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 7days
Inside this week’s issue
Welcome
3 7 days
8 Books and 36 Since the current
Israel-Gaza conflict
exhibitions began on 7
12 A harsh training October 2023, 131
ground: Journalist journalists have
training camps been killed in that
region alone. Where once upon a
16 APOY launch time, a vest with ‘Press’ written on
Round 9: Travel it would mark you as a neutral
18 Software tutorial – observer, now they are specifically
architecture targeted in wars and authoritarian

© CALLUM MCINERNEY-RILEY
states in all corners of the world as
20 APOY Inspiration antagonists attempt to eliminate
22 Panasonic Lumix any witnesses to their atrocities.
GH7 review This week we report on a unique
training school that aims to teach
31 iPhone 16 Pro & journalists how to stay alive.
Pro Max review
36 Guide to travel
31 Hopefully your own travel plans
don’t require the need for such
photography skills, but a great holiday can still
be spoiled by carrying too much
40 Behind the print kit. This week we present some
43 Inbox tips on travelling light without
compromise. Don’t forget to enter
44 It’s good to share your best shots into the travel
48 Reader portfolio round of APOY 2024, open now.
Nigel Atherton, Editor
53 Buying Guide:
© JENNIFER FORWARD-HAYTER

Mirrorless lenses
66 Final analysis
12

MAIN COVER PICTURE © JUNE FOX. INSET PICTURE © JENNIFER FORWARD-HAYTER

18 22 Our cover shot is by June Fox, taken on a

Canon EOS 5DS R. This wonderful image
© ROD LAWTON
from Vietnam came third in the Travel
THIS WEEK’S CONTRIBUTORS round of APOY, 2023

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
CALLUM ANDY WESTLAKE AMY DAVIES JENNIFER BEN BRAIN AILSA FACEBOOK: amateur.photographer.magazine
McINERNEY-RILEY Technical Editor Features Editor FORWARD-HAYTER McWHINNIE TWITTER: @AP_Magazine
In our regular
The AP regular’s Our resident AP’s smartphone The photographer Behind the Print Our APOY INSTAGRAM: @AP_Magazine
guide to choosing camera and lens tester assesses explores a training series, Ben co-ordinator FLICKR: flickr.com/groups/amateurphotographer
the best gear to expert tests the Apple’s flagships, course for explains how he launches Round 9
travel light for Panasonic Lumix the iPhone 16 Pro journalists working created a stunning and presents tips
travel photography GH7 hybrid camera and Pro Max in war zones artwork for sucess
Apple starts full AI roll-
out, including photo tools
APPLE has announced the wider
availability of the first set of Apple
Intelligence (read AI) features for the iPhone,
iPad and macOS computers, first announced
at the iPhone 16 launch on 11 September.
For photographers, which is just about
every iPhone owner these days, key features
include natural-language search, enabling you ‘Una Piedra en el Camino’ by Cristina de
to find images and videos stored on the Middel, one of the shortlisted photographers
phone simply by describing them (Apple gave
the very Californian example of ‘Maya
skateboarding in a tie-dye shirt.’) It’s also
Auto movie generation via ‘Memories’
Deutsche Börse shortlist
possible to search for a specific scene in a software engineering, Craig Federighi, told the THE 2025 Deutsche Börse Photography
video, and the AI-powered search tools offer Wall Street Journal. Alterations to an image Foundation Prize has announced its
smart completion suggestions. made via the Clean Up Tool are clearly shortlist, with Cristina de Middel, Rahim
Some of the tools have been available to marked in its metadata. Fortune, Tarrah Krajnak and Lindokuhle
iPhone users since mid-October via an Sobekwa making it to the final round. The
upgrade of the phone’s operating system, More coming in December winner of the £30,000 prize will be
iOS 18, and are now out of beta (test) phase. More AI features are promised to arrive announced at an award ceremony at The
To recap, they include the Memories feature, next month, including a new Camera Control Photographers’ Gallery in central London on
which enables users to make movies just by which enables you to bring up search 15 May 2025, with the other finalists each
typing a description. Apple Intelligence will information about a subject in front of you – receiving £5,000. Full details of the Prize
pick out relevant photos and videos based on details of the opening times of a restaurant, exhibition and award evening will be
your input, create a storyline with chapters for example, or its menu. announced in early 2025. The annual
based on themes identified from the photos, AI image generation will also be possible exhibition of work from the shortlisted
and arrange them into a movie ‘with its own with the Image Wand and Image Playground projects will also be on show at The
narrative arc.’ features. Photographers’ Gallery from 7 March to 15
There is also the Clean Up Tool, which can The first set of Apple Intelligence June 2025.
identify and remove distracting objects in a features is available now as a free software
photo. Apple is keen to stress that it wants update with iOS 18.1, iPadOS 18.1, and
to keep edited photos looking realistic, so macOS Sequoia 15.1, and can be used when
unlike certain Samsung or Google phones, your device and Siri language are set to US
the Clean Up Tool doesn’t add AI-generated English – UK English compatibility is coming
elements to the picture. ‘It’s important to us in December. Note too that these new AI
that we help purvey accurate information, not features will only work on the iPhone 15 Pro
fantasy,’ Apple’s senior vice president of and iPhone 16 models.

Major new film photography contest opens The Lomo’Instant

Wide Glass camera
THE FILM Photographer of the Year 2024, organised by AP in association with Analogue
Wonderland, Kodak Professional and Ricoh, is now open for entries.
The judging panel, which includes representatives from these companies and AP’s Nigel Lomo’s instant
Atherton and Jessica Miller, are looking for a set of five to eight images that show your ability
to shoot fantastic film images across a range of situations and styles. The winner gets over
gratification
£4,000 of prizes, including a Pentax 17 film camera, a year’s supply of Kodak film, a year’s LOMOGRAPHY has released the
supply of film developing and scanning with the Analogue Wonderland lab, and other goodies. Lomo’Instant Wide Glass instant
Entries close on 5 January 2025, with the winners set to be announced on 10 March. Full camera, which takes Fujifilm Instax Wide
details are at bit.ly/APfilmcontest film. Key features include a 90mm multi-
coated glass lens and 0.3m close focusing
distance, along with a manual exposure
compensation control and an additional
f/22 stop for a greater depth of field (the
standard fixed aperture is f/8). Multiple
exposure and bulb shooting modes are
available too, along with coloured gel filters,
a Splitzer lens attachment, and a lens cap
remote control featuring a shutter release
button and a timer switch. It’s available now
Enter your best images into AP’s Film Photographer of the Year award for £249 from bit.ly/lomowideglass

4 www.amateurphotographer.com
 ‘Sprites Dancing in the Dark Night,’ by
photographer Wang Xin, winner of the
Standard Chartered Weather
Photographer of the Year competition

The sprite stuff

‘SPRITES Dancing in the Dark Night,’ taken by Chinese Second and third prizes went to two British photographers – namely
photographer Wang Xin, has been named the overall victor of the Andy Gray from Matlock for his image ‘Hoarfrost Heaven’; and
Standard Chartered Weather Photographer of the Year competition, Jamie Russell from the Isle of Wight for his photograph ‘Evening
winning him £5,000. The image was taken in Chongming district to Shower of the Needles.’
the north of Shanghai and the judges commented that it is rare to See the full winners’ gallery at bit.ly/weatherwinners2024
see an image with this number of sprites.

www.amateurphotographer.com 5
 The Leica M Edition
70 bundle

Follow AP on
© LEICA

YouTube
Leica celebrates 70 Don’t miss our videos for the latest

years of the M series

kit, tutorials, behind the scenes
tours and exclusive interviews
with top photographers
LEICA is celebrating the 70th range over 250 pages, including SOME RECENT VIDEOS
anniversary of its M series of insightful essays, famous photographs
cameras and lenses with a special- and rarely shown archival material.
edition, platinum-plated analogue In a separate move, Leica has
camera, a new Leicavit M fast film released three more variants of the film
winder and a glossy anniversary book. winder, namely, black-painted, glossy
The Leica M range is part of the DNA black-painted, and silver-chromed –
of photojournalism and documentary which are compatible with the Leica M-A,
photography worldwide. British street MP, M6, M7, M6 TTL, M4-P and M4-2
photographer Matt Stuart notes: ‘The cameras (these are not limited editions,
beauty of the Leica M is that it is so however). It is mounted in place of the
small and therefore discreet and handy base plate and allows users to take up
to use. Even when people see me using to two pictures per second without
it, they don’t see me as a paparazzo – taking their eyes off the viewfinder.
they see me as an artist.’ The Leica M Edition 70 bundle is
The special-edition Leica M Edition 70 available from early 2025 for £19,000;
bundle, limited to 250 sets, comprises a the book sells for a more affordable
platinum-plated M-A film camera with an £45. The film winder variants will set you
M3 design, an APO-Summicron-M 50 F2 back £900. Note that the Leica M Edition
ASPH lens, a Leicavit M fast winder and 70 bundle is only available from selected
a film container (with film). The firm is Leica stores, including Leica London,
also publishing a ‘Leica M’ anniversary while the film winder and book are also
book, which details the history of the available from authorised Leica dealers.

‘Dragon’ shout-out for photo tour start-up

ANGLESEY-based photography tour operator The Photographic Adventure
Company recently got a boost from business mogul Theo Paphitis of TV’s
Dragons’ Den fame. The company was one of six weekly winners of his Small
Business Sunday (#SBS) competition, with Paphitis reposting about the winners to
his sizeable Twitter and Instagram audience.
The Photographic Adventure Company also gets access to a network of small and
micro businesses across the UK. ‘It is incredibly humbling and exciting to have this
boost and support from Theo so early on in my business journey,’ says Greg Childs,
founder of The Photographic Adventure
Company. ‘We have only just entered our
second year of business and up until
about three weeks ago I was still working
from either the kitchen table or the sofa.’ To find our channel simply
More than 4,000 small businesses point your smartphone
have been featured on #SBS since the camera at this QR code or
initiative started in 2010 and more type our name into Google:
information can be found at
theopaphitissbs.com/about/. The YouTube/AmateurPhotographerTV
Photographic Adventure Company is at
thephotographicadventurecompany.com The Photographic Adventure team

6 www.amateurphotographer.com
 Mic up 4 people with the
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ALL IMAGES © DAVID LACHAPELLE STUDIO

Lost + Found / Good News

by David LaChapelle
£40 each, Taschen, hardcover, 286/284 pages, clients. In recent years, he has moved into
music videos, live theatrical events and
ISBN: 9783836599641 / 9783836599658 documentary film-making.
A visually arresting duo of books from one of Each of the pages of these books is a bold,
bright and dramatic array of colour. You could
the most celebrated photographers of all time, spend a long time looking at each spread,
finding new and intriguing details, never mind
finds Amy Davies looking through the entire collection.
LaChapelle, himself a Catholic, often uses
First published ten years ago, celebrities and influential figures including religious imagery in his work. He also cites
this duo of books from the Lady Gaga, Hillary Clinton, Katy Perry, Uma baroque painters, such as Caravaggio, as
legendary photographer David Thurman, Andy Warhol, Julian Assange, Amy influences. You can really see those motifs
LaChapelle completes his Winehouse and many more besides. The final across the imagery in Lost + Found and Good
five-book anthology. The books instalment, Good News, also features an array News. You can imagine if 16th century artists
have been out of print for some of celebrities, but aims to ‘photograph that of that ilk had access to a camera, they’d be
time, so it’s a new chance for which can’t be photographed’. creating similarly dramatic pieces of
those who missed out before to David LaChapelle’s first professional job symbolism, too.
get their hands on them. was with Andy Warhol, working for Interview The books are available to buy separately,
Lost + Found is the fourth magazine. He has gone on to be one of the so you can choose to just pick up one if you
volume in the series, and includes works that biggest names in fashion and portrait prefer. But, it’s fair to say that photography
had never previously been published in book photography, being exhibited in numerous like this is somewhat addictive. You may just
form. In this book we see LaChapelle’s galleries, featured in the planet’s biggest find that when you’ve consumed one, you’ll
unique vision and lens pointed at a raft of magazines and with a roster of world-famous be keen to get hold of the other.

8 www.amateurphotographer.com
Left: Seventy Two
Virgins. 2008, Los
Angeles

Below: We are
Books & exhibitions
Blessed. 2017, Hawaii The latest and best books and exhibitions
from the world of photography
Bottom: Nicki Minaj,
Superbass. 2011

© JACQUELINE SILBERBUSH
What Shod I be!!!!? By
Jacqueline Silberbush
$55, Mass Books, hardcover, 176 pages, ISBN:
9780997216363
This poignant book examines female
experiences through tender portraits and
vignettes from the artist’s own birth up to
the birth of her child.
The book weaves together many images
of different children, girls and young women to create
a semi-fictional composite character. Ten years in the
making, we get a glimpse into family life, hospital
rooms, rave clubs and more besides.
Sometimes raw, but often shot with humour, the
work helps us to contemplate the intricacies of life
and the cycles that come with it. From childhood,
through adolescence and onto motherhood,
throughout, Jacqueline is asking the question ‘What
Shod I be!!!!?”, hence the book’s title.
A photographer and educator based in New York
City, Jacqueline specialises in long-form projects that
weave together personal stories with a more
universal narrative.
She says that this work aims to look back at her
own loneliness, love, insecurity and anxieties she
felt, but also knows that is recognisable within all of
us. The results are beautiful and tender, and indeed,
speak to my own experiences too.
© JACQUELINE SILBERBUSH

9
BOTH PICTURES © ADRIAN CALE

The book of being Chimp that contrasts with those who are at rescue Above left: Chimps love to
by Adrian Cale centres and have to learn what it is to be a explore the trees
£18.99, Graffeg, hardcover, 96 pages, chimp all over again. A foreword by the
ISBN: 9781802587876 renowned chimpanzee expert and Above right: Expressions
conservationist Dr Jane Goodall is also and emotions remind us of
With more than 100 included, who says, ‘If chimps could read, this our human selves
photographs in this sweet little might well be their own how-to-grow-up guide.’
hardbook book, this is a Adrian Cale is an award-winning filmmaker If you’re interested in wildlife photography,
celebration of all things who has worked with the BBC, National but also want to know more about the story
chimpanzee. Geographic, Animal Planet and Sky, so as you of the animals shown and how they live, this
The pictures are all accompanied by can imagine, the photographs within it are is a great example. It would also make an
simple, yet humorous text which tells you beautiful too – and give us a glimpse of just excellent gift for the nature-lover in your life
about the lives of chimps in the wild, and how how wonderful these animals are. – especially children.

Endurance & Joy in the East End

ALL THREE PICTURES © DAVID HOFFMAN

by David Hoffman
Museum of the Home, 136 Kingsland Road,
London E2 8EA. Free. Until 30 March 2025
David Hoffman is one of Britain’s leading protest
photographers, and this new exhibition is now open at
Hoxton’s Museum of the Home.
David credits going to live in a squat in Fieldgate in
1973 with changing his life. During the following decade,
he documented homelessness, racism and the rise of
protest in a series of compassionate and intimate
pictures that showcase the resilience of the subjects
featured within.
Coinciding with the publication of the book of the same
Local residents in name, the show aims to show how much has changed in
Parfett Street preparing the East End since the 1970s, with it still being not
to repel the bailiffs enough change.
intending to evict
The exhibition has been curated by The Gentle Author,
squatters, 1973
a blogger who has been writing daily about the culture of
London for the past 15 years – and who was inspired by
the way David’s photography also speaks to modern
times too, despite being nearly half a century apart.
A crowdfunding campaign saw this exhibition come to
life. With £10,000 raised in the summer, it means the
resulting project will be on display for six months, with a
programme of accompanying events to look at themes of
homelessness, racism and protest.
With free entry, this is an exhibition well worth a look.
Particularly so for anybody who grew up in the areas or
was involved with any of the events depicted, but there
Fieldgate Mansions, Whitechapel, 1978 Scratch Band, Fieldgate Festival, 1976 are certainly themes here which are universal.

10 www.amateurphotographer.com
 Nikon Wanted for Cash
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Nikon Cameras & Lenses: Mirrorless,
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PHOTOJOURNALIST TRAINING FOR WAR ZONES

A harsh
training
Every day, photographers and journalists risk their
lives capturing important images for the world. But
how do they prepare for photographing in war zones?
Well, there’s a training course for that. Jennifer
Forward-Hayter attended one to find out more…

Y
ou’ve just sat down at the Training (sometimes known as Right:
desk, it’s in a nice open HEFAT, HEAT, HETC, HETT, or HET) Photography as a
plan office space. Today is the health and safety course for torture method
you have to type up some journalists working in war zones. I
celeb press – who’s getting divorced, reached out to Hostile Environment
who stuns in new photo, and who Training Ltd, which runs at least two
said the wrong thing? Across the multi-day workshops twice a week,
room you hear a colleague being every week (apart from Christmas),
welcomed back to the office – he’s to explore and photograph their
been working abroad for a few operations.
months… you’ve not really been While it’s critical that more people
paying attention… There are understand the need for HET
jubilant cheers so you wander over. courses, especially for freelancers
He’s taking everyone to the pub, currently eyeing those £40 tickets to
it’s the thing he’s missed most after Ukraine, the team are a bit
being held hostage by the Taliban. concerned – I’m a young woman
Other than that, he tells the crowd, from London, an artist no less. I
they treated him quite well… reassure them by talking about my
In 2022, I was beginning a project brothers – two farmers, used to bad
photographing journalists. At the weather and the facts of life. They let
time, the UK had one in a me come along.
maximum-security prison, and I arrive (at a location I’ve been
another as Prime Minister. Whilst asked not to identify), and they look
the numbers differ, 2022 saw a sharp me up and down. I was to be on the
rise in violence against journalists side of the militia. While the
and media workers. War in Ukraine training starts off with some
was the first full-scale war in Europe PowerPoints and seminars, a series of
since WW2, and it was just so surprise attacks are due…
accessible… My return flights were My new militia friends are lovely.
just £40! We’re sat in an office as they fill out
But how do you prepare an influx paperwork, hold their team meeting,
of ordinary writers for kidnapping, and efficiently pack their props for
explosives, and war-torn the day – a large arsenal of
environments? Hostile Environment guns, explosives, and blow

12 www.amateurphotographer.com
 ALL PICTURES © JENNIFER FORWARD-HAYTER
Militia preparing A simulated checkpoint or border
crossing gone wrong

www.amateurphotographer.com 13
PHOTOJOURNALIST TRAINING FOR WAR ZONES

torches, but most interestingly a than 1/125, no time for a final

wardrobe of costumes. The militia sign-off. Their story just gets cut off.
think my use of flash is great, and it The rest of my militia are busy.
is added to the rhythm of the torture Many who run the course are
which is to come. It was reassuring ex-armed forces, missing limbs.
to know that if these journalists were They’ve discarded their legs and
going into real war zones, intruding arms, covered themselves in blood,
on the lives of real victims, they and have thrown themselves onto
were going to know what it felt like. the wooded path in front of the
A bit later, I’m sat at the edge of a journos. One ‘victim’ looks like a
demonstration of IEDs, a short pair of tights full of jelly – his eyes
history, ‘They used to work like this, are bulging, his knuckles are white,
now this is more popular, in this he’s pleading for help whilst blood
region this is the trend…’ I’m hiding squirts and leaks. His scream is so
behind a bridge, on the ground, with foreboding and unlike anything I’ve
some camo thrown over me. ever heard before. But he has.
I’m waiting for a large explosion. It’s been a long day for these
Very large. The militia are all eager journalists already, but this marks
for me to capture this, but I instead the beginning of the crescendo of
recall some advice from Simon the training. Another wave of the
Roberts – ‘turn around’. I slither militia are on them. The journalists’
along the floor, I’m almost under the hands are tied, and they have bags
table containing the prop IEDs, my and blindfolds slung over their
camera is on the faces of the journos heads. This is how they’ll be for the
scribbling notes. next several hours.
BOOM. They’re dragged and marched to a
The shot I get is sad. They’re small shed, and the torture begins. I
illuminated in this putrid orange, won’t give away all the tactics – we
some look confused, others are still are sworn by the militia brotherhood
taking notes. If this was a genuine – but there is one particular
attack, this is the banal final interrogation I remember.
moments of their lives. Over in less ‘Why are you here?! What do you

14 www.amateurphotographer.com
 PHOTOJOURNALIST TRAINING FOR WAR ZONES

do?! You’re a journalist, aren’t you? I’ve taken on many more ‘scary’
Taking pictures?! What you gonna subjects and stories – from big stars
say about this?!’ with big egos, to Russian nazis
‘No, I’m not a journalist!’ hiding from the law. I like to think
‘You’re not a journalist?’ of myself as ‘The Access Queen’. But
‘I shoot reportage!’ you’re only deserving of that spot if
The militia interrogator didn’t you have the right knowledge of
even pause, ‘What the F--- is your surroundings, and can look
reportage?!’ after yourself.
In negotiations with kidnappers, The Ukraine invasion happened in
apparently, it’s not the best time to February; by March there were no
argue for the subtle nuances between bulletproof flak jackets available
reportage and photojournalism. from any UK distributor. Many
My photos, on the other hand, sit people, looking for their own Robert A collection of IEDs (improvised explosive device)
in a bizarre uncanny valley. The Capa adventure, felt that just
hoods can’t help but mimic the slinging on a jacket would make
shocking photos of the very real Abu them ready to report, but they’re
Ghraib, but the clean, super-bright missing a critical piece of the
artificial light (the Profoto A1) puzzle. A bulletproof flak jacket on
confuses things. Flash is loud, and its own isn’t going to give you the
intrusive, it is near-impossible to use results you want.
in a war zone, however I’ve had I loved my time at the HET camp.
many people think these photos are There are very few things which are
of a real torture scene. I must have fun, important, and have a positive
just gained the trust of a real militia. impact on both those attending, and
From Larry Fink to Martin Hartley, running the course. These ex-armed
in order to shoot images you can’t be forces members continue to use their
scared or intimidated by your hard-earned experience in the field.
surroundings. This applies for all Meanwhile, we get high-quality
good photography. You want your journalism from some of the most A journalist praying, while another gets told off for back-chat
wedding photographer to push your desperate and at-risk areas in the
second-cousin out the way of your world, and keep those who are
‘first kiss’ shot, not be hiding at the reporting safe(r) so the only thing
back of the room. Since this shoot, they miss is a trip to the pub.
Left, top:
Journalists being
bound and
gagged. They’ll
stay like this for
several hours

Left: A first-aid
test

Right: A ‘dead’
body
The militia internal team debrief

Waiting just outside the ‘torture shed’

Jennifer Forward-Hayter is a photographer who focuses on documentary and

social performance. She is based in London and Dorset. See more work at
jenniferforwardhayter.co.uk

www.amateurphotographer.com 15
COMPETITION

Amateur Photograp h
Your chance to enter the UK’s most prestigious comp
Round nine Travel
Lynn Fraser’s stunning
shot, ‘Mundari Camp
Life’, taken in South
Sudan, was a
Experiencing cultures different from our own is exhilarating, and the commended pic in last
sights and colours of new places provide plenty of inspiration for our year’s Travel category
photography. Distilling such experiences into a single image is a huge
challenge, as it’s tempting to include as much as possible in the
frame, so try to only include what really matters. It also goes without
saying that showing respect for the people and traditions you might
encounter is more important than any photograph, so if someone
makes it clear they aren’t comfortable with your camera, walk away.

Your guest judge

Your guest judge for Round Nine, Travel, is
Bella Falk, a multi-award-winning travel
blogger, writer, photographer and
documentary director based in London. In
2024 she won Trade Feature of the Year
at the Inspire Global Media Awards and in
2023 was awarded Blogger of the Year
and Best Blog Post at the British Guild of
Travel Writers’ Awards. She has travelled
to over 70 countries across all continents,
and been published in BBC Travel, National
Geographic Traveller, and more. See her
work at www.passportandpixels.com

Plan your APOY 2024 year

Below is a list of all this year’s rounds, including when they open,
when they close and the dates the results will be announced in AP
THEME OPENS PHOTOCROWD OPENS AP CLOSES RESULTS
Black & White 26 March 9 April 22 April 4 June
Animal Kingdom 23 April 23 April 20 May 2 July
Urban Life 21 May 21 May 17 June 30 July
© LYNN FRASER

Action 18 June 18 June 15 July 27 August To enter, just

Landscapes 16 July 16 July 12 August 24 September
People 13 August 13 August 9 September 22 October ALL ABOUT APOY 2024
Macro 10 September 10 September 7 October 19 November
Dusk to Dawn 8 October 8 October 4 November 17 December
The camera club award
Do you belong to a camera club? You can accumulate points
Travel 5 November 5 November 2 December 14 Jan 2025 for your society when you enter APOY, and after all the ten
rounds are complete, the club with the most points will win
Open 3 December 3 December 31 December 11 Feb 2025 a superb ViewSonic X1-4K projector worth
£1,500, with image quality powered by
advanced 3rd generation LED technology
YOUR FREE ENTRY CODE that offers a 60,000-hour lifespan without
Enter the code below via Photocrowd to get one free lamp replacement. In addition, the member
entry to Round Nine – Travel of the winning club who contributed the

APOY52668979
most points to their club’s overall tally will
win a ViewSonic ColorPro VP2786-4K
monitor worth £1,000.

16 www.amateurphotographer.com
her of the Year
petition for amateur photographers

£17,500
In association with

worth of
prizes

What you win

APOY prizes
The winner of each round of APOY
receives a voucher for £500 to
spend at Camera Centre UK*. In
addition to this, the winner of each
round will also receive a one-year
subscription to Adobe’s All Apps
plan, worth £660. The runner-up of

*PLEASE NOTE THAT FOR 2024, THE CAMERA CENTRE UK VOUCHERS ARE AVAILABLE ONLY TO WINNING PHOTOGRAPHERS WHO ARE BASED IN THE UK
each round will receive a one-year
subscription to Adobe’s Photography
plan, worth £120.
The overall winner after ten rounds
wins a £1,000 voucher to spend at
visit www.amateurphotographer.com/apoy Camera Centre UK.

Young APOY prizes

The winner of each round of Young
APOY receives a one-year subscription
to Adobe’s Photography plan, worth
The Young APOY award £120. The overall winner of Young
For the fourth time, we are running an APOY APOY will receive a £500 voucher to
Young Photographer of the Year competition, to spend at Camera Centre UK*.
encourage our up-and-coming snappers. Entrants
should be 21 or younger by the competition’s Camera club prizes
final closing date of 31 December 2024. All the The camera club with the highest
categories are the same as for the main contest number of points after ten rounds
© POLLYANNA VENTURA/GETTY IMAGES

– simply select the Young APOY option on will receive a 4K ViewSonic projector
Photocrowd when you upload your images. Entry worth £1,500, while a ViewSonic
is free. Each category winner receives a one-year monitor worth £1,000 will go to the
Adobe Photography Plan subscription, worth club member who contributed the
£120. The overall Young APOY winner receives a most points to the winning club’s
£500 voucher to spend at Camera Centre UK*. final points tally.

www.amateurphotographer.com 17
 Technique ADOBE LIGHTROOM

Straighten up
Buildings and architecture are one of the most fascinating subjects for travel
photography, but you need to get them straight! Rod Lawton shows us how

W
e all like to photograph verticals part of a deliberate visual effect, around your subject and isn’t too tightly
different things when we but usually they are a distraction and can cropped, you can correct quite strong
travel, from landscapes, end up making your photograph look a perspective effects – our walkthrough
to local cultures and street little amateurish. below shows how it’s done.
scenes. Very often, it will be the spectacular Now you may not be able to do much There’s also a new feature in Lightroom
and very different architecture of other about these perspective effects when you that’s not connected with perspective but
countries and cities that catches our eye, take the photograph, but there’s a lot you could prove really useful for travel
and while we don’t have to worry too can do later in Lightroom. You do this in photographers – the new AI Remove tool.
much about perspectives and viewpoints Lightroom’s Transform panel, and as long Our tips box explains how this works and
for other kinds of subject matter, with as the original image has a little space what it can do.
buildings it does make a difference.
This is an
The main issue is that it’s often not BEFORE example of the
possible to take photographs of tall difficulties of
buildings without tilting the camera photographing
upwards – and this introduces the dreaded buildings. It’s the
‘converging vertical’ or ‘keystoning’ effect, striking red
where the sides of the building appear to Rathaus in Basel,
lean inwards. Switzerland, but
Sometimes people blame wideangle there was
nowhere to
lenses for this, but it’s tilting the camera photograph it
that does it. Buildings will look straighter if from that didn’t
you photograph them from further away leave it looking
with a longer focal length lens because you skewed. But with
don’t need to tilt the camera so much, but the Transform
that’s not always possible because city panel in
planners tend not to leave gaps for the Lightroom, it’s
possible to fix
convenience of photographers. Instead, the perspective
you have to photograph from across the properly.
street or square, from ground level, using a
wideangle lens to get everything in. You
can make these strongly converging

HOW TO CORRECT PERSPECTIVE IN TRAVEL SHOTS

1 Transform panel options 2 Auto and Full corrections 3 Vertical corrections only
You’ll find Lightroom’s perspective correction Vertical corrections stop tall buildings from If you don’t want to fix horizontal convergence
tools in the Transform panel in the Develop leaning inwards, but you can also correct you can just focus on correcting vertical
mode. There are buttons for automatic horizontal convergence from shooting convergence, and you can do this with the
corrections and manual tools too. First, buildings from the side rather than face-on. Vertical button. This will also straighten the
though, make sure the Constrain Crop box is The Auto button applies a ‘balanced’ correction image at the same time, and it can be a very
checked; otherwise, the correction process for both, while the Full button applies a successful instant fix for the majority of
will leave blank wedges around the image stronger correction. While effective, they don’t images. If you want to go further, though, you
which you will have to crop off manually. always correct horizontal convergence fully. can use Lightroom’s manual ‘Guided’ gadget.

18 www.amateurphotographer.com
 IN ASSOCIATION WITH

AFTER

Lightroom’s new AI object One of the headaches for fans of travel them and then leave Adobe’s Generative AI to
removal tool photography is getting a ‘clean’ shot of a
famous landmark or scene. Other people
fill in the space with surrounding objects and
details. In this instance it does a remarkable
have a perfect right to be there, of course, but job of
sometimes you just wish they could, well, go removing the
away. There’s a group of three people in the group of
foreground of this photo, and in fact I people and
composed it to allow for them and make leaving
them part of the picture. But let’s say I don’t convincing
want them in the scene or perhaps they details in the
wouldn’t want to be in other people’s photos wall behind.
– I can use the new Remove tool to paint over

4 Manual corrections 5 Guided transform tool 6 Re-cropping your photo

In the top left-hand corner of the Transform Here’s our photo with both horizontal and When you apply perspective corrections like
panel you’ll see a button that looks like a vertical correction applied with the Guided this, you do end up with a tighter angle of
hash ‘#’ symbol. If you click on this you can transform tool. As soon as you add two view. However, there might be a little more of
drag out four lines directly on the image, two vertical lines Lightroom will apply a vertical the image left than you think. If we swap to
along object edges that should be vertical, correction, and the same applies when you the Crop tools, we can see that there is a bit
(see screenshot) and two along horizontal add the second horizontal line. As you’ll see, more available around the edges. If we
edges. This will correct both horizontal and though, this level of perspective correction ‘unlock’ the Crop tool’s aspect ratio ‘padlock’,
vertical convergence. does crop off quite a lot of the photo… we can re-crop the photo to get this back.

www.amateurphotographer.com 19
APOY 2024

APOY Inspiration
If you’re planning to enter our Travel round, take these tips
from four of our top ten photographers from previous years
Trevor Cole, Donegal
Nikon D850, 24-70mm at 24mm, 1/25sec at f/3.5, ISO 6400

This serene image placed Trevor in ninth

place in last year’s round. The judges said:
‘We are left wanting to anthropomorphise
this scene, thinking of the cattle as a group
of people resting around the fire at the end
of an arduous day. And yet, look more
closely, and you’ll see the figure of a man
behind the fire.’

Trevor says: ‘This image was taken at a

Mundari cattle camp in Terekeka, South
Sudan. I used a Nikon D850 with a 24-70mm
f/2.8 lens. I used auto ISO (7200) as it was
pre-dawn and the light was beginning to
slowly materialise. My travel images are
always handheld. Composition is an
imperative in the cattle camps as it is easy to
focus on the subject and forget the “edges”
of the composition. Cutting off hooves can,
for example, impair an image. Despite being
early in the day, the camera picks up the image and give it a focal point. I called the night, the herders care for their cattle in a
golden light which heralds the dawn to come. image “Quiescence in the camp” as the symbiotic way and it’s a cyclical existence.
The light from the fire together with the camp was almost totally asleep and a very This image is intended to epitomise this
Mundari herdsman, who has slept overnight tranquil scene prevailed. All cattle camps in unique “camp ecosystem” where everything
with his cattle, add further substance to the South Sudan are similar. The fires burn at is connected and sustainability truly exists.’

Kirsty Simpson, Essex

Nikon D750, Tamron SP 24-70mm F/2.8 Di VC USD G2 at 26mm, 1/15sec
at f/9, ISO 3200
Kirsty won last year’s round with this
gorgeously mysterious shot. Judges said:
‘The peachy-blue early-morning light that
suffuses the image gives it an other-
worldly quality, with the unique silhouettes
of the baobab trees fading into the
distance. The six figures provide a superb
sense of scale and the separation
between each of them is spot on.’

Kirsty says: ‘We had arranged a sunrise

trip to Baobab alley during our trip to
Madagascar. There was amazing light at
about 4am. As we were setting up our
tripods a group of ladies were on their way
to the local market. We asked if they would
mind waiting a few moments so we could
photograph them. Thankfully they didn’t
mind. It was still very low light and I wanted
a full depth of field, so the shutter speed
and ISO had to be managed quite carefully.’

20 www.amateurphotographer.com
 APOY 2024

Graeme Youngson,
Aberdeenshire
Canon EOS 70D, EF-S18-55mm f/3.5-5.6 IS II at 29mm, 1/2000sec at
f/7.1, ISO 320
Graeme’s strikingly seen and composed
image bagged him sixth place in 2023. The
judges said: ‘Some great observational
skills have gone into this picture. Filling
nearly the whole frame with one colour is
bold, as is composing with the main points
of interest at the edges of the frame.’

Graeme says: ‘The Bo-Kaap is an amazing,

colourful area of Cape Town in South Africa,
with contrasting vibrant colours everywhere. It
is a multicultural neighbourhood known for its
brightly coloured homes – many of which date
from before the 1850s. It’s a very popular
destination for tourists. The trick then – as
with any popular spot for visitors – is to try to
avoid the obvious “postcard” type shots.
‘Here, the challenge was to get an
interesting composition which didn’t have too
many distracting colours and details in it.
‘I often use conventional compositional
techniques – the so-called “rules”– because
they can work well. But the big risk is that
your photos can be become a bit repetitive,
predictable, and formulaic if you use them all
the time. I am therefore tempted to try out
some different, more unusual and hopefully
dynamic approaches to composition.
‘With this shot I positioned the camera so
that the four elements of the photo were
towards the edge of the frame, to provide directions – again pointing the viewer towards streamline the scene. The portion of the red
something a bit unexpected and to force the the edges of the photo. car mirrors the colour of the wall. I wanted a
viewer to look towards the frame’s edges. The ‘I decided to use only one predominant simple but bold shot of a very colourful part
boy and the car are facing in different colour to remove distractions and to of the world.’

Tommaso Carrara, France

Leica Q2, Summilux 1:1.7/28 Asph, 1/320sec at f/11, ISO 100
Tommaso was fourth in last year’s round.
The judges said: ‘The men and their
trolleys are perfectly placed, giving a
sense of being together but apart at the
same time. The placement of trees and
shadows is perfect, too.’

Tommaso says: ‘I was scouting the city of

Essaouira and walking towards the medina
(the old part of the town) when I noticed
what seemed like a perimeter wall. I
thought it could be a good background,
then I stumbled upon a few palms.
Suddenly I saw in the distance a porter
coming my way, then another one coming
from the opposite direction. I ran towards
what I thought could be the middle point
where they would cross paths. These
workers, who assist tourists on their arrival
in Essaouira, are characteristic, especially
when buses arrive from neighbouring
towns. It’s almost a monochromatic image
and that is what I was drawn to, other than,
obviously, the moment itself.’

www.amateurphotographer.com 21
 Testbench CAMERA TEST

At a glance

£2,000 body only

£2,500 with 12-60mm F2.8-4
l 25.2MP BSI-CMOS Four Thirds-type
sensor
l ISO 100-25,600 (standard)
l Up to 75fps shooting
l 3.68m-dot, 0.8x OLED viewfinder
l 3in, 1.84m-dot fully articulated/
tilting LCD
l 5.7K 60fps, C4K 120fps, FHD
240fps video
l 5-axis in-body stabilisation,
7.5 stops

Panasonic
Lumix GH7
Panasonic’s latest video-centric model comes with an
array of updated features. Andy Westlake finds out
whether it’s the best hybrid camera yet

T
For and against Data file he Lumix GH7 is the other brands. For video there’s
latest in Panasonic’s Apple ProRes support, plus
Transformed autofocus thanks Sensor 25.2MP BSI-CMOS, 17.3 x 13mm long-running line of enhanced audio recording via the
to phase detection and Output size 5776 x 4336 video-centric Micro Four new DMW-XLR2 mic adapter.
updated subject recognition 2x
Focal length mag Thirds cameras. Indeed, the Unsurprisingly, the GH7’s new
Lens mount Micro Four Thirds original GH1 was the first ever capabilities come at a price. At
Excellent handling and control Shutter speeds 60 – 1/8000sec + B mirrorless model capable of £1,999 body-only at launch, it
layout recording video. Now, 15 years costs significantly more than the
Sensitivity ISO 100-25,600 (standard),
Superb in-body image ISO 50-25,600 (extended) later, the GH7 finally gains the G9II or GH6. But it’s in the same
stabilisation Exposure modes PASM, Auto, Video, C1-C4 update that users have been ballpark as its main Micro Four
Metering Multi, Centre-weighted, Spot, requesting for ages – phase Thirds rival, the OM System OM-1
Vast range of video formats Highlight-weighted detection autofocus. This has Mark II, and Fujifilm’s APS-C
and high-end features Exposure comp +/-5 EV on 0.3EV steps had a transformational effect on hybrid, the X-H2S. On the other
Practically unlimited video Continuous Up to 75fps (electronic/AFS); the firm’s other recent cameras, hand, it costs more than the
shooting Up to 14fps (mechanical/AFS)
recording times the MFT G9II and the full-frame video-specialist full-frame Lumix
Screen 3in, 1.84m-dot LCD touchscreen
No automatic subject-type Viewfinder 3.68m-dot, 0.8x OLED S5II and S5IIX, so its inclusion in S5IIX. But do the GH7’s strengths
selection Video 5.7K 60fps, 4K 120fps; FHD 240fps the GH7 is genuinely exciting. justify its price?
That’s not all that’s new,
ALL PRICES ARE APPROXIMATE STREET PRICES

Slightly bulky body External mic 3.5mm stereo

though. While the GH7 uses the Features
Memory card CFexpress Type B, UHS-II SD; same body as its predecessor, While the GH line is generally
Lower dynamic range than external USB-C SSD support
larger-sensor cameras Power DMW-BLK22 rechargeable Li-ion the GH6, it gains significant seen as being video specialist,
Battery life 360 (SD), 330 (CFe), 280 (SSD) updates. For example, its subject it’s worth remembering that the
Dimensions 138.4x100.3x99.6mm recognition system can now ‘H’ actually stands for ‘hybrid’. As
Weight 805g (inc battery and SD card) understand trains and planes, such, the GH7 is no slouch when
bringing it closer into line with it comes to photography, taking

22 www.amateurphotographer.com
 With phase detection and
updated subject recognition,
the GH7’s AF is excellent
Panasonic GH7, 100-400mm at 300mm,
1/2000sec at f/5.7, ISO 320

onboard all the same features shooting for unpredictable action. to be shooting in advance. Video features
and capabilities as the excellent The sensor includes In-body image stabilisation is Where the GH7 really stands out
Lumix G9II. However, it’s built Panasonic’s Dynamic Range onboard to reduce image blur lies with its video capabilities. It
around a new 25.2MP sensor, Boost, which employs parallel when shooting handheld. This offers a vast range of options in
which now employs a backside- readouts to deliver a promised works in concert with the firm’s terms of resolution, framerate,
illuminated architecture. dynamic range of 13 stops in optically stabilised lenses and is aspect ratio, colour depth,
Most of the key photographic both stills and video. This goes rated for up to 7.5 stops of shake encoding schemes and file
specs are shared with the GH6 some way to alleviating one of suppression. formats. You can shoot anything
and G9II. The 25.2MP Four Thirds the disadvantages of the Four Panasonic has also included its from ‘open gate’ 4:3 aspect ratio
sensor offers a sensitivity range Thirds format. However, this high-resolution multi-shot mode, 5.8K at 30fps, through 17:9 5.7K
of ISO 100-25,600, with feature isn’t active when shooting which unlike with most other at 60fps and C4K at 120fps, to
extended lower settings down to at 60fps or faster, or at shutter brands, is actually worth using. 16:9 Full HD at 240fps. If there’s
ISO 50. Shutter speeds cover speeds slower than 1/15sec. It’s really easy to access from the any option in between you want
60 seconds to 1/8000sec, or Autofocus employs the same drive mode dial, and there’s a to use, it’s sure to be available.
1/32,000sec in electronic mode. phase-hybrid system as other choice of handheld super- Video can be recorded
Continuous shooting is recent Lumix cameras. The resolution or tripod-based internally in both ProRes 422 HQ
particularly impressive, at up to subject detection can recognise pixel-shift modes. The composite and ProRes RAW formats for later
75 frames per second with focus and focus on people, animals, raw file is generated directly in post-processing, with MP4 and
fixed, and 60fps with continuous motorcycles, cars, trains and the camera, rather than requiring MOV also on offer depending on
AF, when using the electronic airplanes, and prioritise the most processing by a computer how you wish to edit and view
shutter. Switch to the mechanical important feature, such as the afterwards. It’s possible to create your recordings. The highest-
shutter and this drops to 14fps in front window of a train. But JPEG files in-camera at either quality options can only be saved
AFS, and 10fps in AFC. The buffer there’s no automatic subject- 50MP or 100MP and there’s an internally to the CFexpress Type B
is at least 165 frames regardless selection option, so you have to option to suppress ghosting card slot, and not SD, but
of speed. You also get pre-burst tell the camera what you’re going effects with moving subjects. it’s also possible to record

www.amateurphotographer.com 23
 Extremely effective in-body
stabilisation lets you shoot
handheld at slow speeds
Panasonic GH7, 12-60mm f/2.8-4 at 13mm,
0.3sec at f/5.6, ISO 100

directly to an external USB-C levels from whisper-quiet to Build and handling release for setting white balance,
SSD. This can be a godsend extremely loud. The practical In terms of design, the Panasonic ISO and exposure compensation.
if you need to pass files to advantage is that you’re less Lumix GH7 looks exactly like the Panasonic has included lots of
somebody else for editing. likely to end up with distorted GH6. This means it’s a fairly options for assigning the dials to
Panasonic has also included its audio by setting your in-camera large, chunky camera, particularly suit your needs; I set exposure
Real-time LUT feature for colour gain too high. A standard 3.5mm in terms of front-to-back depth compensation onto the thumbdial
grading. This works in concert stereo audio input is included, due to the inclusion of a cooling and ISO onto the back wheel.
with the Lumix LAB app, which is which records conventional 24-bit fan behind the sensor. A cluster of three control points
designed for downloading LUTs sound and can operate at either Some might complain that the looks after focusing. There’s a
and transferring them to the mic or line-level. body is too large for Micro Four large AF-ON button beneath your
camera, and outputting finished There’s an array of interface Thirds, but I don’t think this right thumb, and a joystick for
video. For those who’d prefer a options to aid videographers, makes much sense. A camera selecting the focus point below it.
more conventional camera control including the option to work in needs to be a certain size to Closer to the viewfinder you’ll find
app, the GH7 also works with the terms of shutter angle rather than handle well and have space for a a switch for selecting between
older Lumix Sync. shutter speed. Waveform and full set of controls. You can still focus modes, with a button in its
Physically, the camera includes Vectorscope displays are both save significantly in terms of the centre for the AF area mode and
a number of video-specific available to help analyse weight you carry, thanks to the subject detection settings. It’s all
features. It has red tally lights on exposure and colour balance. For system’s smaller lenses. very logical and straightforward.
both the front and rear to indicate those who’d like to use In use, the GH7 feels great in On the top left, there’s a dial for
when it’s live, a built-in fan that anamorphic lenses, a desqueeze your hand, with a comfortable selecting the drive mode. This
promises practically unlimited display option is on hand to give hand grip and a well-defined gives access to the self-timer,
recording times, and an an undistorted widescreen view. space for your thumb. It has intervalometer, high-res multi-
additional red start/stop button Useful productivity features pretty much all the same controls shot, and continuous shooting,
on the front, as well as one on include the option to record as other high-end Panasonic with separate positions for the
the top. A dedicated button on low-resolution proxy footage for cameras in essentially the same mechanical and electronic
the top-plate gives quick access editing, and Camera to Cloud places, so existing users will shutters. Detailed settings can
to audio settings, too. integration via Adobe’s Frame.io. have no trouble adapting. Like be changed via the Q button.
On the subject of audio, This enables recorded videos to other Lumix cameras, I found that Overall, I have to say that the
uniquely the GH7 can record be backed up and shared among once I’d got it set up to my liking, GH7 has an excellent control
4-channel 32-bit float audio, via a production team. The GH7 also it’s a real pleasure to shoot with. setup for photographers.
the optional DMW-XLR2 supports both wireless and wired You get no fewer than three However, this brings me onto a
microphone adapter (£499). This live streaming, with the latter electronic dials for changing long-running Panasonic quirk.
allows it to encode faithfully an requiring a third-party USB-C exposure settings, with a row of Unlike most other brands, there’s
extremely wide range of sound ethernet adapter. three buttons behind the shutter no switch to select between still

24 www.amateurphotographer.com
 THE EASY WAY TO

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Images are for illustrative purposes only.
 CAMERA TEST Testbench
and video shooting. Instead, for previewing motion blur with
a Creative Video position on longer shutter speeds.
the mode dial gives access to the
advanced video settings. This
means the GH7 feels like a stills
One area where the GH6/GH7
design differs from its Lumix
siblings lies with the additional
Focal points
camera with a movie mode flexibility of the rear screen. It still While the GH7 uses exactly the same body as the
tacked on, which is strange for uses a fully articulating design, GH6, it comes with several major updates
such a video-centric model. but this is mounted on a sturdy
Out of the box, all the exposure tilting mechanism that can be Built-in fan Audio
settings are shared between stills angled upwards by 50°. This is The fan on the back promises unlimited Using the optional DMW-XLR2
and video, which almost certainly particularly helpful for video, as it video recording times at ambient adapter, 4-channel 32-bit float audio
isn’t what you’ll want. Fortunately, allows you to look down on the temperatures up to 40°C. recording is available, making it
there’s a menu setting that screen free of obstruction by any easier to deal with a wide range of
allows you to separate them out. cables. It’s also great for discreet sound levels.
You can also save your preferred waist-level photography.
video setups to the four Custom Power
positions on the mode dial. Autofocus The DMW-BLK22 battery is
Another apparent oddity is that Panasonic cameras used to rated for 280-360 shots per
the top record button is horribly have a reputation for sub-par charge, or 80-90 minutes of
positioned for use when you’re continuous AF, but that changed video, depending on the
holding the camera normally. But with the adoption of phase recording media in use.
it turns out that’s fine, as in the detection on the S5II. Now the
manual video mode, you can use firm has brought its subject
the shutter button instead. That recognition system broadly into
top button is, however, perfectly line with its competitors, with the
placed when you’re holding the addition of more subject types
camera in your left hand and (trains and airplanes) and a ‘Main
pointing it back towards you. Part Priority’ option. This means
Likewise, the front record that on paper, the GH7 should be
99.6mm

button is great if you’ll frequently a close match to its peers.

be recording yourself with the I tested the GH7’s autofocus
camera on a tripod. The flipside across a wide variety of subject
is that I found often myself types and with a range of lenses,
pressing it inadvertently when including the Panasonic Leica DG
holding the camera to change 100-400mm F4-6.3 Asph Power
settings or review images. OIS and Olympus M.Zuiko Digital
But you can disable both it and ED 40-150mm F2.8 PRO
the top button in stills modes. telephoto zooms. My experience
I really appreciated having the was generally very positive, with
red tally lights on both the front the camera recognising subjects Media Connectors Micro Four Thirds
and back, as they make it quickly and accurately, and Along with card slots The camera is fully A vast range of lenses is
for CFexpress Type B equipped with available from Panasonic and
immediately obvious when the tracking them reliably as they and UHS-II SD, the headphone/line, Olympus/OM System,
camera is recording. You can turn move around the frame. GH7 can record microphone, full-size including premium optics
either of them off if necessary, for Shooting racing cars, I found directly to an HDMI, USB-C, and that are smaller and lighter
example when filming an event. the GH7 can reliably track single external USB-C SSD. electronic remote than those for larger sensor
vehicles within a crowded field, release ports. systems.
Viewfinder and screen and maintain focus even when
Panasonic has used a similar they’re approaching at high
viewing setup to the G9II and the speeds. I got a very high hit-rate
S5II twins. The viewfinder has the of in-focus shots at 10fps using
same 3.68m-dot resolution as the mechanical shutter, certainly
the GH6, but it’s slightly larger, at well over 95%. Occasionally the
0.8x magnification rather than camera failed to pick up focus for
0.76x. That’s not a huge a burst, but not very often.
difference, but it’s still welcome. At 60fps with the electronic
The viewfinder gives a nice, shutter, I found the camera can
100.3mm

detailed view, while providing an take fractionally longer to acquire

accurate indication of how your focus. So sometimes you can get
images are going to turn out in a block of out-of-focus frames at
terms of colour and exposure. the start of the burst. But again,
Depth-of-field preview is available once the focus has locked on, it’s
via a button on the front, with impressively ‘sticky’.
Panasonic uniquely also providing I saw much the same story
a shutter speed preview on a shooting trains, with the camera
second press of the same recognising both modern
button. This can be really useful trains and a vintage steam 138.4mm

www.amateurphotographer.com 27
 locomotive, and tracking Rolling shutter distortion is purposes, Panasonic’s are Micro Four Thirds gives vast
focus on them reliably. impressively low. actually worth using. Both the telephoto reach. This is a 3MP
Likewise it performed well Panasonic quotes a battery handheld and tripod modes work crop from the centre of the frame
shooting wildlife at a local park. life of 360 shots using an SD consistently well, with the latter Panasonic GH7, 100-400mm at 400mm
Crucially, the GH7’s autofocus card, dropping to 330 shots with delivering slightly higher levels of 1/100sec at f/6.3, ISO 800
is also dramatically improved for CFexpress and 280 with an SSD. detail. The motion blur
video recording. Its face and eye But this only tells part of the suppression does a good job of
detection is reliable, with none of story, and you’ll get vastly more detecting regions where there’s
the distracting DFD background shooting bursts. I once got over movement between frames and
‘shimmer’ that plagued previous 1,800 shots from a single charge. rendering them using single-shot
generations. Focus transitions Speaking of continuous data instead. It’s just a shame
are nice and smooth, too. shooting, the GH7 is impressively that the handheld and tripod
I do have a couple of gripes, capable in this respect. It’ll rattle modes share the same mode dial
though. Firstly, when there are off 200-frame bursts at 10fps, or position and the same settings
multiple possible subjects of the even 14fps with focus fixed. In – for example, chances are you’ll
same type in the frame, there’s practical use, I never hit a point want to set an exposure delay in
no easy way to select between where the camera locked up. tripod mode but not when
them. The lack of an automatic As we’ve come to expect from shooting handheld.
subject-selection mode is also Panasonic, image stabilisation is I found Panasonic’s metering to
disappointing. To be fair, though, extremely impressive. Using the be reliable, with little reason to
the GH7 isn’t the only camera Panasonic Leica DG 12-60mm override it except for creative
that suffers from these flaws. F2.8-4 ASPH OIS, I was able to effect. But Auto White Balance
get sharp images handheld at can sometimes err on the side of
Performance shutter speeds as long as 2 over-neutralisation, so it can be
Like other Panasonic cameras, seconds. Using the 100-400mm worth using pre-sets instead.
the GH7 takes a few seconds to zoom at its long end, I got usable I’m not a huge fan of
start up when you switch it on for shoots at 1/100sec. Panasonic’s default colour
the first time each day. But once Stabilisation is equally effective processing, with the Standard
that’s done, it’ll fire up almost for video. The IBIS alone does a Photo Style favouring colorimetric
instantly when you flick the power great job with handheld shooting, accuracy over an attractive
switch. It then just keeps out of while electronic stabilisation goes interpretation of the scene. But
your way when you’re shooting, further still, effectively smoothing switching across to Vivid gives
responding quickly and reliably to out footage while you’re walking punchier colour output. I suspect
all the controls. with the camera. Perhaps most most serious users will shoot
While the mechanical shutter impressive of all is the Boost IS, stills in raw, and colour-grade terms of high-ISO noise and
isn’t hugely intrusive, it’s louder which gives almost tripod-like their video in post-processing. dynamic range. Here the GH7
than other crop-sensor cameras stability for static shots. Ultimately, though, what will brings nothing unexpected
from Olympus or Fujifilm. Switch Where most brands’ high- make or break the GH7 is the compared to its 25MP siblings.
to the electronic shutter, though, resolution multi-shot modes image quality provided by the I shot side-by-side comparisons
and it can be completely silent. seem to exist for marketing Four Thirds sensor, particularly in with the G9II under controlled
lighting, and the two cameras
The new train detection gave indistinguishable results.
option worked well here What this means is that,
Panasonic GH7, 100-400mm at 173mm, compared ISO-for-ISO, the GH7
1/500sec at f/4.8, ISO 1000 gives noisier images compared to
APS-C or full-frame cameras.
There’s also less scope to
recover detail from shadow areas,
particularly when Dynamic Range
Boost isn’t active. If you try to
pull up shadows by much more
than three stops, you’ll find the
data simply isn’t there.
However, as I noted when I
reviewed the G9II, for a great deal
of the time this simply doesn’t
matter. In many situations you’d
struggle to distinguish stills or
videos shot using the GH7 from
those taken with the full-frame
S5IIX. In good lighting conditions,
the Four Thirds sensor gives very
good results, and it’s only when
you push to the extremes of the
shooting envelope that you
see a clear difference.

28 www.amateurphotographer.com
 CAMERA TEST Testbench

Verdict

AFTER a couple of weeks testing the GH7,

I’ve been left in no doubt that it’s a superb
camera. It almost goes without saying that
any GH model will offer state-of-the-art
video, but it’s equally accomplished at
shooting stills, too. It offers all the same
capabilities as the excellent G9II, and a
little bit more besides. Compared to the
GH6, the addition of phase detection and
much-improved subject detection brings a
dramatic boost to its capabilities.
Continuous autofocus and tracking
are now a match for many of its peers.
The big question, though, is whether a
high-end Micro Four Thirds camera still
makes sense in a market that’s become
obsessed by full-frame. And it’s true that if
you’re after super-shallow depth of field, or
shoot a lot in low light, the limitations of
ISO and noise the smaller sensor can become apparent.
The rest of the time, though, you’ll get
With its 25MP Four Thirds sensor, the GH7 delivers similar results to equally good results while carrying around
the G9II and GH6. At low ISOs, it can deliver every bit as much detail as smaller and lighter kit.
26MP APS-C or or 24MP full-frame cameras. Files are clean and free of Indeed the real advantage of Micro Four
noise; just bear in mind that the extended ISO 50 clips highlights a Thirds is the huge range of compact,
stop earlier than higher settings. Noise starts to become obvious at optically excellent lenses available from
lower ISOs compared to larger formats, though, and by ISO 3200, most both Panasonic and Olympus/OM System.
of the finest detail has been blurred away. However, I’d still be quite You can cover huge focal-length ranges and
The crops below are taken from the happy shooting at ISO 6400. Higher ISO settings are very noisy indeed, get long super-telephoto reach, without
same area in the picture above but clean up surprisingly well with AI software such as Adobe Denoise. excessively weighing yourself down.
No other camera can quite match the
RAW ISO 100 RAW ISO 1600 RAW ISO 3200 GH7’s combination of advanced video and
portability. Having said that, those with less
specialist video needs will find the G9II
offers the same image
quality at a lower price.
But for those shooting
both high-end video and
stills, the GH7 is a
seriously compelling
GOLD
proposition.
RAW ISO 6400 RAW ISO 12,800 RAW ISO 25,600
FEATURES 9/10
BUILD & HANDLING 9/10
METERING 8/10
AUTOFOCUS 9/10
AWB & COLOUR 8/10
DYNAMIC RANGE 7/10
IMAGE QUALITY 8/10
VIEWFINDER/LCD 9/10

www.amateurphotographer.com 29
 SMARTPHONE TEST Testbench

Image quality is great,

but it’s no better than
previous iPhones or
high-end Androids
iPhone 16 Pro Max, 24mm equiv,
1/4000sec at f/1.8, ISO 80

iPhone 16 Pro & Pro Max

Apple’s latest flagships offer the
same camera setup, but with two At a glance
different screen sizes. Amy Davies £999-£1,499
finds out all about them (iPhone 16 Pro)

£1,199 - £1,599
T
here’s no doubt that the This year, the big news is the (iPhone 16 Pro Max)
new iPhone 16 Pro and addition of a new Camera Control
l 48MP wide camera, f/1.8 aperture,
the 16 Pro Max will be button, which aims to make using 24mm equivalent
hugely desirable. But for the phone a little more like a l 48MP 0.5x ultrawide camera, f/2.2
photographers, have there been ‘real’ camera. We’ve also now got aperture, 13mm equivalent
any significant upgrades over last a 5x zoom on the smaller Pro l 12MP 5x telephoto camera, f/2.8
year’s iPhone 15 Pro/Max? model, where previously it was aperture, 120mm equivalent
It’s a fair question, but it seems reserved for the Max version. l Super Retina XDR OLED screen:
that significant overhauls for Otherwise, however, many of 6.3in (16 Pro), 6.9in (16 Pro Max)
Apple’s flagship smartphones the specifications are remarkably l Titanium chassis
aren’t particularly forthcoming, familiar, so we probably shouldn’t l iOS 18
with each year seeing seemingly expect to see a huge jump in l A18 Pro processor
ever more incremental upgrades image quality. Considering
than the year before. both the iPhone 16 Pro and

www.amateurphotographer.com 31
 Night mode yields some
impressive results
iPhone 16 Pro Max, 24mm,
1/10sec at f/1.8, ISO 1000

the iPhone 16 Pro Max have ultrawide sensor has been the Google Pixel 9 Pro Max, this Handling and design
the exact same camera upgraded to 48MP, compared to setup isn’t hugely impressive. But Apple has made the iPhone 16
setup, this review covers both. 12MP of last year. The lens is we’ll see how it performs in Pro slightly larger than the 15
13mm f/2.2 equivalent. The real-world shooting. Pro. It now has a 6.3in screen,
Features main sensor is also 48MP, and Apple doesn’t directly disclose compared with 6.1in before. The
Both the iPhone 16 Pro models with its 24mm f/1.8 lens, it specifications for sensor sizes. Pro Max has also seen an uplift
have a triple-lens camera setup, appears to be the same as last But looking at the EXIF data in size, at a whopping 6.9in. So
comprising a 1x, 0.5x ultrawide year’s. The 5x telephoto is reveals that there’s been no the smaller model is good if you
and a 5x telephoto lens. You’re 120mm f/2.8 equivalent, and change compared to last year. don’t want a big phone, yet still
now no longer ‘punished’ for again seems to be the same as I’m also disappointed to want to have the best possible
opting for the smaller phone by that on the iPhone 15 Pro Max. discover that Apple has kept the camera available.
getting a shorter 3x telephoto. Compared to other models on same selfie camera. That means I spent the past year using the
Another difference from the the market which have three you get a 12MP f/1.9 device, 6.7in iPhone 15 Pro Max, and
iPhone 15 Pro/Max is that the high-resolution sensors, such as which although benefiting from AF, find the 6.9in version a step too
is low in resolution compared far. The 6.3in iPhone 16 Pro is
with others out there. much nicer to hold and fit in my
Both 16 Pro models use USB-C pocket, but honestly I’d love to
charging, and are compatible with have something in between.
both fast and wireless charging. Otherwise, the design has
Only a USB-C charging cable is remained pretty much the same,
provided in the box, so you’ll with a boxy appearance and
need to buy a charging plug if you rounded-off edges. There’s a new
don’t already have one. colour this year called Desert
Apple offers the 16 Pro Max in Titanium, which I would describe
three different storage sizes – more bluntly as matte gold. It’s
256GB, 512GB, and 1TB – while quite nice, but I remain sad about
the 16 Pro is available in four. the fact that brighter colours are
It adds a 128GB option, which reserved for the non Pro models.
Macro mode is comes in at just a shade under As with previous iterations, the
good enough, but £1,000. But you’ll need to be 16 Pro/Max is IP68 water- and
other phones do a happy with the relatively small dust-proof, meaning you can
better job now storage. At the other end of the submerge it in fresh water and it
iPhone 16 Pro, 14mm, scale, the 1TB version is likely to should be fine. I regularly run
1/100sec at f/2.2, ISO 50
be overkill for ordinary users. mine under a tap to clean it.

32 www.amateurphotographer.com
 SMARTPHONE TEST Testbench
Portrait mode gives and therefore not activate. So it’s
attractive images a shame not to be able to switch
iPhone 16 Pro, 48mm, this on manually. However, if
1/750sec at f/1.8, ISO 64 Night mode is detected, you can
increase the exposure time to up
to 30 seconds if you have a
tripod or steady surface to hand.
A new feature for the iPhone 16
models is the latest-generation
Photographic Styles, which are
digital filters to give your photos a
different look and feel. Although
Styles isn’t a new thing, you’re
now able to fine-tune colour,
intensity and tone, as well as
save any settings you create.
A wide number of presets are
included, such as ‘Vibrant’,
‘Dramatic’ and ‘Luminous’. As
you might guess, ‘Standard’ is
the default option.
You can add, edit or remove a
Photographic Style after the fact,
but it should be noted this only
works if you’re shooting in HEIF
(High Efficiency Image Format). If
you’re shooting in the more widely
recognised JPEG format, you will
be stuck with whatever Style you
Last year, a new Action Button over time. It’s also worth noting remembering to put the phone in chose to record at the time. This
debuted on the iPhone 15 Pro you’ll need to find a case that the correct function first isn’t is something you can change in
series. This replaced the old accommodates the control well. something I always do. You can the main camera settings app.
mute switch and gave you the If you frequently shoot in portrait adjust the focus point after the It’s worth shooting in HEIF to save
option to set the button to control format, you may find its position fact too, which can be handy if it’s space on your iPhone – if you
other things, such as launching means it doesn’t come in handy. got it slightly wrong – such as need something to be in JPEG,
the camera. You can still do that focusing on the nose of your dog, you can always convert later.
with the iPhone 16 Pro/Max, but Native camera app rather than their eyes. There is a standard Video
another new button has been The iPhone’s native camera app Something else which started mode, where you can shoot in a
introduced that may mean you hasn’t seen an overhaul for some with the 15 series was that range of frame rates and
don’t feel the need. The new time. If you like its fairly simple images are output at 24MP when resolutions. There’s also
Camera Control is found on the approach then that’s great, but shooting with the 48MP main Cinematic for creating shallow
bottom right-hand side of the it’s frustrating for those who camera. You can opt to output at depth of field effects, as well as
phone if you’re holding it in would like a bit more control in 12MP if you prefer. The same is Slo-Mo and Time-Lapse. There’s
portrait orientation. Turn the the form of a Pro mode. You can true here, though it should be even an option to use ‘Spatial
phone to landscape and it’ll be at least shoot in raw format. noted that if you enter into Night Mode’ for use with Apple’s Vision
positioned where a traditional In the standard Photo mode, or Macro mode, then it’ll revert to Pro headsets.
shutter release button would be. you can switch between 0.5, 1x, 12MP. I had assumed that the With Apple Intelligence, new
With this button, a long press 2x (a crop mode) and 5x lenses. new 48MP ultrawide camera photo-editing features are
will open the camera app, and If you tap on the 1x button, you’ll would also output at 24MP but promised. But it hasn’t been
you can then take a photo with a also be able to activate 28mm that appears not to be the case. rolled out yet, which is
second press. It’s got haptic (1.2x) and 35mm (1.5x). If you Many of the other settings in disappointing considering this is
touch enabled too, so if you find yourself frequently shooting Photo mode are hidden unless a phone you can buy right now.
lightly press on it and scroll in at 28mm or 35mm, you can set you swipe up or press a small It’s even more disappointing
either direction, you can zoom in either to be the default. arrow icon at the top of the when you consider that we’ve
and out (change between the One useful feature, which first screen. Then you’ll find settings seen much of what is promised
different lens options). If you came in the iPhone 15 series, is such as aspect ratio, exposure elsewhere, such as the ‘Clean
softly double-tap it, you can also the ability to recognise portrait compensation, flash and timer. Up’ feature, particularly from the
change different settings, such subjects automatically. As such, if You can also switch on/off Live Google Pixel series. Where has
as exposure compensation, a person or a pet – or sometimes Photos (short video clips that are Apple been?
picture style, and even the completely random objects – recorded alongside your image).
‘depth’ in a portrait effect shot. appears in front of it, the phone If you’re shooting in low light, Performance
Personally I’ve found it quite will record everything you need to you should find that Night mode I feel like I’ve been writing the
tricky to get used to the camera turn it into a ‘Portrait’ later on automatically activates. This can same thing every year for a few
control button after years of not (i.e. blur the background). I find occasionally be thrown off if years now, but, while image
having one, but it’s perhaps this a hugely useful feature as I some artificial light is present in quality from the iPhone 16
something I’ll appreciate more have both a child and a dog, and the scene such as street lights, Pro is excellent, it’s hard to

www.amateurphotographer.com 33
 Testbench SMARTPHONE TEST

Verdict
SO HERE we are at the end of
another iPhone review. What does
the iPhone 16 Pro/Max give you
that the iPhone 15 Pro/Max
didn’t? Well, in my opinion, not an
awful lot. If you’ve got an iPhone
15 Pro and you want a longer
zoom without getting a bigger
phone, then there’s good news.
And the extra pixels on the
ultrawide lens can come in handy.
Otherwise, image quality is more
or less the same, and for the
average person it’ll be nigh-on
impossible to see any difference.
The new Camera Control button
is nice if you want a physical
button in that location. But after
years of not having one and using
The ultrawide camera now the screen to control my phone’s
has 48MP, but I can see no camera, I’m not convinced it’s
improvement in image quality
worth upgrading for that alone.
iPhone 16 Pro, 14mm, 1/200sec at f/2.2, ISO 64
Now, if you’re coming from an
older model such as the iPhone
see any difference from its the smaller iPhone 16 Pro is option to shoot at 4K 120fps 13 Pro/Max or the iPhone 14 Pro
predecessor in most good news for anybody that might attract some users, but it’ll Max – like most sensible people
scenarios. If there is an wants the longer focal length. be largely irrelevant to most. should be – then it’s perhaps
improvement, it’s so small so as It takes fairly good pictures, but worth the upgrade. That said,
to be unobservable for the they are noticeably worse than Value for money even from the 14 there’s only
average person, especially on those taken with the 1x or 0.5x It used to be received wisdom been an incremental increase in
the small screen of an iPhone. lens. Some argue that the 3x that iPhones were super- image quality. So unless you
The ultrawide lens now has a lens found on the iPhone 15 Pro expensive compared to other desperately want that 5x zoom,
48MP sensor. You’d expect that is actually a better performer, but flagship devices, but that’s not then I’d be tempted to keep hold
to translate into extra detail, but neither is particularly amazing. really the case any more. While of your phone for a bit longer.
I can barely see any difference Portrait mode is very good on iPhones have stayed roughly the Essentially, while image and
between images shot with the the whole, but again, there’s no same price, most high-end video quality are great and
15 Pro Max and the 16 Pro/Max. noticeable improvement from Androids have risen in price to usability is good too, there’s
Where you will see some benefit before. And frustratingly, the match – or exceed – Apple’s. nothing particularly exciting here.
is in the intermediate focal selfie camera remains the same So, while the iPhone 16 Pro I would have loved to have seen a
lengths between 0.5x and 1x, too. That means you can get and Pro Max aren’t cheap, triple high-resolution setup, a Pro
where the extra pixels should pretty nice selfies in good light, they’re in line with competing mode, and a better selfie camera.
produce a better result. but in low light you will likely be models. For example the Google Maybe they’ll come next year.
Having the 5x zoom lens on disappointed in the results. Pixel 9 Pro is £999 for the If you love iPhones, then you’ll
Macro mode, once a star turn 128GB version, the same as the be pleased with what you’ve got
Data file of the iPhone, is now starting to 16 Pro. Meanwhile the cheapest here. But many Android models
look old hat, as it uses the you’re likely to pick up a offer more for photographers
Main camera: Screen size: ultrawide lens. We’ve seen much Samsung S24 Ultra is £1,099. these days. If you can bear to
48MP, 24mm 6.3in (16 Pro) better performance from phones It’s also worth remembering part ways with iOS and the Apple
equivalent, f/1.8 6.9in (Pro Max) which use the telephoto lens for that iPhones keep their value ecosystem, it’s worth considering
Ultrawide: Battery life: macro, such as the Xiaomi 14 better than pretty much every the alternatives.
48MP, 13mm 27/33 hours of Ultra. The results from the other brand on the market. So if
equivalent, f/2.2 video playback iPhone 16 Pro are detailed you’ll be selling this again in a
Telephoto: Processor: A18 enough and certainly look pretty couple of years’ time, you can
12MP, 120mm Pro Chip
equivalent, f/2.8 good on the phone screen, but expect to receive more back for
OS: iOS 18 with 7 there is no observable jump in it than models from rival brands.
Selfie camera: years of updates
12MP, f/1.9, AF quality from previous models. But you could also argue that a
Dimensions:
Video: 149.6x71.5x In low light, the Night mode new model which only has minor
Up to 4K 120fps 8.3mm (Pro); produces fairly good results, upgrades doesn’t represent good
Screen: XDR 163x77.6x 8.3mm though sometimes they’re a little value for money at all. If you own
Super Retina (Pro Max) darker than I’d like. Video quality a recent iPhone, you’d do better Recommended
OLED, 460ppi, Weight: is smooth, nicely detailed and to just keep hold of it for a
2000 nits max 199g / 227g the colours are good. The new bit longer.

34 www.amateurphotographer.com
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 Technique TRAVEL LIGHT

Callum McInerney-Riley
Callum McInerney-Riley has been a Technical Writer
at Amateur Photographer, reviewing cameras and
accessories. A keen photographer for over 15 years,
he now runs a company that creates photography
and video content for a host of large brands.
www.primecreative.io

Pack light,
capture
more
In a guide to choosing your ideal camera for
travel photography, Callum McInerney-Riley
advises how to pack efficiently

I
n Atomic Habits, James Clear explains that Right: Armed with a small
reducing friction – small obstacles that make mirrorless camera and a
it harder to take action – can help to make ‘do everything’ lens, I
walked around Lake Bled,
ALL PICTURES © CALLUM MCINERNEY-RILEY UNLESS OTHERWISE STATED

habits stick. This concept is highly relevant

snapping away merrily
to travel photography. When weighed down by
heavy gear, the hassle of setting up and moving
around makes spontaneous photos less appealing.
By simplifying your setup and packing light, you
improve your travel experience, making it easier to
take photos and allowing creativity to flow without
the burden of logistics.
Below: The choice is
What to pack and when yours. Smartphone, small
Selecting the right camera and accessories is key to mirrorless, big mirrorless
successful travel photography. Here are the four or pack everything
main kit types, their advantages, and drawbacks.
When it comes to smartphones, most of them boast
© AMY DAVIES

seriously good cameras, especially if you have a

flagship model or even recent mid-range
smartphone. Clearly, they are not as good as a
dedicated camera, especially in low light, but the
convenience is unrivalled. Expensive cameras can
make you a target for theft too. In these situations, a
smartphone is often a better option, though do take
precautions and be vigilant wherever you are.
Compact and bridge cameras are popular among
many travellers, especially if you don’t have a fancy
© ANDY WESTLAKE
© ANDY WESTLAKE

smartphone. Cameras like the Panasonic TZ series

and Sony RX10 series offer a larger sensor and an
extensive optical zoom range. For zoom-hungry
travellers, who crave capturing subjects like wildlife
or distant subjects, these cameras are hard to beat.
Another advantage is that they are much more

36
 GEAR FOR
TRAVELLING
LIGHT
Mid-Range Zoom Lens: A lens
with the 35mm equivalent of
24-70mm is easily the most
useful travel companion –
especially if you can get an
f/2.8 variant. You can shoot
everything from street scenes
to landscapes and food.
Wideangle Zoom Lens: A
35mm equivalent 24mm lens
is often not wide enough,
especially in tight city
environments where you want
to capture landmarks.
Consider a wideangle zoom
that fits your camera system.
Wildcard Lens: I usually limit
myself to three lenses and the
third is often something
specialist and niche
depending on the location. A
telephoto zoom lens if I’m
using OM-system, a fast prime
for portraits or maybe even a
macro lens.
Padded Camera Bag: Your
camera gear can easily get
damaged. Pick something that
will protect your gear, be easy
to carry around and is not
immediately obvious it’s full of
expensive camera kit.
16GB SD Cards: You shoot a
whole trip on a 128GB card, it
corrupts on the last day, and
you haven’t backed anything
up – a photographer’s version
of a Stephen King book. Grab
some 16GB cards and swap
them out regularly to minimise
the risk.
Dual Charger: Having spare
batteries and a dual charger
feature-rich than a smartphone. However, I find they is a must. Every major camera
are too middle ground for my taste, and I usually brand seems to have an
sway towards a mirrorless or smartphone. inexpensive dual battery
My preference is a small mirrorless system, as it charger that runs via USB.
blends image quality, low-light capabilities, Charging two batteries while
functionality, and portability. Using the Fujifilm you sleep is the way to go.
X-series, especially the X-T1, and the Olympus
Dust Blower: Cleaning cloths
OM-D series, particularly the OM-D E-M5 Mark II,
and dust blowers will ensure
has allowed me to pack light and capture great
that your images are not
memories. The Micro Four Thirds format is the most
blighted by dirt.
compact, allowing me to pack lenses like the
Olympus M.Zuiko 40-150mm F2.8 PRO. That gives Travel Tripod: I rarely take a
me a 35mm equivalent of 80-300mm in a small tripod but, in some situations,
enough package to comfortably carry anywhere. it’s essential. I like shooting
Then of course there are full-frame cameras, which Do you really need a tripod? I captured this long multiple exposures of
provide superior image quality, making them exposure by folding my jacket up on a rock and using landmarks and I remove
the ideal choice for trips where capturing that to stabilise my camera people in post-production.

www.amateurphotographer.com 37
 Technique TRAVEL LIGHT
amazing photos is the priority. If I really want Left: Fujifilm X-series
to spend time capturing photos, the trade-off cameras are still a
between carrying heavy gear and spending time favourite of mine. The
dialling in the settings is a worthwhile one. On trips APS-C sensor gives a good
balance of weight vs
to Iceland, I took my Canon EOS 5D Mark III, and image quality
while camping in the French Alps, I took the Sony
Alpha 1 and packed a few versatile lenses. Full-frame Right: Sometimes it’s
cameras like these excel in low-light situations, offer worth packing filters,
extensive control, and allow you to capture shots tripods and all the
that the above options might struggle with. accessories but be sure
not to overdo it
What you can do to scale down
It’s important to question the gear you bring. Ask
yourself: Will this kit help me take better photos, or
get in the way? When I travel, I almost exclusively
use a small 30cm bag, the ThinkTank Urban
Approach 10. The physicist Richard P Feynman said,
‘The first principle is that you must not fool yourself,
and you are the easiest person to fool.’ A hard
constraint is a surefire way to avoid kidding yourself
that you need a big tripod, drone, 10-stop filter, or
gimbal. A camera, batteries, lenses, a charger, Below: Documenting as
you go with a smartphone
memory cards, lens cloth, and a dust blower – these is liberating. Snap away
are my only essentials. By questioning your kit, you and edit later. Capture
can ensure you bring only what will truly benefit those moments, the food,
your photography. and the emotions

38 www.amateurphotographer.com
 Callum’s
Top Travel
Tips
Get up early
Pack a camera and a lens
and get yourself up early,
or even late-night. Head to
those landmarks before
the crowds turn up.

Be different
Find unique spots or
vantage points that are
less busy, giving you a
different perspective. Take
time to move around,
explore backstreets, or
climb up to higher
viewpoints to discover
hidden angles.

Tell a story
Capture not just the
highlights but also the
small, meaningful
moments that convey the
essence of your trip.
Safety and security when travelling
It’s essential to consider the risk of theft, especially Experiment
in certain countries. Carrying visible, expensive liberally
equipment can make you a target. In the Dominican If you have packed well,
Republic, I kept my Olympus OM-D E-M5 Mark II your kit should allow you
under my shirt to avoid drawing attention. In Rome, to shoot wide shots,
I knew I could get away with shooting most things close-ups, and in a variety
using just my smartphone, which was far less of conditions. Try different
conspicuous. Adding Apple AirTags to your camera angles and apertures to
bag can help you to track it if it gets misplaced. It’s give your travel shots a
also a good idea to add something distinctive to feeling of variety.
your bag so you can easily identify it; and consider
carrying a bag that doesn’t look like a typical camera Edit on the go
bag, to avoid drawing attention. Blending in is key Using your camera’s
and it has the bonus of getting you far more natural built-in WiFi or a card
people shots too. Win, win! reader, you can edit
surprisingly well in apps
Conclusion such as Snapseed, Adobe
Successful travel photography is about striking a Lightroom Mobile or
balance between the gear you need and simplicity. PicsArt, while on the go.
Too much equipment can become a barrier to
creativity, making you less inclined to take photos.
Whether you use a smartphone, compact camera,
mirrorless system, or full-frame camera depends on
your priorities. If portability is key, a smartphone or
compact camera is ideal. For those who want
creative control but still value portability, a Above left: Years later, you
mirrorless system is a great choice. If images and will often find that those
image quality are the goal, then full-frame cameras impromptu shots become
are the best choice. more meaningful
What’s the best travel camera? The one that helps
you capture the experiences you care about, without Left: With the right lens
choice, you can get away
getting in the way. I hope these insights guide your with taking even a
travels and inspire you to take memorable photos full-frame camera for a trip
– tag me on social media @Cmrileyphoto out. A 24-70mm is a firm
favourite of mine

www.amateurphotographer.com 39
 Technique
Benedict Brain
Benedict Brain is a UK-based photographer, author, journalist, and
educator. He leads photography workshops, speaks internationally
about the art and craft of photography, exhibits his work globally, and
has published books available worldwide. www.benedictbrain.com

Behind the 1 2
Despite my best attempts Pulling out a bit of shadow
at the point of capture, detail and ensuring the
some minor tweaks to the tonality is consistent across all
vertical and horizontal lines are 16 images is vital.
needed to keep things straight.

Benedict Brain is seduced by the

beautiful doors of Zanzibar. He
explains how he put together his
masterpiece to create a beautiful
piece of artwork
On a recent trip down the East African coast, I found myself
wandering the narrow streets of Stone Town, Zanzibar. It’s a
UNESCO World Heritage site, and the sense of history hits you
immediately. The crumbling, stone buildings are a photographer’s
dream, but the narrow and bustling streets make photography
tricky. Before long, though, I became fascinated by the doors –
each one unique, and full of character. Some are intricately carved,
rich with detail, while others are simple, worn, or even scrawled
with graffiti. Together, they tell the story of this place better than
any wideangle shot of a building ever could. The top right door in
this grid, incidentally, is said to be where the great Freddie
Mercury spent part of his childhood. 3 Teasing out the colours,
especially the lovely blues
and reds, helps add impact. I use 4 Adding a little Texture
helps accentuate the
Vibrance and also the Colour wonderful detail in some of
Mixer to target specific colours. the carvings on the doors.

PREPARING FOR PRINTING

1 Edit selection 2 Bulk process 3 Stand up straight!

The first step is to gather all the door images Open all 16 images at once in Adobe Camera Use the Crop and Geometry tools in Adobe
and decide which ones to include. I prefer Raw (or Lightroom). Batch processing Camera Raw to straighten any uneven lines or
using Adobe Bridge for this selection process. ensures consistency, but individual tweaks converging verticals. While it’s best to nail
I’ll aim for about 20 images to create a grid will likely be needed. Adjust shadows, reduce this in-camera, some fine-tuning is usually
of 16 – extras allow room for adjustment if highlights, and enhance the colours slightly necessary. Straightening everything adds to
some don’t quite fit. using Vibrance and the Colour Mixer. the formal look of the final piece.

40 www.amateurphotographer.com
 IN ASSOCIATION WITH

Benedict’s
Top Tips
1 Find a theme
When it comes to making a photo
grid, find a subject that interests you.
I’m often drawn to doors, windows, or
building facades, especially when I’m
travelling the world. They’re more than
just architectural details, they help
build a sense of a place. However, you
don’t need to travel to far-flung exotic
locations to find interesting subjects.
There are potential subjects that could
work in a grid formation everywhere.

2 Repetition
variation
with
The process may feel repetitive at first,
but that’s part of the creative vibe. It’s
the repetition that highlights the subtle
differences and this is potentially
interesting. No two doors are the
same. The great creative, Brian Eno
said, ‘Repetition is a form of change,’
and this resonates with me.

3 Focal length
Sticking with one focal length is
key. My go-to lens is a 45mm prime
(35mm equivalent on a Fujifilm GFX
50R). Keeping the focal length
consistent across a project creates a
sense of unity.

4 Add a finishing touch

To bring it all together, consider
adding some text to give the grid a
sense of place. Something like ‘The
Doors of Zanzibar’ adds context and
transforms the collection into more
than just photos – it becomes a
narrative. Whether it ends up framed
on your wall or shared on social media,

WhiteWall a final touch like that elevates the

work and gives it a story worth telling.
recommends
‘For this beautiful photo grid featuring
images of the stunning doors of
Zanzibar, I recommend our new
Floater Frame Basel 6mm in Maple
White. This is a slimmer version of
our classic wooden floater frame,
giving the artwork a modern and subtle look. A
4 Layout small gap between the image and the solid wood
Save the images as JPGs in a new folder, frame creates the impression that your picture is
then open them in Adobe Bridge. Navigate to: floating. I suggest using matte acrylic glass for this
Tools>Photoshop>Contact Sheet to piece, as it will reduce reflections and allow the
auto-generate a grid. In the Photoshop viewer to appreciate the depth, richness of colours,
document (PSD), use the Move tool to and the fine details of the image.’ Jan-Ole Schmidt,
rearrange the images for balance. Product Manager, WhiteWall.com

www.amateurphotographer.com 41
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 YOUR LETTERS

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Distribution in Great Britain Coincidentally whilst I was trying to We have passed your suggestions on, meant to be. The pictures
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Win!
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and the Republic Of Ireland
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Kelsey Media 2024 © all rights reserved. Kelsey Media The PRO Ultimate card offers read speeds of up to gimmicky features as well.
is a trading name of Kelsey Publishing Ltd. Reproduction 200MB/s and write speeds of up to 130MB/s. Plus 6 proof technology: Water, Long live the DSLR and
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submitted for consideration by the editor must be the Visit www.samsung.com/uk/memory-storage-devices/
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The editor cannot guarantee a personal response to all Could I ask your advice? images for me? I enjoyed the feature on
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www.amateurphotographer.com 43
 Our favourite photos posted by readers
on our social media channels this week

AP picture
of the week
Ely Cathedral in Early
Morning Light
by Glynis Pierson
DJI Mini 4 Pro, 1/320sec at f/1.7, ISO 150

‘I’ve been capturing images of Ely Cathedral since

I started using a drone just over a year ago. It’s a
magnificent medieval building which is local to me and
it looks fabulous from many angles. This was taken
just after sunrise.’
X and Instagram: @glynpierson

#appicoftheweek
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44 www.amateurphotographer.com
www.amateurphotographer.com 45
Magnolia
by Stefan Guggenbichler
Nikon FM2n, Kodak Gold 200
‘“Magnolia” from the series with analogue double
exposures of found objects that I collected this year at
Lake Maggiore/Italy.’
Website: www.s-g.art
Instagram: stefan.guggenbichler

We also
liked...
Pigeon Stop
by Lewis Benson
Nikon Z6II, Sigma 150-600mm
Contemporary lens, 1/8000sec
at f/6.3, ISO 6400
‘I have always been a big fan of
pigeons so I was very happy to
see them on this tree, especially
since it has very interesting-
looking branches and the
light-coloured bark contrasts
nicely against the leafy
background. I usually try to fill the
frame with the subject but I’m
glad I didn’t on this one.’
Instagram: @bensonlewis321

Want to see your pictures here? Simply share them with our Flickr, 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.

46 www.amateurphotographer.com
 In association with l Quality workshops to top UK and worldwide destinations
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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1

Alexander Shute, motion my love of photography. Kate Nash cover as much football as possible.
I have also grown very fond of
Denmead 1 Kate was quick to
What do you love about photography? jump off stage and photographing live music. In both
About Alex I’ve always considered myself artistic, interact with the instances, the impulsive, reactionary
Alex is a property but had never found an outlet for that crowd. This was a nature of the photography is enticing,
developer who loves to travel, and artistic nature until photography came great opportunity to along with the unknown potential of
where possible mix travel, into my life. Particularly as an adult, I capture some unique your images.
photography and videography to have found it a welcome distraction angles of her
create travel content. and a means to create art in a format performance. How and where do you find
that seems to agree with me. The very Canon EOS-1D X inspiration?
How did you get into photography? act of closing the shutter and stepping Mark III, Canon 70- Social media is an obvious answer, but
When I was a child my father bought back to observe what you have created 300mm f/4.5L USM, it is possible to see photographic
me a Minolta compact camera before is incredible. 1/800sec at f/5.6, creations from all four corners of this
a trip to Africa. He gave me three or ISO 200 world and it is an endless supply of
four rolls of film and off I went on Favourite subjects inspiration to me.
safari. Aside from being one of the I find myself most at home during
most incredible trips that a child anything fast and frenetic. I love sport What was your first camera?
could ever imagine, it also set in photography particularly and try to A Minolta 35mm compact.

48 www.amateurphotographer.com
 YOUR PICTURES IN PRINT
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

Reader Portfolio winners receive a one-year subscription to a Gold Submit your images
Portfolio Series website worth £300. UK domain name included. See page 3 for details of how to submit. You
Amazing Internet designs, builds and hosts amazing websites for creative people and companies. It has specialised in creating websites for could see your photos here in a future issue!
photographers since 1999 and has services to suit all budgets. Whether you need a simple template-based site for £60 per year or a fully Please note: the prize is subject to change.
bespoke site, they’ve got you covered. www.amazinginternet.com

Blossoms
2 Blossoms frontman Tom
Ogden is a very calm performer
and therefore the trick is to
catch him breaking that
character. Here he gestures to
the crowd to sing along.
Canon EOS-1D X Mark III,
Canon 70-300mm f/4.5L USM,
1/600sec at f/5, ISO 2000

General Levy
3 General Levy is a
name I remember
from my teens and I
couldn’t pass up the
opportunity to
photograph him. An
expert in crowd
hype, he went on to
use this image as his
profile picture and in
his tour promo.
Canon EOS-1D X
Mark III, Canon 70-
300mm f/4.5L USM,
1/500sec at f/5,
ISO 100

www.amateurphotographer.com 49
YOUR PICTURES IN PRINT

Current kit Oliver Hellowell, an insanely talented

A Canon EOS-1D X Mark III and a photographer released his own book
Canon EOS R6. which collated his photography and it
was an incredibly inspiring read.
Favourite lens
Canon 85mm f/1.2. Favourite tips
I used to be quite self-conscious while
Favourite accessory taking photos. I knew that in order to
Godox V1 flashgun. get that great wildlife shot, I needed to
lay on the floor and get down to the
Dream purchase animal’s eye line, but there were
Canon 400mm f/2.8L IS USM. people around. It wasn’t until I got over
the hurdle of worrying about what
What software do you use for editing? others thought, that my photography
The Adobe suite, and Topaz. stepped up a gear. Do not be afraid to
get down in the mud and get dirty to
Favourite photographers get the best shot.
Locally, I’m always inspired by Jack
Lodge. His landscapes are always so About your pictures
impressive and his rise to a These photos are the culmination of
professional photographer has been three years attending festivals, trying
incredible. Further afield, Sean Weekly to refine the way in which I take photos
is a remarkable wildlife photographer of live music. The reality of live music
who has the tremendous good fortune is that, not only is it dynamic in so far
of travelling the world to get some as the artists are unpredictable, but
amazing shots. Internationally, Peter that you are contending with varying
McKinnon is a really impressive light displays on stage and varying
individual who has created such an natural lighting as the day turns to
excellent platform. night. The aforementioned difficulties
mean that nailing the shot
Favourite photography books becomes all the more satisfying.

Pale Waves
6 I hadn’t even heard of Pale
Waves before this set, however
their lead singer/guitarist
Heather Baron-Gracie knew
exactly where the cameras
were during her performance.
Canon EOS-1D X Mark III,
Canon 70-300mm f/4.5L USM,
1/1000sec at f/4.5, ISO 250

50 www.amateurphotographer.com
 The Charlatans
4 The Charlatans put on a
great show and Tim Burgess
isn’t shy of the camera,
offering up many photo
opportunities during his set.
Canon EOS-1D X Mark III,
Canon 70-300mm f/4.5L USM,
1/500sec at f/5, ISO 320

McFly
5 McFly were a late reveal to the lineup in 2023
and they weren’t officially announced until the
day before. It was an electric set and they still
clearly have all the passion for live performances.
Canon EOS-1D X Mark III, Canon 70-300mm f/4.5L
USM, 1/800sec at f/4.5, ISO 320

Kasabian
7 Arguably the highlight of
the festival, Kasabian
brought the house down. An
energetic performance and
wild light show made this
shoot extra tricky.
Canon EOS-1D X Mark III,
Canon 70-300mm f/4.5L USM,
1/800sec at f/4, ISO 51200

www.amateurphotographer.com 51
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 426
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 28-70mm f/2.8 IS STM £1250 Smaller, more affordable alternative to RF 24-70mm f/2.8L is designed to be an upgrade over kit zooms • • • 28 67 76.5 92.2 490
RF 35mm f/1.4 L VCM £1819 Premium ‘hybrid’ lens with built-in aperture ring and Canon’s first Voice Coil Motor for autofocus • • 28 67 76.5 99.3 555
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 F2.8 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 F4 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 F2.8 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 F3.5-5.6 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 F1.4 R WR £729 5H Weather-sealed fast prime for X-system users • 15 67 73.4 73 375
XF 16mm F2.8 R WR £349 4.5H Attractively priced, weather-sealed, compact and lightweight wideangle prime • 17 49 60 45.4 155
XF 16-50mm F2.8-4.8 R LM WR £699 Compact and lightweight standard zoom with premium optics and weathersealed construction • 24 58 65 71.4 240
XC 16-50 F3.5-5.6 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 F2.8 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
NEW XF 16-55mm F2.8 R LM WR II £1149 Updated premium standard zoom that’s considerably smaller and lighter than its predecessor • 30 72 78.3 95 410
XF 16-80mm F4 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 F1.4 R LM WR £879 5H Large-aperture wideangle prime with weather-resistant construction • 20 62 68.8 75.6 370
XF 18mm F2 R £430 4H A compact wideangle lens with a quick aperture • 18 52 64.5 40.6 116
XF 18-55mm F2.8-4 R LM OIS £599 Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310
XF 18-120mm F4 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 F3.5-5.6 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 F1.4 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 F2 R WR £419 5H Compact weather-resistant wideangle prime lens • 22 43 60 51.9 180
XF 27mm F2.8 R WR £419 4.5H Slimline, lightweight pancake prime with aperture ring and weather-resistant construction • 34 39 62 23 84
XF 30mm F2.8 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 F1.4 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 F1.4 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 F2 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 F2 £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 F1 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 F2 R WR £449 5H Lightweight weather-resistant short telephoto prime lens that’s ideal for shooting portraits • 39 46 60 59.4 200
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

XF 50-140mm F2.8 R LM OIS WR £1249 A telephoto zoom with a constant maximum aperture and weather-resistance • • 100 72 82.9 175.9 995
XC 50-230mm F4.5-6.7 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 F3.5-4.8 R LM OIS £599 4H Telephoto with built-in optical image stabilisation plus aperture control ring • • 110 62 75 118 580
XF 56mm F1.2 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 F1.2 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 F1.2 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 F2.4 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 F4-5.6 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 F2.8 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 F2 R LM WR £699 5H A classic portrait lens that’s sharp, with gorgeous bokeh • 60 62 75 105 540
XF 100-400mm F4.5-5.6 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 F5.6-8 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
NEW XF 500mm F5.6 R LM OIS WR £2899 Pro-spec super-telephoto prime that gives 750mm equivalent view and is compatible with teleconverters • • 275 95 104.5 255.5 1335

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54 www.amateurphotographer.com
 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 4.5 Tiny, sharp wide prime for Micro Four Thirds with manual focus and auto aperture control from the camera
H • 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 4.5H Manual-focus fast ultra-wideangle prime for full-frame mirrorless cameras, with minimal distortion • • • • • 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
70-200mm f/2.8 Vario-Elmarit-SL Asph £2780 Optically stabilised and weather-sealed full-frame telephoto zoom, compatible with teleconverters • • • 65 82 89 207 1540
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 4.5 Billed as the perfect ultra-compact travel zoom lens, with dust- and drip-resistant construction
H • • • 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/1.4 Nikkor Z £649 4H Relatively affordable and lightweight large-aperture prime lens for full-frame cameras • • 27 62 74.5 86.5 415
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/1.4 Nikkor Z £499 4H Relatively affordable and lightweight large-aperture prime lens for full-frame cameras • • • 37 62 74.5 86.5 420
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 4.5 Relatively small and lightweight alternative to the Z 70-200mm f/2.8 that’s also much more affordable
H • • 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 VR S Nikkor Z £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
135mm f/1.8 S Plena Nikkor Z £2699 5H Superb portrait lens that gives pin-sharp images with gorgeous bokeh, but is large and heavy in return • • 82 82 98 139.5 995
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

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www.amateurphotographer.com 55
 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
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
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

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
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
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.

56 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
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
NEW S 18-40mm f/4.5-6.3 £519 World’s smallest and lightest full-frame zoom lens, designed to match the Lumix S9 camera • • 15 62 67.9 40.9 155
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
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
24-70mm f/2.8 DG DN II | A £1179 5★ Second-generation standard zoom gains updated optics, faster autofocus, and aperture ring • • • 17 82 87.8 120.2 745
28-45mm f/1.8 DG DN | A £1299 4★ World’s largest-aperture full-frame zoom, but at the expense of bulk and limited focal-length range • • • 30 82 87.8 151.4 960
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
28-105mm f/2.8 DG DN | A £1399 4.5★ Versatile large-aperture standard zoom, with fine optics and longer than usual telephoto end • • • 40 82 87.8 157.9 995
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 57
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 16-50mm f/3.5-5.6 PZ OSS II £289 Updated compact powerzoom kit lens gains support for video and stills shooting at 120 frames per second • • 25 40.5 66 31.2 107
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
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 85mm f/1.4 GM II £1849 5★ Updated short-telephoto portrait lens provides even better image quality in a lighter design • • 85 77 84.7 107.3 642
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 4.5★ 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
28-300mm F/4-7.1 Di III VC VXD £879 Full-frame superzoom with built-in optical stabilisation, but restricted wideangle and maximum aperture • • • 19 67 77 126 610
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
50-300mm F/4.5-6.3 Di III VC VXD £819 5★ Impressively sharp yet compact telephoto zoom, with useful focal-length range and close-up capability • • • 22 67 75 150 665
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 4.5★ 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
NEW 90mm F/2.8 Di III Macro VXD £600 Attractively priced macro lens that gives life-size magnification and includes moisture-resistant construction • • • 23 67 79.2 126.5 640
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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Used Canon RF 200-800mm

F6.3/9 IS
Used Canon 500mm F4 Used Canon 7D MKII
body
R5 MKII body R5 body 200-400mm 300mm F2.8 400mm F4 IS USM LII 5DS body 80D body
USM
IS USM IS USM LII DO II USM

£3999 £1999 £1999 £3999 £2699£3999£3699 £1199 £499 £499

CANON R MIRRORLESS USED CANON DSLR USED CANON AF LENSES USED 65 F2.8 MP-E macro box .............. £799 SIGMA CAF USED OTHER CAF USED
R5 MKII body ..................................£3999 7D MKII body box........................... £499 8-15 F4 L USM .................................. £699 70-200 F2.8 IS USM LIII box.......£1299 10 F2.8 EX DC HSM ........................ £199 TAMRON 10-24 F3.5/4.5 DiII ....... £179
R5 body box. ..................................£1999 6D body box..................................... £499 10-22 F3.5/4.5 EFS .......................... £299 70-200 F2.8 IS USM LII .................. £699 10-20 F3.5 EX DC HSM .................. £229 TAMRON 16-300 F3.5/6.3 II VC... £399
R7 body...........£1099 RP body .... £499 5D MKIV body box .......................£1299 10-18 F4.5/5.6 IS STM EFS ........... £149 70-300 F4/5.6 IS USM II Nano..... £499 12-24 F4.5/5.6 II DG ....................... £399 TAMRON 18-270 F3.5/6.3 VC ...... £199
RF 14-35 F4 L IS USM box ............ £899 5DS body .........................................£1199 11-24 F4 L USM box.....................£1399 75-300 F4.5/5.6................................ £149 14-24 F2.8 Art box.......................... £799 TAMRON 70-300 F4/5.6 VC USD £249
RF 15 -30 F4.5/6.3 IS STM box .... £349 5D MKIII b/o....£599 5D MKII b/o £299 15 F2.8 fisheye ................................. £399 85 F1.2 USM L .................................. £799 17-50 F2.8 OS DC box ................... £249 TAMRON 70-300 F4/5.6 Di..............£99
RF 15-35 F2.8 L IS USM box ......£1699 80D body box .................................. £499 15-85 F3.5/5.6 EFS .......................... £199 85 F1.8 USM...................................... £299 18-200 F3.5/6.3 DC OS.................. £199 TAMRON 90 F2.8 VC USD ............. £399
RF 24 F1.8 STM macro box .......... £499 70D b/o box..£299 650D b/o. ..... £299 16-35 F4 USM IS L box .................. £499 100 F2.8 IS USM L macro ............. £699 20 F1.4 DG Art box......................... £399 TAMRON 90 F2.8 Di........................ £199
RF 24-70 F2.8 IS USM box ..........£1699 BG-E21/20/16/14/13/11/9/8 each£99 17-40 F4 L USM ............................... £249 100 F2.8 USM macro box............. £299 24 F1.4 Art ......................................... £399 TAMRON 200-500 f5.6................... £399
RF 24-105 F4 L IS............................. £899 CANON M MIRRORLESS USED 17-55 F2.8 IS USM box EFS.......... £399 100-400 F4.5/5.6 LII box .............£1499 24-105 F4 DG OS box .................... £399 TOKINA 12-24 F4 DX MKII............ £199
RF 50 F1.2 L USM box .................£1499 M50 MKII + 15-45 box................... £549 18-135 F3.5/5.6 IS EFS nano ....... £299 100-400 f4.5-5.6 IS USM l Box .... £699 35 F1.4 Art ......................................... £399 TOKINA 12-28 F4 DX box ............. £269
RF 70-200 F4 L IS box ..................£1199 M50 + 15-45 box............................. £449 18-200 F3.5/5.6 IS EFS ................... £299 135 F2 L USM ................................... £499 50 F1.4 Art box ................................ £399 FLASH/ACCESSORIES USED
RF 85 F1.2 L USM box .................£1999 M3 + 15-45........................................ £279 24-70 F2.8 USM LII box ................. £999 180 F3.5 L USM macro .................. £699 70-300 F4.5/5.6 DG ........................ £139 ST-E3 box.......£169 ST-E2 box .......£69
RF 85 F2 macro ................................ £549 EF-M 11-22 F4/5.6 IS STM ............ £249 24-70 F4 IS USM L........................... £599 200-400 F4 IS USM .......................£3999 105 F2.8 EX DG HSM OS............... £329 MR14-EXII ringflash box ............... £449
RF 100 F2.8 L IS USM macro ....... £899 EF-M 15-45 F3.5/6.3 IS STM ...........£79 24-105 F4 IS USM L ........................ £499 300 F2.8 IS USM LII .......................£2699 120-300 F2.8 OS Sport box .......£1699 EL-5 flash box ................................... £399
RF 100-500 F4.5/7.1 L IS USM...... £2099 EF-M 18-150 F3.5/6.3 IS STM ...... £349 35 F1.4 USM LII box .....................£1199 300 F4 IS USM L box ...................... £599 150 F2.8 EX DG OS ......................... £399 430EXIII.........£199 430EX II ............£99
RF 200-800 F6.3/9 IS USM box.£1999 EF-M 32 F1.4 STM box .................. £399 50 F1.2 L USM box.......................... £799 400 F4 DO IS II USM .....................£3999 150-600 F5/6.3 DG OS sport....... £999 580EX II.........£149 600EX RT....... £199
RF 600 F11....£499 RF 800 F11... £599 EF-M 55-200 F4.5/6.3 IS STM ...... £249 50 F1.4 USM box ............................. £249 500 F4 IS USM LII .............. £3699/4999 150-600 F5/6.3 DG OS contem .. £749 Angle finder C.....................................£79
RF 2x conv...£449 BG-R10 grip .. £269 EF-M adapter.......................................£89 60 F2.8 macro EFS .......................... £299 1.4x or 2x extender MKIII each .. £299 TC1401 1.4x extender ................... £149 TC-80N3 rem...£79 RS-80N3 rem £30

Used Nikon 180-600mm

F5.6/6.3 Used Nikon 500mm F5.6
E PF
Used Nikon D500
body
Z8 body Z7 MKII VR 70-200mm F2.8 200-500mm D850 body D780 body
body E FL AFS VR F5.6 E ED AFS AFS
VR

£2999 £1899 £1499 £1399 £999 £1799 £1299 £1599 £999

NIkON Z MIRRORLESS USED NIkON DSLR USED NIkON AF LENSES USED 35 F1.8 AFS G DX ...............................£99 SIGMA NAF USED NIkON 35MM BODIES/LENSES USED
Z9 body box ...................................£3499 D4 body box..................................... £799 10-20 F4.5/5.6 AF-P DX VR .......... £199 35 F1.8 AFS ED..................................... £299 10-20 F3.5 DC box .......................... £229 F5 b/o box.....£699 F4S body ..... £299
Z8 body box ...................................£2999 D850 body box.................. £1299/1999 10-24 F3.5/4.5 AFS box................. £399 35 F2.8 AFD........................................... £299 10-20 F4/5.6 DC HSM .................... £129 F90X/F801/F601 body each ..........£99
Z7 MKII body box .........................£1899 D810 body box................................ £799 14 F2.8 AFD....................................... £499 50 F1.4 AFS G box .......................... £249 12-24 F4.5/5.6 II HSM .................... £399 F3HP body......£599 F3 body ...... £499
Z6 MKIII body box ........................£2199 D800 body box................................ £499 16-35 F4 AFS VR box ..................... £399 50 F1.8 AFS box..................................£99 24-105 F4 DG OS ............................ £499 F2 + DP-1 chrome or black each£399
ZFC + 28 F2.8 box........................... £849 D780 body box..............................£1599 16-80 F2.8/4 VR DX ........................ £599 50 F1.8 AFD..........................................£99 35 F1.4 Art ......................................... £399 F + plain prism black ..................... £599
24 F1.8 S box .................................... £699 D750 body box................................ £699 16-85 F3.5/5.6 AFS VR ................... £199 55-300 F4.5/5.6 AFS VR DX.......... £199 50 F1.4 Art ......................................... £399 F + plain prism chrome ................ £399
24-70 F2.8 S box............................£1499 D500 body box................................ £999 18-35 F3.5/4.5 AFS ......................... £399 55-200 F4.5/5.6 AFS VR DX box . £149 70-200 F2.8 EX DG OS HSM ........ £399 FM2N body Black or Chrome ea £399
24-70 F4 S.......................................... £399 D300 body ........................................ £199 18-55 F3.5/5.6 AF VR DX .................£99 60 F2.8 AFS macro.......................... £299 105 F2.8 EX DG HSM OS............... £329 18 F3.5 AIS box ................................ £699
24-120 F4 S ....................................... £899 D7500 body box ............................. £799 18-105 F3.5/5.6 VR DX AFS.......... £149 70-200 F2.8 E FL AFS box ..........£1399 150 F2.8 EX DG OS HSM box ...... £399 24 F2.8 AIS......................................... £199
24-200 F4/6.3 VR box .................... £599 D7200 body box ............................. £499 18-140 F3.5/5.6 AFS VR box ........ £149 70-300 F4.5/5.6 E AF P VR ............ £499 150-600 F5/6.3 DG OS sport....... £999 28 F2 AIS....£399 35 F2 AIS ......... £349
28 F2.8 SE .......................................... £199 D7100 body box ............................. £399 18-200 F3.5/5.6 VR DX MKII......... £299 70-300 F4.5/5.6 AFS VR box ........ £299 150-600 F5/6.3 DG OS contem .. £749 35 F2.8 shift early ........................... £299
50 F1.2 S box ..................................£1499 D7000 body ...................................... £199 18-200 F3.5/5.6 VR DX .................. £149 70-300 F4.5/5.6 AFD .........................£99 TC-1401 1.4x extender.................. £149 50 F1.2 AIS....£499 50 F1.4 AIS .. £329
50 F1.8 S......£449 50 F2.8 S......... £499 D2X body........................................... £299 18-300 F3.5/6.3 VR DX .................. £399 80-400 F4.5/5.6 AFS VR box ........ £999 TAMRON LENSES - SEE WEBSITE 55 F2.8 AIS micro ............................ £199
70-200 F2.8 VR S box ...................£1799 MBD-18 (D850) box ....................... £269 20 F1.8 AFS box............................... £599 85 F1.8 AFS box............................... £299 FLASH / ACCESSORIES USED 85 F1.8 AI........£249 85 F2 AIS .... £329
85 F1.8 Z box.................................... £549 MBD-17 (D500) ................................ £199 24 F1.4 G AFS Mint box ................ £799 105 F2.8 AFS VR macro ................. £399 SB-700 box ........................................ £199 100-300 F5.6 AIS ............................. £199
105 F2.8 VR macro box ................. £799 MBD-16 (D750) ...................................£99 24 F2.8 AFD box .............................. £249 200-500 F5.6 E ED AFS VR............ £999 SB-900 box ........................................ £199 105 F1.8 AIS ...................................... £499
180-600 F5.6/6.3 VR box ............£1499 MBD-15 (D7000 etc) .........................£99 24-70 F2.8 AFS VR box ................£1299 500 F5.6 E PF VR AFS box ..........£1799 SU-800 commander ...................... £199 135 F2 AIS......£399 135 F2.8 AI . £199
400 F4.5 VR S Mint box ...............£2299 MBD-14 (D600/610) .........................£79 24-70 F2.8 AFS ................................. £499 TC14-EIII ............................................. £399 DR-6 angle finder ........................... £149 180 F2.8 AIS ...................................... £399
FTZ adapter II box .......................... £229 MBD-12 (D800/810) ..........................£99 24-120 F4 AFS VR............................ £499 TC14-EII box...................................... £199 DR-5 angle finder ........................... £149 200 F4 AIS macro ............................ £399
FTZ adapter box.............................. £149 MBD-12 (D800/810) ..........................£99 28-300 F3.5/5.6 AFS VR box ............ £599 TC17-EII box.........................................£99 MC-36A remote ............................... £149 300 F4.5 ED AIS ............................... £399
MB-N11 grip (fit Z6/7) ................... £249 MBD-80 (D80/90)...............................£49 35 F1.4 AFS G box ..............................£799 TC20-EIII box..................................... £199 MC-30A remote ..................................£79 PB-4 or PB-6 bellows each .......... £199

Used Olympus 40-150mm

F4 Pro Used Panasonic100-300mm
F4/5.6 Used Sony 12-24mm
F2.8
OM-1 body 8-25mm F4 G9 body 45-200mm MKII A1 body A7R MKV GM
Pro F4/5.6 body

£1199 £749 £649 £499 £179 £379 £3699 £2499 £1599

FUJI X DIGITAL USED X500 flash.....£249 EF-42 flash ......£99 45 F1.2 Pro box................................ £599 45-200 F4.5/5.6 box ....................... £179 Sony F56AM flash ........................... £149 50 F1.4 ZA..£999 55 F1.8 box .... £399
XT-5 body.....£1399 XT-4 body. . £999 OLYMPUS MICRO 4/3 USED 60 F2.8 macro box.......................... £379 100-300 F4/5.6 MKII....................... £379 OTHER FE MOUNT DIGITAL USED 70-200 F2.8 GM OSS ....................£1199
XT-3 b/o.......£799 X Pro 1 b/o .... £399 OM-1 body box .............................£1199 75-300 F4.8/6.7 MSCII ................... £379 100-400 F4/6.3 box ........................ £799 Sigma 35 F1.2 DG DN.................... £999 70-200 F4 G....£799 85 F1.4 GM.£999
8-16 F2.8 WR box ............................ £999 OM-5 body box ............................... £799 1.4x converter box ......................... £239 FZ1000 MKII bridge ....................... £599 Voigtlander 50 F2 APO MF.......... £699 90 F2.8 G OSS macro ..................... £599
16 F1.4 WR box. ............................... £499 E-M1 MKIII body box ..................... £699 PANASONIC MICRO 4/3 USED PANASONIC FULL FRAME USED Voigtlander 65 F2 macro MF ...... £599 100 F2.8 GM box ............................. £899
16-55 F2.8 XF.................................... £799 7-14 F2.8 Pro .................................... £699 G9 body box..£499 BGG9 grip .....£99 S5 + 20-60 F3.5/5.6 ........................ £799 SONY FE MOUNT DIGITAL USED 135 F1.8 GM box ............................. £899
16-80 F4 WR.......£399 18 F2 R .... £299 8-25 F4 Pro box ............................... £749 GH4 body .......................................... £399 SONY DIGITAL USED 12-24 F2.8 GM box .......................£1599 2x converter E .................................. £399
18-55 F2.8/4 XF ............................... £299 9-18 F4/5.6.....£299 12-40 F2.8 .. £429 7-14 F4.....£399 8-18 F2.8/4 box £599 A1 b/o....£3699 A9 MKII b/o .....£1999 16-35 F2.8 GM................................£1399 LEICA 35MM USED
23 F1.4 XF WR....£399 23 F2 XF . £299 12-45 F4 Pro..£399 12-100 F4.... £799 12-35 F2.8 II..£449 12-60 F2.8/4 £399 A9 body box ...................................£1399 16-35 F4 ZA box .............................. £599 M3 chrome body ..........................£1699
27 F2.8 XF.......£339 35 F2 XF WR£299 12-200 F3.5/6.3 box ....................... £599 12-60 F3.5/5.6 .................................. £199 A7R MKV body box ......................£2499 24 F1.4 GM box ............................... £999 Voigtlander 21 F3.5 Col Skopar . £499
50-140 F2.8 WR box ....................... £999 14-150 F4/5.6 II.£399 14-140 F3.5/5.6................................ £249 RX10 MKIV..£1199 RX100 MKV . £499 24-70 F4 ZA OSS box..................... £399 Voigtlander 40 F1.2 Nokton ....... £499
50-230 F4.5/5.7 MKII...................... £239 17 F1.2 Pro ........................................ £599 25 F1.4 box ....................................... £399 VG-C4 EM grip box......................... £299 24-105 F4 G OSS ............................. £799 Voigtlander 50 F3.5 Heliar........... £369
55-200 F3.5/4.8 R box ................... £399 30 F3.5 macro box.......................... £149 35-100 F2.8 MKII box..................... £599 VG-C3 EM grip box......................... £129 24-240 F3.5/6.3 OSS box .............. £499 Voigtlander 75 F1.5 Nokton ....... £699
56 F1.2 R.....£449 60 F2.4 R mac £299 40-150 F2.8 Pro box ........................... £799 42.5 F1.2 DG ..................................... £599 Sony F60M flash box ..................... £299 35 F1.4 ZA OSS box........................ £599 Zeiss 25 F2.8 ZM ............................. £699
1.4x XF conv ..................................... £299 40-150 F4 Pro box .............................. £649 45-175 F4.5/5.6................................ £299 Sony F58AM/F43 flash each ....... £149 35 F2.8 box ....................................... £299 Zeiss 35 F2.8 ZM ............................. £599
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 503CW, 80 F2.8 CF, A12, WLF ..... £3799 M645 Super complete .................. £699 33-55 F4.5 FA.................................... £499 67II + AE prism box......................£2399
+ speed grip + 120 back .............. £699 +120 + speed grip......................... £999 501CM, 80 F2.8 CF, A12, 645 Pro body .................................... £399 35 F3.5 FA HD................................... £699 45 F4 late.....£499 55 F4 late....... £499
ETRSi + WLF +120 back ............... £599 SQA complete .................................. £699 WLF chrome ...................................... £2999 55 F2.8 N......£299 150 F3.5 N..... £199 45-85 F4.5 FA.................................... £499 55 F4 early..£299 75 F4.5 shift .. £599
ETRSi body...£299 ETRS body .... £199 40 F4 S.....£399 50 F3.5 S box .... £299 500CM + 80 F2.8 CF + A12 ......£1999 WLF fits 645 Super/Pro ................. £199 55 F2.8 D FA ...................................... £599 75 F4.5 box....£499 90 F2.8 ......... £599
40 F4 PE..........£399 40 F4 E ......... £199 110 F4 macro ................................... £299 501C + WLF black .........................£1299 120 back............................................. £149 55-110 F5.6 FA ................................. £499 90-180 F5.6...£499 105 F2.4 late £799
50 F2.8 PE.....£299 50 F2.8 E MC £199 150 F4 PS ........................................... £299 501CM body chrome + WLF.....£1699 120 insert..£29 Ext tube 1/2/3 ea£29 150 F2.8 FA........................................ £499 120 F3.5 soft focus ......................... £399
100 F4 E macro ................................ £299 1.4x converter PS ............................ £299 50 F4 CF ............................................. £699 MAMIYA 7 RF 6x7 USED 150-300 F5.6 FA ED box ............... £499 135 F4 mac..£299 165 F2.8......... £199
135 F4 PE ........................................... £299 2x converter PS ............................... £149 135 F5.6 CF + macro bellows ..... £699 43 F4.5 box ....................................... £899 200 F4 FA.....£399 300 F5.6 FA ... £499 200 F4 latest ..................................... £199
150 F3.5 E .............................................£99 2x converter S .....................................£69 150 F4 CFI .......................................... £799 150 F4.5.............................................. £399 400 F5.6 FA........................................ £499 300 F4 latest ..................................... £199
180 F4.5 PE........................................ £299 SQAi waist level finder.................. £199 150 F4 CF ........................................... £499 210 F8 ................................................. £399 PENTAX 645 MF USED 400 F4 early ...................................... £449
2x extender..........................................£49 SQAi prism late ................................ £399 150 F4 Black T* ................................ £399 Polarising filter ZE702 box .......... £149 45 F2.8.........£299 55 F2.8............. £299 2x rear conv..£149 Plain prism.. £199
ETRSi 120 back RWC late ................£99 SQAi 120 back late ......................... £149 250 F5.6 CF ....................................... £599 MAMIYA RB 6x7 USED 80-160 F4.5..£299 120 F4 mac .. £399 Wooden grip .................................... £199
AEIII prism ......................................... £399 SQA 120 back early ...........................£99 250 F5.6 black T*............................. £299 RB67 Pro S + 127 + RFH + WLF.. £699 200 F4 ................................................. £299 REF converter angle finder ......... £199
AEII prism .......................................... £199 Plain prism S..................................... £199 Winder CW...£349 WLF black ..... £299 RB 67 Pro S body ............................ £399 300 F4 green T* ............................... £499 Helicoid ext tube ............................ £149
Ext tube E14 or E28 each ................£49 Polaroid back ......................................£20 PM 5 prism..£399 PM90 prism .. £369 50 F4.5.........£299 65 F4.5............. £199 1.4x or 2x converter each ............ £149 LIGHTMETERS USED
Speed grip E...£99 WLF ............... £149 WLF...............£99 SQA speed grip .£99 A12 magazine ......................... £199/499 150 F4 soft ........................................ £199 Auto ext tube set ............................ £149 Sekonic L308B ................................. £149
Rotary prism E box......................... £149 Macro bellows ................................. £199 A16 mag box....£499 Pro shade. ..£79 180 F4.5.............................................. £199 Helicoid ext tube ............................ £149 Sekonic L358 .................................... £229
Plain prism E box ............................ £149 Lens hoods various .................... £20/50 Snap lock flash grip box............... £299 Prism early....£129 Chimney box£149 REF converter angle finder ......... £149 Sekonic L558 .................................... £399

ITEM YOU REqUIRE NOT LISTED? EMAIL DETAILS OF wHAT YOU ARE LOOkING FOR AND wE wILL CONTACT YOU wHEN wE CAN HELP. CORRECT 25/10/2024.
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 Critique

Final Analysis
Maria Falconer considers…
Blind Football – Paris 2024 Summer Paralympic
Games by David Ramos

B
efore the Paris 2024
Summer Paralympics
I had never heard of
blind football. And
when the sport was advertised
on Channel 4 I assumed that
I must have misheard.
But as the TV presenter went
on to announce the fixtures, I
realised I hadn’t been mistaken
at all. Blind football was
definitely ‘a thing’ and it was
about to blow my narrow mind.
At first, the pairing of two
relatively familiar concepts,
‘blind’ and ‘football’, seemed an
uncomfortable juxtaposition
wildly inconsistent with my
mental map of how the world
works. Even when I learned
that the ball contains a bell so
that players can locate it, there
were still so many questions,
such as how do the players
know where the goal is, or
locate their team mates? The
short answer to both is that
they don’t, well not in the way people with visible disabilities, ‘In this triumphant game of two halves
a sighted person would. But, as and I remember the director of
I discovered, each team has a one such company insisting on captured so poetically by David Ramos,
sighted goalkeeper and two vetting all the production shots “blind” and “football” walk out side by side’
sighted guides who call out before releasing to the press.
directions, and when players go Through selective editing, she subconsciously scrutinise the men with outstretched arms,
in to tackle they shout ‘voy’ to would purposefully direct the individual components to ‘read’ fearlessly chasing an invisible
announce their presence. viewer’s attention away from or ‘make sense’ of it. And when ball may appear awkward,
the dancer’s visible condition that picture includes a person unsettling or at times slightly
Walk the line (in this case a bilateral with a visible disability the absurd. But the illogical and the
Photographing any kind of amputation) to ensure that the viewer is presented with an incongruous serve well to
football presents technical and dance production, and not the additional element to integrate frustrate blinkered views,
aesthetic challenges. But in disability, took centre stage. into the narrative. and upturn preconceptions
blind football, photographers I’m not sure why the Conversely, in this triumphant about the game and how it
also walk a precarious line choreographer chose to play game of two halves captured so should be played.
between framing the football down the performer’s condition poetically by the photographer Move closer and you will see
and the disability. in the promotional imagery; David Ramos, ‘blind’ and two teams of highly skilled
As a professional whether she thought it may ‘football’ walk out side by side. athletes with the kind of
photographer specialising in distract, influence the reader’s Deprived of visual cues and physical and mental aptitude
dance and physical theatre I am interpretation or was simply running into the unknown, that makes them elite. In
no stranger to capturing live deemed irrelevant. But she players tune into the game this dynamic photograph by
action. Unsurprisingly, dance understood that when a viewer using other senses. To the Ramos, ‘Blind Football’ is
companies sometimes include scans an image, they uninitiated, the sight of masked the clear winner.

Maria Falconer MA, MSc., FRPS, is a photographic practitioner, teacher and writer. A Fellow of the Royal Photographic Society, Maria runs various photography workshops across the UK and in
Europe. For more on her latest workshops and to book your place, visit www.mariafalconer.co.uk

66 www.amateurphotographer.com
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