Saturday 5 May 2018

The DSLRhak7il ler?

III is the best
Why the Sony Alp
TESTED camera you can bu
y for under £2k

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

How to
& lenses listed
& rated

Competition
winner taken by
a 14 year old!
Insider tips for success in
the top photo competitions
What the judges like –
and what they don’t

APOY 2018
Send us your best b&w shots
to win £1,050 of Sigma kit

Find your
photos
20 tips to optimise your
Lightroom library
Lumix GH5S
A master at video, but is
it any good for stills?
Photo London Preview of the UK’s biggest photo event – over 100 exhibitions
 7days
COVER PICTURES © PRANAB BASAK - TRAVEL PHOTOGRAPHER OF THE YEAR 2016 / JON DEVO

A week in photography
Photo competitions are great advantage. Staying with the competition
– there are now so many, and theme, we’re also announcing the black &
they can be an excellent way white leg of APOY 2018. Hardware-wise, we
for talented amateurs to get test the Sony Alpha 7 III, another awesome
the exposure they deserve or DSLR killer, and the interesting Lumix GH5S.
In this issue pocket a handsome prize. But the standard to
win competitions is getting a lot tougher,
Whether you use a camera, old or new, don’t
miss our Lightroom Library tutorial on page
12 Win big
which is why we’ve asked judges from the 38, so you can organise and optimise all your
Judges from some
of the UK’s top photo biggest contests to share their tips and lovely photos. Enjoy the issue!
competitions reveal how insights. Turn to page 12 to get an unfair Nigel Atherton, Editor
to increase your chance
of success JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
18 Theprofessionals
AP attended the Sony
World Photography ONLINE PICTURE OF THE WEEK
Awards ceremony to see
Luna
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA

the pros get their prizes

22 Photo Roadshow by Alex Wrigley
Bold and Nikon D800, 90mm,
beautiful 1/160sec at f/2.8, ISO 400
The paths, temples and This beautiful dog portrait was
lakes of Stowe provide uploaded to our Twitter page
opportunities for striking using the hashtag
imagery, says Justin Minns #appicoftheweek. It was taken
28 APOY Round 3 by photographer Alex Wrigley.
Your chance to enter He tells us, ‘Taking a usable
Round 3: Mono culture photo of a black dog is
notoriously difficult, but after
32 Location guide three years of trying and failing
Mells and the Mendip I finally developed an idea I was
Hills provide photogenic confident with. Using a large,
colours in late spring dark barn as a backdrop on an
34 Aim high overcast day I positioned Luna
in the doorway, underexposing
The benefits of applying to throw the backdrop entirely
for RPS accreditation into darkness and highlighting
36 Be more her facial features with the
organised natural light.’
We help you sort out your
Lightroom Library with
these 20 essential tips
40 Sony Alpha 7 III
Michael Topham looks at
how the A7 III redefines
affordability in the full-
Win! Each week we choose our
favourite picture on
Facebook, Instagram, Flickr, Twitter or
frame market the reader gallery using
#appicoftheweek. PermaJet proudly
47 Video star supports the online picture of the week
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

Jon Devo field tests the winner, who will receive a top-quality
Panasonic Lumix GH5S
© ALEX WR GLEY PHOTOGRAPHY 2016

print of their image on the finest

55 Buying guide PermaJet paper*. It is important to
bring images to life outside the digital
Our 12-page listing of sphere, so we encourage everyone to
cameras and lenses get printing today! Visit www.
permajet.com to learn more.
Regulars
3 7 days
26 Inbox Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
50 Accessories 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 53.
51 Tech Talk Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
82 Final Analysis Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 53.
NEWS ROUND-UP
The week in brief, edited by
Amy Davies and Hollie Latham Hucker

Sigma announces E-mount lens pricing

Official prices for Sigma’s range of Art lenses in Sony FE-mount
have been announced as follows: 14mm f/1.8 DG HSM - £1,679.99,
20mm f/1.4 DG HSM - £859.99, 24mm f/1.4 DG HSM - £799.99,
35mm f/1.4 DG HSM - £799.99, 50mm f/1.4 DG HSM - £749.99,
85mm f/1.4 DG HSM - £1,199.99, 135mm f/1.8 DG HSM - £1,399.99.

SmugMug acquires Flickr

Flickr was once one of the most popular photography-sharing
sites in the world, but in recent years its popularity has waned.
Now, photo-management platform SmugMug has agreed to buy
Flickr. The new acquisition, for an undisclosed sum, hopes to
revive the fortunes of the sharing site, combining expertise from
both platforms for the benefit of photographers. Watch this space.

BackLight Daypack BenQ launches

from Mindshift
An 18-litre version of Mindshift
Gear’s popular rear-panel
BackLight backpack series has
been announced. This smaller
version offers a lightweight
daypack that enables
PhotoVue monitor
A brand new monitor aimed at
photographers has been
announced – the BenQ SW240
PhotoVue. Supported by BenQ’s
AQCOLOR technology, the new
24.1in monitor is designed to
© MARKEL REDONDO

photographers to access gear display a wide gamut of

without taking off the colours, and comes factory-
backpack. Simply rotate the calibrated to ensure colour
bag to the front while the accuracy and has ultra slim

waist-belt is still attached, in
order to access extra lenses
and accessories.
BIG
bezels to maximise image
display. Priced at £399, it is Sand Castles (part II) by DJI Drone
available to buy now. Photography Award winner
Spain was hit hard by the European

picture
economic crisis and it is estimated that 3.4
Sony issues Alpha 7 III firmware update million houses stand empty, after housing
Sony has released a firmware upgrade for the Alpha 7 III. Released estates were built by developers cashing in
to solve a ‘blinking pixels’ phenomenon at the bottom edge of the on cheap loans and favourable government
image during XAC S 4K (PAL 25p) recording, the upgrade also regulations. Part 2 of Markel Redondo’s
improves the overall stability of the camera, and it resolves an project ‘Sand Castles’ provides a new
issue where the touch panel could occasionally be unresponsive.

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 SOURCE: BRITISH JOURNAL OF PHOTOGRAPHY

perspective on these abandoned

Words & numbers

12
developments that litter Spain’s landscape.
Markel Redondo was one of two winners of
the recent DJI Drone Photography Award
and won a Phantom 4 Pro drone and I have a burning desire to
£1,500 project financing. He decided to
revisit this project that he first photographed
see what things look like
in 2010. He says, ‘We live in a society with
huge housing issues ... yet Spain has more
photographed by me Number of abandoned
developments Markel Redondo
visited as he travelled across
than three million empty homes.’ Garry Winogrand southern Spain (see Big Picture)
American street photographer (1928-84)

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 Photo London
2018 will feature
a record108
galleries from
18 countries
© GRAHAM CARLOW
Excitement builds for
Photo London 2018
THERE ISN’T long to go before
the fourth annual Photo London
fair opens. Held at Somerset House,
London, from 17 to 20 May, the fair
will feature a record 108 galleries
from 18 countries showcasing a
range of exhibitions, talks and more.
Building on the success of the
previous three editions, Photo
London 2018 aims to showcase the
very best of the past, present and
future of photography to a growing
international audience. Emerging
artists will be presented alongside
new work by established masters and
rare vintage pieces.
This year, for the first time, a select
group of participating galleries have
© ELINA BROTHERUS
The fair will also feature rarely seen artists like Elina Brotherus
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Photo London
2018 highlights
17-20 May
Edward Burtynsky,
East Embankment Gallery,
Somerset House
Fine art photographer renowned
for chronicling human impact
on planet earth. Exhibition
features new and rarely seen
work. Speaking as part of the
Photo London Talks Programme
on 17 May.
17-20 May
Sun Pictures Then & Now:
Talbot and his Legacy Today,
West Embankment Gallery,
Somerset House
Opportunity to see vintage
Talbot prints alongside
contemporary work inspired by
him. Contributing artists
include Cornelia Parker, Vera
Lutter and Hiroshi Sugimoto.
Parker will be speaking about
Talbot as part of the Photo
created special projects, including a the annual Photo London Talks
London Talks Programme,
17 May.
17-20 May
Pavilion Commission:
major exhibition on the legacy of Programme on Thursday 17 May. Daido Moriyama,
William Henry Fox Talbot, one of the The full talks programme will also Pavilion, Somerset House
earliest pioneers of photography. include speakers such as Joel Moriyama captures Japan’s
Each year, a Master of Photography Meyerowitz, Simon Roberts, Susan societal upheavals and cultural
is announced, with this year’s Lipper, Bruce Gilden and Vera Lutter. shifts. Throughout his career,
accolade going to Canadian fine art Last year saw the inauguration of he has repeatedly returned
photographer Edward Burtynsky. At the Discovery section – a showcase to Tokyo’s enigmatic Shinjuku
the fair, a special exhibition of his new for emerging galleries and artists. district as a subject for
and rarely seen work will be shown, The 2018 edition has been his work.
alongside a preview of his latest considerably expanded and will
project ‘Anthropocene’. Known as feature a number of British artists, 17 May
someone who likes to push the alongside those from Germany, Mary McCartney at
technical limits of photography in his Japan, China and more. National Portrait Gallery
work, an AR (Augmented Reality) A day pass, which gives access to Photographer Mary McCartney
experience will also be showcased. the exhibitions, costs £29. Tickets talks to Martin Barnes, Senior
To accompany the exhibition, for the talks cost extra. Find out Curator of Photographs at the
Burtynsky will be speaking as part of more at photolondon.org. V&A, about her portraiture,
move in to motion, love of
dance and capturing intimate,
almost voyeuristic, moments.
18 May
The Royal Photographic
Society Presents Susan
Lipper, Talks Auditorium,
Somerset House
Awarded the Guggenheim
Fellowship in 2015, Lipper
presents themes from her
portfolio including work
©EDWARD BURTYNSKY
from her new monograph,
‘Domesticated Land’, which will
be released by MACK at
Edward Burtynsky is the fair’s Master of Photography for 2018 Photo London.
 © ALYS TOMLINSON
Alys Tomlinson’s
award-winning
series ‘Ex-Voto’
was shot in France,
Ireland and Poland
Back in the day
A wander through the AP archive.
This week we pay a visit to May 1957

1957

Winners announced at
Sony Photo Awards
BRITISH artist Alys also announced at the
© ALYS TOMLINSON

Tomlinson has been same time.

named Photographer of The winner of the Open
the Year at the prestigious Photographer of the Year
annual Sony World award went to Veselin DID YOU see what they did there, back in 1957? Film
Photography Awards for Atanasov from Bulgaria. Goliath Ilford clearly coughed up for a sponsored cover
her series ‘Ex-Voto’. She Selected from 10 category featuring an urchin with a rather non-PC toy gun,
wins US$25,000. The jury winners as the best single along with the strapline: ‘You’re always a big shot with
praised the series for its image in the world, his an Ilford film.’ Mad Men eat your heart out!
beautiful production, photograph ‘Early Autumn’ Inside the issue, stalwart editor Mr Sowerby was
technical excellence and wins a US$5,000 prize. sorting out some of the fallacies surrounding colour
sensitive illustration of All winners were invited photography, helpfully illustrated by a black & white
pilgrimage as a journey of to attend the ceremony in picture – though to be fair, colour reproduction was
discovery and sacrifice to London and took home Photography Awards very pricey back then. The main review focused on the
a greater power. Sony digital imaging Exhibition at Somerset Zeiss Ikon Contina III (please don’t misread this as
Tomlinson’s series was equipment. They will have House until 6 May. Next ‘Cortina’). The 35mm viewfinder camera was certainly
selected from the 10 their work published in the year’s competition opens a handsome devil. ‘This body is of solid die-casting,
category winners of the winners’ book, while their for entries on 1 June. excellently finished inside and out to the high
Professional competition, work will be shown as part Read more about the standards expected of a Zeiss Ikon product,’ gushed
the winners of which were of the 2018 Sony World award winners on page 18. the reviewer. There was more to the Contina than just
style, however, as it also featured a Pantar 45mm
f/2.8 lens and light meter, along with other cutting-
Venus Optics unveils edge goodies. ‘The exposure computer is clearly seen,’
notes the reviewer. You ain’t seen nothing yet, old boy!
four new Laowa lenses The Laowa100mm
VENUS OPTICS has unveiled four lenses, with pricing to f/2.8 2X Ultra
be confirmed. The Laowa 10-18mm f/4.5-5.6 FE Zoom, Macro APO lens
for Sony’s full-frame mirrorless (E-mount) cameras, offers the
widest zoom lens for the system. The Laowa 100mm f/2.8 2X
Ultra Macro APO lens belongs to Laowa’s 2:1 macro range
and is for Canon EF, Nikon AI, Pentax K and Sony FE mounts.
The Laowa 17mm f/4 GFX Zero-D is for Fujifilm G-mount
cameras, and gives an equivalent view of 13mm in 35mm
format. Finally, the Laowa 4mm f/2.8 Fisheye MFT gives an
equivalent of 8mm for Micro Four Thirds users.

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

Hey good lookin’. The Zeiss Contina. Not Cortina or Canteen

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 Exhibition
Hit the North
In a new exhibition, arts organisation Hobo Photo
presents a selection of fascinating northern-based
photographers, as Oliver Atwell discovers
ou could often be forgiven for
‘Hit the
North’ runs at
Manchester’s
Central Library
until 30 June
Y buying into the idea that art
and culture is a purely
London-based affair. It’s been
a bone of contention for many years
from artists and organisations across the
2018. Entry country, who feel like they are hitting their
is free. For heads against a brick wall as they attempt
more details, to penetrate the London-centric coverage
visit www. afforded to music, art and literature.
hobophoto. With that in mind, it’s always a pleasure
co.uk to encounter an organisation that is
committed to exposing artists that exist
outside the capital’s sphere and is
dedicated to promoting the exhaustive
wealth of talent that exists further north.
Hobo Photo is one such organisation,
and the exhibition ‘Hit the North’ brings
together eight photographers, all of who
are based in or around Manchester.
Of course, Manchester has an incredibly
rich history of talent in the arts, so it’s not
surprising to see that the photographers
represented in ‘Hit the North’ are focused
on producing images that are challenging
and vital. Hobo Photo’s aim is to not only
promote new work, but to also highlight
older work that in some cases may have
© CHRIS HARRISON, HOBO PHOTO
The Three Lads, Salford, 1994, from Chris Harrison’s series Under the Hood
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fallen a little under the radar. On display
you’ll find a variety of genres, including
portraits, landscapes, still life and
documentary. Each project – each image,
in fact – has something vital to say about
not just its immediate subject, but also the
context surrounding it.
One of the immediately striking
projects comes courtesy of Daniel
Meadows; this project was formulated
in 1972 when he was still a student at
Manchester Polytechnic. Just down the
road from the college – Moss Side’s
Graeme Street, to be exact – Meadows
© MATTHEW MURRAY, GALLERY VASSIE AND HOBO PHOTO
found a disused barber’s shop and hit
upon the idea of using it as a
photography studio. Once he’d set up a
functional and minimal interior, he began
inviting passers-by and friends to have
their portraits taken for free. Meadows
then put up the images in the shop
window and gave each sitter a free print.
Unfortunately, he soon ran out of money,
so was forced to shut shop. Feeling
disheartened, he did what any of us ‘Meadows laid the images
would do in the same situation – he laid out on boards and nailed
the images out on boards and nailed
them to a tree in a park. He obviously did them to a tree in a park’
© TESSA BUNNEY, HOBO PHOTO
Allium Cristophii, 2017, from the series Farmer Florist by Tessa Bunney

the right thing because, in the following
years, his work found its way into several
major collections and exhibitions and he
is now seen as an important figure in the
post-war photography scene.
Another portrait project that is
fascinating to study is Chris Harrison’s
Under the Hood, made in 1994, which
consists of a series of portraits of young
men from the Salford area. In other
circumstances, through the eyes of
another photographer perhaps, these
men could easily have been made to
look fierce and confrontational. Basically,
anyone else would have made them look
© DANIEL MEADOWS, HOBO PHOTO
as working class as possible. However,
Chris takes the set and lighting motifs of
Renaissance portraiture and elevates his
subjects, imbuing them with borderline
vulnerability and dignity.
Also represented in this exhibition is
Phoebe Kiely, a more recent photographer
who has already seen her work displayed
at the Tate Modern and Open Eye Gallery
in Liverpool. Kiely’s haunting and strange
images of everyday ephemeral scenes are
all shot on film and printed in a darkroom.
This analogue process does much to
enhance Kiely’s beautifully odd slant on the
world. Each frame requires real attention.
You won’t always know what you’re seeing,
but you’ll want to keep looking.
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Chew Piece Plantation,
Saddleworth Moor, 2016
by Matthew Murray
Daniel Meadows’s Group Portrait, 1972
Unfortunately, there isn’t enough space
here to do justice to all the participating
photographers. Suffice to say, everyone’s
work is more than worthy of inclusion,
whether it’s Liza Dracup’s Dutch-inspired
taxidermied still-lifes, Matthew Murray’s
unusual and other-worldly landscapes or
Tessa Bunney’s delicate floral images that
explore the domestic flower growers
of northern England.
Also out now
The latest and best books from the
world of photography. By Oliver Atwell
© FRANK KUNERT
Lifestyle
By Frank Kunert, Hatje Kantz, £17.88, 72 pages,
hardback, ISBN 978-3775743761
Photographing miniature models
has a rich history. This specialist
endeavour – one requiring limitless
imagination, ample time and
steady-handed craft – is the
preserve of a select few, perhaps
most notably in figures such as Michael Paul Smith,
whose acclaimed images bring to life dreamy and
nostalgic 1950s Americana. Joining Smith in the
pantheon of miniature-model photographers is
German-born Frank Kunert, whose detailed and
painstaking images create scenes that straddle the
border between the uncanny and comfortably
familiar. Each of Kunert’s scenes is shot on a
large-format film camera, which only serves to
heighten the realism of his scenes. This lovely book
acts as a kind of greatest hits compilation: one that
brings together his previous works to form a perfect
introduction to the artist. +++++
Well Heeled
By Dougie Wallace, Dewi Lewis, £26.00, 240 pages,
hardback, ISBN 978-1-911306-18-4
Never one to stick to convention,
confrontational street photographer
Dougie Wallace has taken a break
from getting in the faces of people in
order to get in the faces of dogs
instead. Wallace is known for his
garish street portraits of night-time
revellers and, most recently, his exploration of the rich
and elite who parade around outside Harrods in
London. This book, from publisher Dewi Lewis, deals
with some of the most spoiled mutts you’ve ever
seen. Specifically, the images document ‘pet parents’
– an elite group that dresses its dogs up in natty little
outfits and plasters them with the kinds of diamond
riches that would make Croesus sick with envy. The
dogs are striking characters in themselves. Each face
is as expressive as any of Wallace’s people images,
though you do quickly come to suspect that behind
the eyes are wordless cries for help. It’s another great
book from Wallace and one that, typically, has much
to say the more you look at it. +++++
9

Viewpoint
David Healey
We all like to believe our images have
‘quality’, but how do you make sure you get
the best out of the camera you are using?
L
ooking at some pictures, my
fashion-photographer colleague
said rather disparagingly, ‘I think
those have been taken on a
phone’. The images in question loomed
very large on the walls of a coffee house.
It was a subjective judgment, but they were
unsharp (when viewed at close distance),
lacked a full tonal range especially in the
shadows, and were to our eyes uninviting.
Neither of us underestimates how good
phone photos can be, if the photographer
understands its limitations.
For decades, the photo industry has
pursued miniaturisation and convenience:
witness the evolution of Kodak’s point-
and-shoot film cameras from 120 rollfilm
to Disk. Thankfully, APS was not an even
smaller format than Disk, though if it had
been based on 35mm film, it would have
been an improvement on 35mm, and
been more widely adopted.
How we as photographers record
faithfully the vast range of detail in any
scene, let alone its brightness range,
depends on many factors, but I was
always taught that one of the most
obvious influences is the size of the film or
sensor I use. Miniature and sub-miniature
film and sensor formats not only limit,
among other things, the size of the sharp
enlargement you can make, but also
Part of Mamiya’s 6x7cm
range, which offered a
huge quality advantage
over 35mm in the studio
THE V EWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME NC (UK)
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the address on page 53 and win a year’s digital subscription to AP, worth £79.99
10
In next week’s issue
On sale Tuesday 8 May
© DAMIEN DEMOLDER
compress the tonal (black & white) or hue
(colour) range. The smaller the format, the
less information we can record, so the less
we can reproduce in the final image.
If sensor size made no difference, we
would not have full-frame or large-format
DSLRs. Film thus has a quality advantage.
No-one at the height of the SLR boom in
the 1970s and 80s was introducing
half-frame SLRs: full-frame 35mm was
better, rollfilm was in principle better than
35mm, and large format was better than
medium format. Film today offers, nearly
always, a larger format that than in APS-C
or Micro Four Thirds.
Compare the difference tonally and in
terms of sharpness between miniature
(35mm), medium- and large-format
negatives on a lightbox. Students can see
it. Compare the photos taken on small
sensors and large sensors for low light
capability, colour depth, sharpness, etc.
We can train ourselves to look for these.
Life without
There are photographs all around us, yet
often we do not perceive them. Also look
at others’ photos and discover technically
why they differ and what is the difference.
David Healey ARPS chairs the RPS’s Analogue group
mirrors
Damien Demolder shows how
and tutors photography at King Edward VI Aston mirrorless can cure many
and Handsworth schools. See www.facebook.com/
groups/rpsanalogue/
street photography headaches
© DAVID HEALEY
Fujiilm X-A5
Audley Jarvis tests Fujifilm’s compact
and stylish mirrorless camera
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
Yongnuo YN 50mm F1.8
This cheap AF lens punches way above
its weight, says Andy Westlake
Recipe for success
Feast your eyes on this year’s Pink Lady
Food Photographer of the Year winners
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 Technique

Win
big
Judges from some of the UK’s
top photo contests reveal to
Amy Davies how to increase
your chance of success
ith so many different competitions to

W enter, you can be sure there’s one that

matches your favourite genre. It’s a
great way to challenge yourself, focus
your mind and potentially take home some fantastic
prizes. Some of the UK’s top competitions can attract
tens of thousands of entries, so trying to ensure that
your image stands out from the crowd can be tricky.
To help increase your chances, we spoke to the judges
of some of the world’s biggest competitions, and have
compiled the best advice and tips.
Most competitions, owing to the effort involved in the
shortlisting and judging process, charge a fee to enter.
Therefore, it’s crucial to ensure your image stands a
chance of getting to the finals, otherwise you’re simply
wasting your money. The following insights may help
you decide which of your images are up to the task.

Outdoor
Photographer
of the Year
Run by the publishers of Outdoor
Photography magazine, this
competition is dedicated to landscape,
wildlife, nature and adventure. The
© STIAN NESOY (NORWAY)/OUTDOOR PHOTOGRAPHER OF THE YEAR 2016

grand prize is the Fjällräven Award,

which gives you £3,000 to assemble
your dream collection of outdoor
adventure kit.
The judges Steve Watkins is the head judge. He
are looking for explains, ‘In the 2017 competition, it
that emotional took around 10 extremely intensive
connection days and evenings to go through all the
between the entries. At first, I wonder if the first few
photographer
images are the best I am going to see,
and the scene
but as the process continues, it gets

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 Judges’
top tips for
success
Chris Coe,
Travel POTY
‘Ask someone whose
eye you respect for
their opinion about
your image selection
and its suitability for
the category theme
before entering – and
listen to it.’
Steve Watkins,
Outdoor POTY
‘Enter the
photographs that
mean the most to
you – if you are very
moved by them, then
there is a reasonable
chance that the
judges will feel the
same way. Don’t
enter anything that
is similar to the
images that won
in the competition in
the previous year.’
Tracy Calder,
Garden POTY
‘Enter a portfolio

© DENNIS FRATES/INTERNATIONAL GARDEN PHOTOGRAPHER OF THE YEAR 2013

– putting together
a coherent set of
pictures is challenging,
but by doing so, you
will give yourself a
clear focus and
improve your editing
skills. Plus, portfolio
Images that are categories tend to
technically superb and
taken in perfect
have fewer entries!’
conditions stand out Charlie Waite,
Landscape POTY
quicker because it becomes clearer
which images are over the bar and
International Garden ‘Ask a few opinions,
but ultimately if an
image pleases you
which ones aren’t going to make it.
‘I’ve spent a lot of time over Photographer of the Year and you feel proud
of it, then the passion
the course of this year’s OPOTY The world’s premier competition specialising in garden, plant, flower and emotion you
competition talking about what we’re and botanical photography, the International Garden Photographer felt when creating
looking for in an image, and the answer of the Year is organised in association with the Royal Botanic Gardens, it is more likely to
that keeps recurring is “connection”. Kew. The exhibition of winning images is held at the gardens each year, extend to the viewer.
Looking through so many images in the before going on tour around the UK. Open to both amateurs and Enjoy the creation
competition and in the day job editing professionals, the competition has 11 main categories, plus numerous of every image.’
Outdoor Photography means it is special awards. The main prize is £7,500 for the overall winner, or
increasingly easy to spot when a £2,000 for the best portfolio. Roz Kidman Cox,
photographer is fully connected to their Amateur Photographer’s features editor, Tracy Calder, is a judge for Wildlife POTY
own emotions, what they are doing the competition, and describes what she is looking for. ‘A familiar subject ‘Ask a couple of
when taking the photograph and the shot in an unusual way often gets my vote. You might be photographing friends or colleagues
subject they are shooting. It’s this daisies on your front lawn, but if you do it an interesting and technically whose visual sense
connection that elevates an image to proficient way then the results can be striking.’ you respect to give
the highest levels. It’s hard to specify International Garden Photographer of the Year 2018’s main honest opinions about
what demonstrates that connection, but competition is open for entries until 31 October. See the website your choice of possible
it is obvious in an image when it’s there.’ igpoty.com for more details on how to enter your images. A fee of entries. And read the
To find out more, see opoty.co.uk. £12 per four images applies, or £25 for a portfolio. rules carefully!’

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 13

Steer clear of
cliché shots. If
it’s a popular
subject, capture it
in a unique way
Big mistakes:
Sure-ire ways to
see your image fail
1 Not reading
the rules
The most common mistake
according to almost all judges
is photographers simply not
following the rules correctly.
Spend time making sure you
have understood and followed
all the relevant requirements.
2 Including
watermarks
Steve Watkins, head judge
of Outdoor POTY, says,
‘The judging is all done
anonymously, so if your name
is on the image it gives it an
unfair advantage if the judges
know your work.’
3 Submitting
irrelevant images
It sounds obvious, but make
sure your images match the
theme or genre of the
competition: ‘Our sister
magazine Black+White
Photography runs an annual
14
competition, and it always gets
at least a handful of colour
entries!’ says Steve Watkins.
4 Not planning
ahead/technical
issues
‘A classic is leaving the
uploading of your entries to
the very last day and then
having internet problems, or
not realising that the closing
time is in the morning, not the
evening,’ explains Roz Kidman
Cox from Wildlife POTY.
5 Too much
Photoshop
Bad post-processing is a big
no-no. This ranges from simple
mistakes such as oversaturation
to removing or adding
elements altogether. Most
competitions have clear but
strict rules regarding image
manipulation. Make sure you
stick within the limits, and
always keep the raw file to
hand should it be requested.
Wildlife Photographer
of the Year
The world’s largest competition
championing wildlife and
environmental imagery has a huge
number of entries – over 45,000
every year. The overall winner of the
competition takes home a whopping
£10,000, while each category
winner receives £1,250. The
winning images are displayed in a
large annual exhibition at the
Natural History Museum, London.
From among all the entries, only
4,000-5,000 images actually
make it through to the finals, with
the jury meeting for a week to
debate the choice of the final 100
pictures. As you can imagine, this
lengthy process makes it quite
difficult for individual images to
make the grade.
Chair of the jury, Roz Kidman
Cox, says, ‘Some images always
jump out at you, but they need to
be more than one-glance wonders
to stay the course. They need to
have the same impact when you
return to them again. The best
pictures hold your interest every
time you look at them.
‘Never copy the style or content
of previous winning images. It is
5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
© ERLEND HAARBERG/WILDLIFE PHOTOGRAPHER OF THE YEAR 2017
seldom that a photographer tops
what’s been awarded before. Ask
yourself if your picture is merely
a copy of similar pictures you have
seen published over and over again.
It may be a good shot, but it won’t
win a prize. To win requires an
original viewpoint, especially if the
subject is a familiar one.’
Although the rules for this
competition don’t stipulate that
the image must have been taken
recently, Wildlife Photographer of
the Year requires submission of
the original raw file if it makes it
through to the winning stage, so it’s
crucial that you still have it. Kidman
Cox explains, ‘If a picture reaches
the finals, the original will be
requested so the authenticity of
the entry can be checked. If you
don’t send it, the picture will
be withdrawn.’
Wildlife Photographer of the Year
53 is currently on display at the
Natural History Museum until 1 July
2018; it will then tour various UK
venues until December. See www.
nhm.ac.uk/visit/wpy/competition.
html for information about how
to enter the competition.
 COMPETITION TIPS Technique
Travel Alternative
Photographer competitions
The previous pages have looked
of the Year at some of the biggest and most
popular competitions, but there
Established in 2003 by Chris and are plenty of others out there.
Karen Coe, Travel Photographer Consider the following, especially
of the Year has grown to become one if you gravitate towards a
of the world’s most prestigious particular genre of photography.
photography awards. Last year, it National Geographic Travel
received entries from 129 different Photographer of the Year
countries. The overall winner takes There’s a main prize of
home several prizes, including £4,000, US$10,000 up for grabs, and
while category and portfolio winners the opportunity to be named
also receive various prizes including 2018 National Geographic Travel
cash, cameras, tuition and accessories. Photographer of the Year in this
Chris Coe describes the type of worldwide competition. It costs
images which make him pause: ‘Places US$15 per entry, with three
or events which are new or not categories to choose from:
previously seen by the judges. Strong nature, people and cities.
compositions with extra interest. Images See travel.nationalgeographic.
© LINDSAY MOE/PINK LADY FOOD PHOTOGRAPHER OF THE YEAR 2018

which draw the viewer back to discover com/photographer-of-the-

more in the detail. Different viewpoints. year-2018/.
Familiar places photographed with a
fresh, different and interesting British Wildlife
perspective. Humour. The unusual. Photography Awards
Connections with a subject or imagery If an image
A main cash prize of £5,000
which could only be taken if the looks good is available, along with a prize
photographer has engaged with the enough to fund that features Canon
subject. Emotion – even if the image eat, then it’s products. There are 15 separate
isn’t the best technically.’ a success categories including animal
It pays to be mindful of previous behaviour, urban wildlife, habitat
winners, so that you can avoid and wild woods. Fees start from
duplication. ‘The typical travel fodder
turns up a lot: Buddhist monks, South
Pink Lady Food £10. See bwpawards.org.
Taylor Wessing
American markets, Masai warriors (the
list goes on and on), all photographed
Photographer of the Year Portrait Prize
You have until 12 June 2018
with a lack of imagination. Which isn’t to Launched in 2011, Pink Lady Food Photographer of the to enter the Taylor Wessing
say we don’t welcome those subjects, Year has a prize pool worth more than £20,000, with the Photographic Portrait Prize
but only when photographed stunningly overall winner receiving £5,000. In 2018, more than 8,000 2018, which celebrates and
and with creativity.’ entries were received from 60 countries across the world. promotes the very best in
Travel Photographer of the Year David Loftus, renowned food photographer, is the head judge contemporary portrait
2018 is open for entries until 1 for the 2018 competition, and says he looks for appetising photography. Organised by
October. The winner will be announced photos. ‘We’re looking for something a little different from the the National Portrait Gallery
in December 2018. A fee of £15 for norm – something inventive, something new. Ultimately, if the in London, the overall winner
each four-image portfolio category food shot doesn’t look as if one could eat it off the photo, then receives £15,000. Visit
applies, or £30 for the eight image the photo doesn’t work,’ he explains. ‘The lovely thing about the npg.org.uk/photoprize.
special portfolio category. See tpoty. awards is that it covers every corner of the culinary experience,
com for more information. from source to mouth, so the breadth of subject matter is Amateur Photographer
always impressive and, as a result, not always easy to judge.’ of the Year
© PAUL SANSOME/TRAVEL PHOTOGRAPHER OF THE YEAR 2017

Pink Lady Food Photographer of the Year has a large team Of course, we can’t let this
of judges drawn from both culinary and photographic feature slide without mention
backgrounds. There are categories catering to everything from of our very own Amateur
carefully designed studio shots to documentary-style images of Photographer of the Year
markets and so forth. This means that whatever your genre is (APOY) competition. Our
you’ll be able to find a category to enter. A good, graphic competition is judged in rounds,
composition, originality and clever use of colour palettes will with a prize fund worth more
always help an image to stand out, but most of all, the food than £10,000 for the overall
needs to look appetising. If the picture doesn’t make you want winner. The latest round is
to eat it then it has failed. ‘Mono culture’. Prices start
With the documentary-style categories judges are looking at £8 for a single entry, but
for images that convey the joy, passion and dedication involved Amateur Photographer readers
in food production, cooking and consumption. can access a free entry using
This year’s Pink Lady Food Photographer of the Year the code on page 28. Visit
was awarded to Noor Ahmed Gelal. Visit amateurphotographer.co.uk/
This image won the Celebration of pinkladyfoodphotographeroftheyear.com for more details, apoy for further information
Humanity category in TPOTY 2017 along with information on how to enter next year’s competition. about the contest.

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 Technique COMPETITION TIPS

Niche
competitions
If you still haven’t found a
competition that suits your
particular interests, why not
consider some of the smaller,
more niche competitions? There
are hundreds available for your
entries, and some don’t charge
for entries. Here are some of
our favourites.
Black+White Photographer
of the Year
Run in partnership with Fujifilm,
Black+White Photographer of
the Year, as you may have
guessed, champions all things
monochrome. Prizes usually
include the latest camera gear,
and the competition is divided
into categories, with an overall
winner. See bpoty.com.
Comedy Wildlife
Photography Awards
With a chance to win a once-in-
a-lifetime safari trip, the Comedy
Wildlife Photography Awards are
for the more amusing shots in
your wildlife portfolio. Entry is
free. You have until 30 June to
submit your entries. The website
© DAVE FIELDHOUSE /TAKE A VIEW LANDSCAPE PHOTOGRAPHER OF THE YEAR 2014

comedywildlifephoto.com has all

the details.
Dog Photographer
of the Year
Run by the Kennel Club, Dog
Photographer of the Year
celebrates everything dog-
related. Split into various Look through
categories, the winning previous entries
to ensure you’re
photographer’s pictures are not entering a
displayed at a prestigious similar-looking image
exhibition in Mayfair, London;
there is also an oil painting of
their winning image. Visit
dogphotographeroftheyear.co.uk
Take a View – Landscape
for more details.
Photographer of the Year
© JOHN LIOT/DOG PHOTOGRAPHER OF THE YEAR 2017

Founded in 2006 by Charlie Waite, the total
prize fund of Take A View - Landscape
Photographer of the Year is worth more than
£20,000. Winning images are published in a book
as well as displayed in a touring exhibition.
Charlie Waite says, ‘As a landscape photographer
myself, I know how much time and thought goes into
the creation of each of our entries, and it is hard
when you have to disappoint people but, on the
reverse side, is the feeling when you succeed.
‘I think most of my fellow judges would agree that
you don’t enter the judging process “looking” for
specifics. Yes there are certain elements such as
lighting, technique, balance, composition, etc that are
crucial on the whole, but it is the emotion that you
This image won the Oldies feel when looking at the complete photograph that
category in the 2017 Dog POTY determines whether or not it speaks to you and
stands out from the others. Attend and Intend is
rather a favourite saying of mine at the moment:
attend to what you are doing and ensure that all in
your image is intended.’
Although tricky, think carefully about the popularity
of your given location. ‘There are a number of
locations in the UK with a particular beauty that is
very popular with photographers, and photographs
of these do appear regularly among our entries. If
judges are faced with multiple images of the same
location within the judging process, then I think it is
probably fair to say that it may be harder for one of
them to stand out.’
The current Landscape Photographer of the Year
exhibition is touring the country. Full details can be
found at the competition website take-a-view.co.uk.
The 2018 competition will open soon.

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 *&"( ! !  !
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 SONY WORLD PHOTOGRAPHY AWARDS

The professioow in its 12th year, the

N Sony World Photography

Awards highlight the best
contemporary photography
worldwide. The awards comprise four
categories: Open, Youth, Student Focus,
and Professional. The Open awards
recognise outstanding individual images,
while the Professional categories celebrate
bodies of work. There is also an award for
Outstanding Contribution to Photography
– this year awarded to Candida Höfer,
known for her large-scale, richly detailed
pictures of empty interiors.
This year 319,561 images were submitted
from more than 200 countries and
territories (a 40% increase on 2017).
A total prize fund of $30,000, plus Sony
digital imaging equipment, was shared
between the winning photographers.
Aside from the prize money, the
organisers aim to provide extensive
exposure to the winners, shortlisted and
commended entrants, and support new
talent via the Student, Youth and Open
competitions. Naturally, the Professional
programme rewards established artists.
Over the next few pages we bring you one,
or in Gianmaria’s case two, pictures from
eight bodies of work. Some of these artists
will be featured in future issues of AP.
The Sony World Photography Awards
exhibition, featuring winning, shortlisted
and commended images, is on show at
Somerset House in London until 6 May.
For more details see www.worldphoto.org/
sony-world-photography-awards.

Fredrik Lerneryd, Sweden

Slum Ballet
Contemporary Issues, 1st Place
Every Wednesday at Spurgeon’s Academy
in Kibera, students remove the classroom
furniture and sweep the floor. School uniforms
are exchanged for colourful clothes. When
teacher Mike Wamaya enters the room, the
students take up positions with one hand on the
wall as though it were a ballet barre. Music
plays from a speaker, and ballet class begins.
The class is organised by the charities Annos
Africa and One Fine Day, and repeated in slums
across Kenya. In Nairobi, they work with two
schools in Kibera and one in Mathare. Dance
helps the children to express themselves and
strengthens their self-confidence. Several
children have had their talent spotted and now
© FREDRIK LERNERYD

attend Dance Centre Kenya in a smart area of

Nairobi, moving from the harsh conditions of
the slum to boarding school nearby.

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 SONY WORLD PHOTOGRAPHY AWARDS

nals
Showcasing the best in contemporary photography,
the Sony World Photography Awards throws up a
diverse mix of images. AP attended the Awards
ceremony in London to see the pros get their prizes

© FLORIAN RUIZ
Florian Ruiz, France expresses atomic disintegration per second. By
a process of staggered super impression, Ruiz
The White Contamination intended to show the atom’s alteration in his pictures.
Creative, 1st Place The transparency effects and broken perspectives
In the snowy landscapes of the heights of Fukushima, give rise to a shape that is in motion, an impermanent
Ruiz captured the invisible pain of radiation. Inspired world. He then created a vibration, a departure from
by Japanese engravings, he hoped to capture the the reality of the subject that reveals the presence of
fleeting moments, the ever-shifting perceptions of radiation in the image. The process reinvents and
nature, where radiation accumulates the most. twists the very landscape, leading to a sort of vertigo
Using a Geiger counter, he measured the radioactive – a threatening danger hidden behind the purity of
contamination in becquerels (Bq), a unit that the white of the landscapes.

Roselena Giovanna Ramistella, Italy

Deep Land
Natural World & Wildlife, 1st Place
Beginning in May 2016 Ramistella travelled the
old Sicilian trails on a mule, starting at Nebrodi,
passing through Madonie, Peloritani and all the way to
the Sicani Mountains. The mule track is a rural road
similar to a trail, but also suitable for the circulation of
pack animals. Prior to the development of the modern
road network, it was the link and trade route between
the towns and farmland.
Until about 50 years ago, mules had a prominent role
in Sicilian country life providing employment and
assistance to local farmers. Owing to the economic
crisis, many young people are moving back to the
countryside, working the land, planting local crops and
© ROSELENA GIOVANNA RAMISTELLA

breeding livestock, thus creating a new rural economy.

The project has two parts: researching local
communities still living in remote areas and creating
a new map documenting the remains of the old mule
tracks – the first since the 1950s.

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 SONY WORLD PHOTOGRAPHY AWARDS

© ALYS TOMLINSON

Alys Tomlinson, UK
Ex-Voto
Discovery, 1st Place,
Photographer of the Year
A handwritten note folded and hidden in the
crevice of a rock, crosses etched onto stone,
ribbon wrapped around twigs. These are all offerings
of religious devotion, known as ‘Ex-Voto’ and found at
Christian pilgrimage sites worldwide. Often placed
anonymously and hidden from view, pilgrims leave
ex-votos as expressions of hope and gratitude, operated there since the days of ancient
creating a tangible narrative between faith, person and Luca Locatelli, Italy
Rome, and Michelangelo sculpted most
the landscape. White Gold of his statues from this stone. Now the
Taken at the pilgrimage sites of Lourdes in France, Landscape, 1st Place trade is booming owing to the demand
Ballyvourney in Ireland and Grabarka in Poland, the Rarely has a material so inclined to stay from Saudi Arabia and other gulf states.
images encompass portraiture, landscape and still-life put been wrenched so insistently out of The photographs of this area’s majestic
pictures of the objects and markers left behind. Shot place and carried so far from its source. quarries reveal an isolated world:
on 5x4 film, the pictures evoke a stillness and reflect In Italy’s most marble-rich area, known beautiful, bizarre and severe. It is a
© LUCA LOCATELLI

the mysterious, timeless quality present at these sites as the Apuan Alps, the abundance is self-contained universe of white –
of spiritual contemplation. People and landscape surreal. Hundreds of quarries have simultaneously industrial and natural.
merge as place, memory and history entwine.

Gianmaria
Gava, Italy
Buildings
Architecture,
1st Place
The
‘Buildings’
project researches
archetypal forms
of architecture.
When functional
elements have
been removed,
constructions
appear as pure
geometrical solid
shapes, seemingly
uninhabitable.
These buildings
raise questions
about the function
and accessibility
of architecture in
both the public
© GIANMARIA GAVA

© GIANMARIA GAVA

and private space.

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 © TOM OLDHAM
Tom Oldham, UK
The Last of The Crooners
Portraiture, 1st Place
In days gone by, pubs all over London’s East End would
feature sharply turned out singers crooning their way
through a set of jazz standards at weekends, entertaining
audiences and keeping them in the pub. Audiences have
fallen over time, and now only the Palm Tree in Bow
continues the tradition, having hosted three guest singers
each weekend for more than 40 years.
Despite its rich culture, the Palm Tree is sadly now a lone
stalwart. These singers really are ‘The Last of The Crooners’.
The family-owned Palm Tree is famous for maintaining its
original warm East End atmosphere despite the impact of
gentrification, council pressures and the changing habits of its
clientele. After several years of asking, the pub finally allowed
me to document the many great characters who still perform
here, in a bid to capture this slice of history while it remains.

Mohd Samsul Mohd

Said, Malaysia
Life Inside the
Refugee Camp
Current Afairs & News,
1st Place
For ethnic Rohingya in
Rakhine state, Myanmar,
life has taken a turn for the
worse. On 25 August 2017,
more than 400 houses were
set alight, and within two weeks,
nearly 125,000 Rohingya
refugees had left Myanmar for
Bangladesh. International
organisations have reported
claims of human rights
violations and summary
executions allegedly carried out
by the Myanmar army. Over
400,000 Rohingya Muslims
have now fled from Myanmar
into Bangladesh since violence
© MOHD SAMSUL MOHD SAID

erupted in Rakhine state. This

series shows life inside the
Balukhali camp in Cox’s
Bazaar, Bangladesh.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 21

 Technique
The Temple of
British Worthies
at Stowe

PHOTO ROADSHOW
Bold and beautiful
The paths, temples and lakes of Stowe provide plenty of
opportunities for striking imagery, says Justin Minns
Fact file

A
n idyllic landscape filled with temples, Justin’s top tips
the gardens at Stowe were created in Stowe
the 18th century on a massive scale by
the rich and powerful Lord Cobham 1 Go for cuteness overload and photograph bouncing
lambs. Get down low and use a telephoto lens and a
fast shutter speed. Try to predict their next move so you
Location: 3 miles north-west
of Buckingham town, just off
and continued by his nephew Earl Temple. More the A422 Buckingham to
than gardens, they hold hidden meanings based can catch them in full flight.
Banbury Road.
on Greek mythology: the paths and temples reveal
Lord Cobham’s beliefs on vice, virtue and liberty. 2 For a fresh take on familiar views, shoot in black &
white. Mono is great for showing off the difference Cost: Stowe House is managed
by Stowe House Preservation
IMAGE ABOVE © NATIONAL TRUST IMAGES/JOHN MILLAR

This timeless rolling landscape of winding paths in textures in Stowe’s landscaped gardens. Set the
and tranquil lakes framed by belts of trees and camera to mono to visualise the effect in camera, but Trust, and admission is free to
dotted with temples and monuments was worked convert in post-processing for the best results. National Trust members. Refer
on by many notable 18th-century gardeners and to the website for non-member
prices, www.nationaltrust.org.
architects, including John Vanbrugh, James
Gibbs, William Kent and Capability Brown. Over
the years they turned Stowe’s 250 acres of gardens
3 Use either end of a zoom for bold compositions of
statues and monuments in the landscape. Get up
close with a wide focal length to exaggerate size, or
uk/stowe.

into some of the finest views in England for which zoom in tight with a telephoto lens for just a glimpse
Opening times: The park,
photographers today are eternally grateful. of the subject.
garden, café and shop are
open from 10am-5pm until
Visitors to National Trust properties can take pictures out of doors for their own private use. Amateur photography (without flash and use of a tripod) is permitted inside some National Trust properties at the General Manager’s
4 November, and from
discretion. The National Trust does not permit photography at its properties for any commercial or editorial use without first seeking permission from National Trust Images. Fees may be charged. (Licensing images of National
Trust properties through professional image libraries isn’t permitted.) Requests to use any photographs for commercial or editorial use should be directed to images@nationatrust.org.uk.
10am-4pm from 5 November.

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 IN ASSOCIATION WITH

Shooting advice

© NATIONAL TRUST/ ANDREW BUTLER

KIT LIST

Justin Minns
Justin is a landscape photographer and workshop
leader who has been working with the National
Trust for several years. His images have been
widely recognised in photography competitions
including Landscape Photographer of the Year.
Visit www.justinminns.co.uk
▲ Panasonic
Shoot in black & white LUMIX DC-G9
Stowe has been designed so that its stunning views are revealed With the world’s fastest AF and
at certain points along its paths and, unsurprisingly, these views fastest-in-class burst shooting,
are often photographed. If you want your images to stand out, the Lumix G9 is perfect for
try shooting in black & white. The contrast in texture between The golden statue of Venus
in the Rotunda at Stowe
catching lambs in flight.
the shimmering lakes, hard stone, and rigid lines of the temples
and monuments are ideal for black & white. I like shooting on
bright days with blue skies and clouds, when the lighting can be Be bold
too harsh for colour. It’s best to convert the image to black & Stowe is renowned as much for its
white in post-processing but if you shoot in raw and set the temples, monuments and statues as for
camera to monochrome, the camera’s screen (and electronic the gardens themselves. Landmarks like
viewfinder on mirrorless cameras) will display black & white these, strategically placed, make excellent
while the raw file will still be in colour. subjects, but when shooting them it often ▲ Leica DG
pays to be bold with your compositions. Vario
For example, if a monument is nestled 50-200mm
Freeze the action in a big vista then try using a wide focal
f/2.8-4 lens
Walk around Stowe in spring and before long you will hear length to emphasise how small the
structure is within the view, or if the sky
The focal length and fast
the bleating of lambs. To avoid distressing the mothers, aperture of this telephoto lens
keep your distance and use a 70-200mm telephoto or above is dramatic, allow it to fill a large
part of the frame. For a completely
(100-400mm 35mm equiv) is a
longer lens. The shallow depth of field will also help the great choice for photographing
lambs to stand out from the background. Pick out a small different look from the same wideangle
lens, do the opposite and get up close to
lambs while keeping a distance.
group and spend some time observing their behaviour –
look for signs of oncoming bounciness. To catch them a statue exaggerating its size so that it fills
jumping, you will need a shutter speed of 1/500sec or one side of the image with the view falling
more. Set the camera to aperture priority and use a large away behind. Alternatively stand inside a
aperture like f/2.8 or f/4. If necessary, raise the ISO to temple looking out using the columns in
increase the shutter speed. Getting down to the same level the foreground to frame the view.
as the lamb will give the impression of seeing the world Alternatively, try zooming in with a
from their point of view. A low viewpoint will also make telephoto lens to show a section of a
jumping lambs appear higher, but don’t just concentrate monument, or fill the frame with a distant ▲ Leica DG
on action shots; sooner or later they will tire and a pair of glimpse of one through the trees. Vario 12-60mm
sleeping lambs also makes a cute photo. f/2.8-4 lens
Whether you choose to work in
© JUSTIN MINNS

Lambs can be colour or black & white, the

unpredictable so corner-to-corner sharpness
pick out a small and versatile focal length
group and (24-120mm 35mm equiv) of this
observe them zoom lens makes it ideal for
for a while photographing landmarks.

▲ Panasonic
LUMIX DMC-
FZ330
This bridge camera has a huge
zoom range (25-600mm, 35mm
equiv) and a rugged design
with dust and splashproofing,
making it a great choice for bold
compositions in any weather.

23
 Technique IN ASSOCIATION WITH

© NATIONAL TRUST IMAGES/JOHN MILLER

The Temple of
Ancient Virtue
at Stowe

Join Panasonic LUMIX

and the AP team at Stowe
Come along between 10am-4pm on 19/20 May
AS PART of its long-standing
relationship as official photography
partner for the National Trust,
Panasonic will be holding events
around a variety of stunning National
Trust properties over the coming
months. Both Panasonic and AP will
be at Stowe on 19/20 May.
Stowe has attracted visitors for
more than 300 years, and it’s easy to
see why. The winding paths, lakeside
walks and temples are wonderfully
photogenic, and during spring the
chatter of birdsong fills the air while
the sun creates glittering patterns on
© ANDREW SYDENHAM
the lakes. Aside from spring lambs,
the grounds are also home to
nocturnal animals including glow
worms, bats, hedgehogs, badgers,
foxes, and even polecats.
On the weekend of 19/20 May
Panasonic LUMIX will be offering
visitors to Stowe the chance to try out
its latest cameras and lenses, and to
take advantage of expert advice.
Other events coming up
Normal entry fees (and photo The Panasonic LUMIX Roadshow, in partnership with
restrictions) apply – see page 22 for the National Trust, will be touring various properties
details. To find out more visit www. this year (see below), and AP will feature articles with
nationaltrust.org.uk/stowe, or phone tips for shooting some of these beautiful locations.
01280 817156. See nationaltrust.org.uk/panasonic-roadshows

Dinefwr Wales 2/3 June

How to get there Studland Dorset 9/10 June
● By car: Stowe is 3 miles north-west of
Buckingham town, just off the A422 Buckingham Fountain’s Abbey North Yorkshire 16/17 June
to Banbury Road. From the M40 take exits 9 to
© CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15

Bodiam Castle East Sussex 23/24 June

11; from M1, it’s exits 13 or 15a. For satnav, use
the postcode MK18 5EQ. Lacock Wiltshire 30 June/1 July
● By rail: Bicester North, 9 miles; Milton
Keynes Central, 14 miles. Knole Kent 7/8 July
● By bus: Oxford to Cambridge stops in Mount Stewart NI 18/19 August
Buckingham town, 1.5 miles from Stowe. The
Arriva X60 bus runs from Aylesbury to Milton Giants Causeway NI 1/2 September
Keynes, stopping in Buckingham town, 1.5 miles Dunham Massey Cheshire 8/9 September
from Stowe.

24 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 YOUR LETTERS

Great on paper

Inbox
I enjoyed Matthew Richards’s
recent article Great on screen,
great on paper (AP 14 April) but
there was one part I thought could
have been amplified with some
further clarification; I know you
were confined to the space in the
Email ap@timeinc.com and include your full postal address. article and the screengrabs were
Write to Inbox, Amateur Photographer, Time Inc. (UK), Pinehurst 2, Pinehurst Road, as small as you could get away
Farnborough Business Park, Farnborough, Hants GU14 7BF with. The second paragraph on
page 36 starts to highlight the
LETTER OF THE WEEK potential pitfalls of colour space
conversions while in your workflow.
like a stereo pair of pictures. So
I held up the magazine at about
seven to eight inches from my
face, stared hard at the two
pictures, slightly crossed my eyes
and, lo and behold, I was rewarded
with a stereo picture centred
between the two printed ones.
There must be very slight
differences between the two
photos for this to happen. I just
love 3D photos so keep up the
good work.
Dave Fyffe

© DAVID JORDAN
I would have liked some further
explanation as to what is one of
the correct ways of achieving this
so that I’m not taken aback by
shifts in colour, etc. at some point
further down the line.
James Duffy
Thanks, James. Space was
indeed limited and Matthew had home darkroom. They look like
a lot to talk about, but we’ll be
revisiting this topic again soon
David was a finalist – Geoff Harris, deputy editor
in IGPOTY with
this pinhole image The Tracy family
Credit where it’s due. It is nice to
Prints charming
Having been the victim of both
a crashed hard drive (no backup)
and photo CDs that I can no
longer open, it was a surprising
experience when I checked out
some 40-year-old mono prints I’d
produced in my now sadly missed
they were printed yesterday.
And I was surprised because
they were printed on Ilford and
Kenthene resin-coated paper,
which even at the time was
considered unsuitable for archival

Through the pinhole see an article where the writer

waxes lyrical about the subject.
prints. There were horror stories
of the surface of the prints
Just because Tracy Calder’s piece cracking and regular advice that
As a big fan of pinhole photography, I found Andy Westlake’s
At the water’s edge (AP 14 April) is fibre-based materials were
article ‘Pinhole wizard’ (AP 21 April) interesting and informative.
an exhibition review doesn’t mean imperative for archival suitability.
However, I have to disagree with him over the effectiveness of
it can’t be written with a bit of flair. Back then, what won me over
pinhole body caps. I use one with my Canon EOS M3 and find it
Excellent read. was the couple of minutes it took
very effective. While images created using it require sympathetic
Geoff Maxted to wash resin-coated prints after
processing, the final products can have a wonderfully evocative
processing. Fibre-based papers, in
and timeless feel. The key is to use them boldly, applying good
directional lighting to the subject, emphasising shape, form and
Stereo MC comparison, needed washing for
I used to work in the map-making ages. My husband uses an A3
texture. I use mine handheld, in aperture-priority mode, adjusting
industry as a topographic pigment ink printer and delights in
ISO settings to regulate shutter speed. The noise generated by
draughtsman and am quite warning anyone using dye-based
the ISO increase often enhances the image’s texture.
experienced in the use of printers that their prints will
Pinhole body caps are not perfect, but they allow us to explore
stereoscopic photography. invariably fade while his will still be
this fascinating aspect of photography without great expense.
That in mind, while I was reading going strong.
Using live view makes a difference with a ‘lens’ that has an
Great on screen, great on paper I’ve no idea as to the durability
effective aperture of about f/180.
(AP 14 April), I noticed that the of pigment inks. But if prints
One of my images reached the final in the Abstract Views
pair of photos on page 36 under produced with them can match
category of this year’s International Garden Photographer of
‘Soft options’ looked very much the quality of my old Ilford and
the Year (IGPOTY). It was one of only a few monochrome images
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

to be successful at this level of the competition, and to my

knowledge, the first pinhole image to be accepted in IGPOTY.
David Jordan

That’s a great image, David. My irritation with pinhole body

caps lies mainly with the way they give exceptionally soft
images with strange radial colour shifts, while revealing
every dust spot on your sensor. But you’ve skilfully
circumvented all of these. Maybe I should give them
another try! – Andy Westlake, technical editor

Win! The MicroSDHC EVO Plus

adapter 32GB Class10 UH
Grade U1 card will support 4K and has read speed
of up to 95MB/s and write speeds up to 20MBs.
www.samsung.com/uk/memory-cards/
David Fyffe sees this as a stereo pair – do you?

26 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


Not many UK magazines have a history as long as ours…
Kenthene 10x8s in 40 years’
time it might just help justify the
staggering price my husband
pays for pigment ink cartridges.
S Cave
I have to take issue with the letters
from J Richard Williams and John
Mahoney in Inbox (AP 14 April).
J Richard says the equipment cost
for amateur photographers runs
into hundreds or thousands of
pounds. There is no doubt that
some photographic equipment is
expensive, but bargains can be
had using the classified ads for
used kit. My first cameras and
lenses were all secondhand as I
could not afford new gear. Now,
later in life, I am in a position to be
able to treat myself to new gear
now and again.
With regard to printing, I don’t
think costs are that expensive.
I have a Canon iP8750 A3+
printer, and it is used for all our
household printing as well as my
pictures. I look for deals on the
internet for both paper and inks,
to keep costs down. Compared to
getting a roll of black & white film
developed and printed from my
film cameras, my home printing
of digital images is very cheap.
Moving on to the subject of
the Chinese gymnasts, I have
to agree with Geoff Harris’s
comments on the letter from
John Mahoney. I found the article
enlightening and informative, and
at no point did I think of child
cruelty. What these children go
through is what is required to get
to the top of what is a very tough
sport; that the regime is harsh
does not make it cruel.
Martin Norden
Thanks for both contributions,
and more on printing soon
– Geoff Harris, deputy editor
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018
The UK’s oldest and
most prestigious
photo competition
for amateur
In association with photographers
is now open
Amateur Photographer
of the Year Competition
Wartime hobby
I’ve been enjoying your Back in
£10,000
OF PRIZES Enter
the Day feature - indeed I think
TO BE WON today!
I remember buying some of the
issues from the 1970s, complete FOR THE second year running, AP has teamed up with Sigma and
with a ton of ads on either side of Photocrowd to bring you more than £10,000 worth of Sigma prizes
the editorial! and an easy-to-use portal that makes entering the competition
The 1940 issue featured in AP straightforward. APOY is open to amateur* photographers from
21 April got me thinking about the around the world.
problems photographers faced *FOR THE PURPOSE OF THE COMPETITION, THE DEFINITION ‘AMATEUR’ REFERS TO A PERSON WHO EARNS
10% OR LESS OF THEIR ANNUAL INCOME FROM PHOTOGRAPHY OR PHOTOGRAPHIC SERVICES.
back then, with shortages of film
and paper as well as restrictions
on what could be photographed.
Perhaps some of your readers
who lived through those years
could share their experiences of
pursuing their hobby in wartime.
Stuart Neville
Left out in the cold
There’s enough written about bias
of one sort or another in this world
without camera makers adding to
the issues. To be blunt, they have
always favoured the right-handed,
not us fewer lefties.
© SUJAN SARKAR
I learned to adapt by producing
grip handles of my own, which give
good balance and make carrying
easier. A number of people have
asked what I’m using, which has
led me to give a quick demo on
their camera.
Round three
So kit makers, why aren’t you
selling left-hand grips? There’s a
Mono culture
need for products for us lefties – When we remove colour, the rules of composition, framing and
and we have the money to spend. lighting shift their parameters and require us to see the world
Jerry Scott differently. With everything pared back we can focus on the graphic
elements of a scene. To hone your skills look at the work of
Jackie correction monochrome masters such as Michael Kenna and Sebastião Salgado.
I’d like to add a minor correction
to Paul Varney’s interesting letter YOUR FREE ENTRY CODE
(Inbox, AP 28 April), in that Enter the code below via Photocrowd to get one
Bouvier was in fact Jackie’s father.
Her stepfather, my great uncle,
free entry to Round three – Mono culture
was Hugh Auchincloss, who gave
her away in marriage, and who APOY48569033
fortunately turned down an offer
to sell Hammersmith Farm to TO ENTER VISIT
the US Navy in World War II.
Peter Collard WWW.AMATEURPHOTOGRAPHER.CO.UK/APOY
27
COMPETITION

Amateur Photograp
Your chance to enter the UK’s most prestigious com
Round Three
Mono culture
Photographers working in black & white often say that colour is a
distraction. When we remove colour from the equation, the rules of
composition, framing and lighting shift their parameters and require the
photographer to see the world differently. With everything pared back
we can focus on the graphic elements of a scene.
Light is a key factor. When black & white and atmospheric lighting
combine, the result is powerful. To hone your black & white skills look
at the work of monochrome masters such as André Kertész, Michael
Kenna and Sebastião Salgado. Toning is acceptable in this round.

Plan your APOY 2018 year

Below is a list of all this year’s rounds including when the rounds open,
when they close and the dates the results will be announced in AP.
THEME SYNOPSIS ANNOUNCED CLOSES RESULTS
Best of British Britain 17 Mar issue 6 Apr 26 May issue
Fur and feathers Wildlife 7 Apr issue 27 Apr 30 Jun issue
Mono culture Black & white 5 May issue 25 May 28 Jul issue
Close encounters Macro 2 Jun issue 22 Jun 25 Aug issue
Persons of interest Portraits 7 Jul issue 27 Jul 29 Sep issue
Town and country Urban and rural 4 Aug issue 24 Aug 27 Oct issue
World in motion Movement 1 Sep issue 21 Sep 24 Nov issue
Travellers’ tales Travel 6 Oct issue 26 Oct 22 Dec issue

YOUR FREE ENTRY CODE

Enter the code below via Photocrowd to get one free
entry to Round three – Mono culture
© CHRIS SAUNDERS

APOY48569033
To enter visit www.amateurphotographer.co.uk/apoy
ROUND 3: PHOTOGRAPHY TIPS
Advice and ideas to help you on your way to creating prize-winning pictures
Remove chaos Consider the
© STEPHEN CURRY

© PAUL FINLAY

Colour can be a
distraction, especially in
shadows
Shadows play a vital
situations like this one role, creating bold
where the shirts of the shapes, lines, and even
rugby players would disguising unattractive
have been garish. elements. Here the
Removing colour draws photographer has made
attention to the main the most of the contrast,
action and the players’ and the image has a
facial expressions. strong graphic feel.

28 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

her of the Year
petition for amateur photographers

£10,000
In association with

of
prizes to
be won
PRIZE
WORTH
£1,050

This month’s prize

Minimalist compositions suit black &
white. Here, four elements – cloud, hut,
sea and sky – are beautifully balanced
© SUJAN SARKAR
Win a Sigma dp3 Quattro
and Sigma 1.2x FT-1201
conversion lens
The Sigma dp3 Quattro has a 39MP
Foveon X3 CMOS sensor, which can
output 5424x3616-pixel raw images.
The sensor is similar to traditional colour
film, in that its multiple layers capture
all the information that visible light
transmits, resulting in sharp resolution,
realism and a 3D feel. The camera
features a 50mm fixed lens with a fast
aperture of f/2.8. The Sigma 1.2x
FT-1201 Conversion lens fits on the
front of the fixed lens, magnifying the
focal length by 1.2 times and effectively
turning it into a 60mm f/2.8 lens. The
combined value is £1,049.98.

Try a frame within Search for patterns

© ABHIJIT CHATTERJEE

a frame Patterns can be

particularly striking in
Landscape
photographers often black & white, but
look for something to they can be quite dull
frame the action in a if they are not broken
scene, be it the up in some way. Here
branches of a tree the photographer has
or a natural archway. allowed the people in
This device can be black clothing to
effective in other punctuate the neat
genres, too. diagonal lines.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 29

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 SPONSORED BY
LOCATION GUIDE
Mells,
Somerset
Mells and the Mendip Hills
provide a photogenic array
of colours in late spring, says
Jeremy Walker
KIT LIST
▲
Macro lens
The village of Mells itself has
many opportunities for
close-up and detail shooting so
a macro lens, perhaps a
105mm, would be very useful.
▲
Telephoto
zoom
For early-morning distant
views, a moderate zoom such
as a 70-200mm would be ideal.
For those wanting a leisurely
walk around with minimal kit
you could possibly get away
with not carrying a tripod
(heresy!)
32
© CROWN COPYR GHT 2015 ORDNANCE SURVEY MED A 009/15
The village offers many
opportunities for black &
white detail shots
Nikon D850, 24-70mm,
1/400sec at f/11, ISO 200
HIDDEN away in a small valley near the edge of
the Mendip Hills, close to Frome in Somerset,
ALL PICTURES © JEREMY WALKER
lies the quintessentially English picture-
postcard village of Mells. The village is
dominated by Mells Manor, which is a Grade I
listed building; the earliest parts of the house
date back to the 1460s. The Horner family
purchased the manor house in 1543, and
though much of it was demolished in the window. The churchyard has the potential for
1780s, Sir Edwin Lutyens restored it in the a few detail shots especially the textures of
early 20th century. The manor and its gardens the big old door at the foot of the tower. As a
are not open to the public, but do not let this point of historic interest the war poet
put you off. There are superb views of the Siegfried Sassoon is buried in the churchyard.
manor house and the impressive St Andrew’s The church is accessed via New Street which Jeremy
Church just a short walk out of the village on itself has numerous architectural details. Walker
any number of well-marked public footpaths. Apart from the quaint cottages on the main Award-winning
If you decide to take the path through the through road, Selwood Street, and those professional
churchyard, take time to look around the along Gay Street, there is the Walled Garden, photographer Jeremy
church interior; but do find out if there are any a good location for detail photography (they Walker has been
services planned, so you can avoid walking into are happy for tripods to be used). A short shooting landscapes,
a wedding. I spent a peaceful hour or so walk out of the village (about 400m) is a architecture and
shooting details one Saturday afternoon with public footpath along the Wadbury Valley. On people for more than
just the occasional visitor for company. The a misty morning this valley often traps and 25 years. See his work
statue of Edward Horner is well worth looking holds any lingering mist, which is great for at www.jeremy
at, especially backlit through the stained glass shooting beams of light through the foliage. walker.co.uk.
5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Technique
Shooting
advice
When to go
Mells is full of character
and charm and there is
plenty to see in a leisurely
half-day. Spring is a great
time to visit, as there’s
plenty of greenery and
flowers bursting with
colour. Early morning and
late afternoon will offer the
best light. The best view of
the village is from the top
of Knaptons Hill, accessed
by a footpath from Top
Road near the centre of
the village and no more
than a 10-minute stroll.

The small rural village of
Mells on a foggy morning
at sunrise in summer
Nikon D810, 70-200mm, 1/15sec
at f/11, ISO 100
Food and
lodging
The Talbot Inn does
excellent bar food, and
sitting outside on a sunny
day in their courtyard or
garden is very enjoyable. It
offers bed and breakfast.
The Walled Garden at
Mells does light snacks and
teas, and at the weekend
does proper pizzas from a
wood-fired pizza oven. In
addition to being a good
location to shoot as well,
the Walled Garden also has
a holiday cottage for rent.
Mells village shop also has
a small cafe and does
excellent snacks,
particularly the soup of the
day, as well as tasty cakes.

How to
get there
Mells is four miles west of
the Somerset market town
of Frome, approached via
numerous routes along
winding country lanes (time
to bring out the sat nav!) or
about 14 miles south of
the Georgian city of Bath.
Parking can be limited in
Mells, especially on a
Plenty of detail shots Beams of light through weekend, but the best
are to be had inside woodland on a misty
St Andrew’s Church morning in summer place to park is on the road
Nikon D850, 24-70mm, Nikon D810, 24-70mm, 1/4sec along The Talbot Inn pub or
1/320sec at f/11, ISO 1000 at f/11, ISO 64 near the village shop.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 33

Aim
high
Applying for RPS accreditation
means you can improve your skills
and give your work more impact
s the world’s leading
A photographic
charity, The Royal
Photographic
Society offers its members
(and non-members) a unique
opportunity to further their
knowledge and fine-tune
their work by applying for a
Society Distinction. An RPS
accreditation is perfect for
photography fans who wish
to gain further advice and
improve their work – and in
some cases, further their career
as well. Accreditation from the
RPS certainly doesn’t get any
more prestigious, and members
can apply for three levels of
Distinction: LRPS (Licentiate),
ARPS (Associate) and FRPS
(Fellowship); the Society
recommends that you apply for
the LRPS first, unless you’re an
experienced photographer. All
assessment events are held at
the RPS Headquarters in Bath.
LRPS (Licentiate)
For the LRPS (Licentiate)
Distinction, applicants must
LRPS ASSESSMENT DAYS
The LRPS Assessment Days have
now been confirmed for the
following dates:
Tuesday, 5 June
Wednesday, 6 June
34
show variety in approach and
techniques, but not necessarily
in subject matter. This is a
demanding but achievable
accreditation for most
dedicated photographers.
Visit www.rps.org/
distinctions/lrps to learn more
about the LRPS Distinction.
ARPS (Associate) Robert Friel was
To become an Associate of the inspired by the
RPS, applicants will need to ever-changing
© ROBERT FRIEL
submit a body of work that seasons during his
train commute
demonstrates a high technical
ability together with a
comprehensive knowledge of
their specialist category. The
specialist categories for ARPS
applications include Fine Art,
Conceptual and Contemporary,
Film, Multimedia, Natural show clear evidence of Get in touch
History, Research, and Science distinctive photographic The Royal Photographic
and Travel. ability as well as the highest Society is above all an
Find out more about the technical standard, which international, modern and
ARPS Distinction at www.rps. shows an individual approach forward-looking organisation
org/distinctions/arps. to their specialist category. with a distinguished past. The
In a similar way to the ARPS Society promotes photography
FRPS (Fellowship) categories, the specialist and image-making by bringing
To become a Fellow of the categories for FRPS the creative community
RPS, applicants will need to applications include Fine Art, together and seeks to help
Natural History, Conceptual photographers, at all levels,
and Contemporary, Film, to develop their skills.
Multimedia, Research, and
Tuesday, 3 July Science and Travel. To contact the Distinctions team
Wednesday, 4 July See www.rps.org/ email distinctions@rps.org or call
Sunday, 16 September distinctions/frps for more (+44) 1225 325 733 (quote ‘Amateur
Tuesday, 2 October information on how to get a Photographer’). For more information,
Wednesday, 3 October Fellowship accreditation. visit www.rps.org/distinctions
5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 ADVERTISEMENT FEATURE

R M Gibbons
wanted each of
his images to
resemble a
watercolour

© R M GIBBONS

FRPS Statement of Intent

R M Gibbons
Fine Art category
I have always been drawn to the beauty of flowers and I admire greatly
the work of botanical artists. I can only wonder how they achieve such
fine detail and almost photographic representation with watercolours
and a brush. My panel, therefore, is my homage to the botanical artist.
My intent is that each of my images should resemble a watercolour
and for a moment fool the eye. In the construction of my panel I’ve used
a painter’s approach, with great emphasis on observation and careful
composition – spending much time slowly turning each flower or waiting
for the critical moment of development before recording the image.
Soft revealing lighting suggests a work created in daylight. A necessary
uniformity in background is relieved by frame edges unique to each
ARPS Statement of Intent flower to offer authenticity through subtle ageing and to separate each
image as an individual piece within the panel.

Robert Friel
Fine Art category
As a regular train commuter in to London, I am inspired by the
ever-changing seasons rushing by. Enthused by the opportunities
presented by mobile phone photography today, I challenged myself
to record at least one image a day that reflected my mood and that
of the landscapes passing by. Taking images through a train window
does not lend itself to clear precise images, so I used the tools and
processing ‘in phone’ to create an image that represented my
feelings about that day.
The vibrancy of spring and summer echo bright positive moods,
© R M GIBBONS

the warmer muted colours of autumn reflect the tiredness of

travelling, while the gloom of darker days evokes the more difficult
and challenging times. R M Gibbons’s Fine Art panel is his homage to the botanical artist

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 35

 Technique

James Paterson
James is as skilled a photo editor as he is a photographer. His
work has appeared in countless magazines and books, and in
2014 he was appointed editor of Practical Photoshop magazine.
His subjects range from portraits to landscapes, architecture
and underwater scenes. For James, Photoshop is more than just
a work tool. Visit www.patersonphotos.com

Lightroom tips
Be more
organised
Your Lightroom Library needn’t be a ‘Catalog’ of
errors, says James Paterson. Wise up and get it
sorted with these 20 essential tips
ALL IMAGES © JAMES PATERSON

Set Lightroom Import to launch

when a memory card is detected

4 Do more on Import
The Import dialogue is the gateway into
Lightroom for your images, but it does so much
more than this. Explore the settings on the
right and you’ll find useful options to apply
presets on import, imprint copyright metadata,
add keywords, rename files and more. The
more we can do at this initial stage, the less
organising we’ll need to do later on.

2 What is the Catalog?

Lightroom’s Catalog is the nerve
centre of your image library. It stores data
about where all your files are located,
whether you’ve added ratings or other
metadata, and it remembers every edit you
make to an image without ever needing to
save. If you move the location of the file
then Lightroom won’t be able to find it, so
stick to a disciplined folder structure.
3 Import from cards
For simplicity, set the Lightroom Import
to launch when you initially insert a memory
card. This way you can get into the habit of
downloading and importing at the same
5 Keyword your shots at once
Keywording can be a drag, so the best
time to do it is when you first download and
time. If the Lightroom Import doesn’t import photos from a memory card, when your
automatically pop open when a card is enthusiasm for getting at the images will be at
inserted, go to Preferences> General and its peak. Spend a few seconds typing specific
check ‘Show import dialog when a memory things like location, subject matter, people, job
card is detected’. numbers, or anything else that will make the
images easier to locate later.

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 1 Why organise?
Perhaps you’re just starting out
and building your image library, or
maybe you have a huge, disorganised
mess of folders, duplicate images and
garbled file names that would take
days to sort. Either way, now is the
time to get on top of your image
library. It’ll save you time and stress,
safeguard your images and allow you
to find whatever photo you need,
whenever you need it – ideal for
finding the right photo for any
competition you might enter.

6 Have a system
I use a star rating system. My
1-star rating is for photos I like, but
know require extra work - like an
HDR, composite or panorama stitch.
My 2-star rating is for standalone
images I think have potential; and
then I go through these again,
making my absolute favourites into 3
stars. I rarely use 4- or 5-star
ratings, as I find that any more than
three overcomplicates my system.

7 Structure your folders

When the Import dialogue pops up on insertion
of a memory card, choose the Copy option at the top
and specify a location and folder to copy the images
to. As Lightroom is doing the organising, we don’t
need a complicated folder structure, so make folders
with a short descriptive name and shoot date.
8 Rating your photos
Rating your images makes it easier to
identify, filter and find them later. There are a
few options for ratings. You can either add a
star rating from 1-5 (hit the number keys)
choose a simpler Flagged (P) or Unflagged
(U) rating system, or go for colour ratings
(red 6, yellow 7, green 8, blue 9).

37
 Technique

9 Use
Collections
Your folder structure is
the place where your
image files are stored in
Lightroom, but the heart
of your Lightroom library
should be your
Collections and
Collection Sets. A
Collection is similar to a
folder, but not. It doesn’t
affect the location of files
in your actual folder
structure, instead a
Collection simply allows
you to collate lots of
Use Collections to images however you like.
collate your images

10 Delete the duds

Save space on your hard drive by
deleting the photos that you’re never going to
need. I delete only the absolute duds – those
that are out-of-focus, badly exposed or where
the flash failed to fire. I rate these with an X for
rejected, then select them all, right-click and
choose Delete> Delete from Disk.
11 Must-know shortcuts
You don’t need to know loads of
shortcuts to get by, but a few really help. Hit G
to view grid mode when in the Library. Hit D to
take the selected image into the Develop
module. Hit \ to toggle between before/after
views. Right-click the panels to enable ‘Solo
Mode’ so that they auto-collapse.

Use Collections
to filter your
favourite shots

12 No need for duplicates

Images can have multiple uses
and themes so it’s often tricky to
categorise them as one thing, and with
Collections we don’t have to. Images can
appear in as many Collections as you like
without the need for memory-hogging
copies of the file. So for example, a
close-up of a giraffe skin might appear in
collections for ‘Wildlife’, ‘Natural patterns’,
‘Favourite textures’ and anywhere else
that you fancy.

13 Do it later
It can be hard to stay on top of image
library organisation, and doing it all the time
takes discipline. If you’re suffering from
organising fatigue, then try this. Set up a
collection called something like ‘Temporary’ or
‘To Do’ then dump all your unsorted images in
there for a rainy day.
15 Journey
modules
through the
One of the reasons why Collections are so
useful is that the panel runs throughout the list
of Lightroom modules. So after grouping a set
of pictures we can take the Collection on a
journey through the Develop module, then if
we like onwards to the Print, Book, Slideshow
or Web modules.
14 Adding to a collection
Use Collections to separate your
favourites from the rest. After rating and
filtering your best shots, highlight them all
then hit the plus in the Collections panel
on the right. Give your Collections a name
and choose a Collection Set to house it. You
can also right-click existing Collections and
‘Set as Target Collection’ then hit B to add
any photo to it.
16 Create Smart
Collections
Smart Collections will create Collections for
you, based on image criteria. You can’t add
or take away photos, but rather choose a set
of parameters to seek out images from your
library, such as all your black & white
three-star photos shot in 2017. Once a
Smart Collection is set up, any newly
imported images that fit the criteria will be
automatically added to it.

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18 Enable
Advance
Auto
Under the Photo menu
you’ll find a feature called
Auto Advance. When
enabled, Lightroom will
automatically jump to the
next image every time you
add a rating, so you don’t
have to hit the arrow key to
advance manually. Similarly,
add the Shift key to your
rating shortcut (eg, Shift+3
for three stars) to advance
in the same way. It might
only save a second or so
but, when you do a lot of
image editing, those
seconds all add up.
19 Use Face-aware features
Lightroom is able to distinguish
between faces, which can be a real time-saver
when organising your people photos. In the
Library module click the face icon at the
bottom to start searching for faces. Tag a face
with a name then right-click it and ‘Find Similar
Faces’. Then you can simply confirm other
photos of the same person in the ‘Unnamed
People’ list that appears.
Tag faces to help
Lightroom
distinguish
between faces
17 Intelligent
searches
Lightroom CC (LR Classic’s
cloud-based sibling) features
an intelligent search option
that is able to recognise the
content of images based on
machine learning – so it can
recognise a dog, a landscape,
even a penguin, without any
need for keywording.
Unfortunately it’s not made it
to Lightroom Classic yet. But
there may come a point in the
near future when a good part
of our library organisation can
be automated. Hooray!
Lightroom CC has an intelligent
search option that recognises
content of images
20 Organise with
Collection Sets
Collection Sets do not contain photos, but
instead let you group collections together
so that the Collections panel stays tidy and
navigable. You could have collection sets
for specific places, types of shoot, specific
camera gear you’ve used, or anything else
you like. Click the plus icon in the
Collections panel to make a new set.
When making a fresh Collection, you can
designate a relevant Set in the New
Collection dialogue.
 Testbench
At a glance
£1,999 body only
O24.2-million-pixel full-frame
Exmor R CMOS sensor
O100-51,200 (50-204,800 extended)
O693 points (phase-detection AF)
425 AF points (Contrast-Detect AF)
O10fps continuous shooting
ODual SD slots
O4K video at up to 30p (100Mbps)
Sony A7 III
Sony’s A7 series goes from strength to strength.
Michael Topham looks at how the A7 III
redeines afordability in the full-frame market
For and against
Represents excellent value
for money
Vastly improved battery
stamina
Fast and responsive
autofocus system
Revised button layout for
intuitive control
AF point illumination could
be improved
Convoluted menu system
ALL PR CES ARE APPROX MATE STREET PR CES
Thin plastic port covers aren’t
weather sealed
Handles poorly with large
gloves in cold climates
40
CAMERA TEST
t feels like only yesterday pixel full-frame sensor. The
I
Data file
that Sony introduced the difference is that it’s an entirely new
Sensor 24.2-million-pixel full-frame revolutionary A7 and A7R chip that benefits from backside-
Exmor R CMOS – yet here we are looking atilluminated architecture. Sony says
Output size 6000x4000 the third iteration of the company’s this provides an improved noise
Focal length mag 1x most basic full-frame model. Since response at high sensitivities and
Lens mount Sony E-mount 2014’s A7 II, we’ve seen Sony delivers an impressive 15 stops of
Shutter Speeds 30-1/8000sec + bulb introduce innovative technologies, dynamic range at base ISO,
ISO 100-51,200 (standard) refine the design and deal with allowing vast amounts of highlight
(50-204,800 extended) concerns about the extent of the and shadow information to be
Metering Multi, centreweighted, full-frame E-mount lens range. recorded into the camera’s 14-bit
spot, average, highlight
For those after a highly versatile raw files. The maximum sensitivity
Exposure comp +/-5EV 0.3EV steps
and more affordable full-frame now extends to ISO 204,800, just
Cont Shooting 10fps
camera than the A7R III or A9, the like the Sony A9, giving it a
Screen 3in, 921k-dot touchscreen
A7 III looks very appealing. It two-stop advantage over the A7
Viewfinder 2.36 million dots,
0.78x magnification
incorporates many of the niceties II. At the low end of the sensitivity
AF points 693-point phase detection
of the A7R III and A9 at a price of scale, the A7 III can shoot down
less than £2,000. Don’t be fooled to ISO 100, with ISO 50 also
Video 4K (3840x2160), 30p (100Mbps)
by the ‘basic model’ status that available in extended settings.
External mic Yes, 3.5mm stereo Sony gives it: we’re looking at a The sensor is supported by a
Memory Card 2 x SD, SDHC, SDXC very capable camera indeed. powerful Bionx X processor and
Power NP-FZ100 Li-ion the same front-end LSI that has
Battery Life 610 (EVF) 710 (LCD) Features helped many of Sony’s latest
Dimensions 126.9x95.6x62.7mm As with the A7 and A7 II, the A7 III cameras to shoot faster and
Weight 650g (with battery & memory card) is equipped with a 24.2-million- handle vast volumes of data more
5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

efficiently. The speed at which it
can shoot continuously with
autofocus and exposure
adjustment has soared to 10fps
from a pedestrian 5fps on the A7
II. Those who shoot fast-moving
subjects will also appreciate the
improved buffer, which allows
as many as 177 JPEGs, 89
compressed or 40 uncompressed
raw files to be taken in a burst.
Although it has nothing on the A9’s
burst and buffer capabilities, the
A7 III is certainly no slouch when it
comes to speed, and by employing
the fully electronic shutter, it’s
possible to shoot silently.
The headline feature of the
A7 II was its five-axis in-body
stabilisation. This advanced IS
system carries across to the A7 III
and means that, as well as
being able to compensate for
the common pitch and yaw
movements, it adds corrections
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for movements of the camera
vertically and sideways, with the
fifth axis corresponding to the
rotational correction around
the lens axis. By refining the
algorithms of the IS system, the
A7 III offers up to five stops of
stabilisation compared to 4.5
stops on the A7 II.
Turning our attention to
autofocus, the 117 phase-
detection and 25 contrast-
detection points on the A7 II have
been replaced by a superior
arrangement of 693 phase-
detection points and 425 contrast-
detection points that cover 93% of
the frame. Autofocus is further
improved by employing the same
AF advancements as that used in
the Sony A9, resulting in an
autofocus acquisition speed that’s
claimed to be twice as quick. The
combination of fast image sensor
readout and Sony’s steadfast AF
The A7 III demonstrated that it’s a class
above its predecessor when asked to acquire
focus on fast and unpredictable subjects
tracking was incredibly impressive
on the A9 and if the A7 III is
anywhere near as good, I expect
it to lock on to unpredictably
fast-moving subjects with ease.
The advanced AF algorithms
allows the camera to focus down
to -3EV for more reliable focusing
in dark situations, and anyone
wishing to focus fast and accurately
using A-mount lenses can do so by
purchasing the optional Sony
LA-EA3 mount adapter (£130).
Other improvements on the A7
III are found at the rear, where a
2.3-million-dot EVF with 0.78x
magnification and 3in, 922k-dot
LCD touchscreen take pride of
place. The EVF has a lower
resolution than the A7R III, but is
complete with Zeiss T* coatings to
reduce reflections. As for the
touchscreen, this allows users to
focus by tapping the display or
dragging their thumb over the
Sony FE 70-200mm f/2.8 G Master,
1/1000sec at f/2.8, ISO 2500
screen’s surface when the
camera is raised to the eye. The
implementation of the touchscreen
could be improved further, though,
which I’ll touch on in more detail
shortly. With regard to the
manoeuvrability of the screen,
it tilts upwards by 107°, and down
by 41°, providing reasonable
flexibility when composing.
Build and handling
The design of the A7 III falls in line
with the Sony A7R III and A9.
Viewed from the front, it looks
very similar to the A7 II, with the
new badge being the only obvious
difference. Study the A7 III a little
closer, though, and you’ll notice
there’s a lot more to it – such as
the enlarged handgrip. Not only
does this make it that little bit
more comfortable to wrap an
average-sized hand around,
it also allows the body to
41

accommodate a newer,
larger battery. As any user
of an A7-series camera with the
older-style NP-FW50 will tell you,
battery life was shockingly poor –
to the extent that several spares
had to be carried at all times. With
the A7 III’s NP-FZ100 battery,
you can shoot up to 610 shots
using the EVF, or 710 shots using
the screen – a notable
improvement. For more shooting
stamina, there is the option to
attach Sony’s VG-C3EM battery
grip (£329). The beauty of the A7
III’s body being the same size as
the A7R III and A9 is that all three
models accept the same grip and
it can easily be swapped between
them. Unlike some grips, which
only accept one extra battery, the
Sony grip accepts two NP-FZ100
batteries, and is made of the same
magnesium alloy as the body.
There has long been some
uncertainty as to whether Sony’s
A7-series cameras can match
a pro-spec DSLR in terms of
weather sealing. To give it a
fighting chance, this new body
is fortified by a lightweight,
high-rigidity magnesium-alloy top
cover, front cover and internal
frame. Major buttons and dials are
sealed, and this sealing extends
throughout the body to prevent
dust and moisture creeping in.
Sony does say it’s not guaranteed
to be 100% dust and moisture-
proof. However, as I discovered,
it came to no harm when faced
42
with a persistent rain shower. The
matte-black speckled finish is a lot
smarter than the clean, smooth
semi-gloss black finish of the
original A7, and the texture of the
rubberised grip offers good
adherence in your hands when
they’re wet. By moving the poorly
positioned movie-record button
on the A7 II just above the right
corner of the screen, it has freed
up space for a larger memory card
slot door. Behind this, you’ll find
two card slots, one of which is
compatible with the faster UHS-II
standard. The two loaded cards
can be configured as you like; you
can back up files to each card
simultaneously, record different file
types to the two card slots, or tell
the camera to switch across to the
second card after the first fills up.
There are plenty of other
changes at the rear of the camera.
A new exposure-lock (AEL) button
is located just below the exposure-
compensation dial, a new AF-ON
button resides nicely to the left of
it, and a new custom button (C3)
is added beside the main menu
button. The focus-point joystick
that we welcomed on the A7R III
and A9 also replaces the old AF/
MF switch and AEL button. This
transforms the operation of
shifting the focus point around the
frame for the better, making the
camera feel far more intuitive to
use when you’re working quickly.
Depressing the joystick with your
thumb returns the focus point
An image taken using
Sony’s Eye AF mode with
the A7 III set to continuous
autofocus (AF-C)
Sony FE 85mm f/1.4 G Master,
1/3200sec at f/1.4, ISO 3200
back to centre in an instant and really do get a good sense of the
in playback mode it mimics the improvements made on the A7 II.
same functions as the four-way There’s a great deal to like, but it’s
controller. Beneath the AF joystick still not perfect: the exposure-
you get a larger rear dial that compensation dial still only allows
protrudes further from the body. control up to -/+3EV and the
It’s less fiddly to use than the small plastic doors at the side are flimsy
rear dial on the original A7 and A7 and don’t offer any weather
II and makes the job of cycling resistance. The body is likely to
through images more enjoyable be more than robust enough for
– just avoid accidentally most, but I wouldn’t go as far as to
depressing it at the same time or say it’s built like a tank or is the
you’re likely to load the volume best choice if you regularly work
settings or change the display view.
Recently, we’ve seen a few
camera manufacturers introduce
top-plate LCD displays to their
latest mirrorless models, but Sony
isn’t one of them. Custom buttons
and the exposure-compensation
dial take up the space on the top
plate where a small LCD could be
introduced. It’ll be interesting to
see if any of the current
competition in the mirrorless
market influences Sony to make
a change when it comes to
designing the top plate of its fourth
generation of A7-series cameras.
Personally, I don’t see it being a
deal breaker that the A7 III doesn’t
feature a top-plate display as the
screen can be flipped out and
referred to. However, the millions
of DSLR users who are used to
glancing down at exposure settings
when the camera is resting around The in-body stabilisation is highly
the neck are likely to disagree. effective at compensating for hand
The design, layout and handling shake at slow shutter speeds
Sony FE 24-105mm f/4 G OSS,
have come a long way from where
1/3sec at f/4, ISO 100
the A7-series began and you
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 CAMERA TEST Testbench
in cold climates. Thick gloves are AF-ON button ties in extremely
tricky to squeeze in between a well with the fast AF response and
large lens and the grip, plus the
size of the buttons make operation
high-speed shooting capabilities,
underlining that Sony has listened
Focal points
in cold weathers quite a challenge. and responded to criticisms about The enhancements that have been made make
the previous two generations. the A7 III an accomplished performer
Performance Sony’s signature Eye AF mode
The A7 III offers a sensational demonstrated that it’s highly Anti-flicker shooting
spec for the price. The more you effective for portraiture, too, and Flicker from fluorescent and other artificial lighting is detected by the camera,
use it, the more you realise just showed no hesitancy detecting and the shutter action is timed to minimise its effect on still images. This
how capable a camera it is. eyes in the frame to ensure they mode helps suppress exposure and colour anomalies at the top and bottom of
When I tested the A7 II three are the point of focus. Another images shot at high shutter speeds, as well as exposure and colour
years ago, I was underwhelmed by advantage the A7 III has is that inconsistency between continuous shots.
its autofocus tracking, and found it Eye AF is now supported in AF-C
was far happier with slow and mode, not just AF-S only as with Rating 4K video
steady subjects than those that the A7 II. This, combined with the function The A7 III records
were erratic or fast. I’m glad to improved AF speed, makes it Star ratings can 4K video internally,
report the A7 III is in an entirely easier to shoot a sharp portrait of be applied to using 6K full
different league when it comes someone who is moving, even if still images pixel readout for
to acquiring focus on moving the person looks down and away during review high-quality footage.
subjects, and we have the evolved from the camera or is backlit with playback. This It also supports
image-processing system and his/her face in partial darkness. function and a Hybrid Log Gamma
impressive AF algorithms it inherits While the above is all well and protect function for 4K HDR output,
from the Sony A9 to thank for good, there is one underlying issue to prevent along with S-Log2
that. With the focus mode set to that Sony has yet to address. As is accidental and S-Log3 gamma
continuous (AF-C) and the focus the case with the A7R III and A9, image deletion modes to retain high
area set to Zone, I had a high the focus point is once again can be assigned dynamic range.
hit-rate of pin-sharp shots of a fast represented in dark grey, which is to any of the
game of rugby using the Sony FE near invisible at times. Shoot at custom buttons.
70-200mm f/2.8 G Master lens. night, or in conditions where the
The autofocus system locked on scene is predominantly dark, and
burst after burst and had no you’ll instantly become aware of
difficulty keeping pace with players the problem. The focus point does
running towards the camera at illuminate green when focus is
62.7mm

speed. Further testing of the focus achieved, but I know I’m not alone
system at a horse-racing event in saying I’d like to see the outline
confirmed that the A7 III is more colour of the AF point changed to
than up to the job of acquiring orange to make it more visible, in
focus at the speed that one needs the same way it is when you use
when shooting unpredictable the screen to focus. We’ve
action or sport. Furthermore, the waited for firmware updates Ports and interfaces AF area AF tracking
Microphone and headphone registration sensitivity
ports are built-in. A third AF-area registration AF-tracking sensitivity
plastic cover grants access allows frequently used governs how the
to a USB 3.1 socket and focus point settings camera reacts to
Micro USB terminal for to be memorised and subjects that move
power supply or tethered assigned to custom outside the focus area.
operation using Sony’s buttons for fast, It’s set to 3 (Standard)
Imaging Edge Software. convenient recall. as default but can be
raised to 5 (responsive)
or lowered to 1
(locked on).
95.6mm

126.9mm

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 43

 An unprocessed JPEG
straight out of camera
taken in the A7 III’s
standard picture mode
Sony FE 24-105mm f/4 G OSS,
1/250sec at f/4, ISO 100
Customisation
of controls
Sony’s A7-series has gained
an excellent reputation for
offering photographers a high
level of customisation in the past,
and the A7 III is no different in
this regard. Head to custom
operations in the main menu
and you’ll find there are as many
as 81 functions that can be
assigned to no fewer than 11
custom buttons (which Sony
refers to as keys) dotted around
the body. Functions can be
assigned to stills, movies and
playback sets, and the way in
which the front and rear
The A7 III introduces a new C3
custom function button to the
left of the electronic viewfinder
44
command dials operate can
be reversed if you’d prefer the
front dial to control shutter
speed and the rear dial to
control aperture.
The function menu, which is
loaded by hitting the dedicated
Fn button, is a great way of
quickly accessing regularly
used settings and can save vital
seconds trawling through the
extensive main menu to find
what you need. This too can be
customised to your liking, but
we’re not yet at the stage where
the icons and settings intertwine
with touchscreen control.
The easiest way of
navigating the
settings from the
function menu
is to use AF
toggle, which
lies directly
above the Fn
button. If you’d
prefer to create
and arrange
your own menu
based on the
settings you
regularly use, this is
simple enough to do
from the My Menu.
to address the issue, but as
things stand we’re no closer
to a solution or acknowledgement
that this has been an oversight.
As for the five-axis image
stabilisation system, its effect is
so powerful, you can clearly tell
when it’s switched on or off. With
a sound handheld technique and
a soft press of the shutter, you
can expect sharp shots down to
1/3sec using a fairly wide focal
length lens. Use a longer, heavier
zoom such as a 70-200mm and
consistently sharp handheld shots
can be achieved down to around
1/25sec if you have a steady hand
and brace the viewfinder up
against your eye.
With lenses that are optically
stabilised, such as the Sony FE
24-105mm f/4 G OSS that was
supplied for review, SteadyShot is
controlled from the lens. Whereas
with non-stabilised lenses it’s
activated from the camera.
For convenience, I assigned
SteadyShot to a custom button.
Using the IS system while filming a
series of short video clips resulted
in handheld footage that looked
very smooth and far less jolty
than when it is switched off. It’s
no replacement for a dedicated
gimbal, but knowing you can
achieve seamless, shake-free
footage straight out of the
camera without an additional
support is reassuring.
Equipping the A7 III with a
lower-resolution EVF than the
5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
A7R III and A9 is one way in which
Sony has managed to keep the
price of the body under £2,000.
The resolution of the EVF is not to
be sniffed at, but having tested a
few cameras recently that sport a
higher resolution, the difference,
particularly in the way fine detail
is rendered, is noticeable. Having
the option to review shots via the
EVF is particularly useful in bright
sunlight, and the way you can
double-tap the screen at the
same time and move about
the image to check focus and
sharpness with great accuracy
is very well received. The same
is true for the way you can
reposition the focus point with
your thumb on the screen when
the EVF is raised to your eye. It’s
very responsive, but with your
index finger resting on the shutter,
it is a stretch to shift the AF point
to the left side of the frame.
The sound of the mechanical
shutter is on the loud side. To
be more discreet in your
approach, you can switch to silent
shooting mode, but this doesn’t
automatically mute audio signals
such as the AF beep. To do this,
you’ll need to head into the main
menu. The menu is colour coded,
but as I’ve said many times before
in A7-series camera reviews, it’s
not easy to find what you need
in a hurry. Ideally, it needs to be
simplified, with the option to select,
swipe and adjust settings
using the touchscreen.
 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.

Unlike the A7R III, which leaves out the low-pass filter, the A7 III is equipped with one. This is
implemented to reduce the effects of aliasing and moiré. Fitting a sensor with a low-pass filter
might not be seen as the done thing any more, but the results from our lab testing demonstrates
the A7 III is capable of producing more than adequate detail with one installed. At the time of GOLD
testing, the A7 III’s raw files were not supported by Adobe Camera Raw or Lightroom, so our files
were run through Sony’s Imaging Edge software before they were critically analysed.

With the Alpha 7 III, Sony has hit the sweet

Resolution spot in terms of what many photographers
want from a full-frame model that falls under
The A7 III’s sensor resolves a similar level of detail to Detail remains well preserved when you push higher £2,000. The criticisms we previously
the A7 II and A7 – unsurprising, given all three have the sensitivity settings, with 2,800l/ph being resolved at made about the A7 II – notably the colour
same 24MP resolution. At ISO 100, the sensor resolves ISO 6400. As is to be expected, detail beyond this point accuracy of its EVF, lack of silent mode, poor
around 3,200l/ph. As you start to hit ISO 800, the detail reduces. That being said, it still manages 2,600l/ph at battery stamina and sluggish focusing on
drops below this figure to a still-respectable 3,000l/ph. ISO 25,600 and 2,400l/ph at ISO 51,200. erratic subjects have all been ironed out,
and the superb 693-point AF system and
RAW RAW RAW RAW
ISO 100 ISO 1600 ISO 25,600 ISO 204,800 effective in-body stabilisation system merge
well with the improved control layout. It
doesn’t rattle out a continuous burst at the
same blazing speed as the Alpha 9, nor does
Here we show details from our it deliver the same high resolution as the
resolution chart test pattern Alpha 7R III, but it succeeds at doing what
(above). Multiply the number a great all-rounder should do, which is to
beneath the lines by 200 to give perform outstandingly well when challenged
the resolution in lines per by a variety of subjects and scenarios.
picture height. Within a few minutes of picking up and
using the A7 III, you realise how far it has
come from the A7 II and how much more
Noise complete it feels. From an operational
perspective, it’s more intuitive to use, it
Our diorama testing reveals that the A7 III performs slightly better than its happily keeps pace with unpredictable
predecessor at high ISOs, thanks to its backside-illuminated architecture. subjects, and combines all of the above
Noise-free images are produced between ISO 50 and ISO 1600, with with sensational image quality in its raw
luminance noise only creeping into raw files from ISO 3200. Pushing to files, even at high ISO. I have a few doubts
ISO 12,800 or ISO 25,600 can achieve very acceptable results with a little about the lack of weather sealing round
noise reduction applied in post. Colour remains vivid between ISO 50 and the accessory ports, the grey-outlined AF
ISO 12,800, with barely any drop in saturation at ISO 25,600. Increased point peeves me a bit, and the touchscreen
The crops shown below are taken noise and loss of detail is obvious at ISO 51,200, however, so ISO 25,600 is could be better executed to include menu
from the area outlined above in red the limit I’d happily push to in Auto ISO or use in a low-light situation. control, but these are relatively minor quirks
on what is an astonishingly good and
RAWISO50 RAW ISO 800 RAW ISO 6400 well-equipped mirrorless camera.
When you take into consideration that it’s
smaller, lighter, faster and more sophisticated
than the Canon EOS 6D Mark II, Nikon
D750 and Pentax K-1 Mark II, there’s
no denying that it’s the most attractive
full-frame camera offering the best value for
money at its price point right now. It has the
power to be a DSLR killer and as well as
appealing to newcomers to full-frame, it’ll
influence many photographers to make the
RAW ISO 25,600 RAW ISO 51,200 RAW ISO 204,800
switch to mirrorless and shoot with Sony.

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

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 45

 



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At a glance
£2,199 body only
● 10.3MP Four Thirds sensor
● Cinema 4K recording (10-bit 4:2:2)
● ISO 80-204,800 (extended)
● 3.68-million-dot OLED EVF
● 3.2in, 1.62-million-dot LCD
Video star
When the Panasonic Lumix GH5S was launched,
some people were puzzled. Jon Devo unpicks the
diferences between this new model and the GH5
here are some things we need to
T make clear about the Lumix GH5S.
Firstly, it’s not an update of or
replacement for the GH5. There are
some distinct differences between the internal
functions and features of the two bodies, but
ALL PICTURES © JON DEVO
they share a lot in common on a superficial level.
With the ability to record professional
standard Cinema 4K 10-bit 4:2:2 video at up
to 400Mbps, variable frame rate video for
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018
IN THE FIELD
dramatic slow-motion footage, flat V-log and
HLG modes, both the Lumix GH5 and GH5S
are designed to appeal to those who shoot
video. However, the GH5 sports a high-
sensitivity 20.3-megapixel Micro Four Thirds
Live MOS sensor with a pixel pitch of 3.34
microns, 12fps continuous shooting, 6K-photo
mode and IBIS, making it a superb all-rounder
for photographers with video as a secondary
interest. But responding to feedback from
Testbench
With its low-resolution sensor, the
GH5S is said to give improved
image quality at high ISOs
Lumix G X Vario 12-35mm f/2.8 ASPH OIS,
1/40sec at f/2.8, ISO 2500
professional videographers and production
companies, Panasonic decided to tilt the
balance of the GH5S significantly more in
favour of video-focused users.
Optimised for video pros
The GH5S has a slightly larger than Micro Four
Thirds 12.5MP multi-aspect sensor, with a
pixel pitch of 4.51 microns, which offers
10.2MP crops within the standard Micro Four
Thirds imaging circle. The advantage of this is
that the field of view is not cropped when
recording native 17:9 ratio DCI and UHD 4K
video, with the additional benefit of improved
image quality and low-light video performance.
The camera’s low-light capabilities are
further bolstered during video recording due to
its advanced circuitry, allowing for Dual Native
ISO or ‘Dual Gain’ in pro-video jargon. This
dual-ISO technology is borrowed from
Panasonic’s professional Varicam cameras and
helps to minimise noise generation by using two
sets of circuits to optimise the imaging signal
before gain processing. The practical advantage
is that the GH5S has a maximum ISO of
51,200 and can be switched manually between
LOW (ISO 160-800/Native 400) or HIGH
(ISO 800-51200/Native 2500). The GH5S
can also autofocus in low-light conditions as
dark as -5EV with Live View Boost to improve
visibility electronically during composition.
The most controversial difference between
the two cameras is the omission of Panasonic’s
celebrated in-body image stabilisation from
the GH5S. But it was left out for good
reason. Leaving out IBIS not only makes
47
 Testbench IN THE FIELD

A portrait in high-contrast
light shows attractive
natural skin tones and
good detail
Leica DG Macro Elmarit 45mm f/2.8,
1/400sec at f/2.8, ISO 400

the GH5S lighter by 65g without making the same camera, which is one of the reasons
any changes to the physical dimensions why I particularly enjoy the fact that the GH5S
of the body, it also allowed Panasonic to use offers two UHS-II SD card slots. I can set one
the additional space to install the larger sensor. to capture my video content and one to
The main reason for removing IBIS was that capture the stills.
most high-end and professional productions During my time with the GH5S, I tried to
use external stabilisation and need the sensor restrict myself to using it solely for taking
inside the camera completely locked down to pictures. I set it up for stills, mapping all of my
avoid unwanted movement. preferred settings to its Fn buttons. I also set
Custom 1 on the mode dial to 240fps Full HD
Suitability for photographers video, because it produces fantastic slow-
So with all of that said, the question remains, is motion footage. Having used the GH5, I found
the Panasonic Lumix GH5S a camera that is the GH5S a touch slower when autofocusing
worth consideration for stills photographers? in good light, although it did surpass its
Built to withstand regular daily use in a wide stablemate in lower light. As expected, the
variety of environments, the GH5S has a
magnesium-alloy full diecast front and rear
construction, with comprehensive sealing to
protect it against dust and splashes. In addition,
it’s freezeproof down to -10°C. Having used
and enjoyed every Lumix GH-series camera
since the DMC-GH3, the GH5S is
ergonomically superb for the most part, albeit
a little chunkier than most other mirrorless
cameras. DSLR users will find that the size of
the GH5 body alleviates concerns about
mirrorless cameras being too small and fiddly.
The body is awash with buttons, including five
customisable function buttons, dedicated
buttons for white balance, ISO and exposure
compensation, as well as separate drive and
mode dials. Such a comprehensive number of
controls is welcome, especially for those who
don’t enjoy sifting through menus to
continuously make changes. But it’s not
perfect. While the camera’s rubberised control
knob is perfectly placed for moving the
focusing area while composing your shots, the
camera’s anodised red metal record button is
awkward to access when holding the camera
to one’s face. Of course, if your focus is taking
pictures, this won’t be as much of an issue as I
found it. I often shoot both stills and video with The GH5S captures low-light scenes with faithful colours Leica DG Macro Elmarit 45mm f/2.8, 1/100sec at f/2.8, ISO 800

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Tracking a skier at 1/30sec without
in-body image stabilisation is tricky, but
Lumix OIS lenses counteract up-and-
down movement when panning
Leica DG Macro Elmarit 45mm f/2.8,
1/30sec at f/20, ISO 160
Jon Devo puts GH5S hunts less when shooting stills in
the GH5S low-light conditions. Most photographers will
through rue the exclusion of image stabilisation from
its paces the GH5S, but this is negated slightly by the
fact that many of Panasonic’s Lumix lenses
offer Power OIS for optical stabilisation.
Power OIS offers two axes of stabilisation,
counteracting up and down movement when
panning, and general left/right camera shake.
When using Power OIS-enabled lenses, I was
able to handhold shots right down to one
second with usable results from still subjects.
Without Lumix stabilised lenses I wouldn’t get
anything shareable lower than 1/10sec.
However, I do have particularly steady hands.
With slightly larger pixels compared to its
cousin and a more advanced signal path, the
GH5S does offer an extended range and
performs better at higher ISO sensitivities.
However, from ISO 6400 and up, still images
become painterly and lose their detail as the
camera battles noise. There is noticeably less
noise than I’d have expected from a Micro Four
Thirds camera, but the noise reduction
becomes so heavy-handed that I don’t enjoy
the results at anything above ISO 6400. Even
at ISO 6400, I think the noise reduction is still
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018
‘When using Power OIS-
enabled lenses, I was able to
handhold shots down to one
second with usable results’
a little too strong and may only look good in a
live music/concert setting, as increasing the
contrast to get the ‘gig look’ tends to mask
poor detail reproduction.
It was particularly in low-light shooting
conditions that I expected to see a marked
difference in performance from the GH5S.
But while it is decent, I can’t say it was
significantly better than the GH5. And that
camera offers the comprehensive combination
of five-axis in-body stabilisation and Dual IS
when combined with Lumix Power OIS lenses.
The million-pixel Achilles heel
Carrying an oversized Micro Four Thirds
sensor, the GH5S has a lower 10.2MP
resolution compared to the GH5. This allows it
to have larger pixels, with greater pixel-level
dynamic range. That’s the reason the GH5S
offers 14-bit raw files vs the GH5’s 12-bit file.
The trade-off is that the GH5S is slower when
shooting a continuous burst of full-res images,
offering 7fps with AF vs 9fps from the GH5.
But it can be switched to 12-bit raw mode, in
which case you can get 8fps from the GH5S
with continuous AF.
I often tell aspiring photographers that
megapixels don’t make the masterpiece, and
for the most part, I stick by that advice. My first
digital camera, the Sony DSC-R1, offered
10.3MP back in 2005. I propelled my
transition from film to digital, and subsequently
my career, with that camera. But the world has
moved on rapidly in the past 13 years. Even
mid-tier smartphones offer resolutions
upwards of 12 megapixels as standard now.
And while I restate, megapixels are not
everything, it is in resolution where I feel the
GH5S is exposed. Its picture quality isn’t
noticeably better than the GH5 at higher ISO
sensitivities, when images from both cameras
are displayed at the same size.
The decider
Ultimately, while I would highly recommend the
Panasonic GH5S for video-focused creatives,
it simply doesn’t make sense as an option for
those for whom photography is their primary
pursuit. When the camera was announced, less
than a year after the GH5, many wondered if it
was worth upgrading to. The answer is a simple
one when you consider that this camera isn’t
an update or upgrade to the GH5; it’s a variant.
If Panasonic had been in a position to release
these two cameras simultaneously, the picture
would have been much clearer. They are
concurrent camera bodies; one is a great
all-rounder for creatives who shoot both stills
and video. The other is a highly specified
compact camera system model for video
enthusiasts and professionals who
capture stills as a secondary endeavour.
49
 Testbench ACCESSORIES

Manfrotto Handgrip
and Basegrip At a glance
● Photo and video rig
Andy Westlake tests Manfrotto’s latest Shoe mounts designed for smartphones
The Basegrip features two ● Can also be used with
camera handle and accessory bracket cold-shoe mounts at one end, small cameras
● £59.95 (£34.95 for Handgrip alone) ● www.manfrotto.co.uk on either side of the bar. ● Two cold-shoe
accessory mounts
MUCH as we serious photographers tend to scoff at ● Designed to work with
the idea, there’s no getting away from the fact that
Twistgrip phone clamp
the vast majority of photographs are now taken using
smartphones. And with the cameras built into
the latest devices becoming increasingly capable,
it’s time to embrace the revolution and work out
how to make best use of them.
However, smartphones have some clear
drawbacks when used as cameras. Their flat,
slab-like designs are universally horrible to hold
in landscape orientation, and they also don’t
have shoe mounts for attaching accessories
such as microphones or LED lights, which is a
drawback if you want to shoot high-quality video.
Manfrotto’s latest additions to its Twistgrip system
aim to address these problems. Its Handgrip
and Basegrip are designed to work with its
eponymous smartphone clamp, providing Wrist strap
a better hold of the device and a means of The Handgrip comes
attaching accessories. Screw the Handgrip into with a generous-sized,
the base of the Twistgrip clamp, and you end up soft wrist strap for
with a means of holding even a large smartphone additional security.
securely for shooting stills in landscape format.
Add the Basegrip, and you gain twin cold-shoe
mounts for a microphone and LED light. The grip also
gives vastly better ergonomics for shooting video.
The usefulness of these accessories isn’t limited Dual
to working with smartphones, though. You could also connection
use them with pocket compacts, or even lightweight
mirrorless models, just as long as you stick to small
points
The Handgrip can be screwed
lenses. Again, they’ll probably be most useful for onto the Basegrip at two
shooting video, but some photographers might also points, either a half or
find them worthwhile for stills work. quarter way along
Both the Handgrip and Basegrip are superbly its length.
made from lightweight aluminium, with a
gunmetal finish that perfectly matches the
Tripod socket
There’s a standard 1⁄4in
Twistgrip clamp. The grip’s rubberised covering
thread in the base of
and subtle notch for your forefinger afford a
the Handgrip. THE TWISTGRIP CLAMP
very positive hold, with the wrist strap adding an
extra layer of security. All the components fit For when you need to attach your
together really well, aided by anti-twist notches smartphone to a tripod, Manfrotto’s
in the Basegrip at the two points where it can Twistgrip clamp is one of the best of its
be attached to the Handgrip. type we’ve seen. Solidly constructed of
aluminium, it can accommodate devices
Verdict up to 85mm in width, has thick rubberised
There are other camera handles and accessory grips to hold your
ALL PR CES ARE APPROX MATE STREET PR CES

brackets on the market, but Manfrotto’s Handgrip phone

and Basegrip stand out for their well-thought-out securely,
design and excellent build. The fact that each part and folds
is flat makes the set-up easy to carry around when flat for
disassembled, too. If you shoot a lot with small portability.
cameras or smartphones, particularly for video,
GOLD It costs
The Handgrip can be purchased
these are well worth a look. on its own, or with the Basegrip
£46.95.

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IN ASSOCIATION WITH
Ask the
Looking for a new camera or accessory and need some advice? The experts at Wex Photo Video
are here to help. Contact us at ap@timeinc.com or on Twitter at @AP_Magazine and #AskAP
The Gary Fong
Lightsphere
is suitably
compact
Low-light people flash
photography
Q I really like photographing
people and have been
doing street photography
for quite a few years. However, I’ve
just recently started to photograph
the streets at night, which has
led to several commissions to
photograph events at a couple of
nightclubs. I have had to use a
flashgun because it is so dark and
there is so much movement, but I
really need a flashgun diffuser.
With so many on the market, are
there any you could recommend
that would work for this purpose
and sit within my budget of £50?
Kevin Major
A
Flash photography in low
light can be very difficult,
especially when the
atmosphere is buzzing and
subjects are moving quickly. I’d
normally suggest the Lastolite
Ezybox Speed-Lite 2 (22x22cm),
which sits within your budget at
£47. This mini softbox has lots
of flexibility and produces a
beautifully soft light, which is
very flattering – a positive when
photographing people who are
dressed up on a night out.
However, it’s a reasonably large
accessory and could easily draw
unwanted attention, or be
damaged or pulled from the
flash. If you would like to consider
something smaller, the Gary Fong
Lightsphere can be picked up for
£49.99. This collapsible device
uses a flexible, ribbed sphere
to diffuse light, while having a
non-intrusive appearance.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018
Tech Talk
ex erts
Upgrading a D90 for weddings
Q I’m a wedding photographer and a few
months ago upgraded to a Nikon D850
(which I love, by the way). My second
to which camera body I should consider buying?
Douglas Flint
A
camera is currently a D90, but I would like to Shooting weddings can test the best
upgrade it too. I can stretch to £1,850, but that’s camera bodies and best photographers.
at the very top end of my budget. If I could find As you use a D850, it makes sense to
something suitable for a lower price, I’m hoping to
put the money I save towards a new prime lens
stick with a full-frame body, but maybe one with
fewer megapixels. That way, your workflow won’t
for shooting portraiture. I would like to use my be negatively affected after the event and you’ll
second body alongside the D850 with a longer
focal length lens. Do you have any suggestions as
have a body that can handle extremely low-light
situations, without too much threat of noise.
Our experts suggest
Nikon D750 Nikon D610 Nikon D500
This full-frame body offers Nikon’s entry-level full-frame If you’re really intent on
24.3MP on a newly designed camera is significantly less purchasing an APS-C camera, I
sensor that works with the expensive than the D750, would recommend the D500.
Expeed 4 processor for available for just £1,299. A The crop factor will effectively
excellent, high ISO native ISO range of 100-6400 increase the focal range of your
performance. A new AF module means low-light situations aren’t lenses, and with 153 AF points
drives a 51-point AF system an issue, and it can shoot at 6fps and a 10fps burst mode, you’ve
that delivers smooth focus, even to capture moments of action. every chance of capturing those
down to -3EV. You can shoot at The 39-point AF system has fleeting moments of action. Add
6.5fps to help capture those nine cross-type points for to that a native ISO range of
blink-and-you’ll-miss-it increased accuracy and the 51,200 for admirable low-light
moments, and a tilting LCD viewfinder has 100% coverage performance and the presence
helps to easily conquer those so that shots are quick and of a tilting rear touchscreen,
awkward angles. The D750 easy to compose. and you’ll be hard-pressed to
is available just under your find a more feature-packed
budget at £1,749. body for £1,799.
£1,749 £1,299 £1,799
● 24.3 MP full-frame sensor ● 24.3MP full-frame sensor ● 20.9MP APS-C sized CMOS sensor
● 51-point AF system ● Native ISO range 100-6400 ● 153 AF points
● 6.5fps burst shooting ● 6fps burst shooting with ● 4K UHD in-camera recording
39 AF points and time-lapse
51
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 Tech Talk
BLAST FROM THE PAST
Adox 300
John Wade examines an unusual magazine-load 35mm camera
LAUNCHED 1957
PRICE AT LAUNCH Approximately £60
GUIDE PRICE NOW £90-120
Open the back of an Adox 300
to load a 35mm film and, where
you expect to see the film plane,
sprockets, space for a cassette
and take-up spool, what you
actually see is – nothing. The
camera is devoid of all the usual
internal devices that typify a
35mm camera.
That’s because the film-loading
mechanisms are actually in a
separate, detachable magazine.
The idea is you load the magazine
first and then slot it into the
camera. In this way, you can keep
several magazines pre-loaded
with different types of film and
swap them mid-roll.
To prevent the film getting
fogged during the swap, a metal
blind acts as a protective mask.
Operating the camera’s back-
locking mechanism with a
magazine on board also winds
the blind out of the light path.
Unlocking the camera to replace
the magazine winds the blind back
to its light protective position.
The Adox is also unusual in
having a lever that rotates around
the lens to wind the film and
tension the shutter. Operated with
the left hand while pressing the
shutter release with the right
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018
The top plate, showing the meter on the left and frame counter on the right
speeds up winding and shooting.
A selenium cell beside the
viewfinder activates a built-in
meter to indicate suggested
exposure settings on the top plate.
Shutter speeds of 1-1/500sec
and apertures of f/2.8-f/22 are
set on rings around the lens. The
controls can be locked together
so that, when changing an
aperture, the shutter speed is
automatically reset at the same
time, and vice versa, to retain the
The Adox 300: an
unusual camera
designed for integral
35mm magazines
How the loaded magazine
slots into the camera body
same exposure. For the 1950s, all
of that was pretty sophisticated.
What’s good Ability to change
from black & white to colour
film mid-roll, faster-than-normal
shooting and winding, flash sync
at all speeds.
What’s bad No rangefinder,
non-interchangeable lens, similar
Leitz-made magazines can
sometimes jam the camera.
Contact
Amateur Photographer, Time Inc (UK) Ltd,
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Inserts Call Mona Amarasakera,
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9AP. Air Business Ltd is acting as our mailing agent.
53

  
 




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 SPONSORED BY

Buyin
Guide
592
cameras
& lenses
listed &
rated
Our comprehensive listing of key specifications for cameras and lenses

Controls Viewfinder Size and weight

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

ALMOST all serious photographers latest models have narrowed the

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

SPONSORED BY Park Cameras was established in 1971 in Burgess Hill, West Sussex. For over 40 years they have forged a reputation
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 55

 BUYING GUIDE

VF COVERAGE (%)
BURST MODE (FPS)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
DSLR cameras

LENS MOUNT
RESOLUTION

SCREEN SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)

WEIGHT
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 1300D £450 4★ 7Z\^ccZg [g^ZcYan bdYZa l^i] h^beaZ Xdcigdah VcY Wj^ai ^cL^";^ &-BE 8Vcdc :; &'!-%% &%-%e . ( .*   (^c *%% &'. &%&#( ,,#+ )-*\
NEW Canon EOS 2000D )+. B^cdg jeYViZ id :DH &(%%9 \V^ch ')#&BE hZchdg ')#&BE 8Vcdc :; &'!-%% &%-%e . ( .*   (^c *%% &'. &%&#( ,,#+ ),*\
NEW Canon EOS 4000D (+. HjeZg X]ZVe hig^eeZY WVX` 9HAG [dg WjY\Zi XdchX^djh WZ\^ccZgh &-BE 8Vcdc :; &'!-%% &%-%e . ( .*   '#,^c *%% &'. &%&#+ ,,#& )(+\
Canon EOS 200D *-% )#*★ KZgn XdbeVXi Zcign aZkZa 9HAG l^i] [jaan Vgi^XjaViZY idjX]hXgZZc ')#'BE 8Vcdc :; *&!'%% &%-%e . * .*   (^c   +*% &''#) .'#+ +.#- )*(\
Canon EOS 700D ,*% )#*★ A^`ZVWaZ Zcign aZkZa 9HAG! Wji hZchdg ^h cdl add`^c\ YViZY &-BE 8Vcdc :; &'!-%% &%-%e  . * .*  (^c  ))% &(( &%% ,. *-%\
Canon EOS 750D £599 4★ :cign aZkZa bdYZa l^i] ')BE hZchdg VcY Vgi^XjaViZY idjX]hXgZZc ')#'BE 8Vcdc :; '*!+%% &%-%e  &. * .*  (^c   ))% &(&#. &%%#, ,,#- ***\
Canon EOS 760D +). *★ =^\]Zg ZcY kZgh^dc d[ :DH ,*%9 l^i] ^begdkZY Xdcigda aVndji ')#'BE 8Vcdc :; '*!+%% &%-%e  &. * .*   (^c   ))% &(&#. &%& ,,#- *+*\
Canon EOS 800D ,-% )#*★ JeYViZh :DH ,*%9 l^i] hde]^hi^XViZY )* ed^ci Vjid[dXjh ')#'BE 8Vcdc :; '*!+%% &%-%e  )* + .*   (^c   +%% &(& .. ,+#' *('\
Canon EOS 77D -(% )#*★ HVbZ XdgZ heZX Vh :DH -%%9 Wji ^c ]^\]Zg ZcY WdYn YZh^\c ')#'BE 8Vcdc :; '*!+%% &%-%e  )* + .*   (^c   +%% &(& &%% ,+#' *)%\
Canon EOS 80D £999 5★ :migZbZan XVeVWaZ b^Y gVc\Z 9HAG [dg Zci]jh^Vhi e]did\gVe]Zgh ')#'BE 8Vcdc :; '*!+%% &%-%e  )* , &%%   (^c   .+% &(. &%*#' ,-#* ,(%\
Canon EOS 7D Mk II &*.. )#*★ =^\] heZZY 6EH 8 9HAG ^cXajYZh hde]^hi^XViZY 6; hnhiZb '%#'BE 8Vcdc :; *&!'%% &%-%e  +* &% &%%  (^c +,% &)-#+ &&'#) ,-#' .&%\
Canon EOS 6D &,%% )#*★ 8Vcdc¼h bdhi V[[dgYVWaZ [jaa [gVbZ 9HAG ^cXajYZh L^ ;^ VcY <EH '%#'BE 8Vcdc :; &%'!)%% &%-%e  && )#* .,  (^c .-% &)* &&& ,& ,**\
Canon EOS 6D Mk II &... )#*★ >cXajYZh '+#'BE [jaa [gVbZ hZchdg VcY [jaan Vgi^XjaViZY hXgZZc '+#'BE 8Vcdc :; &%'!)%% &%-%e  )* +#* .-  (^c   &!'%% &)) &&%#* ,)#- ,+*\
Canon EOS 5D Mk III £2999 5★ <gZVi Vaa gdjcY 9HAG [dg hZg^djh Zci]jh^Vhih VcYegd[Zhh^dcVah ''#(BE 8Vcdc :; &%'!)%% &%-%e  +& + &%% (#'^c .*% &*' &&+ ,+ .*%\
Canon EOS 5DS '... =^\] gZhdaji^dc bdYZa l^i] *%BE hZchdg *%#+BE 8Vcdc :; &'!-%% &%-%e  +& * &%% (#'^c ,%% &*' &&+#) ,+#) -)*\
Canon EOS 5DS R £3199 5★ HVbZ Vh i]Z *9H! Wji adl eVhh ÄaiZg gZbdkZY [dg bVm^bjbgZhdaji^dc *%#+BE 8Vcdc :; &'!-%% &%-%e  +& * &%% (#'^c (.% &*' &&+#) ,+#) -)*\
Canon EOS 5D Mk IV (*.. )#*★ =j\Zan VXXdbea^h]ZY ldg`]dghZ bdYZa! Wji eg^XZn (%#)BE 8Vcdc :; &%'!)%% (-)%e  +& , , &%%  (#'^c  .%% &*& &&+ ,+ -.%\
Canon EOS-1D X Mk II *&.. Egd[Zhh^dcVa ]^\] heZZY hedgih VcY VXi^dc bdYZa '%#'BE 8Vcdc :; )%.!+%% (-)%e  +& &) &%% (#'^c   &!'&% &*- &+,#+ -'#+ &()%\
Nikon D3400 £399 4★ 6YYh 7ajZiddi] id 9((%% [dg XdccZXi^c\ id hbVgie]dcZ ')#'BE C^`dc ; '*!+%% &%-%e  && * .*  (^c  &!'%% &') .- ,*#* ))*\
Nikon D5300 -(% )#*★ 6\Z^c\ b^Y gVc\Z 9HAG ^h cdl VkV^aVWaZ Vi WVg\V^c eg^XZh ')#'BE C^`dc ; '*!+%% &%-%e  '( * .*   (#'^c  ,%% &'* .- ,+ *(%\
Nikon D5600 -%% )#*★ :mXZaaZci ^bV\Z fjVa^in VcY ]VcYa^c\! eajh 7ajZiddi] XdccZXi^k^in ')#&BE C^`dc ; '*!+%% &%-%e  (. * .*   (#'^c   .,% &') ., ,- )+*\
Nikon D7200 £939 4★ JeYViZh i]Z 9,&%% l^i] hdbZ jhZ[ja ZmigVh hjX] Vh L^ ;^ ')#'BE C^`dc ; '*!+%% &%-%e  *& + &%%   (#'^c &!&%% &(*#* &%+#* ,+ ,+*\
Nikon D7500 &'.. )#*★ EaVXZh i]Z ZmXZaaZci hZchdg [gdb i]Z 9*%% ^cid V hbVaaZg WdYn '%#.BE C^`dc ; &!+)%!%%% (-)%e  *& - &%%   (#'^c   .*% &(*#* &%) ,'#* ,'%\
Nikon D500 &,'. *★ EgdWVWan i]Z WZhi 9M [dgbVi 9HAG ZkZg! l^i] gZbVg`VWaZ Vjid[dXjh '%#.BE C^`dc ; &!+)%!%%% (-)%e  &*( &% &%%  (#'^c   &!')% &), &&* -& -+%\
Nikon D610 £1800 5★ C^`dc¼h X]ZVeZhi [jaa [gVbZ bdYZa l^i] V hda^Y [ZVijgZ hZi ')#(BE C^`dc ; '*!+%% &%-%e  (. + &%%  (#'^c  .%% &)& &&( -' -*%\
Nikon D750 £1800 5★ <gZVi Vaa gdjcY Zci]jh^Vhi [jaa [gVbZ bdYZa l^i] i^ai^c\ hXgZZc ')#(BE C^`dc ; *&!'%% &%-%e  *& +#* &%%   (#'^c  &!'(% &)%#* &&( ,- -)%\
Nikon DF '+%% )★ GZigd hinaZY [jaa [gVbZ bdYZa l^i] ZmXZaaZci hZchdg &+#'BE C^`dc ; '%)!-%% (. *#* &%% (#'^c &!)%% &)(#* &&% ++#* ,+*\
Nikon D810 '+.. *★ =^\] gZhdaji^dc [jaa [gVbZ 9HAG d[[Zgh hjeZgW ^bV\Z fjVa^in (+#(BE C^`dc ; *&!'%% &%-%e *& &' &%%  (#'^c &!'%% &)+ &'( -' .-%\
Nikon D850 £3499 5★ =^\] heZZY VcY hjeZgW ^bV\Z fjVa^in bV`Z i]^h i]Z WZhi 9HAG nZi )*#,BE C^`dc ; &%'!)%% (-)%e  &*( , &%%  (#'^c   &!-)% &)+ &') ,-#* &%%*\
Nikon D5 *&.. C^`dc¼h ide ZcY hedgih VcY VXi^dc bdYZa [dg egd[Zhh^dcVah '%#-BE C^`dc ; (!'-%!%%% (-)%e  &*( &) &%% (#'^c   (!,-% &+% &*-#* .' &)%*\
Pentax K-S2 +). )#*★ >cXajYZh V [jaan Vgi^XjaViZY hXgZZc VcY ^c WdYn hiVW^a^hVi^dc '%#'BE EZciVm @ *&!'%% &%-%e  && *#) &%%   (^c  )&% &''#* .& ,'#* +,-\
Pentax K-70 +%% )#*★ Hda^Y eZg[dgbZg i]Vi jeYViZh i]Z @ H' l^i] V ')BE hZchdg ')#'BE EZciVm @ &%'!)%% &%-%e && + &%%   (^c  )&% &'*#* .( ,) +--\
Pentax K-3 II ,+. )#*★ LZaa [ZVijgZY Zci]jh^Vhi bdYZa l^i] ^c WdYn hiVW^a^hVi^dc VcY <EH ')#(BE EZciVm @ *&!'%% &%-%e  ', -#( &%% (#'^c ,'% &(&#* &%'#* ,,#* ,-*\
Pentax KP £1099 4★ 8dbeVXi Wji lZaa heZX^ÄZY 9HAG l^i] ^ciZgX]Vc\ZVWaZ ]VcY \g^eh ')#( BE EZciVm @ -&.!'%% &%-%e  ', , &%%   (^c  (.% &(&#* &%& ,+ ,%(\
Pentax K-1 £1599 5★ I]Z Äghi EZciVm [jaa [gVbZ 9HAG ^h ZmXZaaZci kVajZ [dg bdcZn (+BE EZciVm @ '%)!-%% &%-%e  (( )#) &%%  (#'^c  ,+% &(+#* &&% -*#* &%&%\
NEW Pentax K-1 II &,.. JeYViZY @ & l^i] ]^\]Zg bVm^bjb >HD VcY ]VcY]ZaY e^mZa h]^[i bdYZ (+BE EZciVm @ -&.!'%% &%-%e  (( )#) &%%  (#'^c  +,% &(+#* &&% -*#* &%&%\
Sigma SD Quattro £850 3★ H9 bdjci b^ggdgaZhh XVbZgV l^i] jc^fjZ ;dkZdc M( hZchdg &.#+BE H^\bV H9 +)%% . (#+ &%% (^c I78 &), .*#& .%#- ,%(\
Sigma SD Quattro H £1499 E]nh^XVaan ^YZci^XVa WdYn id H9 FjViigd! Wji l^i] aVg\Zg 6EH = hZchdg '*#,BE H^\bV H9 +)%% . (#- &%% (^c I78 &), .*#& .%#- ,%-\
Sony Alpha 68
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

),. (★ :mXZaaZci 6; VcY hZchdg! Wji adl gZhdaji^dc A89 hXgZZc VcY cd L^ ;^ ')BE Hdcn 6 '*!+%% &%-%e  ,. - &%%  '#,^c  *-% &)'#+ &%)#' -'#- +,*\
Sony Alpha 77 II &%%% )#*★ >begZhh^kZ Vjid[dXjh VcY [Vhi h]ddi^c\! eajh \ddY ]VcYa^c\ ')#(BE Hdcn 6 '*!+%% &%-%e  ,. &' &%%   (^c  )-% &)'#+ &%) -& +),\
Sony Alpha 99 II '... )#*★ EaVXZhi]ZhjeZgWhZchdg[gdbi]Z6ae]V,G>>^cV9HAG"hinaZYWdYn )'#)BE Hdcn6 &%'!)%% (-)%e  ,. &' &%%   (^c   &%% &)'#+ &%)#' ,+#& -).\
We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will inevitably
have crept in along the way: if you spot one, please let us know by emailing aptimeinc.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

meras in store or online.

xpert team for free impartial

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

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56 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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BURST MODE (FPS)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
VIEWFINDER
Mirrorless cameras

LENS MOUNT
RESOLUTION

SCREEN SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)

WEIGHT
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M10 (.. 8dbeVXi! ZmigZbZan h^beaZ 8H8 YZh^\cZY [dg WZ\^ccZgh &-BE 8Vcdc B '*!+%% &%-%e ). )#+   (^c   '** &%- ++#+ (* (%&\
Canon EOS M100 £449 3★ A^\]ilZ^\]i bdYZa [dg WZ\^ccZgh! Wji dkZgan h^bea^hi^X ')#'BE 8Vcdc B '*!+%% &%-%e ). +#&   (^c   '.* &%-#' +,#& (*#& (%'\
NEW Canon EOS M50 £649 4.5★ KZgn a^`ZVWaZ VcY lZaa heZX^ÄZY Zcign aZkZa bdYZa l^i] k^ZlÄcYZg  ')#'BE 8Vcdc B *&!'%% (-)%e  &)( &%    (^c   '(* &&+#( --#& *-#, (-,\
Canon EOS M3 £599 4★ B^Y gVc\Z bdYZa l^i] Zci]jh^Vhi Xdcigdah Wji cd k^ZlÄcYZg ')#(BE 8Vcdc B '*!+%% &%-%e  ). )#'   (^c   '*% &&%#. +- ))#) (++\
Canon EOS M6 ,(% (#*★ JeYViZ id :DH B( l^i] [VhiZg Vjid[dXjh VcY ^begdkZY Xdcigdah ')#'BE 8Vcdc B '*!+%% &%-%e  ). .   (^c   '.* &&' +- ))#* (.%\
Canon EOS M5 £1049 4★ 9AHG hinaZ b^ggdgaZhh XVbZgV XdbW^cZh heZZY VcY \ddY ]VcYa^c\ ')#'BE 8Vcdc B '*!+%% &%-%e  ). .    (#'^c   '.* &&*#+ -.#' +%#+ )',\
Fujifilm X-A10 £500 4★ H^beaZ Zcign aZkZa 8H8 l^i] i^ai^c\ hXgZZc [dg hZaÄZh &+#(BE ;j_^ M '*!+%% &%-%e ). +   (^c  (*% &&.#+ +,#) )%#) ((&\
Fujifilm X-A3 *.. ;j_^¼h WjY\Zi gVc\Z d[ k^ZlÄcYZgaZhh 8H8h \V^ch ')#'BE hZchdg ')#'BE ;j_^ M '*!+%% &%-%e ,, &%   (^c   )&% &&+#. ++#. )%#) ((.\
Fujifilm X-A5 *). HeZZY^Zg WjY\Zi bdYZa l^i] cZl egdXZhhdg VcY e]VhZ YZiZXi^dc 6; ')#'BE ;j_^ M *&!'%% (-)%e .& +   (^c   )*% &&+#. +,#, )%#) (+&\
Fujifilm X-E2S £549 4★ GVc\ZÄcYZg hinaZ YZh^\c l^i] k^ZlÄcYZg VcY VcVad\jZ Xdcigdah &+#(BE ;j_^ M *&!'%% &%-%e  ). ,    (^c (*% &'. ,)#. (,#' (*%\
Fujifilm X-E3 £849 4.5★ :mXZaaZci ^bV\Z fjVa^in ^c XdbeVXi WdYn i]Vi ]VcYaZh lZaa ')#(BE ;j_^ M *&!'%% (-)%e  ('* *   (^c  (*% &'&#( ,(#. )'#, ((,\
Fujifilm X-H1 £1699 4.5★ Egd ÅV\h]^e l^i] gdWjhi Wj^aY VcY * Vm^h ^c WdYn hiVW^a^hVi^dc ')#(BE ;j_^ M *&!'%% )%.+e  ('* &)   (^c   (&% &(.#- .,#( -*#* +,(\
Fujifilm X-T20 ,.. *★ HbVaa HAG hinaZ bdYZa l^i] higdc\ [ZVijgZ hZi ^cXajY^c\ idjX]hXgZZc ')#(BE ;j_^ M *&!'%% (-)%e  ('* -    (^c   (*% &&-#) -'#- )&#) (-(\
Fujifilm X-T1 £1100 5★ GZigd YZh^\c WVhZY VgdjcY VcVad\jZ Xdcigda Y^Vah VcY aVg\Z :K; &+#(BE ;j_^ M *&!'%% &%-%e  ). -   (^c  (*% &'. -.#- )+#, ))%\
Fujifilm X-Pro2 £1349 5★ =^\] ZcY bdYZa l^i] jc^fjZ dei^XVa$ZaZXigdc^X ]nWg^Y k^ZlÄcYZg ')#(BE ;j_^ M *&!'%% &%-%e  ,, -   (^c '*% &)%#* -'#- )*#. ).*\
Fujifilm X-T2 £1450 5★ HjeZgW ^bV\Z fjVa^in VcY ]VcYa^c\ bV`Z ^i i]Z WZhi 6EH 8 8H8 id YViZ ')#(BE ;j_^ M *&!'%% &%-%e  ('* &)   (^c  ()% &('#* .&#- ).#' *%,\
Leica CL £2250 4.5★ <dg\Zdjh 6EH 8 b^ggdgaZhh bdYZa l^i] k^ZlÄcYZg VcY idjX]hXgZZc ')#'BE AZ^XV A *%!%%% (-)%e ). &%   (^c  ''% &(& ,- )* )%(\
Leica TL &(*% Hina^h] Vajb^c^jb WdYn VcY idjX]hXgZZc aZY Xdcigda &+BE AZ^XV A &'!*%% &%-%e &.* *   (#,^c  )%% &() +. (( (-)\
Leica TL2 &,%% )★ JeYViZ id i]Z IA l^i] ')BE hZchdg VcY bjX] [VhiZg deZgVi^dc ')BE AZ^XV A *%!%%% (-)%e ). '%  (#,^c  '*% &() +. (( (..\
Leica SL £5500 4★ AZ^XV¼h [jaa [gVbZ 8H8 ]Vh Vc Vhidc^h]^c\ k^ZlÄcYZg ')BE AZ^XV A *%!%%% )%.+e ). &&   (^c  )%% &), &%) (. -),\
Olympus PEN E-PL8 (.. GZigd ZmiZgcVa YZh^\c ]^YZh hZg^djh heZX^ÄXVi^dch &+#&BE B^X)$( '*!+%% &%-%e -& -#*   (^c   (*% &&,#& +-#( (-#) (,)\
Olympus PEN E-PL9 £650 4★ :cign aZkZa 8H8 l^i] Wj^ai ^c ÅVh] VcY )@ k^YZd Wji cd k^ZlÄcYZg dei^dc &+#&BE B^X)$( '*!+%% (-)%e &'& -#+   (^c   (*% &&,#& +- (. (-%\
Olympus OM-D E-M10 II £549 4.5★ B^Y gVc\Z bdYZa ]Vh V higdc\ [ZVijgZ hZi VcY eZg[dgbh kZgn lZaa &+#&BE B^X)$( '*!+%% &%-%e -& -#*    (^c   ('% &&.#* -(#& )+#, ()'\
Olympus OM-D E-M10 III £699 4.5★ :mXZaaZci b^Y gVc\Z 8H8 l^i] h^bea^ÄZY! ZVhn id jhZ ^ciZg[VXZ &+#&BE B^X)$( '*!+%% (-)%e &'& -#+    (^c   ((% &'&#* -(#+ ).#* )&%\
Olympus OM-D E-M5 II £900 5★ 8dbW^cZh \gZVi ]VcYa^c\ VcY ^bV\Z fjVa^in l^i] hina^h] add`h &+BE B^X)$( '*!+%% &%-%e  -& &%   (^c  ,*% &'(#, -* ))#* )+.\
Olympus PEN-F £1000 5★ AdkZan gZigd gVc\ZÄcYZg hinaZY 8H8 l^i] Wj^ai ^c k^ZlÄcYZg '%#(BE B^X)$( '*!+%% &%-%e -& &%    (^c   ((% &')#- ,'#& (,#( )',\
Olympus OM-D E-M1 II £1850 5★ HjeZgW 6; hnhiZb! hjeZg [Vhi h]ddi^c\ VcY gZbVg`VWaZ ^c WdYn >H '%#)BE B^X)$( '*!+%% (-)%e  &'& &-   (^c   ))% &()#& .%#. +-#. *,)\
Panasonic Lumix G7 +,. )★ )@ k^YZd XVeijgZ ^c V gZaVi^kZan ^cZmeZch^kZ HAG hinaZ 8H8 &+BE B^X)$( '*!+%% (-)%e  ). -    (^c   (+% &')#. -+#' ,,#) )&%\
Panasonic Lumix G9 £1499 4.5★ =^\] heZZY! gj\\ZY e]did XZcig^X ÅV\h]^e 8H8 l^i] ^c WdYn >H '%#(BE B^X)$( '*!+%% (-)%e  ''* .   (^c   -.% &(+#. .,#( .&#+ +*-\
Panasonic Lumix G80 £699 4.5★ 9HAG hinaZ bdYZa [dg Zci]jh^Vhih l^i] ^c WdYn >H VcY )@ k^YZd &+BE B^X)$( '*!+%% (-)%e  ). .    (^c   ((% &'-#) -. ,)#( *%*\
Panasonic Lumix GX800 £500 4★ I^cn ZVhn id jhZ edX`Zi 8H8 l^i] i^ai^c\ hXgZZc VcY )@ k^YZd &+BE B^X)$( '*!+%% (-)%e ). *#-   (^c   '&% &%+#* +)#+ ((#( '+.\
Panasonic Lumix GX80 £599 4.5★ LZaa _jY\ZY XdbeVXi bdYZa l^i] >H! i^ai^c\ hXgZZc VcY k^ZlÄcYZg &+BE B^X)$( '*!+%% )%.+e ). -    (^c   '.% &'' ,%#+ )(#. )'+\
Panasonic Lumix GX8 £1000 5★ >c WdYn hiVW^a^hVi^dc VcY i^ai^c\ k^ZlÄcYZg ^c V aVg\Z gj\\ZY WdYn '%#(BE B^X)$( '*!+%% (-)%e  ). -   (^c   ((% &((#' ,- +(#& )-,\
Panasonic Lumix GX9 £699 4★ 8dbeVXi WdYn l^i] i^ai^c\ hXgZZc VcY k^ZlÄcYZg! VcY * Vm^h hiVW^a^hVi^dc '%#(BE B^X)$( '*!+%% (-)%e ). .    (^c   .%% &') ,'#& )+#- )*%\
Panasonic Lumix GH5 £1299 4.5★ K^YZd [dXjhZY ]^\] ZcY 8H8 l^i] ^c WdYn hiVW^a^hVi^dc VcY )@ gZXdgY^c\ '%#'BE B^X)$( '*!+%% )%.+e  ''* &'   (#'^c   )&% &(-#* .-#& -,#) ,'*\
Panasonic Lumix GH5S '&.. Egd[Zhh^dcVa k^YZd kZgh^dc d[ <=* l^i] &%#'BE bjai^ VheZXi hZchdg &%#'BE B^X)$( '%)!-%% )%.+e  ''* &&   (#'^c   )&% &(-#* .-#& -,#) ++%\
Sony Alpha 5000 £420 4★ H^beaZ! XdbeVXi bdYZa V^bh id XdbeZiZ l^i] Zcign aZkZa 9HAGh '%#&BE Hdcn : &+!%%% &%-%e  '* (#*   (^c  )'% &&% +( (+ '.+\
Sony Alpha 5100 £549 4★ DcZ d[ i]Z kZgn WZhi Zcign aZkZa XVbZgVh [dg k^YZd VcY ^bV\ZfjVa^in ')BE Hdcn : '*!+%% &%-%e &,. +   (^c   )%% &&% +( (+ '-(\
Sony Alpha 6000 +,% )#*★ Hde]^hi^XViZY 6; VcY Vc ^begZhh^kZ 6EH 8 hZchdg ')BE Hdcn : '*!+%% &%-%e &,. &&    (^c  (&% &'% +, )* ())\
Sony Alpha 6300 £1000 4.5★ EgZb^jb 8H8 i]Vi WdVhih [Vhi 6; igVX`^c\ VcY )@ k^YZd ')#'BE Hdcn : *&!'%% (-)%e  )'* &&    (^c  (*% &'% ++#. )-#- )%)\
Sony Alpha 6500 £1500 5★ IZX]c^XVaan ]j\Zan VXXdbea^h]ZY 8H8 l^i] ^c WdYn ^bV\ZhiVW^a^hVi^dc ')#'BE Hdcn : *&!'%% (-)%e  )'* &&    (^c   (*% &'% ++#. *(#( )*(\
Sony Alpha 7 £1300 4.5★ DcZ d[ i]Z a^\]iZhi! hbVaaZhi [jaa [gVbZ XVbZgVh ')#(BE Hdcn : '*!+%% &%-%e  &&, *   (^c  ()% &', .) )- ),)\
Sony Alpha 7 II £1498 5★ I]Z [jaa [gVbZ 6ae]V , >> ^cXajYZh ^c WdYn ^bV\Z hiVW^a^hVi^dc ')#(BE Hdcn : '*!+%% &%-%e  &&, *   (^c  (*% &'+#. .*#, *.#, **+\
NEW Sony Alpha 7 III £1999 5★ GZbVg`VWaZ Vaa gdjcYZg l^i] &%[eh h]ddi^c\ VcY )@ k^YZd gZXdgY^c\ ')#'BE Hdcn : '%)!-%% (-)%e  +.( &%   (^c   +&% &'+#. .*#+ ,(#, +*%\
Sony Alpha 7R &,%% )#*★ HVbZ WdYn YZh^\c Vh i]Z 6ae]V , Wji ]^\]Zg gZhdaji^dc hZchdg (+#)BE Hdcn : '*!+%% &%-%e  '* )   (^c  ()% &', .) )- )+*\
Sony Alpha 7R II £2599 5★ 6 W^\ hiZe je [gdb i]Z 6,G0 dcZ d[ i]Z WZhi [jaa [gVbZ XVbZgVh VkV^aVWaZ )'#)BE Hdcn : &%'!)%% (-)%e  (.. *   (^c  '.% &'+#. .*#, +%#( +'*\
Sony Alpha 7R III £3200 5★ HVbZ hZchdg Vh 6,G >>! Wji [VhiZg VcY l^i] ^begdkZYWdYnYZh^\c )'#)BE Hdcn : &%'!)%% (-)%e  (.. &%   (^c   +*% &'+#. .*#+ ,(#, +*,\
Sony Alpha 7S £2259 4★ GZbVg`VWaZ adl a^\]i VcY k^YZd XVeVW^a^i^Zh &'#'BE Hdcn : )%.!+%% &%-%e  '* *   (^c  (-% &'+#. .)#) )-#' )-.\
Sony Alpha 7S II £2500 5★ 6 heZX^Va^hi XVbZgV [dg adl a^\]i h]ddi^c\ VcY )@ k^YZd &'#'BE Hdcn : )%.!+%% (-)%e  &+. *   (^c  (&% &'+#. .*#, +%#( +',\
Sony Alpha 9 £4500 5★ HjeZg"[Vhi8H8l^i]'%[ehh]ddi^c\VcYhijcc^c\dkZgVaaeZg[dgbVcXZ ')#'BE Hdcn: '%)!-%% (-)%e  +.( '%    (^c   +*% &'+#. .*#+ +( +,(\

Up to Up to
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on selected Canon on selected Sony
cameras this Spring! cameras this Spring!

See website for details. See website for details.

Offer ends 15.05.18. Offer available 02.05.18 - 02.09.18.
T&Cs apply. T&Cs apply.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 57

 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 lenses body. DSLR lenses often use ultrasonic-
enable close-ups of small type motors for fast focusing, while
objects. Large-aperture those for mirrorless cameras tend to
lenses allow you to isolate employ video-friendly stepper motors.
subjects against blurred
backgrounds, or shoot in
low light without having
to raise the ISO too high. Filter thread Maximum
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)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

DSLR Lenses
LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE

LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON DSLR
EF 8-15mm f/4 L USM &).. >begZhh^kZ add`^c\ Äh]ZnZ oddb aZch [gdb 8Vcdc   &* c$V ,-#* -( *)%\
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ 6 hjeZgW jaigV l^YZVc\aZ i]Vi¼h V bjhi ]VkZ [dg VcndcZ h]ddi^c\ aVcYhXVeZh VcY X^inhXVeZh   '' +, ,)#+ ,' ')%\
EF-S 10-22mm f/3.5-4.5 USM ..% )★ 6 \ddY eZg[dgbZg! l^i] hda^Y BI; XjgkZh VcY b^c^bVa X]gdbVi^X VWZggVi^dc  ') ,, -(#* -.#- (-*\
EF 11-24mm f/4 L USM ',.. *★ Adc\ VlV^iZY Wn 8Vcdc [jaa [gVbZ jhZgh! i]^h ^h i]Z ldgaY¼hl^YZhi"Vc\aZgZXi^a^cZVgoddbaZch   '- c$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 hiVW^a^hVi^dc VcY HjeZg HeZXigV XdVi^c\h! id\Zi]Zgl^i]VjhZ[jagVc\Z   (* ,' -&#+ -,#* *,*\
EF 16-35mm f/2.8 L II USM &,.% )#*★ 6 \ddY eZg[dgbZg l^i] 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★ KZghVi^aZ VcY l^i] 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 '.'% I^ai VcY h]^[i dei^X l^i] ^cYZeZcYZci i^ai 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 l^i] ZVhZ   '- ,, -(#* .+#- *%%\
EF-S 17-55mm f/2.8 IS USM ,.* )★ KZgn XVeVWaZ aZch l^i] i]gZZ hide ^bV\Z hiVW^a^hVi^dc! HjeZg HeZXigV XdVi^c\ VcY VX^gXjaVgVeZgijgZ   (* ,, -(#* &&%#+ +)*\
EF-S 18-55mm f/3.5-5.6 IS STM &.* KZghVi^aZ! V[[dgYVWaZ hiVcYVgY oddb [ZVijg^c\ [djg hide ^bV\Z hiVW^a^hVi^dc   '* *- +. ,*#' '%*\
EF-S 18-55mm f/4-5.6 IS STM ''% AViZhi hiVcYVgY oddb [dg 8Vcdc¼h 6EH 8 :DH 9HAGh! l^i] XdbeVXi YZh^\c VcY jeYViZYdei^Xh   '* *- ++#* +&#- '&*\
EF-S 18-135mm f/3.5-5.6 IS *%% ;djg hide ^bV\Z hiVW^a^hVi^dc! VcY VjidbVi^X eVcc^c\ VcY ig^edY YZiZXi^dc   )* +, ,*#) &%& )**\
EF-S 18-135mm f/3.5-5.6 IS STM
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

),- JhZh hiZeeZg bdidg [dg h^aZci VcY [Vhi Vjid[dXjh i]Vi¼h Vahd lZaa hj^iZYidk^YZd ldg`   (. +, ,+#+ .+ )-%\
EF-S 18-135mm f/3.5-5.6 IS USM *%% KZghVi^aZ l^YZVc\aZ oddb l^i] cZl CVcd JHB [dXjh iZX]cdad\n   (. +, ,,#) .+ *&*\
EF-S 18-200mm f/3.5-5.6 IS ,)% )★ 6jidbVi^X eVcc^c\ YZiZXi^dc [dg ^bV\Z hiVW^a^hVi^dc VcY V jhZ[ja &&m oddb gVc\Z   )* ,' ,-#+ &%' *.*\
EF 20mm f/2.8 USM +&% L^YZVc\aZ aZch l^i] 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 l^i] J9 VcYVhe]Zg^XVaZaZbZcih   '* ,, -(#* -+#. +*%\
EF 24mm f/2.8 IS USM ,*% )★ HbVaa l^YZVc\aZ dei^X l^i] ^bV\Z hiVW^a^hVi^dc    '% *- +-#) **#, '-%\
EF-S 24mm f/2.8 STM &+* )★ 7Vg\V^c eg^XZ! i^cn XVggn ZkZgnl]ZgZ h^oZ VcY V ]^\]an XdbeZiZci ^bV\^c\ eZg[dgbVcXZ  &+ *' +-#' ''#- &'*\
TS-E 24mm f/3.5 L II '**%  I^ai"VcY"h]^[idei^Xl^i]^cYZeZcYZcii^ai"VcY"h]^[igdiVi^dcVcYgZYZh^\cZYXdVi^c\h         '& -' --#* &%+#. ,-%\

58 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
EF 24-70mm f/2.8 L II USM £2300 5★ Egd[Zhh^dcVa fjVa^in hiVcYVgY oddb aZch l^i] V [Vhi VeZgijgZ   (- -' --#* &&( -%*\
EF 24-70mm f/4 L IS USM &).. A hZg^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 &&'. )★ GZldg`ZY ldg`]dghZ oddb [dg [jaa [gVbZ XVbZgVh jhZh Vc Vaa cZl dei^XVa YZh^\c    )* ,, -(#* &&- ,.*\
EF 24-105mm f/3.5-5.6 IS STM ),. (#*★ 6 kZghVi^aZ 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 l^i] V l^YZ bVm^bjb VeZgijgZ   '* *- ,(#+ **#+ (&%\
EF 28mm f/2.8 IS USM ,(% (#*★ A^\]ilZ^\]i VcY ^cZmeZch^kZ aZch! l^i] V h^c\aZ Vhe]Zg^XVa ZaZbZci    (% *' +,#) )'#* &-*\
EF 28-300mm f/3.5-5.6 L IS USM ('.% A hZg^Zh dei^X l^i] ZmeVch^kZ gVc\Z! ^bV\Z hiVW^a^hVi^dc VcY V X^gXjaVg VeZgijgZ    ,% ,, .' &-) &+,%\
EF-S 35mm f/2.8 Macro IS STM (.. ;ZVijgZh Vc ^ccdkVi^kZ Wj^ai ^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 hiVW^a^hVi^dchnhiZb    ') +, +'#+ ,,#. ((*\
EF 35mm f/1.4 L II USM &,.. *★ 6c djihiVcY^c\ VYY^i^dc id i]Z A hZg^Zh a^cZ je   '- ,' -%#) &%)#) ,+%\
EF 40mm f/2.8 STM '(% 6 edgiVWaZ VcY kZghVi^aZ XdbeVXi eVcXV`Z aZch# 6 [Vhi bVm^bjb VeZgijgZZcVWaZhadl"a^\]ih]ddi^c\  (% *' +-#' ''#- &(%\
TS-E 45mm f/2.8 &'%% I^ai 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 )*% *★ 7g^aa^Vci eZg[dgbZg! l^i] 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! l^i] l^YZ bVm^bjb VeZgijgZ VcY V B^Xgd Bdidg   (* ). +.#' (.#( &(%\
TS-E 50mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH : )*bb [$'#-   ', ,, -+#. &&)#. .)*\
EF-S 55-250mm f/4-5.6 IS STM '+* 6 XdbeVXi iZaZe]did aZch [ZVijg^c\ hbddi]! fj^Zi HIB [dXjh^c\ l]Zc h]ddi^c\ bdk^Zh   &&% *- ,% &&&#' (,*\
EF-S 60mm f/2.8 Macro USM *)% )★ <gZVi Wj^aY VcY dei^XVa fjVa^in! l^i] [Vhi! VXXjgViZ VcY cZVg h^aZci [dXjh^c\  '% *' ,( +.#- ((*\
MP-E 65mm f/2.8 1-5x Macro &'*% BVXgd aZch YZh^\cZY id VX]^ZkZ V bV\c^ÄXVi^dc \gZViZg i]Vc &m l^i]dji VXXZhhdg^Zh   ') *- -& .- ,&%\
EF 70-200mm f/2.8 L USM &*)% Cdc hiVW^a^hZY A hZg^Zh dei^X! l^i] gZVg [dXjh^c\ VcY [djg J9 ZaZbZcih   &*% ,, -)#+ &.(#+ &(&%\
EF 70-200mm f/2.8 L IS II USM '-%% *★ 6 \gZVi aZch Wji Vahd V Xdhian dcZ# EZV` gZhdaji^dc Vi %#) XnXaZh eZg e^mZa^hh^beanVbVo^c\    &'% ,, --#- &.. &).%\
EF 70-200mm f/4 L USM ,.% 6 X]ZVeZg A hZg^Zh VaiZgcVi^kZ id i]Z [$'#- kZgh^dch VkV^aVWaZ   &'% +, ,+ &,' ,%*\
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 70-300mm f/4.5-5.6 IS USM ),% )★ 6 \gZVi aZkZa d[ h]VgecZhh VcY dcan i]Z hbVaa VeZgijgZh h]djaY WZ Vkd^YZY    &*% *- ,+ &)( +(%\
EF 70-300mm f/4.5-5.6 IS II USM ).. )#*★ JeYViZY b^Y gVc\Z iZaZe]did oddb l^i] cZl dei^Xh VcYbjX]"^begdkZYVjid[dXjh    &'% +, -% &)*#* ,&%\
EF 70-300mm f/4-5.6 L IS USM &+%% *★ 6c A hZg^Zh aZch l^i] 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 hiVW^a^hVi^dc    &)% *- -'#) ..#. ,'%\
EF 75-300mm f/4-5.6 III (%% :hhZci^Vaan i]Z hVbZ aZch Vh i]Z ,* (%%bb [$) *#+ >>> JHB Wji l^i] 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 edh^i^kZ! i]dj\]   &*% *- ,& &'' )-%\
EF 85mm f/1.2 L II USM '+)% )★ 6 lZaa XgV[iZY aZch! l^i] [Vhi VcY fj^Zi 6; l^i] \ddY k^\cZii^c\ VcY Y^hidgi^dc Xdcigda   .* ,' .&#* -)#% &%'*\
EF 85mm f/1.4L IS USM &*,% *★ HjWa^bZ! ]^\]an YZh^gVWaZ edgigV^i aZch XdbW^cZh aVg\Z VeZgijgZ VcY dei^XVa ^bV\ZhiVW^a^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 l^i] i^ai VcY h]^[i bdkZbZcih   *% *- ,(#+ -- *+*\
TS-E 90mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH : .%bb [$'#-   (. ,, -+#. &&+#* .&*\
EF 100mm f/2 USM **. 6 bZY^jb iZaZe]did aZch l^i] V l^YZ VeZgijgZ! bV`^c\ ^i ^YZVa [dg edgigV^ih   .% *- ,* ,(#* )+%\
EF 100mm f/2.8 Macro USM +*% )★ 6 hda^Y eZg[dgbZg! Wji lZV` Vi [$'#- l]^X] ^h ediZci^Vaan \ddY[dgedgigV^ih   (& *- ,. &&. +%%\
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\ Åjdg^iZ VcY HjeZg J9 ZaZbZcih    .- ,, .) &.( &+)%\
EF 135mm f/2 L USM &(+% A hZg^Zh XdchigjXi^dc l^i] ild J9 ZaZbZcih VcY l^YZ bVm^bjb VeZgijgZ   .% ,' -'#* &&' ,*%\
TS-E 135mm f/4L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! l^i] &/' bV\c^ÄXVi^dc   ). -' --#* &(.#& &&&%\
EF 180mm f/3.5 L Macro USM &-,% A hZg^Zh bVXgd aZch l^i] ^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 hiVW^a^hVi^dc l^i] hZeVgViZ bdYZ [dg eVcc^c\ bdk^c\ hjW_ZXih    &*% ,, .% ''& &&.%\
EF 400mm f/5.6 L USM &++%  HjeZgJ9VcYJ9ZaZbZcih!VhlZaaVhVYZiVX]VWaZig^edYbdjciVcYWj^ai"^c]ddY         (*% ,, .% '*+#* &'*%\

NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S &'.. ;^h]ZnZ oddb [dg [jaa [gVbZ 9HAGh i]Vi \^kZh V X^gXjaVg k^Zl Vi -bb VcY [jaa [gVbZ XdkZgV\Z Vi &*bb   &+ c$V ,,#* -( )-*\
10-20mm f/4.5-5.6 G VR AF-P DX ((% (#*★ >cZmeZch^kZ l^YZ oddb [dg 9M 9HAGh ]Vh Z[[ZXi^kZ ^bV\Z hiVW^a^hVi^dc Wji gVi]Zg VkZgV\Zdei^Xh   '' ,' ,, ,( '(%\
10-24mm f/3.5-4.5 G ED AF-S DX -() )★ BI; eZg[dgbVcXZ ^h \ddY [gdb l^YZ deZc id [$&&! dcan WgZV`^c\ Ydlc eVhi [$''  ') ,, -'#* -, )+%\
10.5mm f/2.8 G ED DX Fisheye +,- 9M [dgbVi Äh]ZnZ aZch l^i] C^`dc¼h 8adhZ GVc\Z 8dggZXi^dc hnhiZb VcY :9 \aVhh  &) c$V +( +'#* (%%\
12-24mm f/4 G ED AF-S DX &%)) )★ I]^h kZcZgVWaZ dei^X bVn WZ V a^iiaZ lZV` Vi [$)! Wji di]Zgl^hZ ^i¼h V \ddY eZg[dgbZg  (% ,, -'#* .% )-*\
14mm f/2.8 D ED AF &**) *★ 6 gZVaan c^XZ aZch i]Vi ]VcYaZh lZaa VcY d[[Zgh ZmXZaaZci ^bV\Z fjVa^in   '% c$V -, -+#* +,%\
14-24mm f/2.8 G ED AF-S &+,% *★ 6 gZbVg`VWaZ e^ZXZ d[ `^i! egdYjX^c\ h]Vge ^bV\Zh l^i] a^iiaZ X]gdbVi^X VWZggVi^dc   '- c$V .- &(&#* .,%\
16mm f/2.8 D AF Fisheye ,+' ;jaa [gVbZ Äh]ZnZ aZch l^i] 8adhZ GVc\Z 8dggZXi^dc hnhiZb VcY '*Xb [dXjh Y^hiVcXZ   '* c$V +( *, '.%\
16-35mm f/4 G ED AF-S VR &%,' *★ 6 [VciVhi^X aZch i]Vi YZhZgkZh id WZ iV`Zc hZg^djhan! l^i] kZgn a^iiaZ 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\gViZY 8dVi^c\   (- +, ,' -* )-*\
17-55mm f/2.8 G ED-IF AF-S DX &(*+ )★ 6 ]^\]Zg fjVa^in hiVcYVgY oddb [dg 9M [dgbVi 9HAGh  (+ ,, -*#* &&%#* ,**\
18-35mm f/3.5-4.5 G ED AF-S ++. *★ L^YZVc\aZ oddb l^i] ^chiVci bVcjVa [dXjh dkZgg^YZ [dg [jaa [gVbZ 9HAGh   '- ,, -( .* (-*\
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\ \gZViedgiVW^a^in   '- *' ++ *.#* &.*\
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 l^i] K^WgVi^dc GZYjXi^dc   '* ** +)#* +'#* '%*\
18-105mm f/3.5-5.6 G ED VR AF-S DX '.' )#*★ @^i aZch [dg C^`dc 9.%  9,%%% l^i] H^aZci 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]^h 9M hjeZgoddb aZch   *% ,' ,, .+#* *+%\
18-300mm f/3.5-5.6 G ED-IF VR -*% )★ 9M [dgbVi oddb aZch l^i] l^YZVc\aZ id hjeZg iZaZe]did gZVX]   )* ,, -( &'% -(%\
18-300mm f/3.5-6.3 G ED VR -).  CZl9M"[dgbVi&+#,moddbl^i]hjeZg"iZaZe]didgZVX]·VXdbeVXilVa`"VgdjcYaZch         )- +, ,-#* .. **%\

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 59

 BUYING GUIDE

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
19mm f/4 E ED PC ((%% HjeZg l^YZVc\aZ i^ai VcY h]^[i aZch [dg VgX]^iZXijgZ VcY aVcYhXVeZ e]did\gVe]n  
'* c$V -. &') --*\
20mm f/1.8 G ED AF-S +,. 6 [Vhi ;M [dgbVi eg^bZ aZch i]Vi¼h XdbeVXi VcY a^\]ilZ^\]i  '% ,, -'#* -%#* ((*\
20mm f/2.8 D AF *-) 8dbeVXi l^YZVc\aZ aZch l^i] C^`dc¼h 8adhZ GVc\Z 8dggZXi^dc hnhiZb  '* +' +. )'#* ',%\
24mm f/2.8 D AF )', 8dbeVXi l^YZ aZch l^i] 8adhZ GVc\Z 8dggZXi^dc hnhiZb  (% *' +)#* )+ ',%\
24mm f/1.4 G ED AF-S &..% *★ Cdi]^c\ h]dgi d[ hijcc^c\# 6h^YZ [gdb ^ih ]^\] eg^XZ! i]ZgZ ^h kZgn a^iiaZ 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]^iZXijgZ VcY higZZi e]did\gVe]Zgh  '( ,' ,,#* -( (**\
24mm f/3.5 D ED PC-E &,,) EZgheZXi^kZ 8dcigda aZch l^i] 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! ZVh^an _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 ^ih WZhi aZch nZi    (- -' -- &*)#* &%,%\
24-85mm f/3.5-4.5 G ED VR *'% *★ ;M [dgbVi hiVcYVgY oddb l^i] 6jid Ig^edY YZiZXi^dc VcY KG   (- ,' ,- -' )+*\
24-120mm f/4 G ED AF-S VR &%,' *★ 8dchiVci bVm^bjb VeZgijgZ d[ [$) VcY i]Z VYY^i^dc d[ KG bV`Zh i]^h V hjeZgW aZch    )* ,, -) &%( ,&%\
28mm f/1.4 E ED AF-S '%-% 7dVhih V Yjhi VcY Yg^e gZh^hiVci Wj^aY [dg gZa^VWaZ h]ddi^c\ ^c X]VaaZc\^c\ lZVi]Zg XdcY^i^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 l^i] 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 l^i] Wg^\]i [$&#- VeZgijgZ# KZghVi^aZ 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] YZXgZVhZhl^i]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 bjai^eaZ [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]^iZXijgZ   '* ,, -'#* &&' ,)%\
50mm f/1.4 D AF '.' *★ :cign aZkZa eg^bZ ejih ^c V ÄcZ eZg[dgbVcXZ l]^aZ d[[Zg^c\ WVX`lVgYh XdbeVi^W^a^in l^i] 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! l^aa hide Ydlc id [$''   )* *' +( (. &+%\
50mm f/1.8 G AF-S '%% *★ 6 Xji eg^XZ hiVcYVgY aZch [dg ;M h]ddiZgh dg V h]dgi iZaZe]did dc 9M [dgbVi 9HAGh   )* *- ,' *'#* &-*\
55-200mm f/4-5.6 G VR AF-S DX (&) (#*★ 9Zh^\cZY [dg 9M [dgbVi XVbZgVh! l^i] K^WgVi^dc GZYjXi^dc VcY HLB iZX]cdad\n   &&% *' ,( ..#* ((*\
55-200mm f/4-5.6 G VR II AF-S DX '*& D[[Zgh V kZghVi^aZ [dXVa gVc\Z VcY Vc jaigV XdbeVXi YZh^\c! eZg[ZXi [dg hbVaaZg9M"[dgbVi9HAGh   &&% *' ,%#* -( (%%\
55-300mm f/4.5-5.6 G VR AF-S DX (,- (★ D[[Zgh V l^YZ iZaZe]did XdkZgV\Z! Wji WZiiZg dei^dch VkV^aVWaZ   &)% *- ,+#* &'( *(%\
58mm f/1.4 G AF-S &*.. )★ ;M [dgbVi [jaa [gVbZ egZb^jb eg^bZ aZch l^i] aVg\Z [$&#) VeZgijgZ   *- ,' -* ,% (-*\
60mm f/2.8 D AF Micro )%* *★ C^`dc¼h bdhi XdbeVXi B^Xgd aZch! l^i] 8adhZ GVc\Z 8dggZXi^dc 8G8 hnhiZb   '' +' ,% ,)#* ))%\
60mm f/2.8 G ED AF-S Micro *%% B^Xgd aZch l^i] &/& gZegd gVi^d! Vh lZaa Vh V H^aZci LVkZ Bdidg VcY HjeZg :9 \aVhh   &- +' ,( -. )'*\
70-200mm f/2.8 G ED VR II AF-S '%-* *★ KZgn a^iiaZ id [Vjai ]ZgZ! l^i] hijcc^c\ ^bV\Z fjVa^in 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 ^ih bdgZ ZmeZch^kZ [$'#-Xdjh^c    &%%% +, ,- &,-#* -*%\
70-300mm f/4.5-5.6 G ED AF-S VR **+ )★ ;ZVijgZ eVX`ZY dei^X! l^i] V KG >> hnhiZb! . WaVYZY Y^Ve]gV\b! HLB VcY :9 \aVhh    &*%% +, -% &)(#* ,)*\
70-300mm f/4.5-5.6 E ED VR AF-P ,*% C^`dc¼h Äghi [jaa [gVbZ aZch id [ZVijgZ V hiZeeZg bdidg [dg Vjid[dXjh    &'%% +, -%#* &)+ +-%
70-300mm f/4.5-6.3 G AF-P DX (%% 7jY\Zi iZaZe]did oddb l^i] hiZeeZg bdidg [dg 6; VcY heVXZ hVk^c\ XdaaVeh^WaZ YZh^\c  &&% *- ,' &'* )%%\
70-300mm f/4.5-6.3 G VR AF-P DX (*% 6YYh ZmigZbZan jhZ[ja dei^XVa hiVW^a^hVi^dc id C^`dc¼h WjY\Zi XdbeVXi iZaZe]did   &&% *- ,' &'* )&*\
80-400mm f/4.5-5.6 G ED VR AF-S &-.. *★ HjXXZhhdg id i]Z -% )%%bb [$)#* *#+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 l^i] V &/& gZegdYjXi^dc gVi^d! KG >> hnhiZb VcY :9 \aVhh   '- *' ,( .-#* (**\
85mm f/1.4 G AF-S &*(' *★ ;Vhi b^Y iZaZ aZch l^i] 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 edgigV^ih VcY egdYjXi e]did\gVe]n   (. ,, -(#* &%, +(*\
105mm f/1.4 E ED AF-S '%). 6 &%*bb ;M [dgbVi eg^bZ aZch l^i] Wg^\]i [$&#) VeZgijgZ! ^YZVa [dg edgigV^ijgZ   &%% -' .)#* &%+ .-*\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

105mm f/2.8 G AF-S VR II Micro ,-' )#*★ 6 kZgn h]Vge aZch! l^i] hl^[i VcY fj^Zi [dXjh^c\ VcY Xdch^hiZci B;I gZhjaih    (& +' -( &&+ ,'%\
105mm f/2 D AF DC .-% 6 edgigV^i aZch l^i] 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 l^i] :9 \aVhh   &*% ,' ,-#* &)) ,+%\
200mm f/4 D ED-IF AF Micro &)'. &/& gZegdYjXi^dc gVc\Z ^c i]^h B^Xgd aZch! l^i] 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 l^i] C^`dc ;M [dgbVi 9HAG XVbZgVh    ''% .* &%- '+,#* '(%%\
300mm f/4 E PF ED VR AF-S &'(% *★ A^\]i!XdbeVXi6;"H[jaa"[gVbZiZaZe]didaZchl^i]:9\aVhhZaZbZcih         &)% ,, -. &),#* ,**\

LAOWA DSLR
12mm f/2.8 Zero D -.. JaigV l^YZVc\aZ aZch [dg [jaa [gVbZ 9HAGh i]Vi Zm]^W^ih b^c^bVa Y^hidgi^dc      &- ,, ,)#- -'#- +%.\
NEW 25mm f/2.8 Ultra Macro 2.5x - 5x (.. JcjhjVa aZch YZh^\cZY hdaZan [dg jaigV XadhZ je h]ddi^c\! l^i] bV\c^ÄXVi^dc [gdb '#*m id *m     &,#( c$V +* -' )%%\
15mm f/4 1:1 Macro )). )★ L^YZVc\aZ aZch! l^i] &/& BVXgd VkV^aVWaZ ^c 8Vcdc! C^`dc! EZciVm! Hdcn : VcY Hdcn 6      &' ,, -(#- +)#, )&%\
60mm f/2.8 2X Ultra Macro (&. (#*★ L^i] '/& BVXgd! Vc Vaa ^c dcZ dei^dc [dg cdgbVa edgigV^i e]did\gVe]n Vh lZaa Vh jaigV bVXgd      &-#* +' .* ,% *%(\
NEW 100mm f/2.8 2:1 Ultra Macro APO I78 ;jaa [gVbZ bVXgd aZch l^i] il^XZ a^[Z h^oZ bV\c^ÄXVi^dc VcY VedX]gdbVi^X YZh^\c     ')#, +, &'* ,' +(-\
105mm f/2 (T3.2) STF +). )★ 9Zh^\cZY[dg[jaa"[gVbZ9HAGH!VcY[ZVijgZhVcVedY^oVi^dcZaZbZcii]VigZcYZghadkZanWd`Z]         .% +, .-#. ,+ ,)*\

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DSLR Lenses

LENGTH (MM)
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WIDTH (MM)
PENTAX
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SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

PENTAX DSLR
DA 10-17mm f/3.5-4.5 smc ED IF *.% ;^h]ZnZ oddb aZch l^i] 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^b^iZY ZY^i^dc aZch l^i] ]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 l^i] [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 -'. L^i] 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^b^iZY ZY^i^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^b^aVg 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 +)% )#*★ 9Zhe^iZ 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 l^i] 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  )% c$V +'#. . *'\
FA 43mm f/1.9 smc Limited ,'. ;dXVa aZc\i] ^h ^YZVa [dg edgigV^ih Vh lZaa Vh ZkZgnYVn jhZ! VcY [ZVijgZh Vc HB8 bjai^ aVnZg XdVi^c\   )* ). ', +) &**\
FA 50mm f/1.4 smc (.. =^\] fjVa^in [Vhi eg^bZ# I]Z »;6¼ ^cY^XViZh i]Vi ^ih ^bV\Z X^gXaZ XdkZgh i]Z (*bb [jaa [gVbZ[dgbVi   )* ). +(#* (- ''%\
DA 50mm f/1.8 smc DA '). )★ 6[[dgYVWaZ h]dgi iZaZe]did aZch ^YZVa [dg edgigV^ih  )* *' (-#* +( &''\
DFA 50mm f/2.8 smc Macro **% BVXgd aZch XVeVWaZ d[ &/& gZegdYjXi^dc VcY l^i] V Fj^X` H]^[i [dXjh bZX]Vc^hb   &. ). +% +,#* '+*\
DA* 50-135mm f/2.8 smc ED IF SDM &'%% )★ 8dchiVci [$'#- VeZgijgZ0 lZaa hj^iZY id edgigV^ijgZ VcY b^Y gVc\Z VXi^dc hjW_ZXih  &%% +, ,+#* &(+ ,+*\
DA 50-200mm f/4-5.6 smc ED WR '&% LZVi]Zg gZh^hiVci XdchigjXi^dc! Fj^X` H]^[i [dXjh hnhiZb VcY Vc HE XdVi^c\  c$V ). +. ,.#* '-*\
DA* 55mm f/1.4 smc SDM -%% )#*★ 9Zhe^iZ 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 h^aZci 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 &)*% )#*★ L^i] 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 l^i] Vc Vajb^c^jb XdchigjXi^dc VcY V HjeZg EgdiZXi XdVi^c\  ,% ). +( '+ &(%\
D-FA* 70-200mm f/2.8 ED DC AW &-*% CZl VYY^i^dc id EZciVm¼h ]^\] eZg[dgbVcXZ HiVg  hZg^Zh YZkZadeZY [dg WZhi ^bV\Z gZcY^i^dc   &'% ,, .&#* '%( &,**\
FA 77mm f/1.8 smc Limited &%*% L^i] 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 l^i] 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\ZfjVa^ini]Vc`hid:9\aVhh         &)% ,, -( &-) &%,%\

SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II ',) L^YZVc\aZ Äh]ZnZ aZch YZh^\cZY [dg Y^\^iVa gZÅZm XVbZgVh l^i] 6EH 8 hZchdgh      (% c$V ,* ,,#- )&,\
10mm f/2.8 ED AS NCS CS )'. ;ZVijgZh V cVcd XgnhiVa Vci^ gZÅZXi^dc XdVi^c\ hnhiZb VcY ZbWZYYZYaZch]ddY      ') c$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 l^i] egZb^jb dei^Xh VcY aVg\Z bVm^bjb VeZgijgZ   '- c$V .* &%.#) ,.&\
AF 14mm f/2.8 EF +). )#5★ HVbnVc\¼h Äghi 6; HAG aZch [ZVijgZh kZgn YZXZci ^bV\Z fjVa^in VcY lZVi]Zg hZVaZY XdchigjXi^dc   '% c$V .%#* .*#+ )-*\
14mm f/2.8 ED UMC ',. JaigV l^YZVc\aZ bVcjVa [dXjh aZch0 WjaW a^`Z [gdci ZaZbZci bZVch cd ÄaiZgh XVcWZjhZY       '- c$V .) -, **'\
16mm f/2.0 ED AS UMC CS (-. ;Vhi l^YZVc\aZ aZch [dg Y^\^iVa gZÅZm XVbZgVh ÄiiZY l^i] 6EH 8 hZchdgh      '% c$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 .). (★ I^ai 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]^aZ bVcjVa [dXjh dcan! i]^h eg^bZ ^begZhhZY jh ^c gZVa ldgaY jhZ! bV`^c\ ^i hdbZi]^c\ d[ V WVg\V^c       (% ,, -( &&& ++%\
NEW 50mm f/1.2 XP MF ,.. EgZb^jb fjVa^in jaigV [Vhi eg^bZ l^i] 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   -% -+ .( .-#) &%*%\
85mm f/1.4 IF MC '(. H]dgi [Vhi iZaZe]did eg^bZ! bVcjVa [dXjh! V^bZY Vi edgigV^i e]did\gVe]Zgh       &%% ,' ,- ,'#' *&(\
100mm f/2.8 ED UMC Macro (-. ;jaa [gVbZ XdbeVi^WaZ! i]Z HVbnVc\ &%%bb ^h V XadhZ je igjZ BVXgd aZch       (% +, ,'#* &'(#& ,'%\
135mm f/2 ED UMC (..  BVcjVa[dXjhedgigV^ieg^bZ]Vh[VhiVeZgijgZ[dghjW_ZXi^hdaVi^dcVcYWVX`\gdjcY Wajg        -% ,, -' &'' -(%\

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 BUYING GUIDE

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA DSLR
4.5mm f/2.8 EX DC HSM ,(. 8^gXjaVg Äh]ZnZ aZch YZh^\cZY [dg Y^\^iVa! l^i] HA9 \aVhh VcY V \ZaVi^c ÄaiZg ]daYZg    &( c$V ,+ ,,#- ),%\
8mm f/3.5 EX DG ,.. I]Z ldgaY¼h dcan -bb aZch Zfj^eeZY l^i] Vjid[dXjh Vahd WdVhih HA9 \aVhh     &( c$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 Wj^ai ^c ]ddY [ZVijgZ ^c i]^h Y^V\dcVa Äh]ZnZ aZch    &( c$V ,*#- -( ),*\
10-20mm f/3.5 EX DC HSM +*% *★ 6c VWhdajiZ \Zb d[ V aZch i]Vi YZhZgkZh V eaVXZ dc ZkZgn e]did\gVe]Zg¼h l^h] a^hi      ') -' -,#( --#' *'%\
12-24mm f/4 DG HSM | A &+). *★ EgZb^jb [jaa [gVbZ l^YZVc\aZ oddb YZh^\cZY id ]VkZ b^c^bVa Y^hidgi^dc ^c ^ih l^YZVc\aZ^bV\Zgn     ') c$V &%& &(' &&*%\
12-24mm f/4.5-5.6 II DG HSM +). JaigV l^YZVc\aZ oddb [dg [jaa [gVbZ HAGh! VkV^aVWaZ ^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$V .*#) &'+ &&,%\
14-24mm f/2.8 DG HSM | A &(.. Egd heZX^ÄXVi^dc [Vhi jaigV l^YZ eg^bZ [dg [jaa [gVbZ 9HAGh ^cXajYZh lZVi]ZghZVaZY XdchigjXi^dc     '+ c$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 HiVW^a^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 a^iiaZ 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^\^iVa 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`Z^ii]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 VYY^i^dc id H^\bV¼h »6gi¼ a^cZ d[ ]^\] fjVa^in [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 hiVW^a^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! l^i] cd Xdbegdb^hZh ^c i]ZWj^aY       )* -' -. &%. --*\
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       (% +, ,, .) ++*\
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 fjVa^in      )% ,, -*#) &%% -&*\
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^W^a^in l^i] &#)m VcY 'm iZaZXdckZgiZgh        &-% .* &%)#) '&. &.,%\
NEW 70mm f/2.8 DG Macro | A I78 I]Z Äghi bVXgd aZch ^c H^\bV¼h 6gi a^cZje [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 Åjdg^iZ        &)% ,, -+#) &., &)(%\
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 edgigV^i aZch [dg 9HAG jhZgh     -* -+ .* &'+ &&(%\
100-400mm f/5-6.3 DG OS HSM | C ,.. )#*★ GZaVi^kZan a^\]ilZ^\]i iZaZoddb XdbZh l^i] lZVi]ZghZVa^c\ VcY X]d^XZ d[ ejh] ejaa dg il^hi oddb      &+% +, -+#) &-'#( &&+%\
NEW 105mm f/1.4 DG HSM | A I78 H^\bV¼h »Wd`Z] bdchiZg¼ hjeZg [Vhi edgigV^i aZch ^h lZVi]ZghZVaZY VcY XdbZh l^i] V ig^edY [ddi     &%% I78 &&*#. &(&#* &+)*\
105mm f/2.8 EX DG OS HSM Macro +). )#*★ 6c dei^XVaan hiVW^a^hZY bVXgd aZch! i]^h hjeZg h]Vge aZch ^h dcZ d[ djg [Vkdjg^iZh      (&#' +' ,- &'+#) ,'*\
120-300mm f/2.8 DG HSM | S (*.. ;^ghi aZch ^c XdbeVcn¼h »Hedgih¼ hZg^Zh0 hl^iX] ZcVWaZh VY_jhibZci d[ Wdi] [dXjh heZZY VcY[dXjha^b^iZg       &*% &%* &') '.& ((.%\
135mm f/1.8 DG HSM | A &(.. *★ HjeZg [Vhi edgigV^i 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 hiVW^a^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 [V^ah id WZ djihiVcY^c\ ^c Vcn lVn  '* ,, -( -%#* (+%\
16mm f/2.8 Fisheye ,%. ;^h]ZnZ aZch l^i] 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 VbW^i^djh aZch i]Vi ^h \ddY ^c eVgih! Vai]dj\] fjVa^in Ygdeh d[[Vi&%*bb  )% +' ,' -( ),%\
18-135mm f/3.5-5.6 DT SAM )'. 6 kZghVi^aZ oddb l^i] 9^gZXi BVcjVa ;dXjh   )* +' ,+ -+ (.-\
18-250mm f/3.5-6.3 DT **. (#*★ <ddY dkZgVaa! Wji eZg[dgbVcXZ Y^eh Vi adc\Zg [dXVa aZc\i]h  )* +' ,* -+ ))%\
20mm f/2.8 **. (#*★ L^YZVc\aZ eg^bZ aZch l^i] gZVg [dXjh^c\ bZX]Vc^hb VcY [dXjh gVc\Z a^b^iZg   '* ,' ,- *(#* '-*\
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 l^i] hjeZgW dei^Xh ^YZVa [dg [jaa [gVbZ 6ae]V 9HAGh   () ,, -( &&& .**\
28-75mm f/2.8 SAM ,%. 6 XdchiVci [$'#- VeZgijgZ VcY V Hbddi] 6jid[dXjh Bdidg H6B ^c i]^h hiVcYVgY oddb   (- +, ,,#* .) *+*\
30mm f/2.8 DT SAM Macro &,. )★ BVXgd aZch YZh^\cZY [dg Y^\^iVa l^i] &/& bV\c^ÄXVi^dc VcY Hbddi] 6jid[dXjh Bdidg  &' ). ,% )* &*%\
35mm f/1.4 G &(+. L^i] Vc Zfj^kVaZci [dXVa aZc\i] d[ *'#*bb! V l^YZ VeZgijgZ VcY Vhe]Zg^XVa \aVhh   (% ** +. ,+ *&%\
35mm f/1.8 DT SAM &,. 7jY\Zi eg^XZ ^cYddg edgigV^i aZch  '( ** ,% *' &,%\
50mm f/1.8 DT SAM &*. )#*★ 6 kZgn jhZ[ja aZch i]Vi eZg[dgbh lZaa VcY XVgg^Zh V gdX` Wdiidb eg^XZ iV\  () ). ,% )* &,%\
50mm f/1.4 (+. *★ L]^aZ i]^h aZch eZg[dgbh lZaa dkZgVaa! eZg[dgbVcXZ Vi [$&#) XdjaY WZ WZiiZg   )* ** +*#* )( ''%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

50mm f/1.4 ZA SSM &(%% )★ 8Vga OZ^hh YZh^\c hV^Y id WZ ^YZVa [dg fjVa^in Xg^i^XVa edgigV^ijgZ VcY adl a^\]i h]ddi^c\   )* ,' -& ,&#* *&-\
50mm f/2.8 Macro *'. 6 bVXgd aZch l^i] V ÅdVi^c\ aZch ZaZbZci   '% ** ,&#* +% '.*\
55-200mm f/4-5.6 DT SAM '&. 9Zh^\cZY [dg XgdeeZY hZchdg XVbZgVh! l^i] 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]! h^aZci deZgVi^dc  &)% +' ,, &&+#* )+%\
70-200mm f/2.8 G SSM II ',.. =^\] eZg[dgbVcXZ < HZg^Zh iZaZe]did oddb aZch   &'% ,, -, &.+#* &()%\
70-300mm f/4.5-5.6 G SSM -+. (#*★ < hZg^Zh aZch l^i] :9 ZaZbZcih! HjeZg Hdc^X lVkZ Bdidg VcY V X^gXjaVg VeZgijgZ   &'% +' -'#* &(*#* ,+%\
70-400mm f/4-5.6 G SSM II &,..  GZYZh^\cd[dg^\^cVa[ZVijgZhVcZlAH>Yg^kZX^gXj^iVcYegdb^hZh[VhiZgVjid[dXjh         &*% ,, .* &.+ &*%%\

62 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
85mm f/1.4 ZA Planar T* &(+. ;^mZY [dXVa aZc\i] aZch V^bZY Vi ^cYddg edgigV^ijgZ   -* ,' -&#* ,'#* *+%\
85mm f/2.8 SAM '&. 6 a^\]i! adl eg^XZ edgigV^ijgZ aZch   +% ** ,% *' &,*\
100mm f/2.8 Macro +*. BVXgd aZch l^i] X^gXjaVg VeZgijgZ! YdjWaZ ÅdVi^c\ZaZbZciVcYl^YZVeZgijgZ   (* ** ,* .-#* *%*\
135mm f/1.8 ZA Sonnar T* &)'. 6 Wg^\]i! 8Vga OZ^hh edgigV^i iZaZe]did aZch   ,' ,, -) &&* &%%)\
135mm f/2.8 STF &&&.  IZaZe]didaZchÄiiZYl^i]VedY^hVi^dcZaZbZciid\^kZViigVXi^kZYZ[dXjhZ[[ZXih         -, -% -% .. ,(%\

TAMRON DSLR
10-24mm f/3.5-4.5 SP AF Di II LD Asph IF *&& (#*★ <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 l^i] Yjhi VcY heaVh]egddÄc\ VcY dei^XVa hiVW^a^hVi^dc    ') ,, -(#+ -)#+ ))%\
15-30mm f/2.8 SP Di VC USD .*% )★ :mXZaaZci kVajZ! i]^h ^h i]Z dcan l^YZVc\aZ oddb l^i] ^bV\Z hiVW^a^hVi^dc VcY Vc [$'#- VeZgijgZ      '- c$V .-#) &)* &&%%\
16-300mm f/3.5-6.3 Di II VC PZD Macro +%% )★ KZghVi^aZ bZ\Voddb! V kZgn \ddY Vaa ^c dcZ hdaji^dc! Vh adc\ Vhndjldc¼icZZYidZcaVg\Zid6'h^oZ     (. +, ..#* ,* *)%\
17-50mm f/2.8 SP AF XR Di II LD Asph IF )*% )#*★ KZgn \ddY dei^XVa eZg[dgbVcXZ! l]^X] eZV`h Vi [$*#+ -     ', +, ,) -&#, )()\
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 £169 4★ A^\]ilZ^\]i Vaa ^c dcZ aZch [dg 6EH 8 9HAGh l^i] 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 l^i] ^bV\Z hiVW^a^hVi^dc [dg Wdi] [jaa [gVbZ VcY 6EH 8 XVbZgVh      (- -' --#' &&+#. -'*\
24-70mm f/2.8 SP Di VC USD G2 &'). Je\gVYZY [Vhi oddb l^i] ^begdkZY ^bV\Z hiVW^a^hVi^dc VcY bd^hijgZ gZh^hiVci XdchigjXi^dc     (- -' --#) &&& .%*\
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro )+% HiVcYVgY oddb l^i] XdchiVci [$'#- VeZgijgZ VcY b^c^bjb [dXjh^c\ Y^hiVcXZd[((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 hiVW^a^hVi^dc VcY V [Vhi VeZgijgZ      '% +, -%#) -%#- )-%\
45mm f/1.8 Di VC USD *-% )#*★ 6 aZch i]Vi gZlg^iZh i]Z hiVcYVgY [dXVa aZc\i] l^i] V [Vhi VeZgijgZ XdjeaZY l^i] dei^XVahiVW^a^hVi^dc       '. +, -%#) -.#' .)%\
60mm f/2 SP AF Di II LD IF Macro **% *★ BVXgd aZch YZh^\cZY [dg 6EH 8 hZchdg XVbZgVh! l^i] &/& gZegdYjXi^dc gVi^d    '( ** ,( -% )%%\
70-200mm f/2.8 SP AF Di LD IF Macro -&, )★ Cd ^bV\Z hiVW^a^hVi^dc VcY cd VYkVcXZY 6; hnhiZb! Wji Vi i]^h eg^XZ ^i¼h VhiZVa     .* ,, -.#* &.)#( &&*%\
70-200mm f/2.8 Di VC USD &%.. 8dbeVXi nZi [jaa h^oZ iZaZe]did oddb l^i] k^WgVi^dc XdbeZchVi^dc      &(% ,, -*#- &--#( &),%\
70-200mm f/2.8 SP Di VC USD G2 &(*% *★ :mXZaaZci iZaZe]did oddb l^i] jeYViZY Vjid[dXjh VcY ^bV\Z hiVW^a^hVi^dc eajh hZVaZY XdchigjXi^dc     .* ,, -- &.(#- &*%%\
NEW 70-210mm f/4 Di VC USD +.. A^\]ilZ^\]i iZaZoddb egdb^hZh ]^\] dei^XVa eZg[dgbVcXZ! ^bV\Z hiVW^a^hVi^dc VcY lZVi]ZghZVa^c\     .* +, ,+ &,+#* -+%\
70-300mm f/4-5.6 SP VC USD (%% )★ JaigVhdc^X H^aZci 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 l^i] Wdi] [jaa [gVbZ VcY XgdeeZY hZchdg 9HAGh      .* +' ,+#+ &&+#* )(*\
85mm f/1.8 Di VC USD ,). *★ I]Z Äghi [jaa [gVbZ -*bb [$&#- aZch l^i] ^bV\Z hiVW^a^hVi^dc! i]Vi¼h Vahd bd^hijgZgZh^hiVci      -% +, -* .& ,%%\
90mm f/2.8 SP AF Di Macro ),% )★ 6 kZgn c^XZ bVXgd aZch i]Vi ^h XVeVWaZ d[ egdYjX^c\ hdbZ ÄcZ ^bV\Zh      '. ** ,&#* ., )%*\
90mm f/2.8 Di Macro 1:1 VC USD *,. GZYZh^\c d[ i]Z .%bb [$'#- HE 6; 9^ BVXgd0 XdbZh l^i] 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 l^i] bd^hijgZ"gZh^hiVciXdchigjXi^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 -.+ *★ 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 l^i] 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 £499 4★ 8dbeVXi! jaigV l^YZVc\aZ aZch l^i] V [Vhi bVm^bjb VeZgijgZ VcY YZXZci dei^XVaeZg[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 l^i] hjeZg [Vhi! hjeZg Wg^\]i! XdchiVci [$' VeZgijgZ[dgh]ddi^c\^ckZgnadla^\]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 VkV^aVWaZ! i]dj\] dcan VkV^aVWaZ ^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    (- -' -.#+ &%,#* &%&%\
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 l^i] egZb^jb dei^Xh ^cXajY^c\ V ÅdVi^c\ [dXjh hnhiZb[dgXadhZ"jeh    '* ,, .% .( ,'&\
21mm f/2.8 Milvus &'.. EgZb^jb l^YZVc\aZ aZch l^i] XdbeaZm dei^Xh YZh^\cZY id WZ [gZZ d[ Y^hidgi^dc    '' -' .*#* .* -*&\
25mm f/1.4 Milvus &... *★ Dei^XVaan ZmXZaaZci! aVg\Z VeZgijgZ bVcjVa [dXjhl^YZVc\aZaZchl^i]lZVi]Zg"hZVaZYXdchigjXi^dc    '* -' .*#' &'( &''*\
25mm f/2 Distagon T* &(*% 6 aVcYhXVeZ aZch l^i] V [Vhi VeZgijgZ     '* +, ,( .- +%%\
25mm f/2.8 Distagon T* ,(- GZaVi^kZan hbVaa VcY a^\]i l^YZVc\aZ eg^bZ! VkV^aVWaZ ^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 fjVa^in bVcjVa [dXjh eg^bZ l^i]lZVi]Zg"hZVaZYXdchigjXi^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! YZiV^a! XaZVc ZY\Zh VcY V \gZVi jhZg ZmeZg^ZcXZ    )* +, -'#* .) .''\
50mm f/2 Milvus Macro .). BVcjVa [dXjh bVXgd aZch l^i] ]Va[ a^[Z h^oZ bV\c^ÄXVi^dc VcY hijcc^c\ dei^Xh    ') +, -& ,*#( ,(%\
85mm f/1.4 Planar T* .-. 8aVhh^X edgigV^i 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 edgigV^ijgZ    -% ,, .% &&( &'-%\
100mm f/2 Milvus Macro &'.. 6 bVcjVa [dXjh bVXgd aZch l^i] VWhdajiZan hjeZgW dei^Xh VcY ]Va[ a^[Z h^oZ gZegdYjXi^dc    -- +, -%#* &%) -)(\
135mm f/2 Milvus &-..  IZaZe]didaZchl^i]VaVg\ZVeZgijgZVcYhbddi]Wd`Z]!^YZVa[dgbZY^jb"Y^hiVcXZedgigV^ie]did\gVe]n         -% ,, &'. &(' &&'(\

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 5 May 2018 63

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT
CSC Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON CSC
EF-M 11-22mm f/4-5.6 IS STM (** JaigV l^YZVc\aZ aZch l^i] 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 kZghVi^aZ oddb aZch   '* *' +& +& '&%\
EF-M 18-150mm f/3.5-6.3 IS STM (.. L^YZ gVc\^c\ '. ')%bb Zfj^kVaZci hjeZgoddb l^i] hjgeg^h^c\an \ddY ^bV\Z fjVa^in   '* ** +%#. -+#* (%%\
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 l^i] Wj^ai ^c A:9 a^\]ih [dg ^aajb^cVi^c\XadhZ"jehjW_ZXih   .#, )( +%#. )*#* &(%\
EF-M 55-200mm f/4.5-6.3 IS STM ((%  IZaZe]didoddbi]ViiV`ZhndjXadhZgidi]ZVXi^dc         &%% *' +%#. -+#* '+%\

FUJIFILM CSC
XF 10-24mm f/4 R OIS -). JaigV l^YZVc\aZ oddb aZch! egdb^h^c\ b^c^bVa \]dhi^c\ l^i] ;j_^¼h =I :78 bjai^ aVnZg XdVi^c\   ') ,' ,- -, )&%\
XF 14mm f/2.8 R ,'. *★ L^YZVc\aZ eg^bZ l^i] ]^\] gZhdaji^dc ^cid i]Z XdgcZgh! ^ih 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 `^i 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]^e M; hiVcYVgY oddb aZch l^i] V XdchiVci [$'#- VeZgijgZ VcY lZVi]Zg gZh^hiVcXZ  +% ,, -(#( &%+ +**\
XF 18mm f/2 R )(% )★ 6 XdbeVXi l^YZVc\aZ aZch l^i] 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 l^i] dei^XVa ^bV\Z hiVW^a^hVi^dc   &- *- +* ,%#) (&%\
XF 23mm f/1.4 R +). EgZb^jb l^YZVc\aZ eg^bZ aZch l^i] [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 l^i] 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\ edgigV^ih  (. )+ +% *.#) '%%\
XF 50-140mm f/2.8 R LM OIS WR &'). 6 iZaZe]did oddb l^i] 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 hj^i ;j_^¼h b^Y gVc\Z 8H8h! VcY i]^h aZch ]Vh dei^XVa ^bV\Z hiVW^a^hVi^dc   &&% *- +.#* &&& (,*\
XF 55-200mm f/3.5-4.8 R LM OIS *.. )★ IZaZe]did l^i] Wj^ai ^c dei^XVa ^bV\Z hiVW^a^hVi^dc eajh VeZgijgZ Xdcigda g^c\   &&% +' &&- ,* *-%\
XF 56mm f/1.2 R -.. )★ I]^h l^YZ VeZgijgZ edgigV^i aZch [dg M hZg^Zh XVbZgVh ]Vh \gZVi h]VgecZhh VcY YZiV^a 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` l^i] ]Va[ a^[Z h^oZ bV\c^ÄXVi^dc  '+#, (. +)#& ,%#. '&*\
XF 80mm f/2.8 R LM OIS WR Macro &'). )★ ;j_^Äab¼h adc\ VlV^iZY &/& bVXgd ^cXajYZh lZVi]Zg gZh^hiVcXZ VcY dei^XVa ^bV\Z hiVW^a^hVi^dc   '* +' -% &(% ,*%\
XF 90mm f/2 R LM WR +.. *★ 6 XaVhh^X edgigV^i aZch i]Vi¼h h]Vge! l^i] \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 CSC
NEW 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 l^i] 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  &' )+ *% ** &,%\
NEW 9mm f/2.8 Zero D ).. 8dbeVXi bVcjVa [dXjh eg^bZ [dg 6EH 8 b^ggdgaZhh XVbZgVh egdb^hZh kZgn adl Y^hidgi^dc    &' ). +% *( '&*\
NEW 10-18mm f/4.5-5.6 FE Zoom I78 I]Z ldgaY¼h l^YZhi oddb [dg [jaa [gVbZ Hdcn b^ggdgaZhh! l^i] bVcjVa [dXjh VcY VeZgijgZ Xdcigda   &* (, ,% .%#. ).+\
15mm f/2 FE Zero D -..  BVcjVa"[dXjh[VhijaigV"l^YZVc\aZeg^bZ[dg[jaa"[gVbZHdcnXVbZgVh!l^i]b^c^bVaY^hidgi^dc         &* ,' ++ -' *%%\

LEICA CSC
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 l^i] [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 fjVa^in [jaa [gVbZ hiVcYVgY oddb l^i] gZVaan jhZ[ja oddb gVc\Z   (% -' -- &(- &&)%\
35mm f/1.4 Summilux TL &-(% =^\] ZcY [Vhi eg^bZ YZh^\cZY id \^kZ ZmXZei^dcVa ^bV\Z fjVa^in  (% +% ,% ,, )'-\
55-135mm f/3.5-4.5 APO-Vario-Elmar-TL &)*% IZaZe]did oddb i]Vi ZhX]Zlh ^bV\Z hiVW^a^hVi^dc ^c V W^Y [dg bVm^bVa dei^XVa fjVa^in  &%% +% +- &&% *%%\
60mm f/2.8 APO-Macro-Elmarit TL &.'% BVXgd aZch [dg AZ^XV¼h 6EH 8 b^ggdgaZhh XVbZgVh d[[Zgh &/& a^[Z h^oZbV\c^ÄXVi^dc  &+ +% +- -. ('%\
75mm f/2 APO-Summicron SL (,*%  ;Vhih]dgi"iZaZe]didedgigV^iaZch[dgi]Z[jaa"[gVbZAZ^XVHA         *% +, ,( &%' ,'%\

OLYMPUS CSC
7-14mm f/2.8 ED Pro ... )#*★ HjeZg l^YZVc\aZ oddb aZch i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ egdd[  '% c$V ,-#. &%*#- *()\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

8mm f/1.8 Pro Fisheye ,.. ;^h]ZnZ aZch l^i] ^begZhh^kZ ^bV\Z fjVa^in i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ egdd[  &' c$V +' -% (&*\
9-18mm f/4-5.6 ED +(% I]^h hjeZg l^YZVc\aZ aZch d[[Zgh Vc Zfj^kVaZci [dXVa gVc\Z d[ &-"(+bb^c(*bbiZgbh  '* *' *+#* ).#* &**\
9mm f/8 Fish-eye Body Cap Lens -. Ha^ba^cZ aZch ^c V WdYn XVe l^i] &)% Vc\aZ d[ k^Zl  '% c$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 l^i] 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 l^i] 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>Hl^i]HncX>H   &* ,' ,,#* &&+#* *+&\
14-42mm f/3.5-5.6 II R '+.  6gZYZh^\cZYkVg^Vi^dcd[i]ZhiVcYVgY`^iaZch         '* (, *+#* *% &&'\

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FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT
CSC Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
14-42mm f/3.5-5.6 EZ ('. 8dbeVXi `^i aZch [dg Danbejh E:C VcY DB 9 bdYZah l^i] 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! l^i] 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 l^i] gZVhdcVWaZ dei^Xh  '% (, *, '' ,&\
25mm f/1.2 ED Pro &%.. =^\] egZX^h^dc! ]^\] heZZY dei^X l^i] V heZX^Va aZch hnhiZb XdchigjXi^dc [dg ZY\Z id ZY\Z h]VgecZhh  (% +' ,% -, )&%\
25mm f/1.8 (,% 8dbeVXi eg^bZ aZch l^i] 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 £1299 4★ I]^h edlZg[ja -% (%%bb (*bb Zfj^kVaZci [dXVa aZc\i] aZch d[[Zgh VbVo^c\ edgiVW^a^in [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 edgigV^i e]did\gVe]n l^i] egZb^jb dei^Xh  *% +' ,% -)#. )&%\
45mm f/1.8 ',. *★ ;Vhi VeZgijgZ aZch [dg iV`^c\ edgigV^i 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 edgigV^ih VcY VXi^dc h]dih  -) *- +) +. (%*\
300mm f/4 IS Pro ''%%  8dbeVXijaigV"iZaZe]dideg^bZl^i]dei^XVa^bV\ZhiVW^a^hVi^dc!XdbeVi^WaZl^i]HncX>H         &)% ,, .'#* '', &',%\

PANASONIC CSC
G 7-14mm f/4 ,)% *★ ;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 l^i] egZb^jb dei^Xh  '( +, ,(#) -- (&*\
DG 12mm f/1.4 Leica Summilux ASPH &&.. )#*★ 8dbeVXi [Vhi l^YZVc\aZ fjVa^in l^i] ZmXZaaZci dei^Xh VcY Wj^ai ^c VeZgijgZ g^c\  '% +' ,% ,% ((*\
G 12-32mm f/3.5-5.6 MEGA OIS ',% KZgn XdbeVXi l^i] V kZghVi^aZ oddb gVc\Z VcY i]gZZ Vhe]Zg^XVa aZchZh   '% (, **#* ') ,%\
G X 12-35mm f/2.8 OIS &%.* *★ ;Vhi! ]^\] fjVa^in hiVcYVgY oddb [dg B^Xgd ;djg I]^gYh XVbZgVh   '* *- +,#+ ,(#- (%*\
G X 12-35mm f/2.8 OIS II --% JeYViZY [Vhi hiVcYVgY oddb l^i] bViiZ WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda   '* *- +,#+ ,(#- (%*\
G 12-60mm f/3.5-5.6 OIS ASPH £439 4★ >cXdgedgViZh V hiZee^c\ bdidg [dg V hbddi]! h^aZci deZgVi^dc VcY [ZVijgZh V Yjhi VcY heaVh]egdd[ YZh^\c   '% *- ++ ,& '&%\
DG 12-60mm f/2.8-4 OIS Leica --% EgZb^jb hiVcYVgY oddb l^i] 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 hj^i 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 hiVW^a^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 hiVW^a^hZg   (% *- +, ,* '+*\
DG 15mm f/1.7 Leica SUMMILUX *). )★ =^\] heZZY eg^bZ l^i] 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 l^i] 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 **% *★ 6 [Vhi VeZgijgZ ÄmZY [dXVa aZc\i] hiVcYVgY aZch [gdb AZ^XV  (% )+ +( *)#* '%%\
G 30mm f/2.8 Macro MEGA OIS (%% (★ 8dbeVXi aZch d[[Zg^c\ igjZ id a^[Z bV\c^ÄXVi^dc XVeVW^a^in [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 &%.. IZaZe]did oddb l^i] CVcd Hjg[VXZ 8dVi^c\ iZX]cdad\n [dg YgVbVi^X gZYjXi^dc d[ \]dhi^c\ VcY ÅVgZ   -* *- +,#) &%% (+%\
G X 35-100mm f/2.8 Power OIS II .,% JeYViZY [Vhi iZaZe]did oddb l^i] 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 l^i] ' Vhe]Zg^XVa aZchZh VcY jaigV l^YZ VeZgijgZ   *% +, ,) ,+#- )'*\
G 42.5mm f/1.7 Power OIS (). B^Y iZaZe]did aZch l^i] V (*bb Zfj^kVaZci d[ -*bb! ^ih [$&#, VeZgijgZ egdb^hZh V WZVji^[jaWd`Z]Z[[ZXi   (, (& ** *% &(%\
DG 45mm f/2.8 OIS Macro Leica *(. I^cn bVXgd aZch l^i] &/& bV\c^ÄXVi^dc VcY dei^XVa ^bV\Z hiVW^a^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 l^i] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H   &%% *' ,% &%% (-%\
NEW 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 l^i] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H   &%% *' ,% &%% (-%\
DG 100-400mm f/4-6.3 OIS Leica &(). Ide fjVa^in hjeZgiZaZe]did oddb l^i] lZVi]ZghZVaZY XdchigjXi^dc VcY 9jVa >H hjeedgi   &%( ,' -( &,&#* .-*\
DG 200mm f/2.8 OIS Leica '+.. *★ Hijcc^c\)%%bb"Zfj^kVaZci[VhiiZaZe]dideg^bZ!XdbZhl^i]&#)miZaZXdckZgiZg^ci]ZWdm         &&* ,, -,#* &,) &')*\

SAMYANG CSC
7.5mm f/3.5 UMC fisheye MFT '*( ;^h]ZnZ bVcjVa [dXjh aZch l^i] 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! l^i] ^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 with 6EH 8 dg hbVaaZg h^oZY hZchdg     '- *- *)#( +,#. '.%\
35mm f/1.2 ED AS UMC CS (*. HiVcYVgY Vc\aZ bVcjVa [dXjh aZch [dg b^ggdgaZhh XVbZgVh l^i] 6EH 8 hZchdg h^oZ     (- +' +,#* ,)#' )'%\
35mm f/1.4 FE AF +%% ;Vhi Vjid[dXjh eg^bZ YZh^\cZY [dg bVm^bjb h]VgecZhh l^i] 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 8H8h   (* ). +&#- (( -+\
50mm f/1.2 AS UMC CS '.. *★ ;Vhi iZaZe]did eg^bZ i]Vi XVc egdYjXZ hijcc^c\ gZhjaih l^i] V hjeZg h]Vaadl YZei] d[ ÄZaY     *% +' +,#* ,)#* (-%\
50mm f/1.4 FE AF ).. )#*★ :mXZaaZci kVajZ [dg bdcZn [Vhi eg^bZ [dg [jaa [gVbZ Hdcn 8H8h   )* +, ,(#* .,#, *-*\
300mm f/6.3 ED UMC CS Reflex ').  6XdbeVXigZÅZmb^ggdgaZchYZY^XViZY[dgb^ggdgaZhhXdbeVXihnhiZbXVbZgVh         .% *- ,(#, +)#* ('%\

GśúG6ĔG= Ć××Á̱ ĆúG6

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ŐG
Panasonic LEICA 50-200mm Tamron 18-400mm ˗˒̱
f/2.8-4.0 ASPH. POWER O.I.S f/3.5-6.3 Di II VC HLD
Available in Canon or Nikon fits
Normally £649.00. See website & use
Visit us in store, online or call our
˓̯˗˛˛.00 expert team on 01444 23 70 42 ˗˛˛.00 voucher code AP-MAY-50 or call us on
01444 23 70 42. Ends 31.05.2018.

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 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT
CSC Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA CSC
16mm f/1.4 DC DN | C )*% AVg\Z VeZgijgZ l^YZVc\aZ aZch l^i] 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! ^i¼h ^begZhh^kZan h]Vge ZkZc Vi [$&#)   (% *' +)#- ,( &)%\
30mm f/2.8 DN | A &-. JhZh V ]^\] fjVa^in YdjWaZ h^YZY Vhe]Zg^XVa aZch [dg V eZg[dgbVcXZ i]Vi¼h ldgi]n d[ H^\bV¼h »6gi¼ a^cZ   (% )+ +%#- )%#* &)%\
60mm f/2.8 DN | A &-.  AViZhiVYY^i^dcidH^\bV¼h»6gi¼gVc\Z^hVb^Y"gVc\Z!]^\]"eZg[dgbVcXZiZaZe]didaZchl^i]bZiVaWdYn         *% )+ +%#- **#* &.%\

SONY CSC
E 10-18mm f/4 OSS ,*% )★ HjeZg l^YZVc\aZ oddb l^i] HjeZg :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc   '* +' ,% +(#* ''*\
FE 12-24mm f/4 G &,%% )#*★ 8dbeVXi! lZVi]Zg gZh^hiVci hjeZg l^YZVc\aZ oddb l^i] ]^\] fjVa^in dei^Xh   '- c$V -, &&,#) *+*\
E 16mm f/2.8 ''% )★ EVcXV`Z aZch [dg C:M hnhiZb! l^i] 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 l^i] 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 l^i] EdlZg Oddb! :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc   '* )%#* +)#, '.#. &&+\
E 16-70mm f/4 ZA OSS Vario-Tessar T* -(. 6 a^\]ilZ^\]i! kZghVi^aZ b^Y gVc\Z oddb l^i] V XdchiVci [$) VeZgijgZ   (* ** ++#+ ,* (%-\
E 18-55mm f/3.5-5.6 OSS ',% Dei^XVa HiZVYnH]di! hV^Y id WZ h^aZci Yjg^c\ bdk^Z XVeijgZ! VcY V X^gXjaVg VeZgijgZ   '* ). +' +% &.)\
E 18-105mm f/4 G PZ OSS ).. Hdcn < aZch [dg : bdjci XVbZgVh l^i] V XdchiVci [$) 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 hiVW^a^hVi^dc l^i] 6Xi^kZ BdYZ! bV`^c\ ^i ^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 fjVa^in 8Vga OZ^hh dei^X ^YZVaan hj^iZY 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 l^i] Vc [$) bVm^bjb VeZgijgZ VXgdhh i]Z oddb gVc\Z VcY Wj^ai ^c ^bV\Z hiVW^a^hVi^dc    )% +, ,( .)#* )'+\
FE 24-105mm f/4 G OSS &&.. *★ :mXZaaZci [jaa [gVbZ hiVcYVgY oddb l^i] dei^XVa hiVW^a^hVi^dc VcY lZVi]Zg gZh^hiVci YZh^\c    (- ,, -(#) &&(#( ++(\
FE 24-240mm f/3.5-6.3 OSS .'. (★ >YZVa [dg igVkZa! aVcYhXVeZh VcY bdgZ! l^i] Wj^ai ^c hiVW^a^hVi^dc# 6ahd Yjhi VcY bd^hijgZ gZh^hiVci    *% ,' -%#* &&-#* ,-%\
FE 28mm f/2 )&. )★ I]^h [jaa [gVbZ l^YZVc\aZ eg^bZ l^i] V Wg^\]i [$' bVm^bjb VeZgijgZ egdb^hZh ZmXZaaZci h]VgecZhh   '. ). +) +% '%%\
FE 28-70mm f/3.5-5.6 OSS )). 7j^ai ^c Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^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 l^i] aVg\Z! Wg^\]i [$&#) VeZgijgZ   (% ,' ,( .)#* +(%\
E 35mm f/1.8 OSS (.. A^\]ilZ^\]i! kZghVi^aZ eg^bZ l^i] Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc   (% ). +'#' )* &**\
FE 35mm f/2.8 ZA Sonnar T* +.. L]Zc XdjeaZY l^i] V [jaa [gVbZ Hdcn : bdjci XVbZgV! i]^h eg^bZaZchegdb^hZhidYZa^kZg   (* ). +&#* (+#* &'%\
E 50mm f/1.8 OSS '&. 6 ]VcYn! adl eg^XZ edgigV^i 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 l^i] 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 l^i] l^YZ VeZgijgZ Vaadl^c\ \ddY ^bV\Zh ^cYddgh dg ^c adl a^\]i   *% ). +)#) ,%#* '-&\
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FE 70-200mm f/4 G OSS &(*. )★ < hZg^Zh iZaZe]did oddb aZch! Yjhi VcY lViZg gZh^hiVci! l^i] Wj^ai ^c ^bV\Z hiVW^a^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 ^ih \gdl^c\ gVc\Z    .% ,' -) &)(#* -*)\
FE 85mm f/1.8 £550 4★ GZaVi^kZan ^cZmeZch^kZ edgigV^i aZch ^cXajYZh Yjhi VcY bd^hijgZ gZh^hiVci XdchigjXi^dc   -% +, ,- -' (,&\
FE 85mm f/1.4 GM &--. *★ Hijcc^c\ ^bV\Z fjVa^in [gdb Hdcn¼h egZb^jb »< BVhiZg¼ edgigV^i 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 edgigV^i aZch XdbW^cZh dei^XVa hiVW^a^hVi^dc VcY Vc VedY^hVi^dc ÄaiZg [dg hbddi] Wd`Z]    *, ,' -*#' &&-#& ,%%\
FE 100-400mm f/4.5-5.6 GM OSS '*%% *★ EgZb^jbdei^XVaanhiVW^a^hZY!lZVi]ZghZVaZYiZaZoddbYZh^\cZYidbViX]i]Z6ae]V.         .- ,, .(#. '%* &(.*\

TAMRON CSC
14-150mm f/3.5-5.8 Di III (,% )★ I]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"dcZoddb[dgb^ggdgaZhhXVbZgVh!idXdkZgegVXi^XVaanVcnh]ddi^c\h^ijVi^dc         *% +' +- .+#, )+%\

TOKINA CSC
Firin 20mm f/2 FE MF £800 5★ >begZhh^kZan h]Vge [Vhi l^YZVc\aZ eg^bZ [dg Hdcn b^ggdgaZhh! l^i] bVcjVa [dXjh VcY VeZgijgZ g^c\   '- +' +. -&#* ).%\
NEW Firin 20mm f/2 FE AF I78  6jid[dXjhkZgh^dcd[i]ZZmXZaaZci;^g^c'%bb[$';:B;![ZVijg^c\jaigVhdc^X[dXjhbdidg         '- +( ,(#) -&#* )+)\

ZEISS CSC
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 fjVa^in   '% +, -& .' (**\
Loxia 25mm f/2.4 &&.% *★ <dg\Zdjh Wji ZkZg hd eg^XZn XdbeVXi bVcjVa [dXjh eg^bZ! l^i] VWhdajiZan hijcc^c\ dei^Xh   '* *' +' +.#* (,*\
Touit 32mm f/1.8 Planar T* ,%% )#*★ Dei^b^hZY [dg jhZ l^i] 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   (% *' +' *. ()%\
Loxia 50mm f/2 ,)% BVcjVa [dXjh hiVcYVgY eg^bZ l^i] 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\ edgigV^ih dg eVcdgVbVh Vh V a^\]i iZaZ aZch   &* *' ,* .& '.%\
Batis 85mm f/1.8 .%. *★ 6 ]^\] fjVa^in bZY^jb eg^bZ [dg lZYY^c\ VcY edgigV^i 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"hiVW^a^hZYedgigV^iaZch[dgHdcn[jaa"[gVbZb^ggdgaZhh         -, +, -) &'% +&)\

66 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

  
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ŵŽǀŝĞ ŵŽĚĞ

ϲϱϬϬ &ƌŽŵ άϭϮϳ ϲϬϬϬ &ƌŽŵ άϯϰ

ϲϱϬϬ ŽĚLJ άϭϮϳ ϲϬϬϬ ŽĚLJ άϯϰ
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ŵŽǀŝĞ ŵŽĚĞ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ
ĐŽŶĚŝƟŽŶƐ+ ǁŝƚŚ Ă ŵĂdžŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚLJ
ŽĨ /^K ϯϮ+ϬϬϬ ^ŚŽŽƚ ƵĂů WŝdžĞů Zt ĮůĞƐ K^ ϮϬϬ &ƌŽŵ άϰ K^ Ϭ &ƌŽŵ άϭϬϭ
ĨŽƌ ƉŽƐƚƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ LJŽƵ-ǀĞ K^ ϮϬϬ ŽĚLJ άϰ K^ Ϭ ŽĚLJ άϭϬϭ
ŶĞǀĞƌ ƐĞĞŶ ďĞĨŽƌĞ K^ ϮϬϬ н ϭ ϱϱŵŵ άϱϱ άϯϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ
K^ ϮϬϬ н ϭ ϭϯϱŵŵ άϳ K^ Ϭ н ϭ ϱϱŵŵ άϭϬ
K^ ϱ DĂƌŬ /s ŽĚLJ άϯϮϰ K^ ϳϱϬ ŽĚLJ άϱϬ άϭϬϭϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ
K^ ϳϱϬ н ϭ ϱϱŵŵ άϱϳ K^ Ϭ н ϭ ϭϯϱŵŵ άϭϮ
K^ ϭϯϬϬ ŽĚLJ άϮϳ άϭϮϭϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ
K^ ϭϯϬϬ н ϭ ϱϱŵŵ άϯϰ K^ ϳϳ ŽĚLJ άϳϭ
ϯϬϰ ϳϬ &Ƶůů &ƌĂŵĞ
ŵĞŐĂƉŝdžĞůƐ ĨƉƐ DK^ ƐĞŶƐŽƌ K^ ϳϳ н ϭ ϱϱŵŵ άϭ
K^ ϳϳ н ϭ ϭϯϱŵŵ άϭϬϳ
K^ ϬϬ ŽĚLJ άϲϱ
K^ ϱ DĂƌŬ /s ŽĚLJ άϯϮϰ K^ ϬϬ н ϭ ϱϱŵŵ άϳϰ

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

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

K^ ϳ DĂƌŬ // ŽĚLJ άϭϯϰ K^ ϲ DĂƌŬ // ĨƌŽŵ άϭϳϮ K^ ϱ^ Z ŽĚLJ άϯϰϰ K^ ϭ y DĂƌŬ // ŽĚLJ άϱϰϮ
K^ ϳ DĂƌŬ // ŽĚLJ άϭϯϰ K^ ϲ DĂƌŬ // ŽĚLJ άϭϳϮ K^ ϱ^ Z ŽĚLJ άϯϰϰ K^ ϭ y DĂƌŬ // ŽĚLJ άϱϰϮ
άϭϱϱ ŝŶĐ άϭϳϬ ĂƐŚďĂĐŬΎ άϯϭ ŝŶĐ άϮϱϬ ĂƐŚďĂĐŬΎ
K^ ϲ DĂƌŬ // н ϮϰϭϬϱŵŵ άϮϬϳ K^ ϱ^ ŽĚLJ άϯϬ
άϭϬ ŝŶĐ άϭϳϬ ĂƐŚďĂĐŬΎ άϮϰ ŝŶĐ άϮϱϬ ĂƐŚďĂĐŬΎ ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϱϬϱϭ

dƌŝƉŽĚƐ

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+ ϮϬϮĐŵ DĂdž ,Ğ
tĞdž ĞdžĐůƵƐŝǀĞ
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dϬϱϱyWZKϯ
ϭϳϬĐŵ DĂdž ,ĞŝŐŚƚ
Đŵ DŝŶ ,ĞŝŐŚƚ
ĞĨƌĞĞ KŶĞ
dƌĂǀĞů dƌŝƉŽĚ $ ZĞĚ
 ϭϯϬĐŵ DĂdž ,ĞŝŐŚƚ
+ ϮϭĐŵ ůŽƐĞĚ >ĞŶŐƚŚ
+ ϭ<Ő DĂdž >ŽĂĚ
YƵĂůŝƚLJ ƵƐĞĚ ĐĂŵĞƌĂƐ ůĞŶƐĞƐ  ϰĐŵ DŝŶ ,ĞŝŐŚƚ
EĞǁ ^LJƐƚĞŵĂƟĐ dƌŝƉŽĚƐ! 'ŽƌŝůůĂƉŽĚ!
ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ^ĞƌŝĞƐ ϯ ϰ^ y>  άϳ 'ŽƌŝůůĂƉŽĚ ϱϬϬ άϯϱ
ǁŝƚŚ ϭϮ ŵŽŶƚŚƐ ǁĂƌƌĂŶƚLJΎ ^ĞƌŝĞƐ ϯ ϯ^ >  άϲ DdϬϱϱyWZKϯ ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<άϱϮ
^ĞƌŝĞƐ ϱ ϰ^ y>  ά DdϬϱϱyWZKϯ ĂƌďŽŶ &ŝďƌĞ  άϮ ǀĂŝůĂďůĞ ŝŶ ůĂĐŬ ZĞĚ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϯ<άϱ
ǁĞdžĐŽƵŬ ^ĞƌŝĞƐ ϱ ϲ^ '  άϭϭϯ DdϬϱϱyWZKϰ ĂƌďŽŶ &ŝďƌĞ  άϮ ĂŶĚ 'ƌĞLJ ĨƌŽŵ άϳ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϱ<άϭϰ
ΎdžĐůƵĚĞƐ ŝƚĞŵƐ ŵĂƌŬĞĚ ĂƐ ŝŶĐŽŵƉůĞƚĞ Žƌ ĨŽƌ ƐƉĂƌĞƐ

&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ

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

ϲϬϬy //Zd
ϰϳϬy / άϲ ϰϯϬy ///Zd DZϭϰy // ^ϱϬϬϬ ^ϳϬϬ Zϭ ůŽƐĞhƉ Zϭϭ ,s>&ϰϯD ,s>&ϲϬZD &>ϯϬϬZ &>ϲϬϬZ & ϱϰϬ &' // & ϯϲϬ&' //
άϰ άϱϳ ŝŶĐ άϭϭϬ ďΎ άϯϰϰ άϳϯ άϰ άϮϱ άϰϯ άϲϮ άϮϰ άϲϭ άϭϯϰ άϮϳ άϯϰ άϮϰ
&ůĂƐŚŐƵŶƐ! DĂĐƌŽ ŇĂƐŚ! &ůĂƐŚŐƵŶƐ! &ůĂƐŚŐƵŶƐ!

DϭϰϬ ' ^ƉĞĞĚŵĂƐƚĞƌ

ϰϰ &Ϯ DϰϬϬ ϱϮ &ϭ ϲϰ &ϭ ϭϱ D^ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ŝϰϬ ŝϲϬ ^ĞŬŽŶŝĐ >ϯϬ Ɛ WƌŽ >ϰϳ Z > ϱ 
άϭϲ άϮϯ άϮϬ άϯϬ άϮ άϭϬ άϭϲ άϯϮ άϭϱ άϮϯ άϭϱϬ άϯ άϲϬϬ
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů sd Ăƚ ϮϬй WƌŝĐĞƐ
ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌLJΎΎ ĂǀĂŝůĂďůĞ
ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬ ;ďĂƐĞĚ ŽŶ Ă ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ
&Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮΎΎ ;ďĂƐĞĚ ŽŶ Ă
ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ &Žƌ EĞdžƚ tŽƌŬŝŶŐ ĂLJ ĞůŝǀĞƌLJ
ŽƵƌ ĐŚĂƌŐĞƐ ĂƌĞ άϰΎΎ ^ĂƚƵƌĚĂLJ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ
Ăƚ Ă ƌĂƚĞ ŽĨ άϳϱΎΎ ^ƵŶĚĂLJ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ Ăƚ Ă
ϯŵ ĂĐŬŐƌŽƵŶĚ &ůĂƐŚĞŶĚĞƌϮ tĂůů ZĞŇĞĐƚŽƌ ƌĂƚĞ ά ϱΎΎ;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌLJ ŚĞĂǀLJ ŝƚĞŵƐ ƚŽ E/ Žƌ
DŝŶŝddϭ άϭϲϱ WůƵƐ /// ^Ğƚ WůƵƐy ^Ğƚ ϱŝŶϭ ZĞůĞĐƚŽƌ ^ƵƉƉŽƌƚ &ůĂƐŚĞŶĚĞƌϮ y> WƌŽ >ŝŐŚƟŶŐ DŽƵŶƟŶŐ <ŝƚ &ŽůĚŝŶŐ ^ŽŌďŽdž ƌĂĐŬĞƚ ƌĞŵŽƚĞ ĂƌĞĂƐ ŵĂLJ ďĞ ƐƵďũĞĐƚ ƚŽ ĞdžƚƌĂ ĐŚĂƌŐĞƐ  Θ K 
WƌŝĐĞƐ ƐƵďũĞĐƚ ƚŽ ĐŚĂŶŐĞ 'ŽŽĚƐ ƐƵďũĞĐƚ ƚŽ ĂǀĂŝůĂďŝůŝƚLJ >ŝǀĞ
&ůĞdžddϱ άϭ άϮϮ άϭϰ άϮϰ ά άϯϳϱ ^LJƐƚĞŵ άϰ άϲϭ &ƌŽŵ άϰ άϮ ŚĂƚ ŽƉĞƌĂƚĞƐ ďĞƚǁĞĞŶ ϯϬĂŵϲƉŵ DŽŶ&ƌŝ ĂŶĚ ŵĂLJ
ŶŽƚ ďĞ ĂǀĂŝůĂďůĞ ĚƵƌŝŶŐ ƉĞĂŬ ƉĞƌŝŽĚƐ Ώ^ƵďũĞĐƚ ƚŽ ŐŽŽĚƐ
Kī ĂŵĞƌĂ ďĞŝŶŐ ƌĞƚƵƌŶĞĚ ĂƐ ŶĞǁ ĂŶĚ ŝŶ ƚŚĞ ŽƌŝŐŝŶĂů ƉĂĐŬĂŐŝŶŐ
ŇĂƐŚ ŽƌĚ tŚĞƌĞ ƌĞƚƵƌŶƐ ĂƌĞ ĂĐĐĞƉƚĞĚ ŝŶ ŽƚŚĞƌ ŝŶƐƚĂŶĐĞƐ ƚŚĞLJ ŵĂLJ
&ƌŽŵ άϯϯ ďĞ ƐƵďũĞĐƚ ƚŽ Ă ƌĞƐƚŽĐŬŝŶŐ ĐŚĂƌŐĞ ΏΏƉƉůŝĞƐ ƚŽ ƉƌŽĚƵĐƚƐ
ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
ZĞŇĞĐƚŽƌƐ! ƐƉĞĐŝĮĐĂůůLJ ĚĞƐĐƌŝďĞĚ ĂƐ /E Žƌ ŝŶĐŽŵƉůĞƚĞ ;ŝĞ ďĞŝŶŐ ƐŽůĚ
ϱϬĐŵ άϮϰ ĨŽƌ ƐƉĂƌĞƐ ŽŶůLJ tĞdž WŚŽƚŽ sŝĚĞŽ ŝƐ Ă ƚƌĂĚŝŶŐ ŶĂŵĞ ŽĨ
ŽůůĂƉƐŝďůĞ ϳϱĐŵ άϯ ĂůƵŵĞƚ WŚŽƚŽŐƌĂƉŚŝĐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶLJ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ
KŵĞŐĂ ZĞŇĞĐƚŽƌ hŵďƌĞůůĂ &ůĂƐŚ <ŝƚ njLJďŽdž ^ƉĞĞĚ njLJďŽdž ,ŽƚƐŚŽĞ njLJĂůĂŶĐĞ 'ƌĞLJ ĂĐŬŐƌŽƵŶĚ dƌŝ&ůŝƉ <ŝƚƐ hƌďĂŶ ŽůůĂƉƐŝďůĞ ϱĐŵ άϲϮ dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ ϬϬϰϮϱϱϳ" ĂŶĚ tĂƌĞŚŽƵƐĞ džƉƌĞƐƐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶLJ
άϭϭ άϭϬ >ŝƚĞ Ϯ άϰϳ &ƌŽŵ άϭϭϳ tŚŝƚĞ άϮϮ ^ƵƉƉŽƌƚ άϭϯ &ƌŽŵ άϳϭ άϭϲϯ ϭϮϬĐŵ άϳϲ άϮϲ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ Ϭϯϯϲϲ"ϳϲ ΞtĂƌĞŚŽƵƐĞ džƉƌĞƐƐ >ŝŵŝƚĞĚ
ϮϬϭ Ύ^,<^ ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ
ǁŝƚŚ ƚŚĞ ŵĂŶƵĨĂĐƚƵƌĞƌ WůĞĂƐĞ ƌĞĨĞƌ ƚŽ ŽƵƌ ǁĞďƐŝƚĞ ĨŽƌ
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 5 May 2018 81

 Photo Critique

Final Analysis Roger Hicks considers…

‘Railway construction yard, Balaklava,’ 1855, by Roger Fenton

I
t’s a strange medium,
© US LIBRARY OF CONGRESS

photography. At one
extreme, snapshots
may be no more
than feeble reminders of
memories far stronger than
any photographic record could
be, though in all fairness
even indifferent snapshots
can often reinvigorate
memories recent or ancient
with a visceral immediacy.
At the other extreme, a
great photograph can be the
highest of High Art: a perfect
summary of some eternal and
indispensable aspect of the
human condition. Then again,
the same could be said of any
medium: writing can range
from What We Did On Our
Holidays to the most sublime
poem, novel or word-painting.
In some ways, though,
photographs between the
extremes can have more
dimensions than we might
reasonably expect. In
reportage in particular, a
picture such as this can be like
a memory of something we
never experienced and never
could have experienced, but (such as the Coronation) as
still feel as if we half-
‘In reportage in particular, a picture such well as the sensational. The
remember. It is like waking as this can be like a memory of something first I can remember of the
from a dream where we can latter was The Quatermass
remember the intensity but we never experienced’ Experiment.
not the details.
Page’s, but look at the blur some seven miles (11km) away. Half-remembered scene
Much more than just in some of the figures: the Now, I witnessed the end of Fenton’s picture perfectly
a photograph exposures required were an Empire: I was born when summarises the wealth, waste
Roger Fenton (1819-69) measured in seconds or George VI was still on the and essential chaos of British
was one of the finest minutes, not in small throne, and I think I can just military might as I saw it 100
photographers of all time, fractions of a second. remember watching the and more years later. This
and the first of all great war The Crimean campaign was coronation of our own dear is what I mean by ‘half-
photographers; arguably, the one of the worst-managed queen on the television, remembering’. Like an image
first of all war photographers. wars the British army ever though I’m not sure because from a dream, this picture
His pictures of the Crimean fought: it was where the Light I was very young. I do sticks in the brain. For the
War, taken in the spring of Brigade charged. The Grand remember that we were the most part, we remember both
1855, resonate to this day. Crimean Central Railway first among our neighbours to history and our own lives in
Inevitably, his pictures lack was especially built to move have a television, and that my frozen images like this: we
the suspense and immediacy supplies from the port of parents’ tastes embraced the seldom remember video
of (say) Gerda Taro’s or Tim Balaklava to Sevastopol Improving and Educational live-streams.

Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Pamela Littky.

82 5 May 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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