What Digital Camera

CameraWHAT DIGITAL

Six of the latest video

microphones compared

HOT SHOE MICS

t

TOP 20 INTERCHANGEABLE LENS CAMERAS REVIEWED AND RATED

THE MAGAZINE YOU NEED TO FIND YOUR NEXT CAMERA

THE UK’S BEST SOURCE FOR IN-DEPTH TESTS AND CAMERA REVIEWS

WIN THREE FANTASTIC SAMSUNG LENSES!

WIN!

Get to grips with ISOTake control of

your sensor’s

sensitivity

Has Nikon produced its best ever DSLR?

Pros give it a test and divulge their verdict

CSC OR DSLRAre the latest CSCs now good

enough to replace your DSLR?

NIKON

D810

WORTH£680

PROTEST

OCTOBER

2014

Follow our expert advice for images with more impact

36 Tips for Better Landscapes

NEWPULL OUT

TECHNIQUE

SECTION

THE COMPLETE GUIDE TO

PRIME LENSESWe explore the pros and cons

of shooting with a fi xed lens

and list the best you can buy

Our listings rate and compare the specs of all the fi nest DSLRs, CSCs & compacts

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Available in EE stores

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WWW.WHATDIGITALCAMERA.COM 3

W E L C O M E

Two months after the

launch of the Nikon

D810, one of the most

versatile Nikon DSLRs

ever, the fi rst models

have started to appear. The fi rst

professional photographers to get

the chance to put the D810

through its paces were Nikon’s

ambassadors, and we’ve spoken

to three to get a pro’s view on

what makes it better than the

D800 and D800E, prior to

bringing you our full review of the

camera next month. This issue

also includes a fi eld test

of Fujifi lm’s X-E2

Compact System

Camera; it excelled

itself when fi rst

reviewed, but is a

CSC a match for a

DSLR when the

going gets

tough? Turn to page 17 to fi nd out

if we’d be prepared to switch

systems and trade in a full frame

DSLR for a smaller system camera.

Also in this issue we take a close

look at fi xed focal length lenses

and reveal why a prime lens can

be the best lens you’ll ever own.

As well as reviews of the latest

cameras and lenses to hit the

market, we’ve laid hands on a fi ne

selection of accessories and also

put six hotshoe microphones to

the test to fi nd out which is best

for capturing cleaner audio for

your HD video recordings.

This issue we also introduce our

new pull out and keep technique

series, which this month is aimed

at covering everything you need

to know about ISO and providing

the best tips and advice on how to

shoot better landscapes.

MANAGING EDITOR MICHAEL TOPHAM

CameraWHAT DIGITAL

OCTOBER 2014P4 Incoming We look at the latest gear releases

P10 Ambassadors’ Opinions Pros on the gamechanging Nikon D810

P17 Fujifi lm X-E2 Field Test We take the X-E2 to Scotland – is it

really as good as the very best DSLRs?

P23 Guide to Prime Lenses Shoot more creatively using primes

P30 My Digital Camera Readers’ opinions on the kit they use

P34 Samsung NX3000 Is it a sublime CSC at a bargain price?

P36 Sony 70-200mm First telephoto for the Alpha 7 system

P38 Microphone Round-up Six of the best hotshoe mics reviewed

P40 Accessories Cool photo gear reviewed

P42 Help We answer your photo-related queries

P45 Technique section Take better landscapes and master ISO

T E S T S Y O U C A N T R U S T

To ensure the camera you buy

doesn’t disappoint when you

get it home, every camera

that passes through the hands

of What Digital Camera’s highly

experienced technical team is

put through a series of tests to

analyse how it performs.

Every model, from high-spec

DSLRs through to entry-level

compacts, is 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, while this can also

shift at different ISO sensitivities.

We then get down to the nitty-

gritty of resolution, with our lab

tests showing us exactly how

much detail each camera can

resolve – even though cameras

can share identical pixel counts,

some perform better than others.

Then we look at Image Noise,

since different cameras can

produce cleaner images at higher

ISOs than others.

Finally, we get out and shoot

with every camera and lens in

real-world conditions just as you

will, to fi nd out how they perform.

22 20

COLOUR Subjecting each camera to our colour chart test

reveals any variation and differences in colour

between Raw and JPEG fi le formats.

RESOLUTIONOur resolution chart reveals exactly how much

detail a sensor can resolve and it’s measured in

lines per millimetre, abbreviated to lpmm.

NOISE The diorama is used to ascertain how image

noise is handled through an ISO range. Some

cameras produce cleaner results than others.

ISO 100

ISO 400ISO 100

ISO 100

p3 Contents Oct mtjp.indd 3 13/08/2014 14:2893WDC14OCT114.pgs 13.08.2014 16:14 BLACK YELLOW MAGENTA CYAN

4 WWW.WHATDIGITALCAMERA.COM

C O M P A C T S £ 4 5 5 - £ 1 2 0 0

PENTAX XG-1As an all-purpose bridge camera, the Pentax XG-1 sets out to challenge in a fi ercely competitive area

of the market with a 52x optical zoom (24-1248mm), back-illuminated 16MP BSI-CMOS sensor and

3in, 460k-dot LCD screen. At the rear it features a 200k-dot electronic viewfi nder and can rattle out

a continuous burst at a lightning-fast 9fps. The sensitivity ceiling of ISO 3200 is a tad disappointing.

£279 www.ricoh-imaging.co.uk

MANFROTTO BACKPACKThe new advanced travel backpack

is intended for those who want to

carry photo kit and personal gear

as well as a 13in laptop.

£109 www.manfrotto.co.uk

CANON POWERSHOT SX400 ISSister model to the PowerShot SX520 HS (see facing page), the SX400 IS contains a powerful 30x

optical zoom covering a broad 24-720mm focal length. To ensure handheld images remain blur-free,

Canon’s optical Image Stabilizer with Intelligent IS technology is utilised, while at its heart it features

a 16MP CCD sensor. As for the handgrip, it’s designed to offer comfortable, DSLR-style ergonomics.

£259 www.canon.co.uk

SONY RX100 HOUSINGIkelite has released a new underwater housing

for the Sony RX100 III. It can be used 200ft

(60m) below the surface of the water, weighs

1,180g and has controls for all camera functions.

£425 www.ikelite.com

T H I S M O N T H ’ S H O T T E S T N E W G E A R

INCOMING

DXO OPTICS PRO UPDATEThe immediate availability of DxO Optics Pro

v9.5.1 offers support for new models, including

the Sony A7s (Elite Edition only), Sony

RX100 III, Nikon 1 J4 and Samsung NX30.

FREE UPDATE www.dxo.com

p4-5 Incoming Oct jpmt.indd 4 08/08/2014 11:2093WDC14OCT115.pgs 08.08.2014 16:40 BLACK YELLOW MAGENTA CYAN


C O M P A C T S £ 4 5 5 - £ 1 2 0 0INCOMING

LG G3 BEATSporting a sizeable 5in, 720p display, the LG G3

Beat is a miniature version of the LG G3. At the

rear it has an 8MP camera, which adopts a laser

autofocus system for very precise focusing.

£TBC www.lg.com/uk

CANON POWERSHOT SX520 HS

Squeezes in a 42x optical zoom (24-1008mm),

16MP back-illuminated CMOS sensor and offers

46 special effects arranged in four categories.

£299 www.canon.co.uk

CAMERA RAW 8.6Adobe Camera Raw 8.6 is

available to download, adding

support for new models, including the

Nikon D810 and Panasonic GH4.

FREE UPDATE www.adobe.com

NIKON CAPTURE NX-DNikon has developed a software application to

allow its users to enjoy development of Raw

fi les with simple operations. Available for free, it

also supports editing of JPEGs and TIFF fi les.

FREE www.nikonimglib.com/ncnxd/

OLYMPUS E-PL6Having only previously been confi rmed for a launch in Japan, the Olympus E-PL6 is fi nally due for an

imminent arrival on UK shores. Almost identical to the E-PL5, the only signifi cant change is the

addition of an electronic level guide. It goes without saying, E-PL5 users won’t need to upgrade.

£429 www.olympus.co.uk

LIMITED EDITION PENTAX K-3 To celebrate the success of the Pentax K-3, Ricoh Imaging has made a limited-edition Prestige

edition in gunmetal grey with matching battery grip. The camera body’s features and specifi cation is

identical to the standard model and comes shipped with the very latest fi rmware. The run of

limited-edition models will be restricted to 2,000 units worldwide. Availability is still to be confi rmed.

£1099 www.ricoh-imaging.co.uk

VANGUARD ALTA SERIESVanguard has launched a new range of tripods

fi tted with the company’s latest pistol grip

GH-30 head. Three or four section tripods are

available, with a load capacity of up to 5kg.

FROM £159 www.vanguardworld.com

p4-5 Incoming Oct jpmt.indd 5 08/08/2014 11:2193WDC14OCT116.pgs 08.08.2014 16:40 BLACK YELLOW MAGENTA CYAN


C O M P A C T S £ 4 5 5 - £ 1 2 0 0

MARTIN PARR 2nd Edition by Val Williams

£ 5 9 . 9 5 P H A I D O N

Martin Parr has made

a career out of

relentlessly

documenting the absurdities and

idiosyncrasies of the British

people. Recently his eye has

wandered towards the global

population but it’s likely to be his

representations of our fair island

and her odd people for which he

will remain known. That’s no bad

thing considering the breadth of

breathtaking work he has

produced since his earliest black

and white work in the 1970s. It’s

pointless getting into just why

Martin’s work polarises so many

people. You’re either a fan of his

work or you’re not. For those who

look beyond the garish faces

you’ll fi nd plenty to get your

teeth into. Martin’s work has a

distinctly political edge whether

viewers choose to see it or not.

There is so much more to his

work than meets the eye – the

snapshot-aesthetic of the images

is a mere ruse. Curator and writer

Val Williams has done a fantastic

job of providing an often-

neglected context to Martin’s

work and, as such, has negotiated

a wonderful volume of work. It’s a

book Parr fans will want to own.

SHOOTING MODELS by Franki Falkow

and Adam Duckworth

£ 1 7 . 9 9 I L E X

Models fi nd themselves

employed within a

variety of photographic

genres, whether it’s editorial,

fashion, beauty or advertising and

it should go without saying that a

successful shoot depends on the

chemistry between the model

and the photographer. In this

nicely produced guide,

international model Franki Falkow

and award-winning photographer

Adam Duckworth explain the

creative process behind the

PICTURE PERFECT SOCIAL MEDIA By Jennifer Young

£ 1 2 . 9 9 A P P L E P R E S S

Los Angeles-based Jennifer Young understands the importance of standing out within the ocean of social media, whether your chosen platform is Facebook, Pinterest, Flickr or through a personal blog. Young is herself a lifestyle, portrait and travel photographer who regularly uses blogs to get herself out there. She sets herself the challenge of demonstrating how to take eye-catching images and how they can be most effectively seen online. Examples from other pros are found throughout, as well as solid guidance on what it means to be a photographer in the age of social media.

BOOKS

collaboration that is all-important

in the production of professional-

looking images. Ilex books are

well known for their thorough and

accessible approach to their

subjects and this one is no

exception. In fact, it’s one of the

most readable books out there on

the subject of how to direct and

shoot models.

p6 Books Oct mtjp.indd 6 07/08/2014 14:59

Blackmagic URSA is the world’s first high end digital film camera

designed to revolutionize workflow on set. Built to handle the

ergonomics of large film crews as well as single person use, URSA

has everything built in, including a massive 10 inch fold out on set

monitor, large user upgradeable Super 35 global shutter 4K image

sensor, 12G-SDI and internal dual RAW and ProRes recorders.

Super 35 Size Sensor

URSA is a true professional digital film camera with a

4K sensor, global shutter and an incredible 12 stops

of dynamic range. The wide dynamic range blows

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The extra large Super 35 size allows for creative shallow depth of field

shooting plus RAW and ProRes means you get incredible quality!

Dual Recorders

Blackmagic URSA features dual recorders so you

never need to stop recording to change media.

That’s critical if you are shooting an historical event,

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allowing you to change out the full card and keep shooting!

Introducing Blackmagic URSA, the world’s firstuser upgradeable 4K digital film camera!

User Upgradeable Sensor

Blackmagic URSA features a modular camera turret that can

be removed by unscrewing 4 simple bolts! The camera turret

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Built in On Set Monitoring!

Say goodbye to bulky on set monitors because

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into Blackmagic URSA, making it the world’s

biggest viewfinder! The screen is super bright and features an ultra

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both sides of the camera showing settings such as format, frame rate,

shutter angle plus scopes for checking levels, audio and focus!

www.blackmagicdesign.com/uk*SRP is Exclusive of VAT

Blackmagic URSA PLBlackmagic URSA EF

£3,825* £4,139*

Lenses and accessories shown are not included



First images reveal

a sensational detail

performance from the

all-new Nikon D810

Professional action photographer, and

ambassador for Nikon USA, Lucas Gilman

recently laid hands on Nikon’s latest full

frame DSLR – the D810 – to fi nd out how

it performs in the fi eld.

OPENING

SHOT

p8-9 opening shot oct MTjp.indd 8 07/08/2014 16:12


LU

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GIL

MA

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LUCAS GILMANLucus started his photography career with a Nikon FM2 and has been using Nikon DSLRs ever since. His love and passion for the outdoors has seen him travel the world as a professional photographer for 15 years, working for clients that include Red Bull, Land Rover and National Geographic. Over the page he shares his thoughts after using the camera in demanding and tricky conditions. Nikon D810 & 70-200mm f/2.8 G AF-S ED, 1/2000sec @ f/2.8, ISO 800

NIKOND810

p8-9 opening shot oct MTjp.indd 9 07/08/2014 16:15

N I K O N D 8 1 0

Can Nikon’s latest DSLR go on to be as popular as the D800

with the enthusiasts and pros it’s designed for? Here, three

Nikon ambassadors offer their fi rst impressions


p10-14 Nikon D810 Oct mtjp.indd 10 07/08/2014 15:24

A m b A s s A d o r s ’ o p i n i o n s




IM

AG

ES

H

AV

E

BE

EN

P

RO

CE

SS

ED

IN

A

DB

OE

P

HO

TO

SH

OP

N I K O N D 8 1 0

When Nikon fi rst showed me

the specifi cations for the

new D810, I have to admit

I wasn’t bowled over. The camera

simply doesn’t have the same ‘cor

blimey’ effect as the D800 did, when

Nikon’s top pixel count jumped to 36

million pixels. As soon as I’d shot with

it, though, and magnifi ed the image

on the back screen of the camera,

I could see the difference.

It is very easy to judge upgrades

and new cameras by the number of

pixels they have over the last model,

and by the better specifi cation, but

we can’t always measure

improvements purely in numbers.

After I looked at my pictures on the

D810’s rear screen, and saw even

on that tiny device that there was

better sharpness and more detail

in the shadows, I viewed the fi les on

my monitor – and that was a moment

to pause.

IMPRESSIVE LEVEL OF DETAILIn all honesty, I wasn’t unhappy with

the D800E I had been using. There is

nothing wrong with it, and I have

been pleased with the image quality

it has delivered since I began using it.

But the fi les from the D810 offer

something else that I didn’t know was

lacking before. When the D800 and

D800E came out I had no hesitation

in going for the D800E. I don’t have

a fear of moiré patterning, as it is a

part of life when you use medium-

format digital cameras. I wanted the

E version for the extra detail in the

images, and I knew that any moiré

could be easily corrected. Now the

anti-aliasing fi lter has been removed

completely in the D810 there is a

very real jump in the level of detail

present. The detail resolution is

improved in the new model, but

more than that it is the way that

detail is resolved that I like so much

– not simply that there is more of it.

What I see in the images this

camera produces is a different level

of sharpness that gives us a new

clarity. The shadows are fi lled with

detail where previously there

wouldn’t have been as much – and

that was one of the fi rst things I

noticed on the camera’s rear screen.

On the subject of colour, the colours

seem more accurate and lifelike.

NOISE CONTROL AT HIGH ISOMy normal practice is to use the D4S

when I want to shoot with higher ISO

settings, as its noise control is

exceptional. Noise in the D800E was

ok, but in the D4S it is better. Now

though, having used the D810, I can

see that will change, and I won’t feel

the need to use the D4S very much

at all, as noise control in the

D810 is so much better than

it was.

I always shoot in Raw

mode, and strongly

encourage everyone to

do the same to

increase their

enjoyment of

photography, and

I process my images

using Capture One

Pro 7. This is the best

way to get the most

out of the fi les, and

I think Capture One has

the best colour engine.

FLAT MODE FOR VIDEO

I shoot a lot of video

as well as stills, as

I think all

photographers

soon will, and I’m

impressed with

Nikon’s new Flat

Mode for shooting

fi lms. Having a fi le

that comes out of

the camera straight

and with no curve applied gives me a

better starting point and puts me in

control of what the fi lm will look like.

Previously, all video had some colour

and contrast adjustment applied by

the camera that was hard to

over-ride and gave photographers

less control. In the D810, with Flat

Mode, the control comes back to the

photographer. It would be nice if the

D810 could shoot in 4K, but that will

come in time and it doesn’t bother

me that it doesn’t. I do shoot in 4K

when I need to, if I want to produce

post zoom (digitally zooming), and

I’m sure Nikon will offer 4K in the

future. Photographers always want

more! The new zebra patterning (an

on-screen warning that highlights are

burning out) will defi nitely be useful,

and I love that we can all now make

fi lms with our DSLRs.

DON’T GET LOST IN NUMBERSAlthough I haven’t used them yet (I

only had six hours with the camera!),

I’m pleased Nikon has introduced an

ISO 64 setting and a higher burst

rate. The low ISO setting will be

useful for natural light portraits on a

bright day, and it is reassuring that

Nikon has made it a standard setting

rather than a ‘Lo’ mode. I pick my ISO

settings carefully, and try to stick to

what the manufacturer recommends

as giving the best image quality. And

while I don’t really shoot action, I will

use the 5fps bursts to capture a

sense of movement in my portraits.

The important thing for me, as I

said, is the quality of image a camera

produces. It is easy to get lost in

numbers, and while the D810 has 36

million pixels it is what those pixels

can do that I’m interested in. And the

D810 gave me versatile fi les that can

be pushed and pulled without the

midtones showing any sign of

suffering. The whole point about the

D810 is the way Nikon has improved

image quality, but this is something

that won’t be obvious until you use

the camera yourself.

An ambassador for

Nikon UK, John is

a photographer,

fi lmmaker and

music producer.

He started his

photographic life

with a Nikon FM2

when he moved

from Glasgow to

London to take a

job with a picture

agency that covered

the royals. He

went on to become

the picture editor

of the Daily Mail and the Express

newspapers, but

went back to taking

pictures for a living

in 2000 – when

he bought his fi rst

digital camera.

Now John is a

portrait and fashion

photographer

working from

Motel studio in

east London’s

Shoreditch.

Celebrities he

has photographed

include Robbie

Williams, Pet

Shop Boys,

Michael Jackson,

Paul McCartney,

the stars of The Inbetweeners, Ricky

Gervais, Heston

Blumenthal and

Gordon Ramsay,

and clients include

Louis Vuitton, Dior,

Vanity Fair, Tatler, British GQ and The Times Magazine.

More of John’s funk,

fashion, fame and

sport images can be

viewed by visiting

his website: www.

johnwrightphoto.

com

JOHN

WRIGHTPortrait and fashion photographer

Like other Nikon

ambassadors,

John Wright was

impressed with

the highlight

retention in his

photographs

John took a series of portraits in his studio to

test the capabilities of the new Nikon D810



A m b A s s A d o r s ’ o p i n i o n s

The D810 is the most versatile

camera Nikon has ever

produced. I love the

introduction of the sRaw mode that

allows me to shoot smaller (9-million-

pixel) Raw fles, because I don’t

always need 36 million pixels or those

massive fles flling up my memory

cards and hard drives. And with the

MB-D12 battery grip, I can now shoot

at up to 7fps in DX crop mode. With

the new image quality, too, this

makes the D810 an ideal camera for

art or sport – it covers a lot of

different types of photography for a

camera with a small form factor.

Landscape photographers will love

the huge dynamic range, and all the

data that is contained in the

highlights and shadows – this is the

sharpest sensor I have ever seen. I

used it for a shot of a kayaker going

over a waterfall (see page 4) and you

can just keep on magnifying it on

screen and the detail keeps coming

– even beyond 100%.

The new AF system is also faster

and more precise than ever. I didn’t

even notice it working. I was shooting

a surfer early in the morning and the

camera just kept up with him as he

jumped the waves, even though there

was spray and breakers coming

between the camera and the subject.

The D810 just got it right in every

frame, and the pictures are pin-sharp.

The exTremesMy sequence with the surfer also

revealed how the dynamic range has

improved. Shot backlit at sunrise, the

fles have retained detail in the

highlights as well as in the shadows

– there is information on the surfer

and the clouds haven’t burnt out.

Most cameras would struggle with

such extremes, but the D810 is a

breath of fresh air, and will now allow

me to shoot scenes I wouldn’t have

been able to before. The dynamic

range just gives me more options, and

is the kind of massive step forward we

saw when the D3 frst arrived.

To make the most of the dynamic

range I shot a lot in Flat Mode, for

JPEGs and NEF fles, as this provided

me with an ideal starting point for

processing my images, but the

changes to the picture profles make

them really worth using and I’d

recommend them. There is now a

clarity slider that can be controlled by

the photographer to further customise

the settings Nikon has in place. This

clarity control produces an effect that

seems to combine sharpness and

midtone contrast, a bit like the Clarity

slider in Adobe Camera Raw. It means

the pictures straight out of camera

look more detailed and closer to what

my eye saw when I was shooting.

smooTh shuTTerThe other thing I really like about the

D810 is the new shutter. I hadn’t

thought that the shutter of the

D800E was clunky, and it isn’t, but

the new one is silky smooth. It’s hard

to put into words, but it is as if there

is no internal movement in the

camera when the shutter fres.

Because the D800E could capture so

much detail, I found that often I had

to use a faster shutter speed to shoot

action to really freeze the subject.

Cameras with less resolution don’t

have that problem, as they don’t

show the same level of detail. But

with the D810 and the new shutter

I’ve found that I can handhold more.

I’d say there is 30% less vibration,

which is important to me as I shoot a

lot of long-exposures. The new ISO

64 setting also helps, as it means I can

get longer shutter speeds without

always having to use a flter.

Time lapseI get asked for time-lapse videos

sometimes and I kind of dread them,

as so much work goes into keeping

the exposure consistent. I usually

shoot in manual mode and check to

see whether the settings need

adjusting for every shot. The new

exposure-smoothing feature in the

D810’s time-lapse mode is brilliant as

it fxes all that for me – so no

exposure ramping needed and the

video is perfect and glitch-free

straight out of the camera.

On a similar theme, the D810 has

introduced continuous shooting for

long exposures, so you can shoot

multiple images of star trails with

only a fraction of a second gap

between them. That means they will

join up seamlessly when combined.

I shoot video as well as stills, and

like the new features Nikon has

brought into this camera. The HD

quality at 60fps is superb and

makes for great slow-motion

sequences. Video will all go 4K

eventually, but for now it isn’t

practical for most people. No one

broadcasts in 4K, and it creates a

headache for storage. Nikon realises

that only a small group of people

actually need it, so the fact that the

D810 doesn’t shoot in 4K really isn’t a

big deal for my work.

Lucas describes himself as an action and adventure photographer and flmmaker, and is an ambassador for Nikon USA. Starting out with a Nikon FM2 with 50mm f/1.8 lens, and then a N90 (D90), he has been a professional for over 15 years. He worked for the Denver Post while at college, and grew to love the outdoors infuenced by his father, who is a fshing guide. Working all over the globe, he shoots subjects ranging from kayaking, surfng and skiing, and has covered the Tour de France, the Kentucky Derby, Ironman, the NFL Playoffs, and Open Water Swimming in Australia. Clients include National Geographic, Sports Illustrated, ESPN magazine, ESPN.com, Men’s Journal and Outside magazine. His commercial clients include: Manfrotto, Nikon, SanDisk, Land Rover, Red Bull, G-Technology, Garmin and Gore-Tex.www.lucasgilman.com

LucAs

GiLmAnSportsand action photographer

The D810’s

new Clarity

control setting

helps add local

contrast and

sharpness

in-camera

During his time

with the Nikon

D810, lucas

noticed speed

improvements

to the autofocus

system



N I K O N D 8 1 0

All

images in

this feature

were shot

on pre-pro-

duction

models of

We created two shoots as

part of this assignment

for the D810, to really

push the camera and show off its

new capabilities. One was a low-key

scene shot in a fl ooded room, and

the other a bright scene with lots of

very light tones. The darker scene is

called Deep Sea Dream, and the

bright scene White Witch Awakening,

and both were challenging for the

camera in different ways – especially

because I wasn’t using Photoshop in

the post-production of either. We had

to get everything right in-camera, in

a single frame.

What came through to me

almost straight away was the

sharpness and detail of the images,

even on the back of the camera, and

the sheer quantity of information that

the D810 captures. Viewing the

splashes around the mermaid was

like looking at an image from a

medium-format camera. I usually use

the D800E and am used to it

producing a lot of detail, but this is a

clear step forward. What I saw on the

back of the camera was very exciting

and inspired me to shoot more

pictures that emphasised the detail

in the subject.

NO PHOTOSHOP REQUIREDI would normally do quite a lot of

work on my images post-capture, to

bring out the best in them, but I

could see straight away that some of

that work would be saved by the

quality of the fi les that the D810

produces. The images from the D810

give a delicious foundation for the

post-production I often do to my

work. That was a key point about this

assignment, that after the Raw fi les

were treated in Capture NX-D, there

would be no further processing in

Photoshop. All the effects had to be

caught in camera. At fi rst we couldn’t

process the Raw fi les at all, as the

software wasn’t ready, but even

looking at the JPEGs I could see

there was a huge difference from the

previous cameras. I used the new Flat

Mode for shooting, to produce an

image with as little in-camera

processing as possible, and these

fi les turned out to be a great base to

start from for both JPEG images and

NEF fi les.

HDR EFFECT I usually only use JPEGs for behind-

the-scenes pictures, and shoot all my

main work in Raw mode. Raw fi les

are much more fl exible, but what

surprised me about those from the

D810 was the massive improvement

in the dynamic range.

In the White Witch Awakening

scene, we relied a lot on the daylight

coming through the windows,

including direct sunshine. It was

surprising to see the evenness in

tones straight from the camera. This

is a very contrasty scene, with dark

corners and a bright view outside,

but the fi les managed to handle

everything extremely well. Usually

I would expect to do a lot of

manipulation using exposure brushes

and composite work to get an image

to look that way. It is great, and

inspiring, to have such quality from

the original fi le. There is plenty of

detail in the bright whites of the

scene, such as in the Zebra and the

White Witch, while the darker areas

are not blocked up.

There is an element of HDR in the

way the images look – not in the

extreme way that we have come to

hate – but in the beautiful distribution

of shadows and highlights across a

huge brightness range. The effect

is like a painting, where the artist

can neutralise shadows and

highlights – the tonal distribution

straight from the camera is

reminiscent of images by the masters

of fashion photography.

BIGGEST CHANGESwitching from the Nikon D800E for

these shoots was a seamless

experience. I had been worried about

getting used to a new camera, but

found the controls are very much the

same. The biggest change came after

the shoot – not during it. Though

having said that, I did notice during

the shoot that the new screen was

much more accurate, and was giving

me an image closer to that which I

saw on the computer monitor later.

I had expected a higher pixel count

in this camera when Nikon fi rst told

me there was a new model, but the

changes Nikon has made are actually

more exciting. It makes me want to

shoot more with the D810.

Natalie Dybisz is the photographer behind the company Miss Aniela – Aniela is her middle name. Natalie is a fi ne-art fashion photographer based in London, and began her career as a self-portrait artist in 2006. She works with her partner on commercial assignments and the self-branded, large-scale production ‘The Fashion Shoot Experience’ in London, LA, New York, Europe and Iceland. Her work has been exhibited internationally and featured in numerous media including NY Arts, El Pais, Alarm Chicago, Vogue Italia and the BBC. She is currently focusing on her fi ne-art series Surreal Fashion, which blurs the boundaries of art, photography and fashion, and has been exhibited by Vogue Italia in Milan and London’s Saatchi Gallery.www.missaniela.com

MISS

ANIELAFashion, fantasy and surrealism photographer

The D810 borrows many of the internals from the flagship D4S and with a 36.3MP sensor it boasts the highest image quality of any DSLR in Nikon’s line-up.

SCREENThe 3.2in screen features a 1,229k-dot resolution and an anti-reflective surface. A new split-screen display in Live View mode is designed to allow for faster, more accurate monitoring.

T E C H I N F O

SENSOR 36.3MP

CMOS LENS MOUNT

Nikon FX ISO ISO 64-12,800 (extendable to ISO

32-51,200) AF POINTS 51 (15 cross-type sensors)

SHUTTER SPEED 1/8000-30secs BURST 5fps or 7fps

in DX crop mode (15.3MP) MOVIE MODE 1920 x 1080,

50p/60p DISPLAY 3.2in, 1,229k-dot fi xed LCD screen

(3:2 aspect) MEDIA CARD SDHC, SDXC, Compact Flash

SIZE 146 x 123 x 81.5mm WEIGHT 980g (body only)

KEY SPECS

TWIN BAY MEMORY SLOTJust like the D800, the D810 has dual memory card slots, catering for two formats (SD and Compact Flash). The decision to include two formats means the user will need to carry around two sets of media cards.

IMPROVED BATTERYThe D810’s EN-EL15 battery offers around 30% more shots per battery charge compared to the D800. Whereas the D800 could shoot 900 shots on a full charge, the D810 can go on to shoot a very impressive 1,200.

Miss Aniela

swears by

shooting in Flat

mode to produce

an image with

little in-camera

processing


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F I E L D T E S T

ALL CHANGESwapping a full frame DSLR for a Compact System Camera is a hard

decision to make, as Michael Topham explains on his jaunt to the north-west

to photograph one of the most scenic railways in the world

T E S T E D B Y M I C H A E L T O P H A M


p17-21 Fuji X-E2 field test oct jpMT.indd 17 07/08/2014 15:37


F I E L D T E S T

It’s late on a Friday, I’m sipping a

pint and I’m watching the world

go by outside Euston station

before boarding my overnight

sleeper bound for the north.

While many people in their late 20s

might be glancing up at the holiday

destinations boards bound for a trip

to sunny climes, I’m destined for

somewhere hundreds of miles away

that’s notorious for its gloomy

weather – Fort William in the

Scottish Highlands. It’s at this point

you may have guessed I’m not one

for lounging on a beach, I’m the

outdoorsy type, but my suitcase isn’t

laden with walking boots,

waterproofs or maps to explore the

mountainous terrain Scotland has to

offer. Instead my bags are taken up

by overalls, steel-toe cap boots and

face scrub – the main essentials I

need for a week away volunteering

on the support crew of a steam

locomotive that runs along the

famous branch of the West Highland

line that passes over Glenfi nnan

viaduct, a location made famous by

the Harry Potter fi lms. While it might

not be everyone’s idea of a holiday,

it’s my way of escaping city life for a

more rural place where I can retreat

to photograph one of the most

scenic railways in the world, right

from where all the action happens.

TOUGH DECISIONBefore leaving the offi ce and heading

north I had a tough decision to make.

What camera should I take? Usually

my shoulders take the weight of a

Canon 5D Mark III and a range of

L-series lenses to cover every

eventuality, but I’m wise to the fact

that a smaller system will not only

allow me to travel lighter, it’ll allow

me to pack more day-to-day

essentials and give me the option to

swap my enormous backpack for a

more friendly shoulder bag. A

rummage through my draws beside

my desk presents a Fujifi lm X-E2 – a

camera I’ve been meaning to send

back since reviewing it earlier in the

year. With a fi ne selection of XF

lenses to choose from in the stock

cupboard, my decision is made, the

Fujifi lm X-E2 it is. It’s time to give my

DSLR, and my shoulders, a well-

earned rest.

The next day and on my arrival at

the Fort William depot where the

locomotives are maintained and

stabled I spot my fi rst photo

opportunity – to capture the special

moment of the fi re being lit as the

engine is brought to life. Dumping

my suitcase and quickly attaching

the Fujinon 35mm f/1.4 R lens to the

front of the X-E2 gains quite a lot of

interest from the engineers around

me who start to make observations

and ask a series of questions. It looks

like a Leica. Does it take fi lm? What

does it cost? After answering these

questions and handing it round, I

explain the direction Fujifi lm is

heading with its X-series and the way

their attractive digital rangefi nder-

style bodies, supported by a wide

range of lenses, are appealing to the

type of photographer who wants a

smaller, lighter and more convenient

system to that of wielding around a

heavy DSLR. ‘I can see the appeal,’

one engineer says. ‘It’s a fraction of

the weight of my Canon EOS 7D,’

says another. The interest in the

X-E2’s aesthetics and design from the

relatively short time it’s been in my

hands suggests it’s something of a

status symbol, with its retro-nostalgic

silver and black fi nish making it stand

out from other mirrorless models.

As it’s passed back, I fi nd a clean

rag to wipe off the oily marks that

cover the handgrip after it’s been

handed round. I knew from the very

start of the trip the camera might

encounter some tough conditions – it

was one of the reasons I was

somewhat hesitant to take a

non-weather sealed camera over my

fully weather sealed DSLR – but I

certainly didn’t expect to fi nd myself

wiping grease from it within ten

minutes of arriving.

Early next day I set aside some

time to concentrate on

photographing some fi ner details to

remind myself of what the X-E2’s

16.3-million-pixel APS-C sized X-Trans

sensor is truly capable of. As I carry

the camera over my shoulder and

climb aboard the engine, the camera

body takes an accidental knock

against a handrail and I’m thankful for

the camera’s magnesium die-cast

front cover that’s prevented it from

any damage. Though in some areas,

such as its buttons and scroll dial at

the rear, it feels less refi ned than the

DSLR I’m used to using, the body has

a super solid and robust feel. The way

the On/Off switch and top-plate dials

fall to hand is also testimony to its

excellent design. As I swap from the

18-55mm kit lens over to the new

Fujinon 56mm f/1.2 R XF, it instantly

makes the X-E2 heavier, however it

remains considerably smaller and

620g lighter than my DSLR with my

85mm lens attached. Changing

lenses also raises the issue of how to

keep the sensor free from dust and

dirt in the inappropriate conditions

The X-E2 is a

camera that’s

a joy to use for

capturing the

fi ner details that

can otherwise

go unnoticed

The intensity

and heat of the

fi re aboard the

footplate had

no effect on the

X-E2’s overall

performance

A shot taken

with Fuji’s 10-

24mm f/4 R OIS

XF lens to help

get all the train

controls within

the frame

The small size of

the X-E2 makes

it a great camera

for shooting

portraits in an

Inconspicuous

manner



F U J I F I L M X - E 2

I’m going to be using it all week.

There’s little more I can do than take

the usual precautionary methods of

interchanging lenses with the body

pointed face down and ensure the

X-E2’s inbuilt sensor cleaning is

turned on as the camera is powered

up as well as when it’s switched off.

DEPARTURE TIMEAs the engineers go about their

business of oiling, cleaning and

examining the engine before we set

off, I experiment by opening the lens

to its maximum aperture, while

keeping the shutter speed dial on the

top-plate set in its A position so I’m

shooting in Aperture Priority mode.

The immediate drop-off in focus at

f/1.2 with this lens creates a

wonderful depth of fi eld that’s ideal

for isolating a subject from its

surroundings to help draw the

viewer’s eye to the heart of the

image. It’s also at this moment I start

to appreciate the speed at which the

X-E2 focuses. It locks on in a fraction

of a second (0.08secs, to be precise)

and remains just as accurate when

the AF point is moved off centre to

one of its other 49 AF points.

Prior to the whistle being blown

and our departure from the station I

climb back onto the engine slightly

increase it. As I continue to

experiment with the ISO, the way the

dial seems back to front in terms of

its functionality frustrates me and I

revert back to using the function

button on the top-plate as my means

of changing ISO. Now with a shutter

speed of 1/100sec, I clamber into the

coal space and shoot the fi reman

hard at work building up his fi re for

the stiff climbs ahead.

This is an ideal time to put the

X-E2’s impressive 7fps burst rate to

good use and I’m

quick to hit the

drive button

anxious about how well the camera

will perform in such a demanding

environment. There’s a raging hot

fi re, the heat is immense, there’s coal

dust in the air and as if that isn’t

enough, the extreme contrast

between the enclosed cab and light

pouring in is going to be a real test

for the 256-zone TTL metering

system. As we get under way I take

my fi rst shots and quickly realise I’m

able to cram in everything I can see

before my eyes using the Fujinon

10-24mm f/4 R OIS XF lens. Even

though I’m shooting wide-open (f/4),

the fastest shutter speed I’m able to

get at ISO 400 is 1/25sec – not fast

enough to eliminate camera shake

even with the optical image-

stabilisation system built into the lens

employed. Safe in the knowledge

that noise only becomes noticeable

under close inspection at ISO 3200

and above, I increase the sensitivity

to ISO 1600 using the quick menu

button and scroll dial at the rear. This

takes some getting used to as

scrolling to the right decreases the

ISO value where I presumed it would

Closing the

aperture to f/22

allowed me to

capture this

starburst effect

overlooking the

Isle of Skye

The author

handling the

X-E2 with the

56mm f/1.2

R XF lens

attached

“Prior to the whistle being blown I’m anxious about how well the camera will perform”



F I E L D T E S T

If I could make

two improvements

to the X-E2’s

performance

it would be to

enhance the battery

life and add a more

accurate battery

indicator. I knew

that by opting to

take a smaller

Compact System

Camera over my

DSLR would come

with a compromise

or two, but after

using the X-E2

continuously for a

week it highlighted

the fact that with

frequent use you

can’t get away

with longer than

a day before a

full recharge is

required. Fujifi lm

claims the MP-

W126 rechargeable

Li-ion battery is

good for 350 shots

on a full charge,

but on an average

day I discovered

the battery display

started to fl ash

red after about 300

shots. Regrettably,

and unlike my

DSLR, there’s no

battery information

provided in the

menu to refer to the

remaining capacity,

shutter count per

battery charge or

view the recharge

performance, but

fortunately I had the

foresight to pack a

spare. Getting into

the habit of turning

the camera off and

setting the camera

to automatically

turn off after two

minutes helped to

preserve battery

life. I also found

that by switching

the display feed

over to EVF only,

helped prevent the

LCD draining the

battery any more.

BATTERY

LIFE

of a second delay as detail renders

between frames. Setting the aperture

via the aperture ring on the lens and

the shutter speed via the beautifully

milled top-plate dial is a very

satisfying experience and though it’s

slightly different from operating a

DSLR, I fi nd the manual control more

rewarding as it feels you’re more at

one with the camera. By the end of

the week I think about my decision to

take the X-E2 on my travels and I

have no regrets whatsoever. Not only

has it allowed me to take the shots I

would have taken with my DSLR, it’s

been a joy to use throughout the trip.

As I board my sleeper for home and

review my images one last time, it

crosses my mind how cheaply I could

pick one up for. With body-only

prices now at the £600 mark, it’s fair

to say, I’m very tempted.

FINAL THOUGHTSI’ve always believed there’s no better

substitute than owning a full frame

camera, and while there’s some truth

to this with regard to resolving the

very best image quality, the time I’ve

spent with the Fujifi lm X-E2 has

opened my eyes to the real benefi ts a

smaller system camera can offer.

Though there are times when I’d still

choose to shoot with my DSLR over a

CSC – such as when I demand

nothing but the best level of image

quality in an extremely low-light

situation, or where capturing the

fi nest level of detail is of upmost

importance – there are many

situations where a CSC can make the

beside the screen, which also

expands the camera’s motion

panorama mode and advanced fi lters

of which there are 12 to experiment

with. A quick inspection of the

images on the crisp 3in, 1.04-million-

dot screen reveals I’ve bagged the

shot I was after and have been

successful in creating some blur

outside the cab to portray the sense

of movement. Although a camera not

built for speed, it’s certainly by no

means out of its depth in this

department, recording eight frames

at 7fps before the buffer kicked in

and prevented any more being taken.

In hindsight I could have switched

over to shooting in the Fine JPEG

format, which would have resulted in

me being able to rattle out 19 frames

before the buffer interrupted,

however Raw is always my preferred

fi le format for shots I plan to edit

later. Zooming into the shots and

viewing them at a magnifi ed view

reveals the sharpest and best-

composed frame of the eight is going

to require detail to be pulled back

from the shadows – something I’ll do

later back at the depot on my laptop

using Lightroom.

As we continue onward to Mallaig,

I take a few shots of the breathtaking

landscape and use the Disp/Back

button to view the histogram to

check all is OK with exposure. On the

rear display the bright sky looks to be

losing detail, which is confi rmed by

glancing at the histogram and the

highlight clipping warning fl ashing

black on the small thumbnail view.

Dialing in between -0.3EV to -1.0EV

using the exposure compensation

dial that’s suitably positioned on the

corner of the body helps to preserve

the detail in the brightest highlights.

The exposure compensation scale

that’s displayed on the left of the

screen also acts as reminder of what

it’s set to when the eye is raised to

the viewfi nder. As we gently roll

along the side of Loch Eilt, the

fi reman taps me on the shoulder and

tells me there’s an excellent split-

second photo opportunity coming up

to photograph the famous island of

Eilean na Moine covered in

Caledonian pine trees. Now out of

continuous shooting mode, I don’t

dare risk setting it back for the fear

of missing the shot. As the trees

along the trackside begin to clear

I get my half-second opening to get

the shot before the view is obscured

once again. ‘Did you get it?’ the

fi reman shouts across. A quick

glance down at the screen reveals I

did, thanks to the X-E2’s impressive

response performance, with a shutter

lag of just 0.05secs.

Back at the depot, I fi nish the day

capturing some detailed shots of the

valve gear as it glistens in the late

evening sun before taking the

opportunity to cycle through my set

of images quickly using the rear

scroll dial and protecting my

favourites from the playback menu.

It’s at this point I’m missing the star

rating function from my DSLR but

the Wi-fi functionality more than

makes up for it, which I put to good

use once more to transfer a few of

my best shots over to my iPhone

before tagging and sharing them to

my friends through Facebook. Day

one complete, I’ve been impressed

by the way the X-E2 has survived the

harsh conditions in which it has been

used and the images it’s produced.

As the week goes on, the weather

improves and I’m now feeling right at

home using the X-E2. In high-

contrast conditions I fi nd myself

using the excellent electronic

viewfi nder not only to compose

images, but also review them.

However this does reveal a fraction

The view looking

out over the

Sound of Sleet

– an image that

required dialing

in -0.7EV to

preserve detail



F U J I F I L M X - E 2

better choice. For me, the greatest

benefi t of opting to go down the CSC

route as opposed to DSLR is the

convenience a smaller system can

bring to your photography. Taking

the X-E2 out into the fi eld with four

lenses took up less than half the

space in my bag and weighed a

fraction of what I’m used to carrying.

My week away using the X-E2

made me aware that CSCs aren’t all

about the practicalities of being

smaller and lighter. After a few days’

use, I became aware of how using a

CSC as opposed to a DSLR has an

effect on people’s reactions and how

people act in front of the camera.

Whereas raising a large and bulky

DSLR can often be intimidating for

people you’re photographing, I felt

the X-E2 allowed me to shoot in a

much more inconspicuous manner.

Would I choose to switch over to a

CSC permanently? If it weren’t for the

fact that I’ve invested heavily in some

of the best pro-spec lenses and on

some occasions I require the very

best image quality performance from

a full frame sensor, then my answer

would be yes. I love the idea of

owning an X-E2 as well as my

full-frame DSLR, but just like many

would like a convertible as well as

their daily runaround, it’s regrettably

not a viable option for me so it’s back

to my trusty DSLR.

Whereas the original X-E1 inherited the X-Trans CMOS sensor from the X-Pro1, the Fujifilm X-E2 employs a newer 16.3-million-pixel APS–C X-Trans CMOS II sensor that incorporates over 100,000 phase-detect pixels built into the sensor to provide an intelligent Hybrid AF system for optimal focusing speeds. In addition, the X-E2 benefits from a revised autofocus algorithm, which results in improved accuracy over its predecessor when focusing in low-contrast and dark scenes.

DYNAMIC RANGEBesides exposure compensation, there are four D-range settings available, which are designed to preserve highlight detail by exposing for the highlights before boosting mid-tones and shadows to create an image with an overall wider dynamic range. Settings include Auto, DR100 (default), DR200 and DR400.

FOCUS PEAKINGFor those who’d prefer to manually focus, the X-E2’s Focus Peaking function can be useful for highlighting the areas of an image that appear in focus. There’s the option of three colours – white, red or blue.

FILM SIMULATIONThe camera’s fi lm simulation modes are designed to emulate the

traditional look of fi lm, with options including Provia, Velvia, Astia. There’s also a selection of mono settings, such as Monochrome+R that can be effectively used to darken skies and enhance contrast.

FUNCTION BUTTONSThe X-E2 has a pair of customisable function buttons labelled Fn1 and Fn2. Both the AF button and Metering mode button can be reassigned to control different settings too from the Function (Fn) setting set-up menu.

EVFThe refresh rate of the X-E2’s EVF is increased from 20fps on the X-E1 to 50fps. It features a 2.36-million-dot resolution, but is positioned off-centre rather than centrally, unlike on Fujifilm’s X-T1.

F O C A L P O I N T S

SENSOR 16.3-million-pixel, APS-C sized X-Trans CMOS II sensor LENS MOUNT Fujifi lm

X-mount ISO ISO 200-6400 (extendable to ISO 100-25,600 but JPEG only) CONTINUOUS

SHOOTING 7fps VIEWFINDER TYPE 0.5in, 2.36 million-dot OLED viewfi nder with dioptre control DISPLAY 3in, 1.04

million-dot fi xed LCD screen (3:2 aspect) DIMENSIONS 129 x 74.9 x 37.2mm WEIGHT 350g (body only)

KEY SPECS

The X-E2 is also available in an all-black

fi nish

The X-E2’s EVF is positioned off-centre to

the body

“I think about my decision

to take the Fujifi lm X-E2 and

have no regrets whatsoever”

The impressive

dynamic range

allows a high

level of detail to

be returned to

the lightest and

darkest areas


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THE COMPLETE GUIDE

PRIMELENSES

TO

A prime lens is most easily

defi ned as an individual lens

that offers a fi xed focal

length. This can fall

anywhere from ultra-wideangle to

super-telephoto, or indeed anywhere

between the two. The main point is

that the focal length is fi xed and

cannot be altered; if you want your

subject to appear bigger or smaller

within the frame then you’ll have to

use your legs, or get your subject to

move closer to you. This isn’t

necessarily a bad thing though, as it’ll

force you to think more about your

photography and look for creative

solutions when you don’t happen to

have the ideal focal length to hand.

While zoom lenses remain hugely

popular with photographers of all

abilities thanks to their fl exibility,

there’s a lot to be said for prime lenses

too. Not only will they almost always

deliver better corner-to-corner

sharpness across the frame, they also

tend to be faster, which in turn means

you can use them to create a shallower

depth-of-fi eld effect in order to isolate

your main subject from the

background. In addition, they are often

smaller and lighter than zooms, which

makes them more discreet and easier

to carry around with you.

Over the next few pages, we’ll look

at prime lenses in more detail,

exploring their particular strengths

and weakness. We’ll also look at some

popular focal lengths and how they’re

used for specifi c types of photography.


If you’re looking for the ultimate in image quality and don’t

mind having to move your feet instead of a zoom ring, then

a prime lens could be an ideal investment…

W O R D S A U D L E Y J A R V I S

p23-27 essential lenses oct jpMT.indd 23 12/08/2014 15:27


E S S E N T I A L G U I D E

OPTIMAL PRIME In terms of pure image quality and

corner-to-corner sharpness a prime

will almost always produce better

results than a zoom. There are some

exceptions, of course, but as a

general rule a prime will produce

sharper images than a zoom used at

the same focal length. This is

because primes are precisely

engineered to deliver optimal

performance at their specifi ed focal

length. Zoom lenses, by contrast,

have to make a number of optical

compromises in order to facilitate

their variable focal range.

As a result of these compromises,

zooms usually produce softer results

at certain focal lengths. This softness

is especially noticeable in the corners

and along the edges of the frame. A

further issue with zooms – especially

cheaper ones – is that barrel

distortion at maximum wideangle

and pincushion distortion at

maximum telephoto can be quite

noticeable. If a fi lter is attached to

the front, some vignetting may also

occur at wideangle settings. Prime

lenses, certainly high-end primes,

generally don’t have these issues, or

at least not to the same extent.

The actual difference in quality

between, for example, a 50mm prime

and a 18-200mm superzoom set to

50mm might be small and diffi cult to

discern without recourse to pixel

peeping, or at least a side-by-side

comparison of 100% crops, but for

image quality purists and

professional photographers the

improvements in image quality that a

prime brings to the table makes their

use all but essential.

In addition to being sharper, prime

lenses also tend to be faster than

their zoom counterparts, especially

at longer focal lengths. For example,

a typical 18-55mm kit zoom that

comes bundled with a new DSLR will

usually offer a maximum aperture of

around f/5.6 when set to 50mm,

whereas for around £120 a 50mm

prime will give you a maximum

aperture of f/1.8, which is

considerably faster. For £300 you

can buy a 50mm f/1.4 optic that’s

even faster, while £700 secures you

an ultra-fast 50mm f/1.2 lens.

The benefi ts of fast lenses are

many and varied. The main creative

advantage is that they can be used

to create a shallower-depth-of-fi eld

effect, which is useful when you want

to defocus the background behind

your primary subject so that they

become the focal point of interest – a

technique that’s especially popular

with portrait photographers.

Another benefi t of fast primes over

slow zooms is that the extra aperture

stops will allow you to use faster

shutter speeds or lower sensitivity

(ISO) settings when shooting in poor

light, which will help reduce the risk

of camera-shake and image noise.

So those are the benefi ts, but how

about the downsides? Well, given

that you won’t have a zoom ring in

order to make everything magically

fi t in the viewfi nder, you will have to

be prepared to move around a bit

more to frame your shots. Failing

this, you’ll need to be prepared to

spend a little more time cropping

your images in post-production.

PRIME CHOICEPrime lenses come in a huge variety

of focal length and aperture

combinations, many of which are

designed for a specifi c purpose.

Primes also come in a range of price

points and quality grades – from

relatively inexpensive 50mm f/1.8

standard primes that can be picked

up for around £120, to specialist

600mm f/4 sports and wildlife

super-telephoto lenses that will set

your back in excess of £7,000.

The two most important things to

consider when setting out to buy

If you’re not using a full frame DSLR then one thing that you’ll need to take into consideration when choosing a suitable prime is the Crop Factor – or Focal Length Multiplier (FML) – that’s associated with your camera’s sensor. The reason for this is that lenses are almost always described in 35mm terms, that is to say the focal length they provide when attached to a full frame (35mm) camera.

However, because APS-C and Micro Four Thirds sensors are physically smaller than their full frame cousins they cannot ‘see’ as much of the image generated by a lens as a full frame sensor can. Instead they take

a rectangular crop from the middle, which has the effect of ‘magnifying’ the lens’s stated focal length. The degree to which this occurs is called the Crop Factor, or Focal Length Multiplier.

For Nikon and Pentax APS-C cameras the crop factor is 1.5x (1.6x for Canon DSLRs), while for Micro Four Thirds cameras the crop factor is 2x. Applying the relevant FMLs this means that a 50mm prime will offer the 35mm focal length equivalent of around 75mm when mounted to an APS-C camera, while for Micro Four Thirds users the same 50mm lens will offer the 35mm equivalent of 100mm.

SH

UTTER

STO

CK

You don’t need an

expensive prime

to create stunning

portraits of pets.

Budget 35mm and

50mm primes can

be picked up from

as cheaply as £80

U N D E R S T A N D I N G C R O P FA C T O R S

UNCAPTURED LIGHT

LENSFull Frame Sensor

Cropped sensor

This shows how

smaller sensors

capture the

centre portion

of an image.

Images feel

magnifi ed as less

of the subject is

captured compared

to full frame



When a fast prime

lens is used at its

maximum aperture,

it’s always worth

rattling off more

frames than you

normally would to

ensure the focus is

accurate and you

bag a pin-sharp shot

your fi rst prime, therefore, is what

you will want to use it for and how

much you can afford to spend.

Most newcomers to DSLR and

interchangeable-lens system cameras

start off with a ‘kit lens’ zoom that

comes bundled with the camera. This

typically offers the 35mm focal range

equivalent of 24-80mm (18-55mm for

APS-C lenses, and 12-42mm for Micro

Four Thirds lenses). From here most

users’ fi rst standalone lens purchase

is often a step-up zoom, usually with

a faster maximum aperture, or a

constant f/2.8 throughout the range.

A prime lens is usually, although not

always, the next purchase.

The fi rst prime that most

photographers invest in is a basic

50mm f/1.8 lens. Partly because they

are relatively cheap, but also because

they offer the 35mm focal equivalent

of 75mm when attached to an APS-C

DSLR, which makes them an

inexpensive but effective portrait

lens. If you’re using a full frame DSLR

then you’re better off with a prime

that offers somewhere between

80mm and 100mm as this is

generally considered to be the ideal

focal length for shooting portraits.

If you’re interested in capturing

wide-open landscapes, architecture

or large groups of people then you

may want to consider a wideangle

prime, which in 35mm terms can fall

anywhere between 14mm and 35mm.

Most of the major manufacturers

offer prime options at 14mm, 24mm,

28mm and 35mm – prices do vary

quite a bit though, with faster lenses

commanding a higher premium.

Don’t forget that you’ll need to apply

the relevant focal length multiplier if

your camera is fi tted with an APS-C

or Micro Four Thirds sensor – see the

‘Understanding Crop Factors’

box-out for more information.

While a fast aperture might not be

all that useful for taking landscape

and architectural images with,

especially if you’re using a tripod and

stopping the aperture down to its

‘sweet spot’ (usually around

f/5.6–f/8) you’ll still get noticeably

sharper images than you would with

a zoom. You can, of course, use fast

wideangle primes in other situations

though, for example low-light candid

photography, where the increased

speed will doubtless come in handy.

Because most wideangle and

standard primes are quite small, they

are also a good choice for street and

urban photography, where a bit of

discretion can go a long way.

At the telephoto end, most

manufacturers offer a good range of

options, including 105mm, 135mm,

200mm, 300mm, 400mm and

600mm. Again, the price will depend

on the quality of the materials used

in the construction of the lens (both

internal optics and external fi nish)

along with the maximum aperture.

The focal length that’s right for you

will depend on your requirements.

Don’t forget that you can also

use teleconverters with

prime lenses, which will

increase their focal

length by a specifi c

amount – usually either

1.4x or 2x. Bear in mind

that not all prime lenses are

compatible with teleconverters, so

be sure to check fi rst.

Getting even more specialised,

primes that are designed specifi cally

for extreme close-up macro work are

also offered by most manufacturers,

most commonly at a focal length of

between 60mm and 105mm. These

allow you to focus at very short

distances from your subject –

around 25cm, sometimes

less – so that you can

magnify your subject

and fi ll the frame with

intricate details that

might not be easily visible

to the naked eye.

SH

UTTER

STO

CK

Prime lenses vary enormously

in price, which refl ects the

huge variation in quality. At

the bottom of the scale are

the budget standard primes

we’ve mentioned in the main

text, which commonly cost

around £120 to £300 and which

are small, lightweight and

primarily constructed from

plastic. Because of this they

should ideally be stored in

a decent kit bag when not

required, otherwise they are

likely to get damaged.

Moving up the scale, you

can expect more expensive

primes to be quite a bit larger

and heavier. This is due to

the use of more premium

optics internally for improved

sharpness and a faster

maximum aperture,

along with metal outer

construction for added

durability in day-to-

day use. While some cheaper

primes may have a plastic lens

mount that can wear down with

excessive use, more expensive

ones will almost certainly have

a metal lens mount that’s far

more durable.

In addition to size and weight

considerations, more expensive

primes will usually have a

faster maximum aperture. They

may also have additional lens

coatings to reduce the effects

of fl are and ghosting. Image

stabilisation is not commonly

found in wideangle or standard

focal length primes, however

many telephoto primes now

incorporate the technology in

order to help achieve sharper

results, although it will of

course add to the overall price.

P R I M E C O N S I D E R A T I O N S

Given that

professional-grade

prime lenses

can be extremely

expensive, you

may want to

consider hiring

a particular lens

rather than buying

it outright. There

are plenty of

companies across

the UK that offer

a lens rental

service, with rates

usually calculated

by the day. If

you’re not sure

about a particular

lens, or suspect

that it won’t be

something that

you’ll use often,

then hiring could

well be a better

option than

splashing out.

P R I M E

H I R E

Look for a metal

lens mount for

improved durability



E S S E N T I A L G U I D E

THE BEST PRIME LENSES WE’VE TESTED

CANON

Canon users are spoilt by 35 prime lenses to choose from in the EF

lens line-up. Among the best that have picked up a Gold Award are

the EF 50mm f/1.4 USM £279 – a brilliant optical performer albeit

with a noisy motor; the EF 85mm f/1.8 USM £289 – a relatively

inexpensive prime that’s ideal for head and shoulder portraits

attached to a full frame DSLR; and the EF 100mm f/2.8 L Macro IS

USM £699 – a lens that scored a fi ve-star rating and is possibly the

best pro-grade macro lens we’ve ever tested.

OLYMPUS

The Olympus 17mm M.Zuiko f/1.8 MSC £369 offers a focal length

equivalent to 34mm. With no signs of fringing and an inner focusing

system, those who buy into it can expect a fi rst-class optical

performance in return. It’s a touch too wide to be used as a regular

portrait lens, so a better suited and more affordable choice is the

Olympus 45mm M.Zuiko f/1.8 £196 – a lens that complements the

OM-D series in silver or black and delivers sharper results than you’d

expect for a fraction under £200.

NIKON

Twelve of Nikon’s prime lenses have picked up a Gold Award over

the years and among the highest rated is the 40mm f/2.8 G AF-S

DX Micro £185 – an inexpensive lens for DX format DSLR users

who’d like to specialise in macro photography. The Nikon 50mm

f/1.8 G AF-S £149 is right up there too as a lens that delivers great

value combined with a silent and rapid autofocus performance,

while we can’t go without mentioning the 85mm f/1.4 G AF-S £1179

– a prime for portrait professionals seeking ultimate sharpness.

SAMYANG

Third-party manufacturer Samyang is best known for producing

fi xed focal length, manual focus prime lenses. Up there as the best

we’ve tested is the 35mm f/1.4 AS UMC £424 – an optic that’s

specifi cally designed for cameras with a cropped APS-C sensor.

Though larger, heavier and more expensive than many budget

35mm primes, its fast maximum aperture gives it the edge in low

light, while it looks and feels great. It’s available in Canon, Nikon,

Pentax, Samsung NX, Four Thirds and Sony Alpha mounts.

PENTAX

K-mount Pentax users considering their prime options should put

the 35mm f/2.4 SMC DA AL £119 and 100mm f/2.8 SMC D-FA WR

£399 at the top of their wish list. The former offers a focal length

that’s equivalent to 52.5mm and as a budget prime it’ll provide the

shallow depth of fi eld most beginners are after at a price that won’t

break the bank. The 35mm f/2.8 Macro DA £469 is optically the

better option if budget allows, plus it’ll allow you to shoot closer to

intricate details with its 14cm minimum focusing distance.

A great

macro lens

for full frame

DSLRs

A must-

have for Micro

Four Thirds

users

A great

prime for

full frame and

APS-C

Equivalent to

52.5mm on an

Pentax DSLR

Manual focus

only, and at a

great price

Unsure of which prime lens makes the best

choice for your system? Here we round

up the very best prime lenses that have

scored a WDC Gold Award in our reviews

over the years and list the competitive

street prices you can expect to pay

p23-27 essential lenses oct jpMT.indd 26 12/08/2014 15:2993WDC14OCT140.pgs 12.08.2014 15:47 BLACK YELLOW MAGENTA CYAN


SONY

Two primes stand out for Sony A-mount users and both are 50mm

lenses. The fi rst – the 50mm f/1.8 DT SAM £139 – is a light, bright

portrait lens that’s irresistible for any fi rst-time DSLR user. Despite

the addition of a smooth AF motor (SAM), autofocus remains a little

noisy. It’s designed exclusively for APS-C coverage. The 50mm f/1.4

ZA SSM Zeiss Planar £1219 sits at the opposite end of the range,

and for serious enthusiasts or pros searching for the best prime for

their A-mount DSLR, such as the A99, there are few better options.

SIGMA

A recent addition to Sigma’s range is the 50mm f/1.4 DG HSM Art

£849 – a lens with such impressive optical qualities we can’t get

over just how good it is. Though it’s heavy (815g) and not cheap, it

delivers incredible sharpness thanks to its unique design of 13 glass

elements in 10 groups. Not to be left out, the 85mm f/1.4 EX DG

HSM £659 is also a Gold Award winner. Costing half the price of the

Nikon equivalent, it’s optimised to perform at its best between f/2.8

and f/8. It’s decidedly chunky, yet feels well-balanced in the hand.

PANASONIC

Micro Four Thirds users are well catered for when it comes to

primes, with the 25mm f/1.4 Leica DG Summilux £429 being the

pick of the bunch from Panasonic’s range. It has a fully usable,

ultra-fast maximum aperture and features a robust build quality and

metal mount for maximum durability. A lens recommended for

those who’d like a focal length equivalent to nearer 90mm is the

45mm f/2.8 Macro Leica D Vario-Elmar £549. With the Leica seal of

approval, optical image stabilisation is built into the lens.

TAMRON

Designed specifi cally for APS-C sensor cameras, the 60mm f/2 SP

AF Di II LD IF Macro £349 is a lens genuinely capable of a 1:1

reproduction ratio. Admittedly, its wide-open performance is a bit

weak, but stopping down to f/2.8 pushes the lens into the realms of

excellent resolution fi gures. The 180mm f/3.5 SP AF Di Macro £689

also impresses as a lens that is superb for close-ups, but also creates

pin-sharp in-focus regions with soft out-of-focus backgrounds that

suit portraiture and sports/action photography.

FUJIFILM

Fujifi lm produces an attractive list of primes for its X-mount CSC

system. Our pick of the best includes the 14mm f/2.8 R XF £669

– an ultra-wideangle prime that produces a performance to meet its

price-tag. Though its optical qualties can’t be faulted in any way, it’s

too wide for portraiture so if you’re serous about capturing the best

people pictures you’ll want to look at the 56mm f/1.2 R XF £889. If

your budget can’t stretch to that then the 35mm f/1.4 R £409 is a

slightly wider alternative and has a four-star rating.

SAMSUNG

Three Samsung prime lenses stand out in the NX-series, the smallest

being the 20mm f/2.8 i-function £199 pancake lens. With an

ultra-slim profi le, it’s a perfect candidate for travelling and keeping

an NX camera practical to carry at all times. Those after a longer

focal length prime should consider the 60mm f/2.8 ED SSA OIS

Macro £429 or the 85mm f/1.4 ED SSA £699. Both employ an

i-function button on the barrel, which allows for quick changes to

key imaging variables with a twist of the focus ring.

One of

the best prime

lens we’ve ever

tested

Equivalent to

a 50mm prime

in 35mm fi lm

terms

Equivalent to

a 130mm

prime lens

A great

portrait lens

for full frame

DSLRs

A great

third-party

optic for

close-ups

The

performance

justifi es the

price



KEYSPECSMounts: Sigma,Canon, Nikon, SonyConstruction: 13 elements in 8 groupsMax aperture: f/1.4Min aperture: f/16Diaphragm

blades: 9Minimum focusing

distance: 40cmFilter size: 77mmDimensions: 85.4 x 99.9mmWeight: 815g

For many years the Canon

EF 50mm f/1.8 II has been

my fi rst-choice prime lens,

but for a while I’ve been after a

similar focal length lens capable

of delivering a better optical

performance matched with a

superior build quality. I was

tempted by the Canon 50mm

f/1.2 L USM, but the Sigma

50mm f/1.4 DG HSM worked

out at £410 less which helped to

sway my decision.

Opened to its maximum

aperture, the rapid drop-off in

focus is sublime, yet it’s the way

it displays such staggering

levels of detail at f/1.4 that

impresses me most. It’s my

turn-to lens for isolating

subjects from their surroundings

or to help draw the viewer’s eye

to the heart of the image. It has

quickly become my favourite

lens in my kitbag for shooting

portraits and is regularly pulled

from my bag when shooting

weddings in low light as I

always much prefer to shoot in

natural light where possible

without artifi cial fl ash. The only

drawback is its size and weight.

It’s considerably larger and

heavier than the primes I’m

used to using, however these

are compromises I’m prepared

to make for a lens that feels so

solid and robust in the hand and

yields such impressive results. It

goes without saying that users

of this lens can’t fail but be

impressed by its performance.

WHY I LOVE MY

By Michael Topham

Images produced

by the Sigma

lens display a

staggering level

of detail – even

at its maximum

f/1.4 aperture

Sigma 50mm f/1.4 DG HSM A

p28 why I love Oct jp MT.indd 28 11/08/2014 17:17


I’ve always been a Canon user

simply because it was the fi rst

type of camera I owned. With

my photography I have a love of

both landscapes and nature

but until recently there was no

one camera that satisfi ed all my

needs. I was using a Canon 5D Mk

III, which I discovered to be great

for landscapes but a slouch for

nature. When the Canon 1D-X

was released it was the perfect

option, a large full frame sensor

for landscapes, but could capture

12 frames per second for nature.

Couple this with the advanced

focus system and it was the

answer to all my needs. I’m

regularly out in all weather and

my equipment is heavily used.

The build quality and weather-

sealing are features I rely on

heavily and it has never let me

down to date. The only negatives

are the lack of ‘beeping’ sounds

when using the two-second timer

and no exposure meter in the top

window. These are insignifi cant

gripes though, on a camera that

has exceeded my expectations.

I originally came from an IT

background, so when photography

went digital, it was a format that I

understood well and was accessible

for me to get to grips with. I’m

currently based in central Scotland,

which I believe is the perfect

location for running my

photography and post

processing courses.

www.fl ickr.com/

photos/23671396@N06/

MY DIGITAL CAMERA


Billy CurrieF A L K I R K , S C O T L A N D

BeaconNot the usual angle to photograph

Neist Point in Skye, and a little

scary at times, but it was worth the

effort for the original view.

Canon EOS 1D X with Canon EF

24-105mm f/4L IS USM, 77secs @

f/9, ISO 100

CANON EOS 1D X

B I L L Y U S E S A

PeekThis little owl couldn’t have looked

any better peering out from his

tree. Even the angle of his head was

tilted perfectly for the shot.

Canon EOS 1D X with Canon EF 70-

200mm f/2.8L IS II USM, 1/4000sec

@ f/5.6, ISO 400

QuiraingIt turned out to not be the best

sunrise I have ever witnessed but

being in such a lovely location

certainly made up for it.

Canon EOS 1D X with Canon EF

24-105mm f/4L IS USM, 1/80sec @

f/8, ISO 200

MYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYMYREADERGALLERY

FishingIt is amazing to see

these guys fi shing

in and around the

Cairngorms, Scotland. It

was a pleasure even just

to watch, never mind

photograph.

Canon EOS 1D X with

Canon EF 100-400mm

f/4.5-5.6L IS USM,

1/1250sec @ f/5.6,

ISO 1600

p30-32 My Digital Camera Oct mtjpJP.indd 30 14/08/2014 12:32


p30-32 My Digital Camera Oct mtjp.indd 31 07/08/2014 15:11

1

I got into photography after driving

around California in 2003 with a

2MP compact and visiting the Ansel

Adams gallery in Yosemite. After

struggling with a bridge camera

I bought a Nikon D200 in 2007 before

swapping it for a D700 in 2009. In

2012 I changed it for

the D800E – a camera

I’m still amazed by

today. www.fl ickr.com/

photos/48936463@N04/

MYDIGITAL CAMERA

Owen LloydN O R T H W I C H , C H E S H I R E

O W E N U S E S A


All my life I’ve been using

Nikon DSLRs and after

investing so heavily in

Nikon lenses I can’t see myself

changing any time soon. I chose

the D800E for one reason – to

capture the highest level of detail

possible – though now there are

other cameras such as the Sony

A7R that are equally impressive.

In perfect studio conditions, or

locked down on a good tripod,

the D800E can capture crisp and

detail-rich results where you can

crop in extremely tightly without

sacrifi cing image quality.

The main drawback of all this

resolution is a 5fps shooting

speed and the immense fi le sizes,

which meant an upgrade to

everything else in the production

chain. The disadvantage over a

model like the Sony A7R is its

size and weight, especially with

the battery grip attached, but

you quickly get used to this. The

video capability is superfl uous on

a stills camera, though with the

latest fi rmware I can now assign

the movie record button to other

tasks. In all, it’s a versatile model

that has allowed me to capture

detail I’d never imagined possible.

NIKON D800E

Trailin’ SmokeThe Red Arrows always put on a fabulous display

and here they were photographed at the RAF

Cosford air show. To ensure I achieved a

pin-sharp result, the D800E’s autofocus mode

was set to continuous.

Nikon D800E with Nikon 70-300mm f/4.5-5.6 G

AF-S VR IF-ED, 1/1000sec @ f/7.1, ISO 100

Flour BlossomFrom a promotional shoot for Lencarta’s

SuperFast series of very short fl ash duration

lights. The action is frozen by the fl ash.

Nikon D800E with Sigma 24-70mm f/2.8 IF EX

DG HSM, 1/160sec @ f/8, ISO 100

Each reader selected for ‘My Digital Camera’ will receive a great Class 10 EVO 16MB SD card from Samsung.With a Grade 1 transfer speed of up to 48Mb/s, this is ideal for DSLRs and full HD camcorders. Visit: www.samsung.com

EACH READER FEATURED WINS A SAMSUNG CLASS 10 EVO 16GB SD MEMORY CARD!

p30-32 My Digital Camera Oct mtjpJP.indd 32 14/08/2014 12:27

Fuji X-T1Pentax 645Z

14-24mm F2.8G AF-S ED £1315.00

16-35mm F4.0G AF-S ED VR £829.00

18-35mm F3.5-4.5G AF-S ED £519.00

18-200mm F3.5-5.6G AF-S VR II £584.00

18-300mm F3.5-5.6G AF-S ED VR £679.00

24-85mm F3.5-4.5G AF-S ED VR £409.00

24-70mm F2.8G AF-S ED £1235.00

28-300mm F3.5-5.6G AF-S VR £659.00

70-200mm F2.8G AF-S VR II £1579.00

70-200mm F4G AF-S VR ED £949.00

10-24mm F4 R XF £829.00

14mm F2.8 XF £669.00

18mm F2R XF £399.00

23mm F1.4 XF £749.00

27mm F2.8 Black XF £349.00

27mm F2.8 Silver XF £349.00

35mm F1.4R XF £409.00

50-230mm F4.5-6.7 OIS Black XC £359.00

50-230mm F4.5-6.7 OIS Silver XC £359.00

55-200mm F3.5-4.8 R LM OIS XF £549.00

56mm F1.2 XF £899.00

60mm F2.4R Macro XF £435.00

Distagon 15mm F2.8 £2249.00

Distagon 21mm F2.8 £1449.00

Distagon 28mm F2 £979.00

Planar 50mm F1.4 £559.00

Planar 85mm F1.4 £989.00

APO Sonnar 135mm F2 £1599.00

Makro-Planar 100mm F2 £1449.00

Otus 55mm F1.4 £3170.00

Nikon Lenses Canon LensesFuji Lenses Zeiss Lenses

Allprices includeVatat20%.Pricescorrectat timeofgoing topress.E&OE.0449-0814.

Profoto

Profoto B1 Single Head

£1554.00

B1 Location 2 Head Kit

£3060.00

Available in store

and in rental.

Epson

Stylus Pro 3880 £934.00

Stylus Photo R3000 £545.00

Canon

Pixma Pro-1 £645.00

Pixma Pro-10 £499.00

Pixma Pro-100 £364.00

Printers

Trade In Your Old Kit

Calumet RentalCalumet’s national network

of rental centres

offer an extensive

range of photographic

equipment,

including the latest

technologies.

Specialising in

cameras, digital

equipment, video,

lighting, studio

products and much

more. We are constantly updating and adding

products to our portfolio, so visit our exclusive rental website at

www.calumetrental.co.uk to view our extensive range.

Looking to upgrade your equipment? Why not part exchange your

old kit towards the latest models? Visit www.calphoto.co.uk or

Email [email protected] for further information on

our trade in process.We also stock a wide range of second hand

equipment across our stores, check with your local store or visit our

website for current stock and prices.

The X-T1 interchangeable lens camera featuring a 2.36m

dot resolution OLED display, X Trans II CMOS sensor, EXR

II processing and a real time digital viewfnder. A super

stylish addition to the X-Series family of Fujiflm cameras.

The new Pentax

medium-format DSLR

camera incorporates

a newly developed

image sensor and

imaging engine

to enhance image

quality and reliability.

It boasts 51.4

effective megapixels

to produce super-high-resolution images.

Offering incomparable

image quality, high-

speed performance,

along Full HD

video fexibility,

the completely

redesigned D810 is

the new benchmark

for high-resolution

shooting. A 36.3 megapixel sensor, new EXPEED4

processor, up to 7fps burst rate and an ultra-wide ISO

range are the detail highlights of the ultimate imaging

machine from Nikon.

The Class leading full-frame DSLR capable of capturing

22-megapixel images at 6fps and Full-HD.

Fujiflm X-T1 Body £999.00Fujiflm X-T1 + 18-55mm £1349.00

Pentax 645Z Body £6799.00Pentax 645Z + 55mm £7699.00

Nikon D810 Body £2699.00

Canon EOS 5D Mark III

EOS 5D Mark III Body £2299.00EOS 5D + 24-105mm £2899.00EOS 5D + 24-70mm II £4049.00

Df Body £2299.00

Df+50mm f1.8 £2349.00Available in Black or Silver

D4S Body £5199.00

Fuji 56mm f/1.2 XF Lens

£899.00Nikon 35mmf/1.8G ED Lens

£519.00Otus 55mm F1.4

£3170.00

D610 Body £1399.00

D610+24-85mm £1849.00

D7100 Body £809.00

D7100+18-105mm £979.00

Nikon DSLRsNikon D810 Canon DSLRs

EOS 6D Body £1379.00

EOS6D+ 24-105mm£1899.00

EOS 700D Body £479.00

EOS700D+18-55mm £559.00

EOS 70D Body £849.00EOS-1D X Body £4845.00

EF 50mm F1.4 USM £279.00

EF 50mm F1.8 II £80.00

EF-S 60mm F2.8 USM Macro £365.00

EF 85mm F1.2L II USM £1549.00

EF 100mm F2.8L IS USM Macro £699.00

EF 8-15mm F4.0L USM Fisheye £999.00

EF 16-35mm F2.8L USM II £1214.00

EF 17-40mm F4.0L USM £619.00

EF 24-70mm F4L IS £889.00

EF 24-70mm F2.8L II USM £1549.00

EF 24-105mm F4.0L IS USM £813.00

EF 28-135mm F3.5-5.6 IS USM £359.00

EF 70-200mm F2.8L IS USM II £1699.00

EF 70-200mm F4.0L IS USM £959.00

EF 70-300mm F4.0-5.6 IS USM £389.00

EF 70-300mm F4.0-5.6L IS USM £1069.00

EF 100-400mm F4.5-5.6L IS USM £1239.00

CALUMETCall: 08706 03 03 03

Click: www.calphoto.co.uk

Visit: 8 stores nationwide

NEW!

NEW!

NEW!



Samsung’s ‘NX’ range of

Compact System Cameras

(CSCs) is one of the most

populous on the market,

featuring a wide range of

models each offering something

slightly different for the consumer.

The Samsung NX3000 joins this

CSC family, slotting in between the

NX Mini and the NX300, and

replacing the NX2000.

In terms of its feature-set it’s

probably most similar to the

Samsung NX Mini, although it does

feature the larger 20.3MP APS-C

sensor. This sensor places it in

competition with some impressive

models, so the question is: does it

have enough to shine in a crowded

marketplace? Read on to fi nd out.

FEATURES

As you might expect for a Samsung

NX camera new to the market,

the NX3000 features extensive

wireless functionality, shipping with

both Wi-fi and NFC connectivity.

Once connected, users can wirelessly

send and transfer images to a

compatible smartphone or tablet,

wirelessly control their camera and

adjust settings through the Samsung

SMART camera application, and even

send images to a group of up to four

people at once.

One quirky feature of the NX3000

is that it makes use of the smaller

Micro SD memory format as opposed

to the conventional size. Although

this has the obvious benefi t of taking

up less space than a standard SD

card, thus enabling a smaller camera

body, Samsung smartphone users

will also benefi t from the fact that it’s

compatible with a lot of their devices,

as well as a range of tablets and

devices from other manufacturers.

Another welcome bonus is a pair

of unexpected bundled extras. Firstly,

although the camera doesn’t have a

built-in fl ash, it comes with a small

SEF-8 external fl ash in the box. Also,

the NX3000 ships with a full version

of Adobe Lightroom 5 as standard,

giving you access to one of the most

desirable image-editing software

suites out of the box at no extra cost.

In terms of the imaging side of

things, the NX3000 has the same

size and resolution sensor as seen in

a pair of its stablemates – the NX30

and the NX300. The chip in mind is

APS-C in dimensions and features a

resolution of 20.3MP, covering an ISO

range of 100-25,600. Unfortunately,

Samsung has done away with the

on-chip phase detection technology

seen in those cameras, and as such

may deliver slower AF performance.

Speed isn’t an issue when it comes

to continuous shooting however, as

the NX3000 promises a burst speed

of 5fps in full resolution JPEG.

Finishing off the attractive package

is the 16-50mm f/3.5-5.6 ED OIS

Power Zoom kit lens fi rst announced

at CES earlier this year. This lens has

optical image stabilisation, allows for

quiet zooming while recording video

and boasts Samsung’s impressive

iFunction capability.

DESIGN

In the hand the fi rst thing that strikes

you about the NX3000 is its retro

styling. The body is described in

promotional material by Samsung as

having a ‘premium vintage’ feel, and

with the silver top-plate and either

brown, white or black leather-styled

textured front it’s easy to see where

they’re coming from.

Unlike some other NX models, the

NX3000 doesn’t have a touchscreen.

As a result, all the camera’s

functionality is accessed through a

set of physical controls including a

d-pad / scroll wheel on the rear, a

host of surrounding control and a

pair of function buttons, both on the

camera and the lens.

Although the NX3000 shares

much of its functionality with the

Samsung NX Mini, it doesn’t quite

inherit that model’s ultra-diminutive

The Wi-Fi-enabled NX3000 is competitively priced. Has Samsung delivered the goods?T E S T E D B Y C A L L U M M C I N E R N E Y - R I L E Y

KEYSPECS

PRICE £350 (kit) SENSOR 20.3MP APS-C-sized CMOSLENS MOUNT Samsung NX mountOUTPUT SIZE 5472 x 3648 DISPLAY 3in, 460,000-dot tilting LCD screenAF POINTS Contrast detection with 21 pointsVIEWFINDER TYPE NoneEXPOSURE MODES Smart Auto, Program, Aperture Priority, Shutter Priority, Manual, Panorama, Smart, Wi-Fi SHUTTER SPEED

30-1/4000secMETERING SYSTEM

221 zones; Multi, Centre-weighted, SpotISO RANGE 100-25,600WHITE BALANCE Auto, Daylight, Cloudy, Fluorescent (W, N, D), Tungsten, Flash, Custom, K (Manual)VIDEO 1080p at 25fps, MP4, H.264 compressionDRIVE MODE 5fpsPOWER B740AE rechargeable Li-ion, 370 shots (CIPA standard)MEMORY CARD

SD, SDHC, SDXCWEIGHT 266g (with battery and card)DIMENSIONS 117.4 x 65.9 x 39mm

TRIED&TESTED

The petite body is complemented

by a small kit lens

SAMSUNG NX3000 £350

The NX3000’s screen is a good size, but lacks touch control

p34-35 Samsung oct jpmt.indd 34 14/08/2014 11:36


There’s no denying that the

NX3000 is an attractive package

offering great value for money.

It’s not without fl aws though,

and doesn’t offer much

improvement on its predecessor

as far as the more serious

photographer is concerned. The

lack of a hybrid AF set-up is felt

when shooting in low light, while

the new LCD screen is a step

backwards. That said, the

NX3000 offers a lot for the mass

market at a good price, although

more serious photographers are

better catered for by other NX

models such as the NX300. CMR

CONS• No hybrid AF set-up

• No touchscreen • Heavy noise

reduction

PROS• Large sensor • Retro design

• Vari-angle LCD screen a plus

dimensions. In fact, it’s just a touch

smaller than its predecessor, the

NX2000. Yet it’s still small, and with

the kit lens attached the NX3000 will

comfortably fi t into a small bag.

PERFORMANCEAs mentioned in the introduction,

although the NX3000 features an

almost identical sensor to both the

NX30 and the NX300, it’s lacking the

key component of on-sensor phase

detection and as such isn’t able to

offer the highly desirable hybrid AF

set-up seen on those two.

As a result, the AF set-up is the

same as that seen on its predecessor,

and while it’s by no means terrible it’s

not as impressive as its peers.

In good, bright conditions the

NX3000 focuses quickly, and while

the camera isn’t particularly slow to

focus in more diffi cult lighting

conditions it doesn’t feature the

same accuracy as a hybrid focus

system might offer.

What’s also slightly disappointing

is that while more accurate focusing

can be provided by the focus point

selection functionality, due to the

lack of a touchscreen this has to be

positioned using the d-pad toggle.

The screen is also somewhat

disappointing in comparison with its

predecessor. While the NX3000

sports an entirely respectable 3in,

460k-dot vari-angle LCD screen, the

NX2000 featured a best-in-class

1,152k-dot, 3.7in touchscreen LCD.

Although the screen on the

NX3000 still offers good image

reproduction in bright conditions, as

well as offering a decent refresh rate,

the change in specifi cation means

that the unit feels like something of a

downgrade from its predecessor.

Elsewhere, the NX3000 sports the

same DRIMe IV processor as used

previously in the Samsung NX Mini.

Unfortunately there are a few

performance issues here with regards

to processing large amounts of data,

and when writing both Raw and

JPEG fi les in tandem it can take up to

two seconds before the buffer clears.

Samsung’s range

of prime lenses

in the NX-series

allows users to

get creative and

expressive with

depth of fi eld

The NX3000’s

pull-out screen

is particularly

useful for taking

and composing

shots from

ground level

V E R D I C T

Colour rendition sometimes varies

from shot to shot even in the same

lighting conditions, but on the whole

the colours are vibrant and punchy.

Auto white balance does a good job

in general though it can struggle

when presented with confl icting

light sources. The NX3000 is capable

of resolving a large amount of detail

and at ISO 100 the level of detail

captured is comparable to that of

DSLRs featuring equivalent sensors.

The level of detail reproduction is

maintained right up to ISO 800, but

noise reduction above this setting

does begin to smudge fi ner details.

I M A G E Q U A L I T Y

28 28

22 20

ISO 100 ISO 400

ISO 12800 ISO 25600

WDC RAT ING

17/20

16/20

17/20

17/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

RECOMMENDED

C O M P A C T S Y S T E M C A M E R A T E S T

p34-35 Samsung oct jpmt.indd 35 14/08/2014 11:3093WDC14OCT146.pgs 14.08.2014 12:35 BLACK YELLOW MAGENTA CYAN

TRIED&TESTED

L aunching a new range of

cameras is a brave

endeavour, and all the

more so if it makes use

of a brand-new lens

mount. Persuading photographers to

ditch their existing kit and take a leap

into the unknown can be tough, and

that is exactly the problem that Sony

has faced with the launch of its full

frame Alpha 7 range of Compact

System Cameras.

Making a series of key lenses

available quickly was obviously going

to be vital for the series’ success, and

the 35mm, 55mm, 28-70mm and

24-70mm lenses that were duly

launched shortly after the cameras

helped to satisfy the initial needs of

many photographers. Further

expansion is still necessary, however,

especially to cater for the needs of

photographers who shoot with

telephoto lenses. This is where the FE

70-200mm f/4 G OSS comes in.

Alongside the two fi xed lenses and

standard zooms, the 70-200mm

offers a popular focal range with

wide appeal to a variety of

photographers, notably portrait and

travel shooters, but also some wildlife

and sports enthusiasts.

FEATURESThe key specifi cation of this lens is its

maximum aperture of f/4 rather than

f/2.8. While a few photographers

may be ready to dismiss the lens

purely on these grounds, the reason

for this choice is quite obvious. A

large aperture means more glass, and

therefore a larger and heavier lens

that would simply dwarf the Alpha

7-series cameras it is designed for,

and go against the philosophy of

having a small, light, full frame

camera. While the lens isn’t small, it is

nevertheless comparable in scale to a

70-200mm f/2.8 lens on an

enthusiast DSLR.

Optical SteadyShot image

stabilisation helps to reduce camera

shake, so even at f/4 the lens should

be usable handheld at a reasonable

shutter speed; a mode switch on the

side sets the stabilisation to either

active and passive. Other switches on

the side of the lens include a 3m to

SONY FE 70-200mm f/4 G OSS £949

infi nity focus range limiter and an

AF/MF toggle.

BUILD AND HANDLINGSince it is such an important lens, it is

vital that the production quality

matches the expectations of the

prospective users, and fortunately

this lens is one of Sony’s premium

models – as denoted by its G

designation. The professional-looking

white/grey fi nish gives this Sony lens

an appearance similar to a Canon

L-series optic, and it has the dust and

water-resistance to match.

Weighing 840g, the lens feels

extremely solid in the hand, and both

the focus and zoom barrels are large

and feature ribbed rubber grips that

make them easy to turn smoothly

and precisely. The catch – if you wish

to call it that – is that the manual

focusing is electronic fl y-by-wire, so a

turn of the focus ring starts a motor

to focus the lens. Those who prefer a

truly tactile response may not be

fans, but for the few times that most

will use manual focus, I found it to be

responsive enough not to be an issue.

On the plus side, the lens focuses

internally, so it’s no hassle to use a

circular polariser on the front.

Autofocusing is fast and quiet,

though I would expect it to be at its

best on the Alpha 7, with its faster

hybrid phase-detection AF system,

than the slightly slower contrast-

detection AF of the Alpha 7R.

Most of the weight of the camera

and lens combination is naturally

taken up by the user’s left hand, with

their right hand required for

positioning and fi ring the shutter. To

W W W . S O N Y . C O . U K T E S T E D B Y R I C H A R D S I B L E Y

I found that

the lens was

also great for

landscape

images

100%


Sony has brought out its fi rst telephoto zoom for Alpha 7 full-frame cameras. How does it rate?

p36-37 Sony lens Oct jp.indd 36 12/08/2014 14:57

help make things a little more

comfortable, there are four AF

buttons positioned around the lens,

so when mounted on the camera it

means that the user’s right hand can

be used solely for fi ring the shutter.

As you would expect for a

telephoto zoom, this 70-200mm f/4

lens has a tripod collar that loops on

and is secured via a large

thumbscrew. The optical stabilisation

does help to prevent camera shake,

although when the lens weighs much

more than the camera, as is the case

with this lens and the Alpha 7-series,

then mounting the combined unit on

a tripod or monopod is always going

to provide a better solution.

IMAGE QUALITYOverall, I was very impressed with

the image quality of the FE 70-

200mm f/4 G lens, which I paired

with a Sony Alpha 7R for the

duration of the test. The depth of

fi eld created when shooting at f/4

was more than satisfactory for most

subjects, to the extent that I didn’t

notice the fact that the lens doesn’t

have a larger f/2.8 aperture. Similarly,

the optical stabilisation worked

excellently, particularly helping while

I was shooting a heron on a beach

just after the sun had gone down.

Using the lens with the Alpha 7R

provides a further benefi t. The

camera’s 36.4MP resolution drops to

15.3MP in its APS-C crop mode, and

when used like this, Sony’s 70-

200mm zoom is given the equivalent

fi eld of view as a 105-300mm lens.

The detail resolved by the lens is

excellent, particularly in the 70-

135mm range, and while the 24.3MP

Alpha 7 and the 12.2MP Alpha 7S may

be the better cameras to use, the

lens certainly does justice to the

36.4MP Alpha 7R.

Shooting wide open, there is some

magenta/green chromatic aberration

that is strongest at the edges,

particularly when shooting at 70mm.

As with the chromatic aberration,

there is a touch of vignetting at the

70mm end, though both of these

fl aws are easily corrected in Adobe

Camera Raw.

VERDICTAt fi rst I was a little concerned by the

size of the Sony FE 70-200mm f/4 G

OSS lens, worrying that it would

dwarf the Alpha 7R. However, while it

certainly is not the smallest of lenses,

IM

AG

ES

B

Y

RIC

HA

RD

S

IB

LE

Y

Some chromatic

aberrations are

visible on

high-contrast

edges but

these are easily

removed

The centre

sharpness makes

the 70-200mm

f/4 G lens a good

partner to the

Sony Alpha 7R

camera

L E N S T E S T

PROS• Excellent image

quality • Optical

stabilisation system works well

• Fast and quiet AF

CONS• Harsh vignetting at 70mm and f/4

• Fly-by-wire manual focusing

may not suit traditional users

WDC RAT ING

KEYSPECS

Lens mount Sony FE Filter diameter 72mmLens elements 21Groups 15Diaphragm blades 9Aperture f/4-22Minimum focus 3.28-4.93m (AF), 3.28-4.43m (MF)Length 175mmDiameter 80mmWeight 840g

RESOLUTION

At the 70mm focal length, this lens is at its sharpest, though there is only a little drop-off in quality in the centre when shooting at 135mm. Even at 200mm, when shooting at f/8 there is little difference in the resolution in the centre, though there is a significant loss of resolution at the edges.

Mean = -0.2

Max = -0.8

Mean = -0.2

Max = -0.8

SHADING

Although at 70mm and f/4 vignetting is quite harsh at the edges, by f/5.6 it is only at the very corners, and by f/8 it is virtually non-existent. At 200mm it is a similar story.

CURVILINEAR DISTORTION

At 70mm there is some barrel distortion visible, though, it is barely noticeable. By 135mm the distortion has switched to pincushion, being 1.7% at its worst. Pincushion also affects the lens at 200mm, but at a very acceptable level.

70MM F/4 200MM F/4

RECOMMENDED

“Its dust and water resistance matches a professional-looking fi nish” it pairs well with the Alpha 7-series

cameras, offering a good

compromise between size, weight

and portability.

Optically, it is diffi cult to fi nd fault

with the lens. It combines well with

the resolution of the Alpha 7R, and

the few fl aws it does have should

present photographers with few

issues in real-world situations.

Although Sony is pitching this

lens at wildlife and sports

photographers, I actually think it will

fi nd as much of a home among travel

and landscape photographers,

particularly given the size and AF

system of the Alpha 7 series. RS


70MM F/4 200MM F/4

f/8 edge at 200mm

f/8 edge at 135mm

f/8 edge at 70mm

f/8 centre at 200mm

f/8 centre at 135mm

f/8 centre at 70mm

p36-37 Sony lens Oct jp.indd 37 12/08/2014 15:03


TRIED&TESTED

T E S T E D B Y C A L L U M M C I N E R N E Y - R I L E Y

1 AZDEN SGM-990 £100

W W W. O P T E K A . C O MW W W. H A H N E L . I EW W W. A Z D E N . C O M

2 HAHNEL MK200 £129

3 OPTEKA VM-100 £60

On paper, the 150Hz to 18kHz frequency

range of the Azden SGM-990 appears to be

under par in comparison with the other

microphones here. However, in general use

the 18kHz maximum in the high-end

frequency is perfectly adequate and the

150Hz minimum does a fantastic job of

cutting out low-frequency background

noise. When recording near a busy road, the

separation between a person talking and

the traffi c noise was the best on test.

Although it is incredibly clear, it is fl atter

and less punchy than the Røde VideoMic

Pro but with tweaks in post-production this

could be improved upon. Advantageous

features include a slimline design, it’s made

from metal and uses a single AAA battery.

The second most expensive mic on test

here is a neat little unit, and its compact size

means it’s well-suited for use on CSCs. It’s

distinguished from the others by having

dual anti-vibration mounts – one directly

above the shoe, and one supporting the mic

itself. It’s powered by two readily available

AAA batteries, and has a low-cut fi lter to

remove ambient noise. There’s also a large

three-position gain control switch, and an

LED at the back of the mic warns of

possible audio clipping by fl icking from

green to red. A large fl uffy windshield is

supplied in the box. Audio quality is good;

on par with the Opteka, but with a slightly

higher tendency to pick up background

noise with more distant subjects.

In terms of specifi cations, the Opteka

VM-100 Microphone is nearly identical to

the Røde VideoMic Pro. It features the same

40Hz-20kHz and 80Hz high-pass fi lter. In

addition, it is very similar in size, although it

is around 40 grams heavier. It has a pad

switch that can select -10 DB to improve

audio in noisy environments like concerts

and live music. In comparison with the Røde

VideoMic Pro, the VM-100’s audio quality

was marginally behind the Røde offering.

The recorded audio is good and although

background noise was present, it was not

overly distracting. At distance it still retains

this high quality. On a budget this

microphone offers great audio recording

and the kit even includes a furry windshield.

We test six hot shoe microphones designed to enhance audio for HD video

FREQUENCY RANGE 150-18,000HzPOWER AAA batteries DIMENSIONS 177 x 25 x 57mmWEIGHT 103g

KEY SPECS

PROS• Slimline design

• Lightweight • Powered by an AAA battery • Clear audio • Foam windshield included

CONS• Audio was slightly flatter and less punchy than some

rivals on test

FREQUENCY RANGE 70-20,000HzPOWER AAA batteries DIMENSIONS 133 x 40 x 76mmWEIGHT 85g

KEY SPECS

PROS• Compact size makes it

well suited to a CSC • LED reveals audio clipping

• Large windshield

CONS• Second most expensive microphone out of the six

• Has a tendency to pick up some background noises

FREQUENCY RANGE 40-20,000HzPOWER 9V battery DIMENSIONS 203 x 101 x 63mmWEIGHT 176g

KEY SPECS

PROS• One of the cheaper

microphones out of the six• Windshield included

CONS• Largest and heaviest

model on test• Looks too large on most CSCs and bridge compacts

HOT SHOE MICS

1

2

3

GOLD RECOMMENDED

p38-39 6ofBest Accessories Oct jpmt.indd 38 12/08/2014 15:07


H O T S H O E M I C R O P H O N E S T E S T

W W W. R O D E M I C . C O M W W W. R O D E M I C . C O M

Start talking about video mics and it won’t

be long before Røde Videomic Pro gets a

mention. This microphone is a very popular

choice among video enthusiasts. A

40Hz-20kHz frequency range is featured

and a high-pass fi lter that cuts any noise

below 80Hz is selectable. This is useful for

reducing low frequency environmental

noise. Also, users can adjust the sound

down -10 DB in very loud environments and

boosts the audio gain +20 DB for quieter

situations using the switch on the back of

the mic. The mic is powered by a volt

battery and has a respectable 70 hours

of battery life. It has fantastic clarity making

a good distinction between a person

speaking and any background noise.

This is the budget product within Røde’s

range and costs less than half the price of

the Videomic Pro. It’s larger than its bigger

brother, but manages to shed a little weight.

Most of this weight is saved because the

Videomic Go is self-powered, so it doesn’t

need a heavy, 9V battery. This is

advantageous for Compact System Camera

users as it makes the microphone feel far

more comfortable on top of lighter cameras.

The resulting audio is good but it does pick

up a lot of background noise, especially at

distances greater than two metres. The

sound is at times a little tinny, and also the

background noise is more prominent. It’s a

good improvement upon any built-in mic at

a budget price that makes it affordable.

W W W. R O T O L I G H T. C O M

6 ROTOLIGHT ROTOMIC £72

This microphone has a three-position gain

control, and a high-pass fi lter to separate

vocals from low-frequency hum from the

likes of air-conditioning units. It’s powered

by a 9V battery, and designed to point

through the middle of Rotolight’s circular

LED video light, to provide a dual sound

and lighting solution (the two can be

bought together in a bundle for £179.99).

This is a nice idea, but the sound quality is

disappointing – at one metre vocals

sounded fl at, and at just two metres they

were oddly quiet and distant. It’s also bulky,

to allow the light to fi t around it, and feels

quite cheaply made. If you’re already using

a Rotolight then it’s worth considering, but

other mics in this test do better overall.

4 RØDE VIDEOMIC PRO £149

5 RØDE VIDEOMIC GO £60


KEY SPECS

PROS• High-pass fi lter• DB levels can be adjusted manually

• 70-hour battery life

CONS• More expensive than the

other five mics on test, however it does justify its

price-tag

FREQUENCY RANGE 100-16,000HzPOWER Plug-in DIMENSIONS 167 x 79 x 70mmWEIGHT 73g

KEY SPECS

PROS• A budget, low-cost

improvement on a built-in microphone • Lightweight

• Self-powered

CONS• Sound is a little tinny• Background noise is

prominent


KEY SPECS

PROS• Three-position gain

control • High-pass fi lter • Available with Rotolight’s

LED video light for £179

CONS• Disappointing sound

performance • Build quality isn’t robust enough

• Fairly bulky

45 6

GOLD RECOMMENDED

p38-39 6ofBest Accessories Oct jpmt.indd 39 12/08/2014 15:11

TRIED&TESTED

UNIQBALL UBH 35 £250 W W W . A R W P S T O R E . C O M

CONS • Takes a bit of

getting used to

• Load capacity

PROS• Fluid movement

•Build quality

• Arca-Swiss

plate


As its name suggests, the UniqBall

UBH 35 is one of a kind. The design

sees two ball heads combined into one

unit, allowing the user to level and lock

the shooting position using the red ball

fi rst, before panning and tilting the

camera with the second ball, all while

keeping the camera and lens level.

As the world’s only levelling ball

head, it’s an ideal solution for

photographers who would like the

function of a gimbal, ball and pan/tilt

head combined into one unit, and it

comes with an superb fi nish that sees

it machined from aerospace-industry

aluminum alloy and constructed to fi ne

tolerance of 1/100mm.

In use, both ball heads offer a

precise and fl uid movement – as you’d

expect from a ball head with a £250

asking price. The levelling base locks in

position securely and, after fi nding just

the right level of panning force with

the red knob that tightens the second

ball, our DSLR was tilted up and down

and rotated without the need of any

further adjustment.

Being more advanced than your

average ball head, the UBH 35 does

take a bit of getting used to, but for

landscape and wildlife photographers

who want to ensure they’re always

shooting on the level, it’s an invaluable

accessory that’s well worth the money.

It’s out to challenge the best ball

heads on the market, including the

Vanguard BBH-300, which costs a

similar amount (£240) but benefi ts

from a higher 30kg load capacity.

RESISTANCEThe resistance of the second

ball is controlled with the red

locking knob. The camera

should always be positioned

so that the knob is aligned in

the same direction and sits

beneath the lens.

MOUNTING THREADThe UniqBall attaches to a

tripod via a 1/4in tripod thread

and features a base diameter

of 57mm – perfect for the

Manfrotto 190XPRO3 with which

it was tested.

LEVELLING BASE The levelling base is used to

level the head on the tripod

on which it is mounted. The

bubble level helps to achieve

this, and it’s found on the top

surface.

ARCA-SWISS PLATEBeing Arca-Swiss-compatible,

the ball head will work with

existing plates you may own. An

Allen key was used to secure the

supplied Arca-Swiss plate tightly

to the camera.

“It comes with a superb

fi nish that sees it machined

from aluminium alloy”

p40-41 Accessories Oct jpMT.indd 40 07/08/2014 14:51

A C C E S S O R I E S

FUJIFILM INSTAX SHARE SP-1 £140W W W . F U J I F I L M . E U / U K

Fuji’s Instax range has been around since the

late 1990s, producing a variety of different

Polaroid-style, instant fi lm cameras. The new

Share SP-1 printer allows users to wirelessly

transfer images from their smartphone or

tablet and print them on Instax Mini fi lm all in

under 20secs. This works by connecting to

the SP-1’s built-in Wi-fi signal and transferring

the images from the device via the free

FujiFilm Instax Share application. Images can

also be captured inside the application and

printed directly, or pulled from a user’s

Facebook or Instagram account – providing

the device can connect to the internet, that is.

Available for both Android and iOS, this

app has a host of useful features such as the

ability to resize and crop your images, or

apply colour schemes and fi lters. When taking

images from social

media, the date,

time, caption and number of likes is recorded

on the image, which is a nice touch. Date,

time and weather conditions are also added

to images taken inside the app.

Loading fi lm and inserting the batteries is

very easy. Within 5mins of being out of the

box, the printer was fully operational. During

testing, the app worked perfectly well with a

HTC One (M8) smartphone and had no

connection issues. The

62x46mm prints output

by the SP-1 look fantastic

and there’s something

profoundly magical about

instant prints. Even

though it’s expensive at

roughly 75p per print, the

nostalgia and novelty

value give the SP-1 printer

real charm.


CONS • At £0.75 per

print it works out

rather expensive

PROS• Print quality

• Quick to set up

• Intuitive to use

LENS PEN ELITE £12W W W. L E N S P E N .C O M

Designed as a quick, effective

and hassle-free way to get rid

of grease and oil from lenses

and LCD screens without using

any liquids, sprays or cloths,

the Lens Pen Elite uses a dry,

carbon-based compound on a

soft microfi bre cleaning tip. This

compound is specifi cally designed

to absorb the grease and oil on

glass surfaces. The unique feature

is that the carbon is invisible.

Previous versions have been black

carbon and when touched on a

porous surface it would leave a

small amount of black residue

behind. The Elite doesn’t do that

and is thus a cleaner solution.

A protective cap shields the

cleaning tip and also features

some foam inside which reapplies

the carbon after use. Lens Pen

says the Elite has a lifespan of at

least 500 cleans. For a quick-fi x

when your lens is mucky, this is a

great product. A worthy addition

to any photographer’s kitbag.

NEST EXPLORER 100L£47W W W. N E S T- S T Y L E .C O M

The Nest Explorer 100L is a

lightweight messenger-style bag

with capacity for a DSLR with

a standard lens mounted, two

additional mid-sized lenses and a

fl ashgun. The 100L is great for city

trips as it provides some decent

pocket storage for valuables,

batteries and memory cards, as

well as a larger pocket for a small

tablet device. One downside is its

Velcro closing mechanism, which

doesn’t feel as secure as it could

be. The bag’s external fabric is

made from water-resistant nylon

and a detachable rain cover is

provided should you be caught out.

CONS • Requires use

of an Arca-Swiss

compatible plate

PROS• Quick and easy

to attach

• Easy to adjust

Many companies are now using crowd-

sourcing websites such as Kickstarter to

gauge user interest in new designs before

putting them into production. Potential

buyers can register their interest in the

product, often by pre-ordering at a special

price. If a project meets its target it will go

ahead, otherwise it will be quietly dropped.

One notable user of this approach is

US-based camera strap maker Peak Design,

and it currently has a couple of new items

available for pre-order. The Slide is a strap

that’s designed to be easily switched between

sling, neck and shoulder carrying modes,

while the Clutch is a hand strap. The

Kickstarter campaign has been hugely

successful, raising more than $400,000

against the original $50,000 goal, so

anyone placing a pre-order now

should get their goods.

Of course, there are lots of straps already

available on the market, so Peak Design has

to offer something different to justify the

Clutch’s $30 pre-order price (that’s around

£17.50). It is billed as the only quick-attaching,

easily adjustable handgrip on the market. It

uses a carabiner-style release to attach to the

camera’s strap lug, with an Anchor Link

connector for attachment to the supplied

Arca-Swiss-compatible tripod plate.

We found that the Clutch delivered on its

promises, being quick to attach or detach,

and easily adjustable to a comfortable length.

If you like having the extra reassurance of a

hand strap during shooting, and fi nd

yourself frequently changing between

strap types depending on how you’re

working, it’s well worth looking into.

W W W . P E A K D E S I G N L T D . C O M

PEAK DESIGN CLUTCH CAMERA HAND STRAP £18

p40-41 Accessories Oct jpMT.indd 41 07/08/2014 14:51


R E A D E R Q U E S T I O N S

Which CSC?T U R B O 2 4 V I A T H E F O R U M

Q I have a Sony

DSC-TX66 and want

to upgrade to

something that will give me

more manual control and will

grow with me as I become

more serious about

photography. Originally, I was

going to invest in a DSLR but

having done quite a bit of

research, I think a CSC will suit

me better. A lot of my camera

use will be to photograph and

fi lm our baby so I think a CSC

will be more practical than a

larger DSLR. I’ve narrowed

down my options to the

Nikon 1 J4, Sony RX100 III,

Panasonic Lumix TZ60 and

Nikon 1 V3. Are these cameras

too compact to grow with me

as I develop? If so, what would

you recommend, and if not,

which should I go for?

Q I received a Canon

PowerShot S110 for a gift

recently. I read online

that it does some things well and

some not so well. I’m comfortable

with it, having had an S95, which

I gave to my sister when I got the

S110. I like the thought of a

compact camera (I used to carry

around a huge array of cameras a

long time ago and got sick of it)

or CSC camera but want the best

possible pictures. I use a camera

mainly when we travel. Is the

Sony RX100 III that much of an

improvement as to be worth it?

Would an upgrade to the Canon

S120 seem worthwhile? Any

suggestions or directions would

be helpful. I would say that I

virtually always shoot in

automatic mode, but I admit I like

the idea of exploring a camera’s

manual modes to gain a better

understanding.

A From what you have said

I think you deserve a

camera that will realise

your capabilities more than the

S110, which is a fi ne compact

camera in its own right but really

aimed at more casual

photographers. The models in

the Sony RX100 range come

equipped with much larger 1-inch

image sensors. This translates to

lower image noise, greater

dynamic range and more

fl exibility with depth of fi eld so

you can creatively blur the

background. An RX100 is a lot

more expensive than an S110 and

even the dearer S120. As you

said, a Compact System or

mirrorless system camera could

also be a good choice for the

same or even a smaller budget.

Models that come to mind

include the Nikon 1 J3 or J4,

which has the same size sensor

as the RX100, or the larger-

sensor Panasonic Lumix G6,

Olympus OM-D-E-M10, Fujifi lm

X-A1 or Sony Alpha 5000, and

that’s not an exhaustive list. IB

Canon compact or Sony RX100 for travel shots?B U R T R O S S V I A T H E F O R U M

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HELPHELPGot a question? Need some buying advice? Drop our experts a line

A In your list only the

Nikon 1 models are

CSCs (Compact System

Cameras). The word ‘System’ is

the key; system cameras have

interchangeable lenses and

other mix and match

accessories such as fl ash units

that form an integrated camera

system. The Panasonic TZ60

doesn’t even have a relatively

large image sensor as the others

have so it’s more vulnerable to

image noise and dynamic range

limitations. Out of these I would

recommend the Nikon 1 V3 as it

is a true CSC and has an

electronic viewfi nder. For the

same budget I’d also

recommend you have a look at

Samsung NX, Micro Four Thirds

(Olympus and Panasonic

Lumix), Fujifi lm X and Sony

Alpha E-mount (formerly NEX)

system options. IB

The Sony RX100 III

costs around £390

more than the Canon

PowerShot S120

p42-44 Help Oct mtjpSW.indd 42 08/08/2014 11:58



T B G J L B V I A T H E F O R U M

Replacement for a Canon 400D

Q I’d like to replace my

Canon EOS 400D

and even older

camcorder. The Canon has

been wasted on me as my

needs are quite basic and it

was initially bought to take

better and quicker pics of my

fi rst child in low light which

I found a compact camera

would struggle with. Now that

the camcorder has given up,

I’m looking

for an

all-in-one

camera to

record excellent video

footage and deliver good-

quality stills. I’d like to keep

the budget below £200 but

may be able to push a bit

higher for the right product.

APretty much all

decent compact

cameras now offer

Full HD video shooting. The

challenge to deliver

convincing performance is

more in the area of subtle and

accurate focusing while

shooting video, as well as low

light performance as you have

mentioned. Probably the best

option for your budget is the

Panasonic Lumix TZ55, which

has a fl ip-up screen for

convenient selfi es, although

it’s not touch-enabled and

doesn’t come with a

viewfi nder like its more

expensive sister model, the

Lumix TZ60. The appeal with

the TZ55 is it’s compact,

feature-rich and has a

versatile and good quality

20x zoom range. Indoor stills

may well require the use of

fl ash to get the best results,

but you’ll struggle to fi nd a

better compact that fi ts your

budget. You might also be

able to pick up a deal on the

recently discontinued Sony

Cyber-Shot HX50 – going for

about £190 on Amazon. IB

Honeymoon DSLR upgradeC H R I S A D A M S V I A T H E F O R R U M

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Front cover photo credits: Landscape

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Flames image by Nina Bailey.

CameraWHAT DIGITAL

Q I am going on safari for

my honeymoon and

want to take a camera

with me that will enable me to

capture the best possible photos

of the amazing animals I hope to

see. I currently have a six-year-old

Nikon D40 with kit lens that I love

very much and, although I do

occasionally use the Shutter

Priority and Aperture Priority

modes, I mainly shoot in the

Auto mode. Complex manual

controls are not my priority,

whereas ease of use and quality

images are.

I want to get as close to the

wildlife as possible and am

unsure, for my budget of around

£800, whether to invest in a new

DSLR and telephoto lens,

stick with my current

DSLR and buy a

more expensive

telephoto lens, or

to simply go for a

bridge camera

with a decent

zoom, such as

the Panasonic Lumix FZ1000 or

equivalent for my budget.

A I would recommend a

bridge camera solution

for someone moving up

from a compact or a

smartphone. You are used to a

DSLR, so going to a bridge

would be a retrograde step. You

can stick with Nikon and go for

an up to date body-only D3300

or the faster and better

equipped D5300 and still have

enough in your budget for a

decent tele zoom like the

Tamron SP AF 70-

300mm f/4-5.6 Di VC

USD. Bring the

kit lens from your D40 for

general shots and landscapes. If

you want to travel lighter you

could consider a switch to a

compact mirrorless system

camera although your budget

will be tested more. A Panasonic

Lumix G6 with kit zoom and a

used Panasonic 100-300mm

f/4-5.6 OIS might just be

possible with your budget. The

300mm long end of this lens

equates to 600mm in full frame

terms – a third more powerful

than the Nikon D3300/D5300

300mm telephoto

lens combination,

which is

equivalent to

450mm. IB

The Nikon D5300 makes

a sensible upgrade choice

from the six-year-old D40

p42-44 Help Oct mtjpSW.indd 43 18/08/2014 15:2193WDC14OCT154.pgs 18.08.2014 15:30 BLACK YELLOW MAGENTA CYAN


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HELPHELP

Portable Wi-fi camera moduleH A N D S E V I A T H E F O R U M

QFirst, let me apologise

for my lack of

knowledge about

computers, Wi-fi and cameras.

My father enjoys fi eld target

shooting but is suffering hugely

with his eyesight. I’m keen to

keep him doing what he loves,

so what I’m looking for is a

video camera that needs to be

small and must be able to send

a live video feed directly to a

Wi-fi tablet without the use of a

router as it’s to be used out in

the fi eld. I’m wondering what

sort of signal range could be

expected and which cameras

have the best range? It would

also be helpful if we could

control some of the camera’s

functions with the tablet such as

the shutter and the zoom. Night

vision would be handy too but

as I intend to mount the camera

on the end of a rifl e scope I

could always use my own light.

I’m hoping such a camera exists

and is available on a budget.

AI think I can point you in

the right direction but

night vision on a rifl e

scope is quite a specialist area. A

number of compact cameras are

supported with remote control

tablet/smartphone apps, mainly

for Apple iOS and

Android devices. If

your tablet falls

into one of these

camps you

should be good

to go. Sony

produces QX

camera modules

that are designed to

fi t onto your

smartphone, using the

smartphone screen as the

viewfi nder and control interface

connecting via Wi-fi . These will

work without having to be

mounted physically onto a

smartphone or tablet. General

recording of stills and

video is made to the

memory card in the

camera but you

will get a live view

on your device

and you can copy

images and clips

wirelessly from the

camera to your tablet.

As for usable range, it will

vary, but 10-15ft should be fi ne.

The Sony Cyber-Shot QX100 will

produce better-quality results

thanks to its larger 1in sensor,

but if it’s a 10x optical zoom you

want (25-250mm) you should

look at the QX10. IB


Macro lens for the Lumix GH4

J S N E L L V I A T H E F O R U M

Q I recently purchased

a Panasonic Lumix

DMC-GH4 with a

14-140mm kit lens. I aim to do

a lot of macro work but at

the same time I want to do

portraiture at my camera

club. The purchase of the

GH4 has left me with enough

budget for only one more

lens and the shortlist includes

the Panasonic Leica 45mm

f/2.8 Macro and the Olympus

M.Zuiko 60mm f/2.8 Macro.

Would either of these lenses

be suitable for portraiture

and which would make the

better choice?

A The Panasonic Leica

Macro-Elmarit 45mm

f/2.8 won’t leave a lot

of change from £600 but it’s

an excellent lens all round. If

it has a weakness it’s that it

vignettes at wider apertures

but this is all relative and it’s

not bad at all. The Olympus

M.Zuiko 60mm f/2.8 offers

extra features for less money,

including a selectable focus

limiter. It affords a couple of

inches of extra lens-to-sub-

ject working distance and it’s

also an optically impressive

performer. This lens is also

dust and moisture sealed,

which the Macro-Elmarit isn’t.

Its weakness is noticeable

lateral chromatic aberration

although this is easily fi xed in

post processing. You could

just about get the excellent

M.Zuiko 45mm f/1.8 as well as

the Olympus macro for near

to the price of the Leica, but

neither Olympus has optical

image stabilisation. All three

lenses would be suitable for

portraiture, particularly the

M.Zuiko 45mm f/1.8. IB

A camera for hikingR O N D A S K I N G V I A T H E F O R U M

QI am looking for any

recommendations for

digital cameras that

might be waterproof and

trustworthy enough to handle

some of the abuse that it may

encounter when taken out on a

trail. I am looking to spend

between £150 and £300.

A We have three particular

favourites in the ‘Tough’

compact camera

category which will survive the

damp, total immersion, dust and

a reasonable amount of abuse

including being dropped from

heights of a metre. The

Panasonic Lumix FT5, Nikon

Coolpix AW110 and the Olympus

TG-3 are our pick of the best.

Each has pros and cons. The

TG-3 has a fast lens with the

versatility of add-on conversion

lenses but some of the controls

are fi ddly. The Nikon AW110

offers good picture quality and

an altimeter function but the ISO

sensitivity range is not very

generous. The Panasonic Lumix

FT5 is a great all-rounder

although our test sample’s

screen seemed vulnerable to

being scratched. IB

The Sony

Cyber-Shot

QX10 module

costs £144

Given the choice, we’d pick

the Panasonic Lumix FT5

(£249) ahead of the Nikon

Coolpix AW110 (£175).

p42-44 Help Oct mtjpSW.indd 44 08/08/2014 11:59

12 PAGE

PULL OUT

SECTION


T E C H N I Q U E

Shoot better landscapes36 landscape tips to take into the fi eld. Plus we

reveal the gear you won’t want to leave home without

PLUS Get to grips with ISO• Our guide to choosing the best ISO settings and when to use them

• Learn how to master ISO in the most demanding shooting conditions

• Take manual control of sensitivity to unlock your camera’s potential

©

OW

EN

L

LO

YD

p45 pull out opener 2 oct JP.indd 45 14/08/2014 14:19


T E C H N I Q U E

LANDSCAPES

MAKE A GOOD PLAN Wherever you’re going, plan

your route. Get Google Maps.

If you can’t get that, get Apple Maps. If you

can’t get that, get an Ordnance Survey map.

If you can’t get that, stay home. There’s no

substitute for knowing exactly where you

are at all times.

BRING A BUDDYMany fi nd photography,

especially landscapes,

to be quite a solitary pursuit. And

there’s nothing wrong with that. But it

can be hard to force yourself out of

bed at Ridiculous O’Clock in the

morning for the prospect of standing

out in the cold for a few hours. Having

an agreed meet time with a buddy is

much more likely to get you out.

1

First Things First

LANDS36 Ways to Take Better…

RULE OF THIRDS The rule of thirds is a classic compositional tool. As long as you

follow the rule of thirds in your compositions, you’ll likely end up with a

pleasing, well-balanced image. Be careful though not to become a slave

to it. The rule of thirds is at its best when you’re trying to show harmony and peace. It

is absolutely not the best tool for every subject.

Composition

3

2

GOING ABSTRACT

If you want to

disconnect your

viewer a little

from the context

of your picture

and create a more abstract

representation of a scene, try

excluding the horizon. The

horizon line is generally what a

viewer uses to orient

themselves and understand the

scale and perspective of a

picture. Depriving them of this

anchor is a useful tool for

creating a more abstract effect.

4

WW

W.ISTO

CK

PH

OTO

.C

OM

WW

W.ISTO

CK

PH

OTO

.C

OM

p46-51 36 landscapes Oct jpmt.indd 46 07/08/2014 15:55


THE LONELY SUBJECTA common theme you’ll see in landscape photography is marginalisation

– the isolation of a single subject amidst a larger context. Think the

lonely bare tree standing in a fi eld of snow, or the single upstanding

reed in a lake of glassy water. These are the kinds of image where you defi nitely don’t

want a safe, balanced rule-of-thirds composition. So experiment with placement.

7SKY IS EVERYTHING

Your subject may be a

mountain range, a gorgeous

still lake or a series of

beautiful rolling fi elds, but no

matter what, the sky is going

to have a massive effect on the emotional

tone of the landscape – on how it feels to

the viewer. A white sky can convey a feeling

of emptiness or desolation, while dramatic

dark clouds provide a sense of power and

foreboding. Clear skies are more indicative

of warmth, familiarity and peace. Think

about your subject, about the tone of the

picture you want to create, and then think

about what kind of sky best suits it.

5

CONSIDER DEPTH OF FIELD There’s no ‘right’ depth

of fi eld when it comes to landscapes.

A shallow depth of fi eld will keep the

viewer’s attention on specifi c aspects

of the shot, while a large depth of fi eld

will provide maximum detail

throughout the image. Decide what

best suits your needs.

6

WW

W.ISTO

CK

PH

OTO

.C

OM

SYMMETRY Symmetry in nature is

everywhere, and you

should always be looking

for ways to capitalise on it. An even

division of space is the best kind of

composition for emphasising symmetry.

9COLOURLook at the colours

of a scene and

think about the tone

that you want to create. As a rule,

red is a more advancing colour that

can excite the viewer, while blue, on

the other hand, tends to be more

recessive and calming.

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T E C H N I Q U E



DAWN AND DUSK? SHOOT RAW AND DON’T SWEAT THE DETAILS

The best thing about

shooting in Raw format is

that you’ll be able to

fi ne-tune the details of your

image later once you’re back

in the warm and dry. Shooting at dawn and

dusk is the best example of when this

practice works in your favour – the quality

and colour temperature of the light changes

rapidly as the sun rises and sets, meaning

you’ll have a diffi cult time trying to get your

white balance to the right level. Simple

solution – shoot raw and set to AWB. You

can get it to exactly the level you’re happy

with in post-production.

T E C H N I Q U E

Timing Exposure

SHOOTING BY MOONLIGHT?

Moonlit scenes can be

powerful, serene and

mysterious, but can take a

little practice to capture.

A full moon will give you

the most light to work with, though if

you want to include the moon in shot be

aware that you’ll likely need to make

multiple exposures, as it’ll be much

brighter than everything else around it.

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SHOOT AT ALL TIMES OF DAY

You’ll fi nd plenty

of landscape

photographers who will

never shoot outside

those hallowed hours of

dawn and dusk, but every time of day

or night holds different opportunities.

Get out of your comfort zone.

THAT SAID… Dawn and dusk are the

best times for the most

dramatic colours. It’s also when you’ll

see crepuscular rays, also known as

‘God beams’.

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THE HISTOGRAMThis is the most potent

weapon in your exposure

arsenal. It should be the fi nal

point of reference for

exposing a scene. You can

fi nd the histogram within your camera menu

– in simple terms it is a graph for displaying

the range of tones found in a scene, from

darkest to lightest. Many cameras will also

provide the option of overlaying a small

histogram on the live view image on your

monitor, or in the EVF if you have one.

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CLOSE UPS

In the same spirit,

landscapes don’t have to be big,

dramatic things. A close-up can be

just as interesting as a dynamic

sweeping vista, and has the added

bonus of being much easier to fi nd in

your local park. Try isolating a small

patch of colour with a medium or

long telephoto lens.

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METERING WITH THE HISTOGRAM A histogram bunched up to

the right will be overexposed, and a

histogram bunched up to the left will be

underexposed. As a rule you’ll want to

meter for the mid-tones, but a good rule to

remember is that there’s no such thing as a

bad histogram. It’s a representation of the

condition of the scene, and different scenes

will require different exposure approaches.



TO THE RIGHT? Something you might have

heard many photographers

counselling is the practice of ‘exposing to the

right’. This refers to deliberately exposing an

image to be brighter than recommended in

order to retain as much detail as possible,

with the intention of bringing the brightness

down in post-production.

This practice has encountered some

controversy in recent years, with some

photographers claiming it leads to loss of

accurate colour reproduction, not to

mention the risk of blowing out highlights

entirely and making them irrecoverable.

It’s defi nitely not worth doing if you’re

shooting JPEGs, as it will be much more

diffi cult to correct the overexposure than if

you were shooting Raw.

OPEN UP A lot of typical

landscapes you’ll see

will be shot at around

f/22, with a fast shutter speed of about

1/500sec. If you feel your landscapes

are getting a little stale, open up to a

wider aperture and experiment with

shallower depth of fi eld.

T E C H N I Q U E

SHOOT RAW You’ll want the maximum

amount of image data, and

Raw fi les offer a far greater

range of tonality than JPEGs.

Try Black and White

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GO SEPIA Mono doesn’t

necessarily mean grey.

Select Colour balance,

add +30 red and -20 yellow and

you’ve got yourself a basic warm

sepia tone to your image. Adjust the

sliders for the precise effect you want.

DON’T DE-SATURATE This is the quickest and most

obvious method of getting

black and white images, but it’s far from the

best. Photoshop Elements has a great black

and white conversion tool for specifi cally

this purpose.

TRY ADDING NOISE It may sound

counterproductive, but you

can achieve a really special old fi lm look to

your images by adding a little fi lm-style

grain. To take it further, why not look into

software like DxO Filmpack, with which you

can precisely emulate specifi c old fi lms.

21

There is something

truly special about a

monochrome

landscape done right.

It’s not the easiest

thing in the world,

requiring a skilled

compositional eye

and some technical

know-how, but the

potential results are

worth a little legwork.

Here are our top tips.



SMOOTH WATER The relationship

between land and water

is a timeless classic. There’s always a

chance of getting some good contrast,

with the texture and fl uidity of the water

up against sharp rocks and rugged

landscapes. The key to controlling the

look is shutter speed – the slower the

speed, the more blurred the water.

LOOK UP Clouds can change the whole

mood of an image with their

presence or absence. They can

add drama and danger just as easily as peace

and serenity. Clouds can be an entire subject

of a picture in their own right.

ISOLATE PATTERNS

Strong, visually interesting

repeating patterns are the

backbone of landscape photography. They

occur frequently in nature, and you should

always be on the lookout – think, for

instance, of the repeating pattern of a tree’s

skeletal branches and their shadow. The key

to photographing patterns is to keep them

as isolated as possible.

GET CLOSE FORTEXTURES

If you prefer to get closer to your subjects,

get thinking about textures. Tree bark,

rough rock, plants and grass – there’s a

wealth of interesting texture to explore.

Textures come out best in strong directional

side lighting, as found early in the morning

and late in the evening.

Where to go, what to do?

T E C H N I Q U E

Picking your subject

CONSIDER YOUR OPTIONS

Don’t just turn up and

start snapping. Walk

around your chosen

location, get a feel for

how the light changes

as the clouds move across the sky.

You’ll want to have checked the

weather before you head out – if

you’re looking to shoot some lovely

evening light, make sure fi rst that it’s

not going to be obscured by heavy

cloud! That’s not to say that cloudy

scenes can’t make for great pictures,

but you want to know what you’re

getting into before going in.

23 TRY THE COAST

We’re lucky in Britain

to have one of Europe’s

longest coastlines, and you’re never

more than a few hours’ drive away. A

good rule of thumb if you’re shooting

the sea is to remember that as a

subject on its own it can be a little fl at

and featureless. Be sure to add some

foreground interest as a counterpoint

– this can be something as simple as a

few rocks or boulders, or even just a

stretch of beach.

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REFLECTIONS

A faster shutter speed will

freeze details in water, which

is crucial for capturing a good

refl ection. Good refl ections

offer endless creative

opportunities – putting the waterline directly

across the centre of the image can create

engaging refl ective symmetry.

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BRING A COUPLE OF BODIESOne camera is good, but two cameras are better.

There’s nothing worse than fi nishing a four-hour drive

to the Lake District only to discover that a problem with your DSLR

makes the whole trip wasted.

LENSES: THE LONG AND SHORT OF IT A wideangle lens is a must for shooting dramatic,

sweeping landscapes – look into Canon’s 10-22mm,

Nikon’s 10-24mm or Sigma’s 10-20mm, although if image sharpness

is absolutely paramount you’ll want to use a prime. For nice long

shots you’ll probably want a telephoto zoom – it’ll certainly be more

affordable than a telephoto prime. You can’t go wrong with

something like Nikon’s AF-S 70-200mm f/4G ED VR II.

A GOOD, STURDY TRIPOD If you want to travel light then it’s worth looking into

carbon fi bre rather than aluminium. A Giottos Silk

Road YTL8354 is a good bet, and it’ll help to get hold of a head with

a spirit level for making sure your shots are absolutely dead straight.

USE FILTERS TO ADD DRAMATIC IMPACTThere’s no getting around it. If you want to create

lovely smooth water effects or capture gorgeous,

blinding sunsets, you’ll need some way of controlling the light. You’ll

want a set of ND grads for managing the sky, a set of standard NDs

for introducing blur and water movement, and a circular polariser to

get rid of refl ections. Tiffen and Lee both have reputations for

outstanding fi lters. For super-long exposures, many photographers

swear by the Lee Big Stopper, which gives you back 10 stops of

exposure. Also consider a warming fi lter, as it can help vitalise the

colours of a half-hearted sunset.

REMOTE RELEASEEven with a sturdy tripod, it can be surprisingly easy

to ruin an exposure by the faint jostle of the camera

when you hit the shutter button. Some form of

remote shooting is a guaranteed method of

alleviating this – pick up a cable release, or if your camera is Wi-fi

enabled consider hooking it up to your phone or tablet.

A GOOD-QUALITY BACKPACKDon’t be afraid to invest in this. Your back will thank

you. Manfrotto, Vanguard, Lowepro – there are a few

names to get you started.

AND THEN EVERYTHING ELSE… A spare memory card. Spare batteries. Another spare

memory card. Waterproofs. Gloves. Chocolate. A good

pair of boots. A power bank for your phone. Basic rule: if it could be

useful, and it isn’t too heavy, toss it in the bag.

T E C H N I Q U E

What Gear Do I Need?

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T E C H N I Q U E

ISOISOGetting to grips with…

ISO: The Basics

SO WHAT IS ISO EXACTLY?

Every month we’ll be taking a

single aspect of digital

photography and breaking it

right down to its bare bones,

fi rst explaining the key

concepts and then moving on to some

advanced techniques that you can use in

your photography.

This month we’re kicking things off by

studying the subject of ISO. In the world of

cameras, already fraught with acronyms and

strings of numbers, ISO can be confusing

and intimidating to the novice photographer,

when in fact in practice it’s one of the

simpler tools at your disposal.

Read on as our experts take a close look

at the particulars of ISO, starting with the

fundamentals and working right up to the

more advanced techniques you can achieve

by controlling the sensitivity of the sensor.

WHICH ISO SETTING SHOULD I USE?

The answer to this question is entirely

dependent on the situation, but as a

rule of thumb you’ll generally want to

use the lowest ISO setting possible,

which will depend on the amount of

light you have to work with.

The reason for this is image noise.

All digital images suffer from noise –

fi ne grain-like artifacts that appear on

the picture and reduce its sharpness

and quality. As you increase the

camera’s sensitivity to light, the image

noise also increases; as a concept it’s

not dissimilar to the hissing noise you

hear when turning your speakers up

too loud. While in-camera and

post-production noise reduction

software have got more and more

sophisticated, it’s still good practice to

keep your ISO as low as possible.

Remember that ISO is the third

point on the exposure triangle, where

it sits with aperture and shutter speed.

The three values need to remain

balanced in order for the camera to

obtain an even exposure. If the

aperture opens up to get a nice

blurred background, the ISO may

need to come down. If the shutter

speed is increased to capture a

fast-moving subject, the ISO may

need to come up in order to make the

most out of the relatively small

amount of light that the camera is

now getting.

Unclear on what the term ‘ISO’ means or which sensitivity

setting you should use? In this guide we reveal all...

ISO is a term carried

over from the fi lm era. If

while you were using a

fi lm camera you wanted

to alter how sensitive it

was to light, you’d need

a different roll of fi lm.

Each type of fi lm was

given a numeric value

for how sensitive it was,

and this was its ISO. In

digital photography, it

means exactly the

same thing.

By altering the

camera’s ISO (short for

‘International Standards

Organisation’)

sensitivity, you’re

changing how sensitive

the camera’s sensor is

to light. A low ISO value

such as 100 or 200 is a

minimal amount of

sensitivity, while higher

values such as 12,800

or 25,600 mean the

camera is very sensitive

to light. The highest ISO

currently available on

an ordinary consumer

camera is 409,600. The

Nikon D4s and Sony

Alpha 7s are two

current models that can

shoot at ISO 409,600.

ISO 102400

ISO 50

“If the aperture is

opened up to get a

blurred background

the ISO may need

to come down”

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T E C H N I Q U E

ISO 12,800 AND OVER

At this point, your camera starts seeing in the dark better than you

do! In practice, though, you’ll only want to be using these high

settings as a last resort, as image noise will start to become severe.

How well your images survive will depend a lot on how well your

camera handles noise – with some cameras you’re best off simply

avoiding the highest ISO settings entirely, as the images are so

degraded as to be simply unusable. If your camera can hack it,

however, settings such as ISO 12,800 and higher should be used

when there is very little ambient light. If you’re outdoors at night

chances are good you’ll fi t into this category. Photographing indoor

live music events also generally requires use of high ISOs, as venues

tend to be rather dark.

ISO 3200-6400

At these settings, you will defi nitely start to see some image noise

creeping into your images. This is the sort of setting you use when

you don’t really have any choice otherwise. If you’re taking night-

time urban photos, assuming the street lighting is half-decent, you’ll

probably get away with using ISO 3200 to 6400. These are also

useful settings for poorly lit interiors.

ISO 800-1600

This is the kind of range you’ll want to shoot in if trying to capture

fast action. ISOs between 800 and 1600 will allow you to use faster

shutter speeds without compromising your exposures. You may see

some image noise at these sensitivities, but it will be minimal and

manageable. As such, it’s also a good range to use when shooting

outdoors in evening light, or indoors when the light is moderate.

ISO 100-400

These are the settings you want to

be sticking to where possible. An ISO

of 100-400 will create the least

amount of image noise – on a

sophisticated enough camera, noise

will, in effect, be unnoticeable. This is

the kind of setting you’ll see most

often in landscape images, where

everything is heavily illuminated by

bright, clear-skied sunshine. Also, as

landscape photographers will

generally be using a tripod they’ll be

able to use longer shutter speeds,

thus allowing them to keep the ISO

to a minimum. If you’re shooting at

ISO 100-400 and fi nd yourself

having trouble getting a fast enough

shutter speed, you may want to push

the ISO up a little.

The Common ISO Settings

ISO 100-400

ISO 800-1600

ISO 3200-6400

ISO 12,800

and over

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So now we’ve got a handle on the basics of ISO, how can we put it to use out in the fi eld?

Here are a few tips to get you thinking creatively about ISO.

In Practice: ISO Tips and Techniques

STANDARDISED SETTINGS

ISO 100 means the same thing wherever you go. ISO sensitivity levels

are set by the International Standards Organisation, hence the name.

So you don’t have to worry about ISO 400 suddenly meaning

something radically different if you make the jump from Nikon to

Canon or Sony to Panasonic.

USE NOISE TO YOUR ADVANTAGE

Image noise is the bane of many a photographer’s life, but it needn’t always

be. A little grain can give an image a classic, stylised vintage aesthetic, which

can really work particularly well for certain types of portraits or detailed

shots. Try raising your ISO for some different, creative results.

FREEZE THE ACTION

Need to freeze a fast subject? You’ll be needing a fast

shutter speed, which will restrict how much light the sensor

can gather. You’ll want to raise your ISO to compensate.

STUDY YOUR SCENE

If you’re using a tripod, you’ll be able to get

away with a slower shutter speed, meaning that

you can lower your ISO for the sharpest

possible image. You may also be able to do this

if your camera has some advanced inbuilt

image stabilisation.

ISO 6400

ISO 800

ISO 100



T E C H N I Q U E

USING AUTO ISO

If you’re still not sure which ISO setting

to use for a given situation, there’s a

good chance that you’ll be able to get

your camera to decide for you.

‘Auto ISO’ is an increasingly common

setting on modern digital cameras,

one that does exactly what it sounds

like. Most cameras will simply seek to

pick the lowest sensitivity that will

produce an image of acceptable

sharpness, which is likely what you’d

be doing anyway.

Some cameras also have the option to

determine the range of sensitivities in

which the auto ISO will operate,

meaning you can allow the camera to

choose your ISO for you but dictate

that it not push beyond, say, ISO 800.

This can offer a useful balance

between fl exibility and control.

Auto ISO is especially useful when

capturing action with a fast shutter

speed. You stand your best chance of

capturing a sharp image by setting

your camera to Shutter Priority and

your ISO to auto – your camera will

take care of the appropriate ISO value

while you get a fast enough shutter

speed to freeze the motion. As

mentioned above, you may want to

restrict your highest ISO value.

PIXEL DENSITY

What does vary from camera to camera is

ISO performance – how much noise you can

expect in an image at higher ISOs. This

varies according to pixel density, which is

affected by the size of the sensor and the

resolution. Lower pixel density means less

image noise: for example a 16MP APS-C

camera will produce cleaner images than

one with a smaller sensor.

DON’T BE AFRAID

Noisy sharp shots are always, always, always

better than clean blurry ones. Don’t be

afraid of your camera’s ISO controls – if you

need to crank them up to get an image

that’s free from camera shake, then do so.

CRITICAL EYE

Always check closely for grain. Your

image may look fi ne on your camera’s

3in LCD, but it could be a different

story once you get it home and stick it

up on your 20in computer monitor.

Zoom in on your images in-camera to

make sure they’re of acceptable

quality before you fi re off a multitude

of shots at a high ISO setting.

LOWER THE ISO

If you’re shooting with a wide aperture

for shallow depth of fi eld, be sure to

lower your ISO to compensate for the

increased incursion of light.

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ISO 200

ISO 12800



T E C H N I Q U E

ADOBE LIGHTROOM 5£8.78 (per month as part of

the Creative Cloud plan)

www.adobe.com/uk

The noise-reduction algorithms

that are built into Lightroom 5

are powerful and effective at

reducing digital noise from

high ISO images. Located

within the detail tab in the

Develop module, the effect the

luminance slider has can be

viewed in a close-up loupe

view. It’s also recommended to

use the split view screen to

compare the result between

before and after.

NIK SOFTWARE DFINE 2.0$99.95 (around £66)

www.niksoftware.com/

dfi ne/usa/entry.php

Like Neat Image (right),

Photoshop plug-in Dfi ne 2.0 is

capable of automatically

selecting areas of an image

that contain noise. The auto

setting can also deal with the

noise, though you can change

this to manual control if you

prefer, wherein you can apply

noise reduction by colour area.

IMAGENOMIC NOISEWARE$79.95 (around £69)

www.imagenomic.com

/nw.aspx

A nice thing about Noiseware,

another Photoshop plug-In, is

the extent of customisation in

the adjustments. While there

are some pre-defi ned presets,

noise level, noise reduction,

detail protection, frequency

and tonal-colour range can all

be tweaked individually.

TOPAZ LABS DENOISE$79.99 (around £53)

www.topazlabs.com/denoise

Topaz Labs’ software is pretty

well regarded for its simple

noise-reduction potential. With

easily accessible settings for

both JPEG and Raw fi les and

the ability to preview

images in different

colour channels,

it’s a very

comprehensive but

user-friendly program.

Defi nitely

recommended.

NEAT IMAGE$39.90 (around £29)

www.neatimage.com

Available as standalone

software or as a Photoshop

plug-in, Neat image is capable

of automatically selecting

areas affected by noise and

making adjustments at

different strengths. You can

use different values for

different frequencies, giving a

welcome degree of control to

the reduction. It’s also possible

to save reduction settings and

apply them to subsequent

images – useful for batch

processing.

PICTURECODE PHOTO NINJAPrice: $154 (around £100)

www.picturecode.com/

showcase/noise.php

Noise Ninja can smooth out

areas of an image, and remove

residual noise and colour

fringing. It’s got a nicely laid

out interface too. The options

are fairly basic but do work

well so you can’t say fairer than

that.

Noise reduction sof tware

It’s now possible to achieve better results at

high ISOs with all types of cameras than it

was even just a few years ago, thanks to

advancements in noise reduction. DSLRs,

Compact System Cameras and many recent

compact cameras have the capacity to

apply noise reduction to images in-camera.

Noise reduction works principally on two

distinct types of images – those captured at

high ISO sensitivities and those captured

with long exposures. As the two types of

image create different types of noise, they

require different approaches.

When dealing with high-sensitivity

images, noise reduction is generally

available in low, medium and strong options.

This is because the reduction works on the

image as a whole, and can cause a loss of

detail in areas not affected by noise. If

you’re planning on enlarging the image later

then this loss of detail is something you’ll

want to avoid.

Advanced: Noise Reduction



B U Y I N G A D V I C E

DO YOU NEED MANUAL CONTROLS?

DOES IT NEED TO BE PORTABLE?A bigger camera

may take better

quality pictures but it

won’t if you leave it at home. How

committed are you to your

photography, and how much

weight are you prepared to carry

in order to pursue it? If you’re

going out specifi cally to take

pictures weight may not be an

issue, but if you’d rather travel

light and forgo some functionality

and, potentially, image quality,

you’ll be looking at very different

cameras. Not all smaller cameras

require you to make that sacrifi ce

though – some of them have

larger imaging sensors.

If you just want to let the camera

manage all your picture-taking

decisions then you should look at

cameras with few external

buttons to get confused by or

press accidentally, and a

sophisticated level of automation.

If photography is a hobby, or may

be in the future, and you wish to

have the option of being able to

take charge, then look for a

camera with not only manual

exposure control but also easy

access to often-used functions

such as ISO. On some cameras,

even though these controls are

available they’re buried in the

menu, which makes accessing

them in a hurry a frustrating and

time-consuming process. A good

number of external controls

should be considered essential.

You’ll need to decide if portability is more important

that ultimate image quality

For portability a compact camera, or if you want the option of interchangeable lenses, a Compact System Camera, would be the best option. If you specifi cally want a DSLR the smallest are the Canon EOS 100D, and Nikon D3200/D3300 models.

If you want to get more creative with you photography,

look out for manual controls

STEPS TO HELP YOU FIND YOUR PERFECT CAMERA

If you want the best image quality, and size isn’t important, then a full frame DSLR is the best option. Consider a camera like the Nikon D810, while there are a host of DSLRs and Compact System Cameras out there to suit a range of budgets.

Fujifi lm’s X-series of retro style compacts and system cameras, such as the X100s, feature old-fashioned shutter speed dials and, on some models, manual aperture rings. The Canon G-series, such as the G16 and G1 X Mk II, are also very user-friendly.

If you want a DSLR but will leave it mainly in auto mode, the Nikon D3200 and D3300 offer minimal external control. Many entry level CSCs, such as the Panasonic Lumix GF6 and Nikon 1 system, are also designed with simplicity in mind.

Our essential guide to all the key considerations you need

to make when buying a camera


p36-39 complete guide to buying OCT-NAphjpMT.indd 58 12/08/2014 10:47


IS THE IMAGE QUALITY THE MOST IMPORTANT FACTOR?

DO YOU WANT A VARI-ANGLE OR TOUCHSCREEN?

Everyone considers image

quality to be important but we

all have a different idea of what

constitutes good image quality. For most casual

snapshooters whose photos are shared mainly on

social media, and who rarely make big prints, most

cameras will produce acceptable images in good

conditions. If photography is your passion, if you plan

to make A3 prints, crop from small areas of the

image, or shoot in low light then you will need to be

more discerning. There’s an obsession with mega-

pixels but the physical dimensions of the sensor, and

the pixels on it, are more important. Bigger pixels

absorb more light so can produce lower noise, better

dynamic range and richer colours.

You should also ensure that the camera offers Raw

mode, which records more data and gives the user

more control over the image post-capture. JPEGs

discard a large chunk of the captured information in

a quest to take up less space on the card.

DSLR

SMARTPHONE

The LCD screen is the key means

by which users compose and

review images and access the

menus, so it’s important. Most

cameras today use three-inch

screens but there are other

factors to consider. The

sharpness and saturation of the

screens vary considerably. Some

offer higher resolutions of

900,000 dots or more, enabling

you to see more detail and zoom

in more when reviewing. Some

use OLED technology, which

offers high quality, wider viewing

angles and lower power

consumption.

Vari-angle screens can be

tilted up or down for low or

high angle shooting – great

for macro and nature

photography, candid

street photography and

shooting over the

heads of a crowd.

Others are fully

articulated so that

they can be viewed from the

front of the camera – perfect for

self-portrait stills and video blogs.

The third major differential is

touchscreen functionality. Some

cameras are becoming more like

smartphones in the way users

can touch the screen to select the

focus and exposure point, change

settings, swipe to scroll through

images, and even fi re the camera.

Vari-angle screens

can be very useful

when shooting at

either low or high

angles

DO YOU NEED A VIEWFINDER?Few

compacts

actually have a viewfi nder. Like

smartphones, framing must be

done using the screen. But

viewfi nders are useful for many

reasons. The most obvious is that

screens are diffi cult to see in

bright sun. Long-sighted users

and older photographers may

struggle with them too.

Viewfi nders also help to stabilise

the camera and reduce shake, as

the face acts as a support, and it

aids careful composition by

excluding everything outside the

frame from view. Most DSLRs

have an optical viewfi nder which

sees the scene through the lens.

Some CSCs, bridge cameras, a

handful of compacts, and Sony

DSLRs (technically, DSLTs)

feature an electronic viewfi nder

(EVF) like that in a camcorder.

These offer both pros and cons:

the resolution is poorer and they

may struggle with fast-moving

subjects or panning, but they do

show you exposure and white

balance as it will be recorded,

provide more shooting data, and

can be easier to use in dim light.

For ultimate image quality a full frame DSLR or CSC with a 35mm film sized

sensor, is the best option. Consider the Nikon D810 or D610, Canon EOS 5D Mk III

or EOS 6D or, for something a bit smaller, the full frame Sony A7 or A7R CSCs.

Why endure the burden of a big, heavy camera? You’d probably be happy with a

compact, but if you also require the versatility of interchangeable lenses look at

the Pentax Q system, Nikon 1 system, the Fujifilm X-M1, or Panasonic Lumix GF6.

The biggest screens are found on the Samsung Galaxy cameras, while Panasonic’s

Lumix cameras have the most advanced touchscreens, allowing a focus point to be

selected even at the edges of the screen, for example. Most are also vari-angle.

Touchscreens can be slower than physical buttons when it comes to changing the

settings, and can be problematic with gloves. Vari-angle screens tend to add to the

size of the camera. It’s still very easy to fi nd cameras with neither feature.

Compacts with viewfi nders include the Fujifi lm X20 and X100s, Panasonic LF1 and

Canon G series. All DSLRs have optical viewfi nders, and many CSCs have EVFs, such as

the Olympus OM-D, Sony NEX 6 and Fujfi lm XE-2. The Panasonic GX7 has a tiltable EVF.

Finding a compact without a viewfi nder is easy. With interchangeable-lens cameras

you’ll need a CSC. Look at the Olympus PEN range, Lumix GF6, Fuji X-M1, Samsung

NX300, Pentax Q7, Canon EOS M, and the Nikon 1 J series.

Shooting with a

viewfi nder can help

stabilise the camera

and can make

framing-up easier


p58-61 complete guide to buying OCT-NAphjpMT.indd 59 12/08/2014 11:1693WDC14OCT169.pgs 12.08.2014 14:17 BLACK YELLOW MAGENTA CYAN


DO YOU WANT TO SHOOT VIDEO?

If you’re serious about video the best options are the Panasonic GH3 or the more

recent GH4, which offer the best video spec of any digital still camera, or one of

the Canon DSLRs such as the EOS 5D Mk III, or EOS 70D.

The only serious camera you can buy without the option to shoot video at all is the

purists’ Nikon Df. If your budget doesn’t go that far you’ll just have to ignore that red

record button, and take comfort from the fact you’re not being charged extra for it.

Virtually all digital cameras can

now shoot video, and in HD,

but that doesn’t mean they’re

all the same. Firstly HD comes

in two sizes: 1280 x 720 pixels

and 1920 x 1080, aka Full HD. That’s not the only

number that would-be Spielbergs need to look at

though. The frame rate (number of frames per

second) is most commonly 25 (or 30 in the US), but

some cameras also offer the option to shoot at

50fps (60 for US users), which can record fast action

with less blurring. But make sure that that fi gure is

progressive rather than interlaced. A few cameras

also offer 24fps, as used by the movie industry.

Other factors to consider are the fi le format the

camera saves to. Motion JPEG offers high quality but

takes up a lot of disc space. The AVCHD format used

by some brands provides a better compromise

between image quality and fi le size but clips can

only be viewed using compatible software. There’s

also the lower quality but smaller fi le sizes of the

MP4 format, which is best saved for web use.

A less well known aspect of the video spec is the

bit rate, which determines the amount and speed of

video data that is recorded. The higher the bit rate

the better the quality but the bigger the fi le sizes.

Finally, if you’re interested in shooting video

seriously you should at least look for a camera with a

port for an external microphone, so you can record

decent sound, and if you can afford one of the few

that also offers audio monitoring via a headphone

socket, so much the better.

Pretty much every camera now offers video recording,

but some are better than others

The current fastest DSLRs are the Sony A65, A77 and A99, while the Olympus OM-D

E-M5 and E-M1 are not far behind. The undisputed king of high-speed burst shooting

though is the Nikon 1 series, which can rattle off a staggering 60fps at full resolution.

Higher-resolution cameras tend to be slower between shots because of the

processing power required to handle large numbers of frames quickly, and the fact

they’re aimed more at those who shoot static but detailed subjects like landscapes.

IS HIGH SPEED IMPORTANT?If you’re into

sports there

are two areas

of the spec you’ll need to look

carefully at: the AF, and the burst

rate. Traditionally, DSLRs and

compacts have used different

methods to achieve focus. DSLRs

use a through the lens phase-

detect method, which bounces

light off the mirror onto an AF

sensor; but compacts, which

don’t have mirrors, use a

contrast-detect system that is

more accurate than phase

detection but slower. With the

advent of live view and video on

DSLRs, they too have to use

contrast-detect AF in these

modes. Recent developments in

sensor technology have seen

phase-detect pixels embedded

into the sensors – on the new

Canon EOS 70D every photosite

has a phase-detect pixel. These

hybrid sensors offer much better

AF performance in live view and

video modes. Another point of

difference in focusing systems on

DSLRs is the number and

formation of focus points: basic

models can offer as few as nine,

dotted around the image area, or

as many as 51, which is better for

tracking a moving subject. These

AF points work faster with wider

aperture lenses. On some DSLRs

some or all of these sensors are

cross type, so work equally well

whether the camera is held in the

landscape or portrait orientation.

For action a fast burst speed is

also essential. A speed of 3fps, for

example, won’t be fast enough

for motorsports, horse racing or

even football because the key

moment may take no more than a

second from start to fi nish.

Cameras that can shoot at

between six and 12 frames per

second will give you a greater

chance of catching the decisive

moment. Avoid cameras that

quote high burst speeds but only

at reduced resolution, Also, take

the camera’s buffer into account:

it’s no good shooting at 10fps if

the camera grinds to a halt after a

second because the buffer is full.

A large buffer (and fast processor)

enables the camera to shoot fast

for longer without slowing down.

You’ll need a camera with fast

continuous AF and a high burst shooting

speed for action




WILL YOU NEED ADDITIONAL LENSES?

DO YOU WANT WI-FI COMPATIBILITY?

DO YOU NEED WEATHER-PROOFING?

Wi-fi is a recent addition to camera spec sheets, but is fast becoming a ‘must-

have’ feature. DSLRs and CSCs that offer it include the Canon EOS 6D, Olympus

OM-D E-M1, Panasonic Lumix G series, and some Fujifilm X-series models.

If Wi-fi is of no interest to you then the camera market is entirely open to you.

Even if your camera has it you can turn it off and ignore it. Some Nikon DSLRs

offer it as an optional plug-in.

For compacts look at the Olympus TG-2 or Panasonic FT5, which are the pick of

the waterproof tough cameras. Pentax DSLRs (except the K-500) and Olympus

OM-D CSC models are good too.

If you’re a fair weather photographer any camera will suit you. While most

models should be able to withstand light showers, a decent bag, pouch or case

would be a good idea.

Wi-fi is the latest must-have

feature on digital still cameras,

but not all Wi-fi functions are

equal. On some cameras not only

can images be posted online, or

sent to the cloud or to a

compatible TV, but by using a

dedicated app the camera itself

can be controlled and triggered

using your smartphone or a

tablet, with a full live view

feed being transmitted

from the camera to

your mobile

device. The

leader in

this fi eld is

Samsung, whose Wi-fi

functionality is by far the most

developed – indeed its Galaxy

cameras are

even 4G,

with their

own sim

cards.

The kinds of

subjects you

will want to

photograph

will determine

the focal lengths of the lenses you

will need to use. Many buyers are

fi xated on long telephoto zooms

even though it’s only sports,

nature/wildlife and perhaps travel

photographers who have much

use for them. For urban

photography a good wideangle is

arguably more useful. Smaller

sensors in cameras enable the use

of longer zoom ranges within a

compact size. Bridge

cameras, for example,

sacrifi ce the image

quality of a

big sensor

for the huge

magnifi cations afforded by a long

zoom. High-magnifi cation zooms

are more diffi cult to hold steady

and more prone to camera shake,

so are best used with some kind

of support.

Once you get into the realms of

CSCs and DSLRs the lenses

are interchangeable, which

offers the benefi t of

choosing dedicated

lenses tailored for

certain needs – whether it be a

prime lens for its wide maximum

aperture and superior optical

quality, or a zoom optimised for a

specifi c range. In general the

greater the zoom range of a lens

the less good it will be at a

specifi c focal length

– think of the phrase

‘jack of all trades,

master of

none’.

If you’re looking at

interchangeable-lens cameras,

study the maker’s lens range fi rst

to see if the optics you want are

available at the price you can

afford, because each brand has its

own mount and lenses that are

incompatible with rival brands

(with a few exceptions, such as

Olympus and Panasonic). Don’t

forget to check third-party brands

such as Sigma, Tamron and

Tokina to see if they have what

you want in the right lens mount.

If you’re the outdoor type and are

not deterred from going out in

the rain then good for you,

because you’ll fi nd some great

photo opportunities that others

will miss while they’re sat in front

of the TV. But be aware that most

cameras do not generally like

getting wet. Sure there are

completely waterproof compacts

ideal for taking to the beach and

that you can even take snorkelling

without any worries about sand

or water. But most other cameras

are more delicate. With DSLRs or

CSCs you’ll generally fi nd that

their weather resistance gets

better as you go up the range

towards the semi-pro models.

The main exceptions are Pentax,

whose entire DSLR range, besides

its entry level K-500, is weather-

sealed, and Olympus, as

weather-sealing is featured on

many of its cameras.

Then you need a DSLR or CSC. Canon and Nikon have the widest selection of

lenses, both new and old as well as third-party options. Micro Four Thirds is the

biggest CSC system with 40-plus lenses, but rival systems are growing.

A compact will probably suit you, or a bridge camera if you need a long lens

to get closer to your subject. If you want the image quality of a DSLR look at

premium compacts, or buy a DSLR with an 18-200mm lens.


Look at the maker’s

lens range to see

if they offer the

lenses you’ll be

looking to use




All digital cameras

are based around

the same theory;

use a light-sensitive

sensor to capture

light, then process the result and

save it onto a memory card.

Beyond that the functionality can

vary wildly from model to model,

from touchscreen controls to HD

video and wide-aperture lenses

differentiating one from another.

Digital cameras fi t into three

distinct categories: Compact

Camera, Compact System

Camera (CSC) and Digital Single

Lens Refl ex (DSLR) Cameras. All

three have sub-genres within

them, but there are other obvious

qualities which set them apart.

Compact cameras have a fi xed

lens, which can’t be removed and

changed. This means the lens

becomes a feature in itself, with

some starting at a particularly

wide focal length, or reaching out

much further than others (or

both), and others having wide

maximum apertures which prove

their worth in low light and for

controlling depth of fi eld.

If you’ve set aside a budget for a new camera, you’ll want to know which type is going to

make the best choice and why. Our complete guide runs through your best options

J A R G O N B U S T E R

COMPACT SYSTEM CAMERA (CSC)Cameras which offer interchangeable lenses while omitting the viewfi nder and mirror box construction common to DSLR cameras. These include Sony’s NEX series and Olympus’s PEN range, as well as Nikon’s 1 system and Samsung’s NX line of models. DIGITAL SINGLE LENS REFLEX (DSLR)A digital SLR camera, which is constructed around a mirror-box and pentamirror/pentaprism assembly, such as the Canon EOS 700D and Nikon D5300. These are popular among beginners, enthusiasts and professionals,

thanks to their wide compatibility with different lenses, manual control over exposure and ergonomics.

COMPACT CAMERAA small camera whose lens cannot be removed, in contrast to interchangeable-lens cameras such as DSLRs. These are often cheaper than CSC and DSLR cameras, although they usually have more limited functionality and smaller sensors.

APERTUREThe aperture of a lens refers to the size of its opening which allows light through to the camera. This is created by a series of blades

inside the optic, and is usually regulated through the camera body, although some older lenses have physical aperture rings around their barrels. An aperture of f/2 or f/2.8 is classed as being large (or wide) because the opening itself is larger than those created by higher-number apertures such as f/16 or f/22.

SHUTTER SPEEDThe length of time that the shutter inside the camera is open, exposing the sensor to light. Longer shutter speeds let in more light, and so are often required in low-light conditions, or when the intention is to blur certain elements in the scene.

Faster shutter speeds are ideal for freezing motion, such as when photographing sports.

DISPLAYThe rear panel on the back of a camera which shows captured images and videos, as well as the live feed from the sensor. These are usually TFT LCD types, although some cameras now make use of Organic Light Emitting Diode (OLED) alternatives. Resolution is usually specifi ed in dots: compact camera displays often have 230k or 460k dots, while those displays that are on high-end enthusiast compacts, CSCs and DSLRs are usually 921k dots or higher.

CSC cameras) place restrictions

on the kind of image quality that

can be achieved.

CSC’SCSCs fi t somewhere between

compacts and DSLRs, with the

benefi t of a small-format body

Manual controls, the ability to

record HD video and a large,

high-resolution display or

viewfi nder are just a few of many

other features that can be had

when more money is spent.

Within the compact camera

genre are the likes of bridge, or

‘superzoom’ models, which offer a

far longer zoom and a body shape

akin to that of a DSLR, together

with manual control over shutter

speed and aperture. While they

can be used more creatively than

regular compacts, their small

sensors (relative to DSLR and

CONS No option to change

lenses for specific

purposes, Small

sensors not suited to

all conditions

PROSSmall, Affordable,

No additional lenses

required, Pocketable,

Less intimidating to

use than DSLRs

Small camera, generally pocket sized, with

non-removable zoom lenses. Designed for

convenience more than image quality, though

some premium models feature larger sensors

and manual controls.

C O M P A C T

CONS Generally small

sensors are no match

to DSLR quality, Build

quality can be more

plasticky than

a DSLR

Looks like a DSLR but is actually a compact

with a high-magnification zoom lens in a

DSLR-shaped body – usually incorporating a

large hand-grip and often a viewfinder.

B R I D G E

PROSLong zooms, All-in-

one design, Manual

controls

p40-41 Buying advice WDCmtjpOCT14.indd 62 14/08/2014 16:03



and interchangeable lenses. Due

to their mirrorless designs, optical

viewfi nders 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. The

majority of differences are purely

aesthetic, but a fair few affect the

handling quite signifi cantly too.

Some models have thin, wide

bodies, whereas others are

shaped like DSLRs to provide

more to wrap your hand around.

DSLR’SDSLRs range from absolute

beginner models, such as the

Canon EOS 1100D, up to

professional level models, such as

the same company’s EOS-1D X.

The body shape is similar

throughout, with a large hand

grip and dials on the top,

although most professional

DSLRs are shaped to be more

square than rectangular, with

additional shutter release buttons

and dials to make portrait-

orientation shooting comfortable.

The addition of an optical

viewfi nder is one of the unique

features that differentiates a

DSLR model from most CSCs and

compact cameras.

The only models that buck this

trend, and as a result can’t quite

be described as true DSLRs, are

those in the Sony SLT range,

whose models include the A58

and A77. The SLT construction

ISOAlso known as ‘sensitivity’, the ISO range of a camera determines its latitude for capturing images in different conditions. For a given camera, images captured at lower sensitivities generally contain less noise than those captured higher up, as the signal from the sensor – which contains unwanted noise – requires less amplifi cation.

OPTICAL VIEWFINDERA viewfi nder which relies on an optical, rather than electronic, construction. DSLRs are equipped with optical viewfi nders, which present the view through the lens. Those on cheaper DSLRs

are constructed with a hollow chamber with mirrored sides (penta-mirrors) while those on pricier models feature a ground glass prism (pentaprism) which is brighter.

ELECTRONIC VIEWFINDER (EVF)An electronic alternative to an optical viewfi nder. These are typically integrated into bridge cameras and some Compact System Cameras, where an optical viewfi nder is either not possible or less desirable. More recent EVFs are constructed from OLED panels rather than LCDs, and some of these are surprisingly detailed and bright.

SENSOR SIZEThe physical size of the sensor inside a camera. Cameras with larger sensors often produce better-quality images than those with smaller ones, as each photosite is larger. A larger capacity allows its signal-to-noise ratio to be higher; as a result images stand a better chance of having a wider dynamic range and of being less affected by noise.

BURST RATEThe speed at which a camera can fi re consecutive frames, given in frames per second (fps). Many recent cameras have a standard fps rate which captures at the sensor’s full resolution, with

further faster options which output images at a reduced pixel count. Often a camera’s fastest burst mode will only be possible with focus and exposure taken from the fi rst frame.

NEUTRAL DENSITY (ND) FILTERND fi lters are commonly used with DSLR cameras, although some enthusiast compacts now have these integrated into their lenses. Their purpose is to reduce exposure times, so that longer shutter speeds can be used, with the ‘neutral’ part of their name signifying that they are designed to have no effect on the colour balance of an image.

although full frame sensors are

starting to creep into some CSCs

such as the Sony Alpha 7 and 7R.

Full frame is described as such

because it’s roughly the same size

as a 35mm negative. APS-C

sensors are smaller, and as a

result they only use the central

part of a lens, which in turn

increases their effective focal

length (reducing the angle of

view). This is known as a ‘crop

factor’. Full frame lenses do not

apply a crop factor to lenses, and

so they maintain the same angle

of view and focal length as if they

were used on a fi lm SLR.

DSLRs and CSCs also attract

the attention of videographers,

given the proliferation of HD

video functionality and the range

of lenses available. Many DSLRs

– particularly those aimed

towards a more discerning

audience – also now incorporate

ports for external microphones

and have a full complement of

options for different frame rates

and output options as well as

control over audio recording.

CONS Optical viewfi nders

usually not available,

Lens ranges

continuing to evolve,

Premium models can

be expensive

PROSTypically smaller

than DSLRs, HD video,

Interchangeable

lenses, Hotshoes for

accessories, Great

image quality for

the size

An interchangeable-lens camera with no

optical viewing assembly but either an

electronic one, or just the LCD screen to shoot

with. CSCs come in a wide variety of forms

with a wide range of sensor sizes, so image

quality varies greatly between models.

C S C

uses a translucent mirror which

means it does not need to move

in order for light to pass through

to the sensor, in contrast to

DSLRs which fl ip their mirrors up

at the point of exposure. As a

result the burst rate is faster; with

the likes of the A77 able to shoot

at up to 12fps. The disadvantage,

depending on your preference, is

the presence of an electronic,

rather than optical, viewfi nder.

There are essentially two

different kinds of sensor used in

DSLRs: APS-C and full frame,

CONS Large and weighty

bodies, Expensive,

Poor-quality

kit lenses often

supplied as standard

PROSInterchangeable

lenses, Manual

exposure control,

HD video, Excellent

ergonomics

The choice of professionals, a DSLR features

interchangeable lenses, plus an optical

viewfi nder that sees what the lens sees thanks

to a 45° mirror and prism assembly inside the

camera. The bulkiest camera type, but the full

frame models deliver the highest image quality.

D S L R

p40-41 Buying advice WDCmtjpOCT14.indd 63 14/08/2014 16:0393WDC14OCT173.pgs 14.08.2014 16:36 BLACK YELLOW MAGENTA CYAN


impresses immensely, with a 0.6 second

start-up time and super-fast autofocus

system. Its only limitation is battery life,

with a fairly puny 1025mAh battery

limiting you to 330 shots on a single

charge. The 4.2fps burst rate is

fractionally faster than its predecessor

– the GF5 – though if you’re intending

to shoot continuous Raw fi les you’ll

only be able to shoot fi ve images

before the buffer fi lls and the frame rate

slows. We found exposure metering to

be generally very good in most

conditions, although we did notice a

slight bias towards overexposure by

about half a stop in very bright

conditions. JPEG images are also

slightly over-sharpened for our tastes,

so we’d always recommend shooting in

Raw where possible. Colour rendition

from the auto white balance system

can’t be faulted and the detail-resolving

power of the sensor is better than its 16

megapixels would lead one to expect.

Below ISO 1600 the camera handles

noise very well. Results at ISO 3200 and

6400 are usable too, but we’d say

6400 is the limit at which we’d want to

push to on a frequent basis. Overall, the

GF6 is a camera that won’t disappoint.

they are sensitive to both the horizontal

and vertical. While the K-500’s AF

performance is impressively fast, it’s

also quite noisy with an orchestra of

audible whirrs and buzzes with the

18-55mm f/3.5-5.6 kit lens attached. It’s

a shame Pentax didn’t see fi t to equip

the kit lens with its SDM (Supersonic

Direct-drive Motor) technology.

Another performance issue that grates

is the fact that the active AF point

remains invisible in the viewfi nder.

While the camera does show you the

active AF point on the rear screen, it’s

of little comfort when you’ve got the

camera raised to your eye. The K-500’s

sensor performs well, resolving detail

down to just over 24 lpmm (lines per

mm), dropping to a still respectable

22 lpmm at ISO 6400. At low and

mid-range ISO settings images display

little or no noise – it’s only at ISO 3200

or above that noise shows up in JPEG

fi les. Raw fi les behave a little differently

at the same sensitivity, with some

chroma noise also present, but with

images displaying a touch more detail.

Raw fi les retain more detail than JPEGs

and naturally have the wider exposure

latitude for post processing.

Aimed at users graduating from

point-and-shoot compacts, the GF6

represents a signifi cant improvement

over its predecessor – the Lumix GF5.

At its core is a newly designed 16MP

Live MOS sensor and an upgraded

Venus Engine processor that promises

improved detail at higher ISO settings

and an enhanced dynamic range. In

addition to PASM exposure controls,

Intelligent Auto and various Scene

modes, there are 19 Creative Filter

effects including Cross Process, Toy

Camera and Miniature options.

The GF6 also offers Full HD video

capture in either AVCHD or MP4

format, with stereo audio and full-time

AF available. Unlike its predecessor the

GF6 is equipped with a 3in, 1,040k-dot

tiltable touchscreen that fl ips 180° for

easy self-portraits. General performance

The K-500 retains the 16.28MP sensor

we’ve seen in previous Pentax DSLRs,

but has been tweaked to offer a

broader ISO sensitivity of 100-51,200.

Compared to similarly priced DSLR

rivals it equates to a 1-2 stop sensitivity

advantage. The Pentax K-500 is

equipped with a fi xed 3in, 921k-dot LCD

display that’s bright and clear and

produces good contrast. This is paired

with an optical viewfi nder that offers

100% coverage and an impressive

0.92x magnifi cation.

The K-500 is capable of shooting at

up to 6fps in burst mode. It also comes

equipped with Pentax’s proprietary

SAFOX IXi+ AF sensor module. This

offers 11 AF points, nine of which are of

the cross-type variety, which means

CONS • Over-sharpening of JPEG fi les • Small touch buttons

• Lack of viewfi nder or accessory compatibility

PROS• Tilting LCD• Versatile

controls • Image quality • Noise control • AWB

system can’t be faulted

KEYSPECS

SENSOR:

16MP (Micro Four Thirds)FILE FORMATS:

Raw, JPEG, Raw+JPEGDISPLAY:

3in tiltable touchscreen, 1040k dotsISO RANGE:

160-12,800 (exp to ISO 25,600 equiv) EXPOSURE MODES:

Intelligent Auto, Scene, PASMDRIVE MODE:

Single, Continuous, Self-timer, RemoteMOVIE MODE:

1920 x 1080 (50i,30,25p)DIMENSIONS:

111.2 x 64.8 x 38.4mmWEIGHT:

323g (inc battery and card)

18/20

18/20

17/20

18/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

PANASONIC LUMIX GF6 £400

PENTAX K-500 £450

By any standards, the GF6 is a

great camera. The excellent

build quality, superb fi nish and

impressive image quality all add

up to make it a system camera

that represents superb value for

money. Above all, it’s a nice

camera to use and would be a

perfect choice for those looking

to attain better image quality

than a point-and-shoot compact.

BEST FOR

• Those looking for an affordable step-up from a compact • An excellent choice of lenses • Responsive touchscreen interface

V E R D I C T

CONS • AF point not

superimposed in viewfi nder • Noisy AF

from bundled lens

PROS• Excellent set of features

compared to the competition • Comfy and large grip

• Image quality • Detail

KEYSPECS

SENSOR:

16.28MP APS-C CMOSFILE FORMATS:

Raw (DNG/PEF), JPEGDISPLAY:

Fixed 3in, 921k dotsISO RANGE:

100-51,200EXPOSURE MODES:

PASM, Sensitivity Priority, Auto Picture, SceneDRIVE MODE:

Single, Continuous, Self-Timer, Remote, Exposure BracketingMOVIE MODE:

1920x1080 (30, 25, 24fps), 1280x720 (60, 50, 30, 25, 24fps)DIMENSIONS:

96.5 x 129 x 70mmWEIGHT:

650g

18/20

16/20

18/20

18/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

The K-500 is perhaps the

best-specifi ed entry-level DSLR

you’ll fi nd, with a large

pentaprism viewfi nder, 6fps

burst mode and competitive

image quality. Unfortunately, it’s

held back by the loss of the

active AF point superimposed in

the viewfi nder. If you can

overcome this, you’ll be

rewarded with a capable DSLR.

BEST FOR

• People who value specs and value for money • Those wanting an entry-level DLR that’s easy to handle • Shooting indoor scenes in particular

V E R D I C T

B U Y E R ’ S G U I D E £ 4 0 0 - £ 4 5 0

RECOMMENDED

RECOMMENDED

p64-65 Buyers Guide WDC MTjp.indd 64 04/08/2014 14:18


shots fewer than the 1100D. In terms of

build quality, the 1200D does initially

feel a bit plasticky, however it’s still a

big improvement over the 1100D. It’s a

comfortable camera to hold with

functions such as AF Mode and ISO

accessed directly through the camera’s

d-pad. The dedicated Quick Menu

button next to the d-pad is also useful

as it allows for one-touch access to a

host of commonly used functions. The

1200D features a nine-point AF module,

which is speedy enough when the

camera is used through the viewfi nder.

Unfortunately the A F feels noticeably

sluggish when used in Live View mode

though. With a 63-area iFCL colour-

sensitive metering system (the same

module that’s found inside the much

more expensive EOS 7D), the 1200D

delivers accurate exposures, with the

camera striking a good balance

between shadow and highlight detail.

The Automatic White Balance (AWB)

setting delivers accurate colour, and

there’s little sign of either luminescent

or colour noise between ISO 100 and

1600. Images at ISO 6400 remain

printable at A4 size, but ISO 12,800 is

best reserved for extreme situations.

The aperture graphic, for example, gets

larger and smaller relative to the

selected setting. There’s also a ‘?’

button which can be used to activate a

more in-depth explanation of the

settings being used. The body is

constructed from a polycarbonate shell

as the D3200, although the body is 25g

lighter. The redesigned 18-55mm kit

lens, meanwhile, now has a collapsible

design to make it some 30% smaller

and 25% lighter. The optical viewfi nder

has also been improved, and now

delivers 0.85x magnifi cation compared

to 0.78x on the D3200. Autofocus

performance is decent, with the 11 AF

points well spread out across the frame.

With regards to image quality, the

‘Standard’ colour setting delivers a

pleasingly natural palette, while the

‘Vivid’ preset mode adds extra oomph.

Thanks to the class-leading resolution

and removal of the low-pass fi lter, the

D3300 resolved 34 lines per mm

(lpmm) on our test chart, reducing to

28 lpmm at ISO 6400 – very impressive

indeed. Although there are signs of

colour noise at ISO 800, it’s not until

ISO 12,800 that luminance noise

becomes a real issue.

The Canon EOS 1200D is equipped with

a new 18MP APS-C CMOS sensor – a

signifi cant increase in resolution over

the 12.2MP chip found in its

predecessor, the 1100D. This is paired

with a Canon DIGIC 4 image processor

to facilitate a burst speed of 3fps, up to

a maximum 69 consecutive JPEG fi les

or six Raw images.

On the back the 1200D is equipped

with a fi xed 3in, 460k-dot TFT LCD.

The 1200D is bundled with a 18-55mm

f/3.5-5.6 kit lens that features a newly

developed image stabilisation (IS)

system. Video recording has also been

improved with the 1200D capable of

shooting 1080p Full HD at 30, 25 or

24fps. Battery life has fallen to around

500 shots per charge though – 200

The Nikon D3300 retains the class-

leading 24.2MP APS-C CMOS sensor of

its predecessor, however the anti-

aliasing fi lter has been removed to

improve sharpness. The new EXPEED 4

image processor inside the D3300

increases maximum ISO to 25,600 and

also boosts continuous shooting from

4fps to 5fps. On the back, the D3300

retains the fi xed 3in, 920k-dot LCD

found on its predecessor.

It also features the same 420-pixel

RGB sensor and 11-point AF system that

served the D3200 so well. The D3300

retains the Guide Mode of its

predecessors, complete with the

eye-catching graphical rear display.

This gives beginners a visual reference

point to the settings they’re changing.

CANON EOS 1200D £450

CONS • Lack of built-in Wi-fi might disappoint some

users • Issues with noise apparent at lower ISO

PROS• Low price-tag • Impressive

burst mode • Reduction in size of kit lens

• High-resolution sensor

KEYSPECS

SENSOR:


JPEG, Raw, Raw+JPEGDISPLAY:


100-12,800 (exp to 25,600)EXPOSURE MODES:

PADM, Auto, Scene, GuideDRIVE MODE:

Single, Continuous, Self-Timer, Remote, QuietMOVIE MODE:

1920 x 1080p Full HD at 60/50/30/25/24fpsDIMENSIONS:

124 x 98 x 75.5mmWEIGHT:

460g inc battery and card

18/20

18/20

18/20

17/20

19/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

The Nikon D3300 is an excellent

demonstration of what

entry-level DSLRs can offer. It

does lack inbuilt Wi-fi

connectivity, though this is

probably understandable owing

to the impressively low

price-tag. If you’re after an

entry-level DSLR with a high

resolution, the D3300 should be

near the top of your wish list.

BEST FOR

• Novices looking to step up to DSLRs • If you want to learn advanced DSLR features as you shoot • HD video with the option to attach an external mic

V E R D I C T

CONS • Lacking Wi-fi as

standard • Could benefi t from more AF points • Low

burst speed

PROS• Lightweight design

• Great value for money • Performance at higher ISO setting • EOS companion app

KEYSPECS

SENSOR:

18MP APS-C CMOSFILE FORMATS:



100-6400 (exp to 12,800)EXPOSURE MODES:

PASM, Auto, SceneDRIVE MODE:

Single, Continuous, Self-timerMOVIE MODE:

1920 x 1080p Full HD at 30/25/24fpsDIMENSIONS:

129.6 x 99.7 x 77.9mmWEIGHT:

480g

17/20

17/20

18/20

18/20

19/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

Compared to some rivals,

namely the Nikon D3300 and

Pentax K-50, the 1200D’s

specifi cation is underwhelming.

However, the AF speed and

high ISO performance are

excellent. While a higher burst

speed and more AF points

would be nice, the 1200D is

more than capable for beginner

DSLR photographers.

BEST FOR

• Novices looking for their fi rst DSLR • Anyone seeking better image quality than a compact • Those working to a strict budget but want a DSLR model

V E R D I C T

B U Y E R ’ S G U I D E £ 4 5 0 - £ 6 0 0

NIKON D3300 £600

RECOMMENDED

GOLD



predecessor, the NEX-6, did. With a

lens attached the A6000 feels nicely

balanced and comfortable in the hand.

The handgrip features an ergonomic,

rubberised fi nish that allows for easy

one-handed operation too. While the

NEX-6 featured a 0.5in, 2.3m-dot

electronic viewfi nder, the A6000

comes with a 0.39in, 1.44m-dot unit.

While that does feel like a bit of a step

backwards, the 100% fi eld-of-view and

increased vibrancy and clarity are both

improvements. On the back there’s a

3in, 921k-dot LCD display – hardly

class-leading, but still capable enough.

In terms of connectivity, the A6000

boasts both Wi-fi and NFC, allowing for

wireless image transfer and remote

shooting.The Sony A6000 uses a

1,200-zone evaluative multi-segment

metering system that, on the whole,

excels when it comes to delivering

accurate exposures. The Auto White

Balance setting is consistent, even in

mixed lighting. Image noise is well

controlled up to ISO 6400, although

beyond this, noise does begin to take

over. Thankfully, this can be alleviated

with the camera’s multi-frame noise-

reduction technology.

a little plasticky, but is comfortable to

hold and offers a secure grip too. With

the 18-55mm STM lens attached,

autofocus performance on stationary

subjects is both fast and silent. Using

the 700D in live view, the combination

of the Hybrid AF system and STM lens

results in impressively quick autofocus

and pleasingly smooth transitions.

Focus tracking is possible during live

view too, and provided that your

subject doesn’t move too erratically, the

camera does a good job of maintaining

focus. While the maximum 5fps burst

mode is useful it can only shoot six

consecutive Raw fi les before the buffer

fi lls. Things are a little better when

shooting JPEG images, with a maximum

22 consecutive frames possible. Auto

White Balance is generally consistent,

delivering pleasingly natural-looking

shots. Shooting under artifi cial light can

occasionally result in cool-looking

images though. The 63-zone metering

system generally delivers accurate

exposures, although it can be a touch

inconsistent in tricky light. Low ISO

settings are devoid of image noise, with

texture beginning to become noticeable

above ISO 800.

The Alpha 6000 replaces the NEX-6,

with Sony having decided to rebrand all

of its NEX cameras, migrating them

over to its Alpha range.The A6000 is

equipped with a 24.3MP Exmor CMOS

sensor, Sony’s latest Bionz X image

processor and a lightning-fast AF

system – all of which are class-leading.

The proprietary Bionz X processor

enables the A6000 to shoot at 11fps for

up to 49 consecutive frames when

shooting JPEG, or 21 frames when

shooting Raw and JPEG.

It also helps to facilitate lightning-fast

autofocus, with Sony claiming a

minimum focus acquisition time of just

0.06 seconds. The Hybrid AF is not only

quick but also accurate thanks to the 25

contrast-detect and 179 phase-detect

points that cover the frame. While the

A6000 operates like a DSLR it looks

and feels more like a CSC, much like its

Based around an APS-C CMOS sensor

the 700D retains the same 18MP pixel

count that’s offered by recent EOS

models – an interesting decision given

that some other manufactures have

opted for 24MP sensors in their

mid-range models.

The 700D employs a nine-point AF

system that uses the same diamond

formation found in the 650D. All nine

points are of the superior cross-type

variety. The 700D’s optical viewfi nder

offers 95% coverage. This is

complemented by a vari-angle 3in,

1,040k-dot LCD display on the back

that also offers touchscreen control. In

terms of build quality the 700D benefi ts

from a stainless steel chassis encased in

a polycarbonate resin shell. It does feel

CONS • LCD screen could be a little more high-end • EVF a touch behind

competition

PROS• Good high ISO performance

• Great specifi cation • AF speed acquisition

KEYSPECS

SENSOR:




100-25,600 (exp to 51,200)EXPOSURE MODES:

PASM, iAuto, Superior Auto, Scene DRIVE MODE:

Single, Continuous, Self-timer, BracketingMOVIE MODE:

1920 x 1080p Full HD at 60/24fpsDIMENSIONS:

120 x 67 x 45mmWEIGHT:

344g

18/20

18/20

18/20

18/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

SONY A6000 £670


The Sony Alpha 6000 comes

with an impressive specifi cation,

and its performance doesn’t

disappoint. The blisteringly

quick AF performance and a

superb burst mode are

especially worthy of praise. It’s

hard to pick out any substantial

fl aw on the Alpha 6000, and it’s

safe to say that it is one of the

most impressive CSCs around.

BEST FOR

• Those shooting fast-moving action subjects • People who want the performance of a DSLR in the body of a CSC • NEX users looking to upgrade

V E R D I C T

CONS • Can feel a little plasticky

• Limited number of AF points • Buffer

performance

PROS• Responsive and well-

implemented touchscreen • Light body • Fast AF •

Noise control • Video quality

KEYSPECS

SENSOR:


Raw, JPEG, Raw+JPEGDISPLAY:


100,-12,800 (exp to 25,600)EXPOSURE MODES:

PASM, Intelligent Auto, SceneDRIVE MODE:



133.1 x 99.8 x 78.8mmWEIGHT:

580g with battery and card

18/20

18/20

18/20

18/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

The EOS 700D is essentially

identical to its predecessor – the

650D. As such, it’s diffi cult to

recommend it as an upgrade

model for anyone with a recent

EOS DSLR. Those with a model

older than the 500D are likely to

be more satisfi ed with the

improvements on offer here.

Those looking for their fi rst

DSLR should consider it too.

BEST FOR

• Those seeking their fi rst DSLR • A good balance of features, size, price and performance • Low-light shooting up to ISO 6400

V E R D I C T

B U Y E R ’ S G U I D E £ 6 7 0 - £ 7 5 0

GOLD

GOLD



vari-angle variety for maximum

fl exibility. Sadly, there’s no touchscreen

functionality though. Build quality sits

somewhere between the cheaper

D3200 and more expensive D7100. One

of the consequences of the larger

screen are smaller buttons below the

d-pad for zooming in playback mode.

Unlike models from higher in the Nikon

DSLR range the D5300 lacks a

secondary command dial to adjust

aperture independently of shutter

speed when using the camera in manual

mode. In terms of image quality the

D5300 delivers rich, punchy and vibrant

colour straight out of the camera.

Resolving 28 lines per mm (lpmm) on

our test chart, the D5300’s sensor also

delivers impressive levels of detail,

allowing you to crop aggressively

without a disastrous effect on image

quality. Although a faint trace of

luminance noise is introduced at ISO

800, this can be removed using noise

reduction techniques. Colour noise

doesn’t appear until ISO 6400 though.

Higher sensitivity settings such as ISO

3200 and 6400 are usable on a

day-to-day basis. ISO 12,800 and

25,600 are best avoided if possible.

panel also helping to improve visibility.

The optical viewfi nder, meanwhile,

offers 100% coverage – impressive for a

mid-range DSLR. Whether the Pentax

K-5 II is an attractive DSLR or not is

subjective, but one thing that’s diffi cult

to dispute is its utilitarian design. The

grip is substantial and rubbered, while

the command dial travels freely when

turned. The focus-pattern selector

control is unnecessarily stiff, though,

while the fl ash-sync port plug is not

only awkward to remove but also easy

to lose. Backing up Pentax’s bold AF

claims, the K-5 II offers impressively

consistent focus in low light, even when

faced with low-contrast scenes. Even

with the AF Assist light disabled the K-5

II manages to lock-on against barely-lit

subjects within a couple of seconds.

The Auto White Balance system also

performs well when used in natural

light, while video quality is also better

than expected. JPEGs see a slight boost

in contrast compared to unadulterated

Raw fi les, with details better defi ned

and colours more appealing too. Raw

fi les can easily be boosted in post-

processing. A consistent exposure

performance was also noted on test.

In addition to introducing Wi-fi

connectivity, Nikon has made a number

of signifi cant improvements to the

Nikon D5300 over its predecessor, the

D5200. While the newer model sticks

with the same 24.2MP APS-C CMOS

sensor, sharpness has been boosted

thanks to the removal of the optical

low-pass fi lter.

Continuous shooting maxes out at

5fps and the D5300 retains the same

39-point AF system of the D5200,

which includes nine cross-type sensors.

Autofocus performance impresses on

the whole, although the bundled

18-55mm kit lens is a little on the noisy

side for video capture. The D5300

comes equipped with a large 3.2in,

1,037k-dot LCD screen, which is of the

Pentax has given its four-year-old K-5

model a modest makeover to create

the second-generation K-5 II.

Interestingly, the newer model retains

the same 16.28MP sensor of its

predecessor, with the main update

being its new SAFOX X autofocus

module. Pentax claims that this offers

‘the broadest autofocusing EV range in

its class’.

This new system offers 11 AF points

as before, with nine of these being of

the cross-type variety. Another change

is the newer model’s 3in, 921k-dot LCD

display, which now uses a gapless

design between the display and the

tempered outer panel. Pentax claims

that helps to reduce internal refl ections,

with the anti-glare fi lm on the outer

NIKON D5300 £830

PENTAX K-5 II £870

CONS • Awkward focus point

select dial • Noisy kit lens • Fiddly fl ash sync cover

PROS• Excellent build • Large

viewfi nder • Very capable AWB • Impressive low-light

AF • Weather-sealing

KEYSPECS

SENSOR:




100-12,800 (exp to 80-51,200)EXPOSURE MODES:

PASM, Sensitivity Priotity, AutoDRIVE MODE:


1920 x 1080p Full HD at 25fpsDIMENSIONS:


760g

19/20

18/20

17/20

19/20

17/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

That the Pentax K-5 II is a minor

upgrade on the Pentax K-5 is

not necessarily a bad thing, as

the Pentax K-5 was an

impressive model in itself. Its

headline improvement of a

more sensitive AF system is

minor although combined with

the changes to the LCD screen

and the lower launch price it’s

unquestionably a better choice.

BEST FOR

• Superb image quality in all lighting conditions • Enthuasiast photographers • Those shooting a range of different subjects

V E R D I C T

CONS • Lacks touchscreen

functionality • Poor app performance • Noisy kit

lens • No headphone port

PROS• Superb image detail

• Excellent build • Fast AF acquisition • Wi-fi • User

interface • Inbuilt mic port

KEYSPECS

SENSOR:


JPEG, Raw (NEF), Raw+JPEGDISPLAY:

Vari-angle 3.2in, 1037 dotsISO RANGE:

100-12,800 (exp to ISO 25,600)EXPOSURE MODES:

PSAM, Auto, SceneDRIVE MODE:




480g

19/20

18/20

18/20

19/20

17/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

While it may be a very subtle

upgrade from the D5200, the

added refi nement makes the

D5300 a much more rounded

proposition, though we still feel

that a touchscreen is missing. If

a touchscreen isn’t one of your

main concerns, it remains an

excellent DSLR and it’s hard to

pick faults in terms of image

quality or its build and fi nish.

BEST FOR

• Those looking for a well-specifi ed and easy to use entry-level DSLR • Those wanting to share images on the move • Superb images

V E R D I C T

B U Y E R ’ S G U I D E £ 8 3 0 - £ 8 7 0

GOLD

GOLD



sits on the back, offering some

touchscreen control over the camera.

The built-in fl ash doubles as an

Integrated Wireless Transmitter to offer

off-camera fl ash control for compatible

fl ashguns, and the 70D also offers

built-in Wi-fi functionality for remote

control and image transfer. The 70D’s

body is constructed from aluminium

and polycarbonate resin with glass

fi bre, and feels especially solid. Those

upgrading from a triple-digit EOS body

will immediately notice the bulkier size

and larger grip. Thanks to the new

sensor, AF performance in live view

represents a massive leap forward for

DSLRs. That said, it’s still not perfect.

When light levels drop, autofocus

becomes more hesitant and isn’t quite

as good as the best system cameras.

The 70D’s colour rendition is pleasing,

and the Auto White Balance also

performs well to produce neutral

images under a range of lighting

conditions. The 20.2MP sensor resolves

crisp detail, with a very faint hint of

luminance noise creeping in at ISO 1600

and 3200. ISO 6400 is impressive too

and though chroma noise is apparent,

it’s not detrimental to the fi nal image.

Aperture-priority mode, aperture is

controlled using the aperture ring on

the lens, something that will doubtless

please old-school SLR users looking for

a nostalgic shooting experience. Many

of the buttons can be customised too,

while the XT-1’s magnesium alloy body

feels reassuringly solid. More than 70

weather seals are in place to keep out

moisture and dirt too. The viewfi nder is

larger than the optical variety found on

the pro-level Canon EOS-1DX and

thanks to a magnifi cation rate of 0.77x,

the view is far from tunnel-like either.

Focus is almost instantly gained and in

terms of overall speed, it’s comparable

to Panasonic’s Light Speed AF system.

In terms of image quality, the X-T1

delivers pleasingly natural tones with

accurate colour in a range of conditions.

The 256-zone metering system rarely

fails to impress and the wide dynamic

range allows you to retrieve a high level

of detail from shadow and highlight

areas provided that you’re happy to

shoot in Raw. Luminance and colour

noise is handled well between ISO 100

and 800, with a fi ne level of grain

creeping in as you move towards the

higher ISO 3200 and 6400 settings.

In a clean break from the regular 18MP

sensor found in previous entry-level and

mid-range Canon DSLRs, the EOS 70D

uses an all-new 20.2MP Dual Pixel

CMOS AF sensor. This is partnered by

Canon’s powerful DIGIC 5+ processor to

deliver a continuous shooting speed of

7fps, and an standard ISO range of

100-12,800. The 70D’s innovative

APS-C sensor uses two photodiodes for

each pixel, with one reserved for

phase-detect AF duties.

This enables the camera to do away

with the need for contrast-detect AF

during live view. It’s undoubtedly a

huge step up from the 60D. The 70D’s

optical viewfi nder offers 98% coverage

and a magnifi cation of 0.95x, while a

vari-angle 3in, 1,040k-dot LCD display

Positioned below the X-Pro1, the X-T1

employs the same 16.3MP APS-C

X-Trans sensor. This advanced chip

houses more than 100,000 phase-

detect pixels on its surface, which

combine with the camera’s standard

contrast-detect AF module to form a

Hybrid-AF system. The X-T1 offers an

impressive maximum continuous

shooting speed of 8fps.

On the back there’s a 3in, 1,040k-dot

LCD display, and while it’s of the tiltable

design for easy self-portraits, there’s

sadly no touchscreen functionality. The

2.36m-dot electronic viewfi nder is one

of the best on the market. The X-T1 also

offers Wi-fi connectivity allowing you to

control the camera remotely via a

dedicated smartphone/tablet app. In

CONS • Creative fi lters only

active during live view

PROS• AF performance in live

view • 19-point AF system • Responsive touchscreen

interface• Wi-fi connectivity

KEYSPECS

SENSOR:



Vari-angle 3in, 1,040k-dotsISO RANGE:

100-12,800 (exp to 25,600)EXPOSURE

Modes: PASM, Scene Intelligent Auto, SceneDRIVE MODE:

Single, Continuous, Self-timer, RemoteMOVIE MODE:


139 x 104.3 x 78.5mmWEIGHT:


19/20

18/20

18/20

18/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE


FUJIFILM X-T1 £1100

For the enthusiast, the EOS 70D

is one of the most complete

DSLRs available. It has a sharp

and responsive touchscreen and

feels well put together and

satisfying to shoot with. The

swift AF performance is likely to

revolutionise the way future

DSLRs perform. Overall, the

EOS 70D is a very impressive

and capable APS-C DSLR.

BEST FOR

• Enthusiast photographers • Excellent handling with its touchscreen and on-body controls • Those wanting a fast AF performance

V E R D I C T

CONS • Lack of touchscreen

• JPEG only at expanded ISO settings • Battery life

could be better (350 shots)

PROS• Design • Handling • Image

quality • Class-leading viewfi nder • 8fps burst

shooting • Quick AF • Wi-fi

KEYSPECS

SENSOR:

16.3MP, APS-C X-Trans II CMOSFILE FORMATS:


Tiltable 3in, 1,040k-dotsISO RANGE:

200-6400 (exp to 100- 51,200)EXPOSURE MODES:

PASMDRIVE MODE:



129 x 89.8 x 46.7mmWEIGHT:

440g

19/20

18/20

19/20

19/20

18/20

FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

With the X-T1, Fujifi lm has

continued to improve upon

what is already one of the most

successful ranges in the market

of late. The X-Trans sensor

delivers fantastic results, the

build quality is sublime and it

really impresses in the hand. A

silver fi nish would have been

well received, but on the whole

it’s a very appealing CSC.

BEST FOR

• Portability with no sacrifi ce in image quality • Highly desirable, attractive design • Delivering a performance exceeding expectations for the price

V E R D I C T

B U Y E R ’ S G U I D E £ 1 0 9 0 - £ 1 1 0 0

GOLD

GOLD



such as grid lines and the levelling

function. Compared to the D7000, the

rubber thumb rest now extends further

downwards, and a new ‘i’ button joins

the previous four on the left-hand side.

Build quality is undoubtedly solid.

Unlike some other models whose outer

casings are constructed from either

magnesium alloy or polycarbonate, the

D7100 blends both to create a tough

yet lightweight shell. On the back of the

camera, the 3.2in, 1,229k-dot LCD

display produces good contrast and

detail, is suffi ciently bright at default

settings and also delivers excellent

viewing angles. Above the screen, the

pentaprism viewfi nder is bright and

clear, and offers a 100% fi eld-of-view.

The D7100’s on-board 51-point AF

system covers a good portion of the

viewfi nder and includes 19 cross-type

sensors. The D7100 produces accurate,

lifelike colour, with the Auto White

Balance rarely making any errors of

judgement. There isn’t a great deal to

fault with exposure metering either, but

the main concern is noise; a slightly

gritty texture can be seen as low as ISO

400 in most scenes. Processing Raw

fi les is advised for more critical work.

seconds. The GH4 can also burst shoot

with continuous AF at 7.4fps (12 in AF-S

mode), making it an especially good

camera for capturing fast-moving

action with. In terms of build quality, the

GH4 is heavier than its predecessor and

feels more solid in the hand thanks to

its metallic chassis and extensive

weather sealing. The only complaint

regarding the design is the controls; the

GH4 is equipped with fi ve customisable

function (Fn) buttons, which is likely to

be intimidating to the novice user. In

terms of its headline feature the GH4

can record 4096 x 2160-pixel video at

24p with a bitrate of 100Mbps, and

1080p Full HD video with a maximum

bit rate of 200Mbps. Brand new to the

GH4 is a 2.36-million-dot OLED live

viewfi nder. Boasting 1.34x magnifi cation

and a 100% fi eld-of-view, the EVF is one

of the closest equivalents to an optical

viewfi nder we’ve yet seen. The EVF is

complemented by a 3in, 1,036k-dot

vari-angle touchscreen. The GH4

produces generally decent colour, albeit

lacking a little punch in the standard

settings. The 1,728-zone multi-pattern

metering system puts in an exemplary

performance with excellent exposures.

Introduced as a replacement for the

popular but aging D7000, the D7100 is

an enthusiast-level DSLR built around a

24.1MP APS-C sensor. In keeping with

other recent Nikon DSLRs the D7100’s

sensor has had its anti-aliasing fi lter

removed for the benefi t of detail

retention. The D7100’s AF module sees

a marked improvement over its

predecessor; while the Nikon D7000

offered a 39-point system including

nine cross-type points, the Nikon D7100

increases this to 51 points including 15

cross-type points.

The pentaprism optical viewfi nder

provides 100% coverage and 0.94x

magnifi cation. Furthermore, an OLED

panel has been added in place of the

LCD, and this is used to display details

The GH4’s big claim to fame is that it’s

the fi rst mirrorless system camera to

shoot 4K video. Thankfully, this is just

the tip of the iceberg though as there’s

a good deal more to it than 4K video.

The GH4 is built around a reworked

16.05MP Live MOS sensor, which has

been paired with a new quad-core

Venus Engine processor to give the

GH4 signifi cant improvements over the

GH3, most signifi cantly in ISO sensitivity

and noise control.

With a native ISO range of 200-

25,600, the GH4 is better equipped for

low-light situations. Thanks to

Panasonic’s Depth from Defocus (DFD)

technology, the GH4 is capable of

achieving focus at a blistering speeds;

in the right conditions, it takes just 0.07

NIKON D7100 £1100

PANASONIC LUMIX GH4 £1300

CONS • Weak Tracking AF

• Higher-resolution sensor would have been welcome

• Complicated controls

PROS• Impressive 4K video

• Durable weather-sealed body • Very fast autofocus

• DSLR styled design

KEYSPECS

SENSOR:

16.05MP Four Thirds Live MOSFILE FORMATS:


Vari-angle 3.2in, 1,036k-dot touchscreenISO RANGE:

200-25,600 (exp to base 100)EXPOSURE MODES:

PASM, iAutoDRIVE MODE:


4096 x 2160 4k at 24fpsDIMENSIONS:


560g

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

Signifi cantly more than just ‘the

mirrorless 4K camera’, the GH4

looks to be a real jack-of-all-

trades. As well as pro-level

video you get stunning, rich

images delivered with snappy

autofocus . It’s not perfect, with

unreliable tracking AF and an

over-complex control set, but

its feel, handling and style are all

impressive. A commendable CSC.

BEST FOR

• Freezing fast subjects with snappy autofocus and burst shooting • Superior quality video • Solid DSLR-styled feel in the hand

V E R D I C T

CONS • Processing times

• Locking buttons make dials fi ddly • Image noise

• AF could be faster

PROSSuperb LCD • Responsive

• Accurate AWB • Intuitive metering system

• Highly customisable

KEYSPECS

SENSOR:



Fixed 3.2in TFT LCD screenISO RANGE:

100 - 6400 (exp to 25,600)EXPOSURE MODES:

PASM, Auto, SceneDRIVE MODE:

Single, Continuous, Self-timer, QuietMOVIE MODE:


135.5 x 106.5 x 76mmWEIGHT:

765g with card and battery

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

The D7100 is perhaps one of the

most complete enthusiast

DSLRs we’ve seen, with an

abundance of functionality

packed into a reasonably

compact body. If burst shooting

or low-light photography is your

thing it may not be ideal, but

with its impressive spec, many

will consider it the camera

they’ve been waiting for.

BEST FOR

• Accurate, lifelike and highly detailed images • Fuss-free exposures • Those looking to upgrade from a consumer-orientated DSLR

V E R D I C T

B U Y E R ’ S G U I D E £ 1 1 0 0 - £ 1 3 0 0

RECOMMENDED

GOLD



touchscreen control over the camera.

With a plethora of Art Filters, Wi-fi

connectivity and a new PC socket, one

of the only features the E-M1 lacks is a

built-in fl ash. A detachable fl ash is

supplied in the box though, which

attaches via the hotshoe. The E-M1

features a tough but light, weather-

sealed magnesium chassis. The speed

at which the E-M1 acquires focus in

Single AF is incredibly snappy thanks to

its 240fps refresh rate. The Dual Fast

AF system also addresses the

sluggishness of Continuous AF, and is

now a viable option for those looking to

capture pin-sharp action shots. If you’re

unsure about EVFs, we can safely say

that your opinion will change once

you’ve raised the E-M1 to your eye – it

displays a crystal-clear image from

corner-to-corner, while the screen is

also clear and extremely responsive.

The AWB system in the main performs

well, with punchy colours straight out of

camera. The 324-zone multi-pattern

metering can’t be faulted either, and

Raw fi les resolve 25 lpmm at ISO 200

– improving on the E-M5. There are no

signs of image noise until ISO 1600, and

at ISO 6400 the results are usable.

coverage and 0.71x magnifi cation, while

the 3in rear display boasts a 1,040k-dot

resolution. The 6D offers Wi-fi

connectivity, and complements this

with a built-in GPS system – a rarity

among DSLRs. In terms of design and

build the 6D shares characteristics with

the 5D Mk III minus a few subtle

differences. The rubberised handgrip

isn’t as chunky and it’s also noticeably

lighter in the hand. The layout of the

top-plate is clear, with independent

buttons to control AF mode, drive

mode, metering modes and ISO. The

EOS 6D excels in terms of its low-light

AF performance. The central

cross-type AF point can lock onto

subjects right down to -3EV, which

enables the 6D to lock on even in

extremely dark situations. That said, it

can’t quite match the Nikon D610 for

advanced AF tracking. The 63-zone

metering system can be relied on to

attain accurate exposures. The 6D’s

sensor is capable of resolving fi nely

spaced horizontal lines right down to 32

lines per mm (lpmm), which is equal to

its main rival - the Nikon D600 – at the

same ISO sensitivity. Up to ISO 3200

you’ll get clean, noise-free images.

The OM-D E-M1 succeeds the E-5 as

Olympus’ pro-spec Four Thirds system

camera. Built around a 16.3MP sensor

the E-M1 differs from the E-M5 in two

key areas: the absence of a low pass

fi lter and the inclusion of an on-sensor

phase-detect AF system. To reduce the

risk of aliasing and moiré, Olympus has

introduced a TruePic VII image

processor, which features Fine Detail

Technology II. The E-M1’s fi ve-axis

sensor-shift anti-shake system is

effective to four stops of correction and

a continuous burst of up to 10fps is

available provided that fi ve-axis IS is

switched off. Elsewhere, there’s an

impressive 2.36m-dot EVF with a 1.48x

magnifi cation while the tiltable 3in,

1,040k-dot rear display offers

Cheaper, smaller and lighter than any

existing Canon full-frame DSLR, the

EOS 6D is equipped with a 20.2MP

sensor and Canon’s powerful DIGIC 5+

image processor – the same processor

used inside the 5D Mark III. This

combination provides a native

sensitivity range of ISO 100-25,600

which can be extended to a base ISO

50 and upwards to an equivalent of ISO

102,400. The 6D offers a maximum

continuous burst rate of 4.5fps.

The EOS 6D’s 11-point focusing

system is entirely new, though it’s

disappointing to see only a single

cross-type sensor in the middle, with

ten additional points scattered around

the perimeter. The optical viewfi nder,

meanwhile, provides 97% frame

CONS • JPEG fi les a little over-processed • Controls can

be overwhelming • One SD card slot

PROS• Build quality • Electronic

viewfi nder is excellent • Fast and responsive AF system

• Image quality

KEYSPECS

SENSOR:

16.3MP Micro Four Thirds Live MOSFILE FORMATS:


Tiltable 3in, 1040k dots touchscreenISO RANGE:

200-25,600 (exp to base 100)EXPOSURE MODES:

PASM, iAuto, Art, SceneDRIVE MODE:

Single, Continuous, AF Tracking, Self-timerMOVIE MODE:

1920 x 1080p Full HD at 30fpsDIMENSIONS:

130 x 93.5 x 63mmWEIGHT:

497g with card and battery

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

OLYMPUS OM-D E-M1 £1300

CANON EOS 6D £1700

The E-M1 is a camera that

doesn’t disappoint and any

enthusiasts or pros won’t be left

wanting. Build quality and fi nish

is stunning, while the speed and

accuracy of the AF is probably

the best we’ve seen from a CSC.

It’s a camera that’s a pleasure to

use. Put simply, it’s not just one

of the best CSC models around,

it’s one of the best full stop.

BEST FOR

• Those after a great-performing, weather-sealed alternative to a DSLR • Travel and reportage photographers • Existing PEN and E-series shooters

V E R D I C T

CONS • One cross-type AF point

• JPEG sharpness • Playback zoom control

• 97% viewfi nder

PROS• Image quality • ISO

performance • Inclusion of both Wi-fi and GPS • AF performance in low light

KEYSPECS

SENSOR:

20.2MP Full-frame CMOSFILE FORMATS:




PASM, Scene Intelligent Auto, SceneDRIVE MODE:

Single, Continuous, Self-timer, SilentMOVIE MODE:


144.5 x 110.5 x 71.2mmWEIGHT:


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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

It’s great to fi nally see a new full

frame body in Canon’s line-up

for under £2,000, and for

APS-C DSLR users considering

the jump up to full frame it’s a

logical – though still not exactly

cheap – option. The addition of

Wi-fi is excellent, and though it’s

no 5D Mark III, it goes above

and beyond what most

enthusiasts are calling out for.

BEST FOR

• Enthusiasts wanting to upgrade from a DSLR to full frame • Travel photography because of the inbuilt GPS and Wi-fi • Shooting in low light

V E R D I C T

B U Y E R ’ S G U I D E £ 1 3 0 0 - £ 1 7 0 0

GOLD

GOLD



the Sony PlayMemories app. Build

quality is excellent. The 7R’s

magnesium-alloy shell feels up to the

rigours of daily shooting, and further

benefi ts from full weather-sealing for

wet-weather use. The back of the

camera is fi tted with a 3in, 921k-dot

LCD display, while above this sits a

2.4m-dot electronic viewfi nder. The

tiltable design allows the screen to be

pulled out and angled for low and high

shooting opportunities, however it does

lack touchscreen functionality. Used in

evaluative metering mode the 7R can

be relied upon to deliver even

exposures straight out of the camera.

While the contrast-detection system is

fast enough in good light, it does begin

to slow when light levels drop. The 7R’s

sensor delivers outstanding resolution,

and even managed to resolve every line

on our resolution chart – a performance

in keeping with the Nikon D800 and

D800E. There are signs of luminance

noise at ISO 800, although this isn’t a

detriment to overall image quality. At

ISO 1600 colour noise makes a slight

appearance, although once again this

isn’t a major issue, with ISO 6400

proving eminently usable.

central nine points of the cross-type

variety for improved AF acquirement.

Our only minor grumble is that the AF

points are grouped relatively closely

together in the centre of the frame. The

optical viewfi nder provides 100%

coverage at 0.7x magnifi cation, while

on the back of the camera you’ll fi nd a

3.2in, 921k-dot display.The top and rear

covers are made from magnesium alloy,

with the rest made from high-impact

polycarbonate plastic. While it doesn’t

have the same bombproof feel as the

more expensive D800, it still offers

weather-sealing to protect it from dust

and moisture. The Multi-CAM4800 unit

works well, acquiring lock-on quickly

without any hunting, even in relatively

dim conditions. The sophisticated AF

tracking options at your disposal also

work impressively well. As with the

D600, we found the D610’s Auto White

Balance performed very well. The level

of detail achievable from the 24.3MP

sensor, meanwhile, is highly impressive,

resolving down to 32 lpmm (lines per

mm) on our charts. It’s only at ISO 3200

and higher that image noise becomes

apparent, with subtle luminance and

colour noise beginning to show.

Whereas the Alpha 7 employs a 24.3MP

sensor, the Alpha 7R is fi tted with a

36.4MP Sony Exmor CMOS chip. The

anti-aliasing fi lter has been removed

too in an effort to retain maximum

detail and sharpness. This is paired with

Sony’s latest BIONZ X processor, which

allows the 7R to reach a maximum

continuous shooting speed of 4fps in

Speed Priority Continuous mode.

Video capture at full 1080p resolution

is supported at a frame rate of either 60

or 24fps. An external microphone

socket is also included, as is a socket for

headphones to monitor audio. In

addition, the 7R offers both Wi-fi and

NFC technology, allowing users to

transfer images wirelessly from the

camera to a smartphone or tablet using

The Nikon D610 succeeds the D600,

bringing with it a modest range of

improvements: maximum burst speed

has been raised from 5.5fps to 6fps,

there’s now a new ‘Quiet Continuous’

mode that shoots at 3fps, while the

camera’s Auto White Balance has been

tweaked for improved colour under

artifi cial lighting and more realistic skin

tones. Despite the lack of big headline

improvements, the D610 still offers a

mightily impressive specifi cation. This

includes a high-resolution 24.3MP full

frame CMOS sensor with a native ISO

range of 100-6400 that can be

expanded to an ISO equivalent of

50-25,600.

The D610 is equipped with a

generous 39-point AF system, with the

SONY ALPHA 7R £1700

NIKON D610 £1800

CONS • AF points grouped a little too closely to the

centre • 10-pin and sync socket missing

PROS• Sensor delivers excellent results • AF performance is

very good • Handling • Ergonomics

KEYSPECS

SENSOR:



Fixed 3.2in, 921k dotsISO RANGE:

100-6400 (exp to 50-25,600)EXPOSURE MODES:

PASM, Auto, Scene, UserDRIVE MODE:

Single, Continuous, Self-timer, QuietMOVIE MODE:



850g

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

It wouldn’t be unreasonable to

be cynical about the D610, with

its very minor updates

suggesting a marketing fi x for

the somewhat tarnished D600.

While to some extent this may

be true, the D610 is still a

fantastic piece of kit. Very well

made with logical controls, the

D610 is a high-performing DSLR

that’s very tempting at the price.

BEST FOR

• Sports and action • Landscape photography thanks to high levels of detail • Those wanting a full frame camera at a relatively affordable price

V E R D I C T

CONS • AF performance not as

strong as Alpha 7 • Currently a limited native lens line-up

PROS• Fantastic image quality

• High-end resolution • Solid video specifi cation

• Robust build

KEYSPECS

SENSOR:

36.4MP Full frame Exmor CMOSFILE FORMATS:


Tiltable 3in, 921k dotsISO RANGE:

50-25,600EXPOSURE MODES:

PASM, iAuto, Superior Auto, Scene, PanoramaDRIVE MODE:



126.9 x 94.4 x 48.2mmWEIGHT:

407g body only

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

Although the Alpha 7R is more

expensive than the Alpha 7, if

you’re a landscape

photographer who needs the

extra resolution it’s a worthy

investment. There are some

reservations about the camera’s

focusing performance and

battery life, while the lens range

is limited, but it remains one of

the best CSCs on the market.

BEST FOR

• Those looking for the best detail possible in a small and lightweight body • Wi-fi and NFC • DSLR-like handling

V E R D I C T

B U Y E R ’ S G U I D E £ 1 7 0 0 - £ 1 8 0 0

GOLD

GOLD



NIKON D800 £2600

CANON EOS 5D MARK III £3000

balance and control fl ash exposure. The

system works very well, with exposure

consistently accurate, even in tricky

lighting conditions. The built-in

face-priority feature also impresses; our

portrait test shots showed that even

against a brightly backlit scene a

subject that would normally be left in

shadow was perfectly exposed. The

D800 takes some design cues from the

fl agship D4 model, with a much more

sculptured, plumper shape compared

to the D700 it succeeds. Build quality is

excellent, with the camera encased

within a weather-sealed aluminium alloy

case for extra protection. The handgrip

is given a tactile rubber fi nish to ensure

a secure grip, while the shutter button is

angled to make it more comfortable for

extended shooting sessions. Detail from

the 36.3MP sensor is phenomenal. If

you’re looking to produce high-quality

images, you won’t be disappointed. The

resolving power of the sensor when

paired with a premium quality optics

will deliver fi rst-class results that only a

medium-format camera can better. Low

ISOs deliver smooth results up to ISO

1600. At ISO 3200, some colour noise

begins to subtly creep into the image.

benefi ts from weather-sealing to keep

dust and moisture out. In Single

One-Shot AF, focus locks on very

quickly. You can use all 61 AF points if

you wish, using the joypad on the back

of the camera, or a combination of the

rear and front command dials. If you

don’t need to use all 61 AF points then

the number of active AF points can be

reduced to the 41 cross-type points,

along with 15 points or nine points. The

5D Mk III’s metering system copes well

under a range of lighting conditions,

though it can be guilty of

underexposure at times, which requires

a touch of exposure compensation

(typically +0.3EV or +0.7EV) in order to

get more balanced results. Images

generally display a pleasing and smooth

tonal range. The camera’s built-in

Highlight Tone Priority feature can be

used to further improve gradation in

brighter areas. Automatic White

Balance is also reliable, delivering

pleasing results under a range of

lighting sources both indoors and out.

Raw and JPEG images look similar at

low sensitivities. Image noise is very

well controlled in general, with images

up to ISO 1600 relatively noise-free.

The headline spec of the D800 is

undoubtedly its 36.3MP full frame

CMOS sensor. Not only does this enable

the D800 to produce large prints, it also

enables images to be aggressively

cropped without losing much detail.

Native sensitivity ranges from 100 to

6400, and can be extended up to an

ISO equivalent of 25,600. Continuous

shooting, meanwhile, maxes out at 4fps.

The D800’s 51-point AF system is

linked to the camera’s Advanced Scene

Recognition system, which employs a

91k-pixel RGB sensor – the same

module that’s used inside the pro-spec

D4. Not only does the RGB sensor

recognise the scene’s colours and

brightness to set the exposure, but is

also used to detect focus, set white

While resolution remains similar to that

of the EOS 5D Mk II, the 22.3MP CMOS

sensor inside the 5D Mk III is a

completely new design that employs

gapless microlenses for improved

light-gathering. This is paired with

Canon’s latest DIGIC 5+ image

processor – the same processor used

inside Canon’s fl agship EOS 1D-X. The

5D Mk III offers a native sensitivity

range of ISO 100-25,600 which can be

expanded to the equivalent of ISO

102,400. Continuous shooting,

meanwhile, maxes out at 6fps.

The optical viewfi nder is large and

bright and offers a 100% fi eld-of-view,

while the back of the camera is adorned

with a 3.2in, 1,040k-dot LCD display.

The body is constructed from high-

grade magnesium alloy, and further

CONS • Image noise

performance not as strong as some rivals • Demands

top-quality lenses

PROS• Impressive resolution

is best in class• Excellent handling and build quality

• Extensive features

KEYSPECS

SENSOR:




100-6400 (exp to 25,600)EXPOSURE MODES:

PASMDRIVE MODE:

Single, Continuous, Quiet, Mirror UpMOVIE MODE:



1,000g with battery and card

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

The D800 is slightly more

specialised than the D700. The

high ISO results means it loses

out to the competition, and the

frame rate can make it feel slow

when shooting action. These

minor negatives are, to an

extent, due to the camera’s

main appeal – its resolution. If

you’re prepared to make small

sacrifi ces, its results will impress.

BEST FOR

• Landscape photographers • Those looking for the best level of detail possible from a DSLR • Producing super-sized, high-quality prints

V E R D I C T

CONS • Expensive compared to some rivals • Very

occasional underexposure • No built-in fl ash

PROS • Excellent set of features

• Build quality is much better than Mk II • Great AF system• Video performance

KEYSPECS

SENSOR:




100-25,600 (exp to ISO 50-102,400)EXPOSURE

Modes: PASM, Auto+DRIVE MODE:



152 x 116.4 x 76.4mmWEIGHT:

950g body only

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

While the Mk II was more suited

to specifi c photographic

disciplines, the Mk III is a much

more well-rounded, versatile

DSLR, thanks to boosts in many

aspects of its performance. The

ISO improvements make the Mk

III one of the best cameras

around for shooting at high

sensitivities, while the detail

makes large prints a reality.

BEST FOR

• Those seeking a well-rounded, advanced DSLR • Shooting everything from detailed landscapes to portraits or action • High ISO shooting

V E R D I C T

B U Y E R ’ S G U I D E £ 2 6 0 0 - £ 3 0 0 0

GOLD

GOLD



CANON EOS 1DX £5300

NIKON D4S £5200

pentaprism viewfi nder that provides

100% frame coverage, together with a

3.2in, 1,040k-dot LCD display. The

overall build quality of the 1D X can’t be

faulted. Encased within an all-metal

body the 1D X further benefi ts from full

weather-sealing, allowing it to be used

on a daily basis in all kinds of inclement

weather. In use, the 1D X’s AF system

tracks subjects exceptionally well in AI

Servo mode, both in daylight and

fl oodlit lighting conditions. With a

high-speed memory card inserted we

managed to shoot a burst of 17

Raw+JPEG(L) fi les at 12fps. The

astonishing speed at which the EOS-1D

X shoots is one thing, but to be able to

process such a high volume of data at

the speed it does is remarkable.

Metering is all but faultless under a wide

range of conditions. With the 1D X set

to the evaluative pattern for most of

our shots, it produced pleasing levels of

detail in the brightest highlights. The

Auto White Balance setting renders

colour accurately, even at higher

sensitivities. Only at ISO 6400 and

above does noise become apparent.

Even so, results at ISO 25,600 and

51,200 remain usable.

3.2in, 921k-dot LCD remain unchanged

from the D4. In addition to the 30, 25

and 24p Full HD video recording

options offered by the D4, the D4S also

offers 60 and 50p capture options. The

D4S body is almost identical to the D4s,

with only subtle modifi cations made to

the buttons to improve handling. As

you would expect from a fl agship

pro-spec DSLR, the D4S is also fully

weather sealed. The D4S utilises the

same Advanced Multi-CAM 3500FX

system used in the D4 and its 51-point

3D tracking system is able to cope with

the fastest moving subjects. Metering is

also highly consistent and, in general

use, the D4S can be fully relied upon to

get exposure spot-on. The colours

produced by the D4S are realistic, while

the Auto White Balance delivers

accurate results in most situations.

Sensitivity performance impresses too,

with the D4S retaining pretty much the

same amount of detail at ISO 12,800 as

it does at ISO 100. Although there isn’t

a huge upgrade in general image

quality over the D4, the D4S does

deliver improved images at lower to

mid ISO settings. The D4S is a sublime

DSLR for the pros it’s designed for.

The EOS-1D X resides at the top of

Canon’s DSLR line, where it’s joined by

the similar but video-leaning EOS-1DC

model. Mirroring Nikon’s D4 release, the

1DX combines a high-resolution 18.1MP

sensor with a rapid burst rate to

produce an all-round DSLR designed

for professional use. The 1D X employs

not one but two powerful DIGIC 5+

image processors in tandem, which

enables the camera to shoot at up to

12fps in its standard continuous setting,

or 14fps in a JPEG-only option.

There’s also a 61-point High Density

Reticular AF system which is claimed to

be the most advanced yet on an EOS

camera. Other notable features include

Full HD video recording and a

The D4S is to the D4 what the D3S was

to the D3 – an update that takes the

best features from its predecessor and

builds on them to produce a premium-

grade DSLR for professional

photographers. Continuous shooting

speed has been increased to 11fps, but

more impressive is that the D4S has the

processing power to maintain the 11fps

rate for up to 104 consecutive 14-bit

Raw images, or 200 fi ne large JPEG

fi les. Although it inherits the same

16.2MP full frame CMOS sensor used in

th e D4, the D4S provides a new ‘Hi4’

extended ISO setting that’s equivalent

to ISO 409,600.

The 91k-pixel metering system and

CONS • Weight • No 4K video

support

PROS• High ISO performance • Improved continuous

shooting • Enhanced video performance

KEYSPECS

SENSOR:

16.2MP (full frame)FILE FORMATS:


3.2in LCD, 921k dotsISO:

100-25,600 (exp. to ISO 50 and 409,600)EXPOSURE MODES:

PASMDRIVE MODE:

Single, Continuous, Quick, Self-timer, Mirror UpMOVIE MODE:


160 x 156.5 x 90.5mmWEIGHT:

1,350g

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FEATURES

PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

Although the D4S doesn’t

deliver a huge upgrade in

general image quality over its

predecessor, images shot at

lower to mid ISO settings do

look slightly better. This along

with a slightly faster burst mode

and some improvements to AF

performance help to make the

D4S a complete package for the

professional photographer.

BEST FOR

• Professional photographers looking for a dependable workhorse • Sports and action photographers • Photographers who regularly shoot in low light

V E R D I C T

CONS • Star rating not as

intuitive as on EOS 5D Mark III • No movie

button

PROS• Solid build • Brilliant AF

system • Astonishing burst shooting

KEYSPECS

SENSOR:


JPEG, Raw, Raw+JPEG DISPLAY:



PASMDRIVE MODE:

Single, Continuous, Self-t imer, SilentMOVIE MODE:


158 x 163.6 x 82.7mmWEIGHT:

1,340g

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PERFORMANCE

DES IGN

IMAGE QUALITY

VALUE

What Canon has achieved with

the EOS-1D X is remarkable. The

way it controls noise to produce

acceptable results even at ISO

12,800 and 25,600 is extremely

impressive. Then there’s the

speed at which it shoots and

processes images, which sets a

new benchmark for

professional-grade DSLRs.

Overall, it’s a fantastic camera.

BEST FOR

• Professional photographers and well-heeled enthusiasts • Action and sports photographers• Low-light situations

V E R D I C T

B U Y E R ’ S G U I D E £ 5 2 0 0 - £ 5 3 0 0

GOLD

GOLD




Anything with a

fi xed lens is, in

essence, a compact

camera. This

covers models that

can fi t in a pocket through to

those with huge optical zooms.

Since there’s such a wide range

of options it’s worth paying

attention to the feature lists,

because these often have a huge

impact on the aesthetics.

The more traditional shape of

compact camera is wider than it

is tall, and can fi t into a pocket

quite easily. The feature set can

differ quite wildly between

models, from those with

large, touchscreen displays to

those with wideangle lenses,

or the ability to withstand the

cold and rain.

At the budget end, factors

such as the zoom range, LCD

screens and design are quite

basic. Batteries are often

lithium-ion rechargeable options

(some still use AA alternatives)

but a decent model can be

picked up for under £100. This

There are tough, long zoom, fi xed lens and manual control compact

cameras to choose from, so which type is best for you?

J A R G O N B U S T E R

PRICE RANGE

The amount of cash you want to

spend makes a vast difference

to the functionality and image

quality you’ll get. The prices can

range from £60 to £2,600 with the

likes of long zooms, HD movie

recording, the ability to be used

underwater and manual controls

being introduced in between.

CAMERA TYPE

Selecting the type of camera you

want revolves to some extent

around the feature set. For

example, if a zoom longer than

20x is needed a bridge model will

be required, whereas if it needs

to be capable of withstanding a

drop or going underwater then a

tough camera will be required. An

average compact will be fi ne for

taking a decent snap, but more

specifi c usages might need a

more involved camera.

MEGAPIXELS

The number of megapixels

may be a focal point for some

consumers, but by no means is

it the only element to consider

when buying a camera. Higher-

resolution sensors may have the

capacity to produce a detailed,

high-quality digital image, but

without a decent lens in front of

it and decent processing engine

behind it the extra pixels are all

but useless.

LENS QUALITY

The optical quality of a lens

makes just as much of an impact

on image quality as the number

of megapixels, making it all the

more important as a feature.

MANUAL CONTROLS

Unlike with DSLRs and

CSCs, manual controls aren’t

commonplace on compact

cameras, meaning you may have

to seek the features out or pay a

touch extra.

HD VIDEO

High-defi nition video is fast

becoming commonplace among

even cheaper compact cameras. If

you’d like to capture high-quality

movies be sure to look out for the

movie mode, as anything below

720p won’t be considered HD.

BUILD QUALITY

The more you spend on a camera,

the better the build is likely to be.

A sturdier camera can withstand

far more bashing around than

a fragile plastic body, although

if you’re really concerned about

damage a ‘tough’ camera may be

worth considering. These models

are built to withstand being

thrown, submerged in water and

frozen, among other things.

ACCESSORIES

Some compacts can accept

waterproof housings, lens

converters, external fl ashguns

and GPS units, so investigate

these options beforehand if you

imagine you’ll want to expand

your system in the near future.

dunked underwater and frozen,

which makes them perfect for

extreme sports.

Heading toward the upper end

brings about the large optical

zoom ranges, huge displays (up

to 4.8in), and full manual controls.

Some models, such as the Fujifi lm

X100S and Canon PowerShot

G1 X, even offer a larger sensor to

improve image quality.

Bridge cameras, also called

‘superzoom’ models, are aimed

almost entirely at providing the

user with the largest possible

zoom in a fi xed-lens camera. The

bodies are thus quite bulky,

looking like a reduced-size DSLR

with a large grip and an electronic

viewfi nder.

Some compacts, especially the

more expensive ones, offer a

fi xed lens not a zoom lens.

Although this gives the camera

the best possible optical quality

(as the lens is only optimised for a

single focal length, and indeed, a

single sensor too) the lack of

optical zoom does make them far

less versatile.

makes the lower end of the

market perfect for younger users

or as Christmas or birthday gifts.

Head up a price band and you’ll

fi nd that longer optical zooms,

larger screens and manual

controls become more

commonplace. Lithium-ion

batteries are also virtually

assured, alongside a more solid

build, while the likes of GPS

– in order to tag

images by

location – also begin to appear.

At this price range ‘tough’

cameras also become available.

Although outwardly they look

quite similar to a standard model,

these compacts are able to stand

up to being dropped from a

height onto a hard surface,

p108-109 compacts explained OCT14 MT.indd 74 14/08/2014 16:07


C O M P A C T S £ 2 6 0 - £ 3 5 0

CONS • Price

• Fiddly controls• Expensive

add-on lenses

PROS• Fast start-up

time• Creative fi lters

• Battery life

KEYSPECS

SENSOR

16MPLENS

25-100mm (f/2-4.9)DISPLAY

3in, 460k dotsISO RANGE

100-6400BURST MODE

5fpsDIMENSIONS

112 x 66 x 31mmWEIGHT

247g

The TG-3 follows on from

the excellent TG-2 and

boasts a 16MP sensor, 4x

optical zoom (25-100mm)

and an impressive f/2.0

maximum aperture.

Submersible to depths of

15m, it can withstand falls

of 2.1m onto hard surfaces

and temperatures down to

-10˚C. Interesting features

include a 1cm microscope

macro function, focus

stacking and inbuilt GPS

for location tagging. With

regards to its build, it’s

solid and robust as you’d

expect, but some buttons

such as the zoom are hard

to operate when gloves

are worn. The interface is

excellent and provided the

camera is used in bright

conditions, focusing is fast

and accurate. A burst of

high-resolution images can

be rattled off at 5fps and

we were very impressed

by its battery life. The lens

and sensor record a good

level of detail, however we

did experience issues with

the metering system that

over-exposed by around

half a stop. It has Wi-fi

connectivity, but it does

cost quite a lot more than

its closest rivals.

OLYMPUS STYLUS TG-3 £350

CONS • Expensive EVF

• Not many improvements on predecessor

PROS• Focal range

• Solid performance

• Good handling

With a 30x optical zoom

lens covering an extensive

focal range of 24-720mm,

the HX60 makes a great

companion for travel and

boasts a 20.4MP Exmor

CMOS sensor like its

predecessor. Performance

speeds are three times

faster however thanks to

the inclusion of Sony’s

latest Bionz-X image

processor, plus there’s

support for Sony’s

PlayMemories where users

can add extra functionality

to the camera by installing

various apps. There’s no

inbuilt EVF, but the multi

interface shoe does allow

Sony’s EV1MK viewfi nder

to be attached, and there’s

Wi-fi connectivity too.

The body also features

an ergonomic feel thanks

to the presence of a nicely

rubberised hand grip. The

top-plate has a dedicated

exposure compensation

dial to give it an advanced

feel and it’s a camera that

certainly feels up to the

rigours a travel camera

might face.

Image quality improves

over the HX50 at high ISO,

but there is a tendency for

it to underexpose slightly.

KEYSPECS

SENSOR

20.4MPLENS

24-720mm f/3.5-6.3 DISPLAY

3in, 920k-dot ISO RANGE

80-3200 (exp. to 12,800) BURST MODE

10fps DIMENSIONS

108.1 x 63.6 x 38.3mmWEIGHT

246g

£320SONY CYBER-SHOT HX60

CONS • Price • Lens performance

• Only available in blue

PROS• Improved underwater

depth • Handling

KEYSPECS

SENSOR

12.1MPLENS

28-140mm f/3.9-4.8DISPLAY


100-3200BURST MODE

1.9fpsDIMENSIONS

109.4 x 68 x 27.5mmWEIGHT

218g

£260

The D30 shares many

features with the D20,

including the 12.1MP BSI

CMOS sensor, 5x zoom,

3in, 461k monitor, even the

same DIGIC 4 processor.

The main difference is the

depth below water at

which it can be used; it

survives use down to 25m

and withstands a drop

from 2m. The styling is a

lot more conservative with

a fl atter top panel. It’s

easier to grip and use

one-handed, while the

heavily textured grips on

the front and rear are a

noticeable improvement.

Made of solid high-density

plastic with a façade of

aluminium, it offers fast,

accurate focusing in good

light with a GPS system

that works well. Images

can look a touch under-

saturated, but switching to

Vivid colour mode gives

richer results, while the

12MP produces a good A3

print. The weak link is the

lens – there is chromatic

aberration towards the

corner of the frame.

Compared to its rivals, it

looks good, but for the

asking price we’d expect

better image quality.

CANON POWERSHOT D30

CONS • LCD scratches easily • Images

can lack vibrancy underwater

PROS• Image quality

• Build and handling • Wi-fi ,

NFC and GPS

KEYSPECS

SENSOR

16.1MP LENS


3in LCD, 460k dotsISO RANGE

100-3200 (exp. to ISO 6400 equivalent)BURST MODE

10fps DIMENSIONS

109.2 x 67.4 x 28.9mmWEIGHT

188g (incl battery and card)

£300

Despite a similar design to

its FT4 predecessor the

FT5 promises to improve

things, with a 16MP sensor

taking the place of the

previous 12.2MP one, and

also both Wi-fi and Near

Field Communication

functionality. There’s also

GPS on hand to geotag

images, while Optical

Image Stabilisation is

integrated into the lens to

steady handheld shooting.

Panasonic claims the

camera to be waterproof

to a depth of 13m, as well

as droppable from a

height of 2m and

freezeproof down to

temperatures as low as

-10˚C. Testing verifi ed

these claims, with the

camera fi ring into life

almost straight out of the

freezer, surviving a drop,

and remaining operable

underwater.

Focusing performance

underwater proved strong,

even if colour saturation

was slightly muted. In drier

conditions we found

images characterised by

rich colour and clearly

defi ned details which only

started to soften at around

ISO 800.

PANASONIC LUMIX FT5

RECOMMENDED

GOLD

RECOMMENDED

RECOMMENDED

p75 Compacts buyers Oct WDC MTjp.indd 75 08/08/2014 16:28


C O M P A C T S £ 3 5 0 - £ 4 4 0

CONS • LCD awkward to

pull away• Noise reduction

PROS• Good AF

performance• Constant f/2.8

aperture

KEYSPECS

SENSOR

12.1MPLENS

25-600mm f/2.8DISPLAY

3in swivel LCD, 460k dotsISO RANGE

100-6400BURST MODE

12fps DIMENSIONS

125.2 x 86.6 x 110.2mmWEIGHT

588g

£440

The FZ200 boasts

something quite

remarkable: a 25-600mm

lens with a constant f/2.8

aperture. This is paired up

with Panasonic’s Power

O.I.S. system, with a 12.1MP

sensor behind this

capturing Raw and JPEG

images in addition to full

HD video.

The camera’s grip has a

pleasing rubber-like

texture, while the buttons

are plentiful and the build

quality satisfactory. The

1.3m-dot viewfi nder is also

an excellent performer,

although the articulated

display is a little awkward

to pull out from the

camera’s body.

The camera focuses

quickly and accurately at

both ends of the zoom,

and write times are better

than expected too.

Images display accurate

exposure and consistent

white balance, although

some may prefer colours

more optimised than the

neutral ones produced.

There’s little distortion

at the wide end of the lens,

although noise reduction

does leave images with

a texture.

PANASONIC LUMIX FZ200£400

It’s hard not to be

impressed by what the

HX300 offers, with its

20.4MP backlit sensor, 50x

optical zoom, electronic

viewfi nder and a tiltable

LCD screen standing out

of the spec sheet. There’s

also manual control over

exposure and full HD

video, although a Raw

option is not supported.

The design of the top-

plate is awkward, in that

the power and Finder/LCD

buttons don’t protrude far

enough from the plate’s

concave profi le for them

to be easily pressed. Still,

the viewfi nder presents a

clear and detailed feed,

with the LCD screen only

coming unstuck in bright

conditions, while the AF

system is generally prompt

enough in most situations.

The camera’s metering

system is sound, while

colours are, on the whole,

reproduced accurately.

The only sore point comes

when examining images at

their full resolution, where

the effects of noise and

noise reduction make

themselves known.

CONS • Noise and noise reduction • Some

design issues• No Raw

PROS• Viewfi nder• Great video• Deep grip•Prompt AF

SONY CYBER-SHOT HX300

KEYSPECS

SENSOR

20.4MPLENS

24-1200mm f/2.8-6.3DISPLAY

3in swivel LCD, 921k dotsISO RANGE

80-12,800BURST MODE

10fpsDIMENSIONS

129.6 x 93.2 x 103.2mmWEIGHT

650g

CONS • Aggressive

noise reduction• EVF a touch

underspecifi ed

PROS• EVF addition

• Wi-fi performance

• Raw capture

KEYSPECS

SENSOR

18MPLENS



100-6400BURST MODE

10fpsDIMENSIONS


214g

£350

Whereas the TZ60’s

predecessor – the TZ40

– featured a reasonable

20x optical zoom, the new

model increases the zoom

by some 50%, sporting a

30x optic covering a focal

length of 24-720mm.

The 18.1MP sensor it

employs is teamed up with

a Venus Engine Processor,

which allows it to shoot at

up to 10fps, albeit for only

six frames. Completing the

comprehensive spec is an

electronic viewfi nder, NFC

and Wi-fi functionality.

The TZ60 benefi ts from

a ring around the front of

the lens that operates as a

secondary control input.

The camera’s shell has also

been upgraded to make it

stronger, and the textured

hand grip gives the TZ60

a premium feel in the

hand. While AF speeds are

improved at the long end

of the zoom, it’s a touch

sluggish to lock-on in

low-light situations. It’s

undoubtably one of the

best travel zooms on the

market and thanks to the

inclusion of the EVF, Raw

capture and enhanced

build quality it’s enough to

improve on its forerunner.

PANASONIC LUMIX TZ60

GOLD

GOLD

CONS • Premium price

• Slow performance at

high ISOs

PROS• Great design

• Wide-aperture lens

• Raw mode

KEYSPECS

SENSOR

12MPLENS



100-12,800BURST MODE

7fpsDIMENSIONS

107.9 x 61.5 x 33mmWEIGHT

225g

The XF1 sports a matt

aluminium chassis and a

distinctive leather band

around its body, with a

12MP sensor and

25-100mm lens inside.

Raw shooting is on

hand, as is full manual

control over exposure and

full HD video recording, all

of which is powered by

the company’s EXR

processor.

The manual zoom lens

can be easily and quickly

rotated into the body,

although powering it up

from its fully off,

pocketable position does

delay the model’s start-up

speed somewhat.

Thankfully, focus is not

only fast for a camera of

the XF1’s class, but it’s

intuitive enough to fi nd

the correct subject when

in its multi-pattern mode.

Image quality impresses

on many fronts, with a

wide dynamic range

helping to retain detail in

both shadows and

highlights and respectable

high ISO performance too.

A minor criticism concerns

the camera’s metering

system, which occasionally

underexposes.

FUJIFILM XF1 £380

GOLD

p76-77 Compacts buyers Oct WDC MTjp for Simon.indd 76 08/08/2014 16:43


C O M P A C T S £ 4 5 0 - £ 5 0 0

CONS • Noise reduction• Exposure comp dial gets easily

knocked

PROS• Excellent

low-ISO detail • Prompt AF• Solid build

KEYSPECS

SENSOR

12MPLENS

28-112mm f/2-2.8DISPLAY

2.8in LCD, 460k dotsISO RANGE


12fpsDIMENSIONS

117 x 69.6 x 56.8mm WEIGHT

353g

The X20 sports a 12MP

X-Trans CMOS II sensor

and a new panel inside

the optical viewfi nder to

display exposure

information.

Other changes include

phase-detect pixels on the

sensor to assist in

focusing, as well as a new

EXR II processor to reduce

start-up and AF times,

although the camera

retains its 28-112mm

f/2-2.8 manual zoom lens.

The body makes use of

die-cast magnesium for

solidity, but at just 353g it

isn’t weighty.

The X20 powers up and

down with practically no

delay, and focusing speeds

are excellent even against

low-contrast subjects.

Images from the camera

are, on the whole, pleasing,

largely thanks to sound

metering, appropriate

colour and (in JPEGs) fi ne

contrast. Distortion is

pleasingly minimal, and

detail is superb at low

sensitivities.

Overall, despite a few

minor issues, the X20 is

one of the best enthusiast

compacts with an optical

viewfi nder.

FUJIFILM X20 £500

CONS • Slow

performance•Complicated controls • Size

PROS• Fast zoom lens

• Build •Articulated LCD

• Mic port

The P7800 has the same

1/1.7in 12.2MP back-side

illuminated CMOS sensor

as the P7700, and the

same 7.1x zoom lens. It

also sports an articulated

3in, 921k-dot screen.

One new feature is the

electronic viewfi nder. It’s

quite a nice device, with a

921k-dot 0.5in screen,

however the downside is

the picture quality, which

doesn’t match the colour

balance of the LCD, and

appears overexposed.

Adding the viewfi nder

has meant the removal of

a control dial for ISO,

bracketing and other

functions. It’s replaced by

a button that brings up a

menu, but both are poorly

placed and complicated.

From a cold start the

P7800 takes 2.5 seconds

to turn on and take a

picture – slower than the

G16. In Raw+JPEG mode,

loaded with a Class 10

SDHC card, the shot-to-

shot time is over fi ve

seconds. Things are also

problematic at the long

end of the zoom, where

the autofocus will often

hunt around before

focusing when in low light.

KEYSPECS

SENSOR

12.2MP LENS

28-200mm, f/2-4DISPLAY

3in, 921k-dot, fully articulated ISO RANGE

ISO 80–6400BURST MODE

8fpsDIMENSIONS

118.5 x 77.5 x 50.4mm WEIGHT

399g

£500NIKON COOLPIX P7800

CONS • Quite pricey compared to

rivals• Battery life

PROS• Versatility

• Touchscreen• Performance

• Wi-fi

KEYSPECS

SENSOR

12.1MPLENS


3in, 922k-dot touchscreenISO RANGE

80-12,800BURST MODE

12.1fpsDIMENSIONS

100.2 x 59 x 29mmWEIGHT

217g

£450

The S120 has a very similar

range of features to the

larger PowerShot G16 (see

p78), with the same 1/1.7in

back-illuminated 12.1MP

CMOS sensor, DIGIC 6

processor, and a similar

3in display. The S120

features a 5x 24-120mm

zoom, optical lens-shift

image stabilisation and an

automatic lens cover.

The S120 is a beautiful

example of understated

design; the unassuming

body is strong and

functional. Performance is

very good. The S120 is

capable of fi ve frames at

12.1fps, which then drops

to 5.5fps. Images are well

detailed and, up to ISO

800, virtually noise-free.

The major difference

between the G16 and the

S120 is the lens. The S120’s

isn’t quite as good as the

G16’s, but it’s not at all bad.

Centre sharpness is

excellent, and corner

blurring is minimal. There

is no visible chromatic

aberration, but some

purple fringing is caused

by sensor charge leakage

in high-contrast areas.

CANON POWERSHOT S120

CONS • Screen bettered

by rivals• Occasional

overexposure

PROS• Refi ned design• Little distortion

• Bright lens

KEYSPECS

SENSOR

10.1MPLENS



80-12,800BURST MODE

11fpsDIMENSIONS

110.5 x 67.1 x 45.6mmWEIGHT

298g

£450

With the LX7 Panasonic

has opted for a newly

designed 1/1.7in 10.1MP

sensor with a standard

ceiling of ISO 6400, and

an ISO equivalent to

12,800 at a reduced

resolution.

The 24-90mm lens in

front of the sensor boasts

a maximum aperture of

f/1.4 at its widest focal

length, and there’s also an

ND fi lter with three-stop

fi ltration, together with AF

Tracking and Raw capture.

Thanks to its

predominantly metal

exterior fi nish, the LX7

retains the same high-end

quality feel as the LX5,

with the revised hand grip

providing a nice and

comfortable hold.

With images, the LX7

delivers pleasing

exposures most of the

time, just occasionally

overexposing, while its

AWB system only errs

now and again with the

odd colder cast. The lens is

nice and sharp too, with

minimal distortion at the

wide end, and while it

can’t match the Sony

RX100 for noise control, it

still does reasonably well.

PANASONIC LUMIX LX7

GOLD

GOLD

GOLD

p76-77 Compacts buyers Oct WDC MTjp for Simon.indd 77 08/08/2014 16:45


C O M P A C T S £ 5 0 0 - £ 7 5 0

£750

The inclusion of a 1in

20.1MP MOS sensor and

impressive 16x optical

zoom (25-400mm) puts

the FZ1000 a cut above

many compact cameras.

Its Leica DC optic is a nice

and bright lens (f/2.8-4.0),

while it’s claimed to be

275% faster than the

FZ200 when it comes to

focusing. The headline

feature is the inclusion of

4K video, which is four

times the resolution of full

HD. It’s possible to grab

8MP stills from video

footage, while in the hand

it feels tough without

being bulky. Regrettably

there’s no touchscreen,

but the LCD can be fully

articulated. The quality of

the EVF (2.36 million-dot)

is superb and the addition

of Wi-fi will satisfy those

who want to transfer

images wirelessly. Detail

and noise is handled well

up to ISO 1600, beyond

which JPEGs deteriorate

due to noise reduction. It’s

up there as one of the best

and most enjoyable bridge

cameras to use, and will

appeal to most hobbyists.

CONS • Proliferation

of buttons may intimidate novice

photographers

PROS• 4K video

capture• Wi-fi

• Build quality

PANASONIC LUMIX FZ1000

KEYSPECS

SENSOR

20MP (1in)LENS

16x (25-400mm)DISPLAY


125-12,800 (exp. to 50-25,600)BURST MODE

12fpsDIMENSIONS


831g

CONS • Fixed monitor

• Small viewfi nder

• Zoom coverage

PROS• Performance• Image quality

• Build • Features• Wi-fi

KEYSPECS

SENSOR

12.1MPLENS

5x optical zoom (28-140mm) DISPLAY

3in, 922k dots ISO RANGE


12.2fpsDIMENSIONS

108.8 x 75.9 x 40.3mm WEIGHT

356g

£530

The G16 is an incremental

development from the G15,

but what’s surprising is

how few new features

there are. It retains the

same optically stabilised

5x zoom f/1.8-2.8 lens

(equivalent to 28-140mm).

Also carried over is a

fi xed 3in, 922k-dot screen,

but the new DIGIC 6 image

processor is claimed to

offer a 50% increase in

focus speed, enhanced

JPEG processing and

improved noise reduction.

The key new feature the

G16 adds is Wi-fi . Installing

the Canon CameraWindow

app onto iOS or Android

handsets opens up the

opportunity to copy and

share images, as well as

add GPS location data.

The G16 can start up,

extend the lens, focus and

take a picture in 1.8secs. In

continuous shooting mode

it’s fast too, capable of

shooting at 12.2fps in JPEG

mode for fi ve frames.

If you’re looking for an

advanced compact for

hobby photography, or as

a lighter camera to use

alongside your DSLR, then

it remains one of the best

choices on the market.

CANON POWERSHOT G16 £550

CONS • Chromatic

aberration in wideangle, wide-

aperture shots

PROS• Design

• Performance• Viewfi nder

• Versatile • Wi-fi

KEYSPECS

SENSOR

12MPLENS

10.7x optical zoom (28-300mm)DISPLAY

3in, 1.04m dotsISO RANGE


7fpsDIMENSIONS

116 x 87 x 56.5mmWEIGHT

402g

With a design sharing

similarities to Olympus’s

OM-D series, the Stylus 1

bristles with complex-

looking controls. Behind

the respectably fast 10.7x

optical zoom (equivalent

to 28-300mm) that has a

fi xed f/2.8 aperture across

the range, lies a 1/1.7in

back-side illuminated

CMOS sensor. The 3in,

1.04million-dot monitor is

also exceptionally good,

though the touchscreen

is only used for focus

point selection, touch-

shutter release and a few

simple tasks.

Wi-fi enables users to

connect a suitable Android

or iOS device, while the

EVF with a resolution of

1.44 million dots impresses.

In terms of image quality

it’s a match for its rivals

and though image noise is

visible from about ISO

800, it is well controlled,

with consistent exposure

and colour reproduction

being maintained up to

ISO 3200. The Stylus 1’s

Achilles’ heel is its lens that

does suffer from

chromatic aberration,

particularly in wideangle,

wide-aperture shots.

OLYMPUS STYLUS 1

GOLD

GOLD

CONS • Lacking ability

to manually select AF points on rear screen

PROS• Addition of EVF

• Increased maximum aperture

KEYSPECS

SENSOR

20.2MP (1in)LENS

2.9x optical zoom (24-70mm) f/1.8-2.8DISPLAY

3in, 1.22m dotsISO RANGE

125-12,800 (exp. to 25,600)BURST MODE

10fpsDIMENSIONS

101.6 x 58 x 41mmWEIGHT

290g

£750

Improving where the

RX100 II left off, the RX100

III benefi ts from a number

of key features. Although

the lens covers a shorter

focal range of 24-70mm,

the maximum aperture

now spans between f/1.8

at the wide end and f/2.8

at full telephoto. Retaining

the same 20.2MP 1in chip,

the sensor is paired with a

new Bionz processor, but

perhaps most interesting

is the addition of an inbuilt

EVF – a fi rst on an RX100

model. It’s innovative in its

implementation, popping

up from the body much

like a fl ash unit and boasts

an impressive 1.3-million-

dot resolution. The design

has resulted in the loss of

the Multi-Interface shoe, so

a fl ashgun can no longer

be attached, but it does

feature its own pop-up

fl ash. Though it could be

argued the additions are

incremental rather than

revolutionary, it’s a

compact that continues to

get better and better. If

you’re after a pocket

compact that delivers

superb results and one of

the best specifi cations,

you should look no further.

SONY CYBER-SHOT RX100 III

GOLD

p78-79 Compacts buyers Oct WDC MTjp.indd 78 08/08/2014 17:00


C O M P A C T S £ 7 5 0 - £ 2 6 0 0

CONS • AF can hunt• Battery life

• Some aliasing artefacts

PROS• Detail

• Solid build• Low noise

• Excellent LCD

KEYSPECS

SENSOR

24.3MP LENS 35mm f/2DISPLAY

3in LCD, 1,228m dotsISO RANGE

100-25,600 (exp. to ISO 50 and 102,400 equivalent)BURST MODE

2.5fps (exp. to 5fps)DIMENSIONS

113.3 x 65.4 x 69.9mm WEIGHT

482g

The Sony RX1 is the

world’s fi rst full frame

compact camera, marrying

a 24.3MP full frame sensor

with a 35mm Zeiss lens

that has a fast f/2

maximum aperture.

Details picked up by the

lens are nothing short of

magnifi cent, and while

some may lament the lack

of a zoom lens, others will

appreciate the Sony RX1’s

high image quality that

can no doubt be largely

attributed to its prime lens.

While it’s true that it’s

expensive, it’d be hard to

fi nd a full frame DSLR and

optic of equivalent

performance for less. Its

compact size and

reasonably discreet styling

means it also presents a

real advantage over full

frame DSLRs with similar

lenses; for the reportage

photographer in particular.

With a superb build,

excellent detail retention

at low and high

sensitivities and

competent metering and

auto white balance

systems on hand, it’s

unquestionably one of the

fi nest digital cameras

we’ve seen yet.

SONY CYBER-SHOT RX1 £2600

CONS • Pricey

• AF could be faster

PROS• Superb lens

• Hybrid viewfi nder• Handling

The X100S picks up from

where its predecessor, the

X100, left off, with over 70

improvements said to

have been made.

The most notable

update is the sensor, and

the addition of the 16MP

X-Trans CMOS sensor

coupled with the

high-quality fi xed prime

delivers fantastic results.

The AF has improved

thanks to the addition of

the phase-detect pixels,

but it’s still not quite as

quick as we’d like.

It may not be as

pocket-sized as some of

its rivals, but the extra bulk

is worth it for the excellent

(and improved) Hybrid

viewfi nder. The bulk is

even more managable

when married with the

tactile controls and

no-fuss handling, making

the X100S a pleasure to

shoot with.

While it may not appear

to be a massive leap from

the X100, the X100S has

improved in most of the

areas it needed to while

keeping the charm that

made us fall in love with

the Fujifi lm X100 in the

fi rst place.

KEYSPECS

SENSOR

16.3MP LENS

35mm f/2DISPLAY

2.8in LCD, 460k dotsISO RANGE

200-6400 (exp. to ISO 100 and 25,600 equivalent)BURST MODE

5fpsDIMENSIONS

126.5 x 74.4 x 53.9mmWEIGHT

445g

£1100FUJIFILM X100S

CONS • No EVF • Pricey

• AF speed

PROS• Solid build

• Image quality• Connectivity

KEYSPECS

SENSOR

12.8MP LENS

24-120mm f/2-3.9DISPLAY

3in, 1,040k-dot touchscreenISO RANGE


5.2fpsDIMENSIONS

116.3 x 74 x 66.2mmWEIGHT

558g

£750

Retaining the same 1.5in

CMOS sensor from its

predecessor, the G1 X Mark

II has a 12.8MP resolution

and 5x optical zoom

covering 24-120mm.

The lens benefi ts from

an improved maximum

aperture of f/2 and its

DIGIC 6 image processor is

implemented to cut down

on shutter lag by over

50%. Though the

viewfi nder has been

dispensed with (optional

EVF is available), there is

an impressive touchscreen

3in 1,040k-dot LCD which

is a hinged vari-angle type.

As well as Wi-fi and NFC,

there’s a pop-up fl ash and

built-in 3-stop ND fi lter.

While the new lens focuses

more closely, the battery

life remains disappointing,

the handgrip looks like an

afterthought and the AF

system can’t compete with

the speed of some rivals.

Detail is impressive, but for

the price there are better

premium compacts that

can fi t the pocket and

have an EVF – two key

areas where the G1 X Mk II

misses the mark.

CANON POWERSHOT G1X MK II

CONS • Eye-watering

price-tag

PROS• Impressive lens

• Complete feature-set

• Great images

KEYSPECS

SENSOR

20MPLENS

24-200mm f/2.8 DISPLAY

3in, 1,290k dotSISO RANGE


10fpsDIMENSIONS


813g

£1049

The Sony RX10 is one of

the most expensive bridge

cameras on the market,

but features a specifi cation

to match its hefty price. It

has the same 1in sensor as

the RX100 II, combined

with a Carl Zeiss

24-200mm lens with a

fi xed maximum aperture

of f/2.8. The premium

specifi cation is further

signifi ed by some seriously

impressive LCD and EVF

technology. The

viewfi nder is the same as

that on the premium Sony

Alpha 7, meanwhile the

screen measures 3in and

features a class-leading

resolution of 1.229m-dots.

The RX10 produces

images that are well

saturated with a bright

colour palette and a good

level of contrast. At the

base ISO of 100 the sensor

resolves to around

27 lpmm (lines per mm)

and it’s not until ISO 3200

where noise really

becomes an issue. The

RX10 offers a whole lot of

camera for the price-tag

and is worth serious

consideration as it is

probably the best bridge

camera we’ve ever tested.

SONY CYBER-SHOT RX10

GOLD

GOLD

GOLD

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LISTINGS

Canon EOS 1200D p65 £450kit

06/14 4HEntry 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 l l 3in 500 129.6 99.7 78 480g

Pentax K-500 p64 £450kit

10/13 4HStripped-down version of K-50 without weather sealing boasts 100% glass prism viewfnder; uses AA batteries 16.3MP Pentax 51,600 1080p 11 6 100 l 3in 410 130 97 71 646g

Sony Alpha 58 - £450kit

07/13 4HReplacement for A57 boasts Bionz image processing engine, OLED viewfnder, plus 20MP sensor – up from 16MP 20.1MP Sony 16,000 1080p 15 5 100 l 2.7in l 690 129 95.5 78 492g

Canon EOS 1100D - £500kit

06/11 4HWhile the 1100D doesn’t offer the most advanced spec for a DSLR in its class, it’s a solid performer for the price 12.2MP Canon 6400 720p 9 3 95 l 2.7in 700 129 99 78 495g

Nikon D3300 p65 £600kit

04/14 4.5HNikon’s new entry-level DSLR is smaller than previous offerings while a sensor with no anti-aliasing flter means detail is high 24.2MP Nikon 25,600 1080p l 11 5 95 l 3in 700 124 98 75.5 460g

Pentax K-30 - £600

kit03/14 4H

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 l 3in 410 96.5 128.5 71.5 660g

Pentax K-50 - £600

kit10/13 4.5H

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 l 3in 410 130 97 71 650g

Nikon D3200 - £650kit

07/12 4.5HWith a 24MP sensor and excellent Guide mode, this is the perfect entry-level DSLR. Wi-f & GPS optional 24.2MP Nikon 12,800 1080p l 11 4 95 l l l 3in 540 125 96 76 505g


07/13 4.5HBilled 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 l 9 4 95 l l 3in 380 117 91 69 407g

Nikon D5200 - £720kit

03/13 4.5HInspired by the D5100 and D7000, the D5200 has a vari-angle LCD, 24MP sensor and HD video. Wi-f & GPS optional 24.1MP Nikon 25,600 1080p l 39 5 95 l l l 3in l n/a 129 98 78 555g


09/12 4.5HStill current in the company’s DSLR range, this semi-pro design packs in an 18MP CMOS sensor and a vari-angle screen 18MP Canon 25,600 1080p l 9 5 96 3in l 1,100 145 106 79 755g

Canon EOS 700D p66 £750kit

Web Only 4.5H

Update to 650D comes bundled with a new 18-55mm STM kit lens, that promises improved movie AF. GPS & Eye-f optional 18MP Canon 12,800 1080p l 9 5 95 l l l 3in l 440 133 100 79 580g

Sony Alpha 65 - £790kit

02/12 4.5HFeaturing the same sensor as the A77, the A65 can rattle off 10 frames per second and has a crisp electronic viewfnder 24.3MP Sony 16,000 1080p l 15 10 100 l l 3in 440 132 98 81 543g

Nikon D5300 p67 £830kit

01/14 4.5HUpdate 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 l 23 5 95 l l l 3.2in l 700 125 98 76 530g

Pentax K-5 II p67 £870kit

03/13 4.5HLatest update to K-5 promises improved AF performance in low light and subject tracking with moving subjects 16.3MP Pentax 51,200 1080p l 11 7 100 l l 3in 980 131 97 73 760g

Pentax K-3 - £950body 01/14 4H

Upgrade from Pentax K-5. GPS optional. Impersonates a low pass flter. High FPS rate and is the frst to carry Ricoh’s name 24.2MP Pentax 51,200 1080i l 27 8 100 l l 3.2in 560 131 100 77 800g

Sony Alpha 77 MkII - £1000body

09/14 4.5HWith the mkII Sony has brought built-in Wi-f, great handling and an enhanced AF that will suit sports and wildlife shooters 24.3MP Sony 25,600 1080p l 79 12 100 l l 3in l 480 142.6 104 81 647g

Nikon D7000 - £1100body

01/11 4.5HA semi-pro DSLR offering some fantastic features and which still has everything an aspiring photographer would need 16MP Nikon 25,600 1080p l 39 6 100 l 3in 1,050 132 105 77 690g

Canon EOS 70D p68 £1100body

11/13 4.5HWorld’s frst 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 l 19 7 98 l l 3in l 920 139 104 79 755g

Nikon D7100 p69 £1100body

05/13 4.5HThe D7100 updates the D7000 in several signifcant ways, and while not without fault it’s still praiseworthy. Wi-f optional 24.1MP Nikon 25,600 1080p l 51 6 100 l l l 3in 950 135 106 76 765g

Sony Alpha 77 - £1150body

12/11 5HOffers an impressive feature set that includes a fast 12fps burst shooting mode, ideal for action 24.3MP Sony 16,000 1080p l 19 12 100 l l 3in l 470 142 104 80 653g

Canon EOS 7D - £1500body

XMAS09 5H

Good enough to be used as a regular camera by semi-pros, the 7D is a welcome addition to the EOS line. Wi-f optional 18MP Canon 12,800 1080p l 19 8 100 l l 3in 800 148 110 73 820g

Canon EOS 6D p70 £1700body

02/13 4.5HSuperb image quality from Canon’s latest – and cheapest – full frame DSLR. Also offers Wi-f and GPS connectivity 20.2MP Canon 102,400 1080p l 11 4.5 97 l l 3in 980 145 111 71 755g


12/13 5HUpgrade from D600: improved auto white balance, faster continuous shooting and a quiet continuous mode. GPS optional 24.3MP Nikon 25,600 1080p l 39 6 100 l l 3.2in l 900 141 113 82 850g

Sony Alpha 99 - £1800body

XMAS12 4H

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 l 19 10 100 l 3in l 500 147 111 78 812g


06/12 5HOffering a massive 36MP, this is the camera to go for if you want to produce ultra-large prints. GPS optional 36.3MP Nikon 25,600 1080p l 51 4 100 l l 3.2in 900 146 123 81 900g

Nikon DF - £2600kit

02/14 4HNikon’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 D800E - £2900body

08/12 4.5HRemoves the anti-aliasing flter of the D800 for even greater detail should you need it. GPS optional 36.3MP Nikon 25,600 1080p l 51 4 100 l l 3.2in 900 146 123 81 900g

Canon EOS 5D Mk III p72 £2999kit

06/12 5HAn excellent full frame sensor, fast burst rate, high ISO range and advanced AF make this an impressive piece of kit. Wi-f optional 22.3MP Canon 102,400 1080p l 61 6 100 l 3.2in 950 152 116 76 950g

Nikon D4 - £5290body

05/12 5HNow updated by the D4S, the D4 is Nikon’s previous fagship and one of the best DSLRs we’ve seen. GPS & Wi-f optional 16.2MP Nikon 204,800 1080p l 51 10 100 l l 3.2in 2,600 160 156 90 1,340g

Nikon D4S p73 £5290body

Web 5HNikon’s fagship 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 l 51 11 100 l l 3.2in 3,020 160 156.5 90.5 1,350g

Canon EOS-1D X p73 £5300body

11/12 5HA contender for the crown of best DSLR on the market, this camera is hard to fault. GPS & Wi-f optional 18.1MP Canon 204,800 1080p l 61 12 100 l l 3.2in 1,120 158 163 82 1,100g

DSLRS £1000-£5300name & model PaGe rrP tested score summary sensor lens maX Iso vIdeo sHootInG screen dImensIons

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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.

Here we list and rate all the models on the market

p112-113 DSLR-CSC Listings jp JULY.indd 80 18/08/2014 13:28


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CompaCt SyStem CameRaS £300-£699name & model PaGe rrP tested score summary sensor lens maX Iso vIdeo shootInG screen dImensIons

nikon 1 J2 - £300kit

04/14 3.5HSubtle update to Nikon’s best-selling J1 boasts more creative options, a metallic body and a superior LCD

10MP Nikon 6400 1080p 41 60 l 3in 230 106 61 29.8 280g

sony Alpha 3000 - £350kit

12/13 2.5HMade to look like a DSLR, this 20.1MP CSC is compact, affordable, and delivers DSLR-style results

20.1MP Sony E 16,000 1080p 25 3.5 l l 3in 480 128 91 84.5 353g

samsung NX3000 p34 £350kit

10/14 4HReplacing the NX2000, this has a host of technology and may well be the best-value NX camera yet

20.3MP Samsung 25,600 1080p 21 5 l l 3in l 370 117.4 66 39 266g

Panasonic Lumix GF6 p64 £400kit

Web 4HNew 16MP sensor, newly developed Venus Engine, plus a 180° tiltable 3in touchscreen; includes 14-42mm lens

16MP Mic4/3 25,600 1080p l 23 20 l l 3in l l 340 111 65 38 323g

Pentax Q7 - £400kit

11/13 3HSaid to bring improved technologies to the Pentax Q series, including extra large sensor and improved AF

12.4MP Pentax 12,800 1080p 25 5 l 3in 250 102 58 34 200g

olympus PEN E-PM2 - £400kit

Web 3HUpdate to E-PM1 offers 16.1MP sensor found in the company’s OM-D plus ISO sensitivity up to 25,600

16.1MP Mic4/3 25,600 1080p l 35 8 l 3in l 360 110 64 34 269g

samsung NX Mini - £400kit

Web 4HThe light and compact NX Mini signals a new frst in the world of digital photography, and is very impressive

21MP Samsung 25,600 1080p 35 6 l l 3in l 530 119 62 22.5 196g

sony Alpha 5000 - £420kit

Web 4HReplacement for NEX-3N in company’s CSC range aims to compete with cameras in the entry-level DSLR market

20.1MP Sony 16,000 1080p - - l 3in - 110 63 36 296g

sony A58 - £450kit

05/14 4HReplacement for A37 and A57 makes an interesting alternative to the likes of Canon 600D and Pentax K-30

20.1MP Sony 16,000 1080p 15 8 l 3in 700 128.6 95.5 77.7 573g

nikon 1 S1 - £480kit

Web 4HFirst S-series model aims for user-friendliness with an uncluttered interface and simpler controls. Wi-f optional

10.1MP Nikon 1 6400 1080p 135 60 l l 3in 220 102 61 30 197g

olympus PEN E-PL5 - £480kit

02/13 4HOne of the most competent CSCs at the price. Think of it as an OM-D Lite. Kit includes 14-42mm f/3.5-5.6 lens. Eye-f optional

16MP Mic4/3 12,800 1080p l 23 20 l l 3in l l 360 110 64 34 261g

Fujiflm X-A1 - £500kit

12/13 4HVirtually identical to the company’s X-M1, but with a standard sensor allowing the price to be lower

16.3MP Fuji X 25,600 1080p 41 5.6 l l 3in l 350 117 66.5 39 330g

samsung NX300 - £530kit

06/13 4.5HCompany adds to its range of Wi-f-enabled cameras with this keenly-priced 20.3MP mirrorless model

20.3MP Samsung 25,600 1080p 105 8.6 l l l 3.3in l l 320 122 64 41 284g

nikon 1 J3 - £540kit

Web 3HUpdate to company’s J2 boasts a 14.2MP sensor from range-topping V2. Kit includes 10-30mm lens

14.2MP Nikon 1 6400 1080p 135 60 l 3in 220 101 61 29 244g

sony NEX-5T - £540kit

01/14 4HAPS-C sensor delivers DSLR results, while camera offers a tiltable touchscreen and is Wi-f and NFC enabled

16.1MP Sony E 25,600 1080p 25 3 l l 3in l l 330 111 59 39 276g

Panasonic Lumix G6 - £550kit 07/13 4.5H

DSLR performance and images in a smaller body – AF system, EVF and free-angle touchscreen are all superb

16MP Mic4/3 25,600 1080p l 23 7 l l l 3in l l n/a 122 85 72 340g

sony NEX-5R - £569kit

Web 4HA minor tweak of the existing NEX-5N model, with wireless functionality and a hybrid autofocus system

16.1MP Sony E 16,000 1080p l 25 10 l l 3in l l 330 110 59 39 276g

Panasonic Lumix GM1 - £629kit

01/14 4.5HTiny, retro compact design contains an impressive amount including 16MP, Wi-f, HD video and 5fps

16MP Mic 4/3 25,600 1080p 23 5 l l 3in l 230 99 55 30 204g

sony Alpha 6000 p66 £670kit

06/14 4.5HWith a class-leading AF and an impressive APS-C sensor, this is one of the most impressive CSCs around

24MP Sony 25,600 1080p 179 11 l l l 3in l 310 120 67 45 344g

Fujiflm X-M1 - £680kit

10/13 4HCompany’s third CSC features X-mount lens mount and APS-C X-Trans CMOS sensor, though no viewfnder

16.3MP Fuji X 6400 1080p 54 5.6 l l 3in l 350 117 67 39 330g

olympus OM-D E-M10 - £699kit 05/14 4.5H

With a lower launch price than its awardwinning OM-D siblings, the E-M10 maintains the high-end features

16MP Mic4/3 25,600 1080p l 81 8 l l l 3in l 320 119 82 46 396g

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canon EOS M - £700kit

XMAS 12 4.5HCanon’s frst mirrorless model, the EOS M shares much of its functionality with the EOS 650D DSLR. Eye-f optional

18MP Canon M 25,600 1080p 31 4.3 l l 3in l 230 109 66.5 32 298g

nikon 1 AW1 - £749kit

12/13 3.5HHigh-end CSC is waterproof, shockproof and has GPS & Wi-f. Drawback is low battery life compared to its rivals

14.2MP Nikon 1 6400 1080p 41 15 l l l 3in 220 113 71.5 37.5 356g

nikon 1 V2 - £800kit

02/13 3.5HRevamp for V1 adds integrated fash, 14MP sensor and mode dial. Price includes 10-30mm kit lens

14.2MP Nikon 1 6400 1080p l 73 15 l l 3in n/a 109 82 46 277g

sony NEX-6 - £800 kit

01/13 4HExcellent EVF and fast operation – a good alternative to the company’s more expensive NEX-7

16.1MP Sony E 25,600 1080p l 25 10 l l l 3in l 360 120 67 43 287g

Panasonic Lumix GX7 - £900 kit

10/13 4.5HWith fast AF and a great tiltable EVF, the GX7 delivers excellent results with its new sensor. A pleasure to use

16MP Lumix G 25,600 1080p 23 40 l l l 3in l l n/a 122.6 70.7 43.3 402g

olympus PEN E-P5 - £900kit

09/13 4.5HRelatively pricey and no built-in EVF, but has premium fnish and styling, fast AF plus high quality images

16MP Mic4/3 25,600 1080p 35 9 l l l 3in l l 330 122 69 37 420g

samsung NX30 - £900kit Web only 4.5H

A DSLR-style Compact System Camera with a burst rate of up to 8fps

21MP Samsung 26,500 1080p 247 8 l l l l 3in l 360 127 96 58 375g

Fujiflm X-T1 p68 £1100kit

4/12 5HHighly detailed images throughout ISO range makes this one of the best premium CSCs on the market

16.3MP Fuji X 51,200 1080p l 49 8 l l l 3in l 350 129 89.8 46.7 440g

Panasonic Lumix GH3 - £1120 body

XMAS 12 5HExcellent build, responsive touchscreen and superb video mode make this a fne rival for similarly-priced DSLRs 16MP Mic4/3 25,600 1080p l 23 6 l l l 3in l l 540 133 93.4 82 470g

sony NEX-7 - £1130kit

01/12 4HSony’s frst attempt at a prosumer CSC model, which allows for DSLR-level control in a compact frame

24MP Sony E 16,000 1080p l 25 10 l l l 3in l 330 110 58.8 38.2 229g

Fujiflm X-E1 - £1149kit

01/13 4.5HSolid build, retro design and high image quality – this is a fne alternative to the more senior X-Pro 1 model

16MP Fuji X 25,600 1080p 49 6 l l 3in 350 129 75 38 350g

olympus OM-D E-M5 - £1150kit

5/12 4.5HThe re-imagining of the classic Olympus OM, brought up to date in this latest digital form. Eye-f optional

16MP Mic4/3 25,600 1080p l 35 9 l l l 3in l l tbc 121 89.6 41.9 373g

Fujiflm X-E2 - £1200kit

02/14 4.5HHas over 60 improvements on the X-E1, including a larger screen, new sensor and processor. Also new is Wi-f

16.3MP Fuji X 25,600 1080p l 49 7 l l l 3in 350 129 75 37 350g

Panasonic Lumix GH4 p69 £1300 body

07/14 4HThis is the frst mirrorless camera to shoot 4K video. Both video quality and still images are impressive

16MP Mic4/3 25,600 4096p l 49 12 l l l 3in l l 500 133 93 84 560g

samsung Galaxy NX - £1300 body

10/13 4HWorld’s frst 3G/4G Android CSC aims to bridge gap between smartphones and traditional digital cameras

20.3MP Samsung 25,600 1080p l 105 8.6 l l l l 4.8in l - 137 101 26 495g

olympus OM-D E-M1 p70 £1300kit

12/13 5HFully weather-proofed and Wi-f enabled, the E-M1 gives DSLR results in a CSC body 16.8MP Mic 4/3 25600 1080p l 81 10 l l l 3in l l 330 130 93.5 63 497g

sony Alpha 7 - £1300body

01/14 4.5HAlong with the 7R this is the lightest, smallest full frame camera on the market. New processor 24.3MP Sony E 25,600 1080p l 117 5 l l 3in l 340 127 94 48 474g

leica T - £1350body

08/14 4HLeica’s frst Compact System Camera model is impressive with excellent image quality 16MP Leica T 12.500 1080p 195 5 l l 3.7in l 134 69 33 384g

Fujiflm X-Pro1 - £1430body

05/12 5HFuji’s CSC camera offers a number of interesting innovations, including a hybrid viewfnder

16MP Fuji X 25,600 1080p 49 6 l 3in 300 139 81.8 42.5 450g

sony Alpha 7R p71 £1700body

02/14 4.5HAlong with the Alpha 7 this is the lightest, small-est full frame camera on the market. 36MP 36.4MP Sony E 25,600 1080p l 25 4 l l 3in l 340 127 94 48 465g

sony Alpha 7S - £2099body

09/14 4.5HThe Sony Alpha 7S is the latest addition to Sony’s growing range of full frame CSCs 12.4MP Sony E 409,600 1080p l 25 5 l l 3in l 380 127 94.4 48.2 489g

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CompaCt SyStem CameRaS £700-£1700name & model PaGe rrP tested score summary sensor lens maX Iso vIdeo shootInG screen dImensIons

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p112-113 DSLR-CSC Listings jp JULY.indd 81 18/08/2014 13:29


L E N S L I S T I N G S

AD Tamron Anomalous Dispersion elementsAF-DC Nikon defocus featureAF-S Nikon lenses with Silent Wave MotorAPO Sigma Apochromatic lensesASL Tamron lenses featuring aspherical elementsASP Sigma lenses featuring aspherical elementsAT-X Tokina’s Advanced Technology Extra ProCRC Nikon’s Close Range Correction systemD Nikon lenses that communicate distance infoDA Pentax lenses optimised for APS-C sized sensorsDC Sigma’s designation for digital lensesDF Sigma lenses with dual focus facility

DG Sigma’s designation for all lensesDi Tamron lenses for full-frame sensorsDi-II Tamron lenses designed for APS-C DO Canon diffractive optical element lensesDT Sony lenses for APS-C sized sensorsDX Nikon’s designation for digital lensesED Low Dispersion elementsEF Canon’s full-frame lensesEF-S Canon lenses for APS-C sized sensorsEX Sigma’s ‘Excellent’ rangeFC Tokina’s Focus Clutch MechanismFE Canon’s fi sheye lenses

FE Tokina fl oating element lensesG Nikon lenses without an aperture ringHF Sigma Helical FocusingHID Tamron’s High Index Dispersion glassHLD Tokina low dispersion glassHSM Sigma’s Hypersonic MotorIF Internal FocusingIRF Tokina’s Internal Rear Focusing lensesIS Canon’s Image Stabilised lensesL Canon’s ‘Luxury’ range of lensesLD Tamron Low Dispersion glassM-OIS Mega Optical Image Stabilisation

N Nikon’s Nano Crystal CoatingOS Sigma’s Optically Stabilised lensesPRO Tokina’s Professional range of lensesRF Sigma & Nikon Rear FocusingSD Tokina’s Super Low Dispersion elementSDM Pentax’s Sonic Direct Drive MotorSF Canon lenses with Softfocus featureSHM Tamron’s Super Hybrid MountSIC Nikon’s Super Integrated CoatingSLD Sigma Super Low Dispersion elementsSP Tamron’s Super Performance rangeSSM Sony/Minolta Supersonic Motor lenses

SWD Olympus Supersonic Wave DriveSWM Nikon lenses with a Silent Wave MotorTS-E Canon Tilt and Shift lensUD Canon Ultra Low Dispersion glassUSM Canon lenses with an Ultrasonic MotorVC Tamron’s Vibration CompensationVR Nikon’s Vibration Reduction featureXR Tamron Extra Refractive Index glassZL Tamron’s Zoom Lock feature

L E N S T Y P E S E X P L A I N E D

FIXED FOCAL LENGTH (PRIME)Fixed lenses offer wider maximum apertures and superior image quality. A 50mm lens is perfect for low light, 85-105mm is ideal for portraits, while a 300mm+ tele is for sports shooters.

TELEPHOTO ZOOMTelephotos are great for sport and wildlife, while short teles are good for portraits. Telephoto lenses magnify camera shake, so look for one with Image Stabilisation to ensure you achieve the sharpest shots possible.

STANDARD ZOOMMost DSLRs come with a standard zoom which spans from moderate wideangle to short telephoto. These ‘kit’ lenses are fi ne for most purposes, but there are alternatives that offer superior image quality.

SUPERZOOMSWhile they rarely compare with shorter lenses in image quality, a superzoom offers convenience. Great for travelling when you’re concious of weight, don’t expect pin-sharp, aberration-free images.

WIDEANGLE ZOOMWideangle lenses make subjects seem further away, enabling you to get more into the shot – perfect for landscapes and architecture. The most popular wideangle zooms are the 10-20mm and 12-24mm ranges.

MACRO LENSESA true macro lens lets you reproduce your subject at life-size (1:1) or half life-size (1:2) on the sensor. Macro lenses come in various focal lengths and extension tubes can offer a greater magnifi cation.

LENS SUFFIX GUIDE USED BY MANUFACTURERS

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 fi nd out which is best for you before you make a purchase

LENSESBUILT-IN FOCUS MOTOR Some lenses incorporate a motor

within the lens to drive the

autofocusing, while others are

powered by motors within the camera.

The former will focus quicker than the

latter. Canon lens motors are USM

(Ultrasonic Motor), Sigma HSM

(Hypersonic-Motor).

FILTER THREAD In order to correct for colour casts

or create more contrast, a screw-in

fi lter can be used. The thread at the

front of the camera will have a

diameter, in mm, which will allow

you to attach a variety of fi lters or

adapters to the lens.

MAGNIFICATION FACTOR

If you’re changing from a 35mm

SLR, your lenses won’t provide the

same fi eld of view on a DSLR unless

you have a “full-frame” model. So

for Nikon, Pentax and Sony DSLRs,

magnify the focal length by 1.5x to

get a 35mm equivalent; for Canon

1.6x and Sigma 1.7x.

LENS MOUNTS Each manufacturer has its own

lens mount and most aren’t

compatible with one another. For

example, a Canon DSLR can’t use

Nikon lenses, though you can use

independent brands if you get

them with the right mount.

MAXIMUM APERTURE

Wider apertures mean you can use faster,

motion-stopping shutter speeds.

35MM COMPATIBILITY

Most digital sensors are smaller than 35mm, which is why lenses designed for digital

can be smaller.

p82-89 Lens Listings OCTjpMTjp.indd 82 14/08/2014 14:59


l e n s l i s t i n g s

EF 8-15mm f/4 L USM £1499 NYT Impressive-looking fsheye zoom lens from Canon • 15 n/a 78.5 83 540g

EF-S 10-22mm f/3.5-4.5 USM £990 9/09 4H A good performer, with solid MTF curves and minimal chromatic aberration • 24 77 83.5 89.8 385g

EF 14mm f/2.8 L II USM £2810 7/10 4.5H Updated version of above lens, with 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 4H 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 4.5H 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 4H 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 4H 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 4H 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 3H 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 3.5H 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 4H 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 foating 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 4H Small wideangle optic with image stabilization • • • 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 4.5H A solid performer with an excellent reputation that only years in the feld can secure • • 38 77 83.2 123.5 950g

EF 24-70mm f/2.8 L II USM £2300 XMAS 12 5H 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 4.5H An excellent all-round performer, and keenly priced too • • • 45 77 83.5 107 670g

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 3.5H 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 4.5H Excellent optical performance, with the beneft 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 4.5H A cut-price fxed 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

CANONLENS rrp TESTEd ScorE Summary mouNT dImENSIoNS

EF 35mm f/1.4 L USM £1720 NYT L-series construction and a wide maximum aperture, with a ring-type USM • • 30 72 79 86 580g

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

TS-E 45mm f/2.8 £1670 NYT Wide-aperture tilt and shift optic with a rear focusing system • • 40 72 81 90.1 645g

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 5H 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 £130 NYT Lightest EF lens in the range, with wide maximum aperture and a Micro Motor • • 45 52 68.2 41 130g

EF 50mm f/2.5 Macro £350 NYT Compact macro lens with foating system • • 23 52 67.6 63 280g

EF-S 55-250mm f/4-5.6 IS II £330 1/12 4H 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 4H 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 magnifcation 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 5H 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 5H 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 4H 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 5H 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 2.5H 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 4H 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 5H 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 frst 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 4H 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 5H Stunning MTF fgures 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 fuorite 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 fourite 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 fourite element and dust and moisture protection • • • 450 52 146 387 3870g

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10.5mm f/2.8 G ED DX Fisheye £678 NYT DX format fsheye 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 4H 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 4H 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 5H 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 5H 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 fsheye 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 5H A fantastic lens that deserves to be taken seriously, with very little CA throughout • • 28 77 82.5 125 685g

16-85mm f/3.5-5.6 G ED VR AF-S DX £574 3/11 4H 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 4H 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 5H 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 3.5H 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 4H An improvement over the above version, with excellent resolution the beneft 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 4.5H Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction • na 67 76 89 420g

18-200mm f/3.5-5.6 G IF-ED AF-S VR DX £762 10/11 4.5H 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 4H 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/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 5H 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 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 5H An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens • • 38 77 83 133 900g

24-85mm f/3.5-4.5 G ED VR £520 XMAS 12 5H 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 5H 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 5H 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 4.5H 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 5H 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 3H 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 5H 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 5H A budget-priced macro lens that delivers the goods on multiple fronts • 20 52 68.5 64.5 235g

45mm PC-E f/2.8 D ED PC-E £1774 NYT Perspective Control lens with ED glass and Nano Crystal Coating • • 25 77 83.5 112 780g

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 5H Entry-level prime puts in a fne 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 5H 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 5H 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 3.5H 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 3H 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 4H 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 5H 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 5H 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 5H Latest 70-200mm zoom 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 4H 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 D ED VR AF £1512 NYT 3-stop Vibration Reduction with panning detection and a nine-bladed diaphragm • • • 230 77 91 171 1340g

85mm f/3.5 G EDAF-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 5H Fast mid-tele lens with an internal focusing system and rounded diaphragm • • 85 77 86.5 84 595g

85mm f/1.8D £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 5H 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 4.5H 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

300mm f/4 ED-IF AF-S £1230 NYT Light, compact AF-S telephoto lens with ED glass elements • • 145 77 90 222.5 1440g

300mm f/2.8 G ED AF-S VR II £5209 NYT This lens promises fast and quiet AF, and is ftted with Nikon’s latest VR II system • • • 230 52 124 267.5 2900g

NIKONLENS rrP TESTEd SCorE Summary mouNT dImENSIoNS

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7-14mm f/4 ED £1900 6/08 5H 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 fsheye lens, offering a 180-degree view and a splash-resistant construction • 13 n/a 79 77 485g

9-18mm f/4-5.6 £640 9/09 4H 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 4H Offers electromagnetic zoom mechanism plus variable zoom speed • 20 72 57 83 211g

12-60mm f/2.8-4 ED SWD £1130 11/08 4.5H 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 II f/2.8-3.5 II £660 12/09 4H 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 4H 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 3.5H Excellent image quality from such a tiny optic, but the lens cap is a little fddly • 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 3.5H 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

90-250mm f/2.8 ED £6200 NYT Dust and splashproof lens with 3 ED elements and a 180-500mm equivalent range • 250 105 124 276 3270g

150mm f/2 ED £2650 NYT Splashproof telephoto lens with a wide maximum aperture • 140 82 100 150 1610g

300mm f/2.8 ED £7800 NYT Splashproof telephoto lens with three ED elements and an inner focusing system • • 240 43 129 281 3290g

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 2 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 4.5H 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 3.5H A nice balance and robust feel, but poor sharpness at f/2.8 (which signifcantly improves from f/4 onwards) • • 30 77 98.5 84 600g

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 18-55mm f/3.5.5.6 smc II ED AL IF £220 1/09 3.5H 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 3.5H A weather resistant mid-range zoom lens • 40 62 73 76 405g

DA 18-270mm f/3.5-6.3 smc EDSDM £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 foating element for extra-close focusing • 20 49 63 25 140g

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

DA 35mm f/2.8 smc Macro £640 9/08 4.5H 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 5H 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 fxed 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 NYT Affordable short telephoto lens ideal for portraits • • 45 52 28.5 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 4H 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 4.5H 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 4H 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 4.5H 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

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 flm 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 5H Street price makes this something of a bargain for a true macro offering full-frame coverage • • 30 49 65 80.5 340g

DA* 200mm f/2.8 smc ED IF SDM £1000 8/12 4.5H 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

olympusLENS rrp tEStED ScorE SummAry mouNt DImENSIoNS

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50-500mm f/4.5-6.3 DG OS HSM £1499 4/11 4H A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters • • • • • • • 50-180 95 104.4 219 1970g

70mm f/2.8 EX DG Macro £459 NYT SLD elements and a focus limiter switch in this macro optic • • • • • • 25 62 76 95 527g

70-200mm f/2.8 EX DG OS HSM £1539 NYT Two FLD glass elements, said to have the same dispersive properties as fuorite • • • • • • • 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 OS £408 1/12 3.5H Four-stop Optical Stabiliser and Super Multi-Layer coating, and a single SLD element • • • • • • • 150 62 76.5 126 610g

70-300mm f/4-5.6 DG Macro £173 5/09 3H 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 5H 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 4.5H An optically-stabilized 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

120-400mm f/4.5-5.6 DG OS HSM £899 NYT Reaf focusing system and a four-stop Optical Stabiliser in this tele zoom • • • • • • 150 77 92 203 1640g

150mm f/2.8 EX DG OS HSM £999 NYT A macro lens offering image stabilization • • • • • 38 72 79.6 150 950g

180mm f/2.8 EX DG OS HSM £1499 4/13 5H 1:1 macro lens featuring three FLD glass elements and foating inner focusing system • • • • • • 47 86 95 204 1640g

150-500mm f/5-6.3 DG OS HSM £999 6/09 3H Signifcant softness at wide maximum apertures for all focal lengths • • • • • • • 220 86 94.7 252 1780g

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

800mm f/5.6 APO EX DG £5499 NYT HSM and compatibility with Sigma’s 1.4x EX APO and 2x EX APO teleconverters • • • • 700 46 156.5 521 4900g

4.5mm f/2.8 EX DC £739 NYT Circular fsheye lens designed for digital, with SLD glass and a gelatin flter 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 4H 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 fsheye lens • • • 13 n/a 75.8 83 475g

10-20mm f/3.5 EX DC HSM £650 3/10 5H 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 5H A fne 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 4H 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 4H This fsheye 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 5H Said to be the world’s frst 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 3H 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 4H 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 4.5H 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

24mm f/1.8 EX DG £529 NYT Aspherical glass and a dual focus system, together with a wide maximum aperture • • • • • • • 18 77 83.6 82.5 485g

24-70mm f/2.8 EX DG IF HSM £899 8/09 5H 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)5 £849 3/14 4.5H Serious full frame alternative to own-brand lenses at a lower price but with no compromises in the build • • • • • • 45 82 89 109 885g

28mm f/1.8 EX DG £449 NYT A dual focus system and aspherical elements, for both full-frame and APS-C cameras • • • • • • 20 77 83.6 82.5 500g

30mm f/1.4 EX DC HSM £490 9/08 3H A consistent performer, with slightly weaker but not unacceptable performance wide-open • • • • • • 40 62 76.6 59 430g

35mm f/1.4 DG HSM Art £799 9/13 5H Large aperture prime; frst lens in company’s “Art” series • • • • • • 30 67 77 94 665g

50mm f/1.4 EX DC HSM £459 2/10 5H 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 7/14 4H This lens is a unique design that pays off in truly excellent image quality • • • • • 40 77 85.4 100 815g

50mm f/2.8 EX DG Macro £326 NYT Floating focusing system and coatings for better colour and to minimise aberrations • • • • • • 19 55 71.4 66.5 320g

50-150mm f/2.8 EX DC OS HSM £950 12/12 4H Large-aperture telephoto zoom lens giving the classic 70-200mm focal length • • • • • • 80 77 86.4 197 1340g

50-200mm f/4-5.6 DC OS HSM £306 5/11 4.5H With a useful tele range, this lens combines an Optical Stabiliser with HSM technology • • • • • • 110 55 74.4 202 420g

SIGMALENS rrp tEStEd ScorE Summary mouNt dImENSIoNS

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8mm f/3.5 UMC Fisheye CS II £274 NYT Wideangle fsheye lens designed for digital refex 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-refection 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 flters can be used • • • • • • 28 N/A 94 87 552g

16mm f/2.0 ED AS UMC CS £389 NYT Ultra wideangle lens for digital refex cameras and mirrorless compact cameras ftted with APS-C sensors • • • • 20 N/A 89.4 83 583g

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

24mm f/3.5 AS T-S ED AS UMC £789 NYT Wideangle tilt-shift prime featuring 16 glass elements and f/3.5 maximum aperture • • • • • 20 82 110.5 113 680g

35mm f/1.4 AS UMC £369 3/13 4.5H While manual focus only, this prime impressed us in real-world use, making it something of a bargain • • • • • • 30 77 83 111 660g

35mm T1.5 AS UMC VDSLR £419 NYT VDSLR version of 35mm f/1.4 AS UMC with de-clicked aperture ring for silent operation when used for video • • • 30 77 83 111 660g

85mm f/1.4 IFMC £239 NYT Short fast telephoto prime, manual focus, aimed at portrait photographers • • • • • 100 72 78 72.2 513

SAMYANGLENS rrp tEStEd ScorE Summary mouNt dImENSIoNS

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10-24mm f/3.5-4.5 SP AF Di II LD Aspherical IF £511 2/10 3.5H Good consistency at 10mm and 18mm, but a steep decline at 24mm • • • • 24 77 83.2 86.5 406g16-300mm f/3.5-6.3 Di II VC PZD Macro £600 8/14 4H 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 540g17-50mm f/2.8 SP AF XR Di II LD Aspherical IF £450 2/09 4.5H Very good optical performance, which peaks at f/5.6-8 • • • • 27 67 74 81.7 434g17-50mm f/2.8 SP AF XR Di II VC LD Aspherical IF £541 4/10 4.5H Very strong performance at longer focal lengths but weaker at the other end • • • 29 72 79.6 94.5 570g18-200mm f/3.5-6.3 AF XR Di II LD Aspherical IF Macro £306 3/08 3H Excellent CA control in the centre, but unremarkable wideangle performance • • • • 45 62 73 83.7 423g18-200mm f/3.5-6.3 AF XR Di II LD Aspherical IF Macro £550 NYT A redefned all-in-one lens to replace a shorter kit lens • • • • 50 62 62 96.7 460g18-270mm f/3.5-6.3 AF XR Di II LD Aspherical IF Macro £613 1/10 4.5H Much better results at shorter focal lengths than longer ones, but still impressive • • • 49 72 79.6 101 550g18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro £663 10/11 3H The next-generation incarnation offers a new form of ultrasonic engine • • • • 49 62 74.4 88 450g24-70mm f/2.8 SP DI VC USD £1099 10/12 5H Fast zoom with image stabilization for both full-frame and APS-C cameras • • • • 38 82 88.2 116.9 825g28-75mm f/2.8 SP AF XR Di LD Aspherical IF Macro £460 NYT Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm • • • • • 33 67 73 92 510g28-300mm f/3.5-6.3 AF XR Di LD Aspherical IF Macro £664 NYT A useful 10.7x zoom range and low-dispersion elements in this optic • • • • • 49 62 73 83.7 420g60mm f/2 SP AF Di II LD IF Macro £550 12/10 5H Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio • • • 23 55 73 80 400g70-200mm f/2.8 SP AF Di LD IF Macro £817 10/09 4H No image stabilisation and no advanced AF system, but at this price it’s a steal • • • • • 95 77 89.5 194.3 1150g70-200mm f/2.8 Di VC USD £TBC NYT Compact yet full-size telephoto zoom with vibration compensation • • • 130 77 85.8 188.3 1470g70-300mm f/4-5.6 SP VC USD £300 1/12 4H Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation • • • • 150 62 81.5 142.7 765g70-300mm f/4-5.6 AF Di LD Macro £170 11/10 3.5H Low dispersion glass and compatible with both full-frame and cropped-sensor DSLRs • • • • • 95 62 76.6 116.5 435g90mm f/2.8 SP AF Di Macro £470 11/09 4H A very nice macro lens that is capable of producing some fine images • • • • • 29 55 71.5 97 405g90mm 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 550g150-600mm f/5-6.3 SP VC USD £1150 6/14 4H Longest focal length of any affordable enthusiast zoom on the market and produces excellent results • • • • 270 95 105.6 257.8 1951g180mm f/3.5 SP AF Di LD IF Macro £896 11/10 5H Two Low Dispersion elements and internal focusing system in this 1:1 macro lens • • • • • 47 72 84.8 165.7 920g200-500mm f/5-6.3 SP AF Di LD IF £1124 6/09 4.5H A well-matched and consistent set of MTF curves, with good performance at f/8-11 • • • • 250 86 93.5 227 1237g

11-18mm f4.5-5.6 DT £609 9/09 3H A solid overall performance that simply fails to be outstanding in any way • 25 77 83 80.5 360g16mm 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 400g16-35mm f/2.8 ZA SSM T* £1729 9/09 4.5H High-end Zeiss wideangle zoom lens ideal for full-frame Alpha DSLRs • • 28 77 83 114 900g16-50mm f/2.8 SSM £569 4/12 4H Bright short-range telephoto lens • • 100 72 81 88 577g16-80mm f/3.5-4.5 ZA T* £709 4/09 4.5H Carl Zeiss standard zoom lens • • 35 62 72 83 445g16-105mm f/3.5-5.6 DT £559 3/09 3H An ambitious lens that is good in parts. Quality drops off at 105mm • 40 62 72 83 470g18-135mm f/3.5-5.6 DT SAM £429 NYT A versatile zoom with Direct Manual Focus • • • 45 62 76 86 398g18-200mm f/3.5-6.3 DT £509 4/08 3H While the focal range is certainly useful, the lens is an overall average performer • 45 62 73 85.5 405g18-250mm f/3.5-6.3 DT £559 1/10 3.5H Good overall, but performance dips at longer focal lengths • 45 62 75 86 440g20mm f/2.8 £559 9/11 3.5H Wideangle prime lens with rear focusing mechanism and focus range limiter • • 25 72 78 53.5 285g24mm f/2 ZA SSM T* £1119 NYT An impressively bright wideangle Carl Zeiss lens • • 19 72 78 76 555g24-70mm f/2.8 ZA SSM T* £1679 7/09 5H Carl Zeiss mid-range zoom lens with superb optics ideal for full-frame Alpha DSLRs • • 34 77 83 111 955g28-75mm 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 565g30mm f/2.8 DT SAM Macro £179 3/12 4H Macro lens designed for digital with 1:1 magnifcation and Smooth Autofocus Motor • 12 49 70 45 150g35mm f/1.4 G £1369 NYT With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass • • 30 55 69 76 510g35mm f/1.8 DT SAM £179 NYT Budget price indoor portrait lens • 23 55 70 52 170g50mm f/1.8 DT SAM £159 3/10 4.5H A very useful lens that performs well and carries a rock-bottom price tag • 34 49 70 45 170g50mm f/1.4 £369 2/10 5H While this lens performs well overall, performance at f/1.4 could be better • • 45 55 65.5 43 220g50mm f/1.4 ZA SSM £1300 Web 4H Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting • • 45 72 81 71.5 518g50mm f/2.8 Macro £529 NYT A macro lens with a foating lens element • • 20 55 71.5 60 295g55-200mm f/4-5.6 DT SAM £219 NYT Designed for cropped-sensor DSLRs, with a Smooth Autofocus Motor • 95 55 71.5 85 305g55-300mm f/4.5–5.6 DT SAM £309 NYT Compact, lightweight telephoto zoom offering smooth, silent operation • 140 62 77 116.5 460g70-200mm 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 1340g70-200mm f/2.8 G SSM II £TBC NYT High performance G Series telephoto zoom lens • 120 87 196.5 1340g70-300mm f/4.5-5.6 G SSM £869 12/10 3.5H G-series lens with ED elements, Super Sonic wave Motor and a circular aperture • • 120 62 82.5 135.5 760g70-400mm 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 1500g75-300mm f/4.5-5.6 £219 8/12 3H Compact and lightweight zoom with a circular aperture • • 150 55 71 122 460g85mm f/1.4 ZA Planar T* £1369 NYT Fixed focal length lens aimed at indoor portraiture • • 85 72 81.5 72.5 560g85mm f/2.8 SAM £219 NYT A light, low price portraiture lens • • 60 55 70 52 175g100mm f/2.8 Macro £659 NYT Macro lens with circular aperture, double foating element and wide aperture • • 35 55 75 98.5 505g135mm f/1.8 ZA Sonnar T* £1429 NYT A bright, Carl Zeiss portrait telephoto lens • • 72 77 84 115 1004g135mm f/2.8 STF £1119 NYT Telephoto lens with defocus effects • • 87 80 80 99 730g300mm f/2.8 G £5609 NYT Super Sonic Wave motor, two Direct Manual Focus modes and a wide aperture • • 200 42 122 242.5 2310g

SONYLENS rrp TESTEd SCorE Summary mouNT dImENSIoNS

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TAMRONLENS rrp TESTEd SCorE Summary mouNT dImENSIoNS

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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 4.5H 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 5H 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 5H 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 3.5H 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 4H Some weaknesses wide-open, but reasonable MTF curves make this a decent optic • • • 30 55 73 95.1 540g

TOKINALENS rrp TESTEd SCorE Summary mouNT dImENSIoNS

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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 410XF 14mm f/2.8 R £729 7/13 5H Ultra wideangle prime, high resolution to all corners, performance justifes price tag • • 18 58 65 58.4 235gXC 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 195gXF 18mm f/2 XF R £430 6/13 4H A compact, wideangle lens with a quick aperture • • 18 52 64.5 40.6 116gXF 27mm f/2.8 £379 NYT Pancake lens measuring just 23mm thick; boasts a 40mm equivalent angle of view • • 34 39 61 23 78gXF 18-55mm f/2.8-4 R £599 NYT Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310gXF 55-200mm f/3.5-4.8 R LM OIS £599 11/13 4H Telephoto with built-in optical image stabilisation plus aperture control ring • • • 110 62 75 118 580gXF 35mm f/1.4 XF R £439 6/13 4H Shallow depth of feld and bokeh effects are simple to achieve with this lens • • 28 52 65 54.9 187gXF 56mm f/1.2 R £899 9/14 4H 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

6.7-13mm f/3.5-5.6 VR 1 £459 NYT Compact, lightweight, ultra-wide angle zoom lens with Vibration Reduction for Nikon 1 system • • 25 52 56.5 46 125g10mm f/2.8 £229 2/12 4H A wideangle lens for Nikon’s 1 series of Compact System Cameras • 20 40.5 55.5 22 77g10-30mm 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 115g11-27.5mm f/3.5-5.6 £179 NYT Compact standard zoom for Nikon 1 system • 30 40.5 57.5 31 80g32mm f/1.2 £799 NYT First 1 system lens to offer a silent wave motor and nano crystal coating • 45 52 66 47 235g10-100mm f/4-5.6 VR 1 £479 NYT CX-format zoom lens with focal length range of 10–100mm (27–270mm 35mm equivalent) • • 35 55 60.5 70.5 298g18.5mm f/1.8 £179 NYT Nikon’s 1 series gains a traditional fast prime • 20 40.5 56 36 70g30-110mm f/3.8-5.6 VR £229 NYT A longer zoom lens, with image stabilization, for the Nikon 1 series • • 100 40.5 60 61 180g10-100mm f/4.5-5.6 VR PD-ZOOM £679 NYT A powered zoom lens aided by the VR image stabilization system • • 300 72 77 95 530g

12mm f/2.8 Touit Distagon T* £959 5/14 5H Designed specifcally for Sony NEX and Fujiflm X-series CSC cameras. Very impressive performance • 18 67 68 270g

18mm f/3.5 ZF.2 £1150 8/10 5H 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

25mm f/2.8 Distagon T* £750 NYT A macro lens offering unrivalled quality • • • • 17 58 83 55 480g

28mm f/2 Distagon T* £850 NYT For low light shooting the 28mm lens has plenty of potential • • • • 24 58 64 93 520g

32mm f/1.8 Touit Planar T* £700 7/14 4.5H Optimised for use with APS-C format sensors, a fast standard lens for Fujiflm X-series cameras • 23 52 72 76 200g

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 An extremely fast focusing lens • • • • 30 58 64 97 530g

50mm f/1.4 Planar T* £650 NYT A portrait lens in its element in low light • • • • 45 72 66 69 350g

50mm f/2 Makro-Planar £665 NYT A macro lens with impressive-looking levels of sharpness • • • • 24 67 72 88 530g

100mm f/2 Makro-Planar £1399 NYT A rapid-focus portrait lens • • • • 44 72 76 113 680g

ZEISSLENS rrp tEStEd SCorE Summary mouNt dImENSIoNS

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FUJI CSCLENS rrp tEStEd SCorE Summary mouNt dImENSIoNS

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NIKON CSCLENS rrp tEStEd SCorE Summary mouNt dImENSIoNS

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EF-m 18-55mm f/3.5-5.6 IS STM £269 NYT Compact and versatile zoom lens • • 25 52 61 61 210gEF-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 220gEF-m 22mm f/2 STM £220 NYT Small and bright wideangle pancake lens • 15 43 61 23.7 105g

CANON CSCLENS rrp tEStEd SCorE Summary mouNt dImENSIoNS

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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 5H A wideangle fxed lens for the Micro Four Thirds system • 20 46 56 43 130g

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 5H 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 4H 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 4H 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 II £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

40-150mm r (micro) f/4-5.6 £309 NYT This middle distance zoom lens has an 80-300mm 35mm equivalent focal length • 90 58 63.5 83 190g

45mm (micro) f/1.8 £279 2/12 5H Fast-aperture lens for taking portrait shots proved to be sharp, quiet and without colour fringing • 50 37 56 46 116g

75-300mm II (micro) f/4.8-6.7 £499 NYT Update featuring Zuiko Extra-low Refection Optical coating said to reduce ghosting • 90 58 69 117 423g

75mm f/1.8 ED £799 8/13 5H Ultra-fast prime lens ideal for portraits and action shots • 84 58 64 69 305g

OlympUS CSCLENS rrp tEStEd SCorE Summary mouNt dImENSIoNS

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8.5mm (Q System) f/2.8 £tBC NYT The standard prime lens in the Q system • 30 40.5 48.5 48 96g6.3mm (Q System) f/7.1 £129 NYT A wide lens for the Q system • N/A 40.6 25 21g15-45mm (Q System) f/7.1 £249 NYT Telephoto zoom covers focal lengths between 83mm and 249mm in 35mm terms • 40 50 56 90g18mm (Q System) f/8 £129 NYT A telephoto lens for the Q system • N/A 40.6 19.5 18g3.2mm (Q System) f/5.6 £149 NYT A fsheye lens for the Q system • 90 N/A 40.6 30.5 29g5-15mm (Q System) f/2.8 £279 NYT A short zoom lens for the Q system • 40.5 45.5 23 37g

pENTAX CSCLENS rrp tEStEd SCorE Summary mouNt dImENSIoNS

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c s c l e n s l i s t i n g s

19mm f/2.8 EX DN £170 7/12 5H Metal-bodied wideangle prime for Micro Four Thirds or Sony NEX Compact System Cameras • • 20 46 60.8 45.7 140g

30mm f/2.8 EX DN £170 7/12 5H Metal-bodied fast standard prime for Micro Four Thirds or Sony NEX Compact System Cameras • • 30 46 60.8 40.5 130g

60mm f/2.8 EX DN £189 NYT Latest addition to ‘Art’ range is a mid-range telephoto lens with metal body • • 50 46 60.8 56 190g

SIGMA CSCLENS rrp tEStEd ScorE Summary mouNt dImENSIoNS

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G 7-14mm f/4 ASPH £1300 5/10 5H 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 fsheye 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 X 12-35mm f/2.8 X PZ POWER OIS £1095 10/12 5H Fast, high-quality standard zoom for Micro Four Thirds cameras 25 58 67.6 73.8 305g

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 ASPH 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 X PZ POWER OIS £369 2/13 4H 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 ASPH 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 ASPH POWER OIS £599 NYT Metal-bodied zoom featuring company’s POWER O.I.S. optical image stabiliser • • 30 58 67 75 265g

15mm f/1.7 ASPH 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

dG 25mm f/1.4 DG SUMMILUX £550 2/12 5H A fast-aperture fxed focal length standard lens from Leica • 30 46 63 54.5 200g

G X 35-100mm f/2.8 POWER OIS £1099 NYT Telephoto zoom with Nano Surface Coating technology for dramatic reduction of ghosting and fare • 85 58 67.4 100 360g

G 45-150mm ASPH MEGA OIS £280 2/13 4H Compact, lightweight telephoto zoom comprising 12 elements in 9 groups • • 90 52 62 73 200g

dG macro 45mm f/2.8 ASPH MEGA OIS £730 5/10 4.5H Although maximum and minimum aperture are a tad weak, mid-range scores impress • • 15 46 63 62.5 225g

G X 45-175mm f/4-5.6 X PZ POWER OIS £400 7/12 4H 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 4H 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 4H Long zoom lens offering optical image stabilization • • 100 52 70 100 380g

9mm f/3.5 ED £tBc NYT At 12.5mm thin, this pancake lens is constructed of solid metal for the NX Mini • 11 N/A 50 12.5 31g

9-27mm f/3.5-5.6 ED OIS £tBc NYT Versatile and compact zoom lens for NX Mini • • 14 39 50 29.5 73g

17mm f/1.8 ED OIS £tBc NYT Portrait prime lens designed for the NX Mini • • 18 39 50 27.5 55g

12-24mm f/4-5.6 ED £480 NYT Portable ultra-wideangle zoom lens • 24 58 63.5 65.5 208g

16mm NX i-Function f/2.4 £300 NYT A pancake lens with a wide angle of view • 18 43 61 24 90g

16-50mm f/2-2.8 Premium S £1000 NYT Bright-aperture zoom lens made of metal, with quiet AF performance whether shooting stills or video • • 30 72 81 96.5 622g

16-50mm f/3.5-5.6 Power Zoom £tBc NYT Ultra-compact and lightweight design • • 24 43 64.8 31 111g

20-50mm f/3.5-5.6 ED II £200 NYT Ultra-compact lens with a retractable design. It’s lightweight and an ideal optic for travelling • 28 40.5 63.2 39.8 119g

18-55mm NX i-Function oIS f/3.5-5.6 £150 9/10 4.5H Not an outstanding set of MTF curves but acceptable nevertheless. Weaker at 18mm • 28 58 63 65 198g

18-200mm NX i-Function oIS f/3.5-6.3 £700 9/12 4.5H A mid-range zoom lens aimed at movie making • • 50 67 72 105.5 549g

20mm NX i-Function f/2.8 £230 2/12 5H Wideangle pancake lens • 17 43 62 25 89g

30mm NX i-Function f/2 £230 9/10 4H 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 £220 NYT Fast f/1.8 aperture produces a shallow depth of feld making it ideal for portraiture • 45 43 62 44.5 115g

45mm NX i-Function f/1.8 2D/3D £400 NYT Delivers high-end 3D capabilities with a large aperture and smooth autofocus system • 50 43 62 44.5 122g

50-200mm NX i-Function oIS f/4-5.6 £180 9/10 4H Performance at the 50mm end is good, though this drops off at the tele end • 98 52 70 100 417g

60mm NX i-Function macro oIS f/2.8 £500 2/12 5H This macro lens should be useful for portraiture • • 18 52 73.5 84 389g

85mm NX i-Function oIS f/1.4 £899 4/12 5H This prime lens is missing image stabilisation, but should still perform well • 82 67 79 92 714g

10-18mm f/4 £750 8/13 4H Super wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation • • 25 62 70 63.5 225g

16mm f/2.8 £220 2/12 4H Pancake lens for NEX system, with a circular aperture and Direct Manual Focus • 24 49 62 22.5 67g

16-50mm f/3.5-5.6 £299 NYT Compact lens with Power Zoom, ED glass and Optical SteadyShot image stabilisation • • 25 40.5 64.7 29.9 116g

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

18-55mm f/3.5-5.6 £270 NYT Optical SteadyShot, said to be silent during movie capture, and a circular aperture • • 25 49 62 60 194g

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

18-200mm f/3.5–5.6 OSS LE £609 NYT Lightweight with a versatile focal length range – an ideal travel lens • • 50 62 68 97.1 460g

18-200mm f/3.5-6.3 £709 NYT Superzoom optic with an 11x range, SteadyShot and a 7-blade circular aperture • 30-50 67 75.5 99 524g

20mm f/2.8 £309 NYT Pancake wide-angle lens promises to be the perfect walkaround partner for E mount cameras • 20 49 62.6 20.4 69g

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

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

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

30mm f/3.5 Macro £219 NYT A macro lens for the NEX Compact System Cameras • 9 49 62 55.5 138g

35mm f/1.8 £399 NYT Lightweight versatile prime with Optical SteadyShot image stabilisation • • 30 49 62.2 45 155g

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

50mm f/1.8 £219 NYT A handy, low price portrait lens for the NEX range • 39 49 62 62 202g

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

55-210mm f/4.5-6.3 £289 NYT Lightweight telephoto zoom lens for the NEX range • 100 49 63.8 108 345g

70-200mm f/4 G OSS £1359 10/14 4H G Series telephoto zoom lens, dust and water resistant, with built-in image stabilisation • • 72 80 175 840g

PANASONIC LUMIX CSCLENS rrp tEStEd ScorE Summary mouNt dImENSIoNS

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SONY CSCLENS rrp tEStEd ScorE Summary mouNt dImENSIoNS

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West Sussex, or why not visit usin LONDON!!

See website for directions to both ourstate-of-the-art showrooms!

@Every

Week

SONY OFFERS Visit our London or Burgess Hill stores where you can try out therange of Sony cameras & lenses, to help choose the perfect productrange Sony help perfect product

α7R α7Sα7

Meet the full-frame, palm-sized α7 range: portability and capability in one.Featuring a 35 mm Full Frame sensor into a body half the weight of leading

DSLRs, this is an exciting new landmark in the market.

In stock from£1,159.00

NEW & now in stock!See website for details

In stock from£1,589.00

Sony a6000 + 16-50mm

In stock at £649.00Sony RX100 III

In stock at £699.00NEW!

14mm f/2.8L II USM £1,699.0020mm f/2.8 USM £409.0024mm f/1.4L Mk II USM £1,224.0024mm f/2.8 IS USM £458.0028mm f/1.8 USM £379.0028mm f/2.8 IS USM £409.0035mm f/1.4L USM £1,099.0035mm f/2.0 IS USM £469.0040mm f/2.8 STM £159.0050mm f/1.2 L USM £1,149.0050mm f/1.4 USM £279.0050mm f/1.8 II £80.0050mm f/2.5 Macro £234.00EF-S 60mm f/2.8 Macro £365.00MP-E 65mm f/2.8 £853.0085mm f/1.2L II USM £1,549.0085mm f/1.8 USM £289.00100mm f/2 USM £359.00100mm f/2.8 USM Macro £385.00100mm f/2.8L Macro IS USM £699.00135mm f/2.0L USM £769.00180mm f/3.5L USM Macro£1,109.00200mm f/2.0L IS USM £4,449.00200mm f/2.8L USM II £569.00

300mm f/2.8L USM IS II £4,899.00300mm f/4.0L USM IS £1,079.00400mm f/2.8L USM IS II £7,799.00400mm f/4.0 DO L USM IS £5,399.00400mm f/5.6L USM £989.00500mm f/4.0L USM IS II £7,049.00600mm f/4.0L USM IS II £8,899.00800mm f/5.6L IS USM £9,999.00TSE 17mm f/4.0L £1,659.00TSE 24mm f/3.5L II £1,479.00TSE 45mm f/2.8 £1,129.00TSE 90mm f/2.8 £1,124.008-15mm f/4L Fisheye USM £999.00EF-S 10-18mm f/4-5.6 IS STM £299.00EF-S 10-22mm f/3.5-4.5 USM £449.00EF-S 15-85mm f/3.5-5.6 IS USM £579.0016-35mm f/2.8L II USM £1,199.0017-40mm f/4.0L USM £619.00EF-S 17-55mm f/2.8 IS USM £619.00EF-S 17-85 f/4.0-5.6 IS USM £356.00EF-S 17-85 IS (No packaging) £189.00EF-S 18-55mm f/3.5-5.6 IS II£188.00EF-S 18-135mm IS STM £359.0018-135mm IS (No packaging) £299.00

EF-S 18-200mm f/3.5-5.6 IS £410.0024-70mm f/2.8L II USM £1,549.0024-70mm f/4.0L IS USM £889.0024-105mm f/4.0L IS USM £813.0024-105mm IS (White Box) £739.0028-135mm f/3.5-5.6 USM IS £359.0028-300mm f/3.5-5.6L IS USM £2,199.00EF-S 55-250mm f/4-5.6 IS II £169.00EF-S 55-250mm f/4-5.6 IS STM £284.0070-200mm f/2.8L IS II USM £1,699.0070-200mm f/2.8L USM £999.0070-200mm f/4.0L IS USM £959.0070-200mm f/4.0L USM £495.0070-300mm f/4.0-5.6 IS USM £389.0070-300mm f/4.0-5.6L IS USM £1,069.0070-300mm f/4.5-5.6 DO IS USM£1,138.0075-300mm f/4.0-5.6 Mk III £188.0075-300mm f/4.0-5.6 USM III£209.00100-400mm f/4.5-5.6L USM IS £1,239.00200-400mm f/4.0L USM IS £8,749.001.4x III Extender £329.002x III Extender £329.00EF 12 II Extension Tube £79.99EF 25 II Extension Tube £139.99

CANON LENSES Lens prices updated DAILY!See www.ParkCameras.com/WDC for details

Canon EOS 5DMk III

Body Only

£2,299.00

+ 24-105 L IS

£2,899.00

22.3MEGAP I X E L S

Add a Canon BG-E11 battery grip foronly £239with the EOS 5D Mark III

Canon EOS 6D

Body Only

See web+ 24-70 L IS

SeeWeb

20.2MEGAP I X E L S

Add a Canon BG-E13 battery grip foronly £169with the EOS 6D

Canon EOS-1D X

18.1MEGAP I X E L S

Add a Canon GP-1 GPS Unit foronly £250with the EOS-1D X

In stock from £4,845.00See website for full details

Canon EOS 60D

Body Only

£475.00

+ 17-85 IS

£599.00

18.0MEGAP I X E L S


5.3 FPS

Canon EOS 70D

20.2MEGAP I X E L S

Body Only

£849.00

+ 18-55 IS STM

£959.00


7 FPS

Canon EOS 7D

18.0MEGAP I X E L S

Body Only

£899.00

+ 17-55 IS

£1,499.00

Add a Canon WFT-E5B WirelessTransmitter for only £419.00

8 FPS

Canon EOS 1200D

Body Only

SeeWeb+ 18-55 IS II

SeeWeb

18.0MEGAP I X E L S

Add an Interceptor Messenger Bag (M)for only £45with the EOS 1200D

3 FPS

NEWLOW

PRICE

Canon EOS 100D

Body Only

£375.00

+ 18-55 IS STM

£479.00

18.0MEGAP I X E L S

Learn more about the EOS 100D withour Expanded Guide - only £14.99

4 FPS

Canon EOS 700D

Body Only

SeeWeb+ 18-55 IS STM

SeeWeb

18.0MEGAP I X E L S


5 FPS

NEWLOW

PRICE

Canon PowerShot SX520 HSOne camera for every special moment

NEW&NOW IN STOCK!SRP £299.99

Add a Manfrotto Compact LightTripod for only £44with the SX520 HS

16.0MEGAPIXELS

42x

Canon PowerShot G16The fast, bright expert compact

NowOnly £422.00

SRP £529.99

Add a Lexar 32GB SD card & ManfrottoCompact Light Tripod for FREE!

12.1MEGAPIXELS

5x FREETripod &card!

Canon PowerShot G1 X IIUltra advanced 50x zoom

NowOnly £719.00

SRP £749.00

Visit our website for the premium kit,including electronic viewfinder & case

12.8MEGAPIXELS

5x

Canon PIXMA Pro-100The printer your images deserve

Up to A3+ prints 8-ink system Fast printing Quality grayscale

prints

NowOnly £364.00Was £562.80

Add a spare set of 8 inks + a pack of A3platinum paper for only £19.00


Up to A3+ prints 10 pigment inksWi-Fi certified Professional colour

and mono prints

NowOnly £499.00Was £778.80

Add a spare set of 10 inks + a pack of A3platinum paper for only £39.00

IN

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IN

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Up to A3+ prints 12-ink system Fast printing Quality colour &

grayscale prints

NowOnly £645.00Was £958.80

FREE pack of Canon A3+ platinum paper(10 sheets) with the PIXMA PRO-1

IN

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Have you visited our London store?Situated in the centre of London, just off OxfordStreet, 2 mins from Tottenham Court Road Tube.

Try out the latest Canon gear for yourself, &speak to our expert, friendly staff.

53-54 Rathbone Place, LONDON, W1T 1JR

Come & see usin London!

For hundreds more Canon accessories, visit our website

For the Nikon 1 range of cameras & lenses, including the NEW J4visit our stores in Central London and Burgess Hill or visit our website

AF-G 10.5mm f/2.8G ED DXff £549.00AF-D 14mm f/2.8D £1,239.00AF-D 16mm f/2.8D Fisheye £625.00AF-D 20mm f/2.8 £463.00AF-D 24mm f/2.8D £369.00AF-S 24mm f/1.4G ED £1,469.00PC-E 24mm f/3.5D ED £1,465.00AF-D 28mm f/2.8 £245.00AF-S 28mm f/1.8G £499.00AF-S 35mm f/1.4G £1,299.0035mm f/2 AF Nikkor D £259.0035mm f/1.8 AF-S DX £148.00AF-S 40mm f/2.8G ED Micro £185.00PC-E 45mm f/2.8D ED £1,393.00AF 50mm f/1.4D £244.00AF-S 50mm f/1.4G £279.00AF-D 50mm f/1.8 £112.00AF-S 50mm f/1.8G £149.00AF-S 58mm f/1.4G £1,599.00AF-S 60mm f/2.8G Micro ED£368.00

AF-S 85mm f/3.5G DX Micro £375.00AF-D 85mm f/1.8D £299.00AF-S 85mm f/1.8G £379.00AF-S 85mm f/1.4G £1,179.00AF-S 105mm f/2.8G VR IF-ED £629.00PC-E 85mm f/2.8D ED £1,299.00AF-DC 105mm f/2 Nikkor £805.00AF-D 180mm f/2.8 IF ED £695.00AF-D 200mm f/4D IF ED £1,179.00AF-S 200mm f/2G ED VR II£4,099.00AF-S 300mm f/2.8G ED VR II £4,029.00AF-S 300mm f/4 D IF-ED £1,029.00AF-S 400mm f/2.8G ED VR£6,589.00AF-S 500mm f/4G ED VR £5,849.00AF-S 600mm f/4G ED VR £7,069.00AF-S 800mm f/5.6E FL ED VR See webAF-S 10-24mm f/3.5-4.5G DX £639.00AF-S DX 12-24mm f/4 G IF-ED £839.00AF-S 14-24mm f/2.8G ED £1,315.00AF-S 16-35mm f/4G ED VR £829.00

AF-S 16-85mm f/3.5-5.6 DX VR £439.00AF-S 17-35mm f2.8 IF ED £1,499.00AF-S 17-55mm f/2.8G IF-ED £1,049.00AF-S 18-35mm f/3.5-4.5 G ED £519.00AF-S DX 18-55 f/3.5-5.6G II £127.00AF-S 18-140mm ED VR DX £479.00AF-S 18-105mm f/3.5-5.6G VR £229.00AF-S 18-200mm ED DX VR II £584.00AF-S 18-300mm ED VR DX £629.00AF-S 24-70mm f/2.8G ED £1,245.00AF-S 24-85mm f/3.5-4.5 ED VR £409.00AF-S 24-120mm f/4G ED VR £810.00AF-S 28-300mm ED VR £659.00AF-S 55-200mm f/4-5.6G £199.00AF-S 55-200mm f/4-5.6 VR £195.00AF-S DX 55-300mm VR £259.00AF-S 70-200mm f/2.8 VR II £1,605.00AF-S 70-200mm f/4.0 VR £999.00AF-S 70-300mm IF ED VR £439.00AF-S 80-400mm ED VR £1,989.00

NIKON LENSESNIKON LENSES Lens prices updated DAILY!See www.ParkCameras.com/WDC for details

36.3MEGAP I X E L S

3.2”Screen

1080pFULL HD7 FPS

Nikon D3200

Body Only

£279.00

+ 18-55 VR II

£340.00

24.2MEGAP I X E L S

Add a Nikon EN-EL14a battery foronly £38with the Nikon D3200.

4 FPS

Body Only

£429.00

+ 18-55 VR II

£485.00

24.1MEGAP I X E L S

Add a Nikon Wu-1a wireless adapterfor only £46with the Nikon D5200.

1080pFULL HD

Nikon D7000

Body Only

£579.00

+ 18-105 VR

£700.00

16.2MEGAP I X E L S

Add a Nikon EN-EL15 battery foronly £57with the Nikon D7000.

6 FPS

Nikon D7100

24.1MEGAP I X E L S

Add a Nikon SB-700 Speedlight foronly £225with the Nikon D7100.

6 FPS

Nikon D610

Body Only

£1,389.00

+ 24-85mm

£1,849.00

24.3MEGAP I X E L S

Part-Ex your original cameraand receive £150 trade-in bonus

Nikon D4s

16.2MEGAP I X E L S

Part-Ex your original cameraand receive £400 trade-in bonus

6 FPS

Body Only £5,199.00See website for full details

Nikon D5200

Body Only

£809.00

+ 18-105 VR

£979.00*

I AM ALL YOU NEED

Purchase any Nikon DSLR &receive a Nikon shoulder bag,16GB SD card & cleaning clothfor only £34.99! - whilst stock lasts

NEWANDNOW IN STOCK!!

£400tradein!

£150tradein!

Sonnar T* FE 35mm f/2.8 ZA £699.00Planar T* 50mm F1.4 ZA SSM £1,219.00Sonnar T* FE 55mm f/1.8 ZA £849.00Vario-Tessar T* FE 24-70mm f/4 ZA OSS £949.00

FE 28-70mm f/3.5-5.6 OSS £449.0070-200mm f/2.8 G SSM II £2,399.00FE 70-200mm f/4 G OSS £1,249.0070‒400mm f/4‒5.6 G SSM II £1,599.00

Popular Sony Lenses

For even more Sony lenses, visit our website. Alternatively why notvisit us in London or Burgess Hill and try out a lenses for yourself!?


CameraWHATDIGITAL

Visit our website - updated daily

www.ParkCameras.com/WDCor e-mail us for sales advice [email protected]

Phone one of our knowledgeable sales advisors

Monday - Saturday (9:00am - 5:30pm) or Sunday (11:00am - 4:30pm)

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Panasonic LUMIX GH4

16.2MEGAP I X E L S

Visit our website & watch our previewvideo to learn more about the GH4

Can't see what you're after? See our website for 1000s more products

NEW!4KVIDEO

Visitwww.ParkCameras.com/WDC for even more Olympus!

Body Only

£1,299.00+ 14-140mm

£1,749.00

Pentax K-500 + 18-55

Our Price £329.00See website for full details

16.2MEGAP I X E L S

Add a Pentax O-RC1 remote controlfor only £23with the Pentax K-500

6 FPS

23.3MEGAP I X E L S

3.2”Screen

1080pFULL HD

SDcard

in stock from only

8.3 FPS

Limited numbers

Pentax K-50

Body Only

£379.00+ 18-55 WR

£399.00

16.2MEGAP I X E L S

Add a Pentax 18-270mm f/3.5-6.3 lensfor only £429with the Pentax K-50

£888.00

Body was £949.99

Panasonic LUMIX GX7

16.0MEGAP I X E L S

Add a DMW-BLG10 battery foronly £55with the LUMIX GX7

Kits from £599.00!See website for full details

3.0”Screen

Panasonic LUMIX GH3

Body Only

£749.00+12-35mm

£1,299.00

16.2MEGAP I X E L S

Add a DMW-BGGH3 battery grip foronly £220with the LUMIX GH3

Fujifilm X-E2

Body Only

£569.00+ 18-55mm

£919.00

16.3MEGAP I X E L S

Purchase any XF lens with an X-E2 &claim £200 cashback. See web for details.

6 FPS

FUJIFILM

X-MOUNT

Fujifilm X-Pro 1 Body

In stock for £649.00*See website for full details

16.3MEGAP I X E L S

*Price after £100 cashback fromFujfilm UK if bought before 30.09.14.

1080pFULL HD

Fujifilm X-T1

In stock from £988.00!See website for full details

16.3MEGAP I X E L S

Purchase any XF lens with an X-T1 &claim £100 cashback. See web for details.

1080pFULL HD

£100cashback

12

A R T

F I LT E R S

Olympus OM-D E-M1

Body Only

£1,149.00+ 12-50mm

£1,479.00

16.3MEGAP I X E L S

Add a HLD-7 battery grip foronly £179with the OM-D E-M1

Olympus OM-D E-M5

Body Only

£629.00+ 12-50mm

£749.00

16.1MEGAP I X E L S

Add a HLD-6 battery grip foronly £209with the OM-D E-M5

1080pFULL HD9 FPS

Olympus 12-40mmf/2.8 Pro

Add a Hoya 62mm Pro 1-D UV filter foronly £31with the Olympus 12-40mm

Olympus CS-42SFSoft camera case


Not the case for you? Visit us in storeor online for a wide range of cases

16.1MEGAP I X E L S

3.0”Screen

1080pFULL HD

SDcard

NOWIN

STOCK!

• Constant apertureof f/2.8

• Best edge-to-corner sharpness


• Suitable forOM-D E-M1

• Water-resistantnylon

12

A R T

F I LT E R S

Olympus PEN E-P5

Body Only

£599.00+ 14-42mm

£699.00

16.1MEGAP I X E L S

Add an Olympus BLN-1 spare batteryfor only £54with the PEN E-P5

Olympus PEN E-PL6

+14-42mm EZ

£42900FREE 8GB FlashAir SD card

16.1MEGAP I X E L S

Add a VF-4 digital viewfinder foronly £239with the PEN E-PL6

1080pFULL HD9 FPS

OLYMPUS LENSES8mm f/3.5 ED Fisheye £714.9925mm f/2.8 Pancake Lens £208.9935mm f/3.5 Macro £199.9950mm f/2.0 ED Macro £569.00150mm f/2.0 ED £1,999.00300mm f/2.8 ED £5,799.007-14mm f/4.0 £1,449.009-18mm f/4.0-5.6 4/3 £479.0011-22mm f/2.8-3.5 £699.0012-60mm f/2.8-4.0 ED SWD £899.0014-42mm f3.5-5.6 ED Mk II £216.9914-35mm f/2.0 ED SWD £1,799.0014-54mm f/2.8-3.5 II £549.0018-180mm f/3.5-6.3 £419.0035-100mm f/2.0 £1,999.0040-150mm f/4.0-5.6 ED MKII £229.0050-200mm f/2.8-3.5 ED SWD £979.0070-300mm f/4.0-5.6 ED £329.0090-250mm f/2.8 £4,699.00For evenmore Olympus lensesat LOW PRICES, visit our website

supplied with the new

ultra slim 14-42mm lens

1080pFULL HD

FREE HLD-7BATTERYGRIP!

NEW!

Sigma is a world leader in the optical field with topquality lenses available in Sigma, Canon, Nikon, Pentax,Sony and Four Thirds fits. See below to find a lens for

you - at LOW PARK CAMERAS PRICES!!

FIXED FOCAL LENGTH LENSES

4.5mm f/2.8 EX DC HSM (Fisheye)£579.008mm f/3.5 EX DG (Fisheye) £618.0010mm f/2.8 EX DC HSM (Fisheye)£489.0015mm f/2.8 EX DG (Fisheye) £474.0020mm f/1.8 EX DG £514.0024mm f/1.8 EX DG £429.0028mm f/1.8 EX DG £359.0030mm f/1.4 EX DC HSM £369.0050mm f/1.4 EX DG HSM £329.0050mm f/2.8 EX DG Macro £249.0070mm f/2.8 EX DG Macro £329.0085mm f/1.4 EX DG HSM £649.00105mm f/2.8 EX DG OS HSM £379.00150mm f/2.8 EX DG OS HSM £699.00300mm f/2.8 APO EX DG HSM £2,279.00500mm f/4.5 APO EX DG HSM £3,769.00800mm f/5.6 APO EX DG HSM £4,349.00WIDE ZOOM LENSES

8-16mm f/4-5.6 DC HSM £549.0010-20mm f/4-5.6 EX DC HSM £349.0010-20mm f/3.5 EX DC HSM £399.0012-24mm f/4.5-5.6 DG HSM II £649.0017-50mm f/2.8 EX DC OS HSM £309.00

STANDARD ZOOM LENSES

18-200mm f/3.5-6.3 DC OS HSM II £239.0018-250mm f/3.5-6.3 DC OS HSM £299.0024-70mm f/2.8 EX DG HSM £599.00TELEPHOTO ZOOM LENSES

50-150mm f/2.8 APO EX DC HSM II £739.0050-500mm f/5-6.3 DG OS HSM £999.0070-200mm f/2.8 EX DG OS HSM £799.0070-300mm f/4-5.6 APO DG Macro £150.0070-300mm f/4-5.6 DG OS £239.00120-400mm f/4.5-5.6 DG OS HSM £639.00150-500mm f/5-6.3 DG OS HSM £699.00200-500mm f/2.8 EX DG APO £12,699.00300-800mm f/5.6 EX DG HSM £5,498.00TELECONVERTERS

1.4x EX DG Teleconverter £198.002x EX DG Teleconverter £232.00

Why not take a visit to our stores inLONDON orWEST SUSSEX, bring yourown DSLR, and test out a Sigma lens!

Sigma 35mmf/1.4 DG HSM


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Available in Canon,Nikon, Sony& Sigma fits

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Sigma 18-35mmf/1.8 DC HSM




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Designed for use with theContemporary, Art and Sports lenses

Available inCanon, Nikon,& Sigma fits

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EiŬon Lenses

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OM-D E-Mϭ

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AϲϬϬϬ BodyBlack or Silver άϱϰAϲϬϬϬ + 16-50mmPower Zoom άϲϰEEy-ϱT + 16-50mm άϰϰ

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ϱDMŬ III Body άϮϮϱDMŬ III + 24-105mm f4.0L IS USM άϮϱDMŬ III + 24-70mm f2.8 II ά3ϳ

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ϱDMŬ III Body άϮϮ

ϮϮ3megapixels

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Full FrameCMOS sensor

EOS ϳD

ϳD Body άϳD + 18-135mm f3.5-5.6 IS άϭϭϰϳD + 15-85mm f3.5-5.6 IS USM άϭ3

ϳD Body άFor Canon-fit Tamron,

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DϲϭϬ

DϲϭϬ From άϭ3

Ϯϰ3megapixels

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Full Frameformat

Dϰs Body άϱϭDϭϬ body άϮϲ

DϰsDϭϬ

Dϰs body άϱϭDϭϬ body άϮϲ

ϭϲϮmegapixels

3ϲ3megapixels

ϭϭϬ fpsϱϬ fps

Full Frameformat

Full FrameCMOSSensor

EF 35mm f1.4 L USM........................................άϭϬEF 40mm f2.8 STM...........................................άϭϱEF 50mm f1.2 L USM........................................άϭϭϰEF-S 60mm f2.8 USMMacro............................ά3ϲϱEF 85mm f1.8 USM ..........................................άϮEF 100mm f2.8 L IS USMMacro ......................άϲEF-S 10-22mm f3.5-4.5 USM ...........................άϰϰEF 16-35mm f2.8 L USMMkII ..........................άϭϭEF 17-40mm f4 L USM .....................................άϲϭEF-S 17-55mm f2.8 IS USM..............................άϲϭEF-S 18-135mm f3.5-5.6 IS STM ......................ά3ϱEF-S 18-200mm f3.5-5.6 IS...............................άϰϭϬEF 24-70mm f2.8L II USM ................................άϭϱϰEF 24-105mm f4.0 L IS USM.............................άϭ3EF-S 55-250mm f4-5.6 IS II...............................άϮϬEF 70-200mm f2.8 L IS II USM..........................άϭϲEF 70-200mm f4 L IS USM................................άϱEF 70-300mm f4.0-5.6 L IS USM ......................άϭϬϲ

Dϱ3ϬϬ Body άϱϰDϱ3ϬϬ+18-55mm VRII άϱDϱ3ϬϬ + 18-140mm VR άϳ

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OM-D E-MϭϬ

From άϰ

EEt

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',ϰ Body άϭϮ+ 14-140mm f3.5-5.6 άϭϳϰ

'yϳ + 14-42mm άϱ'yϳ + 20mm άϲ

RECOMMEEDED LEESES:12-35mm f2.8O.I.S. άϮ

14-140mm f3.5-5.6 O.I.S. άϰϱ

35-100mm f2.8O.I.S. άϱ

EEt ',ϰ

Body άϭϮ

ϭϲϬϱmegapixels

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ϰŬVideo

ϭ s3

EiŬon ϭ s3 Body άϳϮ+10-30mm PD Zoom + EVF + Grip άϭϬϰsϮ + 10-30mm Lens άϲϰ

EEt EiŬon ϭ: s3 άϳϮ

ϭϰmegapixels

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28mm f1.8 G AF-S Nikkor....................................άϰϱ

35mm f1.8 G AF-S DX..........................................άϭϰ

40mm f2.8 G AF-S DXMicro ...............................άϭϱ

50mm f1.8 G AF-S ...............................................άϭϰ

85mm f1.8 G AF-S ...............................................ά3ϳϱ

105mm f2.8 G AF-S VR IF EDMicro ....................άϲϮ

16-85mm f3.5-5.6 G AF-S ED DX VR ...................άϰ3

18-105mm AF-S DX Nikkor f3.5-5.6 G ED VR......άϮϬϰ

18-200mm f3.5-5.6 G ED AF-S DX VR II ..............άϱϰ

24-70mm f2.8 G AF-S ED ....................................άϭϮϰϱ

28-300mm f3.5-5.6 G AF-S ED VR.......................άϲϱ

55-200mm f4.0-5.6 G AF-S DX VR IF ED..............άϮϰϭ

55-300mm f4.5-5.6 G AF-S DX VR.......................άϮϳ

70-300mm f4.5-5.6 G AF-S IF ED VR...................άϰ3

y-Tϭ

ϭϲ3megapixels

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y-Tϭ

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Memory Cards

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Digital compact bateries, cases and accessories are available to buy on our website

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FineWix yY-ϭ Black ........................................άϮϲFineWix FϬϬ Blue..........................................άϮϰFineWix SLϭϬϬϬ Black ....................................άϮ3ϰFineWix ,SϱϬ Black........................................άϮϰFineWix yϮϬ Silver or Black............................ά3ϰFineWix Sϭ......................................................ά3ϲFineWix yWϳϬ Orange or Blue........................άϭϰFineWix SϲϬϬ Black, Red or White...............άϭϱFineWix SϮϬϬ Black, Red or White...............άϮϮ

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yYDΡMemory Card:ϭϲMs32GB.......................................άϭဓဓ64GB.......................................ά3ဓဓ

yYDΡ hS 3Ϭ Reader:High-speed transfer of RAW andHD files from your XQDmemorycard to your computer...........άϰဓ

Wrofessional ϭϬϲϲxCompact Flash: ϭϲϬMs16GB ...................................άϳဓ32GB ...................................άϭϮဓ64GB ...................................ά3ϭဓ128GB .................................άϰဓဓ

Wrofessional ϲϬϬx h,S-ϭ: ဓϬMs16GB ...................................άϮဓ32GB ...................................άϰဓ64GB ...................................άဓဓ128GB .................................άϭဓဓ

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RyϭϬ Black ......................................................άϲဓဓ

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Ryϭ Black ........................................................άϮϮϰဓ

RyϭR Black ......................................................άϮϮဓဓ

Cyber-Shot RyϭϬϬ II ......................................άϰဓ

Cyber-shot ,yϰϬϬ Black .................................ά3ϰဓ

Cyber-shot ,yϲϬ Black ...................................άϮဓ

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Rover WroAt ϰϱL

Blue.

Perfect for

carrying a

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Rover Wro At:35L..................................... άϭϲϰ45L..................................... άϭဓ

Transit Backpack

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Transit At:Sling 250 AW..........................άϳဓBackpack 350 AW...................άဓ

Perfect for

carrying a

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with Grip, up

to 3 Lenses,

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Tripod, 15”

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WIyMA Wro ϭϬϬ ...................................ά3ϲဓWIyMA Wro ϭϬ .....................................άϰဓဓWIyMA Wro ϭ ........................................άϲϰϱ

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IyhS Ϯϲϱ ,S Black............................................άϭϰဓWowerShot SyϲϬϬ Black ..................................άϭϲဓWowerShot SyϱϭϬ ,S Black ................................άϭဓWowerShot D3Ϭ................................................άϮϰဓWowerShot SyϳϬϬ ,S.......................................άϮϳဓ

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MTϭဓϬyWRO3ͻ 160cmMax Heightͻ 9cmMin Height

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tatchtex on zoutubeFor hints, tps, interviews, tutorialsand more, find our videos at:

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Lumix TϲϬ

ά3Ϯဓ

Lumix LFϭ Blue, Orange, Silver or Black .......άϮϲဓLumix Tϱϱ Black ..........................................άϭဓဓLumix LϰϬ Black ..........................................άϭဓဓLumix S Black ............................................άϭϭဓLumix Lyϳ Black ............................................άϮဓLumix FϮϬϬ..................................................ά3ϰဓLumix FϮϳϮ..................................................άϮϲဓ



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01223 [email protected]





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exclusive lens and 3D exclusive lens

completes the range.

The 20mm f/2.8 wide pancake lens

(£229.99) that we are giving you the

chance to win is a fi xed focus lens

that allows you to capture premium

photos for landscape, portrait and

special moments. It is a fast bright

lens that provides a natural out-of-

focus effect and helps you to capture

natural photos without a fl ash even in

dark, indoor locations. Together with

the 50-200mm f/4-5.6 ED OIS III

telephoto zoom lens, worth £249.99,

you will be able to capture great

For more details about Samsung NX lenses, visit: www.samsung.com

HOW TO ENTERFor your chance to win, just visit

www.whatdigitalcamera.com/samsung

and answer this simple question:

QWhat innovative optical feature do the NX lenses have?

Closing date: 29th September 2014

NEXTMONTH

OLYMPUS OM-D E-M1

We take one of the most popular cameras

of last year on a fi eld test aboard a racing

yacht off the coast of the Isle of Wight

NIKON D810We put Nikon’s most versatile DSLR to

the test and reveal why it’s the full frame

DSLR so many have been waiting for

ON SALE 26TH SEPTEMBER

TOP TIPS FOR BETTER PORTRAITS

Follow our expert advice and learn the

techniques and kit you need so you can

shoot stunning portraits like a pro

TABLETS FOR PHOTOGRAPHERSWe round up six of the most desirable

tablets to fi nd out where your

money is best spent

Winners will be contacted by email within 6 weeks of the closing date.

images in all shooting conditions.

Finally, the 18-55mm f/3.5-5.6 OIS

III, worth £199.99, is a lightweight and

compact all-round lens, boasting an

optical image stabilizer for sharp shots

and speedy autofocus for capturing

those spontaneous moments.

One lucky reader will win these

great prizes. Enter now for your

chance to win.

PRIZE WORTH £680!

PLUS SO MUCH MORE...

p98 Comp Oct jpmt.indd 98 13/08/2014 14:12

Tel: 01444 23 70 65www.ParkCameras.com/WDC

York RoadBURGESS HILLRH15 9TT

53-54 Rathbone PlaceLONDONW1T 1JR

All prices include VAT @ 20% See website for our opening times for both our London & Burgess Hill stores. All products are UK stock. E&OE. Please mention “What Digital Camera” when ordering from this advert.

Prices correct at time of going to press; Prices subject to change; check website for latest prices.

BIG SAVINGS THIS AUTUMN

This Autumn, you can make your money go further with a fantastic range of off

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Now only £649.00**Price shown after £100 cashback, you pay

£749.00 & claim £100 cashback. Ends 30.09.2014

NEW & NOW IN STOCK!NIKON D810Create your newmasterpiece with the exquisite Nikon D810.From delicate textures to high-speed movement, this all-versatile 36.3-megapixel camera is ready for anything.

, ultra-wide ISO range, and, you get unprecedented sharpness,

, and reduced noise across all sensitivities.

Limited stock now available! See our website for details.Learn more at

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NEW!!

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Body Only

Now only £5,199.00Trade-in your old camera and receive an extra £400when purchasing the Nikon D610! Ends 30.09.14

The D4s is the latestaddition to Nikon’s

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In stock at only £164.00additional

MANFROT

Compact, Light & Portable

In stock at only £119.00See web for our latest lowprices on Canon lenses!

+ EF-S 17-85mm IS USM

Now only £1,025.00Add a Canon BG-E14 battery grip and Canon LP-E6battery for only £287.99with the EOS 70D

Lens non-originalpackaging

Now only £749.00Purchase the Olympus OM-D E-M5 & receive a FREEOlympus Battery Gripworth over £229 Ends 30.09.14

TheOM-D EM-5 combines

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£400Trade-InBonus

Now only £390.00Learn more about how to use your EOS 1200D withthe FREE EOS Companion App. See web for details.

Now only £1,279.00For special offers when purchasing the EOS 6D,

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