N-Photo UK - Issue 154, September 2023
N-Photo UK - Issue 154, September 2023
N-Photo UK - Issue 154, September 2023
Paul Wilkinson
PAGE 38
Image: © Shutterstock
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Contents
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CONTENTS
NikonSkills
Master your Nikon today!
60
Samir Hussein on his right royal
portfolio of the rich and famous
06
42 Lay a camera trap 44 A fall’s errand
Expert tips for remote wildlife shots How to use an ND filter to slow the flow
BEFORE AFTER
BEFORE AFTER
Gear Zone
88 New Gear Our round-up of the latest and
greatest kit to enhance your photography
52 Explore adaptive presets 54 The beauty of backlighting
90 Sigma 16mm f/1.4 It’s wide, it’s fast,
and it’s for DX-sensor Z-series Nikons
Get to grips with new Adobe CC tools Shine a light behind your subjects
www.digitalcameraworld.com 5
APPRENTICE
THE APPRENTICE
NAME: Rebecca Elliott
CAMERA: Nikon Z 8
Becky works as a legal translator, but is
also fluent in photography. She caught
the bug at just 14, learning the ropes
using a selection of camera books her
dad bought her. It’s been her main hobby
ever since, but it wasn’t until a trip to
Canada in 2008 that she decided to pick
up her first decent digital camera. She
then migrated to the Nikon Z 50, before
spiralling down the Z-Series rabbit hole
with incremental upgrades in the form
of a Z 6II, followed by a shiny new Z 8.
THE PRO
NAME: Gary Jones
CAMERA: Nikon Z 9
Gary resides near the Snowdonia
National Park in North Wales. He’s
been enamoured with animals and
photography all his life. And although he’s
travelled all over the world photographing
wildlife, perhaps his biggest passion
is raptors. When he’s not following
wildlife subjects to far-flung places –
and even scaling mountains – he runs a
busy workshop schedule and regularly
presents at camera clubs across the UK.
Find out more via: www.gjwp.co.uk
6 www.digitalcameraworld.com
Our apprentice photographs one of Wales’
finest wildlife spectacles with pro Gary Jones
T
he reintroduction of red kites small population in Wales. Despite citing the
in England and Scotland is one of species as a ‘valued’ asset in medieval
the UK’s most incredible Britain, the RSPB highlights the 16th
conservation success stories. century as the turning point; the raptor was
Go back roughly three decades considered ‘vermin’ and hunted until the
and this magnificent bird of prey early 20th century. Such was the
had been reduced to a dangerously Victorians’ vilification, they drove the birds
www.digitalcameraworld.com 7
APPRENTICE
RING-A-DING-DING
Gary says… I almost always use
Manual mode, but I like to pair it with
Auto ISO. I can then use Exposure
Compensation to quickly control my
exposure. This is made more effective
by assigning the function to my
100-400mm’s control ring, so I can
alter Exp Comp with a flick of the wrist.
8 www.digitalcameraworld.com
SUPER
SHOT #1
Camera: Nikon Z 8
Lens: 100-400mm f/4.5-5.6
Exposure: 1/2500 sec, f/5, ISO560
www.digitalcameraworld.com 9
APPRENTICE
SUPER
SHOT #2
Camera: Nikon Z 8
Lens: 100-400mm f/4.5-5.6
Exposure: 1/2500 sec, f/5.3, ISO2800
PRO KIT
at one of the Fn buttons on the front: “I also
like to set a function button to single-point
GIMBAL
AF, so I can switch to it at will, should a
particularly busy scene cause Animal
HEAD
Detection to struggle.”
Becky’s first task was to capture a
conventional portrait of a bird in flight
Gary says… When and, with the initial brawl for food having
you’re using a big subsided, she started picking out subjects.
lens like my Nikon “Pick a bird in the sky and track it as it
AF-S 500mm f/4E swoops down,” said Gary. “Once it flies
FL ED VR, hand past a clean backdrop, fire the shutter.”
holding isn’t really Becky was having no trouble using Gary’s
an option. Using a AF setup and was already capturing sharp
standard tripod portraits of kites on the wing.
head is fine if your “Try lingering on a buzzard for a while,”
subject isn’t said the pro. “They feed on the ground, but
moving much or you’ve framed your composition, pre-focused and are waiting to fire one will take off eventually.” Sure enough,
the shutter, but if you’re photographing fast-moving subjects like birds in flight, after a few minutes of sighting a buzzard,
a gimbal head provides the best of both worlds; stability and freedom of movement. it spread its wings and took flight. Becky
locked onto the big bird of prey and
10 www.digitalcameraworld.com
RED KITES
HOW TO:
EDIT BIRDS OF PREY
1
Gary says… Once you’ve mastered the techniques required to consistently capture sharp 3
shots of birds in flight, you can focus your attention on what you’re capturing. To build up
a well-rounded portfolio of any species, you’ll need to capture a variety of behaviours.
Even during this one
scenario, Becky was
able to capture a
well-rounded selection
of images: birds eating
on the wing, scrapping
mid-flight, strafing the GLINT IN THE EYE
ground for food. Burst Gary says… For close-up bird
shooting helps too, portraits, it’s essential that the eye is
ensuring you don’t pin sharp, with a beautiful catchlight.
miss something good You can enhance this by clicking on the
and allowing you to Masking tool and selecting Brush. Paint
choose the best image a mask over the eye and then tweak the
from a sequence. Clarity slider accordingly to add punch.
www.digitalcameraworld.com 11
APPRENTICE
She remembered Gary’s advice to follow finger pressed down on the back-button to
a circling kite in the sky and hope it would maintain constant focus. Suddenly, it
soon make a strafing run. dived. Becky tracked it as far as the tree
“It’s been theorized that there’s a line, but let out a frustrated sigh: “I lost it,”
hierarchy and the dominant birds feed she said, “they’re really quick.”
first,” said Gary. “But I don’t know how true Gary glanced at the 100-400mm’s
that is. With that in mind, I’d stick with a barrel: “You’re maxed out at 400mm. Try
bird for a while and if it doesn’t swoop down zooming out to 300mm to give yourself a
to feed within a minute or two, move on.” little breathing room by allowing the bird a
Becky had locked focus on a kite that little more space to move within the frame.
was moving through the sky at pace – An upside of that massive 45.7-Mp sensor
is the ability to crop in post.”
This did the trick. The next time Becky
TAG, YOU’RE IT! “It’s got something,” she said under her
breath as she followed it back up to the
treeline. With a clean background and a
Gary says… I don’t avoid or clone out
side-on angle that clearly revealed the been hovering around f/5, which is a good
bird rings. When I photograph a ringed
morsel hanging from the bird’s beak, she middle ground if you want a little bit of
osprey, I’ll pop onto social media and
fired a burst and captured Super Shot #2. extra play when focusing, while keeping
research its story. I once discovered an
your shutter speed suitably quick.”
individual had been ringed two years
FLIGHT CLUB As Becky continued taking photos, Gary
prior – just a couple of miles down the
Capturing a bird in flight is often commented on the wind direction: “It’s
road from where I’d photographed it.
considered one of the hardest techniques blowing to our right and slightly behind so
This was likely the first time in its adult
to conquer in photography, but Becky was the birds are flying across and towards us,
life it had returned to the UK.
having no trouble capturing sharp shot which is ideal as they fly into the wind.”
after sharp shot. “You decide what “It’s definitely easier with fewer birds in
behaviour you want to capture this time, the sky,” said Becky as she tracked a kite.
and keep an eye out for that leucistic kite,” Gary pointed to a neighbouring hide:
said Gary with a light-hearted grin. “Most people have left now, but this is the
“Capturing a pair of birds would be nice,” best time to photograph them. It’s
said Becky. “Which reminds me, what are definitely... there. Did you get that Becky?”
your thoughts on aperture?” In a blink-and-you’ll miss it moment a
“Usually, as wide as I can get. But if kite and buzzard had a coming together,
you’re trying to capture two birds on with the latter spinning partially in midair.
different focal planes, you could stop down “I did. I was tracking that kite,” said the
to f/8 if the light is bright enough. You’ve apprentice as she showed the pro the
12 www.digitalcameraworld.com
SUPER
SHOT #3
Camera: Nikon Z 8
Lens: 100-400mm f/4.5-5.6
Exposure: 1/2500 sec, f/5.6, ISO560
www.digitalcameraworld.com 13
APPRENTICE
SUPER
SHOT #4
Camera: Nikon Z 8
Lens: 100-400mm f/4.5-5.6
Exposure: 1/1600, f/5.3, ISO560
14 www.digitalcameraworld.com
RED KITES
PRO
PORTFOLIO
GARY JONES
EAGLE-EYED ATTACK
Observation is an important part of wildlife
This encounter left me amazed at the
photography and so a good-quality pair of
binoculars are a mainstay within Gary’s kit bag. lengths birds will go to protect their
young. The golden eagle was happily
feeding, but a pair of jays – nesting close
BECKY’S COMMENT
Using Gary’s AF settings was a
game changer. Confident with
focusing, I could worry about
Image: ©Paul David Smith
www.digitalcameraworld.com 15
Our favourite Nikon images from the
2023 Environmental Photography Award
16
2023 ENVIRONMENTAL PHOTOGRAPHY AWARD
Falling Leaves
are Blue
17
LIGHTBOX
18 www.digitalcameraworld.com
2023 ENVIRONMENTAL PHOTOGRAPHY AWARD
Predator versus
Predator
CLÉMENT FONTAINE
3rd place, Into the Forest
www.digitalcameraworld.com 19
LIGHTBOX
Risking Life
for Thirst
PRATIK CHORGE
3rd place, Humanity Versus Nature
20 www.digitalcameraworld.com
2023 ENVIRONMENTAL PHOTOGRAPHY AWARD
My Kingdom
SIMON BIDDIE
1st place, Ocean Worlds
www.digitalcameraworld.com 21
LIGHTBOX
Wildlife CSI
Academy
TOMMY TRENCHARD
2nd place, Change Makers: Reasons for Hope
This third edition of the Environmental Photography Award saw 10,000 images entered, submitted by over 2300
photographers from across the globe. The five categories – Polar Wonders; Into the Forest; Ocean Worlds; Humanity Versus
Nature; and Change Makers: Reasons for Hope – were judged by a jury of professional photographers, and in addition a
Public Award was chosen from over 5000 public votes, and the Students’ Award was chosen by the high school students of
Monaco. A total prize fund of €11,000 was shared among the winners. For more information see: www.fpa2photoaward.org
22 www.digitalcameraworld.com
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www.digitalcameraworld.com 25
ips to...
100 top t
Shoot the
great outdoors
Become one with nature and your Nikon with N-Photo’s guide
to capturing the great outdoors. Supercharge your shots with
tips and tricks for landscapes, wildlife, astro and more…
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26 www.digitalcameraworld.com
www.digitalcameraworld.com 27
100 top tips…
Landscapes
Luck’s got almost nothing to do with it – here’s how
to capture sprawling vistas in glorious conditions
PRO ADVICE
Canvass a landscape expert, and this
is what they’re likely to tell you…
WEATHER REPORT
1 Always check the weather or tides
ahead of travelling to your location and stay
informed – not just for when the conditions
will be ideal, but for personal safety.
DRESS SMART
3 Rather than looking sharp, we mean
wearing layers of outdoor clothing you can
add or remove to suit the weather conditions
to prevent getting too cold or overheating.
BE PATIENT
4 Shooting landscapes can often be a long
game, so make sure you’re provisioned for
more time in the field than you envisaged.
Image: Shutterstock
SHOOT RAW
5 Raw files allow you to use your Nikon’s
sensor to its fullest and are essential for
maximum editing latitude in post-production.
Image: Shutterstock
Image: Shutterstock
TRY ONE OF THE CLASSIC DON’T LET A GOOD FOREGROUND USE LEADING LINES TO
6 RULES OF COMPOSITION
7 FEATURE GO TO WASTE
8 GUIDE YOUR VIEWER’S EYE
If you’re not familiar with the rule of thirds or While it’s never a good idea to spoil the Whether they’re naturally occurring like a
golden ratio, make sure you educate yourself. foreground of an image with clutter that stream or man-made like a road, leading lines
They’re by no means the only way to compose doesn’t add anything to the composition, a are an effective way to guide viewers towards
a landscape, but they’re often a good starting complementary – and relevant – object or two your subject. For the best results, place them
point, especially if you find yourself stuck. can help guide the viewer’s eye into the image. at the base of the frame and work upwards.
28 www.digitalcameraworld.com
LANDSCAPES
Image: Getty
TOP TIPS
FOR SUPER
SCENICS
Buena vistas every time…
MAXIMIZE MIST
13
Image: Shutterstock
Get into position early to
make the most of this moody
phenomenon as daylight breaks.
GO HYPERFOCAL
14 If your lens has no distance
CAMERA CRAFT scale, focus roughly one third of
the way into the frame for
Two essential technical tips you should always bear in mind maximum depth of field.
GOLDEN HOURS
18 The hour after sunrise and
the hour before sunset produce
soft, golden rays of light that will
flatter landscape scenery.
FIGURE IN A LANDSCAPE
19 Frame a person in your
scene to add a sense of scale or
INVEST IN A STURDY TRIPOD GRADUATED ND FILTERS a clear subject to compositions
11 Pick up a cheap tripod and risk stiff leg
12 ND grads tame bright skies in-camera, with no obvious focal point.
releases and drifting ball joints, so it pays to without underexposing the ground. They’re
invest in a good one. Aluminium is generally clear at the bottom, and from roughly the BLUE HOUR
cheaper and carbon-fibre is lighter, but a half-way point, get darker towards the top. On
20 Hang around after sunset to
quality tripod made of either should serve reverse ND grads, the darkest bit is near the witness the blue and violet light
you well. Just be mindful of the load capacity. middle, ideal when the sun is on the horizon. that cloaks the landscape.
www.digitalcameraworld.com 29
100 top tips…
Wildlife
Bolster your wildlife portfolio with our top
tips from animal-loving pro photographers
KEEP PRACTISING
3 The local nature reserve or even duck
pond are viable training grounds that will allow
you to hone your ability to capture tack-sharp
shots of fast-moving subjects in flight.
DO YOUR RESEARCH
4 Use online search engines to find hides,
wetlands and nature reserves close to you.
There’s a wealth of options beyond zoos.
30 www.digitalcameraworld.com
WILDLIFE
GOLDEN HOUR
18 This isn’t just the magic hour
for landscapes, wildlife also looks
incredible bathed in rich, golden rays.
www.digitalcameraworld.com 31
100 top tips…
Astrophotography
Capture exquisite imagery in the dead of night
with our pro advice for star-studded astro photos
PRO ADVICE
Expert insight to help you take your best
astro shots with beautiful starry skies
32 www.digitalcameraworld.com
ASTROPHOTOGRAPHY
CLEAR NIGHTS
9 Check the weather to make
sure it’s going to be a clear,
cloud-free night at your location.
NEW MOON
10 The new moon phase 15 secs, f/4, ISO25,600
reflects little to no sunlight, so it’s
the perfect time for night shoots
thanks to the low light pollution. CAMERA CRAFT
SPARE BATTERIES
Get your exposure spot on with these
11 Charge your batteries and tried-and-tested celestial strategies
take plenty of spares; shooting in
cold weather drains them quicker TAKE A TEST SHOT
and temperatures drop at night.
17 Always take a test shot and amend your
settings accordingly to ensure everything is
FIGHT LENS FOG set, before committing to a long exposure.
12 You can get electric heat
bands to wrap around your lenses PAINT WITH LIGHT
to help maintain temperatures
18 If your foreground is looking very dark
and prevent condensation. and silhouetted, shine a torch over it to ‘paint’
4 secs, f/8, ISO6400
with light, or fire off your flash to illuminate it.
STAR TRAILS
13 Take a continuous stream of
30-second (or longer) exposures
for at least an hour, and merge Best kit advice
them together to create a Essential low-light kit that doesn’t cost the Earth
fantastic star-trail image.
COMPOSITES
14 Take a shot with your
foreground in focus and another
of the starry sky, and then merge
them together to create a
super-sharp astro composite.
GO REALLY WIDE!
15 An ultra-wide-angle lens is
perfect for astrophotography, as
you’ll be able to fit even more of SELECTION OF TORCHES SMARTPHONE APPS
the night sky into the frame.
19 It’s essential to have an assortment of
20 You’ve a plethora of apps at your disposal
torches when you’re working in low light. to make shooting at night easier. Some, like
TIME IT RIGHT They’re great for seeing where you’re stepping SkyView, use augmented reality so you can
16 It’s easier to shoot in winter en route to your location, for illuminating your easily identify constellations and celestial
as the nights are longer – but the foreground to balance the exposure, or for objects. Others, like PhotoPills and The
Milky Way is less visible in the UK. creative light-painting projects. Photographer’s Ephemeris, help you plan.
www.digitalcameraworld.com 33
100 top tips…
Macro photography
Bring tiny critters to life with extraordinary detail using
macro lenses, camera hacks and close-up imagery
PRO ADVICE
Pull these expert moves to help you
get up close and personal with nature
USE A TRIPOD
1 For less-skittish subjects – like roosting
butterflies – it’s worth using a tripod to help
eliminate camera shake and make it easier to
refine focus, especially if working manually.
HANDHOLDING
3 VR is often essential when handholding.
Brace yourself against a wall or your camera
bag to help further mitigate camera shake.
HEAD HONCHO
4 Shoot at an angle where you can frame
your subject’s head; this will create eye
contact and make for a more engaging shot.
CONTINUOUS AF
5
Image: Getty
www.digitalcameraworld.com
MACRO PHOTOGRAPHY
TOP TECHNIQUES
FOR MACRO SUBJECTS
Easy-to-overlook skills that will make
your macro journey that much easier
FOCUS PEAKING
10 Some Nikons feature Focus Peaking, a
neat visual aid that helps take the guesswork
out of focusing manually. It indicates sharp
portions of the frame via a coloured overlay in
Live View or via a Z-series camera’s EVF.
CAMERA CRAFT
Fieldcraft essentials to help you get frame-
filling shots of minuscule minibeasts
GET THE GOOD SIDE
8 Struggling with your macro lens’s
shallow DoF? Photograph your subject side-
on to render as much of it in focus as possible.
www.digitalcameraworld.com 35
100 top tips…
CLOSE-UP FILTERS
2 Close-up filters screw onto a filter thread
to reduce a lens’s minimum focus distance.
They’re cheap, easy to use, small and light.
Just don’t expect the best image quality.
OVERCAST LIGHTING
4 Clear, sunny days produce bright,
high-contrast lighting, which isn’t flattering.
Wait for overcast days or use a diffuser to
bathe your subject in soft, attractive light.
DIY BACKGROUNDS
5 Try placing a DIY backdrop behind
subjects when shooting flower portraits
Image: Getty
Shutterstock
36 www.digitalcameraworld.com
FLOWERS & PLANTS
Image: Shutterstock
TOP TIPS
FOR FAB FLORA
Grab great flower shots
inside or out in your garden
USE A TRIPOD
13 A tripod doesn’t just keep
your camera steady, it keeps your
hands free to hold a reflector or
SCREEN TIME
14 Your Nikon’s Live View
allows you to refine your
CAMERA CRAFT composition and zoom in
to check critical focus.
Carefully placed water droplets can transform
your flower portraits into something special
SLOW SHUTTER
ADD WATER DROPS
15 Convey movement –
9 Use a mister or spray bottle to coat your plants swaying in the breeze –
subject with tiny water droplets, or use a pipette by slowing your shutter speed.
to place larger drops with more precision.
FLASH CONTROL
CLEAR FOCAL POINT
16 Flash too bright? Turn
10 A single large drop of glycerin, the power down, move the unit
carefully placed with a pipette, will add a further away, diffuse it, or swap it
shimmering focal point to your flower shots. for a continuous LED light source.
BLACKOUT
17 A set of blackout curtains
Top kit you can’t do without will help to block sunlight when
Bend natural light to your will with a five-in-one reflector using studio lighting to create
floral still-life setups at home.
BUY A BUNCH
18 Not much of a gardener?
You can get great results with
an arrangement of store-bought
flowers for as little as £5/$5.
SHUTTER RELEASE
19 A remote shutter release
allows you to take an image
without pressing the shutter
BOUNCE LIGHT BACK IN SCRIMS FOR SOFT LIGHT button, to avoid camera shake.
11 Reflectors are fantastic for bouncing 12 Five-in-one reflectors usually come
light back at your subject, whether it’s natural with a translucent scrim layer that acts as a CLEAN YOUR KIT
light or flash. A five-in-one reflector comes diffuser. This can be held between your light
20 Clean your lens’s front
with gold, silver and white sides, giving you source and your subject for softer light, element and take care when
options to change the quality of the light. They diffusing direct sunlight or bare flash. This swapping lenses so your images
also come with a black side to take light away. creates flattering lighting akin to a softbox. are dust-spot free.
www.digitalcameraworld.com 37
Paul Wilkinson FMPA FBIPP FSWPP is a multi-
award-winning international photographer and
Paul co-author of the best-selling book Mastering
Portrait Photography, and shares his skills
Wilkinson through the free companion site
MasteringPortraitPhotography.com. In this
Go Pro monthly series he shares his experiences and
stories as he talks about the trials and
tribulations of becoming a pro photographer.
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38 www.digitalcameraworld.com
GO PRO – PAUL WILKINSON
As a photographer, you never
know what is coming your way;
make sure you have the tools to
deal with whatever you take on!
www.digitalcameraworld.com 39
Ingenious recipes for stunning shots
42
Lay a camera trap
Tom Mason’s expert tips for remote wildlife
shots with your Nikon and an infrared trigger
44
A fall’s errand
Use different strengths of ND filter to slow the
flow, for silky-smooth images of waterfalls
54 48
Plane sailing
The beauty of backlighting How to shoot a minimalist masterpiece, plus
Shine a light behind your subjects for a gorgeous rim-lighting effect more tips and tricks for ace aviation images
BEFORE AFTER
VIEW THE
VIDEO
www.digitalcameraworld.com 41
P rojec t one: Se t up a camera trap
42 www.digitalcameraworld.com
CAMERA TRAPS
3 Trigger happy
You need a way to trigger your
camera remotely and the answer is an
infrared sensor. I use a beam sensor
connected to my Nikon’s remote port. This
device emits a beam of light that triggers
the shutter when broken. The one shown
here is a Scout Trail Monitor from Cognisys,
designed for extensive outdoor use.
43
44 www.digitalcameraworld.com
WATERFALLS
BEFORE
A fall’s errand
Don’t go chasing waterfalls
without an ND filter – Mike
Harris goes with the flow…
If you own a neutral density (ND) filter, you’ve almost
certainly photographed a waterfall. They’re often the first
image budding landscape photographers turn to when they
start to learn about long-exposure photography, and it’s not
difficult to see why. There are hundreds of waterfalls and
weirs up and down the country; fast-flowing water looks
incredible blurred and people are quite simply enamoured
with long-exposure photographs of waterfalls.
While you don’t have to travel to the Isle of Skye’s Fairy
Pools or the Brecon Beacons’ Sgwd yr Eira to capture a
great waterfall image, you do need to learn to wield your ND
VIE W THE filters like a pro. So, whether you’re thinking of dipping your
toe into blurred waters for the first time or consider yourself
a seasoned waterfall veteran, read on to find out what stop
ND filter to use, how to nail the correct exposure and why
VIDEO blending multiple images together in post can enhance
your photos further. It’s time to get your feet wet.
www.bit.ly/np154falls
www.digitalcameraworld.com 45
1 Lock it down
You’ll need to use a tripod to avoid
2 Shake, slap & hunt
To avoid tripod camera shake, turn any
3 Camera settings
Attach your filter mount, but not the
camera shake when shooting long exposures. Vibration Reduction off and either use a remote filter – we used the NiSi V7 for 100mm filters.
Make sure you extend the thickest legs first and shutter release or Exposure Delay Mode to If you’re purchasing filters for the first time,
refrain from raising the centre column – unless avoid physically pressing the shutter button. ensure the filter system can be attached to your
absolutely necessary – for maximum stability. If The latter is a good shout if you’re using a lenses, natively or with a step-up ring. Most
your tripod is standing in water, we recommend DSLR, as it will flip up the mirror prior to firing Nikon-fit lenses will have the filter thread
leaving the legs extended until they dry out, to the shutter to prevent mirror slap. Consider etched onto the inside of the lens cap. Switch to
help prevent trapping moisture within the using back-button focus so AF is assigned to Manual mode so your settings remain constant
locking mechanisms. Wiping the legs down may the AF-ON button only. This allows you to fire when you add the ND filter and select your base
help too. We shot at 24mm. Depending on the the shutter when you’re ready, rather than ISO. Input an aperture of f/8 to f/11 and the
size of the waterfall, refrain from going too wide having to switch to manual focus to avoid shutter speed required, so your light meter
as you could diminish your subject. hunting or refocusing with an ND filter attached. is underexposed by roughly one stop.
46 www.digitalcameraworld.com
Exposure blend
A neat trick is to combine different
exposure lengths in the same image.
Import each image into the same
Photoshop document, before selecting
Edit > Auto-Align Layers and then using
layer masks to paint various exposures
in or out at various points throughout
the waterfall. We recommend choosing
the image you’re most happy with as the
main image and then positioning the
exposure layer you want to blend on top
before hitting the ‘Add layer mask’ icon
and then holding Cmd+I to invert it. You
can then paint the layer back where
desired using a soft, white brush. Keep
tabs on the mask you’re revealing by
hitting ‘\’ to activate a red overlay.
www.digitalcameraworld.com 47
P rojec t three: Avia tion
Plane sailing
Nigel Wood explains how he
shot his stunning NPOTY
winner, along with general
aviation photography advice
This image of a de Havilland Vampire was taken at last year’s
Midlands Air Festival. The aircraft’s beautiful, silver finish
contrasts against the dark, dramatic clouds that had formed.
But what separates the plane further is a small break in the
cloud cover, allowing bright rays of light to stream through
to backlight the subject. Here’s how I captured the moment.
2 Room to zoom
Safety precautions at modern displays mean the display
line is some way back from the crowd line. This makes a super-
telephoto zoom an essential part of your kitbag. A 100-400mm
zoom range is the minimum I’d recommend, with the wider end
proving useful for display teams, but a 150-600mm lens’s
extra reach will certainly come in handy.
48 www.digitalcameraworld.com
AVIATION
www.digitalcameraworld.com 49
BEFORE AFTER
Affinity Photo offers all kinds of tools for create four levels from white to black. textures for you to experiment with. There’s
blending images together, from layer From here we can select the four areas of an array of colourful soap bubble images,
blending modes to masking and more. In brightness using the Magic Wand tool and rusty old trays and close-up details.
this project we’ll take advantage of clipping, create separate layers for each. Then the Not only are textures like this useful
which allows us to position one layer inside fun begins, as we can simply copy in for this effect, they’re also a fun way to get
the shape of another. This way, we can different textures and colourful abstract creative with image blending for all sorts of
break down our portrait into several simple images, then drag them on top of each layer interesting results. Try copying a texture
shades of grey then clip textures to each. so that the texture is confined to the shape on top of any photo then simply go to the
We begin by using the Posterize effect, of the layer. Effectively, it lets us fill in each Layers panel and experiment with the layer
which allows us to simplify the image into area of brightness with an image of our blend modes. The Overlay, Multiply
just a few shades of grey. We’ve chosen to choice. We’ve supplied a set of 15 free and Screen modes often work well.
50 www.digitalcameraworld.com
AFFINITY PHOTO
4 Remove the
background
We need to remove the background from
the effect. Highlight the bottom layer,
grab the Selection Brush, click ‘Snap to
Edges’ in the options and paint over the
background to select it. Click on the top
layer and hit Delete, then repeat for the
four layers below.
Expert Tip
The Magic Wand tool quickly
selects areas of similar
pixels. The Tolerance slider
picks the range of similar
pixels the tool will seek out;
a low tolerance means it will
5 Add a texture
Open up a texture image, hit Cmd/
only search for the exact
same shade of colour, while
Ctrl+C to copy then go to the portrait and
hit Cmd/Ctrl+V to paste. Drag the layer on
6 Finish it off
Experiment by moving the layer around
a high tolerance expands the
range. The other key setting
top of one of the layer names – ‘Whites’, with the Move tool to find the best position, or
is Contiguous. With this
‘Highlights’, ‘Midtones’ and ‘Shadows’. use the bounding box to resize it. Copy in more
checked you can confine
This will clip the texture to the layer so that textures and drag onto the other layers to build
the search to pixels
the shape of the layer confines the texture. it up. You can lighten or darken the textures
connected to one another.
with Curves (Cmd/Ctrl+M) to fine-tune tones.
www.digitalcameraworld.com 51
VIE W THE
VIDEO
www.bit.ly/np154ai
BEFORE
AFTER
Explore Adobe’s
adaptive presets
Get to grips with this new functionality in
Lightroom and Photoshop’s Camera Raw Preset basics
The latest updates to Adobe tailored tonal effects to the area. Presets let you apply tonal effects
Lightroom and Photoshop include Additionally, a new control lets us to your photos with a single click.
an exciting new approach to using fine-tune a preset’s strength and You can use them in both Lightroom CC
presets. By building artificial new premium preset sets offer (shown here) and Lightroom Classic, and
intelligence into presets, Adobe a host of effects that are tailored in Photoshop’s Camera Raw. As well as
has now taken things a step further. towards dealing with different making use of the inbuilt presets, you
Available in Adobe Camera Raw, subject matter. can find thousands of sets online. What’s
Lightroom CC and Lightroom Classic With these improvements, Adobe more, you can create your own custom
(v11.4), the new adaptive presets are continues the trend in implementing presets. After making a tonal effect,
powered by machine learning. They AI into its photo applications. Aided click the plus icon in the Presets panel
function in a similar way to normal by machine learning, complex edits in Lightroom (or the new Presets icon in
presets, but rather than altering the are gradually getting easier and Camera Raw). Choose the tools/settings
entire image, they zero in on either quicker, which is great news all you’d like to include and hit Save.
the subject or sky, before applying round for Nikon enthusiasts.
52 www.digitalcameraworld.com
ADOBE CC
1 Adaptive presets
Adaptive presets work by employing
2 Preset Strength slider
The new Preset Strength slider gives
3 Masks panel
After adding an adaptive preset to
AI to isolate either the sky or subject before you control over preset effects by allowing boost your subject or sky, you can delve into
adding tonal settings to boost the selected you to change the strength of the tonal the Mask panel to adjust aspects of the
area. You can make powerful selective change. If you think an effect is too strong, image. Masks will have been generated for
adjustments to parts of your photo with a lower the slider to tone it down. It works with your presets. You can add or subtract from
couple of clicks. Here, the ‘Blue Drama’ both normal universal presets and the new the initial AI mask with the brush. You can
preset isolates the sky and pulls out some range of adaptive presets. Here, it enables also tweak the tonal sliders to adjust the
of the delicate cloud detail, while the us to increase the strength of the Warm Pop effect. Here, the sky adjustment has
‘Warm Pop’ preset identifies the bronze preset. Like all sliders, the function can be also amplified the noise, so we have
car and boosts the colour and contrast. reset simply with a double-click. added a touch of noise reduction.
4
2
5
4 Create custom
adaptive presets 5 Use premium presets
Premium presets are included in the
6 Video presets
Another new feature in CC is the
You can now sync AI masks from one photo paid version of Lightroom/Photoshop. option to edit video using Lightroom’s
to others, so you can sync local edits to your The latest updates include five premium tonal tools, as well as trim the start and
subject across a set of photos. You can also sets: Portraits: Black & White; Portraits: end of video clips. It’s only possible in
use AI masks in presets you create yourself, Edgy; Portraits: Group; Subject: Concerts; Lightroom CC, but if you’re a Classic user
so you can effectively make your own and Video: Creative. These features are there’s a workaround to apply presets and
custom adaptive presets to alter the created by pro photographers and editing tonal changes by using the Quick Develop
subject or sky in any way you choose. experts, so they’re great for learning panel in the Library module. There’s a new
Here, we have created a preset to about the tools and techniques used set of premium presets for toning video
include a touch of warmth to the sky. by pros to enhance the final image. clips – you can apply these to stills, too.
www.digitalcameraworld.com 53
P rojec t six: The big projec t
The beauty of
backlighting
Some may think it’s as simple
as lighting the subject from
behind – but there’s more to
using glorious backlighting in
portraits, says James Paterson
Place a light behind a person and to one side – or two lights
either side – and the light glances off the edge of the subject
in the most wonderful way. This is one of the simplest yet
most powerful lighting skills you can learn. Get to grips with
backlighting, and you can craft sensational portraits.
We’ve used a set of lights from a home studio kit here,
each fitted with a softbox. But you don’t necessarily need to
go and buy a whole load of new kit. Any light source can be
used for backlighting. A Speedlight and a cheap white
umbrella will give amazing results, but even a household
lamp can be used to great effect.
Then, of course, there’s the sun. When it’s low in the sky,
it can create lovely warm backlighting if you position your
subject with the setting sun behind them.
Backlighting is ideal for side-on poses, because it
highlights the edge of the body. As such, it’s perfect for a
pregnant subject like Kelli here, highlighting her beautiful
bump and glancing off the edge of her face in profile. It’s
also ideal when you want your subject to stand out from
their surroundings, or to give them a heroic, cinematic feel. VIE W THE
(Backlighting is used all the time in movies and TV.)
Over the next few pages, we’ll look at how to shoot and
edit quality portraits like this. From exposure settings to
light placement, you’ll learn the best way to backlight your VIDEO
subjects for beautiful low-key photos.
www.bit.ly/np154backlight
54 www.digitalcameraworld.com
BACKLIGHTING
www.digitalcameraworld.com 55
Get set up for backlit portraits LEARN HOW TO USE A HOME
STUDIO KIT FOR STUNNING RESULTS
1 Light source
The key piece of kit for backlighting is
2 Dark backdrop
A dark, uncluttered backdrop will help
3 Camera settings
Here’s a good stock setting for a studio
a movable light source, ideally with a light stand. to focus attention on your subject, and will flash setup like this. Set your camera to Manual
We’ve used an Elinchrom home studio head contrast with the edge highlight created by the exposure mode with ISO100. Set the shutter
here: a mains-powered light like this is perfect backlighting. We’ve used a roll of vinyl that is speed to 1/200 sec and the aperture to f/8.
for a home studio setup. The lights can be white on one side and dark grey on the other, Take a test shot, then either increase or
triggered either with a wireless trigger or but a plain wall or a blanket strung up will work decrease the power of the light source, or
optically after detecting another flash. just as well. open or close your aperture until it looks right.
6 4
5
4 Rear light
The positioning of the rear light is
5 Posing
Posing your subject is vital. You don’t
6 Bracket exposures
Here, a fill light is positioned to the left
crucial. We want to lift the edge of the body, and want them to be looking at the camera, because side of the subject to lift the shadows in the
we usually want to leave the front of the subject their face will be in deep shade unless you have face. It’s set at a lower power than the light used
in shade. There’s no right or wrong. Start by a fill light to lift the shadows. Better to have to backlight the subject on the right. You can
placing the light source just behind the subject them looking off to the side, or with eyes down. see that it lifts the hair and the subject’s left
to one side, angled towards the camera, then This creates more of a thoughtful pose that’s shoulder. If you prefer to keep things dark
experiment by moving it forwards or back. perfect for our pregnant subject here. and moody, though, stick to a single light.
56 www.digitalcameraworld.com
BACKLIGHTING
www.digitalcameraworld.com 57
Edit your backlit portrait SIMPLE TIPS AND TRICKS FOR
TIDYING AND ENHANCING YOUR PHOTOS
1 Convert to mono
Backlighting creates a wonderful sense
2 Fix stray hairs
Backlighting shows up distracting
3 Try light leaks
Backlighting can lend portraits a
of mood and depth, which often goes hand in stray hairs around the edge of the head. dreamy, thoughtful mood that can sometimes
hand with a black-and-white treatment. Colour There’s no quick fix for this in Photoshop: you be enhanced with simple post-processing
can be a distraction, and you can emphasize simply have to get stuck in with the Healing tricks, like adding a light leak. We’ve used the
the subject and expression by removing it. tools to remove unwanted hairs. The new Nik Collection, a fantastic plugin for Photoshop.
The Black & White panel in Camera Raw and Remove tool is great for getting rid of larger It includes Analog Efex Pro, which offers all
Lightroom is the ideal place to convert to mono. objects like lights, or for extending a backdrop. sorts of retro effects and an array of light leaks.
58 www.digitalcameraworld.com
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THE N-PHOTO INTERVIEW
60
SAMIR HUSSEIN
Samir
Hussein
Profile
● Samir Hussein is one of the
world’s most widely published
royal photographers. He regularly
travels abroad with the Prince and
Princess of Wales.
● His images have been published
on the covers of top international
titles, including Vanity Fair and
Paris Match, as well as gracing
royal stamps and coins.
● Samir has shot for some of the
world’s biggest music artists while
on tour, including Taylor Swift, Adele
and Lady Gaga.
● Represented by Getty Images, Samir’s
client list includes Soho House, MTV,
IWC, Vogue, Ralph & Russo, Mouton
Cadet and Freuds.
● Samir’s numerous awards include
Arts and Entertainment Photographer
of the Year on three occasions at
the prestigious Picture Editors
Awards, and Royal Photographer
of the Year in 2021.
www.samirhussein.com
Instagram: @samhussein1
61
THE N-PHOTO INTERVIEW
ooking at Samir I’m always thinking about the next Previous page:
Hussein on my picture, the next job. Thankfully, Taylor Swift
performs live at
screen as we there are periods during the year
Wembley Stadium,
speak via when it does get a bit quiet. August 22 June 2018, as
Zoom, I’m is one of them, when the royals go part of her 53-date
struck by away and there’s not many jobs, Reputation tour.
how relaxed so I tend to take August off; and
Below: This playful
he looks. the same for the second half of portrait of Queen
He’s casually December and January. Outside of Elizabeth II was
dressed in a those periods, it’s full-on, with events used as a
plain T-shirt and and shoots throughout the year. I am promotional photo
for the Oxford
leaning back in his quite fortunate I’m freelance, and
Films documentary
chair as we talk about I can still choose when I work and Queen of the
summer (it’s raining outside) and spend time with the family. World, broadcast
forthcoming holidays. in 2018.
It’s such a contrast to his profile How do you pick engagements? Right: Lady Gaga
photo on his website, which shows Are official duties with the royal makes a dramatic
the royal photographer in black tie family always scheduled a long entrance to the UK
and designer sunglasses on the time ahead? premiere of House
of Gucci, at the
Cannes Film Festival red carpet, Well, it is to some degree, in that you
Odeon Luxe,
looking just like one of the A-listers have the big royal events the same Leicester Square,
he normally photographs for a living. time every year; let’s say Royal November 2021.
When I look back at the man on the Ascot, Trooping the Colour.
screen, I am reminded that this is The same goes for showbiz stuff
what Samir looks like on those rare like the Cannes Film Festival or
occasions when he can get some
downtime from photographing the
great and the good. The day before,
Samir was at Sandringham
62 www.digitalcameraworld.com
SAMIR HUSSEIN
www.digitalcameraworld.com 63
THE N-PHOTO INTERVIEW
shooting Royal Ascot in my suit, Taylor Swift, the pictures are always Below: Charles III
I drove straight to Glastonbury. amazing; Madonna, Lady Gaga. waves to the crowd
from the balcony
That was a huge contrast, but Those are the ones that every time
of Buckingham
www.digitalcameraworld.com
Where and when was that? the Nikon system. I’ve always loved Above: A family in a lot for the royals, because we aren’t
It was in Southampton; I graduated their stuff, particularly their lenses. mourning: Prince always able to get too close to them.
George, Queen
in 2000. I did a degree in journalism, But the lens I love is the Z 400mm
Camilla and the
and in one of the modules we had Do you have a favourite lens? Princess of Wales f/2.8, which is absolutely amazing.
the opportunity of doing some It’s different lenses for different arrive at the I’ve been using that for the past
photography. We were shooting and scenarios. I love their prime lenses, funeral of Queen six months. It’s got the built-in
developing film, and I really loved it; the new Z 85mm f/1.2. It’s amazing Elizabeth II, teleconverter that gives it a longer
September 2022.
so that’s what piqued my interest. for portraits. For red-carpet events, focal length, so that’s a fantastic lens
The lecturer at the time was very I love the 200mm f/2: it gives for shooting portraits from a
encouraging. He said, “Actually, beautiful pictures, and it’s one I use distance. I have pretty much every
you’ve got a great eye,” and that was focal length up to 600mm, because
the first time when I started thinking, I’m shooting at all sorts of distances,
“This is something I really do enjoy.” depending on the job and the access.
66 www.digitalcameraworld.com
SAMIR HUSSEIN
www.digitalcameraworld.com 67
ON ASSIGNMENT
$ȨQHERG\RIZRUN
reflecting upon. It was an exciting day,
finding a unique location that could have
been made for my style of work.
With such an overwhelming location, the
main challenge was to isolate compositions
that told a story and had some underlying
Fine art photographer Ray Spence combines meaning that went beyond pure recording.
his fascination with mannequins and infrared Technically, being able to recognize how
infrared translates colours and tones
imagery for an upcoming exhibition comes with experience but – unlike my days
of infrared film photography – the ability to
see the images on the digital camera back
and check the histogram makes life so
first photographed shop window which refurbishes and hires them out for much easier.
mannequins in Athens in the film, photography and events. For the Responding to Light exhibition at
1970s and have always had I approached the shoot with an open MAKE Southwest, I had the images printed
a fascination with them. mind, but it was one of those situations onto 70x50cm acrylic using Permajet’s
I have several in my house where the possibilities were endless. PermaLux. For me, the way images are
and garden, and I have I looked for scenarios that could be presented is so important, and these
forever been interested in translated to some of the events happening materials are ideal for this subject matter.
the way we use mannequins now and in the past in our society.
and dolls, aimed not just at Ray Spence is exhibiting in Responding
displaying clothes or childhood An infrared convert to Light – a group show of seven leading
play, but sometimes in a far These were the result of a single day’s photographers celebrating the diversity
more sinister context. shoot over about four hours. I had of modern photography as a medium
This Mannakin series is a small part of the upgraded to a Nikon D810, and so this was that straddles fine art and craft. The
work done and will eventually find its way a great opportunity to make use of my D700 exhibition runs from 16 September to
into a larger exhibition and book. It is surreal by having it converted to infrared. I used it 4 November at MAKE Southwest,
but has a direct reference to many aspects along with a Nikon AF-S 24-120mm lens. Bovey Tracey, Devon, and entry is free.
of society and the issues facing us. The use I like to work with the minimum of See: www.makesouthwest.org.uk
of mannequins to reflect the human equipment, so the use of a single body and
condition is a recurring theme in my work. lens allowed me to concentrate totally on
I often work collaboratively with my friend the subject matter. Most shots were
and photographer Clare Acford. We tend to handheld, but there are also a number of
work with mannequins, particularly in interior shots that required the use of my I approached the shoot with
an open mind, but it was one
conjunction with the human figure, to trusty 40-year-old Benbo tripod.
produce a visual narrative. She is great at The subject matter and location was
searching out unusual locations and it was rather surreal, so the use of infrared was the
of those situations where the
possibilities were endless
Clare who found this location. It was a ideal way of translating this surreal feeling.
mannequin repository in Lincolnshire, It has led to a body of work that I am still
68 www.digitalcameraworld.com
RAY SPENCE
2 4
www.digitalcameraworld.com 69
The only camera manual you’ll ever need...
70 Nikon Academy Your Nikon’s 74 Ask Matthew Nikon niggles
battery does more than you think… nullified by our resident tech-head
NIKON KNOW-HOW
70 www.digitalcameraworld.com
NIKON KNOW-HOW
CAMERA CONTROLS
ON THE BUTTON
&ORFNLQJRȨ"
Your Nikon has a clock battery. Here’s what to do when the ‘clock’ display flashes
1 2 3 4
Don’t let it run down Time zone and date Set your time zone Date and time
The clock battery recharges To reset the clock, use the ‘Time Check the Time Zone setting, Setting the correct date is most
from the main battery and can zone and date’ option in the and make sure you pick the important, since this will ensure
last several months. It’s fine to Setup menu. It’s important to right home location. If your your software can sort your
remove the main battery for set this correctly because this camera has forgotten the time images chronologically. The
charging, but don’t leave it out information is embedded in the and date, it will have forgotten time setting is less important
or you’ll need to reset the clock. image file and can prove useful. your time zone, too. but still worth getting right.
www.digitalcameraworld.com 71
NIKOPEDIA
NIKON KNOW-HOW
replaced, but this longevity can charging it. Complex monitoring SIZE MATTERS for ‘enthusiast’ DSLR and
vary significantly in practice. circuitry in the charger and the Some Nikons come with a mirrorless cameras. The D6
Lithium-ion cells will lose battery ensures that the bigger battery than others, and and Z 9 don’t need them
about five to 10 per cent of the charging process is optimized size is a pretty good indicator of because the ‘grip’ is effectively
charge a month even if they are and typically takes a couple of how long this will last between built into the body.
not used, and if they are left idle hours. Don’t worry about charges. However, for a Your Nikon also has a second,
to self-discharge they may not overcharging; the circuitry will scientific measure you need to ‘clock’ battery. This is a small
recover, so try to use spare detect when the battery is full. look at the battery’s capacity, rechargeable cell built into the
batteries in rotation. One of the Temperature plays a role here which is measured in camera, and it ensures that you
big advantages of lithium-ion too. In warm climates, a battery milliampere hours (mAh). do not have to reset the time
batteries is their lack of will not give you as much In addition to carrying a spare and date every time you remove
‘memory’ effects. You don’t service as in a cold one. If you battery, one way of increasing the battery to charge it. It gets
need to charge your battery live in a hot country, it may pay your available portable its power from the main battery,
fully before using it, or to ensure you keep your electricity supply is to use a and can last for up to three
discharge it fully before batteries cool when not in use! battery grip. These are available months when fully charged.
1 2 3 4
Don’t use Live View Avoid using flash Image review off Auto off timers
Live View on DSLRs uses a lot Shooting with flash uses twice If your camera displays the Many features stay active for
of power. If your battery icon the power of a regular exposure, image you’ve just shot on the some time after taking a shot.
glows red, turn if off – there and quite often you’ll get a more LCD, image review is enabled. Change this with the Auto off
will be enough power to shoot attractive picture by increasing It uses extra power, so switch timers in the Setup menu or
for a while using the viewfinder. the ISO setting instead. it off if you can do without it. Timers in Custom settings.
72 www.digitalcameraworld.com
NIKON KNOW-HOW
Nikon mirrorless
PUTTING IT INTO PRACTICE
AA BATTERY TECHNOLOGY
Alkaline AAs provide longer, more
consistent performance than zinc-chloride
batteries, which should be avoided. Lithium
5 6 AAs are more expensive but last many
times longer and last well in storage.
Older rechargeable NiCad batteries
Auto info display Check Battery info suffer from ‘memory’ effects, have limited
Nikon’s D3xxx and D5xxx-series Enthusiast and pro Nikons have capacity and tend to give up with little
cameras use the LCD to show this option on the Setup menu. warning. Rechargeable NiMH cells are
shooting information, yet the It displays the battery charge, better, but lose power in storage. Newer
main exposure settings are also number of shots since the last NiMH battery designs, such as Sanyo’s ‘Eneloop’ cells, last
displayed in the viewfinder. charge, and overall condition. much better in storage.
www.digitalcameraworld.com 73
YOUR QUESTIONS ANSWERED
Ask Matthew...
Our resident Nikon expert Matthew Richards answers your
questions and solves your problems. If you have a Nikon-related
question, email it to [email protected]
Q IAF-P
have a D5600 with
DX 18-55mm
and Sigma 150-600mm
lenses. Would a Nikon AF-S
18-140mm fill the gap?
David Kitchinman
As we mentioned in last month’s
A Big Test, Nikon has now
discontinued all of its DX format
DSLRs, bar one, and most of its DX format
lenses. Only the D7500 is still in production,
and it’s offered only as a kit option with the
AF-S DX 18-140mm f/3.5-5.6G ED VR.
I’m glad it’s still around, as it has
a very versatile ‘effective’ zoom
After pressing the OK button, the small white AF square will turn yellow to indicate that range of 27-210mm in full-frame terms,
it’s locked onto your chosen object and prevents the autofocus making the wrong selection. stretching from good wide-angle coverage
74 www.digitalcameraworld.com
YOUR QUESTIONS ANSWERED
Secondhand superstar
Q Which inexpensive standard
prime lens would you
recommend for a D3500?
Sandra Fisher
Matthew recommends…
A Due to the 1.5x crop factor of DX format
cameras, you’re best off with a 35mm lens.
Nikon makes a DX 35mm prime that fits the bill.
www.digitalcameraworld.com 75
PHOTOGRAPHER OF THE YEAR 2023
NPOTY is powered by
76 www.digitalcameraworld.com
LOW LIGHT
2
3
This incredible lightning storm was captured from Buttermere’s lone tree is one of the Lake District’s These boxing mountain hares were captured in the
the top of a multi-storey car park. Initial efforts most popular subjects, and this Milky Way image dead of night. A backlight was positioned behind
seemed fruitless, as the lightning was too far away, is a stunning take on a beloved scene. Tony had the brawl, with a secondary light source used to
but Alexius didn’t give up, and the bolts soon to plan his April shoot meticulously so that the illuminate the subjects from the front. The result is
moved towards his position. Three shots were core loomed over the lake and the conditions a striking contre-jour effect, pulling the hares from
blended in post, spreading the lightning across the enabled an unobstructed view of the night sky. the black background and outlining even their tiny
frame and balancing the composition. We like how The galaxy and ground were captured in separate strands of fur. ISO3200 enabled a fast shutter
the bolts are brightly rendered, but not blown out. shots before blending them together in post. speed, freezing this jaw-dropping moment.
www.digitalcameraworld.com 77
PHOTOGRAPHER OF THE YEAR 2023
4. Astro Array 5
BY JOSEF VALENTA
5. Purple Lagoon
BY FREDERIC ALLEGRINI
78 www.digitalcameraworld.com
LOW LIGHT
6
6. Island, Ice and Stars
BY DONEY D
8. Moonscape
BY ALEXANDER GALKIN
www.digitalcameraworld.com 79
PHOTOGRAPHER OF THE YEAR 2023
9
9. Light up the Floor
BY KATIE HEYKOOP
80 www.digitalcameraworld.com
3 NPOTY 2023
4
WORTH
£5299!
2
GOLD
AWARD
WIN! A Nikon Z 9 6
The Nikon Z 9 is
The overall winner of N-Photo’s Photographer quite simply Nikon’s
most powerful
of the Year 2023 will receive the grand prize of a Nikon Z 9! camera ever!
When we reviewed the Nikon Z 9, we called controls for comfortable vertical shooting.
it: “Simply the best camera ever!” And now,
together with Nikon UK, we’re giving you the
The camera is fully weather sealed to
withstand extreme temperatures and
How to enter
chance to win the flagship Z camera. It’s records data to a pair of CFexpress Type B
HOW OUR COMPETITION WORKS
an incredible prize that’s worth a whopping (or XQD) card slots. It comes with built-in
£5299/$5499. All you have to do is enter Ethernet port, in-camera Wi-Fi FTP, as well
● Each issue, the N-Photo team sets
any of the 12 rounds of NPOTY 2023 to be as 5G smartphone connectivity via USB-C.
a theme – we next want to see your
in with a chance of taking Nikon’s most The Nikon Z 9 is also a powerful tool for
best autumn images. You can enter your
advanced camera home and being crowned video capture. It can shoot at an astounding
chosen photograph(s) by visiting:
N-Photo’s Photographer of the Year 2023. max resolution of 8K 60p and 4K 120p,
www.photocrowd.com/npoty23autumn
while a built-in microphone can capture
● The deadline for entries is 28 Sept 2023.
Mirrorless behemoth 24-bit PCM linear audio. You can also
The top 10 gallery will appear in N-Photo
The Nikon Z 9 features some truly ferocious capture 4K 60p UHD footage oversampled
156, on sale 26 October 2023.
specs, as you’d expect from a pro-grade, from 8K, to boost quality without having
● After the Autumn round, only two rounds
full-frame, flagship camera. It boasts to store and work with huge 8K files.
remain before we crown N-Photo’s
a stacked 45.7Mp CMOS sensor and runs
Photographer of the Year 2023:
via Nikon’s EXPEED 7 image-processor.
Food Opens: 21 Sept Closes: 26 Oct
It also packs Nikon’s most advanced AF
system and can shoot bursts at an
Z 9 Features www.photocrowd.com/npoty23food
Winter Opens: 19 Oct Closes: 23 Nov
astonishing 120fps, making it the most
1 The deep grip extends to the underside, and www.photocrowd.com/npoty23winter
powerful Nikon camera on the market. duplicated controls allow vertical shooting. ● It goes without saying that all images
It’s the first pro-grade camera to feature
must be shot on Nikon cameras!
an all-electronic shutter, allowing for those 2 There are no fewer than four programmable
● Please ensure your entry does not
incredible burst speeds and 1/32,000 sec Fn buttons for customized camera setup.
contain a watermark and is submitted
maximum shutter speed. At full 45.7Mp
3 On the inside, a revolutionary sensor and
with the necessary EXIF data: the model
resolution, the Z 9 can capture JPEGs at
fast processor enable a shutter-free design. of the camera and lens, and the shutter
a jaw-dropping 30fps and Raws at a still-
speed, aperture and ISO used.
lightning-fast 20fps. The new AF system
4 There are oodles of direct-access controls, ● 12 competitions will appear throughout
can detect nine kinds of simultaneous
along with a mode dial. 2023, and the overall N-Photo
subject and boasts five times more auto-
Photographer of the Year 2023 –
area AF points than the Nikon Z 7II.
5 Unlike on the Z 6/7 line, there’s a dedicated and winner of the grand prize – will be
The back-side illuminated sensor results
AF mode button for switching focus modes. crowned in the January 2024 issue.
in superior low-light performance and the
So get out there and start shooting
EVF is the world’s brightest, and offers 6 A dual-axis flip-out touchscreen comes
your best photographs today!
blackout-free shooting. The Nikon Z 9 has out in both horizontal and vertical planes.
a deep grip with duplicated essential
www.digitalcameraworld.com 81
READERS’ LETTERS
Readers’ letters
We’d love to hear your thoughts on the mag and all things photographic! You can write
to us, message us or share your images in the following ways: [email protected]
twitter.com/nphotomag facebook.com/nphotomag instagram.com/nphotomag
Star Letter
A time for reflection on water, was taken on my Nikon P950. The best camera is always
reflection particularly impressive. The infrared image was the one you have with you
I had to wait for the autumn achieved with a Hoya R72
I
at the time, Allan! We have
’ve been reading your season to come around Infrared Filter, which works featured bridge cameras
magazine for many (I’m in New Zealand), and well with any Nikon Bridge from time to time, but many
years now, and in managed to capture my own Camera, including the P610, of the techniques we print for
the October 2022 version, with a black swan P900 and P950 – all of interchangeable-lens DSLR
issue (N-Photo 142), rather than a duck, on a lake which I have owned. and Z-series mirrorless can
I was very keen to read in McLaren Falls Park, Yes, I know that I should be applied to your cameras.
the 25 Ways to Shoot Tauranga, New Zealand. try to use my DSLR more We’re planning a new autumn
Autumn lead feature, by I had a Nikon P900 at often, but it would be nice photography feature for our
Ross Hoddinott. the time and took the to see more about the next issue – with tips for you
I thought that the image shot handheld. forgotten Nikon cameras, to try when the season
that went with tip number I’m also including an like the models I have used. eventually comes around to
seven, of the mallard duck infrared photo, which was Allan Godfrey the southern hemisphere!
Images: © Allan Godfrey
Allan was inspired by our ‘reflection’ tip but had to wait until Allan used an infrared filter on his Nikon P950 for this image,
autumn in New Zealand for the opportunity to take his swan shot. proving that ‘bridge’ cameras are capable of cool camera tricks.
*Winners will need to create an Affinity user account to download the app. The prizes are issued in accordance with the standard Affinity EULA and there’s no cash alternative.
82 www.digitalcameraworld.com
READERS’ LETTERS
www.DigitalCameraWorld.com
The best from our companion website
Image: © photools.com
Image: Future
Darwyn recommends IMatch digital asset management software,
which has handy tools for searching thousands of images quickly.
images into folders and Contrast that with the arrival of the Nikon Z fc, greeted with the kind of joy
subfolders, where IMatch that would occur if Jesus had walked into the party with a six-pack. What’s
automatically detects them. so curious is that they’re almost exactly the same. https://bit.ly/3YmvIKD
It is the ideal companion to
use in combination with
Nikon’s free Nikon Transfer 2, Sign up to our newsletter for the latest
and would be worthy of an Nikon news! Simply scan this QR code
Kevin finally mastered manual
N-Photo review! focusing with a macro lens after or go to https://bit.ly/dcwnews
Darwyn Sumner learning to shoot in Live View.
www.digitalcameraworld.com 83
YOUR STORIES
Camera: Nikon Z 8
Lens: 105mm f/2.8
Exposure: 1/500 sec, f/5.6, ISO200
7KHEXWWHUȩ\HȧHFW
courtship displays and subsequently
decode behaviour patterns the D850 just
couldn’t, consistently. Having viewed the
first few images from my Z 8, I realized just
how far optics have progressed.
The Z 8 has enabled me to get much
The Nikon Z 8 has allowed Nigel A Ball to sharper images. Combining in-body VR and
capture close-ups of butterflies and other lens VR means I can use lower ISO settings.
The high frame rate of up to 120fps means
insects he previously never thought possible I can get in-focus sequences of insects in
flight, much easier. Focus stacking is also
much quicker than the D850, which means
less chance of the insect moving or a breeze
MISSION: Capture the spirit of nature by photographers have an important part to interfering with the sharpness of the shot.
photographing insects in their natural habitats. play in conservation, sharing the wonders of
PHOTOGRAPHER: Nigel A Ball nature to a wider audience and thereby It’s a wing-win situation
LOCATION: Nantwich, Cheshire increasing awareness of the beauty we I wanted to capture the essence of a
KIT USED: Nikon Z 8, Z MC 105mm could potentially lose. summer’s evening – a butterfly in a
f/2.8 VR S and Z 24-120mm f/4 S I was introduced to photography by my meadow bathed in golden sunshine.
WEBSITE: www.nigelaball.com late father in the early ’70s; we used to Butterflies roost in the early evening,
TWITTER: @NigelABall develop and print our own photos in a home often where they’ll catch the dawn sun.
INSTAGRAM: @nigelaballphotography darkroom. We then got into macro As a volunteer at my local reserve, I knew
photography. Our field kit was a macro lens a secluded meadow with the right grass.
on bellows with a pistol grip and cable The challenge was to find a solitary
try to capture the spirit of release. Fast forward and I’ve been using butterfly, catching the sun with its wings
I
nature, so I can share its Nikon cameras for many years. My first
beauty with others. All my DSLR was the D70. The last, my D850, as
images are taken in natural I’ve just received a brand-new Nikon Z 8.
habitats. I never move or My interest in butterflies has become
relocate subjects for better backgrounds much more serious in recent years, and I’m ,JRWP\VHOIVHWXSDQG
and tread lightly to respect the habitat I’m
privileged to experience. The images are a
now studying their behaviour at my local
nature reserve. The Z 8’s high frame rate
ZDLWHG,WKDGVHHQPH
gift to me by nature herself. I believe has given me the chance to photograph DQGSURPSWO\PRYHG
84 www.digitalcameraworld.com
INSECT CLOSE-UPS
[2] It took two attempts and several
insect bites to capture an image of this
skittish dragonfly. But it was worth it!
Camera: Nikon Z 8
Lens: 24-120mm f/4
Exposure: 1/2500 sec, f/8, ISO1600
YOUR STORIES Camera:
Lens:
Nikon Z 8
105mm f/2.8
Exposure: 1/60 sec, f/11, ISO200
Camera: Nikon Z 8
Lens: 105mm f/2.8
Exposure: 1/100 sec, f/11, ISO800
SUBMIT
not fully closed and no wind. The small and Z MC 105mm f/2.8 VR S would YOUR IMAGES!
heath butterfly [1] closes its wings as compare. I arrived just after dawn, mist
soon as it settles, hiding the ‘eye’ and hanging in the meadow and the sun 7RVHH\RXULPDJHVKHUH
orange colour of the forewing, so I had to peeping above the horizon. Research VHQGDVPDOOSRUWIROLRWR
fire the shutter before it settled. meant I had a pretty good idea where the
Dragonflies are skittish subjects [2]. I’d silver-studded blues roosted. I eventually
PDLO#QSKRWRPDJFRP
watched this one for a while and realized it found a pristine female covered in dew and ZLWKȅ<RXU6WRULHVȆ
favoured sitting on the same stick. I got not obscured by heather stems. Once the
myself set up and waited. It had seen me sun crept above the trees behind me, it
DVWKHVXEMHFW
and promptly moved to another stick... I illuminated the butterfly and added golden
crawled towards it – silhouette below the sparkles to each of the dew drops. Perfect!
skyline. Bingo! It landed and I got the shot. The six-spot burnet [4] is a day-flying
I’ve taken images like this [3] before on moth. It can be seen on a summer’s day,
my D850 and wanted to see how the Z 8 painting the sky with black lines, edged in
red. I recced a few locations and waited for
Nigel’s Top Tips
a calm evening with subdued lighting. I
[5] Nigel blended
found four roosting on a thistle bloom, but • Get to know your subject, where they
multiple images in
post to create this as soon as I got set up they fell into the roost, which flowers they visit and how
take-off sequence. undergrowth; an effective defensive they fly. The latter is particularly
mechanism. I waited and, sure enough, important when capturing insects in
they crawled back up their stems. I used flight. Predicting the flight path can
Focus Peaking to ensure the nearest point make or break an image.
was in focus and then used Focus Shift.
The butterfly in this image [5] is • Use a fast shutter speed when
smallish in size and very ‘flighty’. I wanted photographing insects in flight, ideally
to capture it in its natural environment, 1/8000 sec. This will freeze your
where it often skips among the brambles. subject’s beating wing movements.
It’s also known as the hedge brown due to
its propensity to frequent hedgerows. I • Insects are more dormant late in the
used back-button focus with the Z 8’s Pre- evening or early in the morning. The
Camera: Nikon Z 8 Release Capture so it recorded images latter is preferred, as dew will often
Lens: 24-120mm f/4 when the shutter button was only half settle on potential subjects, especially
Exposure: 1/3200 sec, f/5.6, ISO3200 depressed, compensating for my slow if there has been rain overnight.
reactions as the butterfly took off.
86 www.digitalcameraworld.com
New gear, buying advice and the world’s toughest tests
Lab tests explained
Sharpness
A chart with multiple sharp boundaries
is photographed, the extent of blur at
the centre, mid and edges showing how
many line widths per picture height the
lens can resolve. Simply put, the bigger
the numbers the sharper the lens.
Distortion
A lens that bulges towards the edges of
the frame produces barrel distortion,
shown as a negative score. Pincushion
BIG TEST BUYER’S GUIDE distortion produces a positive score.
Five square starter kits to make Every current Nikon camera, plus
using filters a breeze for landscapes our exhaustive guide to compatible lenses
www.digitalcameraworld.com 87
GEAR ZONE
New gear
Here’s what caught our eye this month
T CEWE Photobook
(CEWE’s print-to-order
and lifestyle images.
We were supplied with a sample of used in the
photo album) consists a book printed with the new recycled production of their Photobooks,
of inside pages that have been made paper, along with the same book while also reducing energy and have a
from 100-per-cent recycled paper, printed on CEWE’s Classic stock. water usage, thus helping the smooth, bright-white surface
while the endpaper is FSC-certified Both were pleasingly glossy and company’s reforestation and with as few colour streaks
paper (which ensures that it’s made bright, and we were hard-pressed conservation efforts. as possible.
of responsibly sourced wood fibre). to see any difference, even viewing CEWE says that the new stock
The brilliant white base of this them side-by-side. has been developed after customer FIRST IMPRESSIONS
new recycled paper forms the The recycled paper for the inner feedback, suggesting that they There is a modest price increase
perfect canvas for an eco-friendly pages were made from scraps and wanted a more sustainable for a CEWE Photobook with
photo book. The silky semi-matte trims of paper that would otherwise photobook option that didn’t recycled paper compared with
finish results in natural colours and go to landfill. Reusing and compromise on quality. The quest the Classic stock, but it’s a small
a contrast that works well for most repurposing scraps enables CEWE for the right paper proved to be price to pay for conserving the
popular genres of photography, to reduce the amount of virgin pulp demanding, as the paper need to planet’s precious resources.
88 www.digitalcameraworld.com
GEAR ZONE
hiyun is making a huge range is 2700K to 6500K, with enro’s new lightweight help the Cyanbird stand out from
www.digitalcameraworld.com 89
REVIEW
4
1
2
6
5
Sigma
Specifications
Lens mount: Nikon Z (DX)
16mm f/1.4 DC DN | C
Elements/groups: 16/13
Angle of view: 83.2º
Diaphragm blades: 9
Minimum aperture: f/16
£449/$499 www.sigma-global.com Minimum focusing distance: 0.25m
Maximum magnification ratio: 0.1x
Go wide without going large with Sigma’s 16mm Filter size: 67mm
f/1.4 DC DN | C fast wide prime, engineered for Dimensions: 72x94mm
ount this dinky new Sigma ethos. Compared with the 28mm, this three top-class FLD (Fluorite Low
16mm f/1.4 DC DN | C lens 16mm model gives a similar effective focal Dispersion), two SLD (Special Low
on a Nikon Z-series length and fast aperture rating for crop- Dispersion) and two aspherical elements.
DX-sensor camera, and sensor mirrorless cameras, but it’s less The overall aim is to maximize sharpness
you’ll get an effective than half the weight, at 420g. It’s and contrast, while keeping chromatic
focal length of 24mm in refreshingly small for such a fast, wide- aberrations and distortion to a minimum.
full-frame terms. That angle lens too, measuring 72x94mm with Super Multi-Layer Coating is also applied
puts it in the territory a 67mm filter thread. to minimize ghosting and flare.
of being anything from The lens feels solid and well-built. As we’ve seen with an increasing number
a seriously wide-angle Handling is completely straightforward but of Sigma lenses for Nikon DSLRs, this new
prime to an ideal lens very refined. The only moving part is the Z-mount lens is preloaded with data for
for street photography, focus ring, which is nice and wide, and enabling in-camera corrections for
landscapes and interiors. operates with supreme smoothness. That’s aberrations like peripheral illumination,
mainly because instead of a mechanical chromatic aberration and diffraction,
Build and handling linkage, it’s electronically coupled to the where featured in the host camera.
Whereas Sigma’s 28mm f/1.4 Art lens virtually silent stepping motor that drives
designed for full-frame DSLRs weighs in at the focusing system. Performance
nearly a kilogram, its Contemporary lenses Although small, the lens packs in no fewer Naturally, there’s not a whole lot of point
are built to a more space-saving, lightweight than 16 optical elements. These include in having a fast f/1.4 lens if the image
90 www.digitalcameraworld.com
SIGMA 16MM F/1.4 DC DN | C
Sharpness
Fringing
Sharpness remains very good across the whole image frame, right into the corners.
Features
1 The lens packs in 16 elements, including
N-Photo verdict
specialist FLD, SLD and aspherical glass. Wide-angle lenses with fast aperture ratings
can be notoriously big and heavy, quite at
2 Image quality is superb, dipping only slightly odds with slimline mirrorless camera bodies.
at the extremes of the aperture range. Now available in Nikon Z mount (having been
previously released for other manufacturers’
3 It’s compact and lightweight, weighing in mounts), the Sigma 16mm f/1.4 DC DN | C from
at just 420g and measuring 72x94mm. the company’s Contemporary line-up proves
that smaller really can be better.
4 The lack of an image stabilizer is partly
offset by the fast f/1.4 maximum aperture.
Features
Build &
5 The sole control is the manual focus ring, handling
which handles beautifully smoothly. Performance
Value
6 A Super Multi-Layer Coating applied to the
front element minimizes ghosting and flare.
4.5 Overall
www.digitalcameraworld.com 91
BIG TEST
Slot-in filter
holder systems
Looking to take creative control of your
exposures? Then you’ll need one of these
convenient and versatile accessories
ens filters are particularly useful square filter holder systems can be
L
for getting the correct exposure much easier to use than a collection
in landscape photography, of screw-in circular filters, as you can
as seen in this image. But switch the holder between different-
if you’re looking to invest sized lenses with ease.
in a filter system, with a Some types of filter work much
range of filters for different better in a square system – for
occasions, buying a decent example, graduated neutral-density
filter holder is essential. filters, where the photographer needs
Filter holders make it quick and the flexibility to be able to move the
easy to change between individual gradient up and down in the frame.
filters, and you can stack filters on top Here are our five best-buy filter
of each other. While they may seem holders, some of which are also
more cumbersome at first glance, available in kits with filters.
The contenders
Lee Filters LEE100 Holder £79/$116
Cokin NX Series Filter Holder £100/$100
Marumi M100 100mm Magnetic Filter Holder £143/$150
Kase Wolverine Series K9 Filter Holder kit £146/$139
Formatt Hitech Firecrest 100mm Holder Magnetic Kit £175/$189
Image: © Getty
92
93
BIG TEST
Specifications
Filter size:
100mm type filters
Mount: Via adapter rings
Construction: Injection-
moulded composite
Kit options: Three are
available, including
Landscape and Long
Exposure variants
Lee Filters
the screw-on type of the older Build and handling
holder. The company supplies While it doesn’t feel as tough as
the holder with three pairs of the earlier Lee Filters 100 series
LEE100 Holder
guides that enable it to hold holder, the new LEE100 Holder
one, two or three square or looks more refined and modern.
rectangular filters, in addition to It has a weave pattern that
£79/$116
a circular polarizer at the front. looks like carbon-fibre, but it’s
The new guides just click into actually made from injection-
place, and a tool is provided to moulded composite.
Lee’s 100 Filter System is one of the best- help slide them out of position Once an adapter ring is fitted
known and most widely used filter systems, when you want to use one with on a lens, the holder is mounted
so how does the LEE100 Holder shape up? a different number of slots. We by hooking its two fixed tabs
opted to use the two-slot guide, into the ring’s notch, then
https://leefilters.com as this enabled us to use both pulling back on the catch’s
a Lee Big Stopper ND filter (or release knob as the holder is
similar) and a graduated filter. eased back towards the ring.
ee Filters is one as same-sized filters from other In addition, the polarizer filter The knob can be released as
L of the best-
known names in
brands. However, the old-style
Lee Filters 105mm Landscape
mount is integrated into the new
holder. The downside is that the
soon as the holder is in place.
The release lock is the blue
photographic filters, Circular Polarizer Filter can only new LEE100 Polarizer has a ring at the base of the release
and its 100 Filter System is very be mounted via the 105mm bespoke clip mount instead of knob. If the knob is on the right
popular. In March 2019, the Polarizer Ring (£39/$59). a screw thread, so you can’t use when you’re behind the camera,
company introduced a new Note that if you own a Nikon it without the filter holder. the lock is in the neutral position
filter holder and polarizer; some Z 14-24mm f/2.8 S lens, The LEE100 Holder mounts when the largest tab on the ring
photographers were surprised there is a separate LEE Filter onto a lens via an adapter ring, is facing towards the camera.
because the old holder had Holder (£150/$188) and filters and it’s compatible with all of Rotating the lock ring clockwise
served them well for years. made specifically for this Lee Filters’ existing adapter through 90°, so that the large
The new LEE100 Holder looks ultra-wide-angle zoom. rings. It has a spring release tab is facing upwards when
and feels more modern, and catch, with a lock that can be the camera is in landscape
does away with the need to Key features set to one of three positions: orientation, sets it to half-lock.
use fiddly little screws to attach Lee Filters makes the LEE100 • Neutral: The holder can From that position, rotating
the filter guides. The LEE100 Holder from injection-moulded be rotated and removed – or the lock through 180° anti-
Holder is compatible with all composite, and has given it dislodged if caught by clothing clockwise (it won’t move
existing LEE100 filters, as well clip-in filter guides in place of or something similar, thus clockwise), so the larger tab
protecting the camera and is facing downwards, sets the
lens from a fall. lock to full-lock.
• Half-lock: The holder can be
rotated, but can’t be removed Performance
While it doesn’t feel as tough as the earlier while in this position. It’s easy to attach the LEE100
Lee Filters 100 series holder, the LEE100 • Full-lock: The holder cannot
be rotated, and it’s locked in
Holder onto a lens once the
adapter ring is in place, and
Holder looks more refined and modern position, so it can’t be removed. Lee’s square and rectangular
94 www.digitalcameraworld.com
FILTER HOLDERS
filters slip in smoothly. Lee release knob and press the tip are in the correct position. With you’ve carefully aligned the
Filters recommends that you onto the ridged tab of the that done, the knurled front ring transition. Because there are
remove the holder from any lens polarizer and push forwards. of the polarizer allows it to be no filter frames or geared
before mounting the LEE100 It takes a little pressure rather rotated to give the desired controls, when you’re adjusting
Polarizer, but we found it than extreme force, so if it degree of polarization. the rotation of the polarizer or
snapped on pretty easily and doesn’t move, you haven’t got repositioning a rectangular filter,
without much force, so we the technique quite right. You Verdict take care to avoid putting
usually attached it when should only press one of the The Lee Filters LEE100 Holder fingerprints on the optical
the holder was on a lens. polarizer tabs, not both. is light, so it doesn’t add much surfaces as you reach around
Removing the polarizer, Despite watching a video to your burden in the field. With with your hand.
however, is another matter about using the LEE100 the right-size lens adapter ring,
– there’s a knack to it. We found Holder, it took a while to find it fits quickly onto a lens, and Features
that the easiest way to remove a technique that worked square and rectangular filters Build &
handling
the polarizer from the LEE100 consistently for us. When the slide smoothly into position.
Performance
Holder is to take the holder off holder lock is in the neutral or The lock is a real bonus when
the lens, hook our index finger half-lock position, it can be you’re using a graduated filter, Value
under the catch on the inside,
then reach our thumb over the
rotated around the lens fairly
freely until any graduated filters
because it prevents any
accidental movement after 4 Overall
www.digitalcameraworld.com 95
BIG TEST
Specifications
Filter size:
100mm type filters,
Cokin L (Z-Pro series)
Mount: via adapter rings
Construction: Aluminium
Kit options: Five are
available; all include
the holder and a
circular polarizer
Cokin NX Series
polarizing filter (CPL) plus up to – thankfully, Cokin provides
two square or rectangular filters a couple of spare screws with
in their frames. Before the the frames.
Filter Holder
holder can be mounted on a Once an adapter ring has
lens, an adapter ring must be been mounted on the lens filter
screwed onto the filter thread of thread, the holder can be
£100/$100
the lens. The low profile of the clipped onto the adapter. It’s
holder and the filter frames held by two metal tabs, one of
mean that the system is suitable which is sprung to allow it to be
Cokin’s NX Series Filter Holder is built to last, for use with lenses with focal pulled back while the holder is
with features that should make it a popular lengths as short as 16mm. aligned on the adapter before
choice among discerning photographers the clip is released. It keeps the
Build and handling holder securely on the lens.
https://cokin.com The NX Series Filter Holder is With the holder on the lens,
made from aluminium; while it’s it’s time to mount a filter. If you
light, it feels strong and looks want to use a polarizing filter,
okin offers three In an odd quirk, Cokin’s well-made. Most filter holders mount this first, as it pushes
C series of filter
holders – Creative
graduated 100mm filters are
143.5x100mm, while most of its
have slots for accommodating
the filters, but the NX Filter
neatly into a dedicated circular
area in the holder and sits close
and Evo holders, competitors’ filters are 150 x Holder has two rows of four ball to the lens. A small metal cog in
which are available in a range of 100mm. Consequently, Cokin bearings on either side. These the filter holder engages with
sizes, and the newer NX Series. makes two sizes of rectangular ball bearings fit into slots in the teeth in the CPL filter’s frame
The latter is designed for use filter frame and one square filter frames so that the filters so that it can be rotated easily
with 100mm-type square and frame in the NX Series, so it’s slide smoothly into place. while you look in the viewfinder.
rectangular filters from a range important to ensure that you Before you use a filter, it Now you’re ready to slide a
of brands, including Cokin. have the correct-size frames needs to be mounted in one of framed filter into the holder. We
What sets the NX Holder apart for your filters. Cokin sells the Cokin’s filter frames. This is not found it helpful to touch the end
from most other filter holders frames separately and as part something you want to do out in of the filter frame onto the top
is that each filter needs to be of a kit. the field; it’s also something you of the holder, then slide it onto
mounted in an aluminium frame really only want to do once, so the row of ball bearings closest
before it can be used. Cokin Key features it’s well worth ensuring that you to the lens. This avoids any
makes frames to fit square The NX Series Filter Holder is have a frame for every filter that misalignment or straddling the
100x100mm filters and made of aluminium and is able you’re likely to use. two rows of ball bearings. If you
rectangular graduated filters. to accept a Cokin circular The filter is held in the frame want to insert a second filter,
by a small aluminium tab that rest its frame against the first
must be removed to allow the filter’s frame, then slide it in.
filter to be slipped in. The tab is
secured on the frame by two Performance
Any frustration with mounting the filter tiny screws; they are easy to As soon as you start using the
96 www.digitalcameraworld.com
FILTER HOLDERS
Get framed up
Filters must be mounted
in a frame.
Fine adjustments
Turn this cog to rotate
the polarizer.
Well-manufactured
Made from aluminium
and low in weight, the
holder still feels strong.
because they make the filters Cokin claims that the NX from the back after the holder There are only really two
much easier to handle. The Series Filter Holder is suitable has been removed from the issues that count against the NX
broad tab at the top makes an with lenses as short as 16mm. lens. In a pleasing touch, the Series Holder: the fiddly screws
ideal holding point so you can We found no reason to question filter holder has a light seal that for mounting the filter frames,
easily adjust the filter position or this when we used the system does a good job of excluding and the awkward way in which
remove it, and with less chance on ultra-wide lenses, with just a light when an ND filter is fitted the polarizing filter has to be
of covering it in fingerprints than little vignetting at 14mm or so. for a long exposure. removed. After using the NX
with many other filters. The Cokin NX Series CPL filter system, these points
We used the holder both with works very well with the holder. Verdict seem a small price to pay for
Cokin Nuances Extreme filters The cog mechanism makes While circular filters, especially its performance in the field.
and with filters from Lee Filters; it easy to adjust the rotation those with a magnetic mount,
aside from the difference in precisely, and there’s no danger are quicker and easier to use, a Features
the length of the two brands’ of touching any of the filters in holder is required for the proper Build &
handling
graduated filters, there was no the process. The only hiccup is use of a graduated filter. The
Performance
difference in how they slipped that it’s awkward to remove the Cokin NX Series Filter Holder
into the filter. They pushed in CPL from the frame: you either makes a great choice, offering Value
easily and were held securely,
yet were easy to adjust.
have to hook it out with a
fingernail or poke it through
delightful build quality and
holding the filters securely. 5 Overall
www.digitalcameraworld.com 97
BIG TEST
Specifications
Filter size:
100mm type filters
Mount: Screw-fit
via adapter rings
Construction:
Aluminium
with magnets
Kit option: No
£143/$150
Marumi supplies the M100 These prove tricky to use if the
100mm Magnetic Filter Holder adapter ring is already on the
with 72mm, 77mm and 82mm lens: it’s better to mount the
Marumi’s use of magnets in its M100 holder adapter rings, but the holder adapter ring on the holder
means that it’s very quick and easy to swap can be mounted on lenses with first, then screw the whole
between different filters other filter threads via an thing onto the lens.
optional step-up ring. Each Once an adapter ring has
www.marumi-global.com adapter ring has a wide, smooth been mounted on the holder,
rim that enables it to be the polarizer can be moved into
threaded easily onto a lens, position. Fitting the polarizer
arumi may not be As well as the standard and a slightly recessed knurled reveals a little surprise: unlike
M the best-known
filter manufacturer,
graduated neutral-density
(ND) filters, Marumi offers
section that can rotate
separately from the outer part.
the other filters, it isn’t
magnetic. Fortunately, when
but the firm has more exotic options like Because the filter holder uses it’s screwed into the correct
been in the optics industry for reverse-graduated ND and magnets to hold square and position, the polarizer is held
over 85 years. It produces a centre-graduated ND filters, rectangular filters, there are pretty tightly, but it doesn’t
huge range of filters, with which can be useful when no guide rails or filter slots to always slip straight into the
screw-in, round magnetic you’re photographing sunsets thread the filters into. This right place, and it’s a bit fiddly
and square filter options. or sunrises. means the holder is slimmer in practice.
The company’s square and Marumi sells the M100 than the holders in several Consequently, it’s important
rectangular filters are produced 100mm Magnetic Filter Holder other filter systems. to be very careful with the fit,
in collaboration with H&Y, and filter by itself, but the Circular A cog in the bottom of the especially if the lens is tipped
feature an H&Y frame that Polarizer for M100 is specifically holder knits with the knurled rim forwards and no other filters are
allows them to be mounted in designed for use with it and the of the Marumi adapter rings to in use. If a square or rectangular
the Marumi M100 100mm holder. The polarizer fits within enable the Circular Polarizer to filter is in use, it will keep the
Magnetic Filter Holder. You’ll the raised edge of an adapter be rotated without touching the polarizer in the holder, even if
see H&Y branding on the holder ring, which has a dedicated filter itself. It’s good to see a it isn’t screwed in properly.
alongside the Marumi logo. section for it in the holder. light seal around the aperture The M100 holder is designed
in the Marumi 100mm Magnetic to be used with Marumi’s filters,
Filter Holder, as this prevents which feature a magnetic frame
light leaks from occurring made by H&Y. These are pulled
during long exposures. magnetically onto the holder
The magnets are strong, but it’s still fairly and are held securely. The
98 www.digitalcameraworld.com
FILTER HOLDERS
Magnetic attraction
Rectangular and square
filters attach in a snap.
Circular argument
The polarizer isn’t Adapter rings
magnetic, so it screws 72, 77 and 82mm
into position. sizes are included.
Performance only acts upon the first filter in and well-made. Thanks to its to change between lenses with
The square filter-holding section the holder, although it does keep use of magnets, it’s very easy to different filter thread sizes on
of the Marumi 100mm Magnetic that filter in place well. mount and adjust square and a frequent basis while you’re
Filter Holder is only the depth of When the polarizing filter is in rectangular filters. However, out in the field.
one filter, but you can stack one position, the cog at the bottom we’d feel more confident using It would be quicker if each
or two on top, using the of the holder makes it easy to a polarizing filter by itself if the lens had its own adapter
magnetic attraction to keep rotate it into the correct position Marumi Circular Polarizer for already mounted, but instead
them in place. The magnets to give the desired level of M100 was also magnetic. Its you have to put the different-
are strong enough to hold polarization. If there’s a screw-fit design isn’t as easy sized adapters onto the holder
everything still during use, but graduated filter, this can be to use as you’d like. before it can be mounted.
it’s still fairly easy to push a filter rotated by moving the whole In addition, while the fixing
up or down if you need to adjust holder on the adapter ring, mechanism enables the holder Features
the position of a graduation and the polarizer can be to be held very securely on a Build &
handling
while you shoot. moved again to compensate. lens, the holder needs to be
Performance
There’s a small screw in one attached to the adapter ring
side of the holder that can be Verdict before it is screwed onto the Value
tightened to prevent a filter from
being moved up or down. This
The Marumi M100 100mm
Magnetic Filter Holder is robust
lens. This isn’t especially
problematic unless you want 3.5 Overall
www.digitalcameraworld.com 99
BIG TEST
Specifications
Filter size:
100mm-type filters
Mount: Screw-fit
via adapter rings
Construction: Aviation-
grade aluminium;
plastic filter guides
Kit option: Yes
£146/$139
allows you to use the cog to
rotate the polarizer without
touching it, which avoids the risk
Kase’s 100mm K9 filter holder is well of getting fingerprints on it.
made, easy to use and relatively The holder is designed to
affordable. What’s not to like? take 100mm-type square or
rectangular filters. In the US, the
https://kasefilters.com holder comes with two different
sizes of slot: 2mm and 1.1mm.
The 2mm slots are fitted as
ase has an extensive are the Kase Wolverine Armour standard, as that’s suitable for
K range of filters,
offering everything
100mm Filter Holder system,
which has magnetic frames to
most 100mm-type filters. In
the UK, only the 2mm slots are
from 150x170mm surround 100mm rectangular provided, but 1.1mm slots can
filters to rear-mounted filters filters; and the more widely be supplied by special order
that slot into the back of some known Kase Wolverine K9 should you need them.
lenses. There’s also a choice 100mm Filter holder, which is Kase supplies the holder with
of circular magnetic filters and the one we’re testing here. two geared adapter rings for
Take greater creative control with
square or rectangular filters mounting it on a lens: 77-90mm
a neutral-density filter, which has
that fit into one of the Key features and 82-90mm. This means they enabled a long exposure to smooth
company’s holders. Although Kase offers the can be mounted on lenses the flow of a waterfall here.
Kase offers two different- Wolverine Series K9 Filter with 77mm or and 82mm filter
sized filter holders: a small one Holder by itself, it primarily threads. There are also two
for 75mm-type filters, which sells it as a kit with the 90mm step-up rings in the box, are made from plastic, and
are suited to lenses made for magnetic circular polarizing however, which enable the there are graduation marks on
small mirrorless cameras; and filter, as the two items are holder to be mounted on lenses the front to help guide the
two holders that are designed designed to work together. with 67mm or 72mm threads. positioning of a graduated filter.
for 100mm-type filters. These The polarizer frame has a Should you need it, a third set of
Build and handling filter slots is provided in the kit;
The Kase Wolverine Series this can be added to the holder
K9 Filter Holder is made from using the supplied hex tool and
aviation-grade aluminium, longer screws. The use of
The Wolverine K9 filter holder is made from which is CNC-machined, and aluminium means the holder
100 www.digitalcameraworld.com
FILTER HOLDERS
Secure mounting
Wind this knob to fix
the holder to the lens.
of a lens, the holder is mounted Performance the filter guides, then to slide makes it easy to mount the
by turning the small red knob The Kase Wolverine K9 filter them up or down into position. polarizing filter, and the cog or
until the red tab is withdrawn. holder fits easily onto an Lee Filters rectangular filters, dial lets you adjust the degree of
Then it’s just a case of fitting the adapter ring on a lens and, as which we also tested with the polarization while you look in the
holder over the adapter ring mentioned, winding the red Kase holder, don’t have such a viewfinder without touching any
before turning the knob in the knob fixes it securely. Once the wide curve, and they don’t slip of the filters. The Wolverine
opposite direction to move the holder is in place, the magnetic as smoothly into position as Series K9 holder is compatible
tab back into position. polarizer snaps into position a result – in fact, we found that with any 2mm-thick 100mm-
It would be good to have a when it’s offered up. There’s they are prone to catching on type filters, but works especially
sprung clip that can be pulled room for the polarizer to rotate their way in, and needed a little well with Kase’s own.
back and released, but the around in the holder, as it’s wiggle to send them fully home.
screw-close clip is very secure. the geared adapter ring that Features
It can also be tightened meshes with the cog on Verdict Build &
handling
sufficiently to prevent the holder the holder’s side. The Kase Wolverine Series K9
Performance
from rotating, which is handy Kase’s Wolverine K9 filters Filter Holder is very well-made.
when you’re using a graduated have a fairly wide curved It’s light in weight and not as Value
filter and need to keep it firmly
in place for a long exposure.
chamfer at each corner. This
makes them easy to slip into
bulky as some other holders,
but it’s also robust. The magnet 4.5 Overall
www.digitalcameraworld.com 101
BIG TEST
Specifications
£175/$189
extra pair of guides, plus longer have to ensure that the tab is
screws, to enable up to three wound down tight. It makes for
filters to be mounted. a secure grip, but when we first
This system combines the convenience of To prevent light from hitting used the holder, we didn’t have
magnetism for a polarizer with the flexibility filters from behind while they’re it in quite the right place on
of slots for square filters mounted in the holder, there are a couple of occasions.
two sets of covers that can be Square or rectangular filters
www.formatt-hitech.com slotted onto the top and bottom can be slid into the filter guides
of the holder. One set is ‘closed’ without a polarizer in place on
for use with square filters, while the magnetic adapter ring, but
K-based Formatt mounts onto a lens via a the second set is ‘vented’ to if you want to mount or remove
which means there’s little chance screwing closed the third (blue)
tab on the opposite side of the
ring is on a lens, the circular
polarizer snaps neatly into
of them falling to the ground first two. place. Then, with the holder
102 www.digitalcameraworld.com
FILTER HOLDERS
In-cog-neato
Turn the cog to adjust the
degree of polarization.
Versatile holder
Up to three square Reassuring build
or rectangular filters Metal construction
can be mounted. inspires confidence.
fixed on, the cog on the side be support from the opposite Verdict Recently, we’ve tested a few
of the holder allows you to direction to the movement when Formatt Hitech’s Firecrest filter systems that use frames
adjust the degree of polarization you’re adjusting their position 100mm Holder is well-made, around the filter; while the initial
without having to touch the filter to prevent the camera from and its metal construction gives set-up of the filter seems a faff,
and risk leaving fingerprints. moving. Formatt Hitech confidence that it will last. The the approach does avoid getting
The position of any graduated provides an Allen key with the polarizer mount is assured and fingerprints on the filter. With
filters slotted into the holder Firecrest 100mm Holder to the holder mounts securely. the Firecrest 100mm Holder,
can be adjusted by rotating the enable the supplied extra filter Unlike the Lee Filters LEE100 though, you need to have a lens
holder on the adapter ring, with slots to be added if necessary. Holder, this design doesn’t cloth at the ready to keep the
the polarizer cog being turned Most photographers are likely have a locking or half-lock filters clean.
to compensate if necessary. to be satisfied by the ability to mechanism, but it does have
It means you can adjust the mount a polarizer and up to two a slick means of adjusting the Features
respective positions while square or rectangular filters; for rotation of the polarizer. It’s also Build &
handling
looking through the viewfinder. those who need a third, it only good to have a magnetic lens
Performance
The holder grips the filters takes a few minutes to insert the cap that can be popped into
securely, which means there’s extra slots. Just keep an eye on position between shots, once Value
little chance of them falling to
the ground, but there needs to
the position of the polarizer
adjustment cog.
any square or rectangular filters
have been removed. 4.5 Overall
www.digitalcameraworld.com 103
BIG TEST
Good
Formatt Hitech Firecrest
Better
Kase Wolverine Series
Best
Cokin NX Series
100mm Holder Magnetic Kit K9 Filter Holder Kit Filter Holder
Good value for money, and the holder’s Light in weight but robust; the included Filter frames are essential, but the filters
rugged build quality inspires confidence. polarizer is easy to mount and rotate. are held securely. Delightful build quality.
How the
filter holders
compare Lee Filters Cokin NX Series Marumi M100 100mm Kase Wolverine Series K9 Formatt Hitech Firecrest
LEE100 Holder Filter Holder Magnetic Filter Holder Filter Holder Kit 100mm Holder Magnetic Kit
Contact www.marumi-global.com www.formatt-hitech.com www.cokin.com www.kasefilters.com www.leefilters.com
Filter size 100mm type filters 100mm type filters, 100mm type filters 100mm type filters 100mm type filters
Cokin L (Z-Pro series)
Mount Via adapter rings Via adapter rings Screw-fit via magnetic Screw-fit via Via magnetic
adapter rings adapter rings adapter rings
Construction Injection-moulded Aluminium Aluminium with magnets Aviation-grade aluminium; Metal with plastic
composite plastic filter guides filter guides
Kit option Three are available, including Five are available; all include the No Yes Yes
Landscape and Long holder and a circular polarizer
Exposure variants
Price £79/$116 £100/$100 £143/$150 £146/$139 £175/$189
Features
Build & handling
Performance
Value
Overall
104 www.digitalcameraworld.com
BACK ISSUES
Missed an issue? All our back issues are available digitally and selected
issues in print at www.magazinesdirect.com/nph/singleissues
www.magazinesdirect.com/nph/singleissues
www.digitalcameraworld.com 105
BUYER’S GUIDE
Nikon cameras
The current range of Nikon DSLR, Coolpix & Z-series mirrorless cameras
Processor EXPEED 5
delivers superb performance and image quality, plus Viewfinder Pentaprism, 0.94x, 100%
great value. The D7500 steals most of the best bits
ISO 100-51,200 (50-1,640,000 expanded)
from the now-discontinued pro-grade D500, and
AF 51-point (15 cross-type)
squeezes them into a smaller, lighter body at a
much more affordable price. LCD 3.2-inch, tilt, touch
Current market prices are checked regularly with reputable stores to serve as a guideline. Body-only prices quoted unless stated. Different lens bundles are available. Prices correct at time of going to press.
Processor EXPEED 5
much anything, and is arguably Nikon’s most tempting Viewfinder Pentaprism, 0.75x, 100%
DSLR camera. It’s capable of stunning images with
ISO 64-25,600 (32-102,400 expanded)
immense fine detail. For live view and video capture,
AF 153-point (99 cross-type)
however, the contrast-detection autofocus system is
inferior to that of Z cameras and the D780. LCD 3.2-inch, 2359k, tilt, touch
Max burst (buffer) 7fps (29-200 Raw)
Memory card One XQD/CFexpress, one SDXC UHS-II
106 www.digitalcameraworld.com
NIKON CAMERAS
WITH ITS 45.7MP sensor, the Z 7II matches Nikon’s Processor Dual EXPEED 6
similarly priced D850 for megapixels. But, especially in Viewfinder OLED, 3690k, 0.5-inch, 100%
handheld shooting and for movie capture, the Z 7II can
ISO 64-25,600 (32-102,400 expanded)
yield even better results, thanks to features like IBIS. It
AF 493-point
also boasts 493 focus points to the Z 6II’s 273. If you
want a mirrorless powerhouse for stills, this is it. LCD 3.2-inch, 2100k, tilt, touch
Max burst (buffer) 10fps (46-82 Raw)
Memory card One XQD/CFexpress, one SDXC UHS-II
www.digitalcameraworld.com 107
BUYER’S GUIDE
Nikon-fit lenses
Your at-a-glance guide to the current crop of Nikon-fit lenses
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KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE
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WIDE-ANGLE ZOOMS
Aw
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Nikon AF-S 8-15mm f/3.5-4.5E ED £1449/$1246 F FX 1.9x No Ultrasonic 485g 0.16m 0.34x None 7 149
Nikon AF-P DX 10-20 mm f/4.5-5.6G VR £299/$308 F DX 2x Yes Pulse 230g 0.22m 0.17x 72mm 7 149 ■
Nikon AF-S DX 10-24mm f/3.5-4.5G ED £949/$900 F DX 2.4x No Ultrasonic 460g 0.24m 0.2x 77mm 7 77
Nikon AF-S 14-24mm f/2.8G ED £1619/$1749 F FX 1.7x No Ultrasonic 1000g 0.28m 0.15x None 9 122
Nikon AF-S 16-35mm f/4G ED VR £1149/$1097 F FX 2.5x Yes Ultrasonic 680g 0.28m 0.25x 77mm 9 149
£379/$357 Z DX 2.3x Yes Stepping 205g 0.19m 0.21x 67mm 7 152
WIDE-ANGLE ZOOMS
STANDARD ZOOMS
Nikon AF-S DX 16-80mm f/2.8-4E ED VR £989/$1070 F DX 5x Yes Ultrasonic 480g 0.35m 0.22x 72mm 7 138
Nikon AF-P DX 18-55mm f/3.5–5.6G VR £229/$250 F DX 3.1x Yes Stepping 205g 0.25m 0.38x 55mm 7 125 ■
STANDARD ZOOMS
Nikon AF-S 24-70mm f/2.8E ED VR £1919/$2400 F FX 2.9x Yes Ultrasonic 1070g 0.38m 0.27x 82mm 9 138
Nikon AF-S 24-85mm f/3.5-4.5G ED VR £579/$500 F FX 3.5x Yes Ultrasonic 465g 0.38m 0.22x 72mm 7 88
Nikon AF-S 24-120mm f/4G ED VR £1069/$1097 F FX 5x Yes Ultrasonic 710g 0.45m 0.24x 77mm 9 153
Nikon Z DX 16-50mm f/3.5-6.3 VR £329/$307 Z DX 3.1x Yes Stepping 135g 0.2m 0.2x 46mm 7 153
Nikon Z 24-50mm f/4-6.3 £449/$397 Z FX 2x No Stepping 195g 0.35m 0.17x 52mm 7 153
Nikon Z 24-70mm f/2.8 S £2099/$2300 Z FX 2.9x No Ultrasonic 805g 0.38m 0.22x 82mm 7 138 ■■
Nikon Z 24-70mm f/4 S £799/$997 Z FX 2.9x No Stepping 500g 0.3m 0.3x 72mm 7 153
Nikon Z 24-120mm f/4 S £969/$1097 Z FX 5x No Stepping 630g 0.35m 0.39x 77mm 9 153
Nikon Z 28-75mm f/2.8 £859/$897 Z FX 2.7x No Stepping 565g 0.39m 0.34x 67mm 9 153 ■■■
Sigma 24-70mm f/2.8 DG OS HSM | A £1149/$1299 F FX 2.9x Yes Ultrasonic 1020g 0.37m 0.21x 82mm 9 153
Sigma 24-105mm f/4 DG OS HSM | A £639/$899 F FX 4.4x Yes Ultrasonic 885g 0.45m 0.22x 82mm 9 153 ■
Tamron SP AF 24-70mm f/2.8 Di VC USD G2 £1199/$1200 F FX 2.9x Yes Ultrasonic 905g 0.38m 0.2x 82mm 9 88
TELEPHOTO ZOOMS
Nikon AF-S 70-200mm f/4G ED VR £900/$1400 F FX 2.9x Yes Ultrasonic 850g 1m 0.27x 67mm 9 118
Nikon AF-S 70-200mm f/2.8E FL ED VR £2119/$2350 F FX 2.9x Yes Ultrasonic 1430g 1.1m 0.21x 77mm 9 118 ■
Nikon AF-P DX 70-300mm f/4.5-6.3G ED £295/$347 F DX 4.3x No Stepping 400g 1.1m 0.22x 58mm 7 148
Nikon AF-P DX 70-300mm f/4.5-6.3G ED VR £385/$397 F DX 4.3x Yes Stepping 415g 1.1m 0.22x 58mm 7 148
TELEPHOTO ZOOMS
Nikon AF-P 70-300mm f/4.5-5.6E ED VR £629/$597 F FX 4.3x Yes Ultrasonic 680g 1.2m 0.25x 67mm 9 148 ■
Nikon AF-S 80-400mm f/4.5-5.6G ED VR £2299/$2300 F FX 5x Yes Ultrasonic 1570g 1.5m 0.2x 77mm 9 137
Nikon AF-S 120-300mm f/2.8E FL ED SR VR £10499/$9500 F FX 2.5x Yes Ultrasonic 3250g 2m 0.16x 112mm 9 118
Nikon AF-S 180-400mm f/4E ED VR TC1.4 £10999/$12397 F FX 2.2x Yes Ultrasonic 3500g 2m 0.25x Drop-in 9
Nikon AF-S 200-400mm f/4G ED VR II £7599/$7000 F FX 2x Yes Ultrasonic 3360g 1.95m 0.27x 52mm 9 76
Nikon AF-S 200-500mm f/5.6E ED VR £1399/$1400 F FX 2.5x Yes Ultrasonic 2300g 2.2m 0.22x 95mm 9 137
Nikon Z DX 50-250mm f/4.5-6.3 VR £289/$377 Z DX 5x Yes Stepping 405g 0.5m 0.23x 62mm 7 148 ■
Nikon Z 70-180mm f/2.8 £1299/$1247 Z FX 2.6x No Stepping 795g 0.27m 0.48x 67mm 9
Nikon Z 70-200mm f/2.8 VR S £2399/$2600 Z FX 2.9x Yes Stepping 1140g 0.5m 0.2x 77mm 9 118 ■■
Nikon Z 100-400mm f/4.5-5.6 VR S £2419/$2700 Z FX 4x No Stepping 1355g 0.75m 0.38x 77mm 9 137 ■■
Nikon Z 180-600mm f/5.6-6.3 VR £1799/$1697 Z FX 3.3x Yes Stepping 1955g 1.3m 0.25x 95mm 9
Sigma 50-100mm f/1.8 DC HSM | A £999/$1100 F DX 2x No Ultrasonic 1490g 0.95m 0.15x 82mm 9 72
Sigma 60-600mm f/4.5-6.3 DG OS HSM | S £1699/$2000 F FX 10x Yes Ultrasonic 2700g 0.6m 0.3x 105mm 9 127
Sigma 70-200mm f/2.8 DG OS HSM | S £1099/$1380 F FX 2.9x Yes Ultrasonic 1805g 0.95m 0.21x 82mm 11 121 ■■■
108 www.digitalcameraworld.com
NIKON-FIT LENSES
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KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE
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Sigma 100-400mm f/5-6.3 DG OS HSM | C £699/$699 F FX 4x Yes Ultrasonic 1160g 1.6m 0.26x 67mm 9 148
Sigma 120-300mm f/2.8 DG OS HSM | S £2699/$3600 F FX 2.5x Yes Ultrasonic 3390g 1.5-2.5m 0.12x 105mm 9 118
Sigma 150-600mm f/5-6.3 DG OS HSM | C £849/$900 F FX 4x Yes Ultrasonic 1930g 2.8m 0.2x 95mm 9 137
Sigma 150-600mm f/5-6.3 DG OS HSM | S £1330/$2000 F FX 4x Yes Ultrasonic 2860g 2.6m 0.2x 105mm 9 137
Sigma 200-500mm f/2.8 EX DG £14999/$25999 F FX 2.5x No Ultrasonic 15700g 2-5m 0.13x Drop-in 9
Tamron SP 70-200mm f/2.8 Di VC USD G2 £1449/$1200 F FX 2.9x Yes Ultrasonic 1500g 0.95m 0.16x 77mm 9 118 ■
Tamron 70-300mm f/4.5-6.3 Di III RXD £699/$699 Z FX 4.3x No Stepping 580g 0.8-1.5m 0.11-0.2x 67mm 7 148
Tamron SP AF 70-300mm f/4-5.6 Di VC USD £325/$450 F FX 4.3x Yes Ultrasonic 765g 1.5m 0.25x 62mm 9 109
Tamron 100-400mm f/4.5-6.3 Di VC USD £799/$799 F FX 4x Yes Ultrasonic 1115g 1.5m 0.28x 67mm 9 148
Tamron SP 150-600mm f/5-6.3 Di VC USD G2 £1279/$1400 F FX 4x Yes Ultrasonic 2010g 2.2m 0.26x 95mm 9 137
SUPERZOOMS
Nikon AF-S DX 18-140mm f/3.5-5.6G ED VR £599/$500 F DX 7.8x Yes Ultrasonic 490g 0.45m 0.23x 67mm 7 27
SUPERZOOMS
Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR £629/$700 F DX 16.7x Yes Ultrasonic 550g 0.48m 0.32x 67mm 7 136
Nikon AF-S DX 18-300mm f/3.5-5.6G ED VR £990/$1000 F DX 16.7x Yes Ultrasonic 830g 0.45m 0.31x 77mm 9 74
Nikon Z DX 18-140mm f/3.5-6.3 VR £579/$650 Z DX 7.7x Yes Stepping 315g 0.2m 0.33x 62mm 7 136
Nikon Z 24-200mm f/4-6.3 VR £749/$900 Z FX 8.3x Yes Stepping 570g 0.5m 0.28x 67mm 7 136 ■■
Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM | C £275/$400 F DX 11.1x Yes Ultrasonic 430g 0.39m 0.33x 62mm 7 99
Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM | C £370/$580 F DX 16.7x Yes Ultrasonic 585g 0.39m 0.33x 72mm 7 136 ■
Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro £500/$630 F DX 18.8x Yes Ultrasonic 540g 0.39m 0.34x 67mm 7 115
Tamron AF 18-200mm f/3.5-6.3 Di II VC £235/$250 F DX 11.1x Yes Electric 400g 0.49m 0.25x 62mm 7 136 ■
Tamron AF 18-400mm f/3.5-6.3 Di II VC HLD £699/$650 F DX 22.2x Yes HLD 710g 0.45m 0.34x 72mm 7 136
WIDE-ANGLE PRIMES
Irix 15mm f/2.4 Blackstone £560/$480 F FX None No None 653g 0.28m 0.1x 95mm 9 142
Laowa 20mm f/4 Zero-D Shift £1140/$1100 F FX None No None 747g 0.17m 0.17x 82mm 14 138
Nikon AF DX 10.5mm f/2.8G ED Diagonal Fisheye £640/$775 F DX None No Body-driven 305g 0.14m 0.2x None 7 12 ■
Nikon AF 14mm f/2.8D ED £1599/$1900 F FX None No Body-driven 670g 0.2m 0.15x None 7
Nikon AF 16mm f/2.8D Diagonal Fisheye £765/$1000 F FX None No Body-driven 290g 0.25m 0.1x None 7 12
Nikon PC 19mm f/4E ED (tilt & shift) £3699/$3400 F FX None No None 885g 0.25m 0.18x None 9
Nikon AF-S 20mm f/1.8G ED £799/$720 F FX None No Ultrasonic 355g 0.2m 0.23x 77mm 7 116
Nikon AF-S 24mm f/1.8G ED £749/$680 F FX None No Ultrasonic 355g 0.23m 0.2x 72mm 7 116
Nikon AF-S 24mm f/1.4G ED £1899/$2000 F FX None No Ultrasonic 620g 0.25m 0.18x 77mm 9 59
Nikon PC-E 24mm f/3.5D ED (tilt & shift) £2099/$2200 F FX None No None 730g 0.21m 0.37x 77mm 9 25 ■
Nikon AF-S 28mm f/1.8G £649/$700 F FX None No Ultrasonic 330g 0.25m 0.22x 67mm 7 87
Nikon AF-S 28mm f/1.4E ED £1999/$1997 F FX None No Ultrasonic 645g 0.28m 0.17x 77mm 9
Nikon AF-S 35mm f/1.8G ED £529/$530 F FX None No Ultrasonic 305g 0.25m 0.24x 58mm 7 125
Nikon AF-S DX 35mm f/1.8G £159/$177 F DX None No Ultrasonic 200g 0.3m 0.24x 52mm 7 111 ■
Nikon AF-S 35mm f/1.4G £1799/$1700 F FX None No Ultrasonic 600g 0.3m 0.2x 67mm 9 25
Nikon Z 20mm f/1.8 S £980/$1047 Z FX None No Stepping 505g 0.2m 0.23x 77mm 9 149
Nikon Z DX 24mm f/1.7 £289/$279 Z DX None No Stepping 135g 0.18m 0.19x 42mm 7 153
Nikon Z 24mm f/1.8 S £959/$1000 Z FX None No Stepping 450g 0.25m 0.18x 72mm 9 116 ■
Nikon Z 26mm f/2.8 £479/$499 Z FX None No Stepping 125g 0.2m 0.19x 52mm 7 150
Nikon Z 28mm f/2.8 £229/$300 Z FX None No Stepping 160g 0.19m 0.2x 52mm 7 134 ■
WIDE-ANGLE PRIMES
NIkon Z 35mm f/1.8 S £799/$850 Z FX None No Stepping 370g 0.25m 0.19x 62mm 9 125 ■■
Samyang 8mm f/3.5 IF MC CSII Dh Circular Fisheye £299/$280 F FX None No None 435g 0.3m N/S None 6 12
Samyang 10mm f/2.8 ED AS NCS CS £429/$400 F DX None No None 600g 0.25m N/S None 6 113
Samyang 12mm f/2.8 ED AS NCS Diagonal Fisheye £465/$500 F FX None No None 530g 0.2m N/S None 7
Samyang MF 14mm f/2.8 Z £339/$349 F FX None No None 810g 0.28m 0.08x None 6 142
Samyang 14mm f/2.8 AF £499/$800 F FX None No None 474g 0.2m 0.15x None 7 105
Samyang 14mm f/2.4 XP £900/$730 F FX None No None 791g 0.28m 0.08x None 9 142 ■■
Samyang 14mm f/2.8 IF ED UMC £350/$350 F FX None No None 560g 0.28m N/S None 6 70
Samyang 20mm f/1.8 ED AS UMC £499/$580 F FX None No None 488g 0.2m N/S None 7 116
Samyang 24mm f/1.4 ED AS UMC £559/$550 F FX None No None 680g 0.25m N/S 77mm 8 104
Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift) £599/$800 F FX None No None 680g 0.2m N/S 82mm 8 25
Samyang 35mm f/1.4 AS UMC AE £499/$500 F FX None No None 660g 0.3m 0.2x 77mm 8 125
Sigma 8mm f/3.5 EX DG Circular Fisheye £699/$900 F FX None No Electric 400g 0.14m 0.22x None 6 12
Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye £599/$520 F DX None No Ultrasonic 475g 0.14m 0.11x None 7 12
Sigma 14mm f/1.8 DG HSM | A £1399/$1599 F FX None No Ultrasonic 1170g 0.27m 0.1x None 9 149
Sigma 15mm f/2.8 EX DG Diagonal Fisheye £600/$610 F FX None No Electric 370g 0.15m 0.26x None 7 12
Sigma 16mm f/1.4 DC CN | C £449/$499 Z DX None No Stepping 405g 0.25m 0.1x 67mm 9 154
Sigma 20mm f/1.4 DG HSM | A £779/$900 F FX None No Ultrasonic 950g 0.28m 0.14x 77mm 9 116
Sigma 24mm f/1.4 DG HSM | A £629/$850 F FX None No Ultrasonic 665g 0.25m 0.19x 77mm 9 116 ■■■
Sigma 28mm f/1.4 DG HSM | A £629/$799 F FX None No Ultrasonic 865g 0.28m 0.18x 77mm 9
Sigma 30mm f/1.4 DC HSM | A £449/$500 F DX None No Ultrasonic 435g 0.25m 0.15x 62mm 9 111
Sigma 30mm F1.4 DC DN | C £349/$399 Z DX None No Stepping 265g 0.3m 0.14x 52mm 9 152
Sigma 35mm f/1.4 DG HSM | A £699/$800 F FX None No Ultrasonic 665g 0.3m 0.19x 67mm 9 125
Sigma 40mm f/1.4 DG HSM | A £629/$799 F FX None No Ultrasonic 1200g 0.4m 0.15x 82mm 9
Tamron SP 35mm f/1.4 Di USD £829/$900 F FX None No Ultrasonic 805g 0.3m 0.3x 72mm 9 111 ■
Tamron SP 35mm f/1.8 Di VC USD £649/$600 F FX None Yes Ultrasonic 480g 0.2m 0.4x 67mm 9 125
Viltrox AF 13mm f/1.4 Z £458/$459 Z DX None No Stepping 420g 0.22m 0.1x 67mm 9 142 ■■
Viltrox AF 23mm f/1.4 Z £280/$320 Z DX None No Stepping 300g 0.3m 0.1x 52mm 9 144 ■
Viltrox AF 33mm f/1.4 Z £239/$279 Z DX None No Stepping 270g 0.4m 0.1x 52mm 9 152 ■
Zeiss Milvus 15mm f/2.8 ZF.2 £2419/$2700 F FX None No None 880g 0.25m 0.11x 95mm 9
www.digitalcameraworld.com 109
BUYER’S GUIDE
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KEY: ■ BEST ON TEST ■ GOLD AWARD ■ GREAT VALUE
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Zeiss Milvus 18mm f/2.8 ZF.2 £1999/$2300 F FX None No None 675g 0.25m 0.1x 77mm 9 116
Zeiss Milvus 21mm f/2.8 ZF.2 £1449/$1850 F FX None No None 735g 0.22m 0.2x 82mm 9
Zeiss Otus 28mm f/1.4 ZF.2 £3759/$5000 F FX None No None 1350g 0.3m 0.2x 95mm 9
Zeiss Milvus 35mm f/2 ZF.2 £1699/$1200 F FX None No None 650g 0.3m 0.19x 58mm 9 87
7Artisans 50mm f/1.05 £450/$349 Z FX None No None 606g 0.57m 0.13x 58mm 13 152
Nikon PC-E Micro 45mm f/2.8D ED (tilt & shift) £1899/$2050 F FX None No None 740g 0.25m 0.5x 77mm 9 25
Nikon AF-S 50mm f/1.8G £229/$220 F FX None No Ultrasonic 185g 0.45m 0.15x 58mm 7 130
STANDARD PRIMES
Nikon AF-S 50mm f/1.8 £159/$280 F FX None No Ultrasonic 190g 0.45m 0.15x 58mm 7
Nikon AF-S 50mm f/1.4G £459/$450 F FX None No Ultrasonic 280g 0.45m 0.15x 58mm 9 130
Nikon AF-S 58mm f/1.4G £1699/$1600 F FX None No Ultrasonic 385g 0.58m 0.13x 72mm 9 40
Nikon Z 40mm f/2 £229/$280 Z FX None No Stepping 170g 0.29m 0.17x 52mm 9 140 ■
Nikon Z 50mm f/1.8 S £499/$700 Z FX None No Ultrasonic 415g 0.4m 0.15x 62mm 9 140 ■■
Nikon Z 50mm f/1.2 S £2099/$2099 Z FX None No Stepping 1090g 0.45m 0.15x 82mm 9 122
Nikon Z 58mm f/0.95 S Noct £8299/$7999 Z FX None No Stepping 2000g 0.5m 0.19x 82mm 11 108
Samyang 50mm f/1.4 AS UMC £350/$370 F FX None No None 575g 0.45m N/S 77mm 8
Sigma 50mm f/1.4 DG HSM | A £649/$950 F FX None No Ultrasonic 815g 0.4m 0.18x 77mm 9 130
Sigma 56mm f/1.4 DC DN | C £449/$499 Z DX None No Stepping 280g 0.5m 0.14x 55mm 9 152
Tamron SP 45mm f/1.8 Di VC USD £499/$550 F FX None Yes Ultrasonic 540g 0.29m 0.29x 67mm 9 130
Tokina Opera 50mm f/1.4 FF £879/$999 F FX None No Electric 950g 0.4m 0.18x 72mm 9
Viltrox AF 56mm f/1.4Z £263/$299 Z DX None No Stepping 320g 0.6m 0.1x 52mm 9 152 ■■
Yongnuo YN50mm f/1.8Z DF DSM £288/$359 Z FX None Yes Stepping 417g 0.45m 0.15x 58mm 9 152 ■
Zeiss Milvus 50mm f/1.4 ZF.2 £1160/$1200 F FX None No None 875g 0.45m 0.15x 67mm 9 130
Zeiss Otus 55mm f/1.4 £2900/$4000 F FX None No None 970g 0.5m 0.15x 77mm 9
TELEPHOTO PRIMES
Nikon AF-S 85mm f/1.8G £489/$430 F FX None No Ultrasonic 350g 0.8m 0.12x 67mm 7 140
Nikon AF-S 85mm f/1.4G £1699/$1600 F FX None No Ultrasonic 595g 0.85m 0.12x 77mm 9 124
Nikon PC-E Micro 85mm f/2.8D (tilt & shift) £1799/$1980 F FX None No None 635g 0.39m 0.5x 77mm 9 25
Nikon AF-S 105mm f/1.4E ED £2099/$2200 F FX None No Ultrasonic 985g 1m 0.13x 82mm 9 124
Nikon AF-S 200mm f/2G ED VR II £6299/$5700 F FX None Yes Ultrasonic 2930g 1.9m 0.12x 52mm 9 29
Nikon AF-S 300mm f/4E PF ED VR £1819/$2000 F FX None Yes Ultrasonic 755g 1.4m 0.24x 77mm 9 63
Nikon AF-S 300mm f/2.8G ED VR II £6299/$5500 F FX None Yes Ultrasonic 2900g 2.3m 0.16x 52mm 9 14
Nikon AF-S 400mm f/2.8E FL ED VR £12999/$11200 F FX None Yes Ultrasonic 3800g 2.6m 0.14x 40.5mm 9 143 ■
Nikon AF-S 500mm f/4E FL ED VR £10999/$10300 F FX None Yes Ultrasonic 3090g 3.6m 0.15x 40.5mm 9 143 ■
Nikon AF-S 500mm f/5.6E PF ED VR £3229/$3600 F FX None Yes Ultrasonic 1460g 3m 0.18x 95mm 9 143
Nikon AF-S 600mm f/4E FL ED VR £12999/$12300 F FX None Yes Ultrasonic 3810g 4.4m 0.14x 40.5mm 9 143 ■
Nikon AF-S 800mm f/5.6E FL ED VR £18999/$16300 F FX None Yes Ultrasonic 4590g 5.9m 0.15x 52mm 9
Nikon Z 85mm f/1.8 S £699/$800 Z FX None No Ultrasonic 470g 0.8m 0.12x 67mm 9 124 ■■
TELEPHOTO PRIMES
Nikon Z 85mm f/1.2 S £2999/$2797 Z FX None No Ultrasonic 1160g 0.85m 0.11x 82mm 11 151 ■
Nikon Z 400mm f/2.8 TC VR S £13499/$14000 Z FX None Yes SSVCM 2950g 2.5m 0.17x Drop-in 9 143 ■
Nikon Z 400mm f/4.5 VR S £2815/$3250 Z FX None Yes Stepping 1245g 2.5m 0.16x 95mm 9 143 ■■■
Nikon Z 600mm f/4 TC VR S £15499/$15497 Z FX None Yes Stepping 3260g 4.3m 0.14-2x Drop-in 9 146
Nikon Z 800mm f/6.3 VR S £6299/$6500 Z FX None Yes Stepping 2385g 5m 0.16x Drop-in 9 141 ■■
Samyang 85mm f/1.4 IF UMC £320/$300 F FX None No None 539g 1m 0.11x 72mm 8 40
Samyang AF 85mm f/1.4 F £550/$530 F FX None No None 480g 0.9m 0.11x 77mm 9 140
Samyang MF 85mm f/1.4 Z £319/$399 Z FX None No None 730g 1.1m 0.09x 72mm 8 152
Samyang 135mm f/2 ED UMC £449/$500 F FX None No None 830g 0.8m N/S 77mm 9
Sigma 85mm f/1.4 DG HSM | A £929/$949 F FX None No Ultrasonic 815g 0.85m 0.12x 86mm 9 124 ■■
Sigma 105mm f/1.4 DG HSM | A £1249/$1600 F FX None No Ultrasonic 1645g 1m 0.12x 105mm 9 124
Sigma 135mm f/1.8 DG HSM | A £1099/$1399 F FX None No Ultrasonic 1130g 0.87m 0.2x 82mm 9
Sigma APO 300mm f/2.8 EX DG HSM £2599/$3400 F FX None No Ultrasonic 2400g 2.5m 0.13x 46mm 9
Sigma 500mm f/4 DG OS HSM | S £4699/$6000 F FX None Yes Ultrasonic 3310g 3.5m 0.15x 46mm 9 143 ■■
Sigma APO 800mm f/5.6 EX DG HSM £4999/$6600 F FX None No Ultrasonic 4900g 7m 0.11x 46mm 9
Tokina SZX Super Tele 400mm f/8 Reflex MF £209/$229 F, Z FX None No None 355g 1.15m 0.4x 67mm None 148
Tokina SZ Super Tele 500mm f/8 Reflex MF £439/$399 F, Z FX None No None 310g 1.7m 0.34x 72mm None
Yongnuo YN85mm f/1.8Z DF DSM £320/$379 Z FX None Yes Stepping 405g 0.8m 0.13x 58mm 7 152 ■
Zeiss Planar T* 85mm f/1.4 ZF.2 £980/$1285 F FX None No None 570g 1m 0.1x 72mm 9
Zeiss Milvus 85mm f/1.4 ZF.2 £1400/$1800 F FX None No None 1210g 0.8m 0.13x 77mm 9
Zeiss Otus 85mm f/1.4 ZF.2 £3180/$4490 F FX None No None 1140g 0.8m 0.13x 86mm 9
Zeiss Milvus 135mm f/2 ZF.2 £1760/$2200 FX None No None 1060g 0.8m 0.28x 77mm 9
MACRO
Irix 150mm f/2.8 Macro 1:1 Dragonfly £449/$495 F FX None No None 831g 0.35m 1x 77mm 11 150
Laowa 90mm f/2.8 2:1 Ultra Macro APO £569/$499 Z FX None No None 619g 0.21m 2x 67mm 13 150
Laowa 100mm f/2.8 2:1 Ultra Macro APO £519/$499 F, Z FX None No None 650g 0.25m 2x 67mm 7, 13 150
MACRO
Nikon AF-S DX 40mm f/2.8G Micro £299/$280 F DX None No Ultrasonic 235g 0.16m 1x 52mm 7 110
Nikon AF-S DX 85mm f/3.5G ED VR Micro £459/$557 F DX None Yes Ultrasonic 355g 0.29m 1x 52mm 9 150
Nikon Z MC 50mm f/2.8 £579/$647 Z FX None No Stepping 260g 0.16m 1x 46mm 9 150
Nikon Z MC 105mm f/2.8 VR S £939/$1047 Z FX None Yes Stepping 630g 0.29m 1x 62mm 9 150 ■■■
Samyang 100mm f/2.8 ED UMC Macro £429/$490 F FX None No None 715g 0.31m 1x 67mm 9 110
Sigma 105mm f/2.8 EX DG OS HSM Macro £339/$569 F FX None Yes Ultrasonic 725g 0.31m 1x 62mm 9 150 ■
Tokina atx-i 100mm f/2.8 FF Macro Plus £424/$429 F FX None No Electric 515g 0.3m 1x 55mm 9 150
Zeiss Milvus Makro Planar 100mm f/2 ZF.2 £1300/$1840 F FX None No None 807g 0.44m 0.5x 67mm 9
110 www.digitalcameraworld.com
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