Amateur Photographer - 2 February 2019 PDF

Saturday 2 February 2019
Fujifilm GeF X 50R

dium format
Rangefinder-style m
high resolution without a hernia
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a £20 light
perspectives from a DIY
Beat leaning-in edges and store!
distortion with simple edits
The art of A yen for

backlighting old cameras
Discover Denis Thorpe’s John Wade’s favourite
unique documentary work Japanese classics
New Olympus unveiled First look at OM-D E-M1X mirrorless powerhouse
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7days
A week in photography
COVER PICTURE © JESSICA KOBEISSI
Many photography enthusiasts cover image was shot with a portable halogen
feel they should be more light you can easily snaffle for under £50, it
creative with lighting, but are opens up plenty of possibilities. Also, we test
put off by the rigmarole and Fujifilm’s exciting GFX 50R mirrorless
extra expense of dealing with camera, and report on the Olympus E-M1X,
In this issue off-camera flash, brollies and so on. So this an important release for the Micro Four
8 Olympus issue, we look at how normal domestic lights, Thirds stalwarts. And if you’re feeling out of
OM-D E-M1X or simple units you can find at a hardware or shape after Christmas, don’t miss our tutorial
Andy Westlake takes a DIY store, can be used to provide extra on fixing perspective and leaning-in edges.
first look at Olympus’s illumination. When you think our impressive Nigel Atherton, Editor
powerhouse of a camera
JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
16 Home is where ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
the light is
Get professional-looking
results on a budget.
Claire Gillo shares her DIY
ONLINE PICTURE OF THE WEEK
home-lighting hacks
22 Backlighting
brilliance
Denis Thorpe’s images
record working life in
northern England. Keith
Wilson hears more
26 When Harry Met
Harry Borden recalls
meeting José Mourinho
28 Photo Stories
Amy Davies speaks to
Celine Marchbank about a
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
poignant project
32 Get some
perspective
Martin Evening shares
some Camera Raw skills
36 Join the Club
Sheffield-based Westfield
Photographic Club
© GLENYS GARNETT
38 Fujifilm GFX 50R

Andy Westlake tests
Fujifilm’s rangefinder-
style, medium-format The Redwing by Glenys Garnett
mirrorless camera Fujifilm X-T2, 55-200mm, 1/60sec (background)
and1/80 sec (bird) at f/5.6, ISO 200
Win!
44 Film Stars
John Wade on early This in-camera double exposure decided to try a composite. I had Each week we choose our favourite
Japanese cameras shot was uploaded to our Twitter taken some woodland double picture on Facebook, Instagram,
page using the hashtag exposures earlier so decided one of Flickr, Twitter or the reader gallery using
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
53 Buying Guide #appicoftheweek. It was taken by these would make a good backdrop #appicoftheweek. PermaJet proudly supports
Our comprehensive listing photographer Glenys Garnett. She to show the bird in a woodland the online picture of the week winner, who will
of key specifications for tells us, ‘Walking my dog in my local setting. In Photoshop I overlaid the receive a top-quality print of their image on the
cameras and lenses patch of woodland, I heard a bird image as a Multiply layer, finest PermaJet paper*. It is important to bring
birdsong. I looked up and saw this adjusted Opacity/ Hue/Colour images to life outside the digital sphere, so we
Regulars lovely bird so took a shot to identify Balance on the background layer encourage everyone to get printing today! Visit
3 7 days it. I discovered it was a redwing and and made a crop in Lightroom.’ www.permajet.com to learn more.
14 Inbox
49 Accessories Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
51 Tech Talk Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@ti-media.com.
82 Legends of CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 14.
Photography Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris
Olympus OM-D E-M1 Mark II gets the silver

To commemorate Olympus’s 100th Anniversary this year, the
company will launch a special silver edition of the OM-D E-M1
Mark II camera in late February. The silver version will be released
in a limited edition of 2,000 units worldwide and has the same
features as the black E-M1 Mark II for the same body-only price of
£1,499.99. See olympus.co.uk.
Leica to open new London flagship store

Leica’s new flagship store opens in Mayfair on 9 February. As well
as selling Leica, the store is home to the Leica Akademie training
centre (you don’t need to own a Leica to attend the Akademie) and is
offering free photography workshops from 12-24 February. Sign up at
www.leicastore-uk.co.uk/collections/duke-street-opening-week.
Vanguard hopes to
be ‘Vesta’ in class
Vanguard has a new range of
mini tripods for smartphones
and smaller camera set-ups.
The Vesta Mini range measures
MAGE: YVETTE COOPER MP FOR NORMANTON PONTEFRACT AND CASTLEFORD © HANNAH STARKEY
18cm when folded and weighs

Nikon rolls out 155g, with a 1/4in camera
superzooms screw-thread ball head. Each
Mini tripod has rubberised feet
Two new Coolpix superzooms to prevent slipping, and can
have been unveiled by Nikon. support a maximum weight of
Aimed specifically at travellers, 2kg, so smaller camera and
the 16MP A1000 (above) has a lens combos shouldn’t be a
35x optical zoom with a problem. The price is £34.99.
24-840mm equivalent range, a
new 1,166k-dot electronic
viewfinder, tilting touchscreen
and raw shooting. The B600,
also 16MP, is a budget bridge
camera, incorporating a 60x
BIG
optical zoom (24-1440mm
equivalent), a 3in, 921k-dot LCD Still a chance to see ‘209 Women’
and sturdy grip. The A1000
costs £409 and the B600 £329. exhibition in Parliament
picture
TO CELEBRATE 100 years since some
X-Rite offering bonus version of Serif Affinity women first got the right to vote, an
exhibition featuring photographs of all 209
X-Rite has teamed up with Serif to offer a free licence of Affinity current serving female MPs opened at
Photo for MacOS or Windows worth £48.99 when buying Portcullis House, London, on 14 December.
ColorMunki Display, ColorChecker Passport Photo, ColorMunki All the portraits – including this one of Yvette
Photographer Kit, i1Display Pro, i1Photographer Kit or i1Studio. Cooper, MP for Normanton, Pontefract and
The offer runs until 31 March. See www.xritephoto.eu/affinity.
4 2 February 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

96.7%
SOURCE: BCN AWARD
Castleford, by Hannah Starkey – were taken

by female photographers, and is delivered in Words & numbers
partnership with Open Eye Gallery, Liverpool
City Council, the Royal Photographic Society
and The Sorority. After the London exhibition My photographs don’t go below
finishes on 14 February, it will travel north to
the Open Eye Gallery in Liverpool. For
the surface. They don’t go below
information on all the portraits, and about the anything. They’re readings of Canon and Nikon’s
free exhibitions, see 209women.co.uk and combined share of the
www.parliament.uk/209-women.
what’s on the surface Japanese DSLR market
Richard Avedon US photographer (1923-2004)
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 2 February 2019 5
© AMY BATEMAN
Sony unveils Alpha 6400
with ‘world’s fastest’ AF
SONY has announced the A6400, an in silent mode). The 24.2MP sensor is paired
APS-C mirrorless camera with a 24.2MP with an upgraded Bionz X processor, with
sensor and some impressive-sounding AF native ISO peaking at 32,000 (expandable to
features. According to Sony, the A6400 has 102,400). Sony claims the camera also
the world’s fastest AF acquisition speed for inherits many of the image-processing
APS-C cameras (0.02 seconds) plus 425 algorithms from its latest full-frame models,
Amy Bateman’s victorious image of lambing phase-detection and contrast-detection AF greatly suppressing noise while preserving
season. A poorly lamb had to be fed by hand points covering about 84% of the image area. resolution and improving texture depiction.
It also features an advanced Real-time Eye Other highlights include a tiltable, 180°
British Life Photography AF as well as Real-time AF tracking. ‘Real-time
Eye AF employs artificial intelligence-based
screen with 921k dots, touchscreen operation
and 4K HD video recording (it can also record
competition winners object recognition to detect and process eye
data in real time, resulting in improved
HLG footage which can be played on a
compatible TV). The Sony A6400 is available
THE BRITISH Life Photography Awards accuracy, speed and tracking performance,’ in February for approximately £950 body only.
(BLPA) has announced its latest (2018) explains Sony. ‘In all autofocus modes, the Sony has also announced the new Imaging
winners, with Amy Bateman taking the camera now automatically detects the eyes of Edge mobile app for the Alpha system, for
overall prize for her image ‘Lambing the subject and activates Eye AF with a half transferring files to a smartphone or tablet, and
Intensive Care, Croft Foot Farm, Cumbria’. press of the shutter button.’ upcoming new firmware updates for the Alpha
The Sony-sponsored competition rewards The camera is no slouch either, offering A9 (Version 5.0, March), A7R III and A7 III
‘contemporary and imaginative images that 11fps continuous shooting with continuous AF/ (Version 3.0, April) and the Alpha A9 again
capture the essence and spirit of British life,’ AE tracking, with bursts up to 116 JPEGs (8fps (Version 6.0, slated for the summer).
and offers prizes worth £15,000. It features
10 categories including British Weather,
Street Life and Life at Work, which was won
by AP contributor, Edmond Terakopian.
‘I am particularly heartened to have won
with a picture portraying rural life,’ said Amy.
‘Being a photographer living on a farm I am
witness to light, conditions and images that
bring so much pleasure to my life and I am
overjoyed they do the same for others. This
is a self-portrait. The milk substitute being
fed by hand provides an all-consuming
experience which I was keen to portray.’
An exhibition kicks off at London’s Mall
Galleries on 18 February, before visiting
Banbury, Leyburn in North Yorkshire, and
Glastonbury. See www.blpawards.org.
The Sony Alpha 6400 is said to offer groundbreaking AF speeds for an APS-C camera
World’s first vegan camera bags

A RANGE of 100% vegan camera bags is
being sold by German company
Subscribe to
CosySpeed and distributed by PhotoTEQ. No,
they aren’t designed to be eaten along with
your lentils and hummus, instead they’re an
ethical solution for carrying cameras up to
full-frame DSLRs. The bags don’t include any
materials of animal origin, and this covers the
dyes, glues and waterproof coatings. Prices
range from £55 for the Streetomatic bags, to
SAVE 46%
* £135 for the largest Camslinger bags. Check
out the CosySpeed bags at The Photography
Show at the Birmingham NEC in March. Part of the Camslinger range of vegan bags
Visit magazinesdirect.com/ap01 or see page 21.

* when you pay by UK Direct Debit
For the latest news visit www.amateurphotographer.co.uk

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Field
sensors
Olympus has built in a GPS
unit, thermometer, manometer
Olympus OM-D
and compass. These record the
camera’s longitude, latitude,
elevation, temperature and
shooting direction into
EXIF data.
E-M1X
Olympus kicks off its centenary
year with a powerhouse of a
camera. Andy Westlake reports
Live ND Dual
function UHS-II SD slots
This can be used to
simulate shooting long Files are recorded to a
exposures using a neutral- pair of SD cards, which can
density filter of up to 5 stops, be configured in almost
and with the effect any way the user
previewed in the desires.
viewfinder.
IN OCTOBER this year, it will be 100

years since the founding of the
AF company that’s now known as the
joysticks Olympus Corporation. The firm is clearly
In a long-overdue move for determined to celebrate its centenary
Olympus, the camera includes with a bang, and has kicked off with
a pair of joystick controllers for something of a statement model for
repositioning the focus point, Micro Four Thirds. The OM-D E-M1X
one each for landscape- takes all the things that Olympus’s
and portrait-format current flagship OM-D E-M1 Mark II
shooting does particularly well – high-speed
shooting, autofocus tracking, in-body
stabilisation and durability – and cranks
the dial up to 11! In technical terms it’s a
really interesting camera, although at
£2,799.99 for a professional-focused
Micro Four Thirds model, it’s inevitably
going to be a niche product.
In essence, the E-M1X is designed for
shooting sports and action under
demanding conditions, and everything
At a glance about its design and specification reflects
this. It’s one of only a handful of cameras
Handheld high £2,799.99 body only to include an integrated vertical grip for
portrait-format shooting, complete with
a duplicate set of controls, alongside the
resolution ■ 20.4MP Four Thirds MOS
■ 121-point AF
Canon EOS-1D X Mark II and Nikon D5.
Its mirrorless design means that it’s not
Olympus was one of the first to introduce a high-resolution multi- ■ 60fps continuous as huge as these two behemoths, but it
shot mode, exploiting the in-body stabilisation unit to deliver shooting still weighs almost a kilogram. This feels
full-colour sampling at each pixel location. Until now it’s been strictly ■ 2.36-million-dot like an odd choice from Olympus, which
a tripod-based mode, but on the E-M1X Olympus has added a electronic viewfinder prides itself on the mobility of its system.
version for handheld shooting. Our initial tests suggest that it works, ■ 5-axis in-body Olympus is making a number of truly
but the in-camera processing time is painfully long, and it still has stabilisation eye-catching claims for the E-M1X. It
problems with subjects that move while it’s recording the exposures. says it has the world’s best dust-,

Olympus flash system
adopts radio control
ALONGSIDE the
E-M1X, Olympus
has revealed a
wireless off-
camera flash
system based upon
radio control. This is in
contrast to its current
system that relies on
optical triggering, and
therefore requires a clear
line of sight between the
AP’s Technical Editor Andy Westlake gets to grips with the Olympus OM-D E-M1X commander and receiver
units. Central to the new
splash- and freeze-proofing for shooting Innovative autofocus set-up is the FL-700WR
in severe weather; the world’s most Perhaps the camera’s most interesting flash unit (£329.99), which The FL-700WR can act as a
effective image stabilisation, with an feature is its intelligent subject-detection features a maximum guide commander or receiver
incredible 7.5 stops shake compensation; autofocus, which allows it to track number of 42m at ISO
the industry’s highest viewfinder specific subjects. It can be configured for 100, the ability to act as Wireless Receiver FR-WR
magnification, at 0.83x equivalent; and a trains, planes or motorsports, at which either commander or (£179.99). The
remarkable stamina of 2,580 shots, point the camera will outline any object receiver, and dust-, commander can control an
thanks to the use of two high-capacity of the correct type in the viewfinder, and splash- and freeze-proof unlimited number of flash
BLH-1 batteries which can be recharged ignore everything else. If this works as construction. units arranged in up to
in-camera in approximately two hours promised in the real world, then it could Standalone commander three groups, and both
via the USB-C port. signal a revolutionary approach to and receiver units will also feature weather-resistant
The camera is based around a autofocus, as the camera shouldn’t get be available, namely the construction. The new flash
20.4MP Four Thirds sensor which, at confused by anything that temporarily Wireless Commander system will be available at
approximately 17.4x13mm, is roughly obstructs the desired subject. FC-WR (£279.99) and the the end of February.
half the area of APS-C, and a quarter Aside from this, the standard AF
that of full frame. It offers a standard system has also been uprated. As with
sensitivity range of ISO 200-25,600, the E-M1 Mark II, it still uses 121
extending down to an ISO 64 equivalent cross-type points arranged across the
low setting. Continuous shooting is entire frame, but it’s now possible to
available at a remarkable 60 frames per select from a wider range of grouping
second in full-resolution raw, although options. Olympus has finally embraced
with focus fixed at the start of a burst. If the use of joysticks to move the focus
you need the camera to track focus on a point, and says the camera can focus in
moving subject, it’s capable of doing so vanishingly low light of -6EV when using The FR-WR receiver (above)
at 18fps. This spectacular performance an f/1.2 lens. and FC-WR controller (right)
is enabled by the inclusion of two TruePic The E-M1X also has a strong focus on
VIII processors. video. It can record in Cinema 4K (4096
The body design is based on the E-M1 x 2160) resolution at 30fps, with a new
Mark II, but the integrated vertical grip
means that there’s space for even more
OM-Log400 profile available to provide
footage that’s suitable for colour grading
Super-telephoto zoom
controls. Notably, there are dedicated
ISO and exposure compensation buttons
in post-production. It’s even possible to
set different levels of image stabilisation
coming next year
adjacent to both shutter releases. for handheld recording. OLYMPUS has also announced that it’s developing a
new super-telephoto zoom lens with a built-in
teleconverter, scheduled to appear some time next year.
First impressions The M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS
PRO will provide a 300-800mm equivalent reach,
increasing to 375-1000mm equivalent at f/5.6 when
There’s no doubt that the E-M1X looks like an innovative and highly accomplished the teleconverter is engaged. The lens is slated to be
camera that’s built like a tank and packed full of clever features. We’ve been lucky compact and lightweight, while featuring dust-, splash-
enough to get our hands on a pre-production sample for a few weeks before launch, and freeze-proof construction. Its in-lens optical IS
and have been impressed by how well its new technology appears to work. system will work together with the in-body IS found in all
The big question, though, is how many photographers will be prepared to shell out Olympus Micro Four Thirds cameras.
£2,800 for a high-end Micro Four Thirds camera? Olympus argues, with some Closer to release is the long-awaited MC-20 2x
justification, that its smaller sensor is offset by the increased portability of the system teleconverter, which is due to go on sale this summer.
as a whole. But with all the recent hype around full frame, it remains to be seen Along with the upcoming 150-400mm supertele, it will
whether potential buyers will be convinced. However we’re hoping Olympus can be compatible with the firm’s existing 300mm f/4 PRO
incorporate many of its new features into more-affordable models later this year. and 40-150mm f/2.8 PRO lenses.

The latest and best books and exhibitions
from the world of photography
Also out now
© PAUL HOBSON
© MARTIN JENKINSON PHOTO LIBRARY / PRESSPHOTOS.CO.UK
Picket wearing a
joke police helmet BOOK
talking to police
officers at Orgreave The Art of Fungi Photography
during the miners’ Written, designed and published by
strike, 1984 Paul Hobson, £22, 140 pages, hardback,
ISBN 978-0957026544. Available from
EXHIBITION www.paulhobson.co.uk
Who We Are
THIS book shows what can be
achieved when you allow personal
vision to take centre stage. Having
photographed fungi for 15 years,
nature enthusiast Paul Hobson
decided to move beyond record shots towards images
Photographs by Martin Jenkinson that would express his unique take on the natural
world. Over three years he experimented with bokeh,
spore prints, infrared, splash art, multiple exposures,
F
or more than four decades, photographs of Sheffield are on display
and even fireworks to reawaken his curiosity. The result
Sheffield-based photojournalist alongside some of his most famous
is a book full of personal insight, fascinating techniques
Martin Jenkinson chronicled the protest shots, as well as images from his
and highly unusual images. It’s self-published and Paul
drama and detail of the lives of travel photography archive and more.
has done well to make it affordable. However, some
everyday people. Born in London, Jenkinson himself
areas would have benefited from expert skills. In the
During the 1980s, he became well started photography after his own
design, colours and boxes occasionally distract from
known for his memorable images of redundancy from a Sheffield steel works
the pictures, and text is too bold. Niggles aside, it’s a
British protests which were widely in 1979, and found himself in the perfect
great book with plenty of advice and inspiration for all
published in the pages of national place to document a changing city that
levels of photographer. +++++ Tracy Calder
newspapers and Trade Union journals. had once been so reliant on an industry in
These powerful front-page images were steep decline.
attention grabbing, but his wider work is Most of the photographs are in black &
also worthy of examination, too. Each of white, and are accompanied by a variety BOOK
his images is a candid insight into the of related paraphernalia including press British Wildlife Photography
communities that all of us are part of, as badges, notebooks, contact sheets and so
well as the experiences that we share. on. There’s even a full-scale mock-up of Awards 9
This first major retrospective of his photo studio. Ammonite Press, £25, 208 pages, hardback,
Jenkinson’s work is a natural fit for Photographs from the 1980s’ miners ISBN 978-1-78145-344-5
Weston Park Museum, with many of the strike will likely resonate not just with NOW IN its ninth year, the British
local subjects depicted in the imagery. those involved in the protests, but with Wildlife Photography Awards are a
Often humorous, the insightful anybody with memories of the era. superb showcase for not only the
Jenkinson died in 2012, but his work talent of nature photographers but
continues to resonate with people far and also the diversity and beauty of this
© MARTIN JENKINSON IMAGE LIBRARY / PRESSPHOTOS.CO.UK
wide. The images in this exhibition were little island’s flora and fauna. This
selected in partnership with his daughter, sumptuous book gives a page or more to each image,
Justine, who now manages his sizeable and chapters reflect the competition’s categories. As
photographic archive. well as stunningly executed images of badgers, foxes
A strong sense of social justice, fairness and red squirrels, there are close-ups of wood
and equality is a common theme barnacles, silhouettes of mice in the city and leaping
throughout Jenkinson’s work, and feels salmon. Not forgetting the breathtaking overall winner
ever-more poignant at a time when the – an infrared night shot of Daubenton’s bats (see Top
current political climate has once again of the League, AP 22 December). It’s gratifying to see
Bus driver Maxine Duffat, South Yorkshire divided the nation. Amy Davies how healthy wildlife photography in the UK is right
now. Long may the competition and its outlet for
Runs until 14 April 2019, Weston Park Museum, Sheffield. Entry is free. www.museums-sheffield.org.uk creativity continue. +++++ Ailsa McWhinnie

In next week’s issue
Viewpoint On sale Tuesday 5 February
Tracy Calder
© ANDY WESTLAKE
Should we print our own work? With over 200
of Don McCullin’s own prints to be on display
soon, let’s look at both sides of the argument
L
egendary photojournalist Don
©DON MCCULL N
McCullin spends a lot of time in
the dark listening to Bach, and
making black & white prints.
McCullin has a darkroom at his home in
Somerset, and when the weather is sunny
he disappears into this safe, familiar space
Classic
to work on fresh interpretations of the
thousands of negatives he has created
during his 60-year career. (When the
weather is miserable he can often be Protester, Cuban Missile Crisis, Whitehall,
found in the countryside, creating views of London,1962
lenses
the landscape that are beautiful, but far
from idyllic.) While McCullin is happy to ‘Only McCullin knows
leave the printing of his colour work to
professional labs, he oversees the output how he felt when he
released the shutter’
on
of his black & white negatives. His level of
perfectionism is admirable, and his desire
to leave the very best prints behind him has a tendency to print his negatives
is clear to see. darker and darker as time goes by, which
Next week sees the opening of a
comprehensive retrospective of McCullin’s
work at Tate Britain and, incredibly, nearly
all of the 250 or so prints on display were
suggests that the prints are as much a
reflection of his state of mind as his
technical skills. Understandably for a man
who has witnessed outrageous atrocities,
mirrorless
Go retro with your mirrorless
made by McCullin in his home darkroom McCullin has some dark days, and the
- thankfully the summer of 2018 was one brooding skies and mournful landscapes camera and manual lenses
of the hottest on record in the UK, which he captures on film have often been
provided an excellent excuse for extended likened to battlefields. – Andy Westlake is your guide
periods in the dark! Having mentioned So, having given my friend’s comment
McCullin’s achievements to a friend, I was some thought, I decided that the best
taken aback by his response. ‘If these response was ‘yes’ and ‘no’. If a
pictures are to be his legacy, is he the best professional printer was to print McCullin’s
person to print them?’ He asked, ‘Are negatives without any prior knowledge
photographers always good printers too?’ of him, the result would probably be a
My initial reaction was to shout ‘yes’ and technically superb print – but only
THE VIEWS EXPRESSED N TH S COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED
‘yes’ in a rather affronted manner, but McCullin knows how he felt when he
then I got thinking. The truth is some released the shutter. Thankfully he has the
photographers (myself included) are not requisite darkroom skills to translate these
good printers, and some don’t enjoy this feelings into powerful (and intentionally
part of the process at all. Luckily there dark) prints. By controlling every aspect of
still are some very talented professional the process, McCullin has ensured that his
printers around, so those who don’t have work reflects his skills as a photographer/
the skill, time or inclination to print their printer, and also his feelings as a human
own work are well catered for. being – a fitting legacy. HDR software round-up
But McCullin is an excellent printer and, James Abbott compares six of the best
‘Don McCullin’ is on show from 5 February to HDR software options for every budget
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
more to the point, his emotional state can

be seen in his work. In an interview for The 6 May at Tate Britain, Millbank, London. Visit
Economist in 2010, he admitted that he www.tate.org.uk. Sigma 56mm F1.4 DC DN | C
Michael Topham tests a well-priced prime
Tracy Calder has more than 20 years of experience in the photo magazine industry. She is the co-founder of Close-up for Sony E and Micro Four Thirds mounts
Photographer of the Year. Visit www.cupoty.com.
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Back in the day

way to the UK – Andy
Westlake, Technical
Editor
A fly in my superzoom A wander through the AP archive. This

week we pay a visit to January 1999
I recently purchased a new
1999
Panasonic Leica DG
Vario-Elmar 100-400mm
f/4-6.3 ASPH Power O.I.S.
Today, I found a small
creature inside the lens.
Waiter, there’s a fly in my
soup-er zoom! I have a
video of it crawling around Tim Williams’s photo of a creature inside his new zoom lens
too that I’d be happy to
share. Do you think the the X-Pro2 is focus should be on the
lens should be replaced? exceptionally good, but a drone itself.
Tim Williams lot less complicated to Douglas Thomson
implement than it would
I can see how that would be on a DSLR, with its Thanks, Douglas. I do use
bug you, Tim. Take it complex and bulky the proper remote, but
back to your retailer and mirror and prism combo. unlike a car or plane the
they will replace it for You wouldn’t save front and back of the
you, if it’s fairly new, or anything on a DSLR’s size drone look the same so
return it to the service and weight either. In fact it’s harder to see by eye
agent for repair – Nigel you’d be adding to it which way it’s facing
Atherton, Editor – Nigel Atherton, Editor – Nigel Atherton, Editor
How about a hybrid Left, right Hole in my Ikon

I’ve just read the comment In the Christmas issue (AP When he returned from
on page 77 of your 22-29 December 2018), WW2 my father brought
Christmas Special (AP Nigel Atherton wrote about back a Zeiss Ikon camera.
22-29 December 2018) the difficulty he was having The camera is still in my
stating that there seems no flying his DJI Mavic Air mother’s possession. As it
obvious way that the DSLR drone, and confusing left is a folding 120 camera it
could be improved (in a bid with right when operating has a bellows and, after so THIS issue our HG Wells-esque time machine takes us
to extend its longevity the controls. Having many years of use, a hole back to 1999. A lot hasn’t changed that much – Liam
when compared to a dabbled with radio- has appeared in the and Noel Gallagher still don’t get on – but a lot has.
mirrorless model). Do you controlled models for a leather. Is there anyone For a start, Minolta was still making headlines with its
think the possibility might number of years, I can who could repair or bulletproof, pro-spec SLRs. It’s a shame the brand has
exist to develop some kind advise him that the trick is replace the bellows? been absorbed into the Sony hive-mind, but lots of
of optical/EVF hybrid? It to train yourself to think as Bill Winward older Minolta bodies and lenses can still be had online,
probably wouldn’t address if you are in the pilot’s seat, and very good they are. Elsewhere, AP was taking
the weight problem but and when you learn that it Get in touch with Custom women photographers more seriously than it did in the
those who insist that all becomes relatively easy, Bellows at www. 80s, while a feature on printing reveals how darkroom
DSLRs are the better it’s a bit like learning to ride custombellows.co.uk. guru Steve Walsh creatively enhanced a splendid black
option are not generally a bike. And don’t use your Call them on 0121 766 & white portrait by Sheila Rock (best known as a music
concerned with this phone to control the drone 7919 or write to them at photographer, but much more than a snapper for NME
difference. – instead, use the proper Unit 26, Camp Hill and the rest). The piece is a timely reminder to people
David Richards remote control unit with Industrial Estate, John who think image editing and creative interpretation
joysticks, which you need Kempe Way, started with Photoshop, and that the best analogue
Fujifilm’s EVF/optical to learn to use without Birmingham, West images somehow came straight from the camera.
rangefinder hybrid on looking at them. Your main Midlands B12 0HU
– John Wade, AP
contributor
Lineage ads
John Tarrant’s comment
(Inbox, 15 December
2018) about missing the
lineage classifieds of
yesteryear struck a chord,
as I also miss them. Ebay is
not for everyone and AP
could improve readers’
Douglas Thomson experience if they were to
shares some handy tips be reintroduced.
for using a drone Martin Pagett AP had an analogue printing masterclass by Steve Walsh

Technique
Claire Gillo
Claire is a photographer and writer based in
South West England. She has worked for a
number of photography magazines over the past
decade. To see more of her work, visit www.
facebook.com/Clairegillophotography and
Instagram: @clairegillophotography.
Home
is where the
light is
You don’t need to spend a fortune to
Low-key lighting
Use candles and a lamp to capture
get professional-looking results. atmospheric images that emerge
from the shadows
Claire Gillo shares her DIY home-
LOW-KEY lighting is a technique in
lighting hacks for those on a budget photography where your subject is softly
lit against a dark background; it uses
P
hotography is an can hack your way around to shadows to let objects/people emerge to
expensive hobby. get professional-looking and create an atmospheric result. Someone
If you’re like us impressive results. In this once described the technique to us as
then you probably feature we’re going to show ‘illumination and elimination’, which we
think on a regular basis, ‘oh you how to put together eight think is a rather good rule to remember.
go on then, I’ll just buy one alternative lighting set-ups The good news is you don’t need much in
more lens...’, ‘Oh and maybe so you can capture better terms of technical kit to try low-key
I’ll think about upgrading portraits and still-life scenes. lighting at home. We simply used a
my camera body.’ Before you We will be using a host of candle and a household lamp to capture
know it you’re out of pocket, accessories and gadgets that our shot. We had the lamp positioned to
and eating baked beans out can be found in the comfort the left hand side of the glass container
of the tin for the rest of the of your own home – from as our key light, and held the candle up
month. However it doesn’t have your mobile phone to torches, and to the adjacent side of the flowers to
to be this way when it comes and greaseproof paper to pick out some detail. Remember to be
to lighting. There are many candles and tinfoil dishes. The careful if shooting dried flowers and using
cheap DIY home solutions you possibilities are endless. an open flame.
Despite low-key lighting being an easy
A simple two-light set-up technique to try at home, it can be difficult
can be achieved with a to get the results you’re after on your first
lamp and candles try, so practice makes perfect. If you want
ALL PICTURES © CLAIRE GILLO UNLESS STATED OTHERWISE
some inspiration to get started, look at the

work of Renaissance painters such as
Leonardo da Vinci (his painting ‘St. John
the Baptist’ is a great example of low-key
lighting) or any of the still-life painters
from that era. Objects such as dried
flowers, skulls, dusty books and fruit, all
make excellent subject matter to shoot in
a low-key lighting way.
WITH
WITHOUT Craft your own

beauty dish from
tinfoil and
toothpicks
Beauty dish
Transform your portraits with some tinfoil,
toothpicks and an external flashgun
A BEAUTY dish is a curved rectangle shape slightly larger
shallow bowl that attaches to a than the flash head and use
light source. A small plate four toothpicks to secure in
hovers in the middle of the dish place.
and covers the main source, To get the most flattering
which in turn pushes the light results position the dish
out and round the dish. The slightly higher than your model
result is a semi-hard light that and point downwards, as this
is reflected over the model accentuates their cheekbones.
rather than diffused. The light
is softer than a directional
flash but harder than a softbox.
To craft our beauty dish we
used a tinfoil bowl, tinfoil and
toothpicks and constructed the
dish around our external
flashgun. To make your own,
place the head of the flashgun
in the centre of the bowl and
draw around. Cut out the
middle part and push the
flashgun head through the gap.
If the hole is too big, use some
tape along the edges to secure. Use a tinfoil bowl as a starting point
Next, out of tinfoil construct a for your homemade beauty dish
17
Technique ALTERNATIVE LIGHTING SOLUTIONS
The combination of
Gels colour gels will
create a two-tone
Turn a torch and external flashgun into effect
colourful light sources using cellophane
A COLOUR gel, also referred we used a cool blue colour
to as a colour filter, lighting gel teamed against a warm yellow.
or sometimes just gel, is a To attach the cellophane (gel)
transparent piece of material to our flashgun we simply cut a
which creates a colour cast. small square of blue
Gels are often used to correct transparent material and
white balance issues; however wrapped it over the front. As
in recent years mixing strong we only had one flashgun for
colour gels together for a our other light source we taped
distinct look has become very the yellow cellophane over a
popular. Look at the work of torch. To ensure no other light
photographers such as Nadav reached our subject we took
Kander (www.nadavkander. our shot against a black
com) for inspiration. background in a dark room.
When using gels it’s best to Our shutter speed setting
stick to a couple of colours to read 8 seconds. The flashlight
begin with. As you improve (blue) caught the splash of the
your technique and grape in the water then we
understanding of the colours, shined the torch (yellow) over
you can bring as many into the the set-up to bring in that
mix as you like. For our shoot warm tone.
The yellow and blue cellophane sheets contrast well in our set-up
Cheap lightbox
Tape some greaseproof paper to a window and voilà, you
have yourself a homemade lightbox
Window light is great for backlighting a variety of objects
A LIGHTBOX is a flat continuous light source that

enables you to backlight your subject and capture
some unique results. To create a DIY home lightbox
all you need is a small piece of greaseproof paper,
tape and a window. This lighting solution works
best when shooting a transparent object such as a
leaf (like in our example) or thin slices of food (for
example, cucumber). Although this is a great and
simple solution to a lightbox design, owing to
gravitational forces you are limited in what you can
photograph. You’ll also need to consider that any
subject you want to capture will need to be secured
Transparent objects such as fruit, flowers and leaves are great for this lighting technique to the paper, so get some good tape.

Halogen lighting
Experiment with an inexpensive portable halogen light, to
achieve lovely golden tones in your portraits
Jessica Kobeissi
took this striking
image using a cheap
shop-bought light
DIY softbox
Craft a homemade softbox for your
flashgun to improve your portraits
A SOFTBOX is a studio photographer’s best
friend, and basically works how it sounds. It
diffuses the light to reduce harsh shadows and
creates a soft and even effect. Instead of spending
a fortune on a branded model you can easily
construct one at home for your external flashgun
using some cardboard, tape, tinfoil and
© JESSICA KOBEISSI
greaseproof paper. We crafted ours into an

oblong shape. To construct your softbox, first you
need to create your frame out of cardboard and
tape together leaving off the front panel. Next
you want to line the inside with foil (glue or tape AP ASKED photographer Jessica well). Whatever you use, don’t put it
it in place), which enables the light to bounce Kobeissi for her tips, as she took this too close to the light, however, as it
around before being diffused through the feature’s striking cover image using a can get very hot. ‘I love the fact that
greaseproof paper, which can be draped and 250-watt portable halogen light from the light adds a nice warm tone to the
attached over the front. Make sure the paper US DIY store, Home Depot. The light photos,’ says Jessica. ‘When used as a
completely covers the front. Finally we traced cost only $20 and although Home backlight it gives a lovely warm
around our flashgun head on the back of the box Depot doesn’t operate in the UK, you golden tone to the image, without the
(place in centre), cut out and then secured the can easily pick up this kind of need for much editing. You also get
head in place through the hole. portable halogen light from DIY these nice warm golden tones with
When shooting our models we had the box centres in the UK for similar money. direct lighting. If you’re just starting
placed slightly to the side and at eye level. We also As Jessica explains, she had a lot of out with lighting models, this is a
lit the background separately with a continuous fun with the halogen light, great light to experiment with. You do
light source to eliminate the shadows. experimenting with using it as a need to be very careful though when
backlight, sidelight, and direct light. using the lights around your house.’
Since the light is quite strong and For the image on our cover, Jessica
harsh, it’s a good idea to put some used a Canon EOS 5D Mark III with a
kind of diffuser between it and your EF 50mm f/1.2L lens: exposure was
model (a white sheet can also work 1/320sec at f/1.6, ISO 250.
Oblong and
© JESSICA KOBEISSI
square-shaped
softboxes are
typically used in
most studio
environments It’s easy to purchase a portable halogen light – for best
results use it with a diffuser such as a white sheet
For more on Jessica, see www.jessicakobeissi.com

Technique
Create impressive
backgrounds by
simply moving your
mobile phone
The bokeh effect works well for creative flower shots
Tablet tricks
Use an iPad or tablet to create a bright
and colourful bokeh background
for an easy hack
Mobile phone WHEN shooting small objects such as flowers, a

quick and simple solution for an interesting
backdrop is to download an image to your tablet.
Use your mobile phone to For our background we searched for a bokeh
create results that look like design. To make sure our tablet didn’t keep
they were shot in a studio switching off during the shoot we had to change the
‘power down’ setting to continuously on.
THIS image of a perfume bottle has As the light from the tablet is brighter than the
been purely lit with a mobile phone in light reflecting from the flower, we shone a torch
a completely dark room. If you don’t (with a bit of greaseproof paper wrapped around
have blackout blinds you can just shoot the end to soften the light) over the flower in the
at night instead. foreground. Our shutter speed was reading 1.3
First we placed our bottle of perfume seconds in a dark room. Finally to add a bit of bling
onto a piece of Perspex so that it we sprinkled a little glitter over the flower.
created a glossy reflection. Next we
downloaded two images onto our
phone. The first was pink-and-white
striped and the second was plain blue.
We decided to mix the two light
sources together and create a light trail
behind our bottle. For this reason our
shutter speed setting was reading 20
seconds, which gave us enough time
to swipe the phone behind and then
shine the light over the bottle at the
front. The trick is to keep the phone
moving so that you get an evenly
distributed lighting effect.
Setting your camera up on a tripod will free

up your hands to use your mobile phone Use your tablet as a backdrop for still-life set-ups

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DENIS THORPE
Backlighting
The photographs of Denis Thorpe are an important
record of working life in northern England since 1950.
Keith Wilson hears the stories behind some of them
I
n the early hours of any notice of me. Then, I realised Right: Salford
26 September 1950, an what an enormous thing it was. You street scene,
underground fire broke out didn’t know at that time how many photographed for
within the Creswell Colliery people had been killed and then you a Guardian story
in 1979 about the
in Derbyshire, trapping dozens of saw what was happening around you city’s Victorian
miners working below. As the day – that was such a moving thing.’ One back-to-back
wore on and word spread about of Denis’s photographs from that day housing
the accident, families and friends shows an official reading out a list of
gathered for news. Standing in names to the sombre crowd – in all,
the crowd was an 18-year-old the disaster claimed 80 lives. Below: Waiting
photographer from the local weekly Nearly 70 years later, Denis still relatives listen to
an official read a list
newspaper. His name was Denis wonders at the enormity of the day
of names after an
Thorpe. Working with a Contax and its significance to his own life, accident at the
rangefinder camera borrowed brought up in a mining community, Creswell Colliery,
from his boss, Denis soon became all too aware of the dangers faced 1950, which
aware that he was witnessing the daily by his own family members. ‘I claimed the lives
aftermath of a mining disaster. ‘I don’t know how I did it – to be able of 80 miners
just quietly wandered around and to be there as a young man to see
Bottom right: One of things that were going on.’
photographed what I could see,’ he that and photograph it,’ he reflects,
of Denis’s earliest
recalls. ‘I don’t remember seeing any ‘but it was important to me then photographs, Surprisingly, none of the
other photographers, but because I because a lot of my family were in showing his mother photographs Denis took that day
was a young man and had this little mining, so I knew about miners and Laura ironing at were published in his paper, the
camera, I think people didn’t take I suppose I could identify with a lot home in Mansfield Mansfield Reporter, and it is only
now with the release of his new
book, A View from the North, that
they have finally been published.
Finding inspiration
The book is a major retrospective
of Denis’s life in photography, from
his first photos of family life while
growing up in Mansfield, to his
celebrated press photography
working from the Manchester
offices of the Daily Mail followed by
The Guardian, for which he worked
for 23 years. Now 86, Denis and his
former Guardian colleague, the late
Don McPhee, are recognised as two
of the finest recorders of working
life in England’s North during the
second half of the 20th century.
But as a teenager, Denis had no
ALL PICTURES © DENIS THORPE
ambitions to be a press
photographer. He wanted to be a
reporter. ‘I obviously made some
impression on the editor of the
paper,’ he recalls. ‘He couldn’t take

me on as a trainee reporter, but regards as one of his first successes.
said the photographer needed an He remembers: ‘I’d seen the Degas
assistant.’ So, aged 16, Denis began pictures of women ironing and they
his apprenticeship under Arthur reminded me so much of my mother
George, chief photographer of the standing there ironing with a flat
Mansfield Reporter. ‘I don’t think iron, and then that beautiful light
I’d ever seen a press photographer; coming in; that was one of my first
I really didn’t know what they did,’ really successful experiments. I
he says. ‘He used to take me out thought, I can make a beautiful
with him on assignments. He was picture like that with this small
a good teacher and I would just camera. Amazing.’
observe what he did. All he had
was one of these Contax cameras. Master of backlighting
He was very interested in 35mm In this early photograph, Denis’s
photography and none of the press mother is backlit by the sun
photographers did that.’ streaming through the arch window
Denis also made trips to the local above the front door as she presses
library to study the technicalities down on the heavy iron, absorbed
of cameras, film development and in her work. Backlighting has
exposure. ‘There were no training remained a hallmark of much of
schemes then, and no real books his work since, most notably in two
on photography,’ he says, ‘but I did of his most reproduced prints: a
discover Bill Brandt and I thought steam-hauled train steaming across
that was wonderful. Then I found the Ribblehead Viaduct in 1986,
the Art section and looked through and the silhouetted figures of a
lots of art books and I got interested mother pushing her infant in a
in that.’ The French Impressionists, pram across a wet Salford Street,
in particular the paintings of Edgar her older child following behind. By
Degas, captured his imagination this time, Denis was shooting
and led to a picture that he now with a Nikon F2 and two Leica

DENIS THORPE
Wells dressing procession, Tissington, Derbyshire, 1977
‘Colour can be very distracting

and take you away from the rhythm
of the picture and the structure
and the geometry’
A miner, lit only by the lamps of his fellow workers, on the coal seam at Creswell Colliery
rangefinders, the M2 and M3, darkness of a subterranean coal of feelings? Goodness. It was a
usually loaded with Ilford FP4, face, lit only by the head lamps of difficult one, really. There were a lot
his favourite film. ‘I would always his fellow workers. For this photo of people who felt they should have
use prime lenses so I would use Denis returned to Creswell, this had a better say in things. Some
a 50mm on the M3 because the time descending into the pit that of the Nottinghamshire miners
viewfinder was exactly 50mm, and had consumed the previous weren’t in agreement, but I think
on the M2 I’d use the 35mm f/1.4,’ generation of miners. ‘I had the most of the miners felt “this is my
he says. ‘Those were my two super chance to go 20-odd years later to livelihood and it’s just going to be
workhorses. Then I’d use a wideangle the coal face at Creswell Colliery. Born in Mansfield in taken away from me”. That’s what
for the Nikon and a 200mm on That was an emotional visit for me, 1932, Denis Thorpe my family did; that was their
another Nikon, and that’s it. So, you to actually go there and see that,’ he is an award-winning livelihood. I remember one of my
might have seen me walking around recalls. ‘It shows exactly how people photojournalist. He has uncles; he was at Blidworth Colliery,
with three cameras sometimes, but had to work in a three-foot seam of worked for a number of and the family was there. I used to
that’s what people did – I don’t coal – damned hard work.’ publications, including go and stay with them in the pit
think I had a zoom until the 1990s.’ The Guardian, for which village and we would have lunch at
With such a long inventory of The miners’ strike he covered assignments the miners’ welfare, so I was quite
pictures to draw from, A View from Our conversation leads inevitably to across the UK, Europe, close to it. I suppose I would feel
the North is filled with photographic the miners’ strike of 1984-85, which the Middle East, China, quite sympathetic and think that
gems that enhance his reputation ravaged dozens of mining villages these people are being robbed of
the Soviet Union and
as a true master of the black & faced with pit closures across the their lives, really. I mean, what are
the USA. Thorpe has
white exposure – finding the light in north of England, South Wales and they going to do and what did they
scenes and situations that might Scotland. As Denis was a son of the won numerous awards, do? People like Mrs Thatcher never
have seemed impossible in an era mining community, what sort of including the 1979 thought about anything like that,
when pushing film beyond ISO 400 feelings and thoughts went through World Press Photo did they?’
was considered an educated guess. his mind while covering this story? Gold Medal and Ilford Denis continued to photograph
One of his most powerful portraits There is a long pause followed by a Photographer of the miners and their communities after
shows a miner working in the grim sigh before he answers: ‘What sort Year in 1988. the strike, including the book cover

A steam-hauled train DENIS THORPE
crosses Ribblehead
Viaduct, North
Yorkshire, 1986
considers himself fortunate to have
worked in the era before colour
became part of the diet of daily
newspapers. ‘I’ve spent most of my
career in black & white,’ he says,
‘mostly because that’s what
newspapers wanted. Colour can be
very distracting and take you away
from the rhythm of the picture and
the structure and the geometry; it’s
a completely different field. When
you introduce colour it’s something
else, and I could never cope with it.
So, I’m glad that black & white was
the standard for journalism.’
New-found love
Denis continues to take pictures,
‘mostly family, landscapes and
things like that’, but a new-found
love involves photographing surfers
off the North Wales coast. ‘It’s
absolutely beautiful with a long lens
to watch some of the surfers,’ he
says. ‘Poetry, isn’t it? When there
were gales and hurricanes, we had
some tremendous seas and I went
to the North Wales coast and I
photographed surfing up there. A
bit of action keeps me on my toes!’
He has also embraced the digital
era and managed to find a camera
that reflects his enduring love for
the rangefinder. ‘I have a camera
image from 1989 of a group of lead photograph in The Guardian’s which is near enough to the
laughing miners leaving work after education section the next day.’ rangefinders I’ve used and that’s
their shift at Yorkshire’s Thurcroft This picture is also a testament the Fujifilm X-Pro2,’ he enthuses.
Colliery. ‘I think the joke was on me to Denis’s versatility, equally at ease ‘It’s beautiful and the lenses are
but I don’t know what it was. They’d with the soft feature as the hard fantastic, so I’ve got some lenses for
come straight out of the pit from news, while also remaining highly that and that’s the camera I have
their shift to the bath house and one responsive to the spontaneous with me now.’ He then chuckles to
of them cracked up and all the other alignment of light, movement and himself: ‘So really, it’s me going
ones got the same joke and they A View from the North, position that is the identifying back to my beginnings again, using
were hysterical by the time they got 216 pages, with 220 characteristic of the street this camera that’s exactly like a
to me,’ he says. ‘There’s a wonderful images; hardback; photographers who inspired him, rangefinder!’ Something tells me
rhythm about the whole thing. I £25; published by namely Henri Cartier-Bresson and that Arthur George, his old mentor,
don’t mind whatever joke it was Bluecoat Press; ISBN Robert Doisneau. Like them, Denis is looking down, vigorously
because it made a great picture.’ 978-1908457486 also prefers black & white and nodding in approval.
Black & white advantage

Another of his favourites was also School children in
taken in 1989 and features a group the playground,
of primary school children linking Bury,1989
together in a line in a playground,
their shadows sharply defined by
a low morning sun. Denis was on
assignment in Bury with a reporter
and planning the day with the head
teacher in her office when he looked
out of the window and saw this
scene. ‘For me it has the beautiful
geometry one constantly strives
for, but there is also an extra bonus
with the running child on the top
of the picture seemingly floating
above her shadow. A magical
moment. You could never
choreograph such a satisfying
arrangement. Of course, it was the
When Harry Met...
José
Mourinho
Harry Borden recalls a portrait shoot
with the self-styled ‘Special One’
I
n July 2005, I was contacted children. He talked about his
by a Russian magazine children and asked me about mine,
called ProSport. They and the situation lightened up a
had contacted Esquire little. I took some shots of him at his
magazine to ask for the name of desk in one of the Portakabins, then
a good portrait photographer to moved to an odd little adjacent
shoot the then-Chelsea manager, building. It had AstroTurf on the
José Mourinho, and Esquire floor and contained a weird metal
recommended me. We agreed a fee, structure with lots of pegs, probably
I hired my assistant, and on the used for airing football boots. I
day of the shoot we drove down to liked the room because it was an
the new Chelsea training ground unusual setting and because it had
in Cobham, Surrey. a roof of translucent corrugated
As a football fan, I was pleased to plastic that lit Mourinho with soft,
get the opportunity to photograph natural light.
Mourinho. At the age of 42, the This was one of the first portrait
enigmatic Portuguese manager had shoots I shot using a digital camera,
won the UEFA Champions League and I used a Canon EOS-1Ds
with Porto and had just completed Mark II and my favourite lens for
his remarkable first season at portraiture, a 50mm. In spite of the
Chelsea, in which he had guided the fact that he was wearing flip-flops,
team to both the Premier League he looked proud and determined.
title and victory in the League Cup After the shoot, ProSport was very
Final. On his arrival at Chelsea, he keen to get the pictures and started
had memorably said in an interview, hassling me for them. I ended up
‘Please don’t call me arrogant, but having to send them by FedExpress
I’m European champion and I think to Moscow, which was very
I’m a special one.’ expensive. Then, as soon as my
On the day, the ‘special one’ was pictures were received, I never
wearing flip-flops and a Chelsea heard from the magazine again and
tracksuit in a training facility so
sterile that my assistant and I
had to wear plastic bags over our
shoes. There were lots of different
Portakabins and the whole complex
of buildings was very futuristic. ‘Pictures that are taken quickly and
As anyone who has seen
Mourinho being interviewed on improvised have more truth to them’
Match of the Day will know, he is
often grumpy and curt. When the never received any payment. Their
time came for me to photograph deceit was annoying. The irony was
him, I asked him how I should that if they had said they couldn’t
pronounce his name and he pay me but I’d get to photograph
truculently said ‘Call me what you Mourinho, I would probably still
want.’ I was given just 15 minutes have done it.
to do the shoot. I don’t do editorial work just for
The atmosphere was awkward at the money; I do it either because it’s
ALL PICTURES © HARRY BORDEN
first and I was struggling a little bit. a good magazine and I want my
I often find that when I’m shooting Mourinho’s pride work to appear in its pages, or
portraits, there’s a key that unlocks and determination because I’m adding to my overall
a situation, and in this case it was comes through in body of work. I definitely feel my
when I asked him if he had any this portrait work is documenting the cultural

landscape through portraiture Harry kept this Around the same time, other
of the great and the good, and portrait natural by photographers shot pictures of Harry Borden
Mourinho has been a huge figure retaining Mourinho’s Mourinho in studios – portraits Harry Borden is
in premiership football in the past flip flops and using that were carefully lit and planned, one of the UK’s
the soft light from finest portrait
decade and a half. the translucent, and looked slicker. But ultimately,
I used the main picture shown corrugated I think pictures that are taken photographers. He
here in my portfolio for several plastic roof quickly and improvised have more has won prizes at the
years, along with my portrait of truth to them, and I think they World Press Photo
former Chelsea captain John Terry. stand up better in the long term. If awards (1997 and
I was pleased with what I’d got in a stylist had been involved in my 1999), and in 2014,
the circumstances. It shows that shoot, I’m sure they would have he was awarded an Honorary Fellowship
even in an unpromising situation told Mourinho to take off the by the Royal Photographic Society. The
there’s always the opportunity to get flip-flops and not wear that Chelsea National Portrait Gallery collection holds
something interesting from a shoot. shirt. My picture looks authentic over 100 of his images. His book, Survivor:
Often, that’s more likely to happen and real because that’s exactly A Portrait of the Survivors of the
if you can find some light that’s what it was. Holocaust, was published in 2017. Visit
unique or even just a bit different. As told to David Clark www.harryborden.co.uk.

Photo Stories
A Stranger in my
Mother’s Kitchen
After her mother’s death, Celine Marchbank used
photography to help with the grief. Amy Davies
discovers more about this poignant project
A
s photographers, we often find presence. I realised it was something I
that image-making seeps into would have to get to know as it was never
every area of our lives. When going to fully go away. It changes you.’
we’re faced with extraordinarily As well as cooking, Celine visited the
difficult times, we turn to our passion. USA, where Sue Miles grew up, and Rome,
Such was the case for photographer where the family had spent time living
Celine Marchbank, whose project during Celine’s childhood. It was there
‘A Stranger in My Mother’s Kitchen’ that she took the sunflowers image (right).
documents the period after her mother’s She says, ‘This is one of the last images I ALL MAGES © CEL NE MARCHBANK
death in 2010. The eponymous kitchen shot. I had gone to Rome for the first time
was part of Celine’s childhood home in since living there as a child. I had driven
Camden. She moved back to her old home out to a lake we used to go swimming in;
for a few months, and while clearing the driving back along a country road
house, she discovered a set of recipes. surrounded by sunflowers, I realised every
At first, Celine thought of her work as single one was facing away from me. It The project started
a ‘non-photography’ project. She explains, struck me that’s what grief feels like, like as a way for
‘When my mother [chef Sue Miles] died, life is happening elsewhere over there – Celine to connect
my most immediate memories were the you feel trapped at the back and not sure with her mother
horrendous cancer treatments and the how to get back there. The fact I could
stressful, anxious times from the last 12 visualise it, to me, felt like I fully
months. I was hounded by bad memories; understood my grief; it was no longer a
I found it really hard to think about stranger and it didn’t dictate any more.
photography – everything felt so trivial. After that trip, I felt a release.’
‘I even felt I wanted to give up
photography – it was a hard time. So when Personal project
I discovered my mum’s recipes it didn’t feel A ‘Stranger in my Mother’s Kitchen’
like a photography project, more a way was exhibited at Hull International
to connect with her. Smells and tastes Photography Festival (HIPFest) in
brought back memories like nothing else. October 2018. Celine is also working on a
When I cooked her food, the smells filled project of the book. Although highly
my head with fond memories, I felt like personal for Celine, most can identify with All the sunflowers facing
a child again being fed by mother. It was the project. ‘The process of reviewing all away symbolises how
this beautiful part of the process I wanted the images and words made me realise trapped Celine’s grief
to record, which took my mind away from just how bad I was feeling in 2010, and was making her feel
the grief and the bad memories.’ how different I feel now, and that’s a good
The project’s title comes from a piece of feeling. The reason I want to publish
Celine’s writing. ‘I found writing an a book is to celebrate my mother and her
effective way to understand the pain I was food history, and to also start a
going through. I started to write when my conversation about grief. Unfortunately
mother was ill and dying; it became a way we will all experience this at some time in
to make sense of it all. So after her death, our lives, and we don’t speak enough about
this yearn to make sense was stronger it. The work has had an incredible
than ever. The “stranger” was not me, but response and support so far; it’s been
the grief. Grief is something you do not lovely to have so many open and
invite into your life, yet it is a prominent honest discussions about it.’
Celine Marchbank is an award-winning photographer based in London, UK. She has been widely published in magazines,
newspapers and books, and is also a photography lecturer. See more of her work at celinemarchbank.com.
28
CELINE’S KIT
Celine used a number

of different cameras
over the course of this
project, including a
Leica M (240), Leica
Sl, Phase One, Canon
EOS 5D Mark II
and Bronica SQ and
500C/M medium-
format film cameras.
She says, ‘Nothing
was really planned;
with the cooking I’d
just cook and would
make a few images if
I felt like it; many times
I didn’t. With the trips I
did to retrace parts of
my mother’s life, I’d
just arrive in the place
and see how I felt.
This project was about
Many of the images were taken in emotions, so I was led
Celine’s childhood home in Camden by them to an extent.’
The final shots in

the project were
selected from over
17,000 images
Celine’s mother, Sue Miles, was the first female head chef in Britain
After a successful
exhibition, a book on the
project is also planned
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Technique CAMERA RAW SKILLS
Get some perspe

Working with the Lens Corrections and stage. Even photographs captured
using the best lenses can benefit from
Transform panels in Photoshop’s Camera Raw a Camera Raw Lens Profile correction.
This consists of two components: a
plug-in, enables you to make adjustments at Distortion correction to correct for the
barrel or pincushion geometric distortion,
the raw-processing stage, says Martin Evening along with a Vignetting correction. The
Correction Amount sliders allow you to
T
here are a number of ways in fine-tune a Lens Profile correction. So,
Martin Evening which Photoshop can be used for example, if you believe a Lens Profile
Martin is known for his in-depth
to correct lens geometry and geometric correction to be too strong or
knowledge of Photoshop and
perspective, some of which not strong enough, you can easily apply
Lightroom. His recent books include
I have described in a previous article compensation to the correction amount
Photoshop CC 2018 for
(Keep things in perspective, AP 14 July by dragging either of these sliders to the
Photographers and The Adobe
2018). But there are also some useful left or right.
Photoshop Lightroom Classic CC
tools in Camera Raw and Lightroom, You can also apply Upright perspective
Book. www.photoshopfor
where it makes sense to apply these corrections at the Camera Raw editing
photographers.com
adjustments first, at the raw-processing stage. These can be either auto-calculated

AFTER
Profiled
Lens Corrections
SELECTING the Enable Profile Corrections box
in the Lens Corrections panel applies an auto lens
profile correction adjustment. This can be done
for any image, provided that it contains the lens
information in the EXIF data and there is a matching
lens profile in the Lightroom Lens Profile database.
When you do this, you should see the make of the
lens manufacturer, the specific lens model, and the
lens profile (which will most likely be the installed
These perspective- Adobe profile) in the boxes below. In this example
correction tools you can see how in the corrected image the
can also be found footpath that appeared curved in the ‘Before’
in Lightroom version is straightened in the lens corrected version.
ctive
or, for ultimate precision, applied
BEFORE
Activate the auto lens profile correction adjustment
manually using the Guided Upright

option. To apply an Upright adjustment,
click on the Transform option in the
Camera Raw toolbar. This opens the
Transform panel on the right, containing
the Upright buttons and Manual slider
controls. When you click on one of the
Upright buttons, Camera Raw first
analyses the image for straight-line edges
and, from this, is able to estimate a
perspective transform adjustment (to get
the best Upright correction results, it is
ALL P CTURES © MART N EVEN NG
recommended you apply a lens profile

correction first). There are several Upright
options for you to choose from because no
single type of adjustment will work
perfectly for every image, so it is

Technique CAMERA RAW SKILLS
‘Behind the scenes, there
are angle of view and centre
of projection adjustments
taking place’
always worth clicking on each button
to see which adjustment works best
for an individual photo. It is important
to understand that the underlying math
behind Upright adjustments is doing more
than auto-applying vertical and horizontal
adjustments. Upright adjustments are
more advanced than that, and the vertical
and horizontal adjustments involved in
the Upright process are actually quite
sophisticated. Behind the scenes, there
are angle of view and centre of projection
adjustments taking place. This all has to
do with the fact that the interaction of one
rotation movement can have an effect on
another, and such interactions can be
quite complex. For example, think about
what happens when you adjust the tilt and
yaw on a camera tripod head, and you may
get some idea of the calculations that have
to take place here.
Some of the manual Transform
sliders are partly included for legacy
compatibility, but they also provide a
useful way to tame the outcome from
an Upright adjustment. In one of the
examples I’ve included here, I describe
how it can sometimes help to dial back in
a little Vertical convergence to make an
architectural subject look more natural.
When applying extreme perspective
corrections and particularly with
Photomerge panoramas, it can often be
necessary to adjust the Transform sliders You can apply lens
to improve the perspective appearance. and perspective
corrections to
For example, using the Aspect slider, batches of images
you can control how much the image is
stretched vertically and horizontally so
that the image view looks more natural.
Another advantage of applying lens and
perspective corrections via Camera Raw is
UPRIGHT ADJUSTMENTS
that you can quickly apply these to batches
of images. For example, it makes sense to
apply lens profile corrections to all your
images, which you can save as a default
setting for every time Camera Raw
encounters a new file. To do this, apply a
Lens Correction only to a sample image.
Then, go to the Camera Raw right-hand
panel fly-out menu and select ‘Save New
Camera Raw Defaults’. If you have a series
of photographs taken of architectural
subjects, you can sync the Transform
settings across all the images you have
selected in Camera Raw. What this does 1 Lens Profile correction 2 Transform panel
is syncs the Upright method and/or Here I applied a Lens Profile correction to the To improve the perspective I selected the
Manual Transform slider adjustments image to remove any geometric distortion. Transform panel and experimented with
across all selected photos. The Lightroom This resulted in a photo with perfectly straight different Upright correction methods to see
synchronise settings have an option that edges, but because I had photographed which worked best. Usually the Auto option is
lets you also sync the precise Upright the building from a slight angle, the lines the best compromise. In this example I applied
transformation, rather than the converged both horizontally and vertically. a Full Upright correction, but this was unable
Upright mode only. to perfectly correct the perspective.

Manual Transform adjustments
THE TRANSFORM sliders in the Transform panel can be used to apply manual transform
adjustments, either in place of or in addition to an Upright adjustment. For example, the
Vertical slider can be used to apply a keystone correction to the converging verticals in a
photograph, such as those produced when pointing the camera upward to photograph a tall
building – although sometimes an architectural photo can look a bit odd if you apply too
perfect a correction. In the example shown here, I first applied a Guided Upright adjustment
to perfectly align the vertical and horizontal lines. But I followed this by applying a +20 manual
Vertical transform to make the verticals evenly converge slightly.
3 Guided Upright option 4 Add more guides 5 Final touches

Instead, I selected the Guided Upright option With the Guide Line tool still active I clicked to This is the final version in which both the
(Shift + T), which automatically selected the add two more guides, this time to define the horizontal and vertical planes were fully
Guide Line tool. With the Loupe box selected vertical edges of the building. You will notice corrected, a much-improved result compared
in the Transform panel, I added two guides here how useful it is to have the Loupe option to using any of the Upright button options.
to define the horizontal edges. The Guided selected, as the Loupe window can help you At this stage it was possible to click on any
Upright adjustment had so far corrected the place the guides precisely. of the guide handles to fine-tune the Guided
horizontal perspective only. Upright adjustment.

YOUR PICTURES IN PRINT
© JOHN RUTHERFORD
1
© SHARON S MS
2
1 Sunrise in Skye by 2 Titania by Sharon

John Rutherford This Sims A wonderful portrait
beautiful, classic which makes fantastic
landscape has gorgeous use of costume and
tones and interesting texture to give a fine-art
details in the sky. and timeless feel.
Join the
an external judge. These evenings are very
informal and members are encouraged to
enter, though if they prefer not to, then that’s
fine. Practical evenings are also very popular
with us. We can provide informal studio set-ups
defects that can creep unnoticed into an
image. Challenging and enlightening times
ahead, we think.
How many members you do have?
Club
with backdrops and lighting, together with Westfield is a small club and at the moment
models. Last year we had some great nights we have 20 members. We are currently in
with a team of Steampunks, and also a very the process of a new membership drive and
colourful Burlesque dancer. These evenings we welcome people of all ages and skills.
were a great lesson in studio flash and were
fun, too. We have also experimented with Are residential trips or outings planned?
set-ups for improving our flash and shutter- We are such a sociable club that we invite each
speed work, such as water splash and product other if any of us are having a photoshoot, or
photography to name a couple. to join a course we might be attending, or even
This Sheffield-based just a day out. This is actually an offshoot from
Do you invite guest speakers? our ‘Out and About’ sessions. Our members
club encourages its From September to April once a month we really enjoy working and playing together,
members to expand have guest speakers. These days are very especially if there’s tea and cake involved
popular and we like to have a diverse range of or even a pub visit.
their photographic skills experts talking to us about landscape, macro,
and wildlife, together with specialists in printed Can you share any funny stories?
When was the club founded? images and professionals describing their One that springs to mind is during a
Westfield Photographic Club was founded in journeys from roots to present day. Speakers competition with a newly qualified judge, when
the late 1970s, by a group of keen amateur and members particularly enjoy these evenings one of our members had entered a black &
photographers who wanted to share their because we provide a tasty buffet that they white image of a rack of time cards from a
interest and specialist skills with others. This don’t necessarily get anywhere else. mining museum. We think the judge was
ethos has carried through to this day, having standing at the wrong angle to get the idea of
successfully spanned technological advances, What are the most popular photographic the image and he found himself struggling to
bringing more keen members to the club. genres among your members? judge it at all, emitting rather a lot of ‘humm’
Some members like to concentrate on and ‘errm’ sounds. He even scratched his head
What does your club offer to new members? architecture, portrait, landscape, and still life. a few times. Luckily, we all saw the funny side
A warm, welcoming and friendly atmosphere Other members like to have a go at everything. of it and laughed out loud, including the judge,
for members new and old. We support each Whatever is chosen, the interests are diverse, and this incident gets talked about even now.
other with technique and shared skills, and and we actively encourage each other to
actively encourage each other, in particular our explore new ways of enjoying our hobby. What are the club’s goals for the future?
newer members. We like to build confidence in Our future goals are to increase new
people which in turn opens up a range of ideas Do members compete in competitions? membership and keep organising interesting
that they never knew they had. As a club, Westfield is a member of the and diverse nights for our members, together
Yorkshire Photographic Union and we take with exploring new and exciting developments
Describe a typical club meeting. part in its annual competition. A number of our in photography.
There isn’t always a typical meeting because members are in the process of compiling
we like to give something new each week. We images for CPAGB. As a result this has caused
have our own internal competitions together us to rethink our practice and the way we look Want to see your club featured on these pages? Drop
with joint ones with neighbouring clubs using at composition, while trying to note small us a line for more information at ap@ti-media.com.

YOUR PICTURES IN PRINT
© L NDA B GGS
4
© NIGEL FISHWICK
3 Hello Spring 4 On Days Like These 5 Two Cheetahs by
by Linda Biggs A by Nigel Fishwick The Keiron Snow The
superb take on the position of the figure composition of this
traditional still life, in the shot is perfect, shot is simple yet
with excellent use of drawing the eye around effective. The almost
textures and layering. the frame and adding an monochromatic palette
idea of scale and context. also adds interest.
© PETE O’DRISCOLL
© KEIRON SNOW
6
6 Red Alert by Pete

O’Driscoll This busy Club essentials
street scene gives a
fantastic sense of place
and atmosphere, with the
Westfield Photographic Club
lone red figure adding a Mosborough, Sheffield
nice touch of interest. Meets Tuesdays at 7.15pm from September to the end
of April, at The Joseph Stone Centre, School Street,
Mosborough, Sheffield S20 5ES
7 Ghost Ship by John Membership Annual membership is £70; taster for
Rutherford A mysterious new members, £6 for a month; occasional evening,
take on a landscape £3 each time
scene – with just the
©JOHN RUTHERFORD
right amount of the ship Contact westfieldphotographicclub@gmail.com

peeking through to create or call Linda: 07984 885374
7
a sense of intrigue. Website www.westfieldphotographicclub.co.uk

Testbench CAMERA TEST
Fujifilm At a glance
£3,999 body only

● 51.4MP medium-format sensor
GFX 50R
● ISO 50-102,400 (extended)
● 3fps continuous shooting
● 3.69-million-dot OLED EVF
● 3.2in tilting touchscreen
The medium-format sensor’s
huge resolution and dynamic
Fujifilm’s rangefinder-style, medium-format mirrorless range is ideal for landscape
photography
camera offers addictively high image quality in a relatively Fujinon GF 32-64mm F4R LM WR,
1/550sec at f/8, ISO 200
portable package, as Andy Westlake finds out
M
edium-format that’s 70% larger in area than full
For and against Data file mirrorless is still frame, and in general, a larger
Sensor
a relatively new sensor equates to higher image
Superlative image quality, 51.4MP CMOS, 43.8 x 32.9mm
Output size
concept, with the quality. But this still fits into a
with stunning detail and 8256 x 6192
Focal length mag
first cameras of the type appearing relatively compact body that’s
dynamic range 0.8x
Lens mount
towards the end of 2016. The initial just as easy to carry around as
Fujifilm G
Excellent design places all key Shutter speeds
two models were rather different a high-end DSLR. What’s more,
60min - 1/4000sec (mechanical)
controls at your fingertips 60min - 1/16000sec (electronic) from each other: Hasselblad’s stylish, at £3,999 body only, it’s not
Sensitivity ISO 100-12,800 (standard) flat-bodied X1D-50c appealed stratospherically more expensive
Intuitive dial-led operation gives
ISO 50-102,400 (extended) strongly to photographers looking than the likes of the 45.7MP
a fluid shooting experience
Exposure modes PASM for medium-format quality in the full-frame Nikon Z 7 or D850.
Excellent viewfinder and Metering Multi, spot, average, smallest possible package, while Of course, a body on its own
screen enables precise centre-weighted the Fujifilm GFX 50S provided a isn’t enough to take pictures, and
composition Exposure comp +/- 5 EV in 0.3 EV steps relatively conventional but bulkier when you factor in lenses, the GFX
Robust, weather-resistant Continuous 3fps SLR-like design at a more system looks less portable and
shooting affordable price. Now with its new more expensive. This reflects the
construction Screen 3.2in, 2.36-million-dot GFX 50R, Fujifilm has essentially fact that the system is built around
Extremely low price for tilting touchscreen
Viewfinder
repackaged the 50S into a simpler a small collection of absolutely
medium-format quality 3.69-million-dot OLED, 0.77x mag
rangefinder-style body that’s similar top-quality primes, with just a
AF points 117 or 425
Sluggish autofocus in concept to the X1D, while single zoom. But then you discover
ALL PR CES ARE APPROX MATE STREET PR CES
Video Full HD (1920 x 1080) 30fps striking an unprecedented price the sheer quality of its Fujinon GF
Slow continuous shooting External mic 2.5mm stereo point. As a result, it may just have optics, and this doesn’t look like
Screen only tilts in Memory card 2 x SD, SDHC, SDXC; UHS-II hit upon a Goldilocks formula for such a bad compromise. In short,
one direction Power NP-T125 rechargeable Li-ion medium-format digital. photographers who demand
Battery life 400 shots So what makes the GFX 50R superlative image quality from a
Image stabilisation limited
Dimensions 160.7x96.5x66.4mm so appealing? First, it uses a relatively portable set-up should
to two telephoto lenses
Weight 775g inc battery and card 51.4MP medium-format sensor be very interested in this camera.

Features Also like the GFX 50S, the When it comes to autofocus, on double-exposure mode. Most
To all intents and purposes, the camera uses a mechanical paper the 50R employs a system importantly, though, it’s carried
GFX 50R inherits most of its focal-plane shutter that offers that looks similar to those on across all of the image-processing
features from its larger sibling, with speeds as fast as 1/4000sec. It Fujifilm’s APS-C cameras. You can settings that help make its APS-C
the same 51.4MP CMOS sensor includes an electronic first-curtain choose between using 117 or 425 X-series cameras so attractive.
and X Processor Pro used by the option to eliminate any risk of AF points arranged across almost So you get the same set of Film
GFX 50S. It also includes the image blurring due to shutter the entire image area, with the Simulation modes which are
older model’s ISO 100-12,800 shock, with a top speed of latter providing extremely granular designed to give an array of
standard sensitivity range, which is 1/640sec. There’s also a silent control of focus point positioning. different colour looks to the
expandable to ISO 50-102,400 electronic shutter that offers Area modes that group 9, 25 or camera’s JPEG output, based
with a risk of compromised image speeds up to 1/16,000sec, which 49 of these points can also be on Fujifilm’s decades of colour-
quality. At ISO 50 highlights will is potentially useful for shooting at selected, along with a Wide/ science experience. These can
be more prone to clipping to pure large apertures on a bright day. Tracking option that attempts to also be tuned in terms of shadow
white, while at extended high ISOs However this risks significant follow a subject as it moves around and highlight tone, sharpness and
image noise is troublesome. distortion due to rolling shutter the frame. As is the modern way, saturation, while dynamic range
Continuous shooting tops out at effects. Thankfully Fujifilm allows face- and eye-detection options expansion settings are on hand to
three frames per second, which by you to choose between various are on hand for portrait shooters. help prevent highlight clipping in
current standards counts as very hybrid options that use intelligent The catch though is that there’s high-contrast scenes. In-camera
pedestrian indeed. This is the first combinations of mechanical, no on-sensor phase-detection raw conversion allows you to
indicator that the GFX 50R isn’t electronic first curtain and fully system, meaning the camera has adjust or re-interpret your images
the kind of all-rounder we’ve electronic shutter, so you can to fall back on contrast detection, after shooting.
become accustomed to seeing access the desired range of which is inevitably relatively slow. Video isn’t the GFX 50R’s
recently, and can’t come close to speeds in the most sensible way. Fujifilm has included a solid strong point, however. It’ll record
matching the speed of the latest I used the electronic first curtain set of additional photographic in Full HD at 30 fps if you really
high-resolution full-frame option, which switches across to features, with a highly flexible want it to, and it’s possible to
cameras. Instead it’ll reward using the mechanical first curtain exposure bracketing option, an connect a microphone to the
slower, more considered shooting. from 1/800sec to 1/4,000sec. intervalometer, and even a basic 2.5mm remote-release port.

Fujifilm’s Acros film-simulation mode provides excellent black & white output directly from the camera’s JPEGs Fujinon GF 45mm F2.8 R WR, 1/370sec at f/2.8, ISO 100
But there’s not much point, regarded X-Pro2. The body is separate, well-placed dial for each Pressing the Q button calls up
given that you can now get dust- and weather-resistant, exposure parameter. Coupled with the on-screen quick menu for
high-quality video from many and designed to be used in the AF area joystick on the back, changing secondary settings,
cameras that are vastly cheaper. temperatures down to -10°C. It’s and the option to set focus point which can be done using either
This is unashamedly a truly a medium-format camera by touch when composing with the the rear dial or the touchscreen.
photographer’s camera. that can be taken out of the LCD screen, this makes the GFX With the increased size of the
The GFX 50R has both Wi-Fi studio and shot on location in 50R an absolute pleasure to use. GFX 50R’s body compared to its
and Bluetooth built in, with the tough conditions. If for some reason you’d prefer APS-C stablemates, Fujifilm has
latter enabling an always-on, The GFX 50R feels extremely not to use the analogue dials, also found space to dot a number
low-power connection to your secure in your hand, thanks to the though, Fujifilm still has you of additional buttons around the
smartphone. Using the Fujifilm prominent thumb-hook on the covered. Place the shutter dial to
Camera Remote app for Android back and the shallow grip on the its T position, and you can then
and iOS, you can then use your front. This may not look like much, change the speed using another
phone as a basic Bluetooth but with the thick, chunky body electronic dial embedded in the
remote release. Alternatively it’s it works really well. The controls back plate. Set the aperture ring
possible to instruct the camera to have an excellent tactile quality, and/or exposure-compensation
fire up its Wi-Fi for full wireless with the dials clicking firmly as dial to C, and these settings get
remote control, complete with a they’re rotated. The buttons are a passed to the top-plate ISO dial;
live view display and the ability to little small, but they’re well spaced pressing a button on the camera’s
change most exposure settings. and have enough travel to provide front-plate then cycles through
Naturally, you can browse your decent feedback when pressed. them. It’s all really well thought
images and copy your favourites Like most other Fujifilm models, out, giving you plenty of options
across to your phone, or even set the control system is built for how to work.
up the camera to copy across around traditional analogue dials. The rest of the back-plate
automatically every image you Dedicated dials for exposure controls are closer in concept to
shoot, should you so wish. It’s also compensation and shutter speed the X-E3. There’s no conventional
possible to shoot tethered to can be found on the top plate, with d-pad for navigating menus and
computer via the USB-C port, the latter having a central toggle changing settings; instead you
using Fujifilm’s Hyper-Utility lock. They’re complemented by can use either the joystick or the
software or Tether Shooting the large, easy-to-use aperture electronic control dials. A small
plug-ins for Adobe Lightroom. rings that are found on all of the focus mode switch above the LCD
lenses. But the GFX 50R has an screen selects between single,
Build and handling additional trick, in the shape of an continuous and manual modes,
In terms of design, the GFX 50R electronic dial around the shutter and is easier to use compared to
broadly resembles a scaled-up release that directly controls ISO being on the front of the camera,
version of Fujifilm’s highly sensitivity, meaning you have a as with the X-system models.
40
CAMERA TEST Testbench
top and back. Several of these are available, which attempts to mimic
unmarked, reflecting the fact that more closely how the scene might
they’re all user-configurable and
can each be assigned to any
one of 44 settings. What’s
look through an optical viewfinder.
I found it helpful to assign this to
the top-plate Fn1 button.
Focal points
more, directional swipes on the As for the rear LCD, at 2.36
The GFX 50R’s large rangefinder-style body
touchscreen – left, right, up or million dots it’s one of the sharpest bears a strong resemblance to the firm’s
down – can also be used as and clearest I’ve used. It also tilts APS-C format X-E3
custom controls. In fact, with such up and down, which is great for
a plethora of buttons and dials shooting at waist level or off a
available, I found the main tripod, but sadly it doesn’t have Aspect ratios
challenge was working out a way an additional hinge for portrait- Fujifilm has designed the GFX 50R with multiple aspect ratios in mind.
to make good use of them all. format work. This is probably the Alongside the sensor’s native 4:3 output, it’s possible to select 3:2, 16:9,
50R’s biggest operational 1:1, 65:24, 5:4 or 7:6 crop settings.
Viewfinder and screen shortcoming, but to be fair it’s no
One area where the GFX 50R different from high-resolution Battery
makes slight compromises full-frame competitors such as the The large sensor requires a monster of a battery. The
compared to its larger sibling is Nikon D850 or Sony Alpha 7R III. NP-T125 packs 1250mAh at 10.8V and is rated for 400
in composing and viewing your Swiping upwards on the screen shots. It charges externally, but not over USB.
images. Its viewfinder has the while shooting brings up a large 2.5mm socket
same resolution, at 3.69 million RGB histogram, while swiping On the side of
dots, but the magnification is down reveals a large, precise the camera is a
fractionally lower, although at dual-axis electronic level. Both of 2.5mm socket Flash
0.77x it’s still competitive with these are particularly useful when that will accept Fujifilm has included
most other cameras. The EVF is shooting off a tripod. either a wired a hotshoe for
also fixed in place, in contrast to remote release, dedicated external
the GFX 50S’s removable unit. Autofocus or a stereo flash units such
But that’s a trade-off I’m happy to Ultimately the GFX 50R’s Achilles’ microphone for as the high-spec
make for the reduced body size. heel is its autofocus speed. improved sound EF-X500, along with
The finder itself is excellent, Compared to the standards we’ve quality during a PC sync socket on
being large and bright, with a become used to from full-frame video recording. the front.
crisp view right into the corners. mirrorless, it’s slow and hesitant,
Various displays are available, with with a tendency to ‘wobble’
the exposure information either noticeably during each focus cycle,
overlaid on the image or arranged and occasionally hunt or miss
on a black border around it, focus entirely. This is attributable
66.4mm
which results in a slightly lower to its reliance on contrast

magnification. The live view display detection for focusing, which is
mimics the image processing, primitive compared to the phase
which means it can look over- detection overwhelmingly found
saturated and contrasty in some on other cameras.
situations. But if you don’t like this, What you can’t argue with,
a Natural Live View option is though, is the accuracy. As
High-ISO settings are perfectly usable USB-C Dual card slots

Fujinon GF 32-64mm F4R LM WR at 40mm, A high-speed A door on the side of the handgrip conceals
1/60sec at f/4, ISO 12800 USB-C connector is twin SD card slots, both of which support
unconventionally placed the fast UHS-II standard. It’s possible to
beneath a base-plate use the two cards either simultaneously or
cover, alongside a 15V sequentially, or alternatively record JPEGs
DC power input socket. on one and raws on the other.
96.5mm
160.7mm
41
Here, the huge dynamic range
allowed me to reveal lots
of foreground detail in raw
processing, that had been
lost in the corresponding JPEG
Fujinon GF 63mm F2.8R WR,
1/150sec at f/2.8, ISO 125
long as you place the focus For occasions when autofocus Performance images later, if you want to apply
point somewhere in the fails, manual focusing is also Long gone are the days when a different look. So while I’d fully
scene with sufficient contrast, and available. You have a choice of medium-format digital was clunky expect users to be processing raw
are shooting in reasonably good magnified view or a peaking and awkward. Indeed, the GFX by default, it’s entirely plausible to
light, it’ll nail focus perfectly time display to confirm correct focus, 50R is on the whole every bit as use the camera’s JPEG files for
after time. Unlike any DSLR, it can and these aids can be activated slick and polished as its APS-C many purposes.
also focus on subjects practically automatically when you turn the cousins. It has almost the same You still have to work hard to
anywhere in the frame. The large, focus ring. Fujifilm’s GF lenses all on-screen interface, including make full use of the GFX 50R’s
clear viewfinder gives a really clear use electronic focus-by-wire Fujifilm’s well-designed Q Menu abilities, though. With no image
indication of whether or not focus systems, and while the feel of the and logical menu structure, and in stabilisation on anything but the
has been properly achieved, focusing isn’t the best I’ve come most respects is just as snappy in two longest telephoto lenses, you’ll
along with an accurate across, I had no problem at all with operation. Its relatively light weight need to make a point of using fast
depth-of-field preview. achieving critical accuracy. and excellent ergonomics mean shutter speeds to be sure of
you can shoot with it handheld getting pixel-sharp results from
for extended periods, just like that 50MP sensor when shooting
a full-frame DSLR. It’s also handheld. At these resolutions, the
The GF lens range remarkably quiet and unobtrusive,

especially with electronic
first-curtain shutter enabled.
old ‘1/focal length’ rule isn’t going
to work, and I’d recommend
shutter speeds at least a stop
Fujifilm currently offers eight background blur to an 85mm Indeed the only clue that you’re faster to be sure of getting
G-mount lenses from 23mm f/1.6 full-frame optic. The others dealing with something out of the really sharp results, for example,
to 250mm, with seven primes are f/2.8 or f/4, which will behave ordinary is the slightly sluggish 1/125sec with the 63mm f/2.8.
including a 120mm f/4 macro like f/2.2 or f/3.2 full-frame autofocus and continuous With good technique, though,
alongside a 32-64mm f/4 lenses with the same angles of shooting, which for many the GFX 50R will repay you with
wideangle zoom. The ‘crop view. As a result, if you’re after applications won’t matter a jot. absolutely breathtaking image
factor’ relative to full-frame is the shallowest possible depth of As we’ve come to expect from quality. The level of detail it’s able
0.8x, which means the lenses field for selective-focus shooting, Fujifilm, metering and auto white to record is exceptional owing to
cover a 35mm-equivalent in principle you’ll be better off balance both work really well. the combination of its medium-
range from 18mm wideangle with a full-frame system because Combined with the firm’s peerless format sensor and excellent
to 200mm telephoto. Only the of the widespread availability of colour reproduction and excellent lenses. Dynamic range is
120mm f/4 macro and 250mm fast, high-quality f/1.4 primes. image processing, the camera phenomenal, with a huge amount
f/4 telephoto include optical Fujifilm has also revealed churns out lovely-looking files shot of detail recoverable in shadow
image stabilisation. three upcoming lenses on its GF after shot. I particularly like the regions when processing raw files.
In terms of maximum roadmap. Alongside a compact Astia film simulation mode for Image quality also holds up well
apertures, the fastest is a 50mm f/3.5 prime, it’s planning colour images, and Acros for black at higher sensitivities: I was quite
110mm f/2 portrait lens, which on making image-stabilised & white shooting. The in-camera happy with the output right up to
should give similar results in 45-100mm f/4 and 100- raw processing also makes it easy ISO 6,400, with ISO 12,800
terms of depth of field and 200mm f/5.6 zooms. to adjust or reinterpret your being usable if necessary.

CAMERA TEST Testbench
Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
With the same 51.4MP medium-format sensor and X-Processor Pro as the older GFX 50S,
unsurprisingly we see much the same image quality. Fine detail is rendered with stunning clarity
and crispness, which is accentuated in the camera’s low-ISO JPEG files by strong, fine-radius
sharpening. Colour output is as attractive as usual, with the various film-simulation modes GOLD
providing a good range of options. Interestingly Fujifilm has achieved this stunning quality using a
conventional Bayer sensor, rather than the X-Trans sensor used in its premium APS-C models.
It’s always exciting when a camera brings
something new to the market. By placing
Resolution the stunning image quality of its medium-
format sensor into a relatively small body at a
At ISO 100, the GFX 50R records a massive 6,000 lines is raised, and even at ISO 1600 we still measure a ground-breaking price, the Fujifilm GFX 50R
per picture height, which is about as much as its hugely impressive 5,600l/ph. At higher settings noise does exactly that. Indeed this feels like a
51.4MP sensor could possibly achieve (note that its has an increasingly deleterious effect, but 4,800l/ph transformative moment for medium-format
4:3 aspect ratio gives it a slight advantage over 3:2 at ISO 12,800 is still a strong showing. At the top ISO digital, bringing it into serious consideration
sensors). Resolution drops slowly as the sensitivity 102,400 setting, though, this drops to 4,000l/ph. for a much wider audience than ever before.
First, let’s consider the price. The GFX
RAW RAW RAW RAW
ISO 100 ISO 1600 ISO 12,800 ISO 102,400 50R costs £1,000 less than its stablemate
the GFX 50S, £2,000 less than the
Hasselblad X1D 50c, and £1,500 less
than the four-year-old Pentax 645Z DSLR.
On the right we show details Fujifilm’s GF lenses are reasonably affordable
from our resolution chart test by medium-format standards, too.
pattern (above). Multiply the Equally important is the portability factor.
number beneath the lines by It’s no more difficult to shoot with the GFX
400 to give the resolution in 50R out on location than it is to work with a
lines per picture height. full-frame DSLR. Fujifilm’s lenses aren’t too
huge or heavy, and I was perfectly happy
carrying the camera on extended treks with
Noise the 32-64mm f/4 zoom and 45mm f/2.8
and 63mm f/2.8 primes. This isn’t something
At low ISO settings the GFX 50R gives absolutely stunning images, with no you’d usually say about medium-format kit.
visible noise and remarkable delineation of the finest low-contrast detail. Crucially, the GFX 50R is also an
This quality persists up to ISO 800, and it’s only really at ISO 3200 that we extremely enjoyable camera to use. Thanks
see any obvious degradation when examining images close-up on screen. to its traditional analogue control dials, it’s
By ISO 12,800 quality is suffering badly from noise, although the camera’s just as intuitive and engaging as Fujifilm’s
own processing does a better job of maintaining colour than Adobe Camera APS-C X-system models. Its image quality
Raw. Beyond this, however, things go downhill fast, with colours fading is utterly addictive too, with trademark
The crops shown below are taken and serious problems with noise. ISO 25,600 might be usable at a pinch, gorgeous colour combined with phenomenal
from the area outlined above in red but I’d steer clear of the top two extended settings. levels of detail.
Of course the GFX 50R is still a niche,
RAWISO50 RAW ISO 800 RAW ISO 3200 specialist camera. For the majority of serious
photographers, a full-frame system will
be the more obvious choice, especially
when super-fast autofocus and continuous
shooting are required. Indeed the very best
high-resolution models, most notably the
Nikon Z 7 and D850, will come very close
indeed to matching its raw image quality.
But for those who understand how to exploit
its strengths, and who aren’t concerned
by its weaknesses, the GFX 50R is a truly
RAW ISO 12,800 RAW ISO 51,200 RAW ISO 102,400
phenomenal photographic tool.
FEATURES 8/10
BUILD & HANDLING 10/10
METERING 9/10
AUTOFOCUS 6/10
AWB & COLOUR 9/10
DYNAMIC RANGE 9/10
IMAGE QUALITY 9/10
VIEWFINDER/LCD 9/10

Testbench EARLY JAPANESE CAMERAS
Y
ou might be forgiven
for believing that the
Japanese camera
industry began in
1959. This was the year the
Nikon F was introduced, and it
was the camera which largely
triggered interest in Japanese
cameras. But the Japanese photo
industry began long before.
There is evidence of a
daguerreotype camera being
made in Japan as early as 1845,
just six years after the process
had been announced in France.
In the early days, Japan was
a closed country, but later
the doors were opened to
foreign trade, and Japanese
From L-R, clockwise: A1938 Superflex manufacturers became aware of
Baby; a Gemflex; a Kamerette Junior German cameras. So they built
FILM STARS
No. 2, circa1930; and the1949 Petal, their own versions: the Japanese
world’s smallest production camera Canon was inspired by the
German Leica, while the
A
Japanese Nikon was inspired
From Nikon to Canon and by the German Contax.
Olympus, Japan is home to some Japanese cameras come
of the world’s biggest camera to the West
By the start of the 20th
manufacturers. John Wade
yen for early

century, camera manufacture in
Japan was thriving, but little was
tells us how this originated known about it in the West.
Then came two World Wars,
followed by the Korean War
between 1950 and 1953,
which became a turning point.
Japanese
As foreign war correspondents
flooded into the East, they
became aware for the first time
of Japanese optics which not
only fitted their German
cameras, but were the equal of,
and in some cases better than,
their own German lenses. It
was a major step towards the
world becoming aware of
Japanese products.
Unfortunately, here in the UK,
Board of Trade restrictions
following the end of World War II
in 1945 prevented the import
of luxury foreign items. So the
British remained largely ignorant
of Japanese cameras until the
restrictions were lifted in 1959.
By the end of the 1960s,
Japanese cameras had a
stronghold. Then camera
collecting took off as a hobby,
and collectors discovered
previously unknown early
Japanese models. Today,
ALL PICTURES © JOHN WADE
some of these cameras remain

collectors’ items. But many are
still usable with readily available
35mm and 120 film, as well as
127, which can be found on
Japanese cameras inspired by German models. From L-R, clockwise: Canon S-II, Leica IIIf, Contax II, and Nikon S the internet.

THE CAMERAS
The Pearlette: The Minolta Six
Japan’s first with its strange Vero Four
mass-produced telescopic boxes LAUNCHED 1938
camera
MANUFACTURER KinshĿ KĿki Seisakusho
FORMAT 4x4cm on 127 rollfilm
GUIDE PRICE £50-70
Because 127 film of the time was numbered
one to eight, and because the Vero takes 12
exposures, the film is wound until the number
one appears in a red window on the back.
After each exposure, the film is then wound
by pressing a small knob on the top to free
the winding mechanism and wound until it
stops at the next frame. The 60mm f/3.5
anastigmat lens is pulled from the body on
Pearlette Minolta Six a short tube for shooting. Shutter speeds
run 1-1/500sec.
LAUNCHED 1925 LAUNCHED 1935
MANUFACTURER Konishiroku MANUFACTURER Minolta
FORMAT 6x4.5cm/3x4cm on 127 rollfilm FORMAT 6x6cm on 120 rollfilm
GUIDE PRICE £40-50 GUIDE PRICE £40-60
The Pearlette was Japan’s first mass- Unlike folding cameras that use bellows,
produced camera and a Japanese first to use this one substitutes three plastic telescopic
127 film. Its two formats are derived from sections, reinforced with stainless steel,
reading film numbers either in the central red which slide into each other. Shooting 12
window or by using twin windows each side of pictures on film numbered one to eight
the first, along with the use of a mask at the involves juggling the film numbers between
film plane. Hence it takes eight or 16 pictures three red windows on the back of the body.
to a roll. With a lens panel that extends from The camera is equipped with a Coronar
the body on bellows and scissor-like struts, it 80mm f/5.6 lens and a shutter speeded The rare Vero Four,
folds to a neat, pocketable package. 1/25-1/150sec. which takes 127 film
‘Like the Ikonta, Semi Leotax

the Semi Leotax folds LAUNCHED 1949
to a flat package’ MANUFACTURER ShĿwa KĿgaku
FORMAT 6x4.5cm on 120 rollfilm
GUIDE PRICE £15-25
Konica I,
made in Known mostly for making
occupied Leotax 35mm Leica copies,
Japan
the ShĿwa company based
this folding rollfilm model on
Konica I the German Ikonta
made by Zeiss Ikon
LAUNCHED 1948 in the 1930s. Like
MANUFACTURER Konishiroku KĿgaku the Ikonta, the Semi
Leotax folds to a flat
FORMAT 24x46mm on 35mm package measuring
GUIDE PRICE £50-70 just 11.5x8x3.5cm,
then unfolds to shoot 16
Because it was made soon after the end of World War II, when pictures on each roll of film. It
the Allies oversaw much of Japan’s exports, the Konica I, like sports a 75mm f/3.5
other goods of the time, is marked ‘Made in occupied Japan’. It’s anastigmat focusing lens and a
a coupled rangefinder camera with a Hexar 50mm f/3.5 lens 1-1/200sec shutter. For
that extends on a tube to the taking position, focused by a radial users, the Semi Leotax
lever to the side. A button on the back of the body must be Semi-Leotax, a small camera provides an easy
depressed to release a locking mechanism after each exposure camera to shoot entry into medium-
before the film is advanced. Shutter speeds run 1-1/200sec. medium-format pictures format photography.

Testbench EARLY JAPANESE CAMERAS
Samoca-35 Super: a Asahiflex IIb

35mm coupled
rangefinder camera LAUNCHED 1954
MANUFACTURER Asahi KĿgaku
FORMAT 24x36mm on 35mm
GUIDE PRICE £150-180
The company that became famous for making the
Pentax introduced its first single lens reflex (SLR)
in 1951. Three years later, the IIb was equipped,
for the first time in a Japanese camera, with the
all-important instant return mirror. Unlike the
Pentax which followed in 1957, the Asahiflex has
a waist-level viewfinder, beside a direct vision
Samoca-35 Super eye-level finder. It’s usually found with a Takumar
Neoca 35-IIIS
has a slight
LAUNCHED 1956 50mm f/3.5 lens. Focal plane shutter speeds run resemblance to a
1/25-1/500sec. German Contax
MANUFACTURER Sanei Sangyo Neoca 35-IIIS
FORMAT 24x36mm on 35mm Asahiflex IIb, LAUNCHED 1958
predecessor of
GUIDE PRICE £30-50 the better- MANUFACTURER Neoca Camera Company
known Pentax
This is a smaller-than-usual FORMAT 24x36mm on 35mm
35mm coupled rangefinder GUIDE PRICE £20-30
camera with a 50mm f/3.5 lens
that moves backwards and Looking a little like a slightly truncated German
forwards for focusing by means Contax of the 1930s, the Neoca range began in
of a radial lever beneath. As the 1955 with the 35-1S. The cameras are solidly built
lens moves, it is geared to a dial with coupled rangefinders but non-interchangeable
above that rotates to indicate the lenses. The IIIS has a Neokor 45mm f/2.8 lens, with
distance against a depth-of-field a leaf shutter behind it giving speeds of 1-1/500sec
scale, all of which is coupled to and an exposure guide on the back. Film wind takes
the rangefinder in the viewfinder. two strokes of the top-mounted lever.
Yashica-Mat LM (left) and its smaller

cousin, the Yashica 44 LM Olympus PEN
LAUNCHED 1959
MANUFACTURER Olympus KĿgaku
Key dates
1873 Konishi-ya, the
FORMAT 18x24mm on 35mm predecessor of Konica,
GUIDE PRICE £50-60 was formed.
What became a very successful range of half-frame 1917 Three companies

cameras began with this model, the name of which was merged to form Nippon
inspired by the fact that it could be carried and used as KĿgaku, which would go
easily as a pen. With a direct-vision viewfinder on to become Nikon.
incorporating a bright frame to indicate the field of view, 1919 Asahi KĿgaku was
controls are totally manual. The lens is a fixed Zuiko founded; it later goes on
28mm f/3.5 that focuses to 70cm and stops down to
Yashica-Mat LM f/22; shutter speeds run 1/25-1/200sec. As it’s a
to become Pentax.
LAUNCHED 1958 half-frame camera it takes vertical, portrait-shaped 1919 Takachiho
pictures when held in its traditional horizontal orientation. Seisakusho, forerunner of
MANUFACTURER Yashica Olympus, was founded.
FORMAT 6x6cm on 120 rollfilm 1928 Nichi-Doku
GUIDE PRICE £50-70 Shashinki Shokai was
established, to eventually
The first twin lens reflexes from Yashica (formerly become Minolta.
Yashima) were made around 1953. The Yashica-
Mat was made in 1957, then upgraded as the LM 1933 Seiki KĿgaku
with a built-in exposure meter a year later. As the KenkyĿsho began business,
twin lenses are focused in tandem, the lower later to be called Canon.
80mm f/3.5 lens takes the picture and the top 1934 Fuji Photo Film
80mm f/3.2 lens reflects its image onto a large Company began trading.
focusing screen under a hood on top of the body.
Shutter speeds and apertures are set on 1936 Riken Optics
thumbwheels on each side of, and between, the launched, later to be
lenses, while a crank on the side winds the film. The Olympus PEN: forerunner of 35mm half-frame cameras known as Ricoh.

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ACCESSORIES Testbench
Metz Mecalight At a glance

● Smartphone-sized LED light
● Variable brightness
S500 BC
● Variable colour temperature
● USB rechargeable
internal battery
Andy Westlake tests a compact,

well-featured LED light panel
● £119.99 ● www.intro2020.co.uk
Diffuser
WHILE LED panels are mostly associated with The removable
video, they can be useful lighting tools for stills frosted-plastic diffuser
photographers. They can go some way towards panel stands proud of the LED
replicating fill-flash, for example, with the added array, held in place by an
advantage that you can see the effects live. ingeniously designed
Metz’s Mecalight S500 BC is a compact, flat silicone-rubber band.
unit that’s roughly the size of a smartphone. It
sports 117 surface-mount LEDs, of which 60 are
daylight-balanced with a colour temperature of
5500K, while the rest are 3000K, similar to standard
household lighting. This allows the colour to be
continuously adjusted to match a wide range of light
sources, or simply for creative effect. The brightness is
finely adjustable in 5% steps, from full power down to
5%, equating to a little more than a four-stops range.
The colour rendering index (CRI) is specified as
>96, meaning your images should maintain
accurate colours.
Output settings are straightforward to control using
four small buttons arranged around the edge. Pressing Tripod mount
the power button on the side first activates the OLED The device incorporates
status panel, allowing you to adjust settings. Two a standard 1⁄4in socket,
buttons marked + and - increase or decrease the with a hot-shoe adapter
values, while another toggles between brightness and included in the box.
colour temperature. A second tap of the power button Status display
then turns the light on. Another press switches it off A small, colour OLED
again while keeping the screen active, whereas holding screen on the back shows
the button down for a second turns the unit off entirely. the current output settings
It will also auto power-off after 10 minutes of inactivity. and battery status.
Along with the brightness and colour-temperature
settings, the OLED screen displays a battery level
indicator and a useful estimate for how long the light
should last. When recharging, the screen helpfully
shows the time remaining until the battery is full.
The S500 BC’s neat design is complemented by
impressive build quality, with a sturdy-feeling
aluminium casing. The diffuser panel is attached Power
using an ingenious elastic band that holds it The built-in
clear of the LED array, but the fact that Metz 2300mAh Li-ion battery
supplies two of these suggests it’s not entirely is rated for approximately
confident about their robustness. The screw-in an hour at full output. It
hot-shoe mount also slightly spoils the is charged though a
neatness of the overall design. standard micro USB ALSO CONSIDER
socket.
Verdict The Manfrotto Lumimuse 8
The Mecalight S500BC is a brilliantly designed little is another compact light with a
ALL PRICES ARE APPROXIMATE STREET PRICES
LED light that gives impressively even output across built-in USB-rechargeable battery;
a wide angle, covering a 24mm equivalent lens. The it is cheaper at £75. But it only uses
controls work as expected, and there’s no troublesome 8 LEDs, which gives a narrower,
colour shift at any setting. It won’t directly replace a less-even output pattern. Brightness
flash, but it can be very useful when supplementary can be adjusted in four steps, while its
lighting is needed. With its smart design, easy charging
GOLD daylight-balanced output can be matched to
and highly adjustable output, it’s a really handy device. artificial light using a snap-on gel filter.

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IN ASSOCIATION WITH
Tech Talk
Ask the ex erts

Looking for a new camera or accessory and need some advice? The experts at Wex Photo Video
are here to help. Contact us at ap@ti-media.com or on Twitter at @AP_Magazine and #AskAP
Q I would like to invest in a

new filter system. I am
happy with my camera
and three lenses, so would like to Telephoto zoom for wildlife photos
A
get a range of UV, ND and circular
polarisers. I realise that this can be
a costly activity, so will build my
collection over time. My question
is, should I go in for a square
Q I was hoping to expand my kit to include
a good lens for wildlife photography. I’ve
been using the Canon EF 55-250mm
with a Canon EOS 7D Mark II (upgraded last
There is a huge range of lenses for
wildlife photography, and the one thing
they all have in common is that they
aren’t the smallest. If you like to move around
system like Lee or Cokin or should summer) and would like to get a longer lens to go with your lens and don’t want something heavy,
I buy individual screw-thread with it. I am lucky to be able to increase my then it is probably worth ruling out primes. That
filters? I would like a system that is budget quite a bit so am looking to get the best said, the new Canon EF 400mm f/2.8L III is a
really good quality (no colour hue, lens for me. I love to go out walking with my beautiful lens and very light for the quality of
etc.) as well as easy to travel with. equipment but don’t have the physique of a body optics at just 2,840g. It boasts a hefty price tag,
Matt Nichols builder, so a prime 600mm is not an option. Also but no more than would be expected for the
A
I like the idea of being able to get close to a calibre of lens. If you prefer to have the option to
When it comes to filters, subject as well as pick it out when it’s further zoom and be able to get close to your subject at
sometimes it’s best to away. I would also like a decent maximum focal times, a telephoto zoom may be more suitable.
use both screw-in filters length. Could you suggest some lenses, please? Here’s a range of telephoto lenses with high-
as well as build a square filter Bert Harley quality optics as well as impressive zoom ranges.
system. To protect your lenses,
Our experts suggest

invest in high-quality UV filters
that you could leave on at all
times to avoid dust and dirt
sticking to the front elements.
Neutral density (ND) filters
can be useful as full filters, as
well as graduated filters,
especially for landscape
photography. A Lee filter system,
for example, uses very high-
quality coatings, so there will be
no colour cast to your filters.
Circular polarisers are one of
the most expensive types of Sigma 60-600mm f/4.5- Canon EF 100-400mm Sigma 150-600mm f/5-6.3
filters and a screw-in version
(even a high-quality one) will be 6.3 DG OS HSM Sport f/4.5-5.6L IS USM II Contemporary DG OS HSM
less-expensive than a square Sporting the biggest focal range Canon’s insanely popular The 150-600mm zoom range
filter. If you would like adjustable in our line-up, the 60-600mm telephoto zoom lens has makes this a go-to lens for
polarity these normally need to is also the heaviest. This lens become a classic and a wildlife photos, although the
be fitted to a square filter holder weighs 2,700g but very little must-have for a number minimum focal length isn’t the
and can cost hundreds of of this is wasted. The multi- of Canon shooters. It is widest. This zoom weighs just
pounds. Travel cases are available material body design provides comparatively light at just 1,930g and has a useful optical
for both filter systems, although a light yet durable casing, 1,640g and has Canon’s ‘L’ stabilisation system. It is
screw-in filters are normally reserving the weight for 25 stamp, ensuring high-quality weather-sealed, and its
smaller in size so may be slightly high-resolution elements, an optics. Being a native lens, high-quality coatings help to
easier to pack when travelling. impressive optical stabilisation flawless communication with create images free of distortion
system and weather-sealing. your camera is to be expected. and chromatic aberration.
£1,899 £1,999 £789

● 60-600mm 10x zoom range ● Customisable features ● Lightweight and compact in
● High-quality elements and coatings ● High-quality trusted optics, with construction for higher usability
for edge-to-edge sharpness impressive optical stabilisation ● Quiet and fast Optimized AF
● Magnification ratio of 1:1.3 for ● Lightweight construction for easy ● Zoom lock switch can be set at
High-quality UV lenses help to avoid telephoto macro capability movement and portability any focal length
dust and dirt sticking to the lens

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Buyin 611
Guide
Our comprehensive listing of key specifications for cameras and lenses
cameras
& lenses
listed &
rated
Controls Viewfinder Size and weight

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

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

ARTICULATED LCD
DSLR cameras
BUILT-IN WI-FI
TOUCHSCREEN
LENS MOUNT
SENSOR SIZE
BATTERY LIFE
HEIGHT (MM)
WIDTH (MM)
DEPTH (MM)
WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO
(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 2000D £469 3★ B^cdg jeYViZ id :DH &(%%9 \V^ch ')#&BE hZchdg 6EH 8 ')#& 8Vcdc :; &'!-%% &%-% . ( .* ( *%% &'. &%&#( ,,#+ ),*
Canon EOS 4000D £369 2.5★ HjeZg X]ZVe higêeZY WVX` 9HAG [dg WjY\Zi XdchX^djh WZ\^ccZgh 6EH 8 &- 8Vcdc :; &'!-%% &%-% . ( .* '#, *%% &'. &%&#+ ,,#& )(+
Canon EOS 200D £580 4.5★ KZgn XdbeVXi Zcign aZkZa 9HAG lî] [jaan Vgi^XjaViZY idjX]hXgZZc 6EH 8 ')#' 8Vcdc :; *&!'%% &%-% . * .* ( +*% &''#) .'#+ +.#- )*(
Canon EOS 750D £599 4★ :cign aZkZa bdYZa lî] ')BE hZchdg VcY Vgi^XjaViZY idjX]hXgZZc 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% &. * .* ( ))% &(&#. &%%#, ,,#- ***
Canon EOS 800D ,-% )#*★ JeYViZh :DH ,*%9 lî] hde]^hi^XViZY )* ed^ci Vjid[dXjh 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% )* + .* ( +%% &(& .. ,+#' *('
Canon EOS 77D £830 4.5★ HVbZ XdgZ heZX Vh :DH -%%9 Wji ^c ]^\]Zg ZcY WdYn YZh^\c 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% )* + .* ( +%% &(& &%% ,+#' *)%
Canon EOS 80D £999 5★ :migZbZan XVeVWaZ b^Y gVc\Z 9HAG [dg Zci]jh^Vhi e]did\gVe]Zgh 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% )* , &%% ( .+% &(. &%*#' ,-#* ,(%
Canon EOS 7D Mk II £1599 4.5★ =^\] heZZY 6EH 8 9HAG ^cXajYZh hde]^hi^XViZY 6; hnhiZb 6EH 8 '%#' 8Vcdc :; *&!'%% &%-% +* &% &%% ( +,% &)-#+ &&'#) ,-#' .&%
Canon EOS 6D Mk II £1999 4.5★ >cXajYZh '+#'BE [jaa [gVbZ hZchdg VcY [jaan Vgi^XjaViZY hXgZZc ;; '+#' 8Vcdc :; &%'!)%% &%-% )* +#* .- ( &!'%% &)) &&%#* ,)#- ,+*
Canon EOS 5D Mk IV £3599 4.5★ =j\Zan VXXdbea^h]ZY ldg`]dghZ bdYZa! Wji eg^XZn ;; (%#) 8Vcdc :; &%'!)%% (-)% +& , , &%% (#' .%% &*& &&+ ,+ -.%
Canon EOS 5DS '... =^\] gZhdaji^dc bdYZa lî] *%BE hZchdg ;; *%#+ 8Vcdc :; &'!-%% &%-% +& * &%% (#' ,%% &*' &&+#) ,+#) -)*
Canon EOS 5DS R £3199 5★ HVbZ Vh i]Z *9H! Wji adl eVhh ÄaiZg gZbdkZY [dg bVm^bjbgZhdaji^dc ;; *%#+ 8Vcdc :; &'!-%% &%-% +& * &%% (#' (.% &*' &&+#) ,+#) -)*
Canon EOS-1D X Mk II *&.. Egd[Zhh^dcVa ]^\] heZZY hedgih VcY VXi^dc bdYZa ;; '%#' 8Vcdc :; )%.!+%% (-)% +& &) &%% (#' &!'&% &*- &+,#+ -'#+ &()%
Nikon D3400 £399 4★ :cign aZkZa 9HAG i]Vi ^cXajYZh 7ajZiddi] hbVgie]dcZ XdccZXi^kîn 9M ')#' C^`dc ; '*!+%% &%-% && * .* ( &!'%% &') .- ,*#* ))*
Nikon D3500 ).. HVbZ [ZVijgZ hZi Vh i]Z 9()%% ^c Vc jeYViZY WdYn YZh^\c 9M ')#' C^`dc ; '*!+%% &%-% && * .* ( &!**% &') ., +.#* )&*
Nikon D5300 £830 4.5★ 6\Z^c\ b^Y gVc\Z 9HAG ^h cdl VkVâVWaZ Vi WVg\V^c eg^XZh 9M ')#' C^`dc ; '*!+%% &%-% '( * .* (#' ,%% &'* .- ,+ *(%
Nikon D5600 £800 4.5★ :mXZaaZci ^bV\Z fjVaîn VcY ]VcYa^c\! eajh 7ajZiddi] XdccZXi^kîn 9M ')#& C^`dc ; '*!+%% &%-% (. * .* (#' .,% &') ., ,- )+*
Nikon D7200 £939 4★ JeYViZh i]Z 9,&%% lî] hdbZ jhZ[ja ZmigVh hjX] Vh L^ ;^ 9M ')#' C^`dc ; '*!+%% &%-% *& + &%% (#' &!&%% &(*#* &%+#* ,+ ,+*
Nikon D7500 £1299 4.5★ EaVXZh i]Z ZmXZaaZci hZchdg [gdb i]Z 9*%% ^cid V hbVaaZg WdYn 9M '%#. C^`dc ; &!+)%!%%% (-)% *& - &%% (#' .*% &(*#* &%) ,'#* ,'%
Nikon D500 &,'. *★ EgdWVWan i]Z WZhi 9M [dgbVi 9HAG ZkZg! lî] gZbVg`VWaZ Vjid[dXjh 9M '%#. C^`dc ; &!+)%!%%% (-)% &*( &% &%% (#' &!')% &), &&* -& -+%
Nikon D610 £1800 5★ C^`dc¼h X]ZVeZhi [jaa [gVbZ bdYZa lî] V hda^Y [ZVijgZ hZi ;M ')#( C^`dc ; '*!+%% &%-% (. + &%% (#' .%% &)& &&( -' -*%
Nikon D750 £1800 5★ <gZVi Vaa gdjcY Zci]jh^Vhi [jaa [gVbZ bdYZa lî] iâi^c\ hXgZZc ;M ')#( C^`dc ; *&!'%% &%-% *& +#* &%% (#' &!'(% &)%#* &&( ,- -)%
Nikon DF £2600 4★ GZigd hinaZY [jaa [gVbZ bdYZa lî] ZmXZaaZci hZchdg ;M &+#' C^`dc ; '%)!-%% (. *#* &%% (#' &!)%% &)(#* &&% ++#* ,+*
Nikon D810 £2699 5★ =^\] gZhdaji^dc [jaa [gVbZ 9HAG d[[Zgh hjeZgW ^bV\Z fjVaîn ;M (+#( C^`dc ; *&!'%% &%-% *& &' &%% (#' &!'%% &)+ &'( -' .-%
Nikon D850 £3499 5★ =^\] heZZY VcY hjeZgW ^bV\Z fjVaîn bV`Z i]^h i]Z WZhi 9HAG nZi ;M )*#, C^`dc ; &%'!)%% (-)% &*( , &%% (#' &!-)% &)+ &') ,-#* &%%*
Nikon D5 *&.. C^`dc¼h ide ZcY hedgih VcY VXi^dc bdYZa [dg egd[Zhh^dcVah ;M '%#- C^`dc ; (!'-%!%%% (-)% &*( &) &%% (#' (!,-% &+% &*-#* .' &)%*
Pentax K-70 £600 4.5★ Hda^Y eZg[dgbZg lî] [jaan Vgi^XjaViZY hXgZZc VcY ^c WdYn hiVWâ^hVi^dc 6EH 8 ')#' EZciVm @ &%'!)%% &%-% && + &%% ( )&% &'*#* .( ,) +--
Pentax K-3 II ,+. )#*★ LZaa [ZVijgZY Zci]jh^Vhi bdYZa lî] ^c WdYn hiVWâ^hVi^dc VcY <EH 6EH 8 ')#( EZciVm @ *&!'%% &%-% ', -#( &%% (#' ,'% &(&#* &%'#* ,,#* ,-*
Pentax KP £1099 4★ 8dbeVXi Wji lZaa heZX^ÄZY 9HAG lî] ^ciZgX]Vc\ZVWaZ ]VcY \gêh 6EH 8 ')#( EZciVm @ -&.!'%% &%-% ', , &%% ( (.% &(&#* &%& ,+ ,%(
Pentax K-1 II &,.. )#*★ LZaa [ZVijgZY [jaa [gVbZ 9HAG i]Vi¼h ZmXZaaZci kVajZ [dg bdcZn ;; (+ EZciVm @ -&.!'%% &%-% (( )#) &%% (#' +,% &(+#* &&% -*#* &%&%
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
Sigma SD Quattro £850 3★ H9 bdjci b^ggdgaZhh XVbZgV lî] jc^fjZ ;dkZdc M( hZchdg 6EH 8 &.#+ H^\bV H9 +)%% . (#+ &%% ( I78 &), .*#& .%#- ,%(
Sigma SD Quattro H &).. E]nh^XVaan ^YZci^XVa WdYn id H9 FjViigd! Wji lî] aVg\Zg 6EH = hZchdg 6EH = '*#, H^\bV H9 +)%% . (#- &%% ( I78 &), .*#& .%#- ,%-
Sony Alpha 68 ),. (★ :mXZaaZci 6; VcY hZchdg! Wji adl gZhdaji^dc A89 hXgZZc VcY cd L^ ;^ 6EH 8 ') Hdcn 6 '*!+%% &%-% ,. - &%% '#, *-% &)'#+ &%)#' -'#- +,*
Sony Alpha 77 II £1000 4.5★ >begZhh^kZ Vjid[dXjh VcY [Vhi h]ddi^c\! eajh \ddY ]VcYa^c\ 6EH 8 ')#( Hdcn 6 '*!+%% &%-% ,. &' &%% ( )-% &)'#+ &%) -& +),
Sony Alpha 99 II £2999 4.5★ EaVXZhi]ZhjeZgWhZchdg[gdbi]Z6ae]V,G>>^cV9HAG"hinaZYWdYn ;; )'#) Hdcn6 &%'!)%% (-)% ,. &' &%% ( &%% &)'#+ &%)#' ,+#& -).
We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will inevitably
have crept in along the way: if you spot one, please let us know by emailing apti-media.com. We don’t have space to list every single product on
the market, so we don’t include the most expensive speciality optics such as long telephoto primes. Before making a major purchase we advise you
to double-check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.
nd CSC models at competitive

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RESOLUTION (MP)
BURST MODE (FPS)
SCREEN SIZE (IN)

ARTICULATED LCD
BUILT-IN WI-FI
TOUCHSCREEN
VIEWFINDER
LENS MOUNT
Mirrorless cameras
SENSOR SIZE
BATTERY LIFE
HEIGHT (MM)
WIDTH (MM)
DEPTH (MM)
WEIGHT (G)
AF POINTS
MIC INPUT
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(SHOTS)
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NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M100 £449 3★ A^\]ilZ^\]i bdYZa [dg WZ\^ccZgh! Wji dkZgan h^bea^hi^X 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). +#& ( '.* &%-#' +,#& (*#& (%'
Canon EOS M50 £649 4.5★ KZgn a^`ZVWaZ VcY lZaa heZX^ÄZY Zcign aZkZa bdYZa lî] k^ZlÄcYZg 6EH 8 ')#' 8Vcdc B *&!'%% (-)% &)( &% ( '(* &&+#( --#& *-#, (-,
Canon EOS M6 ,(% (#*★ 8dbeVXi WdYn lî] eaZcin d[ Xdcigdah Wji cd k^ZlÄcYZg 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). . ( '.* &&' +- ))#* (.%
Canon EOS M5 £1049 4★ 9AHG hinaZ b^ggdgaZhh XVbZgV XdbW^cZh heZZY VcY \ddY ]VcYa^c\ 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). . (#' '.* &&*#+ -.#' +%#+ )',
Canon EOS R £2350 4★ 8Vcdc¼h Äghi [jaa [gVbZ b^ggdgaZhh jhZh i]Z :DH *9 BVg` >K¼h hZchdg ;; (%#( 8Vcdc G; &%'!)%% (-)% 5655 - (#' (*% &(*#- .-#( -)#) ++%
Fujifilm X-A10 £500 4★ H^beaZ Zcign aZkZa bdYZa lî] iâi^c\ hXgZZc [dg hZaÄZh 6EH 8 &+#( ;j_^ M '*!+%% &%-% ). + ( (*% &&.#+ +,#) )%#) ((&
Fujifilm X-A3 *.. 7jY\Zi k^ZlÄcYZgaZhh b^ggdgaZhh bdYZa \V^ch ')#'BE hZchdg 6EH 8 ')#' ;j_^ M '*!+%% &%-% ,, &% ( )&% &&+#. ++#. )%#) ((.
Fujifilm X-A5 £549 3.5★ HeZZY^Zg WjY\Zi bdYZa lî] cZl egdXZhhdg VcY e]VhZ YZiZXi^dc 6; 6EH 8 ')#' ;j_^ M *&!'%% (-)% .& + ( )*% &&+#. +,#, )%#) (+&
Fujifilm X-E3 £849 4.5★ :mXZaaZci ^bV\Z fjVaîn ^c XdbeVXi WdYn i]Vi ]VcYaZh lZaa 6EH 8 ')#( ;j_^ M *&!'%% (-)% ('* * ( (*% &'&#( ,(#. )'#, ((,
Fujifilm X-H1 £1699 4.5★ Egd ÅV\h]ê lî] gdWjhi WjâY VcY * Vm^h ^c WdYn hiVWâ^hVi^dc 6EH 8 ')#( ;j_^ M *&!'%% )%.+ ('* &) ( (&% &(.#- .,#( -*#* +,(
Fujifilm X-T100 £619 4★ 6iigVXi^kZan YZh^\cZY Zcign aZkZa bdYZa \^kZh ZmXZaaZci ^bV\Z fjVaîn 6EH 8 ')#' ;j_^ M *&!'%% (-)% .& - ( )(% &'& -( ),#) ))-
Fujifilm X-T20 ,.. *★ HbVaa HAG hinaZ bdYZa lî] higdc\ [ZVijgZ hZi ^cXajY^c\ idjX]hXgZZc 6EH 8 ')#( ;j_^ M *&!'%% (-)% ('* - ( (*% &&-#) -'#- )&#) (-(
Fujifilm X-Pro2 £1349 5★ =^\] ZcY bdYZa lî] jc^fjZ dei^XVa$ZaZXigdc^X ]nWg^Y k^ZlÄcYZg 6EH 8 ')#( ;j_^ M *&!'%% &%-% ,, - ( '*% &)%#* -'#- )*#. ).*
Fujifilm X-T2 £1450 5★ HjeZgW ^bV\Z fjVaîn VcY ]VcYa^c\ bV`Z î V hijcc^c\ XVbZgV 6EH 8 ')#( ;j_^ M *&!'%% &%-% ('* &) ( ()% &('#* .&#- ).#' *%,
Fujifilm X-T3 £1349 5★ CZl hZchdg VcY ^begdkZY Vjid[dXjh bV`Z î i]Z WZhi 6EH 8 XVbZgV nZi 6EH 8 '+#& ;j_^ M *&!'%% )%.+ )'* '% ( (.% &('#* .'#- *-#- *(.
Leica CL £2250 4.5★ <dg\Zdjh 6EH 8 b^ggdgaZhh bdYZa lî] k^ZlÄcYZg VcY idjX]hXgZZc 6EH 8 ')#' AZ^XV A *%!%%% (-)% ). &% ( ''% &(& ,- )* )%(
Leica TL2 &,%% )★ JeYViZ id i]Z IA lî] ')BE hZchdg VcY bjX] [VhiZg deZgVi^dc 6EH 8 ') AZ^XV A *%!%%% (-)% ). '% (#, '*% &() +. (( (..
Leica SL £5500 4★ AZ^XV¼h [jaa [gVbZ HAG hinaZ bdYZa ]Vh Vc Vhidc^h]^c\ k^ZlÄcYZg ;; ') AZ^XV A *%!%%% )%.+ ). && ( )%% &), &%) (. -),
Nikon Z 6 £2099 5★ ;jaa [gVbZ b^ggdgaZhh Vaa gdjcYZg lî] ')BE hZchdg VcY &'[eh h]ddi^c\ ;; ') C^`dc O '%)!-%% (-)% ',( &' (#' ((% &() &%%#* +,#* +,*
Nikon Z 7 £3399 5★ =^\] gZhdaji^dc [jaa [gVbZ b^ggdgaZhh lî] ^c WdYn hiVWâ^hVi^dc ;; )*#, C^`dc O &%'!)%% (-)% ).( . (#' ((% &() &%%#* +,#, +,*
Olympus PEN E-PL9 £650 4★ :cign aZkZa bdYZa lî] Wjâi ^c ÅVh] VcY )@ k^YZd Wji cd k^ZlÄcYZg )$( &+#& B^X)$( '*!+%% (-)% &'& -#+ ( (*% &&,#& +- (. (-%
Olympus OM-D E-M10 II £549 4.5★ B^Y gVc\Z bdYZa ]Vh V higdc\ [ZVijgZ hZi VcY eZg[dgbh kZgn lZaa )$( &+#& B^X)$( '*!+%% &%-% -& -#* ( ('% &&.#* -(#& )+#, ()'
Olympus OM-D E-M10 II £699 4.5★ :mXZaaZci b^Y gVc\Z XVbZgV lî] h^bea^ÄZY! ZVhn id jhZ ^ciZg[VXZ )$( &+#& B^X)$( '*!+%% (-)% &'& -#+ ( ((% &'&#* -(#+ ).#* )&%
Olympus OM-D E-M5 II £900 5★ 8dbW^cZh \gZVi ]VcYa^c\ VcY ^bV\Z fjVaîn lî] hina^h] add`h )$( &+ B^X)$( '*!+%% &%-% -& &% ( ,*% &'(#, -* ))#* )+.
Olympus PEN-F £1000 5★ AdkZan gZigd gVc\ZÄcYZg hinaZY WdYn lî] Wjâi ^c k^ZlÄcYZg )$( '%#( B^X)$( '*!+%% &%-% -& &% ( ((% &')#- ,'#& (,#( )',
Olympus OM-D E-M1 II £1850 5★ HjeZgW 6; hnhiZb! hjeZg [Vhi h]ddi^c\ VcY gZbVg`VWaZ ^c WdYn>H )$( '%#) B^X)$( '*!+%% (-)% &'& &- ( ))% &()#& .%#. +-#. *,)
NEW Olympus OM-D E-M1X £2800 Egd heZX ]^\] heZZY bdYZa lî] Wjâi ^c kZgi^XVa \gê )$( '%#) B^X)$( '*!+%% )%.) &'& +% ( '-*% &))#) &)+#- ,*#) ..,
Panasonic Lumix G7 +,. )★ )@ k^YZd XVeijgZ ^c V gZaVi^kZan ^cZmeZch^kZ HAG hinaZ WdYn )$( &+ B^X)$( '*!+%% (-)% ). - ( (+% &')#. -+#' ,,#) )&%
Panasonic Lumix G9 £1499 4.5★ =^\] heZZY! gj\\ZY e]did XZcig^X ÅV\h]ê XVbZgV lî] ^c WdYn >H )$( '%#( B^X)$( '*!+%% (-)% ''* . ( -.% &(+#. .,#( .&#+ +*-
Panasonic Lumix G80 £699 4.5★ 9HAG hinaZ bdYZa [dg Zci]jh^Vhih lî] ^c WdYn >H VcY )@ k^YZd )$( &+ B^X)$( '*!+%% (-)% ). . ( ((% &'-#) -. ,)#( *%*
Panasonic Lumix GX800 £500 4★ I^cn ZVhn id jhZ edX`Zi XVbZgV lî] iâi^c\ hXgZZc VcY )@ k^YZd )$( &+ B^X)$( '*!+%% (-)% ). *#- ( '&% &%+#* +)#+ ((#( '+.
Panasonic Lumix GX80 £599 4.5★ LZaa _jY\ZY XdbeVXi bdYZa lî] >H! iâi^c\ hXgZZc VcY k^ZlÄcYZg )$( &+ B^X)$( '*!+%% )%.+ ). - ( '.% &'' ,%#+ )(#. )'+
Panasonic Lumix GX9 £699 4★ 8dbeVXi WdYn lî] iâi^c\ hXgZZc VcY k^ZlÄcYZg! VcY * Vm^h hiVWâ^hVi^dc )$( '%#( B^X)$( '*!+%% (-)% ). . ( .%% &') ,'#& )+#- )*%
Panasonic Lumix GH5 £1299 4.5★ K^YZd [dXjhZY ]^\] ZcY bdYZa lî] ^c WdYn hiVWâ^hVi^dc VcY )@ k^YZd )$( '%#' B^X)$( '*!+%% )%.+ ''* &' (#' )&% &(-#* .-#& -,#) ,'*
Panasonic Lumix GH5S '&.. Egd[Zhh^dcVa k^YZd kZgh^dc d[ <=* lî] &%#'BE bjai^ VheZXi hZchdg )$( &%#' B^X)$( '%)!-%% )%.+ ''* && (#' )&% &(-#* .-#& -,#) ++%
Sony Alpha 5100 £549 4★ DcZ d[ i]Z kZgn WZhi Zcign aZkZa XVbZgVh [dg k^YZd VcY ^bV\ZfjVaîn 6EH 8 ') Hdcn : '*!+%% &%-% &,. + ( )%% &&% +( (+ '-(
Sony Alpha 6000 +,% )#*★ Hde]^hi^XViZY 6; VcY Vc ^begZhh^kZ 6EH 8 hZchdg 6EH 8 ') Hdcn : '*!+%% &%-% &,. && ( (&% &'% +, )* ())
Sony Alpha 6300 £1000 4.5★ >begdkZY kZgh^dc dY 6+(%% lî] [VhiZg 6; igVX`^c\ VcY )@ k^YZd 6EH 8 ')#' Hdcn : *&!'%% (-)% )'* && ( (*% &'% ++#. )-#- )%)
NEW Sony Alpha 6400 £1000 JeYViZ id 6+(%% lî] VYkVcXZY hjeZg [Vhi 6; VcY idjX]hXgZZc 6EH 8 ')#' Hdcn : &%'!)%% (-)% )'* && ( (+% &'% ++#. ).#. )%(
Sony Alpha 6500 £1500 5★ IZX]c^XVaan ]j\Zan VXXdbea^h]ZY! lî] ^c WdYn ^bV\Z hiVWâ^hVi^dc 6EH 8 ')#' Hdcn : *&!'%% (-)% )'* && ( (*% &'% ++#. *(#( )*(
Sony Alpha 7 II £1498 5★ I]Z [jaa [gVbZ 6ae]V , >> ^cXajYZh ^c WdYn ^bV\Z hiVWâ^hVi^dc ;; ')#( Hdcn : '*!+%% &%-% &&, * ( (*% &'+#. .*#, *.#, **+
Sony Alpha 7 III £1999 5★ GZbVg`VWaZ Vaa gdjcYZg lî] &%[eh h]ddi^c\ VcY )@ k^YZd gZXdgY^c\ ;; ')#' Hdcn : '%)!-%% (-)% +.( &% ( +&% &'+#. .*#+ ,(#, +*%
Sony Alpha 7R &,%% )#*★ HVbZ WdYn YZh^\c Vh i]Z 6ae]V , Wji ]^\]Zg gZhdaji^dc hZchdg ;; (+#) Hdcn : '*!+%% &%-% '* ) ( ()% &', .) )- )+*
Sony Alpha 7R II £2599 5★ 6 W^\ hiZe je [gdb i]Z 6,G0 dcZ d[ i]Z WZhi [jaa [gVbZ XVbZgVh VkVâVWaZ ;; )'#) Hdcn : &%'!)%% (-)% (.. * ( '.% &'+#. .*#, +%#( +'*
Sony Alpha 7R III £3200 5★ HVbZ hZchdg Vh 6,G >>! Wji [VhiZg VcY lî] ^begdkZYWdYnYZh^\c ;; )'#) Hdcn : &%'!)%% (-)% (.. &% ( +*% &'+#. .*#+ ,(#, +*,
Sony Alpha 7S £2259 4★ GZbVg`VWaZ adl a^\]i VcY k^YZd XVeVWâî^Zh ;; &'#' Hdcn : )%.!+%% &%-% '* * ( (-% &'+#. .)#) )-#' )-.
Sony Alpha 7S II £2500 5★ 6 heZX^Va^hi XVbZgV [dg adl a^\]i h]ddi^c\ VcY )@ k^YZd ;; &'#' Hdcn : )%.!+%% (-)% &+. * ( (&% &'+#. .*#, +%#( +',
Sony Alpha 9 £4500 5★ HjeZg"[Vhi'%[ehh]ddi^c\VcYhijcc^c\dkZgVaaeZg[dgbVcXZ ;; ')#' Hdcn: '%)!-%% (-)% +.( '% ( +*% &'+#. .*#+ +( +,(
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BUYING GUIDE
Lens mounts
Each manufacturer has its own
Lenses lens mount and most aren’t
compatible with one another. For
Interchangeable lenses come in example, a Canon DSLR can’t use
Nikon lenses, although you can
a huge array of types for shooting use independent brands if you get
different kinds of subjects them with the right mount.
IN GENERAL, the easiest way
to expand the kinds of pictures
you can take is by buying Built-in focus motor
different types of lenses. For Most lenses now incorporate an internal
example, telephoto lenses motor to drive the autofocus, although
let you zoom in on distant some are still driven from the camera
subjects, while macro body. DSLR lenses often use ultrasonic-
lenses enable close-ups of type motors for fast focusing, while
small objects. Large- those for mirrorless cameras tend to
aperture lenses allow you employ video-friendly stepper motors.
to isolate subjects against
blurred backgrounds, or
shoot in low light without
having to raise the ISO too Filter thread Maximum
high. Meanwhile, all-in-one A thread at the front of aperture
superzooms cover a wide the camera will have Wider apertures mean
range of subjects, but usually a diameter, in mm, which you can use faster,
with rather lower optical quality. will allow you to attach motion-stopping
a variety of filters or shutter speeds.
adapters to the lens.
LENS SUFFIX GUIDE USED BY MANUFACTURERS
AF Nikon AF lenses driven from camera DC Nikon defocus control portrait lenses ED Extra low Dispersion elements LD Low Dispersion glass SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DC Sigma’s lenses for APS C digital EF Canon’s DSLR lenses for full frame LM Fujifilm Linear Motor SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors DG Sigma’s designation for full frame lenses EF-S Canon lenses for APS C sized sensors MP-E Canon’s high magnification macro lens STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di Tamron lenses for full frame sensors EF-M Canon’s lenses for its mirrorless M range OIS Optical Image Stabilisation STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-II Tamron lenses designed for APS C DSLRs EX Sigma’s ‘Excellent’ range OS Sigma’s Optically Stabilised lenses TS-E Canon Tilt and Shift lens
APO Sigma Apochromatic lenses Di-III Tamron lenses for mirrorless cameras FA Pentax full frame lenses PC-E Nikon tilt and shift lenses UMC Ultra Multi Coated
ASPH Aspherical elements DN Sigma’s lenses for mirrorless cameras FE Sony lenses for full frame mirrorless PF Nikon Phase Fresnel optics USM Canon lenses with an Ultrasonic Motor
AT-X Tokina’s Advanced Technology Extra Pro DO Canon diffractive optical element lenses G Nikon lenses without an aperture ring PRO Tokina and Olympus Professional lenses USD Tamron Ultrasonic Drive motor
AW Pentax all weather lenses DT Sony lenses for APS C sized sensors HSM Sigma’s Hypersonic Motor PZD Tamron Piezo Drive focus motor VC Tamron’s Vibration Compensation
CS SamyanglensesforAPS Ccroppedsensors DX Nikon’s lenses for DX format digital IF Internal Focusing SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
D Nikon lenses that communicate distance info E Nikon lenses with electronic apertures IS Canon’s Image Stabilised lenses SDM Pentax’s Sonic Direct Drive Motor XR Tamron Extra Refractive Index glass
DA Pentax lenses optimised for APS-C-sized sensors E Sony lenses for APS-C mirrorless L Canon’s ‘Luxury’ range of lenses SMC Pentax Super Multi Coating WR Weather Resistant
FILTER THREAD (MM)
DSLR Lenses
MIN FOCUS (CM)
FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
PENTAX
CANON
NIKON
SIGMA
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON DSLR
EF 8-15mm f/4 L USM &).. >begZhh^kZ"add`^c\ Äh]ZnZ oddb aZch [gdb 8Vcdc &* c$V ,-#* -( *)%
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ 6 hjeZgW jaigV"l^YZVc\aZ i]Vi¼h V bjhi"]VkZ [dg VcndcZ h]ddi^c\ aVcYhXVeZh VcY XînhXVeZh '' +, ,)#+ ,' ')%
EF-S 10-22mm f/3.5-4.5 USM ..% )★ 6 \ddY eZg[dgbZg! lî] hda^Y BI; XjgkZh VcY b^c^bVa X]gdbVi^X VWZggVi^dc ') ,, -(#* -.#- (-*
EF 11-24mm f/4 L USM ',.. *★ Adc\"VlVîZY Wn 8Vcdc [jaa"[gVbZ jhZgh! i]^h ^h i]Z ldgaY¼hl^YZhi"Vc\aZgZXiâ^cZVgoddbaZch '- c$V &%- &(' &&-%
EF 14mm f/2.8 L II USM '-&% )#*★ >begZhh^kZ gZhdaji^dc Vi [$- Wji aZhh hd l^YZ deZc '% c$V -% .) +)*
EF-S 15-85mm f/3.5-5.6 IS USM .%% )★ ;djg"hide ^bV\Z hiVWâ^hVi^dc VcY HjeZg HeZXigV XdVi^c\h! id\Zi]Zglî]VjhZ[jagVc\Z (* ,' -&#+ -,#* *,*
EF 16-35mm f/2.8 L II USM &,.% )#*★ 6 \ddY eZg[dgbZg lî] higdc\ gZhjaih Vi [$- ^c eVgi^XjaVg '- -' --#* &&&#+ +(*
EF 16-35mm f/2.8 L III USM '&*% GZkVbeZY l^YZVc\aZ oddb ^cXajYZh cZl dei^Xh ^c V lZVi]Zg"hZVaZY aZch WVggZa '- -' -.#* &',#* ,.%
EF 16-35mm f/4 L IS USM £1199 4★ KZghViâZ VcY lî] V jhZ[ja >H hnhiZb! i]^h ^h V kZgn \ddY jaigV"l^YZVc\aZ oddb [dg [jaa"[gVbZXVbZgVh '- ,, -'#+ &&'#- +&*
TS-E 17mm f/4 L '.'% Iâi"VcY"h]^[i dei^X lî] ^cYZeZcYZci iâi"VcY"h]^[i gdiVi^dc VcY gZYZh^\cZY XdVi^c\h '* ,, --#. &%+#. -'%
EF 17-40mm f/4 L USM .)% )★ 9Zh^\cZY id bViX] i]Z cZZYh d[ YZbVcY^c\ egd[Zhh^dcVah · VcY YdZh hd lî] ZVhZ '- ,, -(#* .+#- *%%
EF-S 17-55mm f/2.8 IS USM ,.* )★ KZgn XVeVWaZ aZch lî] i]gZZ"hide ^bV\Z hiVWâ^hVi^dc! HjeZg HeZXigV XdVi^c\ VcY VX^gXjaVgVeZgijgZ (* ,, -(#* &&%#+ +)*
EF-S 18-55mm f/3.5-5.6 IS STM &.* KZghViâZ! V[[dgYVWaZ hiVcYVgY oddb [ZVijg^c\ [djg"hide ^bV\Z hiVWâ^hVi^dc '* *- +. ,*#' '%*
EF-S 18-55mm f/4-5.6 IS STM ''% AViZhi hiVcYVgY oddb [dg 8Vcdc¼h 6EH"8 :DH 9HAGh! lî] XdbeVXi YZh^\c VcY jeYViZY dei^Xh '* *- ++#* +&#- '&*
EF-S 18-135mm f/3.5-5.6 IS STM ),- JhZh hiZeeZg bdidg [dg hâZci VcY [Vhi Vjid[dXjh i]Vi¼h Vahd lZaa hjîZY id k^YZd ldg` (. +, ,+#+ .+ )-%
EF-S 18-135mm f/3.5-5.6 IS USM
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
*%% KZghViâZ oddb lî] cZl CVcd JHB [dXjh iZX]cdad\n VcY dei^dcVa edlZg oddb VYVeiZg (. +, ,,#) .+ *&*
EF-S 18-200mm f/3.5-5.6 IS ,)% )★ 6jidbVi^X eVcc^c\ YZiZXi^dc [dg ^bV\Z hiVWâ^hVi^dc VcY V jhZ[ja &&m oddb gVc\Z )* ,' ,-#+ &%' *.*
EF 20mm f/2.8 USM +&% L^YZVc\aZ aZch lî] V ÅdVi^c\ gZVg"[dXjh^c\ hnhiZb VcY V JHB bdidg '* ,' ,,#* ,%#+ )%*
EF 24mm f/1.4 L II USM '%&% HjWlVkZaZc\i] higjXijgZ XdVi^c\! id\Zi]Zg lî] J9 VcYVhe]Zg^XVaZaZbZcih '* ,, -(#* -+#. +*%
EF 24mm f/2.8 IS USM ,*% )★ HbVaa l^YZVc\aZ dei^X lî] ^bV\Z hiVWâ^hVi^dc '% *- +-#) **#, '-%
EF-S 24mm f/2.8 STM &+* )★ 7Vg\V^c eg^XZ! i^cn XVggn"ZkZgnl]ZgZ hôZ VcY V ]^\]an XdbeZiZci ^bV\^c\ eZg[dgbVcXZ &+ *' +-#' ''#- &'*
TS-E 24mm f/3.5 L II '**% Iâi"VcY"h]^[i dei^X lî] ^cYZeZcYZci iâi"VcY"h]^[i gdiVi^dc VcY gZYZh^\cZYXdVi^c\h '& -' --#* &%+#. ,-%
EF 24-70mm f/2.8 L II USM '(%% *★ Egd[Zhh^dcVa"fjVaînhiVcYVgYoddbaZchlî]V[VhiVeZgijgZ (- -' --#* &&( -%*

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FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
PENTAX
CANON
NIKON
SIGMA
IMAGE
EF 24-70mm f/4 L IS USM &).. A"hZg^Zh oddb hV^Y id WZ XdbeVXi! edgiVWaZ VcY V^bZY Vi Wdi] egd[Zhh^dcVah VcY VbViZjgh (- ,, -(#) .( +%%
EF 24-105mm f/4 L IS II USM £1129 4★ Reworked workhorse zoom for full-frame cameras uses an all-new optical design )* ,, -(#* &&- ,.*
EF 24-105mm f/3.5-5.6 IS STM ),. (#*★ 6 kZghViâZ hiVcYVgY oddb aZch i]Vi¼h Vc ^YZVa gdjiZ ^cid [jaa"[gVbZ e]did\gVe]n )% ,, -(#) &%) *'*
EF 28mm f/1.8 USM *,% JHB bdidg VcY Vc Vhe]Zg^XVa ZaZbZci! id\Zi]Zg lî] V l^YZ bVm^bjb VeZgijgZ '* *- ,(#+ **#+ (&%
EF 28mm f/2.8 IS USM ,(% (#*★ A^\]ilZ^\]i VcY ^cZmeZch^kZ aZch! lî] V h^c\aZ Vhe]Zg^XVa ZaZbZci (% *' +,#) )'#* &-*
EF 28-300mm f/3.5-5.6 L IS USM ('.% A"hZg^Zh dei^X lî] ZmeVch^kZ gVc\Z! ^bV\Z hiVWâ^hVi^dc VcY V X^gXjaVg VeZgijgZ ,% ,, .' &-) &+,%
EF-S 35mm f/2.8 Macro IS STM (.. ;ZVijgZh Vc ^ccdkVi^kZ Wjâi"^c YjVa"A:9 a^\]i [dg XadhZ"je h]ddi^c\ &( ). +.#' **#- &.%
EF 35mm f/2 IS USM ,.. ;^ghi (*bb eg^bZ [gdb 8Vcdc id [ZVijgZ Vc dei^XVa hiVWâ^hVi^dchnhiZb ') +, +'#+ ,,#. ((*
EF 35mm f/1.4 L II USM &,.. *★ 6c djihiVcY^c\ VYYî^dc id i]Z A"hZg^Zh a^cZ"je '- ,' -%#) &%)#) ,+%
EF 40mm f/2.8 STM '(% 6 edgiVWaZ VcY kZghViâZ XdbeVXi eVcXV`Z aZch# 6 [Vhi bVm^bjb VeZgijgZZcVWaZhadl"a^\]ih]ddi^c\ (% *' +-#' ''#- &(%
TS-E 45mm f/2.8 &'%% Iâi"VcY"h]^[i aZch YZh^\cZY [dg hijY^d egdYjXi e]did\gVe]n )% ,' -& .%#& +)*
EF 50mm f/1.2 L USM &.&% KZgn l^YZ bVm^bjb VeZgijgZ VcY HjeZg HeZXigV XdVi^c\h! VcY V X^gXjaVg VeZgijgZ )* ,' -*#- +*#* *-%
EF 50mm f/1.4 USM )*% *★ 7gâa^Vci eZg[dgbZg! lî] V ]^\]an Xdch^hiZci hZi d[ BI; XjgkZh# 6; bdidg ^h V iVY cd^hn!i]dj\] )* *- ,(#- *%#* '.%
EF 50mm f/1.8 STM &(% *★ A^\]iZhi :; aZch ^c i]Z gVc\Z! lî] l^YZ bVm^bjb VeZgijgZ VcY V B^Xgd Bdidg (* ). +.#' (.#( &(%
TS-E 50mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ iâi"VcY"h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH": )*bb [$'#- ', ,, -+#. &&)#. .)*
EF-S 55-250mm f/4-5.6 IS STM '+* 6 XdbeVXi iZaZe]did aZch [ZVijg^c\ hbddi]! fj^Zi HIB [dXjh^c\ l]Zc h]ddi^c\ bdk^Zh &&% *- ,% &&&#' (,*
EF-S 60mm f/2.8 Macro USM *)% )★ <gZVi WjâY VcY dei^XVa fjVaîn! lî] [Vhi! VXXjgViZ VcY cZVg"hâZci [dXjh^c\ '% *' ,( +.#- ((*
MP-E 65mm f/2.8 1-5x Macro &'*% BVXgd aZch YZh^\cZY id VX]^ZkZ V bV\c^ÄXVi^dc \gZViZg i]Vc &m lî]dji VXXZhhdg^Zh ') *- -& .- ,&%
EF 70-200mm f/2.8 L USM &*)% Cdc"hiVWâ^hZY A"hZg^Zh dei^X! lî] gZVg [dXjh^c\ VcY [djg J9 ZaZbZcih &*% ,, -)#+ &.(#+ &(&%
EF 70-200mm f/2.8 L IS II USM &.%% *★ 6 \gZVi aZch Wji Vahd V Xdhian dcZ# EZV` gZhdaji^dc Vi %#) XnXaZh"eZg"e^mZa ^h h^bean VbVo^c\ &'% ,, --#- &.. &).%
EF 70-200mm f/2.8 L IS III USM '&*% JeYViZh 8Vcdc¼h ZmXZaaZci egd ldg`]dghZ oddb lî] lViZg"gZeZaaZci Åjdg^cZXdVi^c\h &'% ,, --#- &.. &)-%
EF 70-200mm f/4 L USM ,.% 6 X]ZVeZg A"hZg^Zh VaiZgcVi^kZ id i]Z [$'#- kZgh^dch VkVâVWaZ &'% +, ,+ &,' ,%*
EF 70-200mm f/4 L IS USM &'&% *★ 6 hjeZgW dei^dc [dg i]Z hZg^djh hedgih VcY VXi^dc e]did\gVe]Zg &'% +, ,+ &,' ,+%
EF 70-200mm f/4L IS II USM &(%% Je\gVYZY egZb^jb iZaZe]did oddb egdb^hZh ÄkZ hideh d[ ^bV\Z hiVWâ^hVi^dc &%% ,' -% &,+ ,-%
EF 70-300mm f/4.5-5.6 IS II USM ).. )#*★ B^Y"gVc\Z iZaZe]did oddb d[[Zgh gZVaan \ddY dei^Xh VcY [Vhi!hâZciVjid[dXjh &'% +, -% &)*#* ,&%
EF 70-300mm f/4-5.6 L IS USM &+%% *★ 6c A"hZg^Zh aZch lî] V ]^\]an YjgVWaZ djiZg h]Zaa &'% +, -. &)( &%*%
EF 70-300mm f/4.5-5.6 DO IS USM &,%% I]gZZ"aVnZg Y^[[gVXi^kZ dei^XVa ZaZbZci VcY ^bV\Z hiVWâ^hVi^dc &)% *- -'#) ..#. ,'%
EF 75-300mm f/4-5.6 III (%% :hhZci^Vaan i]Z hVbZ aZch Vh i]Z ,*"(%%bb [$)"*#+ >>> JHB Wji lî] cd JHB &*% *- ,& &'' )-%
EF 75-300mm f/4-5.6 III USM (*% '#*★ <ddY Wji cdi djihiVcY^c\# I]Z ^cXajh^dc d[ V bZiVa aZch bdjci ^h edhî^kZ! i]dj\] &*% *- ,& &'' )-%
EF 85mm f/1.2 L II USM '+)% )★ 6 lZaa"XgV[iZY aZch! lî] [Vhi VcY fj^Zi 6; lî] \ddY k^\cZii^c\ VcY Y^hidgi^dc Xdcigda .* ,' .&#* -)#% &%'*
EF 85mm f/1.4L IS USM &*,% *★ HjWa^bZ! ]^\]an YZh^gVWaZ edgigVî aZch XdbW^cZh aVg\Z VeZgijgZ VcY dei^XVa ^bV\ZhiVWâ^hVi^dc -* ,, --#+ &%*#) .*%
EF 85mm f/1.8 USM ),% *★ Cdc"gdiVi^c\ [gdci g^c\ i]Vc`h id gZVg"[dXjh^c\ hnhiZb! Vh lZaa Vh JHB -* *- ,* ,&#* )'*
TS-E 90mm f/2.8 &+,% HV^Y id WZ i]Z ldgaY¼h Äghi (*bb"[dgbVi iZaZe]did aZch lî] iâi"VcY"h]^[i bdkZbZcih *% *- ,(#+ -- *+*
TS-E 90mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ iâi"VcY"h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH": .%bb [$'#- (. ,, -+#. &&+#* .&*
EF 100mm f/2 USM **. 6 bZY^jb iZaZe]did aZch lî] V l^YZ VeZgijgZ! bV`^c\ î ^YZVa [dg edgigVîh .% *- ,* ,(#* )+%
EF 100mm f/2.8 Macro USM +*% )★ 6 hda^Y eZg[dgbZg! Wji lZV` Vi [$'#- l]^X] ^h ediZci^Vaan \ddY[dgedgigVîh (& *- ,. &&. +%%
EF 100mm f/2.8 L Macro IS USM &%+% *★ Hijcc^c\ BI; Ä\jgZh [gdb i]^h egd"\gVYZ bVXgd dei^X (% +, ,,#, &'( +'*
EF 100-400mm f/4.5-5.6 L IS II USM &... )#*★ A"hZg^Zh XdchigjXi^dc VcY dei^Xh! ^cXajY^c\ ÅjdgîZ VcY HjeZg J9 ZaZbZcih .- ,, .) &.( &+)%
EF 135mm f/2 L USM &(+% A"hZg^Zh XdchigjXi^dc lî] ild J9 ZaZbZcih VcY l^YZ bVm^bjb VeZgijgZ .% ,' -'#* &&' ,*%
TS-E 135mm f/4L Macro '*%% DcZ d[ V ig^d d[ iâi"VcY"h]^[i bVXgd aZchZh! lî] &/' bV\c^ÄXVi^dc ). -' --#* &(.#& &&&%
EF 180mm f/3.5 L Macro USM &-,% A"hZg^Zh bVXgd aZch lî] ^ccZg [dXjh^c\ hnhiZb VcY JHB iZX]cdad\n )- ,' -'#* &-+#+ &%.%
EF 200mm f/2.8 L II USM .+% Ild J9 ZaZbZcih VcY V gZVg"[dXjh^c\ hnhiZb ^c i]^h A"hZg^Zh dei^X &*% ,' -(#' &(+#' ,+*
EF 300mm f/4 L IS USM &,)% Ild"hide ^bV\Z hiVWâ^hVi^dc lî] hZeVgViZ bdYZ [dg eVcc^c\ bdk^c\ hjW_ZXih &*% ,, .% ''& &&.%
EF 400mm f/5.6 L USM &++% HjeZgJ9VcYJ9ZaZbZcih!VhlZaaVhVYZiVX]VWaZigêdYbdjciVcYWjâi"^c]ddY (*% ,, .% '*+#* &'*%
NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S &'.. ;^h]ZnZ oddb [dg [jaa"[gVbZ 9HAGh i]Vi \^kZh V X^gXjaVg k^Zl Vi -bb VcY [jaa"[gVbZ XdkZgV\Z Vi &*bb &+ c$V ,,#* -( )-*
10-20mm f/4.5-5.6 G VR AF-P DX ((% (#*★ >cZmeZch^kZ l^YZ oddb [dg 9M 9HAGh ]Vh Z[[ZXi^kZ ^bV\Z hiVWâ^hVi^dc Wji gVi]Zg VkZgV\Zdei^Xh '' ,' ,, ,( '(%
10-24mm f/3.5-4.5 G ED AF-S DX -() )★ BI; eZg[dgbVcXZ ^h \ddY [gdb l^YZ deZc id [$&&! dcan WgZV`^c\ Ydlc eVhi [$'' ') ,, -'#* -, )+%
10.5mm f/2.8 G ED DX Fisheye +,- 9M [dgbVi Äh]ZnZ aZch lî] C^`dc¼h 8adhZ"GVc\Z 8dggZXi^dc hnhiZb VcY :9 \aVhh &) c$V +( +'#* (%%
12-24mm f/4 G ED AF-S DX &%)) )★ I]^h kZcZgVWaZ dei^X bVn WZ V aîiaZ lZV` Vi [$)! Wji di]Zgl^hZ î¼h V \ddY eZg[dgbZg (% ,, -'#* .% )-*
14mm f/2.8 D ED AF &**) *★ 6 gZVaan c^XZ aZch i]Vi ]VcYaZh lZaa VcY d[[Zgh ZmXZaaZci ^bV\Z fjVaîn '% c$V -, -+#* +,%
14-24mm f/2.8 G ED AF-S &+,% *★ 6 gZbVg`VWaZ e^ZXZ d[ `î! egdYjX^c\ h]Vge ^bV\Zh lî] aîiaZ X]gdbVi^X VWZggVi^dc '- c$V .- &(&#* .,%
16mm f/2.8 D AF Fisheye ,+' ;jaa"[gVbZ Äh]ZnZ aZch lî] 8adhZ"GVc\Z 8dggZXi^dc hnhiZb VcY '*Xb [dXjh Y^hiVcXZ '* c$V +( *, '.%
16-35mm f/4 G ED AF-S VR &%,' *★ 6 [VciVhi^X aZch i]Vi YZhZgkZh id WZ iV`Zc hZg^djhan! lî] kZgn aîiaZ 86 i]gdj\]dji '- ,, -'#* &'* +-*
16-80mm f/2.8-4E ED VR AF-S DX -+. )★ I]^h cZl hiVcYVgY oddb [dg 9M"[dgbVi jhZgh ^h YZh^\cZY Vh V igVkZa aZch [dg 6EH"8 9HAGh (* ,' -% -*#* )-%
16-85mm f/3.5-5.6 G ED VR AF-S DX *,) )★ 7dVhi^c\ C^`dc¼h hZXdcY"\ZcZgVi^dc KG >> iZX]cdad\n VcY HjeZg>ciZ\gViZY8dVi^c\ (- +, ,' -* )-*
17-55mm f/2.8 G ED-IF AF-S DX &(*+ )★ 6 ]^\]Zg"fjVaîn hiVcYVgY oddb [dg 9M"[dgbVi 9HAGh (+ ,, -*#* &&%#* ,**
18-35mm f/3.5-4.5 G ED AF-S ++. *★ L^YZVc\aZ oddb lî] ^chiVci bVcjVa"[dXjhdkZgg^YZ[dg[jaa"[gVbZ9HAGh '- ,, -( .* (-*
18-55mm f/3.5-5.6 G II AF-S DX &*+ (#*★ :cign"aZkZa hiVcYVgY oddb aZch '- *' ,( ,.#* '+*
18-55mm f/3.5-5.6 G VR II AF-S DX ''. EdejaVg (m oddb aZch i]Vi ^h gZbVg`VWan XdbeVXi VcY a^\]ilZ^\]i! d[[Zg^c\ \gZViedgiVWâîn '- *' ++ *.#* &.*
18-55mm f/3.5-5.6 G AF-P DX &). 6 XdbeVXi! a^\]ilZ^\]i 9M"[dgbVi oddb i]Vi¼h Vc ^YZVa lVa`"VgdjcY aZch '* ** +)#* +'#* &.*
18-55mm f/3.5-5.6 G VR AF-P DX &.. 6 XdbeVXi! a^\]ilZ^\]i 9M"[dgbVi oddb aZch lî] K^WgVi^dc GZYjXi^dc '* ** +)#* +'#* '%*
18-105mm f/3.5-5.6 G ED VR AF-S DX '.' )#*★ @î aZch [dg C^`dc 9.% 9,%%% lî] HâZci LVkZ Bdidg VcY K^WgVi^dc GZYjXi^dc c$V +, ,+ -. )'%
18-140mm f/3.5-5.6 G ED VR AF-S DX *,. 6 XdbeVXi VcY a^\]ilZ^\]i 9M"[dgbVi oddb! i]^h aZch ^h V \gZVi Vaa"gdjcYZg )* +, ,- ., ).%
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX ,+' )#*★ ;djg"hide KG >> hnhiZb! ild :9 VcY i]gZZ Vhe]Zg^XVa ZaZbZcih ^c i]^h9MhjeZgoddbaZch *% ,' ,, .+#* *+%
18-300mm f/3.5-5.6 G ED-IF VR -*% )★ 9M"[dgbVi oddb aZch lî] l^YZVc\aZ id hjeZg"iZaZe]did gZVX] )* ,, -( &'% -(%
18-300mm f/3.5-6.3 G ED VR -). CZl9M"[dgbVi&+#,moddblî]hjeZg"iZaZe]didgZVX]·VXdbeVXilVa`"VgdjcYaZch )- +, ,-#* .. **%

BUYING GUIDE
FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
PENTAX
CANON
NIKON
SIGMA
IMAGE
19mm f/4 E ED PC ((%% HjeZg"l^YZVc\aZ iâi"VcY"h]^[i aZch [dg VgX]îZXijgZ VcY aVcYhXVeZ e]did\gVe]n '* c$V -. &') --*
20mm f/1.8 G ED AF-S +,. 6 [Vhi ;M"[dgbVi eg^bZ aZch i]Vi¼h XdbeVXi VcY a^\]ilZ^\]i '% ,, -'#* -%#* ((*
20mm f/2.8 D AF *-) 8dbeVXi l^YZVc\aZ aZch lî] C^`dc¼h 8adhZ"GVc\Z 8dggZXi^dc hnhiZb '* +' +. )'#* ',%
24mm f/2.8 D AF )', 8dbeVXi l^YZ aZch lî] 8adhZ"GVc\Z 8dggZXi^dc hnhiZb (% *' +)#* )+ ',%
24mm f/1.4 G ED AF-S &..% *★ Cdi]^c\ h]dgi d[ hijcc^c\# 6h^YZ [gdb îh ]^\] eg^XZ! i]ZgZ ^h kZgn aîiaZ id Y^ha^`Z VWdji i]^h dei^X '* ,, -( --#* +'%
24mm f/1.8 G ED AF-S +'. ;Vhi ;M"[dgbVi aZch i]Vi V^bh id VeeZVa id aVcYhXVeZ! ^ciZg^dg! VgX]îZXijgZ VcY higZZi e]did\gVe]Zgh '( ,' ,,#* -( (**
24mm f/3.5 D ED PC-E &,,) EZgheZXi^kZ 8dcigda aZch lî] CVcd 8gnhiVa 8dVi^c\ VcY ZaZXigdc^X Xdcigda dkZg VeZgijgZ '& ,, -'#* &%- ,(%
24-70mm f/2.8 G ED AF-S &*+* *★ 6c ZmXZaaZci hZi d[ BI; XjgkZh i]Vi h]dl djihiVcY^c\ Xdch^hiZcXn! ZVhân _jhi^[n^c\i]Zeg^XZd[i]^haZch (- ,, -( &(( .%%
24-70mm f/2.8 E ED VR &-). *★ C^`dc¼h aViZhi egd"heZX hiVcYVgY oddb add`h a^`Z îh WZhi aZch nZi (- -' -- &*)#* &%,%
24-85mm f/3.5-4.5 G ED VR *'% *★ ;M"[dgbVi hiVcYVgY oddb lî] 6jid IgêdY YZiZXi^dc VcY KG (- ,' ,- -' )+*
24-120mm f/4 G ED AF-S VR &%,' *★ 8dchiVci bVm^bjb VeZgijgZ d[ [$) VcY i]Z VYYî^dc d[ KG bV`Zh i]^h V hjeZgW aZch )* ,, -) &%( ,&%
28mm f/1.4 E ED AF-S '%-% 7dVhih V Yjhi VcY Ygê gZh^hiVci WjâY [dg gZa^VWaZ h]ddi^c\ ^c X]VaaZc\^c\ lZVi]Zg XdcYî^dch '- ,, -( &%%#* +)*
28mm f/1.8 G ED AF-S +&. *★ >[ ndj XgVkZ V l^YZ VeZgijgZ VcY egZ[Zg V h^c\aZ [dXVa aZc\i] i]Zc i]^h C^`dc eg^bZ YZa^kZgh '* +, ,( -% ((%
28mm f/2.8 D AF '-' 8dbeVXi l^YZVc\aZ aZch lî] V b^c^bjb [dXjh^c\ Y^hiVcXZ d[ '*Xb '* *' +* ))#* '%*
28-300mm f/3.5-5.6 G ED AF-S VR --. )#*★ IZX]c^XVa iZhi^c\ h]dlh i]^h oddb id WZ! Vh C^`dc XaV^bh! i]Z »^YZVa lVa`VWdji aZch¼ *% ,, -( &&) -%%
35mm f/1.8 G AF-S DX '%- *★ 9Zh^\cZY [dg 9M"[dgbVi 9HAGh! V \gZVi hiVcYVgY eg^bZ aZch (% *' ,% *'#* '%%
35mm f/1.8 G ED AF-S ),. ;Vhi ;M"[dgbVi eg^bZ aZch lî] Wg^\]i [$&#- VeZgijgZ# KZghViâZ VcY a^\]ilZ^\]i '* *- ,' ,&#* (%*
35mm f/2 D AF (') (★ 6i l^YZ"VeZgijgZ hZii^c\h i]^h dei^X VX]^ZkZh gZheZXiVWaZ gZhdaji^dc! l]^X] YZXgZVhZhlî]VeZgijgZ '* *' +)#* )(#* '%*
35mm f/1.4 G ED AF-S &,(* *★ 6 CVcd 8gnhiVa"XdViZY aZch YZh^\cZY [dg i]Z ;M gVc\Z (% +, -( -.#* +%%
40mm f/2.8 G AF-S DX Micro '*% *★ 6 WjY\Zi"eg^XZY bVXgd aZch i]Vi YZa^kZgh i]Z \ddYh dc bjaiêaZ [gdcih '% *' +-#* +)#* '(*
45mm PC-E f/2.8 D ED Micro &(.( EZgheZXi^kZ 8dcigda E8": hiVcYVgY aZch jhZY ^c heZX^Va^hZY ÄZaYh hjX] Vh hijY^d VcY VgX]îZXijgZ '* ,, -'#* &&' ,)%
50mm f/1.4 D AF '.' *★ :cign"aZkZa eg^bZ ejih ^c V ÄcZ eZg[dgbVcXZ l]âZ d[[Zg^c\ WVX`lVgYh XdbeVi^Wâîn lî] 6> XVbZgVh )* *' +)#* )'#* '(%
50mm f/1.4 G AF-S (,+ *★ >ciZgcVa [dXjh^c\ VcY hjeZg^dg 6; Yg^kZ bV`Zh i]^h V \ddY VaiZgcVi^kZ id i]Z 9"hZg^Zh *%bb[$&#) )* *- ,(#* *) '-%
50mm f/1.8 D AF &(* 8dbeVXi! a^\]ilZ^\]i! V[[dgYVWaZ eg^bZ! lâa hide Ydlc id [$'' )* *' +( (. &+%
50mm f/1.8 G AF-S '%% *★ 6 Xji"eg^XZ hiVcYVgY aZch [dg ;M h]ddiZgh dg V h]dgi iZaZe]did dc 9M"[dgbVi 9HAGh )* *- ,' *'#* &-*
55-200mm f/4-5.6 G VR AF-S DX (&) (#*★ 9Zh^\cZY [dg 9M"[dgbVi XVbZgVh! lî] K^WgVi^dc GZYjXi^dc VcY HLB iZX]cdad\n &&% *' ,( ..#* ((*
55-200mm f/4-5.6 G VR II AF-S DX '*& D[[Zgh V kZghViâZ [dXVa gVc\Z VcY Vc jaigV"XdbeVXi YZh^\c! eZg[ZXi [dg hbVaaZg9M"[dgbVi9HAGh &&% *' ,%#* -( (%%
55-300mm f/4.5-5.6 G VR AF-S DX (,- (★ D[[Zgh V l^YZ iZaZe]did XdkZgV\Z! Wji WZiiZg dei^dch VkVâVWaZ &)% *- ,+#* &'( *(%
58mm f/1.4 G AF-S &*.. )★ ;M"[dgbVi [jaa"[gVbZ egZb^jb eg^bZ aZch lî] aVg\Z [$&#) VeZgijgZ *- ,' -* ,% (-*
60mm f/2.8 D AF Micro )%* *★ C^`dc¼h bdhi XdbeVXi B^Xgd aZch! lî] 8adhZ GVc\Z 8dggZXi^dc 8G8 hnhiZb '' +' ,% ,)#* ))%
60mm f/2.8 G ED AF-S Micro *%% B^Xgd aZch lî] &/& gZegd gVi^d! Vh lZaa Vh V HâZci LVkZ Bdidg VcY HjeZg :9 \aVhh &- +' ,( -. )'*
70-200mm f/2.8 G ED VR II AF-S '%-* *★ KZgn aîiaZ id [Vjai ]ZgZ! lî] hijcc^c\ ^bV\Z fjVaîn VcY Xdch^hiZci gZhjaih Vi Y^[[ZgZci [dXVa aZc\i]h &)% ,, -, '%. &*)%
70-200mm f/2.8 E FL ED VR AF-S '+*% AViZhi jeYViZ id C^`dc¼h egd ldg`]dghZ [Vhi iZaZe]did oddb Wg^c\h ZaZXigdc^X VeZgijgZ Xdcigda &&% ,, --#* '%'#* &)(%
70-200mm f/4 G ED VR &&-% *★ AViZhi ,%"'%%bb d[[Zgh i]^gY"\ZcZgVi^dc KG VcY lZ^\]i hVk^c\h dkZg îh bdgZ ZmeZch^kZ [$'#-Xdjh^c &%%% +, ,- &,-#* -*%
70-300mm f/4.5-5.6 G ED AF-S VR **+ )★ ;ZVijgZ"eVX`ZY dei^X! lî] V KG >> hnhiZb! ."WaVYZY Y^Ve]gV\b! HLB VcY :9 \aVhh &*%% +, -% &)(#* ,)*
70-300mm f/4.5-5.6 E ED VR AF-P ,*% C^`dc¼h Äghi [jaa"[gVbZ aZch id [ZVijgZ V hiZeeZg bdidg [dg Vjid[dXjh &'%% +, -%#* &)+ +-%
70-300mm f/4.5-6.3 G AF-P DX (%% 7jY\Zi iZaZe]did oddb lî] hiZeeZg bdidg [dg 6; VcY heVXZ"hVk^c\ XdaaVeh^WaZ YZh^\c &&% *- ,' &'* )%%
70-300mm f/4.5-6.3 G VR AF-P DX (*% 6YYh ZmigZbZan jhZ[ja dei^XVa hiVWâ^hVi^dc id C^`dc¼h WjY\Zi XdbeVXi iZaZe]did &&% *- ,' &'* )&*
80-400mm f/4.5-5.6 G ED VR AF-S &-.. *★ HjXXZhhdg id i]Z -%")%%bb [$)#*"*#+9 :9 KG! [dXjh^c\ ^h ZmXZaaZci Vi igVX`^c\ [Vhi"bdk^c\hjW_ZXih &,* ,, .*#* '%( &*,%
85mm f/3.5 G ED AF-S DX VR *'' 9M"[dgbVi B^Xgd aZch lî] V &/& gZegdYjXi^dc gVi^d! KG >> hnhiZb VcY :9 \aVhh '- *' ,( .-#* (**
85mm f/1.4 G AF-S &*(' *★ ;Vhi b^Y"iZaZ aZch lî] Vc ^ciZgcVa [dXjh^c\ hnhiZb VcY gdjcYZY Y^Ve]gV\b -* ,, -+#* -) *.*
85mm f/1.8 G AF-S ),% *★ GZVg"[dXjh^c\ hnhiZb VcY Y^hiVcXZ l^cYdl ^c i]^h bZY^jb iZaZe]did aZch -% +, -% ,( (*%
85mm f/2.8D PC-E Micro &'.. EZgheZXi^kZ 8dcigda E8": iZaZe]did! YZh^\cZY id WZ ^YZVa [dg edgigVîh VcY egdYjXi e]did\gVe]n (. ,, -(#* &%, +(*
105mm f/1.4 E ED AF-S '%). 6 &%*bb ;M"[dgbVi eg^bZ aZch lî] Wg^\]i [$&#) VeZgijgZ! ^YZVa [dg edgigVîjgZ &%% -' .)#* &%+ .-*
105mm f/2.8 G AF-S VR II Micro ,-' )#*★ 6 kZgn h]Vge aZch! lî] hl^[i VcY fj^Zi [dXjh^c\ VcY Xdch^hiZci B;I gZhjaih (& +' -( &&+ ,'%
105mm f/2 D AF DC .-% 6 edgigVî aZch lî] YZ[dXjh Xdcigda .% ,' ,. &&& +)%
135mm f/2 D AF DC &'(' 9Z[dXjh">bV\Z 8dcigda VcY V gdjcYZY Y^Ve]gV\b ^c i]^h iZaZe]did dei^X &&% ,' ,. &'% -&*
180mm f/2.8 D ED-IF AF ,-' JhZ[ja iZaZe]did aZc\i] VcY ^ciZgcVa [dXjh^c\ iZX]cdad\n! id\Zi]Zg lî] :9 \aVhh &*% ,' ,-#* &)) ,+%
200mm f/4 D ED-IF AF Micro &)'. &/& gZegdYjXi^dc gVc\Z ^c i]^h B^Xgd aZch! lî] V 8adhZ"GVc\Z 8dggZXi^dc hnhiZb *% +' ,+ &%)#* &&.%
200-500mm f/5.6 E ED VR AF-S &&,. 6 hjeZg"iZaZe]did oddb aZch XdbeVi^WaZ lî] C^`dc ;M"[dgbVi 9HAG XVbZgVh ''% .* &%- '+,#* '(%%
300mm f/4 E PF ED VR AF-S &'(% *★ A^\]i!XdbeVXi6;"H[jaa"[gVbZiZaZe]didaZchlî]:9\aVhhZaZbZcih &)% ,, -. &),#* ,**
LAOWA DSLR
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN
12mm f/2.8 Zero D -.. JaigV"l^YZVc\aZ aZch [dg [jaa"[gVbZ 9HAGh i]Vi Zm]^Wîh b^c^bVa Y^hidgi^dc &- ,, ,)#- -'#- +%.
24mm F14 2x Macro Probe &*.. Jc^fjZ heZX^Va^hi bVXgd aZch lî] hjWbZgh^WaZ [gdci WVggZa VcY Wjâi"^c A:9 a^\]ih ), c$V (- )%- ),)
25mm f/2.8 Ultra Macro 2.5x - 5x (.. JcjhjVa aZch YZh^\cZY hdaZan [dg jaigV"XadhZ"je h]ddi^c\! lî] bV\c^ÄXVi^dc [gdb '#*m id *m &,#( c$V +* -' )%%
15mm f/4 1:1 Macro )). )★ L^YZVc\aZ aZch! lî] &/& BVXgd VkVâVWaZ ^c 8Vcdc! C^`dc! EZciVm! Hdcn : VcY Hdcn 6 &' ,, -(#- +)#, )&%
60mm f/2.8 2X Ultra Macro (&. (#*★ Lî] '/& BVXgd! Vc Vaa"^c"dcZ dei^dc [dg cdgbVa edgigVî e]did\gVe]n Vh lZaa Vh jaigV"bVXgd &-#* +' .* ,% *%(
100mm f/2.8 2:1 Ultra Macro APO I78 ;jaa"[gVbZ bVXgd aZch lî] il^XZ"a^[Z"hôZ bV\c^ÄXVi^dc VcY VedX]gdbVi^X YZh^\c ')#, +, &'* ,' +(-
105mm f/2 (T3.2) STF +). )★ 9Zh^\cZY[dg[jaa"[gVbZ9HAGH!VcY[ZVijgZhVcVedYôVi^dcZaZbZcii]VigZcYZghadkZanWd`Z] .% +, .-#. ,+ ,)*
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PENTAX DSLR
DA 10-17mm f/3.5-4.5 smc ED IF *.% ;^h]ZnZ oddb aZch lî] HjeZg EgdiZXi^dc XdVi^c\ VcY Fj^X` H]^[i bVcjVa [dXjh &) c$V ,&#* +- ('%
DA 12-24mm f/4 smc ED AL IF &%*% Ild Vhe]Zg^XVa ZaZbZcih! :A9 \aVhh VcY V XdchiVci VeZgijgZ d[ [$) ^c i]^h l^YZ oddb (% ,, -(#* -,#* )(%
DA 15mm f/4 smc ED AL Limited -'% A^bîZY"ZYî^dc aZch lî] ]nWg^Y Vhe]Zg^XVa VcY ZmigV"adl"Y^heZgh^dc ZaZbZcih &- ). (.#* +( '&'
FA 15-30mm f/2.8 ED SM WR HD &*%% LZVi]Zg"gZh^hiVci jaigV"l^YZVc\aZ oddb lî] [Vhi bVm^bjb VeZgijgZ VcY ÄmZY eZiVa"ineZ ]ddY '- c$V .-#* &)(#* &%)%
DA* 16-50mm f/2.8 smc ED AL IF SDM .*% (#*★ 6 c^XZ WVaVcXZ VcY gdWjhi [ZZa! Wji eddg h]VgecZhh Vi [$'#- l]^X] h^\c^ÄXVcian ^begdkZh [gdb [$) dclVgYh (% ,, .-#* -) +%%
DA 16-85mm f/3.5-5.6 ED DC WR +%% LZVi]Zg"gZh^hiVci! i]^h oddb [ZVijgZh V gdjcY"h]VeZY Y^Ve]gV\b id egdYjXZ WZVji^[ja Wd`Z] (* ,' ,- .) )--
DA 17-70mm f/4 smc AL IF SDM +(% ;ZVijg^c\ EZciVm¼h HjeZghdc^X 9^gZXi"Yg^kZ H9B [dXjh^c\ hnhiZb '- +, ,* .(#* )-*
DA 18-50mm f/4-5.6 DC WR RE '(% HjeZg"i]^c hiVcYVgY oddb i]Vi¼h lZVi]Zg"gZh^hiVci VcY [ZVijgZh V gdjcY"h]VeZY Y^Ve]gV\b (% *- ,& )& &*-
DA 18-55mm f/3.5-5.6 smc AL WR ''. 6 lZVi]Zg"gZh^hiVci XdchigjXi^dc VcY Vc Vhe]Zg^XVa ZaZbZci! Vh lZaa Vh HE XdVi^c\ '* *' +-#* +,#* '(%
DA 18-135mm f/3.5-5.6 DA ED DC WR +%% (#*★ 6 lZVi]Zg"gZh^hiVci b^Y"gVc\Z oddb aZch )% +' ,( ,+ )%*
DA 18-270mm f/3.5-6.3 smc ED SDM +.. &*m hjeZgoddb [dg XdbeVcn¼h @"bdjci 9HAGh [ZVijg^c\ ild ZmigV"adl"Y^heZgh^dc :9 ZaZbZcih ). +' ,+ -. )*(
DA 20-40mm f/2.8-4 ED Limited DC WR -'. Lî] hiViZ"d["i]Z"Vgi =9 XdVi^c\! V XdbeaZiZan gdjcY"h]VeZY Y^Ve]gV\b! VcY lZVi]Zg gZh^hiVci '- ** +-#* ,& '-(
DA 21mm f/3.2 smc AL Limited +%% I]^h a^bîZY"ZYî^dc dei^X d[[Zgh V ÅdVi^c\ ZaZbZci [dg ZmigV"XadhZ [dXjh^c\ '% ). +( '* &)%
FA 24-70mm f/2.8 ED SDM WR &&). ;jaa"[gVbZ"XdbeVi^WaZ egZb^jb hiVcYVgY oddb · ^cXajYZh V =9 XdVi^c\ id b^c^b^hZ ÅVgZ VcY \]dhi^c\ (- -' &%.#* --#* ,-,
FA 28-105mm f/3.5-5.6 ED DC HD *). HiVcYVgY oddb aZch [dg i]Z @"& [jaa"[gVbZ 9HAG i]Vi¼h bjX] bdgZ V[[dgYVWaZ i]Vc i]Z ')",%bb [$'#- *% +' ,( -+#* ))%
FA 31mm f/1.8 smc AL Limited &&). 6ajb^c^jb WdYn0 l]Zc jhZY dc V EZciVm 9HAG d[[Zgh V eZgheZXi^kZ h^bâVg id i]Vi d[ i]Z ]jbVcZnZ (% *- +-#* +* ()*
FA 35mm f/2 smc AL **% 6 XdbeVXi l^YZVc\aZ aZch i]Vi lZ^\]h V bZgZ '&)\ (% ). +) ))#* '&)
DA 35mm f/2.8 smc Macro +)% )#*★ 9ZheîZ ha^\]i ZY\Z hd[icZhh! i]^h aZch eZg[dgbh ZmXZaaZcian VcY ^h V eaZVhjgZidjhZ &) ). )+#* +( '&*
DA 35mm f/2.4 smc DS AL &-% *★ 6 WjY\Zi"eg^XZY eg^bZ aZch [dg WZ\^ccZgh (% ). +( )* &')
DA 40mm f/2.8 smc Limited )*% EVcXV`Z aZch lî] HB8 XdVi^c\ VcY Fj^X` H]^[i [dXjh^c\ hnhiZb )% ). +( &* .%
DA 40mm f/2.8 XS ('* I]Z ldgaY¼h hbVaaZhi ÄmZY"[dXVa"aZc\i] aZch h]VgZh i]Z hVbZ dei^Xh Vh i]Z A^bîZY kZgh^dc )% c$V +'#. . *'
FA 43mm f/1.9 smc Limited ,'. ;dXVa aZc\i] ^h ^YZVa [dg edgigVîh Vh lZaa Vh ZkZgnYVn jhZ! VcY [ZVijgZh Vc HB8 bjai^"aVnZg XdVi^c\ )* ). +) ', &**
FA* 50mm f/1.4 SDM AW HD &'%% EgZb^jb [Vhi eg^bZ lî] Yjhiegdd[! lZVi]Zg"gZh^hiVci YZh^\c VcY ZaZXigdbV\cZi^X VeZgijgZ )% ,' -% &%+ .&%
FA 50mm f/1.4 smc (.. 8dbeVXi [Vhi eg^bZ lî] Äab"ZgV YdjWaZ"<Vjhh dei^Xh VcY igVYî^dcVa VeZgijgZ g^c\ )* ). +(#* (- ''%
DA 50mm f/1.8 smc DA '). )★ 6[[dgYVWaZ h]dgi iZaZe]did aZch ^YZVa [dg edgigVîh )* *' (-#* +( &''
DFA 50mm f/2.8 smc Macro **% BVXgd aZch XVeVWaZ d[ &/& gZegdYjXi^dc VcY lî] V Fj^X` H]^[i [dXjh bZX]Vc^hb &. ). +% +,#* '+*
DA* 50-135mm f/2.8 smc ED IF SDM &'%% )★ 8dchiVci [$'#- VeZgijgZ0 lZaa hjîZY id edgigVîjgZ VcY b^Y"gVc\Z VXi^dc hjW_ZXih &%% +, ,+#* &(+ ,+*
DA 50-200mm f/4-5.6 smc ED WR '&% LZVi]Zg"gZh^hiVci XdchigjXi^dc! Fj^X` H]^[i [dXjh hnhiZb VcY Vc HE XdVi^c\ c$V ). +. ,.#* '-*
DA* 55mm f/1.4 smc SDM -%% )#*★ 9ZheîZ fjZhi^dch VWdji i]Z eVgi^XjaVg hVbeaZ iZhiZY! i]^h aZch hXdgZh ]^\]an )* *- ,%#* ++ (,*
DA 55-300mm f/4.5-6.3 ED PLM WR RE )%% 8dbeVXi lZVi]Zg gZh^hiVci iZaZe]did oddb ]Vh k^YZd"[g^ZcYan [Vhi VcY hâZci Vjid[dXjh bdidg .* *- ,+#* -. ))'
DA 55-300mm f/4-5.8 ED WR (.. LZVi]Zgegdd[ =9 iZaZe]did aZch [ZVijg^c\ fj^X` h]^[i [dXjh^c\ hnhiZb &)% *- ,& &&&#* )++
DA 60-250mm f/4 smc ED IF SDM &)*% )#*★ Lî] V XdchiVci [$) VeZgijgZ VcY Vc jaigVhdc^X bdidg [dg heZZYn [dXjh^c\ &&% +, &+,#* -' &%)%
DA 70mm f/2.4 smc AL Limited +%% BZY^jb iZaZe]did aZch lî] Vc Vajb^c^jb XdchigjXi^dc VcY V HjeZg EgdiZXi XdVi^c\ ,% ). +( '+ &(%
D-FA* 70-200mm f/2.8 ED DC AW &-*% CZl VYYî^dc id EZciVm¼h ]^\]"eZg[dgbVcXZ HiVg hZg^Zh YZkZadeZY [dg WZhi ^bV\Z gZcYî^dc &'% ,, .&#* '%( &,**
FA 77mm f/1.8 smc Limited &%*% Lî] EZciVm¼h ;^mZY GZVg :aZbZci :miZch^dc [dXjh^c\ hnhiZb [dg »h]Vge! Xg^he ^bV\Zh¼ ,% ). )- +) ',%
D-FA 100mm f/2.8 Macro WR +-% *★ HigZZi eg^XZ bV`Zh i]^h hdbZi]^c\ d[ V WVg\V^c [dg V igjZ bVXgd d[[Zg^c\ [jaa"[gVbZ XdkZgV\Z (% ). +* -%#* ()%
FA 150-450mm f/4.5-5.6 ED DC AW '%%% HjeZg"iZaZe]did aZch lî] lZVi]Zg gZh^hiVcXZ! YZh^\cZY id egdYjXZ ZmigV"h]Vge! ]^\]"XdcigVhi^bV\Zh '%% -+ ')&#* .* '%%%
DA* 200mm f/2.8 smc ED IF SDM &%%% )#*★ H9B [dXjh^c\ hnhiZb dc i]Z ^ch^YZ! VcY Y^giegdd[ VcY heaVh]egdd[ dc i]Z djih^YZ &'% ,, -( &() -'*
DA* 300mm f/4 smc ED IF SDM &(%% I]^hiZaZdei^Xegdb^hZhjaigVhdc^X[dXjhVcY]^\]^bV\ZfjVaîni]Vc`hid:9\aVhh &)% ,, -( &-) &%,%
SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II ',) L^YZVc\aZ Äh]ZnZ aZch YZh^\cZY [dg Y^\îVa gZÅZm XVbZgVh lî] 6EH"8 hZchdgh (% c$V ,* ,,#- )&,
10mm f/2.8 ED AS NCS CS )'. ;ZVijgZh V cVcd XgnhiVa Vci^"gZÅZXi^dc XdVi^c\ hnhiZb VcY ZbWZYYZY aZch ]ddY ') c$V -+ ,, *-%
12mm f/2.8 ED AS NCS Fisheye )(% ;^h]ZnZ jaigV l^YZVc\aZ eg^bZ aZch [dg [jaa"[gVbZ 9HAGh '% c$V ,,#( ,%#' *%%
14mm f/2.4 XP MF -.. =^\]"ZcY jaigV"l^YZVc\aZ eg^bZ lî] egZb^jb dei^Xh VcY aVg\Z bVm^bjb VeZgijgZ '- c$V .* &%.#) ,.&
AF 14mm f/2.8 +). )#*★ HVbnVc\¼h Äghi 6; HAG aZch [ZVijgZh kZgn YZXZci ^bV\Z fjVaîn VcY lZVi]Zg"hZVaZY XdchigjXi^dc '% c$V .%#* .*#+ )-*
14mm f/2.8 ED UMC ',. JaigV"l^YZVc\aZ bVcjVa"[dXjh aZch0 WjaW"a^`Z [gdci ZaZbZci bZVch cd ÄaiZgh XVcWZjhZY '- c$V .) -, **'
16mm f/2.0 ED AS UMC CS (-. ;Vhi l^YZVc\aZ aZch [dg Y^\îVa gZÅZm XVbZgVh ÄiiZY lî] 6EH"8 hZchdgh '% c$V -.#) -( *-(
20mm f/1.8 ED AS UMC )(% AVg\Z"VeZgijgZ bVcjVa [dXjh l^YZVc\aZ aZch [dg [jaa"[gVbZ 9HAGh '% ,, -( &&(#' *'%
24mm f/1.4 AS UMC ).. ;Vhi jaigV"l^YZVc\aZ bVcjVa"[dXjh aZch Xdbeg^h^c\ &( ZaZbZcih VggVc\ZY ^c &' \gdjeh '* ,, .* &&+ +-%
24mm f/3.5 ED AS UMS TS .). (★ Iâi"VcY"h]^[i l^YZVc\aZ aZch [dg V [gVXi^dc d[ i]Z eg^XZ d[ 8Vcdc VcY C^`dc¼h d[[Zg^c\h '% -' -+ &&%#* +-%
35mm f/1.4 AS UMC (+. )#*★ L]âZ bVcjVa [dXjh dcan! i]^h eg^bZ ^begZhhZY jh ^c gZVa"ldgaY jhZ! bV`^c\ î hdbZi]^c\ d[ V WVg\V^c (% ,, -( &&& ++%
50mm f/1.2 XP MF ,.. EgZb^jb"fjVaîn jaigV"[Vhi eg^bZ lî] bVcjVa [dXjh deZgVi^dc! YZh^\cZY [dg *%BEhZchdgh )* -+ .( &&,#) &'%%
50mm f/1.4 AS UMC '.. BVcjVa"[dXjh [Vhi hiVcYVgY eg^bZ [dg [jaa"[gVbZ 9HAGh )* ,, ,)#, -&#+ *,*
85mm f/1.2 XP MF -.. =^\]"ZcY bVcjVa [dXjh aZch hedgih Vc ^begZhh^kZan [Vhi bVm^bjb VeZgijgZ -% -+ .( .-#) &%*%
AF 85mm f/1.4 EF *.. (★ 6jid[dXjh [Vhi h]dgi iZaZe]did edgigVî aZch [dg jhZ dc 8Vcdc [jaa"[gVbZ 9HAGh .% ,, -- ,' )-*
85mm f/1.4 IF MC '(. H]dgi [Vhi iZaZe]did eg^bZ! bVcjVa [dXjh! V^bZY Vi edgigVî e]did\gVe]Zgh &%% ,' ,- ,'#' *&(
100mm f/2.8 ED UMC Macro (-. ;jaa"[gVbZ XdbeVi^WaZ! i]Z HVbnVc\ &%%bb ^h V igjZ BVXgd aZch d[[Zg^c\ &/& bV\c^ÄXVi^dc (% +, ,'#* &'(#& ,'%
135mm f/2 ED UMC (.. BVcjVa[dXjhedgigVîeg^bZ]Vh[VhiVeZgijgZ[dghjW_ZXi^hdaVi^dcVcYWVX`\gdjcY Wajg -% ,, -' &'' -(%
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BUYING GUIDE
FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
PENTAX
CANON
NIKON
SIGMA
IMAGE
SIGMA DSLR
4.5mm f/2.8 EX DC HSM ,(. 8^gXjaVg Äh]ZnZ aZch YZh^\cZY [dg Y^\îVa! lî] HA9 \aVhh VcY V \ZaVi^c ÄaiZg ]daYZg &( c$V ,+ ,,#- ),%
8mm f/3.5 EX DG ,.. I]Z ldgaY¼h dcan -bb aZch ZfjêeZY lî] Vjid[dXjh Vahd WdVhih HA9 \aVhh &( c$V ,(#* +-#+ )%%
8-16mm f/4.5-5.6 DC HSM -%% )★ :mXZaaZci eZg[dgbVcXZ Vi -bb! l]^X] hVYan Ygdeh Vi i]Z &+bb ZcY ') ,' ,* &%*#, ***
10mm f/2.8 EX DC *.. 6 =neZg Hdc^X Bdidg =HB VcY Wjâi"^c ]ddY [ZVijgZ ^c i]^h Y^V\dcVa Äh]ZnZ aZch &( c$V ,*#- -( ),*
10-20mm f/3.5 EX DC HSM +*% *★ 6c VWhdajiZ \Zb d[ V aZch i]Vi YZhZgkZh V eaVXZ dc ZkZgn e]did\gVe]Zg¼h l^h] a^hi ') -' -,#( --#' *'%
12-24mm f/4 DG HSM | A &+). *★ EgZb^jb [jaa"[gVbZ l^YZVc\aZ oddb YZh^\cZY id ]VkZ b^c^bVa Y^hidgi^dc ^c îh l^YZVc\aZ^bV\Zgn ') c$V &%& &(' &&*%
12-24mm f/4.5-5.6 II DG HSM +). JaigV"l^YZVc\aZ oddb [dg [jaa"[gVbZ HAGh! VkVâVWaZ ^c Vaa d[ i]Z bV^c bdjcih '- c$V -, &'%#' +,%
14mm f/1.8 DG HSM | A &+,. LdgaY¼h Äghi [$&#- jaigV"l^YZVc\aZ eg^bZ aZch [dg [jaa"[gVbZ 9HAGh ', c$V .*#) &'+ &&,%
14-24mm f/2.8 DG HSM | A &(.. *★ Egd"heZX^ÄXVi^dc [Vhi jaigV"l^YZ eg^bZ [dg [jaa"[gVbZ 9HAGh ^cXajYZh lZVi]Zg"hZVaZY XdchigjXi^dc '+ c$V .+#) &(*#& &&*%
15mm f/2.8 EX DG +'. )★ I]^h Äh]ZnZ dei^X ejih ^c V kZgn hda^Y eZg[dgbVcXZ · cdi id WZ Y^hb^hhZY Vh V \^bb^X` &* c$V ,(#* +* (,%
17-50mm f/2.8 EX DC OS HSM +-. ;A9 VcY Vhe]Zg^XVa ZaZbZcih! V XdchiVci [$'#- VeZgijgZ VcY Dei^XVa HiVWâ^hVi^dc '- ,, -(#* .' *+*
17-70mm f/2.8-4 DC Macro OS HSM )). 8dbeVXi gZYZh^\c d[ i]^h lZaa"gZXZ^kZY aZch aVjcX]Zh i]Z »8dciZbedgVgn¼ gVc\Z '' ,' ,. -' ),%
18-35mm f/1.8 DC HSM ,.. *★ HV^Y id WZ i]Z ldgaY¼h Äghi XdchiVci [$&#- oddb0 9d; Zfj^kVaZci d[ XdchiVci [$'#, dc [jaa [gVbZ '- ,' ,- &'& -&%
18-200mm f/3.5-6.3 DC OS )). )★ :mXZaaZci gZhdaji^dc VcY Xdch^hiZci eZg[dgbVcXZ! Wji Xdcigda dkZg 86 XdjaY WZ V aîiaZ WZiiZg )* )* ,. &%% +&%
18-250mm f/3.5-6.3 DC OS HSM *,' )#*★ 6 kZgn XVeVWaZ hZi d[ BI; XjgkZh i]Vi dcan h]dlh b^cdg lZV`cZhh Vi l^YZ VeZgijgZh )* ,' ,. &%& +(%
18-250mm f/3.5-6.3 DC Macro OS HSM *%% JaigV"XdbeVXi &(#-m ]^\] oddb gVi^d aZch YZh^\cZY ZmXajh^kZan [dg Y^\îVa HAG XVbZgVh (* +' ,(#* --#+ ),%
18-300mm f/3.5-6.3 DC Macro OS HSM ).. 8dbeVXi VcY edgiVWaZ ]^\] gVi^d oddb aZch d[[Zg^c\ Zc]VcXZY [ZVijgZh id bV`Zîi]Z^YZVaVaa"^c"dcZaZch (. ,' ,. &%&#* *-*
20mm f/1.4 DG HSM | A ,.. *★ 6c djihiVcY^c\ l^YZVc\aZ ÄmZY"[dXVa"aZc\i] aZch ',#+ c$V .%#, &'.#- .*%
24mm f/1.4 DG HSM | A ,.. *★ I]Z aViZhi VYYî^dc id H^\bV¼h »6gi¼ a^cZ d[ ]^\]"fjVaîn [Vhi eg^bZh '* ,, -* .%#' ++*
24-35mm f/2 DG HSM | A .). *★ I]Z ldgaY¼h Äghi aVg\Z"VeZgijgZ [jaa"[gVbZ oddb d[[Zg^c\ V l^YZ VeZgijgZ d[ [$' i]gdj\]dji i]Z oddb gVc\Z '- -' -,#+ &''#, .)%
24-70mm f/2.8 DG OS HSM | A &(.. *★ AViZhi egZb^jb [Vhi hiVcYVgY oddb [dg [jaa [gVbZ ^cXajYZh dei^XVa ^bV\Z hiVWâ^hVi^dc (, -' -- &%,#+ &%'%
24-105mm f/4 DG OS HSM | A -). )#*★ HZg^djh [jaa"[gVbZ VaiZgcVi^kZ id dlc"WgVcY aZchZh Vi V adlZg eg^XZ! lî] cd Xdbegdb^hZh ^c i]ZWjâY )* -' -. &%. --*
28mm f/1.4 DG HSM | A I78 =^\]"fjVaîn! lZVi]ZghZVaZY [Vhi l^YZVc\aZ eg^bZ [dg [jaa"[gVbZ 9HAGh '- ,, -'#- &%,#& I78
30mm f/1.4 DC HSM | A (+% Jc^fjZ [Vhi eg^bZ [dg 6EH"8 9HAGh i]Vi \^kZh )*bb Zfj^kVaZci »cdgbVa¼ Vc\aZ d[ k^Zl (% +' +(#( ,)#' )(*
35mm f/1.4 DG HSM | A ,.. *★ HjeZgW aVg\Z"VeZgijgZ eg^bZ0 Äghi aZch ^c XdbeVcn¼h »6gi¼ hZg^Zh (% +, ,, .) ++*
40mm f/1.4 DG HSM | A &&%% AVg\Z VcY ]ZVkn eg^bZ egdb^h^c\ cVijgVa"add`^c\ eZgheZXi^kZ VcY ide"fjVaîn dei^Xh )% -' -,#- &(& &'%%
50mm f/1.4 DG HSM | A -). *★ I]^h aZch ]Vh V jc^fjZ YZh^\c i]Vi eVnh d[[ ^c igjan ZmXZaaZci ^bV\Z fjVaîn )% ,, -*#) &%% -&*
50-100mm f/1.8 DC HSM | A -'. *★ I]^h 6EH"8"[dgbVi aZch V^bh id XdkZg i]Z [dXVa aZc\i]h d[ i]gZZ eg^bZ aZchZh ^c dcZ (,#) -' .(#* &,%#, &).%
50-500mm f/4.5-6.3 DG OS HSM &).. )★ 6 &%m oddb gVc\Z! HA9 ZaZbZcih VcY XdbeVi^Wâîn lî] &#)m VcY 'm iZaZXdckZgiZgh &-% .* &%)#) '&. &.,%
60-600mm f/4.5-6.3 DG OS HSM | S &-.. LZVi]ZghZVaZY &%m oddb ZcXdbeVhhZh ]j\Z gVc\Z [gdb hiVcYVgY id hjeZg"iZaZe]did +% &%* &'%#) '+-#. ',%%
70mm f/2.8 DG Macro | A ).. I]Z Äghi bVXgd aZch ^c H^\bV¼h 6gi a^cZ"je [ZVijgZh Vc ZmiZcY^c\"WVggZa [dXjh"Wn"l^gZ YZh^\c '+ ). ,& &%+ *&*
70-200mm f/2.8 EX DG OS HSM &*(. Ild ;A9 \aVhh ZaZbZcih! hV^Y id ]VkZ i]Z hVbZ Y^heZgh^kZ egdeZgi^Zh Vh ÅjdgîZ &)% ,, -+#) &., &)(%
70-200mm f/2.8 DG OS HSM | S I78 AVg\Z"VeZgijgZ iZaZe]did oddb YZh^\cZY [dg ]^\] h]VgecZhh VcY b^c^bVa X]gdbVi^XVWZggVi^dc &'% -' .)#' '%'#. &-%*
70-300mm f/4-5.6 APO DG Macro '(* I]^h iZaZ"oddb aZch ]Vh V ."WaVYZY Y^Ve]gV\b VcY ild HA9 ZaZbZcih .* *- ,+#+ &'' **%
70-300mm f/4-5.6 DG Macro &,% (★ <ZcZgVaan jcgZbVg`VWaZ BI; XjgkZh! VcY eVgi^XjaVgan eddg Vi (%%bb .* *- ,+#+ &'' *)*
85mm f/1.4 DG HSM | A &&.. *★ Dei^XVaan hijcc^c\ [Vhi h]dgi iZaZe]did eg^bZ ^h i]Z jai^bViZ edgigVî aZch [dg 9HAG jhZgh -* -+ .* &'+ &&(%
100-400mm f/5-6.3 DG OS HSM | C ,.. )#*★ GZaVi^kZan a^\]ilZ^\]i iZaZoddb XdbZh lî] lZVi]Zg"hZVa^c\ VcY X]d^XZ d[ ejh]"ejaa dg il^hi oddb &+% +, -+#) &-'#( &&+%
105mm f/1.4 DG HSM | A &).. )#*★ H^\bV¼h »Wd`Z] bdchiZg¼ hjeZg"[Vhi edgigVî aZch ^h lZVi]ZghZVaZY VcY XdbZh lî] V igêdY [ddi &%% &%* &&*#. &(&#* &+)*
105mm f/2.8 EX DG OS HSM Macro +). )#*★ 6c dei^XVaan hiVWâ^hZY bVXgd aZch! i]^h hjeZg"h]Vge aZch ^h dcZ d[ djg [VkdjgîZh (&#' +' ,- &'+#) ,'*
120-300mm f/2.8 DG HSM | S (*.. ;^ghi aZch ^c XdbeVcn¼h »Hedgih¼ hZg^Zh0 hlîX] ZcVWaZh VY_jhibZci d[ Wdi] [dXjh heZZY VcY [dXjha^bîZg &*% &%* &') '.& ((.%
135mm f/1.8 DG HSM | A &(.. *★ HjeZg"[Vhi edgigVî eg^bZ YZh^\cZY id egdk^YZ hj[ÄX^Zci gZhdaji^dc [dg *%BE 9HAGh -,#* -' .&#) &&)#. &&(%
150mm f/2.8 EX DG OS HSM Macro APO ... 6 bVXgd aZch d[[Zg^c\ ^bV\Z hiVWâ^hVi^dc (- ,' ,.#+ &*% .*%
150-600mm f/5-6.3 DG OS HSM | C &&.. 7jY\Zi »8dciZbedgVgn¼ kZgh^dc d[ H^\bV¼h adc\"gVc\Z iZaZe]did oddb ^h hbVaaZg VcY a^\]iZg '-% .* &%* '+%#& &.(%
150-600mm f/5-6.3 DG OS HSM | S &*.. I]^h edgiVWaZ! ]^\]"eZg[dgbVcXZ iZaZe]did oddb [gdb H^\bV¼h Hedgih a^cZ ^h Yjhi VcY heaVh]egdd[ '+% &%* &'& '.%#' '-+%
180mm f/2.8 EX DG OS HSM Macro APO &).. *★ &/& bVXgd aZch [ZVijg^c\ i]gZZ ;A9 \aVhh ZaZbZcih VcY ÅdVi^c\ ^ccZg"[dXjh^c\ hnhiZb ), -+ .* '%) &+)%
300mm f/2.8 APO EX DG HSM '-.. :migVAdl9^heZgh^dc:A9\aVhh!bjai^"aVnZgXdVi^c\hVcYV=neZgHdc^XBdidg '*% )+ &&. '&)#* ')%%
SONY DSLR
11-18mm f/4.5-5.6 DT +%. (★ 6 hda^Y dkZgVaa eZg[dgbVcXZ i]Vi h^bean [Vâh id WZ djihiVcY^c\ ^c Vcn lVn '* ,, -( -%#* (+%
16mm f/2.8 Fisheye ,%. ;^h]ZnZ aZch lî] V XadhZ [dXjh^c\ Y^hiVcXZ d[ '%Xb VcY V &-% Vc\aZ d[ k^Zl '% c$V ,* ++#* )%%
16-35mm f/2.8 ZA SSM II T* &... )#*★ =^\]"ZcY OZ^hh l^YZVc\aZ oddb aZch ^YZVa[dg[jaa"[gVbZ6ae]V9HAGhVcYHAIh '- ,, -( &&) .%%
16-50mm f/2.8 SSM *+. )★ 7g^\]i h]dgi"gVc\Z iZaZe]did aZch &%% ,' -& -- *,,
16-80mm f/3.5-4.5 ZA T* ,%. )#*★ 8Vga OZ^hh hiVcYVgY oddb aZch (* +' ,' -( ))*
16-105mm f/3.5-5.6 DT **. (★ 6c VbWî^djh aZch i]Vi ^h \ddY ^c eVgih! Vai]dj\] fjVaîn Ygdeh d[[Vi&%*bb )% +' ,' -( ),%
18-135mm f/3.5-5.6 DT SAM )'. 6 kZghViâZ oddb lî] 9^gZXi BVcjVa ;dXjh )* +' ,+ -+ (.-
18-250mm f/3.5-6.3 DT **. (#*★ <ddY dkZgVaa! Wji eZg[dgbVcXZ Yêh Vi adc\Zg [dXVa aZc\i]h )* +' ,* -+ ))%
20mm f/2.8 **. (#*★ L^YZVc\aZ eg^bZ aZch lî] gZVg [dXjh^c\ bZX]Vc^hb VcY [dXjh gVc\Z a^bîZg '* ,' ,- *(#* '-*
24mm f/2 ZA SSM T* &&&. 6c ^begZhh^kZan Wg^\]i l^YZVc\aZ 8Vga OZ^hh aZch &. ,' ,- ,+ ***
24-70mm f/2.8 ZA SSM II T* &-.. *★ 8Vga OZ^hh b^Y"gVc\Z oddb aZch lî] hjeZgW dei^Xh ^YZVa [dg [jaa"[gVbZ 6ae]V 9HAGh () ,, -( &&& .**
28-75mm f/2.8 SAM ,%. 6 XdchiVci [$'#- VeZgijgZ VcY V Hbddi] 6jid[dXjh Bdidg H6B ^c i]^h hiVcYVgY oddb (- +, ,,#* .) *+*
30mm f/2.8 DT SAM Macro &,. )★ BVXgd aZch YZh^\cZY [dg Y^\îVa lî] &/& bV\c^ÄXVi^dc VcY Hbddi] 6jid[dXjh Bdidg &' ). ,% )* &*%
35mm f/1.4 G &(+. Lî] Vc Zfj^kVaZci [dXVa aZc\i] d[ *'#*bb! V l^YZ VeZgijgZ VcY Vhe]Zg^XVa \aVhh (% ** +. ,+ *&%
35mm f/1.8 DT SAM &,. 7jY\Zi"eg^XZ ^cYddg edgigVî aZch '( ** ,% *' &,%
50mm f/1.8 DT SAM &*. )#*★ 6 kZgn jhZ[ja aZch i]Vi eZg[dgbh lZaa VcY XVgg^Zh V gdX`"Wdiidb eg^XZ iV\ () ). ,% )* &,%
50mm f/1.4 (+. *★ L]âZ i]^h aZch eZg[dgbh lZaa dkZgVaa! eZg[dgbVcXZ Vi [$&#) XdjaY WZ WZiiZg )* ** +*#* )( ''%
50mm f/1.4 ZA SSM &(%% )★ 8Vga OZ^hh YZh^\c hV^Y id WZ ^YZVa [dg fjVaîn"Xgî^XVa edgigVîjgZ VcY adl"a^\]i h]ddi^c\ )* ,' -& ,&#* *&-
50mm f/2.8 Macro *'. 6 bVXgd aZch lî] V ÅdVi^c\ aZch ZaZbZci '% ** ,&#* +% '.*
55-200mm f/4-5.6 DT SAM '&. 9Zh^\cZY [dg XgdeeZY"hZchdg XVbZgVh! lî] V Hbddi] 6jid[dXjh Bdidg .* ** ,&#* -* (%*
55-300mm f/4.5–5.6 DT SAM (%. 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb d[[Zg^c\ hbddi]! hâZcideZgVi^dc &)% +' ,, &&+#* )+%
70-200mm f/2.8 G SSM II ',.. =^\]"eZg[dgbVcXZ<HZg^ZhiZaZe]didoddbaZch &'% ,, -, &.+#* &()%

SPONSORED BY
FILTER THREAD (MM)

DSLR Lenses
STABILISATION
MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
PENTAX
CANON
NIKON
SIGMA
IMAGE
70-300mm f/4.5-5.6 G SSM £869 3.5★ <"hZg^Zh aZch lî] :9 ZaZbZcih! HjeZg Hdc^X lVkZ Bdidg VcY V X^gXjaVg VeZgijgZ &'% +' -'#* &(*#* ,+%
70-400mm f/4-5.6 G SSM II &,.. GZYZh^\c d[ dg^\^cVa [ZVijgZh V cZl AH> Yg^kZ X^gXjî VcY egdb^hZh[VhiZgVjid[dXjh &*% ,, .* &.+ &*%%
85mm f/1.4 ZA Planar T* &(+. ;^mZY"[dXVa"aZc\i] aZch V^bZY Vi ^cYddg edgigVîjgZ -* ,' -&#* ,'#* *+%
85mm f/2.8 SAM '&. 6 a^\]i! adl"eg^XZ edgigVîjgZ aZch +% ** ,% *' &,*
100mm f/2.8 Macro +*. BVXgd aZch lî] X^gXjaVg VeZgijgZ! YdjWaZ ÅdVi^c\ ZaZbZci VcY l^YZ VeZgijgZ (* ** ,* .-#* *%*
135mm f/1.8 ZA Sonnar T* &)'. 6 Wg^\]i! 8Vga OZ^hh edgigVî iZaZe]did aZch ,' ,, -) &&* &%%)
135mm f/2.8 STF &&&. IZaZe]didaZchÄiiZYlî]VedY^hVi^dcZaZbZciid\^kZViigVXi^kZYZ[dXjhZ[[ZXih -, -% -% .. ,(%
TAMRON DSLR
10-24mm f/3.5-4.5 SP AF Di II LD Asph IF *&& (#*★ <ddY Xdch^hiZcXn Vi &%bb VcY &-bb! Wji V hiZZe YZXa^cZ Vi ')bb ') ,, -(#' -+#* )%+
10-24mm f/3.5-4.5 Di II VC HLD *-% )#*★ L^YZVc\aZ oddb d[ 6EH"8 lî] Yjhi VcY heaVh]egddÄc\ VcY dei^XVa hiVWâ^hVi^dc ') ,, -(#+ -)#+ ))%
15-30mm f/2.8 SP Di VC USD .*% )★ :mXZaaZci kVajZ! i]^h ^h i]Z dcan l^YZVc\aZ oddb lî] ^bV\Z hiVWâ^hVi^dc VcY Vc [$'#- VeZgijgZ '- c$V .-#) &)* &&%%
15-30mm f/2.8 SP Di VC USD G2 &',. HZXdcY"\ZcZgVi^dc ^bV\Z"hiVWâ^hZY [Vhi l^YZ oddb ^cXajYZh lZVi]Zg"hZVa^c\ VcY [VhiZg 6; '- c$V .-#) &)* &&&%
16-300mm f/3.5-6.3 Di II VC PZD Macro +%% )★ KZghViâZ bZ\V"oddb! V kZgn \ddY Vaa"^c"dcZ hdaji^dc! Vh adc\ Vh ndj ldc¼i cZZY id ZcaVg\Zid6'hôZ (. +, ..#* ,* *)%
17-35mm f/2.8-4 Di OSD +'. Bdhi XdbeVXi VcY a^\]iZhi [jaa"[gVbZ jaigV"l^YZVc\aZ oddb ^c îh XaVhh '- ,, -(#+ .% )+%
17-50mm f/2.8 SP AF XR Di II VC LD Asph IF *)& )#*★ KZgn higdc\ eZg[dgbVcXZ Vi adc\Zg [dXVa aZc\i]h Wji lZV`Zg Vi i]Z di]Zg ZcY '. ,' ,.#+ .)#* *,%
18-200mm f/3.5-6.3 AF Di II VC &+. )★ A^\]ilZ^\]i Vaa"^c"dcZ aZch [dg 6EH"8 9HAGh lî] K^WgVi^dc 8dbeZchVi^dc ). +' ,* .+#+ )%%
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro £663 3★ I]Z cZmi"\ZcZgVi^dc ^cXVgcVi^dc d[[Zgh V cZl [dgb d[ jaigVhdc^X Zc\^cZ ). +' ,)#) -- )*%
18-400mm f/3.5-6.3 Di II VC HLD +*% )★ I]Z adc\Zhi"gVc\^c\ iZaZe]did oddb nZi bVYZ ijgch ^c V hjgeg^h^c\an YZXZci eZg[dgbVcXZ )* ,' ,. &'(#. ,&%
24-70mm f/2.8 SP Di VC USD &%.. *★ ;Vhi oddb lî] ^bV\Z hiVWâ^hVi^dc [dg Wdi] [jaa"[gVbZ VcY 6EH"8 XVbZgVh (- -' --#' &&+#. -'*
24-70mm f/2.8 SP Di VC USD G2 &'). Je\gVYZY [Vhi oddb lî] ^begdkZY ^bV\Z hiVWâ^hVi^dc VcY bd^hijgZ"gZh^hiVci XdchigjXi^dc (- -' --#) &&& .%*
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro )+% HiVcYVgY oddb lî] XdchiVci [$'#- VeZgijgZ VcY b^c^bjb [dXjh^c\ Y^hiVcXZ d[ ((Xb (( +, ,( .' *&%
28-300mm f/3.5-6.3 Di VC PZD *'. 6 cZl! [jaa"[gVbZ! ]^\]"edlZg oddb ^cXdgedgVi^c\ EO9 E^Zod 9g^kZ ). +, ,* ..#* *)%
35mm f/1.8 Di VC USD *-% )#*★ BdYZgViZan l^YZ eg^bZ XdbW^cZh jaigVhdc^X [dXjh^c\! ^bV\Z hiVWâ^hVi^dc VcY V [Vhi VeZgijgZ '% +, -%#) -%#- )-%
45mm f/1.8 Di VC USD *-% )#*★ 6 aZch i]Vi gZlgîZh i]Z hiVcYVgY [dXVa aZc\i] lî] V [Vhi VeZgijgZ XdjeaZY lî] dei^XVahiVWâ^hVi^dc '. +, -%#) -.#' .)%
60mm f/2 SP AF Di II LD IF Macro **% *★ BVXgd aZch YZh^\cZY [dg 6EH"8 hZchdg XVbZgVh! lî] &/& gZegdYjXi^dc gVi^d '( ** ,( -% )%%
70-200mm f/2.8 SP AF Di LD IF Macro -&, )★ Cd ^bV\Z hiVWâ^hVi^dc VcY cd VYkVcXZY 6; hnhiZb! Wji Vi i]^h eg^XZ î¼h V hiZVa .* ,, -.#* &.)#( &&*%
70-200mm f/2.8 Di VC USD &%.. 8dbeVXi nZi [jaa"hôZ iZaZe]did oddb lî] k^WgVi^dc XdbeZchVi^dc &(% ,, -*#- &--#( &),%
70-200mm f/2.8 SP Di VC USD G2 &(*% *★ :mXZaaZci iZaZe]did oddb lî] jeYViZY Vjid[dXjh VcY ^bV\Z hiVWâ^hVi^dc eajh hZVaZY XdchigjXi^dc .* ,, -- &.(#- &*%%
70-210mm f/4 Di VC USD +.. )#*★ A^\]ilZ^\]i iZaZoddb egdb^hZh ]^\] dei^XVa eZg[dgbVcXZ! ^bV\Z hiVWâ^hVi^dc VcY lZVi]Zg"hZVa^c\ .* +, ,+ &,+#* -+%
70-300mm f/4-5.6 SP VC USD (%% )★ JaigVhdc^X HâZci 9g^kZ JH9 iZX]cdad\n [dg [dXjh^c\ VcY K^WgVi^dc 8dbeZchVi^dc &*% +' -&#* &)'#, ,+*
70-300mm f/4-5.6 AF Di LD Macro &,% (#*★ Adl"Y^heZgh^dc \aVhh VcY XdbeVi^WaZ lî] Wdi] [jaa"[gVbZ VcY XgdeeZY"hZchdg 9HAGh .* +' ,+#+ &&+#* )(*
85mm f/1.8 Di VC USD ,). *★ I]Z Äghi [jaa"[gVbZ -*bb [$&#- aZch lî] ^bV\Z hiVWâ^hVi^dc! i]Vi¼h Vahd bd^hijgZ gZh^hiVci -% +, -* .& ,%%
90mm f/2.8 SP AF Di Macro ),% )★ 6 kZgn c^XZ bVXgd aZch i]Vi ^h XVeVWaZ d[ egdYjX^c\ hdbZ ÄcZ ^bV\Zh '. ** ,&#* ., )%*
90mm f/2.8 Di Macro 1:1 VC USD *,. GZYZh^\c d[ i]Z .%bb [$'#- HE 6; 9^ BVXgd0 XdbZh lî] k^WgVi^dc XdbeZchVi^dc (% *- &&* ,+#) **%
100-400mm f/4.5-6.3 Di VC USD ,-. *★ GZaVi^kZan XdbeVXi VcY a^\]ilZ^\]i iZaZe]did oddb lî] bd^hijgZ"gZh^hiVci XdchigjXi^dc &*% +, &.. -+#' &&(*
150-600mm f/5-6.3 SP Di VC USD G2 &()% JeYViZY kZgh^dc d[ IVbgdc¼h edejaVg adc\ iZaZoddb ''% .* &%-#) '+%#' '%&%
150-600mm f/5-6.3 SP VC USD &&*% )★ Adc\Zhi [dXVa aZc\i] d[ Vcn V[[dgYVWaZ Zci]jh^Vhi oddb dc i]Z bVg`Zi VcY egdYjXZh ZmXZaaZcigZhjaih ',% .* &%*#+ '*,#- &.*&
180mm f/3.5 SP AF Di LD IF Macro £896 5★ IldAdl9^heZgh^dcZaZbZcihVcY^ciZgcVa[dXjh^c\hnhiZb^ci]^h&/&bVXgdaZch ), ,' -)#- &+*#, .'%
TOKINA DSLR
AT-X 10-17mm f/3.5-4.5 AF DX Fisheye **% ;^h]ZnZ oddb aZch lî] LViZg GZeZaaZci XdVi^c\ VcY HjeZg Adl 9^heZgh^dc \aVhh &) c$V ,% ,&#& (*%
AT-X 11-16mm f/2.8 PRO DX II )). JeYViZ id i]Z edejaVg &&"&+bb [$'#- aZch! [dg ha^\]ian ^begdkZY dei^XVa eZg[dgbVcXZ (% ,, -) -.#' **%
AT-X 11-20mm f/2.8 PRO DX ).. )★ 8dbeVXi! jaigV"l^YZVc\aZ aZch lî] V [Vhi bVm^bjb VeZgijgZ VcY YZXZci dei^XVa eZg[dgbVcXZ '- -' -. .' *+%
AT-X 12-28mm f/4 PRO DX *'. GZeaVXZbZci [dg &'"')bb [$) l^YZVc\aZ oddb0 [dg C^`dc 9M 9HAGh '* ,, -) .% +%%
AT-X 14-20mm f/2 PRO DX -). L^YZVc\aZ oddb lî] hjeZg"[Vhi! hjeZg"Wg^\]i! XdchiVci [$' VeZgijgZ [dg h]ddi^c\ ^c kZgn adl a^\]i '- -' -. &%+ ,'*
AT-X 16-28mm f/2.8 PRO FX ,*, *★ 6 egd"ZcY l^YZVc\aZ oddb V^bZY Vi [jaa"[gVbZ XVbZgVh '+ c$V .% &(( .*%
AT-X 17-35mm f/4 PRO FX -(% *★ DcZ d[ i]Z bdhi XVeVWaZ hjeZg"l^YZ oddbh VkVâVWaZ! i]dj\] dcan VkVâVWaZ ^c 8Vcdc VcY C^`dc bdjcih '- -' -. .) +%%
AT-X 24-70mm f/2.8 PRO FX +,. I]gZZ egZX^h^dc"bdjaYZY Vaa"\aVhh Vhe]Zg^XVa aZch ZaZbZcih VcY V [Vhi! XdchiVci [$'#- VeZgijgZ (- -' -.#+ &%,#* &%&%
Opera 50mm F1.4 FF .%% EgZb^jb [Vhi eg^bZ YZh^\cZY [dg ]^\]"gZhdaji^dc 9HAGh! lî] Yjhi VcY lZVi]Zg"gZh^hiVci XdchigjXi^dc )% ,' -% &%,#* .*%
AT-X 70-200mm f/4 PRO FX VCM-S +.& ;ZVijgZh V cZl K^WgVi^dc 8dggZXi^dc BdYjaZ VcY g^c\"h]VeZY jaigVhdc^X hinaZ Vjid[dXjh bdidg &%% +, -' &+,#* .-%
AT-X 100mm f/2.8 AF PRO D Macro (+% )★ HdbZlZV`cZhhZhl^YZdeZc!WjigZVhdcVWaZBI;XjgkZhbV`Zi]^hVYZXZcidei^X (% ** ,( .*#& *)%
ZEISS DSLR
15mm f/2.8 Milvus '('. I]^h hjeZg"l^YZVc\aZ aZch ]Vh Vc Vc\aZ d[ k^Zl d[ &&% VcY jhZh Vc VYkVcXZY gZigd[dXjh YZh^\c '* .* &%'#( &%%#' .),
18mm f/2.8 Milvus &... 8dbeVXi hjeZg"l^YZVc\aZ aZch lî] egZb^jb dei^Xh ^cXajY^c\ V ÅdVi^c\ [dXjh hnhiZb [dg XadhZ"jeh '* ,, .% .( ,'&
21mm f/2.8 Milvus &'.. EgZb^jb l^YZVc\aZ aZch lî] XdbeaZm dei^Xh YZh^\cZY id WZ [gZZ d[ Y^hidgi^dc '' -' .*#* .* -*&
25mm f/1.4 Milvus &... *★ Dei^XVaan ZmXZaaZci! aVg\Z"VeZgijgZ bVcjVa [dXjh l^YZVc\aZ aZch lî] lZVi]Zg"hZVaZYXdchigjXi^dc '* -' .*#' &'( &''*
25mm f/2 Distagon T* &(*% 6 aVcYhXVeZ aZch lî] V [Vhi VeZgijgZ '* +, ,( .- +%%
25mm f/2.8 Distagon T* ,(- GZaVi^kZan hbVaa VcY a^\]i l^YZVc\aZ eg^bZ! VkVâVWaZ ^c C^`dc bdjcidcan &, *- +) .% )+%
28mm f/2 Distagon T* -*% ;dg adl"a^\]i h]ddi^c\ i]Z '-bb aZch ]Vh eaZcin d[ ediZci^Va ') *- ,'#) ,' *-%
35mm f/1.4 Distagon T* &+%% Egdb^hZh id egdYjXZ hdbZ hijcc^c\ Wd`Z] Z[[ZXih (% ,' ,- &'' -*%
35mm f/1.4 Milvus &+.. AVg\Z VeZgijgZ! egZb^jb"fjVaîn bVcjVa"[dXjh eg^bZ lî] lZVi]Zg"hZVaZY XdchigjXi^dc (% ,' -)#- &')#- &&,)
35mm f/2 Milvus -'. 8dbeVXi! bdYZgViZ l^YZVc\aZ bVcjVa [dXjh eg^bZ (% *- ,, -( ,%'
50mm f/1.4 Planar T* **. 8aVhh^X YdjWaZ"<Vjhh YZh^\c bVcjVa [dXjh hiVcYVgY eg^bZ [dg [jaa"[gVbZ HAGh )* *- ,& ,& (-%
50mm f/1.4 Milvus .). *★ 6c ZmXZei^dcVaan \ddY aZch d[[Zg^c\ h]VgecZhh! YZiVâ! XaZVc ZY\Zh VcY V \gZVi jhZg ZmeZg^ZcXZ )* +, -'#* .) .''
50mm f/2 Milvus Macro .). BVcjVa"[dXjh bVXgd aZch lî] ]Va["a^[Z"hôZ bV\c^ÄXVi^dc VcY hijcc^c\ dei^Xh ') +, -& ,*#( ,(%
85mm f/1.4 Planar T* .-. 8aVhh^X edgigVî eg^bZ YZh^\cZY id \^kZ hbddi]! gdjcYZY Wd`Z] Z[[ZXih &%% ,' ,- -- +,%
85mm f/1.4 Milvus &(,. *★ ;Vhi -*bb bVcjVa"[dXjh eg^bZ aZch i]Vi¼h eZg[ZXi [dg edgigVîjgZ -% ,, .% &&( &'-%
100mm f/2 Milvus Macro &'.. 6 bVcjVa"[dXjh bVXgd aZch lî] VWhdajiZan hjeZgW dei^Xh VcY ]Va["a^[Z"hôZ gZegdYjXi^dc -- +, -%#* &%) -)(
135mm f/2 Milvus &-.. IZaZe]didaZchlî]VaVg\ZVeZgijgZVcYhbddi]Wd`Z]!^YZVa[dgbZY^jb"Y^hiVcXZedgigVîe]did\gVe]n -% ,, &'. &(' &&'(

BUYING GUIDE
FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION
MIN FOCUS (CM)

Mirrorless Lenses
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
FUJIFILM X
CANON RF
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
CANON MIRRORLESS
EF-M 11-22mm f/4-5.6 IS STM (** JaigV"l^YZVc\aZ aZch lî] V XdbeVXi! gZigVXiVWaZ aZch YZh^\c &* ** +& *-#' ''%
EF-M 15-45mm f/3.5-6.3 IS STM '). 8daaVeh^WaZ hiVcYVgY oddb [dg :DH B"hZg^Zh XVbZgVh i]Vi¼h aZhh Wja`n i]Vc i]Z &-"**bb '* ). +%#. ))#* &(%
EF-M 18-55mm f/3.5-5.6 IS STM '+. 8dbeVXi VcY kZghViâZ oddb aZch '* *' +& +& '&%
EF-M 18-150mm f/3.5-6.3 IS STM (.. L^YZ"gVc\^c\ '."')%bb Zfj^kVaZci hjeZgoddb lî] hjgeg^h^c\an \ddY ^bV\Z fjVaîn '* ** +%#. -+#* (%%
EF-M 22mm f/2 STM ''% HbVaa VcY Wg^\]i l^YZVc\aZ eVcXV`Z aZch &* )( +& '(#, &%*
EF-M 28mm f/3.5 IS STM Macro '.) HbVaa! gZigVXiVWaZ aZch lî] Wjâi"^c A:9 a^\]ih [dg âajb^cVi^c\ XadhZ"je hjW_ZXih .#, )( +%#. )*#* &(%
EF-M 32mm f/1.4 STM *%% AVg\Z"VeZgijgZ Wji a^\]ilZ^\]i eg^bZ i]Vi d[[Zgh V *%bb Zfj^kVaZci Vc\aZ d[ k^Zl '( )( +%#. *+#* '(*
EF-M 55-200mm f/4.5-6.3 IS STM ((% IZaZe]did oddb i]Vi iV`Zh ndj XadhZg id i]Z VXi^dc &%% *' +%#. -+#* '+%
RF 24-105mm f/4L IS STM &&'% <ZcZgVa"ejgedhZ hiVcYVgY oddb lî] jhZ[ja gVc\Z VcY ^bV\Z hiVWâ^hVi^dc )* ,, -(#* &%,#( ,%%
RF 28-70mm f/2L USM (%*% <gdjcYWgZV`^c\! Wji ]j\Z! [jaa"[gVbZ oddb lî] XdchiVci [$' bVm^bjb VeZgijgZ (. .* &%(#- &(.#- &)(%
RF 35mm f/1.8 IS STM Macro *'% Bjai^"ejgedhZ [Vhi eg^bZ i]Vi ^cXajYZh ^bV\Z hiVWâ^hVi^dc VcY %#*m bVXgd gZegdYjXi^dc &, *' ,)#) +'#- (%*
RF 50mm f/1.2L USM '(*% =ZVknlZ^\]ijaigV"[VhihiVcYVgYeg^bZi]Viegdb^hZhZmXZei^dcVaadl"a^\]ieZg[dgbVcXZ -% ,, -.#- &%- .*%
NIKON MIRRORLESS
NEW 14-30mm f/4 S Nikkor-Z &(). GZbVg`VWan XdbeVXi jaigV"l^YZVc\aZ oddb i]Vi VXXZeih hXgZl"^c ÄaiZgh '- -' -. -* )-*
24-70mm f/4 S Nikkor-Z ... <ZcZgVa"ejgedhZ hiVcYVgY oddb [dg C^`dc¼h [jaa"[gVbZ b^ggdgaZhh hnhiZb (% ,' ,,#* --#* *%%
35mm f/1.8 S Nikkor-Z -). ;Vhi! bdYZgViZ"l^YZVc\aZ eg^bZ YZh^\cZY [dg dei^bjb dei^XVa eZg[dgbVcXZ '* +' ,( -+ (,%
50mm f/1.8 S Nikkor-Z *.. AVg\Z"VeZgijgZeg^bZi]Viegdb^hZhZmXZei^dcVaZY\Z"id"ZY\Zh]VgecZhh )% +' ,+ -+#* )&*
FUJIFILM MIRRORLESS
XF 8-16mm f/2.8 R LM WR &,.. EgZb^jb jaigV"l^YZVc\aZ aVg\Z"VeZgijgZ oddb aZch lî] lZVi]Zg"gZh^hiVci XdchigjXi^dc '* c$V -- &'&#* -%*
XF 10-24mm f/4 R OIS -). L^YZVc\aZ oddb aZch! egdb^h^c\ b^c^bVa \]dhi^c\ lî] ;j_^¼h =I":78 bjai^"aVnZg XdVi^c\ ') ,' ,- -, )&%
XF 14mm f/2.8 R ,'. *★ L^YZVc\aZ eg^bZ lî] ]^\] gZhdaji^dc ^cid i]Z XdgcZgh! îh eZg[dgbVcXZ _jhi^ÄZh i]Z eg^XZ iV\ &- *- +* *-#) '(*
XC 15-45mm f/3.5-5.6 OIS PZ '*. A^\]ilZ^\]i gZigVXiVWaZ edlZg oddb i]Vi¼h hZi id WZ i]Z Zcign"aZkZa `î aZch [dg M"hnhiZbXVbZgVh &( *' +'#+ ))#' &(*
XF 16mm f/1.4 R WR ,'. *★ LZVi]Zg"hZVaZY [Vhi eg^bZ [dg M"hnhiZb jhZgh &* +, ,(#) ,( (,*
XC 16-50 f/3.5-5.6 OIS II (*. A^\]ilZ^\]i aZch [dg b^ggdgaZhh M"hZg^Zh d[[Zgh ')",*bb Zfj^kVaZci oddb gVc\Z (% *- +'#+ .-#( &.*
XF 16-55mm f/2.8 R LM WR -.. *★ 6 ÅV\h]ê M; hiVcYVgY oddb aZch lî] V XdchiVci [$'#- VeZgijgZ VcY lZVi]Zg"gZh^hiVcXZ +% ,, -(#( &%+ +**
XF 18mm f/2 R )(% )★ 6 XdbeVXi l^YZVc\aZ aZch lî] V fj^X` VeZgijgZ &- *' +)#* )%#+ &&+
XF 18-135mm f/3.5-5.6 R LM OIS WR +.. )★ LZVi]Zg"gZh^hiVci oddb [dg ;j_^Äab M bdjci! YZh^\cZY id WZ i]Z eZg[ZXieVgicZg[dgi]Z;j_^ÄabM"I& )* ,, ,*#, .,#- ).%
XF 18-55mm f/2.8-4 R LM OIS *.. H]dgi oddb aZch lî] dei^XVa ^bV\Z hiVWâ^hVi^dc &- *- +* ,%#) (&%
XF 23mm f/1.4 R +). EgZb^jb l^YZVc\aZ eg^bZ aZch lî] [Vhi bVm^bjb VeZgijgZ '- +' ,' +( (%%
XF 23mm f/2 R WR )&. *★ 8dbeVXi lZVi]Zg"gZh^hiVci l^YZVc\aZ eg^bZ aZch '' )( +% *&#. &-%
XF 27mm f/2.8 ',% 6 ]^\]"eZg[dgbVcXZ h^c\aZ"[dXVa"aZc\i] aZch +% (. '( +&#' ,-
XF 35mm f/1.4 R )(. )★ H]Vaadl YZei] d[ ÄZaY VcY Wd`Z] Z[[ZXih VgZ h^beaZ id VX]^ZkZ lî] i]^h aZch '- *' +* *)#. &-,
XF 35mm f/2 R WR '.. *★ 6 edlZg[ja VcY lZVi]Zg"gZh^hiVci aZch i]Vi [ZZah \gZVi VcY ]Vh i]Z eZg[dgbVcXZ id bViX] (* )( +% )*#. &,%
XF 50mm f/2 R WR )). *★ A^\]ilZ^\]i lZVi]Zg"gZh^hiVci h]dgi iZaZe]did eg^bZ aZch i]Vi¼h ^YZVa [dg h]ddi^c\ edgigVîh (. )+ +% *.#) '%%
XF 50-140mm f/2.8 R LM OIS WR &'). 6 iZaZe]did oddb lî] V XdchiVci bVm^bjb VeZgijgZ VcY lZVi]Zg"gZh^hiVcXZ &%% ,' -'#. &,*#. ..*
XC 50-230mm f/4.5-6.7 OIS II (&* I]Z M8 aZch gVc\Z ^h YZh^\cZY id hjî ;j_^¼h b^Y"gVc\Z 8H8h! VcY i]^h aZch ]Vh dei^XVa ^bV\Z hiVWâ^hVi^dc &&% *- +.#* &&& (,*
XF 55-200mm f/3.5-4.8 R LM OIS *.. )★ IZaZe]did lî] Wjâi"^c dei^XVa ^bV\Z hiVWâ^hVi^dc eajh VeZgijgZ Xdcigda g^c\ &&% +' &&- ,* *-%
XF 56mm f/1.2 R -.. )★ I]^h l^YZ"VeZgijgZ edgigVî aZch [dg M"hZg^Zh XVbZgVh ]Vh \gZVi h]VgecZhh VcY YZiVâ VcY ^h\gZVikVajZ ,% +' ,(#' +.#, )%*
XF 56mm f/1.2 R APD &&*. )★ 6YYh VedY^hVi^dc ZaZbZci d[ *+bb [$&#' [dg ZkZc bdgZ ViigVXi^kZ WVX`\gdjcY Wajg ,% +' ,(#' +.#, )%*
XF 60mm f/2.4 XF R Macro *.. 6 h]dgi aZch YZh^\cZY [dg bVXgd ldg` lî] ]Va["a^[Z"hôZ bV\c^ÄXVi^dc '+#, (. +)#& ,%#. '&*
XF 80mm f/2.8 R LM OIS WR Macro &'). )★ ;j_^Äab¼h adc\"VlVîZY &/& bVXgd ^cXajYZh lZVi]Zg gZh^hiVcXZ VcY dei^XVa ^bV\Z hiVWâ^hVi^dc '* +' -% &(% ,*%
XF 90mm f/2 R LM WR +.. *★ 6 XaVhh^X edgigVî aZch i]Vi¼h h]Vge! lî] \dg\Zdjh Wd`Z] +% +' ,* &%* *)%
XF 100-400mm f/4.5-5.6 R LM OIS WR &(.. *★ I]^hhjeZgWoddb^hWdi]lViZgVcYYjhigZh^hiVci!VcYXVcdeZgViZ^c"&%8iZbeZgVijgZh &,* ,, .)#- '&%#* &(,*
LAOWA MIRRORLESS
4mm f/2.8 Fisheye MFT I78 A^\]ilZ^\]i Äh]ZnZ aZch [dg B^Xgd ;djg I]^gYh d[[Zg^c\ V X^gXjaVg ^bV\Z lî] V '&% Vc\aZ d[ k^Zl - c$V )*#' '*#* &(*
7.5mm f/2 MFT ).. )#*★ I^cn Wji h]Vge l^YZVc\aZ eg^bZ [dg B^Xgd ;djg I]^gYh [ZVijg^c\ bVcjVa [dXjh VcY VeZgijgZ Xdcigda &' )+ *% ** &,%
9mm f/2.8 Zero D ).. 8dbeVXi bVcjVa"[dXjh eg^bZ [dg 6EH"8 b^ggdgaZhh XVbZgVh egdb^hZh kZgn adl Y^hidgi^dc &' ). +% *( '&*
10-18mm f/4.5-5.6 FE Zoom -.. I]Z ldgaY¼h l^YZhi oddb [dg [jaa"[gVbZ Hdcn b^ggdgaZhh! lî] bVcjVa [dXjh VcY VeZgijgZ Xdcigda &* (, ,% .%#. ).+
12mm f/1.8 MFT I78 HbVaa! a^\]ilZ^\]i bVcjVa [dXjh l^YZVc\aZ [dg B^Xgd ;djg I]^gYh! lî] ')bb Zfj^kVaZci k^Zl &) )+ ** *% &+*
15mm f/2 FE Zero D -.. )#*★ BVcjVa"[dXjh [Vhi jaigV"l^YZVc\aZ eg^bZ [dg [jaa"[gVbZ Hdcn XVbZgVh! lî] b^c^bVa Y^hidgi^dc &* ,' ++ -' *%%
17mm f/1.8 MFT I78 8dbeVXieg^bZ[dgB^Xgd;djgI]^gYhXVbZgVhlî]bVcjVa[dXjhVcYVeZgijgZdeZgVi^dc &* )+ ** *% &+%
LEICA MIRRORLESS
11-23mm f/3.5-4.5 TL &)*% L^YZVc\aZ oddb aZch [dg AZ^XV¼h 6EH"8 b^ggdgaZhh hnhiZb '% +, ,, ,( (+-
18-56mm f/3.5-5.6 Vario-Elmar TL &'-% GZaVi^kZan aVg\Z! cdc"gZigVXiVWaZ oddb [dg 6EH"8 b^ggdgaZhh )* *' +(#* +& '*+
18mm f/2.8 Elmarit TL &%'% Ha^ba^cZ! ZmigZbZan a^\]ilZ^\]i eVcXV`Z eg^bZ lî] [Vhi Vjid[dXjh (% (. +& '& -%
23mm f/2 Summicron TL &)&% 8dbeVXi! a^\]ilZ^\]i [Vhi eg^bZ i]Vi d[[Zgh V XaVhh^X (*bb Zfj^kVaZci k^Zl dc AZ^XV¼h 6EH"8 8H8h (% *' +(#* (-#& &*(
24-90mm f/2.8-4 Vario-Elmarit-SL (,.% AVg\Z! Wji ZmXZei^dcVa fjVaîn [jaa"[gVbZ hiVcYVgY oddb lî] gZVaan jhZ[ja oddb gVc\Z (% -' -- &(- &&)%
35mm f/1.4 Summilux TL &-(% =^\]"ZcY [Vhi eg^bZ YZh^\cZY id \^kZ ZmXZei^dcVa ^bV\Z fjVaîn (% +% ,% ,, )'-
55-135mm f/3.5-4.5 APO-Vario-Elmar-TL &)*% IZaZe]did oddb i]Vi ZhX]Zlh ^bV\Z hiVWâ^hVi^dc ^c V W^Y [dg bVm^bVa dei^XVa fjVaîn &%% +% +- &&% *%%
60mm f/2.8 APO-Macro-Elmarit TL &.'% BVXgd aZch [dg AZ^XV¼h 6EH"8 b^ggdgaZhh XVbZgVh d[[Zgh &/& a^[Z"hôZbV\c^ÄXVi^dc &+ +% +- -. ('%
75mm f/2 APO-Summicron SL (,*% ;Vhih]dgi"iZaZe]didedgigVîaZch[dgi]Z[jaa"[gVbZAZ^XVHA *% +, ,( &%' ,'%
OLYMPUS MIRRORLES
7-14mm f/2.8 ED Pro ... )#*★ HjeZg"l^YZVc\aZ oddb aZch i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ"egdd[ '% c$V ,-#. &%*#- *()
8mm f/1.8 Pro Fisheye ,.. ;^h]ZnZaZchlî]^begZhh^kZ^bV\ZfjVaîni]Vi¼hYjhiegdd[!heaVh]egdd[VcY[gZZoZ"egdd[ &' c$V +' -% (&*
g without a lens attached!

ou’ll find hundreds of lenses
uses, for a variety of budgets.
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FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION
MIN FOCUS (CM)

Mirrorless Lenses
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
FUJIFILM X
CANON RF
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
9-18mm f/4-5.6 ED +(% I]^h hjeZg l^YZVc\aZ aZch d[[Zgh Vc Zfj^kVaZci [dXVa gVc\Z d[ &-"(+bb^c(*bbiZgbh '* *' *+#* ).#* &**
9mm f/8 Fish-eye Body Cap Lens -. Ha^ba^cZ aZch ^c V WdYn XVe lî] &)% Vc\aZ d[ k^Zl '% c$V *+ &'#- (%
12mm f/2.0 ED ,(. *★ 6 l^YZVc\aZ ÄmZY aZch [dg i]Z B^Xgd ;djg I]^gYh hnhiZb '% )+ *+ )( &(%
12-40mm f/2.8 ED Pro -.. LZVi]Zg"gZh^hiVci hiVcYVgY oddb lî] ide"cdiX] dei^Xh VcY V XdchiVci VeZgijgZ d[ [$'#- '% +' +.#. -) (-'
12-50mm f/3.5-6.3 ED EZ (). 6 lZVi]Zg"gZh^hiVci oddb aZch lî] bVcjVa dg ZaZXigdc^X oddb '% *' *, -( '&&
12-100mm f/4 IS ED Pro &%.. *★ HjeZgW ]^\]"ZcY lZVi]Zg"hZVaZY hjeZgoddb aZch [ZVijg^c\ edlZg[ja ^c"aZch >H lî] HncX>H &* ,' ,,#* &&+#* *+&
14-42mm f/3.5-5.6 II R '+. 6 gZYZh^\cZY kVg^Vi^dc d[ i]Z hiVcYVgY `î aZch '* (, *+#* *% &&'
14-42mm f/3.5-5.6 EZ ('. 8dbeVXi `î aZch [dg Danbejh E:C VcY DB"9 bdYZah lî] edlZgoddb Xdcigda '% (, +%#+ ''#* .(
14-150mm f/4-5.6 II **% =^\]"edlZgZY oddb [dg Vaa ndjg cZZYh · [gdb l^YZVc\aZ id iZaZe]did · eajh lZVi]Zg"gZh^hiVcXZ *% *- +(#* -( '-*
15mm f/8 Body Cap Lens +. Hig^Xian heZV`^c\ Vc VXXZhhdgn gVi]Zg i]Vc V aZch! lî] WVh^X dei^Xh ^c V i^cn eaVhi^X ]djh^c\ (% c$V *+ . ''
17mm f/1.2 ED Pro &(%% =^\]"ZcY! aVg\Z"VeZgijgZ lZVi]ZghZVaZY eg^bZ YZh^\cZY [dg YdXjbZciVgn dg aVcYhXVeZ ldg` '% +' +-#' -, (.%
17mm f/1.8 MSC )*% *★ L^YZ"VeZgijgZ! l^YZVc\aZ eg^bZ WdVhi^c\ ZmXZaaZci eZV` h]VgecZhh VcY adl Xdadjg [g^c\^c\ '* )+ *, (* &'%
17mm f/2.8 Pancake (%% )★ I^cn l^YZVc\aZ eVcXV`Z eg^bZ lî] gZVhdcVWaZ dei^Xh '% (, *, '' ,&
25mm f/1.2 ED Pro &%.. =^\]"egZX^h^dc! ]^\]"heZZY dei^X lî] V heZX^Va aZch hnhiZb XdchigjXi^dc [dg ZY\Z"id"ZY\Z h]VgecZhh (% +' ,% -, )&%
25mm f/1.8 (,% 8dbeVXi eg^bZ aZch lî] jaigV"Wg^\]i [$&#- VeZgijgZ '* )+ *,#- )' &(,
30mm f/3.5 ED Macro '). CZl ^c i]Z B#Oj^`d EgZb^jb gVc\Z! i]^h bVXgd aZch [ZVijgZh hjeZg"[Vhi 6; VcY lZ^\]h dcan &'-\ .#* )+ *, +% &'-
40-150mm f/2.8 ED Pro &'.. )★ I]^h edlZg[ja -%"(%%bb (*bb"Zfj^kVaZci [dXVa"aZc\i] aZch d[[Zgh VbVo^c\ edgiVWâîn [dgi]^hegdXaVhh ,% ,' ,.#) &+% ,+%
40-150mm f/4-5.6 R (%. I]^h b^YYaZ"Y^hiVcXZ oddb aZch ]Vh Vc -%"(%%bb (*bb"Zfj^kVaZci [dXVa aZc\i] .% *- +(#* -( &.%
45mm f/1.2 ED Pro &'%% AVg\Z"VeZgijgZ aZch YZh^\cZY [dg edgigVî e]did\gVe]n lî] egZb^jb dei^Xh *% +' ,% -)#. )&%
45mm f/1.8 ',. *★ ;Vhi"VeZgijgZ aZch [dg iV`^c\ edgigVî h]dih ^h h]Vge! fj^Zi VcY ]Vh cd Xdadjg [g^c\^c\ *% (, *+ )+ &&+
60mm f/2.8 Macro )*% =^\]"egZX^h^dc bVXgd aZch i]Vi¼h Yjhiegdd[ VcY heaVh]egdd[ &. )+ *+ -' &-*
75-300mm f/4.8-6.7 ED II ).. JeYViZ [ZVijg^c\ Oj^`d :migV"adl GZÅZXi^dc Dei^XVa XdVi^c\ hV^Y id gZYjXZ \]dhi^c\ .% *- +. &&, )'(
75mm f/1.8 ED ,.. *★ JaigV"[Vhi eg^bZ aZch ^YZVa [dg edgigVîh VcY VXi^dc h]dih -) *- +) +. (%*
300mm f/4 IS Pro ''%% 8dbeVXijaigV"iZaZe]dideg^bZlî]dei^XVa^bV\ZhiVWâ^hVi^dc!XdbeVi^WaZlî]HncX>H &)% ,, .'#* '', &',%
PANASONIC MIRRORLESS
G 7-14mm f/4 ,)% *★ ;dg V l^YZVc\aZ oddb! i]Z dkZgVaa aZkZa d[ gZhdaji^dc ^h kZgn ^begZhh^kZ '* c$V ,% -(#& (%%
G 8mm Fisheye f/3.5 ,(% I]Z ldgaY¼h a^\]iZhi VcY hbVaaZhi Äh]ZnZ aZch [dg Vc ^ciZgX]Vc\ZVWaZ"aZch XVbZgV &% '' +%#, *&#, &+*
DG 8-18mm f/2.8-4 ASPH Leica &%). HeaVh]egdd[! Yjhiegdd[ VcY [gZZoZegdd[ jaigV"l^YZVc\aZ oddb lî] egZb^jb dei^Xh '( +, ,(#) -- (&*
DG 12mm f/1.4 Leica Summilux ASPH &&.. )#*★ 8dbeVXi [Vhi l^YZVc\aZ fjVaîn lî] ZmXZaaZci dei^Xh VcY Wjâi"^c VeZgijgZ g^c\ '% +' ,% ,% ((*
G 12-32mm f/3.5-5.6 MEGA OIS ',% KZgn XdbeVXi lî] V kZghViâZ oddb gVc\Z VcY i]gZZ Vhe]Zg^XVa aZchZh '% (, **#* ') ,%
G X 12-35mm f/2.8 OIS &%.* *★ ;Vhi! ]^\]"fjVaîn hiVcYVgY oddb [dg B^Xgd ;djg I]^gYh XVbZgVh '* *- +,#+ ,(#- (%*
G X 12-35mm f/2.8 OIS II --% JeYViZY [Vhi hiVcYVgY oddb lî] bViiZ"WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda '* *- +,#+ ,(#- (%*
G 12-60mm f/3.5-5.6 OIS ASPH )(. )★ >cXdgedgViZh V hiZee^c\ bdidg [dg V hbddi]! hâZci deZgVi^dc VcY [ZVijgZh V Yjhi VcY heaVh]egdd[ YZh^\c '% *- ++ ,& '&%
DG 12-60mm f/2.8-4 OIS Leica --% EgZb^jb hiVcYVgY oddb lî] jhZ[ja [dXVa"aZc\i] gVc\Z VcY lZVi]Zg"gZh^hiVci XdchigjXi^dc '% +' +- -+ ('%
G 14mm f/2.5 II '). L^YZVc\aZ eVcXV`Z aZch i]Vi h]djaY hjî aVcYhXVeZ e]did\gVe]Zgh &- )+ **#* '%#* **
G X 14-42mm f/3.5-5.6 X PZ POWER OIS (+. )★ EdlZgZY oddb0 ^begZhh^kZ gZhjaih ^c iZgbh d[ Wdi] h]VgecZhh VcY X]gdbVi^X VWZggVi^dc '% (, +& '+#- .*
G 14-45mm f/3.5-5.6 MEGA OIS &-. 6 a^\]ilZ^\]i VcY XdbeVXi hiVcYVgY oddb [ZVijg^c\ B:<6 D>H dei^XVa ^bV\Z hiVWâ^hVi^dc (% *' +% +% &.*
G 14-140mm f/3.5-5.6 POWER OIS *.. BZiVa"WdY^ZY oddb [ZVijg^c\ XdbeVcn¼h EDL:G D>H dei^XVa ^bV\Z hiVWâ^hZg (% *- +, ,* '+*
DG 15mm f/1.7 Leica SUMMILUX *). )★ =^\]"heZZY eg^bZ lî] V XdbeVXi bZiVa WdYn! ^cXajYZh i]gZZ Vhe]Zg^XVa aZchZh id Xji Ydlc Y^hidgi^dc '% )+ (+ *,#* &&*
G 20mm f/1.7 ASPH II '). JaigV"XdbeVXi [Vhi eg^bZ lî] ZmXZaaZci dei^Xh Wji hadlZg Vjid[dXjhi]VcbdgZbdYZgcdei^dch '% )+ '*#* +( &%%
G 25mm f/1.7 ASPH &*. )#*★ >cZmeZch^kZ [Vhi cdgbVa eg^bZ [dg B^Xgd ;djg I]^gYh '* )+ +%#- *' &'*
DG 25mm f/1.4 Leica SUMMILUX £550 5★ 6 [Vhi"VeZgijgZ ÄmZY [dXVa aZc\i] hiVcYVgY aZch [gdb AZ^XV (% )+ +( *)#* '%%
G 30mm f/2.8 Macro MEGA OIS £300 3★ 8dbeVXi aZch d[[Zg^c\ igjZ"id"a^[Z bV\c^ÄXVi^dc XVeVWâîn [dg WZiiZg bVXgd ^bV\Zh &% )+ *-#- +(#* &-%
G 35-100mm f/4-5.6 ASPH MEGA OIS (%% IZaZe]did oddb Zfj^kVaZci id ,%"'%%bb dc V (*bb XVbZgV .% )+ **#* *% &(*
G X 35-100mm f/2.8 Power OIS II .,% EgZb^jb [Vhi iZaZe]did oddb lî] bViiZ"WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda -* *- +,#) &%% (+%
DG 42.5mm f/1.2 Leica DG OIS &(.. *★ B^Y"iZaZe]did ]^\]"heZZY AZ^XV 9< CdXi^Xgdc aZch lî] ' Vhe]Zg^XVa aZchZh VcY jaigV"l^YZ VeZgijgZ *% +, ,) ,+#- )'*
G 42.5mm f/1.7 Power OIS (). B^Y"iZaZe]did aZch lî] V (*bb Zfj^kVaZci d[ -*bb! îh [$&#, VeZgijgZ egdb^hZh V WZVji^[jaWd`Z]Z[[ZXi (, (& ** *% &(%
DG 45mm f/2.8 OIS Macro Leica *(. I^cn bVXgd aZch lî] &/& bV\c^ÄXVi^dc VcY dei^XVa ^bV\Z hiVWâ^hVi^dc &* )+ +( +'#* ''*
G 45-150mm f/4-5.6 MEGA OIS '-% )★ 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb Xdbeg^h^c\ &' ZaZbZcih ^c c^cZ \gdjeh .% *' +' ,( '%%
G X 45-175mm f/4-5.6 X PZ POWER OIS )%% )★ 6 edlZgZY adc\"[dXVa"aZc\i] oddb aZch .% )+ +&#+ .% '&%
G 45-200mm f/4-5.6 MEGA OIS II (-% JeYViZY iZaZe]did oddb aZch lî] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H &%% *' ,% &%% (-%
DG 50-200mm f/2.8-4 OIS Leica &+%% EgZb^jb iZaZe]did oddb i]Vi XdbeaZiZh EVcVhdc^X¼h AZ^XV [$'#-") hZg^Zh ,* +, ,+ &(' +**
G 100-300mm f/4-5.6 MEGA OIS II *,% )★ JeYViZY adc\ oddb aZch lî] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H &%% *' ,% &%% (-%
DG 100-400mm f/4-6.3 OIS Leica &(). Ide"fjVaîn hjeZgiZaZe]did oddb lî] lZVi]ZghZVaZY XdchigjXi^dc VcY 9jVa >H hjeedgi &%( ,' -( &,&#* .-*
DG 200mm f/2.8 OIS Leica '+.. *★ Hijcc^c\)%%bb"Zfj^kVaZci[VhiiZaZe]dideg^bZ!XdbZhlî]&#)miZaZXdckZgiZg^ci]ZWdm &&* ,, -,#* &,) &')*
SAMYANG MIRRORLESS
7.5mm f/3.5 UMC fisheye MFT '*( ;^h]ZnZ bVcjVa"[dXjh aZch lî] JaigV Bjai^ 8dViZY aZch ZaZbZcih id gZYjXZ ÅVgZ VcY \]dhi^c\ . c$V )-#( +% &.,
8mm f/2.8 UMC fisheye II '). JeYViZY kZgh^dc d[ i]Z HVbnVc\ -bb [$'#- JB8 ;^h]ZnZ aZch! lî] ^begdkZY dei^XVaXdchigjXi^dc (% c$V +% +)#) '.%
12mm f/2 NCS CS ((% ;Vhi l^YZVc\aZ eg^bZ [dg 6EH"8 VcY B^Xgd ;djg I]^gYh b^ggdgaZhh XVbZgVh '% +, ,'#* *. ')*
14mm f/2.8 FE AF (-. 6jid[dXjh l^YZVc\aZ eg^bZ YZh^\cZY [dg Hdcn 6ae]V ,"hZg^Zh XVbZgVh '% c$V -*#* .,#* *%*
21mm f/1.4 ED AS UMC CS '*. *★ BVcjVa"[dXjh adl"a^\]i aZch [dg b^ggdgaZhh XVbZgVh lî] 6EH"8 dg hbVaaZg"hôZY hZchdg '- *- *)#( +,#. '.%
24mm f/2.8 FE AF '-% )#*★ HbVaa! a^\]ilZ^\]i Vjid[dXjh l^YZVc\aZ eg^bZ [dg [jaa"[gVbZ b^ggdgaZhh XVbZgVh ') ). +&#- (, .(
35mm f/1.2 ED AS UMC CS (*. HiVcYVgY"Vc\aZ bVcjVa"[dXjh aZch [dg b^ggdgaZhh XVbZgVh lî] 6EH"8 hZchdg hôZ (- +' +,#* ,)#' )'%
35mm f/1.4 FE AF +%% ;Vhi Vjid[dXjh eg^bZ YZh^\cZY [dg bVm^bjb h]VgecZhh lî] V A^cZVg HjeZghdc^X Bdidg [dg 6; (% +, ,*#. &&* +)*
35mm f/2.8 FE AF ',. )#*★ 8dbeVXi! a^\]ilZ^\]i! ^cZmeZch^kZ Vjid[dXjh eg^bZ aZch [dg [jaa"[gVbZ b^ggdgaZhh XVbZgVh (* ). +&#- (( -+
50mm f/1.2 AS UMC CS '.. *★ ;Vhi iZaZe]did eg^bZ i]Vi XVc egdYjXZ hijcc^c\ gZhjaih lî] V hjeZg"h]Vaadl YZei] d[ ÄZaY *% +' +,#* ,)#* (-%
50mm f/1.4 FE AF ).. )#*★ :mXZaaZci kVajZ [dg bdcZn [Vhi eg^bZ [dg [jaa"[gVbZ Hdcn b^ggdgaZhh )* +, ,(#* .,#, *-*
85mm f/1.8 ED UMC CS (&. AVg\Z"VeZgijgZ! bZY^jb"iZaZe]did edgigVî eg^bZ [dg 6EH"8 b^ggdgaZhh XVbZgVh +* +' +,#* -& )'(
300mm f/6.3 ED UMC CS Reflex '). 6XdbeVXigZÅZmb^ggdgaZchYZY^XViZY[dgb^ggdgaZhhXdbeVXihnhiZbXVbZgVh .% *- ,(#, +)#* ('%
NEW & COMING SOON! LIMITED STOCK NOW AVAILABLE!

Nikon 14-30mm NEW! Sigma 70-200mm
f/4 S Z mount f/2.8 DG OS HSM | S
See website to learn more! See website to learn more!
£1,349.00 Pre-order to receive one of the

first in the UK! Expected April 2019. £1,349.00 Available in
Canon or Nikon Fits
NEW!

BUYING GUIDE
FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION
MIN FOCUS (CM)

Mirrorless Lenses
LENGTH (MM)
FULL FRAME
WIDTH (MM)
WEIGHT (G)
FUJIFILM X
CANON RF
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
SIGMA MIRRORLESS
16mm f/1.4 DC DN | C )*% AVg\Z"VeZgijgZ l^YZVc\aZ aZch lî] Yjhiegdd[ VcY heaVh]egdd[ YZh^\c '* +, ,'#' .'#( )%*
19mm f/2.8 DN | A &-. BZiVa"WdY^ZY ]^\]"eZg[dgbVcXZ l^YZVc\aZ eg^bZ aZch '% )+ +%#- )*#, &*%
30mm f/1.4 DC DN | C (%% )★ 6 eg^bZ [dg B^Xgd ;djg I]^gYh VcY Hdcn :"bdjci jhZgh! î¼h ^begZhh^kZan h]Vge ZkZc Vi [$&#) (% *' +)#- ,( &)%
30mm f/2.8 DN | A &-. JhZh V ]^\]"fjVaîn YdjWaZ"h^YZY Vhe]Zg^XVa aZch [dg V eZg[dgbVcXZ i]Vi¼h ldgi]n d[ H^\bV¼h »6gi¼ a^cZ (% )+ +%#- )%#* &)%
56mm f/1.4 DC DN | C )%% HbVaa! a^\]ilZ^\]i aVg\Z"VeZgijgZ edgigVî eg^bZ [dg 6EH"8 Hdcn VcY B^Xgd ;djg I]^gYh *% ** ++#* *.#* '-%
60mm f/2.8 DN | A &-. AViZhiVYYî^dcidH^\bV¼h»6gi¼gVc\Z^hVb^Y"gVc\Z!]^\]"eZg[dgbVcXZiZaZe]didaZchlî]bZiVaWdYn *% )+ +%#- **#* &.%
SONY MIRRORLESS
E 10-18mm f/4 OSS ,*% )★ HjeZg"l^YZVc\aZ oddb lî] HjeZg :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVWâ^hVi^dc '* +' ,% +(#* ''*
FE 12-24mm f/4 G &,%% )#*★ 8dbeVXi! lZVi]Zg"gZh^hiVci hjeZg"l^YZVc\aZ oddb lî] ]^\]"fjVaîn dei^Xh '- c$V -, &&,#) *+*
E 16mm f/2.8 ''% )★ EVcXV`Z aZch [dg C:M hnhiZb! lî] V X^gXjaVg VeZgijgZ VcY 9^gZXi BVcjVa ;dXjh ') ). +' ''#* +,
FE 16-35mm f/2.8 GM '(%% EgZb^jb < BVhiZg"hZg^Zh [Vhi l^YZVc\aZ oddb lî] lZVi]Zg"gZh^hiVci XdchigjXi^dc '- -' --#* &'&#+ +-%
FE 16-35mm f/4 ZA OSS Vario-Tessar T* &'-. *★ OZ^hh [jaa"[gVbZ l^YZVc\aZ oddb aZch '- ,' ,- .-#* *&-
E 16-50mm f/3.5-5.6 PZ OSS '.. 8dbeVXi aZch lî] EdlZg Oddb! :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVWâ^hVi^dc '* )%#* +)#, '.#. &&+
E 16-70mm f/4 ZA OSS Vario-Tessar T* -(. 6 a^\]ilZ^\]i! kZghViâZ b^Y"gVc\Z oddb lî] V XdchiVci [$) VeZgijgZ (* ** ++#+ ,* (%-
E 18-55mm f/3.5-5.6 OSS ',% Dei^XVa HiZVYnH]di! hV^Y id WZ hâZci Yjg^c\ bdk^Z XVeijgZ! VcY V X^gXjaVg VeZgijgZ '* ). +' +% &.)
E 18-105mm f/4 G PZ OSS ).. Hdcn < aZch [dg :"bdjci XVbZgVh lî] V XdchiVci [$) VeZgijgZ )* ,' ,- &&% )',
E 18-110mm f/4 G PZ OSS ((%% 8dchiVci [$) bVm^bjb VeZgijgZ edlZgoddb [dg k^YZd egdYjXi^dc! [dg HjeZg (*bb $ 6EH"8 XVbZgVh )% .* &&% &+,#* &&%*
E 18-135mm f/3.5-5.6 OSS *,% A^\]ilZ^\]i! XdbeVXi hiVcYVgY oddb YZh^\cZY id bViX] 6ae]V +%%%"hZg^Zh XVbZgVh )* ** +,#' -- ('*
E 18-200mm f/3.5-6.3 OSS LE )-. HbVaaZg VcY a^\]iZg i]Vc XdbeVgVWaZ aZchZh! i]^h ^h Vc ^YZVa ]^\]"bV\c^ÄXVi^dc igVkZa aZch *% +' +- .- )+%
E 18-200mm f/3.5-6.3 PZ OSS ... 7dVhih edlZgZY oddb VcY ^bV\Z hiVWâ^hVi^dc lî] 6Xi^kZ BdYZ! bV`^c\ î ^YZVa [dg bdk^Zh (% +, .(#' .. +).
E 20mm f/2.8 (%. EVcXV`Z l^YZVc\aZ aZch egdb^hZh id WZ i]Z eZg[ZXi lVa`VgdjcY eVgicZg [dg :"bdjci XVbZgVh '% ). +'#+ '%#) +.
E 24mm f/1.8 ZA Sonnar T* -(. Ide"fjVaîn 8Vga OZ^hh dei^X ^YZVaan hjîZY id 6ae]V +%%%"hZg^Zh WdY^Zh &+ ). +( +*#+ ''*
FE 24-70mm f/2.8 GM &,.. *★ I]^h egd"\gVYZ hiVcYVgY aZch [dg i]Z Hdcn [jaa"[gVbZ ;: bdjci \^kZh ZmXZei^dcVaan h]Vge gZhjaih (- -' -,#+ &(+ --+
FE 24-70mm f/4 ZA OSS Vario-Tessar T* &%). *★ 8dbeVXi aZch lî] Vc [$) bVm^bjb VeZgijgZ VXgdhh i]Z oddb gVc\Z VcY Wjâi"^c ^bV\Z hiVWâ^hVi^dc )% +, ,( .)#* )'+
FE 24-105mm f/4 G OSS &&.. *★ :mXZaaZci [jaa"[gVbZ hiVcYVgY oddb lî] dei^XVa hiVWâ^hVi^dc VcY lZVi]Zg"gZh^hiVci YZh^\c (- ,, -(#) &&(#( ++(
FE 24-240mm f/3.5-6.3 OSS .'. (★ >YZVa [dg igVkZa! aVcYhXVeZh VcY bdgZ! lî] Wjâi"^c hiVWâ^hVi^dc# 6ahd Yjhi VcY bd^hijgZ gZh^hiVci *% ,' -%#* &&-#* ,-%
FE 24mm F1.4 GM £1450 5★ 8dbeVXi! aVg\Z"VeZgijgZ l^YZVc\aZ eg^bZ ^cXajYZh VeZgijgZ g^c\ VcY lZVi]Zg"gZh^hiVci XdchigjXi^dc ') +, ,*#) .'#) ))*
FE 28mm f/2 )&. )★ I]^h [jaa"[gVbZ l^YZVc\aZ eg^bZ lî] V Wg^\]i [$' bVm^bjb VeZgijgZ egdb^hZh ZmXZaaZci h]VgecZhh '. ). +) +% '%%
FE 28-70mm f/3.5-5.6 OSS )). 7jâi"^c Dei^XVa HiZVYnH]di ^bV\Z hiVWâ^hVi^dc! a^\]ilZ^\]i! VcY V edejaVg oddb gVc\Z (% ** ,'#* -( '.*
FE 28-135mm PZ f/4 G OSS '(,. 8dchiVci [$) bVm^bjb VeZgijgZ edlZgoddb [dg k^YZd egdYjXi^dc! [dg [jaa"[gVbZXVbZgVh .* .* &+'#* &%* &'&*
E 30mm f/3.5 Macro '&. 6 bVXgd aZch [dg i]Z C:M XdbeVXi hnhiZb XVbZgVh . ). +' **#* &(-
FE 35mm f/1.4 ZA Distagon T* &**. )★ ;jaa"[gVbZ O:>HH 9^hiV\dc aZch lî] aVg\Z! Wg^\]i [$&#) VeZgijgZ (% ,' ,( .)#* +(%
E 35mm f/1.8 OSS (.. A^\]ilZ^\]i! kZghViâZ eg^bZ lî] Dei^XVa HiZVYnH]di ^bV\Z hiVWâ^hVi^dc (% ). +'#' )* &**
FE 35mm f/2.8 ZA Sonnar T* +.. L]Zc XdjeaZY lî] V [jaa"[gVbZ Hdcn :"bdjci XVbZgV! i]^h eg^bZ aZchegdb^hZhidYZa^kZg (* ). +&#* (+#* &'%
E 50mm f/1.8 OSS '&. 6 ]VcYn! adl"eg^XZ edgigVî aZch [dg i]Z C:M gVc\Z (. ). +' +' '%'
FE 50mm f/1.4 ZA Planar T* £1500 5★ Dei^XVaan hijcc^c\ egZb^jb [Vhi eg^bZ! Wji ]j\Z VcY ]ZVkn )* ,' -(#* &%- ,,-
FE 50mm f/1.8 ')% )★ ;ZVijgZh V cZl dei^XVa YZh^\c lî] V h^c\aZ Vhe]Zg^XVa ZaZbZci )* ). +-#+ *.#* &-+
FE 50mm f/2.8 Macro £500 4★ Hdcn¼h WjY\Zi bVXgd [dg [jaa"[gVbZ 8H8h d[[Zgh YZXZci dei^Xh Wji ^h hadl Vi [dXjh^c\ &+ ** ,%#- ,& '(+
FE 55mm f/1.8 ZA Sonnar T* -). (*bb [jaa"[gVbZ eg^bZ aZch lî] l^YZ VeZgijgZ Vaadl^c\ \ddY ^bV\Zh ^cYddgh dg ^c adl a^\]i *% ). +)#) ,%#* '-&
E 55-210mm f/4.5-6.3 OSS '-. A^\]ilZ^\]i iZaZe]did oddb aZch [dg i]Z C:M gVc\Z &%% ). +(#- &%- ()*
FE 70-200mm f/4 G OSS &(*. )★ <"hZg^Zh iZaZe]did oddb aZch! Yjhi VcY lViZg gZh^hiVci! lî] Wjâi"^c ^bV\Z hiVWâ^hVi^dc &%% ,' -% &,* -)%
FE 70-200mm f/2.8 GM OSS '*%% *★ 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb aZch [dg [jaa"[gVbZ :"bdjci WdY^Zh &%% ,' -% &,* -)%
FE 70-300mm f/4.5-5.6 G OSS &&*% Hdcn ]Vh VYYZY i]^h aZch id îh \gdl^c\ gVc\Z .% ,' -) &)(#* -*)
FE 85mm f/1.8 £550 4★ GZaVi^kZan ^cZmeZch^kZ edgigVî aZch ^cXajYZh Yjhi VcY bd^hijgZ"gZh^hiVci XdchigjXi^dc -% +, ,- -' (,&
FE 85mm f/1.4 GM &--. *★ Hijcc^c\ ^bV\Z fjVaîn [gdb Hdcn¼h egZb^jb »< BVhiZg¼ edgigVî aZch -% ,, -.#* &%,#* -'%
FE 90mm f/2.8 Macro G OSS &%). *★ Dei^XVaan ZmXZaaZci YZY^XViZY bVXgd aZch [dg Hdcn¼h [jaa"[gVbZ :"bdjci XVbZgVh '- +' ,. &(%#* +%'
FE 100mm f/2.8 STF GM OSS &,%% >ccdkVi^kZ edgigVî aZch XdbW^cZh dei^XVa hiVWâ^hVi^dc VcY Vc VedY^hVi^dc ÄaiZg [dg hbddi] Wd`Z] *, ,' -*#' &&-#& ,%%
FE 100-400mm f/4.5-5.6 GM OSS '*%% *★ EgZb^jbdei^XVaanhiVWâ^hZY!lZVi]ZghZVaZYiZaZoddbYZh^\cZYidbViX]i]Z6ae]V. .- ,, .(#. '%* &(.*
TAMRON MIRRORLESS
14-150mm f/3.5-5.8 Di III (,% )★ I]Z Äghi B^Xgd ;djg I]^gYh aZch [gdb IVbgdc [dg XdbeVXi b^ggdgaZhh ^ciZgX]Vc\ZVWaZ"aZch XVbZgVh *% *' +(#* -%#) '-*
18-200mm f/3.5-6.3 Di III VC (.% A^\]ilZ^\]i! XdbeVXi! Vaa"^c"dcZ oddb [dg b^ggdgaZhh XVbZgVh! id XdkZg egVXi^XVaan Vcnh]ddi^c\hîjVi^dc *% +' +- .+#, )+%
28-75mm f/2.8 Di III RXD +.. )#*★ ;Vhioddb[dg[jaa"[gVbZb^ggdgaZhh^hgZaVi^kZanXdbeVXiVcY]VhÄcZdei^Xh &. +, ,( &&,#- **%
TOKINA MIRRORLESS
Firin 20mm f/2 FE MF +.. *★ >begZhh^kZan h]Vge [Vhi l^YZVc\aZ eg^bZ [dg Hdcn b^ggdgaZhh! lî] bVcjVa [dXjh VcY VeZgijgZ g^c\ '- +' +. -&#* ).%
Firin 20mm f/2 FE AF ,.. 6jid[dXjhkZgh^dcd[i]ZZmXZaaZci;^g^c'%bb[$';:B;![ZVijg^c\jaigVhdc^X[dXjhbdidg '- +( ,(#) -&#* )+)
ZEISS MIRRORLESS
Touit 12mm f/2.8 Distagon T* .*. *★ 9Zh^\cZY heZX^ÄXVaan [dg Hdcn C:M VcY ;j_^Äab M"hZg^Zh 8H8 XVbZgVh# KZgn ^begZhh^kZ eZg[dgbVcXZ &- +, -' +- ',%
Batis 18mm f/2.8 ..% I]Z 7Vi^h gVc\Z ^h [dg b^ggdgaZhh [jaa"[gVbZ hnhiZb XVbZgVh [gdb Hdcn '* ,, ,- .* ((%
Loxia 21mm f/2 &'(% 8dbeVXi bVcjVa"[dXjh l^YZVc\aZ eg^bZ ejgedhZ"YZh^\cZY [dg Hdcn 6ae]V ,"hZg^Zh XVbZgVh '* *' +' ,' (.)
Batis 25mm f/2 .-% *★ 6 l^YZVc\aZ aZch [dg Hdcn [jaa"[gVbZ jhZgh d[[Zg^c\ jcg^kVaaZY fjVaîn '% +, -& .' (**
*★ <dg\Zdjh Wji ZkZg"hd"eg^XZn XdbeVXi bVcjVa [dXjh eg^bZ! lî] VWhdajiZan hijcc^c\ dei^Xh
Loxia 25mm f/2.4 &&.% '* *' +' +.#* (,*

Touit 32mm f/1.8 Planar T* ,%% )#*★ Dei^b^hZY [dg jhZ lî] 6EH"8 [dgbVi hZchdgh! V [Vhi hiVcYVgY aZch [dg ;j_^Äab M"hZg^Zh XVbZgVh '( *' ,' ,+ '%%
Loxia 35mm f/2 &%&* HbVaa l^YZVc\aZ bVcjVa"[dXjh eg^bZ ^ciZcYZY [dg Hdcn 6ae]V , jhZgh (% *' +' *. ()%
Batis 40mm f/2 CF &&(% 7g^Y\Zh i]Z \Ve WZilZZc 7Vi^h '*bb VcY -*bb aZchZh VcY [ZVijgZh XadhZ"[dXjh^c\ VWâîn ') +, .& .( (+&
Loxia 50mm f/2 ,)% BVcjVa"[dXjh hiVcYVgY eg^bZ lî] egZb^jb dei^Xh VcY : bdjci [dg Hdcn 6ae]V , jhZgh )* *' +' *. ('%
Touit 50mm f/2.8 Planar T* *-. BVXgd &/& aZch [dg ZmigZbZ XadhZ"jeh! Vh lZaa Vh h]ddi^c\ edgigVîh dg eVcdgVbVh Vh V a^\]i iZaZ"aZch &* *' ,* .& '.%
Batis 85mm f/1.8 .%. *★ 6 ]^\]"fjVaîn bZY^jb eg^bZ [dg lZYY^c\ VcY edgigVî h]ddiZgh! YZkZadeZY [dg Hdcn¼h 6ae]V , hZg^Zh -% +, ,- &%* ),*
Loxia 85mm f/2.4 &&.. 6 XdbeVXi! bVcjVa"[dXjh! h]dgi iZaZe]did aZch [dg i]Z b^ggdgaZhh Hdcn 6ae]V hZg^Zh -% *' +'#* &%- *.)
Batis 135mm f/2.8 &,). *★ 6WhdajiZanhijcc^c\!hjeZg"h]Vge^bV\Z"hiVWâ^hZYedgigVîaZch[dgHdcn[jaa"[gVbZb^ggdgaZhh -, +, -) &'% +&)

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A7 Mark III A7R Mark III
25.3 42.4 Gain control of

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A7 Mark III Body £1849

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The Sony A7 III, with newly developed
A7 Mark III Body £1849 A7R Mark II Body £1999 24.2MP full-frame sensor
A7 Mark III + 28-70mm £1999 £1799 inc. £200 Cashback*
A7 Mark II Body £1199 A7S Mark II Body £2399 dŚĞ ƚŚŝƌĚ ŝƚĞƌĂƟŽŶ ŽĨ ^ŽŶǇƐ ƉŽƉƵůĂƌ ϳ ďƌŝŶŐƐ ĞǀĞŶ ŵŽƌĞ ĂĚǀĂŶĐĞŵĞŶƚƐ ƚŽ ƚŚĞ
£899 inc. £300 Cashback* A7S Body £1699 ĐŽŵƉĂŶǇƐ ĐŽǀĞƚĞĚ ^ ůŝŶĞƵƉ dŚĞ DĂƌŬ /// ďŽĂƐƚƐ Ă ŶĞǁůǇ ĚĞǀĞůŽƉĞĚ ďĂĐŬ
A7 Mark II + 28 -70mm £1399 £1499 inc. £200 Cashback* ŝůůƵŵŝŶĂƚĞĚ ϮϰϮDW ĨƵůůĨƌĂŵĞ ǆŵŽƌ Z DK^ ƐĞŶƐŽƌ ĂŶĚ Ă ƌĞĚĞǀĞůŽƉĞĚ /KE y
£1099 inc. £300 Cashback* A7 Body £799 ƉƌŽĐĞƐƐŝŶŐ ĞŶŐŝŶĞ ĚĚ ϲ#ϯ ƉŚĂƐĞĚĞƚĞĐƟŽŶ ĂŶĚ ϰϮϱ ĐŽŶƚƌĂƐƚ ĚĞƚĞĐƟŽŶ & ƉŽŝŶƚƐ'
£649 inc. £150 Cashback* ϭϱƐƚŽƉƐ ŽĨ ĚǇŶĂŵŝĐ ƌĂŶŐĞ ĂŶĚ ϰ< ,Z ǀŝĚĞŽ' ĂŶĚ ƚŚŝƐ ůĂƚĞƐƚ ŵŝƌƌŽƌůĞƐƐ ĚĞǀŝĐĞ ŝƐ ƐƵƌĞ
ƚŽ ƉƌŽǀĞ ƉŽƉƵůĂƌ ǁŝƚŚ ƉŚŽƚŽŐƌĂƉŚĞƌƐ ĂŶĚ ĮůŵŵĂŬĞƌƐ ĂůŝŬĞ
A6500 A6000
24 24
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A6500 From £1279 A6000 From £429

A6500 Body £1279 A6000 Body £429 A7 III Body
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£1849
£979 inc. £300 Cashback*
A6500 + 16-70mm £1849 A6000 + 16-50mm £499
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A6400 Body £949 A6300 Body £779 Lens available
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A6300 + 16-50mm £849
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Z7
GX9 GH5S G9
Z6
EĞǁ EĞǁ 21 10.2 16
45.7
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24.5 megapixels megapixels megapixels
megapixels
9.0 fps 12.0 fps 9.0 fps 60 fps 20.3 fps
4K Video 4K Video 4K Video 4K Video 4K Video
Z 7 with Adapter £3499 Z 6 with Adapter £2199 GX9 From £579 GH5S From £1749 G9 From £1149
Z 7 with Adapter £3499 Z 6 with Adapter £2199 GX9 Body £579 GH5S Body £1749 G9 Body £1149
Z 7 + 24-70mm £3999 Z 6 + 24-70mm £2699 £529 inc. £50 Cashback* £1449 inc. £250 Cashback* £949 inc. £200 Cashback*
Z 7 + Adapter + 24-70mm £4099 Z 6 + Adapter + 24-70mm £2799 £1399 £1299
GX9 + 12-60mm £779 GH5 Body G9 + 12-60mm
£679 inc. £100 Cashback* £1249 inc. £150 Cashback* £1049 inc. £250 Cashback*
D850 D500 GX80 + 12-32mm £379 GH5 + 12-60mm £1449 G9 + 12-60mm Leica £1699
Black £1249 inc. £200 Cashback* £1399 inc. £300 Cashback*
45.7
megapixels
20.9
megapixels
GH5 + 12-60mm Leica £1749 G80 Body £629
£1499 inc. £250 Cashback* £579 inc. £50 Cashback*
6.0 fps 10.0 fps G80 + 12-60mm £749
4K Video 4K Video £649 inc. £100 Cashback*
D850 Body £3499 D500 From £1879 RECOMMENDED LENSES:

WĂŶĂƐŽŶŝĐ 8 18mm f2.8 4 ASPH Vario ............£1049 WĂŶĂƐŽŶŝĐ 45 175mm f4.0 5.6 .......................£349
D850 Body £2999 D500 + 16-80mm £2549 WĂŶĂƐŽŶŝĐ 12 35mm f2.8 II Lumix G X ............£799 WĂŶĂƐŽŶŝĐ 100 300mm f4 5.6 II ......................£487
WĂŶĂƐŽŶŝĐ 14 42mm f3.5 5.6 G X ASPH OIS....£299 WĂŶĂƐŽŶŝĐ 100 400mm f4 6.3 ........................£1269
E-M10 III
Black or Silver X-H1 X-T3
OM-D E-M1 II K-1 II Black Black or silver
20
megapixels 36.7 26.1
megapixels
E
Ğǁ
megapixels
60 fps 17.2 6.4 fps 24.3 20 fps
4K Video 8.6 fps &Ƶůů &ƌĂŵĞ
CMOS Sensor 8.0 fps 4K Video
OM-D E-M1 II From £1399 E-M10 III From £529 K-1 II Body £1799 X-H1 From £1589 X-T3 From £1349
OM-D E-M1 II Body £1399 OM-D E-M10 III Body £529 K-1 II Body £1799 X-H1 £1589 X-T3 Body £1349
OM-D E-M1 II + 12-40mm £1999 OM-D E-M10 III + 14-42mm £579 KP Body £920 X-H1 + Grip £1799 X-T3 + 18-55mm £1699
OM-D E-M5 II Body £799 OM-D E-M10 II Body £429 K-70 from £599 X-T2 Body £999
OM-D E-M5 II + 12-40mm £1229 OM-D E-M10 II + 14-42mm £529
RECOMMENDED LENSES: RECOMMENDED LENSES: FUJINON LENSES
KůǇŵƉƵƐ 25mm f1.2 Pro.................................................................................................. £929 WĞŶƚĂǆ 50mm f1.4 FA*.........£1199 &ƵũŝĮůŵ 23mm f2 R WR XF........................................................................ £409
KůǇŵƉƵƐ 45mm f1.2 Pro.................................................................................................. £1049 WĞŶƚĂǆ 100mm f2.8 Macro ..£477 &ƵũŝĮůŵ 35mm f2 R WR XF........................................................................ £369
KůǇŵƉƵƐ 7-14mm f2.8 Pro............................................................................................... £929 WĞŶƚĂǆ 15-30mm f2.8 .......... £1449 &ƵũŝĮůŵ 80mm f2.8 XF LM OIS WR........................................................... £1149
KůǇŵƉƵƐ 12-40mm f2.8 Pro............................................................................................. £759 WĞŶƚĂǆ 16-85mm f3.5-5.6 .... £499 &ƵũŝĮůŵ 10 24mm f4 R OIS XF................................................................... £829
KůǇŵƉƵƐ 12-100mm f4 Pro.............................................................................................. £1699 WĞŶƚĂǆ 28-105mm f3.5-5.6 ..£477 &ƵũŝĮůŵ 16 55mm f2.8 LM WR................................................................. £899
KůǇŵƉƵƐ 14-150mm f4-5.6.............................................................................................. £469 WĞŶƚĂǆ 55-300mm f4.5-6.3 ..£389 &ƵũŝĮůŵ 55 200mm f3.5 4.8 R LM OIS XF ................................................ £626
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Pursue perfection – Capture the future with the new

The new EOS 5D Mk IV full-frame mirrorless EOS R
From the darkest shadow to the brightest Canon joins the full-frame
highlight, a 30-megapixel CMOS sensor ŵŝƌƌŽƌůĞƐƐ ƉĂƌƚǇ ǁŝƚŚ ƚŚĞ K^ Z
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ dŚŝƐ ϯϬϯŵĞŐĂƉŝǆĞů ĐĂŵĞƌĂ ƐƉŽƌƚƐ
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never seen before. and video.
K^ ϱ DĂƌŬ /s Body £2999
EOS R Body £2349
EOS R + 24-105mm £3269
RF 50mm f1.2 L USM £2349
30.4 7.0 &Ƶůů &ƌĂŵĞ
RF 28-70mm f2 L USM £3049 30.3 780 4K30P
megapixels fps CMOS sensor megapixels fps movie mode
K^ ϱ DĂƌŬ /s Body £2999 EOS R Body From £2349
EOS 77D EOS 7D Mark II EOS 6D Mark II EOS 1D X Mark II
26.2
megapixels
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CMOS sensor movie mode CMOS sensor CMOS sensor
EOS 77D From £699 EOS 7D Mark II Body £1349 EOS 6D Mark II from £1499 EOS 1D X Mark II Body £4999
EOS 77D + 18-55mm £799 EOS 7D Mark II Body £1349 EOS 6D Mark II Body £1499 EOS 1D X Mark II Body £4999
EOS 77D + 18-135mm £1045 EOS 6D Mark II + 24-105mm £1849
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• 10cm Min Height
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• 170cm Max Height
• 9cm Min Height
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• 150cm Max Height
• 21cm Closed Length
• 1Kg Max Load
Quality used cameras, lenses • 40cm Min Height
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and accessories ^ĞƌŝĞƐ ϱ ϲ^ ' ....................................... £1099 'ŽƌŝůůĂƉŽĚϱϬϬ ................£27.95
with 12 months warranty* ^ĞƌŝĞƐ ϱ ϰ^ y> ...................................... £999 MT055XPRO3.................................... £119 ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ<ŝƚϭ< .............£29.95
^ĞƌŝĞƐ ϱ ϰ^ > ........................................ £819 MT055CXPRO3 Carbon Fibre ............. £289 Available in Twist and Lever 'ŽƌŝůůĂƉŽĚ<ŝƚϯ< .............£67
ǁĞǆĐŽƵŬ ^ĞƌŝĞƐ ϱ ϯ^ > ........................................ £749 MT055CXPRO4 Carbon Fibre ............. £309 ................................... from £199 'ŽƌŝůůĂƉŽĚ<ŝƚϱ< .............£137
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DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ <ŝƚƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
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£399 £519 £269 £699 £569 £259 £479 £659 £249 £619 £134.99 £279 £249 £249
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44 AF-2 M400 52 AF-1 64 AF-1 15 MS-1 & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ Macro Flash i40 i60A Sekonic L-308X WƌŽ>ϰϳ)Z >)ϱ)
£169 £199 £199 £309 £299 £109 £129 £329 £159 £239 £269 £499.95 £699
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ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌǇΎΎ ĂǀĂŝůĂďůĞ
on orders over £50 (based on a 4-day delivery service).
For orders under £50 the charge is £2.99** (based on a
ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ &Žƌ EĞǆƚ tŽƌŬŝŶŐ ĂǇ ĞůŝǀĞƌǇ
our charges are £4.99**. Saturday deliveries are charged
at a rate of £7.95**. Sunday deliveries are charged at a
sŝĞǁĮŶĚĞƌ 6m Background FlashBender2 Wall ZĞŇĞĐƚŽƌ rate £8.95**.;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌǇ ŚĞĂǀǇ ŝƚĞŵƐ ƚŽ E/ Žƌ
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Prices subject to change. Goods subject to availability. Live
&ůĞǆddϱ£199 £229 £149 £54 £169.99 £37.95 System £94.99 £61.99 From £33.99 £28.99 Chat operates between 9.30am-6pm Mon-Fri and may
not be available during peak periods. †Subject to goods
Kī ĂŵĞƌĂ being returned as new and in the original packaging.
ŇĂƐŚ ŽƌĚ Where returns are accepted in other instances, they may
From £38 be subject to a restocking charge. ††Applies to products
ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
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ϱϬĐŵ £27 for spares only). Wex Photo Video is a trading name of
Collapsible ϳϱĐŵ £44 ĂůƵŵĞƚ WŚŽƚŽŐƌĂƉŚŝĐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ
Ice Light 2 Umbrella Flash Kit ǌǇďŽǆ ^ƉĞĞĚ ǌǇďŽǆ ,ŽƚƐŚŽĞ ǌǇĂůĂŶĐĞ'ƌĞǇ Background dƌŝ&ůŝƉ <ŝƚƐ Urban Collapsible ϱĐŵ £69 dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ ϬϬϰϮϱϱϳ! ĂŶĚ tĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶǇ
£549 £109 Lite 2 £54 From £129 White £24.95 Support £145 From £79 £174 ϭϮϬĐŵ £84 £29.95 ZĞŐŝƐƚƌĂƟŽŶ ŶŽ Ϭϯϯϲϲ!ϳϲ ΞtĂƌĞŚŽƵƐĞ ǆƉƌĞƐƐ >ŝŵŝƚĞĚ
2019.*CASHBACKS ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ
with the manufacturer. Please refer to our website for
details.
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Lenses EF S 17 55mm f2.8 IS USM ........................... £779 70 210mm f4 Di VC USD................................£599
EF S 18 200mm f3.5 5.6 IS............................ £479 70 300mm f4 5.6 SP Di VC USD.....................£329
EF S 55 250mm f4 5.6 IS STM ...................... £299 100 400mm f4.5 6.3 Di VC USD.....................£749
TS E 24mm f3.5L II ........................................ £1799 SIGMA LENSES -with 3 Year Manufacturer 150 600mm f5 6.3 SP Di VC USD...................£799
CANON LENSES TS E 50mm f2.8L Macro................................ £2199 Warranty 150-600mm f5-6.3 VC USD G2 ......................£1129
EF 35mm f1.4L II USM................................... £1629 TS-E 135mm f4 L Macro ................................ £2199 20mm f1.4 DG HSM Art .................................£699
EF 35mm f2 IS USM....................................... £519 24mm f1.4 DG HSM .......................................£649
EF 40mm f2.8 STM........................................ £199 30mm f1.4 DC HSM .......................................£359
EF 50mm f1.2L USM...................................... £1239 35mm f1.4 DG HSM .......................................£649
EF 50mm f1.4 USM ....................................... £349 50mm f1.4 DG HSM Art . ..............................£569 SONY E-MOUNT LENSES
EF 50mm f1.8 STM........................................ £119 85mm f1.4 Art DG HSM .................................£999 FE 24mm f1.4 G Master .................................£1449
EF 85mm f1.2L II USM.................................. £1849 105mm f2.8 APO EX DG OS HSM Macro .......£359 FE 28mm f2 ....................................................£399
EF 85mm f1.4L IS USM.................................. £1379 NIKON LENSES 8 16mm f4.5 5.6 DC HSM..............................£599 FE 50mm f1.8 .................................................£179
EF 85mm f1.8 USM ....................................... £389 20mm f1.8 G AF S ED.................................... £729 10 20mm f3.5 EX DC HSM .............................£329 FE 85mm f1.4 G Master .................................£1649
EF 100mm f2.8 USM Macro.......................... £519 24mm f1.4 G AF S ED.................................... £2179 17 70mm f2.8 4.0 DC OS HSM ......................£349 £1549 inc. £100 Cashback*
EF 100mm f2.8L Macro IS USM .................... £849 35mm f1.8 G ED AF S.................................... £489 18 35mm f1.8 DC HSM .. ...............................£642 FE 85mm f1.8 .................................................£599
EF 135mm f2 L USM...................................... £959 35mm f1.8 S Lens.......................................... £849 18 250mm f3.5 6.3 DC Macro OS HSM.........£349 £549 inc. £50 Cashback*
EF 300mm f4 L IS USM.................................. £1269 50mm f1.4 G AF S ......................................... £429 18 300mm f3.6 6.3 C DC Macro OS HSM......£369 FE 100mm f2.8 G Master...............................£1499
EF 500mm f4 L IS II USM............................... £8299 50mm f1.8S L ................................................ £599 24 70mm f2.8 DG OS HSM ............................£1199 £1399 inc. £100 Cashback*
EF 11 24mm f4L USM ................................... £2789 60mm f2.8 G AF S ED.................................... £579 24 105mm f4 DG OS HSM .............................£599 FE 12 24mm f4 G ...........................................£1449
EF 16 35mm f2.8L III USM ............................ £1844 85mm f1.8 G AF S ......................................... £469 50 100mm f1.8 DC HSM Art .........................£949 £1369 inc. £80 Cashback*
EF 16 35mm f4L IS USM ............................... £949 105mm f2.8 G AF S VR IF ED Micro .............. £849 70 200mm f2.8 EX DG OS HSM .....................£899 FE 16 35mm f2.8 G Master............................£2199
EF 17 40mm f4 L USM .................................. £693 300mm f4E AF S PF ED VR ............................ £1709 100 400mm f5 6.3 DG OS HSM.....................£699 £2099 inc. £100 Cashback*
EF 24 70mm f2.8L IS USM II.......................... £1729 500mm f5.6E PF ED VR AF S......................... £3699 120 300mm f2.8 OS.......................................£2699 FE 24 70mm f2.8 G Master............................£1829
EF 24 70mm f4L IS USM ............................... £799 8 15mm f3.5 4.5E ED Fisheye....................... £1229 150 600mm f5 6.3 C DG OS HSM..................£789 £1729 inc. £100 Cashback*
EF 24 105mm f3.5 5.6 IS STM ...................... £414 10 24mm f3.5 4.5 G AF S DX ........................ £799 150-600mm f5.0-6.3 S DG OS HSM ...............£1329 FE 24 70mm f4 ZA OSS Carl Zeiss T* ............. £749
EF 24 105mm f4L IS II USM........................... £999 16 80mm f2.8 4E ED AF S DX VR.................. £989 £669 inc. £80 Cashback*
EF 28 300mm f3.5 5.6 L IS USM ................... £2289 18 200mm f3.5 5.6 G AF S DX VR II.............. £429 FE 70 200mm f2.8 G Master..........................£2399
EF 70 200mm f2.8 L IS III USM...................... £2099 18 300mm f3.5 5.6 ED AF S VR DX................£989 £2299 inc. £100 Cashback*
EF 70 200mm f4 L IS II USM.......................... £1299 24 70mm f2.8 G ED AF S................................£1709 FE 70 300mm f4.5 5.6 G OSS......................... £1079
EF 70 300mm f4 5.6 L IS USM ...................... £1199 24 70mm f2.8E AF S ED VR............................£2099 TAMRON LENSES - with 5 Year Manufacturer £999 inc. £80 Cashback*
EF 70 300mm f4 5.6 IS II USM...................... £464 24 120mm f4 G AF S ED VR ...........................£1049 Warranty FE 100 400mm f4.5 5.6 OSS G Master ..........£2449
EF 100 400mm f4.5 5.6L IS USM II ............... £1999 28 300mm f3.5 5.6 G ED AF S VR..................£939 85mm f1.8 SP Di VC USD ...............................£749 £2349 inc. £100 Cashback*
EF S 35mm f2.8 Macro IS STM ..................... £369 70 200mm f2.8E AF S FL ED VR .....................£2549 16 300mm f3.5 6.3 Di II VC PZD Macro.........£499
EF S 60mm f2.8 USM Macro......................... £439 70 300mm f4.5 6.3 G ED DX AF P VR ............£329 18 200mm f3.5 6.3 Di II VC............................£199
EF S 10 18mm f4.5 5.6 IS STM ..................... £239 200-500mm f5.6E AF-S ED VR .......................£1315 18 400mm f3.5 6.3 Di II VC HLD....................£649
EF S 10 22mm f3.5 4.5 USM ........................ £529 24 70mm f2.8 Di VC USD G2 .........................£999
EF-S 15-85mm f3.5-5.6 IS USM ..................... £679 70-200mm f2.8 Di VC USD G2 .......................£1289 *Sony Cashback ends 31.01.19
Photo Bags & Rucksacks ŽŵƉƵƟŶŐ

Pro runner BP 350 AW Flipside 300 AW II
II Backpack Lifestyle Windsor Anvil Slim Professional Hadley Pro
Messenger S: Backpack Original
Purpose-built • DSLR, with up Khaki PIXMA Pro 100S ....£359
to organise to 70-200 mm
This practical PIXMA Pro 10S ......£499
messenger bag
and protect attached lens, or
features an easily ImagePROGRAF PRO-1000
more gear, and compact drone ...............................£899
accessible top
provide more • 2 extra lenses opening to the
options for • Compact tripod main compartment, Canvas/Leather: Khaki, Black
manoeuvring • 7” tablet where a DSLR with FibreNyte/Leather: Khaki,
in busy airports
and crowded
24-70mm f2.8 lens Sage, Black. Datacolor Spyder Intuos Pro Professional
attached Digital .............................£119 5 Pro.................£119 Pen and Touch Tablet
streets. Anvil: Small...............................£149
Pro Runner: Flipside: Messenger S..................... £84 Anvil Slim.................£119 i1 Display Pro Small................... £179
Large...............................£179 ColorMunki......£178 Medium ............. £299
W ϯϱϬ t //.................... £174 ϯϬϬ t // ........................ £109 Messenger M ................... £99 Anvil Super ..............£134 Pro Original ................... £189
WϰϱϬ t //.................... £189 ϰϬϬ t // ........................ £129 ĂĐŬƉĂĐŬ .......................... £129 Anvil Pro ..................£126 Hadley One.................... £249 Smile ..................£90 Large................... £439
*Canon Cashback ends 17.01.19

Digital Compact Cameras Digital compact camera accessories are available on our website D
IXUS 185 HS ................................................. £99

IXUS 285 HS ................................................. £169
20.2 20.1 12.8 PowerShot SX70 HS..................................... £519
megapixels megapixels megapixels
PowerShot SX620 HS................................... £179
4.2x 4.2x 5.0x PowerShot SX730 HS................................... £299
ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ ŽƉƟĐĂů ǌŽŽŵ
PowerShot SX740 HS................................... £349
1080p 1080p 1080p PowerShot G9 X II........................................ £379
movie mode movie mode movie mode
PowerShot G5 X PowerShot G1 X III ...................................... £1089
PowerShot G7 X Mark II PowerShot G1 X Mark II Premium Kit
£599 PowerShot G3 X........................................... £779
£529 £649
Lumix FZ1000 ........................................... £528

Black or £478 inc. £50 Cashback*
Silver New Lumix FZ2000 ........................................... £879
24.3 £779 inc. £100 Cashback*
megapixels
20.1 20.1 Lumix TZ90 ............................................... £319
1080 17 megapixels megapixels
movie mode megapixel £289 inc. £30 Cashback*
&ƵũŝĮůŵyϭϬϬ& Lumix LX100 II Lumix TZ200 Lumix DMC-LX15 Lumix TZ100 ............................................. £490
£1199 £849 £629 £499 £440 inc. £50 Cashback*
£799 inc. £50 Cashback* £579 inc. £50 Cashback* £449 inc. £50 Cashback* *Panasonic Cashback ends 31.01.19
Theta V Digital Theta SC Digital

16
New Spherical Camera Spherical Camera - White
4K megapixels 4K movie mode and ϯϲϬΣ ƐƟůůƐ ǁŝƚŚ ' ŝŶƚĞƌŶĂů
movie mode
ϯϲϬΣ ƐƟůůƐ ƐƚŽƌĂŐĞ ůŝƚŚŝƵŵ ŝŽŶ ďĂƩĞƌǇ
Stylus TG-5 Ricoh WG-60 iOS and Android supported 16
£369 £230 ..................................... £179
megapixels Coolpix W300
............................. £399 £344
Available in black and red
New
18.2
16 megapixels
megapixels 30.0x 20.1 20.1
ŽƉƟĐĂůǌŽŽŵ megapixels megapixels
125x
Ž
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Cyber-Shot HX90V Cyber-Shot RX10 Mark IV Cyber-Shot RX100 Mark VI
Coolpix P1000 £299 £1799 £1149
£999 £249 inc. £50 Cashback* £1549 inc. £150 Cashback* *Sony Cashback ends 31.01.19 DJI Mavic 2 from £1099
FREE delivery on orders over £50** **Based on a 4-day delivery service, UK only.
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MEGA
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CANON LENSES parkcameras.com or call us on 01444 23 70 60 42.4
MEGA 3.0” IS 4K
PIXELS 10 fps
24mm f/1.4L Mk II USM.................£1,419.00 16-35mm f/4.0L IS USM .................... £949.00
24mm f/2.8 IS USM................................ £519.00 17-40mm f/4.0L USM........................... £709.00 The a7R III is an ideal partner offering superior
35mm f/2.8 Macro IS STM............... £369.00 18-135mm f/3.5-5.6 IS USM.......... £429.00 speed, high-resolution imaging, & reliable
50mm f/1.2 L USM ..............................£1,239.00 24-70mm f/2.8L II USM ..................£1,729.00 performance even under harsh conditions.
50mm f/1.4 USM....................................... £339.00 24-70mm f/4.0L IS USM .................... £789.00
50mm f/1.8 STM........................................ £119.00 24-105mm f/4L IS II USM................. £949.00 £300 trade-in bonus available!
100mm f/2.8 USM Macro................. £519.00 28-300mm f/3.5-5.6L IS .................£2,289.00 See in store or online to learn more. In stock from £2,899.00
100mm f/2.8L Macro IS...................... £849.00 55-250mm f/4-5.6 IS STM................ £299.00
135mm f/2.0L USM ................................ £959.00 70-200mm f/2.8L IS II USM........£1,599.00 Sony RX100 V Sony a6400 Sony a7
180mm f/3.5L USM ............................£1,269.00 70-200mm f/2.8L IS III USM.......£2,149.00
200mm f/2.0L IS USM......................£5,439.00 70-200mm f/4.0L IS USM................. £999.00
20.1 24.2 24.3
300mm f/2.8L USM IS II.................£5,599.00 70-200mm f/4.0L IS II USM........£1,299.00 MEGA
PIXELS
4K MEGA
PIXELS
4K NEW! MEGA
PIXELS
8-15mm f/4L Fisheye USM..........£1,149.00 70-300mm f/4.0-5.6 IS II USM..... £464.00
10-18mm IS STM ...................................... £239.00 70-300mm f/4.0-5.6L IS USM...£1,229.00 Our Price See website Expected February 2019! Body only Add a Sony
for our finance NP-FW50
10-22mm f/3.5-4.5 .................................. £529.00 100-400mm L IS USM II ................£1,999.00 .00 .00 .00
£799 options from £949 £799 battery for £59
11-24mm f/4L USM............................£2,789.00 1.4x III Extender......................................... £409.00 Add a Sony NP-BX1 spare See website to learn more Visit our website for
16-35mm f/2.8L III USM.................£2,049.00 2.0x III Extender......................................... £399.00 battery for £38.00 and to place an order! bundles with lenses
26.1 Sony a7 III Sony FE 16-35mm Sony FE 100-400mm

MEGA
PIXELS 11 fps
3.0” 4K f/2.8 GM f/4.5-5.6 GM OSS
24.2 £100 £100
The X-T3 provides you with superb image MEGA cash cash
PIXELS 10 FPS
quality & an enhanced ability to track a back back
moving subject with AF performance Body only 12 months In stock at For even more In stock at For even more
0% finance. Sony lenses, see Sony lenses, see
improvement & blackout-free burst shoot £1,849.00 See website £2,199.00* our website £2,399.00 our website
FREE VF-XT3 BATTERY GRIP WORTH £299! Add a Sony MC-11 Adapter *Price after £100 cashback *Price after £100 cashback
See in store or online for full details. Offer ends 31.03.19 from £1,349.00 for ½ price when bought with from Sony. Ends 31.01.19 from Sony. Ends 31.01.19
Fujfilm X-PRO2 Fujfilm X H1 XF 14mm f/2.8 £769.00

20.4
XF 16mm f/1.4 R WR £819.00
MEGA 3.0” IS 4K
XF 27mm f/2.8 £369.00 PIXELS 15 fps
24.3 24.3 NEW XF 35mm f/2 R WR £369.00 NEW!
MEGA
PIXELS
MEGA
PIXELS
4K low XF 56mm f/1.2 £849.00
Get ready to experience the newest OM
price! XF 10-24mm f/4 OIS £829.00
Body only Graphite Body only X-H1+ Grip XC 16-50mm O.I.S II £349.00 in professional photography. This is the
.00 .00 .00 XF 18-135mm WR £699.00 E-M1X – an all new category of OM-D fo
£1,299 £1,799 £1,199 £1,299.00 XC 50-230mm O.I.S £329.00 the demanding professional. Expected late Feb. ‘19
Add a Fujifilm NP-126s Add a Fujifilm VPB Battery XF 50-140mm O.I.S £1,299.00
battery for only £49.99 grip for only £319.00 XF 100-400mm O.I.S £1,549.00 £200 trade-in bonus! See in store or online to learn more. £2,799.00
Vanguard Vanguard Sigma 85mm Sigma 24-70mm Sigma 70-200mm

VEO 2 235C Alta Fly 55 f/1.4 DG HSM | Art f/2.8 DG OS HSM | Art f/2.8 DG OS HSM | S
Roller Bag
NEW!
Available at only Available at only In stock at only Our price Available in Our Price Available in Now in stock! Available in
Canon, Nikon Canon, or Canon, Nikon
.00 .00 .00 .00 .00 .00
£199 £249 £249 £899 or Sony fit £1,199 Nikon fits £1,349 or Sigma fit
For even more Vanguard Try this tripod out For even more Vanguard Add a Sigma 86mm WR UV Add a Sigma 82mm WR UV Add a Sigma 82mm WR UV
tripods, see our website for yourself in store! bags, see our website Filter for only £99.99 Filter for only £54.95 Filter for only £54.95
Vanguard Havana 36 Vanguard Vanguard Tamron 18-400mm Tamron 100-400mm

Shoulder Bag Supreme Alta Sky 45D f/3.5-6.3 Di II VC HLD f/4 5-6 3 Di VC USD
27F Backpack
Hard Case
In stock at only In stock at only Available at only In stock! Available In stock! Available In stock! Available in
in Canon, in Canon, Canon, Nikon
.95 .99 .00 .00 .00 .00
£43 £58 £199 £649 or Nikon fits £749 or Nikon fits £1,129 or Sony fit
Available in Blue or Khaki Supplied with Foam Inserts. Try this backpack out Add a Hoya 72mm NX-10 UV Add a Hoya 67mm NX-10 UV Add a Kenko 95mm
designs - see web for details. See website to learn more. for yourself in store! Filter for only £32.95 Filter for only £28.95 UV Filter for only £99.00
All prices include VAT @ 20%. See website for our opening times for both our London and Burgess Hill stores.
Keep up-to-date with all the latest new
All products are UK stock. E&OE. *Please mention “Amateur Photographer” for this special price.
Prices correct at time of going to press; Prices subject to change; check website for latest prices. products and news with Park Cameras!

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Protecting your camera
kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
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If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
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Legends
of photography ‘It’s more important
to click with the
subject than to click
the camera’
USA in 1935 for obvious

reasons. He had already made
enough of a name for himself,
both in reportage (cf. the
Goebbels picture, 1933) and in
show business (cf. Marlene
Dietrich in Der Blaue Engel,
1930) that when Henry Luce
launched Life magazine in
1936, Eisenstadt was one of
only four staff photographers.
As well as serious hard-core
reportage and major picture
essays, he shot a lot of ‘froth’,
such as the 1932 picture
reproduced here of René
Breguet, head waiter at the
Grand Hotel at St Moritz.
But even the ‘froth’ well
demonstrates his absolute
technical mastery as well as
a sort of playfulness which
invites us into whatever world
he was photographing, whether
it was the playgrounds of the
financially overprivileged or
the Italian invasion of
Abyssinia in 1935.
He died in 1995, having
© THE LIFE PICTURE COLLECTION/GETTY IMAGES
proven that a great

Waiter René Breguet photographer can use
at waiter’s school anything. This picture was
on skates practising taken with a Miroflex, but
carrying a tray of although his name is often
cocktails while on the
associated with Leica and to
ice, at the Grand Hotel
a lesser extent Ermanox, he
also used a Rolleiflex TLR
the nurse on VJ Day in Times extensively from about 1935
Alfred
Square, New York. on. On the other hand, he also
But then you look closer at demonstrated that some
the stuff that’s apparently cameras or styles of camera
formulaic, banal, stagy and are best suited to some
contrived and you realise the photographers or styles of
Eisenstaedt
© GETTY IMAGES
truth of his observation – that photography. In particular,

it’s more important to click he knew how and when to be
with the subject than to click unobtrusive, and mostly he
the camera. Take his pictures used quiet, unobtrusive
of Marilyn Monroe. It might cameras: not for him the bulky,
A keen understanding of his cameras seem hard to take a bad picture noisy Speed Graphic or the
of one of the most beautiful clattering motor-drive.
and subjects made this photographer women who ever lived, but it’s Likewise, he preferred
an icon. Roger Hicks tells us more even harder to take a really
great picture which shows you
available light: no dazzling
flashbulb or flickering strobe.
A
t first sight, some of Stravinsky, for example, where her face as if for the first time. He seems always to have
Eisenstaedt’s work the huge abstract shapes of ‘Eisie’ managed it. used the minimum that was
looks formulaic, the piano and the background Born to a Jewish family in necessary to get a picture.
banal, stagy and dwarf the musician. Or Dirschau in West Prussia From the 1940s onwards,
contrived. It looks like hack Goebbels, whose smile (now in Poland) in 1898 and this was usually a Leica – in
reportage next to his best changed to a glare when he educated in Berlin, he served recognition of which, in 1960,
pictures, which knock your learned that Eisenstaedt was in the German army in World Leitz gave him Leica M3
socks off: his portrait of Jewish. Or the sailor kissing War I but emigrated to the no. 1000001.

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Saturday 2 February 2019

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Wells dressing procession, Tissington, Derbyshire, 1977

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