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 7days
A week in photography
COVER PICTURE © BEN HALL

The average modern camera’s Nikon FA – if only my ageing eyesight was up

AF system is so complex and to the manual focusing! John Wade’s look back
offers so many permutations at this classic brings back fond memories.
that getting to grips with it The FA was cutting edge in the mid-1980s,
feels like a feat akin to learning whereas Panasonic’s Lumix S1R represents
In this issue to fly a jet. If you’re as befuddled by focusing the cutting edge of today’s camera technology,
16 The art of functions as I am, then this week’s main and award-winning photojournalist Edmond
staying focused feature may bring some clarity. I must admit, Terakopian gives his verdict after putting it
Understanding how your though, that the complexity of today’s cameras through its paces during an extended field test.
AF system works is key makes me nostalgic for the simplicity of my old Nigel Atherton, Editor
to getting sharp shots,
says Angela Nicholson JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
22 Off the wall
Ailsa McWhinnie talks to
three intrepid souls who
have opened their own ONLINE PICTURE OF THE WEEK
photography galleries
© KIERAN METCALFE

34 Blurring the
Milky Way
boundaries over Talacre
Jo Stephen creates
beautiful and ethereal
by Kieran Metcalfe
Canon EOS 80D, Tokina 11-16mm
images – she explains f/2.8, 22 images each at 15sec
how she does it at f/2.8, ISO 3200
38 EISA Maestro UK THIS Milky Way vista was uploaded to
The winning photos of the our Facebook page using the hashtag
2019 EISA UK competition #appicoftheweek. It was taken by
40 Present your photographer Kieran Metcalfe. He tells
photos us, ‘I went to Talacre in North Wales in
the hopes of catching a glimpse of the
Print experts WhiteWall
Northern Lights as conditions were
offer top tips on showing
favourable. There was nothing visible
off your images
to the naked eye, but as the skies were
42 APOY Round 5 crystal clear I spent time shooting the
Round 5: Small Worlds Milky Way over the lighthouse instead.
is all about the close-up. It was only when I processed the
Why not give it a try? images that I noticed the faint pink
auroral glow just above the horizon.’
44 The spectacular S Kieran processed the final result
Edmond Terakopian tests from 22 images that were then
Panasonic’s flagship full- blended to reduce the noise.
frame camera in the field
50 Nikon’s
fabulous FA
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA

Nikon’s FA was launched in

1983. John Wade tells us

Win!
about this superb film star Each week we choose our favourite
59 Buying Guide picture on Facebook, Instagram,
Our comprehensive listing Flickr, Twitter or the reader gallery using
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of cameras and lenses #appicoftheweek. PermaJet proudly supports

the online picture of the week winner, who will
Regulars receive a top-quality print of their image on the
finest PermaJet paper*. It is important to bring
3 7 days images to life outside the digital sphere, so we
12 Inbox encourage everyone to get printing today! Visit
14 Reader Portfolio www.permajet.com to learn more.
30 Wildlife Watch
32 Club Profile
54 Accessories Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions.
57 Ask the Wexperts Pictures Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to appicturedesk@ti-media.com.
82 Legends Join our online communities Post your pictures into our Flickr, Facebook, Twitter or Instagram communities or the gallery on our website.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris

Portrait of Humanity
is published by
Hoxton Mini Press and
is priced at £22.95

Olympus teleconverter and firmware update

Olympus has released its MC-20 2x teleconverter and brought out
firmware updates for its OM-D E-M1 Mark II. The MC-20 can be
attached to the ED 300mm F4.0 IS PRO and ED 40-150mm F2.8 PRO,
and goes on sale in early July for £399.99. The OM-D E-M1 Mark II
firmware update improves AF performance and unlocks new video
features. For full details, see www.olympus.co.uk/firmware.

SLIK back
© DK PHOTOGRAPHY

SLIK has released a range of

new PRO CF carbon-fibre travel
tripods. The PRO CF-635 tripod
legs accommodate a 3kg load,
and the PRO CF-834 supports
a 7kg load. Two ball heads
(PBH-535AS and PBH 635AS)
have also been released for the
Pro CF legs. Prices range from
£219 to £299 for the tripod legs, Nikon ambassador
and £85 to £90 for the heads. dies in road accident
Australian Nikon ambassador,
Dale Sharpe, has been killed
following a collision with a deer
in Kansas, USA, on 20 June. The
© FABIAN MUIR, FROM PORTRAIT OF HUMANITY PUBLISHED BY HOXTON MINI PRESS

photographer was driving on

Highway 2 when his vehicle was
struck and immobilised by the
animal. A passing motorist then
accidentally hit Dale when
trying to avoid his stranded
vehicle. Our deepest
condolences to his family.

Leica’s magnificent seven

Leica is reaching out to younger UK-based photographers via
Project Z, a venture which sees Leica collaborate with seven

BIG
contemporary shooters. Equipped with Leica gear, they will travel
the world working on various projects such as the effect of tourism Portrait of Humanity winning
on the landscape. See www.leicastore-uk.co.uk/pages/project-z. images now in print

picture
1854 Media, together with Magnum Photos,
Mirrorless version of Nikon D5? has launched Portrait of Humanity, a global
Nikon is working on a mirrorless version of its flagship DSLR, the initiative that aims to celebrate our shared
D5, according to the company’s new CEO, Mr Umatate. He was values. Photographers of all levels were
quoted in the Nikkan Kogyo Shimbun, a newspaper covering Japan’s invited to submit work. The shortlisted and
massive manufacturing sector. While this is intriguing news, there winning pictures from this year’s competition
is no release date or further information about where the camera have now been published in Portrait of
will sit in Nikon’s line-up at this stage. More news as we get it.

4 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 2,400
Humanity, a hardback that serves as a timely
SOURCE: BBC

reminder that we all share common emotions Words & numbers

and experiences. Fabian Muir’s image, ‘The
Hand That Rocks the Cradle’, shows children
in a North Korean orphanage. ‘They make me My only rule: I never photographed
think not only of their own future but also of
their country’s future,’ writes Muir. ‘I hope they the faces of the dead, ever, out of
grow up in a North Korea that opens up and
emerges from the time capsule within which it
respect for their families Number of previously unseen
pictures of the aftermath of 9/11
David Douglas Duncan recently found on battered CDs
has been locked for well over half a century.’ at a house-clearance sale
American photojournalist (1916-2018)

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 5

Manfrotto pro tripod
finds new angles
MANFROTTO has released the Befree
GT XPRO pro travel tripod, the first
from the company to feature a built-in 90°
column and 180° foldable legs. It inherits
the 90° column from larger Manfrotto
tripods. ‘The 90° column is smartly stored
out of the way, until it is time to defy gravity
with a low-on-the-ground or a challenging
The Hasselblad
overhead macro shot,’ said the company.
X1D II 50C
The new tripod features three leg sports a 50MP
sections, which open using Manfrotto’s sensor and a
M-lock twist system, and comes with 3.6-inch touch
Manfrotto’s 496 Center Ball Head. There display screen
are also side pull selectors which enable
you to adjust the leg
angles independently.
The Befree GT XPRO
is available in carbon
fibre (1.76kg) and
aluminium (2kg)
versions, with the
former costing
Hasselblad unveils medium-
£409.95 and the
latter £269.95. format X1D II 50C
HASSELBLAD has updated a 50MP Hasselblad claims this is the largest LCD display
The Befree
GT XPRO has a medium-format mirrorless camera, currently available on a digital medium-format
90° column the X1D II 50C, along with a new XCD 35- camera. There is also a higher resolution
for macro or 75mm f/3.5-4.5 lens. The camera replaces OLED electronic viewfinder (EVF), now offering
low-angle the original X1D, and though it packs a 50MP 3.69-million dots and a higher magnification
shots sensor (44x33mm) – 1.7 times larger than of 0.87x. In addition, the new Phocus Mobile 2
35mm full-frame chips – the camera itself is app enables photographers to transfer images
smaller than a typical full-frame DSLR. to the iPad Pro or iPad Air via USB-C or Wi-Fi.
Hasselblad has incorporated a new image As for the new 35-75mm f/3.5-4.5 mid-
processor which the company claims range zoom lens, it is the ninth addition to the
significantly speeds up the camera’s operation. X System lens range and features an integral
‘The X1D II 50C’s live view features a faster central lens shutter, offering exposure times
refresh rate, reduced shutter lag and black out from 68 minutes to 1/2000s with full flash
time between frames, an improved continuous synchronisation throughout. ‘This really is the
capture rate, and a startup time cut almost in best lens Hasselblad has developed,’ says Per
half from the first generation,’ says Hasselblad. Nordlund, Lead Optical Designer.
Other new features include a higher The X1D II 50C is available now for £4,500
resolution 3.6-inch, 2.36-million-dot touch excl. VAT, while the zoom lens costs £4,050
display around the back of the camera. excl. VAT, with estimated delivery in October.

New entry-level
Leica M
LEICA has announced the M-E (Typ 240)

Subscribe to
digital rangefinder camera, positioned
as the entry-level model in the M range. The
camera is based on a 24MP full-frame CMOS
sensor with a 2GB buffer, which is double the
capacity of the original M240. The ISO range
is a relatively conservative 200 to 6400, The stylish Leica M-E (Typ 240) weighs only 680g
however, and the camera only records Full HD
video rather than 4K. What the camera lacks burst mode, a weight of only 680g, resistance

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* in cutting-edge technology it makes up for in to dust and water spray. The price is yet to
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Visit amateurphotographersubs.co.uk/18AG, or see p56. For the latest news visit www.amateurphotographer.co.uk
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Access amazing equipment
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 The latest and best books and exhibitions
from the world of photography
© IAN WELDON
EXHIBITION
I Am Not a Wedding
Photographer
By Ian Weldon
I
t really is important we get this
out of the way early on. In fact, Ian
Weldon, if he were standing over
my shoulder watching me write this
review, would insist upon it – Ian Weldon
is not a wedding photographer. That may
confuse you when you look at his images.
Largely, because they are of weddings.
Ones at which Ian was not only present
but was also actively employed as the
photographer. But he’s not a wedding
photographer. This may seem like a flippant
introduction to Ian’s work, but it’s a
flippancy that Ian himself employs to
gleeful and ironic effect in his own work. It’s
also why he’s succeeded in creating one of
the most cliché-free approaches to the
© IAN WELDON
This is not a wedding photograph
On at Martin Parr Foundation, Bristol, until 10 August. Entry is free. Visit www.martinparrfoundation.org.
8 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
Ian Weldon’s images
are currently on
show at the Martin
Parr Foundation
genre I’ve seen in a long while.
At the heart of it, Ian is undoubtedly
a wedding photographer. But there is a
unique quality to his approach, and it’s
one that others in the field could perhaps
do well to note. The fact that Ian’s
images are currently on show at the
Martin Parr Foundation in Bristol should
give you some hint as the aesthetic and
practical direction on offer. Parr himself
has commented thusly: ‘Ian plugs
this line about not being a wedding
photographer. I know what he means, but
this clever strap line is deceptive as he is
the most real wedding photographer
I have ever encountered.’
Ian follows Parr’s lead in the way that he
simply acts as an invisible documentarian.
You will find no insipid and carefully
cultivated shots of rows of smiling
bridesmaids. Ian travels like a spectre
capturing the candid scenes that unfold in
and around the wedding. The images
are utterly uncontrived and as a result
always feel believable. His approach is
a genuinely fresh spin on the wedding
genre and should be applauded. But just
remember: Ian Weldon is not a wedding
photographer. Oliver Atwell
Also out now
© TIM MOTION
Dizzy Gillespie
shot by
Tim Motion
EXHIBITION
Tim Motion: An Eye for
The Sound
Lucy Bell Gallery, 46 Norman Road, St Leonards
on Sea TN38 0EJ. Visit www.lucy-bell.com
MUSICIAN and photographer Tim Motion has shot
portraits of some of the most influential jazz musicians
in the history of the genre. Chet Baker, Miles Davies
and Dizzy Gillespie are all here, each one captured ‘in
the zone’ – that unique moment when instrument and
human become one. Following the music helps Motion
to decide when to release the shutter, and looking at
the work it’s clear to see he has impeccable timing.
Motion has had many jobs, from working for the first
London minicabs (during which time he frequented the
606 Club in Kings Road) to running a disco/jazz club
(hosting artists such as Ronnie Scott). His first jazz
pictures date back to 1971, when a friend offered
him a photo pass to the Lisbon Jazz Festival. Since
then he has been adding to his portfolio. ‘Tim Motion:
An Eye for The Sound’ is proof that jazz music and
photography make excellent bedfellows. Tracy Calder
BOOK
Love Story
By John Bolloten, Fistful of Books, £8,
72 pages, fistfulofbooks.com
LOVE STORY may have a romantic title,
but the images contained within are
far from any traditional notions of
romanticism. This 72-page zine
from Bradford-based documentary
photographer John Bolloten documents
the relationship between Gary and Maree. John spent
eight months with the couple, getting a close and
personal insight into their daily lives – one which, as
Bolloten points out, is generally hidden from public view.
While this kind of work is uncomfortable to look at
– indeed, you may very well be tempted to turn some
of the pages as quickly as is possible – its importance
can not be understated. Projects like this teach us
valuable lessons in understanding and empathising
with those left languishing on the fringes of society.
The print run for Love Story is limited to just 200,
so you might need to act quickly to grab the last
remaining few copies, but you’ll be handsomely
rewarded if you do. ★★★★★ Amy Davies

Viewpoint
Tracy Calder
We all know celebrity sells, but in the rush
to meet targets are galleries and publishers
providing enough opportunities for true talent?
A
few months ago I saw a series
of paintings by Bob Dylan in a
gallery. I’m a big fan of Dylan
the singer-songwriter, but it
turns out that I’m not a big fan of Dylan
the painter. One image, ‘Woman in Red
Lion Pub (Green), 2008’, features the
outline of a lady painted with thick, rough
brushstrokes. It’s an unflattering picture,
with oddly placed lines giving her lumps in
all the wrong places. Another picture, ‘Train
Tracks (Orange), 2008’, reminds me of a
perspective exercise I carried out in an art
lesson at school. These paintings were
priced at over £2,500 each.
Looking at the display made me a bit
cross – if it weren’t for Dylan’s name
these paintings would probably never
have seen the light of day. It made me
think about how art is valued, and how
much of it is to do with supply and
demand rather than artistic merit. It also
made me think about all the talented
photographers I have met who would
give their back teeth to receive gallery
representation. Dylan is a superb
singer-songwriter – one of the best – but
shouldn’t he have to start at the beginning
with everyone else when it comes to
branching out into new mediums?
In recent years the number of models,
actors and musicians describing
themselves as photographers seems to
have skyrocketed. One of the most
obvious examples is Brooklyn Beckham
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED
who, despite questionable talent, shot a
campaign for Burberry. Having seen the
results Jonathan Jones, art critic for
The Guardian (who, incidentally, likes
Dylan’s paintings) wrote, ‘these pictures
have no bite and no drama, nothing to
say.’ It’s the final part of the sentence that
wounds – to be told that your pictures
have ‘nothing to say’ would cut most
photographers to the quick. Thankfully I
think the son of Victoria and David can
handle the criticism.
And then, of course, there was
Bekham’s photography book, What I See.
Now I’m not going to add fuel to the fire
by offering a full critique here – all I’ll say
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 12 and win a year’s digital subscription to AP, worth £79.99
10
In next week’s issue
On sale Tuesday 9 July
© MAARTEN MELLEMANS
© LOU S L TTLE/MART N PARR FOUNDAT ON
Portrait Special
Get the
natural
Martin Parr believes that post-war British
documentary photography is underrated,
and aims to redress the balance with some
lesser-known bodies of work at his gallery
look
‘The way to stop filling
galleries with celebrity
nonsense is to place the
emphasis on merit’ Five pro photographers
is Beckham shoots with a Leica and has reveal their top tips for
done us all a great service by proving it’s
the photographer and not the camera
portraiture using natural light
that creates great pictures. Again, it’s a
© JAMES PATERSON
case of supply and demand. Penguin
(who published the book) knows the
name Beckham sells, and whether or
not he has anything worth selling is
pretty irrelevant. To be fair, if you think
back to your first photographic efforts,
no matter how terrible, would you have
refused a book deal if it were handed to
you on a plate?
The only way to stop filling galleries and
books with celebrity nonsense is to place
the emphasis back on artistic merit. Sure,
it’s a harder sell, but I would love to see
more work from relatively unknown
photographers. These people might Guiding light
not have a backstory that features rich All you need to know about the different
types of lighting for photography
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
parents or award-winning music, but the
quality of their pictures will speak for itself.
Sony FE 135mm F1.8 GM
Tracy Calder has more than 20 years of experience in the Andy Westlake tries out Sony’s latest
photo magazine industry. She is the co-founder of Close- stunning, but pricey, portrait lens
up Photographer of the Year. Visit www.cupoty.com.
Be more dog
Gerrard Gethings tells us about his
fascinating canine-human portraits
6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 CELEBRATING
THE YEAR’S
BEST PRODUCTS

GLOBAL AWARDS 2018-19

visit www.eisa.eu for the winners
EISA is the unique collaboration of 55 member magazines and websites from 27 countries,
specialising in all aspects of consumer electronics from mobile devices, home theatre display and
audio products, photography, hi-fi and in-car entertainment. Now truly international with members in
Australia, India, Canada, the Far East and USA, and still growing, the EISA Awards and official logo are
your guide to the best in global consumer technology!

TESTED BY THE EXPERTS n WWW.EISA.EU

YOUR LETTERS

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LETTER OF THE WEEK The Buying Guide is a
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My photography hero and guru

Email samuel.shaw@ti-media.com
Inserts Call Mona Amarasakera, Canopy
Media, on 0203 148 3710 and lenses currently
Editorial team available. We try to keep
Group Editor Nigel Atherton
Deputy Editor Geoff Harris it as compact as possible,
Technical Editor Andy Westlake In 1973, as a 13-year-old pupil, I well as Wentworth Castle. His own but if we were to start
Reviews Editor Michael Topham
Features Editor Amy Davies was introduced to photography at my fascination was recording local village listing all the infinite
Features Editor Ailsa McWhinnie secondary school by the art teacher and folk interest as well as pursuing combinations of old
Technique Editor Hollie Latham Hucker
Acting Technique Editor Tracy Calder Brian Parkhurst. That was the start of infrared photography. He was an lenses on new bodies
Acting Technique Editor Claire Gillo my 46-year passion for photography, incredibly talented photographer but the list would fill the
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Chief Sub Editor Jolene Menezes which grew into a career, and a hated any kind of fuss and avoided magazine and we’d need
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Studio Manager Andrew Sydenham This year on 10 May, Brian lost the kudos. He was and is my hero and all. That said, we do
Photo-Science Consultant
Professor Robert Newman his battle with cancer leaving many guru who would not allow anyone to regularly write about
Office Manager Hollie Bishop former students, photographers who become bigger than their work, and using old lenses and
Special thanks to The moderators of the
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Chief Executive Officer Marcus Rich up a darkroom. My school at that time the UK. photographers think they
Group Managing Director Adrian Hughes was a collection of kids who failed Roy Cullen are being creative and
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Printed by Walstead UK Limited
their 11+ and were neither bright clever by turning running
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

Distributed by Marketforce, 5 Churchill enough for high school or grammar This is a touching tribute, Roy, and water into a complete blur?
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school. I believe that because of has made me reflect upon how AP’s 8 June cover image is
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Blow the bridge Buying guide idea

magazine must not be lent, sold, hired or otherwise disposed
of in a mutilated condition or in any authorised cover by way,
or by trade, or annexed to any publication or advertising 1/2.3in sensor. I’ve owned
matter without first obtaining written permission from the
publisher. TI Media Limited does not accept responsibility for In your review of Nikon’s a superzoom camera The photo nerd in me loves
loss or damage to unsolicited photographs and manuscripts,
and product samples. TI Media Limited reserves the right to
Coolpix P1000 (AP 1 with this sensor size and, your Buying Guide, but
use any submissions sent to Amateur Photographer Magazine
in any format or medium, including electronic. One year
June), you make an unfair despite raw shooting, have how about reviewing the
subscription (51 issues) £155.50 (UK), e259 (Europe),
$338.99 (USA), £221.99 (rest of world). The 2015 US annual
comparison with the Sony found it to be seriously performance of some of
DEU subscription price is $338.99, airfreight and mailing in
the USA by named Air Business Ltd, c/o Worldnet Shipping
RX10 IV (which I own), in lacking in the image quality the older lenses in the
Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA.
Periodicals postage paid at Jamaica NY 11431. US Postmaster:
that the latter only offers department. No serious guide. I am using a Canon
Send address changes to Amateur Photographer, Air Business
Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd
24-600mm zoom range, wildlife photographer, let 50mm f/1.4 USM on my
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without mentioning that alone a professional, would Canon RP, a classic lens,
9AP. Air Business Ltd is acting as our mailing agent. the Sony has a 1in sensor. touch this camera with the but how does it compare
This gives it a 4x area proverbial bargepole. to more modern lenses? Robert wasn’t impressed with
advantage over Nikon’s Brian Parkin Some people use film the AP 8 June cover image

12 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 I been exceptionally
unlucky? My cameras don’t
receive rough treatment
or excessive use. I have
had lots; I have never had
Back in the day
A wander through the AP archive.
one break down before;
and my Canon AE1, This week we pay a visit to July 2000

2000
bought in the mid-1970s,
still works fine. So I don’t
consider I should be paying
for these repairs for what
© NORMAN PARKINSON ARCHIVE/ICONIC IMAGES

appears to be a design or
manufacturing issue.
I have now dragged my
old Pentax K-r (all 12MP
of it, with no live view, no
video and no WR) out of
retirement. At least it still
Geoffrey said that this car is likely to be a Rover105S or105R works. Buying another
Pentax is not high on my
dimensional, moving on almost any topic held list of priorities!
world as a two- within our readership. Excellent mag, by the
dimensional, static Thanks, Geoffrey – Nigel way. I loved the articles in
rectangle (or square). Atherton, editor the AP 1 June issue: Close
A high shutter speed Encounters, Wildlife Watch
‘frozen’ water treatment Pentax reliability and the monstrous Nikon
is no more ‘realistic’ than In Autumn 2012, I bought E2. I’ve been a reader
a motion-blurred one. I a Pentax K-30 with a since 1960. One of our
suspect that one reason 18-135mm kit lens. It teachers would put his
for the popularity of this was pleasing to use and copy in the school
technique is that the look adequate for my purposes. library when he’d read it,
can’t easily be replicated After just over 3.5 years it and that was it – I was
on a smartphone and so developed a fault whereby, hooked. Mike Gosling
makes the image look after turning it on, the
less like a snapshot first few exposures were Sorry, Mike, this is a
– Nigel Atherton, editor severely underexposed known problem with
(not recoverable), after several Pentax DSLR
Parkinson clanger which it worked fine until it models, including both
This week we set the controls for the heart of… no, not
the sun, to disappoint Pink Floyd fans, but to 8 July
I write as a regular reader, was next turned off (or on the K-30 and K-S2, and 2000. The millennial celebrations were in full swing
an octogenarian, and as powersave mode) and on Pentax won’t cover the and it was a patriotic issue, with the cover bigging up a
someone with a close eye again, when the problem cost of the repairs. There feature on vintage MPP cameras by Ivor Matanle (a
for detail. The pink car repeated itself. Pentax’s are several ‘how to’ long-time and very well-regarded AP contributor who
published in the Norman repair estimate of over videos online showing sadly passed away this year). In other hardware news,
Parkinson feature (Never £250 meant it was beyond how to fix this problem Joël Lacey tested the Nikon Coolpix 990, which
out of fashion, 1 June) is economic repair. The yourself, but they are not illustrated the great leap forwards that digital cameras
described as a Rover 10S, problem got worse until reliable and may make were making. The 990 could record 3.1MP images
but I regret to inform you using the camera was not the problem worse. which, although puny by today’s standards, was quite a
that there never was a car practical. Less than Perhaps one of our jump from the 1.2MP recorded by the Coolpix 900S
with that designation. In four years since buying readers will know of an only two years earlier. Another big feature was on the
1957, the then Rover Car the camera, it was an independent repairer 143rd RPS Print contest, which was pushing the
Co. manufactured the P4 disappointing to say the who can fix them for a boundaries then, as now. Other highlights include a
saloon, which this car least, but I put it down to reasonable rate – Nigel story on how to take a group shot of a whole village for
undoubtedly is, with a bad luck with a rogue Atherton, editor the millennium – it all seems such a long time ago now.
variety of engines. The camera and moved on
most likely model is the – what Rover cars used to The naked truth
Rover 105S, the manual call a ‘Friday afternoon In his Viewpoint (AP 22
transmission version, but product’ before they June) Michael Topham
it could also be the 105R slipped into well-deserved says, ‘Photographers can’t
which was equipped with obscurity. So I bought a bare other photographers
automatic transmission K-S2 to continue using my getting in the way’. I should
but produced in limited lenses. But here we are, hope not – especially
numbers. I trust that this another 3.5 years down in winter!
information will set the the road, and the K-S2 is Jonathan Hunter
record straight. showing exactly the
Geoffrey H Robinson same symptoms. Sorry. We should have
Can you spot a pattern picked up on this typo,
I never fail to be developing here? Are Jonathan – that’s the
impressed by the you aware of any Pentax naked truth – Nigel
combined knowledge reliability issues or have Atherton, editor The issue carried a gallery of the 143rd RPS Print contest

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

1 2

David Henderson, Selby, North Yorkshire Mill Gill

David started taking pictures with an Olympus OM10, but gave 1 This unusual composition
up after a roll of holiday pictures came out blank. Once digital was taken as David leaned
came along, his interest was revived, and he’s never looked over a footbridge. This heavily
back. He spends a great deal of time in his local landscape wooded area lends itself to
in Yorkshire, and is as inspired by light as he is by the scenery. long-exposure images.
‘I don’t like to plan things too much, as I often take pictures that I couldn’t Olympus OM-D E-M1,
possibly have foreseen,’ he says. ‘Even if I don’t take any pictures all day, 12-40mm, 4sec at f/16,
who cares? Nothing beats a good scamper in God’s own country.’ ISO 100, polariser, tripod

Autumn leaves, Rising sun,

Washburn Valley Skipwith
3 Capturing a Common
mixture of clear and 4 Zooming in on this
submerged leaves scene has removed
gives this image distractions, and
depth and interest. avoided the sun being
Olympus OM-D E-M1, too small. The wash
12-40mm, 25sec of pinky-red gives
at f/13, ISO 100, the image a warm,
polariser, tripod welcoming feel.
Olympus OM-D E-M1,
12-40mm, 1/50sec
at f/5.6, ISO 100
 YOUR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

The Reader Portfolio winner chosen every week will receive a Submit your images
Please see the ‘Send us your
copy of Skylum Luminar 3, worth £65. See www.skylum.com pictures’ section on page 3 for details
Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools or visit www.amateurphotographer.
with remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, co.uk/portfolio
while over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out.

Reflections
2 David drove past
this foggy area one
day as he left work.
He didn’t have his
camera, so he hurried
home, grabbed it and
returned as quickly as
he could. These trees
stood out against
the mist, so he made
those his focal point,
with the reflections
of the background
trees forming an
important part of
the composition.
Olympus OM-D E-M1,
12-40mm, 5sec
at f/16, ISO 100,
polariser, tripod

Three trees,
Hunsley Dale
5 David was keen to
make the most of the
combination of a light
dusting of snow and a
stiff breeze, so chose
just the right length
of exposure to
capture movement
while retaining detail.
Olympus OM-D E-M1,
12-40mm, 4sec
at f/20, ISO 100,
polariser, two
ND filters, tripod

4 5
 Technique AF MISTAKES
Angela Nicholson
Photographer and journalist Angela Nicholson is a former technical
editor for Amateur Photographer and has been reviewing and
writing about photographic kit since 2004. She’s tested everything
from compacts to medium-format cameras and has spent a lot
of time working out how to get the best from a wide variety of
autofocus systems. Visit www.squeezymedia.com.

The art
of staying
focused
Understanding how your AF system works
and how to avoid pitfalls will really help you
get sharp shots, says Angela Nicholson

T
here are a few creative
exceptions, but one of the
fundamental aims of most
photographers is to get their
subject sharp. Thankfully, that’s the
aim of a modern camera’s autofocus
foolproof. There isn’t one go-to setting
that guarantees every subject is tack-
sharp in every situation. As a result,
it’s important to understand how
your camera’s AF system works, the
conditions that challenge it, and the
© BEN HALL

(AF) system too but although they settings or techniques that will help
are sophisticated, they are not 100% you to get the results you want.

Using a large AF How does my camera’s AF system work?

area makes it
easier to track There are two types of autofocus systems
subjects that commonly used today: phase detection
move erratically and contrast detection. Digital SLRs
use phase-detection focusing when the
viewfinder is in use, but many (recent
Canon DSLRs being a notable exception)
actually switch to contrast detection in
live-view mode.
Mirrorless cameras operate in full-time
live-view mode and use either contrast
detection or a hybrid AF system that
UNLESS STATED OTHERWISE, ALL IMAGES © ANGELA NICHOLSON
the lens falls on to two pairs or groups of
matched pixels. If the light intensity of the
images from these pixels is the same, the
subject is in focus. If there is a difference,
the subject isn’t in focus and the camera
will then calculate which way to adjust
the lens.
Contrast detection relies on the fact that
a subject has the most contrast when it’s
in focus. It’s an accurate method but it
can’t tell which way to adjust the lens so

combines contrast detection with phase
detection. Even if they use contrast
detection, it’s usually a heck of a lot better
than the contrast-detection system used
by the average DSLR in live-view mode.
The mechanics of phase detection are
a little different depending upon whether
it’s used with a DSLR’s reflex mirror or
a mirrorless camera’s sensor, but the
principle is still the same. The light exiting
it may go one way, then the other. This
means it’s inherently slower than phase
detection. However, mirrorless camera
manufacturers have honed this type of
focusing so it’s much faster than it used
to be. And developments like Panasonic’s
Depth From Defocus (DFD) technology
helps cameras like the Panasonic Lumix
G9 and GH5 get super-sharp shots of
fast-moving subjects.

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 Learning how your camera’s
AF system works will enable
you to capture sharp shots in
challenging circumstances

Which AF mode should I use? Auto AF is useful

for subjects like
There are three main AF modes: single, continuous and this flower which
auto. Single (S-AF or AF-S) mode is designed for use with was intermittently
motionless subjects. Once selected, the camera attempts buffeted by
the wind
to focus when the shutter release or AF-on button is
pressed. Once the subject is sharp, it won’t readjust focus
until you release the button and press it again.
In continuous autofocus (C-AF or AF-C) mode the
camera continues to focus for as long as the shutter
release is held down. This makes it the default choice for
shooting moving subjects. It also means that it’s the wrong
choice if you’re planning to focus-and-recompose. I’d also
steer clear of it with stationary subjects as it can ‘fidget’,
which slows things down and can mean missing the focus.
Auto autofocus (AF-A or A-AF) mode is a useful
choice when you don’t quite know what you’re going to
photograph. With street photography, for example, you
might shoot a static scene one minute and fast action the
next. But if you know what you’re shooting, it’s best to use
either S-AF or C-AF because the camera needs to make
some decisions in A-AF mode and it sometimes gets things
wrong or causes delay.

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 Technique
What has artificial intelligence
(AI) got to do with autofocus?
Face- and eye-detection AF have been around for a
little while, and they are useful for social photography.
Eye AF is especially helpful because it gets the most
important part of the subject razor sharp, leaving you
to focus on aspects such as the composition and timing
of your shots.
One issue with some face-detection systems is that
they incorrectly ‘see’ faces where there aren’t any,
which leads to focusing errors. For this reason, it’s
a good idea to turn the feature off when you’re not
going to use it.
Thanks to increased use of artificial intelligence and
greater processing power it seems likely that we’ll see
more subjects being detected automatically in the near
future. Sony has now extended its Eye AF system to
cover animals’ eyes, or at least cats’ and dogs’ eyes,
and Olympus’s OM-D E-M1X can detect cars, trains
and aeroplanes, while Panasonic’s Lumix S1 and S1R
can detect animals. They all work well, making it easier
to get those subjects’ sharp.
Even though modern AF systems are incredibly
smart, there are occasions when it’s better, or perhaps
easier, to focus manually. Cameras usually search the
distance for their target, which means that it can be
quicker to focus manually on a macro subject, for
example. And if you’re shooting through something like
water spray from a fountain, or foliage, the AF system
is likely to get very distracted, thus making manual
focusing a better choice here too.
If you’re using a DSLR, don’t struggle with the
tiny viewfinder image while you focus. Instead,
activate live view so that you can magnify the focus
point and use focus peaking to get the subject
completely sharp.
A small AF point gives you precise control over the focus
Never use auto-AF point mode: true or false?
Most cameras offer a collection of
AF-point selection modes that help you
to choose the point(s) you want to use.
These include options such as single-
point, multiple-point, all-point or
auto-point, zone and tracking. The
smaller the selection area, the more
precise you can be with the focusing.
However, if your subject is moving, it’s
worth selecting multiple-point mode or
zone mode as it’s easier to keep at least
part of a larger area over it.
In the past I would have avoided using
an all-point or auto-AF point mode that
puts the camera in full control over which
AF point is used (it always just focused on
the nearest or most central object), but
Sony’s recent AF systems have changed
that. Its Wide and Zone Focus Area
modes work brilliantly and in continuous
autofocus (AF-C) mode in models like the
A6400 and Alpha 7 III, they’re great for
tracking a moving subject. But it’s worth
noting that they usually target the nearest
part of the subject and if it stops moving,
it’s prone to focusing just in front of it.
Sony’s Lock-on AF and Real-Time
Tracking modes work in a similar way to
other manufacturers’ tracking modes, but
are better than most. You start by placing
the point over the subject, and then press
the shutter release to activate the focusing.
Once you start shooting, the camera is in
control over where the AF point goes. It
usually follows the subject, but if it strays
you have to stop shooting to reposition it.
Most tracking AF modes aren’t as fast
or accurate as Sony’s, but can be useful
with slower or motionless subjects. For
example, you can place the starting AF
point over a critical part of a subject and
it should stay with it as you recompose.

Eye AF can help you

© MICHAEL TOPHAM

nail the focusing Why use the

with a wide range
of people shots back button?
Even with high frame
rates, it’s important to
time your shots carefully.
Back-button focusing
can help with this by
taking away the shutter
release’s AF activation
duty. Instead, you use
the AF-on button on the
back of the camera (or
via a customised button)
When shooting a portrait wide open with an 85mm lens it’s to control the AF system,
best to select an AF point rather than focus and recompose
and only press the
shutter release when
I like to focus and recompose – you want to take a shot.
is this OK? This is especially useful
When cameras had one AF point we often had to when you’re capturing
focus and recompose the shot before taking the image. action. With motorsports,
However, simple trigonometry tells us that this can lead for example, you might
to focusing errors. If you’re shooting a portrait with an want a car to appear at
85mm f/1.4 lens wide open, for example, the depth of the apex of a bend. To
field is so shallow that using the central point to focus help with this, you can
on the eye and then recomposing can result in set the focus with the
the eyebrow or nose being sharper than the pupil. AF-on button and it
Consequently, it’s much better to compose the shot won’t shift when you
and use the AF point that’s closest to the object you press the shutter release
want to be sharpest. to take the shot.

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Most cameras struggle to focus on a
silhouette unless you put the active AF point
over the edge where there’s some contrast
My AF system is struggling to lock on – what should I do?
Focusing systems need light and contrast to
work. It’s the lack of contrast that can leave a
camera struggling to focus on a well-lit sheet
of paper or a smooth wall. If you can find some
point of contrast, even if it’s just a join in the
wallpaper, it will often snap into focus quickly.
Because the phase-detection sensors in a
DSLR are often arranged in lines, the detail
needs to cross a line rather than run along it for
it to be ‘visible’ to the AF system. Consequently,
it’s a good idea to understand your camera’s
Is it worth customising my AF system?
Some cameras have a series of customisation
settings for the AF system. These affect aspects
such as how the AF responds to a change in
the subject distance or if the subject moves
from the selected AF point.
Many photographers assume that it’s best to
set the camera to react quickly to any change,
but a little pause can be a good thing. For
example, if you’re photographing a swimmer
doing the breaststroke towards you, with a fast
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AF sensor arrangement. It’s also why cross-
type AF points are useful – they can detect
details in more than one direction.
If your camera is struggling to focus, look for
an area of contrast or consider switching to the
central AF point. As well as being cross-type,
this is usually the most sensitive in a DSLR.
Cameras sometimes have multiple cross-
type AF points and it’s worth knowing where
these are, especially when shooting action
in low light.
Knowing how your
subject moves can help
you decide on the ideal
AF customisation settings
setting the camera will refocus on the far end
of the pool every time they bob underwater.
Then when they reappear it will refocus again,
making a major adjustment. A slower reaction
will help the camera stay on the subject.
To get the best from these customisation
systems you need to consider what you’re
photographing as well as the shooting
conditions – for example, whether any objects
are likely to come between you and the subject.
AF mysteries
explained
1 What is the focus
limiter switch for?
If your subject is going to be within a
specific range it can be helpful to use the
lens focus limiter to prevent it from hunting
across the entire focus range.
2 What is focus stacking?
This technique involves shooting
a series of images, each with a slightly
different focus distance. The images are
then composited into one that has much
greater depth of field than an individual
shot. It’s a very popular technique with
macro photographers.
3 Why does AF depend on
the lens I am using?
Different lenses have different motors that
drive the focusing and different weight
elements. Also, lenses with a wider
maximum aperture let in more light,
which helps the AF system.
4 AF
Why are full-frame DSLRs’
points near the centre?
Vignetting as well as the main and
secondary mirror arrangement of a DSLR
mean that the AF sensor is smaller than the
imaging sensor. As a result, the AF points
are central.
5 Can f/5.6-sensitive AF
points be used at smaller
apertures?
Yes. The focusing takes place with the
aperture wide open, so as long as you use
a lens with a maximum aperture of f/5.6 or
greater, it will work.
19
 Technique AF MISTAKES

DOES A NEW LENS NEED TO BE CALIBRATED?

Manufacturing tolerances can result in a DSLR’s AF sensor and a lens problem. The following steps show how the AF Microadjustment feature
not being perfectly matched, which means that your subject isn’t as works using a Canon EOS 5D Mark IV and a calibration target created
sharp as you might expect. Thankfully, high-end cameras have a lens from a free template downloaded from the internet at www.squit.co.uk/
calibration or AF Microadjustment feature that allows you to correct this photo/files/FocusChart.pdf.

1 Set up your target
Assemble your calibration target and mount
your camera on a tripod at least 25x the focal
length of the lens away. Next, select mirror
lock-up mode.
2 Use the widest aperture
Set the widest aperture and put the centre
AF point over the chart focus marker before
focusing and taking a shot. Refocus again and
repeat until you have five images.
3 Review the images
Open the images on your computer and
examine them at 100% on screen to see
whether the camera is focusing the lens in
front of or behind the intended target.

4 Find AF Microadjustment 5 Check lens serial number 6 Adjust focus point

From the menu, select AF Microadjustment in Press the Info button again to check the lens You can adjust the focus point of the shortest
the AF options. Press Set and scroll down to serial number. If necessary, use the Set button and longest focal lengths. Use the scroll dial to
‘Adjust by lens’ before pressing the Info button and main dial to enter the correct number, select the focal length that you want to adjust,
to access the options. then select ‘OK’. and then press Set.

7 Set focus adjustment
Use the main dial to set the focus adjustment;
use a positive number to correct front focusing
and a negative one for back focusing. Press
Set followed by the Menu button.
8 Refine the calibration
Shoot the target again and examine the
images to assess the impact of the adjustment.
If necessary (it probably will be) repeat the
adjustment process to refine the calibration.
9 Repeat for other lenses
If you’re calibrating a zoom lens, repeat the
adjustment process for the longest focal
length once you’ve got the focusing right
for the shortest focal length.

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ALL PICTURES ON PAGES 22-23 © STUART McGLENNON
Off the wall
It’s the dream of many a photographer to open
a gallery to sell their own work to the public, but
what’s the reality like? Ailsa McWhinnie talks
to three photographers who’ve made the jump
A love of the Lakes
IT’S QUITE a leap from working
as a health and safety officer at
Sellafield, Cumbria, to becoming a
gallery owner in Keswick, but it’s
one that Stuart McGlennon made
– and within only a few years of
taking up photography, too.
In the summer of 2015, he started
to take pictures as an adjunct to his
pastime of hillwalking, but soon the
desire to make photographs took
over and became the priority. He
was a regular on AP’s own forum
and received encouragement and
feedback in our appraisal gallery.
And he reached a turning point
in his photography pretty quickly.
‘It’s like any other hobby,’ he says.
‘People start out by imitating
photographers and going to certain
locations – you get a nice picture
22
and come away happy. Eventually
that wears off, however, and you
want to put your own spin on
things. That period of wanting to
shoot honeypot locations didn’t
last long for me. I’m quite challenge
driven and it didn’t feel like a
challenge to repeat the same shots
everyone else was producing.’
As a result, despite living in
the Lake District – where you’d be
forgiven for thinking that every inch
has been photographed – he actively
shot views and locations that others
may not have seen. It garnered him
some attention, and he began to
supply a few prints to a small gallery
in Keswick. Then, early in 2018, the
owner of the gallery asked Stuart if
he’d be interested in taking it over.
‘At first, I thought it was a bit of
6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
a joke,’ he says. ‘But I’d got stuck
in a rut of working shifts at
Sellafield, and realised if I didn’t
do it then, I might never do it.’
Not being prone to impulsive
behaviour, he didn’t say yes straight
away. Instead, he did the sensible
thing, and sought advice – most
importantly, from a friend who
runs two cafés in the same town,
so knows all about the practicalities
of location, footfall and potential
turnover. ‘I trust him implicitly,’
says Stuart. ‘He went over the
figures and told me he thought
it was a great idea.’
Above: Blea Tarn Crucially, the gallery is next door
in Little Langdale to one of the biggest outdoor gear
lends itself well retailers in Keswick, and is part
to the panoramic of the main route into town for
– a format Stuart
has found to be tourists who park in the main car
particularly popular park by the nearby lake.
with customers.
This print sells for The price is right
£240 at its largest Once he had the keys, it was a fairly
size (about 1.2m straightforward case of freshening
when framed), then it up with plenty of white paint and
£160 and £105
maximising the small space while
Above right: This avoiding making it appear cluttered.
view of Warnscale And then he had to decide what
Bothy is by far his to put on the walls. ‘It’s a case of
best-selling print. matching your work to the tourists
It sells for £105, who come in,’ Stuart explains. ‘You
£140 and £210 might want to put your favourite
work on the walls, but you have to
make the choice between whether
Right: Small but it’s a picture you like and whether
perfectly formed – it will sell.’
the interior of Lens As for pricing, he calls it a ‘constant
District in Keswick mental battle’. He tweaks the cost of

the prints now and then, always
trying to stay mindful of his market
while not undermining the value of
the work. ‘It’s quite tricky because
some images are harder to come by
than others, so I want the price to
reflect that,’ he explains. ‘But equally,
your value of an image might be
quite different from someone who
hasn’t the same attachment to it.’
His prints start at £40 for a
mounted A4 image, going up to
the £400 mark for an A1-framed
print. Anything up to A3+ he prints
himself, while larger orders are
done externally. In the middle
are the prints that sell for around
£200-250. He tends not to produce
many limited editions. He’s also
found it’s definitely a case of bigger
being better. At the outset, his stock
was around half loose prints at A3
and A4, while the other half were
the larger, framed images. Now, just
over a year on, he says it’s about
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019
80:20 in favour of the big pictures.
‘They have more impact,’ Stuart
says. ‘A lthough I’ll often have a
smaller print of most images, once
the customer has seen the framed
print they don’t want the little one.’
Popular prints
While it’s still the classic views of
the Lake District that sell best, as
tourists tend to want a memento of
something they’ve seen themselves
while on holiday, his runaway
bestseller is actually of a viewpoint
that only serious fell walkers tend
to come across. ‘It’s of the view
towards Buttermere from
Warnscale Bothy,’ he says. ‘The
number of people who buy that
image who’ve never been to the
bothy surprises me, but it outsells
everything else in the gallery by
two or three to one.’
What has also surprised him is
the enormous popularity of the
panoramic format, and these
‘comfortably’ outsell any image in
the more conventional formats.
‘That’s the thing that’s surprised me
most since opening the gallery,’ he
reveals. ‘I think it’s because the
Stuart McGlennon
panoramic format lends itself to
started taking pictures filling walls. Before I opened the
only four years ago, while shop, they were something I did as
he was still working at an afterthought, but now when I go
Sellafield as a health and out, I’m always looking for them.’
safety officer. With shift Despite it being such early days,
work becoming taxing, Stuart is already looking to the
he grabbed the chance to future. In the quieter periods, he
take on a gallery space in plans to increase the number of
Keswick, which opened residential workshops he already
as Lens District about runs, and hopes eventually to be
a year ago. Visit www. in the position to move to a larger
lensdistrict.com. premises, at which point he’ll
start selling work by other
photographers. ‘But for the time
being, it’s a case of getting myself
established and making the
business profitable. It’s going
as well as I could have hoped.’
23
PHOTO GALLERIES

A popular picture from the Cuillins, this is available in anything from 8x12in to 60x40in

Blue-Skye thinking
LYNNE Douglas has only been
taking pictures for the past seven or
eight years, but what started out as a
hobby quickly became an obsession.
In her previous job as a scientist,
she managed major projects and
was in charge of big budgets, but
had been looking for a new path
for a while. Once photography took
over, she knew she had found a way
to give up her day job. At the time,
she lived in Glasgow, but in order to
pursue her landscape photography
and increase the print sales that
were starting to come in, she and
her husband moved to Dunoon on
the Argyll coast. From here, they
headed to the Isle of Skye, where,
in August 2018, they opened the
Skye Blue Gallery on the island’s
Trotternish peninsula.
‘It might sound like a bit of a pipe
good four months on Skye, and
I did begin to wonder whether it was
going to work,’ she recalls. ‘When
you’re doing a build the size of this
one, it does suck all your money.’
The building is a modern one, with
two public rooms, four bedrooms
in the private area and what Lynne
says is a ‘huge, undeveloped area’
upstairs. ‘Initially, we knocked
together the two big public rooms
and hallways to make a decent-sized
gallery with a kitchen and a seating
area,’ she explains. ‘A nd now we’re
building a 12x8m extension on the
side. This will become the main
gallery, while the original area will
be mainly a café. In addition, we’re
building decking all along the
front to create an outdoor area.’
Ambitious, yes, but it helps that
Lynne’s husband is a builder.
Above: A version in terms of print sales. Not only
of this image sells does she photograph the iconic
as a 60x40in views enjoyed by so many who
ChromaLuxe panel
visit Skye, but she also produces
for £950
a range of more abstract images.
Right: The Skye She tends to print up this latter
Blue Gallery with body of work very large, and often
its ‘vital’ café area as ChromaLuxe pieces. These are
aluminium nels that sit well in
Below: This contemporary homes. ‘People who
Highland calf want a very big piece of art don’t
picture has sold necessarily want a huge, highly
in its hundreds detailed seascape,’ she says. ‘They
ALL PICTURES ON PAGES 24-25 © LYNNE DOUGLAS

dream, but it was something I was

building up behind the scenes for
three years before I was confident
that we could make the switch,’
Lynne explains. ‘Not long after I
started taking pictures, I invested
in a 44in printer, so I’ve been selling
big prints of my work for a number
of years. Once I started to get some
success with selling my prints
online, it became quite a reliable
second income.’ As such, the step
towards opening a physical gallery
wasn’t such a huge one.
Although Skye plays host to more
than 500,000 tourists every year,
they tend to visit during the peak
summer months. As a result,
opening at the tail-end of the season
meant a lean period for Lynne and
her husband. ‘Winter lasts for a
Food for thought
As for the café, it is, as Lynne puts
it, ‘vital’. Many of her clientele come
in for coffee, and end up leaving
with a print. She recently shipped
a £1,100 print to Tasmania, which
was bought by a couple who simply
popped in for a hot drink. However,
one of the first mistakes Lynne and
her husband made was in offering
hot food. ‘We’d been warned not to!’
Lynne laughs. ‘Print sales were down
because I was wiping tables and
washing dishes, and couldn’t talk to
anyone about the photography. So,
overnight, we cut back to coffee, tea
and cake. We learned our lesson.’
Lynne’s photography falls into
two distinct styles, which no doubt
contributes to her success so far

24 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


often want an impression – an
emotional statement about where
they’ve been. The look of the panels
– big, glossy, very contemporary and
frameless – seems to work really
well with the abstract images. And
while they’re expensive to produce,
there’s a big margin on them.’
As an example, she sold one such
panel recently for £3,500. ‘A lot of
people admire them and won’t buy,
but we only need a few sales to
make our margins.’
At the other end of the scale are
the small prints that start at £4.50
each, rising to £12, and that she
sells at three for the price of two.
‘I sell a lot of these,’ she explains,
‘because people love choosing three
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019
images that will go together.’ And
while the ethereal abstracts are
understandably admired, she
also has a print of a Highland
calf that has sold in its hundreds.
Strategically, too, she hangs these
smaller prints at waist level, so that
customers can admire them while
drinking their coffee.
Making a mock-up
One particularly clever sales
technique she uses is to create
room mock-ups from downloaded
software, on to which she
superimposes her images. This
helps customers visualise what the
work will look like on the wall. She
even superimposes her images on to
photographs that customers send her
of their own rooms. ‘Understandably,
they want to make sure they’ve got
© FINN HOPSON
Lynne Douglas it right, as it’s a big investment,’ she
started taking says. ‘People have to be able to
pictures about eight imagine the print in their space.’
years ago. She and Since opening the gallery less
her husband opened than a year ago, how much time has
Lynne had for her own photography?
the Skye Blue Gallery
‘I have to admit, I haven’t had a
in August 2018 and chance,’ she says. ‘It has been a
are working on plans really intense time, and we’re open
to expand the space seven days a week, so I’ve only taken
already. Visit www. a few days off since last August. But
skyebluegallery. I’m happy to do this in order to
com to see more. learn how everything works.’
PHOTO GALLERIES
Underneath
the arches
THE 120-YEAR-old arches that
grace Brighton’s promenade are
as much a part of the city as the
Pavilion and the pier. In recent
years, many of these arches have
undergone renovation, with the
council leasing them to small
local businesses. When, in 2014,
photographer Finn Hopson received
an email inviting proposals for
a recently completed section, it
proved life changing. Staying up
all night to put together a business
plan, and successfully navigating
an intense interview process that
ensured his ideas were robust, six
weeks after receiving the email, he
opened the doors to the gallery he
calls Brighton Photography.
Until this point, he’d mainly sold
images at arts fairs and during the
Open House programme that runs
throughout the Brighton Fringe
Festival. Now, suddenly, he had to
fill an entire gallery with his work.
And he recognises the privilege.
‘I’d be out there taking these
pictures anyway,’ he says. ‘But
having somewhere to work on
them, print them and sell them…
that’s an amazing bonus.’
Things didn’t get off to a flying
start, however. Almost as soon
as the gallery was launched, the
section of seafront immediately
outside was almost completely
closed off for three years, while the
somewhat controversial British
Airways i360 was built. It meant
that passing trade was more scarce
than it might have been, but he
got through that period unscathed,
and since the seafront was fully
reopened, his business has thrived.
His work, not surprisingly, focuses
on Brighton and Hove, and the
South Downs National Park
that surrounds the city. But
Brighton Photography is found inside the
Victorian arches on the city’s promenade
25
 PHOTO GALLERIES

while the urban landmarks are are the prints that are rotated more Above: This image,
perhaps obviously photogenic frequently, simply because he has which sells from
and recognisable, the Downs are more of them. Taking a step £30 to £350,
always sees a spike
less so. ‘There’s no drama on the back and being dispassionate is,
in sales around
Downs in terms of wilderness,’ he naturally, an ongoing issue. ‘How Valentine’s Day
explains, ‘so I want to show people many images do you take a year that
what it feels like to be there. It’s allyou like, that are worth printing, Right: With Firle
about colour, light, shade and and that are then worth putting Beacon and
texture. Best of all, you can get there on a wall with a price attached to Beddingham Hill in
in any weather, any time you like.’ them? Ten, maybe?’ he says. the distance, this
A few years down the line, he has print is popular
with those who
Moving pictures settled on a pricing structure that have walked the
As would be expected, choosing seems to work for his clientele. He South Downs Way.
what to put on the walls of gets a lot of repeat custom from It sells in three sizes
the gallery at any given time is those who buy his prints as gifts, from £135 to £350
something of a juggling act. He still and at the other end of the scale,
sells images he took eight or nine the one-off tourist purchases are
years ago, and that have been on extremely important. The former
sale since the gallery opened, while tend to spend around £125 to £175,
others have a shorter lifespan. while others are happy to go up to
Equally, the psychology of where the £550 mark for a large framed
things are placed plays its part. ‘I print. ‘Lots of photographers come
move stuff around quite often, and in and tell me I should charge more,’ different, but he still makes a sale,
it can be quite revealing,’ he says. ‘I he says. ‘They might be right, but Following a career in and that’s what’s important.
might have an image on the wall for I have to set a price at which people TV, Finn Hopson ended When it comes down to it, Finn
three months, move it, and a regular don’t just aspire to owning the up specialising in post- is pretty much living the dream,
visitor can come in and think they’re picture – they actually buy it.’ production. Landscape and is hugely appreciative of the
looking at it for the first time.’ photography was his way things have panned out. As he
There’s a seasonal element, too. The Instagram effect ‘get out’, and he was
puts it, ‘The idea that anyone would
Understandably, Finn sells more Social media plays an important buy one of my prints and have it on
eventually able to leave the wall – that’s nuts! Most of my
ALL PICTURES ON PAGE 26 © FINN HOPSON

bluebell images in spring and more role in print sales, too. With more
autumn images in October, but than 4,000 followers on Instagram, London for Brighton, career has involved saying yes to
he doesn’t tend to have set times he finds it’s not unusual for people to where five years ago things that sound interesting, then
throughout the year when he make a trip to his gallery specifically he opened Brighton being terrified when I’m told, “OK,
changes things around. Because he to purchase an image they’ve seen Photography. Visit www. then!” But you have to make your
shoots more images on the South on the social-media platform. They brightonphotography. own luck and take that step
Downs than anywhere else, these may end up with something com to see more. into the unknown.’

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Celebrating 60 years
of a true icon ...

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
... the Nikon F camera
& Nikon F mount
Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays
Instagram: @nikonatgrays LinkedIn: Grays of Westminster
 ALL PICTURES © TESNI WARD
Eurasian widgeon in
the late evening light
Olympus E-M1 Mark II, 300mm,
1/800sec at f/4, ISO 800

WILDLIFE WATCH
Waterfowl
Common waterfowl are often overlooked when looking
for a photography project. Tesni Ward shares her tips
on how to make the most of these charismatic birds
ONE OF the great things about photographing waterfowl
is that they are so easily accessible in the UK. Despite
this, they are often overlooked in pursuit of more elusive
wildlife, and deemed to be ‘boring’ or ‘too easy’.
This can be hard to understand when you consider
that the UK is home to over 35 species of waterfowl
or wildfowl that can be found on many lakes, rivers and
coastal areas. There is potential for truly great images if
time and effort is put towards photographing them.
While there are big differences between some species,
the most common include mallards, mute swans, coots
and Canada geese. They are often more concentrated in
urban areas and owing to regular contact with humans,
are usually approachable when it comes to photography.
One of the downsides to working with these birds in an
urban environment are the surroundings, which can be
messy and clustered with cars, people, buildings and
rubbish from time to time. A quick readjustment or
moving to a new angle usually solves this.
Another challenge when working in an urban setting is
that the sheer number of birds can make it difficult to get
a clean image. I have lost count of the number of images
I’ve had to give up on because of a bird photo-bombing
in the front/rear of the image. Unfortunately this is hard
to avoid, but perseverance and patience do pay off.
While some birds will be going into eclipse plumage at
varying times in the summer, there are always subjects
to photograph and it can be a good time to turn your Tesni Ward
attention to the females. Certain waterfowl such as Tesni is an award-winning
mallards are known to have more than one brood professional wildlife
each year, meaning you can get those adorable photographer based on
duckling images throughout the summer. the outskirts of the Peak
District. While the majority
of her work focuses on
▲

KIT LIST Seeds British wildlife, she also

If you’re struggling to get photographs projects
Waders
▲

close enough, a small across the world and has

If it’s safe to do so, and getting in the handful of cracked corn aspirations to promote
water in waders will not cause undue or wildfowl feed can help conservation and education
stress or disturbance to wildlife, waders to break the deadlock! through her images. Visit
are a great way to get eye level with your Try to avoid bread www.tesniward.co.uk.
subject for a unique angle on the action. whenever possible.

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 wildlife watch technique

Two mute swans on

an urban reservoir
Olympus E-M1 Mark II, 7mm,
1/1600sec at f/5.6, ISO 800

Shooting advice About

When it comes to photographing waterfowl, one of the
waterfowl
best things you can do is spend as much time as possible Waterfowl can be found
at your local site. You are more likely to dedicate time and extensively across the UK,
energy into a site that’s nearby and which will be easier to but your local lake, pond
swing by if you only have a bit of time on your hands. or country park is usually
Once there, try and shoot at the level of the birds. That a good place to start.
either means getting into the water, using an articulated l Locations Lakes, ponds,
screen, or using a right-angle viewfinder. Of course there rivers, wetlands and
will be opportunities to shoot from different angles and coastal stretches
perspectives, but images often draw your attention in
l Bird size Ranging from
better if shot from water level.
I shoot in manual mode but aperture priority is also a
55cm to 2.4m wingspan.
good option if you want to control your depth of field and
Up to 12kg
minimise distractions. As I shoot with a 2x crop sensor, l Nest Usually near water, in
I prefer to shoot with my aperture wide open 90% of the dense vegetation, hollows
time, but if shooting fast movement it’s advisable to have in trees and small islands
a wider depth of field so that you don’t miss the action. A dark background or refuges
When it comes to focusing, ensure that you focus on helped to isolate this l Diet Wide – ranging from
the eye of the bird whenever possible. Owing to the shape hen mallard from fish to vegetation
of these birds, focusing on the body sometimes results in her surroundings
Olympus E-M1X, l UK population Healthy.
the head or eye being out of focus. There’s also the risk of One million plus
210mm, 1/1000sec
focusing on the bill. Use a single AF point or a wider depth
at f/5, ISO 400
of field to compensate for this.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 31

 © BRIAN MARCER
© STEPHEN NOBBS
2

1 Tate Modern by Brian 2 Teasel by Stephen

Marcer Including the Nobbs A simple yet
human figure in this effective image with
composition helps to give beautifully vivid colours
1
it a great sense of scale which stand out against
and context. the muted background.

5
5 Been Fishing by 6
Carole Ashton
Wonderfully framed, this
puffin portrait captures
the spirit and behaviour
of the bird in fantastic
detail, with a gorgeously
blurred background.

6 An Evening Stroll by
Des King This almost
looks more like a painting
than a photograph, with a
beautiful colour palette
© CAROLE ASHTON

and abstract feel. The

© DES KING

human figures finish it

off perfectly.

Join
When was the club founded? to new members. Our members, many of
Buxton Photographic Club was formed in whom have national qualifications such as
September 1990 after some chance remarks LRPS, ARPS and DPAGB, represent a broad
in the local village shop. Since then it has spectrum of abilities from beginners to
celebrated its 25th anniversary. At the seasoned photographers. Our aim is to enable

Club
inaugural meeting nearly 60 people packed all members to achieve their best through

the into the very small classroom in the local

primary school. In those early days everything
was on film and one or two members even had
networking and continuous improvement
technical evenings (including post-processing
techniques), outdoor photoshoots, image
their own darkroom; the rest had their work critique and advice. Many of our members
processed and printed commercially. The club have areas of speciality and personal style such
now has approximately 27 members. There as wildlife, landscape, monochrome and sports
was a dip in membership at the start of the photography, and are eager to share their
last decade, but since the advent of digital expertise through presentations and chats.
photography it has increased and the club has We hold five competitions a year that are
The Buxton picked up more members who are producing independently judged by accredited EAF
and exhibiting their work. judges. These include a themed print
Photographic Club offers competition, open digital and open print
What does your club offer to new members? competitions, culminating in annual awards for
a friendly environment We offer a friendly and interactive environment Photographer of the Year, best print and best

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 YOUR PICTURES IN PRINT

© MARK LANDAMORE
3 4
© JIM LAWS

3 Brograve Mill by Jim 4 Misty Sunrise by

Laws Finding the perfect Mark Landamore The
spot for this image to monochrome conversion
frame the mill must have was a fantastic choice
been a challenge, but it here for a classic
works extremely well. sunrise scene.

Club essentials

Buxton Photographic Club

7 Water Rail in Buxton Village Hall, Mill Street,
Golden Light by Buxton, Norwich NR10 5EN
Mark Ellis Everything Meets First and third Monday of each month at 7.30pm
about this shot is nigh Membership Individual annual membership is £30,
on perfect. Gorgeous couples membership is £35
colours, stunning
detail and a fantastic Contact Online contact form on website or email
© MARK ELL S

reflection. chairman@buxtonphotographicclub.co.uk
Website www.buxtonphotographicclub.co.uk

DPI winners. There is also a special award for
the most improved member. The club also
competes with other local clubs and also
with the Cambridge Camera Club’s annual
competition. Our committee, including the
sub-committee for inter-club image selections,
is a dedicated team of like-minded people
passionate about the club and its success. We
have also recently been awarded a National
Lottery bid for a new projector and screen.
Our programme is varied, with presentations,
competitions and club outings.
Describe a typical club meeting.
Members begin to arrive around 7pm, and
gather around until the meeting commences at
7.30pm. Our chairman announces the notices
and any special items to be brought to the
members’ attention before we enjoy the
evening’s programme.
Do you invite guest speakers?
We like to include lots of different speakers
within our schedule. This year’s programme
includes several guest speakers including
professional photographer James Sparshatt
who gave an illustrated talk about his journeys
in Cuba and his black & white processing
techniques. Coming up we have BBC
weatherman Chris Bell giving his photographic
talk on storm chasing in the USA, and we
will also have the professional photographer,
Roger Hance.
Do members compete in national or
regional competitions?
We have several of our members who
compete in national competitions, in
particular those organised by the Royal
Photographic Society, Sony and national
newspapers and magazines.
What are the club’s goals for the future?
We are always looking to provide our
members with the best opportunities to
improve their knowledge and skills with
photography. So our strategy to meet our
objective is to continue with actions
commenced to:
• Hold continuous improvement technical
evenings
• Post-processing workshops
• Studio evenings (subject to obtaining
suitable equipment)
• Assist those members who want to gain
RPS and PAGB Distinctions
• Have a wider membership doing well in
competitions.
Want to see your club featured on these pages? Drop
us a line for more information at ap@ti-media.com

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 33

 Technique
Jo Stephen A dragonfly rests
and is the only static
Jo is a self-taught photographer who has worked in nature part of the image
conservation and the arts. Her photography documents the while the rest of
nature and changing seasons around her home in north the scene is built
Dorset. She uses creative techniques to communicate up around it
her connection with the local landscape. See more at
www.jostephenphotography.wordpress.com.

Blurring
the
boundaries
Jo Stephen shares her top tips for
creating abstract and impressionist
images using intentional camera
movement and multiple exposures

I
took up photography
for creative expression
after working for many
years as a glass blower. I
think this is one of the reasons
I’m drawn to working with
this with multiple exposures
(ME), in camera or in post-
processing, of layers of images
to create new and abstract
effects. The combination of
flowing colours and layering of
ALL P CTURES © JO STEPHEN

intentional camera movement textures and forms mirrors the

(ICM), which is where you creative processes I used when
move the camera while the creating hand-blown glass.
shutter is open to create My photography is
abstract effects. I then combine almost entirely shot

JO’S TOP TIPS

Vertical panning Layering multiple Elements moving

This works well with subjects like trees,
grasses and reeds. I always shoot handheld
but if you’re having trouble getting crisp,
straight lines a tripod could be used. Be
careful to pick an area clear of horizontal lines
such as branches, or pan quickly if this is not
possible to keep the image clean.
ICM images
This works best for images with strong lines,
such as the vegetation in this picture of the
River Allen. I then combined layers with motion
in different directions. By using the overlay or
multiply blending modes in Photoshop these
elements can be emphasised.
your subject
The image above was taken in strong wind.
I held the camera still and let the daisies
move through the exposure. To pull out
some detail from the flowers I took a second
shot at a high shutter speed and layered this
over the blurred image.

34 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Pausing
during the
exposure
This can enable
you to get a part
of the image
to ‘stick’. In this
image of my son,
Fynn, in Salisbury
Cathedral I have
paused on his
Moving with a subject Layering ICM and shoulders during
To capture birds in flight I set my shutter speed static subjects a vertical pan to
between 1/10 and 1/5sec and manually focus Using an ICM base layer taken by shivering attempt to pull
on the bird’s eye using a 300mm zoom lens. the camera to create soft lines, I have layered them upwards to
Shooting against the dark background of static images of anemone flowers taken create an angelic
the river or vegetation helps to bring out the looking down on the woodland floor. The light winged form.
ghostly white balletic shapes of the bird’s flowers can be lifted using a colour selection or The end result
motion in flight. a layer-blending mode in your editing software. is majestic.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 35

 Technique
within a few miles of
my Dorset home, making
it sustainable and with a
minimal carbon footprint. As a
trained ecologist and natural
historian, I like to be rooted
in the landscape around me,
watching seasons change and
recording species. ICM and
ME enable me to explore
the history of a place in my
work, and help me to convey
the ephemeral nature of
botanical subjects, and create
imagined landscapes blurring
the edges between subject
and environment.

Inspirations
The images I create with these
techniques are more about
form, texture, colour and
emotion than they are about
realism and representational
photography. Experimenting
with ICM is well suited to grey
days where you may find little
else to capture, but some of
my favourite botanical images
have been created in full sun.
The subjects I am drawn to
are natural: trees, plants and
wildlife. I spend a lot of time by
the river photographing gulls
and also the water itself, which
lends itself beautifully to ICM.
By experimenting and drawing
with the highlights in a frame
and panning with a subject in
motion you can create some
amazing results.
There are many inspirational
photographers who use ICM
and ME in their work. Pep
Ventosa’s ‘In the rounds’ series
blends representational
photographs taken while
walking around a subject.
This produces an abstract and
impressionistic composite that
explores photography as more
than just a means to capture
a moment in time. Sandra
Bartocha’s nature photography
incorporates Pep Ventosa’s
technique, ICM and long
The Japanese tree looks beautiful in multiple layers and the yellow green tone of the background frames it perfectly
exposures, often using a
soft and subtle palette to
produce inspiring ethereal
abstract results.
Technical aspects
ICM photography can be
created using any camera or
smartphone camera that will
allow you to control the shutter
speed so that the camera can
be moved during the exposure,
creating the blur effect. When
choosing your lens the most
important factor will be the
focal length, which will partly
be determined by the subject
you intend to capture. For
birds and wildlife I use a
300mm lens, so I don’t scare
the subject; for landscape,
an 18mm lens; and for my
botanical work, I generally use
my Tamron 90mm f/2.8. I tend
to shoot without ND filters;
however if you have these they
can be used to increase your
exposure time and potentially
soften blurs. I use a shutter
speed of around 1/10 to 1/3sec
to capture almost all my ICM
images, preferring relatively
quick movement of the camera.
Live view is useful to ascertain
how much light you are letting
into the camera, and I find
stopping down the exposure
compensation and using a
higher F stop helps to reduce
the chance of overexposing. I
also set my ISO to 100 and on
occasion I will adjust the white
balance to enhance the tone or
mood of the scene.
When moving the camera
during the shot, different types
of motion will create different
effects – vertical panning
works well with straight lines
such as trees, architecture,
people; horizontal for
seascapes and bands of colour.
I frequently use a shivering
motion or pause momentarily
on a point in the frame, to
cause it to ‘stick’ to perhaps
a flower or an interesting
texture, and then roll the
camera in a circular motion
forward. Be aware of any
highlights in your frame as
these will streak and draw
lines, so either avoid these
altogether or perhaps use it
to your creative advantage.
Textures in my images are

KIT LIST
Camera Lenses
▲
▲

Any camera or smartphone Any lens can be used when

camera that will allow you to shooting ICM photography,
control shutter speed will enable so choosing one with a
you to shoot ICM photography. focal length appropriate
The lighter weight of mirrorless to the subject you wish
systems may be more to photograph is the most
comfortable if you are out for important factor. I have
long periods taking handheld a 300mm, 18mm and a
ICM shots. I use a Sony Alpha 58. Tamron 90mm f/2.8.

36 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


Wild garlic captured using intentional camera movement and multiple exposures to create a work of art
elements such as tree bark, soil,
mosses or clouds.
I don’t have an in-camera
ME function, so I use Adobe
Photoshop to layer my work,
experimenting with endless
combinations of blending
modes, and using the selection
tools to accentuate or repeat
elements. I am a great fan of
in-camera work, which I hope
one day to experiment with,
but also an advocate of using
what you have to explore
both the nature in your local
landscape and your creativity
within. There are a few limits
to this form of photography
and the techniques are simple
to learn; as such it offers the
scope for boundless travel
through your imagination.
Software
▲
I process my images first in Adobe
Lightroom, making minor adjustments
and corrections. I then use Photoshop
to layer multiple exposures and add
textures, if applicable. I also use Nik
Collection’s Analog Efex Pro 2; the film
options in this software are especially
useful for adjusting the tone of the final
image in ME images.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019
10 top tips
1 Experiment with the way you
move the camera. With one
scene in front of you try moving
the camera vertically, horizontally,
and in shivering, rolling and
organic movements. You can
then compare the results and
determine which works for the
image you want to create.
2 Be aware of highlights in the
composition. In much the
same way as one may approach
light painting, these elements can
be used to draw lines through
your image. This is especially true
when photographing running
water or if light is coming through
gaps in foliage.
3 Use live view while shooting
in ICM. This will help you
determine if you need to adjust
ISO, white balance, exposure
compensation or shutter speed to
create the image you’re after.
4 Using ND filters can allow
you to shoot and move the
camera over longer periods of
time, which can help to create a
softer effect in your imagery.
5
This image is called Look for interesting colour/s,
‘Golden Leaves’. pattern and texture in your
A textured subject as most detail will be lost.
background such However, pausing briefly while
as this one can be
added in Photoshop
shooting can help to retain some
detail in the scene.
6 Have lots of space on your
memory card or carry spares;
it is surprising how many ICM
images you can take in a relatively
short amount of time.
7
ICM is well suited to grey days
and poor light conditions when
other styles of photography may
not be possible. However, don’t be
put off experimenting in full sun.
8 Look for high-contrast and
bold patterns in the images
you are going to use for multiple
exposure; this will help bring out
form when layers are combined.
9 Build up multiple-exposure
portrait images by shooting
your subject from multiple angles,
distances or by combining ICM
and static shots.
10 Keeping a journal
of experiments and
combinations that have worked is
a good idea, as without a record,
recreating effects may prove
difficult at a later date.
37
EISA Maestro UK
We take a look at the winner of the UK EISA Maestro competition for 2019

EISA Maestro competition winners

The theme of the 2019 EISA Maestro
competition was ‘Power’. The winning
entries from each of the 16 participating
EISA countries were judged together at
the association’s General Meeting in
June and the final results will be
revealed at the EISA Awards Gala in
September. The overall winner will take
home a cash prize of €1,500 and the
EISA Photo Maestro 2019 trophy.
The overall winner from the UK, as
selected by the AP team, is Steve Field
and we see his work here. The two
runners-up portfolios will be featured
in the forthcoming issues of AP.

Steve Field, Stoke Gifford, South Gloucestershire

1st
‘I shoot an eclectic range of subjects – everything from sport
and wildlife to macro and travel. I’m a member of the Bristol
Photographic Society (BPS) and never fail to be inspired
by both the visiting speakers and my fellow photographers.
Without their encouragement and guidance, I’d still be
a ‘snapper’. I particularly love black & white photography, and started off doing
my own developing and printing in my twenties. This project was always going
to be black & white to portray not just the shapes and chalk, but also the power
these girls possess in order to carry out the moves with such ease and grace.’
The images
Steve’s daughter does
acrobatic gymnastics,
and he helps her
club with fundraising
through photography.
The idea for this
project came about
when a photographer
at BPS shared their
‘flour dancer’ images
at a club evening. This
inspired Steve to use
gymnastic chalk to
bring a selection of
moves to life. He set
up a backdrop and
two Bowens lights,
with a Speedlite
behind for rim lighting,
and got the gymnasts
to practise the moves
before introducing the
chalk. A few images
are double exposures,
because the chalk
hangs in the air for
a while. ‘To see these
gymnasts in action
is humbling,’ he says.
‘You only have to
look at their muscle
definition to appreciate
the power each of
them has developed.’
All images were taken
on a Canon EOS 5D
Mark IV with 24-70mm
f/2.8L lens. Visit www.
stevefphotography.
com to see more.
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6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Presentation
top tips
Whitewall’s
Product Manager,
Jan-Ole Schmidt,
reveals his top
tips for displaying
your framed photographs

1 The Statement Piece

This is one picture hung alone,
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Think of it like organised chaos.
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each picture along an imaginary axis.

all acrylic prints (and any other
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If you’re after something unique,
4
Above left: This Prints’ section. Here you’ll find All in a Row
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Hang pictures evenly in a horizontal
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have been arranged few. It’s worth spending some
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5 The Chessboard
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 41

COMPETITION

Amateur Photograp
Your chance to enter the UK’s most prestigious com
Round five
Small worlds
Close-up photography allows us to explore elements of nature that
might otherwise remain hidden. Plants can provide a beautiful canvas of
£10,000
colour, shape and texture, and getting in close can reveal how seemingly
disparate elements function together to form a cohesive whole. But of
we don’t just want you to focus on plants – we also want to see your
close-up images of insects, shells, feathers, food, jewellery or anything prizes to
else you care to scrutinise. When shooting close-up, select your point of
focus carefully and bear in mind that depth of field will be very limited, be won
so take your time and use a tripod or beanbag where possible.

Plan your APOY 2019 year

Below is a list of all this year’s rounds including when the rounds open,
when they close and the dates the results will be announced in AP.
THEME SYNOPSIS ANNOUNCED CLOSES RESULTS
Mad about mono Black & white 23 Mar issue 18 Apr 8 Jun issue
Setting the scene Landscape/cityscapes 13 Apr issue 3 May 29 Jun issue
Animal magic Wildlife 4 May issue 24 May 27 Jul issue
Perfect portraits Portraiture 1 Jun issue 21 Jun 31 Aug issue
Small worlds Macro 6 Jul issue 26 Jul 28 Sep issue
Street life Documentary/candid 3 Aug issue 23 Aug 26 Oct issue
Whatever the weather Weather 7 Sep issue 27 Sep 30 Nov issue
After dark Night shots 5 Oct issue 25 Oct 21 Dec issue

YOUR FREE ENTRY CODE

Enter the code below via Photocrowd to get one free
entry to Round Five – Small Worlds

APOY00391405
© HENRIK SPRANZ

To enter visit www.amateurphotographer.co.uk/apoy

ROUND FIVE: PHOTOGRAPHY TIPS
How to capture the world in close-up

Precision timing Perfect placement

© GARY COLLYER

© OWEN O’DONOHOE

Macro isn’t all about The water droplets

insects and flowers. in this image have
Let your imagination been placed in such
run riot and imagine a way so as to draw
how everyday things the eye through the
– such as water image. Acting as tiny
droplets – might mirrors, they add
look in close-up, interest to what would
just as Gary has otherwise be a classic
done here. close-up.

42 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

her of the Year
petition for amateur photographers
In association with

PRIZE
WORTH
£1,000

This month’s prize

Take your pick of Sigma
products worth up to £1,000
The winner of Round Five – Small
worlds can choose products of up to
£1,000 in value (based on Sigma’s
RRP) as their prize. If the winner’s
choice of lens is above this amount,
they can choose to pay the difference.
Fans of macro photography will find
plenty of lenses to feed their passion for
close-up in Sigma’s range. The SIGMA
70mm F2.8 DG Macro | Art (RRP
£499.99) delivers outstanding
resolution with pin-sharp clarity and has
a close-focus capability of 25.8cm.
There’s also the SIGMA APO Macro
150mm F2.8 EX DG OS HSM (RRP
The out-of-focus blues £999.99), a wide-aperture telephoto
and purples frame this macro lens that features Sigma’s Optical
delicate white butterfly Stabilizer for easier handholding. Its 38cm
perfectly, providing
minimum-focusing distance ensures
context and colour
minimal disturbance to subjects.

Breathing Background
© STEVE PALMER

© STUART WALKER

space basics
Don’t automatically A completely plain
go as close as you background in a
can to your subject. neutral colour
By leaving so much allows this bright
space around this red ladybird to
midge, Steve has stand out strongly.
made the image as Think of unusual
much about scale ways in which you
and colour as it is can portray your
about the bug. subject, too.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 43

 Testbench IN THE FIELD

At a glance

£3,399 body only

● 47.3MP full-frame CMOS sensor
● ISO 100-25,600 (expandable to
ISO 50-51,200)
● Dual IS image stabilisation system
● 5.76-million-dot OLED EVF
● 4K 60p/50p video recording
● Dual card slot (XQD & SD)
● Weatherproof construction

The
Spectacular
S
Edmond Terakopian
has used Panasonic’s
flagship full-frame
camera extensively.
Here he explains why
it has become his go-to
camera day in, day out
© YOSHIE NISHIKAWA
UNLESS STATED OTHERWISE, ALL PICTURES © EDMOND TERAKOPIAN

The author at work with the Panasonic Lumix S1R and the insanely sharp Lumix S Pro 50mm F1.4 lens

44

Yogi Aram Raffy doing a
headstand in the Tate Modern
Sigma 105mm F1.4 DG HSM Art with MC-21
adapter, 1/500sec at f/1.4, ISO 1600
D
SLR – Definitely So
Ludicrously Redundant?
Mirrors are so last year.
Actually, so last decade.
Panasonic launched the Micro Four
Thirds Panasonic Lumix G1, the first
digital, mirrorless, interchangeable-
lensed AF camera in 2008. Fast forward
to 2019 and we now see evolution in full
flow, with the full-frame mirrorless S
series, winding its way through the
camera market.
Those old enough will remember the
constant struggle and resistance to new
things in photography. The weighing
up of fad or marketing hype against
real-world advantages. Throughout my
30-year career I’ve seen some huge
changes and realise that we are
experiencing yet another evolutionary
leap. Mirrorless. Micro Four Thirds.
EVFs. Innovation created not as often
by the major players, but those either
newer to the game or more traditionally
on the sidelines. Of course, Panasonic
has had many years of experience as a
professional video camera and superb
consumer compact digital camera
manufacturer, but its foray into
professional stills cameras doesn’t have
the heritage of some of the more
established names. For me, the G9 was
the first Micro Four Thirds Lumix that
really caught my eye. In 2018 it was
pretty much all I shot with, and I have
several awards, publications and
exhibitions to thank it for. Now, the
question for me was, what of the S
series? The Lumix S1R has taken that
perfection of ergonomic design and
professional performance from the
G9 and given it a protein bar, a gym
membership and a double espresso.
The GH5, GH5S and G9 have already
shown serious intent from Panasonic
Lumix, but the S1R, with a design
slogan of ‘Full Frame Without
Compromise’ has definitely brought
Lumix to a new level. Another
illustration of Panasonic’s serious intent
is the partnership with Leica and Sigma;
the L-Mount Alliance certainly makes
things interesting, resulting in many
choices at many price points.
Early adopter
At the start of 2019 Panasonic UK
asked me if I’d be interested in trying
out its new camera, the Lumix S1. While
it was the birth of a new system for
Panasonic Lumix, the camera already
felt completely accomplished. My
prototype camera, with pre-production
early firmware, worked perfectly and
never let me down. It didn’t matter what
I was shooting – it just worked. A month
later, I also had a prototype S1R to
shoot with. In fact, my S1R had the
serial number ‘Sample 27’ and it
45
 Testbench
too just worked, letting me Right: An image
concentrate on creating the captured using the
image. The camera became an S1R’s monochrome
picture style
accomplice rather than an obstacle.
Lumix S 24-105mm F4
Both cameras’ impeccable behaviour Macro OIS, 1/200sec
and image-making prowess made me at f/4, ISO 1000
warm to them immediately and soon
I wasn’t shooting with anything else. Far right: David
Stone from
Mirrorless misconception The Kings Of
Owing to the excellent selling points Wonderland,
performing at a
and marketing of Micro Four Thirds by music festival in
Olympus, Panasonic and Fujifilm’s Hanwell, London
X series, some people seem to expect Panasonic Lumix S Pro
any mirrorless camera to be small or 50mm F1.4, 1/200sec at
lightweight. As soon as you jump to full f/1.4, ISO 2500
frame (or above to medium format)
certain things change, the most
important being the imaging circle
needed to cover a larger sensor.
Lenses therefore need to be bigger
and the size and weight advantages
of getting rid of the mirror box get less
pronounced. Some manufacturers still
seem to have their top-end full-frame
cameras designed by consumer Below: A shot from
electronics engineers, making the behind the barrier
at the Put It To
cameras as small as possible. While
The People march
being very clever, once a lens is in London
attached, handling and balance fail Panasonic Lumix S
quite drastically. Higher-end cameras 24-105mm F4 Macro OIS,
aimed at proficient photographers also 1/500sec at f/5, ISO 640

often have extra buttons, dials and a you accidentally press a button when
joystick. Cramming these into a tiny reaching for the camera. You raise the
body just results in an ergonomic mess. camera to your eye and somehow it’s
This is where the S1R shines, having been set to bulb, in the smallest JPEG
been designed by engineers who size in monochrome on self-timer. I’m
clearly understand the needs of exaggerating a little, but you get the
photographers. They’ve broken the picture. Helpfully, the S1R’s lock lever
consumer electronic design mould can be custom set to lock a variety of
and designed a working, professional- things so the camera’s settings don’t
level tool with great balance and get changed accidentally.
ergonomics. In the full-frame Straight out of the box, the
mirrorless market, the S1R and S1 ergonomics fit. All the buttons and dials
are the largest cameras (in some are exactly where I want them to fall
comparisons, only marginally) and the hand grip’s size and shape also
but they do look deceptively bigger just fits. It’s the kind of design perfection
in photographs. My advice is to visit a I would expect from a third-generation
camera shop and try the camera for camera, not the first. There’s also a
yourself, as it’s extremely comfortable very handy function lever at the front
to hold and feels nicely balanced in use. that allows a fast change of multiple,
user-selected presets. The designers
First impressions have done a phenomenal job and I think
It may seem strange to start my piece we’re in for a great line of well thought-
with this, but the lock lever was the first out cameras as the range develops.
thing to jump out at me when I unboxed The camera uses a newly developed
my prototype S1. The second I saw it I 47.3MP sensor. Doing away with
knew it was a seriously well-designed the low-pass filter and anti-reflection
camera. A pet hate for me and many of coating makes image rendering sharper.
my colleagues, is how easily settings can The aspherical microlenses on the
get changed as, while rushing around, photo diodes helps the camera produce
the camera brushes against clothing or some beautiful, true-to-life results.

46 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


‘For me cameras are tools that I need to help me
do my job of storytelling with accuracy’
Most importantly for me, the sensor
produces both gentle and true colours,
picking up subtleties and tonal ranges
wonderfully. I’m a photographer and
not a technical type when it comes to
equipment – for me cameras are tools
that I need to help me do my job of
storytelling with accuracy, subtlety
and dependability. However, I found it
reassuring to read the technical folks
at DxOMark report that ‘the S1R’s
full-frame CMOS sensor achieves an
exceptional overall DxOMark score of
100, which is one the best results
we’ve seen among all the sensors in
our database’. While happy with my
aesthetic conclusions, having scientific
corroboration is not to be sniffed at.
I also found that the S1R’s file quality
helped me capture every nuance
and presented me with a raw file that
allowed me process it to how I saw and
felt that moment. The camera does the
scene justice and Lightroom does the
raw file justice. The multiple raw presets
make a great first step to processing a
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019
crossed lines on the foremost eye, very
intuitive to use. Crucially, if a face isn’t
detected, the system immediately
focuses on the point in the frame
closest to you. What I’ve also found very
helpful is the ability to tap the joystick
and set my own AF point immediately,
without having to go to the menu and
come out of face detection first.
However, the camera is not a
professional sports camera, nor does it
pretend to be. If you’re photographing
professional sports, there are better
choices on the market (my choices
would be the Sony Alpha 9, Canon
EOS-1D X Mark II or Nikon D5). I found
when photographing a horse and rider
galloping, my hit rate was considerably
lower that what I would consider
acceptable professional results. It works,
but not constantly enough. At full gallop,
with the subject moving straight at me
(admittedly a challenging scenario), I
was getting roughly 50% in focus with
the Lumix S Pro 70-200mm F4 OIS.
Having said this, one big advantage
of contrast-based AF is the ability to
update it via firmware. It’s also worth
keeping in mind that I was shooting
with firmware version 1.0 on both the
camera and lens, so it's early days and
one hopes that this will improve.
The camera’s 5,760k-dot OLED EVF
(with multiple magnifications of x0.7,
0.74 and 0.78) is nothing short of
spectacular. As a spectacle wearer,
I have no issues seeing the entire
frame. It’s a pin-sharp viewfinder
perfect image. I also found that I was
editing and processing a fair amount
when out and about on my iPhone X
and iPad Pro. The Panasonic Lumix
Sync app works exceptionally well,
allowing raw files to be transferred
over Wi-Fi, along with remote control
among other features. I’m still stunned
that I can process raw files from the
S1R on an iPhone using LR Mobile.
The contrast-based Depth from
Defocus autofocus technology on
the S1R has worked almost flawlessly
during my several months of use –
shooting news, portraits, street and
close-up work. I must admit to being
sceptical of any recognition AF mode.
I had always thought such modes were
gimmicks and had never used them.
At the press launch of the S series in
Barcelona, I tried facial recognition and
was instantly sold on it. The face and
eye detection work extremely well, even
in low light or with moving subjects.
I’ve found the drawing of a box on
recognised bodies and faces, with faint
 Testbench
that isn’t cumbersome or tiring.
For me, one of the biggest
advantages of a mirrorless camera is
setting the EVF to constant preview,
meaning the exposure set is constantly
shown in the viewfinder (and rear
screen). I can see the results I’m getting
in tricky lighting without the need of
multiple spot metering or having to
waste time chimping results. I also
found shooting with manual focus
lenses a breeze. I bought several
Novoflex body adapters from
Speedgraphic for my Leica M and R
lenses. The focus peaking and option to
magnify user-selected points using the
joystick means focusing using the EVF
is swift and accurate, even when using
unforgiving lenses like the Leica M
50mm Noctilux, wide open at f/0.95.
Of course, the other way to compose
an image is to use the rear LCD. This
was something I rarely did before, but
I found myself using the S1R’s rear
screen more and more, especially when
shooting from a tripod. Just like the EVF
it’s crystal clear and accurate and
the touch ability speeds up using the
camera in a multitude of ways. I also
found the ruggedly engineered triaxial
tilt screen quick to use in the real world.
When I started initial tests on the S1
prototype, I was somewhat worried at
having only one battery, so I always
carried two external power banks as
the camera helpfully allows in-camera
charging using its USB-C port. My
worries soon evaporated as I realised
‘When I started initial tests on the S1 prototype, I
was somewhat worried at having only one battery’
Panasonic’s Lumix S
24-105mm F4 Macro
OIS lens has a minimum
focusing distance of 30cm
Panasonic Lumix S 24-105mm F4
Macro OIS, 1/125sec at f/4.5, ISO 1250
48
IN THE FIELD
I was shooting around 900 frames and
still had power left. The S1R is a little
more power hungry, but in real-world
assignment shooting, I get around 700
frames, even with the camera’s sleep
set to 10 minutes and not switching the
camera off, with plenty of power left.
Only on the very busiest of days have I
found the need to change batteries.
I’ve been shooting extensively with the
Lumix S 24-105mm F4 Macro OIS ‘kit
lens’ for five months. While not a
Leica-certified lens like the Lumix S Pro
50mm F1.4 or the Lumix S Pro
70-200mm F4 OIS, it’s superbly
capable and very versatile. The S Pro
70-200mm also doesn’t disappoint,
with sharp with beautiful rendering and
fast and smooth in use. However for me,
the S Pro 50mm F1.4 is the real star. I
love prime lenses and the 50mm and
35mm are my favoured focal lengths.
Over dinner at the S-series launch,
Yosuke Yamane-san, director of
Panasonic’s Imaging Network Business
Division, told me that the brief to the
engineers was simply to ‘make the best
50mm lens you can’. As soon as I took
my first shot, it was abundantly clear
that the designers had succeeded in
making a reference lens. It’s a lens that
lets me shoot with technical perfection,
yet also with artistic expression. While
I was initially put off by its size and
weight, after that first shot, I realised
how special the lens was in its no-
compromise reach for perfection
and completely fell for its charms.
Colleagues more scientific than I am
compared it to the likes of the Zeiss
Otus and Sony Planar T*, concluding
that technically it outshines them both.
I’m very much a lens snob, but in 30
years of professional photography,
will go as far as saying this is the best
50mm lens I have used.
I’m thrilled that Panasonic has also
launched an essential service to help
back up the S1R, called Lumix Pro.
Getting back up and working again if
there are any issues with equipment is
crucial and the international network of
professional-grade support is essential
and is a service open to all owners.
Some considerations
The S1R, with its high-res 47.3MP
CMOS sensor, which itself almost feels
miniature when compared to the simply
astonishing photographs the camera
produces in its high-resolution mode
of 187MP (343.2MB compared to its
standard 69.6MB), needs some special
care in use and planning.
6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

First, any flaws in focusing or shutter
speed will immediately be apparent,
so you need to step up and improve on
technique. I found myself using a tripod
more than I would regularly, even using
one on a photo reportage. This shift in
technique has let me unlock the full
potential from this amazing sensor. I
recently discovered the very clever and
user-friendly Uniqball head, which has
allowed me to set a level horizon quickly
and then get the full movement using
an inner ball head, while keeping
constantly level, meaning tripod use is
no longer a chore for me. Of course
in high-resolution mode a tripod is
essential as the camera needs to be
stationary during its multiple exposures.
You also need larger and faster
memory cards, ideally XQD, to take
advantage of the speedier buffer
clearance as well as downloading to a
computer. Then comes the question of
storage, so plan for larger storage and
backup drives. The final piece for a
perfectly completed puzzle is your
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019
A 1939 Porsche Type 64.
This aluminium race car was built at
Reutter Works and is the oldest car
ever to wear the Porsche badge
Panasonic S Pro 50mm F1.4, 0.3sec at f/5, ISO 50
computer. Depending on how much
work you do to your images, how
drastically you edit, or if you need to
work fast to meet deadlines, a machine
with some good credentials is needed.
My only real gripe is the lens and
body red dot mounting guides, which
aren’t visible when looking down on the
camera, as they’re on the bottom end
of the mount. It’s a strange design
decision and to help I’ve put a white
arrow near the lens mount, in line with
the lens’s white line as a guide.
The final food for thought is the range
of lenses. Lumix currently has three
S-series lenses available. In reality, most
photographers will be well served by
these, but for some, faster f/2.8 zooms
will be a must. Because of Panasonic’s
approach to its new system the lenses
are all designed to over resolve current
sensors, meaning that future larger
megapixel sensors will be catered for.
Anyone who had first-generation pro
lenses for Canon and Nikon will know
how their perfectly good lenses became
almost unusably soft when upgraded to
newer, higher resolution cameras.
The useful Sigma MC-21 body
adapter is now available, allowing a stop
gap for photographers with EF-mount
lenses. I’ve tried the adapter on both
Sigma- and Canon EF-mount lenses
and while it works smoothly and
accurately, it’s not a speedy solution and
doesn’t work in continuous AF. At the
time of writing there was no further
information on firmware updates, but it’s
worth noting the equivalent adapter for
Sony has been transformed by updates.
Panasonic is due to launch a
16-35mm f/4, 24-70mm f/2.8 and
70-200mm f/2.8 this year in addition
to the recent 1.4x and 2x teleconveters.
Next year will bring a super telephoto, a
macro and at least another fixed focal
length lens. Sigma will produce 10 fast
aperture Art lenses and one macro by
the end of this year too. The scheduled
lens line up for the L-Mount by the end
of 2020 from Panasonic, Sigma and
Leica will stand at 42. The only thing not
really catered for are smaller and lighter
lenses. As a street photographer, I’d
love a small 50mm lens, perhaps even
a pancake lens with an f/2 aperture.
The S1R will pull you up for lax
technique and magnify any mistakes.
However, improve your technique and
master your craft and it will reward you
with images that sing and deserve to
be printed, shared, framed and enjoyed.
For me, the S1R has shown its colours
during several months of shooting, even
on challenging assignments. It has
clearly justified its existence and kicked
out my last DSLR and claimed the
premium spot in my camera bag.
Edmond swears
by using the
Lumix S1R with
a Uniqball head
 Testbench FILM STARS
Nikon FA, the world’s
first camera with
automatic multi-
pattern metering

FILM STARS Nikon FA

Nikon’s
LAUNCHED 1983
PRICE AT LAUNCH £390 with 50mm f/1.8 AI-S lens
GUIDE PRICE NOW £250 with 50mm f/1.8 AI-S lens

I
n its time, the Nikon FA was a
technological marvel. A vertically moving

fabulous
focal-plane shutter with titanium
curtains gave a top speed of 1/4000sec.
It was Nikon’s first single lens reflex (SLR) to
offer shutter priority, aperture priority, manual
and program modes. Most important of all, it
was the world’s first camera with automatic
multi-pattern (AMP) metering. Today, such

FA
John Wade takes us through
the technological marvel that
wooed the world in the 1980s
metering is taken for granted. Your digital
camera probably uses it without you even being
aware of it. But in 1983, it was revolutionary.
The FA is compact but pleasingly chunky,
measuring 14.3x9.2x9.5cm with a standard
lens in place and weighing just 800g.
Compared to modern digital cameras with

Left: On the body Right: Inside

and the lens, the the camera,
slightly modified showing the
mount used by vertically moving
Nikon AI-S lenses titanium shutter
UNLESS STATED OTHERWISE, ALL PICTURES © JOHN WADE
 View from the top: Film
speed setting and exposure
compensation on the left;
shutter speed dial, exposure
mode setting, frame counter
and film wind lever on the right

How the FA divides the subject into five segments, each of which is measured separately

their complicated menus and choices of so
many auto functions, the FA seems almost
ridiculously simple. At one end of the top plate
there’s the film wind lever which is set at its
stand-off position to turn the camera on.
Beside that there’s a switch for the four
exposure modes, the shutter button and
speed-selection dial. As well as stepless
electronic speeds this also allows a 1/250sec
mechanical speed, so the camera can still be
used if the two 1.55V batteries fail. At the
other end of the top plate there’s the film
rewind knob surrounded by a film speed
setting dial and another for setting plus or
minus two-stops exposure compensation.
A split-image rangefinder in the viewfinder,
interchangeable focusing screens, delayed
action, depth-of-field preview and a multiple-
exposure facility complete the specification.
As with the loading of most 35mm cameras,
the FA needs to be wound two frames before
starting to shoot, and here the camera has an
extra little trick up its sleeve. If the exposure
mode is in program or aperture priority and
the lens cap is left in place while loading,
winding and firing, other cameras might
be fooled into setting incredibly long and
inconvenient shutter speeds. Aware of this,
Nikon designed the FA so that the first two
frames fire the shutter at the mechanical
1/250sec and the automation only kicks in
at the true starting frame.
Metering with the FA
Until the advent of the FA’s AMP metering,
camera meters operated in one, some or all of
three modes. Centre-weighted metering gave
prominence to reading a central area of the
picture where the main subject was most
likely to be placed. Average metering set
an exposure based on an average of all the
brightness levels in the picture. Spot metering
narrowed the meter’s view to as little as 3° and
based exposure on one small, specific area of
the subject. Large areas of brightness or
darkness could overly influence all of these
metering systems. If, for example, a person was
being photographed in the vicinity of a large
white wall, the meter could be fooled into
thinking the whole picture area was brighter
than it really was, setting the exposure to
compensate and under-exposing the
person who was the principal subject. The
opposite was true if large areas of darkness
such as strong shadows were present, leading
to overexposure.
The FA’s metering, described in Nikon
brochures of the time as ‘multi-technomode
automatic exposure capability with cybernetic
override’, sets out to make such problems a
thing of the past. It does this by dividing the
picture area into five segments: a circular
centre area, plus four segments at each
corner of the picture. As the shutter release
is pressed, seven phases kick off
in sequence:

‘It was the world’s first camera with

automatic multi-pattern metering.
In 1983 it was revolutionary’
 Testbench A white horse against a
predominantly black
background is the kind of
1 Each of the five metering segments subject that AMP metering
measures the light in its area and takes in its stride
converts the information to digital values.
2 Information on the lens in use – type,
number of apertures, focal length – is
gathered and fed into the camera’s computer.
3 More data – degree of contrast, brightness
composition patterns, percentage of extra-
bright areas, percentage of extra-dark areas,
general light intensity – are also fed into the
camera’s computer.
4 An initial exposure is analysed and selected.
5 The parameters from phase 4 are compared
to stored simulated scene patterns from
tens of thousands of picture types in the
computer’s memory, and the exposure is
readjusted accordingly.
6 Scene data from phase 3 is compared with
scene data from phase 5 and a final decision
on exposure is computed.
7 The shutter fires.
All this happens as the lens is stopped down
to its shooting aperture, so if the aperture
doesn’t shut down to precisely its correct
setting, or if the light changes in the last
split-second, the exposure is still measured
and set correctly. A dual program mode The lenses In 1977 Nikon introduced Automatic
ensures that if a lens of 135mm or longer focal True to Nikon’s philosophy, the FA uses the same Maximum Aperture Indexing (AI) Nikkor lenses
length is in place, the automation switches to lens mount as the 1959 Nikon F. Although the with small ridges in their mounts that matched
higher shutter speeds automatically. In shutter mount has remained much the same, certain to a feeler on the body mount, so that the
priority, if the chosen speed means over or modifications have been made over the years. maximum aperture of the lens in use was
underexposure because the lens has run From the start, Nikkor lenses used a small fork-like automatically indexed to the meter in the
out of apertures for correct exposure, the appendage on the aperture ring that linked with body. In 1981, in preparation for the launch
automation overrides the setting and sets a pin in the camera body to keep the camera’s of the FA, Nikkor AI lenses were modified
a faster or slower speed. meter informed about the aperture setting. and called AI-S Nikkors. The modification gave
links to the lens’s aperture control, making
The orange colour on the smallest aperture setting is an shutter priority and program modes practical
easy way to identify lens compatibility with the FA, here on
for the first time.
50mm Nikkor AI-S (left) and 50mm Nikon E-series lenses
To make the most of the metering modes on
the FA it should be used with an AI-S Nikkor
lens, or one of the Nikon E-series lenses
launched in 1978 for the EM camera which
have similar capabilities. Because of the
universality of the Nikon F mount, AI-S lenses
can be mounted on older cameras, but it is
inadvisable to mount a non-AI-S lens on
the FA as the slight differences in the mount
of older lenses can damage the integral
connections in the body.
Because the subtle differences to the lens
mount on AI-S lenses aren’t always easy to
Below: When it was launched, the FA stood at the centre of Nikon’s huge system of lenses and accessories spot, the easiest way to identify an AI-S lens
is to look at the aperture scale ring. On an
AI-S lens, the minimum aperture is always
etched in orange.
The Nikon FA stands at the centre of a
huge system of lenses from 6mm fisheye to
2,000mm telephoto, plus motor drives for
FROM NIKON FA BROCHURE PUBLISHED IN 1983 © NIKON CORPORATION

3.2 frames per second, close-up equipment,

speedlights with through-the-lens (TTL) flash
metering that read the light off the film being
exposed, interchangeable focusing screens,
data back and a host of smaller accessories
too numerous to mention.
For the film enthusiast, it’s still a great
camera to use. For the collector, it’s an
amazing example of 1980s technology,
and for those with feet in both camps,
it’s irresistible.
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 Testbench ACCESSORIES

VanguardVEO Select 49
Michael Topham tests a backpack
that doubles up as a shoulder bag
● £149 ● www.vanguardworld.co.uk

FINDING a bag that’s perfectly matched

to your photographic needs can be
quite a challenge. Sometimes you
might want to carry lots of gear
and distribute the weight across
Grab handles
Grab handles at the side
both shoulders, whereas other and the top make it easy to
times you might want to travel pull from overhead lockers.
light and prefer a messenger-style
bag to sling over one shoulder for
fast access to your kit. Vanguard has
identified that some photographers want
the best of both without having to fork out on
two separate bags. Their answer is the VEO Select
– an incognito backpack that lets you tuck away the
shoulder straps and attach another strap when a
different carrying method is preferred.
Entry to the main compartment can be made Carry-on
through the side, rear or top, and it has a spacious compatible
interior with room for a DSLR or mirrorless camera This backpack fits the
with a 70-200mm f/2.8 lens attached, plus two carry-on luggage
to three lenses, a flash and accessories. The divider requirements of
arrangement is configured as a daypack, with the top most airlines.
third being a handy place to store spare clothes and
toiletries on a short city break when travelling with
just hand luggage. If you’d prefer to free up this Straps Access
space to hold a large lens such as a 150-600mm The bag has an adjustable The bag offers quick,
telezoom or backup body, the dividers can be sternum strap and waist convenient access to the main
easily rearranged to do so. strap, but the latter is compartment from the
Those who want to work or edit on the go will be a little thin. side, top and rear.
grateful for the 15-inch laptop sleeve. There’s also
a discreet top pocket that’s ideal for keeping your
phone or passport safe and the elasticated side pocket
can be used to carry a tripod or water bottle. At the
base a reinforced water-resistant material is used to
prevent moisture penetrating through when rested At a glance
on wet ground and a rain cover is also included.
● 15in laptop compartment
Switching the bag from backpack to shoulder bag
couldn’t be easier – it’s simply a case of loosening ● 29x12.5x49cm (internal
the shoulder straps, feeding them through two dimension)
loops to keep them out of the way and clipping on ● 34x20.5x50.5cm (external
the padded shoulder strap with metal fastenings at dimension)
either end. The side zip enables quick entry to your ● 1.65kg
camera and with sturdy side and top handles it’s easy
to grab from overhead lockers.
THE VEO SELECT RANGE
Verdict
I took the VEO Select 49 on a two-day trip abroad, Vanguard’s VEO Select range is made up
using it as a backpack while travelling and as a shoulder of the VEO Select 49 (above), VEO Select
bag walking around the city. It was very comfortable 41 and VEO Select 45. The VEO Select
to carry in both configurations, and if you pack sensibly 45 (£129.99) can accommodate a 15in
ALL PRICES ARE APPROXIMATE STREET PRICES

you can cram a surprising amount of kit inside. When laptop, whereas the VEO Select 41
you consider its versatility and how well it’s made and (£129.99) accepts a laptop up to 13in.
put together, it offers sensational value for money. As Those who like the styling of the VEO
stylish backpacks go that can be converted into a Select backpacks but would prefer a
shoulder bag in seconds, it’s by far one of the best dedicated shoulder bag should look at
we’ve tested. We’re also fans of the military green
GOLD the VEO Select 35 (£99). All Vanguard VEO
finish as opposed to the more orthodox black. Select bags are available in green or black.

54 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Tenba Tools AXIS BACKPACKS
Lens Capsule
● £18-£38.50 ● www.tenba.com
THERE’S a huge array of lens cases on the market, and it’s tempting
to assume that they’re all much the same. However these lens
capsules from Tenba offer something genuinely a bit different.
Unusually, they have soft sides, but hard top and base sections
moulded from ethylene-vinyl acetate (EVA), with generous padding
throughout and a soft lining. This design is great for absorbing shocks
and preventing them being transferred to your delicate optics. There’s
a loop on the back for attaching the pouch to a belt or bag, with a
secure double-velcro fastening, and a good-sized grab handle at
the top. A mesh pocket in the lid will hold a filter or lens cloth.
Tenba makes this design in five sizes, and rather than using obscure
product numbers, instead names them after the interior dimensions.
This makes it particularly easy to work out which to buy; simply
choose between 9x9cm, 13x9cm, 15x11cm, 23x12cm and
30x13cm, depending on the size of
the lens you want to fit inside. Take your photography and
This should cover everything videography equipment with you
from f/1.4 primes through
to 70-200mm
to the most testing environments
f/2.8 telezooms.
As usual from Tenba, LEARN MORE:
there’s little to criticise tenba.com/collections/axis
about the quality of
materials or construction,

Getting there
with the only question mark
being the water-resistance
of the zip closure. But
otherwise, for protecting
individual lenses these
capsules should do a fine job.
Andy Westlake

Recommended

Tenba’s Lens
Capsules have soft
sides with a hard
top and base

The well-
constructed
design will
protect your
lenses on the go
 Stay inspired all year round
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IN ASSOCIATION WITH
Ask the
Looking for a new camera or accessory and need some advice? The experts at Wex Photo Video
are here to help. Contact us at ap@ti-media.com or on Twitter at @AP_Magazine and #AskAP
What options for
improving lens reach?
Q I’m a photographer for my
local non-league football
team. I normally use a
70-200mm f/2.8 and a 300mm
f/2.8 prime lens on match days to
capture the action. I don’t really
want the weight (or the expense)
of another prime lens in my kit
bag, but could occasionally do with
something to help me get images
of distant action on the pitch. Any
suggestions for a solution that
won’t break the bank or my back?
Michael Davis
A A
A teleconverter sounds
like the ideal solution for
this problem. Depending
on the model you select, adding
one of these compact secondary
lenses between your existing
optic and camera would provide
a magnification increase of
1.4x-2x to focal length, getting
you much closer to all those
tackles and shots. This effect
comes at the cost of a decrease
to maximum aperture (roughly 1
stop when using a 1.4x converter
and 2 stops when using as 2x)
and some slight loss to image
quality, but as you’re currently
using fast f/2.8 lenses and only
want the extra reach on occasion,
this could be an acceptable
sacrifice. The Kenko 2.0x
Teleplus HD DGX Teleconverter
maintains all electronic control of
the attached lens, and costs
£170 (Canon fit) or £187 (Nikon
fit) – a massive saving compared
to the cost of another prime.
The Kenko 2.0x teleconverter is an
option to increase lens magnification
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019
Tech Talk
ex erts
Affordable lens for a wildlife beginner
Q I bought my first-ever Canon DSLR
around 6 months back as I began my
photographic journey; it came with an
18-55mm kit zoom lens. I love this combination
which will affect how ‘zoomed in’ to a subject
you can expect to be. The second is aperture
which will dictate how much light you can let
into the sensor in order to achieve the fast
for capturing most things I spot while out and shutter speeds needed to freeze motion. And
about and it’s helped me to develop my skills, but the last two factors are price and stabilisation.
now I’d like to start taking more wildlife images, Professional wildlife shooters often select
and it doesn’t get me close enough to subjects. stabilised prime optics like a 600mm f/4 or
What would you suggest I consider investing in 300mm f/2.8 which offer long telephoto reach
next? My budget is under £500, but I’d prefer to and fast constant apertures, but these can be
spend less than that if possible. prohibitively expensive. For enthusiasts,
Yvonne Baker 150-600mm f/5-6.3 zooms are popular, while
for those just starting to specialise in the wildlife
There are several factors to consider photography genre, we recommend something
when buying a lens for wildlife like a 70-300mm f/4-5.6 as a well-balanced
photography. The first is focal length blend of reach and value for money.
Our experts suggest
Sigma 18-300mm Tamron 70-300mm Canon EF 70-300mm
f/3.5-6.3 C DC f/4-5.6 SP Di VC USD f/4-5.6 IS II USM
If you’re looking for flexibility With an advanced optical design It may be the most expensive
out in the field, this APS-C lens that features Low Dispersion option of the three, but this
could be the choice for you. The and Extra Low Dispersion sleek Canon lens boasts
Sigma 18-300mm f/3.5-6.3 C elements, this lens promises fantastic image quality, a speedy
DC provides a wider angle of images rich with sharp contrast. autofocus system that will help
view than its featured rivals for Not only is this optic’s Ultrasonic keep moving subjects sharp, and
in-situ style shots at one end of Silent Drive (USD) autofocus a unique lens display on its top
its focal range, and a fantastic system speedy but it’s near that will keep you informed with
450mm full-frame equivalent silent too, making it a solid key information at a glance. With
reach at its other so you can choice if you are also shooting 4-stop stabilisation, shake-free
really fill the frame with subjects. video alongside your stills. It can handheld shots are a real
be manually overridden at any possibility at slower shutter
time, maintaining total control. speeds than normally required.
£349 £329 £449
● Versatile focal range ● Fast Ultrasonic Silent Drive focusing ● Speedy Nano USM autofocus
● Weighs just 585g ● In-built 4-stop stabilisation ● Has lens Information Display
● Available in Nikon, Canon, Sony ● Available in Nikon, Canon, ● In-built 4-stop stabilisation
and Pentax fits and Sony fits
57
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Buyin 630
Guide
Our comprehensive listing of key specifications for cameras and lenses
cameras
& lenses
listed &
rated

Controls Viewfinder Size and weight

Cameras Entry-level cameras
tend to have simple,
Interchangeable-lens cameras easy-to-understand
controls, while more
come in two types: DSLRs expensive models add
with optical viewfinders, lots of buttons and
and mirrorless models with dials to give quick
electronic viewing access to settings.
The biggest difference
between DSLRs and
mirrorless cameras
is that the latter use
electronic, rather than
optical viewfinders.
They’re more power
hungry, but can
display more
information and show
exactly how your
pictures will turn out.
Mirrorless models tend
to be smaller and
lighter than DSLRs,
and not just the
cameras themselves,
but their lens systems,
too. However, there’s
still a wider choice
of lenses available
for DSLRs.

ALMOST all serious photographers latest models have narrowed the

Handgrip
DSLRs traditionally
have relatively large
handgrips, while many
mirrorless models have
much smaller grips
to keep size down.
However, some can
accept accessory grips
to improve handling
with larger lenses.
Lens mount
Each camera brand
uses its own lens
mount, and mirrorless
cameras use different
lenses to DSLRs even
from the same brand.
However, mirrorless
models can often use
DSLR lenses via a
mount adapter.
prefer to use cameras with
interchangeable lenses, as this gives
the greatest degree of creative
flexibility. At one time, this meant
digital single-lens reflex (DSLR)
cameras, but these have now been
joined by mirrorless compact
system cameras (CSCs) that use
electronic viewfinders. Previously,
these lagged behind DSLRs in some
respects such as autofocus. But the
gap considerably, and are true
alternatives to DSLRs, offering the
same image quality and creative
options. Camera manufacturers
offer a range of models, from
simple, relatively inexpensive
beginner-friendly designs through
to sophisticated professional
models. In the middle of the range
you’ll find enthusiast cameras with
more advanced control layouts.

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across the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of
all photographers, from enthusiasts through to professionals, through the very highest level of customer service.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 59

 BUYING GUIDE

VF COVERAGE (%)
RESOLUTION (MP)

BURST MODE (FPS)

SCREEN SIZE (IN)

ARTICULATED LCD
DSLR cameras

BUILT-IN WI-FI

TOUCHSCREEN
LENS MOUNT
SENSOR SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)

WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 2000D £469 3H Minor update to EOS 1300D gains 24.1MP sensor APS C 24.1 Canon EF 12,800 1080 9 3 95 • • 3 500 129 101.3 77.6 475

Canon EOS 4000D £369 2.5H Super cheap stripped back DSLR for budget conscious beginners APS C 18 Canon EF 12,800 1080 9 3 95 • • 2.7 500 129 101.6 77.1 436

Canon EOS 200D £580 4.5H Very compact entry level DSLR with fully articulated touchscreen APS C 24.2 Canon EF 51,200 1080 • 9 5 95 • • 3 • • 650 122.4 92.6 69.8 453

Canon EOS 250D £530 Update to EOS 200D with 4K video recording and simplified controls APS C 24.1 Canon EF 51,200 3840 • 9 5 95 • • 3 • • 1070 122.4 92.6 69.8 449

Canon EOS 800D £780 4.5H Updates EOS 750D with sophisticated 45 point autofocus APS C 24.2 Canon EF 25,600 1080 • 45 6 95 • • 3 • • 600 131 99 76.2 532

Canon EOS 77D £830 4.5H Same core spec as EOS 800D but in higher end body design APS C 24.2 Canon EF 25,600 1080 • 45 6 95 • • 3 • • 600 131 100 76.2 540

Canon EOS 80D £999 5H Extremely capable mid range DSLR for enthusiast photographers APS C 24.2 Canon EF 25,600 1080 • 45 7 100 • • 3 • • 960 139 105.2 78.5 730

Canon EOS 7D Mk II £1599 4.5H High speed APS C DSLR includes sophisticated AF system APS C 20.2 Canon EF 51,200 1080 • 65 10 100 • 3 670 148.6 112.4 78.2 910

Canon EOS 6D Mk II £1999 4.5H Includes 26.2MP full frame sensor and fully articulated screen FF 26.2 Canon EF 102,400 1080 • 45 6.5 98 • 3 • • 1,200 144 110.5 74.8 765

Canon EOS 5D Mk IV £3599 4.5H Hugely accomplished workhorse model, but pricey FF 30.4 Canon EF 102,400 3840 • 61 7 7 100 • 3.2 • 900 151 116 76 890

Canon EOS 5DS £2999 High resolution model with 50MP sensor FF 50.6 Canon EF 12,800 1080 • 61 5 100 3.2 700 152 116.4 76.4 845

Canon EOS 5DS R £3199 5H Same as the 5DS, but low pass filter removed for maximum resolution FF 50.6 Canon EF 12,800 1080 • 61 5 100 3.2 390 152 116.4 76.4 845

Canon EOS-1D X Mk II £5199 Professional high speed sports and action model FF 20.2 Canon EF 409,600 3840 • 61 14 100 3.2 • • 1,210 158 167.6 82.6 1340

Nikon D3400 £399 4H Entry level DSLR that includes Bluetooth smartphone connectivity DX 24.2 Nikon F 25,600 1080 • 11 5 95 • 3 1,200 124 98 75.5 445

Nikon D3500 £499 4H Easy to use entry level DSLR with Bluetooth connectivity DX 24.2 Nikon F 25,600 1080 11 5 95 • 3 1,550 124 97 69.5 415

Nikon D5300 £830 4.5H Ageing mid range DSLR is now available at bargain prices DX 24.2 Nikon F 25,600 1080 • 23 5 95 • • 3.2 • 700 125 98 76 530

Nikon D5600 £800 4.5H Excellent image quality and handling, plus Bluetooth connectivity DX 24.1 Nikon F 25,600 1080 • 39 5 95 • • 3.2 • • 970 124 97 78 465

Nikon D7200 £939 4H Updates the D7100 with some useful extras such as Wi Fi DX 24.2 Nikon F 25,600 1080 • 51 6 100 • • 3.2 1,100 135.5 106.5 76 765

Nikon D7500 £1299 4.5H Places the excellent sensor from the D500 into a smaller body DX 20.9 Nikon F 1,640,000 3840 • 51 8 100 • • 3.2 • • 950 135.5 104 72.5 720

Nikon D500 £1729 5H Probably the best DX format DSLR ever, with remarkable autofocus DX 20.9 Nikon F 1,640,000 3840 • 153 10 100 • 3.2 • • 1,240 147 115 81 860

Nikon D610 £1800 5H Nikon’s cheapest full frame model with a solid feature set FX 24.3 Nikon F 25,600 1080 • 39 6 100 • 3.2 • 900 141 113 82 850

Nikon D750 £1800 5H Great all round enthusiast full frame model with tilting screen FX 24.3 Nikon F 51,200 1080 • 51 6.5 100 • • 3.2 • 1,230 140.5 113 78 840

Nikon DF £2600 4H Retro styled full frame model with excellent sensor FX 16.2 Nikon F 204,800 39 5.5 100 3.2 1,400 143.5 110 66.5 765

Nikon D810 £2699 5H High resolution full frame DSLR offers superb image quality FX 36.3 Nikon F 51,200 1080 51 12 100 • 3.2 1,200 146 123 82 980

Nikon D850 £3499 5H High speed and superb image quality make this the best DSLR yet FX 45.7 Nikon F 102,400 3840 • 153 7 100 • 3.2 • • 1,840 146 124 78.5 1005

Nikon D5 £5199 Nikon’s top end sports and action model for professionals FX 20.8 Nikon F 3,280,000 3840 • 153 14 100 3.2 • • 3,780 160 158.5 92 1405

Pentax K-70 £600 4.5H Solid performer with fully articulated screen and in body stabilisation APS C 24.2 Pentax K 102,400 1080 11 6 100 • • 3 • 410 125.5 93 74 688

Pentax K-3 II £769 4.5H Well featured enthusiast model with in body stabilisation and GPS APS C 24.3 Pentax K 51,200 1080 • 27 8.3 100 3.2 720 131.5 102.5 77.5 785

Pentax KP £1099 4H Compact but well specified DSLR with interchangeable hand grips APS C 24.3 Pentax K 819,200 1080 • 27 7 100 • • 3 • 390 131.5 101 76 703

Pentax K-1 II £1799 4.5H Well featured full frame DSLR that’s excellent value for money FF 36 Pentax K 819,200 1080 • 33 4.4 100 • 3.2 • 670 136.5 110 85.5 1010
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

Sigma SD Quattro £850 3H SD mount mirrorless camera with unique Foveon X3 sensor APS C 19.6 Sigma SD 6400 9 3.6 100 3 TBC 147 95.1 90.8 703

Sigma SD Quattro H £1499 Physically identical body to SD Quattro, but with larger APS H sensor APS H 25.7 Sigma SD 6400 9 3.8 100 3 TBC 147 95.1 90.8 708

Sony Alpha 68 £479 3H Excellent AF and sensor, but low resolution LCD screen and no Wi Fi APS C 24 Sony A 25,600 1080 • 79 8 100 • 2.7 • 580 142.6 104.2 82.8 675

Sony Alpha 77 II £1000 4.5H Impressive autofocus and fast shooting, plus good handling APS C 24.3 Sony A 25,600 1080 • 79 12 100 • • 3 • 480 142.6 104 81 647

Sony Alpha 99 II £2999 4.5H Places the superb sensor from the Alpha 7R II in a DSLR-styled body FF 42.4 Sony A 102,400 3840 • 79 12 100 • • 3 • • 100 142.6 104.2 76.1 849

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

nd CSC models at competitive

meras in store or online.

xpert team for free impartial

www.parkcameras.com erfect camera for your needs.
Keep up to date with us on:

01444 23 70 60

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 SPONSORED BY

RESOLUTION (MP)

BURST MODE (FPS)

SCREEN SIZE (IN)

ARTICULATED LCD
Mirrorless cameras

BUILT-IN WI-FI

TOUCHSCREEN
VIEWFINDER
LENS MOUNT
SENSOR SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)

WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M100 £449 3H Lightweight model for beginners, but overly simplistic APS C 24.2 Canon M 25,600 1080 49 6.1 • • 3 • • 295 108.2 67.1 35.1 302
Canon EOS M50 £649 4.5H Very likeable and well specified entry level model with viewfinder APS C 24.2 Canon M 51,200 3840 • 143 10 • • • 3 • • 235 116.3 88.1 58.7 387
Canon EOS M6 £730 3.5H Compact body with plenty of controls but no viewfinder APS C 24.2 Canon M 25,600 1080 • 49 9 • • 3 • • 295 112 68 44.5 390
Canon EOS M5 £1049 4H DLSR style mirrorless camera combines speed and good handling APS C 24.2 Canon M 25,600 1080 • 49 9 • • • 3.2 • • 295 115.6 89.2 60.6 427
Canon EOS RP £1400 4H Compact and affordable but over simplified full frame camera ever FF 26.2 Canon RF 102,400 3840 • 477 5 • • 3 • • 250 132.5 85 70 485
Canon EOS R £2350 4H Canon’s first full frame mirrorless uses the EOS 5D Mark IV’s sensor FF 30.3 Canon RF 102,400 3840 • 5655 8 • • 3.2 • • 350 135.8 98.3 84.4 660
Fujifilm X-A20 £349 Simple entry level model with tilting touchscreen for selfies APS C 16.3 Fuji X 25,600 1080 49 6 • • 3 • • 350 116.9 67.4 40.4 348
Fujifilm X-A5 £549 3.5H Speedier budget model with new processor and phase detection AF APS C 24.2 Fuji X 51,200 3840 91 6 • • 3 • • 450 116.9 67.7 40.4 361
Fujifilm X-E3 £849 4.5H Excellent image quality in compact body that handles well APS C 24.3 Fuji X 51,200 3840 • 325 5 • • 3 • 350 121.3 73.9 42.7 337
Fujifilm X-H1 £1699 4.5H Pro flagship with robust build and 5 axis in body stabilisation APS C 24.3 Fuji X 51,200 4096 • 325 14 • • 3 • • 310 139.8 97.3 85.5 673
Fujifilm X-T100 £619 4H Attractively designed entry level model gives excellent image quality APS C 24.2 Fuji X 51,200 3840 91 8 • • • 3 • • 430 121 83 47.4 448
Fujifilm X-T20 £799 5H Small SLR style model with strong feature set including touchscreen APS C 24.3 Fuji X 51,200 3840 • 325 8 • • • 3 • • 350 118.4 82.8 41.4 383
Fujifilm X-T30 £849 5H Update to the X T3 with same sensor as X T3 and refined controls APS C 26.1 Fuji X 51,200 3840 • 425 8 • • • 3 • • 380 118.4 82.8 46.8 383
Fujifilm X-Pro2 £1349 5H High end model with unique optical/electronic hybrid viewfinder APS C 24.3 Fuji X 51,200 1080 • 77 8 • • 3 250 140.5 82.8 45.9 495
Fujifilm X-T2 £1450 5H Superb image quality and handling make it a stunning camera APS C 24.3 Fuji X 51,200 1080 • 325 14 • • 3 • 340 132.5 91.8 49.2 507
Fujifilm X-T3 £1349 5H New sensor and improved autofocus make it the best APS C camera yet APS C 26.1 Fuji X 51,200 4096 • 425 20 • • 3 • • 390 132.5 92.8 58.8 539
Leica CL £2250 4.5H Gorgeous APS C mirrorless model with viewfinder and touchscreen APS C 24.2 Leica L 50,000 3840 49 10 • • 3 • 220 131 78 45 403
Leica TL2 £1700 4H Update to the TL with 24MP sensor and much faster operation APS C 24 Leica L 50,000 3840 49 20 • 3.7 • 250 134 69 33 399
Leica SL £5500 4H Leica’s full frame SLR style model has an astonishing viewfinder FF 24 Leica L 50,000 4096 49 11 • • 3 • 400 147 104 39 847
Nikon Z 6 £2099 5H Full frame mirrorless all rounder with 24MP sensor and 12fps shooting FF 24 Nikon Z 204,800 3840 • 273 12 • • 3.2 • • 330 134 100.5 67.5 675
Nikon Z 7 £3399 5H High resolution full frame mirrorless with in body stabilisation FF 45.7 Nikon Z 102,400 3840 • 493 9 • • 3.2 • • 330 134 100.5 67.7 675
Olympus PEN E-PL9 £650 4H Entry level model with built in flash and 4K video but no viewfinder 4/3 16.1 Mic4/3 25,600 3840 121 8.6 • • 3 • • 350 117.1 68 39 380
Olympus OM-D E-M10 II £549 4.5H Mid range model has a strong feature set and performs very well 4/3 16.1 Mic4/3 25,600 1080 81 8.5 • • • 3 • • 320 119.5 83.1 46.7 342
Olympus OM-D E-M10 II £699 4.5H Excellent mid range camera with simplified, easy to use interface 4/3 16.1 Mic4/3 25,600 3840 121 8.6 • • • 3 • • 330 121.5 83.6 49.5 410
Olympus OM-D E-M5 II £900 5H Combines great handling and image quality with stylish looks 4/3 16 Mic4/3 25,600 1080 • 81 10 • • 3 • 750 123.7 85 44.5 469
Olympus PEN-F £1000 5H Lovely retro rangefinder styled body with built in viewfinder 4/3 20.3 Mic4/3 25,600 1080 81 10 • • • 3 • • 330 124.8 72.1 37.3 427
Olympus OM-D E-M1 II £1850 5H Superb AF system, super fast shooting and remarkable in body IS 4/3 20.4 Mic4/3 25,600 3840 • 121 18 • • 3 • • 440 134.1 90.9 68.9 574
Olympus OM-D E-M1X £2800 4.5H Pro spec high speed model with built in vertical grip 4/3 20.4 Mic4/3 25,600 4096 • 121 60 • • 3 • • 2580 144.4 146.8 75.4 997
Panasonic Lumix G7 £679 4H 4K video capture in a relatively inexpensive SLR style body 4/3 16 Mic4/3 25,600 3840 • 49 8 • • • 3 • • 360 124.9 86.2 77.4 410
Panasonic Lumix G9 £1499 4.5H High speed, rugged photo centric flagship camera with in body IS 4/3 20.3 Mic4/3 25,600 3840 • 225 9 • • 3 • • 890 136.9 97.3 91.6 658
Panasonic Lumix G80 £699 4.5H SLR style model for enthusiasts with in body IS and 4K video 4/3 16 Mic4/3 25,600 3840 • 49 9 • • • 3 • • 330 128.4 89 74.3 505
Panasonic Lumix G90 £899 4.5H Versatile SLR shaped stills/video hybrid with 4K video and in body IS 4/3 20.3 Mic4/3 25,600 3840 • 49 9 • • • 3 • • 290 130.4 93.5 77.4 533g
Panasonic Lumix GX800 £500 4H Tiny easy to use pocket camera with tilting screen and 4K video 4/3 16 Mic4/3 25,600 3840 49 5.8 • • 3 • • 210 106.5 64.6 33.3 269
Panasonic Lumix GX80 £599 4.5H Well judged compact model with IS, tilting screen and viewfinder 4/3 16 Mic4/3 25,600 4096 49 8 • • • 3 • • 290 122 70.6 43.9 426
Panasonic Lumix GX9 £699 4H Compact body with tilting screen and viewfinder, and 5 axis stabilisation 4/3 20.3 Mic4/3 25,600 3840 49 9 • • • 3 • • 900 124 72.1 46.8 450
Panasonic Lumix GH5 £1299 4.5H Video focused high end model with in body stabilisation and 4K video 4/3 20.2 Mic4/3 25,600 4096 • 225 12 • • 3.2 • • 410 138.5 98.1 87.4 725
Panasonic Lumix GH5S £2199 Professional video version of GH5 with 10.2MP multi aspect sensor 4/3 10.2 Mic4/3 204,800 4096 • 225 11 • • 3.2 • • 410 138.5 98.1 87.4 660
Panasonic Lumix S1 £2199 24MP full frame mirrorless with exceptional viewfinder FF 24.2 Leica L 204,800 3840 • 225 9 • • 3.2 • • 380 148.9 110 96.7 899
Panasonic Lumix S1R £3399 4.5H High resolution full frame mirrorless with in body stabilisation FF 47.3 Leica L 51,200 3840 • 229 9 • • 3.2 • • 360 148.9 110 96.7 898
Sony Alpha 5100 £549 4H One of the very best entry level cameras for video and image quality APS C 24 Sony E 25,600 1080 179 6 • • 3 • • 400 110 63 36 283
Sony Alpha 6000 £670 4.5H Sophisticated AF and an impressive APS C sensor APS C 24 Sony E 25,600 1080 179 11 • • • 3 • 310 120 67 45 344
Sony Alpha 6300 £1000 4.5H Improved version of A6300 with faster AF tracking and 4K video APS C 24.2 Sony E 51,200 3840 • 425 11 • • • 3 • 350 120 66.9 48.8 404
Sony Alpha 6400 £1000 4H Extraordinary new autofocus system, but in an outdated body design APS C 24.2 Sony E 102,400 3840 • 425 11 • • • 3 • • 360 120 66.9 49.9 403
Sony Alpha 6500 £1500 5H Technically hugely accomplished, with in body image stabilisation APS C 24.2 Sony E 51,200 3840 • 425 11 • • • 3 • • 350 120 66.9 53.3 453
Sony Alpha 7 £1300 4.5H One of the lightest, smallest full frame cameras FF 24.3 Sony E 25,600 1080 • 117 5 • • 3 • 340 127 94 48 474
Sony Alpha 7 II £1498 5H The full frame Alpha 7 II includes in body image stabilisation FF 24.3 Sony E 25,600 1080 • 117 5 • • 3 • 350 126.9 95.7 59.7 556
Sony Alpha 7 III £1999 5H Remarkable all rounder with 10fps shooting and 4K video recording FF 24.2 Sony E 204,800 3840 • 693 10 • • 3 • • 610 126.9 95.6 73.7 650
Sony Alpha 7R II £2599 5H A big step up from the A7R; one of the best full frame cameras available FF 42.4 Sony E 102,400 3840 • 399 5 • • 3 • 290 126.9 95.7 60.3 625
Sony Alpha 7R III £3200 5H Same sensor as A7R II, but faster and with improved body design FF 42.4 Sony E 102,400 3840 • 399 10 • • 3 • • 650 126.9 95.6 73.7 657
Sony Alpha 7S £2259 4H Remarkable low light and video capabilities FF 12.2 Sony E 409,600 1080 • 25 5 • • 3 • 380 126.9 94.4 48.2 489
Sony Alpha 7S II £2500 5H A specialist camera for low light shooting and 4K video FF 12.2 Sony E 409,600 3840 • 169 5 • • 3 • 310 126.9 95.7 60.3 627
Sony Alpha 9 £4500 5H Super-fast 20fps shooting and stunning overall performance FF 24.2 Sony E 204,800 3840 • 693 20 • • 3 • • 650 126.9 95.6 63 673

Up to
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 61

 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.
IN GENERAL, the easiest way
to expand the kinds of pictures
you can take is by buying Built-in focus motor
different types of lenses. For Most lenses now incorporate an internal
example, telephoto lenses motor to drive the autofocus, although
let you zoom in on distant some are still driven from the camera
subjects, while macro body. DSLR lenses often use ultrasonic-
lenses enable close-ups of type motors for fast focusing, while
small objects. Large- those for mirrorless cameras tend to
aperture lenses allow you employ video-friendly stepper motors.
to isolate subjects against
blurred backgrounds, or
shoot in low light without
having to raise the ISO too Filter thread Maximum
high. Meanwhile, all-in-one A thread at the front of aperture
superzooms cover a wide the camera will have Wider apertures mean
range of subjects, but usually a diameter, in mm, which you can use faster,
with rather lower optical quality. will allow you to attach motion-stopping
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 Pentax lenses optimised for APS-C-sized sensors 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
MIN FOCUS (CM)
FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
PENTAX
CANON

NIKON

SIGMA

LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON DSLR
EF 8-15mm f/4 L USM £1499 Impressive-looking fisheye zoom lens from Canon • • 15 n/a 78.5 83 540
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ A superb ultra-wideangle that’s a must-have for anyone shooting landscapes and cityscapes • • 22 67 74.6 72 240
EF-S 10-22mm f/3.5-4.5 USM £990 4★ A good performer, with solid MTF curves and minimal chromatic aberration • 24 77 83.5 89.8 385
EF 11-24mm f/4 L USM £2799 5★ Long-awaited by Canon full-frame users, this is the world’s widest-angle rectilinear zoom lens • • 28 n/a 108 132 1180
EF 14mm f/2.8 L II USM £2810 4.5★ Impressive resolution at f/8 but less so wide open • • 20 n/a 80 94 645
EF-S 15-85mm f/3.5-5.6 IS USM £900 4★ Four-stop image stabilisation and Super Spectra coatings, together with a useful range • • 35 72 81.6 87.5 575
EF 16-35mm f/2.8 L II USM £1790 4.5★ A good performer with strong results at f/8 in particular • • 28 82 88.5 111.6 635
EF 16-35mm f/2.8 L III USM £2150 Revamped wideangle zoom includes new optics in a weather-sealed lens barrel • • 28 82 89.5 127.5 790
EF 16-35mm f/4 L IS USM £1199 4★ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full-frame cameras • • • 28 77 82.6 112.8 615
TS-E 17mm f/4 L £2920 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 25 77 88.9 106.9 820
EF 17-40mm f/4 L USM £940 4★ Designed to match the needs of demanding professionals – and does so with ease • • 28 77 83.5 96.8 500
EF-S 17-55mm f/2.8 IS USM £795 4★ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture • • 35 77 83.5 110.6 645
EF-S 18-55mm f/3.5-5.6 IS STM £195 Versatile, affordable standard zoom featuring four-stop image stabilisation • • 25 58 69 75.2 205
EF-S 18-55mm f/4-5.6 IS STM £220 Latest standard zoom for Canon’s APS-C EOS DSLRs, with compact design and updated optics • • 25 58 66.5 61.8 215
EF-S 18-135mm f/3.5-5.6 IS STM £478 Uses stepper motor for silent and fast autofocus that’s also well suited to video work • • 39 67 76.6 96 480
EF-S 18-135mm f/3.5-5.6 IS USM £500 Versatile zoom with new Nano USM focus technology and optional power zoom adapter • • 39 67 77.4 96 515
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

EF-S 18-200mm f/3.5-5.6 IS £740 4★ Automatic panning detection (for image stabilisation) and a useful 11x zoom range • • 45 72 78.6 102 595
EF 20mm f/2.8 USM £610 Wideangle lens with a floating rear-focusing system and a USM motor • • 25 72 77.5 70.6 405
EF 24mm f/1.4 L II USM £2010 Subwavelength structure coating, together with UD and aspherical elements • • 25 77 83.5 86.9 650
EF 24mm f/2.8 IS USM £750 4★ Small wideangle optic with image stabilisation • • • 20 58 68.4 55.7 280
EF-S 24mm f/2.8 STM £165 4★ Bargain price, tiny carry-everywhere size and a highly competent imaging performance • 16 52 68.2 22.8 125
TS-E 24mm f/3.5 L II £2550 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 21 82 88.5 106.9 780
EF 24-70mm f/2.8 L II USM £2300 5★ Professional-quality standard zoom lens with a fast aperture • • 38 82 88.5 113 805

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FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
PENTAX
CANON

NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
EF 24-70mm f/4 L IS USM £1499 L-series zoom said to be compact, portable and aimed at both professionals and amateurs • • • 38 77 83.4 93 600
EF 24-105mm f/4 L IS II USM £1129 4H Reworked workhorse zoom for full-frame cameras uses an all-new optical design • • • 45 77 83.5 118 795
EF 24-105mm f/3.5-5.6 IS STM £479 3.5H A versatile standard zoom lens that’s an ideal route into full-frame photography • • • 40 77 83.4 104 525
EF 28mm f/1.8 USM £570 USM motor and an aspherical element, together with a wide maximum aperture • • 25 58 73.6 55.6 310
EF 28mm f/2.8 IS USM £730 3.5H Lightweight and inexpensive lens, with a single aspherical element • • • 30 52 67.4 42.5 185
EF 28-300mm f/3.5-5.6 L IS USM £3290 L-series optic with expansive range, image stabilisation and a circular aperture • • • 70 77 92 184 1670
EF-S 35mm f/2.8 Macro IS STM £399 Features an innovative built-in dual-LED light for close-up shooting • • 13 49 69.2 55.8 190
EF 35mm f/2 IS USM £799 First 35mm prime from Canon to feature an optical stabilisation system • • • 24 67 62.6 77.9 335
EF 35mm f/1.4 L II USM £1799 5H An outstanding addition to the L-series line-up • • 28 72 80.4 104.4 760
EF 40mm f/2.8 STM £230 A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting • 30 52 68.2 22.8 130
TS-E 45mm f/2.8 £1200 Tilt-and-shift lens designed for studio product photography • • 40 72 81 90.1 645
EF 50mm f/1.2 L USM £1910 Very wide maximum aperture and Super Spectra coatings, and a circular aperture • • 45 72 85.8 65.5 580
EF 50mm f/1.4 USM £450 5H Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy, though • • 45 58 73.8 50.5 290
EF 50mm f/1.8 STM £130 5H Lightest EF lens in the range, with wide maximum aperture and a Micro Motor • • 35 49 69.2 39.3 130
TS-E 50mm f/2.8L Macro £2500 One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 45mm f/2.8 • • 27 77 86.9 114.9 945
EF-S 55-250mm f/4-5.6 IS STM £265 A compact telephoto lens featuring smooth, quiet STM focusing when shooting movies • • 110 58 70 111.2 375
EF-S 60mm f/2.8 Macro USM £540 4H Great build and optical quality, with fast, accurate and near-silent focusing • 20 52 73 69.8 335
MP-E 65mm f/2.8 1-5x Macro £1250 Macro lens designed to achieve a magnification greater than 1x without accessories • • 24 58 81 98 710
EF 70-200mm f/2.8 L USM £1540 Non-stabilised L-series optic, with rear focusing and four UD elements • • 150 77 84.6 193.6 1310
EF 70-200mm f/2.8 L IS II USM £1900 5H A great lens but also a costly one. Peak resolution at 0.4 cycles-per-pixel is simply amazing • • • 120 77 88.8 199 1490
EF 70-200mm f/2.8 L IS III USM £2150 Updates Canon’s excellent pro workhorse zoom with water-repellent fluorine coatings • • • 120 77 88.8 199 1480
EF 70-200mm f/4 L USM £790 A cheaper L-series alternative to the f/2.8 versions available • • 120 67 76 172 705
EF 70-200mm f/4 L IS USM £1210 5H A superb option for the serious sports and action photographer • • • 120 67 76 172 760
EF 70-200mm f/4L IS II USM £1300 Upgraded premium telephoto zoom promises five stops of image stabilisation • • • 100 72 80 176 780
EF 70-300mm f/4.5-5.6 IS II USM £499 4.5H Mid-range telephoto zoom offers really good optics and fast, silent autofocus • • • 120 67 80 145.5 710
EF 70-300mm f/4-5.6 L IS USM £1600 5H An L-series lens with a highly durable outer shell • • • 120 67 89 143 1050
EF 70-300mm f/4.5-5.6 DO IS USM £1700 Three-layer diffractive optical element and image stabilisation • • • 140 58 82.4 99.9 720
EF 75-300mm f/4-5.6 III £300 Essentially the same lens as the 75-300mm f/4-5.6 III USM but with no USM • • 150 58 71 122 480
EF 75-300mm f/4-5.6 III USM £350 2.5H Good but not outstanding. The inclusion of a metal lens mount is positive, though • • 150 58 71 122 480
EF 85mm f/1.2 L II USM £2640 4H A well-crafted lens, with fast and quiet AF with good vignetting and distortion control • • 95 72 91.5 84.0 1025
EF 85mm f/1.4L IS USM £1570 5H Sublime, highly desirable portrait lens combines large aperture and optical image stabilisation • • • 85 77 88.6 105.4 950
EF 85mm f/1.8 USM £470 5H Non-rotating front ring thanks to rear-focusing system, as well as USM • • 85 58 75 71.5 425
TS-E 90mm f/2.8 £1670 Said to be the world’s first 35mm-format telephoto lens with tilt-and-shift movements • • 50 58 73.6 88 565
TS-E 90mm f/2.8L Macro £2500 One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 90mm f/2.8 • • 39 77 86.9 116.5 915
EF 100mm f/2 USM £559 A medium telephoto lens with a wide aperture, making it ideal for portraits • • 90 58 75 73.5 460
EF 100mm f/2.8 Macro USM £650 4H A solid performer, but weak at f/2.8 (which is potentially good for portraits) • • 31 58 79 119 600
EF 100mm f/2.8 L Macro IS USM £1060 5H Stunning MTF figures from this pro-grade macro optic • • • 30 67 77.7 123 625
EF 100-400mm f/4.5-5.6 L IS II USM £1999 4.5H L-series construction and optics, including fluorite and Super UD elements • • • 98 77 94 193 1640
EF 135mm f/2 L USM £1360 L-series construction with two UD elements and wide maximum aperture • • 90 72 82.5 112 750
TS-E 135mm f/4L Macro £2500 One of a trio of tilt-and-shift macro lenses, with 1:2 magnification • • 49 82 88.5 139.1 1110
EF 180mm f/3.5 L Macro USM £1870 L-series macro lens with inner focusing system and USM technology • • 48 72 82.5 186.6 1090
EF 200mm f/2.8 L II USM £960 Two UD elements and a rear-focusing system in this L-series optic • • 150 72 83.2 136.2 765
EF 300mm f/4 L IS USM £1740 Two-stop image stabilisation with separate mode for panning moving subjects • • • 150 77 90 221 1190
EF 400mm f/5.6 L USM £1660 Super UD and UD elements, as well as a detachable tripod mount and built-in hood • • 350 77 90 256.5 1250

NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S £1299 Fisheye zoom for full-frame DSLRs that gives a circular view at 8mm and full-frame coverage at 15mm • • 16 n/a 77.5 83 485
10-20mm f/4.5-5.6 G VR AF-P DX £330 3.5H Inexpensive wide zoom for DX DSLRs has effective image stabilisation but rather average optics • • 22 72 77 73 230
10-24mm f/3.5-4.5 G ED AF-S DX £834 4H MTF performance is good from wide open to f/11, only breaking down past f/22 • 24 77 82.5 87 460
10.5mm f/2.8 G ED DX Fisheye £678 DX format fisheye lens with Nikon’s Close-Range Correction system and ED glass • 14 n/a 63 62.5 300
12-24mm f/4 G ED AF-S DX £1044 4H This venerable optic may be a little weak at f/4, but otherwise it’s a good performer • 30 77 82.5 90 485
14mm f/2.8 D ED AF £1554 5H A really nice lens that handles well and offers excellent image quality • • 20 n/a 87 86.5 670
14-24mm f/2.8 G ED AF-S £1670 5H A remarkable piece of kit, producing sharp images with little chromatic aberration • • 28 n/a 98 131.5 970
16mm f/2.8 D AF Fisheye £762 Full-frame fisheye lens with Close-Range Correction system and 25cm focus distance • • 25 n/a 63 57 290
16-35mm f/4 G ED AF-S VR £1072 5H A fantastic lens that deserves to be taken seriously, with very little CA throughout • • • 28 77 82.5 125 685
16-80mm f/2.8-4E ED VR AF-S DX £869 4H This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs • • 35 72 80 85.5 480
16-85mm f/3.5-5.6 G ED VR AF-S DX £574 4H Boasting Nikon’s second-generation VR II technology and Super Integrated Coating • • 38 67 72 85 485
17-55mm f/2.8 G ED-IF AF-S DX £1356 4H A higher-quality standard zoom for DX-format DSLRs • 36 77 85.5 110.5 755
18-35mm f/3.5-4.5 G ED AF-S £669 5H Wideangle zoom with instant manual-focus override for full-frame DSLRs • • 28 77 83 95 385
18-55mm f/3.5-5.6 G II AF-S DX £156 3.5H Entry-level standard zoom lens • 28 52 73 79.5 265
18-55mm f/3.5-5.6 G VR II AF-S DX £229 Popular 3x zoom lens that is remarkably compact and lightweight, offering great portability • • 28 52 66 59.5 195
18-55mm f/3.5-5.6 G AF-P DX £149 A compact, lightweight DX-format zoom that’s an ideal walk-around lens • 25 55 64.5 62.5 195
18-55mm f/3.5-5.6 G VR AF-P DX £199 A compact, lightweight DX-format zoom lens with Vibration Reduction • • 25 55 64.5 62.5 205
18-105mm f/3.5-5.6 G ED VR AF-S DX £292 4.5H Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction • • n/a 67 76 89 420
18-140mm f/3.5-5.6 G ED VR AF-S DX £579 A compact and lightweight DX-format zoom, this lens is a great all-rounder • • 45 67 78 97 490
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX £762 4.5H Four-stop VR II system, two ED and three aspherical elements in this DX superzoom lens • • 50 72 77 96.5 560
18-300mm f/3.5-5.6 G ED-IF VR £850 4H DX-format zoom lens with wideangle to super-telephoto reach • • 45 77 83 120 830
18-300mm f/3.5-6.3 G ED VR £849 New DX-format 16.7x zoom with super-telephoto reach – a compact walk-around lens • • 48 67 78.5 99 550

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 BUYING GUIDE

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
PENTAX
CANON

NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
19mm f/4 E ED PC £3300 Super-wideangle tilt-and-shift lens for architecture and landscape photography • • 25 n/a 89 124 885
20mm f/1.8 G ED AF-S £679 A fast FX-format prime lens that’s compact and lightweight • • 20 77 82.5 80.5 335
20mm f/2.8 D AF £584 Compact wideangle lens with Nikon’s Close-Range Correction system • • 25 62 69 42.5 270
24mm f/2.8 D AF £427 Compact wide lens with Close-Range Correction system • • 30 52 64.5 46 270
24mm f/1.4 G ED AF-S £1990 5H Nothing short of stunning. Aside from its high price, there is very little to dislike about this optic • • 25 77 83 88.5 620
24mm f/1.8 G ED AF-S £629 Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers • 23 72 77.5 83 355
24mm f/3.5 D ED PC-E £1774 Perspective Control lens with Nano Crystal Coating and electronic control over aperture • • 21 77 82.5 108 730
24-70mm f/2.8 G ED AF-S £1565 5H An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens • • 38 77 83 133 900
24-70mm f/2.8 E ED VR £1849 5H Nikon’s latest pro-spec standard zoom looks like its best lens yet • • • 38 82 88 154.5 1070
24-85mm f/3.5-4.5 G ED VR £520 5H FX-format standard zoom with Auto Tripod detection and VR • • 38 72 78 82 465
24-120mm f/4 G ED AF-S VR £1072 5H Constant maximum aperture of f/4 and the addition of VR makes this a superb lens • • • 45 77 84 103 710
28mm f/1.4 E ED AF-S £2080 Boasts a dust and drip resistant build for reliable shooting in challenging weather conditions • • 28 77 83 100.5 645
28mm f/1.8 G ED AF-S £619 5H If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers • • 25 67 73 80 330
28mm f/2.8 D AF £282 Compact wideangle lens with a minimum focusing distance of 25cm • • 25 52 65 44.5 205
28-300mm f/3.5-5.6 G ED AF-S VR £889 4.5H Technical testing shows this zoom to be, as Nikon claims, the ‘ideal walkabout lens’ • • • 50 77 83 114 800
35mm f/1.8 G AF-S DX £208 5H Designed for DX-format DSLRs, a great standard prime lens • 30 52 70 52.5 200
35mm f/1.8 G ED AF-S £479 Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight • • 25 58 72 71.5 305
35mm f/2 D AF £324 3H At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture • • 25 52 64.5 43.5 205
35mm f/1.4 G ED AF-S £1735 5H A Nano Crystal-coated lens designed for the FX range • • 30 67 83 89.5 600
40mm f/2.8 G AF-S DX Micro £250 5H A budget-priced macro lens that delivers the goods on multiple fronts • 20 52 68.5 64.5 235
45mm PC-E f/2.8 D ED Micro £1393 Perspective Control (PC-E) standard lens used in specialised fields such as studio and architecture • • 25 77 82.5 112 740
50mm f/1.4 D AF £292 5H Entry-level prime puts in a fine performance while offering backwards compatibility with AI cameras • • 45 52 64.5 42.5 230
50mm f/1.4 G AF-S £376 5H Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 • • • 45 58 73.5 54 280
50mm f/1.8 D AF £135 Compact, lightweight, affordable prime, will stop down to f/22 • • 45 52 63 39 160
50mm f/1.8 G AF-S £200 5H A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs • • 45 58 72 52.5 185
55-200mm f/4-5.6 G VR AF-S DX £314 3.5H Designed for DX-format cameras, with Vibration Reduction and SWM technology • • 110 52 73 99.5 335
55-200mm f/4-5.6 G VR II AF-S DX £251 Offers a versatile focal range and an ultra-compact design, perfect for smaller DX-format DSLRs • • 110 52 70.5 83 300
55-300mm f/4.5-5.6 G VR AF-S DX £378 3H Offers a wide telephoto coverage, but better options available • • 140 58 76.5 123 530
58mm f/1.4 G AF-S £1599 4H FX-format full-frame premium prime lens with large f/1.4 aperture • • 58 72 85 70 385
60mm f/2.8 D AF Micro £405 5H Nikon’s most compact Micro lens, with Close Range Correction (CRC) system • • 22 62 70 74.5 440
60mm f/2.8 G ED AF-S Micro £500 Micro lens with 1:1 reproduction ratio, as well as a Silent Wave Motor and Super ED glass • • 18 62 73 89 425
70-200mm f/2.8 G ED VR II AF-S £2085 5H Very little to fault here, with stunning image quality and consistent results at different focal lengths • • • 140 77 87 209 1540
70-200mm f/2.8 E FL ED VR AF-S £2650 Latest update to Nikon’s pro workhorse fast telephoto zoom brings electronic aperture control • • • 110 77 88.5 202.5 1430
70-200mm f/4 G ED VR £1180 5H Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin • • • 1000 67 78 178.5 850
70-300mm f/4.5-5.6 G ED AF-S VR £556 4H Feature-packed optic, with a VR II system, 9-bladed diaphragm, SWM and ED glass • • • 1500 67 80 143.5 745
70-300mm f/4.5-5.6 E ED VR AF-P £750 Nikon’s first full-frame lens to feature a stepper motor for autofocus • • • 1200 67 80.5 146 680
70-300mm f/4.5-6.3 G AF-P DX £300 Budget telephoto zoom with stepper motor for AF and space-saving collapsible design • 110 58 72 125 400
70-300mm f/4.5-6.3 G VR AF-P DX £350 Adds extremely useful optical stabilisation to Nikon’s budget compact telephoto • • 110 58 72 125 415
80-400mm f/4.5-5.6 G ED VR AF-S £1899 5H Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects • • • 175 77 95.5 203 1570
85mm f/3.5 G ED AF-S DX VR £522 DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass • • 28 52 73 98.5 355
85mm f/1.4 G AF-S £1532 5H Fast mid-tele lens with an internal focusing system and rounded diaphragm • • 85 77 86.5 84 595
85mm f/1.8 G AF-S £470 5H Rear-focusing system and distance window in this medium telephoto lens • • 80 67 80 73 350
85mm f/2.8D PC-E Micro £1299 Perspective Control (PC-E) telephoto, designed to be ideal for portraits and product photography • • 39 77 83.5 107 635
105mm f/1.4 E ED AF-S £2049 A 105mm FX-format prime lens with bright f/1.4 aperture, ideal for portraiture • • 100 82 94.5 106 985
105mm f/2.8 G AF-S VR II Micro £782 4.5H A very sharp lens, with swift and quiet focusing and consistent MFT results • • • 31 62 83 116 720
105mm f/2 D AF DC £980 A portrait lens with defocus control • • 90 72 79 111 640
135mm f/2 D AF DC £1232 Defocus-Image Control and a rounded diaphragm in this telephoto optic • • 110 72 79 120 815
180mm f/2.8 D ED-IF AF £782 Useful telephoto length and internal focusing technology, together with ED glass • • 150 72 78.5 144 760
200mm f/4 D ED-IF AF Micro £1429 1:1 reproduction range in this Micro lens, with a Close-Range Correction system • • 50 62 76 104.5 1190
200-500mm f/5.6 E ED VR AF-S £1179 A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras • • • 220 95 108 267.5 2300
300mm f/4 E PF ED VR AF-S £1230 5H Light, compact AF-S full-frame telephoto lens with ED glass elements • • • 140 77 89 147.5 755

LAOWA DSLR
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

12mm f/2.8 Zero D £899 Ultra-wideangle lens for full-frame DSLRs that exhibits minimal distortion • • • • • 18 77 74.8 82.8 609
24mm F14 2x Macro Probe £1599 Unique specialist macro lens with submersible front barrel and built-in LED lights • • • 47 n/a 38 408 474
25mm f/2.8 Ultra Macro 2.5x - 5x £399 Unusual lens designed solely for ultra-close-up shooting, with magnification from 2.5x to 5x • • • • 17.3 n/a 65 82 400
15mm f/4 1:1 Macro £449 4H Wideangle lens, with 1:1 Macro available in Canon, Nikon, Pentax, Sony E and Sony A • • • • • 12 77 83.8 64.7 410
60mm f/2.8 2X Ultra Macro £319 3.5H With 2:1 Macro, an all-in-one option for normal portrait photography as well as ultra-macro • • • • • 18.5 62 95 70 503
100mm f/2.8 2:1 Ultra Macro APO £469 Full-frame macro lens with twice-life-size magnification and apochromatic design • • • • 24.7 67 125 72 638
105mm f/2 (T3.2) STF £649 4H Designed for full-frame DSLRS, and features an apodization element that renders lovely bokeh • • • • • 90 67 98.9 76 745

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FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
PENTAX
CANON

NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

PENTAX DSLR
DA 10-17mm f/3.5-4.5 smc ED IF £590 Fisheye zoom lens with Super Protection coating and Quick Shift manual focus • 14 n/a 71.5 68 320
DA* 11-18mmF2.8 ED DC AW HD £1399 Premium fast ultra-wideangle zoom, includes all-weather construction and innovative focus clamp • 30 82 90 100 704
DA 12-24mm f/4 smc ED AL IF £1050 Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom • 30 77 83.5 87.5 430
DA 15mm f/4 smc ED AL Limited £820 Limited-edition lens with hybrid aspherical and extra-low-dispersion elements • 18 49 39.5 63 212
FA 15-30mm f/2.8 ED SM WR HD £1500 Weather-resistant ultra-wideangle zoom with fast maximum aperture and fixed petal-type hood • • 28 n/a 98.5 143.5 1040
DA* 16-50mm f/2.8 smc ED AL IF SDM £950 3.5H A nice balance and robust feel, but poor sharpness at f/2.8 (which significantly improves from f/4 onwards) • 30 77 98.5 84 600
DA 16-85mm f/3.5-5.6 ED DC WR £600 Weather-resistant, this zoom features a round-shaped diaphragm to produce beautiful bokeh • 35 72 78 94 488
DA 17-70mm f/4 smc AL IF SDM £630 Featuring Pentax’s Supersonic Direct-drive (SDM) focusing system • 28 67 75 93.5 485
DA 18-50mm f/4-5.6 DC WR RE £230 Super-thin standard zoom that’s weather-resistant and features a round-shaped diaphragm • 30 58 71 41 158
DA 18-55mm f/3.5-5.6 smc AL WR £229 A weather-resistant construction and an aspherical element, as well as SP coating • 25 52 68.5 67.5 230
DA 18-135mm f/3.5-5.6 DA ED DC WR £600 3.5H A weather-resistant mid-range zoom lens • 40 62 73 76 405
DA 18-270mm f/3.5-6.3 smc ED SDM £699 15x superzoom for company’s K-mount DSLRs featuring two extra-low-dispersion (ED) elements • 49 62 76 89 453
DA 20-40mm f/2.8-4 ED Limited DC WR £829 With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather resistant • 28 55 68.5 71 283
DA 21mm f/3.2 smc AL Limited £600 This limited-edition optic offers a floating element for extra-close focusing • 20 49 63 25 140
FA 24-70mm f/2.8 ED SDM WR £1149 Full-frame-compatible premium standard zoom – includes a HD coating to minimise flare and ghosting • • 38 82 109.5 88.5 787
FA 28-105mm f/3.5-5.6 ED DC HD £549 Standard zoom lens for the K-1 full-frame DSLR that’s much more affordable than the 24-70mm f/2.8 • • 50 62 73 86.5 440
FA 31mm f/1.8 smc AL Limited £1149 Aluminium body; when used on a Pentax DSLR offers a perspective similar to that of the human eye • • 30 58 68.5 65 345
FA 35mm f/2 smc AL £550 A compact wideangle lens that weighs a mere 214g • • 30 49 64 44.5 214
FA 35mm f/2 HD £399 Updated version of classic Pentax fast prime features new multi-layer HD coating • • 30 49 64 44.5 193
DA 35mm f/2.8 smc Macro £640 4.5H Despite slight edge softness, this lens performs excellently and is a pleasure to use • 14 49 46.5 63 215
DA 35mm f/2.4 smc DS AL £180 5H A budget-priced prime lens for beginners • 30 49 63 45 124
DA 40mm f/2.8 smc Limited £450 Pancake lens with SMC coating and Quick Shift focusing system • 40 49 63 15 90
FA 43mm f/1.9 smc Limited £729 Focal length is ideal for portraits as well as everyday use, and features an SMC multi-layer coating • • 45 49 64 27 155
FA* 50mm f/1.4 SDM AW HD £1200 Premium fast prime with dustproof, weather-resistant design and electromagnetic aperture • • 40 72 80 106 910
FA 50mm f/1.4 smc £399 Compact fast prime with film-era double-Gauss optics and traditional aperture ring • • 45 49 63.5 38 220
DA 50mm f/1.8 smc DA £249 4H Affordable short telephoto lens ideal for portraits • 45 52 38.5 63 122
D-FA 50mm f/2.8 smc Macro £550 Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism • • 19 49 60 67.5 265
DA* 50-135mm f/2.8 smc ED IF SDM £1200 4H Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects • 100 67 76.5 136 765
DA 50-200mm f/4-5.6 smc ED WR £210 Weather-resistant construction, Quick Shift focus system and an SP coating • n/a 49 69 79.5 285
DA* 55mm f/1.4 smc SDM £800 4.5H Despite questions about the particular sample tested, this lens scores highly • 45 58 70.5 66 375
DA 55-300mm f/4.5-6.3 ED PLM WR RE £400 Compact weather resistant telephoto zoom has video-friendly fast and silent autofocus motor • 95 58 76.5 89 442
DA 55-300mm f/4-5.8 ED WR £399 Weatherproof HD telephoto lens featuring quick shift focusing system • 140 58 71 111.5 466
DA 60-250mm f/4 smc ED IF SDM £1450 4.5H With a constant f/4 aperture and an ultrasonic motor for speedy focusing • 110 67 167.5 82 1040
DA 70mm f/2.4 smc AL Limited £600 Medium telephoto lens with an aluminium construction and a Super Protect coating • 70 49 63 26 130
D-FA* 70-200mm f/2.8 ED DC AW £1850 New addition to Pentax’s high-performance Star (*) series developed for best image rendition • • 120 77 91.5 203 1755
FA 77mm f/1.8 smc Limited £1050 With Pentax’s Fixed Rear Element Extension focusing system for ‘sharp, crisp images’ • • 70 49 48 64 270
D-FA 100mm f/2.8 Macro WR £680 5H Street price makes this something of a bargain for a true macro offering full-frame coverage • • 30 49 65 80.5 340
FA 150-450mm f/4.5-5.6 ED DC AW £2000 Super-telephoto lens with weather resistance, designed to produce extra-sharp, high-contrast images • • 200 86 241.5 95 2000
DA* 200mm f/2.8 smc ED IF SDM £1000 4.5H SDM focusing system on the inside, and dirtproof and splashproof on the outside • 120 77 83 134 825
DA* 300mm f/4 smc ED IF SDM £1300 This tele optic promises ultrasonic focus and high image quality thanks to ED glass • 140 77 83 184 1070

SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II £274 Wideangle fisheye lens designed for digital reflex cameras with APS-C sensors • • • • • 30 n/a 75 77.8 417
10mm f/3.5 XP MF £950 World’s widest-angle rectilinear lens promises 130° field of view with minimal distortion • • 26 n/a 95 98.1 731
10mm f/2.8 ED AS NCS CS £429 Features a nano crystal anti-reflection coating system and embedded lens hood • • • • • 24 n/a 86 77 580
12mm f/2.8 ED AS NCS Fisheye £430 Fisheye ultra wideangle prime lens for full-frame DSLRs • • • • • • 20 n/a 77.3 70.2 500
14mm f/2.4 XP MF £899 High-end ultra-wideangle prime with premium optics and large maximum aperture • • 28 n/a 95 109.4 791
AF 14mm f/2.8 £649 4.5H Samyang’s first AF SLR lens features very decent image quality and weather-sealed construction • • • 20 n/a 90.5 95.6 485
14mm f/2.8 ED UMC £363 Ultra-wideangle manual-focus lens; bulb-like front element means no filters can be used • • • • • • 28 n/a 94 87 552
16mm f/2.0 ED AS UMC CS £389 Fast wideangle lens for digital reflex cameras fitted with APS-C sensors • • • • • 20 n/a 89.4 83 583
20mm f/1.8 ED AS UMC £430 Large-aperture manual focus wideangle lens for full-frame DSLRs • • • • • • 20 77 83 113.2 520
24mm f/1.4 AS UMC £499 Fast ultra-wideangle manual-focus lens comprising 13 elements arranged in 12 groups • • • • • • 25 77 95 116 680
24mm f/3.5 ED AS UMS TS £949 3H Tilt-and-shift wideangle lens for a fraction of the price of Canon and Nikon’s offerings • • • • • • 20 82 86 110.5 680
35mm f/1.4 AS UMC £369 4.5H While manual focus only, this prime impressed us in real-world use, making it something of a bargain • • • • • • 30 77 83 111 660
50mm f/1.4 AS UMC £299 Manual-focus fast standard prime for full-frame DSLRs • • • • • • 45 77 74.7 81.6 575
AF 85mm f/1.4 £599 3H Autofocus fast short telephoto portrait lens for use on Canon or Nikon full-frame DSLRs • • • 90 77 88 72 485
85mm f/1.4 IF MC £239 Short fast telephoto prime, manual focus, aimed at portrait photographers • • • • • • 100 72 78 72.2 513
100mm f/2.8 ED UMC Macro £389 Full-frame compatible, the Samyang 100mm is a true Macro lens offering 1:1 magnification • • • • • • 30 67 72.5 123.1 720
135mm f/2 ED UMC £399 Manual focus portrait prime has fast aperture for subject isolation and background blur • • • • • • 80 77 82 122 830

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 BUYING GUIDE

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
PENTAX
CANON

NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA DSLR
4.5mm f/2.8 EX DC HSM £739 Circular fisheye lens designed for digital, with SLD glass and a gelatin filter holder • • • 13 n/a 76 77.8 470
8mm f/3.5 EX DG £799 The world’s only 8mm lens equipped with autofocus also boasts SLD glass • • • • 13 n/a 73.5 68.6 400
8-16mm f/4.5-5.6 DC HSM £800 4H Excellent performance at 8mm, which sadly drops at the 16mm end • • • • • 24 72 75 105.7 555
10mm f/2.8 EX DC £599 A Hyper Sonic Motor (HSM) and built-in hood feature in this diagonal fisheye lens • • • 13 n/a 75.8 83 475
10-20mm f/3.5 EX DC HSM £650 5H An absolute gem of a lens that deserves a place on every photographer’s wish list • • • • • 24 82 87.3 88.2 520
12-24mm f/4 DG HSM | A £1649 5H Premium full-frame wideangle zoom designed to have minimal distortion in its wideangle imagery • • • • 24 n/a 101 132 1150
12-24mm f/4.5-5.6 II DG HSM £649 Ultra-wideangle zoom for full-frame SLRs, available in all of the main mounts • • • • • • 28 n/a 87 120.2 670
14mm f/1.8 DG HSM | A £1679 World’s first f/1.8 ultra-wideangle prime lens for full-frame DSLRs • • • • 27 n/a 95.4 126 1170
14-24mm f/2.8 DG HSM | A £1399 5H Pro-specification fast ultra-wide prime for full-frame DSLRs includes weather-sealed construction • • • • 26 n/a 96.4 135.1 1150
15mm f/2.8 EX DG £629 4H This fisheye optic puts in a very solid performance – not to be dismissed as a gimmick! • • • • • • 15 n/a 73.5 65 370
17-50mm f/2.8 EX DC OS HSM £689 FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation • • • • • • 28 77 83.5 92 565
17-70mm f/2.8-4 DC Macro OS HSM £449 Compact redesign of this well-received lens launches the ‘Contemporary’ range • • • • • • 22 72 79 82 470
18-35mm f/1.8 DC HSM £799 5H Said to be the world’s first constant f/1.8 zoom; DoF equivalent of constant f/2.7 on full frame • • • 28 72 78 121 810
18-200mm f/3.5-6.3 DC OS £449 4H Excellent resolution and consistent performance, but control over CA could be a little better • • • • 45 45 79 100 610
18-250mm f/3.5-6.3 DC OS HSM £572 4.5H A very capable set of MTF curves that only shows minor weakness at wide apertures • • • • • • 45 72 79 101 630
18-250mm f/3.5-6.3 DC Macro OS HSM £500 Ultra-compact 13.8x high zoom ratio lens designed exclusively for digital SLR cameras • • • • • • 35 62 73.5 88.6 470
18-300mm f/3.5-6.3 DC Macro OS HSM £499 Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens • • • • • 39 72 79 101.5 585
20mm f/1.4 DG HSM | A £799 5H An outstanding wideangle fixed-focal-length lens • • • • 27.6 n/a 90.7 129.8 950
24mm f/1.4 DG HSM | A £799 5H The latest addition to Sigma’s ‘Art’ line of high-quality fast primes • • • • 25 77 85 90.2 665
24-35mm f/2 DG HSM | A £949 5H The world’s first large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range • • • • 28 82 87.6 122.7 940
24-70mm f/2.8 DG OS HSM | A £1399 5H Latest premium fast standard zoom for full frame includes optical image stabilisation • • • • • 37 82 88 107.6 1020
24-105mm f/4 DG OS HSM | A £849 4.5H Serious full-frame alternative to own-brand lenses at a lower price, with no compromises in the build • • • • • • 45 82 89 109 885
28mm f/1.4 DG HSM | A £1099 High-quality, weathersealed fast wideangle prime for full-frame DSLRs • • • • 28 77 82.8 107.1 TBC
30mm f/1.4 DC HSM | A £360 Unique fast prime for APS-C DSLRs that gives 45mm equivalent ‘normal’ angle of view • • • • • 30 62 63.3 74.2 435
35mm f/1.4 DG HSM | A £799 5H Superb large-aperture prime; first lens in company’s ‘Art’ series • • • • • • 30 67 77 94 665
40mm f/1.4 DG HSM | A £1100 5H Large and heavy prime promising natural-looking perspective and top-quality optics • • • • 40 82 87.8 131 1200
50mm f/1.4 DG HSM | A £849 5H This lens has a unique design that pays off in truly excellent image quality • • • • • 40 77 85.4 100 815
50-100mm f/1.8 DC HSM | A £829 5H This APS-C-format lens aims to cover the focal lengths of three prime lenses in one • • • 37.4 82 93.5 170.7 1490
50-500mm f/4.5-6.3 DG OS HSM £1499 4H A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters • • • • • • • 180 95 104.4 219 1970
60-600mm f/4.5-6.3 DG OS HSM | S £1899 Weathersealed 10x zoom encompasses huge range from standard to super-telephoto • • • • • 60 105 120.4 268.9 2700
70mm f/2.8 DG Macro | A £499 The first macro lens in Sigma’s Art line-up features an extending-barrel focus-by-wire design • • • • 26 49 71 106 515
70-200mm f/2.8 EX DG OS HSM £1539 Two FLD glass elements, said to have the same dispersive properties as fluorite • • • • • • • 140 77 86.4 197 1430
70-200mm f/2.8 DG OS HSM | S £1349 5H Superb large-aperture telephoto zoom shows high sharpness and minimal chromatic aberration • • • • • 120 82 94.2 202.9 1805
70-300mm f/4-5.6 APO DG Macro £235 This tele-zoom lens has a 9-bladed diaphragm and two SLD elements • • • • • • 95 58 76.6 122 550
70-300mm f/4-5.6 DG Macro £170 3H Generally unremarkable MTF curves, and particularly poor at 300mm • • • • • • 95 58 76.6 122 545
85mm f/1.4 DG HSM | A £1199 5H Optically stunning fast short telephoto prime is the ultimate portrait lens for DSLR users • • • • 85 86 95 126 1130
100-400mm f/5-6.3 DG OS HSM | C £799 4.5H Relatively lightweight telezoom comes with weather-sealing and choice of push-pull or twist zoom • • • • • 160 67 86.4 182.3 1160
105mm f/1.4 DG HSM | A £1499 4.5H Sigma’s ‘bokeh monster’ super-fast portrait lens is weathersealed and comes with a tripod foot • • • • 100 105 115.9 131.5 1645
105mm f/2.8 EX DG OS HSM Macro £649 4.5H An optically stabilised macro lens, this super-sharp lens is one of our favourites • • • • • 31.2 62 78 126.4 725
120-300mm f/2.8 DG HSM | S £3599 First lens in company’s ‘Sports’ series; switch enables adjustment of both focus speed and focus limiter • • • • • • 150 105 124 291 3390
135mm f/1.8 DG HSM | A £1399 5H Super-fast portrait prime designed to provide sufficient resolution for 50MP DSLRs • • • • 87.5 82 91.4 114.9 1130
150mm f/2.8 EX DG OS HSM Macro APO £999 A macro lens offering image stabilisation • • • • • 38 72 79.6 150 950
150-600mm f/5-6.3 DG OS HSM | C £1199 Budget ‘Contemporary’ version of Sigma’s long-range telephoto zoom is smaller and lighter • • • • • 280 95 105 260.1 1930
150-600mm f/5-6.3 DG OS HSM | S £1599 This portable, high-performance telephoto zoom from Sigma’s Sports line is dust and splashproof • • • • • 260 105 121 290.2 2860
180mm f/2.8 EX DG OS HSM Macro APO £1499 5H 1:1 macro lens featuring three FLD glass elements and floating inner-focusing system • • • • • • 47 86 95 204 1640
300mm f/2.8 APO EX DG HSM £2899 Extra Low Dispersion (ELD) glass, multi-layer coatings and a Hyper Sonic Motor • • • • • • 250 46 119 214.5 2400

SONY DSLR
11-18mm f/4.5-5.6 DT £609 3H A solid overall performance that simply fails to be outstanding in any way • 25 77 83 80.5 360
16mm f/2.8 Fisheye £709 Fisheye lens with a close focusing distance of 20cm and a 180° angle of view • • 20 n/a 75 66.5 400
16-35mm f/2.8 ZA SSM II T* £1999 4.5H High-end Zeiss wideangle zoom lens ideal for full-frame Alpha DSLRs and SLTs • • 28 77 83 114 900
16-50mm f/2.8 SSM £569 4H Bright short-range telephoto lens • 100 72 81 88 577
16-80mm f/3.5-4.5 ZA T* £709 4.5H Carl Zeiss standard zoom lens • 35 62 72 83 445
16-105mm f/3.5-5.6 DT £559 3H An ambitious lens that is good in parts, although quality drops off at 105mm • 40 62 72 83 470
18-135mm f/3.5-5.6 DT SAM £429 A versatile zoom with Direct Manual Focus • • 45 62 76 86 398
18-250mm f/3.5-6.3 DT £559 3.5H Good overall, but performance dips at longer focal lengths • 45 62 75 86 440
20mm f/2.8 £559 3.5H Wideangle prime lens with rear focusing mechanism and focus range limiter • • 25 72 78 53.5 285
24mm f/2 ZA SSM T* £1119 An impressively bright wideangle Carl Zeiss lens • • 19 72 78 76 555
24-70mm f/2.8 ZA SSM II T* £1899 5H Carl Zeiss mid-range zoom lens with superb optics ideal for full-frame Alpha DSLRs • • 34 77 83 111 955
28-75mm f/2.8 SAM £709 A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom • • 38 67 77.5 94 565
30mm f/2.8 DT SAM Macro £179 4H Macro lens designed for digital with 1:1 magnification and Smooth Autofocus Motor • 12 49 70 45 150
35mm f/1.4 G £1369 With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass • • 30 55 69 76 510
35mm f/1.8 DT SAM £179 Budget-price indoor portrait lens • 23 55 70 52 170
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

50mm f/1.8 DT SAM £159 4.5H A very useful lens that performs well and carries a rock-bottom price tag • 34 49 70 45 170
50mm f/1.4 £369 5H While this lens performs well overall, performance at f/1.4 could be better • • 45 55 65.5 43 220
50mm f/1.4 ZA SSM £1300 4H Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting • • 45 72 81 71.5 518
50mm f/2.8 Macro £529 A macro lens with a floating lens element • • 20 55 71.5 60 295
55-200mm f/4-5.6 DT SAM £219 Designed for cropped-sensor cameras, with a Smooth Autofocus Motor • 95 55 71.5 85 305
55-300mm f/4.5–5.6 DT SAM £309 Compact, lightweight telephoto zoom offering smooth, silent operation • 140 62 77 116.5 460
70-200mm f/2.8 G SSM II £2799 High-performance G Series telephoto zoom lens • • 120 77 87 196.5 1340
70-300mm f/4.5-5.6 G SSM £869 3.5H G-series lens with ED elements, Super Sonic wave Motor and a circular aperture • • 120 62 82.5 135.5 760

66 6 July 2019 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)

WEIGHT (G)
PENTAX
CANON

NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
70-400mm f/4-5.6 G SSM II £1799 Redesign of original features a new LSI drive circuit and promises faster autofocus • • 150 77 95 196 1500
85mm f/1.4 ZA Planar T* £1369 Fixed-focal-length lens aimed at indoor portraiture • • 85 72 81.5 72.5 560
85mm f/2.8 SAM £219 A light, low-price portraiture lens • • 60 55 70 52 175
100mm f/2.8 Macro £659 Macro lens with circular aperture, double floating element and wide aperture • • 35 55 75 98.5 505
135mm f/1.8 ZA Sonnar T* £1429 A bright, Carl Zeiss portrait telephoto lens • • 72 77 84 115 1004
135mm f/2.8 STF £1119 Telephoto lens fitted with apodisation element to give attractive defocus effects • • 87 80 80 99 730

TAMRON DSLR
10-24mm f/3.5-4.5 SP AF Di II LD Asph IF £511 3.5H Good consistency at 10mm and 18mm, but a steep decline at 24mm • • • • 24 77 83.2 86.5 406
10-24mm f/3.5-4.5 Di II VC HLD £580 4.5H Wideangle zoom of APS-C with dust and splashproofing and optical stabilisation • • • 24 77 83.6 84.6 440
15-30mm f/2.8 SP Di VC USD £950 4H Excellent value, this is the only wideangle zoom with image stabilisation and an f/2.8 aperture • • • • • 28 n/a 98.4 145 1100
15-30mm f/2.8 SP Di VC USD G2 £1279 Second-generation image-stabilised fast wide zoom includes weather-sealing and faster AF • • • • 28 n/a 98.4 145 1110
16-300mm f/3.5-6.3 Di II VC PZD Macro £600 4H Versatile mega-zoom, a very good all-in-one solution, as long as you won’t need to enlarge to A2 size • • • • 39 67 99.5 75 540
17-35mm f/2.8-4 Di OSD £629 4H Most compact and lightest full-frame ultra-wideangle zoom in its class • • 28 77 83.6 90 460
17-50mm f/2.8 SP AF XR Di II VC LD Asph IF £541 4.5H Very strong performance at longer focal lengths but weaker at the other end • • • 29 72 79.6 94.5 570
18-200mm f/3.5-6.3 AF Di II VC £169 4H Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation • • • • 49 62 75 96.6 400
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro £663 3H The next-generation incarnation offers a new form of ultrasonic engine • • • • 49 62 74.4 88 450
18-400mm f/3.5-6.3 Di II VC HLD £650 4H The longest-ranging telephoto zoom yet made turns in a surprisingly decent performance • • • 45 72 79 123.9 710
24-70mm f/2.8 SP Di VC USD £1099 5H Fast zoom with image stabilisation for both full-frame and APS-C cameras • • • • • 38 82 88.2 116.9 825
24-70mm f/2.8 SP Di VC USD G2 £1249 Upgraded fast zoom with improved image stabilisation and moisture-resistant construction • • • • 38 82 88.4 111 905
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro £460 Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm • • • • • 33 67 73 92 510
28-300mm f/3.5-6.3 Di VC PZD £529 A new, full-frame, high-power zoom incorporating PZD (Piezo Drive) • • • • • 49 67 75 99.5 540
NEW 35mm f/1.4 SP Di USD £930 Premium large-aperture prime with moisture-resistant construction, billed as Tamron’s best-ever lens • • • 30 72 80.9 104.8 815
35mm f/1.8 SP Di VC USD £580 4.5H Moderately wide prime combines ultrasonic focusing, image stabilisation and a fast aperture • • • • • 20 67 80.4 80.8 480
NEW 35-150mm F2.8-4 Di VC OSD £799 Unusual image-stabilised full-frame zoom designed for portraits, with large maximum aperture • • • • 45 77 84 126.8 796
45mm f/1.8 SP Di VC USD £580 4.5H A lens that rewrites the standard focal length with a fast aperture coupled with optical stabilisation • • • • • • 29 67 80.4 89.2 940
60mm f/2 SP AF Di II LD IF Macro £550 5H Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio • • • 23 55 73 80 400
70-200mm f/2.8 SP AF Di LD IF Macro £817 4H No image stabilisation and no advanced AF system, but at this price it’s a steal • • • • 95 77 89.5 194.3 1150
70-200mm f/2.8 Di VC USD £1099 Compact yet full-size telephoto zoom with vibration compensation • • • • • 130 77 85.8 188.3 1470
70-200mm f/2.8 SP Di VC USD G2 £1350 5H Excellent telephoto zoom with updated autofocus and image stabilisation plus sealed construction • • • • 95 77 88 193.8 1500
70-210mm f/4 Di VC USD £699 4.5H Lightweight telezoom promises high optical performance, image stabilisation and weather-sealing • • • • 95 67 76 176.5 860
70-300mm f/4-5.6 SP VC USD £300 4H Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation • • • • • 150 62 81.5 142.7 765
70-300mm f/4-5.6 AF Di LD Macro £170 3.5H Low-dispersion glass and compatible with both full-frame and cropped-sensor DSLRs • • • • • 95 62 76.6 116.5 435
85mm f/1.8 SP Di VC USD £749 5H The first full-frame 85mm f/1.8 lens with image stabilisation, that’s also moisture resistant • • • • • 80 67 85 91 700
90mm f/2.8 SP AF Di Macro £470 4H A very nice macro lens that is capable of producing some fine images • • • • • 29 55 71.5 97 405
90mm f/2.8 Di Macro 1:1 VC USD £579 Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation • • • • • 30 58 115 76.4 550
100-400mm f/4.5-6.3 Di VC USD £789 5H Relatively compact and lightweight telephoto zoom with moisture-resistant construction • • • • 150 67 199 86.2 1135
150-600mm f/5-6.3 SP Di VC USD G2 £1340 Updated version of Tamron’s popular long telezoom • • • • • 220 95 108.4 260.2 2010
150-600mm f/5-6.3 SP VC USD £1150 4H Longest focal length of any affordable enthusiast zoom on the market and produces excellent results • • • • • 270 95 105.6 257.8 1951
180mm f/3.5 SP AF Di LD IF Macro £896 5H Two Low Dispersion elements and internal focusing system in this 1:1 macro lens • • • • • 47 72 84.8 165.7 920

TOKINA DSLR
AT-X 10-17mm f/3.5-4.5 AF DX Fisheye £550 Fisheye zoom lens with Water Repellent coating and Super Low Dispersion glass • • 14 n/a 70 71.1 350
AT-X 11-16mm f/2.8 PRO DX II £449 Update to the popular 11-16mm f/2.8 lens, for slightly improved optical performance • • • 30 77 84 89.2 550
AT-X 11-20mm f/2.8 PRO DX £499 4H Compact, ultra-wideangle lens with a fast maximum aperture and decent optical performance • • 28 82 89 92 560
AT-X 12-28mm f/4 PRO DX £529 Replacement for 12-24mm f/4 wideangle zoom; for Nikon DX DSLRs • • 25 77 84 90 600
AT-X 14-20mm f/2 PRO DX £849 Wideangle zoom with super-fast, super-bright, constant f/2 aperture for shooting in very low light • • 28 82 89 106 725
AT-X 16-28mm f/2.8 PRO FX £757 5H A pro-end wideangle zoom aimed at full-frame cameras • • • 26 n/a 90 133 950
Opera 16-28mm f/2.8 FF £699 4H This large-aperture wide zoom for full-frame DSLRs is an updated version of the AT-X 16-28mm f/2.8 • • • 28 n/a 89 133.5 940
AT-X 17-35mm f/4 PRO FX £830 5H One of the most capable super-wide zooms available, though only available in Canon and Nikon mounts • • • 28 82 89 94 600
AT-X 24-70mm f/2.8 PRO FX £679 Three precision-moulded all-glass aspherical lens elements and a fast, constant f/2.8 aperture • • • 38 82 89.6 107.5 1010
Opera 50mm f/1.4 FF £900 Premium fast prime designed for high-resolution DSLRs, with dust and weather-resistant construction • • • 40 72 80 107.5 950
AT-X 70-200mm f/4 PRO FX VCM-S £691 Features a new Vibration Correction Module and ring-shaped ultrasonic style autofocus motor • • • 100 67 82 167.5 980
AT-X 100mm f/2.8 AF PRO D Macro £360 4H Some weaknesses wide open, but reasonable MTF curves make this a decent optic • • • 30 55 73 95.1 540

ZEISS DSLR
15mm f/2.8 Milvus £2329 This super-wideangle lens has an angle of view of 110° and uses an advanced retrofocus design • • • 25 95 102.3 100.2 947
18mm f/2.8 Milvus £1999 Compact super-wideangle lens with premium optics including a floating focus system for close-ups • • • 25 77 90 93 721
21mm f/2.8 Milvus £1299 Premium wideangle lens with complex optics designed to be free of distortion • • • 22 82 95.5 95 851
25mm f/1.4 Milvus £1999 5H Optically excellent, large-aperture manual focus wideangle lens with weather-sealed construction • • • 25 82 95.2 123 1225
25mm f/2 Distagon T* £1350 A landscape lens with a fast aperture • • • • 25 67 73 98 600
25mm f/2.8 Distagon T* £738 Relatively small and light wideangle prime, available in Nikon mount only • • 17 58 64 90 460
28mm f/2 Distagon T* £850 For low-light shooting the 28mm lens has plenty of potential • • • • 24 58 72.4 72 580
35mm f/1.4 Distagon T* £1600 Promises to produce some stunning bokeh effects • • • • 30 72 78 122 850
35mm f/1.4 Milvus £1699 Large aperture, premium-quality manual-focus prime with weather-sealed construction • • • 30 72 84.8 124.8 1174
35mm f/2 Milvus £829 Compact, moderate wideangle manual focus prime • • • 30 58 77 83 702
50mm f/1.4 Planar T* £559 Classic double-Gauss design manual focus standard prime for full-frame SLRs • • • 45 58 71 71 380
50mm f/1.4 Milvus £949 5H An exceptionally good lens offering sharpness, detail, clean edges and a great user experience • • • 45 67 82.5 94 922
50mm f/2 Milvus Macro £949 Manual-focus macro lens with half-life-size magnification and stunning optics • • • 24 67 81 75.3 730
85mm f/1.4 Planar T* £989 Classic portrait prime designed to give smooth, rounded bokeh effects • • • 100 72 78 88 670
85mm f/1.4 Milvus £1379 5H Fast 85mm manual-focus prime lens that’s perfect for portraiture • • • 80 77 90 113 1280
100mm f/2 Milvus Macro £1299 A manual-focus macro lens with absolutely superb optics and half-life-size reproduction • • • 88 67 80.5 104 843
135mm f/2 Milvus £1899 Telephoto lens with a large aperture and smooth bokeh, ideal for medium-distance portrait photography • • • 80 77 129 132 1123

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 67

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
Mirrorless Lenses

STABILISATION

MIN FOCUS (CM)

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
FUJIFILM X
CANON RF
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON MIRRORLESS
EF-M 11-22mm f/4-5.6 IS STM £355 Ultra-wideangle lens with a compact, retractable lens design • • 15 55 61 58.2 220
EF-M 15-45mm f/3.5-6.3 IS STM £249 Collapsible standard zoom for EOS M-series cameras that’s less bulky than the 18-55mm • • 25 49 60.9 44.5 130
EF-M 18-55mm f/3.5-5.6 IS STM £269 Compact and versatile zoom lens • • 25 52 61 61 210
EF-M 18-150mm f/3.5-6.3 IS STM £399 Wide-ranging 29-240mm equivalent superzoom with surprisingly good image quality • • 25 55 60.9 86.5 300
EF-M 22mm f/2 STM £220 Small and bright wideangle pancake lens • 15 43 61 23.7 105
EF-M 28mm f/3.5 IS STM Macro £294 Small, retractable lens with built-in LED lights for illuminating close-up subjects • • 9.7 43 60.9 45.5 130
EF-M 32mm f/1.4 STM £500 Large-aperture but lightweight prime that offers a 50mm equivalent angle of view • 23 43 60.9 56.5 235
EF-M 55-200mm f/4.5-6.3 IS STM £330 Telephoto zoom that takes you closer to the action • • 100 52 60.9 86.5 260
RF 24-105mm f/4L IS STM £1120 General-purpose standard zoom with useful range and image stabilisation • • • 45 77 83.5 107.3 700
RF 28-70mm f/2L USM £3050 Groundbreaking, but huge, full-frame zoom with constant f/2 maximum aperture • • 39 95 103.8 139.8 1430
RF 35mm f/1.8 IS STM Macro £520 Multi-purpose fast prime that includes image stabilisation and 0.5x macro reproduction • • • 17 52 74.4 62.8 305
RF 50mm f/1.2L USM £2350 Heavyweight ultra-fast standard prime that promises exceptional low-light performance • • 80 77 89.8 108 950
NEW RF 85mm f/1.2L USM £2800 Top-of-the-line, ultra-large aperture, short telephoto portrait prime for full-frame mirrorless • • 85 82 103.2 117.3 1195

NIKON MIRRORLESS
14-30mm f/4 S Nikkor-Z £1349 4.5H Remarkably compact ultra-wideangle zoom that accepts 82mm screw-in filters • • 28 82 89 85 485
24-70mm f/2.8 S Nikkor-Z £2199 Premium fast standard zoom includes OLED display and customisable control dial • • 38 82 89 126 805
24-70mm f/4 S Nikkor-Z £999 General-purpose standard zoom for Nikon’s full-frame mirrorless system • • 30 72 77.5 88.5 500
35mm f/1.8 S Nikkor-Z £849 Fast, moderate-wideangle prime designed for optimum optical performance • • 25 62 73 86 370
50mm f/1.8 S Nikkor-Z £599 Large-aperture prime that promises exceptional edge-to-edge sharpness • • 40 62 76 86.5 415

FUJIFILM MIRRORLESS
XF 8-16mm f/2.8 R LM WR £1799 Premium ultra-wideangle large-aperture zoom lens with weather-resistant construction • 25 n/a 88 121.5 805
XF 10-24mm f/4 R OIS £849 Wideangle zoom lens, promising minimal ghosting with Fuji’s HT-EBC multi-layer coating • • 24 72 78 87 410
XF 14mm f/2.8 R £729 5H Wideangle prime with high resolution into the corners, its performance justifies the price tag • 18 58 65 58.4 235
XC 15-45mm f/3.5-5.6 OIS PZ £259 Lightweight retractable power zoom that’s set to be the entry-level kit lens for X-system cameras • • 13 52 62.6 44.2 135
XF 16mm f/1.4 R WR £729 5H Weather-sealed fast prime for X-system users • 15 67 73.4 73 375
XF 16mm f/2.8 R WR £349 4.5H Attractively priced, weather-sealed, compact and lightweight wideangle prime • 17 49 60 45.4 155
XC 16-50 f/3.5-5.6 OIS II £359 Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range • • 30 58 62.6 98.3 195
XF 16-55mm f/2.8 R LM WR £899 5H A flagship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance • 60 77 83.3 106 655
XF 18mm f/2 R £430 4H A compact wideangle lens with a quick aperture • 18 52 64.5 40.6 116
XF 18-135mm f/3.5-5.6 R LM OIS WR £699 4H Weather-resistant zoom for Fujifilm X mount, designed to be the perfect partner for the Fujifilm X-T1 • • 45 77 75.7 97.8 490
XF 18-55mm f/2.8-4 R LM OIS £599 Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310
XF 23mm f/1.4 R £649 Premium wideangle prime lens with fast maximum aperture • 28 62 72 63 300
XF 23mm f/2 R WR £419 5H Compact weather-resistant wideangle prime lens • 22 43 60 51.9 180
XF 27mm f/2.8 £270 A high-performance single-focal-length lens • 60 39 23 61.2 78
XF 35mm f/1.4 R £439 4H Shallow depth of field and bokeh effects are simple to achieve with this lens • 28 52 65 54.9 187
XF 35mm f/2 R WR £299 5H A powerful and weather-resistant lens that feels great and has the performance to match • 35 43 60 45.9 170
XF 50mm f/2 R WR £449 5H Lightweight weather-resistant short telephoto prime lens that’s ideal for shooting portraits • 39 46 60 59.4 200
XF 50-140mm f/2.8 R LM OIS WR £1249 A telephoto zoom with a constant maximum aperture and weather-resistance • • 100 72 82.9 175.9 995
XC 50-230mm f/4.5-6.7 OIS II £315 The XC lens range is designed to suit Fuji’s mid-range CSCs, and this lens has optical image stabilisation • • 110 58 69.5 111 375
XF 55-200mm f/3.5-4.8 R LM OIS £599 4H Telephoto with built-in optical image stabilisation plus aperture control ring • • 110 62 118 75 580
XF 56mm f/1.2 R £899 4H This wide-aperture portrait lens for X-series cameras has great sharpness and detail and is great value • 70 62 73.2 69.7 405
XF 56mm f/1.2 R APD £1159 4H Adds apodisation element of 56mm f/1.2 for even more attractive background blur • 70 62 73.2 69.7 405
XF 60mm f/2.4 XF R Macro £599 A short lens designed for macro work with half-life-size magnification • 26.7 39 64.1 70.9 215
XF 80mm f/2.8 R LM OIS WR Macro £1249 4H Fujifilm’s long-awaited 1:1 macro includes weather resistance and optical image stabilisation • • 25 62 80 130 750
XF 90mm f/2 R LM WR £699 5H A classic portrait lens that’s sharp, with gorgeous bokeh • 60 62 75 105 540
XF 100-400mm f/4.5-5.6 R LM OIS WR £1399 5H This superb zoom is both water and dust resistant, and can operate in -10°C temperatures • • 175 77 94.8 210.5 1375

LAOWA MIRRORLESS
4mm f/2.8 Fisheye MFT TBC Lightweight fisheye lens for Micro Four Thirds offering a circular image with a 210° angle of view • 8 n/a 45.2 25.5 135
7.5mm f/2 MFT £499 4.5H Tiny but sharp wideangle prime for Micro Four Thirds featuring manual focus and aperture control • 12 46 50 55 170
9mm f/2.8 Zero D £499 Compact manual-focus prime for APS-C mirrorless cameras promises very low distortion • • • • 12 49 60 53 215
10-18mm f/4.5-5.6 FE Zoom £899 The world’s widest zoom for full-frame Sony mirrorless, with manual focus and aperture control • • 15 37 70 90.9 496
12mm f/1.8 MFT TBC Small, lightweight manual focus wideangle for Micro Four Thirds, with 24mm equivalent view • 14 46 55 50 165
15mm f/2 FE Zero D £899 4.5H Manual-focus fast ultra-wideangle prime for full-frame Sony cameras, with minimal distortion • • 15 72 66 82 500
17mm f/1.8 MFT TBC Compact prime for Micro Four Thirds cameras with manual focus and aperture operation • 15 46 55 50 160

LEICA MIRRORLESS
11-23mm f/3.5-4.5 TL £1450 Wideangle zoom lens for Leica’s APS-C mirrorless system • 20 67 77 73 368
18-56mm f/3.5-5.6 Vario-Elmar TL £1280 Relatively large, non-retractable zoom for APS-C mirrorless • 45 52 63.5 61 256
18mm f/2.8 Elmarit TL £1020 Slimline, extremely lightweight pancake prime with fast autofocus • 30 39 61 21 80
23mm f/2 Summicron TL £1410 Compact, lightweight fast prime that offers a classic 35mm equivalent view on Leica’s APS-C CSCs • 30 52 63.5 38.1 153
24-90mm f/2.8-4 Vario-Elmarit-SL
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

£3790 Large, but exceptional quality full-frame standard zoom with really useful zoom range • • 30 82 88 138 1140
35mm f/1.4 Summilux TL £1830 High-end fast prime designed to give exceptional image quality • 30 60 70 77 428
55-135mm f/3.5-4.5 APO-Vario-Elmar-TL £1450 Telephoto zoom that eschews image stabilisation in a bid for maximal optical quality • 100 60 68 110 500
60mm f/2.8 APO-Macro-Elmarit TL £1920 Macro lens for Leica’s APS-C mirrorless cameras offers 1:1 life-size magnification • 16 60 68 89 320

OLYMPUS MIRRORLES
7-14mm f/2.8 ED Pro £999 4.5H Super-wideangle zoom lens that’s dustproof, splashproof and freeze-proof • 20 n/a 78.9 105.8 534
8mm f/1.8 Pro Fisheye £799 Fisheye lens with impressive image quality that’s dustproof, splashproof and freeze-proof • 12 n/a 62 80 315
9-18mm f/4-5.6 ED £630 This super-wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms • 25 52 56.5 49.5 155
9mm f/8 Fish-eye Body Cap Lens £89 Slimline lens in a body cap with 140° angle of view • 20 n/a 56 12.8 30

g without a lens attached!

ou’ll find hundreds of lenses
uses, for a variety of budgets.

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FILTER THREAD (MM)

MICRO 4 THIRDS
Mirrorless Lenses

STABILISATION

MIN FOCUS (CM)

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
FUJIFILM X
CANON RF
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
12mm f/2.0 ED £739 5H A wideangle fixed lens for the Micro Four Thirds system • 20 46 56 43 130
12-40mm f/2.8 ED Pro £899 Weather-resistant standard zoom with top-notch optics and a constant aperture of f/2.8 • 20 62 69.9 84 382
12-50mm f/3.5-6.3 ED EZ £349 A weather-resistant zoom lens with manual or electronic zoom • 20 52 57 83 211
12-100mm f/4 IS ED Pro £1099 5H Superb high-end weather-sealed superzoom lens featuring powerful in-lens IS with Sync IS • • 15 72 77.5 116.5 561
12-200mm f/3.5-6.3 ED £800 Remarkable 16.6x, 24-400mm equivalent superzoom includes weather-sealed construction • 22 72 77.5 99.7 455
14-42mm f/3.5-5.6 II R £269 A redesigned variation of the standard kit lens • 25 37 56.5 50 112
14-42mm f/3.5-5.6 EZ £329 Compact kit lens for Olympus PEN and OM-D models with powerzoom control • 20 37 60.6 22.5 93
14-150mm f/4-5.6 II £550 High-powered zoom for all your needs – from wideangle to telephoto – plus weather-resistance • 50 58 63.5 83 285
15mm f/8 Body Cap Lens £69 Strictly speaking an accessory rather than a lens, with basic optics in a tiny plastic housing • 30 n/a 56 9 22
17mm f/1.2 ED Pro £1300 High-end, large-aperture weather-sealed prime designed for documentary or landscape work • 20 62 68.2 87 390
17mm f/1.8 MSC £450 5H Wide-aperture, wideangle prime boasting excellent peak sharpness and low colour fringing • 25 46 57 35 120
17mm f/2.8 Pancake £300 4H Tiny wideangle pancake prime with reasonable optics • 20 37 57 22 71
25mm f/1.2 ED Pro £1099 High-precision, high-speed optic with a special lens system construction for edge-to-edge sharpness • 30 62 70 87 410
25mm f/1.8 £370 Compact prime lens with ultra-bright f/1.8 aperture • 25 46 57.8 42 137
30mm f/3.5 ED Macro £249 New in the M.Zuiko Premium range, this macro lens features super-fast AF and weighs only 128g • 9.5 46 57 60 128
40-150mm f/2.8 ED Pro £1299 4H This powerful 80-300mm 35mm-equivalent focal-length lens offers amazing portability for this pro class • 70 72 79.4 160 760
40-150mm f/4-5.6 R £309 This middle-distance zoom lens has an 80-300mm 35mm-equivalent focal length • 90 58 63.5 83 190
45mm f/1.2 ED Pro £1200 Large-aperture lens designed for portrait photography with premium optics • 50 62 70 84.9 410
45mm f/1.8 £279 5H Fast-aperture lens for taking portrait shots is sharp, quiet and has no colour fringing • 50 37 56 46 116
60mm f/2.8 Macro £450 High-precision macro lens that’s dustproof and splashproof • 19 46 56 82 185
75-300mm f/4.8-6.7 ED II £499 Update featuring Zuiko Extra-low Reflection Optical coating said to reduce ghosting • 90 58 69 117 423
75mm f/1.8 ED £799 5H Ultra-fast prime lens ideal for portraits and action shots • 84 58 64 69 305
300mm f/4 IS Pro £2200 Compact ultra-telephoto prime with optical image stabilisation, compatible with Sync IS • • 140 77 92.5 227 1270

PANASONIC MIRRORLESS
G 7-14mm f/4 £740 5H For a wideangle zoom, the overall level of resolution is very impressive • 25 n/a 70 83.1 300
G 8mm Fisheye f/3.5 £730 The world’s lightest and smallest fisheye lens for an interchangeable-lens camera • 10 22 60.7 51.7 165
DG 8-18mm f/2.8-4 Leica ASPH £1049 Splashproof, dustproof and freezeproof ultra-wideangle zoom with premium optics • 23 67 73.4 88 315
NEW DG 10-25mm f/1.7 Leica ASPH £1800 The world’s fastest standard zoom lens, with an unusual 20-50mm equivalent range • 28 77 87.6 128 690
DG 12mm f/1.4 Leica Summilux ASPH £1199 4.5H Compact fast wideangle quality with excellent optics and built-in aperture ring • 20 62 70 70 335
G 12-32mm f/3.5-5.6 MEGA OIS £270 Very compact with a versatile zoom range and three aspherical lenses • • 20 37 55.5 24 70
G X 12-35mm f/2.8 OIS II £880 Updated fast standard zoom with matte-black finish and improved autofocus and aperture control • • 25 58 67.6 73.8 305
G 12-60mm f/3.5-5.6 OIS ASPH £439 4H Incorporates a stepping motor for a smooth, silent operation and features a dust and splashproof design • • 20 58 66 71 210
DG 12-60mm f/2.8-4 OIS Leica £880 Premium standard zoom with useful focal-length range and weather-resistant construction • • 20 62 68 86 320
G 14mm f/2.5 II £249 Wideangle pancake lens that should suit landscape photographers • 18 46 55.5 20.5 55
G X 14-42mm f/3.45-5.6 X PZ POWER OIS £369 4H Powered zoom; impressive results in terms of both sharpness and chromatic aberration • • 20 37 61 26.8 95
G 14-45mm f/3.5-5.6 MEGA OIS £189 A lightweight and compact standard zoom featuring MEGA OIS optical image stabilisation • • 30 52 60 60 195
G 14-140mm f/3.5-5.6 ASPH POWER OIS £599 Metal-bodied zoom featuring company’s POWER OIS optical image stabiliser • • 30 58 67 75 265
G 14-140mm f/3.5-5.6 ASPH POWER OIS II TBC Weather-resistant update to Panasonic’s optically stabilised superzoom lens • • 30 58 67 75 265
DG 15mm f/1.7 Leica Summilux £549 4H High-speed prime with a compact metal body, includes three aspherical lenses to cut down distortion • 20 46 36 57.5 115
G 20mm f/1.7 ASPH II £249 Ultra-compact fast prime with excellent optics but slower autofocus than more modern options • 20 46 25.5 63 100
G 25mm f/1.7 ASPH £159 4.5H Inexpensive fast normal prime for Micro Four Thirds • 25 46 60.8 52 125
DG 25mm f/1.4 Leica Summilux £550 5H A fast-aperture fixed focal length standard lens from Leica • 30 46 63 54.5 200
G 30mm f/2.8 Macro MEGA OIS £300 3H Compact lens offering true-to-life magnification capability for better macro images • • 10 46 58.8 63.5 180
G 35-100mm f/4-5.6 ASPH MEGA OIS £300 Telephoto zoom equivalent to 70-200mm on a 35mm camera • • 90 46 55.5 50 135
G X 35-100mm f/2.8 Power OIS II £970 Premium fast telephoto zoom with matte-black finish and improved autofocus and aperture control • • 85 58 67.4 100 360
DG 42.5mm f/1.2 Leica DG OIS £1399 5H Mid-telephoto high-speed Leica DG Nocticron lens with 2 aspherical lenses and ultra-wide aperture • • 50 67 74 76.8 425
G 42.5mm f/1.7 Power OIS £349 Mid-telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect • • 37 31 55 50 130
DG 45mm f/2.8 OIS Macro Leica £539 Tiny macro lens with 1:1 magnification and optical image stabilisation • • 15 46 63 62.5 225
G 45-150mm f/4-5.6 MEGA OIS £280 4H Compact, lightweight telephoto zoom comprising 12 elements in nine groups • • 90 52 62 73 200
G X 45-175mm f/4-5.6 X PZ POWER OIS £400 4H A powered long-focal-length zoom lens • • 90 46 61.6 90 210
G 45-200mm f/4-5.6 MEGA OIS II £380 Updated telephoto zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS • • 100 52 70 100 380
DG 50-200mm f/2.8-4 OIS Leica £1600 Premium telephoto zoom that completes Panasonic’s Leica f/2.8-4 series • • 75 67 76 132 655
G 100-300mm f/4-5.6 MEGA OIS II £570 4H Updated long zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS • • 100 52 70 100 380
DG 100-400mm f/4-6.3 OIS Leica £1349 Top-quality super-telephoto zoom with weather-sealed construction and Dual IS support • • 103 72 83 171.5 985
DG 200mm f/2.8 OIS Leica £2699 5H Stunning 400mm-equivalent fast telephoto prime, comes with 1.4x teleconverter in the box • • 115 77 87.5 174 1245
S Pro 24-105mm f/4 Macro OIS £1750 L-mount full-frame standard zoom which offers half-life-size magnification • • • 30 77 84 118 680
S Pro 50mm f/1.4 £2300 Premium, fast standard prime for full-frame mirrorless with built-in aperture ring • • 44 77 90 130 955
S Pro 70-200mm f/4 OIS £1300 Image-stabilised, weather-sealed telephoto zoom for L-mount full-frame mirrorless • • • 92 77 84.4 179 985

SAMYANG MIRRORLESS
7.5mm f/3.5 UMC fisheye MFT £253 Fisheye manual-focus lens with Ultra Multi Coated lens elements to reduce flare and ghosting • 9 n/a 48.3 60 197
8mm f/2.8 UMC fisheye II £249 Updated version of the Samyang 8mm f/2.8 UMC Fisheye lens, with improved optical construction • • • 30 n/a 60 64.4 290
12mm f/2 NCS CS £330 Fast wideangle prime for APS-C and Micro Four Thirds mirrorless cameras • • • • 20 67 72.5 59 245
14mm f/2.8 FE AF £389 Autofocus wideangle prime designed for Sony Alpha 7-series cameras • • 20 n/a 85.5 97.5 505
21mm f/1.4 ED AS UMC CS £259 5H Manual-focus low-light lens for mirrorless cameras with APS-C or smaller-sized sensor • • • • 28 58 54.3 67.9 290
24mm f/2.8 FE AF £280 4.5H Small, lightweight autofocus wideangle prime for full-frame mirrorless cameras • • 24 49 61.8 37 93
35mm f/1.2 ED AS UMC CS £359 Standard-angle manual-focus lens for mirrorless cameras with APS-C sensor size • • • • 38 62 67.5 74.2 420
35mm f/1.4 FE AF £600 Fast autofocus prime designed for maximum sharpness with a Linear Supersonic Motor for AF • • 30 67 75.9 115 645
35mm f/2.8 FE AF £279 4.5H Compact, lightweight, inexpensive autofocus prime lens for full-frame mirrorless cameras • • 35 49 61.8 33 86
NEW 45mm f/1.8 FE AF £350 Small standard prime for Sony full-frame mirrorless • • 45 49 61.8 56.1 162
50mm f/1.2 AS UMC CS £299 5H Fast telephoto prime that can produce stunning results with a super-shallow depth of field • • • • 50 62 67.5 74.5 380
50mm f/1.4 FE AF £499 4.5H Excellent value for money fast prime for full-frame Sony mirrorless • • 45 67 73.5 97.7 585
85mm f/1.4 FE AF TBC Large-aperture autofocus, short-telephoto portrait prime for Sony full-frame mirrorless • • 90 77 88 99.5 568
85mm f/1.8 ED UMC CS £319 Manual-focus medium-telephoto portrait prime for APS-C mirrorless cameras • • • • 65 62 67.5 81 423
300mm f/6.3 ED UMC CS Reflex £249 A compact reflex mirror lens dedicated for mirrorless compact system cameras • • • • 90 58 73.7 64.5 320

NEW & NOW IN STOCK! NEW & COMING SOON!

Canon RF 85mm Sony FE 200-600mm
f/1.2L USM f/5.6-6.3 G OSS

Spread the cost with our Learn more about this NEW lens by
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 6 July 2019 69

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
Mirrorless Lenses

STABILISATION

MIN FOCUS (CM)

LENGTH (MM)
FULL FRAME

WIDTH (MM)

WEIGHT (G)
FUJIFILM X
CANON RF
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA MIRRORLESS
16mm f/1.4 DC DN | C £450 Large-aperture wideangle lens with dustproof and splashproof design • • 25 67 72.2 92.3 405
19mm f/2.8 DN | A £189 Metal-bodied high-performance wideangle prime lens • • 20 46 60.8 45.7 150
30mm f/1.4 DC DN | C £300 4H A prime for Micro Four Thirds and Sony E-mount users, it’s impressively sharp even at f/1.4 • • 30 52 64.8 73 140
30mm f/2.8 DN | A £189 Uses a high-quality double-sided aspherical lens for a performance that’s worthy of Sigma’s ‘Art’ line • • 30 46 60.8 40.5 140
56mm f/1.4 DC DN | C £400 4.5H Small, lightweight large-aperture portrait prime for APS-C Sony and Micro Four Thirds • • 50 55 66.5 59.5 280
60mm f/2.8 DN | A £189 Latest addition to Sigma’s ‘Art’ range is a mid-range, high-performance telephoto lens with metal body • • 50 46 60.8 55.5 190

SONY MIRRORLESS
E 10-18mm f/4 OSS £750 4H Super-wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation • • 25 62 70 63.5 225
E 16mm f/2.8 £220 4H Pancake lens for NEX system, with a circular aperture and Direct Manual Focus • 24 49 62 22.5 67
E 16-50mm f/3.5-5.6 PZ OSS £299 Compact lens with Power Zoom, ED glass and Optical SteadyShot image stabilisation • • 25 40.5 64.7 29.9 116
E 16-70mm f/4 ZA OSS Vario-Tessar T* £839 A lightweight, versatile mid-range zoom with a constant f/4 aperture • • 35 55 66.6 75 308
E 18-55mm f/3.5-5.6 OSS £270 Optical SteadyShot, said to be silent during movie capture, and a circular aperture • • 25 49 62 60 194
E 18-105mm f/4 G PZ OSS £499 Sony G lens for E-mount cameras with a constant f/4 aperture • • 45 72 78 110 427
E 18-110mm f/4 G PZ OSS £3300 Constant f/4 maximum aperture powerzoom for video production, for Super 35mm / APS-C cameras • • 40 95 110 167.5 1105
E 18-135mm f/3.5-5.6 OSS £570 Lightweight, compact standard zoom designed to match Alpha 6000-series cameras • • 45 55 67.2 88 325
E 18-200mm f/3.5-6.3 OSS LE £489 Smaller and lighter than comparable lenses, this is an ideal high-magnification travel lens • • 50 62 68 98 460
E 18-200mm f/3.5-6.3 PZ OSS £999 Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies • • 30 67 93.2 99 649
E 20mm f/2.8 £309 Pancake wideangle lens promises to be the perfect walkaround partner for E-mount cameras • 20 49 62.6 20.4 69
E 24mm f/1.8 ZA Sonnar T* £839 Top-quality Carl Zeiss optic ideally suited to Alpha 6000-series bodies • 16 49 63 65.6 225
E 35mm f/1.8 OSS £399 Lightweight, versatile prime with Optical SteadyShot image stabilisation • • 30 49 62.2 45 155
E 30mm f/3.5 Macro £219 A macro lens for the NEX compact system cameras • 9 49 62 55.5 138
E 50mm f/1.8 OSS £219 A handy, low-price portrait lens for the NEX range • • 39 49 62 62 202
E 55-210mm f/4.5-6.3 OSS £289 Lightweight telephoto zoom lens for the NEX range • • 100 49 63.8 108 345
FE 12-24mm f/4 G £1700 4.5H Compact, weather-resistant super-wideangle zoom with high-quality optics • • 28 n/a 87 117.4 565
FE 16-35mm f/2.8 GM £2300 Premium G Master-series fast wideangle zoom with weather-resistant construction • • 28 82 88.5 121.6 680
FE 16-35mm f/4 ZA OSS Vario-Tessar T* £1289 5H Zeiss full-frame wideangle zoom lens • • • 28 72 78 98.5 518
FE 24-70mm f/2.8 GM £1799 5H This pro-grade standard lens for the Sony full-frame FE mount gives exceptionally sharp results • • 38 82 87.6 136 886
FE 24-70mm f/4 ZA OSS Vario-Tessar T* £1049 5H Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation • • • 40 67 73 94.5 426
FE 24-105mm f/4 G OSS £1199 5H Excellent full-frame standard zoom with optical stabilisation and weather-resistant design • • • 38 77 83.4 113.3 663
FE 24-240mm f/3.5-6.3 OSS £929 3H Ideal for travel, landscapes and more, with built-in stabilisation. Also dust and moisture resistant • • • 50 72 80.5 118.5 780
FE 24mm F1.4 GM £1450 5H Compact, large-aperture wideangle prime includes aperture ring and weather-resistant construction • • 24 67 75.4 92.4 445
FE 28mm f/2 £419 4H This full-frame wideangle prime with a bright f/2 maximum aperture promises excellent sharpness • • 29 49 64 60 200
FE 28-70mm f/3.5-5.6 OSS £449 Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range • • • 30 55 72.5 83 295
FE 28-135mm PZ f/4 G OSS £2379 Constant f/4 maximum aperture powerzoom for video production, for full-frame cameras • • • 95 95 162.5 105 1215
FE 35mm f/1.4 ZA Distagon T* £1559 4H Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture • • 30 72 73 94.5 630
FE 35mm f/2.8 ZA Sonnar T* £699 When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver • • 35 49 61.5 36.5 120
FE 50mm f/1.4 ZA Planar T* £1500 5H Optically stunning premium fast prime, but huge and heavy • • 45 72 83.5 108 778
FE 50mm f/1.8 £240 4H Features a new optical design with a single aspherical element • • 45 49 68.6 59.5 186
FE 50mm f/2.8 Macro £500 4H Sony’s budget macro for full-frame CSCs offers decent optics but is slow at focusing • • 16 55 70.8 71 236
FE 55mm f/1.8 ZA Sonnar T* £849 35mm full-frame prime lens with wide aperture allowing good images indoors or in low light • • 50 49 64.4 70.5 281
FE 70-200mm f/4 G OSS £1359 4H G-series telephoto zoom lens, dust and water resistant, with built-in image stabilisation • • • 100 72 80 175 840
FE 70-200mm f/2.8 GM OSS £2500 5H Compact, lightweight telephoto zoom lens for full-frame E-mount bodies • • • 100 72 80 175 840
FE 70-300mm f/4.5-5.6 G OSS £1150 Sony has added this lens to its growing range • • • 90 72 84 143.5 854
FE 85mm f/1.8 £550 4H Relatively inexpensive portrait lens includes dust and moisture-resistant construction • • 80 67 78 82 371
FE 85mm f/1.4 GM £1889 5H Stunning image quality from Sony’s premium ‘G Master’ portrait lens • • 80 77 89.5 107.5 820
FE 90mm f/2.8 Macro G OSS £1049 5H Optically excellent dedicated macro lens for Sony’s full-frame E-mount cameras • • • 28 62 79 130.5 602
FE 100mm f/2.8 STF GM OSS £1700 Innovative portrait lens combines optical stabilisation and an apodisation filter for smooth bokeh • • • 57 72 85.2 118.1 700
FE 100-400mm f/4.5-5.6 GM OSS £2500 5H Premium optically stabilised, weather-sealed telezoom designed to match the Alpha 9 • • • 98 77 93.9 205 1395
FE 135mm f/1.8 GM £1750 Large-aperture portrait prime for full-frame promises high sharpness and attractive bokeh • • 70 82 89.5 127 950
NEW FE 200-600mm f/5.6-6.3 G OSS £1799 Weather-resistant super-telephoto zoom with easy-to-use internal zoom design • • • 240 95 111.5 318 2115

TAMRON MIRRORLESS
14-150mm f/3.5-5.8 Di III £370 4H The first Micro Four Thirds lens from Tamron for compact mirrorless interchangeable-lens cameras • 50 52 63.5 80.4 285
18-200mm f/3.5-6.3 Di III VC £390 Lightweight, compact, all-in-one zoom for mirrorless cameras, to cover practically any shooting situation • • • 50 62 68 96.7 460
28-75mm f/2.8 Di III RXD £699 4.5H Fast zoom for full-frame mirrorless is relatively compact and has fine optics • • 19 67 73 117.8 550

TOKINA MIRRORLESS
Firin 20mm f/2 FE MF £699 5H Impressively sharp fast wideangle prime for Sony mirrorless, with manual focus and aperture ring • • 28 62 69 81.5 490
Firin 20mm f/2 FE AF £799 Autofocus version of the excellent Firin 20mm f/2 FE MF, featuring ultrasonic focus motor • • 28 62 73.4 81.5 464
NEW Firin 100mm f/2.8 FE Macro £579 Relatively affordable autofocus 1:1 macro lens for Sony full-frame mirrorless cameras • • 30 55 74 123 570

ZEISS MIRRORLESS
Touit 12mm f/2.8 Distagon T* £959 5H Designed specifically for Sony NEX and Fujifilm X-series CSC cameras. Very impressive performance • • 18 67 82 68 270
Touit 50mm f/2.8 Planar T* £589 Macro 1:1 lens for extreme close-ups, as well as shooting portraits or panoramas as a light tele-lens • • 15 52 75 91 290
Touit 32mm f/1.8 Planar T* £700 4.5H Optimised for use with APS-C format sensors, a fast standard lens for Fujifilm X-series cameras • • 23 52 72 76 200
Batis 18mm f/2.8 £990 The Batis range is for mirrorless full-frame system cameras from Sony • • 25 77 78 95 330
Loxia 21mm f/2 £1230 Compact manual-focus wideangle prime purpose-designed for Sony Alpha 7-series cameras • • 25 52 62 72 394
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

Batis 25mm f/2 £980 5H A wideangle lens for Sony full-frame users offering unrivalled quality • • 20 67 81 92 355
Loxia 25mm f/2.4 £1190 5H Gorgeous but ever-so-pricey compact manual focus prime, with absolutely stunning optics • • 25 52 62 69.5 375
Loxia 35mm f/2 £1015 Small wideangle manual-focus prime intended for Sony Alpha 7 users • • 30 52 62 59 340
Batis 40mm f/2 CF £1130 5H Bridges the gap between Batis 25mm and 85mm lenses and features close-focusing ability • • 24 67 91 93 361
Loxia 50mm f/2 £740 Manual-focus standard prime with premium optics and E mount for Sony Alpha 7 users • • 45 52 62 59 320
Batis 85mm f/1.8 £909 5H A high-quality medium prime for wedding and portrait shooters, developed for Sony’s Alpha 7 series • • • 80 67 78 105 475
Loxia 85mm f/2.4 £1199 A compact, manual-focus, short telephoto lens for the mirrorless Sony Alpha series • • 80 52 62.5 108 594
Batis 135mm f/2.8 £1749 5H Absolutely stunning, super-sharp image-stabilised portrait lens for Sony full-frame mirrorless • • • 87 67 84 120 614

70 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Protecting your camera
kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
camera and equipment?

If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
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TPD0769 1 0718
Sell your Nikon to
Grays of Westminster are always seeking fine examples of Nikon cameras, lenses & accessories including:
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other non-oily materials away easily. Versions available
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HEAVIER CLEANING NEEDED
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n Wet cleaning. with mirrorless
Liquids specifically designed and manufactured to remove greas cameras
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sensor. When used in conjunction with the correct swab they make
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OUT & ABOUT? TAKE VISIBLE DUST WITH YOU
n Convenient kits.
The range of EZ kits bring together everything you need to ensure
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and as with all VisibleDust products, they are suitable for all camera
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See the entire range in detail at
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For details of your nearest stockist please contact... Tel: (Denys Nelson) 07909 227517
Unique Photographic Accessories
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Store and protect your mirrorless camera, lens or accessory from dirt
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Store and protect your camera or lens from dirt and scratches.
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ACAM-701 shown, ACAM-706 also available.
Further details and your nearest stockist can be obtained from...
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Tel: (Frazer Allen) 07725 081436
(Denys Nelson) 07909 227517
Email: info@alphaodl.co.uk
Product website: www.artisan-n-artist.com
 VISIT OUR WEBSITE - UPDATED DAILY

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Lenses
EF-S 10-18mm f4.5-5.6 IS STM ........... £239 24-70mm f2.8 DG OS HSM................... £1149
£219 inc. £20 cashback* 24-105mm f4 DG OS HSM..................... £579
EF-S 17-55mm f2.8 IS USM ................... £749 50-100mm f1.8 DC HSM Art ............... £949
CANON LENSES EF-S 18-200mm f3.5-5.6 IS.................. £479 TAMRON DSLR LENSES 70-200mm f2.8 EX DG OS HSM ........ £899
EF 35mm f1.4L II USM............................. £1629 EF-S 55-250mm f4-5.6 IS STM........... £299 with 5 Year Manufacturer Warranty 100-400mm f5-6.3 DG OS HSM........ £689
EF 35mm f2 IS USM ................................. £519 TS-E 50mm f2.8L Macro ....................... £2199 85mm f1.8 SP Di VC USD....................... £749 120-300mm f2.8 OS ................................ £2699
EF 40mm f2.8 STM .................................. £190 TS-E 135mm f4 L Macro ......................... £1999 16-300mm f3.5-6.3 Di II VC PZD....... £499 150-600mm f5-6.3 C DG OS HSM .... £779
EF 50mm f1.2L USM ................................ £1269 18-200mm f3.5-6.3 Di II VC ................. £199 150-600mm f5.0-6.3 S DG OS HSM £1329
EF 50mm f1.4 USM................................... £349 18-400mm f3.5-6.3 Di II VC HLD ...... £649
EF 50mm f1.8 STM ................................... £119 24-70mm f2.8 Di VC USD G2............... £1199
EF 85mm f1.2L II USM............................. £1849 70-200mm f2.8 Di VC USD G2........... £1279
EF 85mm f1.4L IS USM ........................... £1379 70-210mm f4 Di VC USD ....................... £599 SONY E-MOUNT LENSES
EF 85mm f1.8 USM ................................... £368 NIKON LENSES 70-300mm f4-5.6 SP Di VC USD....... £329 FE 85mm f1.4 G Master .......................... £1649
EF 100mm f2.8 USM Macro.................. £448 20mm f1.8 G AF-S ED ............................. £719 100-400mm f4.5-6.3 Di VC USD ...... £699 £1549 inc. £100 cashback*
EF 100mm f2.8L Macro IS USM.......... £849 24mm f1.4 G AF-S ED ............................. £1799 150-600mm f5-6.3 SP Di VC USD .... £799 FE 85mm f1.8 .............................................. £599
EF 135mm f2 L USM ................................. £959 35mm f1.8 G ED AF-S ............................. £479 150-600mm f5-6.3 VC USD G2.......... £1129 £549 inc. £50 cashback*
EF 300mm f4 L IS USM.......................... £1269 50mm f1.4 G AF-S .................................... £395 FE 100mm f2.8 G Master....................... £1499
EF 16-35mm f2.8L III USM..................... £1849 60mm f2.8 G AF-S ED ............................ £579 £1399 inc. £100 Cashback*
EF 16-35mm f4 L IS USM ...................... £949 85mm f1.8 G AF-S..................................... £429 FE 135mm f1.8 G Master......................... £1749
£859 inc. £90 cashback* 105mm f2.8 G AF-S VR IF ED.............. £689 FE 12-24mm f4 G ....................................... £1449
EF 17-40mm f4 L USM ............................ £689 300mm f4E AF-S PF ED VR ................ £1659 SIGMA DSLR LENSES £1369 inc. £80 cashback*
EF 24-70mm f2.8L IS USM II................ £1679 500mm f5.6E PF ED VR AF-S ............ £3699 with 3 Year Manufacturer Warranty FE 16-35mm f2.8 G Master ................... £2199
EF 24-70mm f4L IS USM ....................... £789 8-15mm f3.5-4.5E ED Fisheye............. £1229 20mm f1.4 DG HSM Art.......................... £699 £2099 inc. £100 cashback*
£709 inc. £80 cashback* 10-24mm f3.5-4.5 G AF-S DX ............. £729 24mm f1.4 DG HSM .................................. £629 FE 24-70mm f2.8 G Master .................. £1829
EF 24-105mm f3.5-5.6 IS STM ............ £399 16-80mm f2.8-4E ED AF-S DX VR.... £899 30mm f1.4 DC HSM.................................. £359 £1729 inc. £100 cashback*
EF 24-105mm f4L IS II USM.................. £999 18-200mm f3.5-5.6 G AF-S DX VR II£394 35mm f1.4 DG HSM .................................. £649 FE 24-70mm f4 ZA OSS C.Zeiss T* .. £749
EF 28-300mm f3.5-5.6 L IS USM....... £2289 24-70mm f2.8 G ED AF-S...................... £1449 50mm f1.4 DG HSM Art.......................... £569 £669 inc. £80 cashback*
EF 70-200mm f2.8 L IS III USM.......... £2099 24-70mm f2.8E AF-S ED VR................ £1849 85mm f1.4 Art DG HSM .......................... £899 FE 70-200mm f2.8 G Master............... £2399
EF 70-200mm f4 L IS II USM ............... £1299 28-300mm f3.5-5.6 G ED AF-S VR .. £704 105mm f2.8 APO EX DG OS HSM...... £358 £2299 inc. £100 cashback*
EF 70-300mm f4-5.6 L IS USM .......... £1199 70-200mm f2.8E AF-S FL ED VR...... £1999 8-16mm f4.5-5.6 DC HSM...................... £559 FE 70-300mm f4.5-5.6 G OSS ........... £1079
EF 70-300mm f4-5.6 IS II USM .......... £449 70-300mm f4.5-6.3 G ED DX AF-P £304 10-20mm f3.5 EX DC HSM.................... £329 £999 inc. £80 cashback*
EF 100-400mm f4.5-5.6L IS USM II. £1940 200-500mm f5.6E AF-S ED VR......... £984 17-70mm f2.8-4.0 DC OS HSM............ £349 FE 100-400mm f4.5-5.6 OSS GM..... £2449
EF-S 35mm f2.8 Macro IS STM .......... £369 18-35mm f1.8 DC HSM ............................ £642 £2349 inc. £100 cashback*
£334 inc. £35 cashback* 18-250mm f3.5-6.3 DC OS HSM ........ £349
EF-S 60mm f2.8 USM Macro ............... £414 18-300mm f3.6-6.3 C DC OS HSM.... £369
*Canon cashback ends 29.08.19 *Sony cashback ends 01.09.19

Photo Bags & Rucksacks Computing

Flipside 300 Anvil Slim Hadley

AW II Professional Pro PIXMA Pro 100S ............ £359
Original
Khaki PIXMA Pro 10S .................£493
Pro Tactic Pro Light
BP 450 RedBee 310
AW II
Datacolor Spyder 5 Pro.................£99
i1 Display Pro ColorMunk..............£178
Available in Khaki, Black, Sage.
Smile .......................................................£90
Small Pro....................£199
Anvil: Small ............................£159 Intuos Pro Professional Pen and Touch Tablet
Pro Tactic: Flipside: Pro Light RedBee: Anvil Slim............£119 Large ...........................£199 Small ................................................................................ £129
BP 350 AW II.......£185 300 AW II ...... £99 110 ...................................£129 Anvil Super ........£134 Pro Original ............. £199 Medium........................................................................... £299
BP 450 AW II ......£239 400 AW II...... £119 310 ..................................£147 Anvil Pro..............£126 Hadley One .............. £264 Large ............................................................................... £439

Digital Compact Cameras Digital compact camera accessories are available on our website
IXUS 185 HS............................................£99
IXUS 285 HS...........................................£169
£40 PowerShot SX70 HS...........................£499
CASHBACK* PowerShot SX620 HS........................£179
20.2 mp 20.1 mp 24.3 mp PowerShot SX730 HS........................£299
1080p 1080p 1080p £269 inc. £30 cashback*
PowerShot SX740 HS........................£349
4.2x 4.2x 3.0x
optical zoom optical zoom optical zoom £314 inc. £35 cashback*
PowerShot G5 X ....................... £599 PowerShot G7 X Mk II............. £519 PowerShot G1 X III................ £999 PowerShot G9 X II...............................£379
£489 inc. £40 cashback* PowerShot G3 X...................................£779
*Canon Cashback ends 29.08.19

Lumix FZ1000 ...............................£528

Black or £478 inc. £50 cashback*
Silver £50 Lumix FZ2000 ...............................£799
CASHBACK* £699 inc. £100 cashback*
Lumix TZ200...................................£623
24.3 mp £573 inc. £50 cashback*
1080p 17.0 mp 20.3 mp 20.0mp Lumix LX15 .......................................£449
Fujifilm X100F......... £1198 Lumix LX100 II...... £849 Lumix TZ95......... £399 Lumix FZ1000 II......... £749 £399 inc. £50 cashback*
£799 inc. £50 cashback* *Panasonic Cashback ends 02.09.19

Theta Z1 Digital Theta V Digital

Spherical Camera Spherical Camera
Stylus Ricoh Ricoh 4K video, 23MP stills 4K movie mode and
TG-5 GR III WG-60
and image stabilisation 360° stills
£339 £799 £230
.......................... £899 .......................... £349
Available in black and red

£50 £150 £100

CASHBACK* CASHBACK* CASHBACK*

Cyber-Shot HX90V Cyber-Shot RX10 Mk IV Cyber-Shot RX100 Mk VI

Coolpix P1000 £299 £1599 £1099
£899 £249 inc. £50 c/back* £1449 inc. £150 c/back* £999 inc. £100 c/back* DJI Mavic 2 from £1019

FREE delivery on orders over £50** **Based on a 4-day delivery service, UK only.

Digital Photography
CANON EOS 5D MK3 BODY, BATT,CHGR,LEADS etc ���������� MINT-BOXED £945�00
CANON EOS 50D BODY COMPLETE��������������������������������������MINT BOXED £195�00
CANON EOS 350D BODY�������������������������������������������������������� MINT-BOXED £65�00
CANON 270EX SPEEDLITE + MANUAL�����������������������������������MINT CASED £69�00
CANON 430 EX����������������������������������������������������������������������� MINT-CASED £69�00
CANON 430 EX II ������������������������������������������������������������������� MINT-BOXED £99�00
CANON 580EX MK II SPEEDLITE����������������������������������������� MINT-CASED £169�00
CANON 580 EX SPEEDLITE�������������������������������������������������EXC++CASED £125�00
CANON 580 EX SPEEDLITE�������������������������������������������������� MINT-CASED £149�00
CANON 550 EX SPEEDLITE���������������������������������������������������� MINT-BOXED £99�00
CANON 550 EX SPEEDLITE���������������������������������������������������EXC++CASED £75�00
CANON ST-E2 SPEEDLITE TRANSMITTER����������������������������MINT BOXED £125�00
CANON BG-E4 BATTERY GRIP FOR EOS 5D���������������������������MINT BOXED £49�00
FUJI X10 WITH CASE, HOOD & FILTER ��������������������������������������������MINT £199�00
FUJI XT 10 BODY WITH CHGR, 2 BATTERIES ��������������������� MINT-BOXED £265�00
FUJI 18 - 55mm f2�8/4-R LM OIS XF FUJINON (NEW)��������MINT CASED £425�00
FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��������MINT BOXED £195�00
NIKON D600 BODY WITH 2 BATTS,CHGR��������������������������������������� MINT- £499�00
NIKON D3000 COMPLETE WITH 18-55 AFS VR LENS����������������������MINT £175�00
NIKON D3100 WITH 18-55mm 3�5/5�6 AF-S DX ED MK II������������� MINT- £175�00
NIKON D300S BODY + BATT GRIP, BATT & CHARGER�����������������EXC++ £245�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�������� MINT-BOXED £195�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP������������������� MINT- £179�00
NIKON SB 800 SPEEDLIGHT WITH CASE����������������������������� MINT-CASED £145�00
NIKON ML-3 REMOTE CONTROL SET�����������������������������������MINT BOXED £145�00
NIKON MB-D16 BATTERY GRIP FOR NIKON D750���������������MINT BOXED £195�00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS����MINT CASED £325�00
OLYMPUS OM-D E-M1 CAMERA BODY + FLASH ����������������MINT BOXED £365�00
OLYMPUS OM-D E-M10 WITH 14 - 42mm LENS�����������������MINT BOXED £299�00
OLYMPUS 12mm f2 ED M ZUIKO DIGITAL + HOOD������������ MINT-BOXED £465�00
OLYMPUS 45mm f1�8 M ZUIKO DIGITAL M 4/3rds + HOOD �� MINT BOXED £225�00
OLYMPUS 9 - 18mm f4/5�6 M ZUIKO DIGI M ED + HOOD���MINT BOXED £375�00
OLYMPUS 40 - 150mm f4/5�6 M ZUIKO DIGI R +������������������MINT BOXED £95�00
OLYMPUS 75 - 300mm f4�8/6�7 MK 2 M ZUIKO ED ������������MINT BOXED £385�00
OLYMPUS FL-300R WIRELESS FLASH�����������������������������������MINT BOXED £99�00
OLYMPUS MMF-3 ADAPTOR FOR 4/3 rd LENSES ���������������MINT BOXED £145�00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM������������������������MINT £95�00
PANASONIC 45 - 200mm f4/5�6 MEGA OIS ASPH���������������������������MINT £175�00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS�������MINT BOXED £145�00
SONY NEX-6 WITH 16- 50 LENS & 1/2 CASE �������������������������������� MINT- £265�00
SONY E 30mm f3�5 MACRO �������������������������������������������������MINT BOXED £135�00
SONY E 55 - 210mm f4�5/6�3 OSS���������������������������������������MINT BOXED £155�00
SONY 18 - 250mm f3�5/6�3 A/F DT LENS����������������������������MINT BOXED £325�00
SIGMA 30mm F2�8 DN MICRO 4/3RDS��������������������������������MINT BOXED £115�00
SONY ECM - XTST1M STEREO MICROPHONE���������������������� NEW UNUSED £69�00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR��������������������������MINT BOXED £95�00
Canon Autofocus, Digital Lenses, Canon FD
CANON 14mm f2�8 USM “L”���������������������������������������������EXC++ BOXED £599�00
CANON 24mm f1�4 “L” USM������������������������������������������������������������MINT £499�00
CANON 85mm f1�2 USM “L” MK II LATEST MODEL���������MINT BOXED £1,045�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £699�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�����������������MINT CASED £689�00
CANON 8 - 15mm f4 USM “L” FISHEYE ������������������������������MINT CASED £699�00
CANON 16 - 35mm f2�8 USM “L” MK 2 ������������������������������MINT BOXED £725�00
CANON 24 - 70mm f2�8 “L” USM MARK II LATEST ������������MINT BOXED £995�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT CASED £645�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT BOXED £599�00
CANON 70 - 200mm f2�8 USM “L”��������������������������������������MINT BOXED £675�00
CANON 100 - 400mm fr4�5/5�6 USM “L” IMAGE STABILIZER���� MINT-BOXED £645�00
CANON 20mm f2�8 USM����������������������������������������������������������������EXC++ £245�00
CANON 28mm f2�8 EF ����������������������������������������������������������������������MINT £169�00
CANON 50mm f1�8 MARK 1 (VERY RARE NOW)������������������������������MINT £129�00
CARL ZEISS 50mm f1�4 PLANNAR T* WITH HOOD��������������������������MINT £345�00
CANON 50mm f2�5 COMPACT MACRO ��������������������������������MINT BOXED £169�00
CANON 60mm f2�8 EFS USM MACRO LENS ������������������������MINT BOXED £199�00
CANON 60mm f2�8 EFS USM MACRO LENS ���������������������������������� MINT- £189�00
CANON 100mm f2�8 MACRO USM ���������������������������������������MINT BOXED £275�00
CANON 10 - 22mm f3�5/4�5 USM �������������������������������������������������EXC++ £295�00
CANON 17 - 55mm f2�8 EFS IS USM WITH HOOD ���������������������������MINT £499�00
CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��������������MINT £149�00
CANON 18 - 200mm f3�5/5�6 EFS IMAGE STABILIZER��������MINT BOXED £285�00
CANON 70 - 300mm f4�5/5�6 IS USM DO REFRACTIVE����������������� MINT- £345�00
CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ������MINT BOXED £269�00
KENCO DG CANON FIT TUBE SET 12,20,36MM����������������������MINT BOXED £99�00
CANON EF 2�0X EXTENDER MK I������������������������������������������MINT BOXED £129�00
CANON EF 2�0X EXTENDER MK II ����������������������������������������MINT CASED £179�00
KENCO DG CANON FIT TUBE SET 12,20,36MM�������������������������������� MINT- £99�00
KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER���������MINT CASED £99�00
SIGMA EX 1�4 TELECONVERTER ��������������������������������������������������������MINT £75�00
SIGMA 14mm f2�8 EX HSM ASPHERIC ��������������������������������MINT CASED £365�00
SIGMA 70mm f2�8 EX DG MACRO WITH SLD GLASS����������MINT BOXED £245�00
SIGMA 105mm f2�8 MACRO EX WITH CASE������������������������������������MINT £179�00
SIGMA 105mm f2�8 MACRO EX DG OS HSM��������������������������������� MINT- £279�00
SIGMA 150mm f2�8 EX DG-OS HSM MACRO LATEST ���������MINT BOXED £595�00
SIGMA 18 - 50mm f 2�8 EX DC SLD GLASS ����������������������� MINT-BOXED £165�00
SIGMA 50 - 150mm f2�8 EX APO HSM AF-DC MK II��������������������� MINT- £325�00
TAMRON 180mm f3�5 A/F SP DI MACRO LATEST���������������MINT BOXED £329�00
TAMRON 500mm f8 MIRROR LENS & FILTERS FD MOUNT MINT-CASED £175�00
TAMRON 28 - 75mm f2�8 XR Di LENS LATEST �������������������������������MINT £345�00
TAMRON 28 - 300mm f3�5/6�3 I/F LD DI ASP VIB CONTROL���MINT BOXED £375�00
TAMRON 70 - 300mm f4/5�6 SP Di VC ULTRASONIC���������� MINT+HOOD £225�00
TOKINA 10 -17mm f3�5/4�5 ATX DX FISHEYE (LATEST) �����������������MINT £299�00
TOKINA 11 - 16mm f2�8 ATX - PRO ASPHERICAL���������������MINT BOXED £279�00
Contax ‘G’ Compacts & SLR & Ricoh
CONTAX 28mm f2�8 BIOGON “G” HOOD,FILTER CAP����������MINT CASED £275�00
CONTAX 45mm f2 PLANAR “G” HOOD, CAP, FILTER����������������������MINT £295�00
CONTAX 90mm f2�8 SONNAR “G” HOOD,FILTER,CAP���������MINT BOXED £179�00
CONTAX 35 - 70mm f3�5/5�6 “G” VARIO-SONNAR T*���������MINT BOXED £395�00
CONTAX TLA 200 FLASH FOR CONTAX G1/G2���������������������MINT BOXED £175�00
CONTAX TLA 140 FLASH FOR G1/G2�������������������������������������MINT CASED £65�00
CONTAX GD1 DATABACK FOR CONTAX T3��������������������������� MINT-BOXED £69�00
CONTAX TLA 200 FLAH FOR CONTAX “G”�����������������������������MINT CASED £99�00
CONTAX 167 MT BODY�������������������������������������������������������� MINT-BOXED £115�00
CONTAX 167 MT BODY��������������������������������������������������������������������� MINT- £99�00
YASHICA ML CONTAX FIT 28mm f2�8 �����������������������������������������������MINT £99�00
CONTAX 50mm f1�7 AE LENS ������������������������������������������������������������MINT £95�00
YASHICA/CONTAX 55mm f2�8 ML MACRO LENS ����������������������������MINT £175�00
CONTAX 135mm f2�8 SONNAR WITH FILTER ����������������������������������MINT £175�00
CONTAX 300mm F4 TELE TESSAR MM �������������������������������MINT BOXED £295�00
CONTAX MAGNIFIER F2 ���������������������������������������������������������MINT BOXED £49�00
CONTAX TLA 30 WITH DIFFUSSER�����������������������������������������MINT CASED £69�00
CONTAX TLA 280 FLASH������������������������������������������������������������������ MINT- £59�00
CONTAX TLA 280 FLASH UNIT�����������������������������������������������MINT BOXED £75�00
CONTAX TLA 360 FLASH������������������������������������������������������� MINT-CASED £65�00
LEICA “M” , “R” , & SCREW & RANGEFINDER
LEICA X-2 TITANIUM A LA CARTE + GRIP & CASE ����������������������� MINT- £599�00
LEICA D-LUX (TYPE 109) + BLACK LEATHER NCASE����������MINT BOXED £499�00
LEICA M MONO 10 760 COMPLETE���������������������������������� MINT-BOXED £2,500�00
LEICA M9 BODY WITH CHARGER AND BATT etc������������������������ MINT- £1,495�00
LEICA MDA BODY SER NO 12659XX CIRCA 1970�������������������������� MINT- £425�00
LEICA MDA BODY SER NO 14111XXCIRCA 1975-76��������������������EXC++ £399�00
LEICA IIIG BODY WITH 5cm f2 SUMMAR������������������������� MINT-CASED £1,295�00
MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ������������EXC++ £375�00
LEICA 35mm f2�8 SUMMARON WITH SPECS��������������������������������� MINT- £475�00
CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR ���������������������� MINT- £275�00
LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ������������������������EXC+++ £695�00
LEICA 50mm f2�8 COLLAPSIBLE ELMAR��������������������������������������� MINT- £375�00
LEICA 90mm f2�8 TELE ELMAR + HOOD ��������������������������������������� MINT- £395�00
LEICA 90mm f2 SUMMICRON BLACK�������������������������������������������� MINT- £895�00
LEICA 90mm f2�5 SUMMARIT M 6 BIT��������������������������������������������MINT £875�00
LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M������������������������� MINT- £295�00
LEICA 90mm f4 ELMAR M MOUNT ������������������������������������������������ MINT- £165�00
LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE�������������MINT BOXED £375�00
LEICA 135mm f4�5 HEKTOR���������������������������������������������������������������EXC+ £75�00
LEICA 90mm FINDER �������������������������������������������������������������������������MINT £99�00
VOIGTLANDER BESSA T WINDER�����������������������������������������MINT BOXED £149�00
VOIGTLANDER BESSA R GRIP FOR R,R2,R3 ETC�������������������MINT BOXED £49�00
VOIGTLANDER VC METER II�������������������������������������������������MINT BOXED £179�00
LEICA 35mm f3�5 SUMMARON SCREW ����������������������������������������� MINT- £295�00
LEICA 5cm f2 SUMMAR SCREW ���������������������������������������������������� MINT- £175�00
LEICA 90mm f4 ELMAR CHROME SCREW ���������������������������� MINT-CASED £99�00
LEICA 90mm f4 ELMAR BLACK SCREW ���������������������������������������EXC++ £145�00
LEICA 135mm f2�8 ELMARIT M WITH SPECS�����������������������������EXC+++ £299�00
LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT�����������������������������EXC++ £99�00
LEICA 135mmf4�5 HEKTOR IN KEEPER���������������������������������������EXC+++ £199�00
LEICA 135mm f4�5 HEKTOR + HOOD SCREW���������������������������������EXC++ £99�00
LEICA SF20 FLASH FOR M6 etc���������������������������������������������MINT BOXED £89�00
LEICA FONOR BLACK RANGEFINDER���������������������������������� MINT-CASED £175�00
LEICA R9 ANTHRACITE BODY �������������������������������������������������������� MINT- £565�00
LEICA R8 BLACK BODY WITH STRAP �������������������������������������������� MINT- £395�00
LEICA R7 BLACK BODY ������������������������������������������������������EXC++BOXED £325�00
LEICA R7 CHROME BODY��������������������������������������������������������������� MINT- £365�00
LEICAFLEX BODY CHROME ������������������������������������������������������������ MINT- £195�00
LEICA CURTAGON 35mm f4������������������������������������������������ MINT-BOXED £395�00
LEICA 50mm f2 SUMMICRON 3 CAM �������������������������������������������� MINT- £395�00
LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR����������EXC++ £395�00
LEICA 90mm f2�8 ELMARIT 2 CAM������������������������������������������������ MINT- £299�00
LEICA 135mm f2�8 ELMARIT R 3 CAM ���������������������������������������EXC+++ £365�00
LEICA APO-EXTENDER 2 X ROM������������������������������������������MINT CASED £475�00
Binoculars
LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE ������������������������MINT £595�00
LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN��� MINT-CASED £275�00
LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK��� MINT-CASED £279�00
MINOX BV 10x42 BR AS NEW����������������������������������������������MINT BOXED £175�00
KOWA BD 10x25 DCF COMPACT ROOF PRISM BINOS ��������MINT CASED £165�00
KOWA GENESIS PROMINAR 8x33 AS NEW UNUSED �����������MINT BOXED £625�00
KOWA GENESIS PROMINAR 10�5x44 AS NEW UNUSED ������MINT BOXED £895�00
KOWA TSN-554 PROMINAR STRAIGHT SPOTTING SCOPE �� MINT BOXED £1,195�00
KOWA C-554 STAY-ON-CASE FOR TSN-554��������������������������MINT BOXED £75�00
OPTICRON MMS 160 IMAGE STABILISED TRAVELSCOPE���MINT BOXED £225�00
OPTICRON TRAVELLER 10x32 BGA-ED COMPACT ��������������MINT BOXED £225�00
SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS ���� NEW UNUSED £1,575�00
SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS���������������� MINT- £565�00
Medium & Large Format
BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS�������������������EXC++ £325�00
BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS �����������������EXC++ £295�00
BRONICA 45 - 90mm f4/5�6 PE ASPHERICAL����������������������MINT BOXED £425�00
BRONICA AUTO EXTENTION TUBE E-14���������������������������������MINT BOXED £45�00
BRONICA PROFESSIONAL LENS HOOD E �������������������������������MINT BOXED £45�00
BRONICA ETRSI 120 BACK��������������������������������������������������������������� MINT- £69�00
BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ����������������MINT BOXED £59�00
BRONICA PLAIN PRISM FOR ETRS/ETRSI������������������������������������������MINT £75�00
BRONICA PLAIN PRISM FOR ETRS/ETRSI���������������������������������������EXC++ £59�00
Visitors are welcome, please phone for an appointment.
BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC��������������� MINT- £75�00
BRONICA MOTOR WINDER E���������������������������������������������������������EXC+++ £89�00
BRONICA 150mm F3�5 ZENZANON S��������������������������������������������� MINT- £165�00
BRONICA PLAIN PRISM FOR SQAi/SQA������������������������������������������� MINT- £99�00
BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ���������������� MINT- £199�00
BRONICA 50mm f3�5 PS LENS & CASE ������������������������������ MINT-BOXED £199�00
BRONICA 65mm F4 ZENZANON PS FOR SQ������������������������ MINT-CASED £145�00
BRONICA 110mm F4 PS ZENZANON MACRO FOR SQ �������� MINT-CASED £365�00
BRONICA 150mm F4 PS ZENZANON FOR SQ���������������������� MINT-CASED £145�00
BRONICA 180mm f4�5 PS LENS & CASE ���������������������������� MINT-BOXED £199�00
BRONICA SPEED GRIP FOR SQA/SQAI��������������������������������������������� MINT- £69�00
BRONICA FILMBACK SQ-i220 FOR SQA/SQAi������������������������MINT BOXED £79�00
METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA������������MINT BOXED £150�00
HASSELBLAD 28mm f4 HC FOR H SYSTEM����������������������MINT BOXED £1,475�00
HASSELBLAD 120mm f4 HC FOR H SYSTEM�����������������������������EXC++ £1,195�00
HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������������������MINT £365�00
HASSELBLAD 150mm f4 SONNAR T* BLACK�������������������������������EXC++ £195�00
HASSELBLAD 150mm f4 SONNAR CF��������������������������������� MINT-BOXED £395�00
HASSELBLAD 150mm f4 SONNAR SILVER �����������������������������������EXC++ £175�00
HASSELBLAD 250mm f5�6 SONNAR SILVER �����������������������������������EXC+ £179�00
HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR���������MINT BOXED £2,995�00
HASSELBLAD GPS UNIT FOR H SYSTEM �����������������������������MINT BOXED £399�00
HASSELBLAD H13 EXT TUBE �����������������������������������������������������������MINT £165�00
HASSELBLAD PM90 PRISM FINDER ���������������������������������������������� MINT- £275�00
HASSELBLAD PME3 METERED PRISM FINDER ����������������������������� MINT- £275�00
HASSELBLAD VFC-6 METERED PRISM��������������������������������MINT BOXED £175�00
HASSELBLAD A12 BACK CHROME������������������������������������������������� MINT- £129�00
HASSELBLAD WINDER CW AND REMOTE����������������������������������������MINT £275�00
MAMIYA 55mm f4�5 SEKOR FOR C220/330 etc������������������MINT BOXED £165�00
MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £199�00
MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ���������������MINT £365�00
MAMIYA M645J COMPLETE WITH 80mm f2�8 ������������������������������ MINT- £299�00
MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC��������������������� MINT-CASED £365�00
MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ������������������������������������MINT £299�00
MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ����������������������MINT £145�00
MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £295�00
MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��������������������������������������MINT £199�00
MAMIYA 250mm F4�5 LENS FOR RZ ��������������������������������������������� MINT- £195�00
MAMIYA 210mm F4 SEKOR C FOR 645�������������������������������MINT CASED £195�00
MAMIYA 180mm F4�5 SEKOR FOR RB���������������������������������������������MINT £169�00
MAMIYA 220 BACK FOR RZ 67�������������������������������������������������������� MINT- £95�00
PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ���������� MINT- £199�00
PENTAX 55mm F4 SMC FOR 6X7 ����������������������������������������������������MINT £175�00
PENTAX 55mm F2�8 FOR PENTAX 645��������������������������������MINT BOXED £199�00
ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008������������� MINT- £575�00
YASHICAMAT 124G COMPLETE WITH HOOD + CASE��������� MINT-CASED £325�00
YASHICA 124G TELEPHOTO AUX LENS SET������������������������������������� MINT- £69�00
Nikon Auto-Focus & Digital, Lenses Accessories
NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE�������������������������MINT BOXED £399�00
NIKON 28mm f2�8 A/F “D” ��������������������������������������������������������������MINT £165�00
NIKON 28mm f2�8 A/F����������������������������������������������������������������������MINT £135�00
NIKON 35mm f1�8 “G” ED AF-S L��������������������������������������MINT + HOOD £365�00
NIKON 35mm f1�8 “G” DX AF-S LATEST����������������������������� MINT+HOOD £119�00
NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD���������������MINT £189�00
NIKON 50mm f1�8 A/F D ������������������������������������������������������������������ MINT- £79�00
NIKON 50mm f1�8 “G” AF-S WITH HOOD����������������������������������������MINT £145�00
NIKON 50mm f1�4 A”G” AF-S LATEST ������������������������������� MINT-BOXED £295�00
NIKON 60mm F2�8� A/F D MACRO LENS������������������������������������������MINT £265�00
NIKON 85mm f3�5 ED DX AF-S VR MICRO NIKKOR������������� MINT+HOOD £325�00
NIKON 105mm f2�8 MACRO MICRO NIKKOR A/F “D” ���������MINT BOXED £279�00
NIKON 180mm f2�8 A/F “D” IF- ED ����������������������������������������������� MINT- £375�00
NIKON 300mm f2�8 G ED VR II AF-S WITH HOOD������������ MINT-CASED £2,795�00
NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�������������������������������� MINT- £425�00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S����������������������������MINT BOXED £395�00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��������������������������� MINT-CASED £365�00
NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST ����������������� MINT-CASED £1,075�00
NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS�����������MINT BOXED £795�00
NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS���������� MINT-CASED £725�00
NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL����MINT BOXED £745�00
NIKON 35 - 70mm f3�3/4�5 A/F LENS���������������������������������������������EXC++ £49�00
NIKON 35 - 135mm f3�5/4�5 A/F + HOOD�������������������������������������� MINT- £129�00
NIKON 70 - 200mm “G” IF ED AF-S VR +HOOD����������������� MINT-BOXED £795�00
NIKON 70 - 200mm f2�8 “G” ED AF-S VR MK 2 + HOOD����������� MINT- £1,075�00
We urgently require your used photographic equipment.
We have customers waiting for: Nikon, Canon, Leica,
Contax, Bronica, Hasselblad and most other makes of
camera lenses, accessories, binoculars and collectables.
We will buy for cash from you, or we are happy to sell on
your behalf on a commission basis. Best prices paid.
We can arrange collection and even call and collect and
pay on the spot if necessary anywhere in the UK.
NIKON 80 - 400mm f4�5/5�6 ED AF “D” VR������������������������ MINT-BOXED £575�00
NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST ���������MINT BOXED £995�00
NIKON TC20E II 2X AF-S TELECONVERTER ����������������������������������� MINT- £195�00
TAMRON 1�4X A/F “D” TELECONVERTER NIKON FIT ������������MINT BOXED £69�00
KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS ��������������������������MINT £75�00
SIGMA 2X EX DG TELECONVERTER �������������������������������������������������MINT £145�00
SIGMA TC2001 ED GLASS LATEST MODEL ���������� MINT BOXED AS NEW £225�00
SIGMA 24mm f1�4 DG HSM ART LENS NIKON FIT ��������������MINT BOXED £485�00
SIGMA 50mm f2�8 EX MACRO D���������������������������������������������������EXC++ £129�00
SIGMA 105mm f2�8 EX APO DG MACRO ���������������������������� MINT-BOXED £245�00
SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM �������������������������MINT BOXED £199�00
SIGMA 15 - 30mm f3�5/4�5 DG EX IF ASPHERICAL����������������������� MINT- £245�00
TAMRON 16 - 300mm f3�5/6�3 Di II VC MACRO LATEST ���MINT +HOOD £299�00
TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO �������� MINT+HOOD £299�00
TOKINA 16 - 50mm F2�8 ASPHERICAL AT-X PRO DX ���������MINT BOXED £275�00
TOKINA 80 - 400mm f4�5/5�6 AT-X D����������������������������������MINT BOXED £245�00
TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��������MINT BOXED £295�00
Nikon Manual Focus
NIKON F3 HP BODY REALLY NICE WITH MANUAL�������������� MINT-BOXED £595�00
NIKON F3 BODY UNUSED FROM A COLLECTION NEW���������MINT BOXED £895�00
NIKON F3 BODY������������������������������������������������������������������������������ MINT- £425�00
NIKON F3 BODY WITH MD4 MOTOR DRIVE ����������������������������������� MINT- £495�00
NIKON F3 BODY��������������������������������������������������������������������������������EXC+ £245�00
NIKON F2AS BODY BLACK ������������������������������������������������������������EXC++ £200�00
NIKON FM2n CHROME BODY ������������������������������������������������������EXC+++ £245�00
NIKON FM2 CHROME BODY ����������������������������������������������������������EXC++ £199�00
NIKON FM BLACK WITH MF-16 BACK ����������������������������������������EXC+++ £169�00
NIKON FM BLACK��������������������������������������������������������������������������EXC++ £145�00
NIKON FE2 BLACK BODY���������������������������������������������������EXC++ BOXED £225�00
NIKON F2 A BODY FULLY WORKING ������������������������������������������������EXC+ £199�00
NIKON F2 BODY FULLY WORKING����������������������������������������������������EXC+ £169�00
NIKON F2 PHOTOMIC BODY CHROME�������������������������������������������EXC++ £275�00
NIKON F2 PHOTOMIC BODY CHROME����������������������������������������������EXC+ £199�00
NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS���������������������EXC++ £250�00
NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4������������������ MINT- £399�00
NIKKORMAT FT2 CHROME �������������������������������������������������������������������������� EXC++
NIKKORMAT FT CHROME WITH 35mm f2�8 S LENS�����������������������EXC++ CASED
NIKKORMAT FT CHROME ��������������������������������������������������������������������������EXC+++
NIKKORMAT FT2 BLACK WITH 50mm f2 LENS ����������������������������EXC++ CXASED
NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ���������������������������MINT £875�00
NIKON 24mm F2�8 AIS SUPERB SHARP LENS���������������������������������MINT £225�00
NIKON 28mm f2�8 AI������������������������������������������������������������������������MINT £165�00
NIKON 28mm f3�5 AIS������������������������������������������������������������������������MINT £89�00
NIKON 45mm F2�8 GN NIKKOR ������������������������������������������������������ MINT- £199�00
NIKON 50mm f1�8 AIS SHARP LENS��������������������������������������������������MINT £95�00
NIKON 55mm f2�8 MACRO AIS ������������������������������������������������������ MINT- £165�00
NIKON 105mm f2�5 AIS FROM A COLLECTION��������������������MINT BOXED £295�00
NIKON 135mm f2�8 AIS������������������������������������������������������������������ MINT- £125�00
NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00
NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS�����MINT-CASED £1,295�00
NIKON 1000mm f11 MIRROR LENS WITH CAPS���������������������������EXC++ £495�00
NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS��������������� MINT- £169�00
NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��������������������������EXC++ £119�00
NIKON 35 - 135 F3�5/4�5 AIS ��������������������������������������������������������� MINT- £149�00
NIKON 35 - 135 F3�5/4�5 AIS �����������������������������������������������������������EXC+ £125�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������� MINT- £145�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������EXC+++ £99�00
NIKON PK13 AUTO EXTENSION RING������������������������������������ MINT-BOXED £55�00
NIKON PK12 AUTO EXTENSION RING����������������������������������������������EXC++ £49�00
NIKON PK11 AUTO EXTENSION RING�������������������������������������������������MINT £49�00
NIKON TC 200 CONVERTER����������������������������������������������������������������MINT £69�00
NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2������������������ MINT-CASED £115�00
NIKON SB 16 FLASH FOR F3�����������������������������������������������������������EXC++ £65�00
Olympus Manual
OLYMPUS 50mm F1�8 ZUIKO����������������������������������������������������������� MINT- £39�00
OLYMPUS 50mm F3�5 MACRO��������������������������������������������������������� MINT- £99�00
OLYMPUS 35 - 70mm F4 ZUIKO ������������������������������������������������������ MINT- £75�00
OLYMPUS EXT TUBE 14mm, 25mm������������������������������������������������� MINT- £55�00
OLYMPUS VARIMAGNI FINDER ����������������������������������������������MINT BOXED £59�00
 Change gear.
Trade in and upgrade your setup for the perfect shoot, every time. Commitment free, hassle free, risk free.
Insured collection and delivery is free too.

MPB is the easiest way to trade in your photo and filmmaking kit.
Get an instant quote, get a box, get paid or upgrade.

www.mpb.com
@mpbcom P H OTO BY E R I K M C L E A N
 To advertise here, call Samuel Shaw: 07970 615618 Email: samuel.shaw@ti-media.com
Classic Dealer Wanted
High Street Radio & Photographic
Croydon Photo Centre
Specialists in Pre-owned Peter Loy
LEICA, CANON, NIKON & COLLECTABLE CAMERA SPECIALISTS

OTHER CLASSIC EQUIPMENT

Check out our website or call us

CLASSIFIED
www.croydonphotocentre.co.uk
Tel 020 8688 9015 CAMERA COLLECTIONS

Monitor Calibration WANTED

Call us: 020 8867 2751
Cameras For Sale BRAND NEW
X-Rite Color Munki We can come to you (UK & Europe)
Display www.peterloy.com
Usually £109.00
ONLY £95.00
Including Free Courier Delivery
Order Line 01274 729144
Bradford Camera Exchange Co Ltd
19 North Parade, Bradford, BD1 3JL
Established 1936

Accessories

Equipment to sell? WANTED FOR CASH

Great news! The global market for quality digital and film
cameras, lenses and accessories is stronger than ever!
With our worldwide network of customers we're paying
the highest prices for Nikon, Canon, Leica, Fuji, Contax,
Olympus, Panasonic, Sony, Zeiss, Voigtlander, Konica,
Minolta, Sigma, Tamron, Tokina, Hasselblad, Pentax,
Bronica, Mamiya and other top-quality brands.
Free Collection
Contact Jonathan Harris for an immediate quote:
info@worldwidecameraexchange.co.uk
or phone 01277 631353
Same-day Payment
Looking to buy? Please visit our website:
www.worldwidecameraexchange.co.uk
OR COMMISSION
Film Cameras: Leica M,Leica R6-2/R8/R9,Leica Screw
Leica copies, Nikon Rangefinder,Nikon F6/F5/F2H/F2T
Canon F1,Contax RTSII/RTSIII/RXII/S2/N1/G1/G2/T/T2/T3
Contax 645,Bronica RF645/GS1/SQAi,Fuji 6x7/6x9/6x17
Hasselblad,Rolleiflex TLR,Rollei SL66/SL66E/SL66SE
Konica Hexar, Mamiya 6/7/RZ67/645AFD,Pentax 67
Plaubel 670/W67/69W,Konica Hexar,Voigtlander Bessa
Alpa,Compass,Ducati,Ektra,Foca,Gami,Ilford Witness
Rectaflex,Robot,Tessina,Zeiss Contarex/Contax/Tenax
Digital: Medium/High-End Nikon,Canon EOS,Sony,Fuji
Leica M-Series/S-Series/X-Series/DMR/Q/SL Typ 601
Hasselblad H-Series,Pentax 645D/645Z,Phase One, Leaf
Panoramic: Hasselblad XPan,Linhof Technorama etc
Large Format: Arca,Ebony,Horseman,Linhof,Sinar etc
Unusual Lenses: Angenieux,Astro Berlin,Boyer
Cooke, Dallmeyer,Goerz,Kilfitt,Kinoptik,Meyer,Old Delft
Pasoptik,Ross,Som Berthiot,Taylor Hobson,Zunow etc

Camera Fairs Binoculars: Leica,Zeiss,Hensoldt,Opticron,Swarovski

CAMERA FAIR POTTERS BAR Contact us now for our best price. Estate sales welcome.
Sunday 14th July, We can arrange free collection from you and
Elm Court Community Centre, delivery here for transactions over £500.
Mutton Lane. EN6 3BP. M25 J.24 Tel: 01736 719461 Fax: 01736 719538
close to Potters Bar station.
Email:pwalnes@truemesh.com Website:www.peterwalnes.com
Peter Walnes,PO Box 332,Penzance,Cornwall TR18 9DP
Admission Earlybird 9.15am £4.
After 10.30am £2. Refreshments.
Details Peter Levinson
Tel: 020 8205 1518

Accessories LOOKING FOR FABRICS FOR A BACKDROP?

Online Fabrics offer a Largest Selection of Textiles for all
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 6 July 2019 81
 Legends
of photography Actor Ray Bolger, who
played the scarecrow in
The Wizard of Oz, jumps
for Halsman’s camera

portraiture. His career took off

in Paris in the 1930s, where he
photographed some of the era’s
best-known artists and writers,
including design polymath Le
Corbusier and author André
Gide, all of which he shot with
a self-designed twin-lens reflex
camera. Some years later,
Halsman was swept up in the
mass diaspora of artists and
intellectuals who fled the Nazis
and landed in the United
States in the 1940s. In fact, it
was through the help of Albert
Einstein that Halsman and his
family were able to secure a
visa. Over the next three
decades, Halsman was able to
secure his place as a sought-
after photographer who
worked with a variety of major
publications and had his
images featured on a whopping
101 covers of LIFE magazine.

The art of the jump

In the 1950s, Halsman hit
upon a novel idea, one that he
framed in a kind of theoretical
philosophy: he began asking
© PHILIPPE HALSMAN/MAGNUM PHOTOS

his subjects to jump. On the

surface, this seems like a
whimsical idea, but when you
see the images you begin to
understand Halsman’s
thinking. In each of the
portraits, we see the

Philippe
stare of a camera lens. Some subjects revealed. There’s a
photographers simply talk to vulnerability on display. Their
their subjects and wait for the body and mind are completely
reveal of a reaction. Legend concerned with the physical act

Halsman
has it that while photographing of the jump. It leaves no room
© CBS PHOTO ARCHIVE

the Duke and Duchess of to concern themselves with

Windsor, Richard Avedon told remaining guarded. In each of
them a fabricated tale of a the shots, we see the absolute
dog being run over by his taxi. joy on display.
The heartbroken look of the Halsman’s legacy isn’t just that
Philippe Halsman had a unique way of pair became the key frame. he found a unique and playful
Thankfully, Philippe Halsman’s way to shoot. It’s that he
making his subjects reveal themselves, technique, illustrated here, was succeeded in finding a way to
as Oliver Atwell discovers a little less callous.
Unless you’re familiar with
truly reveal the subject. ‘Every
face I see seems to hide – and

I
f you’re a portrait
photographer, you will
have one key concern
on any shoot: how can
you best facilitate a working
environment where the subject
reveals themselves to the
camera. Every photographer
is looking for that one frame
where the sitter shows a side
of themselves that ordinarily
remains hidden. The majority
of us prefer to remain invisible,
closed off to prying eyes,
particularly when the gaze is
coming from the cold, hard
Halsman’s work, it’s unlikely
you’ve heard the term
‘jumpology’ before, but this
image of the actor Ray Bolger
should give you a fairly solid
idea. Latvian-born Halsman
was a photographer who
was known for his vibrant
and kinetic approach to
sometimes fleetingly to reveal
– the mystery of another human
being,’ Halsman once said.
‘Capturing this revelation became
the goal and passion of my life.’
By asking his subjects to fling
themselves into the air, he found
it. It was so simple, yet in
many ways, so profound.

82 6 July 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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