Rod Lamb This painterly shot has been thoughtfully set up. The highlights on the seed heads and background work so well together.

4 Carla by Trevor Lane This is a striking portrait – Trevor has really caught the easy rapport between the subject and the camera.

Club essentials

Ross-on-Wye Photographic Society

The Walford Village Hall, Walford, Ross-on-Wye, Herefordshire HR9 5QS Meetings Weekly on Wednesday evenings September to May Membership £30 per year Contact enquiries@rosscameraclub.co.uk Website www.rosscameraclub.co.uk a range of speakers from surrounding catchment areas including the Midlands, South Wales and Bristol areas as well as locally from Herefordshire and Gloucestershire. We strive to include a variety of genres such as landscapists, portraitists, natural history/wildlife, exotic travel and creative digital workers. At least one high quality ‘A-List’ speaker is included in our annual programme. Do members compete in regional or national competitions? Acceptances and awards are regularly gained by our members at PAGB and MCPF events notably the MidPhot Exhibition of Midland Photography and the Smethwick International Salon. Our own annual exhibition is held in August over a three-week period; fresh images are shown each week with typically 140 prints in total. The club president selects a ‘best-in-

exhibition’ image for the award of an annual shield. Inter-club battles between ourselves and other local photographic societies give opportunities to vent good-natured rivalries and informal exchanges of creative ideas. Photography is all about the fun of image making; while several of our members have achieved formal distinctions from the PAGB and other award-making bodies the focus of the society is on the enjoyment of creating pictures. Are any residential trips or outings planned? Our Project Group arranges regular outings to places of photographic interest; locations that we can particularly recommend are the Drakelow Tunnels, St Fagans, Porthcawl, the Severn Valley Railway 1940s events, the South Wales Valleys and Dunraven Bay. For 2020 eight outings are already planned including a weekend trip to Anglesey in June.

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What are the club’s goals for the future? Our aims are to keep the club thriving by ensuring healthy membership levels and ﬁnances, a high-quality meeting venue, a vibrant and creative ethos among members and getting enjoyment out of the art and science of photography. In 2020 Ross-onWye will celebrate the 250th anniversary of organised tourism. In 1770 the Reverend William Gilpin published the ﬁrst British Tourist Guide following his trip down the Wye from Ross to Chepstow. The initiative was launched in Ross by HRH the Prince of Wales at the end of 2019 and our Society has been tasked with photographing the associated events, to be included in a grand 2020 Gilpin Festival along the river Wye.

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

Testbench

CAMERA TEST

At a glance

£2,199 body only ● 24.5MP full-frame CMOS sensor ● Nikon F mount ● ISO 100-12,800

(ISO 50-204,800 extended) ● Hybrid AF system ● 3.2in, 2,360k-dot tilting touchscreen ● 12fps in live view (7fps via OVF)

Nikon D780

Nikon firmly believes there’s a place for DSLRs alongside mirrorless models for a few years yet. Michael Topham investigates how the firm has improved one of its most popular DSLRs For and against Built to an extremely robust, professional standard Sensor produces high-quality images, even at high ISOs Impressive Eye Detection in live view mode Excellent battery life with in-camera USB charging Lacks a pop-up flash and AF assist lamp ALL PR CES ARE APPROX MATE STREET PR CES

Doesn’t feature a joystick No metal contacts for portrait orientation control with a battery grip Four-way controller lock can easily be knocked by accident 42

Data file Sensor Output size Focal length mag Lens mount Shutter speeds

24.5MP CMOS, 35.9 x 23.9mm 6048x4024 pixels 1x Nikon F 30sec-1/8000sec (extendable to 900s in Manual) Sensitivity ISO 100-51,200 standard ISO 50-204,800 extended Exposure modes PASM, Auto, Special Effects Exposure comp +/-5EV (+/-3EV movie recording) Drive Mode 7fps via OVF (12fps in live view) Screen 3.2in, 2.36m-dot tilting LCD Viewfinder 0.7x magnification, 100% coverage AF points 51 via OVF, 273 in Live View Video 4K (30/25/24p), Full HD up to 120fps External mic 3.5mm stereo Memory card 2x SD, SDHC, SDXC (both UHS-II compatible) Power EN-EL15b (2060 shots) Dimensions 143.5x115.5x76mm Weight 840g (with battery and card)

The D780 put in a sterling performance in sub-zero temperatures during a week of rigorous testing in Iceland Nikon D780, Nikon AF-S 85mm f/1.8 G, 1/4000sec at f/11, ISO 200

t has been fascinating to watch the development of cameras over the past few years. We’ve seen many of the big players in the market shift their focus away from DSLRs and extensively expand their mirrorless systems. Nikon has entered the mirrorless market and hit the ground running. The Z 50, Z 6 and Z 7 have all picked up accolades, but rather than abandoning the production of DSLRs altogether and forcing customers to its new Z-series, a more tactful approach has been taken to run its DSLR and mirrorless systems alongside one another. The D780 arrives as the long-awaited successor to the D750 – one of Nikon’s most popular and best-selling DSLRs. Said to be the company’s most versatile DSLR ever, it proﬁts from things Nikon has learnt from

mirrorless to make it a better all-rounder. The question is: can the D780 still lure passionate enthusiasts and professional photographers to it in a world where many smaller and lighter full-frame mirrorless cameras can be picked up for less?

Features Whereas the D750 had a 24.3-million-pixel full-frame CMOS sensor, the D780 employs a newer 24.5-million-pixel full-frame CMOS chip that’s understood, but not officially confirmed, to be the same as that used in the Nikon Z 6. As well as having a low-pass filter to eliminate moiré and backsideilluminated structure to maximise its light-gathering capabilities across an ISO 100-51,200 range (expandable to ISO 50204,800), the sensor benefits

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from no less than 273 on-chip phase detection points to enhance its focusing performance in live view. Although Hybrid AF systems aren’t new in DSLRs, it’s the first time we’ve seen a Nikon DSLR borrow an AF system for live view from its mirrorless models. The outcome is that users get all the benefits of a fast, reliable live view performance just like you do on the Nikon Z 6 and Z 7 with advanced functionality such as Eye-Detection AF, while still being able to harness a 51-point autofocus system when shooting via the optical viewfinder. The 51-point AF system, which has 15 cross-type points, is the same as the D750’s and performs across a range of -3 to +19EV. Activating live view sees this range extend to -5EV, or -7EV in low-light AF mode. Keeping on the subject of focusing, the

273-point Hybrid AF system covers 90% of the frame horizontally and vertically, whereas the focus points in the viewfinder remain tightly grouped towards the centre and don’t extend to the boundary of the frame. There are all the DSLR/mirrorless AF-area modes you’d expect, including single-point, 9-, 21- or 51-point dynamic-area AF, 3D tracking, group-area AF and auto-area AF when using the viewfinder. As well as the customary AF-S, AF-C, AF-A and AF-F servo modes, Pinpoint AF for precise focusing in live view is also available. There’s much more besides the changes to the sensor and focusing. With Nikon’s latest EXPEED 6 image processor on board the D780 can now shoot up to 7fps via the viewfinder, which can be increased to 8fps (14-bit) or 12fps (12-bit) during silent

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shooting in live view. The shutter speed range is improved too. It now stretches from 30 seconds to 1/8000sec with the option to dial in shutter speeds up to 900secs (15mins) in manual mode. Exposure metering is left in the hands of Nikon’s 180K-pixel RGB sensor, which is inherited from the D850. As we’ve seen before, it’s this metering sensor that’s used for subject-recognition purposes, which feeds information to the AF system for accurate and precise subject tracking. Also like the D850, the D780 can be used with Nikon’s ES-2 film digitising adapter to turn negatives or slides shot on 35mm rolls of film into 24MP digital files. Other features include a wide selection of picture control modes, as well as a focus-stacking mode that can create shots with a large depth of field by manually selecting the distance of each focus step.

In typical Nikon fashion, the D780 presents a useful DX Crop mode. The camera automatically selects this when DX lenses are attached, but it can also be used in combination with FX lenses for those who’d like to gain a bit more reach at the long end. It uses a smaller area of the D780’s sensor, producing images with a 10.3MP resolution and 3936x2624 pixel count. Turning the viewfinder mask display on darkens the area outside the crop boundary to make it easier to determine what falls within the frame. This also works when the image area is set to 1:1 (16.1MP) or 16:9 (20.6MP). Another advantage the D780 has over the D750 is its ability to record uncropped 4K UHD video that is downsampled from 6K capture. Frame rates for 4K include 30/25/24fps and slow-motion footage can be 43

The D780’s natural light auto white balance mode was predominantly used for outdoor scenes Nikon D780, Sigma 14-24mm f/2.8 DG HSM Art, 1/10sec at f/4, ISO 200

recorded at up to 120fps at Full HD 1080p resolution. Videographers will also appreciate being able to record 10-bit footage in N-Log to preserve as wide dynamic range as possible, and with support of hybrid log gamma recording and timecode output via 10-bit HDMI, the D780 is a very serious tool for video use. Adding to this is the option to shoot 4K UHD time-lapse movies in-camera and I’d recommend turning exposure-smoothing on, which effectively reduces variations between images to create seamless transitions. At the side of the body there are three rubber flap openings. The microphone and headphone ports are located behind one at the top, there’s a separate port in the middle for plugging in a remote release and beneath it you’ll find an HDMI Type C connector and USB Type C port that facilitates in-camera charging with compatible EN-EL15b batteries.

Build and handling Photographers who have used the D750 will be familiar with the feel of the D780 in the hand, whereas those who are maybe looking at it as an upgrade from an entry-level DSLR will immediately sense that it’s significantly larger and heavier. Viewed alongside the Z 6 and Z 7, it looks as if Nikon’s mirrorless cameras have been on a lean diet of fruit and vegetables compared to the D780 that has a noticeably 44

more muscular appearance. Weighing 840g (body only), the D780 is 165g heavier than the Nikon Z 6 and Z 7. Although this may not seem like much on paper, the extra weight of the D780 was obvious when I switched between Nikon’s DSLR and mirrorless systems and had to carry them both for long periods. Extensive weathe- sealing and a tough magnesium alloy body are to be expected from a model of the D780’s calibre and price. It’s an extremely strong and wellconstructed camera that’ll allow users to continue to work when the going gets tough or when challenging conditions persist. For anyone who has large hands and fingers, or isn’t particularly fond of the handling characteristics of smaller mirrorless models, the D780’s size won’t be an offputting factor. The advantage that comes with having a larger body is that there’s more space for buttons, which don’t have to be crammed close together. Like the D750, buttons and dials are large and there’s a line of five buttons arranged vertically down the side of the screen, but not all of these are the same. In reply to customer feedback, Nikon has shifted the ISO button and placed it between the exposure compensation and movie-rec button on the top plate for more intuitive control in combination with the rear dial. What was the ISO button on the D750 is now the metering mode

button. Other changes see the Live View button that’s encircled by the stills/video switch shifted up so it’s in easier reach of the thumb. A new AF-ON button for back-button focusing is added alongside and the AE-L/AF-L button takes the place of where the info button was on the D750. The info button has since moved below the four-way controller and with no joystick; the four-way controller is used to shift the AF point during viewfinder shooting. It offers diagonal movement as well as left, right, up and down, but I knocked the lock switch around it by accident occasionally, which did cause me to wonder why I couldn’t move the AF point. The D780 no longer has a pop-up flash like the D750, however radio-controlled advanced wireless lighting is supported and the flash compensation button allows -3 to +1EV control in P, A, S, M shooting modes. In most other respects it’s similarly laid out to the D750. Users can glance down at a large rectangular top plate LCD, there’s a button below the lens release to take quick control of AF modes and the preview button and Fn button on the opposite side of the lens mount are both customisable.

and offers 100% frame coverage. It’s possible to turn on a framing grid display to aid composition and I assigned the Fn button to viewfinder virtual horizon, which loads a helpful levelling guide on the horizontal and vertical axis to avoid shooting wonky horizons. Unlike the D850, there isn’t a switch to block out the viewfinder to prevent any light leak issues during long exposures, however the rubber eyepiece can be removed and replaced with the supplied DK-5 eyepiece cover.

Viewfinder and screen There’s not a great deal new to report regarding the viewfinder. It inherits the same pentaprism optical viewfinder from the D750, which has a magnification of 0.7x 4 April 2020 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

CAMERA TEST While the rear monitor remains the same size (3.2in) and tilts similarly to the D750’s screen, it improves by offering an increased 2.36-million-dot resolution and adding touchscreen functionality. Nikon’s recent touchscreens are known for their excellent response and accuracy. The D780’s is no different and lets you navigate your way through the main menu and select onscreen icons with the lightest of touches. One thing the touchscreen doesn’t let you do though is move the AF point with your thumb when the viewﬁnder is raised to your eye.

The D780 has the qualities of a pro-grade DSLR. Here we look at a few other points of interest

Battery grip

The Nikon D750’s battery grip (MB-D16) is not compatible. With no metal contacts on the underside of the body, any grip that is made in the future won’t be able to offer duplicate control in the portrait format.

No built in-flash

The lack of pop-up flash has improved the D780’s weather-resistance, but does mean you can’t trigger off-camera flash without a Speedlite, commander module (SU-800) or wireless radio frequency module.

USB charging

A small orange LED above the menu button illuminates when the battery is charging via USB. A mains battery charger (MH-25a) is also supplied with the camera in the box for fast charging.

Fast connection

The D780 is fully compatible with Nikon’s WT-7 wireless transmitter. Pairing the two together lets users connect a network cable and transfer images to an FTP server or computer at up to 866.7Mbps.

Remote shooting

You can use the SnapBridge app and turn your mobile device into a remote viewer and controller, or you have the option to shoot remotely using Nikon’s optional WR-1 and WR-R10 wireless remote controllers.

NEF (raw) processing

The D780’s in-camera raw processing is intuitive, with the option to choose the destination of files processed to slot 1 or slot 2. All the usual settings are available, including the option to adjust the amount of vignette control.

115.5mm

Face and eye detection behaves the same as Nikon’s Z 6 and Z 7 cameras running the latest firmware Nikon D780, Nikon AF-S 85mm f/1.8 G, 1/2000sec at f/4, ISO 100

Focal points

76mm

works brilliantly if you’d like every image you take to be pinged to your mobile device and you’ll be prompted to connect via Wi-Fi if you’d rather select the images you’d like to transfer or want to enter remote photography mode. Whereas in previous versions of the app remote control was fairly limited, you can now take control of key exposure settings, white balance, P, A, S, M shooting modes and a self timer. Getting back to battery life, I didn’t quite reach the 2,060 shots per charge that Nikon claims is possible – something I put down to the cold conditions I was working in, but Performance being able to shoot all day and not To get a good impression of how have to recharge on the go, or the D750 performs as a versatile carry spares, did make for a all-rounder, I packed it as my main refreshing change. camera for a trip to Iceland. The Operating the D780 in live harsh conditions and sub-zero view is a completely transformed temperatures it had to deal with experience. Autofocus speed and were up there with some of the response is much improved, and most brutal I’ve experienced in my this, combined with touch focusing photography career, yet it didn’t via the screen, makes it a pleasure flinch once and worked reliably to use when you want to work throughout, which is testament to quickly from shooting angles that its solid, tank-like build quality. aren’t best suited to using the With no electronic viewfinder viewfinder. Setting up longdraining power from the battery, exposure landscape shots on a I found myself shooting around tripod at waist level for example 1,500 images a day and still had a was a breeze. What does take couple of bars of battery power for some time to get your head wirelessly transferring my best around is that the two AF systems shots to my phone back at the are different and you don’t get hotel bar. Nikon’s SnapBridge app identical autofocus functionality has come a long way from the and performance in live view as criticisms it received early on. The you do when shooting via the Auto link that uses Bluetooth viewfinder and vice versa.

Testbench

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Nikon’s picture control modes can be customised. Here the monochrome mode received a boost to contrast and clarity Nikon D780, Sigma 14-24mm f/2.8 DG HSM Art, 1/5sec at f/16, ISO 100

Silent shooting Like the Nikon D850, the D780 presents several different ways of quietening the mechanical shutter. The shutter has a satisfying and reassuring sound during day-to-day shooting when you’re using the viewﬁnder, however you do get the sense it’s quite loud when there’s not much going on around you. The Q and Qc modes on the mode dial are the quiet release shooting modes. These dampen the sound of mirror slap very slightly and in Qc mode the D780 can shoot continuously at up to 3fps. To shoot more discreetly, Nikon has implemented a zero-

vibration electronic shutter that enables users to capture images in total silence when live view is used. With Silent live view photography mode turned on from the photo shooting menu, there’s no noise whatsoever when you press the shutter button. Set the drive dial to its continuous high (CH) setting with silent live view mode turned on and users can shoot fast bursts of raw ﬁles at up to 12fps without a peep out of the camera – great for wedding and wildlife shooters who’d like to continue shooting without disturbing or frightening their subjects.

The Silent live view photography mode is located at the bottom of the Photo Shooting Menu 46

For starters, the AF modes you have at your disposal when shooting in AF-C mode via the viewfinder differ to those in live view. You’ll find AF coverage is much more central when using the viewfinder too, whereas in live view you can shift the AF target much closer to the edge of the frame. The speed of continuous autofocus (AF-C) in live view is brisk, but tracking isn’t the easiest or quickest to set up in Auto-area AF mode so I veered towards using the 3D tracking mode via the viewfinder instead for subjects that weren’t too erratic in their behaviour. Sports and action photographers will be tempted to enter live view to access the D780’s maximum 12fps burst mode, but my testing confirmed that you can expect to achieve a higher hit-rate of sharp shots in a burst at 7fps via the viewfinder using one of the dynamic-area AF modes. The other thing to factor in is that you’re at greater risk of introducing rolling shutter artefacts to shots using the electronic shutter than you are with the mechanical shutter. Shooting a series of portraits revealed the D780 is extremely responsive at recognising faces and eyes in live view. You do however need to make sure the AF area mode is set to Autoarea AF first. Eye detection is disabled when using the viewfinder, but Face Detection

continues to work well with the 3D tracking and Auto AF area modes. One of the benefits of working with a 24MP sensor is that the processor isn’t overloaded by very large file sizes. Using an SDXC card facilitating 280MB/s read and 250MB/s write speeds revealed that it can happily shoot 100 continuous raw files at 7fps via the viewfinder before the buffer needs a breather. With Live View and Silent mode activated I managed to record 54 raw files at 12fps before the buffer was full. Having the option to change the role played by a second card in slot 2 gives it an advantage over Nikon’s mirrorless models too. For a majority of my testing I had it set up to record raw files to slot 1 and JPEGs to slot 2, but the spare slot can also be set up and used for overflow and backup purposes. As far as image output goes, the D780 produces stunning results from its imaging sensor that shares a likeness in terms of colour, detail and dynamic range to Nikon’s Z 6. The Natural light auto white balance mode produces faithful colour that is neither too cool nor too warm and became my go-to white balance mode when working outdoors. The JPEG reproduction is good too. Colour rendition is excellent, sharpening isn’t too aggressive and users can dial back high ISO noise reduction to create a less processed look than the default ‘Normal’ setting applies.

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CAMERA TEST

Lab results

Verdict

Andrew Sydenham’s lab tests reveal just how the camera performs

Our cameras and lenses are tested using the industrystandard Image Engineering IQ-Analyser software. Visit www.image-engineering.de for more details The D780 plays a similar role to the Nikon Z 6 in the way it’s out to attract serious amateurs, enthusiasts, semi-pros and professionals who don’t require the same high-resolution output as Nikon’s D850 and Z 7 models that both boast a 45.7MP sensor. Testing conﬁrms the D780’s sensor behaves identically to the Nikon Z 6 and with virtually untraceable noise up to ISO 1600, while users will ﬁnd they can push high into the ISO range when challenged in low light.

Resolution The D780’s sensor puts in a comparable performance to the Nikon Z 6, with its 24.5MP sensor resolving a level of detail that we’d expect to see from a chip that has an optical low-pass filter to reduce the effects of moiré. At ISO 100, the sensor resolves 3200l/ph, which RAW ISO 100

drops to 3000l/ph at ISO 800. The sensor manages to resolve 2800l/ph at ISO 6400, with 2700l/ph being recorded at ISO 12,800 and 2600l/ph at ISO 25,600. Pushing higher sees 2400l/ph being resolved at ISO 51,200. The extended ISO settings should be avoided. RAW ISO 3200

RAW ISO 25,600

RAW ISO 204,800

Here we show details from our resolution chart test pattern (above). Multiply the number beneath the lines by 200 to give the resolution in lines per picture height (l/ph).

Noise The D780 delivers an extremely impressive noise performance that will satisfy those who find themselves asking a lot of the sensor in demanding shooting environments. Images are noise-free between ISO 100-400, with impressively clean results recorded up to ISO 1600. Noise can be observed in images at ISO 3200 and ISO 6400, but with a touch of noise reduction applied to files during post processing, both settings are very usable. If you’re prepared to apply slightly more noise reduction, acceptable results The crops shown below are taken can also be achieved at ISO 12,800 and ISO 25,600. Push higher and you’ll from the area outlined above in red observe increased noise has a much more severe effect on fine detail. RAW ISO 100

RAW ISO 800

RAW ISO 6400

RAW ISO 25,600

RAW ISO 102,400

RAW ISO 204,800

Testbench

GOLD NIKON’S D700-series has been a staple part of the full-frame DSLR market for more than a decade. The D780 may have arrived a bit late for those who’ve already moved to Nikon’s excellent Z-series, or other full-frame mirrorless systems, but this doesn’t take anything away from what is a sensational camera that’s built to a professional standard and is a sheer delight to use. It will provide top-level service to photographers who aren’t fully enamoured by the thought of switching to mirrorless, especially those who want to continue using their F-mount lenses and still swear by using an optical viewfinder. Merging two AF systems into one camera to improve the live view performance has been superbly executed. Saying that, it does take time to familiarise yourself with the pros and cons of both. Sports and action photographers get reliable AF tracking via the viewfinder, supported by wider AF coverage in live view and super responsive eye-detection AF. Introducing 4K video, advanced movie functionality, touchscreen control, in-camera charging, a larger buffer, better connectivity and refining the button layout has ultimately turned Nikon’s versatile all-rounder into an even better one. The absence of a pop-up flash, joystick and ability to add a battery grip will frustrate a few, but all things considered, there’s a lot more to like than there is to find fault with. People who demand dual card slots and long battery life will find they’re better served by the D780 than the Z 6. With the Z 6 costing £1,599 (body only) and being smaller, lighter and offering IBIS, it does make the D780 feel rather expensive by comparison. Nikon has made it clear that its outlook is all about giving customers choice over which route they’d like to take. For those who aren’t yet ready to convert to mirrorless, the D780 keeps the flag flying high for DSLRs and a mighty fine example it is too.

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9/10 9/10 10/10 9/10 10/10 10/10 9/10 9/10 47

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USED CAMERAS

Testbench

SECOND-HAND HALL OF FAME

LeicaM9 We take a look back at Leica’s fullframe digital rangefinder from 2009

he M9 wasn’t the first digital Leica rangefinder – that honour went to the M8, which arrived three years prior to the M9’s release. Whereas the M8 had a cropped sensor, the M9 was the first full-frame digital camera for Leica M-mount users. The M9’s18.5-million-pixel Kodak CCD sensor wasn’t without fault though. In 2014 Leica acknowledged a sensor corrosion issue, identified by unusual spots on images with white halos around them, triggering a sensor replacement program to fix the problem. The sensor’s native sensitivity spans ISO160-2500, it has a small 2.5in, 230k-pixel LCD screen at the rear and it features two exposure modes: fully manual, with under/overexposure indicated in the viewfinder; and aperture priority. Being manual focus only, it’s compatible with all M-mount lenses manufactured since1954 and like all rangefinders the finder is effectively just a window that offers, in the case of the M9, the approximate field of view of a 28mm lens. At focal lengths between 28mm and135mm the frame coverage is indicated by ‘brightlines’ and lenses wider than 28mm must be used with accessory finders.

What we said

●‘In some ways the entire camera represents a collection of photographic anachronisms’ ● ‘The M9 has faults, not least a sluggish processor and a dust-prone sensor’ ● ‘The M9 feels like both a “proper” Leica and a “proper” digital camera at the same time’ ● ‘Its metering system is basic but effective, and AWB is capable in most environments’ ●‘The shutter is louder than that of previous M-series cameras’

Physically, the M9 is very similar to the M8.2 and shares the same legacy styling The M9’s electronically controlled shutter supports a maximum flash sync speed of 1/180sec

GOLD

What to pay

MPB stocks a good selection of used Leica cameras, including Leica S Series and Leica T Series bodies. As with all used cameras, the price you can expect to pay for a second-hand M9 varies. An example deemed to be in excellent condition with a replaced sensor and only the lightest signs of cosmetic wear will cost in the region of £1,979, whereas a well-used example with a few scuffs can be picked up for around £1,334.

How it fares today New alternatives

The Leica M9 is starting to show its age, especially when you compare its specs to modern rangeﬁnders. Its maximum frame rate of 2fps, 230k-dot LCD screen, and obvious noise at ISO 640 and above might put some people off, but when you nail the focus and use it between ISO 100-400, the image quality produced by the M9 is exquisite. The battery lasts for around 350 shots per charge, but with no in-camera charging it’s a good idea to buy a spare.

Leica has released no fewer than 13 digital rangeﬁnders since the M9. The Leica M10 arrived in 2017 and featured identical dimensions to the Leica M series ﬁlm cameras. The Leica M10-P, launched in 2018, has a 24MP sensor like the M10, but has a quieter shutter, touchscreen and electronic level function. The latest model is the Leica M10 Monochrom. It’s physically similar to the M10/M10-P and has a 40MP sensor that delivers stunning black & white images.

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The 2.5in, 230k-dot screen at the rear is considered small by today’s standards

At a glance

For and against

£989-£2079 body only (via MPB.com)

+ Superb build quality + Produces exquisite images at low ISO + Displays viewfinder brightlines

● 18.5MP full-frame CCD sensor ● ISO 160-2500 (expandable to ISO 80) ● 2.5in, 230,000-pixel LCD screen ● 2fps continuous shooting ● 589g

(28-135mm)

+ Compatible with all M-mount lenses

- Original suffered from sensor corrosion issue - Wideangle lenses require an accessory finder - Sluggish processor

USED CAMERAS Jason Paul Roberts

What the owners think

The Leica M9 is simple and intuitive to use. I can quickly make adjustments without having to look at the camera. It’s quite tricky to explain, but the camera almost becomes an extension of my hand. This has affected my shooting style, resulting in my photographs becoming much more fluid and loose. Coupled with Leica lenses, the M9 produces remarkably high-quality images and I find the sensor outputs files with an almost ‘Kodachrome film’ look to them. Over the years I’ve found the M9’s images convert beautifully to black & white; even the noise at high ISOs resembles film grain more so than CMOS sensor noise. However, like most cameras with CCD sensors, the M9 does not perform well at high ISOs. I try not to shoot above ISO 640 unless I know I am going to convert to black & white. Also, the buffer is quite slow and the battery life is fairly short. A few faults aside, the Leica M9 is my favourite digital camera system, and still to this day it’s my daily shooter. ©JASON PAUL ROBERTS

Three Leica M9 users give their verdicts

An evening tour guide walks in front of the Ohel Jakob synagogue in Munich, Germany Leica M9, Leica 28mm f/2.8 Elmarit-M ASPH, 1/8sec at f/4, ISO 1600

Steve Fleming

For and against

+ Compact and robust

– Battery life

+ Reliable and predictable + Lightweight, discreet and unobtrusive

– Increased image noise above ISO 640 – Rear screen is too small

Great Wall of China at Jinshanling Leica M9, Leica 16-18-21mm f/4 Tri-Elmar-M, 1/180sec at f/5.7, ISO 160

The introduction of the M9 was an invitation for me to rejoin the Leica ranks. I really wanted a camera capable of accompanying me on my travels that was compact and robust. The M9 system fitted the bill with small, fast, sharp lenses. Transitioning from film to digital was a smooth process; the rangefinder, bright viewfinder and focusing square were all familiar. I soon learnt, just as with film, it was a camera that rewarded the photographer who could get it right at the time in camera. The sensor was replaced under the Leica scheme and effectively it felt like a new camera on return. It’s a true classic and is still capable of great results in the right hands.

For and against

You can’t buy iconic new. The Leica M9 earned its status as a true icon. Find your icon at MPB. 50

www.mpb.com

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Testbench

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Raven and Mark from the band The Clearwings pose on a hill in Denver, Colorado Leica M9, Zeiss 21mm f/2.8 Biogon-ZM T*, 1/125sec at f/16, ISO 160

Martin Norton

The M9 has been Martin’s go-to camera for black & white photography for many years Leica M9, Jupiter-8 50mm f/2, 1/250sec at f/2.8, ISO 320

For and against

+ Wonderful mono results

Ð Expensive

I’ve had a great many cameras over the years, but the M9 is the only one that has made me want to own it again once I’ve sold it on to pay for another camera. It’s not just the experience of using a rangefinder, in that it slows you down and makes you more responsible for your work, it’s the fact the sensor gives such wonderful results. It has been my go-to camera for fine art through to street photography. I’ve found that I barely need to touch the files in Capture One and I love shooting portraits with it. It’s not without faults; it’s expensive and you have to be wary about the first-generation sensors or be prepared for a hefty repair bill. It’s a camera I can’t seem to live without.

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Testbench

Two-tier design

ACCESSORIES

VariDesk Pro Plus 36

The raised rear shelf is 36in wide – ample for two 24in monitors side by side. But you can also fix the monitors to a vari-angle arm that attaches to the back.

Nigel Atherton tries out a desk accessory that’s good for your health ● £365 ● vari.com

IF YOUR workflow involves a lot of editing on the computer, or if you’re one of those for whom the digital darkroom is where all the magic takes place, then the chances are you spend a lot of time sitting down. Probably on a non-orthopaedic office chair. Too much sitting, we are now constantly being told, is a Bad Thing, and can cause lower back pain, as I have discovered from experience. So when the opportunity came to try one of the new generation of standing desks, I decided to do my health a favour and give it a go. The VariDesk Pro Plus 36 sits on top of your regular desk and comprises a two-tier design, with a low front shelf for your keyboard and mouse, and a raised one behind it for your monitor. If you prefer, you can fix up to two monitors to an optional vari-angle arm that attaches to the back of the rear shelf, keeping the surface clear. In its lowered position the front shelf sits only a couple of inches above your desk, so your working height isn’t drastically different. But pull the levers on either edge of the rear shelf and a spring-assisted mechanism allows it to be easily raised and locked into one of 11 different height settings, with little physical effort. The VariDesk is very heavy, so whatever you put it on needs to be fairly sturdy and you may need help getting it up there. But this does mean it won’t move around on its base when you adjust the height. The design is excellent. The upper shelf curves around in a C shape, providing a natural place to rest a mug on one side and a phone on the other. The lower shelf follows the contours of the top one. The keyboard sits in the middle, with a space on each side for a mouse mat, and a curved indentation at the front for that belly that you hope to lose if you use this desk for long enough. Available in black or white, the Pro Plus 36 is the most popular model from a variety of sizes and configurations. It’s 36 inches wide and I was just about able to place two 25in monitors side by side on the top shelf with my Mac Mini nestled between them.

Choice of sizes and colours

Easy height adjustment

Levers on either side of the rear shelf enable the VariDesk to be fixed at a choice of 11 heights.

The curved front shelf enables you to find a comfortable working position, with space on either side for a mouse mat.

At a glance

ALL PRICES ARE APPROXIMATE STREET PRICES

ALSO CONSIDER

● Two-tier design

Recommended

● 11 adjustable heights ● Delivered fully assembled

Verdict They say you burn 100-200 calories per hour just by standing , and there are the beneﬁts to your back, hamstrings and general posture. The great thing about the VariDesk is that you don’t have to commit to stand all the time. You can mix it up: sit for a bit, then stand for a bit. It takes seconds to adjust and wherever you position it, it’s as solid as a rock. It isn’t cheap but the health beneﬁts may be worth more to you than £365.

Curved front

VariDesks come fully assembled in a choice of sizes, styles and colours.

The VariDesk Pro Plus 36 viewed from above

If you’re a laptop user you may want to consider the much smaller and more affordable VariDesk Laptop 30. It may take its design cues from an ironing board but features similar functionality to its big brother’s and fits in a much smaller space. Side handles enable easy height adjustment and its lighter weight make it easier to move around from one location to another. It costs £150.

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Subscribe now from only

Best Buys Revisiting great kit from our test archives

Laowa Magic Shift Converter ● £299 ● www.laowalens.co.uk

THIS unique accessory is an excellent choice for architectural photographers shooting with Sony full-frame mirrorless cameras. Available in versions to accept Nikon F or Canon EF-mount lenses, it’s a 1.4x teleconverter that’s designed to work with wideangle SLR primes, converting them into E-mount optics with +/- 10mm shift. It’s particularly well matched to the Laowa 12mm f/2.8 Zero-D, which becomes a 17mm f/4 shift lens. But in principle it’ll work with any wide prime that offers manual focus and aperture control, just as long as it’s sharp into the corners and well corrected for distortion. Of course it’s a distinctly niche product, but it’s really well made and works brilliantly. Andy Westlake, originally reviewed 10 February 2018

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IF YOU frequently travel with a large amount of kit, a roller case is a great option. The Lowepro PhotoStream RL 150 features an armoured exterior and a ﬂexible interior to protect your photo gear in transit. Its streamlined design makes it carry-on compatible and it’s large enough to accommodate one or two DSLRs with a 70200mm f/2.8 attached, plus up to eight additional lenses. The extending handle can be locked at two heights, while straps on the side will hold a mediumsized tripod. It also has two carry handles, which feature thick mesh padding for comfort. The construction and materials are second to none, so it should survive many years of heavy use. Michael Topham, originally reviewed 12 May 2018

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Tech Talk

IN ASSOCIATION WITH

ex erts

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 Is there a way to monitor wildlife locations?

I’ve recently moved into a house where I’ve seen signs that perhaps some of the local wildlife has been visiting our back garden after crawling under a section of fencing. As a passionate hobbyist wildlife photographer, I’d love to know a bit more. Are there any little cameras which I might be able to set up and record the visitors? Toby Harris

How exciting to have such great potential subjects on your doorstep. There are indeed products on the market to help wildlife photographers monitor what’s visiting a location – we’d probably start by setting up a trail camera. These sturdy, waterproof devices can be afﬁxed and left outside facing a promising location, automatically triggering when motion is detected to capture either stills or footage. The Bushnell Core DS 30MP Low-Glow Trail Camera could be a good option. It’s available at £279, and features dual sensors for high-quality 30MP images or 1080P video at night or day, has a 100ft motion detection range even when it’s dark, features GPS location recording and can be powered by AA batteries. Once you know what your guest is, and when it visits, you can then plan to take photos of it with much more certainty. The Bushnell Core DS 30MP Low-Glow Trail Camera

Best camera for a motorsports photographer?

I’m a motorsports fan who’s looking to start photographing it more seriously. I’ve been using a bridge camera with mixed results, but I’m now ready to take the plunge and buy a DSLR or mirrorless with a larger sensor, along with some lenses. I know roughly the optics I’d like, but as I’m yet to buy into a system, I wondered what you’d recommend camera-wise for a body around the £2,000 mark? I’d like the option to shoot video with it, and access to a good second-hand lens selection would be nice. Jessica Stevens

With such fast subjects, motorsports can be a challenge. The main things we’d recommend looking for are sensor size, autofocus system, burst shooting speed, stabilisation and access to lenses. Physically larger sensors such as APS-C and full-frame will ensure you get good results in testing light conditions, a responsive tracking mode will keep your subjects in focus, a fast burst mode will help you grab multiple frames, while good stabilisation will ensure shake-free handheld results. Here are our three suggestions, all of which have a solid lens range to choose from.

Our experts suggest

Sony Alpha 7 III

Nikon D780

Fujifilm X-T4

At the core of the Sony A7 III is a 24.2MP backside-illuminated sensor that delivers great results under testing conditions with 14-bit raw capture. Up to 10fps burst shooting is possible with both auto exposure and autofocus tracking, while its 4D focus system features an amazing 693 phase-detection points that cover 93% of the frame. There’s 4K video shooting at 30fps with HDR recording options available and effective 5-stop inbuilt stabilisation on offer. The camera’s 2,359K-dot XGA OLED Tru-Finder faithfully depicts images with clear corner-to-corner visibility.

Nikon’s 24.5MP D780 is arguably its most well-rounded full-frame DSLR, offering plenty to help you capture professional motorsports images. There’s responsive 3D subject tracking using the camera’s 51-point TTL phase detection that has 15 of the most accurate cross-type points, as well as a hybrid contrast detect/273-point phase-detection AF system when using live view. Burst shooting speeds of up to 12fps can be selected, breakneck shutter speeds up to 1/8000sec are available, and the camera’s lens mount has access to hundreds of optics. It can also shoot 4K video at 30fps.

It may have a 26.1MP APS-C size sensor slightly smaller than the other options here but the X-T4 has some truly standout features for motorsports shooters. It touts a blisteringly quick intelligent hybrid autofocus system with a reliable tracking option and will operate in challenging light conditions down to -6EV. There’s burst shooting speeds of up to 30fps using the electronic shutter or 15fps using the mechanical one, and inbuilt stabilisation of up to 6.5stops for sharp results when used handheld. High-quality 4K video can also be captured at 60fps in 4:2:0 10-bit internally.

£1,749

£2,199

£1,549

● 10fps burst mode with tracking ● Brilliant hybrid autofocus system ● 5-axis 5-stop inbuilt stabilisation

● Fantastic 24.5-million-pixel

● Up to 30fps raw burst mode ● Intelligent Hybrid AF with tracking ● 6.5 stop sensor-based image

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full-frame sensor ● Flagship tracking capabilities ● 7fps burst mode

stabilisation 55

SPONSORED BY

Buyin Guide

721 cameras

Controls

Compact cameras

& lenses listed & rated

Our comprehensive listing of key specifications for cameras and lenses

Cameras Cameras come in three types: DSLRs with optical viewfinders, mirrorless models with electronic viewing, and compact cameras with non-interchangeable lenses

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

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.

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. Some advanced compact cameras also have built-in electronic viewfinders to complement their rear LCD screens.

AMOST 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 cameras that use electronic viewfinders. The latest models are true alternatives to DSLRs, offering the same image quality and creative options. Camera

These range from small, pocketable models to large bridge-type cameras with long zoom lenses and SLR-style designs. In this guide, we’re only including those with relatively large sensors for high image quality, raw format recording and manual controls.

manufacturers offer a range of options, from simple, relatively inexpensive beginner-friendly designs, to sophisticated professional models. In the middle of the range you’ll ﬁnd enthusiast cameras with more advanced control layouts. Meanwhile the term ‘compact’ refers to cameras with built-in lenses, regardless of their size. Many offer excellent image quality and full manual control.

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.

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NEW

ALL PRICES ARE RRPS, STREET PR CES MAY VARY

NEW

SUMMARY

SHOOTING

SCREEN

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

BATTERY LIFE (SHOTS)

ARTICULATED LCD TOUCHSCREEN

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

BURST MODE (FPS)

MIC INPUT

AF POINTS

VIDEO

MAX ISO

LENS MOUNT

RESOLUTION (MP)

Mirrorless cameras

SENSOR SIZE

BUYING GUIDE

DIMENSIONS

NAME & MODEL

RRP SCORE

Canon EOS M100

£449

Canon EOS M200

£499

Canon EOS M50

£649

Canon EOS M6 Mark II

£869

Canon EOS RP

£1400 4★

Compact and affordable but over simplified full frame camera ever

26.2 Canon RF 102,400 3840 • 4779 5 • •

Canon EOS R

£2350 4★

Canon’s first full frame mirrorless uses the EOS 5D Mark IV’s sensor

30.3 Canon RF 102,400 3840 • 5655 8 • •

Fujifilm X-A5

£549

3.5★ Budget model with tilting screen and phase detection AF

APS C 24.2

Fuji X

51,200 3840

Fujifilm X-A7

£699

3★

Sports large fully articulated LCD, but frustrating controls

APS C 24.2

Fuji X

51,200 3840 • 425 6

Fujifilm X-E3

£849

4.5★ Excellent image quality in compact body that handles well

APS C 24.3

Fuji X

51,200 3840 • 325 5 • •

•

350 121.3 73.9 42.7 337

Fujifilm X-H1

£1699 4.5★ Pro flagship with robust build and 5 axis in body stabilisation

APS C 24.3

Fuji X

51,200 4096 • 325 14 • •

• •

310 139.8 97.3 85.5 673

Fujifilm X-T100

£619

Attractively designed entry level model gives excellent image quality

APS C 24.2

Fuji X

51,200 3840

91 8 • • • 3

• •

430 121

Fujifilm X-T200

£749

Decently specified entry level model with large 3.5in touchscreen

APS C 24.2

Fuji X

51,200 3840 • 425 8 • • • 3.5

• •

270 121

83.7 55.1 370

Fujifilm X-T20

£799

5★

Small SLR style model with strong feature set including touchscreen

APS C 24.3

Fuji X

51,200 3840 • 325 8 • • • 3

• •

350 118.4 82.8 41.4 383

Fujifilm X-T30

£849

5★

Update to the X T3 with same sensor as X T3 and refined controls

APS C 26.1

Fuji X

51,200 3840 • 425 8 • • • 3

• •

380 118.4 82.8 46.8 383

Fujifilm X-Pro2

£1349 5★

High end model with unique optical/electronic hybrid viewfinder

APS C 24.3

Fuji X

51,200 1080 • 77 8 • •

Fujifilm X-Pro3

£1799 4★

Employs unusual hidden rear LCD design that polarises opinions

APS C 26.1

Fuji X

51,200 4096 • 425 20 • •

• •

370 140.5 82.8 46.1 497

Fujifilm X-T3

£1349 5★

New sensor and improved autofocus make it the best APS C camera yet APS C 26.1

Fuji X

51,200 4096 • 425 20 • •

• •

390 132.5 92.8 58.8 539

Fujifilm X-T4

£1549

Exciting update with in body stabilisation and fully articulated screen

Fuji X

51,200 4096 • 425 20 • •

• •

500 134.6 92.8 63.8 607

Leica CL

£2250 4.5★ Gorgeous APS C mirrorless model with viewfinder and touchscreen

APS C 24.2 Leica L 50,000 3840

49 10 • •

•

220 131

403

Leica TL2

£1700 4★

Update to the TL with 24MP sensor and much faster operation

APS C 24

Leica L 50,000 3840

49 20

3.7

•

250 134

399

Leica SL

£5500 4★

Leica’s full frame SLR style model has a superb 4.4m dot viewfinder

Leica L 50,000 4096

49 11 • •

•

400 147 104

847

Leica SL2

£5300 4★

Sports 47.3MP full frame sensor, in body stabilisation and 5K video

47.3 Leica L 50,000 5120 • 225 20 • •

3.2

•

370 147 107

835

Nikon Z 6

£2099 5★

Full frame mirrorless all rounder with 24MP sensor and 12fps shooting

24.5 Nikon Z 204,800 3840 • 273 12 • •

3.2

• •

330 134 100.5 67.5 675

Nikon Z 7

£3399 5★

High resolution full frame mirrorless with in body stabilisation

45.7 Nikon Z 102,400 3840 • 493 9 • •

3.2

• •

330 134 100.5 67.7 675

Nikon Z 50

£849

5★

Well specified APS C mirrorless model boasts excellent handling

20.9 Nikon Z 204,800 3840 • 209 11 • • • 3.2

• •

320 126.5 93.5

450

Olympus PEN E-PL9

£650

4★

Entry level model with built in flash and 4K video but no viewfinder

4/3

16.1 Mic4/3 25,600 3840

121 8.6

• • 3

• •

350 117.1 68

380

Olympus PEN E-PL10

£599

Near identical to the E PL9, entry level camera with no viewfinder

4/3

16.1 Mic4/3 25,600 3840

121 8.6

• • 3

• •

350 117.1 68

380

Olympus OM-D E-M10 II £549 4.5★ Mid range model has a strong feature set and performs very well

4/3

16.1 Mic4/3 25,600 1080

81 8.5 • • • 3

• •

320 119.5 83.1 46.7 342

Olympus OM-D E-M10 III £699 4.5★ Excellent mid range camera with simplified, easy to use interface

4/3

16.1 Mic4/3 25,600 3840

121 8.6 • • • 3

• •

330 121.5 83.6 49.5 410

Olympus OM-D E-M5 II

4/3

Mic4/3 25,600 1080 • 81 10 • •

•

750 123.7 85

4/3

20.4 Mic4/3 25,600 4096 • 121 10 • •

• •

310 125.3 85.2 49.7 414

£900

3★

Lightweight model for beginners, but overly simplistic

APS C 24.2 Canon M 25,600 1080

49 6.1

• • 3

• •

295 108.2 67.1 35.1 302

Basic entry level viewfinderless model gains 4K video recording

APS C 24.1 Canon M 25,600 3840

143 6.1

• • 3

• •

315 108.2 67.1 35.1 299

4.5★ Very likeable and well specified entry level model with viewfinder

APS C 24.2 Canon M 51,200 3840 • 143 10 • • • 3

• •

235 116.3 88.1 58.7 387

4★

APS C 32.5 Canon M 51,200 3840 • 143 14

• •

305 119.6 70

49.2 398

• •

250 132.5 85

3.2

• •

350 135.8 98.3 84.4 660

• • 3

• •

440 119

67.7 41.1 320

• • 3.5

• •

270 119

67.7 41.1 320

4★

5★

Sports 32.5MP sensor and 14fps shooting, uses removable viewfinder

Combines great handling and image quality with stylish looks

Olympus OM-D E-M5 III £1100 5★ Places the sensor and AF of the E-M1 II in a smaller, lightweight body

APS C 26.1

91 6

• • 3

•

485

47.4 448

250 140.5 82.8 45.9 495

44.5 469

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.

Mirrorless cameras at competitive low ark Cameras in store or online. r of our expert team for free impartial nd the perfect camera for your needs. Keep up to date with us on:

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NEW

NAME & MODEL

RRP SCORE

Olympus PEN-F

£1000 5★

20.3 Mic4/3 25,600 1080

Olympus OM-D E-M1 II £1850 5★ Superb AF system, super fast shooting and remarkable in body IS

4/3

20.4 Mic4/3 25,600 3840 • 121 60 • •

Olympus OM-D E-M1 III £1600

Gains AF joystick and advanced features from E M1X

4/3

Olympus OM-D E-M1X

£2800 4.5★ Pro spec high speed model with built in vertical grip

Panasonic Lumix G9

SCREEN

WEIGHT (G)

DEPTH (MM)

DIMENSIONS

• •

330 124.8 72.1 37.3 427

• •

440 134.1 90.9 68.9 574

20.4 Mic4/3 25,600 4096 • 121 60 • •

• •

420 134.1 90.9 68.9 580

4/3

20.4 Mic4/3 25,600 4096 • 121 60 • •

• • 2580 144.4 146.8 75.4 997

£1499 4.5★ High speed, rugged photo centric flagship camera with in body IS

4/3

20.3 Mic4/3 25,600 3840 • 225 9 • •

• •

890 136.9 97.3 91.6 658

Panasonic Lumix G80

£699

4.5★ SLR style model for enthusiasts with in body IS and 4K video

4/3

Mic4/3 25,600 3840 • 49 9 • • • 3

• •

330 128.4 89

Panasonic Lumix G90

£899

4.5★ Versatile SLR shaped stills/video hybrid with 4K video and in body IS

4/3

20.3 Mic4/3 25,600 3840 • 49 9 • • • 3

• •

290 130.4 93.5 77.4 533

Tiny easy to use pocket camera with tilting screen and 4K video

4/3

• • 3

• •

210 106.5 64.6 33.3 270

Compact body with tilting screen and viewfinder, and 5 axis stabilisation

4/3

20.3 Mic4/3 25,600 3840

49 9 • • • 3

• •

900 124

4/3

20.2 Mic4/3 25,600 4096 • 225 12 • •

3.2

• •

410 138.5 98.1 87.4 725

4/3

10.2 Mic4/3 204,800 4096 • 225 11 • •

3.2

• •

410 138.5 98.1 87.4 660

Panasonic Lumix GX9

£699

Panasonic Lumix GH5

£1299 4.5★ Video focused high end model with in body stabilisation and 4K video

4★

Panasonic Lumix GH5S £2199

Professional video version of GH5 with 10.2MP multi aspect sensor

Mic4/3 25,600 3840

81 10 • • • 3

HEIGHT (MM)

WIDTH (MM)

BATTERY LIFE (SHOTS)

ARTICULATED LCD TOUCHSCREEN

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

SHOOTING 4/3

Panasonic Lumix GX880 £400

Lovely retro rangefinder styled body with built in viewfinder

BURST MODE (FPS)

MIC INPUT

SUMMARY

AF POINTS

VIDEO

MAX ISO

LENS MOUNT

RESOLUTION (MP)

Mirrorless cameras

SENSOR SIZE

SPONSORED BY

49 5.8

74.3 505

72.1 46.8 450

Panasonic Lumix S1

£2199 4.5★ 24MP full frame mirrorless with exceptional viewfinder

24.2 Leica L 204,800 3840 • 225 9 • •

3.2

• •

380 148.9 110

Panasonic Lumix S1H

£3600

24.2 Leica L 204,800 4096 • 225 9 • •

3.2

• •

380 151 114.2 110.4 1164

Panasonic Lumix S1R

£3399 4.5★ High resolution full frame mirrorless with in body stabilisation

47.3 Leica L 51,200 3840 • 229 9 • •

3.2

• •

360 148.9 110

Sigma fp

£1999 4★

Smallest full frame mirrorless, but compromised features and handling

24.6 Leica L 102,400 3840 • 49 18

3.2

•

Sony Alpha 5100

£549

4★

One of the very best entry level cameras for video and image quality

Sony Alpha 6000

£670

4.5★ A fine camera for its time, but now very much showing its age

Sony Alpha 6100

£830

Sony Alpha 6300

Specialist full frame mirrorless model designed for pro level video

179 6

• • 3

APS C 24

Sony E 25,600 1080

179 11 • • • 3

TBC 112.6 69.9 45.3 422 400 110

283

•

310 120

344

APS C 24.2 Sony E 51,200 3840 • 425 11 • • • 3

• •

380 120

66.9 59.4 396

£1000 4.5★ Improved version of A6000 with faster AF tracking and 4K video

APS C 24.2 Sony E 51,200 3840 • 425 11 • • • 3

•

350 120

66.9 48.8 404

Sony Alpha 6400

£1000 4★

Extraordinary new autofocus system, but in an outdated body design

APS C 24.2 Sony E 102,400 3840 • 425 11 • • • 3

• •

360 120

66.9 49.9 403

Sony Alpha 6500

£1500 5★

Technically hugely accomplished, with in body image stabilisation

APS C 24.2 Sony E 51,200 3840 • 425 11 • • • 3

• •

350 120

66.9 53.3 453

Sony Alpha 6600

£1450 4★

Updated A6500 with real time subject tracking autofocus

APS C 24.2 Sony E 102,400 3840 • 425 11 • • • 3

• •

720 120

66.9

503

Sony Alpha 7

£1300 4.5★ One of the lightest, smallest full frame cameras

24.3 Sony E 25,600 1080 • 117 5 • •

•

340 127

474

Sony Alpha 7 II

£1498 5★

The full frame Alpha 7 II includes in body image stabilisation

24.3 Sony E 25,600 1080 • 117 5 • •

•

350 126.9 95.7 59.7 556

Sony Alpha 7 III

£1999 5★

Remarkable all rounder with 10fps shooting and 4K video recording

24.2 Sony E 204,800 3840 • 693 10 • •

• •

610 126.9 95.6 73.7 650

Sony Alpha 7R II

£2599 5★

A big step up from the A7R; one of the best full frame cameras available

42.4 Sony E 102,400 3840 • 399 5 • •

•

290 126.9 95.7 60.3 625

Sony Alpha 7R III

£3200 5★

Same sensor as A7R II, but faster and with improved body design

42.4 Sony E 102,400 3840 • 399 10 • •

• •

650 126.9 95.6 73.7 657

Sony Alpha 7R IV

£3500 5★

Superb high resolution, full frame mirrorless with new 61MP sensor

61.0 Sony E 102,400 3840 • 567 10 • •

• •

670 128.9 96.4 77.5 665

Sony Alpha 7S

£2259 4★

Remarkable low light and video capabilities

12.2 Sony E 409,600 1080 • 25 5 • •

•

380 126.9 94.4 48.2 489

Sony Alpha 7S II

£2500 5★

A specialist camera for low light shooting and 4K video

12.2 Sony E 409,600 3840 • 169 5 • •

•

310 126.9 95.7 60.3 627

Sony Alpha 9

£4500 5★

Super fast 20fps shooting and stunning overall performance

24.2 Sony E 204,800 3840 • 693 20 • •

• •

650 126.9 95.6

Sony Alpha 9 II

£4800

A9 gains additional connectivity options and updated body design

24.2 Sony E 204,800 3840 • 693 20 • •

• •

500 128.9 96.4 77.5 678

NEW & COMING SOON!

Sony E 25,600 1080

96.7 898

• •

Update to the A6000 with Sony’s latest AF technology and 4K video

APS C 24

96.7 899

Fujiﬁlm X-T4

Olympus E-M1 Mark III SPREAD THE COST WITH OUR FINANCE OPTIONS Learn more in store or online!

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NEW

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★

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

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★ Fine upper entry level DSLR with sophisticated 45 point autofocus

APS C 24.2 Canon EF 25,600 1080

• 45 6 95 • • 3

• •

600 131

Canon EOS 850D

£820

APS C 24.1 Canon EF 51,200 3840

• 45 7 95 • • 3

• •

800 131

102.6 76.2 515

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

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

Canon EOS-1D X Mk III

£6499

Super fast pro model for sports and action photographers

Nikon D3400

£399

4★

Nikon D3500

£499

4★

Nikon D5300

Replaces both EOS 800D and EOS 77D, adding 4K video recording

Canon EF 12,800 1080

• 3

650 122.4 92.6 69.8 453

76.2 532

76.2 540

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

20.1 Canon EF 819,200 5496

• 191 16 100 •

3.2

167.6 82.6 1440

Entry level DSLR that includes Bluetooth smartphone connectivity

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 D780

£2199 5★

Superb all rounder blends the best of DSLR and mirrorless technology

24.5

Nikon F 204,800 3840

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 D6

£6299

Latest pro level high speed sports camera boasts new AF system

20.8

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 7 100 •

890

72.5 720

115

860

113

850

1,230 140.5 113

840

3.2 • • 2,060 143.5 115.5 76

840

• 3.2 •

900 141

1,400 143.5 110

66.5 765

1,200 146

123

• 153 7 100 •

3.2 • • 1,840 146

124

78.5 1005

Nikon F 3,280,000 3840

• 153 14 100

3.2 • • 3,780 160

158.5 92

1405

Nikon F 3,280,000 3840

• 105 14 100 •

3.2

163

1450

410 125.5 93

688

51,200 1080

11 6 100 • • 3 • 27 8.3 100

APS C 24.3 Pentax K 819,200 1080

• 27 7 100 • • 3

• 2,850 158

3.2 • • 1,240 147

APS C 24.3 Pentax K 51,200 1080

•

110.5 74.8 765

Pentax K 819,200 1080

• 33 4.4 100 •

• 3,580 160 •

3.2

980

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

N/A 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

N/A 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

f Digital SLRs at competitive low prices, Cameras in store or online. r of our expert team for free impartial nd the perfect camera for your needs. Keep up to date with us on:

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SUMMARY

RRP SCORE

Canon G1 X Mark III

£1149 5★

Canon G3 X

£799

3.5★ Long zoom range, but let down by slow shooting and no built in EVF

1in

Canon G5 X

£599

5★

Useful large aperture f/1.8 2.8 zoom in a well designed SLR like body

Canon G5 X Mark II

£849

4★

Handles well and gives great image quality, but sluggish AF in low light

Canon G7 X Mark II

£549

4.5★ Pocketable body that handles well, with really useful zoom range

Canon G7 X Mark III

£699

4★

Canon G9 X Mark II

£449

4★

Fujifilm XF10

£449

3.5★ Small, attractive APS C compact, slightly let down by sluggish AF

Fujifilm X100F

£1249 5★

Fujifilm X100V

APS C 24.2

SCREEN

9 • • • 3in

WEIGHT (G)

DEPTH (MM)

HEIGHT (MM)

WIDTH (MM)

BATTERY LIFE (SHOTS)

ARTICULATED LCD TOUCHSCREEN

SCREEN SIZE (IN)

FLASH

BUILT-IN WI-FI

VIEWFINDER

SHOOTING

NAME & MODEL

Rewrites the rule book by fitting an APS C sensor in a compact body

BURST MODE (FPS)

MIC INPUT

VIDEO

MAX ISO

LENS RANGE (MM EQUIV)

RESOLUTION (MP)

Compact cameras

SENSOR SIZE

SPONSORED BY

DIMENSIONS

24 72

25,600 1080

• •

20.2

24 600

12,800 1080 • 5.9

1in

20.2

24 100

12,800 1080

5.9 • • • 3in

• •

210 112.4 76.4 44.2 377

1in

20.2

24 120

25,600 3840

30 • • • 3in

• •

230 110.9 60.9

340

1in

20.1

24 100

12,800 1080

• • 3in

• •

265 105.5 60.9

319

Lovely pocket camera that includes 4K video and YouTube live streaming

1in

20.1

24 100

25,600 3840 • 30

• • 3in

• •

265 105.5 60.9 41.4 304

Slim, stylish, pocketable camera gives great image quality

1in

20.2

28 84

12,800 1080

8.2

• • 3in

•

235

• • 3in

•

330 112.5 64.4

• • 3.2in • •

200 115

77.9 51.4 399

300 123.3 76.5 105.3 733

57.9 30.8 206

APS C 24.2

51,200 3840 •

Beautifully designed premium compact gives fantastic image quality

APS C 24.2

51,200 1080 •

8 • • • 3in

£1999

Replaces the X100F with new lens, tilting screen and weather-sealing

APS C 26.1

51,200 3840 • 20 • • • 3in

Leica C-Lux

£875

Customised, re badged version of the Panasonic TZ200

1in

20.1

24 360

25,000 3840

Leica D-Lux 7

£1075

Customised, re badged version of the Panasonic LX100 II

4/3

24 75

25,000 3840

Leica V-Lux 5

£1049

Customised, re badged version of the Panasonic FZ1000 II

1in

20.1

25 400

Leica Q

£3500 5★

Stunning full frame compact boasts optically stabilised f/1.8 lens

24.2

50,000 1080

10 • •

3in

•

N/A 130

640

Leica Q-P

£3600

Cosmetically redesigned, understated version of the Leica Q

24.2

50,000 1080

10 • •

3in

•

N/A 130

640

Leica Q2

£4250

Update to the Q with high resolution sensor and weather sealed body

47.3

50,000 4096

20 • •

3in

•

350 130

91.9 718

Panasonic FZ1000

£749

4★

Bridge camera with decent zoom range, but lacks touchscreen control

1in

20.1

25 400

25,600 3840 • 12 • • • 3in

•

360 136.8 98.5 130.7 831

Panasonic FZ1000 II

£700

4★

Updates FZ1000 with higher resolution, touch sensitive screen

1in

20.1

25 400

25,600 3840 • 12 • • • 3in

• •

440 136.2 97.2 131.5 810

Panasonic FZ2000

£600

4.5★ Sophisticated bridge camera with strong focus on 4K video

1in

20.1

24 480

25,600 3840 • 12 • • • 3in

• •

350 137.6 101.9 134.7 966

Panasonic LX15

£370

4.5★ Likeable advanced compact with ultra fast f/1.4 2.8 zoom lens

1in

20.1

24 72

25,600 3840

• •

260 105.5 60

310

Panasonic LX100

£400

5★

4/3

12.8

24 75

25,600 3840

11 • •

3in

300 114.8 62

393

Panasonic LX100 II

£600

4.5★ Fine camera with Four Thirds sensor, fast lens and analogue controls

4/3

24 75

25,600 3840

11 • •

3in

•

340 115

Panasonic TZ100

£350

4.5★ Long zoom lens in pocket sized body makes for a fine travel camera

1in

20.1

25 250

25,600 3840

10 • • • 3in

•

300 110.5 64.5 44.3 312

Panasonic TZ200

£500

4.5★ Huge zoom range for a pocket camera, but telephoto images lack detail

1in

20.1

24 360

25,600 3840

10 • • • 3in

•

370 111.2 66.4 45.2 340

Ricoh GR II

£549

APS C 16.2

25,600 1920

• • 3in

Ricoh GR III

£799

4★

Slimline, lightweight advanced compact with in body image stabilisation APS C 24.2

102,400 1920

•

Sigma dp0 Quattro

£899

3.5★ One of four cameras with the same body design but different lenses

Sigma dp1 Quattro

£899

Sigma dp2 Quattro

£899

Sigma dp3 Quattro

£899

The Foveon sensor is excellent at low ISO but poor above ISO 800

Sony RX0

£580

Tiny oblong bodied camera is shockproof, waterproof and crushproof

1in

Sony RX0 II

£730

Updated RX0 with tilting screen and internal 4K video recording

Sony RX1R II

£3450 5★

Sony RX10

£829

Sony RX10 II

Engaging camera, but rather low resolution by current standards

Fine pocket camera, but showing its age in terms of specifications

279

390 125.5 74.8 52.4 469 • •

420 128

74.8 53.3 478

10 • • • 3in

•

370 113

340

11 • •

3in

•

340 118

392

25,000 3840 • 12 • • • 3in

• •

• • 3in

440 136.7 97.2 131.5 812

320 117

3in

•

66.2 64.2 392

62.8 34.7 251

200 109.4 61.9 33.2 257

APS C 19.5

6,400

3.5

3in

200 161.4 67

126 550

APS C 19.5

6,400

3.5

3in

200 161.4 67

87.1 475

APS C 19.5

6,400

3.5

3in

200 161.4 67

81.6 460

APS C 19.5

6,400

3.5

3in

200 161.4 67

101.8 515

15.3

12,800 1920 • 16

•

1.5in

240

40.5 29.8 110

1in

15.3

12,800 3840 • 16

•

1.5in •

240

40.5

132

Fabulous full frame compact with f/2 lens and pop up viewfinder

42.4

102,400 1920 •

3in

•

220 113.3 65.4

507

Excellent bridge camera with constant f/2.8 zoom lens

1in

20.2

24 200

12,800 1920 • 10 • • • 3in

•

420 129

88.1 102.2 813

£1200 5★

Stacked CMOS sensor enables faster shooting and 4K video

1in

20.2

24 200

12,800 3840 • 14 • • • 3in

•

400 129

88.1 102.2 813

Sony RX10 III

£1400 5★

Much longer zoom than previous RX10 models, but also much larger

1in

20.1

24 600

12,800 3840 • 14 • • • 3in

•

420 132.5 94

144 1095

Sony RX10 IV

£1800 5★

Update to RX10 III with vastly improved shooting speed and autofocus

1in

20.1

24 600

12,800 3840 • 24 • • • 3in

• •

400 132.5 94

144 1095

Sony RX100

£399

5★

The original 1in sensor compact now looks outdated in terms of features

1in

20.2

28 100

12,800 1920

• 3in

•

330 101.6 58.1 35.9 240

Sony RX100 III

£810

5★

Features fast f/1.8 2.8 zoom lens and pop up electronic viewfinder

1in

20.1

24 70

12,800 1920

10 • • • 3in

•

320 101.6 58.1

290

Sony RX100 IV

£896

4.5★ Improves on III with higher resolution EVF, faster shooting and 4K video

1in

20.1

24 70

12,800 3840

16 • • • 3in

•

280 101.6 58.1

298

Sony RX100 V

£900

4.5★ Includes super fast 24fps shooting and slow motion video up to 960fps

1in

20.1

24 70

12,800 3840

24 • • • 3in

•

220 101.6 58.1

299

Sony RX100 VI

£980

4.5★ Fantastic pocket travel camera with 24 200mm equivalent f/2.8 4 lens

1in

20.1

24 200

12,800 3840

24 • • • 3in

• •

240 101.6 58.1 42.8 301

Sony RX100 VII

£1200 4.5★ Gains Sony’s latest AI-based autofocus tech, including real-time eye AF

1in

20.1

24-200

12,800 3840

20 • • • 3in

• •

260 101.6 58.1 42.8 302

Oddly shaped body, but logical control layout and clear user interface 3.5★ Sports an excellent lens designed specifically for the Foveon sensor

5★

NEW & COMING SOON!

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NEW & COMING SOON!

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Canon EOS 850D

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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.

OUR GUIDE TO THE SUFFIXES USED BY LENS MANUFACTURERS

RRP SCORE

SUMMARY

MOUNT

WEIGHT (G)

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 Weather Resistant Nikon’s lenses for mirrorless cameras

LENGTH (MM)

SONY ALPHA

DSLR Lenses LENS

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

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 Tamron Piezo Drive focus motor Canon full frame mirrorless lenses Nikon’s premium lenses for mirrorless Sony Smooth Autofocus Motor Pentax’s Sonic Direct Drive Motor Pentax Super Multi Coating

DIAMETER (MM)

LM MP-E OIS OS PC-E PF PZD RF S SAM SDM SMC

FILTER THREAD (MM)

Extra low Dispersion elements Canon’s lenses for full frame DSLRs Canon’s lenses for APS C DSLRs Canon’s lenses for APS C mirrorless Sigma’s ‘Excellent’ range Pentax full frame lenses Sony lenses for full frame mirrorless Nikon lenses without an aperture ring Sigma’s Hypersonic Motor Canon’s Image Stabilised lenses Canon’s ‘Luxury’ range of high-end lenses Low-Dispersion glass

MIN FOCUS (CM)

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

SIGMA FULL FRAME

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 Canon’s Defocus Smoothing technology Nikon lenses with electronic apertures Sony lenses for APS-C mirrorless

PENTAX

DC DG Di Di-II Di-III DN DO DT DX DS 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 Pentax all weather lenses SamyanglensesforAPS Ccroppedsensors Nikon lenses that communicate distance info PentaxlensesoptimisedforAPS C sizedsensors Nikon defocus-control portrait lenses

CANON FOUR THIRDS

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

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

• • • • • • • • • • • • • • • •

• • • • • • • •

•

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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TRADE-IN OR SELL YOUR KIT WITH PARK CAMERAS FAIR HONEST QUOTES: provided within 24 hours or instantly in store FREE COLLECTION SERVICE: See website to learn more TRADE-IN BONUSES: available on a wide range of products

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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 NEW D-FA 70-210mm F4 ED SDM WR 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 £1199 £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 Fast telephoto zoom in Pentax’s high-performance Star (*) series developed for best image rendition Compact telephoto zoom with constant f/4 maximum aperture and weather-resistant construction 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 95 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 67 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 78.5 175 819 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

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

417 731 580 500 791 485 552 583 520 680 680 660 575 485 513 720 830

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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 April 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

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• • • • • • • • • • • • • • • •

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 NEW RF 24-105mm F4-7.1 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 £460 £800 4★ £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 Designed to be an ultra-compact and lightweight kit zoom, with an unusual ‘Centre Focus Macro’ option Very respectable all-in-one travel zoom with fast AF and effective IS that’s well-matched to 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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15 25 25 25 15 9.7 23 100 28 38 45 34 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 67 76.6 88.8 395 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

25 24 18 13 15 17 30 60 35 18 45 18 28 22 60 28 35 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 43 46 72 58 62 62 62 39 62 62 77

FUJIFILM MIRRORLESS

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

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 NEW XC 35mm f/2 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 £169 £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 4.5★ Good-quality weather-sealed, constant maximum aperture zoom with a 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 Simplified version of the 35mm f/2, with plastic construction and no weather-sealing or aperture ring 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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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 58.4 46.5 130 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

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 Lightweight fisheye lens for Micro Four Thirds offering a circular image with a 210° angle of view £499 4.5★ Tiny but sharp wideangle prime for Micro Four Thirds featuring manual focus and aperture control TBC Small, lightweight manual focus wideangle for Micro Four Thirds, with 24mm equivalent view £189 Inexpensive compact prime for Micro Four Thirds cameras with manual focus and aperture operation £499 Compact manual-focus prime for APS-C mirrorless cameras promises very low distortion £899 The world’s widest zoom for full-frame Sony mirrorless, with manual focus and aperture control £899 4.5★ Manual-focus fast ultra-wideangle prime for full-frame Sony cameras, with minimal distortion

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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

s nothing without a lens attached! where you’ll ﬁnd hundreds of lenses range of uses, for a variety of budgets.

ujiﬁlm • Nikon • Olympus Pentax • Samyang • Sigma mron • Voigtlander • Zeiss 68

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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

SPONSORED BY

DIMENSIONS

LEICA MIRRORLESS 11-23mm f/3.5-4.5 TL

£1450

Wideangle zoom lens for Leica’s APS-C mirrorless system

•

368

18-56mm f/3.5-5.6 Vario-Elmar TL

£1280

Relatively large, non-retractable zoom for APS-C mirrorless

•

63.5

256

18mm f/2.8 Elmarit TL

£1020

Slimline, extremely lightweight pancake prime with fast autofocus

•

23mm f/2 Summicron TL

£1410

Compact, lightweight fast prime that offers a classic 35mm equivalent view on Leica’s APS-C CSCs

•

63.5

38.1 153

35mm f/1.4 Summilux TL

£1830

High-end fast prime designed to give exceptional image quality

•

55-135mm f/3.5-4.5 APO-Vario-Elmar-TL

£1450

Telephoto zoom that eschews image stabilisation in a bid for maximal optical quality

•

100 60

110 500

60mm f/2.8 APO-Macro-Elmarit TL

£1920

Macro lens for Leica’s APS-C mirrorless cameras offers 1:1 life-size magnification

•

320

135

428

NIKON MIRRORLESS 16-50mm f/3.5-6.3 VR Nikkor-Z DX

£329

Extremely compact and lightweight retractable kit zoom for Nikon’s DX-format mirrorless

•

50-250mm f/4.5-6.3 VR Nikkor-Z DX

£379

Entry-level telephoto zoom for DX mirrorless featuring retractable barrel design

•

100 62

110 405

14-30mm f/4 S Nikkor-Z

£1349 4.5★ Remarkably compact ultra-wideangle zoom that accepts 82mm screw-in filters

•

£1049

Weather-sealed large maximum-aperture prime promises ultra-sharp images

•

84.5 108.5 505

24-70mm f/2.8 S Nikkor-Z

£2199 5★

Superb fast standard zoom includes OLED display and customisable control dial

•

126 805

24-70mm f/4 S Nikkor-Z

£999

General-purpose standard zoom for Nikon’s full-frame mirrorless system

•

77.5

88.5 500

NEW 24-200mm f/4-6.3 VR Nikkor-Z

£849

Billed as the perfect ultra-compact travel zoom lens, with dust- and drip-resistant construction

•

76.5

114 570

24mm f/1.8 S Nikkor-Z

£1049

Large-aperture wideangle prime that aims to combine edge-to-edge sharpness with attractive bokeh

•

96.5 450

35mm f/1.8 S Nikkor-Z

£849

Fast, moderate-wideangle prime designed for optimum optical performance

•

50mm f/1.8 S Nikkor-Z

£599

Large-aperture prime that promises exceptional edge-to-edge sharpness

•

86.5 415

70-200mm f/2.8 VR S Nikkor-Z

£2399

Pro-spec large-aperture telezoom with optical image stabilisation and built-in OLED display

•

• 100 77

220 1360

85mm f/1.8 S Nikkor-Z

£799 4.5★ Portrait prime for Nikon’s full-frame mirrorless system that promises beautiful bokeh

•

NEW 20mm f/1.8 S Nikkor Z

•

485

370

470

OLYMPUS MIRRORLES 7-14mm f/2.8 ED Pro

£999 4.5★ Super-wideangle zoom lens that’s dustproof, splashproof and freeze-proof

•

20 n/a 78.9 105.8 534

8mm f/1.8 Pro Fisheye

£799

Fisheye lens with impressive image quality that’s dustproof, splashproof and freeze-proof

•

12 n/a

9-18mm f/4-5.6 ED

£630

This super-wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms

•

56.5

49.5 155

9mm f/8 Fish-eye Body Cap Lens

£89

Slimline lens in a body cap with 140° angle of view

•

20 n/a

12.8 30

12mm f/2.0 ED

£739 5★

A wideangle fixed lens for the Micro Four Thirds system

•

130

12-40mm f/2.8 ED Pro

£899

Weather-resistant standard zoom with top-notch optics and a constant aperture of f/2.8

•

69.9

382

£599

Ultra-compact, lightweight weather-sealed zoom offers 0.5x magnification at all focal lengths

•

63.4

254

12-50mm f/3.5-6.3 ED EZ

£349

A weather-resistant zoom lens with manual or electronic zoom

•

211

NEW 12-45mm f/4 Pro

315

12-100mm f/4 IS ED Pro

£1099 5★

Superb high-end weather-sealed superzoom lens featuring powerful in-lens IS with Sync IS

•

77.5 116.5 561

12-200mm f/3.5-6.3 ED

£800 4★

24-400mm equivalent superzoom includes weather-sealed construction and decent optics

•

77.5

99.7 455

14-42mm f/3.5-5.6 II R

£269

A redesigned variation of the standard kit lens

•

56.5

14-42mm f/3.5-5.6 EZ

£329

Compact kit lens for Olympus PEN and OM-D models with powerzoom control

•

60.6

22.5 93

14-150mm f/4-5.6 II

£550

High-powered zoom for all your needs – from wideangle to telephoto – plus weather-resistance

•

63.5

285

15mm f/8 Body Cap Lens

£69

Strictly speaking an accessory rather than a lens, with basic optics in a tiny plastic housing

•

30 n/a

17mm f/1.2 ED Pro

£1300

High-end, large-aperture weather-sealed prime designed for documentary or landscape work

•

68.2

390

17mm f/1.8 MSC

£450 5★

Wide-aperture, wideangle prime boasting excellent peak sharpness and low colour fringing

•

120

•

112

17mm f/2.8 Pancake

£300 4★

Tiny wideangle pancake prime with reasonable optics

•

25mm f/1.2 ED Pro

£1099 5★

Large maximum-aperture prime combines impressive sharpness with lovely bokeh and fast, reliable AF

•

410

25mm f/1.8

£370

Compact prime lens with ultra-bright f/1.8 aperture

•

57.8

137

30mm f/3.5 ED Macro

£249

New in the M.Zuiko Premium range, this macro lens features super-fast AF and weighs only 128g

•

9.5 46

128

40-150mm f/2.8 ED Pro

£1299 4★

This powerful 80-300mm 35mm-equivalent focal-length lens offers amazing portability for this pro class

•

79.4

160 760

40-150mm f/4-5.6 R

£309

This middle-distance zoom lens has an 80-300mm 35mm-equivalent focal length

•

63.5

45mm f/1.2 ED Pro

£1200

Large-aperture lens designed for portrait photography with premium optics

•

84.9 410

45mm f/1.8

£279 5★

Fast-aperture lens for taking portrait shots is sharp, quiet and has no colour fringing

•

116

60mm f/2.8 Macro

£450

High-precision macro lens that’s dustproof and splashproof

•

185

75-300mm f/4.8-6.7 ED II

£499

Update featuring Zuiko Extra-low Reflection Optical coating said to reduce ghosting

•

117 423

75mm f/1.8 ED

£799 5★

Ultra-fast prime lens ideal for portraits and action shots

•

300mm f/4 IS Pro

£2200

Compact ultra-telephoto prime with optical image stabilisation, compatible with Sync IS

•

140 77

92.5

227 1270

BEAUTY LIVES HERE

Nikon 35mm f/1.8 S - Z Mount IN STOCK AT

£729.00

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•

190

305

NEW & IN STOCK! Sony FE 20mm f/1.8 G

Watch our hands-on ﬁrst look video at youtu.be/9clK0d_u5UY

£949.00 69

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

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 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 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

5★

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 freeze-proof 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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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

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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 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

• • • •

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

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 14mm f/2.8 AF 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

£253 £249 £330 £259 £359 £299 £319 £249 £629 £350 £280 £600 £279 £350 £499 £599

5★ 5★

4.5★ 4.5★ 4.5★ 4.5★

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 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

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60 64.4 59 67.9 74.2 74.5 81 64.5 97.5 60.5 37 115 33 56.1 97.7 99.5

197 290 245 290 420 380 423 320 505 145 93 645 86 162 585 568

ALL PRICES ARE RRPS, STREET PRICES MAY VARY

£450 £300 4★ £400 4.5★ £1459 £1050 £1459 £549

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

£750 4★ £220 4★ £299 £1200

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

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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 70

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25 62 70 24 49 62 25 40.5 64.7 33 67 73

63.5 22.5 29.9 100

225 67 116 494

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

LENS 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 30mm f/3.5 Macro E 35mm f/1.8 OSS 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* NEW FE 20mm F1.8 G 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

RRP SCORE £839 £270 £499 £3300 £570 £489 £999 £309 £839 £219 £399 £219 £289 £830 £1700 £2300 £1289 £949 £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

SUMMARY

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 A macro lens for Sony’s APS-C compact system cameras Lightweight, versatile prime with Optical SteadyShot image stabilisation 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 Compact large-aperture wideangle prime featuring aperture ring and weather-resistant construction 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

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WEIGHT (G)

LENGTH (MM)

DIMENSIONS

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DIAMETER (MM)

FILTER THREAD (M

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

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35 25 45 40 45 50 30 20 16 9 30 39 100 110 28 28 28 18 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

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

66.6 62 78 110 67.2 68 93.2 62.6 63 62 62.2 62 63.8 77 87 88.5 78 84.7 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

75 60 110 167.5 88 98 99 20.4 65.6 55.5 45 62 108 142 117.4 121.6 98.5 73.5 136 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

308 194 427 1105 325 460 649 69 225 138 155 202 345 625 565 680 518 373 886 426 663 780 445 200 295 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

• • • •

28 28 80 30

62 62 72 55

69 73.4 93.2 74

81.5 81.5 80 123

490 464 645 570

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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

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

TAMRON MIRRORLESS 14-150mm f/3.5-5.8 Di III 18-200mm f/3.5-6.3 Di III VC 20mm f/2.8 Di III OSD M1:2 24mm f/2.8 Di III OSD M1:2 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

£370 4★ £390 £399 £399 £399 £899 5★ £699 4.5★

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

£699 5★ £799 £489 £579

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 First in a new range of atx-m lenses for mirrorless cameras is a portrait prime for Sony full-frame Relatively affordable autofocus 1:1 macro lens for Sony full-frame mirrorless cameras

•

TOKINA MIRRORLESS Firin 20mm f/2 FE MF Firin 20mm f/2 FE AF atx-m 85mm f/1.8 FE Firin 100mm f/2.8 FE Macro

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

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

5★

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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Digital Photography CANON EOS 6D MK2 BODY COMPLETE LOW USE ��MINT- BOXED £895�00 CANON EOS 7D BODY��MINT- BOXED £275�00 CANON 700D BODY WITH BATT & CHARGER �� MINT- £195�00 FUJI X-A2 WITH FUJI 16-50 OIS MK 2 LENS COMPLETE��MINT BOXED £295�00 FUJI XT-2 BODY COMPLETE WITH ALL ACCESSORIES ��MINT BOXED £595�00 FUJI XT-2 WITH FUJI 18-55mm OIS LENS COMPLETE��MINT BOXED £795�00 FUJI X-T10 16�8 Mp BODY CHGR & 2 BATTS�� MINT-BOXED £265�00 FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��MINT BOXED £195�00 FUJI 18 - 55mm f2�8/4 R OIS XF ��MINT BOX £325�00 NIKON D810 BODY COMPLETE ONLY 1156 ACTUATIONS ��MINT BOXED £975�00 NIKON MB-D12 GRIP FOR NIKON D810��MINT BOXED £119�00 NIKON D4S BODY WITH BATT AND CHARGER��MINT-- £1,875�00 NIKON D3 BODY WITH BATT AND CHARGER��EXC++ £299�00 NIKON D7200 BODY COMPLETE LESS THAT 100 ACTS��MINT BOXED AS NEW £545�00 NIKON D600 BODY WITH 2 BATTS,CHGR�� MINT- £499�00 NIKON D7000 WITH CHARGER, BATT Etc ONLY 6334 ACT MINT-BOXED £269�00 NIKON D3000 WITH BATT AND CHARGER ��MINT £125�00 NIKON D300S BODY + BATT GRIP, BATT & CHARGER��EXC++ £245�00 NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT-BOXED £195�00 NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT- £179�00 NIKON D90 BODY WITH 2 BATTERIES AND CHARGER �� MINT- £175�00 NIKON ML-3 REMOTE CONTROL SET��MINT-- BOXED £145�00 NEEWER SPEEDLITE 750 MK II FOR NIKON��MINT BOXED £55�00 OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS��MINT CASED £299�00 OLYMPUS 12mm f2 ED M ZUIKO DIGITAL + HOOD�� MINT-BOXED £465�00 OLYMPUS 45mm f1�8 M ZUIKO DIGITAL M 4/3rds + HOOD ��MINT BOXED £225�00 OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM��MINT £79�00 PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS��MINT BOXED £145�00 SIGMA 30mm F2�8 DN MICRO 4/3RDS��MINT BOXED £115�00 METZ 44A/F1 FLASH UNIT FOR SONY DLSR��MINT BOXED £75�00

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Contax ‘G’ Compacts & SLR & Ricoh CONTAX T WITH 38mm f2�8 SONNAR T* (RARE) �� MINT-CASED £495�00 CONTAX 90mm f2�8 SONNAR “G” HOOD,FILTER,CAP��MINT BOXED £179�00 CONTAX 35 - 70mm f3�5/5�6 “G” VARIO-SONNAR T*��MINT BOXED £395�00 CONTAX TLA 140 FLASH FOR G1/G2��MINT CASED £65�00 CONTA AX BODY JUST SERVICED £400 REALLY NICE�� MINT- £395�00 YASHICA ML CONTAX FIT 28mm f2�8 ��MINT £99�00 CONTAX 50mm f1�4 PLANAR MM SUPERB SHARP LENS ��MINT BOXED £275�00 CONTAX 50mm f1�4 PLANAR MM SUPERB SHARP LENS ��MINT £255�00 CONTAX 50mm f1�7 AE LENS ��MINT £95�00 CONTAX 85mm f2,8 MM GREAT PORTRAIT LENS��MINT CASED £275�00 CONTAX 135mm f2�8 SONNAR WITH FILTER ��MINT £175�00 YASHICA 135mm f2�8 CONTAX FIT�� MINT- £95�00 YASHICA 200mm f4 CONTAX FIT�� MINT- £90�00 CONTAX MAGNIFIER F2 ��MINT BOXED £49�00 CONTAX TLA 30 WITH DIFFUSSER��MINT CASED £69�00 CONTAX TLA 280 FLASH �� MINT- £59�00

CONTAX TLA 280 FLASH UNIT��MINT BOXED £75�00 CONTAX TLA 360 FLASH�� MINT-CASED £65�00 CONTAX GD1 DATABACK FOR CONTAX T3�� MINT-BOXED £69�00

LEICA “M” , “R” , & SCREW & RANGEFINDER LEICA M2 CHROME BODY (REALLY NICE)�� MINT- £1,175�00 LEICA IIIG BODY WITH 5cm f2 SUMMAR�� MINT-CASED £1,295�00 LEICA MINILUX SILVER WITH 40mm f2�4 SUMMARIT �� MINT- £575�00 MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ��EXC++ £375�00 CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR �� MINT- £275�00 LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ��EXC+++ £695�00 LEICA 50mm f2�8 COLLAPSIBLE ELMAR�� MINT- £299�00 LEICA 90mm f2 SUMMICRON BLACK E55,SUPERB LENS �� MINT- £895�00 LEICA 90mm f2�8 TELE ELMAR + HOOD �� MINT- £395�00 LEICA 5cm f3�5 COLLAPSIBLE ELMAR �� MINT- £225�00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M�� MINT- £275�00 LEICA 90mm f4 ELMAR M MOUNT �� MINT- £165�00 LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE��MINT BOXED £375�00 LEICA 135mm f4�5 HEKTOR��EXC+ £75�00 LEICA 90mm FINDER ��MINT £99�00 VOIGTLANDER BESSA R SCREW L39��EXC++ £295�00 VOIGTLANDER 25mm f4 SNAPSHOT SKOPAR + FINDER �� MINT- £325�00 VOIGTLANDER BESSA T WINDER��MINT BOXED £149�00 LEICA 5cm f2 SUMMAR SCREW �� MINT- £175�00 LEICA 90mm f4 ELMAR CHROME SCREW �� MINT-CASED £99�00 LEICA 90mm f4 ELMAR BLACK SCREW ��EXC++ £145�00 LEICA 135mm f2�8 ELMARIT M WITH SPECS��EXC+++ £299�00 LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT��EXC++ £99�00 LEICA 135mmf4�5 HEKTOR IN KEEPER��EXC+++ £199�00 LEICA 135mm f4�5 HEKTOR + HOOD SCREW��EXC++ £99�00 LEICA SF20 FLASH FOR M6 etc��MINT BOXED £89�00 LEICA 14472 GRIP FOR M8/M9 etc ��MINT BOXED £125�00 LEICA FONOR BLACK RANGEFINDER�� MINT-CASED £175�00 LEICA R8 BLACK BODY WITH STRAP �� MINT-BOXED £299�00 LEICA R8 BLACK BODY WITH STRAP �� MINT- £285�00 LEICA R7 BLACK BODY ��EXC++BOXED £325�00 LEICA R7 CHROME BODY�� MINT- £365�00 LEICAFLEX BODY CHROME �� MINT- £195�00 LEICA MOTOR WINDER R8�� MINT-BOXED £125�00 LEICA CURTAGON 35mm f4�� MINT-BOXED £395�00 LEICA 28 - 70mm f3�5/4�5 VARIO ELMAR R�� MINT- £299�00 LEICA 50mm f2 SUMMICRON 2 CAM ��EXC+++ £299�00 LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR��EXC++ £395�00 LEICA 90mm f2�8 ELMARIT 2 CAM�� MINT- £299�00 LEICA 560mm f6�8 TELYT LENS WITH CASE AND��EXC+++ £399�00 LEICA APO-EXTENDER 2 X ROM��MINT CASED £475�00

Binoculars LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE �� MINT- £595�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN �� MINT-CASED £275�00 KOWA BD 10x25 DCF COMPACT ROOF PRISM BINOS ��MINT CASED £165�00 OPTICRON MMS 160 IMAGE STABILISED TRAVELSCOPE��MINT BOXED £225�00 SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS �� NEW UNUSED £1,575�00 SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS�� MINT- £465�00

Medium & Large Format HASSELBLAD X PAN II WITH 45mm, STRAP, MANUAL��EXC+++BOXED £3,750�00 HASSELBLA X PAN LEATHER EVER READY CASE �� MINT- £225�00 HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER��MINT BOXED £495�00 HASSELBLAD 30mm f5�6 ASPH & FINDER & C/FILTER�� MINT-BOXED £2,475�00 HASSELBLAD 35mm f3�5 HC FOR H SYSTEM + HOOD�� MINT-CASED £795�00 HASSELBLAD 28mm f4 HC FOR H SYSTEM��MINT BOXED £1,075�00 HASSELBLAD 120mm f4 MACRO HC FOR H SYSTEM ��EXC++ £1,095�00 HASSELBLAD 150mm f4 SONNAR T* BLACK��EXC++ £195�00 HASSELBLAD 150mm f4 SONNAR CF�� MINT-BOXED £395�00 HASSELBLAD 150mm f4 SONNAR SILVER ��EXC++ £175�00 HASSELBLAD 250mm f5�6 SONNAR SILVER ��EXC+ £179�00 HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR��MINT BOXED £1,995�00 HASSELBLAD GIL GPS UNIT FOR H SYSTEM��MINT BOXED £399�00 HASSELBLAD H13 EXT TUBE ��MINT £130�00 HASSELBLAD PM90 PRISM FINDER �� MINT- £275�00 HASSELBLAD PME3 METERED PRISM FINDER �� MINT- £275�00 HASSELBLAD VFC-6 METERED PRISM��MINT BOXED £175�00 HASSELBLAD A12 BACK CHROME�� MINT- £129�00 HASSELBLAD WINDER CW AND REMOTE��MINT £275�00 BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS��EXC++ £325�00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS ��EXC++ £295�00 BRONICA AUTO EXTENTION TUBE E-14��MINT BOXED £45�00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ��MINT BOXED £59�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��MINT £75�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��EXC++ £59�00 BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC�� MINT- £75�00 BRONICA MOTOR WINDER E��EXC+++ £89�00 BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi��MINT £179�00 BRONICA 50mm f2�8 PE FOR ETRS/ETRSi��MINT £199�00 BRONICA SPEED GRIP FOR ETRSW/ETRSi�� MINT- £49�00 BRONICA 150mm F3�5 ZENZANON S �� MINT- £165�00

BRONICA PLAIN PRISM FOR SQAi/SQA�� MINT- £99�00 BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ�� MINT- £199�00 BRONICA 65mm F4 ZENZANON PS FOR SQ�� MINT-CASED £145�00 BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ �� MINT-CASED £365�00 BRONICA 150mm F4 PS ZENZANON FOR SQ�� MINT-CASED £145�00 BRONICA 180mm f4�5 PS LENS & CASE �� MINT-BOXED £199�00 BRONICA SPEED GRIP FOR SQA/SQAI�� MINT- £69�00 BRONICA FILMBACK SQ-i220 FOR SQA/SQAi��MINT BOXED £79�00 METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA��MINT BOXED £150�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £199�00 MAMIYA 135mm f4�5 SEKOR FOR C220/33 etc��MINT CASED £150�00 MAMIYA 180mm f4�5 SEKOR FOR C220/330 etc��MINT CASED £145�00 MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ��MINT £365�00 MAMIYA M645J COMPLETE WITH 80mm f2�8 �� MINT- £299�00 MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC�� MINT-CASED £365�00 MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ��MINT £299�00 MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ��MINT £145�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £295�00 MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��MINT £199�00 MAMIYA 250mm F4�5 LENS FOR RZ �� MINT- £195�00 MAMIYA 210mm F4 SEKOR C FOR 645��MINT CASED £195�00 MAMIYA 180mm F4�5 SEKOR FOR RB��MINT £169�00 MAMIYA 220 BACK FOR RZ 67�� MINT- £95�00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD �� MINT- £199�00 PENTAX 55mm F4 SMC FOR 6X7 ��MINT £175�00 PENTAX 55mm F2�8 FOR PENTAX 645��MINT BOXED £199�00 ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008�� MINT- £575�00 YASHICAMAT 124G TWIN LENS WITH CASE �� MINT- £375�00 YASHICA 124G TELEPHOTO AUX LENS SET�� MINT- £69�00

Nikon Auto-Focus & Digital, Lenses Accessories NIKON F5 BODY WITH MANUAL & STRAP �� MINT-BOXED £499�00 NIKON F5 BODY�� MINT- £465�00 NIKON F4 BODY��MINT-- £375�00 NIKON F4 BODY��EXC++ £325�00 NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE��MINT BOXED £325�00 NIKON 28mm f2�8 A/F��MINT £125�00 NIKON 28mm f2�8 A/F “D” ��EXC+++ £145�00 NIKON 35mm f1�8 “G” ED AF-S L��MINT + HOOD £325�00 NIKON 35mm f1�8 “G” DX AF-S LATEST�� MINT+HOOD £115�00 NIKON 35mm f2 A/F “D” ��MINT-- £195�00 NIKON 50mm f1�8 A/F “D” WITH HOOD �� MINT- £85�00 NIKON 50mm f1�8 “G” AF-S WITH HOOD��MINT BOXED £139�00 NIKON 60mm f2�8 MICRO NIKKOR A/F “D” + HOOD��MINT BOXED £195�00 NIKON 85mm f1�8 A/F “D” + HOOD ��EXC+++ £195�00 NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�� MINT- £399�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��MINT BOXED £395�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S�� MINT-CASED £365�00 NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST �� MINT-CASED £999�00 NIKON 16 - 80mm f2�8-4EAF-S VR ED DX + HOOD ��MINT CASED £545�00 NIKON 18 - 105mm f3�5/5�6 “G” AF-S ED VR WITH HOOD�� MINT- £145�00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL��MINT BOXED £745�00 NIKON 28 - 300mm f3�5/5�6 “G” ED IF AF-S VR ASPH�� MINT+HOOD £475�00 NIKON 28 - 300mm f3�5/5�6 “G” ED IF AF-S VR ASPH��MINT BOXED £499�00 NIKON 35 - 70mm f3�3/4�5 A/F LENS��EXC++ £49�00 NIKON 70 - 300mm f4/5�6 AF “D” ED + HOOD�� MINT- £125�00 NIKON 80 - 400mm f4�5/5�6 d EF ED VR LENS �� MINT-BOXED £495�00 NIKON DR-6 RIGHT ANGLED FINDER��MINT BOXED £145�00 NIKON TC-14E II TELECONVERTER ��MINT BOXED £225�00 NIKON TC-17E II TELECONVERTER ��MINT BOXED £225�00 NIKON TC20E III 2X AF-S TELECONVERTER ��MINT BOXED £285�00 NIKON TC20E II 2X AF-S TELECONVERTER �� MINT-BOXED £175�00 NIKON DR4 RIGHT ANGLE FINDER��MINT BOXED £89�00 KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS �� MINT- £75�00 SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM �� MINT-BOXED £199�00 SIGMA 300 - 800mm f5�6 EX DG APO HSM �� MINT-CASED £3,695�00 TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO ��MINT BOXED £299�00 TOKINA 11 - 16mm f 2�8 AT-X PRO DX WITH HOOD��MINT--HOOD £245�00 TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��MINT BOXED £245�00

Nikon Manual Focus NIKON FM3A BLACK BODY ��EXC++BOXED £599�00 NIKON F3 HP BODY �� MINT- £545�00 NIKON FM2n CHROME BODY �� MINT- £295�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��MINT BOXED £165�00 NIKON F3 BODY��EXC+ £245�00 NIKON FM2n CHROME BODY ��EXC+++ £245�00 NIKON FM2 CHROME BODY ��EXC++ £199�00 NIKON FE CHROME BODY ��EXC++ £125�00 NIKON FE CHROME BODY �� MINT- £145�00 NIKON FM BLACK WITH MF-16 BACK ��EXC+++ £169�00 NIKON FM BLACK��EXC++ £145�00 NIKON FE2 BLACK BODY��EXC++ BOXED £225�00 NIKON F2 A BLACK BODY ��EXC+++ £245�00 NIKON F2 A BODY FULLY WORKING ��EXC+ £199�00 NIKON F2 PGOTOMIC BLACK BODY�� MINT- £399�00 NIKON F2 BODY FULLY WORKING��EXC+ £169�00 NIKON F2 PHOTOMIC BODY CHROME��EXC++ £275�00 NIKON F2 PHOTOMIC BODY CHROME��EXC+ £199�00 NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS��EXC++ £250�00 NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4�� MINT- £399�00 NIKKORMAT FT CHROME WITH 35mm f2�8 S LENS��EXC++ CASED £145�00 NIKKORMAT FT CHROME ��EXC+++ £75�00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ��EXC++ CASED £165�00 NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ��MINT £599�00 NIKON 20mm f2�8 AIS�� MINT- £325�00 NIKON 24mm F2�8 AIS SUPERB SHARP LENS��MINT-- £199�00 NIKON 28mm f2�8 AI��MINT £165�00 NIKON 35mm f1�4 AIS REALLY SHARP LENS��EXC++ £299�00 NIKON 45mm F2�8 GN NIKKOR �� MINT- £199�00 NIKON 50mm f1�4 Ai�� MINT- £195�00 NIKON 50mm f1�8 AIS SHARP LENS��MINT £89�00 NIKON 55mm f2�8 MACRO AIS �� MINT- £165�00 NIKON 105mm f2�5 AI SUPERB SHARP LENS�� MINT- £165�00 NIKON 105mm f2�5 AIS FROM A COLLECTION��MINT BOXED £295�00 NIKON 135mm f2�8 AIS�� MINT- £125�00 NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00 NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS��MINT-CASED £1,295�00 NIKON 1000mm f11 MIRROR LENS WITH CAPS��EXC++ £495�00 NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS�� MINT- £169�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��EXC++ £119�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP�� MINT- £145�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��EXC+++ £99�00 NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3 ��MINT £145�00 NIKON PK13 AUTO EXTENSION RING�� MINT-BOXED £55�00 NIKON PK12 AUTO EXTENSION RING��EXC++ £49�00 NIKON PK11 AUTO EXTENSION RING��MINT £49�00 NIKON TC 200 CONVERTER��MINT £69�00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2�� MINT-CASED £115�00 NIKON SB 16 FLASH FOR F3��EXC++ £65�00

Olympus Manual OLYMPUS OM4 BLACK BODY��EXC++ £225�00 OLYMPUS OM2 SP��EXC++ £129�00 OLYMPUS 38mm f2�8 ZUIKO MACRO LENS�� MINT-CASED £299�00 OLYMPUS 50mm f1�8 ZUIKO LENS �� MINT- £30�00 OLYMPUS 50mm f1�8 ZUIKO LENS ��MINT BOXED £49�00 OLYMPUS 80mm f4 ZUIKO MACRO LENS�� MINT-CASED £175�00 OLYMPUS 135mm f3�5 ZUIKO LENS �� MINT-CASED £69�00 OLYMPUS 2x TELECONVERTER�� MINT-CASED £35�00 OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE��MINT £95�00 OLYMPUS VARI-MAGNIFINDER��MINT CASED £49�00 OLYMPUS T32 FLASH UNIT��MINT CASED £35�00 LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST FOR MACRO, FLASH �� PHONE PLEASE RING FOR DETAILS AND PRICES ALL IN MINT OR CLOSE CONDITION �� PHONE

We urgently require your used photographic equipment. We have customers waiting for: Nikon, Canon, Leica, Contax, Bronica, Hasselblad and most other makes of camera lenses, accessories, binoculars and collectables. We will buy for cash from you, or we are happy to sell on your behalf on a commission basis. Best prices paid. We can arrange collection and even call and collect and pay on the spot if necessary anywhere in the UK.

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Wex Photo Video is a Which? Recommended Provider Source: Which? members’ annual survey - June-July 2019.

• Over 20,000 Products • Free Delivery** • We can deliver on Saturday or Sunday◊

A7 Mk III

A7R Mk IV

25.3 mp 10.0 fps 4K

61.0 mp 10.0 fps 4K

A7 Mk III Body £1749

A7R Mk IV Body £3499

£1749 £1899 £899 £1199

A7 Mk III Body A7 Mk III + 28-70mm A7 Mk II Body A7 Mk II + 28 -70mm

A6600

A6100

24.2 mp 11.0 fps 4K

A6600 From £1399

A6000

£1399 £1699 £799 £899

A6600 Body A6600 + 18-135mm A6400 Body A6400 + 16-50mm

£2499 £1299 £1999

A7R Mk III Body A7R Mk II Body A7S Mk II Body

£350 trade-in bonus** From

£429 £429 £479

A6000 Body A6000 + 16-50mm

**Sony A7R IV trade-in bonus is applicable when trading in any working full frame or medium format camera. A full frame or medium format camera is deﬁned, for this purpose, as a digital camera comprising of a body utilising separate interchangeable lenses. This offer excludes cameras with a ﬁxed or built-in lens and cropped-sensor DSLRs or mirrorless cameras. Offer ends 31.03.20.

Z50

S1H

45.7 mp 11 fps 4K

24.5 mp 12.0 fps 4K

24.2 mp 24fps 6K

Z 50 + Adapter £989 Z 6 + Adapter £1499 £1129

Z 50 + 16-50mm Z 50 + 16-50mm + 50-250mm

£1199

Z 6 with Adapter Z 6 + 24-70mm Z 6 + Adapter + 24-70mm

D850

D780

45.7 mp 9 fps 4K

24.5 mp 12 fps 4K

D850

Body

£2499 D780

£1999

S1H

GH5S

10.2 mp 6.0 fps 4K

From £3598

S1H Body S1 Body S1 + 24-105mm S1R + 24-105mm

From £2199

£3598 £1999 £2699 £3199

GH5S

16.0 mp 20.3 fps 4K

From £1699

GH5S Body GH5 Body GH5 + 12-60mm GH5 + 12-60mm Leica

MICRO FOUR THIRDS LENSES: Panasonic 8-18mm f2.8-4 ASPH ........... £899 Panasonic 12-35mm f2.8 II........................ £649 Panasonic 35-100mm f2.8 II G ............... £799 Panasonic 45-175mm f4.0-5.6 .............. £338 Panasonic 100-300mm f4-5.6 II .......... £487 Panasonic 100-400mm f4-6.3 .............. £1099

K-1 II

From £999

£1699 G9 Body £999 £1299 G9 + 12-60mm £1249 £1449 G9 + 12-60mm Leica £1499 £1699

L-MOUNT LENSES: Panasonic S Pro 50mm f1.4..................... £2299 Panasonic S Pro 16-35mm f4 .................. £1499 Panasonic S Pro 24-70mm f2.8.............. £2199 Panasonic S Pro 70-200mm f4 .............. £1749

X-T30

X-T4

26.1 mp 30.0 fps

26.1 mp 30.0 fps IBIS

Black or silver

NEW

20.4 mp 18.0 fps

OM-D E-M1X

£1499 £1899

E-M5 III

OM-D E-M1X

£3499

Sony A7R IV body

36.7 mp 6.4 fps

20.4 mp 4K

Full Frame

£2199 E-M5 III From £1049 K-1 II Body £1789

OM-D E-M1 II Body OM-D E-M1 II + 12-40mm OM-D E-M10 III Body OM-D E-M10 III + 14-42mm

£1199 OM-D E-M5 III £1799 + 12-200mm £399 OM-D E-M5 III + 12-40mm

£499 OM-D E-M5 II + 12-40mm

K-1 II Body £1499 KP Body K-70

£1599 £1149

RECOMMENDED LENSES: Olympus 25mm f1.2 Pro ....................................................................................... £1099 Olympus 7-14mm f2.8 Pro ................................................................................... £1099 Olympus 12-40mm f2.8 Pro ................................................................................ £849 Olympus 12-100mm f4 Pro .................................................................................. £1449 Olympus 12-200mm f3.5-6.3 ............................................................................. £729 Olympus 14-150mm f4-5.6 .................................................................................. £549

£1789 £949 from £579

RECOMMENDED PENTAX LENSES:

50mm f1.4 FA*...............£1049 100mm f2.8 Macro ..... £429 15-30mm f2.8.................£1300 16-85mm f3.5-5.6 ........£499 28-105mm f3.5-5.6..... £479 55-300mm f4.5-6.3 ... £349

X-T30

From £699

X-T4

From £1549

X-T30 £699 X-T4 + 18-55mm X-T30 + XC 15-45mm £749 X-T4 + 16-80mm X-T30 + XF 18-55mm £999 X-T3 Body X-T3 + 18-55mm

£1899 £1949 £1099 £1449

FUJIFILM LENSES Fujifilm XF 23mm f2 WR lens ................................... £589 Fujifilm XF 35mm f2 R WR lens ................................... £359 Fujifilm XF 8-16mm f2.8 LM WR................................... £1599 Fujifilm XF 10-24mm f4 R OIS ................................... £799 Fujifilm XF 16-55mm f2.8 LM WR ................................ £899 Fujifilm XF 55-200mm f3.5-4.8 R LM OIS ..................... £589

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BT12 6HR

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B16 8LT

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with EOS 5D Mk IV

The new Canon EOS RP

30.4 mp

EOS 5D Mark IV Body ......... £2799

7.0 fps

EOS RP Body EOS RP + 24-105mm EOS R Body EOS R + 24-105mm

Full Frame CMOS sensor

£2799

EOS 5D Mark IV Body

£1199 £2099 £1799 £2699

5.0 fps

26.2 mp

EOS RP Body

From

£1199

EOS 1D X Mk III

EOS 90D

EOS 7D Mk II

EOS 6D Mk II

32.5 mp 10 fps

20.2 mp 10.0 fps 1080p

26.2 mp 6.5 fps

20.1 mp 20 fps

Full Frame

NEW

EOS 90D

From £1209

EOS 90D Body EOS 90D + 18-55mm EOS 90D + 18-135mm

EOS 7D Mk II Body £1209 EOS 7D Mk II Body £1299 £1499

£1379 £1379

EOS 6D Mk II

from

£1349

EOS 6D Mk II Body EOS 6D Mk II + 24-105mm

£1349 £1649

£6499

EOS 1D X Mk III

£3999

EOS 1D X Mk II Body

Tripods

Free camera set-up service§

Series 5 4S L 156cm Max Height 10cm Min Height

170cm Max Height 9cm Min Height

Systematic Series 5: GT5563GS ......................................£999 GT5543XLS....................................£929 GT5543LS ......................................£769 GT5533LS .......................................£729

wex.co.uk/setup

Gorillapod Kit 1K

Befree GT Travel Tripod

MT055XPRO3

Flexi legs 21cm closed lenght 1kg max load

162cm Max Height 43cm Min Height

MT055XPRO3 .............................. £149 MT055CXPRO3 Carbon Fibre £299 MT055CXPRO4 Carbon Fibre £299

Aluminium ..........£ 159 Carbon Fibre .....£259

Gorillapod 500........ £27.95 Gorillapod Kit 1K ..... £39 Gorillapod Kit 3K .... £62.95 Gorillapod Kit 5K .... £129

Flashguns & Lighting Accessories Speedlites:

Macrolites:

Speedlights: Kits:

Flashguns:

430EX III-RT £249 600EX II-RT £519

MR-14EX II £699

Bowens Lighting Bowens: XE400 Head ................................... XMS500 Head............................................. £599 XMT500 Head............................................. £699

SB-5000 £569

SB-700 £259

R1 Close-Up £479

Calumet 2.72x11m Arctic White Background Paper Over 50 colours

R1C1 £659

F45RM £299

HVL-F60RM FL-900R £619 £449

SECOND ROLL HALF PRICE

Get second roll half-price Calumet background Paper 2.72x11m Roll....................................................... £49

Sekonic L-308X £159

Profoto B10 Plus Twice as powerful as the B10, 10 times more powerful than a speedlight.

B10 Plus ............................. £1615 B10 Plus Duo kit .............. £3217

Vintage Backgrounds 3 textured looks Tobacco/ Olive ................................................. £184 Smoke / Concrete............................................ £174 Ironworks ........................................................... £179

Speedmaster L-858D £599

FL-700WR £329

AF 540 FGZ II £349

AF 360 FGZ II £249

T&Cs: All prices incl. VAT at 20%. Prices correct at time of going to press. FREE Delivery** available on orders over £50 (based on a 4 day delivery service). For orders under £50 the charge is £2.99** (based on a 4 day delivery service). For Next Working Day Delivery our charges are £4.99**. Saturday deliveries are charged at a rate of £7.95**. Sunday deliveries are charged at a rate £8.95**.(**Deliveries of very heavy items, to N.I. or remote areas may be subject to extra charges. E. & O.E. Prices subject to change. Goods subject to availability. Live Chat operates between 9.30am 6pm Mon Fri and may not be available during peak periods. †Subject to goods being returned as new and in the original packaging. Where returns are accepted in other instances, they may be subject to a restocking charge. ††Applies to products sold in full working condition. Not applicable to items speciﬁcally described as “IN” or incomplete (ie. being sold for spares only). Wex Photo Video is a trading name of Calumet Photographic Limited (Company Registration no. 00425579) and Warehouse Express Limited (Company Registration no. 03366976). ©Warehouse Express Limited 2020.*CASHBACKS Are redeemed via product registration with the manufacturer. Please refer to our website for details.

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Wex Photo Video is a Which? Recommended Provider Source: Which? members’ annual survey - June-July 2019.

• Over 20,000 Products • Free Delivery on £50 or over • We can deliver on Saturday or Sunday◊ Follow us on Twitter, Facebook, Instagram and Youtube for all the latest offers, reviews, news and advice! Lenses

CANON LENSES EF 35mm f1.4L II USM............................. £1628 EF 35mm f2 IS USM ................................. £510 EF 40mm f2.8 STM .................................. £190 EF 50mm f1.2L USM ................................ £1269 EF 50mm f1.4 USM................................... £339 EF 50mm f1.8 STM ................................... £99 EF 85mm f1.2L II USM............................. £1849 EF 85mm f1.4L IS USM ........................... £1369 EF 85mm f1.8 USM ................................... £365 EF 100mm f2.8 USM Macro.................. £448 EF 100mm f2.8L Macro IS USM.......... £899 EF 135mm f2 L USM ................................. £959 EF 300mm f4 L IS USM.......................... £1269 EF 16-35mm f2.8L III USM..................... £1849 EF 16-35mm f4 L IS USM ...................... £949 EF 17-40mm f4 L USM ............................ £569 EF 24-70mm f2.8L IS USM II................ £1677 EF 24-70mm f4L IS USM ....................... £799 EF 24-105mm f3.5-5.6 IS STM ............ £359 EF 24-105mm f4L IS II USM.................. £998 EF 28-300mm f3.5-5.6 L IS USM....... £2289 EF 70-200mm f2.8 L IS III USM.......... £1899 EF 70-200mm f4 L IS II USM ............... £1299 EF 70-300mm f4-5.6 L IS USM .......... £1199 EF 70-300mm f4-5.6 IS II USM .......... £464 EF 100-400mm f4.5-5.6L IS USM II. £1999 EF-S 35mm f2.8 Macro IS STM .......... £369 EF-S 60mm f2.8 USM Macro ............... £399 EF-S 10-18mm f4.5-5.6 IS STM ........... £199 EF-S 17-55mm f2.8 IS USM ................... £599 EF-S 18-200mm f3.5-5.6 IS.................. £475

EF-S 55-250mm f4-5.6 IS STM........... £299 TAMRON DSLR LENSES TS-E 50mm f2.8L Macro ....................... £2199 with 5 Year Manufacturer Warranty TS-E 135mm f4 L Macro ......................... £1799 85mm f1.8 SP Di VC USD....................... £699 16-300mm f3.5-6.3 Di II VC PZD ....... £449 18-200mm f3.5-6.3 Di II VC ................. £189 18-400mm f3.5-6.3 Di II VC HLD ...... £639 24-70mm f2.8 Di VC USD G2............... £1099 70-200mm f2.8 Di VC USD G2 ........... £1149 70-210mm f4 Di VC USD ....................... £549 NIKON LENSES 70-300mm f4-5.6 SP Di VC USD....... £329 20mm f1.8 G AF-S ED ............................. £699 100-400mm f4.5-6.3 Di VC USD ...... £659 24mm f1.4 G AF-S ED ............................. £1709 150-600mm f5-6.3 SP Di VC USD .... £779 35mm f1.8 G ED AF-S ............................. £455 150-600mm f5-6.3 VC USD G2.......... £1099 50mm f1.4 G AF-S .................................... £389 60mm f2.8 G AF-S ED ............................ £550 85mm f1.8 G AF-S..................................... £427 105mm f2.8 G AF-S VR IF ED.............. £759 300mm f4E AF-S PF ED VR ................ £1659 500mm f5.6E PF ED VR AF-S ............ £3514 SIGMA DSLR LENSES 8-15mm f3.5-4.5E ED Fisheye............. £1229 with 3 Year Manufacturer Warranty 10-24mm f3.5-4.5 G AF-S DX ............. £809 20mm f1.4 DG HSM Art .......................... £699 16-80mm f2.8-4E ED AF-S DX VR.... £989 24mm f1.4 DG HSM .................................. £629 18-200mm f3.5-5.6 G AF-S DX VR II£449 30mm f1.4 DC HSM .................................. £359 24-70mm f2.8 G ED AF-S...................... £1399 35mm f1.4 DG HSM .................................. £649 24-70mm f2.8E AF-S ED VR................ £1799 50mm f1.4 DG HSM Art.......................... £569 28-300mm f3.5-5.6 G ED AF-S VR .. £789 85mm f1.4 Art DG HSM .......................... £999 70-200mm f2.8E AF-S FL ED VR...... £1999 105mm f2.8 APO EX DG OS HSM ...... £359 70-300mm f4.5-6.3 G ED DX AF-P £339 10-20mm f3.5 EX DC HSM .................... £329 200-500mm f5.6E AF-S ED VR......... £1199 17-70mm f2.8-4.0 DC OS HSM............ £339 18-35mm f1.8 DC HSM ............................ £629 18-300mm f3.6-6.3 C DC OS HSM.... £369 24-70mm f2.8 DG OS HSM ................... £1099

Photo Bags & Rucksacks

Hadley Pro Original Khaki

Think T Airport Interna

Flipside 300 AW II Pro Tactic BP 450 AW II

Pro Light RedBee 310

Available in Khaki, Black, Sage.

Flipside: Pro Tactic: BP 350 AW II.......£149 300 AW II ...... £84 BP 450 AW II ......£189 400 AW II...... £109

Pro Light RedBee: 110 ...................................£89 310 ..................................£119

Digital Compact Cameras

Pro 2020 ....................£240 Airport: Small Pro....................£199 Int. V3.0...............£279 Large ...........................£175 Take Off V2.0....£287 Pro Original ............. £199 Security V3.0....£255 Hadley One .............. £259

24-105mm f4 DG OS HSM..................... £579 50-100mm f1.8 DC HSM Art ............... £949 70-200mm f2.8 EX DG OS HSM ........ £899 100-400mm f5-6.3 DG OS HSM........ £679 120-300mm f2.8 OS ................................ £2699 150-600mm f5-6.3 C DG OS HSM .... £759 150-600mm f5.0-6.3 S DG OS HSM £1329

SONY E-MOUNT LENSES FE 85mm f1.4 G Master .......................... £1549 FE 85mm f1.8 .............................................. £599 FE 100mm f2.8 G Master....................... £1439 FE 12-24mm f4 G ....................................... £1449 FE 16-35mm f2.8 G Master ................... £2099 FE 24-70mm f2.8 G Master .................. £1799 FE 24-70mm f4 ZA OSS C.Zeiss T .... £699 FE 70-200mm f2.8 G Master............... £2375 FE 70-300mm f4.5-5.6 G OSS ........... £1079 FE 100-400mm f4.5-5.6 OSS GM..... £2399

Computing PIXMA Pro 100S ............ £359 PIXMA Pro 10S .................£499 X-Rite i1Display Studio..................£119 Datacolor SpyderX Pro..................£109 X-Rite i1 Display PRO .....................£178 Intuos Pro Professional Pen and Touch Tablet Small v2.......................................................................... £155 Medium........................................................................... £249 Large ............................................................................... £349

Digital compact camera accessories are available on our website

20.1 mp 4K 5x

20.1 mp 4K 4.2x

24.3 mp 1080p 3.0x

optical zoom

PowerShot G5 X Mark II ....... £849

optical zoom

PowerShot G7 X Mk III............. £699

PowerShot G1 X III................ £999

IXUS 185 HS ............................................£99 IXUS 285 HS ...........................................£169 PowerShot SX70 HS...........................£499 PowerShot SX620 HS ........................£179 PowerShot SX730 HS ........................£289 PowerShot SX740 HS ........................£347 PowerShot G9 X II ...............................£369 PowerShot G3 X ...................................£779

Lumix FZ1000 ...............................£479 Lumix FZ2000 ...............................£699 Lumix TZ200 ...................................£549 Lumix LX15 .......................................£369

Black or Silver

24.3 mp 1080p Fujiﬁlm X100F......... £769

17.0 mp Lumix LX100 II...... £749

20.3 mp Lumix TZ95......... £379

Ricoh GR III

Tough TG-6

£419

20.0mp Lumix FZ1000 II......... £649

Ricoh WG-60

£799

£230

Available in black and red

Coolpix P1000

£899

Cyber-Shot HX90V

£299

Theta Z1 Digital Spherical Camera 4K video, 23MP stills and image stabilisation

Theta V Digital Spherical Camera 4K movie mode and 360° stills

.......................... £899

.......................... £349

Cyber-Shot RX10 Mk IV Cyber-Shot RX100 Mk VI

£1699

FREE delivery on orders over £50**

£899

DJI Mavic 2 from

£1099

**Based on a 4-day delivery service, UK only.

Leica Rangefinder M CL + 40mm F2 ��Exc £399 CL Body Only��E+ £449 CLE + 40mm F2 Minolta��E+ £699 M2 Chrome Body Only��E+ £799 M3 Chrome Body Only��Exc - E+ £599 -799 M4 Chrome Body Only�� E+ £799 -899 M4-P Chrome Body Only��E+ £649 M5 Black Body Only��E+ £699 M5 Chrome Body Only��E+ £699 M6 0�72x Black Body Only�� E+ £1349 -1399 M6TTL 0�85x Chrome Body Only��Mint- £1999 M7 0�72x Black Body Only��E+ £1349 Ikon Chrome Body Only Zeiss��E+ £1099

S2 + 70mm F2�5 CS��E+ £3999 S2 Black Body Only�� E++ £2199 24-90mm F2�8-4 Asph �� E++ £2699 120mm F2�5 Apo Macro Summarit S ��E+ £2199 120mm F2�5 CS Apo Macro Summarit S� E++ £2499 35mm F2�5 Asph Summarit S��E++ - Mint- £2299 -2499 70mm F2�5 Asph Summarit S��Mint- £1789 E82 UVA II�� E++ £149 SL (Typ 601) Body Only��E+ - Mint- £2099 -2389 Phase 645DF Complete with Digital Back��E+ £4489 645AF + 80mm F2�8 + P45+ Back�� 15 Day £2289 Pentax 645Z + 28-45mm ��Mint- £6999 645Z + 55mm F2�8 D FA �� E++ £3999 645Z + 75mm F2�8 �� E++ £3599

Leica Rangefinder Screw I Model C + 50mm F3�5��Exc £399 IF B/Dial + 50mm F3�5 + SBOOI + HFOOK E++ £499 IF Black Scale + 50mm F3�5��E+ £599 IF Red Scale + 50mm F3�5 Red Scale�� E++ £699 IG Chrome Body Only�� E++ £449 IIF + 50mm F3�5 Red Scale ��E+ £549 IIF R/Dial + 50mm F3�5 Red Scale��Mint £699 IIF R/Dial Body Only ��Mint- £399 IIIA Chrome + 35mm F3�5��E+ £279 IIIA Chrome + 50mm F2 Summar ��E+ £349 IIIA Chrome + 50mm F3�5 Red Scale ��E+ £399 IIIB Chrome + 35mm F3�5 ��Exc £299 IIIB Chrome Body Only ��E+ £299 IIIC Luftwaffe + 50mm F3�5��E+ £2499 IIIC Luftwaffen + 50mm F2 Summitar��E+ £2499 IIIF B/Dial + 50mm F2�8��E+ £399 IIIF B/Dial Chrome Body Only�� E+ £289 -299 IIIG Chrome Body Only �� E++ £499 Null ‘0’ Serie��E+ - E++ £949 -1099 Standard + 50mm F2 ��E+ £349

Camcorders Legria HFS100 Canon�� E++ £249 Hero 5 - Black Gopro ��E+ £69 GY-HM200E JVC �� E++ £1249 HDC-Z10000 Panasonic�� E++ £1499 PXW-Z150 Sony�� E++ £1699

Contax 645 645 + Waist Level Finder + Mag + MP1 Grip��15Day £1399 645 Body + Prism + 45mm F2�8 + 120 Mag��15Day £1899 645 Complete�� 15Day £2499 645 Complete + MP1 Grip ��E+ £2499 Hasselblad Xpan Xpan + 45mm F4�� E+ £1849 -2499 Xpan II + 45mm F4��E+ - E++ £3499 -4199 Olympus OM OM10 Body Only - Chrome ��E+ £49 OM2SP Body Only - Black��E+ £199 OM40 Body + T32 Flash - Black ��E+ £59 OM4Ti Body Only - Titanium��E+ £249 Nikon AF Bodies F4 Body Only ��E+ £179 F4S Body Only ��E+ £219 F5 Body Only ��E+ £349 F50 Body Only - Black �� E+ £15 -19 F55 Chrome Body Only �� E++ £29 F60 Body Only - Silver ��E+ - E++ £15 -19 F601 Body Only ��E+ £35 F65 + 28-100mm - Silver��Mint- £29 F65 Body Only - Silver ��E+ £29 F65 Quartz Date Body Only��E+ £29 F90X Body Only ��E+ £59 Nikon Manual FTN Body Only - Chrome��15 Day £39 -79 EM Body Only ��E+ £39 F2 Photomic SB Body Only - Chrome��E+ £299 F2A Body Only - Black ��E+ £299 F2A Body Only - Chrome��E+ £199 F301 Body Only ��E+ £29 F3HP + MD4 Motordrive �� E+ £199 -249 F3T Titanium Body Only�� E++ £699 FE Chrome Body Only ��E+ £129 FE10 Chrome Body Only ��E+ £89 FE2 Chrome Body Only ��E+ £189 FM2N Chrome Body Only��E+ £259 Red Dot F Chrome Body Only��E+ £899 Medium Format Digital Leica S (Typ 006) Body Only�� E++ £2999

Hasselblad V Series 205TCC Body + E12 Mag �� E++ £1950 205TCC body + WLF + Back��E+ £2499 205TCC Complete��Mint- £2999 500CM Body + A12 Mag��E+ £549 500CM Body + WLF��E+ £449 500ELM Chrome Body Only ��E+ £199 500ELX Body Only - Chrome�� E+ - E++ £349 500ELX Complete ��Exc £599 501C Body + A12 Mag��Exc £749 501C Complete�� E++ £1649 503CX Complete�� E++ £1499 553ELX Body Only - Chrome��E+ £299 555ELD Chrome Body Only�� E++ £599 Digital SLR Canon EOS 1D II Body Only��E+ £169 EOS 1DS III Body Only�� E++ £649 EOS 1DX II Body Only�� E+ - E++ £2899 EOS 200D Body Only ��Mint- £339 EOS 350D Body Only ��E+ £49 EOS 400D Body Only ��E+ £59 EOS 500D + BG-E5 Grip ��E+ £129 EOS 500D Body + BG-E5 Grip��E+ £129 EOS 500D Body Only ��E+ £119 EOS 5D + BG-E4 Grip ��15 Day £229 -249 EOS 5D Body Only ��15 Day £199 -249 EOS 5D II Body + BG-E6 Grip��E+ £479 EOS 5D II Body Only�� 15Day £299 EOS 5D III Body + BG-E11 Grip�E+ - E++ £899 -949 EOS 5D III Body Only��15 Day £749 -989 EOS 5DS Body Only ��E+ - E++ £1179 -1249 EOS 60D Body Only ��E+ £189 EOS 70D Body Only ��E+ - E++ £319 -349 EOS 750D Body Only �� E++ £289 EOS 7D + BG-E7 Grip ��E+ - E++ £249 -259 EOS 7D II Body Only��E+ - E++ £499 -679 Nikon D200 Body + MB-D200 Grip�� E++ £119 D200 Body Only��E+ £79 D2X Body Only��15 Day £149 -249 D300 + MB-D10 Grip�� E+ - E++ £169 D300 Body Only��E+ - E++ £129 -139 D3000 + 18-55mm �� E++ £109 D300S Body Only��E+ £219 D3400 Body Only�� E++ £189 D3X Body Only��E+ - E++ £749 -799 D4 Body Only�� E+ £1289 -1499 D4S Body Only��E++ £1899 -1949 D5100 Body Only��E++ - Mint- £139 D5300 Body Only��Mint- £259 D600 Body + MB-D14 Grip�� E+ £449 -459 D610 Body Only��E+ £499 D70 Body Only�� E++ £59 D700 Body Only��E+ £329 D7000 + 18-55mm ��E+ £219 D7000 Body Only�� E++ £189 D70S Body Only��E+ £59 D7200 Body Only��E++ - Mint- £419 -499 D750 Body Only��15 Day £479 -749 D800 Body Only��Exc - E+ £499 -579 D800E Body Only�� E++ £699 D810 Body Only �� E+ £929 -949

Olympus E3 Body + HLD4 Grip �� E++ £199 E3 Body Only ��E+ £179 E410 + 14-42mm + 40-150mm�� E++ £169 E420 + 14-42mm��E+ £119 E5 Body + HLD4 Grip�� E++ £499 E5 Body + HLD-4 Grip �� E++ £499 E5 Body + HLD4 Grip�� E++ £499 E510 + 14-42mm + 40-150mm�� E+ £139 -159 E510 + 18-180mm��E+ £159 Pentax K7 Body Only��E+ £169 Sigma SD Quattro + 18-35mm F1�8 Art��Mint- £849 SD10 + EF500 DG ST + Grip�� E++ £245 Sony A700 Body Only�� 15 Day £99 Alpha 5000 Body Only ��E+ £99 Alpha A380 + 18-55mm��E+ £99 Large Format Lenses Nikon 300mm F9 Nikkor M�� E++ £449 65mm F4 SW��E++ £399 -449 Rodenstock 210mm F5�6 Sironar N ��E+ £249 360mm F9 Apo Ronar�� 15 Day £149 75mm F4�5 Grandagon N��E++ £449 -479 75mm F6�8 Sinaron W�� E++ £249 90mm F6�8 Grandagon N�� E++ £349 Schneider 120mm F5�6 Apo Symmar��Mint- £299 121mm F8 Super Angulon ��E+ £149 150mm F5�6 Symmar S��E+ - E++ £229 -279 180mm F5�6 Apo Symmar�� E++ £349 180mm F5�6 Symmar S�� E+ £99 -249 240mm F5�6 Apo Symmar��E+ £349 28mm F2�8 WA Digitar + Rollei Control S��E+ £899 360mm F5�5 Tele Xenar��E+ £249 58mm F5�6 Super Angulon XL�� E+ £349 -399 65mm F8 Super Angulon �� E+ £149 -199 75mm F5�6 Super Angulon ��E+ £349 90mm F6�8 Angulon ��E+ £199 90mm F6�8 Super Angulon �� 15 Day £99 90mm F8 Super Angulon �� E+ £199 -249 Sinar 150mmF5�6 Sinaron S��E+ £99 210mm F5�6 Sinaron S��E+ £199 210mm F5�6 Symmar S��E+ - E++ £99 -249 65mm F4�5 Sinaron W�� E++ £429 Leica M Lenses 18mm F3�8 Asph M Black��E+ - Mint- £1549 21mm F2�8 M Black ��E+ £799 24mm F1�4 Asph M Black 6bit��E+ £3799 24mm F2�8 Asph M Black��E+ £1389 28mm F2 Asph M Black�� E++ £2249 28mm F2 Asph M Black 6bit�� E++ £1789 28mm F2�8 M Black ��Exc £549 Tri Elmar 28/35/50 F4��Exc £1699 35mm F1�4 Asph M Black 6bit��E+ £2699 35mm F2 Chrome (M3)��E+ £999 50mm F1�4 Asph M Black 6bit��E++ £2299 -2399 50mm F1�4 M Black 6bit ��E+ £1899 50mm F2�4 M Black 6bit ��Mint- £999 50mm F2�8 M Black 6bit �� E++ £699 75mm F2 Apo M Black 6bit��E++ - Mint- £1849 -2199 90mm F2 Apo M Black 6Bit �E+ - Mint- £1799 -2299 90mm F2 Chrome��E+ £549 90mm F2 M Black ��E+ - E++ £649 -949 90mm F2�5 M Black 6bit �� E++ £729 90mm F2�8 Black ��Exc - E++ £349 -499 90mm F2�8 Chrome��Exc - E++ £279 -299 90mm F2�8 M Black ��E++ £749 -849 90mm F2�8 Tele Elmarit 1��E+ £1099 90mm F4 Collapsible�� E++ £249 90mm F4 Lightweight Elmar��E+ - E++ £499 -599 90mm F4 Macro M 6bit �� E++ £1799 90mm F4 Macro M Set 6bit ��E+ £1749 Voigtlander 12mm F5�6 VM�� E++ £479 15mm F4�5 Heliar + Adapter��E+ - E++ £219 -230 15mm F4�5 VM + Finder�� E++ £369 15mm F4�5 VM Heliar II ��E+ £269 35mm F1�4 VM II Nokton SC ��Mint- £599 40mm F1�4 VM Nokton MC��Mint- £379 40mm F1�4 VM Nokton SC��15 Day - E++ £259 -369 50mm F1�1 VM Nokton�� E++ £549 Zeiss 15mm F2�8 ZM - Black��E+ £2299 18mm F4 ZM - Silver�� E++ £679 21mm F4�5 C ZM - Black��Mint- £629 25mm F2�8 ZM + Hood�� E++ £689

Leica R Lenses 15mm F3�5 R 3cam��E+ £1099 15mm F3�5 ROM ��E+ £2399 16mm F2�8 Fisheye 3Cam��E+ £649 19mm F2�8 R 3cam�� E++ £1099 19mm F2�8 ROM ��Exc £1799 21-35mm F3�5-4 Asph ROM�� E++ £1499 24mm F2�8 ROM �� E++ £999 28mm F2�8 PCS Shift �� E++ £979 28mm F2�8 R 3cam�� E++ £449 35-70mm F3�5 R Japan�� E++ £299 35mm F2�8 R 3cam�� E++ £349 50mm F1�4 R 3cam�� E++ £649 50mm F2 ROM �� E++ £499 60mm F2�8 R 3cam Macro �� E++ £399 60mm F2�8 ROM Macro��E+ £499 80-200mm F4 ROM��E++ £849 -899 80mm F1�4 R 3cam��E+ - E++ £1589 -1599 90mm F2�8 R��E+ £649 90mm F2�8 R 3rd Cam ��E+ £449 Nikon AF Lenses 10�5mm F2�8 G AF ED DX Fisheye�� E++ £229 10-24mm F3�5-4�5 G AFS DX ��E++ - Mint- £279 -319 12-24mm F4 G AFS DX ED�� E+ - E++ £249 14-24mm F2�8 G AFS ED��E+ - E++ £649 -749 14mm F2�8 AFD��E+ - E++ £549 -599 16-35mm F4 G AFS ED VR��E+ - Mint- £549 -619 16-80mm F2�8-4 E VR N�� E++ £599 16-85mm F3�5-5�6 G ED VR AFS DX��Mint- £199 16mm F2�8 AFD Fisheye�� E++ £379 17-35mm F2�8 ED AFS��E+ - Mint- £249 -499 17-55mm F2�8 G AFS DX IFED��E+ - E++ £349 -379 18-105mm F3�5-4�5 G AFS ED DX VR��E+ £99 18-135mm F3�5-5�6 G AFS DX �� E++ £109 18-140mm F3�5-5�6 AF-S G ED VR DX�� E++ £169 18-200mm F3�5-5�6 G AF-S DX ED VR II��E+ - E++ £189 -249 18-300mm F3�5-5�6 G ED AFS DX VR��E+ £399 18-35mm f3�5-4�5 AFD �� E++ £169 18-35mm F3�5-4�5 AFS��E++ - Mint- £409 -429 20-35mm F2�8 AF ��E+ £239 20mm F2�8 AFD��Mint- £299 24-120mm F3�5-5�6 ED AFD �15 Day - E++ £79 -139 24-120mm F4 AFS G ED VR��E+ - E++ £349 -439 24-50mm F3�3-4�5 AFD�� E++ £99 24-70mm F2�8 G AFS ED��E+ - E++ £599 -689 24-70mm F2�8E AFS VR ED ��Mint- £1349 24-85mm F3�5-4�5 G AFS VR�� E++ £259 24-85mm F3�5-4�5 G ED VR ��E+ £199 24mm F1�4 AFS G ED ��Exc - E++ £649 -799 24mm F1�8 AFS G ED ��E++ - Mint- £449 -479 24mm F2�8 AFD�� E++ £229 24mm F3�5D ED PC-E�� E++ £799 28-100mm F3�5-5�6 AFG��E+ £39 28-70mm F2�8 D AFS�� 15 Day £299 28mm F1�4 AFD�� E++ £1189 28mm F1�8 G AFS�� E++ £279 28mm F2�8 AFD�� E++ £139 35-70mm F2�8 AFD��15 Day - E++ £149 -399 35-70mm F2�8 AFN�� 15 Day - Unused £79 35mm F1�8 G AFS DX ��E+ - Mint- £79 -99 45mm F2�8 D PC-E ED Micro�� E++ £899 50mm F1�4 G AFS��E+ - E++ £189 -219 50mm F1�8 G AFS��E++ - Mint- £109 -119 55mm F2�8 AF Micro ��E+ £199 60mm F2�8 AFD Micro�� E++ £199 70-200mm F2�8 G AFS ED VR��E+ - E++ £629 -749 70-200mm F2�8 G AFS ED VRII ��E+ - Mint- £779 -1099 70-200mm F4 G AFS ED VR��E++ - Mint- £589 -669 70-210mm F4-5�6 AF�� E++ £49 70-210mm F4-5�6 AFD�� E++ £79 70-300mm F4�5-5�6 G AFS VR��E+ - E++ £229 -299 70-300mm F4-5�6 AFG��E+ - E++ £39 -49 70-300mm F4-5�6 ED AFD �� E+ £69 -119 70-300mm F4-6�3 G AF-P VR ��E++ - Mint- £199 -219 75-240mm F4�5-5�6 AFD�� E++ £79 80-200mm F2�8 ED AF ��E+ £199 80-200mm F2�8 ED AFD��Exc - E+ £249 -399 80-200mm F2�8 ED AFS�� 15 Day £249 80-400mm F4�5-5�6 AFD VR�� E++ £399 85mm F1�4 AFD��E+ - E++ £379 -499 85mm F1�4 AF-S G��E+ - E++ £649 -699 85mm F1�8 AFD��E+ £179

85mm F1�8 AF-S G��E++ - Mint- £259 -299 85mm F2�8 D PC Micro��E++ £699 -729 105mm F2�8 AFS G VR Micro��Exc - E++ £299 -449 180mm F2�8 ED AFD ��Mint- £449 200-400mm F4 G AFS VR II�� 15 Day £2399 200-400mm F4 G VR AFS IFED ��E+ £1639 200mm F2 G AFS VR�� E++ £2499 200mm F4 ED AFD Micro��Mint- £949 300mm F2�8 D AFS��Exc £999 300mm F2�8 D AFS IFED�� E++ £1799 300mm F2�8 D AFS II��E+ £1749 300mm F2�8 G AFS ED VR �� E++ £1949 300mm F2�8 IFED AF��Exc - E+ £649 -699 300mm F2�8 IFED AF-i��E+ £989 300mm F4 E PF ED VR AFS�� E++ £1289 400mm F2�8 AFi IFED ��E+ £1949 500mm F4 AFS IFED�� E+ £1749 -1849 600mm F4 AFi ED D��E+ £1999 600mm F4 AFS IFED��E+ £2399 600mm F4E FL ED VR AF-S�� E++ £8499 Sigma 120-300mm F2�8 DG OS HSM �� E++ £879 150-600mm F5-6�3 DG OS HSM C �� E++ £589 150-600mm F5-6�3 DG OS HSM Sport �� E++ £949 15-30mm F3�5-4�5 EX DG ��E+ £159 170-500mm F5-6�3 Apo��E+ - E++ £179 -199 20mm F1�8 EX DG ��E+ £249 24-105mm F4 DG OS HSM�� E++ £429 24mm F1�4 DG HSM A�� E++ £489 300mm F2�8 APO EX DG HSM��E+ £1099 30mm F1�4 DC HSM A��Mint- £259 55-200mm F4�5-5�6 DC �� E++ £49 85mm F1�4 DG HSM Art��Mint- £739 Tamron 10-24mm F3�5-4�5 Di II LD Asph�Mint- £219 15-30mm SP F2�8 Di VC - Nikon AF��Mint- £639 16-300mm F3�5-6�3 Di II VC PZD Macro��Mint- £229 200-400mm F5�6 LD�� 15 Day £139 24-70mm F2�8 Di VC USD�� E++ £459 28-200mm F3�8-5�6 XR��E+ £39 70-300mm F4-5�6 Di�� E++ £49 70-300mm F4-5�6 Di VC USD�� E++ £169 70-300mm F4-5�6 LD�� E++ £49 85mm F1�8 SP Di VC USD�� E++ £539 90mm F2�8 SP AF Macro ��E+ £129 Tokina 10-17mm F3�5-4�5 DX Fish Eye ATX��E++ £279 12-24mm F4 ATX PRO SD��E+ £159 35mm F2�8 ATX Pro DX Macro�� E++ £229 Zeiss 135mm F2 Apo ZF�2�� E++ £1049 135mm F2 Milvus ZF�2 ��Mint- £1199 15mm F2�8 ZF�2 ��Mint- - Unused £1149 -1649 21mm F2�8 Milvus ZF�2 ��Mint- £869 21mm F2�8 ZF�2 ��E+ £679 25mm F2�8 ZF��E+ £329 35mm F2 Milvus ZF�2 ��Mint- £599 35mm F2 ZF Distagon �� E++ £449 50mm F1�4 Milvus ZF�2 ��Mint- £689 50mm F2 ZF�2 Macro�� E++ £649 Pentax AF Lenses 14mm F2�8 SMC DA�� E++ £399 15mm F4 DA ED AL Limited�� E++ £249 16-50mm F2�8 A* DA SDM�15 Day - E++ £249 -549 16-85mm F3�5-5�6 ED DC WRE++ - Mint £299 -379 17-70mm F4 DA AL (IF) SDM��E++ £239 -249 200mm F2�8 DA* ED (IF) SDM��E++ - Mint- £499 -549 24-70mm f2�8 D FA HD ED SDM WR��Mint- £749 28-105mm F4-5�6 FA�� E++ £79 28-200mm F3�8-5�6 FA IF AL�� E++ £59 35mm F2�8 DA Macro HD��E+ - E++ £299 -349 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�8 SMC DA��E++ - Mint- £59 -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 DA-L ED�� E++ £159 70mm F2�4 DA Limited Edition �� E++ £279 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 Samyang 10mm F2�8 ED AS NCS CS ��Mint- £249 16mm F2�0 ED AS UMC CS��Mint- £199 24mm F1�4 AE ED AS UMC �� E++ £299 8mm F3�5 IF UMC CS II Fisheye �� E++ £149

Mirrorless Canon EOS M + 18-55mm�� E++ £179 EOS M3 Body Only��Mint- £229 Fujifilm X-A2 Body Only - Silver ��E+ - E++ £89 -99 X-A5 + 15-45mm��Mint- £249 X-E1 Silver Body Only��E+ £149 X-E2 Black Body Only ��E+ £189 X-E2 Chrome Body Only�� E++ £199 X-E2s Body - Silver�� E++ £249 X-E3 Body Only - Black��E++ £399 -429 X-E3 Infra Red Body Only��Mint £579 X-M1 Silver Body Only�� E++ £99 X-Pro2 Body + Handgrip�� E++ £659 X-Pro2 Body + MHG-XPro2 Grip��E+ £549 X-Pro2 Body Only + Case��E+ £599 X-T1 Body + VPB-XT1 Vertical Grip��15Day - E+ £199 -249 X-T1 Body Only��E+ £219 X-T10 Black Body Only ��E+ - Mint- £149 -199 X-T2 Body + VPB-XT2 - Black��E++ £529 -549 X-T2 Body Only - Black�� E+ £499 -529 X-T20 Body Only - Silver��Mint- £339 X-T3 Body Only - Black��Mint- £899 Leica CL + 18mm F2�8 - Silver Anodized��Mint- £2499 CL Body Only - Silver Anodized ��Mint- £1399 T Black + 23mm F2�� E++ £1299 T Silver + 18-56mm Asph�� E++ £1099 Nikon Z50 Body Only ��Mint- £649 Olympus E-M1 Black Body Only�� E++ £289 E-M1 II Body + HLD-9 Grip �� E++ £839 E-M1 II Body Only��15 Day - E++ £599 -789 E-M10 III Body Only - Black ��Mint £339 E-M5 Silver Body + HLD-6 Grip �� E++ £199 E-M5 II Metal Grip��Mint- £15 Panasonic G9 Body + BG-G9 Grip��Mint- £849 G9 Body Only�� E++ £779 GH5 Body + BGGHG Battery Grip�� E++ £949 GH5 Body Only�� E++ £849 G2 Body Only�� E++ £59 G90 Body Only��Mint £679 GF3 Body Only��E+ £49 GH4 Body + DMW-BGGH3 Grip��Mint- £499 GH4 Body Only��E+ £419 GM1 Body Only�� E++ £149 GX8 Body Only��Mint- £469 Olympus Micro 4/3rds Lenses 12-100mm F4 M�Zuiko Pro��Mint- £759 12-40mm F2�8 M�Zuiko��E++ - Mint- £449 -529 12-50mm F3�5-6�3 ED M�Zuiko �� E++ £129 12mm F2 ED M�Zuiko - SilverE++ - Mint- £309 -339 14-150mm F4-5�6 M�Zuiko ED �� E++ £249 15mm F8 Body Cap Lens��Mint- £45 17mm F1�8 M�Zuiko Silver��Mint- £259 25mm F1�2 M�Zuiko PRO��Mint- £639 25mm F1�8 M�Zuiko - Black �� E++ £179 30mm F3�5 M�Zuiko Macro��Mint- £159 40-150mm F2�8 M�Zuiko ED Pro�� E++ £679 40-150mm F4-5�6 ED M�Zuiko ��E+ £69 40-150mm F4-5�6 R ED M�Zuiko��E+ £49 45mm F1�2 M�Zuiko ED Pro�� E++ £739 45mm F1�8 M�Zuiko - Silver ��E+ - Mint- £109 -129 7-14mm F2�8 M�Zuiko ED Pro��E++ - Mint- £679 75-300mm F4�8-6�7 ED II M�Zuiko��E++ £279 -329 75-300mm F4�8-6�7 ED M�Zuiko - Black �Mint- £299 75mm F1�8 ED M�Zuiko - Silver�� E++ £399 9-18mm F4-5�6 M�Zuiko ED �� E++ £279 9mm F8 Fisheye Body Cap - Black ( BCL-0980 )��Mint- £55 Panasonic 100-300mm F4-5�6 G OIS��Exc - E++ £179 -239 100-400mm F4-6�3 Power OIS��E+ £869 12-60mm F3�5-5�6 G Vario OIS�� E++ £159 14-42mm F3�5-5�6 Asph OIS�� E++ £79 14mm F2�5 Asph ��E++ £109 -119 200mm F2�8 Power DG OIS + 1�4x DMW-TC �� E++ £1489 20mm F1�7 ASPH II��Mint- £179 25mm F1�7 ASPH ��Mint- £89 -99 35-100mm F2�8 GX OIS Vario ��E++ - Mint- £449 -499 42�5mm F1�2 Leica Nocticron DG Asph OIS�� E++ - Mint- £749 -789 45mm F2�8 DG Asph Macro�� E++ £299 DMW-TC20E 2x Teleconverter��Mint- £299

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When conditions are tough, the light is poor but the pressure’s on, the EOS-1D X Mark III lets you capture winning images before the competition. It’s the ultimate creative toolkit, with superb low-light performance, deep learning AF and 5.5K Raw video.

Sony’s full-frame mirrorless a7R IV reveals ever more overwhelming photographic vision, with expressive prowess once expected only in mediumformat cameras, and remarkably high speed in a compact body.

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Capture your life with more creative control

32.5

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£869

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MEGA PIXELS 10 FPS

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£1,149

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Take the next step in creative control, capturing beautifully detailed photos and stunning 4K movies with a lightweight and connected DSLR that inspires and rewards.

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Sony FE 200-600mm

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Ensuring excellent G Lens resolution and bokeh, this compact, lightweight, ultra-wide prime gives Sony’s full-frame users more freedom to shoot stunning landscapes and starscapes as well as capturing impressive video.

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Find out more at parkcameras.com Joby GorillaPod 3K Suitable for DSLRs & CSCs

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Lowepro Tahoe BP 150 Backpack

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Add a Hoya 77mm Pro UV for £73.95

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Lowepro FreeLine 350AW Backpack

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24.2

MEGA PIXELS 11 FPS

The SC-P900 manages to combine form with function, to great effect. The accuracy and quality of the output is further enhanced by the deepest blacks and an expanded blue colour gamut.

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24.5

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Epson SureColor SC-P900

3.2”

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24.2

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The D780 gives you everything you’d expect from a pro-calibre DSLR, and then some. A clear view. A long battery life. A tough build. Plus two fast, reliable AF systems, phenomenal tracking, wide ISO range, and more. Freeform or staged. NEW! Stills or movies. This full-frame DSLR is fearless.

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30.3

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20 fps

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TO OUR PARK CAMERAS FRIENDS AND FAMILY Due to new instructions from the UK government, we have closed our stores in Central London and Burgess Hill for the foreseeable future with immediate effect. You will be able to order online as usual and are still able to order using next day delivery. You can also speak to our expert team by phone on 01444 23 70 60, by e-mailing sales@parkcameras.com, or by getting in touch via Facebook, Twitter or the live chat facility on our website. All prices include VAT. See website for our revised contact centre opening times. All products are UK stock. E&OE. Please mention “Amateur Photographer” when placing an order. Prices correct at time of going to press; Prices subject to change; check website for latest prices.

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To advertise here, call Samuel Shaw : 07970 615618 Email samuel.shaw@ti-media.com Wanted CAMERA COLLECTIONS

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WANTED FOR CASH OR COMMISSION Film Cameras: Leica M,Leica R6-2/R8/R9,Leica Screw Leica copies, Nikon Rangefinder,Nikon F6/F5/F2H/F2T Canon F1,Contax RTSII/RTSIII/RXII/S2/N1/G1/G2/T/T2/T3 Contax 645,Bronica RF645/GS1/SQAi,Fuji 6x7/6x9/6x17 Hasselblad,Rolleiflex TLR,Rollei SL66/SL66E/SL66SE Konica Hexar, Mamiya 6/7/RZ67/645AFD,Pentax 67 Plaubel 670/W67/69W,Konica Hexar,Voigtlander Bessa Alpa,Compass,Ducati,Ektra,Foca,Gami,Ilford Witness Rectaflex,Robot,Tessina,Zeiss Contarex/Contax/Tenax

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Call us: 020 8867 2751 We can come to you (UK & Europe)

Accessories

LOOKING FOR FABRICS FOR A BACKDROP? Online Fabrics offer a Largest Selection of Textiles for all your Photography needs

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Cameras For Sale

Digital: Medium/High-End Nikon,Canon EOS,Sony,Fuji Leica M-Series/S-Series/X-Series/DMR/Q/SL Typ 601 Hasselblad H-Series,Pentax 645D/645Z,Phase One, Leaf Panoramic: Hasselblad XPan,Linhof Technorama etc Large Format: Arca,Ebony,Horseman,Linhof,Sinar etc Unusual Lenses: Angenieux,Astro Berlin,Boyer Cooke, Dallmeyer,Goerz,Kilfitt,Kinoptik,Meyer,Old Delft Pasoptik,Ross,Som Berthiot,Taylor Hobson,Zunow etc Binoculars: Leica,Zeiss,Hensoldt,Opticron,Swarovski Contact us now for our best price. Estate sales welcome. We can arrange free collection from you and delivery here for transactions over £500. Tel: 01736 719461 Fax: 01736 719538 Email:pwalnes@truemesh.com Website:www.peterwalnes.com Peter Walnes,PO Box 332,Penzance,Cornwall TR18 9DP

CAMERA HOUSE SALES & SERVICE - 07811 401 219 sales@camera-house.co.uk www.camera-house.co.uk

Equipment to sell? Great news! The global market for quality digital and film cameras, lenses and accessories is stronger than ever! With our worldwide network of customers we're paying the highest prices for Nikon, Canon, Leica, Fuji, Contax, Olympus, Panasonic, Sony, Zeiss, Voigtlander, Konica, Minolta, Sigma, Tamron, Tokina, Hasselblad, Pentax, Bronica, Mamiya and other top-quality brands.

Free Collection Contact Jonathan Harris for an immediate quote: info@worldwidecameraexchange.co.uk or phone 01277 631353 Same-day Payment Looking to buy? Please visit our website: www.worldwidecameraexchange.co.uk

Black & White Processing

Classic Dealer

PROFESSIONAL B/W COLOUR PRINTING

High Street Radio & Photographic

Hand Processing all types of films from 35m-5x4 Develop and Contacts £7.00 each 2 or more film £6.00 each Develop, 5x7s @ £15 per roll All printed on genuine b/w, colour papers. Any orders over £30, you will receive a FREE film!! Phone for price list of all services:

01442 231993 • www.khwp.co.uk Send cheque + £2 pp All work sent back first class post. Karl Howard, 16 Chalfont Close, Hemel Hempstead, Hertfordshire, HP2 7JR

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

Croydon Photo Centre

Specialists in Pre-owned LEICA, CANON, NIKON & OTHER CLASSIC EQUIPMENT Check out our website or call us

www.croydonphotocentre.co.uk

Tel 020 8688 9015

Photo Critique

Final Analysis Peter Dench considers... ‘Chapel Front’, 2020,

took a Mamiya 7 rangeﬁnder camera to my grandad’s funeral. I was shooting a reportage on Britain’s bad weather and it happened to be raining. I didn’t think anyone would mind. I was wrong. When I raised the camera to my eye as the coffin was pulled from the hearse, there was audible disapproval. Cameras at Dench family gatherings are for capturing fun, for photographing the living not documenting the dead. The morbid Victorians didn’t have such reservations. They died young, quickly and from a plethora of biblical epidemics. Infant mortality rates were high. With the invention of the daguerreotype in 1839, bringing a more affordable and instant method of portraiture to the masses, the popularity of death portraits increased. The photographs helped soften the bludgeon of grief – a precious memento mori. Women dead from consumption were posed elegantly reclined between living relatives. Eyelids of the deceased were propped open or eyes painted on them in the ﬁnal photograph. Often the dead appeared more alive in the photographs than the living. They remained still and therefore sharp during the secondslong exposure.

Funeral parlour photography When photographer David Stewart saw his mother in a chapel of rest, he remembers it being an unusual experience. Walking out, he wished he’d taken some photographs. When his father Geoffrey Valentine Stewart passed away aged 93, the opportunity was reprised and David took a tripod and 5x4 plate camera to the funeral parlour. Using the available lighting, he spent several hours in solitude, clinically documenting the scene: his father’s overlapping hands with stained ﬁngernails, a headshot with tight lips, the coffin poised under the cross of Jesus. Photographing death generally remains taboo despite it being something that is guaranteed for us all. Documentary photographers capture those deteriorating on hospital beds in care homes or in conﬂict. Artists have historically romanticised it with the mundane reality of death studiously avoided.

In this unﬂinching image ‘Chapel Front’ the viewer is front centre. The white satin and camera angle gives Geoffrey an expressionist twist – reverberations of Edvard Munch. A portrait of Geoffrey in his greenhouse once hung in the National Portrait Gallery as part of the Taylor Wessing Portrait Prize. Geoffrey found it hilarious and enjoyed standing alongside it listening to comments from visitors. This image won’t be submitted, because only portraits of the

living are accepted – and besides, David, who has had his work accepted a record 16 times, has a mandatory seven-year ban from entering after his 2015 win. It is on show as a 60x48in print as part of a set of ﬁve until 9 April (at time of going to press – please check with venue before visiting) at Wren London, and is as much about living and of a life lived – a very modern photograph updating a very Victorian practice. I wonder if David was tempted to take a selﬁe?

Peter Dench is a photographer, writer, curator and presenter based in London. He is one of the co-curators of Photo North in Harrogate and has been exhibited dozens of times. He has published a number of books including The Dench Dozen: Great Britons of Photography Vol 1; Dench Does Dallas; The British Abroad; A&E: Alcohol & England and England Uncensored. Visit peterdench.com 82

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

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