What Digital Camera Uk 164 2010 08

CANON EOS 550D CANON BACK GARDEN
PANASONIC GH1 IXUS 300HS

WHICH SHOOTS THE BEST HD VIDEO? COOL CLEVER COMPACT
Safari
SHOOT WILDLIFE AT HOME
£GR3 .9 9E! What to buy... and how to use it
Sony
EAT VA LU
NEX5
World's smallest
interchangeable
lens camera
GUIDE TO
’S
BRITAINST
BIGGEER’S
Lenses
Our picks of the best
BUY E! lenses for every need
GUID
British
Heritage
• New ways to shoot our greatest sites
• Techniques and tips from the pros
• Top locations across the UK
AUGUST 2010 ISSUE 164 £3.99
WIN! A FANTASTIC SONY A390 KIT WORTH OVER £700

WHAT DIGITALCAMERA
CONTENTS
AUGUST 2010 - ISSUE 164
Welcome ...
Looking for a new camera? Then you’ve come to the right place!
This month we put Sony’s revolutionary new NEX-5 camera through
its paces. It may be the world’s smallest interchangeable-lens
camera but does it make a big impression? Find out on page 68.
If you’re thinking of investing in a new lens this summer don’t miss
our special feature on choosing lenses, which tells you all you need
to know to help you make the right choice.
ON THE COVER
See you next month. 48 BRITISH HERITAGE
JOIN US O
Get better images of heritage sites
36 LENS SPECIAL
FACEBOO N
Find your perfect lens
IGITAL C K
68 SONY NEX-5
WHAT D Big test of Sony’s new MSC model
Nigel Atherton
nigel_atherton@ipcmedia.com
TWITTER AMERA 74 CANON 550D V PANASONIC GH1
HD video showdown
WHATDIG 79 CANON IXUS 300 HS
C AMERA Premium compact tested
56 BACK GARDEN SAFARI
THIS MONTH’S TOP FEATURES

Wildlife under your nose
130 WIN A SONY A390
A fantastic Sony A390 kit to give away
OUR FAVOURITE CHOICE COVER IMAGES: istockphoto.com
OF THIS ISSUE’S FANTASTIC

FEATURES IN THE ISSUE
SHOOTING 06 OPENING SHOT
BRITISH
The winning ‘Power of Light’ image
HERITAGE
08 LIVE VIEW
The latest photo gear and goings on,
including the iPhone 4 and new Sony DSLRs
TECHNIQUES
13 YOUR VIEW
Inspiration and tips for shooting castles, bridges, Got an opinion? Here’s where to share it…
ruins and other great heritage sites PAGE 48
15 OUR VIEW
...and here’s where we’ll be getting a few
things off our chest too. Replies welcome!
66 HEATHER ANGEL SEMINAR

Book now for an evening with top pro
Heather Angel on wildlife photography
60 SUBSCRIPTION OFFER
Save 33% on a WDC subscription
130 COMPETITION
A Sony A390 DSLR kit to be won, and the
chance to have your image on a T-shirt
PHOTO TECHNIQUE
16 HELP Q&A
Camera-buying Q&A plus Top 5 tough
summer cameras and travel gadgets
24 ROUGH GUIDE TO: LENSES

We help you demystify the jargon
LENS GUIDE HOME SAFARI SONY NEX-5 26 PRO INTERVIEW

Extreme sports photographer Laura Slater tells
FIND YOUR PERFECT LENS DRAMA IN YOUR GARDEN NEW SYSTEM CAMERA us how she developed her own style when
shooting sports such as windsurfing
The main things to look out for when Top pro Colin Varndell shares his tips for Big test of Sony’s Micro System
you choose a lens PAGE 36 getting great wildlife shots PAGE 56 Camera: how does it fare? PAGE 68
WWW.WHATDIGITALCAMERA.COM 3
WHAT DIGITALCAMERA SONY NEX-5
IS THIS THE FUTURE?
P68
30 MY DIGITAL CAMERA
More readers showcase their stunning images
34 JOIN OUR HOME STUDY COURSE

Improve your photography on our course
36 LENS SPECIAL
Which lens should you buy for your DSLR? Over nine
pages, our complete guide to choosing lenses will
help you find the best one for your needs
48 BRITISH HERITAGE
We pick out great UK locations across the country
and show you techniques for better images of
castles, bridges, stately homes, cathedrals and more
56 TECHNIQUE: GARDEN SAFARI

Want to capture great wildlife shots of birds,
insects and more? Look no further than your own
garden, says pro photographer Colin Varndell
62 EVENING CLASS
Martin Evening assesses more of your photos
EQUIPMENT TESTS
68 SONY NEX-5
Big Test: Will Sony’s new 14MP Micro System
Camera shake up the interchangeable-lens
market? We test the NEX-5 to find out
74 HD VIDEO SHOWDOWN:
CANON 550D VS PANASONIC GH1
Is the GH1 still the best camera option for HD
video, or does the newer Canon steal its crown?
79 CANON IXUS 300 HS

Able to capture both HD and slow-motion movies
as well as 10MP stills, this performs very well
81 SAMSUNG WB650
Boasting HD video, the WB650 has few failings
81 FUJIFILM S2500 HD
A good-value 18x zoom bridge camera with 12MP
81 PANASONIC TZ8
The TZ8 offers top images and spec for the price
83 GEARED UP!
Accessories tested include: Apple iPad, Photoshop
HD VIDEO SHOWDOWN
CS5, Blackrapid RS-5 strap, Kata Bumblebee UL-222 CANON’S 550D TAKES ON PANASONIC’S GH1
P74
and PL-220 rucksacks, Seagate FreeAgent GoFlex
Pro 500GB backup hard drive and more!
89 LENS TEST
The wideangle Nikon 24mm f/1.4G ED
91 LENS TEST
The Zeiss 18mm f/3.5 extreme wideangle optic
APPLE iPAD
JUST HOW IMPRESSIVE IS IT?
BUYER’S GUIDE
106 DSLR
Every current DSLR tested and rated
P84
111 COMPACTS
Choosing a compact? Stop here first
116 LENSES
All lenses listed, with scores, prices and advice
120 FLASH / TRIPODS

All the variables for choosing a flashgun and tripod
122 BAGS / STORAGE / FRAMES

Backpacks, shoulder bags, and storage options
124 PRINTERS / MULTIFUNCTIONALS / SCANNERS

From printers to all-in-ones: output options sorted
126 SOFTWARE
Your comprehensive guide to photo software BRITISH HERITAGE
TOP TIPS ON SHOOTING GREAT SITES
SOMETHING TO SAY? CONTACT US P48
EMAIL wdc@ipcmedia.com
WEB Whatdigitalcamera.com
PHONE 0203 148 4797 SAVE 33% WHEN YOU
WRITE What Digital Camera, Blue Fin
Building, 110 Southwark Street, SUBSCRIBE TO WDC!
London, SE1 0SU THAT’S £1.32 OFF PER ISSUE TURN TO PAGE 60
4
On Patrol,
Tate Modern
By Bill Cooper
This is the winning image from our Power of Light
competition sponsored by Nikon. The competition,
launched in our May issue, saw nearly three and a half
thousand entries, setting a very high standard across the
board but it was this simple composition from Bill Cooper
that caught our judges’ eyes. ‘Tate Modern’s Turbine Hall
has full-height windows on the west wall which are often
shuttered. I was on the viewing balcony in late May just
as the museum was closing and it was thrilling to capture
the powerful, contre-jour light streaming through the
windows. I was on a high for days!’
Bill wins a Nikon D300s with 16-85mm plus a training
course. For a slideshow of the shortlisted entries visit:
www.whatdigitalcamera.com/poweroflight
NIKON D100
£DISC
Released in 2002, this 6.1MP
DSLR offered a digital version
of the F80 film SLR and was
considered cheap at £1,900.
AF Nikkor 24-80mm lens,
ISO 400, f/22, 1/400sec
WHAT DIGITALCAMERA
Live
View WHAT’S NEW & WHAT’S HOT
SONY A290
AND A390
ENTRY-LEVEL DSLRS
Sony has released details of two new
additions to its ever-expanding DSLR range
in the forms of the Sony A290 and Sony
A390. Both models are aimed at the
beginner end of the market, in a similar
area to the likes of Canon’s EOS 1000D
and the Nikon D3000.
Both offer a 14.2MP CMOS sensor, with
the major difference between the two
models being the A390’s tilting screen,
which also has live view. The Sony A290 is
smaller and lighter but as a result misses
out on live view and the tilting screen.
Both are very similar in terms of design,
offering a new grip and button layout
compared with their predecessors. As this
was one of the major criticisms of the IPHONE 4
previous models, it’s no surprise that Sony IMPROVED 5MP CAMERA
has decided to tackle it by reducing the After months of rumours Apple has finally
number of buttons and increasing the grip launched the iPhone 4, which offers plenty
size. Sony has also continued the dual SD/ of advantages over its predecessor. By
Memory Stick compatibility, which makes adding an LED flash, upping the resolution
perfect sense as the majority of the Sony to 5MP and adding backside illumination
A290 and Sony A390’s rivals support the to the sensor Apple has tackled one of the
SD format. One missing element from both main criticisms launched at the iPhone.
models is HD video, a feature Sony has yet There’s also HD video at 720p resolution at
to include in any of its DSLR range. an impressive 30fps as well as video editing
With the NEX-5 grabbing all the app iMovie to cut and re-publish the
headlines at the moment, and being priced results. Photo slideshows can also be made
at less than several beginner DSLRs, it will within the app should you so wish.
be interesting to see if Sony eats into its Another update is an all-new Retina
own market share. Needless to say the Display also offered as a flagship feature,
Sony A290 and Sony A390 are twice as big tripling the screen resolution to incredibly
as the NEX-5 in some areas, although high detail levels. This means pixellation
many of the functions will be easier to will be far less obvious on photographs,
access. For more information on the pair, and detail more visible when zoomed in.
visit www.sony.co.uk Screen resolution has also been upped to
960 x 640 from 480 x 320, while battery
life is increased, and the new processor is
the same as is inside the iPad. The handset
is available now direct from Apple, as well
as on various contracts. Keep your eyes
peeled for our review coming soon...
8 WWW.WHATDIGITALCAMERA.COM
LIVEVIEW
KODAK ESP 7250
ALL-IN-ONE WI-FI ENABLED INKJET
Kodak has announced the latest model in its refills, based on as few as four pages a day.
range of All-in-One printers, in the shape of As well as the Wi-Fi technology and
the ESP 7250. The new model features easy affordable inks, the ESP 7250 also features a
Wi-Fi set-up and the latest Wi-Fi technology, built-in duplexer and intelligent paper
with Kodak focused on offering printing sensor, combining to improve the paper
directly from the latest smartphones. feeding process. The model also features a
In offering printing directly from Wi-Fi- 2.4in colour LCD screen display, and
enabled smartphones, Kodak claims a world memory card slots.
first technology. The ESP 7250 also benefits The ESP 7250 will be available this month,
from being part of Kodak’s family of printers with an RRP of £169.99. For more
offering the lowest total ink replacement information on how Kodak inks can make
cost on the market – Kodak claims the range you these monster savings, search for Print
will save consumers up to £75 a year on and Prosper at www.kodak.co.uk
APPLE MAC MINI

NEW DESIGN AND SPEC
Apple’s latest addition to the Mac family offers some impressive specs for
such a compact computer. The graphical capabilities have received the most
significant update, with up to twice the performance as well as an SD card
slot and HDMI port for plugging into a HD TV.
The lowest-spec version offers a 2.4GHz processor, 2GB of RAM and a
320GB hard drive. This gives the Mac Mini more than enough power to run
Adobe Photoshop CS5 or Aperture 3. The SD card slot allows media cards to
be plugged in, making it far easier to transfer images. There are also four
USB 2.0 ports and a
FireWire port for a card
reader or backup hard drive,
and wireless and wired
networking capabilities. See
www.apple.com/uk
NINTENDO 3DS
PANASONIC 3D PHOTOS
LUMIX FX70 Nintendo took to the stage at this year’s
E3 convention to announce its latest
the burgeoning 3D market.
The Nintendo 3DS will feature a 3.5in
24MM WIDEANGLE, HD VIDEO incarnation of the DS handheld gaming widescreen LCD display that will enable 3D
Panasonic has added another compact to its device. As had been rumoured on the viewing without the need for special
range with the launch of the DMC-FX70, which internet – and indeed hinted at by glasses. The device still features the second
offers a 24mm wideangle lens, a 5x optical zoom Nintendo itself – the gaming giant screen to control the action.
and HD movie recording thanks to the AVCHD confirmed that the new model would enter What’s all this got to do with
Lite movie codec. photography, I hear you cry? Well, along
The partnership with Leica has once again with the 3D display, the new Nintendo 3DS
given a Panasonic compact some impressive features two VGA cameras which, in
optics – in this case an f/2.2 maximum aperture tandem, are capable of capturing 3D
features. The FX70 offers Panasonic’s Intelligent images. While the specification is fairly
Auto capture mode, offering decision-making for archaic (640 x 480 pixels, or 0.3 megapixels)
the user if desired. The Power Optical Image it still signals one of the first mass market
Stabiliser is also included to temper the 5x optical implementations of 3D photography, and is
magnification, while a 3in LCD screen is housed sure to at least expose a great deal of
on the rear and offers touch control, minimising people to its potential. Keep an eye out for
the number of buttons on the body. Visit www. when the 3DS hits the shelves on the
panasonic.com for more details. Nintendo website: www.nintendo.co.uk
SNAP SHOTS
DIGITAL NEWS IN BRIEF
PENTAX
OPTIO W90
Pentax’s waterproof
and shockproof
compact is now
available in a striking
shade of orange. The
12MP camera will now be even more visible if
dropped into the murky depths.
MANFROTTO WEBSITE
Manfrotto’s School of Excellence has been
revamped, receiving a new-look web presence.
The site has a number of free videos and written
tutorials by some of the biggest names in world
photography. The likes of Bill Frakes, Roberto
Bigano, Joe McNally, Ami Elsius, and Drew
Gardner regularly post on the site explaining a
variety of subjects: including kit, pinhole
photography, using tripods, and panorama.
Head to www.manfrottoschoolofxcellence.
com for more information.
CASIO Z670
Casio’s latest compact offers a tempting prospect
in a 12MP sensor and 4x optical zoom for under
£100. The EX-Z670 also has a 27mm wideangle
lens and YouTube-ready video. With summer fast
approaching and many consumers looking for a
bargain camera to take on holiday, Casio may
have found the perfect solution for those on a
budget. The EX-Z670 is available now for £99.99,
and more info is at www.casioonline.co.uk
CASIO
H5 / FH25
Casio has
released
another long-
zoom compact
in the form of
the EXILIM
EX-H5. The model is
SHOOT MORE
set to sit alongside
the EX-H10 and
SUNSETS
EX-H15 in the range,
TOP TIPS
offering very similar
specs. In fact the main difference between the
EX-H5 and EX-H10 is the screen size, as the latter
has a 3in LCD and the former a 2.7in. Elsewhere
THE LONG,WARM EVENINGS OF THE • TAKE A CHAIR… there’s a 720p HD movie mode, new colour
SUMMER PROVIDE AN EXCELLENT The chances are that the sunset
will get better and better before
engine and various auto Best Shot modes.
STAGE FOR SUNSET PHOTOGRAPHY finally disappearing, so be patient
The EX-FH25 is a superzoom model with a 20x
optical zoom and 10MP sensor, along with a
ESSENTIAL GEAR for the best image.
• EXPERIMENT
1000fps low-res movie mode. Plus there’s the
option to shoot in Raw. Both cameras have yet to
GRADUATED FILTERS A typical choice of subject during a
sunset is the coast, but have a look
have a confirmed release or UK price, so keep an
The strong light of the sky creates eye on www.casio.co.uk for more information.
around and see if there is another
a larger range between sky and
vista that comes alive at dusk.
foreground, though a graduated filter IMOEGA HARD DRIVE
can help this. • TRY HDR Iomega has released five hard drives for both
If you’re having trouble getting it
TRIPOD right, even with filters, then simply portable and desktop application. Of the new
Once the sun has dipped below the bracket a range of exposures and drives there’s two offering the new USB 3.0
horizon, you’ll be looking at longer then experiment with HDR in the standard, with up to 5GB/s transfer rate, and the
exposures, and as a result a tripod will digital darkroom. option of up to 2TB of storage.The new eGo
be vital for sharp images. • HANG AROUND… range includes the 500GB SuperSpeed USB 3.0
MAP When the sun has dropped behind
the horizon, don’t pack up straight
portable drive, up to 1TB USB 2.0 Compact
Edition and BlackBelt Mac 1TB portable drive.
Image: Paul Nuttall
Working out a good view of the sunset away. Hang around and see what
is important, so do your research well Desktop-wise there’s a USB 3.0 option available
results you can get in the dark.
in advance to get the best shots. in up to 2TB capacity in both PC and Mac
varieties. Visit www.iomega.co.uk for more.
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I’LL DO IT MYSELF
Write to us at wdc@ipcmedia.com
Jenny Keith RANT !
It’s just one gimmick after another
these days. I yearn for a time when a
camera came out and it simply took
ALL WRAPPED UP LETTER OF THE MONTH photos. Yes, I agree that there are times
David Morris, email when I’ll want to process my images a
Your magazine, like many, is SECURITY touch extra than normal, adding a bit
NO
of film grain perhaps or choosing to
sometimes sealed in a polythene
wrapper when on the shelves.
RISK? add a tilt-shift effect to certain images.
Roger Fry However, I just can’t abide having
That’s understandable but it would
be really helpful if the contents
Yesterday I learned PHOTOS the camera make the decisions on
I was a security the tiny tweaks for me. What’s more
summary could be seen on the
risk. My cover as a is that once the effect is applied, it’s
reverse of the package. WDC is an
middle-aged, grey- irreversible! Art filters and in-camera
excellent publication but I don’t
haired respectable photographer was blown! Maybe it was processing? No thanks.
buy it every month. I look on the
cover for topics of interest and, as the Canon 40D hanging from my wrinkled neck. How could a
has just happened, I missed the
comparative review on the Canon
SX210 IS and Panasonic TZ10. I can
pensioner afford one?
There I was, walking along a seemingly public place by the river
in the centre of Bristol, happily snapping away at the sweeping
RANT & RAVE
There are two sides to every deb
ate
find alternative reviews but yours curves of office blocks and spiralling footbridges, catching the
was the one I was waiting for! glint of sun reflected in the river as a bright yellow ferry passed. FILTERS ARE THE FUTURE
RAVE!
Suddenly my world of photographic bliss was shattered by Roger Wilson
WE SAY Thanks for the a security minion, who had been stalking me. ‘Where’s your I’m so happy with the current
suggestion, David. We only bag pass? You can’t take photographs here, it’s a private estate’. trend for one-click in-camera processing.
the issue three or four times a ‘Rubbish,’ I said, ‘It’s a public place’. ‘No,’ he said, ‘it’s a I recently purchased the Olympus
year when there’s a promotion E-P1 and just can’t stop using the art
private estate – you wouldn’t like it if I came into your garden
on the cover, but we’ll bear your filters. Before, I used to have to spend
to take photographs.’ (No I wouldn’t, but then the public don’t an age processing all of my images
idea in mind next time. In the
have access except to come and ring my door bell.) in Photoshop to give them a vignette
meantime back copies of any
issue can be ordered from 0203 Steam exuded from my ears. I heard myself shouting words effect, or to make the colours ‘pop’.
148 4327. I‘d heard on the television after the watershed. I changed from But now, I can just turn my camera to
the normal mild-mannered gent into a silver-haired terrorist. a simple setting and that’s it. Great
I considered pushing him into the river a few steps behind results straight away! And although the
THE GOOD COMPANION him. Luckily for him (and me) I didn’t. But I wish I had. camera isn’t the best on it, I’ve got the
Evangelos Paroussis, email ‘Hipstamatic’ app for my iPhone that
WE SAY Sadly, this is all too common. Too many does much the same and I love it.
I want to express my thanks police and security staff see photography as
and immense gratitude to Nigel something sinister, to be stamped out.
AGREE OR DISAGREE? WANT TO START YOUR OWN RANT
OR RAVE? THEN GO TO OUR FORUMS AT:
Atherton for producing such www.whatdigitalcamera.com/forums and let it all out!
a wonderful guide (The Digital WIN! A MEMORY CARD WORTH
£59.99
THE POLL WDC
Photographer’s Companion) with Letter of the Month will win a 8GB Lexar Professional memory card
Both Lexar Professional 133x SDHC and 233x CompactFlash cards come with a limited
your June 2010 Issue. I have read
it, and will read it again plenty of
lifetime warranty and full version of Lexar Image Rescue 3.0 data recovery software.
The RRP for the 8GB Lexar Professional 133x Secure Digital High Capacity is £45.99, and the
WORTH
£45.99
ASKS...
8GB Lexar Professional 233x CompactFlash is priced £59.99.
times, I am sure! Which Micro System
It is so simply written and well images in Photoshop’. I would like in a while and don’t remember camera would you buy?
structured, that as someone who to assure Ms Swann that, while how to use them.’
has embraced photography again she may have found flatulence a 5% 23%
after a very long absence, I find the useful adjunct while using an Arctic WE SAY The staff at stores like
7%
content exceptionally helpful and Butterfly to clean the sensor of her that have to know about a
well put together. Yet again this father’s EOS 350D, it is not strictly huge range of products from 7%
magazine makes me happy to be a necessary and is definitely not fridges to TVs. Chances are he 21%
subscriber! recommended by the manufacturer was an expert at something
8%
of either. It might also be worth else, like MP3 players. We
WE SAY Thanks for your kind pointing out that Photoshop has always recommend going to 11%
words, Evangelos. Anyone who capabilities beyond the removal of specialist photo retailers if you YOU 18%
missed the book but would like dust spots from her pictures! need good buying advice. ANSWERED:
a copy can get one by sending NONE OF THE ABOVE (23%)
SONY NEX-5 (OR NEX-3) (21%)
an stamped, addressed A5
envelope with a 96p stamp to DODGY CURRYS WEB OF INTRIGUE PANASONIC G2 (OR G1, G10) 18%
PANASONIC GF1 (11%)
OLYMPUS E-P2 (OR E-P1) (8%)
Companion Book, What Digital Jadey, email Nick Mannion, email OLYMPUS E-PL1 (7%)
SAMSUNG NX10 (7%)
Camera, 110 Southwark St, I decided to purchase my first I’ve just stumbled upon your PANASONIC GH1 (5%)
London SE1 0SU DSLR a couple of weeks ago and website and must say how NEXT MONTH
went to Currys, who had some impressed I am by it. It’s so easy to Do you use the camera on
deals on. The assistant had very find what you’re looking for, and your phone?
WIND POWER poor English but said he had an the reviews are informative without Visit the website to enter your answers at:
Spike, email www.whatdigitalcamera.com/forums
elaborate knowledge of cameras being overly long and bloated. Your
With reference to the letter from and could advise me. When I asked videos are very well done and give
Jenny Swann entitled DSLR snobs how the various things worked on a real sense of what the cameras FOLLOW US!
(June issue), in which she says that the camera he showed me, like the are like to handle, which obviously WWW.FACEBOOK.COM/WHATDIGITALCAMERA
‘life is way too short to fart about aperture and shutter speeds, he you can’t get from the words WWW.TWITTER.COM/WHATDIGCAMERA
cleaning sensors and sit retouching said, ‘I haven’t used those settings alone. Keep up the good work. Join us on Facebook and Twitter and
get exclusive news and updates!
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OurView
LIVEVIEW
AND ANOTHER
Musings from the WDC Editor THING...
WDC’s Paul
Nuttall is
THE HIJACKING waiting for
some news...
OF FLICKR
If you’re a Flickr user you may have Waiting for the new
noticed that stock photo library There’s no denying that the
behemoth Getty Images has just current trend for scaled-down
opened up to the entire community interchangeable-lens cameras is
what was up to now an exclusive good for photography in general.
arrangement with a few select It’s getting more people into
members. Yes, you too can now photography at a level from which
have your pictures considered for they can progress quickly to more
inclusion in the files of the mighty advanced photography.
Getty, which they’ll then sell for ABOVE: Getty Images wants to sell your best However, I can’t help but feel that
thousands to agencies around the Flickr pictures – but read the small print. we’re waiting for something big in
world. All you have to do is wait for the world of DSLRs. For quite some
the cheques to roll in. Sounds great, anyone to publish any pictures What will happen now (if you tick time now, several new Nikon DSLRs
doesn’t it? Except that, when you anywhere without paying Getty the box to allow it) is that if someone have been on the horizon, with a
look into it in more detail, it isn’t. for the privilege. Having bought wants to use your picture they’ll have replacement to the D700 at the
With the advent of digital and iStockPhoto and increased its prices to go through Getty. They’ll have to foreground of our thoughts. What
web publishing and the explosion of tenfold on all the best work, it has pay much more to use it, and Getty will this also means is that other brands
small-scale publishers, the economics now has turned its eyes on Flickr. take a whopping 70% cut. You will be will follow suit, not wanting to be
of selling images has changed. This move, in my view, represents prohibited from selling these images left behind in the innovation stakes.
Agencies such as iStockPhoto have the hijacking and commercialisation yourself, and once in the system it will The question is, when are these
be very difficult to withdraw them later models going to be announced?
sprung up offering lower prices, with by a powerful global corporation of
Well, the biannual Photokina trade
many images produced by skilled what has been until now a hobbyist if you find that the deal is not the pot of
show, held in Cologne and attended
amateurs. Publishers have turned community website. gold you expected.
by the great and the good of the
to Flickr too, going straight to the The fact is Flickr users have always This arrangement will inflate the
photography industry, takes place
source and cutting out the middle been able to sell their work to anyone price of images on Flickr purely for next month, and we fully expect to
man. This shift has benefited the who wants to use it. Potential buyers, Getty’s benefit, but the photographers see a range of new models to be
many photographers who would including WDC, simply contact the themselves, who get just 30%, may not announced at the show. Until then,
never have been able to get into the photographer through Flickrmail and be any richer than they’d have been by watch these pages and start saving!
exclusive Getty club. negotiate a mutually agreed fee. selling direct. Many publishers, WDC
Getty’s response has been to take Flickr users have sold their pictures included, will baulk at paying twice as GOT AN IDEA OF WHAT WE CAN EXPECT
over and snuffle out the competition in this way for years, and many have much for pictures just so that Getty NEXT MONTH? Visit our online forum at:
– it’s aim is make it impossible for made thousands of pounds this way. Images can take 70% of it. www.whatdigitalcamera.com/forums
NEXT MONTH!
WHAT’S IN YOUR NEXT GREAT ISSUE...
FULL
TESTED!
FRAME
Do you need it? The EOS 7D goes up
against its big brother, the 5D Mk II
ESSENTIAL ACCESSORIES
PLUS! The best new bags, tripods and gadgets for the outdoor shooter
SUMMER E: T
PORTRAITS
Tips from the pros on how to shoot great
S
L
A US
ONH AUG
outdoor pictures of family and friends T
6
THEHELP!FILE
For the quickest response, send your problems to our online forum at www.whatdigitalcamera.com/forums or email to wdc@ipcmedia.com
MATT EXPLAINS P18 TOP 5 SUMMER TOUGH CAMERAS P20 HELP ME! P23
Budget DSLR for studio use

FISKIBOLLUR VIA THE WDC FORUM
Can you help me choose a camera? Its primary use will be in
my studio space to take photos of my work (books, posters and
various graphic design related stuff) which I can print up to A3.
It is important that the images are of a quality that looks clean and
professional. I’m already thinking digital SLR but I’m just not sure which
one and how high a spec I’ll need. I’d like to spend up to £400.
There are only a handful of DSLRs for under £400 but getting
your technique right is more important than which camera you
choose. It sounds like you need a mini studio-set up: a couple
of flash or tungsten lights (even one light) and white background
would make a bigger difference than any subtle differences between
cameras. If you don’t have anything like this I’d buy the cheapest DSLR
you can find and put the rest of the money towards a mini-studio set
up. You can buy the Interfit EZ Lite kit (with two tungsten heads,
stands, brollies etc) for £120. At the time of writing Argos is selling the
now discontinued (but still good) Sony A230 for £269. The Nikon
D3000 and Sony A330 are widely available for under £330. NA
5
ED
JARGON EXPLAIN
IMAGE EDITING
GAMUT Which compact TOP
Describes the range of colours within a
has a spirit level? SUMMER
TRAVEL GADGETS
particular colour system. The gamut of a
printer, for example, is different from that FROM: BOB TURVEY VIA EMAIL
of a computer monitor.
I’m looking to buy a new compact, and I FUJIFILM WORLD ADAPTOR
BIT DEPTH remember reading a review a while back TRAVEL PLUG £20
The depth of information it is possible to of one that had a built-in spirit level. Traveling abroad will often mean needing a different
capture in an image. A higher bit depth Although I have other considerations, I would plug point from the standard UK three-pronged fitting.
denotes a wider range of tones, and so the love to have this feature included as it would Fujifilm’s adaptor offers compatibility with over 150
better suitability to image editing. save me a lot of time trying to straighten out countries and is fitted with a safety fuse to ensure your
horizons when taking landscapes. Would you precious (and expensive) kit doesn’t take too many volts.
HISTOGRAM know which model this was? Plus, with its USB charger unit, it’s even possible to
The spread of tones in an image. When power iPods, mobile phones and other devices.
editing causes the spread to go beyond the Electronic spirit levels have found their
left or right hand side of the histogram, it way into a number of both compact
indicates that information is being cameras and DSLRs in recent years. Many
respectively lost in the shadow or highlight of Ricoh’s current compacts incorporate the
areas of the image. feature, including the R10, CX1, CX2 and CX3,
as well as the GR Digital III and GX200. If you
POSTERISATION are using the compact primarily for landscapes
When the smooth tonal gradation of an you may want to look at the GX200 in
image has been compromised, usually particular, as its 24-72mm lens offers the widest
through editing or converting from one wideangle out of all of them. Some Micro Four
colour space to another. In this case, the Thirds cameras have also begun incorporating
histogram will often show spikes rather the function, such as the Olympus E-P1, which
than a smooth curve. may be of interest to you. ML
NIGEL MAT MIKE MATT
ATHERTON GALLAGHER LOWE GOLOWCZYNSKI
Editor Nigel Atherton has Deputy Editor Mat has Mike is our Photoshop Don’t know which DSLR
been a photographer for been writing for photo guru, and can identify to go for? Or wondering
25 years and has been magazines for over six a new gadget at 100 what all that technical
writing about digital years, and taking pictures paces. He can also speak jargon means? Technical
photography since 1997 since he could press the in fluent internet contributor Matt will
shutter release button solve all your problems
Why do I get
purple pixels?
FROM: BRIAN HALL VIA EMAIL
I’ve been categorising images
from my Nikon D300 for the past HOT PIXEL
week, and I’ve just noticed
something I hadn’t seen before. A
number of my images appear to have a
small, purple pixel in an otherwise dark
and featureless area. I tried to examine
the issue further by opening up the Raw
files of these images, but it seems that
only the JPEGs were affected by this
problem. Do you have any idea what’s
going on?
It sounds like your camera has a
hot pixel, Brian. These are
brightly coloured pixels that tend
to be visible in images shot at either high
sensitivities or on long exposures –
which possibly explains why only some
be seeing this in your Raw images is
possibly due to the program you use to Which is the best
of your images display this problem.
These pixels have a higher rate of dark
open them, as some automatically
detect and remove these upon opening cameraphone?
current leakage than usual – although up a Raw file. If your camera is still FROM: PETER BILTON VIA EMAIL
you should know that it’s not under a valid warranty, you may want to I’m looking to upgrade my current
uncommon for a camera with tens of contact Nikon as they will be able to compact camera, although to kill two
millions of pixels to have one or two advise you on whether to send the birds with one stone I’d like to buy a
defective ones. Other issues include camera in for remapping, which should new mobile with an adequate camera. I know
‘stuck’ pixels, where a pixel always reads solve the problem. In the meantime, you you’ve tested cameraphones in the past but
out its maximum value, and ‘dead’ can quite easily (if tediously) fix affected these are not listed in your Buyer’s Guide. Could
pixels, which are always black regardless images with the Clone tool in a program you tell me which of the current cameraphones
of the image. The reason you may not such as Photoshop. MG you’ve rated highly, particularly in terms of their
picture-taking ability?
DURACELL INSTANT MANFROTTO 785B It’s fair to say that although picture
USB CHARGER £35 MODO TRIPOD £40 quality from camera phones is steadily
Running out of power on the go Carrying a tripod can change the potential getting better, it still generally leaves a
can be a thing of the past thanks for your shots, especially night scenes. lot to be desired. Of the recent models we’ve
to Duracell’s Instant USB Charger. Manfrotto’s 785B is small and portable, tested, the cameras on both the LG Viewty and
Charged out of the packet, just under 44cm long when compact and the Nokia N86 have performed admirably, with
USB-fit devices can be connected ideal for squeezing into hand luggage. It
slightly better than average results provided
for charging on the go and, once can take a 1kg payload with its ball head,
that you stick to good
the juice has run down to zero, though we’ve
lighting conditions.
can be recharged on a computer successfully used a 5D
For more info and
via mini USB. Mk II with lens in the
past with no problems. full reviews of
these models, visit
LEXAR MEMORY TIFFEN CIRCULAR
www.whatdigital
CARD £10-200 POLARISING FILTER £25-220
camera.com MG
Whether SD, Not only is a polarising filter good for
CompactFlash or protecting your lens’s front element at all
another memory type times, it really comes into its own in bright
that your camera conditions. Designed to limit certain
takes, you can never reflective light, the polariser can reduce or
have enough memory. remove reflections from water and other
What with many cameras now capable surfaces and boosts contrast which is
of shooting HD video as well as large particularly notable in blue skies. Tiffen
stills, that precious space can quickly makes a range of screw-type filters that
fill up. Faster memory (e.g. SD Class 10) vary in cost depending on size.
will cost more, but will
match up with those
faster DSLRs.
THEHELP!FILE
How do I change
my camera’s
resolution?
FROM: MICHAEL JOYCE VIA EMAIL
Every time I take an image with my
Olympus E-420, it saves it as a 72dpi file.
This is frustrating as I always have to
change this to 300dpi so that it is suitable for
printing. Is there any way I can override the
camera’s default setting so that it records straight
to 300dpi?
What is a scratch disk? Yes there is, Michael. In your camera’s first
FROM: JAMES SMITH VIA EMAIL order to perform certain tasks – for which reason custom menu there is an option called
you will typically encounter this message when Record/Erase – clicking through to this
Now and again when I’m editing in
working on particularly large files. To avoid this presents three further options, the last of which
Photoshop I come across a message
which tells me that my scratch disk is happening, ensure that you don’t work on is titled ‘dpi setting’, which sets the default
full. This then prevents me from doing any unnecessarily large files, such as those with a resolution for your files. Click through to this,
editing. Can you explain to me why this resolution exceeding the requirements for your choose the custom option and click through to
happens please? And what do I need to do to output. An image destined for printing, for the desired value. All subsequent images should
rectify this? example, will not generally need to go over now be saved to this setting. MG
300dpi, regardless of your printer’s capabilities.
Your scratch disk is your hard drive, Ideally, your scratch disk should be separate from
which Photoshop and other programs the one running both Photoshop and your
READER’S GEAR REVIEWS
use as an extension of your computer’s operating system, though it shouldn’t be an
RAM. It is used as a kind of virtual memory in external hard drive. ML
...
MATT EXPLAINS
Microlenses
How do the lenses that sit on top of your sensor
£87
affect image quality? Manfrotto
How many lenses do you imagine you rely The light which hits these parts of the sensor 190XPROB
on when you capture an image? It’s true
that you are likely to be using a single lens
would ordinarily be wasted, but by placing a lens
over this area it can be channelled into a
Tripod
mounted on the camera, though this itself will different, light-sensitive area. As each photosite FROM: JAMES BOOTH, LONDON
consist of anything from around five to 25 stands to receive more light it effectively increases I didn’t want to spend much on my tripod,
separate elements. But when the whole camera the sensitivity of the sensor. Not only that, but but wanted one that was sturdy, but also
system is considered, the answer is likely to be with more light coming into each photosite, the light and fairly compact. Upon inspection I
tens of millions of individual lenses. ratio of light to the unwanted signal produced by found that the Manfrotto 190XPROB fitted
This surprising figure is largely down to an the sensor is increased, which in turn drastically the bill, weighing just under 2kg, which
array of lenses that sit on top of your camera’s reduces the visible noise in images. isn’t light but is far from the heaviest of its
sensor, more commonly known as microlenses. As beneficial as they are, however, there are a type. The load it can hold is very impressive,
As their name suggests, these are millions of tiny few caveats associated with the use of micro managing some 5kg, which is more than
lenses within digital cameras. enough to keep my Nikon D80 and tele
lenses which help funnel
lens stable. My one criticism is that it
incoming light into the Purple fringing, for example,
doesn’t come with a head, though I picked
photosites of your camera’s is known to be partly caused
up the Manfrotto MN-498RC4, which was
sensor. Although these were by microlenses. Furthermore,
sturdy but doesn’t cost the world. I’ve
initially created for interline- using microlenses means that
owned the tripod for a while now, and it’s
transfer CCDs (found in the vast the sensitivity of a pixel still holding up well, showing that it has
majority of earlier video and stills becomes dependant on the the durability to make it good value for
cameras), it is partly thanks to lens’s aperture, as this affects money.
adopting such innovations that the angle of incoming light.
CMOS sensors have overtaken Light arriving at particularly BAD Doesn’t come with a head
them as the sensor of choice for oblique angles, for example, in the box
most of today’s DSLRs. is sometimes refracted so that GOOD Lightweight, cheap and
Sensors inside digital cameras it strikes either a able to hold up to 5kg
are not entirely light-sensitive, as neighbouring photosite
their structure and the circuitry (known as pixel crosstalk) or WE PAY £50 CASH FOR YOUR REVIEWS.
To enter simply post your review on our Hot Or Not forum at
that allows them to operate ABOVE: How a micro lens refracts part of the sensor that isn’t
www.whatdigitalcamera.com/hotornot
takes up space on their surface. light onto the sensor light sensitive.
or email it to wdc@ipcmedia.com
THEHELP!FILE
Why is my card
speed so slow?
FROM: J. KILLOCK VIA EMAIL
Recently, I bought a new Sandisk 8GB
UDMA card, which I have been using in
TOP
SUMMER
TOUGH CAMERAS
5
PANASONIC
my Canon EOS 50D. Although I have LUMIX DMC-FT2
noticed an increase in speed over my previous £300
card, this is only limited to when using it in the The 14.1MP FT2 will
camera itself. Otherwise, images seem to be happily take a freezing,
transferred to my computer no faster than with can withstand a drop of
my previous card. I tried formatting the card to 2m and is waterproof
see if it made a difference, but to no avail. The to 10m. It even comes with a rubber case.
card itself claims to offer a 60MB transfer speed, reader. These meet the capabilities of your new SONY DSC-TX5
whereas my older card only offered 15MB/s. card, and should offer a significant boost in £300
Surely I should notice a difference when performance next to your old card/card reader For the stylish, the TX5
offloading images to my computer? combination. You can buy a Lexar UDMA card is activated by sliding
reader for around £25 from Warehouse Express, down the lens cover. It
You’re right in assuming that there which will accept both your new and old doesn’t just look good
should be a difference in speed between ComapctFlash cards, as well as SD and SDHC though, it takes
your two cards, but if you are using the cards, should you own any. Although your cracking images and is freezeproof and waterproof.
same card reader as before it’s unlikely that you’ll computer will also have some bearing as to how
notice much. For you to be able to take quickly images may be transferred to it, you FUJIFILM
advantage of your card’s maximum transfer should still see enough difference with a new FINEPIX XP10
speed, you need to be using a UDMA card card reader alone. MG £160
This colourful and
affordable option will
take all that’s thrown at
it. Great for the beach,
it’s £160 price tag is a winner.
CASIO
EXILIM EX-G1
£200
Shaped like something
from the future, the
EX-G1 is the thinnest
tough camera out there.
For those into adrenaline
sports its tough nature and small size is ideal.
PENTAX
OPTIO W90
£250
Pentax’s tough cookie
comes in the shape of
the W90, a fairly bulky
offering that’s tough, waterproof to 6m, freezeproof
and can withstand a drop of up to 1.2m.
Above: Four different b&w treatments of the same colour image, created on a PC using the Nik Silver Efex Pro plug-in
TOP 5 PHOTO FRAMES:
In-camera black and white? SONY DPF-X800 £200
Deluxe frame with 8in LCD, 2GB internal memory
FROM: REUSUFZAI VIA THE FORUMS
and wide angle of view.
A friend gave me an old issue of therefore gives you better image quality.
WDC in which you discussed black Converting to b&w on the PC also gives KODAK PULSE £100
and white images. I’m a novice in you infinitely more control over the Can view pictures and even receive email and
photography and using a point & shoot contrast and tonal range (and the option Facebook or Kodak Gallery images.
camera for the time being but would like to use advanced b&w conversion plug-ins)
to try black and white. Is it better to shoot rather than having to accept what the JOBO PDJ701 £60
using the b&w mode in the camera, or camera gives you. Finally, if you shoot in With an acrylic frame, Jobo’s 7in frame and
convert a regular colour image into b&w high-contrast TFT LCD is affordable.
colour you’ll still have the original if you
using software?
don’t like the b&w one, but if you shoot
in b&w and find that it didn’t suit your GENIUS DPF-T1000 £112
In general it’s better to convert
A large 10.2in display will make this Genius frame
later, for several reasons. First, subject you can’t change it back. The only
the focus of the home.
when you shoot in the b&w time it’s better to shoot b&w in-camera
mode most cameras use only one colour is when you don’t have a PC or the
KODAK EASYSHARE P520 £40
channel, so less information is recorded. inclination to use one, and prefer to go Now a second-generation frame, this small and
Shooting in colour and converting later straight from camera to print. NA affordable option is ideal if you’re on a budget.
THEHELP!FILE
Which ND filter do I need?
FROM: RICHARD HUNT VIA EMAIL
such as the sea – whereas softer filters are
I tend to take a lot of landscape more suited where there are a number of
photographs, and I’ve been considering elements in a scene, and you require a more
investing in a few Graduated ND filters subtle transition. Because of this, the
to help with balancing exposure. I notice such question of which is ‘best’ depends
filters come in both ‘hard’ and ‘soft’ varieties – largely on what it is you plan on
which is best? shooting. Also bear in mind that
filters vary between manufacturers,
The terms ‘soft’ and ‘hard’ are used to so you may find one filter more
describe the gradation between the appropriate than another, even if
clear and darker parts of an ND grad they are similarly named. The
filter. Whereas soft filters have a relatively camera and lens combination you
smooth transition between the two, hard use will also have an effect on how
filters have a more defined partition. As such, apparent the transition is, with smaller
harder filters are more appropriate when you apertures and wider lenses showing the
can line them up against a level horizon – greatest difference. MG
HELP ME! Which DSLR

for high-speed
shooting?
KATHY GEORGE VIA WDC FORUM ASKS...
I’d love to Pretty much any camera should be
take good able to produce good shots of
scenic shots scenery so I’ve focused here on
and I really want to DSLRs that offer good high-speed shooting
get pin-sharp capabilities. Popular cameras such as the
action photos of Canon EOS 550D and Nikon D5000 are
my two whippets. good but not especially fast. Also, you’re
Bob Patefield
For the past 18 months I’ve been using a Canon right to speculate that the 18-55mm kit lens
IXUS 860 IS which I’ve been very pleased with is not ideal for action shots of your dogs,
for general shots but it can’t cope with the speed and I’d recommend a tele-zoom lens or, in
ABOVE Kathy sent us this shot by forum buddy Bob Patefield
at which the dogs move. I’ve decided to the case of the Canon, the superzoom kit. as an example of the kind of shot she wants to take herself
upgrade to my first DSLR, and have a budget For readers with similar needs but a smaller
of £1,000. Which would be best? And typical budget, it’s also worth pointing out that the 75-300mm) for £569, but the three cameras I
bundles offer an 18-55mm but should I go for Pentax K-x can do 4.7fps and can be have shortlisted below offer a generally better
a better lens? bought as a twin lens kit (18-55mm and performance. NA
OPTION 1
OPTION 2 OPTION 3
SONY A550 NIKON D90
twin lens kit with 18-55mm/ CANON EOS 50D with 18-105mm ED VR, plus
55-200mm lenses £629* with EF-S 18-200mm IS £998*
PROS AND CONS: The Alpha 550 offers a PROS AND CONS: If you want to go to the limit 55-200mm VR IF-ED £1020*
high spec including 7 frames per second in Speed of your £1,000 budget you can buy the semi-pro spec PROS AND CONS: The D90 has been around a
Priority mode (5fps in standard modes) – ideal for Canon EOS 50D with an 18-200mm IS lens for £998, while and due for replacement but offers competitive
your action requirements. The 18-55mm kit lens is a which would give you a formidable 6.3fps camera. features including up to 4.5fps. It doesn’t have the
bit short for good action shots of your dogs running, This would be the biggest, heaviest camera of the lot, titling screen of the newer D5000 but the screen is
but the twin lens kit includes a 55-200mm telezoom but it does at least offer tank-like build quality. bigger and higher resolution. It’s £780 with the 18-
lens. It’s a bit chunky but not that heavy. 105mm, leaving you enough to buy a tele-zoom.
SENSOR: 14.2 CMOS SENSOR: 15.1 CMOS SENSOR: 12.3 CMOS
LCD SCREEN: 3in 920k dots LCD SCREEN: 3in 920k dots LCD SCREEN: 3in 920k dots
BURST SPEED: 5fps BURST SPEED: 6.3fps BURST SPEED: 4.5fps
ISO RANGE: 200-12800 ISO RANGE: 100-12800 ISO RANGE: 100-6400
WDC TEST SCORE: 86% WDC TEST SCORE: 88% WDC TEST SCORE: 91%
* All prices from Warehouse Express and were correct at time of writing, but prices can change daily. Visit www.warehouseexpress.com for current prices
WHAT DIGITALCAMERA
Lenses
Choosing a lens can be a confusing process for
a newcomer to photography. Our beginner’s
guide should make things a bit clearer…
WORDS NIGEL ATHERTON
For the newcomer to DSLRs or Micro wrong lens for their needs and, therefore, are
System Cameras, buying a new lens disappointed. Lenses are one area where a bit of
can be a bit of a nightmare – a sensory knowledge goes a long way. This guide covers
bombardment of numbers, letters and all the main factors you need to consider when
jargon. Death by acronym, if you will. choosing a lens, to hopefully make that decision
As a result many users end up buying the easier. See also our Lens Special, pages 36-46.
MAIN CONSIDERATIONS
FOCAL LENGTH: Do you want a wide- LENS COVERAGE: Lenses produce a
angle lens so you can get more of your scene into circular image (below) which is at its brightest
the shot, or a telephoto so you can zoom in on and sharpest in the centre, falling off towards
details? With most consumer DSLRs, the focal the edges. The size of this circle must be large
length that most closely corresponds to what the enough so that the camera sensor falls entirely
human eye sees is around 35mm. Focal lengths within the central area, or vignetting and loss of
less than 35mm are wideangle while higher edge sharpness may occur. Lenses designed for
numbers are telephoto. pro DSLRs with larger, full-frame sensors need a
bigger image circle than those designed for most
ZOOM OR PRIME: Zooms offer a range consumer DSLRs and Micro System Cameras
of focal lengths in one lens, while prime lenses with smaller sensors. If you fit a lens designed
offer only one. Zooms are more versatile, but for APS-C cameras onto a full-frame DSLR the
tend to be a bit bigger and heavier and/or have corners of the image will be cut off because the
smaller maximum apertures. Also, optical quality sensor is larger than the image circle. However,
is often not quite as good. full frame lenses will work perfectly well on an
APS-C DSLR and may even perform better, since
MAXIMUM APERTURE: The wider they use only the centre of the image where the
the maximum aperture the brighter your view- quality is best. If you aspire to one day upgrade
WHAT’S INSIDE?
finder will be; the better able you’ll be to shoot to a full-frame DSLR it’s worth considering this
hand held, to freeze subject movement or shoot when you choose a lens. Buying full-frame lenses
in low light (using faster shutter speeds); and the makes them future-proof – otherwise you’ll have In truth a camera lens is actually a
more able you’ll be to create shallow depth of to change them all when you upgrade. compilation of several lens elements, all
field (a narrow band of your scene is in focus). Each brand uses a code letter in the lens name of which move in relation to each other
to indicate that it’s for APS-C sensors only: to zoom and/or focus the light rays onto
IMAGE QUALITY: With lenses you Canon = EF-S; Nikon = DX; Pentax = DA the sensor as sharply and accurately
generally get what you pay for. Most brands Sony = DT; Sigma = DC; Tamron = Di-ll as possible. Some of these lenses have
produce multiple lenses covering the special characteristics...
same focal length, with differing levels FULL FRAME SENSOR EXTRA REFRACTIVE GLASS
of quality. For most people the more Helps to achieve overall compactness by
affordable lenses give sufficient quality, altering the angle of the light’s refraction
but for pro’s and discerning hobbyists ASPHERICAL ELEMENTS
who demand portfolio quality results it’s Bring peripheral rays (those towards the
worth investing in the premium versions. edges) into the correct point of focus
LOW DISPERSION ELEMENTS
MOUNT: Almost every camera Minimises the angle at which the light
brand has its own unique lens mount. entering the lens is dispersed
Lenses from the same manufacturer APS-C SENSOR ANOMALOUS DISPERSION ELEMENT
as your camera will fit, but if you buy Gives an abnormally large partial
a third-party Sigma, Tamron or Tokina dispersion ratio
lens you’ll need to make sure you get it
in the right lens mount. IMAGE CIRCLE PRODUCED BY APS-C LENS
ROUGH GUIDE: LENSES
GLASS:
The most important part
FILTER THREAD:
Filters such as polarisers can be
LENS
SUFFIXES
LENS HOOD: of the lens. Lens quality is screwed onto the front of most
The lens hood plays dependent upon the quality, lenses but the filter threads vary
an important role. Its type and arrangement of from lens to lens. If you have
main job is to prevent the glass elements within. several lenses with different A guide to the main suffixes
stray light from outside As a rule, the best quality filter threads you won’t be able used by manufacturers
the image area from entering the lens and lenses tend to be heavier to use the same filter on all
causing flare (which lowers image contrast or due to having more and your lenses – you may have to AD Tamron Anomalous Dispersion elements
causes blobs or streaks of light to apear on higher quality glass than buy one for each lens (or buy a AF-DC Nikon defocus feature
your pictures). Lens hoods also fulfil a useful less expensive versions. See stepping ring). AF-S Nikon lenses with Silent Wave Motor
secondary role in protecting your front element. ‘What’s Inside’ (below left). APO Sigma Apochromatic lenses
APERTURE AS Tokina lenses featuring aspherical elements
ASL Tamron lenses featuring aspherical elements
RING: ASP Sigma lenses featuring aspherical elements
Few new lenses these days
AT-X Tokina’s Advanced Technology Extra Pro
still have an aperture ring
range of lenses
but you can still find them
CONV Sigma lenses compatible with teleconvertors
ZOOM RING: on older lenses. With
CRC Nikon’s Close Range Correction system
modern DSLRs the aperture
Turn this to adjust D Nikon lenses that can be used on
the focal length must usually be locked into manual focus cameras
from minimum to its minimum setting, as the DA Pentax lenses optimised for APS-C sized sensors
maximum. Obviously, camera’s electronics control DC Sigma’s designation for digital lenses
prime lenses do not the aperture, but in many DF Sigma lenses with dual focus facility
have a zoom ring. cases you can still use the DG Sigma’s designation for digital and
aperture manually if you go full-frame lenses
FOCUS into Aperture Priority mode. Di Tamron lenses designed for full-frame sensors
RING: Di-II Tamron lenses designed for APS-C sized sensors
DO Canon lenses with a diffractive optical element
Turn this ring to focus DISTANCE DS Tokina lenses with Super Low Dispersion Glass
manually. With some SCALE: DT Sony lenses optimised for APS-C sized sensors
lenses, you must
switch to MF mode Fewer lenses have these DX Nikon’s designation for digital lenses
to use this, while nowadays but it can be ED Nikon lenses featuring Extra Low
with others you can useful, especially when Dispersion elements and Olympus and
turn the ring to fine- calculating depth of field Leica (Panasonic) lenses with low
tune focusing even or when you need to know dispersion elements
while in AF mode. your subject distance EF Canon’s designation for full-frame lenses
for the purposes of, say, EF-S Canon lenses designed for APS-C sized sensors
calculating manual flash EX Sigma’s ‘Excellent’ range
MANUAL F&R Tokina lenses featuring aspherical elements
settings.
FOCUS SWITCH: FC Tokina’s Focus Clutch Mechanism
If you want to go into manual focus mode FE Canon’s fisheye lenses
some lenses feature a switch for this on the FE Tokina lenses featuring a floating element
side of the lens, while in other cases the G Nikon lenses without a manual aperture ring
switch is only on the camera body. HF Sigma’s designation for Helical Focusing
HID Tamron’s High Index Dispersion glass
IMAGE STABILISATION: HLD Tokina’s High refractive/low dispersion glass
For Canon, Nikon and Panasonic users, which don’t have sensor-based anti-shake systems built HSM Sigma’s lenses with a Hypersonic Motor
into the cameras, a stabilisation system in the lens will increase your image sharpness by reducing IF Sigma/Tamron/Nikon/Tokina Internal Focusing
the occurrence of camera shake, and enable you to shoot at lower shutter speeds before needing IRF Tokina’s Internal Rear Focusing lenses
a tripod. The more telephoto the lens, the more essential this becomes. Lenses with IS (or VR in the IS Canon’s Image Stabilised lenses
case of Nikon lenses) usually have a switch on the side so it can be turned off if you’re using a tripod. L Canon’s ‘Luxury’ range of lenses
LD Tamron lenses featuring Low Dispersion glass
MC Tokina lenses that have been Multi-Coated
M-OIS Panasonic’s ‘Mega Optical Image Stabilisation’
WHAT’S IN 2. EF denotes this lens is suitable for smaller as you zoom. These lenses N Nikon’s Nano Crystal Coating
A NAME? DSLRs with larger full-frame sensors, list the max aperture at both ends of OS Sigma’s Optically Stabilised lenses
such as the EOS 5D Mk II. Lenses the zoom range. eg f/3.5-5.6 means PRO Tokina’s Professional range of lenses
Lens manufacturers tend to designed exclusively for cameras the lens opens to a maximum of RF Sigma and Nikon lenses with Rear Focusing
list the key specifications of with smaller APS-C sized sensors are f/3.5 at the widest end and f/5.6 at SD Tokina’s Super Low Dispersion element
a lens in its name, as a series designated ‘EF-S’. the most telephoto end. SDM Pentax’s Sonic Direct Drive Motor
of numbers and acronyms. 3. The focal length range. This 5. With Canon lenses, ‘L’ denotes SF Canon lenses with Softfocus feature
SHM Tamron’s Super Hybrid Mount
To those not in the know, gives an indication of the field of it’s a professional lens, so should
SIC Nikon’s Super Integrated Coating
these names can seem like view given by the lens – ie how deliver the finest optical quality.
SLD Sigma lenses with Super Low Dispersion elements
some impenetrable code, wideangle or telephoto it is. With 6. Some lenses feature built-in
SP Tamron’s Super Performance range
but fortunately it’s an easy zoom lenses it lists the minimum systems to combat camera shake. SSM Sony/Minolta Supersonic Motor lenses
code to break. Here’s how it and maximum focal lengths – in this Canon’s is ‘Image Stabilisation’, or SWD Olympus lenses with Supersonic Wave Drive
works… case 70mm (short tele) to 200mm ‘IS’ for short. Having IS in the title SWM Nikon lenses with a Silent Wave Motor
(medium tele). means the lens has this feature built TS-E Canon lenses with Tilt and Shift function
1 2 3 4 5 6 7 4. Maximum in. Nikon calls its system VR. UD Canon lenses with Ultra Low Dispersion glass
CANON | EF | 70-200MM | F2.8 | L | IS | USM aperture. How wide 7. Ultra-Sonic Motor. Many Canon USM Canon lenses with an Ultrasonic Motor
can the aperture go? lenses feature these built-in motors VC Tamron’s Vibration Compensation feature
1. The lens manufacturer, in this In this case it’s f/2.8. With most which speed up the auto focusing. VR Nikon’s Vibration Reduction feature
case Canon. zooms the maximum aperture gets Sigma’s equivalents are called HSM. XR Tamron’s lenses with Extra Refractive Index glass
ZL Tamron’s Zoom Lock feature
lauRaSlateR iNteRvieW
Extreme
Close-up
It turns out that it’s not just the subjects who run the risk in
extreme sports, it’s photographers like Laura Slater as well...
WORDS Paul Nuttall PictuReS lauRa SlateR
Getting up at dawn isn’t unheard of for a

professional photographer. Landscape
photographers will tell you that a sunrise
provides some of the best light there is, while
studio photographers often have to rise early to
prepare the kit for a long day’s shooting before
their subject arrives. However, there are few
photographers who will get up at dawn to do,
well, nothing – but when your job involves
waiting for things as fickle as the direction of
the wind, there’s often nothing you can do.
Talking to Laura Slater, you soon realise that
the fickle nature of the elements is just one of
the many obstacles in a working day – throw in
three-hour shooting sessions stood waist-deep
in water with windsurfers flying past your head
and you start to get an idea that there’s no such
thing as an average day…
aRt fOuNDatiONS
As is often the case with successful
photographers, the fertile ground of a Fine Art
course at college served as a learning zone for
Laura Slater: ‘I was introduced to film
photography through college as I studied Fine
Art and it was part of the course. From that I
began to notice imagery everywhere. Then I got
into Photoshop in a big way and this is where started work in a studio as an Image & abOve: Shot taken in Val d’Isère board park, off the
digital took over. Marketing Manager, where my main double black run. This was my first time shooting with a
‘Everything I did at university involved digital responsibility was retouching. This is where I fisheye – I wasn’t too keen as I was so close to the rider
photography and manipulation, even though I really started paying attention to lighting and and practically under the jump but felt miles away.
studied Illustration – I always imagined I’d be an professional cameras, and we had a Canon 1D However, I can’t complain about the result.
illustrator right up until I left university – I’d Mk II and an amazing studio so I could play in
borrow the Student Union camera which was my spare time. I would work very long hours left: Taken at Club Vass in Lefkas, Greece. I shot this
about 1.8MP, and then I was taught some because I loved the environment. from the water – the rider had to pull out upwind, causing
professional effects through the media team at ‘After leaving my first job after just over a me to get soaked (at which time I should have stopped
the union. My poor friends were dragged into year I went into a high fashion studio. I was shooting), but the action in the shot is worth the wet lens.
many art projects that included them playing employed in the main part thanks to the
the part of anything from homeless people retouching skills I demonstrated on site on a test
through to drug addicts!’ shoot. Even though I had the chance to work on
This experience in Photoshop and digital the most amazing shoots, including a Naomi
image manipulation, somewhat unsurprisingly, Campbell story for YOU magazine, I felt that I
initially led Laura down a very different route to just had to leave that industry. Fashion was not
the adrenaline lifestyle to which she would later for me. Some people are cut out for that
become accustomed. ‘When I left university I industry and I wasn’t.’
WWW.WhatDigitalcameRa.cOm 27
WhaT DigiTaLCaMera
Change of TaCk above: Another shot from

Having decided on what wasn’t her chosen Val d’Isère board park using
field, it transpired that a break from it all would my fisheye lens.
provide the answer as to what was: ‘For a
change of scenery I went abroad to do a high Top righT: The boarder
season with Sunsail. There was a photographer broke his knee on this jump
out there who let me borrow his camera – there during his bomb. I love the
was so much talent on the water within sailing passion in this shot though.
and windsurfing I thought I could make
righT: Unlike my usual
something of it. I would work a full day and
style, this was taken from a
then have someone drive me around on a rib
tower in the sea.
until sunset, getting shots of all the staff. I fell in
love with it almost instantly.
‘A close friend said I should widen my folio let the riders do their tricks right in front of me.’ wearing just a bikini and boardies!’
from water to snow as I am a keen skier, so I You’d think that taking such a high-risk As it transpires, there are very few shooting
started doing seasons to work bad jobs for even approach to extreme sports photography would assignments that are entirely safe when you’re
worse money just so I could be in the right mean lots of protective gear for both camera an extreme sports photographer, as Laura found
environment to practice capturing good shots.’ and Laura herself. After all, windsurf boards are out when shooting at this year’s Freeze festival
The confidence and cavalier nature needed to some of the largest on board on the water, and in London. ‘I was on the press deck shooting
quit a job and pursue a different field entirely can reach speeds of well in excess of 30mph. which is under the jump section of the run, but
has come in handy for Laura now that her day This isn’t the case though: ‘I can’t stand at the top of the descent. As the snowboarder
job involves the imminent threat of physical restriction when I’m working. I brought covers was travelling down the ramp and about to
for my camera but they just make his jump, he slipped and crashed into the
I don’t shoot from the ‘safe zone’ get in the way so I just press deck. I was about a foot away from falling
– it’s not challenging enough...

chance it. I know it’s a big down the final run into a crowd of spectators
risk to take, but I love the and television crew. That one’s on You Tube.’
results I get. There are some serious ramifications to this
harm. While some people are happy to take up ‘The riders did used to panic a bit and wanted life on the edge, however. In between shooting
a shooting point some way away from the me in a helmet and impact vest, the lot. No less than a metre away from speeding windsurf
action, Laura much prefers to be in the thick of chance. I figured quickly that if they were doing boards and breaking ribs thanks to over-
it. ‘I’m not keen on being someone that shoots an upwind move that landed downwind of me exuberance, Laura has to try to find ways to pay
from the safe zone, it’s not challenging enough then I would have enough time to shoot and her medical bills. ‘I was deemed such a liability
– if I did that I may as well get a tripod and join get out of the way. But still, not the easiest thing that no one would insure me last year.
the others. I stand chest high in the water and to do with £4k worth of kit with no housing and Thankfully, my agent has managed to find an
28 WWW.WhaTDigiTaLCaMera.CoM
LauraSLater interVieW
In The Bag
canon 1d mK iii
This is my saviour and I treat it just like a baby.
It’s so precise and really helps me create
high-definition images. Shooting in aperture
priority, wide open is when this camera
performs at its best. I change my
focal points and settings after
every shot to make
sure they don’t
look the same and
that I can get the
best out of the
situation I am
shooting. As far as
I’m concerned,
Canon wins every
time.
70-200mm f/4 uLtraSonic extreme iii 2gb cf cardS

White gLaSS canon I never use a card higher than 2GB. A few
This is my favourite lens, as it’s years ago I would shoot with 8GB, tethered
not too heavy and works well and the camera would slow right down.
with the camera. I’m not keen Since then I exchanged them for a bundle
on going any bigger with a lens of smaller cards. As I only shoot Raw I get
as I’d then need to use a roughly 140 shots on each card. Perfect,
monopod which I feel makes plus I delete as I shoot and am now very
shooting very static. I’m also not ruthless so I know that about 90% that will
press so I don’t need a massive come off these will be good stock!
lens. My work attracts attention
as I’m right in the middle of the LoWepro rucKSacK
action, not standing 50m away. This is a great bag, although I need a
It is also great for portraits, albeit waterproof one! The compartments mean
quite intimidating! I can separate all my kit and know it’s
protected should I have to ski with it all etc.
17-40mm f/4 canon I have a very bad back now from shooting,
Great for landscapes, but I rarely use it. It’s but once I’m all strapped up in this it’s not
not that quick so is better for more static too bad.
images. If I had the patience to shoot
landscapes I’m sure I could come up with mini tripod
interesting ways of shooting. I get photo I rarely use this but it’s still handy to get a
jealousy when I see an awesome landscape static shot. It all depends on where I am. In
shot and know I really should put the effort low light I can obviously use this with my
in and go and get some myself! f/1.8 and get some serious effects, but I’m
not keen on the restriction so it usually stays
50mm f/1.8 in the bag!
Standard canon
This lens is awesome; even at f/1.8 you hoya fiLterS
wouldn’t lose quality in an image. I use it in The filters are great when I
low light, or to shoot wide without having to shoot mid afternoon in the
worry about distortion. Used properly you snow or when the light
can get some goes barmy reflecting off
amazing effects with the water. I’ve found other
it, and as it’s nice and ways around not using
light it also allows me filters, however, and that’s
to hold the camera by underexposing more than usual. It all
up for longer if I’m in depends on the effects I’m trying to create.
the water. The polarising filter is great for lens flare and
aboVe: This is the rider pulling his signature move. also for shooting through glass.
I was waist-deep in the water in Greece and freezing!
insurer that’s willing to foot any potential some simple advice: ‘Never give up. If you love it ‘It’s strange now because the tables have
hospital bills this year!’ and you know you have a talent then keep turned and now I’ve got the magazines coming
pushing yourself. They key is confidence in your to me and making requests for images!’
fancy it? work – don’t approach agents or magazines Laura’s final piece of advice is to believe in
While it may sound like a dangerous and until you are 100% satisfied with your portfolio. your images. ‘I have spent years trying to
hazardous occupation, there’s no escaping that I made that mistake and as a result got very few impress others and worried about what they
it’s also a glamorous one. Laura splits her time responses when I first started out – then, by thought – and when I stopped caring and did
between some of the most beautiful beaches developing a style of my own I started to get my my own thing, that’s when people started
and stunning mountain ranges in the world. If images printed in magazines and brochures, and commenting on my style.’ WDC
this sounds tempting to you, then Laura has as a result I started to get my name about. www.lauraslaterphotography.co.uk
WWW.WhatdigitaLcamera.com 29
MYDIGITALCAMERA
MY DIGITALCAMERA
Send us your best pictures and you

could win a great Manfrotto tripod!
NIKON D700 BARRI ELFORD
FROM: TREORCHY
On its release in July 2008, the Nikon D700 set
new standards in affordable full-frame DSLRs.
The 12.1MP FX format sensor offered fantastic I’ve been buying and using Having the full-frame sensor is a massive
high-ISO noise control, as well as a 51-point AF Nikon cameras for some benefit, providing both a bright viewfinder
system, 5fps continuous shooting and a 3in, time now, since the 1970s. and high-ISO picture quality that is the
920k-dot LCD screen.
• 12.1MP, 36 x 23.9mm FX-format sensor The D700 is my current best I’ve ever had. My favourite function is
• 3in, 920k-dot LCD screen Nikon of choice, and I’m really impressed probably the built-in spirit level, which I’ve
• 51-point AF system, inc. 15 cross-type with it. The build quality is fantastic, and assigned to the function button for ease of
• 3D Colour Matrix Metering II has stood up to the battering I’ve given it. access – I have a thing for dodgy horizons.
• Magnesium alloy weather-sealed body
WIN A MANFROTTO
M-Y TRIPOD 7301YB
WORTH £129.95
The easily portable 7301YB has an integrated
three-way head with separate pan-and-tilt
locks, a quick-release plate
and a short ergonomic bar,
particularly useful
for panning or tracking
moving subjects.
Upload your best
pictures to our website
gallery and you could
win a Manfrotto tripod.
See page 130 for details.
RIGHT: WORM’S HEAD

The features on the beach on Worm’s Head,
Swansea, help add detail to a photo.
1/50sec @ f/20, ISO 100
LEFT: POOL AT REST

Another tranquil evening down by the coast,
with some eye-catching reflections provided by
the pool in the foreground.
1/8sec @ f/13, ISO 100
RIGHT TOP: NASH POINT

Nash Point in south Wales can provide some
stunning scenery during a sunset, as you can
see here.
20sec @ f/11, ISO 100
RIGHT: WILD SEA

I braved a storm as I knew that the sea would
be hammering away at Porthcawl Pier.
1/320sec @ f/4.6, ISO 400
30 IN ASSOCIATION WITH WWW.MANFROTTODISTRIBUTION.CO.UK

IN ASSOCIATION WITH WWW.MANFROTTODISTRIBUTION.CO.UK 31
MY DIGITALCAMERA
OLYMPUS E-P1
The Olympus E-P1 was the first camera to
implement the brand’s new Micro Four Thirds
mount, allowing interchangeable lenses on
a much smaller camera body. The design is
reminiscent of the brand’s old PEN film cameras,
and offers a 12.3MP sensor and 3in LCD among
a host of other features suited to the consumer.
• 12.3MP, 18 x 13.5mm Live MOS sensor

• 3in, 230k-dot LCD screen
• Compact body with interchangeable lenses
• Full PASM exposure control
WIN A MANFROTTO
M-Y TRIPOD 7301YB
WORTH £129.95
The easily portable 7301YB has an integrated
three-way head with separate pan-and-tilt
locks, a quick-release plate
and a short ergonomic bar,
particularly useful
for panning or tracking
moving subjects.
Upload your best pictures
to our website gallery and
you could win a Manfrotto
tripod. See page 130 for
details.
GHENE
SNOWDON
FROM: LONDON
www.gsnowdon.com
The Olympus Pen E-P1 is a
classic-looking modern-day
camera. Its simplicity and portability helps
you, the photographer, to try out creative
ideas. Because of its versatility, good looks
and great image quality, I love my Pen. It
does not need to be technically perfect
nor extremely fast – as long as I can take
that shot wherever I am, especially places
where ‘professional’ DSLR cameras are
not allowed, it’s perfect.
The E-P1, like its younger siblings, is
small and very easy to carry. It sits in
the bag but never stays there for long –
wherever you go, there is always a picture
waiting for you to capture.
ABOVE: SUNFLOWER
I was able to get excellent macro images by combining the EP-1 with the
ZD 35mm 1:3.5 macro lens and supported adaptor.
1/80sec @ f/4, ISO 320
32
3 IN ASSOCIATION WITH WWW.MANFROTTODISTRIBUTION.CO.UK
OLYMPUSE-P1
ABOVE: SUNRISE
I was greeted with this beautiful
sunrise on an early morning
walk in to work.
1/80sec @ f/5.6, ISO 320
TOP RIGHT: LIGHT TRAILS

One of my early images taken
with the E-P1 and 14-54mm
lens and adaptor.
10sec @ f/13, ISO 160
MIDDLE: MONACO
The view of Port Condamine,
Monaco, during the Kart Cup.
Taken from the Old Town.
1/500sec @ f/11, ISO 200
RIGHT: GREENWICH
I spent a lot of time on top of
this hill, admiring the view and
the tranquil setting.
1/320sec @ f/9, ISO 200
IN ASSOCIATION WITH WWW.MANFROTTODISTRIBUTION.CO.UK 33

MY DIGITALCAMERA
SPI Student Spotlight

A selection of work from WDC’s Home Study course
Improving your photography can be a long photography course and could be for them the opportunity to have their images
process, and one that is sometimes difficult you. It involves correspondence learning published. The three students showcased
to undertake on your own. However, supported by personal tutors and allows on these pages have been selected by their
attending college or university isn’t always you to learn at your own pace. tutors as having understood the course and
a viable option due to the pressure on time Here at the School Of Photographic then demonstrated their ability in order to
that this involves. Imaging we like to encourage and achieve these outstanding photographs.
The School of Photographic Imaging, reward our students by offering them It just goes to show that with the right
or SPI, is WDC’s acclaimed Home Study the recognition they deserve and giving guidance great photography is possible.
ANDY
O’FARRELL
FROM: BUCKINGHAMSHIRE
CANON EOS 40D
Although I have been
doing photography for
about two years, I find the course at SPI
is giving me a proper grounding in the
basics – the mix of practical assignments
and theory is just right. The combination
of added support of the forums and
a knowledgeable tutor is an excellent
way to expand my understanding of all
elements of my photography.
ABOVE: MISS HANNAH
Taken late afternoon in the shade after a day at
the swimming pool. 1/90sec @ f/6.7, ISO 100
LEFT: TAIPEI
Early morning in downtown Taipei. I was there for
work, and made the most of it by photographing
daily life in the city. 1/8sec @ f/5.6, ISO 400
34 WWW.SPI-PHOTOGRAPHY-COURSES.COM
DAVE ABOVE: SUNSET LESSON
WHENHAM On Bamburgh beach with my back to the castle. I was admiring
the sunset and watched as this chap and his daughter wandered
FROM: WEST YORKSHIRE
into the frame. 1/125sec @ f/10 , ISO 400
CANON EOS 5D MK II
AND 40D BODIES I’d learnt some really great techniques but not
WHAT IS THE
I went digital in 2007. The fully understood why they worked, making it
immediacy of digital and the fact that I harder to adapt the technique. The Diploma
could process my images with a degree of in Digital Photography has given me just what
predictability and consistency grabbed me from I was looking for and while completing the
the start, and it was this latter element that led course I’ve certainly seen my technical skills
me to the SPI course. Probably, like many others, improve markedly.
The School of Photographic Imaging

– in association with Nikon – is one
of the largest and most vibrant
photographic Home Study course
communities around.
Our courses are informative and
fun, guiding you through everything
you need to know to take and
process images of the highest
quality. Each course has easy to
follow, step-by-step guidelines for
each module and a professional
photographer as a personal tutor,
giving students the support and
guidance needed to take their
photography to the next level.
Join one of our inspirational
courses and let our faculty of
professional tutors transform
you into an accomplished
photographer!
Visit our website

www.spi-photography-courses.com
or call 0203 148 4326
E-mail spiadmin@ipcmedia.com
JON ABOVE: TENSION for further information
COLE I set a customised white balance and used a
conventional macro lens set at a small aperture and
FROM: BERKSHIRE
slow shutter speed.
OLYMPUS E-3
I decided that I needed to with photography to a huge extent. Almost
get to grips with the digital incidentally, simply because of the need to
age – since starting the course I have learned a avoid submitting bad images to my SPI tutor,
range of image-enhancement techniques and I have learnt how to take greater care over
this has increased my interest and satisfaction taking pictures and how to be more creative.
WWW.SPI-PHOTOGRAPHY-COURSES.COM 35
WHAT DIGITALCAMERA
istockphoto
36 WWW.WHATDIGITALCAMERA.CoM
CHOOSINGLENSES
GUIDE TO
Choosing
COMPLETE
Lenses
So you’ve got your DSLR – which lens should you buy
next? Read our indispensable guide to all the options
WORDS BY NIGEL ATHERTON
If you own a Digital SLR or Micro System of camera shake. Bear in mind that you’d only depth of field. The flip side is that these faster
Camera, or are thinking of buying one, it’s need this if you use Canon or Nikon, as most lenses are much bigger and heavier than their
likely that at least part of the attraction is other brands have IS built into the camera. slower counterparts.
the ability to attach a variety of different Often manufacturers offer more than one version
lenses. So let’s assume you’ve got a bit of of the same focal range. It may be that they have NARROWING DOWN THE FIELD
extra cash burning a hole in your pocket; both a full-frame model for cameras with 35mm There are hundreds of lenses but only a few will
which is the right one for your needs? sized sensors, and another for the smaller APS-C fit your camera. Each camera manufacturer has its
Lenses come in a huge variety of focal lengths sized sensors, which are often more compact own lens mount, and lenses designed for one lens
from extreme wideangle to super telephoto. because the image circle it produces is smaller. mount will not usually fit other manufacturers’
Some of them are zooms, while others are fixed. Or there may be a premium version with a wider cameras. Sigma, Tamron and Tokina lenses will fit
Some use special types of glass to enhance their maximum aperture. This offers benefits including a variety of mounts, but you must buy the lens in
performance, while others employ built-in motors a brighter viewfinder, faster focusing, the ability the right mount. While adaptors will enable lenses
to speed up their focusing times. A few feature to use faster shutter speeds or shoot handheld in of one mount to be fitted to cameras of another,
image-stabilisation (IS) devices to reduce the risk lower light, and the ability to achieve shallower there is often a loss of some functionality.
BUYING SECONDHAND it may be with a loss of functions such as aperture

control and auto exposure. Also, it’s worth just
mentioning that older, manual focus lenses won’t
film, not digital sensors.
On the other hand, many old lenses provide
cracking quality at a bargain price. The only way
In addition to new lenses, there are thousands of
secondhand lenses, some decades old, available become auto focus on a DSLR because they lack to find out is to do some tests. Visit photography
from camera shops and websites such as eBay. the required electronics. forums to see if others have had experience of a
But don’t assume that because a lens is the same Image quality with some older lenses may not particular old lens before buying. Here’s a rough
brand as your camera that it will fit. Even if it does be as good either, because they were designed for guide to what will fit each mount.
CANON: NIKON: PENTAX:

All EF and EF-S lenses from Most Nikon lenses going back The Pentax K (or ‘PK’)
the EOS system, which goes to the 1950s will physically mount was born in 1975
back to 1987, will fit any fit current Nikon DSLRs, and all lenses since then
current Canon DSLR, though though non-AI lenses made fit all current Pentax or
EF-S lenses cannot be used on prior to 1977 will need to be Samsung DSLRs, though
Canon’s full-frame DSLRs. This modified first. Of course, old only lenses with an ‘A’
means that lenses from Canon’s manual focus lenses lack the position on the aperture ring
35mm EOS SLRs can be used. Prior electronic contacts used in new will provide full stop-down
to 1987 Canon used the mechanical FD lens mount, lenses so you’ll only be able to use them in Aperture metering. Lenses without
which is not compatible with current DSLRs. Priority or Manual exposure modes. this can still be used in Manual Exposure mode, and by
using the AE-Lock button to take a meter reading.
SONY: FOUR-THIRDS:
Sony bought Konica Minolta’s
DSLR camera business in 2006
Born in 2003, Four-Thirds is
the newest DSLR mount, so MICRO FOUR THIRDS:
and re-launched it as the Alpha has the smallest lens range. The younger, smaller brother of Four-Thirds
system. Many of Sony’s Alpha Olympus is currently the launched in 2008. Although MFT cameras use
lenses are simply re-badged only producer of DSLRs in this Four-Thirds sensors, the smaller bodies mean MFT
Minolta lenses, which means mount but with the MF1 adaptor lenses can be smaller. There are only a handful of
that any Minolta AF lens produced lenses in the company’s previous OM MFT lenses at present; however, both the full range
since the launch of Minolta’s Dynax system, launched in 1972, can be fitted, although of Four-Thirds lenses and Olympus OM system lenses,
camera system in 1985 will fit any they only function in Aperture Priority or Manual as well as a few others, can be fitted to MFT cameras
Alpha DSLR and provide full functionality. exposure modes. using the appropriate adaptor.
WHAT DIGITALCAMERA
WIDEANGLES
Wideangle lenses make subjects appear street photographers. Other hallmarks
further away and, as a consequence, of wideangles include their ability to
smaller, than they do to the naked eye. exaggerate lines and curves, and in some
They are useful when you can’t stand back situations distort them, and to produce
far enough to get everything you want greater apparent depth of field at a given
in shot, such as when photographing a aperture than longer lenses. The more
large building, an expansive view or large wideangle the lens, the more pronounced
group shot. But they also produce an these effects will be.
apparent perspective distortion in which Although wideangles are available in
subjects close to the camera can appear various fixed focal lengths, our recent tests
disproportionately larger than those suggest that a good wideangle zoom,
further away – an effect that can be used covering a range of focal lengths, is often
by the photographer in all sorts of creative the smarter bet. Optically the best ones
ways. They also give the illusion of placing are on a par with many premium primes,
the viewer in the thick of the action, which they’re often hardly any bigger and they
makes them popular with reportage and may even cost less.
Nigel Atherton
S
OUR WIDEANGLE PICK
SIGMA: 10-20MM F/3.5 EX DC HSM
‘An absolute gem of lens that deserves a place
on every photographer’s wish-list.’
NIKON:
14-24MM G ED
‘A remarkable piece
of kit for full-frame
Nikons, and a very
desirable optic for
extreme wideangle
enthusiasts.’
PICTURE PERFECT
Wideangles are ideal for scenic views where
their ability to include both foreground
and background elements, and get both in
focus, is very useful. Note how in this shot MFT: PANASONIC
of Venice (above) which was taken using LUMIX G VARIO
a Sigma 10-20mm lens on a Nikon D300, 7-14mm F/4
the gondolas are emphasised in size and ‘An admirable beast
importance, relative to the buildings. This in many ways.’
perspective effect was also used to draw the
viewer’s eye to the model’s legs in this portrait CANON: 10-22mm
(left) and make them seem longer. The long, EF-S USM SONY:
graphic lines of her legs draws the eye up into ‘Chromatic aberrations, DT 11-18mm F/4.5-5.6
the centre of the image. although visible in test-chart ‘A solid overall performance
images, were particularly without being outstanding.’
Nigel Atherton low in real-world images
captured using this lens.’ TAMRON:
10-24mm DI II LD IF
OLYMPUS: ZUIKO ‘A good budget option with
istockphoto
ED 7-14mm F/4 great ergonomics.’

‘The 9-18mm is not a bad
performer, but if you can TOKINA:
afford it this one offers 12-24mm DX AT-X PRO
FISHEYE LENSES formidable image quality.’ ‘A joy to use, but only for
As lenses get more wideangle they have a perspective and eventually become Canon or Nikon owners.’
tendency to distort straight horizontal and circular. These are fisheye lenses. PENTAX: SMC DA
vertical lines and turn them into curves – Although there is some fun to be had 12-24mm F/4 ED AL IF ZEISS:
especially those closer to the edges of the from their novelty value, their real- ‘An attractive lens that’s well 16-35mm F/2.8 ZA T*
frame, or when the camera is tilted. At its world uses are quite limited, making specified and keenly priced.’ ‘Awesome full-frame lens.’
most extreme, images take on a spherical them something of a niche purchase.
Nigel Atherton
CHOOSINGLENSES
FAST PRIMES
Zoom lenses are almost ubiquitous now but fixed
focal length, or ‘prime’, lenses continue to be
popular because they offer several advantages.
Since they only have to convey a single field of
view, as opposed to having to offer a variable
range, the optical performance is generally
superior. They tend to be smaller too, and as an
extra bonus have wider maximum apertures. If
the field of view they offer is the one that you
want, and you can fine-tune your cropping
simply by moving your position, then they have
a lot to offer.
Primes cover the full spectrum of focal lengths
from extreme wide to ultra telephoto, but the
most useful are those in the 24mm to 85mm
range. Years ago most 35mm SLRs came with
a 50mm standard lens, as its field of view
most closely resembled that of the human eye.
Nowadays most DSLRs have smaller APS-C
sensors so it’s the 35mm focal length lens that
now has that distinction. Nevertheless, 50mm
lenses still offer the widest available maximum
apertures (as low as f/1.2) making them ideal
for low-light photography, especially when you
have to shoot handheld, without flash, possibly
PICTURE PERFECT
Prime lenses tend to have wider
with subject movement to contend with (such maximum apertures than zooms,
as at concerts). Longer focal lengths such as making them ideal for low-light shots,
the 85mm, are perfect for portraits, offering a especially of moving subjects such as
flattering perspective and the ability to throw the this rock band (left). For portraits it’s
background nicely out of focus. hard to beat a prime telephoto such
as the 85mm f/1.8 used on a Nikon
D700 for the shot above. The shallow
depth of field they afford is perfect for
throwing the background out of focus.
LENS TOP TIP

The 50mm f/1.8 is the bargain of the
istockphoto lens world. Small in size, with a wider
maximum aperture than any zoom,
it’s one of the cheapest lenses you can
buy, and yet optically is among the
best. Everyone should have one!
SONY: 50mm F/1.4 SAM

‘A very useful lens that performs well and carries a
rock-bottom price tag. If I were a Sony user then this
lens would simply have to be in my camera bag.’
NIKON: 50mm F/1.4 D

‘Performs very well, and the fact that it’s so compact
gives it additional appeal.’
S OLYMPUS: 25mm F/2.5

OUR FAST PRIME PICK ‘Standing so little proud of the camera body that it
hardly protrudes from beneath the pentaprism, this
CANON: 50mm F/1.4 USM is little short of a miniature marvel.’
‘Canon makes great claims for this lens,
PENTAX: 55mm F/1.4 SDM
concluding: “If crisp images with little flare are
‘Ergonomically the lens is a delight to use, though
important to you, they can be obtained even at
there is some fringing at wide apertures.’
the maximum aperture with this robust lens.”
This is not hyperbole: our technical testing ZEISS: 85mm F/1.4 ZA T*
revealed the most amazing set of MTF figures.’ ‘Fantastic portrait lens for Sony Alpha users.’
SIGMA: 50mm F/1.4 EX DG HSM MFT: PANASONIC LUMIX G 20mm F/1.7

‘An amazing lens that is priced above the norm ‘Compact pancake lens ideal for when slipping the
but delivers results that are similarly elevated.’ camera into a pocket.’
Nigel Atherton
CHOOSINGLENSES
PICKS
OUR PREMIUM ZOOM
ZEISS: 16-80mm F/3.5-4.5 DT ZA T*
‘The cheaper of two spectacularly good Zeiss
PREMIUM STANDARD ZOOMS
zooms covering this range for Sony users, the Standard zooms, which usually cover the technical standard, possibly at big sizes, and
other being the full-frame 24-70mm f/2.8. This 18-55mm range, are ideal general purpose maybe even harbour ambitions to sell them
one is for APS-C sensors.’ lenses. With the standard field of view that commercially, then you’re much better off
equates to the eye at around the 35mm buying just a DSLR body and forsaking the
NIKON: mark on most consumer DSLRs, these lenses kit lens in favour of a premium alternative.
24-70mm F/2.8 G ED go from a little bit wideangle to a little bit They’ll probably be a lot bigger and heavier
‘Impressive image quality. telephoto. This makes them suitable for the but they’ll have wider maximum apertures and
Its MTF curves are above majority of the kinds of shots that most people far superior edge-to-edge resolution, due to
the critical 0.25 cycles per take on a regular basis, from scenic views to the use of technology such as aspherical lens
pixel at every aperture and portraits. elements and extra low dispersion glass.
focal length tested.’ The kit zoom lenses supplied with most
DSLRs do a fairly remarkable job considering
that they’re designed to be as cheap as
LENS TOP TIP
Don’t rule out full-frame lenses
possible to make, so that they add as little as if you have an APS-C DSLR.
possible to the cost of buying a new camera. Because your sensor is smaller
The image quality of these lenses is more than you’ll only be using the central
adequate for general snaps but take away part of the lens’s image circle
the budgetary constraints and it’s possible to but this is where the optical
produce optics of markedly superior quality. If quality is at its highest.
you aspire to produce images of the highest
Nigel Atherton
Nigel Atherton
CANON: EF 24-70mm
F/2.8 L USM
‘Automatic focusing is
brisk and distortion is
virtually non-existent.
MTF performance is held
above 0.3 cycles SIGMA: 17-70MM
per pixel from f/5.6 to F/2.8-4.5 DC MACRO
f/11 at all focal lengths.’ ‘Wide zoom range, with
good build quality and
results – though it isn’t a
PENTAX: 16-50MM true “macro” lens.’
F/2.8 ED AL IF SDM
‘Disappointing at f/2.8 but TOKINA: 16-50MM
much better below f/4.’ F/2.8 AT-X PRO DX
‘Fast lens for Nikon or
OLYMPUS: 14-54MM Canon users with APS-C
F/2.8-3.5 II sensors.’
‘Offers a wide zoom range
and excellent resolution.’ MFT: PANSONIC LUMIX
G VARIO 14-45MM PICTURE PERFECT
TAMRON: 17-50MM F/3.5-5.6 OIS Premium standard zooms produce superior
F/2.8 XR DI II IF ‘Resolution tests exceeded optical quality to the kit lens that comes
‘Good image quality and expectations given the price with the camera, enabling them to resolve
usability and also manages of this lens.’ fine detail with greater sharpness. Their
to be surprisingly compact.’ wider maximum apertures also give them an
advantage when shooting in low light (above).
WHAT DIGITALCAMERA
TELEPHOTO
ZOOMS
Telephoto lenses have a narrower field of view
than wider optics, enabling you to crop in on
details and magnify more distant subjects so
that they appear closer to you than they actually
are. They’re perfect for photographing things
that you can’t get physically close to (at least,
not safely) such as elusive wildlife subjects and
many sports. They’re also used for selective in-
camera cropping, so you can fill the frame with a
single tree in a landscape, or person in a crowd.
Telephoto lenses imbue your images with certain
aesthetic traits, such as shallower depth of field,
and the sense of compressing distance so that
elements further away in your scene seem right
on top of closer ones.
Although there’s a wide choice of prime
telephoto lenses, zooms offer the huge
advantage of allowing you to zoom in or out
to get the exact framing you want, which is
especially useful given that in many of the
situations in which you’d use one you may not be
able to freely move around.
There’s a huge variation in zoom ranges
on offer. Some start at 50mm but the most
common range goes from about 70mm up to
Nigel Atherton
200mm or 300mm.
LENS TOP TIP

The very best quality tele-zooms are
invariably the 70-200mm ones with f/2.8 PICTURE PERFECT
maximum apertures. These offer the Telephoto lenses enable you to zoom in on
ultimate optical performance across the subjects from further away – perfect when
frame, albeit at the expense of greater you can’t get close, or when moving closer
cost and physical bulk. would frighten your subject. They have the
effect of compressing the sense of distance,
and producing shallow depth of field. This
lizard (above) was photographed using the
400mm end of a Canon 100-400mm f/4.5-
5.6 L IS USM, fitted to an EOS 40D. Most
istockphoto
sports photographers routinely use telephoto

lenses for shots like this horse race (left).
S
OUR TELE ZOOM PICK
NIKON: AF-S VR 70-200mm F/2.8G IF-ED
‘Focusing speed is not only blisteringly quick but also
very reliable. The results are not simply good but, to all
intents and purposes, perfect.’
CANON: 70-200mm F/2.8 L IS USM

‘An ergonomic delight. It sits comfortably in the hand
and its controls all fall naturally within fingertip reach.’
OLYMPUS: 70-300mm TAMRON: 70-200mm F/2.8
F/4-5.6 DI LD IF
‘A good-value lens offering the ‘Has a friendly feel and is one of
35mm equivalent of up to a the least expensive options, but
whopping 600mm telephoto.’ lacks Image Stabilisation.’
PENTAX: 50-200mm TOKINA: 80-400mm

F/4-5.6 F/4.5-5.6
‘A reasonably priced starter lens ‘Impressively long range.’
for KA mount users.’
MFT: PANASONIC
SONY: 55-200mm f/4-5.6 45-200mm F/4-5.6
DT SAM ‘Equivalent to 90-400mm in SIGMA: 70-200mm F/2.8 EX DG HSM II
‘New version with smooth 35mm SLR terms.’ ‘An attractively priced, well-performing
built-in AF motor.’ alternative to the manufacturers’ own versions.’
SUPERZOOMS
Many people are drawn to the idea of a
too (as low as f/6.3 at the tele end) so you
may have to raise the ISO more often to
single lens that covers every need from shoot handheld.
18mm wideangle to 200mm telephoto and However, depending on what you
beyond. Such an optic would avoid the need photograph and the level of quality that you
to ever change the lens, so you’d never miss demand, you may find these to be sacrifices
that once-in-a-lifetime shot because you had worth making. The fact is that at smaller
the wrong one fitted, and of course you’d print sizes the average user is unlikely to
never get dust on your sensor. spot many of these optical deficiencies, so
If you suspect there must be a catch then they are fine for users who want reasonably
you’re right, there are trade-offs with such good pictures that won’t be printed too big
lenses. In general, the longer the range, the or studied with a magnifying glass.
more the optical quality tends to suffer, with Superzooms are physically a bit larger
lower contrast, poorer edge sharpness and than lenses with a shorter range, but not
greater distortion. Superzooms are jacks of as much as you may expect. In fact modern
all trades but masters of none, and will be superzooms are miracles of optical design,
outperformed by prime lenses, and many being smaller, lighter and offering better
zooms with a shorter range. quality that could have been dreamed of a
The maximum apertures are pretty small couple of decades ago.
Nigel Atherton
S
OUR SUPERZOOM PICK
TAMRON:
18-270mm F/3.5-6.3 DI-II VC LD
‘Featuring the world’s longest zoom range for a
DSLR (15x), and one of the most effective Image
Stabilisation systems.’
SIGMA:
18-250mm F/3.5-
6.3 DC OS HSM
‘The built-in
stabilisation and
superior image
sharpness make it a
strong contender for
anyone considering an
all-in-one superzoom
lens.’
OLYMPUS:
PICTURE PERFECT 18-180MM
Superzooms offer the most extreme F/3.5-6.3 ED
zoom ranges available covering every ‘Very compact for
popular focal length from the widest the range it offers.’
end of the typical kit lens (above,
shot at 18mm) to the longest end of
the average telezoom (right, taken at
250mm).
The wideangle end is ideal for
general scenic views and group shots, CANON: 18-200mm
while the telephoto end is perfect for F/3.5-5.6
zooming in to sports, wildlife, candid ‘Canon’s recent entry into
the superzoom sector.’
street scenes and any situation where
you want to shoot from a distance.
NIKON: 18-200mm SONY: 18-250MM
F/3.5-5.6 G ED VR F/3.5-6.3 DT
LENS TOP TIP ‘A nice, quiet lens ‘A nice lens that performs
Make sure you get a with good chromatic best at the wide end.’
superzoom with built-in aberration control.’
Image Stabilisation, unless MFT: PANSONIC LUMIX
you have an Anti-Shake PENTAX: 18-250mm G VARIO 14-140mm
sensor built into your DSLR. F/3.5-6.3 ED A F/4-5.8 HD ASPH
‘Average performance ‘Super-quiet 10x zoom
throughout the range, designed for use with HD
though with some edge video. Sold as the kit lens
Nigel Atherton
fall-off.’ with the Lumix GH1.’
CHOOSINGLENSES
OUR MACRO PICKS

istockphoto
MFT: LEICA DG MACRO ELMARIT

45mm F/2.8 ASPHERICAL
‘Let’s not beat about the bush: this is an MACRO LENSES
amazing lens that has every bell and whistle, Many lenses carry the word ‘macro’ in their be so close to them. It also means that you
not to mention the Leica seal of approval.’ title but aren’t. To be a true macro lens it must won’t be casting a shadow over your own
enable you to reproduce your subject at 1:1 subject and have more space between camera
lifesize on your sensor. Although you still have and subject for any lighting that you might
NIKON: 105mm great fun shooting close-ups with ‘macro- want to deploy.
F/2.8 ED G IF VR lite’ lenses that only offer half lifesize (1:2)
‘A very sharp lens or quarter lifesize (1:4), if you’re really into
even in non-macro exploring the world of miniature things then
usage, recording there’s no substitute for a proper macro lens.
about 0.3 cycles- The first thing to know about these lenses is
per-pixel from that most are fixed-focal-length (aka ‘prime’)
wide-open down optics. The most common focal lengths are
to f/16.’ around 50mm and 100mm, with some in
between, though there are also a few at
around the 200mm range. The great benefit
of them is that they can also be used for
general photography, as they can focus from
infinity right down to 1:1 on a single rotation
of the focus ring.
istockphoto
One of the main decisions in choosing a

TAMRON: macro lens is which focal length to go for.
90mm F/2.8 SP The advantage of the more telephoto macros
DI MACRO is that you can obtain your true macro from
further away, so if you’re photographing shy
‘A popular classic
subjects such as butterflies you don’t have to
that is easy to use
and capable of
producing some fine OTHER MACRO
images.’ OPTIONS
Macro lenses are great but there are
cheaper ways to obtain true macro
OLYMPUS: 35mm F/3.5 with your existing lens, albeit without
‘The world’s smallest the same level of convenience and
lightest true macro lens.’ SIGMA: 70mm F/2.8 quality. The cheapest option is to use
EX DG screw-on dioptre lenses. These look
istockphoto
PENTAX: SMC D FA ‘Sigma’s optics rarely fail like filters and come in a range of
50mm F/2.8 to impress, and if macro is
strengths, costing from around £25
‘A small but consistently your thing, then this could
each. You’ll experience a moderate
good performer.’ be just what you need.’
loss of image quality but no loss of PICTURE PERFECT
functionality. Macro photography enables us to reveal the
TOKINA: 100mm F/2.8 CANON: 60mm F/2.8
MACRO Extension tubes are spacers that fit beauty, textures and patterns in very small subjects
AT-X D PRO
‘A great true macro lens between the body and lens, enabling (or parts of subjects) that we rarely notice when
‘A good-value option for
for use with Canon DSLRs closer focusing to be achieved. Because going about our daily lives. Most non-macro
Canon or Nikon owners.’
APS-C sized sensors.’ there are no additional lenses involved lenses won’t let you get closer than around half
SONY: 50mm F/2.8 there’s no loss of image quality, a metre from the subject, which is too far to fill
MACRO though you will lose up to two stops the frame with subjects such as flower petals and
Compact macro offers of light, and depending on the tubes insects (above).
reasonable performance. fitted, may lose some functionality.
They cost from around £150.
WHAT DIGITALCAMERA
SUPER
TELEPHOTOS
For many wildlife, sports and some other subjects
even a 70-300mm zoom lens may not get you close LENS TOP TIP
enough to fill the frame with your subject. And even There are cheaper ways to
if it does, the relatively small maximum apertures of achieve super-telephoto
such lenses means you’ll probably be restricted to effects. The most affordable
shooting at high ISOs to achieve the shutter speeds is is to buy a tele-converter
necessary to freeze any subject movement. (aka extender) such as
Pro sports and wildlife photographers tend to the Kenko 1.5x, which fits
supplement their premium tele-zooms with big between the camera body
prime telephoto lenses that have relatively wide and an existing telephoto lens,
maximum apertures. The bad news is that you’ll increasing its focal length by
need deep pockets for one of these – in many cases between 1.4x and 2.0x. They
you could buy a new car for what they cost. You’ll aren’t compatible with every
probably also need to factor in the cost of a good lens though. It’s also possible
chiropractor, as these babies are seriously weighty. to attach a DSLR to a telescope
The most popular lenses tend to be around the (known as digiscoping) for
300mm to 500mm range, but if money is no object, magnifications in excess of
here are the longest focal length lenses currently 800mm.
produced by each manufacturer...
PICTURE PERFECT
To get close to elusive wildlife
such as this stag (right) you may
istockphoto
need a pretty long telephoto
zoom. It’s the same with subjects
such as airshows, where you’ll
need a long lens to fill the frame
with flying jets. A wide maximum
aperture will also enable you to
use faster shutter speeds to help
freeze the motion of the subject.
istockphoto
SIGMA: 800mm F/5.6 EX DG HSM

‘The only brand besides Canon with an 800mm lens, but at £6,500
this one is less than half the price. At 4,900g it’s a beast but it isn’t
Sigma’s heaviest, or most expensive lens. That honour goes to its
colossal 200-500mm f/2.8, which weighs a bicep-straining 15.7kg
and costs an eye-watering £24,000. I’ll take two!’
OLYMPUS: 300mm F/2.8 ED SONY: 500mm F/8
S
OUR SUPER TELE PICK ‘Olympus’s longest lens may not ‘Sony’s most telephoto lens is this
seem very telephoto compared with 500mm model. Although it offers only
CANON: its rivals but due to the smaller Four a single not-terribly-bright f/8 aperture,
800mm F/5.6 L IS USM Thirds sensor its 35mm equivalent is it is at least relatively cheap – costing
If you’ve got a spare £14,370 kicking 600mm, giving the same field of view Alpha users around £600.’
around, this 4.5kg monster will get the as Canon’s 600mm lens would on a
maximum magnification currently full-frame EOS.’ TAMRON: 200-500mm
available (along with Sigma’s). Although F/5-6.3
it’s Canon’s most expensive lens, it isn’t PENTAX: ‘Tamron isn’t a big fan of prime
the biggest – that honour goes to the 300mm F/4 DA* ED IF SDM lenses – it only has three of them in its
back-breaking 400mm f/2.8, at 5,370g. ‘The longest lens in the Pentax stable entire range, and the longest one is its
is this relatively modest 300mm model, 180mm macro. Its longest focal
NIKON: 600mm F/4 G ED VR though on the plus side it’s also the length lens is this 200-500mm f/5-6.3
Nikon’s biggest lens, both in focal length and weight, the most pocket-friendly, giving you zoom, which will set you back a shade
600mm f/4 tips the scales at a smidgeon over 5kg. change out of a grand.’ under £700.’ WDC
British
Heritage
Looking for inspiration this summer? There’s a whole
world of photo opportunities on your doorstep from
modern design masterpieces to ancient mounds
WORDS BY MAT GALLAGHER
For such a small island we have a wealth you to take a step out of your comfort THIS IMAGE: A beautifully atmospheric shot of Corfe
of heritage dotted across Britain so, zone. A location can become a theme in Castle, Dorset at dawn, surrounded by mist.
wherever you are in the country, there is itself, a source of abstract or macro subjects,
bound to be something of interest close by a backdrop or even a visual interest within
to photograph. a landscape.
These exquisite man-made structures In this feature we hope to introduce you
range from ancient stone ruins, through to some new location ideas for you to try
to 21st century architectural structures, this summer and inspire you to find more of
and even objects many of us may take for your own, as the list is in no way exhaustive.
granted as they form such an everyday part The tips and techniques are relevant to a
Image: Adam Burton
of our lives. Buildings and structures such as range of different locations and hopefully,
these offer a wide range of opportunities for along with the images, they will help you to
the photographer that can serve to either take better shots next time you’re out and
bolster your image library or even challenge about with your camera.
IN ASSOCIATION WITH
WHAT DIGITALCAMERA
PLACEs of WoRsHIP
Every town or village has a local church and
the majority are prime real estate for the
photographer. With their stained glass windows,
steeples, spires, and gothic details, they provide
a range of opportunities for images. Village
churches are often the more picturesque
and tend to offer larger grounds for wider
compositions, while larger cities offer the
grandness of a cathedral or an abbey. It’s always
worth spending some time planning your shot
– especially if it is close enough to home to keep
revisiting the scene – look for the best angles
and the best time of day, when the sun is in the Image: istockphoto.com
perfect position. Some may have floodlights that
come on in the evening, and finding out when
they come on will allow you to balance them
with the dusk to keep some colour in the sky. If
possible try to go inside the church as there may
be details to shoot, such as candles or even the
light coming through stained glass windows.
Make sure you take a tripod though, as they
may be dimly lit. The grounds may also include a
cemetery; gravestones, especially older overgrown
ones, can make great subjects or foregrounds
and the interaction between the plants and the
tombs is often an interesting juxtaposition.
Image: istockphoto.com
Go VIsIT
ToP UK LoCATIoNs
1. Whitby Abbey, 3 ToP: Durham Cathedral sits high on
North Yorkshire 1 the hill, making it appear to rise above
2. Ely Cathedral, the city
Cambridgeshire 42
8 ABoVE: The inside of Liverpool’s
3. Durham Cathedral, 57 Anglican Cathedral in all its grandeur
6
Durham and some beautiful stained glass
4. Peterborough Cathedral,
Cambridgeshire LEfT: The picturesque village church of

St Peter’s in Oare, Kent
5. Highgate Cemetery, London 7. St Peter’s
6. Brookwood Cemetery, Anglican Church,
Surrey Oare, Kent
sHooT sTAINED
GLAss WINDoWs
First, turn off the flash – It will reflect off the glass.
Diffused even light is best for capturing an even
exposure across the whole window. On sunny days
the shady side of the church will give better results.
Windows are usually high up. To minimise
perspective distortion stand as far back as possible
and zoom in to fill the frame. This reduces the
angle at which the camera must be tilted.
Alternatively, create deliberate dramatic
perspective distortion by shooting from close
range and below, using a wideangle lens.
Fill the frame with the window, excluding as
much of the church as possible, and take a meter
TIPs foR CHURCH INTERIoRs
• Check on whether photography is permitted. Sometimes a
reading from the window.
Both images: Nigel Atherton
permit is required for photos, or for the use of tripods.

Set a mid-range aperture (such as f/8) and if
• Don’t shoot during services and periods of worship, or
handholding the camera make sure your shutter
photograph people at prayer without their permission.
speed is fast enough to avoid camera shake (at
• If shooting towards the altar get as square on as possible to
least 1/60th second with your kit lens, or faster
avoid distortion and achieve a symmetrical composition.
if using a tele-zoom). If you can’t achieve such a
• Avoid tilting the camera if possible, as this will cause the sides of
speed raise the ISO setting.
the church to converge inwards, especially with a wideangle lens.
Look for interesting details within the window patterns of brightly coloured light onto the
• To balance your exposure, try combining shots using HDR effects.
to zoom in on. If the sun is shining directly through ground or nearby pillars, which can make
the stained glass window it can often project interesting photos too.
britishheritage
ruins & walls

Photographers may appreciate invasions or even forgotten ways
beauty and form but we also enjoy
the dilapidated, the crumbling, and
of life. Some of these retain their
original forms while others have gO Visit
the ruins. In short, there’s nothing almost grown into their landscapes. tOP uK lOCatiOns
that makes a good photo like the For this reason it is often best to 1. Stonehenge, Wiltshire
43
barren remnants of a structure, treat them almost as an organic 2. Flag Fen,
well past its former glory. The word part of a landscape than a subject in Cambridgeshire
historic tends to have a bit more isolation. Think about the scene as a 3. Chesters Bridge, 2
clout around the sites across the whole, rather than just your subject. Northumberland
UK, as – unlike with some newer Walls are a great visual aid to an 4. Hadrian’s Wall, 15
countries – our interpretation of old image and can be used effectively Northumberland
can often mean pre-10th century to guide the viewer’s eye through 5. Silbury Hill, Wiltshire
with some stone structures dating the image and are best positioned
back beyond 2000BC and even to to run from the bottom left towards
Neolithic man. The various remains the centre of your image, using a the heritage trail
tell stories of battles lost and won, wideangle lens for maximum effect. If you’re looking for further inspiration as to
places to visit, the Heritage Trail website offers
an extensive database of locations, listed
by type, location, name or searchable via a
map. The site has been created by two fans
of Heritage locations, and much of their data
comes from them personally visiting the sites
and experiencing them for themselves.
www.theheritagetrail.co.uk
leFt: Part of Hadrian’s Wall, which snakes across England

for 73 miles but is at its best in parts of Northumbria
belOw: Stonehenge, one of the most famous stone
circles in existence and a stunning photo location
IN ASSOCIATION WITH
www.whatdigitalCamera.COm 51
WHAT DIGITALCAMERA
GRAnD buILDInGs
One of our closest links to our past is in
the buildings that housed our country’s
nobility. The Kings and Queens, Statesmen
and Lords of years past built many grand
houses, palaces and fortresses, many of
which remain intact today. Their effect on
their surroundings is vast, as most were built
more to impress than out of practicality,
which makes them all the better for the
photographer. Much like churches and
cathedrals they offer a range of shooting Image: istockphoto.com
possibilities, although, due to their larger
sizes, can look even more impressive as part
of a larger scene. Castles especially are often
placed on high viewpoints such as hills or
cliff tops, making them easily visible from
a distance. At closer range they may offer
impressive grounds, with long driveways,
arches, columns and ornate architecture.
Many will be open to the public at various
times of the year for a closer look, but for the
early morning and late evening light you are
likely to be limited to an external view. Some
properties may also have restrictions on
photography inside the ground, so it’s worth
checking before you go. Image: istockphoto.com
ToP RIGHT: The White tower at the Tower of London, AboVE: Edinburgh Castle, seen here silhouetted at
Go VIsIT built to strike fear into unruly citizens, looks stunning when sunset. The castle towers over the city on an extinct
floodlit and now houses the new armoury exhibition volcano and dates back to the 12th century
ToP uK LoCATIons 6
AboVE: Beaulieu Palace House at Beaulieu motor bELoW: Windsor Castle, the largest and oldest
1. Dover Castle, Kent museum in the heart of the New Forest, Hampshire occupied castle in the world, and official residence of Her
2
2. Bamburgh Castle, Majesty The Queen
Northumberland
3. Corfe Castle, Dorset
4
4. Warwick Castle, 8 10 7
5
Warwickshire 1
3 9 11
5. Windsor Castle, Windsor
6. Edinburgh Castle
7. Tower of London, City of London
8. Flint Castle, North Wales
9. Osborne House, Isle of Wight
10. Hampton Court, London

11. Brighton Royal Pavilion, East Sussex
IN ASSOCIATION WITH
BRITISHHERITAGE
COASTAL BUILDINGS
Our extensive coastline hosts its own share of
cultural sights, some of the most recognisable being
our many lighthouses and piers. Their designs are
appealing in their own right but, by nature of their
locations, they can create striking images. Close
up, both lighthouses and piers can offer interesting
details but their main appeal is in their interaction
Image: istock.photo.com
with their surroundings, so capturing them under

the right lighting is essential. The tide will also vastly
affect your shots, though long exposures are often
preferable and can calm even the roughest seas
with a long enough shutter time. Some of the most
photogenic examples tend to be those that are a
little weather-beaten, or even falling apart. However,
a pristine white lighthouse can look magnificent
against a rocky backdrop.
Piers are generally best photographed either
from their decking, looking out to sea or from
underneath, seen from shore at low tide. A
wideangle lens will exaggerate its perspective but
it is important to ensure your camera is completely
level to avoid distortion. Lighthouses can often be
hard to get close to, so a longer lens is often useful
to ensure it remains large in your composition.
Conversely, a position further down the beach is
generally preferred to include some of the coastline
in the shot. Dawn and dusk will provide the most
pleasing backdrops, though capturing one projecting
its beam is always an added bonus.
GO VISIT
TOP UK LOCATIONS 9
1. Brighton Palace Pier
2. Southsea Parade
Pier, Hampshire 3
3. Beaumaris Pier, 5
North Wales
4. Swanage Pier, Dorset 8
2 1
7 4
Image: istock.photo.com
5. Southwold Pier, Suffolk 6

6. Eddystone Lighthouse, Cornwall
7. Portland Bill lighthouse, Dorset
8. Blacknore Point lighthouse, Somerset
9. Bamburgh Castle, Northumberland
TOP: Bamburgh Castle in Northumberland, an impressive-looking building on a stretch of stunning coastline
ABOVE: Portland Bill lighthouse on the outcrop of the Dorset coastline
ENGLISH HERITAGE
English Heritage looks after nearly 400
locations across England, including parks and
LONG EXPOSURES
gardens, castles, piers, prehistoric sites, and is Increasing your shutter speed, or lengthening
even involved in the little blue plaques seen your exposure, is a favourite technique of many
on buildings once occupied by notable figures landscape photographers looking to bring
in history around London. some calm to their images. It has an effect
Many of the properties are free to visit and of smoothing everything out, removing any
others can visited for a small entrance fee, or moving elements and can also work to highlight
by membership to English Heritage. stationary structures, such as buildings or rocks.
English Heritage told us that they are keen The easiest way to create this effect is to use
for visitors to take pictures at its properties, your camera in Shutter Priority or Manual and
and encourage people to upload images physically set your shutter value – you’ll need at
to their Flickr group (http://www.flickr. least 10 seconds of exposure for a really smooth
com/groups/englishheritage/), however look. Unless you’re shooting in near darkness,
this may be too much light for your camera. If this
permission must be obtained to take images

for commercial use. is the case you can use a Neutral Density filter
www.english-heritage.org.uk on your lens; these reduce the amount of light
www.theheritagetrail.co.uk entering the lens by up to 10 stops depending on
the filter used.
WHAT DIGITALCAMERA
BRIDGEs
Some of the most impressive structures
across our countryside have no grounds
or gift shop in sight. The soaring industrial
construction of some of the various bridges
that cross the gauges, rivers and valleys
can leave you in awe and are just dying
to be photographed. Their construction
is primarily to perform a function, to
allow passage of people or vehicles from
one side to the other but in solving the
technical nature of doing this, many have
devised forms that look as impressive as
the feat that they perform. Their sizes and ToP: The Humber bridge. The fifth largest single-span suspension ABoVE RIGHT: The spectacular Pontcysyllte aqueduct
positioning are so varied that it is difficult bridge in the world, that crosses the Humber estuary which transports the Llangollen Canal over the valley
to completely generalise a technique
ABoVE: Tower bridge, London. One of the most recognisable BELoW: The Forth rail bridge that crosses the Firth of
for capturing them: the ultra modern
landmarks in the city featuring a raising crossing to allow larger Forth just west of Edinburgh
millennium footbridge in Gateshead vessels to pass underneath
takes a different type of shot to the grand
Glenfinnan Viaduct, over which the Harry
Potter famed steam train crosses. The most
important thing is to give the structure a Go VIsIT 7
sense of scale, so try to include some of ToP UK LoCATIoNs 5
its surroundings. Depending on the angle, 1. Tower bridge, London 3

you will generally want to keep all of the 2. Clifton suspension
bridge in the scene. Getting closer to the bridge, avon 4
6
bridge and using a wide angle will make 3. Millennium bridge,
the scene look more dramatic, as will Newcastle 1
shooting from below, rather than above. If 4. The Humber bridge 82
you’re shooting a footbridge try including 5. Forth Rail bridge, Fife
people crossing it, if it’s a rail bridge try to 6. The Pontcysyllte aqueduct, Llangollen, Clwyd
capture it while a train is crossing – even
7. Glenfinnan Viaduct (of Harry Potter fame)
as a blur.
8. severn bridge, M48, avon
IN ASSOCIATION WITH
54
BRITISHHERITAGE
STITCHING PANORAMAS
The technique of stitching images allows you to
produce images much wider than your lens would
normally allow at your current distance and also
create a much higher-resolution file. The technique
involves taking multiple slightly overlapping
Image: Mat Gallagher

images and then combining them in software to
produce one elongated image. Traditionally, and
even until quite recently, the process of stitching
the images together in software has been a long
tedious job and one reserved for professionals. To
though, as it will make the stitching process easier and leave
get the best results the camera should be mounted
you with a better result:
in portrait format onto a special Panoramic (or
1. Position the camera on its side (portrait format), as this
VR) tripod head. Recent software improvements
will allow for maximum image height.
however, have meant that not only can the
2. Set your camera to manual and turn off autofocusing
stitching process be automated but it can easily
once you have a point of focus. This will avoid your image
correct for slight movement and distortion. This
changing in brightness and focus point across the panorama.
means that even with a quick handheld attempt,
3. Overlap your shots by at least a third. The more
you should be able to get some impressive results.
information you give your software, the easier it will find it
It is still worth following these basic guidelines
to match up your images and blend.
UNIQUELY BRITISH
Though the majority of our heritage locations
could be described as unique to Britain, there
are some other features and buildings that don’t
naturally fall into any of the traditional subjects
but are well known enough to encapsulate
the character of the nation. They are likely to
be subjects that tourists will recognise and
therefore must be considered worthy of being
photographed. Some, like the Angel of the North
statue just outside of Newcastle, are very much
heritage sites, while the Punts on the River Cam in
Cambridge, or the traditional London taxi or bus,
are easily overlooked as subjects for those who
see them every day.
RIGHT TOP: The Angel of the North sculpture by

Antony Gormley in Tyneside
RIGHT: The Houses of Parliament, the Palace of
Westminister
RIGHT BELOW: A Hackney Carriage, or London
Black cab, speeds through traffic
RIGHT BOTTOM: Guardsmen during the
Changing of the Guard
Image: Adam Burton
LEFT: An iconic red telephone box in the

unconventional setting of the beach
NATIONAL TRUST
GO VISIT The National Trust cares for 300 inspiring historic
TOP UK LOCATIONS houses and gardens across England, Wales and
1. Angel of the North 1 Northern Ireland. Properties range from former
statue, Tyneside workers’ cottages to the most iconic stately homes,
2. The Houses of and from mines and mills to theatres and inns,
Parliament, London with thousands of volunteers helping to keep them
5 4
3. The Millennium 9 alive for visitors. For a full list of locations visit the
12 10 2 3 website www.nationaltrust.org.uk
Wheel, London 7 11 8 6
4. The Punts on the River Photographers looking to take pictures within
Cam, Cambridge National Trust grounds are subject to certain rules;
5. The Bullring, Birmingham primarily that the images are only for personal use,
6. Greenwich Observatory, London as anyone wishing to sell or publish their photos
must seek permission first. A recent change is that
7. The Cerne Abbas Giant (rude man), Dorset
photography is now possible inside most buildings,
8. The Long Man of Wilmington, East Sussex
at the properties’ or manager’s discretion and
9. Concrete Cows, Milton Keynes without the use of flash. The rules are generally
10. Wembley Stadium, London designed for visitors to take ‘snaps’, according to
11. Spinnaker tower, Portsmouth their guidelines, as any use of additional items,
12. The White Horse, Westbury, Wiltshire such as tripods, is generally discouraged at the
discretion of the individual location. MG
Images from istockphoto.com unless stated
EASY GUIDE TO A..
.
Back Garden
Safari
You don’t have to travel miles to
get exciting wildlife shots. Drama
occurs daily in our back gardens
WORDS AND PICTURES BY COLIN VARNDELL
Many international nature photo < THIS IMAGE
competitions are won with subjects taken
close to home. Even in town and cities, insects,
reptiles, birds and mammals act out their lives
in these oases of potential nature reserves. By NIKON NIKKOR
D90 150MM
planning ahead, a back garden safari could be MACRO
a long-term project yielding a wide range of
photo opportunities throughout the year and
benefit your garden wildlife. 200
It is possible to create a haven for wildlife in the ISO F4.5
200 @ 1/200
smallest of gardens by providing food, water and
cover. Plant suitable shrubs and flowers to attract This orange-tip
wildlife, make a small pond and set up a garden butterfly was
bird feeding station. found at rest,
Planning is an essential ingredient to successful in the morning.
wildlife photography, even within the confines It was carefully
of a small garden. Often, nature events occur moved with a
paintbrush onto
very briefly and may be finished before we realise aubretia flowers.
BUTTERFLIES
there is a photographic opportunity. Thinking in
advance of how a typical year unfolds to produce
Butterflies become increasingly mobile in warm
a succession of subjects, and having the necessary
Small subjects require close-up focusing. This can weather. Try photographing them on overcast,
equipment and props ready will mean you won’t
be achieved by adding diopters to the front of a bright days or early mornings as they are warming
miss opportunities. Start by keeping a diary or log
lens, or extension tubes between the camera body up. Stalk active butterflies with a monopod, which
of nature notes in your garden. Over time this will
and the rear bayonet mount of a lens, or getting is easier to manoeuvre than a tripod. Late in the
become an invaluable record of what happens
a pucker macro lens. A 180mm macro lens will day, butterflies spend more time soaking up
throughout the year on your own personal patch.
provide almost twice the working distance of sunlight. Search for them at rest after sunset when
a 105mm lens. Subject-to-lens distance will be they can be coaxed onto the bristles of a small
IN ASSOCIATION WITH
critical when it comes to creeping up on butterflies. paintbrush and moved to a photogenic setting.
BACKGARDENSAFARI
MAMMALS
Garden mammals can be a bit mammal vivarium can be made
more tricky to photograph, as from a wooden box. It will require
most species tend to be shy a glass front to shoot through
and mainly nocturnal. Squirrels and a glass window in the lid for
will eagerly come to a supply of a flashgun. When catching small
peanuts, or you may be lucky mammals, their well-being must
enough to attract hedgehogs always be your first consideration.
after dark to a supply of dog food. Make sure they have sufficient
Mice and voles are much more water, food and bedding in the
secretive, although they can be vivarium and release subjects
caught in live catching traps and where they were caught as quickly
photographed in captivity. A small as possible.
< THIS IMAGE This young squirrel

was baited with peanuts
on a garden lawn.
100
The shot was taken
NIKON NIKKOR ISO F4 from a makeshift hide.
D90 500MM 100 @1/500
Ponds attract amphibians such as frogs and toads.

The varied colours and textures of their skin,
their webbed feet and bulging eyes, make them
AMPHIBIANS
photogenic.
For most of the year they remain
hidden by day, only becoming active
THIS IMAGE >
at night. Photo opportunities occur
especially when it rains after a long 100
dry spell. At dusk, the first signs of NIKON NIKKOR ISO F11 @
rain will bring frogs out into the D2X 200MM 100 1/20
MACRO
open and they can be approached
as they move to new feeding areas. We found this male toad hiding
Frogs breathe by forcing air into among old plant pots. He was
gently moved out into the open to
their lungs using throat muscles,
photograph and then returned to his
causing their throats to pulsate hiding place. The image was taken
rapidly. You need a shutter speed with natural light and fill-in flash.
of at least 1/60sec to freeze this
movement in natural light.
EASY STEPS TO...
K
D
H
A
G
IN
E MAKING A HIDE
M
PREPARE THE STICKS First, cut four sticks
around 1.5m long with plenty of top growth.
TRIM THE STICKS Trim the tops off the sticks,
leaving some branches to support the hide
cloth. Make a sharp point on the other end.
PORTABLE SEAT Three-legged, portable seats
are available at garden centres and DIY stores.
SET THE FRAME OF THE HIDE Push the four
sticks into the ground to provide enough room
for your seat and tripod. Make sure the front of
the lens protrudes beyond the sticks.
COVER IT Drape some dull-coloured material
over the sticks. You don’t need a roof as birds
won’t associate you with danger if they fly over.
CUT A LENS-SIZED HOLE Cut a hole in the
cloth just large enough for the lens to fit
through snugly. Cut a horizontal slit above the
lens hole to allow you to view the subject.
ALL SET The hide is ready to gradually move into
position for your shots.
WHAT DIGITALCAMERA
DRAGONFLIES
If you have a pond in your garden,
photographing the emergence of
dragonflies can be very rewarding and
exciting. Emergent dragonflies cannot fly
until their wings have completely formed,
making them perfect targets for macro
lenses. It can take hours for an insect to
expand its wings by pumping the veins full
of blood, so there are good opportunities
for capturing a sequence of shots.
< THIS IMAGE

100
NIKON NIKKOR ISO F5.6
D200 200MM 100 @ 1/1000
MACRO
At the day’s end, dragonflies fly up

into trees to roost, but just before
that they rest far more often. This
freshly emerged male broad-bodied
chaser dragonfly was found before
its wings had hardened off, so it was
easily approachable.
REPTILES
Slow-worms and grass snakes are both found in gardens throughout
the UK. They may be found basking in early morning sunspots, or hiding
under stones or pieces of tin. Look for grass snakes in compost heaps
where they lay their eggs in summer. Use a plastic bowl or black cloth to
cover them if you find them. This will provide them with instant cover
while you get a camera and tripod into position.
THIS IMAGE A reptile in a coil can make

an attractive composition if
photographed from above.
100 Headshots can also be effective,
NIKON NIKKOR ISO F5.6 especially if you can catch a
D200 105MM 100 @ 1/2500 tongue flicking.
MACRO
BACKGARDENSAFARI
BIRDS
Regularly watching the birds in your garden
will provide an insight into their behaviour. For
example, small birds habitually use favourite
perches to sing from, seek cover in undergrowth
or visit water to drink and bathe daily. They will
also use regular routes to and from their nests
or a food supply. Such habits can lead to photo
opportunities with care and patience.
Offering food to garden birds can provide
endless opportunities, and at the same time the
birds will benefit too. For authentic-looking shots
of birds, provide convenient perches such as twigs
near to feeding devices. Birds will have a more
natural, wild look when shown on a twig rather
than hanging onto a seed feeder.
Bird baths are useful additions to a wild garden
safari. Situate one near a convenient bush, and
watch a range of bird species come to drink and
bathe. You will need to use a simple hide to
photograph them as they come to drink or bathe
in the birdbath. Make a hide with old sheets of
subdued colours like brown or green.
A birdbath project will be ongoing throughout
the year, as birds always need water, regardless of
weather conditions.
Once you’ve done all the preparation and
have a bird in your viewfinder, pay attention to
composition. It is important to ensure there is
< THESE IMAGES
always more space on the side which the bird is
facing. This is simple psychology which suggests 200
that the bird’s interest is contained within the NIKON NIKKOR ISO F4 @
picture. A composition with the bird facing to D300 500MM 200 1/500 SEC
the edge of the frame suggests that the subject’s
interest is outside of the image. In the shot on the left, the blue tit is
Small birds constantly move their heads as they too close to the right-hand side of
watch out for danger. Wait for a bird’s head to the frame. In the image above there
is space on the side of the frame the
be side-on with a natural catchlight in the eye
bird is looking into, which makes a
that will bring the subject to life. much more pleasing composition.
MOTHS
Moths are abundant through summer and autumn
in gardens. Most moths fly at night and are attracted
to bright lights. A moth trap can be a worthwhile
investment as it will act as a magnet to masses of moths
and other nocturnal flying insects even in city centres.
The majority of moths remain at rest during daylight and
may be gently moved to a convenient situation such as a
twig or a mossy log. Photograph moths against natural
backgrounds like foliage in a plant pot, for example.
When you have finished with your moths, leave them in
cover for their own safety afterwards.
< THIS IMAGE These herald

moths were found
hibernating in our
100
garden shed, on
NIKON NIKKOR ISO F11 the underside of a
D300 105MM 100 @ 1/30
MACRO wooden chair.
OTHER CREATURES groundwork you have done. It

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IN ASSOCIATION WITH
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Code: 11E
whaT digiTalCaMera
evening
Martin
Evening
Pro photographer,
Photoshop Alpha tester,
official Adobe roadshow speaker,
lecturer and author
www.martinevening.com
Class Photographic author and Photoshop

guru Martin evening passes his verdict
on a selection of your photographs
Send in your piCTureS and win £50 oF vouCherS!*
MarTin’S CoMMenT
Most subjects we wish to photograph
contain a wider scenic dynamic range
than is possible to record with a standard
digital camera. This is why exposure
choice is critical and why you need to
sometimes override the camera meter
settings in order to achieve an optimum
exposure. One way to make your life
original easier would be to shoot in raw mode,
which would allow you to recover as
playground ride much as an extra stop or maybe even two
stops exposure in the highlights. When
wins
you shoot in raw, the ideal approach is to
Jason £50
overexpose as much as you can and allow
Shuttle voucher* the raw processing software to bring
back the highlight detail (I mostly aim to
From: Rushden overexpose by about half a stop to a stop
In my photos I keep getting the faces/skin when shooting in raw mode). This would
tone overexposed. Can you help? This was easily resolve the problem you have Here, I used the Shadows/Highlights
taken on ‘continuous shooting’ mode and shown here and is a more preferable adjustment in Photoshop to bring back as
with the AI Servo on and I tend to use option to me suggesting you deliberately much of the highlight detail as possible.
centre-weighted average metering. I used underexpose to preserve the highlight It’s a quick fix solution, but it would be
a Canon 500D and Sigma 28-300mm lens. detail in the faces. better to shoot in raw mode first.
62 www.whaTdigiTalCaMera.CoM
EvENiNgCLASS
OrigiNAL
girdEr BridgE
wins
Elliot
Conde v£ou5 0
cher*
From: Wales
I am a 16-year-old photographer from
Wales and have been into photography
for about a year or so, but only in these
past couple of months am I starting to get
better results having researched methods
and got a Nikon DSLR. I am dipping into
everything from macro to landscapes and
basically everything that catches my eye. I
have attached an image that I have
chosen because of its industrial-like look.
It was taken in Liverpool and shot
freehand, in the car on the way into the
city. The camera settings used were:
1/320second, f/5.6, ISO 200, using a Nikon
18-55mm lens with a Nikon D3000. I had a
limited time to shoot because we were
driving, and I knew I could later crop the
image in Photoshop. The only editing I
did was to sharpen the photo, crop it and
convert to Grayscale mode.
STEp ONE STEp TwO
What I did here was to convert the Next, I added a Curves adjustment to emphasise
MArTiN’S COMMENT image into a Smart Object and the contrast in the girders and lastly, I added a
Of the several shots that Elliot sent
applied a low Amount/high Radius masked Curves adjustment to darken the sky area
in, I liked this one the best because
Unsharp Mask filter to the photo. slightly so that it matched the
it showed a nice symmetrical view
This added a wide halo edge that sky in the original version Elliot
of the girder bridge. Personally, I
made the girders stand out more. sent in.
thought the contrast in the
original version was rather flat. On
the other hand, it was probably a
grey day when this picture was
shot and this photograph simply
reflects that.
I have probably said this before,
but it is not usually a good idea to
use the Grayscale mode to convert
your colour photos to black and
white. You might sometimes get
an ideal conversion using this
method, but overall it is better to
use something like the Channel
Mixer or the new Black & White
adjustment in Photoshop to carry
out the conversion.
www.whATdigiTALCAMErA.COM 63
what diGitalCaMera
means). Attached is an image of seven photographs that have been shot at

shots at differing focus settings taken on different focal distances and first use the
my dining room table and stacked using Auto-Align Layers command to align the
Helicon Focus; the other is a single shot to layers precisely and then use the Auto-
show the DOF present in one of the single Blend layers command in ‘Stack Images’
exposure shots. mode to apply a focus stacking blend. The
CS4 version worked OK, but the CS5
Martin’s CoMMent version now does a better job at the auto-
This is a really good example of how focus blending stage. I can’t say if this is as good
stacking can be used to help you achieve as Helicon Focus yet, but I know I have
oriGinal
an optimum depth of field for a subject been able to get some good results using
selF-raisinG where it would otherwise have been this latest version of Photoshop.
impossible to capture a photograph like There was not much else I could do to
Flowers wins this using a single exposure. I have not improve this photograph, although I did
£vou5ch0er* used Helicon Focus myself, but understand think that the outer areas needed to go to
a more solid black and the flower made
Bob it is regarded as one of the best products
you can use. It’s not that expensive either if lighter. So, I added a couple of image
Grant-Beer you intend using it to process lots of adjustments here, as below.
photographs in this way. Another option is
From: Aberdeenshire
to use the Auto-Blend layers option that’s
I’ve recently taken up macro photography step two
in Photoshop CS4 and CS5. With this
and bought a Sigma 105mm macro lens. I then added a global
feature you can load a series of
I’ve quickly found out that macro Curves adjustment to
photography can be quite demanding, step one improve the look of the
with it being quite tricky to get a decent I added a masked Levels adjustment to darken the background. final image.
depth of field (DOF) and focus. Shallow
DOF is great for times when you want
atmosphere, but sometimes a deep DOF
would be great, and at high
magnifications, the optical physics
properties of macro lenses means we
always have to work with a shallow DOF.
In Adrian Davies’ book on close-up
photography he mentions a sophisticated
bit of software for focus stacking called
Helicon Focus. It gets round the limitations
of optical physics (people who think HDR
is cheating may think the same of this,
although it’s not a new procedure by any
64 www.whatdiGitalCaMera.CoM
eveninGClass
oriGinal
FasHion model
porTraiT
s
Tamara wi5n 0
Halsall £voucher*
From: lsle of Man
I’m doing my A-levels and I got my first
compact two years ago. I started
experimenting by taking pictures of
flowers, and this then developed into
taking photos of my friends. After saving
and saving, I got my first DLSR – a Canon
450D – and it’s only been in the past year
that I’ve actually ‘been into photography’.
This sounds silly, but when it comes to
captions I really struggle. It’s hard to
summarise a photo in a few words.
This photograph was taken with my Canon
450D and 18-55mm lens. Could I please
have some feedback on my images?
marTin’s CommenT had no problem recording bright red lips. The

We see many attempts at fashion photography. detail in the lips has been lost by shooting in JPEG
Not all are always successful, but Tamara has shown mode. There is also colour speckled noise. Even at
here that she understands how to photograph a ISO 800 with the 450D, I wouldn’t expect to see this
model in a contemporary fashion style, and these much noise. Again, it could have been removed at
photos show a lot of promise. However, I do see Raw processing stage. Last, stray hairs are coming
some technical problems. Looking at the metadata, across the face. This can be fixed in most versions
this was edited in Photoshop CS3. As Camera Raw of Photoshop (or Elements) with the clone stamp or
4.4.1 for CS3 is compatible with the 450D, Tamara healing brush. Photoshop CS5 includes a Content-
would see much-improved image quality by Aware mode for the spot healing brush and I have
shooting Raw and using Camera Raw to process found it very useful for quickly removing unwanted
the files. For example, a Raw capture would have hair strands using single sweeps of this brush.
£50 oF jessops vouCHers For every piCTure publisHed!*

Send us your pictures and, if published, you’ll not only get top advice from Martin but also you will receive a £50 Jessops voucher to redeem in store (*Jessops
vouchers will be sent to UK addresses only). Jessops is the UK’s leading photo retailer, enjoying a reputation for excellence in the field that is second to none.
The award-winning business has over 200 stores nationwide, an industry-leading website at www.jessops.com and a dedicated mail order division. Jessops
offers a complete solution for photography enthusiasts: from equipment and accessories to photo printing and great personalised gifts from Jessops Photo.
www.wHaTdiGiTalCamera.Com 65
PHOTOGRAPHIC SEMINAR SERIES
in association with Amateur Photographer, What Digital Camera, Nikon and the SPI
MACRO
BOO
LIMITEDK NOW
P
AVAILABLACES
LE
PHOTOGRAPHY SEMINAR
WWW.NATURALVISIONS.CO.UK
With HEATHER ANGEL Wednesday 17 November 2010, 6pm-9pm
To be held at the Blue Fin Building, 110 Southwark Street, London. SE1
T HOW TO BOOK YOUR PLACE

HIS is the sixth in our series of Nikon UK will be showcasing its range
inspiring photography seminars, of award-winning products before and
and we are delighted to welcome after the seminar, and will have a number
Heather Angel, esteemed of experts on hand to answer any EMAIL us at spiadmin@ipcmedia.com with the words
international wildlife photographer with a technical queries. For more information ‘HEATHER ANGEL SEMINAR’ in the subject line.
passion for plants, mammals and macro about Nikon’s range of products visit Please include your name, address and telephone number.
(www.heatherangel.co.uk). www.nikon.co.uk. Supported by
Learn how to achieve stunning macro Seminar tickets are on a first come, first POST a cheque for £29, made payable to
shots by careful composition, critical served basis at £29 per head, including a ‘IPC Media Ltd’, to Estelle Hicks-Bennett,
focusing and selective use of depth of Nikon ‘hands-on’ session from 6pm and SPI Seminar, Room 9-372, IPC Media, Blue Fin
field. Heather shows you how to select a presentation followed by a Q&A session Building, 110 Southwark Street, London
the best lighting for different subjects and with Heather Angel from 6.30pm-8pm. SE1 OSU. Please include your name, address,
when to use reflectors, diffusers Tea and coffee will be served
email and telephone number.
and fill-flash. afterwards, along with a chance to
These exclusive seminars purchase a signed book from Heather,
for up to 90 people are held meet and greet the editorial teams, and
CALL 0203 148 4326 /21 to pay by card.
at the ‘home’ of AP and another opportunity to take advantage
WDC in the Blue Fin Building, of the Nikon ‘Hands-on’ session. Every PLEASE NOTE places are only
rising above the impressive delegate will be given a goody bag and confirmed upon receipt of payment.
Southbank, London skyline. a hints & tips sheet to take home. Tickets are non-refundable.
NEW GEAR THIS MONTH
ATEST MUS T-HAVE

THE L GEAR
MIC
SYSTREO
CAMERAS ANDATED BY CAME M
TESTED AND REXPERTS TESTE RA
D
OUR TEAM OF
SONY NEX-5 PAGE 68

The DSLR-like NEX-5 produces great images
HD
VIDEO
HEAD
HEADTO
HD VIDEO PAGE 74
HEAD TO HEAD:
Canon 550D vs. Panasonic GH1
CANON 300 HS PAGE 79

The stylish 10MP 3x zoom IXUS
FUJIFILM S2500HD PAGE 81

PANASONIC
TZ8
SAMSUNG
WB650
IPAD
PAGE 84
GEARED UP: ACCESSORIES

All the latest photography gear PAGE 83
• KATA BUMBLEBEE UL-222/
BUMBLEBEE PL-220
• SEAGATE FREEAGENT
GOFLEX PRO 500GB
• APPLE IPAD
• BLACKRAPID RS-5
• BOOKS
• ADOBE PHOTOSHOP CS5
• AF-S NIKKOR 24MM F/1.4G ED LENS
• ZEISS DISTAGON T* 18MM
F/3.5 ZF.2 LENS
WHAT DIGITALCAMERA
SONY NEX-5
WILL SONY’S COMPACT-LIKE IN STATURE
MICRO SYSTEM CAMERA SHAKE UP THE
INTERCHANGEABLE LENS MARKET?
TESTED BY MIKE LOWE
SONYNEX-5
Sony’s brand new NEX-5 is the The new sensor and Bionz processor are
smallest Micro System Camera on the capable of shooting an equivalent ISO from
market, shaving the millimetres off from 200-12,800 at full resolution. Hand-held
even Panasonic’s dinky GF1. Despite its Twilight mode is another mode to elevate
small size, the NEX-5 packs in a large APS-C the NEX-5’s low-light prowess that works
sized CMOS sensor that is also capable of by snapping six frames in quick succession,
capturing Full HD movies. Out goes the combining the various elements for a resulting
Sony/Konica-Minolta mount to make room low-noise image or there is an Auto HDR mode
for a brand new smaller E-mount fitting. that combines two frames into one in order
With a variety of competition from to expose for both shadows and highlights.
KEY Panasonic, Olympus and Samsung, what does

Sony’s new venture offer to separate it from
Staying strong on the features front the Sweep
Panorama – which takes a panoramic shot by
SPECS the crowd? moving the camera in real time – also features.
FEATURES DESIGN
£590 STREET PRICE
WITH 18-55MM WWW.SONY.CO.UK
The very first Sony camera to employ the Unlike its peers, which tend to opt for a
• 14.2MP APS HD CMOS SENSOR company’s brand new APS HD CMOS sensor, ‘miniaturised DSLR’ style, the NEX-5 firmly
• ISO 200-12,800 the 14.2-megapixel NEX-5 looks to be a stills aligns itself with a more compact-like
and HD movie powerhouse. Small in size, appearance. The body is akin to a small-to-
• 3IN, 921K-DOT, yet big in features, its compact appearance medium compact with a chunky grip to the
TILT-ANGLE TRUBLACK LCD may confound expectation – with full manual right-hand side, with the lens itself adding
• FULL MANUAL CONTROL control amidst its Scene and Intelligent Auto the most considerable size. Although the
shooting modes and Full HD 1080/60i movie pancake lens will keep the overall size down,
capture, it ensures a top-spec of creative the current 18-55mm is quite a significant size
control whatever your photographic capability. in order to provide coverage for the large APS
H IG H LOUIG HE T
NE
S
X-5
The new E-mount fitting sees a new range HD sensor – so much so that it protrudes ever
FIVE FACTS AB T TH of lenses launched – an 18-55mm f/3.5-5.6, so slightly above the top side of the body. The
16mm f/2.8 and 18-200mm f/3.5-6.3, with design is likely to divide opinion and, indeed,
APS HD CMOS SENSOR others expected to follow. By using the LA-EA1 it’s questionable whether the body ought to be
The first time that this new HD adaptor, sold separately, it is also possible to produced so small given the lens sizes.
movie-capable CMOS sensor has use Alpha and Konica-Minolta lenses manually. Instead of a standardised hotshoe fitting,
appeared in a camera On the rear is a 921k-dot, 3in tilt-angle Sony has a unique accessory port fitting for its
TruBlack LCD screen that sits snugly to the flash unit (which is included in the box). Having
1080i HD MOVIE body, most inconspicuous to the fact it can be the flash is certainly a nice option, though the
Capable of shooting Full HD movie at pulled out for waist-level or overhead shots. fuss of screwing it into place is a nuisance, can
1080/60i using AVCHD or Motion-JPEG,
A viewfinder, electronic or otherwise, does take excess time and, with a guide number of
the NEX-5 is a movie machine
not feature, though there is the option to 7, it’s not a particularly bright offering either.
purchase a fixed 16mm optical viewfinder as In terms of button layout there’s a d-pad to
REMOVABLE FLASH an additional accessory. the rear which also acts as a rotational wheel
With a unique accessory port to the
camera’s top, this included flash unit can
be removed or added at will 1080/60i HD MOVIE As well as stills shooting, the NEX-5 takes full advantage of high-definition movie
capture which makes best use of the available range of E-mount lenses too.
SWEEP PANORAMA Sony NEX-5, 18-55mm lens @ 42mm, f/5.6, 1/320th, ISO 200, AWB
Infamous thanks to advertising cam-
paigns, the real-time panorama mode
makes its way to the NEX-series
NEW E-MOUNT LENSES

To keep the size down a new Sony E-mount
makes its debut, though Alpha/Konica-
Minolta lenses can be used via an adaptor
ALTERNATIVES
TO CONSIDER
PANASONIC GF1
£550 Similarly small but
with more control buttons,
the GF1 may be the one for
more advanced users
OLYMPUS E-PL1
£540 Stylish alternative
Micro Four Thirds offering
from Olympus
SAMSUNG NX10
£500 Samsung’s new
APS-C sized sensored model
adds a new angle to the
Micro market
WhaT digiTalcamera
a Word oN:
micro sysTem
cameras
DSLR-like quality from a more compact body
is the general ethos of what we have come to
term ‘Micro System Cameras’. As well as existing
models from Panasonic, Olympus and Samsung,
Sony is the latest entrant in this category. In
summary a Micro System Camera has a DSLR-
sized sensor for high quality, has the capability
to change lenses but removes the mirrorbox
found in a DSLR construction and thus no optical
viewfinder is possible – in place a real-time
live preview on screen or, where applicable, an
electronic viewfinder is possible. The mixture of
such technology allows for a much more compact-
like body capable of DSLR picture quality and an
array of lenses to fit to a variety of shooting styles.
As more manufacturers enter the market place
so the confusion becomes more apparent: Sony
terms its NEX as an ‘ultra compact’ which, when
sided to an actual compact camera, is something
of a misnomer, yet compared to a DSLR rings true.
Samsung’s NX10 doesn’t take such a tag line,
instead selling itself as a ‘next generation new
concept camera’. Both the Sony and Samsung
have APS-C sized CMOS sensors (1.5x crop),
which are some 50% larger when compared to
the joint open-platform Micro Four Thirds (MFT)
venture of Panasonic and Olympus (2x crop).
Micro Four Thirds permits lenses to be used on
any MFT body irrelevant of manufacturer, whereas
both the Sony E-mount and Samsung NX-mount dyNamic raNge In addition to ‘normal’ shooting and a variety of creative
are individual ventures that restrict lens use to styles, the NEX-5 also has D-Range Optimizer and Auto HDR modes for ‘balancing’ exposures.
their own offerings. Sony NEX-5, 18-55mm lens @ 40mm, f/5.6, 1/320th, ISO 200, AWB, D-Range +1 (of 5)
for skipping between options and settings. might not be such an issue if the setting would goods. As far as contrast-detection systems go,
Two menu buttons sit above and below this, stay ‘in play’ on the rotational wheel for quick which in general aren’t as nippy as DSLR phase-
with a one-touch movie button and playback adjustment, but it doesn’t, so to continue detection systems, the NEX’s offering is decent:
button to the top. Apart from the shutter and changing settings requires the repeat lengthy it feels on a par with the current fastest Micro
on/off switch that’s as far as it goes – much process of menu digging. It’s also not possible System Camera offering from Panasonic and is
like a compact camera, the majority of control to assign options to any sort of function button far faster than your run-of-the-mill compact.
depends on accessing interior menu settings.
To add yet more settings would on the one
hand make quick operation much easier, but The NeX-5 is likely To spliT opiNioN iN
on the other ‘undo’ some of the simplicity Terms of iTs day To day use...
of use. The general impression is very much
that of point and shoot for those looking – a grand omission considering the Help The 3in, 921k-dot LCD on the rear employs
for significant resulting quality; yet whether Guide uses up one of the few buttons on the Sony’s TruBlack technology and, despite no
seasoned photographer, step-up user or first camera’s rear. Although this Guide is useful, anti-reflective or fingerprint-resistant coating,
timer there’s something here for everyone. it has limited use once read, digested and handles bright sunlight fairly well. Fingerprints
understood. To be able to re-assign the button can become a slight issue though, so carrying
PERFORMANCE would make for better use. a small cleaning cloth may come in handy. The
The NEX-5 is likely to split opinion in terms of Another frustration is the start-up time that tilt-angle ability is limited to vertical (upward
day to day use: it’s a cinch to pick up, point takes over a second to boot the camera up. or downward angling), though this can prove
and shoot with great results; however, those That may not sound like a long time but, in considerably useful and the way the screen sits
hoping for easy-access menus to quickly the order of things, and where many other so flush and snugly to the body means there
change settings (as per a DSLR layout) may cameras have ‘immediate’ start-up, it feels are no unnecessary hinges protruding out.
be disappointed due to the elongated process overly extended. As such, leaving the camera In keeping with its small size the NEX series
of changing some options. For example: to ‘on’ but in standby (at the expense of battery doesn’t provide an electronic viewfinder, and
change the ISO requires menu access, selecting power) became preferable for quick shooting. instead a fixed-length 16mm optical viewfinder
the correct menu from the six available, On the upside is Sony’s Quick AF Live View accessory can be purchased separately. With its
scrolling down the ‘Brightness/Color’ listings, system. Employing the same name as the class- overall compact-like feeling, it’s not surprising
selecting the ISO option and then dialling in leading Alpha DSLR system, the version in the that a viewfinder lacks, so those seeking one
the value using the rear rotational wheel – this NEX does differ by design, yet it delivers the will quickly rule out Sony’s NEX offering.
70 WWW.WhaTdigiTalcamera.com
SONYNEX-5
KEY
FEATURES BODY TOUR
SMALL
BODY
1
2
BUTTONS & CONTROLS
The world’s 1. On switch 14. Menu/OK
smallest Micro 2. Shutter button 15. Display
System Camera, 3
4 3. AF assist lamp 16. Drive mode
to be precise. 4. Remote sensor 17. Exposure
Sony’s offering 5. Lens release compensation
58.8mm
outdoes the 6. E-mount lens 18. Flash control
competiton 7. Attachable flash 19. Help Guide quick
with a truly 8. Microphone (left) button
compact-like 9. Microphone (right) 20. LCD screen
body. 10. Playback 21. Strap eyelets
11. One-touch movie 22. USB terminal
5 12. Menu button 23. HDMI terminal
13. Rotational
thumbwheel
SONY NEX-5
FULL SPECIFICATIONS
INTERCHANGEABLE SENSOR..........................................................14.2MPEXMORAPSHDCMOSSENSOR
LENSES OUTPUTSIZE ...............................................4592x3056
A new E-mount fitting offers FOCALLENGTHMAG................................1.5x
three compatible lenses: LENSMOUNT................................................SONYE-MOUNT
the 18-55mm f/3.5-56; the FILEFORMAT................................................RAW,JPEG,RAW+JPEG
16mm f/2.8 pancake; and COMPRESSION...........................................‘FINE’QUALITYONLY
the 18-200mm f/3.5-6.3 (the COLOURSPACE..........................................SRGB,ADOBERGB
latter due out in the imminent SHUTTERTYPE ...........................................ELECTRONICALLY-CONTROLLED,
future).
VERTICAL-TRAVERSE,FOCAL-PLANE
6 SHUTTERSPEEDS......................................30–1/4000THSECOND(PLUSBULB)
MAXFLASHSYNC......................................1/160TH
BUILT-INIMAGESTABILISATION.........NO,LENS-BASEDWHEREAPPLICABLE
DUST REDUCTION ..................................YES,LOWPASSFILTERANDELECTRO-
7 MAGNETICVIBRATIONMECHANISM
ISO.....................................................................200-12,800
38.2mm
EXPOSUREMODES ..................................P,A,S,M,SWEEPPANORAMA,ANTIMO-
9 TIONBLUR,SCENE,INTELLIGENTAUTO
8
10 METERINGSYSTEM..................................49-SEGMENTMETERING
EXPOSURECOMP.....................................YES,±2EV(IN1/3STOPS)
WHITEBALANCE........................................DAYLIGHT,SHADE,CLOUDY,INCANDES-
CENT,FLUORESCENT,FLASH,MANUAL
11
WHITEBALANCEBRACKET...................NO
COLOURTEMPCONTROL .....................2500–9900KELVIN
MANUAL CONTROL 1080i HD MOVIE
DRIVEMODE................................................SINGLE,REMOTECOMMANDER,
As well as the variety of Not content with
BRACKET,SELFTIMER,SELFTIMER
Scene modes available, the just shooting stills,
NEX-5 has the full PASM (MULTIPLEIMAGES),SPEEDPRIORITY,
the NEX-5 also offers
portfolio available for Full HD 1080/60i CONTINUOUSADVANCED(TO7FPS)
creative control too. Its menu movie capture for LIVEMODE....................................................YES
system can be accessed to some stunningly LCD ...................................................................3IN,921K-DOT,TILT-ANGLE,TRUBLACK
choose the desired mode. fluid motion visuals. FIELDOFVIEW............................................100%
FOCUSINGMODES....................................CONTINUOUS,SINGLESHOT,DIRECT
MANUALFOCUS,MANUALFOCUS
AFPOINTS.....................................................25-POINTSYSTEM
22 DOFPREVIEW.............................................BACKGROUNDDEFOCUSMODE
BUILT-INFLASH...........................................YES,GN7(DETACHABLEUNIT)
12
CABLERELEASE.........................................NO
MEMORYCARD..........................................SD(HC/XC)/MEMORYSTICKPRO
21
15 POWER...........................................................RECHARGEABLELI-IONBATTERY
13
CONNECTIVITY............................................HDMI(C-TYPE),USB(STANDARDMINI
21 CONNECTION)
20 16 18 WEIGHT...........................................................593g(NOBATTERYORCARD)
14
DIMENSIONS................................................110.8x58.8x38.2mm
23
17 FOR MORE PRICE COMPARISONS
19 IN OUR BUYER’S GUIDE
110.8mm
TURN TO PAGE 105
SHUTTER Not like a compact: The NEX-5’s shutter can help to capture that ‘decisive moment’
with exacting speed. Here, a shot at 1/1000th of a second freezes a bird in flight in this view of St Paul’s
Cathedral. With a top-end shutter speed some two stops faster than this at up to 1/4000th of a second,
the potential for your creativity is at your fingertips.
Sony NEX-5, 18-55mm lens @ 20mm, f/5.6, 1/1000th, ISO 200, +1 EV, AWB
ISO
QUALITY
With a high ISO setting of up to 12,800 it’s
impressive just how much clarity the NEX-5
retains throughout its image range. Starting
at the ISO 200 mark (would like to see a
lower ISO 100 setting too though!) image
noise really isn’t an issue at all to around ISO
800 where the slightest traces of colour noise
begin to appear in darker areas. However,
right up to ISO 3200 images retain very low
noise and have a grain-like quality that lends
well to printing. In short, the NEX-5 takes the lead against all the other Micro System Cameras out there in
terms of image quality. Even ISO 6400 and 12,800 are entirely usable, though a variety of image noise
does begin to limit quality and sharpness.
VERSATILITY
Whether you’re shooting portraits, landscapes,
relatively close up, or any other number of
ways, the three current E-mount lenses provide
a wide range of possibilities: the ability to
shoot from wideangle with a bright aperture
200 ISO 800 ISO 3200 ISO
using the 16mm f/2.8 pancake lens, to mid-
level with the 18-55mm f/3.5-5.6, or telephoto
with the upcoming 18-200mm f/3.5-6.3.
Above (top): Sony NEX-5, 16mm lens @ f/6.3,
1/200th, ISO 200, AWB
Above: Sony NEX-5, 18-55mm lens @ 50mm,
f/5.0, 1/40th, ISO 200, AWB
Right (over page): Sony NEX-5, 18-55mm lens
400 ISO 1600 ISO 6400 ISO 12800 ISO @ 55mm, f/5.6, 1/100th, ISO 1000, AWB
IMAGE QUALITY
TONE & EXPOSURE
Exposure is accurate, with all exposure modes
responding correctly and exposing images with
fair bias between shadows and highlights. Far
from flat images sit well off the LCD screen
and more so when looked at on the computer.
Turning on Sony’s D-Range Optimiser (DRO) sees
shadow and mid-ranges lifted, with the highest
setting often proving over-zealous, though is
useful in the right circumstances.
COLOUR & WHITE BALANCE

Colour is well-measured; punchy and bright
where needed. Auto White Balance was very
consistent over varying ISO settings and repeat
shots, and there were no particular colour
casts – previous Sony DSLRs have tended to
drift towards cooler, bluer tones, but this doesn’t
seem apparent with the NEX-5.
DEPTH OF FIELD The large sensor significantly benefits from shallow depth of field control as this
55mm example clearly shows, with a nicely blurred background drawing attention to the main subject.
SHARPNESS & DETAIL Sony NEX-5, 18-55mm lens @ 55mm, f/5.6, 1/640th, ISO 200, AWB
Using the 18-55mm f/3.5-5.6 lens delivered
really exceptional results. Sharpness glistens
One of the other big sells is the ability to VALUE
and detail is exuded throughout, with the large
capture Full HD movie. Now, while of the 1920 The NEX-5 shrewdly positions itself against
APS HD CMOS sensor providing a pleasing x 1080 resolution, capture is interlaced (not market competition. At £590 with the
depth of field, even from the relatively modest progressive) and at 60 fields (not, technically, 18-55mm lens it’s a shade less than Panasonic’s
f/3.5 aperture. Detail will diminish at higher ISO frames) per second. For those in the know touchscreen G2, and around £90 more
settings due to noise reduction, though this has about HD display, there are differing opinions than both Samsung’s NX10 kit or Olympus’s
no bearing on what is a quality kit lens. about 1080i – some rate the lower resolution E-PL1. Different kit formations see different
720p as a better quality due to it not suffering prices, with the forthcoming 16mm pancake
RAW/JPEG from potential interlaced tearing, which can lens kit around the £500-£550 mark or the
The ARW Raw file type is very similar to its be problematic when shooting fast-moving 18-200mm telephoto kit nearer the £1,000
JPEG counterpart. Load up in the provided subjects. Sony has played a fairly clever hand mark. At every level, however, the price-tag
software and it’s possible to process Raw files here by ensuring that the NEX grabs the ‘Full doesn’t exceed that of a DSLR, nor is it beyond
as TIFF or JPEG with a variety of quality settings. HD’ headline, yet it doesn’t technically surpass unreasonable for a considered purchase. The
Unprocessed the Raw files retain ever so slightly Panasonic’s GH1 in terms of capture (which is only comeuppance, at present, is the limitation
more sharpness detail, though this is negligible the same 1080/60i), bar the added bonus of a to three E-mount lenses. ML
at lower ISO settings. The JPEGs have a slightly larger sensor size and lower price point, which,
more accurate colour rendition and contrast is
pushed to a pleasing level, all of which could
of course, certainly add to the NEX’s winning
strength. And, theory and technicality put to VERDICT
easily be achieved in post-production from the one side, the movie mode is certainly a fine Although compact-like in appearance,
Raw file. The option of shooting both is certainly one, captured using AVCHD or, at a slightly don’t let the exterior fool you – the Sony
a plus point for those serious about processing lower resolution (1440 x 1080) which is then NEX-5 produces class-leading images that
files for the best results possible. upscaled, in Motion-JPEG format. Sound-wise outshine stiff competition. Many will
there is a small microphone on the body, or an love its pick-up-and-shoot ease of use,
external Sony stereo mic can be purchased and though it’s not without its errors – the
attached to the camera – though sadly there is lack of buttons for control, and amount
no external mic jack for third-party use. of menu digging required to adjust
options, may frustrate more advanced
An abundance of modes also make an
users. Otherwise the AF system is fast
appearance, including the new Background
and accurate and the variety of creative
Defocus Control which provides a live on-
modes are all very accessible. However,
screen depth of field preview. As well as the
for those looking for a more DSLR-like
proven standard ‘portrait’, ‘landscape’ and model with an electronic viewfinder
other modes, the inclusion of Auto HDR, and multitude of function buttons then
Hand-held Twilight and Sweep Panorama are the NEX may not suit; for those looking
the three more attention-grabbing modes. The for the smallest camera of its type with
Sweep Panorama allows a live rotation through HD movie capture capability and superb
226° to capture a large 23MP panoramic image quality then this is where the
scene in real time. With previous compacts NEX-5 really hits the nail on the head.
this was achieved silently, though the NEX
needs to repeatedly fire off the shutter. Once
this process begins there’s no stopping it, so
be prepared for a fair bit of noise that may
SCORES FEATURES 19
LIKES DESIGN 16
attract attention. It works very well in the right Good image quality, PERFORMANCE 18
conditions, though varying exposure areas and small system, Sweep
Panorama IMAGE QUALITY 19
moving subjects can cause issues with exposure VALUE 18
and object duplication or ‘stretching’ at times. DISLIKES
As of July this year there’s also the promise of
Slow start-up time, TOTAL
90%
options tucked away in
3D panoramas, though – as per all 3D capture menus, fiddly accessory
port attachments GOLD AWARD
– you will require the necessary 3D HDTV kit.
WHAT DIGITALCAMERA
PANASONIC GH1
Vs CANON 550D
HD VIDEO SHOWDOWN: IS THE GH1 MODEL STILL
THE BEST OPTION FOR YOUR HD MOVIES?
TESTED BY MAT GALLAGHER
High-definition video is no longer back in the April 2010 issue of What
just a quirky addition to the feature Digital Camera revealed the Lumix GH1 to
list of a digital camera. After the first be the best camera option for HD video
inclusion of video on a DSLR back in 2008, fans but, with the arrival of a new
models of every level from professional challenger, the Canon EOS 550D, will the
through to entry-level cameras are GH1 maintain its title? Or, will the newer,
boasting HD movie abilities. The cheaper DSLR option from Canon steal
introduction of mirrorless interchangeable the show?
models, or Micro System Cameras (MSC), For this test we will focus purely on the
have led to further advances, as without video abilities of the two cameras, rather
the hassles of a mirror in front of a sensor, than the cameras as a whole; and will be
capturing video can be as natural for these looking at functionality, control and
models as taking stills. Our exclusive test quality, as well as value for money.
HD VIDEOHEAD TO HEADTEST
PANASONIC
LUMIX GH1
£970 WWW.PANASONIC.CO.UK
• 12.1MP LIVEMOS • AVCHD/MJPEG
• 1080i • 3IN LCD
• 100-1600 ISO • 29.59MIN CLIP TIME
This was only the second MSC model to near-silent focusing, though even using the resolution or 1,440k equivalent on the
be launched, and has now been on the Face Detection setting, focus can drift to the viewfinder, the screen doesn’t truly represent
market for over a year. Despite another nine background during shooting. Single AF is the final result. On the camera the picture can
models entering the market since, the GH1 is easier as it allows you to specify when to look pale and have a notable colour cast, when
still to be beaten for video. It uses the AVCHD refocus, by half pressing the shutter button, in reality the results are rather impressive once
format as its main video file type, though and is surprisingly good, especially when on a computer. The danger here is that you may
Motion-JPEG is also available. Recording is at combined with the Face Detection. try to compensate for these colour casts in
1920 x 1080 pixels, though interlacing its In terms of shooting options the GH1 camera and spoil the result unnecessarily.
50/60 field capture into the 25 or 24 frames provides a full range, from full auto to fully Overall video quality from the GH1 is
per second output to do so, therefore classed manual, with Shutter priority, Aperture impressive. Colours are punchy with deep blacks
as 1080i. Choosing a recording size of 1280 x priority and Program modes filling in the gaps. and bright, saturated primes. The lens provides
720 (720p) allows full progressive output and ISO is also fully adjustable (but not the 3200 sharp detailed subjects, though the aperture
also offers a 50/60fps output for potential setting) or can be set to Auto, and the same range and smaller sensor mean that shallow
slow-motion. It also has by far the longest goes for the White Balance settings. The focusing is difficult to achieve. ISO performance
recording time of any DSLR/MSC camera,
offering just a second short of 30mins per
clip. For sound, the GH1 is still one of just a THE GH1 IS THE ONLY MODEL TO OFFER
few models to offer a built-in stereo CONTINUOUS AUTO FOCUSING IN VIDEO
microphone and uses its Dolby Digital stereo
creator to produce full 48kHz audio. There’s on-screen display provides metering is good up to around 800 but after that does
also an input for an external microphone, information, as well as the ability to provide show some signs of noise in shadow areas.
though this is a 2.5mm jack rather than a exposure compensation. As the GH1 is a AVCHD is a more laborious format to convert for
standard 3.5mm, so you’ll need an adaptor mirrorless camera, the electronic viewfinder editing but is becoming widely supported and its
for anything other than Panasonic’s own can also be used for video composition, and quality and compression certainly justifies it.
external mic. therefore allows a more natural holding Despite recent drops in the GH1’s street price,
Focusing in video continues to be an issue position. The rear LCD features a tilt/rotate this is still quite an expensive camera, though the
for MSC and DSLR cameras compared to their bracket, so it can be easily positioned for easy added price is somewhat justified by the
camcorder counterparts. The GH1 is the only viewing from almost any angle. This is inclusion of the 14-140mm lens. Now just under
model to offer continuous autofocusing. This especially useful for low/high level shooting, £1,000 it may be difficult to justify for all but the
is, in part, thanks to the 14-140mm lens with or when placed on a tripod. The only problem video enthusiast, but it does come at nearly half
is that despite the adequate 460k-dot the price of Canon’s EOS 5D Mk II with a lens.
IMAGE
QUALITY
100%
ABOVE: In this screen grab we can see the GH1 is capturing bright
and punchy colours, though on close inspection this may be at the
detriment to levels of detail. Panasonic 14-140mm, AVCHD 1080i 25fps ABOVE: Some stunning results of these moving targets, at the Graduate Fashion Week show
WHAT DIGITALCAMERA
CANON
EOS 550D
£690 WWW.CANON.CO.UK
• 18MP CMOS • MOV FORMAT
• 1080P • 3IN LCD
• 100-6400 ISO • 12MIN CLIP TIME
This is now the fourth EOS to offer HD Face Detection can be deployed in this mode impressive than the final result. The colours are
video but is by far the cheapest. The 550D too, allowing quicker and more accurate accurate and the exposure is spot on though,
is an update on the 500D and at least part of focusing onto faces in the scene, though the so there’s no danger of you ruining your image
this upgrade was in the video functionality. focusing is slow to react and struggled to lock trying to correct the screen. The screen is also
Unlike the GH1, this is a fully-fledged DSLR, on in low light, compared to the GH1. In much higher resolution than on the GH1,
complete with mirror box and optical practice I found manually focusing quicker to standing at 1024k-dot resolution providing, in
viewfinder; therefore it is slightly larger and use, thanks to the short rotation of the front theory, a sharper image. However, fine
considerably heavier than its counterpart. It uses element for focusing. focusing is still difficult using an electronic
the Quicktime MOV format for recording and It is nice to see creative exposure video screen as with all non-optical sources.
offers full 1080p (1920 x 1080) at 30, 25, or options for the 550D rather than being limited The finished video does look impressive with
24fps and also offers the lower 720p HD or to just an auto setting, and therefore some good colour depth and exposure. Image noise
640 x 480 recording at 50fps for fast-moving may question the benefits of the 7D over it for was prevalent using the higher 3200 and 6400
subjects or slow-motion possibilities. It also video. It features a choice of Manual or Auto, ISO settings but at lower values remained crisp.
features a cropped mode, which Images were perhaps not as crisp as
records at 640 x 480 with a 7x expected, and even when using a
magnification for increased zoom. The THE LCD DOESN’T HAVE TILT AND more professional lens, they lacked the
recording time is specified as up to
24mins but this is for VGA (640 x 480)
SWIVEL BUT QUALITY IS SUPERB crispness shown from the EOS 7D and
5D Mk II models. The MOV format
recording. High-definition recording does make previewing easier, as they
(1080p or 720p) offers a maximum of 12mins with white balance and ISO also fully can be viewed straight from your browser
recording time per clip. Sound is recorded via a adjustable. Like the GH1 it also has a direct using QuickTime player or even Adobe Bridge.
mono internal mic at 44.1kHz (Linear PCM), record button on the back but the camera still This does come with the penalty of larger file
though full stereo can be achieved via the needs to be in Movie mode, otherwise this just sizes and reduced clip lengths, though.
3.5mm mic input with use of external devices. acts as a live view mode selector. The Quick The EOS 550D is one of the more affordable
Unlike earlier video-capable DSLRs, the 550D menu allows you to change the main video ways to gain Full HD video recording and, with
offers some autofocus functionality during options without leaving the live screen, though an impressive arsenal of lenses available, it
capture, though this is slightly limited. The some functions still require full menu access. certainly opens up creative possibilities. The kit
Quick focus live view method of flipping the The rear screen on the EOS 550D doesn’t lens is limiting though, and with a better lens,
mirror back down can only be used before have the benefit of a tilt and swivel mechanism. the price difference with the GH1 is negligible.
recording, but the contrast-detect method, However, the screen quality is superb. In fact,
known as Live mode, can be achieved during. the image on the back almost looks more
IMAGE
QUALITY
100%
ABOVE: The colours in this image are slightly more natural than from ABOVE: The grabs show a nice bright exposure
the GH1 and hold more detail in the brickwork. thanks to the high ISO range from the EOS 550D
Canon 18-55mm IS, MOV 1080p 24fps
HD VIDEOHEAD TO HEADTEST
SOUND QUALITY
PANASONIC CANON Sound is something that perhaps hasn’t been
LUMIX GH1
top priority in the advancement of DSLR/MSC
550D video modes, and as a result it can often be
SPECIFICATIONS SPECIFICATIONS fairly poor. Early models relied on a single
mono source on the body and no option for
PRICE £970 PRICE £690 external inputs.
SENSOR 12.1MP LiveMOS SENSOR 18MP CMOS (APS-C) The GH1 is a slight exception as it includes
(Micro Four Thirds) FORMAT MOV (Video: H.264, Sound: full stereo sound and a Dolby Digital
FORMAT AVCHD / QuickTime Motion JPEG Linear PCM) Surround Creator built into the body. It
VIDEO SIZE VIDEO SIZE
also offers an external mic input, such as
AVCHD 1920 x 1080, 50i/60i (output MOV (QUICKTIME) 1920 x 1080 (29.97/ 25/ 23.976
is 25fps/24fps), 1280 x 720, fps), 1280 x 720 (59.94/ 50 fps), Panasonic’s own mini boom mic. Owing to
50p/60p 640 x 480 (59.94/ 50 fps) the 2.5mm socket, though, most third-party
MOTION JPEG 1280 x 720, 30fps / 320 x 240, mics will require a 3.5 to 2.5mm adaptor to
30fps / 640 x 480, 30fps / 848 connect them.
x 480, 30fps The 550D sticks with the basic mono
AUDIO Dolby Digital Stereo creator AUDIO Linear PCM microphone built into the body for general
INPUT 2.5mm stereo Mic INPUT 3.5mm stereo Mic use but it does, at least, offer external stereo
OUTPUT miniHDMI (1080i), USB 2.0 OUTPUT miniHDMI, USB
MAX CLIP LENGTH 29.59min MAX CLIP LENGTH 12mins (HD) /24min (VGA) input via a 3.5mm socket.
APERTURE CONTROL Yes APERTURE CONTROL Yes Both models record the sound at relatively
SHUTTER CONTROL Yes SHUTTER CONTROL Yes high sample rates similar to that of CD
ISO CONTROL Yes (Auto, 100-1600) ISO CONTROL Yes (Auto, 100-6400) quality. However, despite the superior stereo
QUICK RECORD BUTTON Yes QUICK RECORD BUTTON Yes microphone, the GH1’s audio sounded
LCD 3in TFT 460k-dot LCD 3in TFT 1024k-dot slightly muffled compared to the 550D when
DIMENSIONS 124 x 89.6 x 45.2mm DIMENSIONS 128.8 x 97.3 x 62mm played back via headphones. This, though,
WEIGHT 385g (body only) WEIGHT 530g (body only)
may have been a result of the surround
sound processing. One thing missing from
any of these type of cameras, is a method
of monitoring the sound when recording –
something that would be almost a necessity
for any serious film-maker.
Sound clip from Canon EOS 550

A well-exposed punchy scene from the GH1. A much brighter exposure from the 550D,
Notice the sky detail and the rich blacks of the though swayed slightly as the composition has
hand rail along the right-hand side. less sky and more ground. Colours are warmer
but offer more detail in blacks.
SCORES SCORES
LIKES DISLIKES LIKES DISLIKES
Tilt/swivel screen, AF, LCD screen quality, Price, screen quality, Focusing, sharpness,
Sound clip from Panasonic GH1
clip length, lens ISO range ISO range, MOV format lens
CONCLUSION
The results of this test were far closer than side: the screen quality is much higher and
we ever expected and, as such, making a gives a more accurate representation of the
clear-cut decision on the best model for video image; the ISO range goes higher for
is not easy. We have to be very clear that low-light shooting; the mic input is a
these scores are for the video use only, as standardised 3.5mm; it offers a greater array
both cameras have already been tested and of lenses; it offers a full progressive HD
overall we believe the EOS 550D to be the capture in a more usable MOV format, and it
stronger camera. is cheaper to buy. close to HD video produced by the EOS 5D
In video terms the GH1 does have some The actual size difference between the Mk II, or even the EOS 7D, and therefore
advantages over the 550D: the focusing is two cameras is actually less in practical terms both are a compromise. As a complete
quicker in low light, and offers continuous than the specs would suggest, and once package, the Lumix GH1 offers everything
focusing – though not overly effectively; the lenses are taken into consideration the you would need. However, if you are looking
inbuilt microphone is stereo; the lens is far weight is practically the same. In real terms to expand into a video system, by adding
superior; clip length is longer and files you would be happy with the results from more lenses with a move to upgrade to the
smaller; the LCD screen can be angled for either of these cameras. The Canon’s videos likes of the 5D in the future, the 550D makes
viewing, and the electronic viewfinder can are slightly more natural where the perfect sense and, being the cheaper here,
be used during video too. On the EOS 550D’s Panasonic’s are punchier but neither come it’s a better starting point for most. MG
78 www.whatdigitalcamera.com
WHAT DIGITALCAMERA
SPECIFICATIONS
SENSOR 10MP, 1/2.3in
LENS 28-105mm, f/2.0-5.3
LCD 3in
FILE FORMATS JPEG, MOV
SHUTTER SPEEDS 1/2000 – 8 seconds
EXPOSURE MODES Auto, SP, AP, P (16 Scene Modes)
METERING SYSTEM Multi-pattern, Centre-weighted, Spot
ISO RANGE 125-3200
WHITE BALANCE Auto, 5 Presets, Manual
FLASH MODES Auto, on, off, redeye reduction,
soft flash
CANON
MEMORY CARD SD/SDHC
CONNECTIVITY USB/HDMI
POWER Rechargeable li-ion
DIMENSIONS 100 x 54.1 x 23.6mm
IXUS 300 HS
WEIGHT 173g
IMAGE QUALITY
Although its 10MP sensor isn’t crammed with DOES THE STYLE OF THIS LATEST IXUS
OUTWEIGH ITS SUBSTANCE?
lots of pixels, which may seem low in the
current climate, the IXUS 300 HS makes up
for this with back-illuminated CMOS 10MP
technology. In actuality this means the 3.8X OPTICAL ZOOM £379 WWW.CANON.CO.UK TESTED BY MATT TUFFIN
images produced are equal to models that
boasting higher megapixel counts, with
results producing some breathtaking colours PERFORMANCE
with fantastic sharpness. With only a 3.8x optical zoom there’s not much in
Dynamic range is impressive for a the way of versatility in the lens for closer
compact, keeping plenty of detail in the cropping, but the speed and accuracy of the
shadows without overexposing the highlights focusing more than makes up for it. Even when
too often. One reason for this is the bright, the camera is switched to the automatic exposure
image stabilised f/2 lens which allows lots of mode it barely pauses when changing from
light to reach the sensor. landscape to macro mode, and the lens is equally
Low-light performance showed that each as rapid. Having image stabilisation helps the
ISO setting is printable with only slight focusing hugely and the bright f/2 lens ensures as
touches of pixel smoothing. Even into the much light as possible hits the sensor.
upper echelons of the ISO settings, colour is
maintained in impressive fashion, and further VALUE
down the scale there’s an excellent degree of The only real downside to speak of, which has
punch and contrast with less presence of been a gripe with previous IXUS models, is the
image noise. price. At £20 shy of £400 RRP and a fair way to
go before even the street price matches those of
its rivals, the IXUS 300 HS has an uphill battle to
fight. Although the camera is excellent on most
fronts, having to justify the extra £100+ over its
better-specced (though not necessarily high
speed) rivals will be extremely difficult for those on
a tighter budget.
VERDICT
Though its price is a bit high, the IXUS 300HS
is the best in its field, with performance and
image quality being superb. WDC
100% SCORES FEATURES

DESIGN
19
19
LIKES
Takes excellent photos, PERFORMANCE 18
stylish body, manual IMAGE QUALITY 18
functions
VALUE 16
DISLIKES
Very high price TOTAL
ABOVE Colour quality, contrast and sharpness are all
excellent from the Canon IXUS 300 HS
90% GOLD AWARD
CAMBRIDGE
EOS 7D EOS 50D EOS 450D EOS 1000D
Digital SLR kit with 18-135mm IS 18mp Digital SLR kit with 17-85mm IS USM lens Digital SLR kit with EF-S 18-55mm IS lens Digital SLR kit with 18-55mm lens
• 10 megapixels
• 12.2 megapixels
• 3” LCD screen with
CMOS sensor
Live View mode
• 3” LCD screen with
• 7.5fps continuous
Live View mode
shooting
• 3.5fps continuous
• EOS Integrated
shooting
Cleaning System
• DIGIC LLL
• Magnesium alloy
processors
body
£1,670 £1,220 £569.99 £440

Campkins Package includes Campkins Package includes Campkins Package includes Campkins Package includes
4GB Xtreme 3 200x (worth £44.99) 4GB Xtreme 3 200x (worth £44.99) 2GB SANDISC (worth £29.99) 2GB SANDISC (worth £29.99)
AN
D PART EXCHANGE YOUR OLD DIGITAL SLR
at least £100 allowance on your fully working Canon Digital SLR inc Standard Zoom
Canon Lenses Sigma lenses to fit Canon EOS Pentax in Cambridge
Canon EF-S 60mm f2.8 Macro USM . . . . . . . . . . . . . . . . . . . . .£399.99 10-20mm F3.1 . . . . . . . . . . . . . . . . . . .£499.99
Canon EF-S 10-22mm f3.5-4.5 USM . . . . . . . . . . . . . . . . . . . .£674.99
10-20mm F4/5.6 . . . . . . . . . . . . . . . . .£439.99 Pentax K7 inc 18-55 VR . . .£999.99
Canon
Canon
EF 17-40mm f4 L . . . . . . . . . . . . . . . . . . . . . . . . . . . . .£729.99
EF-S 17-85mm f4-5.6 IS USM . . . . . . . . . . . . . . . . . . . .£449.99 M9 Check for Stock 18-105mm 05 . . . . . . . . . . . . . . . . . . .£269.99
Pentax KX + 18-55 . . . . . .£599.99
Canon EF 24-70mm f2.8 L USM . . . . . . . . . . . . . . . . . . . . . .£1,129.99 18-200mm OS FOC UV Filter . . . . . . . .£329.99
Canon
Canon
EF 24-105mm f4 L IS USM . . . . . . . . . . . . . . . . . . . . . .£949.99
EF 70-200mm f4 L USM . . . . . . . . . . . . . . . . . . . . . . . .£599.99 Used M8 available 18-250mm OI . . . . . . . . . . . . . . . . . . .£479.99
2 x Sigma C-EOS . . . . . . . . . . . . . . . . .£189.99 50-200 AL WR . . . . . . . . .£139.99
Canon EF 70-300mm f4-5.6 IS USM . . . . . . . . . . . . . . . . . . . .£499.99
170-500 APO OS . . . . . . . . . . . . . . . . .£789.99
Canon
Canon
EF 70-200/2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . .£1,699.99
EF 100-400mm f4.5-5.6 L IS USM . . . . . . . . . . . . . . .£1,449.00 plus lenses 70-300 DG Macro . . . . . . . . . . . . . . . . .£149.99 Other package combo’s on request
Canon EFS 17-55 f2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . . .£899.99
Canon EFS 18-200 f3.5/5.6 IS . . . . . . . . . . . . . . . . . . . . . . . . .£549.99
Canon EFS 55-250 IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .£244.99
1/2 price multi Coated Filter supplied DHQ Quality Mailorder welcome P&P Extra £6.99 Next day extra £13.99 Prices include 17.5% VAT
CAMPKINS CAMERA CENTRE

11 ROSE CRESCENT, CAMBRIDGE, CB2 3LP
Tel: 01223 364223 Fax: 01223 313852
WHAT DIGITALCAMERA
FUJIFILM PANASONIC SAMSUNG

S2500HD TZ8 WB650
£189 £210 £240
12 MEGAPIXELS 12.1 MEGAPIXELS 14.2 MEGAPIXELS
18X OPTICAL ZOOM 12X OPTICAL ZOOM 15X OPTICAL ZOOM
WWW.FUJI.CO.UK WWW.PANASONIC.CO.UK WWW.SAMSUNG.CO.UK

The Fujifilm S2500HD is a bridge camera The Lumix TZ8 – the ‘little brother’ of the The Samsung WB650 has a 1/2.3in CCD
that offers 12MP stills and an 18x zoom flagship TZ10 – has 12MP and a 720p HD sensor with a 14.2MP resolution,
inside a surprisingly compact body. movie mode for high-def video and it’s even outputting an effective 12 megapixels. There’s
During shooting the zoom is aided by two possible to use the zoom during capture. a 15x optical zoom, supported by dual image
forms of stabilisation in a sensor shift and ISO- Although there’s no Raw capture, the TZ8 is stabilisation, and also a 3in AMOLED screen.
based system. Full manual controls are also very capable. As well as intelligent Auto (iA) and The WB650 benefits from HD video
included, giving the user the opportunity to a host of scene modes, full manual PASM modes capture, offering a 720p resolution, while GPS
adjust shutter speed and aperture. also feature for optimum creative control. (global positioning) offers geo-tagging for
The S2500HD’s handling and design are The camera is small, if a bit chunky – though image placement data.
shaped by the large zoom barrel. Also present is this is excusable given the sizeable zoom. Owing to the full specification and
a large grip to the right of the lens, which Controls are straightforward and menus easy to significant focal range, the WB650 has a fairly
provides suitable stability for the bulky front-end. follow, whether using Auto modes or the large body. Despite its slight over-sizing and
The mode dial is familiar DSLR-style fare, being as Q.Menu to quickly adjust manual settings. the extra weight, the WB650 neither looks
substantial as the controls at the rear. Images are good through the ISO 100-1600 nor feels unwieldy. It’s light on buttons, but
Image quality from the S2500HD provides standard range, though colour noise is visible in does feature a dedicated mode dial.
wildly disparate results dependent on whether or shadow areas and the extended ISO 3200-6400 The WB650 is quick in use, though a bit
not the zoom is being employed. At wideangle settings suffer significant image noise at a lower sluggish to power down. The menu system is
the dynamic range is impressive, but at the other resolution. The new Intelligent Resolution (IR) different from most, though it’s a pleasing
end the stabilisation seems unable to cope which technology also smartly sharpens images to alternative to the norm. Image quality is
isn’t surprising due to the huge zoom length. exude apparent detail, which works subtly. generally fine, though there are some white
Regardless of the focal length the S2500HD has Overall, the TZ8 offers a whole lot for its balance and exposure inconsistencies.
a tendency to favour the midtones, and as a modest street price. It lacks the GPS of its TZ10 All in all, this is a well-specified camera with
result the images are not as eye-catching as they cousin and has a smaller 2.7in, 230k-dot screen, few failings, bar some slight image quality and
could be, but still good for the money. MT but delivers the goods in droves. Top stuff. ML performance issues. PN
ABOVE Colours are slightly duller than might be expected ABOVE 12x optical zoom makes for great shooting ABOVE Images are good despite some exposure issues
SPECIFICATIONS SPECIFICATIONS SPECIFICATIONS

LENS 28-504mm, LCD 3in POWER AA LENS 25-300mm SIZE 103.3 x 59.6 x POWER Rechargeable LENS 24-360mm LCD 3in AMOLED POWER
f/3.1-5.6 SIZE 110.2 x 73.4 x MEMORY SD/SDHC RES 12.1MP 32.6 mm Li-ion equiv, f/3.2-5.8 SIZE 106.6 x 60.5 DB-70, Li-ion
RES 12.0MP 81.4mm OTHER USB/AV, ISO 80-1600 WEIGHT 214g approx MEMORY SD / SDHC RES 14.2MP x 28mm MEMORY SD /
ISO 64-6400 WEIGHT 337g HDMI, Redeye LCD 2.7in, 230k-dot (inc. card and battery) / SDXC ISO 80-3200 WEIGHT 214g SDHC
SCORES FEATURES 17 SCORES FEATURES 17 SCORES FEATURES 18

LIKES DESIGN 18 LIKES DESIGN 18 LIKES DESIGN 18
Very well built, PERFORMANCE 17 Build quality, PERFORMANCE 18 3in AMOLED screen, PERFORMANCE 17
zoom active during IMAGE QUALITY 16 creative control, IMAGE QUALITY 18 design IMAGE QUALITY 17
filming cost-effective DISLIKES
VALUE 18 VALUE 18 VALUE 18
DISLIKES DISLIKES Inconsistent auto
Images favour TOTAL Slightly chunky, TOTAL white balance TOTAL
86% 89% 88%
midtones too heavily limited upgrade
over the TZ7
SES A ND ACCESSORIES,
LATEST GEATR, LEN H E WDC EXPERTS
TED BY T
TRIED AND ES
KATA
BUMBLEBEE UL-222/
BUMBLEBEE PL-220
£349/£259 WWW.KATA-BAGS.COM
SEAGATE
The Kata Bumblebee UL-222 and PL-220 possible. Both also feature thick padding on the
are large-capacity backpacks able to hold a shoulder straps and the waist strap, with the
huge amount of kit. The main difference
between the two is an aluminum frame around
UL-222 offering an impressively chunky degree
of foam for the midriff. The aluminum frame on FREEAGENT
the back on the UL-222. the UL-222 may sound uncomfortable, but the GOFLEX PRO
Large backpacks need to tick a fair few boxes,
but the most important is comfort. If you’re
shape is perfect to sit against the back and
makes the bag rigid so the contents won’t affect 500GB
planning to go hiking with a DSLR and four or the balance, with a mesh section added to £94 WWW.SEAGATE.COM
five lenses on your back the last thing you’ll want ensure the wearer’s back doesn’t get too hot.
is to be uncomfortable. Although the PL-220 is missing this feature it still
The Seagate FreeAgent GoFlex
Kata has put the has a solid support, and is easily capable of
Pro 500GB is a backup hard
impetus on ensuring carting heavy objects around without
drive with the ability to upgrade itself
the bags themselves discomfort. There are plenty of pouches
via an interchangeable base unit. This
stay as lightweight and pockets, with the main section allows the drive to connect via USB 3,
as possible by using having both top and bottom zips. USB 2 or Firewire by swapping a small
perforated foam Elasticized straps allow for a tripod or part of the drive. Also included is
and aluminium monopod to be held and the front built-in automatic backup software,
alloy pocket holds a ‘structural stabilizer’ which intelligently picks out files to be
where for improved rigidity. saved without the user needing to
The internal space can be interject at all.
improvised via the Velcro separators The sleek portable unit is available
and the main compartment can in a number of colours and capacities,
easily hold a DSLR with long from 320GB through to 1TB. With a
zoom lens attached. The weather- laptop hard drive sat inside, both the
proofing comes in the form of a size and weight are minimal enough
separate cover, which can be rolled to put within a camera or laptop bag.
up within a pouch, and both can be As the drive works on both Mac and
attached to an optional trolley. MT PC without the need to reformat or
partition it can be used to backup
KATA BUMBLEBEE UL-222
files regardless of the computer. The
LIKES Cavernous, comfortable to carry interchangeable connectors also
backpack with plenty of space means a single drive can be used with
DISLIKES Weatherproof cover is separate, multiple Seagate connectors,
extra expense for aluminum frame including a network-ready dock and
media connector that can display
88% content on a TV. Some of the

adaptors are as much as the drive at
KATA BUMBLEBEE PL-220 the moment, but only the USB 3
LIKES Huge and very comfortable to have option is a touch too expensive. MT
on the back
LIKES Lightweight, versatile and extremely useful
DISLIKES Weatherproof cover is separate DISLIKES Some adaptors are too expensive
89% 91% GOLD AWARD
WHAT DIGITALCAMERA
AppLE ipAD
IT’s onE of THE MosT HypED pRoDuCTs
of THE yEAR, buT Is IT Any GooD?
From£429 www.apple.com/uk
If you’ve been anywhere near a TV, device. Most of them you pay for but there are
newspaper, billboard ad or on the internet many free ones too, and most are affordable.
in the past four months, you already know Included in this set are nearly 250 photography-
about the iPad. The iPad is a revolution, the based apps, ranging from galleries to fully
advert tells us, it’s movies, photos, videos, fledged picture editors, such as ColorSplash and
websites and apps. But we already have access Filterstorm (full roundup next month). Apple
to all of those things. Laptops, netbooks, smart has also made a camera connector kit (£25),
phones, and even Apple’s own iPhone already that includes an SD card reader and USB socket,
gives us all of this. So what is the iPad for? allowing you to download images directly from
Lateral thinking like this is all very well but I your camera, iPhone or card, and even plug in
remember, before I bought an iPhone, thinking an external card reader or keyboard.
I’d never need all of its functions in one device, Typing on the touchscreen keypad is pretty
but now I’d hate to be without it. The iPad then easy once you get used to it, and there are
has the same ability. What the iPad gives you is word processing, spreadsheet and presentation
a device that is instant – there’s no waiting for it apps for business users. For me though, the
to boot up because there’s no need to turn it biggest use of this device is to watch movies,
off. It’s design is such that you can use it surf the net and play games. Some professional
standing up on the train (try doing that with a photographers though have already started to
laptop), on the sofa, or in a meeting room. use it as a portfolio – and seeing my own AboVE The iPad is thin but feels
For photographers and movie lovers alike it’s images on it, I can see why. The mobile Safari solid and well made
the screen that really impresses. It has a 9.7in internet browser is pretty good, though some
1024 x 768 display – enough for 720p HD video sites still treat it as a mobile device, which can LIKEs Screen, mobility, apps
and photos – and looks absolutely stunning. be frustrating. But this, along with it being a DIsLIKEs Weight, browser, giving it back
Like the iPhone, its strength is in the apps; little heavy to hold in one hand for too long,
these are over 2,000 downloadable applications,
and rising, from the App store accessed on the
are its only faults. So, do I need an iPad?
Probably not. Do I want one? ...Definitely. 95% GoLD AWARD
GeARedUp
BOOKS
100 GReATeST
cycLING cLIMBS
AUTHOR SIMON WARReN
pUBLISHeR FRANceS LINcOLN LIMITed
ISBN NO: 978-0-7112-3120-7
£8.99 www.franceslincoln.com
It’s hard to imagine the pain definitely have the
and torment that a cyclist on photogenic settings
the Tour de France goes through. to match.
Picture, if you will, hour upon hour 100 Greatest
spent sat in the saddle, pushing Cycle Climbs: A Road
your body to extremes over a range Cyclist’s Guide to
of courses, the hardest of which is Britain’s Hills is a
arguably the hill climb. meticulously
One of the benefits of riding the researched account
tour, if you have time to appreciate of the very best
it, is that it takes in some of the ascents in the land. Even if you breathtaking vistas perfectly suited
most stunningly photogenic views don’t fancy putting yourself through to a leisurely drive followed by a
in Europe. Though we don’t have the agony of cycling up them, it lengthy landscape photography
the same scale in the UK, we serves as a guide to some truly session. 90% PN
AdOBe
pHOTOSHOp cS5 FOR
pHOTOGRApHeRS
AUTHOR MARTIN eveNING pUBLISHeR FOcAL pReSS
ISBN NO: 978-0-240-52200-5
BLAckRApId £29.99 www.focalpress.com
RS-5
Whenever a new version of Fame member has been
Adobe’s flagship image writing about the software
editing software Photoshop is for over 14 years, so is
£69 www.blackrapid.com released, photographers are often better placed than most
overwhelmed by new features and to guide you through
The BlackRapid RS-5 is a camera strap that functionality with which they can the latest incarnation.
looks to give the user more from their improve their images. Add the fact His latest title offers
shoulder support. With plenty of pockets and that Adobe rarely does away with well over 700 pages
pouches to distribute phones and memory cards, any of its old features, it’s fair to say packed with advice, as well as an get to grips with
the RS-5 looks to minimise the amount of rustling that most never get their full worth accompanying DVD. the new software, there are few
through a camera bag. from the software. Advice throughout is aimed at better options than picking up a
The camera is attached via a tripod mount screw, Step in Martin Evening – the photographers, and as a result is copy of Evening’s latest book and
which may sound like a recipe for disaster on the professional photographer, WDC easy to read and pleasingly setting about teaching yourself.
surface. In reality the camera remains perfectly still contributor and Photoshop Hall of relevant. If you’re really looking to 92% PN
after being screwed in, without a hint of insecurity
ULTIMATe FIeLd GUIde TO

with the connection. The pockets are sealed with
magnets for the most part, allowing quick and
TRAveL pHOTOGRApHy
silent access to memory cards and batteries.
Although you can’t store anything much larger in
the pockets there’s plenty of space for the average AUTHOR ScOTT S STUckey pUBLISHeR NATIONAL GeOGRApHIc
extras for a day’s shooting. ISBN NO: 978-0-7112-3120-7
There’s a hefty amount of padding on the strap £12.99 www.nationalgeographic.com
as well, meaning a day’s trek isn’t too much of a
Travel is one of capturing cities, Stuckey passes on
chore. The price is a touch high, which is the only
photography’s most popular plenty of practical advice. He
real negative, as £69 is outside of most people’s
genres, but good travel emphasises the importance of
budget for a camera strap. MT
photography is far from easy and strategy, compiling a shoot list and
LIkeS Excellent storage capabilities, requires a lot of skill and planning. how to engineer situations. He
comfortable to use Wouldn’t it be great to get some advises on the best time of day for
dISLIkeS very expensive for a strap tips and ideas from National certain subjects and how to make
Geographic experts that we can the most of photogenic situations.
apply to our own travels? That’s For example, in markets he
where this book comes in. points out that buying something
Fifteen pros share their wisdom from a vendor makes it more likely
87% and images in this great book by

Scott Stuckey, senior editor at
National Geographic Traveller.
they’ll be co-operative when you
want to photograph them. For
anyone aspiring to create great
Divided into sections such as telling travel photography, this book is a
a story, photographing people and must. 92% NA
WWW.WHATdIGITALcAMeRA.cOM 85
WHAT DIGITALCAMERA
ADOBE
PHOTOSHOP CS5
THE FULL RELEASE OF PHOTOSHOP CS5 FINALLY HITS THE SHOPS,
BUT IS IT REALLY WORTH THE UPGRADE…?
£644 NEW £187UPGRADE WWW.ADOBE.COM
After a number of months in its beta processed sharper than before, plus there great idea on paper, but one that can’t
format, the final full release of are tools for better image noise reduction. always be successfully relied on, especially
Photoshop CS5 is now available. Seen as Of course it’s not just enhancements but where larger areas are concerned or
the ultimate image-editing program, the full-blown new features that show in this shallow depth of field shots (the algorithm
previous CS4 incarnation was mightily new version too. The most notable, and doesn’t consider focal planes, so out-of-
impressive and would seem a toughie to certainly the one that’s seen its way focus areas can draw from areas that are
top. So where does CS5 improve? around many an internet forum, is the more in focus). Saying that, if you ensure a
First up there’s a new Adobe Camera Content Aware Fill feature. The premise selection is isolated on its own layer, or by
Raw (ACR) version 6.1 that reads the here is that a selection can be made and using smaller selections or brushes, then
majority of current Raw files from auto-filled with ‘would be’ content that is this tool comes into its own. Even though
hundreds of cameras as well as adding an generated from the surrounding image – results are rarely 100% accurate, it
improved algorithm that sees images ideal for quickly removing objects. It’s a provides a good base to work from using
AT A GLANCE:
NEW FEATURES
Although the full list of new features and
improvements is actually much longer, there
are a number of key updates and new
features that are particularly notable for
photographers. The ‘Standard’ Photoshop CS5
edition features all these updates, while the
‘Extended’ edition strongly aligns itself with
advanced 3D workflow by adding tools that
now include both texture and lighting
capabilities for three-dimensional objects.
Although the ‘behind the scenes’ workflow IMPROVED SELECTION: Smart radius
and new full 64-bit capabilities certainly add CONTENT-AWARE FILL: Fills area based on selection permits user-control of
more speed, greater depth and ease of use, its content surroundings using a clever Smoothness, Feathering, Contrast and
here are five of the bigger features that are algorithm. A great starting point for more Edge Shift for accurate masking and
most likely to tempt purchase. fine-tuned brushing. selection.
GEAREDUP
ALL THAT’S NEW
IN PHOTOSHOP CS5
Standard and Extended editions of
Photoshop CS5 will be available. Both
editions see full 64-bit capability – now
coded in Apple’s native Cocoa for the PASTE IN PLACE
Mac release – and continued graphics TRUER EDGE SELECTION TECHNOLOGY, FULL 64-BIT SUPPORT FOR MAC AND WINDOWS
card compatibility to pull the most SELECTION AND MASK REFINEMENT TOOLS
power from systems. MULTIPLE FEATURE ENHANCEMENTS,
CONTENT-AWARE FILL GPU-ACCELERATED OPTIMISATION AND
Beyond straight photography there
are other clever new features that COLOR DECONTAMINATION FOR SELECTION FASTER OPERATION
include paint brushes with the ability to MIXER BRUSH AND BRISTLE TIPS ADOBE REPOUSSÉ (MAP 2D IMAGE TEXTURES
mix colour on screen – perfect for TO 3D OBJECTS) (EXTENDED VERSION ONLY)
illustrators or graphic artists. The cross- PUPPET WARP
3D MATERIALS LIBRARY AND PICKER
over from CS5 programs is more STRAIGHTEN IMAGE TOOL AND AUTOMATIC LENS
(EXTENDED VERSION ONLY)
integrated and CS Live allows for CORRECTION (INCLUDING PRESETS)
projects to be exported for review using DEPTH OF FIELD FOR 3D (EXTENDED VERSION
ADDITIVE GRAIN IN ADOBE CAMERA RAW
nothing more than your web browser. ONLY)
The Extended edition also includes POST-CROP VIGNETTING
EASY-TO-USE SHADOW CATCHER
considerable 3D capabilities, now with ADOBE MINI BRIDGE (EXTENDED VERSION ONLY)
the ability to deal with texture maps
(Repoussé) and even lighting ADOBE CS REVIEW, PART OF ADOBE CS LIVE IMAGE-BASED LIGHTING (EXTENDED
possibilities. ONLINE SERVICES VERSION ONLY)
other tools and speeds up workflow. and all the other controls you need for
Puppet Warp is another new feature good HDR control can be found here. VERDICT
which allows for a virtual mesh to be Lens Correction adjustments now also Photoshop is regarded as the most
applied to an image (or individual object have presets that read the image’s EXIF heavyweight of image-editing programs.
on its own layer) and morphed using user- data to make automated adjustments for In CS5 we see some reasonably
defined ‘pivots’. It’s a little like the existing the specific lens that’s used. It’s a nice idea, significant updates such as Content
Liquify feature for the purposes of but if there’s no matching profile then only Aware Fill, improved Raw processing,
photography, but allows for much more manual adjustments can be made. It will HDR Pro and even some Lightroom 3
accurate adjustment, plus it’s non-linear, be interesting to see how many more lens functionality such as post-crop vignette,
i.e. possible to move any of your pivots or profiles are added with updates, as the amid numerous other improvements,
add new ones at any moment during the current handful of Nikon and Canon tweaks and features. However, the main
adjustment. The main let down here is that releases featured isn’t too plentiful. contention is whether upgrading is
once a Puppet Warp has taken place it’s Selection sees an overhaul that allows worthwhile, as it’s really dependent on
not possible to re-open the warp with the for much more accurate quick selections the level of complex editing that you’re
pivot points still intact – the resolved warp and masks to be made thanks to highly likely to do with the new tools. For the
is saved an entirely new flat object. For controllable edges, plus the Color casual photographer, upgrading is
correcting distortion with a high degree of Decontamination option allows copied perhaps a tall order, though the inclusion
accuracy, or for more quirky, fun use, this areas pasted into new environments to of new Raw processing alone is
tool is highly effective so long as it’s not lose any inappropriate colour cast to make temptation enough. Of course the
over-used (softness can become an issue). for a more realistic transition – again software is as stunning and evolutionary
Merge to HDR (High Dynamic Range) speeding up the process of common as ever and so undeniably a winner.
gets an overhaul too, with HDR Pro functions that Photoshop is often used for.
allowing for 16-bit adjustment within the However, CS5’s still not without bugs LIKES Camera Raw 6.1, selections, HDR
program itself that generates an image such as occasional non-loading and even a DISLIKES Still buggy (non-start, time out and
using shadow and highlight detail from few crashes on a powerful set-up were crash), Content Aware Fill not always successful
multiple exposures blended into one new more common than expected, something
image. A good degree of control over
edges, gamma, exposure, custom presets
that will hopefully be ironed out as patch
releases are made. ML 90% GOLD AWARD
IMPROVED ADOBE CAMERA RAW: ACR PUPPET WARP: This brand new feature LENS CORRECTION PRESETS: Lens
6.1 has a new processing algorithm that allows for ‘pivot’ points to be added to an correction presets have a variety of known
draws more sharpness detail from Raw overlying mesh that can warp and bend lenses that can be selected from to combat
files. As ACR 6 isn’t backwards compatible, the image. Great for fine-tuning distortion lens distortion (based on EXIF data), or
only CS5 (or Lightroom 3) users benefit. correction. even allows for user-definable tweaks.
WHAT DIGITALCAMERA
The most obvious reasons to buy this wideangle

Nikon lens hinge on its ultra-fast f/1.4 maximum AF-S NIKKOR
24MM F/1.4G ED
aperture, which offers unparalleled low-light
capabilities and the ability to record a narrow
depth-of-field despite the sweeping angle-of-view
that a 24mm lens provides. There is, though, more to
this lens than first meets the eye.
In particular, Nikon’s ultra-fast prime delivers £1895 WWW.NIKON.CO.UK
stunning MTF performances right across the aperture
TESTED BY JON TARRANT
range, with just the slightest dip at maximum aperture
but never falling below 0.25 cycles-per-pixel and • ULTRA-FAST APERTURE • NANO CRYSTAL COATING
holding above 0.3 cycles-per-pixel as soon as the
aperture is reduced. The minimum aperture is just f/16
• STUNNING IMAGE QUALITY • WEATHER AND DUST SEALED
but even this is a fully usable setting, which is more • SILENT AF OPERATION • MAGNESIUM CHASSIS
than can be said for some other lenses. • FULL-TIME MF INTERVENTION
This means Nikon’s 24mm f/1.4 can be employed
to record any desired depth-of-field, in the knowledge
that optical performance is not being compromised. In
addition, AF operation was virtually silent when tested
on both a full-frame D700 body and a DX-format D80.
Ergonomic design is equally impressive thanks to a
broad manual-focusing ring that sits right underneath
the user’s thumb and second finger, with an AF/MF
slider just to the rear. Manual intervention can be used
at any moment but the focusing ring always remains
undisturbed in AF mode so there is no need to avoid
touching it at other times.
A minor niggle is that the reversible petal-type lens
hood must be removed and refitted in its effective
position, as leaving it stowed makes the lens much
harder to hold securely. That said, a lens as good as
this deserves to be used properly at all times, with its
lens hood in place to guarantee the very best results
under tricky lighting conditions.
There really is nothing to dislike about this lens other
than its high price. Many readers will probably opt for
a more versatile and less expensive wideangle zoom
but we should all be grateful to Nikon for raising the
optical bar so high, as the efforts that have gone into
this lens will doubtless echo within the Nikkor family.
A lens this good deserves a wider audience than it
will probably get. One way to do that would be for
Nikon to supply its 24mm f/1.4 in other mounts but
that is very unlikely. More likely, and more beneficial to
Nikon, is the fact that this lens is clearly part of a major
Nikkor advantage in optical design that might tempt
other users to look afresh at the Nikon system. JT
IMAGE QUALITY
Michael Schumacher’s former Benetton race car,
photographed at f/1.4 and displaying both very
high in-focus sharpness and smooth tones across
the out-of-focus regions.
PHOTOGRAPH (C) JON TARRANT
PERFORMANCE SPECIFICATIONS SCORES

MTF performance is nothing short of stunning, being both FOCAL LENGTH 24mm LIKES
consistent and at an impressively high level right across the MAX APERTURE 1.4 Outrageously capable lens
aperture range. MIN APERTURE 16
DISLIKES
LENS MOUNT Nikon Very high price-point
IMAGE FORMAT Full-frame
OPT CONSTRUCTION 12 / 10
OPT TECHNOLOGY 2 aspherical
elements and 2 FEATURES 19
extra-low-dispersion
DESIGN 19
glass (ED) elements
FOCUS MODES AF/MF and MF
PERFORMANCE 19
MIN FOCUS 0.25mm IMAGE QUALITY 19
FILTER 77mm VALUE 17
LENS HOOD Included
DIMENSIONS 83 x 89mm TOTAL
WEIGHT
PRICE (STREET)
620g
£1,895 93% GOLD AWARD
89
WHAT DIGITALCAMERA
The optical and build quality of this lens are

nothing short of stunning. There was no hint of ZEISS DISTAGON
T* 18MM F/3.5 ZF.2
visible chromatic aberration (CA) in any of the real-
world images, and in technical trials CA even failed to
show up numerically in many of the tests.
There are, though, two big drawbacks to the Zeiss
£1150
18mm f/3.5. The first is that it has no autofocus (AF)
mode so it has to be focused by hand; the second is its WWW.ZEISS.COM/PHOTO
hefty price. Some readers may expect to get automatic
focusing in a prime lens costing more than £1,000, but TESTED BY JON TARRANT
in this case the money you pay is invested elsewhere. • STUNNING IMAGE QUALITY • RETRO-COMPATIBILITY
This is a lens that cries out to be used manually.
It feels as if it has been carved from a block of solid • ULTRA-WIDEANGLE • PRECISION MACHINING
metal using micron-precision machining, and both the • MANUAL FOCUS ONLY (NO • AVAILABLE IN CANON, NIKON
weight and location of its manual focusing ring are AUTOFOCUS MODE) AND PENTAX MOUNTS
perfect. In front of the ring is a tall flange that supports
a reversible (metal) lens hood and also serves to prevent
stray fingers from intruding into the wide field of view.
If desired, a low-profile filter can be attached to the
front of the lens using the 82mm thread provided.
To the rear of the focus ring is a rotating aperture
collar, complete with an infrared index and depth-of-
field markings for every aperture setting. In a single
nod towards automation, the ZF.2 lens (which is an
upgrade over the totally manual ZF version) has an
electronic interface for automatic aperture operation (in
which case the aperture collar must be locked at f/22).
There is also a mechanical AI connection to maintain
compatibility with older, non-digital Nikon bodies.
It is worth stating that Zeiss denotes each of its
different camera-mount optics with a different letter: ZF
and ZF.2 lenses are for Nikon F-mount bodies, ZE lenses
fit the Canon EF mount, ZK lenses fit the Pentax K
bayonet, and ZS lenses feature the classic 42mm screw
thread. There is no ZS version of this 18mm f/3.5 lens.
As this lens is an extreme wideangle, great care must
be taken to ensure that the camera back is kept vertical
if perspective distortion is to be avoided. That said, the
18mm’s drawing is entirely rectilinear and straight lines
remain undisturbed even at the edge of the frame.
Ultimately, this is a tricky lens to score. It is near-
faultless yet lacks some features that may be regarded
as indispensable in 21st century photography. And
perhaps that is the key to scoring it: Zeiss has aimed
this lens squarely at those for whom the need to twist a
focusing ring by hand is a small price to pay for such an
elevated level of both image and build quality. JT
IMAGE QUALITY
So fine is the detail in this image
that the grain in the wood is not just
visible but also rendered with exquisite texture.
PHOTOGRAPH (C) JON TARRANT
PERFORMANCE SPECIFICATIONS SCORES

The MTF curve of the Zeiss 18mm f/3.5 lens is nearly FOCAL LENGTH 18mm LIKES
faultless, always remaining comfortably above the critical MAX APERTURE 3.5 Stunning performance
0.25 cycles-per-pixel level. MIN APERTURE 22
DISLIKES
LENS MOUNT Nikon (also available No AF
in Canon and Pentax fit)
IMAGE FORMAT Full-frame
OPT CONSTRUCTION 13 / 11
OPT TECHNOLOGY T* coated FEATURES 18
FOCUS MODES MF only
DESIGN 20
MIN FOCUS 0.3mm
FILTER 82mm
PERFORMANCE 19
LENS HOOD Included IMAGE QUALITY 19
DIMENSIONS 87 x 84mm VALUE 18
WEIGHT 470g
PRICE (STREET) £1,150 TOTAL
94% GOLD AWARD
1 91
9
STOP! DON’T BUY A DSLR...
ON
SALE
NOW!
...until you have read What Digital SLR
Packed with expert advice and reviews
DSLR 106 COMPACTS 111
1073
CAMERA
& ACCESSS, LENSES
ORIES
INSIDE!
BUYER S GUIDE
’
LENSES 116 FLASH 120 TRIPODS 121 BAGS 122 STORAGE 123 PRINTERS & SCANNERS 124 SOFTWARE 126
THE UK’S BIGGEST GEAR GUIDE
Each month we
bring you the scores
for the hottest
products, from DSLRs
and compacts to
lenses and software –
you’ll find it all here!
D E P TH
IN IEWS W
REVOUR NE
ABOUT IN THE GUIDE ON BSITEERA.COM
OUR TESTS 112 COMPACTS W E IGITALCAM
106 DSLR BUYING ADVICE WHATD
Everything to look out for Four pages of compacts, from
when choosing a DSLR point-and-shoot to enthusiast
124 PRINTERS &
108 DSLRS 116 LENSES SCANNERS
The latest DSLRs, with scores, Our comprehensive lens listing
specifications and prices The latest printers, scanners
120 FLASHGUNS and multifunctionals
110 HYBRID Bring some light into your life 126 SOFTWARE
BUYING ADVICE with our flashgun listing From simple plug-ins to
The newest type of camera, comprehensive editing suites
MicroFourThirds 121 TRIPODS & HEADS
Need some support? You’ll
Every month What Digital Camera’s 111 COMPACT find it here
technical team tests the latest BUYING ADVICE
cameras and accessories to help Compact confusion? Find out 122 BAGS
you sort the wheat from the chaff. all the essentials here From pouches to carry cases
Our team of highly experienced and everything in between
photographers subject our review 123 STORAGE/FRAMES
samples to field tests and, in the Portable storage units and
case of cameras and lenses, to lab digital photo frames
analysis using software from DxO
and Imatest. We are confident
that our tests are the most
authoritative in the UK.
WHAT DIGITALCAMERA
DSLR BUYING ADVICE

WHAT TO LOOK FOR WHEN BUYING A DSLR
KEY DSLR
FEATURES
LOW-LIGHT CAPABILITY
ISO SPEED
If you’re likely to want to shoot in low
light, whether it’s sunset landscapes
or cosy jazz clubs, good low-light
performance is a must. Most DSLRs
can shoot at ISO 1600 and some go
to ISO 3200, but performance varies
a lot between different cameras.
IMAGE STABILISATION
Also known as anti-shake or vibration
reduction, this is either built into the
lenses (Nikon, Canon, Panasonic) or is
sensor-based and built into the camera
itself (e.g. Sony, Pentax, Samsung).
Though it’s considered that lens-based
stabilisation is slightly better, it ties
you into buying pricier lenses to get
the benefit; sensor-based stabilisation
works with any lens.
DSLR BUYING ADVICE
BURST MODE/FRAME RATE

Particularly important for action and
wildlife photographers is the ability
to fire off a number of images in quick
succession. Even the most basic DSLRs
now boast a frame rate of 2.5fps but
some are much faster. A good buffer
memory is important; it’s where images
are stored before they’re saved. The
larger this is, the more images you
can shoot before it fills and the camera
grinds to a (temporary) halt. Raw files,
being bigger, fill the buffer quicker
than JPEGs do.
ANTI DUST
Every time you change the lens on your
DSLR, tiny dust particles can enter the
exposed lens mount and land on your
sensor, appearing as annoying marks
on your pictures. Dust is also created
by wear and tear of the moving parts
inside the camera. Most manufacturers
have a dust-removal system that cleans
the sensor in one way or another.
CUSTOMISATION
One of the benefits of SLRs is the
degree of customisation they allow.
Choose which dials control which
features, or decide whether you want
to shoot JPEG, Raw or both at the same
time. Do you want the file numbers to
start again when you reload a card or
carry on where they left off? Control
how your picture looks too in your
choice of colour space, in-camera
sharpening and other parameters.
BUYER’SGUIDE
BEFORE YOU BUY ANYTHING... AWARDS

Digital SLRs offer numerous advantages
over compacts. Here are some key
considerations to make when choosing a
SENSOR TYPE Many people use the
term CCD to describe their camera’s sensor
but in fact the CCD is just one of several
AND SCORES
CAMERA TEST RATINGS GUIDE
camera. types of sensor technology in common use.
85%
All have pros and cons, but all are capable of FEATURES 19
SIZE Digital SLRs vary greatly in size and producing great results, so don’t base your DESIGN 19
weight. On paper you might think that the choice of camera on this factor alone. PERFORMANCE 17
smaller the better. But some people, IMAGE QUALITY 17
especially those with big hands or long SYSTEMS AND LENSES Each VALUE 16
fingers, find small cameras difficult to hold manufacturer uses a different mount for
and the controls too fiddly to access. On attaching lenses. If you already have a LIKES DISLIKES
the other hand, small cameras are more LCD screen, viewfinder, Movie mode has its
35mm SLR system it may be tempting to image quality, menu limitations, fiddly
likely to be taken along on trips than big, stick with the same brand, especially if you system, ease of use acess to AF modes
heavy ones. Decide whether you’re a small own several lenses. While this may be the
camera or big camera person before buying. cheapest option, new lens technology LIKES The things that impressed us most on test
DISLIKES And the things that we didn’t like so much
DSLR BUYING ADVICE

means you may get better results from
PIXELS Don’t obsess about the number of FEATURES What does it offer for the money?
the new generation of lenses designed
DESIGN Is it good to hold in the hand & easy to use?
pixels a DSLR camera has. The more pixels are specifically for use with digital cameras. PERFORMANCE How well do the features work?
squeezed into a given space, the smaller they IMAGE QUALITY Are the final results any good?
have to be, and this causes problems such as BUILD QUALITY The main difference VALUE All of the above considered against the price
image noise. Our tests show that 6MP SLRs between expensive professional SLRs and FINAL SCORE The sum total of all the scores
can produce A3 prints that are as good as entry-level enthusiast ones is the build
those from some 10MP models. Quality is quality. Pro cameras are built to withstand
dependent on a range of factors, of which knocks, scrapes and inclement weather,
the number of pixels is just one. which makes them bigger and heavier. GOLD AWARD
Awarded to cameras and Awarded to cameras and
BUYING INTO A SYSTEM accessories scoring over 90% accessories scoring over 85%
CANON NIKON FOUR THIRDS SONY PENTAX

Canon’s EOS system has Both entry-level and They may be small in Following the debut Pentax’s range of DSLR’s
been going for over 20 professionals are served stature, but the Olympus A100 model, Sony has are an innovative and
years now, with six models equally well by Nikon’s E-420 and E-510 are released four more unique collection of
in the current range. The DSLR line, with the packed full of technical Alpha offerings. The entry-level and mid-
550D combines a small successful D60 model innovations, while the A200 makes for a great range DSLRs. The K20D
lightweight body with at the lower end of the company’s flagship E-3 and easy-to-use entry- offers a 14MP sensor,
great image quality, while scale and the semi-pro combines waterproof level DSLR, with the live view and protection
the 7D benefits from a D300 and full-frame sealing, an articulated A300 and A350 adding against dust and water,
more solid magnesium D700, D3 and D3x LCD screen and a speedy live view along with while the Pentax K200D
alloy construction and models combining autofocus system. tilting LCD screens. has scored well too,
faster burst rate. At the stunning image quality Panasonic’s joint The A700 marries great thanks to its ease of
business end of things, with a solid build. development with Leica, spec with great images, use and decent spec.
the 1D Mk III offers a Fujifilm’s S5 Pro is based meanwhile, has resulted while the pro-spec, The entry-level K-m is
10fps burst rate, with the on the Nikon D200 and in three DSLRs to date, full-frame A900 model good value, and the K-7
1Ds Mk III offering hair- has won favour thanks with Panasonic’s L10 is a serious contender is well worth
splitting detail thanks to to its expansive dynamic boasting a flip-out LCD to similar full-frame considering as a semi-
its 21MP full-frame sensor. range and handling, screen and live view. offerings from Nikon pro model for anyone
Current models: though it’s a little old Current models: and Canon. stepping up.
EOS 1000D, EOS 450D, now. Current models: Olympus E-450, E-520, Current models: Current models:
EOS 550D, EOS 50D, EOS Nikon D3000, D90, E-620, E-30, E-3 Alpha A230, A330, A380, Pentax K-m, K-x, K200D,
500D, EOS 7D, EOS 5D D5000, D300s, D700, D3, A500, A550, A700, A850, K20D, K-7
Mk II, EOS 1Ds Mk III D3x A900
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CANON
85%
18- £580 10.1 22.2 x C PASM 100- Penta- 2.5in Y N Y N GN SD/ 126.1 x 450g PROS Image Small, lightweight and
TESTED SEP 2008

55mm 14.8mm 1600 mirror LCD 13 SDHC 97.5 x quality, noise easy to use, this is
EOS 95% 230k ISO 61.9mm control, size and essentially a stripped-
1000D Coverage dots 100 weight, kit lens
CONS Finish,
down 450D. Faces stiff
competition from
comparable offerings
£330 value, small
buffer, menu from Olympus and Sony
NIKON
86%
18- £500 10.2 CCD N PASM 100 - Penta- 3in N N Y N GN SD 126 x 485g PROS Guide More evolutionary rather
TESTED NOV 2009

55mm 23.6 x Auto 3200 mirror LCD 12 97 x mode, ease of than revolutionary, the
D3000 VR 15.8mm 5 Sc 95% 230k ISO 64mm operation, D3000 takes great
coverage dots 100 effective VR images and is simple to
£330 CONS ADL effect use, and is ideal as a first
DSLR – when the price
on processing
time, no live view drops it’ll be even better
SONY
85%
18- £400 10.2 23.6x A PASM 100- Penta- 2.7in N N Y Y GN SD/ 128 x 450g PROS Price, Handling is a concern,
TESTED NOV 2009

55mm 15.8mm Auto 3200 mirror LCD 10 MS 97 x decent noise and little has changed
ALPHA 7 Sc 95% 230k ISO 67.5mm performance and from the A200 which the
230 coverage dots 100 metering, look
CONS Poor
model replaces, but at
this price the A230 still
£330 handling, has plenty going for it

questionable WB
OLYMPUS
88%
14- £580 10 17.3x F PASM 100- Penta- 2.7in Y N Y Y GN CF/ 136 x 475g PROS Features, Similar to the E-420, only
TESTED AUG 2008

42mm 13mm Auto 1600 mirror LCD 12 xD 91.5 x dust reduction, the image stabilisation
E-520 20 Sc 95% 230k ISO 68 mm great handling, and grip make it a
DSLR £250 - £500
coverage dots 100 great AWB much better performer.

£370 CONS Highlight Same minor image
quality issues regarding
control, slow
AF system highlights and noise too
PENTAX
87%
18- £750 12.4 CMOS P PASM 100- Penta- 2.7in Y Y Y Y GN SD/ 122 x 581g PROS Lots of Plenty of functionality
TESTED JAN 2010

55mm 23.6 x Auto 12800 mirror LCD 12 SDHC 91.4 x useful features, in a small package,
K-X 15.8mm Scene 95% 230k ISO 65.4mm easy and fun, AA along with an ability to
coverage dots 100 battery availability produce images of a high
CONS No AF standard, make this a
£430 illumination, dated
menu system
model with lots for the
beginner
NIKON
90%
TESTED JUL 2009

18- £720 12.3 CMOS N PASM 100 - Pent- 2.7in Y Y Y N GN SD/ 127 x 560g PROS Vari-angle A great alternative to the
55mm 23.6x Auto 6400 aprism LCD 12 SDHC 104 x screen, build D90, with the ability to
D5000 VR 15.8mm 6 Sc 95% 230k ISO 80 mm quality, image produce excellent still
Coverage dots 100 quality and moving images. If
CONS Screen video is your thing and
£460 resolution, lack of
high ISO, price
you value a vari-angle
LCD then look no further GOLD AWARD
CANON
89%
TESTED JUN 2008

18- £600 12 CMOS C PASM 100- Penta- 3in Y N Y N GN SD 128.8 x 475g PROS Small and Despite a few operational
55mm 22.2x Auto 1600 mirror LCD 13 97.5 x light, handling, quirks, there’s little to
EOS IS 14.8mm A-Dep 95% 230k ISO 61.9mm noise control dislike about the 450D.
450D 6 Sc Coverage dots 100 CONS Menu
system, limited
It handles well, offers
fantastic noise control,
and shares some useful
£470 ISO range,
noisy mirror features from the 40D
OLYMPUS
85%
TESTED JUNE 2009

14- £650 12.3 LiveMOS F PASM 100- Penta- 2.7in Y N Y Y GN CF/ 129 x 475g PROS Art Filters, A fun DSLR, whose LCD
42mm 17.3 x Auto 3200 mirror LCD 12 XD 94 x LCD, great live screen, live view and Art
E-620 13.0mm Art Filt 95% 230k ISO 60mm view, wireless flash Filters make it stand out
17 Scn coverage dots 100 CONS Noise, from its peers. Noise is
£470 handling, small still a concern, though,
and handling can be
buttons, small
buffer awkward at times
SONY
85%
18- £580 14.2 CCD A PASM 100 - Pent- 2.7in Y N Y Y GN MS/ 128 x 490g PROS Live view Not a major upgrade
TESTED SEP 2009

55mm 23.5 x 6 Sc 3200 aprism LCD 10 SD 97 x system, design, from the A350, but noise
ALPHA 15.7mm 95% 230k ISO 71mm help guide control has improved
380 Coverage dots 100 CONS Handling
issues, soft
and it’s a better looking
camera. Handling won’t
£480 JPEGs, viewfinder please everyone, though

magnification
85%
PROS 7fps shoot-
SONY Body £700 14.2 23.4 x A PASM 200- Pent- 2.7in Y N Y Y GN 12 SD/ 137 x 520g A new addition to the
TESTED MAY 2010

Only 15.4mm 12800 aprism LCD ISO MS 104 x ing, in-camera Alpha range with an
ALPHA 95% 230k 100 81mm HDR, sub-£500
price point
impressive 7fps burst
450 Coverage dots
CONS Noisy AF, no
rate and a few decent
extras to supplement the
proper AF lamp,
£500
14MP sensor
plasticky build
SONY
82%
18- £650 12.3 CMOS A PASM 200- Penta- 3in Y N Y Y GN MS/ 137 x 597g PROS Long battery As a standalone camera
TESTED JAN 2010
55mm 23.5 x 6 Scn 12800 mirror LCD 12 SD/ 104 x life, tilt LCD, quick the A500 is a good bit of
ALPHA 15.6 95% 230k ISO SDHC 84mm AF live view kit, but given the minimal
500 coverage dots 100 CONS Value versus
A550, noisy AF
cost required to upgrade
to an A550 it leaves the
£540 with kit lens, no
video mode
A500 looking somewhat
outclassed
DSLR £500 - £1000
CANON
90%
TESTED JUNE 2009 TESTED APR 2009
18- £870 15.1 CMOS C PASM 100- Penta- 3in Y Y Y N GN SD/ 128 x 480g PROS High Everything about this
55mm 22.3 x Auto 3200 mirror LCD 13 SDHC 97.5 x resolution LCD model feels more refined,
EOS IS 14.9mm C. Auto (12,800 95% 920k ISO 61.9mm screen, HD Video, and the overall handling
500D 6 Sc enh) coverage dots 100 ISO range
CONS AF noise
and performance is close
to flawless. There is AF
£570 in movies, no
update to AF, price
noise in movies, though,
and a steep asking price GOLD AWARD
OLYMPUS
88%
Body £1100 12.3 LiveMOS F PASM 100- Pent- 2.7in Y N Y Y GN xD/ 141.5 x 655g PROS LCD screen, Excellent design and a
Only 17.3x Art Filt 3200 aprism LCD 13 CF 107.5 x build quality, great LCD, combined
E-30 13mm 98% 230k ISO 75mm light body, button with great performance.
Coverage dots 100 layout The only let down is with
£650 CONS Art Filters, noise visible in high-ISO
images
underexposure,
JPEG ISO quality
CANON
88%
TESTED DEC 2008
Body £1200 15.1 CMOS C PASM 100- Pent- 3.0in Y N Y N GN CF 145.5 x 730g PROS LCD In its own right the
Only 22.3 x Auto 25600 aprism LCD 13 107.8 x upgrade, 50D is a good camera,
EOS 14.9mm C. Auto 95% 922k ISO 73.5mm extra resolution, but it’s a lot more
50D Custom Coverage dots 100 prompt AF
CONS Some
expensive than the 40D
without enough new
£670 metering issues, features to justify the

menu system added expense
SONY
86%
TESTED JAN 2010
18- £750 14.2 CMOS A PASM 200- Penta- 3in Y N Y Y GN MS/ 137 x 599g PROS Tilt LCD, Very much a camera for
55mm 23.4 x Auto 12800 mirror LCD 12 SD/ 104 x improved image live view enthusiasts, the
ALPHA 15.6 Scene 95% 921k ISO SDHC 84mm quality, live view A550 boasts class-leading
550 coverage dots 100 CONS A bit
plasticy, noisy AF
live view AF, along with a
tilt-angle LCD and built-in
£670 with kit lens, no
video mode
creative features such as
an automatic HDR mode
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91%
TESTED MAY 2010

18- £800 18MP CMOS C PASM, 100- Pentamir- 3” Y Y Y N GN 13 SD/ 129 x 530g PROS Fantastic With similar specs to
55mm 22.3 x Auto, 12800 ror 95% LCD ISO SDHC 98 x 62 image quality, the 7D at a fraction of
EOS 550D IS 14.9mm C. coverage 1040k 100 mm very versatile , the price, the low-light
Auto, 6 dots light and compact performance and video
Scene CONS A touch too performance are a
superb bonus to the
£680 expensive
excellent image quality
DSLR £500 - £1000

GOLD AWARD
NIKON
91%
TESTED NOV 2008

18- £850 12.3 CMOS N PASM 100 - Pent- 3in Y Y Y N GN SD/ 132 x 620g PROS LCD screen, A great camera, and a
105mm 23.6x Auto 6400 aprism LCD 12 SDHC 103 x image quality, worthy alternative to the
D90 VR 15.8mm 6 Sc 96% 920k ISO 71.7mm burst speed D300. The video mode
Coverage dots 100 CONS Movie mode can be a little fiddly, but
£770 limits, fiddly AF image quality is high
and the feature set is
mode access
comprehensive GOLD AWARD
OLYMPUS
90%
TESTED JAN 2008

Body £1100 10.1 LiveMOS F PASM 100 - Pent- 2.5in Y N Y Y GN xD/ 142 x 800g PROS Build, The E-3 doesn’t offer
Only 17.3x 3200 aprism LCD 13 CF 116 x interface, many innovations, but it
E-3 13mm 100% 230k ISO 75mm stabilisation, has an excellent build,
Coverage dots 100 detail, LCD fantastic images and is
£780 CONS Slowish an absolute jewel to use.
Weatherproofing is also
frame rate,
high ISO noise a great asset GOLD AWARD
PENTAX
88%
TESTED OCT 2009

18- £1200 14.6 CMOS P PASM 100- Pent- 3.0in Y Y Y Y GN SD/ 96.5 x 670g PROS In-camera A fantastic and long-
55mm 23.4 x Green 3200 aprism LCD 13 SDHC 30.5 x stabilisation, awaited model from
K-7 15.6mm 100% 921k ISO 72.5mm 100% viewfinder, Pentax, with a number of
Coverage dots 100 weather-sealed, improvements over the
CONS Noise, K20D. The kit lens is a bit
£850 poor kit lens, poor, though

underexposure
93%
NIKON 100-
TESTED DEC 2009

Body £1500 12.3 CMOS N PASM Pent- 3.0in Y Y Y N GN CF/ 147 x 840g PROS Image Update to the successful
Only 23.6 x 6400 aprism LCD 12 SD 114 x quality, viewfinder, D300, the D300s adds a
D300s 15.8mm 100% 922k ISO 74mm feature-packed, movie mode, along with
Coverage dots 100 superb AF system an SD card slot. Overall,
CONS Small its a subtle enhancement
£1150 multi-selector to an already excellent

camera GOLD AWARD
CANON
94%
TESTED XMAS 2009 TESTED FEB 2009

Body £1700 18 CMOS C PASM 100- Pent- 3.0in Y Y Y N GN CF 148.2 x 820g PROS Build qual- Solid enough to be used
Only 22.3 x Auto 12800 aprism LCD 12 110.7 x ity, 8fps, focus as a regular camera by
7D 14.9mm C. Auto 100% 920k ISO 73.5mm speed, high ISO, semi-pros, or as a second
Custom Coverage dots 100 image quality camera for pros, the 7D
£1200 CONS Lots of makes subtle changes to
the EOS system that result
menus, current
high price in a truly great camera GOLD AWARD
CANON
92%
Body £2200 21.1 CMOS C PASM 100- Pent- 3.0in Y Y Y N No CF 152 x 810g PROS Excellent Improvements over the
Only 36 x Auto 25,600 aprism LCD 113.5 x image quality, 5D include an expanded
EOS 24mm C. Auto 98% 922k 75mm noise control, ISO range, larger and
5D MK II Custom Coverage dots video, LCD screen
CONS Chromatic
more detailed LCD and
HD movie recording,
£1700 aberrations along with the obligatory

jump in resolution GOLD AWARD
87%
SONY PROS Affordable
TESTED FEB 2010

Body tbc 24.6 CMOS A PASM 100- Pent- 3.0in Y N Y Y No CF/ 156 x 850g Almost identical to the
Only 35.9 x Auto 6400 aprism LCD MS 117 x full-frame DSLR A900, but with one
ALPHA 24mm Custom 98% 922k 82mm CONS Price too processor, a slower burst
850 Coverage dots close to A900, no
live view, video
rate and 98% viewfinder
coverage. An excellent
£1700 mode or inbuilt option especially if a

flash lower price is found
NIKON
95%
TESTED OCT 2008

Body £2000 12 36 x N PASM 100 - Pent- 3.0in Y N Y N GN CF 147 x 995g PROS Noise The D700 strikes a fine
Only 23.9mm 25600 aprism LCD 12 123 x control, LCD balance between the
D700
DSLR £1000 - £5000

95% 922k ISO 77mm screen, image D300 and D3 models,
Coverage dots 100 quality with stunning noise
£1800 CONS Lack of
DX mask, minor
control, bulletproof
construction and great
handling irks images all round GOLD AWARD
SONY
89%
TESTED DEC 2008
Body £2100 24.6 CMOS A PASM 100- Pent- 3.0in Y N Y Y No CF/ 156.3 x 850g PROS Image Sony’s first full-frame
Only 35.9 x Auto 6400 aprism LCD MS 116.9 x quality, LCD, offering produces
ALPHA 24mm Custom 100% 922k 81.9mm viewfinder, highly detailed images.
900 Coverage dots effective SSS
CONS Noise,
Viewfinder, LCD and
operation all score well,
£2000 DT lens support with the main downside

being noise control
CANON
94%
TESTED MAR 2008 TESTED FEB 2008
Body £6000 21.1 CMOS C PASM 50 - Pent- 3.0in Y N Y N No CF/ 150 x 1,205g PROS Stunning The most expensive DSLR
Only 36 x 3200 aprism LCD SD/ 160 x image quality, on the market, offering
EOS 24mm 100% 230k sdhc 80mm solid build, low superb noise control, a
1DS MKIII Coverage dots noise, AF speed
CONS Low-res
stunning level of detail
capture and a top-quality
£2600 LCD, manual build – for those who can

focus live view afford it... GOLD AWARD
NIKON
95%
Body £4000 12.1 CMOS N PASM 100 - Pent- 3.0in Y N Y N No CF 159 x 1,240g PROS Excellent Fast, accurate AF and
Only 36 x 25600 aprism LCD 157 x image quality, some of the best high-ISO
D3 23.9mm 100% 922k 87mm build, speed, performance we’ve seen. A
Coverage dots low-light 9fps burst mode, live view
performance and fantastic ergonomics
CONS Live view make it one of the best
£2700 on fixed LCD models we’ve ever tested GOLD AWARD
95%
CANON 1D
TESTED APRIL 2010 TESTED MAR 2010 TESTED MAR 2009
Body £4500 16.1 CMOS C PASM 50 - Pent- 3.0in Y Y Y N No CF 156 x 1,180g PROS High-speed A newly developed
Only 27.9 x 102.4k aprism LCD 156.6 x shooting,fast 45-point AF system, a
MARK IV 18.6mm 100% 920k 80 mm focusing, LCD burst speed of 10fps and
Coverage dots CONS Limited a top ISO of 102,400 are
control on video just three of the headline
£3800 shooting, complex features of Canon’s

custom menus top-of-the range DSLR GOLD AWARD
95%
NIKON Body
Only
£4000 12.1 CMOS
36 x
N PASM 100 - Pent-
102.4k aprism
3.0in Y
LCD
Y Y N No CF 160 x 1,240g PROS Solid
157 x workhorse really
Nikon’s latest flagship
DSLR is built around a
D3S 23.9mm 97-100% 921k 88 mm delivers, high ISO, 12.1MP full frame sensor
Coverage dots focus system and boasts an incredible
CONS Movie mode top sensitivity setting of
£4000 could do more, ISO 102,400 – enough to

price shoot in near darkness GOLD AWARD
NIKON
94%
Body £4000 24.5 CMOS N PASM 50 - Pent- 3.0in Y N Y N No CF 159 x 1,240g PROS Incredible A stunning camera that
Only 36 x 6400 aprism LCD 157 x resolution, pushes the boundaries
D3X 23.9mm 100% 922k 87mm image quality. of DSLR performance. If
Coverage dots handling you want the finest image
CONS No dust quality at the highest
£4700 control, no resolution the D3x is the

built-in flash best camera of its kind GOLD AWARD
WHAT DIGITALCAMERA
AWARDS
MICRO AND SCORES
CAMERA TEST RATINGS GUIDE
SCORES
SYSTEM
FEATURES 19
LIKES DESIGN 19
Incredible resolution, PERFORMANCE 19
image quality up to
BUYING ADVICE
ISO 1600, handling/ IMAGE QUALITY 19
performance
VALUE 18
DISLIKES
No dust control, no TOTAL
94%
built-in flash, Auto
WB not foolproof,
ADVICE FOR CHOOSING A HYBRID CAMERA that price tag! GOLD AWARD
LIKES The things that impressed us most on test...

HYBRID FEATURES MICRO FOUR THIRDS
DISLIKES ...and the things we didn’t like so much
FEATURES What does it offer for the money?
So far, all the models use the Micro Four Thirds DESIGN Is it good to hold and easy to use?
WHAT ARE THEY? lens mount. This format is based on the Four PERFORMANCE How well do the features work?
Hybrid cameras are developed to appeal to an Thirds system in use by Olympus and Panasonic. IMAGE QUALITY Are the final results any good?
audience wanting to upgrade from a compact Samsung and Sony use their own systems, but VALUE All of the above considered against the price
camera but don’t want the bulk of a full DSLR. are based around a similar principle. FINAL SCORE The sum total of all the scores
They share much of the creative potential as
their full-size cousins but with smaller bodies, MOVIE FUNCTION
The lack of mirror system means they are much
smaller lenses and, critically, no through the GOLD AWARD
lens optical viewfinders. Instead they use an more suited to shooting video. Therefore they
Awarded to products Awarded to products scoring
electronic viewfinder from the sensor. can compete with DSLRs in the HD video stakes. scoring 90% and above between 85% and 89%
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FL
CU
SE
LE
IM
HYBRID BUYING ADVICE
PANASONIC
85%
TESTED JAN 2009

£400 £599 12 17.3x Micro PASM 100- Live 3in Y N Y Lens GN SD/ 124 x 385g PROS Flip-out An impressive
13mm Four iAuto 3200 viewfinder LCD based 11 SDHC 83.6 x LCD, detailed articulating LCD and
LUMIX G1 Thirds Scene 1.44m 460k ISO 45.2mm images LVF. Image quality is
dots dots 100 CONS Switches good, with exposure,
and dials tone, and noise control
comparable with its
£400 changed too
easily, price Four Thirds peers
88%
OLYMPUS
TESTED MAY 2010

£440 £550 12.3 17.3 x Micro PASM, 100- Optional: 2.7in Y Y Y Y GN 7 SD/ 114.6 x 344g PROS Compact To achieve this level of
13mm Four iAuto, 3200 Mount LCD ISO SDHC 72.2 x form, excellent image quality in such a
E-PL1 Thirds 19 included 230k 100 41.5mm detail small body is a significant
development; let’s just
Scene (Optical) dots CONS Some
noise/noise hope Olympus and
Panasonic are as ingenious
£440 reduction issues,
low-res LCD with their future models
OLYMPUS
88%
TESTED SEP 2009

£500 £700 12 17.3x Micro PASM 100- Optional: 3in Y Y Y Y No SD/ 120.5 x 335g PROS The look, The E-P1 appeals to the
13mm Four i-Auto 6400 hotshoe LCD SDHC 70 x noise reduction, style conscious and the
E-P1 Thirds Scene mounted 230k 35mm aspect ratios traditional camera fan. It
ART (optical) dots CONS Menus, performs well, producing
focusing, having a pleasant image and
to compose on offering a wide range of
£500 the LCD screen. creative functions
SAMSUNG
88%
PROS AMOLED
TESTED JUN 2010

£500 £600 14.6 23.6 x Sam- PASM, 100- Live 3in Y Y Y Lens GN 11 SD/ 123 x 353g A new addition to the
15.8mm sung 5 3200 viewfinder AMO based ISO SDHC 87 x screen, built-in hybrid range with an
NX10 NX Scene 1.44m LED 100 39.8mm electronic APS-C sized sensor and
dots viewfinder some superb attributes,
CONS AF a bit including a AMOLED
hi-res screen
£500 sluggish, high ISO
image noise
PANASONIC
89%
TESTED DEC 2009
£550 £750 12 17.3x Micro PASM 100- Optional: 3in Y Y Y Lens GN SD/ 119 x 285g PROS Size, A compact-sized camera
13mm Four iAuto 3200 hotshoe LCD based 6 SDHC 71 x design, HD video, with a deceptive amount
LUMIX GF1 Thirds Scene mounted 460k ISO 36.3mm peripheral defocus of oomph tucked away
(electronic) dots 100 285g CONS Costly, inside. Some room for
limitations to improvement but it’s
£550 autofocus, no
in-built viewfinder
generally good news all
round. Easy to use too
SONY
90%
PROS Image quality,
TESTED AUG 2010
£590 £590 14.2 23.4 x Sony E PASM, 200- Optional 3in Y Y Y Lens GN 7 SD/ 110. 8 593g The Sony NEX-5
15.6mm Mount Auto, 12800 LCD based ISO MS x 58.8 x small system, produces class-leading
NEX-5 Scene 921k 100 38.2mm Sweep Panorama images that outshine
dot CONS Slow start- some stiff competition
up, options tucked in the Micro System
Cameras sector
£590 away in menus,
flash fitting fiddly GOLD AWARD
PANASONIC
87%
TESTED JULY 2010
£600 £600 12.1 17.3 x Micro PASM Auto, Live 3in, Y Y Y Lens GN 11 SD/ 124 x 593g PROS Intuitive The G2 is a standout
13mm Four Cus- 100- View- 460k- Based ISO SDHC 83.6 x touch screen, movie Micro Four Thirds model.
LUMIX G2 Thirds tom 14 6400 finder dot 100 74mm mode, compact size Panasonic’s AF system is
Scene 1,140k CONS class-leading and the
dots High ISO image new movie mode is
£600 quality, excess highly functional

scene modes
OLYMPUS
88%
TESTED MAR 2010
£650 £850 12.3 17.3 x Micro PASM 100- Optional: 3in Y Y Y Y No SD/ 120.5 335g PROS Design, The update to the E-P1
13mm Four i-Auto 6400 Hotshoe LCD SDHC x 70 x in-camera doesn’t make any huge
E-P2 Thirds Scene mounted 460k 35mm stabilisation, leaps and bounds from
ART (optical) dots fluid LCD display its predecessor, with the
3in LCD CONS AF could be most significant change
being the all black
£650 230k
dots
faster
casing
PANASONIC
85%
TESTED AUG 2009
£1000 £1300 12 17.3x Micro PASM 100- Live 3in Y Y Y Lens GN SD/ 124 x 385g PROS HD Movie An exceptional camera,
13mm Four iAuto 3200 viewfinder LCD based 11 SDHC 89.6 x mode, articulat- but more than anything it
LUMIX GH1 Thirds Scene 1.44m 460k ISO 45.2mm ing LCD screen, is an exceptional video
dots dots 100 supplied lens camera. For stills it has
CONS Price, some improvements on
£1000 white balance, the G1 but not enough to

slow burst mode justify the price alone
BUYER’SGUIDE
COMPACT BUYING ADVICE

THE BEST ADVICE FOR CHOOSING A COMPACT CAMERA
KEY COMPACT ZOOM LENS

Most entry-level compacts offer a fairly
IMAGE STABILISATION
This comes in three main forms: optical,
FEATURES
COMPACTS BUYING ADVICE

modest 3x optical zoom, though increasingly sensor based and ISO based. The first
larger 18x and even 24x zooms have become compensates for camera shake by shifting
MEGAPIXELS the norm on superzoom models. ‘Digital elements within the lens, the second works
Entry-level models offer eight or zoom’ is something best ignored, as all this by shifting the sensor, and the third by
10-megapixel sensors, which are more than does is crop a central portion of the image adjusting the ISO. The latter is the least-
adequate for 6x4in prints and will stretch to give the effect of having zoomed in, and preferred option, as it gives less control over
to A4 size. Sensors that have pixel counts therefore reducing quality. noisy images. Thankfully, it’s usually confined
above this feature at the higher end, though to entry-level models.
pixel count isn’t everything. The internal LCD SIZE
processor and physical size of the sensor Most compacts offer an LCD screen measuring ISO RANGE
have important roles to play, as does the around 2.7in to 3in. Some have larger screens Most cameras offer an ISO range which can
quality of the lens. while some of them even offer touchscreens. be as limited as 400 or as high as 10,000.
The resolution of the LCD screen determines Be warned that in general, the higher the
VIEWFINDER how detailed the image appears on screen, ISO setting the noisier the image and so the
Most compacts only offer an LCD screen which is great for checking fine details and worse it appears. Sensor-based and optical
for composing images. If a viewfinder is a focus. Bear in mind that this won’t affect forms of image stabilisation will allow you to
priority there are certain models from Canon image quality itself – it’s just there for viewing shoot at lower ISOs without needing to use
and Sony among others, which offer both. images more clearly. the flash.
THE CAMERA TO SUIT YOU
POINT AND LIFESTYLE ALL-WEATHER/ ENTHUSIAST SUPERZOOM

SHOOT If style is important SHOCKPROOF These may require a The 18x or 24x optical
Most of us want a to you then there’s a Another way in steep learning curve for zoom capability offered
portable camera that bewildering array of which manufacturers the beginner, but they by these enthusiast-
will slot into a trouser or cameras to choose from. are attempting to offer plenty of manual targeted models will
shirt pocket for spur-of- The camera’s body will differentiate their control. They may not come in handy for those
the-moment snaps, and be fashioned to a greater compacts is by feature a huge zoom wanting such a range
work out for itself the degree from metal rather giving them sealed capacity, but they’re in a small package.
best focus and exposure. than plastic, and of weatherproof or generally stacked with The downside is that
Budget models with course the price reflects waterproof bodies, with real photographic superzooms are bulkier
fewer such features this. Still, you’ll typically some manufacturers also features. As such, than other types of
tend to have the lowest have a resolution of marketing their cameras enthusiast models set ‘compact’, and ideally
resolution on offer, but between 8 and 10 as shockproof. So if you themselves up as ideal need a decent image-
that’s sufficient quality megapixels, often with like sports or you’re back-up cameras for stabilisation system when
for photo-realistic prints an internally stacked simply butter-fingered, those who already own shooting at the telephoto
at regular sizes. zoom lens. have a look at these. a DSLR. end of the zoom.
COMPACT
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91%
TESTED OCT 2009 TESTED OCT 2009 TESTED XMAS 2009 TESTED XMAS 2009 TESTED FEB 2010 TESTED FEB 2010 TESTED FEB 2010 TESTED APR 2010 TESTED MAR 2010 TESTED JULY 2009 TESTED JUN 2010 TESTED JAN 2010 TESTED XMAS 2009 TESTED JAN 2010 TESTED FEB 2010 TESTED APR 2009 TESTED JUN 2010 TESTED XMAS 2009 TESTED APR 2010 TESTED OCT 2009 TESTED SEP 2009
CANON £70 10MP 80-
1600
37-122mm Auto
f/3.0-5.8 Program
No 2.5 SD AA 92.1 x 140g
62 x
PROS Image quality,
focusing speed
Image quality is superb, and operation is brisk
– all in all the A480 is a cracking compact at an
A480 12 Scene 31.1mm CONS Chunky, low-resolution excellent price
£70 LCD screen
GOLD AWARD
FUJIFILM
71%
£70 10MP 64- 35-105mm Auto No 2.7 SD LI 90.5 x 116g PROS Ease of use, build Build quality is good, but performance is mediocre
1600 f/3.7-4.2 Manual 59.0 x quality, design and image quality is poor
Z30 13 Scene 25.7mm CONS Performance, image
quality
£70
OLYMPUS
71%
£70 12MP 100- 36-180mm iAuto No 2.7 xD AA 97.x 112g PROS 5x optical zoom, While the 5x zoom annd 2.7in LCD screen are both
1600 f3.5-5.6 Program 54.4 x 2.7in LCD impressive at this price, build quality is unashamedly
X42 Scene 26.7mm CONS Poor image quality, plastic and image quality is disappointing. Ultimately,
£70 sluggish, menu system this fails to impress
NIKON
79%
£80 10MP 80- 35-105mm Auto No 2.5 SD LI 89.5 x 100g PROS Slim, lightweight Slimline entry-level model from Nikon that performs
2000 f/3.1-5.9 6 Scene 55.5 x design to the best of its modest specifications. Fast start-up
S220 18 mm CONS Over-processing, poor and lightning quick autofocus both impress, though
£80 quality LCD screen images tend to look over-processed
OLYMPUS
63%
£85 12.1MP 100- 26.3-105mm iAuto No 2.7 xD LI 95 x 106g PROS Slim, cheap Performance is slow, while low-light is almost non-
1600 f/2.6-5.9 Program 57 x existent. Image quality is poor in all modes, with
FE-4000
CONS Image quality,
13 Scn 22.4mm build quality, over-sharpening and poor colour rendition. Overall,
£85 performance this is below par even by budget compact standards
PANASONIC
91%
£85 12.1MP 80- 33-132mm iAuto No 2.5 SD LI 97 x 115g PROS Value for money, Offering Panasonic’s excellent Mega OIS lens
1600 f/2.8-5.9 25 Scn SDHC 54.4 x performance, build quality, stabilisation technology, exposure metering and
FS62 21.2mm image quality colour rendition are extremely accurate. Overall,
£85 CONS Small 2.5in LCD the FS62 is terrifc value for money
GOLD AWARD
SAMSUNG
80%
£85 12.2MP 80- 35-175mm Smart Auto No 2.7 SD LI 97 x 139g PROS Value, build quality, The PL55 features a main menu that is easy to
3200 f/3.5-5.5 Program SDHC 59 x performance navigate, nevertheless the AF system and image
PL55 12 Scn 24.5mm CONS Image quality, quality let it down. It frequently failed to focus – even
£85 autofocus in bright daylight – and images are over-sharpened
CANON
86%
£90 10MP 80- 37-122mm Auto, P, 13 No 2.5 SD/ Li-ion 93.5 x 175g PROS Fast AF, affordable, A great camera that’s affordable, easy to use,
1600 f3-5.8 Scene SD 61.7 x image quality considering responsive and nice-looking
A495 HC 30.6mm the price
£90 CONS Lens not wide enough,

slow buffer, screen quality
CASIO
80%
£90 12.1MP 64- 35-105mm Auto No 2.7 SD LI 89.7 x 102g PROS Small, looks great, The Casio Z90 is easy to get to grips with, but the
1600 f/3.1-5.9 Scn SDHC 51.7x simple to use lack of any standout features and its disappointing
EX-Z90 MMC 19.4mm CONS Muddy colours, poor image quality means that there are far better options
£90 at high ISO, few standout around at this price point
COMPACTS £70 - £150
features
FUJIFILM
87%
£90 10MP 64- 35-105mm Auto No 2.7 SD LI 92 x 110g PROS Comes in a range of Images are a little flat and focusing can be slow at
1600 f/3.7-4.2 Program 59.6 x colours, large buttons times, but the larger buttons make the camera easy
Z33WP Manual 20.6mm CONS Slow focusing, flat to use underwater
14 Scene
£90 images
NIKON
79%
£90 12MP 80- 27-108mm Auto, 17 No 2.7in SD Li-ion 94.3 x 116g PROS Price, small Extremely light and slim in the hand, the Nikon S3000
3200 f/3.2-5.9 Scene 55.9 x dimensions is one of the lightest cameras on the market and
S3000 19mm CONS Poor image quality, just 19mm thick. There are some good features, but
£90 beginner interface image quality is generally disappointing
OLYMPUS
73%
£90 12MP 64- 24-120mm iAuto No 2.7 xD LI 92.7 x 107g PROS Price, appearance While slim and lightweight in appearance, overall
1600 f3.3-5.8 Program 55.8 x build quality is poor. Likewise, while the zoom offers
FE-5020
CONS Build quality,
14 Scene 24.7mm image quality, a 5x range, optical quality of the lens is poor, while
£90 handling overall image quality is disappointing
PENTAX
83%
£90 10MP 100- 35-175mm Auto No 2.7 SD LI 95.5 x 105g PROS Robust build, fun Waterproofed to 1.5m, the Optio WS80 also offers HD
12800 f/2.6-5.8 Program 59.5 x factor, ease of use video though its very much a fully automatic point
OPTIO WS80 12 Scn 22mm CONS Image quality and shoot. Image quality isn’t the best either, with
£90 little contrast and detail, it’s also prone to noise
CASIO
84%
£95 12.1MP 80- 35-105mm Auto No 2.5 SD LI 98.2 x 112g PROS 26mm wideangle, A decent, affordable all-rounder that’s slim in the
1600 f/2.8-4.9 Program 54 .9 x affordable, one-touch hand and easy to use, but perhaps lacks enough
EX-Z280 14 Scene 20.1mm movie recording differentiation from its previous model
£95 CONS High ISO image
quality
PANASONIC
86%
£100 12.1MP 80- 29-145mm Auto No 2.7 SD LI 97 x 105g PROS Brushed steel finish, The FS15 is pleasing in use and benefits from an
1600 f/2.6-5.8 23 Scn 54 x good image quality intuitive menu configuration. Image quality is
FS15 21.5mm CONS A bit plasticky, generally reliable, while exposure and white
£100 2.7in LCD balance are also dependable
PANASONIC
91%
£100 10MP 60- 33-132mm Auto No 2.7 SD LI 97.0 x 117g PROS Design, build quality, Great noise control and overall image quality make
6400 f/2.8-5.9 iAuto 54.4 x image quality, performance the FS7 a fantastic sub-£150 compact
FS7 25 Scene 21.7mm CONS Lack of wideangle
£100 GOLD AWARD
PENTAX
84%
£100 12.1MP 80- 28-140mm Auto, No 2.7in SD Li-ion 56.5 x 114g PROS Exterior design, The Pentax H90 is an ideal entry-level point-and-
6400 f/3.5-5.9 Program, 94.5 x affordable, HD video shooter that’s generally high quality and very
H90 27 Scene 24.5mm CONS Screen viewing angle, competitively priced
£100 image quality, high ISO and
wideangle barrel distortion
PENTAX
83%
£100 12MP 125- 27.5-110mm Auto No 2.7 SD LI 97 x 105g PROS Style, build quality, Well made, slim and stylish, the P80 is also easy to
6400 f/2.6-5.8 23 Scn 54 x features use. However it is let down by slow performance,
OPTIO P80 21.5mm CONS Performance, while image quality leaves something to be desired
£100 image quality
CANON
82%
£110 10MP 100- 35-140mm P, Auto, No 2.7 SD/ Li-ion 97.2 x 155g PROS Build, looks, image In the below £200 sector there’s plenty of
1600 f2.7-5.6 Easy, 13 SD 58.2 x quality, performance competition for the A3000IS, even if it’s exclusive
A3000 IS Scene HC 28.1mm CONS Soft images, over- to Argos, and the results are likely to determine the
£110 saturated colours preferred model
SONY
80%
£110 12MP 100- 29.7-11mm Auto No 2.7 MS LI 95.2 x 118g PROS Good looking, handling A nice looking camera that’s fine for small prints, but
3200 f/2.8-5.8 6 Scene 56.5 x image quality is generally poor
W220
CONS Lack of detail in
21.8mm images, noise
£110
CANON
90%
£115 10MP 80- 35-105mm Auto No 2.5 SD LI 88.5 x 120g PROS Excellent auto flash, A complete bargain, with great image quality and a
1600 f/2.8-4.9 Program 54.8 x macro mode, viewfinder lovely design
95 IS 14 Scene 21.8mm CONS Noisy ISO 1600, no full
£115 manual control
GOLD AWARD
CHECK OUT THE COMPACT REVIEWS ON PAGE 79 AND 81
COMPACT
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KODAK
69%
TESTED JUL 2010 TESTED JAN 2010 TESTED JUN 2009 TESTED APR 2010 TESTED FEB 2010 TESTED AUG 2009
£120 12.7MP 64- 24-140mm, Smart No 2.7 SD AA 99 x 58 125g PROS Affordable price point, A decent camera to use, with good features like
1000 f/2.4-5.9 Capture, x 23mm reasonable LCD screen Smart Capture, and Program for more advanced
M550 Program, CONS Very poor image photography, but images are heavily compressed
scene quality, dated design,
£120 sluggish performance
PANASONIC
88%
£120 12.7MP 80- 29-147mm iAuto No 3 SD LI 93 x 148g PROS Good image The FS25 is a pleasure to use, and offers the same

1600 f/3.3-5.9 Program 50 58 x quality impressive performance associated with the Lumix
FS25 26 Scene 22mm CONS Lacking manual range. Metering is reliable, as is white balance, while
£120 modes overall image quality is impressive
CASIO
89%
£130 9MP 100- 37-185mm Program No 2.7 SD LI 92.5 x 145g PROS Versatility, style, A unique, high-performance compact with HD video
1600 f/3.6-4.5 Best Shot 57.5 x performance, build quality and useful high-speed functions. Only noise on
EX FC100 24mm CONS High ISO noise higher ISO settings is a concern
£130
PANASONIC
88%
£130 14.1MP 80- 28-140mm Intelligent No 2.7 SD/ Li-ion 98.4 x 147g PROS Sleek design, a Affordable and a pleasure to use, the Panasonic
1600 f2.8-6.9 Auto, SD 55.2 x pleasure to use FS11 fits easily in a pocket and boasts very nice
FS11 Normal, HC 24mm CONS High ISO image noise, overall image quality
24 Scene
£130 plasticky build
SAMSUNG
84%
£140 10.2MP 80- 24-240mm Auto No 2.7 SD LI 105 x 219g PROS 24mm windeangle, The WB500 is a cheaper version of the WB550
1600 f/3.3-5.8 Program SDHC 61.4 x manual mode and, as such, gets a smaller LCD and fewer
WB500 Manual 36.5mm CONS Flash poorly placed, megapixels. Image quality is reasonable and
14 Scn
£140 menu and layout design the 10x 24-240mm zoom lens is great to hav.
SONY
84%
£140 12MP 100- 28-140mm Easy No 2.7 MS LI 97.6 x 135g PROS Small size, HD video, There are some nice features on the W270 and
3200 f/3.3-5.2 Program 56.6 x optical image stabilisation the HD video mode is a bonus, but image quality
W270 iAuto 22.6mm CONS Memory Stick only, falls short
8 Scene
£140 average image quality, LCD
84%
TESTED DEC 2009 TESTED JAN 2010 TESTED JAN 2010 TESTED MAY 2009 TESTED MAR 2010 TESTED AUG 2009 TESTED JAN 2010 TESTED JUN 2009 TESTED DEC 2009 TESTED JUL 2010 TESTED MAR 2010 TESTED APR 2010 TESTED AUG 2010 TESTED MAY 2010 TESTED JUL 2009
CASIO £150 12.1MP 64-
3200
38-114mm
f/3.3-5.4
Auto
Best Shot
No 3 SD LI 102.5 x 164g
62 x
PROS Long battery life,
24mm wideangle, 10x zoom
With its expansive 24-240mm zoom and 1000-shot
battery life the H10 looks good on paper, but in use
EX H10 Make-up 24.3mm CONS High ISO image images become progressively softer and more prone
£150 quality, no zoom during video to noise as soon as you step above ISO 200
NIKON
85%
£155 12MP 100- 28-112mm Auto No 2.7 SD LI 53.2 x 120g PROS 28mm lens, tracking The svelte body of the S620 is matched by largely
6400 f/2.7-5.8 16 Scene 90 x AF, image stabilisation good image quality, with great exposures. It’s just at
S620 23mm CONS 6400 too noisy, purple around ISO 6400 where things get a little too noisy
£155 fringing can be an issue
CANON
SX120 IS
£160 10MP 80-
3200
36-360mm
f/2.8-4.3
Auto
Easy
PASM
13 Scene
No 3 SD AA 110 x 245g
70.4 x
44mm
PROS Affordable compact-
sized long zoom camera
CONS Plasticky bulld,
Face and Motion Detection, a 3in LCD and a 10x
optical zoom feature on the SX120 IS. In particular,
image noise is handled very well even at ISO 1600. A
86%
£160 conservative ISO range,
fringing
great all-rounder and fit its family-centric niche well
FUJIFILM
91%
£160 12MP 100- 28-140mm Auto No 3 xD/ LI 97.7 x 175g PROS Image quality, features, Fujifilm’s first camera to feature its innovative EXR
12800 f/3.3-5.1 EXR SD 58.9 x design, wide dynamic range sensor, which produces excellent results,
F200 EXR Program 48 23.4mm CONS Loose battery, slow delivering low image noise and fine detail even on
Manual
£160 15 Scene
start-up, LCD edges can
collect dust
higher ISO settings
GOLD AWARD
NIKON
90%
£160 12.2MP 100- 28-140mm Auto No 2.7 SD LI 109 x 228g PROS Image quality, build The Nikon S640 offers superior build quality, fast
6400 f/2.7-6.6 PASM SDHC 60 x quality, performance and easy-to-use operation, excellent low-light
S640 23 Scn MMC 27mm CONS Price performance and very good image quality even at
£160 higher ISO settings
GOLD AWARD
86%

CANON £170 12MP 80-
1600
28-112mm Auto
f/2.8-5.8 Program
No 2.8 SD
MMC
LI 97.9 x 145g
54.1 x
PROS HD video, style, wide
lens, good image quality
The wide theme won’t be to everyone’s taste, but
the IXUS 110 is a lovely-looking camera, with useful
IXUS 110 IS 17 Scene 22.1mm CONS Noise reduction, not features and good image quality
£170 ideal for non-widescreen
shooting
FUJIFILM
93%
£170 10MP 100- 27-270mm Auto No 3 SD LI 99.3 x 180g PROS Build quality, One of the latest cameras to incorporate Fujifilm’s
12800 f/3.3-5.6 Program 47 58.9 x performance, image quality, EXR sensor, the F70 also debuts Pro Focus and Pro
F70 EXR Aperture 22.7mm value for money Low-light modes. With its quality lens and sensor, it
Manual
£170 15 Scene
CONS Slippery finish, lack
of HD video
outperforms almost anything else in its class
GOLD AWARD
NIKON
76%
£170 10MP 80- 28-420mm Auto No 3 SD LI 110 x 355g PROS Easy to use, much A good superzoom compact, only let down by a lack
3200 f/3.5-5.4 Program 44 AA 72 x needed VR, large 3in screen of more developed manual controls, in particular no
L100 Sports 78mm CONS No manual ISO, noisy comprehensive ISO options
Macro
£170 and soft “Hi ISO” option, AA-
battery-powered at a £240
OLYMPUS
76%
£170 12MP 64- 28-196mm Auto No 2.7 xD LI 97.5 x 125g PROS Lens quality, compact Versatile, easy to use and capable of producing good
1600 f/3-5.9 Program 55.7 x size, build quality results in most normal situations. However its poor
MJU 7010 15 Scene 26.2mm CONS Low light focusing, low light performance, limited battery duration and
£170 slow performance, battery relatively high price make it less appealing
FUJIFILM
85%
£180 12.0MP 100- 27-270mm, Auto, EXR, No 3 SD Li-ion 99.3 x 183g PROS Simple to use, looks Image quality is average at best, but the F80EXR has
12800 F3.3-5.6 P, M, N, 58.9 x good, versatile zoom just about every feature a photographer might need,
F80 EXR Scene (32 28.4mm CONS Overly aggressive pixel and excellent low-light shooting capability
Scene
£180 Modes)
smoothing
CANON
88%
£180 12.1MP 80- 28-112mm Auto No 2.7 SD LI 89.5 x 120g PROS Style, build quality, The IXUS 120 IS looks great, is easy to use and
3200 f/2.8-5.9 Program SDHC 54.9 x performance takes a decent picture. The only real problem is
IXUS 120 IS 16 Scn MMC 20mm CONS Price the high price
£180
CASIO
81%
£180 12MP 64- 38-114mm Auto, 12 No 3.5 SD/ Li-ion 103.5 x 154g PROS, Slim body means Aimed at active types, the Casio G1 is certainly
3200 f3.9-5.4 Scene SD 64.2 x unobtrusive pocketing, rugged and, for the price, is one of the better
EX-G1 HC 19.9mm rugged compacts of this type, but performance and image
£180 CONS Body too slim, lens not
wide enough, image quaity
quality could both be improved
FUJIFILM
86%
£180 12.2MP 64- 28-504mm A, P, SP, EVF 3in SD AA 110.2 x 337g PROS Very well built, can A lightweight 18x superzoom, the Fuji S2500HD
6400 f/3.1-5.6 AP, M, 16 73.4 x zoom in movie mode offers a 28mm wideangle, manual controls and HD
S2500HD Scene 81.4mm CONS Mediocre image video capture
£180 quality
NIKON
83%
£180 10.3MP 160- 26-678mm Auto, Easy, No 3 SD/ Li-ion 114.4 x 481g PROS Affordable, Vibration Though image quality is a bit of a let-down, this
3200 f/2.8-5 14 Scene SDHC 82.7 x Reduction, 15x optical zoom superzoom is good value for money
L110 98.6mm CONS Image quality, no
£180 manual controls
PANASONIC
91%
£190 12MP 80- 25-125mm Auto No 3 SD LI 94.9 x 145g PROS 25mm lens, touch- An excellent compact, with great image quality at
6400 f/2.8-5.9 PASM 40 57.1 x screen, subject tracking, lower ISOs and a lovely wideangle lens
FX550 24 Scene 21.9mm manual controls, iA mode
£190 CONS AF lag, image noise

touchscreen can lag at times GOLD AWARD
COMPACT
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NIKON
82%
£200 14.1MP 100- 30-300mm Auto, No 3 SD/ Lithi- 103 x 183g
TESTED MAY 2010 TESTED AUG 2009 TESTED DEC 2009 TESTED DEC 2009 TESTED MAY 2009 TESTED AUG 2010 TESTED SEP 2009 TESTED XMAS 2009 TESTED FEB 2010 TESTED MAR 2010 TESTED JULY 2009 TESTED MAY 2009 TESTED AUG 2010
PROS Easy to use, nice- Pocket-friendly, and from a point-and-shoot
3200 f/3.5-5.6 Smart, SDHC um-Ion 57 x looking images, affordable perspective, delivers nice images, but the AF
S8000 Portrait, 27mm CONS AF, video mode, lack of performance and video mode let it down
16 Scene
£200 true wideangle focal lengths
SAMSUNG
85%
£200 12MP 80- 24-240mm Auto No 3 SD LI 105 x 225g PROS Wideangle lens, price, The inclusion of 720p HD video and a 24mm
3200 f/3.3-5.8 Program 61.4 x manual focus wideangle lens make the WB550 look like a tempting
WB550 Manual 36.5mm CONS Colours too saturated superzoom model
10 Scene
£200 in low light, oversharpening
SAMSUNG
89%
£170 12MP 80- 27-124mm Auto No 3 SD LI 99.8 x 149g PROS Dual screen, touch- With its innovative front LCD screen and large, hi-res,
3200 f/3.5-5.9 S. Auto 59.8 x screen rear LCD, 720p video touch-screen rear LCD, the ST550 is a unique little
ST550 Scene 19.1mm CONS Poor battery life, high compact. Not quite a Gold Award on account of
£200 ISO softens images poor battery life and soft images at higher ISOs
SONY
90%
£200 10MP 160- 24-120mm Auto No 2.7 MS LI 90.5 x 120g PROS New technologies, One of the first compacts with Sony’s new Exmor R
3200 f/2.4-5.9 11 Scene 51.8 x build quality, design CMOS sensor technology, the WX1 delivers quality
WX1 19.8mm CONS Poor LCD screen, results in low light and is easy to use. All in all, it’s an
£200 slight Sony price premium impressive compact
GOLD AWARD
PANASONIC
90%
£210 10MP 80- 24-240mm Auto No 3 SD LI 103 x 206g PROS 460k-dot LCD, excel- Flagship TZ model, with AVCHD video recording, 12x
6400 f/3.3-4.9 Program 59.6 x lent tonal range and colours optical zoom and a large 460,000dot LCD screen, it’s
TZ7 27 Scene 32.8mm CONS Poorly placed mode an excellent superzoom camera, producing very nice
£210 dial, fairly noisy at 1600,
lack of PASM
images indeed
GOLD AWARD
PANASONIC
89%
£210 12.1MP 80- 25-300mm, iAuto, No 2.7 SD Li ion 103.3 x 214g PROS Build quality, creative For around £210 at its current street price, the TZ8
1600 f/3.3-4.9 Program, 59.6 x controls, cost, LCD screen offers a whole lot for the money. For those on a
TZ8 AP, SP, M 32.6mm CONS Limited upgrade on leaner budget, it delivers the goods in droves
27 scene
£210 previous model
SONY
84%
£210 10MP 100- 38-380mm Auto No 3 MS LI 107.3x 250g PROS 720p video mode, In addition to its far-reaching 10x optical zoom, the
3200 f/3.5-4.4 Program 68.7x 10x zoom H20 is also able to record 720p HD video. It also
H20 14 Scene 47.1mm CONS Battery life, lens ought features Smile Detection and image stabilisation
£210 to be wider, high ISO quality
SONY
89%
£210 10.2MP 125- 35-140mm Auto No 3 MS LI 93.8 x 119g PROS Slim body, With a brushed metal finish the TX1 is a stylish and
3200 f/3.5-4.6 iAuto 58.2 x stylish design slimline compact that offers some advanced
TX1 11 Scn 16.5mm CONS Pricey, slight features including Sweep Panorama and Handheld
£210 fringing issues Twilight modes
CANON
89%
£230 12MP 80- 24-120mm Auto No 3 SD LI 99.9 x 130g PROS Touch focus, face You get a lot of functionality for your money.
1600 f/2.8-5.9 Program 53.4 x detection, noise performance Available in four colours, the metal-bodied IXUS 200
IXUS 200 IS 13 Scene 22.9mm CONS 4:3 sensor but IS boasts a very responsive touchscreen interface
£230 widescreen display and impressive HD movie recording
85%
micro LI
SAMSUNG £230 12.2MP 80-
3200
35-175mm Smart Auto No
f/3.6-4.8 Program
3.5
SD
99.8 x 175g
60.8 x
PROS Design, 3.5in touch-
screen, technical features
Flagship release which combines simplicity with
some innovative features such as Wi-Fi, Bluetooth,
ST1000 11 Scn 18.9mm CONS Battery life, short USB GPS, and DLNA compatibility. Images are perfectly
£230 cable, image quality can
be lacking
decent, though soft at higher sensitivities
CANON
90%
£240 12MP 80- 35-105mm Auto No 2.5 SD LI 103.6 x 190g PROS Prompt AF, image The best waterproof camera on the market, with
1600 f/2.8-4.9 Program 66.9 x quality great image quality and comfortable underwater
D10 17 Scene 48.8mm CONS Small LCD screen, a operation
£240 little pricey
GOLD AWARD
CANON
87%
£240 12MP 80- 28-336mm Auto No 3 SD LI 109.1 x 220g PROS PASM control, design, Available in blue, black and red metallic finishes, the
1600 f/3.4-5.3 PASM 77.7 x control layout SX200 features a 28mm wideangle lens, plus scene
SX200 IS Easy 45.9mm CONS Permanently popped and face detection technology along with the ability
16 Scene
£240 up flash, unnatural colours,
high ISO detail mush
to record 720p HD video
SAMSUNG
88%
£240 14.2MP 80- 24-360mm, Program, No 3 SD Li ion 106.6 x 215g PROS Features, 3in AMOLED A well-specified camera that’s only failing is a few
3200 f/3.2-5.8 SP, AP, M 60.5 x screen, quick to use image quality and performance issues
WB650 28mm CONS Inconsistent exposure
£240
90%
TESTED NOV 2009 TESTED MAR 2009 TESTED JUN 2009 TESTED JULY 2009 TESTED MAR 2010 TESTED JUL 2009 TESTED JUL 2010 NOT YET TESTED
PANASONIC £250 12MP 100-
6400
27-486mm Auto
f/2.8-4.4 PASM
EVF 2.7in SD LI 117.6 x 367g
75.8 x
PROS Manual control, 720p
movie mode, lens quality
Not a major upgrade from the FZ28, but still a
competent camera with good image quality. Ideal for
FZ38 23 Scene 88.9mm CONS High ISO quality, those not wanting the bulk and weight of a DSLR
£250 reasonably minor upgrade
GOLD AWARD
CANON
90%
£250 14MP 80- 36-133mm Auto No 2.5 SD LI 96.7 x 160g PROS Image quality, high- Quality images in a beautiful body. It can be a little
1600 f/2.8-5.8 Program 62.2 x ISO performance, design fiddly to operate, and it’s a little expensive, but
IXUS 980 IS Manual 27.9mm CONS Price, LCD size, otherwise it’s excellent all-round
16 Scene
£250 cramped button layout
GOLD AWARD
88%
CANON £250 12MP 80-

3200
28-140mm Auto
f/3.2-5.7 Program
No 3 SD
MMC
LI 94.8 x 160g
56.8 x
PROS High ISO performance,
large LCD screen, HD video
While the omission of manual controls is regrettable,
HD video, great-looking images and a lovely design
IXUS 990 IS 18 Scene 26.3mm CONS Lack of manual all make the 990 IS a cracking compact
£250 functions, price
OLYMPUS
80%
£260 12MP 64- 26-276mm Auto EVF 2.7 SD AA 110 x 435g PROS Good build quality There are some nice things about the SP 590 UZ,
1600 f/2.8-5.0 PASM 89.7 x but the performance and image quality sadly aren’t
SP590 UZ
CONS Auto WB system,
19 Scene 91mm no Raw up to scratch
£260
SAMSUNG
83%
£270 12.5MP 64- 26-624mm Smart Auto EVF 3 SD LI 116.1 x 398g PROS Long zoom, decent Though by no means cheap, you do get a lot for your
6400 f/2.8-5 PASM SDHC 82.8 x value for money money, considering the extent of the focal range and
WB5000 Custom 91.1mm CONS Slow focus speed, poor manual controls. Image quality is decent too, though
Scn
£270 high ISO performance it struggles at high ISOs
NIKON
85%
£270 12MP 64- 26-624mm Auto EVF 3 SD LI 114 x 460g PROS Handling, articulated While it may not be the best superzoom bridge
6400 f/2.8-5.0 PASM 83 x LCD screen camera on the market, it certainly is capable among
P90 Scene 99 mm CONS No Raw mode, soft its 24x zoom peers
£270 JPEGs
CASIO
82%
£270 10.1MP 100- 24-240mm, Auto No 3 SD Li-ion 105 x 227g PROS Feature-packed, HD Image stabilisation, a 24-240mm zoom lens and Raw
3200 f3.2-5.7 PASM 63.2 x movie, zoom range shooting are great to have, but for the price, the
FH100 18 Scene 29.9mm CONS Low-res high-speed high-speed movie functon isn’t quite enough to see
£270 movie, menu design, Raw
shooting at ISO 100-200 only
off the competition
CANON £280 12MP 80-

1600
28-560
f/2.8-5.7
Auto
PASM
EVF 2.5 SD AA 124 x 560g
88.3 x
Updating the popular SX 10 IS, the new model boasts
a 12MP sensor and a vari-angle LCD screen
SX20 13 Scene 86.9mm
£280
COMPACT
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CANON
89%
TESTED MAY 2010 TESTED AUG 2009 TESTED APR 2010 TESTED MAY 2010 TESTED SEP 2008
£280 14.1MP 80- 28-392mm Auto, P, A, No 3 SD/ Li-ion 105.8 x 215g PROS Design, impressive The Canon SX210 IS offers a flexible range of
1600 f/3.1-5.9 S, M, 18 SDHC 59.3 x video, lots of creative control creative modes, and very good HD video, while still
SX210 Scene 31.9mm CONS 16:9 format screen being small and light for a 10x zoom compact
£280 that leaves a small image
display
CASIO
82%
£280 9MP 100- 26-520mm PASM Evf 3 SD AA 122.6 x 483g PROS 20x super zoom, HD A solid camera, balancing quirky fun against serious
1600 f/2.8-4.5 81.4 x video, high frame rate video superzoom, all wrapped up in a neat package and
FH 20
£250 - £300
84.5mm CONS Slow startup, small not set at a bad price point either
£280 buffer, WB issues
PANASONIC
87%
£280 14.1MP 80- 28-128mm Intelligent No 2.7 SD/ Li-ion 99.3 x 188g PROS Industrial build, A great all-weather camera that can keep up with an
6400 f3/.3-5.9 Auto, SD 63.1 x silicon jacket, impressive active lifestyle, the FT2 performs well and images are
FT2 Normal HC 24.3mm feature set generally well exposed, though noise reduction is a
Picture, 30
£280 Scene
CONS Over-zealous noise
reduction, high price
bit severe sometimes
PANASONIC
89%
£280 12.1MP 80- f/3.3-4.9 iAuto, P, No 3 SD Li-on 103.3 x 218g PROS Solid, well-built, plenty The Panasonic TZ10 boasts a 25mm wideangle
6400 25-300mm A, S, M, SDHC 59.6 x of creative control lens, lots of creative control and image quality is
TZ10 Custom, 32.6mm CONS AVCHD lite format impressive
27 Scene
£280 needs specific software
RICOH
83%
£290 12MP 64- 24-72mm Auto No* 2.7 SD LI 111.6 x 208g PROS Design, handling, low There’s so much going for this camera; great
1600 f/2.5-4.4 Program 58 x ISO images, LCD, EVF design and handling and a real understanding of
GX200 Aperture
*
viewfinder
optional
25mm CONS Noise, over-populated photographers’ needs. It’s a shame that images are
Manual
£290 sensor, overpowered flash very noisy, though
90%
TESTED JAN 2010 TESTED DEC 2009 TESTED XMAS 2009 TESTED NOV 2008 TESTED MAY 2010 TESTED MAY 2010 NOT YET TESTED TESTED MAY 2009 TESTED DEC 2009 TESTED AUG 2010 TESTED JUL 2010 TESTED NOV 2009 TESTED NOV 2009 TESTED XMAS 2009 TESTED NOV 2009 TESTED JUL 2010
CANON £300 10MP 80-
3200
28-105mm Auto
f/2.0-4.9 PASM
No 3 SD LI 100 x 175g
58.4 x
PROS Fast lens, lens control
ring, Raw mode, LCD
The smallest camera on the market to feature Raw
recording, the S90 is also a cheaper option to the
S90 Custom 30.9mm screen, image quality G11, with which is shares the same sensor. Though
17 Scene
£300 CONS Design issues,
stiff mode dial
not perfect it is capable of superb image quality
GOLD AWARD
FUJIFILM
82%
£300 12MP 100- 30-436mm Auto EVF 2.7 SD LI 134 x 820g PROS Image quality, EXR Thanks to its advanced EXR sensor the S2000 is
1600 f/2.8-5.3 PASM SDHC 93.6 x system, build quality capable of producing impressive images with bright
S200 EXR D-Range 145mm CONS Manual focus ring, punchy colours. However, in terms of handling it is
Cust
£300 lack of wideangle, EVF no match for a DSLR
NIKON
84%
£300 12.1MP 80- 28-140mm Auto No 2.7 SD LI 99.5 x 155g PROS Projector and Undoubtedly one of the most innovative products
1600 f/3.9-5.8 Program 62.5 x remote control we’ve seen this year, the S1000PJ unfortunately falls
S1000PJ 16 Scn 23mm CONS Price, light fall-off at short in the image quality department with wideangle
£300 wideangle image corners images prone to light fall-off at the corners
PANASONIC
91%
£300 10MP 80- 24-60mm Auto No 3 SD LI 108.7 x 265g PROS Solid build, image There’s little doubt that the LX3 is a serious
6400 f/2-2.8 PASM 59.5 x quality, LCD screen, fast AF alternative to the likes of the Canon G9 and Ricoh
LX3 24 Scene 27.1mm CONS Ineffective grip, GX-200, with image quality, handling and operation
£300 limited zoom range all being excellent
GOLD AWARD
RICOH
89%
£300 10MP 80- 28-300mm Auto, No 3 SD / Li-ion 101.5 x 206g PROS LCD screen, design, The lack of Raw capture and full manual control over
3200 f/3.5-5.6 Program, SDHC 58.3 x HD video addition images is a real loss, and mean that the CX3 cannot
CX3 Smart- 29.4mm CONS No Raw capture, lack currently be considered amongst the advanced
auto
£300 of manual control compact camera elite
SONY
91%
£300 10.2MP 125- 25-250mm Auto, M, 8 No 3 MS, Li-Ion 102.9 x 170g PROS Heaps of really clever With its many features and functions, this is a truly
3200 f/3.5-5.5 Scene SD/ 57.7 x functions versatile superzoom with very nice images and a
HX5 SDHC 28.9mm CONS Overly bright low-res great 1080i HD video performance
COMPACTS £300 AND ABOVE

£300 LCD screen
GOLD AWARD
OLYMPUS £330 14MP 64-

1600
28-140mm
f/3.9-5.9
Auto,
Program,
No 2.7 SD/ Li-ion
SDHC
98.3 x 215g
63.6 x
The new Olympus Tough 8010 is a rugged,
weatherproof 14MP compact
MJU-8010 iAuto 23.9mm
£330
SONY
90%
£350 9MP 125- 28-560mm Auto EVF 2.5 MS LI 115mm 453g PROS Innovative new Good image quality and some excellent, innovative
3200 f/2.8-5.2 PASM x 83mm features, LCD screen, features make the HX1 a superb bridge choice
HX1 8 Scene x 92mm excellent specification
£350 CONS No Raw mode, LCD

not vari-angle GOLD AWARD
CANON
G11
£360 10MP 80-
3200
28-140mm Auto
f/2.8-4.5 PASM
Custom
Yes 2.8 SD LI 112 x 355g
76 x
48mm
PROS Excellent images,
design, great vari-angle LCD
CONS Small viewfinder,
Replacing the G10, Canon has taken the unusual but
welcome decision to drop the pixel count to 10MP for
the G11, as well as adding a vari-angle LCD screen
92%
16 Scene
£360 crowded backplate, soft
shtter release GOLD AWARD
CANON IXUS
90%
£379 10MP 125- 28-105mm, Auto, No 3 SD Li ion 100 x 175g PROS Takes excellent photos, The camera is excellent on most fronts but having
3200 f/2.0-5.3 Program, 54.1 x stylish body, manual modes to justify the extra £100+ over its rivals will be very
300 HS SP, AP, 16 23.6mm CONS Too expensive difficult for those on a tighter budget. Anyone with
scene
£379 the cash to spend will be more than happy though
GOLD AWARD
FUJIFILM
88%
£380 10.3MP 100- 24-720mm, PASM EVF 3 SD AA 130.6 636g PROS Long zoom, Motion If you are looking for a bridge camera, the HS10
6400 f2.8-5.6 x 90.7 Panorama, free-angle LCD, should be on your shortlist. The EVF viewfinder is its
HS10 x 126.0 HD video modes only downside but its feature list is impressive and
mm
£380 CONS Viewfinder, menu, Raw
compatibility
it’s really good value for money
CANON
89%
£400 10MP 80- 28-560mm Auto EVF 2.8 SD AA 127.5 x 585g PROS Image stabilisation, With its features and design the SX1 is a winner, but
3200 f/2.8-f/5.7 PASM 88.3 x HD movie mode, Raw it’s quite pricey next to the average DSLR
SX1 IS Custom 87.3mm CONS Costly, battery life,
16 Scene
£400 small LCD screen
RICOH
91%
£400 10MP 64- 28mm Auto No 3 SD LI 108.6 x 188g PROS Image quality, build, For a number of reasons the GR III is a superb
1600 f/1.9 PASM 59.8 x LCD, fast AF, lens quality compact – unfortunately it’s also quite an
GR III 25.5mm CONS Price, some JPEG expensive one
£400 issues, DR double shot mode
GOLD AWARD
FUJIFILM
85%
£425 10MP 100- 28mm Auto No 2.8 SD LI 123.6 x 260g PROS It shoots in 3D, it will For now at least, 3D cameras remain a novel, albeit
1600 f/1.9 PAS 68 x impress your friends clever, gadget as there is no way to show them, other
W1 3D 13 Scn 25.6mm CONS Technology still in its than on your rear LCD or via a special viewer. That
3D/2D
£425 infancy, limited places to
show images
said, it is still a fun camera to play with
SIGMA
79%
£480 14MP 50- 41mm Auto No 2.5 SD LI 113.3 x 260g PROS Image quality, retro While the DP2 does offer excellent image quality,
3200 f/2.8 PASM 59.5 x design there are simply far too many flaws for it to be
DP2 54.6mm CONS Price, menu design, recommended
£480 noisy autofocusing
LEICA
80%
£1395 14.2MP 100- 24mm f/2.8 Auto No 2.7 SD Li-ion 124 x 286g PROS Good quality optic, The Leica X1 is a fun little camera that offers a
3200 PASM 32 x unique build unique shooting experience as well as great pictures,
X1 59.5mm CONS Price, LCD resolution & courtesy of its large DSLR-like sensor. Price is a bit
£1395 size, ‘Image Stabilization’ hefty, though – this is one for true Leica fans
WHAT DIGITALCAMERA
LENS BUYING ADVICE

YOUR GUIDE TO EVERYTHING A GOOD LENS SHOULD BE
LENS BUYING ADVICE
TYPES OF LENSES
FIXED STANDARD WIDE- TELEPHOTO SUPER- MACRO

FOCAL ZOOM ANGLE ZOOM ZOOMS LENSES
LENGTH Most DSLRs come ZOOM Telephotos make Want a one-lens Many lenses
Fixed lenses offer with a standard zoom Wideangle lenses subjects appear closer. solution for your misleadingly sport
some advantages – that is, one which make subjects seem They’re great for sport photography? Get the ‘macro’ moniker,
over zooms. They’re spans from moderate further away, enabling and wildlife where a superzoom. While but a true dedicated
generally smaller wideangle to short you to get more in you can’t get close, they rarely compare macro lens lets you
and lighter, with telephoto. These ‘kit’ the shot – perfect while short teles are with shorter range get close enough
wider maximum lenses are fine for for landscapes and good for portraits. lenses in image to reproduce your
apertures and most purposes, but architecture. Among Telephotos magnify quality, a 18-200mm subject at life-size (or
superior image there are alternatives the most popular camera shake, so type lens offers half life-size) on the
quality. An ultra-fast that offer superior wideangle zooms are consider one with the benefit of sensor. Macro lenses
(eg f/1.8) 50mm lens image quality and/ the 10-20mm / 12- Image Stabilisation if speed, convenience (few of which zoom)
is perfect for low or wider maximum 24mm and 17-35mm your camera doesn’t and a dust-free come in a range
light, 85-105mm is apertures – at a ranges. Superwide have it, or buy one sensor. Good for of focal lengths,
ideal for portraits price premium, of lenses cause more with a wide maximum general shooting at from standard to
while a fast 300mm course. Look out for distortion, especially aperture. This way you moderate print sizes, telephoto, and
(or longer) tele is those with constant when tilted off the won’t need to increase but don’t expect to can even be used
a popular addition maximum apertures, perpendicular, your sensitivity in- be making pin-sharp, with extension
to any wildlife or which don’t decrease but can also create a camera, which can aberration-free prints tubes for greater
sports shooter’s kit. as you zoom in. great sense of drama. lead to noise. at exhibition size. magnification.
LENS
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CANON 10-22mm £930 f/3.5-4.5 EF-S USM C 84x90mm/385g Yes 77mm Great CA control 89% ✪ Sep 09
LENS MOUNTS LENS MOUNT KEY CANON 14mm £1800 f/2.8 L USM C 77x89mm/560g No n/a Pro-spec L lens
CANON 14mm £2650 f/2.8 L II USM C 80x94mm/645g No n/a Mark II of above lens 90% ✪ July2010
Each camera manufacturer has A Sony Alpha
CANON 15mm £830 f/2.8
their own lens mount and they C Canon FE C 73x63mm/330g No n/a Fisheye
aren’t compatible with one F Four-Thirds CANON 15-85mm tbc f/3.5-5.6 EF-S IS USM C 81.6 x 88mm/575g Yes 72mm 4-stop image stabiliser
another. If you own a Canon N Nikon CANON 16-35mm £1400 f/2.8 L USM C 84x103mm/600g No 77mm Pro-spec L lens
DSLR, for example, you can’t P Pentax CANON 16-35mm £1690 f/2.8 L II USM C 88x111mm/635g No 82mm Mark II version of abv 91% ✪ Jun2010
S Sigma CANON 17mm £1900 f/4 TS-E L C 88.9x106.9/820g No 77mm Tilt and shift lens
use Nikon lenses, though you
can use independent brands CANON 17-40mm £890 f/4 L USM C 84x97mm/400g No 77mm High-quality wide-zm 89% ✪ May 07
such as Sigma, Tamron and As the shutter speed drops CANON 17-55mm £1140 f/2.8 EF-S ISUSM C 84x111mm/645g Yes 77mm Image stabilisation
Tokina – if you get them in the though, our pictures become CANON 17-85mm £600 f/4-5.6 EF-S ISUSM C 79x92mm/475g Yes 67mm Image stabilisation
right mount. progressively less ‘crisp’ until CANON 18-55mm £150 f/3.5-5.6 EF-S ISUSMII C 69x66mm/190g Yes 58mm Standard EF-S kit lens 77% Apr 07
they’re downright blurry. CANON 18-55mm £160 f/3.5-5.6 IS C 69x70mm/200g Yes 58mm As above but with IS
MAGNIFICATION Optical Image Stabilisation CANON 18-135mm tbc f/3.5-5.6 EF-S IS USM C 75.4 x 101mm/455g Yes 67mm UD and asph elements
FACTOR (used by Canon) and Vibration CANON 18-200mm £699 f/3.5-5.6 EF-S IS C 78x102mm/595g Yes 72mm New superzoom
If you’re migrating from a Reduction (Nikon) uses a CANON 20mm £570 f/2.8 USM C 78x71mm/405g No 72mm Ultrasonic motor
35mm SLR, your lenses won’t floating element inside the CANON 20-35mm £370 f/3.5-4.5 USM C 84x69mm/340g No 77mm Nice wide zoom 89% ✪ June 05
provide the same field of view lens and a gyroscope to cancel CANON 24mm £1890 f/1.4 L USM II C 94x87mm/650g No 77mm Pro-spec L lens
on a DSLR unless you have out our body movement. It’s CANON 24mm £520 f/2.8 - C 68x49mm/270g No 58mm Small and lightweight
a ‘full-frame’ model such as effective enough to give us CANON 24mm £1106 f/3.5 T-SE L C 78x86.7mm/570g No n/a Tilt and shift lens, MF
Canon 5D Mark II. Otherwise, two or three extra stops of CANON 24mm £2400 f/3.5 TS-E L II C 88.5x106.9mm/780g No n/a Mk II tilt and shift lens
for Nikon, Pentax, Fuji and extra shutter speeds to play CANON 24-70mm £1140 f/2.8 L USM C 84x124mm/950g No 77mm Pro-spec L lens 92% ✪ July 09
Sony DSLRs, magnify the with before shake becomes CANON 24-85mm £310 f/3.5-4.5 USM C 73x70mm/380g No 67mm Ultrasonic motor
focal length by 1.5x to get visible. Some cameras (e.g. CANON 24-105mm £870 f/4 L IS USM C 84x107mm/670g No 77mm Image stabilisation
the 35mm equivalent (e.g. a Sony, Pentax, Samsung and CANON 28mm £230 f/2.8 - C 67x43mm/185g No 52mm Budget lightweight lens
100mm lens becomes 150mm); Olympus) use a moving sensor CANON 28mm £540 f/1.8 USM C 74x56mm/310g No 58mm Ultrasonic motor
for Canon it’s 1.6x; Sigma instead, so IS/VR lenses aren’t CANON 28-80mm £50 f/3.5-5.6 II C 67x71mm/220g No 58mm Micro motor
is 1.7x; and the Four-Thirds necessary. CANON 28-90mm £120 f/4-5.6 III C 67x71mm/190g No 58mm Lightweight zoom
mount, 2.0x. CANON 28-105mm £115 f/4-5.6 - C 67x68mm/220g No 58mm Micro USM II motor
BUILT-IN FOCUS CANON 28-105mm £190 f/4-5.6 USM C 67x68mm/220g No 58mm Ultrasonic motor
MAXIMUM APERTURE MOTOR CANON 28-105mm £230 f/3.5-4.5 II USM C 72x75mm/375g No 58mm Ultrasonic motor
You pay a premium for Some lenses incorporate a CANON 28-135mm £416 f/3.5-5.6 IS USM C 78x97mm/540g No 58mm Superb all-rounder 90%✪ Dec 09
lenses with wider maximum motor within the lens to drive CANON 28-200mm £345 f/3.5-5.6 USM C 78x90mm/500g No 58mm Ultrasonic motor
apertures, but for many the auto focusing, while others CANON 28-300mm £2050 f/3.5-5.6 L IS USM C 92x184mm/1670g No 77mm Image stabilisation
users they’re worth it. Wider are powered by motors within CANON 35mm £1620 f/1.4 L USM C 79x86mm/580g No 72mm Pro-spec L lens
apertures mean you can use the camera. Lenses with their CANON 35mm £300 f/2 No 52mm Consistent performer 83%
LENSES
- C 68x43mm/210g Sep 08
faster, motion-stopping shutter own motors will generally CANON 35-80mm £130 f/4-5.6 III C 65x63.5mm/175g No 52mm Micro motor
speeds, and shoot handheld focus more quickly than those CANON 45mm £1106 f/2.8 T-SE C 81x90.1mm/645g No 72mm Tilt and shift
in available light with less without. Some cameras, such CANON 50mm £1800 f/1.2 L USM C 86x66mm/580g No 72mm Pro-spec L lens
camera shake. Zooms whose as the Nikon D60, don’t have CANON 50mm £420 f/1.4 USM C 74x51mm/290g No 58mm Ultrasonic motor 96%✪ Feb 10
maximum apertures are fixed a built-in focus motor so in CANON 50mm £125 f/1.8 II C 68x41mm/130g No 52mm Lightest EF lens in range
throughout the range (instead these cases you can only use CANON 50mm £330 f/2.5 - C 68x63mm/280g No 52mm Macro (1/2 life size)
of getting smaller as you lenses that have their own. CANON 55-250mm £240 f/4-5.6 EF-S IS C 70x108mm/390g Yes 58mm 4-stop image stbl
zoom) also cost more. Canon brands its lens motors CANON 55-200mm £230 f/4.5-5.6 II USM C 70x97mm/310g No 52mm Ultrasonic motor 79% Nov 07
USM (Ultrasonic Motor), Sigma CANON 55-200mm £240 f/4-5.6 EF-S IS C 70x108mm/390g Yes 58mm New EF-S lens with IS
35MM COMPATIBILITY calls its HSM (Hypersonic CANON 60mm £350 f/2.8 EF-S USM C 73x70mm/335g Yes 52mm Great ‘true’ macro lens 88% ✪ Aug 06
Most digital sensors are Motor) and Nikon’s are called CANON 65mm £840 f/3.5 MP-E C 81x98mm/710g No 58mm 1-5x life size macro
smaller than 35mm, which Sonic Wave. CANON 70-200mm £1160 f/2.8 L USM C 84x193mm/1,310g No 77mm No Image Stabilisation
is why lenses designed for CANON 70-200mm £1700 f/2.8 L IS USM C 86x197mm/1570g No 77mm Stunning lens 96% ✪ Oct 09
digital can be smaller than SUFFIXES CANON 70-200mm £610 f/4 L USM C 76x172mm/310g No 67mm Pro-spec L lens
those designed for 35mm. Most lenses have letters CANON 70-300mm £1050 f/4.5-5.6 DO IS USM C 82x100mm/720g No 58mm Image stabilisation
Although pre-digital lenses can as part of their names CANON 70-300mm £470 f/4-5.6 IS USM C 76x142mm/630g No 58mm Stabilised superzoom
be used on digital SLRs they which usually denote what CANON 75-300mm £250 f/4-5.6 IS USM C 78x138.2mm/650g No 58mm Stabilised superzoom
may not perform as well, due technology they feature and CANON 75-300mm £200 f/4-5.6 III C 71x122mm/480g No 58mm Useful zoom range
to their optical characteristics. how sophisticated they are. For CANON 75-300mm £240 f/4-5.6 III USM C 71x122mm/480g No 58mm Average performance 77% Sept 07
Lenses designed solely for example, manufacturers which CANON 85mm £2490 f/1.2 L II USM C 92x84mm/1025g No 72mm Excellent portrait lens 88% ✪ Aug 06
digital sensors, however, can’t incorporate image stabilisation CANON 85mm £440 f/1.8 USM C 75x72mm/425g No 72mm Ultrasonic motor
be used on 35mm cameras or low-dispersion elements in CANON 90mm £1106 f/2.8 TS-E C 73.6x88mm/565g No 58mm Fast tilt and shift lens
(or digital SLRs with 35mm- their lenses usually state this CANON 90-300mm £140 f/4.5-5.6 - C 71x115mm/420g No 58mm Lightweight zoom
sized sensors) because the as part of the lens’s name. CANON 90-300mm £209 f/4.5-5.6 USM C 71x115mm/420g No 58mm Ultrasonic motor
image they produce isn’t big Other information we can CANON 100mm £530 f/2 USM C 75x74mm/460g No 58mm Ultrasonic motor
enough in diameter to cover gather from these letters may CANON 100mm £476 f/2.8 USM C 79x119mm/600g No 58mm Reliable focusing 89% ✪ Nov 09
the sensor/film, causing severe be the type of mount the lens CANON 100mm £999 f/2.8 L USM C 77x123mm/625g No 67mm New macro
vignetting. uses and whether the lens sits CANON 100-300mm £280 f/4.5-5.6 USM C 73x122mm/540g No 58mm Ultrasonic motor
in the company’s ‘professional’ CANON 100-400mm £1410 f/4.5-5.6 L IS USM C 92x189mm/1380g No 77mm Pro-spec L lens
ANTI-SHAKE range, which can include CANON 135mm £490 f/2.8 SF C 69x98mm/390g No 52mm Soft-focus
It’s impossible to hold a weatherproofing and more CANON 135mm £1280 f/2.8 L USM C 82.5x112mm/750g No 72mm Two UD glass elements
camera dead steady without solid construction. A list of the CANON 180mm £1266 f/3.5 L USM C 83x187mm/1090g No 72mm Tele macro
support, but at the faster most common suffixes may be CANON 200mm £900 f/2.8 L II USM C 83x136mm/765g No 72mm Pro-spec L lens
shutter speeds our shakiness found at the end of the listing. CANON 200mm £6920 f/2 L IS USM C 128x208mm/2,520g No 52mm* *Drop-in filter
isn’t noticeable in pictures. CANON 300mm £5300 f/2.8 L IS USM C 128x252mm/2550g No Drop-in Pro-spec L lens
CANON 300mm £1640 f/4 L IS USM C 90x221mm/1190g No 77mm Pro-spec L lens
LENS
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ON
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CO
CANON 400mm £9240 f/2.8 L IS USM C 163x349mm/5370g No Drop-in Pro-spec L lens OLYMPUS 14-54mm £449 f/2.8-3.5 II F 74x88mm/435g Yes 67mm Pro-spec zoom 88% ✪ Dec 09
CANON 400mm £7540 f/4 DO IS USM C 128x233mm/1940g No Drop-in Image stabilised OLYMPUS 18-180mm £350 f/3.5-6.3 ED F 78x85mm/435g Yes 62mm Built-in CPU 87% ✪ Jun2010
CANON 400mm £1560 f/5.6 L USM C 90x265mm/1250g No 77mm Pro-spec L lens OLYMPUS 25mm £200 f/2.5 - F 64x23.5mm/95g Yes 43mm Miniature marvel 86% ✪ Sep 08
CANON 500mm £7800 f/4 L IS USM C 146x387mm/3870g No Drop-in Image stabilised OLYMPUS 35mm £149 f/3.5 - F 71x53mm/165g Yes 52mm Macro
CANON 600mm £10190 f/4 L IS USM C 168x456mm/5360g No Drop-in Image stabilised OLYMPUS 35-100mm £1650 f/2 ED F 97x214mm/1650g Yes 77mm Built-in CPU
CANON 800mm £14370 f/5.6 L IS USM C 163x461mm/4500g No 52mm* *Drop-in filter OLYMPUS 50mm £360 f/2 - F 71x62mm/300g Yes 52mm Fast macro lens 86% ✪ Aug 06
LEICA 14-50mm £900 f/2.8-3.5 D F 78x103mm/490g Yes 72mm Stabilised 4/3 lens OLYMPUS 40-150mm £200 f/4-5.6 ED F 65.5x72mm/220g Yes 58mm ED glass
LEICA 14-50mm £n/a f/3.8-5.6 D F 75x93mm/434g Yes 67mm Kit lens for L10 model OLYMPUS 50-200mm £1000 f/2.8-3.5 ED SWD F 86x157mm/995g Yes 67mm Long zoom with SWD
LEICA 14-150mm £n/a f/3.5-5.6 D ASPH F 78x90mm/520g Yes 72mm First lens with XS AF OLYMPUS 70-300mm £320 f/4-5.6 ED F 80x127mm/620g Yes 58mm 3 ED elements
LEICA 25mm £700 f/1.4 D ASPH F 78x75mm/510g Yes 62mm Four ED elelments OLYMPUS 90-250mm £3799 f/2.8 ED F 124x276mm/3270g Yes 105mm ED glass
LEICA 45mm £600 f/2.8 DG ASPH MFT 63 x 62.5mm/225g Yes 46mm Macro lens with OIS 91% ✪ May 10 OLYMPUS 150mm £1999 f/2 ED F 100x150mm/190g Yes 82mm ED + Super ED glass
NIKON 10.5mm £489 f/2.8 DX ED G N 63x63mm/305g Yes n/a Fisheye OLYMPUS 300mm £4899 f/2.8 ED F 129x281mm/190g Yes Drop-in ED glass
NIKON 10-24mm £799 f/3.5-4.5 DX ED G N 82.5 x 87mm/460g Yes 77mm Good MTF curves 88% ✪ Oct 09 OLYMPUS 14-42mm £290 f/3.5-5.6 ED MFT 62 x 43.5mm/150g Yes 40.5mm E-P1 kit lens 88% ✪ May 10
NIKON 12-24mm £769 f/4 DX ED G IF N 83x90mm/465g Yes 77mm Superb ergonomics 87% ✪ Sep 09 OLYMPUS 17mm £290 f/2.8 - MFT 57 x 22mm/71g Yes 37mm Pancake lens 87% ✪ May 10
NIKON 14mm £1199 f/2.8 D ED N 87x87mm/670g No n/a ED glass 92% ✪ July2010 PANASONIC 7-14mm £915 f/4 ASPH MFT 70 x 83.1mm/300g Yes n/a Built-in petal hood 94% ✪ May 10
NIKON 14-24mm £1200 f/2.8 G ED N 98x132mm/1kg No n/a Stunning optic 93% ✪ Feb 08 PANASONIC 14-45mm £235 f/3.5-5.6 ASPH MFT 60 x 60mm/195g Yes 52mm Standard kit lens 93% ✪ May 10
NIKON 16mm £549 f/2.8 D N 63x57mm/290g No n/a Fisheye PANASONIC 14-140mm tbc f/4-5.8 HD ASPH MFT 70 x 84mm/460g Yes 62mm Designed for video
NIKON 16-85mm £450 f/3.5-5.6 DX G ED VR N 72x85mm/485g Yes 67mm New DX zoom lens PANASONIC 20mm £295 f/1.7 ASPH MFT 63 x 25.5mm/100g Yes 46mm Pancake lens 89% ✪ May 10
NIKON 17-35mm £1249 f/2.8 D ED IF N 83x106mm/745g No 77mm ED glass PANASONIC 45-200mm tbc f/4-5.6 - MFT 70 x 100mm/380g Yes 52mm Mega OIS
NIKON 17-55mm £999 f/2.8 DX ED G IF N 86x111mm/755g Yes 77mm ED glass 86% ✪ May 07 PENTAX 10-17mm £369 f/3.5-4.5 DA ED IF P 68x72mm/370g Yes n/a Fisheye lens with IF
NIKON 18-35mm £369 f/3.5-4.5 D ED IF N 83x83mm/370g No 77mm ED glass PENTAX 12-24mm £679 f/4 DA ED AL IF P 84x88mm/430g Yes 77mm Internal focusing
NIKON 18-55mm £149 f/3.5-5.6 DX ED G N 69x74mm/205g Yes 52mm Average performance 82% Apr 07 PENTAX 14mm £689 f/2.8 DA ED IF P 84x69mm/420g Yes 77mm ED glass and IF 90% ✪ July2010
NIKON 18-55mm £179 f/3.5-5.6 DX G VR N 73x79.5mm/265g Yes 52mm Great kit lens 87% ✪ May 08 PENTAX 16-45mm £349 f/4 DA ED AL P 72x62mm/365g Yes 67mm ED glass
NIKON 18-70mm £219 f/3.5-4.5 DX ED G IF N 73x76mm/390g Yes 67mm Good standard zoom 87% ✪ June 05 PENTAX 16-50mm £589 f/2.8 DA* P 84x99mm/565g Yes 77mm Weatherproof
NIKON 18-135mm £279 f/3.5-5.6 DX ED G IF N 74x87mm/385g Yes 67mm Good value zoom lens 87% ✪ June 07 PENTAX 17-70mm £450 f/4 DAALIFSDM P 75x93.5mm/485g tbc 67mm Internal focusing
NIKON 18-200mm £519 f/3.5-5.6 DXEDGIFVR N 77x97mm/560g Yes 72mm Good superzoom 85% ✪ Mar 08 PENTAX 18-55mm £199 f/3.5-5.6 DA AL P 68x68mm/225g Yes 52mm Good standard zoom 80% Apr 07
NIKON 18-200mm £729 f/3.5-5.6 DXGEDVRII N 77x96.5mm/565g Yes 72mm New superzoom PENTAX 18-55mm £TBC f/3.5-5.6 DA AL WR P 68x 67mm/230g Yes 52mm Weatherproofed
NIKON 20mm £369 f/2.8 D N 69x43mm/270g No 62mm Close-range correction PENTAX 18-250mm £350 f/3.5-6.3 DA ED AL IF P 75x85mm/455g Yes 62mm New superzoom 85% ✪ Jan 10
NIKON 24mm £1895 f/1.4 ED N 83x89mm/620g No 77mm ED Glass 93% ✪ Aug 10 PENTAX 21mm £449 f/3.2 DA AL P 63x25mm/140g Yes 49mm Limited edition
NIKON 24-70mm £1200 f/2.8 G ED N 83x133mm/900g No 77mm 3 ED and 3 asph. elem 94% ✪ July 09 PENTAX 31mm £699 f/1.8 FA AL P 69x65mm/345g No 77mm Limited edition
NIKON 24-85mm £449 f/2.8-4.0 D IF N 79x82mm/545g No 72mm Above average zoom 84% June 05 PENTAX 40mm £249 f/2.8 DA P 63x15mm/90g Yes 45mm Limited edition
NIKON 24-120mm £479 f/3.5-5.6 ED G IF VR N 77x94mm/575g No 72mm Vibration reduction 86% Dec 09 PENTAX 43mm £440 f/1.9 FA P 64x27mm/155g No 49mm Limited edition
NIKON 28mm £179 f/2.8 D N 65x45mm/205g No 52mm Standard wide lens PENTAX 50mm £399 f/2.8 DFA P 68x60mm/265g No 45mm Macro 87% ✪ Aug 06
NIKON 28-70mm £1149 f/2.8 D ED IF N 89x122mm/935g No 77mm ED glass and IF PENTAX 50-135mm £650 f/2.8 DA* P 77x136mm/765g Yes 67mm Weatherproof
NIKON 35mm £199 f/1.8 DX N 70 x 52.5mm/200g Yes 52mm New fast prime PENTAX 50-200mm £179 f/4-5.6 DA ED P 67x79mm/260g Yes 52mm Quick-shift focus 77% Nov 07
LENSES
NIKON 35mm £229 f/2 D N 65x44mm/205g No 52mm Poor wide open perf. 80% Sep 08 PENTAX 55mm £550 f/1.4 DA* SDM P 70.5x66mm/375g tbc 58mm Fast prime 91% ✪ Feb 10
NIKON 45mm £1400 f/2.8 PC-E D ED N 83.5x112mm/780g No 77mm Perspective Control PENTAX 50-200mm £TBC f/4-5.6 DA ED WR P 69 x 79.5mm/285g Yes 49mm Weatherproofed
NIKON 50mm £249 f/1.4 D N 65x43mm/230g No 52mm Fast portraiture lens 94% ✪ Feb 10 PENTAX 55-300mm £260 f/4-5.8 DA ED P 71x111.5mm/440g tbc 58mm New superzoom lens
NIKON 50mm £99 f/1.8 D N 64x49mm/155g No 52mm Fast lightweight lens PENTAX 60-250mm £1000 f/4 DA*EDIFSDM P tbc tbc 67mm Weather resistant
NIKON 55-200mm £179 f/4-5.6 DX ED G N 68x79mm/255g Yes 52mm ED glass 85% ✪ Nov 07 PENTAX 70mm £449 f/2.4 DA P 63x26mm/130g Yes 49mm Limited edition
NIKON 55-200mm £249 f/4-5.6 DX VR N 73x99mm/355g Yes 52mm Offers plenty for the price 84% Nov 07 PENTAX 77mm £629 f/1.8 DA P 64x48mm/270g Yes 45mm Limited edition
NIKON 60mm £319 f/2.8 D N 70x75mm/440g No 62mm Cracking macro 92% ✪ Aug 06 PENTAX 100mm £449 f/2.8 DFA P 68x81mm/345g No 49mm Macro 85% ✪ Aug 06
NIKON 60mm £400 f/2.8 G ED N 73x89mm/425g No 62mm New version of above PENTAX 200mm £800 f/2.8 DA*EDIFSDM P 83x134mm/825g tbc 77mm Pro-spec tele lens
NIKON 70-200mm £1299 f/2.8 ED G IF VR N 87x215mm/1470g No 77mm Stunning lens 96% ✪ Oct 09 PENTAX 300mm £900 f/4 DA*EDIFSDM P 83x184mm/1,070g tbc 77mm Pro-spec tele lens
NIKON 70-200mm £1999 f/2.8 G ED VR II N 87x209mm/1540g No 77mm Mk II of above lens PENTAX 35mm £300 f/2.8 DA P 63x46.5mm/215g tbc 49mm Fantastic performer 90% ✪ Sep 08
NIKON 70-300mm £399 f/4.5-5.6 ED G VR N 80x143.5mm/745g No 67mm Dual mode VR PENTAX 18-55mm £100 f/3.5-5.6 DA AL II P 68x67.5mm/220g tbc 52mm Kit lens
NIKON 80-400mm £1099 f/4.5-5.6 D ED VR N 91x171mm/1360g No 77mm Vibration reduction SAMSUNG 10-17mm £330 f/3.5-4.5 D-XENON P 68x72mm/320g Yes 45mm Fisheye zoom lens
NIKON 85mm £829 f/1.4 D IF N 80x73mm/550g No 77mm Internal focusing SAMSUNG 12-24mm £550 f/4 D-XENON P 84x88mm/430g Yes 77mm Good value for money 84% Mar 08
NIKON 85mm £279 f/1.8 D N 72x59mm/380g No 62mm Rear focusing SAMSUNG 16-45mm £350 f/4 D-XENON P 72x92mm/365g Yes 67mm Quick-shiftfocussystem
NIKON 85mm £1300 f/2.8 PC-E D ED N 82.7x107mm/650g No 77mm Perspective Control SAMSUNG 18-55mm £TBC f/3.5-5.6 D-XENON P tbc Yes tbc 2nd version kit lens
NIKON 105mm £729 f/2 DC D N 79x111mm/640g No 72mm Rear focusing SAMSUNG 18-250mm £TBC f/3.5-6.3 D-XENON P tbc Yes tbc Superzoom
NIKON 105mm £699 f/2.8 ED G IF VR N 83x116mm/790g No 62mm Feature-packed macro 91% ✪ Nov 09 SAMSUNG 35mm £300 f/2 D-XENON P 64x45mm/195g Yes 49mm Fast wideangle lens
NIKON 135mm £939 f/2 DC D N 79x120mm/815g No 72mm Rear focusing SAMSUNG 50-200mm £200 f/4-5.6 D-XENON P 67x79mm/255g Yes 52mm Useful focal range
NIKON 180mm £599 f/2.8 ED IF N 79x144mm/760g No 72mm ED glass SAMSUNG 100mm £400 f/2.8 D-XENON P 68x81mm/345g Yes 49mm Macro
NIKON 200mm £2699 f/2 ED G IF VR N 124x203mm/2900g No 52mm Vibration reduction SIGMA 4.5mm £900 f/2.8 EX DC HSM CNS 76x77mm/470g Yes Rear Fisheye lens
NIKON 200mm £1049 f/4 D ED IF N 76x193mm/1190g No 62mm Macro and IF SIGMA 8mm £900 f/4 EX DG ACNPS 74x63mm/320g No Rear Fisheye
NIKON 200-400mm £4599 f/4 ED G IF VR N 124x365mm/3275g No 52mm Vibration reduction SIGMA 10mm £700 f/2.8 EX DC HSM CNS 75.8x83mm/475g Yes Rear Fisheye lens
NIKON 300mm £3299 f/2.8 ED G IF VR N 124x267mm/2870g No 52mm Vibration reduction SIGMA 10-20mm £550 f/4-5.6 EX DC ACFNPS 84x81mm/465g Yes 77mm Pro-spec EX lens 92% ✪ Aug 09
NIKON 300mm £849 f/4 D ED IF N 90x225mm/1440g No 77mm ED glass SIGMA 10-20mm £650 f/3.5 EX DC HSM ACNPS 87x88mm/520g Yes 82mm Pro-spec EX lens 95% ✪ Mar 10
NIKON 400mm £6299 f/2.8 D ED IF II N 160x352mm/4440g No 52mm ED glass SIGMA 12-24mm £850 f/4.5-5.6 EX DG ACNPS 87x103mm/600g No Rear Cracking wide zoom 88% ✪ Aug 09
NIKON 400mm £6390 f/2.8 G ED VR N 160x368mm/4620g No 52mm AF-S lens with VR II SIGMA 15mm £700 f/2.8 EX DG ACFNPS 74x65mm/370g No Rear Fisheye 88% ✪ July 10
NIKON 500mm £4999 f/4 D ED IF II N 140x394mm/3430g No 52mm ED glass SIGMA 17-70mm £330 f/2.8-4.5 DC ACPS 83x79mm/455g Yes 72mm Macro 88% ✪ July 06
NIKON 500mm £5600 f/4 G ED VR N 140x391mm/3880g No 52mm AF-S lens with VR II SIGMA 17-70mm £330 f/2.8-4.5 DC HSM ACPNS 83x79mm/455g Yes 72mm Above lens motorised 91% ✪ Apr 10
NIKON 600mm £6799 f/4 D ED IF II N 166x431mm/4750g No 52mm ED glass SIGMA 18-50mm £400 f/2.8 EX DC ACFNPS 79x86mm/450g Yes 72mm Macro 89% ✪ Feb 09
NIKON 600mm £6800 f/4 G ED VR N 166x445mm/5060g No 52mm AF-S lens with VR II SIGMA 18-50mm £120 f/3.5-5.6 EX DC ACFNPS 68x62mm/250g Yes 58mm Standard zoom 84% Feb 09
OLYMPUS 7-14mm £1199 f/4 ED F 87x120mm/780g Yes n/a Fantastic wide zoom 92% ✪ Jun 08 SIGMA 18-125mm £320 f/3.8-5.6 DC OS HSM CNS 74x88.5mm/540g Yes 67mm Motor for Nikon D40/60 84% Dec 09
OLYMPUS 8mm £529 f/3.5 ED F 79x77mm/485g Yes n/a Splashproof fisheye SIGMA 18-200mm £330 f/3.5-6.3 DC ACNP 70x78mm/405g Yes 62mm Two SLD elements 83% Mar 08
OLYMPUS 9-18mm £450 f/4-5.6 ED F 80x73mm/275g Yes 72mm Light and affordable 87% ✪ Sep 09 SIGMA 18-200mm £440 f/3.5-6.3 DC OS ACNPS 79x100mm/610g Yes 72mm Optical Stabilisation 88% ✪ Mar 08
OLYMPUS 11-22mm £539 f/2.8-3.5 ED F 75x93mm/485g Yes 72mm Two aspherical elements SIGMA 18-250mm £560 f/3.5-6.3 DC OS HSM ACNPS 79x101mm/630g Yes 72mm Latest Sigma superzoom 91% ✪ Jan 10
OLYMPUS 12-60mm £830 f/2.8-4 ED SWD F 79x98mm/575g Yes 72mm Supersonic Wave Drive SIGMA 20mm £600 f/1.8 EX DG ACFNPS 89x90mm/520g No 82mm Pro-spec EX lens
OLYMPUS 14-35mm £1870 f/2 ED SWD F 86x123mm/915g Yes 77mm Supersonic Wave Drive SIGMA 24mm £500 f/1.8 EX DG ACNPS 84x83mm/485g No 77mm Macro
OLYMPUS 14-42mm £179 f/3.5-5.6 ED F 66x61mm/190g Yes 58mm ED glass SIGMA 24-70mm £530 f/2.8 EX DG ACFNPS 89x116mm/715g No 82mm Macro
LENS
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SIGMA 24-70mm £900 f/2.8 EX DG HSM ACNPS 88.6 x 94mm/790g No 82mm Excellent optic 94% ✪ Aug 09 TAMRON 200-500mm £689 f/5-6.3 SP Di LD ACN 94x227mm/1237g No 62mm Good image quality 90% ✪ June 09
SIGMA 28mm £400 f/1.8 EX DG ACFNPS 84x83mm/500g No 77mm Asph. glass and macro TOKINA 10-17mm £499 f/3.5-4.5 AT-X DX CN 70x71mm/350g No n/a Fisheye
SIGMA 28-70mm £280 f/2.8 EX DG ACNP 74x87mm/510g No 67mm Pro-spec EX lens TOKINA 11-16mm £489 f/2.8 AT-XPRODX CN 89.2xtbcmm/560g Yes 77mm Wide zoom
SIGMA 28-300mm £330 f/3.5-6.3 DG ACNP 74x86mm/490g No 62mm Macro TOKINA 12-24mm £399 f/4 AT-XPRODX CN 84x90mm/540g Yes 77mm Great wide zoom 88% ✪ Aug 09
SIGMA 30mm £480 f/1.4 EX DC HSM ACNPS 77x59mm/400g Yes 62mm Consistent performer 83% Sep 08 TOKINA 16-50mm £600 f/2.8 AT-XPRODX CN 84x97.4mm/610g Yes 77mm Standard zoom lens
SIGMA 50mm £320 f/2.8 EX DG ACNPS 71x67mm/320g No 55mm Macro 81% Aug 06 TOKINA 35mm £360 f/2.8 AT-XPRODX CN 73.2x60.4mm/340g Yes 52mm Macro
SIGMA 50mm £450 f/1.4 EX DG HSM ACNPS 84.5x68.2mm/505g No 77mm Latest Sigma prime 97% ✪ Feb 10 TOKINA 50-135mm £599 f/2.8 AT-X PRO DX CN 78x135mm/845g No 67mm Pro spec
SIGMA 50-150mm £700 f/2.8 EXDCHSMII ACNPS 76x135mm/770g Yes 67mm Hypersonic motor TOKINA 80-400mm £619 f/4.5-5.6 AT-X AF D CN 79x137mm/1020g No 72mm SLD element
SIGMA 50-500mm £1350 f/4-6. 3 DG ACNPS 95x219mm/1840g No 86mm With or without HSM TOKINA 100mm £300 f/2.8 AT-X D PRO CN 73x95mm/540g No 55mm Good value macro 88% ✪ Nov 09
SIGMA 55-200mm £140 f/4-5.6 DC ACFPS 72x87mm/310g Yes 55mm Consistent performer 87% ✪ May 09 ZEISS 16-35mm £1389 f/2.8 ZA T* A 83x114mm/900g No 77mm Excellent performance 91% ✪ Sep 09
SIGMA 55-200mm £140 f/4-5.6 DC HSM N 72x87mm/310g Yes 55mm Above lens motorised ZEISS 16-80mm £589 f/3.5-4.5 DT ZA T* A 72x83mm/445g Yes 77mm Excellent optic 90% ✪ Apr 09
SIGMA 70mm £500 f/2.8 EX DG ACNPS 76x95mm/525g No 62mm Useful macro 88% ✪ Nov 06 ZEISS 18mm £1150 f/3.5 DISTAGON A 87x84mm/470g No 82mm T* coated 94% ✪ Aug 10
SIGMA 70-200mm £800 f/2.8 EXDGHSMII ACFNPS 86x184mm/1345g No 77mm Great tele zoom 92% ✪ Oct 09 ZEISS 24-70mm £1499 f/2.8 ZA SSM T* A 83x111mm/955g No 77mm Super Sonic Drive 92% ✪ July 09
SIGMA 70-300mm £170 f/4-5.6 DG ACNPS 77x122mm/545g No 58mm A poor performer 79% May 09 ZEISS 85mm £1169 f/1.4 ZA T* A 82x73mm/560g No 72mm With T* coating
SIGMA 70-300mm £230 f/4-5.6 APO DG ACNPS 77x122mm/550g No 58mm Very capable lens 84% Sept 07
SIGMA 70-300mm £399 f/4-5.6 DG OS ACNPS 76 x 126mm/610g No 62mm New stabilised tele
SIGMA 100-300mm £1400 f/4 EX DG HSM ACNPS 92x227mm/1440g No 82mm Pro-spec EX lens
SIGMA 105mm £350 f/2.8 EX DG ACNPS 74x98mm/460g No 58mm Strong mid-aperture 82% Nov 09
SIGMA 120-300mm £3000 f/2.8 EX DG HSM CNS 113x271mm/2680g No 105mm Pro-spec EX lens
SIGMA 120-400mm £750 f/4.5-5.6 DG OS HSM CNS 92x203mm/1,750g No 77mm Stabilised tele lens
SIGMA 150mm £700 f/2.8 EX DG HSM CNS 80x137mm/895g No 58mm Pro-spec EX lens
SIGMA 150-500mm £900 f/5-6.3 DG OS HSM CNS 94x252mm/1910g No 86mm Quick and quiet AF 84% June 09
SIGMA 200-500mm £24000 f/2.8 EX DG CNS 236x726mm/15.7kg No 72mm* *Drop in filter
SIGMA 180mm £900 f/3.5 EX DG HSM ACNPS 80x182mm/965g No 72mm Pro-spec EX lens
SIGMA 300mm £2700 f/2.8 EX DG HSM ACNPS 119x214mm/2400g No Drop-in Pro-spec EX lens
SIGMA 300-800mm £9000 f/5.6 EX DG HSM CNSF 157x544mm/5880g No Drop-in Pro-spec EX lens
SONY 11-18mm £469 f/4.5-5.6 DT A 83x81mm/360g Yes 77mm Consistent 84% Sep 09
SONY 16mm £689 f/2.8 - A 75x67mm/400g No n/a Fisheye
SONY 16-80mm £499 f/3.5-4.5 DT ZA A 72x83mm/445g Yes 62mm Carl Zeiss technology 90% ✪ Apr 09
SONY 16-105mm £430 f/3.5-5.6 DT A 72x83mm/470g Yes 62mm 1 ED + 2 asph. elem 83% Mar 09
SONY 18-55mm £TBC f/3.5-5.6 DT SAM A tbc Yes tbc New Smooth AF Motor
SONY 18-70mm £139 f/3.5-5.6 DT A 66x77mm/235g Yes 55mm Average kit-lens 77% Mar 09
SONY 18-200mm £419 f/3.5-6.3 DT A 73x86mm/405g Yes 62mm Useful zoom range 82% Apr 08
LENSES
SONY 18-250mm £490 f/3.5-6.3 DT A 75x86mm/440g Yes 62mm New superzoom lens 85% ✪ Jan 10
SONY
SONY
20mm £599 f/2.8
24-105mm £419 f/3.5-4.5 -
- A
A
78x54mm/285g
71x69mm/395g
No 72mm Wide zoom lens
No 62mm Compactwidetotelelens
BEFORE YOU BUY ANYTHING...
SONY 28mm £169 f/2.8 - A 65x43mm/185g No 49mm Standard wideangle lens Lenses carry many suffixes as part of their names, as the Tamron
SONY 28-75mm tbc f/2.8 SAM A 77.5 x 94mm/564g No 67mm Smooth AF Motor 28-300mm f/3.5-6.3 XR DI VC LD Aspherical (IF) Macro proves.
SONY 30mm £TBC f/2.8 DT SAM A tbc Yes tbc Under development Here’s a list of the most common suffixes in use:
SONY 35mm £1049 f/1.4 G A 69x76mm/510g No 55mm Fast standard lens
SONY
SONY
50mm
50mm
£289 f/1.4
£419 f/2.8
-
-
A
A
66x43mm/220g
72x60mm/295g
No 55mm Fast portraiture lens 93% ✪ Feb 10
No 55mm Macro
SUFFIX KEY
II/II Denotes version of lens FE Canon’s fisheye lenses
SONY 50mm £150 f/1.8 DT SAM A 70x45mm/170g Yes 49mm New fast prime 91% ✪ Mar 10
APO Apochromatic lens elements G Nikon lenses without a manual
SONY 55-200mm £169 f/4-5.6 DT A 71.5x85mm/295g Yes 55mm Tele-zoom
designed to produce sharper aperture ring
SONY 55-200mm £TBC f/4-5.6 DT SAM A tbc Yes tbc New Smooth AF Motor
images by focusing all HSM Sigma lenses with
SONY 70-200mm £1829 f/2.8 G A 87x197mm/1340g No 77mm Supersonic wave motor
wavelengths of light to the Hypersonic Motor
SONY 70-300mm £560 f/4.5-5.6 SSM G A 82.5x135.5mm/760g No 62mm ED elements
same point IF Internal focusing lenses
SONY 70-400mm £1300 f/4-5.6 SSM G A 94.5x196mm/1,490g No 77mm New zoom lens
DA Pentax lenses designed for L Canon’s ‘Luxury’ lens range
SONY 75-300mm £179 f/4.5-5.6 - A 71x122mm/460g Yes 55mm Good consistent perf. 78% Sept07
APS-C sized sensors LD Tamron lenses with Low
SONY 100mm £619 f/2.8 - A 75x99mm/505g No 55mm Macro
DG Sigma’s designation for digital Dispersion glass
SONY 135mm £899 f/2.8 T4.5 STF A 80x99mm/730g No 72mm Soft focus effect
and full-frame lenses MF Manual-focusing-only lenses
SONY 300mm £4399 f/2.8 G A 122x243mm/2310g No 42mm Super sonic wave motor
Di Tamron lenses designed for full OS Sigma lenses with Optical
SONY 500mm £539 f/8 - A 89x118mm/665g No 42mm Reflex lens with AF
frame sensors Stabilisation
TAMRON 10-24mm £379 f/3.5-4.5 SP DI II LD IF ACNP 83.2x86.5mm/406g Yes 77mm Impressive performer 86% ✪ Feb 10 Di-II Tamron lenses compatible with PC-E Nikon’s Perspective Control
TAMRON 17-50mm £440 f/2.8 SP Di-II XR ACNP 82x74mm/434g Yes 67mm Pro spec lens 89% ✪ Feb 09 APS-C sensors lenses
TAMRON 17-50mm £470 f/2.8 XR Di II VC CN 79x94mm/570g Yes 72mm Built-in focusing motor 91% ✪ Apr 10 DO Canon lenses featuring a PRO Tokina’s Professional range
TAMRON 18-200mm £319 f/3.5-6.3 Di-II XR ACNP 73x84mm/423g Yes 62mm LD glass and IF 82% Mar 08 diffractive optical element of lenses
TAMRON 18-250mm £269 f/3.5-6.3 Di-II LD ACNP 84x74mm/430g Yes 62mm Sharp, great macro 82% Jan 10 DX Nikon lenses designed for SLD Sigma lenses containing one
TAMRON 18-270mm £600 f/3.5-6.3 Di-II VC LD ACNP 80x101mm/550g Yes 72mm Useful range 90% ✪ Jan 10 APS-C sensors or more Super Low Dispersion
TAMRON 28-75mm £299 f/2.8 SP Di ACNP 73x92mm/510g No 67mm Excellent all-rounder 88% ✪ June 05 ED Nikon lenses featuring Extra elements
TAMRON 28-80mm £69 f/3.5-5.6 - ACN 72x70mm/237g No 58mm Aspherical elements Low Dispersion element(s) TS-E Canon’s ‘Tilt and Shift’ lenses
TAMRON 28-200mm £249 f/3.8-5.6 Di XR ACNP 71x75mm/354g No 62mm IF and macro ED Olympus and Leica lenses with UD Canon lenses with Ultra Low
TAMRON 28-300mm £320 f/3.5-6.3 XRDiLDIFMac ACNP 83x73mm/420g No 62mm Huge zoom range low dispersion glass Dispersion element(s)
TAMRON 28-300mm £499 f/3.5-6.3 Di XR VC LD CN 78x99mm/555g No 67mm LD glass and IF macro 85% ✪ Nov 07 EF Canon lenses compatible with VC Tamron lenses with Vibration
TAMRON 55-200mm £149 f/4-5.6 Di-II LD ACN 72x83mm/300g Yes 52mm Great at wider settings 85% ✪ May 09 full-frame & APS-C-sized Compensation
TAMRON 60mm £TBC f/2 SP Di-II ACN 73x80mm/400g Yes 55mm New macro lens sensors VR Nikon lenses with Vibration
TAMRON 70-200mm £625 f/2.8 Di LD IF Mac ACNP 194x89mm/1,150g No 77mm Good budget zoom 89% ✪ Oct 09 EF-S Canon lenses compatible only Reduction
TAMRON 70-300mm £169 f/4-5.6 Di LD Macro CNP 77x116mm/435g No 62mm Average performance 80% Sept 07 with APS-C sized sensors USM Canon lenses with an
TAMRON 90mm £329 f/2.8 SP Di ACNP 72x97mm/405g No 55mm Good value macro 88% ✪ Nov 09 EX Sigma’s ‘excellent’ lens range Ultrasonic Motor
TAMRON 180mm £699 f/3.5 SP Di LD ACN 85x166mm/920g No 72mm Macro
WHAT DIGITALCAMERA
FLASH GUNS
EVERYTHING YOU NEED FOR THE RIGHT FLASH CHOICE
CHOOSING A FLASH specialised such as a hammerhead or ring flash.
Modern units offer tremendous automation
batteries – usually a set of AAs. Finally, the
danger of redeye is reduced because the light is
Many DSLRs have built-in flash units, which and much of the mathematics that used to be further from the lens axis.
are adequate for general snaps, but have required when using flash is now redundant.
limitations. If you want to get creative However, manual control is still useful to have WHAT TO LOOK FOR
with flash, or just fire out more power with for unusual situations or creative purposes. When buying a flashgun, it’s worth bearing in
better light, a separate unit is essential. Like Another advantage of a separate flash unit mind that you generally get what you pay for.
lenses, though, you need to find a flash that’s is that it will offer faster recycling times than Cheaper flashguns are a mainly automated
compatible with your camera – a Canon flash on-camera units, which is useful if you’re taking affair, with a few preset settings that match
won’t work with a Nikon camera, for example. many photographs quickly. There’s also battery with the aperture that you are using. These are
There are also independent manufacturers who power to consider; flash draws a lot of power, fine for the beginner or occasional user. More
make versatile and powerful units in a variety and this can seriously reduce the life of your expensive models benefit from better build
of fits, while you may want something more camera battery, but a flashgun has its own quality, greater coverage and manual control.
TYPES OF FLASH HOTSHOE
E
PAT ER
Y
RAG
GUI RICE
LIT
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MOUNTED CANON Speedlite 270EX £150 27 Canon Tilt only 28mm 64 x 65 x 72mm 145g New compact flash, with zooming head and bounce 87% ✪ Aug 09
These sit on CANON Speedlite 430EX £190 43 Canon Yes 24mm 72 x 101 x 122mm 330g Excellent performer with even illumination 90% ✪ Nov 05
your camera’s CANON Speedlite 430 EX II £210 43 Canon Yes 14mm 72 x 122 x 101mm 330g Update to above, with sturdier mounting foot
hotshoe and CANON Speedlite 580EX £330 58 Canon Yes 24mm 75 x 114 x 134mm 375g Great performer. Expensive, but worth it 91% ✪ Dec 05
work either CANON Speedlite 580 EX II £350 58 Canon Yes 24mm 102x255x100mm 680g Weatherproof connections
independently JESSOPS 300 AFD £100 30 Canon (not 40D), Nikon, Pentax Tilt only 28mm to be confirmed TBC Lightweight and plasticky, but excellent value for money 86% ✪ Dec 05
or with your JESSOPS 360 AFD £150 36 Canon (not 40D), Nikon, Pentax Yes n/a to be confirmed TBC More powerful version of 300AFD with swivel
camera’s TTL METZ 36 AF-3 £75 36 Canon, Nikon, Minolta/Sony Tilt only 28mm 71 x 115 x 95mm 205g Alternative to DSLR maker’s own GN36 flashguns
system. Some
FLASH GUNS
METZ 28 AF-3 digital £95 28 Canon, Nikon No 24mm 58 x 85 x 33mm 100g Good value and easy to use but gives mixed results 84% Aug 07
models feature swivel and tilt METZ 44 MZ-2 £150 44 SCA 3002 – compatible with most DSLRs Yes 28mm 75 x 125 x 108mm 400g Reasonably priced alternative to proprietary brand flash
heads, for bouncing light around.
METZ 44 AF-4/44 AF-4i £140 44 Canon, Nikon, Olympus,Minolta/Sony Yes 24mm 75 x 125 x 108mm 400g AF4 - Canon, Minolta (Sony) and Olympus AF4i - Nikon
RINGFLASH METZ 54 MZ-4/54 MZ-4i £290 54 SCA 3002 – compatible with most DSLRs Yes 20mm 75 x 125 x 108mm 480g Fully featured and compatible with most cameras 92% ✪ Dec 05
For macro METZ 58 AF-1 £290 58 Canon, Nikon Yes 18mm to be confirmed TBC USB socket to upgrade firmware if you change camera 88% ✪ Mar 07
and fashion NIKON SB-400 £125 21 Nikon Tilt only - 66 x 57 x 80mm 127g Lightweight flash with unique tilting front 90% ✪ May 07
photography, NIKON SB-600 £200 30 Nikon Yes 24mm 68 x 124 x 90mm 300g As good as it gets for a mid-range flash, but pricey 90% ✪ Nov 05
a ringflash NIKON SB-800 £270 38 Nikon Yes 24mm 71 x 12 x 92mm 350g Faultless performer – fast, accurate and even 93% ✪ Dec 05
is ideal as NIKON SB-900 £330 34 Nikon Yes 17mm 78x146x118.5mm 415g Excellent flash, with plenty of options 92% ✪ May 09
it provides NISSIN Di622 £150 44 Canon/Nikon Yes 24mm to be confirmed TBC Low-cost alternative that performs well 85% ✪ July 08
an even NISSIN Di866 £290 60 Canon/Nikon Yes 24mm to be confirmed TBC Powerful and simple to use 87% ✪ Nov 09
concentration OLYMPUS FL-20 £110 20 Olympus E system No n/a 56 x 96 x 28mm 74g Useful, compact, even illumination and good colour 85% ✪ Aug 07
of light around OLYMPUS FL-36 £150 36 Olympus E system Yes 16mm 65 x 105 x 95mm 270g Good performance for 4/3 Olympus users 86% ✪ Nov 05
the lens, helping to eliminate OLYMPUS FL-36R £180 36 Olympus E system Yes 8mm 67 x 95 x 108mm 260g Wireless version of the above model
shadows. OLYMPUS FL-50 £300 50 Olympus E system Yes 16mm 78 x 133 x 102mm 380g More than adequate, but sluggish recycling times 87% ✪ Dec 05
OLYMPUS FL-50R £400 50 Olympus E system Yes 8mm 78 x 141 x 107mm 385g Wireless version of the above model
TWINFLASH PENTAX AF-360 FGZ £170 36 Pentax Tilt only 24mm 206 x 89 x 79mm 270g TTL flash for *istD and K series DSLRs
Similar to
ringflashes in PENTAX AF-540 FGZ £230 54 Pentax Yes 24mm 76 x 142 x 107mm 380g Dedicated flashgun for Pentax users
their suitability SAMSUNG SEF-36 PZF £155 30 Samsung GX /Pentax K Series Tilt only 20mm 70 x 110 x 116mm 380g A good solid unit with a more than acceptable price 86% ✪ Feb 08
for macro SAMSUNG SEF-54 PFZ £230 45 Samsung GX / Pentax K Series Yes 20mm 72 x 142 x 107mm 380g Powerful unit with plenty of features 88% ✪ Feb 08
work, but SIGMA EF530 DG ST £120 53 Canon, Nikon, Pentax, Sigma, Sony Yes 17mm 77 x 139 x 117mm 305g A good performance and at a reasonable price 86% ✪ Mar 08
these feature SIGMA EF530 SUPER £190 53 Canon, Nikon, Pentax, Sigma, Sony Yes 17mm 77 x 139 x 117mm 335g Good power and at a great price 84% Jul 09
two flash units SONY HVL F36AM £140 36 Sony Alpha Tilt only 17mm 68 x 122 x 89mm 260g Now discontinued, the F36AM can still be bought cheaply
around the SONY HVL F42AM £180 42 Sony Alpha Yes 17mm 75 x 123 x 100mm 340g Good performer and reasonably priced 87% ✪ Aug 08
lens, which can SONY HVL F56AM £260 56 Sony Alpha Yes 17mm 79 x 135 x 102mm 371g Wireless TTL control adds versatility
be supplemented with additional SONY HVL F58AM £380 58 Sony Alpha Yes 16mm 77 x 147 x 106mm 440g Innovative Quick Shift Bounce System
flashes. SUNPAK PF30X £100 30 Canon ETTL II, Nikon iTTL Tilt only 20mm 100 x 68 x 92mm 220g A solid performer with nice features at a decent price 84% Aug 07
SUNPAK PZ40X £140 40 Canon ETTL II, Nikon iTTL, Minolta/ Sony Tilt only 24mm 93 x 63 x 90mm 205g Compact yet powerful unit, though features are limited 84% Nov 05
HAMMER-
HEAD RING/TWIN FLASH
Generally CANON MR-14 EX £375 14 Canon n/a n/a n/a n/a Simple to use with manual mode for creative control 86% ✪ May 07
offering more CANON MT-24 EX £600 24 Canon n/a n/a n/a n/a Good illumination, especially for close-up shots 86% ✪ May 07
power than NIKON R1C1 £500 10 Nikon Yes n/a 68 x 96 x 58mm 160g Wireless with even light and accurate illumination 89% ✪ May 07
hotshoe- OLYMPUS SRF-11 £470 11 Olympus E system Yes n/a 120 x 135 x 24mm 145g Easy to use and solid but limited in compatibility 86% ✪ May 07
mounted OLYMPUS STF-22 £630 16 Olympus E system Yes n/a 73 x 50 x 39mm 105g Simple to operate with excellent lighting control 86% ✪ May 07
models, these PENTAX AF 160 FC £TBC 16 Pentax / Samsung n/a n/a 113x113x29.5mm 405g GN 16m at ISO 100
sit alongside SIGMA EM140 DG macro £250 14 Canon (ETTL), Nikon (iTTL), Sigma n/a n/a 127 x 129 x 31mm 430g Good power for macro and portrait work 84% May 07
the camera’s
body on brackets and provide a HAMMERHEAD FLASH
better, off-centred lighting angle. METZ 45 CL-4 digital £320 45 SCA 3002 – compatible with most DSLRs Yes 28mm n/a 680g Hammerhead flash favoured by wedding snappers
METZ 76 MZ-5 Digital £500 76 SCA 3002 – compatible with most DSLRs Yes 20mm n/a 1,018g 24-105mm illumination
BUYER’SGUIDE
TRIPODS BALL AND

SOCKET
ASE
EL
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LEV
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HEADS
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FIND YOUR NEXT TRIPOD HERE
BENBO Compact B&S £37.99 8cm 175g 8kg no no
BENBO Pro B&S £85.99 10cm 360g 12kg no no
CALUMET Med. Ball £16.96 - - 4kg yes yes
CHOOSING TYPES OF SUPPORT CALUMET QuickGrip £19.95 - - - yes yes
A TRIPOD TRIPOD HEAD MONOPOD

GIOTTOS
GIOTTOS
MH1003-310 £29.99 7.2cm 160g
MH7001-621 £39.99 11cm 596g
4kg
6kg
no
yes
no
yes
It doesn’t matter if you’re The three-legged A good head – A smaller and
shooting landscapes or GIOTTOS MH7302 £75 10cm 529g 12kg - - 84% Mar 08
photographer’s whether it be lighter alternative
the kids in your front GIOTTOS MH7303 £70 98cm 426g 8kg - - 83% Feb 08
room – if your camera friend. Look out ball and socket to a tripod, GIOTTOS MH3003-550 £99.99 15cm 1135g 15kg no no
isn’t held steady, you’re for sturdy models or pan and monopods are
GITZO G0077 £29.95 6cm 100g 1kg no no
going to get blurred that you know tilt – is essential ideal for panning
GITZO G1178M £107.95 9.5cm 400g 4kg no yes
images. The best solution will support the for quick subjects and
GITZO G1277M £124.95 11.5cm 500g 6kg no no
is a tripod or monopod. weight of both operation, firm anywhere else
The following list should your camera and GITZO G1275M £124.95 11cm 500g 5kg no no
support and where a tripod is
help you to choose the chosen lens. flexibility. impractical. GITZO G1276M £149.95 12cm 600g 5kg no yes
right one for you. GITZO G1378M £214.95 14cm 1.1kg 8kg yes yes
MANFROTTO 222 £190 21cm 780g 2.5kg yes yes
MANFROTTO 322RC2 £100 10.3cm 700g 5kg yes yes
GTH
CE
HEA TIONS
MANFROTTO 468MG £200 13cm 650g 16kg no yes

HT
LEN
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SEC
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£230
COM
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MANFROTTO
MIN
STR
FOL
LEG
468MGRC3 12cm 800g 16kg no yes

WE
MA
MA
BENBO Mini Trekker £64.99 71cm 0cm 55cm 1 No 1.5kg n/a Hook for camera bag / weight MANFROTTO 482 Micro £25 5.9cm 110g 2kg no no
BENBO Trekker Tripod Mk III £120 150cm tbc 84cm 2 No 2kg 8kg Available as kit (with head) or legs only NAT. GEOG. RC2 £224.95 12.4cm 700g 10kg no yes
BENBO 1 £215.49 157cm 0cm 84cm 2 Yes 3.4kg n/a Sealed legs / waterproof NAT. GEOG. RC5 £244.95 12.5cm 700g 12kg no yes
BENBO 2 £237.99 256cm 0cm 114cm 2 Yes 3.75kg n/a Long-legged version of Benbo 1 SLIK SmallBallHead £19.99 7.5cm 120g 1.6kg no no
CALUMET 7100 £49.99 147cm 23cm 54cm 4 Yes 2kg 5kg Great for landscapes 85% ✪ Feb 07 SLIK Ball Head 800 £69.99 12cm 760g - no yes
CALUMET 7300 £69.99 172cm 27cm 62cm 4 Yes 2.6kg 5kg Heavier version of 7100 kit 87% ✪ Feb 07 SLIK AF2100 £99.99 14cm 870g 4.5kg no yes
DIGIPOD A2230 £54.95 112cm 49cm 53cm 3 Yes 0.9kg 2.5kg Lightweight aluminium tripod VELBON QHD-41Q £39.99 6.8cm 130g 1.5kg no yes
DIGIPOD A3240 £89.95 155cm 55cm 60cm 4 Yes 2.5kg 10kg Heavyweight aluminium tripod VELBON QHD-51Q £54.99 8.4cm 180g 3.5kg no yes
DIGIPOD C2530 £149.95 126cm 54cm 58cm 3 Yes 1.2kg 4.5kg Carbon fibre VELBON QHD-61Q £84.99 9cm 310g 5.5kg yes yes
DIGIPOD C2840 £179.95 143cm 51cm 55cm 4 Yes 1.6kg 8kg Solid, lightweight carbon fibre 87% ✪ June 07 VELBON QHD-71Q £99.99 10.7cm 450g 7.5kg yes yes
GIOTTOS VT806 £25 152cm 59cm 60cm 3 Yes 1.1kg 3kg Lightweight tripod with head
TRIPODS & HEADS

GIOTTOS VT809 £35 168cm 67cm 68cm 3 Yes 1.6kg 3kg Lightweight tripod with head
GIOTTOS MTL3271B £130 159cm 23cm 69cm 3 No 2.6kg 10kg Quick release leg locks PAN AND TILT HEADS
GIOTTOS MT9242 £84.99 145cm 23cm 56cm 3 No 1.3kg 3kg Solid construction and good value 82% Feb 08 CALUMET CK0043 £19.95 - - 5kg yes yes
GIOTTOS MT9351 £80 136cm 56cm 64cm 3 No 2.5kg 5kg 180 degree vertical column CALUMET CK0061 £29.99 - - 5.8kg yes yes
GIOTTOS MT9371 £150 175cm 27cm 75cm 3 No 2.9kg 10kg Great model with dustproof locking 85% ✪ Mar 08 CALUMET CK7061 £44.96 - - - yes yes
GIOTTOS MTL8361 £160 150cm 29cm 72cm 3 No 1.7kg 8kg Carbon fibre GIOTTOS MH5000 £44.99 12cm 790g 6kg yes no
GIOTTOS MTL8350B £190 152cm 22cm 52cm 4 No 1.6kg 5kg Carbon fibre legs and aluminium crown 86% ✪ Mar 09 GIOTTOS MH5001 £49.99 12cm 820g 6kg yes yes 89 %✪ Apr 09
GIOTTOS MT8246B £190 124cm 21cm 51cm 4 No 1kg 3kg Strong and lightweight model 88% ✪ Oct 08 GITZO G2271M £184.95 10cm 700g 5kg no no
GITZO G2220 £224.95 162cm 0cm 64cm 3 No 2.3kg 9kg Aluminium legs with tilting column GITZO G1570M £184.95 10.5cm 1300g 10kg no no
GITZO G1320 £279.95 191cm 49cm 76cm 3 No 3.3kg 13kg Impressive extension, aluminium GITZO G2272M £199.95 9.3cm 700g 5kg no yes
GITZO G1410 £314.95 164cm 19cm 76cm 3 No 3.8kg 12kg Optional columns MANFROTTO 056 £25 10cm 500g 3kg no no
GITZO GT1550T £464.95 146cm 36cm 41cm 5 No 1kg 4.5kg 5 leg sections for incredible compactness MANFROTTO 460MG £60 10.5cm 430g 3kg no yes
GITZO GT2530EX £464.95 170cm 0cm 68cm 3 No 1.4kg 12kg Carbon fibre MANFROTTO 804RC2 £60 12cm 750g 4kg no yes
GITZO GT3541 LS £599.95 146cm 10cm 55cm 4 No 1.7kg 18kg An excellent – if expensive – support 89% ✪ Mar 09 MANFROTTO 229 £160 16cm 1900g 12kg yes yes
MANFROTTO 055D / 055DB £100 181cm 44cm 61cm 2 No 2.2kg 7kg Available in silver (D) or black (DB) VELBON PHD-31Q £21.99 7cm 240g - no yes
MANFROTTO 055PRO / 055PROB £135 176cm 11cm 65cm 3 No 2.4kg 7kg Great for low angles VELBON PHD-41Q £39.99 8.7cm 430g - yes yes 86%✪ Apr 07
MANFROTTO 190CX3 Pro £230 146cm 6cm 55cm 3 No 1.3kg 5kg Excellent lightweight tripod 93% ✪ Sep 08 VELBON PHD-51Q £109.99 12cm 670g 5kg yes yes
MANFROTTO 058 / 058B £235 217cm 44cm 94cm 2 No 6.2kg 12kg Geared column, heavy duty VELBON PHD-61Q £129.99 13.3cm 820g 5kg yes yes
MANFROTTO 458B Neotec £275 156cm 10cm 64cm 3 No 2.4kg 8kg Unique ‘automatic’ leg locks 85% ✪ Mar 07
MANFROTTO Xprob £85 146cm 8.5cm 57cm 3 No 1.8kg 5kg Sturdy and well-engineered 92% ✪ May 08
GTH
£54.95 81%
CE
NAT. GEOG. Tundra Ballhead 152cm 17cm 46cm 5 No 0.9kg 1kg Very compact travel ‘pod Test 06
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£299.95 135cm 11cm 58cm

D
NAT. GEOG. Expedition Carbon 4 No 2.3kg 7kg Carbon-fibre travelling companion

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SLIK U8000 £49.99 150cm - 59cm 3 No 1.5kg - Light weight, low cost BENBO Trekker £29.99 160cm 89cm 2 Yes 600g
SLIK ABLE 300 DX £69.99 155cm - 66cm 3 No 2.6kg - Includes 3-way quick release head GIOTTOS MM9970 £49.99 170cm 58cm 4 No 810g
SLIK PRO 330 DX £139.99 160cm 29cm 60cm 3 Yes 1.6kg 5kg Comes with Pro SH-705E head 86% ✪ Mar 07 GIOTTOS MM5570 £69.99 177cm 64cm 4 No 1260g
SLIK PRO 340DX £115 147cm 26cm 49cm 4 Yes 1.5kg 4kg Comes with Pro SH-705E head GIOTTOS MM9560 £50 162cm 53cm 4 No 870g 85%✪ Mar 08
SLIK PRO 700 DX £189.99 190cm 62cm 76cm 3 Yes 3.2kg 6.8kg Comes with Pro 700 DX head GITZO G1564L £109.95 202cm 60cm 5 No 1000g
SLIK PRO 760 DX £259 195cm 41cm 82cm 3 Yes 3.1kg 6.8kg Solid support with quick release legs 85% ✪ Mar 09 GITZO GM2340 £109.95 156cm 49cm 4 No 600g
UNILOC 1600 £98.89 153cm 0cm 81cm 2 No 2.4kg - Independent leg movements GITZO GM2941 £129.95 157cm 52cm 4 No 400g
UNILOC Major 1220 £120.89 122cm 0cm 68cm 2 No 3.1kg - Sealed, waterproof legs GITZO GM5540 £229.95 162cm 55cm 4 No 900g
UNILOC System 1700 £131.89 175cm 0cm 79cm 3 No 3.0kg - Converts to monopod MANFROTTO 679B £34 156cm 62cm 3 No 600g 87%✪ Sep 07
UNILOC Major 1600 £137.39 160cm 0cm 79cm 2 No 3.4kg - 1800 centre column joint MANFROTTO 680 £44 154cm 51cm 4 No 830g
VELBON CX-300 £30.96 175cm 51cm 54cm 3 No 1.1kg 5kg Budget tripod with fixed head MANFROTTO 682 £77 172cm 69cm - No 1150g
VELBON CX-540 £41.95 185cm 56cm 61cm 3 No 1.5kg 5kg Heavier duty version of CX-300 73% Mar 07 NG Tundra £30 156cm 48cm 5 Yes 390g 82% Sep 07
VELBON CX-640 £50 162cm 59cm 65cm 3 Yes 1.7kg 3kg Good for occasional light use 73% Mar 09 SLIK Slim Pod £24.99 153cm 48cm 4 No 290g 80% Sep 07
VELBON ULTRA LUXI IF £104.99 121cm 18cm 34cm 5 No 1kg - Compact model with twist lock legs 79% Mar 05 SLIK Monopod 350 £29.99 160cm 51cm 4 No 300g 89%✪ Sep 07
VELBON Sherpa 200 £69.99 168cm 59cm 62cm 3 No 1.9kg 3.5kg Aluminium, with head VELBON Ultra Stick 40 £24.99 144cm 42cm 4 No 220g 78% Sep 07
VELBON Sherpa 600R £92.94 195cm 29cm 65cm 3 No 2.2kg 15kg Aluminium, drops to near ground level VELBON RUP-40 £29.99 158cm 49cm 4 No 360g 89% ✪ Sep 07
VELBON Sherpa Pro CF-531EL £199.99 156cm 17cm 55cm 3 No 1.3kg - Carbon fibre, hanging hook 88% ✪ Mar 05 VELBON Sherpa Pro 7 £94.99 170cm 53cm 4 No 760g
WHAT DIGITALCAMERA
BAG
BAGS
FEA ODELS
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BILLINGHAM Press Top Shoulder £130 3 Light weight, easy access
BILLINGHAM Packington Shoulder £145 1 Large canvas bag
BILLINGHAM Pro Shoulder £160 5 Deep, pockets, brass/leather fixtures
KEEP YOUR
BILLINGHAM Hadley Shoulder £70 5 Briefcase design 82% Apr 07
BILLINGHAM L2 Shoulder £80 1 Zipless and weatherproof
EQUIPMENT SAFE… CLUBMAN

CLUBMAN
Digital
Ali
Hard case
Hard case
£20
£23
2
3
Vacuum-formed briefcase with foam insert
Aluminium with foam insert
CRUMPLER New Delhi Shoulder £120 5 Spacious bag with secure construction and padded inner 85%✪ May 09
CHOOSING A BAG CRUMPLER Pretty Boy Maxi Shoulder £15 5 4 colours, protective seals 84% Oct 08
When you’ve spent a small fortune on a camera, CRUMPLER Match Maker Backpack £110 1 Super strong and ideal for the pro with a lot of gear 87%✪ Sep 08
lenses and other kit, you want to keep your CRUMPLER The Daily Shoulder £55 6 Long adjustable strap, laptop compartment 91%✪ Nov 07
investment protected. A decent camera bag is CRUMPLER Pretty Boy Backpack £75 1 4 colours, double compartment 82% Oct 07
essential not just to carry your gear but also to CRUMPLER Full Photo Backpack £120 3 Security zips and backbrace
save it from bad weather, knocks and bumps DOMKE J-Series Shoulder £100 4 Ballistic-grade nylon exterior and slimline padding
and pilfering fingers. DOMKE Classic canvas Shoulder £80 7 Canvas exterior in a range of styles and sizes
From the funky urban style of Crumpler bags DOMKE Ballistic Shoulder £80 4 Similar to Classic but with ballistic nylon 80% Jul 06
to the classic khaki canvas Billingham, there’s DOMKE Satchel Shoulder £80 2 Slimline briefcase design for camera and laptop
a style of bag to suit everybody. JESSOPS Fastnet Shoulder £10 2 Small, weatherproof and functional 83% Mar 06
JESSOPS Backpack Backpack £15 1 Small basic pack
JESSOPS
TYPES OF BAG
Kamala Shoulder £17 2 Traditional style
KATA UL-222 Backpack £350 1 Aluminum-framed huge backpack 88%✪ Aug 10
KATA BP-502 Backpack £260 1 Tough pack with laptop space
SHOULDER BAGS
Useful for easy access KATA PL-220 Backpack £260 1 Excellent hiking pack with lots of space 89%✪ Aug 10
while on the move, KATA OC series Hard case £160 2 Well-padded suitcase-style cases
with external pockets KATA R series Backpack £130 4 Roomy bag with plenty of protection (score refers to R-103) 88%✪ Oct 08
for cards, filters, etc. KATA WS series Shoulder £120 2 Rugged bag with waist belt
Look for wide and KATA SB series Shoulder £110 3 Well padded with rain cover
padded straps, which are KATA T series Sling £65 2 Comfort of backpack with ease of shoulder bag
comfortable if carrying KATA W series Waist packs £65 2 Easy carrying and access 84% Aug 06
for extended periods. KATA Ergo Tech Various £40 17 Range of bags made from ElastoGuard laminate 88%✪ May 07
KATA PB series Shoulder £30 3 Small, general-purpose camera bags
KATA
BACKPACKS
C series Shoulder £20 5 Small, rugged bags
Backpacks offer better LOWEPRO DryZone Backpack £140 3 Fully waterproof packs with rubber seals
support for your spine, LOWEPRO SlingShot Sling £60 3 Hybrid shoulder/backpack with dual compartments
BAGS
especially if you have a LOWEPRO Flipside Backpack £70 2 Lightweight and great for the security conscious 90%✪ May 08
lot of gear to carry. Some LOWEPRO Rezo Shoulder £15 7 Small, general-purpose camera bags
have space for laptops LOWEPRO Fastpack Backpack £75 4 Comfortable, lightweight and with plenty of room 90%✪ Apr 08
and straps for tripods, LOWEPRO Rover Backpack £120 2 Dual compartment packs for camera and clothes or food
but they’re not as good LOWEPRO Road Runner Rolling/Backpack £270 2 Backpacks with wheels for heavy kit
for rapid access to gear. LOWEPRO Stealth Reporter Shoulder £60 6 Photojournalist design with a wealth of features 87%✪ Jun 05
LOWEPRO Compu Backpack £75 4 Designed for digital, with laptop space
LOWEPRO
SLING BAGS Trekker Backpack/Roller £90 7 A range of backpacks for different needs
A hybrid shoulder/ LOWEPRO ProRoller Rolling £300 4 Heavy-duty shipping cases
back pack offering an LOWEPRO Vertex Backpack £109 3 Weatherproof backpacks

easy swing to the side LOWEPRO Apex Shoulder £30 10 Small, single-compartment bags with weatherproofing
for access. Lowepro’s NATIONAL GEOGRAPHIC Earth Explorer Backpack £120 2 Modular system with space for camping gear 85%✪ Sep 07
Slingshot range is NATIONAL GEOGRAPHIC Earth Explorer Shoulder £80 2 Environmentally friendly, and made from good-quality materials 86%✪ Jul 08
perhaps the most NATIONAL GEOGRAPHIC Walkabout Shoulder £120 2 Stylish and well made, as well as comfortable to carry around 87%✪ May 09
popular, though there PELICAN Peli Hard Case £25 28 Watertight hard cases with valves and o-rings
are other brands. SAMSONITE Trekking Premium Shoulder £25 5 Good looking holdall-style bags (score applies to 140 model) 89%✪ Jun 05
STORM IM series Hard Case £30 19 Hard waterproof cases with valves, 6 colours
TAMRAC
ROLLING CASES Explorer Shoulder £20 4 Small SLR bags
Cases with wheels and TAMRAC System Shoulder £25 3 Bags with ballistic nylon (score applies to 6 model) 87%✪ Jun 05
handles for carrying TAMRAC Expedition Backpack £40 5 Comfortable packs with modular accessories
heavy equipment. TAMRAC Adventure Backpack £40 7 Dual compartments for food or clothes. Model 9 holds a laptop 86%✪ Jul 06
Smaller versions also TAMRAC Pro Shoulder £40 3 Tough weatherproof bags with digital management system
double as a backpack or TAMRAC CyberPack Backpack £90 3 Ballistic grade with laptop compartments
briefcase, and are ideal TAMRAC Adventure Messenger Shoulder £17 3 Small, slimline bags 87%✪ Jan 07
for holding a lot of gear TAMRAC Travel Pack 71 Backpack £30 1 Small backpack
when travelling. TAMRAC Turbo Cyber Pro Shoulder £80 1 Briefcase style with laptop space
TAMRAC CyberPro Rolling £150 2 Briefcase design with wheels and laptop space
TAMRAC
HARD CASES SpeedRoller 2 Rolling £200 1 Suitcase-style roller with laptop space
Aluminium cases are TAMRAC CyberPack Express Rolling/Backpack £200 1 Rolling case with backpack harness and laptop space
ideal for airline travel or TAMRAC Velocity Sling £30 5 Small to medium sling bags with easy carriage and access
long-term storage/ TAMRAC Velocity 5 Waist pack £35 1 Small bag with added waist belt
protection, and come TAMRAC Digital Convertible Shoulder £40 1 Small bag with added waist belt
in a range of sizes from TENBA Shootout Backpacks £55 6 Pro packs in a variety of sizes
attaché case to large TENBA Pro Digital 2.0 Shoulder £95 3 Pro shoulder bags with laptop space
trunk-types. TENBA Pro Digital 2.0 Backpack £120 2 High-grade bags with laptop space
THINK TANK Change-Up Shoulder £90 1 Versatile: can be used as shoulder bag or beltpack 86%✪ Jun 08
THINK TANK Streetwalker Backpack £140 3 Solidly-built, narrow bag with lots of dividers and pockets 88%✪ May 09
BUYER’SGUIDE
PORTABLE STORAGE
FOR WHEN YOUR MEMORY CARDS AREN’T ENOUGH
NEED TO KNOW CHOOSING STORAGE
Thanks to advances in technology and video files including full-length movies.
LCD the rise of the portable media player, More advanced models even offer
A larger the once-humble storage device market attachments that enable users to record
colour LCD has seen a big overhaul in recent years. digital TV. The ability to play MP3 music
is easier to What this means is that buying storage files is also a bonus – one that can provide
view, but no longer boils down to a straightforward a welcome soundtrack to photographers
don’t forget choice of capacity and screen size; today’s on the move. As ever, a high-quality LCD
about devices are not only capable of keeping screen is a must, and in most cases bigger
resolution. your photos safe, many can also play is most definitely better.
The more
pixels
STORAGE
TY
RAW
CE
ACI
the better.
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CAPACITY SMARTDISK PhotoBank 40GB £75 80GB 1.7in Data only CF, SD, MS, SM No 115x78x25mm 262g 78% Apr 07
If you are going to use BRAUN Pixel Bank 60GB £80 80GB 0in Data only CF, SD, MS No 125x75x29mm 250g 79% Apr 07
the device mainly as a media player, you JOBO Giga One 40GB £100 80GB, 120GB 0in Data only CF, SD, MS, SM, XD No 115x78x25mm 254g 84% Feb 06
may not need the largest capacity. If it’s JOBO Giga One Sonic 80GB £130 120GB, 160GB, 200GB 1.8in Data only CF, SD, MMC, MS, xD No 127x73x20mm N/A
strictly for storage, bypass fancy features VOSONIC VP5550 60GB £160 100GB, 120GB, 160GB, 250GB 3.5in 320x240 pixels CF, SD, MS, xD Yes 135x75x22mm 290g
for the larger-capacity model. ARCHOS 405 30GB £170 2GB with SD expansion slot 3.5in 320x240 pixels Adaptor required No 100x78x15mm 190g 81% Apr 07
APPLE iPod Classic 120GB 120GB £175 No 2.5in 320x240 pixels Adaptor required No 100x61x10mm 140g
FILE COMPATIBILITY ARCHOS 605 WiFi 30GB £190 80GB, 160GB 4.5in 800x400 pixels Adaptor required No 122x82x15mm 190g 81% Apr 07
Most accept all major image formats, JOBO Spectator 40GB £190 80GB, 120GB 2.5in 280x320 pixels CF, SD, MMC, MS Yes 129x78x24mm 183g 70% Apr 07
but more-obscure video files may not be
APPLE iPod Touch 16GB 16GB £215 8GB, 32GB 3.5in 480x320 pixels Adaptor required No 110x62x8.5mm 115g
accepted by some devices.
VOSONIC VP6230 80GB £215 40GB (discontinued) 2.5in 720x480 pixels CF, SD, MS, xD, SM Yes 128x76x30mm 282g
VOSONIC VP5700 80GB £230 160GB, 320GB, 500GB 3.5in 320x240 pixels CF, SD, MS, xD, SM Yes 135x75x22mm 290g
VOSONIC VP8360 80GB £250 60GB, 100GB (discontinued) 3.6in 320x240 pixels CF, SD, MMC, MS Yes 72x135x23mm 236g 88%✪ XMAS 07
JOBO Giga Vu Pro Evolution 40GB £250 80GB, 120GB 3.7in 640x480 pixels CF Yes 145x107x38mm 420g 87%✪ Apr 07
STORAGE
EPSON P2000 40GB £270 No 3.8in 640x480 pixels CF, SD Yes 142x23x91.5mm 415g
ARCHOS 705 WiFi 80GB £270 160GB 7in 800x480 pixels Adaptor required No 182x128x20mm 630g 87%✪ May 08
ARCHOS 5 60GB £275 120GB, 250GB 4.8in 800x400 pixels Adaptor required No 128x78x13mm 250g 75% Jun 10
EPSON P3000 40GB £300 No 4in 640x480 pixels CF, SD Yes 150x88x33mm 426g 87%✪ Apr 07
JOBO Giga Vu Sonic 80GB £300 120GB, 160GB, 250GB 3.2in 320x240 pixels CF, SD, MMC,MS Yes 133x75x25mm 280g
EPSON P4000 80GB £320 No 3.8in 640x480 pixels CF, SD Yes 147x84x31mm 415g 92%✪ Feb 06
CARD SUPPORT CANON M30 30GB £370 No 3.7in 640x480 pixels CF, SD Yes 140x81x34mm 359g 77% Sep 08
Not all devices accept every type of EPSON P5000 80GB £400 No 4in 640x480 pixels CF, SD Yes 150x89x33mm 430 g 89%✪ Apr 07
memory card but separate adaptors CANON M80 80GB £420 No 3.7in 640x480 pixels CF, SD Yes 139x80x33mm 430g
can be used to convert the slot into one JOBO Giga Vu Extreme 80GB £420 120GB, 160GB 3.7in 640x480 pixels CF Yes 145x107x38mm 420g
compatible with your memory card. EPSON P7000 160GB £490 No 4in 640x480 pixels CF, SD Yes 150x88x33mm 428g 83% Apr 09
VOSONIC VP8870 160GB £TBC 160GB, 320GB, 500GB 4.3in 720x480 pixels CF, SD, MS, MMC Yes 148x76x27mm 328g
DIGITAL PHOTO FRAMES UNLEASHING YOUR IMAGES

FROM YOUR CAMERA’S LCD
NEED TO KNOW CHOOSING A FRAME either accept your card, or it to be mobile then look for
Photoframes may appear similar to comes with an adaptor that those with an integrated
SCREEN SIZE each other, but there are a number of will enable it do do so – battery, and make sure that it
Larger screens have the obvious factors to bear in mind when choosing otherwise you may need to buy supports the file formats your
advantage of displaying larger one. Firstly, make sure that it can an additional one. If you want images are in.
images,
though how
PHOTO FRAME
M
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ME
well your
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is also down GENIUS DPF-T1000 £120 10.2in 800 x 600 SD, MS, MMC, CF, USB 128MB No No JPEG, AVI 78% Apr 10
to the screen GENIUS DPF-805 £90 8.4in 800 x 600 SD, SDHC, MMC, MS, xD, CF No No No JPEG, AVI
resolution and JOBO PDJ700 £90 7in 800 x 480 CF, SD, MMC, MS, MS Pro, xD 128MB No No JPEG, BMP 90%✪ Xms 09
its contrast SONY DPF-D70 £100 7in 800 x 480 MS Pro, SD, MMC, CF, xD 256MB No Yes JPEG, RAW
ratio. JOBO PDJ701 £110 7in 800 x 480 CF, SD, MMC, MS, MS Pro, xD 1GB YYes No JPEG, BMP
£110 10in
BATTERY GENIUS T1000 tbc CF, SD, SDHC, MMC, MS, MS Pro, xD 128MB No No JPEG, AVI
KODAK Easyshare S730 £120 7in 800 x 480 SD, SDHC, MMC, MS, MS Pro, xD 1GB Yes No JPEG, MOV, AVI, MPEG, MPEG4 89%✪ Sep 09
Some frames
SONY DPF-D80 £120 8in 800 x 600 MS, MS Duo, SD, MMC, CF, xD 256MB No Yes JPEG, RAW
have internal
batteries, JOBO PDJ801 £160 8.4in 800 x 600 CF, SD, MMC, MS, MS Pro, xD 1GB YYes No JPEG, BMP 87%✪ Jun 09
which is SONY DPF-V700 £125 7in 800 x 480 MS Pro, SD, CF, xD, MMC 512MB No Yes JPEG, TIFF, BMP, RAW
useful for SONY DPF-X800 £220 8in 800 x 480 MS Pro, SD, CF, xD, MMC 2GB No Yes JPEG, TIFF, BMP, RAW 93%✪ Jul 09
portability. KODAK OLED Wireless £700 7.6in 800 x 480 SD, SDHC, MMC, MS, xD 2GB No No JPEG, MOV, AVI, MPEG 1, 2, 4 84% Oct 09
WHAT DIGITALCAMERA
PRINTERS & SCANNERS

OUR GUIDE TO PRINTERS, SCANNERS AND MULTIFUNCTIONALS
INKS TYPES OF PRINTER
There are two basic types of COMPACT A4 A3
inkjet printer ink: dye-based PRINTER PRINTER PRINTER
and pigmented. The correct With a choice Modern While some
ink must be used with the of inkjet inkjets offer A3 printers
correct printer, otherwise the or dye-sub high quality merely up
printer could be damaged. models, and speedy the maximum
Third-party inks are also these printers printing, paper size,
available, though best results produce 6x4in matching that others offer
are generally obtained with enprints. They easily connect of conventional photographic more advanced features,
the manufacturer’s own directly to cameras or mobile prints. Recent ink and paper particularly for enthusiasts.
brand. Dye-sub printers, phones, either by USB, Bluetooth, advances have also improved the Some models offer
meanwhile, earn their place infrared or even WiFi to allow life-span of inkjet prints, which exceptional print longevity,
in the market for simplicity immediate prints. Most of them can now outlast colour silver and the inclusion of grey inks
and convenience, but they also accept media cards and may halide prints. Look for models make these popular for black
aren’t as versatile as inkjet have LCD screens. with memory card slots. & white fine-art photographs.
printers. Unlike with inkjet
printers though, there’s no
ambiguity about the cost
per print, with dye-sub print
COMPACT
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cartridges usually coming

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with a matching pack of

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paper. CANON Selphy CP760 £80 Dye-sub 6x4in 300 x 300dpi Y 3 colour with overcoat – cyan, magenta, yellow 100-year prints and 2.5in LCD 85%✪ Jan 07
PRINTERS & SCANNERS
SONY FP65 £80 Dye-sub 6x4in 300 x 300dpi Y 3 colour – cyan, magenta, yellow 2.4in LCD and auto red-eye correction
PAPER HP Photosmart A532 £80 Inkjet 5x7in 4800 x 1200dpi Y 3 colour – cyan, magenta, yellow 2.4in LCD and a variety of card slots
As with inks, manufacturers’ HP Photosmart A636 £90 Inkjet 5x7in 4800 x 1200dpi Y 3 colour – cyan, magenta, yellow Touchscreen and 64MB internal memory
own-brand papers are CANON Selphy CP770 £120 Dye-sub 6x4in 300 x 300dpi Y 3 colour with overcoat – cyan, magenta, yellow 100-year prints and 2.5in LCD
optimised to produce best CANON Selphy CP780 £120 Dye-sub 6x4in 300 x 300dpi Y 3 colour with overcoat – cyan, magenta, yellow 100-year prints and 2.5in LCD
results with their printers, SONY FP75 £120 Dye-sub 6x4in 300 x 300dpi Y 3 colour – cyan, magenta, yellow 3.5in tiltable LCD screen
and so are generally CANON Selphy ES20 £120 Dye-sub 6x4in 300 x 600dpi Y 3 colour – cyan, magenta, yellow + black 2.5in LCD screen and wireless printing
recommended for accuracy. CANON Selphy ES30 £130 Dye-sub 6x4in 300 x 600dpi Y 3 colour with overcoat – cyan, magenta, yellow Easy scroll wheel and 3in colour LCD
Of course, results can be CANON Selphy CP790 £135 Dye-sub 6x4in 300 x 300dpi Y 3 colour with overcoat – cyan, magenta, yellow 100-year prints and 3.0in LCD
achieved with other brands HP Photosmart A826 £135 Inkjet 5x7in 4800 x 1200dpi Y 3 colour – cyan, magenta, yellow Touchscreen LCD
of paper, and using them CANON Selphy ES2 £140 Dye-sub 6x4in 300 x 600dpi Y 3 colour with overcoat – cyan, magenta, yellow 3in LCD and wireless printing 85%✪ Oct 08
generally poses less of a risk SONY FP85 £150 Dye-sub 6x4in 300 x 300dpi Y 3 colour – cyan, magenta, yellow HD output and 2.5in LCD
than using third-party inks. SONY FP95 £160 Dye-sub 6x4in 300 x 300dpi Y 3 colour – cyan, magenta, yellow 3.6in LCD and Face Detection
Paper comes in a variety of CANON Selphy ES3 £170 Dye-sub 6x4in 300 x 600dpi Y 3 colour with overcoat – cyan, magenta, yellow 1GB internal memory and 3.5in LCD 81% Apr 09
formats, from matt, pearl
and satin through to glossy
and ultra-glossy, with these
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different papers varying

A4 PRINTERS
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the final look and feel of an

image. CANON Pixma iP2600 £40 Inkjet A4 4800 x 1200dpi Y 4 colour - cyan, magenta, yellow, black 100 year prints and FINE technology
CANON Pixma iP1900 £45 Inkjet A4 4800 x 1200dpi Y 4 colour - cyan, magenta, yellow, black FINE and ChromaLife technologies
MAXIMUM CANON Pixma iP3600 £65 Inkjet A4 9600 x 2400dpi Y 5 colour - cyan, magenta, yellow, 2x black ChromaLife technology and photo black ink
PRINT SIZE EPSON

HP
Stylus R285
Deskjet 5560
£65
£70
Inkjet
Inkjet
A4
A4
5760 x 1440dpi Y 6 colour - CMYK, light cyan, light magenta
4800 x 1200dpi Y 4 colour - cyan, magenta, yellow, black
CD/DVD printing functionality
Wireless printing capabilities
When buying a printer
HP Photosmart D7260 £70 Inkjet A4 4800 x 1200dpi Y 6 colour - CMYK, light cyan, light magenta 3.5in LCD screen and ethernet connectivity
consider the maximum print
EPSON Stylus Photo P50 £80 Inkjet A4 5760 x 1440dpi Y 6 colour - cyan x2, magenta x2, yellow, black 98-year life and CD printing
size you’ll need. 6 x 4in
printers are ideal for rattling CANON Pixma iP4700 £85 Inkjet A4 9600 x 2400dpi Y 5 colour - cyan, magenta, yellow, 2x black Double-sided prints and CD printing
off a quick print from your CANON Pixma iP4600 £90 Inkjet A4 9600 x 2400dpi Y 5 colour - cyan, magenta, yellow, 2x black ChromaLife technology and CD printing
photos, while the standard CANON Pixma iP100 £200 Inkjet A4 9600 x 2400dpi Y 5 colour - cyan, magenta, yellow, 2x black Portable printer with rechargeable battery
desktop printer prints up to EPSON Stylus R800 £270 Inkjet A4 5760 x 1440dpi Y 8 colour - CMYK, red, blue, photo black, gloss Ultrachrome ink and CD/DVD printing 88%✪ Mar 04
A4 (around 8 x 12in), but can
also print smaller sizes. For
serious enthusiasts and big
YPE
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print lovers, an A3 printer

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makes more sense. Although CANON Pixma iX4000 £200 Inkjet A3+ 4800 x 1200dpi Y 4 colour - Black, cyan, magenta, yellow Affordable single-ink system
they’re bigger, and more EPSON Stylus 1400 £275 Inkjet A3+ 5760 x 1440dpi Y 6 colour - Black, cyan magenta, yellow, lt mag, lt cyan CD printing possible 90%✪ Apr 07
expensive to buy and run, the
CANON Pixma iX7000 £320 Inkjet A3+ 4800 x 1200dpi Y 6 colour - Black x2, cyan, mag, yellow, clear Hybrid document/photo printer
A3/16 x 12in prints they can
HP B8800 £380 Inkjet A3+ 4800 x 1200dpi Y 8 colour - CMYK, pht blk, gray, lt cyan, lt magenta Viera pigment inks
make look very impressive.
CANON Pixma Pro 9000 II £400 Inkjet A3+ 4800 x 2400dpi Y 8 colour - CMYK, pht cyan, pht mag, red, green Support for third party media
If that isn’t big enough there
EPSON Stylus R1900 £450 Inkjet A3+ 5760 x 1440dpi Y 8 colour - CMYK, photo black, red, orange and gloss optimizer UltraChrome Hi-Gloss 2 inks
are larger printers still, at
HP B9180 £480 Inkjet A3+ 4800 x 1200dpi Y 8 colour - CMYK, photo black, lt gray, lt cyan, lt magenta Pro printer with Viera inks 93%✪ Mar 06
higher prices.
EPSON Stylus R2880 £600 Inkjet A3+ 5760 x 1440dpi Y 8 colour - 2x black, CMYK, lt cyan, viv mag, viv lt mag Pro printer with Ultrachrome K3 94%✪ Aug 08
CANON Pixma Pro 9500 II £600 Inkjet A3+ 4800 x 2400dpi Y 8 colour - CMYK, pht cyan, pht mag, red, green Support for third party media
BUYER’SGUIDE
TYPES OF SCANNERS INK

CARTRIDGES
Budget and non-photo
printers tend to contain
cartridges with just the
four standard colours (cyan,
magenta, yellow and black
– CMYK). In some cases the
three colours are contained
in a single cartridge so
that when, say, the yellow
MULTIFUNCTION FLATBED 35MM SLIDE runs out, you have to
Also known as ‘All-in-one’ The ubiquity of digital cameras These scanners are dedicated replace it even though
devices, these free up your means scanners are not as popular for film, so you can’t use you may have lots of cyan
deskspace by providing printing, as they were in the past, but if you them to scan documents, for left. Single ink cartridges
scanning, copying and even fax want to input prints and negatives example. They do, however, solve this problem, but at
facilities in one unit. Quality is onto your computer then one is accept negatives easier than a slightly higher cost for a
rising and prices are dropping, essential. Many flatbed scanners flatbeds, which usually need full set (though they can
but individual devices still have adaptors for scanning slides separate attachments, and work out cheaper in the
provide the best quality scans or negs as well as prints, but for so are ideal for scanning a long run). For true photo-
and prints – for now. However, maximum quality from film originals lot of negatives at a time. As realistic colour, though, four
multifunctionals are great all- consider a dedicated film scanner with flatbeds, these usually colours aren’t enough to
rounders, especially if your – especially if you have a lifetime’s come with dust and scratch capture the subtle hues of
budget is limited. worth of negatives to scan. removal software. real life, so manufacturers
add intermediate colours
such as light magenta, or
photo cyan. More advanced
printers may have up to
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eight separate tanks.

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CANON £80
INK TYPE
CanoScan 4400F Flatbed 4800 x 9600dpi 35mm, slide - Seven EZ buttons, 48bit depth colour scanning, USB 2.0 Hi-speed
EPSON Perfection V300 £80 Flatbed 4800 x 9400dpi 35mm, slide, 120/220 4.0D Portrait / landscape opening, scan straight to PDF
HP Scanjet G3110 £85 Film 4800 x 9600dpi 35mm, slide - 48bit depth scanning and dust/scratch removal Most printer inks are made
PRINTERS & SCANNERS

CANON LiDE 700F £100 Film 4800 x 9600dpi 35mm - One-touch, 48bit depth scanning and dust/scratch removal from dye. They can produce
EPSON Perfection V350 £110 Flatbed 4800 x 9600dpi 35mm, slide 3.2D Scan to PDF, portrait and landscape opening, slimline design 91%✪ Nov 07
stunning results but until
CANON CanoScan 5600F £120 Flatbed 4800 x 9600dpi 35mm, slide - Zero warm-up time, seven EZ buttons, support for slide scanning
recently there were serious
questions over their archival
HP Scanjet G4010 £130 Flatbed 4800 x 9600dpi 35mm, slide Dust and scratch removal
longevity, with reports of
EPSON Perfection 4490 £150 Flatbed 4800 x 9600dpi 35mm, slide, 120 3.4D Digital ICE technology, free Photoshop Elements, scan to email 91%✪ May 06
prints fading in just months.
PLUSTEK 7300 £165 Film 7200 x 7200dpi 35mm, slide 3.5D Silverfast 6.6 SE included, 48bit colour depth
Manufacturers have worked
CANON CanoScan 8800F £180 Flatbed 4800 x 9600dpi 35mm, slide, 120 - Scan to PDF, dust and scratch removal, free Photoshop Elements
hard to improve on this,
HP Scanjet G4050 £190 Flatbed 4800 x 9600dpi 35mm, slide, 120, 4x5 - One-touch scanning and dust and scratch removal software 85%✪ Nov 07
with some success, but
EPSON Perfection V500 £200 Flatbed 6400 dpi 35mm, slide, 120 3.4D 6400 x Sub 9600dpi film scanning even the best dyes cannot
PLUSTEK 7500i SE £250 Film 7200 x 7200 dpi 35mm, slide 3.5D iSRD for dust and scratch removal, free Silverfast software compete with pigment-
PLUSTEK 7500i Ai £300 Film 7200 x 7200 dpi 35mm, slide 3.5D iSRD for dust and scratch removal, as above with iT8 targets inc. based inks when it comes
EPSON Perfection V700 £430 Flatbed 4800 x 9600dpi 35mm, slide, 120/220 4.0D 6400 x Sub 9600dpi film scanning, also supports 5x4 scanning 92%✪ May 06 to colour-fastness. Pigment
EPSON Perfection V750 £530 Flatbed 4800 x 9400dpi 35mm, slide, 120/220 4.0D 6400 x Sub 9600dpi film scanning, also supports 5x4 scanning 92%✪ Aug 06 inks are more expensive but
NIKON Coolscan 9000 ED £2250 Film 4000dpi 35mm, 120/220, 6x7, 6x9 4.8D ED glass elements and Digital ICE 4 Advanced technology don’t fade as quickly. The
disadvantage is their more
matt finish, which is less
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easily absorbed into glossy

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papers and can diminish

BROTHER DCP-145C £50 Inkjet A4 6000 x 1200dpi Y 4 colour - Black, cyan, yellow, magenta Low cost unit but offering great value 87%✪ Apr 09
their sheen. The latest
CANON Pixma MP190 £50 Inkjet A4 4800 x 1280dpi Y 4 colour - Black, cyan, yellow, magenta Simple to use and good value for money 86%✪ Apr 09 top-of-the-range inks (eg
EPSON Stylus SX100 £55 Inkjet A4 5760 x 1440dpi Y 4 colour - Black, cyan, yellow, magenta DURABrite Ultra pigment ink system Epson’s Ultrachrome ink) are
EPSON Stylus SX400 £60 Inkjet A4 5760 x 1440dpi Y 4 colour - Black, cyan, yellow, magenta DURABrite ink system and 2.5in LCD a combination of dye and
CANON Pixma MP490 £65 Inkjet A4 4800 x 1200dpi Y 4 colour - Black, cyan, magenta, yellow Memory card slots for PC-less printing pigment to offer the best of
EPSON Stylus SX205 £65 Inkjet A4 5760 x 1440dpi Y 4 colour - Black, cyan, yellow, magenta Memory card slots for PC-less printing both worlds.
HP Photosmart C4600 £80 Inkjet A4 4800 x 1280dpi Y 4 colour - Black + tricolour (cy, yw, mag) Touch controls and optional XL ink cartridges
LEXMARK X3650 £90 Inkjet A4 4800 x 1200dpi Y 4 colour - Black, cyan, yellow, magenta OLED display and one touch copy function DYE
HP
EPSON
Photosmart
Stylus PX650
£95 Inkjet
£125 Inkjet
A4
A4
4800 x 1200dpi Y 4 colour - Black, cyan, yellow, magenta
5760 x 1440dpi Y 6 colour - Black, cyan x2, yellow, magenta x2
Touchscreen controls and 48bit scanning
CD printing and 100-year prints 91% ✪ Apr 10
SUBLIMATION
An alternative to inkjet is
CANON Pixma MX560 £120 Inkjet A4 9600 x 2400dpi Y 5 colour - Black x2, cyan, magenta, yellow Wireless operation and 2-way paper feed dye-sub. This uses ribbons
EPSON Stylus PX515W £130 Inkjet A4 5760 x 1440dpi Y 4 colour - Black, cyan, yellow, magenta Good scan quality but prints could be better 82% Oct 09 with thermal dyes placed
CANON Pixma MP630 £130 Inkjet A4 9600 x 2400dpi Y 5 colour - Black x2, cyan, magenta, yellow Fast prints and lovely design 90%✪ Oct 09 onto specially coated
KODAK ESP 7 £150 Inkjet A4 9600 x 2400dpi Y 5 colour - Black x2, cyan, magenta, yellow Great print quality and value 89%✪ Oct 09 paper. The results can vary
EPSON Stylus PX710W £150 Inkjet A4 5760 x 1440dpi Y 6 colour - Black, cyan x2, magenta x2, yellow Wireless printing and 2.5in LCD screen 86%✪ Feb 10 depending on manufacturer,
CANON Pixma MP640 £160 Inkjet A4 9600 x 2400dpi Y 5 colour - Black x2, cyan, magenta, yellow Wifi and ethernet connectivity 89%✪ Feb 10 but they often look much
LEXMARK Interact S605 £170 inkjet A4 4800 x 1200dpi Y 4 colour - C/M/Y/Black SmartSolutions software included 91%✪ Feb 10 more like traditional photo
KODAK ESP 6150 £170 inkjet A4 4800 x 1200dpi Y 4 colour - C/M/Y/Black Wi-fi and Ethernet functionality 82% July 10 prints. Most commonly used
BROTHER MFC-5890CN £175 Inkjet A3 6000 x 1200dpi Y 4 colour - C/M/Y/Black Wi-Fi and Ethernet functionality 79% Feb 10 by compact printers, there
HP Photosmart Premium £175 Inkjet A4 9600 x 2400dpi Y 5 colour - Black x2, cyan, yellow, magenta Wireless network connectivity 80% Feb 10 are also some A4 models
KODAK ESP 9 £190 Inkjet A4 9600dpi Y 2-cart, 5-ink - C/M/Y/Black/Photo Black Cheap ink replacements 85%✪ Feb 10 from Kodak and Olympus,
EPSON Stylus PX800FW £250 Inkjet A4 5760 x 1440dpi Y 6 colour - Black, cyan, magenta, yellow, lt cyan, lt mag Epson Claria inks and touchcreen LCD
among others.
CANON Pixma MP990 £250 Inkjet A4 4800 x 1200dpi Y 6 colour - Black x2, cyan, magenta, yellow, grey Canon’s top-of-the-range model
WHAT DIGITALCAMERA CONTACTS
SOFTWARE
USEFUL WEBSITES FOR MORE INFO
CAMERAS MEDIA CARDS
ACER www.acer.co.uk DELKIN www.delkin.com
BENQ www.benq.co.uk FUJIFILM www.fujifilm.com
CANON www.canon.co.uk KINGSTON www.kingston.com
GET THE MOST OUT OF YOUR IMAGES

CASIO www.exilim.co.uk LEXAR www.lexar.com
FUJIFILM www.fujifilm.co.uk PNY www.pny.com
KODAK www.kodak.co.uk PRETEC www.pretec.com
LEICA www.leica.co.uk SANDISK www.sandisk.co.uk
CHOOSING SOFTWARE TYPES OF SOFTWARE NIKON www.nikon.co.uk SONY www.sony.co.uk
There’s a bewildering variety of software available OLYMPUS www.olympus.co.uk
to facilitate everyone’s needs and budget – from CD PANASONIC www.panasonic.co.uk TRIPODS AND HEADS
If you want something PENTAX www.pentax.co.uk BENBO www.patersonphotographic.com
simple, automated fixes to powerful image-editing RICOH www.ricoh-cameras.co.uk CALUMET www.calumetphoto.co.uk
physical for all the
suites. The most well-known is image enhancement SAMSUNG www.samsungcamera.co.uk GIOTTOS www.giottos.co.uk
money you’re parting SIGMA www.sigma-imaging-uk.com GITZO www.gitzo.co.uk
and manipulation software, such as the ubiquitous
with, lots of retailers SONY www.sony.co.uk GORILLAPOD www.intro2020.co.uk
Adobe Photoshop. Then there’s the plethora of
still offer hard copies JESSOPS www.jessops.com
organising, viewing and image-management of their software. LENSES MANFROTTO www.manfrotto.co.uk
software. Raw processing software, designed CANON www.canon.co.uk NATIONAL GEOGRAPHIC no website
specifically for working with Raw image files, DOWNLOAD LEICA www.leica.co.uk SLIK www.intro2020.co.uk
LENSBABY www.intro2020.co.uk UNI-LOC www.ukray.com/uniloc
is a growing sector, along with many specialist In the environmentally NIKON www.nikon.co.uk VELBON www.intro2020.co.uk
applications and Photoshop plug-ins. WDC regularly aware times we live in, combined with OLYMPUS www.olympus.co.uk WIMBERLEY www.tripodhead.com
tests the most popular, most useful and some of the blisteringly fast internet connections, more PENTAX www.pentax.co.uk
more unusual software designed to help you get the and more companies are opting to offer SCHNEIDER www.schneideroptics.com BAGS
best from your images. And some of it is even free! their product as a download-only package. SIGMA www.sigma-imaging-uk.com BILLINGHAM www.billingham.co.uk
SONY www.sony.co.uk CCS www.fotolynx.co.uk
TAMRON www.intro2020.co.uk CRUMPLER www.intro2020.co.uk
TOKINA www.intro2020.co.uk DOMKE www.tiffen.com
ZEISS www.zeiss.com/photo HERITAGE www.heritage-bag.com
SOFTWARE
E
TYP
SOF ICE
JESSOPS www.jessops.com
NTS
PR
ARE
RM
LISTING
RE
ME
TFO
EET
TW
FILTERS KATA www.kata-bag.com

COM
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STR
PLA
GIMP GIMP 2.6.6 FREE Image editing suite Win/Mac Very powerful, with support for layers. Score refers to previous version 87% ✪ Feb 07 B&W www.bwfilter.com LOWEPRO www.lowepro.com
COKIN www.cokin.co.uk NATIONAL GEOGRAPHIC no website
GOOGLE Picasa 3 FREE Organising software Win Easy to use with powerful search tools. Score refers to previous version 85% ✪ Feb 07
HITECH www.formatt.co.uk PELI www.peli.com
IRFANVIEW IrfanView 4.2.3 FREE Image editing suite Win Freeware graphics viewer with batch conversion 78% Feb 07 HOYA www.intro2020.co.uk STORM www.stormcase.com
KODAK Easyshare 7.1 FREE Organising software Win/Mac All the tools compact users need. Score refers to previous version 78% Sep 06 LEE www.leefilters.com TAMRAC www.intro2020.co.uk
POSTERAZOR PosteRazor FREE Printing enlargement Win/Mac ‘Image-tiling’ software so you can make big prints without a big printer 88% ✪ May 07 SIGMA www.sigma-imaging-uk.com TENBA www.tenba.com
RESTORATION Restoration 2.5 FREE Image recovery software Win Image recovery software for accidentally deleted files NYT
TIFFEN www.tiffen.com
STUDIO/LIGHTING
ANDY Andy B/W Pro £15 Bibble plug-in Win/Mac Bibble plug-in that simulates B/W film and paper combinations 85% ✪ Oct 06 FLASHGUNS BOWENS www.bowens.co.uk
CANON www.canon.co.uk
SOFTWARE
THEOXFORDEYE ToneUp Studio £15 Raw converter / Nikon curves Win Alternative to Nikon Capture with capability to upload custom curves 85% ✪ Jun 06 ELINCHROM www.theflashcentre.com
BLUBOX Blubox £24 Image compression software Win Great conversion software with simple user interface 92% ✪ Apr 08 JESSOPS www.jessops.com HEDLER www.theflashcentre.com
METZ www.intro2020.co.uk INTERFIT www.interfitphotographic.com
MAGIX Extreme Photostory 8 £30 Slideshow software Win Capable and fun to use, with a variety of editing options 89% ✪ Nov 09
NIKON www.nikon.co.uk KAISER www.kaiser-fototechnik.de/en
CYBERLINK Mediashow 4 £30 Media management / editing Win/Mac Has ‘liquid’ interface and lots of functions for photos and videos 81% Jan 09 OLYMPUS www.olympus.co.uk LASTOLITE www.lastolite.com
REALLUSION Crazytalk 6 Standard £30 For animating images Win Very addictive and gives impressive results 86% ✪ Oct 09 PANASONIC www.panasonic.co.uk
SILVER OXIDE Silver Oxide Landscape £35 Photoshop plug-in Win/Mac A pair of plug-ins to enhance colour and tonality in landscape pictures 80% May 06 PENTAX www.pentax.co.uk SOFTWARE
CARBONITE Carbonite PC Backup £35 Online backup software Win Simple and cost-effective way of backing up your documents 87% ✪ Jun 07
SIGMA www.sigma-imaging-uk.com ACDSEE www.acdsee.com
SONY www.sony.co.uk ADOBE www.adobe.com
BITS&COFFEE BatchPhoto Pro 2.6 £35 Batch processing software Win Cheaper version also available minus Raw support 83% Jun 09
SUNPAK www.intro2020.co.uk ALIENSKIN www.alienskin.com
MAGIX Xtreme Photo & Graphic Designer 5 £35 Editing and graphics Win Easy-to-use image editing and graphics design software NYT
ANDY http://nexi.com/156
COLOR CONFIDENCE Iridius Actions 1.1 Pro Bundle £39 Photoshop actions suite Win/Mac For busy photographers, the Iridius Action set is a time-saving lifesaver 91% ✪ Nov 04 PRINTERS/SCANNERS APPLE www.apple.com
CANON www.canon.co.uk BENVISTA www.benvista.com
DXO FilmPack 2 £39 Image editor Win/Mac Fantastic software. Score refers to previous version 90% ✪ Jun 07
EPSON www.epson.co.uk BIBBLE LABS www.bibblelabs.com
CYBERLINK Power Director 8 Deluxe £40 Video-editing software Win Powerful capabilities, but a basic appearance 83% Nov 09 HP www.hp.co.uk BLUBOX www.blubox.com
STUDIOLINE Photo Classic 3 Plus £40 Image editing suite Win Has most of the tools a hobbyist needs. Score refers to previous version 81% Jun 06 KODAK www.kodak.co.uk CARBONITE www.carbonite.com
PHOTODEX ProShow Gold £42 Slideshow software Win Easy to use with some powerful features. Could get addictive, though! 92% ✪ May 08 LEXMARK www.lexmark.co.uk COLOUR CONFIDENCE www.
BIBBLE LABS Bibble Lite 4.1 £55 Raw converter Win/Mac Plenty of features and it works with Adobe Bridge 91% ✪ Jul 07
MICROTEK www.microtek.co.uk colourconfidence.com
NIKON www.nikon.co.uk COREL www.corel.com
COREL Paint Shop Photo Pro X4 £79 Image editing suite Win Cost effective with powerful features 85% ✪ Apr 10
OLYMPUS www.olympus.co.uk CYBERLINK www.cyberlink.com
COREL Digital Studio £59 Image/Video editing suite Win A very capable package and at this price a great deal too 87% ✪ Dec 09 PLUSTEK www.plustek.com/uk DXO www.dxo.com
FIXERLABS FixerBundle v2 £60 Image optimisation plug-ins Win/Mac FocusFixer and NoiseFixer work very well and tools are intuitive 83% Mar 07 SAGEM www.sagem.co.uk EXTENSIS www.extensis.com
PIXELGENIUS Photokit Sharpener £60 Image sharpening Win/Mac Image sharpening workflow tool, from capture to output 91% ✪ May 04 SONY www.sony.co.uk FIXERLABS www.fixerlabs.com
PIXELGENIUS Photokit Color £60 Photoshop colour tools / effects Win/Mac Time-saving software capable of a wide variety of excellent results 90% ✪ May 05 GIMP www.gimp.org
INKJET PAPER GOOGLE www.google.com
DXO Optics Pro v6 Standard Edition £65 Image correction Win/Mac A little slow but superb processing. Score refers to previous version 87% ✪ Feb 08 FOTOSPEED www.fotospeed.com IMAGENOMIC www.imagenomic.com
MR. SITE Takeaway Website Pro £70 Website creator Win Easy to use and impressive results, despite a few shortcomings 82% Feb 08 ILFORD www.ilford.com IRFANVIEW www.irfanview.com
ADOBE Photoshop Elements 8.0 £75 Image editing suite Win/Mac More controls and features than ever before 92% ✪ Dec 09 INNOVA www.innovaart.com KODAK www.kodak.co.uk
PHASE ONE Capture One 5 £80 Raw workflow Win/Mac Powerful Raw workflow tool. Score refers to previous version 89% ✪ Oct 05
KENTMERE www.kentmere.co.uk MAGIX www.magix.com
HAHNEMUHLE www.hahnemuehle.com MR.SITE www.mrsite.com
COLOR CONFIDENCE iCorrect Edit Lab Pro 6.0 £90 Colour correction Win/Mac Powerful colour correction tools for beginner or advanced photographer 86% ✪ Apr 06
HARMAN www.harman-inkjet.com NIKON www.nikon.co.uk
ONONE Genuine Fractals 6 Standard Edition £95 Resizing plug-in Win/Mac Good results for anyone making large prints from their digital pics 87% ✪ Mar 09 OLMEC www.ici-imagedata.com ONONE www.ononesoftware.com
ONONE Phototools 2.5 Standard Edition £95 Filter software Win/Mac A timesaver with some great filters. Score refers to previous version 87% ✪ Jul 09 PERMAJE www.novadarkroom.com PHASEONE www.phaseone.com
ACDSEE Pro 3 Photo Manager £100 Basic editing software Win Basic and easy to use. Score refers to previous version 80% Jul 07 PHOTODEX www.photodex.com
DIGITAL STORAGE PIXELGENIUS www.pixelgenius.com
IMAGENOMIC Portraiture £120 Portrait editing software Win/Mac An essential plug-in for enchancing and manipulation of portrait shots 90% ✪ Oct 07
ARCHOS www.archos.com POSTERAZOR http://posterazor.
BENVISTA Photo Zoom Pro 3 £120 Resizing software Win/Mac High-quality enlargements. Score refers to previous version 84% Jun 07 EPSON www.epson.co.uk sourceforge.net
APPLE Aperture 3.0 £169 Raw workflow and editing Mac Good alternative to Lightroom, easy to use and impressively powerful 91% ✪ May 10 INNOPLUS www.innoplus.com SILVER OXIDE www.silveroxide.com
NIKON CaptureNX 2 £130 Raw converter / organiser Win/Mac One of the best tools for getting the most from your NEF files 87% ✪ Oct 06 JOBO www.jobo.com SOFTWARE IMAGING www.softwa-
LACIE www.lacie.com/uk reimaging.com
ALIENSKIN Exposure 2 £150 Image editor / PS plug-in Win/Mac Fun and useful; mimics the characteristics of individual film stocks 85% ✪ Apr 06
MAXTOR www.maxtor.com STUDIOLINE www.studioline.net
EXTENSIS Portfolio 8.5 £158 Digital asset management Win/Mac Powerful, fast and professional DAM system but a bit complex 86% ✪ Mar 06 SMARTDISK www.smartdisk.com TESCO www.tesco.co.uk
ONONE Phototools 2.5 Professional Edition £158 Filter effects software Win/Mac Cheaper version also available, with fewer effects and less support NYT VOSONIC www.vosonic.com THEOXFORDEYE www.oxfordeye.co.uk
ADOBE Lightroom 2.0 £220 Raw workflow and editing Win/Mac Fantastic update to a fantastic piece of software. Highly recommended 96% ✪ Oct 08 VERTUSTECH www.vertustech.com
ONONE Plugin Suite 5 £370 Editing plug-ins Win/Mac Can be slow but has loads of professional options 85% ✪ Apr 10
VISIT THE WHAT DIGITAL CAMERA WEBSITE
COREL £400 Graphics editing suite 87% ✪ Apr 06
Corel Draw X4 Win Full graphic suite includes the excellent Photo-Paint X3 software
for GREAT software reviews & tutorials...
ADOBE Photoshop CS5 £560 Image editing suite Win/Mac A winner and further asset to the Photoshop legacy 90% ✪ Aug 10
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May - ‘The Power of Light’ winner of a Nikon D300S & lens plus training - Bill Cooper

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