Camera

WHAT DIGITAL Our top

SEPTEMBER
2016

five camera
rucksacks
p57
Round
up

W H A T T O B U Y & H O W T O U S E I T

24-600mm
zoom • f/2.4
max aperture
• Pro-spec
video
Technique

Master
painting
with light p29

How to use
Canon’s Camera
Connect app
p25

Full
test
Technique

Sony RX10 III Sigma

50-100mm
Is this the perfect bridge camera? World’s fastest
telezoom p74

Top accessories
to improve your
pictures
Rediscover
your creative
Full
test
mojo
p50

Panasonic
Lumix GX80
Compact • In-body IS • 4K video

The UK’s most comprehensive listings

Wondering about the latest gear? Find out how we rate 536 cameras and lenses
 SEPTEMB ER 2016
WELCOME

p50 Get over creative block Tests you

can trust
To ensure the camera you buy doesn’t
disappoint, every camera that passes
through the hands of What Digital
Camera’s technical team is put through
a series of tests. From high-spec DSLRs
through to entry-level compacts, they are
p64 Sony RX10 III subjected to a series of rigorous tests in
our lab, with results analysed by the very
best industry software. This makes our
reviews the most authoritative in the UK.
We test for colour – different sensors and
camera image processors can interpret
colour differently. We then get down to
the nitty-gritty of resolution, with our lab
tests showing us exactly how much detail
each camera can resolve. Then we look
at Image Noise. Finally, we get out and
shoot with every camera and lens in real-
world conditions just as you will, to find
out how they perform.
p29 Master your Nikon ISO 100

In this issue COLOUR

4 Incoming 46 Help Subjecting each camera to our
colour chart test reveals any
All about the Fuji X-T2 – plus the latest photo products All the photo-related advice you’ll ever need variation and differences in colour
between Raw and JPEG file formats.

10 Things to try… 50 Getting over a creative block

THE
Photographic inspiration for the coming month Lost your mojo? How to get back behind the lens ON
COVER
ISO 100

ON THE
17 Essential guide: Landscapes 57 Top 5: Camera rucksacks COVER
Everything you need to know about how to get started Need to carry a lot of kit? Then check out these backpacks

22 Portfolio 62 Accessories
Colin Bell’s atmospheric landscapes from northern England The latest kit for you and your camera 22

25 Master your Canon ON THE COVER 64 Sony RX10 III ON THE COVER RESOLUTION
Our resolution chart reveals exactly
Get to grips with Canon’s Camera Connect app Has Sony redefined the bridge zoom? Find out here how much detail a sensor can
resolve and it’s measured in lines per
picture height, abbreviated to l/ph.
28 Subscribe! 68 Panasonic GX80 ON THE COVER
Make sure you receive your copy of WDC every month A mid-range Compact System Camera for enthusiasts ISO 100

29 Master your Nikon ON THE COVER 72 Tamron SP 85mm f/1.8

Experiment with painting with light – you’ll be hooked! The outstanding, image-stabilised short telephoto prime

33 Master your Fuji 74 Sigma 50-100mm f/1.8

We discuss three essential X-series prime lenses We test the world’s fastest telezoom ON THE COVER

36 Expert guide: Sony RX10 76 Buyer’s guide & listings NOISE

The compact that packs in a load of high-end technology Your guide to what kit is best for you ON THE COVER The diorama is used to ascertain
how image noise is handled through
HE
ON THE an ISO range. Some cameras
40 Essential accessories COVER 98 7 things produce cleaner results than others.
How filters, tripods and flash can help your pictures 7 habits of highly effective travel photographers

WWW.WHATDIGITALCAMERA.COM 3
 I NCO MIN G

TOGGLE
DIAL LOCKS
Press once to lock mechanical shutter offers
dials, press again First 30sec-1/8,000 sec, while a silent
to unlock them look electronic shutter option extends
the top speed up to 1/32,000sec.

Design and
handling
One obvious external change is
a clever new design to the tilting
screen mechanism. Where the
X-T1’s LCD could only tilt up and
down, on the X-T2 Fujifilm has
added another hinge at its right
edge, released by a sliding catch
at the other side. This allows the
screen to tilt 60° upwards as a
waist-level finder when the
camera is used for portrait
format shooting. It’s a simple
solution to the biggest problem
with tilt-only screens, while
being quicker to use than fully
articulated designs. It’s probably
CUSTOMISATION DUAL SD the neatest design we’ve seen,
The functions of Files can be
many buttons can and adds very little to the depth
duplicated to both
be configured to suit cards, or recorded to of the camera.
the user, as can the the second when the In terms of controls, the X-T2
onscreen Q menu first is full. Both slots gains the joystick AF area
support UHS-II selector from the X-Pro2, which
is a huge improvement over the
X-T1’s d-pad. The X-T1’s Focus

Fujifilm X-T2
Assist button has disappeared,
with its duties performed by
clicking the rear electronic dial
inwards. There’s a choice of
three manual focus aids:
ANDY W E STL A K E
magnified view, focus peaking

HIGHLIGHTS
F
ujifilm’s X-T1 was one of phase detection region covering and Fujifilm’s unique ‘digital split
the most widely admired half of the frame width and three image’ display. As on the X-Pro2
cameras of the past few quarters of its height, and SENSOR 24MP X-Trans CMOS III this is now full colour, and the
years. Now Fujifilm has unveiled contrast detection employed SCREEN 3in dual-hinged LCD larger phase detection area
its successor, the 24MP X-T2. In outside this area. Users can AUTOFOCUS 325-point or 91-point hybrid AF means that it covers a
VIEWFINDER 0.77x 2.36-million-dot EVF
essence it combines Fujifilm’s select between a 91-point AF MEMORY Dual SD slots significantly larger area of the
latest sensor and AF system array and a more densely BURST RATE Up to 11fps continuous shooting frame compared to the cameras
from the X-Pro2 with an updated packed 325-point layout; VIDEO 4K with the previous-generation
PRICE £1,399 body only
version of the X-T1’s body. But face- and eye-detection is also 16MP sensor. As a result it’s
look closer and all sorts of available. For tracking focus on
updates and refinements begin moving subjects, the X-T2 has
to reveal themselves. five Canon-like use-case modes
to deal with different scenarios,
Features and a sixth customisable position
The X-T2 gets the same 24MP that allows you to specify how
X-Trans CMOS III sensor and erratically the subject is
X-Processor Pro combination as expected to be moving, how
the X-Pro2, and so should gain quickly the camera should react
the same excellent image quality to an object passing in front of it,
and impressive autofocus. The and how readily the AF system
sensitivity range is ISO 200- should pass the subject from one
12,800, expandable to ISO 100, focus point to another.
25,600 and 51,200. Unlike on the Continuous shooting is available
X-T1, engaging these doesn’t at up to 9fps, or 11fps when the
turn off Raw recording. Raw files vertical booster grip is attached,
Like its predecessor
can also be recorded in a lossless with a buffer of at least 27 Raw
the X-T2 has top-plate
format to save space. or 73 JPEG frames. Alternatively dials for exposure
Auofocus uses a hybrid AF it can shoot at 5fps with live compensation, shutter
speed and ISO sensitivity
system, with a central, square view between frames. The

4 WWW.WHATDIGITALCAMERA.COM
 WHAT’S N EW THIS MON TH

much more usable than before.

The top plate still plays host
to analogue exposure
Optional
compensation, shutter speed
and ISO dials, along with
booster grip
switches for drive and metering In order to get the most out of the X-T2,
modes. But the dials are deeper you’ll need to buy the optional VPB-XT2
and easier to grasp, and vertical power booster grip. As we’d expect
thankfully the lock buttons on this has a duplicate set of controls for
the ISO and shutter speed dials portrait-format shooting, but it also brings
are now toggles – press once to other advantages. It holds two additional
lock, press again to release. The batteries for increased stamina (which can
exposure compensation dial be recharged in the grip itself in under two
gains a ‘C’ position, in which the hours), speeds up continuous shooting,
correction level can be increased extends video recording time, and adds a
to +/-5 EV by spinning the headphone socket for monitoring audio.
electronic dial on the camera’s When the camera is set to Boost mode it also
front. Meanwhile a ‘250x’ on the doubles the viewfinder’s brightness and
shutter speed dial indicates that increases its refresh rate from 60fps to
the flash sync speed has been
100fps. There’s even a physical switch to turn
boosted to 1/250sec (from
on the boost mode.
1/180sec on the X-T1).
The ISO dial is much easier to
use than the X-T1’s, but you still which support the high speed matches the DOF scales on stopped using the shutter
have to move your left hand UHS-II standard. It’s possible to Fujifilm’s lenses (in effect using button. There’s a standard
from supporting the lens, which backup files to both cards a larger circle of confusion). 3.5mm stereo microphone input,
can be awkward with big zooms simultaneously, but alternatively The viewfinder has the same and a microphone level display.
like the 100-400mm. you can set the camera to switch basic specification as the X-T1’s, A peaking display aids manual
Unfortunately, there’s still no to the second card when the first being a 2.36-million-dot OLED focus pulling during recording,
way to change the ISO setting is full, or record Raw files to one unit with 0.77x magnification and footage can be recorded
using an electronic dial with the and JPEGs to the other. You can and 100% coverage. But Fujifilm on an external recorder over
camera up to your eye. Also, also specify which one you’d like says that it has a stop better HDMI. Film simulation modes
while the camera has three Auto to use for recording movies. image quality in low light, gives can be used during recording,
ISO programs that allow you to There are lots of other little an improved view while with colour, sharpness, and
define the minimum and improvements too. The shutter autofocusing, and shows lower highlight and shadow tone
maximum ISO settings and button is threaded to accept a moiré and false colour when the adjustments available; there’s
slowest shutter speed it will use, mechanical cable release, the camera is set to boost mode. also a flat F-log profile for
there’s no way of linking that viewfinder has a larger eyecup One thing that hasn’t changed grading in post-production.
minimum shutter speed to the to aid visibility, and the tripod is the build quality – the compact
focal length of the lens, which socket has been repositioned so magnesium alloy body feels as First impressions
can be handy when shooting it’s aligned with the lens axis. It’s solid as a brick, and has 63 seals While the X-T1 was hugely
with zooms (and is a common even possible to decide whether to keep out dust and moisture. admired, it wasn’t without its
feature on other brands). you want the depth-of-field Finally, the X-T2 sits very firmly faults. With the X-T2 Fujifilm
Open the SD card cover on scale on the viewfinder to reflect in your hand. appears to have listened
the side of the camera and you’ll pixel-level sharpness or display carefully to its users and fixed
now find two slots, both of on a ‘film format basis’ that 4K video almost all of their major gripes.
As has started to become de As a result it looks like it should
The X-T2’s rigueur, the X-T2 can record offer even better handling
large electronic
video in 4K format (3840 x without losing any of the
viewfinder is
superb 2160px at 30, 25 or 24fps) with a fundamental design philosophy
1.17x crop of the horizontal field that made the X-T1 such a
of view; Full HD recording at up success. Meanwhile the updated
to 60fps is also on offer, using sensor should bring the
the full width of the sensor. The improved image quality and
maximum recording time is autofocus that we saw on the
10min for 4K and 15min for HD, X-Pro2. Indeed when we tested
but this is extendable to 29min Fujifilm’s excellent XF 100-
59sec by attaching the vertical 400mm zoom recently, we
grip, and the bitrate is 100Mbps. remarked on how much we’d like
The X-T1’s movie button has to see a body with the X-T1’s
disappeared; video is instead handling but the X-Pro2’s
selected using the drive mode autofocus; and the X-T2 looks
dial, the main advantage being like it should be that camera. It’s
that this allows the camera to one of the most exciting new
display a correct 16:9 preview. models of the year; look out for
Recording is started and our upcoming full review.

WWW.WHATDIGITALCAMERA.COM 5
 I NCO MIN G

© LEVON BISS
1 2

3 4

1 Fujifilm lens roadmap 3 Rogue battery pouch 5 Fujifilm EF-X500

www.fujifilm.co.uk £13 www.xpdistribution.com £449 www.fujifilm.co.uk
Fujifilm coincided the recent launch of the This new battery pouch contains reversible First announced in January, we’re closer to
X-T2 with the release of a new lens roadmap. green and red insert cards, making it quick getting our hands on Fujifilm’s latest high-
The roadmap indicates that there are three and easy to identify your charged batteries speed sync flash. It can be used with up to
new lenses in development and these include from dead ones. It holds twelve AAA three firing groups, it’s designed to support
the XF23mm f/2 R WR, XF50mm f/2 R WR batteries, eight AA batteries or two mirrorless the 1/8000sec shutter speed of the X-Pro2
and the XF80mm f/2.8 R LM OIS WR. or point-and-shoot-size camera batteries. and X-T2, and features a guide number of 50.

2 Microsculptures 4 Pentax K-70 6 Instax Share SP-2

www.microsculpture.net £559 www.ricoh-imaging.co.uk £164 www.fujifilm.co.uk
The extraordinary macro insect images of The K-70 arrives as the update to the K-50. Like the sound of being able to create credit-
photographer Levon Biss are on display It features a new Hybrid AF system, 24.2MP card-sized prints of your photos on your
at Oxford’s University Museum of Natural APS-C size sensor, in-body shake reduction smartphone or Fujifilm camera in less than 10
History. The show runs until 30 October. (SR) and a top sensitivity of ISO 102,400. seconds? The Instax Share SP-2 does just that!

6 WWW.WHATDIGITALCAMERA.COM
 T HE PICK OF THE B EST N EW KIT RELEA SED THIS MONTH

6 7 8

© P O OYA N S H A D P O O R
9

10 11 12

7 Lowepro Hatchback 9 Environmental images 11 Camera Raw 9.6 update

FROM £83 www.lowepro.co.uk epoty.artopps.co.uk www.adobe.com
Lowepro has announced its next generation The winning images from this year’s Camera Raw 9.6 is now available for Creative
Photo Hatchback II series. Available in two Environmental Photographer of the Year have Cloud users. It introduces a new guided
sizes and two colours (black and blue), the been revealed. The works will be displayed at upright feature that helps straighten images,
larger 250AW II model accommodates a the Royal Geographical Society in London. fix horizons, and reduce the keystone effect.
DSLR with 18-105mm lens attached, an extra
lens and 10in tablet, with space for accessories. 10 Sigma sd Quattro 12 X-Pro2 Firmware update
Both bags offer plenty of space above the £799 www.sigma-imaging-uk.com www.fujifilm.co.uk
camera compartment for other personal gear. Sigma has announced that the sd Quattro, Fujifilm will release a firmware update for the
a replacement and update to the four-year- X-Pro2 later in the year (expected October).
8 Meike MK-A3000 grip old Sigma SD1 Merrill, will be available in early It’ll introduce the new autofocus algorithm
£52 www.amazon.com July priced at £799 (body only). Add the from the X-T2, but excludes the new AF-C
This Sony A6300 battery grip holds a pair of Sigma 30mm f/1.4 DC HSM to your basket custom settings. It’s expected to improve the
lithium batteries and features a remote trigger. and it takes the price up to £999. camera’s autofocus speed and accuracy.

WWW.WHATDIGITALCAMERA.COM 7
 I NCO MIN G / T E C H THE LATEST TECHN OLOGY FROM

Moto G4 Plus
AMAZON.CO.UK £199

T
he best budget phone is for a phone of this price. The
back, and much better Spapdragon 617 CPU isn’t the
than before. Instead of newest silicone on the market,
offering up just one awesome but it churns through daily
deal, this year Motorola and its tasks and the majority of durable and sturdy, with a
parent company Lenovo are games without breaking sweat. textured back that pops off
giving us two: the Moto G4 and
the G4 Plus. Here we’re looking
There’s 2GB RAM, which can
be upped to 4GB, and
and a metal rim. It feels good
to hold, though you’ll probably Bose Quiet
at the Plus model, at £199.
The 5.5in display is FHD
16/32/64GB of internal storage.
MicroSD is present too.
need two hands, and there’s
plenty of grip. A fingerprint
Comfort 35
1080p and looks great, with On the back is a 16MP scanner sits below the display, BOSE.CO.UK £289.95
sharp colours and plenty of sensor, which takes great something you’d rather find Bose makes great headphones,
vibrancy. It’s saturated, but not photos in varying conditions. on a budget phone. It’s fast and this latest pair are some of
overly so. Some might wish it It’s got an f/2.0 aperture, fast and accurate, though doesn’t its best yet. What sets them
was smaller, but being more of focusing and a simple yet double as the home button it apart, we hear you cry? Well,
a phablet makes it great for feature-packed app. feels it should be. these are the first set of cans
movies and playing games. Unlike far pricier phones, the It’s a great package, made from Bose to be both wireless
It’s fast too, again a surprise Moto G4 Plus isn’t flashy. It’s even sweeter by the price. MP and feature Active Noise
Cancellation (ANC), so you can
zone out on long journeys or in
busy meeting rooms.

OnePlus 3 The ANC here is great and

it doesn’t have that annoying
ONEPLUS.NET £309 hiss that we’re used to with
Controversial Chinese phone fast fingerprint Snapdragon 820 similar products. The wireless
upstarts OnePlus is back with scanner that CPU, 6GB RAM connection is strong too, and
its third flagship phone, and doubles as a and a healthy 64GB they’ll last for 16 hours without
it’s the best yet. While the home button. of internal storage. needing a charge.
OnePlus One and OnePlus 2 On the back is It’s fast and fluid, as They sound great, too, with
had serious flaws, the a very capable you’d expect, but a wide and encompassing
OnePlus 3 ticks pretty much 16MP Sony-made there’s no microSD soundstage and well controlled
all the boxes. camera, with an f/2.0 slot which is rather an bass. Bose’s equaliser is on
Considering it costs £309, aperture and support annoyance. You’ll point and everything sounds
it’s well built. The metal for 4K video recording. As comfortably get a day’s use accurate even when the
chassis curves slightly on phone cameras go, this is one from the 3,000 mAh battery volume is low.
the back so it’s comfy to of the best. Pictures are crisp and it juices up in less than The last piece of the jigsaw
hold, while the screen curves and detailed, with nice colour an hour with the included is comfort, another area where
and almost melts into the representation and a reliable Dash Charger. It does use the Bose impresses. The soft
sides. Beneath the 5.5in HDR mode. USB-C, rendering all your cups nestle on to your ears and
1080p display is a very Powering the phone is a microUSB cables useless. MP they don’t get too hot, even
with extended wear. MP

GLIMPSES: Harris and Patrick Ward, who have, in

RELATIONSHIP artists and photographers looking
BOOK REVIEWS

near secret, documented the shifting to explore this new territory. This
PHOTOGRAPHS landscape of British society. All By Zackary Drucker and Rhys Ernst sensitively compiled book focuses on
FROM 1966 TO 2016 three have recently released books
revealing the past, reminding us that
P RE ST E L , £ 2 2 .50
Gender politics has had to expand the
the transitions that take place on both
the physiological and psychological
By Stephen Wolfenden,
S E LF P UB L I SHE D, £18.95 we can learn much by studying our vocabulary of its discourse in recent level. The authors of this work,
Stephen Wolfenden has been a pro history. Wolfenden’s work is another years. No longer is Drucker and Ernst,
photographer for 48 years, and this vital record (to buy a copy, visit www. the world divided are both individuals
is a chance for you to get to know stephenwolfendenphotography. into two distinct who have undergone
his work. He is one com), and crucially binary forms. With these changes, and
of those invisible includes images taken such high-public- the images document
recorders of history, as recently as this year. profile figures their romantic and
who has returned to This allows us to view openly discussing creative collaborations.
society to reveal the a thorough portrait of gender transition, As a self-portrait, it’s a
spoils of his eager our land – a necessary we’re now at a lovely piece of work. As
eyes. Members of this activity in our uncertain point where we’re a thematic discourse,
group include Brian and absurd times. OA seeing a variety of it’s vital. OA

8 WWW.WHATDIGITALCAMERA.COM
 THINGS TO TRY THIS MONTH

Try this…
Photograph a
backlit scene
We tend to associate backlit scenes
with macro images of flowers, or
portraits that highlight the outline
of a model’s hair. In fact, backlit
scenes can be found anywhere, as
this image by Steve Morgan, which
won the Rural Life category in the
British Life Awards, proves. ‘I spotted
this while driving along the Golden
Road on the east coast of Harris,’ he
says. ‘I jumped out of the car on the
single-track road to catch the backlit
scene before the sun disappeared
behind the clouds.’

TOP TIP
A scene such as this, with its high contrast and
dark background, can easily fool the camera’s
meter. Use spotmetering to ensure the meter
isn’t fooled into underexposing the image.
Canon EOS 5D Mark III, EF70-200mm f/2.8L USM
at 200mm, 1/320 sec @ f/8, ISO 250
www.blpawards.org

10 WWW.WHATDIGITALCAMERA.COM
 T HI NGS TO T RY T H I S MONTH

Try this… Shoot in poor weather TOP TIP

A tripod was fundamental to the success of this striking image of a shag Initially, Richard wanted to get in close, to capture
on the Farne Islands, by wildlife photographer Richard Peters. In order to a close-up of the bird’s head. However, he realised
capture the bright streaks of the falling rain, he needed a shutter speed that an image that showed the rain and more of
of 1/160sec with his 600mm lens. Without a tripod, camera shake would the bird told a better story about the scene.
have been inevitable. ‘What struck me about this image,’ he says, ‘was that Nikon D3S, 600mm VR, 1/160sec @ f/8,
it shows off the beautiful colours in the plumage of a bird that can often ISO 2,000, tripod
simply look like it’s full of black feathers.’ www.richardpeters.co.uk

12 WWW.WH ATDIGITALCAMERA.COM
Try this… Focus on the eyes TOP TIP
When you’re shooting any kind of portrait, your focus should be locked Portraits cry out to be made using a wide aperture,
on to your subject’s eyes. If you are shooting at an angle to the person, rendering the background soft and pleasing.
then focus on the closest eye to the camera. If your camera is blessed with However, in these cases, focusing becomes even
multiple AF points, you may find you can toggle to the desired AF point more crucial. It can be all too easy to lock on to
that’s overlaid on the model’s eye. Otherwise, set focus with the central AF the model’s eyelashes, rather than their eyes!
before recomposing. Provided that your subject isn’t going to move, then Sony A7R, 90mm lens, 1/800sec @ f/2.8, ISO 200
single-servo AF will be fine. www.philhallphotos.com
 T HI NGS TO T RY T HI S MONTH

14 WWW WH ATDIGITALCAMERA.COM
Try this… Include human interest TOP TIP
We tend to think of landscape images as showing nature devoid of human Don’t keep your pictures to yourself – enter them
influence or interaction. However, including a figure not only gives a sense into contests! You never know what you may
of scale, but also adds interest to the composition. Cover up the canoeist, achieve. This image was commended in the Scottish
and you still have a pleasing image, but it lacks that certain something. Landscape Photographer of the Year competition.
By including it, the eye goes straight to that part of the image, before Nikon D800E, 24-120mm f/4 at 92mm,
travelling around the rest of the scene. Photographer Dave Bowman 1/30sec @ f/8, ISO 100
placed the canoe on the rule of thirds intersection for added impact. www.slpoty.co.uk
 LA N DSCA PE PHOTOGRA PHY
ESSENTIAL GUIDE

Landscape
photography If you want to take better landscape images then here’s
everything you need to know
WORDS OAU DLEY JA RV IS

L
andscape photography is least it very rarely does. Those within walking distance of a
one of the most popular spectacular landscape images beautiful location, then this is
and widely practised we’ve all seen on the cover of a good place to practise your
branches of photography, National Geographic magazine and technique, and also to try the same
and with good reason: the UK is suchlike are the result of extensive shot at different times of the day
home to numerous national parks planning, good equipment, solid without having to do much forward
and thousands of square miles of technique, patience and, yes, planning. If you live in the middle
truly stunning countryside, much of sometimes a bit of luck too. of a city, however, then chances are
which is easily accessed via public In other words you don’t just you’ll need to drive somewhere
paths. Off the beaten track, the take amazing landscape images, first and perhaps even do a bit
views can be even more dramatic, you have to create them, and in of walking once you get there.
especially if you plan ahead or if order to do that you need to have Over the next few pages we’ll
you’re lucky enough to get a good idea of precisely what it is look at everything you need to
interesting light on the day. that you’re trying to capture in the consider, from planning a route, to
From the rolling green hills of the first place and how best to go useful trekking aids, important
Cotswolds to the stark mountains about it. Landscape photography landscape factors such as weather
of the Scottish Highlands, the UK doesn’t have to be all about wide and light, essential camera gear
offers everything from tranquil open horizons, jagged mountains, and accessories, plus an overview
woodland to thundering waterfalls lakeland reflections and colourful of useful camera settings to use.
– all of which can be captured as sunsets either; you can find just as
jaw-dropping images with a bit of much beauty in mist and rain and Finding a location
forethought, practice and luck. dark storm clouds too. The key is While the UK is well-served with
The first and most important in how you compose and capture great locations within easy walking
thing to bear in mind is that your image and how you tweak it distance of a car park, you may
amazing landscape photography at the post-production stage. well want to get a bit more
doesn’t happen by accident, or at If you’re lucky enough to live adventurous and discover your
© W W W. I S TO C K P H OTO . C O . U K

WWW.WHATDIGITALCAMERA.COM 17
 E SSE N T IA L GU ID E

own views and vistas a bit

further off the beaten track.
Most professional landscape
photographers prefer to take this
approach, as it allows them to
create more unique images while
enjoying the benefits of getting
some exercise and enjoying the
outdoors. Indeed, for many, hiking
and photography go hand in hand.
If you are planning on hiking long
distances across open countryside
with your camera then you’ll need
to make sure you go prepared; take
appropriate clothes for the day,
including a set of waterproofs and,
of course, a weatherproof rucksack

© MICHAEL TOPHAM
to safely store all your gear in.
Weather can change quickly in the
countryside and while it might be
sunny when you set out, you don’t
want to get caught out in the rain
unprepared. Given that you may
have to cross shallow streams or
traverse wet ground, a decent pair To improve your trouble should you become lost. conducive to walking, there’s plenty
of waterproof hiking boots is also a landscape photography, The UK benefits from an extensive to be said for shooting in the three
sound investment. If you’re planning study the work of network of public footpaths, other seasons. Autumn sees a
established landscape
on covering longer distances in bridleways and other rights of way. dramatic change in the colour of
photographers and make
sparsely populated countryside sure you put in plenty While we obviously can’t endorse many deciduous trees, while winter
then a map and compass are both of practice trespassing on private property in opens up a palette of greys and
essential items to bring along, too. order to bag a great shot, the browns and ghostly trees shorn of
Ordnance Survey’s Explorer (1: Countryside and Rights of Way their leaves. Spring, meanwhile, sees
25,000) and Landranger (1: 50,000) Act of 2000 enshrines in law your the emergence of bluebells and fruit
map ranges cover all of the UK’s right to stray as far as you like from tree blossoms – both of which can
national parks and scenic beauty public paths in certain areas of open make excellent landscape subjects.
spots and are ideal for trekking with. countryside and public land. In Regardless of the time of year
If you’re venturing somewhere Scotland this ‘right to roam’ is even you venture out, natural light is by
new and want to keep a log of your more extensive. For more details far the most important element of
travels then you can do this in a on where the right to roam applies, good landscape photography.
number of ways. You can still buy the Ramblers Association (www. Without good or interesting light
standalone GPS receivers, although ramblers.org.uk) provides plenty your images will lack the punch that
thanks to the prevalence of GPS of useful online information. dramatic light naturally brings to
connectivity on mobile phones they landscape imagery. The sky doesn’t
are generally considered to be a bit When to shoot need to be clear either; a scattering
anachronistic these days. If your The countryside is constantly of clouds can add extra interest or
phone does sport built-in GPS changing and the same view will increased drama to images,
connectivity, then there are often look completely different at bouncing or scattering the sun’s
numerous apps available that will different times of day, depending light around in interesting ways.
employ this to log your route as you on weather conditions and the Even grey, misty days can be used
walk. ViewRanger GPS is a popular direction and intensity of the natural to good effect if you want to convey
free app available for Android, iOS light. The colours of the landscape a sense of serenity or bleakness in
and Windows Mobile that employs also change throughout the seasons your images. That said, grey days
downloadable maps (not all of and can make a huge difference to with 100% cloud coverage produce
which are free) and works with how a particular view presents itself. a flat light that tends to make
your phone’s built-in GPS receiver. Understanding these variables and dramatic landscapes look flat and
Alternatively, some cameras feature using them to your advantage is key lifeless. In this situation, shooting in
built-in GPS connectivity that allows to getting a great shot, and is often monochrome can often rescue an
them to record the latitude and what makes the difference between otherwise pedestrian image.
longitude co-ordinates of captured a good landscape image and an As regards the time of day that’s
images. Just be aware that using exceptional one. best suited to shooting landscapes,
GPS for prolonged periods can be While the warmer temperatures most pros prefer to shoot either
a significant drain on your phone or of summer might be more early in the morning or late in the
camera’s battery, so always carry a
paper map as backup and never rely
solely on electronic devices to plot
“ Without good, natural light your images will lack the
your route, or to get you out of punch that dramatic light brings to landscape images ”
18 WWW.WH ATDIGITALCAMERA.COM
 LA N DSCA PE PHOTOGRA PHY

afternoon and early evening. At by both (although this is certainly from non-metallic surfaces. A UV
these times the sun is lower in the useful), but rather the increased filter, meanwhile, will reduce the
sky, which creates raking light that dynamic range that larger sensors amount of blue-tinted haze in bright
has a dramatic effect on the natural tend to offer. This will enable you to sunshine – and will also protect the
contours of the land. Shooting in preserve more highlight and shadow front element of your lens from
the midday sun is generally detail when faced with a high- accidental damage.
considered to be the worst time contrast scene. While many modern
of day as the sun will be directly Micro Four Thirds cameras are Technique
overhead, which has the effect undoubtedly capable of excellent Good landscape technique isn’t
of flattening out the landscape. image quality, the native 4:3 aspect something you can learn overnight,
Another great time to take isn’t always ideal for framing and to really get good at your craft
landscape images is the so-called landscapes. You can usually opt to you will need to study the work of
‘golden hour’, that is to say the hour select 3:2 instead, though this will established landscape
after sunrise and the hour directly incur a drop in overall resolution. photographers and put in plenty
before sunset. This is when the sun In addition to your camera, a of practice. Composition rules such
is at its lowest, providing enough decent tripod is another essential as the ‘rule of thirds’ provide a
natural light to bathe the landscape item of kit. Without one you will useful framework within which to
in soft yet directional light while struggle to keep images sharp when experiment, but don’t feel you have
highlighting cloud detail. During using slow shutter speed and small to stick rigidly to the rules at all
the golden hour – especially in the aperture combinations, especially times. As far as camera settings go,
evening – you will often find that when shooting at dawn and dusk. you should aim to shoot at as low a
the low sun introduces a warming When choosing a tripod, the trick is sensitivity as possible – ISO 100 or
orange glow to things, which can to strike a good balance between thereabouts – as this will give you
also be used to great effect. build quality and overall weight: the cleanest results and is often
Sunrise and sunsets can also there’s no point buying a where your camera’s sensor offers
help to produce amazing landscape lightweight tripod that won’t stand the highest dynamic range. When
images and to this end it pays to up to outdoor use in a bit of wind, shooting wide-open landscapes you
take notice of the density and type or indeed a tank-like tripod that’s will also want to try to shoot at your
of cloud coverage well in advance of too heavy to carry comfortably for lens’s sweet spot for maximum
the sun going down as this will give longer periods of time. sharpness across the whole frame.
you a good indication of the type One final accessory that’s This varies from lens to lens, but is
and intensity of the sunset that’s to especially useful is a set of physical often found between f/8 and f/11.
come, giving you valuable time to filters. The four most popular filter Using higher apertures than this –
get into position with your camera. types for landscape photographers for example f/18 or f/22 – will allow
As a rule, the best types of clouds are neutral density (ND), graduated you to use longer shutter times but
for sunsets are the thinner, wispier In the golden hour – neutral density (ND grads), doesn’t always produce results that
types that occur higher up in the the hour after sunrise polarising filters and UV filters. The are as sharp, especially along the
atmosphere as these have the effect or directly before sunset first two are designed to prevent edges and corners of the frame.
– the sun is at its lowest,
of intensifying the dramatic colours light from reaching the sensor while One last thing, always shoot in Raw
bathing the landscape
produced by the setting sun. Look in soft yet directional maintaining colour neutrality, if you can, as this will give you
out for high-level altocumulus, light while highlighting whereas polarising filters are maximum flexibility at the post-
cirrocumulus and cirrus clouds as cloud detail designed to filter out reflected light processing stage.
these generally produce the most
dramatic sunsets; if the sky has a
partial covering (ideally 30-50%) of
these an hour or so before sunset,
then you have a better chance of
a good sunset. In addition to
photographing the actual sunset, it’s
always worth waiting for 20 or so
minutes afterwards as the afterglow
effect can be every bit as dramatic
as the actual sunset – especially if
the sun is setting over a large
expanse of water such as the sea.

Essential equipment
If you want to take creative
landscape images, you’ll need the
right equipment. As a starting point
you should aim to use a camera
with as big a sensor and as much
© PHIL HALL

resolution as you can afford – ideally

a full-frame or APS-C sized sensor.
The primary reason for this isn’t so
much the 3:2 native aspect shared

WWW.WHATDIGITALCAMERA.COM 19
 E SSE N T IA L GU ID E

The best
gear for
landscapes Lee
If you want to get out into the countryside
and take creative landscape images, you’ll Manfrotto 100mm
need to set yourself up with a decent
camera and all the right accessories. First
MT190CXPRO4 System
and foremost, a sturdy yet preferably tripod £235 Foundation Kit £55
lightweight tripod is essential – without W W W. M A N F R O T T O . C O . U K W W W. L E E F I LT E R S . C O M
one you won’t be able to shoot at slower
shutter speeds. A set of filters is also a The MT190CXPRO3 is a four-section carbon fibre tripod If you want to take great landscape images, then a
good idea. Polarising filters can be used to that is light in weight yet stiff and stable. Capable of decent set of ND and/or ND grad filters is a must-have
increase the vibrancy of natural greens and bearing up to 7kg of weight, each leg section is held accessory. Lee is a hugely respected filter manufacturer
blue skies. With ND grads, only half of the in place via Manfrotto’s patented Quick Power that is trusted by numerous landscape professionals,
filter is treated to reduce the amount of lever-locks. These provide plenty for your fingers to including the likes of Joe Cornish and David Noton.
light entering the camera. This allows the get hold of, making them easy to adjust. Once locked The Foundation Kit contains Lee’s bespoke 100mm
darker area to be positioned over brighter
shut, the legs remain firmly in place with no creep or filter holder and comes pre-assembled to hold two
areas – such as the setting sun or
give even when the tripod is placed under load. Each 100mm-wide filters. An extra set of guides are
illuminated clouds – to preserve highlight
leg can be set to one of four angles – 25°, 46°, 66° supplied, enabling you to expand its total capacity to
and 88° – with a reassuring click audible as the three filters. You’ll need to buy an adapter ring to fit
detail. Regular grads, meanwhile, can be
spring-loaded locking mechanism passes through the filter holder to your lens (£20-40), along with the
used to help attain slower shutter speeds
each of the settings. Each leg is capped off with a individual filters to go in it which vary in price. Lee also
or higher aperture settings, or a
durable rubber gripper. Overall, the MT190CXPRO4 offers a range of filter packs that will save you a bit of
combination of the two. Here we’ve
combines excellent build quality and flexibility at money, the pick of which is probably the ND Grad Set
hand-picked some essential accessories
a competitive price. Closing down to just 52cm and (£200). This contains three ND Grad filters in 0.3, 0.6
along with a selection of DSLRs that are
weighing in at just 1.6kg, the MT190CXPRO4 is also and 0.9 strengths, with a choice of hard or soft
ideal for shooting landscapes with.
well suited to long days trekking through the hills. gradation options.

Lowepro
Photo
Sport
BP
300
AW II The
Lee Filters Big/ £150 Photographer’s
Little Stopper £100 Ephemeris app £4
W W W. L E E F I LT E R S . C O M H T T P : // L O W E P R O . C O M H T T P : // P H O T O E P H E M E R I S . C O M

The terms ‘Big’ and ‘Little’ don’t refer to the physical The Lowepro Photo Sport BP 300 AW II is a relatively The Photographer’s Ephemeris (TPE) is an innovative
size of these filters; instead, the terms refer to their new all-weather rucksack designed for photographers app that can be used to help you plan landscape
respective light-blocking power, with the Big Stopper looking to get active outdoors. The pack is essentially shots by providing you with detailed information
providing 10 stops and the Little Stopper providing split into two, with a space at the top that you can use about where the sun (and the moon) will be in any
six stops. Both filters are of the square variety and to store general items such as food and spare clothes, given location at any given time, thereby giving you
available in two sizes: a smaller 75mm filter designed and a compartmentalised bottom space designed to a good indication of how the landscape will be
for Lee’s CSC-friendly Seven5 format, and a 100mm accommodate one professional-size DSLR and a spare illuminated. Given that the TPE can be used to
designed for Lee’s DSLR-orientated 100mm system. lens. In addition the bag can also hold a two-litre predict where the sun and moon will be in the future,
Each filter is constructed from high-quality glass and hydration system although this is not supplied with it. you can use it days, weeks or even months ahead of
comes in a padded metal tin for safe storage. They The padded shoulder straps are fully adjustable and a planned trip to give you an indication of where the
allow you to experiment with long exposures – using complemented by a padded waist belt and sternum sun will be. Just be warned that it’s not the easiest
the Big Stopper, say, you can extend a regular 1/60sec strap. The belt also hosts small, easy-access pockets app to initially get your head around and does require
exposure up to 15 seconds: ideal for capturing motion for keys and suchlike. The bag itself is fashioned from some learning – thankfully there are plenty of
in water or some movement in clouds on a windy day. lightweight N100 nylon with UTS coating to provide tutorials to be found online, with YouTube providing
Lee even supplies a handy reference card that provides an initial barrier of weather protection. For extra plenty of useful video help for new users. The app is
a range of shutter-speed conversion times, saving you protection in really wet conditions you can also currently available for Android, iOS and Windows/
the trouble of doing the maths yourself. deploy the built-in All Weather AW Cover. Apple desktop computers.

20 WWW.WHATDIGITALCAMERA.COM
 LA N DSCA PE PHOTOGRA PHY

Nikon D750 Sony A7R II Pentax K-1

£1,390 body only £2,600 body only £1,599 body only
W W W. N I K O N . C O . U K W W W. S O N Y. C O . U K W W W. R I C O H - I M A G I N G . C O . U K

The D750 combines an advanced feature set with Sony’s full-frame SLT model can resolve exceptional Released this year, the K-1 is Pentax’s first full-frame
extensive customisation to produce a fantastic detail, making it ideal for creative landscape DSLR and its flagship DSLR. With a 36.4MP full-frame
all-round camera that’s ideally suited to landscape photography. The A7R II’s sensor is back-illuminated, CMOS sensor and Pentax’s latest PRIME IV processor,
photography. It has a 24.3MP full-frame sensor and meaning more light can reach the sensor. While it boasts Pentax’s Pixel Shift Resolution technology
Nikon’s EXPEED 4 image processor, and a particularly individual images are massive when shooting at full that employs the camera’s built-in image stabilisation
useful feature for landscape photographers is the resolution, the BIONZ X processor keeps processing technology to deliver even more true-to-life colour
D750’s highlight-protection metering, which can be times speedy, and you can choose to shoot at lower and finer detail. Fully weather-sealed, the K-1 is robust
used to ensure that highlight detail is retained during resolutions. You could also consider its predecessor, and solid. Ergonomics are good, physical controls
the metering process. The D750 is solidly built and the A7R (£999 body only). This has a 36.2MP full-frame are plentiful and the 3.2in LCD can be tilted from
while it is not fully waterproofed it does benefit from sensor though it isn’t back-illuminated. It lacks the side to side as well as up and down. If you’re after
the same weatherproofing as the D810, so it should newer model’s 5-axis image stabilisation and 4K video a full-frame DSLR but don’t want to break the bank
be able to cope with a bit of inclement weather. capture, but it’s still a lot of camera for the money. then the K-1 is worth serious consideration.

SENSOR 24.3MP full-frame (35.9 x 24mm) CMOS SENSOR 42.4MP Exmor R back-illuminated CMOS SENSOR 36.4MP full-frame CMOS
SPECS

SPECS

SPECS
MAX RESOLUTION 6016 x 4016 pixels MAX RESOLUTION 7592 x 5304 pixels MAX RESOLUTION 7360 x 4912 pixels
SENSITIVITY ISO 100-12,800 SENSITIVITY ISO 100-25,600 SENSITIVITY ISO 100-204,000
KEY

KEY

DIMENSIONS
(exp. to 51,200)
140.5 x 113 x 78mm DIMENSIONS
(exp. to 50-102,400)
126.9 x 95.7 x 60.3mm KEY DIMENSIONS 135.5 x 110 x 85.5mm
WEIGHT 840g with battery and card WEIGHT 625g with battery and card WEIGHT 1,010g with battery and card

Canon EOS 80D Fujifilm X-Pro 2 Nikon D810

£999 body only £1,350 body only £2,140 body only
W W W. N I K O N . C O . U K
W W W. C A N O N . C O . U K W W W. F U J I F I L M . C O . U K

The 80D is Canon’s latest double-digit EOS model for The robust, weatherproofed X-Pro2 replaces the X-Pro1 Released in 2014, the Nikon D810 is the oldest model to
enthusiasts. With a 24.2MP APS-C CMOS sensor, it as Fuji’s flagship CSC, and it updates the older model be featured here, yet it remains a fantastic camera for
retains the 70D’s innovative Dual Pixel CMOS AF with a range of upgrades and additions, including a landscape enthusiasts. Wth a 36.3MP full-frame CMOS
technology, whereby each pixel can in effect ‘double new APS-C sized 24MP X-Trans sensor. The X-Pro 2 lacks sensor the D810 is capable of resolving fantastic levels
up’ as a traditional light-registering photodiode and an optical viewfinder, but boasts a hybrid viewfinder of fine detail, though if you want to reduce file sizes
a phase-detection AF point for enhanced AF that combines optical and electronic technologies to enabling the 1.5x crop mode results in a total effective
performance when the camera is used in live view or very good effect. Used in optical mode the viewfinder resolution of 14.5MP. The D810 further benefits from
video mode. Despite the lack of weather sealing the can be set to display a parallax corrected electronic a wide dynamic range that enables it to retain more
80D’s construction feels solid enough to protect it frameline for more precise framing, while the highlight and shadow detail when faced with high
from accidental bumps. While Canon has kept the electronic display provides a super-sharp 2.36m-dot contrast scenes. The D810 benefits from magnesium
anti-aliasing filter intact, the sensor resolves excellent resolution and 100% frame coverage. As a CSC it’s also alloy and weather-sealing and while large and heavy,
levels of fine detail at lower and mid-range ISOs. the smallest, lightest camera of all the models here. it is comfortable to hold and controls are well set out.

SENSOR 24.2MP APS-C CMOS SENSOR 24.3MP APS-C X-Trans CMOS III SENSOR 36.3MP full-frame CMOS
SPECS

SPECS

SPECS

MAX RESOLUTION 6000 x 4000 pixels MAX RESOLUTION 6000 x 4000 pixels MAX RESOLUTION 7360 x 4912 pixels
SENSITIVITY ISO 100-16,00 SENSITIVITY ISO 200-12,800 SENSITIVITY ISO 64 - 12,800
KEY

KEY

KEY

(exp. to ISO 25,600) (exp. to ISO 100-51,200) (exp to ISO 32-51,200)

DIMENSIONS 139.0 x 105.2 x 78.5mm DIMENSIONS 140.5 x 82.8 x 45.9mm DIMENSIONS 146 x 123 x 81.5mm
WEIGHT 730g with battery and card WEIGHT 495g with card and battery WEIGHT 980g with battery and card

WWW.WHATDIGITALCAMERA.COM 21
 PORTFOLIO

1
Colin Bell
C H E S H I R E

I’
ve spent 30 years in video
game development, but a
health problem meant I had
to take a break from full-time
work. No longer required to be
professionally creative, I
immersed myself in a new world
of photography, built on my love
of the landscape – in particular
the Lake District. After a couple
of years, I felt I needed to focus
more, so as to produce original
work. So, I spent a year shooting
at Thirlmere reservoir, becoming
fascinated in the history of the
area, the environmental ‘battle’
to create the reservoir and the
healing process of nature in the
120 years since.
More recently, I’ve been drawn
to the Lake District’s slate mining
areas of Hodge Close and Holme
Fell. My method is to repeatedly
visit the same locations, to
explore, to be inquisitive and
to have my eyes open to the
developing narrative of the land.
I try not to plan my shoots,
preferring to be inspired by what
is around me, and I shoot in all
weathers; many of my favourite
photos have been made under
an umbrella in the pouring rain.
More locally to my home is
Delamere Forest, where I’ve 3
focused my photography on
Dead Lake, an artificial body of
water that fits in with a common
theme of reclamation by nature
after manmade intervention.

HTTP://COLINBELL.PHOTOGRAPHY

COLIN USES A

Nikon D800

I use a Nikon D800 and have three

Nikon lenses: the 24-70mm AF-S
f/2.8, 70-200mm AF-S f/4 and 45mm
f/2.8. I use a set of Lee filters, and a
Manfrotto carbon-fibre tripod with
a Really Right Stuff BH-55 ball head
and L-Plate. Last but not least, a 62in
Gustbuster umbrella!

22 WWW.WHATDIGITALCAMERA.COM
 THE READER selected for ‘Portfolio’ will receive an ultra-reliable Samsung SDHC PRO 32GB Class 10
memory card. It has transfer speeds of up to 90MB/s and will
withstand the harshest conditions. Visit: www.samsung.com

1 Thirlmere Summer Morning 2 Holme Fell 3 Holme Ground Vista 4 The Tottling Stone
Thirlmere is a much-overlooked part of the Lake Taken from Holme Fell looking towards the The beautiful birch woodland on Holme Teetering on the edge of this drop and
District, but on mornings such as this can deliver Langdale Pikes, resplendent in summer colour. Fell illuminated by the early sun with the overlooking Thirlmere is this huge stone, also
a sumptuous vista. It’s one of the best lower level views in the magnificent mountains of the Helvellyn and variously known as the Rocking, or Tottering
Nikon D800, 24-70mm AF-S at 56mm, Lakes, in my opinion. Fairfield ranges beyond. Stone. This is a three-shot stitched panorama.
1/5sec @ f/11, ISO 100, 0.6 ND soft grad Nikon D800, 70-200mm AF-S at 85mm, Nikon D800, 24-70mm AF-S at 60mm, Nikon D800, 24-70mm AF-S at 24mm,
1/20sec @ f/11, ISO 100, 0.9 ND soft grad 1/25sec @ f/11, ISO 100, 0.9 ND soft grad 1/50sec @ f/11, ISO 100, 0.6 ND soft grad
4

WWW.WHATDIGITALCAMERA.COM 23
  

    

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 CA MERA CON N ECT APP
MASTER YOUR CANON

Using the
Canon Camera
Connect app

The introduction of Wi-fi into Canon’s DSLRs and you’ll notice Wi-fi is now displayed
as being switched on. It’s at this
PowerShot models has opened up new possibilities
point you’ll want to enter your
when it comes to shooting and sharing our images mobile device’s Wi-fi settings and
WORDS AND PICTURES MICHAEL TOPHAM select the appropriate network

O
from the list. A tick alongside the
ver the years, we’ve seen This is great news if you’d like to Wi-fi network indicates that the
Canon release a few share images with others via email devices have been successfully
different apps for its or social media, and best of all, it’s paired and you can then return to
users of DSLRs and intuitive and quick to learn. In this the home screen on your mobile
PowerShot models that feature guide we’ll take a closer look at all device before locating and loading
Wi-fi technology. In the past, if of its key settings and features so the Canon Camera Connect app.
you wanted to control your Wi-fi- you can get the very best from it. It’s at this point you have to wait
enabled Canon camera remotely, a second or two before the app
you needed to download the EOS Connecting confirms its link with the camera.
Remote app onto your mobile to the app With the hard work done, you now
device, whereas if you wanted to To use the Camera Connect app decide on whether you want to
view, share and save your images you’ll first need to pair your DSLR select the Image on camera option,
onto a smartphone or tablet you with your mobile device. This might Remote shooting or Camera
were required to install another app sound simple, but there are a series The remote shooting settings option, which we’ll now
called Canon Camera Window. It of steps you’ll want to follow to mode gives users the study in more detail.
option to control the
didn’t take long for Canon to realise ensure you get connected quickly.
camera’s most frequently
that it would be far more useful if Firstly, you’ll want to head into your used settings straight Images on camera
they could take the best from both camera’s menu and enable Wi-fi/ from a smartphone. This The Images on camera part of
apps and consolidate them into one. NFC before selecting the Wi-fi is handy when you’d like the app is the area where you can
Camera Connect is now the main function option. From here, select to create distance from view and inspect the images you’ve
yourself and the camera.
app endorsed by Canon and it the connect to Smartphone option taken before rating or saving them
Wildlife and group shots
blends the functionality of remote and confirm you’d like to connect to are just two examples of directly to the camera roll on your
shooting with the option to save the device. If you’re using a DSLR where it can be exploited mobile device. Images are neatly
images straight to a mobile device. and it has an LCD on the top plate to its full potential grouped into folders based on the

WWW.WHATDIGITALCAMERA.COM 25
 M ASTE R YO U R CA NON

date they were taken and you’ll applied to the file on the memory
find the most recent images shown
at the top. Set to default, images
card, making it possible to filter the
images you want to work on or
Manage your apps
are grouped together as small keep/delete much faster in editing To find the app quickly, it’s a good idea to bundle
thumbnails, but clicking on an programs such as Adobe Bridge it with your other photography apps so they’re all
image enlarges it, with the option and Lightroom. You’ll also find located together in one place. Creating a new
to use pinch and zoom gestures to there’s the option to delete folder on an iPhone or iPad couldn’t be easier –
inspect the quality of sharpness and redundant images from the camera simply go to your home screen, touch and hold
depth of field. Below the image via the app. This can also be done the app you want to create a folder for until all the
you’ll find the filename, the time the individually or selectively and apps begin to jiggle, and while continuing to hold
image was taken and the EXIF data. prompts you to confirm you your finger down on the app, drag it on top of
If you’re like me, you might want to definitely want to delete files another app you want in
click on the list icon at the top right, before going ahead. the same folder. You’ll
which enables you to switch the find the app becomes
view of images – handy if you’d Remote shooting grouped in a new folder
prefer to have thumbnails listed with As briefly mentioned in the and it’s possible to rename
all the filename, date/time and EXIF introduction to this article, the the folder at the top of the
beside. The list icon also enables remote shooting feature can screen. Keeping your apps
you to sort images quickly based be incredibly useful in certain tidy and well organised
on their date, folder or rating, and situations and offers an advantage makes them much easier
there are other options to jump when you’d like to create distance to find and saves you the
to an album based on a date or between yourself and the camera, difficulty of searching for
control the resizing of images. but remain in control of the key the one you want among
Saving images from the app to camera settings. Selecting many others.
your mobile device can either be Remote shooting from the app
done individually or selectively. For instantly engages Live View
example, if you’re viewing a single mode, which can be identified app. Doing so interrupts the Live
image in the app you can copy just by the sound of the mirror View feed and disconnects the
this image, or if there is more than flipping into its upward position. Wi-fi connection, giving you no
one you’d like to copy it’s possible The Live View feed is transmitted option but to repeat the task of
to select which images you’d like to via Wi-fi to your mobile device and connecting to the app. Bearing this
transfer from the wider thumbnail by clicking on the information icon in mind, it’s important to make sure
view. It takes roughly 1.5secs to towards the top right you can you choose the appropriate
copy a single image with a strong display key camera settings, such shooting mode before controlling
Wi-fi connection, but be aware a as shooting mode, white balance, the camera remotely via the app.
transfer may take longer or might metering, AF mode and drive mode. Other key variables you can take
not be possible at all if your Other than drive mode and AF control of include aperture, shutter
connection is weak. mode, none of the above settings speed, ISO and exposure
Having the option to rate images can be adjusted via the app and compensation. You’re first required
from 1-5 stars is a particularly these have to be changed via the to select the slider icon at the
attractive feature in this part of the camera manually. It’s worth knowing bottom right, which presents the
app and is very simple to do. Any that you’ll want to prevent changing options needed to adjust these
star rating you apply is instantly the shooting mode when using the exposure variables using a slider

Step by step ONE TWO

How to
connect your
DSLR to the
Canon Camera
Connect app ENABLE WI-FI
Switch your DSLR on and hit the menu button.
SELECT THE WI-FI FUNCTION
Move down one option and select Wi-Fi function. From
Navigate through the menu settings to Wi-Fi/NFC, here you’ll find different options such as Transfer images
which is listed under the same tab as Format card. between cameras and print from a Wi-Fi printer but the
Set to the camera’s default settings, Wi-Fi/NFC will be one you’ll want to select is Connect to smartphone. This
switched off so you firstly need to select it and change is easy to identify thanks to the small smartphone icon
the Wi-Fi/NFC setting from Disable to Enable. second from the left on the top row.

26 WWW.WHATDIGITALCAMERA.COM
 CA MERA CON N ECT A PP

scale. Aperture, shutter speed, ISO These screengrabs show such as showing an AF button. This manually change the area
and exposure compensation appear the intuitive layout of is used to recreate a half press of and enable daylight saving time
the app. The two images
alongside each other and to access the shutter to focus before taking an if you wish. Of the three options
to the left show the ISO
the drive mode and AF mode scale, shutter button image, but I find it works best with from the front of the app, Camera
options you’re required to use the and adjustable AF point the AF beep on the camera enabled. settings is by far the most basic.
down button. With the latter, you’re in the centre. The third Lastly, at the bottom left corner To return to the front of the app
given options to select focus image from the left you’ll find a small thumbnail that at any time you can tap the home
illustrates one of the
tracking, FlexiZone – Multi and can be clicked on to show a strip of icon at the top left of the interface
two views we’re given
FlexiZone Single. All three of these when working in the the images you’ve taken. Clicking on and there’s a disconnect icon at
AF Live View modes support ‘images on camera’ area any of these displays an enlarged the top right, which is good to use
repositioning of the AF point of the app. The shot on view, and again pinch and zoom when you’re finished with Wi-fi and
around the frame using your mobile the far right shows what gestures can be used to inspect the want to preserve your camera’s
the progress bar looks
device’s screen and it’s a really image at closer magnification. battery power.
like when images are
intuitive way of refining the focus being transferred and If you own a Canon Wi-fi-enabled
point on your subject when there’s saved to an iPhone Camera settings camera and have access to a mobile
distance between you and the Beneath the Images on camera and device, Canon’s Camera Connect
camera. Remote shooting options at the app is worth downloading and
At the top right of the remote front of the app you’ll also find comes highly recommended. After
shooting interface you’ll find another Camera settings. From here you can all, it’s free to download and
icon that gives you the option to reflect the date and time of your provides you with increased
lock the screen’s rotation, switch off mobile device within the image functionality and greater sharing
Live View and control other settings EXIF data, with the option to options at your fingertips.

THREE FOUR FIVE

CONNECT TO SMARTPHONE LOAD THE APP FINALISE THE CONNECTION

You’ll now be greeted by onscreen options to choose When you have the Connect to smartphone and Find your DSLR’s Wi-fi name from the network list. Click
the set and Review/change settings. When you want to Disconnect, exit and Confirm set options listed on your on it to initiate a connection. You may be prompted to
connect quickly with minimal fuss, simply ignore these screen, it reveals that the camera’s Wi-fi is now on and enter an encryption password (displayed on screen) if
settings and select Connect at the bottom left corner of it’s ready to connect. If your DSLR has a top plate LCD, you have this setting enabled. Next, load the Camera
the screen. This will prompt a Connect to smartphone you’ll notice the Wi-fi now indicates as On and the Wi-fi Connect app. After the connection has successfully been
option and you will want to confirm by selecting OK. icon above is blinking. Next, pick up your smartphone made the LCD monitor will be turned off and the app
and enter your Wi-fi settings. will display the message Connected to Camera.

WWW.WHATDIGITALCAMERA.COM 27
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XWC CODE 13C
 PA IN TIN G WITH LIG HT
MASTER YOUR NIKON

© E M I LY M U D I E
You don’t have to descend into a cave, or a disused Underground station, to simulate
blackout conditions, but to begin with try to keep ambient light to a minimum

Painting with light

Using a torch or another light-emitting photography is actually an defined shape, but bikes, phone
amalgamation of two Greek words: boxes and cars work especially well.
device to draw in the frame during
phos (light) and graphis (drawing), You can also unleash your inner
a long exposure is fun and highly so it’s no surprise that the technique Picasso and try ‘drawing’ in the air
addictive. Here are some pointers has gained such a following. using flowing curves or jagged lines.
WORDS MARK HIGGINS
The most important thing is to
What is painting

P
practice – your first attempt is
ainting with light is nothing with light? unlikely to be your finest, but it’s
new: in fact, the technique According to Jason D. Page, artist almost certain to ignite a spark that
can be seen in an image and founder of the Light Painting will keep you fired up through the
dating back to 1889, when Photography website (www. cold autumn nights.
Étienne-Jules Marey and Georges lightpaintingphotography.com), Most people paint with light
Demeny attached incandescent there are three types of light because it’s fun, and the resulting
bulbs to the joints of an assistant painting: Light Drawing, whereby a images provide a fresh take on
and made an exposure while she light source is used to draw in the everyday scenes, but it’s also a great
jumped through the air, leaving a frame; Kinetic Light Painting, where way to improve your photographic
trail of light behind her. But the idea the lights in the scene are stationary technique: you will learn how your
of moving a light source during a and the camera is moved; and Light sensor performs in low light, for
long exposure really gained Painting, where a handheld light is example, and how a change in
popularity in the 1930s when used to illuminate specific parts of shutter speed can alter the mood of
American artist Man Ray produced the scene. a picture. What’s more, you will
his Space Writing portrait. For the purposes of this article we learn a great deal about
Using a penlight Ray drew swirls will be covering the first and third prefocusing, and even setting up
and loops in the air, creating a types, under the umbrella term ‘light your tripod in the most efficient and
seemingly random scribble. (The painting’. Basically, light painting time-saving way. What’s not to like?
scribble was later found to contain can be summed up as using a
the artist’s signature.) The years that light-emitting device to ‘draw’ in the What equipment
followed saw many artists frame, or highlight certain elements, do you need?
experimenting with the technique during a long exposure. Painting with light requires merely
including Pablo Picasso, Henri Finding a good subject for light a light source, a dark space, a
Matisse and, much later, Jozef painting is easy – you can effectively camera with manually adjustable
Sedlák. In fact, the word trace a light around any clearly shutter speed, and a tripod –

WWW.WHATDIGITALCAMERA.COM 29
 M ASTE R YO U R N IKON

Light painting
accessories
If you decide to specialise in
light painting you might like to
invest in one of the following...

BRUSHES
Try the Light Painting Brushes
System from Light Painting
Photography (www.
lightpaintingphotography.com).
It allows you to connect almost
any light-emitting device (such
as a torch) to almost any light
modifier (such as a brush).

FIREWORKS
Try using fountains, Catherine
© E M I LY M U D I E

wheels and Roman candles in

your photography.

GLOW STICKS
There are two main types of
nothing more. Naturally, you Torches and LED strips The light source you use can be glow stick: chemical and LED.
can buy all kinds of adapters and produce wonderfully anything from a sparkler to a glow The first type can be used once,
accessories (see box) to perfect the
consistent light, but fire stick, but LEDs are ideal because while the second type is battery
and fireworks add a
technique, but to begin with it’s best wonderful sense of they are safe, reliable, and give out a operated and can be used
to keep things simple. energy to your work fair amount of light. An LED torch countless times, to colour a
For the same reason it’s preferable will do the job nicely, but you can scene, create shapes etc.
to shoot in a location where there is also buy LED strips that flash and
minimal ambient light. When you change colour for under £20 (try LIGHT SWORDS
are using long exposures even the Maplin, www.maplin.co.uk ). Relatively cheap, light swords
weakest light source can have an You can fix these strips to poles (also known as light wands or
effect on the final exposure. But you (I use an old broom handle) and lightsabers) can be used to
don’t need to descend into a cave move or spin them during the make shapes, create light trails,
to simulate blackout conditions, you exposure. Nobody will see the or add colour to a scene.
can get perfectly respectable light support you’re using, they will just
painting pictures in the garden, or see the light. Another idea is to POI BALLS
indoors, as long as you shoot at attach LED strips to bike wheels and Swinging weighted balls is a
night. (Once you become more cycle through the frame. You don’t performance art in New
experienced you can use some have to spend a lot – you can even Zealand, but try the modern
sympathetically placed ambient use a flashlight app on your phone version of these props for light
light to illuminate attractive (but don’t use the screen light as it’s painting. Poi balls can create
backgrounds while you paint away not bright enough). countless patterns and designs.
in the foreground.) Light painting requires long

Step by step ONE TWO

Painting with
light using
your Nikon
camera Set the camera on a tripod. Time how long it takes to carry Switch the lens to Manual focus, and use the LCD screen
out the planned activity (drawing your name in the air, for to prefocus the lens on the spot where you will be
example). Use this figure to decide on a shutter speed. standing – if possible ask someone to stand in for you.

30 WWW.WHATDIGITALCAMERA.COM
 PA IN TIN G WITH LIG HT

© MARK HIGGINS
exposures. Most of the time your Unleash your inner
shutter speeds will be between 10 A QUICK Picasso and try
‘drawing’ in the air
and 20 seconds, but some can be WORD using flowing curves
up to an hour, so a tripod is ABOUT or jagged lines
essential. You need the camera to COLOUR
be as still as possible during the
exposure, so try not to set the legs Selecting an
on wet or unstable ground, and appropriate
consider hanging a weight (such as White Balance
your camera bag) off the bottom of for your light
the centre column. Remember to painting picture
turn the vibration control off once
is mostly down
the camera is attached. Naturally, a
to trial and error.
tripod is best used with a remote
Your best bet is
release, or the self-timer on the
to shoot Raw and
camera, so make sure that you have
a way of triggering the shutter
experiment in
without touching your equipment.
post. If you prefer
your images to be
How do you perfect straight
paint with light? out of the camera,
One of the first mistakes people remember that
make when they paint with light is different light
choosing a shutter speed too slow sources have
for the activity they have in mind. different colour
So, if you want to write your name temperatures – as
in the air with an LED, time yourself a rule, LEDs emit want the depth of field to be systems need contrast, detail
doing it (not forgetting to add a few cooler light than relatively large, so anything and light – three things that are
seconds on for walking to and from incandescent between f/8 and f/11 is perfect. If distinctly lacking when you’re
the spot you’ll be standing in if bulbs, for this isn’t what you see, you might practising this technique. As a
you’re not using a remote release), example. If you need to adjust the ISO and rejig result, it can be a good idea to
and use this as your guide. shoot Raw you things, but do remember that noise prefocus – try asking someone to
It can be tempting to set a shutter can play around can be an issue in darker areas, so stand where you plan to be, and use
speed of just a few seconds, with Picture keep it as low as possible the AF-assist lamp to give your
because that’s longer than most of (preferably ISO 100). autofocus system the best chance
Controls post
us are used to for our general Now turn your attention to the of locking on. Failing that you can
capture. Nikon
photography, but do resist this. exposure meter. When a camera is use live view and focus manually.
DSLRs offer
Painting with light takes a lot longer met with a predominantly dark What you don’t want is for the
Standard, Neutral,
than you may think. (Every camera scene it will attempt to lighten it to camera to try to obtain focus during
in the current Nikon line-up will
Flat, Landscape, mid grey, so if the meter is set to the exposure, so use the AF-S mode
allow you to dial in up to 30
Portrait, Vivid zero, the image will be overexposed. to make sure that it focuses once,
seconds, but if you need a longer and Monochrome In order to prevent this from and then stops.
exposure you will need to use the settings. Vivid is happening you need to use the Light painting is rewarding, but it
Bulb or Time mode and combine it great as it boosts Exposure compensation feature and takes time, and requires a
with a remote release.) contrast, and underexpose the image by one or willingness to experiment. If your
Once you have set the desired makes colours two stops. first attempt lacks spark, don’t be
shutter speed, take a look at the appear punchier. The next challenge is focusing. In discouraged – stick with it and you’ll
corresponding aperture. Ideally you order to work efficiently, autofocus soon be hooked.
INTERVIEW BY TRCY HALLETT

THREE FOUR FIVE

When faced with a predominantly dark scene, the Trigger the shutter using the self-timer, and move into Carry out your painting, and then return to the camera
camera will often overexpose the picture, so use Exposure position. Alternatively, move into position and use a to review the results. Don’t be disheartened if you
compensation and dial in a few stops of underexposure. remote release to trigger the shutter. don’t get the shot first time.

WWW.WHATDIGITALCAMERA.COM 31
 PRIME LENS E S
MASTER YOUR FUJI

If you’re new to the Fuji

system, you’ll want to
make sure you choose
the best glass available.
Here, we reveal three of
our favourite optics
WORDS AND PICTURES ANDREW GIBSON

T
he Fujifilm X series is a
relatively new line of
cameras – many
photographers who buy a
Fujifilm camera do so in order to
supplement their current digital SLR
system or even replace it. If this is
you, it means you’ll need to buy
some new lenses as well as a body.
The question naturally arises as to
which lenses would be most
suitable, and how many to buy.
The answer depends on what
subject matter you intend to shoot.
I advocate taking the simple
approach when it comes to gear
acquisition, and therefore I’d
recommend buying no more than
three lenses when you start out.
This should cover all your shooting
needs and you can always buy more
lenses in the future if you find you
need them.
Limiting your initial purchases
saves you money. More importantly,
from the creative point of view, it
encourages you to learn to get the
best out of your selected lenses.
Any advice regarding lens
purchases is always personal, but
these are my recommendations.
The selection is a little biased
because I am a big fan of prime
lenses. One of the benefits of the
Fujifilm X-series is that Fujifilm
makes wideangle prime lenses that
Prime lenses
Nikon and Canon lack for their
APS-C cameras (the 14mm f/2.8,
16mm f/1.4, 18mm f/2 and 23mm
f/1.4 are all great examples). If this is
for your
Fuji X-series
one of the things that attracted you
to Fujifilm, you are going to be very
happy indeed.

The 18mm f/2

I make this suggestion with
landscape photography in
mind, although the 18mm f/2 is
also a good lens for street and
camera
architectural photography, as well
as environmental portraiture. It’s a pancake lens). You can slip it into Island Bay, Wellington, you can always add a lens with a
truly versatile piece of kit that you your camera bag without noticing New Zealand. shorter focal length (such as the
can use for many subjects. the extra weight, and that means it
The 18mm f/2 lens is 14mm f/2.8 or 16mm f/1.4) or a
ideal for taking landscape
The two things I like about this makes it an ideal addition to any photographs. wideangle zoom (such as the
lens are the relatively inexpensive lens collection. 90 seconds @ f8, ISO 200, 10-24mm f/4) in the future.
price and the size (it’s nearly small It’s a great candidate for your first X-Pro 1 Another benefit of smaller lenses
enough to be described as a choice of wideangle Fujinon, and like the 18mm f/2 is that they take

WWW.WHATDIGITALCAMERA.COM 33
 M ASTE R YO U R F U JI

Ourense, Spain.
The 35mm f/1.4 has a
minimum focusing
distance of 30cm, making
it ideal for taking
close-up photographs
of flowers.
1/500sec @ f/1.8,
ISO 200, X-T 1

EQUIVALENT
ANGLE
OF VIEW

Even though most

photographers
use crop sensor
cameras it is still
conventional
to refer to focal
smaller filters than their digital SLR and other objects. Combine it with truly appreciate the difference to
equivalents. This can add up to
lengths in terms one of Fujifilm’s extension tubes size and weight that owning a lens
hundreds of pounds of savings
of their 35mm and you can get amazingly close to built specifically for an APS-C
when considering circular polarisers, equivalent – the your subject. Plus, the wide f/1.4 system makes. You can carry it
ten-stop neutral density filters focal length aperture lets you create images around all day without it becoming
and graduated neutral density required to with amazing bokeh, or shoot in low a burden, always a plus for street
filters, and is one of the factors that achieve the same light without raising the ISO too and travel photography.
makes the Fujifilm X-series a good angle of view much, or both. The 35mm f/1.4 lens came into its
choice for landscape photographers. on a full-frame Best of all, this is another small, own for me last year during a trip to
Lens filters are essential camera. With light lens that you’ll hardly China. I enjoyed using it
accessories and it is wise to think Fujifilm cameras notice in your camera bag. for street
ahead to what filters you will need you can calculate Compare it to the Canon photography,
when you buy a lens. You may be this easily by 35mm f/1.4 (made with where it
interested to know that Lee Filters multiplying the full-frame cameras in seemed to
makes a square filter system focal length of the mind) and you strike a nice
(Seven5) for smaller camera lens by 1.5 (the
systems and the savings are crop factor of the
significant compared to its larger APS-C sensor).
filter systems. But please note that
Hence the 18mm
not all Fujifilm lenses are small
f/2 has the same
enough to work with the Seven5
angle of view
system, the notable exception in the
as a 27mm lens
wideangle lens department being
the rather hefty 10-24mm f/4 zoom.
on a full-frame
camera; the
The 35mm f/1.4 35mm f/1.4 is
My second suggestion, the 35mm more or less the
f/1.4 lens, takes the place of a 50mm equivalent of a
prime on a full-frame system. Just 42mm lens; and
like a 50mm prime, it’s an amazingly the 56mm f/1.2
is like using an The 18mm f/2 lens
versatile lens. You can use it for
mounted on a Fujifilm
portraits, street photography or for 84mm lens. X-T1 camera during a
taking close-up photos of flowers landscape shoot

34 WWW.WHATDIGITALCAMERA.COM
 PRIME LENS E S

OIS pros
and cons
None of the recommended
lenses has Optical Image
Stabilisation (OIS). Personally,
I don’t think it is necessary,
although some readers who are
accustomed to using image-
stabilised lenses on other
camera systems may disagree.
Fujifilm does have several
wideangle zooms with OIS if
you feel it is a vital feature.
The key thing you need to
understand about OIS is that
while it helps prevent blur
caused by camera shake, it
does nothing to prevent blur
caused by subject movement.
This is fine if you want to use
blur for creative reasons, but it
is not helpful when taking
portraits or with street
photography. A lens like the
56mm f/1.2 needs to be used
at a shutter speed of around
1/250sec to prevent blur
caused by your model moving.
If you use a lens like the
18mm f/2 for landscape
photography and you want to
use slow shutter speeds then
you are better off placing the
camera on a tripod. You can be
more precise with the
composition, and a good tripod
lets you use shutter speeds as
long as six minutes or more.
Jerez, Spain. The 35mm f/1.4 could
The Fujinon 56mm perhaps benefit from OIS, but
f/1.2 lens works just the wide aperture, combined
as well for taking with the excellent image quality
portraits of animals as that Fujifilm cameras give at
it does of people.
1/250sec @ f/2.8, high ISOs, lets you work in very
ISO 400, X-T 1 low light conditions.

balance between a wideangle lens, The wide aperture of f/1.2 gives compared to the other two lenses,
which forces you to get closer and beautiful creamy bokeh, or you can especially with the lens hood fitted.
include more of the background, close the aperture ring down a stop If you’ve come from a full-frame
and the longer 56mm lens which or two for sharper images and more system you’ll be wondering what
I also tried out. depth of field. the fuss is about, but it may make
It also comes in handy for your X-series camera feel a little
The 56mm f/1.2 landscape photography. If you front heavy.
This short telephoto is the ideal are taking photos in a hilly or I counter that by using an X-T1
portrait lens. The focal length is long mountainous environment, lenses with the portrait grip. This also has
enough to give you portraits with with longer focal lengths are ideal the advantage of letting me turn the
minimal facial distortion, and short for compressing perspective and camera on its side for portrait
enough so that you are sufficiently drawing distant peaks closer in, orientation photos. I love this
close to your model to have a emphasising their height and size. combination as the grip allows me
conversation and give directions The only drawback of this lens is to add an extra battery so I can
without raising your voice. that it is relatively large and heavy shoot for longer before switching.

WWW.WHATDIGITALCAMERA.COM 35
 EXPERT GUIDE

High-end technology at a premium price

What our
Sony Cyber-shot DSC-RX10 test said
‘There’s no denying that the RX10 is a niche
W W W. S O N Y. C O . U K camera, in no small part due to a launch

I
t’s no secret that
price that is some £600 more expensive
smartphones have caused
than its nearest bridge competitor.
‘The fact is, however, you’re getting
the compact camera
a whole lot of camera for the money. If
market to go into freefall,
you were to buy an equivalent to the
leaving manufacturers
24-200mm f/2.8 lens alone, you’d be
struggling to decide where to
looking at a serious investment.
invest their money next. Sony
‘The RX10 also delivers on image
has a foot in both camps, but
quality, thanks to the impressive 1in sensor,
in 2012 it chose to launch a
while it’s also a camera that delivers on the
premium compact, the
premium pitch in terms of design and
RX100. This pint-sized feature-set.’
package had a 1in sensor that
blew most of the competition
out of the water. The model The lens
is incredibly
was so popular that by 2015
compact PROS CONS
four versions were available. considering the • Generous 1in • Much more
The success of the RX100 optics 20.2MP sensor expensive than an
proved there was money to • Lens features a entry-level DSLR
constant maximum • No touchscreen
be made in backup cameras aperture of f/2.8 capabilities
for enthusiast photographers, • Tilting (but not
and Sony used this fully articulated) LCD
knowledge to create the screen
RECOMMENDED
RX10, released in 2013. This
premium bridge camera
borrowed its 20.2MP 1in
sensor from the RX100 II,
while adding a 24-200mm
(equiv.) Zeiss f/2.8 constant
aperture lens. Rather How it stacks
predictably, this high-end
technology came at a
The RX10
features the up today
same high
high-end price, but there was resolution EVF In March this year Sony unveiled the
plenty to justify the outlay. as the A7 Cyber-shot DSC-RX10 III, sporting a
The RX10 handles much 24-600mm (equiv.) zoom lens, and
like an entry-level DSLR: it utilising the same 1in sensor found in the
has a reassuring weight, a LAUNCH some nice bokeh, and if RX10 II. The new camera has a
chunky handgrip, and enough
PRICE £1, 04 9 200mm seems a little short, 2.36-million-dot electronic viewfinder,
exterior buttons and dials to you can always activate the and 4K video shooting capabilities, but the
facilitate full manual control. CURRENT digital zoom, which is LCD screen is still not fully articulated, or
The LCD screen is not fully
PRICE £5 59 surprisingly good (albeit touch sensitive. What’s more, the Mark III
articulated, but it can tilt, restricted to JPEGs). If you version has an RRP of £1,249.
which is helpful when disappoint: colours are want to avoid the hassle of
shooting from high or low
angles. The RX10 features an
punchy, without being
overcooked, and skin tones
carrying multiple lenses,
without compromising too
Alternatives
impressive 1.44-million-dot are naturally rendered. much on image quality, the The RX10’s main competitor is the
electronic viewfinder, making Thanks to the sensor, files are RX10 is an excellent option. Panasonic FZ1000, which was introduced a
it suitably bright and clear. also full of detail, and noise year later and costs £599. It sports a similar
When it comes to image levels are kept to a minimum. • For a full review of the new 20.1MP sensor, coupled with a longer, but
quality, the RX10 does not The Zeiss f/2.8 lens creates Sony RX10 III, turn to page 64. smaller aperture 25-400mm (equiv.)
f/2.8-4 lens. Key features include a
fully-articulated screen, 2.36m-dot OLED
In the range How the Sony Cyber-shot DSC-RX10 fitted in the range KEY SPECS viewfinder, and 4K video recording.
SENSOR 1in EXMOR R CMOS 20.2MP
ISO 125-25,600
BURST MODE 10fps
MOVIE Full HD (1920 x 1080)
DISPLAY 3in LCD
DIMENSIONS 129 x 88.1 x 102.2mm
RX100 II RX10 RX1R WEIGHT 755g

36 WWW.WHATDIGITALCAMERA.COM
 SONY RX10

The Sony RX10 Two users give their verdicts

1
Chris Lamle
E A S T L A N C A S H I R E

M
y first foray into the
world of photography
came courtesy of my
father’s Praktica SLR and an old
Voigtländer rangefinder. The
first camera I ever bought was
a secondhand Minolta XG7.
Photography took a back seat
for a while, but my interest
returned about three years ago
when I realised the technology
I was using was letting me down.
I spent months studying specs
and reading online reviews,
figuring out what I needed.
I enjoy landscapes, urban
scenes, portraits and suchlike.
I’m still finding my feet
stylistically and am trying to
train my eyes to look for the less
obvious compositions. I settled
on the RX10 as it offers great 2 1 Guggenheim 2 Carnival
image quality and versatility in The Guggenheim in Celebrations in
a reasonably compact package. Bilbao on a very Spain. The town
And I particularly like the manual overcast day. Perfect dresses up for some
control, with the aperture ring on lighting conditions to serious partying.
the lens barrel and an exposure create a moody 73.2mm, 1/250sec
compensation dial. Also, it really monochromatic shot. @ f/2.8, ISO 1600
feels built to last. 21.9mm, 1/320sec @ f/3.5, ISO 125
If you buy a camera like this
you have to accept its technical 3 Washday, Andalucia
limitations, noise levels and Taken in a small pueblo blanco in Andalucia.
depth of field control. The only Even the ordinary can be transformed by the
specific issues I can find fault angle of view and composition.
with are that the autofocus 47.1mm, 1/1600sec @ f/5.6, ISO 125
could be faster and I wish the
batteries would last longer. The 3
zoom can feel a little slow, but
that’s because it’s designed for
video as well as stills. But it’s still
quicker than swapping lenses.
The RX10 has reinvigorated
my photography and I will
always have a camera like this.
If I ever develop an interest in
something that the RX10 can’t
deliver, then no doubt I’ll buy
something that can.

PermaJet says: ‘Chris’s images

are ideal for Oyster 271. The
weight, texture
and subtle
lustre
reveal
colours and
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WWW.FLICKR.COM/PHOTOS/67635292@N08/

WWW.WHATDIGITALCAMERA.COM 37
 EXPERT GUIDE

1
Lucas
Harmsen
T H E N E T H E R L A N D S

I
bought my first camera in
the mid 1960s, and it was the
camera of my dreams at that
time – a Werra with a Carl Zeiss
Jena f/2.8 50mm fixed lens.
I was inspired by the black &
white pictures and style of the
famous Dutch photographer Ed
van der Elsken. I’m still a black &
white addict, and love grainy,
high-contrast images.
I try to photograph as a writer,
creating my own world. I capture
people, subjects, and interesting
moments isolated from their
surroundings, and give my
images an unconventional look
with high contrast and an
intriguing atmosphere, mostly by
using Photoshop and Alien skin.
After using a Pentax K-5 and
five lenses for about three years,
I went to my camera shop and
they showed me the Sony RX10.
Straight away, I was impressed.
An integrated 8.3x 24-200mm
Carl Zeiss Vario-Sonnar T* zoom
lens with a fast maximum
aperture of f/2.8 throughout
the entire focal range? Fantastic.
I swapped my Pentax camera
and lenses immediately.
It’s a really great camera and 1 Why couldn’t
a joy to shoot with – especially he just tell me?
for street photographers like Taken from the second floor of a building.
me who can be a little afraid of 200mm, 1/20sec @ f/16, ISO 400
capturing people from a close
distance. I love to shoot in JPEG
in the A, P or S mode so I keep
enough photographic control. 2 Windless times
But even in Auto mode, the The hooded figure introduces
RX10 delivers very good images. a sense of mystery.
I also love the built-in flash, 40mm, 1/800sec @ f/4, ISO 200
which is very easy to work with.
Most of all, I like the quality 2
and ease of the Carl Zeiss lens
paired with the 1in sensor, and
the overall image quality.

PermaJet says: ‘For a creative

choice, PermaJet Titanium Lustre
280’s metallic surface
would emphasise
the movement in
Lucas’s images,
making them leap
off the paper.’

WWW.FLICKR.COM/PHOTOS/LUCAS_HARMSEN/

38 WWW.WHATDIGITALCAMERA.COM
 SONY RX10

3 Please make up 4 Please listen to me! Each featured

your mind, boy! A street shot taken during a festival.
Taken in the hallway of a hotel, 200mm, 1/800sec @ f/2.8, ISO 200 reader receives a
using the reflection of a mirror. £50 Permajet
200mm, 100sec @ f/2.8, ISO 400 voucher
4

PermaJet provides award-winning

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The comprehensive range of inkjet
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WWW.WHATDIGITALCAMERA.COM 39
 TECHNIQUE

Accessory
Masterclass
Phil Hall has some tips, tricks and techniques
to help you make the most of your accessories
ALL IMAGES THESE PAGES © JEREMY WALKER

W
e can spend hours Positioning your ND
poring over advice on
how best to use our Filters grad correctly is
essential for achieving
a pleasing shot
cameras and lenses, Filters are a vital accessory, but use them incorrectly and it can be
but we often overlook how to make very hard or even impossible to correct the mistakes in Photoshop.
the best use of the other accessories Here are a few key things you need to know.
we have in our camera kit.
Admittedly, compared to the
plethora of settings on a camera,
accessories can seem a little basic,
Position your ND grad
but this doesn’t mean you should get When positioning your ND grad, especially when
sloppy with your technique. Even the presented with a straight horizon, it can be easy to
simplest of accessories have a right become complacent. We’ve all been guilty of simply
and wrong way of being used, while pulling the grad down to roughly the point where the
little tricks and techniques can make horizon meets the sky and then shooting away. This,
life not only that bit easier, but can though, can lead to far too dark a horizon, so be sure
also help you to achieve better shots. to really study the scene and pay particular attention
Therefore, knowing how to use your to positioning the grad line correctly and carefully.
accessories correctly is as important Should a feature – such as rocks or a cliff –
as knowing how to use your camera protrude into the horizon line, you might want to
and lenses. In the next four pages I’ll set the grad at an angle, so these features aren’t
look at how you can maximise your too dark in the final image.
skills with some popular accessories.

40 WWW.WHATDIGITALCAMERA.COM
 TIPS FOR USIN G ACCESSOR IE S

A 0.9ND filter is more …than a 0.3ND version,

suitable here… which is not as strong

Know your density

The darkest part of an ND grad varies in filter reduces the exposure. A good starting
exposure value (EV) between filters. One with point is an ND4 or 0.6ND, which is suitable
a lighter density might cut out only 1EV of for the majority of scenes, but this varies
light, whereas the darkest density grads can depending on the strength of the light.
cut out as many as 4EVs of light. You don’t
want to use a grad that’s too strong for the
Optical Filter Light Exposure
scene, which might result in the sky appearing density factor transmitted reduction
darker than you’d like. in EV
Selecting the correct filter can be confusing, 0 1 100% 0
as manufacturers give them different names. 0.3 2 50% 1
For example, an ND4 is the same density as a 0.45 2.5 37.5% 1.5
0.6ND – both reduce the exposure by 2 stops. 0.6 4 25% 2
The table (right) outlines the relationship 0.75 7 18.75% 2.5
between the optical density, filter factor and 0.9 8 12.5% 3
number of EVs by which the dark part of the 1.2 16 6.25% 4

The unfiltered Instead, a soft

shot here grad delivers
doesn’t lend a smoother
itself to a transition
hard grad

Make the most of

your accessories, and
you could see an
improvement in
your images

Hard or soft?
After determining the density of filter meanwhile, have a much more gradual change
required, the next decision is whether to use from clear to dark, and are suitable for
a hard or soft grad. Hard grads have a sharp landscapes where there are trees, mountains
transition from clear to dark, and are the most or buildings above the horizon. The use of a
popular choice, as they allow the point of hard grad in these situations would produce
transition to be set on the horizon, where a distinct line across these elements in the
the sky is often at its brightest. Soft grads, image and ruin the shot.

WWW.WHATDIGITALCAMERA.COM 41
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 T I PS F O R U S IN G ACCES S ORI ES TECHN IQU E

Always leave the thinnest leg sections

until last. It’s better to use the thicker
ones first and only use the thinner ones
if you need the extra height

Above: Use your left hand to support the lens

and balance the camera better
ALL IMAGES THESE PAGES © PHIL HALL

Below: Rather than attach the camera to the

monopod, use the tripod collar on your lens

Tripods Weigh it down

With your tripod extended and camera mounted
A tripod may look like a straightforward piece of kit, but there on top, blustery conditions can destabilise your
are plenty of tricks you can use to get the most from it. More set-up pretty easily, so it’s a good idea to weigh
importantly, you’ll achieve the sharpest possible shots. everything down. This is easily done by
attaching your camera bag to the centre column
Avoid using the (there’s normally a hook to do this). If you can
centre column place your body between the prevailing wind
Most tripods come complete with an extendable and the tripod to shield it, so much the better.
centre column that can be used when you need
a much higher shooting position than normal. Firm base
The trouble is, it’s easy to become lazy, and When you’re setting up, make sure you push
rather than extend the tripod’s legs we simply
bring up the centre column to the height we
the legs really firmly down into the ground,
to give you as solid a base as possible from
Monopods
want – leaving the leg sections collapsed. which to shoot. Even with the best anti-shake systems,
However, this creates a far less stable platform If you’re on the beach, it’s tricky to maintain a monopod can add an extra level of
from which to shoot, even when using the best a solid foundation so try to find some rocks or stability to your set-up.
tripod; save the centre column for when you stones on which to position your tripod legs, or
really need that extra bit of height. consider using snowshoes to spread the load. Use your tripod
collar
Use thinnest sections last Get it level Most decent monopods come
If you don’t need the tripod’s full height, you While it’s not too much hassle to correct wonky without a head, but this shouldn’t
should extend the largest leg sections first. horizons in Photoshop, get it right in-camera if be an issue if you’re using a
The most spindly sections are also the least you can. Some tripods have built-in spirit levels longer focal-length lens, as most
strong, so using them instead of the thickest (see left) to help with this, or you can pop one come with their own tripod
parts of the leg can affect stability. You want on your hotshoe. collar. Screw your monopod
your camera’s support to be as sturdy as onto the lens collar rather than
possible, so use the stoutest sections first. Don’t carry your to your camera body, as this
camera on a tripod allows you to switch between
When we’re swept up in the moment, we landscape and portrait-format
often want to move quickly between locations. shooting positions easily.
Don’t try to save time by keeping your camera
attached to the tripod and slinging it over your Rest your hand
shoulder while you walk. Take a moment to pop Rather than holding on to the
it safely back into your bag, as you never know monopod itself and gripping
what might happen. It’s easy to forget that it tightly, try to rest your left
the camera is attached, and you can end up hand and arm lightly on the
scuffing it along a wall, damaging the lens or top of the lens if you’re using
the camera itself. In another nightmare scenario, a long telephoto optic. This will
you might not have tightened the quick-release greatly increase stability when
plate sufficiently, and the next thing you know, shooting, as well as allow you
you’re watching your camera as it bounces to move the lens smoothly.
along the ground.

WWW.WHATDIGITALCAMERA.COM 43
  


    


 

 #   ! $         

"        ! $     
 !   ! $  $! !        

        

 T I PS F O R U S IN G ACCES S ORI ES TECHN IQU E

© KATE HOPEWELL-SMITH
Flashguns
Flashguns (or Speedlights/Speedlites, as
manufacturers would have us call them) can be an
incredibly versatile piece of camera kit, allowing us
to control and shape light, but we can sometimes
be guilty of not making the most of them. With that
in mind, let’s take a look at a few tricks that can
transform flash images, from hard, directly lit photos
to high-end shots with sculpted lighting.

Underexpose
ambient light
A striking technique to try with off-
camera flash is to purposely underexpose
the ambient light of the shot, while the
flash is used to light your subject and
make it really stand out.
You’ll need to manually meter, stopping
down the aperture by a couple of stops
to force the camera to underexpose,
then boost the power of the flash to
compensate (you’ll need to set the flash
to manual, too).

© JAMES ABBOTT
© KATE HOPEWELL-SMITH

© JAMES ABBOTT

High sync function Diffusion Bounce flash

Most cameras offer a maximum flash sync Light modifiers allow you to diffuse and Direct flash fired from the camera can cause
speed of between 1/160sec and 1/250sec. If sculpt the light for a much more pleasing unsightly shadows, especially if your subject
you use a shutter speed faster than this you’ll result, with umbrellas and softboxes being is standing close to a wall. While off-camera
end up with banding across your image. This the most popular choices. Umbrellas are flash can overcome this, it’s not always
isn’t an issue indoors, but if you want to use easier to transport and, in most cases, possible or realistic to set up lights remotely,
fill flash outdoors, or set a shallow depth of quicker to set up on location. There are two so a quick fix is to start by angling the flash
field, it can be restricting. types. Shoot-through examples have a white head (with the flashgun still mounted on the
Some flashguns, though, feature a translucent fabric through which you fire the camera) and bouncing the flash off the
high-sync flash function. This allows you to flash to soften the light; reflective options ceiling or wall. This softens the light and
use a much faster shutter speed (1/8,000sec, have a silver lining that you use to bounce reduces the shadows behind the subject.
for example) without the resultant banding of the flash off and back onto your subject. Just remember, though, to avoid bouncing
the shutter across the image. This is down to Softboxes also soften the light as the flash the flash off brightly coloured walls and look
the flash firing for longer than normal, and the is passed through one or two layers of for neutral surfaces instead. Otherwise you’ll
rear curtain of the shutter starting to close material and prevent light from spilling out end up with an unflattering colour cast on
before the front curtain fully opens. This will the sides, although they can be a bit more your subject that will be hard to correct in
be a dedicated setting on your flashgun. hassle to set up. post-processing.

WWW.WHATDIGITALCAMERA.COM 45
 HELP

Move to mirrorless ?
MARC UST
Compatible
inks for Canon
iX6850
Q
My first DSLR was in lenses and accessories. Alas is an attractive and unique
W E S T R E M E B AY
the Olympus E-500 technology: either you keep up experience and they continue

Q
– a well-priced with it, or it leaves you behind. to dominate the demanding I was wondering
four-thirds camera with two professional press, sports and if compatible inks

A
lenses. I liked it for its image You make a very wildlife categories. With Sony rather than the
quality at the time and its price. interesting and astute now providing exciting recommended Canon inks
Then, due to clumsy hands, I historical analogy. Alpha-series full frame are any good? I see a lot of
bought an E-510 to keep using However, there are some key mirrorless system cameras and cheaper third-party inks on
the lenses. Shortly after, differences. Olympus went for Olympus and Panasonic Micro offer, but is there a catch?
Olympus introduced the Micro a relatively small sensor size, Four Thirds cameras going
Four Thirds and even though smaller than APS-C, and from strength to strength, it’s
the company declined, you needed a top-flight sensor fascinating to see how the
could see all their marketing manufacturer to ensure that DSLR leaders are reacting.
was going into that product. the small sensor size Canon launched its EOS-M
On the Olympus forums, the weaknesses of high ISO noise system, which is partially

A
die-hards refused to believe and limited dynamic range compatible with its DSLR Printer ink is
that Olympus would abandon were minimised. Today, the lenses. But you can see Canon actually the result
the full four thirds industry. same size sensors from trying to avoid cannibalising its of complex lab
I did not want to be left behind Panasonic and Sony perform DSLR market resulting in the development. There are
and so I switched to Nikon. really well but at the beginning EOS-M range being rather two basic ink types: dye-
Olympus is now pretty much Olympus had to rely on Kodak conservative. Nikon has based and pigmented. The
all Micro Four Thirds. sensors that worked well in completely segregated its former is composed of
I see mirrorless also running good light but a lot less so mirrorless offering, limiting its soluble molecules.
the same path. It’s true that when the ISO was turned up. small sensor Nikon 1 mirrorless Pigmented inks contain a
today, mirrorless cannot Today, Nikon, Canon and cameras to a segment aimed dense suspension of solid
compete with a DSLR, but even Pentax are showing that at satisfying customers who microscopic particles of
soon, they will surpass our big, DSLRs are still here for the aren’t really interested colour. The problem with
heavy, neck breakers, and we foreseeable future. in larger system third-party inks is that
will be stuck with gear that is DSLR sales are, cameras. Logic many cheap ones are not
only worth nostalgia. indeed, dictates that formulated properly. Tests
I am not ready to make declining, but mirrorless is the have proven that some
the move quite yet, but I am only gradually. long-term future cheap inks for printers
The Sony
looking at the camera that There is still but DSLRs are requiring pigmented inks
Alpha-series
shows the most promise, something about full-frame CSCs far from have actually been dye-
before I consider investing using a DSLR that are impressive obsolescence. IB based and vice-versa. This
can damage print heads
and cause poor print quality.
For photo printing there

Flying to Greece with a DSLR is an added dimension:

resistance to fading.
Independent tests routinely
NIC K P I K E
find cheap third-party inks

Q
Next month I’m internationally and the with in the cabin have a very low fade-
planning on flying latter will be specific but not in the resistance. There are some
to Greece with my to the airline. The hold. You will decent third-party inks but
DSLR, along with a tripod and main issue with need to check there are a lot of poor-
two lenses. I’m planning on cameras is batteries. the size and quality ones, too. Knowing
checking in the tripod, but It might seem weight limitations what’s good and what isn’t
carrying on everything else. counterintuitive, but all for hand baggage is far from easy, so going
Would that be OK with UK batteries should be brought in with the airline. If you with the printer
and Greek security? And do your hand baggage and there are using more than one manufacturer’s ink is the
you have any packaging tips? is an upper limit in terms of airline, the restrictions may safest bet. You may baulk
the Watt/Hour capacity, differ. A tip for packing at the cost, but the cost per

A
You need to consider though camera batteries get camera bodies and lenses page of your ink is closely
two factors. The nowhere near this. is to remove lenses from tied to the price of the
first is what’s allowed The reason why batteries bodies and to wrap all items printer. If you buy a printer
in the cabin and, indeed what are not allowed in checked in cloths to prevent minor that can take larger tanks,
isn’t, plus the baggage baggage is because in the bumps and abrasions. A the ink cost per page can
limitations. The former is rare situation where a battery decent camera bag will solve be much lower, even if the
generally agreed catches fire, it can be dealt a lot of these problems. IB printer costs more to buy. IB

46 WWW.WHATDIGITALCAMERA.COM
 GOT A
QUESTION ?
DROP OUR
EXPER TS A LIN E

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 HE LP GOT A QUESTION ? DROP OUR EXPER TS A L IN E

Underwater options Next

T IM STE WA RT
month
Q
This autumn I am X-T1 and using someone

© LEE FROST
holidaying in the else’s casing would be
Bahamas and as you quite risky without
can imagine it has cost a fair knowing how well it had
bit. This will be a holiday of a been maintained. The best
lifetime and I am sure my Fuji options would be to use
X-T1 will do the business in either a waterproof The waterproof
terms of holiday pictures. compact camera, which Fuji XP80
However, we do plan to do would also double as a
some sub-aqua diving and I conventional camera, or a £129
want to be able to photograph more specialised GoPro-style with, for example,
the fish and the coral in all its action cam. The latter will the Fujifilm Finepix XP80, but
glory but my budget is limited. go deeper but from a this is a fairly simple and limited
There is no way I can consider
a diving enclosure for my X-T1,
photographic standpoint the
more conventional ‘tough’
offering, though it is rated to
15m depth. At the other end of
Building
but maybe I could hire one? waterproof camera has a lot the scale is the £350 Olympus blocks
Alternatively, what about an going for it, as it will have a Stylus Tough TG-4, which can Architectural photography is
inexpensive dedicated camera, screen on the back and a zoom shoot Raw files and is Wi-fi a hugely accessible subject.
perhaps an ‘action cam’? lens. Many of these cameras compatible. It can also go to Read our top tips to learn
have underwater modes to 15m. The TG-4 was also the how to make the most
of its assets
A
I wouldn’t bother with improve colour rendition, too. winner in our Tough camera
hiring an enclosure. However, some are only rated group test last year. At the time
You will be very to a metre or two of depth. of writing it is being discounted Nikon D500
unlikely to find one for your Such cameras start at around to around £265. IB Is this the most
accomplished crop-sensor
camera yet made? Find out
in our full test
Which photo editing software to buy?
HANALO R E W E L H AM

Q
I have been using up one or the other. amount of time and effort
an old copy of Lightroom serves to both using Lightroom. Naturally,
Photoshop Elements manage and catalogue your Lightroom has been copied
for a while, but I’m now ready photos and to crop and adjust and the two obvious
to take my photography up them, and changes made to alternatives are CyberLink
a level and want to start using one image can be instantly PhotoDirector and Corel
Raw files since upgrading my applied to any others. You AfterShot Pro. Neither is as
Life on the
camera to a Nikon D3300. preview the changes made in accomplished as Lightroom, street
The advice I have received real time on-screen though but both will do the job. Discover your inner
from my local college is to the actual changes are never PhotoDirector includes some Henri Cartier-Bresson
use something like Lightroom applied to the original file. aspects of Photoshop with our guide to candid
rather than upgrade to the full Changes only happen to a functionality, including layers photography
version of Photoshop. Is this virtual copy at the time you support, and AfterShot Pro
good advice? However, I am wish to finalise your edits and works very fast. Lightroom Neutral-
a bit confused about the to create (export) an edited can be bought on its own for density grad
pricing of Lightroom and the
alternative of signing up to
version. The original file is
always kept untouched.
around £110. PhotoDirector 7
can be had for as little as £30,
filters
We’re used to hard and
the Adobe Creative Cloud. It Photoshop has a greater and AfterShot Pro 3 is priced
soft filters. We try out the
all sounds a bit expensive. range of editing and £69.99 before
new medium and very hard
Also, are there any cheaper special effects tools discounting.
versions from Lee Filters
alternatives to Lightroom? but Lightroom has Adobe offers
all you would need Lightroom and

A
Adobe Lightroom
is not a direct
replacement for
for routine image
adjustments and
cropping.
Photoshop, the
full version,
together in its On
sale
Photoshop, though many Photoshop can’t do Creative Cloud
photographers using batch processing of Photography
Lightroom would say that multiple files like subscription
they would probably keep Lightroom. You can package for £8.57
Lightroom if they had to give save an incredible per month. IB 26 August

48 WWW.WHATDIGITALCAMERA.COM
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 TECHNIQUE TOP TIPS

Getting over a
creative block
Lost your creative mojo? Struggling to
find photographic inspiration? Here are
over a dozen ways to put some oomph
back into your images

I
WORDS AND PICTURES LEE FROST

t happens to us all at some stage. day, but then it’s like someone flicks a passion fades, there’s usually a simple
We head out with a camera, fully switch and your inspiration drifts away on explanation and a simple solution. In many
intent on taking some great the breeze and try as you might, you can’t cases it’s down to boredom. If you find
photographs, only to return home with seem to get it back. yourself shooting the same subjects or
an empty memory card feeling deflated Some photography enthusiasts see locations month-in, month-out, chances
and confused. It’s the photographic this as a sign that it’s time to find another are you’ll eventually run out of creative
equivalent of writer’s block. The light’s hobby and hang up their cameras for steam. You’ll stop feeling inspired, your
okay, the location is interesting, you were good. But when you used to be ideas will run out and the photographs
feeling keen when you set off earlier that passionate about something and that you do take will just make matters worse!

Barcelona, Spain. Visit

a new, exciting place
and you’ll be creatively
refreshed. Canon EOS
5D Mark III, 70-200mm,
6secs @ f/11, ISO 200

50 WWW.WHATDIGITALCAMERA.COM
 CREATIV E B LO C K

Snaefellsnes, Iceland.
Photo workshops and
tours take you to
Tip 2 Buy a
inspiring places where
you can learn from the
experts. Canon EOS
film camera
5DS, 70-300mm, It may sound totally bizarre,
1/15sec @ f/18, ISO 100 but taking a backward step,
technologically, could be just what
you need to breathe life back into
your digital photography –
especially if you’ve only ever taken
serious photographs with a digital
camera. Take a look on eBay – you’ll
find loads of unwanted film cameras
on sale for peanuts. Buy an old
35mm SLR with a 50mm standard
lens, or a Holga ‘toy camera’, order
a few rolls of film and start shooting.
Film photography is fun. It’s
everything digital isn’t – quirky,
unpredictable and you have to wait
to see the results because there’s no
small screen on the back! There’s a
thriving analogue movement still
out there and you could become
part of it. For inspiration, check out

Tip 1 Find a photo friend www.lomography.com where as well

as buying weird and wonderful
cameras you can also see what folk
are doing with them!
Photography tends to be a solitary pursuit, have an expert on hand, too, to offer help,
but that also means it can get lonely at advice and inspiration.
times, and if the creative juices aren’t flowing, I’ve led over 150 workshops and photo
it’s easy to pack up and head home. One tours over the years and it’s fantastic to see
solution is to go out shooting with other the participants enjoy what they’re doing
keen photographers, so that you can bounce while creating great images. Many come back
ideas around, compare images, learn from time and time again because workshops
each other and enjoy the company of provide a stimulating environment where
like-minded souls. you can forget about work and the daily
Joining a camera club is a good way to grind and indulge in your passion!
meet other photographers. Alternatively, try If you fancy joining a workshop email me on
booking yourself onto a photo workshop [email protected], or just Google
where you can spend a few days immersed ‘Photo workshops’ and see what comes up –
in photography with other enthusiasts and loads of photographers run them.

Reykjavik, Iceland.
I used an Apple iPhone
and the Hipstamatic
app to take this
Tip 3 Use your smartphone
colourful shot.
Leave your heavy DSLR kit at home and spend the day only taking
photographs with the camera in your phone. It’s lightweight, liberating
and fantastic fun. Modern ‘smartphones’ from Apple, Nokia, Samsung
and other manufacturers are capable of producing amazing results.
Even better, there are loads of apps you can download that customise
the camera to produce images with a specific look and feel so you
can create the lo-fi look instantly. I use an iPhone 6 and my favourite
app is Hipstamatic as it has loads of lens and film combinations
available, all creating a different look. The images are automatically
cropped to a square and processed in-phone, so you don’t need to do
any further work on them. I mainly use the John S lens with Blanko,
Blackeys, Ina’s 1969, Supergrain or Claunch 72 Monochrome films. The
images have the character of photographs taken with vintage or toy
cameras. You’ll be amazed just how good the results can be – and all
you have to do is point and shoot!

WWW.WHATDIGITALCAMERA.COM 51
 T E C H N IQ U E TO P TI P S

Tip 4 Break out of

your comfort zone
If you only ever shoot the same subjects, visit the same
locations or practise the same techniques, chances are
you’re going to hit a creative dead end eventually,
because what you do no longer challenges or stimulates
you and you stop improving. The easiest way to get
over that is by pushing yourself creatively. Try a subject
you’ve never photographed before – sport, nature,
still-life, nudes; basically something that’s as far
removed from your usual subjects as you can. That will
force you to think differently, use different techniques
and develop a whole new set of skills. Before long you’ll
be feeling energised and inspired, and wondering what
the fuss was all about!

London, England.
Tackling a new subject
or visiting a different
kind of location is a
great way to get your
creative juices flowing!
Canon EOS 700D,
10-22mm, 1/125sec
@ f/11, ISO 100

52 WWW.WHATDIGITALCAMERA.COM
 CREATIV E B LO C K

Gateshead, England.
These abstracts were
taken in a retail park.
Tip 6 Go to a
Canon SX200 IS
compact with 5-60mm
photo exhibition
lens, various exposures.
If you’re struggling to get
inspired by your own work,
maybe someone else’s will
do the trick? Photography
exhibitions take place all the
time and are well worth visiting.
If you live in or near a big city
– especially London – you’ll be
spoiled for choice. They don’t
have to be by famous names,
either, though seeing the work
of your favourite photographers
up close is fantastic.

Tip 7 Go
to a talk
Professional photographers
often put on talks that can be
both informative and inspiring

Tip 5 Set yourself a project because you get to see and

hear their passion first hand,
and hopefully it will rub off on
Finding a purpose to pick up a camera an end goal, such as producing a portfolio of you. Local camera clubs tend to
can be difficult at times, especially when images, creating a photo book or organising sell tickets when they’ve got
photography is a weekend pursuit. Setting an exhibition of the project work so you know big name speakers, so even if
yourself a project will help to overcome this what you’re aiming for and there’s a timescale. you’re not in a club you may be
problem. It could be anything – to document Then once you’ve completed one project, able to attend. Some pros also
a specific location (which could be one you start another one. It needn’t involve travel or do roadshows – such as David
keep going back to or a different one each even leaving home either – you could decide Noton’s Chasing The Light
week or month) to work on a theme, to to produce a set of images of household shows that tour the country
photograph local landmarks, to shoot a objects, flowers, favourite possessions or and draw big crowds.
particular sport or regular event. Establish anything else that comes to mind.

Havana, Cuba. This

Tip 8 Take wacky image was
created by quickly
moving the camera
creative in an arc while
taking the shot.

risks Canon EOS 5D Mark III,

24-70mm, 0.4sec
@ f/22, ISO 400
In the days of film, when every
click of the camera’s shutter cost
money, photographers tended to
play it safe. Those days are long
gone now, though. Digital
photographs are free, which
means you’ve got no excuses
not to take risks. I’m a more
experimental photographer
now that I used to be and it has
definitely kept my passion alive.
I was slipping into a creative rut
a decade ago, but switching
from film to digital changed that
massively and I’m more inspired
now than ever before.

WWW.WHATDIGITALCAMERA.COM 53
 T E C H N IQ U E TO P TI P S

Tip 11 Buy a Big Stopper

Have you jumped on the long-exposure bandwagon yet, using
a Lee Filters Big Stopper or equivalent ‘extreme’ neutral density
filter to record blurry skies and turn moving water to milk? If
not, you really, really must, because even though this technique
has become mainstream in recent years, the images look
amazing and if they don’t inspire you, well, nothing will!

Tip 9 Black &

white or colour
If you only ever shoot colour,
start converting your images to
black & white using Photoshop,
Lightroom or software like Nik
Venice, Italy. This is the
Silver Efex Pro. Similarly, if you’re kind of effect you
a dyed-in-the-wool monochrome can expect from a
photographer, ditch black & white 10-stop ND filter.
for a while and work in colour. Either Canon EOS 5DS,
24-70mm, 140 seconds
way, it could give you the creative
@ f/11, ISO 200
kick-start you need.

Tip 12 Try digital pinhole

Tip 10 Do
something Digital images can be too perfect and clinical,
so why not try something totally different?
Like pinhole photography, where instead of
buy a pinhole film camera, but a quick fix is to
have a pinhole bodycap made that you attach
to your DSLR instead of a lens. Just send a
with your a lens, a tiny hole punched in a metal plate
projects an image onto a light-sensitive
spare bodycap for your camera and £35 to
Pinhole Solutions (see www.pinholesolutions.

work material. No glass, no fancy optical design,

just the action of light. Pinhole images lack
co.uk) and within a week you’ll take delivery
of your bodycap drilled and fitted with an
sharpness, but image quality is still high etched pinhole ready to create fascinating
In this digital age we take more considering how they were created. You could digital pinhole images, like this one below.
photographs than ever, but
probably do less with them –
they sit on hard drives and are
only ever viewed on a computer
screen, iPad or posted on social
media. Why not do more with
your work – create a website,
join an image-sharing forum
such as Flickr (www.flickr.com)
or 500px (www.500px.com),
print your best shots and
display them on the walls of
your home, put on a small
exhibition, create a photobook
using a print-on-demand
service such as Blurb (www.
Tuscany, Italy.
blurb.co.uk). There are lots of Soft and simple is what
ways to put your photographs pinhole photography’s
to good use and in doing so all about.
keep your enthusiasm alive. Canon EOS-1Ds Mark III,
with pinhole bodycap,
30 seconds @ ISO 100

54 WWW.WHATDIGITALCAMERA.COM
 CREATIV E B LO C K

Valencia, Spain.
Tip 13 Book If the amazing
architecture of the City
of Arts and Sciences
a city break doesn’t help you
overcome a creative
block, nothing will!
Too many photographers spend too Canon EOS 5D Mark III,
much money on new gear and not
17-40mm, 1/250sec @
f/11, ISO 100, polariser
enough time using it, so instead of
splashing out on a new lens, use that
money to fund a city break. Go off
to Venice, Paris, London, Valencia –
anywhere you’ve never been before
– for a few days and spend your time
taking photographs. It’s amazing how
your creative juices start to flow again
when you’re in an inspiring place.

WWW.WHATDIGITALCAMERA.COM 55
Camera
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 CA MERA S , LEN SES & ACCESSOR IE S
GEAR REVIEWS

amera bags come in many shapes, these employ twin shoulder straps that others have quick-access side panels.

C sizes and styles. And while shoulder

bags are great for those with
smaller fixed-lens cameras, they’re not all
enable you to spread the weight of your
gear, making it more comfortable to
carry for extended periods of time. Not
Others are split into two sections, allowing
you to store more general items in the top
and your camera gear in the bottom. Some
that practical for those with a DSLR or all camera rucksacks are the same come with a waist belt, some do not.
CSC plus a collection of lenses, especially if though, and there are many points of We’ve gathered five of the best rucksacks
you’re going to be wearing the bag for an differentiation between rival models. For on the market. Read on to see why we rate
extended period of time. In that case, your example, some open up on the front, while them and how they could benefit you.
best bet is almost certainly a rucksack-
type camera bag. As the name implies, Turn over for our rundown of the BEST 5 on the market...

Key points of a Camera Rucksack

Waterproof cover Split compartments

Most bags are constructed from water- Some bags divide the main internal
repellant or water-resistant material compartment into two, allowing you to
that will provide ample protection store more general items in the top and
against showers. For greater protection camera equipment in the bottom. This
in really wet weather, some bags also can be useful if you want to use your
come with a protective rain cover that camera rucksack as more of a general
you can wrap around the bag to ensure daysack, for example when on holiday.
everything inside stays dry.

Shoulder straps Access points

All camera rucksacks come with Most bags allow you to access
padded shoulder straps that can your camera equipment via a
be adjusted to fit. The width of the zipper that runs around the front
straps does vary, though. As a rule of the bag, although many also
wider is better, because this will offer quick-access side panels that
ensure they don’t dig into your allow you easy access without
shoulders as much, when the removing the bag first.
bag is fully loaded.

P62 Accessories P64 Camera tests P72 Lens tests

Cullmann Nanomax tripod, Tamrac Hoodoo bag, • Sony RX10 III superzoom bridge camera • Tamron SP 85mm f/1.8 Di VC USD
Think Tank bag, Olloclip • Panasonic’s latest CSC for enthusiasts, the • Sigma 50-100mm f/1.8 DC HSM | A
Studio, Hawkesmill Lumix GX80
neck strap

WWW.WHATDIGITALCAMERA.COM 57
 W D C TO P 5 R O U ND- U P

5 Thule Covert DSLR Rolltop £100 Verdict

The Thule Covert DSLR Rolltop is
a highly flexible camera backpack
main camera door. It’s big enough
to house a 15in laptop. While there’s
KEY While the lack of a padded
waist belt and the lack of an
that is divided into two sections: no built-in rain cover, the bag is
SPECS external rain cover preclude
an open, non-compartmentalised constructed from water-resistant LAPTOP the Thule Covert DSLR Rolltop
space at the top that can be used to ‘Oxford’ material, while zippers are
COMPARTMENT 15in from being a suitable bag for
EXTERNAL
store clothes and general items, and also described by Thule as being RAIN COVER No long treks in the open
a padded camera section at the water-repellent. Both shoulder HEIGHT 54cm countryside, it remains an
bottom that’s spacious enough to straps are padded and adjustable WIDTH 45cm excellent choice for those
DEPTH 20cm
hold one prosumer-grade DSLR and complemented by a sternum urban photographers looking
WEIGHT 2.26kg
with an attached 24-105mm zoom strap, but there is no waist belt. for a flexible bag that can
lens, plus two spare lenses of up to Camera equipment is stored in carry a slimmed
70-200mm in size (or alternatively the bottom of the rucksack inside down set of
one spare lens and a flashgun). what Thule describes as a padded essential camera
Access to the top of the bag is via ‘SafeZone’ camera pod. This pod equipment
a zipped roll-top that enables you contains a set of dual-density alongside some
to extend the height should you padded dividers to create three more general
need to cram a bit more in. The individual spaces. The central items.
camera section is accessed via a space is where your DSLR sits
zipped panel on the side of the bag, and can be adjusted via Velcro
while a small tripod can be attached fasteners so that your particular
to the other side of the bag. camera and lens combination is
In addition, the bag sports three held more securely. The camera pod
sleeve pockets on the front of the can also be wholly removed from
pack, the top two of which are the backpack along with the zip-out
protected by a flap that fastens via divider that divides the top section RECOMMENDED

two buckles for added security. of the backpack from the bottom.
Rounding things off is a laptop This enables you to create a single
compartment that’s positioned just large space inside should you want
behind to the wearer’s back and to use the bag as a regular daysack
accessed via a zip just behind the for non-photographic purposes.

4 Manfrotto Professional Backpack 20 £110 Verdict

Hailing from Manfrotto’s
‘Professional’ range, the Professional
rain or more prolonged downpours.
The main compartment is
KEY The Manfrotto Professional
Backpack 20 is an extremely
Backpack 20 is designed to hold a accessed from the front of the
SPECS well-made and durable
professional-grade DSLR with bag, via a zip that runs around LAPTOP rucksack that is able to carry
attached 70-200mm f/2.8 lens, an the outside. Once inside, you are COMPARTMENT 13in a decent amount of equipment,
EXTERNAL
additional camera body plus up to free to re-arrange the internal RAIN COVER Yes and still have a bit of room left
three extra lenses, a flashgun, a 13in compartments as you like to fit your HEIGHT 43.5cm over for other small non-
tablet plus accessories. The front of own equipment. The laptop pouch WIDTH 31cm photographic accessories.
the bag features straps and a tripod is accessed from a separate zip
DEPTH 20.5cm While a padded waist belt
WEIGHT 1,690g
sock that can be used to carry a between the main compartment would undoubtedly make it
small to medium-sized tripod with. and the shoulder straps, making it more comfortable to wear
The bag benefits from Manfrotto’s impossible for anyone to access for extended periods
proprietary Exo-Tough Construction, while you are wearing the of time, it
which is designed to enclose your bag. In addition to the main nonetheless
camera equipment in a soft fabric compartment and laptop remains an
inner shell and protect it from pouch, the Professional excellent rucksack
impacts via multi-layered internal Backpack 20 also features for shorter treks.
padding and a tough outer shell two side pockets that can
that provides resistance against be used to store everyday
wear and tear. In addition, the items such as maps, keys
exterior of the bag has been treated or mobile phones.
with a special coating that makes The backpack is held
it water repellent. This is to ensure in place via two padded
that small to moderate amounts shoulder straps that are
of water just run straight off the also fully adjustable. The
RECOMMENDED
bag, although the rucksack also shoulder straps can be pulled
features a built-in rain cover that together for better weight
can be pulled out and extended distribution via a sternum strap.
over the entirety of the bag for There is also a waist strap –
increased protection in heavier however, it is not padded.

58 WWW.WHATDIGITALCAMERA.COM
 THE 5 B EST RUCKSAC KS

3 Tamrac Corona 14 £130 Verdict

Designed for street and action
sports photographers Tamrac’s
access zippers on both sides. These
come with small see-through
KEY The Tamrac Corona 14 is a
stylish and flexible rucksack
Corona range is available in three pockets for memory cards and the
SPECS that provides plenty of space
sizes – 14, 20 and 24. The Corona 14 like. Another zipper is on the front LAPTOP along with the flexibility to get
is the smallest of the three and of the bag, which gains you access COMPARTMENT 13in directly to your camera from
EXTERNAL
provides enough internal space to to the whole bottom compartment RAIN COVER Yes both sides of the bag. The open
house a DSLR with attached including your lenses. While there HEIGHT 44cm top section also increases the
24-70mm f/2.8 lens, plus up to four are no side pockets, the bag does WIDTH 27cm bag’s usefulness as a general
DEPTH 21cm
additional lenses – three if you’d have a sleeve compartment that’s daysack, allowing you to
WEIGHT 1,200g
prefer to use one of the padded big enough to house a 13in laptop. store essential everyday
compartments for a flashgun Tripods can be securely attached items as well as
instead. The Corona 14’s detachable to the front of the bag. your camera
shoulder straps enables it to be Both the shoulder straps are wide equipment.
worn in one of two ways: as a and well padded, and come with
traditional double shoulder-strap a sternum strap to help weight
rucksack, or as a sling-style bag. distribution. The back of the bag
To make the transformation from is anatomically padded in all the
rucksack to sling bag, you simply right places and features an
remove one of the straps and fasten airflow system to reduce
the other to the opposite corner. perspiration. While the bag is
A removable central divider splits not supplied with a waistbelt, it
the bag into two main sections: an is possible to add a removable
open space at the top that’s Tamrac ARC belt (£43) to help
accessed via a zipper on the front distribute heavier loads over GOLD
and which can be used to store longer periods of time. You can
everyday items and clothes; and a also hang other ARC pockets and
compartmentalised camera storage sleeves on it. The exterior of the bag
area at the bottom. Increasing the is constructed from water-resistant
bag’s flexibility for both right and material, and a protective rain cover
left-handed users, there are side is also supplied.

2 Vanguard UP-Rise II 48 £110 Verdict

This large and tough backpack
features an innovative expansion
zipper that opens to reveal
additional storage space for thin
KEY While the Vanguard UP-Rise II
48 is light on quick-access
system that allows you to extend its items such as books or maps.
SPECS external pockets, it remains a
storage capabilities with a single For those looking to get to their LAPTOP spacious and flexible bag that
zipper motion. The bag is designed camera quickly, the UP-Rise II 48
COMPARTMENT 15in can be easily tailored to suit
EXTERNAL RAIN
to hold up to two professional grade features a quick-access panel on the COVER Yes your equipment. The use of
DSLRs, plus up to five lenses and a side that allows you to swivel the HEIGHT 52cm water-resistant material and
flashgun in the main compartment, bag on one shoulder and quickly WIDTH 34cm plenty of padding also ensures
DEPTH 27cm
with a separate sleeve that can get to your camera. On the other that your equipment is kept
WEIGHT 2kg
accommodate a 15in laptop. side, the bag features a concealed secure and safe. Overall,
Opening the bag reveals a large tripod sock plus retaining straps it’s a great bag for those
main internal compartment that in that allows you to easily attach photographers with lots
addition to being spacious is a tripod with. Alternatively, the of equipment to carry.
generously served by padded side pocket can also be used to
dividers. These dividers can be store a water bottle or similar.
rearranged to suit the needs of your The bag is constructed from
equipment. In order to fully open water-resistant material and is
the bag, however, you’ll need to also supplied with an external rain
undo two quick-release buckles on cover for added protection. GOLD
the side of the bag. If you keep Despite the lack of a waist belt,
these buckles in place then the the shoulder straps are well padded
zipper is prevented from going and fully adjustable, rounded off by
more than halfway, effectively a sternum strap to help distribute
dividing the bag into two sections. weight more evenly. The back of the
Depending on how you organise the bag is anatomically padded with
inside, this could allow you to have what Vanguard describes as ‘3D
an open top section for general mesh’ and is channeled to let more
items and a compartmentalised air circulate between the bag and
bottom section for your camera. the wearer’s back with the aim of
The front of the bag features a reducing perspiration.

WWW.WHATDIGITALCAMERA.COM 59
 W D C TO P 5 R O U ND- U P THE 5 B EST RUCKSAC KS

1 LowePro Flipside 400 AW £80 Verdict

L
owepro’s popular Flipside is supplied with a number of The Lowepro Flipside 400
range currently consists of SlipLock attachment loops that AW is an extremely spacious
four models – the 200, 300, enable you to add further storage rucksack that will doubtless
400 AW and 500 AW – that pouches and accessories. appeal to those photographers
gradually increase in size and overall One of the main differentiating with a lot of equipment to carry
capacity. The 400 AW is a large- factors about the Flipside 400AW around. The rear-access design
capacity bag that’s available in is that access to the bag is gained makes it a practical bag for
either black or pine green and is from a zipper on the back, rather those looking to maximise the
designed to hold a professional- than the front. Unlike many other security of their equipment,
grade DSLR with a large telephoto camera rucksacks, the 400 AW while the inclusion of a padded
lens (up to 300mm) attached, along doesn’t provide side-access panels waist belt also makes it
with an additional camera body, either. This approach means that especially well suited to
between four and six lenses, a would-be thieves will find it all but landscape photographers
flashgun and other smaller impossible to unzip your bag while looking to get out into the
accessories such as memory you’re wearing it. In combination hills with a tonne of gear. GOLD
cards, spare batteries and filters. with the padded waist strap, this
Unlike many other rucksack-style is also how the bag gets its name.
camera bags the main compartment The basic idea is with the waist
is not split into two. Instead, the strap secured you can remove the
spacious main compartment shoulder straps, ‘flip’ (or swivel) the
employs a series of padded dividers bag around so that it is in front of distribute weight more evenly. The
that you can arrange as you want, you and access the main camera Lowepro 400 AW is also the only
providing plenty of flexibility to compartment directly. Because the bag in this month’s Top Five to
arrange them around your own padded waist belt is firmly secured come with a built-in waist belt. If
camera equipment so it’s all held by a chunky clip-in buckle you can you’re carrying a lot of heavy
firmly and securely in place. While
the Flipside 400 AW does offer
KEY essentially use the bag as a sort of
table. You can even use it to change
equipment then a waist belt is
definitely a good idea, as it will
a front pocket for storing small
SPECS lenses on the go without having to spread the weight between your
personal items, and two small mesh LAPTOP remove the bag. waist and your shoulders, making
COMPARTMENT No
side pockets, there is no dedicated The shoulder straps are well the bag more comfortable to wear
EXTERNAL
space to store a laptop inside. The RAIN COVER Yes padded, fully adjustable and quite over longer periods. The 400 AW is
front of the bag is fitted with what HEIGHT 46cm wide, which helps to ensure that the constructed from water-resistant
Lowepro describes as a Hideaway WIDTH 30cm bag doesn’t dig into your shoulders fabric, and also contains a built-in
DEPTH 25.3cm
Tripod Mount, that allows you to WEIGHT 1.6kg under heavy load. A sternum strap All Weather AW cover for use in
secure a tripod. In addition, the bag is also supplied which helps to more inclement conditions.

60 WWW.WHATDIGITALCAMERA.COM


      

 
 




 






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 T H E LAT ES T ESSEN TIA L KIT
ACCESSORIES

Cullmann Nanomax
460M £120
W W W.C U L L M A N N . D E

Cullmann has released a new range of tripods and

monopods that go under the name Nanomax, and
one of the most interesting models is the Nanomax
460M. The ‘M’ designation indicates that the centre
column doubles as a monopod. Spirit level
Included with the tripod is a Revomax RW20 On top of the tripod, and on
three-way head. This pans and tilts, and can be used the tripod head itself, is
in both portrait and landscape orientations. It would a spirit-level bubble that
be suitable for video as well as photography. There helps users gauge if their
is a small tripod plate on the top that has a QRC- camera or tripod
system locking mechanism. is level.
At its maximum height, the Cullmann Nanomax
460M stands 168cm and has a payload of 4kg. At
the other end, it can be set to 19cm from the ground
with its ground-level centre column. The tripod
packs away to just 55.5cm and weighs 1.72kg.
The tripod legs are constructed from anodised
aluminium and the centrepiece is made from
a die-cast aluminium. The leg locks are plastic
and each leg has four sections.
These days, it’s not that rare to see a monopod
included within a tripod, but most take the form
of a leg that can be unscrewed. This allows
users to add weight to the centre column
for added stability. However, while the feet
offer solid grounding, with their rubber
caps and spikes, overall this tripod didn’t
feel particularly steady. It flexes rather
a lot, especially at the maximum height,
and the problem worsens with the
centre column up.
The head is lightweight, small Monopod
and functions as it should.
centre column
Although the build quality is
The main centre column
decent, details such as the
of the 460M doubles
as a monopod, while all
plastic leg locks and plastic
legs have plastic twisting locks.
locking mechanism would
make us question the
460M’s long-term durability.

“ Included with the

tripod is a RW20
three-way head ” Dual feet
On the bottom of
the tripod legs are
rubber feet that can
be screwed upwards
to reveal a metal spike.
PROS CO NS
• Centre column • Doesn't feel
doubles up as particularly
monopod steady

62 WWW.WHATDIGITALCAMERA.COM
HAWKESMILL BOROUGH
NECK STRAP £115 Think Tank Retrospective 6 £129
W W W.T H I N K TA N K P H OTO.CO M
WWW.HAWKESMILL.COM
Think Tank’s Retrospective range is fairly old The bag is made from 100% cotton canvas
Hawkesmill specialises in ‘ultra-
and well renowned among photographers. It with a durable water-repellent coating, and
premium’ camera bags and straps. The consists of a range of messenger-style bags features YKK RC Fuse abrasion-resistant zips.
Borough is a simply made strap with that suit everything from mirrorless to DSLR There’s plenty to like about this new bag,
a 40mm-wide neckpad that makes it kits. Think Tank has now expanded the range and the Retrospective 5’s features are carried
suitable for carrying heavy cameras. It’s with a brand-new size and colour. The new over in the Retrospective 6, with the bonus
available in black or brown and made size is the Retrospective 6, which sits of a little more space. The bag itself weighs
from Horween Chromexcel leather, between the 5 and 7, giving users enough only 1.2kg. The pockets inside – at the front
which Hawkesmill claims is completely space to carry a large CSC kit or a medium- and rear of the bag – are very useful, and
colour-fast. It’s beautifully supple, with a sized DSLR set-up. being able to stick a bottle of water in the
soft suede finish on the underside. A pair Think Tank states that the bag can hold side pocket is a neat little feature. The bag is
of buckles allows the strap’s length to be a Sony Alpha 7R II with a 16-35mm f/4 quite expensive but made of good-quality
adjusted from 90cm-130cm, and all the attached, a 24-70mm f/4, 35mm f/2.8, 55mm materials. We’re not overly convinced by the
joints are riveted for strength. The strap f/1.8 and a flash. When it comes to the bigger sandstone colour, and expect it will look
fits to the camera using a pair of buckled cameras, the company says a Nikon D4S with better once it becomes roughed up a bit,
loops, making it quick and easy to fit 14-24mm f/2.8 attached and a 24-70mm but that’s a personal preference.
and remove. It’s also one of the best- f/2.8, an SB-900 Speedlight flash and a
looking and most comfortable straps I’ve LumiQuest Softbox III will fit. So clearly, you
ever had the pleasure of using. can pack a lot of kit into it. There’s
space for an 8in tablet in the front
pocket, and the rear zip pocket
is great for travel documents
or memory cards.

P R OS C ONS
• Plenty of space, • A little on
including an 8in the pricey
tablet side
RECOMMENDED

TAMRAC HOODOO 18
BACKPACK £69.99
WWW.TAMRAC.COM

The Tamrac Hoodoo doesn’t feature a

Olloclip Studio £79.99
W W W.O L LO C L I P.CO M /S H O P/S H O P/ I P H O N E 6 - 6 S - ST U D I O
fancy independent camera module. Although smartphones make for great convert the iPhone camera lens to a fisheye,
Instead, there’s a designated pouch in point-and-shoot cameras, the processing ultra-wideangle, macro or telephoto lens.
the top, just for your camera. The pouch power and connectivity they possess make We mounted an iPhone 6 to a tripod and
is well padded and its soft material, them capable of so much more. The latest used the accessory shoe to hold a small
with silicon detailing, stops the camera accessory from Olloclip aims to maximise Manfrotto LED light. While the Studio was
moving around. what an iPhone 6 or 6s can do. suitable for photographs, it was best for
At the rear is a sleeve that Tamrac The Studio is essentially a rugged plastic shooting video. Instead of a tripod, we
says holds a 13in laptop. The main case. It wraps around the back and sides of attached the Studio to a handgrip support,
compartment zips all the way down one the iPhone, but where it gets clever is and the LED light became a fill-in light for
side to reveal a seriously spacious bag. through its use of accessories that can easily video shooting.
On the front, there’s a zip-up pouch for snap into grooves around the case. Included At £79.99 the Studio isn’t cheap, especially
storing keys, a wallet and documents. in the kit are two attachments that add a if you don’t already have Olloclip lenses. You
The Hoodoo 18 is made from a tripod mount for portrait or landscape- can buy a cheaper, sprung tripod mount, as
water-resistant waxed canvas and has orientated shooting. There is also a standard well as clamps and cases for LED accessory
ripstop material to prevent the bag from accessory mount which, like the tripod- shoe lights. However, the Olloclip does both,
tearing. The rear of the bag is thick, thread mounts, can be slid and positioned and while photographers may never
around the edge of the Studio case. experience the full benefit of the case, for
padded and breathable.
You can, of course, mount the latest videographers who use Olloclip lenses
It has room for a
generation of Olloclip lenses. These are this product is worth adding
mirrorless camera
not included in the kit, but they to your wish list.
with lens, a laptop,
offer the ability to
a charger and a
few other bits. RECOMMENDED
It’s comfortable P R OS C ONS
• Versatile and • Expensive if
and there are few clever piece you don’t have
bags out there of kit Olloclip lenses
like it.

WWW.WHATDIGITALCAMERA.COM 63
 CAM E R A T E S T

As on the RX10 II and

RX10, the exposure
compensation dial allows
the user to apply up to
three stops of exposure
compensation in either
direction.

The RX10 III has an

anti-distortion shutter.
High-speed readout from the
sensor can suppress the effects The Zoom Assist option
of rolling shutter (rendering keeps a lock on subjects
moving subjects with when composing shots at a
distortions). This works to longer focal length. Once
maximum shutter speeds. identified, releasing a
button zooms the lens to the
longer focal length.

Sony Cyber-shot
DSC-RX10 III £1,249
Does Sony’s latest Cyber-shot RX10 III redefine what we can expect from a superzoom bridge camera?
W W W. S O N Y. C O . U K O  T E S T E D B Y M AT T G O L O W C Z Y N S K I

W
ith relatively small lens that not only eclipses the range KEY frames per second and the option
sensors and often
over-ambitious lenses,
offered by previous RX10 models
but also edges ahead of the
SPECS to record video at up to 1,000fps for
creating slow-motion footage.
superzoom bridge competition when focal range and SENSOR Videos captured more
cameras are usually overlooked by aperture are considered. The optic’s 20.1MP, 1in CMOS conventionally can be output at
OUTPUT SIZE
discerning photographers. Most maximum f/4 aperture at its 5,472 x 3,648 a maximum 4K UHD resolution
people appreciate that a camera telephoto end is impressive, but the LENS 24-600mm (3840 x 2160). The camera employs
that tries to offer everything will not f/2.4 maximum aperture at the equiv. f/2.4-4 the same efficient XAVC S codec as
succeed on all fronts, but since wideangle end also offers a SHUTTER SPEEDS Sony’s other 4K-capable cameras,
30-1/2,000sec;
releasing the Cyber-shot DSC-RX10 half-stop improvement over the 30-1/32,000sec and this is used for both 4K and full
in 2013, Sony has been doing f/2.8 seen in previous RX10 models. electronic HD video, with 4K footage captured
impressively well to alter this idea. This does, however, close down to ISO 64-25,600 at a very respectable 100Mbps
The Mark II update to that camera f/4 at the 100mm mark, which some (extended) maximum bit rate. As a bonus, the
EXPOSURE
was released last year, but Sony has may find disappointingly soon. COMPENSATION camera mirrors certain Panasonic
said this third iteration will sit The lens can focus at a distance ±3EV in 1/3 steps models in allowing an 8.3MP JPEG
alongside the RX10 II rather than of 3cm away from the subject at its DRIVE MODE to be extracted from 4K footage
14fps-5fps with
replace it. The only significant wideangle end and 72cm away at upon playback.
AF tracking
difference between the two the other end. It also incorporates LCD 3in, 1.23-million- Sony claims the RX10 III’s
highlights why: while the Mark II Sony’s SteadyShot technology, that dot tiltable screen contrast-detection AF system can
offers a lens equivalent to 24- promises up to 4.5EV stops of VIEWFINDER acquire focus in as little as 0.09sec,
2.36-million-dot OLED,
200mm in 35mm terms, the new correction when the lens is extended 0.7x magnification with spatial object detection to
model offers 24-600mm. to its maximum focal length. VIDEO UHD 4K, 30, detect and predict a moving
This is a big advantage for Curiously, Sony appears to have 25 or 24fps subject’s motion (much like its 4D
telephoto shooting, but it dropped the ND filter that featured MEMORY SD, SDHC, Focus technology seen elsewhere).
SDXC, Memory Stick
potentially makes it a viable option on both the RX10 and RX10 II. PRO Duo The inclusion of an electronic
as a primary camera, in place of a The camera uses a similar sensor POWER NP-FW50 shutter means the camera’s
DSLR or CSC. This is a bold move, to the 1in Exmor RS model inside rechargeable Li-ion standard 30-1/2000sec shutter
but at its asking price we should the RX10 II, with a backlit BATTERY LIFE 420 speed range can be stretched up to
shots per charge
expect very little compromise. architecture for better light- (LCD) 370 shots per 1/32,000sec, with the further
gathering efficiency, as well as a charge (EVF) advantage of silent operation. This is
FE ATUR E S stacked construction which is said DIMENSIONS also used when capturing images at
The Sony Cyber-shot DSC-RX10 III to boost processing speeds. This
132.5 x 94 x 127.4mm the camera’s 14fps burst rate, which
WEIGHT 1,095g (with
is designed around a new Zeiss principally benefits two key areas: battery and card) drops to 5fps when the mechanical
Vario-Sonnar T* 24-600mm f/2.4-4 the ability to record images at 14 shutter is employed. Another benefit

64 WWW.WHATDIGITALCAMERA.COM
 SON Y CYB ER-SHOT DSC-RX1 0 III

VIDEO-
Videos recorded in the camera’s 4K RECORDING
option can have individual frames OPTIONS
selected and saved as 8.3MP JPEGs
in-camera

of the DRAM chip’s data handling is The overall difference between the Videographers are menu browsing. The centre of
that moving subjects captured using two is significant, but whether this is likely to be drawn gravity noticeably shifts as the lens
fast shutter speeds are less likely to considered a bad thing will depend to the RX10 III for is extended to its maximum
be affected by distortion from on who’s using it and how; it could its 4K capability, telephoto focal length, although the
rolling shutter effects. be argued that the heavier body and Sony provides grip’s design combined with the
Wi-fi and NFC are integrated into aids stability when using longer a good range of length of the outer barrel still allows
the body, which allows for effortless focal lengths – exactly where much options. Seven for comfortable and secure handling
image sharing and remote control of the camera’s appeal lies. user-adjustable when the optic is fully extended.
with iOS and Android devices, The longer lens barrel has allowed Picture Profiles Usefully, the lens’s zoom can be
though tethering via the camera’s Sony to provide a third lens ring are available, set to Normal or Fast speeds, and
USB 2.0 port is also possible. As is around it, with the three providing alongside a flat you can also configure it to stop at
fairly standard for Sony, the camera control over aperture, manual focus
Gamma S-Log2 common focal lengths such as
records on a choice of SD media and focal length (the latter is also
profile, now with 35mm, 50mm and 100mm, or in
a new Gamma
(including UHS-I cards) and accepts adjustable by the collar around the either fine or coarse increments.
Display assist
the Memory Stick Pro Duo format. shutter-release button). Just behind One thing that would be good
mode. Sony has
Other useful features include an the barrel is a new focus hold to see, is the option to change
also enhanced
electronic levelling function to help button, though this and many of the aperture via the body itself. Only
its zebra pattern
keep the camera straight, and focus other controls can be customised. part of the aperture ring on the lens
over-exposure
peaking for manual-focus Overall handling is very positive. is ridged for purchase, and on a
warning, and
adjustment. However, the option to The camera is built to a high camera this small its proximity to
footage can be
record time-lapse footage is not standard using magnesium alloy the body and grip means that it can
output clean over
built in as standard and is confined and polycarbonate, although the be awkward to rotate without
HDMI. There’s a
to a paid-for PlayMemories app. extra weight compared with standard 3.5mm bashing hands.
previous RX models lends it a stereo socket The inclusion of two custom
B U IL D AN D greater feeling of solidity. Dust and to connect controls near the shutter-release
HAN D L I N G moisture resistance, in the form of an external button is a nice touch, given how
Incorporating such a bright and various seals around the body, is microphone, and easily they can be accessed by the
wide-ranging optic has come with also very welcome. a headphone port index finger. I found it useful to
the expected penalty to size and Sony says it has reworked the grip underneath this assign movie recording to one
weight; the body is larger than that to better support the new lens. allows audio to be of these, as the position of the
of the RX10 II, including an extra When powered up, the lens extends monitored, with dedicated movie button next to the
inch or so in length for its lens, and by around 45mm, although it levels displayed viewfinder makes it somewhat
the weight (with a card and battery) eventually retracts if the camera is on-screen. difficult to finish recording without
has increased from 813g to 1,095g. being used for image review or shaking the camera.

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 CAM E R A T E S T

V IE WF I ND E R around it all to be visible. One minor dissimilar from its surroundings. A

AN D S C R EE N issue is that the EVF’s proximity fast memory card is required here
The RX10 III partners a 3in, sensor is easily confused into as it can take some time to flush all
1.23-million-dot LCD screen with deactivating the LCD. these images out from the buffer.
a 0.39in, 2.36-million-dot OLED The menus are displayed clearly Some hunting occurs at the
viewfinder. Mounted on a hinge, the in both the viewfinder and EVF, telephoto end if the camera can’t
LCD is tiltable by 107° upwards and although repeated calls for them to identify the subject, and at times
around 42° downwards. As with be overhauled for a more user- the camera fails to deploy its AF
previous models, it lacks touch friendly interface sadly continue to assist light where it would clearly be
sensitivity. While touchscreens are be ignored. Every screen appears beneficial, again slowing it down.
undeniably useful – for example, to much like the next and options are
set the focus point – it’s not a more difficult to find than they PERFORMANCE
disastrous omission. ought to be. Even a simple colour- An effective image-stabilisation
The slim screen adds little to the coded separation, which is present system is vital on such a camera, so
camera’s overall profile, while the in some of Sony’s other models, it’s good to find this works well. The
extent to which it can be pulled would make a difference. feed holds firmly when composing
away from the body makes it less the scene through the viewfinder.
susceptible to being blocked by the AUTO FO C US This is so effective that some may
viewfinder’s eyecup when viewed Focus is speedy enough in good find it actually hinders accurate
from above. The LCD’s default light, with just a slight slowdown composition in that the usual slow
brightness and contrast are when shooting with smaller and continuous dragging of the
pleasing, and its resolution is high apertures. Even at the telephoto feed is replaced by more defined
enough for assessing manual focus. end performance is sound, partly jumps between positions as the
However, it benefits from a manual helped by the camera’s tendency to camera drifts while handheld.
boost to brightness when used acquire an approximate focus as the Its claimed effectiveness should
under harsh midday sun. lens is zoomed. It’s not quite as make it possible to capture
We’ve come to expect a lot from quick as some systems we’ve seen acceptably sharp images at around
electronic viewfinders, and the one on other recent cameras, but not 1/30sec at the 600mm end. Using
inside the RX10 III doesn’t slower to the extent that it makes the viewfinder, I found it was
disappoint. It’s clear, free from much difference. possible to achieve this, though only
aberrations and largely free from It also doesn’t fare too badly in-between many blurred results.
noise, and its dynamic range when set to track a moving subject, Raw files opened in Photoshop
appears to be wider than that of the recognising its shape and adhering show practically no distortion and
LCD, with a broad range of details well as it moves around the scene. very little lateral chromatic
visible throughout a scene I was pleased with my overall hit aberration, although opening these
simultaneously. I also found its rate when shooting continuously, files in Capture One Express – a
eye point to be just right for the although I found it initially struggled downloadable trial of which is
entire screen and the information to get a lock if the subject isn’t too provided with the camera – shows

Image quality
ISO 64 ISO 25600 ISO 64 ISO 400 ISO 64 ISO 400

34 32
ISO 6400 ISO 12800 ISO 12800 ISO 25600

27 26

COLOUR RESOLUTION IMAGE NOISE

When set to the camera’s default Standard Creative Despite the much more ambitious lens design At lower sensitivities there’s not much to grumble
Style, colours are generally accurate, but can lack compared to that in the RX10 II, resolution remains about with regards to noise, with clean and
the vibrancy offered by some other brands. However, at least as good. JPEGs show 3,200 l/ph resolved at detailed images. Integrity is maintained very well
JPEG shooters can rectify this by using one of the ISO 100 and 2,600 l/ph at ISO 6400, with the familiar up until around ISO 1600, and even after this point
other modes, with Vivid doing a fine job of boosting pattern of slight drops at the lower end of the ISO it stays decent, although as is the case with many
the saturation without looking too artificial. As can spectrum and more defined jumps through the cameras, the top setting is best reserved for when
be seen above, colour saturation does degrade as middle and higher settings. Raw files do show a absolutely necessary. Processing Raw files
the ISO sensitivity is increased, with ISO 25,600 slight advantage over JPEGs in terms of resolution carefully can result in very good detail in images
looking noticeably muted in comparison to ISO 64. when processed carefully, with 3,400 l/ph at low captured throughout much of the sensitivity range,
But this isn’t really any worse than we’d expect. ISO settings falling to 2,700 l/ph at ISO 6400. despite the effects of noise reduction.

66 WWW.WHATDIGITALCAMERA.COM
 SON Y CYB ER-SHOT DSC-RX1 0 III

The camera’s electronic

although I often made use of the
shutter permits
shutter speeds of up Vivid option for its ability to make
to 1/32,000sec to be colours more vibrant without being
used, which was the too artificial, particularly when
setting to freeze these shooting flowers, foliage and so on.
water droplets
Colour accuracy is helped by a
largely unerring auto white-balance
system, which maintains a strong
performance under combinations of
natural and artificial light.
The standard of video is
impressive. There is plenty of detail
in 4K footage and movement is nice
and fluid. Face detection also does
a great job, and the slight sound
from the lens is usually masked by
ambient noise. Aliasing artefacts are
low in many scenes, but noticeable
this fine performance can be detail, and against defined edges, in problematic subjects such as
attributed to a profile embedded such as a window frame, this can architecture. Audio quality is
within the Raw file. Here, a cause blooming and purple fringing. perfectly good, although activating
moderate amount of distortion Sony’s Dynamic Range Optimizer the wind filter is advisable outdoors.
is apparent at both ends of the technology has proven itself in The High Frame Rate options are
objective, although chromatic previous models, and once again it also fun to experiment with, though
aberration, while present, is low. helps to bring up shadowy areas in there is a marked difference in
Perhaps most crucially, although such scenes where necessary. quality between the three options
some softness can be seen in Examining JPEG files with their raw available. The 250fps maintains
corners, detail across the frame counterparts shows some of the good detail and is free from
remains relatively consistent. finest highlight detail to be lost in artefacts, but the 1,000fps option
The metering system did an the former, though plenty more can really needs good light to be usable.
excellent job to expose be regained with careful post- The ability to lift 8.3MP JPEGs
appropriately for a range of scenes, processing. I was also pleased with from 4K video footage is both
doing particularly well when faced the reasonable amount of detail that useful and well implemented.
with a high-contrast scene with could be teased out of shadow Footage can be rewound and
large areas of highlight detail that areas in underexposed Raw images. fast-forwarded until the desired
can easily sway many cameras into Colours produced using the point is reached, and the high
underexposure. In such a scene this default Standard Creative Style resolution of the screen allows you
can cause highlights to blow their appear to be largely accurate, to check focus.

Verdict
The Cyber-shot DSC-RX10 III is an impressive The list of additional advantages that B EST FOR
achievement from Sony, and it is difficult to sweeten its appeal is exhaustive, from its
• Those after a stellar alternative to a DSLR or CSC
come away from using it feeling high-quality viewfinder, detailed video footage • Videographers who can take advantage of the
underwhelmed. Although it covers much the and the various benefits of its electronic shutter. pro-orientated video specs
same territory as the RX10 II, the increase in The lack of a touchscreen isn’t too significant
focal range over previous models makes it far on such a camera, but a handful of ergonomic
more viable as an alternative to a DSLR or revisions would result in a more pleasing user PROS CONS
mirrorless camera than its two predecessors. experience, as would a menu system that isn’t • High-quality lens • Expensive• Max
Is it fit as a replacement for such a model? In quite as tedious to navigate. with useful zoom aperture of f/4 at
range • Fine stills and 100mm • No built-in
many respects, yes. Its sensor is clearly capable Perhaps its main issue is the same one that
high-quality video ND filter • Menu sys-
of capturing very good detail, even at higher has troubled previous RX-series models: price. • Very effective IS tem not as intuitive as
sensitivities, while the expansive optic is sharp While you’d be hard pushed to find an system it could be
and blessed with effective image stabilisation. equivalent DSLR or CSC and lens for the same F E AT U R E S 19/20
Those scrutinising images closely will money, the camera’s main rivals have already
appreciate that it can’t always match the clarity enjoyed some time on the market, and this has PERFORMANCE 19/20
offered by the combination of a camera with a significantly lowered their asking prices from DESIGN 18/20
larger sensor and a high-quality lens, but it where they originally began. This leaves the
I M AG E Q UA L I T Y 19/20
does a mighty good job of trying. With the RX10 III undeniably better specified in most
further advantage of sound metering and areas but significantly dearer. VA L U E 17/20
accurate colour, it is easy to get quality results Price aside, however, the Sony RX10 III is a
WDC RATING GOLD
without recourse to post-processing, although stellar camera that’s flexible in both stills and
some may wish for in-camera Raw processing. video recording. MG

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 CAM E R A T E S T

The hotshoe
accepts more powerful
Micro Four Thirds-dedicated A plastic flap on the
external flash units, such as handgrip conceals micro
Panasonic’s own HDMI and micro USB
DMW-FL360L. sockets – the latter is used
for battery charging. The
GX80 won’t accept a wired
remote release.

The built-in flash is

activated by pressing a
button on the back and has
a modest guide number of
6m @ ISO 200.
Unfortunately, it can’t be
used for wireless
control of external
units.

Panasonic Lumix
DMC-GX80 £509 BODY
ONLY
We put Panasonic’s latest mid-range Compact System Camera for enthusiasts through its paces
W W W. PA N A S O N I C . C O M O  T E S T E D B Y A N DY W E S T L A K E

W
hile Panasonic was the in exchange you get all of KEY Panasonic has removed the optical
first company to make
a Compact System
Panasonic’s latest and greatest
technology, most notably a new
SPECS low-pass filter entirely, which helps
eke out a little more detail, although
Camera in the shape dual IS system that combines SENSOR 16MP Four in practice the difference isn’t huge.
of the Lumix DMC-G1 in 2008, in the five-axis in-body IS with two-axis Thirds Live MOS New image processing is designed
OUTPUT SIZE
intervening years the company optical IS when using suitably 4,592 x 3,448 to minimise sampling artefacts
hasn’t really settled on any specific equipped lenses. This being FOCAL LENGTH such as aliasing and moiré. The
kind of design. Its GX series aimed Panasonic, there’s also 4K video MAG. 2x sensitivity range is now ISO
at enthusiast photographers is a recording and its associated 4K LENS MOUNT 200-25,600 as standard, with a
Micro Four Thirds
case in point. The GX1 was a Photo mode for extracting 8MP stills SHUTTER SPEEDS pulled ISO 100 option available that
viewfinderless, fixed-screen camera from 30fps 4K footage. 60secs-1/4000sec offers lower noise but less
designed as a spiritual successor to In short, with the GX80 Panasonic (1sec-1/16000sec headroom before highlight details
the much-loved GF1. Its appears to have hit on a Goldilocks electronic) start to clip to pure white.
ISO 100-25,600
replacement, the GX7, was a slightly formula – not too big, not too small (extended) The GX80 is capable of
larger camera with a built-in tilting and not too expensive, either. It EXPOSURE MODES continuous shooting at eight frames
electronic viewfinder, a tilting LCD costs £509 body only, £599 in a kit PASM, iAuto, scene, per second at full resolution, which
panorama
screen and, in a first for Panasonic, with the tiny retracting 12-32mm is comparable to other similarly
METERING Multi,
in-body image stabilisation (IS). f/3.5-5.6 OIS pancake zoom, or centreweighted, spot priced CSCs and faster than most
Last year’s replacement for this £729 in a dual-lens kit adding the EXPOSURE COMP DSLRs. If you want it to refocus
popular model was the GX8 – an compact 35-100mm f/4-5.6 OIS ±5EV in 0.3EV steps between frames the speed drops to
BURST 8fps (6fps
evolution of the design with a fully telezoom. Three colour options are with focus tracking) a still-impressive 6fps. Switch to 4K
articulated screen and on offer: all black, silver and black, VIDEO 4K 25fps; full Photo mode and you can shoot at
weathersealing, but in a much and silver and brown. So how well HD 50fps 30fps, then easily extract 8MP stills
bulkier body that wasn’t universally does it perform? DISPLAY from the footage – a feature none of
1.04-million-dot 3in
well received. tilting touchscreen its direct competitors can match.
Now, with the GX80, Panasonic F E ATUR E S VIEWFINDER One relatively new 4K-based
has gone back to essentially the The GX80 has a pretty solid feature 2.76-million-dot EVF feature is 4K Post Focus. This takes
same template as the GX7 in set, most of which we’ve seen on (16:9 aspect ratio) a series of frames at different focus
AF POINTS 49-point
making a compact rangefinder-style other recent Panasonic cameras. BATTERY LIFE About distances such that every object in
body with a tilting screen and Rather than the 20MP sensor used 300 shots per charge the scene is in focus in at least one,
built-in EVF. There are a few by the GX8, the GX80 shares the DIMENSIONS and then records them together as
omissions – the EVF is fixed rather familiar 16MP MOS that’s in
121 x 71 x 32mm a 4K movie file. The idea is that you
WEIGHT 430g inc.
than tilting, and the GX7’s focus Panasonic’s other Micro Four Thirds battery and card can then refocus the image after the
mode switch has disappeared. But cameras. However, for the first time event simply by tapping on the

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 PA N A SON IC LUMIX DMC-GX 80

The new L.Monochrome mode gives IN-BODY IS

attractive images straight out of the camera /DUAL IS

camera’s touchscreen. This is all by 90%, and in practice I saw no The GX80 includes with black & white film – yellow,
very clever and fun to play with, and evidence for image blurring due to Panasonic’s latest orange, red or green – and
it even gets its own button on the ‘shutter shock’. A shock-free and dual IS system apply blue or sepia toning with
camera, but it’s difficult to silent electronic shutter is also on that combines adjustable levels of saturation.
understand what it’s supposed to be hand offering speeds of up to in-lens and in- Naturally, you can also record
used for in practice. 1/16000sec, which is handy for body stabilisation, a Raw file alongside.
An all-new shutter mechanism using fast lenses in bright light, but so even slower Plenty of other useful features are
employs an electromagnetic drive carries the risk of image distortion shutter speeds on board, such as an auto-stitching
with two solenoids to operate the due to rolling shutter effects. can be used panorama mode, image-processing
shutter curtains, eliminating the use For photographers who enjoy without blur from filters, time-lapse shooting and an
of springs. While shooting, the shooting black & white, there’s camera shake. extensive array of bracketing
GX80’s new shutter operates with a an attractive, new, high-contrast
Crucially, you also options, including focus and
quiet, discreet snick and feels much black & white JPEG processing
get IS with every aperture bracketing. Wi-fi is built in,
lens you can use,
‘softer’ compared to the GX8. mode, called L.Monochrome. You allowing remote control of the
and the system
According to the firm, it also can mimic the effect of using camera from a smartphone and
works for video
reduces shutter-related vibrations coloured filters in front of the lens transfer of images from the camera
recording, too.
for sharing with friends and family.
In practice,
Here the dual IS system allowed the GX80’s
me to handhold at 1/6sec and
stabilisation
BUI LD AND
58mm equivalent, using the HANDLI NG
12-32mm OIS kit zoom works very well,
In the hand, the GX80 feels nicely
and is at least as
made and quite heavy for its size. It
good as Olympus’s
hitherto class- has a relatively small handgrip,
leading system. which is just enough to wrap your
I’ve found it gives fingers around, with a well-defined
excellent results space to place your thumb. Where
100%
with all lenses, the tiny GM5 was too small to be
often allowing comfortably usable and the GX8 felt
the use of shutter a bit large and bulky, the GX80 hits
speeds around 4 a near-perfect middle ground.
stops slower than The control layout isn’t necessarily
would otherwise the best you’ll find, but it’s logical
be possible. enough and works reasonably well
out of the box. It’s based around

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 CAM E R A T E S T

twin control dials to change difficult to find your way around the similar in size to competitors such
exposure settings, front and rear; by camera and set it up how you want. as the Fujifilm X-E2S or Olympus
default both do the same thing in all I set the Fn1 button that by default OM-D E-M10 Mark II.
exposure modes except manual, but accesses 4K Post Focus to control Similar to that in the GX7,
either can be configured to set ISO and white balance instead. the EVF panel is of the field-
exposure compensation directly sequential type, meaning that rather
instead. The rear dial can also be VIE W F IN DER than having red, green and blue
clicked-in to change its function, A N D SC R E EN dots, it displays red, green and blue
and during shooting this brings up Broadly speaking, the GX80 uses components of the image in quick
a comprehensive exposure- the same viewfinder and screen succession to give a full-colour
compensation and bracketing as the older GX7, with the main display. One disadvantage is that
interface. Meanwhile, the d-pad on difference being that the EVF no this can sometimes give
the back gives access to focus-area longer tilts upwards. While I’m sure disconcerting rainbow effects,
selection, ISO, white balance and this will dismay some GX7 owners particularly when panning. Overall,
drive mode. thinking of upgrading, I’ve never though, the EVF is quite usable, if
You can also use the touchscreen really found much use for tilting not as nice as those on some of its
to reposition the AF area directly, EVFs, especially on a camera with a competitors.
even when using the EVF, and if tilting LCD. The big advantage is The rear screen is similar to the
you’re one of the two-thirds of the that, without having to fit in the tilt GX7’s, being a 1.04-million-dot
population who is right-eye mechanism, the camera can be touchscreen that tilts 80° up and
dominant, this should work fine. made noticeably more compact 45° down. This is really useful for
However, if you’re a left-eye shooter – most obviously, the eyecup shooting video, or stills at odd
like me, you’ll probably find the doesn’t stick as far out the back angles. Obviously, it’s not as flexible
touchscreen unusable for this, as compared to that in the GX7. as a fully articulated screen,
your nose will constantly reset the The viewfinder itself uses a especially when shooting stills in
focus area. Yet because the camera 2.76-million-dot-equivalent panel portrait format (instead, it positively
is highly customisable, it’s possible with a 16:9 aspect ratio. Panasonic encourages shooting everything in
to re-assign the d-pad to move the quotes an impressive-sounding 0.7x landscape format), but it’s quicker
AF area directly if you prefer, and magnification, but things are a little to use and helps keep the body
rework the rest of the interface to more complicated than that. You’ll camera small, and that’s a
operate as you wish. only get this when recording video compromise many users will be
Indeed, many of the controls or stills in 16:9, and narrower aspect happy to make.
are user-configurable, including ratios result in less of the screen
four external Fn buttons, five being used. When you use the AUTOFOCUS
touchscreen Fn buttons and the camera’s native 4:3 aspect ratio for For autofocus, the GX80 uses a
on-screen Q Menu. Panasonic’s stills, you’re looking at an effective contrast-detection system, and as
menus are relatively well organised magnification closer to 0.6x, usual Panasonic offers a huge
and logical too, so it’s not too although this still gives a view number of modes. You can choose

Image quality
ISO 100 ISO 25600 ISO 200 ISO 400 ISO 200 ISO 800

32 31
ISO 6400 ISO 12800 ISO 12800 ISO 25600

24 22

COLOUR RESOLUTION IMAGE NOISE

With the GX80 we see Panasonic’s typical approach to At low ISOs the GX80 resolves around 3,200 l/ph, The GX80 gives nice, clean images at low ISOs, and
colour rendition. Its output is accurate and generally which is about as good as we’d expect from this while a little luminance noise becomes visible at ISO
pretty attractive, although not as warm or punchy as sensor. This initially holds up well as the ISO is 400, you won’t see it in a print. Very fine low-contrast
some of its competitors (although this is also down to increased, dropping only slightly at ISO 3200 to detail starts to degrade at ISO 800, but colour
a rather neutral approach to auto white balance). 3,000 l/ph, at least when faced with our high-contrast saturation is maintained very well. Images are still
Crucially, though, Panasonic manages to maintain test chart. However, noise has a more significant quite usable at ISO 1600, but by ISO 3200 noise
colour exceptionally well as the ISO sensitivity is raised impact at higher settings, with resolution falling to reduction is visibly smearing away fine detail and
for low-light shooting, and while this does come at the around 2,400 l/ph at ISO 6400. At higher settings shadow detail is blocking up. While ISO 6400 is still
cost of fine detail, it means images still look good noise has an even greater impact, with just 2,200 l/ph OK for web and small prints, the top two sensitivity
when viewed at small sizes. resolved at ISO 12,800. settings are very noisy indeed.

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 PA N A SON IC LUMIX DMC-GX 80

Here the GX80 gave

cool side. Overall, though, the
brightly coloured detailed
results at ISO 800, while camera’s JPEGs are perfectly
its dual IS allowed usable, and there’s always the
handholding at 472mm option of taking advantage of the
(equivalent) and in-camera Raw development to
1/200sec with the new
tweak the results.
Panasonic 100-400mm
f/4-6.3 lens Metering is generally accurate,
giving well-judged exposures much
of time. Unfortunately, though, it
does have a certain tendency
towards underexposure in dull
conditions, requiring positive
exposure compensation to give
good results. However, the camera’s
live histogram helps with judging
when this is necessary.
Image quality is very good at low
ISOs, with easily sufficient detail for
face-detection or subject-tracking out of focus to speed up the a nice A3 (16x12in) print. But it
modes, allow the camera to choose autofocus. gradually deteriorates as the ISO
the subject from a 49-area grid With almost all Micro Four Thirds increases, and by ISO 1600 there’s a
spread across almost the entire lenses, autofocus is extremely fast noticeable loss of detail. I’d still use
frame, or specify any subset of and essentially silent. Indeed, with up to ISO 6400 for non-critical
those points as the focus region. static subjects there’s no apparent purposes – online sharing and small
Alternatively, you can select the speed penalty when using Olympus prints – but would steer clear of the
focus area manually, and there’s lenses that don’t support DFD, so highest settings. Remember, though,
even a pinpoint mode for focusing existing owners needn’t worry that the effective IS means these are
on especially fine details in the about having to change their lenses. relatively rarely needed anyway.
scene. During video recording, you The GX80’s standard lens
can also smoothly pull focus from P E R FO R M ANCE is a plastic-mount version of
one subject to another simply by In use, the GX80 is generally well Panasonic’s tiny 12-32mm f/3.5-5.6
tapping the touchscreen. behaved and produces attractive OIS zoom. It offers impressive
When used with Panasonic’s own images. Its colour rendition is image quality for its size, although
lenses, the GX80 can also employ typically Panasonic – being accurate it’s somewhat weak at the 24mm-
the firm’s own Depth from Defocus and attractive, if a little subdued equivalent wideangle setting, and
(DFD) technology. This uses compared to some its rivals. Auto the 64mm-equivalent tele end is a
knowledge of the lens’s optical white balance tends to give neutral little limiting. But it makes the
characteristics when the image is results, occasionally erring to the camera extremely portable.

Verdict
With the GX80, Panasonic has made a that any deficiencies in its default set-up can B EST FOR
camera that feels much more like the GX7’s be overcome, if you’re prepared to spend a
• Photographers looking for a compact,
spiritual successor than the GX8 ever did – bit of time setting the camera up to your own lightweight camera with interchangeable lenses
impressive as that camera undoubtedly is. needs and preferences. • Handheld 4K video shooting
Similar in size, design and layout to the The tiny 12-32mm f/3.5-5.6 OIS kit lens
GX7, the GX80 is also attractively priced. completes the package nicely, and of course
Considering its effective dual image the camera can accept any lens in the Micro PROS CONS
stabilisation and 4K video recording, it’s Four Thirds range. This range now covers • Effective in-body • Default control
particularly interesting for enthusiast practically every imaginable option, from image stabilisation • set-up feels dated
Portable, rangefinder- • Viewfinder isn’t
photographers who also have an interest relatively inexpensive prime lenses like
style design • Quiet the best
in exploring the creative opportunities Panasonic’s 25mm f/1.8, to big, but pricey, shutter • Useful 4K • No mic socket for
afforded by movie making. long telephoto zooms such as the Panasonic Photo modes video
In terms of design and styling, the GX80 100-400mm f/4-6.3 OIS. F E AT U R E S 19/20
isn’t as charismatic as many of its direct Overall, I’d have to say that the Lumix
competitors, but don’t let that put you off. DMC-GX80 is probably Panasonic’s best- PERFORMANCE 18/20
It’s well designed and fits nicely in your hand, judged Compact System Camera to enter the DESIGN 18/20
while being quite compact to slip easily market for quite some time. The combination
I M AG E Q UA L I T Y 18/20
into a small bag. The control layout works of a small body, highly effective in-body
well enough, although I think that it is high image stabilisation and 4K video recording is VA L U E 18/20
time Panasonic revisited its control interface unique. For photographers who are also
WDC RATING GOLD
to concentrate on easier viewfinder shooting. interested in shooting video, it’s a very
Nonetheless, the GX80 is so customisable compelling option. AW

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 LE NS T E S T

Tamron
SP 85mm
f/1.8 Di VC USD
£749

At f/1.8 the lens

combines good in-focus
sharpness with attractive
out-of-focus blur

We test Tamron’s new 85mm f/1.8 lens, an image-stabilised, short telephoto prime
W W W.TA M R O N . E U / U K O  T E S T E D B Y A N DY W E S T L A K E

L
ast year Tamron revamped apertures than would be possible Tamron’s eBAND nano-structured
its premium SP lens line, with an unstabilised lens. However, coating reduces flare and ghosting.
taking the intriguing this affects its price – it’s higher than The diaphragm uses nine rounded
approach of combining an either Canon’s or Nikon’s 85mm blades, maintaining a near-circular
f/1.8 aperture with built-in optical f/1.8, or Sigma’s 85mm f/1.4. aperture down to around f/4, which
stabilisation. We were impressed by should help produce attractively
its first two lenses – the SP 35mm Features blurred backgrounds. At the front is
f/1.8 Di VC USD and SP 45mm f/1.8 With 13 elements in nine groups, a 67mm filter thread, which doesn’t
The build quality
Di VC USD – and here we’re looking the Tamron is the most complex feels excellent and the rotate on focusing, along with a
at the third in this series: the short 85mm prime on the market. Low distance scale is bayonet mount for the supplied
telephoto SP 85mm f/1.8 Di VC USD. Dispersion (LD) and Extra Low marked in feet as cylindrical lens hood. When not in
This new 85mm optic joins its Dispersion (XLD) glass are used to well as metres use, the hood can be reversed over
stablemates in being one of the minimise chromatic aberration, and the barrel for storage but in this
fastest image-stabilised DSLR position it covers most of the barrel,
lenses on the market. The focal and blocks the manual-focus ring.
length is ideal for portraits, both Tamron describes the lens as
on full-frame and APS-C cameras moisture-resistant, with a number of
where it offers a 135mm equivalent seals arranged strategically around
angle of view. Meanwhile, the f/1.8 the barrel. In principle, the lens
aperture gives plenty of scope for should be unfazed by shooting
shallow depth of field and selective outdoors in light rain or drizzle.
focusing, meaning the lens’s uses
are by no means limited to taking Build and handling
pictures of people. The Tamron is a big, chunky lens. It’s
The addition of optical much larger than the 85mm f/1.8
stabilisation (or ‘vibration offerings from Canon or Nikon. It’s
compensation’ as Tamron calls it) around the same size as Sigma’s
promises sharper pictures at slower 85mm f/1.4 EX DG HSM, and larger
shutter speeds, so you can shoot than the Nikon and Sony A-mount
handheld at lower ISOs or smaller 85mm f/1.4s, though not quite as

72 WWW.WHATDIGITALCAMERA.COM
 TA MRON SP 8 5 MM F/1 .8 Di V C U S D

huge as Sony’s new FE 85mm f/1.4 you’ll need to switch to live view there’s some vignetting at large
GM. This doesn’t really have a and use either contrast detect AF, apertures, but colour fringing and
negative effect on handling while or manual focus with a magnified distortion are both negligible. The
you’re shooting, as you’ll naturally view of your subject and depth of image stabilisation helped me get
be cradling the lens in your left field preview engaged. This isn’t the sharp images at shutter speeds as
hand. But it does add to the weight lens’s fault, just best practice when slow as 1/20sec.
of your bag, and some subjects may using any fast lens on a DSLR.
find the size intimidating. Verdict
Build quality feels excellent, in Image quality I was a little sceptical about the
contrast to some of Tamron’s older This lens is able to provide the kind Tamron 85mm f/1.8 at first, but I
designs. The manual-focus ring of dreamily beautiful pictures that was converted as soon as I started
rotates smoothly, and a distance mark out a really superb portrait seeing the images on the back of
scale marked in feet and metres lens, and it works equally well on the camera. Examining the files on
helps you keep track of the current full-frame and APS-C cameras. my computer only confirmed that
focus position. Two switches on the We expect 85mm telephotos to this lens is really quite special.
side of the barrel are used to turn be very good indeed, but this one But is it worth £749? Clearly, not
VC on or off, and select between AF is outstanding. It combines superb everyone will be able to justify it. To
and MF modes. However, because cross-frame sharpness, even at me, though, this lens is absolutely
these are of an identical size and maximum aperture, with gorgeous on par with Sigma’s Art primes, and
shape, they can’t be easily out-of-focus backgrounds. Micro- lots of photographers are happily
distinguished by touch alone. contrast is a little low at f/1.8, again shelling out similar amounts of
due to residual spherical aberration, cash for these. I also think image
Autofocus but this is often flattering for stabilisation is worth having; what’s
Autofocus uses Tamron’s ultrasonic portraits. This effect becomes not to like about the extra shooting
drive (USD) motor. It’s fast, decisive stronger at closer focus distances, flexibility it affords? Overall, if you’re
and practically silent. The lens uses but stopping down to f/2.8 brings after a portrait lens for your DSLR,
an internal focus design, so it more bite to images. Naturally, this should be high on your list.
doesn’t change length or balance
on focusing, which contributes to
its snappy response. In terms of
accuracy, the 85mm behaves much
Lab Tests
like other DSLR fast primes. If you RESOLUTION CURVILINEAR DISTORTION
shoot using the camera’s viewfinder, KEY
Our tests reveal some softness at f/1.8, but the Curvilinear distortion is extremely low, with SPECS
then most of the time it will focus
lens sharpens up rapidly as the aperture is closed just the barest hint of pincushion distortion
acceptably when viewing the image PRICE £749
down. Peak sharpness is at f/4-f/8, and the traces detectable from our test chart shot. However,
as a whole, but likely not be entirely
for the corners closely match the centre, you’ll never see it in real-world images; instead, MOUNTS Canon
perfect when viewing your images EF, Nikon F, Sony A
indicating excellent cross-frame sharpness. the lens draws subjects in a very lifelike fashion. FILTER SIZE 67mm
in close detail. This is by no means
LENS ELEMENTS 13
unique to Tamron – it’s a side effect
GROUPS 9
of DSLRs using an entirely separate APERTURE BLADES 9
optical path for autofocus, which MIN. FOCUS 80cm
inevitably compromises accuracy. MAX. APERTURE
TV SMIA = 0.4%
For really accurate focus, you’ll f/1.8
24mm centre MIN. APERTURE f/16
almost certainly have to match the 24mm corner DIMENSIONS
lens to your camera using the AF 84.8 x 91.3mm
micro-adjust feature. Even then, WEIGHT 700g
perfect results may only be possible
at one single focus distance.
However, the 85mm is compatible
PROS
• Outstanding
with Tamron’s ‘Tap-in Console’,
image quality
which allows more complex • Effective image
correction of its focusing behaviour, stabilisation
as well as enabling users to upgrade • Works well on full
frame and APS-C
the lens’s firmware when necessary.
Depth of field at 85mm and f/1.8
is very shallow indeed, so any CONS
movement of either you or your • Big, quite heavy
subject will compound any small and expensive for
focusing errors. It will usually be
its type
desirable to stop down a bit to gain
additional depth of field. However,
at close focusing distances the
focus shifts backwards slightly at
Out-of-focus backgrounds look WDC
smaller apertures – a symptom of gorgeous even when the lens is stopped R AT I N G
residual spherical aberration. down a little – this was shot at f/4
To get the most accurate focus,

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 LE NS T E S T

Sigma
50-100mm f/1.8
DC HSM | A
£829

The lens produces a very

shallow depth of field
when it’s opened to f/1.8

We test Sigma’s second APS-C zoom lens with a constant maximum aperture of f/1.8
W W W. S I G M A - I M AG I N G - U K .C O M O  T E S T E D B Y M I C H A E L TO P H A M

T
hree years ago, Sigma ideal for portraiture and events such The lens flaunts a nine-blade
developed the world’s first as weddings, but its large aperture aperture to create attractive bokeh
DSLR zoom with an f/1.8 also makes it great for sports, or and features Sigma’s Hyper Sonic
maximum aperture across low-light scenes. It’s a parfocal lens, Motor (HSM), which in addition to
its focal range. Now we have Sigma’s so once focus is acquired, the lens driving the autofocus system, offers
second f/1.8 zoom in the Art series, maintains that focus at all focal full-time manual focusing. This
the 50-100mm f/1.8 DC HSM | A. lengths – useful for videographers. allows users to adjust the focus
The lens has 21 glass elements manually at any time without having
Features in 15 groups, and to help minimise to flick the AF/MF switch to manual
The initials ‘DC’ in the lens name axial and transverse chromatic The zoom ring first. The size of some of the HSM
indicates this lens is optimised for aberration three of the elements are is encircled in rubber motor’s parts has been reduced
to provide sufficient
DSLRs with APS-C-sized image the ‘F’ low-dispersion (FLD) type, compared with those in older
grip when operating
sensors, and like Sigma’s 18-35mm one is the special low dispersion the lens with wet lenses, so it’s 30% slimmer.
f/1.8 DC HSM it cannot be used (SLD) type and three are high- hands or gloves The diameter of the lens’s
on full-frame cameras without refractive index SLD glass elements. diaphragm is the second largest
vignetting. The effective angle of in the Sigma lens line-up, and to
view is equivalent to 75-150mm ensure the diaphragm operates as
when it’s paired with an APS-C smoothly as possible its blades are
DSLR with a 1.5x crop factor, or made from a carbon feather film,
80-160mm when it’s coupled with with the rest of the unit being made
a Canon APS-C DSLR that imposes from a new polycarbonate material
a 1.6x multiplication. It covers three that’s said to be exceptionally
popular focal lengths (85mm, durable and wear resistant. The lens
105mm and 135mm equivalent) employs Super Multi-Layer Coatings
making it ideal for users wanting to to prevent flare and ghosting.
avoid carrying three primes, while It has a soft case, and as well as
saving the hassle of interchanging a rear cap and a sizeable front lens
lenses on the go – a process that cap, a large plastic petal-shaped
can prevent capturing a crucial shot. lens hood is supplied that attaches
As a mid-telephoto zoom, it’s to the front with a simple 90° twist.

74 WWW.WHATDIGITALCAMERA.COM
 SIGMA 5 0 -1 0 0 MM F/1 .8 DC HSM | A

Build and handling sharpness is located closer to to pincushion distortion as you

The lens was paired with the Canon f/5.6-f/8 at 70mm. Sharpness in the push towards 100mm. Curvilinear
EOS 80D and EOS 7D Mark II during centre and at the edges isn’t quite distortion is far from severe, and
testing and it felt better balanced as high at 100mm when the lens is isn’t obvious in real-world images.
coupled to the larger body of the used wide open, but again it quickly
EOS 7D Mark II, but didn’t feel improves by stopping the aperture Verdict
unwieldy with the smaller EOS 80D. down a few stops. For the sharpest Sigma’s 50-100mm f/1.8 DC HSM | A
Unlike many telephoto zooms, results across the frame at full is an outstanding lens. If you want
this lens does not have built-in telephoto, dial in an aperture value to create attractive background blur
optical image stabilisation. To between f/5.6 and f/8. If you’d like behind subjects at mid-telephoto
capture shake-free handheld shots, to create a larger depth of field, f/11 lengths without having to change
users will find themselves cradling is usable, but the sharpness visibly a lens while lugging around two or
the lens three-quarters of the way declines at f/16 owing to diffraction. three fast primes, you’ll fall in love
down the barrel to improve stability, The lens exhibits vignetting when with it and quickly get addicted to
but there’s a tripod collar if you’d it’s used wide open at the widest using it at its maximum aperture.
prefer to mount the lens to a tripod end of the zoom range, but it Full-frame users will be slightly
or monopod. The tripod collar plate quickly disappears when closed jealous of this lens. Its arrival is
is fairly small and doesn’t extend far down to f/2.8. Similarly, at longer timely, following the recent releases
below the zoom ring, so you can’t focal lengths, corners appear about of the Nikon D500 and Canon EOS
use it to get a secure hold of the 0.8EV-1EV darker than at the centre 80D enthusiast-focused DSLRs. It
lens as you can with more at f/1.8. Stopping the lens down to complements the also excellent
substantial tripod collars. It’s also f/2 improves this, and by f/2.8 Sigma 18-35mm f/1.8 APS-C-format
permanently attached. Loosening vignetting clears up almost totally. zoom and is fittingly priced at less
the collar screw allows you to switch An examination of images taken than £1,000. If you own an APS-C
quickly between horizontal and of our distortion chart shows there’s DSLR and are considering a 50mm,
vertical shooting, and there are 90° negligible barrel distortion at the 85mm or 105mm prime, you’ll want
click stops that act as a useful guide wide end that gradually converts to consider this zoom.
when your eye is at the viewfinder.
The overall build quality is of a
very high standard. At the rear is
a durable metal lens mount, ahead
Lab Tests
of which is the tripod collar and RESOLUTION CURVILINEAR DISTORTION
large knurled screw. The diameter KEY
The graph tells us this lens is at its sharpest in the Shooting at the wide end of the zoom does SPECS
of the barrel widens slightly when
centre at 70mm, with edge sharpness improving introduce some barrel distortion, which switches
you reach the zoom ring, which is FILTER DIAMETER
as the aperture is stopped down to f/5.6. Centre to pincushion distortion at around 70mm. Users
encircled in rubber. It operates
sharpness isn’t quite as high at the wide or tele will find lens profile support in Adobe Lightroom 82mm
smoothly across its range with a LENS ELEMENTS 21
ends of the zoom. and the latest version of Camera Raw 9.5. LENS GROUPS 15
quarter turn, and just ahead of it
50mm 100mm APERTURE BLADES 9
are clear focal-length markings, with
APERTURE f/1.8-f/16
a focus-distance scale in feet and MINIMUM FOCUS
metres. The AF/MF switch is at the DISTANCE 95cm
side, and the focus ring, which is DIMENSIONS
SMIA TV = -0.5% SMIA TV = 1.2% 93.5 x 170.7mm
slightly larger in diameter than the
WEIGHT 1,490g
zoom ring, gives precise manual
LENS MOUNT
focus control through about 150° Canon, Nikon,
from the minimum focus distance Sigma
to infinity. It has just the right level
of resistance and benefits from a
rubber grip like the zoom ring, albeit
PROS
• Delivers stunning
slightly finer grooved to make it
images right across
easier to differentiate between the its zoom range
two from behind the camera. • Overall build
quality and
operation • Design
Image quality
The lens produces a strong set of
results, and at 50mm the sharpness CONS
in the centre improves as the • Tends to make
aperture is closed down to f/2.8, smaller APS-C
with optimum sharpness being
models feel rather
front heavy
located around f/4. Pushing towards • Limited to those
70mm sees the edge sharpness using APS-C
drop slightly at f/1.8, but centre cameras
Chromatic aberrations are
sharpness remains high and
handled well, and optimum WDC
continues to improve as the lens is sharpness is found at f/5.6 R AT I N G
stopped down to f/4. The sweet between 70mm and 100mm
spot between centre and corner

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 W D C L IS T IN GS

Compact or
System camera?
Which camera type is best for you? A simple compact that fits in a pocket, a premium or travel compact that’s more advanced,
or a system camera that has interchangeable lenses and more user control, such as a CSC or DSLR? We help you decide...

A
ll digital cameras wide maximum apertures many other features that of a DSLR, together with
are based around which prove their worth in can be had when more money manual control over shutter
the same theory; low light and for controlling is spent. speed and aperture. While
use a light- depth of field. Within the compact camera they can be used more
sensitive sensor to Manual controls, the ability genre are the likes of bridge, creatively than regular
capture light, then process the to record HD video and a or ‘superzoom’ models, which compacts, their small sensors
result and save it onto a large, high-resolution display offer a far longer zoom lens (relative to DSLR and CSC
memory card. Beyond that, the or viewfinder are just a few of and a body shape akin to that cameras) place restrictions on
functionality can vary wildly
from model to model, from
touchscreen controls to HD
video and wide-aperture
Compact Bridge camera
lenses differentiating one model
Small camera, generally pocket sized, with non-removable Looks like a DSLR but is actually a compact with a high-
from another.
zoom lenses. Designed for convenience more than image magnification zoom lens in a DSLR-shaped body – usually
Digital cameras fit into three
quality, though some premium models feature larger sensors incorporating a large hand-grip and often a viewfinder.
distinct categories: compact and manual controls.
camera, Compact System
Camera (CSC) and Digital
Single Lens Reflex (DSLR)
cameras. All three have
sub-genres within them, but
there are other obvious
qualities which set them apart.
Compact cameras have a
fixed lens, which can’t be
removed and changed. This
means that the lens becomes
a feature in itself, with some of
them starting at a particularly
PROS CONS PR O S CONS
Small, Affordable, No additional No option to change lenses for Long zooms, Generally small sensors are no
wide focal length, or reaching specific purposes, Small sensors All-in-one design, match to DSLR quality, Build quality
lenses required, Pocketable, Less
out much further than others intimidating to use than DSLRs not suited to all conditions Manual controls can be more plasticky than a DSLR
(or both), and others having

Jargon Buster
Compact System professionals, thanks to their wide blades inside the optic, and is usually speeds are ideal for freezing motion, such
Camera (CSC) compatibility with different lenses, manual regulated through the camera body, as when photographing sports.
Cameras which offer interchangeable lenses control over exposure and ergonomics. although some older lenses have physical
while omitting the viewfinder and mirror aperture rings around their barrels. An Display
box construction common to DSLR cameras. Compact camera aperture of f/2 or f/2.8 is classed as being The rear panel on the back of a camera
These include Sony’s NEX series and A small camera whose lens cannot be large (or wide) because the opening itself is which shows captured images and videos,
Olympus’s PEN range, as well as Nikon’s 1 removed, in contrast to interchangea- larger than those created by higher- as well as the live feed from the sensor.
system and Samsung’s NX line of models. ble-lens cameras such as DSLRs. These are number apertures such as f/16 or f/22. These are usually TFT LCD types, although
often cheaper than CSC and DSLR cameras, some cameras now make use of Organic
Digital Single although they usually have more limited Shutter speed Light Emitting Diode (OLED) alternatives.
Lens Reflex (DSLR) functionality and smaller sensors. The length of time that the shutter inside Resolution is usually specified in dots:
A digital SLR camera, which is constructed the camera is open, exposing the sensor to compact camera displays often have
around a mirror-box and pentamirror/ Aperture light. Longer shutter speeds let in more 230k or 460k dots, while those displays
pentaprism assembly, such as the Canon The aperture of a lens refers to the size of light, and so are often required in low-light that are on high-end enthusiast compacts,
EOS 700D and Nikon D5300. These are its opening which allows light through to conditions, or when the intention is to blur CSCs and DSLRs are usually 921k dots or
popular among beginners, enthusiasts and the camera. This is created by a series of certain elements in the scene. Faster shutter even higher.

76 WWW.WHATDIGITALCAMERA.COM
 B UYIN G A DV IC E

the kind of image quality that

can be achieved. CSC DSLR
CSCs An interchangeable-lens camera with no optical viewing The choice of professionals, a DSLR features interchangeable
CSCs fit somewhere between
assembly but either an electronic one, or just the LCD screen lenses, plus an optical viewfinder that sees what the lens sees
compacts and DSLRs, with the
to shoot with. CSCs come in a wide variety of forms with a thanks to a 45° mirror and prism assembly inside the camera.
benefit of a small-format body wide range of sensor sizes, so image quality varies greatly The bulkiest camera type, but the full frame models deliver
and interchangeable lenses. between models. the highest image quality.
Due to their mirrorless designs,
optical viewfinders are
exchanged for electronic
variants that continue to get
better all the time in terms of
their resolution and sharpness.
Due to the lack of an
established form factor, unlike
DSLRs, CSCs come in a wide
variety of shapes and sizes.
Most differences are aesthetic,
but a fair few affect the
handling quite significantly too.
PROS CONS PR O S CONS
Typically smaller than DSLRs, HD Optical viewfinders usually not Interchangeable lenses, Manual Large and weighty bodies,
Some models have thin, wide available, Lens ranges, Premium Expensive, Poor-quality kit lenses
video, Interchangeable lenses, exposure control, HD video,
bodies, while others are shaped Great image quality for the size models can be expensive Excellent ergonomics often supplied as standard
like DSLRs to provide more to
wrap your hand around.
DSLR model from most CSCs your preference, is the do not apply a crop factor to
DSLRs and compact cameras. presence of an electronic, lenses, and so they maintain the
DSLRs range from beginner The only models that buck rather than optical, viewfinder. same angle of view and focal
models, such as the Canon this trend, and as a result can’t There are essentially two length as if they were used on a
EOS 1100D, up to professional quite be described as true kinds of sensor used in DSLRs: film SLR.
level models, such as the same DSLRs, are those in the Sony APS-C and full frame, although DSLRs and CSCs also attract
company’s EOS-1D X. The body SLT range, whose models full frame sensors are starting the attention of videographers,
shape is similar throughout, include the A58 and A77. The to creep into some CSCs such given the proliferation of HD
with a large hand grip and dials SLT construction uses a as the Sony Alpha 7 and 7R. video functionality and the
on the top, although most translucent mirror which means Full frame is described as range of lenses available. Many
professional DSLRs are more it does not need to move in such because it’s roughly the DSLRs – particularly those
square than rectangular, with order for light to pass through same size as a 35mm negative. aimed towards a more
additional shutter release to the sensor, in contrast to APS-C sensors are smaller, and discerning audience – also now
buttons and dials to make DSLRs which flip their mirrors as a result they only use the incorporate ports for external
portrait-orientation shooting up at the point of exposure. As central part of a lens, which in microphones and have a full
comfortable. a result the burst rate is faster; turn increases their effective complement of options for
The addition of an optical with the likes of the A77 able focal length (reducing the angle different frame rates and
viewfinder is one of the unique to shoot at up to 12fps. The of view). This is known as a output options as well as
features that differentiates a disadvantage, depending on ‘crop factor’. Full frame lenses control over audio recording.

Optical viewfinder viewfinder is either not possible or less ISO options which output images at a reduced
A viewfinder which relies on an optical, desirable. More recent EVFs are constructed Also known as ‘sensitivity’, the ISO range of a pixel count. Often a camera’s fastest burst
rather than electronic, construction. DSLRs from OLED panels rather than LCDs, and camera determines its latitude for capturing mode will only be possible with focus and
are equipped with optical viewfinders, some of these are surprisingly detailed images in different conditions. For a given exposure taken from the first frame.
which present the view through the lens. and bright. camera, images captured at lower
Those on cheaper DSLRs are constructed sensitivities generally contain less noise than Neutral Density
with a hollow chamber with mirrored sides Sensor size those captured higher up, as the signal from (ND) filter
(penta-mirrors) while those on pricier The physical size of the sensor inside a the sensor – which contains unwanted noise ND filters are commonly used with DSLR
models feature a ground glass prism camera. Cameras with larger sensors often – requires less amplification. cameras, although some enthusiast
(pentaprism) which is brighter. produce better-quality images than those compacts now have these integrated into
with smaller ones, as each photosite is Burst rate their lenses. Their purpose is to reduce
Electronic viewfinder (EVF) larger. A larger capacity allows its The speed at which a camera can fire exposure times, so that longer shutter
An electronic alternative to an optical signal-to-noise ratio to be higher; as a consecutive frames, given in frames per speeds can be used, with the ‘neutral’ part
viewfinder. These are typically integrated result images stand a better chance of second (fps). Many recent cameras have a of their name signifying that they are
into bridge cameras and some Compact having a wider dynamic range and of being standard fps rate which captures at the designed to have no effect on the colour
System Cameras, where an optical less affected by noise. sensor’s full resolution, with further faster balance of an image.

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Camera Listings
If you want maximum control over your creative shooting options, you want an interchangeable-lens camera, whether a
DSLR model or a Compact System Camera model. Here we list and rate all the models on the market

Battery life (Shots)

Burst mode (FPS)
Stereo mic input

Viewfinder (%)

Articulated LCD
Built-in Wi-fi
DSLRS

Height (mm)
Touchscreen

Width (mm)

Depth (mm)
Built-in GPS
AF Points

Weight
Flash
NAME & MODEL RRP TESTED SCORE SUMMARY SENSOR LENS MAX ISO VIDEO SHOOTING SCREEN DIMENSIONS
Canon EOS 1200D £450 06/14 4+ Entry level update to Canon’s 1100D, the 1200D excels in the
key areas of AF speed and accuracy while ISO performance is good 16MP Canon 12,800 1080p 9 3 95 O 3in 500 129.6 99.7 78 480g
Pentax K-500 £450 10/13 4+ Stripped-down version of K-50 without weather sealing
boasts 100% glass prism viewfinder; uses AA batteries 16.3MP Pentax 51,600 1080p 11 6 100 O 3in 410 130 97 71 646g
Sony Alpha 58 £450 07/13 4+ Replacement for A57 boasts Bionz image processing engine,
OLED viewfinder, plus 20MP sensor – up from 16MP 20.1MP Sony 16,000 1080p 15 5 100 O 2.7in O 690 129 95.5 78 492g
Sony Alpha 68
An A-mount camera with an APS-C sensor, the Alpha 68 uses
£479 NYT a 4D focus system plucked from the Alpha 77 II 24MP Sony 25,600 1080p O 79 8 tbc O 2.7in O tbc 142.6 104.2 82.8 675g
Pentax K-S1 £550 03/15 4+ The fully-specified K-S1 boasts excellent image quality, while
still being a lightweight, compact and portable option 12.1MP Pentax 51,200 1080p O 11 5.4 100 O 3in tbc 92.5 120 69.5 498g
Canon EOS 750D £599 08/15 4+ A new addition to the EOS line-up, the 750D is designed for
EOS newcomers, with a non-threatening layout 24.2MP Canon 25,600 1080p 19 5 95 O O 3in O O 440 131.9 100.7 77.8 555g
Nikon D3300 £600 04/14 4.5+ Nikon’s new entry-level DSLR is smaller than previous offerings
while a sensor with no anti-aliasing filter means detail is high 24.2MP Nikon 25,600 1080p O 11 5 95 O 3in 700 124 98 75.5 460g
Pentax K-30 £600 03/14 4+ Stellar image quality make this a welcome alternative to
Canon, Nikon and Sony offerings at the price 16.3MP Pentax 25,600 1080p 11 6 100 O 3in 410 96.5 128.5 71.5 660g
Pentax K-50 £600 10/13 4.5+ Replacement for K-30 offers 16MP sensor, weather sealing
and improved processing. Still able to shoot at up to 6fps 16.3MP Pentax 51,200 1080p 11 4 100 O 3in 410 130 97 71 650g
Canon EOS 760D £649 10/15 5+ A new addition to the EOS line-up, the 760D leans towards
the aspiring enthusiast photographer 24.2MP Canon 25,600 1080p 19 5 100 O O 3in O O 440 131.9 101 77.8 565g
Pentax K-S2 £649 Web 4.5+ Pentax’s latest mid-range DSLR continues its tradition of
offering affordable yet well-specified cameras 20.2MP Pentax 51,200 1080p O 11 5.4 100 O O 3in O 410 122.5 91 72.5 678g

Canon EOS 100D £650 07/13 4.5+ Billed as the world’s smallest and lightest DSLR; kit lens is the
company’s EF-S 18-55 f/3.5-5.6 IS STM zoom. GPS optional 18MP Canon 12,800 1080p O 9 4 95 O 3in 380 117 91 69 407g
Nikon D5200 £720 03/13 4.5+ Inspired by the D5100 and D7000, the D5200 has a vari-angle
LCD, 24MP sensor and HD video. Wi-fi & GPS optional 24.1MP Nikon 25,600 1080p O 39 5 95 O 3in O n/a 129 98 78 555g
Nikon D5500 £720 04/15 4.5+ New DX-format DSLR in Nikon’s ‘advanced beginner’ range,
updating the impressive D5300 and adding a touchscreen 24.2MP Nikon 25,600 1080p O 39 5 95 O O 3.2in O 820 124 97 70 470g
Canon EOS 700D £750 Web 4.5+ Update to 650D comes bundled with a new 18-55mm STM kit
lens, that promises improved movie AF. GPS & Eye-fi optional 18MP Canon 12,800 1080p O 9 5 95 O 3in O 440 133 100 79 580g
Pentax K-3 II £769 Web 4.5+ Ricoh has updated the Pentax K-3 with the K-3 II. The K-3 II is
designed to be the flagship Pentax APS-C DSLR 24.3MP Pentax 51,200 1080p O 27 8.3 100 O 3.2in tbc 131.5 102.5 77.5 785g
Nikon D5300 £830 01/14 4.5+ Update on the D5200 with large sensor, larger screen, HD video,
and long lasting battery, should appeal to videographers 24.2MP Nikon F 25,600 1080p O 23 5 95 O O O 3.2in O 700 125 98 76 530g
Pentax K-5 II £870 03/13 4.5+ Latest update to K-5 promises improved AF performance in
low light and subject tracking with moving subjects 16.3MP Pentax 51,200 1080p O 11 7 100 O 3in 980 131 97 73 760g
Nikon D7200 £939 06/13 4+ Nikon’s mid-range DSLR offers impressive new features over the
D7100 it replaces at the top of Nikon’s DX format range 24.2MP Nikon F 25,600 1080p O 51 6 100 O O 3.2in 1,100 135.5 106.5 76 765g
Pentax K-3 £950 01/14 4+ Upgrade from Pentax K-5. GPS optional. Impersonates a low
pass filter. High FPS rate and is the first to carry Ricoh’s name 24.2MP Pentax 51,200 1080i O 27 8 100 O 3.2in 560 131 100 77 800g
Canon EOS 80D £999 08/16 5+ Arriving two and a half years after the 70D, the 80D looks set to
be an attractive offering for enthusiast photographers 24.2MP Canon 25,600 1080p O 45 7 100 O O 3in O O 960 139 105.2 78.5 730g
Sony Alpha 77 MkII £1000 09/14 4.5+ With the mkII Sony has brought built-in Wi-fi, great handling
and an enhanced AF that will suit sports and wildlife shooters 24.3MP Sony 25,600 1080p O 79 12 100 O O 3in O 480 142.6 104 81 647g
Canon EOS 70D £1100 11/13 4.5+ World’s first DSLR to boast Dual Pixel CMOS AF technology, giving
the best autofocus performance for a DSLR during live view 20.2MP Canon 12,800 1080p O 19 7 98 O O 3in O 920 139 104 79 755g
Nikon D7100 £1100 05/13 4.5+ The D7100 updates the D7000 in several significant ways, and
while not without fault it’s still praiseworthy. Wi-fi optional 24.1MP Nikon 25,600 1080p O 51 6 100 O 3in 950 135 106 76 765g
Pentax K-1
The first full-frame Pentax DSLR is weather-sealed and stacks
£1599 NYT up well against the Nikon D810 and Canon EOS 5D Mark III 36MP Pentax 204,800 1080p O 33 4.4 100 O O O 3.2in O 760 136.5 110 85.5 1,010g
Canon EOS 7D MkII £1599 01/15 4.5+ A better sensor and improved AF over the 7D; this is one of the
best APS-C DSLRs for enthusiasts and pros. Wi-fi optional 20.2MP Canon 51,200 1080p O 65 10 100 O 3in 670 148.6 112.4 78.2 910g
Canon EOS 6D £1700 02/13 4.5+ Superb image quality from Canon’s latest – and cheapest –
full-frame DSLR. Also offers Wi-fi and GPS connectivity 20.2MP Canon 102,400 1080p O 11 4.5 97 O O 3in 980 145 111 71 755g
Nikon D500
The D500 sits above the D7200 in Nikon’s DX-format line-up and
£1729 NYT offers advanced features plus a smaller form factor and crop factor 20.9MP Nikon F 1,640,000 3840p O 153 10 100 O O 3.2in O O tbc 147 115 81 860g
Nikon D610 £1800 Xmas13 5+ Upgrade from D600: improved auto white balance, faster
continuous shooting and a quiet continuous mode. GPS optional 24.3MP Nikon 25,600 1080p O 39 6 100 O 3.2in O 900 141 113 82 850g
Sony Alpha 99 £1800 Xmas12 4+ Sony’s full-frame A99 offers translucent mirror technology
allied to a 19-point AF system with 11 cross sensors 24.3MP Sony 25,600 1080p O 19 10 100 O 3in O 500 147 111 78 812g
Nikon D750 £1800 12/14 5+ The D750 is one of the very best all-round enthusiast DSLRs
currently available, with an impressive performance 24.3MP Nikon 51,200 1080p O 51 6.5 100 O O 3.2in O 1,230 140.5 113 78 840g
Nikon DF £2600 02/14 4+ Nikon’s retro-tinged full-frame DSLR has a solid spec although
it lacks a video mode. Overall, its images are superb 16.2MP Nikon 204,800 - 39 5.5 100 3.2in 1,400 143.5 110 66.5 765g
Nikon D810 £2699 11/14 5+ Replacing the D800 and D800E, the D810 is a truly welcome
upgrade and one of the very best DSLRs on the market 36.3MP Nikon 51,200 1080p 51 12 100 O 3.2in 1,200 146 123 82 980g
Canon EOS 5D Mk III £2999 06/12 5+ An excellent full-frame sensor, fast burst rate, high ISO range and
advanced AF make this an impressive piece of kit. Wi-fi optional 22.3MP Canon 102,400 1080p O 61 6 100 3.2in 950 152 116 76 950g
Canon EOS 5DS
New full-frame DSLR that builds on the great success of its EOS 5D
£2999 NYT Mark III, which sports a world-first 50.6MP full frame sensor 50.6 MP Canon 12,800 1080p O 61 5 100 3.2in 700 152 116.4 76.4 845g
Canon EOS 5DS R
New 50MP full-frame DSLR, identical to the 5DS it was launched
£3199 09/15 with except that it forgoes an optical low-pass filter 50.6 MP Canon 12,800 1080p O 61 5 100 3.2in 700 152 116.4 76.4 845g
Nikon D5
The powerful D5 is Nikon’s flagship FX-format DSLR and boasts
£5199 NYT a 20.8MP full-frame sensor and burst shooting up to 14fps 20.8MP Nikon F 3,280,000 3840p O 153 14 tbc O 3.2in O O tbc 160 158.5 92 1,405g
Canon EOS-1D X Mk II
Canon’s impressive new sports and action flagship camera has
£5199 NYT a full-frame CMOS sensor with Dual Pixel AF. Wi-fi optional 20.2MP Canon 409,600 3840p O 61 14 100 O O 3.2in O O 1,210 158 167.6 82.6 1,340g
Nikon D4S £5290 Web 5+ Nikon’s flagship DSLR, the D4S takes the best features of the
D4 and improved the burst speed, AF and processing power 16.2MP Nikon 409,600 1080p O 51 11 100 3.2in 3,020 160 156.5 90.5 1,350g
Canon EOS-1D X £5300 11/12 5+ A contender for the crown of best DSLR on the market,
this camera is hard to fault. GPS & Wi-fi optional 18.1MP Canon 204,800 1080p O 61 12 100 3.2in 1,120 158 163 82 1,100g

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 DSLR’S A N D CS C ’S

Battery life (Shots)

Stereo mic input

Built-in Wi-fi
COMPACT SYSTEM CAMERAS

Height (mm)
Touchscreen

Width (mm)

Depth (mm)
Built-in GPS
Viewfinder
Burst (FPS)

Articulated
AF Points

Weight
Flash
NAME & MODEL RRP TESTED SCORE SUMMARY SENSOR LENS MAX ISO VIDEO SHOOTING SCREEN DIMENSIONS
Samsung NX3000 £350 10/14 4+ This may well be the best-value NX camera yet 20.3MP Samsung 25,600 1080p 21 5 O 3in O 370 117.4 66 39 266g
Canon EOS M10 £399 NYT Combines DSLR performance with effortless portability 18MP Canon M 25,600 37 49 4.6 O O 3in O O 255 108 66.6 35 301g
Panasonic Lumix GF6 £400 Web 4+ Newly developed Venus Engine and a 180° tilt screen 16MP Mic4/3 25,600 1080p O 23 20 O O 3in O O 340 111 65 38 323g
Pentax Q7 £400 11/13 3+ Extra large sensor and improved AF 12.4MP Pentax 12,800 1080p 25 5 O 3in 250 102 58 34 200g
Sony Alpha 5000 £420 Web 4+ Aims to compete with entry-level DSLRs 20.1MP Sony 16,000 1080p O 25 3.5 O O 3in O 420 110 63 36 296g
Panasonic Lumix GF7 £420 Web 4+ Compact, great image quality and good for selfies 16MP Mic4/3 25,600 1080p O 23 5.8 O O 3in O O 230 106.5 64.6 33.3 266g
Nikon 1 S1 £480 Web 4+ User-friendly with an uncluttered interface 10.1MP Nikon 1 6400 1080p 135 60 O O 3in 220 102 61 30 197g
Olympus PEN E-PL7 £499 01/15 4+ High spec, compact size and superb image quality 16MP Mic4/3 25,600 1080p 81 8 O O 3in 350 114.9 67 38.4 357g
Nikon 1 J4 £499 11/14 4+ Excellent shooting speed and AF performance 18.4MP Nikkor 1 12,800 1080p O 171 20 O 3in O 300 99.5 60 28.5 192g
Fujifilm X-T10 £499 09/15 4.5+ A more affordable version of the popular X-T1 16.3MP Fuji X 51,200 1080p O 77 8 O O O O 3in O 350 118.4 82.8 40.8 381g
Fujifilm X-A1 £500 12/13 4+ Virtually identical to X-M1, but with a standard sensor 16.3MP Fuji X 25,600 1080p 41 5.6 O O 3in O 350 117 66.5 39 330g
Panasonic Lumix GX80 £599 09/16 4.5+ Panasonic’s best-judged CSC design for some time 16MP Mic4/3 25,600 4k O 49 8 O O O 3in O O 290 122 70.6 43.9 426g
Fujifilm X-A2 £529 05/15 4+ Similar to its predecessor the X-A1, it adds a tilting LCD 16.3MP Fuji X 25,600 1080p 49 5.6 O 3in O 410 116.9 66.5 40.4 350g
Samsung NX300 £530 06/13 4.5+ Company adds to its range of Wi-fi-enabled cameras 20.3MP Samsung 25,600 1080p 105 8.6 O O O 3.3in O O 320 122 64 41 284g
Sony Alpha 5100 £549 12/14 4+ One of the very best in class, in video and image quality 24MP Sony E 25,600 1080p 179 6 O O 3in O O 400 110 63 36 283g
Olympus OM-D E-M10 II £549 12/15 4.5+ Boasts a raft of improvements over its predecessor 16.1MP Mic4/3 25,600 1080p O 81 8.5 O O O 3in O O 320 119.5 83.1 46.7 342g
Fujifilm X-E2S £549 07/16 4+ Relatively minor update on the X-E2 16.3MP Fuji X 51,200 1080p O 49 7 O O O 3in 350 129 74.9 37.2 350g
Canon EOS M3 £599 07/15 4+ The M3 looks set to appeal to enthusiast photographers 24.3MP Canon M 25,600 1080p O 49 4.2 O O 3in O O 250 110.9 68 44.4 366g
Samsung NX500 £599 07/15 4+ Great for travelling light without sacrificing image quality 28MP Samsung 51,200 4096p 205 9 O O 3in O O 370 119.5 63.6 42.5 292g
Panasonic Lumix GM1 £629 01/14 4.5+ Tiny, retro compact design is impressive 16MP Mic4/3 25,600 1080p 23 5 O O 3in O 230 99 55 30 204g
Sony Alpha 6000 £670 06/14 4.5+ Class-leading AF and an impressive APS-C sensor 24MP Sony 25,600 1080p 179 11 O O O 3in O 310 120 67 45 344g
Panasonic Lumix G7 £679 08/15 4+ The G7 is Panasonic’s fifth model to have video capture 16MP Mic4/3 25,600 3840p 49 8 O O O 3in O O 360 124.9 86.2 77.4 410g
Fujifilm X-M1 £680 10/13 4+ Company’s third CSC features X-mount lens mount 16.3MP Fuji X 6400 1080p 54 5.6 O O 3in O 350 117 67 39 330g
Olympus OM-D E-M10 £699 05/14 4.5+ Maintains the high-end features of its OM-D siblings 16MP Mic4/3 25,600 1080p O 81 8 O O O 3in O 320 119 82 46 396g
Panasonic Lumix GM5 £749 01/15 4+ Small CSC with an electronic viewfinder 16MP Mic4/3 25,600 1080p O 23 5.8 O O O 3in O 210 98.5 59.5 36 211g
Nikon 1 AW1 £749 12/13 3.5+ High-end CSC is waterproof and shockproof 14.2MP Nikon 1 6400 1080p 41 15 O O O 3in 220 113 71.5 37.5 356g
Olympus OM-D E-M5 mkII £900 05/15 5+ Olympus’s latest premium CSC boasts several improvements 16MP Mic4/3 25,600 1080p O 81 10 O O 3in O 750 123.7 85 44.5 469g
Panasonic Lumix GX7 £900 10/13 4.5+ With fast AF and tiltable EVF, delivers excellent results 16MP Lumix G 25,600 1080p 23 40 O O O 3in O O n/a 122.6 70.7 43.3 402g
Olympus PEN E-P5 £900 09/13 4.5+ No built-in EVF but has fast AF plus high quality images 16MP Mic4/3 25,600 1080p 35 9 O O O 3in O O 330 122 69 37 420g
Samsung NX30 £900 Webonly 4.5+ A DSLR-style CSC with a burst rate of up to 8fps 21MP Samsung 25,600 1080p O 247 8 O O O O 3in O 360 127 96 58 375g
Olympus PEN-F £1000 5/16 5+ Olympus’s latest high-end CSC model 20.3MP Mic4/3 25,600 1080p O 81 10 O O 3in O O 330 124.8 72.1 37.3 427g
Panasonic Lumix GX8 £1000 10/15 4+ The highest resolution Micro Four Thirds camera yet 20.3MP Mic4/3 25,600 3840p O 49 8 O O 3in O O 330 133.2 78 63.1 487g
Sony Alpha 6300 £1000 06/16 4.5+ Premium CSC that boasts fast AF tracking and 4K video 24.2MP Sony E 51,200 3840p O 425 11 O O 3in O 350 120 66.9 48.8 404g
Fujifilm X-T1 £1100 4/12 5+ One of the best premium CSCs on the market 16.3MP Fuji X 51,200 1080p O 49 8 O O O 3in O 350 129 89.8 46.7 440g
Fujifilm X-E1 £1149 01/13 4.5+ Solid build, retro design and high image quality 16MP Fuji X 25,600 1080p 49 6 O O 3in 350 129 75 38 350g
Fujifilm X-E2 £1200 02/14 4.5+ Has over 60 improvements on the X-E1 16.3MP Fuji X 25,600 1080p O 49 7 O O O 3in 350 129 75 37 350g
Samsung NX1 £1299 02/15 5+ The first camera with an APS-C BSI sensor is impressive 28.2MP Samsung 25,600 4096p O 205 15 O O O 3in O tbc 138.5 102.3 65.8 550g
Panasonic Lumix GH4 £1300 07/14 4+ Both 4K video quality and still images are impressive 16MP Mic4/3 25,600 4096p O 49 12 O O O 3in O O 500 133 93 84 560g
Olympus OM-D E-M1 £1300 12/13 5+ Fully weather-proofed and Wi-fi enabled 16.8MP Mic 4/3 25600 1080p O 81 10 O O O 3in O O 330 130 93.5 63 497g
Sony Alpha 7 £1300 01/14 4.5+ One of the lightest, smallest full-frame cameras 24.3MP Sony E 25,600 1080p O 117 5 O O 3in O 340 127 94 48 474g
Fujifilm X-Pro2 £1349 Web 5+ The flagship X-series model is a stunning premium CSC 24.3MP Fuji X 51,200 1080p O 77 8 O O O 3in 250 140.5 82.8 45.9 495g
Leica T £1350 08/14 4+ Excellent image quality 16MP Leica T 12.500 1080p 195 5 O O 3.7in O 134 69 33 384g
Fujifilm X-Pro1 £1430 05/12 5+ Offers innovations including a hybrid viewfinder 16MP Fuji X 25,600 1080p 49 6 O 3in 300 139 81.8 42.5 450g
Sony Alpha 7 II £1498 03/15 5+ The full-frame A7 II is at the top of Sony’s CSC range 24.3MP Sony E 25,600 1080p O 117 5 O O O 3in 350 126.9 95.7 59.7 556g
Sony Alpha 7R £1700 02/14 4.5+ One of the lightest, smallest full-frame cameras 36.4MP Sony E 25,600 1080p O 25 4 O O 3in O 340 127 94 48 465g
Sony Alpha 7S £2099 09/14 4.5+ The Sony Alpha 7S is the latest Sony full-frame CSC 12.4MP Sony E 409,600 1080p O 25 5 O O 3in O 380 127 94.4 48.2 489g
Sony Alpha 7S II £2500 Web 5+ An excellent camera, especially for low light and video 12.2MP Sony E 409,600 3840p O 169 5 O O O 3in O 310 95.7 60.3
Sony Alpha 7R II £2599 11/15 5+ A big step up from the A7R; one of the best CSCs available 42.4MP Sony E 102,400 3840p O 399 5 O O O 3in O 290 126.9 95.7 60.3 625g
Leica SL (Typ 601) £5050 Web 4+ Extraordinary electronic viewfinder but large, heavy body 24MP Leica L 50,000 4K O tbc 11 O O O O 3in O tbc 147 104 39 847

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Lens Listings
A DSLR or Compact System Camera is hugely affected by the lens attached to the front, as the light hitting the sensor impacts
focus, exposure and image quality. Cast your eyes over our lens listings to find out which is best for you before you make a purchase

BUILT-IN FOCUS MOTOR 35mm

Compatibility
LENS MOUNTS
Some lenses incorporate a motor within Most digital sensors are Each manufacturer has its
the lens to drive the autofocusing, while smaller than 35mm, own lens mount and most
which is why lenses
others are powered by motors within the designed for digital aren’t compatible with one
camera. The former will focus quicker can be smaller. another. For example, a
than the latter. Canon lens motors are Canon DSLR can’t use
USM (Ultrasonic Motor), Sigma HSM Nikon lenses, though you
(Hypersonic-Motor). can use independent
brands if you get them
with the right mount.

FILTER
THREAD
In order to correct for
colour casts or create
MAGNIFICATION
more contrast, a FACTOR
screw-in filter can be If you’re changing from a 35mm SLR,
used. The thread at the Maximum your lenses won’t provide the same field
front of the camera will Aperture
Wider apertures mean of view on a DSLR unless you have a
have a diameter, in mm, “full-frame” model. So for Nikon, Pentax
you can use faster,
which will allow you to motion-stopping and Sony DSLRs, magnify the focal
attach a variety of filters shutter speeds. length by 1.5x to get a 35mm equivalent;
or adapters to the lens. for Canon 1.6x and Sigma 1.7x.

Lens types explained

Fixed focal Telephoto zoom Standard zoom Superzooms Wideangle zoom Macro lenses
length (PRIME) Telephotos are great for Most DSLRs come with a While they rarely compare Wideangle lenses make A true macro lens lets you
Fixed lenses offer wider sport and wildlife, while standard zoom which with shorter lenses in subjects seem further reproduce your subject at
maximum apertures and short teles are good for spans from moderate image quality, a away, enabling you to get life-size (1:1) or half
superior image quality. A portraits. Telephoto lenses wideangle to short superzoom offers more into the shot – per- life-size (1:2) on the sensor.
50mm lens is perfect for magnify camera shake, so telephoto. These ‘kit’ convenience. Great for fect for landscapes and Macro lenses come in
low light, 85-105mm is look for one with Image lenses are fine for most travelling when you’re architecture. The most various focal lengths and
ideal for portraits, while a Stabilisation to ensure you purposes, but there are conscious of weight, don’t popular wideangle zooms extension tubes can offer a
300mm+ tele is for sports achieve the sharpest shots alternatives that offer expect pin-sharp, are the 10-20mm and greater magnification.
shooters. possible. superior image quality. aberration-free images. 12-24mm ranges.

LENS SUFFIX GUIDE USED BY MANUFACTURERS

AD Tamron Anomalous Dispersion elements DG Sigma’s designation for all lenses FE Tokina floating element lenses N Nikon’s Nano Crystal Coating SWD Olympus Supersonic Wave Drive
AF-DC Nikon defocus feature Di Tamron lenses for full-frame sensors G Nikon lenses without an aperture ring OS Sigma’s Optically Stabilised lenses SWM Nikon lenses with a Silent Wave Motor
AF-S Nikon lenses with Silent Wave Motor Di-II Tamron lenses designed for APS-C HF Sigma Helical Focusing PRO Tokina’s Professional range of lenses TS-E Canon Tilt and Shift lens
APO Sigma Apochromatic lenses DO Canon diffractive optical element lenses HID Tamron’s High Index Dispersion glass RF Sigma & Nikon Rear Focusing UD Canon Ultra Low Dispersion glass
ASL Tamron lenses featuring aspherical elements DT Sony lenses for APS-C sized sensors HLD Tokina low dispersion glass SD Tokina’s Super Low Dispersion element USM Canon lenses with an Ultrasonic Motor
ASP Sigma lenses featuring aspherical elements DX Nikon’s designation for digital lenses HSM Sigma’s Hypersonic Motor SDM Pentax’s Sonic Direct Drive Motor VC Tamron’s Vibration Compensation
AT-X Tokina’s Advanced Technology Extra Pro ED Low Dispersion elements IF Internal Focusing SF Canon lenses with Softfocus feature VR Nikon’s Vibration Reduction feature
CRC Nikon’s Close Range Correction system EF Canon’s full-frame lenses IRF Tokina’s Internal Rear Focusing lenses SHM Tamron’s Super Hybrid Mount XR Tamron Extra Refractive Index glass
D Nikon lenses that communicate distance info EF-S Canon lenses for APS-C sized sensors IS Canon’s Image Stabilised lenses SIC Nikon’s Super Integrated Coating ZL Tamron’s Zoom Lock feature
DA Pentax lenses optimised for APS-C sized sensors EX Sigma’s ‘Excellent’ range L Canon’s ‘Luxury’ range of lenses SLD Sigma Super Low Dispersion elements
DC Sigma’s designation for digital lenses FC Tokina’s Focus Clutch Mechanism LD Tamron Low Dispersion glass SP Tamron’s Super Performance range
DF Sigma lenses with dual focus facility FE Canon’s fisheye lenses M-OIS Mega Optical Image Stabilisation SSM Sony/Minolta Supersonic Motor lenses

80 WWW.WHATDIGITALCAMERA.COM
 LEN S LISTING S

Filter Thread (mm)

Image Stabilisation
CA NON

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
EF 8-15mm f/4 L USM £1499 NYT Impressive-looking fisheye zoom lens from Canon • 15 n/a 78.5 83 540g
EF-S 10-18mm f/4.5-5.6 IS STM £299 11/14 4+ A superb ultra wideangle that’s a must-have for anyone shooting landscapes and cityscapes • • 22 67 74.6 72 240g
EF-S 10-22mm f/3.5-4.5 USM £990 9/09 4+ A good performer, with solid MTF curves and minimal chromatic aberration • 24 77 83.5 89.8 385g
EF 11-24mm f/4L USM £2799 NYT Long-awaited by Canon full-frame users, this is the world’s widest-angle rectilinear zoom lens • • 28 n/a 108 132 1180g
EF 14mm f/2.8 L II USM £2810 7/10 4.5+ Impressive resolution at f/8 but less so wide open • • 20 n/a 80 94 645g
EF-S 15-85mm f/3.5-5.6 IS USM £900 3/11 4+ 4-stop image stabilisation and Super Spectra coatings, together with a useful range • • 35 72 81.6 87.5 575g
EF 16-35mm f/2.8 L II USM £1790 6/10 4.5+ Mark II of above lens, and a good performer with strong results at f/8 in particular • • 28 82 88.5 111.6 635g
EF 16-35mm f/4L IS USM £1199 9/14 4+ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full frame cameras • • • 28 77 82.6 112.8 615g
TS-E 17mm f/4 L £2920 NYT Tilt and shift optic with independent tilt and shift rotation and redesigned coatings • • 25 77 88.9 106.9 820g
EF 17-40mm f/4 L USM £940 11/08 4+ Designed to match the needs of demanding professionals – and does so with ease • • 28 77 83.5 96.8 500g
EF-S 17-55mm f/2.8 IS USM £795 2/13 4+ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture • • 35 77 83.5 110.6 645g
EF-S 17-85mm f/4-5.6 IS USM £600 11/08 3+ Doesn’t really live up to its promises. The zoom range is excellent but there are better alternatives • • 35 67 78.5 92 475g
EF-S 18-55mm f/3.5-5.6 IS II £220 11/08 3.5+ Given the low price of this zoom, its results are very impressive • • 25 58 68.5 70 200g
EF-S 18-135mm f/3.5-5.6 IS £500 NYT 4-stop image stabilisation and automatic panning and tripod detection • • 45 67 75.4 101 455g
EF-S 18-200mm f/3.5-5.6 IS £740 10/11 4+ Automatic panning detection (for image stabilisation) and a useful 11x zoom range • • 45 72 78.6 102 595g
EF 20mm f/2.8 USM £610 NYT Wideangle lens with a floating rear focusing system and a USM motor • • 25 72 77.5 70.6 405g
EF 24mm f/1.4 L II USM £2010 NYT Subwavelength structure coating, together with UD and aspherical elements • • 25 77 93.5 86.9 650g
EF 24mm f/2.8 IS USM £750 05/13 4+ Small wideangle optic with image stabilisation • • • 25 58 67.5 48.5 270g
TS-E 24mm f/3.5 L II £2550 NYT Tilt and shift optic with independent tilt and shift rotation and redesigned coatings • • 21 82 88.5 106.9 780g
EF 24-70mm f/2.8 L USM £1540 7/09 4.5+ A solid performer with an excellent reputation that only years in the field can secure • • 38 77 83.2 123.5 950g
EF 24-70mm f/2.8 L II USM £2300 XMAS 12 5+ Professional quality standard zoom lens with a fast aperture • • 38 82 88.5 113 805g
EF 24-70mm f/4 L IS USM £1499 NYT L series zoom said to be compact, portable and aimed at both professionals and amateurs • • • 38 77 83.4 93 600g
EF 24-105mm f/4 L IS USM £1049 3/13 4.5+ An excellent all-round performer, and keenly priced too • • • 45 77 83.5 107 670g
EF 24-105mm f/3.5-5.6 IS STM £479 NYT A versatile standard zoom lens that’s an ideal route into full frame photography • • • 40 77 83.4 104 525g
EF 28mm f/1.8 USM £570 NYT USM motor and an aspherical element, together with a wide maximum aperture • • 25 58 73.6 55.6 310g
EF 28mm f/2.8 IS USM £730 05/13 3.5+ Lightweight and inexpensive lens, with a single aspherical element • • 30 52 67.4 42.5 185g
EF 28-135mm f/3.5-5.6 IS USM £560 12/09 4.5+ Excellent optical performance, with the benefit of image stabilisation • • • 50 72 78.4 96.8 540g
EF 28-300mm f/3.5-5.6 L IS USM £3290 NYT L-series optic with expansive range, image stabilisation and a circular aperture • • • 70 77 92 184 1670g
EF 35mm f/2 £320 3/12 4.5+ A cut-price fixed focal length lens • • 25 52 67.4 42.5 210g
EF 35mm f/2 IS USM £799 NYT First 35mm prime from Canon to feature an optical stabilisation system • • 24 67 62.6 77.9 335g
EF 35mm f/1.4 L II USM £1799 XMAS 15 5+ An outstanding addition to the L-series line-up • • 28 72 80.4 104.4 760g
EF 40mm f/2.8 STM £230 NYT A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting • 30 52 68.2 22.8 130g
EF 50mm f/1.2 L USM £1910 NYT Very wide maximum aperture and Super Spectra coatings, and a circular aperture • • 45 72 85.8 65.5 580g
EF 50mm f/1.4 USM £450 2/10 5+ Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy though • • 45 58 73.8 50.5 290g
EF 50mm f/1.8 STM £130 09/15 5+ Lightest EF lens in the range, with wide maximum aperture and a Micro Motor • • 35 49 69.2 39.3 130g
EF 50mm f/2.5 Macro £350 NYT Compact macro lens with floating system • • 23 52 67.6 63 280g
EF-S 55-250mm f/4-5.6 IS II £330 1/12 4+ Ideal budget addition to the 18-55mm kit lens, with image stabilisation and USM • • 110 58 70 108 390g
EF-S 60mm f/2.8 Macro USM £540 8/06 4+ Great build and optical quality, with fast, accurate and near-silent focusing • 20 52 73 69.8 335g
MP-E65 f/2.8 1-5x Macro £1250 NYT Macro lens designed to achieve a magnification greater than 1x without accessories • • 24 58 81 98 710g
EF 70-200mm f/2.8 L USM £1540 NYT Non-stabilised L-series optic, with rear focusing and four UD elements • • 150 77 84.6 193.6 1310g
EF 70-200mm f/4 L IS USM £1450 11/11 5+ A superb option for the serious sports and action photographer • • • 120 67 76 172 760g
EF 70-200mm f/2.8 L IS II USM £2800 10/10 5+ A great lens but also a costly one. Peak resolution at 0.4 cycles-per-pixel is simply amazing • • • 120 77 88.8 199 1490g
EF 70-200mm f/4 L USM £790 NYT A cheaper L-series alternative to the f/2.8 versions available • • 120 67 76 172 705g
EF 70-300mm f/4.5-5.6 IS USM £470 11/10 4+ A great level of sharpness and only the small apertures should be avoided • • • 150 58 76 143 630g
EF 70-300mm f/4-5.6 L IS USM £1600 7/11 5+ An L series lens with a highly durable outer shell • • • 120 67 89 143 1050g
EF 70-300mm f/4.5-5.6 DO IS USM £1700 NYT 3-layer diffractive optical element and image stabilisation • • • 140 58 82.4 99.9 720g
EF 75-300mm f/4-5.6 III £300 NYT Essentially the same lens as the 75-300mm f/4.0-5.6 III USM but with no USM • • 150 58 71 122 480g
EF 75-300mm f/4-5.6 III USM £350 9/07 2.5+ Good but not outstanding. The inclusion of a metal lens mount is positive, though • • 150 58 71 122 480g
EF 85mm f/1.2 L II USM £2640 8/06 4+ A well-crafted lens, with fast and quiet AF with good vignetting and distortion control • • 95 72 91.5 84.0 1025g
EF 85mm f/1.8 USM £470 2/11 5+ Non-rotating front ring thanks to rear focusing system, as well as USM • • 85 58 75 71.5 425g
TS-E 90mm f/2.8 £1670 NYT Said to be the world’s first 35mm-format telephoto lens with tilt and shift movements • • 50 58 73.6 88 565g
EF 100mm f/2 USM £559 NYT A medium telephoto lens with a wide aperture, making it ideal for portraits • 90 58 75 73.5 460g
EF 100mm f/2.8 Macro USM £650 11/09 4+ A solid performer, but weak at f/2.8 (which is potentially good for portraits) • • 31 58 79 119 600g
EF 100mm f/2.8 L Macro IS USM £1060 1/13 5+ Stunning MTF figures from this pro-grade macro optic • • • 30 67 77.7 123 625g
EF 100-400mm f/4.5-5.6 L IS USM £1940 NYT L-series construction and optics, including fluorite and Super UD elements • • • 180 77 92 189 1380g
EF 135mm f/2 L USM £1360 NYT L-series construction with two UD elements and wide maximum aperture • • 90 72 82.5 112 750g
EF 135mm f/2.8 SF £520 NYT Soft-focus feature with two degrees of softness • • 130 52 69.2 98.4 390g
EF 180mm f/3.5 L Macro USM £1870 NYT L-series macro lens with inner focusing system and USM technology • • 48 72 82.5 186.6 1090g
EF 200mm f/2 L IS USM £7350 NYT 5-stop Image Stabilisation with tripod detection and Super Spectra lens coatings • • • 190 52 128 208 2520g
EF 200mm f/2.8 L II USM £960 NYT Two UD elements and a rear-focusing system in this L-series optic • • 150 72 83.2 136.2 765g
EF 300mm f/2.8 L IS II USM £7500 NYT 4 stop Image stabilisation makes this lens perfect for action photography • • • 200 52 128 248 2400g
EF 300mm f/4 L IS USM £1740 NYT Two-stop image stabilisation with separate mode for panning moving subjects • • • 150 77 90 221 1190g
EF 400mm f/2.8 L IS USM £9810 NYT Super telephoto with ring-type USM, one flourite element and image stabilisation • • • 300 52 163 349 5370g
EF 400mm f/4 DO IS USM £8000 NYT Multi-layer diffractive optical element to correct for chromatic aberration • • • 350 52 128 232.7 1940g
EF 400mm f/5.6 L USM £1660 NYT Super UD and UD elements, as well as a detachable tripod mount and built-in hood • • 350 77 90 256.5 1250g
EF 500mm f/4 L IS USM II £5299 NYT Full-time manual focus, a single flourite element and dust and moisture protection • • • 450 52 146 387 3870g

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Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
10.5mm f/2.8 G ED DX Fisheye £678 NYT DX format fisheye lens with Nikon’s Close-Range Correction system and ED glass • 14 n/a 63 62.5 300g
10-24mm f/3.5-4.5 G ED AF-S £834 10/09 4+ MTF performance is good from wide open to f/11, only breaking down past f/22 • 24 77 82.5 87 460g
12-24mm f/4 G ED AF-S DX £1044 9/09 4+ This venerable optic may be a little weak at f/4, but otherwise it’s a good performer • 30 77 82.5 90 485g
14mm f/2.8 D ED AF £1554 7/10 5+ A really nice lens that handles well and offers excellent image quality • • 20 n/a 87 86.5 670g
14-24mm f/2.8 G ED AF-S £1670 2/08 5+ A remarkable piece of kit, producing sharp images with little chromatic aberration • • 28 n/a 98 131.5 970g
16mm f/2.8 D AF Fisheye £762 NYT Full-frame fisheye lens with Close-Range Correction system and 25cm focus distance • • 25 n/a 63 57 290g
16-35mm f/4 G ED AF-S VR £1072 6/10 5+ A fantastic lens that deserves to be taken seriously, with very little CA throughout • • 28 77 82.5 125 685g
16-80mm f/2.8-4E ED VR AF-S DX £869 11/15 4+ This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs • • 35 72 80 85.5 480g
16-85mm f/3.5-5.6 G ED VR AF-S DX £574 3/11 4+ Boasting Nikon’s second-generation VR II technology and Super Integrated Coating • • 38 67 72 85 485g
17-35mm f/2.8 D ED-IF AF-S £1878 NYT High-quality wideangle zoom for full-frame Nikon users • • 28 77 82.5 106 745g
17-55mm f/2.8 G ED-IF AF-S DX £1356 3/07 4+ A higher quality standard zoom for DX-format DSLRs • 36 77 85.5 110.5 755g
18-35mm f/3.5-4.5 G ED AF-S £669 Xmas13 5+ Wideangle zoom with instant manual-focus override for full-frame DSLRs • • 28 77 83 95 385g
18-55mm f/3.5-5.6 G II AF-S DX £156 12/08 3.5+ Entry-level standard zoom lens • 28 52 73 79.5 265g
18-55mm f/3.5-5.6 G VR AF-S DX £188 5/08 4+ An improvement over the above version, with excellent resolution and the benefit of VR • 28 52 70.5 74 205g
18-55mm f/3.5-5.6 G VR II AF-S DX £229 NYT Popular 3x zoom lens that is remarkably compact and lightweight, offering great portability • • 28 52 66 59.5 195g
18-105mm f/3.5-5.6 G ED VR AF-S DX £292 8/12 4.5+ Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction • na 67 76 89 420g
18-140mm f/3.5-5.6 G ED VR AF-S DX £579 NYT A compact and lightweight DX-format zoom, this lens is a great all-rounder • • 45 67 78 97 490g
18-200mm f/3.5-5.6 G IF-ED AF-S £762 10/11 4.5+ 4-stop VR II system, two ED and three aspherical elements in this DX superzoom lens • • 50 72 77 96.5 560g
18-300mm f/3.5-5.6 G ED-IF VR £850 12/12 4+ DX-format zoom lens with wideangle to super-telephoto reach • • 45 77 83 120 830g
18-300mm f/3.5-6.3 G ED VR £849 NYT New DX-format 16.7x zoom with super-telephoto reach – a compact ‘walkabout’ lens • • 48 67 78.5 99 550g
20mm f/1.8 G ED AF-S £679 NYT A fast FX-format prime lens that’s compact and lightweight • 20 77 82.5 80.5 335g
20mm f/2.8 D AF £584 NYT Compact wideangle lens with Nikon’s Close-Range Correction system • • 25 62 69 42.5 270g
24mm f/2.8 D AF £427 NYT Compact wide lens with Close-Range Correction system • • 30 52 64.5 46 270g
24mm f/1.4 G ED AF-S £1990 8/10 5+ Nothing short of stunning. Aside from its high price there is very little to dislike about this optic • • 25 77 83 88.5 620g
24mm f/1.8 G ED AF-S £629 NYT Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers • 23 72 77.5 83 355g
24mm PC-E f/3.5 D ED PC-E £1774 NYT Perspective Control lens with Nano Crystal Coating and electronic control over aperture • • 21 77 82.5 108 730g
24-70mm f/2.8 G ED AF-S £1565 7/09 5+ An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens • • 38 77 83 133 900g
24-70mm f/2.8E ED VR £1849 02/16 5+ Nikon’s latest pro-spec standard zoom looks like its best lens yet • • • 38 82 88 154.5 1070g
24-85mm f/3.5-4.5 G ED VR £520 XMAS 12 5+ FX-format standard zoom with Auto Tripod detection and VR • 38 72 78 82 465g
24-120mm f/4 G ED AF-S VR £1072 5/11 5+ Constant maximum aperture of f/4 and the addition of VR makes this a superb lens • • • 45 77 84 103 710g
28mm f/1.8 G ED AF-S £619 4/13 5+ If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers • 25 67 73 80 330g
28mm f/2.8 D AF £282 NYT Compact wideangle lens with a minimum focusing distance of 25cm • • 25 52 65 44.5 205g
28-300mm f/3.5-5.6 G ED AF-S VR £889 1/13 4.5+ Technical testing shows this zoom to be, as Nikon claims, the ‘ideal walkabout lens’ • • • 50 77 83 114 800g
35mm f/1.8 G AF-S DX £208 3/12 5+ Designed for DX-format DSLRs, a great standard prime lens • 30 52 70 52.5 200g
35mm f/1.8 G ED AF-S £TBC NYT Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight • 25 58 72 71.5 305g
35mm f/2 D AF £324 9/08 3+ At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture • • 25 52 64.5 43.5 205g
35mm f/1.4 G ED AF-S £1735 9/12 5+ A Nano Crystal-coated lens designed for the FX range • • 30 67 83 89.5 600g
40mm f/2.8 G AF-S DX Micro £250 12/11 5+ A budget-priced macro lens that delivers the goods on multiple fronts • 20 52 68.5 64.5 235g
50mm f/1.2 £855 NYT Ultra-fast f/1.2 aperture prime lens • 50 52 68.5 47.5 360g
50mm f/1.4 D AF £292 2/10 5+ Entry-level prime puts in a fine performance while offering backwards compatibility with AI cameras • • 45 52 64.5 42.5 230g
50mm f/1.4 G AF-S £376 2/10 5+ Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 • • • 45 58 73.5 54 280g
50mm f/1.8 D AF £135 NYT Compact, lightweight, affordable prime, will stop down to f/22 • • 45 52 63 39 160g
50mm f/1.8 G AF-S £200 9/11 5+ A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs • • 45 58 72 52.5 185g
55mm f/2.8 Micro £625 NYT Macro lens with 1/2 maximum reproduction ratio • 25 52 63.5 62 290g
55-200mm f/4-5.6 G VR AF-S DX £314 8/07 3.5+ Designed for DX-format cameras, with Vibration Reduction and SWM technology • 110 52 73 99.5 335g
55-300mm f/4.5-5.6 G VR AF-S DX £378 1/12 3+ Offers a wide telephoto coverage, but better options available • 140 58 76.5 123 530g
58mm f/1.4 G AF-S £1599 2/14 4+ FX-format full frame premium prime lens with large f/1.4 aperture • • 58 72 85 70 385g
60mm f/2.8 D AF Micro £405 8/06 5+ Nikon’s most compact Micro lens, with Close Range Correction (CRC) system • • 22 62 70 74.5 440g
60mm f/2.8 G ED AF-S Micro £500 NYT Micro lens with 1:1 repro ratio, as well as a Silent Wave Motor and Super ED glass • • 18 62 73 89 425g
70-200mm f/2.8 G ED VR II AF-S £2085 10/10 5+ Very little to fault here, with stunning image quality and consistent results at different focal lengths • • • 140 77 87 209 1540g
70-200mm f/4 G ED VR £1180 7/13 5+ Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin • • • 1000 67 78 178.5 850g
70-300mm f/4.5-5.6 G ED AF-S VR £556 11/10 4+ Feature-packed optic, with a VR II system, 9-bladed diaphragm, SWM and ED glass • • • n/a 67 80 143.5 745g
80-400mm f/4.5-5.6 G ED VR AF-S £1899 10/15 5+ Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects • • • 175 77 95.5 203 1570g
85mm f/3.5 G ED AF-S DX VR £522 NYT DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass • • 28 52 73 98.5 355g
85mm f/1.4 G AF-S £1532 2/11 5+ Fast mid-tele lens with an internal focusing system and rounded diaphragm • • 85 77 86.5 84 595g
85mm f/1.8 D £385 NYT Portable medium telephoto – ideal for portraits • 85 62 71.5 58.5 380g
85mm f/1.8 G AF-S £470 5/12 5+ Rear-focusing system and distance window in this medium telephoto lens • • 80 67 80 73 350g
105mm f/2.8 G AF-S VR II Micro £782 11/09 4.5+ A very sharp lens, with swift and quiet focusing and consistent MFT results • • • 31 62 83 116 720g
105mm f/2 D AF DC £980 NYT A portrait lens with defocus control • • 90 n/a 79 111 640g
135mm f/2 D AF DC £1232 NYT Defocus-Image Control and a rounded diaphragm in this telephoto optic • • 110 n/a 79 120 815g
180mm f/2.8 D ED-IF AF £782 NYT Useful telephoto length and internal focusing technology, together with ED glass • • 150 72 78.5 144 760g
200mm f/4 D ED-IF AF Micro £1429 NYT 1:1 reproduction range in this Micro lens, with a Close-Range Correction system • • 50 62 76 104.5 1190g
200mm f/2 G ED AF-S VR II £5412 NYT A full-frame lens offering ghost-reducing Nano Crystal coating • • • 190 52 124 203 2930g
200-500mm f/5.6 E ED VR AF-S £1179 NYT A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras • • 220 95 108 267.5 2300g
300mm f/4 E PF ED VR AF-S £1230 08/15 5+ Light, compact AF-S full-frame telephoto lens with ED glass elements • • • 140 77 89 147.5 755g
300mm f/2.8 G ED AF-S VR II £5209 NYT This lens promises fast and quiet AF, and is fitted with Nikon’s latest VR II system • • • 230 52 124 267.5 2900g

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Pentax
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Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
7-14mm f/4 ED £1900 6/08 5+ An excellently constructed objective, with image quality to match • 25 n/a 86.5 119.5 780g
8mm f/3.5 ED Fisheye £930 NYT Diagonal fisheye lens, offering a 180° view and a splash-resistant construction • 13 n/a 79 77 485g
9-18mm f/4-5.6 £640 9/09 4+ Good results up to f/11, past which point resolution drops a little • 25 72 79.5 73 280g
12-50mm f/3.5-6.3 ED £370 5/13 4+ Offers electromagnetic zoom mechanism plus variable zoom speed • 20 72 57 83 211g
12-60mm f/2.8-4 ED SWD £1130 11/08 4.5+ While not quite as consistent as the 14-54mm, this optic is perhaps more versatile • 25 72 79.5 98.5 575g
11-22mm f/2.8-3.5 £1020 NYT Wide angle (2x) addition to Olympus E-System lens range • 28 72 75 92.5 485g
14-35mm f/2 ED SWD £2400 NYT Pro lens with Supersonic Wave Drive AF system and dust and splashproof casing • 35 77 86 123 915g
14-42mm f/3.5-5.6 ED £285 NYT Small, light lens especially designed for the compact Four Thirds system standard • 25 58 65 61 190g
14-54mm f/2.8-3.5 II £660 12/09 4+ An affordable lens with great resolution – only CA control lets it down a touch • 22 67 74.5 88.5 440g
18-180mm f/3.5-6.3 £560 6/10 4+ A good performer everywhere except at 180mm, with a solid feel to it • 45 62 78 84.5 435g
25mm f/2.8 Pancake £270 9/08 3.5+ Excellent image quality from such a tiny optic, but the lens cap is a little fiddly • 20 43 64 23.5 95g
35mm f/3.5 Macro £270 NYT Macro lens equivalent to 70mm on a full-frame camera • 14 52 71 53 163g
35-100mm f/2 £2630 NYT One Super ED and four ED elements inside this telephoto optic • 140 77 96.5 213.5 1650g
40-150mm f/4-5.6 ED £300 NYT ED and aspherical elements in this optic, together with an internal focusing system • 90 58 65.5 72 220g
50mm f/2 ED Macro £600 8/06 3.5+ A fast, high-quality lens, with excellent MTF curves and low chromatic aberration • 24 52 71 61.5 300g
50-200mm f/2.8-3.5 ED SWD £1300 NYT Supersonic Wave Drive focusing system and an equivalent focal range of 100-400mm • 120 67 86.5 157 995g
70-300mm f/4-5.6 ED £450 NYT Three ED elements and multi-coatings feature in this popular tele-zoom optic • 96 58 80 127 620g
150mm f/2 ED £2650 NYT Splashproof telephoto lens with a wide maximum aperture • 140 82 100 150 1610g

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Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
DA 10-17mm f/3.5-4.5 smc ED IF £590 NYT Fisheye zoom lens with Super Protection coating and Quick Shift manual focus • 14 n/a 71.5 68 320g
DA 12-24mm f/4 smc ED AL IF £1050 NYT Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom • 30 77 83.5 87.5 430g
DA 14mm f/2.8 smc ED IF £730 7/10 4.5+ Best performance lies between f/5.6 and f/11, but good results can be had at f/4 too • 17 77 83.5 69 420g
DA 15mm f/4 smc ED AL Limited £820 NYT Limited edition lens with hybrid aspherical and extra-low dispersion elements • 18 49 39.5 63 212g
DA* 16-50mm f/2.8 smc ED AL IF SDM £950 1/09 3.5+ A nice balance and robust feel, but poor sharpness at f/2.8 (which significantly improves from f/4 onwards) • • 30 77 98.5 84 600g
DA 16-85mm f/3.5-5.6 ED DC WR £600 NYT Weather-resistant, this zoom features a round shaped diaphragm to produce beautiful bokeh • 35 72 78 94 488g
DA 17-70mm f/4 smc AL IF SDM £630 NYT Featuring Pentax’s Supersonic Direct-drive (SDM) focusing system • 28 67 75 93.5 485g
DA 18-50mm f/4-5.6 DC WR RE £230 NYT Super-thin standard zoom that’s weather-resistant and features a round shaped diaphragm • 30 58 71 41 158g
DA 18-55mm f/3.5-5.6 smc II ED AL IF £220 1/09 3.5+ Something of a bargain. Only the maximum apertures and awkward manual focusing really let it down • 25 52 68 67.5 220g
DA 18-55mm f/3.5-5.6 smc AL WR £229 NYT A weather resistant construction and an aspherical element, as well as SP coating • 25 52 68.5 67.5 230g
DA 18-135mm f/3.5-5.6 DA ED DC WR £600 6/11 3.5+ A weather resistant mid-range zoom lens • 40 62 73 76 405g
DA 18-270mm f/3.5-6.3 smc ED SDM £699 NYT 15x superzoom for company’s K-mount DSLRs featuring two extra-low dispersion (ED) elements • 49 62 76 89 453g
DA 20-40mm f/2.8-4 ED Limited DC WR £829 NYT With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather-resistant • 28 55 68.5 71 283g
DA 21mm f/3.2 smc AL Limited £600 NYT This limited-edition optic offers a floating element for extra-close focusing • 20 49 63 25 140g
FA 24-70mm f/2.8 ED SDM WR £1149 NYT Full frame-compatible premium standard zoom - includes a HD coating to minimise flare and ghosting • • 38 82 109.5 88.5 787g
FA 31mm f/1.8 smc AL Limited £1149 NYT Aluminium body; when used on a Pentax DSLR offers a perspective similar to that of the human eye • 30 58 68.5 65 345g
FA 35mm f/2 smc AL £550 NYT A compact wideangle lens that weighs a mere 214g • 30 49 64 44.5 214g
DA 35mm f/2.8 smc Macro £640 9/08 4.5+ Despite slight edge softness, this lens performs excellently and is a pleasure to use • 14 49 46.5 63 215g
DA 35mm f/2.4 smc DS AL £180 3/12 5+ A budget price prime lens for beginners • 30 49 63 45 124g
DA 40mm f/2.8 smc Limited £450 NYT Pancake lens with SMC coating and Quick Shift focusing system • 40 49 63 15 90g
DA 40mm XS f/2.8 XS £325 NYT The world’s smallest fixed focal length lens • 40 N/A 62.9 9 52g
FA 43mm f/1.9 smc Limited £729 NYT Focal length is ideal for portraits as well as everyday use, and features an smc multi-layer coating • 45 49 27 64 155g
FA 50mm f/1.4 smc £399 NYT High quality fast prime. The ‘FA’ indicates that its image circle covers the 35mm full-frame format • 45 49 63.5 38 220g
DA 50mm f/1.8 smc DA £249 08/15 4+ Affordable short telephoto lens ideal for portraits • • 45 52 38.5 63 122g
DFA 50mm f/2.8 smc Macro £550 NYT Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism • • 19 49 60 67.5 265g
DA* 50-135mm f/2.8 smc ED IF SDM £1200 11/12 4+ Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects • • 100 67 76.5 136 765g
DA 50-200mm f/4-5.6 smc ED WR £210 NYT Weather-resistant construction, Quick Shift focus system and an SP coating • n/a 49 69 79.5 285g
DA* 55mm f/1.4 smc SDM £800 2/10 4.5+ Even despite questions about the particular sample tested, this lens scores highly • • 45 58 70.5 66 375g
DA 55-300mm f/4-5.8 smc ED £370 10/12 4+ The lens boasts a useful focal range, as well as a dirt-resistant SP coating • 140 58 75 111.5 440g
DA 55-300mm f/4-5.8 ED WR £399 NYT Weatherproof HD telephoto lens featuring quick shift focusing system • • 140 58 71 111.5 466g
DA 60-250mm f/4 smc ED IF SDM £1450 10/12 4.5+ With a constant f/4 aperture and an ultrasonic motor for speedy focusing • 110 67 167.5 82 1040g
DA 70mm f/2.4 smc AL Limited £600 NYT Medium telephoto lens with an aluminium construction and a Super Protect coating • 70 49 63 26 130g
D-FA* 70-200mm f/2.8 ED DC AW £1850 NYT New addition to Pentax’s high-performance Star (*) series developed for best image rendition • • 120 77 91.5 203 1755g
FA 77mm f/1.8 smc Limited £1050 NYT With Pentax’s Fixed Rear Element Extension focusing system for ‘sharp, crisp images’ • • 70 49 48 64 270g
D-FA 100mm f/2.8 Macro £700 NYT Designed for both digital and film cameras, this macro lens boasts a 1:1 repro ratio • • 30 49 67.5 80.5 345g
D-FA 100mm f/2.8 Macro WR £680 11/12 5+ Street price makes this something of a bargain for a true macro offering full-frame coverage • • 30 49 65 80.5 340g
FA 150-450mm f/4.5-5.6 ED DC AW £2000 NYT Super-telephoto lens with weather-resistance, designed to produce extra-sharp, high-contrast images • • 200 86 241.5 95 2000g
DA* 200mm f/2.8 smc ED IF SDM £1000 8/12 4.5+ SDM focusing system on the inside, and dirtproof and splashproof on the outside • • 120 77 83 134 825g
DA* 300mm f/4 smc ED IF SDM £1300 NYT This tele optic promises ultrasonic focus and high image quality thanks to ED glass • • 140 77 83 184 1070g

WWW.WHATDIGITALCAMERA.COM 83
     


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 W D C L IS T IN GS LEN S LISTING S

Filter Thread (mm)

Image Stabilisation
S AM YA N G

Full Frame Only

Min Focus (cm)

Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
8mm f/3.5 UMC Fisheye CS II £274 NYT Wideangle fisheye lens designed for digital reflex cameras with APS-C sensors • • • • • 30 N/A 75. 77.8 417g
10mm f/2.8 ED AS NCS CS £429 NYT Features a nano crystal anti-reflection coating system and embedded lens hood • • • • • • 24 N/A 86 77 580g
14mm f/2.8 ED UMC £279 NYT Ultra wideangle manual focus lens; bulb-like front element means no filters can be used • • • • • • 28 N/A 94 87 552g
16mm f/2.0 ED AS UMC CS £389 NYT Ultra wideangle lens for digital reflex cameras and mirrorless compact cameras fitted with APS-C sensors • • • • 20 N/A 89.4 83 583g
21mm f/1.4 ED AS UMC CS £499 04/16 5+ Manual-focus prime designed for mirrorless users comprising 8 elements arranged in 7 groups • • • 28 58 54.3 67.9 290g
24mm f/1.4 AS UMC £499 NYT Fast ultra wideangle manual focus lens comprising 13 lenses arranged in 12 groups • • • • • • 25 77 95 116 680g
35mm f/1.4 AS UMC £369 3/13 4.5+ While manual focus only, this prime impressed us in real-world use, making it something of a bargain • • • • • • 30 77 83 111 660g
50mm f/1.2 AS UMC CS £299 05/16 5+ Fast prime for mirrorless cameras that’s capable of stunning results with a super-shallow depth of field • • • • 50 62 67.5 74.5 380g
85mm f/1.4 IFMC £239 NYT Short fast telephoto prime, manual focus, aimed at portrait photographers • • • • • 100 72 78 72.2 513g
100mm f/2.8 ED UMC Macro £389 NYT Full-frame compatible, the Samyang 100mm is a close-up true Macro lens • • • • • • 30 67 72.5 123.1 720g

Filter Thread (mm)

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S IG MA

Full Frame Only

Min Focus (cm)

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Sony Alpha

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Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
4.5mm f/2.8 EX DC £739 NYT Circular fisheye lens designed for digital, with SLD glass and a gelatin filter holder • • • 13 n/a 76 77.8 470g
8mm f/3.5 EX DG £799 NYT The world’s only 8mm lens equipped with autofocus also boasts SLD glass • • • • 13 n/a 73.5 68.6 400g
8-16mm f/4.5-5.6 DC HSM £800 10/10 4+ Excellent performance at 8mm which sadly drops at the 16mm end • • • • • 24 72 75 105.7 555g
10mm f/2.8 EX DC £599 NYT A Hyper Sonic Motor (HSM) and built-in hood in this diagonal fisheye lens • • • 13 n/a 75.8 83 475g
10-20mm f/3.5 EX DC HSM £650 3/10 5+ An absolute gem of a lens that deserves a place on every photographer’s wish list • • • • • 24 82 87.3 88.2 520g
10-20mm f/4-5.6 EX DG HSM £550 8/09 5+ A fine all-rounder, thanks to MTF curves which stay above 0.25 cycles-per-pixel down to f/16 • • • • • • 24 77 83.5 81 470g
12-24mm f/4.5-5.6 EX DC HSM £868 8/09 4+ A tightly matched set of MTF curves, but APS-C users are advised to look at the 10-20mm instead • • • • • • 28 n/a 87 102.5 600g
15mm f/2.8 EX DG £629 7/10 4+ This fisheye optic puts in a very solid performance – not to be dismissed as a gimmick! • • • • • • 15 n/a 73.5 65 370g
17-50mm f/2.8 EX DC OS HSM £689 NYT FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation • • • • • • 28 77 83.5 92 565g
17-70mm f/2.8-4 DC Macro OS HSM £449 NYT Redesign of this well-received lens launches the ‘Contemporary’ range and sees it in more compact form • • • • • • 22 72 79 82 470g
18-35mm f/1.8 DC HSM £799 11/13 5+ Said to be the world’s first constant f/1.8 zoom; DOF equivalent of constant f/2.7 on full frame • • • • 28 72 78 121 810g
18-200mm f/3.5-6.3 DC £349 3/08 3+ Good CA control at 200mm but otherwise an average performer • • • • • 45 62 70 78.1 405g
18-200mm f/3.5-6.3 DC OS £449 3/08 4+ Excellent resolution and consistent performance, but control over CA could be a little better • • • • 45 45 79 100 610g
18-250mm f/3.5-6.3 DC OS HSM £572 1/10 4.5+ A very capable set of MTF curves that only shows minor weakness at wide apertures • • • • • • 45 72 79 101 630g
18-250mm f/3.5-6.3 DC Macro OS HSM £500 NYT Ultra-compact 13.8x high zoom ratio lens designed exclusively for digital SLR cameras • • • • • • 35 62 73.5 88.6 470g
18-300mm f/3.5-6.3 DC Macro OS HSM £499 NYT Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens • • • • • 39 72 79 101.5 585g
20mm f/1.4 DG HSM | A £799 02/16 5+ An outstanding wideangle fixed-focal-length lens • • • 27.6 n/a 90.7 129.8 950g
24mm f/1.4 DG HSM | A £799 06/15 5+ The latest addition to Sigma’s ‘Art’ line of high-quality fast primes • • • • 25 77 85 90.2 665g
24-35mm f/2 DG HSM | A £949 12/15 5+ The world’s first large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range • • • • 28 82 87.6 122.7 940g
24-70mm f/2.8 EX DG IF HSM £899 8/09 5+ Not perfect, but an excellent alternative to Canon and Nikon’s 24-70mm lenses, with great MTF curves • • • • • • 38 82 88.6 94.7 790g
24-105mm f/4 DG OS HSM | A £849 3/14 4.5+ Serious full frame alternative to own-brand lenses at a lower price but with no compromises in the build • • • • • • 45 82 89 109 885g
30mm f/1.4 EX DC HSM £490 9/08 3+ A consistent performer, with slightly weaker but not unacceptable performance wide-open • • • • • • 40 62 76.6 59 430g
35mm f/1.4 DG HSM | A £799 9/13 5+ Large aperture prime; first lens in company’s ‘Art’ series • • • • • • 30 67 77 94 665g
50mm f/1.4 EX DC HSM £459 2/10 5+ This lens may be priced above the norm, but it delivers results which are similarly elevated • • • • • • • 45 77 84.5 68.2 505g
50mm f/1.4 DG HSM | Art £849 Web 5+ This lens is a unique design that pays off in truly excellent image quality • • • • • 40 77 85.4 100 815g
50-100mm f/1.8 DG HSM | Art £829 09/16 5+ This APS-C format lens aims to cover the focal lengths of three prime lenses in one • • • 37.4 82 93.5 170.7 1490g
50-500mm f/4.5-6.3 DG OS HSM £1499 4/11 4+ A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters • • • • • • • 50-180 95 104.4 219 1970g
70-200mm f/2.8 EX DG OS HSM £1539 NYT Two FLD glass elements, said to have the same dispersive properties as fluorite • • • • • • • 140 77 86.4 197 1430g
70-300mm f/4-5.6 APO DG Macro £235 NYT A 9-bladed diaphragm and two SLD elements in this tele-zoom lens • • • • • • 95 58 76.6 122 550g
70-300mm f/4-5.6 DG Macro £173 5/09 3+ Generally unremarkable MTF curves, and particularly poor at 300mm • • • • • • 95 58 76.6 122 545g
85mm f/1.4 EX DG HSM £890 2/11 5+ The Sigma’s resolution from f/4 to f/8 is excellent • • • • • • 85 77 86.4 87.6 725g
105mm f/2.8 EX DG OS HSM £649 12/11 4.5+ An optically-stabilised macro lens • • • • • 31.2 62 78 126.4 725g
120-300mm f/2.8 DG HSM £3599 NYT First lens in company’s ‘Sports’ series; switch enables adjustment of both focus speed and focus limiter • • • • • • 150-250 105 124 291 TBA
150mm f/2.8 EX DG OS HSM £999 NYT A macro lens offering image stabilisation • • • • • 38 72 79.6 150 950g
150-500mm f/5-6.3 DG OS HSM £999 6/09 3+ Significant softness at wide maximum apertures for all focal lengths • • • • • • • 220 86 94.7 252 1780g
150-600mm f/5-6.3 DG OS HSM | S £1599 1/15 4+ This portable, high-performance telephoto zoom from Sigma’s Sports line is dust and splashproof • • • • 260 105 121 290.2 2860g
180mm f/2.8 EX DG OS HSM £1499 4/13 5+ 1:1 macro lens featuring three FLD glass elements and floating inner focusing system • • • • • • 47 86 95 204 1640g
300mm f/2.8 APO EX DG £2899 NYT Extra Low Dispersion (ELD) glass, multi-layer coatings and a Hyper Sonic Motor • • • • • • 250 46 119 214.5 2400g
300-800mm f/5.6 EX DG HSM £6999 NYT A constant aperture of f/5.6 throughout the expansive 300-800mm zoom range • • • • 600 46 156.5 544 5880g
500mm f/4.5 APO EX DG £4799 NYT Telephoto lens with multi-layer coatings to ‘optimise the characteristics of DSLRs’ • • • • • • 400 46 123 350 3150g

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Length (mm)
Width (mm)
Sony Alpha

Four Thirds

Weight
Pentax
Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
11-18mm f/4.5-5.6 DT £609 9/09 3+ A solid overall performance that simply fails to be outstanding in any way • 25 77 83 80.5 360g
16mm f/2.8 Fisheye £709 NYT Fisheye lens with a close focusing distance of 20cm and a 180° angle of view • • 20 n/a 75 66.5 400g
16-35mm f/2.8 ZA SSM T* £1729 9/09 4.5+ High-end Zeiss wideangle zoom lens ideal for full frame Alpha DSLRs • • 28 77 83 114 900g
16-50mm f/2.8 SSM £569 4/12 4+ Bright short-range telephoto lens • • 100 72 81 88 577g
16-80mm f/3.5-4.5 ZA T* £709 4/09 4.5+ Carl Zeiss standard zoom lens • • 35 62 72 83 445g
16-105mm f/3.5-5.6 DT £559 3/09 3+ An ambitious lens that is good in parts. Quality drops off at 105mm • 40 62 72 83 470g
18-135mm f/3.5-5.6 DT SAM £429 NYT A versatile zoom with Direct Manual Focus • • • 45 62 76 86 398g
18-200mm f/3.5-6.3 DT £509 4/08 3+ While the focal range is certainly useful, the lens is an overall average performer • 45 62 73 85.5 405g
18-250mm f/3.5-6.3 DT £559 1/10 3.5+ Good overall, but performance dips at longer focal lengths • 45 62 75 86 440g
20mm f/2.8 £559 9/11 3.5+ Wideangle prime lens with rear focusing mechanism and focus range limiter • • 25 72 78 53.5 285g
24mm f/2 ZA SSM T* £1119 NYT An impressively bright wideangle Carl Zeiss lens • • 19 72 78 76 555g
24-70mm f/2.8 ZA SSM T* £1679 7/09 5+ Carl Zeiss mid-range zoom lens with superb optics ideal for full frame Alpha DSLRs • • 34 77 83 111 955g
28-75mm f/2.8 SAM £709 NYT A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom • • 38 67 77.5 94 565g
30mm f/2.8 DT SAM Macro £179 3/12 4+ Macro lens designed for digital with 1:1 magnification and Smooth Autofocus Motor • 12 49 70 45 150g
35mm f/1.4 G £1369 NYT With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass • • 30 55 69 76 510g
35mm f/1.8 DT SAM £179 NYT Budget price indoor portrait lens • 23 55 70 52 170g
50mm f/1.8 DT SAM £159 3/10 4.5+ A very useful lens that performs well and carries a rock-bottom price tag • 34 49 70 45 170g
50mm f/1.4 £369 2/10 5+ While this lens performs well overall, performance at f/1.4 could be better • • 45 55 65.5 43 220g
50mm f/1.4 ZA SSM £1300 Web 4+ Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting • • 45 72 81 71.5 518g
50mm f/2.8 Macro £529 NYT A macro lens with a floating lens element • • 20 55 71.5 60 295g
55-200mm f/4-5.6 DT SAM £219 NYT Designed for cropped-sensor DSLRs, with a Smooth Autofocus Motor • 95 55 71.5 85 305g
55-300mm f/4.5–5.6 DT SAM £309 NYT Compact, lightweight telephoto zoom offering smooth, silent operation • 140 62 77 116.5 460g
70-200mm f/2.8 G £1889 NYT Super Sonic Wave motor and a constant f/2.8 aperture in this pro-grade tele zoom • • 120 77 87 196.5 1340g
70-200mm f/2.8 G SSM II £TBC NYT High-performance G Series telephoto zoom lens • 120 87 196.5 1340g
70-200mm f/4 G OSS £949 10/14 4+ Compact, lightweight telephoto zoom lens for full-frame E-mount bodies • • 100 72 80 175 840g
70-300mm f/4.5-5.6 G SSM £869 12/10 3.5+ G-series lens with ED elements, Super Sonic wave Motor and a circular aperture • • 120 62 82.5 135.5 760g
70-400mm f/4-5.6 G SSM II £1799 NYT Redesign of original features a new LSI drive circuit and promises faster autofocus • • 150 77 95 196 1500g
75-300mm f/4.5-5.6 £219 8/12 3+ Compact and lightweight zoom with a circular aperture • • 150 55 71 122 460g
85mm f/1.4 ZA Planar T* £1369 NYT Fixed focal length lens aimed at indoor portraiture • • 85 72 81.5 72.5 560g
85mm f/2.8 SAM £219 NYT A light, low price portraiture lens • • 60 55 70 52 175g
100mm f/2.8 Macro £659 NYT Macro lens with circular aperture, double floating element and wide aperture • • 35 55 75 98.5 505g
135mm f/1.8 ZA Sonnar T* £1429 NYT A bright, Carl Zeiss portrait telephoto lens • • 72 77 84 115 1004g
135mm f/2.8 STF £1119 NYT Telephoto lens with defocus effects • • 87 80 80 99 730g

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Weight
Pentax
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Nikon

LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

10-24mm f/3.5-4.5 SP AF Di II LD Asph. IF £511 2/10 3.5+ Good consistency at 10mm and 18mm, but a steep decline at 24mm • • • • 24 77 83.2 86.5 406g
14-150mm f/3.5-5.8 Di III £370 4/16 4+ The first Micro Four Thirds lens from Tamron, for compact mirrorless interchangeable-lens cameras • 50 52 63.5 80.4 285g
15-30mm f/2.8 SP Di VC USD £950 7/15 4+ Excellent value, this is the only wideangle zoom with image stabilisation and an f/2.8 aperture • • • • 28 N/A 98.4 145 1100g
16-300mm f/3.5-6.3 Di II VC PZD Macro £600 8/14 4+ Versatile megazoom, a very good all-in-one solution, as long as you won’t need to enlarge to A2 size • • • • 39 67 99.5 75 540g
17-50mm f/2.8 SP AF XR Di II LD Asph. IF £450 2/09 4.5+ Very good optical performance, which peaks at f/5.6-8 • • • • 27 67 74 81.7 434g
17-50mm f/2.8 SP AF XR Di II VC LD Asph. IF £541 4/10 4.5+ Very strong performance at longer focal lengths but weaker at the other end • • • 29 72 79.6 94.5 570g
18-200mm f/3.5-6.3 AF Di II VC £169 5/16 4+ Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation • • • • 49 62 75 96.6 400g
18-270mm f/3.5-6.3 AF XR Di II LD Asph. IF Macro £613 1/10 4.5+ Much better results at shorter focal lengths than longer ones, but still impressive • • • 49 72 79.6 101 550g
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro £663 10/11 3+ The next-generation incarnation offers a new form of ultrasonic engine • • • • 49 62 74.4 88 450g
24-70mm f/2.8 SP Di VC USD £1099 10/12 5+ Fast zoom with image stabilisation for both full-frame and APS-C cameras • • • • 38 82 88.2 116.9 825g
28-75mm f/2.8 SP AF XR Di LD Asph. IF Macro £460 NYT Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm • • • • • 33 67 73 92 510g
28-300mm f/3.5-6.3 AF XR Di LD Asph. IF Macro £664 NYT A useful 10.7x zoom range and low-dispersion elements in this optic • • • • • 49 62 73 83.7 420g
28-300mm f/3.5-6.3 Di VC PZD £529 NYT A new, full-frame, high-power zoom incorporating PZD (Piezo Drive) • • • • • 49 67 75 99.5 540g
45mm f/1.8 Di VC USD £580 1/16 4.5+ A lens that rewrites the standard focal length • • • • 29 67 80.4 89.2 940g
60mm f/2 SP AF Di II LD IF Macro £550 12/10 5+ Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio • • • 23 55 73 80 400g
70-200mm f/2.8 SP AF Di LD IF Macro £817 10/09 4+ No image stabilisation and no advanced AF system, but at this price it’s a steal • • • • • 95 77 89.5 194.3 1150g
70-200mm f/2.8 Di VC USD £TBC NYT Compact yet full-size telephoto zoom with vibration compensation • • • 130 77 85.8 188.3 1470g
70-300mm f/4-5.6 SP VC USD £300 1/12 4+ Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation • • • • 150 62 81.5 142.7 765g
70-300mm f/4-5.6 AF Di LD Macro £170 11/10 3.5+ Low dispersion glass and compatible with both full-frame and cropped-sensor DSLRs • • • • • 95 62 76.6 116.5 435g
85mm f/1.8 Di VC USD £749 09/16 5+ The first full-frame 85mm f/1.8 lens with vibration compensation that’s also moisture resistant • • • • 80 67 85 91 700g
90mm f/2.8 SP AF Di Macro £470 11/09 4+ A very nice macro lens that is capable of producing some fine images • • • • • 29 55 71.5 97 405g
90mm f/2.8 Di Macro 1:1 VC USD £TBC NYT Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation • • • • 30 58 115 76.4 550g
150-600mm f/5-6.3 SP VC USD £1150 6/14 4+ Longest focal length of any affordable enthusiast zoom on the market and produces excellent results • • • • 270 95 105.6 257.8 1951g
180mm f/3.5 SP AF Di LD IF Macro £896 11/10 5+ Two Low Dispersion elements and internal focusing system in this 1:1 macro lens • • • • • 47 72 84.8 165.7 920g
200-500mm f/5-6.3 SP AF Di LD IF £1124 6/09 4.5+ A well-matched and consistent set of MTF curves, with good performance at f/8-11 • • • • 250 86 93.5 227 1237g

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Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
AT-X 107 (10-17mm) f/3.5-4.5 AF DX Fisheye £550 NYT Fisheye zoom lens with Water Repellent coating and Super Low Dispersion glass • • • 14 n/a 70 71.1 350g
AT-X 116 (11-16mm) f/2.8 PRO DX £515 6/12 4.5+ Wide zoom with a One-Touch Focus clutch mechanism and a constant f/2.8 aperture • • 30 77 n/a 89.2 560g
AT-X 12-28mm f/4 PRO DX £529 NYT Replacement for 12-24mm F4 wideangle zoom; for Nikon DX DSLRs - • 25 77 84 90 600g
AT-X 16-28mm f/2.8 PRO FX £757 6/11 5+ A pro-end wideangle zoom aimed at full frame cameras • • • 26 n/a 90 133 950g
AT-X 17-35mm f/4 PRO FX £830 11/12 5+ One of the most capable super-wide zooms available, though only available in Canon and Nikon mounts • • 28 82 89 94 600g
AT-X 16.5-135 (16.5-135mm) f/3.5-5.6 £610 9/11 3.5+ Three aspherical and two SD elements, together with a useful focal range • • 50 77 84 78 610g
AT-X M100 (100mm) f/2.8 AF PRO D Macro £360 11/09 4+ Some weaknesses wide-open, but reasonable MTF curves make this a decent optic • • • 30 55 73 95.1 540g

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Full Frame Only

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Sigma
Canon

Nikon
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
18mm f/3.5 ZF.2 £1150 8/10 5+ No AF, but the optical and build qualities of this lens are nothing short of stunning • • • • 30 82 84 87 470g
21mm f/2.8 Distagon T* £1579 NYT A wideangle lens that doesn’t compromise on optical quality • • • • 30 82 87 84 510g
25mm f/2 Distagon T* £1350 NYT A landscape lens with a fast aperture • • • • 25 67 71 95 570g
28mm f/2 Distagon T* £850 NYT For low light shooting the 28mm lens has plenty of potential • • • • 24 58 64 93 520g
35mm f/1.4 Distagon T* £1600 NYT Promises to produce some stunning bokeh effects • • • • 30 72 120 122 850g
35mm f/2 Distagon T* £940 NYT A lens with a fast f/2 aperture • • • • 30 58 64 97 530g
50mm Milvus f/1.4 £949 3/16 5+ An exceptionally good portrait lens offering sharpness, detail, clean edges and a great user experience • • • 45 67 82.9 94 922g
85mm Milvus f/1.4 £665 4/16 5+ Fast 85mm prime lens that’s perfect for portraiture • • • 80 77 90 110 1210g
100mm f/2 Makro-Planar £1399 NYT A rapid-focus portrait lens • • • • 44 72 76 113 680g

CSC Lens Listings

The range of lenses for CSC models is constantly evolving, so you have a fairly good choice when it comes to lenses for your CSC

Filter Thread (mm)

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CA NON C S C Full frame only

Min Focus (cm)

Micro 4 Thirds

Length (mm)
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Samsung NX

Fuji X Mount
Pentax Q
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Weight
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Sony E

LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

EF-M 18-55mm f/3.5-5.6 IS STM £269 NYT Compact and versatile zoom lens • • 25 52 61 61 210g
EF-M 11-22mm f/4-5.6 IS STM £355 NYT Ultra-wideangle lens with a compact, retractable lens design • • 15 55 61 58.2 220g
EF-M 22mm f/2 STM £220 NYT Small and bright wideangle pancake lens • 15 43 61 23.7 105g
EF-M 55-200mm f/4.5-6.3 IS STM £330 NYT Telephoto zoom that takes you closer to the action • • 100 52 60.9 86.5 260g
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FU J I C S C
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Full frame only
Micro 4 Thirds

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LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

XF 10-24mm f/4 R OIS £849 NYT Ultra wideangle lens, minimal ghosting with Fujis HT-EBC multi-layer coating • • • 24 72 78 87 410
XF 14mm f/2.8 R £729 7/13 5+ Ultra wideangle prime, high resolution to all corners, performance justifies price tag • • 18 58 65 58.4 235g
XF 16mm f/1.4 R WR £729 10/15 5+ Weather-sealed fast prime for X-system users • 15 67 73.4 73 375g
XC 16-50 f/3.5-5.6 OIS £359 NYT Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range • • • 30 58 62.6 98.3 195g
XF 16-55mm f/2.8 R LM WR £899 6/15 5+ A flagship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance • 60 77 83.3 106 655g
XF 18mm f/2 R £430 6/13 4+ A compact, wideangle lens with a quick aperture • • 18 52 64.5 40.6 116g
XF 18-135mm f/3.5-5.6 R LM OIS WR £699 Xmas14 4+ Weather-resistant zoom for Fujifilm X mount, designed to be the perfect partner for the Fujifilm X-T1 • • • 45 77 75.7 97.8 490g
XF 18-55mm f/2.8-4 R £599 NYT Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310g
XF 23mm f/1.4 R £649 NYT Premium wideangle prime lens with fast maximum aperture • • 28 62 72 63 300g
XF 27mm f/2.8 £270 NYT A high-performance single-focal-length lens • 60 39 23 61.2 78g
XF 35mm f/1.4 R £439 6/13 4+ Shallow depth of field and bokeh effects are simple to achieve with this lens • • 28 52 65 54.9 187g
XF 35mm f/2 R WR £299 Web 5+ A powerful and weather-resistant lens that feels great and has the performance to match • 35 43 60 45.9 170g
XF 50-140mm f/2.8 R LM OIS WR £1249 NYT A telephoto zoom with a constant maximum aperture and weather-resistance • 100 72 82.9 175.9 995g
XC 50-230mm f/4.5-6.7 OIS £315 NYT The XC lens range is designed to suit Fuji’s mid range CSCs, and this lens has optical image stabilisation • • 110 58 69.5 111 tbc
XF 55-200mm f/3.5-4.8 R LM OIS £599 11/13 4+ Telephoto with built-in optical image stabilisation plus aperture control ring • • • 110 62 118 75 580g
XF 56mm f/1.2 R £899 9/14 4+ This wide-aperture portrait lens for X series cameras has great sharpness and detail and is great value • • 70 62 73.2 69.7 405g
XF 60mm f/2.4 XF R Macro £599 NYT A short telephoto lens perfect for macro work • • 26.7 39 64.1 70.9 215g
XF 90mm f/2 R LM WR £699 11/15 5+ A classic portrait lens that’s sharp, with gorgeous bokeh • • 60 62 75 105 540g
XF 100-400mm f/4.5-5.6 R LM OIS WR £1399 Web 5+ This superb zoom is both water and dust resistant and can operate in -10° C temperatures • 175 77 94.8 210.5 1375g

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Full frame only
Micro 4 Thirds

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Pentax Q
Canon M

Weight
Nikon 1
Sony E
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
6.7-13mm f/3.5-5.6 VR 1 £459 NYT Compact, lightweight, ultra-wideangle zoom lens with Vibration Reduction for Nikon 1 system • • 25 52 56.5 46 125g
10mm f/2.8 £229 2/12 4+ A wideangle lens for Nikon’s 1 series of Compact System Cameras • 20 40.5 55.5 22 77g
10-30mm f/3.5-5.6 VR £149 NYT Nikon’s kit lens for the 1 series of CSC models • • 20 40.5 57.5 42 115g
10-100mm f/4.5-5.6 VR PD-ZOOM £679 NYT A powered zoom lens aided by the VR image stabilisation system on 1 system compacts • • 300 72 77 95 530g
10-100mm f/4-5.6 VR 1 £499 NYT CX-format zoom lens with focal length range of 10–100mm (27–270mm 35mm equivalent) • • 35 55 60.5 70.5 298g
11-27.5mm f/3.5-5.6 £179 NYT Compact standard zoom for Nikon 1 system • 30 40.5 57.5 31 80g
18.5mm f/1.8 £179 NYT Nikon’s 1 series gains a traditional fast prime • 20 40.5 56 36 70g
30-110mm f/3.8-5.6 VR £229 NYT A longer zoom lens, with image stabilisation, for the Nikon 1 series • • 100 40.5 60 61 180g
32mm f/1.2 £799 NYT First 1 system lens to offer a silent wave motor and nano crystal coating • 45 52 66 47 235g
70–300mm f/4.5–5.6 VR £TBC NYT CX-format super-telephoto lens with a surprisingly compact body • • 7 62 73 108 550g

Filter Thread (mm)

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OLYMPU S C S C

Min Focus (cm)

Full frame only
Micro 4 Thirds

Length (mm)
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Samsung NX

Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
7-14mm f/2.8 ED Pro £999 Web 4.5+ Super-wide-angle zoom lens that is dustproof, splashproof and freeze-proof • • 20 n/a 78.9 105.8 534g
8mm f/1.8 Pro Fisheye £799 Web Fisheye lens with impressive image quality that’s dustproof, splashproof and freeze-proof • 12 n/a 62 80 315g
9-18mm (Micro) f/4-5.6 ED £630 NYT This super wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms • 25 52 56.5 49.5 155g
12mm (Micro) f/2.0 ED £739 1/12 5+ A wideangle fixed lens for the Micro Four Thirds system • 20 46 56 43 130g
12-40mm f/2.8 £899 NYT Weather-resistant wideangle zoom with a constant aperture of f/2.8 • 20 62 69.9 84 382g
12-50mm (Micro) f/3.5-6.3 ED EZ £349 NYT A reasonably-priced MFT zoom lens • 20 52 57 83 211g
17mm M.Zuiko f/1.8 MSC £450 7/13 5+ Wide-aperture, wide-angle prime boasting excellent peak sharpness and no colour fringing • 25 46 57 35 120g
17mm (Micro) f/2.8 Pancake £300 5/10 4+ Results are impressive across the most-used apertures given the wide angle of view offered • 20 37 57 22 71g
14-42mm (Micro) f/3.5-5.6 ED £300 5/10 4+ Generally a good performer, but control over chromatic aberrations could be a little better • 25 40.5 62 43.5 150g
14-42mm II R (Micro) f/3.5-5.6 £269 NYT A redesigned variation of the standard kit lens • 25 37 56.5 50 112g
14-150mm (Micro) f/4-5.6 ED £630 NYT Plenty of focal range is offered by this MFT lens • 50 58 63.5 83 280g
14-150mm II f/4-5.6 £550 NYT High-powered zoom for all your needs – from wideangle to telephoto – plus weather-resistance • 50 58 63.5 83 285g
25mm f/1.8 £370 NYT Compact prime lens with ultra-bright f/1.8 aperture • • 25 46 57.8 42 137g
40-150mm f/2.8 ED £1299 3/15 4+ This powerful 80-300mm 35mm equivalent focal length lens offers amazing portability for this pro class • 70 72 79.4 160 760g
40-150mm R (Micro) f/4-5.6 £309 NYT This middle-distance zom lens has an 80-300mm 35mm equivalent focal length • 90 58 63.5 83 190g
45mm (Micro) f/1.8 £279 2/12 5+ Fast-aperture lens for taking portrait shots proved to be sharp, quiet and without colour fringing • 50 37 56 46 116g
60mm f/2.8 Macro £450 NYT High-precision macro lens that’s dustproof and splashproof • 19 46 56 82 185g
75-300mm II (Micro) f/4.8-6.7 £499 NYT Update featuring Zuiko Extra-low Reflection Optical coating said to reduce ghosting • 90 58 69 117 423g
75mm f/1.8 ED £799 8/13 5+ Ultra-fast prime lens ideal for portraits and action shots • 84 58 64 69 305g

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PANAS ON I C C S C
Min Focus (cm)
Full frame only
Micro 4 Thirds

Length (mm)
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Samsung NX

Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E

LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

G 7-14mm f/4 £1300 5/10 5+ For a wideangle zoom, the overall level of resolution is very impressive • 25 - 70 83.1 300g
G 8mm Fisheye f/3.5 £730 NYT The world’s lightest and smallest fisheye lens for an interchangeable lens camera • 10 22 60.7 51.7 165g
G 12mm 3D Lens f/12 £320 NYT Allows compatible cameras to shoot 3D images • 60 - 57 81.8 45g
G 12-32mm f/3.5-5.6 MEGA OIS £270 NYT Very compact with a versatile zoom range and 3 aspherical lenses • • 20 37 55.5 24 70g
G X 12-35mm f/2.8 X PZ POWER OIS £1095 10/12 5+ Fast, high-quality standard zoom for Micro Four Thirds cameras • • 25 58 67.6 73.8 305g
G Vario 12-60mm f/3.5-5.6 £439 NYT Incorporates a stepping motor for a smooth, silent operation and features a dust and splashproof design • • 20 58 66 71 210g
G 14mm f/2.5 £249 NYT Wideangle pancake lens which should suit landscape photographers • 18 46 55.5 20.5 55g
G 14-42mm II f/3.5-5.6 MEGA OIS £375 NYT Addition of two aspherical elements helps make this lens smaller than previous version • • 20 46 56 49 110g
G X 14-42mm f/3.5-5.6 X PZ POWER OIS £369 2/13 4+ Powered zoom; impressive results in terms of both sharpness and chromatic aberration • • 20 37 61 26.8 95g
G 14-45mm f/3.5-5.6 MEGA OIS £189 NYT A lightweight and compact standard zoom featuring MEGA O.I.S. optical image stabilisation • • 30 52 60 60 195g
G 14-140mm f/3.5-5.6 POWER OIS £599 NYT Metal-bodied zoom featuring company’s POWER O.I.S. optical image stabiliser • • 30 58 67 75 265g
DG 15mm f/1.7 Leica DG SUMMILUX £549 NYT High-speed prime with a compact metal body and includes 3 aspherical lenses to cut down distortion • 20 46 36 57.5 115g
G 25mm f/1.7 ASPH £159 3/16 5+ Inexpensive fast normal prime for Micro Four Thirds • 25 46 60.8 52 125g
DG 25mm f/1.4 DG SUMMILUX £550 2/12 5+ A fast-aperture fixed focal length standard lens from Leica • 30 46 63 54.5 200g
G 30mm f/2.8 Macro MEGA OIS £300 7/15 3+ Compact lens offering true-to-life magnification capability for better macro images • • 10 46 58.8 63.5 180g
35-100mm f/4-5.6 ASPH MEGA OIS £300 NYT Telephoto zoom equivalent to 70-200mm on a 35mm camera • • 90 46 55.5 50 135g
G X 35-100mm f/2.8 POWER OIS £1099 NYT Telephoto zoom with Nano Surface Coating technology for dramatic reduction of ghosting and flare • • 85 58 67.4 100 360g
42.5mm f/1.2 Leica DG POWER OIS £1399 Web 5+ Mid-telephoto high-speed LEICA DG NOCTICRON lens with 2 aspherical lenses and ultra-wide aperture • • 50 67 74 76.8 425g
G 42.5mm f/1.7 POWER OIS £349 NYT Mid-telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect • • 37 31 55 50 130g
G 45-150mm f/4-5.6 MEGA OIS £280 2/13 4+ Compact, lightweight telephoto zoom comprising 12 elements in 9 groups • • 90 52 62 73 200g
G X 45-175mm f/4-5.6 X PZ POWER OIS £400 7/12 4+ A powered long focal length zoom lens • • 90 46 61.6 90 210g
G 45-200mm f/4-5.6 MEGA OIS £330 7/12 4+ Superzoom lens with three ED elements and Mega O.I.S. technology • • 100 52 70 100 380g
G 100-300mm f/4-5.6 MEGA OIS £550 7/11 4+ Long zoom lens offering optical image stabilization • • 100 52 70 100 380g
Filter Thread (mm)
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PEN TAX C S C
Min Focus (cm)
Full frame only
Micro 4 Thirds

Length (mm)
Width (mm)
Samsung NX

Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E

LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

3.8mm-5.9mm (Q System) f/3.7-4 £429 NYT Super-compact, ultra-lightweight wide zoom, equivalent to 17.5-27mm in the 35mm format • 25 49 38 54 75g
8.5mm (Q System) f/1.9 AL [IF] £149 NYT Standard prime lens in the Q system • 20 40.5 45.5 23 37g
6.3mm (Q System) f/7.1 £129 NYT A wide lens for the Q system • N/A 40.6 25 21g
11.5mm (Q System) f/9 £49 NYT Extremely thin Mount Shield Lens equivalent to 53mm in the 35mm format, offering a distinctive, velvety image • 30 N/A 6.9 40.8 8g
18mm (Q System) f/8 £129 NYT A telephoto lens for the Q system • N/A 40.6 19.5 18g
3.2mm (Q System) f/5.6 £149 NYT A fisheye lens for the Q system • 90 N/A 40.6 30.5 29g
5-15mm (Q System) f/2.8 £279 NYT A short zoom lens for the Q system • 40.5 45.5 23 37g
5-15mm (Q System) f/2.8-4.5 £299 NYT A standard zoom lens for the Q system equivalent to 27.5-83mm in the 35mm format • 30 40.5 48.5 48 96g
15-45mm (Q System) f/2.8 £279 NYT A telephoto zoom lens for the Q system that’s super-compact and ultra-lightweight • 100 40.5 56 50 90g

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Filter Thread (mm)

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SAM S U N G C S C

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Full frame only
Micro 4 Thirds

Length (mm)
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Samsung NX

Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
12-24mm f/4-5.6 ED £480 NYT Portable ultra-wideangle zoom lens with i-function • 24 58 63.5 65.5 208g
16mm NX i-Function f/2.4 £299 NYT A pancake lens with a wide angle of view • 18 43 61 24 90g
16-50mm f/2-2.8 Premium S ED OIS £999 NYT Bright-aperture zoom lens made of metal, with quiet AF performance whether shooting stills or video • • 30 72 81 96.5 622g
18-200mm NX i-Function OIS f/3.5-6.3 £649 9/12 4.5+ A mid-range zoom lens aimed at movie making • • 50 67 72 105.5 549g
20mm NX i-Function f/2.8 £229 2/12 5+ Wideangle pancake lens • 17 43 62 25 89g
30mm NX i-Function f/2 £249 9/10 4+ This pancake optic exhibits very impressive peak sharpness at around f/4-5.6 • 25 43 61 21 85g
45mm NX i-Function f/1.8 £249 NYT Fast f/1.8 aperture produces a shallow depth of field making it ideal for portraiture • 45 43 62 44.5 115g
50-150mm f/2.8 S ED OIS £1199 NYT Premium zoom lens with advanced OIS, constant f/2.8 aperture, and dust and splash-resistant • • 70 72 81 154 915g
60mm NX i-Function Macro ED SSA OIS f/2.8 £499 2/12 5+ This prime lens with macro capability should be useful for portraiture • • 18 52 73.5 84 389g
85mm NX i-Function ED SSA OIS f/1.4 £849 4/12 5+ This prime lens is missing image stabilisation, but should still perform well • 82 67 79 92 714g

Filter Thread (mm)

Image Stabilisation
SIG MA C S C

Min Focus (cm)

Full frame only
Micro 4 Thirds

Length (mm)
Width (mm)
Samsung NX

Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
19mm f/2.8 DN | A £189 NYT Metal-bodied high-performance wideangle prime lens • • 20 46 60.8 45.7 150g
30mm f/1.4 DC DN | C £300 07/16 4+ A prime for Micro Four Thirds and Sony E-mount users, it’s impressively sharp even at f/1.4 • • 30 52 64.8 73 140g
30mm f/2.8 DN | A £189 NYT Uses a high-quality double-sided aspherical lens for expressive performance worthy of Sigma’s ‘Art’ line • • 30 46 60.8 40.5 140g
60mm f/2.8 DN | A £189 NYT Latest addition to Sigma’s ‘Art’ range is a mid-range, high-performance telephoto lens with metal body • • 50 46 60.8 55.5 190g

Filter Thread (mm)

Image Stabilisation
SONY C S C

Min Focus (cm)

Full frame only
Micro 4 Thirds

Length (mm)
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Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E
LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS
E 10-18mm f/4 £750 8/13 4+ Super wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation • • 25 62 70 63.5 225g
E 16mm f/2.8 £220 2/12 4+ Pancake lens for NEX system, with a circular aperture and Direct Manual Focus • 24 49 62 22.5 67g
FE 16-35mm f/4 ZA OSS Vario-Tessar T* £1289 1/15 5+ Zeiss full-frame wideangle zoom lens • • 28 72 78 98.5 518g
E 16-50mm f/3.5-5.6 OSS £299 NYT Compact lens with Power Zoom, ED glass and Optical SteadyShot image stabilisation • • 25 40.5 64.7 29.9 116g
E 16-70mm f/4 ZA OSS Vario-Tessar T* £839 NYT A lightweight, versatile mid-range zoom with a constant f/4 aperture • • 35 55 66.6 75 308g
E 18-55mm f/3.5-5.6 OSS £270 NYT Optical SteadyShot, said to be silent during movie capture, and a circular aperture • • 25 49 62 60 194g
E 18-105mm f/4 G OSS £499 NYT Sony G lens for E-mount cameras with a constant f/4 aperture • • 45 72 78 110 427g
E 18-200mm f/3.5-6.3 OSS LE £489 NYT Smaller and lighter than comparable lenses, this is an ideal high-magnification travel lens • • 50 62 68 98 460g
E 18-200mm PZ f/3.5-6.3 OSS £999 NYT Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies • • 30 67 93.2 99 649g
E 20mm f/2.8 £309 NYT Pancake wideangle lens promises to be the perfect walkaround partner for E mount cameras • 20 49 62.6 20.4 69g
E 24mm f/1.8 ZA Sonnar T* £839 NYT Top quality Carl Zeiss optic ideally suited to the NEX-7 • 16 49 63 65.6 225g
FE 24-240mm f/3.5-6.3 OSS £929 NYT Ideal for travel, landscapes and more, with built-in stabilisation and also dust and moisture resistant • • • 50 72 80.5 118.5 780g
FE 24-70mm f/2.8 GM £1799 7/16 5+ This pro grade standard lens for the Sony full-frame FE mount gives exceptionally sharp results • • 38 82 87.6 136 886g
FE 24-70mm f/4 ZA OSS Vario-Tessar T* £1049 NYT Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation • • 40 67 73 94.5 426g
FE 28mm f/2 £419 NYT This full-frame wideangle prime with a bright f/2.0 maximum aperture promises excellent sharpness • • 29 49 64 60 200g
FE 28-70mm f/3.5-5.6 OSS £449 NYT Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range • • 30 55 72.5 83 295g
FE 28-135mm PZ f/4 G OSS £2379 NYT High performance G Series standard zoom lens, constant f/4 aperture, built for high quality moviemaking • • • 95 95 162.5 105 1215 g
E 30mm f/3.5 Macro £219 NYT A macro lens for the NEX Compact System Cameras • 9 49 62 55.5 138g
FE 35mm f/1.4 ZA Distagon T* £1559 NYT Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture • • 30 72 73 94.5 630g
E 35mm f/1.8 £399 NYT Lightweight versatile prime with Optical SteadyShot image stabilisation • • 30 49 62.2 45 155g
FE 35mm f/2.8 ZA Sonnar T* £699 NYT When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver • • 35 49 61.5 36.5 120g
E 50mm f/1.8 OSS £219 NYT A handy, low price portrait lens for the NEX range • 39 49 62 62 202g
FE 50mm f/1.8 OSS £240 NYT Features a new optical design with a single aspherical element • • 45 49 68.6 59.5 186g
FE 55mm f/1.8 ZA Sonnar T* £849 NYT 35mm full-frame prime lens with wide aperture allowing good images indoors or in low light • • 50 49 64.4 70.5 281g
E 55-210mm f/4.5-6.3 OSS £289 NYT Lightweight telephoto zoom lens for the NEX range • • 100 49 63.8 108 345g
FE 70-200mm f/4 G OSS £1359 10/14 4+ G Series telephoto zoom lens, dust and water resistant, with built-in image stabilisation • • 100 72 80 175 840g
FE 70-300mm f/4.5-5.6 G OSS £1150 NYT Sony has added this lens to its growing range • • 90 72 84 143.5 854g
FE 90mm f/2.8 Macro G OSS £1049 09/15 4+ The first dedicated macro lens for Sony’s full-frame E-mount cameras • • • 28 62 79 130.5 602g
Filter Thread (mm)
Image Stabilisation

ZEI S S C S C
Min Focus (cm)
Full frame only
Micro 4 Thirds

Length (mm)
Width (mm)
Samsung NX

Fuji X Mount
Pentax Q
Canon M

Weight
Nikon 1
Sony E

LENS RRP TESTED SCORE SUMMARY MOUNT DIMENSIONS

12mm f/2.8 Touit Distagon T* £959 5/14 5+ Designed specifically for Sony NEX and Fujifilm X-series CSC cameras. Very impressive performance • • 18 67 82 68 270g
18mm f/2.8 Batis £990 NYT The Batis range is for mirrorless full-frame system cameras from Sony 25 77 78 95 330g
25mm f/2 Batis £980 12/15 5+ A wideangle lens for Sony full-frame users offering unrivalled quality • • 20 67 81 92 355g
32mm f/1.8 Touit Planar T* £700 7/14 4.5+ Optimised for use with APS-C format sensors, a fast standard lens for Fujifilm X-series cameras • • 23 52 72 76 200g
50mm f/2.8 Touit £589 NYT Macro 1:1 lens for extreme close ups, as well as shooting portraits or panoramas as a light tele-lens • • 15 52 75 91 290g
85mm f/1.8 Batis £909 Xmas15 5+ A high-quality medium prime for wedding and portrait shooters, developed for Sony’s Alpha-7 series • • 80 67 78 105 475g

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άϯϬϰ ŝŶĐ άϰϱ ĂƐŚďĂĐŬΎ
ϮϰϮ ϮϬϮ
& 'ϱŵŵ Ĩϭ' h^D  άϮϳ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ϰϱ ĨƉƐ
& ϭϬϬŵŵ ĨϮ' > /^ h^D DĂĐƌŽ  άϲϭ ϳϬ ĨƉƐ ϭϲϬ ĨƉƐ ϭϬϬƉ
& ϭϯϱŵŵ ĨϮ > h^D άϲϳ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ
ϭϬϬƉ
& ϭ'Ϭŵŵ Ĩϯϱ > h^D DĂĐƌŽ  άϭϬ ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ ĨƵůů ĨƌĂŵĞ
DK^ ƐĞŶƐŽƌ
& ϮϬϬŵŵ ĨϮ' > h^D D<//  άϱϱ
& ϰϬϬŵŵ Ĩϱϲ > h^D άϱ
& ^ ϭϬ ϮϮŵŵ Ĩϯϱ ϰϱ h^D  άϯ Et Ϭ &ƌŽŵ ά ϭ y DŬ // &ƌŽŵ άϱϭ ϲ άϭϮ
άϯϱϰ ŝŶĐ άϰϱ ĂƐŚďĂĐŬΎ
& ϭϭ Ϯϰŵŵ Ĩϰ > h^D  άϮϳ
Et Ϭ ŽĚLJ ά Et ϭ y DŬ // ŽĚLJ άϱϭ ϲ ŽĚLJ άϭϮ
& ϭϲ ϯϱŵŵ ĨϮ' > h^D DŬ//  άϭϬϲϬ
Et Ϭ н ϭ' ϱϱŵŵ άϭϬ
& ^ ϭϳ ϱϱŵŵ ĨϮ' /^ h^D  άϱ
Et Ϭ н ϭ' ϭϯϱŵŵ άϭϯϮ
άϱϱϰ ŝŶĐ άϰϱ ĂƐŚďĂĐŬΎ
& ^ ϭ' ϭϯϱŵŵ Ĩϯϱ ϱϲ /^ ^dD  άϮ
άϮϳ ŝŶĐ άϮϬ ĂƐŚďĂĐŬΎ
& ϭ' ϭϯϱŵŵ /^ h^D  άϰϰ K^ ϳ DĂƌŬ // K^ ϱ DĂƌŬ /// K^ ϱ^
& Ϯϰ ϳϬŵŵ ĨϮ'> // h^D  άϭϰϬϬ
άϭϮϱϬ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ
& Ϯϰ ϭϬϱŵŵ Ĩϰ > /^ h^D άϳϮϳ ϮϬϮ
ŵĞŐĂƉŝdžĞůƐ ϮϮϯ ϱϬϲ
& Ϯ' ϯϬϬŵŵ Ĩϯϱ ϱϲ > /^ h^D  άϭϳ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϬϬ ĨƉƐ
& ^ ϭϬϬ ϰϬϬŵŵ Ĩϰϱ ϱϲ > /^ // h^D  άϭϳ ϲϬ ĨƉƐ ϱϬ ĨƉƐ
& ϳϬ ϮϬϬŵŵ ĨϮ' > /^ // h^D άϭϱ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
DK^ ƐĞŶƐŽƌ
& ϳϬ ϮϬϬŵŵ Ĩϰ > h^D  άϰ DK^ ƐĞŶƐŽƌ

άϰϮϰ ŝŶĐ άϳϱ ĂƐŚďĂĐŬΎ

& ϳϬ ϯϬϬŵŵ Ĩϰϱ ϱϲ K /^ h^D άϭϬ
& ϳϬ ϯϬϬŵŵ Ĩϰ ϱϲ > /^ h^D  άϭϬϮ
ϳ DŬ // άϭϭϳ ϱ DŬ /// άϮϮ ϱ^ &ƌŽŵ άϮϲ
άϭ ŝŶĐ άϭϭϬ ĂƐŚďĂĐŬΎ ϳ DĂƌŬ // ŽĚLJ άϭϭϳ ϱ DŬ /// ŽĚLJ άϮϮ ϱ^ ŽĚLJ άϮϲ
ĂŶŽŶ ĂƐŚďĂĐŬΎ ŽīĞƌ ĞŶĚƐ ϯϭϬ'ϭϲ ϱ^ Z ŽĚLJ άϮ

ůĂĐŬ Žƌ ZĞĚ

ϱϱϬϬ ϳϮϬϬ ϲϭϬ ϱϬϬ

Et
ϮϰϮ ϮϰϮ Ϯϰϯ ϮϬ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϱϬ ĨƉƐ ϲϬ ĨƉƐ ϲϬ ĨƉƐ ϭϬϬ ĨƉƐ
ϭϬϬƉ ϭϬϬƉ ϭϬϬƉ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ

ϱϱϬϬ &ƌŽŵ άϰ ϳϮϬϬ &ƌŽŵ άϳϭϰ ϲϭϬ &ƌŽŵ ά Et ϱϬϬ &ƌŽŵ άϭϳϮ
ϱϱϬϬ ŽĚLJ άϰ ϳϮϬϬ ŽĚLJ άϳϭϰ ϲϭϬ ŽĚLJ ά Et ϱϬϬ ŽĚLJ άϭϳϮ
ϱϱϬϬ н ϭ' ϱϱŵŵ & W άϱϲ ϳϮϬϬ н ϭ' ϭϬϱŵŵ ά ϲϭϬ н Ϯϰ 'ϱŵŵ άϭϰ

EŝŬŽŶ >ĞŶƐĞƐ
ϳϱϬ ϭϬ ϱ ϰϬŵŵ ĨϮ' ' & ^ y DŝĐƌŽ  άϮϬ
Et ϭϬϱŵŵ ĨϮ' ' & ^ sZ /&  DŝĐƌŽ  άϲϱ
ϭϬ Ϯϰŵŵ Ĩϯϱ ϰϱ ' & ^ y  άϲϲ
Ϯϰϯ ϯϲϯ ϮϬ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ϭ' ϮϬϬŵŵ Ĩϯϱ ϱϲ '  & ^ y sZ //  άϱϰ
ϲϱ ĨƉƐ ϳϬ ĨƉƐ ϭϮϬ ĨƉƐ Ϯ' ϯϬϬŵŵ Ĩϯϱ ϱϲ ' & ^  sZ άϳϮ
ϳϬ ϯϬϬŵŵ Ĩϰϱ ϱϲ ' & ^ sZ /&  άϰϰ
&Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ ϱϬŵŵ Ĩϭ' & ^ άϭϲ
ϯϱŵŵ Ĩϭ' ' & ^ y άϭϱϭ
ϱϬŵŵ Ĩϭϰ ' & ^  άϯϰ
ϳϱϬ &ƌŽŵ άϭϯ ϭϬ &ƌŽŵ άϮϭϯ Et ϱ άϱϭ ϱϱ ϮϬϬŵŵ Ĩϰ ϱϲ '  sZ // y άϮϱϰ
ϳϱϬ ŽĚLJ άϭϯ ϭϬ ŽĚLJ άϮϭϯ Et ϱ ŽĚLJ άϱϭ ϱϱ ϯϬϬŵŵ Ĩϰϱ ϱϲ ' & ^ y sZ άϮϲ
ϳϱϬ н Ϯϰ 'ϱŵŵ sZ άϭϳϭϲ ϭϬ ŽĚLJ άϮϲ ϭ' ϯϬϬŵŵ Ĩϯϱ ϲϯ '  sZ & ^ y  άϱϰ
ϳϱϬ н Ϯϰ ϭϮϬŵŵ sZ άϭϳ 'ϱŵŵ Ĩϭ' ' & ^  άϯ
ϭϲ 'Ϭŵŵ ĨϮ' ϰ ' & ^ sZ  y  άϳϲ
&Žƌ Ϯ LJĞĂƌ ǁĂƌƌĂŶƚLJ ŽŶ ĂŶLJ ĐĂŵĞƌĂ ĂŶĚ ůĞŶƐ Ŭŝƚ ƐŝŵƉůLJ ƌĞŐŝƐƚĞƌ LJŽƵƌ ŶĞǁ EŝŬŽŶ ǁŝƚŚŝŶ ϯϬ ĚĂLJƐ ŽĨ ƉƵƌĐŚĂƐĞ Ϯϰ ϳϬŵŵ ĨϮ' ' & ^   άϭϯ
KīĞƌ ĂƉƉůŝĞƐ ƚŽ h< Θ ZĞƉƵďůŝĐ ŽĨ /ƌĞůĂŶĚ ƐƚŽĐŬ ŽŶůLJ Ăůů Ϭ'ϬϬ ϱϳ 'ϰϳϮ Žƌ ǀŝƐŝƚ ǁǁǁŶŝŬŽŶĐŽƵŬ*ƌĞŐŝƐƚĞƌ

KD DϭϬ //
ůĂĐŬ Žƌ ^ŝůǀĞƌ ϲϯϬϬ
WE& ydϮ ůĂĐŬ ϳZ DĂƌŬ // ůĂĐŬ Žƌ ^ŝůǀĞƌ Et 'y
Et ůĂĐŬ
Et ϰϮϬ Ϯϰ ϮϬϬϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ

ϭϲϭ Ϯϰϯ ϱϬ ĨƉƐ ϭϭϬ ĨƉƐ Ϭ ĨƉƐ

ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϮϬϯ ϰŬ sŝĚĞŽ ϭϬϬƉ ϰŬ sŝĚĞŽ
ŵĞŐĂƉŝdžĞůƐ ϱ ĨƉƐ ϭϰ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ

Et WE& KD DϭϬ // Et ydϮ ϳZ DŬ // Et ϲϯϬϬ 'y
&ƌŽŵ ά &ƌŽŵ άϰϰ ŽĚLJ άϭϯ &ƌŽŵ άϮϱ &ƌŽŵ ά &ƌŽŵ άϲϰ
Et WE& ĨƌŽŵ ά KD DϭϬ // ŽĚLJ άϰϰ Et ydϮ ŽĚLJ άϭϯ ϳZ DŬ // ŽĚLJ άϮϱ Et ϲϯϬϬ ŽĚLJ ά 'y ŽĚLJ άϲϰ
KD Dϭ ŽĚLJ άϰ KD DϭϬ // Et yWƌŽϮ ŽĚLJ άϭϯϰ ϳ^ // ŽĚLJ άϮϰ ϲϯϬϬ н ϭϲ ϱϬŵŵ άϭϬ Et 'y н ϭϮ ϲϬŵŵ ά'ϲ
KD Dϭ н ϭϰ ϰϮŵŵ άϱϰ Et yϮ^ ŽĚLJ άϱϰ ϳ // άϭϭϳ ϲϬϬϬ ŽĚLJ άϰϯ άϭ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
н ϭϮ ϰϬŵŵ άϭϮϯϯ Et yϮ^ н ϭ' ϱϱŵŵ άϳϰ ϳ άϳ ϲϬϬϬ н ϭϲ ϱϬŵŵ άϰ
KD Dϱ // ŽĚLJ άϳϰ ZKDDE >E^^ yϮ ŽĚLJ άϯ ϳ н Ϯ' ϳϬŵŵ άϲ ϲϬϬϬ н ϭϲ ϳϬŵŵ άϭϬ ZKDDE >E^^
KD Dϱ // KůLJŵƉƵƐ ϳϱŵŵ Ĩϭ' άϲϮϬ ydϭϬ ĨƌŽŵάϰϰ ϳ^ ŽĚLJ άϭϰ ϲϬϬϬ н ϭϲ ϱϬŵŵ WĂŶĂƐŽŶŝĐ ϭϮ ϯϱŵŵ ĨϮ' άϲ
нϭϮ ϱϬŵŵ άϰ KůLJŵƉƵƐ ϭϮ ϰϬŵŵ ĨϮ' WƌŽ άϳϭ ydϭ ĨƌŽŵ άϳ н ϱϱ ϮϭϬŵŵ άϲ WĂŶĂƐŽŶŝĐ ϰϱ ϭϳϱŵŵ ĨϰϬ ϱϲ άϮϳ
ϳZ ŽĚLJ ά WĂŶĂƐŽŶŝĐ Ϯϱŵŵ Ĩϭϳ άϭϱ
KůLJŵƉƵƐ ϰϬ ϭϱϬŵŵ
ĨϮ' WƌŽ άϭϬ WĂŶĂƐŽŶŝĐ ϰϱŵ ϭϱϬŵŵ Ĩϰ ϱϲ άϭϲ
WĂŶĂƐŽŶŝĐ ϯϱ ϭϬϬŵŵ ĨϮ' άϳ
WĂŶĂƐŽŶŝĐ ĂƐŚďĂĐŬΎ ŽīĞƌ ĞŶĚƐ ϬϱϬϭϲ
 &$// &(175( 12: 23(1 681'$<6
 . 0# -   / 1&  % &&-%
´ 1 -$%   * * % * &%. 
% * * * * &* "%#  &
6 3UDGKDP ² (VVH[ μ
 
0RQ)UL DPSP 6DW DPSP 6XQ DPSP

YLVLW ZZZZH[FRXN

7+( :(; 3520,6( 3DUW([FKDQJH $YDLODEOH _ 8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\

ŝŐŝƚĂů ŽŵƉĂĐƚ ĂŵĞƌĂƐ ŝŐŝƚĂů ĐŽŵƉĂĐƚ ďĂƩĞƌŝĞƐ0 ĐĂƐĞƐ ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ĂƌĞ ĂǀĂŝůĂďůĞ ƚŽ ďƵLJ ŽŶ ŽƵƌ ǁĞďƐŝƚĞ

/yh^ Ϯϳϱ άϭϬϰ

/yh^ Ϯϱ ,^  άϭϱϰ
/yh^ ϭϬ άϭϮ
ϮϬϮ ϮϬϮ ϮϬϮ WŽǁĞƌ^ŚŽƚ 'ϭ y D< // άϰϱϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϰϮdž ϯdž WŽǁĞƌ^ŚŽƚ ^yϲϬ ,^ άϯϰ
ϰϮdž
ŽƉƟĐĂů njŽŽŵ ŽƉƟĐĂů njŽŽŵ ŽƉƟĐĂů njŽŽŵ
)+2 WŽǁĞƌ^ŚŽƚ ^yϱϰϬ  άϮ
άϮϳϰ ŝŶĐ άϮϱ ĂƐŚďĂĐŬΎ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ  & 
WŽǁĞƌ^ŚŽƚ 'ϳ y άϯϯϭ
WŽǁĞƌ^ŚŽƚ 'ϱ y WŽǁĞƌ^ŚŽƚ 'ϳ y DŬ // WŽǁĞƌ^ŚŽƚ ' y άϯϱϳ WŽǁĞƌ^ŚŽƚ ^yϳϮϬ ,^ άϮϳ
άϱϰ άϮϰ ŝŶĐ άϯϬ ĂƐŚďĂĐŬΎ
άϱϳ άϯϮϳ ŝŶĐ άϯϬ ĂƐŚďĂĐŬΎ
ĂŶŽŶ ĂƐŚďĂĐŬΎ ŽīĞƌ ĞŶĚƐ ϯϭϬ'ϭϲ

ϮϬ ϮϬ ŽŽůƉŝdž WϬϬάϰϰ

Et Et ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
Et Et ŽŽůƉŝdž ϳϬϬάϯϱ
ϮϬ Ϯdž ϯϲdž Et ŽŽůƉŝdž ϱϬϬάϮϭ
ŵĞŐĂƉŝdžĞůƐ ŽƉƟĐĂů njŽŽŵ ŽƉƟĐĂů njŽŽŵ
Et ŽŽůƉŝdž ϬϬ άϯϮ
ϮϭϬdž ϰ< ϰ< Et ŽŽůƉŝdž ϯϬϬ άϭϮ
ŽƉƟĐĂů njŽŽŵ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ
>Ϯϰϱ ŽŽůƉŝdž tϭϯϬ άϭ
ϰ< >ϮϰϱϬϬ >ϭϱϬ
ŵŽǀŝĞ ŵŽĚĞ άϳϰ άϲϳ άϱϰ
ϭϲ ϭϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ &ŝŶĞWŝdž ^ϬϬάϭϲ
ϭϱŵ ϭϱŵ &ŝŶĞWŝdž yWϬ ůƵĞ άϭϰ
^ƚLJůƵƐ ǁĂƚĞƌƉƌŽŽĨ ^ƚLJůƵƐ ǁĂƚĞƌƉƌŽŽĨ yYϮάϭϬ
W^
d'ϰ d'ϲϬ ƐŝnjĞ ƐĞŶƐŽƌ Et yϳϬάϰ
άϮϲϰ άϭϳ &ŝŶĞWŝdž yϭϬϬd άϳϳϲ

ϭϮ LJďĞƌ^ŚŽƚ ,yϲϬ άϭϲϳ >Ƶŵŝdž &ϳϮάϭ

ŵĞŐĂƉŝdžĞůƐ
LJďĞƌƐŚŽƚ tyϱϬϬ άϮϮ >Ƶŵŝdž dϲϬάϮϰ
ϭϲϮ
ϯϬϬdž LJďĞƌ^ŚŽƚ ZyϭϬϬ ///άϱϯ >Ƶŵŝdž &ϭϬϬϬάϱ 'Z // ŵĞŐĂƉŝdžĞůƐ
ŽƉƟĐĂů njŽŽŵ
LJďĞƌ^ŚŽƚ ZyϭϬϬ /s άϳϱ >Ƶŵŝdž dϳϬάϯϬ ŝŐŝƚĂů
ϭϬϬƉ LJďĞƌ^ŚŽƚ ZyϭϬ //άϭϬϯϲ >Ƶŵŝdž &ϯϯϬ άϰ άϰ
ŵŽǀŝĞ ŵŽĚĞ
LJďĞƌ^ŚŽƚ ZyϭZ // άϮϱ >Ƶŵŝdž Dϭ άϲϯ
LJďĞƌ^ŚŽƚ ZyϭϬϬ //άϯϰ >Ƶŵŝdž dϭϬϬ άϱϰ y'ϭ άϭ
LJďĞƌ^ŚŽƚ ,yϬs >Ƶŵŝdž >yϭϬϬ
άϮ LJďĞƌ^ŚŽƚ ZyϭϬϬάϮϲ άϱϮ >Ƶŵŝdž dϬ άϯϮ t'ϯϬ άϭϱ

DĞŵŽƌLJ ĂƌĚƐ WƌŽĨĞƐƐŝŽŶĂů ϭϬϲϲdž

ŽŵƉĂĐƚ &ůĂƐŚ ϭϲϬD7Ɛ
džƚƌĞŵĞ WƌŽ ϱD7Ɛ ^, ϲϰ' ά ϭϲ'  άϱϰ
ϭϲ'  άϮϰ ϭϮ'' άϭ WŝdžŵĂ
yYΡ DĞŵŽƌLJ ĂƌĚ ϯϮ'  άϳϰ WƌŽ ϭϬϬ^
ϯϮ'  άϯϰ ϭϲD7Ɛ ϲϰ'  άϭϰ
ϲϰ' ^y  άϱ ^ĂŶŝƐŬ ůĂƐƐ ϭϬ ϯϮ' άϭϰ ϭϮ''  άϮϭ
džƚƌĞŵĞ DŝĐƌŽ ^ ^ĂŶŝƐŬ ϲϰ' άϮϲ
^ĂŶŝƐŬ džƚƌĞŵĞ WƌŽ ĂƌĚ ƉůƵƐ ĂĚĂƉƚĞƌƐ h^ ϯϬ WƌŽĨĞƐƐŝŽŶĂů ϲϬϬdž h,^ϭ ϬD7Ɛ
ϭϲϬD7Ɛ hD ŽŵƉĂĐƚ&ůĂƐŚ ϭϲ' άϮϰ /ŵĂŐĞDĂƚĞ yYΡ h^ ϯϬ ZĞĂĚĞƌ ϭϲ'  άϭϰ
ϭϲ'  άϰϰ ϯϮ'άϯϬ ZĞĂĚĞƌ ,ŝŐŚ ƐƉĞĞĚ ƚƌĂŶƐĨĞƌ ŽĨ Zt ĂŶĚ ϯϮ'  άϮϬ W/yD WƌŽ ϭϬϬ^ άϯϳϱ
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 This SPECIAL ISSUE is packed with
ideas, inspiration and exciting techniques
to get you out there with your camera!

LOCATION
PORTRAITS
Reveal more about
your subject –
shoot them in their
environment
Helping you to be a better photographer SUMMER 2016 £3.99

52 Out
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photo projects
Long-lens
● Techniques to keep you busy all year
● Never be stuck for inspiration again

masterclass
● Expert tips and advice

How to overcome the challenges of

shooting with a telephoto lens

PORTRAITS WILDLIFE LANDSCAPE ACTION

Find out how to use Make the most of the Aim for images that You don’t need a
natural daylight for photo opportunities emotionally connect supercar to shoot
striking people shots on your doorstep with the landscape great motoring pics

PLUS
A print legacy • Avoiding the clichés in landscapes •
Food, glorious food • Field skills for wildlife •
A personal approach • Creative Photoshop

Buy direct via 01252 555386 or download to your tablet

    
   
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 TRAV ELLI N G
ADDED EXTRAS

7
habits of highly 1 2
effective travel
photographers

W
hatever the destination, beef up
your travel shooting game by
getting into a few good habits

1 Craft an all-purpose set-up

Don’t be changing lenses on the streets of a foreign city. If
you’re going to be roaming unfamiliar places and seeing
strange sights with a camera in hand, you want to have a
shooting set-up that means you won’t be fumbling around
with gear. If you’ve got an interchangeable lens camera, then
this means investing in a good all-purpose zoom lens –
something like an 18-135mm, or even an 18-300mm if you can 3 4
afford it. If you’re shopping for a camera then consider a travel
compact – the Panasonic TZ70 (pictured) is designed for
exactly this purpose, sporting a 24-720mm equivalent lens.

2 Get a wrist strap

Nothing says ‘tourist’ like the camera dangling around the
neck, and it’s not even the safest or most efficient way of
keeping a camera at the ready. Invest in something like the
Peak Design Cuff Camera Wrist Strap, which allows you to
keep your camera always on hand, literally, and without ever
compromising its safety.

3 Get insured, for the worst

Insurance is a no-brainer, but still worth mentioning. Even if
you’re the conscientious sort and have all your insurance
documents printed, you should still plan for the worst. Think 5 5 Talk to people
battery breakage. Think card corruption. Think about leaning too This is one that many photographers, comfortable behind
close to that water feature at the airport just before you get your several inches of glass and plastic, tend to neglect, but it’s one
flight home and your camera somehow tumbling in, taking of the best and most time-honoured ways to get to know a
your cards with it. A Wi-fi enabled hard drive like those made by place. Talk to people who live in the area. You’ll often find that
Western Digital (pictured) is a great way to back up on the go. people are surprisingly friendly and up for a chat, and striking
up a conversation can lead you in all sorts of unexpected
4 Plan routes, learn the locale directions. You might find an event you didn’t know was
Whether you’re hopping around on the Paris Metro or happening (like an impromptu street dance I stumbled upon
navigating the Rio favelas, it pays to research it beforehand. recently) or a little out of the way street that hasn’t yet made
If you’re heading to a city, read up on how the transit system it to the guide books. Above all, you might find a good person
works – simply Googling ‘how to use public transit in [city]’ to have a beer with when you’re done shooting.
should sort you out. If you’re in more of a rural or secluded
environment, do some sensible research on how to navigate 6 Try shooting from the hip
and what kind of clothing is appropriate for the time of year. This can be a good way to get out of your comfort zone and
try something new and creative. Get out of the standard
photographer’s pose, hold your camera low (with wrist strap
6 7 firmly in place) and start clicking away without looking. See
what you discover, what fresh new angles you create and
what different perspectives you make on a scene.

7 And sometimes… put the

camera away
Stay with us here. We all like going away to take photos. But
that doesn’t mean you need to spend every second with your
eye glued to the viewfinder and your finger hovering over the
shutter. Travel is an experience to enjoy, and it’s always worth
taking some time to savour the singular experience you’re
having. So if you’ve been shooting for a while, stop at a café
with a book for a while, or just stroll down a street without
thinking about framing and exposure. You’ve earned it.

98 WWW.WHATDIGITALCAMERA.COM
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