Sony 2fast4fu-5ll-0 mm Fith 2.

8 G
Tuesday 4 June 2024

Compact, frame lens w an

u?
unusual zoom range. Is it for yo

PREMIUM
JUNE 2024
EDITION Passionate about photography since 1884

Lens special
£5.99

Bumper guide to all things optical

KELSEYmedia
Best lenses for
beautiful bokeh
These picks run circles
around the competition

Alternative optics
Break free from the shackles
of pin-sharp lenses

Master MF
Manual focusing tips

Plus Glass acts: readers and pros name their favourite lenses • In praise of primes
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 7days
Inside this issue
3 7 days
Welcome
8 Books and 40 What’s more
important, the
exhibitions camera or the lens
10 It’s good to share that’s on it? The
answer will depend
14 The best lenses for on the type of
beautiful bokeh photos you take and what you do
22 APOY Round with them, but one thing is for
One results: sure, most of us own more lenses
Black & white than we do cameras, and our next
purchase is statistically more likely
28 Reader to be a lens than a camera. There
portfolio are more new lenses to choose

© JEREMY WALKER
31 Inbox from today than ever before, and
that’s before we count the millions
35 Readers’ favourite of old ones going back into the
lenses mists of time. Our annual lens
40 Prime time special is dedicated to those lumps
of glass that make such a vital
46 Optic oddities: contribution to the look and feel
alternative lenses (and let’s not forget the sharpness)
52 Manual focus of our photos. They may weigh
masterclass down our camera bags and deplete
our bank balances but where
56 Pros’ favourite would we be without them?
lenses Nigel Atherton, Editor
66 Join the club © DAMIEN DEMOLDER

68 How to win
when trading in 77 56
71 Vivo X100 Pro
smartphone
review
77 Sony FE 24-50mm
F2.8 G lens review
80 My favourite kit
83 Accessories
85 Buying Guide:
Mirrorless lenses
98 Final analysis

71
© PAULA GREEN

22 Our cover image, composited by Nigel

Atherton with a bokeh background stock
picture from Getty Images, illustrates our
bumper lens special issue
THIS ISSUE’S CONTRIBUTORS
Connect with us
@ EMAIL US at [email protected] with your
letters, send us a link to your online gallery, or
attach up to 5MB of low-res sample images
JOIN US ONLINE in one of these AP communities:
WEBSITE: www.amateurphotographer.com
ROD LAWTON JEREMY WALKER WILL CHEUNG HOLLIE LATHAM RICHARD SIBLEY JOSHUA WALLER FACEBOOK: amateur.photographer.magazine
Expert contributor
HUCKER Online Editor TWITTER: @AP_Magazine
Want lovely In our feature on Technique Editor The experienced
background blur? page 40, the Will shares manual reviewer and Vivo’s flagship INSTAGRAM: @AP_Magazine
Photo expert Rod award-winning pro focusing tips; then Hollie talks to six former deputy X100 Pro phone is FLICKR: flickr.com/groups/amateurphotographer
explains ‘bokeh’ explains the on page 46, guides pros to find out editor of AP tests co-engineered with
and the best benefits of prime you on alternative their go-to lenses Sony’s new FE Zeiss. Joshua
lenses to achieve it lenses lenses on various brands 24-50mm F2.8G gives his verdict
More AI editing tools
for Lightroom
ADOBE has expanded the range of versions, which means Adobe will
AI-powered editing tools available for continue fine-tuning it based on
its widely used Lightroom software. The feedback from users. See
headline addition is Generative Remove, bit.ly/adobegrtips for Adobe’s tips on
which uses Adobe’s Firefly AI model to making the most of Generative Remove.
make it much easier to remove
distractions in an image – such as a stray It’s all a blur
passer-by, for example, or an unsightly In addition, Lens Blur, now available in
rubbish bin or parked car that inadvertently its full version, replicates the effects of
crept into the frame. differential focus and attractive bokeh,
Generative Remove is designed to work coming in handy if you wish to focus
in partnership with Lightroom’s existing attention on the main subject more by
tools, seamlessly removing large objects blurring out the background. Lens blur
or distractions, and filling the space left can be added to any part of a
behind. All this can be done with a single photograph in a single click and now
click, and the process is non-destructive, includes automatic presets. HDR
so the original image remains intact. Optimization, already a popular feature,
While it has been possible to manually has also been boosted to give more
remove unwanted objects in Lightroom dynamic range in your images, enabling
for a long time, it certainly wasn’t a brighter highlights, deeper shadows and
one-click process. more vivid colours, Adobe claims.
‘Accessing Generative Remove is as In addition, there is expanded
easy for Lightroom users as cropping a tethering support for new cameras,
photo or adding a preset,’ said Adobe. ‘(It) including the latest Sony models, such
is helpful for editing even the most as the Alpha 7 IV and Alpha 7R V,
complicated backgrounds and providing access to photos in Lightroom
surroundings including removing stains Classic in real time; instant access to
from a patterned shirt, wrinkles of a photo libraries in Lightroom mobile and
tablecloth in food photography, unwanted desktop apps, again to facilitate faster
reflections in water and more.’ editing; and a more streamlined toolbar
Generative Fill is now available as an and interface for Lightroom mobile apps.
‘early access’ feature for Lightroom See www.adobe.com/uk for details of
subscribers across desktop and mobile Lightroom and Photoshop subscriptions.

Kodak big in Japan again

KODAK dominates the market for lower-
end digital compacts in Japan, according
to the latest statistics from BCN Ranking, that
analyses data from local retailers. Kodak’s
PixPro WP72, FZ45 and FZ55 lead the list of
the top seven best-selling compacts, with the
Fujifilm Instax Mini Evo in sixth place.

Generative Remove in action

4 www.amateurphotographer.com
 Remembering D-Day
JUNE 6 marks the 80th anniversary
of D-Day, the biggest seaborne
invasion in history. Robert Capa, a

©ROBERT CAPA © INTERNATIONAL CENTER OF PHOTOGRAPHY / MAGNUM PHOTOS

founding member of Magnum Photos,
was the only photographer there at the
first wave of landings and took a series of
iconic images, known as the Magnificent
Eleven. Only 11 of 106 images survived
owing to a darkroom processing error;
although some historians dispute this,
questioning whether Capa really took that
many images, nobody is denying his
courage for continuing to shoot in the
midst of all the chaos and carnage.
See bit.ly/capashots for more.

Thypoch expands its

lens options
THE SIMERA 35mm F1.4 and Simera
28mm F1.4 lenses from Chinese
manufacturer Thypoch are now available
in Nikon Z, Sony E, Fujifilm X and Canon
RF mount (previously they were only
available for M-mount).
These two new manual focus lenses
now feature a crescent-shaped tab to
make it easier to focus.
The Simera 35mm F1.4 and Simera
28mm F1.4 for Z/E/X/RF mounts cost
approximately £560, which includes a
square lens hood. The Z mount glass is
available now, while the X/E/RF mount
lenses will be available from mid-June.
See thypoch.store/products

www.amateurphotographer.com 5
 Follow AP on
YouTube
Don’t miss our videos for the latest
kit, tutorials, behind the scenes
tours and exclusive interviews

Leica D-Lux 8 lands

with top photographers
SOME RECENT VIDEOS
LEICA has announced the D-Lux 8 Leica’s popular Q series of premium
compact camera, a successor to the compacts. The D-Lux 8 can also shoot
D-Lux 7, which comes in at a relatively DNG raw files, a first for the D-Lux series,
affordable price compared to the majority but the rear screen remains fixed.
of Leica products. Additional accessories include an
The new camera appears to use the automatic lens cap, soft release buttons,
same lens and sensor as the D-Lux 7 and a selection of bags (a hip bag,
and the near-identical Panasonic LX100 crossbody bag, and equipment bag).
II. So you get a Leica DC Vario-Summilux Priced at £1,450, the D-Lux 8 comes
10.9-34mm F1.7-2.8 ASPH lens in £149 cheaper than the coveted
(equivalent to 24-75mm in 35mm terms) Fujifilm X100VI compact, which features
and a 21MP Four Thirds sensor. a fixed 35mm lens. The Leica D-Lux 8
Other features include simplified and will be available to buy from 2 July at
ergonomically repositioned controls, with Leica Stores and authorised dealers.
the top and rear control layout echoing See leica-camera.com/en-GB

Another highlight of Glastonbury

LANDSCAPE photographer and AP contributor Michelle Cowbourne has opened
a shop selling her images at the bottom of Glastonbury High Street in
Somerset. Michelle began her photographic career in 2018, with AP deputy editor
(and fellow Glastonbury resident) Geoff Harris acting as a mentor. Since then, her
images – shot on and around the town’s iconic Tor – appear regularly in the national
press and get shortlisted in major competitions.
Michelle, whose website is www.visionsofsomerset.co.uk, said, ‘Glastonbury has
given a lot to me as a photographer, so I’m really excited to be sharing my
photographic
passion for the
town with this new
shop. As well as
high-quality prints,
there’s a wide range
of photo gifts too.’
Do drop by if you
have tickets for the
festival this year,
though the town is To find our channel simply
highly photogenic point your smartphone
and welcoming to camera at this QR code or
photographers all type our name into Google:
year round. The
address is 6 Market YouTube/AmateurPhotographerTV
Place, Glastonbury, AP contributor Michelle Cowbourne behind the counter of her
Somerset BA6 9HW. brand new shop in Glastonbury

6 www.amateurphotographer.com
 OUR SIZZLER SALE AT ROTOLIGHT HAS
ARRIVED! CAPTURE STUNNING MOMENTS
AT UNBEATABLE PRICES!

UP TO 63% OFF!
R O T O L I G H T. C O M / S A L E
 Cannes Film Festival,
France, 1964
ALL PICTURES © DAVID HURN/MAGNUM PHOTOS

On Instagram: David Hurn

£49.95, Reel Art Press, hardback, 272 pages, ISBN: 978-1-909526-94-5
David Hurn’s images and Instagram posts combine to make an absorbing
and entertaining book, writes David Clark
David Hurn is arguably one of Britain’s most ‘At a time when so many people seem to Chorus of Welsh National
influential living photographers. A member of think it is irrelevant whether what we hear or Opera, 1986
the elite Magnum agency for nearly 60 years, see is true or false, I am only interested in
he has photographed everything from the the true. What I see without falsifying
1956 Hungarian Revolution to the making of manipulation. Doctoring simply makes bad
the Beatles’ A Hard Day’s Night. He has also pictures worse.’ Sometimes the posts give an
had a major impact on documentary insight into the images, but more often the
photography through setting up the School of images are simply a starting-point for him to
Documentary Photography at Newport in talk about whatever is on his mind, from
1973. Unusually for a man who’s soon to tributes to fellow photographers to the health
celebrate his 90th birthday, he is also a issues of old age.
success on social media. It’s a beautifully printed book, worth buying
Hurn has more than 70,000 followers on for the collection of images alone – Hurn has
Instagram, which he began to use in 2016. a wonderful eye for a picture and some
Over the years it has been a vehicle for him less-familiar gems are included alongside the Painted desert, Arizona,
to show images both old and new and put more famous ones. He is also an interesting USA, 1980
forward insightful reflections and practical tips and intelligent man and the diary-like texts
on photography. This book is a selection of that accompany them are equally worthy of
Hurn’s images, together with the posts that attention. Honest and unpretentious, they
accompanied them, presented in date order. display Hurn’s considerable humanity, good
In one 2020 post, for example, Hurn says: humour and wisdom.

8
 Books & exhibitions
The latest and best books and exhibitions
from the world of photography

Fugue by Lydia Goldblatt

An 80ft-high sculpture of a whale being strangled by plastic, Viareggio, Italy, 2019 £45, GOST, hardback, 192 pages, ISBN: 978-
1-915423-40-5
When it comes to a body of work, I often
like to look at the images before reading
about them. The images here, by Lydia
Goldblatt, hint at snatched moments and
insights, all imbued with a dreamlike
subtlety. The juxtapositions are cleverly executed:
such as a child’s chickenpox-covered back positioned
next to a similarly detailed and coloured vignette of
cherry blossom. Children play, interacting with their
environments in a way only children can, while adults
are rarely seen. The images are intimate, emotional,
involved. And filled with love. Yet, in many ways, it’s
not a book about children – though it is about family.
Fugue came about following the death of Goldblatt’s
mother, and in spending time with it (and having
experienced the death of my own mother earlier this
year) I find it just makes sense. Beautifully realised,
and a book I’ll return to. Ailsa McWhinnie

The Beatles, during the making of A Hard Day’s Night, London, 1964
Growing Up and Thriving in
Two Very Different Cultures, by
Cliff Harvey
£20, Amazon, softback, 160 pages,
ISBN: 979-8-866386024
Cliff Harvey spent three years documenting
what he describes as the extraordinary
dedication shown by British-born children
and young adults of Asian descent as they
embrace classical Indian storytelling
through dance, while growing up in a western culture.
This self-published book takes us on a journey
through this visually striking and colourful world with
a mix of fly-on-the-wall shots and posed portraits. The
subject matter is perhaps a surprising choice for an
80-year-old American ex-fireman who only moved to
the UK in 2013 but Cliff, a long-standing member of
Bedford Camera Club, has proved you do not have to
belong to a community in order to photograph it. You
do, however, need to immerse yourself fully in it. His
love for this community, and his total acceptance by
Country Doctor, Tintern, Wales, 2020 them, shines through on every page. Nigel Atherton

www.amateurphotographer.com 9
 Our favourite photos posted by readers
on our social media channels this week

AP picture
of the week
Raining Down on
Dunstanburgh Castle
by Peter Greig
Canon EOS R6 II, 15-35mm f/2.8, Hoya Starscape
Filter, 3 landscape-format shots were taken to
create a Vertorama in PTGui. 4sec, f/2.8, ISO 2000

‘With a very strong geomagnetic storm forecast on the

evening of 10 May, my friend Lewis Brown and I headed
to Dunstanburgh Castle. We arrived around 10:30pm,
and saw a green arc in the sky running from east to
west. We excitedly headed through the golf course and
over the dunes to the castle. Once there, we could see
the aurora overhead and in every direction. The best
solar storm we’ve seen in the UK – a truly rare event.’
Facebook: VirtualTourSpecialist
Instagram: @chameleon__360

#appicoftheweek
Win!
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receive a beautifully framed print of
their winning image worth up to £100.
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10
Aurora Gazer
by Tom Green
Sony A7R III, Tamron 17-28mm f/2.8 Di III
RXD, 8sec at f/4, ISO 1600
‘I set out to capture the amazing aurora display
on 10 May and headed to Crosby beach, using
the cast iron figures as the foreground. This
experience will live long in the memory – seeing
the aurora so visibly is something I never
expected to experience so close to home.’
Instagram: tom.green.photo

11
The Graceful Hunt
by Sam Andrews
Sony A7R V, Sony 200-600mm
F5.6-6.3 G OSS, 1/3200sec at
f/6.3, ISO 8000
‘I was waiting for the short-eared
owls to make an appearance and
took advantage of shooting smaller
birds while I waited. The barn owl
came out of nowhere and I
didn’t have time to change my
settings, so the shutter was a bit
high really but it paid off!’
Instagram: @sapforthewildthings

We also liked...

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Instagram, Twitter, or Facebook
communities using the hashtag
#appicoftheweek. Or you can
email your best shot to us at
[email protected]. See page 3
for how to find us.

Morning Mountain Mist ‘I looked over Loch Gary to the most stupendous panorama of
mountains in the distant west. The most exquisite view. All the fine
by Stevie Sky peaks of the Knoydart were in view and shrouded in a rising early
Nikon D610, Nikon 18-200mm f/3.5-5.6 DX ED VR, morning mist. Magnificent and almost ethereal!’
1/400sec at f/10, ISO 200 Instagram: @stevie_skye
Website: www.stevieskyephotography.uk

12 www.amateurphotographer.com
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 Technique BOKEH MASTERCLASS

Beautiful
How do you get that lovely, creamy
background blur in your photos?
Rod Lawton explains what ‘bokeh’ is
and the best lenses to achieve it
Creamy, soft ‘bokeh’ is the dream.
It’s not just about the blur, but the
visual quality of that blur

What bokeh means

The word ‘bokeh’ is typically mis-used, misunderstood or simply
mispronounced. There’s a tendency now to equate ‘bokeh’ with
background blur, but they are not the same thing.
Blur is blur. You can have a lot of it or a little, and that’s all related to
depth of field, but that doesn’t tell you anything about the visual
appearance or quality of that blur. What this blur looks like is ‘bokeh’.
You can have ‘good’ bokeh or ‘bad’ bokeh. Good bokeh is typically
creamy and soft and buttery, while bad bokeh is ‘busy’ and there are
diffuse halos and outlines around out-of-focus objects that overlap in a
messy and visually confusing way.
If that sounds like a vague description, then welcome to the world of
bokeh. It’s one of those photographic phenomenae that can sound like
stuff and nonsense until you see it for yourself. And once you see ‘bad’
bokeh compared to ‘good’ bokeh, you will start to see it everywhere.
If you’re not particularly bothered by ‘good’ bokeh and ‘bad’ bokeh it
doesn’t make you a poor photographer. Some people are more sensitive
to bokeh than others. You can control the amount of blur in your photo
with lens aperture, focal length and distance, and getting ‘good’ bokeh at
the same time can simply be a bonus.

Right: Bad, or ‘busy’ bokeh is harder to define. The background blur is the
same, but it has a more complicated and distracting appearance

14 www.amateurphotographer.com
 The amount of background blur you get
depends on the focal length of your
lens, the distance between you and
your subject, and the aperture

Depth of field, background blur and how to get it How do you pronounce ‘bokeh’?
Shallow depth of field depends on three factors: It’s a Japanese word, and how you pronounce it will
l Focal length: Longer focal length lenses deliver shallower depth of field. If depend on where you live geographically and how the
you want shallower depth of field, zoom in to your longest focal length or swap photographic community you’re part of pronounces it.
to a longer focal length lens, then move further away to frame your subject. The most accurate pronunciation could be
That’s one way. represented as ‘bokk’ followed by a short ‘eh’ sound.
l Subject distance: The closer your subject, the shallower the depth of field. That’s ‘eh’ as in ‘air’, but much shorter. The emphasis
This is why macro subjects are so hard (or impossible) to capture with front-to- should be on the ‘bokk’.
back sharpness, and why focus-stacking techniques exist. Some pronounce it as ‘bokker’. That’s probably going
l Lens aperture: People often quote this as the most important factor in depth to be more universally understood by photographers,
of field, but it’s not the deciding factor on its own. It is a way of controlling the but not an accurate rendition.
depth of field of the camera and lens you’re shooting with, to be sure, but it Some also pronounce it as ‘boker’, so that’s like
doesn’t offer infinite scope. ‘baker’ but with an ‘o’. That’s also wrong, but at least
other photographers will understand what you mean.
A third pronunciation is ‘bokay’, with the emphasis on
the ‘ay’. It sounds like ‘bouquet’, and while it’s not any
more wrong than the others it could be confusing.

www.amateurphotographer.com 15
 Technique BOKEH MASTERCLASS

Bokeh comes in all shapes and

sizes and each lens will render
the out-of-focus points in an
image in different ways

Bokeh jargon and what l Swirly bokeh: Often seen with vintage
to look for ‘Petzval’ style lenses. You will notice that Best lens types for bokeh
Bokeh effects are hard to demonstrate defocused backgrounds with lots of The best lenses for bokeh are wide-aperture prime
unless you have an image with texture take on a kind of rotational blur. lenses, usually of longer focal lengths. Our guide
defocused specular highlights or light l Busy bokeh: A catch-all term for picks out four main types:
sources in it. These out-of-focus points defocused areas that don’t look smooth l 50mm lenses: Every camera maker has at least
will be rendered in different ways, and creamy. There may not be defocused one 50mm prime lens in its line-up. The classic
depending on the lens’s bokeh highlight discs to give you any clues, but ‘standard’ lens, a 50mm can be an affordable
characteristics. the best bokeh lenses don’t do this. entry point to prime lens photography or an exotic,
l Bokeh fringing: Where light of different ultra-fast lens capable of spectacular quality.
l Circular bokeh: This is the ideal. colours is not focused at the same point, l 85mm lenses: Portrait photography is a genre
Pinpoints of light are rendered as so you can get soft colour fringes around where background/foreground blur is highly
perfectly circular discs with no variation out-of-focus objects. Common on all but sought-after and ‘good’ bokeh is important. 85mm
in brightness from centre to the edge. the best lenses, and annoying. is the ‘classic’ focal length for portraits because it
l Feathered bokeh: This is even better. l Hearts and stars: Bokeh fans won’t leads you to stand just that little bit further away,
The bokeh discs fade away towards the like anything other than perfect bokeh which leads to more flattering facial perspectives.
edges. This gives the best and discs, but you can get filters and l 100-135mm lenses: As their depth of field is
‘creamiest’ bokeh but may need special software effects to create cutesy hearts, even shallower, longer focal length primes can be
lens designs. stars and other bokeh shapes. even better for portraits. They can also be useful
l Cat’s eye bokeh: This is less l Spherical aberration: Normally a bad as short telephotos, and wide maximum apertures
desirable. Some ‘bokeh’ lenses produce thing in lenses, but it can produce help separate subjects from their surroundings.
perfect bokeh discs in the middle of the beautiful bokeh, so some lenses use l Vintage/art lenses: These are becoming very
frame, but these can take on a cat’s eye careful spherical aberration control (or popular and are often not that expensive. They
shape near the edges. Defocus Control) to exploit it. achieve blur and bokeh in a different way, using
l Soap bubble bokeh: The bokeh discs l STF lens: Stands for ‘smooth trans the characteristics of older or cheaper lens
are paler in the centre to create a kind of focus’ lens, or one that has an optical designs to create a ‘vintage’ or ‘dreamy’ look.
3D bubble effect. Some consider it less configuration designed specifically for
desirable, but there are ‘bubble bokeh’ smooth bokeh effects. To achieve good bokeh, a
lenses designed to create it. l Apodisation element: A crafty internal wide-aperture prime is ideal
l Onion skin bokeh: Also less desirable. element that works a little like a radial
The bokeh discs show concentric ring graduated ND filter to fade out bokeh
effects which contribute to ‘busy’ bokeh. discs towards the edges. It works well
l Doughnut bokeh: A characteristic of but does reduce light transmission.
catadioptric or mirror lenses. The bokeh l Aperture blades/circular apertures:
discs are bright around the edges but The ideal is a perfectly circular lens
dark in the centre. It’s a striking look. aperture so that bokeh discs are also
l Anamorphic bokeh: Anamorphic lenses circular. It’s not enough on its own,
capture a much wider aspect ratio by however, to guarantee ‘good’ bokeh.
squashing the image horizontally. This
produces vertically elongated bokeh.

16 www.amateurphotographer.com
Best lenses for bokeh

Canon RF 50mm Sigma 85mm F1.4 Olympus M.Zuiko Sony FE 135mm

F1.8 STM DG DN Art Digital ED 25mm F1.8 GM
l Expect to pay: £199 l Expect to pay: £979 F1.2 Pro l Expect to pay: £1,599
l www.canon.co.uk l sigmauk.com l Expect to pay: £1,099 l www.sony.co.uk
l explore.omsystem.com/
gb/en/
Key specs Key specs Key specs
l Mount: Canon RF l Mount: Sony FE, L-mount l Mount: Sony FE
l Min focus distance: 0.3m l Min focus distance: 0.85m Key specs l Min focus distance: 0.7m
l Filter thread: 43mm l Filter thread: 77mm l Filter thread: 82mm
l Weight: 160g l Weight: 625g l Mount: MFT l Weight: 950g
l Min focus distance: 0.3m
Canon makes a great selection Once known as a maker of l Filter thread: 62mm Sony users looking for the best
of wide-aperture lenses, and budget third-party lenses, l Weight: 410g lenses for bokeh are spoilt for
while some of its best lenses Sigma’s transition to its ‘global choice, and the Sony FE
for bokeh can be expensive, vision’ range has brought far Olympus/OM System cameras 135mm F1.8 GM is one of the
there are many cheaper higher levels of build and use the Micro Four Thirds best. Longer focal length lenses
‘consumer’ lenses, and the optical quality to match and format, which is smaller than have shallower depth of field,
Canon RF 50mm F1.8 STM is even sometimes exceed the both APS-C and full frame. This and the 135mm focal length, in
the cheapest of all. performance of own-brand means you use shorter focal combination with the f/1.8
Many camera makers offer a camera lenses. length lenses to achieve the maximum aperture, can deliver
cheap ‘nifty fifty’ and they often The Sigma 85mm F1.4 DG same angles of view, and these razor-sharp focus and very
deliver very good optical quality DN Art is a full-frame ‘portrait’ shorter focal lengths mean strong foreground and
for the money – especially this lens designed specifically for there is more depth of field. It background blur.
one. It’s designed for Canon’s mirrorless cameras, notably the is harder, then, to get shallow- But this lens is also designed
full-frame EOS R cameras, but Sony Alpha models but also depth-of-field effects with these to produce attractive bokeh,
can also be used on its APS-C Panasonic, Leica and Sigma cameras – but by no means and it achieves this with an
models, where it offers a focal L-mount cameras. It has a impossible. The 25mm focal optical design that includes a
length of 75mm equivalent, so sophisticated optical length sounds wide, but on high-precision XA lens element
it could be a perfect low-cost construction and an 11-bladed these cameras it’s equivalent to (a feature of Sony G Master
‘portrait’ lens. rounded diaphragm for perfectly a 50mm in full-frame terms. lenses) and super ED (extra low
The Canon RF 50mm F1.8 circular bokeh highlights. It even The Olympus M.Zuiko Digital dispersion) and ED elements. It
STM is compact and light, but has a physical aperture ring. ED 25mm F1.2 Pro shows how also has a rounded 11-blade
still has room for Canon’s The performance wide open it’s done, with a super-fast diaphragm designed for
trademark customisable control at f/1.4 is remarkable, and it f/1.2 maximum aperture that perfectly circular bokeh.
ring, which can also be used for also offers excellent features at can deliver strong background Big, fast prime lenses like
manual focusing. It has this price. It is dust- and splash- and foreground blur. Better still, this are not always quick to
stepping motor autofocus which proof, and comes with a locking it’s specifically designed for focus, but the FE 135mm F1.8
is not completely silent but is lens hood. On the downside, beautiful ‘feathered bokeh’ with GM uses powerful XD Linear
still quick and smooth to focus. there’s no focus distance scale, an optical construction that Motor actuators for autofocus
The image quality is extremely though most users would rely delivers a carefully controlled that’s both fast and accurate.
good. There is some edge on autofocus or focus manually level of spherical aberration at Unfortunately, Sony’s
softness and vignetting wide in the viewfinder. wide apertures – spherical legendary G Master optics don’t
open, but this can add to the 85mm f/1.4 is considered a aberration is not great for come cheap. G Master lenses
character, and while the classic ‘portrait’ focal length. resolution but can deliver are also designed for
7-bladed diaphragm doesn’t You can also use this lens on beautiful bokeh. performance ahead of
produce perfectly circular APS-C cameras, where its This is one of Olympus/OM compactness, so this is also a
bokeh, this lens still produces effective focal length will be System’s Pro lenses, so build pretty big lens to handle.
very attractive out-of-focus blur. around 128mm. and handling are exemplary.

www.amateurphotographer.com 17
 Technique BOKEH MASTERCLASS

Sony FE 50mm Sigma 56mm F1.4 Nikon Nikkor Z Fujifilm XF

F1.2 GM DC DN 85mm f/1.2 S 56mm F1.2R WR
l Expect to pay: £2,099 l Expect to pay: £419 l Expect to pay: £2,999 l Expect to pay: £918
l www.sony.co.uk l sigmauk.com l www.nikon.co.uk/en_GB l www.fujifilm.com/uk/en/
consumer/

Key specs Key specs Key specs

Key specs
l Mount: Sony FE l Mount: Sony E, Nikon Z, Fujifilm l Mount: Nikon Z
l Min focus distance: 0.4m X, L-Mount, Canon M, MFT l Min focus distance: 0.85m l Mount: Fujifilm X
l Filter thread: 72mm l Min focus distance: 0.5m l Filter thread: 82mm l Min focus distance: 0.5m
l Weight: 778g l Filter thread: 55mm l Weight: 1,160g l Filter thread: 67mm
l Weight: 280g l Weight: 445g
50mm lenses are often the The Nikkor Z 85mm f/1.2 S is
most affordable in a camera The Sigma 56mm F1.4 DC DN one of Nikon’s flagship ‘bokeh’ The Fujinon XF 56mm F1.2R
maker’s line-up, but they can is an APS-C format lens, so it’s lenses. It has the classic WR is Fujifilm’s equivalent of a
also be the most expensive and not designed for full-frame 85mm ‘portrait’ focal length but classic portrait lens for its
exotic – which perfectly cameras. This does make it a faster than usual f/1.2 APS-C X-mount cameras, where
describes the Sony FE 50mm both cheaper and lighter than maximum aperture. It comes it offers an effective focal
F1.2 GM. It’s designed for full-frame lenses, and it’s with a dual STM autofocus length of 85mm and that
Sony’s full-frame cameras, but available in a whole range of system, a control ring and extra-fast f/1.2 maximum
could also be used on its APS-C APS-C camera mounts. It’s function button and has aperture. This will give
mirrorless models, where it great to see APS-C cameras extensive weather seals. background and foreground blur
would offer an effective focal getting high-quality, high- This is a big lens, thanks roughly equivalent to an 85mm
length of 75mm. performance prime lenses too. mostly to that f/1.2 maximum f/1.8 lens on a full-frame
The FE 50mm F1.2 GM is The 56mm focal length on aperture. It is also exceptionally camera, but in a smaller, lighter
designed both for super-shallow APS-C is equivalent to an sharp, with an optical and cheaper package.
depth of field, with that f/1.2 85mm on a full-frame camera, construction that uses two The XF 56mm F1.2R WR has
maximum aperture, and for so this is the ideal ‘portrait’ aspherical and one ED (extra a rounded 11-blade diaphragm
beautiful bokeh, which is lens for these cameras. low dispersion) element. More for properly circular bokeh and
achieved with a rounded The Sigma uses a rounded importantly it delivers beautiful two aspherical elements in its
11-blade diaphragm. We found 9-blade diaphragm to make bokeh with deliciously smooth optical construction, all of which
it delivered wonderful ‘painterly’ bokeh highlights as circular as out-of-focus areas. You don’t helps produce beautiful,
bokeh, though occasionally possible and an optical just get superb optical rounded bokeh and a very
some bokeh fringing around construction that includes one performance, you get the quality natural-looking drop-off in
defocused outlines. It’s also SLD (special low dispersion) of blur that buyers will be out-of-focus areas.
spectacularly sharp, even wide and two aspherical elements expecting at this price. The only slight issue with this
open at f/1.2. for optical quality. The stepping This is a very expensive lens. lens is a rather audible
Sony has used its powerful motor autofocus is fast and It’s aimed at professional autofocus system, and there’s
XD Linear AF motors in this quiet, and this lens has a portrait photographers who no optical stabilisation – though
lens, so despite its size it’s very weather-sealed construction. want the best and most this is often the case with fast
quick to focus. It also has a Used wide open, it does beautiful results, whatever the prime lenses, and newer Fujifilm
physical aperture ring which can deliver nice circular bokeh cost. It’s also very big and cameras have in-body
be ‘declicked’ for silent and highlights in the centre of the heavy, weighing in at over 1kg, stabilisation anyway.
stepless iris adjustments while frame, but a cat’s eye bokeh or nearly 2lb. You could use it This lens is certainly a
filming, and a Focus Hold effect towards the edges – on one of Nikon’s smaller APS-C cheaper alternative to the
button. Sony’s G Master lenses though this disappears when cameras to get an effective exotic Fujifilm XF 50mm F1.0 R
have the best optics and the you stop the lens down. All in focal length of 128mm, but its WR, and probably more
most advanced design and all, this is a terrific lens for size and cost would make this practical for the average portrait
features in the Sony lens range, bokeh fans with APS-C format a complete mis-match – this photographer too.
and you certainly get that here mirrorless cameras. lens is for professional users
– hence the price. with full-frame Nikon Z cameras.

18 www.amateurphotographer.com
Samyang AF Panasonic Leica Samyang AF Fujifilm XF
75mm F1.8 X DG 42.5mm F1.2 50mm F1.4 FE II 50mm F1.0 R WR
l Expect to pay: £474 Nocticron OIS l Expect to pay: £599 l Expect to pay: £1,499
l www.lksamyang.com/en/ l Expect to pay: £1,149 l www.lksamyang.com/en/ l www.fujifilm.com/uk/en/
l www.panasonic.com/uk/ consumer/

Key specs Key specs

Key specs
l Mount: Fujifilm X (Sony E version Key specs l Mount: Sony FE
available) l Min focus distance: 0.4m l Mount: Fujifilm X
l Min focus distance: 0.69m l Mount: MFT l Filter thread: 72mm l Min focus distance: 0.7m
l Filter thread: 62mm l Min focus distance: 0.5m l Weight: 420g l Filter thread: 77mm
l Weight: 257g l Filter thread: 67mm l Weight: 845g
l Weight: 425g The Samyang AF 50mm F1.4
Samyang has long been a FE II offers advanced The headline feature of the
producer of well-regarded Portrait lenses for Micro Four specifications in a full-frame Fujifilm XF 50mm F1.0 R WR is,
low-cost manual focus lenses Thirds cameras need to have lens at a very affordable price. of course, its f/1.0 maximum
but has recently started extra-wide maximum apertures This Sony version even has aperture. F/1.2 lenses are
producing autofocus lenses for to get strong foreground and autofocus – a relatively new becoming relatively common
selected cameras. This version background blur, and that’s feature for Samyang – though now, but apertures of f/1.0 and
is for Fujifilm X-mount cameras exactly what you get with the its Linear STM motor isn’t quite faster are still rare, and often
but is also available for Sony E. Panasonic Leica DG 42.5mm as quick as rival lenses. extremely expensive.
It’s an APS-C lens, and on an F1.2 Nocticron OIS. The The optics consist of 11 That’s where the XF 50mm
APS-C camera its 75mm focal 42.5mm focal length equates elements in 8 groups, including F1.0 R WR is different. It’s
length gives the effective angle exactly to the 85mm focal three HR (high refractive), one expensive by normal prime lens
of view of a 112.5mm lens on a length on a full-frame camera, ED (extra low dispersion) and standards, but it’s in the same
full-frame camera. It’s ideal for and the f/1.2 maximum two aspherical elements. This ballpark as other fast
longer portrait shots and even aperture gives very shallow delivers impressive levels of professional primes.
as a short telephoto lens. depth of field, which is just what sharpness right across the The image quality is
The fast f/1.8 aperture offers you want from a ‘bokeh’ lens. frame, though there is everything you could hope for.
strong foreground and The other half of the bokeh sometimes some visible Its resolution and contrast is
background blur, and while this equation is how well the lens longitudinal chromatic good, even wide open, and it
lens’s 9-bladed diaphragm isn’t renders out-of-focus areas, and aberration, or ‘bokeh fringing’ produces highly attractive
quite as round (in theory) as this one does brilliantly, thanks which may not be easy to get images with gorgeous bokeh.
11-blade lenses, it does to a combination of exotic rid of in software.The good There is some cat’s eye bokeh
nevertheless produce lovely aspherical, ED and UHR lens news is that there is barely any at the edge of the frame wide
smooth bokeh in blurred areas. elements and a rounded ‘focus breathing’, which is an open, but stopping down to f/2
It’s also very good value for 9-bladed aperture. Out-of-focus unwanted effect in some lenses fixes that, and at apertures of
money, it’s compact and light highlights are rendered where the magnification f/4 or f/5.6, this lens gives
and has weather-sealing too, beautifully as round discs, with appears to change slightly as impressive sharpness.
though there’s no physical minimal chromatic aberration or you change focus. This is, however, a big and
aperture ring and despite the colour fringing. You do get a lot for your heavy lens. It’s a lot larger and
use of a Linear STM stepping This lens is produced in money with this lens, including more expensive than the
motor the autofocus is partnership with Leica, so it has a 9-bladed diaphragm for better Fujinon XF 56mm f/1.2, which
somewhat sluggish in Leica’s trademark minimalist bokeh, a customisable control/ is almost as capable. The
continuous AF mode. But still, aesthetics, and it also sports a focus ring and weather-resistant autofocus is not the fastest or
at this price, it’s an excellent physical aperture ring, which is construction, though you don’t quietest, either. Even so, the
performance overall. unusual in Micro Four Thirds get a physical aperture ring. For Fujifilm XF 50mm F1.0 R WR is
lenses. There’s also an optical this you would need to look at a very rare thing – a truly
image stabiliser built in. some of Sony’s own prime affordable and usable ultra-fast
lenses, for example. ‘bokeh’ lens.

www.amateurphotographer.com 19
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 Amateur
Photographer
of the Year
IN ASSOCIATION WITH

Here are the top ten images uploaded to Photocrowd

from Round One, Black & White, with comments by
the AP team and our guest judge

Round One 1
Black & White
Black & white is always a great way to kick off APOY
as it brings out the creativity in everyone, and the
sheer variety of entries, not to mention the high
quality, never fails to impress the judges. There’s a
certain freedom to shooting in black & white, as it
allows the photographer to concentrate on shape
and form without worrying about the potential
distraction of clashing colours. As a result, the
viewer ends up being drawn into the story of the
image, be that dramatic, subtle, or something else
entirely. The images in the top ten, shown over the
next few pages, all caught the judges’ attention for
a variety of reasons. Have a read of their comments
and see whether you agree…

1 Paula Green UK 100pts

Canon PowerShot SX610 HS, 73mm, 1/640sec at f/6.3, ISO 80
Paula says, ‘Taken from Sugar Loaf Mountain, which was
bathed in sunshine, Corcovado was shrouded in cloud all
day, except for a brief few minutes in the mid afternoon
when the clouds parted perfectly.’
The way Christ the Redeemer appears to be floating on
air gives this fabulous image a wonderful symbolism.
There’s a gorgeous range of tones within this image and
the statue being in silhouette makes it all the more
powerful. This iconic statue in Rio has been shot more
times than anyone can possibly count, but this image
really stands out. The dramatic clouds perfectly suit the
subject matter and the image is beautifully composed
and edited. It must have been divine inspiration!

22 www.amateurphotographer.com
 2 Colin Griffiths Jersey 90pts
Nikon D800, 50mm, 1/100sec at f/9, ISO 50
The strong contrast between light and shadow is
immediately arresting in this image, taken in Bilbao.
Meanwhile the angle of view makes the people look
tiny and the Louise Bourgeois sculpture menacing,
almost as if it’s a scene from a sci-fi movie. This is
the sort of picture that really can only be shot with
black & white in mind. In colour, all the impact would
be diluted, if not lost altogether.

3 Peyman Naderi UK 80pts

Sony A7R Mark III, 100mm, 1/160sec at f/11, ISO 50
There is something of the Julia Margaret Camerons
about this gorgeously subtle portrait. The softness
and low contrast introduces a certain dreaminess,
while the light and shade is simply stunning,
especially in the way it highlights the model’s profile
and collarbone. Peyman has broken the rules of
2 portraiture by not making the eye the focal point of
the frame, but this only adds to the mysteriousness.

www.amateurphotographer.com 23
 4
4 Gary Hunter US 70pts
Canon EOS 5D Mark IV, 100-400mm at 164mm +1.4x III, 1/640sec at f/8, ISO 100 5
There’s a lyricism to the folds and sweeps in the
hillside here that almost gives the image a sense of
musicality. We feel as if we are following a rhythm as
our eye travels through the scene. The whole thing is
wonderfully atmospheric, not only because of the cold
but also because of the lack of human interference.
There’s not a footprint to be seen. The deliniation
between the top of the hill and the clouds is spot on,
which adds depth, while the tree appearing on the
thirds is well placed, almost like a full stop.

5 Lynn Fraser UK 60pts

Canon EOS 5D Mark IV, 50mm, 1/60sec at f/2.8, ISO 400
Another portrait that demonstrates that less is often
more when it comes to photographing people. As Lynn
says, ‘The Suri tribe of the Omo Valley, Ethiopia, are
renowned for their face painting, but this girl chose to
remain unadorned which let her natural beauty shine.’
Lynn’s approach only serves to highlight this.
Photographing the girl in a three-quarter profile, with
the light picking out her delicate features, means we
can appreciate her as a person. It’s about her, and not
necessarily the ear adornment or the scarification.

24
 IN ASSOCIATION WITH

6 CAMERA
CLUB
HIGHEST
SCORE

6 Steve Banner UK
50pts
Canon EOS R5, 50mm, 1/800sec at f/7.1,
ISO 400
A strong sense of timeless
strength and equine grace
is captured in this image.
Winning kit
It’s a very sympathetic
black & white conversion, from Camera
with an interesting but not
intrusive background and
the exposure is spot on.
Centre UK
We like the way the What gear did our top ten
dapples of the pony’s coat photographers use?
are echoed in the pattern
of the clouds. It’s a nice Taking third place, Peyman Naderi used
crop – not too tight. a Sony A7R Mark III for his portrait.
Described in AP as a 42.4MP, 10fps
ROUND ONE WINNER, YOUNG APOY mirrorless powerhouse, this camera
can shoot up to 76 JPEGs or 28
uncompressed raws in a single burst.
Kaung Khant Autofocus has 399 phase-detection
Thaw Myanmar points and 425 contrast-detection
100pts points, while the sensitivity range
Xiaomi Mi 1 Ultra covers ISO 100-32,000 as standard.
This is a brave and You can buy the next iteration of this
beautifully executed model – the Sony A7Ra Mark III at
portrait. It captures the Camera Centre UK with an 85mm f1.4
subject’s aged skin G Master lens for £3,499.
incredibly well, and A powerful workhorse, the Canon
reveals the beauty of EOS 5D Mark IV was Lynn Fraser’s
this natural process camera of choice for her fifth-placed
too. The subject is well image. This full-frame top-end DSLR
balanced in the frame features a 30.4MP CMOS sensor,
and it’s very well ISO 100-32,000 (expandable to ISO
exposed. A beautifully 50-102,400), 7fps continuous
lit, well-composed and shooting and a 61-point AF system with
emotive portrait, with 41 cross-type points. Find this model
the placement of the at Camera Centre UK for £2,649.
hands drawing the In seventh place, Morag Forbes shot
viewer further into the with the Nikkor Z 24-200mm f/4-6.3
woman’s eyes. VR lens. Receiving 4.5 stars when
reviewed in AP, it packs a long focal
range into a small package, and is
compatible with both Nikon’s Z range
of full-frame mirrorless cameras, as
well as APS-C system cameras. Our
review concluded, ‘This Nikon offering
is a good investment for those who
want a solid all-rounder.’ Pick this lens
up for £769 at Camera Centre UK.
To see the full range, visit
www.cameracentreuk.com
www.amateurphotographer.com 25
APOY 2024

8 Marusa Uranjek UK 40pts

Canon EOS R10, 70-200mm, 1/500sec at f/5.6, ISO 400
Black & white is the perfect medium for a minimalist shot, and this
is a superb example of that genre. We don’t need any more than
the information that Marusa has given us to know what we are
looking at. Very often, simpler is better.

7
7 Morag Forbes
UK 45pts
Nikon Z 5, 24-200mm at 80mm, 1/200sec at f/10, ISO 80
8
Guest judge Aneesa Dawoojee says:
‘I found myself looking at this image for a long time,
as it’s very different from the sort of thing I’m usually
drawn to. What makes it stand out is the numerous
different portraits within a single frame. Every face
seems to have a story, and it would be fascinating
to meet each one of them.
‘It’s a street photograph, but a very different take on the genre.
Many of the subjects are looking straight at the photographer, but
nobody seems to be reacting, perhaps because it’s such a busy
tourist spot, so people are expecting to see cameras.
‘It’s extremely well thought out. Morag quite clearly had a vision
of the kind of picture she wanted to create, and she’s executed it
brilliantly, while paying attention to the detail of the black & white
tones. My eye travelled throughout the frame, and I never became
bored with it. It just works.’

9 Jamie Leasure US 35pts

Sony A7R, 24-70mm at 33mm, 1/30sec at f/7.1, ISO 100
Who doesn’t love a minimalist landscape? This one certainly
ticks all the boxes: a good range of tones; the smoothest snow
anchoring the base; and just the right texture in the trunk and
the adobe wall. It’s a simple, well-observed abstract that has
been well executed, and the composition and tonality are
perfect. A good example of seeing in black & white, and
definitely one to hang on the wall.
9
To see more images from APOY Round One and Young APOY, visit www.amateurphotographer.com/APOY
26 www.amateurphotographer.com
 IN ASSOCIATION WITH

10 Paul Nash UK
30pts The 2024
We believe Paul placed leaderboards
these tulips on a scanner And, we’re off! The first leaderboard
to create this image, and is always an exciting one, as it’s
the effect is simply impossible to know how much it’s likely
gorgeous. The way the light to change and how much it will stay the
has passed over the same. Paula Green is a worthy winner,
flowers has given the and we have a couple of familiar
petals a hard, metallic names elsewhere in the top ten, too.
quality. The composition Who knows whether they will become a
has been kept simple, regular fixture? Young APOY is as varied
which adds to the overall as ever, too, with last year’s winner
effect. This would make a Yousef Naser making an appearance
great starting point for an already. And as for the camera clubs,
ongoing project. we’re sure it’ll be as competitive as
ever! Thanks to Steve Banner achieving
sixth place, Stafford Photographic
Society are in top spot. There’s one
familiar name – Launceston Camera
Club – that’s not in the top five yet.
Has their crown been toppled? It’s too
early to tell, but we’re sure it’s going to
be as hard fought as always.

10 APOY
1 Paula Green 100
CAMERA CLUB COMPETITION 2 Colin Griffiths 90
3 Peyman Naderi 80
4 Gary Hunter 70
5 Lynn Fraser 60
6 Steve Banner 50
7 Morag Forbes 45
8 Marusa Uranjek 40
9 Jamie Leasure 35
10 Paul Nash 30

YOUNG APOY
1 Kaung Khant Thaw 100
2 Solayman Hossain 90
3 Cavon Hajimiri 80
4 Havah Horse 70
5 Yousef Naser 60
6 Omar Mahmoud Alashmaway 45
7 Kishore Karthik Murugan 35
Richie Johns UK 10pts 8 Maddison Redsell 30
Nikon Z 7, 24-70mm at 70mm, 1/320sec at f/8, ISO 200
Our camera club competition is off to a great start again,
CAMERA CLUBS
and we’re looking forward to seeing how it develops. 1 Stafford Photographic Society 60
Richie Johns has earned ten points for Plymouth Camera 2 Plymouth Camera Club 50
Club with this chilly scene he shot in Ottawa, Canada.
The simplicity of the tree’s skeleton against the snow- 3 Dundee Photographic Society 45
covered backdrop is what makes the image so effective 4 Truro Camera Club 30
and worthy of a place in our shortlist. To earn points for 5= Bristol Photographic Society 20
your club, simply select its name in the dropdown menu
when you upload your entries. 5= Loughton Camera Club 20

www.amateurphotographer.com 27
Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
2

Olly Headey, Edinburgh Find Your Frame – an excellent primer You Told Me
on street photography and technique. Never Again
About Olly First camera 1 A conversation
Olly is a tech entrepreneur A Yashica FX-D SLR with a 50mm outside a club, but
based in Edinburgh, and is lens, which was more than enough how does it end?
a member of Edinburgh to learn the basics. It still works fine, Taken from George
Photographic Society. See 37 years later! IV Bridge, using
more on Instagram @ollyheadey pillars to obscure
Current kit
Favourite subjects the surroundings and
A Fujifilm X-T5, X-S10, and X100V.
I try to capture the hidden beauty of frame the scene.
Favourite lens Fujifilm X-S10, Fujinon
daily city life: the quiet, the solitary, I absolutely love the XF 35mm F1.4.
the abstract. XF 35mm F1.4 R,
Dream purchase 1/400sec at f/1.6,
How did you get into photography? I’ll be a cliche and go with the Leica ISO 2000
I travelled a lot in my twenties and M11 with 50mm Summilux.
always took a lot of photos. Recently,
I’ve taken street photography more What software do you use? I Wanted You
seriously, and am working to improve Adobe Lightroom. More Than
my skills and develop my own style. Favourite tips Anything
What do you love about photography? Spend less on the body and more on
2 A lone figure, lost
I love capturing a moment in time the lens. Rather than buying loads of in music. The light
that will never be seen the same kit, use your money to travel. cast by the building
again. Being hyper-aware of your Where do you find inspiration? was dramatic, it was
surroundings – the people, the objects, Movies. The more I’ve learned about
just a matter of
the colours – is a real privilege. light, framing and composition, the waiting for the right
more I appreciate cinematography. subject. I edited the
Favourite photographers contrast, shadows
My favourite legends are Saul Leiter Tell us about your pictures and tone, and
and Vivian Maier. I absolutely love the Edinburgh is a tourist hotspot, but I removed a few spots
work of Mark Fearnley, Ovidiu Selaru, wanted to capture the other side of it. on the pillar.
Eren Sarigul and Dawn Eagleton. There’s something special about the Fujifilm X-S10, Fujinon
Favourite photo books light cast by streetlamps, the solitary XF 35mm F1.4 R,
Elliott Erwitt: Personal Best; Forever characters and the glowing neon 1/300sec at f/2,
by Saul Leiter; and Craig Whitehead’s lights. That’s the slightly dark vibe ISO 3200
I’m trying to capture.

28 www.amateurphotographer.com
 YOUR PICTURES IN PRINT
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4 I’ll Find My Own

In Between Days Way Home
3 Two characters walk from a bar, into 4 A woman leaves a
the dark of the night. I was struck by bar alone. I love the
the interplay of lines from the double intense red of the
yellows on the road to the drainpipe on neon and how it
the wall, lit by a strip of light. backlit the woman.
Fujifilm X-S10, Fujinon XF 35mm F1.4 R, I had to get quite
1/60sec at f/1.6, ISO 3200 close out of my
comfort zone for this
shot. Minimal tone
and contrast editing.
Fujifilm X-S10, Fujinon
XF 35mm F1.4 R,
1/400sec at f/2,
ISO 2500

You Left Me With No Choice

5 I loved the way the downlights from the restaurant illuminated
the pavement. I saw someone heading towards the light so waited
for the right moment and took the shot
Fujifilm X-S10, Fujinon XF 35mm F1.4 R, 1/400sec at f/2, ISO 2500

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 YOUR LETTERS

Inbox
Amateur Photographer
Email [email protected] photography. It reminds
me of the days when I had
Editorial
Group Editor Nigel Atherton a VW campervan where,
Deputy Editor
Technical Editor
Geoff Harris
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whenever we passed
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Deputy Online Editor Jessica Miller Write to the Editor at [email protected] and include your full postal address. Please don’t send letters in each other as we passed.
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the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated Phil Harman
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Professor Robert Newman LETTER OF THE WEEK my art
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I’ve just visited the V&A to
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Leica lust readers like me who have always
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Unfortunately there will also be many
see Elton John’s print
collection, inspired by your
feature (AP 14 May). Wow,
Retail Director Steve Brown
Subscription Marketing Manager
Andy Westlake certainly packed some like me who cannot afford what Leica what a selection! I’d like
Molly Walton punches in the superb feature about offers and still suffer with ‘Leica lust’ to think that if I won the
Print Production Manager Georgina Harris the Leica SL3 (AP 30 April), so much with no known tablet treatment. lottery those are exactly
Print Production Controller Hayley Brown
so that I’ve read it three times so Hopes were pinned on this month’s the kinds of photos I’d
Subscriptions
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Kelsey Media 2024 © all rights reserved. Kelsey Media editorial pages and 200
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in whole or in part is forbidden except with permission in
Ads and waffle pages of ads. Sometimes
writing from the publishers. Note to contributors: articles I recall that when I started more. Today there are still
submitted for consideration by the editor must be the reading AP back in the around 50 editorial pages
original work of the author and not previously published.
Where photographs are included, which are not the 1970s it was a much but only about 20 pages
property of the contributor, permission to reproduce them
must have been obtained from the owner of the copyright. thicker magazine than it is of ads. So it always makes
The editor cannot guarantee a personal response to all today, and have felt for a me smile when readers
letters and emails received. The views expressed in the
magazine are not necessarily those of the Editor or the while that there is less in today complain there are
Publisher. Kelsey Publishing Ltd accepts no liability for it these days. But I too many adverts in AP. Of
products and services offered by third parties.
Kelsey Media takes your personal data very seriously. For
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more information of our privacy policy, please visit www. of 1970s back issues in a then bought AP for the
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Data Protection Officer at [email protected]. forced to remove my looking back they now
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www.kelsey.co.uk About three-quarters of were buying and why. Taken on a Leica SL2 with a 50mm APO Summicron

www.amateurphotographer.com 31
YOUR LETTERS

THIS WEEK WE ASKED... Improve

What’s the best photography advice your
you’ve been given? photography
You said... Martin Bone
Ignore people who insist you
with a subscription to
have to shoot in raw, or insist you Amateur Photographer
Paula Third have to shoot in full manual mode. magazine!
This advice was given to me ... Whilst the ability to do both is
Do what you like and don’t try to useful, neither is essential to
please others. And most getting good pictures.
importantly, enjoy!!

Bob Lyons
Sol Dean @Bob_Lyons
Open your ears for constructive criticism and When shooting, do a
open your eyes for composition. 360, especially
during sunrise/
sunset. The best pics
Chris Van Hoose are usually not where
Take your camera everywhere. Shoot even if you’re pointing your
you don’t think it will be good. camera.

Seãn Jack Photography and Disney @DisneyandNikon

Stephenson There are no rules. Allow your creativity to
If you look back at your flourish, while being true to yourself by not
old photos and think following trends, or mimicking another
they’re good, then you photographer.
haven’t progressed. I
often look back at old

SAVE
photos and see where I David Kelbie
could have improved. Always check your film is properly
connected to the sprocket of the winder!
UP TO

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 The SIGMA 24-70mm F2.8 DG DN II is the new definitive
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 READERS’ CHOICE Technique

Readers’ favourite
lenses We asked you to share with us your
favourite lenses. Here’s a wonderful
selection of images taken with them
Sigma APO Macro 180mm
F2.8 EX DG OS HSM
Angi Wallace,
Newcastle upon Tyne
www.angiwallacephotography.com
I bought this Sigma lens for my Sony
A7 III from MPB. It’s such a versatile
lens; I use it to shoot all sorts of
subjects, from flowers and dragonflies,
to my pet frogs at home in my mini
studio, and occasionally portraits. I
particularly enjoy using it to capture
fungi and flowers outdoors, shooting
through the vegetation to obtain
pleasing misty bokeh in front of and
behind my subject.
I love it as it really does produce
wonderful bokeh, as you can see in
this portrait of my pet grey treefrog.
This photo was taken in my home
studio using studio lighting.

Grey treefrog in the studio

Sony A7 III, 180mm, 1/160sec at f/11, ISO 64

www.amateurphotographer.com 35
 Technique READERS’ CHOICE
The newly opened Nottingham
Laowa Central Library, taken during a
XXXXXXX12mm f/2.8 Zero-D recent club photo walk in the city
and Magic Shift Converter Sony A7, 12mm, 1/500sec at f/11, ISO400
Andy McDonald,
Nottingham
Instagram @andymcdonald_bnwphotos

I love to shoot black & white, fine-art

architecture pictures. This image of the
Nottingham Central Library is a prime
example of what I typically photograph.
My Laowa 12mm f/2.8 is in full-frame
Nikon fit and allows me to go really wide
when I need to. However, combined with
the Laowa Magic Shift Converter on my
Sony A7 it becomes equivalent to a 17mm
f/4 with +/- 10mm of shift. This allows me
to get close to buildings and shoot them
with minimal converging verticals but
maximum impact, which reduces the
corrections required for the final image.
I bought the lens used from MPB and
the converter new from UK Digital.

Nikon 14mm f/2.8 D ED AF

Lee Millward, Stoke on Trent
Instagram @leebmillward1photo
I am drawn to large interiors and love to capture them with my
Nikon 14mm f/2.8 lens. I like the way this lens makes you feel so
immersed in the scene. This image was taken at the Czech
National Museum in Prague last January.

Czech National Museum, Prague

Nikon D5, 14mm, 1/80sec at f/4.5, ISO 1250

The Cuillins from Elgol. This was taken on my second visit to this
stunning location, with snowcapped mountains and a perfect tide
height for the foreground rocks Canon EOS 5D Mark IV, 16-35mm, 301sec at f/11, ISO 160

Canon EF 16-35mm F4L IS USM

Phil Durkin, Bolton
www.phildurkin.co.uk
As a lover of seascape photography, I really
enjoy capturing the wider vista, but you
must be careful with converging verticals.
I get the best out of this lens at the coast or
by a river. It’s great for long-exposure skies
when they’re heading straight for you with
the right subject, which I normally place in
the centre of the radial effect that the long
exposure gives. I bought the lens from MPB
to replace the 17-40mm which sadly didn’t
survive a dip in the sea!

36
 Fujifilm XF 70-300mm f/4-5.6
R LM OIS WR
Martin Eacott,
Royal Wootton Bassett
Instagram @martin_e_photo

My current favourite lens is my Fujifilm XF

70-300mm. It’s my third Fujifilm zoom
lens which I’m using on the X-T30. The
size of this combination is perfect for me as
it fits into my cycling backpack on my trips
to Greece. I usually spend my days riding
to different spots to capture anything from
landscapes to street images.
These flamingos were taken at dawn on
Lefkas island in March this year. My lens
came from Clifton Cameras in Dursley. It’s
a great-value piece of kit at £749 and is
Flamingos in the dawn mist
compatible with Fujifilm’s 1.4x and 2.0x
Fujifilm X-T30, 70-300mm + 1.4x, 1/180sec at f/8, ISO 1250
teleconverters for extra scope.

Sigma Macro 105mm F2.8 Fairground Lights

EX DG OS HSM Sony A7R V, Lensbaby Sweet 22,
Philippa Huber, Wiltshire 1/100sec at f/3.5, ISO 800
Instagram @petportraitsbyphilippa
I bought this lens because I love lying
down outdoors photographing the little
things that mostly pass us by. Close-up
I shoot wide open, and this lens is
brilliant for that, with gorgeous bokeh too.
It’s an incredibly versatile lens for my pet
portrait business – it’s a fast, responsive
prime lens that allows me to shoot both
close-ups of dogs snuffling through leaves
and wonderful portraits from a distance,
like this one of Bentley, a charcoal lab
puppy I photographed recently on his first
woodland walk. It’s also reliably quick and
accurate for the all-important action shots.

Lensbaby Sweet 22
Paula Wilks, London
www.paulawilks.com
My favourite lens currently is the Lensbaby
Sweet 22. It’s a great creative lens with
a sweet spot of focus in the centre of the
frame with progressive blurring outside of it.
It has a fixed aperture (f/3.5) and fixed focal
length (22mm), so all you must concentrate
on is the focus and the composition.
It is especially effective where there are
lights such as in this fairground shot, but it
Beautiful Bentley on works well anywhere you want to separate
his first woodland walk the subject from the background. I bought
Nikon D750, 105mm, 1/1600sec at the lens from Wex Photo Video who are the
f/3.2, ISO 1250
UK stockists for Lensbaby.

www.amateurphotographer.com 37
 Technique READERS’ CHOICE
Olympus M.Zuiko Digital ED
12-100mm F4.0 IS PRO
Robin Trewinnard-Boyle,
Raumati South, New Zealand
Instagram:
@trewinnard_boyle_photography
I principally use the 12-100mm for taking
photos of aircraft, on the ground or
air-to-air. The built-in image stabilisation,
when coupled to my relatively old E-M1
Mark II, is fantastic for sharp images of
aircraft while bouncing around in the back
of another aircraft or a helicopter. It’s small,
lightweight, and weather-sealed. I love that
I can capture relatively wide angles but also
plenty of magnification while keeping
images bright, allowing a wider range of
options when composing a photo.

Mustang P-51D ‘Tall-In-The-Saddle’ flies in

close formation with the camera ship during
a sortie over Northamptonshire, UK, in July
2022. This aircraft flew combat sorties with
the famous Tuskegee Airmen ‘Red Tails’ in
early 1945, based at Ramatelli Airfield in Italy
and still carries the repaired bullet holes.
Olympus E-M1 Mark II, 12-100mm, 1/160sec at f/14, ISO 250

Helios 44-2 Photograph of a bluebell

Deborah Pugh, Essex Nikon D750, adapter, Helios 44-2,
1/640sec, ISO 200
Instagram @floresphotographic
My favourite lens purchase is a manual
Helios 44-2 lens, bought from Oxfam. It
was based on the Carl Zeiss Biotar 58mm
f/2 lens. It is made from metal and is rather
battered but still works. It produces unusual
swirly bokeh effects and chromatic
aberrations. These are exaggerated if you
catch the light in a certain way. I tend to
use it to shoot close-up flower portraits.
To me, it is a bit like a cheap version of
a creative effect lens. The fun part is that
you never quite know what it will look
like until you process it in Lightroom.

38
 Technique PRIMES VS ZOOMS

Prime time
The benefits of primes and why using one makes you a better photographer.
Jeremy Walker explains why you should use fixed-focal-length lenses

W
hen I purchased my first re-designs to optimise them for high- much simpler optical design and robust
SLR camera in the late resolution camera sensors and it could be build quality, have never failed me.
1970s, at the tender age of argued that the disparity in image quality You must be happy with the kit you are
14, the kit lens was a 50mm between a prime and zoom is negligible. using, and I really like primes. Yes, when I
prime. There was no choice back then, As a user of the Leica M11, I am a huge was shooting commissioned work or
no zooms that did everything, it was a fan of prime lenses and would argue that a travelling around the world, a set of zooms,
standard lens, the 50mm prime. Your only prime lens will, without a shadow of doubt, a Nikon 24-70mm and a 70-200mm, were
choice was to buy the body with no lens, deliver a sharper image than a zoom. Is this the go-to work horses and I was never
but as a young naive schoolboy who was true? I would like to think so but of course without them. Zooms offered convenience
just getting into photography, a 50mm it does depend on the comparison, which and speed, but I was never without a
‘standard’ lens it was. prime, and which zoom. Have I ever couple of primes in the bag, a 50mm and
Primes ruled the roost back then and noticed a difference in the sharpness 28mm. If a zoom failed or was damaged,
although zooms were available the image between images taken on a prime lens and I always had a reliable backup.
quality could not match that of a prime a zoom? I have owned zoom lenses that Today I carry four small prime lenses, a
lens. Over the years camera technology has after a few years were not as sharp as 21mm, 35mm, 50mm and 90mm, and I
come along in leaps and bounds, especially perhaps they might have been when new, love using them all. I do not subscribe to
in the past decade or so with the advent of especially in the corners. Maybe this is not the ‘I must carry every focal length possible
mirrorless. This in turn has allowed a surprising with fragile, complex optical in case I miss a shot’ philosophy. Instead I
complete rethink in optical design. Both design and the rigours of everyday use. My prefer to concentrate on what I can shoot,
primes and zooms have had substantial prime lenses on the other hand, with a not what I can’t.

The 50mm was perfect for shooting the

flooded forest, getting me close enough for
a balanced composition without having too
much foreground
Leica M11, 50mm, 30sec at f/11, ISO 64
ALL PICTURES © JEREMY WALKER

40 www.amateurphotographer.com
 Anything wider than a 50mm and I would
have distracting and untidy woodland at the
edges of the frame. The 50mm gives a
pleasing perspective and depth to the image
Leica M10-R, 50mm, 1/8sec at f/11, ISO 100

The Original Kit Lens, the 50mm

The 50mm is a much maligned and overlooked lens, it’s not a wide
lens and it certainly isn’t a telephoto. On the face of it, it’s just a little
bit boring. Designed to be ‘normal’ and give roughly the same
perspective as the human eye, a certain generation of enthusiast
photographers would have started out with a 50mm. I’m one of them,
and at the time we just accepted that the camera came with a ‘fifty
mil’, and got on with picture taking.
But there is something about a 50mm, it is a practical and very
versatile lens. Extension tubes and close-up filters can be used
without perceptible loss of quality, and it is a great lens to shoot
distortion-free, stitched panoramas. The 50mm is also a great lens if
you want to travel light and leave everything else at home, a street, The 50mm is a great lens for concentrating
portrait and architectural lens all rolled into one neat, small and the mind and working on composition. I
knew there was a shot but it took a while
discreet package.
Leica M11, 50mm, 8sec at f/8, ISO 400
I say small and discreet, but nowadays 50mm lenses come in all
shapes and sizes from the small and perfectly formed Leica
Summicron f/2, to the behemoth Nikon Z 50mm f/1.2 S, a prime
lens that is bigger than some mid-range zooms.
If you want a 50mm prime the choice is almost endless and the
quality exceptional. Today f/2 is probably considered to be slow for a
50mm prime but with speed comes size, and of course cost. Most
manufacturers offer a f/1.8 lens, and many will also have an f/1.4
and f/1.2 in their range. A few manufacturers have a 50mm f/0.95 in
their line-up but with technology and quality comes cost. Possibly, the
50mm prime has been the most popular lens of all time – there is
something about a 50mm and at one stage in my career I owned six
of them at the same time, albeit one or two were ‘vintage’ examples.

A great ‘street’ lens, the 50mm is small

and discreet. It is perfect lens for that
quick grab shot
Leica M10-R, 50mm, 1/350 sec at f/8, ISO 400

www.amateurphotographer.com 41
 Technique PRIMES VS ZOOMS

Creativity
Does using a prime lens make you a better
photographer? Possibly, but I’m not sure
there is a definitive answer, or perhaps the
question should be, does using a zoom
make you a lazier photographer?
There is a temptation with a zoom to
stand in one place and just alter the focal
length until something looks right.
Obviously with a prime you cannot do this
and if something doesn’t quite work, you
have no option but to move. It is in this
moving and searching that hopefully
opens the mind creatively. Looking for
alternative angles and making the subject
work for you and the focal lengths you
have available, is part of an important
creative process. Using a prime forces you
to explore your subject more deeply and
Above: 35mm is great
most importantly, look, see and take in
for landscapes. Wide
your surroundings and think more enough without giving
critically about composition and framing. too much unwanted
The perceived limitation of a prime lens foreground and sky
can challenge and stimulate a Leica M11, 35mm, 100sec at f/8,
photographer’s creativity and help to ISO 400
push boundaries.
Using a prime can slow the whole Left: A fisheye lens
can give a quirky look
photographic process down, photography Nikon D3X, 16mm, 1/180sec at
becomes more thoughtful, measured and f/13, ISO 100
contemplative, especially if you are
shooting landscapes. Being measured and Below: A specialist
deliberate, taking your time is no bad macro lens will let
thing. I think using a prime helps to you get in close
re-connect with the basics of photography, Nikon D810, 105mm, 1/250sec at
f/5.6, ISO 100
especially lenses that have an ‘old
fashioned’ aperture ring. You will need to
be aware of specific aperture and shutter helped by modern mirrorless cameras
speed combinations, and why you are having near infallible ‘eye detection’.
using that combination. You must think a Trying to get a person’s eye sharp at
lot more about what you are doing. Zooms maximum aperture was never particularly
and auto-everything will certainly make easy and an art form in its own right.
you a lazier photographer. But here’s a thing. If you regularly use a
One creative advantage of a prime lens handful of primes, mine are 21mm, 35mm,
over a zoom is the maximum aperture. 50mm and 90mm, you get used to seeing
Most zooms have a maximum aperture of the world in those focal lengths. My main
f/2.8. There are exceptions to the rule but go-to lenses are the 35mm and 50mm and
f/2.8 or even f/4 seem to be the norm. With I can arrive at a landscape location and
primes, especially since the advent of envisage an image in my mind before the
mirrorless, there has been a trend towards camera comes out of the bag, I know which
larger maximum apertures, f/1.2 or lens I am going to use. Simply put, the
thereabouts, being very common. You are more you get to know what a single prime
probably not going to be shooting a wide lens can do and its field of view, the quicker
landscape vista at maximum aperture but a you can visualise your final shot and utilise
narrow depth of field for isolating part of a that fleeting light.
scene or emphasising a particular detail can ‘Street’ photography is not something I
be beautiful. do a lot of, but I know many
Many portrait photographers will use a photographers shooting this genre and
fast medium telephoto of about 85mm they all use primes. Apparently in the
with a maximum aperture of f/1.2 which second or two you are zooming and
allows for an incredibly shallow depth of composing, that fleeting street scene has
field, allowing just for the eye of the sitter gone. Again, it is about a fixed focal length,
to be in focus and the background to getting to know its strengths and using it
render beautifully soft. A technique that is appropriately for your subject.

42 www.amateurphotographer.com
 Tools for the job
Since mirrorless cameras started to
dramatically change the camera body
marketplace, lens design has not been left
behind and has also changed quite
considerably as well. Zooms especially,
with the focal ranges getting larger and A superb lens for architectural images. Just
larger. Standard focal length ranges used a few millimetres of rising the front and the
problem of converging verticals is sorted
to be in the region of 24-70mm or
Nikon D3X, 45mm, 300sec at f/8, ISO 100
24-105mm for a mid-range zoom, but
now something in the region of 24-
240mm is not uncommon. Does this
mean that lens manufacturers are giving As well as perspective control for
architectural images this lens is great for
A Tilt and Shift lens -
a very special prime
up on primes to concentrate on zooms?
detailed close-up shooting and landscapes
Not one bit. All the major camera
Nikon D810, 45mm, 1/4sec at f/14, ISO 200
manufacturers and the independent lens
production companies have all been hard Perspective control lenses for single lens
at work with new prime lens designs since Having one lens just to do a specific job reflex cameras have been around for a while.
the advent of mirrorless. Prime lenses could get expensive. A tilt and shift for Both Canon and Nikon have offered versions
have a popularity that is hard to ignore, architecture, a macro for the occasional as well as German lens maker, Schneider,
the market is huge and photographic close-up shot, a fast, super-wide for who produced a stunning 28mm shift lens.
companies ignore it at their peril. shooting the night sky and a fisheye for As technology has moved along, a tilt
Prime lenses are built for a single that one-off quirky image, might mean a element was added to the design, making the
purpose, to do one thing and to do it great deal of expensive kit sitting on a perspective control tilt and shift lens
exceptionally well. They will bring a shelf for a large portion of its life, extremely versatile for both architectural
unique set of benefits that will either gathering dust. Not something an photographers (no more pointing the camera
enhance a photographer’s work, such as enthusiast shooter can afford, so why buy up and getting converging verticals) and
reduced distortion, superior clarity and into the prime lens way of shooting? landscape photographers wanting to control
minimal colour aberration or at least As with all kit expenditure, you must the orientation of the plane of focus and
make one’s life easier, such as using a tilt think long and hard about your purchase maximise depth of field at a given aperture,
and shift lens for architecture or a super- and the ultimate value it will offer you. It (the Scheimpflug Principle). Basically, the
telephoto for sports and wildlife is my belief that spending money on the modern tilt-shift lens allowed 35mm camera
photography. right prime for the right shoot is an users to do what 5x4 field camera users had
The faster apertures available to a prime investment. Simply knowing you are been doing for years, using movements to
lens design also make them the go-to shooting with the best piece of equipment control the subject, lens and image planes for
choice for photographers working in low you can afford and that you are getting creativity and image sharpness.
light. Primes avoid the optical the most out of your camera sensor, I have at some point over the years owned
complexities of zooms which must be all makes it worth it. Investing in primes is in both the Nikon 19mm and 24mm tilt-shift
things to all photographers, over a whole my opinion, exactly that, an investment. lenses and the absolute first-class Nikon
range of focal lengths in a single lens, 45mm tilt-shift, which also had brilliant
which of course creates its own set of close-focus abilities, a stunning and versatile
optical problems. lens by any measure. The 45mm was a
permanent fixture in my bag for many years.
A perfect focal length for images without Tilt-shift lenses are of incredible and unique
exaggerated foreground and no distortion optical design and are stunning pieces of kit.
Leica M11, 50mm, 1/180sec at f/8, ISO 200 They are probably not what people would
think of as a prime in the normal sense of the
word and are very much a quirky, specialist
piece of kit. However, I used the 45mm
tilt-shift for landscape work for many years
and would certainly place it on to an all-time
top five lens list.

The tilt and shift lens is a versatile choice for

landscape shooters too, allowing creative
control of the depth of field at wide apertures

www.amateurphotographer.com 43
 Technique PRIMES VS ZOOMS

The prime of their life

Some prime lenses are regarded as specialist
lenses, such as the tilt and shift lenses
mentioned previously, or perhaps ultra-
wide fisheye lenses or close-up macro
lenses. Some though are everyday
workhorses, such as the 35mm and 50mm.
Here is a round-up of some of my
favourite primes that I have used over the
years and what they are capable of. Over
the course of my career I have used, Nikon,
Zeiss, Voigtländer and more recently Leica.

1 The Fisheye
Nikon 16mm f/2.8
Ultra-wide angle with barrel distortion as
part of the effect, which of course is now
easily dealt with in post-production. Great
for quirky and very different imagery.

2 The Wideangle
Leica 21mm f/3.4
A wide angle with corner-to-corner sharpness. Compact and great for
travel or just carrying in a pocket. The Zeiss 21mm is also a great
wideangle option but it is a much larger and heavier lens, although of
robust construction.

3 The 35mm
Leica 35mm f/2
A workhorse of a lens with great image quality from edge to edge
and corner to corner. A great all-round lens, suitable for street and
landscape photography and very useful for stitched panoramas.
Again, the Zeiss 35mm is a great lens but much larger and heavier.

www.amateurphotographer.com
 4 The 50mm
Leica 50 f/2, Zeiss 50mm f/2.8 and the
Nikon 50mm f/1.4
Another workhorse lens. The 35mm and
the 50mm are the two lenses I could not
live without. All iterations I have owned
have been excellent. If I could only travel
with one lens, it would be the 50mm.

5 The 90mm
Leica 90mm f/2, Zeiss 85mm f/4, Nikon 85mm f/1.8
A brilliant focal length for
portraiture. You’ll be neither
too near nor far from your
sitter. All three lenses are
wonderfully sharp although
the faster Nikon allows for
the backdrop to be slightly
softer when used wide open.
The 85/90mm is also a great
lens for landscape work.

6. The Macro
Nikon 105mm f/2.8, Zeiss
100mm f/2
Close-up work is not
everyone’s cup of tea but if
you are going to delve into
the wonderful world of
macro, a prime is a must.
Both the lenses mentioned
above are manual focus but
autofocus is available from
some manufacturers.

7. Telephoto Lenses
My experience of longer primes is somewhat limited as I don’t shoot sports and wildlife. I have owned Nikon’s
300mm f/4 and its 500mm f/4 but rarely used them, although as I recall, they were both superb.

www.amateurphotographer.com 45
 Technique ALTERNATIVE LENSES

Optic
Break free from the creative shackles and the
humdrum world of pin-sharp pictures and join
Will Cheung on his search for alternative lenses
to help you shoot photos chock-full of character

P
hotographers typically strive to Release the beast
produce the sharpest pictures Okay, the idea of breaking free appeals,
possible using fast shutter speeds, where do you start? While long exposures,
optimum apertures, image intentional camera movement and
stabilisers and tripods. Throw in great multiple exposures are some techniques
ISO performance, high megapixel counts, to try, here we’re going to focus on what
detail-enhancing software and expensive delivers the image onto the camera’s sensor
glass, and all the ingredients for razor-sharp in the first place, the lens.
pictures are available. In your pursuit of pictures with © ANGI WALLACE

But there’s a problem, if we can call it personality, you could go right back to
that. Perhaps everything is a little too basics and use a pinhole. Laser-drilled,
perfect and while bitingly sharp pictures perfectly round pinholes don’t cost much
obviously have their place, what they lack and all you need is a body cap and very This is adapted to fit Sony E-mount and
is character, a certain extra quality that sets modest DIY skills. Film pinhole Fujifilm X-mount cameras from M. S.
them apart from the crowd. Of course, with photography has always been popular Hobbies priced at £149. See the panels on
software or the right app it is easy to inflict and digital pinhole is just as much fun. pages 48 and 49 for details on both lenses.
damage on your wonderfully sharp pictures. Take a step or two up the lens Lensbaby is a well-established alternative
Enter a great opportunity. Why sit in evolutionary ladder and you can buy optics brand and currently there are six
front of a screen when you could be out disposable camera lenses adapted to fit lens families offering a variety of effects.
there, taking pictures and having fun with digital cameras. The DispoLens costs £47.70 The Sweet family of products gives the
the many optical options to add character and in the same vein but utilising a better- ability to get your subject nice and sharp
and individuality to your photographs? quality optic is the Minox 35mm f/2.8 lens. and have it surrounded by creamy, smooth
bokeh, a look which suits close-ups,
scenics, abstract and portraits. Also perfect
for people pictures are the Velvet lenses,
especially the 56mm f/1.6 and 85mm f/1.8,
which produce dreamy images with an
attractive glow at wide apertures and a
crisper, film-look at slower f/stops. With
excellent close focusing – down to 23cm
with the 85mm f/1.8 – these optics also
suit macro shooting too.
Velvet lenses are available in a wide range
of lens mounts and suit MFT, APS-C and
full-frame shooters.

Creative beasts from the East

If you keep up with what’s happening in
the world of lenses it probably hasn’t
escaped your notice the rush of nicely
© LOMOGRAPHY

priced manual and AF lenses from Far East

manufacturers. On one level they offer a
Taken using the Lomography Nour triplet V 2.0 64mm lens, a unique lens with a dedicated respectable level of performance and
spherical aberration control knob with three special effects seriously good bang for your buck in

46 www.amateurphotographer.com
 Give your photography a
creative lift with these lenses
Lomography Nour triplet V 64mm
f/2 lens
Designed with a
dedicated spherical
aberration control knob
for beautiful effects such
as smoothly diffused
backgrounds and soap
bubble bokeh. It features a stepless iris aperture
and there’s the option of drop-in special aperture
plates. It’s compatible with full-frame mirrorless
cameras and priced at £399 and £499 respectively.
shop.lomography.com/uk

Lensbaby Composer Pro II

+Sweet 50
The Lensbaby Composer Pro II
with the Sweet 50 Optic sells
for £299. The Sweet 50 is a
50mm f/2.5 lens, and other
options to consider are the
35mm f/2.5 and 80mm f/2.8.
They suit full-frame and smaller formats. The lens
tilts to adjust where you want the focus sweet spot.
lensbaby.com

Trioplan 100mm f/2.8 II

This manual focus telephoto is one
of eight lenses offered in Meyer
Above: Angi Optik Görlitz’s impressive range
© ANGI WALLACE

Wallace used a of beautiful optics that are

Lensbaby Velvet hand-produced in Germany using
85mm f/1.8 lens the finest selected materials. It’s
which gives up
to half lifesize available in a wide selection of
reproduction. To lens mounts and priced at €999 plus shipping.
produce the final www.meyer-optik-goerlitz.com/en/
image 140 images
were stacked
Sony A7 III, 85mm, 1/200sec
Lensbaby Velvet 85
at f/2.8, ISO 50 This 85mm f/1.8 lens gives you
the option of going for sharp
images with a vintage feel or a
more dreamy look for images
Left: Shot with with an Impressionistic vibe.
a Lensbaby Priced at £499. Other focal
Composer Pro II + length options available are the
Sweet 50. The
Sweet 50 optic
28mm f/2.5 at £549 and the 56mm f/1.6 at £389.
goes a sweet spot lensbaby.com
of sharpness
surrounded by blur New Petzval 80.5mm f/1.9 MKII
and it’s the perfect
tool for creative Bokeh Control Art
portraits with a Optimised for stills and video
distinctive use, this lens’ Bokeh Control
character Ring has seven levels of swirl
and a dual aperture system so
To see more of
Angi’s work visit:
has plenty of room for creative
www.angiwallace expression. Prices start from
photography.com £399 and it is available in Canon
EF and Nikon F mounts but can be used on
mirrorless bodies via an adapter.
shop.lomography.com/uk/lenses/petzval

47
 Technique ALTERNATIVE LENSES
these cash-strapped times, but there’s
also the creative opportunity too.
Take, for example, a couple of manual
focus lenses from TTArtisan, the 50mm
f/0.95 and the 50mm f/1.4 Tilt at £230 and
£249 respectively. The 50mm f/0.95 is
APS-C format and is decently sharp at f/8
but shoot at the very wide apertures and
pictures have a certain appealing softness.
While the 50mm f/1.4 Tilt is capable of

© JOSHUA WALLER
filling the full-frame format, the coverage
drops to APS-C when tilt is used but then
there’s the potential of creative focus
control and the miniature effect.
Not so disposable
You can now buy disposable film camera Back to the future
lenses that can be attached to mirrorless Moving along, let’s take a step back in time
cameras including Sony E-mount and and meet lenses featuring historic designs.
Fujifilm X-mount. The DispoLens is a There are many photographers, myself
fixed-focus 28mm f/10 lens and are included, who are using legacy lenses via
available to buy from £47.30 (around adapters on mirrorless bodies and great fun
$60) on DispoStudio’s Etsy store. These they are too, but here we are talking new
lenses are specifically designed for street lenses made using vintage optical formulas.
photography, events, and parties, producing Lomography is renowned for its ‘toy’
candid photos with the iconic disposable cameras and retro film emulsions and its
film camera look. Daguerreotype Achromats, Petzval and
X-mount and Sony E-mount bundles, Nour lenses offer a unique proposition. The
which include a TripleLens and two lens Nour triplet V 64mm f/2, starting from
caps in addition to the DispoLens, can also £399, has a spherical aberration control
be bought for £60.52 (around $75). that can be varied to give the desired effect
The TripleLens is fitted with three used from a general softness to bubble bokeh,
disposable camera lenses that create and it comes with drop-in aperture plates
three overlapping images. Lenses are also for patterned backgrounds.
available for Nikon Z mount, Leica M If people photography is your forte, the
mount, Canon RF mount and Micro Four Petzval lenses are right up your street.
Thirds mount. Delivery in the UK is free. Available in three focal lengths and in
DispoLens says it recreates all visual finishes including satin brass, these
organic imperfections that come from using full-frame lenses are a reinvention of the
a disposable camera lens like halation, original Joseph Petzval design dating back
chromatic aberration, vignetting, softness, to 1840. Enjoy velvety smooth background
and imperfect image projection. The lenses bokeh that you can adjust with special Above: Meyer Optik
are made from disposable camera parts shape aperture plates. Prices start at £399. Görlitz takes great
and 3D-printed with 98% biodegradable Meyer Optik was founded in 1896 and pride with its
handmade lenses that
PLA+, and perfect for the environmentally for more about its rich and stop/start
deliver unique bokeh.
conscious photographers. history, visit its website. In its current state, This portrait with
See www.etsy.com/shop/DispoStudio it has been introducing lenses since 2020 gorgeous background
and there are eight in its range. Available in bokeh was taken on
a wide range of mounts, these beautiful, the Trioplan 100mm
German hand-crafted lenses all feature f/2.8 II
vintage optical configurations for images
with character. Prices start from €799 for Right: Gadgets such
as the Lensbaby
the Trioplan 50mm f/2.8 II while the Biotar Composer give you
75mm f/1.5 II is €1,399. the chance to throw
the photographic
Over to you rulebook out of the
Your choice of lens does not define you as window. This was
a photographer, but there’s no doubt that it shot on a Nikon D700
can play a major part if you’re looking to with an exposure of
1/3200sec at
shoot pictures different from the norm. ISO 100
We’ve highlighted a few optical gems that
are worth looking at but there are many
more out there. Whether you go for a
legacy lens, invest in a fast-aperture budget
job or invest in a classy vintage optic, the
potential is there so now’s the time to
exploit it.

48
 Minox on Sony
M.S. Hobbies is a Minox specialist
company based in London, offering Minox
repairs, as well as specialist parts that are
no longer available. Minox is most notably
known for producing ultra-compact spy
cameras, as well as compact 35mm
© MEYER OPTIK GÖRLITZ

film cameras, and have a cult following.

The Minox 35mm format models, such
as the 35 GT, were popular and MSH offers
photographers the chance to enjoy the
famed Minox Color-Minotar 35mm f/2.8
lens which can be adapted for use on Sony
E-mount mirrorless cameras.
The MSH-modified Sony E-mount
Color-Minotar 35mm f/2.8 lens comes
ready to use. The process, M.S. Hobbies
owner Paul O’Sullivan says, is complicated
due to the lens originally having a built-in
leaf shutter, as well as a light meter. Paul
says that the lens works the best on Sony
E-mount, but people have requested other
lens mount conversions as well.
The lens with a custom-made adapter is
available for £179.99.
Visit: mshobbies.co.uk
© WILL CHEUNG

49
 In association with

Book
now!

www.amateurphotographer.com/photo-tours
 l Quality workshops to top UK and worldwide destinations
l Small groups led by world-leading photographers
l High quality accommodation, daily activities and lectures
l A dedicated tour coordinator from Zoom Photo Tours on every trip

www.amateurphotographer.com/photo-tours
 Technique MANUAL FOCUSING

Manual
Masterclass
Whether you’re a member of the autofocus club or enjoy
getting involved, knowing how to make the most of manual
focusing is an essential skill, says Will Cheung

Y
ou’re probably wondering what’s the heard of TTartisans, 7artisans, AstroHori, Jintu,
point of manual focusing when your Meike and Pergear, while more familiar might be
camera has astonishing autofocus skills Laowa, Lomography, Mitakon, Samyang and Viltrox.
at your fingertip? Literally! The simple From these brands we’ve seen lenses with super-
fact is that even the best AF systems are fallible, so fast apertures, ambitious focal lengths, amazing
being prepared to lend a helping hand means no macro skills, historic designs and even lens
shots are missed. The other compelling reason for movements, and often at keen prices. There’s the
going manual, whether with an AF lens or a manual chance now to build a lens collection without
model, is that it involves you intimately in the breaking the bank and furthermore, many of these
picture-taking process for an even more satisfying lenses can give your photos a very individual look.
photographic experience. See Optic oddities on page 46 for more.

Manual manoeuvres The mirrorless era

The lens market is constantly evolving with new In-body SLR autofocusing became a thing in 1985
products seemingly being introduced every week, when the Minolta 7000 was unveiled. That got the
and it’s what’s happening in the arena of manual AF SLR ball rolling and it was joined soon after by
focus lenses that’s exciting. the Canon EOS 650, and the rest is history.
At the top end we have brands such as Irix, Leica, SLR autofocusing is now so finely tuned that it can
Meyer Optik, Voigtländer and Zeiss and at much cope with moving subjects, light levels as low as
more affordable prices there’s a plethora of brands, moonlight and high-frequency subjects such as
mostly from the Far East. With all due respect to animal fur and bird feathers. Above: Shooting balls of
those purveyors of fine glass, the really interesting Now, mirrorless is the dominant force; and doing fire can give good shots
stuff is coming from brands perhaps new to many away with the reflex mirror has opened up fresh but AF systems can fail to
focus on the sunset
UK photographers. Pat yourself on the back if you’ve avenues for the designers. This camera type has
because of the lack of
distinct edges, so manual
is the best option. On a
point of eye safety: never
look at the sun through
the camera’s viewfinder
and always use live view
Sony A7R IV, 200-600mm, 1/5000sec at
f/11, ISO 100

Left: Manual focus is often

the best option in very low
light levels because AF
might hunt and not focus
on what you want. Manual
focus and the magnifier
was used for this moonrise
over Southwold pier shot
Fujifilm GFX 100S, 100-200mm, 20sec at
f/11, ISO 400

www.amateurphotographer.com
 ALL IMAGES © WILL CHEUNG
made massive strides in many spheres and autofocus
is one of them. With on-sensor phase and contrast
detect focusing systems, fast readout sensors and
powerful processors, AF systems can track moving
subjects at high shooting speeds (the Sony A9 III can
shoot at 120fps with AE/AF tracking) and there’s
subject-detect. For giving inexperienced camera
users the chance to take pin-sharp shots of birds in
flight, the fastest sports action and more, subject
detect is one of the most useful AF innovations of
recent times and benefits stills and video shooters.

AF shortcomings
The fact remains, however, that AF does not nail
focus 100% of the time. Far from it, so the good
news is that the human being has not been made
redundant. Yet. It is why, of course, that the option
of manual focusing on AF cameras and lenses
remains in place although how it’s implemented
varies. Some systems are better to use than others.
The best implementations of manual focus on AF kit
are excellent, being tactile, fast, responsive and
intuitive while others are poor. Strangely, depending
on the camera/lens combination, you can get both
from the same brand. AF systems will struggle to acquire focus on small subjects such as dragonflies in
With manual focus SLRs, viewfinder brightness flight, but manually focusing quickly to get a recognisable shape and then hitting the
and focusing aids such as microprism and AF button for the camera to take over can work well
split-image were really important, so much so Fujifilm X-S10, 100-400mm with 1.4x teleconverter, 1/1000sec at f/7.8, ISO 400

www.amateurphotographer.com 53
 Technique
that buying decisions were based on how
bright and crisp the viewing image was.
When autofocus arrived such focusing aids were
not considered essential so they disappeared. On
DSLRs, the way to critically check focus was with
live view and magnifying into the image, and that
was fine but less effective in bright sun – and many
cameras had fixed monitors which didn’t help for
low- or high-level shooting.

Managing mirrorless
With mirrorless, the most commonly provided
manual focus aids for viewfinder and monitor
shooting are focus peaking and the focus magnifier,
although they are not always available on third-
party and legacy lenses used via an adapter.
As is often the case, the implementation of these
aids varies from brand to brand.
The manual focusing magnifier is a very effective
tool, but there are ‘ifs’ and ‘buts’ about its usability.
Some magnifiers kick in the instant the manual
focus ring is touched which sounds logical but it can
mean missing a grab shot unless you train yourself
not to try adjusting focus. Some magnifiers have a
dedicated button or can be assigned to a function
control so can be brought into play quickly, often at
a magnification you can choose while others you
have to scroll through several magnifications.
The magnifier or focus check feature is very handy
so if you have one available, set it up to suit how
you like to work. tweaking focus so the eyes are sharp in a portrait. The latest innovations in
With focus peaking you’ll see lines or areas of false Shooting a bird in a tree, for example, the camera AF technology including
colour showing where the image is in focus, and might have focused on a branch and not the subject, face detect is a boon for
street shooting but it can
there’s usually a choice of intensity as well as colour so you need to quickly and seamlessly adjust focus.
still miss, and switching to
– red, blue and white are popular. Focus peaking For such scenarios, you need to override what the manual zone focusing can
works well, but areas of false colour appearing across camera has focused on quickly. Of course there are give a higher hit rate
the composition are distracting and even annoying, options including autofocus lock (AF-L) and using a Leica M9, 50mm, 1/60sec at f/5.7, ISO 400
so it’s not liked by everyone. small AF point and positioning it accordingly. An
effective method on many cameras is holding down
Why is manual focus even relevant? the shutter button halfway and using the manual
So far, we’ve discussed manual focusing in isolation focus ring and it will zoom into the frame without
but for most photographers the need is how to get any need to flip a switch or select MF. This might
the most out of autofocus and when human need setting up in the menu first but it’s a fast
intervention is needed. For scenics, it might just be override option and means you don’t have to
fine-tuning focus for maximum depth of field or reframe or adjust your right hand.

HOW TO SET UP FOR SUCCESSFUL MANUAL FOCUSING TECHNIQUE

There’s absolutely nothing wrong with
relying on autofocus, and modern systems
are so advanced they can tackle most
situations. However, you do need to be
prepared to lend a helping hand
occasionally with manual focus, but how
you do this depends on your camera and
how you like to work.

Manual override Hit magnify

The AF/MF menu item lets you use autofocus Many cameras can enlarge the viewing image
with the option of overriding focus manually if with a choice of magnifications. Checking the
the camera struggles to nail it. You might image critically at 100% or 1:1 is great but it
need to keep the shutter or AF-ON button means navigating around the screen to check.
pressed while you adjust focus, or AF-ON only. Assign the feature to a function button for
Some might also give a magnified view. easy recall or it may have touch functionality.

54 www.amateurphotographer.com
 Why it works
Zone focusing is a great technique for street shooting because you just point and
shoot; you don’t even have to raise the camera to the eye. Simply set a distance
manually where you expect the subject to be or a comfortable working distance
and rely on aperture choice to provide sufficient depth of field.
Depth of field is the zone of acceptable sharpness within a scene. How deep
this zone is depends on various factors, but the thing is when the lens is focused
normally for a sharp image, a lot of depth of field is wasted, and this can be
avoided by focusing hyperfocally.
The two accompanying photos below of a manual focus lens with a depth-of-field
scale help show this. On the left, the lens is focused at infinity (let’s assume
that’s correct for the subject) and an aperture of f/16 gives depth of field from
2.5m to infinity according to the scale. By adjusting the focusing ring so that the
infinity symbol is opposite 16 on the depth-of-field scale, the zone of sharpness
How focus override works with other aspects of now stretches as close as 1.2m and the hyperfocal focusing distance is 2.5m.
your camera needs consideration. Instant override With AF lenses, switch to manual and adjust focus using the distance scale for
might not be available when multi-zone or the expected subject distance, say 3m for street work; some gaffer tape to hold
continuous AF is set. Also, you might need to use the focusing barrel in place is an option. If no scale is available, autofocus on a
back button AF only, otherwise focus will change subject 3m away, then switch to manual focus. Set the aperture to suit the
when you use the shutter button to take the shot. lighting and you’re ready to shoot with zone focus.
There are plenty of depth-of-field apps to help determine the hyperfocal focusing
Keep focusing distance for different focal lengths and f/stops, free and paid for. Depth Of Field
Ultimately, your AF camera has the skills and tools Calculator is 99p,
to make manual focusing a breeze, whether it’s for light&depth is free and
involvement in the process or the occasional need to very good, PhotoPills is
override autofocus. You just need to dig around the $10.99 and great for all
camera’s menu and set up a process that suits you manner of photo tasks.
and then practise to build up handling skills. Check Google Play or
It’ll take time but it’ll be worth the effort. the App Store for more.

Focus peaking Use live view Use the clutch

On mirrorless cameras a common assist On DSLRs, manual focusing aids in the A method of quickly engaging manual focus
feature is focus peaking. Available in different optical viewfinder are minimal, just a simple that’s available on a limited number of lenses
colours and strengths, peaking means that focus confirmation alert. Use live view to is the focus clutch ring. It’s AF in one position
areas of the scene in focus will be falsely zoom into the image for a critical focus and a quick pull or push and you’re straight
coloured, so adjust the focus barrel until the check. It isn’t user-friendly when handholding into manual focus. The only downside is that
subject shows the strongest peaking. at low viewpoints or in bright conditions. ring can be moved inadvertently.

www.amateurphotographer.com 55
 Technique PROS’ FAVOURITE LENSES

Top glass
We speak to six professional
photographers to find out
their go-to lenses on a range
of systems for quality results

Nikon In the realm of landscape photography, the choice of lens can

Edyta Rice make all the difference between a good shot and an exceptional
masterpiece. Among the arsenal of my lenses, one stands out for
Nikon Z 14–30mm f/4 S-line its impressive sharpness, portability, and versatility: the Nikkor Z
Edyta Rice is an award-winning landscape photographer
14-30mm f/4 S-line. This lens boasts unparalleled sharpness,
based in the Lake District. Her aim is to create visually and
capturing every detail with stunning clarity. The Z 14-30mm is
emotionally captivating photographs, and Edyta strives to
also smaller and lighter than other wideangle lenses I’ve used,
use her atmospheric vision to inspire people. Her
making it the ideal companion for my outdoor adventures.
photography has been featured in prestigious photography magazines.
For landscape enthusiasts and pro photographers who prioritise
She is a brand ambassador for NiSi UK and Fotopro Tripods UK.
value without compromising on performance like me, this lens is
www.edytaricephotography.com
the ultimate choice. It’s a cost-effective alternative to the Z
14-24mm f/2.8, with a versatile zoom range.
As I often shoot in all kinds of weather conditions, weather-
sealing and build quality are paramount. My experience of using
this lens is that it delivers on both fronts. Designed to withstand
the rigours of the elements, this lens is a reliable companion in
any environment, ensuring that I can focus on capturing the
perfect shot. Another advantage of using this lens is it
accommodates 82mm filters without significant vignetting.
Paired with my Nikon Z 7 body, this lens has helped me secure
numerous award-winning images and I wouldn’t consider
changing it for quite some time.

56 www.amateurphotographer.com
 Fujifilm
Emily Renier
Fujifilm XF 18mm F1.4 LM WR
Emily Renier is a documentary photographer based in the
South East of the UK. For the past six years, she has
dedicated her full attention to capturing emotion-packed
and authentic moments for couples and families. She is
also an official Fujifilm ambassador. See more at
www.emilysmomentsphotography.com @_emilysmomentsphotography_
As a documentary photographer, I like to try to capture as much
of a scene as possible to give the viewer as much context as
possible. So, my go-to lens that I use at every single shoot,
whether it is a family session or a wedding, is my treasured XF
18mm 1.4 LM WR.
For weddings more specifically, a wider focal length is invaluable
during prep time in the morning when confronted with tight
spaces in hotel rooms. It is also the perfect lens to use for the
confetti shot or even on the dance floor later as I can get right into
the action and capture all that fantastic energy produced on a
wedding day.
Lastly, I am a very physical photographer, and my gear has to be
able to take the brunt of my sudden reactions, whether it’d be
crouching on the ground to capture a crawling infant or running
ahead of a couple on the busy streets of London (in all weathers!).
I can always count on Fujifilm gear to be incredibly robust and
durable and the XF 18mm F1.4 LM WR is no exception.

www.amateurphotographer.com 57
 Technique PROS’ FAVOURITE LENSES

Panasonic Ask me my favourite lens and it will take me 1/500sec to make up

Damien Demolder my mind. In that 1/500sec I’ll quickly run through all the other
lenses I like but will once again come to the conclusion that none
Panasonic Leica DG 25mm F1.4 of them beats this one.
ASPH I love this lens for a wide range of work, but when I stick it on
A former editor of AP, Damien Demolder is a commercial my Lumix GX9 I will feel I’m armed to the teeth for travel and
photographer and photography journalist who loves street, street photography. The 47° angle of view of any standard lens
travel, portraiture and film making. He regularly runs makes me feel right at home, and it’s as though the camera’s
street workshops in London, as well as abroad with Light and Land. See more vision matches what my brain can concentrate on, so a ‘normal’
at www.damiendemolder.com and on Instagram @damien.demolder lens in any format is going to get my vote – 25mm for MFT,
50mm for full frame, 80mm for medium format. I like this one
especially as it fits my favourite cameras, but also because it
performs so well wide open.
It came into my life when mirrorless systems were new and
we weren’t used to lenses that performed really well at their
widest aperture, so it was a revelation. And the thrill of such
resolution along with a shallow depth of field hasn’t worn off
yet. It’s small too, the AF is quick, it doesn’t fringe and it is sharp
right across the frame.

58 www.amateurphotographer.com
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 PROS’ FAVOURITE LENSES Technique

Canon This is a difficult question to answer! Had I been asked several

Ben Hall months ago, before making the move to a mirrorless system, my
Canon RF 100-500mm F4.5-7.1L IS answer would have been my trusty Canon 500mm F4 L IS. Now
that the Canon EOS R3 has become my main body, however, I
USM have found that the Canon RF 100-500mm has become my main,
Ben is one of the UK’s leading wildlife photographers. His go-to lens. Optically it is fantastic, and although I own faster
work has taken him all over the world where he strives to lenses, the versatile focal range enables me to shoot portrait
create images that conjure emotion and tell stories. His images one minute and zoom out for an environmental shot the
work has earned him numerous prestigious awards and he runs wildlife next. It also features 5 stops of image stabilisation which is a huge
photography workshops in the UK and further afield. advantage when shooting in low light. My prime 500mm F4 L IS
Website: www.benhallphotography.com Instagram: @benhallphotography still gets plenty of use, but the more compact size and lighter
Facebook: Ben Hall Photography weight RF lens makes it much more manageable, especially when
hiking over long distances. Being a wildlife photographer, I often
find myself working in far-flung, remote locations and the weight
of my prime lenses can be a problem when flying. I used the
Canon RF 100-500mm on a recent trip to Antarctica and it
performed flawlessly. I was able to fit it into my carry-on luggage
along with two camera bodies and a few other lenses, which
meant I could leave my Peli case at home!

www.amateurphotographer.com 61
 Technique PROS’ FAVOURITE LENSES

Sony With the Sony FE 70-200mm F2.8 GM OSS II lens, I can tell the
Jean Fruth story of any game, from Little League to the World Series. Action,
reaction, and celebrations! The focal length is key, giving me a
Sony FE 70-200mm F2.8 GM OSS II wide range to capture the action tight, or stay wide and give my
Sports photographer Jean Fruth does more than take
images a sense of place.
pictures. She tells stories of vibrant personalities, local
The lens is super-fast, allowing me to capture athletes at their
cultures, and distinctive communities. She is the co-founder
peak moment, and take a pretty picture with beautiful bokeh.
of Grassroots Baseball, a non-profit that empowers and
Since I am handholding this lens for many hours on my shoot,
transforms lives around the globe, and a Sony Artisan of Imagery. Her latest
this lens being so lightweight is a game-changer for me.
book, Grassroots Baseball: Route 66, was published in 2022, with proceeds
benefitting the Grassroots Baseball non-profit organisation. See more on
Instagram @jeanfruthimages and Facebook @JeanFruth

62 www.amateurphotographer.com
 Olympus OM glass is the 150-400mm f/4.5 Pro which I now use for most
Andrew McCarthy wildlife work – including for close-ups with larger insects. The lens
is beautifully made, fast, ultra-sharp and offers the amazing detail
Olympus M.Zuiko Digital ED 150- rendering that is vital for insects. It often surprises my clients that
400mm F4.5 TC1.25X IS PRO I use this super-telephoto for smaller critters, but a magnification
Andrew McCarthy FRPS is a Devon-based professional of 0.71 at 1.3m means this is effectively my ‘macro’ lens. The long
ecologist and wildlife photographer, with a particular focal length means I can sit much further back from insects than
interest in photographing insects and smaller critters. with a conventional macro lens too – a major advantage in warm
He is an OM System ambassador, sits on the RPS Associate and Fellowship weather when subjects such as dragonflies are easily disturbed or
distinctions assessment panel, and runs training and workshops on nature are perched well out from the pond bank.
photography in the beautiful South West. When paired with my OM-1 II it also offers 8EV of image
www.andrewmccarthyphotography.co.uk stabilisation – this means it is very hand-holdable which is a major
I converted to Olympus (OM System) from full frame in 2018 and advantage in hot weather when I want to travel light. All things
have been super-impressed with the form factor, weight and high considered, this is by far the best, most versatile lens I have ever
quality of the firm’s Pro lens range. By far my favourite piece of owned, and I can’t ever see myself selling it!

www.amateurphotographer.com 63
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Macro field test, Nik Collection 6 Monochrom test, Nikon Z 26mm f/2.8 Camera Movement, classic Mamiyas phones for macro, lens tests

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YOUR PICTURES IN PRINT

2
1 St Paul’s at Dusk by 2 Flaming Hot Chilli by
Chris Vincenti A classic Ross Elliot We love an
London view that’s been image where the intent
well executed and very is clear and easily read
nicely processed to (red?) – and this is an
1 bring out the dome excellent example

5 Ouch by Stuart
5 Chapman You can feel 6
the impact of the glove
on the boxer’s jaw in this
shot. Great timing and
the processing adds to
the overall effect

6 Cam Fell by Julia

Rich The contrasting
light, and the folds and
curves of this landscape
shot lend themselves
perfectly to the B&W
treatment, while the
clouds above are
wonderfully dramatic

Join
When was the club founded? Describe a typical club meeting
1958. Our meetings are weekly, on a Monday
evening, from September to the end of April.
What does your club offer to new Members turn up for a 7.30pm start. They
members? are held in a local church hall, where we have

Club
the We aim to make new members very welcome
and as such we do allow non-members
several drop-in sessions before they have to
plenty of space. We either lay out chairs for
all to sit on and a projector for presentations/
talks or competition results, or, if it’s a
join. In this way, they can see the different practical evening, there will be tables set up
sessions we offer. We also hope to offer new and possibly a studio or two. The meetings
members a wide range of photographic are usually a couple of hours long and
knowledge, both from our current members halfway through we will stop for refreshments,
and from presentations by guest speakers. usually tea/coffee and biscuits. The meeting
Our club also holds a number of practical generally ends around 9.30pm.
This Devon-based club evenings to show members various aspects
of taking different types of photo. We also try Do you invite guest speakers?
makes photography fun to encourage our members to better We do invite guest speakers and we either
and accessible themselves and achieve diplomas and
photographic distinctions.
have them talk to us via Zoom online
meetings or an in-person presentation. We

66 www.amateurphotographer.com
 3 Morning Paddle 4
by Nick Webb An
atmospheric shot with
dreamy light. Great
juxtaposition of the
modes of transport

7 Oh No by Robbie 4 Milky Way Over St

7 Clymo A lovely Michael’s Mount by
humorous composite Tracey Hodges A great
that has instant appeal shot that balances the
and has been very artificial and starlight.
skilfully created Well worth the effort

Club essentials

Paignton Photographic
Club
The Methodist Hall, Paignton,
South Devon
Meets: Monday evenings at 7.30pm-9.30pm
from September to the end of April
Membership: £48 per year pro-rata
Contact: Club Secretary Tracey Hodges,
via website form
Website: www.ppcphotography.org.uk

have had some excellent speakers in the of Everest on the Northern Route in 1975. It themselves and achieve diplomas and
past and often we will ask guests back, if was Chris’s first talk after returning to the UK. photographic distinctions.
they have multiple presentations. We have We had a sell-out talk with the world’s press
the Knight Shield (named after Harold Knight) descending on the Central Hall Torquay. He Are any residential trips or outings
which is presented to anyone who has made was a very modest man and a keen planned?
an outstanding contribution to the club. photographer who only took up the hobby We do not do residential trips, but throughout
after he retired. the year many of our members will go out on
Who was Harold Knight? day trips to local events or sites of interest,
He was a founding member of the club, our Do members compete in regional or etc. Also, in the summer break from May to
secretary for 25 years and one of the first national competitions? the end of August, we try to arrange more
photographers to be awarded his CPAGB Yes, our members are set four internal club ambitious outings further afield.
when the award was first introduced. He competitions, split between DPI and prints.
would run summer audio-visual shows for the Our members also compete in regional What are the club’s goals for the future?
visitors, and in that time he raised enough competitions. The club’s goals are to go from strength to
money to buy more than 20 guide dogs for strength and keep growing. We hope to see
the blind. He was awarded an APAGB for How many members do you have? more of our members achieving diplomas
his service. He also organised for the We currently have around 45 members but and distinctions and we just want to make
mountaineer Chris Bonington to come to we’re always happy to welcome more. We photography fun and accessible to as many
speak in Torquay after his successful ascent also try to encourage our members to better people as possible.

www.amateurphotographer.com 67
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How to win
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Looking to trade-in or sell a camera or lens? As you’ll discover,
Park Cameras not only offers great deals on kit but it also makes
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V
ery few ‘bad’ cameras easy and hassle-free. The company l Describe what accessories it comes
are released these days, offers competitive trade-in or sale with, such as a battery and charger.
and with some really prices on a very wide range of kit. l Confirm whether or not you have
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68 www.amateurphotographer.com
 IN PARTNERSHIP WITH PARK CAMERAS

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www.amateurphotographer.com 69
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 SMARTPHONE TEST Testbench

Tokyo at night, shot

using the main camera
Vivo X100 Pro, 23mm equivalent,
1/100sec at f/1.75, ISO 247

Vivo X100 Pro At a glance

€1199 (approx £1030)

Vivo’s latest flagship smartphone is l 50MP 23mm equivalent f/1.75
main camera, 1in sensor, OIS, AF
co-engineered with Zeiss. Joshua Waller l 50MP 15mm equivalent f/2.0
ultra-wideangle camera, AF
finds out how it performs l 50MP 100mm equivalent f/2.5 4.3x
tele camera, close focus, OIS, AF

T
l 32MP f/2.0 selfie camera, fixed
he Vivo X100 Pro is the Features and design focus
firm’s flagship phone, Whilst other brands like Google l 8K 30fps, 4K 60/30fps,
with a massive and Samsung are making waves 1080p 240fps video
emphasis on the with AI photography, Vivo is l 6.78in AMOLED screen, 3,000 nits
cameras, which are made in making bold moves with l 5400mAh battery
collaboration with Zeiss. Purely in hardware, with a 1in-type sensor l 16GB RAM / 512GB storage
terms of camera specs, it looks on the main camera, and a 4.3x l Android 14
like one of the best smartphones periscope camera which gives
for photography. The catch is that macro features. There’s an equivalent main lens and 100mm indicating 15-100mm equivalent
it isn’t officially on sale in the UK, ultra-wideangle camera as well. telephoto lens both featuring in 35mm terms. Surrounding this
although it’s available in other All three cameras feature 50MP Zeiss branding and T* coating. is a ring that looks like it could be
regions including Europe and sensors, and use pixel-binning to The design of the rear camera a control ring, but unfortunately,
India. But we got our hands on give 12.5MP images. bump includes a ring with it’s not. It’s not since the
one anyway to find out how it Vivo has also partnered with additional Zeiss branding, Panasonic Lumix CM1 that we
performs, and are there any Zeiss for both hardware and including ‘Vario-APO-Sonnar Pro saw a control ring on a
weaknesses? software, with the 23mm 1.75-2.5/15-100 ASPH.’, phone with a 1-inch sensor.

www.amateurphotographer.com 71
0.6x 1x

4.3x 10x
This comparison shows the angles of view of the three main cameras, plus 10x digital zoom

Zeiss main camera correction and compensation of comes from Zeiss, and there’s an options include background
There’s a 50MP f/1.75 optical aberrations in advance, f/2.5 aperture. You can also use blur options with bokeh designed
main camera with Sony’s 1in optimizing edge sharpness and the telephoto camera for night to recreate the look of Zeiss
IMX989 sensor, and a lens that’s enhancing overall image quality.’ photography, and the 50MP lenses. You can select from
made up of 1 glass and 7 plastic The Zeiss APO floating sensor is a generous 1/2in 24mm, 35mm, 50mm, 85mm,
lenses. It features autofocus and telephoto camera is a periscope in size. This also features OIS. and 100mm portrait options too.
OIS (optical image stabilisation). design, and the floating elements The ultra-wideangle camera has Camera app options include
Vivo says ‘Exclusive optical tuning design allows for telephoto macro a 50MP sensor, 1/2.76in sensor, Snapshot, Night, Portrait, Photo
of the lens performs targeted close-ups. APO certification f/2.0 aperture, and has auto- (Auto), Video, and Cinematic
focus. The selfie camera is a Portrait. Under ‘More’, there’s a
Sunset taken with 10x zoom 32MP unit, without any specific range of additional shooting
Vivo X100 Pro, 1/310sec at f/2.5, ISO 50 branding, and does not have modes including High-resolution,
autofocus. It can record 4K video Pano, Ultra HD document, Slo-mo,
at 60fps, however it doesn’t Time-lapse, Long exposure,
match other flagships that Supermoon, Astro, Landscape
include AF on the selfie camera. and Architecture (Zeiss), Pro
You can record 8K video at (manual), Food and Live Photo.
30fps using the main camera on Snappiness – the phone’s
the rear, with electronic image ability to respond to you quickly
stabilisation available in addition – is impressive, with the phone’s
to the optical image stabilisation. MediaTek Dimensity 9300
4K video is available from all keeping up with the latest
cameras on the back, from 0.6x processors from Qualcomm.
to 4.3x, with additional zoom You’ll also find you can use
up to 10x. Google Play and put all your
Zeiss options can be found in favourite apps on the phone.
the camera settings, with Portrait There’s a generous 5400mAh
and ‘Landscape and Architecture’ battery, which is larger than most
modes available. The portrait other flagship smartphones. This

72 www.amateurphotographer.com
 SMARTPHONE TEST Testbench
Canary Wharf at night of different reviews, and at events
Vivo X100 Pro, 100mm equivalent photographing cameras like the
1/7sec at f/2.5, ISO 1887 Yongnuo YN433 and Hasselblad
907X CFV 100C, and more.

Low-light performance
The low-light performance of the
X100 Pro is impressive,
particularly from the large 1in
sensor on the main camera.
This gives richer colours, and
better reds when compared to
the Samsung Galaxy S24 Ultra.
There’s slightly better detail too
but it’s the colour differences that
are most easily noticeable. Noise
is very well controlled, and rarely
became an issue.
Low-light performance using the
telephoto (4.3x) camera is also
rather impressive. It easily beats
the results from compact
cameras with small sensors,
thanks to computational
photography combining multiple
shots into one for enhanced
dynamic range and detail, plus
lower noise and better colour.

gives impressive performance, sensor, gives exceptional results the phone rarely switches to Selfie camera
and when I left the phone on in all conditions. Whether that’s another lens. The 32MP selfie camera gives
standby with only a Wi-Fi in daylight or low light, there’s This is so refreshing, and feels reasonable results, but it’s clearly
connection, the battery life plenty of detail and great colour. like a real game-changer for a quad-Bayer sensor, as the level
remained high for days, still If you want to adjust the colour certain types of photography. of detail captured is sub-par.
indicating 56% after six days! settings, then you have the It makes using a phone without It’s also disappointing that this
The design is slim and stylish, choice of Vivid, which is the this facility, such as the Samsung camera lacks autofocus,
with a generous bundle of default setting, Textured, and Galaxy S24 Ultra, a frustrating especially for those who take a
accessories included in the box, Zeiss Natural. and confusing experience. lot of selfies or want to vlog using
including a 120W charger, USB When you look into the full Instead the S24 Ultra switches this camera.
cable, and a free TPU case. A specifications of the Vivo X100 between a variety of different In the portrait mode, using the
screen protector is pre-installed. Pro, it’s interesting to note that cameras, never seeming to use rear camera, you’ll find a range of
The phone also supports 50W the ultra-wideangle camera the one you actually want to use options including Zeiss-branded
wireless charging, with support doesn’t benefit from Zeiss – due to not offering close focus bokeh options, letting you choose
for reverse wireless charging. branding. However, the camera from its telephoto cameras. what kind of background blur
USB connection proved to be still provides good results, with I’ve used the Vivo X100 Pro for you’d like in your portrait
an issue at times. Normally you’d good colour and exposure, as product photography in a number shots. These include Biotar,
be able to connect an Android well as good levels of detail.
phone to your computer, and The 4.3x telephoto camera Polaroid Land Camera 1000,
simply select ‘file transfer’ mode. gives great results, with plenty in Lego and real form
This wasn’t always possible on of detail and good colour. You Vivo X100 Pro, 100mm, 1/33s at f/2.5, ISO 1442
the Vivo X100 Pro, it would can also use the additional 10x
occasionally grey out this option zoom, and this provides really
and wouldn’t work again till the nice-looking results.
phone was restarted.
Telephoto macro
Image quality Like an increasing number of
The main cameras on the back of high-end devices (including the
the phone give great results, with iQOO 12, OnePlus Open, OnePlus
plenty of detail, excellent colour 12, and Xiaomi 14/14 Ultra), you
reproduction, and reliable can use the telephoto periscope
exposure. Dynamic range camera for close-up macro
captured is impressive with photography. On the X100 Pro,
auto-HDR (high dynamic range) this 4.3x telephoto camera gives
kicking in when required, without you amazing-looking close-up
you needing to think about it. photos, even in poor lighting.
The main camera, with its 1in There is plenty of detail, and

www.amateurphotographer.com 73
 Testbench SMARTPHONE TEST

The telephoto camera can

Verdict
focus on close objects
Vivo X100 Pro, 1/33sec at f/2.5, ISO 371

THE VIVO X100 Pro is an

incredible camera phone, with a
telephoto macro camera, and it
has changed my product
photography as I no longer need
to bring a full-size camera with
me to events. It goes to show
what is possible with smartphone
cameras, and really makes
companies such as Apple and
Samsung look like they’re not
really taking photography as
seriously as they could be.
If the selfie camera featured
autofocus, then we would be
looking at the perfect camera
phone, but unfortunately this lets
the phone down a little.
The main camera performs
exceptionally well, with
impressive results in all lighting
conditions, whether shooting in
daylight, or in low-light and
night-time conditions. When other
phones struggled with blown-out
colours, the Vivo X100 Pro didn’t.
The telephoto camera, as
B-speed, Sonnar, Planar, combination of optical and Value for money mentioned, provides exceptional
Distagon, Cine-flare, electronic image stabilisation. Availability is the main issue with macro and close-up images, as
Cinematic, or ‘Natural’ without Naturally, though, your this phone. In the UK I found the well as great telephoto shots,
any Zeiss branding, along with results may vary depending phone on offer for £780 to £999 with the additional 10x option
24mm, 25mm, 50mm, 85mm upon how steadily you can (16GB/512GB). If you can get it giving great results.
and 100mm lens options. hold a phone. for the lower price point, then The ultra-wideangle camera
The main disappointment for this is amazing value for money, gives very good results, but
Video video is again that the selfie or and even at the higher price, it’s doesn’t feature the same Zeiss
As previously mentioned, it’s front-facing camera lacks still cheaper than the Samsung branding as the other cameras
possible to record 4K video from autofocus. Other flagships Galaxy S24 Ultra (£1,249) and on the phone. In addition, the
all cameras on the phone, from Apple, Google, and Xiaomi 14 Ultra (£1,299), and colours provided by all three rear
including the selfie camera. Samsung offer autofocus. In similar in price to the Google cameras was generally very good,
However, 8K video is only fact, some of Vivo’s own Pixel 8 Pro (£999). with saturated colours and
available from the main camera. mid-range phones, such as the Other flagship phones include matching results from all three.
Results look good, and the Vivo V30 Pro, offer autofocus the Samsung Galaxy S24 Ultra At times the colour was a little
footage is stable thanks to a from the selfie camera. (£1,249), and the iPhone 15 Pro too saturated on the default
Max (£1,199), however, these ‘Vivid’ setting, but you can
can’t quite match the battery life choose ‘Textured’ or ‘Zeiss
or macro performance. Overall, Natural’ options if you want to.
though, with wider availability Overall, the combination of
and seven years of updates, multiple shooting modes,
these other phones are still exceptional images, and a stylish
very good choices. phone with impressive battery life
means this is my new favourite
For and against phone. If only it was actually
available in the UK, and if the
+ Amazing telephoto close-up selfie-camera was better, it would
performance be the perfect camera phone.
+ Impressive main camera
+ Array of Zeiss shooting features
+ Great battery life
Crystal Palace Park
– Limited availability, not available
worldwide
Vivo X100 Pro, 100mm,
– Selfie camera is fixed focus GOLD
1/100sec at f/2.5, ISO 120
– Colours can be a bit over the top
74 www.amateurphotographer.com
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 LENS TEST Testbench
This lens delivers plenty of detail
in a relatively compact design
Sony A7 IV, 26mm, 1/125sec at f/8, ISO 125

Sony FE 24-50mm
F2.8 G
It has a curious focal length range, which raises the work with Sony’s APS-C E-mount
cameras too. Here, it provides
question, who is Sony’s new 24-50mm zoom designed the equivalent of a 36-70mm
full-frame field of view. This is
for? Richard Sibley finds out also true if you switch your

S
full-frame camera to APS-C mode,
ony’s FE mount lens Firstly, this £1,149 lens covers focal lengths on smartphone which becomes useful in video,
range has now reached three classic focal lengths: 24, cameras, tapping into the needs as you can still shoot 4K footage
the stage where the key 35, and 50mm. That gives our of a new generation of at the 70mm equivalent setting.
needs of photographers first hint at who this lens is for; photographers. And let’s not The lens doesn’t include optical
have all been met, and more it’s a general-purpose zoom, forget videographers, for whom stabilisation; instead, it relies on
niche lenses are entering the weighted towards landscapes, this lens will cover the vast in-body image stabilisation, which
playing field. One of these is the documentaries and people. Not majority of shots they will need. now features in the majority of
Sony FE 24-50mm F2.8 G. It only going to 70mm keeps the lens Sony’s full-frame E-mount
has a very modest focal length smaller than a 24-70mm would Features cameras. As a G-series lens, it is
range, begging the question of be, which is useful for travel. While this lens is designed for a not expected to have the
who and what this lens is for. It also covers the most popular full-frame sensor, obviously it will peak image quality of the

www.amateurphotographer.com 77
 Out-of-focus backgrounds
are nicely blurred away
Sony A7 IV, 25mm, 1/2000sec at f/2.8, ISO 125

firm’s G Master (GM) optics. keep the lens focused even when video. Sony itself advertises that reassuringly firm turn that won’t
But we have generally found shooting stills or video at 120fps. the lens has a minimal shift of slip easily. It is also smooth
that Sony’s G series lenses All of this is crammed into a balance when zooming from one enough to make fluid zooms
provide more than enough quality lens that measures 74.8mm in end to the other, making it a great when shooting video. The zoom
to meet the demands of the vast length, 92.3mm in diameter, and choice for use on a drone or mechanism isn’t internal; instead
majority of photographers. weighs 440g. Compare this to gimbal, where it’s vital to keep a the lens extends by just shy of
The lens is made up of 16 the Sony FE 24-70mm F2.8 GM lens balanced. Gimbal use for 20mm when set to its widest
elements in 13 groups. This II, which measures 119.9mm video is perhaps another reason 24mm focal length. Sony’s optical
includes 2 ED (Extra-low long and 87.8mm in diameter, for the omission of optical diagram shows that there isn’t as
Dispersion) elements and 4 weighs in at 695g, and costs stabilisation. much going on at the front of the
aspherical elements, all of which £1,999. You can see the savings lens, and with the possibility of
help to keep image sharpness in portability and price. Build and handling other elements shifting in
high while minimising optical To my mind, the lens is aimed In-hand the 24-50mm f/2.8 lens reverse, the difference in balance
aberrations. Meanwhile, the two squarely at the hybrid shooter feels like every other lens in the is only marginal.
linear motors are fast enough to who has to shoot photos and Sony G series line-up. It has a The only other feature of the
solid construction, with an lens that you can click, press, or
aperture that can be switched to turn is a custom button on the
clickless operation for smooth lens barrel. By default, this button
video exposure transitions. temporarily pauses autofocus,
An AF/MF switch allows but this can be changed to any
photographers and videographers number of items in the camera.
to quickly switch from autofocus I should note at this point that
to manual, enabling the use of I tested the lens with the Sony
the manual focusing ring, which Alpha A7 IV and found it to pair
is towards the front of the lens. really nicely in terms of size and
As usual this is of the focus-by- weight. That said, this isn’t a
wire type, so there are no hard pocketable walkaround solution
stops. This used to be an issue like a Fujifilm X100VI or Sony RX1
when wanting to pull focus for might be. Even when paired with
video, but now, with onscreen a Sony A7C series camera, it isn’t
touch focus, it is easy enough to one to slide in and out of a
shift focus smoothly from one pocket. But for a city break
There’s no visible distortion point to another automatically. with a focus on photography
at the 50mm setting
The zoom ring is roughly in the (pun intended), it is a nice pairing
Sony A7 IV, 50mm, 1/320sec at f/9, ISO 125
centre of the barrel and has a to put in a shoulder bag.

78 www.amateurphotographer.com
 LENS TEST Testbench

Verdict

THE SONY FE 24-50mm F2.8 G

may seem like it has an odd
zoom range, but it certainly has
a place for those who want a
lightweight lens for travel and
video work. It is perfect for the
type of photos that you would
Its compact size makes take on your phone, and for those
this a good lens for travel
using it on their first full-frame
Sony A7 IV, 24mm, 1/8sec at f/16, ISO 125
mirrorless camera, it will provide
an easy transition.
Autofocus huge advantages of shooting circles towards the corners, but Curvilinear distortion is a
I found that the linear motors in digital images is that they can only the pickiest photographers compromise thanks to cramming
the lens lived up to expectations. often be easily corrected. will have any issue with this, everything into such a small lens
Video transitions were smooth At 24mm, there is significant or even notice. barrel. However, the reality is that
and precise, even when shooting barrel distortion in uncorrected There are no real surprises thanks to in-camera and software
at the maximum f/2.8 aperture. raw files. However, you won’t see regarding the lens’s sharpness. correction, this should never
For photography, I shot a any distortion through the It delivers great performance in really be an issue. Image quality
children’s birthday party, and the viewfinder, as it is corrected the centre throughout the focal is good in the centre, even when
face and eye tracking combined almost perfectly in-camera. length range, as we have come shooting at f/2.8. But diffraction
with continuous focus did a good In fact, the curvilinear to expect from the Sony G lens softening starts to kick in quite
job of making sure that the distortion correction menu series. At the largest f/2.8 visibly from f/11 onwards.
children were in focus, no matter option is locked to Auto, greyed aperture, there is a marginal Where the lens wins lies in its
where they were running around. out, and cannot be changed. loss in quality compared to the versatility and functionality.
For video, the lens performed So both JPEG files and video sharpest setting, mainly from a Autofocus is good too, which,
brilliantly. Face detection locked footage will always be fractional drop in contrast. As combined with strong image
in, and the lens stayed in focus. automatically corrected. Raw you would expect, f/5.6 to f/8 is quality and compact build, make
It might not be quite wide images aren’t corrected, though, the area of peak sharpness, with it a good all-round zoom for both
enough for handheld vlogging, and therefore look significantly a nice bite to contrast. There’s a photos and video. But that
but put the camera on a tripod wider than the JPEG images. drop-off at f/11, but this really restricted zoom range means it
and use the lens at 24mm, Still, you obviously do not need splitting hairs. At f/16, certainly won’t be for everybody.
and you have a great lens for to change how you shoot, as you diffraction kicks in noticeably,
presenting to the camera. Then will see the corrected field of and it becomes more obvious at
the 50mm setting serves as a view when shooting, which is a the weakest aperture of f/22.
nice focal length for close-ups. proxy for your end goal when Corners are a similar story.
With Focus Breathing editing the raw images. I’ve looked at the JPEG files, Recommended
Correction turned off, there At 35mm, the barrel distortion which crop the very edges as
is a visible zooming effect on is less significant but still part of the distortion correction.
changing the focus distance. noticeable when comparing raw The results show a softening
However, it isn’t too jarring and JPEG images. However, by across the aperture range and Data file
unless you are moving through 50mm, the distortion is almost focal lengths compared to the
Price £1149 Minimum focus
very extreme distances. With completely corrected optically, centre sharpness. There is detail 19-30cm
Filter diameter
correction enabled on the A7 IV, and the difference between raw there, and some localised 67mm Length 92.3mm
there is a minimal crop in the and JPEG images is minimal. adjustments should add a little
Lens elements 16 Diameter 74.8mm
frame, but the breathing is, to With 11 rounded aperture more bite. This is where the
Groups 13 Weight 440g
my eyes, perfectly corrected. blades, the bokeh at f/2.8 looks difference between Sony’s G and
Diaphragm blades Mount Sony E
nice; the lens is capable of G Master lenses comes into 11 (full-frame)
Performance nicely blurring a background play. Overall, the corners look Aperture
With a lens of this size, there are when shooting headshot good without being excellent; f/2.8 - f/22
going to be compromises in portraits. There is a little but they certainly shouldn’t
optical design. But one of the stretching of those perfect detract from the image.

www.amateurphotographer.com 79
 My favourite kit

Dirk Seyfried
Kent-based photographer Dirk Seyfried tells AP about
the wideangle zoom he trusts for his landscapes
AP: Tell us a little about your AP: What would we find in
IMAGE TAKEN BY FRIEND AND PHOTOGRAPHER OLIVIER TAFFORIN

photography background your camera bag?

DS: I picked up my first camera, a DS: I usually have at least two
Halina 35X, in early 1990 at a camera bodies, a Nikon D750, a
second-hand market in Cape Town. Z 7, and quite often an infrared
It was completely manual and converted D7000 as well. I’ll always
required a lot of guesswork until have my Nikon 14-24mm f/2.8 lens,
I got used to it. I used this camera along with a Nikon 24-70mm f/2.8
Dirk Seyfried is a
for a number of years until I and a Nikon 28-300mm f/3.5-5.6 for
full-time photographer moved to the UK in 1997 and any distance work. I’ve used NiSi
having relocated to the purchased a used Nikon F401. I’ve filters for a number of years now,
South Coast from been using Nikons as my main and have a selection of filters in a
London. Today he sells cameras ever since. side pocket. Then spare batteries,
his work through his I took a break from photography memory cards and a head torch.
website www.dirksey for a few years, before rediscovering
friedphotography.com my love of imagery on a visit to AP: What one item of kit
and at his base of Hut Berlin. I found myself taking loads of couldn’t you live without?
22 in the Folkestone pictures using my mobile phone, DS: It would have to be my Nikon
Harbour Arm Market. and immediately purchased a Nikon AF-S Nikkor 14-24mm f/2.8 G lens.
Dirk can also be found D7000 on my return to the UK. Over It works perfectly with my passion
on Instagram @dirks1 the years, I’ve found photography to for landscape and coastal
be the perfect excuse to travel to photography, as well as being a great
and on YouTube @Dirk
places I might not otherwise visit, as lens for astrophotography. The f/2.8
SeyfriedPhotography
well as being an escape from the aperture gives it enough speed at
busy city life that is London. night, with a lovely wideangle view.
Milky Way Glow - Dungeness
In a way, photography led me to
Nikon D750, 17mm, 25sec at f/2.8, ISO 3200
leaving London. A visit several years AP: How long have you owned
ago to the White Cliffs of Dover this item of kit?
fuelled my discovery of Folkestone DS: I purchased it second-hand at AP: Would you consider the
and the surrounding areas. Within a the start of 2017. I was looking for a lens good value for money?
year, I had sold up and moved to the lens that would give me a super-wide DS: Yes, despite the fact it is
coast. I now photograph full time, angle view with minimal distortion. expensive. It’s incredibly well built,
selling prints of my work at local All the reviews I had read made me and produces very sharp images.
markets and shops, and have feel this would be the correct lens for
recently started workshops for my use, and I’ve never regretted the AP: How do you find the
beginners and advanced purchase. It’s my lens of choice in product performs in use?
photographers in the area. most cases and lives on my camera. DS: I’ve dragged this poor lens

80 www.amateurphotographer.com
 FAVOURITE PHOTOGRAPHY KIT

through some testing conditions, Below left to right: AP: Is there a standout photo AP: Have you identified any
ranging from extreme temperatures Folkestone you’ve taken using the lens? weaknesses or disadvantages?
and dust in the desert in Namibia, to Mermaid; Fishing DS: I had a night visit with a fellow DS: The lens is large and requires a
being splashed by freezing sea spray. Boat, Dungeness; photographer to Dungeness a couple specialised filter system, which NiSi
Coronation Parade
I’ve certainly proved that it’s at Dawn of years back, where we had an manufactures. The filters are
weatherproof. It has worked extreme change in weather. Storms expensive due to the size of the
perfectly throughout, and besides a rolled in while we were waiting, glass required. The lens also has a
clean after using, has never needed causing us to seek shelter urgently. tendency to produce flare as there is
any attention. We decided to give it an hour or no additional lens hood. I’ve got
two to clear. used to this over the years, and now
Just as we were about to give up, work around these issues.
the clouds disappeared, leaving us
with the clearest skies we had ever AP: Do you have any plans to
seen. One shot I wanted to capture upgrade your current kit?
was the Milky Way over an DS: No, I recently purchased a Nikon
abandoned fishing boat on the Z 7 mirrorless body, and am still
shingle. I set up and took the shot, getting to grips with that.
to find an orange glow over one side
of the image. While the shutter was AP: How do you think your kit
open, the last of the clouds passed will look in the future?
by, reflecting the lights of the power DS: Not much different to now,
station, giving a beautiful sense of although hopefully a little lighter.
movement to the image. Camera bodies have been getting
At the time, I was disappointed smaller and lighter with higher specs
with the image, and almost deleted over the past few years, although I
it. Luckily it made it home for me to am quite sure my beloved 14-24mm
check on a larger screen. lens will still be my lens of choice.

www.amateurphotographer.com 81
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 ACCESSORIES Testbench

Shimoda Urban
Explore 20 Backpack
John Huxley reviews a premium
quality backpack that combines
style with functionality
● £285 ● uk.shimodadesigns.com
GOLD
For a busy photographer working in the city, you
must have a bag that looks as good in a meeting
with a client as it is functional for shooting. The
Shimoda Urban Explore range is designed to meet
both those needs. Three sizes are available, 20L,
25L and 30L, and we’re looking at the smallest.
The bags are made from hardwearing Cordura
fabric, with thick padded shoulder straps that make
them comfortable to wear all day. The 20L version
should meet airline carry-on requirements. With a
metal frame inside, your gear is protected from Air Tag
people ramming their bags into an overhead locker. An Apple Air Tag pocket
The main camera compartment can be accessed is hidden inside, which you
via the rear or side. It will hold a mirrorless camera can use to keep track of your
or small DSLR with up to four lenses plus bag and hopefully help
accessories. If you want to use a larger DSLR or recover it, should it be
carry some larger zoom lenses, you may want to lost or stolen.
look at the larger 30L bag. But the 20L model we
tested has plenty of space for the travel shooter.
There are so many great design touches that it is Laptop
impossible to cover them all. My favourites include compartment
a small strap on the shoulder harness that allows This is accessible from the
you to attach a camera clip comfortably. The top and measures 23 x 31 x
waterproof cover is tucked in a neat compartment 2cm. I found plenty of
inside the bottom of the bag, keeping it out of the room for my 13in Apple
way yet always with you. The laptop compartment MacBook Air.
also has a magnetic flap to keep it shut.
Small pockets have rubber at the top to prevent
items from slipping out. There is a quick-release fob
on one of the inside pockets to keep your keys or Chest straps
similar close to hand. Then, plastic pouch pockets The chest straps have a
inside the front and main compartments keep small hooked magnetic clasp,
items safe and secure. And there is also a hidden which is secure in use but
and secure passport pocket. quick to take on and off.
There are also all the usual things you would
expect: straps and pockets on either side of the
bag for carrying a tripod or water bottle, a luggage
strap on the rear, a separate pocket for a tablet,
ABOUT SHIMODA
and a USB battery cable pass-through for charging At a glance
your phone on the move. Finally, five elastic loops Shimoda is an American brand founded in 2017 that has
in the side pocket help to keep your cables neat. ● 20L capacity quickly become known for its premium-quality bags aimed
ALL PRICES ARE APPROXIMATE STREET PRICES

● ‘Anthracite’ or ‘Boa’ colour at landscape, travel, and adventure

Verdict choice photographers. However, the
In a very competitive market, the Shimoda Urban ● Rear and side camera access Urban Explore range is aimed
Explore 20 is among the best backpacks we have ● Hidden Apple Air Tag pocket more at the daily user who
seen. Its 20L capacity is almost perfect for most ● 27W x 43H x 20D cm will be found shooting on
travel photographers who want to pack their ● 1.8kg a city break or jumping in
cameras, lenses, and tech accessories. and out of an Uber.

www.amateurphotographer.com 83
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register your interest to learn Expected late June 2024! register your interest to learn
Normally £1,699 Normally £3,799 more about this camera. See website to learn more. more about this lens. Normally £2,299

FUJIFILM X-T50 NEW! SONY A7 IV £300 CASHBACK

Extra out of ordinary Expected Mid-June 2024 For a new generation of creators Available 30.04.24 - 31.07.24

40.2 33.0
MEGA
PIXELS 20 fps
3.0” IS 4K MEGA
PIXELS 10 fps
3.0” IS 4K

The X-T50 is a compact and lightweight With groundbreaking performance in

body weighing approximately 438g, both still and movie recording, the a7 IV
and features the back-illuminated 40.2 is the ideal hybrid, providing breathtaking
megapixel “X-Trans™ CMOS 5 HR” sensor, imagery along with on-the-spot delivery
the high-speed image processing engine and distribution. The a7 IV is a camera
“X-Processor 5, and a 5-axis, up to 7.0- Scan here designed to bring to life the artistic
stop in-body image stabilization function. to watch our visions of today’s creators.
hands-on review!

BODY ONLY + 15-45MM + 16-50MM BODY ONLY + FE 28-70MM

£1,299 £1,399 £1,649 £1,879* £2,299* SPREAD THE COST
12 months 0% finance available!
*Prices after £300 cashback claimed from See website to learn more.
Sony UK. See website to learn more.

FUJIFILM FUJIFILM FUJIFILM SONY A7C SONY ZV-1 II SONY

XF 16-50MM GFX100S II GF 500MM FE 20-70MM
F/2.8-4.8 R LM WR F/5.6 R LM OIS WR £200 £100 F/4 G
CASH CASH
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£1,479* £769* £1,099*
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Expected late May 2024! Expected Mid-June 2024! Expected late May 2024! You pay £1,679 & claim You pay £869 & claim You pay £1,299 & claim
See website to learn more. See website to learn more. See website to learn more. £200 from Sony UK. £100 from Sony UK. £200 from Sony UK.

LEICA D-LUX 8
NEW!
Uncomplicated. Authentic. Leica.
The latest D-Lux encapsulates the iconic Leica
Join us at Click Live where you’ll find free talks on a wide-range experience in a compact form, featuring an elegant
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The flash included with the camera further expands
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accessories enhances the unique experience with your interest. Due July
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this compact Leica.

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 408
lenses
listed &
rated

Our comprehensive listing of key specifications for mirrorless lenses

Lens mounts
On the whole, each manufacturer
Lenses uses its own proprietary lens
mount. Notable exceptions are
Interchangeable lenses come in Micro Four Thirds, shared by
Olympus and Panasonic, and the
a huge array of types for shooting full-frame L-mount that’s used by
different kinds of subjects Leica, Panasonic and Sigma.
IN GENERAL, the easiest way
to expand the kinds of
pictures you can take is by Built-in focus motor
buying different types of Lenses for mirrorless cameras invariably
lenses. For example, use built-in motors for autofocus, which
telephoto lenses are also used for electronic manual
let you zoom in on distant focusing. Silent, video-friendly stepper
subjects, while macro lenses motors are most commonly employed.
enable close-ups of small Manual-focus optics with traditional
objects. Large-aperture aperture rings are also widely available.
lenses allow you to isolate
subjects against blurred
backgrounds, or shoot in
low light without having to Filter thread Maximum
raise the ISO too high. A thread at the front of
the camera will have
aperture
Meanwhile, all-in-one Wider apertures mean
superzooms cover a wide a diameter, in mm, which you can use faster,
range of subjects, but usually will allow you to attach motion-stopping
with rather lower optical a variety of filters or shutter speeds.
quality. adapters to the lens.

OUR GUIDE TO THE SUFFIXES USED BY LENS MANUFACTURERS

AF Nikon AF lenses driven from camera DC Sigma’s lenses for APS-C digital ED Extra-low Dispersion elements LM Fujifilm Linear Motor SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DG Sigma’s designation for full-frame lenses EF Canon’s lenses for full-frame DSLRs MP-E Canon’s high-magnification macro lens SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors Di Tamron lenses for full-frame sensors EF-S Canon’s lenses for APS-C DSLRs OIS Optical Image Stabilisation STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di-II Tamron lenses designed for APS-C DSLRs EF-M Canon’s lenses for APS-C mirrorless OS Sigma’s Optically Stabilised lenses STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-III Tamron lenses for mirrorless cameras EX Sigma’s ‘Excellent’ range PC-E Nikon tilt-and-shift lenses TS-E Canon Tilt-and-Shift lens
APO Sigma Apochromatic lenses DN Sigma’s lenses for mirrorless cameras FA Pentax full-frame lenses PF Nikon Phase Fresnel optics UMC Ultra Multi Coated
ASPH Aspherical elements DO Canon diffractive optical element lenses FE Sony lenses for full-frame mirrorless PZD Tamron Piezo Drive focus motor USM Canon lenses with an Ultrasonic Motor
AW Pentax all-weather lenses DT Sony lenses for APS-C-sized sensors G Nikon lenses without an aperture ring RF Canon full-frame mirrorless lenses USD Tamron Ultrasonic Drive motor
CS Samyang lenses for APS-C cropped sensors DX Nikon’s lenses for DX-format digital HSM Sigma’s Hypersonic Motor S Nikon’s premium lenses for mirrorless VC Tamron’s Vibration Compensation
D Nikon lenses that communicate distance info DS Canon’s Defocus Smoothing technology IS Canon’s Image-Stabilised lenses SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
DA Pentax lenses optimised for APS-C-sized sensors E Nikon lenses with electronic apertures L Canon’s ‘Luxury’ range of high-end lenses SDM Pentax’s Sonic Direct Drive Motor WR Weather Resistant
DC Nikon defocus-control portrait lenses E Sony lenses for APS-C mirrorless LD Low-Dispersion glass SMC Pentax Super Multi Coating Z Nikon’s lenses for mirrorless cameras

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 BUYING GUIDE

FILTER THREAD (MM)

Mirrorless Lenses

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)

LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF

WEIGHT (G)
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON MIRRORLESS
RF-S 10-18mm f/4.5-6.3 IS STM £379 Extremely small and lightweight ultra-wide zoom for Canon’s APS-C format EOS R mirrorless models • • 14 49 69 44.9 150
RF-S 18-45mm f/4.5-6.3 IS STM £319 Retracting kit zoom designed for the EOS R10; small and lightweight, but offers an uninspiring range • • 20 49 69 44.3 130
RF-S 18-150mm f/3.5-6.3 IS STM £519 General-purpose travel zoom lens for APS-C format RF-mount cameras such as the EOS R7, R10 and R50 • • 17 55 69 84.5 310
RF-S 55-210mm f/5-7.1 IS STM £429 Lightweight telephoto zoom for APS-C RF-mount cameras, with decidedly slow maximum aperture • • 73 55 69 135 270
RF 10-20mm f/4 L IS STM £2580 World’s widest-angle full-frame rectilinear zoom includes optical stabilisation and weather-sealing • • • 25 n/a 83.7 112 570
RF 14-35mm f/4L IS USM £1750 High-spec, relatively lightweight ultra-wide zoom that offers 5.5 stops of stabilisation and takes 77mm filters • • • 20 77 84.1 99.8 540
RF 15-30mm f/4.5-6.3 IS STM £669 4H Relatively affordable, compact, and lightweight image-stabilised ultra-wideangle zoom • • • 28 67 76.6 88.4 390
RF 15-35mm f/2.8L IS USM £2330 Premium f/2.8 optic with unusually wide maximum angle of view and optical image stabilisation • • • 28 82 88.5 126.8 840
RF 16mm f/2.8 STM £320 3H Small, lightweight ultra-wideangle prime is affordable but has seriously compromised optics • • 13 43 69.2 40.1 165
RF 24mm f/1.8 IS STM Macro £719 4.5H Bright wideangle prime with optical stabilisation and close focusing that gives half life-size magnification • • • 14 52 74.4 63.1 270
RF 24-50mm f/4.5-6.3 IS STM £379 4H Compact, retractable full-frame kit zoom designed for the EOS R8 • • • 30 58 69.6 58 210
RF 24-70mm f/2.8L IS USM £2330 Image-stabilised, large-aperture, standard zoom for Canon’s full-frame mirrorless EOS R system • • • 38 82 88.5 127.7 900
RF 24-105mm f/4L IS STM £1120 General-purpose standard zoom with useful range and image stabilisation • • • 45 77 83.5 107.3 700
RF 24-105mm f/4-7.1 IS STM £460 4.5H Designed to be an ultra-compact and lightweight kit zoom, with an unusual ‘Centre Focus Macro’ option • • • 34 67 76.6 88.8 395
RF 24-240mm f/4-6.3 IS USM £800 4H Very respectable all-in-one travel zoom with fast AF and effective IS that’s well-matched to the EOS RP • • • 50 72 80.4 122.5 750
RF 28mm f/2.8 STM £345 Slimline, lightweight ‘pancake’ prime that’s equally well suited to APS-C and full-frame cameras • • 23 55 69.2 24.7 120
RF 28-70mm f/2L USM £3050 Groundbreaking, but huge, full-frame zoom with constant f/2 maximum aperture • • 39 95 103.8 139.8 1430
RF 35mm f/1.8 IS STM Macro £520 Multi-purpose fast prime that includes image stabilisation and 0.5x macro reproduction • • • 17 52 74.4 62.8 305
RF 50mm f/1.8 STM £220 4.5H Compact, lightweight standard prime uses new mirrorless-optimised optics, including an aspherical element • • 30 43 69.2 40.5 160
RF 50mm f/1.2L USM £2350 Heavyweight ultra-fast standard prime that promises exceptional low-light performance • • 80 77 89.8 108 950
RF 70-200mm f/2.8L IS USM £2700 5H High-end constant maximum aperture telephoto zoom with unconventional extending barrel design • • • 70 77 89.9 146 1070
RF 70-200mm f/4L IS USM £1700 Small and light weather-sealed telephoto zoom promises premium optics • • • 60 77 83.5 119 695
RF 85mm f/1.2L USM £2800 Top-of-the-line, ultra-large aperture, short telephoto portrait prime for full-frame mirrorless • • 85 82 103.2 117.3 1195
RF 85mm f/1.2L USM DS £3250 Alternative version of the 85mm f/1.2 that includes special coatings for a Defocus Smoothing effect • • 85 82 103.2 117.3 1195
RF 85mm f/2 Macro IS STM £650 Relatively compact, lightweight image-stabilised short-telephoto that offers half life-size magnification • • • 35 67 78 91 500
RF 100mm f/2.8 L Macro IS USM £1480 5H Superb macro lens with 1.4x magnification and spherical aberration control dial for smoothing blur • • • 26 67 81.5 148 730
RF 100-400mm f/5.6-8 IS USM £700 4H Long telephoto zoom that’s surprisingly compact, lightweight and affordable due to its small aperture • • • 88 67 79.5 164.7 635
RF 100-500mm f/4.5-7.1L IS USM £2900 4.5H Premium ultra-telephoto zoom that’s barely any larger than its 100-400mm DSLR counterpart • • • 90 77 94 208 1530
RF 135mm f/1.8 L IS USM £2560 High-end large-aperture portrait prime boasting optical stabilisation and weather-sealed construction • • • 70 82 89.2 130.3 935
RF 200-800mm f/6.3-9 IS STM £2300 Ultra-telephoto zoom for full-frame cameras with weather-sealing and relatively manageable size • • • 80 95 102.3 314.1 2050
RF 600mm f/11 IS STM £700 Remarkable lightweight ultra-telephoto that employs diffractive optics and a collapsible barrel • • • 450 82 93 200 930
RF 800mm f/11 IS STM £930 Similar design to its 600mm sibling makes it easily the smallest and most affordable 800mm prime • • • 600 95 102 282 1260

FUJIFILM MIRRORLESS
XF 8mm F3.5 R WR £799 Extremely compact, weather-resistant, ultra-wideangle prime, accepts 62mm filters • 18 62 68 52.8 215
XF 8-16mm f/2.8 R LM WR £1799 Premium ultra-wideangle large-aperture zoom lens with weather-resistant construction • 25 n/a 88 121.5 805
XF 10-24mm f/4 R OIS WR £899 4.5H Updated wideangle zoom lens with weather resistance and improved stabilisation that gives fine results • • 24 72 77.6 87 385
XF 14mm f/2.8 R £729 5H Wideangle prime with high resolution into the corners, its performance justifies the price tag • 18 58 65 58.4 235
XC 15-45mm f/3.5-5.6 OIS PZ £259 Lightweight retractable power zoom that’s set to be the entry-level kit lens for X-system cameras • • 13 52 62.6 44.2 135
XF 16mm f/1.4 R WR £729 5H Weather-sealed fast prime for X-system users • 15 67 73.4 73 375
XF 16mm f/2.8 R WR £349 4.5H Attractively priced, weather-sealed, compact and lightweight wideangle prime • 17 49 60 45.4 155
NEW XF 16-50mm f/2.8-4.8 R LM WR £699 Compact and lightweight standard zoom with premium optics and weather-sealed construction • 24 58 65 71.4 240
XC 16-50 f/3.5-5.6 OIS II £359 Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range • • 30 58 62.6 98.3 195
XF 16-55mm f/2.8 R LM WR £899 5H A flagship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance • 60 77 83.3 106 655
XF 16-80mm f/4 R WR OIS £769 4.5H Good-quality weather-sealed, constant maximum aperture zoom with a useful focal-length range • • 35 72 78.3 88.9 440
XF 18mm f/1.4 R LM WR £879 5H Large-aperture wideangle prime with weather-resistant construction • 20 62 68.8 75.6 370
XF 18mm f/2 R £430 4H A compact wideangle lens with a quick aperture • 18 52 64.5 40.6 116
XF 18-55mm f/2.8-4 R LM OIS £599 Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310
XF 18-120mm f/4 LM PZ WR £899 3.5H Optimised for both video and stills use, with a power zoom mechanism that operates internally • 60 72 77.3 123.5 460
XF 18-135mm f/3.5-5.6 R LM OIS WR £699 4H Weather-resistant zoom for Fujifilm X mount, designed to be the perfect partner for Fujifilm X-T series cameras • • 45 77 75.7 97.8 490
XF 23mm f/1.4 R £649 Premium wideangle prime lens with fast maximum aperture • 28 62 72 63 300
XF 23mm f/1.4 R LM WR £819 5H Replaces the older XF 23mm f/1.4 with updated optics, faster autofocus and a weather-resistant design • 19 58 67 77.8 375
XF 23mm f/2 R WR £419 5H Compact weather-resistant wideangle prime lens • 22 43 60 51.9 180
XF 27mm f/2.8 R WR £419 4.5H Slimline, lightweight pancake prime with aperture ring and weather-resistant construction • 34 39 62 23 84
XF 30mm f/2.8 R LM WR Macro £599 4.5H Relatively compact and affordable macro lens offering internal focus and 1:1 magnification • 10 43 60 69.5 195
XF 33mm f/1.4 R LM WR £619 Designed to complement the smaller, cheaper 35mm f/1.4, with quicker autofocus and weather-sealing • 30 58 67 73.5 360
XF 35mm f/1.4 R £439 4H Shallow depth of field and bokeh effects are simple to achieve with this lens • 28 52 65 54.9 187
XF 35mm f/2 R WR £299 5H A powerful and weather-resistant lens that feels great and has the performance to match • 35 43 60 45.9 170
XC 35mm f/2 £169 4.5H Simplified version of the 35mm f/2, with plastic construction and no weather-sealing or aperture ring • 35 43 58.4 46.5 130
XF 50mm f/1 R WR £1499 The world’s fastest autofocus lens promises to be a very special optic for portrait photography • 70 77 87 103.5 845
XF 50mm f/2 R WR £449 5H Lightweight weather-resistant short telephoto prime lens that’s ideal for shooting portraits • 39 46 60 59.4 200
XF 50-140mm f/2.8 R LM OIS WR £1249 A telephoto zoom with a constant maximum aperture and weather-resistance • • 100 72 82.9 175.9 995
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

XC 50-230mm f/4.5-6.7 OIS II £315 The XC lens range is designed to suit Fuji’s mid-range CSCs, and this lens has optical image stabilisation • • 110 58 69.5 111 375
XF 55-200mm f/3.5-4.8 R LM OIS £599 4H Telephoto with built-in optical image stabilisation plus aperture control ring • • 110 62 75 118 580
XF 56mm f/1.2 R £899 4H This wide-aperture portrait lens for X-series cameras has great sharpness and detail and is great value • 70 62 73.2 69.7 405
XF 56mm f/1.2 R APD £1159 4H Adds apodisation element of 56mm f/1.2 for even more attractive background blur • 70 62 73.2 69.7 405
XF 56mm f/1.2 R WR £999 4.5H Large-aperture short-telephoto portrait prime with high quality optics and weather-sealing • 50 67 79.4 76 454
XF 60mm f/2.4 XF R Macro £599 A short lens designed for macro work with half-life-size magnification • 26.7 39 64.1 70.9 215
XF 70-300mm f/4-5.6 R LM OIS WR £729 Lightweight weather-sealed telezoom that’s compatible with 1.4x and 2x teleconverters for greater reach • • 83 67 75 132.5 580
XF 80mm f/2.8 R LM OIS WR Macro £1249 4H Fujifilm’s long-awaited 1:1 macro includes weather-resistance and optical image stabilisation • • 25 62 80 130 750
XF 90mm f/2 R LM WR £699 5H A classic portrait lens that’s sharp, with gorgeous bokeh • 60 62 75 105 540
XF 100-400mm f/4.5-5.6 R LM OIS WR £1399 5H This superb zoom is both water and dust resistant, and can operate in -10°C temperatures • • 175 77 94.8 210.5 1375
XF 150-600mm f/5.6-8 R LM OIS WR £1899 4.5H Long telephoto zoom that employs a small maximum aperture to keep the size and weight low • • 240 82 99 314.5 1605

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 BUYING GUIDE

FILTER THREAD (MM)

Mirrorless Lenses

MICRO 4 THIRDS

MIN FOCUS (CM)

DIAMETER (MM)
STABILISATION

LENGTH (MM)
FULL FRAME
FUJIFILM X

WEIGHT (G)
CANON RF
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

LAOWA MIRRORLESS
6mm F2 Zero-D MFT £519 Widest-angle rectilinear lens available for Micro Four Thirds cameras, yet still remarkably small • 9 58 61 52 188
7.5mm f/2 MFT £499 4.5H Tiny but sharp wideangle prime for Micro Four Thirds featuring manual focus and aperture control • 12 46 50 55 170
10mm f/2 Zero-D MFT £399 4.5H Tiny, sharp wide prime for Micro Four Thirds with manual focus and auto aperture control from the camera • 12 46 54 41 125
17mm f/1.8 MFT £189 Inexpensive compact prime for Micro Four Thirds cameras with manual focus and aperture operation • 15 46 55 50 160
18mm f/0.95 APO MFT Argus £519 Ultra-large aperture, manual focus prime, designed for Micro Four Thirds only • 20 62 80 83 500
25mm f/0.95 APO MFT Argus £399 Manual-focus standard prime for Micro Four Thirds with ultra-large aperture at an affordable price • 25 62 71 86 570
50mm f/2.8 2x Ultra Macro APO MFT £409 Macro lens for Micro Four Thirds with manual focus, electronic aperture setting and 2x magnification • 13.6 49 53.5 79 240
4mm f/2.8 Fisheye £249 Lightweight fisheye lens for APS-C and Micro Four Thirds offering a circular image with a 210° angle of view • • • 8 n/a 45.2 25.5 135
8-16mm f/3.5-5 CF £579 Ultra-wideangle zoom for APS-C cameras provides 12-24mm equivalent view at an affordable price • • • • 20 86 88.4 88.5 463
9mm f/2.8 Zero-D £499 Compact manual-focus prime for APS-C mirrorless cameras promises very low distortion • • • • 12 49 60 53 215
10mm f/4 Cookie £339 4H Slim, lightweight and affordable ultra-wideangle prime for APS-C offers decent optics • • • • • 10 37 59.8 25 130
25mm f/0.95 CF APO Argus £649 Ultra-large aperture lens for APS-C cameras with manual focus and aperture control • • • • • 34 62 71.5 81 575
33mm f/0.95 CF APO Argus £499 Ultra-fast manual-focus standard prime for APS-C cameras that promises minimal colour fringing • • • • 35 62 71.5 83 590
65mm f/2.8 2x Ultra Macro £409 4.5H Superb manual-focus macro lens that provides unusually high 2x magnification • • • • 17 52 57 100 335
9mm f/5.6 FF RL £869 The world’s widest full-frame rectilinear lens is also available in Leica M mount • • • • 12 n/a 62.4 66 350
10mm f/2.8 Zero-D FF £839 Ultra-wideangle prime for full-frame cameras; Laowa’s first autofocus lens in its E and Z-mount versions • • • • • 12 77 82 70.8 420
10-18mm f/4.5-5.6 £899 The world’s widest zoom for full-frame mirrorless cameras, with manual focus and aperture control • • • • • 15 37 70 90.9 496
11mm f/4.5 FF RL £769 Compact, lightweight ultra-wideangle rectilinear prime for full-frame mirrorless accepts 62mm filters • • • • 19 62 63.5 58 254
12-24mm f/5.6 FF £729 Remarkably small and light ultra-wideangle zoom with manual focus and aperture control • • • • 15 77 69.4 93.6 497
14mm f/4 FF RL £599 Smallest of a trio of manual-focus ultra-wideangle rectilinear RL primes for full-frame mirrorless • • • • • 27 52 58 59 228
15mm f/2 Zero D £899 4.5 Manual-focus fast ultra-wideangle prime for full-frame mirrorless cameras, with minimal distortion
H • • • • • 15 72 66 82 500
15mm f/4.5 Zero-D Shift £1249 4H The world’s widest-angle shift lens offers +/-11mm movement in any direction • • • • 20 n/a 79 103 597
20mm f/4 Zero-D Shift £1139 Wideangle shift lens that offers +/-11mm movement and promises zero distortion • • • • • 25 82 91 95 747
28mm f/1.2 FF Argus £669 Manual-focus large-aperture wideangle prime for full-frame mirrorless cameras • • • • • 50 62 68.5 106.3 562
35mm f/0.95 FF Argus £899 Ultra-large aperture manual-focus lens for full-frame mirrorless cameras • • • • 50 72 76.8 103 755
45mm f/0.95 FF Argus £869 Manual-focus prime lens with an ultra-large maximum aperture, that promises a natural-looking perspective • • • • 50 72 76.8 110 835
58mm f/2.8 2x Ultra Macro APO £539 Specially designed for full-frame mirrorless, this manual focus lens provides 2x magnification • • • • • 18.5 67 74 117 595
85mm f/5.6 2x Ultra Macro APO £449 4.5H Remarkably small and lightweight full-frame macro lens that delivers twice life-size magnification • • • • 16.3 46 53 81 291
90mm f/2.8 2x Ultra Macro APO £539 Fully manual macro lens offering twice life-size magnification, designed for full-frame mirrorless • • • • • 20.5 67 74 120 619

LEICA MIRRORLESS
14-24mm f/2.8 Vario-Elmarit-SL Asph £2220 Ultra-wideangle zoom for Leica’s SL full-frame cameras with a large maximum aperture • • 28 n/a 85 131 855
24-70mm f/2.8 Vario-Elmarit-SL Asph £2300 Large aperture standard zoom lens for Leica’s full-frame mirrorless cameras • • 38 82 88 123 856
35mm f/2 Summicron-SL Asph £1950 Relatively small and affordable by Leica’s standards. Not to be confused with much pricier 35mm f/2 APO • • 24 67 74.5 83 400
50mm f/2 Summicron-SL Asph £1700 Leica’s least expensive full-frame L-mount lens is half the weight of the premium APO alternative • • 45 67 74.5 83 402
100-400mm f/5-6.3 Vario-Elmar-SL £1910 Weather-sealed and optically stabilised long telephoto zoom, compatible with 1.4x teleconverter • • • 110 82 198 88 1530

NIKON MIRRORLESS
12-28mm f/3.5-5.6 PZ VR Nikkor Z DX £379 4.5H Ultra-wideangle lens for Nikon DX-format cameras with power zoom operation • • 19 67 72 63.5 205
16-50mm f/3.5-6.3 VR Nikkor Z DX £329 Extremely compact and lightweight retractable kit zoom for Nikon’s DX-format mirrorless • • 30 46 70 32 135
18-140mm f/3.5-5.6 VR Nikkor Z DX £599 4H Small and light all-in-one travel zoom for DX mirrorless cameras, with impressive close-focus capability • • 20 62 73 90 315
24mm f/1.7 Nikkor Z DX £289 4.5H Compact, lightweight and affordable large-aperture prime for DX-format cameras • 18 46 70 40 135
50-250mm f/4.5-6.3 VR Nikkor Z DX £379 4.5H Entry-level telephoto zoom for DX mirrorless featuring retractable barrel design • • 100 62 74 110 405
14-24mm f/2.8 S Nikkor Z £2499 4.5H Pro-spec weather-sealed wideangle zoom that can use 112mm filters via the included hood • • 28 112 88.5 124.5 650
14-30mm f/4 S Nikkor Z £1349 4.5H Remarkably compact ultra-wideangle zoom that accepts 82mm screw-in filters • • 28 82 89 85 485
17-28mm f/2.8 Nikkor Z £1199 4.5H Smaller and more affordable large-aperture ultra-wide alternative to the 14-24mm f/2.8 • • 19 67 75 101 450
20mm f/1.8 S Nikkor Z £1049 Weather-sealed large maximum-aperture prime promises ultra-sharp images • • 20 77 84.5 108.5 505
24-50mm f/4-6.3 Nikkor Z £439 Ultra-compact and lightweight zoom designed to be sold with the entry-level Nikon Z 5 • • 35 52 73.5 51 195
24-70mm f/2.8 S Nikkor Z £2199 5H Superb fast standard zoom includes OLED display and customisable control dial • • 38 82 89 126 805
24-70mm f/4 S Nikkor Z £999 General-purpose standard zoom for Nikon’s full-frame mirrorless system • • 30 72 77.5 88.5 500
24-120mm f/4 S Nikkor Z £1099 4.5H Standard zoom for Z-system cameras with extremely useful focal-length range • • 35 77 84 118 630
24-200mm f/4-6.3 VR Nikkor Z £849 4.5H Billed as the perfect ultra-compact travel zoom lens, with dust- and drip-resistant construction • • • 70 67 76.5 114 570
24mm f/1.8 S Nikkor Z £1049 5H Large-aperture wideangle prime that aims to combine edge-to-edge sharpness with attractive bokeh • • 25 72 78 96.5 450
26mm f/2.8 Nikkor Z £529 3.5H Ultra-compact ‘pancake’ lens, designed for full-frame but also a good fit to DX-format cameras • • 20 52 70 23.5 125
28mm f/2.8 Nikkor Z £249 Inexpensive, compact full-frame prime, also available as an SE version in a kit with the Z fc • • 19 52 70 43 155
28-75mm f/2.8 Nikkor Z £949 4H Large-aperture standard zoom that’s much more compact and affordable than its 24-70mm f/2.8 sibling • • 19 67 75 120.5 565
28-400mm f/4-8 VR Nikkor Z £1400 4H Longest-range superzoom lens for full-frame cameras, includes weather sealing and optical stabilisation • • • 20 77 84.5 141.5 725
35mm f/1.8 S Nikkor Z £849 Fast, moderate-wideangle prime designed for optimum optical performance • • 25 62 73 86 370
40mm f/2 Nikkor Z £249 4.5H Small, lightweight and affordable standard prime that focuses fast and gives decent image quality • • 29 52 70 45.5 170
50mm f/1.2 S Nikkor Z £2299 Ultra-large aperture weather-sealed standard prime that promises ‘elaborate bokeh’ • • 45 82 89.5 150 1090
50mm f/1.8 S Nikkor Z £599 Large-aperture prime that promises exceptional edge-to-edge sharpness • • 40 62 76 86.5 415
50mm f/2.8 MC Nikkor Z £649 Compact, lightweight and relatively affordable macro lens that offers 1:1 magnification • • 16 46 74.5 66 260
70-180mm f/2.8 Nikkor Z £1299 4.5H Relatively small and lightweight alternative to the Z 70-200mm f/2.8 that’s also much more affordable • • 27 67 83.5 151 795
70-200mm f/2.8 VR S Nikkor Z £2399 5H Pro-spec large-aperture telezoom with optical image stabilisation and built-in OLED display • • • 100 77 89 220 1360
85mm f/1.8 S Nikkor Z £799 4.5H Portrait prime for Nikon’s full-frame mirrorless system that promises beautiful bokeh • • 80 67 75 99 470
85mm f/1.2 S Nikkor Z £2999 5H Pro-spec ultra-large-aperture short telephoto prime designed for portrait photography • • 85 82 102.5 141.5 1160
100-400mm f/4.5-5.6 Nikkor Z VR S £2699 5H Optically-stabilised pro-level telephoto zoom includes top-plate status panel and weather-sealed build • • • 75 77 98 222 1355
105mm f/2.8 VR S MC Nikkor Z £999 5H Professional-spec macro lens that boasts optical stabilisation and offers life-size magnification • • • 29 62 85 140 630
180-600mm f/5.6-6.3 VR Nikkor Z £1799 Reasonably compact and affordable super-telephoto zoom, compatible with 1.4x and 2.0x teleconverters • • • 130 95 110 315.5 1955

Stay inspired all year, never miss an issue and get AP delivered straight
to your door every week. See page 20 for details of our latest offer

www.amateurphotographer.com 87
 BUYING GUIDE

FILTER THREAD (MM)

Mirrorless Lenses

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)

LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF

WEIGHT (G)
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

NISI MIRRORLESS
9mm f/2.8 ASPH £398 Weather-sealed ultra-wide manual-focus prime for APS-C and Micro Four Thirds mirrorless cameras • • • • 20 67 74 78 364
15mm f/4 ASPH £429 Ultra-wide manual focus prime for full-frame mirrorless promises minimal distortion and 10-ray sunstars • • • • • 13 72 75.6 80.5 470

OLYMPUS / OM SYSTEM MIRRORLESS

7-14mm f/2.8 ED Pro £999 4.5★ Super-wideangle zoom lens that’s dustproof, splashproof and freeze-proof • 20 n/a 78.9 105.8 534
8mm f/1.8 Pro Fisheye £799 Fisheye lens with impressive image quality that’s dustproof, splashproof and freeze-proof • 12 n/a 62 80 315
8-25mm f/4 ED Pro £899 5★ Weather-sealed wideangle zoom with premium optics and extended tele range that accepts 72mm filters • 23 72 77 88.5 411
9mm f/8 Fish-eye Body Cap Lens £89 Slimline lens in a body cap with 140° angle of view • 20 n/a 56 12.8 30
9-18mm f/4-5.6 ED £630 This super-wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms • 25 52 56.5 49.5 155
9-18mm f/4-5.6 ED II £600 Updated ultra-wideangle zoom gains water-repellant fluorine coating and OM System branding • 25 52 56.2 49.3 154
12mm f/2.0 ED £739 5★ A wideangle fixed lens for the Micro Four Thirds system • 20 46 56 43 130
12-40mm f/2.8 ED Pro £899 Weather-resistant standard zoom with top-notch optics and a constant aperture of f/2.8 • 20 62 69.9 84 382
12-40mm f/2.8 ED Pro II £899 Gains uprated IP53 weather-resistance, improved optical coatings, and the ‘OM System’ badge • 20 62 69.9 84 382
12-45mm f/4 Pro £599 5★ Excellent compact, lightweight weather-sealed zoom that offers 0.5x magnification at all focal lengths • 23 58 63.4 70 254
12-100mm f/4 IS ED Pro £1099 5★ Superb high-end weather-sealed superzoom lens featuring powerful in-lens IS with Sync IS • • 15 72 77.5 116.5 561
12-200mm f/3.5-6.3 ED £800 4★ 24-400mm equivalent superzoom includes weather-sealed construction and decent optics • 22 72 77.5 99.7 455
14-42mm f/3.5-5.6 II R £269 A redesigned variation of the standard kit lens • 25 37 56.5 50 112
14-42mm f/3.5-5.6 EZ £329 Compact kit lens for Olympus PEN and OM-D models with powerzoom control • 20 37 60.6 22.5 93
14-150mm f/4-5.6 II £550 High-powered zoom for all your needs – from wideangle to telephoto – plus weather-resistance • 50 58 63.5 83 285
17mm f/1.2 ED Pro £1300 High-end, large-aperture weather-sealed prime designed for documentary or landscape work • 20 62 68.2 87 390
17mm f/1.8 MSC £450 5★ Wide-aperture, wideangle prime boasting excellent peak sharpness and low colour fringing • 25 46 57 35 120
20mm f/1.4 ED Pro £649 4.5★ Compact, large-aperture standard prime that’s the first lens to wear the ‘OM System’ label • 25 58 63.4 61.7 247
25mm f/1.2 ED Pro £1099 5★ Large maximum-aperture prime combines impressive sharpness with lovely bokeh and fast, reliable AF • 30 62 70 87 410
25mm f/1.8 £370 Compact prime lens with ultra-bright f/1.8 aperture • 25 46 57.8 42 137
30mm f/3.5 ED Macro £249 New in the M.Zuiko Premium range, this macro lens features super-fast AF and weighs only 128g • 9.5 46 57 60 128
40-150mm f/2.8 ED Pro £1299 4★ This high-quality 80-300mm equivalent lens offers amazing portability for this pro class • 70 72 79.4 160 760
40-150mm f/4 ED Pro £799 4.5★ Remarkably compact telephoto zoom provides high-quality optics and weather-sealed construction • 70 62 68.9 99.4 382
40-150mm f/4-5.6 R £309 This middle-distance zoom lens has an 80-300mm 35mm-equivalent focal length • 90 58 63.5 83 190
45mm f/1.2 ED Pro £1200 Large-aperture lens designed for portrait photography with premium optics • 50 62 70 84.9 410
45mm f/1.8 £279 5★ Fast-aperture lens for taking portrait shots is sharp, quiet and has no colour fringing • 50 37 56 46 116
60mm f/2.8 Macro £450 High-precision macro lens that’s dustproof and splashproof • 19 46 56 82 185
75-300mm f/4.8-6.7 ED II £499 Update featuring Zuiko Extra-low Reflection Optical coating said to reduce ghosting • 90 58 69 117 423
75mm f/1.8 ED £799 5★ Ultra-fast prime lens ideal for portraits and action shots • 84 58 64 69 305
90mm f/3.5 Macro ED IS Pro £1299 5★ Pro-spec macro lens with twice life-size magnification, weather-sealing, and optical stabilisation • • 22 62 69.8 136 453
100-400mm f/5-6.3 ED IS £1100 4★ Large, weather-sealed optically stabilised ultra-telephoto zoom, compatible with teleconverters • • 130 72 86.4 205.7 1120
150-600mm f/5-6.3 ED IS £2499 Optically stabilised ultra-telephoto zoom that offers a massive 300-1200mm equivalent range • • 280 95 109.4 264.4 2065
300mm f/4 IS Pro £2200 Compact ultra-telephoto prime with optical image stabilisation, compatible with Sync IS • • 140 77 92.5 227 1270

PANASONIC MIRRORLESS
G 7-14mm f/4 £740 5★ For a wideangle zoom, the overall level of resolution is very impressive • 25 n/a 70 83.1 300
G 8mm Fisheye f/3.5 £730 The world’s lightest and smallest fisheye lens for an interchangeable-lens camera • 10 22 60.7 51.7 165
DG 8-18mm f/2.8-4 Leica ASPH £1049 Splashproof, dustproof and freeze-proof ultra-wideangle zoom with premium optics • 23 67 73.4 88 315
DG 9mm f/1.7 Leica Summilux ASPH £449 4.5★ Compact large-aperture wideangle prime with an 18mm equivalent angle of view • 9.5 55 60.8 52 130
DG 10-25mm f/1.7 Leica ASPH £1800 The world’s fastest standard zoom lens, with an unusual 20-50mm equivalent range • 28 77 87.6 128 690
DG 12mm f/1.4 Leica Summilux ASPH £1199 4.5★ Compact fast wideangle quality with excellent optics and built-in aperture ring • 20 62 70 70 335
G 12-32mm f/3.5-5.6 MEGA OIS £270 Very compact with a versatile zoom range and three aspherical lenses • • 20 37 55.5 24 70
G X 12-35mm f/2.8 OIS II £880 Fast standard zoom with premium optics and weather-resistant constcrution • • 25 58 67.6 73.8 305
DG 12-35mm f/2.8 ASPH OIS Leica £880 Updated fast standard zoom with reduced focus breathing and smoother aperture operation for video • • 15 58 67.6 73.8 306
G 12-60mm f/3.5-5.6 OIS ASPH £439 4★ Incorporates a stepping motor for a smooth, silent operation and features a dust and splashproof design • • 20 58 66 71 210
DG 12-60mm f/2.8-4 OIS Leica £880 Premium standard zoom with useful focal-length range and weather-resistant construction • • 20 62 68 86 320
G 14mm f/2.5 II £249 Wideangle pancake lens that should suit landscape photographers • 18 46 55.5 20.5 55
G X 14-42mm f/3.45-5.6 X PZ POWER OIS £369 4★ Powered zoom; impressive results in terms of both sharpness and chromatic aberration • • 20 37 61 26.8 95
G 14-45mm f/3.5-5.6 MEGA OIS £189 A lightweight and compact standard zoom featuring MEGA OIS optical image stabilisation • • 30 52 60 60 195
G 14-140mm f/3.5-5.6 ASPH POWER OIS II £619 Weather-resistant update to Panasonic’s optically stabilised superzoom lens • • 30 58 67 75 265
DG 15mm f/1.7 Leica Summilux £549 4★ High-speed prime with a compact metal body, includes three aspherical lenses to cut down distortion • 20 46 57.5 36 115
G 20mm f/1.7 ASPH II £249 4.5★ Ultra-compact fast prime with excellent optics but slower autofocus than more modern options • 20 46 25.5 63 87
G 25mm f/1.7 ASPH £159 4.5★ Inexpensive fast normal prime for Micro Four Thirds that offers very respectable optical quality • 25 46 60.8 52 125
DG 25mm f/1.4 Leica Summilux Asph £550 5★ A fast-aperture fixed focal length standard lens from Leica • 30 46 63 54.5 200
DG 25mm f/1.4 Leica Summilux II Asph £580 Updated version of this lovely fast standard prime adds dust- and splash-resistant construction • 30 46 63 54.5 205
DG 25-50mm f/1.7 Leica ASPH £1800 High-end ultra-large-aperture short telephoto zoom that’s designed to complement the 10-25mm f/1.7 • 28 77 87.6 127.6 654
G 30mm f/2.8 Macro MEGA OIS £300 3★ Compact lens offering true-to-life magnification capability for better macro images • • 10 46 58.8 63.5 180
G 35-100mm f/4-5.6 ASPH MEGA OIS £300 Telephoto zoom equivalent to 70-200mm on a 35mm camera • • 90 46 55.5 50 135
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

G X 35-100mm f/2.8 Power OIS II £970 Premium fast telephoto zoom with matte-black finish and improved autofocus and aperture control • • 85 58 67.4 100 360
DG 35-100mm f/2.8 Power OIS Leica Vario-Elmarit £1099 Updated fast telephoto zoom promises improved flare resistance thanks to Nano Surface Coatings • • 85 58 67.4 99.9 360
DG 42.5mm f/1.2 Leica DG OIS £1399 5★ Mid-telephoto high-speed Leica DG Nocticron lens with 2 aspherical lenses and ultra-wide aperture • • 50 67 74 76.8 425
G 42.5mm f/1.7 Power OIS £349 Mid-telephoto lens with a 35mm equivalent of 85mm, its f/1.7 aperture promises a beautiful bokeh effect • • 37 31 55 50 130
DG 45mm f/2.8 OIS Macro Leica £539 Tiny macro lens with 1:1 magnification and optical image stabilisation • • 15 46 63 62.5 225
G 45-150mm f/4-5.6 MEGA OIS £280 4★ Compact, lightweight telephoto zoom comprising 12 elements in nine groups • • 90 52 62 73 200
G X 45-175mm f/4-5.6 X PZ POWER OIS £400 4★ A powered long-focal-length zoom lens • • 90 46 61.6 90 210
G 45-200mm f/4-5.6 MEGA OIS II £380 Telephoto zoom lens with dust and splashproof construction, supports Panasonic’s Dual IS • • 100 52 70 100 380
DG 50-200mm f/2.8-4 OIS Leica £1600 Premium telephoto zoom that completes Panasonic’s Leica f/2.8-4 series • • 75 67 76 132 655
G 100-300mm f/4-5.6 MEGA OIS II £570 4★ Long zoom lens with dustproof and splashproof construction, supports Panasonic’s Dual IS • • 150 67 73.6 126 520
We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will
inevitably have crept in along the way: if you spot one, please let us know by emailing [email protected]. Unfortunately we don’t have space
to list every single product on the market, so we don’t include the most expensive speciality items. Before making a purchase we advise you
to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.

88 www.amateurphotographer.com
 BUYING GUIDE

FILTER THREAD (MM)

Mirrorless Lenses

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)

LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF

WEIGHT (G)
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
DG 100-400mm f/4-6.3 OIS Leica £1349 High-quality super-telephoto zoom with weather-sealed construction and Dual IS support • • 130 72 83 171.5 985
DG 100-400mm f/4-6.3 OIS II Leica £1499 Updated super-telephoto zoom promises improved zoom mechanism and adds teleconverter compatibility • • 130 72 83 171.5 985
DG 200mm f/2.8 OIS Leica £2699 5★ Stunning 400mm-equivalent fast telephoto prime, comes with 1.4x teleconverter in the box • • 115 77 87.5 174 1245
S 14-28mm f/4-5.6 Macro £880 4.5★ Lightweight and affordable ultra-wideangle zoom that offers unusually close focusing • • 15 77 84 89.8 345
S Pro 16-35mm f/4 £1499 Relatively compact and lightweight premium wideangle zoom with weather-sealed construction • • 25 77 85 99.6 500
S 18mm f/1.8 £800 4.5★ Large-aperture ultra-wideangle prime that’s relatively compact, lightweight and affordable • • 18 67 73.6 82 340
S 20-60mm f/3.5-5.6 £619 Compact, lightweight and relatively inexpensive standard zoom with a wider than usual view • • 15 67 77.4 87.2 350
S 24mm f/1.8 £799 4.5★ Wideangle prime that’s relatively lightweight and compact • • 24 67 73.6 82 310
NEW S 26mm f/8 £219 Slim and ultra-lightweight ‘pancake’ prime, but manual-focus only and with a fixed f/8 aperture • • 25 n/a 67.1 18.1 58
S Pro 24-70mm f/2.8 £2250 Pro-range fast standard zoom includes dust- and splash-resistance, along with a focus-clutch mechanism • • 37 82 90.9 140 935
S 24-105mm f/4 Macro OIS £1750 L-mount full-frame standard zoom which offers half-life-size magnification • • • 30 77 84 118 680
S 28-200mm f/4-7.1 Macro OIS £899 4.5★ Unusually small and lightweight full-frame superzoom lens, but with slow maximum aperture in return • • • 14 67 77.3 93.4 413
S 35mm f/1.8 £580 4.5★ Relatively compact and lightweight full-frame prime designed for both stills and video shooting • • 24 67 73.6 82 295
S Pro 50mm f/1.4 £2300 Premium, fast standard prime for full-frame mirrorless with built-in aperture ring • • 44 77 90 130 955
S 50mm f/1.8 £429 4★ Relatively lightweight and affordable standard prime that gives fine mages but can struggle with close focus • • 45 67 73.6 82 300
S 85mm f/1.8 £600 This short telephoto portrait lens is the first in a new line of practical, affordable f/1.8 primes • • 80 67 73.6 82 355
S Pro 70-200mm f/2.8 OIS £2599 Pro-spec fast telephoto zoom incorporating optical image stabilisation and weather-sealing • • • 95 82 94.4 208.6 1570
S Pro 70-200mm f/4 OIS £1300 Image-stabilised, weather-sealed telephoto zoom for L-mount full-frame mirrorless • • • 92 77 84.4 179 985
S 70-300mm f/4.5-5.6 Macro OIS £1260 Relatively lightweight optically-stabilised telephoto zoom featuring dust- and splash-proof construction • • • 54 77 84 148 790
S 100mm f/2.8 Macro £999 5★ Unusually small and lightweight short-telephoto macro that offers life-size magnification • • 20 67 73.6 82 298

SAMYANG MIRRORLESS
7.5mm f/3.5 UMC fisheye MFT £253 Fisheye manual-focus lens with Ultra Multi Coated lens elements to reduce flare and ghosting • 9 n/a 48.3 60 197
8mm f/2.8 UMC fisheye II £249 Updated version of the Samyang 8mm f/2.8 UMC Fisheye lens, with improved optical construction • • • 30 n/a 60 64.4 290
12mm f/2 NCS CS £330 Fast wideangle prime for APS-C and Micro Four Thirds mirrorless cameras • • • • 20 67 72.5 59 245
35mm f/1.2 ED AS UMC CS £359 Standard-angle manual-focus lens for mirrorless cameras with APS-C sensor size • • • • 38 62 67.5 74.2 420
50mm f/1.2 AS UMC CS £299 5★ Fast telephoto prime that can produce stunning results with a super-shallow depth of field • • • • 50 62 67.5 74.5 380
85mm f/1.8 ED UMC CS £319 Manual-focus medium-telephoto portrait prime for APS-C mirrorless cameras • • • • 65 62 67.5 81 423
300mm f/6.3 ED UMC CS Reflex £249 A compact reflex mirror lens dedicated for mirrorless compact system cameras • • • • 90 58 73.7 64.5 320
12mm f/2 AF £402 4★ Affordable large-aperture ultra-wide prime for APS-C cameras, available in E and X mounts • • 19 62 70 59.2 213
14mm f/2.8 AF £629 Autofocus wideangle prime for Sony full-frame mirrorless FE mount cameras • • 20 n/a 85.5 97.5 505
18mm f/2.8 FE AF £350 Compact, lightweight autofocus wideangle prime for Sony full-frame mirrorless cameras • • 25 58 63.5 60.5 145
24mm f/1.8 FE AF £460 Boasts Custom Mode function that sets the lens to infinity focus for astrophotography • • 19 58 65 71.5 230
24mm f/2.8 FE AF £280 4.5★ Small, lightweight autofocus wideangle prime for full-frame mirrorless cameras • • 24 49 61.8 37 93
24-70mm f/2.8 FE AF £828 Samyang’s first-ever zoom lens includes a manual focus ring that can be switched to controlling aperture • • 35 82 88 128.5 1027
35-150mm f/2-2.8 FE AF £1319 Ultra-large-aperture zoom with weather-sealed construction and video-friendly features • • 33 82 92.8 157.4 1231
35mm f/1.4 FE AF II £635 4.5★ Large-aperture prime with AF-stop button and custom mode switch for manual focus ring • • 29 67 75 115 659
35mm f/1.8 FE AF £360 Smaller, lighter and more affordable than its Sony equivalent, with a dual-mode manual focus / control ring • • 29 58 65 63.5 210
35mm f/2.8 FE AF £279 4.5★ Compact, lightweight, inexpensive autofocus prime lens for full-frame mirrorless cameras • • 35 49 61.8 33 86
45mm f/1.8 FE AF £350 4.5★ Small standard prime for Sony full-frame mirrorless • • 45 49 61.8 56.1 162
50mm f/1.4 FE AF II £599 4.5★ Billed as the smallest and lightest large-aperture 50mm prime for Sony FE, with completely new optical design • • 40 72 80.1 88.9 420
75mm f/1.8 AF £380 4.5★ Small, lightweight short telephoto for full-frame Sony, also available in Fujifilm X mount • • • 69 58 65 69 230
85mm f/1.4 FE AF II £639 Relatively lightweight portrait prime with a focus hold button and custom mode switch • • 85 72 83.4 99.5 507
135mm f/1.8 FE AF £799 Fast-aperture mid-telephoto lens designed for subjects such as portraiture and astrophotography • • 69 82 93.4 129.6 772

SIGMA MIRRORLESS
10-18mm f/2.8 DC DN| C £600 4.5★ Strikingly compact and lightweight large-aperture ultra-wideangle zoom for APS-C cameras • • • 11.6 67 72.2 64 255
16mm f/1.4 DC DN | C £450 4.5★ Large-aperture wideangle lens with dustproof and splashproof design • • • • • 25 67 72.2 92.3 405
18-50mm f/2.8 DC DN | C £430 4.5★ Fast standard zoom for APS-C mirrorless, that’s relatively inexpensive but lacks optical stabilisation • • • • 12.1 55 61.6 76.5 290
23mm f/1.4 DC DN | C £450 Large-aperture prime for APS-C cameras with 35mm equivalent angle of view • • • 25 52 65.8 76.9 340
30mm f/1.4 DC DN | C £300 4★ A prime for Micro Four Thirds and Sony E-mount users, it’s impressively sharp even at f/1.4 • • • • • 30 52 64.8 73 140
56mm f/1.4 DC DN | C £400 4.5★ Small, lightweight large-aperture portrait prime for APS-C Sony and Micro Four Thirds • • • • • 50 55 66.5 59.5 280
14mm f/1.4 DG DN | A £1399 5★ World’s first 14mm lens with a bright f/1.4 aperture, designed with astrophotography in mind • • • 30 n/a 101.4 149.9 1170
15mm f/1.4 DG DN Fisheye | A £1859 Full-frame f/1.4 fisheye lens, which covers the entirety of full-frame and provides a 180° angle of view • • • 38.5 n/a 104 157.9 1360
14-24mm f/2.8 DG DN | A £1459 5★ Superb ultra-wide zoom for full-frame mirrorless that’s two-thirds of the weight of its DSLR equivalent • • • 28 n/a 85 131 795
16-28mm f/2.8 DG DN | C £750 4.5★ Relatively compact and affordable ultra-wideangle zoom designed to complement the 28-70mm f/2.8 • • • 25 72 77.2 100.6 450
17mm f/4 DG DN | C I-series £550 4★ Small and lightweight ultra-wideangle prime that boasts all-metal barrel construction • • • 12 55 64 48.8 225
20mm f/1.4 DG DN | A £859 Bright wideangle prime that includes an array of features designed for astrophotography • • • 23 82 87.8 111.2 635
20mm f/2 DG DN | C I-series £650 5★ Small wideangle autofocus prime with a large maximum aperture and premium metal construction • • • 22 62 70 74.4 370
24mm f/1.4 DG DN | A £779 Large-aperture wideangle prime boasts aperture ring, focus lock switch, and rear filter holder • • • 25 72 75.7 95.5 520
24mm f/2 DG DN | C I-series £550 5★ Moderately fast premium wideangle prime with metal construction, aperture ring, and great optics • • • 24.5 62 70 74 360
24mm f/3.5 DG DN | C I-series £480 Compact metal-barrelled wideangle prime that offers half life-size magnification • • • 10.8 55 64 48.8 225
24-70mm f/2.8 DG DN | A £1050 Large-aperture standard zoom for full-frame mirrorless that promises ‘best in class’ image quality • • • 38 82 87.8 122.9 835
NEW 24-70mm f/2.8 DG DN II | A £1179 Second-generation standard zoom gains updated optics, faster autofocus, and aperture ring • • • 17 82 87.8 120.2 745
28-70mm f/2.8 DG DN | C £760 4.5★ Small, lightweight and relatively affordable large-aperture full-frame standard zoom • • • 19 67 72.2 101.5 470
35mm f/1.2 DG DN | A £1459 World’s largest-aperture autofocus lens for either Sony E or Leica L mount promises top-notch optics • • • 30 82 87.8 136.2 1090
35mm f/1.4 DG DN | A £750 5★ General-purpose fast prime promises top-notch optics, fast quiet AF, and a comprehensive set of controls • • • 30 67 75.7 109.5 645
35mm f/2 DG DN | C I-series £550 Everyday walkaround prime that promises premium optical performance • • • 27 58 70 65 325
45mm f/2.8 DG DN | C £549 Ultra-compact full-frame standard prime for everyday shooting, with all-metal barrel construction • • • 24 55 64 46.2 215
50mm f/1.2 DG DN | A £1399 5★ Fully featured ultra large-aperture standard prime that’s surprisingly compact and affordable • • • 40 72 81 108.8 745
50mm f/1.4 DG DN | A £849 5★ All-new, designed for mirrorless version of Sigma’s legendary 50mm f/1.4 ‘Art’ lens • • • 45 72 78.2 109.5 670
50mm f/2 DG DN | C I-series £620 4.5★ Relatively compact everyday standard prime, with metal barrel construction and aperture ring • • • 45 58 70 68 350
65mm f/2 DG DN | C I-series £650 Compact short-telephoto portrait prime designed to deliver sharp images with attractive background blur • • • 55 62 72 74.7 405
70-200mm f/2.8 DG DN OS | S £1499 5★ Designed-for-mirrorless fast telezoom includes weather-sealed construction and declickable aperture ring • • • • 65 77 90.6 205 1345
85mm f/1.4 DG DN | A £999 5★ Superb large-aperture portrait prime for full-frame cameras that’s a fraction of the size of its SLR equivalent • • • 85 77 82.4 94.1 630
90mm f/2.8 DG DN | C I-series £550 4.5★ Small short-telephoto prime with all-metal construction and aperture ring that’s ideal for portraits • • • 50 55 64 61.7 295
100-400mm f/5-6.3 DG DN OS | C £899 5★ Relatively compact, lightweight and affordable long telephoto zoom with optical stabilisation • • • • • 112 67 86 199.2 1140
105mm f/2.8 DG DN Macro | A £700 5★ Weather-sealed 1:1 macro lens that delivers superlative image quality • • • 29.5 62 74 133.6 715
60-600mm f/4.5-6.3 DG DN OS | S £2000 Unique 10x ultra-telephoto zoom for E and L mounts with a shortest focal length of 60mm • • • • 45 105 119.4 281.2 2485
150-600mm f/5-6.3 DG DN OS | S £1200 Ultra-telephoto zoom that aims to provide pro-spec optics and build quality in a relatively light package • • • • 58 95 109.4 263.6 2100
500mm f/5.6 DG DN OS | S £2779 Impressively portable long telephoto prime, with optical stabilisation plus dust- and splashproof build • • • • 320 95 107.6 234.7 1370

www.amateurphotographer.com 89
 BUYING GUIDE

FILTER THREAD (MM)

Mirrorless Lenses

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)

LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF

WEIGHT (G)
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SONY MIRRORLESS
E 10-18mm f/4 OSS £750 4★ Super-wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation • • 25 62 70 63.5 225
E 10-20mm f/4 G PZ £750 4.5★ Ultra-wideangle powerzoom lens for APS-C mirrorless with dust- and moisture-resistant construction • 13 62 69.8 55 178
E 11mm f/1.8 £500 4.5★ Lightweight large-aperture ultra-wideangle prime for APS-C cameras, aimed primarily at vloggers • 15 55 66 57.5 181
E 15mm f/1.4 G £750 Large-aperture APS-C wideangle prime with premium optics, weather-sealing and an aperture ring • 17 55 66.6 69.5 219
E 16mm f/2.8 £220 4★ Pancake lens for APS-C mirrorless, with a circular aperture and Direct Manual Focus • 24 49 62 22.5 67
E 16-50mm f/3.5-5.6 PZ OSS £299 Tiny pancake lens with power zoom, ED glass and Optical SteadyShot image stabilisation • • 25 40.5 64.7 29.9 116
E 16-55mm f/2.8 G £1200 Premium, high-resolution, weather-resistant standard zoom for APS-C mirrorless cameras • 33 67 73 100 494
E 16-70mm f/4 ZA OSS Vario-Tessar T* £839 A lightweight, versatile mid-range zoom with a constant f/4 aperture • • 35 55 66.6 75 308
E 18-55mm f/3.5-5.6 OSS £270 Optical SteadyShot, said to be silent during movie capture, and a circular aperture • • 25 49 62 60 194
E 18-105mm f/4 G PZ OSS £499 Sony G lens for E-mount cameras with a constant f/4 aperture • • 45 72 78 110 427
E 18-110mm f/4 G PZ OSS £3300 Constant f/4 maximum aperture powerzoom for video production, for Super 35mm / APS-C cameras • • 40 95 110 167.5 1105
E 18-135mm f/3.5-5.6 OSS £570 Lightweight, compact standard zoom designed to match Alpha 6000-series cameras • • 45 55 67.2 88 325
E 18-200mm f/3.5-6.3 OSS LE £489 Smaller and lighter than comparable lenses, this is an ideal high-magnification travel lens • • 50 62 68 98 460
E 18-200mm f/3.5-6.3 PZ OSS £999 Boasts powered zoom and image stabilisation with Active Mode, making it ideal for movies • • 30 67 93.2 99 649
E 20mm f/2.8 £309 Pancake wideangle lens promises to be the perfect walkaround partner for E-mount cameras • 20 49 62.6 20.4 69
E 24mm f/1.8 ZA Sonnar T* £839 Top-quality Carl Zeiss optic ideally suited to Alpha 6000-series bodies • 16 49 63 65.6 225
E 30mm f/3.5 Macro £219 A macro lens for Sony’s APS-C compact system cameras • 9 49 62 55.5 138
E 35mm f/1.8 OSS £399 Lightweight, versatile prime with Optical SteadyShot image stabilisation • • 30 49 62.2 45 155
E 50mm f/1.8 OSS £219 A handy, low-price image-stabilised portrait lens for the APS-C Alpha mirrorless range • • 39 49 62 62 202
E 55-210mm f/4.5-6.3 OSS £289 Lightweight optically stabilised telephoto zoom lens for APS-C mirrorless • • 100 49 63.8 108 345
E 70-350mm f/4.5-6.3 G OSS £830 High-end long telephoto zoom for APS-C E-mount cameras includes optical stabilisation • • 110 67 77 142 625
FE 12-24mm f/2.8 GM £2900 The world’s widest-angle zoom with a constant f/2.8 maximum aperture promises pro-level quality • • 28 n/a 97.6 137 847
FE 12-24mm f/4 G £1700 4.5 ★ Compact, weather-resistant super-wideangle zoom with high-quality optics • • 28 n/a 87 117.4 565
FE 14mm f/1.4 GM £1400 Remarkably small and lightweight large-aperture ultra-wideangle prime that accepts rear gel filters • • 25 n/a 83 99.8 460
NEW FE 16-25mm F2.8 G £1249 4.5★ Compact, affordable and well-featured f/2.8 wideangle zoom, but with somewhat restrictive range • • 18 67 78.4 91.4 409
FE 16-35mm f/2.8 GM £2300 Premium G Master-series fast wideangle zoom with weather-resistant construction • • 28 82 88.5 121.6 680
FE 16-35mm f/2.8 GM II £2400 5★ All-new wideangle zoom that combines premium optics, relatively compact size, and weather-sealing • • 22 82 87.8 111.5 547
FE 16-35mm f/4 ZA OSS Vario-Tessar T* £1289 5★ Zeiss full-frame wideangle zoom lens that provides consistently good image quality • • • 28 72 78 98.5 518
FE 16-35mm f/4 G PZ £1300 4.5★ Small and lightweight ultra-wideangle zoom with superbly implemented power zoom operation • • 23 72 80.5 88.1 353
FE 20mm f/1.8 G £949 5★ Compact, super-sharp wideangle prime featuring aperture ring and weather-resistant construction • • 18 67 84.7 73.5 373
FE 20-70mm f/4 G £1400 4.5★ Lightweight standard zoom with excellent optics and an unusually wide view, but a painful price • • 30 72 78.7 99 488
FE 24mm f/1.4 GM £1450 5★ Compact, large-aperture wideangle prime includes aperture ring and weather-resistant construction • • 24 67 75.4 92.4 445
FE 24mm f/2.8 G £630 Small, lightweight wideangle prime with premium aluminium construction • • 24 49 68 45 162
FE 24-50mm f/2.8 G £1149 4★ Large-aperture standard zoom with relatively compact size but limited focal-length range • • 33 67 74.8 92.3 440
FE 24-70mm f/2.8 GM £1799 5★ This pro-grade standard lens for the Sony full-frame FE mount gives exceptionally sharp results • • 38 82 87.6 136 886
FE 24-70mm f/2.8 GM II £2100 5★ Superb second-generation pro standard zoom is smaller, lighter, sharper and more video-friendly • • 30 82 87.8 119.9 695
FE 24-70mm f/4 ZA OSS Vario-Tessar T* £1049 5★ Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation • • • 40 67 73 94.5 426
FE 24-105mm f/4 G OSS £1199 5★ Excellent full-frame standard zoom with optical stabilisation and weather-resistant design • • • 38 77 83.4 113.3 663
FE 24-240mm f/3.5-6.3 OSS £929 3★ Ideal for travel, landscapes and more, with built-in stabilisation. Also dust- and moisture-resistant • • • 50 72 80.5 118.5 780
FE 28mm f/2 £419 4★ This full-frame wideangle prime with a bright f/2 maximum aperture promises excellent sharpness • • 29 49 64 60 200
FE 28-60mm f/4-5.6 £450 Ultra-compact, retractable kit zoom designed for the rangefinder-style Alpha 7C • • 30 40.5 67 45 167
FE 28-70mm f/3.5-5.6 OSS £449 Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range • • • 30 55 72.5 83 295
FE 28-135mm PZ f/4 G OSS £2379 Constant f/4 maximum aperture powerzoom for video production, for full-frame cameras • • • 95 95 162.5 105 1215
FE 35mm f/1.4 ZA Distagon T* £1559 4★ Full-frame ZEISS Distagon lens with large, bright f/1.4 aperture • • 30 72 78.5 112 630
FE 35mm f/1.4 GM £1499 5★ Stunning large-aperture prime that’s smaller, lighter and focuses closer than its ZA predecessor • • 27 67 76 96 524
FE 35mm f/1.8 £630 4.5★ Lightweight fast prime with fine optics and quick autofocus that’s well-matched to Alpha 7 series bodies • • 22 55 65.6 73 280
FE 35mm f/2.8 ZA Sonnar T* £699 When coupled with a full-frame Sony E-mount camera, this prime lens promises to deliver • • 35 49 61.5 36.5 120
FE 40mm f/2.5 G £630 5★ Sony’s first 40mm prime is a compact, lightweight design with weather-sealed metal build • • 28 49 68 45 173
FE 50mm f/1.2 GM £2100 5★ Remarkable ultra-fast prime offers stunning quality for the same size and weight as its f/1.4 ZA sibling • • 40 72 87 108 778
FE 50mm f/1.4 ZA Planar T* £1500 5★ Optically excellent premium fast prime, but large and heavy for its class • • 45 72 83.5 108 778
FE 50mm f/1.4 GM £1500 5★ Superb large-aperture standard prime with excellent optics and a pro-spec control setup • • 38 67 80.6 96 516
FE 50mm f/1.8 £240 4★ Features a new optical design with a single aspherical element, but slow autofocus • • 45 49 68.6 59.5 186
FE 50mm f/2.5 G £630 Small prime boasts an aperture ring that can be switched between clicked and clickless operation • • 35 49 68 45 174
FE 50mm f/2.8 Macro £500 4★ Sony’s budget macro for full-frame CSCs offers decent optics but is slow at focusing • • 16 55 70.8 71 236
FE 55mm f/1.8 ZA Sonnar T* £849 35mm full-frame prime lens with wide aperture allowing good images indoors or in low light • • 50 49 64.4 70.5 281
FE 70-200mm f/2.8 GM OSS £2500 5★ Compact, lightweight telephoto zoom lens for full-frame E-mount bodies • • • 96 77 88 200 1480
FE 70-200mm f/2.8 GM OSS II £2600 5★ The world’s lightest 70-200mm f/2.8 provides superb optical quality and extensive controls • • • 40 77 88 200 1045
FE 70-200mm f/4 G OSS £1359 4★ G-series telephoto zoom lens, dust- and water-resistant, with built-in image stabilisation • • • 100 72 80 175 840
FE 70-200mm f/4 Macro G OSS II £1749 5★ Updated telezoom boasts excellent optics and useful half life-size macro feature • • • 26 72 82.2 149 794
FE 70-300mm f/4.5-5.6 G OSS £1150 Sony’s most compact image-stabilised telephoto zoom • • • 90 72 84 143.5 854
FE 85mm f/1.8 £550 4★ Relatively inexpensive portrait lens includes dust and moisture-resistant construction • • 80 67 78 82 371
FE 85mm f/1.4 GM £1889 5 ★ Stunning image quality from Sony’s premium ‘G Master’ portrait lens • • 80 77 89.5 107.5 820
FE 90mm f/2.8 Macro G OSS £1049 5★ Optically excellent dedicated macro lens for Sony’s full-frame E-mount cameras • • • 28 62 79 130.5 602
FE 100mm f/2.8 STF GM OSS £1700 Innovative portrait lens combines optical stabilisation and an apodisation filter for smooth bokeh • • • 57 72 85.2 118.1 700
FE 100-400mm f/4.5-5.6 GM OSS £2500 5★ Premium optically stabilised, weather-sealed telezoom designed to match the Alpha 9 • • • 98 77 93.9 205 1395
FE 135mm f/1.8 GM £1750 5★ Large-aperture portrait prime for full-frame combines exceptional sharpness and attractive bokeh • • 70 82 89.5 127 950
FE 200-600mm f/5.6-6.3 G OSS £1799 Weather-resistant super-telephoto, with easy-to-use internal zoom design • • • 240 95 111.5 318 2115

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 BUYING GUIDE

FILTER THREAD (MM)

Mirrorless Lenses

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)

LENGTH (MM)
FULL FRAME
FUJIFILM X
CANON RF

WEIGHT (G)
CANON M

NIKON Z

LEICA L
SONY E
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

TAMRON MIRRORLESS
11-20mm F/2.8 Di III-A RXD £819 Large-aperture wideangle zoom for Sony APS-C mirrorless cameras with moisture-resistant construction • 15 67 73 86.2 335
17-70mm F/2.8 Di III-A VC RXD £780 4.5★ Provides a uniquely useful combination of 4.1x zoom range, f/2.8 maximum aperture and optical stabilisation • • • 19 67 74.6 119.3 525
18-200mm F/3.5-6.3 Di III VC £390 Lightweight, compact, all-in-one zoom for mirrorless cameras, to cover practically any shooting situation • • • 50 62 68 96.7 460
18-300mm F/3.5-6.3 Di III-A VC VXD £679 3★ Superzoom lens for APS-C mirrorless cameras, available in both Fujifilm X and Sony E mounts • • • 15 67 75.5 125.6 620
17-28mm F/2.8 Di III RXD £899 5★ Small and lightweight fast wideangle zoom boasts excellent optics and fast autofocus • • 19 67 73 99 420
17-50mm F/4 Di III VXD £749 Unique zoom for full-frame cameras that extends from the wideangle into the ‘standard’ range • • 30 67 74.8 114.4 460
20mm F/2.8 Di III OSD M1:2 £399 Widest of a trio of lightweight primes offering half life-size magnification and splash-proof build • • 11 67 73 64 220
20-40mm F/2.8 Di III VXD £879 4.5★ Billed as the smallest and lightest ultra-wideangle f/2.8 zoom for full-frame E-mount cameras • • 17 67 74.4 86.5 365
24mm F/2.8 Di III OSD M1:2 £399 Compact wideangle prime designed for high-resolution full-frame mirrorless cameras • • 12 67 73 64 215
28-75mm F/2.8 Di III RXD £699 4.5★ Fast zoom for full-frame mirrorless is relatively compact and has fine optics • • 19 67 73 117.8 550
28-75mm F/2.8 Di III VXD G2 £849 Second-generation fast standard zoom boasts new, faster AF motor and completely redesigned optics • • 18 67 76 118 540
28-200mm F/2.8-5.6 Di III RXD £800 4★ All-in-one superzoom with impressive maximum aperture but limited wideangle and no stabilisation • • 19 67 74 117 575
35mm F/2.8 Di III OSD M1:2 £399 Optimized Silent Drive (OSD) motor promises full compatibility with advanced autofocus modes • • 15 67 73 64 210
35-150mm F/2.0-2.8 Di III VXD £1599 4★ Super-fast standard zoom for Sony full-frame mirrorless with useful close-focus distance • • 33 82 89 158 1165
50-400mm F/4.5-6.3 Di III VC VXD £1250 4.5★ Telephoto zoom that’s similar in size to conventional 100-400mm designs, but starts at 50mm • • • 25 67 88.5 183.4 1155
70-180mm F/2.8 Di III VXD £1350 4.5★ Remarkably compact large-aperture telephoto prime includes newly-developed VXD autofocus drive • • 85 67 81 149 810
70-180mm F/2.8 Di III VC VXD G2 £1330 Updated large-aperture telephoto zoom gains optical stabilisation while staying compact • • • 85 67 83 156.5 855
70-300mm F/4.5-6.3 Di III RXD £650 4★ Lightweight, affordable, weather-sealed telephoto zoom, available in Nikon Z and Sony E mounts • • • 80 67 77 148 545
150-500mm F/5-6.7 Di III VC VXD £1379 Long-range telephoto zoom that’s similar in packed length to 100-400mm optics, comes in E and X mounts • • • • 60 82 93 209.6 1725

VOIGTLANDER MIRRORLESS
10.5mm f/0.95 Nokton £999 Ultra-large aperture super-wide prime for Micro Four Thirds with manual focus and aperture setting • 17 72 77 82.4 585
17.5mm f/0.95 Nokton £799 35mm equivalent wideangle manual-focus prime with exceptionally large aperture • 15 58 63.4 80 540
25mm f/0.95 Nokton II £719 All-metal construction with traditional manual focus and aperture rings • 17 52 60.6 70 435
29mm f/0.8 Super Nokton £1599 Currently the world’s fastest photographic lens in production • 37 62 72.3 88.9 703
42.5mm f/0.95 Nokton £749 Large aperture short-telephoto portrait lens for Micro Four Thirds cameras • 23 58 64.3 74.6 571
60mm f/0.95 Nokton £1049 Unique super-fast manual-focus medium telephoto for MFT offers a 120mm equivalent view • 34 77 82.5 87.7 860
18mm f/2.8 Color-Skopar £469 Slimline, moderately wideangle manual-focus lens for APS-C mirrorless cameras, available in silver or black • 17 43 59.3 23.5 115
23mm f/1.2 Nokton Aspherical £629 Lightweight manual-focus lens for APS-C cameras that’s available in both Fujifilm X and Nikon Z mounts • • 18 46 59.3 43.8 214
27mm f/2 Ultron £449 Small, lightweight prime lens for Fujifilm cameras with a 41mm equivalent angle of view • 25 43 59.3 23.5 120
35mm f/0.9 Nokton Aspherical £1200 Ultra-fast manual-focus standard prime for Fujifilm APS-C cameras • 35 62 72.7 64.9 492
35mm f/1.2 Nokton £599 Fast standard prime for Fujifilm X and Nikon Z mounts is specifically designed for the smaller APS-C sensor • • 30 46 59.6 39.8 195
35mm f/2 Macro Apo-Ultron £649 Manual focus macro lens for APS-C mirrorless offering half life-size magnification • • 16 49 60.7 58.4 265
50mm f/1.2 Nokton £599 Large-aperture short-telephoto prime for APS-C mirrorless cameras with manual focus and aperture ring • 39 58 63.9 49 290
10mm f/5.6 Hyper Wide Heliar £749 Covers a phenomenal 130° angle of view, with optics designed to minimise distortion • • 50 n/a 67.8 58.7 312
15mm f/4.5 Super Wide Heliar III £649 Compact, lightweight ultra-wideangle manual-focus prime that still accepts 58mm filters • • • 30 58 66.4 62.3 294
21mm f/1.4 Nokton £1149 Large-aperture wideangle prime specifically designed for Sony full-frame mirrorless cameras • • 25 62 70.5 79.5 560
21mm f/3.5 Color-Skopar Asph £549 Compact wideangle prime with manual focus and aperture operation • • 20 52 62.8 39.9 230
35mm f/1.2 Nokton SE £849 Super-fast yet relatively compact prime, with ‘Still Edition’ design optimised for photography not video • • 30 58 66.5 59.9 387
35mm f/1.4 Nokton Asph £639 ‘Classic’ lens based on symmetrical optical design that only uses spherical lens elements • • 30 58 67 39.6 262
35mm f/2 Apo-Lanthar £899 Promises the highest resolution and colour correction of all of Voigtlander’s E-mount lenses • • • 35 49 62.5 67.3 352
40mm f/1.2 Nokton £810 World’s first full-frame lens with a super-fast f/1.2 aperture, promising pleasing bokeh • • • • 35 58 70.1 59.3 420
40mm f/1.2 Nokton SE £749 ‘Stills Edition’ version of this fast prime is smaller, lighter and more affordable • • 35 58 66.5 51.9 340
50mm f/1.0 Nokton Asph £1699 Impressively compact ultra-large-aperture manual focus lens for Canon RF, Nikon Z, and Sony E mount • • • • 45 62 67.6 66.6 598
50mm f/1.2 Nokton £899 Super-fast manual-focus prime boasts 12 aperture blades for attractive background blur • • 45 58 70.1 58.8 434
50mm f/1.2 Nokton SE £849 SE version does without switchable clicked/clickless aperture mechanism • • 45 58 66.5 58.5 383
50mm f/2 Apo-Lanthar £869 Fully manual lens with apochromatic optics designed to completely eliminate colour fringing • • • 45 49 62.6 61.3 354
65mm f/2 Macro Apo-Lanthar £749 High-quality apochromatic macro lens designed for Sony mirrorless offers half life-size reproduction • • • 31 67 78 91.3 625
75mm f/1.5 Nokton Aspherical £849 Short telephoto, manual-focus portrait lens for Canon RF-mount mirrorless cameras • • 50 62 71.9 74 525
110mm f/2.5 Macro Apo-Lanthar £899 Manual-focus macro lens with 1:1 magnification and premium apochromatic optics • • 35 58 78.4 99.7 771

ZEISS MIRRORLESS
Touit 12mm f/2.8 Distagon T* £959 5★ Designed specifically for Sony NEX and Fujifilm X-series CSC cameras. Very impressive performance • • 18 67 82 68 270
Touit 32mm f/1.8 Planar T* £700 4.5★ Optimised for use with APS-C format sensors, a fast standard lens for Fujifilm X-series cameras • • 23 52 72 76 200
Touit 50mm f/2.8 Planar T* £589 Macro 1:1 lens for extreme close-ups, as well as shooting portraits or panoramas as a light tele-lens • • 15 52 75 91 290
Batis 18mm f/2.8 £990 The Batis range is for mirrorless full-frame system cameras from Sony • • 25 77 78 95 330
Loxia 21mm f/2 £1230 Compact manual-focus wideangle prime purpose-designed for Sony Alpha 7-series cameras • • 25 52 62 72 394
Batis 25mm f/2 £980 5★ A wideangle lens for Sony full-frame users offering unrivalled quality • • 20 67 81 92 355
Loxia 25mm f/2.4 £1190 5★ Gorgeous but ever-so-pricey compact manual focus prime, with absolutely stunning optics • • 25 52 62 69.5 375
Loxia 35mm f/2 £1015 Small wideangle manual-focus prime intended for Sony Alpha 7 users • • 30 52 62 59 340
Batis 40mm f/2 CF £1130 5★ Bridges the gap between Batis 25mm and 85mm lenses and features close-focusing ability • • 24 67 91 93 361
Loxia 50mm f/2 £740 Manual-focus standard prime with premium optics and E mount for Sony Alpha 7 users • • 45 52 62 59 320
Batis 85mm f/1.8 £909 5★ A high-quality medium prime for wedding and portrait shooters, developed for Sony’s Alpha 7 series • • • 80 67 78 105 475
Loxia 85mm f/2.4 £1199 A compact, manual-focus, short telephoto lens for the mirrorless Sony Alpha series • • 80 52 62.5 108 594
Batis 135mm f/2.8 £1749 5★ Absolutely stunning, super-sharp image-stabilised portrait lens for Sony full-frame mirrorless • • • 87 67 84 120 614

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QUALITY USED EQUIPMENT - Checked, Tested and Warrantied. More on website - www.mifsuds.com.

Used Canon R6
body
500mm F4
IS USM LII
1DX MKII
body box Used Canon Used Canon
R3 body R5 body 200-400mm 300mm F2.8 400mm F4 USM 5D MKIV body 80D body
box box box IS USM IS USM LII DO II USM box

£3699 £2699 £999 £3999 £2999 £4999 £1299 £399 £1599

CANON R MIRRORLESS USED CANON DSLR USED CANON AF LENSES USED 24-105 F4 IS USM L ........................ £499 180 F3.5 L USM macro box ......... £699 100-400 F5/6.3 DG OS box.......... £499
R3 body box ...................................£3699 1DX MKII body box ......................£1599 8-15 F4 L USM .................................. £749 28-135 F3.5/5.6 IS USM ................ £199 200-400 F4 IS USM .......................£3999 105 F2.8 EX DG HSM OS box ...... £299
R5 body box. ..................................£2699 7D MKII body box........................... £499 10-18 F4.5/5.6 IS STM EFS ........... £149 35 F1.4 USM LII box .....................£1199 300 F2.8 IS USM LII .......................£2999 120-300 F2.8 DG OS HSM Sport . £1499
R6 body box ..................................... £999 6D MKII body ................................... £799 10-22 F3.5/4.5 USM EFS ............... £149 40 F2.8 STM ...................................... £149 400 F4 DO IS II USM .....................£3299 150 F2.8 OS mac box..................... £399
R body box.....£699 RP body ...... £599 5D MKIV body box .......................£1299 11-24 F4 L USM box.....................£1399 50 F1.2 L USM box.......................... £599 400 F5.6 L USM box ....................... £699 150-600 F5/6.3 DG OS sport....... £999
RF 14-35 F4 L IS USM box ..........£1199 5D MKIII body .................................. £599 14 F2.8 USM LII ................................ £799 50 F1.4 USM box ............................. £249 500 F4 IS USM LII ..........................£4999 150-600 F5/6.3 DG OS contem .. £749
RF 15-35 F2.8 L IS USM box ......£1399 90D body box. ................................. £899 15-85 F3.5/5.6 EFS .......................... £199 50 F1.8 STM .........................................£99 1.4x or 2x extender MKIII each .. £199 TC1401 1.4x extender ................... £149
RF 18-45 F4.5/6.3 IS STM box ..... £249 80D body box .................................. £399 16-35 F2.8 USM LIII ........................ £899 55-250 F4/5.6 IS EFS ...................... £149 12mm ext tube II. ..............................£59 TC2001 2x extender....................... £199
RF 24 F1.8 STM macro box .......... £499 760D body ........................................ £369 16-35 F4 USM IS L box .................. £499 60 F2.8 macro EFS .......................... £349 25mm ext tube II ...............................£99 OTHER CAF USED
RF 24-70 F2.8 IS USM box ..........£1999 650D body ........................................ £299 17 F4 TSE box .................................£1199 70-200 F2.8 IS USM LII .................. £699 SIGMA CAF USED TAM 16-300 F3.5/6.3 II VC ............ £399
RF 24-105 F4 L IS...........................£1099 BG-E20/16/14/13/11/9/8 grip ea .£99 17-40 F4 L USM ............................... £299 70-300 F4/5.6 IS USM II Nano..... £499 10 F2.8 EX DC HSM ........................ £199 TAM 70-300 F4/5.6 Di.......................£99
RF 50 F1.2 L USM box .................£1699 CANON M MIRRORLESS USED 17-55 F2.8 IS USM box EFS.......... £399 70-300 F4/5.6 IS USM .................... £249 10-20 F3.5 EX DC HSM .................. £199 FLASH/ACCESSORIES USED
RF 70-200 F2.8 IS U L ...................£1999 M50 MKII + 15-45 box................... £499 18-55 F3.5/5.6 IS STM EFS ..............£99 75-300 F4.5/5.6................................ £149 10-20 F4/5.6 DC HSM .......................£99 ST-E3 transmitter box ................... £169
RF 70-200 F4 L IS box ..................£1299 M3 + 15-45 F3.5/6.3 IS STM ........ £199 18-135 F3.5/5.6 IS EFS ................... £149 85 F1.2 USM LII box ....................... £799 12-24 F4.5/5.6 II DG ....................... £399 ST-E2 transmitter box ......................£69
RF 85 F2 IS macro box .................. £499 EF-M 11-22 F4/5.6 IS STM ............ £249 18-200 F3.5/5.6 IS EFS ................... £299 85 F1.8 USM...................................... £299 17-50 F2.8 OS DC box ................... £249 MR14-EXII ringflash box ............... £449
RF 100 F2.8 L IS USM macro .....£1099 EF-M 15-45 F3.5/6.3 IS STM ...........£79 24 F3.5 TSE II box ..........................£1399 100 F2.8 IS USM L macro box..... £699 20 F1.4 DG Art box......................... £399 430EXIII.........£199 430EX II ............£99
RF 100-500 F4.5/7.1 L IS USM...... £2299 EF-M 18-150 F3.5/6.3 IS STM ...... £349 24-70 F2.8 USM LII box ................. £999 100 F2.8 USM macro box............. £299 24-105 F4 DG OS box .................... £399 580EX II...........£99 600EX RT ....... £199
RF 600 F11 IS STM box ................. £499 EF-M 55-200 F4.5/6.3 IS STM ...... £199 24-70 F4 IS USM L........................... £599 100-400 F4.5/5.6 LII box .............£1499 50 F1.4 DG HSM Art box .............. £399 Angle finder C.....................................£79
RF 800 F11 IS STM box ................. £599 EF-M adapter.......................................£89 24-105 F4 IS USM LII ...................... £749 135 F2 L USM ................................... £499 70-300 F4.5/5.6 DG ........................ £139 TC-80N3 remote.................................£79

Used Nikon Z6 MKII

body Used Nikon 600mm F4
AFS
Used Nikon D500
body box
Z9 body box Z8 body Z7 body box 200-500mm 500mm F5.6 D4 body D850 body
box box F5.6 E ED AFS E PF VR AFS VR box box

£3499 £3199 £1299 £1299 £899 £1999 £2999 £699 £1499 £999
NIkON Z MIRRORLESS USED NIkON DSLR USED NIkON AF LENSES USED 35 F1.8 AFS G DX ...............................£99 SIGMA NAF USED SU-800 commander ...................... £199
Z9 body box ....................... £3499/4199 D6 or D5 body .................................£ASK 10.5 F2.8 fisheye box..................... £199 35 F1.8 AFS ED..................................... £299 10-20 F3.5 DC box .......................... £199 DR-6 or DR-5 angle finder each £149
Z8 body box ...................................£3199 D4 body box..................................... £699 10-20 F4.5/5.6 AF-P DX VR .......... £199 35 F2.8 AFD........................................... £299 10-20 F4/5.6 DC HSM .......................£99 MC-36A remote ..................................£99
Z7 MKII body box .........................£1999 D850 body box.................. £1499/1999 10-24 F3.5/4.5 AFS box................. £399 50 F1.4 AFS G box .......................... £249 12-24 F4.5/5.6 II HSM .................... £399 MC-30A remote ..................................£59
Z7 body box ...................................£1299 D810 body box................................ £599 14 F2.8 AFD....................................... £499 50 F1.8 AFS box..................................£99 24-105 F4 DG OS ............................ £499 SC-19/SC-28/SC-30 cable each .....£49
Z6 MKII body box .........................£1299 D800 body box................................ £399 16 F2.8 AFD fisheye ....................... £299 50 F1.8 AFD..........................................£99 35 F1.4 DG Art ................................. £399 NIkON 35MM USED
12-28 F3.5/5.6 PZ VR box ............. £279 D780 body box..............................£1599 16-35 F4 AFS VR box ..................... £399 55-200 F4.5/5.6 AFS VR box ........ £149 50 F1.4 DG HSM Art ....................... £399 F5 body .............................................. £499
14-24 F2.8 S box............................£1699 D750 body box................................ £599 16-80 F2.8/4 VR DX ........................ £599 60 F2.8 AFS macro.......................... £299 70-200 F2.8 EX DG OS HSM ........ £399 F100 + MB-15 grip ......................... £399
17-28 F2.8 box ................................. £999 D700 body ........................................ £299 16-85 F3.5/5.6 AFS VR ................... £199 70-200 F2.8 E FL AFS box ............ £999 105 F2.8 EX DG HSM OS............... £299 F3HP body......................................... £599
24-70 F2.8 S box............................£1699 D300 body....£199 D200 body .. £129 17-55 F2.8 AFS ................................. £299 70-300 F4.5/5.6 E AF P VR ............ £499 150 F2.8 EX DG OS HSM box ...... £399 F + plain prism Apollo chr body £499
24-70 F4 S.......................................... £399 D610 body box................................ £399 18-35 F3.5/4.5 AFS box................. £399 70-300 F4.5/5.6 AFS VR box ........ £299 150-600 F5/6.3 DG OS sport....... £999 FM2N body Black............................ £399
24-120 F4 S ....................................... £899 D500 body box................................ £999 18-55 F3.5/5.6 AF VR DX .................£99 70-300 F4.5/5.6 AFD .........................£99 150-600 F5/6.3 DG OS contem .. £749 FM2N body Chrome ...................... £399
35 F1.8 S box .................................... £599 D7500 body box ............................. £799 18-105 F3.5/5.6 VR DX AFS.......... £149 80-400 F4.5/5.6 AFS VR box ........ £999 TC-1401 1.4x extender.................. £149 24 F2.8 AIS......................................... £199
50 F1.2 S box ..................................£1499 D7200 body box ............................. £499 18-140 F3.5/5.6 AFS VR box ........ £149 85 F1.4 G AFS box .......................... £799 TC-2001 2x extender ..................... £199 35 F2 AIS ............................................ £269
50 F1.8 S............................................. £449 D7100 body box ............................. £399 18-200 F3.5/5.6 VR DX MKII......... £299 85 F1.8 AFS box............................... £299 OTHER NAF USED 50 F1.4 AIS......................................... £299
70-200 F2.8 VR S box ...................£1799 D7000 body ...................................... £299 20 F1.8 AFS box............................... £599 105 F2.8 AFS VR macro ................. £399 TAM 15-30 F2.8 Di USD ................ £399 55 F2.8 AIS micro ............................ £199
85 F1.8 Z box.................................... £499 MBD-18 (D850) ................................ £249 24 F1.4 G AFS Mint box ................ £799 200-500 F5.6 E ED AFS VR box ... £899 TAM 16-300 F3.5/6.3 II VC ............ £399 80-200 F4 AIS ................................... £199
105 F2.8 VR macro box ................. £849 MBD-17 (D500) ................................ £199 24 F2.8 AFD box .............................. £249 500 F4 AFS VR (noisy AF) ............. £999 TAM 18-250 F3.5/5.6 Di II ............. £199 105 F2.5 AIS ...................................... £299
400 F4.5 VR S Mint box ...............£2299 MBD-16 (D750) ...................................£99 24-70 F2.8 AFS VR box .................. £999 500 F5.6 E PF VR AFS box ..........£1999 TAM 70-300 F4/5.6 Di VC ............. £199 180 F2.8 ED AIS ............................... £299
FTZ adapter II box .......................... £229 MBD-15 (D7000/7100/7200) ........£99 24-70 F2.8 AFS ................................. £349 600 F4 AFS VR ................................£2999 FLASH / ACCESSORIES USED 200 F4 AIS macro ............................ £399
FTZ adapter box.............................. £179 MBD-12 (D800/810) ..........................£99 24-120 F4 AFS VR............................ £499 TC14-EIII box..£399 TC14-EII ...... £149 SB-R1 ring flash box ...................... £399 300 F4.5 ED AIS ............................... £399
www.MIFSUDS.COM MBD-80 (D80/90)...............................£49 35 F1.4 AFS G box ..............................£799 TC17-EII box......£99 TC20-EIII ..... £149 SB-700.......£149 SB-900................ £149 PB-4 or PB-6 bellows each .......... £199

40-150mm
F2.8 Pro Used Panasonic 42.5mm
F1.2 DG
12-24mm
F2.8 GM
OM-1 body 8-25mm F4 box G9 body 45-200mm A9 MKIII body A7R MKV
Pro box body box box
box F4/5.6 box

£1399 £749 £799 £499 £149 £499 £4599 £3399 £1999

FUJI X DIGITAL USED OLyMPUS MICRO 4/3 USED PANASONIC MICRO 4/3 USED SONY DIGITAL USED SONy FE MOUNT DIGITAL USED GITZO CF TRIPODS/HEADS USED
X-T2 body .......................................... £499 OM-1 body Mint box...................£1399 G9 body box ..................................... £499 A1 body box ...................................£4499 12-24 F2.8 GM box .......................£1999 GT1545T + GH1382QD ................. £499
X-H1 body + grip box ................... £599 7-14 F2.8 Pro box ............................ £699 BGG9 grip box ....................................£99 A9 MKIII body box ........................£4599 16-35 F4 ZA box .............................. £599 GT1555T + 82TQD .......................... £399
10-24 F4 XF R box........................... £349 8-25 F4 Pro box ............................... £749 G7 body.......£299 GH4 body ...... £399 A9 MKII body..................................£2499 24 F1.4 G box ................................... £799 GT3531S.....£499 GT3541LS........ £499
16 F1.4 WR box. ............................... £499 9-18 F4/5.6.......£299 12-40 F2.8 ....£399 7-14 F4.........£399 8 F3.5 box ...... £399 A9 body box ...................................£1499 24 -70 F2.8 GM II box ..................£1699 GT3542........£499 GT5532S ......... £499
16-80 F4 WR....£449 18 F2 R ....... £299 12-45 F4 Pro....£399 12-100 F4 ... £799 8-18 F2.8/4 box ............................... £629 A7R MKV body box ......................£2999 24-70 F4 ZA OSS box..................... £399 GT5540LS .......................................... £599
18-55 F2.8/4 XF ............................... £299 12-200 F3.5/6.3 box ....................... £599 12-60 F3.5/5.6 .................................. £299 A7R MKIV box ................................£1999 24-105 F4 G OSS box..................... £799 G2220 Explorer ................................ £199
23 F1.4 XF....£399 35 F2 XF WR . £279 17 F1.2 Pro box................................ £599 14-42 F3.5/5.6 .....................................£99 A7R MKIV A body box .................£1999 35 F1.4 ZA OSS box........................ £599 GHF3W ............................................... £299
50-140 F2.8 WR box ....................... £999 30 F3.5 macro box.......................... £149 14-45 F4/5.6...................................... £149 A7 MKIV body box .......................£1699 35 F2.8 box...£299 50 F1.2 box£1399 G2380 video head box ................. £229
50-230 F4.5/5.7 MKII...................... £239 40-150 F2.8 Pro box ........................... £799 25 F1.4 box ....................................... £299 A7 MKIII body.................................£1199 50 F1.4.........£1199 55 F1.8 box . £399 GH2750QR ........................................ £199
55-200 F3.5/4.8 R box ................... £399 40-150 F4 box ...................................... £649 35-100 F2.8 MKII box..................... £599 RX10 MKIV box ..............................£1199 70-200 F2.8 GMII box ..................£1799 GH3382QD ........................................ £299
56 F1.2 R....£449 60 F2.4 R mac £299 40-150 F4/5.6 ................................... £149 42.5 F1.2 DG ..................................... £499 VG-C4 EM grip box......................... £299 85 F1.4 G....£999 90 F2.8 G OSS £699 GH3750QR head ............................. £299
100-400 F4.5/5.6 WR box ............. £899 45 F1.2 Pro box................................ £599 45-175 F4.5/5.6................................ £299 VG-C3 EM grip box......................... £129 100 F2.8 GM OSS box.................... £899 GH3780QD head............................. £299
1.4x XF conv ..................................... £299 60 F2.8 macro .................................. £349 45-200 F4.5/5.6 box ....................... £149 Sony F60M flash box ..................... £299 100-400 F4.5/5.6 OSS D box .....£1399 GH5380SQR head ........................... £299
X500 flash.....£299 EF-42 flash ......£99 75-300 F4.8/6.7 MSCII ................... £379 100-300 F4/5.6 MKII....................... £349 Sony F58AM/F43/F56AM each .. £149 135 F1.8 box ...................................£1299 GS3750 DQR panoramic head ... £149
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA ETR 645 USED BRONICA Sq 6x6 USED HASSELBLAD 6x6 USED MAMIyA 645 MF USED PENTAX 645 AF USED PENTAX 6x7 USED
ETRSi + AEII prism + 75 EII SQAi + 80 + WLF +120 box ........ £699 501CM, 80 F2.8 CF, A12, WLF ..... £2999 645 Pro body .................................... £399 33-55 F4.5 FA.................................... £499 6x7 MU body.................................... £499
+ speed grip + 120 back .............. £699 SQAi body.......................................... £399 500CM + 80 F2.8 CF + A12 ......£1999 Teleplus 2x conv ................................£39 45-85 F4.5 FA.................................... £499 35 F4.5 fisheye ................................. £599
ETRSi body ........................................ £299 SQA body .......................................... £299 501CM body chr ...........................£1199 WLF M645J, M1000S ..................... £199 55 F2.8 D FA box ............................. £499 55 F4 early ......................................... £399
ETRS body ......................................... £199 40 F4 S ................................................ £399 40 F4 C early ..................................... £499 120 back.......£149 120 insert ........£29 55-110 F5.6 FA ................................. £499 55 F4 late ........................................... £499
40 F4 PE........£399 40 F4 E .......... £199 50 F3.5 PS box ................................. £349 50 F4 CF FLE...£699 80 F2.8 CB . £699 Ext tube 1/2/3 ea ...............................£29 120 F4 FA macro ............................. £499 75 F4.5 box..£499 90 F2.8 ........... £599
50 F2.8 PE....£299 50 F2.8 E MC £199 110 F4 macro ................................... £299 135 F5.6 CF + macro bellows ..... £699 MAMIyA TLR 6x6 USED 150-300 F5.6 FA ED box ............... £499 90-180 F5.6 box............................... £499
135 F4 ................................................. £299 150 F4 PS ........................................... £299 150 F4 CF ........................................... £499 C330S body + WLF ......................... £399 200 F4 FA....£399 300 F5.6 FA .... £499 105 F2.4 late box ............................ £699
150 F3.5 E .............................................£99 2x converter PS ............................... £149 150 F4 Black T* ................................ £299 C330F body box...£299 55 F4.5 £249 400 F5.6 FA........................................ £499 105 F2.4 early ................................... £499
180 F4.5 PE........................................ £299 2x converter S .....................................£69 180 F4 CF box .................................. £699 MAMIyA 7 RF 6x7 USED PENTAX 645 MF USED 120 F3.5 soft focus ......................... £399
2x extender..........................................£49 SQAi waist level finder.................. £199 250 F5.6 black T*............................. £299 7II body ............................................£1999 45 F2.8.............£299 55 F2.8......... £299 135 F4 mac...£199 165 F2.8........ £199
ETRSi 120 back RWC late ................£99 SQAi prism late ................................ £399 PME90 prism .................................... £499 43 F4.5 box...£899 80 F4 ............. £999 80-160 F4.5 ....................................... £299 200 F4 latest ..................................... £199
AEIII prism ......................................... £399 SQAi 120 back late ......................... £149 PM 5 prism...£399 PM90 prism . £369 150 F4.5.........£399 210 F8 ........... £399 120 F4 macro ................................... £399 300 F4 latest ..................................... £199
AEII prism .......................................... £199 SQA 120 back early ...........................£99 A12 magazine ......................... £199/499 Polarising filter ZE702 box .......... £149 200 F4....£299 300 F4 green T* . £499 1.4x or 2x rear converter grey ea£149
Ext tube E14 or E28 each ................£49 Plain prism S..................................... £199 A16 magazine .................................. £299 MAMIyA RB 6x7 USED 1.4x or 2x converter each ............ £149 Plain prism...£199 Chimney ....... £199
Speed grip E...£99 WLF ............... £149 Polaroid back ......................................£20 Pro shade. .............................................£79 Pro SD body...£399 55 F4.5 ........ £299 Auto ext tube set ............................ £149 REF converter angle finder ......... £199
Rotary prism E box......................... £149 WLF............£149 SQA speed grip ..£99 Snap lock flash grip box............... £399 Prism early....£129 Chimney box£149 Helicoid ext tube ............................ £149 Helicoid ext tube ............................ £149
Plain prism E box ............................ £149 Lens hoods various .................... £20/50 Lenshoods & filters ................. SEE WEB Extention tube 1 ................................£59 REF converter angle finder ......... £149 Wooden grip .................................... £199
FOR 35MM AF/MF ETC PLEASE SEE WEBSITE FOR CURRENT STOCK ~ WWW.MIFSUDS.COM
ITEM yOU REqUIRE NOT LISTED? EMAIL DETAILS OF wHAT yOU ARE LOOkING FOR AND wE wILL CONTACT yOU wHEN wE CAN HELP. CORRECT 10/05/2024.
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dealer in the
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QUALITY USED EQUIPMENT - Checked, Tested and Warrantied. More on website - www.mifsuds.com.

Used Canon R6
body
500mm F4
IS USM LII
1DX MKII
body box Used Canon Used Canon
R3 body R5 body 200-400mm 300mm F2.8 400mm F4 USM 5D MKIV body 80D body
box box box IS USM IS USM LII DO II USM box

£3699 £2699 £999 £3999 £2999 £4999 £1299 £399 £1599

CANON R MIRRORLESS USED CANON DSLR USED CANON AF LENSES USED 24-105 F4 IS USM L ........................ £499 180 F3.5 L USM macro box ......... £699 100-400 F5/6.3 DG OS box.......... £499
R3 body box ...................................£3699 1DX MKII body box ......................£1599 8-15 F4 L USM .................................. £749 28-135 F3.5/5.6 IS USM ................ £199 200-400 F4 IS USM .......................£3999 105 F2.8 EX DG HSM OS box ...... £299
R5 body box. ..................................£2699 7D MKII body box........................... £499 10-18 F4.5/5.6 IS STM EFS ........... £149 35 F1.4 USM LII box .....................£1199 300 F2.8 IS USM LII .......................£2999 120-300 F2.8 DG OS HSM Sport . £1499
R6 body box ..................................... £999 6D MKII body ................................... £799 10-22 F3.5/4.5 USM EFS ............... £149 40 F2.8 STM ...................................... £149 400 F4 DO IS II USM .....................£3299 150 F2.8 OS mac box..................... £399
R body box.....£699 RP body ...... £599 5D MKIV body box .......................£1299 11-24 F4 L USM box.....................£1399 50 F1.2 L USM box.......................... £599 400 F5.6 L USM box ....................... £699 150-600 F5/6.3 DG OS sport....... £999
RF 14-35 F4 L IS USM box ..........£1199 5D MKIII body .................................. £599 14 F2.8 USM LII ................................ £799 50 F1.4 USM box ............................. £249 500 F4 IS USM LII ..........................£4999 150-600 F5/6.3 DG OS contem .. £749
RF 15-35 F2.8 L IS USM box ......£1399 90D body box. ................................. £899 15-85 F3.5/5.6 EFS .......................... £199 50 F1.8 STM .........................................£99 1.4x or 2x extender MKIII each .. £199 TC1401 1.4x extender ................... £149
RF 18-45 F4.5/6.3 IS STM box ..... £249 80D body box .................................. £399 16-35 F2.8 USM LIII ........................ £899 55-250 F4/5.6 IS EFS ...................... £149 12mm ext tube II. ..............................£59 TC2001 2x extender....................... £199
RF 24 F1.8 STM macro box .......... £499 760D body ........................................ £369 16-35 F4 USM IS L box .................. £499 60 F2.8 macro EFS .......................... £349 25mm ext tube II ...............................£99 OTHER CAF USED
RF 24-70 F2.8 IS USM box ..........£1999 650D body ........................................ £299 17 F4 TSE box .................................£1199 70-200 F2.8 IS USM LII .................. £699 SIGMA CAF USED TAM 16-300 F3.5/6.3 II VC ............ £399
RF 24-105 F4 L IS...........................£1099 BG-E20/16/14/13/11/9/8 grip ea .£99 17-40 F4 L USM ............................... £299 70-300 F4/5.6 IS USM II Nano..... £499 10 F2.8 EX DC HSM ........................ £199 TAM 70-300 F4/5.6 Di.......................£99
RF 50 F1.2 L USM box .................£1699 CANON M MIRRORLESS USED 17-55 F2.8 IS USM box EFS.......... £399 70-300 F4/5.6 IS USM .................... £249 10-20 F3.5 EX DC HSM .................. £199 FLASH/ACCESSORIES USED
RF 70-200 F2.8 IS U L ...................£1999 M50 MKII + 15-45 box................... £499 18-55 F3.5/5.6 IS STM EFS ..............£99 75-300 F4.5/5.6................................ £149 10-20 F4/5.6 DC HSM .......................£99 ST-E3 transmitter box ................... £169
RF 70-200 F4 L IS box ..................£1299 M3 + 15-45 F3.5/6.3 IS STM ........ £199 18-135 F3.5/5.6 IS EFS ................... £149 85 F1.2 USM LII box ....................... £799 12-24 F4.5/5.6 II DG ....................... £399 ST-E2 transmitter box ......................£69
RF 85 F2 IS macro box .................. £499 EF-M 11-22 F4/5.6 IS STM ............ £249 18-200 F3.5/5.6 IS EFS ................... £299 85 F1.8 USM...................................... £299 17-50 F2.8 OS DC box ................... £249 MR14-EXII ringflash box ............... £449
RF 100 F2.8 L IS USM macro .....£1099 EF-M 15-45 F3.5/6.3 IS STM ...........£79 24 F3.5 TSE II box ..........................£1399 100 F2.8 IS USM L macro box..... £699 20 F1.4 DG Art box......................... £399 430EXIII.........£199 430EX II ............£99
RF 100-500 F4.5/7.1 L IS USM...... £2299 EF-M 18-150 F3.5/6.3 IS STM ...... £349 24-70 F2.8 USM LII box ................. £999 100 F2.8 USM macro box............. £299 24-105 F4 DG OS box .................... £399 580EX II...........£99 600EX RT ....... £199
RF 600 F11 IS STM box ................. £499 EF-M 55-200 F4.5/6.3 IS STM ...... £199 24-70 F4 IS USM L........................... £599 100-400 F4.5/5.6 LII box .............£1499 50 F1.4 DG HSM Art box .............. £399 Angle finder C.....................................£79
RF 800 F11 IS STM box ................. £599 EF-M adapter.......................................£89 24-105 F4 IS USM LII ...................... £749 135 F2 L USM ................................... £499 70-300 F4.5/5.6 DG ........................ £139 TC-80N3 remote.................................£79

Used Nikon Z6 MKII

body Used Nikon 600mm F4
AFS
Used Nikon D500
body box
Z9 body box Z8 body Z7 body box 200-500mm 500mm F5.6 D4 body D850 body
box box F5.6 E ED AFS E PF VR AFS VR box box

£3499 £3199 £1299 £1299 £899 £1999 £2999 £699 £1499 £999
NIkON Z MIRRORLESS USED NIkON DSLR USED NIkON AF LENSES USED 35 F1.8 AFS G DX ...............................£99 SIGMA NAF USED SU-800 commander ...................... £199
Z9 body box ....................... £3499/4199 D6 or D5 body .................................£ASK 10.5 F2.8 fisheye box..................... £199 35 F1.8 AFS ED..................................... £299 10-20 F3.5 DC box .......................... £199 DR-6 or DR-5 angle finder each £149
Z8 body box ...................................£3199 D4 body box..................................... £699 10-20 F4.5/5.6 AF-P DX VR .......... £199 35 F2.8 AFD........................................... £299 10-20 F4/5.6 DC HSM .......................£99 MC-36A remote ..................................£99
Z7 MKII body box .........................£1999 D850 body box.................. £1499/1999 10-24 F3.5/4.5 AFS box................. £399 50 F1.4 AFS G box .......................... £249 12-24 F4.5/5.6 II HSM .................... £399 MC-30A remote ..................................£59
Z7 body box ...................................£1299 D810 body box................................ £599 14 F2.8 AFD....................................... £499 50 F1.8 AFS box..................................£99 24-105 F4 DG OS ............................ £499 SC-19/SC-28/SC-30 cable each .....£49
Z6 MKII body box .........................£1299 D800 body box................................ £399 16 F2.8 AFD fisheye ....................... £299 50 F1.8 AFD..........................................£99 35 F1.4 DG Art ................................. £399 NIkON 35MM USED
12-28 F3.5/5.6 PZ VR box ............. £279 D780 body box..............................£1599 16-35 F4 AFS VR box ..................... £399 55-200 F4.5/5.6 AFS VR box ........ £149 50 F1.4 DG HSM Art ....................... £399 F5 body .............................................. £499
14-24 F2.8 S box............................£1699 D750 body box................................ £599 16-80 F2.8/4 VR DX ........................ £599 60 F2.8 AFS macro.......................... £299 70-200 F2.8 EX DG OS HSM ........ £399 F100 + MB-15 grip ......................... £399
17-28 F2.8 box ................................. £999 D700 body ........................................ £299 16-85 F3.5/5.6 AFS VR ................... £199 70-200 F2.8 E FL AFS box ............ £999 105 F2.8 EX DG HSM OS............... £299 F3HP body......................................... £599
24-70 F2.8 S box............................£1699 D300 body....£199 D200 body .. £129 17-55 F2.8 AFS ................................. £299 70-300 F4.5/5.6 E AF P VR ............ £499 150 F2.8 EX DG OS HSM box ...... £399 F + plain prism Apollo chr body £499
24-70 F4 S.......................................... £399 D610 body box................................ £399 18-35 F3.5/4.5 AFS box................. £399 70-300 F4.5/5.6 AFS VR box ........ £299 150-600 F5/6.3 DG OS sport....... £999 FM2N body Black............................ £399
24-120 F4 S ....................................... £899 D500 body box................................ £999 18-55 F3.5/5.6 AF VR DX .................£99 70-300 F4.5/5.6 AFD .........................£99 150-600 F5/6.3 DG OS contem .. £749 FM2N body Chrome ...................... £399
35 F1.8 S box .................................... £599 D7500 body box ............................. £799 18-105 F3.5/5.6 VR DX AFS.......... £149 80-400 F4.5/5.6 AFS VR box ........ £999 TC-1401 1.4x extender.................. £149 24 F2.8 AIS......................................... £199
50 F1.2 S box ..................................£1499 D7200 body box ............................. £499 18-140 F3.5/5.6 AFS VR box ........ £149 85 F1.4 G AFS box .......................... £799 TC-2001 2x extender ..................... £199 35 F2 AIS ............................................ £269
50 F1.8 S............................................. £449 D7100 body box ............................. £399 18-200 F3.5/5.6 VR DX MKII......... £299 85 F1.8 AFS box............................... £299 OTHER NAF USED 50 F1.4 AIS......................................... £299
70-200 F2.8 VR S box ...................£1799 D7000 body ...................................... £299 20 F1.8 AFS box............................... £599 105 F2.8 AFS VR macro ................. £399 TAM 15-30 F2.8 Di USD ................ £399 55 F2.8 AIS micro ............................ £199
85 F1.8 Z box.................................... £499 MBD-18 (D850) ................................ £249 24 F1.4 G AFS Mint box ................ £799 200-500 F5.6 E ED AFS VR box ... £899 TAM 16-300 F3.5/6.3 II VC ............ £399 80-200 F4 AIS ................................... £199
105 F2.8 VR macro box ................. £849 MBD-17 (D500) ................................ £199 24 F2.8 AFD box .............................. £249 500 F4 AFS VR (noisy AF) ............. £999 TAM 18-250 F3.5/5.6 Di II ............. £199 105 F2.5 AIS ...................................... £299
400 F4.5 VR S Mint box ...............£2299 MBD-16 (D750) ...................................£99 24-70 F2.8 AFS VR box .................. £999 500 F5.6 E PF VR AFS box ..........£1999 TAM 70-300 F4/5.6 Di VC ............. £199 180 F2.8 ED AIS ............................... £299
FTZ adapter II box .......................... £229 MBD-15 (D7000/7100/7200) ........£99 24-70 F2.8 AFS ................................. £349 600 F4 AFS VR ................................£2999 FLASH / ACCESSORIES USED 200 F4 AIS macro ............................ £399
FTZ adapter box.............................. £179 MBD-12 (D800/810) ..........................£99 24-120 F4 AFS VR............................ £499 TC14-EIII box..£399 TC14-EII ...... £149 SB-R1 ring flash box ...................... £399 300 F4.5 ED AIS ............................... £399
www.MIFSUDS.COM MBD-80 (D80/90)...............................£49 35 F1.4 AFS G box ..............................£799 TC17-EII box......£99 TC20-EIII ..... £149 SB-700.......£149 SB-900................ £149 PB-4 or PB-6 bellows each .......... £199

40-150mm
F2.8 Pro Used Panasonic 42.5mm
F1.2 DG
12-24mm
F2.8 GM
OM-1 body 8-25mm F4 box G9 body 45-200mm A9 MKIII body A7R MKV
Pro box body box box
box F4/5.6 box

£1399 £749 £799 £499 £149 £499 £4599 £3399 £1999

FUJI X DIGITAL USED OLyMPUS MICRO 4/3 USED PANASONIC MICRO 4/3 USED SONY DIGITAL USED SONy FE MOUNT DIGITAL USED GITZO CF TRIPODS/HEADS USED
X-T2 body .......................................... £499 OM-1 body Mint box...................£1399 G9 body box ..................................... £499 A1 body box ...................................£4499 12-24 F2.8 GM box .......................£1999 GT1545T + GH1382QD ................. £499
X-H1 body + grip box ................... £599 7-14 F2.8 Pro box............................ £699 BGG9 grip box ....................................£99 A9 MKIII body box ........................£4599 16-35 F4 ZA box .............................. £599 GT1555T + 82TQD .......................... £399
10-24 F4 XF R box........................... £349 8-25 F4 Pro box ............................... £749 G7 body.......£299 GH4 body ...... £399 A9 MKII body..................................£2499 24 F1.4 G box ................................... £799 GT3531S.....£499 GT3541LS........ £499
16 F1.4 WR box. ............................... £499 9-18 F4/5.6.......£299 12-40 F2.8 ....£399 7-14 F4.........£399 8 F3.5 box ...... £399 A9 body box ...................................£1499 24 -70 F2.8 GM II box ..................£1699 GT3542........£499 GT5532S ......... £499
16-80 F4 WR....£449 18 F2 R ....... £299 12-45 F4 Pro....£399 12-100 F4 ... £799 8-18 F2.8/4 box ............................... £629 A7R MKV body box ......................£2999 24-70 F4 ZA OSS box..................... £399 GT5540LS .......................................... £599
18-55 F2.8/4 XF ............................... £299 12-200 F3.5/6.3 box ....................... £599 12-60 F3.5/5.6 .................................. £299 A7R MKIV box ................................£1999 24-105 F4 G OSS box..................... £799 G2220 Explorer ................................ £199
23 F1.4 XF....£399 35 F2 XF WR . £279 17 F1.2 Pro box................................ £599 14-42 F3.5/5.6 .....................................£99 A7R MKIV A body box .................£1999 35 F1.4 ZA OSS box........................ £599 GHF3W ............................................... £299
50-140 F2.8 WR box ....................... £999 30 F3.5 macro box.......................... £149 14-45 F4/5.6...................................... £149 A7 MKIV body box .......................£1699 35 F2.8 box...£299 50 F1.2 box£1399 G2380 video head box ................. £229
50-230 F4.5/5.7 MKII...................... £239 40-150 F2.8 Pro box ........................... £799 25 F1.4 box ....................................... £299 A7 MKIII body.................................£1199 50 F1.4.........£1199 55 F1.8 box . £399 GH2750QR ........................................ £199
55-200 F3.5/4.8 R box ................... £399 40-150 F4 box ...................................... £649 35-100 F2.8 MKII box..................... £599 RX10 MKIV box ..............................£1199 70-200 F2.8 GMII box ..................£1799 GH3382QD ........................................ £299
56 F1.2 R....£449 60 F2.4 R mac £299 40-150 F4/5.6 ................................... £149 42.5 F1.2 DG ..................................... £499 VG-C4 EM grip box......................... £299 85 F1.4 G....£999 90 F2.8 G OSS £699 GH3750QR head ............................. £299
100-400 F4.5/5.6 WR box ............. £899 45 F1.2 Pro box................................ £599 45-175 F4.5/5.6................................ £299 VG-C3 EM grip box......................... £129 100 F2.8 GM OSS box.................... £899 GH3780QD head............................. £299
1.4x XF conv ..................................... £299 60 F2.8 macro .................................. £349 45-200 F4.5/5.6 box ....................... £149 Sony F60M flash box ..................... £299 100-400 F4.5/5.6 OSS D box .....£1399 GH5380SQR head ........................... £299
X500 flash.....£299 EF-42 flash ......£99 75-300 F4.8/6.7 MSCII ................... £379 100-300 F4/5.6 MKII....................... £349 Sony F58AM/F43/F56AM each .. £149 135 F1.8 box ...................................£1299 GS3750 DQR panoramic head ... £149
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA ETR 645 USED BRONICA Sq 6x6 USED HASSELBLAD 6x6 USED MAMIyA 645 MF USED PENTAX 645 AF USED PENTAX 6x7 USED
ETRSi + AEII prism + 75 EII SQAi + 80 + WLF +120 box ........ £699 501CM, 80 F2.8 CF, A12, WLF ..... £2999 645 Pro body .................................... £399 33-55 F4.5 FA.................................... £499 6x7 MU body .................................... £499
+ speed grip + 120 back .............. £699 SQAi body.......................................... £399 500CM + 80 F2.8 CF + A12 ......£1999 Teleplus 2x conv ................................£39 45-85 F4.5 FA.................................... £499 35 F4.5 fisheye ................................. £599
ETRSi body ........................................ £299 SQA body .......................................... £299 501CM body chr ...........................£1199 WLF M645J, M1000S ..................... £199 55 F2.8 D FA box ............................. £499 55 F4 early ......................................... £399
ETRS body ......................................... £199 40 F4 S ................................................ £399 40 F4 C early ..................................... £499 120 back.......£149 120 insert ........£29 55-110 F5.6 FA ................................. £499 55 F4 late ........................................... £499
40 F4 PE........£399 40 F4 E .......... £199 50 F3.5 PS box ................................. £349 50 F4 CF FLE...£699 80 F2.8 CB . £699 Ext tube 1/2/3 ea ...............................£29 120 F4 FA macro ............................. £499 75 F4.5 box..£499 90 F2.8 ........... £599
50 F2.8 PE....£299 50 F2.8 E MC £199 110 F4 macro ................................... £299 135 F5.6 CF + macro bellows ..... £699 MAMIyA TLR 6x6 USED 150-300 F5.6 FA ED box ............... £499 90-180 F5.6 box............................... £499
135 F4 ................................................. £299 150 F4 PS ........................................... £299 150 F4 CF ........................................... £499 C330S body + WLF ......................... £399 200 F4 FA....£399 300 F5.6 FA .... £499 105 F2.4 late box ............................ £699
150 F3.5 E .............................................£99 2x converter PS ............................... £149 150 F4 Black T* ................................ £299 C330F body box...£299 55 F4.5 £249 400 F5.6 FA........................................ £499 105 F2.4 early ................................... £499
180 F4.5 PE........................................ £299 2x converter S .....................................£69 180 F4 CF box .................................. £699 MAMIyA 7 RF 6x7 USED PENTAX 645 MF USED 120 F3.5 soft focus ......................... £399
2x extender..........................................£49 SQAi waist level finder.................. £199 250 F5.6 black T*............................. £299 7II body ............................................£1999 45 F2.8.............£299 55 F2.8......... £299 135 F4 mac...£199 165 F2.8........ £199
ETRSi 120 back RWC late ................£99 SQAi prism late ................................ £399 PME90 prism .................................... £499 43 F4.5 box...£899 80 F4 ............. £999 80-160 F4.5 ....................................... £299 200 F4 latest ..................................... £199
AEIII prism ......................................... £399 SQAi 120 back late ......................... £149 PM 5 prism...£399 PM90 prism . £369 150 F4.5.........£399 210 F8 ........... £399 120 F4 macro ................................... £399 300 F4 latest ..................................... £199
AEII prism .......................................... £199 SQA 120 back early ...........................£99 A12 magazine ......................... £199/499 Polarising filter ZE702 box .......... £149 200 F4....£299 300 F4 green T* . £499 1.4x or 2x rear converter grey ea£149
Ext tube E14 or E28 each ................£49 Plain prism S..................................... £199 A16 magazine .................................. £299 MAMIyA RB 6x7 USED 1.4x or 2x converter each ............ £149 Plain prism...£199 Chimney ....... £199
Speed grip E...£99 WLF ............... £149 Polaroid back ......................................£20 Pro shade. .............................................£79 Pro SD body...£399 55 F4.5 ........ £299 Auto ext tube set ............................ £149 REF converter angle finder ......... £199
Rotary prism E box......................... £149 WLF............£149 SQA speed grip ..£99 Snap lock flash grip box............... £399 Prism early....£129 Chimney box£149 Helicoid ext tube ............................ £149 Helicoid ext tube ............................ £149
Plain prism E box ............................ £149 Lens hoods various .................... £20/50 Lenshoods & filters ................. SEE WEB Extention tube 1 ................................£59 REF converter angle finder ......... £149 Wooden grip .................................... £199
FOR 35MM AF/MF ETC PLEASE SEE WEBSITE FOR CURRENT STOCK ~ WWW.MIFSUDS.COM
ITEM yOU REqUIRE NOT LISTED? EMAIL DETAILS OF wHAT yOU ARE LOOkING FOR AND wE wILL CONTACT yOU wHEN wE CAN HELP. CORRECT 10/05/2024.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
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Photo credits:
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 Croydon Photo Centre
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 Photo Critique

Final Analysis
Tracy Marshall-Grant considers…
Shoulana and Mekhey at home by Carol Allen-Storey

I
’ve been working with
Carol Allen-Storey
for many years and
on many important
projects. As an award-winning
photojournalist, and since
2009 a UNICEF ambassador for
photography, she specialises
in chronicling complex
humanitarian and social issues
in an embedded, empathetic,
and co-authored way. Her
work often illuminates people’s
quests for survival, and their
battles overcoming trauma –
with her working alongside the
individuals over many years.
This particular picture I have
selected is from Allen-Storey’s
decade-long project, Defying
the Myth, which is a
collaborative photographic
project focusing on
illuminating the challenges

© CAROL ALLEN-STOREY
and triumphs faced by three
families headed by single
women living with severely
disabled children. Begun as
a project by Save the Children
in 2014 that looked at families a part of their regular lives, their ‘Allen-Storey’s presence is not felt in this
living below or near the poverty sharing their most personal and
line, Allen-Storey has continued challenging moments with her image at all, it is there softly in the
the work with the families at is illustrated clearly for me in background, but hardly noticed in any way’
the heart of the project, this softly captured brief
chronicling their intimate moment of quiet close intimacy
daily lives, their personal between Shoulana and her I have seen other images book, documentary film
triumphs, and witnessing their child. Allen-Storey’s presence from this series, much harsher, and exhibition tour of the
children grow into young is not felt in this image at all, much more the reality of life work, and it is well worth
adults and the varying degrees it is there softly in the with disability within the watching out for this when
of survival and successes which background, but hardly noticed heart of the family, and I have it emerges. The combined
has accompanied that. in any way. The soft gentle seen them in colour where visual and oral outcomes
caress by the mother – or there is no hiding place from will platform the complex
Personal moments perhaps it is a gentle whisper the tough realities of the experiences of the three
This image of Shoulana – one – is almost tangible: that breath, women and their situation. women over the decade of
of the three women at the heart the tickle on the face of the None, however, makes me feel this project, and how they
of the project – epitomises the child. Their eyes, so deep and the heart of the project in the have changed and grown.
heart and soul of this series intense – one looking at the way this image does. See more of Carol’s
for me. The openness of the other, the other looking just To mark the ten-year work at www.castorey.com
women to the photographer, over the shoulder of the mum. anniversary of the project, and on Instagram
their allowing her to become It is beautiful in its intimacy. Allen-Storey is creating a @carolallenstorey

Tracy Marshall-Grant is an arts director, curator and producer. She has recently been deputy director of the new Centre for British Photography and director of development for the Royal
Photographic Society. Previously she has worked for the Bristol Photo Festival, Look Photo Biennial 2019, Open Eye Gallery and Belfast Exposed Gallery. Tracy co-curated the award-winning
Chris Killip exhibition which is currently on show at the Baltic gallery in Gateshead.

98 www.amateurphotographer.com
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 © Albert Dros

FE 16-35mm f/2.8 GM II

Professional Photographer

CAPTURE THE SCENE IN ALL ITS GLORY

Renowned landscape photographer Albert Dros, celebrated for his breathtaking
landscapes, masterfully uses the Sony FE 16-35mm f/2.8 GM II lens to capture the
essence of Dutch scenery. With unparalleled sharpness and adaptability, it brings
forth expansive, vivid vistas in any environment. Paired seamlessly with the A7RV,
each panoramic shot transforms into a visual masterpiece. Perfect for photographers
seeking to push the boundaries of wide-angle photography with unrivalled precision
and vibrancy.

THE CHOICE OF C R E AT O R S

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