Amateur Photographer - October 15, 2024 UK

Tuesday 15 October 2024
TESTED
Passionate about photography since 1884
Capturing
autumn
Emily Endean’s tips for great
seasonal landscapes
Motorola
Edge 50 Ultra
An impressive camera and
great spec for the money
TESTED
DJI Neo
DJI’s smallest and most
affordable drone yet!
Wildlife POTY
£4.25
This year’s winning images KELSEYmedia
Plus Vanguard Alta Sky 42 backpack tested • Dartmoor: a radical landscape

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Inside this week’s issue
3 7 days
Welcome
8 Books and 36 I think it’s generally
agreed by most
exhibitions photographers that
12 WPOTY 2024 autumn is the most
winners photogenic season
of the year. The
23 Sigma 28-105mm harsh light of summer has gone,
F2.8 DG DN Art replaced by the warm hues of
lens review falling leaves. This week Emily
27 Motorola Edge 50 Endean shares her approach to
Ultra smartphone capturing the colours and moods
review of autumn. We also present the
winners of this year’s Wildlife
32 DJI Neo review
© EMILY ENDEAN
Photographer of the Year, the
34 Accessories: world’s most prestigious nature
Vanguard Alta photography competition. The
Sky 42 accompanying exhibition has just
48
opened at the Natural History
35 Tech talk Museum and I urge all AP readers
36 Autumnal to pay it a visit. You won’t be
landscapes disappointed. Our testing team
has been busy too, with reviews of
43 Inbox Sigma’s new 28-105mm f/2.8 lens;
44 It’s good to share a great-value smartphone; and
DJI’s most affordable drone yet.
48 Join the club Nigel Atherton, Editor
53 Buying Guide:
COVER PICTURE © EMILY ENDEAN. INSET PICTURE: © INGO ARNDT/WILDLIFE PHOTOGRAPHER OF THE YEAR
Mirrorless lenses
© STELLA SAGE
66 Final analysis
27
12
© SHANE GROSS/WILDLIFE PHOTOGRAPHER OF THE YEAR
This week’s cover image by Emily Endean

23 was taken on Brent Tor, Dartmoor
THIS WEEK’S CONTRIBUTORS

Connect with us
@ EMAIL US at ap.ed@kelsey.co.uk 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
AMY DAVIES EMILY ENDEAN DAMIEN JOSHUA WALLER ANDY WESTLAKE PETER DENCH FACEBOOK: amateur.photographer.magazine
Features Editor DEMOLDER Online Editor Technical Editor TWITTER: @AP_Magazine
Top outdoor In Final Analysis,
Amy reveals the photographer Emily The former editor Joshua takes the In Testbench, our our regular INSTAGRAM: @AP_Magazine
best of this year’s explains why of AP tries out latest (and chief reviewer fills contributor FLICKR: flickr.com/groups/amateurphotographer
WPOTY, and tests autumn is the best Sigma’s smallest) DJI drone up the space in a analyses a
a great-value time for 28-105mm f/2.8 into the air and new backpack from powerful image
Motorola phone photography offering gives his verdict Vanguard about gun crime
Rotolight in XXXXXXX
administration
ROTOLIGHT, a maker of lights for Administrators also take over the day-to-day
photography and video which is well management of affected companies, and
known to many AP readers, has gone into former CEO Rod Aaron Gammons ceased to
administration. Jonathan Bass and Giuseppe be a director on 17 September.
Parla of Menzies LLP have been appointed as So Rotolight is still able to sell its lights, as
the joint administrators of Rotolight Group can be seen on the website, rotolight.com,
Ltd, with the aim of drawing up restructuring where a sale is taking place. The nuclear
plans to save the company or sell it on. option for administrators is to liquidate a
The administrators, who are licensed firm’s assets and distribute the proceeds to
insolvency practitioners, put in place a selected creditors, but this development does
statutory moratorium – ‘this is a “breathing not mean Rotolight has gone to the wall.
space” that frees a company from creditor Despite going into administration in 2013
enforcement actions, while financial and getting slapped with a winding-up petition
restructuring plans are prepared to rescue from HMRC this year over unpaid taxes (later
the company as a going concern where withdrawn), Jessops continues to soldier on,
possible,’ according to the Gov.uk website. and recently opened a new store in York.
© TOM PALLANT
The Rotolight NEO 3 PRO won our Accessory of the Year award in 2023
Abbey Road winners
TOM Pallant’s wonderfully kinetic live
New Skylum portrait-editing suite shot of Blur recently won the Music
Moment of the Year category in the Abbey
SKYLUM, best known for its photo editor Julia Trotti, the software includes an Road Music Photography Awards,
Luminar Neo, has announced a new suite intriguing-sounding feature called Face Mesh. organised by the storied London studio.
of portrait-retouching tools called Aperty. This processes up to 4,000 dots per face for Tom took the shot at Wembley Stadium
Developed in collaboration with portrait pro more precise editing, along with last year. ‘Knowing Graham (Coxon) would
‘segmentation technology’ that detects up launch his guitar 20ft in the air, I was
to 30 classes of face and body parts, again ready…’ Tom recounts. ‘It’s the only time
to facilitate realistic retouching and I’ve ever shouted “Yes!” out loud after
reshaping. Aperty also features tools for skin getting a shot.’ Meanwhile, Francis
smoothing, blemish removal, and studio Mancini won the Live Music category for
lighting emulation, while enabling users to his capture of Darren Styles, while
create AI masks for people and backgrounds, Andreia Lemos took home the
or to customise masks with brushes, Undiscovered Photographer of the Year
gradients, or luminosity. award for her shots of Amyl and the
As an early bird deal, you can get a one-year Sniffers. The legendary Jill Furmanovsky
subscription with an extra year thrown in for won the Icon Award. The nominated
£169; this rises to £249 for a one-year entries are on show at the Royal Albert
license when Aperty officially launches on 7 Hall until 12 November
The software promises more precise editing November or £24.90 a month. See aperty.ai (abbeyroadmusicphotographyawards.com).
4
Make the most of Madeira Tiger style
PRO landscape photographer Emily Endean – who features in REMEMBERING
this issue of AP – is running a trip for women photographers to Tigers, the ninth
Madeira from 2-9 June next year, supported by Fujifilm. Numbers are volume in the
limited to 14 participants, so it’s a great chance to sharpen your Remembering Wildlife
landscape and nature skills in a supportive atmosphere. Book now book series, is now on
and you also get a free 12-month digital subscription to AP – quote sale. The beautifully
AP Magazine in the How Did You Hear About Us section of the produced hardback
booking form. Full details are at bit.ly/endeanmadiera features 88 colour
images donated by
© EMILY ENDEAN
Emily Endean will be leading a many of the world’s

photographic workshop tour top wildlife
photographers,
including Art Wolfe,
Jonathan and Angela
Scott and Greg du Toit,
with all proceeds The book’s images are by top wildlife pros
going to wildlife
conservation organisations. As the publishers note, there are only
around 5,500 tigers left in the wild and they are restricted to just
10% of their historical range. Remembering Tigers costs £49.50
– see www.rememberingwildlife.com
www.amateurphotographer.co.uk 5
Follow AP on
‘Hand, YouTube
© WILLIAM KLEIN
Beyrouth’ by
William Klein Don’t miss our videos for the latest
(1926-2022) kit, tutorials, behind the scenes
Iconic images go tours and exclusive interviews

with top photographers
under the hammer SOME RECENT VIDEOS
THE 45th Leitz Photographica which appeared on the cover of her

Auction will take place at the Leica 1993 photobook The Other Side. ‘This
Gallery in Vienna on 18 October, with striking image encapsulates the most
107 works by such iconic names as significant attributes of Goldin’s work,’
William Klein, William Eggleston, Nan adds the auction house’s Caroline
Goldin and Robert Frank for sale. Guschelbauer. ‘The intimacy of her
The theme of the auction is Gestures, portraits, the authenticity of her subjects,
which is taken both literally and and the subtle yet powerful engagement
metaphorically. Particular highlights with social and political issues.’
include ‘Hand, Beyrouth,’ a 1963 image Another highlight is Alfred
by William Klein. ‘It is a prime example Eisenstaedt’s capture of a Swiss
of the relentless, direct, and radical waiter on skates, which graced Life
visual language of the late artist who magazine in 1936.
died in 2022,’ explains Alexander An exhibition of selected images from
Sedlak, managing director of Leitz the auction also runs at the Vienna
Photographica Auction. ‘Beyond Leica Gallery until 18 October. On 23
conventional norms, he allows his November, the 46th Leitz Photographica
subjects to interact with the camera in Auction takes place, this time dedicated
unexpected compositions.’ The image is to cameras and accessories. No further
also poignant as ‘Beyrouth’ (Beirut) is details were available when we went to
currently being ripped apart by war. press, but back in June, a Leica MP2
Meanwhile, a gaze, not a gesture black paint outfit from 1958 sold for an
draws the eye in Nan Goldin’s ‘Jimmy eye-watering €1,560,000 (£1,309,181).
Paulette on David’s Bike,’ an image Start saving up now!
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of the QX10, and supports 2:3 size for stamps, borders and text. It’s out now
card printing, as well as square (1:1) for £124, in grey, white, and red.
prints. Eschewing ink cartridges, the
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Canon claims. type our name into Google:
Power is provided via a built-in battery,
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6 www.amateurphotographer.com
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Left: Sian Davey,
Untitled, 2016,
from The River
Series © Sian Davey;
courtesy Michael
Hoppen Gallery
Right, top: Chris

Chapman, Joe White
and his ‘teddie’ pit,
Batworthy Farm,
Chagford, 1982
© Chris Chapman/
Victoria and Albert
Museum, London
Right, middle: Garry

Fabian Miller, Year
One: Simivisionios,
2005-6 © Garry
Fabian Miller/
Victoria and Albert
Museum, London
Right, bottom:
Robert Darch, Doe
Tor, 2019, from
The Ten Tors series
© Robert Darch
Dartmoor: A Radical
Landscape
Royal Albert Memorial Museum and Art Gallery (RAMM), Exeter Darch produces ethereal black & white
images of the Ten Tors Challenge, and Sian
19 October 2024 – 23 February 2025, £6 / concessions Davey photographs a stretch of the River Dart
close to her home.
A wide-ranging major new exhibition shows There are other interesting aspects to the
work on display here, including Jo Bradford’s
off the beauty and drama of Dartmoor, as development of a plant-based seal for her
prints incorporating locally produced beeswax
Amy Davies discovers in a nod to sustainability.
More documentary photography is provided
Encompassing the work of 18 artists and Whether considering the climate crisis from Fern Leigh Albert, Chris Chapman and
photographers, and spanning the years and ecological concerns, or, exactly who James Ravilious, while historical prints from
1969-2024, this major new show is a huge has access and rights to the land, much Richard Long, Nancy Holt and Marie Yates will
draw for those with any interest in the of the work on display has come via also be on display.
beautiful and sometimes unpredictable collaborations with climate scientists, This a wide-ranging exhibition that shows
landscapes of Dartmoor. protestors and other experts. off the enchantment that Dartmoor has.
The show aims to demonstrate how the In the exhibition we see work from a wide Clearly, it has attracted a cluster of the
area has been a big draw for these artists, range of photographers – as well as other creative community – whether you’re local or
compelling them to respond to its open artists – working across a range of genres not, there’s plenty to enjoy here. Perhaps
spaces, ancient woodlands and human and techniques. For example, there’s you’ll even be inspired to head out into the
activity through art, photography and film. camera-less photography from Garry Fabian Dartmoor countryside yourself to put your
Dartmoor is as beautiful as it is complex. Miller and Susan Derges. Meanwhile, Robert own stamp on the area.
Books & exhibitions
The latest and best books and exhibitions
from the world of photography
© MATTHEW PINNER
Wherwell Village
Hampshire in Pictures by
Matthew Pinner
£18.99, Amberley Publishing, 128 pages,
ISBN: 9781398117136
Now for another area with
a good variety of different
landscapes. Hampshire is home
to several historic villages and
towns, quiet rural countryside, river valleys and
an interesting coastline. It’s also got a world-
famous cathedral (Winchester) and carries the
legacy of Britain’s naval history.
That’s not even to mention locations such as the
New Forest and the South Downs. Safe to say, a visit
to Hampshire can yield some fantastic photography
with a landscape to suit pretty much every taste.
In this new book, the photographer Matthew
Pinner takes a new look at the area, beautifully
capturing the huge variety of scenery the area
offers. If you live in the county then of course it will
be particularly appealing, but if you’re thinking of
visiting, then it can give you a fantastic steer
towards some particularly photogenic spots.
© MATTHEW PINNER
Marwell Zoo, Winchester
www.amateurphotographer.com 9
Acts of Creation: On Art and
Motherhood by Hettie Judah
£30, Thames & Hudson, 272 pages, Hardback,
ISBN: 9780500027868
I was lucky enough to see the touring exhibition
of Acts of Creation at the wonderful Arnolfini
Gallery in Bristol earlier this year. Coinciding with
my maternity leave, there couldn’t have been a
better time for me to see it, and I left filled with
inspiration and hope for the future that
motherhood needn’t be an infringement on creativity.
Now, a book featuring work from the exhibition, put into
context with fascinating essays, is also available. Of course,
you don’t have to be a new parent to enjoy the work; there’s
a rich variety of things here for any reader to enjoy, but it’s
perhaps fair to say that those with direct experience may
find it a little more personal than others.
The book looks at both how motherhood has been depicted
throughout history up to recent times and some of the women
who have created art in conjunction with their own experience
of parenthood (or not, in some of the more touching pieces).
More than 150 artworks are included in the book – as
well as photography, there is also sculpture, painting and
other forms of art.
It’s a complex account which engages with many problems
© WHITNEY MUSEUM OF AMERICAN ART, NEW YORK
that are still ongoing – around gender, caregiving, and

reproductive rights, and is absolutely fascinating. I can’t
recommend this book highly enough and would urge as
many people as possible to read it.
Left: Mary Beth Edelson, Zipper Sheela: Stepping Out, 1973.

Oil, pen and ink, wax crayon, collaged paper and glitter on
gelatin silver print
Svalbard People by
Graeme Chesters
£38, self-published, softcover,
62 pages, ISBN: 9798881447281
The worthy winner of AP’s
Rising Star bursary, Graeme
Chesters spent many weeks in
Svalbard as part of his ‘The
Long Year Project’ to document
the people and places of the
area. The world’s northernmost settlement is
home to a variety of people, many of whom
feature in this charming book.
Complementing the beautiful portraits is
a set of interviews with the sitters. Graeme
was fortunate enough to spend some time
as the artist in residence at the Spitsbergen
Artist Centre, where more than 30 people
were photographed, and more than 50 hours
© GRAEME CHESTERS
of audio recordings were made.

He believes the familiarity and intimacy with
which these portraits are imbued comes from
the fact that he spent so long establishing
relationships with the sitters during extended shutter. Over time, the subject tends to relax, to see that he has turned it into a
periods in Longyearbyen. share their stories, and these revealing and wonderful book. If you want an excellent
None of the portraits is posed or directed. personal portraits would come to the fore. example of portrait and long term project
He would simply sit the subject down, start A gifted photographer across many work, as well as a great illustration of how
to chat and wait for the right gesture or genres, it’s perhaps Graeme’s portrait work to self-publish your work, Graeme’s book
expression to present itself before hitting the that is his most striking, so it’s no surprise comes highly recommended.
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WILDLIFE PHOTOGRAPHER OF THE YEAR
The
The latest Wildlife Photographer

of the Year winners have been
revealed. Amy Davies spoke to
some of the photographers to find
out more about their work
T
his year Wildlife Photographer of the Year is celebrating
an incredible 60 years.
The prestigious competition always attracts the very
best of the year’s wildlife photography, and of course
2024 is no different. Since its inception, the competition has
always strived to promote wildlife photography as being directly
beneficial for the wildlife portrayed within it.
That means that over the years, we’ve seen a noticeable shift
away from traditional or classic wildlife shots of common subjects
to those that demonstrate the behaviour of perhaps lesser-known
creatures, or those which need the most attention. We’ve also seen
a lot more in the way of artistic representations of wildlife, as well
as an increase in photojournalistic approaches to the topic.
At this year’s exhibition at the Natural History Museum, one
hundred photographs will be on display. There will also be a
timeline of key moments in the competition’s history to celebrate
its special anniversary.
This year, a record-breaking 59,228 entries were submitted to the
competition from 117 countries and territories. Entries are judged
anonymously for their creativity, originality and technical
excellence by a panel of internationally renowned experts.
The overall winners, as well as the Grand Title and Young The Swarm of Life by Shane Gross, Canada
Grand Title awards, were announced at a ceremony hosted by the
wildlife TV presenters and conservationists Chris Packham and
Winner, Wetlands: The Bigger Picture and
Megan McCubbin. For 2024, a new award, the Impact Award, is Wildlife Photographer of the Year 2024
designed specifically to recognise a conservation success, a story Nikon D500, Tokina Fisheye 10-17mm f/3.5-4.5 lens at 11mm, 1/200 at
of hope and/or positive change. f/13, ISO 640, 2x Sea & Sea strobes, Aquatica housing
Open now at the Natural History Museum in South Kensington, After snorkelling in the lake for several hours, through
London, the exhibition runs until 29 June 2025. A UK and carpets of lily pads, Shane photographed these western
international tour will also commence. toad tadpoles. The tadpoles swim up from the safer depths of
Don’t forget, if you’ve been inspired to enter your own shots the lake to dodge predators to reach the shallows where they
into the competition, you’ve still got time. It’s open until feed. The tadpoles start becoming toads between four and 12
11.30GMT on 5 December. Visit nhm.ac.uk/wpy/competition for weeks after hatching – but an estimated 99% do not survive
more information on both the exhibition and the competition. into adulthood.
© SHANE GROSS / WILDLIFE PHOTOGRAPHER OF THE YEAR
Shane has been entering WPY since 2012, and says he feels so SHANE’S TOP TIPS
1
honoured to have won his category and finds it hard to fathom that The more time and effort you put in, the better your results will
he has been named as the overall winner. He’s especially thrilled be. That’s the only way I know of to develop a style of your
considering the subject matter. He says, ‘Wetlands are so overlooked. own, a voice of your own.
I’m very happy that WPY added this category recently as wetlands
deserve – and more importantly, need – our attention today.’
Speaking about the shot itself, he says, ‘Being among millions of 2 Study the past competition winners so you can be original
and have fun with it.
3
tadpoles in a beautiful setting sounds like it would make for easy Enjoy the process entering. I go through my images thinking
photography, and in a way, it was. The difficult thing for me was critically about them and show them to friends and family to
working out the best way to capture the spectacle. You have very see their reactions – it’s very motivating and rewarding.
small, dark animals on a bright background, so the key to having them
pop was to use a fisheye lens, get really close, and use strobes to
light up their spectacular detail.’ 4 If you don’t win (which is most of the time!) don’t take it
personally. Many successful images don’t make it.
A Diet of Deadly Plastic by
Justin Gilligan, Australian
Winner, Oceans:
The Bigger Picture
Nikon D850, 24-70mm f/2.8 lens, 1/125 at f/11,
ISO 400, Profoto B10 + A1 flash
© JUSTIN GILLIGAN / WILDLIFE PHOTOGRAPHER OF THE YEAR

This mosaic was created from the 403
pieces of plastic which were found
inside the digestive tract of a dead
flesh-footed shearwater. Justin has been
working with seabird and marine
plastics research group Adrift Lab,
documenting their work for several
years, including joining them on beach
walks at dawn to collect dead chicks.
The team includes biologists from
around the world, who study the impact
of plastic pollution on marine life. marine conservation issues. This category JUSTIN’S TOP TIPS
Studies have revealed that three-
quarters of adult flesh-footed
shearwaters breeding on Australia’s Lord
was therefore a natural fit for me, and,
being a relatively new category, there
was an opportunity to try to contribute
1 Find a subject you are passionate about
in the town or region where you live that
few other photographers are working on.
Howe Island, and 100% of fledglings, something a little unusual and surprising Become an expert in that subject.
contained plastic. Research has revealed to draw the interest of the judges.
that the plastic causes scarring to the
lining of the digestive tract, a condition
‘The challenge for creating this image
was establishing a constructive working
2 Visit the subject during all seasons and
try and create images that are different
from those you’ve seen elsewhere.
known as plasticosis. relationship with Adrift Lab, putting in all the
Justin is extremely happy to have been
recognised by WPY, and particularly this
category. He says, ‘I am a member of the
time necessary to represent their hard work
and dedication. There are also some difficult
emotions to overcome when facing a story
3 If a particular species or location
has been awarded in the
competition before, submit images
International League of Conservation and a scene like this – you just need to focus that build on the established standard.
Photographers (iLCP) and my conservation on the task at hand and try to create the You need to come up with something
storytelling efforts have largely focused on most compelling images possible.’ different from a fresh perspective.
need protein. As such, they are capable of

killing insects and other invertebrates much
larger than themselves through their strength
in numbers.
This is not the first time Ingo has won a
category at WPY, but he says, it’s ‘always
awesome and a great honour’ to be placed.
Having photographed the wood ants for the
last two years, it was always obvious to him
that he would enter into this category this
time around.
Describing the tricky process of capturing
the image, he says, ‘In order to get a flat
© INGO ARNDT / WILDLIFE PHOTOGRAPHER OF THE YEAR
perspective, I had to lie down on the ground

right next to the ant nest. Soon, hundreds of
ants were sitting on me, biting me and
spraying me with formic acid.’
INGO’S TOP TIPS:
1 It’s best to concentrate on one subject

or theme and not try to photograph
everything at once.
The Demolition Squad by

Ingo Arndt, Germany
In this shot, we see the brutal and efficient
dismemberment of a blue ground beetle by
2 Be selective in your choices and
delete as many as possible – the
more you delete, the better the pictures
Winner, Behaviour: red wood ants. To capture the shot, Ingo are that you keep.
lay next to the ant’s nest, after which he
Invertebrates
Canon EOS 5DSR, 100mm f/2.8 lens, 1/200 at
f/8, ISO 400, Canon Macro Twin Lit MT-24EX
described himself as ‘full of ant’ – a
skin-crawling description.
The ants’ nourishment mostly comes from
3 Take a look at the Wildlife
Photographer of the Year portfolio
book, you’ll see which type of pictures
flash, softboxes
honeydew secreted by aphids, but, they also stand a chance of winning.
© ALEXIS TINKER-TSAVALAS / WILDLIFE PHOTOGRAPHER OF THE YEAR
Life Under Dead Wood by underrepresented genre compared to larger people about aspects of the natural
Alexis Tinker-Tsavalas, wildlife like birds and mammals.’ world they were previously unaware of,
Germany Alexis has been photographing since a very and to raise awareness about important
young age, with wildlife always being his conservation efforts. Macro is
Winner, 15-17 Years and favourite subject. particularly importantly for this as
Young Wildlife Photographer ‘I was interested in birdwatching and it gives people another perspective
of the Year nature and wanted to get better photos on smaller wildlife, to help them
Panasonic Lumix G90, Laowa 25mm f/2.8, to document what I saw. For the first understand how important it is to
2.5-6x ultra macro lens, 1/200 at f/4, ISO 200, couple of years, my main focus was on protect these organisms that are so
Nikon SB-900 Speedlight flash, Cygnustech bird photography, but I quickly became vitally important to our ecosystems.’
macro diffuser, focus stack of 36 images
more interested in macro and getting
ALEXIS’S TOP TIPS:
Alexis needed to work fast to capture this photos of all kinds of insects, spiders
image, as springails can jump many times
their body length in a split second. Still, he
and other tiny organisms.
‘Getting a good image handheld 1 The most important thing is to go
outside in the field as much as you
can and keep practising.
used focus stacking to shoot 36 images and at such high magnifications poses
combine them for a perfectly focused result. challenges in itself, with the lighting,
The springtail is barely 2mm long, and is
found alongside slime moulds and leaf litter
depth of field and stability all needing
special technique and equipment to
2 Gear definitely matters to a
certain extent, but what is so
much more important is having good
all over the world. It improves soil by helping overcome the limitations of high- technique, an eye for composition
organic matter to decompose. magnification shooting. I also got lucky and to be able to act fast when an
Speaking of his win, Alexis says, ‘It’s really that the springtail didn’t move in the time opportunity presents itself.
a big honour – I never thought I would reach it took to shoot the 36 images required
the point. I’m also always happy to see
macro represented in broader wildlife
competitions, as it tends to be an
for the focus stack.
‘I think the biggest impact wildlife
photography can have is to educate
3 For competitions, focus on
behavioural images rather than
just simple wildlife portraits.
The Serengeti of the Sea by Sage Ono, USA SAGE’S TIPS:

Winner, Rising Star Portfolio Award
Nikon D850, 60mm f/2.8 lens, 1/60 at f/14, ISO 250, Nauticam
NA-D850. Housing, 2x Sea & Sea YS-D2J strobes
1 Be relentlessly
picky about your
own vision. Aim to
match the artists
These tube-snout fish eggs sparkle like gems next to the glowing gold you look up to on a
of the kelp. As the embryos inside the eggs develop, they will fade in technical level, but
colour. This is an image from Sage’s portfolio which explores the then try to break
abundant life around the giant kelp forests in Monterey Bay National away from them
Marine Sanctuary, California. stylistically.
Sage is extremely excited to have won a category. He says, ‘It’s
exciting and bewildering. I hope this recognition helps give a voice
to kelp forests worldwide, and I don’t think I will be able to fully 2 Shoot local, or
plan on doing
something no one
appreciate how winning will affect my life for a few more years.’
Speaking about his winning portfolio, he says, ‘I do most of my has ever done
shooting in and around Monterey Bay focusing on kelp forests. The before. Talented
Rising Star Portfolio category allowed me to take a broader view photographers are
and focus on a theme rather than a single moment. Kelp forests everywhere, but the
are incredibly complex ecosystems, where the life in the canopy is best shots almost
vastly different from the life in the holdfasts. A single image can’t always come from
those who have
© SAGE ONO / WILDLIFE PHOTOGRAPHER OF THE YEAR
capture that complexity.’

As you can imagine, underwater photography has a diverse range taken the time to
of challenges not always seen in other genres. ‘In order to shoot in really understand
Monterey, I have to take my camera, a vacuum-sealed housing, their local
strobes, a drysuit, tank and plenty of other accessories. These make ecosystem.
3
moving underwater quite awkward. Constantly managing my buoyancy Slow down, look
in the swell and current in order to frame images is difficult too. It’s closely, you’ll
far from graceful, but hundreds of hours of practice and a lifetime in find fascinating
the water made it possible.’ stories everywhere.
A Tranquil Moment by
Hikkaduwa Liyanage
Prasantha Vinod, Sri Lanka
Winner, Behaviour: Mammals
Nikon D500, 600mm f/4 lens, 1/250sec at
f/4, ISO 3200
Here we have a sweet portrait of a young
© HIKKADUWA LIYANAGE PRASANTHA VINOD / WILDLIFE PHOTOGRAPHER OF THE YEAR

toque macaque sleeping in an adult’s arms.
While taking a rest after a morning of
photographing birds and leopards, the
photographer soon realised he wasn’t alone.
A troop of toque macaques was moving
through the trees above, with a young
monkey sleeping between feeds. A
telephoto lens enabled Vinod to pick out
the peaceful moment.
Despite the obvious beauty of the portrait,
Vinod is still somewhat surprised to have
won the category. ‘When I received the email
acknowledging the win, I could not believe it.
I went through the email three times before
comprehending it – I’m honoured.’
Long fascinated by primates, due to their the Nikon 600mm f/4 prime lens attached composition and the story it conveys.
human-like behaviours, Vinod says there were to my D500 DSLR. It was a bit of a struggle Learn their methods and excel from them.
2
a couple of challenges to getting to this shot. to hold the set up for long without shaking Always plan before you set out to shoot
‘One was not to make the mother and the and to get the best frame I wanted. What in a park. Find out what animals are in
newborn startled by making any unnecessary I did was to push and hold the set up against that park, the geography, the sort of
noise, but at the same time, I knew had to a tree and while keeping it steady took the lighting that will be there, and what sort
take the shot ASAP because I knew this frame I wanted.’ of actions you could anticipate.
moment was not going to last long. I had to
3
VINOD’S TIPS: When you are a bit more experienced,
move swiftly to the right position but without
making noise.
‘The second challenge was to hold my gear 1 Follow other established photographer’s
work, for example on Instagram. Try to
analyse the lighting, subject, framing and
try to photograph frames which tell a
story. Wild animals can’t speak, so we
must be their voice.
by hand and take the frame I wanted. I had
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© MATTHEW SMITH / WILDLIFE PHOTOGRAPHER OF THE YEAR

Under the Waterline by many pictures this year. However, as he publish a print of mine almost 25 years ago!
Matthew Smith, UK/Australia exclusively shoots underwater, he feels It was a black & white print of the Sydney
Winner, Underwater especially honoured to win in this category. Harbour Bridge that I shot on my first trip to
Nikon Z7 II, 14-30mm f/4 lens, 1/200 at f/11,
‘Location and extreme cold were the two Australia (before I emigrated). I remember
ISO 640, neutral-density graduated filter, biggest challenges to get this shot. It was how excited I was and how it gave me a boost
Aquatica AZ6/7 housing and Matty Smith taken in a remote spot on the Antarctic to push on with my photography. Little did I
12” split shot dome port, Sea & Sea YS-D3 peninsula, only really accessible on a small know the next picture of mine you’d publish
Mark II strobes yacht like ours, out of reach of the bigger would be a WPY award-winning image, which
cruise ships. makes this interview extra special indeed.’
This curious leopard seal is seen beneath the ‘A small group of seven photographers and
MATTHEW’S TIPS:
Antarctic ice. Matthew captured this using a I chose to sail there from Argentina on a
specially made extension designed for the
front of his underwater housing to get the
small boat so we could run to our own
schedule and spend time in these hard-to- 1 Patience is paramount; these things
don’t happen overnight. Get to know
your target species well, and its behaviour
split image – and amazingly, it was his first reach locations. We were living on the vessel
encounter with a leopard seal. He says, in cramped quarters for a month, which was and nuances. Studying the animal will help
‘When it looked straight into the lens barrel, mentally and physically challenging. you capture the more special moments.
I knew I had something good.’ ‘Crossing Drake Passage between South
Leopard seals are widespread and
abundant, but overfishing, retreating sea
America and Antarctica is also an extreme
sailing adventure as is notoriously one of the
2 Good eye contact with your subject
makes for compelling images.
ice and warming waters mean that krill and
penguins – the main source of food for the
seals – are both in decline.
most treacherous oceans to cross. Once
there we had to deal with sub-zero ocean
temperatures, which makes it hard to shoot
3 For competitions, read the rules
carefully. For example, WPY is very
particular about post-processing – which
He describes winning this category as underwater. Time is limited as even with the is a good thing.
a career highlight. ‘WPY is considered the best dry suit and thermal gear, the iciness
Oscars of wildlife photography and to be
selected as a winner is a “pinch myself”
creeps into your bones very quickly, making
operating a camera very tricky.’
4 Shooting for awards like this helps
to make you a better and more
thoughtful photographer, but it’s a tough
moment. I still don’t quite believe it,’ he says. This is not the first time Matthew has been
competition. Don’t be put off if you don’t
Although this is a winning image, Matthew published in AP. Matthew recalls, ‘Amateur
make it; keep entering year after year.
actually entered multiple categories with Photographer was the first magazine to
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EISA AWARDS 2024-25

visit www.eisa.eu for the winners
eisa is the unique collaboration of 56 member magazines and websites from 27 countries, specialising
in all aspects of consumer electronics from mobile devices, home theatre display and audio products,
photography, hi-fi and in-car entertainment. This international association includes expert members in
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TesTed by The experTs n www.eisa.eu

The Artful Crow by
Jirí Hrebíček, Czechia
Winner, Natural Artistry
Canon EOS 5D Mark IV, 70-200mm f/2.8 lens,
2x teleconverter, 2 seconds at f/10, ISO 50,
variable neutral-density filter
This impressionist-style vision of a perching

carrion crow was taken in Basel, Switzerland
in Jirí’s local park. This is a place where he
feels it’s ideal to experiment with techniques,
including this one which was created using
intentional camera movement (ICM).
‘I didn’t even dare to hope that an amateur
photographer like me could succeed among
so many amazing talented photographers
from all over the world,’ Jirí says. ‘I like
creative images from nature, and I enjoy
seeing how other photographers see the reminded me of Edgar Allen Poe’s poem JIRÍ’S TIPS:
world around us through their eyes. When
I discovered the magic of ICM years ago,
I immediately felt that this style opened up
“The Raven” – only the main subject here
is a crow, rather than a raven.
‘The biggest challenge for me was that
1 Don’t be afraid to experiment with
different camera settings and
techniques – you never know what the
a whole new universe for me, allowing me to I used a relatively long exposure time, but result might be.
still shoot wildlife, but at the same time let I also wanted to make sure that the main
my imagination run wild and create scenes
that I can see, even if it may not be exactly
subject remained relatively sharp. I held the
camera as static as possible for a short
2 Go out and explore your local
neighbourhood as you will always
find a new subject and technique to
what my own eyes see. period of the given time I chose, then moved experiment with.
‘For this image, I wanted to not only take quickly to the tree standing nearby in order
a photo of a bird perching on the branch,
but also to capture my mood and the
atmosphere of that gloomy evening, which
to capture the atmosphere using ICM,
combined with zooming and unfocusing
during the remaining exposure time.’
3 Most importantly, whether taking
pictures for yourself or for a
competitions such as this, have fun.
few selected as a winner, but most

importantly, winning means that the subject
gets the attention it deserves,’ Britta says. As
a wildlife photojournalist, this is the only
category ever enter – but I love that WPY
gives opportunities to so many photographers.
‘The hardest bit about a shot like this is
getting access. It usually takes months to get
permission. In one case, it took one year for
authorities to agree to my visit. It’s also a
challenge to work in environments that are
broadly confidential, so it demands a lot of
flexibility and improvisation. It’s a total honour
that people trust me.
‘Wildlife photography is the universal
language to explain how all life on Earth is
interconnected and thus interdependent.
Photos can touch people on a different level
than text. In my view, without photography,
society’s conscience would wither.’
BRITTA’S TIPS:
Dusting for New Evidence London’s Metropolitan police, who is dusting 1 Be consistent, find your own niche and
develop your own style.
by Britta Jaschinski, for prints on a confiscated tusk.
Germany/UK
Winner, Photojournalism
Britta spent time at the CITES Border Force
department where confiscated animal
2 Listen to constructive criticism and
be bold.
Leica SL2, 24-90mm f/2.8-4 at 62mm, 1/80sec

at f/3.8, ISO 200
products are tested. Up to 28 days after it
was touched, experts can obtain fingerprints
thanks to newly developed magnetic powder.
3 Avoid entering similar photos from
those awarded in past years, the jury
always wants a fresh approach.
In this striking image, former Amateur This gives a better chance of identifying those
Photographer award-winner Britta Jaschinski
photographs a crime scene investigator from
involved in the illegal trade.
‘It’s a humbling experience to be among the
4 Don’t manipulate your images and
write an informative caption.
LENS TEST Testbench
Images shot with the lens
show lots of detail, especially
when stopped down
Panasonic Lumix S5II, 28mm,
1/800sec at f/10, ISO 200
Sigma 28-105mm
F2.8 DG DN Art
Sigma offers more light for your money with its latest portraiture is not the least. But
size becomes an issue when
lens, says Damien Demolder. It comes in at a stop extending the range of a standard
zoom with a fast maximum
brighter than the competition for much the same price aperture, and Sigma tells
S
me that fixing the wide end to
igma’s seemly constant Sharp-minded readers may end in such a short time. I would 28mm ensures the size and
striving to be different remember that at the end of my be flattered indeed, but also weight doesn’t exceed what
and better has gifted us Sigma 24-70mm f/2.8 DG DN Art deluded to think a lens could be users would consider reasonable
a 28-105mm DG DN Art review in AP 30 July, I greedily designed in just a few weeks on for an everyday lens.
lens with a constant maximum asked Sigma’s engineers for a the whim of some idiot reviewer. I’m happy enough to take the
aperture of f/2.8. While most of little more reach, in the form of a But I’m just as glad to see it. loss of a few millimetres at the
the competition offers 24-105mm 24-105mm f/2.8. Sigma UK The usual 24-70mm range wide end, but I’m more interested
lenses that open only to f/4, this pretended that the engineers had covers a useful set of angles, to see whether Sigma has
independent brand gives us an listened and hastily put this lens but adding 85mm and 105mm managed to maintain the high
extra stop of light, but doesn’t together just for me, but could into the mix opens the lens to standards we’ve come to
charge us more for the benefit. only manage 28mm at the wide a new set of purposes, of which expect from an Art lens.
Out-of-focus backgrounds
are rendered really nicely
1/125sec at f/2.8, ISO 200
Features of those aspherical lenses, which highlights even as the aperture Despite Sigma being very proud
Designed for full-frame sits in the forward lens group, is closed down, which will be of the fact the lens weighs less
cameras with L or Sony E has a diameter of 66.4mm. useful in portraiture. than 1kg (and that being a
mounts, the optical construction Aspherical elements this large Minimum focal distances favourable weight compared to
takes in 18 elements in 13 are very hard to make, we are remain constant at 40cm across some others) this is still a
groups. It includes 2 elements in told, and are possible only the zoom range, which gives us a significant addition to a camera
the company’s FLD glass, and through the company’s advanced maximum magnification ratio of bag. At 995g for the L-mount
one in SLD glass – both of which manufacturing facility in Japan. 1:3.1 when we set the lens to version and 990g for Sony E,
are low-dispersion types. Another interesting feature, with 105mm. It’s hardly true macro it weighs a lot, and it is pretty
We also get a total of five potential to have a direct impact but impressive all the same – we big too. The barrel measures
aspherical lenses which are on the look of our images, is the can fill the frame with subjects as 87.7mm in diameter and when
used to reduce the length of the 12-bladed iris. With the extra small as 10cm across. at rest in the 28mm position,
optical path so the lens barrel telephoto focal lengths, this Sigma gives us the usual the lens protrudes 157.9mm
can be kept relatively short. rounded aperture could help to anti-flare coatings that have from the camera’s mount.
Sigma is very proud that one maintain attractive out-of-focus proved very effective in the Shifting the zoom ring to the
past, and the front element is 105mm position though makes
For a zoom like this, the wide end is additionally coated to repel water the front element whizz out
well corrected for distortion and oil. We also get a manual another 4cm to make the lens
Panasonic Lumix S5II, 28mm, 1/6sec at f/11, ISO 100 aperture ring with an option to just slightly over 200mm. It isn’t
de-click the stops, a zoom lock, the extended length that’s the
and a pair of function buttons on issue, though, when you are
the barrel that are set by default deciding where to house the
to AF Lock. The filter thread is lens in your camera bag.
82mm – so in line with other In use, though, I found neither
recent Art zooms. the length nor the weight of the
lens to be an issue, and I happily
Build and handling carried it for full days without
As the Art series is Sigma’s either aspect bothering me. I was
premium line, you might expect aware of having a sizable setup,
the 28-105mm F2.8 DG DN Art but not so much so that I wished
to be very well made – and it is. I’d left it at home.
The construction feels solid, This lens is actually very
secure and as though it will cope comfortable to hold and felt
with extensive use, and even a nicely balanced on the Lumix S5ll
good deal of rough treatment. and Lumix S9 cameras I used it
LENS TEST Testbench
Sharpness remains
Verdict
impressively high at f/11
1/250sec at f/11, ISO 200
As I expected,
I was very glad
of the extra
35mm at the
Recommended
long end of
this lens, and
while I would have liked 24mm at
the other end, I found I only really
missed it on one occasion during
the weeks I shot with this Sigma
28-105mm F2.8 DG DN Art lens.
It is a bit big, and it is a bit heavy,
but both of those issues are
readily forgotten when you
discover you are able to shoot at
f/2.8 and 105mm one moment
and then at 28mm and f/8 the
next – it’s a very versatile lens.
And should any negative feelings
remain when you get home they
will be further dispelled when you
bring your images up on screen.
on for this review. As is usual Image quality the lens is used wide open at I have been delighted with
with these Art lenses, the zoom I don’t know if I have a healthy 105mm, portrait backgrounds what this lens produces and,
and focus rings are nicely suspicion of zooms or just take on a beautiful painterly after initial testing, used it
placed, and we can tell in a splita plain suspicion of zooms. atmosphere with a smooth for professional architectural
second whether our fingers are But either way, my suspicion softness that is very pleasing. interiors, portraits and for
on the zoom, focus or aperture manifests in direct proportion to Even when we close the recording the fast-moving children
ring as each feels different the range of the zoom and how aperture down beyond the at a summer camp – and it has
enough to be quickly far the focal lengths extend f/2.8 and f/3.5 shallow performed exceptionally well in all
distinguished. either side of ‘normal’ – 50mm depth-of-field settings, cases. Now I need to decide what
The zoom action is noticeably in this case. I expected good background details remain I will wish for next from Sigma’s
stiffer than in the Sigma image quality from this lens, firmly in the background and excellent Art range.
24-70mm F2.8 DG DN Art lens, but didn’t expect it to be up to don’t take on hard edges that
but not uncomfortably so – it justthe standards we see in the project them to our attention.
takes a little more determination 24-70mm f/2.8 or the 70- Even at f/8 or thereabouts,
to rotate the ring through the 200mm f/2.8, as the range and close headshots still have lovely
almost-90° angle required to get desire for miniaturisation make backdrops, but with intensely
from 28mm to 105mm. That things a little more demanding. detailed focused areas. This
stiffness does make micro- In the event, though, image means the longer focal lengths
adjustments somewhat more quality is really very good indeed. don’t present us with some sort
difficult to make, though. The While it’s perhaps not quite as of compromise we might
buttons and switches are all well sparkling as we get from the hesitate to suffer over a fixed
placed on the barrel and are 24-70mm when used wide open, lens – the look is lovely.
easy to reach when needed. it is still excellent. Sharpness is I’m also impressed with the
very good but we don’t quite get way curvilinear distortion is
Autofocus the same clarity the 24-70mm controlled at the wide end of
The lens’s focusing is driven by possesses, so images don’t the zoom. I used the lens to
Sigma’s recently developed HLA at first seem quite as detailed compare to my usual lens when
(High-response Linear Actuator) when we look (too) closely. Detail shooting a kitchen and was
motor that seems to shift the is there all along, but we just impressed that no extra
Data file
focusing group with ease, great need to tickle it out with the distortion correction was Price £1399 Length
speed and very little sound. ‘Texture’ slider to enhance the needed, and that edges close Filter diameter 157.9mm
Using the lens on the Lumix S9 micro-contrast. to the extremes of the frame 82mm Diameter
and S5ll, I didn’t once feel the When closed to f/4, the appeared straight. I wasn’t Lens elements 18 87.8mm
mechanical properties of the resolution of the lens is really expecting that, and had shot Groups 13 Weight 995g
lens inhibited the speed of the exceptional, and it remains so on my usual lens as well in Diaphragm blades Lens Mount
camera’s own AF. With that bright right down to f/11 – dropping case of disaster. Chromatic 12 Sony E (full-frame),
aperture too, the camera was only slightly at f/16 and f/22. aberrations do not show their Aperture L-mount
always fed with plenty of One of the features I really face, and vignetting sits right f/2.8–f/22 Included
information to work with, even appreciate is the quality of the at the back of the class Minimum focus accessories
in low-light situations. out-of-focus highlights. When where it won’t be noticed. 40cm Caps, hood
Rated Excellent
based on over 60,000 reviews
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SMARTPHONE TEST Testbench
Motorola has provided an
impressive triple-camera
setup for the money
Motorola Edge 50 Ultra, 23mm equiv,
1/850sec at f/1.6, ISO 101
Motorola Edge 50 Ultra

If you want a lot of specs for your cash, the Motorola Edge 50 Ultra has
a great deal to like. Amy Davies discovers more
O
ften, the best That’s not far off half the price of
smartphones for some of the big-name flagships At a glance
photography will set with comparable storage capacity.
you back a small
fortune. So when something Features £849
clocks in at a more affordable The Edge 50 Ultra has a l 50MP main camera, 23mm f/1.6
price, it’s sure to make you take triple-lens array, which is pretty l 50MP ultrawide, 12mm f/2
notice. Although by no means much the norm for mid-range l 64MP 3x telephoto, 72mm f/2.4
cheap, the Motorola Edge 50 and high-end phones. What’s l 50MP f/1.9 selfie camera
Ultra appears to have comparable less common, however, is that l 4K 60fps video
specs to the likes of the all three of the sensors offer l 6.7in OLED screen
Samsung S24 Ultra, Google Pixel high resolution, with two at
9 Pro, and iPhone 16 Pro Max. 50MP (the main and the With a 23mm-equivalent
But can it deliver the same kind ultrawide) and a third at 64MP f/1.6 lens, the main camera is
of image quality? (the telephoto). There’s also a backed by a fairly large 1/1.3in
Right now, it costs around 50MP selfie camera – it’s pretty sensor. The ultrawide lens is
£849 for a device that includes rare to have high-resolution 12mm f/2, while the 3x
an impressive 1TB of storage. front-facing cameras. telephoto gives a 72mm
0.5x (12mm equiv) 1x (23mm equiv)
3x (72mm equiv) 6x (144mm equiv)

This comparison covers the ultra-wide, wide and telephoto lenses, plus the tele lens with 2x additional digital zoom or ‘in-sensor cropping’
f/2.4. As is pretty common, colour experts, with it promising super-fast 125W charging and is starting to fall out of fashion
the ultrawide lens is also to produce excellent, accurate wireless charging available. Plus, now, with many other makers
used for close-ups, named colours and skin tones. That’s with a less powerful screen, it’s now using a flat design. Still, if
‘macro vision’ by Motorola. both for the cameras and the likely to last as long as those you like curved edges, then
4K video is available up to display of the phone. with higher-powered units you’ll likely be happy with the
60fps. There’s no 8K like you Speaking of which, you get anyway. A fast charger is also design. The screen itself uses
find with a Samsung S24 Ultra, a 6.7in screen with 2800 nits included in the box, which counts Corning Gorilla Glass Victus so
but very few people actually need peak brightness and a resolution as a big plus these days. it should withstand scratches
that right now. of 2712x1220pixels. That In terms of updates, Motorola quite well. The device is also
As is fairly common now, makes it less detailed than the guarantees at least three major IP68 dust and waterproof.
there’s a host of AI functions Samsung S24 Ultra, while it also OS updates, and four years of I’ve been using the Forest Grey
that are designed to enhance doesn’t have either an anti- security updates. That’s not as vegan leather version of the
your photography. These include reflective screen or an ‘Always- good as the likes of Samsung, phone, which gives the back of
being able to capture light trails On’ display. Considering this iPhone or Pixel, but it’s better the phone a matte feel. It also
in the phone, better autofocus device sells for such a lot less than some others on the market. feels more sturdy, so you
tracking for moving subjects, and than the S24 Ultra though, It’s also probably a pretty fair wouldn’t necessarily need to
enhanced processing. that’s not a surprise and is reflection of how long most invest in buying a case. It
Another intriguing feature of clearly where (some) of the people actually keep a phone for. doesn’t attract fingerprints, but
the Edge 50 Ultra is the fact that compromises are to be found. it can get a little bit grubby.
it has Pantone validation. This is The battery is slightly smaller Design and Handling The cameras are arranged
the world’s first smartphone to than we’d find in many flagships, The Motorola Edge 40 Ultra on the back, with two cameras
be validated by the famous being 4500mAh. But there’s employs a curved screen, which above the third one. The lenses
SMARTPHONE TEST Testbench
themselves are quite big and look The macro mode is
a little similar to those seen on not too bad when
an iPhone. viewed at small sizes
Unlike many other Android Motorola Edge 50 Ultra, 12mm equiv,
phones, the Motorola Edge 40 1/20sec at f/2, ISO 5369
Ultra uses a clean version of
Android. This makes for great
overall experience that’s fairly
similar to using a Pixel phone.
To launch the native camera
app, you can double tap the
power button on the right-hand
side of the phone. Meanwhile
the volume keys can be used
to take pictures.
Camera app
The native camera app is
pretty similar to other Android
smartphones. It’s well featured,
with lots to choose from, whether
you want to keep things simple or
explore more advanced options.
By default, the app will launch
in the Photo mode, which most
people will probably use to take
the majority of their shots. With
this, you can access the three
lenses, as well as having an
on-screen button for 6x in-sensor terminology for the focal length, levels are good. There’s plenty of very bright weather with lots of
cropping. You can also pinch to the aperture slider goes from detail on display, and I’d certainly green in the scene when things
zoom up to 100x digital zoom – 1 to 6, to indicate the strength say the shots are comparable to went a bit too dazzling, but
the same as we see on the of the background blur. You can those from the Samsung S24 generally the results are very
Samsung S24 Ultra. also adjust the focus point and Ultra or iPhone 16 Pro Max. good. Skin tones seem to be
You can either set the phone the level of blur after shooting, by Colours, which remember are pretty accurate too.
to automatically switch to macro tapping ‘Edit’ when viewing your Pantone-validated, are on the Digital zooming is pretty good
mode if you bring it closer to the images in playback. whole very good. They mostly at the 6x option as displayed in
subject, or you can tap a little A Pro mode gives you the appear on the right side of vibrant the camera app, and even
flower icon to enable it. At which option to change various settings without going overboard with the produces usable results up to
point, the phone will switch to the including exposure compensation, saturation – which I see happen around 15x. The 100x results,
ultrawide lens, but apply a crop ISO, and white balance. It’s here a lot elsewhere, especially with as I’d expect, are pretty terrible
to recreate the look of shooting that you can also shoot in raw mid-range or cheaper phones. – just like every smartphone
with a 1x lens. format if you feel so inclined. There were some occasions in that offers this. It’s
In Photo mode you can switch Some other shooting modes
on ‘Auto-enhance’, which applies include Night Vision (which you Colours are very good
adjustment settings to your can either select from the More directly from the camera
photos, but can take longer to menu, or it should automatically Motorola Edge 50 Ultra, 23mm equiv,
capture the shot. But you can activate in low light); Timelapse; 1/926sec at f/1.6, ISO 100
opt to leave it as ‘Natural’ as Panorama; Ultra-Res (for shooting
well. In my experience, switching at the full 50MP resolution); and
it on doesn’t lead to dramatically Tilt Shift (for recreating the look
longer shooting times. of using a tilt-shift lens).
Additionally, you can switch on When it comes to editing your
Shot optimisation in the settings shots, it’s also worth noting that
menu, which uses AI scene the Edge 50 Ultra uses some of
detection to enhance photos. the same tools as the Google
Like most smartphones, Pixel series. This includes Magic
there’s a Portrait mode. However, Eraser, which allows you to move
a small difference here is that the things around the scene, or erase
different focal length options are them entirely.
displayed as 24mm, 35mm,
50mm and 85mm, rather than Performance
1x, 2x and so on. If you tap an The Edge 50 Ultra is capable of
‘f’ button, you can change the taking some great shots, with all
simulated aperture. But bizarrely, three of the lenses putting in a
considering it uses ‘real’ lens pleasing performance when light
Testbench SMARTPHONE TEST
Outlines can be a little

unrealistic in portrait mode
at the maximum blur setting
Motorola Edge 50 Ultra, 72mm equiv,
1/954sec at f/1.6, ISO 100
obviously a marketing
gimmick, so I’d probably
just pretend it doesn’t exist.
a reasonable performance. I like
the fact that you can adjust the
background blur and the focus
Value for Money
At £849, the Edge 50 Ultra sits
at the upper end of the mid-
Verdict
The macro mode is not point after the fact. Outlines range price point. However, when There’s a lot to like about the
the best on the market, but don’t look all too natural if you you compare it to the likes of the Motorola Edge 50 Ultra, with it
certainly not the worst. Using have the heaviest amount of blur big flagships at the moment, it’s putting in an extremely strong
the ultrawide camera means you on, but look a bit better if you very competitively priced. That’s performance for the price point.
have to get practically on top of tone that down. The selfie especially true when we think It compares well with the
your subject, which can mean camera creates highly detailed about how much storage you get Samsung S24 Ultra, with the
blocking out the available light. shots – arguably perhaps a little for your cash. Compare it to the compromises generally coming
However, the results are similar too detailed – and being able 1TB versions of the iPhone 16 from specifications that aren’t
to what I’d expect from the to mix it with the Portrait mode Pro Max (£1,599), the Samsung directly related to the camera,
Samsung S24 Ultra or the means you can get some nice S24 Ultra (£1,449) or the Pixel 9 such as to the screen.
iPhone 16 Pro Max, and it works shallow depth of field effects. Pro XL (£1549), then £849 The best results come from
quite well for certain subjects. If In low light, as expected the looks like an absolute bargain. the main lens, but the others put
you’re only looking at shots on best results come from the 1x There are a couple of caveats in a very good performance too,
your phone screen, they’re camera. That said, the ultrawide to add though. The Motorola making this a great all-rounder.
certainly good enough. images are not too bad either, Edge 50 Ultra certainly is I’ve seen better macro options
Portrait mode again puts in and the 3x option is just about cheaper than those models, but elsewhere, but the pictures are
usable at small sizes. there are some compromises to reasonable enough for ordinary
Data file Switching off the ‘shot be made. But these mostly use. Portraits and low-light shots
optimisation’ doesn’t seem to come in non-photography related are more impressive.
Main camera: Display: 6.7-inch be a good idea. I found the areas, such as the screen. So, if So, in answer to the question,
50MP, 23mm Super HD (2712 x quality of images reduced when you’re looking for a good camera is the Motorola Edge 50 Ultra as
equivalent f/1.6, 1220 pixels), it was disabled, with some but can skimp elsewhere, it good as a Samsung flagship?
AF, OIS 446 ppi, 120Hz, strange colours, so it’s wise might be worth considering. Well, it’s a definite maybe. In
Ultrawide: 50MP, 2800 nits peak
brightness to leave it on. Auto enhance Additionally, when it comes terms of the camera, it comes
12mm equivalent produces some nice pictures, to resale when you want to pretty close. If you’re happy with
f/2.0, AF Operating
Telephoto: 64MP, system: but the difference is very subtle, upgrade, a Motorola is unlikely compromises
72mm equivalent Android 14 so I wouldn’t say it’s a necessity. to hold its value as well as a elsewhere it’s
f/2.4, AF, OIS Dimensions: 4K video recording is fairly Samsung or an iPhone. It’s worth certainly one
Selfie camera: 161.1 x 72.4 x detailed and has a balanced remembering you don’t get as to consider,
50MP f/1.9 wide 8.6mm exposure. It’s also fairly stable many years’ worth of security or particularly if Recommended
lens, AF Weight: 197g and steady if you’re recording OS updates as with Google, you want to
handheld. Apple or Samsung, either. save cash.
,
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Testbench DRONE TEST
Compact
Despite its non-folding
design, the Neo takes up
little space, measuring
130x157x48.5mm and
weighing 135g.
Automatic
You don’t even need a
phone or controller to fly
the drone, but can use
automated flying modes
via the buttons on top.
Storage
DJI Neo
Files are recorded to
22GB built-in storage,
but there’s no option to At a glance
use a microSD card.
£169 drone only, no controller

£299
Fly More combo with RC-N3 controller
Joshua Waller reviews a compact drone that punches l 12MP 1/2in image sensor
well above expectations, given its wallet-friendly price l 13.9mm-equivalent f/2.8 lens
l 1-axis gimbal – 90° down, 60° up
T
he DJI Neo is a stabilisation compared to the record 4:3 video, then electronic l 4K 30p video recording (4:3/16:9
with electronic stabilisation)
brand-new 12MP/4K Neo’s single-axis gimbal. image stabilisation (EIS) is not
l 17/18min flight time (with/without
camera drone from the Top propeller guards come available. That small sensor size guards)
leading maker. Priced pre-installed and can be removed means you’re going to want good l 131g/135g (without/with guards
at just £169, it sits above the for slightly extended flight times. light for the best results. l 8m/s wind resistance (Level 4 wind)
Tello, a budget drone for kids, The propellers are protected Photos are recorded as JPEG
and below the DJI Mini series underneath and at the sides, files only, and there are no
in the range. Its small size and even without the top guards. manual-exposure controls. For the range of controls on more
low weight of 135g means you The camera sits on a 1-axis video, you can select between expensive drones such as the DJI
don’t need a licence to use it. gimbal, and you can select H.264 and H.265 encoding, and Mini 3, then you might be a little
anywhere between 90° down and 30, 50, and 60fps in Full HD, or disappointed. However, the target
Features 60° up. It’s got an f/2.8 aperture, 30fps in 4K. Electronic image market here is people who want
The Neo takes over from the Mini uses a 1/2in sensor, and has an stabilisation can correct up to to try their first drone, and have it
4K as the cheapest 4K-capable ISO range of 100 to 6400. The +/- 45°, meaning footage will be as easy to use as possible,
drone from DJI. Its non-folding drone can take 12MP still photos look stable even in strong winds. without necessarily worrying too
design keeps cost and weight in either 4:3 or 16:9 aspects Beyond this, there are very few much about image quality or
down. However it’s worth noting ratios, and record 4K video, controls, with the ‘Auto’ flight more advanced controls.
that the Mini 4K’s camera offers again, either at 16:9 or 4:3 for modes being the most interesting To adjust settings, you’ll need
more axes of movement and later cropping. However, if you options for video. If you’ve seen the DJI Fly app on your phone.
It’s recommended you set this
up at home with a good internet
Fly More Combo

connection. You may also need to
install a firmware update before
your first flight.
The Fly More Combo includes 3 batteries total, a 2-way
USB-C charging hub, and the DJI RC-N3 Remote controller. Operation
The RC-N3 uses your phone as a display and offers easy The ‘Manual’ mode is a manual
control, as well as quick buttons to get the drone ‘Home’ flying mode, where you control
when needed. You can select between C (Cine), N (Normal), where and how fast the drone
and S (Sport) flight modes. It looks a lot like the RC231 flies. There is also a range of
controller with a top front-left dial to adjust the angle of the automated modes, all of which
gimbal, and a shutter/record button front-right. The joystick record a video. These include
controls can be unscrewed and stowed neatly in the bottom. The contents of the Fly More Combo Follow (subject tracking); Dronie
Photo taken on a sunny
day with the DJI Neo flying
1/800sec at f/2.8, ISO 150
on your phone. The app will
Verdict
cancel out the noise of the drone
itself, if it is nearby. The results
are impressive.
There’s
Performance never been
The camera does a reasonable a more
job with 12MP stills, giving the Recommended wallet-
best results in bright, sunny friendly yet
conditions. It struggles in low-light capable DJI
conditions with noise becoming drone. The combination of 4K
an issue, and it also struggles video, 12MP photos and sheer
with dynamic range, for example ease of use makes this a great
if the sun is in the frame. If you drone to pick up and start
just use the images on social using. The design and built-in
media or on the web, and don’t protection for the blades also
look at the pixels in detail, then mean that it’s likely to survive
you should be relatively pleased being used by beginners as
with the results. They’re good well. Battery life is limited to
enough, but not amazing. It’s 18 minutes, though, so you’ll
(flies backward and ascends); in combination. This gives a video always worth taking a few shots, probably want to stock up on
Circle (circles around the transmission distance up to as some come out sharper than an extra battery or two.
subject); Rocket (drone ascends 10km. Another way you can fly others, most likely due to Naturally, if you’re prepared
with the camera pointing the drone is with RC and DJI movement when flying. to spend extra money on a
downwards); Spotlight (drone Goggles 3 for first person view With video, what’s most Mini-series drone, you’ll get
rotates with subject within the (FPV) use. With the RC Motion 3 impressive is how stable the something a bit more
frame); and Direction track controller, additional aerobatics footage is, even in windy sophisticated that’ll take
(tracks the subject in the frame). are available. conditions. Video quality is better stills and video. But for
You can simply switch the Audio has often been an issue reasonable; however, it doesn’t those who don’t need more
drone on and then use it when recording footage from a really compare to a high-quality manual controls or raw
without connecting it to a phone drone, but DJI lets you use an 4K camera when looking at shooting, but just want an
or remote controller. Select the external microphone or the mic the pixel-level detail. easy-to-use, entry-level drone
mode you want to use using the that can capture some
buttons on top, and hold down The DJI RC-N3 controller great-looking video, the
the button till it activates. in use with an Android DJI Neo is a great choice.
Alternatively, you can connect smartphone attached
the drone to your phone and For and against
control it directly from the DJI
Fly app. This gives a range of + Amazing value for money
roughly 50m. + Stabilised photo and video
If you have the RC-N3 controller, + 22GB built-in storage
you can either fly the drone – Flight time quite short
‘headless’, without connecting to – Storage can’t be expanded
your phone, or you can use the – Image quality suffers in poor light
RC-N3 controller with your phone – Doesn’t support raw shooting
Testbench
Vanguard
Alta Sky 42
Andy Westlake tries out a backpack that’s
specially designed for carrying large lenses
● £179.99 ● vanguardworld.co.uk
Vanguard’s Alta Sky backpacks are designed

specifically for sports, action or wildlife Pockets
photographers who need to be able to carry their Two stretchy neoprene
camera with a large telephoto lens attached. The side pockets will hold such
Alta Sky 42 is the smallest in the range, but that things as water bottles,
doesn’t mean it’s short on space. Its tall, relatively monopods, or folding
narrow form factor is designed to hold a full-frame stools.
camera with a 600mm telezoom lens attached.
A zipped flap on the top provides quick access
to your camera and long lens, with the rest of
your kit accessed via the zip-opening back panel.
There’s space for three or four more lenses inside, Tripod
plus other bits and pieces, with Vanguard including There’s a tripod holder on Handle
the front, with a fold-out A generously padded
a generous array of dividers to organise your kit.
‘bucket’ for the feet and top handle allows the bag
You also get a padded wrap to protect narrower
a pair of straps. to be comfortably carried
diameter telezooms or spotting scopes. Luggage one-handed, even when
On the front, a zipped pocket provides a readily
accessible space for spare batteries and memory
strap it’s full.
A slim strap on the back
cards. It has two pockets inside with red and green lets you slip the bag
tags, so you can keep used and clean cards over the handle of
separate. Otherwise, though, there’s not much wheeled luggage.
organisation for small accessories, just some small
flat zipped pockets on the top flap and front.
As usual from Vanguard, materials and
construction are excellent, with plenty of padding
to protect your valuable kit. The bright yellow
interior makes it easy to see what’s inside. Both
the shoulder straps and the back are generously
padded, and mesh covered, which makes the bag
comfortable to carry even when fully laden. Thanks
to its semi-rigid design and flat base, it will happily
stand upright and not fall over, too. Its relatively GOLD
small footprint is very welcome on public transport
and when navigating your way through crowds.
I tested the Alta Sky 42 by using it for a couple
of airshows with different sets of kit. For the first, I
was able to fit the medium-format Fujifilm GFX100S
II and GF 500mm F5.6 lens, plus the GF 32-64mm
F4 for wide shots. Second time around, I used the
Nikon Z6III together with the Nikkor Z 100-400mm
f/4-5.6 zoom and 1.4x teleconverter, and the
LARGER ALTA SKY BAGS
Z 24-120mm f/4 alongside. This left just about At a glance
enough space to carry binoculars and food, too. If you need to carry larger telephoto
ALL PRICES ARE APPROXIMATE STREET PRICES
● Holds camera with large lenses, Vanguard offers a range of

Verdict telezoom attached similar bags. The biggest in the
While the Vanguard Alta Sky 42 is a fairly specialist ● Space for 3-5 more lenses line-up is the 36-litre Alta Sky 68
design, I found it worked really well for its intended ● Pocket for 12.9in tablet (right). This will hold a pro camera
purpose. If you frequently shoot sports, wildlife, or ● 27x24x50.5cm (external) body with an 800mm lens attached,
airshows, where you need to carry your camera with ● Weighs 1.9kg plus additional lenses and a 16in
a long lens attached, it’s a great choice. laptop, and costs £325.
Tech Talk
Tony Kemplen on the …

Improve
Kodak your
photography
Retina IIc
A camera for enthusiastic amateurs, made in
with a
subscription
to Amateur
the mid to late 1950s Photographer
magazine!
L
ast month I wrote about
a rigid 35mm compact
camera, the Zeiss Ikon
Contina 1a. Before rigid
designs became the norm, a lot
of early 35mm compacts were
basically scaled down versions
of the larger rollfilm cameras of
the time, employing bellows as
a means of collapsing the lens
assembly into the body. Made
between 1934 and 1967, the
Kodak Retina series were initially
folding models with bellows,
before evolving into the rigid
compact cameras that dominated
The Retina IIc: high-end for a 1950s 35mm compact
the keen amateur market in the
1960s. Together with their budget
siblings, the Retinettes, there
were over 60 different models.
This particular iteration, the IIc,
regarded, as the meter is often
faulty. The front lens element
can be swapped with alternatives
leaf shutter, so no danger of
attracting disapproving glances
in the hushed atmosphere of
SAVE UP TO
was made between 1954 and
1958. It is a high-end camera
for its class, with a 50mm f/2.8
Schneider Xenon lens, and a
of 35mm and 80mm, but these
are not compatible with the
rangefinder, and are probably
more trouble than they’re worth.
a traditional art gallery.
It’s not without some quirks,
the film advance lever is on the
bottom of the camera, which
70%
JUST £2 PER ISSUE
*
Synchro Compur shutter, with As befits a camera made for takes a bit of getting used to, and
speeds running from 1 sec to the enthusiastic amateur, the the frame counter counts down
1/500sec. A coupled rangefinder lens and shutter combination from 36, meaning that if you’re
completes the specifications, and
the only thing lacking to make the
allow it to be used in a range of
lighting scenarios. In addition to
not paying attention you can get
confused mid-roll as to how many WAYS TO
camera completely self-contained
is an exposure meter. The latter
the aperture and shutter speed
scales, there is a third scale
photos you’ve taken or have left.
That said, it’s satisfying camera SUBSCRIBE
was provided in the Retina IIIc, marked ‘EV’. This stands for to use, and has a precision feel Visit
which was available at the same Exposure Value, and was a when handled. The bellows, which shop.kelsey.co.uk
time. But today it’s less well system designed to simplify allow the lens assembly to
setting the camera. Though collapse into the body, are hidden /APUG24
widely used on cameras in the by metal screens, and can only Call us on
1950s and 60s, it never really be seen from inside when the 01959 543 747
caught on, and I don’t think back of the camera is open. and quote APUG24
I’m alone in finding it more In Ivor Matanle’s seminal work
complicated than simply using Collecting and Using Classic
the conventional controls. The Cameras, he concludes the
large aperture allowed me to take chapter on 35mm folders by
this photo in a dimly lit gallery, musing about which one was
where flash was not permitted, ultimately the best ever. He
and in any case would have names the Retina IIc as the
created a far harsher image. An chosen one, and I’m happy to Lines are open Mon-Fri 8.30am to 5.30pm. Calls are
The f/2.8 lens is good for low light added bonus is the very quiet second that endorsement. charged at your standard network rate. *Offers available
for UK customers only. You will pay £26 for your first 13
issues then continue to pay £34.99 every 3 months.
Savings are calculated based on the Basic Annual Rate
using the standard cover price plus a standard postage
Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he price per issue. Offer ends 31/12/24. Prices correct at time
of print and subject to change. For full terms and
conditions visit shop.kelsey.co.uk/terms. To see how we
can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. use your data view our privacy policy here shop.kelsey.
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See more of Tony’s photos at www.flickr.com/photos/tony_kemplen.
Technique AUTUMNAL LANDSCAPES
Autumn reflections at
Stourhead in Wiltshire
Nikon D610, 24-70mm, 30sec at f/11, ISO 100
Explore the vibrant colours, misty

mornings and moody light that
make autumn the perfect season
for capturing breathtaking
landscape photography.
Emily Endean is your guide
Emily Endean
Emily is a freelance photographer from the UK, capturing soulful imagery through her
work and personal projects. She is addicted to chasing great light, seeking the beauty
in the ordinary and being out in nature. Emily uses her transferable skillset across
multiple genres, conveying stories, evoking emotions, and preserving moments in
time, using her creativity to produce captivating and meaningful images. Visit
www.emilyendeanphotography.co.uk and Instagram @emily_endean_photography
The ruins of Corfe

Castle shrouded in
mist at sunrise
Fujifilm X-T3, 18-55mm,
0.4sec at f/11, ISO 80
argue that there is really no such thing

as bad weather. Even on darker, overcast
days, nature can still provide a stunning
backdrop, allowing the vibrant autumn
colours to shine beautifully.
Revisit locations
I love to revisit familiar locations to
document the changing seasons, as it
allows me to see these places in a new light.
Each season brings with it diverse colours
and textures, creating fresh opportunities
for unique compositions as the landscape
transforms. Out of all the seasons autumn
has these opportunities in abundance!
Being well acquainted with specific
locations can make you an expert in
D
understanding what to look for in the
uring this time of change, mornings that evoke a sense of wonder, weather forecast and also in determining
I love to get outside and showing off the landscape in a new way. the ideal vantage points to capture the best
document the season’s ever- compositions. This knowledge prevents the
changing beauty as much as Time of day frantic rush that often accompanies the
I can. The best autumn photographs can When it comes to landscape photography, excitement of discovering mist, enabling a
often come from capturing the vibrant the golden hour often reveals some truly more thoughtful approach to photography.
colours at their peak or seeking out the incredible and captivating light. It’s worth That being said, it’s great heading out
fungi on the woodland floor. But there’s keeping an attentive eye on the weather with a shot in mind, but sometimes the
also so much more to appreciate about forecast for those dewy, still mornings, as predicted conditions don’t quite come to
the season itself, from the changing light they can create the perfect conditions for fruition, so it’s good to think on your feet
that creates a magical atmosphere to the producing wonderful atmospheric mist in and be adaptable to what’s presented
moody storms and the ethereal misty the right locations. However, I would also to you on the day.
BEST KIT
Lens variety
I make sure I have a
wide range of lenses to
cover all eventualities,
ranging from a 14mm
wideangle to a versatile
55-200mm zoom. This
covers a range of
options, whether I’m
capturing wide open
vistas, compressed
scenes, abstracts or
focusing on intriguing
patterns and textures.
Additionally, I often use
a macro lens to capture
intricate details and
delicate subjects, like
the fascinating textures
of mushrooms.
Two tripods
For stable and precise
shots, I rely on a
low-level tripod, which
allows me to frame up
Amazing colours of shots near the ground,
autumnal foliage
frame the scene at along with a standard
Falls of Falloch, tripod that is particularly
Scotland handy for shooting in
Fujifilm X-T3, 14mm, wooded areas. The
5sec at f/9, ISO 200 Fujifilm X-T5 is my
camera of choice, with
its weather-sealed
Colourful reflections
at blue hour across design it performs
Blea Tarn in the well in changeable
Lake District conditions. Its tilt-out
Nikon D610, 20mm, screen proves to be
2sec at f/14, ISO 100 immensely useful for
capturing low-level
shots, when a tripod
can’t be used.
Filters
A couple of essential
filters are a polariser
and a neutral-density
(ND) filter. Using
a polariser can
significantly enhance
the colours in your
photographs while
helping to reduce
glare on the surface
of water. Additionally,
using an ND filter is
essential for achieving
beautiful long-exposure
shots, allowing you to
capture the smooth,
flowing movement of
water over time in
landscape scenes.
Watching the sun

touch the mountains
and light everything
in its path in
Glencoe
Fujifilm X-T5, 18-55mm,
1/125sec at f/8, ISO 250
Intimate landscapes By getting close

Mushrooms have to be my absolute and low, you can
favourite thing to photograph at this time really bring out the
of year. Finding them is half the fun, with characters of the
the best places to check being mossy areas fungi and I loved
the shape of this
or in decaying wood. With each individual one standing tall
specimen being truly unique, I really enjoy Fujifilm X-T5, 30mm,
exploring how I can best capture its 1/60sec at f/4, ISO 640
distinctive character and the surrounding
environment in which it thrives. There are
so many ways to approach this subject and
I love capturing a low-down perspective, to
really make them stand tall. Also, bearing
in mind the woodland floor can be very
dark, it’s useful to have a little light, like a
headtorch, or bike light with you, just in
case you need a little extra light on your
subject. It’s also worth packing something
to sit or lie on, too.
For most landscape photographers, the
general idea is to ensure everything within
the scene is in focus, often resulting in the
choice of a narrow aperture set around
f/11. However, when it comes to capturing
specific subjects like mushrooms, I find
that it is usually more effective to select a
wider aperture to isolate the subject. The
intricate nature of woodlands can lead
to a very cluttered visual experience,
which may make a composition feel
overwhelming and chaotic.
40
EMILY’S TOP TIPS
Shoot raw
As with all photography, I’d say my
first tip has to be to shoot in raw
format. Being able to work with an
uncompressed file really allows more
flexibility when editing, along with
maintaining higher image quality.
Be observant
Photographing the woodland floor and
finding mushrooms to photograph is
all about the art of noticing. Once you
spot them and get familiar with the
spaces they grow, the more you will
naturally see.
Change your perspective

Get down on the floor and shoot
mushrooms at their level – if you
are struggling with the low light then
try highlighting with a torch light.
Shooting from a low angle for
landscape scenes can also draw
attention to foreground elements
and create depth.
A longer lens compresses this
scene, highlighting the sun’s Learn to adapt
rays coming through the trees It’s good to previsualise what you
and creating dappled light on want to capture but embrace the
the floor below
weather conditions and be adaptable.
Fujifilm X-T3, 55-200mm, 1/60sec at f/5.6, ISO 160
The weather will not always work in
your favour at this time of year so
don’t be hard on yourself and take
the time to explore other potential
photographic opportunities when
you’re out.
Just get outside!

Get out and explore both familiar
and new locations – try and see
everywhere you possibly can for the
beautiful changes this time of year
brings. Even if you don’t take any
photographs, a little recce can
inspire you for next time.
Why it Works
I came across this horse early one morning,
he was standing with his head deep in the
bracken as the sun began to rise. Fortunately
for me, he decided to look up and directly
into the camera at the perfect moment. With
the soft light filtering through the trees, the
beautiful autumnal colours of the surrounding
foliage and a gentle mist in the air, it all came
together to produce a wonderful image. The
colourful bracken in the foreground worked
brilliantly as a natural frame to
draw the eye in to my subject.
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brightness (Inbox, 17
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Production Editor Jacqueline Porter the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated whether a newer version
Design atg-media.com (Calum Booth) would be better in this
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Professor Robert Newman respect, or is the Pro Max
Advertisement sales & production
Head of Investment: Photography
LETTER OF THE WEEK version (with its larger
screen size) better still?
Mike Pyatt
Michael Dodman
Pentax 17 hack
Production Manager Nick Bond
Management
Publishing Director Mark Winterton Amy Davies replies:
Retail Director Steve Brown Luckily for us, screen
Subscription Marketing Manager
Molly Walton I couldn’t agree more with your recent brightness is measurable
Print Production Manager Georgina Harris
Print Production Controller Hayley Brown
review of the Pentax 17. After buying so we can be objective
one as soon as they became about this. The iPhone 11
Subscriptions available, my biggest gripe was the maximum brightness is
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the relatively high price and Pentax’s good at the time but is
usual exemplary build quality on its very dim by modern
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Customer service and subscription postal
address Amateur Photographer Customer eBay and I used paper to make Pentax. Other readers may like to both have a maximum
Service Team, Kelsey Publishing Ltd, templates for the two sections. know that there are multiple eBay brightness of 2000 nits.
Kelsey Media, The Granary, Downs Court,
Yalding Hill, Yalding, Maidstone, Phil Doody shops selling leatherette in various However, even this is quite
Kent ME18 6AL colours that are ideal for re-skinning dull compared to some.
Find current subscription offers on
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Bloody tourists among others, need to changing, although the from indoors to outdoors,
Tel 020 7429 4000 www.seymour.co.uk I have some sympathy shoulder some of the example of limiting the screen should
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influencers. In that latter hell on earth for many parks in the States, might
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writing from the publishers. Note to contributors: articles political minefield. In the Damien Demolder’s Final
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Our favourite photos posted by readers
on our social media channels this week
AP picture
of the week
Spread Your Wings!
By Connor Hill
Sony A7 IV, Sony FE 200-600mm F5.6-6.3 G OSS,
1/800sec at f/7.1, ISO 1000
‘Willow warbler in flight at HazIeton Common. The best

lesson I have learned in wildlife photography is that you
simply cannot beat jumping in a hedge and having lucky
timing when pressing the camera shutter. That said,
luck only begins when picking up your camera and
heading outside.’
Instagram: @Connor.Wildlife
Website: connorwildlife.wixsite.com/wildlife
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Solvågtinden
by David Twomey
Sony A7R III, Tamron 150-500mm
F/5-6.7 Di III VC VXD, 1/100sec at f/6.3,
ISO 100
‘This shot came to me while driving
northwards to Bodø on Norway’s famous
E6. Not far from the Arctic Circle Centre, we
came to a gentle bend in the road which
opened up to this beautiful landscape.
Thanks to Norway’s “free to roam” law, we
found a park up nearby, and I chose to use
my telephoto lens to do justice to what my
eye witnessed.’
Instagram: @Daithi_o_tuama_photography
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Mystical Edersee ‘At the end of September, I went to Lake Edersee to take some
photographs by the water. Once there, I suspected that the fog over
by Dagmar Peters the lake could be an interesting motif and drove to a viewpoint high
Canon EOS R6, Canon RF 14-35mm, 1/125sec at f/8, ISO 320 above the lake. That’s where I took this photo.’
Instagram: @fotozyklus
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YOUR PICTURES IN PRINT
1 Light Festival by
1 Anne Marie Bird
2 Standing Out by
Val & John Carne
3 Windmill by
Adrian Brettell
2
When was the club founded? always about the wellbeing never the
The club was founded in 2020. Adrian quality of the photo.
Wyatt, the facilitator, had been As lockdowns eased, some asked
diagnosed with CPTSD and a chronic for people to meet in person, so Snap
lack of self-worth during three years of and Stroll was born.
therapy. He knew how lockdowns may
impact him and thus others but also What does your club offer to
knew the power of photography to be a new members?
the
source of hope. He created a Facebook We are totally inclusive, ensuring that
group called Snap and Stroll from at least once a month the group meet
Home. Originally it was for only a few (at first) inside a room that has an
people but it grew beyond its Bristol accessible garden. This is called Snap
base, and he started to get enquiries and Stay, and means those less
from other parts of the world. mobile can be included.
Its idea was as simple as they The group generally meets up in
came. Each week a theme was given a local park, although we have an
for followers to photograph. Often indoor facility if needed, and go for
simple (a colour, shapes, shadows walks local to where we are but also
etc), but sometimes more thought we have trips to railway stations,
provoking. Either way people were gardens and alike.
able to interpret it as they wished. People find it is about snapping and
This online club, founded during And interpret they did. The themes strolling, never hiking! The principles
lockdown, is a community that’s were designed so that people could remain – to get creative taking
take images on their allowed walks, photographs of a given theme.
gone from strength to strength or in their homes or gardens. It was We are about the fellowship and
4
time we give ourselves in taking

photographs, never about the
photo quality. This ensures all are
welcome and included. Many use
camera phones and we have had
great fun practising editing with the
free app Snapseed.
We offer a non-judging (and free)
photo group where each person can
develop in their own time as they
wish while being among like-minded
people with whom they can share their
struggles stories, joys and heartaches.
People soon find that the group is
about fellowship and wellbeing and
all we do just happens to fit with the
NHS’s Five Steps to Mental Wellbeing. Do you invite guest speakers? stand-up comedy routine so there is
We use DSLRs, mirrorless, analogue, Yes, very occasionally we do have always a terrible joke and a big smile
phones and tablets, but most of all guest speakers, but we like to use in the group. However, I suggest it is
we use our minds and creativity. We members to share images, and travels not so much the funny stories as the
offer a way of being, a way to help in order to boost their confidence, their changed lives the group has seen.
loneliness, a way of hoping and a way photo skills and their wellbeing. No Don’t take my word for it, here are
of sharing, mainly through the lens one is in charge as we are, after all, some words from participants and a
of a photograph. a totally peer-led group. We have had parent of one, ‘…is more confident
photography speakers but also those and communicates better with others.’
Describe a typical club meeting. who show how photography can be ‘Snap and Stroll has helped me to
One of the joys of the club is that we used in different ways (journalling, meet people and travel to new places
don’t have a typical meeting. Twice a writing and even Eastern poetry.) (abroad because of new-found
month we meet in a local park, once confidence) and learn about
a month inside with gardens for the Do members compete in regional photography.’
less mobile and once a month can or national competitions? And one member going through a 4 Music Festival by
use a building (One Community Trust) Some have, but as a club we don’t, traumatic time, ‘Through a traumatic Anne Marie Bird
for the sharing of images, feedback because our focus is the quality of and life-changing time for me and my
and teaching and more. the time we give ourselves rather family, the creative process of taking
Each outdoor session involves than the quality of the image. It’s this photographs has been a welcome 5 Keynsham
meeting outside a local community which allows us to be as inclusive as distraction, lifted my spirits and Footbridge by
café where we discuss the theme for possible. Competitions can create a brought me wonder, joy and peace.’ Caroline Fogerty
that week and decide which walk we two-tier club and we don’t want this. I could give you more but these
will take. This is often dependent on The club does have a rolling exhibition quotes bring a bigger smile than any
weather, and the health of those at Savour Café in Keynsham which award-winning image or funny story. 6 Looking Up by
coming, and of course new members. each person gets to see their photos Chris Streets
We go for a two-hour stroll in which displayed. In September they will have What are the club’s goals for
we support each other in conversation a week long exhibition at the Bath the future?
and help and guide people with Artists’ Studios. At the outset we had the support of 7 Getting Creative
camera/phone settings, different We also engage very much in a local arts and wellbeing charity that by Stella Sage
composition and creative ways to edit. community events, including heritage sadly no longer exists. As such we are
We have a number of developed weeks, eco festivals and young reliant upon self-funding for exhibitions
walks so that in bad weather we can people’s photo sessions. and trips where some may be unable 8 When The Boat
go to nearby sanctuary gardens and be to afford them. As such, and because Comes by Lucy
warmed up under a gazebo with freshly How many members do you have? the group takes referrals from Social Dees
cooked butties. We have tried out Sixteen in person as an average Prescribers and mental health
street photography, ICM and even met and 274 online. Our online charities, we have gone down the line
at night for some night photography. members are really valued for the of becoming a constituted group in 9 Sanctuary Gloves
Some weeks we might go for a trip to contribution and inspiration they order to expand the group capacity and by Caroline Fogerty
an old railway station where bring through Facebook posts as variety of locations we can attend.
abandoned trains, rust, broken glass many are working when we meet. We have truly moved to being a
and more become our subjects. totally peer-led group with a small 10 Road to the
Indoors we have the chance to gain Are any residential trips or steering committee to take the Throne by Leckie
confidence sharing our images, from outings planned? pressure off individuals.
walks, trips, holidays and more. We No, these are outside the possibilities We would like to share our
also use it to get guidance on of many but the group does have images more through further 11 Split Second in
portraits, still life and more to include photo trips locally. exhibitions, be available to all, but Split by Leckie
all members. most of all to keep to our core
So, what is a typical week? Well, Do you have any funny stories values of being a photography for
eclectic and changing but always about the club? wellbeing group that can be a
supportive, creative and fun. One of our group does the occasional source of help to others.
6 Club essentials
Keynsham Snap and

Stroll
Keynsham Memorial Park, Bath
Hill, Keynsham, Bristol BS31 1HL
Meets: Weekly 10am-12pm
Membership: Free but open to donations for
tea and coffee if people wish
Contact: Adrian Wyatt via the website at
www.xrosspurposes.com
Website: Search Keynsham Snap & Stroll
on Facebook
11
9 10
51
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scan
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424
lenses
listed &
rated
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
Subscribe and save money! Stay inspired all year, never miss an issue
and get AP delivered right to your door. See page 47 for our latest offer
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
NEW 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 f/2.8 R LM WR £1799 Premium ultra-wideangle large-aperture zoom lens with weather-resistant construction • 25 n/a 88 121.5 805
XF 10-24mm f/4 R OIS WR £899 4.5H Updated wideangle zoom lens with weather resistance and improved stabilisation that gives fine results • • 24 72 77.6 87 385
XF 14mm f/2.8 R £729 5H Wideangle prime with high resolution into the corners, its performance justifies the price tag • 18 58 65 58.4 235
XC 15-45mm f/3.5-5.6 OIS PZ £259 Lightweight retractable power zoom that’s set to be the entry-level kit lens for X-system cameras • • 13 52 62.6 44.2 135
XF 16mm f/1.4 R WR £729 5H Weather-sealed fast prime for X-system users • 15 67 73.4 73 375
XF 16mm f/2.8 R WR £349 4.5H Attractively priced, weather-sealed, compact and lightweight wideangle prime • 17 49 60 45.4 155
XF 16-50mm f/2.8-4.8 R LM WR £699 Compact and lightweight standard zoom with premium optics and weathersealed construction • 24 58 65 71.4 240
XC 16-50 f/3.5-5.6 OIS II £359 Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range • • 30 58 62.6 98.3 195
XF 16-55mm f/2.8 R LM WR £899 5H A flagship XF standard zoom lens with a constant f/2.8 aperture and weather-resistance • 60 77 83.3 106 655
XF 16-80mm f/4 R WR OIS £769 4.5H Good-quality weather-sealed, constant maximum aperture zoom with a useful focal-length range • • 35 72 78.3 88.9 440
XF 18mm f/1.4 R LM WR £879 5H Large-aperture wideangle prime with weather-resistant construction • 20 62 68.8 75.6 370
XF 18mm f/2 R £430 4H A compact wideangle lens with a quick aperture • 18 52 64.5 40.6 116
XF 18-55mm f/2.8-4 R LM OIS £599 Short zoom lens with optical image stabilisation • • 18 58 65 70.4 310
XF 18-120mm f/4 LM PZ WR £899 3.5H Optimised for both video and stills use, with a power zoom mechanism that operates internally • 60 72 77.3 123.5 460
XF 18-135mm f/3.5-5.6 R LM OIS WR £699 4H Weather-resistant zoom for Fujifilm X mount, designed to be the perfect partner for Fujifilm X-T series cameras • • 45 77 75.7 97.8 490
XF 23mm f/1.4 R £649 Premium wideangle prime lens with fast maximum aperture • 28 62 72 63 300
XF 23mm f/1.4 R LM WR £819 5H Replaces the older XF 23mm f/1.4 with updated optics, faster autofocus and a weather-resistant design • 19 58 67 77.8 375
XF 23mm f/2 R WR £419 5H Compact weather-resistant wideangle prime lens • 22 43 60 51.9 180
XF 27mm f/2.8 R WR £419 4.5H Slimline, lightweight pancake prime with aperture ring and weather-resistant construction • 34 39 62 23 84
XF 30mm f/2.8 R LM WR Macro £599 4.5H Relatively compact and affordable macro lens offering internal focus and 1:1 magnification • 10 43 60 69.5 195
XF 33mm f/1.4 R LM WR £619 Designed to complement the smaller, cheaper 35mm f/1.4, with quicker autofocus and weather-sealing • 30 58 67 73.5 360
XF 35mm f/1.4 R £439 4H Shallow depth of field and bokeh effects are simple to achieve with this lens • 28 52 65 54.9 187
XF 35mm f/2 R WR £299 5H A powerful and weather-resistant lens that feels great and has the performance to match • 35 43 60 45.9 170
XC 35mm f/2 £169 4.5H Simplified version of the 35mm f/2, with plastic construction and no weather-sealing or aperture ring • 35 43 58.4 46.5 130
XF 50mm f/1 R WR £1499 The world’s fastest autofocus lens promises to be a very special optic for portrait photography • 70 77 87 103.5 845
XF 50mm f/2 R WR £449 5H Lightweight weather-resistant short telephoto prime lens that’s ideal for shooting portraits • 39 46 60 59.4 200
XF 50-140mm f/2.8 R LM OIS WR £1249 A telephoto zoom with a constant maximum aperture and weather-resistance • • 100 72 82.9 175.9 995
ALL PRICES ARE RRPS, STREET PRICES MAY VARY
XC 50-230mm f/4.5-6.7 OIS II £315 The XC lens range is designed to suit Fuji’s mid-range CSCs, and this lens has optical image stabilisation • • 110 58 69.5 111 375
XF 55-200mm f/3.5-4.8 R LM OIS £599 4H Telephoto with built-in optical image stabilisation plus aperture control ring • • 110 62 75 118 580
XF 56mm f/1.2 R £899 4H This wide-aperture portrait lens for X-series cameras has great sharpness and detail and is great value • 70 62 73.2 69.7 405
XF 56mm f/1.2 R APD £1159 4H Adds apodisation element of 56mm f/1.2 for even more attractive background blur • 70 62 73.2 69.7 405
XF 56mm f/1.2 R WR £999 4.5H Large-aperture short-telephoto portrait prime with high quality optics and weather-sealing • 50 67 79.4 76 454
XF 60mm f/2.4 XF R Macro £599 A short lens designed for macro work with half-life-size magnification • 26.7 39 64.1 70.9 215
XF 70-300mm f/4-5.6 R LM OIS WR £729 Lightweight weather-sealed telezoom that’s compatible with 1.4x and 2x teleconverters for greater reach • • 83 67 75 132.5 580
XF 80mm f/2.8 R LM OIS WR Macro £1249 4H Fujifilm’s long-awaited 1:1 macro includes weather-resistance and optical image stabilisation • • 25 62 80 130 750
XF 90mm f/2 R LM WR £699 5H A classic portrait lens that’s sharp, with gorgeous bokeh • 60 62 75 105 540
XF 100-400mm f/4.5-5.6 R LM OIS WR £1399 5H This superb zoom is both water and dust resistant, and can operate in -10°C temperatures • • 175 77 94.8 210.5 1375
XF 150-600mm f/5.6-8 R LM OIS WR £1899 4.5H Long telephoto zoom that employs a small maximum aperture to keep the size and weight low • • 240 82 99 314.5 1605
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BUYING GUIDE
FILTER THREAD (MM)

Mirrorless Lenses
MICRO 4 THIRDS
MIN FOCUS (CM)
DIAMETER (MM)
STABILISATION
LENGTH (MM)
FULL FRAME
FUJIFILM X
WEIGHT (G)
CANON RF
CANON M
NIKON Z
LEICA L
SONY E
IMAGE
LAOWA MIRRORLESS
6mm F2 Zero-D MFT £519 Widest-angle rectilinear lens available for Micro Four Thirds cameras, yet still remarkably small • 9 58 61 52 188
7.5mm f/2 MFT £499 4.5H Tiny but sharp wideangle prime for Micro Four Thirds featuring manual focus and aperture control • 12 46 50 55 170
10mm f/2 Zero-D MFT £399 4.5H Tiny, sharp wide prime for Micro Four Thirds with manual focus and auto aperture control from the camera • 12 46 54 41 125
17mm f/1.8 MFT £189 Inexpensive compact prime for Micro Four Thirds cameras with manual focus and aperture operation • 15 46 55 50 160
18mm f/0.95 APO MFT Argus £519 Ultra-large aperture, manual focus prime, designed for Micro Four Thirds only • 20 62 80 83 500
25mm f/0.95 APO MFT Argus £399 Manual-focus standard prime for Micro Four Thirds with ultra-large aperture at an affordable price • 25 62 71 86 570
50mm f/2.8 2x Ultra Macro APO MFT £409 Macro lens for Micro Four Thirds with manual focus, electronic aperture setting and 2x magnification • 13.6 49 53.5 79 240
4mm f/2.8 Fisheye £249 Lightweight fisheye lens for APS-C and Micro Four Thirds offering a circular image with a 210° angle of view • • • 8 n/a 45.2 25.5 135
8-16mm f/3.5-5 CF £579 Ultra-wideangle zoom for APS-C cameras provides 12-24mm equivalent view at an affordable price • • • • 20 86 88.4 88.5 463
9mm f/2.8 Zero-D £499 Compact manual-focus prime for APS-C mirrorless cameras promises very low distortion • • • • 12 49 60 53 215
10mm f/4 Cookie £339 4 H 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 4.5 Remarkably small and lightweight full-frame macro lens that delivers twice life-size magnification
H • • • • 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
NEW 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 4.5H Billed as the perfect ultra-compact travel zoom lens, with dust- and drip-resistant construction • • • 70 67 76.5 114 570
24mm f/1.8 S Nikkor Z £1049 5H Large-aperture wideangle prime that aims to combine edge-to-edge sharpness with attractive bokeh • • 25 72 78 96.5 450
26mm f/2.8 Nikkor Z £529 3.5H Ultra-compact ‘pancake’ lens, designed for full-frame but also a good fit to DX-format cameras • • 20 52 70 23.5 125
28mm f/2.8 Nikkor Z £249 Inexpensive, compact full-frame prime, also available as an SE version in a kit with the Z fc • • 19 52 70 43 155
28-75mm f/2.8 Nikkor Z £949 4H Large-aperture standard zoom that’s much more compact and affordable than its 24-70mm f/2.8 sibling • • 19 67 75 120.5 565
28-400mm f/4-8 VR Nikkor Z £1400 4H Longest-range superzoom lens for full-frame cameras, includes weather sealing and optical stabilisation • • • 20 77 84.5 141.5 725
35mm f/1.4 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
NEW 50mm f/1.4 Nikkor Z £499 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 4.5H Relatively small and lightweight alternative to the Z 70-200mm f/2.8 that’s also much more affordable • • 27 67 83.5 151 795
70-200mm f/2.8 VR S Nikkor Z £2399 5H Pro-spec large-aperture telezoom with optical image stabilisation and built-in OLED display • • • 100 77 89 220 1360
85mm f/1.8 S Nikkor Z £799 4.5H Portrait prime for Nikon’s full-frame mirrorless system that promises beautiful bokeh • • 80 67 75 99 470
85mm f/1.2 S Nikkor Z £2999 5H Pro-spec ultra-large-aperture short telephoto prime designed for portrait photography • • 85 82 102.5 141.5 1160
100-400mm f/4.5-5.6 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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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
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
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 ap.ed@kelsey.co.uk. 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.
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
S 14-28mm f/4-5.6 Macro £880 4.5★ Lightweight and affordable ultra-wideangle zoom that offers unusually close focusing • • 15 77 84 89.8 345
S Pro 16-35mm f/4 £1499 Relatively compact and lightweight premium wideangle zoom with weather-sealed construction • • 25 77 85 99.6 500
S 18mm f/1.8 £800 4.5★ Large-aperture ultra-wideangle prime that’s relatively compact, lightweight and affordable • • 18 67 73.6 82 340
S 20-60mm f/3.5-5.6 £619 Compact, lightweight and relatively inexpensive standard zoom with a wider than usual view • • 15 67 77.4 87.2 350
S 24mm f/1.8 £799 4.5★ Wideangle prime that’s relatively lightweight and compact • • 24 67 73.6 82 310
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
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
NEW 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
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
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
NEW 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
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
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
Stay inspired all year, never miss an issue and get AP delivered straight
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CANON EOS R5 MARK II NEW! SONY A7 IV

Master the Moment Expected Autumn 2024 For a new generation of creators
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LEICA Q3 43
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All prices include VAT @ 20%.

All products are UK stock. E&OE. Please mention “Amateur Photographer” when ordering items from this advert.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
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SIGMA 28-105MM TAMRON 90MM

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With a powerful wide-angle to medium telephoto The Leica Q3 43 brings new dimensions to the
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Photo Critique
Peter Dench considers…

‘Eyanna has always been Malik’s primary caregiver, advocate
and protector. The emotional bond between mother and son
is unshakeable’ by Greg Gulbransen
I
could’ve chosen many of
© GREG GULBRANSEN
the 89 images to consider
from the 156 page book,
Say Less (GOST 2024).
Even Malik’s 8th-grade school
portrait on page eight, such is
the extraordinary story behind
the photographs in the book
and the photographer who took
them, Dr Greg Gulbransen.
A catastrophic domestic error
in 2002 saw Gulbransen
reverse his car into his young
son Cameron, who died as a
result. It’s arguable that the
accident led to him embedding
for three years with Malik, a set
leader of the violent street
gang, the Crips. Gulbransen,
a practising doctor, has been
making photographs in his
spare time since 2014.
While photographing in
the Bronx, New York, his
professional curiosity was
piqued by an excess of young
men with spinal injuries in are devastating. The physician ‘The photographer in me is trying to show
wheelchairs. After discovering in me wants to show people
they had all suffered gun who don’t live in areas with what it’s like to be a victim of gun violence
wounds and wanting to find high rates of gun violence how while also being a part of the problem’
out more, he was introduced terrible it can be in these
through an associate Crip places, how complicated the to the risk that an enemy will environment of tension and
to Malik who, in 2018, had problem is, how far-reaching try to kill him. turmoil. Malik as both criminal
been shot in the spine by the effects of the gun-violence His world is his bedroom, and victim. Gulbransen is an
a rival gang. The bullet severed epidemic are. The photographer cramped and crammed with undetectable presence. A Leica
Malik’s thoracic spine and in me is trying to show what packets of synthetic gloves, is his diagnostic tool. His
instantly paralysed him from it’s like to be a victim of gun tubes of deodorant, woven bedside manner honed working
his chest down. violence while also being a part gauze sponges, wound as a paediatrician setting
Gulbransen says; ‘As a of the problem.’ dressings, various sprays and Eyanna and Malik at ease.
physician, it was a way to There are images of drugs, bottles of medication, games After that 2002 accident,
explore one facet of the guns and violence and images controllers and remotes. Season Gulbransen successfully
epidemic of gun violence in this of laughter, tenderness and 1, episode 1 of drama Reprisal campaigned to get the auto
country. There are shootings intimacy. This image is taken is cued to play on Hulu TV. industry to install rear-view
every day in the five boroughs in apartment 4G of the Mitchel Malik’s mother Eyanna cameras in American cars,
of New York City and the Bronx Houses in a rough area of the manages his medical issues, leading to an immeasurable
is the worst. But across the Bronx, where Malik is trapped. bathes him, changes his diaper impact on the lives of
country, gun violence and the To this day, Malik can’t travel and catheter. It’s an emotional Americans. This image and
availability of guns is a public to certain neighbourhoods image of mother and son, of those in Say Less may do
health emergency. The effects or down certain streets due love and care, in an the same.
Peter Dench is a photographer, writer, curator and presenter based in London. He is one of the co-curators of Photo North and has been exhibited dozens of times. He has published a number
of books including The Dench Dozen: Great Britons of Photography Vol 1; Dench Does Dallas; The British Abroad; A&E: Alcohol & England and England Uncensored. Visit peterdench.com
FIND YOUR PERFECT BAG
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Amateur Photographer - October 15, 2024 UK

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Amateur Photographer - October 15, 2024 UK

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Tuesday 15 October 2024

Passionate about photography since 1884

This year’s winning images KELSEYmedia

Plus Vanguard Alta Sky 42 backpack tested • Dartmoor: a radical landscape

Used Leica SL2

This week’s cover image by Emily Endean

THIS WEEK’S CONTRIBUTORS

Emily Endean will be leading a many of the world’s

Iconic images go tours and exclusive interviews

under the hammer SOME RECENT VIDEOS

THE 45th Leitz Photographica which appeared on the cover of her

Stylish new Canon Selphy printer

Prepare to redefine your content creation process!

www.saraminonicuk.com To learn more about Blink 500 T4 scan this QR Code

Right, top: Chris

Right, middle: Garry

Marwell Zoo, Winchester

that are still ongoing – around gender, caregiving, and

Left: Mary Beth Edelson, Zipper Sheela: Stepping Out, 1973.

of audio recordings were made.

DPSB Colourbyte Papergraphics

For more information visit hahnemuehle.com or hahnemuehle.co.uk

The latest Wildlife Photographer

© JUSTIN GILLIGAN / WILDLIFE PHOTOGRAPHER OF THE YEAR

need protein. As such, they are capable of

perspective, I had to lie down on the ground

1 It’s best to concentrate on one subject

The Demolition Squad by

The Serengeti of the Sea by Sage Ono, USA SAGE’S TIPS:

capture that complexity.’

© HIKKADUWA LIYANAGE PRASANTHA VINOD / WILDLIFE PHOTOGRAPHER OF THE YEAR

© MATTHEW SMITH / WILDLIFE PHOTOGRAPHER OF THE YEAR

EISA AWARDS 2024-25

TesTed by The experTs n www.eisa.eu

This impressionist-style vision of a perching

few selected as a winner, but most

Leica SL2, 24-90mm f/2.8-4 at 62mm, 1/80sec

Used item Value††

£ Canon EOS R5 C Body

Motorola Edge 50 Ultra

3x (72mm equiv) 6x (144mm equiv)

Outlines can be a little

Search in-store or online

26 Stores Nationwide E & O E. Subject to availability.

£169 drone only, no controller

Fly More Combo

on your phone. The app will

Vanguard’s Alta Sky backpacks are designed

● Holds camera with large lenses, Vanguard offers a range of

Tony Kemplen on the …

See more of Tony’s photos at www.flickr.com/photos/tony_kemplen.

Explore the vibrant colours, misty

The ruins of Corfe

argue that there is really no such thing

Watching the sun

Intimate landscapes By getting close

Change your perspective

Just get outside!