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Go wide
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Captive wildlife
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Ainity
Photo 1.6.7
‘As good as Photoshop’
for under £50 Bruce Gilden
The controversial Magnum
Photos photographer talks to
AP about his hard-hitting work
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COVER PICTURES © MARK BAUER / PAUL HOBSON
A week in photography
Pretty much everyone has a prominence to the foreground, or distorting
wideangle lens, even if it’s just perspective, there’s a lot you can do with a
their kit zoom. At a superficial wideangle and this week we offer a refresher on
level they’re ideal for getting how to get the best out of them. Also this week
more in the shot than you we talk to American photojournalist Bruce
In this issue otherwise could – more view, more people in the
group. But wideangles have distinctive visual
Gilden about his controversial portraits, we test
Fujifilm’s latest entry level X-series and examine
12 It’s a wide world
characteristics that a skilled photographer can the editing software that gives you the power of
Expert James Paterson
explores the world of exploit to do a lot more than that. Whether it photoshop for less than £50. See you next week.
wideangle lenses and be emphasising leading lines, giving more Nigel Atherton, Editor
explains how to get the
most out of them JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
18 In your face
Magnum ace Bruce
Gilden’s provocative ONLINE PICTURE OF THE WEEK
portraits are unforgettable
22 Photo roadshow
World-class
gardens
Enjoy the photogenic
gardens at Mount Stewart
in Northern Ireland
30 Location guide
Jeremy Walker shares his
expertise on shooting the
Great Dorset Steam Fair
32 APOY Round 6
Your chance to enter
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
Round 6: Town and Country
34 Wildlife on
your doorstep
Make the most of your local
zoo and wildlife centre to
capture great images of
all manner of animals
38 Fujiilm X-T100
© HANNY FOXHALL
BIG
phone incorporating Light’s with adaptable inserts and Jane Bown retrospective now
imaging technology will go on prices start from £109.95. See
sale. See light.co for details. www.manfrotto.co.uk. on display in London
An exhibition displaying the works of
picture
esteemed photojournalist Jane Bown is on
First Photo North Festival adds to its roster display at Proud Central (www.proudonline.co.uk)
The organisers of the first international Photo North Festival, until 12 August. Working within a male-
taking place in Harrogate from 9-11 November, have announced dominated industry, Bown was a pioneer of
top documentary photographer Stuart Freedman has joined the the genre, capturing portraits of post-war
20-strong artist roster as a speaker, along with AP-regular Harry Britain on assignments for The Observer.
Borden and other leading pros. See www.photonorthfestival.co.uk.
12
documenting the austerity of the 1950s to Words & numbers
the rise of modern celebrity culture. The
exhibition includes this previously unseen
photograph of the Beatles. Taken in Knole Photography is a
Park, Sevenoaks, it was shot during the
language more
filming of a promo for Penny Lane. Bown
came across the band in the park by chance.
She returned to the house to get a camera,
and only had colour Cibachrome film.
universal than words
Minor White (1908-1976)
mm
Widest angle rectilinear lens
available for full-frame
Photographer, theoretician, critic and educator
premium compact
further boosts its versatility.
Finally, Fujifilm claims
that the XF 33mm f/1 R
WR will be world’s first
mirrorless glass with a
FUJIFILM has released the and 50mm, albeit at the expense of Being a Fujifilm compact, the maximum aperture of f/1.0
XF10: a keenly priced, travel- image resolution. Other key features XF10 has 11 Film Simulation modes, and AF capability. Fujifilm
friendly compact camera featuring a include an ISO range up to 12,800 19 Advanced Filters, with filter fans also plans to boost its
24.2-million-pixel APS-C sensor (expandable to 51,200), a 91-point gaining two brand-new options: Rich production capacity for
and 18.5mm f/2.8 fixed focal-length AF system, 6fps shooting for around & Fine and Monochrome [NIR]. The interchangeable lenses by
lens. This 28mm equivalent optic 13 JPEGs, a 3in touchscreen LCD former is a fancy name for more 70% by 2020.
offers a 10cm close focusing and 4K/Full HD video recording. saturated colours and subtle
distance along with a 9-bladed This compact, which is aimed at vignetting, and the company claims
diaphragm for attractive bokeh. travellers and those upgrading from it’s particularly suitable for food
There is also an extra digital smartphones, is very portable photography. Monochrome [NIR]
teleconverter feature, which enables measuring 112.5x64.4x41mm and seeks to emulate infrared camera
focal lengths equivalent to 35mm weighing approximately 280g. effects. Meanwhile fans of Instagram
will appreciate a new touchscreen
feature which enables users to
quickly select a square (1:1) format.
The XF10 is in essence a simpler,
cheaper update to the firm’s old X70
compact. Although the XF10 lacks
Subscribe to
several key features of the older
model, including analogue shutter
speed and exposure compensation
dials, an aperture ring on the lens, a
tilting rear screen or a hotshoe for a
flash unit, it does gain a handy AF
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O
ne of the most critical aspects Five years later her father, Henrich,
‘Dorothea
of any photojournalist and abandoned his family leaving her mother
Lange: Politics documentary photographer is Johanna to take care of Dorothea and her
of Seeing’ runs a capacity for empathy. Often brother, Martin. It was then that Dorothea
at the Barbican this is an innate quality, but for some, it’s a reverted to her mother’s maiden name,
Art Gallery in result of their own hardship. Dorothea Lange. Polio was just one of many ailments
London until Lange, who was born in Hoboken, New that would afflict Lange throughout her
2 September. Jersey, in1895 to second-generation life, including ulcers, gallbladder disease
Tickets are German immigrants, understood what it and post-polio syndrome. She died of
£13.50. was to have the cards stacked against you. oesophagal cancer in October 1965.
While her troubles were comparatively
small compared to the difficult situations The Great Depression
faced by her future photographic subjects, Such a catalogue of health-related
it was enough to instil the quiet and crucial disasters would render many of us
sensibility of compassion. as hollow wrecks but for Lange these
When she was just seven years old, events only served to increase her drive
Dorothea (who at that time still carried to explore and highlight the adversities Administration, an agency created in
her father’s surname of Nutzhorn) that faced her fellow Americans at a 1937 to highlight and tackle rural poverty
contracted polio. While the disease time when the Great Depression was during the aforementioned Depression.
obviously didn’t kill her, it left its mark by sweeping across the country like an The agency’s legacy has survived thanks
damaging her right leg and leaving her economic Black Death. largely to its highly influential photography
with a limp. In later years, Dorothea This exhibition at the Barbican in programme, which ran from 1935-1944.
suggested that the altered gait ‘formed London spans the breadth of Lange’s At the same time as such luminaries as
me, guided me, instructed me, helped me work, starting from her early studio Walker Evans and Gordon Parks, Lange
and humiliated me… I’ve never gotten portraits of the bourgeoisie in San – along with her husband Paul Schuster
over it, and I am aware of the force and Francisco to her unparalleled work taken Taylor, who gathered interviews and
power of it.’ as part of the Farm Security economic data – set about producing
Dorothea Lange in Texas on the Plains, c. 1935 Family walking on the highway bound for Krebs, Oklahoma, June1938
© STEVE DAVEY
Don’t just choose the camera with the
highest speciication instead, ind the one that
works best for you and your photography
A
s a child of the1970s, I look
back fondly on a card game of
the time called Top Trumps.
For those not in the know, this
used a pack of cards on a specific
theme, maybe cars, trucks
or aircraft. Each card
featured a particular
example with a set of
specifications – with aircraft,
for example, this might be
maximum speed, wingspan
etc. The object of the game
was to win all the cards by
calling out a number on your
current card that was higher than
those of your opponents. The
fastest, largest or heaviest won.
The skill was in working out what
category to call. Some cards excelled in
The Clash of
the Cameras
Top Trumps Take the
many areas, but others were decidedly
middle-of-the-road and never won much.
This is where the game diverged from
reality; the most extreme aircraft may
Strengths and weaknesses
All this brings me neatly on to this year’s
two super-expensive premium travel zoom
compacts: the Panasonic Lumix TZ200 and
high road
have been the best cards to have in your Sony RX100 VI (which I reviewed in last Don’t let low light get you
hand, but the unwanted mid-pack week’s issue). The Sony is smaller and lighter,
examples represented workhorses that which for a compact camera looks like a down – hone your high-ISO
were far more widely used in the real good thing, but turns out to compromise
world. Jumbo jets are all very well, but battery life and handling. The Panasonic has
skills with Steve Davey’s tips
on most routes you want something a considerably longer lens, so should win for
smaller and cheaper. shooting distant subjects, but the Sony’s
I was reminded of this game recently lens is so much sharper at full telephoto that
when AP’s reviews editor Michael Topham the gap is considerably narrower than you’d
turned up at the office with a pack of think. The specs really don’t tell the whole
camera Top Trumps, received as a free gift story; both cameras have their strengths
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED
from the lens-hire company Lens Lab. In and weaknesses, and either might be the
this case, the camera with the most right choice for different people.
megapixels, highest ISO setting or fastest This, of course, is the whole point of our
shooting speed wins. It seems this is also reviews. We go beyond the spec-sheet
how some people determine which comparisons and assess what does and
camera is ‘best’. doesn’t work. But every reviewer has their
Back in the real world, again it’s just not own preferences, and chances are, yours
that easy. Sometimes factors that aren’t will be different from mine. There’s no
easily quantifiable are just as important in single ‘best camera’ – just pick what works England’s irst (and last)
determining whether a camera works well. for you, and stick with it. Life’s not as simple 35mm SLR
It might be how it feels in your hand, how as a game of Top Trumps. John Wade tells the story of the Wrayflex
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
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It’s a wide
James Paterson explains why wideangle
lenses are so useful, how to get the most
out of them, and when to go wide
© GETTY IMAGES/ALLARD SCHAGER
Lighthouse of Cap de
Formentor, Mallorca,
Balearic Islands, Spain,
around sunset
Nikon D810, 20mm, 1/8sec
at f/16, ISO 64
KIT LIST
▲
world
into a frame. As such, they’re beloved by
landscape photographers, where big skies, dramatic
scenery and interesting foregrounds can all be
included in a single, detail-rich frame.
But it’s not just landscape photographers who can
reap the rewards of a wideangle lens. They’re useful
for all kinds of applications, from architectural and
interior photography to travel and environmental
portraiture. Over the next few pages we’ll explore
some of the key things to consider when using a
wideangle lens. How to get the most out of them,
overcome common problems and create expansive
photos of all kinds of subjects.
The basics
Typically, any lens with a focal length of 35mm
or less is classed as a wideangle (that’s full frame
35mm, which is an equivalent 23mm on an APS-C
sensor camera). The shorter the focal length, the
wider the field of view. Of course, many multi-
purpose zooms can be used as a wideangle at the
short end. Lower focal lengths result in wider fields
of view, so you can fit more of the scene in the
frame. As such, a wideangle is handy when you
simply can’t get back far enough to include
everything you want.
Focal length also has an effect on the sharpness
of your photos. Depth of field is exaggerated with
a wideangle. So you can usually achieve front-to-
back sharpness across the scene when using a
narrow aperture. What’s more, wideangles will
usually have a close minimum-focusing distance,
which means you can get right up close to your
subject, giving the impression of being right in
the thick of the action.
Wide landscapes
One of the best things about a wideangle is
the ability it gives you to include a detailed
foreground, distant scenery and big sky all in
© JAMES PATERSON
A wideangle helps to exaggerate perspectives
Nikon D800, 16mm, 2.5sec at f/16, IS0 100
James Paterson
James is an award-winning journalist, skilled photo editor
and photographer. His work has appeared in countless
magazines and books, and in 2014, he was appointed editor
of Practical Photoshop magazine. To see more of his work,
visit www.patersonphotos.com.
▲
Zooms Tripod
▲
Exaggerated perspectives
A wideangle of view could be invaluable
Get more from your wideangle
in situations where you can’t get back far A wideangle can be a good exaggerate a person’s features or to
enough to fit everything in with a longer choice for all kinds of subjects elongate their limbs. A wide focal length
lens. However, there are also more creative might also be helpful for environmental
applications. A wideangle will help you to Portraits portraits, where it’s important to show
exaggerate perspectives, because they Wideangles aren’t thought of as portrait the subject in situ.
change the visual relationship between lenses. The exaggerated perspective
objects that are closer to the camera and makes objects closer to the camera look Wildlife
those that are further away. Closer objects unnaturally large. Which can be unkind For obvious reasons wideangles are not
can appear unnaturally large, while the to faces, enlarging noses and foreheads. usually thought of for wildlife. But if you
distance between them and objects As such, it’s usually best to step back and want to create an unusual perspective
further from the camera is exaggerated. zoom in to a longer focal length for a then a wideangle can be a great choice.
We can use this to creative effect by more flattering portrait (a focal length of The field of view will show more of an
bringing our lens up close to elements 85mm is regarded as perfect for people). animal’s surroundings than a longer
and surfaces in our scene. However, the distortion a wideangle lens, so it can give more of a sense of the
creates can be used for comic effect to animal’s environment. The challenge is
Wideangle challenges
© GETTY IMAGES/MIKE KOROSTELEV
Travel
One of the best things about wideangles
is the feeling they give the viewer that
they could almost step into the scene. So
a wideangle – or versatile zoom with a
wide end – is a great lens to have in your
bag when travelling. A wide will allow
you to capture vibrant scenery, shoot in
cramped interiors and – if you’re lucky
enough to own an underwater housing Barrel distortion Converging verticals
– they’re even helpful underwater, as There’s an inherent difficulty in fitting a wide When we tilt a wideangle lens up to shoot a
they counteract the magnifying effect field of view – one that naturally extends in tall building – the vertical lines tend to collapse
of shooting through the water. a hemisphere around the camera – and in on one another. Known as converging
cramming it onto a flat rectangle. The edges verticals or keystoning, the optical effect is
Documentary have to be compressed so that everything especially apparent with wideangles, simply
Documentary photography is about fits. This is why wideangles are particularly because the perspective is so exaggerated.
telling the story of the scene unfolding susceptible to barrel distortion, where One option is to correct for the converging
in front of the camera. A wideangle can naturally straight lines within the frame verticals. At the time of shooting find a
be a powerful tool, simply because it appear to be bowed or bulging. It’s more straighter angle to shoot from, by moving
allows us to compose both close-up obvious in landscapes with straight further backwards or higher so the upward
foreground details with expansive, horizons, or architectural shots with lots camera angle is less acute. Corrections can also
detail-filled backdrops. What’s more, of straight building lines. be made in post-production. The excellent
when used up close to a subject, Quality wideangle lenses will have less Upright command found in Lightroom’s
wideangle lenses offer a visceral distortion, but every lens suffers to some Develop Module (and also in Photoshop’s
in-your-face perspective. It places the extent. Thankfully, correcting distortion Camera Raw plugin) can detect and correct
viewer in the thick of things, which can is a simple step if you have software verticals as well as fix wonky horizons.
create a powerful reaction. like Photoshop, Lightroom or DxO The second option is to embrace the visual
ViewPoint. The lens used to take the effect and use it to enhance your composition.
photo is automatically detected (most of In a visual sense, diagonal lines are more
‘The field of view will the time, if not you can select the lens aesthetically pleasing than horizontals or
manually), and a correction for barrel verticals. You can take advantage of this by
show more of the animal’s distortion is applied. composing dynamic upward angles with
surroundings’ your wide lens.
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In your
for the ‘Postcards from America’
project, he was introduced to the
edium format Leica S camera.
rge and imposing, using medium
mat is about as far removed from
eet photography as it’s perhaps
ssible to get.
ll of this laid the ground work
fa
‘Farm Boys and Farm Girls
A’. Explaining the origins of
the project, Bruce tells me, Above and right: came up with Minnesota, Iowa hard, they’re so polite, they get up at
‘I had a Guggenheim Gilden’s latest series and Wisconsin. I was totally tired four in the morning, they take care
Foundation Grant – that means ‘Farm Boys and and bored because with the face of their animals, then they go to
Farm Girls USA’ was
they give you x amount of money, project, I can walk around for 10 school, and they have so many
shot entirely on the
and you can photograph whatever medium-format hours and only take three pictures interests that they don’t have time
you want. I figured, since I’m doing Leica S system – you have to really push yourself. to get in trouble.
the face project, I might as well go So I said, let’s go into the livestock ‘What was also amazing was that
to state fairs, because they have a area, I had been many times before, about 98% of the parents said, yes, I
lot of people at them. ‘We looked up but I’d never really found anything could photograph their kid. Which
where the largest state fairs are, and so interesting. in New York, if I went over to a
‘But I found him, I found that parent and asked to photograph
guy, I found him, and one other their kid, they’d say, “Are you
WHY LEICA? (at this point, Bruce is pointing to kidding me?” They might be afraid
various portraits around the lounge). the kid would get kidnapped if
BRUCE Gilden is a Leica ambassador. As well as using the I ruminated on it for a while, then someone saw the picture. It’s the
Leica S medium format camera for his posed portraits, in 2017, the Guggenheim [money] same here [London], I’m sure.’
much of his early street work was taken on smaller Leica was finished so I had to pay for it Gilden seems somewhat taken
rangefinders. He says, ‘Look at the quality myself. It’s quite expensive, but if aback at the suggestion that some
of these pictures; my printers have told I want to do something and I can might struggle with his imagery.
me that it’s sharper afford it, I’ll do it.’ ‘I don’t know why people find these
than an 8x10 The appeal of these particular uncomfortable,’ he explains. ‘I don’t
camera, and they subjects to Gilden lies in the find them uncomfortable. I think
know better than unfamiliar. ‘What I saw about the people who find them
me. They keep on these kids is that they have an uncomfortable don’t know very
making them better intensity, and I don’t know much about life.
– I hear they have Middle America at all. If you live ‘Our daughter at one time was
a new one coming in New York, there’s New York anorexic, she had a lot of
out, I wonder how and the rest of the world, and the problems. That’s because of the
much sharper can rest of America. f***ing magazines saying this is
you go?’ ‘These kids; they work so how you should be. I’m showing you
MILWAUKEE. WISCONSIN, USA, 2017. CALEB, A FARM BOY © BRUCE GILDEN/MAGNUM PHOTOS
IOWA, USA 2017. TRINITY, A FARM GIRL © BRUCE GILDEN/MAGNUM PHOTOS
what’s real; I don’t retouch these think people don’t like it because of different perception. I could take
pictures. These are people that their problems, not mine.’ your picture, and let’s say it’s not a
people don’t look at. They don’t It’s clear that Gilden doesn’t really very good picture, you might say
want to look too closely, if at all, care what the general public thinks, “Oh, that’s not me,” but it is you,
because they might have to do but I was intrigued to find out how in some way. I’m not doing it as a
something for these people. his subjects feel. ‘I didn’t ask their humanitarian, I’m doing it for my
‘My other series are much tougher opinion,’ Gilden says, ‘There’s a good own selfishness, to do pictures –
than these. One of my series is example, there’s a lady that I took a I don’t buy those humanitarian
hookers on crack and heroin [‘Only photo of in the Midlands – I have a Bruce Gilden was born photographers or their diatribes,
God Can Judge Me’]. People don’t whole series on West Bromwich, in Brooklyn in 1946 and you know, because let me tell
want to admit that these people Dudley and Walsall. She had seen bought his first camera you something, they’re usually
exist. They want to be in a little better days, if you look at her; at one in 1967. He has received the worst.’
comfortable world. They don’t time, she must have been pretty, numerous awards and Gilden doesn’t show any signs of
want to see the reality – I want to attractive. Her lipstick was put on grants for his work, and stopping, or even slowing down.
see the reality. very neatly, but of course she has has published more He still has plenty of projects he
‘I started the face project as some lipstick on her forehead. She wants to complete, including the
than 15 books. He joined
people who are left behind, and asked me can I see my picture, series ‘Only God Can Judge Me’.
Magnum Photos in 1998.
then I found out, they’re not left I showed it to her – do you know ‘I also want to finish my waist-up
behind – for a lot of people, they’re what she said to me? She said “I’m See more of his work portraits,’ he says, ‘I’ve done about
invisible. And these are the softer beautiful.” I showed her another at brucegilden.com, 30 so far; they’re very good, if I say
images; a lot of people can’t look at one, again she said, “I’m beautiful.” or at instagram.com/ so myself. Those are random
the other pictures. But that’s why ‘I don’t mind showing anybody bruce_gilden though, you have to go somewhere
the world is not a great place. I don’t the pictures, but [when] you show and find someone interesting.
expect everyone to like it, but I pictures to people, they have a Then I want to continue my series
I started in Bogota, Colombia –
I like tough areas…’
‘I don’t find them uncomfortable. I think Whether you like Gilden’s portraits
the people who find them uncomfortable or not, his work is definitely
powerful. I can’t wait to find
don’t know very much about life’ out what he tackles next.
PHOTO ROADSHOW
World-class gardens Fact file
The gardens at Mount Stewart were recently voted among Mount Stewart
the best in the world – for good reason, finds Justin Minns Location Mount Stewart is
on the Newtownards to
T
he unusual and inspiring gardens at Portaferry road, A20, 15 miles
Mount Stewart delight the senses. They Justin’s top tips southeast of Belfast. Your
satnav might lead you to the
were created by Edith, Lady Londonderry,
who had a love of bold planting schemes
– and the mild climate of Strangford Lough allows
1 Capture the overall feel of the garden with a
range of wide views followed by more intimate
details. Use the structure and colours of the garden
back gate at Mount Stewart,
which is not open to the public
rare plants from across the globe to thrive in this in your composition, but avoid bright, sunny days – stay on the Portaferry Road
celebrated location. Famous for its Mediterranean- when the light can be harsh. where you will see the
style formal gardens that resemble an Italian villa entrance signposted.
2 Look for interesting patterns – man-made or
IMAGE ABOVE © NATIONAL TRUST IMAGES/ANDREW BUTLER
landscape, this attraction also has a natural side, natural – to photograph in the garden. Fill the Cost Free to National Trust
with picturesque walks through the woodland and frame to emphasise the repetition of pattern, or members. Refer to the website
along the lakeside. Indeed, as the wooded areas focus on something that breaks up this repetition. for full ticket prices: www.
support plants from all corners of the world, there nationaltrust.org.uk/
is always something to see, no matter the season.
On the shores of Strangford Lough, Mount Stewart
House, a 19th-century family home, is fresh from
3 Use a telephoto or macro lens to photograph
nectar-loving insects and creepy-crawlies in the
garden. Keep your shutter speed fast by using auto
mount-stewart.
Opening times The house is
a three-year restoration that has returned it to its ISO and shoot handheld which will enable you to open 11am-5pm, trails are open
previous elegance and charm. move around easily. 10am-5pm until 29 October;
then both are open 10am-4pm.
Photographing NT properties: Visitors to National Trust properties can take pictures out of doors for their own private use. Amateur photography (without flash and use of a tripod) is permitted inside some National Trust
properties at the General Manager’s discretion. The National Trust does not permit photography at its properties for any commercial or editorial use without first seeking permission from National Trust Images. Fees may be
The formal garden is open
charged. (Licensing images of National Trust properties through professional image libraries isn’t permitted). Requests to use any photographs for commercial or editorial use should be directed to images@nationatrust.org.uk. 10am-5pm all year.
Shooting advice
Justin Minns
Justin is a landscape photographer and workshop
leader who has been working with the National
Trust for several years. His images have been
widely recognised in photography competitions
including Landscape Photographer of the Year.
Visit www.justinminns.co.uk.
▲ Panasonic
Patterns and repetition LUMIX DC-G9
Patterns and repeating objects make fascinating subject matter, Garden insects With fast autofocus and an
and formal gardens such as those at Mount Stewart are full of Plants aren’t the only things to keep
impressive frame rate, this
them – both man-made and natural. One way to photograph photographers busy in a garden – there
camera is ideal for capturing
a repeating pattern is to zoom in and fill the frame, giving the are bees, butterflies, ladybirds, snails and
insects, particularly by using
impression of an endless pattern. Keep elements that disturb all manner of insects, too. Butterflies are
the flip-out screen when you
the rhythm out of the image (or clone them out later). easier to photograph early in the morning
want to get down low.
Including something that breaks up the pattern is another or evening when it’s cool and they are
approach. Imagine a swathe of flowers that consists only of pink less active – you should be able to get
tulips, except for a single yellow one. The odd one out draws the close enough to use a macro lens and
eye, breaking up the pattern but strengthening the composition. tripod. The light will be better at these
It doesn’t have to be a change of colour – it could be a change of times of the day, too – try backlighting
size, texture, shape, direction, or anything that catches the eye. your subject against low sunlight.
Pay attention to composition when positioning the break During the day, insects will be on the ▲ Leica DG
in the pattern, perhaps placing it off-centre. This contrasting
element can be further emphasised by using shallow depth
move and harder to photograph. Be Vario-Elmar
of field, selecting a wide aperture and focusing on it.
patient, approach with caution and avoid 100-400mm
casting your shadow over them. Find f/4-6.3 lens
an attractive, nectar-rich plant and wait Ideal for photographing those
for the insects to come to you. A long shy garden creatures, this
Garden photography telephoto lens, handheld, will allow you to 200-800mm (35mm equivalent)
On sunny days, the light can be harsh so, if possible, visit shoot from further away so you are less lens was specifically designed
early in the morning or late afternoon. At times such as likely to disturb your subject. Use auto for nature photographers.
these, conditions are softer and the light is generally more ISO to keep your shutter speed around
pleasing. Alternatively, plan your trip for a bright but 1/500sec for sharp handheld shots.
overcast day, when contrast is less of a problem. Some Turn on your camera or lens’s image
plants will sway in the slightest wind and will appear blurred stabilisation, and if your camera has a
in your shot so, unless this is the effect you’re after, aim for silent shutter mode, switch this on as well.
a calm day. Plan your visit to coincide with seasonal beauty, Depth of field is minimal with telephoto
be it spring bulbs, summer borders or winter colours. and macro lenses, so keep your camera
Aim for a range of shots: a wider view to set the scene, parallel to the subject, and photograph
zooming in on interesting areas, then filling the frame with butterflies side-on with their wings ▲ Leica DG
individual flowers. Also, make use of structural features. closed, or from above with their wings
Paths make excellent lead-in lines, archways show open. This way, most of your subject will
Macro
glimpses of what is beyond, and formal pools work well stay in the plane of focus and be sharp. 45mm f/2.8
This 90mm (35mm equivalent)
as foreground interest, reflecting a house or garden.
macro lens is perfect for
shooting garden insects or
© NAT ONAL TRUST MAGES/ANDREW BUTLER
▲ Panasonic
LUMIX
DMC-FZ1000EB
With a large 1in sensor and a
25-400mm (35mm equivalent)
zoom lens, this camera has all
the flexibility you need for
garden photography.
23
Technique IN ASSOCIATION WITH
How to get there You can try Panasonic cameras and lenses at the roadshows
● By car Mount Stewart is on the Newtownards to Portaferry road, A20, 15 miles southeast of
Belfast. If you are using satnav/GPS, please be aware that it may lead you to the back gate at
Mount Stewart which is not accessible to the public. Mount Stewart is on the Portaferry Road to
Future events
Newtownards heading towards Greyabbey. Stay on the Portaferry Road, where you will see Mount Giant’s Causeway Northern Ireland 1/2 September
Stewart clearly signposted. ● By bus Belfast to Portaferry, alight at gates. See Translink NI website
for bus departure and arrival times: www.translink.co.uk. Dunham Massey Cheshire 8/9 September
Inbox
use by photographers who could
not shoot right handed. A
Google search seems to
confirm his understanding,
though US commentator
Ken Rockwell ran a
review of a fictitious
Canon EOS 7D L
Email ap@ti-media.com and include your full postal address.
intended for left-hand
Write to Inbox, Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road, use – but it was an April 1
Farnborough Business Park, Farnborough, Hants GU14 7BF spoof in 2013. But all is
not lost – an entirely
LETTER OF THE WEEK practical workaround for
Nigel Bewley used his Holga 60mm lefties (or indeed anyone with
f/8 creatively to get some great shots
the use of only one hand) is to
use a pistol grip attached to the
Holga horror show camera body and by cable to the
In your interesting article on cheap accessory port. Brands that I’ve
creative lenses (AP 21 July), I found include ProMaster and the
completely agree with your virtually identical JCC HR Series
assessment of the Holga 60mm Remote Handle Pistol Grip, both
f/8. It is a horrible lens. I hadn’t of which can trigger the camera
thought of prising off the vignette shutter (and auto focus, etc.) via a
plate, so I fished out the lens, short remote cable compatible
made the amendment and took with your camera’s remote/
a few shots in the garden with a accessory port. The JCC lists
full-frame camera. A great remote cables compatible with
Rob is a strong supporter of local camera shops improvement! I also have the Nikon and Canon, but I’m sure
Holga push-fit wide lens 0.5X most camera brands have suitable
Talking shop, part two attachment which fits over the cables available. Both include
60mm and I use this combination a trigger-lock function for
with a Canon 5D Mark II that I’ve continuous shooting when desired.
I was saddened to read one of your correspondents complaining
converted to infrared. I hadn’t Avoid grips which don’t include
about a high street store not stocking a lens he wanted, or
thought of using the Holga lenses a shutter trigger – those are
supplying it the next day (Inbox, AP 21 July). Only a few ‘flagship’
in such a way. Much to my delight simply grips.
stores hold a comprehensive stock, and most larger operations
there seems to be no blocking of Graham Lockerbie
(Jessops, Wex, etc.) in my experience deliver orders within a day
IR, and the images look great! (Darwin, Australia)
or two. I have a long-standing relationship with a local camera
Thanks for leading me down this
shop that was taken over by Jessops many years ago, and I have
creative path with your article. Excellent advice from down
known one member of staff for over 40 years. What the online
Nigel Bewley under – Geoff Harris, deputy
operators cannot provide is the wealth of practical skills, product
editor
knowledge and friendly advice the staff in the local stores can
Glad we were able to help
offer. This is an incredibly useful resource that should not be
underestimated, but could be lost if high street stores become
– Nigel Atherton, editor The price of Silver
In Geoff Harris’s reply to the letter
uneconomical and end up closing.
That said, I recently tried to order a big-ticket item from my
One vision ‘Program Puzzler’ (Inbox AP 7
I totally agree with previous July) you stated that it is possible
local Jessops only to be told they could not supply the item – it
correspondents about there being to acquire Silver Efex Pro for free
had to ordered online. This means the transaction does not go
endless articles about Lightroom. from the Nik Collection. On trying
through the store till (an important point if the store is to be seen
There are other software programs to get this program, which I used
as viable to the company). I try to support the local store, but am I
that are just as good. I use Capture to have on my old laptop, it seems
being defeated by the company’s own policy? My advice is to
One, which I understand is used to be only free for 30 days; then a
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
Win!
As you say, it’s now only free
£10,000
forums revealed that I am not environmental and studio
alone in this. There is a fix which portraits, often in low light without
involves altering settings in the any additional lighting; landscapes;
registry which I am loathe to do semi-macro; wildlife; and videos.
on my new computer. I have Sharpness with the auto focus
been hoping for a solution from
Microsoft or Adobe, but in the
with the vibration reduction (VR)
on the 18-300mm zoom is OF PRIZES Enter
meantime I’m back to using brilliant even enlarged to 20x30in.
TO BE WON today!
Elements 11 on my old Apart from Tamron’s fast primes,
Vista computer. no other lens manufacturer FOR THE second year running, AP has teamed up with Sigma and
Kevin Harvey includes VR. Photocrowd to bring you more than £10,000 worth of Sigma
Come on AP, let’s have a prizes and an easy-to-use portal that makes entering the competition
Thanks for the tip, Kevin – Nigel different tune for a change and straightforward. APOY is open to amateur* photographers from
Atherton, editor produce articles taken on modest around the world.
modern gear. Just because you’ve *FOR THE PURPOSE OF THE COMPETITION, THE DEFINITION ‘AMATEUR’ REFERS TO A PERSON WHO EARNS
+P]Z\WV ;\ZMM\ 4WVLWV ;?> 48 -VOTIVL <MT" ! 5WV.ZQ IU "XU ;I\ IU XU
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SPONSORED BY
LOCATION GUIDE
Great Dorset
Steam Fai
The Great Dorset Steam Fair is
a festive feast of sight and sound.
Jeremy Walker shares his top tip
for shooting all manner of subjec
© CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15
KIT LIST
▲
Standard
zoom
Very nearly everything I shoot
requires a tripod, but for the
Steam Fair I suggest going with
as little kit as possible. Ditch
the tripod and carry one body
and a 24-70mm zoom.
THE GREAT Dorset Steam Fair is ‘nestled’ just Characters coated in coal
▲ 4.5 miles north east of Blandford Forum, close and dust make for great
Telephoto to the village of Tarrant Hinton. There is an candid portraiture
zoom entrance fee into the Fair (and free on-site Nikon D810, 50mm,
If you are feeling super parking), which runs from Thursday, 23 August 1/6400sec at f/6.3, ISO 400
human, a 70-200mm is through to the bank holiday – Monday, 27
great for isolating subjects August. It is reputedly the largest show of its
and details from a distance. kind in the world.
If you want to shoot the Glorious on a summer’s day with blue sky
funfair in the evening and and fluffy clouds punctuated by the smoke and
do some long steam of leviathans of a bygone era, the Steam
exposures, Fair is a sight to behold. Not only are there rows
you can and rows of steam-powered traction engines,
always nip agricultural machinery, vintage cars and lorries,
back to the but also many stallholders selling a huge variety
car and of things from vintage car spares to second-
collect hand garden machinery and objects d’art that
your you never knew you wanted. Characters coated
tripod. in coal, dust and dirt are usually happy to show
their machinery off and have a portrait taken
ALL P CTURES © JEREMY WALKER
Food and
lodging
There are plenty of There are plenty of food
sights on offer for outlets with everything
those preferring a from Indian, Mexican and
reportage style Oriental to crêpes, a hog
Nikon D5500, 18-55mm,
roast and Cornish pasties.
1/500sec at f/7.1, ISO 200
There are also marquees
selling bread, pastries,
cakes, speciality pies and
cream teas.
You can stay at the
Steam Fair if you take
your own caravan (you’ll
need to book in advance).
Any nearby accommodation
will probably have been
booked up a while ago
but it may be worth trying
the nearby town of
Blandford Forum.
Safety
As with anywhere with
large crowds, watch out
The steam-powered engines and machinery make for some great detail shots for pickpockets and take
Nikon D810, 50mm, 1/160sec at f/4, ISO 160 care around the traction
engines and machinery
Jeremy Walker – after all it was designed
Award-winning professional photographer Jeremy Walker has been and built before the days
shooting landscapes, architecture and people for more than 25 years of health and safety. For
for advertising, design and corporate clients. See some of his work at more information, see
www.jeremywalker.co.uk www.gdsf.co.uk.
Amateur Photograp
Your chance to enter the UK’s most prestigious com
Round Six
Town and country
If you like cityscapes or landscapes then this round is for you. The brief is
purposefully loose, and we are happy to receive images featuring anything
from contemporary architecture to grand, mountainous vistas. From the
early morning sun throwing shadows onto a skyscraper, to the undulating
form of hills receding into the distance, the possibilities are endless. Don’t
be afraid to be abstract in your interpretation: architecture, for instance, is
full of curves and lines. Light is everything – so pay attention to sunrise
and sunset times, the weather forecast and tide timetables, where
appropriate. Whether you go urban or rural, planning is a must.
£10,000
Close encounters Macro 2 Jun issue 22 Jun 25 Aug issue
Persons of interest Portraits 7 Jul issue 27 Jul 29 Sep issue
Town and country Urban and rural 4 Aug issue 24 Aug 27 Oct issue
World in motion Movement 1 Sep issue 21 Sep 24 Nov issue
Travellers’ tales Travel 6 Oct issue 26 Oct 22 Dec issue of
YOUR FREE ENTRY CODE
prizes to
Enter the code below via Photocrowd to get one free be won
entry to Round six – Town and country
APOY13660736
© JAN SIEMINSKI
© PAUL GREENHALGH
PRIZE
WORTH
£1,050
Frame old
© STIAN NESOY
Create context
and new Give buildings some
context by making a
When old and new sit
side-by-side the feature out of the
juxtaposition can be surrounding area.
striking. Here the By using a wideangle
Sage Concert Hall in lens and adopting a
Gateshead, Tyne and relatively low viewpoint
Wear, looms over the photographer here
older housing. Use has shown us how
a telephoto lens to hard it must be to live
compress perspective. in this desolate terrain.
Wildlife on your
doorstep
Photographing exotic wildlife abroad is
neither easy nor cheap but a visit to a local
zoo, wildlife or bird of prey centre will
help hone your skills, says Paul Hobson
KIT LIST
Tripod or
▲
Lenses
▲
T
ime-consuming travel, expensive
plane journeys and their large
carbon burden make expeditions
to far-flung wildlife destinations
available to only a few. However, all is not
lost – this is when, photographically, zoos,
wildlife parks and aquariums come into
their own. At first glance photographing
captive animals may seem a bit of a
doddle. You can choose the right day
and weather and, in theory, the animal
should perform right in front of your lens.
However, there are a number of small
pitfalls that you need to consider in order
to get the best from your images. Britain
has a large number of zoos, aquariums,
wildlife parks and bird of prey centres that
offer an incredible selection of exotic and
British animals for you to focus on.
Focus on a species
I always feel that targeting one or a small
number of species on each shoot is the key
to producing quality work. First, decide
which species you want to work with, for
example bonobos. Different zoos tend to
specialise, and conservation is now one of
their main aims. Gone are the days when
every zoo had the same animals. Twycross
Zoo, for example, specialises in great
ALL PICTURES © PAUL HOBSON
When to visit
Choosing the right day can make or break a
shoot. Where possible avoid weekends and
bank holidays – the zoo will be crowded
making your photography stressful. The
weather can also play a huge part. Poor
weather such as rain can add atmosphere
to an image, but you need to check how it
may affect the animals you want to work
with. Winter can produce some superb
opportunities, but will the animals be
indoors avoiding the cold? Feeding times
are often advertised and should be checked
out because the activity can be intense and
very photogenic. Many wildlife parks,
particularly bird of prey centres, now
advertise specialist wildlife photography
days. While these can be expensive they
may allow you access to animals that you
would normally never get. However, many
are open to negotiation. You may be able
to gain access to certain enclosures for an
Tawny owl (Strix aluco), additional charge. This can become cost
roosting in tree, UK effective if you can organise some friends
Canon EOS-1D Mark II, 300mm,
to make up a group, particularly if you can
1/200sec at f/4, ISO 400
choose a quiet time such as midweek.
Challenges until the animal produces something angle to the glass front. Any other angle
Probably the biggest issue to contend out of the ordinary, perhaps an unusual will add distortion. Another good tip is
with when shooting in such environments facial expression. to get the lens as close as possible to the
is the background. Unsightly fences can Aquarium photography is challenging. glass to avoid any reflections appearing in
kill a shot. Walk around the enclosure and The light levels are nearly always low, so your images. The lighting in the aquarium
check the background from each angle, high ISOs are needed (flash will almost may be produced by artificial bulbs. If so,
choosing the best one, but also take some certainly be banned because it can experiment with your white balance
time to consider the light direction. If it seriously disturb the animals). If you are until you get an image that matches as
looks difficult to get a whole body image unsure, ask first. Photographing through closely as possible to what you actually
without telltale ‘zoo features’ try to go glass will degrade your image. The thinner see. The outside front of the aquarium
close-in with a big lens and focus on the glass the less degradation, so smaller may be dirty so ask the staff if they are
only the head or detail images. Patience is tanks may be better. The angle you work happy with you wiping it clean with a
the key. If possible use a tripod and wait at is vital. Make sure your lens is at a right soft cloth.
At a glance
Fujifilm
● 24.3MP APS-C CMOS sensor
● Fujifilm X mount
● ISO 200-12,800 (expandable to ISO
100-51,200)
● Up to 6fps continuous shooting
● 3in, 1,040k-dot 3-way tilt type
LCD touchscreen
● 4K burst
● Wi-Fi and Bluetooth connectivity
X-T100
short of entry-level mirrorless
cameras, o where does the X-T100 it in?
Michael Topham tests Fujiilm’s new ofering
I
For and against Data file n the early days of the the X-A5, but below the X-T20,
X-series, Fujifilm targeted its it’s aimed at novices who desire an
Sensor 24.2-million APS-C CMOS sensor system to professionals and electronic viewfinder and tilting
Stylish X-series design Output size enthusiasts. After the screen at a more affordable price
6000x4000 pixels
Focal length mag
1.5x release of the X-Pro1 in 2012, the than any previous X-T series
Produces excellent image Lens mount Fujifilm X-mount X-E1 arrived, which was a camera launched to date.
quality straight out of camera Shutter speeds 30sec-1/4000sec mechanical slimmed-down, more affordable
30secs-1/32000 sec electronic alternative. This was the first sign of Features
Compact and portable Sensitivity ISO 200-12,800 (standard) Fujifilm expanding its line-up to The X-T100 is equipped with
ISO 100-51,200 (extended) attract photographers who loved same 24.2MP APS-C CMOS
Exposure modes PASM, SR+, Auto the appeal of the small system, but sensor that Fujifilm’s X-A5 uses.
Supports USB charging on
Metering Multi, Spot, Average were working to a stricter budget. Like its entry-level cousin, this chip
the move
Exposure comp –5 to +5 EV, in increments of 1/3EV Over the years we’ve seen employs the more traditional
Continuous 6fps Fujifilm add its entry-level X-A Bayer colour pixel array rather
Touchscreen responsiveness shooting
series, develop its successful X-T than the proprietary X-Trans pixel
Screen 3in, 1,040k-dot 3-way tilt touchscreen
series and launch its recent X-H array found in more advanced
Kit zoom is plasticky and Viewfinder 0.39in, 2,360k-dot, 0.62x series, all of which complement the Fujifilm cameras higher up in the
noisy in use magnification with 100% coverage
Video
much-loved X100-series where range. The welcome news is that
4K (15p); Full HD (60/50/24/23p)
ALL PR CES ARE APPROX MATE STREET PR CES
the X-series first began. Today the the sensor benefits from the
Dated menu system External mic 2.5mm stereo mini connector
X-series provides a healthy range addition of on-chip phase-
Memory card SD, SDHC, SDXC
of models for all types of user, detection, which the otherwise
4K video quality is Power NP-W126S battery
from beginner to professional, and similar 24.2MP sensor within the
underwhelming Battery life 430 shots
continues to flourish with the older X-A3 didn’t. The sensor isn’t
Dimensions 121.0x83.0x47.4mm
introduction of new models like paired with Fujifilm’s X-Processor
Weight 448g with battery and card the X-T100. Designed to sit above Pro. Instead, it teams up with the
same newly developed image- points and can be used to track and 11 Film Simulation modes, In addition to Wi-Fi, the X-T100
processing engine that the X-A5 subjects through the frame. Focus though the newest Acros and features the same low-power
has. It can’t rattle out a continuous modes include AF-S, AF-C and Eterna modes are both absent. Bluetooth connectivity that we first
burst at 14fps like the X-T20 and manual focus, with various Face/ Two features likely to lure people witnessed on the X-E3. This is
despite having a mechanical and Eye detection settings available. to the X-T100 ahead of the X-A5 designed to preserve battery life
electronic shutter, it shoots at a Fujifilm has kept things fairly are its 0.39in, 2,360k-dot OLED and make light work of connecting
more pedestrian 6fps and 3fps in simple on the top plate, choosing electronic viewfinder and 3.0in, previously paired smartphones,
its high and low burst modes. The to equip the X-T100 with a mode 1,040k-dot three-way tilt LCD but you are still required to install
standard sensitivity range of ISO dial and traditional PASM controls screen. The EVF offers 100% Fujifilm’s Camera Remote app
200-12,800 can be expanded to ahead of a dedicated shutter coverage and 0.62x magnification, that’s free for iOS and Android.
ISO 100-51,200, however you’re speed and exposure while providing dioptre adjustment As well as offering 4K recording
restricted to the JPEG format only. compensation dial. Beginners and an eye sensor that provides at a measly 15fps, Full HD video at
By now you will have clocked on who’d feel more comfortable automatic switching with the rear up to 60fps is available. Like other
that the X-T100 inherits a lot of shooting in auto before screen. The displayed information mirrorless cameras, the X-T100
what the X-A5 has to offer and progressing to the manual modes in the EVF rotates depending on presents the opportunity to
this extends to its autofocus can use the fully automatic the shooting orientation and extract an 8MP still image from a
system. In total you get 91 AF Advanced Scene Recognition there’s a view mode button to clip of movie footage in its 4K
points arranged in a 13x7 (SR+) mode, there are 18 cycle through various viewing burst mode. The maximum
rectangular grid, with the central advanced filter modes with a live options. The screen is different continuous record time in any
portion of 35 AF points being the preview and a great selection of from those we’ve seen on other movie-recording mode is 30
sensitive phase-detection type. scene modes – some of which X-series models. It flips up for minutes and there is a 2.5mm
You can choose from single-point (portrait, landscape, sport and low-angled shooting and down for microphone port and HDMI (Type
AF, zone AF (using blocks of 9, 30 night) get their own dedicated overhead shots, with the extra D) micro connector for anyone
or 49 points) or a Wide/Tracking position on the mode dial. Added benefit that it can be pulled out to wishing to improve audio
AF mode that employs all 91 to this you get a panorama mode the side to assist with selfies. quality or output movie
footage to an external wonder why Fujifilm didn’t sculpt be customised, however it can’t be X-A5 that only offer a rear screen
monitor. Finally, the X-T100 the grip like this from the start. I controlled by touch. for compositional purposes. On
accepts a single SD card beside its would have liked to see a The employment of a mode dial, high-contrast days when sunlight
rechargeable NP-W126S battery, rubberised thumb rest at the rear with direct access to a number of can play havoc with glare and
which has enough stamina for too. Instead, it’s made of hard auto modes, is befitting of its reflections it’s possible to set the
430 shots on a single charge. plastic and can be prone to get position in the market as a camera view mode to EVF only to take the
slippery with wet or sweaty hands. aimed at people wanting to take rear screen completely out of the
Build and handling Like many entry-level and the jump from a smartphone, or equation. The EVF isn’t just a
The X-T100 has a strong enthusiast models, the X-T100’s pursue photography more compositional aid, it’s good for
resemblance with other X-T buttons and dials aren’t weather- seriously. To the right of it you get reviewing images in bright sunlight
models, particularly the X-T20. It sealed, meaning you’ll want to be small function (Fn) and movie-rec too. However you will notice there’s
doesn’t have a sculpted handgrip cautious in wet environments. The buttons, with the on/off switch a momentary delay before each
or the same high-shouldered top plate is stripped of the shutter encircling a non-threaded shutter image is rendered perfectly sharp.
design, but with its central EVF, speed, exposure compensation button. Despite only having one
three top-plate dials and faux and drive dials we’re used to function button and one function
The X-T100 renders faithful
leather finish you can see where seeing on X-T-series cameras. In dial, six custom functions can be colour in its Provia/Standard
its inspiration has come from. manual exposure mode the set in total. It’s possible to assign film simulation mode
Compared to the light, plasticky unmarked top-plate thumb dial four swipe functions to the Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ,
feel of the X-A5, the X-T100 has controls shutter speed, with the touchscreen (up, down, left and 1/1500sec at f/5.6, ISO 200
a more refined, solid quality about vertically mounted rear dial right), but don’t expect the
it. You’d think the X-T20’s providing independent control of screen’s responsiveness to be as
magnesium alloy body would be aperture. In program, shutter good as today’s smartphones or
heavier, but the X-T100’s priority and aperture priority tablets. As I found, it’s not unusual
aluminium and polycarbonate modes, the top-plate thumb dial to perform swipe gestures several
plastic body weighs 65g more. It controls exposure compensation times before they take effect.
has a surprisingly weighty feel for a across a +/-5EV range. In While the X-T100 is an
camera of its size. playback mode it can be used to attractive little camera, you can
The front flat section of the body scroll through images or work identify the difference in build
contributes to its pleasing through settings in the menu. The quality between it and more
aesthetics, but also sounds alarm unmarked dial on the far left of the robustly made models such as the
bells about how it might feel in the top plate is customisable to no X-T20 and X-T2. Unlike the
hand without any form of fewer than 18 settings. Around its X-T20, a metal handgrip to add a
protrusion to wrap your fingers perimeter you’ll find a lever to bit more bulk isn’t available. It
around. Out of the box, the X-T20 raise the small pop-up flash. The looks stylish in graphite finish, but
is the more comfortable camera d-pad provides direct access to there’s also the choice of all black
to hold. Thankfully, the handling of autofocus, white balance, drive or eye-catching champagne gold.
the X-T100 can be improved by mode and self-timer settings,
attaching a detachable grip, which while the ‘Q’ button above it loads Viewinder and screen
is supplied. This screws into the a quick menu on the rear display Having the option to raise the
side of the body and transforms to access a variety of commonly X-T100 to your eye gives it a huge
the feel tenfold. It does make you used settings. This quick menu can advantage over cameras like the
121.0 mm
Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details
The combination of Bayer APS-C CMOS sensor and newly developed image-processing engine
is the same pairing as used within the Fujifilm X-A5. It’s no great surprise that the image quality
results are identical to those previously recorded by its entry-level cousin. By opting to use the
Bayer colour pixel array rather than the more complex X-Trans pixel array, Fujifilm has been able
to make the X-T100 more affordable than the X-T20. This ultimately comes down to the Bayer Recommended
sensor being a less expensive component. Like the X-A5, it does not feature a low pass filter.
FEATURES 8/10
BUILD & HANDLING 8/10
METERING 9/10
AUTOFOCUS 7/10
AWB & COLOUR 9/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 8/10
VIEWFINDER/LCD 8/10
Serif Affinity
interesting additions and improvements. Like
Photoshop, it excels at image retouching and
complex, multi-layer composite images. Both
programs are designed for detailed, intricate
work primarily on single images.
Photo 1.6.7
Having said that, Affinity Photo does have
a Macro facility where you can record an
automated series of processing steps, with
optional user intervention or adjustment at
key points, and these Macros can be used
in conjunction with the software’s batch
Lots of programs are bandied about as being processing tools for automated image
enhancement, but this is a fairly technical
‘Photoshop alternatives’, but the impressive process to set up.
This is where you need to make a strategic
Ainity Photo really is, says Rod Lawton decision about the kind of software you need.
If you don’t need layers, just regular image
P
hotoshop has the reputation of clear that there are plenty of people not enhancements, modest local adjustments
being the best image-editing prepared to accept the idea of subscription and a choice of preset ‘looks’, then a non-
application in the world, but lots of software, whatever the cost. destructive all-in-one image cataloguing,
people are looking for alternatives, Affinity Photo comes from Serif, a raw-processing and editing program like
and Affinity Photo is just about the most direct company once known principally for its Lightroom is probably better for you.
rival it has in the market right now. low-cost Windows design, publishing and Affinity Photo is for when you need to go a
It has several key features which place it in photo software. But with its Affinity range, whole lot further. Its retouching options include
this position. First, it’s a proper professional tool Serif has reinvented itself as a developer of clone, dodge, burn and healing tools and an
that matches Photoshop’s features blow-by- high-end, professional-level design tools. inpainting brush that automatically uses
blow and even beats it in some respects. This Affinity Designer, a vector-based drawing and surrounding image areas and details to
is not a ‘budget’ program pretending to be illustration app, was its first release and Affinity remove unwanted objects from your photos.
professional – it’s the real deal. Second, at just Photo is its second. In addition there’s also a powerful Liquify
£48.99/$49.99 it’s very affordable. It’s a Originally developed for the Mac, Affinity ‘persona’ (workspace) which enables you to
tenth of what Photoshop used to cost as a Photo is now available in a Windows version push, pull and warp objects in your pictures in
standalone product. too, though it’s the Mac version that’s reviewed order to achieve subtle enhancements or
Third, it’s available on a regular ‘perpetual’ here. There’s even an iPad version, sold surreal transformations.
licence, so that you pay once and that’s it. This separately, which has almost the same power Other ‘personas’ include the Photo persona,
could be the most important factor of all for and features as the desktop version. where you’re likely to spend most time, the
many photographers. Adobe’s Photography Develop persona, for processing raw files prior
Plan subscriptions are pretty cheap compared Features to editing, the Tone Mapping persona for
to what you used to pay for Photoshop and Affinity Photo’s list of features is much the merging bracketed exposure sets and
Lightroom as standalone products, but it’s same as Photoshop’s, though with some applying HDR effects and adjustments,
The Develop persona lacks any quick-fix ‘looks’ for raw files, so it can take work to get the best results, but it has transformed (left) our gloomy original (right)
and the Export persona for exporting corrections for lens distortion, perspective Like Photoshop, Affinity Photo does not have
images in a variety of formats and sizes distortion, chromatic aberration and vignetting. its own native image browsing or cataloguing
for different uses. The Overlay tab offers localised adjustments tools, so unless you have a cast-iron image
The Liquify, Develop and Tone Mapping ahead of the raw conversion, using a gradient filing system and you know where to find every
personas offer specialised tools for a specific tool (linear or radial) or brush tool to mask the photo, you’ll probably need some kind of
purpose, and the results are passed back to areas you want to adjust. image browsing or cataloguing application, too.
the Photo persona, where the regular editing The list of features goes on. Affinity Photo JPEG, TIFF and Photoshop PSD files will
tools are located. These include Affinity Photo’s can also merge panoramic images and has a open directly in the Photo persona, but raw
layers tools, which offer almost identical focus-stacking option for precise macro work. files pass through the Develop persona first.
features to Photoshop’s. It can edit 360° images and it supports the This is much improved over previous versions
The Develop persona is equivalent to Photoshop PSD format, keeping adjustments, and offers a lot of tools for fettling and fine-
Photoshop’s Adobe Camera Raw module. It effects and layers intact. tuning your images. Getting the best from a
launches automatically when you attempt to raw file can take a little work, though, because
open a raw file and you need to go through What it’s like to use the initial results can look a little flat in the
this process before a raw image can be worked It’s impossible not to compare Affinity Photo same way as those from Adobe Camera Raw
on in the regular Photo module. Serif says with Photoshop because they fill exactly the with the default Adobe Standard profile can.
Affinity Photo now has correction profiles for same niche in the expert photographer’s It’s worth the effort, though, because the
‘hundreds’ of lenses, but there are also manual image-editing workflow. Develop module can reveal great depth, colour
The Tone Mapping persona is great for merging bracketed exposures, but also works on single images
and detail in raw files and has a very handy machine – a quad-core i5 iMac with 16GB
split-screen view so that you can compare your RAM – started to stutter and struggle.
adjusted image with the original.
What you don’t get is the instant presets
There’s no such problem in the main Photo
persona, though, where Affinity Photo proves
Our verdict
available in Lightroom and other photo-editing very fast and responsive – Serif does say that GIVEN its power, scope, range of tools and
applications. With Affinity Photo you have to this version is ‘Faster, smoother and more the effects it can achieve, Affinity Photo is
pretty much bring your own visual skills and powerful than ever’. a deeply impressive program, even if you
ideas rather than relying on the software to The layers panel is where much of the work ignore its price. But when you factor in its
create a ‘look’ for you. is done, and almost all everyday adjustments low purchase cost, it starts to look even
The Tone Mapping persona is extremely are available as adjustment layers, including more remarkable.
good. Photoshop’s HDR tools are tricky to use Levels adjustments, Curves, Black & White, It’s not without flaws, but some of these
and even trickier to coax good results from, Colour Balance and a whole lot more. are part and parcel of the niche it fills, and
but Affinity Photo can produce very natural- This means that the image itself remains apply just as much to Photoshop. It doesn’t
looking stacked HDR images, and offers a unaltered on a base ‘Background’ layer, offer you a way of cataloguing your image
selection of great processing presets, too. You while the adjustments you make only alter library and it doesn’t offer quick and simple
don’t have to work with bracketed exposure its appearance. effects – or the fast and efficient non-
sets. You can just open a single raw file if it has You can save your work in progress in the destructive editing of Lightroom, say. It’s not
a wide enough tonal range, and then use the Affinity Photo file format, or export a finished a tool for beginners looking for an easy way
Tone Mapping and HDR adjustment tools to JPEG or TIFF image, for example, with your into photo editing – there are lots of other
level up the bright and dark tones within the adjustments ‘baked in’. Like regular layers, programs for that. Instead, Affinity Photo is
image and create an effect as subtle or as these adjustment layers can have a mask a full-on professional photo-editing tool that
dramatic as you like. applied – it’s displayed underneath the image makes no concessions at all to its price
HDR merging can take a little while, though, layer rather than alongside, but otherwise it point. You’re not getting a watered-down
especially with high-resolution raw files such works just like Photoshop. Photoshop; you’re getting a strong, fast,
as those from a Sony Alpha 7R III, for example, Interestingly, Affi nity Photo offers a LUT highly-capable rival – and one that doesn’t
or Nikon D850. This is the first hint that Affinity adjustment. LUT stands for ‘lookup table’ need a regular subscription payment.
Photo needs a fair slice of processing power – a type of adjustment popular in video You’re also getting an illustration, painting
for some of its tools, and this is borne out even editing but now fi nding its way into stills and design application aimed at creative
further in the Liquify persona, where our test photography as well. LUTs are like professionals, not just photographers, so
conversion profiles that remap the tones in not all of the tools will be directly relevant
the image on to new values. They’re typically to photography.
used to create vintage looks, colour shifts And if you wanted to be picky you might
and other effects. Affi nity Photo comes with say that the interface and icons have
a small selection, displayed as preset options something of a comic-book look that
when you select the LUT adjustment type, undermines the software’s serious and
but you can load LUT files downloaded from professional nature, but that’s just a
other sources, too. superficial thing.
Apart from adjustment layers, you can also If you’re looking for an up-to-date
create Live Filters layers. With these you can replacement for an ageing version of
add filters as layers, also with masks, but with Photoshop and you don’t want to join
effects displayed live on your image (not in a Adobe’s subscription plan, then Affinity
smaller dialog) as you make adjustments. You Photo could be just what you’re looking for.
can apply a Lighting filter, Depth of field filter, Adobe may appear to have an iron grip
noise, clarity, noise removal and more. on the photo-editing
If you’re used to Photoshop or Photoshop market, but there are
Elements, you might have to adapt to a slightly plenty of alternatives out
different way of working here and there, but it there that are just as
doesn’t take long to translate all the editing good or better in their
processes you’re used to into their own way, and Affinity
GOLD
Affinity Photo equivalents. Photo is one of them.
the camera on a tripod when shooting photographers, but instead is photos and is available with either white or
indoors or in poor light. The fully designed for its black borders. It costs £9 for a pack of 10
automatic exposure system provides entertainment shots, or £17 for a 2x10-shot twin-pack.
shutter speeds as slow as 1.3 seconds, value at social This means that it’s a little more expensive
but you have no way of knowing what it events. Judged than the smaller, rectangular Instax Mini
has chosen for any given shot. Image on that basis, it film, and as yet there’s nowhere near the
quality is pretty good, at least, with does just fine. same variety of borders available.
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IN ASSOCIATION WITH
Tech Talk
A
Recently, an increasing
array of editing
peripherals has hit the
market, offering photographers
new intuitive ways to edit their
Our experts suggest
images. One of our favourites is
the Loupedeck+, a photo-editing
console with dedicated buttons,
dials and scroll wheels for
tweaking settings such as
exposure, contrast and clarity,
and various other functions
including star ratings, colour
labels and undoing/redoing
actions. Its intuitive and
Nikon AF-S Nikkor Nikon AF-S Nikkor Nikon AF-S Nikkor
ergonomic design makes 50mm f/1.8G AF-S 24-70mm f/2.8G AF-S ED 70-200mm f/2.8E FL ED VR
operation a far more comfortable You’ll find a ‘nifty fifty’ in almost Larger dedicated music spaces This recommendation is over
and tactile process than using a every music photographer’s tend to have far better stage your budget and is for when
mouse and keyboard. With the kit bag. This little prime’s focal lighting set-ups than your local you’ve established yourself and
necessary controls at your length is ideally suited for use in pub. With more light available, start to land large arenas. Big
fingertips, the Loupedeck+ also small to mid-size music venues, you can start to consider using stages can stand between 5-10ft
allows you to close down all while its fast aperture means zoom lenses, although you’ll still tall, and if you don’t want your
on-screen windows and tabs, you’ll still be able to achieve a want to try and select lenses images to be looking up a band
meaning you can edit your image good exposure in the darkest of with a maximum aperture of member’s nostrils, you’ll need to
in full-screen mode and free of venues. Shoot wide open and f/2.8. A solid option is a step back. This is where the
distractions. The Loupedeck+ is you’ll have to nail your focus 24-70mm f/2.8 standard zoom, extra reach of a telephoto zoom
currently compatible with Adobe owing to that shallow depth of which will allow you to switch earns its keep. This 70-200mm
Lightroom Classic CC and Aurora field, but you’ll be able to keep quickly between wide, scene- also features a fast f/2.8
HDR, with more software support your camera’s shutter speed setting shots of almost the aperture and up to four stops
expected later in the year. It also fast enough for sharp shots and entire stage and tighter portraits of image stabilisation (useful as
comes in just under your your ISO at a useable level. of individual musicians. you’ll be shooting handheld).
budget at £199.
£219 £1,699 £2,549
● Wide f/1.8 aperture ● Fast constant aperture of f/2.8 still ● Greater reach for large arena and
● One of the most affordable Nikon lets plenty of light into the camera festival stages
lenses available ● Versatile focal length enables you ● Fast and constant aperture
● Compatible with Nikon FX and DX to vary compositions quickly of f/2.8
The Loupedeck+ format DSLRs ● Focuses as close as 38cm ● Minimum focus distance of 1.4m
photo-editing console
Lubitel 2
This reliable Russian twin lens reflex camera
Subscriptions
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Test Reports
Contact OTC for copies of AP test reports.
Telephone 01707 273 773
Back Issues
© TONY KEMPLEN
A
s an enthusiastic Contact 01795 662976; support@mags-uk.com
teenage photographer, Advertising
Email liz.reid@ti media.com
encouraged by my Inserts Call Mona Amarasakera,
school photographic Canopy Media, on 0203 148 3710
society, the first ‘proper’ camera I Editorial team
Group Editor Nigel Atherton
owned was a second-hand Praktica Deputy Editor Geoff Harris
Nova SLR, but the first camera I Technical Editor Andy Westlake
Reviews Editor Michael Topham
bought new was a Russian Lubitel 2 Features Editor Amy Davies
twin lens reflex. In the 1970s, Features Editor Ailsa McWhinnie
Technique Editor Hollie Latham Hucker
Russian cameras, and indeed Production Editor Jacqueline Porter
other optical equipment, were a Chief Sub Editor Jolene Menezes
low-cost option for the hobbyist, Art Editor Sarah Foster
Senior Designer Steph Tebboth
allowing one to test the waters Studio Manager Andrew Sydenham
before, if the bug bit, investing in Photo-Science Consultant Professor Robert Newman
Senior contributor Roger Hicks
more expensive gear. To be fair, Office Manager Hollie Bishop
the Soviets weren’t trying to hide Special thanks to The moderators of the AP
anything. The word Ǡȕș website: Andrew Robertson, lisadb, Nick Roberts,
The Fat Controller
(Lubitel) is Russian for amateur.
Advertising
I have a bit of a soft spot for Commercial Manager Liz Reid 07949 179 200
Russian cameras and although Commercial Director Dave Stone 07961 474 548
Senior Account Manager Sereena Gill 07583 106879
they have a reputation for being Production Coordinator Chris Gozzett 0203 148 2694
clunky and unreliable, I can’t say Marketing
I’ve noticed the failure rate to be Head of Marketing Samantha Blakey
any higher with my Soviet gear Publishing team
Chief Executive Officer Marcus Rich
than it is with the rest. As the What you see is what you get with the Lubitel 2 – this crooked spire is real Group Managing Director Andrea Davies
name suggests, a twin lens reflex Managing Director Gareth Beesley
Editorial Director Simon Collis
has two lenses: the upper one is image on the film, as well as the popular and common Smena
Printed in the UK by the Wyndeham Group
used to throw an image onto a contains the shutter and series. The number of these Distributed by Marketforce, 5 Churchill Place,
waist-level screen, on which the aperture mechanism. shutters made must have run into London E14. Telephone 0203 787 9001
image is composed and focused, In order to maintain the same the tens of millions, I’ve got at least Editorial Complaints We work hard to achieve the highest standards of
editorial content, and we are committed to complying with the Editors’
while the lower lens forms the distance between the front of the a dozen of them, and as far as I Code of Practice (https://www.ipso.co.uk/IPSO/cop.html) as enforced by
IPSO. If you have a complaint about our editorial content, you can email
lens and the focal plane, the two can remember they all work, us at complaints@ti media.com or write to Complaints Manager, TI Media
Limited Legal Department, 161 Marsh Wall, London E14 9AP. Please
lenses have to be linked together, despite often sitting idle for years. provide details of the material you are complaining about and explain
your complaint by reference to the Editors’ Code. We will endeavour to
using bellows or a moving lens This one spent three decades in acknowledge your complaint within 5 working days, and we aim to correct
substantial errors as soon as possible.
board. But the Lubitel, borrowing a box in the garage, and yet
All contributions to Amateur Photographer must be original, not copies
from Voigtländer, used a ring of worked perfectly when I dug it out. or duplicated to other publications. The editor reserves the right
to shorten or modify any letter or material submitted. TI Media
fine teeth mounted around the A twin lens reflex is a step up Limited or its associated companies reserves the right to re use
any submission sent to the letters column of Amateur Photographer
lenses which mesh together and from a simple viewfinder when it magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC
OR OTHERWISE Amateur Photographer® is a registered trademark
turn the helical screws that allow comes to framing and focusing, but of TI Media Limited © TI Media Limited 2018 Amateur Photographer
(incorporating Photo Technique, Camera Weekly & What Digital
the lenses to move in and out. The as the above shot of St Mary’s Camera) Email: amateurphotographer@ti media.com Website: www.
amateurphotographer.co.uk. TI Media Limited switchboard tel: 0203 148
teeth are quite sharp, and if you’ve Church in Chesterfield shows, you 5000 Amateur Photographer is published weekly (51 issues per year) on
the Tuesday preceding the cover date by TI Media Limited, 161 Marsh
got small fingers, you have to take can’t beat an SLR when it comes to Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5 Churchill
Place, London E14. ISSN 0002 6840. No part of this publication may be
care not to get them nipped! seeing exactly what will appear on reproduced, stored in a retrieval or transmitted in any format or medium,
The Russians tended to use the the negative. Even though I tried to whether printed, electronic or otherwise, without the prior written
permission of the publisher or the editor. This is considered a breach of
same lenses and shutters over allow for parallax error, I missed copyright and action will be taken where this occurs. This magazine must
not be lent, sold, hired or otherwise disposed of in a mutilated condition or
many years. The shutter on my framing the church spire as I had in any authorised cover by way, or by trade, or annexed to any publication
or advertising matter without first obtaining written permission from
Lubitel is the five speed ZT-5, a intended. In case you’re wondering, the publisher. TI Media Limited does not accept responsibility for loss or
damage to unsolicited photographs and manuscripts, and product samples.
copy of one of the German the distortion is not some TI Media Limited reserves the right to use any submissions sent to Amateur
Photographer magazine in any format or medium, including electronic.
Compurs, with speeds running aberration caused by cheap Soviet One year subscription (51 issues) £155.50 (UK), e259 (Europe), $338.99
(USA), £221.99 (rest of world). The 2015 US annual DEU subscription price
from 1/15 to 1/250sec. It appears glass – the spire has been that is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o
Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434,
Tony’s very first new camera purchase on numerous cameras, including shape for more than 600 years! USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send
address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet
Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA.
Subscriptions records are maintained at TI Media Limited, 161 Marsh Wall,
Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he London E14 9AP. Air Business Ltd is acting as our mailing agent.
can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Lubitel 2: www.flickr.com/
tony_kemplen/sets/72157625857458741/
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Enter
today!
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Buyin
Guide
597
cameras
& lenses
listed &
rated
Our comprehensive listing of key specifications for cameras and lenses
SPONSORED BY Park Cameras was established in 1971 in Burgess Hill, West Sussex. For over 40 years they have forged a reputation
across the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of
all photographers, from enthusiasts through to professionals, through the very highest level of customer service.
VF COVERAGE (%)
RESOLUTION (MP)
TOUCHSCREEN
DSLR cameras
LENS MOUNT
SENSOR SIZE
BATTERY LIFE
HEIGHT (MM)
WIDTH (MM)
DEPTH (MM)
WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO
(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 1300D £450 4★ 7Z\^ccZg [g^ZcYan bdYZa l^i] h^beaZ Xdcigdah VcY Wj^ai ^cL^";^ 6EH 8 &- 8Vcdc :; &'!-%% &%-% . ( .* ( *%% &'. &%&#( ,,#+ )-*
Canon EOS 2000D )+. (★ B^cdg jeYViZ id :DH &(%%9 \V^ch ')#&BE hZchdg 6EH 8 ')#& 8Vcdc :; &'!-%% &%-% . ( .* ( *%% &'. &%&#( ,,#+ ),*
Canon EOS 4000D (+. HjeZg X]ZVe hig^eeZY WVX` 9HAG [dg WjY\Zi XdchX^djh WZ\^ccZgh 6EH 8 &- 8Vcdc :; &'!-%% &%-% . ( .* '#, *%% &'. &%&#+ ,,#& )(+
Canon EOS 200D *-% )#*★ KZgn XdbeVXi Zcign aZkZa 9HAG l^i] [jaan Vgi^XjaViZY idjX]hXgZZc 6EH 8 ')#' 8Vcdc :; *&!'%% &%-% . * .* ( +*% &''#) .'#+ +.#- )*(
Canon EOS 700D ,*% )#*★ A^`ZVWaZ Zcign aZkZa 9HAG! Wji hZchdg ^h cdl add`^c\ YViZY 6EH 8 &- 8Vcdc :; &'!-%% &%-% . * .* ( ))% &(( &%% ,. *-%
Canon EOS 750D £599 4★ :cign aZkZa bdYZa l^i] ')BE hZchdg VcY Vgi^XjaViZY idjX]hXgZZc 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% &. * .* ( ))% &(&#. &%%#, ,,#- ***
Canon EOS 760D +). *★ =^\]Zg ZcY kZgh^dc d[ :DH ,*%9 l^i] ^begdkZY Xdcigda aVndji 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% &. * .* ( ))% &(&#. &%& ,,#- *+*
Canon EOS 800D ,-% )#*★ JeYViZh :DH ,*%9 l^i] hde]^hi^XViZY )* ed^ci Vjid[dXjh 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% )* + .* ( +%% &(& .. ,+#' *('
Canon EOS 77D -(% )#*★ HVbZ XdgZ heZX Vh :DH -%%9 Wji ^c ]^\]Zg ZcY WdYn YZh^\c 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% )* + .* ( +%% &(& &%% ,+#' *)%
Canon EOS 80D £999 5★ :migZbZan XVeVWaZ b^Y gVc\Z 9HAG [dg Zci]jh^Vhi e]did\gVe]Zgh 6EH 8 ')#' 8Vcdc :; '*!+%% &%-% )* , &%% ( .+% &(. &%*#' ,-#* ,(%
Canon EOS 7D Mk II &*.. )#*★ =^\] heZZY 6EH 8 9HAG ^cXajYZh hde]^hi^XViZY 6; hnhiZb 6EH 8 '%#' 8Vcdc :; *&!'%% &%-% +* &% &%% ( +,% &)-#+ &&'#) ,-#' .&%
Canon EOS 6D &,%% )#*★ 8Vcdc¼h bdhi V[[dgYVWaZ [jaa [gVbZ 9HAG ^cXajYZh L^ ;^ VcY <EH ;; '%#' 8Vcdc :; &%'!)%% &%-% && )#* ., ( .-% &)* &&& ,& ,**
Canon EOS 6D Mk II &... )#*★ >cXajYZh '+#'BE [jaa [gVbZ hZchdg VcY [jaan Vgi^XjaViZY hXgZZc ;; '+#' 8Vcdc :; &%'!)%% &%-% )* +#* .- ( &!'%% &)) &&%#* ,)#- ,+*
Canon EOS 5D Mk III £2999 5★ <gZVi Vaa gdjcY 9HAG [dg hZg^djh Zci]jh^Vhih VcYegd[Zhh^dcVah ;; ''#( 8Vcdc :; &%'!)%% &%-% +& + &%% (#' .*% &*' &&+ ,+ .*%
Canon EOS 5DS '... =^\] gZhdaji^dc bdYZa l^i] *%BE hZchdg ;; *%#+ 8Vcdc :; &'!-%% &%-% +& * &%% (#' ,%% &*' &&+#) ,+#) -)*
Canon EOS 5DS R £3199 5★ HVbZ Vh i]Z *9H! Wji adl eVhh ÄaiZg gZbdkZY [dg bVm^bjbgZhdaji^dc ;; *%#+ 8Vcdc :; &'!-%% &%-% +& * &%% (#' (.% &*' &&+#) ,+#) -)*
Canon EOS 5D Mk IV (*.. )#*★ =j\Zan VXXdbea^h]ZY ldg`]dghZ bdYZa! Wji eg^XZn ;; (%#) 8Vcdc :; &%'!)%% (-)% +& , , &%% (#' .%% &*& &&+ ,+ -.%
Canon EOS-1D X Mk II *&.. Egd[Zhh^dcVa ]^\] heZZY hedgih VcY VXi^dc bdYZa ;; '%#' 8Vcdc :; )%.!+%% (-)% +& &) &%% (#' &!'&% &*- &+,#+ -'#+ &()%
Nikon D3400 £399 4★ 6YYh 7ajZiddi] id 9((%% [dg XdccZXi^c\ id hbVgie]dcZ 9M ')#' C^`dc ; '*!+%% &%-% && * .* ( &!'%% &') .- ,*#* ))*
Nikon D5300 -(% )#*★ 6\Z^c\ b^Y gVc\Z 9HAG ^h cdl VkV^aVWaZ Vi WVg\V^c eg^XZh 9M ')#' C^`dc ; '*!+%% &%-% '( * .* (#' ,%% &'* .- ,+ *(%
Nikon D5600 -%% )#*★ :mXZaaZci ^bV\Z fjVa^in VcY ]VcYa^c\! eajh 7ajZiddi] XdccZXi^k^in 9M ')#& C^`dc ; '*!+%% &%-% (. * .* (#' .,% &') ., ,- )+*
Nikon D7200 £939 4★ JeYViZh i]Z 9,&%% l^i] hdbZ jhZ[ja ZmigVh hjX] Vh L^ ;^ 9M ')#' C^`dc ; '*!+%% &%-% *& + &%% (#' &!&%% &(*#* &%+#* ,+ ,+*
Nikon D7500 &'.. )#*★ EaVXZh i]Z ZmXZaaZci hZchdg [gdb i]Z 9*%% ^cid V hbVaaZg WdYn 9M '%#. C^`dc ; &!+)%!%%% (-)% *& - &%% (#' .*% &(*#* &%) ,'#* ,'%
Nikon D500 &,'. *★ EgdWVWan i]Z WZhi 9M [dgbVi 9HAG ZkZg! l^i] gZbVg`VWaZ Vjid[dXjh 9M '%#. C^`dc ; &!+)%!%%% (-)% &*( &% &%% (#' &!')% &), &&* -& -+%
Nikon D610 £1800 5★ C^`dc¼h X]ZVeZhi [jaa [gVbZ bdYZa l^i] V hda^Y [ZVijgZ hZi ;M ')#( C^`dc ; '*!+%% &%-% (. + &%% (#' .%% &)& &&( -' -*%
Nikon D750 £1800 5★ <gZVi Vaa gdjcY Zci]jh^Vhi [jaa [gVbZ bdYZa l^i] i^ai^c\ hXgZZc ;M ')#( C^`dc ; *&!'%% &%-% *& +#* &%% (#' &!'(% &)%#* &&( ,- -)%
Nikon DF '+%% )★ GZigd hinaZY [jaa [gVbZ bdYZa l^i] ZmXZaaZci hZchdg ;M &+#' C^`dc ; '%)!-%% (. *#* &%% (#' &!)%% &)(#* &&% ++#* ,+*
Nikon D810 '+.. *★ =^\] gZhdaji^dc [jaa [gVbZ 9HAG d[[Zgh hjeZgW ^bV\Z fjVa^in ;M (+#( C^`dc ; *&!'%% &%-% *& &' &%% (#' &!'%% &)+ &'( -' .-%
Nikon D850 £3499 5★ =^\] heZZY VcY hjeZgW ^bV\Z fjVa^in bV`Z i]^h i]Z WZhi 9HAG nZi ;M )*#, C^`dc ; &%'!)%% (-)% &*( , &%% (#' &!-)% &)+ &') ,-#* &%%*
Nikon D5 *&.. C^`dc¼h ide ZcY hedgih VcY VXi^dc bdYZa [dg egd[Zhh^dcVah ;M '%#- C^`dc ; (!'-%!%%% (-)% &*( &) &%% (#' (!,-% &+% &*-#* .' &)%*
Pentax K-S2 +). )#*★ >cXajYZh V [jaan Vgi^XjaViZY hXgZZc VcY ^c WdYn hiVW^a^hVi^dc 6EH 8 '%#' EZciVm @ *&!'%% &%-% && *#) &%% ( )&% &''#* .& ,'#* +,-
Pentax K-70 +%% )#*★ Hda^Y eZg[dgbZg i]Vi jeYViZh i]Z @ H' l^i] V ')BE hZchdg 6EH 8 ')#' EZciVm @ &%'!)%% &%-% && + &%% ( )&% &'*#* .( ,) +--
Pentax K-3 II ,+. )#*★ LZaa [ZVijgZY Zci]jh^Vhi bdYZa l^i] ^c WdYn hiVW^a^hVi^dc VcY <EH 6EH 8 ')#( EZciVm @ *&!'%% &%-% ', -#( &%% (#' ,'% &(&#* &%'#* ,,#* ,-*
Pentax KP £1099 4★ 8dbeVXi Wji lZaa heZX^ÄZY 9HAG l^i] ^ciZgX]Vc\ZVWaZ ]VcY \g^eh 6EH 8 ')#( EZciVm @ -&.!'%% &%-% ', , &%% ( (.% &(&#* &%& ,+ ,%(
Pentax K-1 £1599 5★ I]Z Äghi EZciVm [jaa [gVbZ 9HAG ^h ZmXZaaZci kVajZ [dg bdcZn ;; (+ EZciVm @ '%)!-%% &%-% (( )#) &%% (#' ,+% &(+#* &&% -*#* &%&%
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN
Pentax K-1 II &,.. )#*★ JeYViZY @ & l^i] ]^\]Zg bVm^bjb >HD VcY ]VcY]ZaY e^mZa h]^[i bdYZ ;; (+ EZciVm @ -&.!'%% &%-% (( )#) &%% (#' +,% &(+#* &&% -*#* &%&%
Sigma SD Quattro £850 3★ H9 bdjci b^ggdgaZhh XVbZgV l^i] jc^fjZ ;dkZdc M( hZchdg 6EH 8 &.#+ H^\bV H9 +)%% . (#+ &%% ( I78 &), .*#& .%#- ,%(
Sigma SD Quattro H &).. E]nh^XVaan ^YZci^XVa WdYn id H9 FjViigd! Wji l^i] aVg\Zg 6EH = hZchdg 6EH = '*#, H^\bV H9 +)%% . (#- &%% ( I78 &), .*#& .%#- ,%-
Sony Alpha 68 ),. (★ :mXZaaZci 6; VcY hZchdg! Wji adl gZhdaji^dc A89 hXgZZc VcY cd L^ ;^ 6EH 8 ') Hdcn 6 '*!+%% &%-% ,. - &%% '#, *-% &)'#+ &%)#' -'#- +,*
Sony Alpha 77 II &%%% )#*★ >begZhh^kZ Vjid[dXjh VcY [Vhi h]ddi^c\! eajh \ddY ]VcYa^c\ 6EH 8 ')#( Hdcn 6 '*!+%% &%-% ,. &' &%% ( )-% &)'#+ &%) -& +),
Sony Alpha 99 II '... )#*★ EaVXZhi]ZhjeZgWhZchdg[gdbi]Z6ae]V,G>>^cV9HAG"hinaZYWdYn ;; )'#) Hdcn6 &%'!)%% (-)% ,. &' &%% ( &%% &)'#+ &%)#' ,+#& -).
We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will inevitably
have crept in along the way: if you spot one, please let us know by emailing apti-media.com. We don’t have space to list every single product on
the market, so we don’t include the most expensive speciality optics such as long telephoto primes. Before making a major purchase we advise you
to double-check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.
01444 23 70 42
RESOLUTION (MP)
TOUCHSCREEN
VIEWFINDER
Mirrorless cameras
LENS MOUNT
SENSOR SIZE
BATTERY LIFE
HEIGHT (MM)
WIDTH (MM)
DEPTH (MM)
WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO
(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M10 (.. 8dbeVXi! ZmigZbZan h^beaZ 8H8 YZh^\cZY [dg WZ\^ccZgh 6EH 8 &- 8Vcdc B '*!+%% &%-% ). )#+ ( '** &%- ++#+ (* (%&
Canon EOS M100 £449 3★ A^\]ilZ^\]i bdYZa [dg WZ\^ccZgh! Wji dkZgan h^bea^hi^X 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). +#& ( '.* &%-#' +,#& (*#& (%'
Canon EOS M50 £649 4.5★ KZgn a^`ZVWaZ VcY lZaa heZX^ÄZY Zcign aZkZa bdYZa l^i] k^ZlÄcYZg 6EH 8 ')#' 8Vcdc B *&!'%% (-)% &)( &% ( '(* &&+#( --#& *-#, (-,
Canon EOS M3 £599 4★ B^Y gVc\Z bdYZa l^i] Zci]jh^Vhi Xdcigdah Wji cd k^ZlÄcYZg 6EH 8 ')#( 8Vcdc B '*!+%% &%-% ). )#' ( '*% &&%#. +- ))#) (++
Canon EOS M6 ,(% (#*★ JeYViZ id :DH B( l^i] [VhiZg Vjid[dXjh VcY ^begdkZY Xdcigdah 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). . ( '.* &&' +- ))#* (.%
Canon EOS M5 £1049 4★ 9AHG hinaZ b^ggdgaZhh XVbZgV XdbW^cZh heZZY VcY \ddY ]VcYa^c\ 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). . (#' '.* &&*#+ -.#' +%#+ )',
Fujifilm X-A10 £500 4★ H^beaZ Zcign aZkZa 8H8 l^i] i^ai^c\ hXgZZc [dg hZaÄZh 6EH 8 &+#( ;j_^ M '*!+%% &%-% ). + ( (*% &&.#+ +,#) )%#) ((&
Fujifilm X-A3 *.. ;j_^¼h WjY\Zi gVc\Z d[ k^ZlÄcYZgaZhh 8H8h \V^ch ')#'BE hZchdg 6EH 8 ')#' ;j_^ M '*!+%% &%-% ,, &% ( )&% &&+#. ++#. )%#) ((.
Fujifilm X-A5 £549 3.5★ HeZZY^Zg WjY\Zi bdYZa l^i] cZl egdXZhhdg VcY e]VhZ YZiZXi^dc 6; 6EH 8 ')#' ;j_^ M *&!'%% (-)% .& + ( )*% &&+#. +,#, )%#) (+&
Fujifilm X-E2S £549 4★ GVc\ZÄcYZg hinaZ YZh^\c l^i] k^ZlÄcYZg VcY VcVad\jZ Xdcigdah 6EH 8 &+#( ;j_^ M *&!'%% &%-% ). , ( (*% &'. ,)#. (,#' (*%
Fujifilm X-E3 £849 4.5★ :mXZaaZci ^bV\Z fjVa^in ^c XdbeVXi WdYn i]Vi ]VcYaZh lZaa 6EH 8 ')#( ;j_^ M *&!'%% (-)% ('* * ( (*% &'&#( ,(#. )'#, ((,
Fujifilm X-H1 £1699 4.5★ Egd ÅV\h]^e l^i] gdWjhi Wj^aY VcY * Vm^h ^c WdYn hiVW^a^hVi^dc 6EH 8 ')#( ;j_^ M *&!'%% )%.+ ('* &) ( (&% &(.#- .,#( -*#* +,(
Fujifilm X-T100 £619 4★ 6iigVXi^kZan YZh^\cZY Zcign aZkZa bdYZa \^kZh ZmXZaaZci ^bV\Z fjVa^in 6EH 8 ')#' ;j_^ M *&!'%% (-)% .& - ( )(% &'& -( ),#) ))-
Fujifilm X-T20 ,.. *★ HbVaa HAG hinaZ bdYZa l^i] higdc\ [ZVijgZ hZi ^cXajY^c\ idjX]hXgZZc 6EH 8 ')#( ;j_^ M *&!'%% (-)% ('* - ( (*% &&-#) -'#- )&#) (-(
Fujifilm X-T1 £1100 5★ GZigd YZh^\c WVhZY VgdjcY VcVad\jZ Xdcigda Y^Vah VcY aVg\Z :K; 6EH 8 &+#( ;j_^ M *&!'%% &%-% ). - ( (*% &'. -.#- )+#, ))%
Fujifilm X-Pro2 £1349 5★ =^\] ZcY bdYZa l^i] jc^fjZ dei^XVa$ZaZXigdc^X ]nWg^Y k^ZlÄcYZg 6EH 8 ')#( ;j_^ M *&!'%% &%-% ,, - ( '*% &)%#* -'#- )*#. ).*
Fujifilm X-T2 £1450 5★ HjeZgW ^bV\Z fjVa^in VcY ]VcYa^c\ bV`Z ^i i]Z WZhi 6EH 8 8H8 id YViZ 6EH 8 ')#( ;j_^ M *&!'%% &%-% ('* &) ( ()% &('#* .&#- ).#' *%,
Leica CL £2250 4.5★ <dg\Zdjh 6EH 8 b^ggdgaZhh bdYZa l^i] k^ZlÄcYZg VcY idjX]hXgZZc 6EH 8 ')#' AZ^XV A *%!%%% (-)% ). &% ( ''% &(& ,- )* )%(
Leica TL &(*% Hina^h] Vajb^c^jb WdYn VcY idjX]hXgZZc aZY Xdcigda 6EH 8 &+ AZ^XV A &'!*%% &%-% &.* * (#, )%% &() +. (( (-)
Leica TL2 &,%% )★ JeYViZ id i]Z IA l^i] ')BE hZchdg VcY bjX] [VhiZg deZgVi^dc 6EH 8 ') AZ^XV A *%!%%% (-)% ). '% (#, '*% &() +. (( (..
Leica SL £5500 4★ AZ^XV¼h [jaa [gVbZ 8H8 ]Vh Vc Vhidc^h]^c\ k^ZlÄcYZg ;; ') AZ^XV A *%!%%% )%.+ ). && ( )%% &), &%) (. -),
Olympus PEN E-PL8 (.. GZigd ZmiZgcVa YZh^\c ]^YZh hZg^djh heZX^ÄXVi^dch )$( &+#& B^X)$( '*!+%% &%-% -& -#* ( (*% &&,#& +-#( (-#) (,)
Olympus PEN E-PL9 £650 4★ :cign aZkZa 8H8 l^i] Wj^ai ^c ÅVh] VcY )@ k^YZd Wji cd k^ZlÄcYZg dei^dc )$( &+#& B^X)$( '*!+%% (-)% &'& -#+ ( (*% &&,#& +- (. (-%
Olympus OM-D E-M10 II £549 4.5★ B^Y gVc\Z bdYZa ]Vh V higdc\ [ZVijgZ hZi VcY eZg[dgbh kZgn lZaa )$( &+#& B^X)$( '*!+%% &%-% -& -#* ( ('% &&.#* -(#& )+#, ()'
Olympus OM-D E-M10 II £699 4.5★ :mXZaaZci b^Y gVc\Z 8H8 l^i] h^bea^ÄZY! ZVhn id jhZ ^ciZg[VXZ )$( &+#& B^X)$( '*!+%% (-)% &'& -#+ ( ((% &'&#* -(#+ ).#* )&%
Olympus OM-D E-M5 II £900 5★ 8dbW^cZh \gZVi ]VcYa^c\ VcY ^bV\Z fjVa^in l^i] hina^h] add`h )$( &+ B^X)$( '*!+%% &%-% -& &% ( ,*% &'(#, -* ))#* )+.
Olympus PEN-F £1000 5★ AdkZan gZigd gVc\ZÄcYZg hinaZY 8H8 l^i] Wj^ai ^c k^ZlÄcYZg )$( '%#( B^X)$( '*!+%% &%-% -& &% ( ((% &')#- ,'#& (,#( )',
Olympus OM-D E-M1 II £1850 5★ HjeZgW 6; hnhiZb! hjeZg [Vhi h]ddi^c\ VcY gZbVg`VWaZ ^c WdYn >H )$( '%#) B^X)$( '*!+%% (-)% &'& &- ( ))% &()#& .%#. +-#. *,)
Panasonic Lumix G7 +,. )★ )@ k^YZd XVeijgZ ^c V gZaVi^kZan ^cZmeZch^kZ HAG hinaZ 8H8 )$( &+ B^X)$( '*!+%% (-)% ). - ( (+% &')#. -+#' ,,#) )&%
Panasonic Lumix G9 £1499 4.5★ =^\] heZZY! gj\\ZY e]did XZcig^X ÅV\h]^e 8H8 l^i] ^c WdYn >H )$( '%#( B^X)$( '*!+%% (-)% ''* . ( -.% &(+#. .,#( .&#+ +*-
Panasonic Lumix G80 £699 4.5★ 9HAG hinaZ bdYZa [dg Zci]jh^Vhih l^i] ^c WdYn >H VcY )@ k^YZd )$( &+ B^X)$( '*!+%% (-)% ). . ( ((% &'-#) -. ,)#( *%*
Panasonic Lumix GX800 £500 4★ I^cn ZVhn id jhZ edX`Zi 8H8 l^i] i^ai^c\ hXgZZc VcY )@ k^YZd )$( &+ B^X)$( '*!+%% (-)% ). *#- ( '&% &%+#* +)#+ ((#( '+.
Panasonic Lumix GX80 £599 4.5★ LZaa _jY\ZY XdbeVXi bdYZa l^i] >H! i^ai^c\ hXgZZc VcY k^ZlÄcYZg )$( &+ B^X)$( '*!+%% )%.+ ). - ( '.% &'' ,%#+ )(#. )'+
Panasonic Lumix GX8 £1000 5★ >c WdYn hiVW^a^hVi^dc VcY i^ai^c\ k^ZlÄcYZg ^c V aVg\Z gj\\ZY WdYn )$( '%#( B^X)$( '*!+%% (-)% ). - ( ((% &((#' ,- +(#& )-,
Panasonic Lumix GX9 £699 4★ 8dbeVXi WdYn l^i] i^ai^c\ hXgZZc VcY k^ZlÄcYZg! VcY * Vm^h hiVW^a^hVi^dc )$( '%#( B^X)$( '*!+%% (-)% ). . ( .%% &') ,'#& )+#- )*%
Panasonic Lumix GH5 £1299 4.5★ K^YZd [dXjhZY ]^\] ZcY 8H8 l^i] ^c WdYn hiVW^a^hVi^dc VcY )@ gZXdgY^c\ )$( '%#' B^X)$( '*!+%% )%.+ ''* &' (#' )&% &(-#* .-#& -,#) ,'*
Panasonic Lumix GH5S '&.. Egd[Zhh^dcVa k^YZd kZgh^dc d[ <=* l^i] &%#'BE bjai^ VheZXi hZchdg )$( &%#' B^X)$( '%)!-%% )%.+ ''* && (#' )&% &(-#* .-#& -,#) ++%
Sony Alpha 5000 £420 4★ H^beaZ! XdbeVXi bdYZa V^bh id XdbeZiZ l^i] Zcign aZkZa 9HAGh 6EH 8 '%#& Hdcn : &+!%%% &%-% '* (#* ( )'% &&% +( (+ '.+
Sony Alpha 5100 £549 4★ DcZ d[ i]Z kZgn WZhi Zcign aZkZa XVbZgVh [dg k^YZd VcY ^bV\ZfjVa^in 6EH 8 ') Hdcn : '*!+%% &%-% &,. + ( )%% &&% +( (+ '-(
Sony Alpha 6000 +,% )#*★ Hde]^hi^XViZY 6; VcY Vc ^begZhh^kZ 6EH 8 hZchdg 6EH 8 ') Hdcn : '*!+%% &%-% &,. && ( (&% &'% +, )* ())
Sony Alpha 6300 £1000 4.5★ EgZb^jb 8H8 i]Vi WdVhih [Vhi 6; igVX`^c\ VcY )@ k^YZd 6EH 8 ')#' Hdcn : *&!'%% (-)% )'* && ( (*% &'% ++#. )-#- )%)
Sony Alpha 6500 £1500 5★ IZX]c^XVaan ]j\Zan VXXdbea^h]ZY 8H8 l^i] ^c WdYn ^bV\ZhiVW^a^hVi^dc 6EH 8 ')#' Hdcn : *&!'%% (-)% )'* && ( (*% &'% ++#. *(#( )*(
Sony Alpha 7 £1300 4.5★ DcZ d[ i]Z a^\]iZhi! hbVaaZhi [jaa [gVbZ XVbZgVh ;; ')#( Hdcn : '*!+%% &%-% &&, * ( ()% &', .) )- ),)
Sony Alpha 7 II £1498 5★ I]Z [jaa [gVbZ 6ae]V , >> ^cXajYZh ^c WdYn ^bV\Z hiVW^a^hVi^dc ;; ')#( Hdcn : '*!+%% &%-% &&, * ( (*% &'+#. .*#, *.#, **+
Sony Alpha 7 III £1999 5★ GZbVg`VWaZ Vaa gdjcYZg l^i] &%[eh h]ddi^c\ VcY )@ k^YZd gZXdgY^c\ ;; ')#' Hdcn : '%)!-%% (-)% +.( &% ( +&% &'+#. .*#+ ,(#, +*%
Sony Alpha 7R &,%% )#*★ HVbZ WdYn YZh^\c Vh i]Z 6ae]V , Wji ]^\]Zg gZhdaji^dc hZchdg ;; (+#) Hdcn : '*!+%% &%-% '* ) ( ()% &', .) )- )+*
Sony Alpha 7R II £2599 5★ 6 W^\ hiZe je [gdb i]Z 6,G0 dcZ d[ i]Z WZhi [jaa [gVbZ XVbZgVh VkV^aVWaZ ;; )'#) Hdcn : &%'!)%% (-)% (.. * ( '.% &'+#. .*#, +%#( +'*
Sony Alpha 7R III £3200 5★ HVbZ hZchdg Vh 6,G >>! Wji [VhiZg VcY l^i] ^begdkZYWdYnYZh^\c ;; )'#) Hdcn : &%'!)%% (-)% (.. &% ( +*% &'+#. .*#+ ,(#, +*,
Sony Alpha 7S £2259 4★ GZbVg`VWaZ adl a^\]i VcY k^YZd XVeVW^a^i^Zh ;; &'#' Hdcn : )%.!+%% &%-% '* * ( (-% &'+#. .)#) )-#' )-.
Sony Alpha 7S II £2500 5★ 6 heZX^Va^hi XVbZgV [dg adl a^\]i h]ddi^c\ VcY )@ k^YZd ;; &'#' Hdcn : )%.!+%% (-)% &+. * ( (&% &'+#. .*#, +%#( +',
Sony Alpha 9 £4500 5★ HjeZg"[Vhi8H8l^i]'%[ehh]ddi^c\VcYhijcc^c\dkZgVaaeZg[dgbVcXZ ;; ')#' Hdcn: '%)!-%% (-)% +.( '% ( +*% &'+#. .*#+ +( +,(
Up to Up to
£120 CASHBACK £300 CASHBACK
on selected Canon on selected Panasonic
cameras this Summer! cameras this Summer!
Lens mounts
Each manufacturer has its own
Lenses lens mount and most aren’t
compatible with one another. For
Interchangeable lenses come in example, a Canon DSLR can’t use
Nikon lenses, although you can
a huge array of types for shooting use independent brands if you get
different kinds of subjects them with the right mount.
IN GENERAL, the easiest way
to expand the kinds of pictures
you can take is by buying Built-in focus motor
different types of lenses. For Most lenses now incorporate an internal
example, telephoto lenses motor to drive the autofocus, although
let you zoom in on distant some are still driven from the camera
subjects, while macro body. DSLR lenses often use ultrasonic-
lenses enable close-ups of type motors for fast focusing, while
small objects. Large- those for mirrorless cameras tend to
aperture lenses allow you employ video-friendly stepper motors.
to isolate subjects against
blurred backgrounds, or
shoot in low light without
having to raise the ISO too Filter thread Maximum
high. Meanwhile, all-in-one A thread at the front of aperture
superzooms cover a wide the camera will have Wider apertures mean
range of subjects, but usually a diameter, in mm, which you can use faster,
with rather lower optical quality. will allow you to attach motion-stopping
a variety of filters or shutter speeds.
adapters to the lens.
LENS SUFFIX GUIDE USED BY MANUFACTURERS
AF Nikon AF lenses driven from camera DC Nikon defocus control portrait lenses ED Extra low Dispersion elements LD Low Dispersion glass SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DC Sigma’s lenses for APS C digital EF Canon’s DSLR lenses for full frame LM Fujifilm Linear Motor SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors DG Sigma’s designation for full frame lenses EF-S Canon lenses for APS C sized sensors MP-E Canon’s high magnification macro lens STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di Tamron lenses for full frame sensors EF-M Canon’s lenses for its mirrorless M range OIS Optical Image Stabilisation STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-II Tamron lenses designed for APS C DSLRs EX Sigma’s ‘Excellent’ range OS Sigma’s Optically Stabilised lenses TS-E Canon Tilt and Shift lens
APO Sigma Apochromatic lenses Di-III Tamron lenses for mirrorless cameras FA Pentax full frame lenses PC-E Nikon tilt and shift lenses UMC Ultra Multi Coated
ASPH Aspherical elements DN Sigma’s lenses for mirrorless cameras FE Sony lenses for full frame mirrorless PF Nikon Phase Fresnel optics USM Canon lenses with an Ultrasonic Motor
AT-X Tokina’s Advanced Technology Extra Pro DO Canon diffractive optical element lenses G Nikon lenses without an aperture ring PRO Tokina and Olympus Professional lenses USD Tamron Ultrasonic Drive motor
AW Pentax all weather lenses DT Sony lenses for APS C sized sensors HSM Sigma’s Hypersonic Motor PZD Tamron Piezo Drive focus motor VC Tamron’s Vibration Compensation
CS SamyanglensesforAPS Ccroppedsensors DX Nikon’s lenses for DX format digital IF Internal Focusing SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
D Nikon lenses that communicate distance info E Nikon lenses with electronic apertures IS Canon’s Image Stabilised lenses SDM Pentax’s Sonic Direct Drive Motor XR Tamron Extra Refractive Index glass
DA Pentax lenses optimised for APS-C-sized sensors E Sony lenses for APS-C mirrorless L Canon’s ‘Luxury’ range of lenses SMC Pentax Super Multi Coating WR Weather Resistant
DSLR Lenses
LENGTH (MM)
FULL FRAME
WIDTH (MM)
PENTAX
CANON
WEIGHT
NIKON
SIGMA
CANON DSLR
EF 8-15mm f/4 L USM &).. >begZhh^kZ add`^c\ Äh]ZnZ oddb aZch [gdb 8Vcdc &* c$V ,-#* -( *)%\
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ 6 hjeZgW jaigV l^YZVc\aZ i]Vi¼h V bjhi ]VkZ [dg VcndcZ h]ddi^c\ aVcYhXVeZh VcY X^inhXVeZh '' +, ,)#+ ,' ')%\
EF-S 10-22mm f/3.5-4.5 USM ..% )★ 6 \ddY eZg[dgbZg! l^i] hda^Y BI; XjgkZh VcY b^c^bVa X]gdbVi^X VWZggVi^dc ') ,, -(#* -.#- (-*\
EF 11-24mm f/4 L USM ',.. *★ Adc\ VlV^iZY Wn 8Vcdc [jaa [gVbZ jhZgh! i]^h ^h i]Z ldgaY¼hl^YZhi"Vc\aZgZXi^a^cZVgoddbaZch '- c$V &%- &(' &&-%\
EF 14mm f/2.8 L II USM '-&% )#*★ >begZhh^kZ gZhdaji^dc Vi [$- Wji aZhh hd l^YZ deZc '% c$V -% .) +)*\
EF-S 15-85mm f/3.5-5.6 IS USM .%% )★ ;djg hide ^bV\Z hiVW^a^hVi^dc VcY HjeZg HeZXigV XdVi^c\h! id\Zi]Zgl^i]VjhZ[jagVc\Z (* ,' -&#+ -,#* *,*\
EF 16-35mm f/2.8 L II USM &,.% )#*★ 6 \ddY eZg[dgbZg l^i] higdc\ gZhjaih Vi [$- ^c eVgi^XjaVg '- -' --#* &&&#+ +(*\
EF 16-35mm f/2.8 L III USM '&*% GZkVbeZY l^YZVc\aZ oddb ^cXajYZh cZl dei^Xh ^c V lZVi]Zg hZVaZY aZch WVggZa '- -' -.#* &',#* ,.%\
EF 16-35mm f/4 L IS USM £1199 4★ KZghVi^aZ VcY l^i] V jhZ[ja >H hnhiZb! i]^h ^h V kZgn \ddY jaigV l^YZVc\aZ oddb [dg [jaa [gVbZXVbZgVh '- ,, -'#+ &&'#- +&*\
TS-E 17mm f/4 L '.'% I^ai VcY h]^[i dei^X l^i] ^cYZeZcYZci i^ai VcY h]^[i gdiVi^dc VcY gZYZh^\cZY XdVi^c\h '* ,, --#. &%+#. -'%\
EF 17-40mm f/4 L USM .)% )★ 9Zh^\cZY id bViX] i]Z cZZYh d[ YZbVcY^c\ egd[Zhh^dcVah VcY YdZh hd l^i] ZVhZ '- ,, -(#* .+#- *%%\
EF-S 17-55mm f/2.8 IS USM ,.* )★ KZgn XVeVWaZ aZch l^i] i]gZZ hide ^bV\Z hiVW^a^hVi^dc! HjeZg HeZXigV XdVi^c\ VcY VX^gXjaVgVeZgijgZ (* ,, -(#* &&%#+ +)*\
EF-S 18-55mm f/3.5-5.6 IS STM &.* KZghVi^aZ! V[[dgYVWaZ hiVcYVgY oddb [ZVijg^c\ [djg hide ^bV\Z hiVW^a^hVi^dc '* *- +. ,*#' '%*\
EF-S 18-55mm f/4-5.6 IS STM ''% AViZhi hiVcYVgY oddb [dg 8Vcdc¼h 6EH 8 :DH 9HAGh! l^i] XdbeVXi YZh^\c VcY jeYViZY dei^Xh '* *- ++#* +&#- '&*\
EF-S 18-135mm f/3.5-5.6 IS STM ),- JhZh hiZeeZg bdidg [dg h^aZci VcY [Vhi Vjid[dXjh i]Vi¼h Vahd lZaa hj^iZY id k^YZd ldg` (. +, ,+#+ .+ )-%\
EF-S 18-135mm f/3.5-5.6 IS USM
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
*%% KZghVi^aZ oddb l^i] cZl CVcd JHB [dXjh iZX]cdad\n VcY dei^dcVa edlZg oddb VYVeiZg (. +, ,,#) .+ *&*\
EF-S 18-200mm f/3.5-5.6 IS ,)% )★ 6jidbVi^X eVcc^c\ YZiZXi^dc [dg ^bV\Z hiVW^a^hVi^dc VcY V jhZ[ja &&m oddb gVc\Z )* ,' ,-#+ &%' *.*\
EF 20mm f/2.8 USM +&% L^YZVc\aZ aZch l^i] V ÅdVi^c\ gZVg [dXjh^c\ hnhiZb VcY V JHB bdidg '* ,' ,,#* ,%#+ )%*\
EF 24mm f/1.4 L II USM '%&% HjWlVkZaZc\i] higjXijgZ XdVi^c\! id\Zi]Zg l^i] J9 VcYVhe]Zg^XVaZaZbZcih '* ,, -(#* -+#. +*%\
EF 24mm f/2.8 IS USM ,*% )★ HbVaa l^YZVc\aZ dei^X l^i] ^bV\Z hiVW^a^hVi^dc '% *- +-#) **#, '-%\
EF-S 24mm f/2.8 STM &+* )★ 7Vg\V^c eg^XZ! i^cn XVggn ZkZgnl]ZgZ h^oZ VcY V ]^\]an XdbeZiZci ^bV\^c\ eZg[dgbVcXZ &+ *' +-#' ''#- &'*\
TS-E 24mm f/3.5 L II '**% I^ai VcY h]^[i dei^X l^i] ^cYZeZcYZci i^ai VcY h]^[i gdiVi^dc VcY gZYZh^\cZYXdVi^c\h '& -' --#* &%+#. ,-%\
EF 24-70mm f/2.8 L II USM '(%% *★ Egd[Zhh^dcVa"fjVa^inhiVcYVgYoddbaZchl^i]V[VhiVeZgijgZ (- -' --#* &&( -%*\
LENGTH (MM)
FULL FRAME
WIDTH (MM)
PENTAX
CANON
WEIGHT
NIKON
SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
EF 24-70mm f/4 L IS USM &).. A hZg^Zh oddb hV^Y id WZ XdbeVXi! edgiVWaZ VcY V^bZY Vi Wdi] egd[Zhh^dcVah VcY VbViZjgh (- ,, -(#) .( +%%\
EF 24-105mm f/4 L IS II USM £1129 4★ GZldg`ZY ldg`]dghZ oddb [dg [jaa [gVbZ XVbZgVh jhZh Vc Vaa cZl dei^XVa YZh^\c )* ,, -(#* &&- ,.*\
EF 24-105mm f/3.5-5.6 IS STM ),. (#*★ 6 kZghVi^aZ hiVcYVgY oddb aZch i]Vi¼h Vc ^YZVa gdjiZ ^cid [jaa [gVbZ e]did\gVe]n )% ,, -(#) &%) *'*\
EF 28mm f/1.8 USM *,% JHB bdidg VcY Vc Vhe]Zg^XVa ZaZbZci! id\Zi]Zg l^i] V l^YZ bVm^bjb VeZgijgZ '* *- ,(#+ **#+ (&%\
EF 28mm f/2.8 IS USM ,(% (#*★ A^\]ilZ^\]i VcY ^cZmeZch^kZ aZch! l^i] V h^c\aZ Vhe]Zg^XVa ZaZbZci (% *' +,#) )'#* &-*\
EF 28-300mm f/3.5-5.6 L IS USM ('.% A hZg^Zh dei^X l^i] ZmeVch^kZ gVc\Z! ^bV\Z hiVW^a^hVi^dc VcY V X^gXjaVg VeZgijgZ ,% ,, .' &-) &+,%\
EF-S 35mm f/2.8 Macro IS STM (.. ;ZVijgZh Vc ^ccdkVi^kZ Wj^ai ^c YjVa A:9 a^\]i [dg XadhZ je h]ddi^c\ &( ). +.#' **#- &.%\
EF 35mm f/2 IS USM ,.. ;^ghi (*bb eg^bZ [gdb 8Vcdc id [ZVijgZ Vc dei^XVa hiVW^a^hVi^dchnhiZb ') +, +'#+ ,,#. ((*\
EF 35mm f/1.4 L II USM &,.. *★ 6c djihiVcY^c\ VYY^i^dc id i]Z A hZg^Zh a^cZ je '- ,' -%#) &%)#) ,+%\
EF 40mm f/2.8 STM '(% 6 edgiVWaZ VcY kZghVi^aZ XdbeVXi eVcXV`Z aZch# 6 [Vhi bVm^bjb VeZgijgZZcVWaZhadl"a^\]ih]ddi^c\ (% *' +-#' ''#- &(%\
TS-E 45mm f/2.8 &'%% I^ai VcY h]^[i aZch YZh^\cZY [dg hijY^d egdYjXi e]did\gVe]n )% ,' -& .%#& +)*\
EF 50mm f/1.2 L USM &.&% KZgn l^YZ bVm^bjb VeZgijgZ VcY HjeZg HeZXigV XdVi^c\h! VcY V X^gXjaVg VeZgijgZ )* ,' -*#- +*#* *-%\
EF 50mm f/1.4 USM )*% *★ 7g^aa^Vci eZg[dgbZg! l^i] V ]^\]an Xdch^hiZci hZi d[ BI; XjgkZh# 6; bdidg ^h V iVY cd^hn!i]dj\] )* *- ,(#- *%#* '.%\
EF 50mm f/1.8 STM &(% *★ A^\]iZhi :; aZch ^c i]Z gVc\Z! l^i] l^YZ bVm^bjb VeZgijgZ VcY V B^Xgd Bdidg (* ). +.#' (.#( &(%\
TS-E 50mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH : )*bb [$'#- ', ,, -+#. &&)#. .)*\
EF-S 55-250mm f/4-5.6 IS STM '+* 6 XdbeVXi iZaZe]did aZch [ZVijg^c\ hbddi]! fj^Zi HIB [dXjh^c\ l]Zc h]ddi^c\ bdk^Zh &&% *- ,% &&&#' (,*\
EF-S 60mm f/2.8 Macro USM *)% )★ <gZVi Wj^aY VcY dei^XVa fjVa^in! l^i] [Vhi! VXXjgViZ VcY cZVg h^aZci [dXjh^c\ '% *' ,( +.#- ((*\
MP-E 65mm f/2.8 1-5x Macro &'*% BVXgd aZch YZh^\cZY id VX]^ZkZ V bV\c^ÄXVi^dc \gZViZg i]Vc &m l^i]dji VXXZhhdg^Zh ') *- -& .- ,&%\
EF 70-200mm f/2.8 L USM &*)% Cdc hiVW^a^hZY A hZg^Zh dei^X! l^i] gZVg [dXjh^c\ VcY [djg J9 ZaZbZcih &*% ,, -)#+ &.(#+ &(&%\
EF 70-200mm f/2.8 L IS II USM &.%% *★ 6 \gZVi aZch Wji Vahd V Xdhian dcZ# EZV` gZhdaji^dc Vi %#) XnXaZh eZg e^mZa ^h h^bean VbVo^c\ &'% ,, --#- &.. &).%\
NEW EF 70-200mm f/2.8 L IS III USM '&*% JeYViZh 8Vcdc¼h ZmXZaaZci egd ldg`]dghZ oddb l^i] lViZg gZeZaaZci Åjdg^cZXdVi^c\h &'% ,, --#- &.. &)-%\
EF 70-200mm f/4 L USM ,.% 6 X]ZVeZg A hZg^Zh VaiZgcVi^kZ id i]Z [$'#- kZgh^dch VkV^aVWaZ &'% +, ,+ &,' ,%*\
EF 70-200mm f/4 L IS USM &'&% *★ 6 hjeZgW dei^dc [dg i]Z hZg^djh hedgih VcY VXi^dc e]did\gVe]Zg &'% +, ,+ &,' ,+%\
NEW EF 70-200mm f/4L IS II USM &(%% Je\gVYZY egZb^jb iZaZe]did oddb egdb^hZh ÄkZ hideh d[ ^bV\Z hiVW^a^hVi^dc &%% ,' -% &,+ ,-%\
EF 70-300mm f/4.5-5.6 IS II USM ).. )#*★ B^Y gVc\Z iZaZe]did oddb d[[Zgh gZVaan \ddY dei^Xh VcY [Vhi!h^aZciVjid[dXjh &'% +, -% &)*#* ,&%\
EF 70-300mm f/4-5.6 L IS USM &+%% *★ 6c A hZg^Zh aZch l^i] V ]^\]an YjgVWaZ djiZg h]Zaa &'% +, -. &)( &%*%\
EF 70-300mm f/4.5-5.6 DO IS USM &,%% I]gZZ aVnZg Y^[[gVXi^kZ dei^XVa ZaZbZci VcY ^bV\Z hiVW^a^hVi^dc &)% *- -'#) ..#. ,'%\
EF 75-300mm f/4-5.6 III (%% :hhZci^Vaan i]Z hVbZ aZch Vh i]Z ,* (%%bb [$) *#+ >>> JHB Wji l^i] cd JHB &*% *- ,& &'' )-%\
EF 75-300mm f/4-5.6 III USM (*% '#*★ <ddY Wji cdi djihiVcY^c\# I]Z ^cXajh^dc d[ V bZiVa aZch bdjci ^h edh^i^kZ! i]dj\] &*% *- ,& &'' )-%\
EF 85mm f/1.2 L II USM '+)% )★ 6 lZaa XgV[iZY aZch! l^i] [Vhi VcY fj^Zi 6; l^i] \ddY k^\cZii^c\ VcY Y^hidgi^dc Xdcigda .* ,' .&#* -)#% &%'*\
EF 85mm f/1.4L IS USM &*,% *★ HjWa^bZ! ]^\]an YZh^gVWaZ edgigV^i aZch XdbW^cZh aVg\Z VeZgijgZ VcY dei^XVa ^bV\ZhiVW^a^hVi^dc -* ,, --#+ &%*#) .*%\
EF 85mm f/1.8 USM ),% *★ Cdc gdiVi^c\ [gdci g^c\ i]Vc`h id gZVg [dXjh^c\ hnhiZb! Vh lZaa Vh JHB -* *- ,* ,&#* )'*\
TS-E 90mm f/2.8 &+,% HV^Y id WZ i]Z ldgaY¼h Äghi (*bb [dgbVi iZaZe]did aZch l^i] i^ai VcY h]^[i bdkZbZcih *% *- ,(#+ -- *+*\
TS-E 90mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH : .%bb [$'#- (. ,, -+#. &&+#* .&*\
EF 100mm f/2 USM **. 6 bZY^jb iZaZe]did aZch l^i] V l^YZ VeZgijgZ! bV`^c\ ^i ^YZVa [dg edgigV^ih .% *- ,* ,(#* )+%\
EF 100mm f/2.8 Macro USM +*% )★ 6 hda^Y eZg[dgbZg! Wji lZV` Vi [$'#- l]^X] ^h ediZci^Vaan \ddY[dgedgigV^ih (& *- ,. &&. +%%\
EF 100mm f/2.8 L Macro IS USM &%+% *★ Hijcc^c\ BI; Ä\jgZh [gdb i]^h egd \gVYZ bVXgd dei^X (% +, ,,#, &'( +'*\
EF 100-400mm f/4.5-5.6 L IS II USM &... )#*★ A hZg^Zh XdchigjXi^dc VcY dei^Xh! ^cXajY^c\ Åjdg^iZ VcY HjeZg J9 ZaZbZcih .- ,, .) &.( &+)%\
EF 135mm f/2 L USM &(+% A hZg^Zh XdchigjXi^dc l^i] ild J9 ZaZbZcih VcY l^YZ bVm^bjb VeZgijgZ .% ,' -'#* &&' ,*%\
TS-E 135mm f/4L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! l^i] &/' bV\c^ÄXVi^dc ). -' --#* &(.#& &&&%\
EF 180mm f/3.5 L Macro USM &-,% A hZg^Zh bVXgd aZch l^i] ^ccZg [dXjh^c\ hnhiZb VcY JHB iZX]cdad\n )- ,' -'#* &-+#+ &%.%\
EF 200mm f/2.8 L II USM .+% Ild J9 ZaZbZcih VcY V gZVg [dXjh^c\ hnhiZb ^c i]^h A hZg^Zh dei^X &*% ,' -(#' &(+#' ,+*\
EF 300mm f/4 L IS USM &,)% Ild hide ^bV\Z hiVW^a^hVi^dc l^i] hZeVgViZ bdYZ [dg eVcc^c\ bdk^c\ hjW_ZXih &*% ,, .% ''& &&.%\
EF 400mm f/5.6 L USM &++% HjeZgJ9VcYJ9ZaZbZcih!VhlZaaVhVYZiVX]VWaZig^edYbdjciVcYWj^ai"^c]ddY (*% ,, .% '*+#* &'*%\
NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S &'.. ;^h]ZnZ oddb [dg [jaa [gVbZ 9HAGh i]Vi \^kZh V X^gXjaVg k^Zl Vi -bb VcY [jaa [gVbZ XdkZgV\Z Vi &*bb &+ c$V ,,#* -( )-*\
10-20mm f/4.5-5.6 G VR AF-P DX ((% (#*★ >cZmeZch^kZ l^YZ oddb [dg 9M 9HAGh ]Vh Z[[ZXi^kZ ^bV\Z hiVW^a^hVi^dc Wji gVi]Zg VkZgV\Zdei^Xh '' ,' ,, ,( '(%\
10-24mm f/3.5-4.5 G ED AF-S DX -() )★ BI; eZg[dgbVcXZ ^h \ddY [gdb l^YZ deZc id [$&&! dcan WgZV`^c\ Ydlc eVhi [$'' ') ,, -'#* -, )+%\
10.5mm f/2.8 G ED DX Fisheye +,- 9M [dgbVi Äh]ZnZ aZch l^i] C^`dc¼h 8adhZ GVc\Z 8dggZXi^dc hnhiZb VcY :9 \aVhh &) c$V +( +'#* (%%\
12-24mm f/4 G ED AF-S DX &%)) )★ I]^h kZcZgVWaZ dei^X bVn WZ V a^iiaZ lZV` Vi [$)! Wji di]Zgl^hZ ^i¼h V \ddY eZg[dgbZg (% ,, -'#* .% )-*\
14mm f/2.8 D ED AF &**) *★ 6 gZVaan c^XZ aZch i]Vi ]VcYaZh lZaa VcY d[[Zgh ZmXZaaZci ^bV\Z fjVa^in '% c$V -, -+#* +,%\
14-24mm f/2.8 G ED AF-S &+,% *★ 6 gZbVg`VWaZ e^ZXZ d[ `^i! egdYjX^c\ h]Vge ^bV\Zh l^i] a^iiaZ X]gdbVi^X VWZggVi^dc '- c$V .- &(&#* .,%\
16mm f/2.8 D AF Fisheye ,+' ;jaa [gVbZ Äh]ZnZ aZch l^i] 8adhZ GVc\Z 8dggZXi^dc hnhiZb VcY '*Xb [dXjh Y^hiVcXZ '* c$V +( *, '.%\
16-35mm f/4 G ED AF-S VR &%,' *★ 6 [VciVhi^X aZch i]Vi YZhZgkZh id WZ iV`Zc hZg^djhan! l^i] kZgn a^iiaZ 86 i]gdj\]dji '- ,, -'#* &'* +-*\
16-80mm f/2.8-4E ED VR AF-S DX -+. )★ I]^h cZl hiVcYVgY oddb [dg 9M [dgbVi jhZgh ^h YZh^\cZY Vh V igVkZa aZch [dg 6EH 8 9HAGh (* ,' -% -*#* )-%\
16-85mm f/3.5-5.6 G ED VR AF-S DX *,) )★ 7dVhi^c\ C^`dc¼h hZXdcY \ZcZgVi^dc KG >> iZX]cdad\n VcY HjeZg >ciZ\gViZY 8dVi^c\ (- +, ,' -* )-*\
17-55mm f/2.8 G ED-IF AF-S DX &(*+ )★ 6 ]^\]Zg fjVa^in hiVcYVgY oddb [dg 9M [dgbVi 9HAGh (+ ,, -*#* &&%#* ,**\
18-35mm f/3.5-4.5 G ED AF-S ++. *★ L^YZVc\aZ oddb l^i] ^chiVci bVcjVa [dXjh dkZgg^YZ [dg [jaa [gVbZ 9HAGh '- ,, -( .* (-*\
18-55mm f/3.5-5.6 G II AF-S DX &*+ (#*★ :cign aZkZa hiVcYVgY oddb aZch '- *' ,( ,.#* '+*\
18-55mm f/3.5-5.6 G VR II AF-S DX ''. EdejaVg (m oddb aZch i]Vi ^h gZbVg`VWan XdbeVXi VcY a^\]ilZ^\]i! d[[Zg^c\ \gZViedgiVW^a^in '- *' ++ *.#* &.*\
18-55mm f/3.5-5.6 G AF-P DX &). 6 XdbeVXi! a^\]ilZ^\]i 9M [dgbVi oddb i]Vi¼h Vc ^YZVa lVa` VgdjcY aZch '* ** +)#* +'#* &.*\
18-55mm f/3.5-5.6 G VR AF-P DX &.. 6 XdbeVXi! a^\]ilZ^\]i 9M [dgbVi oddb aZch l^i] K^WgVi^dc GZYjXi^dc '* ** +)#* +'#* '%*\
18-105mm f/3.5-5.6 G ED VR AF-S DX '.' )#*★ @^i aZch [dg C^`dc 9.% 9,%%% l^i] H^aZci LVkZ Bdidg VcY K^WgVi^dc GZYjXi^dc c$V +, ,+ -. )'%\
18-140mm f/3.5-5.6 G ED VR AF-S DX *,. 6 XdbeVXi VcY a^\]ilZ^\]i 9M [dgbVi oddb! i]^h aZch ^h V \gZVi Vaa gdjcYZg )* +, ,- ., ).%\
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX ,+' )#*★ ;djg hide KG >> hnhiZb! ild :9 VcY i]gZZ Vhe]Zg^XVa ZaZbZcih ^c i]^h 9M hjeZgoddb aZch *% ,' ,, .+#* *+%\
18-300mm f/3.5-5.6 G ED-IF VR -*% )★ 9M [dgbVi oddb aZch l^i] l^YZVc\aZ id hjeZg iZaZe]did gZVX] )* ,, -( &'% -(%\
18-300mm f/3.5-6.3 G ED VR -). CZl9M"[dgbVi&+#,moddbl^i]hjeZg"iZaZe]didgZVX]·VXdbeVXilVa`"VgdjcYaZch )- +, ,-#* .. **%\
LENGTH (MM)
FULL FRAME
WIDTH (MM)
PENTAX
CANON
WEIGHT
NIKON
SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
19mm f/4 E ED PC ((%% HjeZg l^YZVc\aZ i^ai VcY h]^[i aZch [dg VgX]^iZXijgZ VcY aVcYhXVeZ e]did\gVe]n
'* c$V -. &') --*\
20mm f/1.8 G ED AF-S +,. 6 [Vhi ;M [dgbVi eg^bZ aZch i]Vi¼h XdbeVXi VcY a^\]ilZ^\]i '% ,, -'#* -%#* ((*\
20mm f/2.8 D AF *-) 8dbeVXi l^YZVc\aZ aZch l^i] C^`dc¼h 8adhZ GVc\Z 8dggZXi^dc hnhiZb '* +' +. )'#* ',%\
24mm f/2.8 D AF )', 8dbeVXi l^YZ aZch l^i] 8adhZ GVc\Z 8dggZXi^dc hnhiZb (% *' +)#* )+ ',%\
24mm f/1.4 G ED AF-S &..% *★ Cdi]^c\ h]dgi d[ hijcc^c\# 6h^YZ [gdb ^ih ]^\] eg^XZ! i]ZgZ ^h kZgn a^iiaZ id Y^ha^`Z VWdji i]^h dei^X '* ,, -( --#* +'%\
24mm f/1.8 G ED AF-S +'. ;Vhi ;M [dgbVi aZch i]Vi V^bh id VeeZVa id aVcYhXVeZ! ^ciZg^dg! VgX]^iZXijgZ VcY higZZi e]did\gVe]Zgh '( ,' ,,#* -( (**\
24mm f/3.5 D ED PC-E &,,) EZgheZXi^kZ 8dcigda aZch l^i] CVcd 8gnhiVa 8dVi^c\ VcY ZaZXigdc^X Xdcigda dkZg VeZgijgZ '& ,, -'#* &%- ,(%\
24-70mm f/2.8 G ED AF-S &*+* *★ 6c ZmXZaaZci hZi d[ BI; XjgkZh i]Vi h]dl djihiVcY^c\ Xdch^hiZcXn! ZVh^an _jhi^[n^c\i]Zeg^XZd[i]^haZch (- ,, -( &(( .%%\
24-70mm f/2.8 E ED VR &-). *★ C^`dc¼h aViZhi egd heZX hiVcYVgY oddb add`h a^`Z ^ih WZhi aZch nZi (- -' -- &*)#* &%,%\
24-85mm f/3.5-4.5 G ED VR *'% *★ ;M [dgbVi hiVcYVgY oddb l^i] 6jid Ig^edY YZiZXi^dc VcY KG (- ,' ,- -' )+*\
24-120mm f/4 G ED AF-S VR &%,' *★ 8dchiVci bVm^bjb VeZgijgZ d[ [$) VcY i]Z VYY^i^dc d[ KG bV`Zh i]^h V hjeZgW aZch )* ,, -) &%( ,&%\
28mm f/1.4 E ED AF-S '%-% 7dVhih V Yjhi VcY Yg^e gZh^hiVci Wj^aY [dg gZa^VWaZ h]ddi^c\ ^c X]VaaZc\^c\ lZVi]Zg XdcY^i^dch '- ,, -( &%%#* +)*\
28mm f/1.8 G ED AF-S +&. *★ >[ ndj XgVkZ V l^YZ VeZgijgZ VcY egZ[Zg V h^c\aZ [dXVa aZc\i] i]Zc i]^h C^`dc eg^bZ YZa^kZgh '* +, ,( -% ((%\
28mm f/2.8 D AF '-' 8dbeVXi l^YZVc\aZ aZch l^i] V b^c^bjb [dXjh^c\ Y^hiVcXZ d[ '*Xb '* *' +* ))#* '%*\
28-300mm f/3.5-5.6 G ED AF-S VR --. )#*★ IZX]c^XVa iZhi^c\ h]dlh i]^h oddb id WZ! Vh C^`dc XaV^bh! i]Z »^YZVa lVa`VWdji aZch¼ *% ,, -( &&) -%%\
35mm f/1.8 G AF-S DX '%- *★ 9Zh^\cZY [dg 9M [dgbVi 9HAGh! V \gZVi hiVcYVgY eg^bZ aZch (% *' ,% *'#* '%%\
35mm f/1.8 G ED AF-S ),. ;Vhi ;M [dgbVi eg^bZ aZch l^i] Wg^\]i [$&#- VeZgijgZ# KZghVi^aZ VcY a^\]ilZ^\]i '* *- ,' ,&#* (%*\
35mm f/2 D AF (') (★ 6i l^YZ VeZgijgZ hZii^c\h i]^h dei^X VX]^ZkZh gZheZXiVWaZ gZhdaji^dc! l]^X] YZXgZVhZhl^i]VeZgijgZ '* *' +)#* )(#* '%*\
35mm f/1.4 G ED AF-S &,(* *★ 6 CVcd 8gnhiVa XdViZY aZch YZh^\cZY [dg i]Z ;M gVc\Z (% +, -( -.#* +%%\
40mm f/2.8 G AF-S DX Micro '*% *★ 6 WjY\Zi eg^XZY bVXgd aZch i]Vi YZa^kZgh i]Z \ddYh dc bjai^eaZ [gdcih '% *' +-#* +)#* '(*\
45mm PC-E f/2.8 D ED Micro &(.( EZgheZXi^kZ 8dcigda E8 : hiVcYVgY aZch jhZY ^c heZX^Va^hZY ÄZaYh hjX] Vh hijY^d VcY VgX]^iZXijgZ '* ,, -'#* &&' ,)%\
50mm f/1.4 D AF '.' *★ :cign aZkZa eg^bZ ejih ^c V ÄcZ eZg[dgbVcXZ l]^aZ d[[Zg^c\ WVX`lVgYh XdbeVi^W^a^in l^i] 6> XVbZgVh )* *' +)#* )'#* '(%\
50mm f/1.4 G AF-S (,+ *★ >ciZgcVa [dXjh^c\ VcY hjeZg^dg 6; Yg^kZ bV`Zh i]^h V \ddY VaiZgcVi^kZ id i]Z 9 hZg^Zh *%bb[$&#) )* *- ,(#* *) '-%\
50mm f/1.8 D AF &(* 8dbeVXi! a^\]ilZ^\]i! V[[dgYVWaZ eg^bZ! l^aa hide Ydlc id [$'' )* *' +( (. &+%\
50mm f/1.8 G AF-S '%% *★ 6 Xji eg^XZ hiVcYVgY aZch [dg ;M h]ddiZgh dg V h]dgi iZaZe]did dc 9M [dgbVi 9HAGh )* *- ,' *'#* &-*\
55-200mm f/4-5.6 G VR AF-S DX (&) (#*★ 9Zh^\cZY [dg 9M [dgbVi XVbZgVh! l^i] K^WgVi^dc GZYjXi^dc VcY HLB iZX]cdad\n &&% *' ,( ..#* ((*\
55-200mm f/4-5.6 G VR II AF-S DX '*& D[[Zgh V kZghVi^aZ [dXVa gVc\Z VcY Vc jaigV XdbeVXi YZh^\c! eZg[ZXi [dg hbVaaZg9M"[dgbVi9HAGh &&% *' ,%#* -( (%%\
55-300mm f/4.5-5.6 G VR AF-S DX (,- (★ D[[Zgh V l^YZ iZaZe]did XdkZgV\Z! Wji WZiiZg dei^dch VkV^aVWaZ &)% *- ,+#* &'( *(%\
58mm f/1.4 G AF-S &*.. )★ ;M [dgbVi [jaa [gVbZ egZb^jb eg^bZ aZch l^i] aVg\Z [$&#) VeZgijgZ *- ,' -* ,% (-*\
60mm f/2.8 D AF Micro )%* *★ C^`dc¼h bdhi XdbeVXi B^Xgd aZch! l^i] 8adhZ GVc\Z 8dggZXi^dc 8G8 hnhiZb '' +' ,% ,)#* ))%\
60mm f/2.8 G ED AF-S Micro *%% B^Xgd aZch l^i] &/& gZegd gVi^d! Vh lZaa Vh V H^aZci LVkZ Bdidg VcY HjeZg :9 \aVhh &- +' ,( -. )'*\
70-200mm f/2.8 G ED VR II AF-S '%-* *★ KZgn a^iiaZ id [Vjai ]ZgZ! l^i] hijcc^c\ ^bV\Z fjVa^in VcY Xdch^hiZci gZhjaih Vi Y^[[ZgZci [dXVa aZc\i]h &)% ,, -, '%. &*)%\
70-200mm f/2.8 E FL ED VR AF-S '+*% AViZhi jeYViZ id C^`dc¼h egd ldg`]dghZ [Vhi iZaZe]did oddb Wg^c\h ZaZXigdc^X VeZgijgZ Xdcigda &&% ,, --#* '%'#* &)(%\
70-200mm f/4 G ED VR &&-% *★ AViZhi ,% '%%bb d[[Zgh i]^gY \ZcZgVi^dc KG VcY lZ^\]i hVk^c\h dkZg ^ih bdgZ ZmeZch^kZ [$'#-Xdjh^c &%%% +, ,- &,-#* -*%\
70-300mm f/4.5-5.6 G ED AF-S VR **+ )★ ;ZVijgZ eVX`ZY dei^X! l^i] V KG >> hnhiZb! . WaVYZY Y^Ve]gV\b! HLB VcY :9 \aVhh &*%% +, -% &)(#* ,)*\
70-300mm f/4.5-5.6 E ED VR AF-P ,*% C^`dc¼h Äghi [jaa [gVbZ aZch id [ZVijgZ V hiZeeZg bdidg [dg Vjid[dXjh &'%% +, -%#* &)+ +-%
70-300mm f/4.5-6.3 G AF-P DX (%% 7jY\Zi iZaZe]did oddb l^i] hiZeeZg bdidg [dg 6; VcY heVXZ hVk^c\ XdaaVeh^WaZ YZh^\c &&% *- ,' &'* )%%\
70-300mm f/4.5-6.3 G VR AF-P DX (*% 6YYh ZmigZbZan jhZ[ja dei^XVa hiVW^a^hVi^dc id C^`dc¼h WjY\Zi XdbeVXi iZaZe]did &&% *- ,' &'* )&*\
80-400mm f/4.5-5.6 G ED VR AF-S &-.. *★ HjXXZhhdg id i]Z -% )%%bb [$)#* *#+9 :9 KG! [dXjh^c\ ^h ZmXZaaZci Vi igVX`^c\ [Vhi bdk^c\hjW_ZXih &,* ,, .*#* '%( &*,%\
85mm f/3.5 G ED AF-S DX VR *'' 9M [dgbVi B^Xgd aZch l^i] V &/& gZegdYjXi^dc gVi^d! KG >> hnhiZb VcY :9 \aVhh '- *' ,( .-#* (**\
85mm f/1.4 G AF-S &*(' *★ ;Vhi b^Y iZaZ aZch l^i] Vc ^ciZgcVa [dXjh^c\ hnhiZb VcY gdjcYZY Y^Ve]gV\b -* ,, -+#* -) *.*\
85mm f/1.8 G AF-S ),% *★ GZVg [dXjh^c\ hnhiZb VcY Y^hiVcXZ l^cYdl ^c i]^h bZY^jb iZaZe]did aZch -% +, -% ,( (*%\
85mm f/2.8D PC-E Micro &'.. EZgheZXi^kZ 8dcigda E8 : iZaZe]did! YZh^\cZY id WZ ^YZVa [dg edgigV^ih VcY egdYjXi e]did\gVe]n (. ,, -(#* &%, +(*\
105mm f/1.4 E ED AF-S '%). 6 &%*bb ;M [dgbVi eg^bZ aZch l^i] Wg^\]i [$&#) VeZgijgZ! ^YZVa [dg edgigV^ijgZ &%% -' .)#* &%+ .-*\
105mm f/2.8 G AF-S VR II Micro ,-' )#*★ 6 kZgn h]Vge aZch! l^i] hl^[i VcY fj^Zi [dXjh^c\ VcY Xdch^hiZci B;I gZhjaih (& +' -( &&+ ,'%\
105mm f/2 D AF DC .-% 6 edgigV^i aZch l^i] YZ[dXjh Xdcigda .% ,' ,. &&& +)%\
135mm f/2 D AF DC &'(' 9Z[dXjh >bV\Z 8dcigda VcY V gdjcYZY Y^Ve]gV\b ^c i]^h iZaZe]did dei^X &&% ,' ,. &'% -&*\
180mm f/2.8 D ED-IF AF ,-' JhZ[ja iZaZe]did aZc\i] VcY ^ciZgcVa [dXjh^c\ iZX]cdad\n! id\Zi]Zg l^i] :9 \aVhh &*% ,' ,-#* &)) ,+%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN
200mm f/4 D ED-IF AF Micro &)'. &/& gZegdYjXi^dc gVc\Z ^c i]^h B^Xgd aZch! l^i] V 8adhZ GVc\Z 8dggZXi^dc hnhiZb *% +' ,+ &%)#* &&.%\
200-500mm f/5.6 E ED VR AF-S &&,. 6 hjeZg iZaZe]did oddb aZch XdbeVi^WaZ l^i] C^`dc ;M [dgbVi 9HAG XVbZgVh ''% .* &%- '+,#* '(%%\
300mm f/4 E PF ED VR AF-S &'(% *★ A^\]i!XdbeVXi6;"H[jaa"[gVbZiZaZe]didaZchl^i]:9\aVhhZaZbZcih &)% ,, -. &),#* ,**\
LAOWA DSLR
12mm f/2.8 Zero D -.. JaigV l^YZVc\aZ aZch [dg [jaa [gVbZ 9HAGh i]Vi Zm]^W^ih b^c^bVa Y^hidgi^dc &- ,, ,)#- -'#- +%.\
25mm f/2.8 Ultra Macro 2.5x - 5x (.. JcjhjVa aZch YZh^\cZY hdaZan [dg jaigV XadhZ je h]ddi^c\! l^i] bV\c^ÄXVi^dc [gdb '#*m id *m &,#( c$V +* -' )%%\
15mm f/4 1:1 Macro )). )★ L^YZVc\aZ aZch! l^i] &/& BVXgd VkV^aVWaZ ^c 8Vcdc! C^`dc! EZciVm! Hdcn : VcY Hdcn 6 &' ,, -(#- +)#, )&%\
60mm f/2.8 2X Ultra Macro (&. (#*★ L^i] '/& BVXgd! Vc Vaa ^c dcZ dei^dc [dg cdgbVa edgigV^i e]did\gVe]n Vh lZaa Vh jaigV bVXgd &-#* +' .* ,% *%(\
100mm f/2.8 2:1 Ultra Macro APO I78 ;jaa [gVbZ bVXgd aZch l^i] il^XZ a^[Z h^oZ bV\c^ÄXVi^dc VcY VedX]gdbVi^X YZh^\c ')#, +, &'* ,' +(-\
105mm f/2 (T3.2) STF +). )★ 9Zh^\cZY[dg[jaa"[gVbZ9HAGH!VcY[ZVijgZhVcVedY^oVi^dcZaZbZcii]VigZcYZghadkZanWd`Z] .% +, .-#. ,+ ,)*\
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ŐǾDzɰȖźƸǀɜ̭ŰǀǾɤɤ
LENGTH (MM)
FULL FRAME
WIDTH (MM)
PENTAX
CANON
WEIGHT
NIKON
SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
PENTAX DSLR
DA 10-17mm f/3.5-4.5 smc ED IF *.% ;^h]ZnZ oddb aZch l^i] HjeZg EgdiZXi^dc XdVi^c\ VcY Fj^X` H]^[i bVcjVa [dXjh &) c$V ,&#* +- ('%\
DA 12-24mm f/4 smc ED AL IF &%*% Ild Vhe]Zg^XVa ZaZbZcih! :A9 \aVhh VcY V XdchiVci VeZgijgZ d[ [$) ^c i]^h l^YZ oddb (% ,, -(#* -,#* )(%\
DA 15mm f/4 smc ED AL Limited -'% A^b^iZY ZY^i^dc aZch l^i] ]nWg^Y Vhe]Zg^XVa VcY ZmigV adl Y^heZgh^dc ZaZbZcih &- ). (.#* +( '&'\
FA 15-30mm f/2.8 ED SM WR HD &*%% LZVi]Zg gZh^hiVci jaigV l^YZVc\aZ oddb l^i] [Vhi bVm^bjb VeZgijgZ VcY ÄmZY eZiVa ineZ ]ddY '- c$V .-#* &)(#* &%)%\
DA* 16-50mm f/2.8 smc ED AL IF SDM .*% (#*★ 6 c^XZ WVaVcXZ VcY gdWjhi [ZZa! Wji eddg h]VgecZhh Vi [$'#- l]^X] h^\c^ÄXVcian ^begdkZh [gdb [$) dclVgYh (% ,, .-#* -) +%%\
DA 16-85mm f/3.5-5.6 ED DC WR +%% LZVi]Zg gZh^hiVci! i]^h oddb [ZVijgZh V gdjcY h]VeZY Y^Ve]gV\b id egdYjXZ WZVji^[ja Wd`Z] (* ,' ,- .) )--\
DA 17-70mm f/4 smc AL IF SDM +(% ;ZVijg^c\ EZciVm¼h HjeZghdc^X 9^gZXi Yg^kZ H9B [dXjh^c\ hnhiZb '- +, ,* .(#* )-*\
DA 18-50mm f/4-5.6 DC WR RE '(% HjeZg i]^c hiVcYVgY oddb i]Vi¼h lZVi]Zg gZh^hiVci VcY [ZVijgZh V gdjcY h]VeZY Y^Ve]gV\b (% *- ,& )& &*-\
DA 18-55mm f/3.5-5.6 smc AL WR ''. 6 lZVi]Zg gZh^hiVci XdchigjXi^dc VcY Vc Vhe]Zg^XVa ZaZbZci! Vh lZaa Vh HE XdVi^c\ '* *' +-#* +,#* '(%\
DA 18-135mm f/3.5-5.6 DA ED DC WR +%% (#*★ 6 lZVi]Zg gZh^hiVci b^Y gVc\Z oddb aZch )% +' ,( ,+ )%*\
DA 18-270mm f/3.5-6.3 smc ED SDM +.. &*m hjeZgoddb [dg XdbeVcn¼h @ bdjci 9HAGh [ZVijg^c\ ild ZmigV adl Y^heZgh^dc :9 ZaZbZcih ). +' ,+ -. )*(\
DA 20-40mm f/2.8-4 ED Limited DC WR -'. L^i] hiViZ d[ i]Z Vgi =9 XdVi^c\! V XdbeaZiZan gdjcY h]VeZY Y^Ve]gV\b! VcY lZVi]Zg gZh^hiVci '- ** +-#* ,& '-(\
DA 21mm f/3.2 smc AL Limited +%% I]^h a^b^iZY ZY^i^dc dei^X d[[Zgh V ÅdVi^c\ ZaZbZci [dg ZmigV XadhZ [dXjh^c\ '% ). +( '* &)%\
FA 24-70mm f/2.8 ED SDM WR &&). ;jaa [gVbZ XdbeVi^WaZ egZb^jb hiVcYVgY oddb ^cXajYZh V =9 XdVi^c\ id b^c^b^hZ ÅVgZ VcY \]dhi^c\ (- -' &%.#* --#* ,-,\
FA 28-105mm f/3.5-5.6 ED DC HD *). HiVcYVgY oddb aZch [dg i]Z @ & [jaa [gVbZ 9HAG i]Vi¼h bjX] bdgZ V[[dgYVWaZ i]Vc i]Z ') ,%bb [$'#- *% +' ,( -+#* ))%\
FA 31mm f/1.8 smc AL Limited &&). 6ajb^c^jb WdYn0 l]Zc jhZY dc V EZciVm 9HAG d[[Zgh V eZgheZXi^kZ h^b^aVg id i]Vi d[ i]Z ]jbVcZnZ (% *- +-#* +* ()*\
FA 35mm f/2 smc AL **% 6 XdbeVXi l^YZVc\aZ aZch i]Vi lZ^\]h V bZgZ '&)\ (% ). +) ))#* '&)\
DA 35mm f/2.8 smc Macro +)% )#*★ 9Zhe^iZ ha^\]i ZY\Z hd[icZhh! i]^h aZch eZg[dgbh ZmXZaaZcian VcY ^h V eaZVhjgZidjhZ &) ). )+#* +( '&*\
DA 35mm f/2.4 smc DS AL &-% *★ 6 WjY\Zi eg^XZY eg^bZ aZch [dg WZ\^ccZgh (% ). +( )* &')\
DA 40mm f/2.8 smc Limited )*% EVcXV`Z aZch l^i] HB8 XdVi^c\ VcY Fj^X` H]^[i [dXjh^c\ hnhiZb )% ). +( &* .%\
DA 40mm f/2.8 XS ('* I]Z ldgaY¼h hbVaaZhi ÄmZY [dXVa aZc\i] aZch h]VgZh i]Z hVbZ dei^Xh Vh i]Z A^b^iZY kZgh^dc )% c$V +'#. . *'\
FA 43mm f/1.9 smc Limited ,'. ;dXVa aZc\i] ^h ^YZVa [dg edgigV^ih Vh lZaa Vh ZkZgnYVn jhZ! VcY [ZVijgZh Vc HB8 bjai^ aVnZg XdVi^c\ )* ). +) ', &**\
NEW FA* 50mm f/1.4 SDM AW HD &'%% EgZb^jb [Vhi eg^bZ l^i] Yjhiegdd[! lZVi]Zg gZh^hiVci YZh^\c VcY ZaZXigdbV\cZi^X VeZgijgZ )% ,' -% &%+ .&%\
FA 50mm f/1.4 smc (.. 8dbeVXi [Vhi eg^bZ l^i] Äab ZgV YdjWaZ <Vjhh dei^Xh VcY igVY^i^dcVa VeZgijgZ g^c\ )* ). +(#* (- ''%\
DA 50mm f/1.8 smc DA '). )★ 6[[dgYVWaZ h]dgi iZaZe]did aZch ^YZVa [dg edgigV^ih )* *' (-#* +( &''\
DFA 50mm f/2.8 smc Macro **% BVXgd aZch XVeVWaZ d[ &/& gZegdYjXi^dc VcY l^i] V Fj^X` H]^[i [dXjh bZX]Vc^hb &. ). +% +,#* '+*\
DA* 50-135mm f/2.8 smc ED IF SDM &'%% )★ 8dchiVci [$'#- VeZgijgZ0 lZaa hj^iZY id edgigV^ijgZ VcY b^Y gVc\Z VXi^dc hjW_ZXih &%% +, ,+#* &(+ ,+*\
DA 50-200mm f/4-5.6 smc ED WR '&% LZVi]Zg gZh^hiVci XdchigjXi^dc! Fj^X` H]^[i [dXjh hnhiZb VcY Vc HE XdVi^c\ c$V ). +. ,.#* '-*\
DA* 55mm f/1.4 smc SDM -%% )#*★ 9Zhe^iZ fjZhi^dch VWdji i]Z eVgi^XjaVg hVbeaZ iZhiZY! i]^h aZch hXdgZh ]^\]an )* *- ,%#* ++ (,*\
DA 55-300mm f/4.5-6.3 ED PLM WR RE )%% 8dbeVXi lZVi]Zg gZh^hiVci iZaZe]did oddb ]Vh k^YZd [g^ZcYan [Vhi VcY h^aZci Vjid[dXjh bdidg .* *- ,+#* -. ))'\
DA 55-300mm f/4-5.8 ED WR (.. LZVi]Zgegdd[ =9 iZaZe]did aZch [ZVijg^c\ fj^X` h]^[i [dXjh^c\ hnhiZb &)% *- ,& &&&#* )++\
DA 60-250mm f/4 smc ED IF SDM &)*% )#*★ L^i] V XdchiVci [$) VeZgijgZ VcY Vc jaigVhdc^X bdidg [dg heZZYn [dXjh^c\ &&% +, &+,#* -' &%)%\
DA 70mm f/2.4 smc AL Limited +%% BZY^jb iZaZe]did aZch l^i] Vc Vajb^c^jb XdchigjXi^dc VcY V HjeZg EgdiZXi XdVi^c\ ,% ). +( '+ &(%\
D-FA* 70-200mm f/2.8 ED DC AW &-*% CZl VYY^i^dc id EZciVm¼h ]^\] eZg[dgbVcXZ HiVg hZg^Zh YZkZadeZY [dg WZhi ^bV\Z gZcY^i^dc &'% ,, .&#* '%( &,**\
FA 77mm f/1.8 smc Limited &%*% L^i] EZciVm¼h ;^mZY GZVg :aZbZci :miZch^dc [dXjh^c\ hnhiZb [dg »h]Vge! Xg^he ^bV\Zh¼ ,% ). )- +) ',%\
D-FA 100mm f/2.8 Macro WR +-% *★ HigZZi eg^XZ bV`Zh i]^h hdbZi]^c\ d[ V WVg\V^c [dg V igjZ bVXgd d[[Zg^c\ [jaa [gVbZ XdkZgV\Z (% ). +* -%#* ()%\
FA 150-450mm f/4.5-5.6 ED DC AW '%%% HjeZg iZaZe]did aZch l^i] lZVi]Zg gZh^hiVcXZ! YZh^\cZY id egdYjXZ ZmigV h]Vge! ]^\] XdcigVhi^bV\Zh '%% -+ ')&#* .* '%%%\
DA* 200mm f/2.8 smc ED IF SDM &%%% )#*★ H9B [dXjh^c\ hnhiZb dc i]Z ^ch^YZ! VcY Y^giegdd[ VcY heaVh]egdd[ dc i]Z djih^YZ &'% ,, -( &() -'*\
DA* 300mm f/4 smc ED IF SDM &(%% I]^hiZaZdei^Xegdb^hZhjaigVhdc^X[dXjhVcY]^\]^bV\ZfjVa^ini]Vc`hid:9\aVhh &)% ,, -( &-) &%,%\
SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II ',) L^YZVc\aZ Äh]ZnZ aZch YZh^\cZY [dg Y^\^iVa gZÅZm XVbZgVh l^i] 6EH 8 hZchdgh (% c$V ,* ,,#- )&,\
10mm f/2.8 ED AS NCS CS )'. ;ZVijgZh V cVcd XgnhiVa Vci^ gZÅZXi^dc XdVi^c\ hnhiZb VcY ZbWZYYZY aZch ]ddY ') c$V -+ ,, *-%\
12mm f/2.8 ED AS NCS Fisheye )(% ;^h]ZnZ jaigV l^YZVc\aZ eg^bZ aZch [dg [jaa [gVbZ 9HAGh '% c$V ,,#( ,%#' *%%\
14mm f/2.4 XP MF -.. =^\] ZcY jaigV l^YZVc\aZ eg^bZ l^i] egZb^jb dei^Xh VcY aVg\Z bVm^bjb VeZgijgZ '- c$V .* &%.#) ,.&\
AF 14mm f/2.8 EF +). )#*★ HVbnVc\¼h Äghi 6; HAG aZch [ZVijgZh kZgn YZXZci ^bV\Z fjVa^in VcY lZVi]Zg hZVaZY XdchigjXi^dc '% c$V .%#* .*#+ )-*\
14mm f/2.8 ED UMC ',. JaigV l^YZVc\aZ bVcjVa [dXjh aZch0 WjaW a^`Z [gdci ZaZbZci bZVch cd ÄaiZgh XVcWZjhZY '- c$V .) -, **'\
16mm f/2.0 ED AS UMC CS (-. ;Vhi l^YZVc\aZ aZch [dg Y^\^iVa gZÅZm XVbZgVh ÄiiZY l^i] 6EH 8 hZchdgh '% c$V -.#) -( *-(\
20mm f/1.8 ED AS UMC )(% AVg\Z VeZgijgZ bVcjVa [dXjh l^YZVc\aZ aZch [dg [jaa [gVbZ 9HAGh '% ,, -( &&(#' *'%\
24mm f/1.4 AS UMC ).. ;Vhi jaigV l^YZVc\aZ bVcjVa [dXjh aZch Xdbeg^h^c\ &( ZaZbZcih VggVc\ZY ^c &' \gdjeh '* ,, .* &&+ +-%\
24mm f/3.5 ED AS UMS TS .). (★ I^ai VcY h]^[i l^YZVc\aZ aZch [dg V [gVXi^dc d[ i]Z eg^XZ d[ 8Vcdc VcY C^`dc¼h d[[Zg^c\h '% -' -+ &&%#* +-%\
35mm f/1.4 AS UMC (+. )#*★ L]^aZ bVcjVa [dXjh dcan! i]^h eg^bZ ^begZhhZY jh ^c gZVa ldgaY jhZ! bV`^c\ ^i hdbZi]^c\ d[ V WVg\V^c (% ,, -( &&& ++%\
50mm f/1.2 XP MF ,.. EgZb^jb fjVa^in jaigV [Vhi eg^bZ l^i] bVcjVa [dXjh deZgVi^dc! YZh^\cZY [dg *%BEhZchdgh )* -+ .( &&,#) &'%%\
50mm f/1.4 AS UMC '.. BVcjVa [dXjh [Vhi hiVcYVgY eg^bZ [dg [jaa [gVbZ 9HAGh )* ,, ,)#, -&#+ *,*\
85mm f/1.2 XP MF -.. =^\] ZcY bVcjVa [dXjh aZch hedgih Vc ^begZhh^kZan [Vhi bVm^bjb VeZgijgZ -% -+ .( .-#) &%*%\
NEW AF 85mm f/1.4 EF *.. 6jid[dXjh [Vhi h]dgi iZaZe]did edgigV^i aZch [dg jhZ dc 8Vcdc [jaa [gVbZ 9HAGh .% ,, -- ,' )-*\
85mm f/1.4 IF MC '(. H]dgi [Vhi iZaZe]did eg^bZ! bVcjVa [dXjh! V^bZY Vi edgigV^i e]did\gVe]Zgh &%% ,' ,- ,'#' *&(\
100mm f/2.8 ED UMC Macro (-. ;jaa [gVbZ XdbeVi^WaZ! i]Z HVbnVc\ &%%bb ^h V igjZ BVXgd aZch d[[Zg^c\ &/& bV\c^ÄVXi^dc (% +, ,'#* &'(#& ,'%\
135mm f/2 ED UMC (.. BVcjVa[dXjhedgigV^ieg^bZ]Vh[VhiVeZgijgZ[dghjW_ZXi^hdaVi^dcVcYWVX`\gdjcY Wajg -% ,, -' &'' -(%\
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LENGTH (MM)
FULL FRAME
WIDTH (MM)
PENTAX
CANON
WEIGHT
NIKON
SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
SIGMA DSLR
4.5mm f/2.8 EX DC HSM ,(. 8^gXjaVg Äh]ZnZ aZch YZh^\cZY [dg Y^\^iVa! l^i] HA9 \aVhh VcY V \ZaVi^c ÄaiZg ]daYZg &( c$V ,+ ,,#- ),%\
8mm f/3.5 EX DG ,.. I]Z ldgaY¼h dcan -bb aZch Zfj^eeZY l^i] Vjid[dXjh Vahd WdVhih HA9 \aVhh &( c$V ,(#* +-#+ )%%\
8-16mm f/4.5-5.6 DC HSM -%% )★ :mXZaaZci eZg[dgbVcXZ Vi -bb! l]^X] hVYan Ygdeh Vi i]Z &+bb ZcY ') ,' ,* &%*#, ***\
10mm f/2.8 EX DC *.. 6 =neZg Hdc^X Bdidg =HB VcY Wj^ai ^c ]ddY [ZVijgZ ^c i]^h Y^V\dcVa Äh]ZnZ aZch &( c$V ,*#- -( ),*\
10-20mm f/3.5 EX DC HSM +*% *★ 6c VWhdajiZ \Zb d[ V aZch i]Vi YZhZgkZh V eaVXZ dc ZkZgn e]did\gVe]Zg¼h l^h] a^hi ') -' -,#( --#' *'%\
12-24mm f/4 DG HSM | A &+). *★ EgZb^jb [jaa [gVbZ l^YZVc\aZ oddb YZh^\cZY id ]VkZ b^c^bVa Y^hidgi^dc ^c ^ih l^YZVc\aZ^bV\Zgn ') c$V &%& &(' &&*%\
12-24mm f/4.5-5.6 II DG HSM +). JaigV l^YZVc\aZ oddb [dg [jaa [gVbZ HAGh! VkV^aVWaZ ^c Vaa d[ i]Z bV^c bdjcih '- c$V -, &'%#' +,%\
14mm f/1.8 DG HSM | A &+,. LdgaY¼h Äghi [$&#- jaigV l^YZVc\aZ eg^bZ aZch [dg [jaa [gVbZ 9HAGh ', c$V .*#) &'+ &&,%\
14-24mm f/2.8 DG HSM | A &(.. *★ Egd heZX^ÄXVi^dc [Vhi jaigV l^YZ eg^bZ [dg [jaa [gVbZ 9HAGh ^cXajYZh lZVi]ZghZVaZY XdchigjXi^dc '+ c$V .+#) &(*#& &&*%\
15mm f/2.8 EX DG +'. )★ I]^h Äh]ZnZ dei^X ejih ^c V kZgn hda^Y eZg[dgbVcXZ cdi id WZ Y^hb^hhZY Vh V \^bb^X` &* c$V ,(#* +* (,%\
17-50mm f/2.8 EX DC OS HSM +-. ;A9 VcY Vhe]Zg^XVa ZaZbZcih! V XdchiVci [$'#- VeZgijgZ VcY Dei^XVa HiVW^a^hVi^dc '- ,, -(#* .' *+*\
17-70mm f/2.8-4 DC Macro OS HSM )). 8dbeVXi gZYZh^\c d[ i]^h lZaa gZXZ^kZY aZch aVjcX]Zh i]Z »8dciZbedgVgn¼ gVc\Z '' ,' ,. -' ),%\
18-35mm f/1.8 DC HSM ,.. *★ HV^Y id WZ i]Z ldgaY¼h Äghi XdchiVci [$&#- oddb0 9d; Zfj^kVaZci d[ XdchiVci [$'#, dc [jaa [gVbZ '- ,' ,- &'& -&%\
18-200mm f/3.5-6.3 DC OS )). )★ :mXZaaZci gZhdaji^dc VcY Xdch^hiZci eZg[dgbVcXZ! Wji Xdcigda dkZg 86 XdjaY WZ V a^iiaZ WZiiZg )* )* ,. &%% +&%\
18-250mm f/3.5-6.3 DC OS HSM *,' )#*★ 6 kZgn XVeVWaZ hZi d[ BI; XjgkZh i]Vi dcan h]dlh b^cdg lZV`cZhh Vi l^YZ VeZgijgZh )* ,' ,. &%& +(%\
18-250mm f/3.5-6.3 DC Macro OS HSM *%% JaigV XdbeVXi &(#-m ]^\] oddb gVi^d aZch YZh^\cZY ZmXajh^kZan [dg Y^\^iVa HAG XVbZgVh (* +' ,(#* --#+ ),%\
18-300mm f/3.5-6.3 DC Macro OS HSM ).. 8dbeVXi VcY edgiVWaZ ]^\] gVi^d oddb aZch d[[Zg^c\ Zc]VcXZY [ZVijgZh id bV`Z^ii]Z^YZVaVaa"^c"dcZaZch (. ,' ,. &%&#* *-*\
20mm f/1.4 DG HSM | A ,.. *★ 6c djihiVcY^c\ l^YZVc\aZ ÄmZY [dXVa aZc\i] aZch ',#+ c$V .%#, &'.#- .*%\
24mm f/1.4 DG HSM | A ,.. *★ I]Z aViZhi VYY^i^dc id H^\bV¼h »6gi¼ a^cZ d[ ]^\] fjVa^in [Vhi eg^bZh '* ,, -* .%#' ++*\
24-35mm f/2 DG HSM | A .). *★ I]Z ldgaY¼h Äghi aVg\Z VeZgijgZ [jaa [gVbZ oddb d[[Zg^c\ V l^YZ VeZgijgZ d[ [$' i]gdj\]dji i]Z oddb gVc\Z '- -' -,#+ &''#, .)%\
24-70mm f/2.8 DG OS HSM | A &(.. AViZhi egZb^jb [Vhi hiVcYVgY oddb [dg [jaa [gVbZ ^cXajYZh dei^XVa ^bV\Z hiVW^a^hVi^dc (, -' -- &%,#+ &%'%\
24-105mm f/4 DG OS HSM | A -). )#*★ HZg^djh [jaa [gVbZ VaiZgcVi^kZ id dlc WgVcY aZchZh Vi V adlZg eg^XZ! l^i] cd Xdbegdb^hZh ^c i]ZWj^aY )* -' -. &%. --*\
30mm f/1.4 DC HSM | A (+% Jc^fjZ [Vhi eg^bZ [dg 6EH 8 9HAGh i]Vi \^kZh )*bb Zfj^kVaZci »cdgbVa¼ Vc\aZ d[ k^Zl (% +' +(#( ,)#' )(*\
35mm f/1.4 DG HSM | A ,.. *★ HjeZgW aVg\Z VeZgijgZ eg^bZ0 Äghi aZch ^c XdbeVcn¼h »6gi¼ hZg^Zh (% +, ,, .) ++*\
50mm f/1.4 DG HSM | A -). *★ I]^h aZch ]Vh V jc^fjZ YZh^\c i]Vi eVnh d[[ ^c igjan ZmXZaaZci ^bV\Z fjVa^in )% ,, -*#) &%% -&*\
50-100mm f/1.8 DC HSM | A -'. *★ I]^h 6EH 8 [dgbVi aZch V^bh id XdkZg i]Z [dXVa aZc\i]h d[ i]gZZ eg^bZ aZchZh ^c dcZ (,#) -' .(#* &,%#, &).%\
50-500mm f/4.5-6.3 DG OS HSM &).. )★ 6 &%m oddb gVc\Z! HA9 ZaZbZcih VcY XdbeVi^W^a^in l^i] &#)m VcY 'm iZaZXdckZgiZgh &-% .* &%)#) '&. &.,%\
70mm f/2.8 DG Macro | A I78 I]Z Äghi bVXgd aZch ^c H^\bV¼h 6gi a^cZje [ZVijgZh Vc ZmiZcY^c\ WVggZa [dXjh Wn l^gZ YZh^\c '+ ). ,& &%+ *&*\
70-200mm f/2.8 EX DG OS HSM &*(. Ild ;A9 \aVhh ZaZbZcih! hV^Y id ]VkZ i]Z hVbZ Y^heZgh^kZ egdeZgi^Zh Vh Åjdg^iZ &)% ,, -+#) &., &)(%\
70-300mm f/4-5.6 APO DG Macro '(* I]^h iZaZ oddb aZch ]Vh V . WaVYZY Y^Ve]gV\b VcY ild HA9 ZaZbZcih .* *- ,+#+ &'' **%\
70-300mm f/4-5.6 DG Macro &,% (★ <ZcZgVaan jcgZbVg`VWaZ BI; XjgkZh! VcY eVgi^XjaVgan eddg Vi (%%bb .* *- ,+#+ &'' *)*\
85mm f/1.4 DG HSM | A &&.. *★ Dei^XVaan hijcc^c\ [Vhi h]dgi iZaZe]did eg^bZ ^h i]Z jai^bViZ edgigV^i aZch [dg 9HAG jhZgh -* -+ .* &'+ &&(%\
100-400mm f/5-6.3 DG OS HSM | C ,.. )#*★ GZaVi^kZan a^\]ilZ^\]i iZaZoddb XdbZh l^i] lZVi]ZghZVa^c\ VcY X]d^XZ d[ ejh] ejaa dg il^hi oddb &+% +, -+#) &-'#( &&+%\
105mm f/1.4 DG HSM | A I78 H^\bV¼h »Wd`Z] bdchiZg¼ hjeZg [Vhi edgigV^i aZch ^h lZVi]ZghZVaZY VcY XdbZh l^i] V ig^edY [ddi &%% I78 &&*#. &(&#* &+)*\
105mm f/2.8 EX DG OS HSM Macro +). )#*★ 6c dei^XVaan hiVW^a^hZY bVXgd aZch! i]^h hjeZg h]Vge aZch ^h dcZ d[ djg [Vkdjg^iZh (&#' +' ,- &'+#) ,'*\
120-300mm f/2.8 DG HSM | S (*.. ;^ghi aZch ^c XdbeVcn¼h »Hedgih¼ hZg^Zh0 hl^iX] ZcVWaZh VY_jhibZci d[ Wdi] [dXjh heZZY VcY[dXjha^b^iZg &*% &%* &') '.& ((.%\
135mm f/1.8 DG HSM | A &(.. *★ HjeZg [Vhi edgigV^i eg^bZ YZh^\cZY id egdk^YZ hj[ÄX^Zci gZhdaji^dc [dg *%BE 9HAGh -,#* -' .&#) &&)#. &&(%\
150mm f/2.8 EX DG OS HSM Macro APO ... 6 bVXgd aZch d[[Zg^c\ ^bV\Z hiVW^a^hVi^dc (- ,' ,.#+ &*% .*%\
150-600mm f/5-6.3 DG OS HSM | C &&.. 7jY\Zi »8dciZbedgVgn¼ kZgh^dc d[ H^\bV¼h adc\ gVc\Z iZaZe]did oddb ^h hbVaaZg VcY a^\]iZg '-% .* &%* '+%#& &.(%\
150-600mm f/5-6.3 DG OS HSM | S &*.. I]^h edgiVWaZ! ]^\] eZg[dgbVcXZ iZaZe]did oddb [gdb H^\bV¼h Hedgih a^cZ ^h Yjhi VcY heaVh]egdd[ '+% &%* &'& '.%#' '-+%\
180mm f/2.8 EX DG OS HSM Macro APO &).. *★ &/& bVXgd aZch [ZVijg^c\ i]gZZ ;A9 \aVhh ZaZbZcih VcY ÅdVi^c\ ^ccZg [dXjh^c\ hnhiZb ), -+ .* '%) &+)%\
300mm f/2.8 APO EX DG HSM '-.. :migVAdl9^heZgh^dc:A9\aVhh!bjai^"aVnZgXdVi^c\hVcYV=neZgHdc^XBdidg '*% )+ &&. '&)#* ')%%\
SONY DSLR
11-18mm f/4.5-5.6 DT +%. (★ 6 hda^Y dkZgVaa eZg[dgbVcXZ i]Vi h^bean [V^ah id WZ djihiVcY^c\ ^c Vcn lVn '* ,, -( -%#* (+%\
16mm f/2.8 Fisheye ,%. ;^h]ZnZ aZch l^i] V XadhZ [dXjh^c\ Y^hiVcXZ d[ '%Xb VcY V &-% Vc\aZ d[ k^Zl '% c$V ,* ++#* )%%\
16-35mm f/2.8 ZA SSM II T* &... )#*★ =^\] ZcY OZ^hh l^YZVc\aZ oddb aZch ^YZVa[dg[jaa"[gVbZ6ae]V9HAGhVcYHAIh '- ,, -( &&) .%%\
16-50mm f/2.8 SSM *+. )★ 7g^\]i h]dgi gVc\Z iZaZe]did aZch &%% ,' -& -- *,,\
16-80mm f/3.5-4.5 ZA T* ,%. )#*★ 8Vga OZ^hh hiVcYVgY oddb aZch (* +' ,' -( ))*\
16-105mm f/3.5-5.6 DT **. (★ 6c VbW^i^djh aZch i]Vi ^h \ddY ^c eVgih! Vai]dj\] fjVa^in Ygdeh d[[Vi&%*bb )% +' ,' -( ),%\
18-135mm f/3.5-5.6 DT SAM )'. 6 kZghVi^aZ oddb l^i] 9^gZXi BVcjVa ;dXjh )* +' ,+ -+ (.-\
18-250mm f/3.5-6.3 DT **. (#*★ <ddY dkZgVaa! Wji eZg[dgbVcXZ Y^eh Vi adc\Zg [dXVa aZc\i]h )* +' ,* -+ ))%\
20mm f/2.8 **. (#*★ L^YZVc\aZ eg^bZ aZch l^i] gZVg [dXjh^c\ bZX]Vc^hb VcY [dXjh gVc\Z a^b^iZg '* ,' ,- *(#* '-*\
24mm f/2 ZA SSM T* &&&. 6c ^begZhh^kZan Wg^\]i l^YZVc\aZ 8Vga OZ^hh aZch &. ,' ,- ,+ ***\
24-70mm f/2.8 ZA SSM II T* &-.. *★ 8Vga OZ^hh b^Y gVc\Z oddb aZch l^i] hjeZgW dei^Xh ^YZVa [dg [jaa [gVbZ 6ae]V 9HAGh () ,, -( &&& .**\
28-75mm f/2.8 SAM ,%. 6 XdchiVci [$'#- VeZgijgZ VcY V Hbddi] 6jid[dXjh Bdidg H6B ^c i]^h hiVcYVgY oddb (- +, ,,#* .) *+*\
30mm f/2.8 DT SAM Macro &,. )★ BVXgd aZch YZh^\cZY [dg Y^\^iVa l^i] &/& bV\c^ÄXVi^dc VcY Hbddi] 6jid[dXjh Bdidg &' ). ,% )* &*%\
35mm f/1.4 G &(+. L^i] Vc Zfj^kVaZci [dXVa aZc\i] d[ *'#*bb! V l^YZ VeZgijgZ VcY Vhe]Zg^XVa \aVhh (% ** +. ,+ *&%\
35mm f/1.8 DT SAM &,. 7jY\Zi eg^XZ ^cYddg edgigV^i aZch '( ** ,% *' &,%\
50mm f/1.8 DT SAM &*. )#*★ 6 kZgn jhZ[ja aZch i]Vi eZg[dgbh lZaa VcY XVgg^Zh V gdX` Wdiidb eg^XZ iV\ () ). ,% )* &,%\
50mm f/1.4 (+. *★ L]^aZ i]^h aZch eZg[dgbh lZaa dkZgVaa! eZg[dgbVcXZ Vi [$&#) XdjaY WZ WZiiZg )* ** +*#* )( ''%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN
50mm f/1.4 ZA SSM &(%% )★ 8Vga OZ^hh YZh^\c hV^Y id WZ ^YZVa [dg fjVa^in Xg^i^XVa edgigV^ijgZ VcY adl a^\]i h]ddi^c\ )* ,' -& ,&#* *&-\
50mm f/2.8 Macro *'. 6 bVXgd aZch l^i] V ÅdVi^c\ aZch ZaZbZci '% ** ,&#* +% '.*\
55-200mm f/4-5.6 DT SAM '&. 9Zh^\cZY [dg XgdeeZY hZchdg XVbZgVh! l^i] V Hbddi] 6jid[dXjh Bdidg .* ** ,&#* -* (%*\
55-300mm f/4.5–5.6 DT SAM (%. 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb d[[Zg^c\ hbddi]! h^aZci deZgVi^dc &)% +' ,, &&+#* )+%\
70-200mm f/2.8 G SSM II ',.. =^\] eZg[dgbVcXZ < HZg^Zh iZaZe]did oddb aZch &'% ,, -, &.+#* &()%\
70-300mm f/4.5-5.6 G SSM -+. (#*★ < hZg^Zh aZch l^i] :9 ZaZbZcih! HjeZg Hdc^X lVkZ Bdidg VcY V X^gXjaVg VeZgijgZ &'% +' -'#* &(*#* ,+%\
70-400mm f/4-5.6 G SSM II &,.. GZYZh^\cd[dg^\^cVa[ZVijgZhVcZlAH>Yg^kZX^gXj^iVcYegdb^hZh[VhiZgVjid[dXjh &*% ,, .* &.+ &*%%\
LENGTH (MM)
FULL FRAME
WIDTH (MM)
PENTAX
CANON
WEIGHT
NIKON
SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
85mm f/1.4 ZA Planar T* &(+. ;^mZY [dXVa aZc\i] aZch V^bZY Vi ^cYddg edgigV^ijgZ -* ,' -&#* ,'#* *+%\
85mm f/2.8 SAM '&. 6 a^\]i! adl eg^XZ edgigV^ijgZ aZch +% ** ,% *' &,*\
100mm f/2.8 Macro +*. BVXgd aZch l^i] X^gXjaVg VeZgijgZ! YdjWaZ ÅdVi^c\ZaZbZciVcYl^YZVeZgijgZ (* ** ,* .-#* *%*\
135mm f/1.8 ZA Sonnar T* &)'. 6 Wg^\]i! 8Vga OZ^hh edgigV^i iZaZe]did aZch ,' ,, -) &&* &%%)\
135mm f/2.8 STF &&&. IZaZe]didaZchÄiiZYl^i]VedY^hVi^dcZaZbZciid\^kZViigVXi^kZYZ[dXjhZ[[ZXih -, -% -% .. ,(%\
TAMRON DSLR
10-24mm f/3.5-4.5 SP AF Di II LD Asph IF *&& (#*★ <ddY Xdch^hiZcXn Vi &%bb VcY &-bb! Wji V hiZZe YZXa^cZ Vi ')bb ') ,, -(#' -+#* )%+\
10-24mm f/3.5-4.5 Di II VC HLD *-% )#*★ L^YZVc\aZ oddb d[ 6EH 8 l^i] Yjhi VcY heaVh]egddÄc\ VcY dei^XVa hiVW^a^hVi^dc ') ,, -(#+ -)#+ ))%\
15-30mm f/2.8 SP Di VC USD .*% )★ :mXZaaZci kVajZ! i]^h ^h i]Z dcan l^YZVc\aZ oddb l^i] ^bV\Z hiVW^a^hVi^dc VcY Vc [$'#- VeZgijgZ '- c$V .-#) &)* &&%%\
16-300mm f/3.5-6.3 Di II VC PZD Macro +%% )★ KZghVi^aZ bZ\Voddb! V kZgn \ddY Vaa ^c dcZ hdaji^dc! Vh adc\ Vhndjldc¼icZZYidZcaVg\Zid6'h^oZ (. +, ..#* ,* *)%\
17-50mm f/2.8 SP AF XR Di II LD Asph IF )*% )#*★ KZgn \ddY dei^XVa eZg[dgbVcXZ! l]^X] eZV`h Vi [$*#+ - ', +, ,) -&#, )()\
17-50mm f/2.8 SP AF XR Di II VC LD Asph IF *)& )#*★ KZgn higdc\ eZg[dgbVcXZ Vi adc\Zg [dXVa aZc\i]h Wji lZV`Zg Vi i]Z di]Zg ZcY '. ,' ,.#+ .)#* *,%\
18-200mm f/3.5-6.3 AF Di II VC £169 4★ A^\]ilZ^\]i Vaa ^c dcZ aZch [dg 6EH 8 9HAGh l^i] K^WgVi^dc 8dbeZchVi^dc ). +' ,* .+#+ )%%\
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro £663 3★ I]Z cZmi \ZcZgVi^dc ^cXVgcVi^dc d[[Zgh V cZl [dgb d[ jaigVhdc^X Zc\^cZ ). +' ,)#) -- )*%\
18-400mm f/3.5-6.3 Di II VC HLD +*% )★ I]Z adc\Zhi gVc\^c\ iZaZe]did oddb nZi bVYZ ijgch ^c V hjgeg^h^c\an YZXZci eZg[dgbVcXZ )* ,' ,. &'(#. ,&%\
24-70mm f/2.8 SP Di VC USD &%.. *★ ;Vhi oddb l^i] ^bV\Z hiVW^a^hVi^dc [dg Wdi] [jaa [gVbZ VcY 6EH 8 XVbZgVh (- -' --#' &&+#. -'*\
24-70mm f/2.8 SP Di VC USD G2 &'). Je\gVYZY [Vhi oddb l^i] ^begdkZY ^bV\Z hiVW^a^hVi^dc VcY bd^hijgZ gZh^hiVci XdchigjXi^dc (- -' --#) &&& .%*\
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro )+% HiVcYVgY oddb l^i] XdchiVci [$'#- VeZgijgZ VcY b^c^bjb [dXjh^c\ Y^hiVcXZd[((Xb (( +, ,( .' *&%\
28-300mm f/3.5-6.3 Di VC PZD *'. 6 cZl! [jaa [gVbZ! ]^\] edlZg oddb ^cXdgedgVi^c\ EO9 E^Zod 9g^kZ ). +, ,* ..#* *)%\
35mm f/1.8 Di VC USD *-% )#*★ BdYZgViZan l^YZ eg^bZ XdbW^cZh jaigVhdc^X [dXjh^c\! ^bV\Z hiVW^a^hVi^dc VcY V [Vhi VeZgijgZ '% +, -%#) -%#- )-%\
45mm f/1.8 Di VC USD *-% )#*★ 6 aZch i]Vi gZlg^iZh i]Z hiVcYVgY [dXVa aZc\i] l^i] V [Vhi VeZgijgZ XdjeaZY l^i] dei^XVahiVW^a^hVi^dc '. +, -%#) -.#' .)%\
60mm f/2 SP AF Di II LD IF Macro **% *★ BVXgd aZch YZh^\cZY [dg 6EH 8 hZchdg XVbZgVh! l^i] &/& gZegdYjXi^dc gVi^d '( ** ,( -% )%%\
70-200mm f/2.8 SP AF Di LD IF Macro -&, )★ Cd ^bV\Z hiVW^a^hVi^dc VcY cd VYkVcXZY 6; hnhiZb! Wji Vi i]^h eg^XZ ^i¼h VhiZVa .* ,, -.#* &.)#( &&*%\
70-200mm f/2.8 Di VC USD &%.. 8dbeVXi nZi [jaa h^oZ iZaZe]did oddb l^i] k^WgVi^dc XdbeZchVi^dc &(% ,, -*#- &--#( &),%\
70-200mm f/2.8 SP Di VC USD G2 &(*% *★ :mXZaaZci iZaZe]did oddb l^i] jeYViZY Vjid[dXjh VcY ^bV\Z hiVW^a^hVi^dc eajh hZVaZY XdchigjXi^dc .* ,, -- &.(#- &*%%\
70-210mm f/4 Di VC USD +.. )#*★ A^\]ilZ^\]i iZaZoddb egdb^hZh ]^\] dei^XVa eZg[dgbVcXZ! ^bV\Z hiVW^a^hVi^dc VcY lZVi]ZghZVa^c\ .* +, ,+ &,+#* -+%\
70-300mm f/4-5.6 SP VC USD (%% )★ JaigVhdc^X H^aZci 9g^kZ JH9 iZX]cdad\n [dg [dXjh^c\ VcY K^WgVi^dc 8dbeZchVi^dc &*% +' -&#* &)'#, ,+*\
70-300mm f/4-5.6 AF Di LD Macro &,% (#*★ Adl Y^heZgh^dc \aVhh VcY XdbeVi^WaZ l^i] Wdi] [jaa [gVbZ VcY XgdeeZY hZchdg 9HAGh .* +' ,+#+ &&+#* )(*\
85mm f/1.8 Di VC USD ,). *★ I]Z Äghi [jaa [gVbZ -*bb [$&#- aZch l^i] ^bV\Z hiVW^a^hVi^dc! i]Vi¼h Vahd bd^hijgZgZh^hiVci -% +, -* .& ,%%\
90mm f/2.8 SP AF Di Macro ),% )★ 6 kZgn c^XZ bVXgd aZch i]Vi ^h XVeVWaZ d[ egdYjX^c\ hdbZ ÄcZ ^bV\Zh '. ** ,&#* ., )%*\
90mm f/2.8 Di Macro 1:1 VC USD *,. GZYZh^\c d[ i]Z .%bb [$'#- HE 6; 9^ BVXgd0 XdbZh l^i] k^WgVi^dc XdbeZchVi^dc (% *- &&* ,+#) **%\
100-400mm f/4.5-6.3 Di VC USD ,-. *★ GZaVi^kZan XdbeVXi VcY a^\]ilZ^\]i iZaZe]did oddb l^i] bd^hijgZ"gZh^hiVciXdchigjXi^dc &*% +, &.. -+#' &&(*\
150-600mm f/5-6.3 SP Di VC USD G2 &()% JeYViZY kZgh^dc d[ IVbgdc¼h edejaVg adc\ iZaZoddb ''% .* &%-#) '+%#' '%&%\
150-600mm f/5-6.3 SP VC USD &&*% )★ Adc\Zhi [dXVa aZc\i] d[ Vcn V[[dgYVWaZ Zci]jh^Vhi oddb dc i]Z bVg`Zi VcY egdYjXZh ZmXZaaZcigZhjaih ',% .* &%*#+ '*,#- &.*&\
180mm f/3.5 SP AF Di LD IF Macro -.+ *★ IldAdl9^heZgh^dcZaZbZcihVcY^ciZgcVa[dXjh^c\hnhiZb^ci]^h&/&bVXgdaZch ), ,' -)#- &+*#, .'%\
TOKINA DSLR
AT-X 10-17mm f/3.5-4.5 AF DX Fisheye **% ;^h]ZnZ oddb aZch l^i] LViZg GZeZaaZci XdVi^c\ VcY HjeZg Adl 9^heZgh^dc \aVhh &) c$V ,% ,&#& (*%\
AT-X 11-16mm f/2.8 PRO DX II )). JeYViZ id i]Z edejaVg && &+bb [$'#- aZch! [dg ha^\]ian ^begdkZY dei^XVa eZg[dgbVcXZ (% ,, -) -.#' **%\
AT-X 11-20mm f/2.8 PRO DX £499 4★ 8dbeVXi! jaigV l^YZVc\aZ aZch l^i] V [Vhi bVm^bjb VeZgijgZ VcY YZXZci dei^XVaeZg[dgbVcXZ '- -' -. .' *+%\
AT-X 12-28mm f/4 PRO DX *'. GZeaVXZbZci [dg &' ')bb [$) l^YZVc\aZ oddb0 [dg C^`dc 9M 9HAGh '* ,, -) .% +%%\
AT-X 14-20mm f/2 PRO DX -). L^YZVc\aZ oddb l^i] hjeZg [Vhi! hjeZg Wg^\]i! XdchiVci [$' VeZgijgZ[dgh]ddi^c\^ckZgnadla^\]i '- -' -. &%+ ,'*\
AT-X 16-28mm f/2.8 PRO FX ,*, *★ 6 egd ZcY l^YZVc\aZ oddb V^bZY Vi [jaa [gVbZ XVbZgVh '+ c$V .% &(( .*%\
AT-X 17-35mm f/4 PRO FX -(% *★ DcZ d[ i]Z bdhi XVeVWaZ hjeZg l^YZ oddbh VkV^aVWaZ! i]dj\] dcan VkV^aVWaZ ^c 8Vcdc VcY C^`dc bdjcih '- -' -. .) +%%\
AT-X 24-70mm f/2.8 PRO FX +,. I]gZZ egZX^h^dc bdjaYZY Vaa \aVhh Vhe]Zg^XVa aZch ZaZbZcih VcY V [Vhi! XdchiVci [$'#- VeZgijgZ (- -' -.#+ &%,#* &%&%\
AT-X 70-200mm f/4 PRO FX VCM-S +.& ;ZVijgZh V cZl K^WgVi^dc 8dggZXi^dc BdYjaZ VcY g^c\ h]VeZY jaigVhdc^X hinaZ Vjid[dXjh bdidg &%% +, -' &+,#* .-%\
AT-X 100mm f/2.8 AF PRO D Macro (+% )★ HdbZlZV`cZhhZhl^YZdeZc!WjigZVhdcVWaZBI;XjgkZhbV`Zi]^hVYZXZcidei^X (% ** ,( .*#& *)%\
ZEISS DSLR
15mm f/2.8 Milvus '('. I]^h hjeZg l^YZVc\aZ aZch ]Vh Vc Vc\aZ d[ k^Zl d[ &&% VcY jhZh Vc VYkVcXZY gZigd[dXjh YZh^\c '* .* &%'#( &%%#' .),\
18mm f/2.8 Milvus &... 8dbeVXi hjeZg l^YZVc\aZ aZch l^i] egZb^jb dei^Xh ^cXajY^c\ V ÅdVi^c\ [dXjh hnhiZb[dgXadhZ"jeh '* ,, .% .( ,'&\
21mm f/2.8 Milvus &'.. EgZb^jb l^YZVc\aZ aZch l^i] XdbeaZm dei^Xh YZh^\cZY id WZ [gZZ d[ Y^hidgi^dc '' -' .*#* .* -*&\
25mm f/1.4 Milvus &... *★ Dei^XVaan ZmXZaaZci! aVg\Z VeZgijgZ bVcjVa [dXjhl^YZVc\aZaZchl^i]lZVi]Zg"hZVaZYXdchigjXi^dc '* -' .*#' &'( &''*\
25mm f/2 Distagon T* &(*% 6 aVcYhXVeZ aZch l^i] V [Vhi VeZgijgZ '* +, ,( .- +%%\
25mm f/2.8 Distagon T* ,(- GZaVi^kZan hbVaa VcY a^\]i l^YZVc\aZ eg^bZ! VkV^aVWaZ ^c C^`dc bdjcidcan &, *- +) .% )+%\
28mm f/2 Distagon T* -*% ;dg adl a^\]i h]ddi^c\ i]Z '-bb aZch ]Vh eaZcin d[ ediZci^Va ') *- ,'#) ,' *-%\
35mm f/1.4 Distagon T* &+%% Egdb^hZh id egdYjXZ hdbZ hijcc^c\ Wd`Z] Z[[ZXih (% ,' ,- &'' -*%\
35mm f/1.4 Milvus &+.. AVg\Z VeZgijgZ! egZb^jb fjVa^in bVcjVa [dXjh eg^bZ l^i]lZVi]Zg"hZVaZYXdchigjXi^dc (% ,' -)#- &')#- &&,)\
35mm f/2 Milvus -'. 8dbeVXi! bdYZgViZ l^YZVc\aZ bVcjVa [dXjh eg^bZ (% *- ,, -( ,%'\
50mm f/1.4 Planar T* **. 8aVhh^X YdjWaZ <Vjhh YZh^\c bVcjVa [dXjh hiVcYVgY eg^bZ [dg [jaa [gVbZ HAGh )* *- ,& ,& (-%\
50mm f/1.4 Milvus .). *★ 6c ZmXZei^dcVaan \ddY aZch d[[Zg^c\ h]VgecZhh! YZiV^a! XaZVc ZY\Zh VcY V \gZVi jhZg ZmeZg^ZcXZ )* +, -'#* .) .''\
50mm f/2 Milvus Macro .). BVcjVa [dXjh bVXgd aZch l^i] ]Va[ a^[Z h^oZ bV\c^ÄXVi^dc VcY hijcc^c\ dei^Xh ') +, -& ,*#( ,(%\
85mm f/1.4 Planar T* .-. 8aVhh^X edgigV^i eg^bZ YZh^\cZY id \^kZ hbddi]! gdjcYZY Wd`Z] Z[[ZXih &%% ,' ,- -- +,%\
85mm f/1.4 Milvus &(,. *★ ;Vhi -*bb bVcjVa [dXjh eg^bZ aZch i]Vi¼h eZg[ZXi [dg edgigV^ijgZ -% ,, .% &&( &'-%\
100mm f/2 Milvus Macro &'.. 6 bVcjVa [dXjh bVXgd aZch l^i] VWhdajiZan hjeZgW dei^Xh VcY ]Va[ a^[Z h^oZ gZegdYjXi^dc -- +, -%#* &%) -)(\
135mm f/2 Milvus &-.. IZaZe]didaZchl^i]VaVg\ZVeZgijgZVcYhbddi]Wd`Z]!^YZVa[dgbZY^jb"Y^hiVcXZedgigV^ie]did\gVe]n -% ,, &'. &(' &&'(\
LENGTH (MM)
FULL FRAME
WIDTH (MM)
CANON M
NIKON 1
SONY E
WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
CANON CSC
EF-M 11-22mm f/4-5.6 IS STM (** JaigV l^YZVc\aZ aZch l^i] V XdbeVXi! gZigVXiVWaZ aZch YZh^\c &* ** +& *-#' ''%\
EF-M 15-45mm f/3.5-6.3 IS STM '). 8daaVeh^WaZ hiVcYVgY oddb [dg :DH B hZg^Zh XVbZgVh i]Vi¼h aZhh Wja`n i]Vc i]Z &- **bb '* ). +%#. ))#* &(%\
EF-M 18-55mm f/3.5-5.6 IS STM '+. 8dbeVXi VcY kZghVi^aZ oddb aZch '* *' +& +& '&%\
EF-M 18-150mm f/3.5-6.3 IS STM (.. L^YZ gVc\^c\ '. ')%bb Zfj^kVaZci hjeZgoddb l^i] hjgeg^h^c\an \ddY ^bV\Z fjVa^in '* ** +%#. -+#* (%%\
EF-M 22mm f/2 STM ''% HbVaa VcY Wg^\]i l^YZVc\aZ eVcXV`Z aZch &* )( +& '(#, &%*\
EF-M 28mm f/3.5 IS STM Macro '.) HbVaa! gZigVXiVWaZ aZch l^i] Wj^ai ^c A:9 a^\]ih [dg ^aajb^cVi^c\XadhZ"jehjW_ZXih .#, )( +%#. )*#* &(%\
EF-M 55-200mm f/4.5-6.3 IS STM ((% IZaZe]didoddbi]ViiV`ZhndjXadhZgidi]ZVXi^dc &%% *' +%#. -+#* '+%\
FUJIFILM CSC
NEW XF 8-16mm f/2.8 R LM WR &,.. EgZb^jb jaigV l^YZVc\aZ aVg\Z VeZgijgZ oddb aZch l^i] lZVi]Zg gZh^hiVci XdchigjXi^dc '* c$V -- &'&#* -%*\
XF 10-24mm f/4 R OIS -). L^YZVc\aZ oddb aZch! egdb^h^c\ b^c^bVa \]dhi^c\ l^i] ;j_^¼h =I :78 bjai^ aVnZg XdVi^c\ ') ,' ,- -, )&%\
XF 14mm f/2.8 R ,'. *★ L^YZVc\aZ eg^bZ l^i] ]^\] gZhdaji^dc ^cid i]Z XdgcZgh! ^ih eZg[dgbVcXZ _jhi^ÄZh i]Z eg^XZ iV\ &- *- +* *-#) '(*\
XC 15-45mm f/3.5-5.6 OIS PZ '*. A^\]ilZ^\]i gZigVXiVWaZ edlZg oddb i]Vi¼h hZi id WZ i]Z Zcign aZkZa `^i aZch [dg M hnhiZbXVbZgVh &( *' +'#+ ))#' &(*\
XF 16mm f/1.4 R WR ,'. *★ LZVi]Zg hZVaZY [Vhi eg^bZ [dg M hnhiZb jhZgh &* +, ,(#) ,( (,*\
XC 16-50 f/3.5-5.6 OIS II (*. A^\]ilZ^\]i aZch [dg b^ggdgaZhh M hZg^Zh d[[Zgh ') ,*bb Zfj^kVaZci oddb gVc\Z (% *- +'#+ .-#( &.*\
XF 16-55mm f/2.8 R LM WR -.. *★ 6 ÅV\h]^e M; hiVcYVgY oddb aZch l^i] V XdchiVci [$'#- VeZgijgZ VcY lZVi]Zg gZh^hiVcXZ +% ,, -(#( &%+ +**\
XF 18mm f/2 R )(% )★ 6 XdbeVXi l^YZVc\aZ aZch l^i] V fj^X` VeZgijgZ &- *' +)#* )%#+ &&+\
XF 18-135mm f/3.5-5.6 R LM OIS WR +.. )★ LZVi]Zg gZh^hiVci oddb [dg ;j_^Äab M bdjci! YZh^\cZY id WZ i]Z eZg[ZXieVgicZg[dgi]Z;j_^ÄabM"I& )* ,, ,*#, .,#- ).%\
XF 18-55mm f/2.8-4 R LM OIS *.. H]dgi oddb aZch l^i] dei^XVa ^bV\Z hiVW^a^hVi^dc &- *- +* ,%#) (&%\
XF 23mm f/1.4 R +). EgZb^jb l^YZVc\aZ eg^bZ aZch l^i] [Vhi bVm^bjb VeZgijgZ '- +' ,' +( (%%\
XF 23mm f/2 R WR )&. *★ 8dbeVXi lZVi]Zg gZh^hiVci l^YZVc\aZ eg^bZ aZch '' )( +% *&#. &-%\
XF 27mm f/2.8 ',% 6 ]^\] eZg[dgbVcXZ h^c\aZ [dXVa aZc\i] aZch +% (. '( +&#' ,-\
XF 35mm f/1.4 R )(. )★ H]Vaadl YZei] d[ ÄZaY VcY Wd`Z] Z[[ZXih VgZ h^beaZ id VX]^ZkZ l^i] i]^h aZch '- *' +* *)#. &-,\
XF 35mm f/2 R WR '.. *★ 6 edlZg[ja VcY lZVi]Zg gZh^hiVci aZch i]Vi [ZZah \gZVi VcY ]Vh i]Z eZg[dgbVcXZ id bViX] (* )( +% )*#. &,%\
XF 50mm f/2 R WR )). *★ A^\]ilZ^\]i lZVi]Zg gZh^hiVci h]dgi iZaZe]did eg^bZ aZch i]Vi¼h ^YZVa [dg h]ddi^c\ edgigV^ih (. )+ +% *.#) '%%\
XF 50-140mm f/2.8 R LM OIS WR &'). 6 iZaZe]did oddb l^i] V XdchiVci bVm^bjb VeZgijgZ VcY lZVi]Zg gZh^hiVcXZ &%% ,' -'#. &,*#. ..*\
XC 50-230mm f/4.5-6.7 OIS II (&* I]Z M8 aZch gVc\Z ^h YZh^\cZY id hj^i ;j_^¼h b^Y gVc\Z 8H8h! VcY i]^h aZch ]Vh dei^XVa ^bV\Z hiVW^a^hVi^dc &&% *- +.#* &&& (,*\
XF 55-200mm f/3.5-4.8 R LM OIS *.. )★ IZaZe]did l^i] Wj^ai ^c dei^XVa ^bV\Z hiVW^a^hVi^dc eajh VeZgijgZ Xdcigda g^c\ &&% +' &&- ,* *-%\
XF 56mm f/1.2 R -.. )★ I]^h l^YZ VeZgijgZ edgigV^i aZch [dg M hZg^Zh XVbZgVh ]Vh \gZVi h]VgecZhh VcY YZiV^a VcY ^h\gZVikVajZ ,% +' ,(#' +.#, )%*\
XF 56mm f/1.2 R APD &&*. )★ 6YYh VedY^hVi^dc ZaZbZci d[ *+bb [$&#' [dg ZkZc bdgZ ViigVXi^kZ WVX`\gdjcY Wajg ,% +' ,(#' +.#, )%*\
XF 60mm f/2.4 XF R Macro *.. 6 h]dgi aZch YZh^\cZY [dg bVXgd ldg` l^i] ]Va[ a^[Z h^oZ bV\c^ÄXVi^dc '+#, (. +)#& ,%#. '&*\
XF 80mm f/2.8 R LM OIS WR Macro &'). )★ ;j_^Äab¼h adc\ VlV^iZY &/& bVXgd ^cXajYZh lZVi]Zg gZh^hiVcXZ VcY dei^XVa ^bV\Z hiVW^a^hVi^dc '* +' -% &(% ,*%\
XF 90mm f/2 R LM WR +.. *★ 6 XaVhh^X edgigV^i aZch i]Vi¼h h]Vge! l^i] \dg\Zdjh Wd`Z] +% +' ,* &%* *)%\
XF 100-400mm f/4.5-5.6 R LM OIS WR &(.. *★ I]^hhjeZgWoddb^hWdi]lViZgVcYYjhigZh^hiVci!VcYXVcdeZgViZ^c"&%8iZbeZgVijgZh &,* ,, .)#- '&%#* &(,*\
LAOWA CSC
4mm f/2.8 Fisheye MFT I78 A^\]ilZ^\]i Äh]ZnZ aZch [dg B^Xgd ;djg I]^gYh d[[Zg^c\ V X^gXjaVg ^bV\Z l^i] V '&% Vc\aZ d[ k^Zl - c$V )*#' '*#* &(*\
7.5mm f/2 MFT ).. )#*★ I^cn Wji h]Vge l^YZVc\aZ eg^bZ [dg B^Xgd ;djg I]^gYh [ZVijg^c\ bVcjVa [dXjh VcY VeZgijgZ Xdcigda &' )+ *% ** &,%\
9mm f/2.8 Zero D ).. 8dbeVXi bVcjVa [dXjh eg^bZ [dg 6EH 8 b^ggdgaZhh XVbZgVh egdb^hZh kZgn adl Y^hidgi^dc &' ). +% *( '&*\
10-18mm f/4.5-5.6 FE Zoom I78 I]Z ldgaY¼h l^YZhi oddb [dg [jaa [gVbZ Hdcn b^ggdgaZhh! l^i] bVcjVa [dXjh VcY VeZgijgZ Xdcigda &* (, ,% .%#. ).+\
15mm f/2 FE Zero D -.. BVcjVa"[dXjh[VhijaigV"l^YZVc\aZeg^bZ[dg[jaa"[gVbZHdcnXVbZgVh!l^i]b^c^bVaY^hidgi^dc &* ,' ++ -' *%%\
LEICA CSC
11-23mm f/3.5-4.5 TL &)*% L^YZVc\aZ oddb aZch [dg AZ^XV¼h 6EH 8 b^ggdgaZhh hnhiZb '% +, ,, ,( (+-\
18-56mm f/3.5-5.6 Vario-Elmar TL &'-% GZaVi^kZan aVg\Z! cdc gZigVXiVWaZ oddb [dg 6EH 8 b^ggdgaZhh )* *' +(#* +& '*+\
18mm f/2.8 Elmarit TL &%'% Ha^ba^cZ! ZmigZbZan a^\]ilZ^\]i eVcXV`Z eg^bZ l^i] [Vhi Vjid[dXjh (% (. +& '& -%\
23mm f/2 Summicron TL &)&% 8dbeVXi! a^\]ilZ^\]i [Vhi eg^bZ i]Vi d[[Zgh V XaVhh^X (*bb Zfj^kVaZci k^Zl dc AZ^XV¼h 6EH 8 8H8h (% *' +(#* (-#& &*(\
24-90mm f/2.8-4 Vario-Elmarit-SL (,.% AVg\Z! Wji ZmXZei^dcVa fjVa^in [jaa [gVbZ hiVcYVgY oddb l^i] gZVaan jhZ[ja oddb gVc\Z (% -' -- &(- &&)%\
35mm f/1.4 Summilux TL &-(% =^\] ZcY [Vhi eg^bZ YZh^\cZY id \^kZ ZmXZei^dcVa ^bV\Z fjVa^in (% +% ,% ,, )'-\
55-135mm f/3.5-4.5 APO-Vario-Elmar-TL &)*% IZaZe]did oddb i]Vi ZhX]Zlh ^bV\Z hiVW^a^hVi^dc ^c V W^Y [dg bVm^bVa dei^XVa fjVa^in &%% +% +- &&% *%%\
60mm f/2.8 APO-Macro-Elmarit TL &.'% BVXgd aZch [dg AZ^XV¼h 6EH 8 b^ggdgaZhh XVbZgVh d[[Zgh &/& a^[Z h^oZbV\c^ÄXVi^dc &+ +% +- -. ('%\
75mm f/2 APO-Summicron SL (,*% ;Vhih]dgi"iZaZe]didedgigV^iaZch[dgi]Z[jaa"[gVbZAZ^XVHA *% +, ,( &%' ,'%\
OLYMPUS CSC
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN
7-14mm f/2.8 ED Pro ... )#*★ HjeZg l^YZVc\aZ oddb aZch i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ egdd[ '% c$V ,-#. &%*#- *()\
8mm f/1.8 Pro Fisheye ,.. ;^h]ZnZ aZch l^i] ^begZhh^kZ ^bV\Z fjVa^in i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ egdd[ &' c$V +' -% (&*\
9-18mm f/4-5.6 ED +(% I]^h hjeZg l^YZVc\aZ aZch d[[Zgh Vc Zfj^kVaZci [dXVa gVc\Z d[ &-"(+bb^c(*bbiZgbh '* *' *+#* ).#* &**\
9mm f/8 Fish-eye Body Cap Lens -. Ha^ba^cZ aZch ^c V WdYn XVe l^i] &)% Vc\aZ d[ k^Zl '% c$V *+ &'#- (%\
12mm f/2.0 ED ,(. *★ 6 l^YZVc\aZ ÄmZY aZch [dg i]Z B^Xgd ;djg I]^gYh hnhiZb '% )+ *+ )( &(%\
12-40mm f/2.8 ED Pro -.. LZVi]Zg gZh^hiVci hiVcYVgY oddb l^i] ide cdiX] dei^Xh VcY V XdchiVci VeZgijgZ d[ [$'#- '% +' +.#. -) (-'\
12-50mm f/3.5-6.3 ED EZ (). 6 lZVi]Zg gZh^hiVci oddb aZch l^i] bVcjVa dg ZaZXigdc^X oddb '% *' *, -( '&&\
12-100mm f/4 IS ED Pro &%.. *★ HjeZgW]^\]"ZcYlZVi]Zg"hZVaZYhjeZgoddbaZch[ZVijg^c\edlZg[ja^c"aZch>Hl^i]HncX>H &* ,' ,,#* &&+#* *+&\
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ǰɜźƱəǀɰǾɰǾʗǀɛɰǀ̱
LENGTH (MM)
FULL FRAME
WIDTH (MM)
CANON M
NIKON 1
SONY E
WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
14-42mm f/3.5-5.6 II R '+. 6 gZYZh^\cZY kVg^Vi^dc d[ i]Z hiVcYVgY `^i aZch '* (, *+#* *% &&'\
14-42mm f/3.5-5.6 EZ ('. 8dbeVXi `^i aZch [dg Danbejh E:C VcY DB 9 bdYZah l^i] edlZgoddb Xdcigda '% (, +%#+ ''#* .(\
14-150mm f/4-5.6 II **% =^\] edlZgZY oddb [dg Vaa ndjg cZZYh [gdb l^YZVc\aZ id iZaZe]did eajh lZVi]Zg gZh^hiVcXZ *% *- +(#* -( '-*\
15mm f/8 Body Cap Lens +. Hig^Xian heZV`^c\ Vc VXXZhhdgn gVi]Zg i]Vc V aZch! l^i] WVh^X dei^Xh ^c V i^cn eaVhi^X ]djh^c\ (% c$V *+ . ''\
17mm f/1.2 ED Pro &(%% =^\] ZcY! aVg\Z VeZgijgZ lZVi]ZghZVaZY eg^bZ YZh^\cZY [dg YdXjbZciVgn dg aVcYhXVeZ ldg` '% +' +-#' -, (.%\
17mm f/1.8 MSC )*% *★ L^YZ VeZgijgZ! l^YZVc\aZ eg^bZ WdVhi^c\ ZmXZaaZci eZV` h]VgecZhh VcY adl Xdadjg [g^c\^c\ '* )+ *, (* &'%\
17mm f/2.8 Pancake (%% )★ I^cn l^YZVc\aZ eVcXV`Z eg^bZ l^i] gZVhdcVWaZ dei^Xh '% (, *, '' ,&\
25mm f/1.2 ED Pro &%.. =^\] egZX^h^dc! ]^\] heZZY dei^X l^i] V heZX^Va aZch hnhiZb XdchigjXi^dc [dg ZY\Z id ZY\Z h]VgecZhh (% +' ,% -, )&%\
25mm f/1.8 (,% 8dbeVXi eg^bZ aZch l^i] jaigV Wg^\]i [$&#- VeZgijgZ '* )+ *,#- )' &(,\
30mm f/3.5 ED Macro '). CZl ^c i]Z B#Oj^`d EgZb^jb gVc\Z! i]^h bVXgd aZch [ZVijgZh hjeZg [Vhi 6; VcY lZ^\]h dcan &'-\ .#* )+ *, +% &'-\
40-150mm f/2.8 ED Pro &'.. )★ I]^h edlZg[ja -% (%%bb (*bb Zfj^kVaZci [dXVa aZc\i] aZch d[[Zgh VbVo^c\ edgiVW^a^in [dgi]^hegdXaVhh ,% ,' ,.#) &+% ,+%\
40-150mm f/4-5.6 R (%. I]^h b^YYaZ Y^hiVcXZ oddb aZch ]Vh Vc -% (%%bb (*bb Zfj^kVaZci [dXVa aZc\i] .% *- +(#* -( &.%\
45mm f/1.2 ED Pro &'%% AVg\Z VeZgijgZ aZch YZh^\cZY [dg edgigV^i e]did\gVe]n l^i] egZb^jb dei^Xh *% +' ,% -)#. )&%\
45mm f/1.8 ',. *★ ;Vhi VeZgijgZ aZch [dg iV`^c\ edgigV^i h]dih ^h h]Vge! fj^Zi VcY ]Vh cd Xdadjg [g^c\^c\ *% (, *+ )+ &&+\
60mm f/2.8 Macro )*% =^\] egZX^h^dc bVXgd aZch i]Vi¼h Yjhiegdd[ VcY heaVh]egdd[ &. )+ *+ -' &-*\
75-300mm f/4.8-6.7 ED II ).. JeYViZ [ZVijg^c\ Oj^`d :migV adl GZÅZXi^dc Dei^XVa XdVi^c\ hV^Y id gZYjXZ \]dhi^c\ .% *- +. &&, )'(\
75mm f/1.8 ED ,.. *★ JaigV [Vhi eg^bZ aZch ^YZVa [dg edgigV^ih VcY VXi^dc h]dih -) *- +) +. (%*\
300mm f/4 IS Pro ''%% 8dbeVXijaigV"iZaZe]dideg^bZl^i]dei^XVa^bV\ZhiVW^a^hVi^dc!XdbeVi^WaZl^i]HncX>H &)% ,, .'#* '', &',%\
PANASONIC CSC
G 7-14mm f/4 ,)% *★ ;dg V l^YZVc\aZ oddb! i]Z dkZgVaa aZkZa d[ gZhdaji^dc ^h kZgn ^begZhh^kZ '* c$V ,% -(#& (%%\
G 8mm Fisheye f/3.5 ,(% I]Z ldgaY¼h a^\]iZhi VcY hbVaaZhi Äh]ZnZ aZch [dg Vc ^ciZgX]Vc\ZVWaZ aZch XVbZgV &% '' +%#, *&#, &+*\
DG 8-18mm f/2.8-4 ASPH Leica &%). HeaVh]egdd[! Yjhiegdd[ VcY [gZZoZegdd[ jaigV l^YZVc\aZ oddb l^i] egZb^jb dei^Xh '( +, ,(#) -- (&*\
DG 12mm f/1.4 Leica Summilux ASPH &&.. )#*★ 8dbeVXi [Vhi l^YZVc\aZ fjVa^in l^i] ZmXZaaZci dei^Xh VcY Wj^ai ^c VeZgijgZ g^c\ '% +' ,% ,% ((*\
G 12-32mm f/3.5-5.6 MEGA OIS ',% KZgn XdbeVXi l^i] V kZghVi^aZ oddb gVc\Z VcY i]gZZ Vhe]Zg^XVa aZchZh '% (, **#* ') ,%\
G X 12-35mm f/2.8 OIS &%.* *★ ;Vhi! ]^\] fjVa^in hiVcYVgY oddb [dg B^Xgd ;djg I]^gYh XVbZgVh '* *- +,#+ ,(#- (%*\
G X 12-35mm f/2.8 OIS II --% JeYViZY [Vhi hiVcYVgY oddb l^i] bViiZ WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda '* *- +,#+ ,(#- (%*\
G 12-60mm f/3.5-5.6 OIS ASPH )(. )★ >cXdgedgViZh V hiZee^c\ bdidg [dg V hbddi]! h^aZci deZgVi^dc VcY [ZVijgZh V Yjhi VcY heaVh]egdd[ YZh^\c '% *- ++ ,& '&%\
DG 12-60mm f/2.8-4 OIS Leica --% EgZb^jb hiVcYVgY oddb l^i] jhZ[ja [dXVa aZc\i] gVc\Z VcY lZVi]Zg gZh^hiVci XdchigjXi^dc '% +' +- -+ ('%\
G 14mm f/2.5 II '). L^YZVc\aZ eVcXV`Z aZch i]Vi h]djaY hj^i aVcYhXVeZ e]did\gVe]Zgh &- )+ **#* '%#* **\
G X 14-42mm f/3.5-5.6 X PZ POWER OIS (+. )★ EdlZgZY oddb0 ^begZhh^kZ gZhjaih ^c iZgbh d[ Wdi] h]VgecZhh VcY X]gdbVi^X VWZggVi^dc '% (, +& '+#- .*\
G 14-45mm f/3.5-5.6 MEGA OIS &-. 6 a^\]ilZ^\]i VcY XdbeVXi hiVcYVgY oddb [ZVijg^c\ B:<6 D>H dei^XVa ^bV\Z hiVW^a^hVi^dc (% *' +% +% &.*\
G 14-140mm f/3.5-5.6 POWER OIS *.. BZiVa WdY^ZY oddb [ZVijg^c\ XdbeVcn¼h EDL:G D>H dei^XVa ^bV\Z hiVW^a^hZg (% *- +, ,* '+*\
DG 15mm f/1.7 Leica SUMMILUX *). )★ =^\] heZZY eg^bZ l^i] V XdbeVXi bZiVa WdYn! ^cXajYZh i]gZZ Vhe]Zg^XVa aZchZh id Xji Ydlc Y^hidgi^dc '% )+ (+ *,#* &&*\
G 20mm f/1.7 ASPH II '). JaigV XdbeVXi [Vhi eg^bZ l^i] ZmXZaaZci dei^Xh Wji hadlZg Vjid[dXjhi]VcbdgZbdYZgcdei^dch '% )+ '*#* +( &%%\
G 25mm f/1.7 ASPH &*. )#*★ >cZmeZch^kZ [Vhi cdgbVa eg^bZ [dg B^Xgd ;djg I]^gYh '* )+ +%#- *' &'*\
DG 25mm f/1.4 Leica SUMMILUX **% *★ 6 [Vhi VeZgijgZ ÄmZY [dXVa aZc\i] hiVcYVgY aZch [gdb AZ^XV (% )+ +( *)#* '%%\
G 30mm f/2.8 Macro MEGA OIS (%% (★ 8dbeVXi aZch d[[Zg^c\ igjZ id a^[Z bV\c^ÄXVi^dc XVeVW^a^in [dg WZiiZg bVXgd ^bV\Zh &% )+ *-#- +(#* &-%\
G 35-100mm f/4-5.6 ASPH MEGA OIS (%% IZaZe]did oddb Zfj^kVaZci id ,% '%%bb dc V (*bb XVbZgV .% )+ **#* *% &(*\
G X 35-100mm f/2.8 Power OIS II .,% EgZb^jb [Vhi iZaZe]did oddb l^i] bViiZ WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda -* *- +,#) &%% (+%\
DG 42.5mm f/1.2 Leica DG OIS &(.. *★ B^Y iZaZe]did ]^\] heZZY AZ^XV 9< CdXi^Xgdc aZch l^i] ' Vhe]Zg^XVa aZchZh VcY jaigV l^YZ VeZgijgZ *% +, ,) ,+#- )'*\
G 42.5mm f/1.7 Power OIS (). B^Y iZaZe]did aZch l^i] V (*bb Zfj^kVaZci d[ -*bb! ^ih [$&#, VeZgijgZ egdb^hZh V WZVji^[jaWd`Z]Z[[ZXi (, (& ** *% &(%\
DG 45mm f/2.8 OIS Macro Leica *(. I^cn bVXgd aZch l^i] &/& bV\c^ÄXVi^dc VcY dei^XVa ^bV\Z hiVW^a^hVi^dc &* )+ +( +'#* ''*\
G 45-150mm f/4-5.6 MEGA OIS '-% )★ 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb Xdbeg^h^c\ &' ZaZbZcih ^c c^cZ \gdjeh .% *' +' ,( '%%\
G X 45-175mm f/4-5.6 X PZ POWER OIS )%% )★ 6 edlZgZY adc\ [dXVa aZc\i] oddb aZch .% )+ +&#+ .% '&%\
G 45-200mm f/4-5.6 MEGA OIS II (-% JeYViZY iZaZe]did oddb aZch l^i] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H &%% *' ,% &%% (-%\
DG 50-200mm f/2.8-4 OIS Leica &+%% EgZb^jb iZaZe]did oddb i]Vi XdbeaZiZh EVcVhdc^X¼h AZ^XV [$'#- ) hZg^Zh ,* +, ,+ &(' +**
G 100-300mm f/4-5.6 MEGA OIS II *,% )★ JeYViZY adc\ oddb aZch l^i] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H &%% *' ,% &%% (-%\
DG 100-400mm f/4-6.3 OIS Leica &(). Ide fjVa^in hjeZgiZaZe]did oddb l^i] lZVi]ZghZVaZY XdchigjXi^dc VcY 9jVa >H hjeedgi &%( ,' -( &,&#* .-*\
DG 200mm f/2.8 OIS Leica '+.. *★ Hijcc^c\)%%bb"Zfj^kVaZci[VhiiZaZe]dideg^bZ!XdbZhl^i]&#)miZaZXdckZgiZg^ci]ZWdm &&* ,, -,#* &,) &')*\
SAMYANG CSC
7.5mm f/3.5 UMC fisheye MFT '*( ;^h]ZnZ bVcjVa [dXjh aZch l^i] JaigV Bjai^ 8dViZY aZch ZaZbZcih id gZYjXZ ÅVgZ VcY \]dhi^c\ . c$V )-#( +% &.,\
8mm f/2.8 UMC fisheye II '). JeYViZY kZgh^dc d[ i]Z HVbnVc\ -bb [$'#- JB8 ;^h]ZnZ aZch! l^i] ^begdkZY dei^XVaXdchigjXi^dc (% c$V +% +)#) '.%\
12mm f/2 NCS CS ((% ;Vhi l^YZVc\aZ eg^bZ [dg 6EH 8 VcY B^Xgd ;djg I]^gYh b^ggdgaZhh XVbZgVh '% +, ,'#* *. ')*\
14mm f/2.8 FE AF (-. 6jid[dXjh l^YZVc\aZ eg^bZ YZh^\cZY [dg Hdcn 6ae]V , hZg^Zh XVbZgVh '% c$V -*#* .,#* *%*\
21mm f/1.4 ED AS UMC CS '*. *★ BVcjVa [dXjh adl a^\]i aZch [dg b^ggdgaZhh XVbZgVh l^i] 6EH 8 dg hbVaaZg h^oZY hZchdg '- *- *)#( +,#. '.%\
NEW 24mm f/2.8 FE AF '-% HbVaa! a^\]ilZ^\]i Vjid[dXjh l^YZVc\aZ eg^bZ [dg [jaa [gVbZ b^ggdgaZhh XVbZgVh ') ). +&#- (, .(\
35mm f/1.2 ED AS UMC CS (*. HiVcYVgY Vc\aZ bVcjVa [dXjh aZch [dg b^ggdgaZhh XVbZgVh l^i] 6EH 8 hZchdg h^oZ (- +' +,#* ,)#' )'%\
35mm f/1.4 FE AF +%% ;Vhi Vjid[dXjh eg^bZ YZh^\cZY [dg bVm^bjb h]VgecZhh l^i] V A^cZVg HjeZghdc^X Bdidg [dg 6; (% +, ,*#. &&* +)*\
35mm f/2.8 FE AF ',. )#*★ 8dbeVXi! a^\]ilZ^\]i! ^cZmeZch^kZ Vjid[dXjh eg^bZ aZch [dg [jaa [gVbZ 8H8h (* ). +&#- (( -+\
50mm f/1.2 AS UMC CS '.. *★ ;Vhi iZaZe]did eg^bZ i]Vi XVc egdYjXZ hijcc^c\ gZhjaih l^i] V hjeZg h]Vaadl YZei] d[ ÄZaY *% +' +,#* ,)#* (-%\
50mm f/1.4 FE AF ).. )#*★ :mXZaaZci kVajZ [dg bdcZn [Vhi eg^bZ [dg [jaa [gVbZ Hdcn 8H8h )* +, ,(#* .,#, *-*\
300mm f/6.3 ED UMC CS Reflex '). 6XdbeVXigZÅZmb^ggdgaZchYZY^XViZY[dgb^ggdgaZhhXdbeVXihnhiZbXVbZgVh .% *- ,(#, +)#* ('%\
LENGTH (MM)
FULL FRAME
WIDTH (MM)
CANON M
NIKON 1
SONY E
WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
SIGMA CSC
16mm f/1.4 DC DN | C )*% AVg\Z VeZgijgZ l^YZVc\aZ aZch l^i] Yjhiegdd[ VcY heaVh]egdd[ YZh^\c '* +, ,'#' .'#( )%*\
19mm f/2.8 DN | A &-. BZiVa WdY^ZY ]^\] eZg[dgbVcXZ l^YZVc\aZ eg^bZ aZch '% )+ +%#- )*#, &*%\
30mm f/1.4 DC DN | C (%% )★ 6 eg^bZ [dg B^Xgd ;djg I]^gYh VcY Hdcn : bdjci jhZgh! ^i¼h ^begZhh^kZan h]Vge ZkZc Vi [$&#) (% *' +)#- ,( &)%\
30mm f/2.8 DN | A &-. JhZh V ]^\] fjVa^in YdjWaZ h^YZY Vhe]Zg^XVa aZch [dg V eZg[dgbVcXZ i]Vi¼h ldgi]n d[ H^\bV¼h »6gi¼ a^cZ (% )+ +%#- )%#* &)%\
60mm f/2.8 DN | A &-. AViZhiVYY^i^dcidH^\bV¼h»6gi¼gVc\Z^hVb^Y"gVc\Z!]^\]"eZg[dgbVcXZiZaZe]didaZchl^i]bZiVaWdYn *% )+ +%#- **#* &.%\
SONY CSC
E 10-18mm f/4 OSS ,*% )★ HjeZg l^YZVc\aZ oddb l^i] HjeZg :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc '* +' ,% +(#* ''*\
FE 12-24mm f/4 G &,%% )#*★ 8dbeVXi! lZVi]Zg gZh^hiVci hjeZg l^YZVc\aZ oddb l^i] ]^\] fjVa^in dei^Xh '- c$V -, &&,#) *+*\
E 16mm f/2.8 ''% )★ EVcXV`Z aZch [dg C:M hnhiZb! l^i] V X^gXjaVg VeZgijgZ VcY 9^gZXi BVcjVa ;dXjh ') ). +' ''#* +,\
FE 16-35mm f/2.8 GM '(%% EgZb^jb < BVhiZg hZg^Zh [Vhi l^YZVc\aZ oddb l^i] lZVi]Zg gZh^hiVci XdchigjXi^dc '- -' --#* &'&#+ +-%\
FE 16-35mm f/4 ZA OSS Vario-Tessar T* &'-. *★ OZ^hh [jaa [gVbZ l^YZVc\aZ oddb aZch '- ,' ,- .-#* *&-\
E 16-50mm f/3.5-5.6 PZ OSS '.. 8dbeVXi aZch l^i] EdlZg Oddb! :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc '* )%#* +)#, '.#. &&+\
E 16-70mm f/4 ZA OSS Vario-Tessar T* -(. 6 a^\]ilZ^\]i! kZghVi^aZ b^Y gVc\Z oddb l^i] V XdchiVci [$) VeZgijgZ (* ** ++#+ ,* (%-\
E 18-55mm f/3.5-5.6 OSS ',% Dei^XVa HiZVYnH]di! hV^Y id WZ h^aZci Yjg^c\ bdk^Z XVeijgZ! VcY V X^gXjaVg VeZgijgZ '* ). +' +% &.)\
E 18-105mm f/4 G PZ OSS ).. Hdcn < aZch [dg : bdjci XVbZgVh l^i] V XdchiVci [$) VeZgijgZ )* ,' ,- &&% )',\
E 18-110mm f/4 G PZ OSS ((%% 8dchiVci [$) bVm^bjb VeZgijgZ edlZgoddb [dg k^YZd egdYjXi^dc! [dg HjeZg (*bb $ 6EH 8 XVbZgVh )% .* &&% &+,#* &&%*\
E 18-135mm f/3.5-5.6 OSS *,% A^\]ilZ^\]i! XdbeVXi hiVcYVgY oddb YZh^\cZY id bViX] 6ae]V +%%% hZg^Zh XVbZgVh )* ** +,#' -- ('*\
E 18-200mm f/3.5-6.3 OSS LE )-. HbVaaZg VcY a^\]iZg i]Vc XdbeVgVWaZ aZchZh! i]^h ^h Vc ^YZVa ]^\] bV\c^ÄXVi^dc igVkZa aZch *% +' +- .- )+%\
E 18-200mm f/3.5-6.3 PZ OSS ... 7dVhih edlZgZY oddb VcY ^bV\Z hiVW^a^hVi^dc l^i] 6Xi^kZ BdYZ! bV`^c\ ^i ^YZVa [dg bdk^Zh (% +, .(#' .. +).\
E 20mm f/2.8 (%. EVcXV`Z l^YZVc\aZ aZch egdb^hZh id WZ i]Z eZg[ZXi lVa`VgdjcY eVgicZg [dg : bdjci XVbZgVh '% ). +'#+ '%#) +.\
E 24mm f/1.8 ZA Sonnar T* -(. Ide fjVa^in 8Vga OZ^hh dei^X ^YZVaan hj^iZY id 6ae]V +%%% hZg^Zh WdY^Zh &+ ). +( +*#+ ''*\
FE 24-70mm f/2.8 GM &,.. *★ I]^h egd \gVYZ hiVcYVgY aZch [dg i]Z Hdcn [jaa [gVbZ ;: bdjci \^kZh ZmXZei^dcVaan h]Vge gZhjaih (- -' -,#+ &(+ --+\
FE 24-70mm f/4 ZA OSS Vario-Tessar T* &%). *★ 8dbeVXi aZch l^i] Vc [$) bVm^bjb VeZgijgZ VXgdhh i]Z oddb gVc\Z VcY Wj^ai ^c ^bV\Z hiVW^a^hVi^dc )% +, ,( .)#* )'+\
FE 24-105mm f/4 G OSS &&.. *★ :mXZaaZci [jaa [gVbZ hiVcYVgY oddb l^i] dei^XVa hiVW^a^hVi^dc VcY lZVi]Zg gZh^hiVci YZh^\c (- ,, -(#) &&(#( ++(\
FE 24-240mm f/3.5-6.3 OSS .'. (★ >YZVa [dg igVkZa! aVcYhXVeZh VcY bdgZ! l^i] Wj^ai ^c hiVW^a^hVi^dc# 6ahd Yjhi VcY bd^hijgZ gZh^hiVci *% ,' -%#* &&-#* ,-%\
FE 28mm f/2 )&. )★ I]^h [jaa [gVbZ l^YZVc\aZ eg^bZ l^i] V Wg^\]i [$' bVm^bjb VeZgijgZ egdb^hZh ZmXZaaZci h]VgecZhh '. ). +) +% '%%\
FE 28-70mm f/3.5-5.6 OSS )). 7j^ai ^c Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc! a^\]ilZ^\]i! VcY V edejaVg oddb gVc\Z (% ** ,'#* -( '.*\
FE 28-135mm PZ f/4 G OSS '(,. 8dchiVci [$) bVm^bjb VeZgijgZ edlZgoddb [dg k^YZd egdYjXi^dc! [dg [jaa"[gVbZXVbZgVh .* .* &+'#* &%* &'&*\
E 30mm f/3.5 Macro '&. 6 bVXgd aZch [dg i]Z C:M XdbeVXi hnhiZb XVbZgVh . ). +' **#* &(-\
FE 35mm f/1.4 ZA Distagon T* &**. )★ ;jaa [gVbZ O:>HH 9^hiV\dc aZch l^i] aVg\Z! Wg^\]i [$&#) VeZgijgZ (% ,' ,( .)#* +(%\
E 35mm f/1.8 OSS (.. A^\]ilZ^\]i! kZghVi^aZ eg^bZ l^i] Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc (% ). +'#' )* &**\
FE 35mm f/2.8 ZA Sonnar T* +.. L]Zc XdjeaZY l^i] V [jaa [gVbZ Hdcn : bdjci XVbZgV! i]^h eg^bZaZchegdb^hZhidYZa^kZg (* ). +&#* (+#* &'%\
E 50mm f/1.8 OSS '&. 6 ]VcYn! adl eg^XZ edgigV^i aZch [dg i]Z C:M gVc\Z (. ). +' +' '%'\
FE 50mm f/1.4 ZA Planar T* £1500 5★ Dei^XVaan hijcc^c\ egZb^jb [Vhi eg^bZ! Wji ]j\Z VcY ]ZVkn )* ,' -(#* &%- ,,-\
FE 50mm f/1.8 ')% )★ ;ZVijgZh V cZl dei^XVa YZh^\c l^i] V h^c\aZ Vhe]Zg^XVa ZaZbZci )* ). +-#+ *.#* &-+\
FE 50mm f/2.8 Macro £500 4★ Hdcn¼h WjY\Zi bVXgd [dg [jaa [gVbZ 8H8h d[[Zgh YZXZci dei^Xh Wji ^h hadl Vi [dXjh^c\ &+ ** ,%#- ,& '(+\
FE 55mm f/1.8 ZA Sonnar T* -). (*bb [jaa [gVbZ eg^bZ aZch l^i] l^YZ VeZgijgZ Vaadl^c\ \ddY ^bV\Zh ^cYddgh dg ^c adl a^\]i *% ). +)#) ,%#* '-&\
E 55-210mm f/4.5-6.3 OSS '-. A^\]ilZ^\]i iZaZe]did oddb aZch [dg i]Z C:M gVc\Z &%% ). +(#- &%- ()*\
FE 70-200mm f/4 G OSS &(*. )★ < hZg^Zh iZaZe]did oddb aZch! Yjhi VcY lViZg gZh^hiVci! l^i] Wj^ai ^c ^bV\Z hiVW^a^hVi^dc &%% ,' -% &,* -)%\
FE 70-200mm f/2.8 GM OSS '*%% *★ 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb aZch [dg [jaa [gVbZ : bdjci WdY^Zh &%% ,' -% &,* -)%\
FE 70-300mm f/4.5-5.6 G OSS &&*% Hdcn ]Vh VYYZY i]^h aZch id ^ih \gdl^c\ gVc\Z .% ,' -) &)(#* -*)\
FE 85mm f/1.8 £550 4★ GZaVi^kZan ^cZmeZch^kZ edgigV^i aZch ^cXajYZh Yjhi VcY bd^hijgZ gZh^hiVci XdchigjXi^dc -% +, ,- -' (,&\
FE 85mm f/1.4 GM &--. *★ Hijcc^c\ ^bV\Z fjVa^in [gdb Hdcn¼h egZb^jb »< BVhiZg¼ edgigV^i aZch -% ,, -.#* &%,#* -'%\
FE 90mm f/2.8 Macro G OSS &%). *★ Dei^XVaan ZmXZaaZci YZY^XViZY bVXgd aZch [dg Hdcn¼h [jaa [gVbZ : bdjci XVbZgVh '- +' ,. &(%#* +%'\
FE 100mm f/2.8 STF GM OSS &,%% >ccdkVi^kZ edgigV^i aZch XdbW^cZh dei^XVa hiVW^a^hVi^dc VcY Vc VedY^hVi^dc ÄaiZg [dg hbddi] Wd`Z] *, ,' -*#' &&-#& ,%%\
FE 100-400mm f/4.5-5.6 GM OSS '*%% *★ EgZb^jbdei^XVaanhiVW^a^hZY!lZVi]ZghZVaZYiZaZoddbYZh^\cZYidbViX]i]Z6ae]V. .- ,, .(#. '%* &(.*\
TAMRON CSC
14-150mm f/3.5-5.8 Di III (,% )★ I]Z Äghi B^Xgd ;djg I]^gYh aZch [gdb IVbgdc [dg XdbeVXi b^ggdgaZhh ^ciZgX]Vc\ZVWaZ aZch XVbZgVh *% *' +(#* -%#) '-*\
18-200mm f/3.5-6.3 Di III VC (.% A^\]ilZ^\]i! XdbeVXi! Vaa ^c dcZ oddb [dg b^ggdgaZhh XVbZgVh! id XdkZg egVXi^XVaan Vcnh]ddi^c\h^ijVi^dc *% +' +- .+#, )+%\
28-75mm f/2.8 Di III RXD +.. )#*★ ;Vhioddb[dg[jaa"[gVbZb^ggdgaZhh^hgZaVi^kZanXdbeVXiVcY]VhÄcZdei^Xh &. +, ,( &&,#- **%\
TOKINA CSC
Firin 20mm f/2 FE MF £800 5★ >begZhh^kZan h]Vge [Vhi l^YZVc\aZ eg^bZ [dg Hdcn b^ggdgaZhh! l^i] bVcjVa [dXjh VcY VeZgijgZ g^c\ '- +' +. -&#* ).%\
Firin 20mm f/2 FE AF I78 6jid[dXjhkZgh^dcd[i]ZZmXZaaZci;^g^c'%bb[$';:B;![ZVijg^c\jaigVhdc^X[dXjhbdidg '- +( ,(#) -&#* )+)\
ZEISS CSC
Touit 12mm f/2.8 Distagon T* .*. *★ 9Zh^\cZY heZX^ÄXVaan [dg Hdcn C:M VcY ;j_^Äab M hZg^Zh 8H8 XVbZgVh# KZgn ^begZhh^kZ eZg[dgbVcXZ &- +, -' +- ',%\
Batis 18mm f/2.8 ..% I]Z 7Vi^h gVc\Z ^h [dg b^ggdgaZhh [jaa [gVbZ hnhiZb XVbZgVh [gdb Hdcn '* ,, ,- .* ((%\
Loxia 21mm f/2 &'(% 8dbeVXi bVcjVa [dXjh l^YZVc\aZ eg^bZ ejgedhZ YZh^\cZY [dg Hdcn 6ae]V , hZg^Zh XVbZgVh '* *' +' ,' (.)\
Batis 25mm f/2 .-% *★ 6 l^YZVc\aZ aZch [dg Hdcn [jaa [gVbZ jhZgh d[[Zg^c\ jcg^kVaaZY fjVa^in '% +, -& .' (**\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN
Loxia 25mm f/2.4 &&.% *★ <dg\Zdjh Wji ZkZg hd eg^XZn XdbeVXi bVcjVa [dXjh eg^bZ! l^i] VWhdajiZan hijcc^c\ dei^Xh '* *' +' +.#* (,*\
Touit 32mm f/1.8 Planar T* ,%% )#*★ Dei^b^hZY [dg jhZ l^i] 6EH 8 [dgbVi hZchdgh! V [Vhi hiVcYVgY aZch [dg ;j_^Äab M hZg^Zh XVbZgVh '( *' ,' ,+ '%%\
Loxia 35mm f/2 &%&* HbVaa l^YZVc\aZ bVcjVa [dXjh eg^bZ ^ciZcYZY [dg Hdcn 6ae]V , jhZgh (% *' +' *. ()%\
Loxia 50mm f/2 ,)% BVcjVa [dXjh hiVcYVgY eg^bZ l^i] egZb^jb dei^Xh VcY : bdjci [dg Hdcn 6ae]V , jhZgh )* *' +' *. ('%\
Touit 50mm f/2.8 Planar T* *-. BVXgd &/& aZch [dg ZmigZbZ XadhZ jeh! Vh lZaa Vh h]ddi^c\ edgigV^ih dg eVcdgVbVh Vh V a^\]i iZaZ aZch &* *' ,* .& '.%\
Batis 85mm f/1.8 .%. *★ 6 ]^\] fjVa^in bZY^jb eg^bZ [dg lZYY^c\ VcY edgigV^i h]ddiZgh! YZkZadeZY [dg Hdcn¼h 6ae]V , hZg^Zh -% +, ,- &%* ),*\
Loxia 85mm f/2.4 &&.. 6 XdbeVXi! bVcjVa [dXjh! h]dgi iZaZe]did aZch [dg i]Z b^ggdgaZhh Hdcn 6ae]V hZg^Zh -% *' +'#* &%- *.)\
Batis 135mm f/2.8 &,). *★ 6WhdajiZanhijcc^c\!hjeZg"h]Vge^bV\Z"hiVW^a^hZYedgigV^iaZch[dgHdcn[jaa"[gVbZb^ggdgaZhh -, +, -) &'% +&)\
2YHU 3URGXFWV )UHH 'HOLYHU\ RQ RU RYHU :H FDQ GHOLYHU RQ 6DWXUGD\ RU 6XQGD\¹
Ϯϰ Ϯϰ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϭ ĨƉƐ ϭϭ ĨƉƐ
ϰ< sŝĚĞŽ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ϱ ŽĚLJ άϱϲϮϱ ϱϬ ŽĚLJ άϯϰ 'y &ƌŽŵ άϱ ',ϱ^ &ƌŽŵ άϮϭ 'Ϭ &ƌŽŵ άϲϮ
ϱ ŽĚLJ άϱϲϮϱ ϱϬ ŽĚLJ άϯϰ EĞǁ 'y ŽĚLJ άϱ EĞǁ ',ϱ^ ŽĚLJ άϮϭ 'Ϭ ŽĚLJ άϲϮ
άϰϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ άϭϰ ŝŶĐ άϮϱϬ ĂƐŚďĂĐŬΎ άϱϳ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
ϱϬϬ ϳϱϬ EĞǁ 'y н ϭϮϲϬŵŵ άϳϳ ',ϱ ŽĚLJ άϭϱ 'Ϭ н ϭϮϲϬŵŵ άϳϰ
ůĂĐŬ άϭϯ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ άϱ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ
άϲϮ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ
ϮϬ Ϯϰϯ
ŵĞŐĂƉŝdžĞůƐ
ŵĞŐĂƉŝdžĞůƐ ΎWĂŶĂƐŽŶŝĐ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϬϬ*ϭ
ϭϬϬ ĨƉƐ ϲϱ ĨƉƐ ZKDDE >E^^
ϭϬϬƉ WĂŶĂƐŽŶŝĐ Ϯϱŵŵ Ĩϭϳ ' άϭϰ WĂŶĂƐŽŶŝĐ ϭϰϰϮŵŵ Ĩϯϱϱϲ ' y ^W, K/^άϮ
ϰ< sŝĚĞŽ ŵŽǀŝĞ ŵŽĚĞ WĂŶĂƐŽŶŝĐ ϯϬŵŵ ĨϮ DĂĐƌŽ ' ^W, άϮϲ WĂŶĂƐŽŶŝĐ ϭϰϭϰϬŵŵ Ĩϯϱϱϲ άϱϰ
WĂŶĂƐŽŶŝĐ ϰϮϱŵŵ Ĩϭϳ άϮ WĂŶĂƐŽŶŝĐ ϰϱϭϱϬŵŵ Ĩϰϱϲ ^W, K/^ άϭϳ
ϱϬϬ &ƌŽŵ άϭϳϬ ϳϱϬ &ƌŽŵ άϭϱϮ WĂŶĂƐŽŶŝĐ ϮϬϬŵŵ ĨϮ ' άϮϲ WĂŶĂƐŽŶŝĐ ϰϱϭϳϱŵŵ ĨϰϬϱϲ άϯϰ
WĂŶĂƐŽŶŝĐ ϭŵŵ ĨϮϰ ^W, sĂƌŝŽ άϭϬϰ WĂŶĂƐŽŶŝĐ ϭϬϬϯϬϬŵŵ Ĩϰϱϲ // άϱϰ
ϱϬϬ ŽĚLJ άϭϳϬ ϳϱϬ ŽĚLJ άϭϱϮ WĂŶĂƐŽŶŝĐ ϭϮϯϱŵŵ ĨϮ // >Ƶŵŝdž ' y άϳ WĂŶĂƐŽŶŝĐ ϭϬϬϰϬϬŵŵ Ĩϰϲϯ άϭϮ
άϭϱϮϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ άϭϯϰϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ
ϱϬϬ н ϭϲϬŵŵ άϮϲϬ ϳϱϬ н ϮϰϭϮϬŵŵ άϭϳ
άϮϯϯϰ ŝŶĐ άϮϳϱ ĂƐŚďĂĐŬΎ άϭϳϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ sŝĞǁ ŽƵƌ ĨƵůů ƌĂŶŐĞ ŽĨ ĐĂŵĞƌĂƐ Ăƚ ǁĞdžĐŽƵŬĐĂŵĞƌĂƐ
ΎEŝŬŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϭ
DϭϬ ///
ůĂĐŬ Žƌ ^ŝůǀĞƌ y,ϭ yWƌŽϮ
KD Dϭ // <ϭ // ůĂĐŬ ůĂĐŬ
ϮϬ EĞǁ
ŵĞŐĂƉŝdžĞůƐ ϯϲϳ Ϯϰϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϲϬ ĨƉƐ ϭϳϮ EĞǁ
ŵĞŐĂƉŝdžĞůƐ ϲϰ ĨƉƐ Ϯϰϯ ĨƉƐ
ŵĞŐĂƉŝdžĞůƐ
ϰ< sŝĚĞŽ ϲ ĨƉƐ &Ƶůů &ƌĂŵĞ
DK^ ^ĞŶƐŽƌ Ϭ ĨƉƐ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
KD Dϭ // &ƌŽŵ άϭϰ DϭϬ /// &ƌŽŵ άϱϳ <ϭ // ŽĚLJ άϭϳ y,ϭ &ƌŽŵ άϭϲ yWƌŽϮ &ƌŽŵ άϭϯ
KD Dϭ // ŽĚLJ άϭϰ KD DϭϬ /// ŽĚLJ άϱϳ <ϭ // ŽĚLJ άϭϳ EĞǁ y,ϭ άϭϲ yWƌŽϮ ŽĚLJ άϭϯ
KD Dϭ // н ϭϮϰϬŵŵ άϮϭ άϱϭϰ ŝŶĐ άϲϱ ĂƐŚďĂĐŬΎ <W ŽĚLJ ά EĞǁ y,ϭ н 'ƌŝƉ άϭϰ yWƌŽϮ ^ŝůǀĞƌ н y&Ϯϯŵŵ άϭ
KD Dϱ // ŽĚLJ ά KD DϭϬ /// н ϭϰϰϮŵŵ άϲϰ <ϯ // ŽĚLJ άϳ ydϮ ŽĚLJ άϭϮϰ
άϳϮϰ ŝŶĐ άϭϳϱ ĂƐŚďĂĐŬΎ άϱϰ ŝŶĐ άϲϱ ĂƐŚďĂĐŬΎ <ϳϬ ĨƌŽŵ άϱ ydϮ н ϭϱϱŵŵ άϭϰ
KD Dϱ // н ϭϮϰϬ άϭϮϰ KD DϭϬ // ŽĚLJ άϰϰ
&h:/EKE >E^^
ZKDDE >E^^ &ƵũŝĮůŵ ϭϲŵŵ Ĩϭϰ Z tZ y& άϰ
KůLJŵƉƵƐ Ϯϱŵŵ ĨϭϮ WƌŽ ά &ƵũŝĮůŵ Ϯϯŵŵ ĨϮ Z tZ y& άϰϬ
άϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ ZKDDE >E^^ &ƵũŝĮůŵ ϱϲŵŵ ĨϭϮ Z y& άϰ
KůLJŵƉƵƐ ϰϱŵŵ ĨϭϮ WƌŽ άϭϭ WĞŶƚĂdž ϭϱϯϬŵŵ ĨϮ άϭϰϰ &ƵũŝĮůŵ Ϭŵŵ ĨϮ >D K/^ άϭϭϰ
άϭϬϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ WĞŶƚĂdž ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϮ &ƵũŝĮůŵ ϭϬ Ϯϰŵŵ Ĩϰ Z K/^ y& &ƵũŝŶŽŶ άϮ
KůLJŵƉƵƐ ϳϱŵŵ Ĩϭ άϲϭ WĞŶƚĂdž ϱϱϯϬϬŵŵ Ĩϰϱϲϯ άϯ &ƵũŝĮůŵ ϭϲ ϱϱŵŵ ĨϮ >D tZ &ƵũŝŶŽŶ άϰ
ΎKůLJŵƉƵƐ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϳϭ
6WRUHV )LQG \RXU QHDUHVW VWRUH DW ZH[FRXNVWRUHV
1RUZLFK :H[ 3KRWR 9LGHR %LUPLQJKDP :H[ 3KRWR 9LGHR %HOIDVW &DOXPHW %ULVWRO &DOXPHW
6OJU #
'SFOCVSZ &TUBUF
/3 %1 6OJU
)BHMFZ 3PBE
# -5 6OJU
#PVDIFS 1MB[B
#5 )3 .POUQFMJFS $FOUSBM 4UBUJPO 3PBE
&) )(
5FM 5FM 5FM 5FM
/RQGRQ :H[ 3KRWR 9LGHR (GLQEXUJK :H[ 3KRWR 9LGHR 0DQFKHVWHU &DOXPHW *ODVJRZ &DOXPHW
$PNNFSDJBM 3PBE
& -' #POOJOHUPO #VTJOFTT $FOUSF
&) )( 6OJU
%PXOJOH 4USFFU
. )) 6OJU
0BLCBOL *OEVTUSJBM &TUBUF
( -6
5FM 5FM 5FM 5FM
ϮϲϮ ϱϬϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϮϬϮ ϲϱ ĨƉƐ ϱϬ ĨƉƐ ϮϬϮ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϬϬƉ ϭϬϬƉ
ϭϬϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϲϬ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ
K^ ϳ DĂƌŬ // ŽĚLJ άϭϯϰ K^ ϲ DĂƌŬ // ĨƌŽŵ άϭϱϰ K^ ϱ^ Z ŽĚLJ άϯϯ K^ ϭ y DĂƌŬ // ŽĚLJ άϱϰϮ
K^ ϳ DĂƌŬ // ŽĚLJ άϭϯϰ K^ ϲ DĂƌŬ // ŽĚLJ άϭϱϰ K^ ϱ^ Z ŽĚLJ άϯϯ K^ ϭ y DĂƌŬ // ŽĚLJ άϱϰϮ
άϭϮϮ ŝŶĐ άϭϮϬ ĂƐŚďĂĐŬΎ K^ ϲ DĂƌŬ // н ϮϰϭϬϱŵŵ άϭ K^ ϱ^ ŽĚLJ άϮ
ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϭ
dƌŝƉŽĚƐ
.*.'('!*
+&%, %# #+
+!)#
## 2%H.. & 66666666666666666666666666666666666666666666666667 >2&0
A2.. @6% B*,1 6666666666666666666666666666666666666666666667 >A&0 2%H.. & 6666666666666666666666666666 7 < 77 >@&0 ) >@;0
A&.. A6# B*,1 666666666666666666666666666666666666666666666667 >00 2#H.. A6# 66666666666666666666666666666666666666666666 77 >000
A#.. A6# B*,1 66666666666666666666666666666666666667 < 77 >:0 AE 1/C"8?"8666666666666666666666666666666666666667 < 77 >%0
A#.. @6% B*,1 6666666666666666666666666666666666666 7 >@0 ) >&0
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2@:;
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81 B*,166666666666666666666666666666666666 77 >@#0
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81 B*,166666666666666666666666666666666666667 >#0 2%:;
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%%.. 26A B*,1 666666666666666666666666666666666666666666 77 >A00 2%2
(1?1'83("8 & "91/
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#%)A%H.. % B*,166666666666666662% F9 < 7 >:0 ) >2A0 @:%H /18.* *9 "! 666 7 <
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2#H.. A6# B*,1 66666666666666666666666666666666666666666667 >A&0
"8*"9 % 1D- :%.. 666666666666666666666666666666666666666 77 >&0
AHH.. & B*,1 6666666666666666666666666666666666666666666666667 >%0
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@HH.. &6% B*,1 6666666666666666666666666666666666666666 77 >2;0
@%H.. A6# B*,1 66666666666666666666666666666666666666667 >2 0%H
/$81??1 @0@ "CF "-" "/9 B3318?666666666666667 >;0
&@H 1/' -?" D*?( 1B-" ??(."/?66666666666 77 >A0
'* ## &@# -- ."8 "C"-"8 @<#6666666666666666666666666666 77 >&0
2H)2:.. @6%)&6% *9("F"6666666666666666666666 77 >A@0 &;#
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2&.. A6# 66666666666666666666666666666666666666667 >@&0 &;#& 81 -- "!666666666666666666666666666666666666666667 >;0
2&.. A6#
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Final Analysis
Roger Hicks considers… ‘Farmer shoveling wheat
from wagon, Kansas,’ 1956, by Erich Hartmann
F
alse memory syndrome is often
associated with unpleasant
or traumatic events, but it’s
something that happens to all of
us to a greater or lesser extent; often with
trivial things we do not particularly want
either to remember or to forget.
Think back to when you were a child.
How many things do you really remember
clearly, and how many are traceable to, or
supplemented by, your parents repeatedly
retelling the story? If you tell the same
story now, how much of it comes from
your own memory and how much from
the story you’ve heard retold so often?
This line of inquiry can rapidly lead us
into archetypes and thence to clichés, but
as the late Sir Terry Pratchett said (in his
novel Guards! Guards!), clichés are the
hammers and screwdrivers in the toolbox
of communication. This may in turn lead
us to realise that clichés cease to be clichés
when they are done well enough.
All of which is relevant here. It is quite
easy to dismiss this picture by Erich
Hartmann (1922-1999) as a cliché, or at
the very least as a genre: honest toil, the
dignity of labour. There are even echoes of
socialist realism. But be honest: did that
unworthy thought occur to you until I
planted the idea? It isn’t a cliché because
it’s very well done.
Remembering reality
The archetypal overalls, the rolled-up
sleeves, the pose, the anonymity because
his face is hidden by his hat; it all comes
together. Next: have I ever seen someone
shovelling grain like this? I’ve seen roads
used as threshing floors in India, and
ox-carts in Portugal after the Carnation
Revolution of 1974. I’ve driven across the
United States seven times. At the annual fair
in a nearby village, hay-bale tossing is still a
popular competition. But; well; no, I don’t
think I have ever actually seen someone
shovelling grain from a wagon. It is however
of a piece with many things that I know, or
© ERICH HARTMANN/MAGNUM PHOTOS