What Digital Camera - October 2016

Camera
WHATDIGITAL
O
&
OCTOBER
2016
Nikon
AF-S Nikkor
200-500mm
f/5.6E ED VR
p42
Field
test
U S
All you need

to know about
Canons AF
modes
p25
Technique
The
wait is
over
Nikon D500
We test two new

grads from Lee
Filters p74
Get to grips with

off-camera flash
p17
20.9MP sensor 153-point AF 1,640,000 max ISO
Building blocks
Improve your
architectural
images
Technique
The best
tripods,
sticks &
supports
p36
Full
test
Canon G7 X II
14-bit Raw files DIGIC 7 processor 8fps
The UKs most comprehensive listings

Wondering about the latest gear? Find out how we rate 536 cameras and lenses
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W E LC O M E
OCTOB ER 2016
WELCOME
p50 Architecture
p64 Nikon D500
Tests you
can trust
To ensure the camera you buy doesnt
disappoint, every camera that passes
through the hands of What Digital
Cameras technical team is put through
a series of tests. From high-spec DSLRs
through to entry-level compacts, they are
subjected to a series of rigorous tests in
our lab, with results analysed by the very
best industry software. This makes our
reviews the most authoritative in the UK.
We test for colour different sensors and
camera image processors can interpret
colour differently. We then get down to
the nitty-gritty of resolution, with our lab
tests showing us exactly how much detail
each camera can resolve. Then we look
at Image Noise. Finally, we get out and
shoot with every camera and lens in realworld conditions just as you will, to nd
out how they perform.
p17 Off-camera flash
ISO 100
In this issue
ON THE
COVER
4 Incoming
50 Top tips: Architecture
Opening Shot and the latest photography products
Why the buildings that surround us are such a great subject
10 Things to try
57 Top 5: Portable battery packs
Photographic inspiration for the coming month
Need to charge your phone on the go? Try these for size
17 Essential guide: Off-camera flash
62 Accessories
How it works and how to get started ON THE COVER
The latest kit for you and your camera
22 Portfolio
64 Nikon D500
Ethereal colour portraits from this Salisbury photographer
Its been a long time coming, but is it worth the wait?
25 Master your Canon
68 Canon G7 X II
ON THE COVER
ON THE COVER
ON THE COVER
An excellent upgrade that irons out its predecessors issues
29 Master your Nikon
72 Laowa 105mm f/2 (T3.2) STF
The streets where its at with your Nikon DSLR this month
Is the Bokeh Dreamer worth purchasing for portraiture?
33 Expert Guide: Fuji X-T1
74 Lee Filters ND grads
On the eve of the X-T2s launch, we look at its predecessor
Medium and hard ND grads to increase your lter arsenal
36 Tripods, sticks and supports
76 Buying advice
The best products to keep your camera rock solid ON THE
What to look for when buying your next camera
42 Nikon 200-500mm f/5.6E ED VR
78 Buyers guide & listings
Long zoom range and a tempting price ON THE
Your guide to what kit is best for you
46 Help
98 7 things
All the photo-related advice youll ever need
Seven tips for bagging yourself a decent secondhand lens
COVER
ISO 100
ON THE COVER
Get to grips with Canons main autofocus modes
COVER
CO
COLOUR
Subjecting each camera to our
colour chart test reveals any
variation and differences in colour
between Raw and JPEG le formats.
22
RESOLUTION
Our resolution chart reveals exactly
how much detail a sensor can
resolve and its measured in lines per
picture height, abbreviated to l/ph.
ISO 100
ON THE COVER
ON THE
COVER
NOISE
The diorama is used to ascertain
how image noise is handled through
an ISO range. Some cameras
produce cleaner results than others.
WWW.WHATDIGITALCAMERA.COM 3
O PE N IN G S H OT
The art of
architecture
Unless you live somewhere extremely
unusual, the likelihood is you spend
much of your time surrounded by
architecture in one form or another.
Its sheer accessibility is what makes it
such a great subject for photography,
and its the topic of our Top Tips
feature by Lee Frost (pages 50-55).
Covering everything from close-up
details to correcting converging
verticals to shooting at night (such
as this image of LHemisferic and
LAgora in Valencia), we guarantee
youll be inspired to try it for yourself
at the earliest opportunity.
Canon EOS 5D Mark III, EF24-70mm
f/2.8L USM at 70mm, 20 seconds @
f/16, ISO 200
LEE FROST
VISIT WWW.LEEFROST.CO.UK
4 WWW.WHATDIGITALCAMERA.COM
I NCO MIN G
I VA N E D D E R
1 Pentax K-1 firmware
3 Zenmuse Z3 camera
5 Nikon Coolpix W100
FREE www.pentax.co.uk
$899 www.dji.com
Pentaxs V1.20 rmware update for the fullframe K-1 DSLR permits stabilisation of the
HD Pentax-DA 55-300mm f/4-5.8 ED WR
lens. In addition, the update means general
stability is improved.
Drone manufacturer DJI has launched its

rst aerial camera to feature a built-in optical
zoom. The Zenmuse Z3 is capable of up to
7x zoom 3.5x optical and 2x digital
equivalent to a focal range of 22mm to 77mm.
2 Canon Pixma printers
4 Astronomy photography
129 www.nikon.co.uk
Featuring a 30-90mm-equivalent zoom and
13.2MP CMOS sensor, the Nikon Coolpix W100
is built to withstand a dunking to depths of
10m, and is shockproof to drops of up to 1.8m.
Not only that, but its dustproof, too, and is
cold-resistant to -10C.
69.99 AND 44.99 www.canon.co.uk
www.rmg.co.uk
The shortlist for the Insight Astronomy
Photographer of the Year 2016 competition
has been revealed. The overall winner will be
announced on 16 September but for now we
can all marvel at these incredible images.
The Canon Pixma MG3050 and MG255OS use

a hybrid ink system to deliver vivid, vibrant
colours. Both are Wi- enabled, allowing
images to be printed direct from a smartphone
or computer via the Canon PRINT app.
6 Insta360 Nano
$199 www.amazon.co.uk
The Insta360 Nano is the rst HD camera to
shoot and live-stream HD 360/VR photos and
video straight from an iPhone. Its compatible
with the iPhone 6, 6 Plus, 6s and 6s Plus.
T HE PICK OF THE B EST N EW KIT RELEA SED THIS MONTH
NEIL BAR
10
11
12
7 Leica Q firmware update
9 Scottish Landscapes
11 G-Technology capacity
FREE https://uk.leica-camera.com
Leicas rmware update for the Leica Q gives
the camera a minimum shutter speed of 120
seconds. Leica has also optimised the EVF
mode to ease navigation. A press of the
menu or play button now allows the user to
switch straight to the menu control/picture
assessment on the LCD screen.
www.slpoty.co.uk
If ever you need convincing that Scotland
offers the nest locations for landscape
photographers, check out the winners of this
years Scottish Landscape Photographer of
the Year. Its a ne selection and sure to get
you throwing your camera round your neck
and making the journey north.
FROM 535 www.g-technology.com

G-Technology has increased the capacity
and improved performance of its G-RAID,
G-DRIVE and G-SPEED hard drives to keep
up with the growing needs of photographers.
8 Manfrotto Digital Director
10 Nikon f/1.4 portrait lens
FROM 199.95 www.manfrotto.co.uk
2,049.99 www.nikon.co.uk
The AF-S Nikkor 105mm f/1.4E ED is optimised
for portraits, with outstanding bokeh and
excellent sharpness even at its widest aperture.
Updates to Digital Director include bracketing,

DOF preview for Canon DSLRs, high-precision
set focus and simplied workow.
12 New filters from Aurora

FROM $159 http://aurora-aperture.com
Aurora Aperture has introduced the PowerUV
protector and PowerCPL (circular polariser)
lters to its range. Both are constructed from
chemically toughened glass and use a slim
lter frame to helps minimise vignetting when
used on wideangle lenses.
I NCO MIN G / T E C H
THE LATEST TECHN OLOGY FROM
Canary Allin-One Smart

Home Security
Camera
BT Smart Hub
B T.C O M 5 0
outers are far from the

most glamorous tech
devices out there,
meaning they can easily get
overlooked. Look around most
homes and youll probably nd
ISP-provided routers, which are
often pretty terrible with poor
performance and bad specs.
In this regard, BT should be
commended for its new Smart
Hub. It is by far the best ISP
router weve tested.
While the Smart Hub cuts an
unassuming gure, building
upon the Home Hub 5 that
came before it, its design hides
some seriously improved
hardware. There are now seven

antennas, which has boosted
range considerably. Theres
now also a faster USB 3.0 port
on the rear.
Setting up the Smart Hub is
incredibly easy. Theres a RJ-11
socket for your broadband and
four Gigabit Ethernet ports for
connecting wired devices.
For those who hate
remembering Wi- IDs
and passwords, a printed
removable card makes sharing
your network details a doddle.
For its Wi-, BT has included
Wave 2 802.11ac, which is an
improved standard and usually
AMAZON.CO.UK 159
only found on more expensive

routers. This helps with
wireless reliability and speed.
Our tests showed a massive
improvement over the Home
Hub 5 in both wireless speeds
and range even if the range
didnt quite match up to BTs
lofty marketing.
If you are a BT Customer and
have a Home Hub 5, the Smart
Hub is a massive step up and a
worthy upgrade. RE
Dyson 360 Eye

DYSON.CO.UK 800
BOOK REVIEWS
Dyson products have never

been particularly budgetfriendly, so the 360 Eyes
price-tag might leave some
eyes watering. But what you
get is simply the best robot
vacuum cleaner available
and by a signicant margin.
Its a neat little unit: smaller,
yet taller, than rivals. Its
slightly narrower than an iPad
Air and about as tall as seven
DVD cases stacked on top of
one another; its small enough
to go places that most robot
vacuums cant. On the ip
side, its too tall to t under

most sofas and beds.
Its a 360 camera that
inspires the robot vacuums
name. It means it differs from
its bump and move rivals as
it can essentially see in every
direction simultaneously. This
helps it not only map out
where its going but to also
avoid obstacles. It navigates
its way around the room in a
methodical and efcient way.
It does this by slowly working
its way outwards in squares,
each time overlapping
THE UNSEEN
By Edward Thompson
S C HI LT P UB L I SHI NG 30
British documentary photographer

Edward Thompson has created an
almost esoteric body of work using
some of the last rolls of Kodak
Aerochrome colour
infrared lm ever
made. Some decades
after the discovery of
the infrared spectrum
by Sir William Herschel
in 1800, infrared
sensitive photographic
emulsion was made
slightly with its previous path

so nothing gets missed.
Dysons Link app makes
setting up schedules a breeze
and omits gimmicks in favour
of simple and useful features.
You can even see what the
360 Eye did on each of its
sessions. The vacuum is also
smart enough to return to its
base to recharge. RE
widely available and its applications

became diverse. Over the years the
lm found itself applied to around
1,800 documented uses, in realms
such as astronomy, botany, aerial,
landscape and nude photography.
This book looks at some of these
applications and attempts
to draw them out to their
creative and scientic
conclusions. A small review
cannot do justice to such
a diverse and fascinating
book, but this is one
of the most interesting
photography titles to come
out so far this year. OA
ANTHOLOGY
OF FLOWERS
By Jane Field-Lewis & Richard Maxted
QUADRI L L E 15
There are plentiful books out there

about owers, of that you can be sure.
However, very rarely
are they as attractive
and inviting as this.
50 owers decorate
the pages of this
lavish little book and
it must be said that
each photograph
is rather exquisite.
Each image, taken
You probably have plenty of

camera gear stashed at home,
as well as most of your worldly
possessions. Canarys smart
home device can help seriously
bolster your home security.
It doesnt look like a security
camera, which will help blend
it into your decor. The camera
records in Full HD and has
night vision and a motion
sensor to trigger recording.
It can even monitor the
temperature, humidity and
air quality of the room its
located in. Footage is stored in
Canarys server, for which youll
have to pay a subscription
fee depending on how much
footage is stored (between
two days up to a month).
To help cover more of your
home, you can connect up to
four cameras on your network
and control them all from the
iOS and Android apps. RE
by photographer Richard Maxted

seems almost painterly in its lush
detail. Beside every ower we nd a
few captions of information written
by Jane Field-Lewis, who time after
time nds something engaging and
genuinely of interest to say about
each specimen. As
someone with next to
zero interest in owers,
even I would have to
admit that this would be
a very welcome addition
to my bookshelves.
Highly recommended
for the ower-lovers in
your life. OA
THINGS TO TRY THIS MONTH
Try this An unusual viewpoint
TOP TIP
Once you think youve exhausted all the possibilities in a location, dont
pack up and head home keep looking. And dont restrict yourself to
eye-level viewpoints. Instead, crouch down and take a look at the
scene from a different angle you might be surprised by what you nd.
Photographer Justin Minns shot this scene at Orford Ness, a National Trust
reserve on the Suffolk coast, as part of a wider project on East Anglia. An
ultra-wideangle lens helps give a sense of stepping into the scene.
If you arrive at a location and the light is rather

at and disappointing, dont give up. Its perfect
for bringing out detail in a scene, and colours can
appear rich when theres little direct light.
Canon EOS 5D Mark II, EF16-35mm f/4L IS USM at
16mm, 1/60sec @ f/8, ISO 100
www.justinminns.co.uk
X
X XNGS
X XX XTO
X XTXRY
X X T H I S MONT H
T HI
12 WWW.WH ATDIGITALCAMERA.COM
Try this
Take a portrait
on location
The best portraits say something
about the person being
photographed, and one of the easiest
ways of conveying a message about
an individual is to photograph them
in a context that complements what
they do as in this image by Damien
Demolder of a chef in a restaurant.
Familiar surroundings also help put
a person at ease, which makes the
photographers job easier. A classic
portrait focal length lens will help
ensure the background is pleasingly
soft. Anything from 70mm to about
105mm is suitable.
TOP TIP
If you are shooting indoors without ash, you may
need to increase your ISO. Make sure you know
how high you can push your cameras ISO before
image noise becomes problematic.
Leica S (Typ 007), Summarit-S 70 CS, 1/90sec @ f/4.8,
ISO 3200
www.damiendemolder.com
X
X XNGS
X XX XTO
X XTXRY
X X T HI S MONT H
T HI
Try this
Shoot a ruin
The UK is awash with ruined
buildings, and they make a superb
subject for photography especially
when set against a bleak sky and
atmospheric conditions. Jeremy
Walker photographed this ruined
castle at Sinclairs Bay, in the Scottish
Highlands. At either end of the bay
there are ruined castles clinging to
the cliffs edges, he says. These
coastal locations shout out for
stormy skies and rough seas, and
lend themselves to long exposures,
silky seas and blurred clouds. A
sturdy tripod, 24-70mm zoom and a
cable release sufce for this location.
TOP TIP
Check tide times before you shoot at any coastal
location, as the position of the outgoing sea can
affect the atmosphere and feel of the nal image.
Nikon D810, 24-70mm f/2.8 at 45mm, 30 seconds
@ f/11, ISO 100, Big Stopper
www.jeremywalker.co.uk

# ! $

" ! $

! ! $ $! !

OFF-CA MERA FLA S H
ESSENTIAL GUIDE
Off-Camera
Flash
Off-camera ash can be used to create stunning portraits, adding a level of depth
and drama to your images you simply cant achieve with forward-facing ash
alone. We explore how it all works and what you need to get started
WORDS
TO M C A LTO N
ff-camera ash is
a creative lighting
technique that involves
the off-camera
placement of portable ashguns
or sometimes larger studio-style
heads to take control over the
direction and intensity of light it
produces. The technique can be
used whether shooting in midday
sunlight, or shooting in sunset
and sunrise. Its especially useful
in portraiture and has long been
used by wedding, commercial and
fashion professionals. Off-camera
ash is also now popular with
enthusiasts and amateurs, thanks
largely to the increased availability
of cameras with built-in ashtriggering technology and a fall in
the price of wireless ash triggers
and other ash-related accessories.
The idea behind off-camera ash
is that rather than mounting your
speedlight on your cameras
dedicated ash hotshoe and
shooting with the light it emits
facing forward, you instead remove
your ashgun and position it
OAU DLEY
JA RV IS
anywhere you like in relation to

your subject. While front-facing
ash can be effective, it can also
lead to your subject looking atter
and more one-dimensional. By
moving your ash off-camera so
its light bathes your subject at an
angle you can create portraits with
a much greater sense of depth.
A more advanced technique is to
position several strobes at different
angles and set them to different
intensities to create pro results.
Essential equipment
To experiment with off-camera
ash youll need three items: a
camera with a ashgun hotshoe,
and which allows you to shoot in
Manual mode; a ashgun thats
compatible with your camera and
which provides a Manual mode that
allows you to control its power
output; and a device to allow the
camera and the off-camera ash
to communicate with each other.
Broadly speaking, you have three
further options here: a TTL ash
extension cable, a set of wireless
ash triggers, or in certain

circumstances (depending on the
make and model of your camera)
your cameras built-in pop-up ash.
Using a TTL ash cable to
provide a wired connection
between the camera and
your ashgun is the most
straightforward option. TTL ash
cables cost 30-50 for around
three metres of cable. Slide one
end of the cable onto your
cameras hotshoe and the other
onto the bottom of your ashgun,
and youre good to go. While using
a cable lets you retain automatic
TTL ash functionality as well as
Manual control, they limit how far
away you can position your
ash from the camera. Also
the cables can sometimes
get in the way.
Investing in a set of
wireless triggers is the
most exible and
practical way to bridge
the gap between your
camera and an offcamera ashgun. While
Using off-camera
ash is an effective
way to achieve
studio-style portraits
while shooting out
in the eld
E SSE N T IA L GU ID E
Built-in optical
pre-flash systems
Another way of remotely triggering
off-camera ashguns is through
optical pre-ash technology using a
DSLRs built-in pop-up ash. Nikon
TO M C A LTO N
a few ash triggers employ

infrared technology, most use
radio signals as this is a far more
reliable way for your camera to
communicate with a ashgun (or
multiple ashguns) without needing
cables. For a wireless trigger system
to work, you will need to use a
transmitter that slots into your
cameras hotshoe (sometimes called
a commander unit), and a receiver
unit that attaches to your ashgun.
Once everything has been
correctly set up (which involves
ensuring all the constituent parts
are assigned to the same channel
so they are operating over the same
frequency) pressing the shutter
button will cause your off-camera
ash to re. The maximum distance
that wireless triggers can operate
over ranges from 30m to 500m.
Most will be good for at least 100m,
giving you scope to place your
ashes just where you want them.
Unlike infrared or other opticalbased systems, radio triggers do not
require a direct line of sight to work.
The cheaper wireless triggers will
usually do little more than trigger
and are generally not compatible
with your cameras TTL ashmetering system. This means youll
need to put your ashgun into
Manual mode and dial in the ashs
power output settings before
triggering them remotely. If you
want to change settings midway
through a shoot, youll need to stop
what youre doing and manually
adjust each connected ashgun.
Spend a bit more, though, and you
may be able to change individual
ash settings remotely using the
commander unit attached to your
camera. And more advanced triggers
often let you work in TTL or Manual,
giving you the creative freedom of
Manual mode with automatic TTL
ash metering as backup.
Not all wireless triggers support
shooting at shutter speeds above
your cameras native ash sync
speed. To shoot at higher speeds of,
say, 1/2,000sec, youll need a set of
wireless triggers that support this.
Finally, some wireless triggers
double up as a remote shutter for
your camera, which can be useful.
The technique takes a lot

of time and practice to
master, but the benets
of using off-camera ash
are plain to see
has long employed this with its

Creative Lighting System (CLS),
while Canon and Olympus employ a
similar approach with some of their
cameras. The way it basically works
is that your pop-up ash emits a
series of pre-ashes into an optical
port of the receiving ashgun. As
well as being cheaper than thirdparty wireless trigger systems, the
main benet of an optical approach
is that it allows you to work in TTL
ash mode, whereby your camera
will automatically work out all the
correct ash settings for you. While
the minutiae of TTL technology
varies between the manufacturers,
it has generally become very
reliable. You can still get creative
using off-camera TTL too; simply
divide your connected ashguns
into separate groups and then adjust
the ash compensation values for
each as you see t. For example, in
a simple two-ash setup you could
use your main ashgun as ll-light at
its full TTL power, but dial in -1 or -2
ash compensation to an additional
ash acting as a rim light for a more
subtle effect. Also, most optical
systems let you remotely control
your ash settings from your camera
far more convenient than manually
adjusting each connected ashgun.
While optical systems are
generally reliable, easy to use and
dispense with the extra costs of a
third-party wireless trigger, there
are some limitations to be aware of.
The main issue is that the effective
operating distance of an optical
system is shorter than one that uses
radio waves. Most manufacturers

also recommend that their optical
systems are used with a direct line
of sight if possible. Also, direct
sunlight or other bright lights can
sometimes interfere with the signal.
That said, if you own a Nikon, Canon
or Olympus camera that has built-in
optical wireless technology then you
have nothing to lose giving it a go.
Off-camera technique
and settings
Learning how to use off-camera
ash takes plenty of practice. But
the creative benets make it one
of the most versatile techniques
especially for portraiture.
The big question for many is
whether to use automatic TTL ash
metering or to go fully manual.
Off-camera TTL technology has
advanced signicantly in recent
years and is now capable of getting
consistently good results. For this
reason its especially useful when
time is short and you want to grab
a well-balanced shot with minimal
fuss. That said, shooting with your
ash set to Manual mode will give
you a better understanding of how
light works, along with how to
balance the light from your ash
with any available ambient light.
If youre using a cheaper set of
wireless triggers that lack TTL
functionality then youll have to
use Manual mode anyway. So its
worth exploring how things work in
Manual mode in slightly more depth.
When shooting manual offcamera ash, everything including
OFF-CA MERA FLA S H
your camera needs to be put into

Manual mode. The reason for this is
consistency. With your camera in
Manual you will be able to adjust
the shutter speed and aperture in
isolation, knowing that other key
settings will be unaffected.
In contrast, using your cameras
semi- or fully-auto modes will cause
your camera to continue metering
and to compensate for any changes
you make to other settings; taking
control away from you and making
the result much harder to predict.
Shooting in Manual mode is
essentially a two-step process:
the rst stage is to meter for the
background so that it is perfectly
exposed and the second is to add
ashgun light that pulls your subject
out from the background. Your goal,
especially when starting out, should
be to learn how to balance the
ambient light with the light emitted
by your ashgun so the nal image
looks as natural as possible. Itll still
pop and have plenty of depth, but
it will also look balanced. Once
youve mastered this delicate
balancing act, you can experiment
with more dramatic looks say, by
deliberately underexposing the
background by a stop or two so the
main subject is more pronounced.
The golden rule when shooting
in Manual mode with ash is that
shutter speed controls the amount
of ambient light reaching the sensor,
while aperture controls the amount
of ashgun light that reaches it.
Note that if your wireless ash
triggering system doesnt support
Balancing off-camera
ash with natural
sunlight can produce
some eye-catching
results
FP/High-Speed Sync, youll need to

settle on a shutter speed that falls
below your maximum ash syncspeed, which is usually around
1/200 to 1/250sec depending on the
make and model of your camera.
Once youve settled on a shutter
speed and aperture combination
the next step is to set your ash
output. Once youre familiar with
your ashguns output levels in
Manual mode, this will become
much more instinctive. As a starting
point, try setting your ash to one
quarter () power at a distance of
eight feet and adjust from there.
Learning how to use a lightmeter
can save you a lot of time here, as
it will tell you exactly what ash
settings to use for any given shutter
speed/aperture/ISO combination
for a balanced image. If you dont
have a lightmeter to hand then
remember you can also use your
aperture to decrease or increase the
level of ashgun light that reaches
the sensor, though changing it will
of course also affect the depth of
eld. If you decide to reposition
your ash and this changes the
distance between it and your
subject then remember to account
for the inverse square rule: every
time you double the distance your
ash will produce a quarter as much
light. Also bear in mind that you will
need to increase the ashguns
power if you are using a softbox or
other modier, as these reduce your
ashs output by a stop or two.
Aside from your camera and ash
settings, the other key thing to
consider is where to place your

ashgun(s). If youre just using
one then, as a starting point, try
positioning it at a 45 angle to your
subject. This will create a sense of
depth, without leaving too much of
your subject in shadow. If youre
only using one ashgun, avoid
positioning it any wider than 45;
placing it at 90 to the subject, for
example, will result in one side of
them being much darker dramatic,
but not necessarily all that attering.
Also, try to keep the ashgun at the
subjects eye-level (using a light
stand or tripod), or even a bit higher
and angled slightly down. This
produces the most attering light
and will reduce any harsh shadows
in their eyes. Placing a reector on
the opposite side to the ash can
also be benecial as it will add a bit
of ll light on the shadow side.
If using multiple ashguns you
can start to widen the angles, using
one ash as a key light and the
other (on a reduced power setting)
as a ll light. Alternatively, you could
try positioning one directly behind
your subject to produce an ethereal
rim light around them that further
helps distinguish them from the
background. Or you could use one
ash on your subject and position
the other so as to illuminate parts
of the background, thereby adding
extra interest to the shot. The trick is
to play around, experiment and see
what works for you. If youve not
already tried off-camera ash, youll
be amazed by how many effects,
moods and looks you can create
with no more than two small ashes.
TO M C A LTO N
Flash modifiers
Once youve mastered the basics
of off-camera ash, the next step
is to learn how to shape and modify
the light produced by your
ashgun(s). This is where dedicated
ash modiers such as diffusers,
softboxes and umbrellas come into
play. Different shapes and designs
will alter the direction in which the
light travels, either focusing it into
a narrow beam (e.g snoots) or
spreading it as wide as possible
(e.g umbrellas). Softboxes are
considered by many to be a good
halfway house as they diffuse and
soften the light from your ashgun,
but spread it in a more controllable
way than an umbrella. This makes it
easier to illuminate specic parts of
the frame without too much light
spilling out into other areas.
E SSE N T IA L GU ID E
The best
off-camera
accessories
and wireless
flash triggers
Sekonic L-308S
light meter 150
Lastolite
8-in 1
Umbrella
kit & Stand 120
W W W. S E K O N I C . C O M
W W W. M A N F R O T T O . C O . U K / L A S T O L I T E
Built-in camera metering systems are extremely

accurate and can be used to meter for the ambient
light behind your subject to ensure the background is
perfectly exposed. That said, having a decent
lightmeter can help you out in a number of additional
ways. The main benet to using one with off-camera
ash is that it enables you to quickly and accurately
calculate the correct settings to use. Having one to
hand removes all of the initial guesswork, speeds the
whole process up and enables you to get consistently
balanced exposures. The Sekonic L-308S is an
easy-to-use entry-level lightmeter that offers the full
range of functionality, from measuring ambient light
to calculating the correct ash settings. If you want to
build your off-camera ash skills then learning how to
use a lightmeter will denitely help, and the L-308S is
a very good lightmeter to begin the process with.
Shoot-through umbrellas are popular with

professional portrait photographers as they
dramatically soften the otherwise harsh, directional
light of an unmodied ashgun. The key selling point
of the Lastolite 8-in-1 umbrella kit is its versatility;
supplied with a range of accessories, it can be adapted
in a number of ways to make it much more than just a
standard shoot-through. The white umbrella comes
with three detachable linings: a black outer lining with
a detachable square door (that allows it to be used as
a square shoot-through); a silver inner lining that
provides added contrast to give your images a more
commercial look; and a white cover that effectively
turns the umbrella into a softbox. Combined with a
regular speedlight the 8-in-1 can be used in all sorts
of ways to provide soft, even light that makes it
invaluable when shooting portraits.
Manfrotto
1051BAC
Mini
Compact
Light
Stand 60
Interfit
Strobies
Speedlite Softbox
60x60cm 90
ProFoto B2 250
AirTTL To-Go Kit
1,495
W W W. M A N F R O T T O C O
H T T P : // I N T E R F I T P H O T O G R A P H I C . C O M
H T T P : // P R O F O T O . C O M
If youre going to position your ashgun off-camera

then a light stand is a solid investment especially
when you dont have an assistant to hand. The
Manfrotto 1051BAC is a lightweight light stand thats
ideal for holding a ashgun in place. Comprised of four
sections with three twist-lock risers, the stand extends
to 2.1m in height with a 70cm footprint for stability.
Its designed to support up to 5kg in weight, which
should be ample to hold a ashgun and a small
softbox in place. For added protection each section is
air-cushioned too, preventing any accidental jolts to
your kit when the locks are loosened under weight.
The top of the stand is nished with a standard
w/3/8in thread for attaching brackets and mounts, and
a removable 1/4-2in thread is also supplied. Weighing
1kg, the Manfrotto 1051BAC folds down to just 75cm in
length, making it easy to carry in between uses.
While shoot-through umbrellas are a popular choice,

they are often guilty of spilling light beyond where its
required. This is where a softbox can help. While the
diffused light is still spread out quite widely, the shape
of a softbox makes it slightly easier to direct the light
more accurately towards your subject, keeping spilled
light to a minimum. The Intert Strobies Speedlite
Softbox is purpose-built for portable ashguns and it
can be folded down and stored inside a supplied carry
bag for easy portability. The interior of the softbox is
silver lined and comes with two white diffusion
panels, enabling you to create soft diffused light at
all times. Flashguns are held in place via a clamping
mechanism that opens up to 80mm in width and
50mm in height. This clamp is attached to a tiltable
bracket for extra exibility, which in turn can be
attached directly to a standard 5/8in lighting stand.
The Profoto B2 bridges the gap between a regular

speedlight and a studio ash head in that its both
powerful and portable ideal for aspiring wedding or
event photographers. With some 250Ws of power
(about the same as six Nikon SB-910 speedlites
combined) the B2 is fully compatible with Nikon and
Canon TTL ash metering systems and can also be
used in Manual should you want to set your own
output values. The B2 supports high-speed sync,
allowing you to shoot at shutter speeds well beyond
your cameras maximum ash-sync speed. To go
wireless youll also need a compatible Profoto Air
Remote TTL transmitter unit, as these dont come with
the To-Go kit. They are available for Canon (Air Remote
TTL-C) and Nikon (Air Remote TTL-N) cameras at about
320. Theres a generic Air Remote (225) transmitter
for other camera makes, but this does not support TTL.
By now you should have all the information

you need to master the basic technicalities
of off-camera ash.
On this page we recommend ve
off-camera accessories that you should
nd most helpful. These include dedicated
ash modiers such as diffusers, softboxes
and shoot-through umbrellas, which all
pretty much serve the same basic purpose:
to diffuse and soften the light in order to
reduce harsh shadows.
Meanwhile, on the facing page, we
recommend six wireless ash triggers,
because wireless triggers are the best
option for allowing your camera and the
off-camera ash to talk to each other.
With a few of these accessories, youll
be ready to experiment with off-camera
ash. Give it a try, and have fun!
OFF-CA MERA FLA S H
W W W. P O C K E T W I Z A R D . C O M
W W W. P H O T T I X . C O M
The Hhnel Captur Remote is a budget wireless trigger

kit that comes with both a transmitter and a receiver.
The set is available in bespoke editions for Nikon,
Canon, Sony, Pentax, Olympus, Panasonic and Fujilm
cameras. While overall functionality is very basic, the
triggers are reliable. The top of the transmitter unit
also features an additional hotshoe so you canconnect
an extra ashgun directly to your camera. The Captur
Remote doesnt support TTL so you will have to set
your own ash output levels in Manual mode. The
Capture Remote can also be used to activate the
shutter remotely. Extra receivers are about 40 a pop.
This is PocketWizards entry-level ash triggering

system, but is still built to a high standard. It doesnt
support TTL, so you will need to set your ash power
manually. And while it can sync to 1/250sec it does not
support high-speed sync. The twin-dial controls mean
the PlusX is very easy to use. While the transmitter
unit slots into your camera hotshoe, the receiver unit
needs to be attached to a ash via a ash sync cable.
This is supplied alongside a PC cable for your camera
enabling the PlusX kit to be used as a remote shutter
control. A green/yellow/red LED light indicates battery
life, and informs you when the PlusX is ready to re.
Currently available for Nikon, Canon and Sony

cameras, the Odin II Transmitter is Phottixs agship
wireless device. It has full TTL compatibility and can
run connected ashes in Manual mode. High-speed
sync is supported up to 1/8,000sec, as is second
curtain sync with compatible Nikon and Sony cameras.
It benets from a bright LED and full remote control
over connected ashes. You can use the buttons to
control ash compensation values for ashes
connected in TTL mode, or to adjust the power output
of connected ashes that have been set to Manual. You
can even control the zoom head on connected ashes.
SIGNAL TYPE
Radio
WIRELESS RANGE
100m
Manual only
MANUAL/TTL FLASH
REMOTE FLASH SETTINGS CONTROL
No
HIGH-SPEED SYNC
No
POWER
2x AA batteries
SIGNAL TYPE
Radio
WIRELESS RANGE
500m
Manual only
MANUAL/TTL FLASH
REMOTE FLASH SETTINGS CONTROL
No
HIGH-SPEED SYNC
No
POWER
2x AA batteries
SIGNAL TYPE
Radio
WIRELESS RANGE
100m
Manual and TTL
MANUAL/TTL FLASH
REMOTE FLASH SETTINGS CONTROL Yes
HIGH-SPEED SYNC
Yes
POWER
2x AA batteries
KEY
SPECS
W W W. H A H N E L . I E
KEY
SPECS
Phottix Odin II
Transmitter / Odin II
Receiver 160 / 125
KEY
SPECS
Hhnel Captur
Remote 60
Pocket
Wizard
PlusX
Transceiver
Twin Kit 140
W W W. P O C K E T W I Z A R D . C O M
W W W. N I S S I N D I G I T A L . C O M
W W W. C A C T U S - I M A G E . C O M
Available for Nikon and Canon DSLRs, PocketWizards

MiniTT1 is optimised to work with either Nikons i-TTL
technology or Canons E-TTL system. Alongside full TTL
functionality you can trigger Nikon and Canon ashes
that have been set to Manual mode (or a combination
of TTL and Manual). The MiniTT1 also allows you to
shoot with off-camera ash in bright sun at shutter
speeds up to 1/8,000sec. The MiniTT1 slots directly into
your cameras hotshoe and has a secondary hotshoe
so you can attach an extra ash above the MiniTT1. To
take advantage of the MiniTT1s features you will need
to pair it with a PocketWizard FlexTT5 receiver (180).
The Nissin Di700A and Commander Air 1 transmitter kit

is available for Nikon, Canon and Sony cameras and
bundles the Di700A ashgun with a Commander Air 1
transmitter. The Di700A ashgun has a power rating
of GN48 and a 24-200mm ash head zoom. More
important it has all its wireless receiving technology
built-in, meaning theres no need to attach a receiver
unit when using it with the Commander Air 1
transmitter. You also get full TTL and Manual ash
control, plus High-Speed Sync functionality up to
1/8,000sec. While the operating range is a bit behind
the competition, the package otherwise is great value.
The Cactus V6 comes preinstalled with ash

power-output proles for over 30 ashguns. This
means Canon, Nikon, Fujilm, Olympus and Panasonic
cameras can be used to re Canon, Nikon, Olympus,
Panasonic or Pentax-t ashes. For those on a budget,
you can seek out cheaper ash units from third-party
manufacturers and use the V6 to connect them
wirelessly to your camera. Users who own both a CSC
and a DSLR can use their DSLR ashguns with their
CSC, potentially saving hundreds on buying bespoke
ashguns for each camera type. One V6 transceiver
costs 50, and youll need two to get up and running.
SIGNAL TYPE
Radio
WIRELESS RANGE 240m TTL, 365m Manual
MANUAL/TTL FLASH
Manual and TTL
HIGH-SPEED SYNC
Yes
POWER
CR2450 3V battery
SIGNAL TYPE
Radio
WIRELESS RANGE
30m
MANUAL/TTL FLASH
Manual and TTL
HIGH-SPEED SYNC
Yes
POWER 4x AA batteries/ 2x AAA batteries
SIGNAL TYPE
Radio
WIRELESS RANGE
100m
MANUAL/TTL FLASH
Manual only
HIGH-SPEED SYNC
Yes
POWER
2x AA batteries
KEY
SPECS
Cactus V6
Wireless Flash
Transceiver 50
KEY
SPECS
Nissin
Di700A
and Commander
Air 1 transmitter
200
KEY
SPECS
Pocket
Wizard
MiniTT1
Transmitter /
FlexTT5 Receiver
160 / 180
PORTFOLIO
Vicky Slater
S A L I S B U R Y,
W I LT S H I R E
y photographic
journey began 10
years ago, though it
has primarily been an analogue
path with the much-loved
Hasselblad. But now I am
thoroughly enjoying the
simplicity of the digital world.
I chose Nikon originally as the
D70 tted my hand so well, and
then I progressed to the D90,
the D7000 and this year the
full-frame D750. Along with its
far greater capabilities in low
light and with focusing, I love the
swivel back that lets me play
with different points of view.
Portraiture has always held
a strong attraction for me and
being given permission to look
so closely at people is a
privilege. Im hoping to show
their humanity and beauty, the
things we all have in common
the same but different.
When Im shooting I keep
things very simple: a prime lens,
natural light, minimal direction,
and handheld so I can move
easily around the subject.
I enjoy working occasionally
on B&W images, but I am much
more connected to colour.
I believe we respond to it
emotionally and being sensitive
to the small
variations in tone
are as important
as the light and
composition.
WWW.VICKYSLATER.COM
VICKY USES A
Nikon D750
I only have two lenses for this camera

as yet so I primarily use the Sigma Art
30mm lens and occasionally the Nikon
50mm f/1.2, I like to get physically
close with portraits. I dont use lters
or ash. My Apple iMac is loaded with
Photoshop CS4 and I am just trying to
learn Lightroom 4.
1 Rod
An artists portrait taken on the

rst oor of an empty bank. Felt
very quiet and still, which I think
reects in this picture.
Nikon D90, Sigma 30mm lens,

1/200sec @ f/2.2, ISO 320
2
2 Stella
A house guest from Sweden.

This was taken in the doorway
of a dark room.

1/60sec @ f/1.8, ISO 200
3 Victoria
4 Grace
Victoria added colour with

lipstick and we made the
background more interesting
with a sheer curtain.
As always, walking around,

talking, looking. Sparkly eye
shadow, a curtain of hair and
an unusual crop.

1/125sec @ f/4.5, ISO 400
Nikon D90, Nikon 50mm lens,

1/500sec @ f/1.4, ISO 640
THE READER selected for Portfolio will receive an ultra-reliable Samsung SDHC PRO 32GB Class 10
memory card. It has transfer speeds of up to 90MB/s and will
withstand the harshest conditions. Visit: www.samsung.com

AUTOFOC U S
MASTER YOUR CANON
Using the autofocus modes

on your Canon DSLR
Canon DSLRs have sophisticated autofocusing systems that
can get subjects sharp faster than the blink of an eye. Heres
how to get the best from them
WORDS AND PICTURES ANGELA NICHOLSON
anons rst 35mm SLR with

autofocusing, the T80, was
introduced back in 1985. At
that time there was some
scepticism about autofocusing, with
many photographers questioning
the need for it and doubting its
accuracy. Leap forward over 30
years to the modern day and there
are many photographers who have
never used a manual focus camera,
and even more who would question
not using autofocusing. In fact, these
days we almost take autofocusing
for granted, but its worth spending
some time understanding the
options that are available in order
to get the best from it.
One-shot AF
Of the three AF modes offered on
Canon DSLRs, One-shot AF mode
is the most commonly used and
many people regard it as the

standard autofocus option. When
this mode is selected, the camera
focuses the lens when the shutter
release is pressed halfway down.
Once focus is achieved, if the button
is kept held down the lens will not
adjust the focus even if the subject
or the camera moves. If you want to
refocus the lens you have to lift your
nger from the shutter release and
half-press again.
This is a useful autofocus mode
for a wide range of photography
including portrait, still-life, macro
and landscape photogaphy
anything with a motionless subject.
Its not usually a good choice,
though, for sport and action when
the subject is moving.
When youre shooting in Oneshot AF mode, the active AF point
needs to overlie the subject in the
As the surfer was quite

small in the frame, I used
Single-point AF mode
with the point held over
him as he moved along
the wave and towards
the camera. Shooting
continuously in AI Servo
AF mode ensured he was
sharp throughout the
sequence of images
frame in order for the camera to

get it sharp. Canon DSLRs can
select the correct point to use
automatically or you can do the job
yourself (see the Focus Points box
for more on this). However, in some
instances there may not be an
autofocus point exactly where
you need it and thats where the
focus-and-recompose technique
can come into play.
In some very low-light or
low-contrast conditions, you may
nd that the camera is unable to
focus on the subject and therefore
the focus conrmation ashes in
the viewnder. If this happens, you
should try to position the AF point
over part of the subject that has
greater contrast and give it another
go using the focus-and-recompose
technique if necessary.
AI Servo AF
This is the focus mode of choice for
sports and action photographers
because it sets the camera to
continually check and adjust the
focus while the shutter release
M ASTE R YO U R CA NON
Focus and recompose

This is a technique that dates back to when cameras
only offered one focusing area at the centre of the
frame and it provides an easy means of getting the
subject in focus while creating the composition that
you want. Even today some people like to use it to
save time changing AF point.
To use the technique, rst ensure that the
camera is set to One-shot AF mode then look
through the viewnder and position the active
autofocus point over the subject. Next press the
shutter release button down halfway to focus on
the subject. Once focus is conrmed, keep your
nger on the shutter release and reposition the
camera (keeping subject distance the same) to
create the composition that you want. Then press
the shutter release home fully to take the shot.
Its not essential, but its often a good idea to
use the centre AF point because this is the most
sensitive and gives your camera the best chance of
getting the subject sharp in low-light conditions.
This bird was walking

along a branch towards
me which meant I was
able to keep a single
focus point more-or-less
over his eye while I shot
AI Servo AF to adjust the
focus as he got closer to
the camera
Step
by step
How to set
the AF and
AF point
selection
modes on the
Canon EOS
5D Mark III
button is pressed. Its often used

with Continuous shooting mode in
order to take a sequence of images
with the focus adjusting between
shots as the subject moves towards
or away from the camera.
It is used in the same way as
One-shot AF mode with the active
AF point or area being positioned
over the subject and the shutter
being half-pressed to achieve focus.
Because the camera is anticipating
that the subject will move, it
constantly checks focus and as
result if this mode is used with a
stationary subject the image in the
viewnder can seem jittery with
focus shifting backwards and
forwards very slightly.
Unlike with One-shot AF mode,
even if its activated the beep will
ONE
TWO
THREE
Canon EF and EF-S lenses have a switch

to set them to manual or autofocus
mode so the rst step is to ensure that
this is set to the correct position, and if
not give it a ick.
Now press the AF/Drive button on the

top-plate of the camera and look at
the top LCD screen. Rotate the front dial
near the shutter release button until
the desired AF mode is displayed.
Now to set the AF point selection mode.

First press the AF point button on the
back of the camera then look through
the viewnder while pressing the M-Fn
button to toggle through the options.
AUTOFOC U S
not sound nor will the focus

conrmation light illuminate when
focus is achieved.
AI Servo AF mode should not be
used when employing the focusand-recompose technique because
the camera will refocus on the point
under the active AF point when the
image is recomposed.
Using One-shot AF mode

ensured this motionless
subject was sharp
AI Focus AF
In this mode the camera switches
automatically between One-shot AF
and AI Servo AF mode as it deems
appropriate. If it detects that the
subject is stationary it will use
One-shot mode, but if it perceives
movement it changes to AI Servo
AF mode and tracks the target.
In this mode, when the Servo
system is active the focus beep
will sound softly but the focus
conrmation light will not illuminate.
On paper, AI Focus AF mode
seems like a convenient option, but
its something of a compromise
between One-shot AF and AI Servo
AF mode. With moving subjects, for
example, there can be a slight delay
between the movement taking
place, the camera recognising it and
AI Servo mode kicking in. This can
mean missed shots. It can also
misinterpret camera movements
(for example when using the
focus-and-recompose technique)
for subject movement and thus
activate AI Servo AF mode when
One-shot AF would be a better
choice. Consequently, although
this mode is intended as a multipurpose option, in most situations
it is best to set your camera to
One-shot AF or AI Servo AF mode
depending upon whether your
subject is moving or not.
Focus points
Canon DSLRs offer a collection of autofocus
points, varying in number from nine in the
EOS 1300D and EOS 100D to 65 in the EOS
7D Mark II. The centre point is the most
sensitive point, being cross type and is
therefore able to detect contrast
horizontally or vertically. Theres also doublecross type for even greater sensitivity.
There are several options available for
setting the active AF point. In X-Point
Automatic Selection AF mode (for example,
61-Point Automatic Selection AF mode with
the Canon 5D Mark III) the camera uses all
the available points to determine where the
subject is and to focus on it with no
intervention by the photographer.
At the other extreme theres Single-point
AF mode in which you select one point to
use for focusing. This is a great option with
stationary subjects and when you are
condent that you can keep the active point

over the subject.
There are also Zone AF point options that
group the AF points together into zones that
can be selected. The camera then looks for
the subject within the selected zone and
focuses accordingly. This narrows down the
target area in comparison with Automatic
Selection mode and helps the camera
determine where the subject is faster and
more accurately. Its a good choice with a
moving subject when youre shooting
continuously because its easier to keep a
zone over the subject than it is a single point.
Some of Canons more advanced DSLRs
offer additional options such as Single-point
Spot AF mode, which is a little more precise
than the standard Single-point AF mode
and AF-point expansion options that are
essentially smaller zone focusing options.
FOUR
FIVE
SIX
In 61-point Automatic selection AF mode the camera

will select the AF point automatically, so if youve
selected this mode youre all set to start shooting.
In any of the other modes, look through the

viewnder and press the AF point button to display
the available points/zones. Now use the mini joystick
control or the dials to select the point you want to use.
To speed up AF point selection, use the Custom

Controls in Custom Function menu 2 to enable you
to set the AF point directly with the joystick without
pressing the AF point button.
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XWC CODE 13C
MASTER YOUR NIKON
STREET PHOTOGRA PHY
Street photography
with your Nikon DSLR
Shooting candid moments on
the street requires fast reactions,
condence, and full control of
your camera and your equipment
WORDS AND PICTURES MARK HIGGINS
treet photography is an
all-encompassing term for
candid pictures taken in
public places. These pictures
often, but not always, feature
people, most of whom are going
about their daily business. Unlike
reportage, images from this genre
do not have to be newsworthy, and
the photographer is under no
obligation to cover specic events.
For street photographers small,
everyday actions make for ideal lens
fodder dog walkers, shoppers
standing in front of advertising
billboards, buskers performing, and
the like. Real life, in all its guises, is
the star of the show.
This form of photography has
been around for more than a
century, and many experts consider
Paul Martin (1864-1944) one of its
greatest pioneers. Martin used a
hidden camera (disguised as a
paper parcel) to shoot porters
The way humans behave

in public is always
fascinating to observe
people walking dogs,
sheltering from the rain,
or even just queuing!
working in Londons busy street

markets. The images are
wonderfully unselfconscious, but
many of Martins contemporaries
struggled to appreciate their
artistry. These individuals
considered everyday activities
unworthy of the effort required
to expose and process a glass
plate negative. More recent
practitioners include Henri CartierBresson, Walker Evans, Garry
Winogrand, and Tony Ray-Jones.
Studying the work of these artists,
and their talented peers, is a great
way to determine what makes a
successful street picture.
What these works have in
common is a raw, sometimes slightly
alarming, honesty. Winogrands
women throw their heads back in
unselfconscious mirth; CartierBressons children acknowledge him
without a hint of insecurity; Walker
Evans subway passengers adopt
a familiar middle-distance stare.
Despite the natural behaviour
displayed by their subjects, these
photographers rarely got lucky.
Their pictures were a result of
condence, focus, anticipation,
quick reactions, control over their
equipment, and visual artistry.

What they were aiming for were
standalone pictures that captured
an honest, impromptu moment in an
aesthetically pleasing way.
Street photography
techniques
If all this sounds a little daunting,
take heart there are many ways to
simplify the process. Firstly, before
you head outside decide on the
type of street photography you
would like to focus on. Many people
choose human behaviour or
expressions, but alternative subject
matter includes architecture (lines,
shapes, shadows), humour (pets,
oddly placed advertising, shop
window displays), and street art
(grafti, typography, sculpture). You
could even give yourself a one-line
directive such as look up, and
shoot what you observe while
following it. If you nd that
specialising in one area is too
limiting, choose two or three
sub-genres and work on multiple
projects simultaneously.
Before we look at optimal camera
settings, its worth mentioning that
the two most important tools you
M ASTE R YO U R N IKON
The 10shot rule
have for capturing memorable

street scenes are your eyes. If you
squint when you look at your
subject you will see it as a collection
of shapes, rather than becoming
distracted by details this is a great
way to hone your compositional
skills. However, when you look
through the viewnder its best to
keep both eyes open if you can. This
may feel uncomfortable at rst, but
by doing so you can stay abreast of
whats happening outside of the
viewnder, helping you to anticipate
the action. Finally, its worth bearing
in mind that your central vision
accounts for a relatively small part
of what you can actually see, so to
increase the strength of your
peripheral vision (which can help
you to notice things out of the
corner of your eye) try a few basic
eye exercises (see YouTube).
When it comes to technique, the
Step by step
Mastering
street
photography
with your
Nikon DSLR
When you nd a good

background, stay still and
wait for the right subject
to enter the frame
rst thing to do is to ditch your

tripod. There may be times when
its genuinely useful (shooting
buildings, grafti etc.) but more
often than not it will draw attention
to your presence, and slow you
down. With the tripod at home,
youll need to adopt a steady stance
and a relatively fast shutter speed
(1/200sec or more) to prevent
camera shake. If you want to totally
blend into the background, try
dressing in black, and disabling the
beep on your camera. To be even
less conspicuous, leave the DSLR
at home and use an advanced
compact, such as the Nikon DL
series, or a smartphone.
The next consideration is image
Keep both eyes open when

looking through the viewfinder,
to help anticipate the action
To avoid coming home with

mediocre pictures, observe the
10-shot rule. When you arrive
at a location, pick a spot (it
doesnt have to be particularly
photogenic) and stand still.
Now take 10 pictures without
moving your feet. You can vary
the focal length of the lens,
alter the aperture or shutter
speed, put the camera on the
ground or hold it above your
head, but you must not move
your feet.
When you review the pictures
youve taken, you might be
surprised by the variety of
material youve captured. This
exercise is intended to make
you explore the potential of
your surroundings. We can walk
miles looking for photogenic
subject matter, only to return
home with nothing. But if we
stand still and really explore
whats close by we will often
come home with thoughtprovoking pictures.
Another good exercise is
called getting through the
tourist barrier. When you arrive
at a location you take a series
of pictures in fast succession,
snapping away as though you
are a tourist. With these panic
shots out of the way you then
select a subject, slow right
down, and explore it
thoroughly. Remember, your
rst ideas are rarely the best.
ONE
TWO
Ditch the tripod. Adopt a steady stance and use a

relatively fast shutter speed (1/200sec or more) to
prevent camera shake.
Choose a focusing method that suits you. Whether you use

back-button focus (via the AF-On buton), or AF-C (Auto
Focus Continuous Servo) is a matter of personal preference.
STREET PHOTOGRA PHY
quality. For the sake of speed

(both during and post-capture) you
might be tempted to shoot JPEGs,
but street photography is one area
where the Raw format denitely has
the edge. The average street is so
full of colour, for example, that you
might like to convert your le to
black & white in order to limit the
distractions. Whats more, if youre
shooting close to shop windows
you could nd that youre dealing
with mixed lighting (a combination
of natural and articial sources of
light). On such occasions youll want
to shoot in Raw to give you more
options when it comes to tweaking
white balance during the postprocessing stage.
If the scene is changing rapidly,
youll want to shoot a succession of
images very quickly. To do this youll
need to use one of the Continuous
shooting modes on your camera.
Most Nikon DSLRs provide two
options: Continuous low speed (CL)
and Continuous high speed (CH).
The number of frames you can take
in each mode varies between
models, but if we take the Nikon
D500 as an example you can shoot
up to nine frames per second in CL
mode (dictating exactly how many
via the Custom Settings menu), and
up to 10 frames per second in CH
mode. If you choose to shoot the
maximum number of frames in
either of these modes, you may
regret it when it comes to
processing them later. (At this point
its also worth mentioning that
using the Continuous shooting
modes will drain your battery and
ll your memory cards fast, so pack
plenty of spares.)
You can now turn your attention
to focusing. Whether you decide to
use Back-button focusing (via the
Street photography
is not limited to
human behaviour
architecture
and transport can
also make good
subject matter
STAY
STREET
SMART
With street
photography, the
law is complicated
but the best
advice is to ensure
that you (and the
camera) are on
public property
before ring the
shutter: parks and
shopping malls
are often privately
owned.
While it is
legally acceptable
to photograph
someone in a
public place
(as long as the
image isnt going
to be used for
a commercial
or defamatory
purpose), use
your common
sense. No portrait
is worth getting
punched over.
Also, when youre
concentrating on
taking pictures
you can be an
easy target for a
thief. You can buy
camera straps
with internal slash
proof wires, and
movement alarms
for your bags.
AF-On button), a more traditional

approach (such as using Auto Focus
Continuous Servo and opting for
Group Area AF), or try setting the
lens to innity and selecting a small
aperture to ensure vast depth of
eld, is entirely up to you. Stick with
what you know and you will

undoubtedly increase your hit
rate. The truth is, there is no
magic formula: successful street
photography is more about your
approach than your technique, so
be brave and get out there.
THREE
FOUR
FIVE
Check the exposure. Also, bear in mind that you may be faced
with mixed lighting conditions, so shoot Raw to give you more
exibility over the white balance in post production.
Wait for the action to unfold. If you keep still and remain
aware of your surroundings you are much more likely to
succeed. If possible, keep both eyes open.
Review your work. The average street scene is so full of

colour that it might help to convert your le to black &
white to reduce the distractions.
Cover your
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Personal Accident
FUJIFILM X-T1
EXPERT GUIDE
The X-T1 handles like an SLR, but offers the benets of a compact
Fujifilm X-T1
W W W. F UJ I F I L M .CO.U K
arrying retro styling

with cutting-edge
technology, the
Fujilm X-series has always
been something of a crowd
pleaser. The line-up began
in 2011 with the X100, a
compact camera with an
APS-C sensor aimed at
professionals and serious
enthusiasts. The camera had
many commendable features,
but its lens was xed, which
limited its appeal. This was
remedied a year later when
the company introduced the
X-Pro1, an interchangeablelens camera with electronic
X lens mount. Since then
there have been multiple
additions to the range, but
most have been aimed at
amateurs and, as such, they
have a pared-down spec
sheet. In 2014, however,
Fujilm released the X-T1.
The X-T1 handles like an
SLR, but weighs 440g and
measures 12.9cm on the
longest edge. It features the
same sensor as the X-E2 (a
16MP APS-C X-Trans CMOS II
version) and uses a pixel
structure that eliminates the
need for an optical low-pass
lter. This reduces imaging
artefacts and maximises the
sensors resolution. The
sensor and the EXR
Processor II are together
responsible for the cameras
hybrid AF system, which
claims to achieve focus in
0.08 seconds. Unfortunately,
phase detection coverage is
not quite as wide as some of
its competitors. The camera
excels, however, with its
2.36m-dot electronic
The X-T1
impresses in
its fantastic
handling and
its robust build
quality
Fuji X-T1
Fujilm has continued to improve upon

what is already one of the most successful
ranges in photography of late. The X-T1s
X-Trans sensor delivers some fantastic
results, recording high levels of detail
throughout the ISO range and in difcult
lighting conditions. There has been a fair
amount of discussion about how this is the
camera the Nikon Df should have been, in
terms of its design and more compact
nature, and its hard to disagree. Though
you are sacricing a little in terms of real
high ISO work, the X-T1 is a more appealing
package. It isnt awless it would have
been nice to see a touchscreen. But theres
no denying the X-T1s quality, and its one
of the best premium CSCs on the market.
PROS CONS
Large, highresolution EVF
Fast and accurate
AF Optional battery
grip Weathersealed Impressive
image quality
Good range of lm
simulation modes
The X-T1s tilt

screen is an
improvement
on the X-Pro1s
xed display
LAUNCH
PRICE
CURRENT
PRICE
Fuji X-E2
No touchscreen
elements LCD
screen tilts, but is
not articulated
Limited manual
control over video
AF coverage
doesnt reach
frame corners RECOMMENDED
How it stacks
up today
1, 05 0
7 95
viewnder, which is a real joy

to use. The 3in LCD screen,
though, has no touchscreen
elements, and can be tilted
but not fully articulated.
Image quality is top-notch,
with a range of lm
simulation modes to choose
In the range How the Fuji X-T1 tted in the range
Fuji X-Pro1
What our
test said
from including Velvia and

Provia. White balance is
accurate and consistent,
and, thanks to the 256-zone
metering system, exposure
is very good. If proof of the
target market were needed
the X-T1 has a water-resistant
body (using more than 75
seals), and can be paired
with an optional battery grip,
permitting 700 shots in total.
This is one for the serious
enthusiasts and pros.
Fujilm recently released the X-T2 with

an radically improved video mode (now
offering 4K movie footage), updated
24.3MP sensor and processor, a rened AF
system, and dual SD card slots. A clever
new screen design now tilts sideways,
as well as up and down.
Alternatives
The closest rival to the X-T1 is the Olympus
OM-D E-M1. This similarly-sized CSC has a
16.3MP sensor (albeit a smaller one than
the X-T1), a 2.36m-dot EVF, a tilting screen,
and a hybrid AF system. The X-T1 can also
be pitted against APS-C DSLRs such as the
Canon EOS 70D and the Nikon D7100.
KEY SPECS
SENSOR 16MP APS-C CMOS
ISO 200-6400 (Raw), 100-51,200 (JPEG)
BURST MODE 8fps
MOVIE Full HD (1920 x 1080)
DISPLAY 3in tilting LCD (1.04 million dots)
DIMENSIONS 129 x 90 x 47mm
WEIGHT 440g (including batteries and card)
X X X X X XGUIDE
EXPERT
XXXXXX
The Fujifilm X-T1 A user gives her verdict

Karen Green
C O R N WA L L
d always hankered after

a proper camera after
receiving my rst point and
shoot, a Halina 126, when I was
nine years old. Photography
took a back seat until, ve years
ago, I nally achieved my dream
with a Canon EOS 600D.
I had no interest in mirrorless
cameras until I won a Fuji X-M1
on the Fujilm Facebook page.
I was blown away by it, so when
the X-T1 came out, I immediately
upgraded. Its such a lightweight
camera to carry around. I love
the easy-to-use EV, shutter, and
ISO dials on top of the body so
much quicker than having to
scroll through a menu. The
electronic viewnder seemed
strange at rst, but now I dont
notice the difference. Actually,
I think I prefer it.
Ive virtually stopped shooting
Raw, as the JPEGs are of an
excellent quality. I mainly shoot
in aperture-priority mode. Fuji
lenses are incredible. I own the
XF 60mm macro, XF 18-135mm,
XC 50-230mm and the new
giant XF 100-400mm.
My biggest interest is macro/
close-up, and trying to capture
birds and insects. I like to make
my images as varied as possible,
and youll often nd me lying on
the ground or at some odd angle
shooting butteries or other
creatures. The X-T1 combined
with the 60mm produces some
beautiful detailed images. Open
to f/2.4 or f/2.8 and check out
the fantastic DOF. I live on the
north coast of Cornwall and the
X-T1 has no problem
reproducing the stunning
colours a sunset can bring.
There are a couple of small
niggles. It can be frustrating
when the light isnt quite right so
the focus can be impossible to
get. And in the Canon you could
see how much
space was left on
the memory card
so I would like to
have seen that
option in the X T1
WWW.OCEANBREEZEPHOTOGRAPHY.CO.UK
1 Osteospermum
2 Wren
I set up my light tent to try

to get the best illumination,
focusing on the stamens.
This wren appeared right by my

window. Id been waiting weeks!
XF60mmF2.4 R Macro, 1/5sec @ f/3.2, ISO 320

2
XC50-230mmF4.5-6.7 OIS at 107mm,

1/180sec @ f/5.6, ISO 250
FUJIFILM X-T1
3 Common blue buttery
4 Juvenile great tit
I went buttery hunting and was

lucky to nd this beautiful blue.
I was thrilled when this visiting

baby great tit sat on the feeder.
XF18-135mmF3.5-5.6R LM OIS WR at 88mm,

1/70sec @ f/7.1, ISO 100
XC50-230mmF4.5-6.7 OIS at 192mm,

1/180sec @ f/7.1, ISO 320
5 Small skipper
I managed to capture this resting
buttery during a windy evening.
XF18-135mmF3.5-5.6R LM OIS WR at 78mm,

1/90sec @ f/5.6, ISO 100
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ESSENTIAL GUIDE
Tripods,
sticks &
supports
Sharp pictures require a steady
camera, but with tripods, monopods,
clamps and beanbags to choose from,
theres more than one way to keep
everything on the level. Tracy Calder
looks at some of the options
Versatile feet
VANGUARD WORLD UK LTD: WWW.VANGUARDWORLD.CO.UK
Tripods and monopods can slip

on unstable ground; if youre
likely to be shooting on sand,
mud or gravel look for a model
with spiked feet.
Folded length
If space is an issue, check the folded
length of your support, or remove the
lling from a beanbag and rell it at
your destination.
Suitable head
Whether you buy a ball-andsocket or a pan-and-tilt head for
your tripod or monopod, make
sure its easy to use and exible.
Maximum load
Make sure your chosen
support can bear the
combined weight
of your heaviest
camera and lens.
TRIPO D S
3 Legged Thing
Equinox Winston Carbon
Fibre Tripod System 379
Manfrotto
PIXI EVO 2-Section
Mini Tripod 45
W W W. 3 L E G G E D T H I N G . C O M
W W W. M A N F R O T T O . C O . U K
di
f h hi
l section
(generally the weakest tube on a
tripod). Measuring a generous
2.3cm, it gives a good indication
as to the strength of the overall
product. In terms of height, the
Equinox Winston can be extended
to 185cm, and has a minimum
height of 17cm. Whats more, the
legs can be set at 23, 55 and
80, which helps to speed
things up. The company that
makes it is British and
prides itself on being
quirky, so the Equinox
Winston features
bronze sections that
gi i
artly
l ish.
Made fr
woven carbon, the Equinox Winston
tripod is as tough and sure-footed as
its famous namesake. The legs are
designed to carry payloads up to
30kg, which is enough for even the
weightiest DSLR and lens combination.
Despite its impressive strength, the
Winston weighs just under 2kg
(1.75kg to be precise) and has a
folded length of 60cm, which is
pretty good considering. It
has three leg sections,
each secured via the
companys Paralock
system twist-locks
made of i f d
magnesi ll
Perh
impressi i h
With a closed length of 23cm, and

weighing 260g, the Manfrotto PIXI EVO
2-Section Tripod is just about pocketable.
Unlike the simpler, cheaper PIXI model,
which is intended for compacts and CSCs,
the EVO is a tough little tool that can
accommodate entry-level DSLRs and
lenses up to 200mm. In fact, the
combined weight it can bear is 2.5kg.
More than just a tabletop tripod, the
PIXI EVO has two-section legs that can be
set to one of ve steps, so holding
everything steady on uneven terrain.
The legs can also be positioned at two
different angles (via a slide selector),
giving the tripod a minimum height
of 6cm perfect for shooting
at ground level.
The PIXI EVO features a ball head that

enables the camera to be rotated 90,
facilitating shots in portrait format. This
clever design detail makes the tripod a
genuinely useful addition to the kit bag.
Its not been forgotten in the style
stakes, either. The item is available in
three colours: standard black, white
and red-anthracite.
MeFOTO
RoadTrip Travel
Tripod Kit 159
Giottos Memoire 100

Professional Trekking Pole
and Selfie Stick $120
W W W. M E F O T O . C O M
W W W. G I O T T O S . C O M
Adding colour to tripods seems to be all

the rage and MeFOTO is among those
companies leading the way. Thankfully,
the design team behind the RoadTrip
tripod range had more than just colour
on its mind when it designed the
Travel Tripod Kits.
Available in aluminium or
carbon bre, the tripods can
be extended to 156cm, while
the legs can be inverted and
folded back to produce a
collapsed package measuring
39cm. The legs can be set to
two different angles, and the length

is secured via a twist-lock system.
The tripod weighs 1.6kg and can
support up to 7kg, enough to satisfy
users of entry-level DSLRs, CSCs and
bridge cameras. The legs are topped
with a Q Series ball head, featuring
separate ball and pan locks and an Arca
Swiss type quick-release plate. The
head also has a spirit level.
Last but not least, the tripod
can also be converted into a monopod
by removing one of the legs and
combining it with the centre column.
Outdoor enthusiasts can

now kill two birds with
one stone (not literally)
with the Giottos Memoire
100 Professional Trekking
Pole and Sele Stick. The
shaft of this pole is made
of aerospace aluminium alloy,
which means its incredibly light (350g)
yet super strong (itll take loads up to 60kg).
The pole has four sections and measures
150cm extended and 62cm retracted. The length
can be adjusted via a ick-lock system (with
built-in suspension).
The Memoire 100 is more than just a weight-bearing
stick; it also has a compass, Bluetooth 3.0 remote shutter
(and space for batteries), a tungsten alloy tip and three
types of rubber ends for different types of surfaces.
Its wow factor, though, lies in the poles ability
to transform into a basic tripod or sele stick. Using
a retractable cell phone clamp, screens up to 6in can
be attached and angled. Meanwhile, the other end
of the Memoire 100 can be tted with tripod legs,
making it a truly versatile product.
ALL PRICES ARE APPROXIMATE STREET PRICES
ROUND-UP
Wildlife Watching
Supplies C14.3
Standard Double
Beanbag 30
Manfrotto 055 kit

Aluminium tripod
and XPRO ball
head 300
MeFOTO
SideKick360
Smartphone
Adapter 34
WWW.WILDLIFEWATCHINGSUPPLIES.CO.UK
W W W. M E F O T O . C O M
When youre shooting at ground level and dont

have the time, or perhaps the ability, to reverse the
centre column on your tripod, a beanbag can be
indispensable. These cushions are perfect for
supporting cameras and spotting scopes, and can
even dampen the vibration caused by the internal
workings of your device. The C14.3 Standard Double
Beanbag is a particularly ne example with two main
compartments that can be lled with beans, rice, corn,
bird food or, for an ultra-light option, polyester. Its
designed to support lenses up to 600mm and has
been made to last, being constructed using
e
h d d d bl i hi .
The 055 tripod series is celebrated for its adaptability

but anyone looking to save a few pounds would do
well to consider the 055 XPRO3 kit.
The main selling point is the centre column which
can be extended vertically
or horizontally,
without the need t
disassemble the tripod.
You simply loosen a wing
nut, extend the column,
press a button at the
bottom and rotate it 90.
The tripod can take
loads up to 8kg, extend
to 183cm and has a
closed length of 74cm.
It can get as close to
the ground as 9cm. The
XPRO3 ball head has a
triple-locking system
to ensure your camera
stays put, too.
A cameraphone is no longer a poor substitute for a

compact. These smart devices can shoot 16MP les,
and employ a raft of automatic and semi-auto
features, so it makes sense to support them with
hi-spec accessories, such as the MeFOTO SideKick360
Smartphone Adapter. The SideKick360 can be mounted
on almost any tripod with an Arca Swiss-style
quick-release clamp, and the
phone is held in place via a
dual-clamp system. A 360
rotating ball joint allows
your phone to be positioned
horizontally,
vertically or
anywhere in
between.
The S
60
can al
d l
on a
f f
tablet h i h
device
500g a d i h
a mod 900 .
Manfrotto 190 Go!

Aluminium
4 -Section Tripod
160
Gitzo GT1555T
Traveler
5-Section Tripod
640
Benro TMA28A
Mach3
Aluminium Tripod
119
W W W. G I T Z O . C O . U K
W W W. B E N R O E U . C O M
Manfrottos 190 range boasts many lightweight yet

surprisingly compact tripods, but the 190 Go!
Aluminium 4-Section Tripod is one of the nest. This
capable support weighs 1.7kg and has a folded length
of 45cm, making it the lightest in the aluminium
range by some margin. It has twist-lock legs that can
support a payload up to 7kg but the extended height
of 146cm is disappointing.
The legs of the 190 Go!
can lock at four different
angles and, once teamed
with the 90 tilting centre
column, enable you to
get as low as 9cm.
Changing the column
from vertical to
horizontal is easy. An
Easy Link socket on
the spider enables
you to attach
accessories.
/
top screw is
ibl
with most tri d h d
Gitzo Traveler tripods are lightweight, tall and strong,

but they are also expensive. The GT1555T is the
headless version of the Traveler Tripod Kit
GK1555T-82TQD, and has plenty of features. Its legs
are made of Carbon eXact tubes, which Gitzo claims
makes them especially stiff and rigid.
The tubes also have large diameters,
which helps to improve stability. The
Traveler range uses twist-lock rings
(that Gitzo calls the G-lock system)
that allow the GT1555T to pack
down to 35.5cm and weigh 1.03kg.
The 180 leg folding system
enables the centre column
to t between the folded
legs, saving space. Fully
extended, the tripod is
138cm. It can take loads
up to 10kg. The top
attachment has 3/8in
and 1/4in screw
thread options.
Anyone keeping an eye on their cash will be delighted

to learn that you can still buy a reliable tripod for just
under 120. The TMA28A Mach3 has a maximum load
of 14kg, extends to 155.5cm and folds down to 52.5cm.
As youd expect for the money, this tripod is made of
aluminium (with durable magnesium castings), and is
not the lightest on the market at 1.76kg without a head.
The legs twist-lock system allows them to be
released easily, and one can be
converted into a monopod.
he leg angle locks have
three different settings, one
of which is notably wide,
and the tripod comes
with an additional
short centre column
for low shooting. The
TMA28A Mach3 has
a minimum h i h
of 31.5cm, ki
it a good
all-rounde
a keen pric .
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for filmmaking basics
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TRIPO D S
Vanguard
VEO AM-264TR
Aluminium
Monopod 80
Calumet CK8106
Series 5-Section 8x
Carbon Monopod
125
Takeway
T1 Clampod
49
W W W.VA N G U A R D W O R L D . C O . U K
W W W. C A L P H O T O . C O . U K
W W W.T A K E W AY.T W
A monopod, typically, means one leg, and one leg,

typically, means limited stability. The VEO AM-264TR
Aluminium Monop d h
i
i
hi
rule. This versatile pole has three
retractable legs (forming a
tri-form platform) at the bottom,
nished with anti-slip rubber
feet. Where the platform meets
the pole there is a ball joint to
enable smooth panning and
tilting. The pole can be extended
to a height of 163cm via four
sections and a series of ip locks,
and reduced to 56.5cm.
The VEO AM-264TR deserves
serious consideration as a tripod
alternative. It can support 6kg and
weighs 900g, acceptable when
you consider its height when
extended, and it has a
diameter of 26mm,
which is good for
strength and stability.
Despite being made of eight layers of carbon bre,

the CK8106 5-Section Monopod from Calumet weighs
a mere 450g, making it a great support for long
excursions. Fortunately, light
weight doesnt mean low
strength, since this monopod
can support camera and lens
combinations up to 6.4kg.
The poles most impressive
feature, however, is its fully
extended length of 187cm. Its
a great monopod for shooting
over crowds. When fully
retracted, the pole measures
52cm. The length is secured
via four chunky twist-locks.
Another plus point is the
spring-loaded platform thread on
the top. It features both 3/8in and
1/4in screw-thread options, and
magnesium-alloy tooling. The
monopod comes with a soft fabric
wrist strap and has a rubber foot.
The Takeway T1 Clampod can support any camera,

camcorder, iPad or smartphone or, indeed, any
electronic device that weighs less than 3kg, despite
weighing less than 200g itself. Rather handily, it can
also be used as a ashgun or microphone stand.
The top section of the T1 consists of a ball head and
quick-release plate but if its 3kg rating isnt enough
for you, the head can be substituted for a heavier duty
one. The bottom section features a wonderfully
engineered, if slightly odd-looking, clamp, which
allows the T1 to grip on
to almost anything: tree
branches, shelves, fence
posts, you name it. It
can also stand alone,
which is great for
time-lapse
photography.
Regardles f h
position y
h
clamp in, it is
strong and
stable.
Vanguard VEO
204AB
Aluminium Travel
Tripod 99
Giottos Memoire
2-way Cell Phone
Clamp with Mini
Tripod 40
Gitzo Mountaineer
Series 2 Carbon
Fibre 3-Section
GT2532 Tripod 660
W W W.VA N G U A R D W O R L D . C O . U K
W W W. G I O T T O S . C O M
W W W. G I T Z O . C O . U K
The VEO 204AB prides itself on being superlightweight and super-compact, and the specications
bear this out. The centre column can be inverted so it
ts between the folded legs,
giving the tripod a collapsed
length of 39.5cm (with a fully
extended height of 135cm).
The combined weight of this
leg and head kit is 1.27kg. It
can hold just 4kg, however.
The legs comprise four
sections, secured via lever
locks, and can be set to one
of three angles. The VEO
204AB is also supplied with
a special adapter. The basic
kit includes a smooth ball
head, which makes
panning and tilting the
camera a breeze. A rubber
grip on one leg puts an
end to icy ngers when
youre out and about.
The Memoire 2-way Cell Phone Clamp is a robust

aluminium stand that can withstand the odd bump
and scratch. It can hold up to 30kg and weighs a
pocketable 125g (without the mobile phone clip).
The 1/4in screw thread enables
it to support most DSLRs, while
the three-point phone clamp
will accept most phones 3.5-6in
in diameter.
A spring-axle movement at
the base of the clamp allows
the holder to be rotated 45
to enable the phone to be
positioned vertically or
horizontally. The clamp
also has a clutched
gear that permits a
certain amount of
ne-tuning. Rubber
feet, an anti-skid
pad on the mounting plate,
and leg-joint traction hold
everything nice and steady.
Gitzo has been making carbon-bre tripods for more

than two decades, and the rst to roll off the line was
the Mountaineer. Despite being rened and refreshed
over the years, this popular range has remained true
to its roots. The Mountaineer Series 2 Carbon Fibre
tripod offers exceptional rigidity in a package
weighing 1.67kg, and measuring 65cm when folded.
The legs can be raised in three
sections, and feature screw-type
twist locks (which Gitzo calls
G-lock Ultra) designed to stop
dust from entering the system.
The legs can be set to one
of three different angles,
the widest being 23,
which allows you to
position a camera
as low as 16cm. The
GT2532 can reach
166cm when fully
extended, which
should be enough for
most photographic jobs.
FIELD TEST
Too good
to be true?
With a long zoom range
at a tempting price,
Nikons AF-S Nikkor
200-500mm f/5.6E
ED VR lens could be
outstanding. Phil Hall
tries it out on a wildlife
photography trip
WORDS AND PICTURES PHIL HALL
espite advances in camera

resolution that offer the
option to crop images
more aggressively, anyone
who has tried to shoot wildlife
or action will tell you theres no
substitute for lling the frame
with your chosen subject.
In the past, this has meant using
a large and expensive prime telephoto
lens, which, unless you have very
deep pockets, is only really for the
realm of the professional. Moreover,
the likes of a more affordable
100-400mm or 80-400mm zoom still
doesnt have quite the desired reach
for many subjects. Both Sigma and
Tamron have spotted a gap in the
market and released 150-600mm
superzoom lenses, and not wishing to
miss out on this potentially lucrative
market, Nikon has also come up with
its own solution.
KEY
SPECS
MAXIMUM
APERTURE f/5.6
constant
CONSTRUCTION
19 elements in 12
groups
MINIMUM FOCUS
DISTANCE 20cm
APERTURE BLADES
9
FILTER THREAD SIZE
95mm
DIMENSIONS
108 x 267.5mm
WEIGHT 2,300g
PRICE 1,179
While not having quite the same

staggering range as the third-party
alternatives, the AF-S Nikkor
200-500mm f/5.6E ED VR looks as
if it could hit the sweet spot for many
photographers wanting a far-reaching
telephoto lens thats not going to
break the bank.
Little owls
The Nikkor 200-500mm f/5.6 is
undoubtedly a lens thats going to
appeal to wildlife photographers,
so when award-winning nature
photographers Elliott Neep and
Richard Peters invited me to
Eastbrook Farm in Wiltshire the
1,400-acre home of Helen Browning
Organic to try out one of their
professional wildlife photography
hides, I jumped at the chance.
Nestled among staggeringly
picturesque countryside, the farm
teems with wildlife of all shapes and
sizes, inspiring Elliott to launch
ProHides (www.prohides.com).
Offering custom-built and
comfortable photographic hides that
can be positioned around the farm,
ProHides offers photographers the
chance to shoot a range of species
all year round, both day and night.
Id be setting up camp in the
PhotoHut Mini hide thats located
outside a derelict farmhouse and
perfectly positioned to capture the

little owls that visit. Numerous
perches are positioned in front of
the hide and have been set up for
perfect photo opportunities suitable
for focal lengths from 400mm to
600mm and thats not forgetting
the photogenic old farmhouse, too.
I wanted to put the lens through
its paces on both DX and FX-format
cameras, so with the D500 arriving
in the ofce the day before and the
D5 having been tested, I was lucky
enough to have both these fabulous
cameras at my disposal.
Specification
Once Id been shown around the
farm, I grabbed something to eat
at the nearby Royal Oak (great food
and they offer rooms for those who
need to be on site before sunrise or
for those nishing late). I was then
ready for the long afternoon and
evening ahead. Waved off by Elliott
and Rich, I set myself up in the hide
and waited for the little owls to make
an appearance.
This gave me some time to
acquaint myself with the lens.
Undoubtedly, tipping the scales at
2.3kg, this is a beefy lens. Despite
its weight, it is possible to shoot
handheld, thanks to the addition
of Nikons Vibration Reduction
anti-shake system, which claims
handheld shutter speeds of up to
4.5EV slower than normal. As seen
with a few other Nikon lenses in the
past year or so, theres also the
inclusion of a Sport mode, designed
for shooting moving subjects
(including panning), which delivers
a smoother display in the viewnder,
and allows you to shoot at a faster
burst rate.
Unlike some recent Nikon telephoto
lenses weve seen, the 200-500mm
comes supplied with a substantial
tripod collar, so for my time in the
hide it was rmly attached to a gimbal
head for maximum stability, while I
could quickly swap between portrait
and landscape orientations with the
lock on the tripod collar.
Interestingly for a lens of this type,
rather than featuring a variable
maximum aperture, the 200-500mm
features a constant maximum
aperture of f/5.6 through the range.
This might be a little slow for some,
but for those who want something
thats a stop faster, but with the same
exibility of a zoom, theres the AF-S
Nikkor 200-400mm f/4G ED VR II,
which costs 5,375. And while an
N IKON S A F-S N IKKOR 2 0 0 -5 0 0 MM F/5 .6 E ED V R
This was the last shot of the

day as the light began to fade,
shot on the D5 at f/5.6
FI E LD T E S T
extra stop of light hitting the sensor

is always welcome, the latest Nikon
DSLRs particularly the D5 and D500
have an impressive high ISO
performance, so this restriction
becomes less of an issue.
When transporting the lens,
theres a useful lock on the side that
locks the lens at 200mm, avoiding the
risk of zoom creep. The lens also
features Nikons electromagnetic
diaphragm (hence the E designation
in the name) that delivers highly
accurate control of the nine-rounded
diaphragm blades, giving enhanced
stability of auto exposure during
continuous shooting.
Perches were
positioned close
to the hide
In use
At rst, I chose to pair the lens with
the D500, giving myself the option
to swap to the D5 once the light
levels began to deteriorate. With
the crop sensor of the D500, the
lens delivers an equivalent focal
length of 300-750mm. If you were
shooting with a full-frame DSLR and
wanted something with this kind of
reach, then your only other option
would be a 12,990 AF-S Nikkor
800m f/5.6E FL ED VR.
After three hours of waiting for
a little owl to appear (thankfully,
the seat in the hide is incredibly
comfortable), one landed on a feeding
post. By this time, the light wasnt as
strong as it had been, but the warm
tone hitting the side of the owl was
worth the sacrice of having to
boost the ISO a touch. And I didnt
experience any issues with the AF,
either, despite the fading light.
After three hours of waiting for a little owl to

appear (thankfully, the seat in the hide is incredibly
comfortable), one landed on a feeding post
Combined with the D500, the AF
snapped into focus very quickly, and
very accurately Ive used the AF-S
Nikkor 200-400mm f/4G ED VR II
and AF-S Nikkor 80-400mm
f/4.5-5.6G ED VR in the past and have
to say that the 200-500mm didnt
feel like a poor relation when it came
to focusing performance. You dont
want any audible whirs or buzzes
from the focusing when shooting
Despite its size, the

200-500mm is still
relatively easy to use,
whether handheld or
with a camera support
from a hide, but thanks to Nikons

Silent Wave Motor, focusing is
whisper-quiet. Its possible to focus
down to 2.2m, but this can be limited
to -6m to improve performance.
One little niggle is the throw of the
zoom ring from 200mm to 500mm,
which requires more than a single
twist of the hand to quickly shift
through the focal range. This isnt
a deal-breaker, but if you need to
work quickly it can be a bit of a pain.
An hour later, I swapped over
to the D5. Even using the gimbal
head, the addition of the vertical grip
on the camera made handling that
much more pleasing. Its something
that, if I were shooting handheld, Id
denitely want to have on my camera
to improve the overall balance
between camera and lens.
Image quality
With the light almost gone, and
despite the D5s high ISO
performance impressing greatly, it
was time to pack up and head home.
It was then that I had the chance to
assess the image quality of the photos
I had taken, and I have to say I was
impressed. Sharpness was very good
throughout the range, even when
shooting wide open at f/5.6, although
you may want to step it down a stop
or two for optimum results, especially
N IKON S A F-S N IKKOR 2 0 0 -5 0 0 MM F/5 .6 E ED V R
Build
Compared with the 200-400mm,
or even the AF-S Nikkor
80-400mm f/4.5-5.6G ED VR,
the 200-500mm f/5.6 on test
here doesnt have quite the same
premium feel. Even the thin gold
ring around the lens towards the
front element is omitted, which
gives it a slightly dowdier
appearance than its counterparts.
Overall construction is mainly
high-quality plastics and metal.
If this sounds a little negative,
it isnt meant to be. The 200400mm costs considerably
more, so a higher level of
construction is only to be
expected. In all honesty, the
200-500mm, with its pleasing
splatter-effect nish, still feels
very well put together.
While Nikon doesnt make
any claims to the lens being
weather-sealed, its encouraging
to see that the lens mount
includes a rubberised gasket
to prevent dust and other
unwanted elements making their
way into the camera. Working
our way down the lens, on the
left-hand side youll nd
numerous switches to set
focusing and VR, followed by
a rubberised manual-focus ring.
Further down is the zoom barrel,
with the front element sporting
a 95mm lter thread.
at the longer end of the focal range.

That said, I was more than happy with
my results at 500mm and f/5.6.
There was very minor pincushion
distortion, but in real-world tests this
is hardly noticeable. Minor vignetting
was present, too, but again, this
wasnt to the detriment of the nal
image. If youre a Lightroom or
Photoshop user, I recommend using
the correct lens prole, and you
should be more than happy with
the corrections applied.
Finally, if youre worried about the
quality of the bokeh compared to

a faster lens, dont be, as the long
focal lengths keep the background
nicely out of focus when shooting
wide open.
Final thoughts
I must admit, I was a bit sceptical
about this lens when I rst heard
about it, thinking there must have
been one compromise too many
to keep the lens at a competitive
price point, but have to say Ive
been very pleasantly surprised.
Fitted to the D500,

the lens delivers an
impressive range
equivalent to
300-750mm
Nikon has put together an excellent

telephoto zoom lens at the superb
price of 1,179, without sacricing
performance. More portable than
the AF-S Nikkor 200-400mm f/4G
ED VR II and a quarter of the price,
it might not quite match it for
optical quality, but it certainly
punches well above its weight.
If youre a Nikon user wanting
to shoot frame-lling wildlife or
action, then this lens should be
towards the top if not right at
the top of your list.
HELP
Upgrading from my
old Canon DSLR
FRED
I paid the princely sum

of a grand, give or
take a few pennies, for
my Canon EOS D300 more
than 10 years ago. I cant
complain, as I got very good
use out of it, but it has recently
started to play up, so I plan to
replace it. Being retired now
and in my seventies, I cant
carry a big bag of kit any more,
but I would like to stay with
Canon as I have some decent
lenses. For example, I ditched
the rather disappointing
18-55mm kit lens for a 17-85mm
IS and I have one L-series
lens, the 70-200mm f/4 IS. So
I am considering one of the
mirrorless EOS M Canons as
they are so small and light.
Am I doing the right thing?
Going mirrorless will

denitely help with the
weight and bulk. You
will also see a big improvement
in image quality thanks to over
a decade of image sensor R&D.
But lets be clear, Canon is
aiming the EOS M at a primarily
younger audience and using
your existing lenses means
some compromise. You can
probably rule out the cheaper
of the two models, the EOS
M10, as it has no eye-level
viewnder and no option for an
add-on one. Fortunately, the
enthusiast-positioned EOS M3
has the option of a detachable
viewnder in the form of the
EVF-DC1. To use your EF lenses
you will need an EF-EOS M
mount adapter and continuous
servo autofocus mode will not

be available. In general, AF
using EF and EF-S lenses,
unless they are more recent
STM lenses, will not be as
positive as when used on an
EOS DSLR. Some people used
to a DSLR can have a problem
with the sheer miniaturisation
of CSCs. I would highly
recommend handling an M3 to
ensure you will be happy with
the size of the controls. IB
M ATTYL 1 49
Ive been into

photography for
a while, but have
only just made the jump into
getting a DSLR, buying the
Nikon D5500. In terms of
lenses, I have ordered the
Nikon AF-S DX 18-140mm
f/3.5-5.6G ED VR kit lens;
Nikon AF-S DX Nikkor
55-300mm f/4.5-5.6G VR;
AF-S DX Nikkor 35mm f/1.8G
and a Sigma 105mm F2.8 EX
DG OS HSM Macro. I had also
ordered a Nikon AF-S Nikkor
50mm f/1.8G but cancelled
this as I was not sure if I
needed it as well as the
35mm. And I was also looking
at the Nikon AF-S Nikkor
85mm f/1.8G. Im tempted by
this, but as its nearly 400
I need to make sure that there
is no overlap with what I
already have. As Im down
to only four lenses now, Im
wondering what else I would
need to complement these.

I do a variety of portrait,
landscape and street
photography as well as
some occasional nature
photography. I was also
looking for a wideangle lens,
but cant seem to nd one.
You have ordered

a lot of gear all in
one go and to start
with you will be like a kid with
the keys to a toyshop. I would
have advised anyone in a
similar position to add lenses
stage by stage; get to know
each lens before going for
your next one. Very often you
will nd one lens fulls the
function of another
surprisingly well. The 105mm
Sigma macro lens could well
serve as an excellent portrait
lens, for example and might
mean you dont need to
consider the 85mm Nikkor.
First-time Nikon DSLR user

Q
LOU I S E
At the moment
I have a Pentax
K-30, but I am
thinking of starting again
with a Nikon D3300. Can
you tell me what its like,
and if its worth going for?
BR O K E N SHI R E
Tell me about
the Nikon
D3300
Not everyone needs a lens

wider than 18mm (27mm wide
angle equivalent in full-frame
terms) but an extra-wide
zoom could be a handy
addition to your arsenal. The
Tamron SP AF 10-24mm
F3.5-4.5 Di II LD Aspherical
(IF) is worth a look. Its
competitively priced and
works well as long as you
dont shoot at maximum
aperture. Theres also the
Sigma 10-20mm 1:4-5.6 EX DC
HSM and Nikons own, but
more expensive, Nikon
10-24mm f/3.5-4.5G ED DX
AF-S. IB
The rst question

has to be: what
has prompted you
to consider a switch? Your
K-30 is a pretty good
DSLR for its class, and
though its a four-year-old
design now, its still able to
produce great images. The
Nikon D3300 is certainly
a more up-to-date model
and Nikon enjoys wider
support in terms of lenses
and accessories, but its
debatable as to whether
a D3300 would
automatically improve your
photography. The D3300 is
an entry-level DSLR thats
easy to use but has limited
advanced features. For
example, your K-30 is
weather-sealed so its
safer to use in inclement
weather or in dusty
conditions. On the other
hand, the D3300 works
slightly better in low light
and has better video
shooting capabilities. If you
want to switch systems to
enjoy the Nikon system in
particular, then a D3300 is
a good model to start with
for general undemanding
photography. If you need
fast shot-to-shot rates and
more responsive focusing
capabilities for action or
wildlife photography, you
should consider a more
upmarket model. IB
GOT A
QUESTION ?
DROP OUR
EXPER TS A LIN E
Looking for a versatile screen

ROBIN
GR A H A M
Im looking for an
alternative to the
Panasonic Lumix
range. The problem with the
Lumix is that it does not have
an articulated screen. My
Canon G12 does, but its zoom
is so small. Can you offer
advice on a suitable camera
that is not a lot bigger than
the Canon, has a better zoom,
and will t into the pocket
(more or less)?
It has to be said after

researching your
question I was quite
surprised by how few
premium compacts t the
specication that you seek,
particularly with the
articulating screen. There are

a number of bridge cameras,
but these dont really pass the
pocketability test. One
camera that does is the Nikon
Coolpix S9900. It sports a
fully articulating screen and
a 30x optical zoom in a
reasonably compact body.
But lets not get too excited,
as it has a smaller image
sensor than your G12 and

image quality, if you are picky,
will not be as good. There is
also no Raw le format
option. Nevertheless, as an
advanced travel zoom, its
very t for purpose. IB
Im still extremely
new to proper
photography. So far
I just have the kit lens that
came with my Nikon D7100,
a Nikkor 18-105mm f/3.5-5.6G
ED VR DX. But sometimes I
need more zoom. So I have
been looking at the Sigma
70-300mm f/4-5.6 APO DG
Macro. While I know it can
be used on my camera, its
a full-frame lens, so Ive read
that the focal length would
be 105-450mm on the D7100.
Am I barking up the wrong
tree, or is this lens suitable?
Lets deal with the

focal length
equivalence rst. Your
D7100 has an APS-C cropframe sensor. The cropping
effect reduces the eld of
coverage compared to full
frame. It is like zooming in by
50% greater focal length. If a
lens you use on your D7100 has
a focal length of 100mm the
view will be like a 150mm lens
on a full-frame camera and
vice-versa. Most full-frame
lenses can be used on crop
Tamrons
70-300mm
would be a great
complement to
your 18-105mm
@WHATDIGCAMERA
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Camera
The pocketable
Nikon S9900 with
its articulating
screen is a very
decent option
frame sensor bodies like

yours. However, most lenses
developed for smaller sensor
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WHATDIGITAL
In need of a little more zoom

DAN
bodies cant be used on

full-frame cameras because the
projected image circle will have
been limited to only cover the
smaller sensor. You are
right in relating the
70-300mm focal length
zoom range on your
D7100 to 105-450mm
on a full-frame
camera. In fact, your
18-105mm zoom
works like a 27158mm zoom on full
frame. 70-300mm is
a nice complement
to your 18-105mm as
there is a handy but
not excessive overlap.
As for the Sigma
70-300mm f/4-5.6
APO DG Macro, this
is a very inexpensive
lens, although its
quite an old design
and its sharpness at
the longer end of the
zoom range is not
great. The Tamron SP
70-300mm f/4-5.6 Di
VC, though its more
e
nsive, is denitely
h the extra. IB
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2016 Time Inc. (UK) Ltd ISSN No. 1366-5324
Fast
lens that
doesnt
break the
bank
MUZZ A 65
I do a lot of
photographing
dogs in action, but
my current kit is just not
cutting the mustard, and
Ive decided to get a Canon
EOS 7D Mark II. Im trying
to decide on a good lens
to go with it. My current
thought is the 70-300mm
f/4-5.6 L USM IS, as it has
a bit of range to get rover
going for a swim. My
question is whether the
focus speed will be up to
the job. My other thoughts
would be the 70-200mm
f/2.8 zoom lens. Though
great for having a faster
aperture, is it really worth
the extra expense and
reduced range?
Focusing
performance is
not solely down
to the lens. You can have a
very fast focusing lens that
wont focus as fast as it
could if its not mated to a
body with a fast AF system.
Fortunately, the EOS 7D
Mark II is designed in
particular for sports and
action photography. It
shoots fast and focuses as
fast as its lenses can. You
should have no problem
using the 70-300mm
f/4-5.6 L USM IS for
photographing dogs racing
around. The 70-200mm
f/2.8 may have an edge
in terms of focus
performance but its
primary ace card is
shooting in low light, like
indoor sports events,
thanks to its brighter
maximum aperture that is
not compromised through
the zoom range. IB
GOT A QUESTION ? DROP OUR EXPER TS A L IN E
DSLR or CSC?
BT B
Im looking for some

help after getting a
headache researching.
I already have a decent quality
compact for pocket use, but
Im semi-retired now and
looking at a good quality DSLR
or CSC. Im edging towards the
DSLR because I did have a
Canon (Rebel) a few years ago,
which my son now has. Where
Im getting bogged down is the
lens choices and what bells and
whistles I need or dont need.
I dont mind (and quite look
forward to) playing around
with some manual settings.
However, I dont want
something thats so
complicated I give up on it and
stick it in the cupboard. Ideally,
Id like something with a decent
all-round lens (with zoom?) for
general day-to-day use and
possibly a more powerful lens
for when required.
Budget wise, theres no
restriction really and I would
rather get something that will
see me good for a while than
upgrade again in the short
term. If I said anything up to
2,500, Im hoping that would
get what Im after. I like the look
of the new Sony DSC RX10, but,
seeing as I know very little, it
may be far from the best.
For simplicitys sake,

the Sony DSC RX10
Mark II (dont confuse
with the now-ageing Mark I
version) is a ne choice with
a high quality 24-200mm
(equivalent) lens built in. It also
has a very acceptable 1in
sensor that is best in
class for bridge cameras.

However, this is neither a CSC
(Compact System Camera) nor
a DSLR, both of which have
that magic feature of
interchangeable lenses. If you
dont need interchangeable
lenses, then the RX10 could be
just the ticket. You could also
consider the Panasonic Lumix
DMC-FZ1000, which is in the
same class but for less money.
If you do want the versatility
of interchangeable lenses, you
will need to rst decide if a
traditional DSLR is the best
option for you or whether to go
for a mirrorless or CSC type of
camera. These will mostly be
signicantly smaller and lighter
than DSLRs. Nikon has its 1
System though this is more
aimed at younger compact
camera users upgrading, but its
worth a look; the cameras and
lenses are very small, using the
same 1in sensor size as the
RX10 and FZ1000. The next
smallest come from Olympus
and Panasonic, as they have
the relatively small (Micro Four
Thirds) sensor. Being the
most established mirrorless
system, Micro Four Thirds also
enjoys the widest range of
accompanying lenses. Canon
now has the EOS-M system,
but Canon still seems to be
more committed to DSLRs
at the moment. If you like
the retro look, then Fujilms
X-Pro range is looking good,
with the company expanding
the system rapidly. IB
Next
month
LEE FROST
HE LP
Ditch the
tripod!
Its time to free yourself
from the tripods shackles
and shoot handheld. We
show you how to make the
most of it
3-way pocket
compact
shootout
Canon G7 X II, Panasonic
TZ100 or Sony RX100 IV
which premium compact
comes out on top?
Get smart
We check out the best
image-editing apps for
y
h
Su
u
12mm f/1.4
Asph
A premium fast wideangle
prime for Micro Four Thirds
The Sony RX10

Mk II is a ne
choice, but do
consider CSC
models as well
On
sale
23 September
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T E C H N IQ U E
TECHNIQUE TOP TIPS
Architecture
Architecture is one of the most accessible subjects. With a little
imagination and the help of this months top tips it can also
be the source of amazing images
WORDS AND PICTURES LEE FROST
ake a peep out the nearest window.

What do you see? Chances are, the
rst thing your eyes settle on is
bricks and mortar a building, in
other words. Depending upon where you live,
that could be a Victorian terrace, a cul-de-sac
of modern detached houses, the dreaming
spires of a soaring cathedral, or a towering
great block of ats. But it doesnt matter
what type of architecture youre used to
seeing, because buildings in all shapes, sizes
and styles make exciting and challenging
subjects that can be enjoyed by beginners
and experienced photographers alike.
From crumbling old cottages, ancient
castles and towering cathedrals, to state-of-
City Hall, London.

Modern interiors are
often well lit, so are
easy to shoot handheld.
Canon EOS 700D,
10-22mm, 1/100sec
@ f/8, ISO 1600
the-art ofce blocks, stark industrial units,

giant bridges and magnicent monuments,
architecture offers endless opportunities to
make creative images. Were not just talking
outside, either interiors can be just as
inspiring. As well as photographing entire
buildings, architectural details also make
great subjects. One minute you can be
shooting an entire structure with a wideangle
lens, the next abstracts and details with a
telezoom. One building can be the sources
of dozens in different images, shot both day
and night, inside and out.
There are no rules when it comes to
shooting architecture just let your
imagination run riot and see what happens!
A RCHITECTU R E
Tip 1 Ancient
Ait Benhaddou,
Morocco. Warm light
helps to reveal the
character of old
buildings.
Canon EOS 5D Mk III,
70-200mm, 1/8sec @
f/8, ISO 100
Old buildings are hard to beat when it comes to

character, as theyve had centuries to develop it.
Cathedrals, castles, twee old cottages, ivy-covered
manor houses all make fascinating subjects, whether
theyre as good as new or falling apart. Warm, soft
light is well-suited to old buildings, so shoot early
morning or late afternoon and use side-lighting to
reveal texture in the old stonework. Framing the
subject building from under a tree, archway or
doorway will help to focus attention and hide
unwanted details. By excluding all signs of modernity,
your images will also have a timeless feel.
Tip 2 And modern

Brash and bold, hard and angular, modern architecture
demands a totally different approach. You can be more
adventurous with angles to emphasise shape and line,
or look for symmetry and exploit that. For once, strong
sunlight is friend rather than foe, because its harshness
helps to emphasise the strong design elements and give
your images graphic appeal. Modern buildings give
architects the freedom to experiment and explore, so
do the same with your photography. There are lots of
amazing buildings in the UK worth checking out: The
Sage in Gateshead, City Hall in London, The Selfridges
Building in Birmingham, Salford Quays in Manchester.
Seeing one in the esh will get those creative juices
owing and before you know it youll be lling memory
cards like theyve gone out of fashion.
Sissinghurst Castle,
Kent. Infrared is
well-suited to both old
and new architecture.
Canon EOS 5D,
17-40mm, 1/160sec
@ f/11, ISO 200
Valencia, Spain. The

City of Arts and
Sciences is home to
stunning modern
architecture.
15mm sheye, 1/320sec
@ f/9, ISO 100
Tip 3 Inside job

When youve nished shooting the exterior, why not
slip inside and shoot some interiors as well? While dull
weather aint great for external shots, the soft, at light
can be ideal indoors because it keeps contrast down.
Same if the heavens open get out of the wet and keep
shooting! Old buildings often have atmospheric interiors
because the windows are small and light levels fall away
rapidly to create wonderful studies in light and shade.
Low light levels often make a tripod necessary to avoid
camera shake, while a wideangle zoom will allow you to
get a lot in the shot even when your backs against the
wall literally. Modern interiors tend to be a riot of
repetition lines, angles and edges or clever curves and
sinuous swirls while symmetry is often evident if you
nd a central viewpoint.
Tip 4 Red alert

Architecture is well-suited to infrared photography. Old buildings take
on a spooky persona as skies go dark and foliage records as ghostly
white the late Sir Simon Marsden made a career out of this fact with
books like The Haunted Realm. Modern architecture responds well, too,
as the high contrast and starkness of infrared suits the strong lines and
sharp angles of contemporary buildings. If youre got an infraredmodied digital camera, use that. Alternatively, an infrared-transmitting
lter such as the Hoya R72 will work ne.
T E C H N IQ U E TO P TI P S
Tip 5 In the detail

The usual approach to architectural photography is to capture the
whole building, but if you take a closer look youll discover lots of
interesting details and aspects of its design that make eye-catching
subjects in their own right. On old buildings, ornate carved
stonework details such as gures, faces, columns and cornices are
common, while on newer buildings eye-catching patterns can be
found in the bold, geometric
design and repeated features
think of the hundreds of
identical windows in a towering
ofce block, or the dynamic
pattern created by the external
frame. Use a telezoom lens
to home in on interesting
details and ll the frame for
maximum impact.
Casablanca, Morocco.
The patterns and lines
in this staircase made
a great detail shot.
Canon EOS 5Ds,
16-35mm, 1/80sec
@ f/8, ISO 1600
A RCHITECTU R E
Tip 6
Buildings
at night
Bangkok, Thailand.
Cities looks amazing at
night. I captured this
view from my hotel.
Canon EOS 5D Mk III
with 70-200mm,
25secs @ f/16, ISO 200
Many buildings are oodlit at night,

giving you the chance to take
photographs that are full of vivid colours
created by the mixed articial lighting.
The best time to shoot is during the
crossover period between sunset and
nightfall when theres still colour in the
sky but ambient (day) light levels have
dropped sufciently for the articial
lighting to be clearly visible. Also try
photographing neon signs outside clubs,
bars and tourist attractions. Exposure
times will run into many seconds, so
youll need a sturdy tripod to steady the
camera and a remote release to trip the
shutter. Start out with your DSLR set
to auto white balance (AWB) but also
experiment with other WB settings such
as tungsten or uorescent to produce
unusual results.
Tip 7 Correct
converging verticals
London, England.
I lay on my back for
this view looking up
the Tulip Staircase in
the Queens House,
Greenwich.
14mm, 1/40sec @ f/8,
ISO 1600
Tip 8 The low down
If you shoot a tall building from close range with

a wideangle lens, often youll need to tilt the
camera to get the top of the building in shot. This
causes converging verticals, where the sides of the
building lean inwards. The effect can look fantastic
if you exaggerate it, but if you want the building to
look upright, you need to keep the camera back
parallel to it by the following methods.
Shooting from a higher viewpoint so youre
looking across at the building can work. Moving
further away from the building then zooming in
is another option, as the effects of converging
verticals are reduced with distance. Alternatively,
correct the convergence in Photoshop. Go to
Select>All, then Edit>Transform>Distort and pull
the corners of the image up and out to straighten
the sides of the building. Using View>Show>Grid
can help ensure the verticals are truly vertical.
Wide and low is an approach that pays dividends with any type of scenic
photography, but especially architecture. If you want to exploit the drama,
scale and perspective of big buildings, shoot from a worms eye view with
your widest lens. Vertical lines converge dramatically, lines re off in all
directions, curves sweep and swoosh and the sky becomes your
background. The urban landscape is where this approach pays dividends
because you can juxtapose architectural features to create dynamic
compositions. Stand among skyscrapers and look up. Find a yover or
underpass and use it to frame the scene beyond. Stand under the entrance
to one building and crane your neck to see others across the street.
T E C H N IQ U E TO P TI P S
Casablanca, Morocco
I used a tilt and shift
lens to avoid
converging verticals.
Canon EOS 5Ds, 90mm
TS lens, 1/160sec @
f/10, ISO 400
Tip 9 Tilt
and shift
If youre serious about
architectural photography, the
easiest way to avoid converging
verticals is by investing in a
tilt-shift lens like the Canon TS-E
24mm f/3.5L II, Nikon 24mm
f/3.5D ED PC-E or Samyang T-S
24mm f/3.5. With these lenses
you can raise the front end to
include the top of a building,
instead of tilting the camera
backwards. The miniaturisation
effect you get using the tilt
function to minimise depth-ofeld rather than maximise it
also works well on modern
architecture.
Tip 12 Map
and compass
Use a map or compass to
determine which direction
a building is facing, so you
can gauge when the best time
of day is to photograph it.
South-facing facades receive
direct sunlight for much of the
day, whereas north-facing
buildings rarely receive direct
sunlight apart from perhaps
a few days each year.
Tip 11
Long shots
Though youre most likely to use
a wideangle zoom from close range
to shoot architecture, dont be
afraid to back off and switch to
a longer lens to reveal the building
in its environment, and use
perspective to add impact.
The longer the lens, the more
perspective is compressed, so the
elements in the scene appear
crowded together. This gives a
totally different feel to wide shots.
Tip 10 On reflection
Modern buildings are a great source of reections,
because the exterior is usually clad in glass panels
that reect everything from the sky to other
buildings nearby. Old building such as castles and
stately homes often have water nearby, in the form
or moats or ornamental lakes if you move in
close you can capture a mirror image of the
building reecting in the water. Use a telezoom
to ll the frame for abstracts and a wideangle for
broader views, and remember to focus on the
reection itself rather than the surface containing
the reection.
Tip 13 Shoot
street art
You wouldnt want it on the
side of your house, but theres
no denying that grafti looks
stunning. Move in close to
capture colourful abstracts, or
step back and use the grafti as
a backdrop. Some cities have
areas where grafti is permitted
and contained thats where
youll nd the best shots.
A RCHITECTU R E
Tip 14 Vacant
possession
Abandoned buildings are the guardians
of many secrets. Who lived there, why
did they leave, what became of them?
Its not uncommon to enter abandoned
homes in remote areas and nd
personal possessions still inside
furniture, clothing, cutlery, pots and
pans, books and toys. Commercial
buildings such as hospitals, factories,
schools, dancehalls and nightclubs are
just as fascinating they ooze mystery
and intrigue from every creaky
oorboard or broken windowpane. You
need to be sensible in terms of trespass
and personal safety, but empty old
buildings are hard to resist and can
be the source of stunning images.
Cienfuegos, Cuba.
Abandoned buildings
are full of atmosphere
and character.
Canon EOS 1DS Mk III,
50mm lens, 1/60sec
@ f/4, ISO 800
Zoom in on the right

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Turn over for our rundown of the BEST 5 on the market...
Key points of a Portable Battery Pack

Capacity
Input
The capacity of a portable battery pack

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Output
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Battery packs use USB ports to attach

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P62 Accessories
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to come with three iSmart 2.0 USB
ports. All three benet from a
maximum output of 2.4 amps
per port and can be used
simultaneously for a combined total
of 5.8 amps. The RavPower Triple
further benets from iSmart 2.0
technology that automatically
adjusts voltage and current thereby
allowing connected devices to draw
power at their optimal rate.
The micro USB charging input is
located on the side of the device
and is used to recharge the
RavPower Triple via a supplied
cable. This input is rated at 2.4 amps
which, given the batterys huge
capacity, is a sensible decision as
it enables the device to be fully
recharged in around 10 hours. Had
RavPower opted for a typical 5V/1.5

amp input, as used on many lower
capacity battery packs, then
charging times would be
considerably longer than 10 hours.
Passthrough charging is also
supported, so you can charge the
RavPower Triple while it is charging
connected devices.
Panasonics Smart IC power
management is also on hand,
alongside nine other types of
built-in protection to ensure the
RavPower Triple itself (plus any
connected devices) are adequately
protected against overheating,
surge damage and short circuits.
Units are also rated for up to 500
full recharges and discharges for an
impressively long life expectancy.
Construction impresses too, with
RavPower claiming that the
Bayer-made re-resistant
thermoplastic casing is the same
material that Mercedes and BMW
use on their cars. At 406g theres a
reassuring weight to the device too.
The top plate is also tted with four
blue LEDs that are used to indicate
the devices power reserves.
Verdict
KEY
SPECS
POWER RESERVE
22,000mAh
INPUT 5V/2.4A
OUTPUT 3x 2.4A
DIMENSIONS
16.5 x 7 x 2.4cm
WEIGHT 406g
RECOMMENDED
4 Jackery Giant+ 12000mAh 70

Founded in 2010 and operating out
of Silicon Valley, USA, Jackery is
rmly established as a major player
in the portable charging market. The
company makes a wide range of
portable battery packs that hold
between 3,000mAh and 20,100mAh
of power. Jackery battery packs
have gained a reputation for being
solidly built and nicely nished, in
addition to which they come tted
with Panasonic Grade A li-ion
battery cells and several layers of
built-in safety protection circuitry.
The Giant+ sits towards the top
of the companys range, with only
the Jackery Titan (20,100mAh)
offering more in the way of capacity.
Available in a silver, black, orange or
gold nish, the Giant+ looks
especially stylish in orange and even
comes with a built-in LED ashlight
that can be turned on by double
clicking the main power button.
Three LED striplights on the top of
the device indicate power reserves.
In terms of construction the main
outer casing is fashioned from
aluminium, with each end given a
polycarbonate nish. The overall
impression is of a well-made and

durable device.
The unit offers two USB ports,
each of which is designed to
discharge power at a slightly
different rate: one is rated at 1 amp
while the other is rated at 2.1 amps.
Which one is right to use will
depend on the type of device you
wish to charge. As a general rule
though, most smartphones and
tablets will charge faster when
connected to the 2.1 amp port. In
addition to charging single devices,
the Giant+ can also be used to
charge two devices simultaneously.
A maximum output of 3.1 amps
means both USB ports will continue
to output at their maximum speeds
when two devices are connected.
Sadly, the Giant+ does not support
pass-through charging though.
The Giant+ is recharged via the
micro USB port thats positioned to
the side of the twin USB ports. This
can draw current at a maximum of
1.5 amps and requires a 5V/1.5 amp
USB wall adapter (not supplied)
should you want to charge it via a
mains connection.
If youre looking for a familysized battery pack that can

keep multiple devices charged
on long journeys or extended
camping breaks then the
RavPower Triple ts the bill
perfectly. With its three
2.4 amp USB outputs, the
RavPower Triple can recharge
up to three devices at once and
can do so as efciently as
possible. While recharging the
unit does take quite a long
time, once fully charged itll
k
h
h
u
f
ff
f
d
k
d
i
l
Verdict
KEY
SPECS
POWER RESERVE
12,000mAh
INPUT 5V/1.5A
OUTPUT 1x 2.1A, 1x 1A
DIMENSIONS
10.9 x 7.9 x 2cm
WEIGHT 386g
For those looking for

performance and value for
money the Jackery Giant+ is
hard to fault. While it is
noticeably bigger and heavier
than the Anker PowerCore+
10050 it does hold slightly
more charge, which could
prove useful, especially for
tablet or other power-hungry
users. In addition, the ability to
charge two devices
i
l
l
i
d
l
l
GOLD
POWER BA NKS
Oneadaptr Flip Power Dual USB Charger and Powerbank 30
Prior to the release of the Flip

Charger, Oneadaptr had already
made a name for itself with its
innovative range of Twist Plus
travel plug adaptors for Apple
MacBook laptops. The Oneadaptr
Flip Power Dual USB Charger and
Powerbank is a slightly different
prospect that takes the humble
three-pin UK plug as its starting
point, and then completely
redesigns it for the digital age.
Essentially, its a miniaturised
three-pin plug with two USB ports
and a built-in battery pack for
emergency power-ups on the move.
The developers claim the Flip
Power device has taken over a year
to develop, during which time
funding has been provided by
Kickstarter. Constructed from tough
polycarbonate, the Flip Power folds
down to a small rectangular box (48
x 18 x 126mm). This makes it easy to
pack down and take with you when
travelling. The two metal pins are
housed within the device when
folded down so they wont be able
to scratch any other items you
might be carrying in the same bag.
To open the plug up, simply hold

the plug in one hand and press the
quick release buttons with the other.
This will open the device to reveal
a standard UK three-pin plug, with
the neutral and live pins both
constructed from conductive
metal and the top earthing pin
constructed from plastic. At the
other end you will nd two USB
ports, each of which is capable of
outputting a super speedy 3.4 amps
to your mobile phone, tablet and
other digital devices. Better still, the
Flip Power also encompasses a
built-in battery pack that can hold
up to 2,000mAh of charge for
emergency power-ups on the go.
For maximum exibility the Flip
Power can power a connected
device when plugged in while
simultaneously charging its own
built-in battery pack.
There are two further models in
the Flip series; one that offers two
USB ports (the Flip Duo) and one
that offers four USB points (the Flip
Quad). Unlike the Flip Power,
though, neither of these has a
built-in powerbank.
KEY
SPECS
POWER RESERVE
2,000mAh
INPUT 220-240V
OUTPUT 2x 3.4A
DIMENSIONS
12.6 x 4.8 x 1.8cm
WEIGHT Not available
charge a 1,715mAh iPhone 6S about

three and a half times. Aside from
the ultra-portable Powerstation 1x,
all the models benet from Priority+
pass-through charging technology,
which allows them to deliver charge
to a connected device while the
Powerstation is being charged the
connected device will be charged
rst, followed by the Powerstation.
Mophie offers a free Mophie
Power app thats compatible with
the 5x and 8x models. This will let
you know the charge level of any
connected devices along with the
Powerstations status. Meanwhile
the 1x, 2x and 3x models all have a
power check button on the side,
along with four LED battery
indicator lights: four lights indicates
a fully charged Powerstation, while
one light tells you the Powerstation
needs charging. All Powerstation
models are charged via a micro USB
port with a supplied micro USB to
USB lead. While its undoubtedly
slower, you can also charge the
Powerstation by plugging the USB
charging cable directly into the USB
port of a computer.
The Flip Power Dual USB

Charger and Powerbank is an
innovative device that serves as
both a standard three-pin-plugto-USB adapter and as a
portable battery pack. While
2,000mAh of reserve power
isnt a huge amount, it denitely
adds to the overall functionality
of the device. Overall, the Flip
Power is a neat solution for
owners of digital devices who
want an easily portable plug
that can also supply some
additional reserve power to
mobile devices when there isnt
a mains plug to hand
GOLD
2 Mophie Powerstation 3x 50
The Mophie Powerstation comes in
ve variants. The entry-level model
is the Powerstation 1x (2,000mAh,
26) followed by the Powerstation
2x (4,000mAh, 37) and the 3x
(6,000mAh), both of which are
ideal for mobile phones and the like.
Those with more power-hungry
devices may want to look at the
Powerstation 5x (10,000mAh, 78)
or the 8x (15,000mAh, 90).
Internally, the devices use
high-density power cells, which
allow for a super-slim form factor.
Externally they have a matt-nish
aluminium casing that offers good
protection from knocks. The 3x is
also available in various anodised
nishes including space grey, rose
gold and gold, and is only slightly
larger than an Apple iPhone 6S.
While the Powerstation 1x and 2x
models both come with a single
USB port, the 3x, 5x and 8x models
all have dual USB ports that allow
you to charge two devices
simultaneously. The mid-range 3x
can deliver power to connected
devices at a maximum 2.4 amps,
and it holds 6,000mAh enough to
Verdict
Verdict
KEY
SPECS
POWER RESERVE
6,000mAh
INPUT 5V/1.5A
OUTPUT 2x 2.4A
DIMENSIONS
14.3 x 8.2 x 0.8cm
WEIGHT 175g
With a generous range of

models to choose from,
Mophies Powerstation range
has a portable battery pack to
suit all budgets and power
requirements. The devices are
stylish, well built and in the
case of the 1x, 2x and 3x
versions small enough to
comfortably slip inside a
pocket. While the 5x and 8x
models are primarily
geared towards tablet
users, the 1x, 2x and
3x versions are ideal
for smartphone users.
Which one is right for
you will depend on
what you need to
charge and how many
times you might need
to do so before youre
able to use a mains
supply.
GOLD
W D C TO P 5 R O U ND- U P
POWER BA NKS
1 Anker PowerCore+ 10050 50
ounded by a group of
former Google employees
in 2009, Anker is one of
the biggest players in the
portable battery pack market. In
addition to portable chargers the
company also manufactures a wide
range of keyboards, cables,
Bluetooth speakers and other
accessories designed specically for
mobile devices. The PowerCore+
range is Ankers agship battery
pack range and consists of ve
models: the 3,350mAh PowerCore+
Mini (40), the 10,050mAh
PowerCore+ 10050 (60), the
13,400mAh PowerCore+ 13400
(70), the 20,100mAh PowerCore+
20100 (80) and the 26,800mAh
PowerCore+ 26800 (90).
At the time of its launch last year,
the PowerCore+ 10050 was billed as
the worlds smallest 10,050mAh
portable battery pack. Rectangular
in shape with softly rounded sides,
the device is certainly impressively
small and comfortable to hold.
Whereas models further up the
range offer two USB charging ports,
the 10050 version (and those
models below it) only comes with
one. A micro USB port rests on the
other side, which is used to attach
the charging cable to charge the
battery with. While Anker supplies a
KEY
SPECS
POWER RESERVE
10,050mAh
INPUT 5V/2A
OUTPUT 2x 2.4A
DIMENSIONS
9.6 x 6.1 x 2.3cm
WEIGHT 236g
charging cable in the box that

enables you to ll the PowerCore+
10050 with power, youll need to use
your own USB cable to connect any
external devices that you want to
charge with it.
The PowerCore+ 10050 benets
from a number of built-in
technologies that are primarily
concerned with maximising the
output to attached devices in order
to minimise charging time. Chief
among these is Qualcomms Quick
Charge 2.0, which allows compatible
Qualcomm Snapdragon-equipped
devices (as used in many Android
phones) to charge up to four times
faster. This is allied to Ankers own
Power IQ output-maximising and
VoltageBoost cable resistance
overcoming technologies that
are also built-in. Combined, these
three technologies enable the
PowerCore+ to offer a maximum
output of 2.4 amps. Recharging the
PowerCore+ 10050 via a mains
source requires a minimum 5V/2A
USB wall adapter. Anker
recommends using a Qualcomm
QuickCharge 2.0 mains adapter for
the very speediest recharge times.
One minor gripe is that the
PowerCore+ 10050 cannot be used
in pass-through mode, which is to
say it cannot be charged while
charging another device.
Constructed from premium-grade
Panasonic battery cells and
US-made electronics internally,
externally the Astro E1 benets from
a matte black aluminium outer
casing that looks pretty stylish and
feels good in the hand. Anker claims
Verdict
Packed with technology and
yet small enough to
comfortably slip inside a
trouser or jacket pocket, the
Anker PowerCore+ 10050 is a
brilliant little battery pack. Add
to this a robust build quality
and premium matte aluminium
nish and the PowerCore+
10050 is hard to fault. Indeed
the only small thing holding it
back is a lack of pass-through
functionality, although for the
vast majority of users this is
never likely to be much of an
issue anyway. For those looking
for an impressively small and
feature-packed portable
battery charger to re-energise
their mobile phone with, the
PowerCore+ 10050 comes
highly recommended.
GOLD
that all PowerCore+ models have

undergone rigorous impact and
temperature testing to ensure they
wont break down in extreme
temperatures or as a result of
accidental drops. While we cant
independently verify either claim,
the aluminium casing and overall
construction certainly feels robust
enough to stand up to the rigours
of daily use. The circular LED light
display is a neat touch too, with the
10 individual lights that comprise it
accurately displaying the devices
remaining power reserves in an
intuitive clock-like fashion.
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ACCESSORIES
T H E LAT ES T ESSEN TIA L KIT
Wacom Intuos Photo 75

W W W.WACO M .CO M
With an active working area of 152x95mm,

the Intuos Photo is the smallest model in
Wacom s line-up of graphic tablets, and
its aimed at those whod like to take ne
control of the cursor at the editing stage.
The supplied pen allows users to create
incredibly precise selections around
subjects, and its 1,024 pressure-sensitive
levels provide the accurate control you
need to brush into layer masks and apply
pressure to adjust the ow of a brush
much like you would on paper.
If you prefer to use your ngers to move
the cursor, you can do so by enabling touch
control via a small switch. The tablet
supports multi-touch gestures such as
pinch and zoom, giving you what feels
like smartphone or tablet control at your
ngertips for fast navigation and intuitive
operation. At the top of the tablet are two
express keys on either side that can be
customised, with more advanced options
to control the mapping across the screen,
This is one of the

finest tablets you
can buy for
under 100
scrolling speed and touch gestures. The

design has also been carefully thought
through. Theres an integrated pen holder,
three spare pen nibs and an optional
wireless accessory kit (32) if you dont
fancy connecting it via USB.
A graphics tablet is an excellent accessory
to own if you regularly edit images and,
having used many over the years, we found
that the Intuos Photo offered the perfect
balance between portability and
functionality. Its thin and light enough to
carry on the go, and performs faultlessly
after a quick 10-minute installation. As such,
we consider it to be one of the nest tablets
you can buy for under 100 and cant
recommend it enough.
Installation
The tablet takes less than 10 minutes to
install using the installation CD and
quick-start guide.
Multi-touch
The tablet supports one-, twoand three-nger gestures for
quick and speedy touch
operation, much like a
smartphone or tablet.
Pen holder
PROS
Portability
Performance
CO NS
None
The pen holder prevents you from

losing the pen on the go. Three
additional nibs are provided at the
rear of the tablet.
XXXXXXXXXXXXXXX X X
THE DUST PATROL ALPHA

17MM 8-PIECE SENSORCLEANING KIT 38.95
WWW.CAMERACLEAN.CO.UK
This comprises a silicone blower,

microbre cloth, optical cleaning uid,
a SensorKlear Lenspen, a brush and four
swabs. The swabs are folded around the
paddle head and held in place with a
rubber band.The swab absorbs the uid
well but doesnt always clean equally
across the sensor surface. The brush is
designed to be statically charged by the
blower. Its far too weak to pick up most
particles, though with the blower and
wet method it should deal with loose and
stubborn particles. The Lenspen cleans
effectively: you need to pass this over
gently a few times. While not everything
w q
ll promised you can
dea
ubbo du
.
ONEADAPTR TW
PLUS+ 27.99
WWW.ONEADAPTR.CO.UK
The Twist Plus+ world charging station

offers ultimate charging convenience
for Apple Mac users. It attaches to any
MacBook power adapter by replacing
its attached plug or extended power
cord. Once attached, twist to select a UK
three-pin adapter, a European two-pin
adapter, or an intercontinental adapter
(adjustable slatted two-pin, for America,
Asia and Oceania). With its extra USB
ports, you can charge four devices at the
same time as your MacBook. There's no
option to plug in an additional mains
lead, so if you need to charge a battery
with a conventional battery charger, say,
youll still need a conventional travel
adapter. The build and overall nish are
of a high standard. If you are regularly
on the go and you carry a MacBook to
edit pictures, it'll be a
godsend. It adds
a few extra
grams, but
its more than
worth it.
RECOMMENDED
Cullmann Amsterdam Maxima 520 75

W W W. I N T R O 2 0 2 0.CO.U K
Inspired by the practicality of medical bags,

the Amsterdam Maxima 520 shoulder bag
provides easy access to its entire contents
upon opening. This happens by way of its
reinforced lip, which pulls the top parts of the
bag upright to reveal a spacious chamber
lined with a removable padded inner.
The bag can accommodate a pro-level
DSLR and telephoto lens combination, plus
four or ve extra lenses, or a further body
alongside a couple of lenses and a ashgun.
This inner is soft to the touch and chunky
enough to provide ample protection, and
the interior can be adjusted to t different
equipment. However, the dividers form three
somewhat narrow rows, so while the bag
easily takes standard lenses and ashguns,
wider lenses only t in with a squeeze.
The bag is replete with nice touches.
The neoprene-covered handles
incorporate magnets to adhere to
each other, while the shoulder pad is
nished with neoprene for comfort.
P R OS
C ONS
Protects kit
very well Sizeto-price ratio
Wider lenses
may not t in
very easily
The water-repellent outer material is

complemented by a lining around the zip that
hides the zip once closed to keep water out.
Two spacious outer pockets are ideal for
a couple of lters or a lens cloth. Additional
pockets on the lining are somewhat
concealed by the inner compartments Velcro
attachment, and these are joined by memory
card slots, as well as spaces for three pens.
For its excellent protection and size-toprice ratio, this bag is recommended, though
those interested are encouraged to look
carefully at whether its inexibilities wont
make carrying your specic kit awkward.
RECOMMENDED
Leef iBridge from 37.99 (16GB)

W W W. L E E FCO.CO M
Anyone who uses an iPhone or iPad

will likely nd that as the device gets older
and lls up with apps, music and photos, it
will slow down and become less usable. But
while Android owners can plug in microSD
cards to expand their storage, Apple users
have no such luck, resulting in a never-ending
hunt for old les to delete.
Help is at hand, though, in the shape of the
Leef iBridge. This is essentially a memory
stick with a standard USB plug at one end
and a Lightning connector at the other, so
you can use it to store les and free up your
phones memory. Available in capacities from
16GB (37.99) to 256GB (278.99), its about
the closest Apple users can get to the USB
on-the-go memory sticks that Android users
take for granted. The main difference is that
its contents can only be accessed from the
phone using Leefs Mobile Memory app.
For photographers, the most obvious use
P R OS
C ONS
Great solution
to free up phone
memory
Photos can't be
separated into
albums
is to store photos you just plug the drive

into your computer and copy them across.
When you next attach the iBridge to your
iPhone or iPad theyll show up in the apps
photo viewer module. The catch is that they
can only be displayed chronologically; you
can't separate them into albums. Supposedly,
this is to provide the most Apple-like
experience, but I think offering a more
advanced mode in the app would be useful.
Aside from this one small (and potentially
xable) gripe, the Leef iBridge is a wellthought-out device. Its simple to use and the
clever design tucks neatly under your
hand when its in use. Its
a great accessory
for iPhone and
iPad users.
M 63
CAM E R A T E S T
F-MOUNT
This accepts a huge range of
lenses dating back decades. The
D500 can autofocus with lenses
lacking built-in motors
and can work with on-lens
aperture rings.
CUSTOMISABLE
CONTROLS
The behaviour of the
command dials and many of
the external buttons can be
changed to suit the users
preferred shooting
habits.
LOCK SWITCH
Flicking this to the L
position locks both the
d-pad and joystick
against accidental
inputs.
Nikon D500 1,729

As far as crop-sensor DSLRs go, Nikons new agship, high-speed model is up there with the best
W W W. N I KO N . C O . U K O T E S T E D B Y A N DY W E S T L A K E
ack in 2007, Nikon

unleashed a pair of DSLRs
that revitalised its line-up
and re-established the
company as being at least on
a par with its rival Canon. The
professional-level D3 was its rst
full-frame model, with super-fast
shooting and an impressive 51-point
AF system. Meanwhile, the DXformat D300 offered many of the
agship D3s best features in a
smaller body at a fraction of the
price. It rapidly won the hearts of
a generation of serious enthusiast
and semi-professional
photographers, spurring Canon to
produce a competitor, the EOS 7D.
The D300 underwent a relatively
minor refresh with the D300S in
2009, but after that Nikon seemed
to abandon the idea, insisting that
its D7000-series of enthusiastfocused DSLRs met the needs of
most enthusiasts. But this year it
relented and, just in time for a
summer of European Championship
football and the Olympic Games,
produced a genuine successor in
the shape of the D500. The D500
comes as part of a pair of new
releases alongside the professional
D5, and once again it has an
astonishing headline specication.
Nikon proudly claims that it has an

extended top ISO of 1.6 million,
alongside a 153-point AF system
and 10fps shooting. On paper, its
the best APS-C DSLR yet seen.
However, the D500 enters
a market thats much more
fragmented than when the D300
was born. Rather than just
competing against a handful of
similarly priced APS-C-format
DSLRs, photographers these days
can choose from a huge range of
alternatives, including some
exceptionally capable mirrorless
Compact System Cameras and
affordable full-frame options. In
general, the market has moved
towards smaller, lighter cameras,
too. This means the chunky D500
now looks like a specialist sports
and action camera, where the D300
was much more of an all-rounder.
With this in mind, how good is it?
F E ATUR E S
The D500 is a remarkably wellfeatured camera. Its 20.9MP
DX-format sensor affords an
impressive standard sensitivity
range of ISO 100-51,200, and a
staggering extended range of ISO
50-1,640,000. It can shoot at 10fps,
and keep going for at least 30
KEY
SPECS
SENSOR
20.9MP DX CMOS
OUTPUT SIZE
5,568 x 3,712
FOCAL LENGTH MAG
1.5x
LENS MOUNT Nikon F
SHUTTER SPEEDS
30sec-1/8,000sec
ISO 100-51,200
(standard); 501,640,000 (ext.)
EXPOSURE MODES
PASM
METERING Matrix,
centreweighted,
spot, highlight
weighted
EXPOSURE COMP
5 EV, 0.3EV steps
BURST 10fps
EXTERNAL MIC Yes
DISPLAY
2.36-million-dot, 3in
tilting touchscreen
VIEWFINDER
Pentaprism, 1x
magnication, 100%
coverage
AF POINTS 153-point
phase detection
VIDEO 4K 30fps;
full HD 60fps
DIMENSIONS
Approx 147 x 115 x
81mm
WEIGHT 860g, inc.
battery and card
frames in Raw format and 90 or

more in JPEG mode. Thats with an
SD card; place an XQD card in the
second slot, and itll keep shooting
at full speed for 200 frames in Raw.
Autofocus uses a 153-point
system covering almost the full
width of the frame and around
half its height, while metering
employs a 180,000-pixel RGB
sensor that also feeds subjectrecognition data to the AF system.
Nikon species that both systems
will work in very low light: -3EV for
metering, and -4EV for AF. At this
point the D500 reads less like a real
camera, and more like a dream card
in DSLR Top Trumps.
The D500 also records 4K video,
but with the catch that it uses a 1.5x
crop in the centre of the frame,
compromising wideangle shooting.
Full HD movies can be captured at
up to 60fps, this time with a
recording area the full width of the
sensor. But while it has some nice
movie-friendly features, including
microphone and headphone
sockets, and a at picture prole,
theres no focus-peaking display
and only rudimentary zebra pattern
overexposure warning.
One thing the D500 lacks is a
built-in ash; users will instead have
N IKON D500
The D500 has no

problem keeping
fast-moving subjects
in pin-sharp focus
SNAP
BRIDGE
to rely on hotshoe-mounted
external units. For anyone planning
to use Nikons excellent wireless
ash system this will come as a
disappointment, but it reinforces
the cameras positioning as an
available light action specialist.
Presumably, Nikon believes that
portrait photographers would be
better off with a D750.
B U IL D AN D
HAN D L I N G
As wed expect from a 1,730
sports camera, the D500 gives the
impression of being built like a tank.
The magnesium-alloy body has
a bombproof feel, and a welldesigned grip means it ts perfectly
in your hand. Almost every square
inch of the body is covered by
buttons and dials, which give direct
access to all the key functions so
much so, that theres rarely any
need to access the menus.
Nikon has used broadly the same
control layout as that on recent
models, such as the D810, but
added a few tweaks that come
straight out of the Canon playbook.
So at last theres a sensibly placed
ISO button immediately behind the
shutter release, and a joystick for
positioning the focus point that sits
naturally under your right thumb.

Pressing this inwards engages
autoexposure lock, and if you prefer
using the d-pad to move the focus
point, this works, too. The upshot is
that the most important settings
can all be changed without taking
the camera from your eye while
youre shooting. However, those
accessed from the cluster on the
left-side top-plate including drive
mode, metering, white balance and
exposure mode still require you to
remove your left hand from
supporting the lens.
Nikon also offers a decent level
of customisation, so you can
reassign various buttons to suit
your personal shooting. But to be
honest, the basic layout is so well
worked out that you might not nd
much need for this.
Unsurprisingly for such a
sophisticated camera, the D500s
menus are intimidatingly complex,
even for a seasoned user. Its not
necessarily too hard to work out
what each option does when
browsing through them at leisure,
but trying to nd and change any
specic setting in a hurry is a real
trial. Because of this, it makes a
lot of sense to place your most
needed functions in the
Nikons latest
SnapBridge
tech connects
the camera and
smart device
via Bluetooth,
switching to
Wi- only when
required. The idea
is to copy every
picture you shoot
to your phone
without using
too much power.
Sadly, I found it
doesnt work very
well. SnapBridge
is only available
for Android not
iOS, and not very
well-suited to the
high-end D500
(for example,
remote-control
offers no manual
settings changes).
The connection
can be patchy
and run down the
cameras battery,
too. Hopefully
Nikon can x all
this, as the idea is
pretty promising.
customisable My Menu once

you get to know the camera.
VI EWFI NDER
AND SCREEN
Without doubt, the D500s optical
viewnder is one of the best weve
seen on an APS-C DSLR. With a
magnication of 1.0x and 100%
coverage of the image area, its
certainly the largest, and not far off
full-frame DSLRs or the electronic
viewnders on high-end CSCs in
terms of size. It doesnt have all
the clever viewnder information
overlays that Canon has included on
its EOS 7D Mark II, but you do get
to see all the core exposure data
along with gridlines and a twin-axis
electronic level. Unfortunately, this is
usually displayed in black, so it can
be tricky to discern while shooting.
The 2.36-million-dot rear screen is
superb its impressively detailed,
while giving accurate colour
rendition. Its ability to tilt 90
upwards or downwards can be
handy in some situations for
shooting from odd angles, although
its difcult to get away from the
fact that the D500 is vastly more
competent when youre using the
viewnder, compared to when
youre shooting in live view.
CAM E R A T E S T
Nikon has made the screen

touch-sensitive, but kept the touch
functionality to a minimum. You
can select the focus point by touch
in live view and movie modes,
release the shutter and browse
images in playback. But you cant
use the screen to browse menus or
change any settings. This isnt a
deal-breaker, but would certainly
count as nice to have, especially
for video use.
AU TOFOC U S
At the D500s heart is its 153-point
autofocus system, which is very
similar to that used in the agship

D5. Indeed, its the cameras raison
dtre, with Nikon aiming to give
photographers a signicant fraction
of the D5s capabilities in a smaller,
cheaper package. The rst thing
you notice on looking through the
viewnder is the huge spread of
those focus points, covering the full
width of the frame and a signicant
fraction of its height. Its not quite
the whole-frame coverage that
weve become used to from
mirrorless cameras, but its
signicantly greater than what
youll get from any other DSLR.
In good light, image

quality is superb, while
the tilting screen helps
with shooting from
unusual angles
Nikon has recognised that

navigating so many focus points
would be impractical, so it has
limited the user-selectable array
to 55, with the remainder employed
to assist focus tracking on moving
subjects. Indeed, these are so
densely packed that theres little
chance of your subject drifting
into an area thats not covered.
If the subject is static, then you
can shoot with either a single point
or a group of points, which can be
helpful with some subjects to avoid
focusing on the background. For
continuous focus on a moving
subject, you have a number of
extra options to choose from.
Dynamic group mode is most
effective when you know roughly
where the subject will be in the
frame; you can instruct the camera
to use 25, 72, or all 153 focus points
to maintain focus. Alternatively,
in 3D tracking mode the camera
uses all 153 points to follow the
subject as it moves around the
frame, with the 180,000-pixel
metering sensor feeding information
to help the camera to keep track of
your main subject.
Theres little doubt that the D500,
alongside the D5, represents current
state-of-the-art autofocus and
subject tracking, keeping your
subject sharp with uncanny ease, no
matter how it moves around. If this
is something you need for sports,
Image quality
ISO 100
ISO 102400
ISO 100
ISO 800
37
26
ISO 800
ISO 51200
ISO 204800
34
ISO 102400
ISO 51200
ISO 100
23
COLOUR
RESOLUTION
IMAGE NOISE
Nikons colour rendition is characteristically bold and

punchy, without being overblown. Theres a huge
amount of scope for users to experiment with the
in-camera Picture Control settings, too. Colour saturation
is maintained well right up to ISO 1600, but beyond this
level it suffers progressively as image noise has an
ever-greater impact. At the extended ISO sensitivity
settings the D500 can barely distinguish colours properly
at all, as you can see from the ISO 102,400 sample; higher
ISOs are even worse.
The D500 captures as much from our resolution charts as

we could realistically expect from its 20.9MP sensor. At
low ISOs in Raw it resolves around 3,700 l/ph before
maze-like aliasing comes into play; the JPEG processing
tends to suppress such artefacts at the expense of slightly
lower resolution. But whats more impressive is its high
ISO capability, with 3,000 l/ph still recorded at ISO 6400.
At the highest standard setting of ISO 51,200, it achieves
2,600 l/ph, and 2,300 l/ph at ISO 102,400. But the higher
extended settings are pretty poor.
At low ISO sensitivities, the D500s image quality is

superb; ne detail is rendered with impressive sharpness
and theres no visible noise. At ISO 800 a little luminance
noise becomes visible, and shadow details start to
disappear. At ISO 6400 ne detail and colour saturation
are visibly suffering, and by ISO 51,200, colour rendition
becomes very broad-brush, although the image is still
usable with careful processing from Raw. But at the
extended higher sensitivity settings, the image
disappears progressively under an ocean of noise.
N IKON D500
wildlife, or simply taking pictures

of erratically moving kids no other
camera is likely to do it as well, let
alone better.
Switch the camera to live view,
though, and its AF speed falls
off a cliff. Its contrast-detection
system is tolerable for handheld
shooting, but its not a patch on the
lightning-fast systems on modern
CSCs. However, it does at least
benet from the inherent accuracy
of contrast-detection AF, especially
when using fast lenses to shoot
off-centre subjects.
PE R FO R M AN C E
When it comes to metering, four
patterns are available matrix,
centreweighted, spot and highlight
weighted. The default matrix
system is very strongly biased
towards correct exposure of
whatever is under the active AF
area, regardless of whether this
suits the scene as a whole. This
approach has its merits, but does
have a certain tendency to clip
highlights in high-contrast scenes.
In such situations I appreciated
having the highlight-weighted
option which, as its name suggests,
aims to maintain highlight detail,
allowing you to bring up shadow
regions in post-processing.
In this regard, Raw les are
remarkably malleable at low-ISO
sensitivities, and its possible to pull
vast amounts of detail out of the

shadows without it being blighted
by excessive noise. JPEG shooters
can use Nikons Active D-Lighting
feature to make similar use of the
sensors superb dynamic range.
Auto white balance tends to give
extremely neutral results indeed,
too much for my tastes. For
example, its prone to removing
attractive warm casts from sunlit
scenes, and I usually preferred to
add back a little warmth to my
images in post-processing. But
while the AWB setting can be
changed in the menu to retain
warmth under articial light,
theres no such option for
daylight shooting.
Nikons colour rendition is
generally very appealing, giving
rich, saturated colours without
going over the top. The output
can be adjusted from the Picture
Control menu using a range of
subject-based settings, all of which
can be individually ne-tuned.
Sports and action shooters are
likely to spend a lot of time using
JPEGs, so its good to see that
Nikon offers high-quality results
straight from the camera.
Overall image quality is very
good, but then again the same is
true of much cheaper Nikon APS-C
DSLRs. Indeed, at low ISOs theres
no real advantage in this area
compared to the D7200 or indeed
Highlight-weighted metering avoids

clipping whites, but here it gives
a very dark JPEG le
However, lots of extra shadow detail

can be recovered from the Raw le
the D5500. But the D500 keeps

going longer as the ISO is raised,
and so long as you dont expect
miracles, its still capable of giving
quite usable les at its top standard
setting of ISO 51,200, and maybe
even a stop higher. However, I cant
help but think that the extended
settings exist more for marketing
value than practical use.
Verdict
In recent years, those seeking a truly high-end
APS-C DSLR for sports and action have been
more or less limited to Canons EOS 7D Mark II.
But now the D500s superb autofocus, fast
continuous shooting and excellent image
quality places it at the top of the list.
Indeed, its difcult not to conclude that the
D500 is the most accomplished crop-sensor
camera yet made. Build and handling are
exemplary, aided by some well-judged tweaks
to the control layout; I particularly appreciated
the repositioned ISO button and the joystick AF
point selector. The viewnder is excellent, and
its nice to see a tilting rear screen on a camera
of this type, though its perhaps less useful
here than on a CSC. The addition of 4K video
recording will be the icing on the cake for some
users, but the D500 shines brightest when used
as a conventional DSLR for shooting fastmoving subjects. Ive been hugely impressed by
its ability to capture any shot, acquiring focus
quickly no matter how erratically moving the
subject or how dim the light. Its excellent high

ISO capability means it will deliver entirely
usable image les in extremely low light, too.
The stumbling block is the price: 1,729 for
just the body is more than youll pay for some
excellent full-frame cameras, including Nikons
own D750. And its 1,000 more than the next
DX model down the impressive D7200. Many
Nikon users eyeing an upgrade will likely be
better served by buying a couple of Nikkor
lenses instead, or upgrading to full frame if
theyre after improved image quality. For this
reason, the D500s appeal is probably limited
to those who know they can make use of its
astonishing AF system and impressive high ISO
image quality, and appreciate the extra effective
telephoto reach afforded by the DX sensor.
Existing D300 owners whove been patiently
waiting to upgrade should start saving now.
In summary, for photographers who spend a
lot of time shooting sports, action, wildlife and
the like, its hard to think of a better camera. AW
B EST FOR
Enthusiast photographers seeking a camera
with excellent autofocus, fast continuous
shooting and stunning image quality
PROS CONS
Remarkable
autofocus system
Excellent build and
handling Image
quality at both low
and high ISOs
Large and heavy

Much less capable
when used in live
view SnapBridge
connectivity doesnt
work well (yet)
F E AT U R E S
19/20
PERFORMANCE
19/20
DESIGN
19/20
I M AG E Q UA L I T Y
19/20
VA L U E
16/20
WDC RATING
GOLD
CAM E R A T E S T
CONTROL RING
As on the G7 X, a control ring
for adjusting focus, exposure
parameters and other settings
encircles the lens, although it
now features a small lever to its
side that switches its operation
between stepped and
continuous movement.
AUTO ND FILTER
The G7 X Mark II offers a 3-stop
ND lter, and this can now be
set to automatically activate
whenever the camera deems it
necessary. It can also be called
upon manually to lengthen
exposures.
MANUAL MOVIE
In this mode its possible to

control aperture and shutter
speed when capturing movies by
using the control ring around the
lens, and the dial on the back of
the camera. ISO adjustment is
also possible through
the touchscreen.
Canon PowerShot G7 X Mark II 549

With the PowerShot G7 X Mark II, Canon appears to have resolved the main issues of the previous model
W W W. C A N O N . C O . U K O T E S T E D B Y M AT T G O L O W C Z Y N S K I
here was a time when

Canons PowerShot line
was the obvious choice for
those wanting manual
control in a compact camera. Many
other capable alternatives have now
surfaced, though, and its perhaps
because of this rivalry that Canon
has furnished its G-series range with
ve models in the past two years.
Canon has based most of these
around the same sensor and a
similar level of control, but
differentiated the lenses, bodies
and availability of certain features
to deliver a solution to please
everyone. The G7 X Mark II occupies
a mid-line position not quite as
pocketable or affordable as some of
its stablemates, but more practical
than others. It updates the previous
PowerShot G7 X, a camera with
plenty of merits but several sore
points, too. And Canon has taken
the latter on board for this update.
F E AT U R E S
Despite a handful of signicant
improvements, much of what the G7
X Mark II offers is essentially the
same as the camera it updates
and the sensor falls into this camp.
Theres a 1in CMOS sensor with a
backlit architecture, and an effective
pixel count of 20.1MP, which

provides a native sensitivity span
of ISO 125-12,800. However, image
quality between the two models
looks set to be slightly different,
partly because the newcomer can
capture 14-bit Raw les (rather than
the G7 Xs 12-bit ones), but also
because its the rst PowerShot to
employ the DIGIC 7 processor.
Key claims made by Canon for its
new engine include enhanced detail
rendition and better noise reduction
across the sensitivity range, as well
as diffraction correction to help
boost denition when using smaller
apertures. Further promises include
better shot-to-shot times and some
focusing-based improvements.
The processor is also responsible
for increasing burst shooting speed
from 6.5fps to 8fps, with autofocus
set at the rst frame. Whats more
signicant is that this rate is
maintained when capturing Raw
les for up to 19 frames a massive
improvement on the G7 Xs
underwhelming 1.2fps. It can
capture up to 30 JPEG frames at
this speed, and should you wish to
maintain autofocus between frames,
the rate drops to a still respectable
5.4fps for up to 46 JPEGs.
The 24-100mm f/1.8-2.8 equivalent
KEY
SPECS
SENSOR 20.1MP, 1in
CMOS sensor
OUTPUT SIZE
5,472 x 3,648
LENS 24-100mm
equivalent, f/1.8-2.8
SHUTTER SPEEDS
15secs-1/2,000sec,
bulb
ISO 125-12,800
EXPOSURE MODES
PASM, auto, hybrid
auto, custom, scene
METERING
Evaluative,
centreweighted
average, spot
EXPOSURE COMP
3EV in 1/3 steps
DRIVE 8fps (5.4fps
with AF)
MOVIE Full HD up
to 60p
DISPLAY 3in, 1.04
million dot LCD
VIEWFINDER No
AF POINTS 31-point
contrast-detect AF
MEMORY CARD SD,
SDHC, SDXC (inc UHS-I)
POWER NB-13L
rechargeable Li-ion
BATTERY LIFE
265 shots
DIMENSIONS
105.5 x 60.9 x 42mm
WEIGHT 319g
lens appears unchanged from the

G7 X, and again image stabilisation
is included, though one benet of
the DIGIC 7 processor is the new
Dual Sensing IS technology. This
uses newly developed algorithms to
analyse information from the sensor
to help further minimise blur, and
results in a maximum compensatory
effect of four stops (compared with
three on the G7 X).
In contrast to some of its peers,
the G7 X Mark II doesnt support 4K
video recording. It opts for full HD
shooting at a choice of frame rates
from 24fps to 50fps (or 60fps in
NTSC). This makes use of the H.264
codec for compression and wraps
footage in the MP4 format, with
footage recorded at a maximum bit
rate of 35mbps. Videos benet from
a ve-axis dynamic image stabiliser,
which is said to be particularly
benecial when walking with the
camera. Its also now possible to
create time-lapse footage.
Canon has ditched its My Colors
image settings in favour of the
Picture Styles that grace its EOS
DSLRs and CSCs. The options
include standard, portrait, neutral,
faithful, ne detail, monochrome
and landscape, as well as an auto
mode, and three that can be created
CA N ON POWERSHOT G7 X MA R K II
24-100MM
F/1.8-2.8
LENS
and tailored to your specications.

A long-standing criticism of other
PowerShot models was that you
could not adjust these when
capturing Raw images, but on the
G7 X Mark II this is now permitted.
Alongside support of SD, SDHC
and SDXC media, the camera
features micro HDMI and USB ports
in addition to Wi- and NFC. A
button on the side of the body
brings up the various wireless
options, allowing images to be sent
to printers, computers and even to
other PowerShot cameras if desired.
The top-plate conceals a small
ash thats released with a catch on
the cameras side, though theres no
hotshoe for an external ashgun.
Battery life is quoted at 265 frames,
which is a useful improvement on
the 210 offered by the G7 X; using
the Eco setting boosts this to 355.
VIE W F I N D E R
AND S C R EE N
The G7 X Mark II doesnt offer a
built-in viewnder, and nor is it
possible to use an external one
given the lack of a hotshoe, and for
some this may be a deal-breaker.
The similarly priced PowerShot G5 X
does offer one, although this means
it loses pocketability.
Just like the model it updates, the

cameras rear LCD offers a 3in panel
with 1.04 million dots. While it
continues to be hinged at its top for
a 180 rotation, it now features an
extra hinge at its base so that it can
be tilted downwards by 45. This
makes it easier to view if held above
head height. The display extends
easily and to some distance from
the body, and its default setting
shows the scene well in all but harsh
light, though brightness can be
adjusted over ve levels if required.
The screen is as responsive as
expected to touch operation, and
particularly useful for setting focus.
Many other options can be altered
in this manner, and once you
appreciate its convenience you will
probably end up using it regularly.
Many touch controls are small,
however, and close enough to each
other that they may discourage
larger-ngered users from using
them too often. There are standard
and sensitive options, the latter for
use when wearing gloves.
B UIL D A N D
HA N DLIN G
The design of the previous model
was clearly inspired by the minimal
styling and pocket-friendly form of
The G7 X Mark
IIs lens gives an
edge over many of
its rivals. Its 24100mm equivalent
range stretches
further than
most but while
retaining a useful
f/2.8 aperture at
telephoto. Optical
stabilisation is
included, which
works with the
scene-detection
system to
determine
what kind of
stabilisation is
required in any
given situation
for both stills
and video.
This includes
accounting for
up-and-down
and side-to-side
movements when
shooting close up
(Hybrid IS) and a
ve-axis Dynamic
IS for movies,
as well as a new
panning mode.
The Standard picture

style strikes a good
balance between
reproducing the scene
faithfully, but saturating
colours just enough to
make them pop a little
Canons discontinued PowerShot

S-series models, and the Mark II
doesnt stray too far from this. Some
of the G7 Xs rounded edges have
been lost to more angular ones, and
the main part of the body sees its
mottled nish replaced by a smooth
one, but the rear controls and
top-plate are virtually unchanged in
much of their design and most of
the controls they access.
The camera is built very much
to the standard weve come to
expect from an enthusiast compact
at around this price. The body is
largely constructed from a sturdy
metal, with plastic parts used at the
base (where the NFC antenna is
found) as well as for the battery/
card door, control ring on the rear
and ash. The stacked mode and
exposure-compensation dials are
made of milled metal, as is the
control ring around the lens.
Outwardly, there are only two
signicant revisions, one being the
aforementioned dual-hinged LCD
and the other being the welcome
addition of a small rubber grip on
the front plate. The grip is small and
only adds a little to the cameras
overall prole, but it doesnt need to
be any larger on such a body and
its pleasing to see that it doesnt
CAM E R A T E S T
have any impact on pocketability.

The exposure-compensation dial
runs in reverse to the G7 Xs, so that
a clockwise rotation applies
negative compensation and vice
versa. This is perhaps more natural
for most people, and matches other
brands. Though the dials recession
behind the rubber thumb rest
means its not quite as accessible as
those on other cameras, its also not
as prone to being inadvertently
shifted out of position.
On the rear, the thumb rest is now
slightly more substantial. On such a
compact body, a 3in LCD doesnt
leave much room for physical

controls, but the four buttons here
are still well sized. Perhaps the
biggest issue is that the LCD screen
stands a little more proud of the
body than the G7 Xs display, and
this has affected how comfortably
you can rotate the control ring next
to it. Admittedly, this is an issue with
many other cameras, too.
FO C USIN G
The processor does a

commendable job of
removing chroma noise
when left to the lowest
noise-reduction option
The G7 X Mark II employs a similar

31-point, contrast-detect AF system
to its predecessor, but the new
processor is said to give it a slight
speed advantage, as well as better

detection of low-contrast subjects
and more effective subject tracking.
Overall focusing performance is
strong. Its not quite the fastest
system around but not signicantly
behind to make any practical
difference, and for static subjects in
good light I have no complaints.
Whats particularly noteworthy is
that, thanks to a sprightly AF-assist
light, the camera continues to focus
briskly even when faced with very
poorly lit scenes.
In continuous focus mode with
the subject identied through the
touchscreen, it can take a brief
moment for the camera to acquire
focus, but when it does it adheres to
the subject impressively as it moves
around the scene. At times, I found
it even managed to maintain this
when obstacles presented
themselves between the camera
and the subject. When the camera is
programmed to continue focusing
during burst shooting, however, you
have to trust it somewhat as it
provides no indication of where its
focusing once you re the rst
frame, though analysing images
afterwards shows its very capable
of maintaining accurate focus.
One small issue is that there
doesnt appear to be any way to
instruct the camera only to release
the shutter once focus has been
conrmed. I found the camera
Image quality
ISO 125
ISO 12800
ISO 125
ISO 400
32
24
ISO 400
ISO 6400
ISO 12800
28
ISO 12800
ISO 6400
ISO 125
22
COLOUR
RESOLUTION
IMAGE NOISE
Canons colour rendition is generally very attractive,

with the Standard picture style giving punchy, saturated
colours without going over the top. Indeed compared
to its main competitors from Sony and Panasonic, the
G7 X Mark II provides the most consistently usable JPEG
les for users who prefer not to use Raw all the time. It
also holds colour very well as the ISO is raised, with little
deterioration at settings up to ISO 1600 at least, but some
loss of saturation at higher settings.
The G7 X Mark II is capable of resolving around 3,200 l/ph

in JPEGs at its base sensitivity of ISO 125, which is a
respectable result for such a sensor. Sadly, this isnt quite
maintained to the same extent as other cameras as
sensitivity increases, falling to around 2,700 l/ph at ISO
800, and around 2,400 l/ph at ISO 3200. The ISO 12,800
option shows a further drop to just 2,200 l/ph, with
contrast in real-world images signicantly worse than
that at the ISO 6400 setting.
Although some noise can be seen at all settings, the rst

point at which it dominates featureless areas is at ISO
800. It rises steadily after this point and is generally well
controlled until ISO 6400. As is often the case, the last ISO
12,800 setting shows a more pronounced fall in quality.
The camera offers three levels of noise reduction for
JPEGs, with the Low setting doing an excellent job of
drawing out chroma noise to leave just the texture of
luminance noise.
CA N ON POWERSHOT G7 X MA R K II
would occasionally end up taking

the shot even if focus has not been
acquired, particularly when using
the touchscreen for simultaneous
focus and exposure (such as on the
macro setting when you dont
realise youve breached the
minimum focusing distance).
PE R FO R M AN C E
One of the main performance
improvements on the G7 X Mark II is
its burst rate when capturing Raw
images. I found that with a suitably
fast memory card, the camera not
only met its 19-frame burst depth,
but also often exceeded it by the
odd frame or two. A burst of images
is written to the card in around 12
seconds, with an additional ve
seconds if capturing JPEGs too,
and while its not possible to enter
the menu or zoom the lens as this
takes place, you can capture a
handful of additional frames as
these are processed.
Post-capture, the most signicant
change on the Mark II over its
predecessor is the ability to process
Raw images. While the level of
control on offer isnt as extensive as
that on some other models, its
possible to zoom into images before
committing to any changes useful
for noise reduction and easy to
compare adjustments to original
captures. Furthermore, the option
to delete Raw les and JPEGs
independently can be useful when

card space is limited. Its good to be
able to crop and resize images too,
though other enthusiast-oriented
controls, such as perspective
correction and image straightening,
would be welcome additions.
Looking closely at Raw images
alongside their JPEG counterparts
makes you appreciate how well the
processing engine does to produce
immediately usable JPEGs. Contrast
is good and colours on the Standard
picture style are well saturated but
still accurate. I was happy to use this
for scenes containing owers and
foliage, as well as more everyday
images captured in urban settings.
I did, though, nd that scenes
containing blue skies were best
captured on auto mode, if not the
more dramatic landscape mode, as
the standard option tended to leave
blues somewhat undersaturated.
Though the camera is able to
produce detailed images, this very
much depends on how the lens is
set. Sharpness is weakest at the
wide end, with ne detail generally
lacking throughout the frame.
Oddly, though there is some corner
softness at f/1.8 here, stopping the
lens down (say, to f/4) only seems
to make this worse. The ne detail
picture style does well to counteract
some of this softness, though it also
accentuates image noise.
Detail across the frame is higher
and more consistent at mid-range

and telephoto settings, though you
do see a benet by stopping down
to f/5.6 or so to get the best
sharpness throughout. Best
performance is at middle focal
lengths, with shots captured at
40-75mm producing a very good
level of detail across the frame.
Chromatic aberrations, while
present in Raw les to a moderate
degree, are removed by the
cameras JPEG processing.
I was generally pleased with what
the cameras metering system
deemed to be the correct exposure
most of the time, though
occasionally it erred towards
underexposure. The auto white
balance system does a stellar job of
keeping things accurate regardless
of what is thrown at it. Impressively,
scenes lit with a mixture of natural
and articial light dont prove to be
much of a problem, either.
Video quality is somewhat hit and
miss. The softness of the lens at the
widest end results in footage being
less detailed here than further up
the focal range. Exposure changes
happen uidly as the camera is
moved around the scene and minor
artefacts over ner details are
visible but not to a massive degree,
while the image stabilisation is very
effective at keeping things steady.
Audio quality is unremarkable but,
again, for most uses it is satisfactory.
Verdict
When the Canon PowerShot G7 X was released,
it didnt have many rivals. Now, the idea of a
pocketable camera furnished with a 1in or Micro
Four Thirds sensor, along with Raw shooting
and plenty of manual control, is a bit less
special and if youre happy with a xed-focallength lens, the pool is further diluted with a
handful of very capable APS-C-based
compacts to consider.
Despite this, at least on paper, the G7 X Mark
II remains an exciting proposition for enthusiast
users, particularly when the many useful
changes over the previous G7 X are considered.
And much of this translates to real-world
shooting, with largely reliable image quality,
a sound focusing performance, usefully tilting
and responsive LCD, and decent if not quite
ideal level of customisation as its draws.
The camera is quite capable of recording
a good level of detail throughout the frame
while keeping optical aberrations in check, and
images straight out of the camera are pleasing.
Those shooting at the wide end of the lens with

some frequency, however, may be disappointed
with the slight softness here; its perhaps telling
that many similar models opt for lenses with
more modest focal ranges.
Directly comparing the spec sheet of the G7
X Mark II to those of its peers shows a few
holes, although whether these matter greatly
is a separate issue. Some may, for example,
lament the lack of 4K video recording, but
many photographers record video so
infrequently, if at all, that they would render
this a non-issue. The lack of a viewnder is
more likely to be seen as a serious omission,
particularly in the face of rivals that manage
to squeeze one into a similar body size.
Overall, Canon deserves praise for ironing
out the key issues that affected the G7 X and
throwing in a few niceties on top. The result is
a camera that may not be quite exemplary, but
that will be very pleasing to use and reliable in
variety of situations for many people. MG
B EST FOR
Enthusiasts in need of a pocket camera with
lots of manual control and great JPEG output
PROS CONS
Responsive touchscreen Pleasing
JPEGs straight out of
the camera Sound
AF system with effective focus tracking
No built-in viewnder Soft results at

wider focal lengths
Video capture
limited to full HD
F E AT U R E S
18/20
PERFORMANCE
19/20
DESIGN
18/20
I M AG E Q UA L I T Y
18/20
VA L U E
17/20
WDC RATING
GOLD
X
LEXNS
X X XX
T E SXTX X X X X
Laowa 105mm
f/2 (T3.2) STF
649
The lenss Smooth

Trans Focus design
renders out-of-focus
highlights beautifully
Its nicknamed the Bokeh Dreamer, but is this lens worth purchasing for portraiture?
W W W.V E N U S L E N S . N E T
OTESTED BY MICHAEL TOPHAM
he Laowa 105mm f/2 (T3.2)

STF is designed specically
for DSLR cameras with a
full-frame sensor. Its one of
only a few lenses to feature an
apodization element, which
promises to render superior bokeh.
STF refers to Smooth Trans Focus
a lens design associated with
producing a high level of sharpness
at the plane of focus, gradually
melting away to form beautifully
diffused out-of-focus rendition. The
Laowa is manual focus (MF) only.
The apodization element is
designed to transmit all of the light
thats directed through the centre of
the aperture, but reduce its intensity
gradually towards the periphery.
The lens is also interesting in the
way it has two separate diaphragms,
both of which are controlled
manually via separate rings on
the barrel. The 14-bladed circular
aperture, which is located closest to
the front of the lens, provides users
with the ability to produce the
smoothest bokeh possible. With its
declicked aperture ring, its actually
intended to provide videographers
with a silent way of controlling the

light passing through the lens, and
the transmission value (the amount
of light that reaches the sensor) is
marked in T stops from T3.2 to T8.
The eight-bladed aperture thats
located behind the 14-blade circular
aperture is intended for
photographers to control the
aperture opening (f-number) and
the depth of eld in the usual way.
However, this ring does click
between stops. When one or the
other diaphragm is used,
the unused one should
always be left wide
The lens is rather

unique in the way it
features two separate
aperture rings on the
barrel
open. For example, if the 14-blade

circular aperture is set to f/5.6 or
f/8, the eight-blade aperture should
be set to f/2. Likewise, if the
eight-bladed aperture is set to f/11,
the 14-blade circular aperture
should be set to T3.2.
The lens construction includes
one HR (High Refractive Index)
element, three LD (Low Dispersion)
elements as well as two oating
elements, not forgetting the
apodization element. Other features
to note include its 90cm minimum
focusing distance and 67mm thread
for attaching screw-in lters and
adapters. It is priced at 649.
Build and handling

You instantly appreciate how solid
the lens is when you pick it up. The
barrel is manufactured from metal
to give it a robust and durable feel,
and all aperture and focal-length
markings are engraved into the
metal. As to be expected from a
manual-focus lens, there is no
electronic communication with the
camera, and as such the anodized
metal mount at the rear doesnt
LAOWA 1 0 5 MM F/2 (T3 .2 ) S TF
have any metal contacts to translate

aperture information to the
cameras EXIF data.
The accuracy of focusing relies a
lot on how good your eyes are at
judging whats in and out of focus. If
youre not in a hurry and have time
to carefully compose your shot,
youll want to engage your cameras
live view mode and magnify the
point of focus on-screen before
ne-tuning the focus using the large
manual-focus ring. This is very nely
grooved, as is the ring thats located
behind it to control the 14-blade
aperture. The manual-focus ring has
a pleasing and consistently uid
motion across its range, operating
between its minimum focus distance
and innity with a 270 turn.
As mentioned, the 14-blade
aperture ring is declicked and
operates across its T3.2-T8 range
effortlessly. It notches into place at
its widest setting and it has a
different feel to the eight-bladed
aperture ring behind. In use, I found
this helped identify which aperture
ring was which and prevented me
having to pull my eye away from the
viewnder to check.
The only slight disappointment is
the lens hood, which is made from
plastic and doesnt share the same
robust build quality as the lens itself.
Image quality
The true area of interest of this lens
lies in its bokeh and out-of-focus
qualities. Thanks to its long focal
length and large aperture its
possible to create beautiful bokeh
in out-of-focus areas. Bokeh is
rendered in a wonderfully circular
fashion, and doesnt show any
outlining towards the edge at f/2,
whereas stopping down to f/2.8 and
f/4 sees the outlining effect become
slightly more pronounced around
the perimeter of highlight discs.
Switching between the 14-bladed
diaphragm and the eight-bladed
aperture before comparing the
results side-by-side revealed a
subtle difference. To create the most
satisfying circular bokeh users
should experiment with both
diaphragms, but do note that both
rings should not be used together.
Our lab results show the lens
produces a reasonable level of
sharpness in the centre at f/2, with
the corners appearing only slightly
softer. Centre sharpness improves at
f/2.8, and peaks at around f/4-5.6. It
remains high at f/16, but sharpness
drops off a little at f/22.

Corner sharpness is relatively
unimportant with such a specialised
portrait lens, where the subject is
usually going to be composed
towards the centre of the frame. It
improves gradually as the lens is
stopped down, peaking at f/8, but
then tails off beyond f/16. The sweet
spot between centre and corner
sharpness on this lens is therefore
found between f/5.6 and f/8. To
create the shallowest depth of eld,
users will be tempted to use its
maximum aperture, but I found
some of my sharpest and best
results were captured at f/2.8.
A study of our uncorrected Raw
les reveals corner shading at wide
apertures. We measured the corners
to be approximately 1.2EV darker
than the centre of the frame at f/2,
reducing to 0.6EV at f/4. Stop the
lens down further and youll nd
corner shading disappears and is no
longer seen in real-world images.
Medium telephoto primes are
known for controlling distortion

very well, and this lens is no
different. Our distortion chart shows
just how well the lens controls
curvilinear distortion, rendering
straight horizontal and vertical lines
right towards the edge of the frame.
Rigorous testing in high-contrast
conditions also revealed it controls
chromatic aberrations very well with
barely any signs of fringing.
Verdict
The Laowa 105mm f/2 (T3.2) STF is
a niche lens that wont appeal to
everyone. The fact that its manual
focus only lends it to subjects that
are static, and with those that move
unpredictably its unlikely youll nd
focus fast enough with this lens.
The quality of its build is as good as
youd expect for the price, but its
ultimately the quality of the bokeh
and blur youre paying for here. This
lives up to our expectations and in
the right hands it produces stunning
results well suited to portraiture.
Lab Tests
RESOLUTION
CURVILINEAR DISTORTION
The centre is only slightly sharper than the corner

at f/2. Thisimproves as the lens is closed down
towards f/4 and remains high up to f/16. Diffraction
kicks in at f/22. The sweet spot between centre
and edge sharpness is between f/5.6 and f/8.
Telephoto prime lenses have a reputation for

controlling curvilinear distortion well. This Laowa
optic rendered the horizontal and vertical lines
perfectly straight, saving us time having to
correct for barrel or pincushion distortion.
SMIA TV = -0.1%
105mm centre
105mm corner
KEY
SPECS
FILTER 67mm
LENS ELEMENTS 11
GROUPS 8
APERTURE f/2-f/22
MIN. FOCUS 90cm
SIZE 98.9x76mm
WEIGHT 745g
MOUNTS Canon EF,
Nikon F, Pentax K
and Sony A-mount
DSLRS, as well as
Sony E-mount CSCs
including the Alpha
7 series
PROS
Renders stunning
bokeh in out-offocus areas Solid
build quality
Controls chromatic
aberrations very well
CONS
Heavy for its size
Manual-focus only
Plastic lens hood
doesnt match the
metal nish of the
barrel
The lens produces

very sharp results
at the point of focus,
but a precise focusing
technique is required
RECOMMENDED
WDC
R AT I N G
X
FIXLTXEXRXX
S X
T EXSXTX X X
Lee Filters ND grads
Here the 0.6ND medium ND

grad was used to retain
highlight detail in the sky
The latest set of Lee Filters ND graduated lters for various types of landscape photography
W W W. L E E F I LT E R S . C O M O T E S T E D B Y M I C H A E L TO P H A M
ften found in landscape

photographers bags and
lter pouches, the trusty
neutral-density graduated
lter, or ND grad for short, is an
invaluable accessory that gives us
the control we need to balance the
exposure within a scene, typically
between a bright sky and a
considerably darker foreground.
Theres an argument that a similar
effect can be created by shooting in
Raw and using the graduated lter
within Camera Raw or Lightroom,
but remember that not all cameras
have as wide a dynamic range as
others when it comes to returning
highlight and shadow detail.
Meanwhile, several photographers,
myself included, nd it more
satisfying to get results right at the
point of capture rather than take the
laid-back approach of attempting to
recreate the effect later.
Lee Filters has been producing
different strengths of ND grads in
two different gradations for as long
as I can remember. My soft ND
grads are usually the lters I turn to
rst when Im looking to gently
The ND grads were

tested on a Canon EOS
5D Mark III with
17-40mm f/4 lens
balance an exposure where theres

no denite transition between the
sky and foreground. My hard grads
see less use, and are pulled from my
bag only when there is more of a
distinct separation between the
foreground and sky such as at the
coast, where the horizon often cuts
sharply through the image.
Its not common knowledge,
but Lee Filters has also been
producing medium and very hard
gradations of its ND grads for
several years, but these custommade lters have only been made
available to professionals whove

requested them. They have been so
popular with the working pro that
Lee Filters has taken the decision to
add them to its ND grad range,
enabling everyone else to get their
hands on them. Keen to nd out
how they perform, we requested
samples of both before setting off
on a jaunt around the Kent coast.
Features
The medium and very hard
graduated lters share many
similarities with the soft and hard
grads that weve seen before from
Lee Filters. Theyre handmade using
optically corrected resin as opposed
to glass. Unlike some lter
manufacturers, Lee Filters casts all
its own resin sheets, which the
manufacturer claims guarantees
true optical atness. Once the resin
sheets have been created, theyre
handed over to a dye technician
who dips them into a dye bath by
hand; its this process that creates
the graduated line. Depending on
the strength of the lter being
made, a resin sheet can take
LEE FILTE R S
between 30 and 40 minutes to dye,

with up to three 100 x 150mm lters
being produced from it.
On the subject of size, the two
new ND gradations are made to
cater for those using the Seven5,
100mm and SW150 systems. Like
the soft and hard grads, the medium
and very hard gradations are also
available in the same half-stop
incremental strengths. The weakest
is a 0.3ND thats equivalent to
1 stop. The other ve lter strengths
include a 0.45ND (1.5 stops), 0.6ND
(2 stops), 0.75ND (2.5 stops), 0.9ND
(3 stops) and 1.2ND (4 stops).
Its the slot-in type of lter, so you
need to attach the appropriate size
adapter ring to your lens rst before
attaching a lter holder. With the
lter holder attached, its then a
simple task of sliding the ND grad
into the guide and gradually
lowering it to the point at which it
has the desired darkening effect.
Prices
The lters are available either as
single lters or as part of a grad kit.
Prices for a single lter (0.3ND to
0.9ND) for the Seven5 system start
at 52, rising to 78 for the 1.2ND.
Single lters (0.3ND to 0.9ND) for
the 100mm system start at 72,
while theres a premium to pay for
the 1.2ND, which costs 109. Single
lters (0.3ND to 0.9ND) for the
larger SW150 system cost 80, with
the 1.2ND at 120. The previously
mentioned grad sets consist of
three lters (0.3ND, 0.6ND and
0.9ND) and cost 138, 180 and
215 respectively for the Seven5,
100mm and SW150 systems.
The above prices exclude a lter
holder, so if you dont already have
one youll need to budget an extra
66 for a Seven5 lter holder, 54
for a 100mm lter holder and 150
for a SW150 lter holder. Theres the
cost of adapter rings to consider,
too, with Seven5 adapter rings
(37.5-72mm) costing around 18
each, 100mm (49-105mm) costing
around 35-50 and SW150 lter
rings (72-105mm) working out at
around 70-95 each.
In use
Lee Filters supplied two grad kits
for review, comprising 0.3ND, 0.6ND
and 0.9ND strengths in both
medium and very hard gradations.
Upon arrival at Faireld Church
in Kent, I kept the very hard ND
grad set stowed in my bag and
With 0.3ND very hard grad
Top left
Notice how the 0.3ND
very hard grad
has helped resolve the
detail on the horizon
compared to the image
on its right
Top right
Without an ND grad, the
detail on the horizon is
lost, and the muted
colour of the sky is rather
bland in comparison
Without ND grad
opted to use the medium grad

kit instead, knowing it would
be the better option for a subject
rising into the sky. After equipping
my wideangle lens with a 77mm
adapter ring and lter holder,
I pulled the 1 stop (0.3ND) grad
from its supplied lter pouch and
unwrapped it from its
protective paper.
Comparing shots with and
without the grad revealed the lter
was doing its job of retaining detail
in the sky, but a glance at the
histogram on the rear of the LCD
showed that highlight detail was still
being clipped. Swapping the 0.3ND
for the 0.6ND resulted in a betterbalanced exposure from the
foreground to the sky, with the
0.9ND darkening the sky a little too
much to the point that it became
obvious an ND lter had been used.
Heading up the road towards the

coast at Dungeness presented the
ideal environment to switch over
and test the very hard gradation kit.
Although there was virtually no
cloud detail on the day of testing,
the ND grads were used again to
prevent overexposure in the sky
the very sharp transition allowing
for more precise separation
between the land and sky above.
The 0.3ND was used successfully
to balance exposure and capture an
image of an RNLI lifeboat being
launched. The 0.6ND very hard
grad was also used to prevent
overexposure in a few scenes when
shooting directly towards the light. I
then reverted to the 0.6ND medium
grad for shooting an abandoned
boat which, much like the earlier
church scene, protruded above the
line of the horizon into the sky.
No issues were found during
testing other than a few specks
of dust and dirt that were duly
removed with a lens cloth. The
lters slotted effortlessly into place
and there was enough friction in the
holder to prevent a lter ever
slipping out.
A nice touch is the printing of
the lter strength and gradation at
the top right corner of each lter.
This text is in yellow and easily
identiable from behind the camera.
As I found, it can also help you nd
the lter you want from a lens pouch
without having to pull it right out.
Verdict
Until recently, a majority of
photographers have only had the
choice of purchasing Lee Filters ND
grads in soft or hard gradations, so
its great to see Lee Filters
expanding its range. The medium
gradation slots in well between the
soft and hard versions, and the very
hard ND grads offer an even
sharper transition between clear
and dark than weve seen before.
The gradation thats best for you
depends on what you shoot. During
a day of testing I found that I pulled
out the medium ND grads much
more than the very hard grads. As
their name suggests, the medium
grads offer a pleasingly subtle blend
for minimal impact on the
foreground in a landscape scene.
The effect is no better described
than by professional landscape

photographer Joe Cornish, who
calls it a Goldilocks Grad.
The very hard gradation is less
likely to be used by photographers
who shoot a broad range of
landscapes, but for those
specialising in seascapes or scenes
where there are very dened
horizon lines, its undoubtedly the
best choice. Of all the ND graduated
lters that Lee Filters produces, the
0.6ND medium grad is one of the
most versatile. But having used
both lter sets and witnessed how
useful it is to have control of
darkening the sky by up to 3 stops,
the medium lter set is by far the
best all-round option if you dont
already own any ND grads, and
your budget permits. MT
KEY
SPECS
FILTER HOLDER
Designed to fit
Seven5, 100mm
and SW150 sizes
MATERIAL
Optically
corrected resin
GRADATIONS
AVAILABLE
Soft, medium,
hard, very hard
FILTERS AVAILABLE
0.3ND (1 stop),
0.45ND (1.5 stops),
0.6ND (2 stops),
0.75ND (2.5 stops),
0.9ND (3 stops)
and 1.2ND (4
stops)
W D C L IS T IN GS
Compact or
System camera?
Which camera type is best for you? A simple compact that ts in a pocket, a premium or travel compact thats more advanced,
or a system camera that has interchangeable lenses and more user control, such as a CSC or DSLR? We help you decide...
ll digital cameras
are based around
the same theory;
use a lightsensitive sensor to
capture light, then process the
result and save it onto a
memory card. Beyond that, the
functionality can vary wildly
from model to model, from
touchscreen controls to HD
video and wide-aperture
lenses differentiating one model
from another.
Digital cameras t into three
distinct categories: compact
camera, Compact System
Camera (CSC) and Digital
Single Lens Reex (DSLR)
cameras. All three have
sub-genres within them, but
there are other obvious
qualities which set them apart.
Compact cameras have a
xed lens, which cant be
removed and changed. This
means that the lens becomes
a feature in itself, with some of
them starting at a particularly
wide focal length, or reaching
out much further than others
(or both), and others having
many other features that

can be had when more money
is spent.
Within the compact camera
genre are the likes of bridge,
or superzoom models, which
offer a far longer zoom lens
and a body shape akin to that
wide maximum apertures

which prove their worth in
low light and for controlling
depth of eld.
Manual controls, the ability
to record HD video and a
large, high-resolution display
or viewnder are just a few of
Compact
Small camera, generally pocket sized, with non-removable
zoom lenses. Designed for convenience more than image
quality, though some premium models feature larger sensors
and manual controls.
of a DSLR, together with

manual control over shutter
speed and aperture. While
they can be used more
creatively than regular
compacts, their small sensors
(relative to DSLR and CSC
cameras) place restrictions on
Bridge camera
Looks like a DSLR but is actually a compact with a highmagnication zoom lens in a DSLR-shaped body usually
incorporating a large hand-grip and often a viewnder.
PROS
CONS
PR O S
CONS
Small, Affordable, No additional

lenses required, Pocketable, Less
intimidating to use than DSLRs
No option to change lenses for

specific purposes, Small sensors
not suited to all conditions
Long zooms,
All-in-one design,
Manual controls
Generally small sensors are no

match to DSLR quality, Build quality
can be more plasticky than a DSLR
Jargon Buster
Compact System
Camera (CSC)
Cameras which offer interchangeable lenses
while omitting the viewnder and mirror
box construction common to DSLR cameras.
These include Sonys NEX series and
Olympuss PEN range, as well as Nikons 1
system and Samsungs NX line of models.
Digital Single
Lens Reflex (DSLR)
A digital SLR camera, which is constructed
around a mirror-box and pentamirror/
pentaprism assembly, such as the Canon
EOS 700D and Nikon D5300. These are
popular among beginners, enthusiasts and
professionals, thanks to their wide

compatibility with different lenses, manual
control over exposure and ergonomics.
Compact camera
A small camera whose lens cannot be
removed, in contrast to interchangeable-lens cameras such as DSLRs. These are
often cheaper than CSC and DSLR cameras,
although they usually have more limited
functionality and smaller sensors.
Aperture
The aperture of a lens refers to the size of
its opening which allows light through to
the camera. This is created by a series of
blades inside the optic, and is usually

regulated through the camera body,
although some older lenses have physical
aperture rings around their barrels. An
aperture of f/2 or f/2.8 is classed as being
large (or wide) because the opening itself is
larger than those created by highernumber apertures such as f/16 or f/22.
Shutter speed
The length of time that the shutter inside
the camera is open, exposing the sensor to
light. Longer shutter speeds let in more
light, and so are often required in low-light
conditions, or when the intention is to blur
certain elements in the scene. Faster shutter
speeds are ideal for freezing motion, such

as when photographing sports.
Display
The rear panel on the back of a camera
which shows captured images and videos,
as well as the live feed from the sensor.
These are usually TFT LCD types, although
some cameras now make use of Organic
Light Emitting Diode (OLED) alternatives.
Resolution is usually specied in dots:
compact camera displays often have
230k or 460k dots, while those displays
that are on high-end enthusiast compacts,
CSCs and DSLRs are usually 921k dots or
even higher.
B UYIN G A DV IC E
the kind of image quality that

can be achieved.
CSCs
CSCs t somewhere between
compacts and DSLRs, with the
benet of a small-format body
and interchangeable lenses.
Due to their mirrorless designs,
optical viewnders are
exchanged for electronic
variants that continue to get
better all the time in terms of
their resolution and sharpness.
Due to the lack of an
established form factor, unlike
DSLRs, CSCs come in a wide
variety of shapes and sizes.
Most differences are aesthetic,
but a fair few affect the
handling quite signicantly too.
Some models have thin, wide
bodies, while others are shaped
like DSLRs to provide more to
wrap your hand around.
DSLRs
DSLRs range from beginner
models, such as the Canon
EOS 1100D, up to professional
level models, such as the same
companys EOS-1D X. The body
shape is similar throughout,
with a large hand grip and dials
on the top, although most
professional DSLRs are more
square than rectangular, with
additional shutter release
buttons and dials to make
portrait-orientation shooting
comfortable.
The addition of an optical
viewnder is one of the unique
features that differentiates a
Optical viewfinder
A viewnder which relies on an optical,
rather than electronic, construction. DSLRs
are equipped with optical viewnders,
which present the view through the lens.
Those on cheaper DSLRs are constructed
with a hollow chamber with mirrored sides
(penta-mirrors) while those on pricier
models feature a ground glass prism
(pentaprism) which is brighter.
Electronic viewfinder (EVF)

An electronic alternative to an optical
viewnder. These are typically integrated
into bridge cameras and some Compact
System Cameras, where an optical
CSC
DSLR
An interchangeable-lens camera with no optical viewing

assembly but either an electronic one, or just the LCD screen
to shoot with. CSCs come in a wide variety of forms with a
wide range of sensor sizes, so image quality varies greatly
between models.
The choice of professionals, a DSLR features interchangeable

lenses, plus an optical viewnder that sees what the lens sees
thanks to a 45 mirror and prism assembly inside the camera.
The bulkiest camera type, but the full frame models deliver
the highest image quality.
PROS
CONS
PR O S
CONS
Typically smaller than DSLRs, HD

video, Interchangeable lenses,
Great image quality for the size
Optical viewnders usually not

available, Lens ranges, Premium
models can be expensive
Interchangeable lenses, Manual

exposure control, HD video,
Excellent ergonomics
Large and weighty bodies,

Expensive, Poor-quality kit lenses
often supplied as standard
DSLR model from most CSCs

and compact cameras.
The only models that buck
this trend, and as a result cant
quite be described as true
DSLRs, are those in the Sony
SLT range, whose models
include the A58 and A77. The
SLT construction uses a
translucent mirror which means
it does not need to move in
order for light to pass through
to the sensor, in contrast to
DSLRs which ip their mirrors
up at the point of exposure. As
a result the burst rate is faster;
with the likes of the A77 able
to shoot at up to 12fps. The
disadvantage, depending on
viewnder is either not possible or less

desirable. More recent EVFs are constructed
from OLED panels rather than LCDs, and
some of these are surprisingly detailed
and bright.
Sensor size
The physical size of the sensor inside a
camera. Cameras with larger sensors often
produce better-quality images than those
with smaller ones, as each photosite is
larger. A larger capacity allows its
signal-to-noise ratio to be higher; as a
result images stand a better chance of
having a wider dynamic range and of being
less affected by noise.
your preference, is the

presence of an electronic,
rather than optical, viewnder.
There are essentially two
kinds of sensor used in DSLRs:
APS-C and full frame, although
full frame sensors are starting
to creep into some CSCs such
as the Sony Alpha 7 and 7R.
Full frame is described as
such because its roughly the
same size as a 35mm negative.
APS-C sensors are smaller, and
as a result they only use the
central part of a lens, which in
turn increases their effective
focal length (reducing the angle
of view). This is known as a
crop factor. Full frame lenses
ISO
Also known as sensitivity, the ISO range of a
camera determines its latitude for capturing
images in different conditions. For a given
camera, images captured at lower
sensitivities generally contain less noise than
those captured higher up, as the signal from
the sensor which contains unwanted noise
requires less amplication.
Burst rate
The speed at which a camera can re
consecutive frames, given in frames per
second (fps). Many recent cameras have a
standard fps rate which captures at the
sensors full resolution, with further faster
do not apply a crop factor to

lenses, and so they maintain the
same angle of view and focal
length as if they were used on a
lm SLR.
DSLRs and CSCs also attract
the attention of videographers,
given the proliferation of HD
video functionality and the
range of lenses available. Many
DSLRs particularly those
aimed towards a more
discerning audience also now
incorporate ports for external
microphones and have a full
complement of options for
different frame rates and
output options as well as
control over audio recording.
options which output images at a reduced

pixel count. Often a cameras fastest burst
mode will only be possible with focus and
exposure taken from the rst frame.
Neutral Density
(ND) filter
ND lters are commonly used with DSLR
cameras, although some enthusiast
compacts now have these integrated into
their lenses. Their purpose is to reduce
exposure times, so that longer shutter
speeds can be used, with the neutral part
of their name signifying that they are
designed to have no effect on the colour
balance of an image.
W D C L IS T IN GS
Camera Listings
NAME & MODEL
RRP TESTED
SCORE
SUMMARY
Canon EOS 1200D

Pentax K-500
Sony Alpha 58
Sony Alpha 68
Pentax K-S1
Canon EOS 750D
Nikon D3300
Pentax K-30
Pentax K-50
Canon EOS 760D
Pentax K-S2
Canon EOS 100D
Nikon D5200
Nikon D5500
Canon EOS 700D
Pentax K-3 II
Nikon D5300
Pentax K-5 II
Nikon D7200
Pentax K-3
Canon EOS 80D
Sony Alpha 77 MkII
Canon EOS 70D
Nikon D7100
Pentax K-1
Canon EOS 7D MkII
Canon EOS 6D
Nikon D500
Nikon D610
Sony Alpha 99
Nikon D750
Nikon DF
Nikon D810
Canon EOS 5D Mk III
Canon EOS 5DS
Canon EOS 5DS R
Nikon D5
Canon EOS-1D X Mk II
Nikon D4S
Canon EOS-1D X
450
06/14
450
10/13
450
07/13
4+
4+
4+
479
NYT
550
03/15
599
08/15
Entry level update to Canons 1100D, the 1200D excels in the

key areas of AF speed and accuracy while ISO performance is good
Stripped-down version of K-50 without weather sealing
boasts 100% glass prism viewnder; uses AA batteries
Replacement for A57 boasts Bionz image processing engine,
OLED viewnder, plus 20MP sensor up from 16MP
An A-mount camera with an APS-C sensor, the Alpha 68 uses
a 4D focus system plucked from the Alpha 77 II
The fully-specied K-S1 boasts excellent image quality, while
still being a lightweight, compact and portable option
A new addition to the EOS line-up, the 750D is designed for
EOS newcomers, with a non-threatening layout
Nikons new entry-level DSLR is smaller than previous offerings
while a sensor with no anti-aliasing lter means detail is high
Stellar image quality make this a welcome alternative to
Canon, Nikon and Sony offerings at the price
Replacement for K-30 offers 16MP sensor, weather sealing
and improved processing. Still able to shoot at up to 6fps
A new addition to the EOS line-up, the 760D leans towards
the aspiring enthusiast photographer
Pentaxs latest mid-range DSLR continues its tradition of
offering affordable yet well-specied cameras
Billed as the worlds smallest and lightest DSLR; kit lens is the
companys EF-S 18-55 f/3.5-5.6 IS STM zoom. GPS optional
Inspired by the D5100 and D7000, the D5200 has a vari-angle
LCD, 24MP sensor and HD video. Wi- & GPS optional
New DX-format DSLR in Nikons advanced beginner range,
updating the impressive D5300 and adding a touchscreen
Update to 650D comes bundled with a new 18-55mm STM kit
lens, that promises improved movie AF. GPS & Eye- optional
Ricoh has updated the Pentax K-3 with the K-3 II. The K-3 II is
designed to be the agship Pentax APS-C DSLR
Update on the D5200 with large sensor, larger screen, HD video,
and long lasting battery, should appeal to videographers
Latest update to K-5 promises improved AF performance in
low light and subject tracking with moving subjects
Nikons mid-range DSLR offers impressive new features over the
D7100 it replaces at the top of Nikons DX format range
Upgrade from Pentax K-5. GPS optional. Impersonates a low
pass lter. High FPS rate and is the rst to carry Ricohs name
Arriving two and a half years after the 70D, the 80D looks set to
be an attractive offering for enthusiast photographers
With the mkII Sony has brought built-in Wi-, great handling
and an enhanced AF that will suit sports and wildlife shooters
Worlds rst DSLR to boast Dual Pixel CMOS AF technology, giving
the best autofocus performance for a DSLR during live view
The D7100 updates the D7000 in several signicant ways, and
while not without fault its still praiseworthy. Wi- optional
The rst full-frame Pentax DSLR is weather-sealed and stacks
up well against the Nikon D810 and Canon EOS 5D Mark III
A better sensor and improved AF over the 7D; this is one of the
best APS-C DSLRs for enthusiasts and pros. Wi- optional
Superb image quality from Canons latest and cheapest
full-frame DSLR. Also offers Wi- and GPS connectivity
The D500 sits above the D7200 in Nikons DX-format line-up and
offers advanced features plus a smaller form factor and crop factor
Upgrade from D600: improved auto white balance, faster
continuous shooting and a quiet continuous mode. GPS optional
Sonys full-frame A99 offers translucent mirror technology
allied to a 19-point AF system with 11 cross sensors
The D750 is one of the very best all-round enthusiast DSLRs
currently available, with an impressive performance
Nikons retro-tinged full-frame DSLR has a solid spec although
it lacks a video mode. Overall, its images are superb
Replacing the D800 and D800E, the D810 is a truly welcome
upgrade and one of the very best DSLRs on the market
An excellent full-frame sensor, fast burst rate, high ISO range and
advanced AF make this an impressive piece of kit. Wi- optional
New full-frame DSLR that builds on the great success of its EOS 5D
Mark III, which sports a world-rst 50.6MP full frame sensor
New 50MP full-frame DSLR, identical to the 5DS it was launched
with except that it forgoes an optical low-pass lter
The powerful D5 is Nikons agship FX-format DSLR and boasts
a 20.8MP full-frame sensor and burst shooting up to 14fps
Canons impressive new sports and action agship camera has
a full-frame CMOS sensor with Dual Pixel AF. Wi- optional
Nikons agship DSLR, the D4S takes the best features of the
D4 and improved the burst speed, AF and processing power
A contender for the crown of best DSLR on the market,
this camera is hard to fault. GPS & Wi- optional
600 04/14
600
03/14
600
10/13
649 10/15
649
Web
650
07/13
720
03/13
720
04/15
750
Web
769
Web
830
01/14
870
03/13
939
06/13
950
01/14
999
08/16
1000
09/14
1100 11/13
1100
1599
05/13
NYT
1599 01/15
1700
1729
02/13
10/16
1800 Xmas13
1800 Xmas12
1800
12/14
2600 02/14
2699 11/14
2999
4+
4+
4.5+
4+
4.5+
5+
4.5+
4.5+
4.5+
4.5+
4.5+
4.5+
4.5+
4.5+
4+
4+
5+
4.5+
4.5+
4.5+
06/12
2999
NYT
3199
09/15
5199
NYT
5199
NYT
5290
Web
5300
11/12
4.5+
4.5+
4.5+
5+
4+
5+
4+
5+
5+
5+
5+
SENSOR LENS MAX ISO
VIDEO
SHOOTING
9 3 95
3in
16.3MP Pentax 51,600 1080p
11 6 100
3in
20.1MP
Sony
16,000 1080p
15 5 100
24MP
Sony
25,600 1080p
79 8 tbc
12.1MP Pentax 51,200 1080p
11 5.4 100
3in
19 5 95
Weight
Depth (mm)
Height (mm)
DIMENSIONS
500 129.6 99.7 78 480g

97
71 646g
2.7in
410 130
690 129 95.5
78 492g
2.7in
tbc 142.6 104.2 82.8 675g

tbc 92.5 120 69.5 498g
3in
11 5 95
3in
700 124
16.3MP Pentax 25,600 1080p
11 6 100
3in
410 96.5 128.5 71.5 660g
16.3MP Pentax 51,200 1080p
11 4 100
3in
24.2MP Canon 25,600 1080p
19 5 100
3in
11 5.4 100
3in
9 4 95
3in
39 5 95
O
O
O
24.2MP Nikon
25,600 1080p
20.2MP Pentax 51,200 1080p

18MP
Canon 12,800 1080p
24.1MP Nikon
25,600 1080p
24.2MP Nikon
25,600 1080p
39 5 95
Canon 12,800 1080p
9 5 95
24.3MP Pentax 51,200 1080p
27 8.3 100
24.2MP Nikon F 25,600 1080p
23 5 95
16.3MP Pentax 51,200 1080p
11 7 100
24.2MP Nikon F 25,600 1080p
51 6 100
24.2MP Pentax
51,200
1080i
27 8 100
24.2MP Canon
25,600
1080p
45 7 100
79 12 100
18MP
Sony
25,600
1080p
20.2MP Canon
12,800
1080p
19 7 98
24.1MP Nikon
24.3MP
O
O
410 130
O
98 75.5 460g
97
71 650g
440 131.9 101 77.8 565g

410 122.5 91 72.5 678g
380 117
91
69 407g
3in
n/a 129
98
78 555g
3.2in
820 124
97
70 470g
3in
440 133 100
79 580g
700 125
98
76 530g
97
73 760g
tbc 131.5 102.5 77.5 785g
3.2in
O
3.2in
3in
980 131
3.2in
1,100 135.5 106.5 76 765g
3.2in
560 131 100
3in
3in
480 142.6 104
81 647g
3in
920 139 104
79 755g
950 135 106
76 765g
25,600 1080p
51 6 100
33 4.4 100
20.2MP Canon 51,200 1080p
65 10 100
20.2MP Canon 102,400 1080p
11 4.5 97
20.9MP Nikon F 1,640,000 3840p
153 10 100
24.3MP Nikon
25,600
1080p
39 6 100
24.3MP
25,600 1080p
19 10 100
24.3MP Nikon
51,200
1080p
51 6.5 100
16.2MP Nikon
204,800
39 5.5 100
36.3MP Nikon
51,200
1080p
51 12 100
Sony
Pentax 204,800 1080p
36MP
440 131.9 100.7 77.8 555g
24.2MP Canon 25,600 1080p
Width (mm)
SCREEN
Canon 12,800 1080p
16MP
Battery life (Shots)
Articulated LCD
Touchscreen
Flash
Built-in GPS
Built-in Wi-
Viewnder (%)
Burst mode (FPS)
DSLRS
AF Points
Stereo mic input
If you want maximum control over your creative shooting options, you want an interchangeable-lens camera, whether a
DSLR model or a Compact System Camera model. Here we list and rate all the models on the market
3in
3.2in
3in
3.2in
3.2in
3in
3.2in
960 139 105.2 78.5 730g
760 136.5 110 85.5 1,010g
670 148.6 112.4 78.2 910g
3in
O
O
77 800g
980 145 111
71 755g
tbc 147 115
81 860g
900 141 113
82 850g
500 147 111
78 812g
1,230 140.5 113
78 840g
3.2in
1,400 143.5 110 66.5 765g
3.2in
1,200 146 123
82 980g
76 950g
22.3MP Canon 102,400 1080p
61 6 100
3.2in
950 152 116
50.6 MP Canon 12,800
1080p
61 5 100
3.2in
700 152 116.4 76.4 845g
50.6 MP Canon
1080p
61 5 100
3.2in
700 152 116.4 76.4 845g
20.8MP Nikon F 3,280,000 3840p
153 14 tbc
20.2MP Canon 409,600 3840p
61 14 100
16.2MP Nikon 409,600 1080p
51 11 100
3.2in
3,020 160 156.5 90.5 1,350g
18.1MP Canon 204,800 1080p
61 12 100
3.2in
1,120 158 163
12,800
3.2in
tbc 160 158.5 92 1,405g
3.2in
1,210 158 167.6 82.6 1,340g
82 1,100g
NAME & MODEL
RRP TESTED
SCORE
Samsung NX3000
Canon EOS M10
Panasonic Lumix GF6
Pentax Q7
Sony Alpha 5000
Panasonic Lumix GF7
Nikon 1 S1
Olympus PEN E-PL7
Nikon 1 J4
Fujilm X-T10
Fujilm X-A1
Panasonic Lumix GX80
Fujilm X-A2
Samsung NX300
Sony Alpha 5100
Olympus OM-D E-M10 II
Fujilm X-E2S
Canon EOS M3
Samsung NX500
Panasonic Lumix GM1
Sony Alpha 6000
Panasonic Lumix G7
Fujilm X-M1
Olympus OM-D E-M10
Panasonic Lumix GM5
Nikon 1 AW1
Olympus OM-D E-M5 mkII
Panasonic Lumix GX7
Olympus PEN E-P5
Samsung NX30
Olympus PEN-F
Panasonic Lumix GX8
Sony Alpha 6300
Fujilm X-T1
Fujilm X-E1
Fujilm X-E2
Samsung NX1
Panasonic Lumix GH4
Olympus OM-D E-M1
Sony Alpha 7
Fujilm X-Pro2
Leica T
Fujilm X-Pro1
Sony Alpha 7 II
Sony Alpha 7R
Sony Alpha 7S
Sony Alpha 7S II
Sony Alpha 7R II
Leica SL (Typ 601)
350
10/14
4+
399
NYT
400
Web
400
11/13
420
Web
420
Web
480
Web
499
01/15
499
11/14
499
09/15
500
12/13
599
09/16
529
05/15
530
06/13
549
12/14
549
12/15
549
07/16
599
07/15
599
07/15
629
01/14
670
06/14
679
08/15
680
10/13
699
05/14
749
01/15
749
12/13
900
05/15
900
10/13
900
09/13
900 Webonly
1000
5/16
1000
10/15
1000
06/16
1100
4/12
1149
01/13
1200
02/14
1299
02/15
1300
07/14
1300
12/13
1300
01/14
1349
Web
1350
08/14
1430
05/12
1498
03/15
1700
02/14
2099
09/14
2500
Web
2599
11/15
5050
Web
4+
3+
4+
4+
4+
4+
4+
4.5+
4+
4.5+
4+
4.5+
4+
4.5+
4+
4+
4+
4.5+
4.5+
4+
4+
4.5+
4+
3.5+
5+
4.5+
4.5+
4.5+
5+
4+
4.5+
5+
4.5+
4.5+
5+
4+
5+
4.5+
5+
4+
5+
5+
4.5+
4.5+
5+
5+
4+
SUMMARY
This may well be the best-value NX camera yet
SENSOR LENS MAX ISO
VIDEO
18MP Canon M 25,600
Newly developed Venus Engine and a 180 tilt screen
16MP
37
Mic4/3 25,600 1080p
Extra large sensor and improved AF
12.4MP Pentax 12,800 1080p
Aims to compete with entry-level DSLRs
20.1MP
Compact, great image quality and good for seles

User-friendly with an uncluttered interface
16MP
21 5
49 4.6
23 20
25 5
65
38 323g
3in
250 102
58
34 200g
3in
420 110
63
36 296g
3in
23 5.8
135 60
3in
Mic4/3 25,600 1080p
3in
16.3MP Fuji X
51,200 1080p
77 8
Virtually identical to X-M1, but with a standard sensor
16.3MP Fuji X
25,600 1080p
Mic4/3 25,600
4k
41 5.6
O
49 8
Similar to its predecessor the X-A1, it adds a tilting LCD
16.3MP Fuji X
25,600 1080p
49 5.6
Company adds to its range of Wi--enabled cameras
20.3MP Samsung 25,600 1080p
105 8.6
24MP
179 6
230 106.5 64.6 33.3 266g

220 102
61
30 197g
350 114.9 67 38.4 357g

O
3in
Weight
340 111
1080p
A more affordable version of the popular X-T1
Depth (mm)
Mic4/3 25,600 1080p
Height (mm)
81 8
Width (mm)
3in
171 20
Battery life (Shots)
Articulated
Touchscreen
Flash
255 108 66.6 35 301g
16MP
18.4MP Nikkor 1 12,800 1080p
Panasonics best-judged CSC design for some time
3in
Excellent shooting speed and AF performance
39 266g
25 3.5
6400
DIMENSIONS
370 117.4 66
10.1MP Nikon 1
16MP
SCREEN
3in
16,000 1080p
Sony
High spec, compact size and superb image quality
Built-in GPS
Built-in Wi-
Viewnder
SHOOTING
20.3MP Samsung 25,600 1080p
Combines DSLR performance with effortless portability
Burst (FPS)
Stereo mic input
COMPACT SYSTEM CAMERAS
AF Points
DSLRS A N D CS C S
300 99.5 60 28.5 192g
3in
350 118.4 82.8 40.8 381g
3in
350 117 66.5 39 330g
3in
O O
290 122 70.6 43.9 426g
3in
410 116.9 66.5 40.4 350g
3.3in
320 122
64
41 284g
400 110
63
36 283g
320 119.5 83.1 46.7 342g
3in
Boasts a raft of improvements over its predecessor
16.1MP Mic4/3 25,600 1080p
81 8.5
3in
Relatively minor update on the X-E2
16.3MP Fuji X
49 7
3in
49 4.2
3in
250 110.9 68 44.4 366g
3in
370 119.5 63.6 42.5 292g
3in
230
One of the very best in class, in video and image quality
Sony E 25,600 1080p
51,200 1080p
The M3 looks set to appeal to enthusiast photographers 24.3MP Canon M 25,600
4096p
205 9
Mic4/3 25,600 1080p
23 5
Great for travelling light without sacricing image quality 28MP Samsung 51,200
Tiny, retro compact design is impressive
16MP
Class-leading AF and an impressive APS-C sensor
24MP
The G7 is Panasonics fth model to have video capture
16MP
Companys third CSC features X-mount lens mount
1080p
25,600 1080p
179 11
3in
Mic4/3 25,600 3840p
49 8
3in
3in
3in
3in
3in
Sony
16.3MP Fuji X
6400
54 5.6
1080p
Maintains the high-end features of its OM-D siblings
16MP
Mic4/3 25,600 1080p
81 8
Small CSC with an electronic viewnder
16MP
Mic4/3 25,600 1080p
23 5.8
High-end CSC is waterproof and shockproof
14.2MP Nikon 1
Olympuss latest premium CSC boasts several improvements 16MP
6400
41 15
1080p
Mic4/3 25,600 1080p
16MP Lumix G 25,600 1080p
23 40
No built-in EVF but has fast AF plus high quality images
16MP
35 9
Mic4/3 25,600 1080p
81 10
With fast AF and tiltable EVF, delivers excellent results
247 8
A DSLR-style CSC with a burst rate of up to 8fps
21MP Samsung 25,600 1080p
Olympuss latest high-end CSC model
20.3MP Mic4/3 25,600 1080p
81 10
The highest resolution Micro Four Thirds camera yet
20.3MP Mic4/3 25,600 3840p
49 8
Premium CSC that boasts fast AF tracking and 4K video
24.2MP Sony E 51,200 3840p
425 11
One of the best premium CSCs on the market
16.3MP Fuji X
51,200 1080p
49 8
16MP
Fuji X
25,600 1080p
16.3MP Fuji X
25,600 1080p
Solid build, retro design and high image quality

Has over 60 improvements on the X-E1
The rst camera with an APS-C BSI sensor is impressive
Both 4K video quality and still images are impressive
350 117
67
39 330g
320 119
82
46 396g
210 98.5 59.5 36 211g

220 113 71.5 37.5 356g
750 123.7 85 44.5 469g
3in
n/a 122.6 70.7 43.3 402g
3in
330 122
69
37 420g
360 127
96
58 375g
3in
3in
330 124.8 72.1 37.3 427g
3in
330 133.2 78 63.1 487g
3in
350 120 66.9 48.8 404g
3in
350 129 89.8 46.7 440g
3in
350 129
75
38 350g
3in
350 129
75
37 350g
O
O
49 7
4096p
205 15
3in
Mic4/3 25,600 4096p
49 12
3in
81 10
tbc 138.5 102.3 65.8 550g
500 133
3in
330 130 93.5 63 497g
3in
16.8MP Mic 4/3
25600
1080p
24.3MP Sony E
25,600 1080p
117 5
51,200 1080p
77 8
3in
3.7in
195 5
45 344g
49 6
Leica T 12.500 1080p
67
360 124.9 86.2 77.4 410g
One of the lightest, smallest full-frame cameras
16MP
310 120
24.3MP Fuji X
30 204g
Fully weather-proofed and Wi- enabled
Excellent image quality
55
The agship X-series model is a stunning premium CSC
99
3in
28.2MP Samsung 25,600

16MP
350 129 74.9 37.2 350g
340 127
93
94
84 560g
48 474g
250 140.5 82.8 45.9 495g

134
69
33 384g
Fuji X
25,600 1080p
49 6
The full-frame A7 II is at the top of Sonys CSC range
24.3MP Sony E
25,600 1080p
117 5
One of the lightest, smallest full-frame cameras
36.4MP Sony E 25,600 1080p
25 4
3in
340 127
The Sony Alpha 7S is the latest Sony full-frame CSC
12.4MP Sony E 409,600 1080p
25 5
3in
380 127 94.4 48.2 489g
An excellent camera, especially for low light and video
12.2MP Sony E 409,600 3840p
169 5
3in
310
A big step up from the A7R; one of the best CSCs available 42.4MP Sony E 102,400 3840p
399 5
3in
tbc 11
3in
Offers innovations including a hybrid viewnder
Extraordinary electronic viewnder but large, heavy body
16MP
24MP
Leica L 50,000
4K
3in
300 139 81.8 42.5 450g
3in
350 126.9 95.7 59.7 556g

94
48 465g
95.7 60.3
290 126.9 95.7 60.3 625g

O
tbc 147 104
39
847
W D C L IS T IN GS
Lens Listings
A DSLR or Compact System Camera is hugely affected by the lens attached to the front, as the light hitting the sensor impacts
focus, exposure and image quality. Cast your eyes over our lens listings to nd out which is best for you before you make a purchase
BUILT-IN FOCUS MOTOR
LENS MOUNTS
35mm
Compatibility
Most digital sensors are
smaller than 35mm,
which is why lenses
designed for digital
can be smaller.
Some lenses incorporate a motor within

the lens to drive the autofocusing, while
others are powered by motors within the
camera. The former will focus quicker
than the latter. Canon lens motors are
USM (Ultrasonic Motor), Sigma HSM
(Hypersonic-Motor).
Each manufacturer has its

own lens mount and most
arent compatible with one
another. For example, a
Canon DSLR cant use
Nikon lenses, though you
can use independent
brands if you get them
with the right mount.
FILTER
THREAD
MAGNIFICATION
FACTOR
In order to correct for

colour casts or create
more contrast, a
screw-in lter can be
used. The thread at the
front of the camera will
have a diameter, in mm,
which will allow you to
attach a variety of lters
or adapters to the lens.
If youre changing from a 35mm SLR,

your lenses wont provide the same eld
of view on a DSLR unless you have a
full-frame model. So for Nikon, Pentax
and Sony DSLRs, magnify the focal
length by 1.5x to get a 35mm equivalent;
for Canon 1.6x and Sigma 1.7x.
Maximum
Aperture
Wider apertures mean
you can use faster,
motion-stopping
shutter speeds.
Lens types explained
Fixed focal
length (PRIME)
Fixed lenses offer wider
maximum apertures and
superior image quality. A
50mm lens is perfect for
low light, 85-105mm is
ideal for portraits, while a
300mm+ tele is for sports
shooters.
Telephoto zoom
Telephotos are great for
sport and wildlife, while
short teles are good for
portraits. Telephoto lenses
magnify camera shake, so
look for one with Image
Stabilisation to ensure you
achieve the sharpest shots
possible.
Standard zoom
Most DSLRs come with a
standard zoom which
spans from moderate
wideangle to short
telephoto. These kit
lenses are ne for most
purposes, but there are
alternatives that offer
superior image quality.
Superzooms
While they rarely compare
with shorter lenses in
image quality, a
superzoom offers
convenience. Great for
travelling when youre
conscious of weight, dont
expect pin-sharp,
aberration-free images.
Wideangle zoom
Wideangle lenses make
subjects seem further
away, enabling you to get
more into the shot perfect for landscapes and
architecture. The most
popular wideangle zooms
are the 10-20mm and
12-24mm ranges.
Macro lenses
A true macro lens lets you
reproduce your subject at
life-size (1:1) or half
life-size (1:2) on the sensor.
Macro lenses come in
various focal lengths and
extension tubes can offer a
greater magnication.
LENS SUFFIX GUIDE USED BY MANUFACTURERS

AD Tamron Anomalous Dispersion elements
AF-DC Nikon defocus feature
AF-S Nikon lenses with Silent Wave Motor
APO Sigma Apochromatic lenses
ASL Tamron lenses featuring aspherical elements
ASP Sigma lenses featuring aspherical elements
AT-X Tokinas Advanced Technology Extra Pro
CRC Nikons Close Range Correction system
D
Nikon lenses that communicate distance info
DA Pentax lenses optimised for APS-C sized sensors
DC Sigmas designation for digital lenses
DF Sigma lenses with dual focus facility
DG
Di
Di-II
DO
DT
DX
ED
EF
EF-S
EX
FC
FE
Sigmas designation for all lenses

Tamron lenses for full-frame sensors
Tamron lenses designed for APS-C
Canon diffractive optical element lenses
Sony lenses for APS-C sized sensors
Nikons designation for digital lenses
Low Dispersion elements
Canons full-frame lenses
Canon lenses for APS-C sized sensors
Sigmas Excellent range
Tokinas Focus Clutch Mechanism
Canons sheye lenses
FE
G
HF
HID
HLD
HSM
IF
IRF
IS
L
LD
M-OIS
Tokina oating element lenses

Nikon lenses without an aperture ring
Sigma Helical Focusing
Tamrons High Index Dispersion glass
Tokina low dispersion glass
Sigmas Hypersonic Motor
Internal Focusing
Tokinas Internal Rear Focusing lenses
Canons Image Stabilised lenses
Canons Luxury range of lenses
Tamron Low Dispersion glass
Mega Optical Image Stabilisation
N
OS
PRO
RF
SD
SDM
SF
SHM
SIC
SLD
SP
SSM
Nikons Nano Crystal Coating

Sigmas Optically Stabilised lenses
Tokinas Professional range of lenses
Sigma & Nikon Rear Focusing
Tokinas Super Low Dispersion element
Pentaxs Sonic Direct Drive Motor
Canon lenses with Softfocus feature
Tamrons Super Hybrid Mount
Nikons Super Integrated Coating
Sigma Super Low Dispersion elements
Tamrons Super Performance range
Sony/Minolta Supersonic Motor lenses
SWD
SWM
TS-E
UD
USM
VC
VR
XR
ZL
Olympus Supersonic Wave Drive

Nikon lenses with a Silent Wave Motor
Canon Tilt and Shift lens
Canon Ultra Low Dispersion glass
Canon lenses with an Ultrasonic Motor
Tamrons Vibration Compensation
Nikons Vibration Reduction feature
Tamron Extra Refractive Index glass
Tamrons Zoom Lock feature
230
1910
450
130
350
330
540
1250
1540
1450
2800
790
470
1600
1700
300
350
2640
470
1670
559
650
1060
1999
1360
520
1870
7350
960
7500
1740
9810
8000
1660
5299
NYT
NYT
2/10
09/15
NYT
1/12
8/06
NYT
NYT
11/11
10/10
NYT
11/10
7/11
NYT
NYT
9/07
8/06
2/11
NYT
NYT
11/09
1/13
Web
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
Very wide maximum aperture and Super Spectra coatings, and a circular aperture
5+ Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy though
5+ Lightest EF lens in the range, with wide maximum aperture and a Micro Motor
Compact macro lens with oating system
Macro lens designed to achieve a magnication greater than 1x without accessories

Non-stabilised L-series optic, with rear focusing and four UD elements
5+ A superb option for the serious sports and action photographer

5+ A great lens but also a costly one. Peak resolution at 0.4 cycles-per-pixel is simply amazing
A cheaper L-series alternative to the f/2.8 versions available
4+ A great level of sharpness and only the small apertures should be avoided
5+ An L series lens with a highly durable outer shell
3-layer diffractive optical element and image stabilisation
Essentially the same lens as the 75-300mm f/4.0-5.6 III USM but with no USM
2.5+ Good but not outstanding. The inclusion of a metal lens mount is positive, though
4+ A well-crafted lens, with fast and quiet AF with good vignetting and distortion control
5+ Non-rotating front ring thanks to rear focusing system, as well as USM
Said to be the worlds rst 35mm-format telephoto lens with tilt and shift movements
A medium telephoto lens with a wide aperture, making it ideal for portraits
4+ A solid performer, but weak at f/2.8 (which is potentially good for portraits)
5+ Stunning MTF gures from this pro-grade macro optic
4.5+ L-series construction and optics, including uorite and Super UD elements
L-series construction with two UD elements and wide maximum aperture

Soft-focus feature with two degrees of softness
L-series macro lens with inner focusing system and USM technology
5-stop Image Stabilisation with tripod detection and Super Spectra lens coatings
Two UD elements and a rear-focusing system in this L-series optic

4 stop Image stabilisation makes this lens perfect for action photography
Two-stop image stabilisation with separate mode for panning moving subjects
Super telephoto with ring-type USM and four-stop image stabilisation
Multi-layer diffractive optical element to correct for chromatic aberration
Super UD and UD elements, as well as a detachable tripod mount and built-in hood
Full-time manual focus, a single ourite element and dust and moisture protection
Weight
Length (mm)
n/a
67
77
n/a
n/a
72
82
77
77
77
77
67
58
67
72
72
77
58
82
77
82
77
77
77
58
52
72
77
52
67
72
52
72
58
49
52
58
52
58
77
67
77
67
58
67
58
58
58
72
58
58
58
58
67
77
72
52
72
52
72
52
77
52
52
77
52
Width (mm)
Full Frame Only
Sigma
Pentax
Nikon
Four Thirds
15
22
24
28
20
35
28
28
25
28
35
35
25
45
45
25
25
25
21
38
38
38
45
40
25
30
50
70
25
24
28
30
45
45
35
23
110
20
24
150
120
120
120
150
120
140
150
150
95
85
50
90
31
30
98
90
130
48
190
150
200
150
270
330
350
450
MOUNT
A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting
4+ Ideal budget addition to the 18-55mm kit lens, with image stabilisation and USM
4+ Great build and optical quality, with fast, accurate and near-silent focusing
Filter Thread (mm)
EF 35mm f/1.4 L II USM

EF 40mm f/2.8 STM
EF 50mm f/1.2 L USM
EF 50mm f/1.4 USM
EF 50mm f/1.8 STM
EF 50mm f/2.5 Macro
EF-S 55-250mm f/4-5.6 IS II
EF-S 60mm f/2.8 Macro USM
MP-E65mm f/2.8 1-5x Macro
EF 70-200mm f/2.8 L USM
EF 70-200mm f/4 L IS USM
EF 70-200mm f/2.8 L IS II USM
EF 70-200mm f/4 L USM
EF 70-300mm f/4.5-5.6 IS USM
EF 70-300mm f/4-5.6 L IS USM
EF 70-300mm f/4.5-5.6 DO IS USM
EF 75-300mm f/4-5.6 III
EF 75-300mm f/4-5.6 III USM
EF 85mm f/1.8 USM
TS-E 90mm f/2.8
EF 100mm f/2 USM
EF 100mm f/2.8 Macro USM
EF 100mm f/2.8 L Macro IS USM
EF 100-400mm f/4.5-5.6 L IS II USM
EF 135mm f/2 L USM
EF 135mm f/2.8 SF
EF 180mm f/3.5 L Macro USM
EF 200mm f/2 L IS USM
EF 300mm f/2.8 L IS II USM
EF 300mm f/4 L IS USM
EF 400mm f/2.8 L IS II USM
EF 400mm f/4 DO IS II USM
EF 400mm f/5.6 L USM
EF 500mm f/4 L IS II USM
RRP TESTED SCORE SUMMARY

Impressive-looking sheye zoom lens from Canon
1499 NYT
299 11/14 4+ A superb ultra wideangle thats a must-have for anyone shooting landscapes and cityscapes
9/09
990
4+ A good performer, with solid MTF curves and minimal chromatic aberration
Long-awaited by Canon full-frame users, this is the worlds widest-angle rectilinear zoom lens
2799 NYT
2810 7/10 4.5+ Impressive resolution at f/8 but less so wide open
3/11
900
4+ 4-stop image stabilisation and Super Spectra coatings, together with a useful range
1790 6/10 4.5+ Mark II of above lens, and a good performer with strong results at f/8 in particular
4+ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full frame cameras
1199 9/14
Tilt and shift optic with independent tilt and shift rotation and redesigned coatings
2920 NYT
940 11/08 4+ Designed to match the needs of demanding professionals and does so with ease
2/13
4+ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture
795
600 11/08 3+ Doesnt really live up to its promises. The zoom range is excellent but there are better alternatives
220 11/08 3.5+ Given the low price of this zoom, its results are very impressive
4-stop image stabilisation and automatic panning and tripod detection
NYT
500
740 10/11 4+ Automatic panning detection (for image stabilisation) and a useful 11x zoom range
Wideangle lens with a oating rear focusing system and a USM motor
NYT
610
Subwavelength structure coating, together with UD and aspherical elements
2010 NYT
750 05/13 4+ Small wideangle optic with image stabilisation
Tilt and shift optic with independent tilt and shift rotation and redesigned coatings
2550 NYT
1540 7/09 4.5+ A solid performer with an excellent reputation that only years in the eld can secure
2300 XMAS 12 5+ Professional quality standard zoom lens with a fast aperture
L series zoom said to be compact, portable and aimed at both professionals and amateurs
1499 NYT
1049 3/13 4.5+ An excellent all-round performer, and keenly priced too
A versatile standard zoom lens thats an ideal route into full frame photography
NYT
479
USM motor and an aspherical element, together with a wide maximum aperture
NYT
570
730 05/13 3.5+ Lightweight and inexpensive lens, with a single aspherical element
560 12/09 4.5+ Excellent optical performance, with the benet of image stabilisation
L-series optic with expansive range, image stabilisation and a circular aperture
3290 NYT
3/12 4.5+ A cut-price xed focal length lens
320
First 35mm prime from Canon to feature an optical stabilisation system
NYT
799
1799 XMAS 15 5+ An outstanding addition to the L-series line-up
Min Focus (cm)
LENS
EF 8-15mm f/4 L USM
EF-S 10-18mm f/4.5-5.6 IS STM
EF-S 10-22mm f/3.5-4.5 USM
EF 11-24mm f/4L USM
EF-S 15-85mm f/3.5-5.6 IS USM
EF 16-35mm f/2.8 L II USM
EF 16-35mm f/4L IS USM
TS-E 17mm f/4 L
EF 17-40mm f/4 L USM
EF-S 17-55mm f/2.8 IS USM
EF-S 17-85mm f/4-5.6 IS USM
EF-S 18-55mm f/3.5-5.6 IS II
EF-S 18-135mm f/3.5-5.6 IS
EF-S 18-200mm f/3.5-5.6 IS
EF 20mm f/2.8 USM
EF 24mm f/2.8 IS USM
TS-E 24mm f/3.5 L II
EF 24-70mm f/2.8 L USM
EF 24-70mm f/2.8 L II USM
EF 24-105mm f/3.5-5.6 IS STM
EF 28mm f/1.8 USM
EF 28mm f/2.8 IS USM
EF 28-135mm f/3.5-5.6 IS USM
EF 28-300mm f/3.5-5.6 L IS USM
EF 35mm f/2
EF 35mm f/2 IS USM
Canon
CA NON
Sony Alpha
Image Stabilisation
LEN S LISTING S
DIMENSIONS
78.5 83 540g
74.6 72 240g
83.5 89.8 385g
108 132 1180g
80 94 645g
81.6 87.5 575g
88.5 111.6 635g
82.6 112.8 615g
88.9 106.9 820g
83.5 96.8 500g
83.5 110.6 645g
78.5 92 475g
68.5 70 200g
75.4 101 455g
78.6 102 595g
77.5 70.6 405g
93.5 86.9 650g
67.5 48.5 270g
88.5 106.9 780g
83.2 123.5 950g
88.5 113 805g
83.4 93 600g
83.5 107 670g
83.4 104 525g
73.6 55.6 310g
67.4 42.5 185g
78.4 96.8 540g
92 184 1670g
67.4 42.5 210g
62.6 77.9 335g
80.4 104.4 760g
68.2 22.8 130g
85.8 65.5 580g
73.8 50.5 290g
69.2 39.3 130g
67.6 63 280g
70 108 390g
73 69.8 335g
81 98 710g
84.6 193.6 1310g
76 172 760g
88.8 199 1490g
76 172 705g
76 143 630g
89 143 1050g
82.4 99.9 720g
71 122 480g
71 122 480g
91.5 84.0 1025g
75 71.5 425g
73.6 88 565g
75 73.5 460g
79 119 600g
77.7 123 625g
94 193 1640g
82.5 112 750g
69.2 98.4 390g
82.5 186.6 1090g
128 208 2520g
83.2 136.2 765g
128 248 2400g
90 221 1190g
163 343 3850g
128 232.7 2100g
90 256.5 1250g
146 387 3870g

DX format sheye lens with Nikons Close-Range Correction system and ED glass
NYT
678
834 10/09 4+ MTF performance is good from wide open to f/11, only breaking down past f/22
1044 9/09
4+ This venerable optic may be a little weak at f/4, but otherwise its a good performer
1554 7/10
5+ A really nice lens that handles well and offers excellent image quality
1670 2/08
5+ A remarkable piece of kit, producing sharp images with little chromatic aberration
Full-frame sheye lens with Close-Range Correction system and 25cm focus distance
NYT
762
1072 6/10
5+ A fantastic lens that deserves to be taken seriously, with very little CA throughout
869 11/15 4+ This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs
3/11
574
4+ Boasting Nikons second-generation VR II technology and Super Integrated Coating
High-quality wideangle zoom for full-frame Nikon users
1878 NYT
1356 3/07
4+ A higher quality standard zoom for DX-format DSLRs
669 Xmas13 5+ Wideangle zoom with instant manual-focus override for full-frame DSLRs
156 12/08 3.5+ Entry-level standard zoom lens
5/08
188
4+ An improvement over the above version, with excellent resolution and the benet of VR
Popular 3x zoom lens that is remarkably compact and lightweight, offering great portability
NYT
229
A compact, lightweight DX-format zoom thats an ideal walk-around lens
NYT
149
A compact, lightweight DX-format zoom lens with Vibration Reduction
NYT
199
8/12 4.5+ Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction
292
A compact and lightweight DX-format zoom, this lens is a great all-rounder
NYT
579
762 10/11 4.5+ 4-stop VR II system, two ED and three aspherical elements in this DX superzoom lens
850 12/12 4+ DX-format zoom lens with wideangle to super-telephoto reach

New DX-format 16.7x zoom with super-telephoto reach a compact walkabout lens
NYT
849
A fast FX-format prime lens thats compact and lightweight
NYT
679
Compact wideangle lens with Nikons Close-Range Correction system
NYT
584
Compact wide lens with Close-Range Correction system
NYT
427
1990 8/10
5+ Nothing short of stunning. Aside from its high price there is very little to dislike about this optic
Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers
NYT
629
Perspective Control lens with Nano Crystal Coating and electronic control over aperture
1774 NYT
1565 7/09
5+ An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens
1849 02/16 5+ Nikons latest pro-spec standard zoom looks like its best lens yet
520 XMAS 12 5+ FX-format standard zoom with Auto Tripod detection and VR
1072 5/11
5+ Constant maximum aperture of f/4 and the addition of VR makes this a superb lens
4/13
619
5+ If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers
Compact wideangle lens with a minimum focusing distance of 25cm
NYT
282
1/13 4.5+ Technical testing shows this zoom to be, as Nikon claims, the ideal walkabout lens
889
3/12
208
5+ Designed for DX-format DSLRs, a great standard prime lens
Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight
NYT
TBC
9/08
324
3+ At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture
1735 9/12
5+ A Nano Crystal-coated lens designed for the FX range
250 12/11 5+ A budget-priced macro lens that delivers the goods on multiple fronts
Perspective Control (PC-E) standard lens used in specialised elds such as studio and architecture
1393 NYT
Ultra-fast f/1.2 aperture prime lens
NYT
855
2/10
292
5+ Entry-level prime puts in a ne performance while offering backwards compatibility with AI cameras
2/10
376
5+ Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4
Compact, lightweight, affordable prime, will stop down to f/22
NYT
135
9/11
200
5+ A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs
Macro lens with 1/2 maximum reproduction ratio
NYT
625
8/07 3.5+ Designed for DX-format cameras, with Vibration Reduction and SWM technology
314
Offers a versatile focal range and an ultra-compact design, perfect for smaller DX-format DSLRs
NYT
251
1/12
378
3+ Offers a wide telephoto coverage, but better options available
1599 2/14
4+ FX-format full frame premium prime lens with large f/1.4 aperture
8/06
405
5+ Nikons most compact Micro lens, with Close Range Correction (CRC) system
Micro lens with 1:1 repro ratio, as well as a Silent Wave Motor and Super ED glass
NYT
500
2085 10/10 5+ Very little to fault here, with stunning image quality and consistent results at different focal lengths
1180 7/13
5+ Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin
556 11/10 4+ Feature-packed optic, with a VR II system, 9-bladed diaphragm, SWM and ED glass
1899 10/15 5+ Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects
DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass
NYT
522
1532 2/11
5+ Fast mid-tele lens with an internal focusing system and rounded diaphragm
Portable medium telephoto ideal for portraits
NYT
385
5/12
470
5+ Rear-focusing system and distance window in this medium telephoto lens
Perspective Control (PC-E) telephoto, designed to be ideal for portraits and product photography
1299 NYT
A 105mm FX-format prime lens with bright f/1.4 aperture, ideal for portraiture
2049 NYT
Weight
n/a
77
77
n/a
n/a
n/a
77
72
67
77
77
77
52
52
52
55
55
67
67
72
77
67
77
62
52
77
72
77
77
82
72
77
67
52
77
52
58
52
67
52
77
52
52
58
52
58
52
52
52
58
72
62
62
77
67
67
77
52
77
62
67
77
82
Length (mm)
14
24
30
20
28
25
28
35
38
28
36
28
28
28
28
25
25
na
45
50
45
48
20
25
30
25
23
21
38
38
38
45
25
25
50
30
25
25
30
20
25
50
45
45
45
45
25
110
110
140
58
22
18
140
1000
n/a
175
28
85
85
80
39
100
MOUNT
Width (mm)
Full Frame Only
Sigma
Pentax
Nikon
Four Thirds
Filter Thread (mm)
10.5mm f/2.8 G ED DX Fisheye

10-24mm f/3.5-4.5 G ED AF-S
12-24mm f/4 G ED AF-S DX
14mm f/2.8 D ED AF
14-24mm f/2.8 G ED AF-S
16mm f/2.8 D AF Fisheye
16-35mm f/4 G ED AF-S VR
16-80mm f/2.8-4E ED VR AF-S DX
16-85mm f/3.5-5.6 G ED VR AF-S DX
17-35mm f/2.8 D ED-IF AF-S
17-55mm f/2.8 G ED-IF AF-S DX
18-35mm f/3.5-4.5 G ED AF-S
18-55mm f/3.5-5.6 G II AF-S DX
18-55mm f/3.5-5.6 G VR AF-S DX
18-55mm f/3.5-5.6 G VR II AF-S DX
18-55mm f/3.5-5.6 G AF-P DX
18-55mm f/3.5-5.6 G VR AF-P DX
18-105mm f/3.5-5.6 G ED VR AF-S DX
18-140mm f/3.5-5.6 G ED VR AF-S DX
18-200mm f/3.5-5.6 G IF-ED VR II AF-S
18-300mm f/3.5-5.6 G ED-IF VR
18-300mm f/3.5-6.3 G ED VR
20mm f/1.8 G ED AF-S
20mm f/2.8 D AF
24mm f/2.8 D AF
24mm PC-E f/3.5 D ED PC-E
24-70mm f/2.8 G ED AF-S
24-70mm f/2.8E ED VR
24-85mm f/3.5-4.5 G ED VR
24-120mm f/4 G ED AF-S VR
28mm f/2.8 D AF
28-300mm f/3.5-5.6 G ED AF-S VR
35mm f/1.8 G AF-S DX
35mm f/2 D AF
40mm f/2.8 G AF-S DX Micro
45mm PC-E f/2.8 D ED Micro
50mm f/1.2
50mm f/1.4 D AF
50mm f/1.4 G AF-S
50mm f/1.8 D AF
50mm f/1.8 G AF-S
55mm f/2.8 Micro
55-200mm f/4-5.6 G VR AF-S DX
55-200mm f/4-5.6 G VR II AF-S DX
55-300mm f/4.5-5.6 G VR AF-S DX
58mm f/1.4 G AF-S
60mm f/2.8 D AF Micro
60mm f/2.8 G ED AF-S Micro
70-200mm f/2.8 G ED VR II AF-S
70-200mm f/4 G ED VR
70-300mm f/4.5-5.6 G ED AF-S VR
80-400mm f/4.5-5.6 G ED VR AF-S
85mm f/3.5 G ED AF-S DX VR
85mm f/1.4 G AF-S
85mm f/1.8 D
85mm f/1.8 G AF-S
85mm PC-E f/2.8 D Micro
105mm f/1.4 E ED AF-S
Min Focus (cm)
LENS
Canon
NIKO N
Sony Alpha
Image Stabilisation
W D C L IS T IN GS
DIMENSIONS
63 62.5 300g
82.5 87 460g
82.5 90 485g
87 86.5 670g
98 131.5 970g
63 57 290g
82.5 125 685g
80 85.5 480g
72 85 485g
82.5 106 745g
85.5 110.5 755g
83 95 385g
73 79.5 265g
70.5 74 205g
66 59.5 195g
64.5 62.5 195g
64.5 62.5 205g
76 89 420g
78 97 490g
77 96.5 560g
83 120 830g
78.5 99 550g
82.5 80.5 335g
69 42.5 270g
64.5 46 270g
83 88.5 620g
77.5 83 355g
82.5 108 730g
83 133 900g
88 154.5 1070g
78 82 465g
84 103 710g
73 80 330g
65 44.5 205g
83 114 800g
70 52.5 200g
72 71.5 305g
64.5 43.5 205g
83 89.5 600g
68.5 64.5 235g
82.5 112 740g
68.5 47.5 360g
64.5 42.5 230g
73.5 54 280g
63 39 160g
72 52.5 185g
63.5 62 290g
73 99.5 335g
70.5 83 300g
76.5 123 530g
85 70 385g
70 74.5 440g
73 89 425g
87 209 1540g
78 178.5 850g
80 143.5 745g
95.5 203 1570g
73 98.5 355g
86.5 84 595g
71.5 58.5 380g
80 73 350g
83.5 107 635g
94.5 106 985g
4+ Designed for full-frame DSLRS, and features an apodization element that renders lovely bokeh
RRP
TESTED SCORE SUMMARY
590
1050
730
820
950
600
630
230
220
229
600
699
829
600
1149
1149
550
640
180
450
325
729
399
249
550
1200
210
800
370
399
1450
600
1850
1050
700
680
2000
1000
1300
NYT
NYT
7/10
NYT
1/09
NYT
NYT
NYT
1/09
NYT
6/11
NYT
NYT
NYT
NYT
NYT
NYT
9/08
3/12
NYT
NYT
NYT
NYT
08/15
NYT
11/12
NYT
2/10
10/12
NYT
10/12
NYT
NYT
NYT
NYT
11/12
NYT
8/12
NYT
Fisheye zoom lens with Super Protection coating and Quick Shift manual focus
Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom
4.5+ Best performance lies between f/5.6 and f/11, but good results can be had at f/4 too
Limited edition lens with hybrid aspherical and extra-low dispersion elements
3.5+ A nice balance and robust feel, but poor sharpness at f/2.8 (which signicantly improves from f/4 onwards)
Weather-resistant, this zoom features a round shaped diaphragm to produce beautiful bokeh
Featuring Pentaxs Supersonic Direct-drive (SDM) focusing system
Super-thin standard zoom thats weather-resistant and features a round shaped diaphragm
3.5+ Something of a bargain. Only the maximum apertures and awkward manual focusing really let it down
A weather resistant construction and an aspherical element, as well as SP coating
3.5+ A weather resistant mid-range zoom lens

15x superzoom for companys K-mount DSLRs featuring two extra-low dispersion (ED) elements
With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather-resistant
This limited-edition optic offers a oating element for extra-close focusing
Full frame-compatible premium standard zoom - includes a HD coating to minimise are and ghosting
Aluminium body; when used on a Pentax DSLR offers a perspective similar to that of the human eye
A compact wideangle lens that weighs a mere 214g
4.5+ Despite slight edge softness, this lens performs excellently and is a pleasure to use
5+ A budget price prime lens for beginners
Pancake lens with SMC coating and Quick Shift focusing system
The worlds smallest xed focal length lens
Focal length is ideal for portraits as well as everyday use, and features an smc multi-layer coating
High quality fast prime. The FA indicates that its image circle covers the 35mm full-frame format
4+ Affordable short telephoto lens ideal for portraits

Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism
4+ Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects
Weather-resistant construction, Quick Shift focus system and an SP coating
4.5+ Even despite questions about the particular sample tested, this lens scores highly
4+ The lens boasts a useful focal range, as well as a dirt-resistant SP coating
Weatherproof HD telephoto lens featuring quick shift focusing system
4.5+ With a constant f/4 aperture and an ultrasonic motor for speedy focusing
Medium telephoto lens with an aluminium construction and a Super Protect coating
New addition to Pentaxs high-performance Star (*) series developed for best image rendition
With Pentaxs Fixed Rear Element Extension focusing system for sharp, crisp images
Designed for both digital and lm cameras, this macro lens boasts a 1:1 repro ratio
5+ Street price makes this something of a bargain for a true macro offering full-frame coverage
Super-telephoto lens with weather-resistance, designed to produce extra-sharp, high-contrast images
4.5+ SDM focusing system on the inside, and dirtproof and splashproof on the outside
This tele optic promises ultrasonic focus and high image quality thanks to ED glass
14
30
17
18
30
35
28
30
25
25
40
49
28
20
38
30
30
14
30
n/a
77
77
49
77
72
67
58
52
52
62
62
55
49
82
58
49
49
49
MOUNT
Weight
Width (mm)
Length (mm)
Length (mm)
Weight
Weight
10/16
DIMENSIONS
tbc tbc tbc
tbc tbc tbc
tbc tbc tbc
98.9 76 745g
Length (mm)
649
Width (mm)
Filter Thread (mm)
105mm f/2 (T32) STF
Filter Thread (mm)
Min Focus (cm)
Full Frame Only
With 2 to 1 Macro, an all-in-one option for normal portrait photography as well as ultra-macro
Sigma
Wideangle lens, with 1 to 1 Macro available in Canon, Nikon, Pentax, Sony E and Sony A
NYT
Pentax
NYT
319
Nikon
449
60mm f/2.8 2X Ultra-Macro
Four Thirds
15mm f/4 1:1 Macro
Canon
MOUNT
Sony Alpha
This wideangle lens will be available soon and is said to be the worlds fastest 12mm lens
DIMENSIONS
83 116 720g
79 111 640g
79 120 815g
78.5 144 760g
76 104.5 1190g
124 203 2930g
108 267.5 2300g
89 147.5 755g
124 267.5 2900g
Width (mm)
Min Focus (cm)
tbc
77
62
67
NYT
DA 10-17mm f/3.5-4.5 smc ED IF

DA 12-24mm f/4 smc ED AL IF
DA 14mm f/2.8 smc ED IF
DA 15mm f/4 smc ED AL Limited
DA* 16-50mm f/2.8 smc ED AL IF SDM
DA 16-85mm f/3.5-5.6 ED DC WR
DA 17-70mm f/4 smc AL IF SDM
DA 18-50mm f/4-5.6 DC WR RE
DA 18-55mm f/3.5-5.6 smc II ED AL IF
DA 18-55mm f/3.5-5.6 smc AL WR
DA 18-135mm f/3.5-5.6 DA ED DC WR
DA 18-270mm f/3.5-6.3 smc ED SDM
DA 20-40mm f/2.8-4 ED Limited DC WR
DA 21mm f/3.2 smc AL Limited
FA 24-70mm f/2.8 ED SDM WR
FA 31mm f/1.8 smc AL Limited
FA 35mm f/2 smc AL
DA 35mm f/2.8 smc Macro
DA 35mm f/2.4 smc DS AL
DA 40mm f/2.8 smc Limited
DA 40mm XS f/2.8 XS
FA 43mm f/1.9 smc Limited
FA 50mm f/1.4 smc
DA 50mm f/1.8 smc DA
DFA 50mm f/2.8 smc Macro
DA* 50-135mm f/2.8 smc ED IF SDM
DA 50-200mm f/4-5.6 smc ED WR
DA* 55mm f/1.4 smc SDM
DA 55-300mm f/4-5.8 smc ED
DA 55-300mm f/4-5.8 ED WR
DA 60-250mm f/4 smc ED IF SDM
DA 70mm f/2.4 smc AL Limited
D-FA* 70-200mm f/2.8 ED DC AW
FA 77mm f/1.8 smc Limited
D-FA 100mm f/2.8 Macro
D-FA 100mm f/2.8 Macro WR
FA 150-450mm f/4.5-5.6 ED DC AW
DA* 200mm f/2.8 smc ED IF SDM
DA* 300mm f/4 smc ED IF SDM
Filter Thread (mm)
Full Frame Only
Sigma
tbc
12
tbc
90
TBC
LENS
62
n/a
n/a
72
62
52
95
77
52
RRP
12mm f/ 2.8 Zero D
Image Stabilisation
Pentax
LENS
PE N TAX
Min Focus (cm)
Full Frame Only
Sigma
Nikon
Four Thirds
Pentax
31
90
110
150
50
190
220
140
230
Nikon
LAOWA
Canon
MOUNT
Four Thirds

782 11/09 4.5+ A very sharp lens, with swift and quiet focusing and consistent MFT results
A portrait lens with defocus control
NYT
980
Defocus-Image Control and a rounded diaphragm in this telephoto optic
1232 NYT
Useful telephoto length and internal focusing technology, together with ED glass
NYT
782
1:1 reproduction range in this Micro lens, with a Close-Range Correction system
1429 NYT
A full-frame lens offering ghost-reducing Nano Crystal coating
5412 NYT
A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras
1179 NYT
1230 08/15 5+ Light, compact AF-S full-frame telephoto lens with ED glass elements
This lens promises fast and quiet AF, and is tted with Nikons latest VR II system
5209 NYT
Canon
105mm f/2.8 G AF-S VR II Micro

105mm f/2 D AF DC
135mm f/2 D AF DC
180mm f/2.8 D ED-IF AF
200mm f/4 D ED-IF AF Micro
200mm f/2 G ED AF-S VR II
200-500mm f/5.6 E ED VR AF-S
300mm f/4 E PF ED VR AF-S
300mm f/2.8 G ED AF-S VR II
Image Stabilisation
LENS
Sony Alpha
NIKO N
Sony Alpha
Image Stabilisation
LEN S LISTING S
DIMENSIONS
71.5 68 320g
83.5 87.5 430g
83.5 69 420g
39.5 63 212g
98.5 84 600g
78 94 488g
75 93.5 485g
71 41 158g
68 67.5 220g
68.5 67.5 230g
73 76 405g
76 89 453g
68.5 71 283g
63 25 140g
109.5 88.5 787g
68.5 65 345g
64 44.5 214g
46.5 63 215g
63 45 124g
40
49
63
15
40
N/A
62.9
90g
52g
45
49
27
64
155g
45
49
63.5
38
220g
45
52
38.5
63
122g
19
49
60
67.5
265g
100
67
76.5
136
765g
n/a
49
69
79.5
285g
45
58
70.5
66
375g
140
58
75
111.5
440g
140
58
71
111.5
466g
110
67
167.5
82
1040g
70
49
63
26
130g
120
77
91.5
203
1755g
70
49
48
64
270g
30
49
67.5
80.5
345g
30
49
65
80.5
340g
200
86
241.5
95
2000g
825g
120
77
83
134
140
77
83
184 1070g

75.
77.8 417g
10mm f/2.8 ED AS NCS CS
429
NYT
Features a nano crystal anti-reection coating system and embedded lens hood
24
N/A
86
77
14mm f/2.8 ED UMC
279
NYT
Ultra wideangle manual focus lens; bulb-like front element means no lters can be used
28
N/A
94
87
552g
16mm f/2.0 ED AS UMC CS
389
NYT
Ultra wideangle lens for digital reex cameras and mirrorless compact cameras tted with APS-C sensors
20
N/A
89.4
83
583g
21mm f/1.4 ED AS UMC CS
499
04/16
54.3 67.9 290g
24mm f/1.4 AS UMC
499
NYT
35mm f/1.4 AS UMC
369
3/13
4.5+ While manual focus only, this prime impressed us in real-world use, making it something of a bargain
50mm f/1.2 AS UMC CS
299
05/16
5+ Fast prime for mirrorless cameras thats capable of stunning results with a super-shallow depth of eld
85mm f/1.4 IFMC
239
NYT
Short fast telephoto prime, manual focus, aimed at portrait photographers
100mm f/2.8 ED UMC Macro
389
NYT
Full-frame compatible, the Samyang 100mm is a close-up true Macro lens
MOUNT
58
25
77
95
116
680g
30
77
83
111
660g
50
62
67.5 74.5 380g
100
72
78
30
67
72.5 123.1 720g
NYT
800
10/10
10mm f/2.8 EX DC
599
NYT
A Hyper Sonic Motor (HSM) and built-in hood in this diagonal sheye lens
10-20mm f/3.5 EX DC HSM
650
3/10
5+ An absolute gem of a lens that deserves a place on every photographers wish list
10-20mm f/4-5.6 EX DG HSM
550
8/09
5+ A ne all-rounder, thanks to MTF curves which stay above 0.25 cycles-per-pixel down to f/16
12-24mm f/4.5-5.6 EX DC HSM
868
8/09
4+ A tightly matched set of MTF curves, but APS-C users are advised to look at the 10-20mm instead
15mm f/2.8 EX DG
629
7/10
4+ This sheye optic puts in a very solid performance not to be dismissed as a gimmick!
17-50mm f/2.8 EX DC OS HSM
689
NYT
FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation
17-70mm f/2.8-4 DC Macro OS HSM
449
NYT
Redesign of this well-received lens launches the Contemporary range and sees it in more compact form
18-35mm f/1.8 DC HSM
799
11/13
5+ Said to be the worlds rst constant f/1.8 zoom; DOF equivalent of constant f/2.7 on full frame
18-200mm f/3.5-6.3 DC
349
3/08
3+ Good CA control at 200mm but otherwise an average performer
18-200mm f/3.5-6.3 DC OS
449
3/08
4+ Excellent resolution and consistent performance, but control over CA could be a little better
18-250mm f/3.5-6.3 DC OS HSM
572
1/10
18-250mm f/3.5-6.3 DC Macro OS HSM
500
NYT
Ultra-compact 13.8x high zoom ratio lens designed exclusively for digital SLR cameras
18-300mm f/3.5-6.3 DC Macro OS HSM
499
NYT
Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens
20mm f/1.4 DG HSM | A
799
02/16
5+
73.5 68.6 400g
Weight
76
Full Frame Only
n/a
Sigma
13
Pentax
Nikon
Width (mm)
799
8-16mm f/4.5-5.6 DC HSM
Filter Thread (mm)
8mm f/3.5 EX DG
MOUNT
72.2 513g
Min Focus (cm)
Four Thirds
Canon
Sony Alpha
Image Stabilisation
RRP
739
Circular sheye lens designed for digital, with SLD glass and a gelatin lter holder
Weight
28
4.5mm f/2.8 EX DC HSM
DIMENSIONS
77.8 470g
13
n/a
24
72
75
13
n/a
75.8
24
82
87.3 88.2 520g
24
77
83.5
28
n/a
87
15
n/a
73.5
65
370g
28
77
83.5
92
565g
22
72
79
82
470g
28
72
78
121 810g
45
62
70
78.1 405g
45
45
79
100 610g
45
72
79
101 630g
35
62
73.5 88.6 470g
The worlds only 8mm lens equipped with autofocus also boasts SLD glass
4+ Excellent performance at 8mm which sadly drops at the 16mm end
4.5+ A very capable set of MTF curves that only shows minor weakness at wide apertures
580g
LENS
NYT
Fast ultra wideangle manual focus lens comprising 13 lenses arranged in 12 groups
S IG MA
DIMENSIONS
Length (mm)
5+ Manual-focus prime designed for mirrorless users comprising 8 elements arranged in 7 groups
Length (mm)
Width (mm)
N/A
Full Frame Only
30
Sigma
Pentax
Wideangle sheye lens designed for digital reex cameras with APS-C sensors
Nikon
NYT
Four Thirds
274
Canon
RRP
8mm f/3.5 UMC Fisheye CS II
S AM YA N G
Sony Alpha
LENS
Image Stabilisation
Filter Thread (mm)
LEN S LISTING S
Min Focus (cm)
W D C L IS T IN GS
An outstanding wideangle xed-focal-length lens
105.7 555g
83
81
475g
470g
102.5 600g
39
72
79
27.6
n/a
90.7 129.8 950g
101.5 585g
799
06/15
5+ The latest addition to Sigmas Art line of high-quality fast primes
25
77
85
24-35mm f/2 DG HSM | A
949
12/15
5+ The worlds rst large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range
28
82
87.6 122.7 940g
24-70mm f/2.8 EX DG IF HSM
899
8/09
38
82
88.6 94.7 790g
24-105mm f/4 DG OS HSM | A
849
3/14
45
82
89
109 885g
30mm f/1.4 EX DC HSM
490
9/08
3+
40
62
76.6
59
430g
799
9/13
5+ Large aperture prime; rst lens in companys Art series
30
67
77
94
665g
50mm f/1.4 EX DC HSM
459
2/10
5+ This lens may be priced above the norm, but it delivers results which are similarly elevated
45
77
84.5 68.2 505g
50mm f/1.4 DG HSM | Art
849
Web
5+ This lens is a unique design that pays off in truly excellent image quality
40
77
85.4
50-100mm f/1.8 DG HSM | Art
829
09/16
5+ This APS-C format lens aims to cover the focal lengths of three prime lenses in one
37.4
82
93.5 170.7 1490g
50-500mm f/4.5-6.3 DG OS HSM
1499
4/11
4+ A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters
95
104.4 219 1970g
70-200mm f/2.8 EX DG OS HSM
1539
NYT
Two FLD glass elements, said to have the same dispersive properties as uorite
140
77
86.4
70-300mm f/4-5.6 APO DG Macro
235
NYT
A 9-bladed diaphragm and two SLD elements in this tele-zoom lens
95
58
76.6
122
550g
70-300mm f/4-5.6 DG Macro
170
5/09
3+ Generally unremarkable MTF curves, and particularly poor at 300mm
95
58
76.6
122
545g
85mm f/1.4 EX DG HSM
890
2/11
85
77
86.4 87.6 725g
105mm f/2.8 EX DG OS HSM Macro
649
12/11
31.2
62
78
120-300mm f/2.8 DG HSM | S
3599
NYT
First lens in companys Sports series; switch enables adjustment of both focus speed and focus limiter
150mm f/2.8 EX DG OS HSM Macro APO
999
NYT
A macro lens offering image stabilisation
5+ Not perfect, but an excellent alternative to Canon and Nikons 24-70mm lenses, with great MTF curves
4.5+ Serious full frame alternative to own-brand lenses at a lower price but with no compromises in the build
A consistent performer, with slightly weaker but not unacceptable performance wide-open
5+ The Sigmas resolution from f/4 to f/8 is excellent

4.5+ An optically-stabilised macro lens
50-180
150-250 105
38
90.2 665g
100 815g
197 1430g
126.4 725g
124
291
TBA
72
79.6
150
950g
252 1780g
150-500mm f/5-6.3 DG OS HSM
999
6/09
3+ Signicant softness at wide maximum apertures for all focal lengths
220
86
94.7
150-600mm f/5-6.3 DG OS HSM | S
1599
1/15
4+ This portable, high-performance telephoto zoom from Sigmas Sports line is dust and splashproof
260
105
121 290.2 2860g
5+ 1:1 macro lens featuring three FLD glass elements and oating inner focusing system
180mm f/2.8 EX DG OS HSM Macro APO
1499
4/13
300mm f/2.8 APO EX DG HSM
2899
NYT
Extra Low Dispersion (ELD) glass, multi-layer coatings and a Hyper Sonic Motor
300-800mm f/5.6 EX DG HSM
6999
NYT
A constant aperture of f/5.6 throughout the expansive 300-800mm zoom range
500mm f/4.5 APO EX DG HSM
4799
NYT
Telephoto lens with multi-layer coatings to optimise the characteristics of DSLRs
47
86
95
250
46
119 214.5 2400g
204 1640g
600
46
156.5 544 5880g
400
46
123
350 3150g
5+ Carl Zeiss mid-range zoom lens with superb optics ideal for full frame Alpha DSLRs
A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom
4+ Macro lens designed for digital with 1:1 magnication and Smooth Autofocus Motor
With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass
Budget price indoor portrait lens
4.5+ A very useful lens that performs well and carries a rock-bottom price tag
5+ While this lens performs well overall, performance at f/1.4 could be better
4+ Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting
A macro lens with a oating lens element
Designed for cropped-sensor DSLRs, with a Smooth Autofocus Motor
Compact, lightweight telephoto zoom offering smooth, silent operation
Super Sonic Wave motor and a constant f/2.8 aperture in this pro-grade tele zoom
High-performance G Series telephoto zoom lens
4+ Compact, lightweight telephoto zoom lens for full-frame E-mount bodies

3.5+ G-series lens with ED elements, Super Sonic wave Motor and a circular aperture
Redesign of original features a new LSI drive circuit and promises faster autofocus
3+ Compact and lightweight zoom with a circular aperture

Fixed focal length lens aimed at indoor portraiture
A light, low price portraiture lens
Macro lens with circular aperture, double oating element and wide aperture
A bright, Carl Zeiss portrait telephoto lens
Telephoto lens with defocus effects
TAM R ON
LENS
RRP
10-24mm f/3.5-4.5 SP AF Di II LD Asph. IF
511
14-150mm f/3.5-5.8 Di III
370
15-30mm f/2.8 SP Di VC USD
950
16-300mm f/3.5-6.3 Di II VC PZD Macro
600
17-50mm f/2.8 SP AF XR Di II LD Asph. IF
450
17-50mm f/2.8 SP AF XR Di II VC LD Asph. IF
541
18-200mm f/3.5-6.3 AF Di II VC
169
18-270mm f/3.5-6.3 AF XR Di II LD Asph. IF Macro
613
TESTED SCORE
2/10 3.5+
4/16
4+
7/15
4+
8/14
4+
2/09 4.5+
4/10 4.5+
5/16
4+
1/10 4.5+
10/11
3+
10/12
5+
SUMMARY
MOUNT

Good consistency at 10mm and 18mm, but a steep decline at 24mm
The rst Micro Four Thirds lens from Tamron, for compact mirrorless interchangeable-lens cameras
Excellent value, this is the only wideangle zoom with image stabilisation and an f/2.8 aperture
Versatile megazoom, a very good all-in-one solution, as long as you wont need to enlarge to A2 size
Very good optical performance, which peaks at f/5.6-8
Very strong performance at longer focal lengths but weaker at the other end
Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation
Much better results at shorter focal lengths than longer ones, but still impressive
The next-generation incarnation offers a new form of ultrasonic engine
Fast zoom with image stabilisation for both full-frame and APS-C cameras
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro
663
24-70mm f/2.8 SP Di VC USD
1099
28-75mm f/2.8 SP AF XR Di LD Asph. IF Macro
460
NYT
Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm
28-300mm f/3.5-6.3 AF XR Di LD Asph. IF Macro
664
NYT
A useful 10.7x zoom range and low-dispersion elements in this optic
28-300mm f/3.5-6.3 Di VC PZD
529
NYT
A new, full-frame, high-power zoom incorporating PZD (Piezo Drive)
45mm f/1.8 Di VC USD
580
1/16
550
12/10
70-200mm f/2.8 SP AF Di LD IF Macro
817
10/09
4.5+ A lens that rewrites the standard focal length

5+ Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio
4+ No image stabilisation and no advanced AF system, but at this price its a steal
60mm f/2 SP AF Di II LD IF Macro

70-200mm f/2.8 Di VC USD
TBC
NYT
Compact yet full-size telephoto zoom with vibration compensation
70-300mm f/4-5.6 SP VC USD
300
1/12
70-300mm f/4-5.6 AF Di LD Macro
170
11/10
85mm f/1.8 Di VC USD
749
09/16
90mm f/2.8 SP AF Di Macro
470
11/09
90mm f/2.8 Di Macro 1:1 VC USD
TBC
NYT
150-600mm f/5-6.3 SP VC USD
1150
6/14
180mm f/3.5 SP AF Di LD IF Macro
896
11/10
200-500mm f/5-6.3 SP AF Di LD IF
1124
6/09
4+
3.5+
5+
4+
Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation
Low dispersion glass and compatible with both full-frame and cropped-sensor DSLRs
The rst full-frame 85mm f/1.8 lens with vibration compensation thats also moisture resistant
A very nice macro lens that is capable of producing some ne images
Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation
4+ Longest focal length of any affordable enthusiast zoom on the market and produces excellent results
5+ Two Low Dispersion elements and internal focusing system in this 1:1 macro lens
4.5+ A well-matched and consistent set of MTF curves, with good performance at f/8-11
24
50
28
39
27
29
49
49
49
38
33
49
49
29
23
95
130
150
95
80
29
30
270
47
250
72
62
77
55
72
55
55
77
80
Weight
Length (mm)
Width (mm)
Filter Thread (mm)
Min Focus (cm)
Full Frame Only
Sigma
Pentax
Nikon
Four Thirds
Canon
Weight
An impressively bright wideangle Carl Zeiss lens
Length (mm)
A versatile zoom with Direct Manual Focus
3+ While the focal range is certainly useful, the lens is an overall average performer
3.5+ Good overall, but performance dips at longer focal lengths
3.5+ Wideangle prime lens with rear focusing mechanism and focus range limiter
DIMENSIONS
83 80.5 360g
75 66.5 400g
83 114 900g
81 88 577g
72 83 445g
72 83 470g
76 86 398g
73 85.5 405g
75 86 440g
78 53.5 285g
78 76 555g
83 111 955g
77.5 94 565g
70 45 150g
69 76 510g
70 52 170g
70 45 170g
65.5 43 220g
81 71.5 518g
71.5 60 295g
71.5 85 305g
77 116.5 460g
87 196.5 1340g
87 196.5 1340g
80 175 840g
82.5 135.5 760g
95 196 1500g
71 122 460g
81.5 72.5 560g
70 52 175g
75 98.5 505g
84 115 1004g
80 99 730g
Width (mm)
An ambitious lens that is good in parts. Quality drops off at 105mm
77
n/a
77
72
62
62
62
62
62
72
72
77
67
49
55
55
49
55
72
55
55
62
77
Filter Thread (mm)
Carl Zeiss standard zoom lens
25
20
28
100
35
40
45
45
45
25
19
34
38
12
30
23
34
45
45
20
95
140
120
120
100
120
150
150
85
60
35
72
87
Min Focus (cm)
Bright short-range telephoto lens
Full Frame Only
High-end Zeiss wideangle zoom lens ideal for full frame Alpha DSLRs
Sigma
Fisheye lens with a close focusing distance of 20cm and a 180 angle of view
4.5+
4+
4.5+
3+
Pentax
NYT
9/09
4/12
4/09
3/09
NYT
4/08
1/10
9/11
NYT
7/09
NYT
3/12
NYT
NYT
3/10
2/10
Web
NYT
NYT
NYT
NYT
NYT
10/14
12/10
NYT
8/12
NYT
NYT
NYT
NYT
NYT
MOUNT
Nikon

9/09
3+ A solid overall performance that simply fails to be outstanding in any way
Four Thirds
RRP
609
709
1729
569
709
559
429
509
559
559
1119
1679
709
179
1369
179
159
369
1300
529
219
309
1889
TBC
949
869
1799
219
1369
219
659
1429
1119
Canon
11-18mm f/4.5-5.6 DT
16mm f/2.8 Fisheye
16-35mm f/2.8 ZA SSM T*
16-50mm f/2.8 SSM
16-80mm f/3.5-4.5 ZA T*
16-105mm f/3.5-5.6 DT
18-135mm f/3.5-5.6 DT SAM
18-200mm f/3.5-6.3 DT
18-250mm f/3.5-6.3 DT
20mm f/2.8
24mm f/2 ZA SSM T*
24-70mm f/2.8 ZA SSM T*
28-75mm f/2.8 SAM
30mm f/2.8 DT SAM Macro
35mm f/1.4 G
35mm f/1.8 DT SAM
50mm f/1.8 DT SAM
50mm f/1.4
50mm f/1.4 ZA SSM
50mm f/2.8 Macro
55-200mm f/4-5.6 DT SAM
55-300mm f/4.55.6 DT SAM
70-200mm f/2.8 G
70-200mm f/2.8 G SSM II
70-200mm f/4 G OSS
70-300mm f/4.5-5.6 G SSM
70-400mm f/4-5.6 G SSM II
75-300mm f/4.5-5.6
85mm f/1.4 ZA Planar T*
85mm f/2.8 SAM
100mm f/2.8 Macro
135mm f/1.8 ZA Sonnar T*
135mm f/2.8 STF
Image Stabilisation
LENS
Sony Alpha
S ONY
Sony Alpha
Image Stabilisation
WD C L IS T IN GS
DIMENSIONS
77 83.2 86.5 406g
52 63.5 80.4 285g
N/A 98.4 145 1100g
67 99.5 75 540g
67 74 81.7 434g
72 79.6 94.5 570g
62 75 96.6 400g
72 79.6 101 550g
62 74.4 88 450g
82 88.2 116.9 825g
67 73 92 510g
62 73 83.7 420g
67 75 99.5 540g
67 80.4 89.2 940g
55 73 80 400g
77 89.5 194.3 1150g
77 85.8 188.3 1470g
62 81.5 142.7 765g
62 76.6 116.5 435g
67 85 91 700g
55 71.5 97 405g
58 115 76.4 550g
95 105.6 257.8 1951g
72 84.8 165.7 920g
86 93.5 227 1237g
515
6/12
AT-X 116 (11-16mm) f/2.8 PRO DX II
449
AT-X 11-20 (11-20mm) f/2.8 PRO DX
499
AT-X 12-28mm f/4 PRO DX

AT-X 14-20mm f/2 PRO DX
n/a
70
71.1
350g
30
77
n/a
89.2
560g
77
84
89.2
550g
82
89
92
560g
84
90
600g
89
106
725g
n/a
90
133
950g
28
82
89
94
600g
50
77
84
78
610g
38
82
89.6 107.5 1010g
100
67
82
167.5 980g
30
55
73
95.1
NYT
Update to the popular 11-16mm f/2.8 lens, for slightly improved optical performance
30
NYT
Compact, ultra-wideangle lens featuring an expanded telephoto zoom range
28
529
NYT
Replacement for 12-24mm F4 wideangle zoom; for Nikon DX DSLRs
25
77
849
NYT
Wideangle zoom with super-fast, super-bright, constant f/2 aperture for shooting in very low light
28
82
AT-X 16-28mm f/2.8 PRO FX
757
6/11
26
AT-X 17-35mm f/4 PRO FX
830
11/12
AT-X 16.5-135mm f/3.5-5.6
610
9/11
AT-X 24-70mm f/2.8 PRO FX
679
NYT
18mm f/3.5 ZF.2

21mm f/2.8 Distagon T*
25mm f/2 Distagon T*
35mm f/1.4 Distagon T*
50mm Milvus f/1.4
85mm Milvus f/1.4
100mm f/2 Makro-Planar
1150
1579
1350
850
1600
940
949
665
1399
NYT
NYT
NYT
NYT
NYT
3/16
4/16
NYT
Four Thirds
Canon
30
30
25
24
30
30
45
80
44
82
82
67
58
72
58
67
77
72
84
87
71
64
120
64
82.9
90
76
MOUNT
A wideangle lens that doesnt compromise on optical quality

A landscape lens with a fast aperture
For low light shooting the 28mm lens has plenty of potential
Promises to produce some stunning bokeh effects
A lens with a fast f/2 aperture
5+ An exceptionally good portrait lens offering sharpness, detail, clean edges and a great user experience
5+ Fast 85mm prime lens thats perfect for portraiture
A rapid-focus portrait lens
540g
DIMENSIONS
87 470g
84 510g
95 570g
93 520g
122 850g
97 530g
94 922g
110 1210g
113 680g
Width (mm)
355
NYT
Ultra-wideangle lens with a compact, retractable lens design
15
55
61
58.2 220g
EF-M 22mm f/2 STM
220
NYT
Small and bright wideangle pancake lens
15
43
61
23.7 105g
EF-M 55-200mm f/4.5-6.3 IS STM
330
NYT
Telephoto zoom that takes you closer to the action
100
52
60.9 86.5 260g
Filter Thread (mm)
Width (mm)
24
18
15
30
60
18
45
18
28
60
28
35
100
110
110
70
26.7
60
175
72
58
67
58
77
52
77
58
62
39
52
43
72
58
62
62
39
62
77
78
65
73.4
62.6
83.3
64.5
75.7
65
72
23
65
60
82.9
69.5
118
73.2
64.1
75
94.8
LENS
XF 10-24mm f/4 R OIS
XF 14mm f/2.8 R
XF 16mm f/1.4 R WR
XC 16-50 f/3.5-5.6 OIS
XF 16-55mm f/2.8 R LM WR
XF 18mm f/2 R
XF 18-135mm f/3.5-5.6 R LM OIS WR
XF 18-55mm f/2.8-4 R
XF 23mm f/1.4 R
XF 27mm f/2.8
XF 35mm f/1.4 R
XF 35mm f/2 R WR
XF 50-140mm f/2.8 R LM OIS WR
XC 50-230mm f/4.5-6.7 OIS
XF 55-200mm f/3.5-4.8 R LM OIS
XF 56mm f/1.2 R
XF 60mm f/2.4 XF R Macro
XF 90mm f/2 R LM WR
XF 100-400mm f/4.5-5.6 R LM OIS WR
RRP
849
729
729
359
899
430
699
599
649
270
439
299
1249
315
599
899
599
699
1399

NYT
7/13
10/15
NYT
6/15
6/13
Xmas14
NYT
NYT
NYT
6/13
Web
NYT
NYT
11/13
9/14
NYT
11/15
Web
Ultra wideangle lens, minimal ghosting with Fujis HT-EBC multi-layer coating
Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range
Short zoom lens with optical image stabilisation

Premium wideangle prime lens with fast maximum aperture
A high-performance single-focal-length lens
4+ Shallow depth of eld and bokeh effects are simple to achieve with this lens
5+ A powerful and weather-resistant lens that feels great and has the performance to match
A telephoto zoom with a constant maximum aperture and weather-resistance
The XC lens range is designed to suit Fujis mid range CSCs, and this lens has optical image stabilisation
4+ Telephoto with built-in optical image stabilisation plus aperture control ring
4+ This wide-aperture portrait lens for X series cameras has great sharpness and detail and is great value
A short telephoto lens perfect for macro work
5+ A classic portrait lens thats sharp, with gorgeous bokeh

5+ This superb zoom is both water and dust resistant and can operate in -10 C temperatures
210g
Weight
Length (mm)
Fuji X Mount
Nikon 1
Pentax Q
Sony E
Samsung NX
DIMENSIONS
MOUNT
5+ Ultra wideangle prime, high resolution to all corners, performance justies price tag
5+ Weather-sealed fast prime for X-system users
5+ A agship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance
4+ A compact, wideangle lens with a quick aperture
4+ Weather-resistant zoom for Fujilm X mount, designed to be the perfect partner for the Fujilm X-T1
Micro 4 Thirds
Image Stabilisation
Canon M
FU J I C S C
Weight
Filter Thread (mm)
61
EF-M 11-22mm f/4-5.6 IS STM
MOUNT
Length (mm)
Min Focus (cm)
61
Full frame only
52
Fuji X Mount
25
Nikon 1
Pentax Q
Compact and versatile zoom lens
Sony E
NYT
Samsung NX
269
Micro 4 Thirds
RRP
EF-M 18-55mm f/3.5-5.6 IS STM
CA NON C S C
Image Stabilisation
Canon M
LENS
Min Focus (cm)
The range of lenses for CSC models is

constantly evolving, so you have a fairly good
choice when it comes to lenses for your CSC
Full frame only
CSC Lens Listings
Width (mm)
LENS
Sony Alpha
Image Stabilisation
Z EI S S
Filter Thread (mm)

8/10
5+ No AF, but the optical and build qualities of this lens are nothing short of stunning
Min Focus (cm)
RRP
Features a new Vibration Correction Module and ring-shaped ultrasonic style autofocus motor
4+ Some weaknesses wide-open, but reasonable MTF curves make this a decent optic
Full Frame Only
NYT
11/09
Sigma
691
360
Pentax
AT-X 70-200mm f/4 PRO FX VCM-S

AT-X M100 (100mm) f/2.8 AF PRO D Macro
Nikon
Three precision moulded all-glass aspherical lens elements and a fast, constant f/2.8 aperture
Weight
DIMENSIONS
4.5+ Wide zoom with a One-Touch Focus clutch mechanism and a constant f/2.8 aperture
5+ A pro-end wideangle zoom aimed at full frame cameras

5+ One of the most capable super-wide zooms available, though only available in Canon and Nikon mounts
3.5+ Three aspherical and two SD elements, together with a useful focal range
Length (mm)
Sigma
Pentax
Nikon
Four Thirds
14
Weight
AT-X 116 (11-16mm) f/2.8 PRO DX
MOUNT
Fisheye zoom lens with Water Repellent coating and Super Low Dispersion glass
Length (mm)
NYT
Width (mm)
Filter Thread (mm)
550
Min Focus (cm)
RRP
AT-X 107 (10-17mm) f/3.5-4.5 AF DX Fisheye
Full Frame Only
LENS
Canon
TO K INA
Sony Alpha
Image Stabilisation
LEN S LISTING S
DIMENSIONS
87
58.4
73
98.3
106
40.6
97.8
70.4
63
61.2
54.9
45.9
175.9
111
75
69.7
70.9
105
210.5
410
235g
375g
195g
655g
116g
490g
310g
300g
78g
187g
170g
995g
tbc
580g
405g
215g
540g
1375g
5+
4+
4+
4+
4+
PEN TAX C S C
LENS
RRP
3.8mm-5.9mm (Q System) f/3.7-4

8.5mm (Q System) f/1.9 AL [IF]
6.3mm (Q System) f/7.1
11.5mm (Q System) f/9
18mm (Q System) f/8
3.2mm (Q System) f/5.6
5-15mm (Q System) f/2.8
5-15mm (Q System) f/2.8-4.5
15-45mm (Q System) f/2.8
429
149
129
49
129
149
279
299
279

NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
Super-compact, ultra-lightweight wide zoom, equivalent to 17.5-27mm in the 35mm format

Standard prime lens in the Q system
A wide lens for the Q system
Extremely thin Mount Shield Lens equivalent to 53mm in the 35mm format, offering a distinctive, velvety image
A telephoto lens for the Q system
A sheye lens for the Q system
A short zoom lens for the Q system
A standard zoom lens for the Q system equivalent to 27.5-83mm in the 35mm format
A telephoto zoom lens for the Q system thats super-compact and ultra-lightweight
Weight
Weight
Length (mm)
Filter Thread (mm)
Width (mm)
Min Focus (cm)
Weight
Length (mm)
DIMENSIONS
MOUNT
Length (mm)
Filter Thread (mm)
Width (mm)
Min Focus (cm)
Full frame only
Nikon 1
Pentax Q
Sony E
Fuji X Mount
Fuji X Mount
Nikon 1
Pentax Q
Sony E
Samsung NX
Micro 4 Thirds
Full frame only

Full frame only
70
60.7
57
55.5
67.6
66
55.5
56
61
60
67
36
60.8
63
58.8
55.5
67.4
74
55
62
61.6
70
70
83.1
51.7
81.8
24
73.8
71
20.5
49
26.8
60
75
57.5
52
54.5
63.5
50
100
76.8
50
73
90
100
100
300g
165g
45g
70g
305g
210g
55g
110g
95g
195g
265g
115g
125g
200g
180g
135g
360g
425g
130g
200g
210g
380g
380g
Weight
5+
5+
3+
22
37
58
58
46
46
37
52
58
46
46
46
46
46
58
67
31
52
46
52
52
Length (mm)
4+
Width (mm)
5+
The worlds lightest and smallest sheye lens for an interchangeable lens camera
Allows compatible cameras to shoot 3D images
Very compact with a versatile zoom range and 3 aspherical lenses
Fast, high-quality standard zoom for Micro Four Thirds cameras
Incorporates a stepping motor for a smooth, silent operation and features a dust and splashproof design
Wideangle pancake lens which should suit landscape photographers
Addition of two aspherical elements helps make this lens smaller than previous version
Powered zoom; impressive results in terms of both sharpness and chromatic aberration
A lightweight and compact standard zoom featuring MEGA O.I.S. optical image stabilisation
Metal-bodied zoom featuring companys POWER O.I.S. optical image stabiliser
High-speed prime with a compact metal body and includes 3 aspherical lenses to cut down distortion
Inexpensive fast normal prime for Micro Four Thirds
A fast-aperture xed focal length standard lens from Leica
Compact lens offering true-to-life magnication capability for better macro images
Telephoto zoom equivalent to 70-200mm on a 35mm camera
Telephoto zoom with Nano Surface Coating technology for dramatic reduction of ghosting and are
Mid-telephoto high-speed LEICA DG NOCTICRON lens with 2 aspherical lenses and ultra-wide aperture
Mid-telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect
Compact, lightweight telephoto zoom comprising 12 elements in 9 groups
A powered long focal length zoom lens
Superzoom lens with three ED elements and Mega O.I.S. technology
Long zoom lens offering optical image stabilization
25
10
60
20
25
20
18
20
20
30
30
20
25
30
10
90
85
50
37
90
90
100
100
MOUNT
Width (mm)
NYT
NYT
NYT
10/12
NYT
NYT
NYT
2/13
NYT
NYT
NYT
3/16
2/12
7/15
NYT
NYT
Web
NYT
2/13
7/12
7/12
7/11
Filter Thread (mm)

5/10
5+ For a wideangle zoom, the overall level of resolution is very impressive
Filter Thread (mm)
RRP
1300
730
320
270
1095
439
249
375
369
189
599
549
159
550
300
300
1099
1399
349
280
400
330
550
78.9 105.8 534g

62 80 315g
56.5 49.5 155g
56 43 130g
69.9 84 382g
57 83 211g
57 35 120g
57 22 71g
62 43.5 150g
56.5 50 112g
63.5 83 280g
63.5 83 285g
57.8 42 137g
79.4 160 760g
63.5 83 190g
56 46 116g
56 82 185g
69 117 423g
64 69 305g
Min Focus (cm)
G 7-14mm f/4
G 8mm Fisheye f/3.5
G 12mm 3D Lens f/12
G 12-32mm f/3.5-5.6 MEGA OIS
G X 12-35mm f/2.8 X PZ POWER OIS
G Vario 12-60mm f/3.5-5.6
G 14mm f/2.5
G 14-42mm II f/3.5-5.6 MEGA OIS
G X 14-42mm f/3.5-5.6 X PZ POWER OIS
G 14-45mm f/3.5-5.6 MEGA OIS
G 14-140mm f/3.5-5.6 POWER OIS
DG 15mm f/1.7 Leica DG SUMMILUX
G 25mm f/1.7 ASPH
DG 25mm f/1.4 DG SUMMILUX
G 30mm f/2.8 Macro MEGA OIS
35-100mm f/4-5.6 ASPH MEGA OIS
G X 35-100mm f/2.8 POWER OIS
42.5mm f/1.2 Leica DG POWER OIS
G 42.5mm f/1.7 POWER OIS
G 45-150mm f/4-5.6 MEGA OIS
G X 45-175mm f/4-5.6 X PZ POWER OIS
G 45-200mm f/4-5.6 MEGA OIS
G 100-300mm f/4-5.6 MEGA OIS
Min Focus (cm)
LENS
Full frame only
PANAS ON I C C S C
Fuji X Mount
5+
Fuji X Mount
5+
Nikon 1
4+
n/a
n/a
52
46
62
52
46
37
40.5
37
58
58
46
72
58
37
46
58
58
DIMENSIONS
Nikon 1
5+
4+
4+
20
12
25
20
20
20
25
20
25
25
50
50
25
70
90
50
19
90
84
56.5 46 125g
55.5 22 77g
57.5 42 115g
77 95 530g
60.5 70.5 298g
57.5 31 80g
56 36 70g
60 61 180g
66 47 235g
73 108 550g
MOUNT
Pentax Q
5+
Fisheye lens with impressive image quality thats dustproof, splashproof and freeze-proof
This super wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms
A wideangle xed lens for the Micro Four Thirds system
Weather-resistant wideangle zoom with a constant aperture of f/2.8
A reasonably-priced MFT zoom lens
Wide-aperture, wide-angle prime boasting excellent peak sharpness and no colour fringing
Results are impressive across the most-used apertures given the wide angle of view offered
Generally a good performer, but control over chromatic aberrations could be a little better
A redesigned variation of the standard kit lens
Plenty of focal range is offered by this MFT lens
High-powered zoom for all your needs from wideangle to telephoto plus weather-resistance
Compact prime lens with ultra-bright f/1.8 aperture
This powerful 80-300mm 35mm equivalent focal length lens offers amazing portability for this pro class
This middle-distance zom lens has an 80-300mm 35mm equivalent focal length
Fast-aperture lens for taking portrait shots proved to be sharp, quiet and without colour fringing
High-precision macro lens thats dustproof and splashproof
Update featuring Zuiko Extra-low Reection Optical coating said to reduce ghosting
Ultra-fast prime lens ideal for portraits and action shots
Pentax Q
Web
NYT
1/12
NYT
NYT
7/13
5/10
5/10
NYT
NYT
NYT
NYT
3/15
NYT
2/12
NYT
NYT
8/13
Sony E

Web 4.5+ Super-wide-angle zoom lens that is dustproof, splashproof and freeze-proof
Samsung NX
RRP
999
799
630
739
899
349
450
300
300
269
630
550
370
1299
309
279
450
499
799
52
40.5
40.5
72
55
40.5
40.5
40.5
52
62
DIMENSIONS
Micro 4 Thirds
7-14mm f/2.8 ED Pro

8mm f/1.8 Pro Fisheye
9-18mm (Micro) f/4-5.6 ED
12mm (Micro) f/2.0 ED
12-40mm f/2.8
12-50mm (Micro) f/3.5-6.3 ED EZ
17mm M.Zuiko f/1.8 MSC
17mm (Micro) f/2.8 Pancake
14-42mm (Micro) f/3.5-5.6 ED
14-42mm II R (Micro) f/3.5-5.6
14-150mm (Micro) f/4-5.6 ED
14-150mm II f/4-5.6
25mm f/1.8
40-150mm f/2.8 ED
40-150mm R (Micro) f/4-5.6
45mm (Micro) f/1.8
60mm f/2.8 Macro
75-300mm II (Micro) f/4.8-6.7
75mm f/1.8 ED
25
20
20
300
35
30
20
100
45
7
MOUNT
Micro 4 Thirds
4+
Compact, lightweight, ultra-wideangle zoom lens with Vibration Reduction for Nikon 1 system
A wideangle lens for Nikons 1 series of Compact System Cameras
Nikons kit lens for the 1 series of CSC models
A powered zoom lens aided by the VR image stabilisation system on 1 system compacts
CX-format zoom lens with focal length range of 10100mm (27270mm 35mm equivalent)
Compact standard zoom for Nikon 1 system
Nikons 1 series gains a traditional fast prime
A longer zoom lens, with image stabilisation, for the Nikon 1 series
First 1 system lens to offer a silent wave motor and nano crystal coating
CX-format super-telephoto lens with a surprisingly compact body
Samsung NX
NYT
2/12
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
OLYMPU S CSC
LENS
Samsung NX
Image Stabilisation
Canon M
459
229
149
679
499
179
179
229
799
TBC
Image Stabilisation
Canon M
RRP
6.7-13mm f/3.5-5.6 VR 1
10mm f/2.8
10-30mm f/3.5-5.6 VR
10-100mm f/4.5-5.6 VR PD-ZOOM
10-100mm f/4-5.6 VR 1
11-27.5mm f/3.5-5.6
18.5mm f/1.8
30-110mm f/3.8-5.6 VR
32mm f/1.2
70300mm f/4.55.6 VR
Image Stabilisation
Canon M
LENS
Sony E
N IKON CSC
Micro 4 Thirds
Image Stabilisation
Canon M
W D C L IS T IN GS
DIMENSIONS
25
20
30
90
30
100
49
40.5
N/A
N/A
N/A
N/A
40.5
40.5
40.5
38 54
45.5 23
40.6 25
6.9 40.8
40.6 19.5
40.6 30.5
45.5 23
48.5 48
56 50
75g
37g
21g
8g
18g
29g
37g
96g
90g
43
61
24
30
72
81
96.5 622g
2/12
30mm NX i-Function f/2
249
9/10
45mm NX i-Function f/1.8
249
NYT
50-150mm f/2.8 S ED OIS
1199
NYT
60mm NX i-Function Macro ED SSA OIS f/2.8
499
2/12
85mm NX i-Function ED SSA OIS f/1.4
849
4/12
4.5+ A mid-range zoom lens aimed at movie making

5+ Wideangle pancake lens
4+ This pancake optic exhibits very impressive peak sharpness at around f/4-5.6
105.5 549g
RRP
19mm f/2.8 DN | A
189
NYT
Premium zoom lens with advanced OIS, constant f/2.8 aperture, and dust and splash-resistant
50
67
72
17
43
62
25
89g
25
43
61
21
85g
45
43
62
44.5 115g
70
72
81
154
915g
18
52
73.5
84
389g
82
67
79
92
714g
Image Stabilisation
Canon M
5+ This prime lens with macro capability should be useful for portraiture
5+ This prime lens is missing image stabilisation, but should still perform well
Width (mm)
Fast f/1.8 aperture produces a shallow depth of eld making it ideal for portraiture
SIG MA C S C
LENS
20
46
60.8 45.7 150g
MOUNT
Metal-bodied high-performance wideangle prime lens
4+ A prime for Micro Four Thirds and Sony E-mount users, its impressively sharp even at f/1.4
Length (mm)
9/12
229
90g
Weight
649
Weight
18
Width (mm)
18-200mm NX i-Function OIS f/3.5-6.3
Length (mm)
Full frame only
Filter Thread (mm)
Bright-aperture zoom lens made of metal, with quiet AF performance whether shooting stills or video
Filter Thread (mm)
A pancake lens with a wide angle of view
NYT
Fuji X Mount
Min Focus (cm)
NYT
999
Min Focus (cm)
299
16-50mm f/2-2.8 Premium S ED OIS
DIMENSIONS
Full frame only
Nikon 1
63.5 65.5 208g
Pentax Q
58
MOUNT
Fuji X Mount
Portable ultra-wideangle zoom lens with i-function
Nikon 1
NYT
Sony E
24
Samsung NX
Micro 4 Thirds
Pentax Q
480
Samsung NX
RRP
12-24mm f/4-5.6 ED
Micro 4 Thirds
LENS
Sony E
SAM S U N G C S C
Image Stabilisation
Canon M
LEN S LISTING S
DIMENSIONS
30
52
64.8
NYT
Uses a high-quality double-sided aspherical lens for expressive performance worthy of Sigmas Art line
30
46
60.8 40.5 140g
60mm f/2.8 DN | A
189
NYT
Latest addition to Sigmas Art range is a mid-range, high-performance telephoto lens with metal body
50
46
60.8 55.5 190g
E 16mm f/2.8
220
FE 16-35mm f/4 ZA OSS Vario-Tessar T*
1289
TESTED SCORE
8/13
4+
2/12
4+
1/15
5+
SUMMARY
Super wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation
Pancake lens for NEX system, with a circular aperture and Direct Manual Focus
24
49
62
22.5
78
98.5 518g
Length (mm)
MOUNT
Weight
70
Full frame only
62
Fuji X Mount
25
Nikon 1
Pentax Q
Width (mm)
750
140g
Filter Thread (mm)
RRP
E 10-18mm f/4
73
Min Focus (cm)
LENS
Sony E
SONY C S C
Samsung NX
07/16
Micro 4 Thirds
300
189
Image Stabilisation
Canon M
30mm f/1.4 DC DN | C
30mm f/2.8 DN | A
DIMENSIONS
63.5 225g
67g
Zeiss full-frame wideangle zoom lens
28
72
40.5 64.7 29.9 116g
E 16-50mm f/3.5-5.6 OSS
299
NYT
Compact lens with Power Zoom, ED glass and Optical SteadyShot image stabilisation
25
E 16-70mm f/4 ZA OSS Vario-Tessar T*
839
NYT
A lightweight, versatile mid-range zoom with a constant f/4 aperture
35
55
66.6
75
E 18-55mm f/3.5-5.6 OSS
270
NYT
Optical SteadyShot, said to be silent during movie capture, and a circular aperture
25
49
62
60
194g
E 18-105mm f/4 G OSS
499
NYT
Sony G lens for E-mount cameras with a constant f/4 aperture
45
72
78
110
427g
E 18-200mm f/3.5-6.3 OSS LE
489
NYT
Smaller and lighter than comparable lenses, this is an ideal high-magnication travel lens
50
62
68
98
460g
E 18-200mm PZ f/3.5-6.3 OSS
999
NYT
Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies
30
67
93.2
99
649g
E 20mm f/2.8
309
NYT
Pancake wideangle lens promises to be the perfect walkaround partner for E mount cameras
20
49
62.6 20.4
69g
E 24mm f/1.8 ZA Sonnar T*
839
NYT
Top quality Carl Zeiss optic ideally suited to the NEX-7
16
49
63
FE 24-240mm f/3.5-6.3 OSS
929
NYT
FE 24-70mm f/2.8 GM
1799
7/16
FE 24-70mm f/4 ZA OSS Vario-Tessar T*
1049
NYT
Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation
FE 28mm f/2
419
NYT
This full-frame wideangle prime with a bright f/2.0 maximum aperture promises excellent sharpness
FE 28-70mm f/3.5-5.6 OSS
449
NYT
Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range
Ideal for travel, landscapes and more, with built-in stabilisation and also dust and moisture resistant
5+ This pro grade standard lens for the Sony full-frame FE mount gives exceptionally sharp results
50
72
80.5 118.5 780g
38
82
87.6
136
40
67
73
94.5 426g
FE 28-135mm PZ f/4 G OSS
2379
NYT
High performance G Series standard zoom lens, constant f/4 aperture, built for high quality moviemaking
E 30mm f/3.5 Macro
219
NYT
A macro lens for the NEX Compact System Cameras
FE 35mm f/1.4 ZA Distagon T*
1559
NYT
Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture
E 35mm f/1.8
399
NYT
Lightweight versatile prime with Optical SteadyShot image stabilisation
FE 35mm f/2.8 ZA Sonnar T*
699
NYT
When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver
E 50mm f/1.8 OSS
219
NYT
A handy, low price portrait lens for the NEX range
FE 50mm f/1.8 OSS
240
NYT
Features a new optical design with a single aspherical element
FE 55mm f/1.8 ZA Sonnar T*
849
NYT
35mm full-frame prime lens with wide aperture allowing good images indoors or in low light
E 55-210mm f/4.5-6.3 OSS
289
NYT
Lightweight telephoto zoom lens for the NEX range
FE 70-200mm f/4 G OSS
1359
10/14
FE 70-300mm f/4.5-5.6 G OSS
1150
NYT
FE 90mm f/2.8 Macro G OSS
1049
09/15
990
NYT
25mm f/2 Batis
980
12/15
32mm f/1.8 Touit Planar T*
700
7/14
50mm f/2.8 Touit
589
NYT
85mm f/1.8 Batis
909
Xmas15
200g
295g
95
95
162.5 105 1215 g
49
62
55.5 138g
30
72
73
94.5 630g
30
49
62.2
45
35
49
61.5 36.5 120g
39
49
62
45
49
68.6 59.5 186g
50
49
64.4 70.5 281g
100
49
63.8
108
345g
100
72
80
175
840g
Sony has added this lens to its growing range
90
72
84
143.5 854g
The rst dedicated macro lens for Sonys full-frame E-mount cameras
28
62
79
130.5 602g

5/14
5+ Designed specically for Sony NEX and Fujilm X-series CSC cameras. Very impressive performance
Macro 1:1 lens for extreme close ups, as well as shooting portraits or panoramas as a light tele-lens
5+ A high-quality medium prime for wedding and portrait shooters, developed for Sonys Alpha-7 series
82
68
25
77
78
95
330g
Length (mm)
67
DIMENSIONS
The Batis range is for mirrorless full-frame system cameras from Sony
5+ A wideangle lens for Sony full-frame users offering unrivalled quality

4.5+ Optimised for use with APS-C format sensors, a fast standard lens for Fujilm X-series cameras
18
MOUNT
202g
Weight
Fuji X Mount
Nikon 1
Pentax Q
Sony E
Samsung NX
Micro 4 Thirds
Image Stabilisation
Canon M
62
155g
Full frame only
60
83
Width (mm)
18mm f/2.8 Batis
64
72.5
Filter Thread (mm)
959
49
55
Min Focus (cm)
RRP
12mm f/2.8 Touit Distagon T*
29
30
ZEI S S C S C
LENS
886g
4+ G Series telephoto zoom lens, dust and water resistant, with built-in image stabilisation
4+
65.6 225g
308g
270g
20
67
81
92
355g
23
52
72
76
200g
15
52
75
91
80
67
78
290g
105 475g
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SECON DHA N D LENS E S
ADDED EXTRAS
7
W
Tips for
Buying a
Used Lens
hether you already have a few

lenses or you want something to
complement your kit lens, going
for a secondhand lens is a wise option.
Used optics have become big business in
the photo world, but you need to know
what youre looking for. Here are seven tips
to make sure you dont get ripped off.
1 Know your seller
You dont have to take them out for dinner or anything, but its
a good idea to talk to the person whos selling you a lens. If you
can get referrals and references as to their good character, all the
better (if youre on eBay, avoid people with no feedback from
buyers). Its worth asking the seller why theyre selling the lens
if they dont have a satisfying answer for this question, they
may be trying to ofoad a faulty lens onto you.
2 Check over the body
First things rst. This is the most basic and fundamental check you
need to do, but its important not to neglect it. Take stock of the
outer body of the lens, look for nicks and scratches. A few dings
are ne and wont affect the operation of the lens, but be alert for
any that look more serious and ask your seller about how they
happened. You really cant be too thorough at this point.
3 Shine a light
This is the tried and tested way to check if large dust clumps or
fungus have got inside a lens shine a light through it and take
a look at what shows up. Minor dust specks wont be a problem,
but larger ones can affect operation and image quality. Open the
aperture all the way and inspect thoroughly. If you see any kind
of large spots in the light path then the lens is in trouble and
youre best off keeping your money.
5 Check the zoom
If youre buying a zoom lens, check that the zooming action is

smooth. The ring should turn smoothly but not too easily if its
extremely smooth then this is probably a sign the lens has been
used a lot. Also make sure to check for zoom creep: this is when
a zoom lenss zoom action drifts when pointed downwards.
Some of this can be expected with heavier lenses, but if it
happens too easily and freely then you have a problem.
4 Test the AF
Hook it up to a camera and start focusing. Obviously different

lenses will have different autofocus responses, so this is where
its a good idea to research your lens beforehand. Try out
various focus points and focusing modes, and make sure the
focusing action is as smooth and fast as youd expect. Take
your time over this, and feel free to ask your seller about
anything youre unsure of. Check it still works well at
minimum focus distance and in innity focus mode.
6 Check the aperture blades
A lens that has sat unused for some time, and especially
one that has been stored in too warm an environment, can
develop oil on the aperture blades, and this doesnt help
them run smoothly. The viscosity creates friction and impedes
smooth aperture changes. It should be visible on the blades
as you adjust them. However, you can also check using the
depth-of-eld preview function, if the lens has it.
7 Check the images (properly)
This is the last, very important step. Dont settle for checking
images on the rear screen. Get them onto a computer with a
decent monitor, blow them up and inspect them. You dont
have to be a pixel peeper for this to matter: todays small
speck can easily become tomorrows shot-ruining blemish
that transforms your lens into an expensive paperweight.
Bring a laptop along to your buying meet if you want, and
check them on the spot. You cant be too careful!
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