Saturday 3 February 2018

Canon GA1PSX-CM ark III

Why Canon’s powerhouse
yet
TESTED is the best zoom compact

12-page
BUYING
Passionate about photography since 1884
GUIDE
585 cameras

Lighting
& lenses listed
& rated

on the
move
● Take great location portraits
● Make the most of natural light
● Simple flash for great results

New rules of food

photography
Why it’s now about people
as much as styled-up dishes

World’s best
travel shots
The cream of this year’s Travel
Photographer of the Year

Perfect mirrorless zoom Sony’s new 24-105mm f/4 hits the spot
    




     



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 7days
COVER PICTURES © DAVE KAI PIPER / © KATHERINE KEATES/WWW.TPOTY.COM

A week in photography
It feels like we’re on the final Photographer of the Year – turn to page 20 for
stretch of a long winter, so it’s our pick of a particularly strong field of entries.
the ideal opportunity to revisit Gear wise, we review Canon’s powerful yet
the essential skills of location diminutive G1 X Mark III compact, which is
portraits. On page 14, Dave Kai also ideal for travel (page 38), and Sony’s
In this issue Piper shares excellent tips for better people
shots outdoors, minus the complicated and
tasty new 24-105mm zoom (page 45). Finally,
don’t forget to nominate your favourite
14 See the light cumbersome lighting set-ups (he covers indoor photographic dealer in our Good Service
Dave Kai Piper shares lighting on location, too). Another antidote to Awards: www.amateurphotographer.co.uk/
some illuminating tips for short days and leaden skies is the Travel gsa. Nigel Atherton, Editor
beautifully lit indoor and
outdoor portraits JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
20 Journey’s end
We bring you some of
our favourite pictures ONLINE PICTURE OF THE WEEK
from the 15th Travel
Photographer of the
Year competition
30 Food for thought
Mark Benham explains
how food photography is
as much about people as
it is about well-lit and
styled food
37 Win a day out on
a Brighton street
photography
walk
Check out how you can be
one of 15 lucky winners
to test top-of-the-line

IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
Olympus cameras and
M.Zuiko lenses on a
street photography walk
through Brighton
38 Canon
PowerShot G1 X
Mark III
Andy Westlake reveals
how this mighty little
© DANIEL HOWARTH

camera is rewriting
the rulebook for
zoom compacts
45 Sony FE 24-
105mm f/4 G OSS Butterley reservoir by Daniel Howarth
Andy Westlake discovers Nikon D810, 16-35mm, 327sec at f/4, ISO 640

Win!
why Sony’s new This moody mono scene of I gave it a miss. By the end of the Each week we choose our favourite
general-purpose zoom Butterley Reservoir in Marsden, day I really wanted to get out, so picture on Facebook, Instagram,
is perfect for full-frame Huddersfield, was uploaded to our I headed to this local reservoir. Flickr, Twitter or the reader gallery using
mirrorless shooters
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

Twitter page using the hashtag As the conditions were not great #appicoftheweek. PermaJet proudly supports
53 Buying guide #appicoftheweek. It was taken by I decided on a long exposure and the online picture of the week winner, who will
Our comprehensive listing photographer Daniel Howarth. He used the shapes of the overflow receive a top-quality print of their image on the
of key specifications for tells us: ‘It had been a very dull grey to lead the eye into the photo. A finest PermaJet paper*. It is important to bring
cameras and lenses day when I took this image. I was five-minute exposure softened images to life outside the digital sphere, so we
planning to go out for the sunrise, the water and sky to complement encourage everyone to get printing today! Visit
Regulars but the weather was terrible; hence the scene.’ www.permajet.com to learn more.
3 7 days
12 Inbox Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
48 Accessories Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 51.
49 Tech Talk Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
82 Final Analysis Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 51.
NEWS ROUND-UP
The week in brief, edited by
Amy Davies and Hollie Latham Hucker

Canon announces refillable ink printers

A new collection of refillable ink tank printers in Canon’s Pixma
range has been revealed. There are four new printers, starting with
the G1510, designed for high-volume printing at a low cost, to the
G4510, a compact 4-in-1 printer with wireless connectivity. Prices
range from £180 to £300.

£10,000 bursaries for 3 new photographers

Mobile phone manufacturer Huawei has awarded three £10,000
bursaries to young photographers to donate to a community cause
or initiative of their choice. The photographers used a Huawei P10
mobile phone (co-engineered with Leica) to capture their images,
which will be displayed in an exhibition in London next month.

Lomo’Instant Square
now available to buy
After another successful
Kickstarter campaign,
Lomography has launched the
Lomo’Instant Square: the
world’s first fully analogue
Nikon issues multi-format instant camera. It
firmware fix for D850
© RACHAEL TALIBART, WINNER, BLACK+WHITE PHOTOGRAPHER OF THE YEAR 2018

uses either the Instax Square or

Mini format, thanks to a
Nikon has released the first removable back which you can
firmware upgrade for its use to switch between the
extremely popular D850 formats. Prices start from
camera. Firmware 1.01 fixes £179. See lomography.com.
a couple of small, but
significant, bugs with the
45.7MP full-frame camera.
Notably, a green cast that
appeared when shooting long
exposures with noise reduction
has now been resolved. You can

BIG
download the firmware for free
from the Nikon website.
Winning image at Black+White
Photographer of the Year 2018

picture
Mario Testino and Bruce Weber suspended Black+White Photography magazine, in
A number of fashion magazines, including Vogue, have suspended association with Fujifilm, has announced the
activity with leading fashion and portrait photographers Mario winner of its 2018 competition. The award
Testino and Bruce Weber after sexual exploitation allegations goes to Rachael Talibart for this dramatic
against the pair were raised in a New York Times article. Both image of a wild sea at Newhaven on the
photographers deny the accusations being made, which date from south coast. Rachael is an experienced sailor
as far back as the mid-1990s and have been made by numerous and award-winning photographer and was
models and assistants.

4 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 41
SOURCE: WWW.TPOTY.COM

thrilled to win this title. ‘I was very surprised,

and obviously delighted, to receive a phone Words & numbers
call from the editor Elizabeth Roberts telling
me I had won Black+White Photographer of
the Year. With the right image, I find that It’s about time we started to
shooting black & white can powerfully
enhance the emotion I’m trying to evoke, and
take photography seriously
being one step removed from reality, it can
offer a fresh perspective.’ Rachael wins a
and treat it as a hobby Number of nationalities
featured among the shortlisted
Fujifilm X-Pro2 and three lenses. Elliott Erwitt entrants in the 15th Travel
Photographer of the Year
Advertising and documentary photographer (1928-)

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 5

Hasselblad introduces
400MP camera Lensbaby
unveils 46mm
HASSELBLAD’S new H6D-
400c MS medium-format
On close-up, this
stacked image of
macro filter kit
camera produces images with an a beetle contains LENSBABY has
effective resolution of 400MP, with extreme detail introduced a new
each final image captured using a 46mm macro filter kit
6-image capture. Alternatively, which you can use in
100MP resolution is available via conjunction with several
4-shot multi-shot capture or of the company’s lenses.
single-shot mode. This also makes it possible
Due to become available to use the lenses for close-
worldwide from March, the H6D- up shooting.
400c MS will set you back a With three diopter
whopping £36,250 (excluding VAT). options (+1, +2 and +4),
You could even rent the device for the filters can be screwed
around £350 a day. onto the front of the
To generate the mega shots, the lenses. They can also be
camera’s sensor shifts by one pixel stacked for higher levels of
for four captures, followed by half a magnification, while
pixel to capture two final images enhanced contrast is
before merging them together. Each promised thanks to
of these images measures 23,200 x multiple coatings.
17,400 pixels, while the 16-bit TIFFs Compatible with the
it creates end up being 2.4GB. So be Sweet 35, Sweet 50, Edge
prepared to invest in some additional 50, Edge 80, Twist 60 and
hard drives as well. Creative Bokeh Optics, the
In order to shoot the 400MP 46mm macro filter kit will
images, the camera has to be cost $49.95 in the USA.
tethered to a computer as the body
itself doesn’t have enough power to
© GÖRAN LILJEBERG

process the shots alone.

The H6D-400c MS encompasses
all the features and functionality of
Hasselblad’s standard single-shot
cameras, which includes a USB 3.0 become the tool of choice for those the finest of details. As an example,
type C connection for tethered working in the fields of cultural Hasselblad has distributed a stacked
shooting, dual media card slots heritage and art reproduction. They image of a beetle (see above), taken
(CFast 2.0 and SD), a 3.0in touch tend to be used to document by Göran Liljeberg, with a close-up
rear screen display, a
smartphone-style
user interface, HD
paintings, sculptures
and artwork with
of the extreme detail the camera
produces (zoom in on the image at
hasselblad.com/h6d-multishot).
Subscribe to
and UHD video, a Hasselblad is the only professional
modular system with medium-format system to feature
improved back multi-shot technology, making it a
removal process,
Wi-Fi and True
leading choice for institutions,
organisations and museums SAVE
42%
Focus II. worldwide to record historic *
Multi-shot treasures with the highest image
cameras have quality possible.
For more information, including
The H6D-400c MS full specifications and sample Visit amateurphotographer
is ideal for use in images, visit hasselblad.com/ subs.co.uk/14AW (or see p50)
art reproduction h6d-multishot. * when you pay by UK Direct Debit

Wordsearch results The answer was Blossfeldt (as in Karl Blossfeldt, the crafts
In our Christmas issue (AP 23-30 December 2017) we challenged you teacher, professor, and self-taught photographer), and the winner is
to find the names of various famous photographers and send us the Sue Baker from Hampshire. Sue wins a National Geographic Earth
one that appeared on the list but was missing from the wordsearch. Explorer NG 2346 camera bag.

6 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Leica reveals new Back in the day
primes for SL system A wander through the AP archive. This
week we pay a visit to February 1976

Two new Leica prime

lenses – the
APO-Summicron-SL
75mm f/2 ASPH and
Summicron-SL 90mm
f/2 ASPH – have
recently been
announced. Designed
for Leica’s SL system,
which is primarily used
by professional
photographers, the
lenses are apochromatic
(APO) corrected,
meaning they have been
engineered to produce as Leica’s new lenses
little chromatic aberration produce minimal
chromatic aberration
as possible.
Comprising 11 elements, methods is a more already available to buy,
of which one is aspherical, compact and lower weight with a retail price of
the lenses are lens, as well as improved £3,750. The APO-
manufactured from imaging performance. Also Summicron-SL 90mm f/2
sensitive and specially new is a faster autofocus ASPH can be bought
formulated high-quality system, plus a shorter from 8 February, for a

glass. New extremely
precise manufacturing and
measuring methods have
been developed especially
for the production of these
lenses, which Leica says
represent the next step
forward in Leica SL system
lenses. One of the
outcomes of the new
Burnell wins Wex top prize again
British photographer Neil Burnell
close focusing limit.
Attention has been paid
to the prevention of stray
light and reflections, with
high-quality coating to lens
surfaces applied to keep
reflections to a minimum.
Ideal for portrait work,
the APO-Summicron-SL
75mm f/2 ASPH lens is
1976
price of £4,100.
In addition, Leica has
announced that two more
lenses in the range – a
35mm f/2 and 50mm f/2
AP SEEMS to be suffering from the winter blues in its
– are scheduled to be
4 February 1976 issue as the cover is very olé – we’re
launched in the second
getting Spanish package holidays, buckets of sangria
half of this year. For more
and gyrating señoritas. Not sure who the background
details, visit uk.leica-
randomers are, but this cover is so good it doesn’t
camera.com.
need any coverlines! The main test was the Kodak
Tele-Instamatic 430; this pocket camera for 110
cartridge film is now at the National Science and Media
Museum in Bradford, which makes us feel old. The big
interview was with a certain Rolf Harris, so we’ll quickly
© NE L BURNELL

move on to the standout feature which was on portrait

has taken home the prize of Wex
composition. It was written by then-editor R H Mason,
Photographer of the Year for the second
who provided some bang-tidy tips; however, his main
year in a row. The graphic designer from
model seems to have had a bad hair day. The club
Brixham collected the 2017 trophy,
profile featured Wallingford and District Photographic
along with £1,500 worth of Wex Photo
society which, we’re pleased to report, is still active.
Video vouchers, at a special awards
event at the company’s flagship store
in Whitechapel, London.
Every Monday, the #WexMondays
competition runs on Twitter, and the Neil Burnell’s winning landscape image
names of the weekly winners and
runners-up go on a leaderboard, with running, was London-based photographer
points accumulated across the year. Tony Sellen, a fine art photographer with a
Burnell accumulated 760 points to take focus on long-exposure images. In third
home the trophy. place is Cumbria-based Amy Bateman, who
Now in its fifth year, the competition posts macro images of tadpoles.
has proved hugely popular, with over An exhibition of the winning images will be
50,000 submissions last year. The on display until 25 February at the Wex
runner-up, also for the second year store at 37-39 Commercial Road, London.

For the latest news visit www.amateurphotographer.co.uk

Useful tips from then-editor R H Mason – not Michael Caine

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 7

 Bookshelf

Holga
Also out now
The latest and best books from the
world of photography

© DAVID TIPLING
by Michael Kenna
Michael Kenna
has taken his
unmistakable style
and translated it to
the low-fi Holga

A Bird Photographer’s Diary

by David Tipling, Reed New Holland, £16.99,
240 pages, hardback, ISBN 978-1925546125
In 1998, wildlife photographer David
Tipling visited an emperor penguin
colony in Antarctica. He describes
landing on the blue-ice runway at
Patriot Hills as ‘change-of-pants flying’
and you get the feeling he isn’t
exaggerating. A few days later, a fierce storm ripped
through the camp. Once the weather improved, the
team prepared to make the journey to the colony, only
to find that a starter engine on their plane had failed.
After a hasty repair, and six hours in the air, they found
themselves standing in front of 18,000 penguins
against a backdrop of ice cliffs. Tipling photographed
the colony for 10 days, until the sea ice started to break
up. This is one of many stories in his latest book A Bird
© MICHAEL KENNA

Photographer’s Diary. It serves to highlight the lengths

he has gone to over the years to bring us some of the

M
ichael Kenna’s style - black
& white images of nature
and urban environments
taken using long exposures
- has been much emulated over the years,
but most imitations lack the depth that his
pictures convey. All of Kenna’s imagery is
evocative, ethereal and unmistakable. He
has a wonderful ability to capture the spirit
of a place while possessing the technical
skills to deliver his vision flawlessly.
© MICHAEL KENNA
His latest book, however, is a slight
departure from the norm. Here we see
Kenna using inexpensive, plastic Holgas to
shoot familiar haunts such as Hokkaido in
Japan and the Forbidden City in China.
Pictures made using these devices are
unpredictable, so it must have been
challenging to relinquish control and
embrace their vignetting, light leaks and
soft focus. But in the introduction, writer
and editor Frances Malcolm suggests
Kenna embraced the limitations of these
cameras as they allowed him to focus on
his vision rather than become
preoccupied with his equipment.
Despite their low-tech origin, these
pictures are Kenna through and through:
minimalist, tranquil, and full of spirit.
What’s more, Prestel has done a great job
reproducing the work’s full range of tones
and using a subtle typeface. Kenna loves
Holgas because his experience of using
them is one of surprise and discovery;
finest bird photography around. It’s beautifully illustrated
and wonderfully written. +++++ Tracy Calder
Photographic Treatment
by Laurence Aëgerter, Dewi Lewis, £12.99,
64 pages, hardback, ISBN 978-1911306269
(Book 1)
Dementia is a widespread disease that
affects one in eight people, and while
currently there is no cure for it, there is
no disputing that the way in which we
care for people with this debilitating
disease could be improved. In response
to this, artist Laurence Aëgerter has worked with
scientific experts to produce a series of five books,
each featuring 30 black & white diptychs designed to
stimulate brain activity. According to Aëgerter,
recognising connections between two images engages
specific cognitive functions involving creativity and
fantasy. What’s more, the photographs encourage
discussion, enabling caregivers to interact on a deeper
level with dementia sufferers. The books are not
especially beautiful to look at (the covers are made of

leafing through the book, you get much
the same feeling.
+++++ Tracy Calder
Published by Prestel, Price £40, 144 pages, hardback ISBN 978-3791383774
thick brown card) and the images within are a strange
mix, but to judge the books on a purely aesthetic level
would be to entirely miss the point. It’s a fascinating
project, and if it brings moments of relief then it’s well
worth investing in. +++++ Tracy Calder

8 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Viewpoint
Andy Blackmore
A fellow photographer’s illness and death led
to a revelation in the author’s understanding
of what it means to be a photographer.
Photography is a state of mind
I
t was an epiphany a long time
coming; 30 years in the making.
Yet, it took me by surprise. What
was the cause of such satori? It was
the revelation that a photographer is not
necessarily one who takes pictures.
If this sounds counter-intuitive or like
I’ve had too many sherry trifles, I make no
apologies. This was a lesson learned the
hard way. Death opened my eyes,
teaching me there’s more to being a
snapper than taking photos. Photography
is much more than sculpting with light. We
may think that we define our photography;
yet, in reality, it defines us.
Last year, I watched from the sidelines
as illness consumed my best friend,
Charlie. There were no spectators. First,
my friend – the man whom I regarded as
a brother – was too unwell to work. Then,
all too soon, he became too weak to hold
a camera. He was housebound and
eventually bedridden, and we knew what
was coming, but not how fast.
While, at times, Charlie may have been
grumpy, obnoxious, impatient and rude
(often, all at once), I never stopped loving
him. Never did he lose his enthusiasm or
optimism for photography. Confined to his
chair and in front of his dodgy Mac we’d
speak tenderly of our mutual mistress –
© ANDY BLACKMORE
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
Though confined to a wheelchair, Charlie still
possessed a photographer’s mindset
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the address on page 51 and win a year’s digital subscription to AP, worth £79.99
10
In next week’s issue
On sale Tuesday 6 February
© MATT PARRY
‘Never did he lose his
enthusiasm or optimism
for photography’
photography – until the wee hours of the
morning. Never did he give up hope that
he would soon be back in the studio,
which now had wheelchair access. We
even discussed various methods of
mounting a camera on his scooter.
Charlie did not stop being a
photographer; circumstances merely
prevented him from taking pictures. On
learning of his predicament, the Bokeh
boys never came round, ceremonially
snapped his 300mm, tore the pockets
from his Domke and drummed him out of
B&W film
the camera club. Once a photographer,
you are always a photographer. Then his
circumstances changed forever. Charlie
essentials
was a snapper no more, and for a while,
my photography lay dormant.
But as I started thinking of my friend, I
had a revelation. You don’t need to have
been a photographer to be a
‘photographer’. Photography is a state of
mind and plane of consciousness. Not
Discover (or rediscover) the
just observation, but seeing with your joys of black & white film
heart and soul. It’s no surprise that the
greatest photographers seem to be shooting and developing
people who combine a compassionate
© JAMES PATERSON
vision with a libertarian way of thinking.
Thus, you’d think that calling someone a
photographer would be one of the highest
honours one could bestow. Given the
state of today’s industry, you might believe
it is downright insulting or to damn with
faint praise.
However, while my friend –
and photography as I once knew it – are
now dead, today, more than ever, I believe
that possessing a photographer’s mindset
is a blessing indeed. Given the measure of Lightroom photo fixes
my chum Charlie, we are so happily James Paterson shows you how to
correct all manner of photo problems
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
blessed and are in esteemed company.
Panasonic 200mm f/2.8
Andy Blackmore is a photographer and former picture Full review of the Panasonic Leica DG
editor of The Independent and The Independent on Elmarit 200mm f/2.8 Power OIS
Sunday. www.massnegro.wixsite.com/andyblackmore
Laowa Magic Shift Converter
We test a unique accessory that’s ideal
for architectural photography
3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 



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 Inbox
upsetting subjects (another
example being the dead rhino
image that won Wildlife
Photographer of the Year). We
didn’t consider publishing it, or
indeed taking it, to be an
endorsement of the subject’s
views. We felt that for anyone
Email ap@timeinc.com and include your full postal address.
wishing to hone their
Write to Inbox, Amateur Photographer, Time Inc. (UK), Pinehurst 2, Pinehurst Road, documentary photography
Farnborough Business Park, Farnborough, Hants GU14 7BF skills, Martin’s tips would be
is column exists purely
LETTER OF TH e technique advice,
e your point that in a
understand only the tiniest
amount of what he describes.
But ultimately that doesn’t really
matter. He writes such elegant
prose and helps to remind me that
we are all able to produce so
many wonderful, beautiful,
moving, informative, and insightful
photographs only through the
application of scientific
principles, which can be
beautiful in themselves.
So thanks, Professor, for trying
to educate this mere mortal, even

Wedding
feature it could have if at times my brain is in danger of
the basis of a wider experiencing a total meltdown.

wows
ssion on the ethics of David Richards
ype of image – Nigel
erton, editor Sounds like the Prof is a bit of a
‘marmite’ contributor, but we’ll
tty professor?
When the photograp
at my cousin’s weddi pass the comments on! – Geoff
turned up I was ama s looking forward to a Harris, deputy editor
to see him using an o r explanation of ISO in
Nikon D40 DSLR. essor Newman’s Tech Remembering
Larry Burrows
There were a few rat What Exactly is ISO?’ (AP
scornful looks from uary). However, I wonder
guests toting more ne in finding the material Probably more than a decade ago
expensive cameras. Older DSLRs still hensible. The article AP printed an article about Larry
pack a punch, as
the bloke totally nailed it. Anthony has appears to be a very complicated Burrows and his photography
Everything from coaxing the guests into witnessed demonstration of why ISO is not a which preceded his coverage of
groups, comforting wailing young children part of exposure. Professor the Vietnam War. It was obvious
and even a sudden snowstorm were all handled with ease. Newman says that this myth is then that he had a wonderful eye.
Speaking to the photographer later (his name was Mark) I found embedded in our collective I recall, among others, a candid
he was a workmate of the bride and I felt ashamed of my own consciousness. Well, not in mine! I photo of Brigitte Bardot waiting in
scepticism when I saw his pictures a few days later. think most of us know that we can the wings of a theatre. His war
Beautifully composed, razor-sharp, with some printed to A3, it adjust ISO to get exposure right, photography is some of the
was amazing to think they’d been shot on an old 6-megapixel but that the actual exposure greatest of the genre. Time
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

camera by an amateur photographer. Never again will I judge a depends on the amount of light
photographer by the equipment he uses. Aside from Mark’s great falling on the film or sensor. Are
communication skills with the happy couple and their guests, he we really expected to require
displayed one of the best examples of ‘it isn’t the camera but equations like ‘ISOS = 10/HSOS
who’s behind it’ that I’m ever likely to see. Happy New Year to all where HSOS is the exposure
at AP. Anthony Armstrong required to produce the specified
standard digital signal output
I couldn’t agree more. The shiniest, newest gear in the world equal to 461/1000 x OMAX,
alone does not a good wedding photographer make – Geoff where OMAX is the maximum
Harris, deputy editor output value of the digital system’
magazine listed 21 iconic photos
taken during the war and six were
taken by Burrows. He was held in
very high esteem by his peers
before his untimely death.
In any large bookshop you will
find photo collections by the likes
of Robert Capa and Don McCullin
and yet never any collection of
Burrows’ work. Is it not time that

Win!
in order to understand this? his reputation was resurrected?
John Humphrey P DeMeza

The MicroSDHC EVO Plus I don’t think the connection I also am a huge fan of Burrows’
adapter 32GB Class10 UH between science and art is work and he is still highly
Grade U1 card will support 4K and has read speed appreciated enough so I just regarded by documentary
of up to 95MB/s and write speeds up to 20MBs. wanted to say how much I enjoy photographers and scholars. I
www.samsung.com/uk/memory-cards/ reading Professor Newman’s page agree though, that a
detailing the many and varied retrospective is overdue, be
it an exhibition or book.
EDL controversy
photography and the problems of technical and scientific
presenting positive images of aspects of the picture- Another underrated
As a long-standing reader and racists then it might have a place, taking process. When I photographer from
subscriber I would like to say how but as a technical feature it is both say ‘enjoy’ I may of that era is a fellow
completely ill-judged your use of thoughtless and insensitive. course be utilising the Brit, Tim Page. He was
an image of a member of the Paul Cope word in a completely pivotal in getting
English Defence League is on inappropriate way as, for photographers who lost
page 36, AP 20 January. This is a I accept your point, Paul. We the most part, I actually their lives in Indochina
member of a far-right organisation simply viewed the image as an remembered at the war
of anti-Islamic racists which you example of documentary AP contributor museum in Ho Chi
have used as an opportunity to photography – a genre that by Professor Newman Minh city – Geoff
discuss cropping and perspective. it’s nature often depicts has prompted Harris, deputy
As part of an article on street unsavoury, uncomfortable or mixed reviews editor

12
 Technique LOCATION LIGHTING
KIT LIST Remote
▲
trigger
This is the heart of the
off-camera flash system. It is
what lets you control a number
of lights that are separate from
the camera. Pick something
trusted, because if your trigger
stops, then it’s game over.
14
Flashgun
▲
Most flashguns are battery
powered, but more advanced
and powerful systems are
available, too. The more you
pay generally means the
more power output and
versatility you have.
 Dave Kai Piper
Dave Kai Piper is a Fujifilm-X photographer specialising in
fashion and portraiture. He spends most of his time working
out of the back of a case strapped to his motorbike, travelling
up and down the country and working on location.
See more of his work at www.davekaipiper.com.
See the
light
Baffled by the essentials of
location lighting? Dave Kai
Piper shares some illuminating
tips for beautifully lit portraits
taken both indoors and outdoors

T
he first thing to consider when it comes to
location lighting is the location itself – shoot
in interesting places with interesting light
and you can’t go far wrong. Most location
lighting photographers work with natural light and
only look to put in additional illumination to balance
out any shadows. We call this additive lighting.
Once you have decided to add light into your image,
the type of light is the next choice. There are two
main areas to look at: strobe or flash. Historically,
both are stronger than a constant light source. Strobe
lights or flashes come in a number of budget and
performance categories, ranging from high-end
ALL PICTURES © DAVE KAI PIPER

Making the most of shade in

bright conditions will help
Canon EOS 5D Mark III, 105mm,
1/160sec at f/3.2, ISO 100 Adding a fill light will bring your indoor portraits to life
Fujifilm X-Pro2, 56mm, 1/250sec at f/1.4, ISO 200

Lighting Lighting Assistant

▲

▲
▲

stands modifiers A spare pair of hands that

Either a dedicated lighting Use light modifiers to control know what they are doing
stand or a tall tripod can let the shape and type of light can be vital. Having a friend
you mount your lights where that your flash makes. The on hand to help move lights,
you need them. Use something bigger and wider you can make hold reflectors (shown left)
that is taller than your subject your light source, the softer and pour the coffee can
as you might need to mount and more natural your light make all the difference
the lights high. should appear. when shooting on location.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 15

 Technique LOCATION LIGHTING
kits to the more affordable speedlight Creating light that’s
style that uses AA battery power. natural and realistic
There is something for everyone, and will always generate
technological advances mean increasingly a pleasing effect
there are more exciting options. Whatever Nikon D800, 50mm,
1/100sec at f/4.5, ISO 125
the brand or price you are considering,
ensure you have the ability to control
power output from the camera or a
hotshoe-mounted control unit. You really
don’t want to have to keep walking over to
the flash to adjust the power. All cameras
have a hotshoe, but not all cameras have a
built-in flash. In fact, typically, the more
you pay, the less likely you are to have a
built-in flash.

Size, power, distance

Three main elements control the shape
and quality of light you can create. These
are linked with the size of the light, its
power and the distance it is from the
source. A good lighting tech has the

DAVE’S TOP TIPS FOR LOCATION LIGHTING

Retain sky detail
Underexposing a background can be a great
way of retaining plenty of detail in the sky, while
allowing you to add light to your subject and
ensuring they stand out. Backdrops that are
much lighter than the foreground can be
harder to light and therefore to control, and
will most likely detract from your subject.
Keep lights above eye line
The height of the sun means we always see
faces lit from above. As such, we are used to
seeing shadows under the eyes, nose and chin.
When setting up your lighting, try to replicate
how natural light falls, as this is always going to
give you the best chance of making an image
that people can connect with.
Use a tripod
The tripod is my secret weapon. When
shooting on location, I can keep my camera
secure at the correct eye height while setting
up my lights. This gives me a constant
reference as to how my lighting will look.
Framing is very important in a location shoot.
Tripods can also double up as lighting stands.

Watch the weather Spare batteries Keep your lighting simple

Sometimes you want cloud cover, sometimes
you don’t. Working outside can bring lots of
challenges to both you and your kit. Using a
container such as a Peli hard case for all your
kit means you have protection from dust, dirt
and rain if the weather takes a turn.
Just as you would for your camera, make sure
you pack extra battery power and take triple
the amount you think you might need. You
never know how your shoot is going to work
out or what the weather might turn out to be.
Plan for any and every event.
Remember, you picked the location for a
reason. Avoid lighting that does not fit or suit
the location or style you’re trying to achieve.
Don’t overcomplicate it; instead use as much
of the natural light as you can. Sometimes just
adding a tiny bit of fill light is all you need.

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 Technique LOCATION LIGHTING
‘Basically, the bigger and
closer the light, the softer
the effect will be’
skill to judge and balance all these
aspects for every light he/she is using.
Basically, the bigger and closer the light,
the softer the effect will be. Move it away
and make the light source smaller, and the
effect will be harsher.
Controlling and carefully placing lights
on location can be tricky. One of the
biggest difficulties I encounter when using
speedlights and battery-powered units is
the lack of a good modelling light. When
I need to work fast and tight, the Ice Light
has been a trusted source for a number of
years. Constant lights such as LEDs can
offer a good, fast way of achieving a shot A low setting sun mixed
on a location. If you can, take along a with some edge lighting
friend to manoeuvre the lights. It’ll speed can create a striking look
Fujifilm X-T2, 56mm, 1/1250sec at
things up, as you can ask him/her to move f/1.2, ISO 100
around until everything looks exactly
right. This is often easier than constantly
moving your subject or model, especially are normally placed at the same angle but shutter speed that will enhance the
if you are working with a particular on the opposite side of the primary flash, natural light is key. Using systems such
background or have a number of other and use less power and more diffusion. as HSS, you can shoot faster than the
elements in the photograph. Its sole job is to balance the main source. normal sync-speed of a camera to ensure
Once you’ve got the hang of taking the Reflection panels are a very simple way of you get the very best image with all the
flash off the camera or adding a single manipulating lighting effects. They often detail of the location.
light into your image, you will see quite have a gold side and silver side to help If you want to get to grips with lighting
quickly that doing so sometimes creates balance the colour and tone of an image. – in the studio or on location – research
and emphasises shadows where you don’t Picking a good location gives you the such topics as three-point lighting and
want them. This is where fill lights or ability to incorporate it into your images. the different types of lighting, such as
reflection panels come in handy. Fill lights Choosing a depth of field to suit and a Rembrandt, butterfly, and split.

Combining artificial with natural light

Ambient light and flash with

Ambient light only the Westcott Rapid Duo
Fujifilm GFX 50S, 32-64mm, Fujifilm GFX 50S, 32-64mm,
Before 1/80sec at f/4, ISO 100 After 1/80sec at f/4, ISO 100

Additive lighting is one of the most effective
styles or genres if you are looking to really
sell a concept or story. In short, you are taking
a real location with real atmosphere and
blending it into your narrative. If you do it
correctly, you should have something pleasing
and far quicker to produce than if you were to
build up all the lighting yourself. Replicating the
sun is a very tall order, and you can’t beat the
quality of light at times either. The combination
of artificial and natural is the best of both
worlds, but it’s not without its challenges. Light
can change by the minute. Understanding how
to adapt and think around problems is the best
approach to take. The rewards can be amazing
when all the pieces fall into place.
Capturing a city skyline or a foggy forest
setting, and using natural and artificial light to
drive your image, can be fun but requires
you to understand the many elements that
come into play. Keeping things simple can
be the key to not creating busy and
complicated images. At the end of the day,
this is portraiture and the backgrounds should
never overpower the main subject – they’re
simply there to enhance your portrait and
create context.

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$ $ )! Ŋ)
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ALL PICTURES ON PAGES 20-21 © ALAIN SCHROEDER/WWW.TPOTY.COM

Journey’s end
Celebrating humanity, landscape, environment and
USA, who became one of the
contest’s youngest winners. Her
wildlife, Travel Photographer of the Year attracts portfolio of aspen trees and leaves
was created when she was just 11
thousands of entries from photographers across the and has won her the title of Young
Travel Photographer of the Year.
globe. We bring you some of our favourites A gallery of winning, runner-up,

S
elected by an international
panel of photographers
and imaging experts,
including Eamonn
McCabe and Michelle Jana Chan,
the winners of the 15th Travel
Photographer of the Year have been
announced. Photojournalist Alain
Schroeder has taken the top spot
with his atmospheric portfolios
of Kushti wrestling in India (seen
here) and the complex rituals
associated with death in Toraja in
Indonesia. Alain wins £4,000 in
cash, £750 to spend on Páramo
clothing and a Plastic Sandwich
personalised leather portfolio case.
This year, photographers from
129 countries submitted more than
20,000 images to the competition.
Entrants of note include 12-year-old
Morgan Wolfers from Colorado,
commended and special mention
images can be seen at www.tpoty.
com. The winning pictures will be
exhibited in the UK and further
afield later this year. The same
pictures will also appear in the
Travel Photographer of the Year
book, Journey Ten. For more
information about the Travel
Photographer of the Year awards,
exhibitions and books, visit
www.tpoty.com.

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 TRAVEL PHOTOGRAPHER OF THE YEAR

Alain Schroeder, Belgium

Winner, Travel Photographer
of the Year 2017
Above: Kolhapur, Maharashtra State, India.
Kushti is a traditional form of Indian wrestling.
Practised in an akhara, the wrestlers, under
the supervision of a guru, dedicate their bodies
and minds to Kushti for six to 36 months.
Fujifilm X-Pro 1, 50-200mm, 1/18sec at f/5, ISO 1600
Top right: Varanasi, Uttar Pradesh, India.
At the end of a workout, wrestlers cover their
heads and bodies with earth in order to soak
up their perspiration and avoid catching a cold.
Fujifilm X-Pro 1, 14mm, 1/250sec at f/2.8, ISO 1600
Above right: Kolhapur, Maharashtra State,
India. Before every match each wrestler
covers his adversary’s body with earth, the
colour of which varies from region to region:
red in Kolhapur, yellow in Varanasi.
Fujifilm X-Pro 1, 50-200mm, 1/35sec at f/4.5, ISO 800
Right: Kolhapur, Maharashtra State, India.
After a workout, wrestlers rest against the
walls of the arena. This relaxation ceremony is
completed with massages to soothe muscles
and demonstrate mutual respect.
Fujifilm X-Pro 1, 50-200mm, 1/10sec at f/4, ISO 1600

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 21

TRAVEL PHOTOGRAPHER OF THE YEAR

Katy Gomez López,

Spain
Highly Commended,
Celebration of
Humanity Portfolio
Top left: Detohou, Benin. Fetish
priests are a means to connect
to deities to find solutions to
problems related to health,
happiness and fertility.
Fujifilm XT-1, 35mm, 1/60sec at f/2, ISO 200

Top right: Abomey, Benin. A

voodoo fetish is a statue or an
object that contains supernatural
powers in itself.
Fujifilm XT-1, 35mm, 1/280sec at f/2, ISO 200

Bottom left: Touka, Benin. Benin

is considered the birthplace of
voodoo, and life in the community
there is totally influenced by it.
The highest part of the village is
inhabited by the chief fetish priest
who dresses in goatskins and
smokes a long pipe.
Fujifilm XT-1, 35mm, 1/850sec at f/2, ISO 200

Bottom right: Ouidah, Benin. This

image was made in the Temple of
Pythons in Ouidah. It is the
voodoo capital and nucleus of a
centuries-old slave trade in Benin.
Fujifilm XT-1, 50-230mm, 1/60sec at f/4.5,
ISO 2500
© KATY GOMEZ/WWW.TPOTY.COM

Ana Abrao, Portugal

Winner, Best Single
Image, Celebration
of Humanity
Kutch, India. This Patel lady has
kept her bracelet on since her
wedding day. Ana loves taking
portraits, and when she thinks
about photography it gives her
goosebumps. She loves to
make contact with people from
other cultures and is always
keen to learn more about their
lives. Ana wants her pictures to
tell the story of the sitter to the
world. Producing a good image
makes her feel alive.
Fujifilm X-T1, 18-55mm, 1/125sec at f/4.5,
ISO 1250
© ANA ABRAO/WWW.TPOTY.COM

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 Stephen King, Hong Kong
Best Single Image,
Winner, Earth & Climate
River Delta, South Iceland. This is
one of a series of aerial shots
taken from a helicopter over the
fabulous river deltas in South Iceland.
Canon EOS 5D Mk III, 24-70mm, 1/400sec at f/4.5, ISO 250

Xinghui Ma, China

Special Mention,
Tales of Adventure
Inner Mongolia, China. Local
herdsmen lasso their horses in
a shallow riverbed.
Canon EOS-1D X, 24-70mm, 1/13sec at f/16, ISO 50

Jianhui Liao, China

Winner, Food
(Single Image Category)
Shanxi, China. A crowd gathers to
eat from a huge dish of noodles.
There is a real sense of occasion to
this picture – it allows us to immerse
ourselves in the event and almost smell
and taste the food.
© STEPHEN KING/WWW.TPOTY.COM

Sony Alpha 7R II, 24-240mm, 1/200sec at f/8, ISO 100

Enrico Villa, Portugal

Highly Commended, Primary Colours
(Single Image Category)
Atlantic Ocean, Five nautical miles off São Mateus, Pico Island, Azores,
Portugal. The man-of-war floated close to Enrico’s boat so he decided to
take a picture. He was instantly pleased with the picture, but only really
appreciated its abstract mood once he got home.
Sony Alpha 77 II, 70-300mm, 1/1600sec at f/5.6, ISO 400
© ENRICO VILLA/WWW.TPOTY.COM
© JIANHUI LIAO/WWW.TPOTY.COM

24 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 © XINGHUI MA/WWW.TPOTY.COM
Wendy Timmermans, Netherlands
Winner, Primary Colours
(Single Image Category)
Cenote Nah Yah, Mexico. Freedivers explore the abyss
on one breath only. Inside the Cenote, the water was
still and silent, but tiny movements on the surface created an
irregular pattern of reflection, beautifully contrasting with the
straightness of the rays underwater.
Sony Alpha 6300, 10-18mm, 1/125sec at f/4, ISO 400

© WENDY TIMMERMANS/WWW.TPOTY.COM

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 © KATHERINE KEATES/WWW.TPOTY.COM
Katherine Keates, Canada
Winner, Earth & Climate Portfolio
Top left: Wayne County, Utah, USA. Few plants can survive
the arid conditions of a dry gulch. Those that do, gain
tenacious hold while rooted in the mud cracks. These
survivors grace the naturally tiled surface with elegant beauty.
Canon EOS 5D Mk II, 24-105mm, 3sec at f/22, ISO 160
Top right: Wayne County, Utah, USA. This desert plant
appears to be part of a well-designed floral arrangement.
The early light of day kisses the mud cracks before the
scorching heat demands yet another gruelling day of
survival in the desert.
Canon EOS 5D Mk II, 24-105mm, 3sec at f/22, ISO 160
Above: Wayne County, Utah, USA. Sudden rainfall produces
flash floods that rage through the valleys and flood plains of
Utah. When the water subsides the muddy base that remains
dries, bakes, contracts, cracks and curls in the sun.
Canon EOS 5D Mk II, 24-105mm, 1/5sec at f/22, ISO 160
Left: Utah, USA. Looking down from above, the mud cracks
of this dry gulch take on abstract formations that have been
influenced by the growth of the desert plants they support.
Canon EOS 5D Mk II, 24-105mm, 1/15sec at f/13, ISO 160

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 27

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 Technique
Mark
Benham
Mark Benham is
an award-winning
photographer who
focuses on people
and the world of
food. He was Food Photographer of the
Year in 2016. He has an abiding interest in
documenting the lives of ordinary people,
which often takes him abroad. For more
visit www.markbenham.co.uk.

KIT LIST
Spare
▲

batteries
Carry spares, especially
when out shooting for
lengthy periods. I find camera
brand batteries tend to last longer.
▲
Shoulder bag
Keeping weight to a
minimum makes working
on the move much easier
– a smaller shoulder
bag that can
carry a couple
of lenses
is perfect.

Lenses
▲

I currently use a
Canon EOS 5D Mark III
camera. My preferred
lenses are the Canon
24-105mm f/4L and
the 50mm f/1.8 prime,
which give me all the
flexibility I need.
ALL P CTURES © MARK BENHAM

▲
Lens cloth
When working outside in changeable

Food for
weather it’s essential to keep the
outside face of your lens optics clean
and dry.

thought
▲

Tripod
Useful for any video work
and restaurant interiors,
and essential for details
in low-light conditions.

30 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


Food photography is much more than close-ups
of beautifully lit and styled food, or restaurant
interiors. As award-winning food photographer
Mark Benham explains, it’s also about people
T
hese days we’re awash with
images of food. They’re
everywhere – a mind-boggling
array taken by many different
specialist photographers, it’s a highly
competitive area. Less visible is the
photography which focuses on the other
side of food: growing, harvesting, selling,
distributing, preparing, cooking and eating.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018
In my former years as a graphic designer
and art director, I often worked with a
number of excellent food photographers
for food service clients. These were long
studio shoots, and always in the dark
because we used controlled studio lighting
and flash. When I moved over to
photography, I swore I’d work on location
and not in a dark studio, and I’d use
A great example of a
dynamic shot of the
people who catch
or produce food
Canon EOS 5D Mark II, 24-105mm,
1/250sec at f/9, ISO 250
natural light as much as possible. I’m so
glad I made that decision, as working on
location is exciting to me; it provides
different challenges and is rarely boring.
Back in 2012/13, when I was moving
away from graphics, I spent eight months
in Portugal, travelling and taking photos
for a book called Two Hundred Days: A
Portrait of Portugal. It was this personal
project that helped to cement my interest
in the lives of ordinary and extraordinary
people, including those working with food.
It was an important step in establishing
my areas of interest and my approach to
photography, which I categorise as
documentary and storytelling. I’m
drawn to those who are passionate
31
 When working inside hot
restaurants, be sure to use
a fast lens and/or high ISO,
and don’t get in the way!

about what they do, whether they’re on faces that help to reflect what they are up close to photograph details. The
fishermen (I recently photographed doing, to the different personalities that cherries at a market near Split in Croatia
sea fishermen on a cold day in the North come across in the photographs – no two were unbelievably tempting and so
Atlantic off Iceland) or a market gardener experiences are ever the same. appetising! This type of food and life
dealing with the unpredictable weather, While photographing the Icelandic photography means I’m constantly
which can ruin crops. fishermen on a small boat in the middle of moving, while observing people and their
the Atlantic, I saw their distinctly different body language, drawn in by enticing
More than food on a plate personalities – you don’t experience that colours and shapes to fill the frame.
When it comes to food photography, when photographing a carrot; a carrot On the other hand, photographing in
it doesn’t matter who or what I’m doesn’t have much of a personality, does restaurant kitchens, as I’ve done on
photographing, one key principle remains it? Food markets are always good, known numerous occasions, is an entirely
the same: a willingness to go with the flow. for their vitality and visual interest, and different experience, with particular
Without this, I wouldn’t have been able to I often find myself heading for one in a challenges – most notably a lack of space
deal with some of the frustrations I have town or city when I’m on my travels. You and different types of artificial lighting.
experienced. Whether I’m photographing can watch people buying and selling, look I have found that people and food
the gatherers, the cultivators, the sellers or for great angles and content, as well as get is, more often than not, a winning
anyone else, I remind myself that this is
their livelihood, so I endeavour to work
around them, not the other way round. But MARK’S TOP TIPS FOR FOOD PHOTOGRAPHY ON
things change and people don’t always do
what you want them to do. Having said Angles
that, I’ve been fortunate enough to come Keep a look out
across those who have been extremely for interesting
willing to fit in with my objectives. Gerald, angles, and don’t
a market gardener who let me follow and be afraid to
photograph him regularly over a period position yourself
of a year, was very accommodating in somewhere for
allowing me access to his world, which a more dynamic
helped capture a more meaningful angle in order to
working-life portrait. I was able to build add impact.
a close understanding with him over many Canon EOS 5D Mark III,
months, and that investment of time paid 24-105mm, 1/800sec at
dividends. What’s important to my work Details f/10, ISO 800
is to show real people and real life. I’m not Take advantage of interesting textures and
a great one for contrived shots, although details, and compose shots in a way that
sometimes they are necessary. Above all, draws in the eye.
what I love about people and food is the Canon EOS 5D Mark III, 50mm, 1/250sec at f/2.5, ISO 100
storytelling element, from the expressions

32 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 FOOD PHOTOGRAPHY Technique

Food is usually pretty colourful, so make the most of it in compositions Don’t forget close-up shots and details, too, focusing carefully

A World of Food
During the latter part of 2015, I began a
Remember the
rules of portraiture
will often apply
personal project called ‘Rich Pickings’ – here, so ensure
a year in the life of a market garden, perched the background
on a hillside in a small valley just outside Bath. is as clutter free
It provides the local community with fresh as possible
organic produce, much of which is sold in
the farm shop. It’s a way of life and very much
a labour of love, with Gerald Rich at its helm.
I made regular visits for a year to document
the seasonal changes and the hard work
that goes into running this thriving enterprise
each and every day of the year. Visit www.
markbenham.co.uk/#/rich-pickings.

THE MOVE

Working with lighting Moments of drama Tighter framing

If you’re shooting still life inside use the natural
window or doorway light as much as you can,
and maybe employ a simple reflector. In low
light use a tripod.
Canon EOS 5D Mark II, 50mm, 30 seconds at f/14, ISO 100
These can happen in an instant, so try to be
where the action is. You will probably want
a fast shutter speed, so your ISO will be a
critical setting, especially if not using flash.
Canon EOS 5D Mark III, 16-35mm, 1/2500sec at f/4.5, ISO 3200
Tighter shots vary the visual dynamic on a
page, which can enhance your story. Going
in close is ideal for bringing attention to
hands-on culinary skills.
Canon EOS 5D Mark III, 24-105mm, 1/400sec at f/5, ISO 400

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 33

 Technique
Shooting
on the move
Ten simple steps to help you
take winning food shots
1 Charge batteries
It seems obvious, but make sure your
batteries are fully charged before heading
out. There’s nothing more annoying than
having no power, especially when you’ve only
got a small window of opportunity. Carry a
spare if you’re likely to be shooting for a long
period of time or shooting video.
2 Which mode?
It’s up to you and the type of shooting you’re
doing – an auto or semi-auto setting helps
with fast shooting on the move.
3 Review lighting
conditions
Check you’ve got the correct settings for
the type of shooting you’re about to do,
especially ISO and shutter speed.
4 White balance
Choose the correct setting for the light
source. An artificially lit restaurant will be
different from a farmer shot in sunlight. But
shoot in raw and you can always adjust the
white balance afterwards.
5 Lens choice
Which lens best suits your type of shooting
and subject matter? Carry several for
different types of shots.
6 Image stabilisation
Often you can’t take a tripod into a working
kitchen or don’t want to lug one around for
candid shots, so image stabilisation enables
you to keep your shots sharper at slower
shutter speeds - very useful in lower light.
7 Auto vs manual focus
Autofocus is helpful when you’re shooting
at speed, but manual can give you more
accuracy in lower light conditions.
8 Check apertures
What f-stop is best for the shot you want to
take? A middle ground setting of around
f/11 works well for me.
9 Review your shots
Use the magnifier to enlarge the image and
check for sharpness, but don’t miss shots
while you are ‘chimping.’
10 Tripod and remote
release device
Worth having in your kit for video and
close-up details, or when you need to
take longer exposures (e.g. in low light).
34
For images of food
producers with extra
bite, place them within
the context of their
particular produce
combination – it makes for great
shots if you’re willing to seek out
interesting subjects and not be shy. I like
to get close and personal, as it can give my
shots that special intimacy. The texture of
a cabbage leaf is truly wonderful if you
really look, while the cracked hands of
someone who has worked on the land all
their life tells its own story. One of the
things I love to get into my shots, if it’s
there, is smoke and steam, especially if
there is sunlight to play with, too.
Lighting
When it comes to lighting, I usually have
to work with what’s available. Unlike
a landscape photographer who might
choose not to go out because there’s too
much low cloud and therefore might
decide the shots won’t have the drama they
want, I can be more flexible because all
light plays its part in telling the real-time
story as it unfolds. I can get the drama
through the action of people. But, like any
Moodier low-light
photographer, lighting conditions demand
shots work well, but
that my camera settings are correct, so
try and preserve
vigilance is important. I’m constantly shadow detail
keeping an eye on the ISO and shutter
speeds, especially when there’s lots of
action. Currently, I use a Canon EOS 5D wideangle out of my bag. The Canon EF
Mark III, which is quite forgiving in low 24-105mm f/4 is great, as it gives me that
light. I’m a bit of a stickler for high-quality flexibility. Then again, I love working with
image files, so I prefer not to have too lightweight primes, such as the Canon
much noise if I can avoid it. This isn’t 50mm f/1.8 – it’s small and light (plastic)
always possible when photographing a and produces beautifully sharp images. I
fisherman at 05:45 on a late-September especially like using this for close-ups or
morning. By the way, I dislike flash, so I when it helps to have that greater aperture
tend to avoid using it. range for low-light conditions.
While there are times when I will use a
Lens selection tripod, most of the time I shoot handheld
It goes without saying that your choice because of the need to be able to move
of lens is determined by what you’re around freely. In low light, the ISO can
shooting. Although I have to admit there often be ratcheted up. I would use a tripod
have been times when I’ve been stuck in a when I’m shooting video or for details and
muddy field, with my camera bag in my close-ups of food when I want things
vehicle, without the ideal lens to hand for to be absolutely pin-sharp.
an unexpected shot, so I’ve just had to
make do. Shooting food in the way I do This year’s Pink Lady Food Photographer of the Year competition
requires flexibility, I guess, which is why is open until midnight on 6 February, so why not enter? Full
I often pull a zoom with a degree of details at www.pinkladyfoodphotographeroftheyear.com
3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 







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 Where is the
best place to
buy a camera?
Who can provide you with the right information, the right products and at a
good price? The Good Service Awards aim to answer these questions by
presenting photography retailers who stand out from the rest with an award.
From this you can work out where to shop for your photography equipment
and find out where you will be treated as a valued customer.
VOTING IS NOW OPEN for the 2018 Good Service Awards.

VOTE NOW for

your favou r ite re t a ile r at
rapher.co.uk/gsa
www.amateurphotog Voting closes 31 January 2018

Win!
A day out on a Brighton
street photography walk
Thursday, 1 March, 1-5pm
Birdcage Bandstand Café, 147 Kings Rd, Brighton BN1 2PQ
Win a day out on a Brighton street photography
walk with Amateur Photographer and Olympus
ARE YOU a DSLR owner looking to switch over
to a smaller, lighter, mirrorless system? Are you
free on Thursday, 1 March? Then why not
come and spend the afternoon in Brighton
trying out the latest Olympus cameras and
lenses, while enjoying an escorted photowalk
around one of Britain’s most photogenic cities.
Starting at the iconic Victorian Bandstand,
our meeting point, you will enjoy the many
photo opportunities that Brighton’s seafront
has to offer, from the rusting remains of the
West Pier to the fairground fun of Brighton
Palace Pier. We’ll take in the magnificent
Regency architecture, narrow walkways of the
Lanes, Bohemian North Laine and, of course,
the spectacular Royal Pavilion.
ALL IMAGES © NIGEL ATHERTON
Your tour will be escorted by AP Editor and
Brighton resident, Nigel Atherton, and you’ll be
shooting on top-of-the-line Olympus OM-D
E-M1 Mark ll cameras and the finest M.Zuiko
lenses. Technical experts from Olympus and
For your chance to win visit amateurphotographer.co.uk/brightonphotowalk
AP will be on hand to help you get to grips
with the equipment and answer any questions
you may have. Tea, coffee and light snacks will
also be provided.
Whether you’re a beginner or a more
experienced photographer, this workshop will
not only help you make the most of the photo
opportunities presented, but also give you the
chance to sample one of the most
comprehensive, and compact, camera systems
on the market.
Don’t miss this golden opportunity – simply
sign up today to enter, and you could snap up
one of just 15 places on the AP and Olympus
Brighton Photowalk.
COMPETITION
Readers will be using an
Olympus OM-D E-M1 Mark II
HOW TO ENTER
All you have to do to win one of 15 places
on the photowalk, is visit our website at
amateurphotographer.co.uk/
brightonphotowalk.
Before you enter, please note you must be free to
attend the Olympus Brighton Photowalk on
Thursday, 1 March 2018, and be able to make your
own way to Birdcage Bandstand Café, 147 Kings Road,
Brighton, BN1 2PQ.
The closing date for entries is
11 February 2018
 Testbench
Canon
PowerShot
With its APS-C sensor, this mighty little camera rewrites
the rulebook for zoom compacts, Andy Westlake reveals
For and against
Impressively compact,
given the sensor size
Excellent control layout
and handling
Class-leading image quality
Robust weather-resistant
construction
Simple but powerful
smartphone connectivity
Lens is somewhat limited in
terms of creative potential
ALL PR CES ARE APPROX MATE STREET PR CES
Relatively poor battery life
No 4K video recording
38
CAMERA TEST
At a glance
£1,149 body only
● 24.2MP APS-C sensor
● ISO 100-25,600
● 24-72mm (equiv) f/2.8-5.6 lens
● 2.36M dot OLED EVF
● 3in articulated touchscreen
I
Data file n the early days of digital, body. In principle, this means the
Canon’s PowerShot G1 X Mark III should offer better
Price £1,149 G-series compacts were image quality than any other zoom
Sensor 24.2-million-pixel APS-C CMOS hugely popular for their compact, and be the equal of
Output size 6000x4000 image quality and extensive many DSLRs. The new model also
Lens 15-45mm f/2.8-5.6 manual controls. Canon was also eschews the boxy designs of its
Shutter speeds 30-1/2000sec + bulb the first to put a large sensor into predecessors, and is based on the
Sensitivity ISO 100-25,600 a small zoom compact, with its SLR-like PowerShot G5 X, with a
Exposure modes PASM, auto, video, scene original PowerShot G1 X sporting built-in electronic viewfinder and
Metering Evaluative, centre-weighted, spot a 14MP, 1.5in sensor, in early 2012. fully articulated touchscreen. As a
Exposure comp +/-3 EV in 1/3 EV steps However, fewer than six months result, it promises a rare marriage
Continuous 9fps; 7 fps with AF later, Sony released its pocket- between compact size, high image
shooting sized RX100 with a 20MP 1in quality and usability.
Screen 1.04m-dot 3in fully articulated sensor, and the competition has Naturally, there are some
touchscreen been playing catch-up ever since. compromises to be made for this
Viewfinder 2.36m-dot Canon’s G1 X Mark II never quite feat of miniaturisation, with the
AF points 49 caught the imagination, and the most obvious being the lens: its
Video Full HD (1920x1080), 60fps G X-series 1in sensor compacts 24-72mm equivalent range and
External mic None also struggled, with the first f/2.8-5.6 maximum aperture look
Memory card SD, SDHC, SDXC generation crippled by sub-par limited compared to either its G1
Power NB-13L Li-ion processors (although the latest X-series predecessors or the
Battery life 200 shots (250 in Eco mode) G7 X Mark II is very likeable). 24-100mm equivalent f/1.8-2.8
Dimensions 115x77.9x51.4mm Now though, Canon has upped zoom on the G5 X and G7 X II. Its
Weight 399g the ante, placing a 24MP APS-C 200-shots-per-charge stamina is
sensor into a remarkably compact also well below par, but at least the
3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

NB-13L battery is shared with
many recent PowerShot models,
making spares easy to find. Last
but not least, the £1,149 price tag
places the camera firmly in the
realm of serious photographers.
This isn’t the first camera to
combine an APS-C sensor with
a built-in zoom lens, having been
preceded by Sony’s bridge-type
Cyber-shot DSC-R1 in 2005, and
the Leica X Vario of 2013. But it’s
the first that’s truly pocketable,
thanks to its retractable lens, while
also including a built-in EVF. As
such, it’s fair to say that Canon
has broken new ground.
Features
The G1 X III’s headline feature is
undoubtedly its sensor. Canon
says the 24.2MP APS-C CMOS
is similar to that used in its popular
EOS 80D DSLR, offering a
sensitivity range of ISO 100-
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018
25,600. The firm’s Dual Pixel
CMOS AF technology is onboard
for on-chip phase detection, so
autofocus is impressively quick.
The sensor is coupled with
Canon’s latest Digic 7 processor,
which enables EOS-like image
processing features such as Auto
Lighting Optimizer for balancing
difficult illumination conditions,
and Diffraction Compensation for
sharper-looking images when
shooting at small apertures.
Continuous shooting specs are
very decent, at 7fps with AF
between frames or nine with the
focus fixed at the start of a burst.
Buffering is also respectable, with
24 JPEG or 19 raw frames
recordable before the camera
slows down. While this is no match
for the ultra-quick Sony RX100
V’s 24fps, given the relatively short
lens I don’t think many potential
buyers will be terribly concerned.
Canon says the 15-45mm
f/2.8-5.6 lens has been
specifically matched to the sensor
for optimal image quality. It has an
impressively close minimum focus
distance of 10cm at wideangle,
dropping to a still-respectable
30cm at the long end. The lens
includes optical image stabilisation
promising four stops benefit, a
switchable three-stop neutral-
density filter, and a nine-bladed
aperture diaphragm for attractive
background blur. It even has a
37mm filter thread, into which you
can screw the optional £49.99
LH-DC110 lens hood, or more
sensibly, a generic wideangle hood
for a fraction of the price.
Despite the large sensor, the
f/5.6 maximum aperture means
the G1 X III’s lens won’t give any
greater background blur than that
on 1in sensor cameras such as
the Sony RX100 V or Panasonic
At low ISOs, the G1 X III
gives the best image quality
of any zoom compact
24mm equiv, 1/200sec at f/8, ISO 100
Lumix LX15, which have f/2.8
apertures at their 70mm-
equivalent settings. Indeed, for
shallow depth of field at telephoto,
Canon’s G7 X Mark II and G5 X
still have the advantage, with their
100mm-equivalent f/2.8 zooms.
Alongside the conventional
PASM modes, there are
automated Scene modes. Most
notably, Canon has finally included
an auto-stitching sweep-panorama
mode (about time, too). You can
choose the direction you wish to
move the camera, and generate
files up to 26,064x2,400 or
16,000x4,200 pixels, depending
on which way round you hold the
camera. The display is masked to
show the ‘safe’ area that should be
included in the final image. Results
are highly detailed with no hint of
stitching errors, but the camera
can’t adjust for changes in
brightness. As a result, if you
39

point it towards the sun as
you sweep around the scene,
that section will overexpose. Most
modern smartphones do better in
this respect.
Canon has included
comprehensive connectivity
options, with Wi-Fi, Bluetooth, and
Dynamic NFC. This makes it easy
to connect the camera wirelessly
to a smartphone, tablet, printer or
smart TV for copying, printing or
viewing shots. Connections are set
up using a small button at the base
of the handgrip, which is also a
simple way to push images across
to your phone when browsing
through them in playback.
However, it’s the addition of
Bluetooth, and how Canon uses it,
that stands out. The camera forms
an always-on connection to your
phone, allowing you to use your
phone as a wireless remote
control via the Canon Camera
Remote app. The Bluetooth
connection can also be used to
fire up the camera’s Wi-Fi for
more advanced remote shooting,
with a live view display and full
control over exposure parameters
from your phone. Alternatively,
you can use the Bluetooth to start
up the camera’s Wi-Fi, browse
through your pictures and copy
your favourites across for sharing,
even if the camera is switched off.
Build and handling
In terms of design, the Mark III
represents a complete about-turn
40
for the G1 X series, and I think it’s
very much for the better. The
SLR-styled body layout is lifted
from the 1in-sensor G5 X, which
is no bad thing, as that camera is
very pleasant to shoot with. It feels
tough and well made, with Canon’s
claims of dust and drip-proofing
adding confidence. Indeed, I used
it in snow showers with no ill
effects. The central EVF affords a
very natural balance, while giving
a decent amount of space on the
body for buttons and dials. The
end result is an almost SLR-like
handling experience that’s way
better than Sony’s cramped
RX100-series cameras.
Don’t let the SLR-like looks fool
you, though, as the G1 X III is still
very small. At 115x77.9x51.4mm
and 399g, it’s noticeably more
compact than even the smallest
SLR-style mirrorless models such
as the Fujifilm X-T20 or Canon’s
own EOS M5. Yet, despite its
petite size, the camera feels
unexpectedly secure in your
hand, thanks to its good-sized
rubberised fingergrip and
pronounced thumb hook. The
most important shooting controls
are reasonably large and well
placed, too, which isn’t always the
case on cameras this small.
Canon has included an EOS-like
electronic dial for changing
exposure settings, placed vertically
on the front plate for operation by
your forefinger, along with an
exposure-compensation dial that
Face detection helps with
accurate focusing on
off-centre subjects
72mm equiv, 1/125sec at f/5.6, ISO 100
falls under your thumb. There’s the touchscreen, and is also
another vertical dial on the back user-configurable.
for changing the aperture in You get a decent degree of
manual-exposure mode, which control customisation, too: the
can be configured to change ISO AE-L button can be used for
in the other exposure modes; back-button focus, the video and
however, it’s rather small and AF-area selection buttons can be
fiddly. The exposure-mode dial is reassigned to other functions, and
also awkward, as you have to hold the three electronic dials can be
down a button in its centre to be configured separately for each
able to turn it. A toggle-type lock exposure mode. Overall, the
would have worked better here. physical control layout works well.
A rocker around the shutter As with other recent Canon
button controls the zoom, or models, the G1 X III has a full
alternatively you can use the dial touch interface, which is arguably
around the lens, which offers
much finer control. This dial
rotates smoothly with no clicks,
and can also be used for manual
focus. It’s a shame, though, that
Canon hasn’t used the clicked/
clickless mechanism from the G7
X Mark II, as this would have
given the option of using the lens
dial as a large and tactile control
for changing exposure settings.
A cluster of buttons on the
camera’s back is used for video
recording, exposure lock and
focus area selection, while the
directional buttons on the d-pad
access drive, focus and flash
modes. These are all rather small
and crowded together, and some
users might find it too easy to
press the wrong one by accident.
Pretty much everything else that
matters is available from Canon’s
well-laid-out onscreen Q Menu,
which can be accessed from either
the centre button of the d-pad or
3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

the best in the business, allowing
you to change practically any
setting or browse through your
images in playback using the
touchscreen. You can also use
the touchscreen to move the focus
point with the camera held to your
eye, which is quicker and more
precise than Canon’s standard
method of pressing a button then
moving the AF area using the
d-pad or front dial. You can select
which part of the screen you want
to use, and I found it easiest to use
the left side with my left thumb.
This works well unless you’re
wearing gloves, as most won’t
activate touchscreens. I’d still
much prefer a dedicated physical
AF-point selector, but it seems I’m
fighting a losing battle on this one.
Viewfinder and screen
The EVF is another standout
feature, not so much for its spec
as its central location above the
lens. While this layout means the
camera is bulkier than other zoom
compacts with built-in electronic
viewfinders, such as the Panasonic
TZ100 or the Sony RX100 V, the
advantage is that the view is larger
and clearer. It just feels ‘right’ to
have a viewfinder in this position,
especially if you’re used to DSLRs.
The EVF itself is a 2.36-million-
dot OLED unit with a decent
magnification of approximately
0.62x. The display is bright, colour
accurate, and not overly contrasty;
you can also choose to overlay
handy aids such as a dual-axis
electronic level and RGB live
The lens is capable of recording plenty of detail
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018
CAMERA TEST Testbench
histogram. The chunky rubber
eyecup does a great job of
excluding peripheral light.
Immediately below the EVF
is the 1.04-million-dot fully
Focal points
articulated touchscreen, which Canon has squeezed an awful lot of features
can be set to point in virtually into the G1 X III’s surprisingly small body
any direction, which is great for
shooting from awkward angles.
Unlike tilt-only screens, it continues Pop-up flash Dust and
to work perfectly well when you The small built-in drip-proofing
rotate the camera to shoot in flash lifts up from Rarely found in
portrait format, and overall I found the front of the compact cameras,
it a perfect complement to the viewfinder housing. this allows outdoor
EVF. Unlike on the EOS M5, the A hotshoe above it use in difficult
colour calibration closely matches allows connection weather conditions.
the viewfinder, so you’re not left of more powerful
wondering which might be correct. external units.
Autofocus
Previous generations of the G1 X
haven’t exactly been known for
snappy autofocus, but the Mark III
becomes the first to feature
Canon’s signature Dual Pixel
CMOS AF, and the effect is
transformative. Its focusing is
51.4mm
quick, decisive and accurate, no
matter where in the scene the
subject may be. Indeed, the focus
point can be positioned almost
anywhere within the frame (but
not at the very edges), and you
have a choice of two sizes of AF
frame, with the smaller option Connector ports
better suited to detailed subjects. On the side of the
For photographing people, face handgrip you’ll find
detection is also available, or you micro-USB and HDMI
can specify a subject by touch for ports, alongside a socket
the camera to attempt to track. Optional underwater housing for Canon’s RS-60E3
Canon has also included zone Canon is selling a matched WP-DC56 wired remote release
AF, that uses a group of nine underwater housing, which is waterproof
focus points across one-third to a depth of 40m (130ft) while still giving
access to all the external controls. It’s
the only such housing Canon makes for an Battery
APS-C-sensor camera, and costs £429.99. The small NB-13L battery
offers just 200 shots per
charge, or 250 in Eco
mode, according to CIPA
standard tests. USB
charging is available.
77.9mm
55mm equiv, 1/125sec at f/8, ISO 1000
115mm
41
 Testbench
of the frame vertically
and horizontally (i.e.
one-ninth of its area) which can
be freely repositioned using the
touchscreen. As usual, you can
switch between one-shot and
continuous focusing modes,
which Canon calls ‘servo’.
These options may not be as
comprehensive as those found in
top-end compacts from the likes
of Sony and Panasonic, but in
practice they work pretty well,
especially given that with its short
zoom, the G1 X III is not exactly
going to be your first choice for
action photography. Even so,
the on-chip phase-detection
autofocus does a decent job of
keeping subjects sharp when
they’re moving towards or away
from the camera, particularly
when used with zone AF mode.
It’s lucky that autofocus works
so well, because manual focusing
is implemented downright poorly.
By default, you have to press the
left key of the d-pad to enter
focus adjustment, then use the
up and down keys for focusing,
which is slow and clunky. You can
overcome this by assigning the
lens ring to manual focus, but then
the camera jumps into manual-
focus mode whenever you so
much as touch the ring, forcing
you to press the left key to exit.
I really don’t understand why
Canon couldn’t make the lens
ring control manual focus only
when the camera is specifically
42
CAMERA TEST
switched to MF mode (after all,
Olympus got this right on its Stylus
XZ-2 five years ago).
Performance
Canon’s premium compacts
haven’t always been the quickest
on the block, but it turns out
there’s very little to complain
about with the G1 X Mark III. It
takes a second or so to extend its
lens and start up after you press
the power button, but once it’s
ready, it’s a very capable
performer, and I never felt like it
held me up while I was shooting.
As we’ve seen before on Canon
compacts, the evaluative metering
is very reliable and generally does
a good job of choosing a sensible
exposure without blowing out
highlight detail irretrievably.
Canon’s auto white balance also
does an excellent job, and as a
result, the G1 X Mark III churns
out attractive-looking JPEGs
shot after shot. On those rare
occasions it gets things wrong,
the easy-to-use in-camera raw
converter is available to help out.
As usual, though, you’ll get
the most out of your image files
by shooting in raw and post-
processing, and this is where
the APS-C sensor comes into its
own. There’s just that bit more
resolution, along with lower noise
and higher dynamic range,
compared to the current round
of 1in sensor compacts. As a
result, you can get more from
‘Credit must be given to the optical image
stabilisation, which is remarkably effective’
your image files, with greater
scope for extracting additional
detail from shadow areas.
None of this would matter, of
course, if the lens was not up to
scratch, but thankfully I’ve found
it delivers good results. There’s
some softness in the extreme
corners at wideangle, but nothing
too troubling. Like on any other
modern zoom compact, distortion
is corrected in software rather
than optically, with the underlying
pattern shifting from barrel
distortion at wideangle, through
neutral at around the 30mm-
equivalent mark, to pincushion
across the rest of the range.
However, correction of pincushion
distortion requires stretching
the centre of the image, which
results in a slight softness when
examining your images at the pixel
level on screen. Canon’s JPEG
processing doesn’t necessarily do
the lens any favours either, with
a tendency to prioritise noise
reduction over detail retention.
I’d recommend using the Fine
Detail picture style, especially if
you plan on making large prints
direct from the camera.
Opening raw files in Adobe
Camera Raw reveals they contain
embedded correction data for
distortion, which is applied
automatically. However, you’ll
3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
At longer focal
lengths, the lens can
deliver a degree of
background blur
62mm equiv
1/50sec at f/6.3, ISO 6400
want to click ‘Correct Chromatic
Aberration’ as strong green/
magenta fringing is present
towards the edges of the frame,
especially at wideangle (which is
probably the root cause of the
JPEG corner softness).
Battery life is obviously a
concern, and I’d certainly
recommend turning on the power-
saving Eco mode in the menu. This
takes a fairly aggressive approach,
shutting down the live view feed
after 10 seconds of inactivity;
however, a quick tap of the shutter
button will awaken the camera
from its slumber. As running the
sensor, processor and screen in
live view is what consumes most
of the battery in normal use, this
turns out to be an effective
strategy for increasing stamina.
As on most cameras, though,
Eco mode doesn’t work if the
viewfinder proximity sensor is
activated, which means it’s easily
defeated if you use a neckstrap
and drop the camera down to
your chest after taking a picture.
Real credit must be given to
Canon’s optical image stabilisation,
which I’ve found to be remarkably
effective. I was able to get sharp
results at shutter speeds as low
as 1/2sec, which adds another
powerful string to your bow
when shooting in low light.
 Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details

With its 24MP CMOS sensor, the G1 X Mark III offers very similar image quality to Canon’s
APS-C DSLRs. This means it has slightly higher resolution and noticeably less high-ISO noise
than its 1in-sensor competitors. However, this high-ISO advantage is almost precisely offset by
its smaller-aperture lens, which means its practical low-light image quality is unlikely to be much GOLD
different to that from the Sony RX100 V or Panasonic Lumix LX15. Raw files give plenty of
latitude for recovering shadow detail when exposing to preserve highlights, especially at ISO 100.

With the PowerShot G1 X Mark III, Canon

Resolution has managed an impressive technological
feat – it’s barely believable that such a small
With a maximum resolution of around 3,600 l/ph in our Boosting the sensitivity setting results in a gradual body can accommodate an APS-C sensor
chart tests, the G1 X Mark III is no slouch. However, it loss of resolution due to the effects of noise, but even and a zoom lens. What’s more, it has great
does give slightly lower results than we’re used to at ISO 6,400 it’s still capable of resolving 2,800 l/ph. handling and rapid autofocus. In terms of
seeing from other cameras with 24MP APS-C sensors, However, at the top setting of ISO 25,600, high levels image quality, it’s the best zoom compact
most of which no longer use optical low-pass filters. of noise reduce the resolution to around 2,400 l/ph. money can buy right now, too.
What sets it apart is how Canon has been
RAW RAW RAW RAW
ISO 100 ISO 800 ISO 6,400 ISO 25,600 prepared to compromise on pocketability to
make a camera that’s much more rewarding
to use than its competitors, while delivering
better image quality, too. The central EVF
Here we show details from our and fully articulated screen make composing
resolution chart test pattern your images a pleasure, while the extensive
(above). Multiply the number external controls mean it works with you,
beneath the lines by 200 to give rather than fighting against you.
the resolution in lines per If there’s one catch, it’s the relatively
picture height. limited lens range; I’m not sure how many
photographers will be attracted by a 3x
zoom with a relatively modest maximum
Noise aperture, especially given the £1,150 price
tag. I would rather have a larger camera with
Just as we’d expect, the G1 X Mark III gives excellent image quality at its a 100mm equivalent lens, but maybe we’ll
lowest ISO 100 setting, with lots of fine detail, no visible noise and strong, see that in a generation or two’s time.
attractive colour. Compared to its 1in-sensor peers, though, it maintains Until now, Sony’s RX100 series has led
this quality better as the ISO sensitivity is raised, and at ISO 800 only the the field for small, high-performance
finest low-contrast detail is lost to noise. At ISO 3,200, luminance noise cameras. However, despite repeated pleas
becomes visible in raw files, which is suppressed at the expense of fine to fix their decidedly flawed handling, the
detail in the JPEGs. Colour saturation suffers at ISO 6,400, and I wouldn’t firm has chosen to pack in more and more
The crops shown below are taken venture much beyond this setting. ISO 12,800 is perhaps OK if necessary, technology instead. However, it seems one
from the area outlined above in red but ISO 25,600 gives very poor results. company has been listening all along, and
after a minor false start with the G5 X,
RAWISO100 RAW ISO 800 RAW ISO 3,200 Canon has hit a home run with the G1 X
Mark III. I’d recommend it to most enthusiast
photographers over the RX100 V, at least
if money is no object; it’s nicer to use and
gives better results.
Of course, there’s a very real question
about whether any zoom compact is worth
spending £1,150 on. But if you want a small
camera with a short zoom lens, electronic
viewfinder and the highest possible image
quality, the G1 X III is without doubt one of
RAW ISO 6,400 RAW ISO 12,800 RAW ISO 25,600
the very best on the market right now.

FEATURES 8/10
BUILD & HANDLING 9/10
METERING 9/10
AUTOFOCUS 8/10
AWB & COLOUR 9/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 9/10
VIEWFINDER/LCD 8/10

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 43

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Sony’s 24-105mm f/4
is suitable for a wide
range of subjects
Sony Alpha 7R III, 24mm
1/5000sec at f/8, ISO 100
Sony FE
24-105mm f/4 G OSS
Sony’s new general-purpose zoom is perfect for
full-frame mirrorless shooters, says Andy Westlake
W
hen Sony’s full-frame Alpha 7
mirrorless cameras appeared
a little over four years ago,
there were concerns about
how quickly Sony might build a comprehensive
lens range. There are now 23 FE lenses in its
line-up, meaning most key types are available.
One has been missing, though: a premium
option with a maximum focal length longer
than 70mm. Instead, it’s been a choice
between the FE 24-70mm f/4 ZA OSS for
£880, or the stellar but huge and costly FE
24-70mm f/2.8 GM (£1,900).
Enter the FE 24-105mm f/4 G OSS, which
sits between the two 24-70mm options in
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018
LENS TEST
terms of size and price, along much the same
lines as Canon’s EF 24-105mm f/4L IS II USM.
With an RRP of £1,200, it’s somewhat pricier
than the Canon, though, which can now be
bought for around £1,000.
This new optic sits within Sony’s high-end G
lineup, promising both excellent corner-to-
corner sharpness and beautifully rendered
background blur. It also features optical image
stabilisation, along with dust- and moisture-
resistant construction. At 663g, it’s
considerably lighter than its Canon equivalent.
Sony hasn’t skimped on the glass, however.
The 17-element, 14-group optical formula
incorporates four aspherical elements to
Testbench
maximise sharpness and reduce distortion, of
which two are of the high-precision advanced
aspherical type. In addition, three ED glass
elements minimise chromatic aberration.
Sony’s Nano AR coating combats flare, while
fluorine coating on the front element helps
keep it clean. A conventional petal-type plastic
lens hood bayonets on to the front of the lens.
The lens accepts 77mm filters that won’t
rotate on focusing, thanks to an internal-focus
design. That also means the balance doesn’t
change between the infinity setting and the
minimum focus distance of 38cm.
Build and handling
The lens is solid, despite its relatively light
weight. While the textured barrel surface
mimics the finish of magnesium alloy, tell-tale
mould lines and a lack of coldness to the
touch mark it out as plastic. There’s
45
Out-of-focus backgrounds
are rendered with an
attractive blur
Sony Alpha 9, 105mm
1/1000 sec at f/4, ISO 3200
nothing wrong with this at all, as it helps
keep the weight down with no
compromise to robustness. A rubber ring
around the mount maintains a seal with the
camera body.
In terms of size, the 24-105mm f/4 sits part
way between Sony’s two 24-70mm zooms,
being larger than the relatively petite f/4
version but considerably less bulky than the
f/2.8 G Master. Once attached to a camera,
the combination is much smaller and lighter
than even the most compact DSLR equivalent,
such as the Canon EF 24-105mm f/4L IS II
USM on the EOS 6D Mark II.
Like many other FE lenses, the 24-105mm
has a narrow cylindrical section immediately
ahead of the mount that flares outwards to the
main barrel, with the aim being to give enough
space for your fingers to wrap around the
camera’s handgrip. If you shoot with gloves on,
though, you might find yourself jamming your
fingers into what turns out to be slightly too
small a gap. This isn’t really the lens’s fault, of
course – it’s more down to the compact design
of Sony’s full-frame mirrorless cameras.
The zoom ring rotates a quarter turn from
wideangle to telephoto, with the lens extending
by about 45mm in the process. The slimmer
MF ring rotates smoothly, with no end stops
or distance scale. Neither is as buttery-smooth
as the corresponding controls on the FE
24-70mm f/4 OSS ZA, but even so I had no
problem setting precise composition or focus.
Two switches on the left side of the barrel are
used to select between autofocus and manual,
and turn the stabilisation on or off. Not so long
ago, such switches seemed to be going the way
of the dodo on mirrorless systems, so it’s great
The lens shows minimal flare, even when
shooting directly into the sun
Sony Alpha 7R III, 24mm, 1/800sec at f/8, ISO 100
‘Autofocus is very fast and
almost completely silent’
to see Sony bringing them back. Both have an
identical physical design, though, which makes
them difficult to distinguish by touch alone.
Also on the side of the barrel is a large
circular button that is used to temporarily
interrupt AF. It can be reconfigured to activate
a variety of different functions in the camera’s
menus, such as depth-of-field preview or
Sony’s useful Eye-AF function.
Autofocus
When it comes to autofocus, the 24-105mm
behaves much like Sony’s other recent FE
zooms. It’s very fast and almost completely
silent, thanks to the use of a Direct Drive
Supersonic Motor that makes it equally at
home for video and stills shooting. With static
subjects, it focuses impressively quickly and
accurately, especially on Sony’s latest models,
such as the Alpha 9 and Alpha 7R III. But even
on my older Alpha 7 II, it’s no slouch at all.
I did, however, find some odd behaviour
when shooting 20fps bursts on the Alpha 9
with continuous AF, with the lens quickly driving
itself out of focus during the course of a burst,
every single time. But the consistency of this
issue suggests it should be fixed by a camera
or lens firmware update, or it may just have
been caused by an odd settings combination.
Switch to manual focus and the lens is
perfectly well behaved. Like all other Sony FE
lenses, it uses a focus-by-wire design, with the
manual-focus ring sending movement
instructions to the focus group, as opposed to
 LENS TEST Testbench

Sony FE 24-105mm
f/4 G OSS
Resolution
While the lens is particularly sharp at wideangle
according to our Image Engineering MTF50 tests,
the real take-home message should be how
consistently it performs from corner to corner at all
focal lengths. Technically, the sharpest results will
be obtained at f/5.6, but the lens also delivers
excellent sharpness at f/8 or f/11. Diffraction-
induced softening becomes marked at f/22.
The optical stabilisation
helps get sharp
shots handheld at slow
shutter speeds
Sony Alpha 7R III, 77mm,
1/30sec at f/8, ISO 100

being directly mechanically linked. It works very

Verdict
well, with a decent feel and excellent accuracy.

Performance
Where the FE 24-105mm F4 OSS really From my time using the Sony FE 24- 24mm centre 24mm corner
impresses is in its sheer image quality – it’s 105mm f/4 G OSS, I’d have to conclude that 50mm centre 50mm corner
stunning. I shot it mainly on the 42.4MP Alpha it’s the best-judged general-purpose zoom 105mm centre 105mm corner
7R III, which is a tough test for any optic. But it Sony has yet made. Impressively sharp, not
came through with flying colours, delivering too bulky, weather-resistant and with a really Shading
superb sharpness from corner-to-corner at useful zoom range, it ticks all the right boxes.
every focal length, especially when stopped For those buying into the full-frame Alpha Quite strong shading is visible at 24mm and f/4,
down to f/8-11. There’s enough detail for system, this 24-105mm is just as good a with a rather sudden fall-off into the corners that
Sony’s new Pixel Shift Multi Shot mode to choice as the FE 24-70mm f/2.8 GM, could potentially be unpleasant. It’s much reduced
exploit, suggesting the lens will continue to depending on your preferences. Some on stopping down to f/5.6, and all but eliminated at
perform well with higher-resolution sensors in photographers will prefer the brighter f/8. There’s far less vignetting in the middle of the
future. I’d have no hesitation recommending aperture, but I’d take the longer range and zoom range, but it reappears at telephoto.
this lens to A7R II and A7R III users. smaller size – not to mention the lower price.
Examining raw image files helps understand Meanwhile, for existing users who shoot
how Sony has pulled off this feat. Uncorrected with the FE 24-70mm f/4 ZA, it’s an upgrade
files show considerable distortion, which as well worth considering, especially if you often
usual is of the barrel type at wideangle, find yourself coming up against the limits of
changing to pincushion across most of the the zoom range. It’s not as affordable or
zoom range. Sony can get away with this petite, but its extra
because it doesn’t have to provide a corrected telephoto range is
viewfinder image, as is necessary for DSLRs. very useful, while the Data file
As a result, it doesn’t need to incorporate the addition of an AF-hold 24mm f/4 105mm f/4
same degree of resolution-sapping distortion button along with focus Price £1,199
correction into the optical design. Instead, the and IS-mode switches Filter diameter
77mm Curvilinear distortion
distortion is corrected near-losslessly in are great for usability.
Lens elements 17
software, resulting in excellent overall image Overall, it’s a really With no software corrections applied, the lens
Groups 14
quality; simply activate in-camera corrections versatile lens that gives shows considerable barrel distortion at wideangle,
and you don’t have to worry about it. excellent results. Diaphragm blades 9
Aperture f/4-f/22 which quickly changes to strong pincushion
Other aberrations are well suppressed, too. distortion at longer focal lengths. However, it’s
There’s no visible colour fringing, with lateral Minimum focus
0.38m easy to fix in post-processing. Turn on in-camera
chromatic aberration kept low through optical compensation and it disappears completely.
Length 113.3mm
correction, then removed completely in
Diameter 83.4mm
software. Vignetting is visible at f/4 at each end
Weight 663g
of the zoom, and with a very abrupt drop-off in
Lens Mount Sony E
the extreme corners, it might be ugly in some (full-frame)
situations. But it can also be suppressed in
software, and disappears at f/8 anyway. SMIA TV = -4.2% SMIA TV = 2.8%
Out-of-focus backgrounds are also rendered
attractively, and there’s minimal loss of contrast
and no visible flare patterning when shooting
into the light. In total, it’s a phenomenally
GOLD
well-behaved lens. 24mm 105mm
subscribe 0330 333 1113 I www.amateurphotographer.co y 2018 47
 Testbench ACCESSORIES

Lowepro Flipside Colour

Our review sample was
supplied in a pixel

400 AW II
camouflage finish, but it’s
also available in black.

Michael Topham tests a revamped backpack

● £155 ● www.lowepro.com

LOWEPRO has an excellent reputation for making

All-weather
some of the best backpacks in the business, and
late last year the company revamped its successful
design
Flipside series with four new additions. The Flipside
The bag comes with a built-in
400 AW II falls into the large backpack category,
all-weather (AW) cover to keep
and offers a more spacious interior than the
dirt and moisture away from
Flipside 200 AW II (£104) and Flipside 300
expensive kit.
AW II (£112), but it isn’t as big as the Flipside Tripod
500 AW II (£190), which can accommodate connection
a pro DSLR with a grip and 400mm lens. There’s a tripod support
In typical Flipside fashion, the main at the front of the bag.
compartment is accessed via zippers from Alternatively, tripods can
the rear, which helps to keep your kit safe be attached to the side
and secure at all times when it’s carried. using the available
There are two stretch-mesh pockets on the straps.
outside for essential quick-grab items such as a
water bottle, while dedicated areas on the inside
can store memory cards and a 15in laptop.
The unique selling point is the way it provides full
access to your kit without having to lay it down in
the dirt. Take off the shoulder straps with the waist
belt securely fastened, and the idea is that it can be
swung around in front of you so you can quickly
swap lenses and get to kit in an instant. This works
fine when the bag is used to carry light items, but
feels less stable when it’s fully loaded with heavy
lenses and a laptop, so you’ll probably rest th b
on the floor most of the time. Another adva
of accessing kit from the rear is that the bac
the bag never gets dirty when it’s set down
muddy conditions, meaning you can throw i Accessory
your back without transferring dirt to your ja pouch
The interior offers adequate padding and A removable padded
protection for kit, and you get a good numb accessory pouch is supplied
dividers to arrange your gear as you’d like. W for storing small items
careful packing, I squeezed in two pro-spec such as cards, chargers
At a glance
(one with a grip attached) alongside two larg and cables.
● All-weather AW cover
prime lenses, a 24-70mm f/2.8 and 70-20
f/2.8 zoom. If extra space is needed, the ba ● Stretch-mesh side pockets
supports Lowepro’s SlipLock strap system, m ● Two colours available
it easy to attach additional pouches and lens ● Accommodates 15in laptop
Verdict
The Flipside 400AW II isn’t a huge backpac OD ATTACHMENT SYSTEM
it provides ample space and great comfort for a full
day’s shooting. The waist and sternum straps do a The Lowepro Flipside 400 AW II features a dedicated tripod
fine job of preventing the bag from swaying side to Recommended attachment system along its spine – handy for those times you
ALL PRICES ARE APPROXIMATE STREET PRICES

side, and the excellent materials offer reassurance
it’ll withstand stringent use. I’m not hugely fond of
the idea of swinging thousands of pounds worth of
gear around at the waist to access kit; however, it’s
a superb bag in its own right, offers good protection
and would make a great buy for those who’d like
a practical, carry-on-compatible backpack.
want to keep both hands free when climbing obstacles or hiking
treacherous terrain. The tripod pouch, into which the feet of the
tripod slot, is pulled out from the lower section at the front of
the bag, while an adjustable strap at the top ensures it’s tightly
secured. The only thing to be aware of is that when a tripod is
being carried but isn’t being used, it’ll be face down in the dirt
when you access your kit from the rear of the backpack.

48 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


TechSupport
Email your questions to: ap@timeinc.com, Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support,
Amateur Photographer Magazine, Time Inc. (UK), Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
IFTTT links Instagram and Twitter
Twitter not showing
Instagram pics
Q If I post a photo to
Instagram in the app, I can
choose to automatically
share it to Facebook, Twitter and
Tumblr. However, I notice that
although sharing to Twitter
produces a post on my Twitter
feed, the photo I want to show
isn’t included; there is only a link to
the photo on Instagram. Is there
any way to force Twitter to show
my Instagram photos?
Hannah Lucas
A
Back in 2012, Instagram
disabled the functionality
that enabled photos
on Instagram to be
reproduced within Twitter
posts. The result, as now,
is that on the Twitter post
made by Instagram you
only see a link back to
Instagram, which you must
follow to see the photo.
Fortunately, there are
workarounds. Personally,
I use the IFTTT service
(ifttt.com). This is a free
service you can link to your
social media accounts so that
simple pre-determined actions,
or applets, can be performed on
your behalf. There is a handy
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018
group of applets for photography,
including one to post actual photos
to Twitter that you have just posted
to Instagram. Zapier is another
service that can do this.
Elements 11 and raw files
Q I’m doing an experiment
with my Nikon D500 and
have switched from fine
to where it shoots JPEG and raw.
I am going to try and upload the
images to Photoshop Elements
11. Can you tell me if it will read
the raw files?
Louise (AP forum)
A Adobe Photoshop
Elements certainly can
read and process raw files.
Unfortunately, Elements 11 is
quite old and its support for new
camera raw file formats was
stopped several years before the
Nikon D500 was launched.
Thankfully, you can use Adobe’s
free DNG Converter tool to
convert your D500 raw files into
DNG raw files. Elements 11 should
then be able to read and process
these DNG files. Bear in mind that
the Adobe Camera Raw (ACR)
process version in Elements 11
is also out of date. You will still
benefit from using your raw files,
but the most recent versions of
Elements will offer more options
and slightly better final quality.
Elements11 doesn’t support raw files
from new cameras such as the D500
Q&A compiled by Ian Burley
Tech Talk
Checking blo
in raw files
Q I usually
bracket
exposu
and record both
raw and JPEG fi
mainly with a N
D800. A prece
of the technique
of ‘exposing to t p
right’ is that, in the
absence of other factors such as varying sharpness, from my
bracketed set, I should be able to develop the best image from
the brightest raw file that doesn’t have significant highlights blown
out by overexposure. I would like to save the files for that shot,
but I might as well delete any brighter ones. But how can I tell
whether highlights are blown in a raw file?
I copy the files onto my computer using Nikon’s ViewNX-i.
Pressing the h key will show blown highlights, but these are on a
scale of 0-255, and I understand they refer to the JPEG file. (I
understand the same applies to displaying blown highlights on
the camera’s monitor.) I read that there is considerably more
headroom for exposure in raw files than JPEGs, so presumably,
just because ViewNX-i is showing blown highlights for the JPEG
doesn’t mean that I couldn’t develop a properly exposed JPEG
from the raw file by reducing the exposure of the brightest areas.
Nikon’s software includes Capture NX-D for developing raw files,
and Shift+h is claimed to show lost highlights. However, this is
again on a scale of 0-255, and the histogram changes if I alter
the colour temperature. So this seems again to be referring to
the JPEG that I might develop from the raw file with the current
settings, not to the values in the raw file itself.
How can I tell if the highlights in a raw file are blown or only
too bright for the current JPEG processing settings.
Chris Newman (AP forum)
A I wonder if you are over-thinking this? A raw file contains
unprocessed data from the sensor. Any rendering of the
raw file in any raw development software is arbitrary.
I regard what is rendered after import as a basic starting point.
Some software packages do a better job of initial rendering of
images than others, thus reducing the amount of work needed to
fine-tune them. It’s certainly correct that decent digital sensors
can withstand a surprising amount of over-exposure and my own
experiments regarding exposing to the right have been positive.
On the other hand, when using a camera with a sensor as good
as that of a D800, do you really need to worry about extracting
a few extra percent of performance? To answer your question,
I’d recommend using a batch-processing raw-processing
application such as Lightroom or similar. You can instantly see
each image histogram and its black & white point thresholds, and
adjust tone parameters in real time. The management of files to
discard is also quick and easy.
49
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 Tech Talk
ofessor Newman on…
What makes a
perfect sensor?
Given the array of sensors available today, are
photon-counting sensors a feasible option?
E
very so often, we
hear about a
new kind of
sensor that
will revolutionise the way
digital cameras work. The
most recently promoted
technologies are quantum
dots and organic sensors.
This article looks at what
would be the perfect sensor.
Generally, sensors are judged on
the basis of pixel count and image
noise. There are two main
components of image noise – one
is the electronic noise, called ‘read
noise’, and the other is the noise in
the light itself, called ‘photon shot
noise’. The noise performance due
to the latter depends on how many
of the available photons the sensor
can collect. The photoelectric
effect, which is the mechanism by
which present sensors work, is
very efficient. Once photons have
made their way to the body of the
silicon, the majority of them
generate a photoelectron.
However, present sensors register
about half the available photons,
the major losses being factors like
reflection from the surface, failure
to impact the photosensitive area
and the difficulty in clearing the
accumulated charge from the
narrow, deep photodiode. Also,
present sensors lose at least
two-thirds of the available light
through the colour filter array.
The two new technologies
discussed above aim to overcome
these problems in three ways.
First, their photosensitive mediums
can be made much thinner, which,
coupled with other technologies,
can make it easier to clear the
charge from a pixel. Second, since
the photoelectric medium
becomes a layer laminated on top
of a silicon chip, the entire sensor
surface can be made to be
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018
‘A sensor that counts individual photons is
as close to a perfect sensor as could be’
photosensitive. Finally, the
light-sensing elements can be
made to be colour selective, thus
obviating the need for a colour
filter array. This can be achieved
both with quantum dots and
organic photosensitive materials.
With the use of one of these
techniques, the efficiency of
conversion can conceivably be
brought close to 100%, which
would allow the recording of all the eliminate this problem, and this is
photons incident on the sensor.
Feasibility
This article asks whether a photon- and were developed in the UK by
counting sensor is feasible. A
sensor that counts individual
photons is as close to a perfect
sensor as there could be: it would
capture all the information about
the scene. The discussion above
suggests that capturing something it amplifies the power of a single
close to every photon might be
feasible. So, is it possible to count allow it to be registered as a
them? Present sensors essentially discrete event, and thus counted.
count the number of photons in a
pixel, and each captured photon
generates an electron charge.
Thus the total charge measured by everyday photography.
The Nikon D850 and
Sony Alpha 7R III’s
sensors are the best
currently available
the pixel readout electronics simply
represents the number of photons
captured. But, with current sensors,
this is not a completely accurate
count owing to the electronic noise
that is present. A major part of that
noise originates from the
analogue-to-digital converter.
Eliminating the converter in favour
of a simple counter, which assayed
the arrival of each photon, would
possible, at least in some restricted
sense. Such sensors are already
used in astronomical applications,
the company E2V (now absorbed
into US firm Teledyne
Technologies). This works by
adding an electron multiplier circuit
into the readout path. While the
multiplier generates its own noise,
photoelectron signal sufficiently to
The remaining issue is making such
a circuit work quickly enough to
handle the light energy found in
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51
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Buyin
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with optical viewfinders, lots of buttons and
and mirrorless models with dials to give quick
electronic viewing access to settings.
The biggest difference
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They’re more power
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Mirrorless models tend
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ALMOST all serious photographers latest models have narrowed the

Handgrip
DSLRs traditionally
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with larger lenses.
Lens mount
Each camera brand
uses its own lens
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However, mirrorless
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prefer to use cameras with
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 53

 BUYING GUIDE

VF COVERAGE (%)
BURST MODE (FPS)

ARTICULATED LCD
DSLR cameras

BUILT-IN WI-FI

TOUCHSCREEN
LENS MOUNT
RESOLUTION

SCREEN SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)

WEIGHT
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 1300D £450 4★ 7Z\^ccZg [g^ZcYan bdYZa l^i] h^beaZ Xdcigdah VcY Wj^ai ^c L^ ;^ &-BE 8Vcdc :; &'!-%% &%-%e . ( .*   (^c *%% &'. &%&#( ,,#+ )-*\
Canon EOS 200D *-% )#*★ KZgnXdbeVXiZcign"aZkZa9HAGl^i][jaan"Vgi^XjaViZYidjX]hXgZZc ')#'BE 8Vcdc:; *&!'%% &%-%e  . * .*   (^c   +*% &''#) .'#+ +.#- )*(\
Canon EOS 700D ,*% )#*★ A^`ZVWaZZcign"aZkZa9HAG!WjihZchdg^hcdladd`^c\YViZY &-BE 8Vcdc:; &'!-%% &%-%e  . * .*   (^c   ))% &(( &%% ,. *-%\
Canon EOS 750D £599 4★ :cign"aZkZabdYZal^i]')BEhZchdgVcYVgi^XjaViZYidjX]hXgZZc ')#'BE 8Vcdc:; '*!+%% &%-%e  &. * .*   (^c   ))% &(&#. &%%#, ,,#- ***\
Canon EOS 760D +). *★ =^\]Zg"ZcYkZgh^dcd[:DH,*%9l^i]^begdkZYXdcigdaaVndji ')#'BE 8Vcdc:; '*!+%% &%-%e  &. * &%%   (^c   ))% &(&#. &%& ,,#- *+*\
Canon EOS 800D ,-% )#*★ JeYViZh:DH,*%9l^i]hde]^hi^XViZY)*"ed^ciVjid[dXjh ')#'BE 8Vcdc:; '*!+%% &%-%e  )* + .*   (^c   +%% &(& .. ,+#' *('\
Canon EOS 77D -(% )#*★ HVbZXdgZheZXVh:DH-%%9Wji^c]^\]Zg"ZcYWdYnYZh^\c ')#'BE 8Vcdc:; '*!+%% &%-%e  )* + .*   (^c   +%% &(& &%% ,+#' *)%\
Canon EOS 80D £999 5★ :migZbZanXVeVWaZb^Y"gVc\Z9HAG[dgZci]jh^Vhie]did\gVe]Zgh ')#'BE 8Vcdc:; '*!+%% &%-%e  )* , &%%   (^c   .+% &(. &%*#' ,-#* ,(%\
Canon EOS 7D Mk II &*.. )#*★ =^\]"heZZY6EH"89HAG^cXajYZhhde]^hi^XViZY6;hnhiZb '%#'BE 8Vcdc:; *&!'%% &%-%e  +* &% &%%   (^c   +,% &)-#+ &&'#) ,-#' .&%\
Canon EOS 6D &,%% )#*★ 8Vcdc¼hbdhiV[[dgYVWaZ[jaa"[gVbZ9HAG^cXajYZhL^";^VcY<EH '%#'BE 8Vcdc:; &%'!)%% &%-%e  && )#* .,   (^c   .-% &)* &&& ,& ,**\
Canon EOS 6D Mk II &... )#*★ >cXajYZh'+#'BE[jaa"[gVbZhZchdgVcY[jaanVgi^XjaViZYhXgZZc '+#'BE 8Vcdc:; &%'!)%% &%-%e  )* +#* .-   (^c   &!'%% &)) &&%#* ,)#- ,+*\
Canon EOS 5D Mk III £2999 5★ <gZViVaa"gdjcY9HAG[dghZg^djhZci]jh^VhihVcYegd[Zhh^dcVah ''#(BE 8Vcdc:; &%'!)%% &%-%e  +& + &%%   (#'^c   .*% &*' &&+ ,+ .*%\
Canon EOS 5DS '...  =^\]"gZhdaji^dcbdYZal^i]*%BEhZchdg *%#+BE 8Vcdc:; &'!-%% &%-%e  +& * &%%   (#'^c   ,%% &*' &&+#) ,+#) -)*\
Canon EOS 5DS R £3199 5★ HVbZVhi]Z*9H!Wjiadl"eVhhÄaiZggZbdkZY[dgbVm^bjbgZhdaji^dc *%#+BE 8Vcdc:; &'!-%% &%-%e  +& * &%%   (#'^c   (.% &*' &&+#) ,+#) -)*\
Canon EOS 5D Mk IV (*.. )#*★ =j\ZanVXXdbea^h]ZYldg`]dghZbdYZa!Wjieg^XZn (%#)BE 8Vcdc:; &%'!)%% (-)%e  +& ,, &%%   (#'^c   .%% &*& &&+ ,+ -.%\
Canon EOS-1D X Mk II *&..  Egd[Zhh^dcVa]^\]"heZZYhedgihVcYVXi^dcbdYZa '%#'BE 8Vcdc:; )%.!+%% (-)%e  +& &) &%%   (#'^c   &!'&% &*- &+,#+ -'#+ &()%\
Nikon D3400 £399 4★ 6YYh7ajZiddi]id9((%%[dgXdccZXi^c\idhbVgie]dcZ ')#'BE C^`dc; '*!+%% &%-%e  && * .*   (^c   &!'%% &') .- ,*#* ))*\
Nikon D5300 -(% )#*★ 6\Z^c\b^Y"gVc\Z9HAG^hcdlVkV^aVWaZViWVg\V^ceg^XZh ')#'BE C^`dc; '*!+%% &%-%e  '( * .*   (#'^c   ,%% &'* .- ,+ *(%\
Nikon D5600 -%% )#*★ :mXZaaZci^bV\ZfjVa^inVcY]VcYa^c\!eajh7ajZiddi]XdccZXi^k^in ')#&BE C^`dc; '*!+%% &%-%e  (. * .*   (#'^c   .,% &') ., ,- )+*\
Nikon D7200 £939 4★ JeYViZhi]Z9,&%%l^i]hdbZjhZ[jaZmigVhhjX]VhL^";^ ')#'BE C^`dc; '*!+%% &%-%e  *& + &%%   (#'^c   &!&%% &(*#* &%+#* ,+ ,+*\
Nikon D7500 &'.. )#*★ EaVXZhi]ZZmXZaaZcihZchdg[gdbi]Z9*%%^cidVhbVaaZgWdYn '%#.BE C^`dc; &!+)%!%%% (-)%e  *& - &%%   (#'^c   .*% &(*#* &%) ,'#* ,'%\
Nikon D500 &,'. *★ EgdWVWani]ZWZhi9M"[dgbVi9HAGZkZg!l^i]gZbVg`VWaZVjid[dXjh '%#.BE C^`dc; &!+)%!%%% (-)%e  &*( &% &%%   (#'^c   &!')% &), &&* -& -+%\
Nikon D610 £1800 5★ C^`dc¼hX]ZVeZhi[jaa"[gVbZbdYZal^i]Vhda^Y[ZVijgZhZi ')#(BE C^`dc; '*!+%% &%-%e  (. + &%%   (#'^c   .%% &)& &&( -' -*%\
Nikon D750 £1800 5★ <gZViVaa"gdjcYZci]jh^Vhi[jaa"[gVbZbdYZal^i]i^ai^c\hXgZZc ')#(BE C^`dc; *&!'%% &%-%e  *& +#* &%%   (#'^c   &!'(% &)%#* &&( ,- -)%\
Nikon DF '+%% )★ GZigd"hinaZY[jaa"[gVbZbdYZal^i]ZmXZaaZcihZchdg &+#'BE C^`dc; '%)!-%% "  (. *#* &%%   (#'^c   &!)%% &)(#* &&% ++#* ,+*\
Nikon D810 '+.. *★ =^\]"gZhdaji^dc[jaa"[gVbZ9HAGd[[ZghhjeZgW^bV\ZfjVa^in (+#(BE C^`dc; *&!'%% &%-%e  *& &' &%%   (#'^c   &!'%% &)+ &'( -' .-%\
Nikon D850 £3499 5★ =^\]heZZYVcYhjeZgW^bV\ZfjVa^inbV`Zi]^hi]ZWZhi9HAGnZi )*#,BE C^`dc; &%'!)%% (-)%e  &*( , &%%   (#'^c   &!-)% &)+ &') ,-#* &%%*\
Nikon D5 *&..  C^`dc¼hide"ZcYhedgihVcYVXi^dcbdYZa[dgegd[Zhh^dcVah '%#-BE C^`dc; (!'-%!%%% (-)%e  &*( &) &%%   (#'^c   (!,-% &+% &*-#* .' &)%*\
Pentax K-S2 +). )#*★ >cXajYZhV[jaanVgi^XjaViZYhXgZZcVcY^c"WdYnhiVW^a^hVi^dc '%#'BE EZciVm@ *&!'%% &%-%e  && *#) &%%   (^c   )&% &''#* .& ,'#* +,-\
Pentax K-70 +%% )#*★ Hda^YeZg[dgbZgi]VijeYViZhi]Z@"H'l^i]V')BEhZchdg ')#'BE EZciVm@ &%'!)%% &%-%e  && + &%%   (^c   )&% &'*#* .( ,) +--\
Pentax K-3 II ,+. )#*★ LZaa"[ZVijgZYZci]jh^VhibdYZal^i]^c"WdYnhiVW^a^hVi^dcVcY<EH ')#(BE EZciVm@ *&!'%% &%-%e  ', -#( &%%   (#'^c   ,'% &(&#* &%'#* ,,#* ,-*\
Pentax KP £1099 4★ 8dbeVXiWjilZaa"heZX^ÄZY9HAGl^i]^ciZgX]Vc\ZVWaZ]VcY"\g^eh ')#(BE EZciVm@ -&.!'%% &%-%e  ', , &%%   (^c   (.% &(&#* &%& ,+ ,%(\
Pentax K-1 £1599 5★ I]ZÄghiEZciVm[jaa"[gVbZ9HAG^hZmXZaaZcikVajZ[dgbdcZn (+BE EZciVm@ '%)!-%% &%-%e  (( )#) &%%   (#'^c   ,+% &(+#* &&% -*#* &%&%\
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

Sigma SD Quattro £850 3★ H9"bdjcib^ggdgaZhhXVbZgVl^i]jc^fjZ;dkZdcM(hZchdg &.#+BE H^\bVH9 +)%% "  . (#+ &%%   (^c   iWX &), .*#& .%#- ,%(\
Sigma SD Quattro H £1499 Physically identical body to SD Quattro, but with larger APS-H sensor '*#,BE H^\bVH9 +)%% "  . iWX &%%   (^c   iWX &), .*#& .%#- ,%-\
Sony Alpha 68 ),. (★ :mXZaaZci6;VcYhZchdg!Wjiadl"gZhdaji^dcA89hXgZZcVcYcdL^";^ ')BE Hdcn6 '*!+%% &%-%e  ,. - &%%   '#,^c   *-% &)'#+ &%)#' -'#- +,*\
Sony Alpha 77 II &%%% )#*★ >begZhh^kZVjid[dXjhVcY[Vhih]ddi^c\!eajh\ddY]VcYa^c\ ')#(BE Hdcn6 '*!+%% &%-%e  ,. &' &%%   (^c   )-% &)'#+ &%) -& +),\
Sony Alpha 99 II '... )#*★ EaVXZhi]ZhjeZgWhZchdg[gdbi]Z6ae]V,G>>^cV9HAG"hinaZYWdYn )'#)BE Hdcn6 &%'!)%% (-)%e  ,. &' &%%   (^c   &%% &)'#+ &%)#' ,+#& -).\

We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, we don’t have space to list
every camera and lens on the market, and some errors will inevitably have crept in along the way. We advise double-checking prices, along with
any crucial specifications or requirements with a reputable retailer or the manufacturer’s website before making a major purchase. If you spot an
error, please let us know by emailing aptimeinc.com.

nge of DSLR and CSC models at competitive

s, visit Park Cameras in store or online.

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LENS MOUNT
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AF POINTS
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NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M10 (.. 8dbeVXi! ZmigZbZan h^beaZ 8H8 YZh^\cZY [dg WZ\^ccZgh &-BE 8Vcdc B '*!+%% &%-%e ). )#+   (^c   '** &%- ++#+ (* (%&\
Canon EOS M100 £449 3★ A^\]ilZ^\]ibdYZa[dgWZ\^ccZgh!WjidkZganh^bea^hi^X ')#'BE 8VcdcB '*!+%% &%-%e  ). +#&    (^c   '.* &%-#' +,#& (*#& (%'\
Canon EOS M3 £599 4★ B^Y"gVc\ZbdYZal^i]Zci]jh^VhiXdcigdahWjicdk^ZlÄcYZg ')#(BE 8VcdcB '*!+%% &%-%e  ). )#'    (^c   '*% &&%#. +- ))#) (++\
Canon EOS M6 ,(% (#*★ JeYViZid:DHB(l^i][VhiZgVjid[dXjhVcY^begdkZYXdcigdah ')#'BE 8VcdcB '*!+%% &%-%e  ). .    (^c   '.* &&' +- ))#* (.%\
Canon EOS M5 £1049 4★ 9AHG"hinaZb^ggdgaZhhXVbZgVXdbW^cZhheZZYVcY\ddY]VcYa^c\ ')#'BE 8VcdcB '*!+%% &%-%e  ). .    (#'^c   '.* &&*#+ -.#' +%#+ )',\
Fujifilm X-A10 £500 4★ H^beaZZcign"aZkZa8H8l^i]i^ai^c\hXgZZc[dghZaÄZh &+#(BE ;j_^M '*!+%% &%-%e  ). +    (^c   (*% &&.#+ +,#) )%#) ((&\
Fujifilm X-A3 *..  ;j_^¼hWjY\ZigVc\Zd[k^ZlÄcYZgaZhh8H8h\V^ch')#'BEhZchdg ')#'BE ;j_^M '*!+%% &%-%e  . &%    (^c   )&% &&+#. ++#. )%#) ((.\
Fujifilm X-E2S £549 4★ GVc\ZÄcYZg"hinaZYZh^\cl^i]k^ZlÄcYZgVcYVcVad\jZXdcigdah &+#(BE ;j_^M *&!'%% &%-%e  ). ,    (^c   (*% &'. ,)#. (,#' (*%\
Fujifilm X-E3 £849 4.5★ :mXZaaZci^bV\ZfjVa^in^cXdbeVXiWdYni]Vi]VcYaZhlZaa ')#(BE ;j_^M *&!'%% (-)%e  ('* *    (^c   (*% &'&#( ,(#. )'#, ((,\
Fujifilm X-T20 ,.. *★ HbVaaHAG"hinaZbdYZal^i]higdc\[ZVijgZhZi^cXajY^c\idjX]hXgZZc ')#(BE ;j_^M *&!'%% (-)%e  ('* -    (^c   (*% &&-#) -'#- )&#) (-(\
Fujifilm X-T1 £1100 5★ GZigdYZh^\cWVhZYVgdjcYVcVad\jZXdcigdaY^VahVcYaVg\Z:K; &+#(BE ;j_^M *&!'%% &%-%e  ). -    (^c   (*% &'. -.#- )+#, ))%\
Fujifilm X-Pro2 £1349 5★ ;aV\h]^ebdYZal^i]jc^fjZdei^XVa$ZaZXigdc^X]nWg^Yk^ZlÄcYZg ')#(BE ;j_^M *&!'%% &%-%e  ,, -    (^c   '*% &)%#* -'#- )*#. ).*\
Fujifilm X-T2 £1450 5★ HjeZgW^bV\ZfjVa^inVcY]VcYa^c\bV`Z^ii]ZWZhi6EH"88H8idYViZ ')#(BE ;j_^M *&!'%% &%-%e  ('* &)    (^c   ()% &('#* .&#- ).#' *%,\
Leica CL £2250 4.5★ <dg\Zdjh6EH"8b^ggdgaZhhbdYZal^i]k^ZlÄcYZgVcYidjX]hXgZZc ')#'BE AZ^XVA *%!%%% (-)%e  ). &%    (^c   ''% &(& ,- )* )%(\
Leica TL &(*%  Hina^h]Vajb^c^jbWdYnVcYidjX]hXgZZc"aZYXdcigda &+BE AZ^XVA &'!*%% &%-%e  &.* *    (#,^c   )%% &() +. (( (-)\
Leica TL2 &,%% )★ JeYViZidi]ZIAl^i]')BEhZchdgVcYbjX][VhiZgdeZgVi^dc ')BE AZ^XVA *%!%%% (-)%e  ). '%    (#,^c   '*% &() +. (( (..\
Leica SL £5500 4★ AZ^XV¼h[jaa"[gVbZ8H8]VhVcVhidc^h]^c\k^ZlÄcYZg ')BE AZ^XVA *%!%%% )%.+e  ). &&    (^c   )%% &), &%) (. -),\
Olympus PEN E-PL8 (..  GZigdZmiZgcVaYZh^\c]^YZhhZg^djhheZX^ÄXVi^dch &+#&BE B^X)$( '*!+%% &%-%e  -& -#*    (^c   (*% &&,#& +-#( (-#) (,)\
Olympus OM-D E-M10 II £549 4.5★ B^Y"gVc\ZbdYZa]VhVhigdc\[ZVijgZhZiVcYeZg[dgbhkZgnlZaa &+#&BE B^X)$( '*!+%% &%-%e  -& -#*    (^c   ('% &&.#* -(#& )+#, ()'\
Olympus OM-D E-M10 III £699 4.5★ :mXZaaZcib^Y"gVc\Z8H8l^i]h^bea^ÄZY!ZVhn"id"jhZ^ciZg[VXZ &+#&BE B^X)$( '*!+%% (-)%e  &'& -#+    (^c   ((% &'&#* -(#+ ).#* )&%\
Olympus OM-D E-M5 II £900 5★ 8dbW^cZh\gZVi]VcYa^c\VcY^bV\ZfjVa^inl^i]hina^h]add`h &+BE B^X)$( '*!+%% &%-%e  -& &%    (^c   ,*% &'(#, -* ))#* )+.\
Olympus PEN-F £1000 5★ AdkZangZigdgVc\ZÄcYZg"hinaZY8H8l^i]Wj^ai"^ck^ZlÄcYZg '%#(BE B^X)$( '*!+%% &%-%e  -& &%    (^c   ((% &')#- ,'#& (,#( )',\
Olympus OM-D E-M1 II £1850 5★ HjeZgW6;hnhiZb!hjeZg"[Vhih]ddi^c\VcYgZbVg`VWaZ^c"WdYn>H '%#)BE B^X)$( '*!+%% (-)%e  &'& &-    (^c   ))% &()#& .%#. +-#. *,)\
Panasonic Lumix G7 +,. )★ )@k^YZdXVeijgZ^cVgZaVi^kZan^cZmeZch^kZHAG"hinaZ8H8 &+BE B^X)$( '*!+%% (-)%e  ). -    (^c   (+% &')#. -+#' ,,#) )&%\
Panasonic Lumix G9 £1499 4.5★ =^\]"heZZY!gj\\ZYe]did"XZcig^XÅV\h]^e8H8l^i]^c"WdYn>H '%#(BE B^X)$( '*!+%% (-)%e  ''* .    (^c   -.% &(+#. .,#( .&#+ +*-\
Panasonic Lumix G80 £699 4.5★ 9HAG"hinaZbdYZa[dgZci]jh^Vhihl^i]^c"WdYn>HVcY)@k^YZd &+BE B^X)$( '*!+%% (-)%e  ). .    (^c   ((% &'-#) -. ,)#( *%*\
Panasonic Lumix GX800 £500 4★ I^cnZVhn"id"jhZedX`Zi8H8l^i]i^ai^c\hXgZZcVcY)@k^YZd &+BE B^X)$( '*!+%% (-)%e  ). *#-    (^c   '&% &%+#* +)#+ ((#( '+.\
Panasonic Lumix GX80 £599 4.5★ LZaa"_jY\ZYXdbeVXibdYZal^i]>H!i^ai^c\hXgZZcVcYk^ZlÄcYZg &+BE B^X)$( '*!+%% )%.+e  ). -    (^c   '.% &'' ,%#+ )(#. )'+\
Panasonic Lumix GX8 £1000 5★ >c"WdYnhiVW^a^hVi^dcVcYi^ai^c\k^ZlÄcYZg^cVaVg\Zgj\\ZYWdYn '%#(BE B^X)$( '*!+%% (-)%e  ). -    (^c   ((% &((#' ,- +(#& )-,\
Panasonic Lumix GH5 £1299 4.5★ K^YZd"[dXjhZY]^\]"ZcY8H8l^i]^c"WdYnhiVW^a^hVi^dcVcY)@gZXdgY^c\ '%#'BE B^X)$( '*!+%% )%.+e  ''* &'    (#'^c   )&% &(-#* .-#& -,#) ,'*\
NEW Panasonic Lumix GH5S '&..  Egd[Zhh^dcVak^YZdkZgh^dcd[<=*l^i]&%#'BEbjai^"VheZXihZchdg &%#'BE B^X)$( '%)!-%% )%.+e  ''* &&    (#'^c   )&% &(-#* .-#& -,#) ++%\
Sony Alpha 5000 £420 4★ H^beaZ!XdbeVXibdYZaV^bhidXdbeZiZl^i]Zcign"aZkZa9HAGh '%#&BE Hdcn: &+!%%% &%-%e  '* (#*    (^c   )'% &&% +( (+ '.+\
Sony Alpha 5100 £549 4★ DcZd[i]ZkZgnWZhiZcign"aZkZaXVbZgVh[dgk^YZdVcY^bV\ZfjVa^in ')BE Hdcn: '*!+%% &%-%e  &,. +    (^c   )%% &&% +( (+ '-(\
Sony Alpha 6000 +,% )#*★ Hde]^hi^XViZY6;VcYVc^begZhh^kZ6EH"8hZchdg ')BE Hdcn: '*!+%% &%-%e  &,. &&    (^c   (&% &'% +, )* ())\
Sony Alpha 6300 £1000 4.5★ EgZb^jb8H8i]ViWdVhih[Vhi6;igVX`^c\VcY)@k^YZd ')#'BE Hdcn: *&!'%% (-)%e  )'* &&    (^c   (*% &'% ++#. )-#- )%)\
Sony Alpha 6500 £1500 5★ IZX]c^XVaan]j\ZanVXXdbea^h]ZY8H8l^i]^c"WdYn^bV\ZhiVW^a^hVi^dc ')#'BE Hdcn: *&!'%% (-)%e  )'* &&    (^c   (*% &'% ++#. *(#( )*(\
Sony Alpha 7 £1300 4.5★ DcZd[i]Za^\]iZhi!hbVaaZhi[jaa"[gVbZXVbZgVh ')#(BE Hdcn: '*!+%% &%-%e  &&, *    (^c   ()% &', .) )- ),)\
Sony Alpha 7 II £1498 5★ I]Z[jaa"[gVbZ6ae]V,>>^cXajYZh^c"WdYn^bV\ZhiVW^a^hVi^dc ')#(BE Hdcn: '*!+%% &%-%e  &&, *    (^c   (*% &'+#. .*#, *.#, **+\
Sony Alpha 7R &,%% )#*★ HVbZWdYnYZh^\cVhi]Z6ae]V,Wji]^\]ZggZhdaji^dchZchdg (+#)BE Hdcn: '*!+%% &%-%e  '* )    (^c   ()% &', .) )- )+*\
Sony Alpha 7R II £2599 5★ 6W^\hiZeje[gdbi]Z6,G0dcZd[i]ZWZhi[jaa"[gVbZXVbZgVhVkV^aVWaZ )'#)BE Hdcn: &%'!)%% (-)%e  (.. *    (^c   '.% &'+#. .*#, +%#( +'*\
Sony Alpha 7R III £3200 5★ HVbZhZchdgVh6,G>>!Wji[VhiZgVcYl^i]^begdkZYWdYnYZh^\c )'#)BE Hdcn: &%'!)%% (-)%e  (.. &%    (^c   +*% &'+#. .*#+ ,(#, +*,\
Sony Alpha 7S £2259 4★ GZbVg`VWaZadl"a^\]iVcYk^YZdXVeVW^a^i^Zh &'#'BE Hdcn: )%.!+%% &%-%e  '* *    (^c   (-% &'+#. .)#) )-#' )-.\
Sony Alpha 7S II £2500 5★ 6heZX^Va^hiXVbZgV[dgadl"a^\]ih]ddi^c\VcY)@k^YZd &'#'BE Hdcn: )%.!+%% (-)%e  &+. *    (^c   (&% &'+#. .*#, +%#( +',\
Sony Alpha 9 £4500 5★ HjeZg"[Vhi8H8l^i]'%[ehh]ddi^c\VcYhijcc^c\dkZgVaaeZg[dgbVcXZ ')#'BE Hdcn: '%)!-%% (-)%e  +.( '%    (^c   +*% &'+#. .*#+ +( +,(\

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 BUYING GUIDE

Lens mounts
Each manufacturer has its own
Lenses lens mount and most aren’t
compatible with one another. For
Interchangeable lenses come in example, a Canon DSLR can’t use
Nikon lenses, although you can
a huge array of types for shooting use independent brands if you get
different kinds of subjects them with the right mount.
FOR MOST enthusiast
photographers, the easiest way
to expand the kinds of pictures Built-in focus motor
you can take is by buying Most lenses now incorporate an internal
different types of lenses. For motor to drive the autofocus, although
example, telephoto lenses some are still driven from the camera
let you zoom in on distant body. DSLR lenses often use ultrasonic-
subjects, while macro type motors for fast focusing, while
lenses allow you to focus those for mirrorless cameras tend to
on small subjects. employ video-friendly stepper motors.
Large-aperture lenses
allow you to isolate
subjects against blurred
backgrounds or shoot in low Filter thread Maximum
light without having to raise A thread at the front of aperture
the ISO too high. Meanwhile, the camera will have Wider apertures mean
all-in-one superzooms cover a a diameter, in mm, which you can use faster,
wide range of subjects, but with will allow you to attach motion-stopping
lower optical quality. a variety of filters or shutter speeds.
adapters to the lens.
LENS SUFFIX GUIDE USED BY MANUFACTURERS
AF Nikon AF lenses driven from camera DC Nikon defocus control portrait lenses ED Extra low Dispersion elements LD Low Dispersion glass SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DC Sigma’s lenses for APS C digital EF Canon’s DSLR lenses for full frame LM Fujifilm Linear Motor SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors DG Sigma’s designation for full frame lenses EF-S Canon lenses for APS C sized sensors MP-E Canon’s high magnification macro lens STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di Tamron lenses for full frame sensors EF-M Canon’s lenses for its mirrorless M range OIS Optical Image Stabilisation STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-II Tamron lenses designed for APS C DSLRs EX Sigma’s ‘Excellent’ range OS Sigma’s Optically Stabilised lenses TS-E Canon Tilt and Shift lens
APO Sigma Apochromatic lenses Di-III Tamron lenses for mirrorless cameras FA Pentax full frame lenses PC-E Nikon tilt and shift lenses UMC Ultra Multi Coated
ASPH Aspherical elements DN Sigma’s lenses for mirrorless cameras FE Sony lenses for full frame mirrorless PF Nikon Phase Fresnel optics USM Canon lenses with an Ultrasonic Motor
AT-X Tokina’s Advanced Technology Extra Pro DO Canon diffractive optical element lenses G Nikon lenses without an aperture ring PRO Tokina and Olympus Professional lenses USD Tamron Ultrasonic Drive motor
AW Pentax all weather lenses DT Sony lenses for APS C sized sensors HSM Sigma’s Hypersonic Motor PZD Tamron Piezo Drive focus motor VC Tamron’s Vibration Compensation
CS SamyanglensesforAPS Ccroppedsensors DX Nikon’s lenses for DX format digital IF Internal Focusing SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
D Nikon lenses that communicate distance info E Nikon lenses with electronic apertures IS Canon’s Image Stabilised lenses SDM Pentax’s Sonic Direct Drive Motor XR Tamron Extra Refractive Index glass
DA PentaxlensesoptimisedforAPS C sizedsensors E Sony lenses for APS C mirrorless L Canon’s ‘Luxury’ range of lenses SMC Pentax Super Multi Coating WR Weather Resistant

FILTER THREAD (MM)

DSLR Lenses
STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE

LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON DSLR
EF 8-15mm f/4 L USM &)..  >begZhh^kZ"add`^c\Äh]ZnZoddbaZch[gdb8Vcdc         &* c$V ,-#* -( *)%\
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ 6hjeZgWjaigV"l^YZVc\aZi]Vi¼hVbjhi"]VkZ[dgVcndcZh]ddi^c\aVcYhXVeZhVcYX^inhXVeZh         '' +, ,)#+ ,' ')%\
EF-S 10-22mm f/3.5-4.5 USM ..% )★ 6\ddYeZg[dgbZg!l^i]hda^YBI;XjgkZhVcYb^c^bVaX]gdbVi^XVWZggVi^dc         ') ,, -(#* -.#- (-*\
EF 11-24mm f/4 L USM ',.. *★ Adc\"VlV^iZYWn8Vcdc[jaa"[gVbZjhZgh!i]^h^hi]ZldgaY¼hl^YZhi"Vc\aZgZXi^a^cZVgoddbaZch         '- c$V &%- &(' &&-%\
EF 14mm f/2.8 L II USM '-&% )#*★ >begZhh^kZgZhdaji^dcVi[$-WjiaZhhhdl^YZdeZc         '% c$V -% .) +)*\
EF-S 15-85mm f/3.5-5.6 IS USM .%% )★ ;djg"hide^bV\ZhiVW^a^hVi^dcVcYHjeZgHeZXigVXdVi^c\h!id\Zi]Zgl^i]VjhZ[jagVc\Z         (* ,' -&#+ -,#* *,*\
EF 16-35mm f/2.8 L II USM &,.% )#*★ 6\ddYeZg[dgbZgl^i]higdc\gZhjaihVi[$-^ceVgi^XjaVg         '- -' --#* &&&#+ +(*\
EF 16-35mm f/2.8 L III USM '&*%  GZkVbeZYl^YZVc\aZoddb^cXajYZhcZldei^Xh^cVlZVi]Zg"hZVaZYaZchWVggZa       '- -' -.#* &',#* ,.%\
EF 16-35mm f/4 L IS USM £1199 4★ KZghVi^aZVcYl^i]VjhZ[ja>HhnhiZb!i]^h^hVkZgn\ddYjaigV"l^YZVc\aZoddb[dg[jaa"[gVbZXVbZgVh         '- ,, -'#+ &&'#- +&*\
TS-E 17mm f/4 L '.'%  I^ai"VcY"h]^[idei^Xl^i]^cYZeZcYZcii^ai"VcY"h]^[igdiVi^dcVcYgZYZh^\cZYXdVi^c\h         '* ,, --#. &%+#. -'%\
EF 17-40mm f/4 L USM .)% )★ 9Zh^\cZYidbViX]i]ZcZZYhd[YZbVcY^c\egd[Zhh^dcVah·VcYYdZhhdl^i]ZVhZ         '- ,, -(#* .+#- *%%\
EF-S 17-55mm f/2.8 IS USM ,.* )★ KZgnXVeVWaZaZchl^i]i]gZZ"hide^bV\ZhiVW^a^hVi^dc!HjeZgHeZXigVXdVi^c\VcYVX^gXjaVgVeZgijgZ         (* ,, -(#* &&%#+ +)*\
EF-S 17-85mm f/4-5.6 IS USM +%% (★ 9dZhc¼igZVaana^kZjeid^ihegdb^hZh#I]ZoddbgVc\Z^hZmXZaaZciWjii]ZgZVgZWZiiZgVaiZgcVi^kZh         (* +, ,-#* .' ),*\
EF-S 18-55mm f/3.5-5.6 IS STM &.*  KZghVi^aZ!V[[dgYVWaZhiVcYVgYoddb[ZVijg^c\[djg"hide^bV\ZhiVW^a^hVi^dc         '* *- +. ,*#' '%*\
EF-S 18-55mm f/4-5.6 IS STM ''%  AViZhihiVcYVgYoddb[dg8Vcdc¼h6EH"8:DH9HAGh!l^i]XdbeVXiYZh^\cVcYjeYViZYdei^Xh         '* *- ++#* +&#- '&*\
EF-S 18-135mm f/3.5-5.6 IS *%%  ;djg"hide^bV\ZhiVW^a^hVi^dc!VcYVjidbVi^XeVcc^c\VcYig^edYYZiZXi^dc         )* +, ,*#) &%& )**\
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

EF-S 18-135mm f/3.5-5.6 IS STM ),-  JhZhhiZeeZgbdidg[dgh^aZciVcY[VhiVjid[dXjhi]Vi¼hVahdlZaahj^iZYidk^YZdldg`         (. +, ,+#+ .+ )-%\
EF-S 18-135mm f/3.5-5.6 IS USM *%%  KZghVi^aZl^YZVc\aZoddbl^i]cZlCVcdJHB[dXjhiZX]cdad\n         (. +, ,,#) .+ *&*\
EF-S 18-200mm f/3.5-5.6 IS ,)% )★ 6jidbVi^XeVcc^c\YZiZXi^dc[dg^bV\ZhiVW^a^hVi^dcVcYVjhZ[ja&&moddbgVc\Z         )* ,' ,-#+ &%' *.*\
EF 20mm f/2.8 USM +&%  L^YZVc\aZaZchl^i]VÅdVi^c\gZVg"[dXjh^c\hnhiZbVcYVJHBbdidg         '* ,' ,,#* ,%#+ )%*\
EF 24mm f/1.4 L II USM '%&%  HjWlVkZaZc\i]higjXijgZXdVi^c\!id\Zi]Zgl^i]J9VcYVhe]Zg^XVaZaZbZcih         '* ,, -(#* -+#. +*%\
EF 24mm f/2.8 IS USM ,*% )★ HbVaal^YZVc\aZdei^Xl^i]^bV\ZhiVW^a^hVi^dc         '% *- +-#) **#, '-%\
EF-S 24mm f/2.8 STM &+* )★ 7Vg\V^ceg^XZ!i^cnXVggn"ZkZgnl]ZgZh^oZVcYV]^\]anXdbeZiZci^bV\^c\eZg[dgbVcXZ         &+ *' +-#' ''#- &'*\
TS-E 24mm f/3.5 L II '**%  I^ai"VcY"h]^[idei^Xl^i]^cYZeZcYZcii^ai"VcY"h]^[igdiVi^dcVcYgZYZh^\cZYXdVi^c\h         '& -' --#* &%+#. ,-%\

56 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
EF 24-70mm f/2.8 L II USM £2300 5★ Egd[Zhh^dcVa fjVa^in hiVcYVgY oddb aZch l^i] V [Vhi VeZgijgZ   (- -' --#* &&( -%*\
EF 24-70mm f/4 L IS USM &)..  A"hZg^ZhoddbhV^YidWZXdbeVXi!edgiVWaZVcYV^bZYViWdi]egd[Zhh^dcVahVcYVbViZjgh         (- ,, -(#) .( +%%\
EF 24-105mm f/4 L IS USM &%). )#*★ 6cZmXZaaZciVaa"gdjcYeZg[dgbZg!VcY`ZZcaneg^XZY!idd         )* ,, -(#* &%, +,%\
EF 24-105mm f/4 L IS II USM &&'. )★ GZldg`ZYldg`]dghZoddb[dg[jaa"[gVbZXVbZgVhjhZhVcVaa"cZldei^XVaYZh^\c         )* ,, -(#* &&- ,.*\
EF 24-105mm f/3.5-5.6 IS STM ),. (#*★ 6kZghVi^aZhiVcYVgYoddbaZchi]Vi¼hVc^YZVagdjiZ^cid[jaa"[gVbZe]did\gVe]n         )% ,, -(#) &%) *'*\
EF 28mm f/1.8 USM *,%  JHBbdidgVcYVcVhe]Zg^XVaZaZbZci!id\Zi]Zgl^i]Vl^YZbVm^bjbVeZgijgZ         '* *- ,(#+ **#+ (&%\
EF 28mm f/2.8 IS USM ,(% (#*★ A^\]ilZ^\]iVcY^cZmeZch^kZaZch!l^i]Vh^c\aZVhe]Zg^XVaZaZbZci         (% *' +,#) )'#* &-*\
EF 28-300mm f/3.5-5.6 L IS USM ('.%  A"hZg^Zhdei^Xl^i]ZmeVch^kZgVc\Z!^bV\ZhiVW^a^hVi^dcVcYVX^gXjaVgVeZgijgZ         ,% ,, .' &-) &+,%\
EF-S 35mm f/2.8 Macro IS STM (..  ;ZVijgZhVc^ccdkVi^kZWj^ai"^cYjVa"A:9a^\]i[dgXadhZ"jeh]ddi^c\         &( ). +.#' **#- &.%\
EF 35mm f/2 IS USM ,..  ;^ghi(*bbeg^bZ[gdb8Vcdcid[ZVijgZVcdei^XVahiVW^a^hVi^dchnhiZb         ') +, +'#+ ,,#. ((*\
EF 35mm f/1.4 L II USM &,.. *★ 6cdjihiVcY^c\VYY^i^dcidi]ZA"hZg^Zha^cZ"je         '- ,' -%#) &%)#) ,+%\
EF 40mm f/2.8 STM '(%  6edgiVWaZVcYkZghVi^aZXdbeVXieVcXV`ZaZch#6[VhibVm^bjbVeZgijgZZcVWaZhadl"a^\]ih]ddi^c\         (% *' +-#' ''#- &(%\
TS-E 45mm f/2.8 &'%%  I^ai"VcY"h]^[iaZchYZh^\cZY[dghijY^degdYjXie]did\gVe]n       )% ,' -& .%#& +)*\
EF 50mm f/1.2 L USM &.&%  KZgnl^YZbVm^bjbVeZgijgZVcYHjeZgHeZXigVXdVi^c\h!VcYVX^gXjaVgVeZgijgZ         )* ,' -*#- +*#* *-%\
EF 50mm f/1.4 USM )*% *★ 7g^aa^VcieZg[dgbZg!l^i]V]^\]anXdch^hiZcihZid[BI;XjgkZh#6;bdidg^hViVYcd^hn!i]dj\]         )* *- ,(#- *%#* '.%\
EF 50mm f/1.8 STM &(% *★ A^\]iZhi:;aZch^ci]ZgVc\Z!l^i]l^YZbVm^bjbVeZgijgZVcYVB^XgdBdidg         (* ). +.#' (.#( &(%\
TS-E 50mm f/2.8L Macro '*%%  DcZd[Vig^dd[i^ai"VcY"h]^[ibVXgdaZchZh!i]^hgZeaVXZhi]ZIH":)*bb[$'#-         ', ,, -+#. &&)#. .)*\
EF-S 55-250mm f/4-5.6 IS STM '+*  6XdbeVXiiZaZe]didaZch[ZVijg^c\hbddi]!fj^ZiHIB[dXjh^c\l]Zch]ddi^c\bdk^Zh         &&% *- ,% &&&#' (,*\
EF-S 55-250mm f/4-5.6 IS II ((% )★ >YZVaWjY\ZiVYY^i^dcidi]Z&-"**bb`^iaZch!l^i]^bV\ZhiVW^a^hVi^dcVcYJHB         &&% *- ,% &%- (.%\
EF-S 60mm f/2.8 Macro USM *)% )★ <gZViWj^aYVcYdei^XVafjVa^in!l^i][Vhi!VXXjgViZVcYcZVg"h^aZci[dXjh^c\         '% *' ,( +.#- ((*\
MP-E 65mm f/2.8 1-5x Macro &'*%  BVXgdaZchYZh^\cZYidVX]^ZkZVbV\c^ÄXVi^dc\gZViZgi]Vc&ml^i]djiVXXZhhdg^Zh         ') *- -& .- ,&%\
EF 70-200mm f/2.8 L USM &*)%  Cdc"hiVW^a^hZYA"hZg^Zhdei^X!l^i]gZVg[dXjh^c\VcY[djgJ9ZaZbZcih         &*% ,, -)#+ &.(#+ &(&%\
EF 70-200mm f/2.8 L IS II USM '-%% *★ 6\gZViaZchWjiVahdVXdhiandcZ#EZV`gZhdaji^dcVi%#)XnXaZh"eZg"e^mZa^hh^beanVbVo^c\         &'% ,, --#- &.. &).%\
EF 70-200mm f/4 L USM ,.%  6X]ZVeZgA"hZg^ZhVaiZgcVi^kZidi]Z[$'#-kZgh^dchVkV^aVWaZ         &'% +, ,+ &,' ,%*\
EF 70-200mm f/4 L IS USM &)*% *★ 6hjeZgWdei^dc[dgi]ZhZg^djhhedgihVcYVXi^dce]did\gVe]Zg         &'% +, ,+ &,' ,+%\
EF 70-300mm f/4.5-5.6 IS USM ),% )★ 6\gZViaZkZad[h]VgecZhhVcYdcani]ZhbVaaVeZgijgZhh]djaYWZVkd^YZY         &*% *- ,+ &)( +(%\
EF 70-300mm f/4.5-5.6 IS II USM ).. )#*★ JeYViZYb^Y"gVc\ZiZaZe]didoddbl^i]cZldei^XhVcYbjX]"^begdkZYVjid[dXjh        &'% +, -% &)*#* ,&%\
EF 70-300mm f/4-5.6 L IS USM &+%% *★ 6cA"hZg^ZhaZchl^i]V]^\]anYjgVWaZdjiZgh]Zaa         &'% +, -. &)( &%*%\
EF 70-300mm f/4.5-5.6 DO IS USM &,%%  I]gZZ"aVnZgY^[[gVXi^kZdei^XVaZaZbZciVcY^bV\ZhiVW^a^hVi^dc         &)% *- -'#) ..#. ,'%\
EF 75-300mm f/4-5.6 III (%%  :hhZci^Vaani]ZhVbZaZchVhi]Z,*"(%%bb[$)"*#+>>>JHBWjil^i]cdJHB         &*% *- ,& &'' )-%\
EF 75-300mm f/4-5.6 III USM (*% '#*★ <ddYWjicdidjihiVcY^c\#I]Z^cXajh^dcd[VbZiVaaZchbdjci^hedh^i^kZ!i]dj\]         &*% *- ,& &'' )-%\
EF 85mm f/1.2 L II USM '+)% )★ 6lZaa"XgV[iZYaZch!l^i][VhiVcYfj^Zi6;l^i]\ddYk^\cZii^c\VcYY^hidgi^dcXdcigda         .* ,' .&#* -)#% &%'*\
EF 85mm f/1.4L IS USM &*,% *★ HjWa^bZ!]^\]anYZh^gVWaZedgigV^iaZchXdbW^cZhaVg\ZVeZgijgZVcYdei^XVa^bV\ZhiVW^a^hVi^dc         -* ,, --#+ &%*#) .*%\
EF 85mm f/1.8 USM ),% *★ Cdc"gdiVi^c\[gdcig^c\i]Vc`hidgZVg"[dXjh^c\hnhiZb!VhlZaaVhJHB         -* *- ,* ,&#* )'*\
TS-E 90mm f/2.8 &+,%  HV^YidWZi]ZldgaY¼hÄghi(*bb"[dgbViiZaZe]didaZchl^i]i^ai"VcY"h]^[ibdkZbZcih         *% *- ,(#+ -- *+*\
TS-E 90mm f/2.8L Macro '*%%  DcZd[Vig^dd[i^ai"VcY"h]^[ibVXgdaZchZh!i]^hgZeaVXZhi]ZIH":.%bb[$'#-         (. ,, -+#. &&+#* .&*\
EF 100mm f/2 USM **.  6bZY^jbiZaZe]didaZchl^i]Vl^YZVeZgijgZ!bV`^c\^i^YZVa[dgedgigV^ih         .% *- ,* ,(#* )+%\
EF 100mm f/2.8 Macro USM +*% )★ 6hda^YeZg[dgbZg!WjilZV`Vi[$'#-l]^X]^hediZci^Vaan\ddY[dgedgigV^ih         (& *- ,. &&. +%%\
EF 100mm f/2.8 L Macro IS USM &%+% *★ Hijcc^c\BI;Ä\jgZh[gdbi]^hegd"\gVYZbVXgddei^X         (% +, ,,#, &'( +'*\
EF 100-400mm f/4.5-5.6 L IS II USM &... )#*★ A"hZg^ZhXdchigjXi^dcVcYdei^Xh!^cXajY^c\Åjdg^iZVcYHjeZgJ9ZaZbZcih         .- ,, .) &.( &+)%\
EF 135mm f/2 L USM &(+%  A"hZg^ZhXdchigjXi^dcl^i]ildJ9ZaZbZcihVcYl^YZbVm^bjbVeZgijgZ         .% ,' -'#* &&' ,*%\
TS-E 135mm f/4L Macro '*%%  DcZd[Vig^dd[i^ai"VcY"h]^[ibVXgdaZchZh!l^i]&/'bV\c^ÄXVi^dc         ). -' --#* &(.#& &&&%\
EF 180mm f/3.5 L Macro USM &-,%  A"hZg^ZhbVXgdaZchl^i]^ccZg[dXjh^c\hnhiZbVcYJHBiZX]cdad\n         )- ,' -'#* &-+#+ &%.%\
EF 200mm f/2.8 L II USM .+%  IldJ9ZaZbZcihVcYVgZVg"[dXjh^c\hnhiZb^ci]^hA"hZg^Zhdei^X         &*% ,' -(#' &(+#' ,+*\
EF 300mm f/4 L IS USM &,)%  Ild"hide^bV\ZhiVW^a^hVi^dcl^i]hZeVgViZbdYZ[dgeVcc^c\bdk^c\hjW_ZXih         &*% ,, .% ''& &&.%\
EF 400mm f/5.6 L USM &++%  HjeZgJ9VcYJ9ZaZbZcih!VhlZaaVhVYZiVX]VWaZig^edYbdjciVcYWj^ai"^c]ddY         (*% ,, .% '*+#* &'*%\

NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S &'..  ;^h]ZnZoddb[dg[jaa"[gVbZ9HAGhi]Vi\^kZhVX^gXjaVgk^ZlVi-bbVcY[jaa"[gVbZXdkZgV\ZVi&*bb         &+ c$V ,,#* -( )-*\
10-20mm f/4.5-5.6 G VR AF-P DX ((% (#*★ >cZmeZch^kZl^YZoddb[dg9M9HAGh]VhZ[[ZXi^kZ^bV\ZhiVW^a^hVi^dcWjigVi]ZgVkZgV\Zdei^Xh         '' ,' ,, ,( '(%\
10-24mm f/3.5-4.5 G ED AF-S DX -() )★ BI;eZg[dgbVcXZ^h\ddY[gdbl^YZdeZcid[$&&!dcanWgZV`^c\YdlceVhi[$''         ') ,, -'#* -, )+%\
10.5mm f/2.8 G ED DX Fisheye +,-  9M[dgbViÄh]ZnZaZchl^i]C^`dc¼h8adhZ"GVc\Z8dggZXi^dchnhiZbVcY:9\aVhh         &) c$V +( +'#* (%%\
12-24mm f/4 G ED AF-S DX &%)) )★ I]^hkZcZgVWaZdei^XbVnWZVa^iiaZlZV`Vi[$)!Wjidi]Zgl^hZ^i¼hV\ddYeZg[dgbZg         (% ,, -'#* .% )-*\
14mm f/2.8 D ED AF &**) *★ 6gZVaanc^XZaZchi]Vi]VcYaZhlZaaVcYd[[ZghZmXZaaZci^bV\ZfjVa^in         '% c$V -, -+#* +,%\
14-24mm f/2.8 G ED AF-S &+,% *★ 6gZbVg`VWaZe^ZXZd[`^i!egdYjX^c\h]Vge^bV\Zhl^i]a^iiaZX]gdbVi^XVWZggVi^dc         '- c$V .- &(&#* .,%\
16mm f/2.8 D AF Fisheye ,+'  ;jaa"[gVbZÄh]ZnZaZchl^i]8adhZ"GVc\Z8dggZXi^dchnhiZbVcY'*Xb[dXjhY^hiVcXZ         '* c$V +( *, '.%\
16-35mm f/4 G ED AF-S VR &%,' *★ 6[VciVhi^XaZchi]ViYZhZgkZhidWZiV`ZchZg^djhan!l^i]kZgna^iiaZ86i]gdj\]dji         '- ,, -'#* &'* +-*\
16-80mm f/2.8-4E ED VR AF-S DX -+. )★ I]^hcZlhiVcYVgYoddb[dg9M"[dgbVijhZgh^hYZh^\cZYVhVigVkZaaZch[dg6EH"89HAGh         (* ,' -% -*#* )-%\
16-85mm f/3.5-5.6 G ED VR AF-S DX *,) )★ 7dVhi^c\C^`dc¼hhZXdcY"\ZcZgVi^dcKG>>iZX]cdad\nVcYHjeZg>ciZ\gViZY8dVi^c\         (- +, ,' -* )-*\
17-55mm f/2.8 G ED-IF AF-S DX &(*+ )★ 6]^\]Zg"fjVa^inhiVcYVgYoddb[dg9M"[dgbVi9HAGh         (+ ,, -*#* &&%#* ,**\
18-35mm f/3.5-4.5 G ED AF-S ++. *★ L^YZVc\aZoddbl^i]^chiVcibVcjVa"[dXjhdkZgg^YZ[dg[jaa"[gVbZ9HAGh         '- ,, -( .* (-*\
18-55mm f/3.5-5.6 G II AF-S DX &*+ (#*★ :cign"aZkZahiVcYVgYoddbaZch         '- *' ,( ,.#* '+*\
18-55mm f/3.5-5.6 G VR II AF-S DX ''.  EdejaVg(moddbaZchi]Vi^hgZbVg`VWanXdbeVXiVcYa^\]ilZ^\]i!d[[Zg^c\\gZViedgiVW^a^in         '- *' ++ *.#* &.*\
18-55mm f/3.5-5.6 G AF-P DX &).  6XdbeVXi!a^\]ilZ^\]i9M"[dgbVioddbi]Vi¼hVc^YZValVa`"VgdjcYaZch         '* ** +)#* +'#* &.*\
18-55mm f/3.5-5.6 G VR AF-P DX &..  6XdbeVXi!a^\]ilZ^\]i9M"[dgbVioddbaZchl^i]K^WgVi^dcGZYjXi^dc         '* ** +)#* +'#* '%*\
18-105mm f/3.5-5.6 G ED VR AF-S DX '.' )#*★ @^iaZch[dgC^`dc9.%9,%%%l^i]H^aZciLVkZBdidgVcYK^WgVi^dcGZYjXi^dc         c$V +, ,+ -. )'%\
18-140mm f/3.5-5.6 G ED VR AF-S DX *,.  6XdbeVXiVcYa^\]ilZ^\]i9M"[dgbVioddb!i]^haZch^hV\gZViVaa"gdjcYZg         )* +, ,- ., ).%\
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX ,+' )#*★ ;djg"hideKG>>hnhiZb!ild:9VcYi]gZZVhe]Zg^XVaZaZbZcih^ci]^h9MhjeZgoddbaZch         *% ,' ,, .+#* *+%\
18-300mm f/3.5-5.6 G ED-IF VR -*% )★ 9M"[dgbVioddbaZchl^i]l^YZVc\aZidhjeZg"iZaZe]didgZVX]         )* ,, -( &'% -(%\
18-300mm f/3.5-6.3 G ED VR -).  CZl9M"[dgbVi&+#,moddbl^i]hjeZg"iZaZe]didgZVX]·VXdbeVXilVa`"VgdjcYaZch         )- +, ,-#* .. **%\

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 57

 BUYING GUIDE

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
19mm f/4 E ED PC ((%% HjeZg l^YZVc\aZ i^ai VcY h]^[i aZch [dg VgX]^iZXijgZ VcY aVcYhXVeZ e]did\gVe]n   '* c$V -. &') --*\
20mm f/1.8 G ED AF-S +,.  6[Vhi;M"[dgbVieg^bZaZchi]Vi¼hXdbeVXiVcYa^\]ilZ^\]i         '% ,, -'#* -%#* ((*\
20mm f/2.8 D AF *-)  8dbeVXil^YZVc\aZaZchl^i]C^`dc¼h8adhZ"GVc\Z8dggZXi^dchnhiZb         '* +' +. )'#* ',%\
24mm f/2.8 D AF )',  8dbeVXil^YZaZchl^i]8adhZ"GVc\Z8dggZXi^dchnhiZb         (% *' +)#* )+ ',%\
24mm f/1.4 G ED AF-S &..% *★ Cdi]^c\h]dgid[hijcc^c\#6h^YZ[gdb^ih]^\]eg^XZ!i]ZgZ^hkZgna^iiaZidY^ha^`ZVWdjii]^hdei^X         '* ,, -( --#* +'%\
24mm f/1.8 G ED AF-S +'.  ;Vhi;M"[dgbViaZchi]ViV^bhidVeeZVaidaVcYhXVeZ!^ciZg^dg!VgX]^iZXijgZVcYhigZZie]did\gVe]Zgh         '( ,' ,,#* -( (**\
24mm PC-E f/3.5 D ED PC-E &,,)  EZgheZXi^kZ8dcigdaaZchl^i]CVcd8gnhiVa8dVi^c\VcYZaZXigdc^XXdcigdadkZgVeZgijgZ         '& ,, -'#* &%- ,(%\
24-70mm f/2.8 G ED AF-S &*+* *★ 6cZmXZaaZcihZid[BI;XjgkZhi]Vih]dldjihiVcY^c\Xdch^hiZcXn!ZVh^an_jhi^[n^c\i]Zeg^XZd[i]^haZch         (- ,, -( &(( .%%\
24-70mm f/2.8 E ED VR &-). *★ C^`dc¼haViZhiegd"heZXhiVcYVgYoddbadd`ha^`Z^ihWZhiaZchnZi         (- -' -- &*)#* &%,%\
24-85mm f/3.5-4.5 G ED VR *'% *★ ;M"[dgbVihiVcYVgYoddbl^i]6jidIg^edYYZiZXi^dcVcYKG         (- ,' ,- -' )+*\
24-120mm f/4 G ED AF-S VR &%,' *★ 8dchiVcibVm^bjbVeZgijgZd[[$)VcYi]ZVYY^i^dcd[KGbV`Zhi]^hVhjeZgWaZch         )* ,, -) &%( ,&%\
28mm f/1.4 E ED AF-S '%-%  7dVhihVYjhi"VcYYg^e"gZh^hiVciWj^aY[dggZa^VWaZh]ddi^c\^cX]VaaZc\^c\lZVi]ZgXdcY^i^dch         '- ,, -( &%%#* +)*\
28mm f/1.8 G ED AF-S +&. *★ >[ndjXgVkZVl^YZVeZgijgZVcYegZ[ZgVh^c\aZ[dXVaaZc\i]i]Zci]^hC^`dceg^bZYZa^kZgh         '* +, ,( -% ((%\
28mm f/2.8 D AF '-'  8dbeVXil^YZVc\aZaZchl^i]Vb^c^bjb[dXjh^c\Y^hiVcXZd['*Xb         '* *' +* ))#* '%*\
28-300mm f/3.5-5.6 G ED AF-S VR --. )#*★ IZX]c^XVaiZhi^c\h]dlhi]^hoddbidWZ!VhC^`dcXaV^bh!i]Z»^YZValVa`VWdjiaZch¼         *% ,, -( &&) -%%\
35mm f/1.8 G AF-S DX '%- *★ 9Zh^\cZY[dg9M"[dgbVi9HAGh!V\gZVihiVcYVgYeg^bZaZch         (% *' ,% *'#* '%%\
35mm f/1.8 G ED AF-S ),.  ;Vhi;M"[dgbVieg^bZaZchl^i]Wg^\]i[$&#-VeZgijgZ#KZghVi^aZVcYa^\]ilZ^\]i         '* *- ,' ,&#* (%*\
35mm f/2 D AF (') (★ 6il^YZ"VeZgijgZhZii^c\hi]^hdei^XVX]^ZkZhgZheZXiVWaZgZhdaji^dc!l]^X]YZXgZVhZhl^i]VeZgijgZ         '* *' +)#* )(#* '%*\
35mm f/1.4 G ED AF-S &,(* *★ 6CVcd8gnhiVa"XdViZYaZchYZh^\cZY[dgi]Z;MgVc\Z         (% +, -( -.#* +%%\
40mm f/2.8 G AF-S DX Micro '*% *★ 6WjY\Zi"eg^XZYbVXgdaZchi]ViYZa^kZghi]Z\ddYhdcbjai^eaZ[gdcih         '% *' +-#* +)#* '(*\
45mm PC-E f/2.8 D ED Micro &(.(  EZgheZXi^kZ8dcigdaE8":hiVcYVgYaZchjhZY^cheZX^Va^hZYÄZaYhhjX]VhhijY^dVcYVgX]^iZXijgZ         '* ,, -'#* &&' ,)%\
50mm f/1.4 D AF '.' *★ :cign"aZkZaeg^bZejih^cVÄcZeZg[dgbVcXZl]^aZd[[Zg^c\WVX`lVgYhXdbeVi^W^a^inl^i]6>XVbZgVh         )* *' +)#* )'#* '(%\
50mm f/1.4 G AF-S (,+ *★ >ciZgcVa[dXjh^c\VcYhjeZg^dg6;Yg^kZbV`Zhi]^hV\ddYVaiZgcVi^kZidi]Z9"hZg^Zh*%bb[$&#)         )* *- ,(#* *) '-%\
50mm f/1.8 D AF &(*  8dbeVXi!a^\]ilZ^\]i!V[[dgYVWaZeg^bZ!l^aahideYdlcid[$''         )* *' +( (. &+%\
50mm f/1.8 G AF-S '%% *★ 6Xji"eg^XZhiVcYVgYaZch[dg;Mh]ddiZghdgVh]dgiiZaZe]diddc9M"[dgbVi9HAGh         )* *- ,' *'#* &-*\
55-200mm f/4-5.6 G VR AF-S DX (&) (#*★ 9Zh^\cZY[dg9M"[dgbViXVbZgVh!l^i]K^WgVi^dcGZYjXi^dcVcYHLBiZX]cdad\n         &&% *' ,( ..#* ((*\
55-200mm f/4-5.6 G VR II AF-S DX '*&  D[[ZghVkZghVi^aZ[dXVagVc\ZVcYVcjaigV"XdbeVXiYZh^\c!eZg[ZXi[dghbVaaZg9M"[dgbVi9HAGh         &&% *' ,%#* -( (%%\
55-300mm f/4.5-5.6 G VR AF-S DX (,- (★ D[[ZghVl^YZiZaZe]didXdkZgV\Z!WjiWZiiZgdei^dchVkV^aVWaZ         &)% *- ,+#* &'( *(%\
58mm f/1.4 G AF-S &*.. )★ ;M"[dgbVi[jaa"[gVbZegZb^jbeg^bZaZchl^i]aVg\Z[$&#)VeZgijgZ         *- ,' -* ,% (-*\
60mm f/2.8 D AF Micro )%* *★ C^`dc¼hbdhiXdbeVXiB^XgdaZch!l^i]8adhZGVc\Z8dggZXi^dc8G8hnhiZb         '' +' ,% ,)#* ))%\
60mm f/2.8 G ED AF-S Micro *%%  B^XgdaZchl^i]&/&gZegdgVi^d!VhlZaaVhVH^aZciLVkZBdidgVcYHjeZg:9\aVhh         &- +' ,( -. )'*\
70-200mm f/2.8 G ED VR II AF-S '%-* *★ KZgna^iiaZid[Vjai]ZgZ!l^i]hijcc^c\^bV\ZfjVa^inVcYXdch^hiZcigZhjaihViY^[[ZgZci[dXVaaZc\i]h         &)% ,, -, '%. &*)%\
70-200mm f/2.8 E FL ED VR AF-S '+*%  AViZhijeYViZidC^`dc¼hegdldg`]dghZ[VhiiZaZe]didoddbWg^c\hZaZXigdc^XVeZgijgZXdcigda         &&% ,, --#* '%'#* &)(%\
70-200mm f/4 G ED VR &&-% *★ AViZhi,%"'%%bbd[[Zghi]^gY"\ZcZgVi^dcKGVcYlZ^\]ihVk^c\hdkZg^ihbdgZZmeZch^kZ[$'#-Xdjh^c         &%%% +, ,- &,-#* -*%\
70-300mm f/4.5-5.6 G ED AF-S VR **+ )★ ;ZVijgZ"eVX`ZYdei^X!l^i]VKG>>hnhiZb!."WaVYZYY^Ve]gV\b!HLBVcY:9\aVhh         &*%% +, -% &)(#* ,)*\
70-300mm f/4.5-5.6 E ED VR AF-P ,*%  C^`dc¼hÄghi[jaa"[gVbZaZchid[ZVijgZVhiZeeZgbdidg[dgVjid[dXjh         &'%% +, -%#* &)+ +-%
70-300mm f/4.5-6.3 G AF-P DX (%%  7jY\ZiiZaZe]didoddbl^i]hiZeeZgbdidg[dg6;VcYheVXZ"hVk^c\XdaaVeh^WaZYZh^\c         &&% *- ,' &'* )%%\
70-300mm f/4.5-6.3 G VR AF-P DX (*%  6YYhZmigZbZanjhZ[jadei^XVahiVW^a^hVi^dcidC^`dc¼hWjY\ZiXdbeVXiiZaZe]did         &&% *- ,' &'* )&*\
80-400mm f/4.5-5.6 G ED VR AF-S &-.. *★ HjXXZhhdgidi]Z-%")%%bb[$)#*"*#+9:9KG![dXjh^c\^hZmXZaaZciViigVX`^c\[Vhi"bdk^c\hjW_ZXih         &,* ,, .*#* '%( &*,%\
85mm f/3.5 G ED AF-S DX VR *''  9M"[dgbViB^XgdaZchl^i]V&/&gZegdYjXi^dcgVi^d!KG>>hnhiZbVcY:9\aVhh         '- *' ,( .-#* (**\
85mm f/1.4 G AF-S &*(' *★ ;Vhib^Y"iZaZaZchl^i]Vc^ciZgcVa[dXjh^c\hnhiZbVcYgdjcYZYY^Ve]gV\b         -* ,, -+#* -) *.*\
85mm f/1.8 D (-*  EdgiVWaZbZY^jbiZaZe]did·^YZVa[dgedgigV^ih         -* +' ,&#* *-#* (-%\
85mm f/1.8 G AF-S ),% *★ GZVg"[dXjh^c\hnhiZbVcYY^hiVcXZl^cYdl^ci]^hbZY^jbiZaZe]didaZch         -% +, -% ,( (*%\
85mm f/2.8D PC-E Micro &'..  EZgheZXi^kZ8dcigdaE8":iZaZe]did!YZh^\cZYidWZ^YZVa[dgedgigV^ihVcYegdYjXie]did\gVe]n         (. ,, -(#* &%, +(*\
105mm f/1.4 E ED AF-S '%).  6&%*bb;M"[dgbVieg^bZaZchl^i]Wg^\]i[$&#)VeZgijgZ!^YZVa[dgedgigV^ijgZ         &%% -' .)#* &%+ .-*\
105mm f/2.8 G AF-S VR II Micro ,-' )#*★ 6kZgnh]VgeaZch!l^i]hl^[iVcYfj^Zi[dXjh^c\VcYXdch^hiZciB;IgZhjaih         (& +' -( &&+ ,'%\
105mm f/2 D AF DC .-%  6edgigV^iaZchl^i]YZ[dXjhXdcigda         .% ,' ,. &&& +)%\
135mm f/2 D AF DC &'('  9Z[dXjh">bV\Z8dcigdaVcYVgdjcYZYY^Ve]gV\b^ci]^hiZaZe]diddei^X         &&% ,' ,. &'% -&*\
180mm f/2.8 D ED-IF AF ,-'  JhZ[jaiZaZe]didaZc\i]VcY^ciZgcVa[dXjh^c\iZX]cdad\n!id\Zi]Zgl^i]:9\aVhh         &*% ,' ,-#* &)) ,+%\
200mm f/4 D ED-IF AF Micro &)'.  &/&gZegdYjXi^dcgVc\Z^ci]^hB^XgdaZch!l^i]V8adhZ"GVc\Z8dggZXi^dchnhiZb         *% +' ,+ &%)#* &&.%\
200-500mm f/5.6 E ED VR AF-S &&,.  6hjeZg"iZaZe]didoddbaZchXdbeVi^WaZl^i]C^`dc;M"[dgbVi9HAGXVbZgVh         ''% .* &%- '+,#* '(%%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

300mm f/2.8 G ED AF-S VR II *'%.  I]^haZchegdb^hZh[VhiVcYfj^Zi6;!VcY^hÄiiZYl^i]C^`dc¼haViZhiKG>>hnhiZb         '(% *' &') '+,#* '.%%\
300mm f/4 E PF ED VR AF-S &'(% *★ A^\]i!XdbeVXi6;"H[jaa"[gVbZiZaZe]didaZchl^i]:9\aVhhZaZbZcih         &)% ,, -. &),#* ,**\

LAOWA DSLR
12mm f/2.8 Zero D -..  JaigV"l^YZVc\aZaZch[dg[jaa"[gVbZ9HAGhi]ViZm]^W^ihb^c^bVaY^hidgi^dc         &- ,, ,)#- -'#- +%.\
15mm f/4 1:1 Macro )). )★ L^YZVc\aZaZch!l^i]&/&BVXgdVkV^aVWaZ^c8Vcdc!C^`dc!EZciVm!Hdcn:VcYHdcn6         &' ,, -(#- +)#, )&%\
60mm f/2.8 2X Ultra-Macro (&. (#*★ L^i]'/&BVXgd!VcVaa"^c"dcZdei^dc[dgcdgbVaedgigV^ie]did\gVe]nVhlZaaVhjaigV"bVXgd         &-#* +' .* ,% *%(\
105mm f/2 (T3.2) STF +). )★ 9Zh^\cZY[dg[jaa"[gVbZ9HAGH!VcY[ZVijgZhVcVedY^oVi^dcZaZbZcii]VigZcYZghadkZanWd`Z]         .% +, .-#. ,+ ,)*\

CSC is nothing without a lens attached!

meras where you’ll find hundreds of lenses
wide range of uses, for a variety of budgets.

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58 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

PENTAX DSLR
DA 10-17mm f/3.5-4.5 smc ED IF *.%  ;^h]ZnZoddbaZchl^i]HjeZgEgdiZXi^dcXdVi^c\VcYFj^X`H]^[ibVcjVa[dXjh         &) c$V ,&#* +- ('%\
DA 12-24mm f/4 smc ED AL IF &%*%  IldVhe]Zg^XVaZaZbZcih!:A9\aVhhVcYVXdchiVciVeZgijgZd[[$)^ci]^hl^YZoddb         (% ,, -(#* -,#* )(%\
DA 15mm f/4 smc ED AL Limited -'%  A^b^iZY"ZY^i^dcaZchl^i]]nWg^YVhe]Zg^XVaVcYZmigV"adl"Y^heZgh^dcZaZbZcih         &- ). (.#* +( '&'\
FA 15-30mm f/2.8 ED SM WR HD &*%%  LZVi]Zg"gZh^hiVcijaigV"l^YZVc\aZoddbl^i][VhibVm^bjbVeZgijgZVcYÄmZYeZiVa"ineZ]ddY    '- c$V .-#* &)(#* &%)%\
DA* 16-50mm f/2.8 smc ED AL IF SDM .*% (#*★ 6c^XZWVaVcXZVcYgdWjhi[ZZa!Wjieddgh]VgecZhhVi[$'#-l]^X]h^\c^ÄXVcian^begdkZh[gdb[$)dclVgYh         (% ,, .-#* -) +%%\
DA 16-85mm f/3.5-5.6 ED DC WR +%%  LZVi]Zg"gZh^hiVci!i]^hoddb[ZVijgZhVgdjcY"h]VeZYY^Ve]gV\bidegdYjXZWZVji^[jaWd`Z]         (* ,' ,- .) )--\
DA 17-70mm f/4 smc AL IF SDM +(%  ;ZVijg^c\EZciVm¼hHjeZghdc^X9^gZXi"Yg^kZH9B[dXjh^c\hnhiZb         '- +, ,* .(#* )-*\
DA 18-50mm f/4-5.6 DC WR RE '(%  HjeZg"i]^chiVcYVgYoddbi]Vi¼hlZVi]Zg"gZh^hiVciVcY[ZVijgZhVgdjcY"h]VeZYY^Ve]gV\b         (% *- ,& )& &*-\
DA 18-55mm f/3.5-5.6 smc AL WR ''.  6lZVi]Zg"gZh^hiVciXdchigjXi^dcVcYVcVhe]Zg^XVaZaZbZci!VhlZaaVhHEXdVi^c\         '* *' +-#* +,#* '(%\
DA 18-135mm f/3.5-5.6 DA ED DC WR +%% (#*★ 6lZVi]Zg"gZh^hiVcib^Y"gVc\ZoddbaZch         )% +' ,( ,+ )%*\
DA 18-270mm f/3.5-6.3 smc ED SDM +..  &*mhjeZgoddb[dgXdbeVcn¼h@"bdjci9HAGh[ZVijg^c\ildZmigV"adl"Y^heZgh^dc:9ZaZbZcih         ). +' ,+ -. )*(\
DA 20-40mm f/2.8-4 ED Limited DC WR -'.  L^i]hiViZ"d["i]Z"Vgi=9XdVi^c\!VXdbeaZiZangdjcY"h]VeZYY^Ve]gV\b!VcYlZVi]ZggZh^hiVci         '- ** +-#* ,& '-(\
DA 21mm f/3.2 smc AL Limited +%%  I]^ha^b^iZY"ZY^i^dcdei^Xd[[ZghVÅdVi^c\ZaZbZci[dgZmigV"XadhZ[dXjh^c\         '% ). +( '* &)%\
FA 24-70mm f/2.8 ED SDM WR &&).  ;jaa"[gVbZ"XdbeVi^WaZegZb^jbhiVcYVgYoddb·^cXajYZhV=9XdVi^c\idb^c^b^hZÅVgZVcY\]dhi^c\         (- -' &%.#* --#* ,-,\
FA 28-105mm f/3.5-5.6 ED DC HD *).  HiVcYVgYoddbaZch[dgi]Z@"&[jaa"[gVbZ9HAGi]Vi¼hbjX]bdgZV[[dgYVWaZi]Vci]Z')",%bb[$'#-    *% +' ,( -+#* ))%\
FA 31mm f/1.8 smc AL Limited &&).  6ajb^c^jbWdYn0l]ZcjhZYdcVEZciVm9HAGd[[ZghVeZgheZXi^kZh^b^aVgidi]Vid[i]Z]jbVcZnZ         (% *- +-#* +* ()*\
FA 35mm f/2 smc AL **%  6XdbeVXil^YZVc\aZaZchi]VilZ^\]hVbZgZ'&)\         (% ). +) ))#* '&)\
DA 35mm f/2.8 smc Macro +)% )#*★ 9Zhe^iZha^\]iZY\Zhd[icZhh!i]^haZcheZg[dgbhZmXZaaZcianVcY^hVeaZVhjgZidjhZ         &) ). )+#* +( '&*\
DA 35mm f/2.4 smc DS AL &-% *★ 6WjY\Zi"eg^XZYeg^bZaZch[dgWZ\^ccZgh         (% ). +( )* &')\
DA 40mm f/2.8 smc Limited )*%  EVcXV`ZaZchl^i]HB8XdVi^c\VcYFj^X`H]^[i[dXjh^c\hnhiZb         )% ). +( &* .%\
DA 40mm f/2.8 XS ('*  I]ZldgaY¼hhbVaaZhiÄmZY"[dXVa"aZc\i]aZch         )% c$V +'#. . *'\
FA 43mm f/1.9 smc Limited ,'.  ;dXVaaZc\i]^h^YZVa[dgedgigV^ihVhlZaaVhZkZgnYVnjhZ!VcY[ZVijgZhVcHB8bjai^"aVnZgXdVi^c\         )* ). ', +) &**\
FA 50mm f/1.4 smc (..  =^\]"fjVa^in[Vhieg^bZ#I]Z»;6¼^cY^XViZhi]Vi^ih^bV\ZX^gXaZXdkZghi]Z(*bb[jaa"[gVbZ[dgbVi         )* ). +(#* (- ''%\
DA 50mm f/1.8 smc DA '). )★ 6[[dgYVWaZh]dgiiZaZe]didaZch^YZVa[dgedgigV^ih         )* *' (-#* +( &''\
DFA 50mm f/2.8 smc Macro **%  BVXgdaZchXVeVWaZd[&/&gZegdYjXi^dcVcYl^i]VFj^X`H]^[i[dXjhbZX]Vc^hb         &. ). +% +,#* '+*\
DA* 50-135mm f/2.8 smc ED IF SDM &'%% )★ 8dchiVci[$'#-VeZgijgZ0lZaahj^iZYidedgigV^ijgZVcYb^Y"gVc\ZVXi^dchjW_ZXih         &%% +, ,+#* &(+ ,+*\
DA 50-200mm f/4-5.6 smc ED WR '&%  LZVi]Zg"gZh^hiVciXdchigjXi^dc!Fj^X`H]^[i[dXjhhnhiZbVcYVcHEXdVi^c\         c$V ). +. ,.#* '-*\
DA* 55mm f/1.4 smc SDM -%% )#*★ 9Zhe^iZfjZhi^dchVWdjii]ZeVgi^XjaVghVbeaZiZhiZY!i]^haZchhXdgZh]^\]an         )* *- ,%#* ++ (,*\
DA 55-300mm f/4.5-6.3 ED PLM WR RE )%%  8dbeVXilZVi]ZggZh^hiVciiZaZe]didoddb]Vhk^YZd"[g^ZcYan[VhiVcYh^aZciVjid[dXjhbdidg    .* *- ,+#* -. ))'\
DA 55-300mm f/4-5.8 ED WR (..  LZVi]Zgegdd[=9iZaZe]didaZch[ZVijg^c\fj^X`h]^[i[dXjh^c\hnhiZb         &)% *- ,& &&&#* )++\
DA 60-250mm f/4 smc ED IF SDM &)*% )#*★ L^i]VXdchiVci[$)VeZgijgZVcYVcjaigVhdc^Xbdidg[dgheZZYn[dXjh^c\         &&% +, &+,#* -' &%)%\
DA 70mm f/2.4 smc AL Limited +%%  BZY^jbiZaZe]didaZchl^i]VcVajb^c^jbXdchigjXi^dcVcYVHjeZgEgdiZXiXdVi^c\         ,% ). +( '+ &(%\
D-FA* 70-200mm f/2.8 ED DC AW &-*%  CZlVYY^i^dcidEZciVm¼h]^\]"eZg[dgbVcXZHiVghZg^ZhYZkZadeZY[dgWZhi^bV\ZgZcY^i^dc         &'% ,, .&#* '%( &,**\
FA 77mm f/1.8 smc Limited &%*%  L^i]EZciVm¼h;^mZYGZVg:aZbZci:miZch^dc[dXjh^c\hnhiZb[dg»h]Vge!Xg^he^bV\Zh¼         ,% ). )- +) ',%\
D-FA 100mm f/2.8 Macro WR +-% *★ HigZZieg^XZbV`Zhi]^hhdbZi]^c\d[VWVg\V^c[dgVigjZbVXgdd[[Zg^c\[jaa"[gVbZXdkZgV\Z         (% ). +* -%#* ()%\
FA 150-450mm f/4.5-5.6 ED DC AW '%%%  HjeZg"iZaZe]didaZchl^i]lZVi]ZggZh^hiVcXZ!YZh^\cZYidegdYjXZZmigV"h]Vge!]^\]"XdcigVhi^bV\Zh         '%% -+ ')&#* .* '%%%\
DA* 200mm f/2.8 smc ED IF SDM &%%% )#*★ H9B[dXjh^c\hnhiZbdci]Z^ch^YZ!VcYY^giegdd[VcYheaVh]egdd[dci]Zdjih^YZ         &'% ,, -( &() -'*\
DA* 300mm f/4 smc ED IF SDM &(%%  I]^hiZaZdei^Xegdb^hZhjaigVhdc^X[dXjhVcY]^\]^bV\ZfjVa^ini]Vc`hid:9\aVhh         &)% ,, -( &-) &%,%\

SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II ',)  L^YZVc\aZÄh]ZnZaZchYZh^\cZY[dgY^\^iVagZÅZmXVbZgVhl^i]6EH"8hZchdgh         (% c$V ,* ,,#- )&,\
10mm f/2.8 ED AS NCS CS )'.  ;ZVijgZhVcVcdXgnhiVaVci^"gZÅZXi^dcXdVi^c\hnhiZbVcYZbWZYYZYaZch]ddY         ') c$V -+ ,, *-%\
12mm f/2.8 ED AS NCS Fisheye )(%  ;^h]ZnZjaigVl^YZVc\aZeg^bZaZch[dg[jaa"[gVbZ9HAGh         '% c$V ,,#( ,%#' *%%\
14mm f/2.4 Premium MF -..  =^\]"ZcYjaigV"l^YZVc\aZeg^bZl^i]egZb^jbdei^XhVcYaVg\ZbVm^bjbVeZgijgZ        '- c$V .* &%.#) ,.&\
NEW AF 14mm f/2.8 EF +).  HVbnVc\¼hÄghiVjid[dXjhHAGaZch![ZVijg^c\lZVi]Zg"hZVaZYXdchigjXi^dc         '% c$V .%#* .*#+ )-*\
14mm f/2.8 ED UMC ',.  JaigV"l^YZVc\aZbVcjVa"[dXjhaZch0WjaW"a^`Z[gdciZaZbZcibZVchcdÄaiZghXVcWZjhZY         '- c$V .) -, **'\
16mm f/2.0 ED AS UMC CS (-.  ;Vhil^YZVc\aZaZch[dgY^\^iVagZÅZmXVbZgVhÄiiZYl^i]6EH"8hZchdgh         '% c$V -.#) -( *-(\
20mm f/1.8 ED AS UMC )(%  AVg\Z"VeZgijgZbVcjVa[dXjhl^YZVc\aZaZch[dg[jaa"[gVbZ9HAGh         '% ,, -( &&(#' *'%\
24mm f/1.4 AS UMC )..  ;VhijaigV"l^YZVc\aZbVcjVa"[dXjhaZchXdbeg^h^c\&(ZaZbZcihVggVc\ZY^c&'\gdjeh         '* ,, .* &&+ +-%\
24mm f/3.5 ED AS UMS TS .). (★ I^ai"VcY"h]^[il^YZVc\aZaZch[dgV[gVXi^dcd[i]Zeg^XZd[8VcdcVcYC^`dc¼hd[[Zg^c\h         '% -' -+ &&%#* +-%\
35mm f/1.4 AS UMC (+. )#*★ L]^aZbVcjVa[dXjhdcan!i]^heg^bZ^begZhhZYjh^cgZVa"ldgaYjhZ!bV`^c\^ihdbZi]^c\d[VWVg\V^c         (% ,, -( &&& ++%\
50mm f/1.4 AS UMC '..  BVcjVa"[dXjh[VhihiVcYVgYeg^bZ[dg[jaa"[gVbZ9HAGh         )* ,, ,)#, -&#+ *,*\
85mm f/1.2 Premium MF -..  =^\]"ZcYbVcjVa[dXjhaZchhedgihVc^begZhh^kZan[VhibVm^bjbVeZgijgZ       -% -+ .( .-#) &%*%\
85mm f/1.4 IF MC '(.  H]dgi[VhiiZaZe]dideg^bZ!bVcjVa[dXjh!V^bZYViedgigV^ie]did\gVe]Zgh         &%% ,' ,- ,'#' *&(\
100mm f/2.8 ED UMC Macro (-.  ;jaa"[gVbZXdbeVi^WaZ!i]ZHVbnVc\&%%bb^hVXadhZ"jeigjZBVXgdaZch         (% +, ,'#* &'(#& ,'%\
135mm f/2 ED UMC (..  BVcjVa[dXjhedgigV^ieg^bZ]Vh[VhiVeZgijgZ[dghjW_ZXi^hdaVi^dcVcYWVX`\gdjcYWajg        -% ,, -' &'' -(%\

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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 59

 BUYING GUIDE

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA DSLR
4.5mm f/2.8 EX DC HSM ,(.  8^gXjaVgÄh]ZnZaZchYZh^\cZY[dgY^\^iVa!l^i]HA9\aVhhVcYV\ZaVi^cÄaiZg]daYZg         &( c$V ,+ ,,#- ),%\
8mm f/3.5 EX DG ,..  I]ZldgaY¼hdcan-bbaZchZfj^eeZYl^i]Vjid[dXjhVahdWdVhihHA9\aVhh         &( c$V ,(#* +-#+ )%%\
8-16mm f/4.5-5.6 DC HSM -%% )★ :mXZaaZcieZg[dgbVcXZVi-bb!l]^X]hVYanYgdehVii]Z&+bbZcY         ') ,' ,* &%*#, ***\
10mm f/2.8 EX DC *..  6=neZgHdc^XBdidg=HBVcYWj^ai"^c]ddY[ZVijgZ^ci]^hY^V\dcVaÄh]ZnZaZch         &( c$V ,*#- -( ),*\
10-20mm f/3.5 EX DC HSM +*% *★ 6cVWhdajiZ\Zbd[VaZchi]ViYZhZgkZhVeaVXZdcZkZgne]did\gVe]Zg¼hl^h]a^hi         ') -' -,#( --#' *'%\
10-20mm f/4-5.6 EX DC HSM **% *★ 6ÄcZVaa"gdjcYZg!i]Vc`hidBI;XjgkZhi]VihiVnVWdkZ%#'*XnXaZh"eZg"e^mZaYdlcid[$&+         ') ,, -(#* -& ),%\
12-24mm f/4 DG HSM | A &+). *★ EgZb^jb[jaa"[gVbZl^YZVc\aZoddbYZh^\cZYid]VkZb^c^bVaY^hidgi^dc^c^ihl^YZVc\aZ^bV\Zgn         ') c$V &%& &(' &&*%\
12-24mm f/4.5-5.6 EX DG HSM -+- )★ 6i^\]ianbViX]ZYhZid[BI;XjgkZh!Wji6EH"8jhZghVgZVYk^hZYidadd`Vii]Z&%"'%bb^chiZVY         '- c$V -, &%'#* +%%\
14mm f/1.8 DG HSM | A &+,.  LdgaY¼hÄghi[$&#-jaigV"l^YZVc\aZeg^bZaZch[dg[jaa"[gVbZ9HAGh         ', c$V .*#) &'+ &&,%\
15mm f/2.8 EX DG +'. )★ I]^hÄh]ZnZdei^Xejih^cVkZgnhda^YeZg[dgbVcXZ·cdiidWZY^hb^hhZYVhV\^bb^X`         &* c$V ,(#* +* (,%\
17-50mm f/2.8 EX DC OS HSM +-.  ;A9VcYVhe]Zg^XVaZaZbZcih!VXdchiVci[$'#-VeZgijgZVcYDei^XVaHiVW^a^hVi^dc         '- ,, -(#* .' *+*\
17-70mm f/2.8-4 DC Macro OS HSM )).  8dbeVXigZYZh^\cd[i]^hlZaa"gZXZ^kZYaZchaVjcX]Zhi]Z»8dciZbedgVgn¼gVc\Z         '' ,' ,. -' ),%\
18-35mm f/1.8 DC HSM ,.. *★ HV^YidWZi]ZldgaY¼hÄghiXdchiVci[$&#-oddb09d;Zfj^kVaZcid[XdchiVci[$'#,dc[jaa[gVbZ         '- ,' ,- &'& -&%\
18-200mm f/3.5-6.3 DC (). (★ <ddY86XdcigdaVi'%%bbWjidi]Zgl^hZVcVkZgV\ZeZg[dgbZg         )* +' ,% ,-#& )%*\
18-200mm f/3.5-6.3 DC OS )). )★ :mXZaaZcigZhdaji^dcVcYXdch^hiZcieZg[dgbVcXZ!WjiXdcigdadkZg86XdjaYWZVa^iiaZWZiiZg         )* )* ,. &%% +&%\
18-250mm f/3.5-6.3 DC OS HSM *,' )#*★ 6kZgnXVeVWaZhZid[BI;XjgkZhi]Vidcanh]dlhb^cdglZV`cZhhVil^YZVeZgijgZh         )* ,' ,. &%& +(%\
18-250mm f/3.5-6.3 DC Macro OS HSM *%%  JaigV"XdbeVXi&(#-m]^\]oddbgVi^daZchYZh^\cZYZmXajh^kZan[dgY^\^iVaHAGXVbZgVh         (* +' ,(#* --#+ ),%\
18-300mm f/3.5-6.3 DC Macro OS HSM )..  8dbeVXiVcYedgiVWaZ]^\]gVi^doddbaZchd[[Zg^c\Zc]VcXZY[ZVijgZhidbV`Z^ii]Z^YZVaVaa"^c"dcZaZch         (. ,' ,. &%&#* *-*\
20mm f/1.4 DG HSM | A ,.. *★ 6cdjihiVcY^c\l^YZVc\aZÄmZY"[dXVa"aZc\i]aZch         ',#+ c$V .%#, &'.#- .*%\
24mm f/1.4 DG HSM | A ,.. *★ I]ZaViZhiVYY^i^dcidH^\bV¼h»6gi¼a^cZd[]^\]"fjVa^in[Vhieg^bZh         '* ,, -* .%#' ++*\
24-35mm f/2 DG HSM | A .). *★ I]ZldgaY¼hÄghiaVg\Z"VeZgijgZ[jaa"[gVbZoddbd[[Zg^c\Vl^YZVeZgijgZd[[$'i]gdj\]djii]ZoddbgVc\Z         '- -' -,#+ &''#, .)%\
24-70mm f/2.8 EX DG IF HSM -.. *★ CdieZg[ZXi!WjiVcZmXZaaZciVaiZgcVi^kZid8VcdcVcYC^`dc¼h')",%bbaZchZh!l^i]\gZViBI;XjgkZh         (- -' --#+ .)#, ,.%\
24-70mm f/2.8 DG OS HSM | A &(..  AViZhiegZb^jb[VhihiVcYVgYoddb[dg[jaa[gVbZ^cXajYZhdei^XVa^bV\ZhiVW^a^hVi^dc         (, -' -- &%,#+ &%'%\
24-105mm f/4 DG OS HSM | A -). )#*★ HZg^djh[jaa"[gVbZVaiZgcVi^kZiddlc"WgVcYaZchZhViVadlZgeg^XZ!l^i]cdXdbegdb^hZh^ci]ZWj^aY         )* -' -. &%. --*\
30mm f/1.4 DC HSM | A (+%  Jc^fjZ[Vhieg^bZ[dg6EH"89HAGhi]Vi\^kZh)*bbZfj^kVaZci»cdgbVa¼Vc\aZd[k^Zl         (% +' +(#( ,)#' )(*\
35mm f/1.4 DG HSM | A ,.. *★ HjeZgWaVg\Z"VeZgijgZeg^bZ0ÄghiaZch^cXdbeVcn¼h»6gi¼hZg^Zh         (% +, ,, .) ++*\
50mm f/1.4 EX DC HSM )*. *★ I]^haZchbVnWZeg^XZYVWdkZi]Zcdgb!Wji^iYZa^kZghgZhjaihi]ViVgZh^b^aVganZaZkViZY         )* ,, -)#* +-#' *%*\
50mm f/1.4 DG HSM | A -). *★ I]^haZch]VhVjc^fjZYZh^\ci]VieVnhd[[^cigjanZmXZaaZci^bV\ZfjVa^in         )% ,, -*#) &%% -&*\
50-100mm f/1.8 DC HSM | A -'. *★ I]^h6EH"8"[dgbViaZchV^bhidXdkZgi]Z[dXVaaZc\i]hd[i]gZZeg^bZaZchZh^cdcZ         (,#) -' .(#* &,%#, &).%\
50-500mm f/4.5-6.3 DG OS HSM &).. )★ 6&%moddbgVc\Z!HA9ZaZbZcihVcYXdbeVi^W^a^inl^i]&#)mVcY'miZaZXdckZgiZgh         &-% .* &%)#) '&. &.,%\
70-200mm f/2.8 EX DG OS HSM &*(.  Ild;A9\aVhhZaZbZcih!hV^Yid]VkZi]ZhVbZY^heZgh^kZegdeZgi^ZhVhÅjdg^iZ         &)% ,, -+#) &., &)(%\
70-300mm f/4-5.6 APO DG Macro '(*  I]^hiZaZ"oddbaZch]VhV."WaVYZYY^Ve]gV\bVcYildHA9ZaZbZcih         .* *- ,+#+ &'' **%\
70-300mm f/4-5.6 DG Macro &,% (★ <ZcZgVaanjcgZbVg`VWaZBI;XjgkZh!VcYeVgi^XjaVganeddgVi(%%bb         .* *- ,+#+ &'' *)*\
85mm f/1.4 EX DG HSM -.% *★ I]ZH^\bV¼hgZhdaji^dc[gdb[$)id[$-^hZmXZaaZci         -* ,, -+#) -,#+ ,'*\
85mm f/1.4 DG HSM | A &&.. *★ Dei^XVaanhijcc^c\[Vhih]dgiiZaZe]dideg^bZ^hi]Zjai^bViZedgigV^iaZch[dg9HAGjhZgh         -* -+ .* &'+ &&(%\
100-400mm f/5-6.3 DG OS HSM | C ,.. )#*★ GZaVi^kZana^\]ilZ^\]iiZaZoddbXdbZhl^i]lZVi]ZghZVa^c\VcYX]d^XZd[ejh]"ejaadgil^hioddb         &+% +, -+#) &-'#( &&+%\
105mm f/2.8 EX DG OS HSM Macro +). )#*★ 6cdei^XVaanhiVW^a^hZYbVXgdaZch!i]^hhjeZg"h]VgeaZch^hdcZd[djg[Vkdjg^iZh         (&#' +' ,- &'+#) ,'*\
120-300mm f/2.8 DG HSM | S (*..  ;^ghiaZch^cXdbeVcn¼h»Hedgih¼hZg^Zh0hl^iX]ZcVWaZhVY_jhibZcid[Wdi][dXjhheZZYVcY[dXjha^b^iZg         &*% &%* &') '.& ((.%\
135mm f/1.8 DG HSM | A &(.. *★ HjeZg"[VhiedgigV^ieg^bZYZh^\cZYidegdk^YZhj[ÄX^ZcigZhdaji^dc[dg*%BE9HAGh         -,#* -' .&#) &&)#. &&(%\
150mm f/2.8 EX DG OS HSM Macro APO ...  6bVXgdaZchd[[Zg^c\^bV\ZhiVW^a^hVi^dc         (- ,' ,.#+ &*% .*%\
150-500mm f/5-6.3 DG OS HSM £999 3★ H^\c^ÄXVcihd[icZhhVil^YZbVm^bjbVeZgijgZh[dgVaa[dXVaaZc\i]h         ''% -+ .)#, '*' &,-%\
150-600mm f/5-6.3 DG OS HSM | C &&..  7jY\Zi»8dciZbedgVgn¼kZgh^dcd[H^\bV¼hadc\"gVc\ZiZaZe]didoddb^hhbVaaZgVcYa^\]iZg         '-% .* &%* '+%#& &.(%\
150-600mm f/5-6.3 DG OS HSM | S &*..  I]^hedgiVWaZ!]^\]"eZg[dgbVcXZiZaZe]didoddb[gdbH^\bV¼hHedgiha^cZ^hYjhiVcYheaVh]egdd[         '+% &%* &'& '.%#' '-+%\
180mm f/2.8 EX DG OS HSM Macro APO &).. *★ &/&bVXgdaZch[ZVijg^c\i]gZZ;A9\aVhhZaZbZcihVcYÅdVi^c\^ccZg"[dXjh^c\hnhiZb         ), -+ .* '%) &+)%\
300mm f/2.8 APO EX DG HSM '-..  :migVAdl9^heZgh^dc:A9\aVhh!bjai^"aVnZgXdVi^c\hVcYV=neZgHdc^XBdidg         '*% )+ &&. '&)#* ')%%\

SONY DSLR
11-18mm f/4.5-5.6 DT +%. (★ 6hda^YdkZgVaaeZg[dgbVcXZi]Vih^bean[V^ahidWZdjihiVcY^c\^cVcnlVn         '* ,, -( -%#* (+%\
16mm f/2.8 Fisheye ,%.  ;^h]ZnZaZchl^i]VXadhZ[dXjh^c\Y^hiVcXZd['%XbVcYV&-%Vc\aZd[k^Zl         '% c$V ,* ++#* )%%\
16-35mm f/2.8 ZA SSM T* &,'. )#*★ =^\]"ZcYOZ^hhl^YZVc\aZoddbaZch^YZVa[dg[jaa"[gVbZ6ae]V9HAGh         '- ,, -( &&) .%%\
16-50mm f/2.8 SSM *+. )★ 7g^\]ih]dgi"gVc\ZiZaZe]didaZch         &%% ,' -& -- *,,\
16-80mm f/3.5-4.5 ZA T* ,%. )#*★ 8VgaOZ^hhhiVcYVgYoddbaZch         (* +' ,' -( ))*\
16-105mm f/3.5-5.6 DT **. (★ 6cVbW^i^djhaZchi]Vi^h\ddY^ceVgih!Vai]dj\]fjVa^inYgdehd[[Vi&%*bb         )% +' ,' -( ),%\
18-135mm f/3.5-5.6 DT SAM )'.  6kZghVi^aZoddbl^i]9^gZXiBVcjVa;dXjh         )* +' ,+ -+ (.-\
18-200mm f/3.5-6.3 DT *%. (★ L]^aZi]Z[dXVagVc\Z^hXZgiV^canjhZ[ja!i]ZaZch^hdkZgVaaVcVkZgV\ZeZg[dgbZg         )* +' ,( -*#* )%*\
18-250mm f/3.5-6.3 DT **. (#*★ <ddYdkZgVaa!WjieZg[dgbVcXZY^ehViadc\Zg[dXVaaZc\i]h         )* +' ,* -+ ))%\
20mm f/2.8 **. (#*★ L^YZVc\aZeg^bZaZchl^i]gZVg[dXjh^c\bZX]Vc^hbVcY[dXjhgVc\Za^b^iZg         '* ,' ,- *(#* '-*\
24mm f/2 ZA SSM T* &&&.  6c^begZhh^kZanWg^\]il^YZVc\aZ8VgaOZ^hhaZch         &. ,' ,- ,+ ***\
24-70mm f/2.8 ZA SSM T* &+,. *★ 8VgaOZ^hhb^Y"gVc\ZoddbaZchl^i]hjeZgWdei^Xh^YZVa[dg[jaa"[gVbZ6ae]V9HAGh         () ,, -( &&& .**\
28-75mm f/2.8 SAM ,%.  6XdchiVci[$'#-VeZgijgZVcYVHbddi]6jid[dXjhBdidgH6B^ci]^hhiVcYVgYoddb         (- +, ,,#* .) *+*\
30mm f/2.8 DT SAM Macro &,. )★ BVXgdaZchYZh^\cZY[dgY^\^iVal^i]&/&bV\c^ÄXVi^dcVcYHbddi]6jid[dXjhBdidg         &' ). ,% )* &*%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

35mm f/1.4 G &(+.  L^i]VcZfj^kVaZci[dXVaaZc\i]d[*'#*bb!Vl^YZVeZgijgZVcYVhe]Zg^XVa\aVhh         (% ** +. ,+ *&%\

35mm f/1.8 DT SAM &,.  7jY\Zi"eg^XZ^cYddgedgigV^iaZch         '( ** ,% *' &,%\
50mm f/1.8 DT SAM &*. )#*★ 6kZgnjhZ[jaaZchi]VieZg[dgbhlZaaVcYXVgg^ZhVgdX`"Wdiidbeg^XZiV\         () ). ,% )* &,%\
50mm f/1.4 (+. *★ L]^aZi]^haZcheZg[dgbhlZaadkZgVaa!eZg[dgbVcXZVi[$&#)XdjaYWZWZiiZg         )* ** +*#* )( ''%\
50mm f/1.4 ZA SSM &(%% )★ 8VgaOZ^hhYZh^\chV^YidWZ^YZVa[dgfjVa^in"Xg^i^XVaedgigV^ijgZVcYadl"a^\]ih]ddi^c\         )* ,' -& ,&#* *&-\
50mm f/2.8 Macro *'.  6bVXgdaZchl^i]VÅdVi^c\aZchZaZbZci         '% ** ,&#* +% '.*\
55-200mm f/4-5.6 DT SAM '&.  9Zh^\cZY[dgXgdeeZY"hZchdg9HAGh!l^i]VHbddi]6jid[dXjhBdidg         .* ** ,&#* -* (%*\
55-300mm f/4.5–5.6 DT SAM (%.  8dbeVXi!a^\]ilZ^\]iiZaZe]didoddbd[[Zg^c\hbddi]!h^aZcideZgVi^dc         &)% +' ,, &&+#* )+%\

60 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
70-200mm f/2.8 G SSM II ',.. =^\] eZg[dgbVcXZ < HZg^Zh iZaZe]did oddb aZch   &'% ,, -, &.+#* &()%\
70-300mm f/4.5-5.6 G SSM -+. (#*★ <"hZg^ZhaZchl^i]:9ZaZbZcih!HjeZgHdc^XlVkZBdidgVcYVX^gXjaVgVeZgijgZ         &'% +' -'#* &(*#* ,+%\
70-400mm f/4-5.6 G SSM II &,..  GZYZh^\cd[dg^\^cVa[ZVijgZhVcZlAH>Yg^kZX^gXj^iVcYegdb^hZh[VhiZgVjid[dXjh         &*% ,, .* &.+ &*%%\
75-300mm f/4.5-5.6 '&. (★ 8dbeVXiVcYa^\]ilZ^\]ioddbl^i]VX^gXjaVgVeZgijgZ         &*% ** ,& &'' )+%\
85mm f/1.4 ZA Planar T* &(+.  ;^mZY"[dXVa"aZc\i]aZchV^bZYVi^cYddgedgigV^ijgZ         -* ,' -&#* ,'#* *+%\
85mm f/2.8 SAM '&.  6a^\]i!adl"eg^XZedgigV^ijgZaZch         +% ** ,% *' &,*\
100mm f/2.8 Macro +*.  BVXgdaZchl^i]X^gXjaVgVeZgijgZ!YdjWaZÅdVi^c\ZaZbZciVcYl^YZVeZgijgZ         (* ** ,* .-#* *%*\
135mm f/1.8 ZA Sonnar T* &)'.  6Wg^\]i!8VgaOZ^hhedgigV^iiZaZe]didaZch         ,' ,, -) &&* &%%)\
135mm f/2.8 STF &&&.  IZaZe]didaZchÄiiZYl^i]VedY^hVi^dcZaZbZciid\^kZViigVXi^kZYZ[dXjhZ[[ZXih         -, -% -% .. ,(%\

TAMRON DSLR
10-24mm f/3.5-4.5 SP AF Di II LD Asph IF *&& (#*★ <ddYXdch^hiZcXnVi&%bbVcY&-bb!WjiVhiZZeYZXa^cZVi')bb         ') ,, -(#' -+#* )%+\
10-24mm f/3.5-4.5 Di II VC HLD *-% )#*★ L^YZVc\aZoddbd[6EH"8l^i]YjhiVcYheaVh]egddÄc\VcYdei^XVahiVW^a^hVi^dc         ') ,, -(#+ -)#+ ))%\
15-30mm f/2.8 SP Di VC USD .*% )★ :mXZaaZcikVajZ!i]^h^hi]Zdcanl^YZVc\aZoddbl^i]^bV\ZhiVW^a^hVi^dcVcYVc[$'#-VeZgijgZ         '- c$V .-#) &)* &&%%\
16-300mm f/3.5-6.3 Di II VC PZD Macro +%% )★ KZghVi^aZbZ\Voddb!VkZgn\ddYVaa"^c"dcZhdaji^dc!Vhadc\Vhndjldc¼icZZYidZcaVg\Zid6'h^oZ         (. +, ..#* ,* *)%\
17-50mm f/2.8 SP AF XR Di II LD Asph IF )*% )#*★ KZgn\ddYdei^XVaeZg[dgbVcXZ!l]^X]eZV`hVi[$*#+"-         ', +, ,) -&#, )()\
17-50mm f/2.8 SP AF XR Di II VC LD Asph IF *)& )#*★ KZgnhigdc\eZg[dgbVcXZViadc\Zg[dXVaaZc\i]hWjilZV`ZgVii]Zdi]ZgZcY         '. ,' ,.#+ .)#* *,%\
18-200mm f/3.5-6.3 AF Di II VC &+. )★ A^\]ilZ^\]iVaa"^c"dcZaZch[dg6EH"89HAGhl^i]K^WgVi^dc8dbeZchVi^dc         ). +' ,* .+#+ )%%\
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro ++( (★ I]ZcZmi"\ZcZgVi^dc^cXVgcVi^dcd[[ZghVcZl[dgbd[jaigVhdc^XZc\^cZ         ). +' ,)#) -- )*%\
18-400mm f/3.5-6.3 Di II VC HLD +*% )★ I]Zadc\Zhi"gVc\^c\iZaZe]didoddbnZibVYZijgch^cVhjgeg^h^c\anYZXZcieZg[dgbVcXZ         )* ,' ,. &'(#. ,&%\
24-70mm f/2.8 SP Di VC USD &%.. *★ ;Vhioddbl^i]^bV\ZhiVW^a^hVi^dc[dgWdi][jaa"[gVbZVcY6EH"8XVbZgVh         (- -' --#' &&+#. -'*\
24-70mm f/2.8 SP Di VC USD G2 &').  Je\gVYZY[Vhioddbl^i]^begdkZY^bV\ZhiVW^a^hVi^dcVcYbd^hijgZ"gZh^hiVciXdchigjXi^dc         (- -' --#) &&& .%*\
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro )+%  HiVcYVgYoddbl^i]XdchiVci[$'#-VeZgijgZVcYb^c^bjb[dXjh^c\Y^hiVcXZd[((Xb         (( +, ,( .' *&%\
28-300mm f/3.5-6.3 Di VC PZD *'.  6cZl![jaa"[gVbZ!]^\]"edlZgoddb^cXdgedgVi^c\EO9E^Zod9g^kZ         ). +, ,* ..#* *)%\
35mm f/1.8 Di VC USD *-% )#*★ BdYZgViZanl^YZeg^bZXdbW^cZhjaigVhdc^X[dXjh^c\!^bV\ZhiVW^a^hVi^dcVcYV[VhiVeZgijgZ         '% +, -%#) -%#- )-%\
45mm f/1.8 Di VC USD *-% )#*★ 6aZchi]VigZlg^iZhi]ZhiVcYVgY[dXVaaZc\i]l^i]V[VhiVeZgijgZXdjeaZYl^i]dei^XVahiVW^a^hVi^dc         '. +, -%#) -.#' .)%\
60mm f/2 SP AF Di II LD IF Macro **% *★ BVXgdaZchYZh^\cZY[dg6EH"8hZchdgXVbZgVh!l^i]&/&gZegdYjXi^dcgVi^d         '( ** ,( -% )%%\
70-200mm f/2.8 SP AF Di LD IF Macro -&, )★ Cd^bV\ZhiVW^a^hVi^dcVcYcdVYkVcXZY6;hnhiZb!WjiVii]^heg^XZ^i¼hVhiZVa         .* ,, -.#* &.)#( &&*%\
70-200mm f/2.8 Di VC USD &%..  8dbeVXinZi[jaa"h^oZiZaZe]didoddbl^i]k^WgVi^dcXdbeZchVi^dc         &(% ,, -*#- &--#( &),%\
70-200mm f/2.8 SP Di VC USD G2 &(*% *★ :mXZaaZciiZaZe]didoddbl^i]jeYViZYVjid[dXjhVcY^bV\ZhiVW^a^hVi^dceajhhZVaZYXdchigjXi^dc         .* ,, -- &.(#- &*%%\
70-300mm f/4-5.6 SP VC USD (%% )★ JaigVhdc^XH^aZci9g^kZJH9iZX]cdad\n[dg[dXjh^c\VcYK^WgVi^dc8dbeZchVi^dc         &*% +' -&#* &)'#, ,+*\
70-300mm f/4-5.6 AF Di LD Macro &,% (#*★ Adl"Y^heZgh^dc\aVhhVcYXdbeVi^WaZl^i]Wdi][jaa"[gVbZVcYXgdeeZY"hZchdg9HAGh         .* +' ,+#+ &&+#* )(*\
85mm f/1.8 Di VC USD ,). *★ I]ZÄghi[jaa"[gVbZ-*bb[$&#-aZchl^i]^bV\ZhiVW^a^hVi^dc!i]Vi¼hVahdbd^hijgZgZh^hiVci         -% +, -* .& ,%%\
90mm f/2.8 SP AF Di Macro ),% )★ 6kZgnc^XZbVXgdaZchi]Vi^hXVeVWaZd[egdYjX^c\hdbZÄcZ^bV\Zh         '. ** ,&#* ., )%*\
90mm f/2.8 Di Macro 1:1 VC USD *,.  GZYZh^\cd[i]Z.%bb[$'#-HE6;9^BVXgd0XdbZhl^i]k^WgVi^dcXdbeZchVi^dc         (% *- &&* ,+#) **%\
100-400mm f/4.5-6.3 Di VC USD I78  GZaVi^kZanXdbeVXiVcYa^\]ilZ^\]iiZaZe]didoddbl^i]bd^hijgZ"gZh^hiVciXdchigjXi^dc         &*% +, &.. -+#' &&(*\
150-600mm f/5-6.3 SP Di VC USD G2 &()%  JeYViZYkZgh^dcd[IVbgdc¼hedejaVgadc\iZaZoddb         ''% .* &%-#) '+%#' '%&%\
150-600mm f/5-6.3 SP VC USD &&*% )★ Adc\Zhi[dXVaaZc\i]d[VcnV[[dgYVWaZZci]jh^Vhioddbdci]ZbVg`ZiVcYegdYjXZhZmXZaaZcigZhjaih         ',% .* &%*#+ '*,#- &.*&\
180mm f/3.5 SP AF Di LD IF Macro -.+ *★ IldAdl9^heZgh^dcZaZbZcihVcY^ciZgcVa[dXjh^c\hnhiZb^ci]^h&/&bVXgdaZch         ), ,' -)#- &+*#, .'%\
200-500mm f/5-6.3 SP AF Di LD IF &&') )#*★ 6lZaa"bViX]ZYVcYXdch^hiZcihZid[BI;XjgkZh!l^i]\ddYeZg[dgbVcXZVi[$-"&&         '*% -+ .(#* '', &'(,\

TOKINA DSLR
AT-X 10-17mm f/3.5-4.5 AF DX Fisheye **%  ;^h]ZnZoddbaZchl^i]LViZgGZeZaaZciXdVi^c\VcYHjeZgAdl9^heZgh^dc\aVhh         &) c$V ,% ,&#& (*%\
AT-X 11-16mm f/2.8 PRO DX II )).  JeYViZidi]ZedejaVg&&"&+bb[$'#-aZch![dgha^\]ian^begdkZYdei^XVaeZg[dgbVcXZ         (% ,, -) -.#' **%\
AT-X 11-20mm f/2.8 PRO DX ).. )★ 8dbeVXi!jaigV"l^YZVc\aZaZchl^i]V[VhibVm^bjbVeZgijgZVcYYZXZcidei^XVaeZg[dgbVcXZ         '- -' -. .' *+%\
AT-X 12-28mm f/4 PRO DX *'.  GZeaVXZbZci[dg&'"')bb[$)l^YZVc\aZoddb0[dgC^`dc9M9HAGh         '* ,, -) .% +%%\
AT-X 14-20mm f/2 PRO DX -).  L^YZVc\aZoddbl^i]hjeZg"[Vhi!hjeZg"Wg^\]i!XdchiVci[$'VeZgijgZ[dgh]ddi^c\^ckZgnadla^\]i         '- -' -. &%+ ,'*\
AT-X 16-28mm f/2.8 PRO FX ,*, *★ 6egd"ZcYl^YZVc\aZoddbV^bZYVi[jaa"[gVbZXVbZgVh         '+ c$V .% &(( .*%\
AT-X 17-35mm f/4 PRO FX -(% *★ DcZd[i]ZbdhiXVeVWaZhjeZg"l^YZoddbhVkV^aVWaZ!i]dj\]dcanVkV^aVWaZ^c8VcdcVcYC^`dcbdjcih         '- -' -. .) +%%\
AT-X 24-70mm f/2.8 PRO FX +,.  I]gZZegZX^h^dc"bdjaYZYVaa"\aVhhVhe]Zg^XVaaZchZaZbZcihVcYV[Vhi!XdchiVci[$'#-VeZgijgZ         (- -' -.#+ &%,#* &%&%\
AT-X 70-200mm f/4 PRO FX VCM-S +.&  ;ZVijgZhVcZlK^WgVi^dc8dggZXi^dcBdYjaZVcYg^c\"h]VeZYjaigVhdc^XhinaZVjid[dXjhbdidg         &%% +, -' &+,#* .-%\
AT-X 100mm f/2.8 AF PRO D Macro (+% )★ HdbZlZV`cZhhZhl^YZdeZc!WjigZVhdcVWaZBI;XjgkZhbV`Zi]^hVYZXZcidei^X         (% ** ,( .*#& *)%\

ZEISS DSLR
15mm f/2.8 Milvus '('.  I]^hhjeZg"l^YZVc\aZaZch]VhVcVc\aZd[k^Zld[&&%VcYjhZhVcVYkVcXZYgZigd[dXjhYZh^\c         '* .* &%'#( &%%#' .),\
18mm f/2.8 Milvus &...  8dbeVXihjeZg"l^YZVc\aZaZchl^i]egZb^jbdei^Xh^cXajY^c\VÅdVi^c\[dXjhhnhiZb[dgXadhZ"jeh         '* ,, .% .( ,'&\
21mm f/2.8 Milvus &'..  EgZb^jbl^YZVc\aZaZchl^i]XdbeaZmdei^XhYZh^\cZYidWZ[gZZd[Y^hidgi^dc         '' -' .*#* .* -*&\
25mm f/1.4 Milvus &... *★ Dei^XVaanZmXZaaZci!aVg\Z"VeZgijgZbVcjVa[dXjhl^YZVc\aZaZchl^i]lZVi]Zg"hZVaZYXdchigjXi^dc         '* -' .*#' &'( &''*\
25mm f/2 Distagon T* &(*%  6aVcYhXVeZaZchl^i]V[VhiVeZgijgZ         '* +, ,( .- +%%\
25mm f/2.8 Distagon T* ,(-  GZaVi^kZanhbVaaVcYa^\]il^YZVc\aZeg^bZ!VkV^aVWaZ^cC^`dcbdjcidcan         &, *- +) .% )+%\
28mm f/2 Distagon T* -*%  ;dgadl"a^\]ih]ddi^c\i]Z'-bbaZch]VheaZcind[ediZci^Va         ') *- ,'#) ,' *-%\
35mm f/1.4 Distagon T* &+%%  Egdb^hZhidegdYjXZhdbZhijcc^c\Wd`Z]Z[[ZXih         (% ,' ,- &'' -*%\
35mm f/1.4 Milvus &+..  AVg\ZVeZgijgZ!egZb^jb"fjVa^inbVcjVa"[dXjheg^bZl^i]lZVi]Zg"hZVaZYXdchigjXi^dc         (% ,' -)#- &')#- &&,)\
35mm f/2 Milvus -'.  8dbeVXi!bdYZgViZl^YZVc\aZbVcjVa[dXjheg^bZ         (% *- ,, -( ,%'\
50mm f/1.4 Planar T* **.  8aVhh^XYdjWaZ"<VjhhYZh^\cbVcjVa[dXjhhiVcYVgYeg^bZ[dg[jaa"[gVbZHAGh         )* *- ,& ,& (-%\
50mm f/1.4 Milvus .). *★ 6cZmXZei^dcVaan\ddYaZchd[[Zg^c\h]VgecZhh!YZiV^a!XaZVcZY\ZhVcYV\gZVijhZgZmeZg^ZcXZ         )* +, -'#* .) .''\
50mm f/2 Milvus Macro .).  BVcjVa"[dXjhbVXgdaZchl^i]]Va["a^[Z"h^oZbV\c^ÄXVi^dcVcYhijcc^c\dei^Xh         ') +, -& ,*#( ,(%\
85mm f/1.4 Planar T* .-.  8aVhh^XedgigV^ieg^bZYZh^\cZYid\^kZhbddi]!gdjcYZYWd`Z]Z[[ZXih         &%% ,' ,- -- +,%\
85mm f/1.4 Milvus &(,. *★ ;Vhi-*bbbVcjVa"[dXjheg^bZaZchi]Vi¼heZg[ZXi[dgedgigV^ijgZ         -% ,, .% &&( &'-%\
100mm f/2 Milvus Macro &'..  6bVcjVa"[dXjhbVXgdaZchl^i]VWhdajiZanhjeZgWdei^XhVcY]Va["a^[Z"h^oZgZegdYjXi^dc         -- +, -%#* &%) -)(\
135mm f/2 Milvus &-..  IZaZe]didaZchl^i]VaVg\ZVeZgijgZVcYhbddi]Wd`Z]!^YZVa[dgbZY^jb"Y^hiVcXZedgigV^ie]did\gVe]n         -% ,, &'. &(' &&'(\

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 61

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
CSC Lenses

STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON CSC
EF-M 11-22mm f/4-5.6 IS STM (**  JaigV"l^YZVc\aZaZchl^i]VXdbeVXi!gZigVXiVWaZaZchYZh^\c         &* ** +& *-#' ''%\
EF-M 15-45mm f/3.5-6.3 IS STM ').  8daaVeh^WaZhiVcYVgYoddb[dg:DHB"hZg^ZhXVbZgVhi]Vi¼haZhhWja`ni]Vci]Z&-"**bb         '* ). +%#. ))#* &(%\
EF-M 18-55mm f/3.5-5.6 IS STM '+.  8dbeVXiVcYkZghVi^aZoddbaZch         '* *' +& +& '&%\
EF-M 18-150mm f/3.5-6.3 IS STM (..  L^YZ"gVc\^c\'."')%bbZfj^kVaZcihjeZgoddbl^i]hjgeg^h^c\an\ddY^bV\ZfjVa^in         '* ** +%#. -+#* (%%\
EF-M 22mm f/2 STM ''%  HbVaaVcYWg^\]il^YZVc\aZeVcXV`ZaZch         &* )( +& '(#, &%*\
EF-M 28mm f/3.5 IS STM Macro '.)  HbVaa!gZigVXiVWaZaZchl^i]Wj^ai"^cA:9a^\]ih[dg^aajb^cVi^c\XadhZ"jehjW_ZXih         .#, )( +%#. )*#* &(%\
EF-M 55-200mm f/4.5-6.3 IS STM ((%  IZaZe]didoddbi]ViiV`ZhndjXadhZgidi]ZVXi^dc         &%% *' +%#. -+#* '+%\

FUJIFILM CSC
XF 10-24mm f/4 R OIS -).  JaigV"l^YZVc\aZaZch!b^c^bVa\]dhi^c\l^i];j_^¼h=I":78bjai^"aVnZgXdVi^c\         ') ,' ,- -, )&%\
XF 14mm f/2.8 R ,'. *★ JaigV"l^YZVc\aZeg^bZ!]^\]gZhdaji^dcidVaaXdgcZgh!eZg[dgbVcXZ_jhi^ÄZheg^XZiV\         &- *- +* *-#) '(*\
XF 16mm f/1.4 R WR ,'. *★ LZVi]Zg"hZVaZY[Vhieg^bZ[dgM"hnhiZbjhZgh         &* +, ,(#) ,( (,*\
XC 16-50 f/3.5-5.6 OIS II (*.  A^\]ilZ^\]iaZch[dgb^ggdgaZhhM"hZg^Zhd[[Zgh')",*bbZfj^kVaZcioddbgVc\Z         (% *- +'#+ .-#( &.*\
XF 16-55mm f/2.8 R LM WR -.. *★ 6ÅV\h]^eM;hiVcYVgYoddbaZchl^i]VXdchiVci[$'#-VeZgijgZVcYlZVi]Zg"gZh^hiVcXZ         +% ,, -(#( &%+ +**\
XF 18mm f/2 R )(% )★ 6XdbeVXil^YZVc\aZaZchl^i]Vfj^X`VeZgijgZ         &- *' +)#* )%#+ &&+\
XF 18-135mm f/3.5-5.6 R LM OIS WR +.. )★ LZVi]Zg"gZh^hiVcioddb[dg;j_^ÄabMbdjci!YZh^\cZYidWZi]ZeZg[ZXieVgicZg[dgi]Z;j_^ÄabM"I&         )* ,, ,*#, .,#- ).%\
XF 18-55mm f/2.8-4 R LM OIS *..  H]dgioddbaZchl^i]dei^XVa^bV\ZhiVW^a^hVi^dc         &- *- +* ,%#) (&%\
XF 23mm f/1.4 R +).  EgZb^jbl^YZVc\aZeg^bZaZchl^i][VhibVm^bjbVeZgijgZ         '- +' ,' +( (%%\
XF 23mm f/2 R WR )&. *★ 8dbeVXilZVi]Zg"gZh^hiVcil^YZVc\aZeg^bZaZch    '' )( +% *&#. &-%\
XF 27mm f/2.8 ',%  6]^\]"eZg[dgbVcXZh^c\aZ"[dXVa"aZc\i]aZch         +% (. '( +&#' ,-\
XF 35mm f/1.4 R )(. )★ H]VaadlYZei]d[ÄZaYVcYWd`Z]Z[[ZXihVgZh^beaZidVX]^ZkZl^i]i]^haZch         '- *' +* *)#. &-,\
XF 35mm f/2 R WR '.. *★ 6edlZg[jaVcYlZVi]Zg"gZh^hiVciaZchi]Vi[ZZah\gZViVcY]Vhi]ZeZg[dgbVcXZidbViX]         (* )( +% )*#. &,%\
XF 50mm f/2 R WR )). *★ A^\]ilZ^\]ilZVi]Zg"gZh^hiVcih]dgiiZaZe]dideg^bZaZchi]Vi¼h^YZVa[dgh]ddi^c\edgigV^ih         (. )+ +% *.#) '%%\
XF 50-140mm f/2.8 R LM OIS WR &').  6iZaZe]didoddbl^i]VXdchiVcibVm^bjbVeZgijgZVcYlZVi]Zg"gZh^hiVcXZ         &%% ,' -'#. &,*#. ..*\
XC 50-230mm f/4.5-6.7 OIS II (&*  I]ZM8aZchgVc\Z^hYZh^\cZYidhj^i;j_^¼hb^Y"gVc\Z8H8h!VcYi]^haZch]Vhdei^XVa^bV\ZhiVW^a^hVi^dc         &&% *- +.#* &&& (,*\
XF 55-200mm f/3.5-4.8 R LM OIS *.. )★ IZaZe]didl^i]Wj^ai"^cdei^XVa^bV\ZhiVW^a^hVi^dceajhVeZgijgZXdcigdag^c\         &&% +' &&- ,* *-%\
XF 56mm f/1.2 R -.. )★ I]^hl^YZ"VeZgijgZedgigV^iaZch[dgM"hZg^ZhXVbZgVh]Vh\gZVih]VgecZhhVcYYZiV^aVcY^h\gZVikVajZ         ,% +' ,(#' +.#, )%*\
XF 56mm f/1.2 R APD &&*. )★ 6YYhVedY^hVi^dcZaZbZcid[*+bb[$&#'[dgZkZcbdgZViigVXi^kZWVX`\gdjcYWajg         ,% +' ,(#' +.#, )%*\
XF 60mm f/2.4 XF R Macro *..  6h]dgiaZchYZh^\cZY[dgbVXgdldg`l^i]]Va["a^[Z"h^oZbV\c^ÄXVi^dc         '+#, (. +)#& ,%#. '&*\
XF 80mm f/2.8 R LM OIS WR Macro iWX  ;j_^Äab¼hadc\"VlV^iZY&/&bVXgd^cXajYZhlZVi]ZggZh^hiVcXZVcYdei^XVa^bV\ZhiVW^a^hVi^dc         '* +' -% &(% ,*%\
XF 90mm f/2 R LM WR +.. *★ 6XaVhh^XedgigV^iaZchi]Vi¼hh]Vge!l^i]\dg\ZdjhWd`Z]         +% +' ,* &%* *)%\
XF 100-400mm f/4.5-5.6 R LM OIS WR &(.. *★ I]^hhjeZgWoddb^hWdi]lViZgVcYYjhigZh^hiVci!VcYXVcdeZgViZ^c"&%8iZbeZgVijgZh         &,* ,, .)#- '&%#* &(,*\

LAOWA CSC
7.5mm f/2 MFT ).. )#*★ I^cnWjih]Vgel^YZVc\aZeg^bZ[dgB^Xgd;djgI]^gYh[ZVijg^c\bVcjVa[dXjhVcYVeZgijgZXdcigda         &' )+ *% ** &,%\

LEICA CSC
11-23mm f/3.5-4.5 TL &)*%  L^YZVc\aZoddbaZch[dgAZ^XV¼h6EH"8b^ggdgaZhhhnhiZb         '% +, ,, ,( (+-\
18-56mm f/3.5-5.6 Vario-Elmar TL &'-%  GZaVi^kZanaVg\Z!cdc"gZigVXiVWaZoddb[dg6EH"8b^ggdgaZhh         )* *' +(#* +& '*+\
18mm f/2.8 Elmarit TL &%'%  Ha^ba^cZ!ZmigZbZana^\]ilZ^\]ieVcXV`Zeg^bZl^i][VhiVjid[dXjh         (% (. +& '& -%\
23mm f/2 Summicron TL &)&%  8dbeVXi!a^\]ilZ^\]i[Vhieg^bZi]Vid[[ZghVXaVhh^X(*bbZfj^kVaZcik^ZldcAZ^XV¼h6EH"88H8h         (% *' +(#* (-#& &*(\
35mm f/1.4 Summilux TL &-(%  =^\]"ZcY[Vhieg^bZYZh^\cZYid\^kZZmXZei^dcVa^bV\ZfjVa^in         (% +% ,% ,, )'-\
55-135mm f/3.5-4.5 Apo-Vario-Elmar-TL &)*%  IZaZe]didoddbi]ViZhX]Zlh^bV\ZhiVW^a^hVi^dc^cVW^Y[dgbVm^bVadei^XVafjVa^in         &%% +% +- &&% *%%\
60mm f/2.8 Apo-Macro-Elmarit TL &.'%  BVXgdaZch[dgAZ^XV¼h6EH"8b^ggdgaZhhXVbZgVhd[[Zgh&/&a^[Z"h^oZbV\c^ÄXVi^dc         &+ +% +- -. ('%\
24-90mm f/2.8-4 Vario-Elmarit-SL (,.%  AVg\Z!WjiZmXZei^dcVafjVa^in[jaa"[gVbZhiVcYVgYoddbl^i]gZVaanjhZ[jaoddbgVc\Z         (% -' -- &(- &&)%\
90-280mm f/2.8-4 Apo-Vario-Elmarit SL ).(%  EgZb^jbiZaZe]didoddb[dgi]ZAZ^XVHAWg^c\hadc\Zg"i]Vc"jhjVagVc\Z         +% -' -- '(- &-*%\
50mm f/1.4 Summilux SL )%-%  8dbeaZm&&"ZaZbZci."\gdjeYZh^\cl^i]^ciZgcVa[dXjh^c\[dgi]^h[VhicdgbVaeg^bZ   +% -' -- &') &%+*\

OLYMPUS CSC
7-14mm f/2.8 ED Pro ... )#*★ HjeZg"l^YZVc\aZoddbaZchi]Vi¼hYjhiegdd[!heaVh]egdd[VcY[gZZoZ"egdd[         '% c$V ,-#. &%*#- *()\
8mm f/1.8 Pro Fisheye ,..  ;^h]ZnZaZchl^i]^begZhh^kZ^bV\ZfjVa^ini]Vi¼hYjhiegdd[!heaVh]egdd[VcY[gZZoZ"egdd[         &' c$V +' -% (&*\
9-18mm f/4-5.6 ED +(%  I]^hhjeZgl^YZVc\aZaZchd[[ZghVcZfj^kVaZci[dXVagVc\Zd[&-"(+bb^c(*bbiZgbh         '* *' *+#* ).#* &**\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

9mm f/8 Fish-eye Body Cap Lens -.  Ha^ba^cZaZch^cVWdYnXVel^i]&)%Vc\aZd[k^Zl         '% c$V *+ &'#- (%\
12mm f/2.0 ED ,(. *★ 6l^YZVc\aZÄmZYaZch[dgi]ZB^Xgd;djgI]^gYhhnhiZb         '% )+ *+ )( &(%\
12-40mm f/2.8 ED Pro -..  LZVi]Zg"gZh^hiVcihiVcYVgYoddbl^i]ide"cdiX]dei^XhVcYVXdchiVciVeZgijgZd[[$'#-         '% +' +.#. -) (-'\
12-50mm f/3.5-6.3 ED EZ ().  6lZVi]Zg"gZh^hiVcioddbaZchl^i]bVcjVadgZaZXigdc^Xoddb         '% *' *, -( '&&\
12-100mm f/4 IS ED Pro &%..  =^\]"ZcYlZVi]Zg"hZVaZYhjeZgoddbaZch[ZVijg^c\edlZg[ja^c"aZch>Hl^i]HncX>H         &* ,' ,,#* &&+#* *+&\
15mm f/8 Body Cap Lens +.  Hig^XianheZV`^c\VcVXXZhhdgngVi]Zgi]VcVaZch!l^i]WVh^Xdei^Xh^cVi^cneaVhi^X]djh^c\         (% c$V *+ . ''\
17mm f/1.2 ED Pro &(%%  =^\]"ZcY!aVg\Z"VeZgijgZlZVi]ZghZVaZYeg^bZYZh^\cZY[dgYdXjbZciVgndgaVcYhXVeZldg`         '% +' +-#' -, (.%\
17mm f/1.8 MSC )*% *★ L^YZ"VeZgijgZ!l^YZVc\aZeg^bZWdVhi^c\ZmXZaaZcieZV`h]VgecZhhVcYadlXdadjg[g^c\^c\         '* )+ *, (* &'%\

range of used cameras, lenses & accessories

uality checked, tested & cleaned, including a
ll sensor clean on all cameras.

ȓǾDzɰɤǀȖȖɜəźɜɰǀʢƱźDzǀʣɜ
ƱɰźƱɰɤǰɜźƱəǀɰǾɰǾʗǀɛɰǀ̱

62 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

MICRO 4 THIRDS
CSC Lenses

STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
17mm f/2.8 Pancake £300 4★ I^cn l^YZVc\aZ eVcXV`Z eg^bZ l^i] gZVhdcVWaZ dei^Xh  '% (, *, '' ,&\
14-42mm f/3.5-5.6 II R '+.  6gZYZh^\cZYkVg^Vi^dcd[i]ZhiVcYVgY`^iaZch         '* (, *+#* *% &&'\
14-42mm f/3.5-5.6 EZ ('.  8dbeVXi`^iaZch[dgDanbejhE:CVcYDB"9bdYZahl^i]edlZgoddbXdcigda         '% (, +%#+ ''#* .(\
14-150mm f/4-5.6 II **%  =^\]"edlZgZYoddb[dgVaandjgcZZYh·[gdbl^YZVc\aZidiZaZe]did·eajhlZVi]Zg"gZh^hiVcXZ         *% *- +(#* -( '-*\
25mm f/1.2 ED Pro &%..  =^\]"egZX^h^dc!]^\]"heZZYdei^Xl^i]VheZX^VaaZchhnhiZbXdchigjXi^dc[dgZY\Z"id"ZY\Zh]VgecZhh         (% +' ,% -, )&%\
25mm f/1.8 (,%  8dbeVXieg^bZaZchl^i]jaigV"Wg^\]i[$&#-VeZgijgZ         '* )+ *,#- )' &(,\
30mm f/3.5 ED Macro ').  CZl^ci]ZB#Oj^`dEgZb^jbgVc\Z!i]^hbVXgdaZch[ZVijgZhhjeZg"[Vhi6;VcYlZ^\]hdcan&'-\         .#* )+ *, +% &'-\
40-150mm f/2.8 ED Pro &'.. )★ I]^hedlZg[ja-%"(%%bb(*bb"Zfj^kVaZci[dXVa"aZc\i]aZchd[[ZghVbVo^c\edgiVW^a^in[dgi]^hegdXaVhh        ,% ,' ,.#) &+% ,+%\
40-150mm f/4-5.6 R (%.  I]^hb^YYaZ"Y^hiVcXZoddbaZch]VhVc-%"(%%bb(*bb"Zfj^kVaZci[dXVaaZc\i]         .% *- +(#* -( &.%\
45mm f/1.2 ED Pro &'%%  AVg\Z"VeZgijgZaZchYZh^\cZY[dgedgigV^ie]did\gVe]nl^i]egZb^jbdei^Xh         *% +' ,% -)#. )&%\
45mm f/1.8 ',. *★ ;Vhi"VeZgijgZaZch[dgiV`^c\edgigV^ih]dih^hh]Vge!fj^ZiVcY]VhcdXdadjg[g^c\^c\         *% (, *+ )+ &&+\
60mm f/2.8 Macro )*%  =^\]"egZX^h^dcbVXgdaZchi]Vi¼hYjhiegdd[VcYheaVh]egdd[         &. )+ *+ -' &-*\
75-300mm f/4.8-6.7 ED II )..  JeYViZ[ZVijg^c\Oj^`d:migV"adlGZÅZXi^dcDei^XVaXdVi^c\hV^YidgZYjXZ\]dhi^c\         .% *- +. &&, )'(\
75mm f/1.8 ED ,.. *★ JaigV"[Vhieg^bZaZch^YZVa[dgedgigV^ihVcYVXi^dch]dih         -) *- +) +. (%*\
300mm f/4 IS Pro ''%%  8dbeVXijaigV"iZaZe]dideg^bZl^i]dei^XVa^bV\ZhiVW^a^hVi^dc!XdbeVi^WaZl^i]HncX>H         &)% ,, .'#* '', &',%\

PANASONIC CSC
G 7-14mm f/4 ,)% *★ ;dgVl^YZVc\aZoddb!i]ZdkZgVaaaZkZad[gZhdaji^dc^hkZgn^begZhh^kZ         '* c$V ,% -(#& (%%\
G 8mm Fisheye f/3.5 ,(%  I]ZldgaY¼ha^\]iZhiVcYhbVaaZhiÄh]ZnZaZch[dgVc^ciZgX]Vc\ZVWaZ"aZchXVbZgV         &% '' +%#, *&#, &+*\
DG 8-18mm f/2.8-4 ASPH Leica &%).  HeaVh]egdd[!Yjhiegdd[VcY[gZZoZegdd[jaigV"l^YZVc\aZoddbl^i]egZb^jbdei^Xh         '( +, ,(#) -- (&*\
DG 12mm f/1.4 Leica Summilux ASPH &&.. )#*★ 8dbeVXi[Vhil^YZVc\aZfjVa^inl^i]ZmXZaaZcidei^XhVcYWj^ai"^cVeZgijgZg^c\         '% +' ,% ,% ((*\
G 12-32mm f/3.5-5.6 MEGA OIS ',%  KZgnXdbeVXil^i]VkZghVi^aZoddbgVc\ZVcYi]gZZVhe]Zg^XVaaZchZh         '% (, **#* ') ,%\
G X 12-35mm f/2.8 OIS &%.* *★ ;Vhi!]^\]"fjVa^inhiVcYVgYoddb[dgB^Xgd;djgI]^gYhXVbZgVh         '* *- +,#+ ,(#- (%*\
G X 12-35mm f/2.8 OIS II --%  JeYViZY[VhihiVcYVgYoddbl^i]bViiZ"WaVX`Äc^h]VcY^begdkZYVjid[dXjhVcYVeZgijgZXdcigda         '* *- +,#+ ,(#- (%*\
G 12-60mm f/3.5-5.6 OIS ASPH )(. )★ >cXdgedgViZhVhiZee^c\bdidg[dgVhbddi]!h^aZcideZgVi^dcVcY[ZVijgZhVYjhiVcYheaVh]egdd[YZh^\c         '% *- ++ ,& '&%\
DG 12-60mm f/2.8-4 OIS Leica --%  EgZb^jbhiVcYVgYoddbl^i]jhZ[ja[dXVa"aZc\i]gVc\ZVcYlZVi]Zg"gZh^hiVciXdchigjXi^dc         '% +' +- -+ ('%\
G 14mm f/2.5 II ').  L^YZVc\aZeVcXV`ZaZchi]Vih]djaYhj^iaVcYhXVeZe]did\gVe]Zgh         &- )+ **#* '%#* **\
G X 14-42mm f/3.5-5.6 X PZ POWER OIS (+. )★ EdlZgZYoddb0^begZhh^kZgZhjaih^ciZgbhd[Wdi]h]VgecZhhVcYX]gdbVi^XVWZggVi^dc         '% (, +& '+#- .*\
G 14-45mm f/3.5-5.6 MEGA OIS &-.  6a^\]ilZ^\]iVcYXdbeVXihiVcYVgYoddb[ZVijg^c\B:<6D>Hdei^XVa^bV\ZhiVW^a^hVi^dc         (% *' +% +% &.*\
G 14-140mm f/3.5-5.6 POWER OIS *..  BZiVa"WdY^ZYoddb[ZVijg^c\XdbeVcn¼hEDL:GD>Hdei^XVa^bV\ZhiVW^a^hZg         (% *- +, ,* '+*\
DG 15mm f/1.7 Leica SUMMILUX *). )★ =^\]"heZZYeg^bZl^i]VXdbeVXibZiVaWdYn!^cXajYZhi]gZZVhe]Zg^XVaaZchZhidXjiYdlcY^hidgi^dc         '% )+ (+ *,#* &&*\
G 20mm f/1.7 ASPH II ').  JaigV"XdbeVXi[Vhieg^bZl^i]ZmXZaaZcidei^XhWjihadlZgVjid[dXjhi]VcbdgZbdYZgcdei^dch         '% )+ '*#* +( &%%\
G 25mm f/1.7 ASPH &*. )#*★ >cZmeZch^kZ[VhicdgbVaeg^bZ[dgB^Xgd;djgI]^gYh         '* )+ +%#- *' &'*\
DG 25mm f/1.4 Leica SUMMILUX **% *★ 6[Vhi"VeZgijgZÄmZY[dXVaaZc\i]hiVcYVgYaZch[gdbAZ^XV         (% )+ +( *)#* '%%\
G 30mm f/2.8 Macro MEGA OIS £300 3★ 8dbeVXiaZchd[[Zg^c\igjZ"id"a^[ZbV\c^ÄXVi^dcXVeVW^a^in[dgWZiiZgbVXgd^bV\Zh         &% )+ *-#- +(#* &-%\
G 35-100mm f/4-5.6 ASPH MEGA OIS (%%  IZaZe]didoddbZfj^kVaZciid,%"'%%bbdcV(*bbXVbZgV         .% )+ **#* *% &(*\
G X 35-100mm f/2.8 Power OIS &%..  IZaZe]didoddbl^i]CVcdHjg[VXZ8dVi^c\iZX]cdad\n[dgYgVbVi^XgZYjXi^dcd[\]dhi^c\VcYÅVgZ         -* *- +,#) &%% (+%\
G X 35-100mm f/2.8 Power OIS II .,%  JeYViZY[VhiiZaZe]didoddbl^i]bViiZ"WaVX`Äc^h]VcY^begdkZYVjid[dXjhVcYVeZgijgZXdcigda         -* *- +,#) &%% (+%\
DG 42.5mm f/1.2 Leica DG OIS &(.. *★ B^Y"iZaZe]did]^\]"heZZYAZ^XV9<CdXi^XgdcaZchl^i]'Vhe]Zg^XVaaZchZhVcYjaigV"l^YZVeZgijgZ         *% +, ,) ,+#- )'*\
G 42.5mm f/1.7 Power OIS ().  B^Y"iZaZe]didaZchl^i]V(*bbZfj^kVaZcid[-*bb!^ih[$&#,VeZgijgZegdb^hZhVWZVji^[jaWd`Z]Z[[ZXi         (, (& ** *% &(%\
DG 45mm f/2.8 OIS Macro Leica *(.  I^cnbVXgdaZchl^i]&/&bV\c^ÄXVi^dcVcYdei^XVa^bV\ZhiVW^a^hVi^dc         &* )+ +( +'#* ''*\
G 45-150mm f/4-5.6 MEGA OIS '-% )★ 8dbeVXi!a^\]ilZ^\]iiZaZe]didoddbXdbeg^h^c\&'ZaZbZcih^cc^cZ\gdjeh         .% *' +' ,( '%%\
G X 45-175mm f/4-5.6 X PZ POWER OIS £400 4★ 6edlZgZYadc\"[dXVa"aZc\i]oddbaZch         .% )+ +&#+ .% '&%\
G 45-200mm f/4-5.6 MEGA OIS II (-%  JeYViZYiZaZe]didoddbaZchl^i]YjhiVcYheaVh]egdd[XdchigjXi^dc!hjeedgihEVcVhdc^X¼h9jVa>H         &%% *' ,% &%% (-%\
G 100-300mm f/4-5.6 MEGA OIS **% )★ Adc\oddbaZchd[[Zg^c\dei^XVa^bV\ZhiVW^a^hVi^dc         &%% *' ,% &%% (-%\
G 100-300mm f/4-5.6 MEGA OIS II *,% )★ JeYViZYadc\oddbaZchl^i]YjhiVcYheaVh]egdd[XdchigjXi^dc!hjeedgihEVcVhdc^X¼h9jVa>H         &%% *' ,% &%% (-%\
DG 100-400mm f/4-6.3 OIS Leica &().  Ide"fjVa^inhjeZgiZaZe]didoddbl^i]lZVi]ZghZVaZYXdchigjXi^dcVcY9jVa>Hhjeedgi         &%( ,' -( &,&#* .-*\
DG 200mm f/2.8 OIS Leica '+..  EgZb^jb)%%bb"Zfj^kVaZci[VhiiZaZe]dideg^bZXdbZhl^i]&#)miZaZXdckZgiZg^ci]ZWdm         &&* ,, -,#* &,) &')*\

SAMYANG CSC
7.5mm f/3.5 UMC fisheye MFT '*(  ;^h]ZnZbVcjVa"[dXjhaZchl^i]JaigVBjai^8dViZYaZchZaZbZcihidgZYjXZÅVgZVcY\]dhi^c\         . c$V )-#( +% &.,\
8mm f/2.8 UMC fisheye II ').  JeYViZYkZgh^dcd[i]ZHVbnVc\-bb[$'#-JB8;^h]ZnZaZch!l^i]^begdkZYdei^XVaXdchigjXi^dc         (% c$V +% +)#) '.%\
12mm f/2 NCS CS ((%  ;Vhil^YZVc\aZeg^bZ[dg6EH"8VcYB^Xgd;djgI]^gYhb^ggdgaZhhXVbZgVh         '% +, ,'#* *. ')*\
14mm f/2.8 FE AF (-.  6jid[dXjhl^YZVc\aZeg^bZYZh^\cZY[dgHdcn6ae]V,"hZg^ZhXVbZgVh         '% c$V -*#* .,#* *%*\
21mm f/1.4 ED AS UMC CS '*. *★ BVcjVa"[dXjhadl"a^\]iaZch[dgb^ggdgaZhhXVbZgVhwith6EH"8dghbVaaZg"h^oZYhZchdg         '- *- *)#( +,#. '.%\
35mm f/1.2 ED AS UMC CS (*.  HiVcYVgY"Vc\aZbVcjVa"[dXjhaZch[dgb^ggdgaZhhXVbZgVhl^i]6EH"8hZchdgh^oZ         (- +' +,#* ,)#' )'%\
35mm f/1.4 FE AF +%% ;VhiVjid[dXjheg^bZYZh^\cZY[dgbVm^bjbh]VgecZhhl^i]VA^cZVgHjeZghdc^XBdidg[dg6;         (% +, ,*#. &&* +)*\
35mm f/2.8 FE AF ',. )#*★ 8dbeVXi!a^\]ilZ^\]i!^cZmeZch^kZVjid[dXjheg^bZaZch[dg[jaa"[gVbZ8H8h         (* ). +&#- (( -+\
50mm f/1.2 AS UMC CS '.. *★ ;VhiiZaZe]dideg^bZi]ViXVcegdYjXZhijcc^c\gZhjaihl^i]VhjeZg"h]VaadlYZei]d[ÄZaY         *% +' +,#* ,)#* (-%\
50mm f/1.4 FE AF ).. )#*★ :mXZaaZcikVajZ[dgbdcZn[Vhieg^bZ[dg[jaa"[gVbZHdcn8H8h         )* +, ,(#* .,#, *-*\
300mm f/6.3 ED UMC CS Reflex ').  6XdbeVXigZÅZmb^ggdgaZchYZY^XViZY[dgb^ggdgaZhhXdbeVXihnhiZbXVbZgVh         .% *- ,(#, +)#* ('%\

NEW & COMING SOON NEW & COMING SOON

Samyang 14mm Sony E 18-135mm
f/2.8 Canon EF f/3.5-5.6 OSS
Stock expected February 2018! Stock expected February 2018!

£649.00 £569.00
Pre-order to receive one of the Pre-order to receive one of the
first available lenses in the UK! first available lenses in the UK!

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 3 February 2018 63

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
CSC Lenses

STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA CSC
16mm f/1.4 DC DN | C )*%  AVg\Z"VeZgijgZl^YZVc\aZaZchl^i]Yjhiegdd[VcYheaVh]egdd[YZh^\c         '* +, ,'#' .'#( )%*\
19mm f/2.8 DN | A &-.  BZiVa"WdY^ZY]^\]"eZg[dgbVcXZl^YZVc\aZeg^bZaZch         '% )+ +%#- )*#, &*%\
30mm f/1.4 DC DN | C (%% )★ 6eg^bZ[dgB^Xgd;djgI]^gYhVcYHdcn:"bdjcijhZgh!^i¼h^begZhh^kZanh]VgeZkZcVi[$&#)         (% *' +)#- ,( &)%\
30mm f/2.8 DN | A &-.  JhZhV]^\]"fjVa^inYdjWaZ"h^YZYVhe]Zg^XVaaZch[dgVeZg[dgbVcXZi]Vi¼hldgi]nd[H^\bV¼h»6gi¼a^cZ         (% )+ +%#- )%#* &)%\
60mm f/2.8 DN | A &-.  AViZhiVYY^i^dcidH^\bV¼h»6gi¼gVc\Z^hVb^Y"gVc\Z!]^\]"eZg[dgbVcXZiZaZe]didaZchl^i]bZiVaWdYn         *% )+ +%#- **#* &.%\

SONY CSC
E 10-18mm f/4 OSS ,*% )★ HjeZg"l^YZVc\aZoddbl^i]HjeZg:9\aVhhVcYDei^XVaHiZVYnH]di^bV\ZhiVW^a^hVi^dc         '* +' ,% +(#* ''*\
FE 12-24mm f/4 G &,%% )#*★ 8dbeVXi!lZVi]Zg"gZh^hiVcihjeZg"l^YZVc\aZoddbl^i]]^\]"fjVa^indei^Xh         '- c$V -, &&,#) *+*\
E 16mm f/2.8 ''% )★ EVcXV`ZaZch[dgC:MhnhiZb!l^i]VX^gXjaVgVeZgijgZVcY9^gZXiBVcjVa;dXjh         ') ). +' ''#* +,\
FE 16-35mm f/2.8 GM '(%%  EgZb^jb<BVhiZg"hZg^Zh[Vhil^YZVc\aZoddbl^i]lZVi]Zg"gZh^hiVciXdchigjXi^dc         '- -' --#* &'&#+ +-%\
FE 16-35mm f/4 ZA OSS Vario-Tessar T* &'-. *★ OZ^hh[jaa"[gVbZl^YZVc\aZoddbaZch         '- ,' ,- .-#* *&-\
E 16-50mm f/3.5-5.6 PZ OSS '..  8dbeVXiaZchl^i]EdlZgOddb!:9\aVhhVcYDei^XVaHiZVYnH]di^bV\ZhiVW^a^hVi^dc         '* )%#* +)#, '.#. &&+\
E 16-70mm f/4 ZA OSS Vario-Tessar T* -(.  6a^\]ilZ^\]i!kZghVi^aZb^Y"gVc\Zoddbl^i]VXdchiVci[$)VeZgijgZ         (* ** ++#+ ,* (%-\
E 18-55mm f/3.5-5.6 OSS ',%  Dei^XVaHiZVYnH]di!hV^YidWZh^aZciYjg^c\bdk^ZXVeijgZ!VcYVX^gXjaVgVeZgijgZ         '* ). +' +% &.)\
E 18-105mm f/4 G PZ OSS )..  Hdcn<aZch[dg:"bdjciXVbZgVhl^i]VXdchiVci[$)VeZgijgZ         )* ,' ,- &&% )',\
NEW E 18-135mm f/3.5-5.6 OSS *,%  A^\]ilZ^\]i!XdbeVXihiVcYVgYoddbYZh^\cZYidbViX]6ae]V+%%%"hZg^ZhXVbZgVh         )* ** +,#' -- ('*\
E 18-200mm f/3.5-6.3 OSS LE )-.  HbVaaZgVcYa^\]iZgi]VcXdbeVgVWaZaZchZh!i]^h^hVc^YZVa]^\]"bV\c^ÄXVi^dcigVkZaaZch         *% +' +- .- )+%\
E 18-200mm f/3.5-6.3 PZ OSS ...  7dVhihedlZgZYoddbVcY^bV\ZhiVW^a^hVi^dcl^i]6Xi^kZBdYZ!bV`^c\^i^YZVa[dgbdk^Zh         (% +, .(#' .. +).\
E 20mm f/2.8 (%.  EVcXV`Zl^YZVc\aZaZchegdb^hZhidWZi]ZeZg[ZXilVa`VgdjcYeVgicZg[dg:"bdjciXVbZgVh         '% ). +'#+ '%#) +.\
E 24mm f/1.8 ZA Sonnar T* -(.  Ide"fjVa^in8VgaOZ^hhdei^X^YZVaanhj^iZYidi]ZC:M",         &+ ). +( +*#+ ''*\
FE 24-240mm f/3.5-6.3 OSS .'. (★ >YZVa[dgigVkZa!aVcYhXVeZhVcYbdgZ!l^i]Wj^ai"^chiVW^a^hVi^dc#6ahdYjhiVcYbd^hijgZgZh^hiVci         *% ,' -%#* &&-#* ,-%\
FE 24-70mm f/2.8 GM &,.. *★ I]^hegd"\gVYZhiVcYVgYaZch[dgi]ZHdcn[jaa"[gVbZ;:bdjci\^kZhZmXZei^dcVaanh]VgegZhjaih         (- -' -,#+ &(+ --+\
FE 24-70mm f/4 ZA OSS Vario-Tessar T* &%). *★ 8dbeVXiaZchl^i]Vc[$)bVm^bjbVeZgijgZVXgdhhi]ZoddbgVc\ZVcYWj^ai"^c^bV\ZhiVW^a^hVi^dc         )% +, ,( .)#* )'+\
FE 24-105mm f/4 G OSS &&.. *★ :mXZaaZci[jaa"[gVbZhiVcYVgYoddbl^i]dei^XVahiVW^a^hVi^dcVcYlZVi]Zg"gZh^hiVciYZh^\c         (- ,, -(#) &&(#( ++(\
FE 28mm f/2 )&. )★ I]^h[jaa"[gVbZl^YZVc\aZeg^bZl^i]VWg^\]i[$'bVm^bjbVeZgijgZegdb^hZhZmXZaaZcih]VgecZhh         '. ). +) +% '%%\
FE 28-70mm f/3.5-5.6 OSS )).  7j^ai"^cDei^XVaHiZVYnH]di^bV\ZhiVW^a^hVi^dc!a^\]ilZ^\]i!VcYVedejaVgoddbgVc\Z         (% ** ,'#* -( '.*\
FE 28-135mm PZ f/4 G OSS '(,.  =^\]"eZg[dgbVcXZ<"HZg^ZhhiVcYVgYoddbaZch!XdchiVci[$)VeZgijgZ![dg]^\]"fjVa^inbdk^ZbV`^c\         .* .* &+'#* &%* &'&*\
E 30mm f/3.5 Macro '&.  6bVXgdaZch[dgi]ZC:MXdbeVXihnhiZbXVbZgVh         . ). +' **#* &(-\
FE 35mm f/1.4 ZA Distagon T* &**. )★ ;jaa"[gVbZO:>HH9^hiV\dcaZchl^i]aVg\Z!Wg^\]i[$&#)VeZgijgZ         (% ,' ,( .)#* +(%\
E 35mm f/1.8 OSS (..  A^\]ilZ^\]i!kZghVi^aZeg^bZl^i]Dei^XVaHiZVYnH]di^bV\ZhiVW^a^hVi^dc         (% ). +'#' )* &**\
FE 35mm f/2.8 ZA Sonnar T* +..  L]ZcXdjeaZYl^i]V[jaa"[gVbZHdcn:"bdjciXVbZgV!i]^heg^bZaZchegdb^hZhidYZa^kZg         (* ). +&#* (+#* &'%\
E 50mm f/1.8 OSS '&.  6]VcYn!adl"eg^XZedgigV^iaZch[dgi]ZC:MgVc\Z         (. ). +' +' '%'\
FE 50mm f/1.4 ZA Planar T* £1500 5★ Dei^XVaanhijcc^c\egZb^jb[Vhieg^bZ!Wji]j\ZVcY]ZVkn         )* ,' -(#* &%- ,,-\
FE 50mm f/1.8 ')% )★ ;ZVijgZhVcZldei^XVaYZh^\cl^i]Vh^c\aZVhe]Zg^XVaZaZbZci         )* ). +-#+ *.#* &-+\
FE 50mm f/2.8 Macro £500 4★ Hdcn¼hWjY\ZibVXgd[dg[jaa"[gVbZ8H8hd[[ZghYZXZcidei^XhWji^hhadlVi[dXjh^c\         &+ ** ,%#- ,& '(+\
FE 55mm f/1.8 ZA Sonnar T* -).  (*bb[jaa"[gVbZeg^bZaZchl^i]l^YZVeZgijgZVaadl^c\\ddY^bV\Zh^cYddghdg^cadla^\]i         *% ). +)#) ,%#* '-&\
E 55-210mm f/4.5-6.3 OSS '-.  A^\]ilZ^\]iiZaZe]didoddbaZch[dgi]ZC:MgVc\Z         &%% ). +(#- &%- ()*\
FE 70-200mm f/4 G OSS &(*. )★ <"hZg^ZhiZaZe]didoddbaZch!YjhiVcYlViZggZh^hiVci!l^i]Wj^ai"^c^bV\ZhiVW^a^hVi^dc         &%% ,' -% &,* -)%\
FE 70-200mm f/2.8 GM OSS '*%% *★ 8dbeVXi!a^\]ilZ^\]iiZaZe]didoddbaZch[dg[jaa"[gVbZ:"bdjciWdY^Zh         &%% ,' -% &,* -)%\
FE 70-300mm f/4.5-5.6 G OSS &&*%  Hdcn]VhVYYZYi]^haZchid^ih\gdl^c\gVc\Z         .% ,' -) &)(#* -*)\
FE 85mm f/1.8 £550 4★ GZaVi^kZan^cZmeZch^kZedgigV^iaZch^cXajYZhYjhiVcYbd^hijgZ"gZh^hiVciXdchigjXi^dc         -% +, ,- -' (,&\
FE 85mm f/1.4 GM &--. *★ Hijcc^c\^bV\ZfjVa^in[gdbHdcn¼hegZb^jb»<BVhiZg¼edgigV^iaZch      -% ,, -.#* &%,#* -'%\
FE 90mm f/2.8 Macro G OSS &%). *★ Dei^XVaanZmXZaaZciYZY^XViZYbVXgdaZch[dgHdcn¼h[jaa"[gVbZ:"bdjciXVbZgVh         '- +' ,. &(%#* +%'\
FE 100mm f/2.8 STF GM OSS &,%%  >ccdkVi^kZedgigV^iaZchXdbW^cZhdei^XVahiVW^a^hVi^dcVcYVcVedY^hVi^dcÄaiZg[dghbddi]Wd`Z]         *, ,' -*#' &&-#& ,%%\
FE 100-400mm f/4.5-5.6 GM OSS '*%% *★ EgZb^jbdei^XVaanhiVW^a^hZY!lZVi]ZghZVaZYiZaZoddbYZh^\cZYidbViX]i]Z6ae]V.         .- ,, .(#. '%* &(.*\

TAMRON CSC
14-150mm f/3.5-5.8 Di III (,% )★ I]ZÄghiB^Xgd;djgI]^gYhaZch[gdbIVbgdc[dgXdbeVXib^ggdgaZhh^ciZgX]Vc\ZVWaZ"aZchXVbZgVh         *% *' +(#* -%#) '-*\
18-200mm f/3.5-6.3 Di III VC (.%  A^\]ilZ^\]i!XdbeVXi!Vaa"^c"dcZoddb[dgb^ggdgaZhhXVbZgVh!idXdkZgegVXi^XVaanVcnh]ddi^c\h^ijVi^dc         *% +' +- .+#, )+%\

TOKINA CSC
Firin 20mm f/2 FE MF £800 5★ >begZhh^kZanh]Vge[Vhil^YZVc\aZeg^bZ[dgHdcnb^ggdgaZhh!l^i]bVcjVa[dXjhVcYVeZgijgZg^c\         '- +' +. -&#* ).%\

ZEISS CSC
Touit 12mm f/2.8 Distagon T* .*. *★ 9Zh^\cZYheZX^ÄXVaan[dgHdcnC:MVcY;j_^ÄabM"hZg^Zh8H8XVbZgVh#KZgn^begZhh^kZeZg[dgbVcXZ         &- +, -' +- ',%\
Batis 18mm f/2.8 ..%  I]Z7Vi^hgVc\Z^h[dgb^ggdgaZhh[jaa"[gVbZhnhiZbXVbZgVh[gdbHdcn         '* ,, ,- .* ((%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

Loxia 21mm f/2 &'(%  8dbeVXibVcjVa"[dXjhl^YZVc\aZeg^bZejgedhZ"YZh^\cZY[dgHdcn6ae]V,"hZg^ZhXVbZgVh         '* *' +' ,' (.)\
Batis 25mm f/2 .-% *★ 6l^YZVc\aZaZch[dgHdcn[jaa"[gVbZjhZghd[[Zg^c\jcg^kVaaZYfjVa^in         '% +, -& .' (**\
Touit 32mm f/1.8 Planar T* ,%% )#*★ Dei^b^hZY[dgjhZl^i]6EH"8[dgbVihZchdgh!V[VhihiVcYVgYaZch[dg;j_^ÄabM"hZg^ZhXVbZgVh         '( *' ,' ,+ '%%\
Loxia 35mm f/2 &%&*  HbVaal^YZVc\aZbVcjVa"[dXjheg^bZ^ciZcYZY[dgHdcn6ae]V,jhZgh         (% *' +' *. ()%\
Loxia 50mm f/2 ,)%  BVcjVa"[dXjhhiVcYVgYeg^bZl^i]egZb^jbdei^XhVcY:bdjci[dgHdcn6ae]V,jhZgh         )* *' +' *. ('%\
Touit 50mm f/2.8 Planar T* *-.  BVXgd&/&aZch[dgZmigZbZXadhZ"jeh!VhlZaaVhh]ddi^c\edgigV^ihdgeVcdgVbVhVhVa^\]iiZaZ"aZch         &* *' ,* .& '.%\
Batis 85mm f/1.8 .%. *★ 6]^\]"fjVa^inbZY^jbeg^bZ[dglZYY^c\VcYedgigV^ih]ddiZgh!YZkZadeZY[dgHdcn¼h6ae]V,hZg^Zh         -% +, ,- &%* ),*\
Loxia 85mm f/2.4 &&..  6XdbeVXi!bVcjVa"[dXjh!h]dgiiZaZe]didaZch[dgi]Zb^ggdgaZhhHdcn6ae]VhZg^Zh         -% *' +'#* &%- *.)\

64 3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 
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ϳZ DĂƌŬ // ŽĚLJ άϮϮ ϳ^ ŽĚLJ άϭϱϬ
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ϲϯϬϬ ŽĚLJ άϳϳ
ϲϯϬϬ н ϭϲϱϬŵŵ άϳ ϳZ /// ŽĚLJ
9LVLW :H[ 3KRWR 9LGHR DW 6WDQG & άϯϭ
7KH 3KRWRJUDSK\ 6KRZ >ĞŶƐ ĂǀĂŝůĂďůĞ
WK  WK 0DUFK  ƐĞƉĂƌĂƚĞůLJ
1(& %LUPLQJKDP

ϱϬ 'yϬ ',ϱ 'Ϭ

ϱ EĞǁ
ϭϲ ϮϬϯ ϭϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϮϬ
ŵĞŐĂƉŝdžĞůƐ
ϰϱϳ
ŵĞŐĂƉŝdžĞůƐ
Ϭ ĨƉƐ ϭϮ ĨƉƐ  ĨƉƐ
ϭϮϬ ĨƉƐ ϲϬ ĨƉƐ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ

ϱ ŽĚLJ άϱϯ ϱϬ ŽĚLJ άϯϰ 'yϬ &ƌŽŵ άϰ ',ϱ &ƌŽŵ άϭϱ 'Ϭ &ƌŽŵ άϲϮ
ϱ ŽĚLJ άϱϯ EĞǁ ϱϬ ŽĚLJ άϯϰ 'yϬ н ϭϮϯϮŵŵ άϰ ',ϱ ŽĚLJ άϭϱ 'Ϭ ŽĚLJ άϲϮ
'y н ϭϮϲϬŵŵ άϲ ',ϱ н ϭϮϲϬŵŵ 'Ϭ н ϭϮϭϲŵŵ Ĩϯϱϱϲ άϳϰ
'yϬϬ н ϭϮϯϮŵŵ άϯϳ Ĩϯϱϱϲ άϭϳ 'ϳ н ϭϮϲϬŵŵ άϱϰ
',ϱ н ϭϮϲϬŵŵ
ϱϬϬ ϳϱϬ ĨϮϰϬ άϮϬ
ůĂĐŬ
Ϯϰϯ
ŵĞŐĂƉŝdžĞůƐ ZKDDE >E^^ WĂŶĂƐŽŶŝĐ ϭϰ ϭϰϬŵŵ Ĩϯϱ ϱϲ άϱϰ
ϮϬ ϲϱ ĨƉƐ WĂŶĂƐŽŶŝĐ Ϯϱŵŵ Ĩϭϳ ' άϭϰ WĂŶĂƐŽŶŝĐ ϯϱ ϭϬϬŵŵ ĨϮ // >hD/y ' y άϲ
ŵĞŐĂƉŝdžĞůƐ WĂŶĂƐŽŶŝĐ ϰϮϱŵŵ Ĩϭϳ άϮ WĂŶĂƐŽŶŝĐ ϰϱ ϭϱϬŵŵ ĨϰϬ ϱ ϱϲ άϭϳ
ϭϬϬƉ WĂŶĂƐŽŶŝĐ ϮϬϬŵŵ ĨϮ ' > DZ/d WĂŶĂƐŽŶŝĐ ϰϱ ϭϳϱŵŵ ĨϰϬ ϱϲ άϯϰ
ϭϬϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
WKtZ K/^ άϮϲ WĂŶĂƐŽŶŝĐ ϰϱ ϮϬϬŵŵ ĨϰϬ ϱϲ // άϯϱ
ϰ< sŝĚĞŽ &Ƶůů &ƌĂŵĞ
DK^ ^ĞŶƐŽƌ WĂŶĂƐŽŶŝĐ  ϭŵŵ ĨϮ ϰ ^W, άϭϬϰ WĂŶĂƐŽŶŝĐ ϭϬϬ ϯϬϬŵŵ ĨϰϬ ϱϲ άϱϰ
WĂŶĂƐŽŶŝĐ ϭϮ ϲϬŵŵ Ĩϯϱ ϱϲ άϯϱ WĂŶĂƐŽŶŝĐ ϭϬϬ ϰϬϬŵŵ Ĩϰ ϲϯ άϭϮ
ϱϬϬ &ƌŽŵ άϭϳ ϳϱϬ &ƌŽŵ άϭϳϰ
ϱϬϬ ŽĚLJ άϭϳ ϳϱϬ ŽĚLJ άϭϳϰ
ϱϬϬ н ϭϲϬŵŵ άϮϱ ϳϱϬ н Ϯϰϱŵŵ άϮϭ sŝĞǁ ŽƵƌ ĨƵůů ƌĂŶŐĞ ŽĨ ĐĂŵĞƌĂƐ Ăƚ ǁĞdžĐŽƵŬĐĂŵĞƌĂƐ
ϳϱϬ н ϮϰϭϮϬŵŵ άϮϯϳ

DϭϬ /// yϯ yWƌŽϮ

ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ
KD Dϭ // <ϭ
ϮϬ ϯϲ Ϯϰϯ
ŵĞŐĂƉŝdžĞůƐ EĞǁ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϳϮ
EĞǁ
ϲϬ ĨƉƐ ϲϱ ĨƉƐ Ϯϰϯ  ĨƉƐ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
&Ƶůů &ƌĂŵĞ ϭϬϬƉ
ϰ< sŝĚĞŽ ϲ ĨƉƐ DK^ ^ĞŶƐŽƌ Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ

KD Dϭ // &ƌŽŵ άϭϰ DϭϬ /// &ƌŽŵ άϲϮ <ϭ ŽĚLJ άϭ yϯ &ƌŽŵ άϰ yWƌŽϮ &ƌŽŵ άϭϰϰ
KD Dϭ // ŽĚLJ άϭϰ EĞǁ KD DϭϬ /// ŽĚLJ άϲϮ <ϭ ŽĚLJ άϭ EĞǁ yϯ ŽĚLJ άϰ yWƌŽϮ ŽĚLJ άϭϰϰ
KD Dϭ // н ϭϮϰϬŵŵ άϮϯ EĞǁ KD DϭϬ /// <W ŽĚLJ ά EĞǁ yϯ н Ϯϯŵŵ άϭϭϰ yWƌŽϮ ^ŝůǀĞƌ н y&Ϯϯŵŵ άϭϳϬ
KD Dϱ // ŽĚLJ ά н ϭϰϰϮŵŵ άϲ <ϯ // ŽĚLJ άϳ EĞǁ yϯ н ϭϱϱŵŵ άϭϮϰ
KD Dϱ // н ϭϮϰϬŵŵ άϭϮϰ KD DϭϬ // ŽĚLJ άϰϰ <ϯ // н ϭϭϯϱŵŵ άϭϭ &h:/EKE >E^^
<ϯ // н ϭϲϱŵŵ άϭϮ
ZKDDE >E^^ <ϳϬ ĨƌŽŵ άϱ
KůLJŵƉƵƐ Ϯϱŵŵ ĨϭϮ D ƵŝŬŽ  άϭϬ
KůLJŵƉƵƐ Ϯϱŵŵ Ĩϭ άϮ ZKDDE >E^^
KůLJŵƉƵƐ ϰϱŵŵ ĨϭϮ D ƵŝŬŽ  άϭϭ WĞŶƚĂdž ϭϱϯϬŵŵ ĨϮ  άϭϰϰ
KůLJŵƉƵƐ ϲϬŵŵ ĨϮ άϯϲϬ WĞŶƚĂdž ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϮ
KůLJŵƉƵƐ ϳϱŵŵ Ĩϭ άϲ WĞŶƚĂdž ϱϱϯϬϬŵŵ Ĩϰϱϲϯ άϯ
&ƵũŝĮůŵ ϭϲŵŵ Ĩϭϰ Z tZ y& άϰ
&ƵũŝĮůŵ ϯϱŵŵ ĨϮ Z tZ y& άϯϲ
&ƵũŝĮůŵ ϱϬŵŵ ĨϮϬ άϰϰ
&ƵũŝĮůŵ ϱϲŵŵ ĨϭϮ Z y& άϳ
&ƵũŝĮůŵ Ϭŵŵ ĨϮ >D K/^ άϭϮϰ
&ƵũŝĮůŵ ϭϲ ϱϱŵŵ ĨϮ Z >D tZ άϰ
&ƵũŝĮůŵ ϱϱ ϮϬϬŵŵ Ĩϯϱ ϰ Z >D άϲ
%LUPLQJKDP  &DOXPHW (GLQEXUJK  &DOXPHW %ULVWRO  &DOXPHW
6OJU 
 )BHMFZ 3PBE

# -5 5FM  
.PO  'SJ BN  QN

#POOJOHUPO #VTJOFTT $FOUSF

&) )( 5FM  
.PO  'SJ BN  QN

6OJU 
.POUQFMJFS $FOUSBM 4UBUJPO 3E

&) )( 5FM  
.PO  'SJ BN  QN

YLVLW ZH[FRXN
 
4BUVSEBZBN  QN 4BUVSEBZBN  QN 4BUVSEBZ BN  QN
%HOIDVW  &DOXPHW 0DQFKHVWHU  &DOXPHW *ODVJRZ  &DOXPHW
6OJU 
#PVDIFS 1MB[B
6OJU 
%PXOJOH 4USFFU
#MPDL 
6OJU 
0BLCBOL *OEVTUSJBM &TUBUF

#5 )3 5FM   . ))5FM   ( -6 5FM   &DOO XV 0RQ)UL DPSP 6DW DPSP 6XQ DPSP
.PO  'SJ BN  QN
.PO  'SJ BN  QN
.PO  'SJ BN  QN

4BUVSEBZ BN  QN 4BUVSEBZ BN  QN 4BUVSEBZ BN  QN

'D\ 5HWXUQV 3ROLF\
3DUW([FKDQJH $YDLODEOH
8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\

K^ ϮϬϬ K^ Ϭ

    
    
 
ϮϰϮ
ŵĞŐĂƉŝdžĞůƐ
ϮϰϮ
ŵĞŐĂƉŝdžĞůƐ

&ƌŽŵ ƚŚĞ ĚĂƌŬĞƐƚ ƐŚĂĚŽǁ ƚŽ ƚŚĞ ďƌŝŐŚƚĞƐƚ ϱϬ ĨƉƐ ϳϬ ĨƉƐ
ŚŝŐŚůŝŐŚƚ Ă ϯϬŵĞŐĂƉŝdžĞů DK^ ƐĞŶƐŽƌ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ
&ƌŽŵ άϳ
ĐŽŶĚŝƟŽŶƐ$ ǁŝƚŚ Ă ŵĂdžŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚLJ
ŽĨ /^K ϯϮ$ϬϬϬ ^ŚŽŽƚ ƵĂů WŝdžĞů Zt ĮůĞƐ ϮϬϬ &ƌŽŵ άϱϬ Ϭ
ĨŽƌ ƉŽƐƚ)ƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ LJŽƵ+ǀĞ ϮϬϬ ŽĚLJ άϱϬ Ϭ ŽĚLJ άϳ
ŶĞǀĞƌ ƐĞĞŶ ďĞĨŽƌĞ ϮϬϬ н ϭϱϱŵŵ άϱϯ Ϭ н ϭϱϱŵŵ άϭϬϮ
ϮϬϬ н ϭϭϯϱŵŵ ά Ϭ н ϭϭϯϱŵŵ άϭϮ
ϱ DĂƌŬ /s ŽĚLJ άϯϮϮ ϳϱϬ ŽĚLJ άϱϰ ϳϳ ŽĚLJ άϲ
ϳϱϬ н ϭϱϱŵŵ άϱϲ ϳϳ н ϭϱϱŵŵ άϯ
ϳϳ н ϭϭϯϱŵŵ άϭϬϮ
ϯϬϰ ϳϬ &Ƶůů &ƌĂŵĞ
ŵĞŐĂƉŝdžĞůƐ ĨƉƐ DK^ ƐĞŶƐŽƌ

ϱ DĂƌŬ /s ŽĚLJ άϯϮϮ

K^ ϳ DĂƌŬ // K^ ϲ DĂƌŬ // K^ ϱ^ Z K^ ϭ y DĂƌŬ //

EĞǁ

ϮϲϮ ϱϬϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϮϬϮ ϲϱ ĨƉƐ ϱϬ ĨƉƐ ϮϬϮ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϬϬƉ ϭϬϬƉ
ϭϬϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϲϬ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ

ϳ DĂƌŬ // ŽĚLJ άϭϯϰ ϲ DĂƌŬ // &ƌŽŵ άϭϳϮ ϱ^ Z ŽĚLJ άϯϭϰ ϭ y DĂƌŬ // ŽĚLJ άϰϳ
ϳ DĂƌŬ // ŽĚLJ άϭϯϰ EĞǁ ϲ DĂƌŬ // ŽĚLJ άϭϳϮ ϱ^ Z ŽĚLJ άϯϭϰ ϭ y DĂƌŬ // ŽĚLJ άϰϳ
EĞǁ ϲ DĂƌŬ // н ϮϰϭϬϱŵŵ άϮϬϳ

dƌŝƉŽĚƐ
  


'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<
^ĞƌŝĞƐ ϯ ϰ^ y> tĞdž ĞdžĐůƵƐŝǀĞ  &ůĞdžŝdƌŝƉŽĚ ůĞŐƐ
 ϮϬϮĐŵ DĂdž ,Ğ dϬϱϱyWZKϯ ĞĨƌĞĞ KŶĞ  ϮϭĐŵ ůŽƐĞĚ >ĞŶŐƚŚ
 ϭϬĐŵ DŝŶ ,ĞŝŐ ϭϳϬĐŵ DĂdž ,ĞŝŐŚƚ dƌĂǀĞů dƌŝƉŽĚ ZĞĚ  ϭ<Ő DĂdž >ŽĂĚ
YƵĂůŝƚLJ ƵƐĞĚ ĐĂŵĞƌĂƐ ůĞŶƐĞƐ Đŵ DŝŶ ,ĞŝŐŚƚ  ϭϯϬĐŵ DĂdž ,ĞŝŐŚƚ
ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ  ϰĐŵ DŝŶ ,ĞŝŐŚƚ
EĞǁ ^LJƐƚĞŵĂƟĐ dƌŝƉŽĚƐ 'ŽƌŝůůĂƉŽĚ
ǁŝƚŚ ϭϮ ŵŽŶƚŚƐ ǁĂƌƌĂŶƚLJΎ ^ĞƌŝĞƐ ϯ ϰ^ y>  άϳ 'ŽƌŝůůĂƉŽĚ ϱϬϬ άϯϱ
^ĞƌŝĞƐ ϯ ϯ^ >  άϲϰ DdϬϱϱyWZKϯ ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<άϱϮ
ǁĞdžĐŽƵŬ ^ĞƌŝĞƐ ϱ ϰ^ y>  ά DdϬϱϱyWZKϯ ĂƌďŽŶ &ŝďƌĞ  άϯϮ ǀĂŝůĂďůĞ ŝŶ ůĂĐŬ ZĞĚ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϯ<άϲ
ΎdžĐůƵĚĞƐ ŝƚĞŵƐ ŵĂƌŬĞĚ ĂƐ ŝŶĐŽŵƉůĞƚĞ Žƌ ĨŽƌ ƐƉĂƌĞƐ ^ĞƌŝĞƐ ϱ ϲ^ '  άϭϬ DdϬϱϱyWZKϰ ĂƌďŽŶ &ŝďƌĞ  άϯϰϱ ĂŶĚ 'ƌĞLJĨƌŽŵ άϳ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϱ<άϭϳϮ

&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ

DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ <ŝƚƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
^ƉĞĞĚůŝƚĞƐ

ϮϳϬy // ϲϬϬy //Zd ϰϯϬy ///Zd DZϭϰy // ^ϱϬϬϬ ^ϳϬϬ Zϭ ůŽƐĞhƉ Zϭϭ ,s>&ϰϯD ,s>&ϲϬD &>ϯϬϬZ &>ϲϬϬZ & ϱϰϬ &' // & ϯϲϬ&' //
άϭϱ άϱϮ άϮϯ άϱϰ άϰ άϮϱ άϰϯ άϲϮ άϮϰ άϰϮϱ άϭϯϰ άϮϳ άϯϰ άϮϰ
&ůĂƐŚŐƵŶƐ DĂĐƌŽ ŇĂƐŚ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ

ŝϰϬ ŝϲϬ
DϭϰϬ ' άϭϰ άϮϯ ^ƉĞĞĚŵĂƐƚĞƌ
ϰϰ &Ϯ DϰϬϬ ϱϮ &ϭ ϲϰ &ϭ ϭϱ D^ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ^ĞŬŽŶŝĐ >ϯϬƐ WƌŽ >ϰϳZ >ϱ
άϭϲ άϮϯ άϮϬ άϯϬ άϮ άϭϬ άϭϲ άϯϮ άϭϱϬ άϯ άϲϬϬ
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů sd Ăƚ ϮϬй WƌŝĐĞƐ
ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌLJΎΎ ĂǀĂŝůĂďůĞ
ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬ ;ďĂƐĞĚ ŽŶ Ă ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ
&Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮΎΎ ;ďĂƐĞĚ ŽŶ Ă
ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ &Žƌ EĞdžƚ tŽƌŬŝŶŐ ĂLJ ĞůŝǀĞƌLJ
ŽƵƌ ĐŚĂƌŐĞƐ ĂƌĞ άϰΎΎ ^ĂƚƵƌĚĂLJ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ
Ăƚ Ă ƌĂƚĞ ŽĨ άϳϱΎΎ ^ƵŶĚĂLJ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ Ăƚ Ă
ϯŵ ĂĐŬŐƌŽƵŶĚ &ůĂƐŚĞŶĚĞƌϮ tĂůů ZĞŇĞĐƚŽƌ ƌĂƚĞ άϱΎΎ;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌLJ ŚĞĂǀLJ ŝƚĞŵƐ ƚŽ E/ Žƌ
DŝŶŝddϭ άϭϲϱ WůƵƐ /// ^Ğƚ WůƵƐy ^Ğƚ ϱŝŶϭ ZĞůĞĐƚŽƌ ^ƵƉƉŽƌƚ &ůĂƐŚĞŶĚĞƌϮ y> WƌŽ >ŝŐŚƟŶŐ DŽƵŶƟŶŐ <ŝƚ &ŽůĚŝŶŐ ^ŽŌďŽdž ƌĂĐŬĞƚ ƌĞŵŽƚĞ ĂƌĞĂƐ ŵĂLJ ďĞ ƐƵďũĞĐƚ ƚŽ ĞdžƚƌĂ ĐŚĂƌŐĞƐ  Θ K
WƌŝĐĞƐ ƐƵďũĞĐƚ ƚŽ ĐŚĂŶŐĞ 'ŽŽĚƐ ƐƵďũĞĐƚ ƚŽ ĂǀĂŝůĂďŝůŝƚLJ >ŝǀĞ
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 3 February 2018 81


Final Analysis
Roger Hicks considers…
‘Flower’, 2012, by Adrian Sadlier
T
here are at least two
ways to approach the
creation of art. One is
complete immersion in
a particular theme, even if only
temporarily: a determination to
explore as many aspects of an idea
as possible. The other can be
summed up as ‘I wonder if I can do
this,’ followed by ‘Yes, it seems that
I can,’ followed by ‘all right, what’s
next?’ Many well-known artists
follow the former path – it’s usually
how they get to be well known,
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Luke Agbaimoni
82
after all – but you will never be a
first-class artist unless you at least beliefs. First, vision and technical
start with the latter.
Simplicity
Of course I was initially attracted
by the sheer impact and simplicity dawn of photography: initially, of
of the image. But when I first
wrote to ask if I could use it, I was Some are inevitably much better
intrigued to learn that although
Adrian took it in 2012, it was not
until recently that he was confident Mapplethorpe’s similar work. Its
enough of his post-processing
skills to produce this version. This the departure from preconceived
Photo Critique
‘Flower studies date
back to the dawn of
photography... and I
certainly prefer this
one by Adrian even
to Mapplethorpe’s
similar work’
(but unreal) perfection at the
bottom of the centre of the seeds.
This is central to photography: it
separates it from hyperrealist
painting and reminds us of William
Henry Fox Talbot’s The Pencil of
Nature (1844-1846).
Getting noticed
To see Adrian’s pictures, go to
500px.com/adriansadlier. This
leads me to a third belief: that it is
increasingly important to have
your own website, with the
pictures organised into themed
galleries. We all like different
things, even from the same
photographer. Themes make it
easier to admire sets of others’
pictures, and also force us to think
© 2012 ADRIAN SADLIER, ALL RIGHTS RESERVED
about what we want to put into our
own pictures.
Yes, putting together a website
is a lot of trouble. I should know:
I’m currently on my third, all under
the rogerandfrances ‘brand’: .com,
.eu and now patreon.com/
rogerandfrances. On the other
reinforced two of my fundamental hand, if you want to build your
reputation and if you want people
mastery are often inseparable. to see your work, it’s a good idea
Second, all of us, all the time, are to make it as easy as possible for
(or should be) learning. them – especially if you are trying
Flower studies date back to the to sell anything. Or maybe... well,
maybe... put it this way: Vincent
course, only in monochrome. van Gogh reputedly sold just one
picture (‘The Red Vineyards near
than others, and I certainly prefer Arles’, 1888) during his lifetime. In
this one by Adrian Sadlier even to the long run, art counts for more
than money or acclaim for both
beautiful simplicity is enhanced by artist and audience. Adrian’s
art counts.
3 February 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
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