WHAT DIGITAL Win

JUNE
2016

Four MAGIX
XARA
software
packages
to give
away

Fuji X70
p 70

Ways with
wildflowers
p 38

Full
test Technique

Sony A6300
The CSC that thinks its a DSLR 2.4 MP EVF Superb AF Weather-sealed body

Introduction
to Lightroom
p 17

Canon custom
Technique functions
Nikons
advanced DOF
Landscape Olympuss
hidden
features
details Superzooms
p 25

Ditch the sweeping vista

Five lenses that cover all bases

The UKs most comprehensive listings

Wondering about the latest gear? Find out how we rate 536 cameras and lenses
 


   


 

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 JUN E 2 016
WELCOME

p52 Top Tips p25 Master your Canon Tests you

can trust
To ensure the camera you buy doesnt
disappoint, every camera that passes
through the hands of What Digital
Cameras technical team is put through
a series of tests. From high-spec DSLRs
through to entry-level compacts, they are
subjected to a series of rigorous tests in
our lab, with results analysed by the very
best industry software. This makes our
reviews the most authoritative in the UK.
p66 Sony A6300 We test for colour different sensors and
camera image processors can interpret
colour differently. We then get down to
the nitty-gritty of resolution, with our lab
tests showing us exactly how much detail
each camera can resolve. Then we look
at Image Noise. Finally, we get out and
shoot with every camera and lens in real-
world conditions just as you will, to nd
out how they perform.
ISO 100

In this issue COLOUR

ON THE
4 Incoming 52 Abstract landscapes COVER
Subjecting each camera to our
colour chart test reveals any
The latest products to hit the photography world How to take inspirational pictures of landscape details variation and differences in colour
between Raw and JPEG le formats.

10 Things to try 59 Top 5: Superzoom lenses

ISO 100
Photographic inspiration for the coming month The best superzoom lenses on the market ON THE COVER

17 Essential guide: Lightroom CC 64 Accessories

Getting the most from your images ON THE COVER The latest kit for you and your camera

22 Portfolio 66 Sony A6300 ON THE COVER

Another readers stunning photographs showcased The impressive A6300 is tackling DSLRs head on 22

25 Master your camera

ON THE
COVER 70 Fuji X70 ON THE COVER RESOLUTION
Our resolution chart reveals exactly
Canon customising, Nikon sharpness and Olympus secrets This outstanding high-end compact has a lot going for it how much detail a sensor can
resolve and its measured in lines per
picture height, abbreviated to l/ph.
28 Subscribe! 74 Western Digital My Cloud EX2
Make sure you receive your copy of WDC every month We test a backup drive thats ideal for photographers ISO 100

ON THE
38 Technique :wildflowers COVER 76 Aurora HDR Pro
The techniques you need to shoot these short-lived owers Software for processing high dynamic range images

44 Expert guide: Sony A6000 78 Buyers guide ON THE COVER

Why the Sony Alpha 6000 is still a great camera Our comprehensive DSLR and CSC camera listings

48 Help 82 Listings NOISE

All the camera-buying advice youll ever need Our comprehensive lens listings The diorama is used to ascertain
how image noise is handled through

51 Competition 98 7 essentials
an ISO range. Some cameras
ON THE COVER produce cleaner results than others.

Win one of 4 Magix Xara software packages worth 49 each Tripod alternatives to help keep your shots sharp

WWW.WHATDIGITALCAMERA.COM 3
 INCOMING

Panasonic Lumix
DMC-GX80
ANDY W E STL A KE
The GX80
features a tiny
built-in ash
with a hotshoe
alongside it.
HIGHLIGHTS
SENSOR 16MP Live MOS
LENS MOUNT Micro Four Thirds
DUAL IS 5-axis in-body stabilisation working
with 2-axis in-lens
ISO 200-25,600 (extendable to 100-25,600)
FOCUSING 49-point AF system
WEIGHT 426g (with battery and card)
PRICE 509 (body only)
First

P
look
anasonic was the rst
company to make
a Compact System
Camera in the form of
the Lumix DMC-G1 in 2008, and
since then it has experimented Dual microphones
with a range of body designs record sound during
and sizes. With the new video recording, but
mid-range GX80, it has revisited theres no socket for
essentially the same template as an external unit. The viewinder
the popular GX7 from 2013, provides 100%
making a compact rangender- coverage of the
style body with a tilting screen frame.
and built-in EVF. There are a few
omissions for example, the EVF
is xed rather than tilting but in
exchange you get all Panasonics
latest technology, most notably
a new dual IS system that
combines 5-axis in-body image
stabilisation with 2-axis optical
IS when using suitably equipped
lenses. This being Panasonic,
The GX80s
DMW-BLG10E
theres also 4K video capture
battery is charged
and its associated 4K Photo using the cameras
mode for extracting 8MP stills Micro USB socket.
from 30fps 4K footage.
The GX80 will be available Built-in Wi-
from early May for 509 body allows remote control
only, 599 with the 12-32mm from a smartphone or
f/3.5-5.6 OIS pancake zoom, or tablet and sharing of
729 in a dual-lens kit adding the images.
compact 35-100mm f/4-5.6 OIS
telezoom. Three colour options
will be on offer: all black, silver cameras. However, for the rst technology, which uses 6fps. Switch to 4K Photo mode
and black, and silver and brown. time, the rm has removed the knowledge of the lenss optical and you can shoot at 30fps then
optical low-pass lter, which characteristics when the image easily extract 8MP stills from the
Features should eke out a little more is out of focus to determine how footage a feature none of its
The GX80 has a pretty solid resolution. The sensitivity range to achieve correct focus. The direct competitors can match.
feature set, although there is is now ISO 200-25,600 as GX80 is capable of continuous Panasonic has also included
nothing much thats clearly new. standard, with an extended shooting at 8fps at full an all-new shutter mechanism
It uses the familiar 16-million- ISO 100 option. resolution; if you want it to in the GX80. This uses an
pixel MOS sensor thats in most Autofocus uses Panasonics refocus between frames, the electromagnetic drive with two
of Panasonics Micro Four Thirds Depth From Defocus speed drops to a still-impressive solenoids operating the shutter

4 WWW.WHATDIGITALCAMERA.COM
 WHATS N EW THIS MON TH

The GX80 packs Panasonics new

GX80 combines 5-axis
Panasonics latest in-body stabilisation with
4K video recording
Dual IS system,
for better results
curtains, which is said to reduce
shutter-related vibrations by
90% and cut operational noise
as well. In use, the GX80s new
shutter operates with a quiet,
discreet snick and certainly feels
much softer. If this isnt enough,
a silent and shock-free electronic
shutter is also on hand offering
speeds of up to 1/16000sec.
Perhaps the biggest news is
that the GX80 packs Panasonics
latest Dual IS system. Like the
GX8, the camera can use both
in-lens and in-body IS together
for better results. However, the
GX80 now offers ve axes of
in-body correction, including for
rotation around the lens axis,
which tends to be important
for long exposures. Our initial
impression is that the GX80s
IS system works very well for
both stills and video recording.

Build and handling

In-hand, the GX80 feels very
nicely made and quite heavy
for its size. The handgrip is just
large enough to wrap your
ngers around, with a well-
dened space to place your
thumb. The control layout
perhaps isnt the best youll nd,
but its logical enough and works
reasonably well out of the box.
Many of the controls are user
congurable, including the twin
command dials, four external
Fn buttons, and ve on-screen
function buttons. The menus are
relatively well organised and
logical, so its fairly easy to nd
your way around the camera and tilt mechanism, the camera is Both of the twin command dials and the
set it up how you want. noticeably more compact most function buttons can all be congured by the
obviously, the viewnder eyecup user, the menus are logical, and the rear
touchscreen is tiltable
Viewfinder doesnt stick as far out the back
and screen of the camera. The 2.76-million- in the 4:3 ratio. Meanwhile, the
Broadly speaking, the GX80 uses dot panel has a 16:9 aspect ratio, rear screen is a 1.04-million-dot
the same viewnder and screen which gives an impressive touchscreen that tilts 80 up and
as the older GX7, with the main widescreen view for video 45 downwards. This is really
difference being that the EVF is recording but a somewhat useful for shooting video or stills,
xed. Without having to t in a smaller view when shooting stills either at waist level or overhead.

First impressions of the GX80

The GX80 feels much more like the GX7s
spiritual successor than the GX8 did impressive
as that camera undoubtedly is. Similar in size,
design and layout to the GX7, it also comes to
market at an attractive price. Considering its
sophisticated dual image stabilisation and 4K
video recording, it looks like a compelling option
for enthusiast photographers who are also
interested in exploring the creative opportunities
afforded by movie making. In terms of design
and styling, the GX80 isnt as charismatic
as many of its direct competitors, but my
initial impression is that its Panasonics
best-judged CSC design for some time.
Its competing in a very strong area
of the market, but has enough
distinguishing features to stand
out and hold its own.

WWW.WHATDIGITALCAMERA.COM 5
 I NC O MIN G
1 2
3 4
1 Lee Filters New Grads
FROM 62 www.leelters.com
In the past, LEE Filters ND grads in medium
and very hard versions were only available
as custom-made lters for professionals.
Theyre now available to all those who use the
Seven5, 100mm and SW150 systems. Theyre
available in 0.3ND (1 stop), 0.45ND (1 stops),
0.6ND (2 stops), 0.75ND (2 stops), 0.9ND (3
stops) and 1.2ND (4 stops) strengths.
2 Sony FE 70-300mm
1150 www.sony.co.uk
Sony has added the FE 70-300mm f/4.55.6
G OSS to its growing range of E-mount lenses.
6 WWW.WHATDIGITALCAMERA.COM
3 Cullman Ultralight Sport
79 www.intro2020.co.uk
Designed for medium-sized DSLRs and
CSCs, the Ultralight Sports DayPack 300
bag features a camera compartment thats
accessed from the rear as well as the side,
a rain cover and a ventilation system to keep
it cool on your back.
4 Sony WPA 2016 winners
www.worldphoto.org
Take a look through the winners of the
Sony World Photography Awards 2016. The
exhibition is touring the globe and you can
view the winners on its website.
PEDRO-DIAZ-MOLINS
5 Huawei P9 smartphone
449 consumer.huawei.com
The Huawei P9 is the rst smartphone
co-engineered with the global iconic brand,
Leica. The P9 is equipped with a 5.2in 1080p
display and is powered by a new Kirin 955
2.5GHz 64-bit ARM-based processor. Its
claimed to excel in low light and features a
3,000mAh battery and monochrome mode.
6 Fujifilm firmware update
FREE www.fujilm.com/support
New rmware allows older models support
the focus limiter function on the XF 100-
400mm f/4.5-5.6 R LM OIS WR telephoto lens.
 T HE PICK OF THE B EST N EW KIT RELEA SED THIS MONTH

6 9 Tamrac HooDoo Bag 11 Sony FE 50mm f/1.8

90 www.intro2020.co.uk
This water-resistant backpack comes in two
sizes. The Hoodoo 18 (80) is designed for
small DSLRs and CSCs, whereas the larger
Hoodoo 20 can accommodate larger models
with extra lenses as well as a 15in laptop.
240 www.sony.co.uk
Sonys new nifty fty for full-frame E-mount
weighs just 192g and features a new optical
design with a single aspherical element. Its
a lens Sony Alpha 7-series users have been
longing for and one we cant wait to test.

10 Lee Filters Super Stopper 12 Nick Brandt

103 (100MM) www.leelters.com
With a full 15 stops of light-reducing power,
the Super Stopper sits alongside the Big
Stopper (10 stops) and the Little Stopper (six
stops). Its available to buy now for the LEE
Filters Seven5, 100mm and SW150 systems.
45 www.nickbrandt.com
Nick Brandts incredible new book, Inherit the
Dust, sees the photographer returning to East
Africa to photograph the escalating changes
to the continents natural envrionment and
the wildlife that lives there.

8 9

7 10 11

NICK BRANDT

7 Zeiss Batis 18mm f/2.8 12

990 www.zeiss.co.uk
This is the third full-frame lens to be added
to the Zeiss Batis range for Sony E-mount.
It joins the Zeiss Batis 85mm f/1.8 and Batis
25mm f/2 and inherits the OLED display
to clearly reveal focus distance information.

8 Sony RX10 III

1250 www.sony.co.uk
Boasting a 25x zoom (equivalent to a
24-600mm f/2.4 lens), the RX10 III features a
20.1MP, 1.0-type imaging sensor and 4K video
recording. It includes 1,000fps slow-motion
recording and a claimed AF speed of 0.09sec.

WWW.WHATDIGITALCAMERA.COM 7
 I NCO MIN G / T E C H THE LATEST TECHN OLOGY FROM

Asus Chromebit Apple

W W W. A S U S . C O . U K 8 9 . 9 9
The PC-on-a-stick is a pretty
remarkable creation. Just plug
the device into an unused
monitor, connect a mouse and
keyboard, and youve basically
got a brand new all-in-one.
While other brands have opted
for the Windows 10 option, Asus
has decided to use Googles
Chrome OS as the basis for its
new Chromebit device. And its
a choice thats paid off.
The unassuming black dongle
plugs into any HDMI socket,
iPhone SE
W W W. A P P L E . C O M / U K
instantly converting a FROM 399
monitor into a Chrome
OS desktop computer. The iPhone SE might look
Thanks to the relatively familiar, and thats because
lightweight OS, the it looks just like the iPhone 5S
Chromebit offers a Apple launched three years
refreshingly smooth ago. It has the same at back,
experience in comparison chamfered edges and, by todays
to competitors such as the standards, tiny 4in Retina display.
Intel Compute Stick, which It might look the same on
often struggles to run the the outside, but its thoroughly
bulkier Windows 10. have a Bluetooth keyboard modern inside. Theres the same
If you have an old monitor you and mouse lying around, the A9 chip found in the latest batch
want to revitalise, and happen to Chromebit is a no-brainer. MP of iPhones and 2GB RAM for
swift multitasking.
The fantastic camera from the
iPhone 6S is here too, complete

LG G5
W W W. L G . C O M / U K 5 2 9
with an f/2.2 aperture, a 12MP
sensor and Autofocus with Focus
Pixels for better colour accuracy.
Itll shoot 4K video too, and Live

L
G has completely rewritten the rulebook
for its 2016 agship the LG G5. Instead
of following on the blueprint set by the
G4, it has ditched the plastic and leather for
aluminium. Its a unibody, but with a difference.
Run your nger down the side of the phone
and youll feel a tiny button; press it and the
bottom of the phone pops off. This modular-like
design is a key selling point for the G5, and its
pretty cool. You can remove the battery and
swap it with a spare, great for long trips, but LG
is also selling what it calls Friends. These extra
modules add additional functionality, and the
coolest is a camera grip. Not only does this give
you a much bigger battery, but it includes a
camera grip and physical shutter button for
easier one-handed use.
Speaking of the camera, it also has a few tricks
up its sleeve. Theres not one, but two sensors on
BOOK REVIEWS
Photos. The front-facing camera
is less impressive, at just 1.2MP.
You can choose 16GB or 64GB
of internal storage and it runs
on iOS 9.3, which has a nifty new
Night Shift mode that should
improve your sleep by reducing
the amount of blue-light emitted
the back of the phone. One is your typical 16MP from the display.
camera with an f/1.8 aperture that captures really If youre looking for a small
nice shots with deep colours and lots of detail, phone, this is the one to get. MP
while the other lens is a wide-angle version. This
can see further than the human eye and makes
for slick-looking landscape photos.
Tucked inside is a lot of power. Theres a
Snapdragon 810 CPU, 4GB RAM, 32GB storage
and a slot for your microSD card. The display
measures 5.3in and has an eye-popping
2560x1440 resolution that looks great. MP

INTERNATIONAL yet. There are a variety of styles on

offer, from sweeping landscapes
BRUCE of his restrictive
upbringing. As
GARDEN to the most intimate macro DAVIDSON: well as the images
PHOTOGRAPHER shots. Professional and amateur MAGNUM and text, we nd
OF THE YEAR: photographers share the stage
demonstrating once and for all that LEGACY never-before seen
material from
COLLECTION NINE anyone armed with a camera and by Vicki Goldberg Davidsons private
by Tyrone McGlinchey and a little determination can give the P RE ST E L , 35 archive, giving us
Curtis McGlinchey most established This book looks a great insight into
GA R DE N WO R L D
IM AGE S, 2 5 photographer a run at Magum the photographers
This years for their money. Best photographer Bruce Davidson, process and philosophy. Even
International Garden of all, this collection a photographer notable for without these added elements, the
Photographer of the is a true inspiration his humanism and the near images here would have been worth
Year saw some of to anyone looking anthropological approach of his work. the price, but as it is, we have this
the competitions to get into nature Bruce was able to use his camera to embarrassment of riches to keep
strongest entries photography. OA release himself from the shackles ourselves absorbed. OA

8 WWW.WHATDIGITALCAMERA.COM
 T HI NG S TO T RY T H I S MONTH

10 WWW.WHATDIGITALCAMERA.COM
Try this Put people in the landscape
Most of us would shoot a scene such as this one with the aim of showing
it devoid of human presence. Such an approach would create a pleasing
image, but nothing that hadnt been seen before. Photographer Mark
Helliwell changed things up a bit by placing two people in the scene,
looking out towards the sea and taking in the last rays of the days sun.
While its clearly set up, the inclusion of the gures gives the image a
contemplative air that would be missing without them.
TOP TIP
When photographing a subject against a straight
horizon, consider whether your composition is
strengthened or weakened by keeping them below
the horizon line. Here, its denitely the former.
Nikon D300, 10-20mm, 20 seconds @ f/16, ISO 200
www.markhelliwell.com
 X X XNG
T HI X XSX XTO
X XTXRY
X X T H I S MONTH

Try this
Shoot black &
white infrared
Infrared photography has a very
particular look that, in the right
hands, can be ethereal and other-
worldly. Paula Cooper made this
image using a Panasonic G3 that she
had converted at Advanced Camera
Services in Norfolk. I went for a 720
nm lter, she says, which allows for
colour but gives good contrast for
black & white. You can start with
an screw-on infrared lter, but a
conversion gives much more freedom
to see the effect it has on what you
are photographing.

TOP TIP
Landscapes are the obvious subjects for infrared,
but Paula says that animals such as Highland
cattle, sheep, horses and dogs can also work well,
particularly against a dramatic, cloudy sky.
Panasonic Lumix DMC-G3 converted to infrared,
14mm, 1/200sec @ f/4.5, ISO 200
www.twitter.com/cottagearts

12 WWW.WH ATDIGITALCAMERA.COM
T HI NGS TO T RY T HI S MONT H

Try this Wait for the light TOP TIP

Mark Boyd was was returning from a day on the River Cherwell in
Rather than relying on post-production, consider
Oxfordshire, when he spotted this scene and realised it had all the makings
of a good photograph. Fortunately, the wind dropped, so the corn and
investing in a set of neutral-density grad lters, to
poppies were perfectly still. He waited for half an hour before taking the
ensure you get the exposure right in camera.
picture, to ensure the setting sun was in exactly the right place. The image
Canon EOS 5D Mark II, EF17-40mm f/4L USM at 20mm,
was a nalist in the Breathing Space category of the International Garden
1/6sec @ f/16, ISO 100
Photographer of the Year Competition. Visit www.igpoty.com
www.mbimagery.co.uk

ESSENTIAL GUIDE
Lightroom CC
Adobe Lightroom is the most popular image editing software on the market. We
nd out what it can do and how it can be used to benet your photography
T
he art of processing and
manipulating images is
nothing new. In the days
before home computers,
photographers would spend hours
under their darkroom safelights,
dodging and burning their prints.
Then, in 1990, Adobe released its
rst edition of Photoshop, ushering
in the transition towards digital
processing. While early versions
were fairly limited, yearly updates
brought increasing functionality to
the software and by the time the
1990s drew to a close, Photoshop
had established itself as the
industry standard image-editing
application. Despite this, it
remained prohibitively expensive.
To address this, Adobe launched
Photoshop Elements in 2001 as a
kind of slimmed-down and cheaper
version of the full-fat version. While
WORDS OAU DLEY JA RV IS
Elements made image editing more
affordable, it was never intended as
a complete solution.
By the mid-noughties, when
most photographers had embraced
digital camera technology, there
was increased demand for an
application more specically
tailored to their workow needs.
To this end, Adobe released
Lightroom in 2007. With a launch
price of 200, Lightroom v.1
offered what was, for the time,
a comprehensive toolset that
included Raw conversion, non-
destructive image editing and basic
cataloguing. Since then, Lightroom
has undergone numerous updates
to become much more powerful,
adding things like localised
adjustments and automated
lens-specic corrections to the
mix. In fact, many photographers
LIGHTROOM C C
amateur and professional alike
now routinely use it as their
primary image-editing application.
Unlike Photoshop, which is only
available through Adobes Creative
Cloud subscription plan, you can
still buy a boxed copy of Lightroom
6 (the current version) for around
110. You will need to pay for any
future upgrades, however, which
generally arrive around every 12-18
months. For this reason, you might
want to consider subscribing to
Adobes Photography package,
which bundles Lightroom and
Lightroom is Photoshop together for 8.57
specically designed a month (102.84 a year). While
to help youll never actually own a physical
photographers get copy of either application, you will
the best from their receive all the major software
images and can be
updates as soon as Adobe rolls
used on either Apple
OS X or Microsoft them out. In addition, youll also
Windows platforms gain access to a supporting cast
WWW.WHATDIGITALCAMERA.COM 17
 E SSE N T IA L GU ID E
of apps designed specically for
mobile devices. If youre still not
convinced, Adobe offers a free
one-month Lightroom trial. If youve
not tried it yet, then you really
should give it a go.
Lightroom frees you up to shoot
in Raw and obtain the very best
from your images. Over the next few
pages well take a closer look at
what it can do. Of course, we cant
cover absolutely everything, but
we hope to leave you with a good
overview of what its capable of.
Lightroom basics
The rst thing to understand about
Lightroom is that its very distinct
from Photoshop. While Photoshop
is incredibly useful, it is a much
broader application that is designed
to be used by all kinds of creative
digital media professionals.
Lightroom, on the other hand, is
specically for digital photographers.
In the broadest terms, Lightroom
aims to provide you with all the
tools you need to import, organise,
edit, export and share your images.
To facilitate this, Lightroom is
broken down into seven different
modules that are displayed along
the top right-hand side of the main
window: Library, Develop, Map,
Book, Slideshow, Print and Web.
Clicking on any of these will open
the user interface thats specic to
that particular module. Library deals
with importing, exporting and
organisation of your images.
Develop is the main image-
processing and Raw-conversion
module. Map allows you to group
images together by location. Book
allows you to create storybook
layouts for online self-publishing
service Blurb. Slideshow allows
you to build slideshows and export
them as movie les. Print contains
everything you need to print your
images. And, lastly, Web allows your
to build customised image galleries
and upload them directly to your
website. Lets now take a closer
look at each of these in turn.
Library module
This is where you import new
images to Lightroom as well as
export those that you have nished
processing. In addition, it can also
be used to browse images that have
already been imported, or to add
tags, captions and other metadata
to them. Lightroom supports all of
the most common image le types
18 WWW.WH ATDIGITALCAMERA.COM
The Library module can including RAW, JPEG, DNG, TIFF, belong to that particular folder.
be used to search
PSD, CMYK and PNG les, alongside Lightroom will regularly prompt you
through all of the images
inside a Catalog, and also a number of video les. to back up your Catalogs and this
displays a histogram plus New images can be imported is something you should denitely
metadata information for to Lightroom in a variety of ways. do especially if they contain
each image One important thing to grasp rst, hundreds of images that youve
however, is that Lightroom is invested a lot of time processing.
non-destructive. This basically Once youve decided which
means that your original images will Catalog you want to import a fresh
not be altered in any way, regardless set of images into, you need to
of how much processing you apply decide how Lightroom imports
to them inside Lightroom. The way them. You have a number of choices:
it works is that Lightroom creates Copy as DNG entails converting your
a Catalog, which is essentially a image les to the .DNG (universal
database that contains all the data Raw) format, moving them to a new
for each image, along with its location on your hard drive and then
location. You can ll these Catalogs importing them; Copy entails
with images, process them as you copying your les to a new location
see t and then export your and then importing them; Move
processed images to a new location.
Exported images are created as
unique new les distinct from the
originals. You can create as many
individual Catalogs as you want
and Lightroom will automatically
remember which images belong in
each, along with any previous edits.
How you organise your images
and how many individual Catalogs
you create is entirely up to you.
Some users choose to create a new
Catalog for every major processing
project they embark on, while
others lump everything together in
a single Catalog. You can quickly
and easily switch between catalogs
by clicking on the Open Catalog
command in the File tab at the
top of your computer screen. In
addition, its also possible to view
only the images that belong to a
particular image folder within any
Catalog. Youll nd these folders
listed on the left-hand pane of the
Library module under the Folder
menu; click on one and Lightroom
will only display the images that

entails moving the original les to
a new location and then importing
them; and lastly, Add imports your
original les directly from their
current location. Each of these
options has its own benets, but
if you are just starting out then
you may nd it easiest to put the
folder containing your new images
in a specic place on your hard
drive before youve even opened
Lightroom for example within
a sub-folder of a more general
photography folder on your
desktop and then select the Add
option. This way, you can keep all of
your original image les in one place.
In addition to using the Library
module to import photos, its also
where you export processed images
from. While in the Library module
the main window in the centre of
the interface displays thumbnails
of all the images inside the current
Catalog, simply highlight the ones
you want to export and press the
Export button. You can export
single images or batches of images,
and theres a huge array of options
when it comes to quality and sizing.
Adobe supplies a number of
one-click Export presets to help
speed things up, and naturally you
can add your own custom presets
to these. In addition to exporting
your images as JPEGs, you can also
choose to export them as .PSD,
.TIFF, or .DNG les. One other
You can export single images or batches of
images, and theres a huge array of options
important function of the Library
module thats worth remembering
is the ability to write additional data
to your images, such your own tags
and captions. The tools for this can
be found on the right-hand side of
the Library module.
Before we move on
to look more closely at
the Develop module,
one nal tool thats
available within the
Library module is the
Quick Develop tool.
This is found on the
right-hand side of the
window, just above the
Keyword and Metadata
tools. This time-saving
feature can be used to
process single or
multiple images using
stored presets. Adobe
provides a number of
ready-made presets for you to use,
The Develop module is but you can create your own or
where you make
install third-party presets, too. Any
adjustments to each
image. Unlike the adjustments made via the Quick
Develop module you Develop tool will automatically
can only view one image show up in the Develop module for
at a time. The lmstrip each image the preset has been
at the bottom of the
applied to (i.e. the sliders will all
window can be used to
skip quickly between automatically move to the right
different images place). While its obviously not a
LIGHTROOM C C
great idea to make sweeping
changes to the exposure settings
for all of your images in one go,
the Quick Develop function can
be useful if you want to apply a
uniform white balance or tone
curve to a batch of images, and
could save you quite a lot of time
compared to applying
the settings to each
individual image
inside the Develop
module.
Develop
module
The Develop module
is where youll nd
all the tools needed
to process your
images and bring
the best out of
them. Consequently,
its where youll likely spend the
majority of your time. While
Lightroom can be used to enhance
JPEGs, you will enjoy a far greater
amount of exibility if you work
with lossless Raw les instead.
This is because Raw les retain
all of the data captured by the
cameras sensor, which in turn gives
Lightroom much more to work with.
The Develop interface is actually
pretty straightforward, even if it
might appear daunting at rst.
Unlike the Library module, where
you can view thumbnails of all the
images inside a Catalog, in Develop
you can only view one image at a
time. The Filmstrip on the bottom
panel of the Develop module is used
to scroll through and open other
images inside the Catalog. The
Navigator panel in the top left-hand
corner can be used to select how
big you want to view the image. By
default, its set to Fit, which allows
you to view all of your image in the
main image window. If you choose
to work at 1:1 (100%) or above then
your image almost certainly wont
t on to the screen. In this case
you can use the small square inset
within the Navigator box to quickly
move around the image.
Directly below the Navigator
panel youll nd a list of Presets,
which are exactly the same as those
found within the Quick Develop
panel in the Library module. If
youve forgotten to use a preset on
WWW.WHATDIGITALCAMERA.COM 19
 E SSE N T IA L GU ID E

an image, then you can do so from
here, too. Below this is a Snapshots
option, which allows you to take
a snapshot of the image you are
currently processing so that you can
make quick comparisons at various
stages of its processing history.
Below this is the History panel,
which lists in chronological order
every individual edit youve already
made to an image. Clicking on any
edit in the list will take you to how
the image looked at that point of
the editing process. Right clicking
your mouse button allows you to
take a quick snapshot for easier
comparisons as outlined above.
Over on the right-hand side of
the Develop module is where youll
nd Lightrooms extensive list of
processing tools. At the very top
is a histogram that also supplies
basic camera data including shutter
speed, aperture and ISO settings.
You can actually use the histogram
to adjust the Blacks, Shadows,
Exposure, Highlights and Whites
of your image; simply hover your
cursor over the histogram until it
highlights the setting you want to
change, then left-click and move
your mouse left or right to adjust
it. Alternatively, you can also use
the individual sliders in the Basic
panel just below the histogram to
make these adjustments.
Adobe has added lots of useful
features to Lightrooms image
processing toolset over the years
and while the application still
doesnt allow you to work in layers,
you can use brushes to make a good
selection of localised alterations
including exposure, clarity,
saturation and sharpness. Alongside
the brush tool, you will also nd
a graduated neutral-density lter
tool, a red-eye reduction tool, a
spot cloning tool, and the crop
and straighten tool. If you do need
to work in layers and you already
own a copy of Photoshop (or if you The Map module works degree of control. While we dont
subscribe to Adobes Creative Cloud with Google Maps and have the space to go into detail
Photography plan) then the process
allows you to add about the specic effects each
location information to
of taking an image from Lightroom your images by placing of these tools have, most should
and opening it in Photoshop is them on a map be fairly recognisable to anyone
as easy as pressing the Edit in whos ever used an image-editing
Photoshop CC option, which youll application before. If youre using an
nd under the Image tab on the interchangeable-lens camera, then
top of your computer screen. one thing we do recommend doing
Below the Basic adjustments as a matter of course is checking
panel, youll nd separate Tone the Enable Prole Corrections box
Curve, Colour adjustment (including in the Lens Corrections panel. This
B&W conversion tools), Split Toning, basically uses stored lens data to
Detail (sharpening and noise), Lens automatically correct any distortion
Correction, Effects (vignetting) issues and also minimises unsightly
and Camera Calibration panels. chromatic aberrations. The results
Combined, they give you a huge are instantly noticeable, especially if

Lightroom Plug-Ins
Plug-ins are third-party add-ons that are
used to enhance the functionality of
Lightroom. As such, they are designed
to operate within Lightroom rather than
as standalone applications. That said,
some do open a new window within the
application. While professionally made
plug-ins generally cost money (and can
be quite expensive), there are many
thousands that can be downloaded and
used completely for free. In terms of
functionality, plug-ins can do all kinds
of things and while image processing
presets for Lightrooms Develop module
are by far the most common type, you
will also nd plug-ins that are designed
to make lighter work of exporting your
Lightroom images to blogs, social media
websites and cloud storage services. In
addition, there are are also plug-ins that
allow you to temporarily export and
process your Lightroom images in other
processing applications, for example
DxO Labs and Photomatix Pro.
Add-On Portal
C R E AT I V E . A D O B E .CO M /A D D O N S
Because there are so many plug-ins and
presets available for Lightroom, nding On1 Presets
one thats right for you can be quite
time-consuming and frustrating. Typing Free
W W W.O N 1 .CO M
something like Best free Lightroom
presets into Google, for example, returns
hundreds of results, many of which will In addition to offering an excellent range of paid-
take you to websites that appear to be for processing and effects applications, including
more interested in obtaining your email On1 Photo 10 and On1 Effects 10, American software
address than actually providing you with company On1 also offers a generous range of
any free presets. free Lightroom preset plug-ins. This includes two
One way round this is to use Adobes Signature collections, along with a range of
ofcial Add-on portal by typing in the other, more specialised preset packages that cover
address above (exactly as written, no everything from vintage looks to B&W treatments.
need to add www). Once youve opened
The presets are free to download direct from
the portal, click on Lightroom and then
the website, although you will need to supply
specify whether youre looking for a
an email address. Simply follow the installation
paid or a free plug-in. There are literally
instructions and youll be able to access them
thousands to choose from, plus a useful
search tool that can help to narrow
directly from the Presets panel in Lightroom.
down the results.

20 WWW.WHATDIGITALCAMERA.COM

youre using a wideangle lens thats
prone to barrel distortion.
Map, Book, Slideshow,
Print & Web modules
Beyond Library and Develop, the
ve remaining Lightroom modules
are primarily tools of convenience,
which is to say they aim to make
lighter work of doing specic things
with your photos once youve
nished processing them. While
most photographers are unlikely to
spend a great deal of time in any
of them, they are nevertheless still
worth exploring.
The main function of the Map
VSCO Films
From 40
WWW.VS CO.CO/STO R E
VSCO offers a range of professionally crafted
Lightroom preset plug-ins that aim to reproduce
the look of classic lm. There are seven individual
collections, each of which costs around 40 and
concentrates on a particular genre of lm. These
include: 01 Modern Films, 02 Classic Films, 03
Instant Films, 04 Slide Films, 05 Archetype Films,
06 Alternative Process Films, and 07 Eclectic Films.
In addition to the actual presets themselves,
VSCO also provides custom camera proles for
each collection, in order to increase the accuracy
of each lm type even further. A full list of
compatible cameras is available on their website.
module is that it enables you to
geotag your images with the help
of Google Maps. You can, of course,
do this in real time with the aid of
a smartphone while you are out
shooting, or you can do it in the
Map module afterwards. While using
the Map module is slightly less
accurate than using an app on your
smartphone to create a tracklog
that plots your precise route and
then sync it with Lightroom, its
also less time consuming, less ddly
and still remains accurate to within
a few metres.
To use the Map module simply
zoom in on the map and then drag
and drop the image(s) on the
precise location where they were
taken. Lightroom will then import
longitudinal and latitudinal data
from Google Maps, which will be
added to the images metadata le
when you export it.
The Book module allows you to
create storybook layouts that
are compatible with online self-
publishing service Blurb. Youll
nd all the same tools provided
by the companys bespoke
application. If you dont want to
order through Blurb, you can also
use the Book module to produce
PDF or JPEG book layouts that you
Google Nik Software
Free
WWW.G O O G L E .CO M / N I KCO L L E C T I O N
Nik Software has been making plug-ins for
Photoshop since 1995. These days the company
is owned by Google, which recently made the
Nik range free. There are seven plug-ins, each of
which is concerned with a specic task: Analog select a specic percentage of that particular
Efex Pro 2 offers a range of classic lm and
camera presets; Colour Efex Pro offers colour
correction and creative effects; Silver Efex Pro
enables professional-looking B&W conversion;
Viveza offers precise toning and colour control;
HDR Efex Pro enables stunning HDR effects;
Sharpener Pro enables professional-grade image
sharpening; and Dne offers precise noise control.
LIGHTROOM C C
can export to your own computer
and print yourself.
The Slideshow module is, as the
name suggests, used to create
slideshows. Lightroom gives you
a range of tools, including intro
and ending screen, drop shadows,
background images, watermarks
and suchlike. You can also add your
own music tracks to accompany
them. They can be exported as MP4
movie les in a range of quality
options including 720p HD and
1080p Full HD. Alternatively, you
can export them as PDFs.
Also fairly self-explanatory is the
Print module, which allows you to
print images directly from Lightroom
rather than having to open up a
separate application. Naturally, it
offers all the regular quality and
sizing options youd expect, along
with paper type selection and
colour management options. If you
have a wireless printer, then you can
set it up from inside Lightroom.
Finally, the Web module is
dedicated to the creation of image
galleries for the internet. In addition
to a wide range of layout, template,
captioning and watermarking tools,
you can also choose whether the
nished page is displayed via HTML
or Flash. Once your page is ready,
Capture Monkey
The Fader Free
W W W.C A P T U R E M O N K E Y.CO M
This useful bit of freeware allows you to
control the opacity of your processing presets.
Whereas most presets can only be turned on
or off, with The Fader installed, you are able to
preset. According to its makers, The Fader
will automatically re-compute the values for
each setting and move the various sliders
accordingly. From here you can, of course, make
your own adjustments. And since The Fader
ranges from 1% to 150% you can even choose
to over-process your presets if thats the kind
of look youre after.
WWW.WHATDIGITALCAMERA.COM 21
 PORTFOLIO

Lee Acaster
N O R F O L K
1

A
lthough Id always had an
interest in photography,
it was only when I moved
to East Anglia around ve years
ago that it really took hold. Ive
always been moved by dramatic
light and skies, and the large
open atlands of the fens and
subtle beauty of the east coast
really accentuated that. I found
myself disappointed with the
shots I was taking, however, until
I was given a present of a
workshop with a local landscape
photographer. It really helped
me understand the techniques
involved in capturing what I saw.
I have a young family and a
business to run, therefore my
opportunities for photography
are often limited to the hours
around dawn, but the light at
this time of day can be so
breathtaking that Ive become
addicted to these early starts.
Those transitional moments
when the rst rays of light start 2
to colour the landscape, or an
approaching storm signals a
sudden change in the light are
worth the effort alone. However,
by trying to capture such
moments in an
image, I can hold
onto them, and
hopefully a little
of that feeling
comes across
when other
people see them.

WWW.LEEACASTER.COM

LEE USES A
Sony A7R

My main kit used to comprise two Canon

EOS 5D Mark II bodies, one of which is
converted to infrared. However, I recently
bought a Sony A7R and am changing
over to mirrorless. I most often use a
Zeiss 18mm f/3.5 Distagon and Canon
70-200mm f/2.8, a Gitzo tripod with
Manfrotto 410 geared head, and couldnt
do without my Lee/Nisi lter system.

22 WWW.WHATDIGITALCAMERA.COM
 THE READER selected for Portfolio will receive an ultra-reliable Samsung SDHC PRO 32GB Class 10
memory card. It has transfer speeds of up to 90MB/s and will
withstand the harshest conditions. Visit: www.samsung.com

1 Hopton-On-Sea, Norfolk 3
The rst hint of the sun rising over the sea defences
on a wintry east coast morning.
Canon EOS 5D Mark II, Zeiss Distagon T* f/3.5,
30 seconds @ f/8, Little Stopper

2 Saxtead, Suffolk
On a recent visit to Saxtead Post Mill, a dramatic dark
sky provided me with a great backdrop.
Canon EOS 5D Mark II (infrared), Zeiss Distagon T*
f/3.5, 13 seconds @ f/16, Little Stopper

3 Walberswick, Suffolk
After a few failed visits, I was rewarded with great
conditions, a dark sky, bright sunshine and wind
blowing the grasses.
Canon EOS 5D Mark II (infrared), Zeiss Distagon T*
f/3.5, 0.5secs @ f/11, Little Stopper

4 Knettishall Heath, Suffolk

I love wandering through the woods, which I do
at least one morning a week.
Sony A7R, Sonnar T* FE 55mm F1.8 ZA, 1/125sec @ f/8

5 Herringeet Smock Mill, Suffolk

A snow shower moved across the sky as the sun
broke through the clouds behind me.
Sony A7R, Sonnar T* FE 55mm F1.8 ZA, 1/200sec
@ f/9, 11-shot stitched panoramic
4

WWW.WHATDIGITALCAMERA.COM 23
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excluding Bank Holidays)

MASTER YOUR CANON
Using custom functions
on your Canon DSLR
There is a raft of customisable options on the
Canon EOS 7D Mark II. We guide you to the most
useful ones and how to make the most of them
WORDS TOM CALTON
E
very photographer will
inevitably have their own
style of shooting. What one
person might dene as the
perfect setup could quite possibly be
the worst arrangement for another.
Canon is seemingly aware of this
issue and in response has kitted the
7D Mark II with a plethora of
customisable settings to allow the
photographer to mould the camera
to their own specic personal tastes.
Sadly, though, all too often this is an
area that snappers will either overlook
or dismiss entirely, usually because
the thought of delving into the depths
of the cameras settings can seem
something of a daunting experience
especially if theyve never
attempted it before. However, this
couldnt be further from the truth, and
once youve grasped the basics, itll
soon open up the door to a whole
world of customisation options that
are sure to improve your shooting
experience, and with it your
photography as well.
The total list of adjustable settings
and options on the 7D Mark II is just
far too long to go over in just a few
USIN G THE CA N ON EOS 7 D M K II
MICHAEL TOPHAM
pages, but to get you started were If you get to grips with the Settings Menu as well, pressing it
going to highlight what we would the various custom inward to conrm your choice.
consider to be some of the most functions youll be able
to improve your
important options that you should be photography ISO expansion
adjusting in order to better tailor your Straight out of the box, the Canon 7D
camera to your needs. Mark IIs ISO sensitivity is able to span
Starting with the basics, the main from 100 to 16,000. But, did you know
Settings Menu is accessed by pressing that you can expand this setting even
the Menu button, which is located on further to 25,600 and 51,200 through
the back of the camera. The Settings the settings menu? To do this, start
Menu consists of six main categories off by entering the Settings Menu by
that are separated out into different pressing the Menu button. Once there,
tabs at the top of the screen. Each scroll across to the second set of
category has a series of sub- options under the red camera icon
categories within it that are denoted listed as SHOOT2. The second
by a series of small pips to the left
and just beneath the row of main ISO expansion
tabs. Scrolling through these options
is easy just use the main command
dial on the top of the camera to scroll
horizontally through each of the main
and sub-categories, while the rear
command dial on the back of the
camera can be used to scroll vertically
through each of the displayed
options. The Set button is used to
conrm your choice, whilst pressing
the Menu button will take you one
step backwards. Alternatively, you can
use the thumb joystick to navigate
WWW.WHATDIGITALCAMERA.COM 25
 M ASTE R YO U R CA NON
option from the top of the list
should be ISO Speed Settings; select
this and press the Set button to enter
it. In the next window, choose the
option ISO Speed Range and hit Set
again to enter this option. From this
window you can add a cap on the
highest and lowest ISO settings that
can be accessed. As weve already
mentioned, by default the maximum
is set to 16,000, but scrolling over the
Maximum setting and pressing Set will
allow you to increase this further to
either 25,600, or all the way to the
51,200 ceiling. Hit enter to conrm
the choice and then press the Menu
button a few times to back all the way
out of the Settings Menu. Now, when
you press the ISO button, you should
be able to access the H1 (25,600)
and H2 (51,200) options that were
previously greyed out and unavailable.
Its worth noting, however, that ISO
51,200 is only usable when taking still
photography and is not accessible
when in the video record mode.
Long Exposure
Noise Reduction
The Long Exposure Noise Reduction
setting is an incredibly useful tool
thats designed to increase image
quality when shooting with very long
exposures. When activated, the
camera will take a second blank
exposure immediately after your rst
exposure has nished, using the same
shutter speed as the original photo.
The camera then combines the two
exposures in-camera to remove any
excess digital noise that has been
generated as a result of using a long
exposure. The slight downside is that
it will inevitably slow the pace of your
shooting as the image will take double
Step by step
Accessing
and using
the Settings
Menu with
your Canon
DSLR
26 WWW.WHATDIGITALCAMERA.COM
Long exposure noise reduction
AF Microadjustment
the amount of time to capture, but
generally its worth it for the increased
image quality. Rather than having the
mode on all the time, we recommend
only activating it when needed.
To activate this, head to the main
Settings Menu and scroll across to the
third sub-category underneath the
camera icon (listed as SHOOT3).
From the list, highlight the Long exp.
Noise Reduction option and press the
Set button. From here there are three
options, Off, Auto and Enable. Auto
mode will enable the noise reduction
for any exposure that is longer than
one second where the camera detects
exposure noise. Enable mode will
STEP 1
In order to access the main settings menu, locate
the Menu button, which is positioned at the top-left
corner on the back of the camera directly below
the On/Off switch.
apply noise reduction to every image
that has an exposure of more than
one second.
AF Microadjustment
If youre fanatical about sharpness or
simply want to ensure that you are
getting the most from your cameras
AF, the Microadjustment setting will
be right up your street. This allows
you to adjust how the cameras AF
system works in order to correct any
forward- or back-focusing issues you
may be experiencing. In order to do
this correctly, though, youll need a
tripod and an AF Focusing Chart.
Professional calibrating equipment
such as the Datacolor SpyderLenCal
(47) are available, though there are
also freely available printable versions
online if youre on a budget.
To access the Microadjustment
setting, press the Menu button to
access the Settings Menu, then scroll
across to the fth and nal sub-
category (AF5) under the purple
AF tab. Now, highlight the AF
Microadjustment option and press
Set to open it up. Here youll be
These are two of the most shown three different options: disable,
important custom which deactivates the changes you
settings youll want to have made, All by the same amount
master in order to
which will apply changes to every lens
improve your shooting
experience and your that is attached to the camera, and
image quality nally Adjust by lens, which allows
you to make varying adjustments
based on each lens you use. To make
an adjustment using either of these
options, highlight it and press the Info
button, then use the command dial to
make an alteration. If you make a
mistake or simply want to undo any of
the adjustments youve made to the
AF Microadjustment settings, press
the Rubbish Bin button at the bottom
left of the camera.
STEP 2
Use the main command dial just behind the shutter
button to quickly navigate horizontally through the
various categories and sub-categories within the
Settings Menu.
 USIN G THE CA N ON EOS 7 D M K II

Orientation linked AF point

Try using the
Long Exposure
Noise Reduction
feature to
produce cleaner
long exposure
results at night

Orientation Linked
AF Point
First introduced on the original 7D, the Orientation
Linked AF Point option allows you to set up to
three different AF point selections, which will alter
depending on whether you are holding the camera
landscape, portrait with the grip pointing upwards,
or portrait with the grip pointing down. This can be
incredibly useful if you nd yourself often switching
between orientations as it allows you to dene
different active AF points for each orientation, instead
of having to manually alter them each time you switch
from portrait to landscape.
To activate this mode, press the Menu button, then
scroll across to the fourth set of sub-categories within
the purple AF settings (shown as AF4). Now, select
Orientation Linked AF Point and press Set to enter
this option. In the next window youll see three options.
Same for both vert/horiz is the default mode and will
mean that the activate AF point will remain the same
no matter how you hold the camera. Separate AF pts:
Area + pt will allow you to dene differing activate
MICHAEL TOPHAM

AF points and AF formations for each orientation,

while Separate AF pts: Pt only will only adjust the
active AF point position for each orientation, keeping
the AF formation the same throughout.

STEP 3 STEP 4 STEP 5

Once youve located the list of settings you would like With the option you wish to alter highlighted, press Once youve nished adjusting the settings, press the
to alter, use the rear command dial on the back of the the Set button in the centre of the rear command dial Menu button a few times until you have backed out of
camera to scroll up and down the list. to select the setting and adjust it accordingly. the Settings Menu entirely.

WWW.WHATDIGITALCAMERA.COM 27
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XWC CODE 13C
 A DVA N CED DEPTH OF FIE L D
MASTER YOUR NIKON
Advanced depth of field
with your Nikon DSLR
Macro photographers are
used to dealing with limited
depth of eld, where the
zone of sharpness measures
just millimetres
Controlling the zone
of acceptable sharpness
is vital to successful
image making
WORDS AND PICTURES MARK HIGGINS
D
epth of eld is the term
given to the zone of
acceptable sharpness in
a photograph. In reality,
only the exact point you have chosen
to focus on and anything that falls
within the same plane will be
completely sharp, but an area in front
of and behind your subject will also
appear to be sharp.
Learning how to control your
depth of eld is crucial to successful
image making. Using it creatively
allows you to highlight key elements
of the picture, while downplaying
potential distractions. Ultimately it
leads to images that have greater
clarity and impact.
Changing the
aperture
Three main factors affect the depth
of eld: the size of the lens aperture,
the focal length of the lens, and the
camera-to-subject distance. Lets
look at each of these in turn.
The most common way to alter
depth of eld is to change the lens
aperture (or f/stop). Generally
speaking, wide apertures (small
f-numbers) produce shallow depth
of eld, and narrow apertures (large
f-numbers) produce deep depth of
eld think small number small depth
of eld, big number big depth of eld.
However, if you want everything
in the frame to be sharp, then
selecting the narrowest aperture is
not necessarily the best course of
action. This is because every lens has
a sweet spot an aperture at which it
performs best, providing the sharpest
results. This sweet spot is usually
around the middle of the aperture
range (say f/8 or f/11), and locating
it has never been more important,
as explained on page 31.
When you use a narrow aperture
WWW.WHATDIGITALCAMERA.COM 29
 M ASTE R YO U R N IKON
with a high-resolution sensor (say
20-megapixels or more) the light only
has a small hole to travel through, and
it is forced to hit the sensor at an
angle. This angle stops the light from
reaching the bottom of all of the
photodiodes on the sensor (think of
these as little buckets gathering light
as it pours in through the lens). The
higher the resolution, the smaller the
photodiodes, and the harder it is for
light to reach the bottom of each one,
which leads to image softness.
Some sensors have micro lenses to
help direct light into the photodiodes,
but if you want to ensure front-to-
back sharpness its still good practice
to use mid-range apertures. (In the
Step by step
Checking
depth of field
with your
Nikon DSLR
30 WWW.WHATDIGITALCAMERA.COM
For ultimate sharpness, selecting the
narrowest aperture is not always best
days of lm the light-sensitive surface
was at, so there were no bucket
lling issues to contend with.)
Changing the
focal length
One way to change the appearance
of depth of eld is to change the focal
length of the lens. Its a commonly
held belief that wideangle lenses
produce deep depth of eld and
The closer you focus the telephoto lenses produce shallow
lens the shallower the depth of eld, but its more
depth of eld will be complicated than that.
Hyperfocal distance
calculators
One way to maximise depth of
eld is to calculate the hyperfocal
distance a job that used to require
a complex formula, and plenty of
experimentation. Thankfully, you
can now use online calculators and
apps to carry out the maths for you.
A quick trawl of the internet
brings up DOFMaster (www.
dofmaster.com), a handy (and free)
hyperfocal distance calculator.
To use it just enter the make and
model of your camera, input the
focal length of your lens, ll in the
aperture, and enter the camera-to-
subject distance. When you press
calculate the program comes back
with all the information you need to
guarantee front-to-back sharpness.
ONE
Mount your camera on a tripod. This will ensure that
the camera-to-subject distance does not change,
which allows you to alter one variable at a time.
To understand whats going on
would require an entire magazine full
of diagrams and comparison charts,
but if you are really interested in the
science then download the Depth of
Field and Bokeh guide by H. H. Nasse
from the internet, and prepare for
some serious strain on the brain.
For most of us its enough to
know that wideangle lenses give the
appearance of deep depth of eld and
telephoto lenses give the appearance
of shallow depth of eld so a 24mm
lens has a greater apparent depth of
By way of an example, if youre
using a Nikon D700 with a 35mm
lens at f/16 and the camera-to-
subject distance is 100 metres, the
program brings back a hyperfocal
distance of 2.59 metres. So if you
were to focus the lens manually
at 2.59m the depth of eld will
extend from slightly in front of
this point to innity.
Dont be afraid to use technology
being able to calculate hyperfocal
distances in your head does not
necessarily make you a better
photographer. And dont feel
that you need to calculate the
hyperfocal distance every time
you shoot a picture; its there to
assist you not to enslave you.
TWO
If youre using a zoom lens, set an appropriate focal
length for the subject doing so will ensure that this
one variable does not change.
 A DVA N CED DEPTH OF FIE L D

eld at f/8 than a telephoto lens at Wide apertures (small

the same aperture. Basically, its down f-numbers) produce
to how the light behaves, and the laws HOW TO shallow depth of eld,
FIND THE while narrow apertures
of physics.
SWEET SPOT (large f-numbers)
ON YOUR LENS produce deep depth
Camera-to-subject of eld
distance To nd the sweet
A lesser-known way of controlling spot, attach
depth of eld is to change the your camera
camera-to-subject distance. The to a tripod and
closer you focus the lens, the stick a sheet of
shallower the depth of eld is. So
newspaper (or
if you are using a 50mm lens at f/8
anything with
and you focus on an object two
small print) to
metres away the depth of eld will
a wall a few
be shallower than if you use the same
metres in front of

lens and aperture and focus on an
object 10 metres away.
Close-up photography is a good
example of this: shooting subjects
extremely close to the lens results
in depth of eld that extends to just
a few millimetres, even when using
narrow apertures.
But confusion can arise when you
shoot a subject that is a long way
away from the camera. In such
instances depth of eld is also very
shallow. This is because when we
focus on a distant object we often
use a telephoto lens and, as we have
observed, telephoto lenses produce
shallow depth of eld.
At this point its worth dispelling
a common myth about depth of eld
and sensor size. Its often said that
depth of eld is shallower on a camera
with a full-frame sensor than a camera
with a cropped sensor. This is not the
case. Putting a cropped sensor behind
a lens does not change how the lens
behaves, or the depth of eld.
A cropped sensor shows a portion
of what the lens is actually capable of
seeing, which gives images the
TRACY HALLETT
you. Ensure the
paper and wall
are completely
at. Use a spirit
level to position
the camera so appearance of greater depth of eld. If you change more than one
its parallel to To allow for this crop we often move variable at a time you might be
the wall. Using further away from the subject thrown by the results, and you may
Aperture Priority, (changing the depth of eld) or use never know which one was the most
focus on the a different focal length (altering the effective in that instance. When you
newspaper and appearance of depth of eld). adjust camera-to-subject distance,
take a picture In reality depth of eld is exactly the effect is obvious, which is why its
at each full the same on a full-frame sensor as it such a good place to start. If you can,
aperture. Review is on a cropped sensor. If youre not leave changing the f-stop to last.
the pictures on convinced then take a look at Matt When we learn about depth of eld
a computer, Grangers Sensor size and depth of we tend to focus on changing the
eld video on You Tube and you aperture to increase or decrease the
zooming in to
soon will be. zone of acceptable sharpness. But,
100%, checking
as we have seen, there is more than
contrast and
sharpness. Look
Putting everything one way to determine which elements
at the EXIF data to
into practice are sharp, and which fall out of focus.
Having covered the three main factors Depth of eld can be as
ascertain which that affect depth of eld its time to complicated or as straightforward
aperture provides put what we have learned into as you like, but the most important
the best results. practice. To begin with try adjusting thing is to get a feel for it. Dont worry
Repeat with all just one factor at a time, starting with about the maths or the physics behind
your lenses. camera-to-subject distance, and then it simply shoot, observe, and adjust
review the results on a computer. as necessary.

THREE FOUR FIVE

INTERVIEW BY TRACY HALLETT

Select a suitable aperture for the subject. Most Focus the lens. Depth of eld covers the subject and Shoot and review the image to check that the depth
lenses do not perform at their best at minimum an area slightly in front and behind the subject, so of eld is adequate. If not, use a smaller aperture, a
and maximum apertures, so experiment with experiment with positioning the focal point. shorter focal length lens, or move further away from
mid-range settings. the subject.

WWW.WHATDIGITALCAMERA.COM 31
 

 

 


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 HIDDEN FEATUR E S
MASTER YOUR OLYMPUS

Hidden features of
your Olympus DSLR
Many of us are not aware
of the useful features
buried in the menu. Here
are three that will help
improve your images
WORDS AND PICTURES STEVE GOSLING

N
ot that long ago, SLRs
were relatively simple
affairs two rings around
the lens for aperture
selection and focusing, a dial for
setting shutter speeds, another for
adjusting the ISO, and a shutter
release. But camera design and
technical sophistication have come
a long way since then.
Now, cameras are really computers
for taking pictures, crammed full of
the latest technology. In recent years,
autofocus has become commonplace
(with a multitude of focus points
available to the user at the touch of
a control), shooting speeds of 5fps
or more are standard fare and the
ability to shoot at high ISOs is taken
for granted. As photographers, we
have become spoilt, but our appetite
for technological innovation never
seems to be satised. And camera
manufacturers are only too happy
to oblige adding more and more
features at every camera release or
rmware upgrade.
Do we need these features to
make us better photographers? No,
of course not. It was and is possible
to get great shots with very simple
equipment. But (and it is a big but)
many of the features built into
21st-century cameras make life
a lot easier, almost guaranteeing
a successful result in terms of
technical achievement. For example,
multi-pattern metering systems have
become so sophisticated and so allows more energy to be devoted to High Resolution Based on my experience of
effective that 99.9% of the time, the creative process. For example, Ive Composite mode running workshops for Olympus,
produces very
left to their own devices, they will previously written about the Live Bulb I know that when photographers are
high-quality,
produce an acceptable exposure. feature in the Olympus cameras that detailed images shown some of the OM-Ds features,
Importantly, by reducing the takes all the uncertainty out of long they are impressed and enthusiastic
amount of time and effort the exposure photography and allows the about the potential impact on their
photographer has to invest in photographer to concentrate on photography. But many users are not
achieving technical perfection aesthetics (WDC, October 2015). aware of all the facilities available to

WWW.WHATDIGITALCAMERA.COM 33
 M ASTE R YO U R O LYMP U S
Step by step
Keystone
Compensation
while shooting
STEP 1
Turn Keystone Compensation on in
Shooting Menu 2.
STEP 2a STEP 2b
Frame the shot and adjust the effect in
the display using the front and rear dial.
Select the area to be recorded using the
directions buttons (located around the
OK button).
To adjust aperture, shutter speed, and
other shooting options while keystone
compensation is in effect, press the INFO
button to view a display other than
keystone compensation adjustment.
To resume keystone compensation,
press the INFO button until keystone
compensation adjustment is displayed.
STEP 3
Take the shot. Remember to turn off
Keystone Compensation in Shooting
Menu 2.
34 WWW.WHATDIGITALCAMERA.COM
Without keystone correction
them before coming on the course.
This is the potential downside of
technological sophistication some
useful features are buried away in the
menu system, discovered only by the
avid reader of camera manuals.
With this in mind I want to mention
three features of Olympus cameras
that users might not be aware of or
have not tried out:
O Keystone Compensation
OHigh Resolution Composite Mode
OSilent Shooting Mode
Please note that the camera needs to
be operating with the latest rmware
for these features to be accessible
and functioning as described.
Keystone
Compensation
This feature offers in-camera
correction for converging verticals
useful for architectural shots to avoid
photos with buildings looking as if
they are leaning over or for keeping
elements in the landscape (e.g. trees)
appearing upright in the nal image.
In the past this could only be achieved
by using the tilt/shift and rise/fall
features of a large-format camera or Converging verticals produce a 40MP JPEG le or 64MP
by buying an expensive and purpose- are a common problem Raw les. Three le types are
built tilt/shift lens for a DSLR. in architectural produced: a Raw le, a JPEG and
photography. Using the
With the OM-Ds, this can now be Keystone Compensation an ORI le (the latter is one of the
carried out in camera using software function allows you to eight Raw les used to compose
corrections by employing two correct this in camera the nal blended image).
methods, either 1) while shooting This mode produces very high-
using the controls on the camera or quality detailed images and is ideal
2) using the RAW/JPEG edit function for still-life studio shots, macro
while viewing images in playback photography or landscape images
mode. See Step by Step 1 (left) to nd where there are no moving elements
out how to use the rst method. in the frame.
To use method 2, press the play The camera does need to be
back button and select the image you mounted on a stable tripod and
want to adjust. Press the OK button nothing can move between each of
and select either Raw le or JPEG the eight exposures (if they do then
edit, then press OK again. Navigate to they cant be blended successfully
Custom 2 and enable Keystone
Compensation. Press the info button
and make the changes to the image
using the control dials; once youre
happy, press the OK button twice
Step
and the changes will be applied.
This feature is available on the
by step
Olympus E-M1, E-M5 II, E-M10 II and
PEN-F cameras.
High
High Resolution
Composite Mode
Introduced with the E-M5 II model,
Resolution
this mode employs the in-body image
stabilisation system to move the
Composite
sensor by half a pixel for a maximum
of eight sequential exposures and Mode
then blends those in camera to
 HIDDEN FEATUR E S

With keystone correction

The E-M5 II features
silent shooting Step by step
mode, in which the Silent
camera becomes Shooting Mode
virtually inaudible STEP 1a

at the current time is the E-M5 II

(although the recently released PEN-F
can also shoot in High Res, producing
50MP JPEG and 80MP Raw les as
well as adding the ability to use this STEP 1b
mode with ash).

Silent Shooting Mode

and artefacts become apparent in the
nal image). So, for example, its not
suitable for landscapes where clouds,
water or windblown foliage appear in
the shot.
There are other limitations, too.
A maximum of ISO 1600 is required,
Another feature introduced with the
OM-D E-M5 II is the silent shooting
mode once turned on, the camera
becomes virtually inaudible (it also Select Anti-Shock/Silent in Shooting
turns off AF sounds). Fantastic for Menu 2; press OK and select Silent and
wildlife, wedding, performance or then choose the interval between the
candid street photography where any shutter button being pressed and the
noise could be either disruptive to shutter ring.
proceedings or alert the subject to
STEP 2
the fact that a photograph is being
taken and therefore spoil the moment.
When using the silent shutter,
sequential shooting of 11fps becomes
available and shutter speeds from
1/8sec to 1/16000sec can be utilised.
The latter also enables a fast lens to Select Sequential Shooting/Self timer
be used wide open in bright sunlight via the Super Control Panel and select
without employing an ND lter.
one of the items marked y using the
However there are a couple of
front control dial; press OK.
disadvantages rstly, with fast
moving subjects you may see rolling Shot using silent mode

shutter speeds cannot exceed eight
seconds and an aperture smaller than
f/8 cannot be used.
However, within these limitations,
this is a very useful innovation that
produces higher resolution les with
more detail and the added benets
of eliminating moir and reducing
noise at ISO 1600.
The only OM-D that has this feature
shutter artefacts and smearing in the
nal photograph; secondly, using the
silent shutter under uorescent or
LED lighting can cause stripes to
appear in the image. Neither of these,
however, detract from the value of the
mode used in the right circumstances.
Cameras with this feature are the
Olympus E-M1, the E-M5 II, the E-M10
II and the PEN-F.
Take the shot.

STEP 1a Mount the camera STEP 2a Ensure that the High STEP 3
on a tripod and go Res Shooting mode is
to Shooting Menu 2; selected in the Super
select High Res Shot Control Panel (found
and then choose the in the Sequential
delay period (ideally Shooting/Self timer
use a cable release STEP 2b option).
STEP 1b but if not select a 2
second delay to
avoid vibration). Ensure the ISO doesnt exceed 1600,
the aperture f/8 and the shutter speed
8 seconds; take the shot!
FU JI FIL M X - S E R IE S

The rear screen of the X-Pro2

is a higher resolution, so its
great for checking details in
set-ups, says Wayne Johns

Pro WAYNE JOHNS

Wayne is a
worldwide fashion,
beauty, portrait and
advertising
photographer. He
has produced
images for Vogue
Italia, Marie Claire,

View
GQ, Next, Seven
Skies Perfume,
Coca-Cola Fuze,
Ultimate Rush,
LOral, and featured
in other magazines,
books and the web.
He and his team
work out of London
studios and other
worldwide locations.
www.waynejohns.
Photographers Jim Marks and Wayne com
Johns deliver their verdict on shooting
with the X-Pro2
 A DV ER TISIN G FEATUR E

What are your first youd even think its

impressions of the X-Pro2?
Ive shot with the X-Pro1 for
many years. It was the rst
camera that got me into
the Fujilm X-series
system. On picking up the
X-Pro2, for me its an
evolution. What I like is
they havent taken the
whole concept and thrown
it away; the X-Pro2 is
simply better in every area.
How did you find the
changes to the handling?
electronic any more, which
I think is the best praise I
can give it.
How have you found the AF?
The AF system has come
JIM MARKS on leaps and bounds when
Jim has spent 30 you compare it to the early
years lighting and
days of the X-Pro1. At the
directing the
improbable, seeking beginning with the X-Pro1
out arresting images before Fujilm made some
to sell you things rmware updates, I wasnt
you never knew you sure. Id come from using a
needed. From music DSLR and it wasnt as
to meatballs to
good, but with the X-Pro2s

J I M M A R K S . I M AG E S TA K E N F O R R E VO L U T I O N M AG A Z I N E
game consoles, his
I have the original camera focus is relentless. advanced AF system, its
and the new one, and Any success he not even an issue. Its
handling-wise its a subtle enjoys he puts down quick, locks on where you
evolution. I think the to one rule: Always want it to, and its silent.
strive to be the most
biggest change are the enthusiastic idiot in
buttons at the back the the room. www. Can you sum up the X-Pro2
handling is much more marks.co.uk in one word?
intuitive. Its better You wanted one word, but
designed, but still familiar to the X-Pro2 is like that second
previous models. Its made from a album. It could have been difcult,
huge chunk of lovely metal so that they could have ruined it, but they
you can drop and abuse it, and havent. It sets Fujilm up really
hopefully get many years of use out nicely and is a fantastic introduction
of it. I love the new viewnder too. to the new 24.3MP X-Trans CMOS III The new 24.3MP X-Trans
Electronic viewnders have really sensor, which is going to do CMOS III sensor delivers
come of age. Theres no reason why amazing things. Its a great camera. impressive levels of detail

Does the X-Pro2 feel any different in
your hand compared to X-series
cameras youve previously used?
Yes it does. Fujilm has worked a bit
of ergonomic magic. The redesign
of the front nger grip and rear
thumb grip is great.
Taking all the buttons from the
left side of the rear LCD, as it was
on the X-Pro1, and moving them to
the right side of the screen to
enable single-handed operation was
brilliant. Its operation/adjustment
functionality is much quicker and
much more intuitive now. Love it
Whats your favourite new feature?
It has to be the dedicated joystick
for controlling the focus points. It
has made life so much quicker and
easier in those environments where
that function is needed its an
ideal addition to your shooting
workow. Its probably my most
used function next to shutter speed
and aperture adjustment; I always
tend to shoot in Manual mode.
How does the new sensor perform?
Now this is a beautiful addition and
a step up from its predecessors. Ive
only shot with the X-Pro2 prototype
so far, but Im still really impressed!
Id already been impressed with the
X-T1s 16.3MP X-Trans CMOS II
sensor I must have been for it to
replace my Canon kit. But to now
have a new 24.3MP X-Trans CMOS III
sensor with a newer/faster
processor, this little beast is not to
be sniffed at. Its a tremendous
camera full of advanced features.
How have you found the new
viewfinder?
Its very clever. Shooting in optical
viewnder mode, but still having an
EVF overlay genius. For my studio
work though, I nd that I switch to
EVF mode for most of my shooting,
especially as theyve increased the
refresh rate from the X-T1s 54fps to
a staggering 85fps. Its a beautiful
viewnder with virtually no lag
very nicely done!
Has the handling improved?
It is a vast improvement. The new
button conguration layout is a joy
to use; moving all the main
function/control buttons to the right
side of the body for use with the
right thumb is fantastic. Once you
program your brain to remember
the layout and button functionality,
working with them while shooting is
a dream, and the left hand can stay
under the camera for support and
to change your aperture on the lens.
Finally, how would you describe the
X-Pro2 in one word?
One wordseriously?just one
word..Mmm..Addictive!

For further information, and special offers and competitions

visit www.amateurphotographer.co.uk/fujifilm-x
 TECHNIQUE

Flowers in the
landscape
Colin Roberts shares the techniques
you need to capture these short-lived
and fragile owers
WORDS AND PICTURES COLIN ROBERTS

Soft light is always

a good option when
shooting owers, such
as these vipers bugloss
at sunrise
 WILDFLOW E R S

F
ew things enhance the
landscape like drifts of
wildowers, and if they are
growing en masse they
become the dominant feature. Of
course, they can be a challenging
subject to photograph short-lived,
fragile, and sometimes hard to locate
but with a little in-depth knowledge
and the right techniques they can
make inspiring images.

Light
As with many natural subjects, light
is a big factor, so it pays to think
through the type of image you want
to capture and visit your location
when conditions are right. Soft light
is always a good option for shooting
owers and foliage as the lack of
strong shadows allows plenty of detail
to be revealed so take advantage of
overcast weather whenever you can.
Of course, the strong sidelight at
sunrise or sunset will inject a lot more
drama, so for a more striking image of
wildowers youll need to shoot when
the sun is low in the sky.
Most of my favourite wildower
images are shot at rst light, but this
type of image doesnt come easily.
Being on location for sunrise around
midsummer can mean setting out at
4am or earlier if you need to travel
by car, and then on foot to a remote A low angle Composition focal points, try to convey depth, and
spot, so forward planning is essential. of light adds shape and The grandeur of a wildower incorporate any curving pathways
A bit of research can reveal vital texture to heather landscape can get lost if the that lead into the scene. Try tilting
details: for example, some owers composition isnt structured carefully. your camera angle down slightly in
only open when the sun is quite high It pays to work your way around the order to include more foreground
in the sky, so theyre not suitable for location, shoot handheld from several that way the owers will be more
low-light shots. Also, remember that angles and then weigh up your prominent and there will be less sky
many wildowers continually turn to results. Images are often more in the image. When shooting species
face the sun, tracking its movement effective if they are dominated by just with smaller ower heads, such as
across the sky. This can affect your one or two colours, so in a meadow of ox-eye daisies and clover, try moving
choice of viewpoint, especially if you mixed owers try to isolate areas in close with a wideangle lens to make
want to avoid shooting a meadow of where one or two species prevail. them loom large in relation to their
owers which are facing away from Techniques for general landscape surroundings; otherwise they can look
the camera. composition are all valid, so watch for too small to have a real impact.
KIT LIST

Polarising filter Versatile

I use a polariser on all of my tripod
wildflower images to cut reflections Meadows and
and enrich colour. The effects are hillsides typically
especially marked when the flowers have marshy or uneven
and foliage are moist. ground, so a tripod
with legs that can
be independently
positioned is
Wildflower handbook essential. I have
A handbook is useful for identifying both Benbo and
wildflowers. It will also tell you how long Manfrotto models
each species will remain in bloom so you can and find them to
return when conditions are better. Try Wild be perfect for
Flowers of Britain and Ireland. the job.

WWW.WHATDIGITALCAMERA.COM 39
 T E CH N IQU E WILDFLOW E R S

ALL PICTURES COLIN ROBERTS

A moon daisy

Top tips meadow. It certainly

pays to research and
think through the
type of image you
want to achieve

In the mist
Keep in mind the potential of a misty
atmosphere during wildower season.
Theres a natural t between a morning
mist and swathes of wildowers, so visit the
best locations when the time is right.

Water works
Moisture enhances the look of wildowers, making their colours more
intense, so try to capture them on clear mornings when the dew is heavy.
Alternatively, shoot after rain while theyre still wet and their foliage has
Colour combinations been washed clean and glossy.
Look for interesting combinations of colour
where two species grow side-by-side. The
mix can be harmonious, like red poppies
and pink campion; or contrasting, like
yellow weld and purple thistles.

Wind-blown
Dont be put off by gusty winds. One way
to exploit it is to lengthen your shutter
speed and create an impressionistic effect
by showing the owers in motion.

Closer views
When moving in close on one or more
ower heads, with careful framing its
still possible to include the surrounding
countryside, throwing it out of focus.

40 WWW.WHATDIGITALCAMERA.COM


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 W I LD F L OWE R S TECHN IQU E

Sea thrift Kimmeridge shot with

a Canon EOS 5D Mark II,
18mm, 6secs @ f/16,
Sea thrift, or sea pink, is a wildower
ISO 100, Lee 4-stop ND
that grows on sandy, well-drained soil
and polariser
in full sun; it is particularly associated
with coastal locations, where it thrives
on cliff-tops. As its alternative name
suggests, its round owers are vivid
pink. It grows about a foot high,
usually in clumps or mats and blooms
in late spring; mid-May is often the
key time in the UK. For many people
a carpet of bright pink thrift on the
cliff-top heralds the arrival of summer.
To nd thrift, head to the coast and
seek out sunny cliff-tops. When you
nd a suitable location, its worth
spending some time to nd the best
viewpoint. Thrift looks its best if you
can ll the frame with the colour, so
look for a spot where the carpet is
nice and thick, as well as an
interesting background. It will also
help the composition if there are they remain quite still even in a fairly
some small gaps here and there,
to provide some contrast.
stiff breeze.
For maximum impact, get in close Tip: Butser Hill
To make the most of the colour, with a wideangle lens. The owers will A prime spot for shooting wildower landscapes is
shoot in the golden light of early then seem to stretch out in front of Butser Hill in the South Downs National Park. The
morning or evening. The best time the camera, exaggerating the size of most prolic wildowers to be seen are the clovers,
will depend on your chosen location the carpet. Try to frame your shot so vetch, knapweed and ladys bedstraw, which bloom
and the direction of the sunrise and there is a clear focal point in the throughout June and July. There is scope for a variety
sunset. Still conditions are preferable, background such as a headland, of compositions, but the most dramatic views are
so that the owers dont sway during lighthouse or rock stacks. Traditional, on the north-east side where the land drops away
the exposure, but that said, their well-balanced compositions work steeply. From this position you can ll the foreground
stems are quite strong and wiry, and best, so stick to convention and with drifts of owers, while showing a patchwork of
as the owers dont grow very high, follow the rule of thirds. elds far below as a backdrop.

Using a fairly slow

shutter speed I moved
the camera smoothly
from the tops of the
trees down to the
heather, pressing
the shutter button
halfway down

Go abstract
Heathland can be a great place to experiment with different techniques.
Try forsaking the small apertures and resulting shallow depth of eld
usually favoured for landscape images and shoot wide open, preferably
with a telephoto lens. Focusing on a point of interest in the distance, a lone There is a
tree for example, will render the foreground heather as a glorious pink blur. huge variety of
You can take this a step further by using intentional camera movement wildowers to be
seen at Butser Hill,
(ICM), which involves deliberately moving the camera during the exposure.
Hampshire

WWW.WHATDIGITALCAMERA.COM 43
 EXPERT GUIDE
This well-specied CSC is a serious alternative to a DSLR
Sony A6000
W W W. S O N Y. C O . U K
S
ony released the A6000
in 2014, having decided
to ditch the NEX
branding used on its earlier
Compact System Cameras.
The A6000 replaced the
popular NEX-6, which housed
a DSLR-sized sensor in a
stylish, compact body.
The body is made of
composite materials, but has
a solid feel, while the grip is
larger than its predecessors.
To improve handling, Sony
separated the Mode and
Control dials, placing them
side by side on the top plate.
In short, the A6000 is a
well-designed camera with
plenty of dedicated dials
and customisable buttons.
The LCD screen and
electronic viewnder deserve
a mention. The rst is a 3in,
tilting affair, with 921,600
dots, which is about standard
for a camera of this type.
However, it has no
touchscreen elements. The
viewnder is electronic, and
offers 100% eld of view, but
its lower resolution than that
used by the NEX-6, and lacks
the on-screen level gauge
employed by its predecessor.
In addition, the eye sensor
switching between the
viewnder and LCD screen
is much too sensitive.
The sensor is a 24.3MP
affair, featuring angled
micro-lenses to assist light
gathering and improve image
quality, especially at high ISOs.
Its paired with a BIONZ X
processor. This is the muscle
behind the hybrid AF system,
which uses 179 phase-detect
points and 25 contrast-detect
In the range How the Sony A6000 tted in the range
A5000 A6000
44 WWW.WHATDIGITALCAMERA.COM
What our
test said
The Sony A6000 was always going to be
up against it, facing some stiff competition
and replacing a model which had stood in
the range for some four years.
So, while the A6000 may see its
viewnder downgraded compared to
the NEX-6, just about everything else is
a step forward.
The good news, however, is that on
the whole its an impressive model. It
features an impressive specication with
some standout features, including the
blisteringly fast AF performance and an
impressive burst mode.
On the whole, its difcult to pick out
any substantial aw on the camera, and
its safe to say that its one of the most
impressive CSCs on the market.
Intelligent AF-A
features for the
rst time on a
Sony E-Mount
A range of camera PROS CONS
accessories can 24.3MP APS-C type Viewnder smaller
be xed to the CMOS sensor and lower resolution
multi-interface Hybrid AF system than NEX-6
hotshoe locks on quickly Eye sensor for
11fps speed Full viewnder too
HD video recording sensitive
GOLD
How it stacks
up today
In March, Sony released the A6300, which
sports a brand new 24.2MP sensor, 425
phase detection AF points, 4K video
capture and High-density tracking AF
(enabling the camera to activate a large
number of AF points around a subject
LAUNCH 7 19 When it comes to the
and then adjust them as it moves). Other
end result, image quality is
PRICE with 16-50mm lens improvements include the ability to use
excellent, with realistic colours, AF in focus magnier mode, and a silent
CURRENT 4 89 good ISO performance, and shooting mode.
impressive dynamic range.
PRICE with 16-50mm lens
points to lock on in 0.6secs.
All in all, this is a fast, well-
specied camera, providing a
Alternatives
Its also responsible for the realistic alternative to a DSLR. Compact System Cameras such as the
11fps burst rate and excellent Turn to page 64 to read our A6000 hold their own against entry-level
subject tracking. review of the Sony A6300 DSLRs. The Nikon D5300 (launched in 2014),
for example, offers a 24MP sensor,
articulated LCD screen, and Full HD video
KEY SPECS specications that are not dissimilar to
SENSOR 24.3MP APS-C type CMOS sensor the A6000. Meanwhile, the Canon EOS
ISO 100-25,600 (51,200 with Multi-Frame NR) 700D (launched in 2013) uses an 18MP
BURST 11fps (in High Continuous Shooting mode) sensor, an articulated LCD screen, and Full
MOVIE Full HD 1920 x 1080
DISPLAY 3in, 921,600 dots, TFT LCD (tilting)
HD video. Both DSLRs fall way short of the
DIMENSIONS 120 x 66.9 x 45.1mm 11fps maximum continuous shooting speed
A7 WEIGHT 344g (inc battery) offered by the A6000.
 SONY A6000

The Sony A6000 Three users give their verdicts

1
Ed Walker
N E W YO R K

I
love to photograph people,
but Im still working out why
I need to take the pictures
I do. There is a split-second
connection that I crave. I dont
speak to my subjects before
or after Ive taken their picture
unless they chase me down
the street, and I have very few
negative reactions. Once Ive
taken the shot I look up and smile
and that seems to be enough.
My rst camera was a Nikon
D50, which I left on a plane, but
most of my early work was shot
with a Nikon D80 using a 50mm
f/1.8 prime lens.
The Sonys AF speed was what
attracted me to it. But once I had
used it, I realised it had so much
more than my rst impressions
suggested. It has fantastic 1 Midtown 2
autofocus, the face recognition is I wish his scarf had white stripes to match the
amazing, and you can get superb bollards in the background.
depth of colour in the right light. 35mm f/1.8, 1/4000sec @ f/1.8, ISO 100
I shoot Aperture Priority with
auto ISO because I am constantly 2 7th Avenue
moving between light conditions. I shot this with the sun behind me.
I also shoot Raw and process 35mm f/1.8, 1/1000sec @ f/4, ISO 100
through Lightroom.
The user interface, however, 2 Times Square
is poor, and the system of This woman caught my eye I thought she
displaying the pictures all wrong. looked like Madonna.
DSLRs take a picture and then 35mm f/1.8, 1/1250sec @ f/2.5, ISO 100
display it on the back screen
3
for a couple of seconds, but the
A6000 makes you choose either
the viewnder or the rear screen
for everything. These are my only
gripes, though. The shooting,
image quality and speed are
unrivalled by anything from
Canon or Nikon in my experience.
My next camera will be an A7 for
sure; Nikon has lost me forever.

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WWW.WHATDIGITALCAMERA.COM 45
 EXPERT GUIDE

1
Scott
Sim
N A R A , J A PA N

I
started getting serious about
photography in 2009, when
I bought a Canon EOS 50D.
Initially, I was interested in
landscapes and was inspired
by the likes of Joe Cornish and
Galen Rowell. However, the
sweeping vistas that made them
famous were hard for me to nd.
Ive been living in Japan for 20
years, so recently Ive started to
focus on the exotic atmosphere
of the country I live in.
As much as I liked the Canon,
I was missing opportunities
because I didnt want to carry
something so heavy. I started
looking into mirrorless cameras,
and settled on the Sony A6000.
For me, the size and weight 1 Forest oor 2
are the main advantages. I can I wanted to try some close-ups with the kit
stick it in my pocket, and if Im lens and I was impressed with the results.
shooting in low light, I can use Sony E PZ 16-50mm, 1/2sec @ f/11, ISO 100
a lightweight travel tripod.
I always shoot in Raw and 2 Alone: a deer in Nara Park
leave the camera in Aperture This was taken with the kit lens that comes
Priority mode, as I focus on shots with the camera. Some people dont seem
with good depth of eld. to like it, but Ive found it quite good.
I was initially worried about Sony E PZ 16-50mm, 1/250sec @ f/8, ISO 200
the build quality, as it certainly
isnt anything like as robust as 3 Atagoyama
the Canon. However, I have used A lot of Japanese forests are ancient
it for two years and it has been woodlands, left alone for many years. In
rained on several times, but is the mist, they are stunningly beautiful.
still going strong. The lens Samyang 12mm, 1/6sec @ f/8, ISO 100
selection for this camera is also
not as good as Canons, but it 3
is improving steadily. Last year
I bought a Samyang 12mm and
also a cheap adapter for Minolta
manual lenses, both of which
I have used extensively.
I dont see myself going back
to a DSLR. When the time comes
to replace the A6000, I will
either look at the equivalent
Sony or move up to the A7.

Permajet says: The Sony A6000

produces great prints across the
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PermaJet
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Scott try
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46 WWW.WHATDIGITALCAMERA.COM
 SONY A6000

1
Sigurjon
Magnusson
R E Y K J AV I K , I C E L A N D

M
y journey started in the
summer of 2005 when
I bought my rst digital
camera. It was a Sony Cyber-
shot P200 with a 7.2MP sensor.
I went from pointing and
shooting to framing and making
with the Sony A6000 almost 10
years later. What started out as a
tool to capture a moment in time
has become a need to create.
The compactness,
interchangeable lenses and
image quality allow me to
explore a range of styles. Fast AF
helps when you have a three-
year-old running around. Getting
it right in camera is something
I aim for, although shooting
2
in Raw helps when I miss.
My rst interest was landscape
photography, which has since
developed into the subject of
light. I started out using natural
light only and over time added
ash into my work.
The digital platform gives you
the opportunity to experiment
with subject matter and
technique. Im still developing
my style of photography and
enjoying the learning process.
Prime lenses are my tool of
choice, both with AF and fully
manual, old and new. Being able
to adapt other brand lenses is
one benet of the mirrorless
system. I like how using manual
lenses slows my workow down.
The main thing missing from
the A6000 system is the in-body
image stabilisation featured in its
big brothers, the A7 II, A7R II and
A7S II. Better ISO performance
1 Game on
would also be a bonus.
The player and background were shot Each featured reader receives a
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WWW.WHATDIGITALCAMERA.COM 47
 HELP
Canon EOS 70D vs Sony a6000 A lens for
PHOTOU P 3 3
Q
I am looking for my
rst real camera and
Ill be using it as a
take-everywhere camera, as
well as for sports and videos.
Which of these would be
better for my needs - the
Canon 70D or the Sony
A6000? I can get both for
around the same price with
18-55mm and 18-200mm
lenses. Also, would the size of
the 70D be restrictive if I were
to take it everywhere
with me? Finally,
Canons 70D
can produce
excellent
results
DSLR for street photography
ANDR241 0
Q A
Ive recently bought
a Nikon D3300 and
apart from generally
enjoying the use of the
camera, am keen to explore
street photography. I dont
like accepting the fact that
street photography will be
hindered with a (particularly
small) DSLR and yet a
number of websites more or
less say that the idea of street
photography with a DSLR
camera is ridiculous. What are
the views of those with some
experience of this? Is it a
worthwhile investment to get
a relatively inexpensive
pocket camera and use that
instead of/alongside the
DSLR? Or should the
photographers style be
tailored to the equipment
rather than the other way
around (in which case the
DSLR should not be a
hindrance)?
48 WWW.WHATDIGITALCAMERA.COM
autofocus for shooting sports
is important to me.
A
On paper, both
cameras can t your
needs nicely; both
have good focusing and should
be up to the task of action
sports photography, and both
have up-to-date video-
recording capabilities. However,
the buts include; limited native
E-mount lens choice for the
A6000 compared to the D70,
live view AF performance of
Sonys A6000
can also
capture great
sports shots
Its your preference
based on your needs
and experiences that
count above all else; everyone
is different. Third-party advice
can be extremely useful but
its just that advice and its you can still be unobtrusive
your choice to follow it or not.
Is it ridiculous to use a DSLR
for street photography? Of
course not. Would it be better
to use a less conspicuous,
more compact, camera?
Maybe, but successful street
photography is possible
with a DSLR. Some
DSLRs are
particularly
audible,
which can
disturb the
subject of
your shots, A Nikon
but the D3300 can be
used for
D3300 is not
successful
particularly street shots
noisy. It can
the D70 via its on-sensor dual
pixel AF system is not good for
action tracking in sports, the
D70 certainly is big and bulky
compared to the A6000, the
D70 has 7fps continuous
shooting, but the A6000 is
even faster at 11fps, the D70 has
a fully articulating screen, and
the list goes on. These are two
really quite different cameras.
Both are capable of producing
excellent results, but as to
which is the best for you is an
entirely personal choice. IB
be said that professional-
looking cameras such as
DSLRs can make subjects less
cooperative, but by careful
positioning of yourself and
maybe using a longer lens
backgrounds and bokeh
prole on the street. So yes, in
a way a photographer does
need to adjust aspects of
their style according to their
equipment. IB
shooting
wide open
LI SALI
Q Ive been looking
at a Sony A7 and
the Mitakon
Speedmaster Pro 50mm
f/0.95. But the Mitakon is a
manual-focus lens, and Id
prefer automatic. What can
I get thats compact like the
A7? It doesnt have to be
full frame, but Im told it will
help with shallow depth of
eld. My budget is 1,500.
A
There are no
super-fast and
bright f/0.95
lenses available. But you
are intending to get a
full-frame camera, so
pronounced defocused
backgrounds and creamy
bokeh should be achievable
with lenses working at f/2
and f/2.8. Your choice of
lens should be based on its
ability to remain sharp at
full aperture. You can also
achieve defocused
with smaller sensor
cameras. A trick is to use a
longer lens and step back
from the subject to
maintain the same framing.
Even with Olympus and
Panasonic Micro Four
Thirds bodies you can get
great bokeh using f/1.8 and
f/1.4 lenses and Panasonic
also offers a Leica-branded
Micro Four Thirds 42.5mm
(85mm full frame equiv.)
f/1.2 Nocticron, which is
able to autofocus and is
incredibly sharp, even at
f/1.2. Its a 1,100 lens but
could be mated with a used
Olympus or Panasonic
body to t your budget. IB

Small camera, manual aperture
JUSTINASI A
Q
I use an iPhone for
photography, but I
miss being able to
control the aperture to create
blurred backgrounds. What is
the smallest, slimmest camera
with manual aperture control
and preferably a zoom lens?
A
The ability to deliver a
nicely blurred
background will not
really be guaranteed by being
able to manually control a very
compact cameras aperture.
With very small cameras, the
Fujifilm X-T1 or X-T10?
ANNEKA
Q I am looking to buy a
mirrorless camera
and really like the
Fuji X-T1 and X-T10. I like
street, landscapes and macro
work and am also going to be
taking the camera to Jamaica.
A
If travelling is a
priority then the
X-T10 is more
compact and lighter, but the
X-T1 has a tougher build and
environmental sealing. Do
bear in mind that sealing is
size of the lens aperture will
always be small, even if the lens
has an aperture that is bright,
like f/2. This is because the
sensors in compact cameras,
and iPhones, are very small and
the matching lens optics are
also very small. To achieve
blurred backgrounds you need
both a reasonably long focal
length and a physically large
lens aperture. To achieve
defocused backgrounds with a
compact camera you should
choose one with as large a
sensor as possible. A 1in sensor
incomplete if the lens
attached is not a sealed
type. The X-T1 has a much
larger buffer and can utilise
the full performance of faster
UHS-II memory cards, so if
you need long sequences of
continuously shot frames at
high speed, the X-T1 will be
much better. The X-T1 also
offers a lot more direct
access to camera settings via
its external controls, while
with the X-T10 you will spend
more time delving into menus
GOT A
QUESTION ?
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EXPER TS A LIN E
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 HE LP
Digital
photo
frames
DORSE T_ M I K E
Q
Ive been looking
at digital photo
frames online for
an elderly lady who wants
to view digital images or
videos from family. She
does not have a PC, nor is
she computer literate. With
JPEGs, the screens manage
to display any size of image
le on screen, no matter
the screen size. Does the
same apply to videos? If,
say, something is shot at
1080, will it display on any
size screen? In other words,
will the screen software
make the necessary
adjustment to display at a
lower resolution, or would
the family need to do a
conversion to 720 on a PC
in a video-editing app
before sending?
A
Digital photo
frames are still
available, though
you may not nd any sold
by a high-street retailer that
can play video clips. The
most prevalent digital
frames are around 50 and
can only display stills,
though most will have a
slideshow facility. If you
want to play videos, you will
have to spend around
200. The Nixplay Edge is
199 from Amazon, and can
play HD video on its 13in
screen. It also works in
conjunction with a
cloud-based system, which
could make it convenient
for you to update the
images/movies even if you
cant visit personally. But
your elderly relatives will
need internet access for
this to be useful. Think of
these devices as miniature
TVs. They will resize still
images and video to view at
the optimal size on the
screen. You wont normally
need to resize in advance. IB
50 WWW.WHATDIGITALCAMERA.COM
First flash
T W I STS N T U R NS
Q
Im looking to buy my
rst ashgun. I have a
D7000 and plan to
buy a Lastolite Ezybox soon,
too. I have my eye on a
secondhand SB600 (in mint
condition) but can grab a
Yongnuo 568ex and save 60.
I am tempted to go with the
Yongnuo now. By the way the
SB700 is just way over budget,
unfortunately. Nikon appears to
have replaced the SB600 with
the 700, but costs it another
100 or so more.
A
The Yongnuo 568ex is
a lot of ash unit for
the money, especially
compared with Nikons own
models. Yongnuo owners are
basically very happy with their
purchases, too. On the other
hand, the comparison between
a 568ex and a SB600 or a
SB700 is slightly odd, because
the Nikons are much more
100 or 180mm
macro lens?
R U SS
Q
I am in the market
for a macro lens, but
as Im in my later
years, I nd it hard at times
to get down low enough for
wildowers, so Im wondering
whether a 180mm lens would
be a better option against
the 100mm with IS. At over
1,000, I cannot afford the
newest Sigma f/2.8, so Im
looking at the Sigma 180mm
f/3.5 HSM, IF, the Canon EF
180mm f/3.5L USM or the
Canon 100mm IS.
A
A longer focal
length does provide
a longer working
distance between the lens
and the subject, but the
difference between a 100mm
lens and a 180mm lens is not
massive; the former will be
around a foot away from the
GOT A QUESTION ? DROP OUR EXPER TS A L IN E
Next
month
LEE FROST
The Yongnuo 568ex
is great value for money
compact and have a lower Long-lens
power output. One aspect of landscapes
the SB700 that is much Not all landscape images
welcomed over the SB600, and need to be made with
to some is well worth the extra a wideangle lens. Why
cost, is the improved control not attach a telephoto for
interface design. Arguably, the a fresh approach
Nikons are better made and will
outlast a Yongnuo, but if you
care for your kit that aspect can
Panasonic
be discounted. Dont forget the TZ70
options apart from Nikon and The compact that ticks all
Yongnuo, including Sigma, the travel zoom boxes
Nissin and Metz. IB
Build your
own website
Its still the best way of
subject and the latter adds
publicising your work we
only an extra eight inches.
show you how to get started
The next question is whether
or not image stabilisation is
going to be valuable. When Sony FE 24-
photographing a subject 70mm f/2.8
such as owers, motion blur Sonys professional-grade
will likely be induced by standard zoom for the
breezes more signicantly full-frame FE mount range
than camera shake. A tripod
will also x any camera shake Google Nik
issues and you wont have
the weight of your camera
Collection
and lens to ght against.
The image-editing suite
However, if you are also likely
thats completely free!
to use your lens for general
work, like portraits, IS might
be good to have. A shorter
focal length would also be
more suitable than a longer On
sale
one for this use. Its always
best to try out the different
options available if possible.
None of the lenses you
mention perform poorly. IB 3 June
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 TECHNIQUE TOP TIPS

Its all in the detail

Details in the landscape can be just as
rewarding to shoot as sweeping vistas.
Lee Frost gets up close and personal.
WORDS AND PICTURES LEE FROST

G
enerally, when we
think about landscape
photography, the images
we conjure up are of
sweeping views; photographs on
a grand scale that capture the
immensity and beauty of the
countryside. Thats generally what
we strive to capture because we feel
that anything less would fail to do
a location justice, so we tramp up
hills and through valleys, single-
mindedly seeking out viewpoints
to capture these vistas.
But what of the landscape at your
feet? What of the many patterns,
textures and details in nature; the
small-scale subjects that make
up the very scenes we try so
desperately hard to photograph?
They too can be the source of
fascinating images and, unlike the
grand view, they provide much
more scope for personal
interpretation because no one else
is likely to see them in quite the
same way if they see them at all.
When you photograph the
landscape in miniature, you set out
with no preconceptions. Famous
vistas around the world have been
photographed many times before,
so its hard to shoot them yourself
without thinking of the images
youve already seen, and often what
you end up with is no different or
better or more creative than
anything else.
With details in the landscape,
this is never the case because
you wouldnt travel to a location
specically to photograph an
arrangement of rocks or a particular
tree, and if you did, chances are
you would never nd it anyway. Antelope Canyon,
The images you end up with are Arizona, USA.
therefore unique because they Who needs sky and
can never be planned you dont scale when youve
got colours, shapes
know what youll nd until youre
and light like this?
there, and the chance of another Canon EOS 1DS
photographer producing an image Mark III, 24-70mm,
just like yours is slim! 1/2sec @ f/11, ISO 100

52 WWW.WHATDIGITALCAMERA.COM
 A B STRACTS IN THE LA N DSCA PE

Erg Chebbi, Morocco.

Rolling sand dunes
or ripples on a
beach? With no
sense of scale, its
hard to tell.
Canon EOS 1DS Mark
III, 70-200mm,
1/60sec @ f/11,
ISO 100

Tip 1 Remove
any sense of scale
Excluding a sense of scale from your images will force the viewer to
imagine it, and this can lead to fascinating interpretations. A close-up of
patterns in a small rock may appear like an aerial photograph taken from
thousands of metres above the earth; ripples on a sandy beach look like
a vast desert; a trickle in a river could be a towering waterfall cascading
over cliffs. Clearly, your intention isnt to fool anyone, but by removing a
sense of scale from compositions, thats what can happen, and it makes
those images more interesting as they force viewers to take a closer look
and try to fathom whats going on they challenge our sense of familiarity.

Peterborough,
Cambridgeshire.
Soft light is perfect
for landscape details.
Tip 2 Forget about
Canon EOS-1Ds Mark
III, 24-70mm, 1/15sec
the horizon
@ f/8, ISO 100
The rst step in focusing your vision on smaller
aspects of the landscape is by excluding horizons.
Including the horizon in a photo immediately
denes it as a vista, as it suggests open space, and
all sense of intimacy is lost. Once the horizon is
gone, so is that sense of space. Instead youre
concentrating on the view to what extent is down
to you. Thats the great thing about shooting the
landscape on a smaller scale. One minute you can
be capturing an area that covers many square
metres; the next on your hands and knees
composing a detail thats a few centimetres in size.

Tip 3 Get the light right

All types of natural daylight suit abstract landscapes. I favour the softer
light of bright overcast weather, as low contrast makes it easier to capture
ne details and subtle colours. That said, bright sunlight can work well, too,
and the stronger shadows it casts are ideal for revealing texture or simply
adding to the abstract appeal of the image.

WWW.WHATDIGITALCAMERA.COM 53
 T E C H N IQ U E TO P TI P S

Lindisfarne,
Northumberland.
You dont need
to cram your
compositions.
Canon EOS 5D
Mark II, 70-200mm,
1/15sec @ f/22,
ISO 100

Tip 4 Keep it simple

When composing an image, think carefully about what you include and
exclude. Adopt a less is more approach and go for simplicity rather than
lling the frame with clutter. The nal image needs to be immediately
eye-catching and arresting, otherwise it wont hold the viewers attention.

Tip 5 Tip 6 Make the

Do a little most of mono
gardening By converting your images to
black & white, far more emphasis
can be placed on the patterns and
If youre not totally happy with textures in a subject or scene. Its
the natural arrangement of often possible to reveal powerful
elements in a shot, dont be patterns that werent obvious,
afraid to do a little tidying up because the colour provided too
to improve the composition. much of a distraction. Black &
Remove items that dont serve white reduces everything to a bare
a purpose. Add items if theres minimum and reveals the bones of
not enough going on. Splash a scene. Lines, shapes and the play
water over dry rocks if they of light and shade become far
look better wet. Use a brush to more important, and the viewer
remove debris such as sand on nds a photograph is appealing
rocks (I always carry a small because of the visual strength
paintbrush for this purpose). created by the elements within it.

Tip 7
Beside the
seaside
The coastline is especially
rewarding for details. You could
spend days exploring beaches,
photographing pebbles, shells, sand
ripples, the patterns and shapes in
rocks, driftwood and seaweed.
Embleton Bay,
Northumberland. Intertidal zones are especially
Beaches are a great interesting because theyre in a
hunting ground for constant state of ux and every
interesting details. time the tide recedes you never
Canon EOS 1DS know what surprises it will reveal.
Mark III, 24-70mm,
1/8sec @ f/16, ISO 100 One things for certain though
there will be surprises!

54 WWW.WHATDIGITALCAMERA.COM
 A B STRACTS IN THE LA N DSCA PE

Tip 8
Go graphic
Some landscapes just lend themselves to the abstract
treatment. In fact, its almost impossible not to produce
bold, graphic images. Deserts are a good example
vivid orange sand dunes against blue sky are irresistible.
Rocky landscapes like the type you nd in places such
as Utah and Arizona are the same. Use a polariser to
deepen the blue sky and saturate the colours in the
landscape, and try to keep the composition nice and
simple. Dark shadows can be a welcome addition,
revealing texture in the landscape as well as enhancing
the graphic feel of the scene.

Dead Vlei, Namibia.

Some locations lend
themselves to a more
graphic appoach.
Canon EOS 5D Mark II,
70-200mm, 0.8sec @ f/32,
ISO 100, polariser
 T E C H N IQ U E TO P TI P S

Tip 9 Change your view

Shooting from different viewpoints and angles can make a big difference to
the look of the nal image. Get higher up and look straight down on your
subject matter, or get lower down so youre physically closer to it. Experiment
with tilting the camera to unusual angles the more you move away from
convention, the more abstract the shots will be.

Spittal Beach,
Northumberland.
The angle you shoot
from can transform
the way a detail
appears. Experiment
to nd the best one.
Canon EOS 5D Mark III,
70-300mm, 1/80sec @
f/32, ISO 800

56 WWW.WHATDIGITALCAMERA.COM
 A B STRACTS IN THE LA N DSCA PE

Tip 12
Reflections
in water
Lakes, lochs, tarns, pools the
British landscape is full of water,
thanks to all the rain we get! When
that water calms you get a perfect
mirror image of the landscape, but
rufe the surface and abstract
Alnmouth,
Northumberland. patterns in colour are created. Either
Reections offer way, use a telezoom lens to home in
great photographuc on interesting areas and focus on
potential. the reection rather than the waters
Sony A900, surface. Ideally, shoot in sunny
24-70mm, 1/13sec
weather when the light is strong
@ f/16, ISO 100
and colours are well saturated.

Tip 10 Move Tip 13

the camera Ice and easy
Try panning the camera during Winter may be behind us for a
exposure. In woodland or few months now, but once the
gardens pan vertically and trip mercury starts to plummet later
the shutter as youre panning. in the year, why not explore the
Try shutter speeds from 1/30sec landscape in search of icy details?
to 1/2sec the slower the Frozen lakes, ponds, river and
shutter speed and the faster the waterfalls are all worth checking
pan, the more blur youll get. By out, and if you move in close, you
the sea, pan left to right, and can capture amazing patterns,
the beach, sea and sky turn into especially if there has been some
horizontal streaks of colour. freeze/thaw action going on.

Peterborough,
Cambridgeshire.
Tip 14 Improve
Reeds and reections
on the edge
during editing
of a pond.
Canon EOS 5D Mark III, If needed, images can be improved
70-300mm, 1/125sec in post-production. Cropping allows
@ f/11, ISO 800
you to remove unwanted elements
and simplify the composition. Square
crops change the balance and feel of
an image compared to the normal
3:2 ratio they have a more ne art
look. Where the colours are naturally
subdued, try boosting vibrance.

Tip 11 Close to home

You dont need to travel to exotic locations to nd great landscape
details. Your garden, the local park, riverside walks and local beauty spots
can be the source of interesting subject matter. Droplets of rainwater on
leaves, dew on owers and spiders webs, the patterns created by fallen
leaves or fungi on rotting tree stumps, tree bark, rock details even the
most ordinary location can be highly productive if you look more closely.

WWW.WHATDIGITALCAMERA.COM 57
 Avoid a catastrophe,
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GEAR REVIEWS
Top 5
MICHAEL TOPHAM
Superzoom lenses
If youre after a lens with a focal range wide enough to cover most day-to-day
situations, then a superzoom lens is your best bet. Here are ve of the best examples
he all-in-one superzoom tends
T to get a bad press. Conventional
wisdom states that zooms with a
more limited 4x range can be very good,
but extend that to 10x or more and the
technical and engineering compromises
become too big to overcome and image
quality suffers. Because of this many
photographers prefer to carry two
zooms to cover 18-200mm typically an
18-55mm kit lens and a 55-200mm
telephoto. A superzoom has advantages
over carrying multiple lenses though, as
they allow you to cover a huge focal
range without having to change lenses.
This makes them especially useful if
changing lenses every ve minutes is
impractical, or if youre travelling and
want to keep your kit to a minimum.
Here are ve of the best examples.
Turn over for our rundown of
the BEST 5 on the market
P634 Accessories
Phottix Luna 70cm
Flding beauty dish Fujin
lens vaccuum cleaner
Vanguard Havana 21
bag Kingston
MobileliteWireless
G3/Pro Benro
Smart 20 bag
CA MERA S , LEN SES & ACCESSOR IE S
Key points of a Superzoom Lens
Extra-Low Dispersion and
Aspherical Elements
Superzoom lenses often display
distortion at the wide and tele
extremes and chromatic aberrations
(fringing) on high contrast borders.
While the use of extra-low dispersion
(ED) and aspherical elements cannot
wholly eliminate the problem, they
do go a long way towards improving
overall image quality.
Image Stabilisation
Most superzooms have built-in IS. As
most superzooms offer a maximum
aperture of just f/6.3 at 200mm,
having a few stops of shutter speed
compensation to hand is useful when
shooting in less than optimal light.
P66 Camera tests
The Sony A6300 CSC boasts an impressive
combination of AF, viewnder and burst rate
The Fujilm
X70 has
a rich
heritage
and doesnt
dsappoint
Zoom Lock
Because of the fact that 11x superzoom
lenses provide such a wide focal
range, they can sometimes suffer
from lens creep issues - which is
where the lens is prone to collapsing
or extending under its own weight
when it is held vertically when
shooting at certain focal lengths.
Manufacturers are doing their best
to eliminate the problem, often
by including zoom locks on these
long lenses. While zoom locks do
not solve the problem on their own,
they nevertheless do allow you to
lock the lens at its smallest size
(usually 18mm) to allow for easier and
more secure transportation.
P74 Other tests
The Western Digital
My Cloud EX2 Ultra is a
back-up drive
thats ideal for
photographers
Aurora HDR Pro:
software for editing
HDR images
WWW.WHATDIGITALCAMERA.COM 59
 W D C TO P 5 R O U ND- U P
5 Pentax 18-270mm f/3.5-6.3 SMC DA SDM 415
R
eleased towards the end of
2012, the big attraction with
the Pentax 18-270mm is the
additional telephoto reach it offers
over many standard 18-200mm
superzoom lenses. At the time of its
release Pentax didnt actually make
a full-frame DSLR, so it comes as no
great surprise that the 18-270mm
zoom is designed for use with
APS-C sensors, such as the Pentax
K3 II, K-S2 and K-3 DSLR models.
That said, it can also used with the
all-new full-frame Pentax K-1 in crop
mode. Thanks to the 1.5x crop
factor inherent to APS-C
sized sensors the
18-270mm offers the
35mm focal equivalent
of 27.5-414mm when
attached to any of
Pentaxs APS-C
equipped DSLRs. Thats
a lot of zoom power for
the money. The only
caveat to that is that
with a maximum
aperture of f/3.5-6.3 the
zoom isnt all that fast
and actually becomes
4 Tamron 18-200mm f/3.5-6.3 Di II VC 169
T
amrons latest superzoom
enhances the companys
reputation for producing
decent lenses on a budget. The
Tamron 18-200mm is constructed
from 16 elements in 14 groups, which
includes one hybrid aspherical
element and one low-dispersion
glass element to reduce distortion
and chromatic aberration. Most rival
superzooms contain more in the
way of special elements, which goes
some way towards explaining the
impressively low cost of this lens.
That said, it does feature Tamrons
Vibration Compensation
(VC) optical
stabilisation
technology. Focusing
is internal, which
means the lter thread
will not rotate while
the lens acquires
focus. The zoom
comes with a petal
shaped hood to help
reduce are when
shooting towards
bright light sources.
The Tamron
60 WWW.WHATDIGITALCAMERA.COM
quite slow at the telephoto end. other recent Pentax lenses the
The Pentax 18-270mm is 18-270mm is not waterproofed, KEY
constructed from 16 elements in 13 though, which is a bit of a surprise SPECS
groups. This includes two extra-low given how dust and moisture
CONSTRUCTION
dispersion (ED) elements to resistance is such an integral selling 16 elements / 13 groups
minimise chromatic aberrations. The point of most Pentax DSLRs. MINIMUM FOCUS
lens employs Pentaxs SDM The Pentax 18-270mm offers DISTANCE
49cm
autofocus technology that is driven plenty of exibility for the money.
BUILT-IN IMAGE
by a built-in supersonic motor for Its also relatively light, and feels well STABILISATION
quiet, speedy focus acquisition. It balanced when attached to one of No
also benets from internal focusing, Pentaxs mid-level DSLRs. Its just a FILTER SIZE
62mm
which means the outer lens barrel shame that the lens doesnt get the
DIMENSIONS
does not rotate, allowing you to same protection against water and 89 x 75.8mm
attach an ND Grad or Polariser lter dust that many of its DSLRs enjoy. WEIGHT
to the 62mm lter thread 453g
without having to readjust
after locking focus. PR OS
Since Pentax builds its Great value Build
proprietary Shake quality Extra telephoto
reach
Reduction image
stabilisation
technology directly into
its DSLR bodies, the CON S
lens itself does not offer
Lack of protection from
moisture and dust
any IS technology.
MICHAEL TOPHAM
The outer lens barrel
RECOMMENDED
is constructed from WDC
tough polycarbonate,
R AT I N G
topped off with a metal
lens mount. Unlike many
18-200mm is predominantly detail. Stopping down to f/8 gives
constructed from plastic, with the best results, but distortion is KEY
rubberised grips on the zoom and harder to control and you may need SPECS
focus rings. The lens mount is also to employ a post-processing x.
CONSTRUCTION
made from plastic, but with a metal Despite being the cheapest 16 elements / 14 groups
sleeve on the inside thats superzoom of its kind, the Tamrons MINIMUM FOCUS
presumably designed to minimise overall image quality remains on a DISTANCE
50cm
wear. A rubber seal is positioned par with many similarly priced rivals.
BUILT-IN IMAGE
around the lens mount, however If you really want to get the best out STABILISATION
Tamron describes the lens as splash of it then youre better off shooting Yes
resistant rather than fully in Raw and applying the necessary FILTER SIZE
62mm
waterproofed use it in driving rain post-processing xes. For a highly DIMENSIONS
at your peril. In terms of handling, exible superzoom lens on a budget, 97 x 75mm
the zoom ring offers quite a bit of however, theres plenty to like. WEIGHT
resistance and thankfully isnt 400g
susceptible to lens creep
either. Focusing is taken PR OS
care of via Tamrons Overall image quality
DC motor-based Great price Canon &
Nikon t available
system and is quiet
and accurate, though
not particularly fast.
The lens is at its CONS
sharpest when used at Barrel distortion at
wideangle
wideangle settings,
ANDY WESTLAKE
especially in the centre
RECOMMENDED
of the frame, but gets WDC
progressively softer as R AT I N G
the zoom is extended,
with a loss of really ne

3 Canon EF-S 18-200mm f/3.5-5.6 IS 356
R
eleased in 2008 the Canon
18-200mm (the 35mm
equivalent of 29-320mm) is
specically designed for use with
Canon APS-C DSLRs. As an EF-S
lens it cannot be mounted on Canon
full-frame DSLR bodies. Its designed
to appeal to entry-level and
enthusiast-grade photographers
looking for an optically stabilised
lens with a large focal range. As
such, its likely to appeal to Canon
owners looking to advance their lens
collection beyond the typical
18-55mm kit lens that most
entry-level and mid-range DSLRs
come with.
Internally the lens
has 16 elements in 12
groups, which includes
two aspheric elements
designed to minimise
the effects of distortion
and two ultra-low
dispersion (UD)
elements to combat
purple fringing and
other chromatic
aberrations. This is
further complemented by
2 Nikon AF-S DX 18-200mm f/3.5-5.6G ED VR II 549
R
eleased in 2009, the Nikon
18-200mm VR II replaces the
Nikon 18-200mm VR that
came out in 2005. While the older
model was a highly exible and
popular zoom, it was prone to lens
creep and without a rubber O-ring
(or Blu-Tack) to hand this could
make hard work of shooting directly
overhead, or up to the sky as the
lens barrel was prone to moving
under its own weight. Nikon claims
that the newer 18-200mm VR II has
a reworked zoom mechanism that
addresses the issue, however online
there are reports of lens
creep still being an
issue with owners of
the newer lens. Either
way, Nikon has added a
zoom lock switch that
locks the lens at 18mm
to make it easier to
carry. In most other
respects, the newer
lens is almost identical
to the older one.
Designed for Nikon
DSLRs equipped with
APS-C sensors DX
THE TOP 5 SUPERZOOM LEN S E S
Canons own Super-Spectra coating quality at short to medium focal-
to reduce ghosting and are.The lengths reveals excellent levels of KEY
lens also has Canons built-in Image sharpness, however at 200mm the SPECS
Stabilisation technology, which lens is much softer. Despite the use
CONSTRUCTION
provides up to four extra stops of of UD elements chromatic aberration
16 elements / 12 groups
shutter speed for sharper images at does exist, especially at 200mm. MINIMUM FOCUS
slower shutter speeds and extended This lens is well built, handles well DISTANCE
telephoto settings. This is engaged and offers good if not quite 45cm
BUILT-IN IMAGE
via a switch on the side of the lens. spectacular image quality, though STABILISATION
Focusing is handled via an internal the issues that beset the Canon Yes
ultrasonic motor, which means the 18-200mm are found in virtually all FILTER SIZE
front element does not rotate during lenses of this type. If you own a 72mm
DIMENSIONS
focus acquisition. Its not possible to Canon APS-C DSLR, this lens is 102 x 76.8mm
use the manual focus ring when the undoubtedly a useful addition. WEIGHT
zoom is in AF mode though, so 595g
youll need to switch to MF
mode if you want to use PR OS
the MF ring. Good value Excellent
Build quality is on a build quality Optical
image stabilisation
par with similar rivals,
and while the outer lens
barrels are constructed
from tough plastic the CON S
Chromatic aberrations,
W H AT D I G I TA L C A M E R A
lens mount is metal. In
especially at 200mm
the hand it feels solid
and robust enough to
RECOMMENDED
stand up to regular use. WDC
Some users have
reported zoom creep
R AT I N G
issues, however. Image
format cameras the lens provides issue doesnt appear to have been
the 35mm equivalent of 24-300mm. fully resolved, the Nikon 18-200mm KEY
Mounting it on a full-frame Nikon VR II remains an impressively exible SPECS
DSLR results in extreme vignetting lens that offers reasonably good
CONSTRUCTION
and isnt recommended. Internally, image quality for a superzoom. 16 elements / 12 groups
the lens has 16 elements in 12 Between 18-70mm it is sharpest in MINIMUM FOCUS
groups, including two extra-low the centre of the frame, but remains DISTANCE
dispersion (ED) glass and three good at the edges and corners too, 50cm
BUILT-IN IMAGE
aspherical elements to ensure high though at more extreme telephoto STABILISATION
resolution and superior contrast. It lengths corner and edge sharpness Yes
also has Nikons Vibration Reduction does noticeably fall off. Distortion is FILTER SIZE
72mm
(VR) image stabilisation technology, also quite pronounced, though
DIMENSIONS
which Nikon claims is good for up to relatively easy to x at the post- 96.5 x 77mm
four extra stops of shutter speed. processing stage. WEIGHT
Focusing is taken care of 565g
internally so the lter
thread does not rotate PR OS
during use, making Excellent build quality
polarisers and ND Image quality between
18-70mm is very good
grads easier to work
with. A lens hood and a
padded carry pouch
are supplied. The outer
CON S
Distortion quite
lens barrels of the zoom pronounced Zoom lock
are made from tough switch
VINCENT OLIVER
plastic, with the zoom
and manual focus rings W D C GOLD
having a ridged rubber
nish for improved grip.
R AT I N G
While the lens creep
WWW.WHATDIGITALCAMERA.COM 61
 W D C TO P 5 R O U ND- U P THE TOP 5 SUPERZOOM LENS E S

Sigma 18-200mm
F/3.5-6.3 DC MACRO OS HSM
249
Sigmas newest version of its 18-200mm lens offers an outstanding image quality
1 performance and is the best superzoom currently out there

T
hird-party lens specialist
Sigma has offered a
18-200mm superzoom to
t all of the major DSLR
brands for just over a
decade now. In fact, Sigmas original
18-200mm f/3.5-6.3 DC lens was the
rst 11x superzoom of its kind to be
designed specically for APS-C
equipped DSLRs. Released in 2014,
this latest incarnation follows on from
the 2007 and 2011 refreshes that
introduced Sigmas Optical
Stabilisation and Hypersonic Motor
technology to the 2005 edition.
Signicantly smaller and lighter than
all previous Sigma 18-200mm
superzooms, the latest release also
introduces basic Macro shooting at a
maximum magnication of 1:3 at a
minimum shooting distance of 39cm.
Its the best 18-200mm superzoom
Sigma has yet produced. In fact, wed
say its the best 18-200mm superzoom
currently on the market.
Designed for DSLRs equipped with
APS-C sized sensors and available for
Nikon, Canon, Sony and Pentax lens
mounts, the Sigma 18-200mm is
constructed from 16 elements in 13
groups. This includes four Special Low
Dispersion (SLD) glass elements to
reduce purple fringing and three
aspherical lens elements to control
barrel distortion at wideangle settings
and pincushion distortion at extended
telephoto settings. The lens also has
Sigmas Super Multi-Layer Coating to
reduce are and ghosting. A petal-
shaped lens hood is also supplied,
which can be mounted to the front of
the lens for added protection against
are. In terms of image stabilisation, it
is offered in two slightly different
KEY
Given that Sony and Pentax build that the lens has a 62mm lter thread
image stabilisation technology (rather than the 72mm one found in
SPECS
directly into their camera bodies, this the 2007 edition). Ultimately this CONSTRUCTION: 16
elements / 13 groups
OS technology is removed on Sony- could save you a fair bit of money on
MINIMUM FOCUS
and Pentax-t lenses. Focusing is lters. Focusing is handled internally DISTANCE: 39mm
powered by the built-in Hypersonic too, so the front element does not BUILT-IN IMAGE
Motor (HSM), which proves to be both rotate while the autofocus is engaged. STABILISATION:
Yes (Nikon/Canon);
speedy and near silent in operation. No (Sony/Pentax)
Overall build quality impresses too, Verdict FILTER SIZE: 62mm
with the lens barrels constructed from Available for around 250 the Sigma DIMENSIONS:
tough plastic that feels durable 18-200mm is much cheaper than its 86 x 70.7mm
WEIGHT: 430g
enough to stand up to regular use and equivalents from Canon and Nikon,
transportation inside a camera bag. making it superb value. Image quality
The zoom and manual focus rings are impresses too, with the centre of the
PROS
Exceptional value
both nished with rubberised rings, frame being exceptionally sharp at
for money Superb
which help to ensure a decent grip. As 18mm and very good at the edges. At image quality
youd expect, the lens mount is 50mm sharpness does decline a little,
fashioned from metal. One of the but remains excellent in the centre of
most impressive things about the lens the frame. At 200mm there is distinct
CONS
Very few
is how Sigma has managed to reduce loss of sharpness around the edges of
its overall size (and weight) compared the frame, however in the centre its
to previous incarnations. Whereas the still very good. Edge sharpness at
2007 edition measured 98 x 79mm, extended telephoto settings can be W D C GOLD
the 2014 edition is just 86 x 70.7mm. improved by stopping down to R AT I N G
One effect of this reduction in size is around f/8-f/11 though.
MICHAEL TOPHAM

guises: for Nikon and Canon owners

the lens comes with Sigmas
proprietary Optical Stabilisation (OS)
technology, which offers about three
stops of shutter speed compensation.

62 WWW.WHATDIGITALCAMERA.COM
 T H E LAT ES T ESSEN TIA L KIT
ACCESSORIES

Phottix Luna 70cm

Folding Beauty Dish 80
U SA- I P P.CO M / F UJ I N . H T M L

The Phottix Luna Folding Beauty Dish is a light modier Quick to

designed for use by location photographers as its very small assemble
and portable, folding down into its own bag. Its super-simple The folding beauty
to set up to erect the modier, simply push down the plastic dish is easy to set up,
tensioning joists between each rod until they lock in place. making it perfect for
This system allows the beauty dish to hold its shape well; it working on location
is incredibly rigid and well built.
Inside the modier is a dish for bouncing the light out;
this is attached by three rods. During extended use,
I had to tighten them up with a screwdriver on a few
occasions a small criticism, but quite annoying.
The quality of the light is very good, although RECOMMENDED

the box isnt round and deep like a traditional

beauty dish, so it isnt quite the same. While it
doesnt really achieve what a beauty dish does,
it still gives a great-quality light, with decent
softness and beautiful contrasty depth between
the light and shadows. My favourite feature is
the diffusion panel, which you can put over the
front, turning it into something that resembles
a small, useful Octabank.
It's worth noting that theres no grid included,
nor an optional grid available. Theres only one Diffusion
mount available the Bowens mount though panel
Speedlight/Speedlite adapters and other mount The diffusion panel ts
adapters are inexpensive enough. The 70cm version over the front of the dish,
is 80, which is a lot of kit for the money. CMR turning it into something
like a small Octabank
PROS CO NS
Small and Only one
portable Very mount is
well buillt available
Tensioning
rods
Simply push down the
tensioning joists between
each rod until they lock
into place

My favourite feature is the

diffusion panel that you can
put over the front

64 WWW.WHATDIGITALCAMERA.COM
VANGUARD HAVANA
21 BAG 39.99
WWW.VANGUARDWORLD.CO.UK
The Vanguard Havana 21 can take a CSC
with two or three lenses, or perhaps a
small DSLR with a couple of lenses, yet
doesnt scream out that its home to
your expensive kit. Theres also an inside
pocket for a 7in tablet or e-reader, a zip
pocket that normally holds the supplied
rain cover, a slip pocket on the back
with a Velcro closure, and elasticated
end pockets. It feels well made, and
you don't normally get the khaki colour
scheme and leather detailing at this
price. The slightly cheap-feeling plastic
strap xings are redeemed by a grippy
shoulder pad that makes the bag
comfortable to carry even when full of
gear. It's well worth a closer look. AW
RECOMMENDED
KINGSTON MOBILELITE
WIRELESS G3/PRO 91
WWW.KINGSTON.COM
The Kingston MobileLite Wireless G3
and Wireless Pro are handy as power
banks for topping up devices, but their
main use is to transfer les to your
phone or tablet wirelessly, which they
do very well. Transfer is via the Kingston
MobileLite app, available for both iPhone
and Android. They have a USB connector
and SD slot so you can transfer, preview,
download and upload images from SD
cards, Micro SD cards (via an adapter),
hard drives and USB ash drives. It also
works with other le types such as video.
The Pro has 64GB of internal storage;
the G3 has none. The Pro allows you to
insert an SD card into the port and, using
the app, back up images directly to the
device. Both are great additions to any
kit bag. CMR
RECOMMENDED
Fujin lens vacuum cleaner 100
U SA- I P P.CO M / F UJ I N . H T M L
The Fujin lens-shaped vacuum cleaner
attaches to the lens mount of your camera.
It is designed to suck dust and dirt from the
surface of the sensor without exposing the
camera to fresh deposits from the
surrounding environment. This revised Mark II
version produces 2.7x more airow than the
previous Fujin lens vacuum and is said to
refresh the air inside the camera six times a
second. To prevent dirt or dust penetrating
the camera but without disturbing the
vacuum airow, there's an electrostatically
charged lter behind the lens cap.
Fujin recommends using the vacuum in
combination with the cameras automatic
sensor-cleaning or continuous-shooting
mode, and pointing the camera
down for maximum effect.
Attaching the unit and turning
it on using the AF/MF-style
P R OS C ONS
Ok for removal No use for
of light dust stubborn dirt
Benro Smart 20 shoulder bag 39
W W W. B E N R O. E AC H S H OT.CO M
Though best known for tripods, Benro offers
a wide array of camera bags. While they do
look good, for the most part theyre
functional things. However, Benros Smart
range is high on style as well as functionality.
The Benro Smart bag comes in three sizes.
The Smart 10 is ideal for a bridge camera,
small CSC or DSLR with a spare lens. The
Smart 20 can house a medium DSLR or CSC
with a couple of lenses and a ash. The
Smart 30 can take a large DSLR kit, ashes,
two or three spare lenses and other items.
Our review sample is the Benro Smart 20
shoulder bag. I used it to carry an Olympus
OM-D E-M5 Mark II with a medium-sized lens
attached, an 8in tablet, and some chargers
and personal items around The Photography
Show in Birmingham. All this tted into the
bag easily and it was very
comfortable to carry. The
Smart 20 comes in
several colours
including bright
P R OS C ONS
Comfortable to Not a great
carry Well built deal to complain
and padded about
switch at the side instantly brings it to life.
Although it removed a few specks of light
dust within a couple of minutes, it couldnt
shift the more stubborn dirt on the surface of
the sensor. It left me with little choice but to
nish the job with a sensor-cleaning swab.
This is by no means the ultimate sensor-
cleaning device, and isnt cheap. Id be
tempted to buy some good-quality sensor
cleaning swabs instead. Alternatively,
consider a next-day, professional, sensor-
cleaning service such as Calumet's (57
for a full-frame
sensor
clean). AW
blue, yellow tan, and grey and black with red
detailing (a great option for Canon fans). My
test sample was in a chocolate colour with
grey details, which looked rather good.
The bag is made from tough, waterproof
nylon, with thick padding all around the
inside and two detachable dividers. To secure
the top, there are two Velcro fastenings, and
a clip to hold the ap down. Users can have
top access via a zip on the top of the bag.
Theres also a neoprene pouch on the side,
for a water bottle, and plenty of little pockets
for notepads, pens, SD cards, documents and
other such essentials.
The Benro Smart 20 is a good-looking and
practical bag and it should have a wide
appeal. CMR
RECOMMENDED
 CAM E R A T E S T
As usual for its E-mount
cameras, Sony has used the
NP-FW50 battery. This is
good for 350 shots with the
EVF, 400 shots with the rear
sceen or approx 75mins of
video using the LCD.
Sony A6300 1000
With improved AF and burst shooting with autofocus, Sonys Alpha 6300 aims to tackle DSLRs head on
W W W. S O N Y. C O . U K O  T E S T E D B Y R I C H A R D S I B L E Y
R
eplacing the Sony Alpha
6000 was never going
to be easy. Released in
2014, it was admired by
reviewers and photographers alike.
But a few of its features are now
starting to look a little dated, which
is where the Alpha 6300 comes in.
The new Sony Alpha 6300 sits
at the top of Sonys APS-C-sensor
E-mount line-up. It inherits a
number of features from the RX
series, as well as the full-frame
Alpha 7 series E-mount cameras.
With the Alpha 6300, Sony has set
out to answer the critics of Compact
System Cameras, taking on the two
key areas of focusing speed and the
electronic viewnder. In addition,
by adding a magnesium-alloy body,
weather-sealing and 4K video, Sony
may have created the best APS-C
Compact System Camera yet.
FE ATUR E S
The Alpha 6300 uses a 24.2MP
Sony Exmor APS-C-sized CMOS
sensor. While this resolution may
not be exciting, the fact that the
sensor now has the worlds highest
number of phase-detection AF
points is. The sensor also uses
copper wiring, which can be laid
thinner than conventional wiring.
66 WWW.WHATDIGITALCAMERA.COM
The built-in
ash has a guide
So long as there
is a battery tted, number of 6m @ ISO 100.
The A6300 is also
the Alpha 6300 can
also be powered compatible with Sonys
range of wireless
via USB.
ashguns.
In playback mode,
pressing the Fn button
lets you quickly send
an image to your
phone over Wi-
BODY
ONLY
KEY
This allows for more light to reach SPECS the EVF. This rate provides a view
the sensor and a larger photodiode with no discernible lag and a very
to capture that light. The result is SENSOR 24.2MP, realistic electronic view of the scene.
APS-C Exmor CMOS
that Sony claims the camera has OUTPUT SIZE The next new feature is the
an improved signal-to-noise ratio 5,184 x 3,888 continuous shooting rate. The Alpha
over the sensor of its predecessor, FOCAL LENGTH 6300 shoots at 11fps, while metering
and as such the camera has a
MAG 1.5x and autofocusing. This is great, but
LENS MOUNT
sensitivity range of ISO 100-25,600, Sony E mount there is also a secondary high-speed
expandable to ISO 51,200. This is SHUTTER SPEEDS continuous shooting mode that
one stop more than its predecessor. 30-1/4000sec shoots at 8fps while metering and
ISO 100-25,600
Some people may have expected autofocusing. When shooting at the
(51,200 extended)
the Alpha 6300 to have a backside EXPOSURE MODES reduced rate, the viewnder has
illuminated (BSI) sensor, especially PASM minimal shutter blackout and
given that Sony has a 42MP BSI METERING 1,200-zone presents a live view between shots.
EXPOSURE COMP
full-frame sensor in the Alpha 7R II. 5EV in 1/3 steps Previously, this was a problem with
However, it is perhaps asking a little DRIVE 11fps ,8fps, CSCs. Early CSCs simply show a
too much for the Alpha 6300 to 6fps or 3fps totally black screen between shots.
have a newly developed phase- VIDEO 4K 25p, full HD On more recent cameras a quick
(120p/100p/60p/
detection AF system and BSI. 50p/30p/25p/24p up ash of the last image taken is
Theres a 3in, 921,000-dot screen to 14min) shown between shots. Some do
with a wide viewing angle, but its VIEWFINDER show a live view image, but only
2.4 million dots
in the OLED electronic viewnder with a reduced burst rate of 4-6fps.
DISPLAY
where Sony has worked its magic. 3in, 921,000-dot LCD All of this can make it tricky to
This EVF has a 2.4-million-pixel FOCUSING frame a moving subject. The 120fps
resolution, which is higher than the 425 phase-detection
and 169 contrast-
refresh rate of the Alpha 6300, and
1.44-million-dot EVF in the Alpha detection AF points fast readout of the sensor, mean the
6000, but it should be noted that MEMORY CARD A6300 can truly keep up when
it is the same as the much older SD, SDHC, SDXC shooting at 8fps.
POWER
NEX-6. Sony has, in effect, Sony has gone back to the
NP-FW50 Li-ion
reintroduced this resolution, but DIMENSIONS drawing board somewhat for the
the 2.4-million-dot EVF is still on 120 x 66.9 x 48.8mm AF system, and the new 425
par, or better than most of the WEIGHT phase-detection points cover
495g (with battery
cameras rivals. What is impressive and card) virtually the whole frame. There is
is the 120fps display refresh rate of a further 169 contrast-detection AF

The key new feature of the
Sony Alpha 6300 is its
ability to continuously
autofocus at up to 11fps
that mostly overlays the 425-area
phase-detection AF, but reaches
further into the corners.
Myriad additional features are
built into the camera. Highlights are
in-camera panoramic shooting, HDR
bracketing, NFC and Wi-, and the
ability to add additional features to
the camera via Sonys PlayMemories
mobile applications. There are quite
a few available, including various
timelapse and star-trails apps. Sony
regularly comes up with new
camera apps, so it is worth checking
to see what the latest ones can do.
B UIL D A N D
HA N D L IN G
While there have been a few tweaks
compared with its predecessor, the
majority of the Alpha 6300 is
similar, and indeed if you have used
any of Sonys Alpha or RX compact
cameras, the button and dial
placements will seem familiar.
The important things to note are
that the Alpha 6300 has a tough
magnesium-alloy body, which
includes internal frames as well
as the top rear and front cover all
constructed of magnesium alloy.
The Alpha 6300 can
produce great colours
in-camera
SON Y A 6300
This makes the A6300 stronger and
tougher than the preceding cameras
in the line-up, while still keeping it
lightweight. Also new is that the
camera has dust and moisture
resistance with a number of seals
surrounding the buttons, dials and
other entrances to the camera.
Presumably with Sonys new
range of G master lenses in mind,
and the fact that the Alpha 6300
will be used for video, the lens
mount of the camera has also been
made stronger and more robust.
This should cope with the weight
demands of telephoto and large-
aperture lenses, particularly those
that may be used for capturing
video footage, and for sports and
wildlife photographers.
Another interesting design tweak,
which will benet video shooters,
is the fact that the camera can be
powered, and not just charged, via
USB, provided that there is a battery
installed. So take a USB battery
pack in your bag and you should be
able to keep shooting video and
timelapse footage for longer, or
keep the camera battery topped up.
The body of the Alpha 6300
remains largely the same. The grip
and the shutter button have been
enhanced and now feel quite
WWW.WHATDIGITALCAMERA.COM 67
 CAM E R A T E S T

similar to Sonys Alpha 7 range of P E R FO R M ANCE subjects just as well as a DSLR.

CSCs. Also, there are many settings
that can be assigned to the custom
buttons on the rear. Though theres
only one rear dial, and not the
additional front dial that exists on
the Alpha 7 cameras, you can still
get it to operate in a similar manner.
Sony tends to receive a lot of
criticism for its menu system, which
is very comprehensive but some
nd it difcult to navigate. It is very
much a personal experience but
I cant say any of the settings were
difcult to nd.
In use, the Alpha 6300 is a fairly
solid, reliable camera. It may lack
the design appeal of something like
the Fujilm X-T1 or the Olympus
OM-D series, but it is fairly easy to
use, feels comfortable in the hand,
and doesnt weigh a great deal. A
useful addition to the body would
be an exposure-compensation dial
on the top-plate, much like in the
Alpha 7 series. It isnt difcult to
change the exposure compensation,
but having tested a number of the
Sony Alpha 7 cameras over the past
couple of years, the exposure-
compensation dial would be a nice
touch, especially if you might wish
to use the Alpha 6300 alongside an
Alpha 7. Those wishing to jump up
from one of the RX cameras will nd
that the Alpha 6300 operates in a
similar way to Sonys Cyber-shot
DSC-RX100 and RX10 cameras.
The lightweight Alpha 6300 Using the continuous AF tracking
travelled with me in my bag for mode, the Alpha 6300 utilises a
most of my two weeks testing it. range of phase-detection points
With the program dial on the top across the whole frame. However,
of the camera, it was easy to switch it uses a higher concentration of
between shutter, aperture and points over the subject, so the
manual priority, and I used one of camera uses the wide array to
the custom items for my preferred detect big jumps in motion, and
shooting settings. This made it very the more dened range for the
fast to switch between my video more precise jumps.
and still-image settings, without We tested the AF with a mountain
having to tweak menu items. biker, going downhill at 15-20mph.
Having the combination of stills We were able to re off a burst of
and video worked well, and the shots in Raw and JPEG mode, and
detail in the 4K video mode is nearly every one was sharply
excellent. It is a shame that Sony focused. The camera did lock on
hasnt incorporated a 4K photo- to the subjects coat, but knocking
extraction mode as Panasonic has. the aperture down to f/5.6 made
Being able to pull 8-million-pixel a difference with the increased
still images quickly from video depth of eld helping to improve
les would be useful. the sharpness on the subjects face.
That said, the autofocus of the Overall, the continuous AF is
Alpha 6300, along with the 11fps impressive and can rival, and better,
burst mode, is good enough that DSLRs in the same price bracket.
you will usually be able to capture The 1,200-segment evaluative
the exact moment you want, with a metering system allowed me to
good-quality JPEG or Raw le, that pull the camera out and point and
would be better than a compressed shoot when an opportunity arose.
8-million-pixel video frame. There Generally, the exposures were
are two high-speed continuous AF accurate, and especially when
modes, and the camera is able to shooting landscapes it boosted
focus and meter from frame to the exposure to the point of
frame in both. The 11fps mode is highlighting clipping, producing
faster, but doesnt show a real-time nice detail in shadow areas. When
preview between shots, whereas shooting in overcast conditions I did
the 8fps mode does. Therefore the dial the exposure down slightly for
8fps mode allows you to frame your darker, more brooding photos.

Image quality
ISO 80 ISO 25600 ISO 100 ISO 1600 ISO 80 ISO 6400

32 30
ISO 6400 ISO 51200 ISO 12800 ISO 51200

28 24

COLOUR RESOLUTION IMAGE NOISE

We tested the A6300 with the Sony 16-50mm
f/3.5-5.6, the Zeiss 16-70mm f/4 and the new Sigma
30mm f/1.4, and the latter two lenses produced far
sharper images. Raw images have a good level of
detail, and I found that colour, sharpness and noise
levels can all be easily controlled using the latest
version of Adobe Camera Raw. However, the JPEG
compression and noise reduction tends to be a bit
heavy handed, and fine textures can look a little
soft if you are pixel-peeping.
The A6300 performed well in our line test chart. It
reaches almost 3,200 lp/ph at ISO 100, although
there are some signs of moir patterning. The A6300
holds on to a high level of detail at 3,000 lp/ph until
ISO 800, where there is the first really noticeable
drop-off after this point. As with the noise, it is
beyond ISO 6400 that the resolution really begins to
drop, and although the A6300 still reaches around
2,700 lp/ph at ISO 12,800 it is badly affected by
noise and loss of detail.
Though the copper wiring on the A6300s sensor is
said to improve image quality compared to the
A6000, we found the differences quite subtle. That
said, at low sensitivities there seems to be less
noise in shadow areas when you manipulate Raw
images. The extended highest sensitivity of ISO
51,200 suffers heavily from noise so is best
avoided. Id suggest ISO 12,800 is the highest you
push the sensor, and ideally ISO 6400 should be the
highest you want to go unless in very dark scenarios.

68 WWW.WHATDIGITALCAMERA.COM
 SON Y A 6300

JPEG eke out every last bit of detail.

Raw original
Raw edit
For those who like shooting JPEG
images and getting everything right
in-camera, the Alpha 6300 has the
standard Sony range of dynamic
range optimisation (DRO) settings,
with ve levels, as well as auto.
These adjust the contrast across the
image by boosting the shadow
detail and pulling back highlights.
There is, in fact, a lot you can do
in-camera to alter the look of JPEGs
to your taste. As usual, numerous
preset colour styles can be applied
and tweaked, and lets not forget
the PlayMemories camera apps.
Better still are the picture prole
settings, which are designed for
video capture, but can also be used
for still images. There is a huge
amount that you can adjust within
these settings, including the black
and white points, the contrast curve,
saturation and the strength of each
of the RGB colour channels. If you
can get your head around what
each setting does, you can create
your own picture style that can be
applied to your JPEG images. For
Raw shooters, there is the option of
14-bit uncompressed Raw les to
Overall, I didnt come across any
major issues using the Alpha 6300,
and it lived up to my expectations.
I was able to transfer images via
Wi- quickly and post images from
the A6300 to the magazines
Twitter account. The AF is about the
best Ive used in a CSC, and few
cameras can match the 11fps burst
rate. The 4K video capture along
with 100/120fps slow-motion
shooting rates are bonuses to a
comprehensive list of features.
However, there are a few niggles.
First, it is still time consuming to
change the AF point. We have been
asking for a touchscreen for this for
around three years now. Currently,
I nd that using the AF tracking
to centre focus and recompose is
the best way of focusing quickly.
Second, I would like to see a front
Although JPEG detail is control dial. Its not a huge deal, but
OK, more detail can be an extra control dial is always good,
pulled from Raw images and it would really place the Alpha
6300 just below the Alpha 7 range.
Not only does the Alpha 6300
record 4K video, but it also has
a huge range of other features,
such as picture proles that allow
you to shoot with an S-Log2 or 3
contrast curve, zebra patterning,
smooth AF during video, and a
100fps full HD footage option for
converting video to 4x slow motion.
You can read a full video review at
www.thevideomode.com

Verdict
With the Sony Alpha 6000 being one of the For videographers, the only thing that is B EST FOR
companys most popular cameras of recent really lacking is a headphone socket for audio
Photographers who would like a fast focusing
years, the Alpha 6300 denitely has a lot to monitoring. Other than that, it is a great and fast shooting performance Videographers
live up to. Thankfully, it more than lives up compact 4K video camera and a perfect whod like a compact 4K video camera
to its predecessor and it takes Sonys next- accompaniment to an Alpha 7.
generation APS-S-sensor E-mount cameras The image quality is good, but it is the other
to the next level. features of the camera that in fact steal the PROS CONS
The physical size and shape of the body show this time. Continuous focusing Fine detail in JPEGs
remain largely the same, although we would The Alpha 6300 is really all about the is on par with a DSLR could be better
Great video features, A front dial would
have liked a front control dial, and we are combination of AF, viewnder and continuous
including 4K Sturdy be useful Awkward
starting to sound like a broken record asking for shooting rate. At the price, no DSLR can mount and body, plus to select AF point No
a touchscreen in the premium Sony E-mount shooting as fast as 11fps, and certainly not weather-sealing touchscreen
cameras. This would make it so much easier to keep up with focusing. F E AT U R E S 19/20
focus and be fantastic for focus-pulling when If you already own an Alpha 6000 should
shooting video, particularly with the advantage you upgrade? In terms of image quality there PERFORMANCE 19/20
of the 425 phase-detection AF points. doesnt seem to be too much difference, so DESIGN 19/20
But there are some signicant improvements it really comes down to whether or not you
I M AG E Q UA L I T Y 18/20
to the body, notably the weather-sealing, and will appreciate the new features of the camera.
the strengthened lens mount. The Alpha 6300 Certainly, the magnesium-alloy body is a good VA L U E 17/20
is straightforward to use, and anyone who has upgrade, but whether or not the AF system
WDC RATING GOLD
used a Sony camera in the past few years will and 4K video are will depend on the type of
feel right at home. photography, or videography, that you do. RS

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 CAM E R A T E S T

This is the rst

Fujilm X-series camera
to feature touchscreen
functionality. The 3in display
can also be tilted for a range
of shooting positions,
including seles.
Along with a number
of body-mounted controls,
the X70 also sports a wide
range of function buttons
that can be programmed to
allow you to tailor the X70
exactly how you want.

Fujifilm As well as operating

as a manual-focus ring,
the control ring can be set

X70 549
up to control a host of
other settings should
you wish.

With a rich heritage, the X70 from Fujilm has a lot going for it. Does it live up to its high expectations?
W W W. F U J I F I L M . C O . U K O  T E S T E D B Y P H I L H A L L

KEY

T
he X100 from Fujilm
caught the imagination
of photographers both
professional and amateur,
as well as kick-starting the Fujilm
renaissance after years of
forgettable compacts. The latest
incarnation, the X100T, will often
nd its way onto a photographers
camera wish list, but at almost 800
its a more serious investment.
This brings us to the X70. Smaller,
cheaper, more compact and with
many of the features that made us
fall in love with the X100 in the rst
place, the X70 appears to tick a lot
of boxes. So how good is it?
FE ATUR E S
Lets start by taking a look at
the sensor, and Fujilm has stuck
with the now tried-and-tested
16.3-million-pixel, APS-C-sized
X-Trans CMOS II sensor that weve
seen in the likes of the X-T1, X-T10
and X100T. With its unique lter
array, this semi-randomised
arrangement sees the sensors
propensity to give false colour
reduced. This, in turn, does away
with the need for an optical
low-pass lter thats traditionally
used to counter moir effects.
Sticking with this sensor sees
the standard output sensitivity
range remain at a modest 200- SPECS
6400, but if youre prepared to SENSOR 16.3MP,
rely on a JPEG le only, it can be APS-C X-Trans
expanded to 100-51,200 for further CMOS II
OUTPUT SIZE
shooting options. 4,896x3,264
As weve seen with other Fujilm LENS 18.5mm f/2.8 shooting style will depend on
cameras over recent years, the X70 (28mm equivalent)
features a dynamic range setting SHUTTER SPEEDS always loved this eld of view. As
1/4,000sec-30secs;
that is designed to avoid clipped 1/32,000sec-1sec
highlights, with DR 200% adding electronic; bulb
one extra stop and DR 400% adding up to 60mins
two stops of highlight range. ISO 100-51,200
(extended)
Nothings for free, though, and the EXPOSURE MODES
payoff is the increase in minimum PASM, advanced
sensitivity to ISO 400 for DR 200% SR auto
METERING Multi,
and ISO 800 for DR 400%. I prefer
spot, average
to stick with DR 100%, but thats not EXPOSURE COMP
to say that in some situations DR 3EV in 1/3 steps
200% isnt a handy feature to have, DRIVE 8fps on the middle of the frame, and its
MOVIE Full HD at
although I tend to shy away from 60fps
the DR 400% setting. DISPLAY 3in,
The X70s auto ISO set-up works 1.04-million-dot tilt-
very well also, letting you set a angle touchscreen
LCD
minimum and maximum aperture, STABILISATION N/A
as well as a minimum shutter speed AF POINTS 77-point
youre prepared to use when MEMORY CARD
handholding, so you can get stuck SDHC/SDXC
POWER NP-95 Li-ion
in with the serious business of BATTERY LIFE 330
taking photos. There is also the still images (approx)
option to save up to three auto DIMENSIONS
ISO set-ups.
112.5x64.4x44.4mm
WEIGHT 340g (with
While it may look as though the battery and card)
X70 shares the same 23mm f/2
(35mm equivalent) lens as its bigger
brother from a distance, the optic
on the front is actually an 18.5mm
f/2.8, providing a focal length
equivalent to roughly 28mm.
Whether this is too wide for your
what you like to shoot, but Ive
we saw with the X100 series, the
X70 has a dedicated aperture ring
running around the lens barrel, with
1/3-stop aperture adjustments from
f/2.8 to f/16.
The X70 also sports a digital
teleconverter, with 35mm and
50mm options to choose from. It
does mean youll lose resolution
as youre essentially cropping in
an option that can only be used
when shooting JPEGs.
The manual-focus ring, as well
as doing the obvious, can also be
set up in the menu to control a
selection of other features white
balance, ISO, lm simulation, digital
teleconverter and a default setting.
The manual-focus ring (or control
ring as its known) isnt the only
congurable option on the X70,
with a further eight function buttons
being available that can be tailored
to suit you.

70 WWW.WHATDIGITALCAMERA.COM
 FUJIFILM X70

The X70 does a

great job with
colours straight
out of camera

LCD DI SPLAY
In an effort to make the X70 as
pocketable as possible, it lacks
the clever hybrid viewnder
that graces the X100 series of
cameras. Instead, the X70 is the
rst Fujilm X-series camera to
feature a tilting touchscreen LCD.
The 3in display has a resolution of
1,040,000 dots and can tilt round
180. This is perfect for the sele-
addicted out there, but does seem
to jar a little too much with the
ethos of this as a photographers
camera. It still has its uses, though,
such as shooting from the hip at
waist level especially when used
in conjunction with the touchscreen
to trigger the shutter.
If you cant live without a
viewnder, though, then the
optional VF-X21 optical viewnder
(149) slots into the hotshoe on the
top of the camera.

BUI LD AND
HANDLI NG
Perhaps a worry is that the lovely
Files offer plenty nish and feel of the X100T
of exibility in wouldnt carry over to the smaller
post-production, allowing
you to recover decent and more affordable alternative, but
levels of highlight and as soon as you pick up the X70
shadow detail youre left in no doubt that this

WWW.WHATDIGITALCAMERA.COM 71
 CAM E R A T E S T

isnt going to be the case.

Available in black and silver
nishes, both look very stylish
and have some classic rangender
design features, with the black
model looking a little more
understated. Dials are pleasing
to the touch and are milled from
aluminium for a quality feel,
while theres a large rubberised
handgrip and thumb rest at the
rear that allows for comfortable
one-handed shooting should you
wish. Just as weve experienced
with the X100T (and numerous
other X-series cameras), the X70
looks and feels the part.
Along the top are shutter and
exposure-compensation dials that
are complemented by a button to
access the X70s drive modes and
an auto-mode-selector lever. Switch
over to this and the X70 goes into
advanced SR auto, where pretty
much all the decision-making is
given over to the camera if you
just want to point and shoot.
If you thought the arrival of
touchscreen functionality would
see the reduction of body-mounted
controls, think again. As weve
mentioned already, there are eight
customisable function buttons,
including the four-way d-pad
control. I like to set one of these for
focus-area selection so I can quickly
toggle round the frame to select the
desired AF area, but whether you
The touchscreen functionality annoying that you couldnt simply
tap the screen to focus all youre
of the X70 has integrated nicely doing is selecting the focus area,
with the other controls and while the touch shooting mode
both focuses and res the shutter,
it does feel as if theres a mode
missing in between.
do that with the d-pad or simply by The X70s multi-zone metering
tapping the screen is up to you. system seems to judge most scenes
The menu is also pretty pretty accurately and, combined
comprehensive with plenty of with the live preview on screen
options to tailor the camera to your its easy to dial in the necessary
needs, while the Q menu offers exposure compensation thanks to
quick access to a host of popular the logically positioned exposure
shooting settings. compensation dial. While theres
no lock to prevent it from being
P E R FO R M ANCE knocked out of place, I didnt nd
The X70 is a very nice camera to this to be an issue theres just
use once youve got the various enough resistance there to make
function buttons dialled in to suit it hard to do so.
your own way of shooting. If youve The new 28mm f/2.8 equivalent
shot with the X100T, you do miss lens also performs well, with our
the viewnder, but the tilt-angle lab results showing that distortion
screen is a great pay-off, and is very well controlled with only
perfect for those low-angle and minor pincushion distortion present.
waist-level shots. Shading at the corners hovers
Screen clarity is good and the around -0.7EV wide open at f/2.8,
touchscreen functionality has before settling at around -0.6EV
integrated nicely with the cameras through the rest of the aperture
other controls, making it quick range, with a gentle fall-off from
to ick through images and the centre of the frame. This is
pinch-and-zoom to look a little something that can be easily
closer. It does make you wonder rectied in post-processing, and
how long it will be before we see didnt really detract from the
this touchscreen functionality creep real-world samples shot.
into Fujilms range of X-mount I found the lens delivers a decent
Compact System Cameras. level of sharpness as well, with our
During shooting I found it a little test charts revealing that the sweet

Image quality
ISO 100 ISO 25600 ISO 80 ISO 1600 ISO 100 ISO 400

32 30
ISO 6400 ISO 25600 ISO 6400 ISO 51200

26 18

COLOUR RESOLUTION IMAGE NOISE

The Fujilm X70 uses a 16.3MP X-Trans CMOS sensor and
EXR processor and while 16.3 million pixels might appear
a little bit behind the times compared to some rivals,
dont forget that it does away with an optical low-pass
lter. This means the sensor can resolve an impressive
amount of detail. Colours from the X70 dont disappoint,
whether using JPEGs or Raw. The lm-simulation modes
offer some pleasing alternatives to the standard colour
output, with Velvia being a popular choice for punchy
colours and the Pro Neg options ideal for portraits.
As weve seen from other Fujilm X-series cameras in
the past couple of years, the sensor in the Fujilm X70
is capable of resolving excellent levels of detail, with
results from our Applied Imaging test chart at around
3,200 l/ph at ISO 100. As you would expect, this does drop
slightly as the sensitivity is increased, achieving 2,900 l/
ph at ISO 1600 and 2,700 l/ph at ISO 6400. However, at
JPEG-only sensitivities, image noise starts to have a major
impact, with ISO 51,200 seeing the resolution reduced to
just over 2,200 l/ph.
Despite only being able to shoot JPEG les at ISO 100,
the X70 delivers very clean les at this sensitivity, with
excellent detail and pleasing colours. At ISO 200 theres
little to fault in Raw les detail is very good, with no
visible signs of noise. Its only at ISO 1600 that noise starts
to impose itself on the image, with detail in the shadows
starting to suffer. That said, even at ISO 6400, results are
still more than acceptable especially if shooting Raw.
As youre forced to shoot only JPEG beyond this, results
arent that great and the top ISO of 51,200 is best avoided.

72 WWW.WHATDIGITALCAMERA.COM
 FUJIFILM X70

different levels for greater

spot for the lens was around f/4,
with diffraction seeing results soften
from f/11 onwards.
AU TOFOC U S
With the lens focusing back and
forth during focusing like the X100
series, the X70 shuns the more
sophisticated internal focusing most
of its rivals tend to favour. That said,
though, its a welcome upgrade to
the system found in the X100T, with
the new Intelligent Hybrid AF
system featuring both phase-
detection AF and contrast AF to
offer a number of AF modes just
like weve seen on the X-T10 and
X-T1 (via the rmware 4.0 upgrade).
This means that not only is there
a single-point mode, allowing you
to select one of the 49 focus points
that covers the majority of the
frame (as well as setting the size
of the area from a choice of ve
accuracy), but theres also zone
and wide/tracking modes.
Both the latter two modes
employ a 77-point grid of focus
areas that covers almost the entire
frame. Zone mode allows you to
specify a group of focus points
5x5, 5x3 or 3x3 that can then be
positioned freely around the frame
and is suitable for predictable
moving subjects. If your point of
interest is moving more erratically,
the tracking mode allows you to
set a specic point for the initial
focus acquisition and, once the
camera has locked focus, track it
around the frame.
The thing you need to remember
here is that because the X70s 15
faster phase-detect points are
grouped in the centre of the frame,
when you opt to move outside that
towards the edges of the frame it
reverts to the slower contrast AF
system. So, wherever possible, Id
With a f/2.8 maximum stick to the central area in zone
aperture, its possible to mode to ensure brisker focusing.
isolate your subject When it comes to the broader
tracking mode, dont expect too
much it copes with relatively
sedentary subjects, but it can
struggle when put up against
faster-moving subjects. You can also
expect a mechanical whirr as it nds
focus not quite whisper-quiet AF.
Those niggles aside, focusing is
good and accurate, on the whole.

Verdict
It would certainly be harsh to label the X70 as come down to personal taste and the type of B EST FOR
a cut-down X100T, as this cracking compact subjects you regularly like to shoot.
Photographers who want an excellent
carves out a niche all of its own in the Fujilm These small gripes aside, the lens is very advanced compact Those after a more portable
line-up and should be recognised as such. good, and paired with the well-proven 16.3MP camera as a companion to their DSLR or CDC
There are a couple of caveats to think X-Trans CMOS II sensor will deliver images
about, though, before you go rushing out with excellent levels of detail and well-
to buy one. First, the absence of a built-in controlled image noise that are difcult to PROS CONS
viewnder means you have to rely on the fault. Thats not forgetting the excellent Great image quality No built-in
touchscreen for shooting, and while it colour output from the X70s JPEG les and a Very good lens viewnder 28mm
Excellent JPEG equivalent focal
performs very well, I invariably found myself host of decent lm-simulation modes should
colour rendition length may be
wishing I could raise the camera to my eye you want to side-step any image editing later. Stylish and well limiting Focusing
a lot of the time especially with the other Cloak this in a stylish, compact and built can be slow
body-mounted controls dotted round the well-made body that offers a host of F E AT U R E S 18/20
camera so Id probably end up buying the body-mounted controls and customisation,
optional optical viewnder if I took the along with a decent AF performance, and PERFORMANCE 19/20
plunge myself. you end up with an excellent enthusiasts DESIGN 18/20
Second, I can understand not wanting to compact camera that youll always want by
I M AG E Q UA L I T Y 18/20
use the same 35mm equivalent f/2 lens that your side. Whether that be as a partner to
features on the X100T, but I cant help feeling your DSLR or CSC, or simply if you want VA L U E 18/20
that 28mm might just be too wide for a lot of to travel light and want a camera that can
WDC RATING GOLD
photographers. Perhaps something like a deliver high-end results but t in your
50mm would have more appeal, but this will pocket at the same time. PH

WWW.WHATDIGITALCAMERA.COM 73
 STO RAGE D E V IC E TES T
Dual USB 3.0:
This allows external
drives to be attached
for additional storage
or back-up.
LAN socket:
This connects directly
to your router using
an ethernet cable.
Western Digital
My Cloud EX2 Ultra 245-803
DEPENDING ON CAPACITY (135 DISK-FREE)
Back-up drives are not all made equal. We try one out thats ideal for photographers
W W W.W D C . C O M O  T E S T E D B Y A N DY W E S T L A K E
I
f youve been using digital
cameras almost since they rst
appeared, chances are youll
have a large number of precious
image les dating back many years.
Storing them all safely can be a
headache; at the very least you
should save everything to two hard
drives in case one fails, and ideally
have another back-up held at a
different location. Even then, you
might nd that your photos are
rarely seen, simply because theyre
on hard disks that can only be
accessed from your own computer.
Western Digitals My Cloud EX2
Ultra is designed to solve many
of these problems. Its a network-
attached storage device that plugs
directly into your router, so its
connected not only to every device
in your home network, either
hard-wired or over Wi-, but also to
the internet as a whole. This allows
you to access your les remotely
via the WD My Cloud app or web
interface, wherever you are. You can
74 WWW.WHATDIGITALCAMERA.COM
Swappable drives:
Opening the top gives
easy access to the
hard disks if they need
to be replaced.
Status lights:
Front-plate LEDs
indicate operational
status and
disk health.
also share your les and invite friends features, too. Its possible to
and family to see your photos. congure automatic back-ups to
USB hard drives or selected external
Features cloud services. Alternatively, you
The My Cloud EX2 Ultra stores your can enable automatic back-up of
les on two hard drives in a RAID1 your cameras memory card when
back-up conguration, so you have you plug it into the USB ports, or
a second copy if one disk fails. You Advanced settings keep all the contents of your mobile
are controlled
can buy it pre-congured with from the devices backed up via the WD My
optimised NAS disks in capacities management Cloud app. You can even use the
from 4TB through to 16TB, or console drive as a music or media server.
disk-free to t your own. Twin USB
3.0 ports at the back allow you to
plug in external drives and make
further back-ups automatically.
Multi-user support is built in. You
can create password-protected
accounts for friends or co-workers,
and arrange them into groups so
family or team members can quickly
and easily be given the same access.
You can then congure multiple
shares on the disk, giving specic
users or groups access to each, so
each user only gets access to the
les you allow.
There are lots of other useful

Set-up
Initial installation is straightforward,
but beyond that youre slightly left
to your own devices. Theres no
manual in the box, just a card
prompting you to plug the drive in
and switch it on, then pointing you
to Western Digitals online set-up.
This takes you through the
process of creating a My Cloud
account, after which it detects the
device on your network and
associates the two. It then opens
the web interface for the drive,
which makes it easy to generate
additional user accounts, and start
uploading and sharing your les.
While this gives you access to the
core features, youll get the most
out of the device if you delve into
the main management console and
congure the settings. The lack of
clear documentation means this
isnt as easy as it should be: initially
you need your My Cloud username
but no password to get access, but
this isnt really explained adequately,
and I spent a couple of frustrating
hours working it out. The electronic
manual on Western Digitals website
isnt much help. Some things are
made to sound more complex than
they really are, and its positively
misleading about others (it insists
your username should be admin).
The management console itself
is complex, but reasonably
straightforward if youre technically
inclined. It allows you to set a whole
array of further options, including
creating shares and user groups,
conguring cloud access for mobile
devices, as well as setting automatic
on/off schedules to save power and
prolong the life of your hard disks.
In use
With a 15x10cm footprint (6x4in)
the My Cloud EX2 Ultra takes up
little space, and its pretty quiet.
Build quality seems absolutely ne
for home use, with a plastic exterior
around a metal inner casing that
Files can also be holds the disks in place. Accessing
accessed remotely your les is easy; the device shows
online using a up as a shared drive to computers
web-based on your home network, but you can
interface. The
drive is accessible also use the free WD My Cloud app
as shared storage available for Mac, Windows, iOS
on your home or and Android. This is straightforward
office network and easy to use. Even if youre
working with a locked-down
machine onto which you cant install
software, the web interface gives
easy access to your les.
File-transfer speeds across
a home network leave nothing
to be desired, thanks to the gigabit
ethernet connection. However,
unlike true cloud services, remote
le access is limited by the
upload speed of the network its
connected to, which means itll
probably be rather slow. For
instance, I found 15MB Raw les
took three minutes to transfer
using my home broadband
connection. This is a consideration
if you want to access large les.
Sharing lots of les to external
users could eat into your
broadband data allowance pretty
quickly, too. For this kind of use,
a cloud service such as Dropbox
would make more sense.
My Cloud & Photos apps
The My Cloud EX2 Ultra to browse through the
works with Western drive and display
Digitals My Cloud mobile slideshows of your
app, which lets you images on your phone or
access all of your les tablet, with a clean,
while on the move. Its attractive interface.
possible to browse by Small thumbnails are
type, then download loaded rst, but you can
those you want. download full-sized
One particularly neat images if you want. This
feature is Western means that you can show
Digitals Photos app for any of your stored photos
iOS and Android, which to friends, family or
is optimised for showing clients wherever you have
photos. This allows you a network connection.
MY CLOUD EX2 ULT R A
Verdict
Whats great about the
Western Digital My Cloud EX2
Ultra is the way it kills so many
birds with one stone. The
RAID1 conguration gives the
security of a duplicate copy of
every le, and you can plug in a
portable hard drive periodically
to produce another back-up.
Organise your favourite
photos into albums and in
effect you get your own private
photo-sharing service. You
dont even have to copy
images across yourself, as
the WD Sync app can
automatically back up folders
from your computers local
hard drive. Speed issues mean
its not a replacement for a
cloud service or portable drive
if you regularly need to access
large les away from home,
but you can grab any le
wherever you are, at any time.
Overall, the device
is an excellent storage
solution. Some poor
documentation left me
frustrated during initial
set-up, but once I got
it up and running
I was very
impressed
indeed. AW
LD
W D C GO
R AT I N G
WDs My Cloud
app lets you browse
your files
WWW.WHATDIGITALCAMERA.COM 75
 SO FT WA R E T E S T
Aurora
HDR Professional 72
We test Aurora HDR Pro, software for editing and processing high-dynamic-range images
AU R O R A H D R .CO M O  T E ST E D BY C A L LU M M C I N E R N E Y- R I L E Y
M
acphun specialises in
making software for
photographers. It
recently teamed up
with Trey Ratcliff, one of the most
famous HDR photographers in the
world, to produce a plug-in and
standalone piece of software
specically for creating HDR
images. Ratcliff has over 8.5 million
followers on Google+, is passionate
about HDR and knows his stuff.
What it does
There are two options for Aurora
HDR. The standard version costs
29.99 and is available only from
the Apple App Store for Mac OS.
This version limits users to JPEG,
TIFF and PNG (not Raw les), and
has many of its features cut back.
The second option is the Aurora
HDR Professional. It boasts all the
functionality you could wish for, and
also allows you to use Aurora HDR
as a plug-in for Adobe Lightroom,
Adobe Photoshop and Apple
Aperture, as well as being a
standalone software.
Aurora HDR Professional
76 WWW.WHATDIGITALCAMERA.COM
allows users to create HDR and
tonemapped images with a single
shot or multiple bracketed images. It
can read PNG, 8-bit and 16-bit TIFF,
GIF, PSD and Raw les. Aurora HDR
Professional also allows users to
make various image adjustments,
as well as the HDR merging.
Starting out
The rst screen is where you load
your images. You can select to bright yellow areas
load a single image or a series of
bracketed ones. Once selected, you
are given the option of alignment,
ghost reduction and chromatic
aberration reduction. Chromatic
aberrations are commonplace when
the brighter exposure of a bracketed
shot is merged, so its a handy
feature. With ghost reduction you
can reduce the ghosting by four
different strength settings, and get
the option to select a reference
image for more accurate merging.
Once an image, or series of them,
is loaded and processed, you can
start working on the le. The layout
is similar to Lightroom, but this
software is HDR-specic.
Aurora HDR can be
used for more subtle
adjustments to
enhance your
images without
going too far over
the top
Tool run-down
Down the right-hand side is a
selection of tools. The rst is Tone,
for basic adjustments, including
highlights, shadows, midtones and
blacks/whites. Next is Structure,
which allows users to control the
strength of the high-contrast HDR
look and the clarity. Its easy to
Even with a lot of overdo it in this panel, so its worth
tweaking, the tweaking this part the most. When
you lighten shadows extensively you
and red flowers in
can introduce a lot of unwanted
the foreground of
the image are noise, so Macphun has provided
distracting a denoise tab that allows users to

control the intensity of denoising
and smooth out areas.
The Image Radiance tab gives
image highlights a more radiant,
glowing look, but it also includes
a colourising portion inside the tab
for users to change the warmth
and colourise the light end of the
midtones, through to the highlight
portion of the image. Below this is
a colour tab for saturation, vibrance
and colour temperature changes.
The Details tab lets you sharpen
either small, medium or large areas
of detail, and each can be controlled
individually, localised to either
highlights, shadows or globally. Glow
tab does what it describes. Below
this is a tab called Top & Bottom
Lighting this lets you control the
exposure from the top half of the
image. The same can be applied to
the bottom half. This is especially
useful for balancing landscape shots.
The Tone Curve tab is simply a
curves adjustment, while the Color
Filter tab allows users to control the
saturation and luminance of the
colour channels. Colour Toning tab
enables users to tone the highlights
and shadow areas. At the top of the
tab are some handy presets. Below
is Vignetting, which lets you put
a vignette on or tame an existing
vignette, while at the bottom is
Layers. This tab allows users to
blend all their edits with the original
HDR merge, and vary the strength
of their adjustments. It can also be
used when creating other layers.
There are a couple of useful tools
along the top bar. One compares
images before and after changes.
It can be set up to split the screen
or view the versions side by side.
There are zoom tools for checking
specic areas of an image, a move
tool for moving the enlarged images
around, a rotation tool for rotating
the image, a crop tool, a full-colour
histogram, two buttons for
importing and exporting images,
and a masking brush and layers.
Creating a new layer is a lot like
creating an adjustment layer in
Photoshop. Users make their
adjustments, then, using the
masking tool, paint in where they
want their adjustment to be applied.
The brush can be rened and is
controllable. Confusingly, theres a
graduated lter simulator inside the
brush menu, too, but it is very useful
in allowing users to quickly make an
adjustment mask to a graduated
part of the image. It can be tilted,
AURORA HDR PRO SOFTWAR E
Any users who rotated and feathered, allowing
are familiar with foreground and skies to be darkened
Adobe Lightroom or lightened. Also, in the layers there
will feel right at
are blending modes such as Soft
home with Aurora
HDR Pro, as there Light, Hard Light and Color. These
are presets, plus let you make more dramatic images.
an editing panel
thats located on HDR presets
the right-hand
Along the bottom of Aurora HDR
side. It also
boasts the same Professional are presets that can be
slider-style editing selected by category. Categories
as Lightroom, with include landscapes and architecture,
similar native as well as Trey Ratcliffs own preset
adjustments collection. Users can also save their
available, too
own presets. Many of the presets
give a heavily processed look, and
for many shots theyre dependent
on a specic type of scene such as
a cityscape with bright highlights.
Often, many images dont work with
a lot of presets, but there will usually
be one or two that do work well.
In use
I tried using a variety of images with
the Aurora HDR Pro, including ones
from Olympus, Sony, Canon and
Fujilm, mixing it between full-frame,
APS-C, Four Thirds and compact
camera sensors to get a rounded
user experience. I also tried single
exposures and bracketed ones, and
a mix of Raw and JPEG les.
The rst thing that bugged
me was that even when using a
camera with a lot of dynamic range
meaning lots of detail in shadow
areas Aurora HDR Pro pushes it
so hard that an awful lot of noise is
introduced in shadow areas. The
Denoise tool tries to combat this but
tends to smudge a lot of the ner
detail. If you plan to print the image,
that level of processing has an
adverse effect on nal image quality.
Next, I found that certain colours
become intensely oversaturated and
thus a glaring distraction. Inside the
tools menu there are options to turn
this down, but even when corrected
it seems a lot of colour depth is lost.
It becomes difcult to get the
aesthetics of an image right.
The range of tools is great, and
everything is easy to nd. Sliders are
a tried-and-tested way to edit. It is
very simple to use and theres plenty
of support and learning material.
Changing settings is easy, though it
makes you wait a bit to see whats
going on, especially with bigger les.
One adjustment can take three
seconds to render, while Photoshop
usually updates in real time.
Verdict
This isnt quite the one-stop shop for
amazing pictures at two clicks of a
mouse that its made out to be. In
many cases, it introduces technical
aws. The software often creates a
punchy image with strong contrast,
lots of detail loss and oversaturation.
There are noise issues in overworked
shadows, too.
The presets are overdone. They
can work very well but only on very
specic images. With Lightroom, I
can usually import an average shot
and make something half decent
with a few of my presets. With
Aurora HDR Pro you have to start
with an incredibly strong image, to
carry off the extensive editing it
goes through. Sometimes I imported
an image into Aurora HDR Pro,
tweaked a few presets and the result
was much better than the original,
but the success rate wasnt as high
as I was expecting. But its well laid
out, intuitive and you get a lot of
software for 72.
PROS CONS
Well laid out The software can
Intuitive introduce technical
Great value for aws into your
money images
A little sluggish
W D C R AT I N G RECOMMENDED
WWW.WHATDIGITALCAMERA.COM 77
 W D C L IS T IN GS

Compact or
System camera?
Which camera type is best for you? A simple compact that ts in a pocket, a premium or travel compact thats more advanced,
or a system camera that has interchangeable lenses and more user control, such as a CSC or DSLR? We help you decide...

A
ll digital cameras wide maximum apertures many other features that of a DSLR, together with
are based around which prove their worth in can be had when more money manual control over shutter
the same theory; low light and for controlling is spent. speed and aperture. While
use a light- depth of eld. Within the compact camera they can be used more
sensitive sensor to Manual controls, the ability genre are the likes of bridge, creatively than regular
capture light, then process the to record HD video and a or superzoom models, which compacts, their small sensors
result and save it onto a large, high-resolution display offer a far longer zoom lens (relative to DSLR and CSC
memory card. Beyond that, the or viewnder are just a few of and a body shape akin to that cameras) place restrictions on
functionality can vary wildly
from model to model, from
touchscreen controls to HD
video and wide-aperture
Compact Bridge camera
lenses differentiating one model
Small camera, generally pocket sized, with non-removable Looks like a DSLR but is actually a compact with a high-
from another.
zoom lenses. Designed for convenience more than image magnication zoom lens in a DSLR-shaped body usually
Digital cameras t into three
quality, though some premium models feature larger sensors incorporating a large hand-grip and often a viewnder.
distinct categories: compact and manual controls.
camera, Compact System
Camera (CSC) and Digital
Single Lens Reex (DSLR)
cameras. All three have
sub-genres within them, but
there are other obvious
qualities which set them apart.
Compact cameras have a
xed lens, which cant be
removed and changed. This
means that the lens becomes
a feature in itself, with some of
them starting at a particularly
PROS CONS PR O S CONS
Small, Affordable, No additional No option to change lenses for Long zooms, Generally small sensors are no
wide focal length, or reaching specific purposes, Small sensors All-in-one design, match to DSLR quality, Build quality
lenses required, Pocketable, Less
out much further than others intimidating to use than DSLRs not suited to all conditions Manual controls can be more plasticky than a DSLR
(or both), and others having

Compact System
Camera (CSC)
Cameras which offer interchangeable lenses
while omitting the viewnder and mirror
box construction common to DSLR cameras.
These include Sonys NEX series and
Olympuss PEN range, as well as Nikons 1
system and Samsungs NX line of models.
Digital Single
Lens Reflex (DSLR)
A digital SLR camera, which is constructed
around a mirror-box and pentamirror/
pentaprism assembly, such as the Canon
EOS 700D and Nikon D5300. These are
popular among beginners, enthusiasts and
Jargon Buster
professionals, thanks to their wide
compatibility with different lenses, manual
control over exposure and ergonomics.
Compact camera
A small camera whose lens cannot be
removed, in contrast to interchangea-
ble-lens cameras such as DSLRs. These are
often cheaper than CSC and DSLR cameras,
although they usually have more limited
functionality and smaller sensors.
Aperture
The aperture of a lens refers to the size of
its opening which allows light through to
the camera. This is created by a series of
blades inside the optic, and is usually
regulated through the camera body,
although some older lenses have physical
aperture rings around their barrels. An
aperture of f/2 or f/2.8 is classed as being
large (or wide) because the opening itself is
larger than those created by higher-
number apertures such as f/16 or f/22.
Shutter speed
The length of time that the shutter inside
the camera is open, exposing the sensor to
light. Longer shutter speeds let in more
light, and so are often required in low-light
conditions, or when the intention is to blur
certain elements in the scene. Faster shutter
speeds are ideal for freezing motion, such
as when photographing sports.
Display
The rear panel on the back of a camera
which shows captured images and videos,
as well as the live feed from the sensor.
These are usually TFT LCD types, although
some cameras now make use of Organic
Light Emitting Diode (OLED) alternatives.
Resolution is usually specied in dots:
compact camera displays often have
230k or 460k dots, while those displays
that are on high-end enthusiast compacts,
CSCs and DSLRs are usually 921k dots or
even higher.

78 WWW.WHATDIGITALCAMERA.COM
 B UYIN G A DV IC E

the kind of image quality that

can be achieved.
CSCs
CSCs t somewhere between
compacts and DSLRs, with the
benet of a small-format body
and interchangeable lenses.
Due to their mirrorless designs,
optical viewnders are
exchanged for electronic
variants that continue to get
better all the time in terms of
their resolution and sharpness.
Due to the lack of an
established form factor, unlike
DSLRs, CSCs come in a wide
variety of shapes and sizes.
Most differences are aesthetic,
but a fair few affect the
handling quite signicantly too.
Some models have thin, wide
bodies, while others are shaped
like DSLRs to provide more to
wrap your hand around.
DSLRs
DSLRs range from beginner
models, such as the Canon
EOS 1100D, up to professional
level models, such as the same
companys EOS-1D X. The body
shape is similar throughout,
with a large hand grip and dials
on the top, although most
professional DSLRs are more
square than rectangular, with
additional shutter release
buttons and dials to make
portrait-orientation shooting
comfortable.
The addition of an optical
viewnder is one of the unique
features that differentiates a
CSC DSLR
An interchangeable-lens camera with no optical viewing The choice of professionals, a DSLR features interchangeable
assembly but either an electronic one, or just the LCD screen lenses, plus an optical viewnder that sees what the lens sees
to shoot with. CSCs come in a wide variety of forms with a thanks to a 45 mirror and prism assembly inside the camera.
wide range of sensor sizes, so image quality varies greatly The bulkiest camera type, but the full frame models deliver
between models. the highest image quality.
PROS CONS PR O S CONS
Typically smaller than DSLRs, HD Optical viewnders usually not Interchangeable lenses, Manual Large and weighty bodies,
available, Lens ranges, Premium Expensive, Poor-quality kit lenses
video, Interchangeable lenses, exposure control, HD video,
Great image quality for the size models can be expensive Excellent ergonomics often supplied as standard
DSLR model from most CSCs your preference, is the do not apply a crop factor to
and compact cameras. presence of an electronic, lenses, and so they maintain the
The only models that buck rather than optical, viewnder. same angle of view and focal
this trend, and as a result cant There are essentially two length as if they were used on a
quite be described as true kinds of sensor used in DSLRs: lm SLR.
DSLRs, are those in the Sony APS-C and full frame, although DSLRs and CSCs also attract
SLT range, whose models full frame sensors are starting the attention of videographers,
include the A58 and A77. The to creep into some CSCs such given the proliferation of HD
SLT construction uses a as the Sony Alpha 7 and 7R. video functionality and the
translucent mirror which means Full frame is described as range of lenses available. Many
it does not need to move in such because its roughly the DSLRs particularly those
order for light to pass through same size as a 35mm negative. aimed towards a more
to the sensor, in contrast to APS-C sensors are smaller, and discerning audience also now
DSLRs which ip their mirrors as a result they only use the incorporate ports for external
up at the point of exposure. As central part of a lens, which in microphones and have a full
a result the burst rate is faster; turn increases their effective complement of options for
with the likes of the A77 able focal length (reducing the angle different frame rates and
to shoot at up to 12fps. The of view). This is known as a output options as well as
disadvantage, depending on crop factor. Full frame lenses control over audio recording.

Optical viewfinder
A viewnder which relies on an optical,
rather than electronic, construction. DSLRs
are equipped with optical viewnders,
which present the view through the lens.
Those on cheaper DSLRs are constructed
with a hollow chamber with mirrored sides
(penta-mirrors) while those on pricier
models feature a ground glass prism
(pentaprism) which is brighter.
Electronic viewfinder (EVF)
An electronic alternative to an optical
viewnder. These are typically integrated
into bridge cameras and some Compact
System Cameras, where an optical
viewnder is either not possible or less
desirable. More recent EVFs are constructed
from OLED panels rather than LCDs, and
some of these are surprisingly detailed
and bright.
Sensor size
The physical size of the sensor inside a
camera. Cameras with larger sensors often
produce better-quality images than those
with smaller ones, as each photosite is
larger. A larger capacity allows its
signal-to-noise ratio to be higher; as a
result images stand a better chance of
having a wider dynamic range and of being
less affected by noise.
ISO
Also known as sensitivity, the ISO range of a
camera determines its latitude for capturing
images in different conditions. For a given
camera, images captured at lower
sensitivities generally contain less noise than
those captured higher up, as the signal from
the sensor which contains unwanted noise
requires less amplication.
Burst rate
The speed at which a camera can re
consecutive frames, given in frames per
second (fps). Many recent cameras have a
standard fps rate which captures at the
sensors full resolution, with further faster
options which output images at a reduced
pixel count. Often a cameras fastest burst
mode will only be possible with focus and
exposure taken from the rst frame.
Neutral Density
(ND) filter
ND lters are commonly used with DSLR
cameras, although some enthusiast
compacts now have these integrated into
their lenses. Their purpose is to reduce
exposure times, so that longer shutter
speeds can be used, with the neutral part
of their name signifying that they are
designed to have no effect on the colour
balance of an image.

WWW.WHATDIGITALCAMERA.COM 79
 W D C L IS T IN GS

Camera Listings
If you want maximum control over your creative shooting options, you want an interchangeable-lens camera, whether a
DSLR model or a Compact System Camera model. Here we list and rate all the models on the market

Battery life (Shots)

Burst mode (FPS)
Stereo mic input

Viewnder (%)

Articulated LCD
Built-in Wi-
DSLRS

Height (mm)
Touchscreen

Width (mm)

Depth (mm)
Built-in GPS
AF Points

Weight
Flash
NAME & MODEL RRP TESTED SCORE SUMMARY SENSOR LENS MAX ISO VIDEO SHOOTING SCREEN DIMENSIONS
Canon EOS 1200D 450 06/14 4+ Entry level update to Canons 1100D, the 1200D excels in the
key areas of AF speed and accuracy while ISO performance is good 16MP Canon 12,800 1080p 9 3 95 O 3in 500 129.6 99.7 78 480g
Pentax K-500 450 10/13 4+ Stripped-down version of K-50 without weather sealing
boasts 100% glass prism viewnder; uses AA batteries 16.3MP Pentax 51,600 1080p 11 6 100 O 3in 410 130 97 71 646g
Sony Alpha 58 450 07/13 4+ Replacement for A57 boasts Bionz image processing engine,
OLED viewnder, plus 20MP sensor up from 16MP 20.1MP Sony 16,000 1080p 15 5 100 O 2.7in O 690 129 95.5 78 492g
Sony Alpha 68
An A-mount camera with an APS-C sensor, the Alpha 68 uses
479 NYT a 4D focus system plucked from the Alpha 77 II 24MP Sony 25,600 1080p O 79 8 tbc O 2.7in O tbc 142.6 104.2 82.8 675g
Pentax K-S1 550 03/15 4+ The fully-specied K-S1 boasts excellent image quality, while
still being a lightweight, compact and portable option 12.1MP Pentax 51,200 1080p O 11 5.4 100 O 3in tbc 92.5 120 69.5 498g
Canon EOS 750D 599 08/15 4+ A new addition to the EOS line-up, the 750D is designed for
EOS newcomers, with a non-threatening layout 24.2MP Canon 25,600 1080p 19 5 95 O O 3in O O 440 131.9 100.7 77.8 555g
Nikon D3300 600 04/14 4.5+ Nikons new entry-level DSLR is smaller than previous offerings
while a sensor with no anti-aliasing lter means detail is high 24.2MP Nikon 25,600 1080p O 11 5 95 O 3in 700 124 98 75.5 460g
Pentax K-30 600 03/14 4+ Stellar image quality make this a welcome alternative to
Canon, Nikon and Sony offerings at the price 16.3MP Pentax 25,600 1080p 11 6 100 O 3in 410 96.5 128.5 71.5 660g
Pentax K-50 600 10/13 4.5+ Replacement for K-30 offers 16MP sensor, weather sealing
and improved processing. Still able to shoot at up to 6fps 16.3MP Pentax 51,200 1080p 11 4 100 O 3in 410 130 97 71 650g
Canon EOS 760D 649 10/15 5+ A new addition to the EOS line-up, the 760D leans towards
the aspiring enthusiast photographer 24.2MP Canon 25,600 1080p 19 5 100 O O 3in O O 440 131.9 101 77.8 565g
Pentax K-S2 649 Web 4.5+ Pentaxs latest mid-range DSLR continues its tradition of
offering affordable yet well-specied cameras 20.2MP Pentax 51,200 1080p O 11 5.4 100 O O 3in O 410 122.5 91 72.5 678g

Canon EOS 100D 650 07/13 4.5+ Billed as the worlds smallest and lightest DSLR; kit lens is the
companys EF-S 18-55 f/3.5-5.6 IS STM zoom. GPS optional 18MP Canon 12,800 1080p O 9 4 95 O 3in 380 117 91 69 407g
Nikon D5200 720 03/13 4.5+ Inspired by the D5100 and D7000, the D5200 has a vari-angle
LCD, 24MP sensor and HD video. Wi- & GPS optional 24.1MP Nikon 25,600 1080p O 39 5 95 O 3in O n/a 129 98 78 555g
Nikon D5500 720 04/15 4.5+ New DX-format DSLR in Nikons advanced beginner range,
updating the impressive D5300 and adding a touchscreen 24.2MP Nikon 25,600 1080p O 39 5 95 O O 3.2in O 820 124 97 70 470g
Canon EOS 700D 750 Web 4.5+ Update to 650D comes bundled with a new 18-55mm STM kit
lens, that promises improved movie AF. GPS & Eye- optional 18MP Canon 12,800 1080p O 9 5 95 O 3in O 440 133 100 79 580g
Pentax K-3 II 769 Web 4.5+ Ricoh has updated the Pentax K-3 with the K-3 II. The K-3 II is
designed to be the agship Pentax APS-C DSLR 24.3MP Pentax 51,200 1080p O 27 8.3 100 O 3.2in tbc 131.5 102.5 77.5 785g
Nikon D5300 830 01/14 4.5+ Update on the D5200 with large sensor, larger screen, HD video,
and long lasting battery, should appeal to videographers 24.2MP Nikon F 25,600 1080p O 23 5 95 O O O 3.2in O 700 125 98 76 530g
Pentax K-5 II 870 03/13 4.5+ Latest update to K-5 promises improved AF performance in
low light and subject tracking with moving subjects 16.3MP Pentax 51,200 1080p O 11 7 100 O 3in 980 131 97 73 760g
Nikon D7200 939 06/13 4+ Nikons mid-range DSLR offers impressive new features over the
D7100 it replaces at the top of Nikons DX format range 24.2MP Nikon F 25,600 1080p O 51 6 100 O O 3.2in 1,100 135.5 106.5 76 765g
Pentax K-3 950 01/14 4+ Upgrade from Pentax K-5. GPS optional. Impersonates a low
pass lter. High FPS rate and is the rst to carry Ricohs name 24.2MP Pentax 51,200 1080i O 27 8 100 O 3.2in 560 131 100 77 800g
Canon EOS 80D
Arriving two and a half years after the 70D, the 80D looks set to
999 NYT be an attractive offering for enthusiast photographers 24.2MP Canon 25,600 1080p O 45 7 100 O O 3in O O 960 139 105.2 78.5 730g
Sony Alpha 77 MkII 1000 09/14 4.5+ With the mkII Sony has brought built-in Wi-, great handling
and an enhanced AF that will suit sports and wildlife shooters 24.3MP Sony 25,600 1080p O 79 12 100 O O 3in O 480 142.6 104 81 647g
Canon EOS 70D 1100 11/13 4.5+ Worlds rst DSLR to boast Dual Pixel CMOS AF technology, giving
the best autofocus performance for a DSLR during live view 20.2MP Canon 12,800 1080p O 19 7 98 O O 3in O 920 139 104 79 755g
Nikon D7100 1100 05/13 4.5+ The D7100 updates the D7000 in several signicant ways, and
while not without fault its still praiseworthy. Wi- optional 24.1MP Nikon 25,600 1080p O 51 6 100 O 3in 950 135 106 76 765g
Pentax K-1
The rst full-frame Pentax DSLR is weather-sealed and stacks
1599 NYT up well against the Nikon D810 and Canon EOS 5D Mark III 36MP Pentax 204,800 1080p O 33 4.4 100 O O O 3.2in O 760 136.5 110 85.5 1,010g
Canon EOS 7D MkII 1599 01/15 4.5+ A better sensor and improved AF over the 7D; this is one of the
best APS-C DSLRs for enthusiasts and pros. Wi- optional 20.2MP Canon 51,200 1080p O 65 10 100 O 3in 670 148.6 112.4 78.2 910g
Canon EOS 6D 1700 02/13 4.5+ Superb image quality from Canons latest and cheapest
full-frame DSLR. Also offers Wi- and GPS connectivity 20.2MP Canon 102,400 1080p O 11 4.5 97 O O 3in 980 145 111 71 755g
Nikon D500
The D500 sits above the D7200 in Nikons DX-format line-up and
1729 NYT offers advanced features plus a smaller form factor and crop factor 20.9MP Nikon F 1,640,000 3840p O 153 10 100 O O 3.2in O O tbc 147 115 81 860g
Nikon D610 1800 12/13 5+ Upgrade from D600: improved auto white balance, faster
continuous shooting and a quiet continuous mode. GPS optional 24.3MP Nikon 25,600 1080p O 39 6 100 O 3.2in O 900 141 113 82 850g
Sony Alpha 99 1800 Xmas12 4+ Sonys full-frame A99 offers translucent mirror technology
allied to a 19-point AF system with 11 cross sensors 24.3MP Sony 25,600 1080p O 19 10 100 O 3in O 500 147 111 78 812g
Nikon D750 1800 12/14 5+ The D750 is one of the very best all-round enthusiast DSLRs
currently available, with an impressive performance 24.3MP Nikon 51,200 1080p O 51 6.5 100 O O 3.2in O 1,230 140.5 113 78 840g
Nikon DF 2600 02/14 4+ Nikons retro-tinged full-frame DSLR has a solid spec although
it lacks a video mode. Overall, its images are superb 16.2MP Nikon 204,800 - 39 5.5 100 3.2in 1,400 143.5 110 66.5 765g
Nikon D810 2699 11/14 5+ Replacing the D800 and D800E, the D810 is a truly welcome
upgrade and one of the very best DSLRs on the market 36.3MP Nikon 51,200 1080p 51 12 100 O 3.2in 1,200 146 123 82 980g
Canon EOS 5D Mk III 2999 06/12 5+ An excellent full-frame sensor, fast burst rate, high ISO range and
advanced AF make this an impressive piece of kit. Wi- optional 22.3MP Canon 102,400 1080p O 61 6 100 3.2in 950 152 116 76 950g
Canon EOS 5DS
New full-frame DSLR that builds on the great success of its EOS 5D
2999 NYT Mark III, which sports a world-rst 50.6MP full frame sensor 50.6 MP Canon 12,800 1080p O 61 5 100 3.2in 700 152 116.4 76.4 845g
Canon EOS 5DS R 3199 09/15 5+ New 50MP full-frame DSLR, identical to the 5DS it was launched
with except that it forgoes an optical low-pass lter 50.6 MP Canon 12,800 1080p O 61 5 100 3.2in 700 152 116.4 76.4 845g
Nikon D5
The powerful D5 is Nikons agship FX-format DSLR and boasts
5199 NYT a 20.8MP full-frame sensor and burst shooting up to 14fps 20.8MP Nikon F 3,280,000 3840p O 153 14 tbc O 3.2in O O tbc 160 158.5 92 1,405g
Canon EOS-1D X Mk II
Canons impressive new sports and action agship camera has
5199 NYT a full-frame CMOS sensor with Dual Pixel AF. Wi- optional 20.2MP Canon 409,600 3840p O 61 14 100 O O 3.2in O O 1,210 158 167.6 82.6 1,340g
Nikon D4S 5290 Web 5+ Nikons agship DSLR, the D4S takes the best features of the
D4 and improved the burst speed, AF and processing power 16.2MP Nikon 409,600 1080p O 51 11 100 3.2in 3,020 160 156.5 90.5 1,350g
Canon EOS-1D X 5300 11/12 5+ A contender for the crown of best DSLR on the market,
this camera is hard to fault. GPS & Wi- optional 18.1MP Canon 204,800 1080p O 61 12 100 3.2in 1,120 158 163 82 1,100g

80 WWW.WHATDIGITALCAMERA.COM
 DSLRS A N D CS C S

Battery life (Shots)

Stereo mic input

Built-in Wi-
COMPACT SYSTEM CAMERAS

Height (mm)
Touchscreen

Width (mm)

Depth (mm)
Built-in GPS
Viewnder
Burst (FPS)

Articulated
AF Points

Weight
Flash
NAME & MODEL RRP TESTED SCORE SUMMARY SENSOR LENS MAX ISO VIDEO SHOOTING SCREEN DIMENSIONS
Samsung NX3000 350 10/14 4+ This may well be the best-value NX camera yet 20.3MP Samsung 25,600 1080p 21 5 O 3in O 370 117.4 66 39 266g
Canon EOS M10 399 NYT Combines DSLR performance with effortless portability 18MP Canon M 25,600 37 49 4.6 O O 3in O O 255 108 66.6 35 301g
Panasonic Lumix GF6 400 Web 4+ Newly developed Venus Engine and a 180 tilt screen 16MP Mic4/3 25,600 1080p O 23 20 O O 3in O O 340 111 65 38 323g
Pentax Q7 400 11/13 3+ Extra large sensor and improved AF 12.4MP Pentax 12,800 1080p 25 5 O 3in 250 102 58 34 200g
Samsung NX Mini 400 Web 4+ The light and compact NX Mini is very impressive 21MP Samsung 25,600 1080p 35 6 O O 3in O 530 119 62 22.5 196g
Sony Alpha 5000 420 Web 4+ Aims to compete with entry-level DSLRs 20.1MP Sony 16,000 1080p O 25 3.5 O O 3in O 420 110 63 36 296g
Panasonic Lumix GF7 420 Web 4+ Compact, great image quality and good for seles 16MP Mic4/3 25,600 1080p O 23 5.8 O O 3in O O 230 106.5 64.6 33.3 266g
Nikon 1 S1 480 Web 4+ User-friendly with an uncluttered interface 10.1MP Nikon 1 6400 1080p 135 60 O O 3in 220 102 61 30 197g
Olympus PEN E-PL7 499 01/15 4+ High spec, compact size and superb image quality 16MP Mic4/3 25,600 1080p 81 8 O O 3in 350 114.9 67 38.4 357g
Nikon 1 J4 499 11/14 4+ Excellent shooting speed and AF performance 18.4MP Nikkor 1 12,800 1080p O 171 20 O 3in O 300 99.5 60 28.5 192g
Fujilm X-T10 499 09/15 4.5+ A more affordable version of the popular X-T1 16.3MP Fuji X 51,200 1080p O 77 8 O O O O 3in O 350 118.4 82.8 40.8 381g
Fujilm X-A1 500 12/13 4+ Virtually identical to X-M1, but with a standard sensor 16.3MP Fuji X 25,600 1080p 41 5.6 O O 3in O 350 117 66.5 39 330g
Fujilm X-A2 529 05/15 4+ Similar to its predecessor the X-A1, it adds a tilting LCD 16.3MP Fuji X 25,600 1080p 49 5.6 O 3in O 410 116.9 66.5 40.4 350g
Samsung NX300 530 06/13 4.5+ Company adds to its range of Wi--enabled cameras 20.3MP Samsung 25,600 1080p 105 8.6 O O O 3.3in O O 320 122 64 41 284g
Sony Alpha 5100 549 12/14 4+ One of the very best in class, in video and image quality 24MP Sony E 25,600 1080p 179 6 O O 3in O O 400 110 63 36 283g
Olympus OM-D E-M10 II 549 12/15 4.5+ Boasts a raft of improvements over its predecessor 16.1MP Mic4/3 25,600 1080p O 81 8.5 O O O 3in O O 320 119.5 83.1 46.7 342g
Canon EOS M3 599 07/15 4+ The M3 looks set to appeal to enthusiast photographers 24.3MP Canon M 25,600 1080p O 49 4.2 O O 3in O O 250 110.9 68 44.4 366g
Samsung NX500 599 07/15 4+ Great for travelling light without sacricing image quality 28MP Samsung 51,200 4096p 205 9 O O 3in O O 370 119.5 63.6 42.5 292g
Panasonic Lumix GM1 629 01/14 4.5+ Tiny, retro compact design is impressive 16MP Mic4/3 25,600 1080p 23 5 O O 3in O 230 99 55 30 204g
Sony Alpha 6000 670 06/14 4.5+ Class-leading AF and an impressive APS-C sensor 24MP Sony 25,600 1080p 179 11 O O O 3in O 310 120 67 45 344g
Panasonic Lumix G7 679 08/15 4+ The G7 is Panasonics fth model to have video capture 16MP Mic4/3 25,600 3840p 49 8 O O O 3in O O 360 124.9 86.2 77.4 410g
Fujilm X-M1 680 10/13 4+ Companys third CSC features X-mount lens mount 16.3MP Fuji X 6400 1080p 54 5.6 O O 3in O 350 117 67 39 330g
Olympus OM-D E-M10 699 05/14 4.5+ Maintains the high-end features of its OM-D siblings 16MP Mic4/3 25,600 1080p O 81 8 O O O 3in O 320 119 82 46 396g
Panasonic Lumix GM5 749 01/15 4+ Small CSC with an electronic viewnder 16MP Mic4/3 25,600 1080p O 23 5.8 O O O 3in O 210 98.5 59.5 36 211g
Nikon 1 AW1 749 12/13 3.5+ High-end CSC is waterproof and shockproof 14.2MP Nikon 1 6400 1080p 41 15 O O O 3in 220 113 71.5 37.5 356g
Olympus OM-D E-M5 mkII 900 05/15 5+ Olympuss latest premium CSC boasts several improvements 16MP Mic4/3 25,600 1080p O 81 10 O O 3in O 750 123.7 85 44.5 469g
Panasonic Lumix GX7 900 10/13 4.5+ With fast AF and tiltable EVF, delivers excellent results 16MP Lumix G 25,600 1080p 23 40 O O O 3in O O n/a 122.6 70.7 43.3 402g
Olympus PEN E-P5 900 09/13 4.5+ No built-in EVF but has fast AF plus high quality images 16MP Mic4/3 25,600 1080p 35 9 O O O 3in O O 330 122 69 37 420g
Samsung NX30 900 Webonly 4.5+ A DSLR-style CSC with a burst rate of up to 8fps 21MP Samsung 25,600 1080p O 247 8 O O O O 3in O 360 127 96 58 375g
Olympus PEN-F 1000 5/16 5+ Olympuss latest high-end CSC model 20.3MP Mic4/3 25,600 1080p O 81 10 O O 3in O O 330 124.8 72.1 37.3 427g
Panasonic Lumix GX8 1000 10/15 4+ The highest resolution Micro Four Thirds camera yet 20.3MP Mic4/3 25,600 3840p O 49 8 O O 3in O O 330 133.2 78 63.1 487g
Sony Alpha 6300 1000 06/16 4.5+ Premium CSC that boasts fast AF tracking and 4K video 24.2MP Sony E 51,200 3840p O 425 11 O O 3in O 350 120 66.9 48.8 404g
Fujilm X-T1 1100 4/12 5+ One of the best premium CSCs on the market 16.3MP Fuji X 51,200 1080p O 49 8 O O O 3in O 350 129 89.8 46.7 440g
Fujilm X-E1 1149 01/13 4.5+ Solid build, retro design and high image quality 16MP Fuji X 25,600 1080p 49 6 O O 3in 350 129 75 38 350g
Fujilm X-E2 1200 02/14 4.5+ Has over 60 improvements on the X-E1 16.3MP Fuji X 25,600 1080p O 49 7 O O O 3in 350 129 75 37 350g
Samsung NX1 1299 02/15 5+ The rst camera with an APS-C BSI sensor is impressive 28.2MP Samsung 25,600 4096p O 205 15 O O O 3in O tbc 138.5 102.3 65.8 550g
Panasonic Lumix GH4 1300 07/14 4+ Both 4K video quality and still images are impressive 16MP Mic4/3 25,600 4096p O 49 12 O O O 3in O O 500 133 93 84 560g
Samsung Galaxy NX 1300 10/13 4+ Worlds rst 3G/4G Android CSC 20.3MP Samsung 25,600 1080p O 105 8.6 O O O O 4.8in O - 137 101 26 495g
Olympus OM-D E-M1 1300 12/13 5+ Fully weather-proofed and Wi- enabled 16.8MP Mic 4/3 25600 1080p O 81 10 O O O 3in O O 330 130 93.5 63 497g
Sony Alpha 7 1300 01/14 4.5+ One of the lightest, smallest full-frame cameras 24.3MP Sony E 25,600 1080p O 117 5 O O 3in O 340 127 94 48 474g
Fujilm X-Pro2 1349 Web 5+ The agship X-series model is a stunning premium CSC 24.3MP Fuji X 51,200 1080p O 77 8 O O O 3in 250 140.5 82.8 45.9 495g
Leica T 1350 08/14 4+ Excellent image quality 16MP Leica T 12.500 1080p 195 5 O O 3.7in O 134 69 33 384g
Fujilm X-Pro1 1430 05/12 5+ Offers innovations including a hybrid viewnder 16MP Fuji X 25,600 1080p 49 6 O 3in 300 139 81.8 42.5 450g
Sony Alpha 7 II 1498 03/15 5+ The full-frame A7 II is at the top of Sonys CSC range 24.3MP Sony E 25,600 1080p O 117 5 O O O 3in 350 126.9 95.7 59.7 556g
Sony Alpha 7R 1700 02/14 4.5+ One of the lightest, smallest full-frame cameras 36.4MP Sony E 25,600 1080p O 25 4 O O 3in O 340 127 94 48 465g
Sony Alpha 7S 2099 09/14 4.5+ The Sony Alpha 7S is the latest Sony full-frame CSC 12.4MP Sony E 409,600 1080p O 25 5 O O 3in O 380 127 94.4 48.2 489g
Sony Alpha 7S II 2500 Web 5+ An excellent camera, especially for low light and video 12.2MP Sony E 409,600 3840p O 169 5 O O O 3in O 310 95.7 60.3
Sony Alpha 7R II 2599 11/15 5+ A big step up from the A7R; one of the best CSCs available 42.4MP Sony E 102,400 3840p O 399 5 O O O 3in O 290 126.9 95.7 60.3 625g
Sigma sd Quattro 2600 NYT Released alongside the sd Quattro H. W- optional 39MP SigmaSA 2.4M tbc 9 3.6 O 3in tbc tbc tbc tbc tbc

WWW.WHATDIGITALCAMERA.COM 81
 WD C L IS T IN GS

Lens Listings
A DSLR or Compact System Camera is hugely affected by the lens attached to the front, as the light hitting the sensor impacts
focus, exposure and image quality. Cast your eyes over our lens listings to nd out which is best for you before you make a purchase

BUILT-IN FOCUS MOTOR 35mm

Compatibility
LENS MOUNTS
Some lenses incorporate a motor within Most digital sensors are Each manufacturer has its
the lens to drive the autofocusing, while smaller than 35mm, own lens mount and most
which is why lenses
others are powered by motors within the designed for digital arent compatible with one
camera. The former will focus quicker can be smaller. another. For example, a
than the latter. Canon lens motors are Canon DSLR cant use
USM (Ultrasonic Motor), Sigma HSM Nikon lenses, though you
(Hypersonic-Motor). can use independent
brands if you get them
with the right mount.

FILTER
THREAD
In order to correct for
colour casts or create
MAGNIFICATION
more contrast, a FACTOR
screw-in lter can be If youre changing from a 35mm SLR,
used. The thread at the Maximum your lenses wont provide the same eld
front of the camera will Aperture
Wider apertures mean of view on a DSLR unless you have a
have a diameter, in mm, full-frame model. So for Nikon, Pentax
you can use faster,
which will allow you to motion-stopping and Sony DSLRs, magnify the focal
attach a variety of lters shutter speeds. length by 1.5x to get a 35mm equivalent;
or adapters to the lens. for Canon 1.6x and Sigma 1.7x.

Lens types explained

Fixed focal
length (PRIME)
Fixed lenses offer wider
maximum apertures and
superior image quality. A
50mm lens is perfect for
low light, 85-105mm is
ideal for portraits, while a
300mm+ tele is for sports
shooters.
Telephoto zoom
Telephotos are great for
sport and wildlife, while
short teles are good for
portraits. Telephoto lenses
magnify camera shake, so
look for one with Image
Stabilisation to ensure you
achieve the sharpest shots
possible.
Standard zoom
Most DSLRs come with a
standard zoom which
spans from moderate
wideangle to short
telephoto. These kit
lenses are ne for most
purposes, but there are
alternatives that offer
superior image quality.
Superzooms
While they rarely compare
with shorter lenses in
image quality, a
superzoom offers
convenience. Great for
travelling when youre
conscious of weight, dont
expect pin-sharp,
aberration-free images.
Wideangle zoom
Wideangle lenses make
subjects seem further
away, enabling you to get
more into the shot per-
fect for landscapes and
architecture. The most
popular wideangle zooms
are the 10-20mm and
12-24mm ranges.
Macro lenses
A true macro lens lets you
reproduce your subject at
life-size (1:1) or half
life-size (1:2) on the sensor.
Macro lenses come in
various focal lengths and
extension tubes can offer a
greater magnication.

LENS SUFFIX GUIDE USED BY MANUFACTURERS

AD Tamron Anomalous Dispersion elements DG Sigmas designation for all lenses FE Tokina oating element lenses N Nikons Nano Crystal Coating SWD Olympus Supersonic Wave Drive
AF-DC Nikon defocus feature Di Tamron lenses for full-frame sensors G Nikon lenses without an aperture ring OS Sigmas Optically Stabilised lenses SWM Nikon lenses with a Silent Wave Motor
AF-S Nikon lenses with Silent Wave Motor Di-II Tamron lenses designed for APS-C HF Sigma Helical Focusing PRO Tokinas Professional range of lenses TS-E Canon Tilt and Shift lens
APO Sigma Apochromatic lenses DO Canon diffractive optical element lenses HID Tamrons High Index Dispersion glass RF Sigma & Nikon Rear Focusing UD Canon Ultra Low Dispersion glass
ASL Tamron lenses featuring aspherical elements DT Sony lenses for APS-C sized sensors HLD Tokina low dispersion glass SD Tokinas Super Low Dispersion element USM Canon lenses with an Ultrasonic Motor
ASP Sigma lenses featuring aspherical elements DX Nikons designation for digital lenses HSM Sigmas Hypersonic Motor SDM Pentaxs Sonic Direct Drive Motor VC Tamrons Vibration Compensation
AT-X Tokinas Advanced Technology Extra Pro ED Low Dispersion elements IF Internal Focusing SF Canon lenses with Softfocus feature VR Nikons Vibration Reduction feature
CRC Nikons Close Range Correction system EF Canons full-frame lenses IRF Tokinas Internal Rear Focusing lenses SHM Tamrons Super Hybrid Mount XR Tamron Extra Refractive Index glass
D Nikon lenses that communicate distance info EF-S Canon lenses for APS-C sized sensors IS Canons Image Stabilised lenses SIC Nikons Super Integrated Coating ZL Tamrons Zoom Lock feature
DA Pentax lenses optimised for APS-C sized sensors EX Sigmas Excellent range L Canons Luxury range of lenses SLD Sigma Super Low Dispersion elements
DC Sigmas designation for digital lenses FC Tokinas Focus Clutch Mechanism LD Tamron Low Dispersion glass SP Tamrons Super Performance range
DF Sigma lenses with dual focus facility FE Canons sheye lenses M-OIS Mega Optical Image Stabilisation SSM Sony/Minolta Supersonic Motor lenses

82 WWW.WHATDIGITALCAMERA.COM
 LEN S LISTING S

Filter Thread (mm)

Image Stabilisation
CA NON

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
EF 8-15mm f/4 L USM 1499 NYT Impressive-looking sheye zoom lens from Canon 15 n/a 78.5 83 540g
EF-S 10-18mm f/4.5-5.6 IS STM 299 11/14 4+ A superb ultra wideangle thats a must-have for anyone shooting landscapes and cityscapes 22 67 74.6 72 240g
EF-S 10-22mm f/3.5-4.5 USM 990 9/09 4+ A good performer, with solid MTF curves and minimal chromatic aberration 24 77 83.5 89.8 385g
EF 11-24mm f/4L USM 2799 NYT Long-awaited by Canon full-frame users, this is the worlds widest-angle rectilinear zoom lens 28 n/a 108 132 1180g
EF 14mm f/2.8 L II USM 2810 7/10 4.5+ Impressive resolution at f/8 but less so wide open 20 n/a 80 94 645g
EF-S 15-85mm f/3.5-5.6 IS USM 900 3/11 4+ 4-stop image stabilisation and Super Spectra coatings, together with a useful range 35 72 81.6 87.5 575g
EF 16-35mm f/2.8 L II USM 1790 6/10 4.5+ Mark II of above lens, and a good performer with strong results at f/8 in particular 28 82 88.5 111.6 635g
EF 16-35mm f/4L IS USM 1199 9/14 4+ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full frame cameras 28 77 82.6 112.8 615g
TS-E 17mm f/4 L 2920 NYT Tilt and shift optic with independent tilt and shift rotation and redesigned coatings 25 77 88.9 106.9 820g
EF 17-40mm f/4 L USM 940 11/08 4+ Designed to match the needs of demanding professionals and does so with ease 28 77 83.5 96.8 500g
EF-S 17-55mm f/2.8 IS USM 795 2/13 4+ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture 35 77 83.5 110.6 645g
EF-S 17-85mm f/4-5.6 IS USM 600 11/08 3+ Doesnt really live up to its promises. The zoom range is excellent but there are better alternatives 35 67 78.5 92 475g
EF-S 18-55mm f/3.5-5.6 IS II 220 11/08 3.5+ Given the low price of this zoom, its results are very impressive 25 58 68.5 70 200g
EF-S 18-135mm f/3.5-5.6 IS 500 NYT 4-stop image stabilisation and automatic panning and tripod detection 45 67 75.4 101 455g
EF-S 18-200mm f/3.5-5.6 IS 740 10/11 4+ Automatic panning detection (for image stabilisation) and a useful 11x zoom range 45 72 78.6 102 595g
EF 20mm f/2.8 USM 610 NYT Wideangle lens with a oating rear focusing system and a USM motor 25 72 77.5 70.6 405g
EF 24mm f/1.4 L II USM 2010 NYT Subwavelength structure coating, together with UD and aspherical elements 25 77 93.5 86.9 650g
EF 24mm f/2.8 IS USM 750 05/13 4+ Small wideangle optic with image stabilisation 25 58 67.5 48.5 270g
TS-E 24mm f/3.5 L II 2550 NYT Tilt and shift optic with independent tilt and shift rotation and redesigned coatings 21 82 88.5 106.9 780g
EF 24-70mm f/2.8 L USM 1540 7/09 4.5+ A solid performer with an excellent reputation that only years in the eld can secure 38 77 83.2 123.5 950g
EF 24-70mm f/2.8 L II USM 2300 XMAS 12 5+ Professional quality standard zoom lens with a fast aperture 38 82 88.5 113 805g
EF 24-70mm f/4 L IS USM 1499 NYT L series zoom said to be compact, portable and aimed at both professionals and amateurs 38 77 83.4 93 600g
EF 24-105mm f/4 L IS USM 1049 3/13 4.5+ An excellent all-round performer, and keenly priced too 45 77 83.5 107 670g
EF 24-105mm f/3.5-5.6 IS STM 479 NYT A versatile standard zoom lens thats an ideal route into full frame photography 40 77 83.4 104 525g
EF 28mm f/1.8 USM 570 NYT USM motor and an aspherical element, together with a wide maximum aperture 25 58 73.6 55.6 310g
EF 28mm f/2.8 IS USM 730 05/13 3.5+ Lightweight and inexpensive lens, with a single aspherical element 30 52 67.4 42.5 185g
EF 28-135mm f/3.5-5.6 IS USM 560 12/09 4.5+ Excellent optical performance, with the benet of image stabilisation 50 72 78.4 96.8 540g
EF 28-300mm f/3.5-5.6 L IS USM 3290 NYT L-series optic with expansive range, image stabilisation and a circular aperture 70 77 92 184 1670g
EF 35mm f/2 320 3/12 4.5+ A cut-price xed focal length lens 25 52 67.4 42.5 210g
EF 35mm f/2 IS USM 799 NYT First 35mm prime from Canon to feature an optical stabilisation system 24 67 62.6 77.9 335g
EF 35mm f/1.4 L II USM 1799 XMAS 15 5+ An outstanding addition to the L-series line-up 28 72 80.4 104.4 760g
EF 40mm f/2.8 STM 230 NYT A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting 30 52 68.2 22.8 130g
EF 50mm f/1.2 L USM 1910 NYT Very wide maximum aperture and Super Spectra coatings, and a circular aperture 45 72 85.8 65.5 580g
EF 50mm f/1.4 USM 450 2/10 5+ Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy though 45 58 73.8 50.5 290g
EF 50mm f/1.8 STM 130 09/15 5+ Lightest EF lens in the range, with wide maximum aperture and a Micro Motor 35 49 69.2 39.3 130g
EF 50mm f/2.5 Macro 350 NYT Compact macro lens with oating system 23 52 67.6 63 280g
EF-S 55-250mm f/4-5.6 IS II 330 1/12 4+ Ideal budget addition to the 18-55mm kit lens, with image stabilisation and USM 110 58 70 108 390g
EF-S 60mm f/2.8 Macro USM 540 8/06 4+ Great build and optical quality, with fast, accurate and near-silent focusing 20 52 73 69.8 335g
MP-E65 f/2.8 1-5x Macro 1250 NYT Macro lens designed to achieve a magnication greater than 1x without accessories 24 58 81 98 710g
EF 70-200mm f/2.8 L USM 1540 NYT Non-stabilised L-series optic, with rear focusing and four UD elements 150 77 84.6 193.6 1310g
EF 70-200mm f/4 L IS USM 1450 11/11 5+ A superb option for the serious sports and action photographer 120 67 76 172 760g
EF 70-200mm f/2.8 L IS II USM 2800 10/10 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 1490g
EF 70-200mm f/4 L USM 790 NYT A cheaper L-series alternative to the f/2.8 versions available 120 67 76 172 705g
EF 70-300mm f/4.5-5.6 IS USM 470 11/10 4+ A great level of sharpness and only the small apertures should be avoided 150 58 76 143 630g
EF 70-300mm f/4-5.6 L IS USM 1600 7/11 5+ An L series lens with a highly durable outer shell 120 67 89 143 1050g
EF 70-300mm f/4.5-5.6 DO IS USM 1700 NYT 3-layer diffractive optical element and image stabilisation 140 58 82.4 99.9 720g
EF 75-300mm f/4-5.6 III 300 NYT Essentially the same lens as the 75-300mm f/4.0-5.6 III USM but with no USM 150 58 71 122 480g
EF 75-300mm f/4-5.6 III USM 350 9/07 2.5+ Good but not outstanding. The inclusion of a metal lens mount is positive, though 150 58 71 122 480g
EF 85mm f/1.2 L II USM 2640 8/06 4+ A well-crafted lens, with fast and quiet AF with good vignetting and distortion control 95 72 91.5 84.0 1025g
EF 85mm f/1.8 USM 470 2/11 5+ Non-rotating front ring thanks to rear focusing system, as well as USM 85 58 75 71.5 425g
TS-E 90mm f/2.8 1670 NYT Said to be the worlds rst 35mm-format telephoto lens with tilt and shift movements 50 58 73.6 88 565g
EF 100mm f/2 USM 559 NYT A medium telephoto lens with a wide aperture, making it ideal for portraits 90 58 75 73.5 460g
EF 100mm f/2.8 Macro USM 650 11/09 4+ A solid performer, but weak at f/2.8 (which is potentially good for portraits) 31 58 79 119 600g
EF 100mm f/2.8 L Macro IS USM 1060 1/13 5+ Stunning MTF gures from this pro-grade macro optic 30 67 77.7 123 625g
EF 100-400mm f/4.5-5.6 L IS USM 1940 NYT L-series construction and optics, including uorite and Super UD elements 180 77 92 189 1380g
EF 135mm f/2 L USM 1360 NYT L-series construction with two UD elements and wide maximum aperture 90 72 82.5 112 750g
EF 135mm f/2.8 SF 520 NYT Soft-focus feature with two degrees of softness 130 52 69.2 98.4 390g
EF 180mm f/3.5 L Macro USM 1870 NYT L-series macro lens with inner focusing system and USM technology 48 72 82.5 186.6 1090g
EF 200mm f/2 L IS USM 7350 NYT 5-stop Image Stabilisation with tripod detection and Super Spectra lens coatings 190 52 128 208 2520g
EF 200mm f/2.8 L II USM 960 NYT Two UD elements and a rear-focusing system in this L-series optic 150 72 83.2 136.2 765g
EF 300mm f/2.8 L IS II USM 7500 NYT 4 stop Image stabilisation makes this lens perfect for action photography 200 52 128 248 2400g
EF 300mm f/4 L IS USM 1740 NYT Two-stop image stabilisation with separate mode for panning moving subjects 150 77 90 221 1190g
EF 400mm f/2.8 L IS USM 9810 NYT Super telephoto with ring-type USM, one ourite element and image stabilisation 300 52 163 349 5370g
EF 400mm f/4 DO IS USM 8000 NYT Multi-layer diffractive optical element to correct for chromatic aberration 350 52 128 232.7 1940g
EF 400mm f/5.6 L USM 1660 NYT Super UD and UD elements, as well as a detachable tripod mount and built-in hood 350 77 90 256.5 1250g
EF 500mm f/4 L IS USM II 5299 NYT Full-time manual focus, a single ourite element and dust and moisture protection 450 52 146 387 3870g

WWW.WHATDIGITALCAMERA.COM 83
 W D C L IS T IN GS

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NIKO N

Full Frame Only

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Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
10.5mm f/2.8 G ED DX Fisheye 678 NYT DX format sheye lens with Nikons Close-Range Correction system and ED glass 14 n/a 63 62.5 300g
10-24mm f/3.5-4.5 G ED AF-S 834 10/09 4+ MTF performance is good from wide open to f/11, only breaking down past f/22 24 77 82.5 87 460g
12-24mm f/4 G ED AF-S DX 1044 9/09 4+ This venerable optic may be a little weak at f/4, but otherwise its a good performer 30 77 82.5 90 485g
14mm f/2.8 D ED AF 1554 7/10 5+ A really nice lens that handles well and offers excellent image quality 20 n/a 87 86.5 670g
14-24mm f/2.8 G ED AF-S 1670 2/08 5+ A remarkable piece of kit, producing sharp images with little chromatic aberration 28 n/a 98 131.5 970g
16mm f/2.8 D AF Fisheye 762 NYT Full-frame sheye lens with Close-Range Correction system and 25cm focus distance 25 n/a 63 57 290g
16-35mm f/4 G ED AF-S VR 1072 6/10 5+ A fantastic lens that deserves to be taken seriously, with very little CA throughout 28 77 82.5 125 685g
16-80mm f/2.8-4E ED VR AF-S DX 869 11/15 4+ This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs 35 72 80 85.5 480g
16-85mm f/3.5-5.6 G ED VR AF-S DX 574 3/11 4+ Boasting Nikons second-generation VR II technology and Super Integrated Coating 38 67 72 85 485g
17-35mm f/2.8 D ED-IF AF-S 1878 NYT High-quality wideangle zoom for full-frame Nikon users 28 77 82.5 106 745g
17-55mm f/2.8 G ED-IF AF-S DX 1356 3/07 4+ A higher quality standard zoom for DX-format DSLRs 36 77 85.5 110.5 755g
18-35mm f/3.5-4.5 G ED AF-S 669 Xmas13 5+ Wideangle zoom with instant manual-focus override for full-frame DSLRs 28 77 83 95 385g
18-55mm f/3.5-5.6 G II AF-S DX 156 12/08 3.5+ Entry-level standard zoom lens 28 52 73 79.5 265g
18-55mm f/3.5-5.6 G VR AF-S DX 188 5/08 4+ An improvement over the above version, with excellent resolution and the benet of VR 28 52 70.5 74 205g
18-55mm f/3.5-5.6 G VR II AF-S DX 229 NYT Popular 3x zoom lens that is remarkably compact and lightweight, offering great portability 28 52 66 59.5 195g
18-105mm f/3.5-5.6 G ED VR AF-S DX 292 8/12 4.5+ Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction na 67 76 89 420g
18-140mm f/3.5-5.6 G ED VR AF-S DX 579 NYT A compact and lightweight DX-format zoom, this lens is a great all-rounder 45 67 78 97 490g
18-200mm f/3.5-5.6 G IF-ED AF-S 762 10/11 4.5+ 4-stop VR II system, two ED and three aspherical elements in this DX superzoom lens 50 72 77 96.5 560g
18-300mm f/3.5-5.6 G ED-IF VR 850 12/12 4+ DX-format zoom lens with wideangle to super-telephoto reach 45 77 83 120 830g
18-300mm f/3.5-6.3 G ED VR 849 NYT New DX-format 16.7x zoom with super-telephoto reach a compact walkabout lens 48 67 78.5 99 550g
20mm f/1.8 G ED AF-S 679 NYT A fast FX-format prime lens thats compact and lightweight 20 77 82.5 80.5 335g
20mm f/2.8 D AF 584 NYT Compact wideangle lens with Nikons Close-Range Correction system 25 62 69 42.5 270g
24mm f/2.8 D AF 427 NYT Compact wide lens with Close-Range Correction system 30 52 64.5 46 270g
24mm f/1.4 G ED AF-S 1990 8/10 5+ Nothing short of stunning. Aside from its high price there is very little to dislike about this optic 25 77 83 88.5 620g
24mm f/1.8 G ED AF-S 629 NYT Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers 23 72 77.5 83 355g
24mm PC-E f/3.5 D ED PC-E 1774 NYT Perspective Control lens with Nano Crystal Coating and electronic control over aperture 21 77 82.5 108 730g
24-70mm f/2.8 G ED AF-S 1565 7/09 5+ An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens 38 77 83 133 900g
24-70mm f/2.8E ED VR 1849 02/16 5+ Nikons latest pro-spec standard zoom looks like its best lens yet 38 82 88 154.5 1070g
24-85mm f/3.5-4.5 G ED VR 520 XMAS 12 5+ FX-format standard zoom with Auto Tripod detection and VR 38 72 78 82 465g
24-120mm f/4 G ED AF-S VR 1072 5/11 5+ Constant maximum aperture of f/4 and the addition of VR makes this a superb lens 45 77 84 103 710g
28mm f/1.8 G ED AF-S 619 4/13 5+ If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers 25 67 73 80 330g
28mm f/2.8 D AF 282 NYT Compact wideangle lens with a minimum focusing distance of 25cm 25 52 65 44.5 205g
28-300mm f/3.5-5.6 G ED AF-S VR 889 1/13 4.5+ Technical testing shows this zoom to be, as Nikon claims, the ideal walkabout lens 50 77 83 114 800g
35mm f/1.8 G AF-S DX 208 3/12 5+ Designed for DX-format DSLRs, a great standard prime lens 30 52 70 52.5 200g
35mm f/1.8 G ED AF-S TBC NYT Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight 25 58 72 71.5 305g
35mm f/2 D AF 324 9/08 3+ At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture 25 52 64.5 43.5 205g
35mm f/1.4 G ED AF-S 1735 9/12 5+ A Nano Crystal-coated lens designed for the FX range 30 67 83 89.5 600g
40mm f/2.8 G AF-S DX Micro 250 12/11 5+ A budget-priced macro lens that delivers the goods on multiple fronts 20 52 68.5 64.5 235g
50mm f/1.2 855 NYT Ultra-fast f/1.2 aperture prime lens 50 52 68.5 47.5 360g
50mm f/1.4 D AF 292 2/10 5+ Entry-level prime puts in a ne performance while offering backwards compatibility with AI cameras 45 52 64.5 42.5 230g
50mm f/1.4 G AF-S 376 2/10 5+ Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 45 58 73.5 54 280g
50mm f/1.8 D AF 135 NYT Compact, lightweight, affordable prime, will stop down to f/22 45 52 63 39 160g
50mm f/1.8 G AF-S 200 9/11 5+ A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs 45 58 72 52.5 185g
55mm f/2.8 Micro 625 NYT Macro lens with 1/2 maximum reproduction ratio 25 52 63.5 62 290g
55-200mm f/4-5.6 G VR AF-S DX 314 8/07 3.5+ Designed for DX-format cameras, with Vibration Reduction and SWM technology 110 52 73 99.5 335g
55-300mm f/4.5-5.6 G VR AF-S DX 378 1/12 3+ Offers a wide telephoto coverage, but better options available 140 58 76.5 123 530g
58mm f/1.4 G AF-S 1599 2/14 4+ FX-format full frame premium prime lens with large f/1.4 aperture 58 72 85 70 385g
60mm f/2.8 D AF Micro 405 8/06 5+ Nikons most compact Micro lens, with Close Range Correction (CRC) system 22 62 70 74.5 440g
60mm f/2.8 G ED AF-S Micro 500 NYT Micro lens with 1:1 repro ratio, as well as a Silent Wave Motor and Super ED glass 18 62 73 89 425g
70-200mm f/2.8 G ED VR II AF-S 2085 10/10 5+ Very little to fault here, with stunning image quality and consistent results at different focal lengths 140 77 87 209 1540g
70-200mm f/4 G ED VR 1180 7/13 5+ Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin 1000 67 78 178.5 850g
70-300mm f/4.5-5.6 G ED AF-S VR 556 11/10 4+ Feature-packed optic, with a VR II system, 9-bladed diaphragm, SWM and ED glass n/a 67 80 143.5 745g
80-400mm f/4.5-5.6 G ED VR AF-S 1899 10/15 5+ Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects 175 77 95.5 203 1570g
85mm f/3.5 G ED AF-S DX VR 522 NYT DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass 28 52 73 98.5 355g
85mm f/1.4 G AF-S 1532 2/11 5+ Fast mid-tele lens with an internal focusing system and rounded diaphragm 85 77 86.5 84 595g
85mm f/1.8 D 385 NYT Portable medium telephoto ideal for portraits 85 62 71.5 58.5 380g
85mm f/1.8 G AF-S 470 5/12 5+ Rear-focusing system and distance window in this medium telephoto lens 80 67 80 73 350g
105mm f/2.8 G AF-S VR II Micro 782 11/09 4.5+ A very sharp lens, with swift and quiet focusing and consistent MFT results 31 62 83 116 720g
105mm f/2 D AF DC 980 NYT A portrait lens with defocus control 90 n/a 79 111 640g
135mm f/2 D AF DC 1232 NYT Defocus-Image Control and a rounded diaphragm in this telephoto optic 110 n/a 79 120 815g
180mm f/2.8 D ED-IF AF 782 NYT Useful telephoto length and internal focusing technology, together with ED glass 150 72 78.5 144 760g
200mm f/4 D ED-IF AF Micro 1429 NYT 1:1 reproduction range in this Micro lens, with a Close-Range Correction system 50 62 76 104.5 1190g
200mm f/2 G ED AF-S VR II 5412 NYT A full-frame lens offering ghost-reducing Nano Crystal coating 190 52 124 203 2930g
200-500mm f/5.6 E ED VR AF-S 1179 NYT A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras 220 95 108 267.5 2300g
300mm f/4 E PF ED VR AF-S 1230 08/15 5+ Light, compact AF-S full-frame telephoto lens with ED glass elements 140 77 89 147.5 755g
300mm f/2.8 G ED AF-S VR II 5209 NYT This lens promises fast and quiet AF, and is tted with Nikons latest VR II system 230 52 124 267.5 2900g

84 WWW.WHATDIGITALCAMERA.COM
 LEN S LISTING S

Filter Thread (mm)

Image Stabilisation
OLY MPU S

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
7-14mm f/4 ED 1900 6/08 5+ An excellently constructed objective, with image quality to match 25 n/a 86.5 119.5 780g
8mm f/3.5 ED Fisheye 930 NYT Diagonal sheye lens, offering a 180 view and a splash-resistant construction 13 n/a 79 77 485g
9-18mm f/4-5.6 640 9/09 4+ Good results up to f/11, past which point resolution drops a little 25 72 79.5 73 280g
12-50mm f/3.5-6.3 ED 370 5/13 4+ Offers electromagnetic zoom mechanism plus variable zoom speed 20 72 57 83 211g
12-60mm f/2.8-4 ED SWD 1130 11/08 4.5+ While not quite as consistent as the 14-54mm, this optic is perhaps more versatile 25 72 79.5 98.5 575g
11-22mm f/2.8-3.5 1020 NYT Wide angle (2x) addition to Olympus E-System lens range 28 72 75 92.5 485g
14-35mm f/2 ED SWD 2400 NYT Pro lens with Supersonic Wave Drive AF system and dust and splashproof casing 35 77 86 123 915g
14-42mm f/3.5-5.6 ED 285 NYT Small, light lens especially designed for the compact Four Thirds system standard 25 58 65 61 190g
14-54mm f/2.8-3.5 II 660 12/09 4+ An affordable lens with great resolution only CA control lets it down a touch 22 67 74.5 88.5 440g
18-180mm f/3.5-6.3 560 6/10 4+ A good performer everywhere except at 180mm, with a solid feel to it 45 62 78 84.5 435g
25mm f/2.8 Pancake 270 9/08 3.5+ Excellent image quality from such a tiny optic, but the lens cap is a little ddly 20 43 64 23.5 95g
35mm f/3.5 Macro 270 NYT Macro lens equivalent to 70mm on a full-frame camera 14 52 71 53 163g
35-100mm f/2 2630 NYT One Super ED and four ED elements inside this telephoto optic 140 77 96.5 213.5 1650g
40-150mm f/4-5.6 ED 300 NYT ED and aspherical elements in this optic, together with an internal focusing system 90 58 65.5 72 220g
50mm f/2 ED Macro 600 8/06 3.5+ A fast, high-quality lens, with excellent MTF curves and low chromatic aberration 24 52 71 61.5 300g
50-200mm f/2.8-3.5 ED SWD 1300 NYT Supersonic Wave Drive focusing system and an equivalent focal range of 100-400mm 120 67 86.5 157 995g
70-300mm f/4-5.6 ED 450 NYT Three ED elements and multi-coatings feature in this popular tele-zoom optic 96 58 80 127 620g
150mm f/2 ED 2650 NYT Splashproof telephoto lens with a wide maximum aperture 140 82 100 150 1610g

Filter Thread (mm)

Image Stabilisation
PE N TAX

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
DA 10-17mm f/3.5-4.5 smc ED IF 590 NYT Fisheye zoom lens with Super Protection coating and Quick Shift manual focus 14 n/a 71.5 68 320g
DA 12-24mm f/4 smc ED AL IF 1050 NYT Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom 30 77 83.5 87.5 430g
DA 14mm f/2.8 smc ED IF 730 7/10 4.5+ Best performance lies between f/5.6 and f/11, but good results can be had at f/4 too 17 77 83.5 69 420g
DA 15mm f/4 smc ED AL Limited 820 NYT Limited edition lens with hybrid aspherical and extra-low dispersion elements 18 49 39.5 63 212g
DA* 16-50mm f/2.8 smc ED AL IF SDM 950 1/09 3.5+ A nice balance and robust feel, but poor sharpness at f/2.8 (which signicantly improves from f/4 onwards) 30 77 98.5 84 600g
DA 16-85mm f/3.5-5.6 ED DC WR 600 NYT [ Weather-resistant, this zoom features a round shaped diaphragm to produce beautiful bokeh 35 72 78 94 488g
DA 17-70mm f/4 smc AL IF SDM 630 NYT Featuring Pentaxs Supersonic Direct-drive (SDM) focusing system 28 67 75 93.5 485g
DA 18-50mm f/4-5.6 DC WR RE 230 NYT Super-thin standard zoom thats weather-resistant and features a round shaped diaphragm 30 58 71 41 158g
DA 18-55mm f/3.5-5.6 smc II ED AL IF 220 1/09 3.5+ Something of a bargain. Only the maximum apertures and awkward manual focusing really let it down 25 52 68 67.5 220g
DA 18-55mm f/3.5-5.6 smc AL WR 229 NYT A weather resistant construction and an aspherical element, as well as SP coating 25 52 68.5 67.5 230g
DA 18-135mm f/3.5-5.6 DA ED DC WR 600 6/11 3.5+ A weather resistant mid-range zoom lens 40 62 73 76 405g
DA 18-270mm f/3.5-6.3 smc ED SDM 699 NYT 15x superzoom for companys K-mount DSLRs featuring two extra-low dispersion (ED) elements 49 62 76 89 453g
DA 20-40mm f/2.8-4 ED Limited DC WR 829 NYT With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather-resistant 28 55 68.5 71 283g
DA 21mm f/3.2 smc AL Limited 600 NYT This limited-edition optic offers a oating element for extra-close focusing 20 49 63 25 140g
FA 31mm f/1.8 smc AL Limited 1149 NYT Aluminium body; when used on a Pentax DSLR offers a perspective similar to that of the human eye 30 58 68.5 65 345g
FA 35mm f/2 smc AL 550 NYT A compact wideangle lens that weighs a mere 214g 30 49 64 44.5 214g
DA 35mm f/2.8 smc Macro 640 9/08 4.5+ Despite slight edge softness, this lens performs excellently and is a pleasure to use 14 49 46.5 63 215g
DA 35mm f/2.4 smc DS AL 180 3/12 5+ A budget price prime lens for beginners 30 49 63 45 124g
DA 40mm f/2.8 smc Limited 450 NYT Pancake lens with SMC coating and Quick Shift focusing system 40 49 63 15 90g
DA 40mm XS f/2.8 XS 325 NYT The worlds smallest xed focal length lens 40 N/A 62.9 9 52g
FA 43mm f/1.9 smc Limited 729 NYT Focal length is ideal for portraits as well as everyday use, and features an smc multi-layer coating 45 49 27 64 155g
FA 50mm f/1.4 smc 399 NYT High quality fast prime. The FA indicates that its image circle covers the 35mm full-frame format 45 49 63.5 38 220g
DA 50mm f/1.8 smc DA 249 08/15 4+ Affordable short telephoto lens ideal for portraits 45 52 38.5 63 122g
DFA 50mm f/2.8 smc Macro 550 NYT Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism 19 49 60 67.5 265g
DA* 50-135mm f/2.8 smc ED IF SDM 1200 11/12 4+ Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects 100 67 76.5 136 765g
DA 50-200mm f/4-5.6 smc ED WR 210 NYT Weather-resistant construction, Quick Shift focus system and an SP coating n/a 49 69 79.5 285g
DA* 55mm f/1.4 smc SDM 800 2/10 4.5+ Even despite questions about the particular sample tested, this lens scores highly 45 58 70.5 66 375g
DA 55-300mm f/4-5.8 smc ED 370 10/12 4+ The lens boasts a useful focal range, as well as a dirt-resistant SP coating 140 58 75 111.5 440g
DA 55-300mm f/4-5.8 ED WR 399 NYT Weatherproof HD telephoto lens featuring quick shift focusing system 140 58 71 111.5 466g
DA 60-250mm f/4 smc ED IF SDM 1450 10/12 4.5+ With a constant f/4 aperture and an ultrasonic motor for speedy focusing 110 67 167.5 82 1040g
DA 70mm f/2.4 smc AL Limited 600 NYT Medium telephoto lens with an aluminium construction and a Super Protect coating 70 49 63 26 130g
D-FA* 70-200mm f/2.8 ED DC AW 1850 NYT New addition to Pentaxs high-performance Star (*) series developed for best image rendition 120 77 91.5 203 1755g
FA 77mm f/1.8 smc Limited 1050 NYT With Pentaxs Fixed Rear Element Extension focusing system for sharp, crisp images 70 49 48 64 270g
D-FA 100mm f/2.8 Macro 700 NYT Designed for both digital and lm cameras, this macro lens boasts a 1:1 repro ratio 30 49 67.5 80.5 345g
D-FA 100mm f/2.8 Macro WR 680 11/12 5+ Street price makes this something of a bargain for a true macro offering full-frame coverage 30 49 65 80.5 340g
FA 150-450mm f/4.5-5.6 ED DC AW 2000 NYT Super-telephoto lens with weather-resistance, designed to produce extra-sharp, high-contrast images 200 86 241.5 95 2000g
DA* 200mm f/2.8 smc ED IF SDM 1000 8/12 4.5+ SDM focusing system on the inside, and dirtproof and splashproof on the outside 120 77 83 134 825g
DA* 300mm f/4 smc ED IF SDM 1300 NYT This tele optic promises ultrasonic focus and high image quality thanks to ED glass 140 77 83 184 1070g
DA 560mm f/5.6 ED smc AW 5999 NYT Prime offering focal length of 859mm when mounted on Pentax K-mount DSLR. Treated with HD coating 560 112 130 522 3040g

WWW.WHATDIGITALCAMERA.COM 85
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 W D C L IS T IN GS LEN S LISTING S

Filter Thread (mm)

Image Stabilisation
S AM YA N G

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
8mm f/3.5 UMC Fisheye CS II 274 NYT Wideangle sheye lens designed for digital reex cameras with APS-C sensors 30 N/A 75. 77.8 417g
10mm f/2.8 ED AS NCS CS 429 NYT Features a nano crystal anti-reection coating system and embedded lens hood 24 N/A 86 77 580g
14mm f/2.8 ED UMC 279 NYT Ultra wideangle manual focus lens; bulb-like front element means no lters can be used 28 N/A 94 87 552g
16mm f/2.0 ED AS UMC CS 389 NYT Ultra wideangle lens for digital reex cameras and mirrorless compact cameras tted with APS-C sensors 20 N/A 89.4 83 583g
21mm f/1.4 ED AS UMC CS 499 04/16 5+ Manual-focus prime designed for mirrorless users comprising 8 elements arranged in 7 groups 28 58 54.3 67.9 290g
24mm f/1.4 AS UMC 499 NYT Fast ultra wideangle manual focus lens comprising 13 lenses arranged in 12 groups 25 77 95 116 680g
35mm f/1.4 AS UMC 369 3/13 4.5+ While manual focus only, this prime impressed us in real-world use, making it something of a bargain 30 77 83 111 660g
50mm f/1.2 AS UMC CS 299 05/16 5+ Fast prime for mirrorless cameras thats capable of stunning results with a super-shallow depth of eld 50 62 67.5 74.5 380g
85mm f/1.4 IFMC 239 NYT Short fast telephoto prime, manual focus, aimed at portrait photographers 100 72 78 72.2 513g
100mm f/2.8 ED UMC Macro 389 NYT Full-frame compatible, the Samyang 100mm is a close-up true Macro lens 30 67 72.5 123.1 720g

Filter Thread (mm)

Image Stabilisation
S IG MA

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
4.5mm f/2.8 EX DC 739 NYT Circular sheye lens designed for digital, with SLD glass and a gelatin lter holder 13 n/a 76 77.8 470g
8mm f/3.5 EX DG 799 NYT The worlds only 8mm lens equipped with autofocus also boasts SLD glass 13 n/a 73.5 68.6 400g
8-16mm f/4.5-5.6 DC HSM 800 10/10 4+ Excellent performance at 8mm which sadly drops at the 16mm end 24 72 75 105.7 555g
10mm f/2.8 EX DC 599 NYT A Hyper Sonic Motor (HSM) and built-in hood in this diagonal sheye lens 13 n/a 75.8 83 475g
10-20mm f/3.5 EX DC HSM 650 3/10 5+ An absolute gem of a lens that deserves a place on every photographers wish list 24 82 87.3 88.2 520g
10-20mm f/4-5.6 EX DG HSM 550 8/09 5+ A ne all-rounder, thanks to MTF curves which stay above 0.25 cycles-per-pixel down to f/16 24 77 83.5 81 470g
12-24mm f/4.5-5.6 EX DC HSM 868 8/09 4+ A tightly matched set of MTF curves, but APS-C users are advised to look at the 10-20mm instead 28 n/a 87 102.5 600g
15mm f/2.8 EX DG 629 7/10 4+ This sheye optic puts in a very solid performance not to be dismissed as a gimmick! 15 n/a 73.5 65 370g
17-50mm f/2.8 EX DC OS HSM 689 NYT FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation 28 77 83.5 92 565g
17-70mm f/2.8-4 DC Macro OS HSM 449 NYT Redesign of this well-received lens launches the Contemporary range and sees it in more compact form 22 72 79 82 470g
18-35mm f/1.8 DC HSM 799 11/13 5+ Said to be the worlds rst constant f/1.8 zoom; DOF equivalent of constant f/2.7 on full frame 28 72 78 121 810g
18-200mm f/3.5-6.3 DC 349 3/08 3+ Good CA control at 200mm but otherwise an average performer 45 62 70 78.1 405g
18-200mm f/3.5-6.3 DC OS 449 3/08 4+ Excellent resolution and consistent performance, but control over CA could be a little better 45 45 79 100 610g
18-250mm f/3.5-6.3 DC OS HSM 572 1/10 4.5+ A very capable set of MTF curves that only shows minor weakness at wide apertures 45 72 79 101 630g
18-250mm f/3.5-6.3 DC Macro OS HSM 500 NYT Ultra-compact 13.8x high zoom ratio lens designed exclusively for digital SLR cameras 35 62 73.5 88.6 470g
18-300mm f/3.5-6.3 DC Macro OS HSM 499 NYT Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens 39 72 79 101.5 585g
20mm f/1.4 DG HSM | A 799 02/16 5+ An outstanding wideangle xed-focal-length lens 27.6 n/a 90.7 129.8 950g
24mm f/1.4 DG HSM | A 799 06/15 5+ The latest addition to Sigmas Art line of high-quality fast primes 25 77 85 90.2 665g
24-35mm f/2 DG HSM | A 949 12/15 5+ The worlds rst large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range 28 82 87.6 122.7 940g
24-70mm f/2.8 EX DG IF HSM 899 8/09 5+ Not perfect, but an excellent alternative to Canon and Nikons 24-70mm lenses, with great MTF curves 38 82 88.6 94.7 790g
24-105mm f/4 DG OS HSM | A 849 3/14 4.5+ Serious full frame alternative to own-brand lenses at a lower price but with no compromises in the build 45 82 89 109 885g
30mm f/1.4 EX DC HSM 490 9/08 3+ A consistent performer, with slightly weaker but not unacceptable performance wide-open 40 62 76.6 59 430g
35mm f/1.4 DG HSM | A 799 9/13 5+ Large aperture prime; rst lens in companys Art series 30 67 77 94 665g
50mm f/1.4 EX DC HSM 459 2/10 5+ This lens may be priced above the norm, but it delivers results which are similarly elevated 45 77 84.5 68.2 505g
50mm f/1.4 DG HSM | Art 849 Web 5+ This lens is a unique design that pays off in truly excellent image quality 40 77 85.4 100 815g
50-500mm f/4.5-6.3 DG OS HSM 1499 4/11 4+ A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters 50-180 95 104.4 219 1970g
70-200mm f/2.8 EX DG OS HSM 1539 NYT Two FLD glass elements, said to have the same dispersive properties as uorite 140 77 86.4 197 1430g
70-300mm f/4-5.6 APO DG Macro 235 NYT A 9-bladed diaphragm and two SLD elements in this tele-zoom lens 95 58 76.6 122 550g
70-300mm f/4-5.6 DG Macro 173 5/09 3+ Generally unremarkable MTF curves, and particularly poor at 300mm 95 58 76.6 122 545g
85mm f/1.4 EX DG HSM 890 2/11 5+ The Sigmas resolution from f/4 to f/8 is excellent 85 77 86.4 87.6 725g
105mm f/2.8 EX DG OS HSM 649 12/11 4.5+ An optically-stabilised macro lens 31.2 62 78 126.4 725g
120-300mm f/2.8 DG HSM 3599 NYT First lens in companys Sports series; switch enables adjustment of both focus speed and focus limiter 150-250 105 124 291 TBA
150mm f/2.8 EX DG OS HSM 999 NYT A macro lens offering image stabilisation 38 72 79.6 150 950g
150-500mm f/5-6.3 DG OS HSM 999 6/09 3+ Signicant softness at wide maximum apertures for all focal lengths 220 86 94.7 252 1780g
150-600mm f/5-6.3 DG OS HSM | S 1599 1/15 4+ This portable, high-performance telephoto zoom from Sigmas Sports line is dust and splashproof 260 105 121 290.2 2860g
180mm f/2.8 EX DG OS HSM 1499 4/13 5+ 1:1 macro lens featuring three FLD glass elements and oating inner focusing system 47 86 95 204 1640g
300mm f/2.8 APO EX DG 2899 NYT Extra Low Dispersion (ELD) glass, multi-layer coatings and a Hyper Sonic Motor 250 46 119 214.5 2400g
300-800mm f/5.6 EX DG HSM 6999 NYT A constant aperture of f/5.6 throughout the expansive 300-800mm zoom range 600 46 156.5 544 5880g
500mm f/4.5 APO EX DG 4799 NYT Telephoto lens with multi-layer coatings to optimise the characteristics of DSLRs 400 46 123 350 3150g

WWW.WHATDIGITALCAMERA.COM 87
 W D C L IS T IN GS

Filter Thread (mm)

Image Stabilisation
S ONY

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
11-18mm f/4.5-5.6 DT 609 9/09 3+ A solid overall performance that simply fails to be outstanding in any way 25 77 83 80.5 360g
16mm f/2.8 Fisheye 709 NYT Fisheye lens with a close focusing distance of 20cm and a 180 angle of view 20 n/a 75 66.5 400g
16-35mm f/2.8 ZA SSM T* 1729 9/09 4.5+ High-end Zeiss wideangle zoom lens ideal for full frame Alpha DSLRs 28 77 83 114 900g
16-50mm f/2.8 SSM 569 4/12 4+ Bright short-range telephoto lens 100 72 81 88 577g
16-80mm f/3.5-4.5 ZA T* 709 4/09 4.5+ Carl Zeiss standard zoom lens 35 62 72 83 445g
16-105mm f/3.5-5.6 DT 559 3/09 3+ An ambitious lens that is good in parts. Quality drops off at 105mm 40 62 72 83 470g
18-135mm f/3.5-5.6 DT SAM 429 NYT A versatile zoom with Direct Manual Focus 45 62 76 86 398g
18-200mm f/3.5-6.3 DT 509 4/08 3+ While the focal range is certainly useful, the lens is an overall average performer 45 62 73 85.5 405g
18-250mm f/3.5-6.3 DT 559 1/10 3.5+ Good overall, but performance dips at longer focal lengths 45 62 75 86 440g
20mm f/2.8 559 9/11 3.5+ Wideangle prime lens with rear focusing mechanism and focus range limiter 25 72 78 53.5 285g
24mm f/2 ZA SSM T* 1119 NYT An impressively bright wideangle Carl Zeiss lens 19 72 78 76 555g
24-70mm f/2.8 ZA SSM T* 1679 7/09 5+ Carl Zeiss mid-range zoom lens with superb optics ideal for full frame Alpha DSLRs 34 77 83 111 955g
28-75mm f/2.8 SAM 709 NYT A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom 38 67 77.5 94 565g
30mm f/2.8 DT SAM Macro 179 3/12 4+ Macro lens designed for digital with 1:1 magnication and Smooth Autofocus Motor 12 49 70 45 150g
35mm f/1.4 G 1369 NYT With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass 30 55 69 76 510g
35mm f/1.8 DT SAM 179 NYT Budget price indoor portrait lens 23 55 70 52 170g
50mm f/1.8 DT SAM 159 3/10 4.5+ A very useful lens that performs well and carries a rock-bottom price tag 34 49 70 45 170g
50mm f/1.4 369 2/10 5+ While this lens performs well overall, performance at f/1.4 could be better 45 55 65.5 43 220g
50mm f/1.4 ZA SSM 1300 Web 4+ Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting 45 72 81 71.5 518g
50mm f/2.8 Macro 529 NYT A macro lens with a oating lens element 20 55 71.5 60 295g
55-200mm f/4-5.6 DT SAM 219 NYT Designed for cropped-sensor DSLRs, with a Smooth Autofocus Motor 95 55 71.5 85 305g
55-300mm f/4.55.6 DT SAM 309 NYT Compact, lightweight telephoto zoom offering smooth, silent operation 140 62 77 116.5 460g
70-200mm f/2.8 G 1889 NYT Super Sonic Wave motor and a constant f/2.8 aperture in this pro-grade tele zoom 120 77 87 196.5 1340g
70-200mm f/2.8 G SSM II TBC NYT High-performance G Series telephoto zoom lens 120 87 196.5 1340g
70-200mm f/4 G OSS 949 10/14 4+ Compact, lightweight telephoto zoom lens for full-frame E-mount bodies 100 72 80 175 840g
70-300mm f/4.5-5.6 G SSM 869 12/10 3.5+ G-series lens with ED elements, Super Sonic wave Motor and a circular aperture 120 62 82.5 135.5 760g
70-400mm f/4-5.6 G SSM II 1799 NYT Redesign of original features a new LSI drive circuit and promises faster autofocus 150 77 95 196 1500g
75-300mm f/4.5-5.6 219 8/12 3+ Compact and lightweight zoom with a circular aperture 150 55 71 122 460g
85mm f/1.4 ZA Planar T* 1369 NYT Fixed focal length lens aimed at indoor portraiture 85 72 81.5 72.5 560g
85mm f/2.8 SAM 219 NYT A light, low price portraiture lens 60 55 70 52 175g
100mm f/2.8 Macro 659 NYT Macro lens with circular aperture, double oating element and wide aperture 35 55 75 98.5 505g
135mm f/1.8 ZA Sonnar T* 1429 NYT A bright, Carl Zeiss portrait telephoto lens 72 77 84 115 1004g
135mm f/2.8 STF 1119 NYT Telephoto lens with defocus effects 87 80 80 99 730g

Filter Thread (mm)

Image Stabilisation

TAM R O N
Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon

LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

10-24mm f/3.5-4.5 SP AF Di II LD Asph. IF 511 2/10 3.5+ Good consistency at 10mm and 18mm, but a steep decline at 24mm 24 77 83.2 86.5 406g
14-150mm f/3.5-5.8 Di III 370 4/16 4+ The rst Micro Four Thirds lens from Tamron, for compact mirrorless interchangeable-lens cameras 50 52 63.5 80.4 285g
15-30mm f/2.8 SP Di VC USD 950 7/15 4+ Excellent value, this is the only wideangle zoom with image stabilisation and an f/2.8 aperture 28 N/A 98.4 145 1100g
16-300mm f/3.5-6.3 Di II VC PZD Macro 600 8/14 4+ Versatile megazoom, a very good all-in-one solution, as long as you wont need to enlarge to A2 size 39 67 99.5 75 540g
17-50mm f/2.8 SP AF XR Di II LD Asph. IF 450 2/09 4.5+ Very good optical performance, which peaks at f/5.6-8 27 67 74 81.7 434g
17-50mm f/2.8 SP AF XR Di II VC LD Asph. IF 541 4/10 4.5+ Very strong performance at longer focal lengths but weaker at the other end 29 72 79.6 94.5 570g
18-200mm f/3.5-6.3 AF Di II VC 169 5/16 4+ Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation 49 62 75 96.6 400g
18-270mm f/3.5-6.3 AF XR Di II LD Asph. IF Macro 613 1/10 4.5+ Much better results at shorter focal lengths than longer ones, but still impressive 49 72 79.6 101 550g
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro 663 10/11 3+ The next-generation incarnation offers a new form of ultrasonic engine 49 62 74.4 88 450g
24-70mm f/2.8 SP Di VC USD 1099 10/12 5+ Fast zoom with image stabilisation for both full-frame and APS-C cameras 38 82 88.2 116.9 825g
28-75mm f/2.8 SP AF XR Di LD Asph. IF Macro 460 NYT Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm 33 67 73 92 510g
28-300mm f/3.5-6.3 AF XR Di LD Asph. IF Macro 664 NYT A useful 10.7x zoom range and low-dispersion elements in this optic 49 62 73 83.7 420g
28-300mm f/3.5-6.3 Di VC PZD 529 NYT A new, full-frame, high-power zoom incorporating PZD (Piezo Drive) 49 67 75 99.5 540g
45mm f/1.8 Di VC USD 580 1/16 4.5+ A lens that rewrites the standard focal length 29 67 80.4 89.2 940g
60mm f/2 SP AF Di II LD IF Macro 550 12/10 5+ Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio 23 55 73 80 400g
70-200mm f/2.8 SP AF Di LD IF Macro 817 10/09 4+ No image stabilisation and no advanced AF system, but at this price its a steal 95 77 89.5 194.3 1150g
70-200mm f/2.8 Di VC USD TBC NYT Compact yet full-size telephoto zoom with vibration compensation 130 77 85.8 188.3 1470g
70-300mm f/4-5.6 SP VC USD 300 1/12 4+ Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation 150 62 81.5 142.7 765g
70-300mm f/4-5.6 AF Di LD Macro 170 11/10 3.5+ Low dispersion glass and compatible with both full-frame and cropped-sensor DSLRs 95 62 76.6 116.5 435g
90mm f/2.8 SP AF Di Macro 470 11/09 4+ A very nice macro lens that is capable of producing some ne images 29 55 71.5 97 405g
90mm f/2.8 Di Macro 1:1 VC USD TBC NYT Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation 30 58 115 76.4 550g
150-600mm f/5-6.3 SP VC USD 1150 6/14 4+ Longest focal length of any affordable enthusiast zoom on the market and produces excellent results 270 95 105.6 257.8 1951g
180mm f/3.5 SP AF Di LD IF Macro 896 11/10 5+ Two Low Dispersion elements and internal focusing system in this 1:1 macro lens 47 72 84.8 165.7 920g
200-500mm f/5-6.3 SP AF Di LD IF 1124 6/09 4.5+ A well-matched and consistent set of MTF curves, with good performance at f/8-11 250 86 93.5 227 1237g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
AT-X 107 (10-17mm) f/3.5-4.5 AF DX Fisheye 550 NYT Fisheye zoom lens with Water Repellent coating and Super Low Dispersion glass 14 n/a 70 71.1 350g
AT-X 116 (11-16mm) f/2.8 PRO DX 515 6/12 4.5+ Wide zoom with a One-Touch Focus clutch mechanism and a constant f/2.8 aperture 30 77 n/a 89.2 560g
AT-X 12-28mm f/4 PRO DX 529 NYT Replacement for 12-24mm F4 wideangle zoom; for Nikon DX DSLRs - 25 77 84 90 600g
AT-X 16-28mm f/2.8 PRO FX 757 6/11 5+ A pro-end wideangle zoom aimed at full frame cameras 26 n/a 90 133 950g
AT-X 17-35mm f/4 PRO FX 830 11/12 5+ One of the most capable super-wide zooms available, though only available in Canon and Nikon mounts 28 82 89 94 600g
AT-X 16.5-135 (16.5-135mm) f/3.5-5.6 610 9/11 3.5+ Three aspherical and two SD elements, together with a useful focal range 50 77 84 78 610g
AT-X M100 (100mm) f/2.8 AF PRO D Macro 360 11/09 4+ Some weaknesses wide-open, but reasonable MTF curves make this a decent optic 30 55 73 95.1 540g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
12mm f/2.8 Touit Distagon T* 959 5/14 5+ Designed specically for Sony NEX and Fujilm X-series CSC cameras. Very impressive performance 18 67 68 270g
18mm f/3.5 ZF.2 1150 8/10 5+ No AF, but the optical and build qualities of this lens are nothing short of stunning 30 82 84 87 470g
21mm f/2.8 Distagon T* 1579 NYT A wideangle lens that doesnt compromise on optical quality 30 82 87 84 510g
25mm f/2 Distagon T* 1350 NYT A landscape lens with a fast aperture 25 67 71 95 570g
25mm Batis f/2 980 12/15 5+ A wideangle lens for Sony full-frame users offering unrivalled quality 20 67 81 92 355g
28mm f/2 Distagon T* 850 NYT For low light shooting the 28mm lens has plenty of potential 24 58 64 93 520g
32mm f/1.8 Touit Planar T* 700 7/14 4.5+ Optimised for use with APS-C format sensors, a fast standard lens for Fujilm X-series cameras 23 52 72 76 200g
35mm f/1.4 Distagon T* 1600 NYT Promises to produce some stunning bokeh effects 30 72 120 122 850g
35mm f/2 Distagon T* 940 NYT An extremely fast focusing lens 30 58 64 97 530g
50mm Milvus f/1.4 949 3/16 5+ An exceptionally good portrait lens offering sharpness, detail, clean edges and a great user experience 45 67 82.9 94 922g
85mm Milvus f/1.4 665 4/16 5+ Fast 85mm prime lens thats perfect for portraiture 80 77 90 110 1210g
85mm Batis f/1.8 909 Xmas15 5+ A high-quality medium prime for wedding and portrait shooters, developed for Sonys Alpha-7 series 80 67 78 105 475g
100mm f/2 Makro-Planar 1399 NYT A rapid-focus portrait lens 44 72 76 113 680g

CSC Lens Listings

The range of lenses for CSC models is constantly evolving, so you have a fairly good choice when it comes to lenses for your CSC

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

EF-M 18-55mm f/3.5-5.6 IS STM 269 NYT Compact and versatile zoom lens 25 52 61 61 210g
EF-M 11-22mm f/4-5.6 IS STM 355 NYT Ultra-wideangle lens with a compact, retractable lens design 15 55 61 58.2 220g
EF-M 22mm f/2 STM 220 NYT Small and bright wideangle pancake lens 15 43 61 23.7 105g
EF-M 55-200mm f/4.5-6.3 IS STM 330 NYT Telephoto zoom that takes you closer to the action 100 52 60.9 86.5 260g
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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

XF 10-24mm f/4 R OIS 849 NYT Ultra wideangle lens, minimal ghosting with Fujis HT-EBC multi-layer coating 24 72 78 87 410
XF 14mm f/2.8 R 729 7/13 5+ Ultra wideangle prime, high resolution to all corners, performance justies price tag 18 58 65 58.4 235g
XF 16mm f/1.4 R WR 729 10/15 5+ Weather-sealed fast prime for X-system users 15 67 73.4 73 375g
XC 16-50 f/3.5-5.6 OIS 359 NYT Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range 30 58 62.6 98.3 195g
XF 16-55mm f/2.8 R LM WR 899 06/15 5+ A agship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance 60 77 83.3 106 655g
XF 18mm f/2 R 430 6/13 4+ A compact, wideangle lens with a quick aperture 18 52 64.5 40.6 116g
XF 18-135mm f/3.5-5.6 R LM OIS WR 699 Xmas14 4+ Weather-resistant zoom for Fujilm X mount, designed to be the perfect partner for the Fujilm X-T1 45 77 75.7 97.8 490g
XF 18-55mm f/2.8-4 R 599 NYT Short zoom lens with optical image stabilisation 18 58 65 70.4 310g
XF 23mm f/1.4 R 649 NYT Premium wideangle prime lens with fast maximum aperture 28 62 72 63 300g
XF 27mm f/2.8 270 NYT A high-performance single-focal-length lens 60 39 23 61.2 78g
XF 35mm f/1.4 R 439 6/13 4+ Shallow depth of eld and bokeh effects are simple to achieve with this lens 28 52 65 54.9 187g
XF 50-140mm f/2.8 R LM OIS WR 1249 NYT A telephoto zoom with a constant maximum aperture and weather-resistance 100 72 82.9 175.9 995g
XC 50-230mm f/4.5-6.7 OIS 315 NYT The XC lens range is designed to suit Fujis mid range CSCs, and this lens has optical image stabilisation 110 58 69.5 111 tbc
XF 55-200mm f/3.5-4.8 R LM OIS 599 11/13 4+ Telephoto with built-in optical image stabilisation plus aperture control ring 110 62 118 75 580g
XF 56mm f/1.2 R 899 9/14 4+ This wide-aperture portrait lens for X series cameras has great sharpness and detail and is great value 70 62 73.2 69.7 405g
XF 60mm f/2.4 XF R Macro 599 NYT A short telephoto lens perfect for macro work 26.7 39 64.1 70.9 215g
XF 90mm f/2 R LM WR 699 11/15 5+ A classic portrait lens thats sharp, with gorgeous bokeh 60 62 75 105 540g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
6.7-13mm f/3.5-5.6 VR 1 459 NYT Compact, lightweight, ultra-wideangle zoom lens with Vibration Reduction for Nikon 1 system 25 52 56.5 46 125g
10mm f/2.8 229 2/12 4+ A wideangle lens for Nikons 1 series of Compact System Cameras 20 40.5 55.5 22 77g
10-30mm f/3.5-5.6 VR 149 NYT Nikons kit lens for the 1 series of CSC models 20 40.5 57.5 42 115g
10-100mm f/4.5-5.6 VR PD-ZOOM 679 NYT A powered zoom lens aided by the VR image stabilisation system on 1 system compacts 300 72 77 95 530g
10-100mm f/4-5.6 VR 1 499 NYT CX-format zoom lens with focal length range of 10100mm (27270mm 35mm equivalent) 35 55 60.5 70.5 298g
11-27.5mm f/3.5-5.6 179 NYT Compact standard zoom for Nikon 1 system 30 40.5 57.5 31 80g
18.5mm f/1.8 179 NYT Nikons 1 series gains a traditional fast prime 20 40.5 56 36 70g
30-110mm f/3.8-5.6 VR 229 NYT A longer zoom lens, with image stabilisation, for the Nikon 1 series 100 40.5 60 61 180g
32mm f/1.2 799 NYT First 1 system lens to offer a silent wave motor and nano crystal coating 45 52 66 47 235g
70300mm f/4.55.6 VR TBC NYT CX-format super-telephoto lens with a surprisingly compact body 7 62 73 108 550g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
7-14mm f/2.8 ED Pro 999 Web 4.5+ Super-wide-angle zoom lens that is dustproof, splashproof and freeze-proof 20 n/a 78.9 105.8 534g
8mm f/1.8 Pro Fisheye 799 Web Fisheye lens with impressive image quality thats dustproof, splashproof and freeze-proof 12 n/a 62 80 315g
9-18mm (Micro) f/4-5.6 ED 630 NYT This super wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms 25 52 56.5 49.5 155g
12mm (Micro) f/2.0 ED 739 1/12 5+ A wideangle xed lens for the Micro Four Thirds system 20 46 56 43 130g
12-40mm f/2.8 899 NYT Weather-resistant wideangle zoom with a constant aperture of f/2.8 20 62 69.9 84 382g
12-50mm (Micro) f/3.5-6.3 ED EZ 349 NYT A reasonably-priced MFT zoom lens 20 52 57 83 211g
17mm M.Zuiko f/1.8 MSC 450 7/13 5+ Wide-aperture, wide-angle prime boasting excellent peak sharpness and no colour fringing 25 46 57 35 120g
17mm (Micro) f/2.8 Pancake 300 5/10 4+ Results are impressive across the most-used apertures given the wide angle of view offered 20 37 57 22 71g
14-42mm (Micro) f/3.5-5.6 ED 300 5/10 4+ Generally a good performer, but control over chromatic aberrations could be a little better 25 40.5 62 43.5 150g
14-42mm II R (Micro) f/3.5-5.6 269 NYT A redesigned variation of the standard kit lens 25 37 56.5 50 112g
14-150mm (Micro) f/4-5.6 ED 630 NYT Plenty of focal range is offered by this MFT lens 50 58 63.5 83 280g
14-150mm II f/4-5.6 550 NYT High-powered zoom for all your needs from wideangle to telephoto plus weather-resistance 50 58 63.5 83 285g
25mm f/1.8 370 NYT Compact prime lens with ultra-bright f/1.8 aperture 25 46 57.8 42 137g
40-150mm f/2.8 ED 1299 03/15 4+ This powerful 80-300mm 35mm equivalent focal length lens offers amazing portability for this pro class 70 72 79.4 160 760g
40-150mm R (Micro) f/4-5.6 309 NYT This middle-distance zom lens has an 80-300mm 35mm equivalent focal length 90 58 63.5 83 190g
45mm (Micro) f/1.8 279 2/12 5+ Fast-aperture lens for taking portrait shots proved to be sharp, quiet and without colour fringing 50 37 56 46 116g
60mm f/2.8 Macro 450 NYT High-precision macro lens thats dustproof and splashproof 19 46 56 82 185g
75-300mm II (Micro) f/4.8-6.7 499 NYT Update featuring Zuiko Extra-low Reection Optical coating said to reduce ghosting 90 58 69 117 423g
75mm f/1.8 ED 799 8/13 5+ Ultra-fast prime lens ideal for portraits and action shots 84 58 64 69 305g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

G 7-14mm f/4 1300 5/10 5+ For a wideangle zoom, the overall level of resolution is very impressive 25 - 70 83.1 300g
G 8mm Fisheye f/3.5 730 NYT The worlds lightest and smallest sheye lens for an interchangeable lens camera 10 22 60.7 51.7 165g
G 12mm 3D Lens f/12 320 NYT Allows compatible cameras to shoot 3D images 60 - 57 81.8 45g
G 12-32mm f/3.5-5.6 MEGA OIS 270 NYT Very compact with a versatile zoom range and 3 aspherical lenses 20 37 55.5 24 70g
G X 12-35mm f/2.8 X PZ POWER OIS 1095 10/12 5+ Fast, high-quality standard zoom for Micro Four Thirds cameras 25 58 67.6 73.8 305g
G 14mm f/2.5 249 NYT Wideangle pancake lens which should suit landscape photographers 18 46 55.5 20.5 55g
G 14-42mm II f/3.5-5.6 MEGA OIS 375 NYT Addition of two aspherical elements helps make this lens smaller than previous version 20 46 56 49 110g
G X 14-42mm f/3.5-5.6 X PZ POWER OIS 369 2/13 4+ Powered zoom; impressive results in terms of both sharpness and chromatic aberration 20 37 61 26.8 95g
G 14-45mm f/3.5-5.6 MEGA OIS 189 NYT A lightweight and compact standard zoom featuring MEGA O.I.S. optical image stabilisation 30 52 60 60 195g
G 14-140mm f/3.5-5.6 POWER OIS 599 NYT Metal-bodied zoom featuring companys POWER O.I.S. optical image stabiliser 30 58 67 75 265g
DG 15mm f/1.7 Leica DG SUMMILUX 549 NYT High-speed prime with a compact metal body and includes 3 aspherical lenses to cut down distortion 20 46 36 57.5 115g
G 25mm f/1.7 ASPH 159 3/16 5+ Inexpensive fast normal prime for Micro Four Thirds 25 46 60.8 52 125g
DG 25mm f/1.4 DG SUMMILUX 550 2/12 5+ A fast-aperture xed focal length standard lens from Leica 30 46 63 54.5 200g
G 30mm f/2.8 Macro MEGA OIS 300 07/15 3+ Compact lens offering true-to-life magnication capability for better macro images 10 46 58.8 63.5 180g
35-100mm E f/4-5.6 MEGA OIS 300 NYT Telephoto zoom equivalent to 70-200mm on a 35mm camera 90 46 55.5 50 135g
G X 35-100mm f/2.8 POWER OIS 1099 NYT Telephoto zoom with Nano Surface Coating technology for dramatic reduction of ghosting and are 85 58 67.4 100 360g
42.5mm f/1.2 Leica DG POWER OIS 1399 Web 5+ Mid-telephoto high-speed LEICA DG NOCTICRON lens with 2 aspherical lenses and ultra-wide aperture 50 67 74 76.8 425g
G 42.5mm f/1.7 POWER OIS 349 NYT Mid-telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect 37 31 55 50 130g
G 45-150mm f/4-5.6 MEGA OIS 280 2/13 4+ Compact, lightweight telephoto zoom comprising 12 elements in 9 groups 90 52 62 73 200g
G X 45-175mm f/4-5.6 X PZ POWER OIS 400 7/12 4+ A powered long focal length zoom lens 90 46 61.6 90 210g
G 45-200mm f/4-5.6 MEGA OIS 330 7/12 4+ Superzoom lens with three ED elements and Mega O.I.S. technology 100 52 70 100 380g
G 100-300mm f/4-5.6 MEGA OIS 550 7/11 4+ Long zoom lens offering optical image stabilization 100 52 70 100 380g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
3.8mm-5.9mm (Q System) f/3.7-4 429 NYT Super-compact, ultra-lightweight wide zoom, equivalent to 17.5-27mm in the 35mm format 25 49 38 54 75g
8.5mm (Q System) f/1.9 AL [IF] 149 NYT Standard prime lens in the Q system 20 40.5 45.5 23 37g
6.3mm (Q System) f/7.1 129 NYT A wide lens for the Q system N/A 40.6 25 21g
11.5mm (Q System) f/9 49 NYT Extremely thin Mount Shield Lens equivalent to 53mm in the 35mm format, offering a distinctive, velvety image 30 N/A 6.9 40.8 8g
18mm (Q System) f/8 129 NYT A telephoto lens for the Q system N/A 40.6 19.5 18g
3.2mm (Q System) f/5.6 149 NYT A sheye lens for the Q system 90 N/A 40.6 30.5 29g
5-15mm (Q System) f/2.8 279 NYT A short zoom lens for the Q system 40.5 45.5 23 37g
5-15mm (Q System) f/2.8-4.5 299 NYT A standard zoom lens for the Q system equivalent to 27.5-83mm in the 35mm format 30 40.5 48.5 48 96g
15-45mm (Q System) f/2.8 279 NYT A telephoto zoom lens for the Q system thats super-compact and ultra-lightweight 100 40.5 56 50 90g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
9mm f/3.5 ED 149 NYT At 12.5mm thin, this pancake lens is constructed of solid metal, made for the NX Mini only 11 N/A 50 12.5 31g
9-27mm f/3.5-5.6 ED OIS 199 NYT Versatile and compact zoom lens NX-M mount for NX Mini only 14 40.5 50 29.5 73g
10mm f/3.5 Fisheye 399 NYT Lightweight and compact, this versatile sheye lens can be used with a wide range of Smart NX cameras 9 N/A 58.8 26.3 72g
17mm NX-M f/1.8 OIS 160 NYT Portrait prime lens designed with an NX-M Mount for the NX Mini 18 39 50 28 55g
12-24mm f/4-5.6 ED 480 NYT Portable ultra-wideangle zoom lens with i-function 24 58 63.5 65.5 208g
16mm NX i-Function f/2.4 299 NYT A pancake lens with a wide angle of view 18 43 61 24 90g
16-50mm f/2-2.8 Premium S ED OIS 999 NYT Bright-aperture zoom lens made of metal, with quiet AF performance whether shooting stills or video 30 72 81 96.5 622g
16-50mm f/3.5-5.6 Power Zoom 279 NYT Ultra-compact and lightweight design 24 43 64.8 31 111g
20-50mm f/3.5-5.6 ED II 199 NYT Ultra-compact lens with a retractable design. Its lightweight and an ideal optic for travelling 28 40.5 63.2 39.8 119g
18-55mm NX i-Function OIS f/3.5-5.6 199 9/10 4.5+ Not an outstanding set of MTF curves but acceptable nevertheless. Weaker at 18mm 28 58 63 65 198g
18-200mm NX i-Function OIS f/3.5-6.3 649 9/12 4.5+ A mid-range zoom lens aimed at movie making 50 67 72 105.5 549g
20mm NX i-Function f/2.8 229 2/12 5+ Wideangle pancake lens 17 43 62 25 89g
30mm NX i-Function f/2 249 9/10 4+ This pancake optic exhibits very impressive peak sharpness at around f/4-5.6 25 43 61 21 85g
45mm NX i-Function f/1.8 249 NYT Fast f/1.8 aperture produces a shallow depth of eld making it ideal for portraiture 45 43 62 44.5 115g
45mm NX i-Function f/1.8 2D/3D 399 NYT Delivers high-end 3D capabilities with a large aperture and smooth autofocus system 50 43 62 44.5 122g
50-150mm f/2.8 S ED OIS 1199 NYT Premium zoom lens with advanced OIS, constant f/2.8 aperture, and dust and splash-resistant 70 72 81 154 915g
50-200mm NX i-Function ED OIS III f/4-5.6 249 9/10 4+ Performance at the 50mm end is good, though this drops off at the tele end 98 52 70 100 417g
60mm NX i-Function Macro ED SSA OIS f/2.8 499 2/12 5+ This prime lens with macro capability should be useful for portraiture 18 52 73.5 84 389g
85mm NX i-Function ED SSA OIS f/1.4 849 4/12 5+ This prime lens is missing image stabilisation, but should still perform well 82 67 79 92 714g

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

19mm f/2.8 DN | A 189 NYT Metal-bodied high-performance wideangle prime lens 20 46 60.8 45.7 150g
30mm f/2.8 DN | A 189 NYT Uses a high-quality double-sided aspherical lens for expressive performance worthy of Sigmas Art line 30 46 60.8 40.5 140g
60mm f/2.8 DN | A 189 NYT Latest addition to Sigmas Art range is a mid-range, high-performance telephoto lens with metal body 50 46 60.8 55.5 190g
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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

10-18mm f/4 750 8/13 4+ Super wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation 25 62 70 63.5 225g
16mm f/2.8 220 2/12 4+ Pancake lens for NEX system, with a circular aperture and Direct Manual Focus 24 49 62 22.5 67g
16-35mm f/4 ZA OSS Vario-Tessar T* FE 1289 1/15 5+ Zeiss full-frame wideangle zoom lens 28 72 78 98.5 518g
16-50mm f/3.5-5.6 OSS 299 NYT Compact lens with Power Zoom, ED glass and Optical SteadyShot image stabilisation 25 40.5 64.7 29.9 116g
16-70mm f/4 ZA OSS Vario-Tessar T* 839 NYT A lightweight, versatile mid-range zoom with a constant f/4 aperture 35 55 66.6 75 308g
18-55mm f/3.5-5.6 OSS 270 NYT Optical SteadyShot, said to be silent during movie capture, and a circular aperture 25 49 62 60 194g
18-105mm f/4 G OSS 499 NYT Sony G lens for E-mount cameras with a constant f/4 aperture 45 72 78 110 427g
18-200mm f/3.5-6.3 OSS LE 489 NYT Smaller and lighter than comparable lenses, this is an ideal high-magnication travel lens 50 62 68 98 460g
18-200mm PZ f/3.5-6.3 OSS 999 NYT Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies 30 67 93.2 99 649g
20mm f/2.8 309 NYT Pancake wideangle lens promises to be the perfect walkaround partner for E mount cameras 20 49 62.6 20.4 69g
24mm f/1.8 ZA Sonnar T* 839 NYT Top quality Carl Zeiss optic ideally suited to the NEX-7 16 49 63 65.6 225g
24-240mm f/3.5-6.3 OSS 929 NYT Ideal for travel, landscapes and more, with built-in stabilisation and also dust and moisture resistant 50 72 80.5 118.5 780g
24-70mm f/4 ZA OSS Vario-Tessar T* 1049 NYT Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation 40 67 73 94.5 426g
28mm f/2 419 NYT This full-frame wideangle prime with a bright f/2.0 maximum aperture promises excellent sharpness 29 49 64 60 200g
28-70mm f/3.5-5.6 OSS 449 NYT Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range 30 55 72.5 83 295g
28-135mm PZ f/4 G OSS 2379 NYT High performance G Series standard zoom lens, constant f/4 aperture, built for high quality moviemaking 95 95 162.5 105 1215 g
30mm f/3.5 Macro 219 NYT A macro lens for the NEX Compact System Cameras 9 49 62 55.5 138g
35mm f/1.4 ZA Distagon T* 1559 NYT Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture 30 72 73 94.5 630g
35mm f/1.8 399 NYT Lightweight versatile prime with Optical SteadyShot image stabilisation 30 49 62.2 45 155g
35mm f/2.8 ZA Sonnar T* 699 NYT When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver 35 49 61.5 36.5 120g
50mm f/1.8 219 NYT A handy, low price portrait lens for the NEX range 39 49 62 62 202g
55mm f/1.8 ZA Sonnar T* 849 NYT 35mm full-frame prime lens with wide aperture allowing good images indoors or in low light 50 49 64.4 70.5 281g
55-210mm f/4.5-6.3 OSS 289 NYT Lightweight telephoto zoom lens for the NEX range 100 49 63.8 108 345g
70-200mm f/4 G OSS 1359 10/14 4+ G Series telephoto zoom lens, dust and water resistant, with built-in image stabilisation 100 72 80 175 840g
90mm f/2.8 Macro G OSS FE 1049 09/15 4+ The rst dedicated macro lens for Sonys full-frame E-mount cameras 28 62 79 130.5 602g

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WWW.WHATDIGITALCAMERA.COM 97
 TRIPO D S
ADDED EXTRAS

Useful tripod

7
1 2
alternatives

W
hether youre travelling light
or shooting on rough terrain,
a tripod isnt always the most
practical support. Try one of these
alternatives to keep your shots sharp.

1 Manfrotto Large Pocket

Tripod
First up, a tripod but not as you know it from Manfrotto thats
perfect for photographers who need a simple but secure 3 4
support to balance on a at surface. The Manfrotto MP3-D01
pocket series can support a payload of up to 1.5 kg and is
perfect for whipping out at a moments notice. Its three little
legs have non-slip rubber feet and can be folded away to
make it perfectly portable. Theres even a little independent
adjustment possible between the legs, meaning you can set
up on uneven surfaces.

2 SteadePod
A unique support device, the Steadepod resembles a small
tape measure. You attach one end to your camera via the
tripod bush, then pull the retractable steel cable to the ground
and hold it in place with your foot. From there, the tension in
the cable gives you your support. Youre of course not going
to get three-hour time-lapses, but for a quick, on-the-move
support its very effective. for keeping your camera in place. It also includes an
5 adjustable strap that you can place around your cameras lens
to keep things even more secure, and like all bean bags its
3. Joby GorillaPod SLR-Zoom easy to transport and perfect for travel. Its water-resistant
and Ballhead
The classic grippy support, the Joby GorillaPod boasts exible shell means its useful whatever the weather.
legs that can be manipulated to cling onto tree branches, light
ttings, lamp posts, and whatever else you encounter on your 5. Fat Gecko Triple Mount
travels. Able to support up to 3kg of weight, its rubberised Suitable for payloads of up to 5.4kg, the Fat Gecko Triple
ring and foot grips enable the GorillaPod to cope well with Mount from Delkin is a heavy-duty support that can be useful
tricky terrain, while the included ballhead adds both security in a multitude of situations. Its three suction cups can attach
and versatility. to the contours of any smooth non-porous surface,
whereupon the mount locks into place and can then be
4 The Pod bean bag positioned to exactly the right angle with the six adjustable
Serving as a camera platform for DSLRs with long zoom lenses points. The Fat Gecko can also suppress vibration with its
attached, The Pod is an idea of impressive simplicity and rubber washer and tightening knob, ensuring your shots
effectiveness its a bean bag with a screw mount attached come out pin-sharp.

6 7
6. Monsterpod
The Monsterpod may at rst glance look like it belongs in
science ction. The folks at PhotoJoJo claim it can stick to over
1,000 surfaces, even upside-down, and peel right off when
youre done. Its pivoting mount can tilt and rotate to any
angle, while the viscoelastic polymer material moulds and
sticks to hold to almost any surface. Fits in your pocket, too!

7. Gitzo monopod
Finally, no list of tripod alternatives would be complete
without the humble monopod. Light, compact and eminently
useful, monopods are a great way to get a no-ddle, no-fuss
support while youre out on the move theres a reason
theyre so beloved of sports and action photographers. You
cant go wrong with something from Gitzo.

98 WWW.WHATDIGITALCAMERA.COM
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