@enmagazine Amateur Photographer 2021 08 14 2021 08 07

Saturday 14 August 2021
In afasteglast, ss thgeest,irbeondwiesnt
of lon
widest,
The rdest lenses you can buy
and wei
Lens
special
Passionate about photography since 1884
Ideas and inspiration for choosing and

using old, newand unusual optics
Vintage vibes Video
Using classic lenses on DSLRs
and mirrorless cameras
lenses
Why are they
different?
Lensbaby love
Aficionados share their
images and tips for success
£3.49
Second nature
Jonathan and Angela
Scott discuss the sequel to
aidemYESLEK
their classic wildlife book

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N R E T S UEIHTA M © / T T O C S A L E G N A N A H T A N O J @ © / Y T T E G © S E R U T C I P R E V O C
Has there ever been such a great

7days
vintage lenses on mirrorless cameras (shop around
choice of lenses for the serious and you can still find bargains) and the best lenses
photographer? Whether you are for video. We also focus on ‘quirkier’ lens options –
looking for a brand-new lens for testing tsar Andy Westlake looks at some tempting
your mirrorless camera or DSLR, alternative optics, including ultra telephotos and
or interested in using a much macros, tilt-and-shift lenses, fisheyes and some
older lens via an adapter, you really are spoiled for funky creative options. Keep sharing your shots via
choice. In this issue we help you make the wisest our social media (see below) and check out our
decisions when it comes to ‘spending it on the great new subscription offers too.
glass’. Highlights include a major guide to using Nigel Atherton, Editor
This week’s If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
SOMETHING TO SAY? Write to us at [email protected] with your letters, opinion columns (max 500 words) or article suggestions.
cover image
The lens photo on our
PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to [email protected].
JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.
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This week in 1940

amateurphotographer.co.uk amateur.photographer.magazine amateurphotographer @AP_Magazine amateurphotographer magazine
cover is by Getty Images,
and this issue we offer
you advice for buying and
using all types of lenses
TREASURES FROM THE HULTON ARCHIVE
In this issue
3 7 days
14 The true value
of vintage
20 Inbox
24 Behind the
picture
26 Who loves ya,
Lensbaby?
30 Reconnecting
to nature
34 Lenses for video
38 Optical exotica
44 My favourite kit
48 Accessories
50 Tech talk
52 Buying Guide:
DSLR lenses
66 Final analysis
TracksideAllotment by Harryallotments
LMS railway employees create a vegetable patch
Toddmake to a sustainable future. Last year, it
beside a railway track near Harrow during World War was reported that applications for council-run
II. National Allotments Week this year is from 9 allotments soared. With one in eight of the UK
SUBSCRIBE August until 15 August. Organised by the National population having no access to a garden, according
Allotment Society (NAS), this year’s theme is ‘Plotting to the NAS, or one in five in London, it’s easy to see
AND SAVE!
See page 50 for details
for the Future’, celebrating the contribution that why the various lockdowns stimulated the demand.
The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic
Company in 1854, today it houses over 80 mil ion images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.
AP picture
Our favourite photos posted by readers
on our social media channels this week
of the week
Waitingby Davide Borghi
Canon EOS 6D Mark II, Canon 24-70mm f/2.8L II
at 24mm, f/2.8, 1/160sec at ISO 800
‘This picture was taken last summer in my house when,
following the severe lockdown due to the Covid-19
pandemic, it was possible to travel in Italy,’ recalls
Davide, who lives in the beautiful city of Siena, near
Florence and Pisa. ‘I photographed my daughter behind
the window as it conveyed to me a sense of calm,
serenity and hope for the future.’ This is a nice
composition, made more graphic by the black & white
treatment. The lines of the window blinds lead nicely to
the subject. ‘I consider myself really lucky since this
region is such a magical and beautiful place,’ he adds.
Davide is on Instagram at @davide_borghi30 and
facebook as @dborghi3.
#appicoftheweek
Win!
Each week we choose our favourite picture on Facebook,
Y R E V I L E D R O F S Y A D 8 2 O T P U W O L L A E S A E L P*
Instagram, Flickr or Twitter using #appicoftheweek. PermaJet

proudly supports the online picture of the week winner, who will
receive a top-quality print of their image on the finest PermaJet
paper*. It is important to bring images to life outside the digital
sphere, so we encourage everyone to get printing today!
Visit www.permajet.com to learn more.
4 www.amateurphotographer.co.uk
www.amateurphotographer.co.uk 5
Remiby Rebecca Pitt
Canon EOS 1100D, Sigma 70-300mm,
We also liked..
1/500sec at f/5.6, ISO 400
‘I’ve been a photographer for nearly three
years,’ says 17-year-old Rebecca. ‘I took
this image at South Lakes Safari Zoo. Remi
the jaguar got a malignant brain tumour and
the surgeons at the zoo operated on him to
cut the cancerous cells out. You can see the
scars on his head. In the wild he would have
slowly died as the cancerous cells spread.
Animals like this are supposed to be wild
but I am happy Remi was in captivity so that
they hopefully saved his life. I waited at the
enclosure for some time for a good image
since I wanted to tell his story. I had to
angle my camera against the glass to avoid
as much reflection as possible. I couldn’t
avoid it all due to the rain so I cropped it to
remove the remaining reflection.’ Rebecca
demonstrated patience, skill and initiative to
get this shot – all the qualities required of a
successful nature photographer. Rebecca is
on Instagram @everything_photogra_phy.
Cape Cornwallby
Matthew Grey
Canon EOS 6D, EF 17-40mm F4 L,
1/100sec at f/16, ISO 100
‘Taken just as a sea fog rolled in over the
cape,’ says Matthew, a landscape
photographer based in Cornwall. ‘Just
ten minutes later, visibility was down to
about 50ft! In hindsight I shouldn’t have
shot at 17mm as there is distortion
noticeable in the bottom edges, but I was
excited by the view and rushed it a little
to get it all in frame. It was processed in
Lightroom, with a bit of Photoshop to
remove a parked van.’ Matthew is being
hard on himself – this is a nice shot, with
the colourful flowers providing a pleasing
foreground for the view beyond, adding
both colour and depth to the image.
Matthew is on Instagram @matthewgrey.
co.uk and www.matthewgrey.co.uk.
Want to see your pictures here? Share them with our

Flickr, Instagram, Twitter, or Facebook communities
using the hashtag #appicoftheweek.
Or email your best shot to us at [email protected].
See page 3 for how to find us.
Rated ‘Excellent’
4.9/5 based on 10,000+ reviews
The sun doesn’t set

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In the UK, research shows more than half of photographers and videographers
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Mental health-themed
image wins big prize
THE WINNERS of this year’s Wellcome organisation – mental health, global heating
Photography Prize have been announced, and infectious disease.
selected from 90 shortlisted entrants from Jameisha’s image, a self-portrait, shows her
15 countries. UK photographer Jameisha in her room during the lockdowns. ‘It’s really
Prescod received the single image prize with hard to talk about mental health and I guess
her photograph ‘Untangling’. It also won the it’s especially hard to turn a camera on
Managing Mental Health single image yourself to expose some of the deepest and
category. Indonesian photographer Yoppy darkest, but I’m glad that even taking it, I
Photography and Pieter won the series image prize with his
series ‘Trans Woman: Between Colour and
guess, could touch on something that a lot of
us have been going through in this pandemic.’
well-being survey
MANCHESTER-based photographer
Voice.’ Both overall winners receive £10,000,
plus £1,000 for their category win.
Four other category finalists, each winning
£1,000, were also announced. The 2021
Jeremy Farrar, director of Wellcome and
chair of the judging panel, said, ‘Covid-19 and
mental health are components in both the
winning entries, but what captivated us were
Catherine North (shown above) is prize covers three topics of interest which the powerful human stories at the very centre
writing a book and potentially a series of reflect Wellcome’s global health challenge – viewed through a lens of compassion.’ See
articles on photography and its effects on areas, according to the health research all the winners at bit.ly/wellcomewinners.
mood and well-being. She’s keen to include
the experiences of active photographers of ‘Untangling’ by Jameisha
all ages and skill levels across the UK, and Prescod was a Wellcome
has put together an anonymous and Photography Prize winner
confidential survey on the subject. It takes
around 15 minutes to complete the
multiple choice questions and the survey is
open until 31 October 2021. See bit.ly/
mhphotosurvey.
Nikon Z 14-24mm f/2.8 AP-partnered contest seeks best UK images

gets LEE filter holder IN MORE competition news, AP has UK photographers have a wide
SEGAMI Y T T E G ©
LEE FILTERS has announced a LEE100 teamed up with cottages.com, a leading choice of great locations
holder for Nikon’s Z 14-24mm f/2.8 S provider of UK self-catering holiday properties,
lens. Larger than the standard holder, and to encourage photographers to send in their
made from aluminium alloy, it features a best shots of the British Isles. Prizes include
compression system for secure placement a UK break (up to the value of £2,500) and a
on the lens barrel. It has been designed to GoPro bundle. Judges include AP editor Nigel
minimise vignetting, with filters held in Atherton, eminent travel journalist Simon
quick-change frames that let you continue Calder, and Paul Evans from cottages.com.
to use existing 100x100mm standard and Nigel said, ‘I’ll be looking for pictures that
100x150mm grad filters. The new holder demonstrate excellent technical skill and
uses the same interchangeable guide creative vision. I want to see images imbued
blocks as the standard LEE100 system. with great atmosphere or that demonstrate a place.’ Open now, the competition is called
The holder kit comes with one square and originality – images that stand out from the Viewfinder and closes on 5 September. See
one rectangular frame and costs £149.99. hundreds of other competent record shots of www.cottages.com/viewfinder.
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Analogue
Wonderland says
Marina Llopis will
head the new lab Books & exhibitions
The latest and best books and exhibitions
from the world of photography
N E M Z Ö NI ME © 0 2 0 2 , S I S I R C E E G U F E R N A I R Y S
Magnum 2020
£20, Magnum Photos, softcover, 256 pages,
Analogue Wonderland
ISBN: 9782952410236
Bringing together a turbulent year of
world events through the eyes of the
opens film lab

world-renowned Magnum collective,
Magnum 2020 is a yearbook like no
other. We may prefer to forget the past
18 months, but nobody can deny the
FAST-GROWING film supplier Marina Llopis, who will help to build the world-changing events that have taken place. While
Analogue Wonderland has processes, train the team, and plan the there has been much pain, suffering and loss, those
announced it is opening a new minilab equipment flow. She also set up the of us who are still here have demonstrated an
for film development in the Oxfordshire/ analogue photography website, www. enormous amount of resilience and strength –
Buckinghamshire area. The new ifwefilm.com. something which should undoubtedly be celebrated.
services are scheduled to commence Marina started her photography career As Magnum’s president, Olivia Arthur, says in the
operation in September. in Japan, studying at the Nagoya Visual foreword, ‘This book commits the year to paper and
‘Not everyone wants to venture into Arts School before doing stints in offers a means for us to try and make sense of it.’
London with their films, or trust the photography labs in Tokyo, Mallorca and In its pages we find – among other things – global
postal systems with precious negatives, Bristol. ‘With all this under her belt she protests against racial injustice, the Syrian refugee
so a local and reliable developing service brings more than seven years of crisis, Ethiopia’s civil war and a divisive US
will be welcomed as the solution to both specialist skills and experience to the presidential election. Of course there’s the
these concerns,’ said co-founder Paul Analogue Wonderland family,’ said Paul. domination of Covid-19 on global headlines, too.
McKay. The lab will be headed up by More details at bit.ly/newawlab.
Girls by Girls
New four-week courses from Leica Until 27 August, Little Black Gallery
Showcasing some of the best artworks by female
photographers, this online exhibition is being hosted
LEICA has launched the Leica Lab on The Little Black Gallery’s Girls! Girls! Girls!
programme, a series of courses platform which celebrates the female form.
run through its wider Leica Akademie It is often assumed that it is only male
with a focus on creative strategies for photographers who have an interest in photographing
building a photographic narrative. Each female nudes, but some of the most interesting
lab runs for four weeks, and is taught examples of the genre come from other women.
both online and in person by industry Photographers featured in the online show include
experts with backgrounds in Anouska Beckwith, Scarlett Carlos Clarke, Mona
commissioning, shooting, editing and Kuhn, Christy Lee Rogers and more.
curating. The 2021 programme, running The Girls! Girls! Girls! platform is a project by the
from September to November, includes The first workshop starts on 20 September famous Little Black Gallery and includes a huge array
labs on Narrative Portraiture and of different contributors, including photographic
Landscape & Environment. commercial work. Participants will be legends, contemporary practitioners and up-and-
Leica said the labs are ‘ideal for the assigned a creative brief, providing coming female photographers. There is also a Boys!
professional or aspiring professional inspiration for each workshop’s theme.’ Boys! Boys! project and platform.
who would like to improve and add Each lab costs £1,500 and you can find Prints from the online display can also be
structure to personal projects or more details at bit.ly/newleicalab. purchased. Visit girlsgirlsgirls.org for more information.
From the archive
Nigel Atherton looks back at past AP issues
A glowing appraisal of the Hasselblad 500C/M, which cost £690 (£5,091 today)
17 August1977
This week in 1977 Elton John discovered who had stolen his
sunglasses. While Editor Martin Hodder sought to disprove
the adage ‘Never photograph a pretty girl in strong direct
sunlight’, Allan Shriver was more interested in a body of a
different kind. Hasselblad: a legend in its own time was his Tips for photographing girls in direct sun The Durst M301 enlarger: £150 (£1,100)
guide-cum-tribute to a camera that had been launched seven
years previously and which was probably beyond the budgets
of most AP readers: £690 with the 80mm standard lens and
waist-level finder (£5,091 today). ‘The name Hasselblad has
become synonymous with quality,’ he wrote, adding, ‘The
manufacturers claim that it takes about one year to make
each camera, and that each undergoes about 20,000 checks
before it may be offered to a member of the public.’
Hasselblad had sold 200,000 500C/Ms to date and, after
going into great depth about the features, handling and image
quality the only negative thing Shriver could find to say about
it was that he couldn’t afford one.
Anyone familiar with the gleaming cultural hub that Salford
has become would be fascinated by Bob Collins’ exploration
of the Salford that inspired the painter LS Lowry, who had died
the year before. ‘The landscape that he walked and recorded
for over 60 years is not the one that I visited,’ he wrote. ‘Gone
were the grey back-streets, the burnt sienna terraced houses,
leaning church steeples and cringing corner shops. And where
were those pale faced little “twig” people that are always so
essential a feature of every Lowry landscape? The ones I saw
were plump, wore red jeans and carried radios.’ Bob Collins went in search of the Salford of LS Lowry and found little surviving
Technique VINTAGE LENSES
The true Ribes Sanguineum

Nikon D800E, Helios 44M f/2 58mm
value of
(modified front element reversed) with 16mm
extension tube, 1/200sec at f/2, ISO 100
vintage
Vintage lenses encourage you to push
your creativity to the limits, but
which lens should you buy and what
do you need to think about when you
attach it to your camera? Tracy
Calder talks to three enthusiasts
who’ve embraced imperfection and
mastered the vintage look
Green Echinacea Green Jewel
Nikon D800E, Helios 40 85mm f/1.5 (modified front
element reversed), 1/500sec at f/2.9, ISO 125
Annemarie Farley
Over the years Annemarie has won numerous awards
and regularly appears as a judge and mentor for the
British Institute of Professional Photography.
Annemarie recently started experimenting with
cyanotypes on glass (see Instagram: @cyan_on_
glass). www.flowerfoto.com and @flowerfotofineart.
THERE is something magical Trioplan and Pentacon lenses
about the bokeh that vintage add a soap bubble effect, which
lenses produce. Many people brings a playful look. Each lens
don’t notice the background of has a different personality, and
an image, but to me it’s just as each lens has its own ‘flaws’.
important as the foreground. When the light hits the optics
Anamorphic vintage lenses to create an image it produces
create oval bokeh. It’s a subtle blur and flare that changes the
effect but it gives a cinematic intensity of the colour and tone.
feel with a sinister undertone. I started using vintage lenses
The Helios 44M 58mm about three years ago after
produces swirly bokeh, leading reading an article about creative
to fantastical, ethereal images. bokeh. My first purchase was a
www.amateurphotographer.co.uk
Serruria Blushing Bride
Nikon D800E, Meyer-optic Gorlitz 50mm with 10mm
extension tube, 1/160sec at f/2.9, ISO 50
decide to mount a projection
lens on your camera you might
need a focusing helicoid
adapter – this is a metal
lens-like device that has no
glass inside and extends to two
or three times its own length.
When you shoot with vintage
lenses you need to focus
manually, which can be
challenging. What’s more, if
you modify lenses like I do, you
need to throw everything you
know about focusing out of the
window! To get the best bokeh
you have to set the lens to a
wide aperture. Throw an
inverted lens into the mix and
you soon learn that the only
focus spot is in the centre of the
lens. To get around this take
two shots: one with the lens at
f/2 and one at f/8 or f/12 and
combine them later. It would be
Helios 44M 58mm from eBay generates depth and distortion If you’re looking to buy a easy to say vintage lenses would
(the Oxfam shop online is also – it’s a painterly effect. My vintage lens, do your research be better if they had autofocus
a great place to buy rare and anamorphic lens (a Sankor 16C) – lots of advice is available via and the aperture could be
unusual lenses). I was already a stretches the image and delivers vintage lens groups on controlled via the camera, but
fan of the Lensbaby range due an oval-shape bokeh that makes Facebook (I run a group called it’s all part of their charm. If
to the dream-like effects they everything look strange and Modified Camera Lenses), but your camera offers focus peaking
produce, but after seeing the confusing. My Trioplan 50mm in short you want a lens with and focus magnification, this is
swirly bokeh of the Helios I just has soap bubble bokeh that is minimal (or preferably no) a massive help as it gives you a
had to have one! Since then, sharp and playful. I also have a scratching and fungus. If you’re better idea of what to focus on.
vintage lenses have become Pentacon 105mm that produces buying online don’t be afraid to Vintage lenses are fantastic at
quite an obsession and I now soap-like bokeh, but it’s a bit ask to see more pictures of the communicating a feeling,
have a sizeable collection. softer than the Trioplan. Others lens or ask for details of where it atmosphere or emotion. They
My Helios 44M is the one in my collection include a might have been stored. have flaws and quirky focusing
I use most often, but I actually Jupiter 11 135mm, Industar-69 Mounting a vintage lens to and they create flare that most
have three Helios lenses. I have 28mm and Dallmeyer 12 inch your camera is simple, with the photographers would freak out
a 44M 58mm in original f/6 Popular Telephoto. My help of an adapter you can use about – but that’s what I like. I
condition and a 44mm and favourite camera/lens them on countless brands and don’t want perfectly sharp
85mm, both of which I have combination is a modified bodies. Be aware, though, that images; I want to create
modified by reversing the front Helios with my Nikon D800E some lenses don’t work on something more. Vintage lenses
glass element. By doing this, I (although the Helios also works full-frame cameras. Adapters are help with this as they tap into
get an impressionistic swirl that well on my Fujifilm X-T2.) relatively cheap, but if you my imagination.
Technique
Playing with a modified
vintage lens to create
explosive bokeh
Sony A7II, Mir 1B 37mm f2.8, 1/50sec
at f/2.8, ISO 1000
The result of
experimenting with
digital medium format
and projector lenses
Sony A7III, Kipronar 105mm f1.9,
1/300sec at f/1.9, ISO 400
Mathieu Stern
Mathieu Stern is a to say which are my favourites. the same era – that way you can
I do, however, have certain maintain the same quality
professional brands and lenses that I like across all of your images. I’ve
photographer and more than others: Konica, tried many unusual bits of kit
filmmaker. His Canon FD, Minolta and Pentax over the years – I own lenses
passion for Takumar are all on this list. designed for X-ray machines
experimenting Most of my lenses come from and medical cameras, for
with vintage eBay, yard sales or instance, but one of the most
lenses has resulted in the nickname recommendations from family unusual lenses I’ve tested was
‘weird lens guru’ on the internet. He and friends, but now that I’ve designed to be installed on a
hosts a YouTube channel and is a got a large YouTube following camera on board a space shuttle!
photography and Photoshop teacher in I also get sent lenses to review. When it comes to buying
three Parisian design schools. www. If you’re in the market for a adapters, avoid super-cheap
mathieustern.com, Instagram: @ vintage or experimental lens be ones – these can break quickly
mathieustern, YouTube: Mathieu Stern. aware that fungus can be and even damage the sensor on
cleaned, dirt and grease can be your camera. A fair price for an
THERE’S something unique removed, but scratches or a adapter would be around the
about most lenses made before bent helicoid are much bigger £20 mark. Before attaching a
1900. Swirly bokeh, crazy problems and would be a big vintage lens to your camera be
colours and flare all add a no-no for me. On the plus side, aware of any potential weight
charm to your images that I’ve bought many lenses issues – a very heavy or long
modern lenses lack in their bid showing signs of fungus for a lens can damage the mount on
to produce a clinical, perfect fraction of the price and your digital camera, so in this
image. The first vintage lens I cleaned them up in less than instance it’s a good idea to use a
owned was the one my father ten minutes. lens collar and tripod.
gave me with his 35mm I shoot all of my experiments Some people worry that there
camera. It was a 50mm f/2.8 for YouTube on a Sony A7 III might be a steep learning curve
from an unknown brand. Now, and A7 II. I have almost every when using vintage lenses, but
of course, I know it was a pretty adapter ever made for the Sony like any lens they are made of
bad lens, but it was my first step E-mount, which means that I metal and glass – there is
towards discovering something can attach almost any lens from nothing magical or extra-
magical. At the last count I had any era to one of my cameras. If difficult to understand. If you
more than 200 vintage and you like a brand, it’s a good idea know how to focus manually
experimental lenses, so it’s hard to have a full set of lenses from then you can use a vintage lens!
Experiment with digital processes
to create a wet plate look Sony A7II,
Canon FD 85mm f/1.8, 1/100sec at f/2, ISO 100
A vintage-looking portrait created

with trial and error Sony A7II, Canon FD
85mm f/1.8, 1/100sec at f/1.8, ISO 100
Having said that, using a
camera with focus peaking is
very important and image
stabilisation is also good when
you’re shooting videos with
vintage lenses. I like to shoot
portraits, but you can shoot
pretty much anything with a
vintage lens – there are plenty
of focal lengths to choose from.
One of the greatest challenges is
finding vintage and
experimental lenses at a fair
price: I started collecting when
no one really cared about them
and I was picking them up for
less than £10, but they are now
becoming more expensive.
I don’t own any modern
lenses and I don’t feel like I’m
missing out. Vintage lenses
encourage me to be more
experimental – I love the way
they bend light, create crazy
bokeh and produce truly
unique images.
Marc SirisiMarc Sirisi is a For me, vintage lenses
play a significant role in
videographer/ capturing the essence of
a person
filmmaker for RV Fujifilm GFX 50 R, Minolta MC Rokkor-PG
Films – a film 58mm f/1.2, 1/125sec at f/2, ISO 100
production
company based in
Barcelona, which
he set up with a colleague. Marc loves
to experiment and has been using
vintage lenses since the beginning of
his journey with photography and now
shoots commercial projects with them.
Visit www.rvfilms.cat and Instagram:
@marcsirisi.
IT’S HARD to describe what
I like about vintage lenses, but
when I shoot with them I get
the feeling that the pictures will
be special in some way. Each I love the IQ, sharpness,
lens offers something different: bokeh, colours, contrast and
sometimes it’s unusual bokeh, tones achieved with this lens
sometimes it’s interesting Fujifilm GFX 50 R, Canon FD 85mm f/1.2 L,
colour tones, flare or contrast. 1/250sec at f/2, ISO 160
Basically, it’s the joy of
imperfection. As a portrait digital images that when I first eBay and Wallapop. I like eBay
photographer, I feel that saw the swirly bokeh and low because it’s reliable and you can
vintage lenses play a significant contrast created by the Helios find some rare lenses for sale. I
role in capturing the essence of 44M 58mm it shocked me! like Wallapop because you can
a person. There is also a certain I knew I had to have one. meet the owner and test the
romance when you consider The Helios was my first lens. Where possible, I like to
that you’re using a lens that is vintage lens. I now have eight visit flea markets to get some
30 years old or more and will more: a Minolta MD Rokkor good deals. When you’re
have captured many moments 45mm (lots of contrast and buying a vintage lens, check
and experiences over the years. nervous bokeh), a Minolta MC that the aperture blades work
My passion for photography Rokkor 55mm (very sharp, even properly and look for fungus,
only began a few years ago, but wide open), a Minolta MC haze and scratches, as well as
I was instantly drawn to the Rokkor-PG 58mm (optically checking the overall body
retro/film look – especially the very good with an almost condition. Some old lenses are
bokeh. I was so used to seeing creamy bokeh), a Minolta MC known to contain radioactive
Tele Rokkor 135mm (sharp with components, but I don’t have
good contrast), a Canon FD any of those. I have heard some
50mm f/1.4 SSC (this was given people say the level of
to me by a relative and I think radioactivity is so small that it
it has some haze inside because doesn’t pose a problem, and
the final image is too soft so I’m others who sound very alarmed
saving it for a possible future by it. When you’re buying an
project), a Canon FD 50mm adapter read the reviews and
(without haze! I like the make sure that it’s compatible
contrast and colours of the FD with your camera. I bought a
series), a Canon FD 85mm f/1.2 cheap adapter a while ago and
L (my favourite) and a Leica I had to keep tightening the
Macro Elmarit 60mm f/2.8 screws – one day the lens
(which I bought a few days almost fell on the floor.
ago). The Canon FD 85mm If you’re not used to shooting
f/1.2 L is attached to my camera in manual, then using a vintage
most of the time – I love the IQ, lens can be a challenge to start
sharpness, bokeh, colours, with. You have to accept (and
contrast and tones. My embrace) imperfections.
favourite combination of Vintage lenses encourage you to
camera and lens is the Canon explore and when I shoot I’m
FD 85mm f/1.2 L with a not looking for a perfect image;
The original picture was zoomed Fujifilm GFX 50R. my goal is to create a shot that
about 90% and cropped Fujifilm GFX 50 I buy most of my vintage gets the viewer’s attention and
R, Canon FD 85mm f/1.2 L, 1/1000sec at f/1.2, ISO 200 lenses online from sites such as expresses an emotion.
VINTAGE LENSES Technique
Five vintage
lenses to try
Mathieu Stern (otherwise known as the weird
lens guru) has a wealth of knowledge about
rare and vintage lenses and he shares his
wisdom via The Weird Lens Museum at
www.mathieustern.com. Here are five excellent
optics from his cabinet of curiosities.
Jupiter 11 135mm f/4
It looks like a rocket ship,
but the Jupiter 11 135mm
f/4 is certainly not a novelty
lens – it offers amazing
image quality, super
sharpness and lovely warm
colours. It’s also a great
lens for video because the aperture ring
doesn’t make a clicking sound.
Helios 40 85mm f/1.5
Mathieu describes the
Helios 40 85mm f/1.5 as
the ‘legendary swirly bokeh
king’ and it’s easy to see
why. When used wide open
this lens will create a swirly
effect around your subject
that will give your images an attractive
dreamlike quality. It’s a great lens for portraits.
Canon FD 50mm f/1.4 SSC
The contrast and colours
produced by the FD series
are a big draw, but the
Canon FD 50mm f/1.4 SSC
deserves a special
mention. You’ll get some
spectacular flare when
shooting towards the sun with this lens, but
the results can be pleasingly cinematic.
Minolta 50mm f/1.4
The Minolta 50mm f/1.4 is
a cinematic lens, which
makes it easy for you to
isolate your main subject
from the background. It has
been described as
‘Minolta’s sharpest prime
lens’ and doesn’t disappoint on that front. Its
resolution and contrast are exceptional and
the bokeh is beautiful.
Pentax Super Takumar
50mm f/1.4
You’ll find several versions
of the Pentax Super
Takumar 50mm f/1.4 on
the market (some of which
N R E T S UEIH T A M © :SERU T C I P S N E L
are radioactive due to the

thorium glass used in their
construction). It’s a fast,
high-quality lens with sharpness maintained
well throughout the aperture range.
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This is my first time writing made, and gives extremely photos didn’t do too much want to use a full-frame
in whole or in part is forbidden except with permission in to your mag after some good results so it is ideal for me and aren’t the sort Nikon DSLR, due to the
writingfrom the publishers. Note to contributors: articles
submittedfor consideration by the editor must be the 60 years. I have just been for me. Thank you to all of thing that I’d be looking weight? I had a similar
original work of the author and not previously published. reading your article on the the team both past and to replicate myself. problem with my Nikon
Where photographs are included, which are not the
property of the contributor,permission to reproduce them OM-D E-M10 Mark II and present for making AP However, absolute credit D700 with 50mm F1.4
must have been obtained from the owner of the copyright.
The editor cannot guarantee a personal response to all found it very interesting, a such a great and should go to those who which I just had to drag
letters and emails received. The views expressed in the good read. Over the years informative read all these like to try something a along on my travels. I sold
magazine are not necessarily those of the Editor or the
Publisher.Kelsey Publishing Ltd accepts no liability for I have used a variety of years. Long may you reign. little different and who like my Nikon a few years ago,
products and servicesoffered by third parties. cameras but have now Terry Bussey to push the boundaries. and now use a Canon RP
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decided that my Olympus
is about as good as it
gets. I still use an OM-D
Something different Please keep these articles
coming and keep
Well done for your reply to encouraging today’s
with matching 50mm. This
gives me full-frame quality,
without the weight. It’s a
E-M5 along with a Canon Lord Charles Heaps OBE photographers to strive for shame the batteries don’t
EOS 550D but the E-M10 for his comments about something new. Without last that long though!
www.kelsey.co.uk Mark II is my go-to your Frankly mindblowing them we would be left with Andrew S Redding
YOUR LETTERS
carries the same name

In next week’s issue
S E G AMI Y T T E G ©
must perforce change that
name to avoid confusion.
However the Marine
M A H M A R B NAI ©
Society was a civilian as
opposed to Naval
organisation and so the
normal rules did not apply
and they were free to use
the name ‘Warspite’ which
also commemorated a
previous vessel of the
same name in their
ownership destroyed by
fire in 1919. Hence the
confusion.
Simon C Bromwich
We received a large
number of emails pointing
out the error in the
caption to this image. As
penance the team have
been given copies of A
History of the British Navy
Out of the
to read and memorise.
Readers point out this is TS Warspite not HMS Warspite Thinking small
Warspi teconfusion There will always be
shadows
the former protected discussions on the
In your Treasures from the cruiser HMS Hermione, a respective merits of
Hulton Archive image (AP small ship of only 4,360 different sensor sizes in
17 July) you have tons which was built in photography and, for
confused T.S. Warspite 1895. Armed with many people, full frame
with the Queen Elizabeth- 2-6inch and 8-4.7inch appears to be the
class Dreadnought
battleship HMS Warspite.
guns she was already
obsolete by the start of
automatic answer.
For me though, Micro Tracy Calder shows you how
The ship depicted was the First World War and Four Thirds is the answer. to shoot shadows creatively,
owned by the Marine
Society that ran children’s
suffered the ignominy of
being downgraded to a
It’s more affordable and
doesn’t require as much for powerful images
homes since the 1800s. depot ship in 1914. physical strength to carry
One of these was based In 1929 she was offered it over long distances. The
in the former Napoleonic to the Marine Society for bigger sensor naturally
Wars-era wooden warship use as a boys’ training has more potential if you
HMS Warspite. It was vessel on the Thames want flawless A1 size or
destroyed in a fire in and it is in this guise that bigger enlargements, but
January 1918 and your photograph depicts what a waste if all you
replaced by the cruiser her. Sadly her new career need is an A4 and an
HMS Hermione (depicted was a short one as she occasional A3.
in the photograph) which had to be taken out of I’m hoping one day to
assumed the name service abruptly in 1939 stand with my Panasonic
Warspite. The ship finally
closed in 1940.
for fear that the Luftwaffe
might mistake her for a
G90 alongside a friendly
Sony A7R IV user and
Panasonic Lumix GH5 II
Does this upgrade of the popular GH5
Dr N R Ferguson ARPS military target. both shoot the same view impress? Jon Devo takes a closer look
Normally when a new at the same instant. The
I enjoyed the splendid
photograph of
warship is commissioned
into the Royal Navy any
comparison would be
interesting.
Step away from the pixels
A fashion photographer tells us why
E G N A H C OT T C E J B U S E B Y A M E U S S I S ’ K E E W T X EN R O F T N E T N O C
T.S.Warspite in your 17 obsolete ship which Barnabas Wilson he moved away from digital
July issue. Unfortunately
your description is
amiss! This is certainly YOUR FREE ENTRY CODE Icon to icon
Harry Benson on his new book about
not the famous Enter the code below via Photocrowd to get one the life of Paul McCartney
APOY31064048
battleship HMS Warspite free entry to Round 8 – Travel
which took part in many
naval battles in both
world wars. In reality it is
On sale every Tuesday
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
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BEHIND THE PICTURE
The stories and the kit behind APOY winning images
IN ASSOCIATION WITH MPB | WWW.MPB.COM
At an Upwards
Glance
By Hugo Begg
Benedict Brain discovers the story
H
behind a Young APOYaward-winner
ugo Begg’s winning have brought my tripod and
photo in Young controlled the camera remotely.
APOY, Architecture Another challenge was nailing
round, was taken the exposure, as there was a
in the Peter MacCallum Cancer lot of dynamic range to deal
Centre in Melbourne, Australia. with, the underside of the
‘The image was taken looking staircase was very dark and the
upwards to the roof through glass roof very bright. As the
the centre of the main spiral main focus of the image were
staircase on the ground floor, the upper levels and the glass
showing the spiral, upper roof, I underexposed slightly to
floors, and roof in an abstract preserve some of the highlights
swirl,’ explains Hugo. ‘I’d seen which were quite prominent on
some photos of this building the white walls high up close
while looking for interesting to the light source. This made
architecture in Melbourne and sure the detail wasn’t blown out
just had to photograph it for so I could bring it back later in
myself. The spiral staircase, Adobe Lightroom.’
in the main foyer, is quite Hugo enjoys working in black
eye-catching and walking & white and believes that the
underneath it revealed an colour in the image can distract
interesting frame filled with the viewer from the subject or
more features of the building as doesn’t add any value to the
I looked upwards.’ picture he’s trying to create.
He waited for a mostly cloudy ‘Black & white can draw more
day so it would provide a more attention to the textures and
diffused light through the glass shapes in the image which is
ceiling. ‘I wanted more of a often an integral part of the
flat look. To capture the entire architecture,’ confirms Hugo.
frame with a 24mm equivalent ‘In this image, the colour
lens, the widest I have, meant palette was mainly off whites,
I had to crouch down with the beiges, and greys, none of
camera barely off the floor. As which provided any additional
it was the main thoroughfare, value. I found that by doing
lying on the floor was not really this, immediately the layers
an option. Ideally, I would within the photo separated and
Hugo Begg
Hugo Begg is an award-winning photographer based in Hugo chose b&w to
Melbourne, Australia. His work expresses a curiosity for people, draw the attention to
place and movement through a diverse range of photographic the lines and shapes
styles. When not behind the lens, Hugo enjoys playing the in the image
Panasonic Lumix G9, 12-40mm f/2.8
trumpet and life as an engineering student. at 12mm, 1/160sec at f/5, ISO 320
Instagram: @hugobegg.
Panasonic
attention was drawn more
towards the shapes and lines.’
Lumix G9
Hugo used an Olympus
12-40mm f/2.8 Pro lens on his
Panasonic G9. ‘This is my main
lens as it covers a nice focal
range all the way from an
equivalent 24mm wideangle to
an equivalent 80mm telephoto
with a fast f/2.8 aperture. As I
wanted to capture the underside
of the spiral staircase to frame
the layers above, I needed a
wideangle lens, hence my use
of the 12mm. Ideally, I’d have
used a wider lens like an 8mm At a glance
(16mm equivalent) so I didn’t
have to crouch down to get the
shot. I used aperture priority,
f/5, 1/160sec, ISO 320, 12mm.’
£684-794
body only (used condition)
● 20.3MP Micro Four Thirds Live MOS sensor
Small wonder ● 12fps burst shooting
The small size of the Micro Four ● 5-axis Dual I.S. II image stabiliser (effective to
Thirds Panasonic G9 appeals to 6.5 stops)
Hugo. ‘It gives it an edge in ● ISO 200-25,600 (100-25,600 extended)
terms of gear size and cost
which really sets it apart from The Lumix G9 is a sound mirrorless
large APS-C and full-frame camera with an impressive specification,
cameras. The 2x sensor crop including 4K video recording up to 60fps
factor means that the lenses are and a 3,680k-dot EVF. It backs this all up
significantly smaller and lighter with an admirable performance out in the
than full-frame equivalent field. With so much to like and so little to
lenses, making them more fault, it’s hard to think of a reason why
portable, convenient and – anyone after an insanely fast, lightweight
more often than not – cheaper. and versatile camera working to a budget
‘The camera is packed full of wouldn’t seriously consider the Lumix G9.
physical features including my
favourite, the high-resolution
viewfinder which makes
What we said
‘The Panasonic Lumix G9 is more than just
viewing compositions and focus a master of speed. Like many cameras
areas extremely easy and we’ve seen, it sells itself on being highly
pleasant to use. I find the thirds versatile for all subjects and is supported
grid overlay on the viewfinder by a vast selection of Micro Four Thirds
one of the most useful features. lenses for which there’s a lens for any
It’s such a simple feature, but it imaginable purpose.’
can make a huge difference ‘The Lumix G9 is, by some margin, the
when lining up a composition, finest stills camera the manufacturer has
especially when the rule of ever produced – and it’s exceeded all
thirds can be applied, as the expectations and then some during
grid can offer guidance and challenging and demanding tests.’
allow for a well-composed shot.
‘I frequently use manual focus
when working for a long time
What to pay
When we reviewed the Panasonic Lumix G9
on a single composition. It back in December 2017, it cost £1,499
gives me time to focus perfectly body only). Today, a used G9 in excellent
on the subject in the frame and condition can be picked up for around
lock it in rather than the £775 (body only).
camera taking control. In this
shot, the main subject is the MPB is the sponsor of
upper levels of the building and
the glass roof, so I made sure to Amateur Photographer of the Year 2021
push the focus higher up the
building. As the aperture was
closed enough, the underside of
the stairs remained in focus
when the image was taken.’
USING A LENSBABY
Who loves ya,

Lensbaby?
Janet shot this image
using the Velvet 56 at
f/4 and applied one of
her textures at the
processing stage to
enhance the
atmosphere
If you’re looking to spend more time in

the moment and less at a computer, The
perhaps it’s time to try a Lensbaby.
Lensbaby
L
Angela Nicholson has the lowdown
ensbaby may have started
out with one simple
impact of the Burnside 35 is less
obvious. In fact, the Burnside
effects
Sweet A round spot
bendy lens that had a Lensbaby is very similar to the Twist of sharp focus at the
plastic optic, but these 60 optic for the optic swap system, centre of soft blur.
days it offers an extensive array because it produces swirling bokeh The effect is suitable
of lenses, optics and housings to around the edges of the image. This for a wide range of
enable a range of effects on just means that the Twist and Burnside photography.
about any camera. They’re not for aren’t recommended for Micro Four Edge A band of
everyone, but there are legions of Thirds cameras, since much of the sharp focus with blur
photographers who love them for effect is cropped out by the smaller either side, this
their creative results. sensor. However, another standalone works well with
Lensbaby lenses produce four main lens, the Trio 28, is specifically
effects called sweet, edge, velvet and designed for sub-full-frame cameras landscape scenes.
swirl. Although some create more than including Micro Four Thirds models. Velvet A soft glow or
one of these effects, most Lensbaby The Trio 28 is a 28mm standalone diffusion effect that
lenses or optics create just one and lens with three optics built in to enable is popular for
deciding which one you want is key to the velvet, sweet or twist effect. It’s a portraits and flower
selecting the right Lensbaby. great choice for first-time Lensbaby images.
users with a sub-full-frame camera.
Lenses and optics Alternatively, there’s the Sol 22 Swirl Twisting,
Lensbaby makes two types of lenses: which is a good choice for Micro Four swirling bokeh and
standalone lenses that are similar in Thirds cameras; and the Sol 45 that’s vignetting that works
design to ‘normal’ lenses, and the suitable for APS-C and full-frame well for portraits
optic-swap system that comprises a models. These neat lenses combine the with a busy
separate housing or barrel and an sweet effect with a little tilt and the background.
interchangeable optic. The standalone ability to add swirl by moving aperture
lenses and housings come in a wide blades across the front element.
range of mounts, so it’s essential to
buy the correct one for your camera, Optic swap system
but the optics can be swapped between There are two main optic swap
different housings. housings: the Composer Pro II,
There are no electrical contacts on which has a ball joint to enable some
any Lensbaby lenses or housings, tilt to move the focus plane; and the Buying a
which means that they are manual Spark 2.0 that is reminiscent of the Lensbaby
focus only and the aperture setting original Lensbaby. The Spark 2.0 can Lensbaby lenses can
(when adjustable) is controlled by way be bent and squeezed to move the be purchased
of a lens ring. point of focus. directly from the
These housings or barrels can be company’s website
Standalone lenses used with any of the optics such as the lensbaby.com, but in
The Velvet is perhaps the most widely Edge 35, Edge 50, Edge 80, Sweet 35, the UK, it’s best to
known of Lensbaby’s standalone Sweet 50, Sweet 80, Twist 60 or the buy them from Wex
lenses. It’s a full-frame lens and it new Obscura pinhole optic. Photo Video which
comes in three focal lengths, 28mm, The Twist 60 is often sold with a has exclusive
56mm and 85mm. As you can guess straight lens barrel, which can also be distribution rights.
from their name, the Velvet 28, 56 and used with other optics but it doesn’t They can also be
85 produce the velvet effect, but the allow the plane of focus to be moved. found second-hand.
Using a Velvet lens has given this image a soft glow which
Janet enhanced further with a texture
Janet Broughton
https://definitelydreaming.com
JANET BROUGHTON switched from life as
an accountant to that of a professional
photographer in 2012 and she’s developed
a sideline in texture creation (www.
texture-shop.co.uk). She’s a fan of vintage
lenses and Lensbabies, especially the Velvet
85 on her full-frame Sony Alpha 99 and the
Velvet 56 or Sol 45 on her Fujifilm X-T20 (84mm and
67.5mm effective focal lengths respectively).
Janet was first attracted to try a Lensbaby after treatment
for an eye problem left her with blurred vision for a couple
of weeks – the blur and softness of the original Lensbaby
replicated how she saw the world for a while and it enabled
her to take different images from other photographers. She
says, ‘What I really like about using a Lensbaby though, is
the slower pace of photography, and how it makes you feel
more connected to what you’re shooting, whatever it
might be. That’s because you’ve got to slow down and
think about it more than just
snap, snap, snap and hope
something works. You still need
to get the basics of photography
right and using a Lensbaby to
add a bit of blur won’t
automatically result in a nice
picture, you still have to make
sure there’s an interesting subject
and the image is well composed.’
This image was created with the Velvet 85, a lens designed
for use with full-frame cameras such as the Sony Alpha 99
The Sweet 35 has a
central area of
sharpness surrounded
by soft blur and
attractive bokeh effects
Glwww.ggcreativeimages.co.uk
enys Garnett
GLENYS GARNETT, a freelance
photographer, artist and graphic designer
based in Wakefield, has been interested in
photography for as long as she can
remember. She says, ‘I’m all about trying
to get as much right in camera as I can, so
I don’t like to rely on apps and software,
although I do use them. I prefer to do as much as I possibly
can in camera and for me, it’s the look and feel that’s Above: Glenys likes to use her Fujifilm
important in an image.’ X-T4’s multiple exposure mode when
Inspired by images she’d seen from some Lensbaby users, shooting with a Lensbaby
Glenys bought a Trio 28 a few years ago to see how she got Above: Shot using the Lensbaby Sweet
on with it, and she loved it. She says, ‘It’s a single focal Below: Part of Glenys’ autumnal series 35 at f/2.5 in the Composer Pro II on
length (28mm) and it’s got a single f-stop, so if I go out shot using the Trio’s Sweet optic the Fujifilm X-T4
with it on my camera, I just have to think about the
composition and exposure. My camera’s viewfinder is good
but I recommend using the histogram view to make sure
you get the highlights just right.’
While Glenys still uses the Trio on a frequent basis, she
tends to use its ‘sweet’ optic the most often so she also
bought a Composer Pro II with a Sweet 35 optic to get some
flexibility. She explains, ‘I really like the sweet spot effect
and the way it lets me create lovely bokeh effects around
the edges – it’s the sort of thing you can’t do with software.’
Wanting to recreate a lo-fi retro look in the digital age,
Glenys often uses the Toy Camera filter setting on her
Fujifilm X-T4 and selects a square aspect ratio while
shooting with the Composer Pro II and Sweet 35 or the
Trio. She even has a small polarising filter that she can use
to cut down reflections and boost the colours in some of
her images to get rich, warm tones without having to do
much on her computer.
28
USING A LENSBABY
RobertPugh
www.rpphotographybydesign.co.uk
ROBERT PUGH is a professional wedding and
portrait photographer, who often uses the
Lensbaby Twist 60 for engagement shoots to
create more interesting images. He’s also been
known to use a Sweet 50 to get more exciting
detail shots at weddings, but as speed is often of
the essence, there’s not always time. Engagement
shoots, however, tend to be more relaxed and there’s more
opportunity to be creative.
As the Lensbaby creates swirl around the edges of the frame,
Robert uses quite wide framing in his images so the blurred
background creates a frame around his subjects. It’s also
important to have some detail in the background as the twisted,
swirl effect won’t show with a plain scene. He explains, ‘I look for
a bush or tree with flowers or blossom on it – just plain leaves
don’t look very good, so there needs to be something with a bit
of colour and contrast.’
Although Robert has the straight barrel for the Twist 60, he Above: The yellow
generally uses it in the Composer Pro II because this enables him flowers accentuated the
to move the location of the sharp area within the frame. It also swirl effect in the
means he can quickly swap to using another of his favourite background
optics such as the Edge 35 to capture a strip of sharpness, or the
Sweet to have a sharp spot in the frame. Right: Lensbaby’s Twist
Robert likes to get the look he wants in-camera to save time at optic is often sold with a
the processing stage, but he also finds that being able to show his ‘straight’ housing
clients near-final images on the screen on the back of his camera
helps get them ‘into’ the shoot and keen to pose for more shots.
As a seasoned Lensbaby user on mirrorless cameras, Robert’s Below: The swirl effect
top tip is to customise a button to activate the magnified view to occurs in out of focus
make it easier to focus. He also recommends using focus peaking areas towards the edges
to ensure that the focus is where you want it to be. of the frame
WILDLIFE PHOTOGRAPHY
Reconnecting
to nature
Five years aﬅer their first Sacred Nature
book, Jonathan and Angela Scott have a
renewed energy to use their photography
to inspire change. Keith Wilson finds out
N
about the couple’s quest and new book
ot by choice, the Jonathan Scott, ‘it is that people
Covid-19 pandemic are being reminded of the vital
has given people importance of nature to their lives.
across the world Nature creates us. We can’t survive
unexpected moments of reflection without nature. We used to be
to contemplate their lives and connected to nature in a way that
re-evaluate priorities. Weeks of made us feel that it was not just
imposed lockdowns, quarantine essential, but something to glorify.’
and self-isolation have forced For Jonathan and his wife Angie,
many of us to seek out green space nature is sacred, but in over 40 years
and parkland to exercise the body of photographing the world’s wild
and refresh the mind. As a result, animals and places, with a primary
we have taken greater notice of focus on the vast savannahs of East
our natural surroundings, and Africa’s Mara-Serengeti ecosystem,
reconsidered the value of the flora the Scotts have witnessed humanity
and fauna, woodland and water that defile the nature they have sought to
we had blithely taken for granted. glorify through their images. With
‘If there’s a silver lining to come 40 per cent of the world’s wildlife
out of the pandemic,’ says wildlife wiped out in the past 50 years, the
photographer and TV presenter Scotts know that time is running
out. To help save what’s left, they
believe their photography must do
more than glorify, it needs to
provoke. And so, their Sacred Nature
Initiative was born.
A global view
Key to this project is the
forthcoming publication of their
new book, Sacred Nature Volume 2:
Reconnecting People To Our Planet.
Coming five years after publication
of Sacred Nature 1: Life’s Eternal
Dance, the new book adopts a more
global view than the first volume,
which focused almost entirely on
the Mara-Serengeti. ‘There were a
few images from Namibia,’
Joanathan explains, ‘but we basically
looked at the wonder of the
Mara-Serengeti to say, ‘look at what
is going to disappear if we don’t
think it’s of value’. We basically
looked at how life was from a place Above: Elephants impact, which is there’s one million the subject’s vulnerability. In the
and a time when humanity was so at salt lick, species at risk, and we’re in the case of Jonathan’s photo of
connected to nature, and we Musiara Marsh, Anthropocene, and in just 50 years Handsome (the name given by
cherished it. Hence, sacred.’ Maasai Mara over 40 per cent of life on Earth is rangers to this placid mountain
Over time that connection has National Reserve, gone. And we will be next.’ gorilla contemplating his jungle
been lost, Jonathan argues, so the Kenya home), death is never far away.
key objective of the Sacred Nature Images that connect ‘Handsome was a part of the group
Initiative has been spelt out on the As you would expect from the Scotts, led by another silverback, Rafiki,’ he
cover of the new 288-page volume: the new book is packed with images says. ‘Rafiki was killed, stabbed, in
‘reconnecting people to our planet’. that are brazenly spectacular, such as June 2020. Now Handsome has since
He explains: ‘Sacred Nature 2 has Angie’s perfectly timed shot of an disappeared.’ The photograph was
taken the ethos of Sacred Nature 1, airborne sprinting cheetah. But there taken on a visit to Uganda’s Bwindi
that is to take an ecosystem- are many others that require greater Impenetrable National Park, one of
landscape approach by covering the attention to the scene, inducing an the last strongholds of the world’s
whole globe. Angie said, “Let’s break almost meditative response from the mountain gorillas. Barely a thousand
it up into savannahs, mountains, viewer. It is these photographs, survive in the wild, so the loss of one
forests, deserts, polar regions, and notably Angie’s symmetrically to human conflict is significant for
let’s look at the beauty and wonder
of each of those areas, and then Left: Young female framed study of a tiger stepping into
the water while hunting, or
the whole group. ‘If we’re going to
do well by these creatures, if we’re
point out the importance of them tiger hunting, Jonathan’s pensive portrait of a going to really love them, then we
and the reasons for concern.” The Bandhavgarh silverback mountain gorilla sitting have to ensure that they remain
National Park,
climate crisis is one thing, but it’s Madhya Pradesh, by a stream in a rainforest, that wild, and the only way to do
hand in hand with our other big India succeed in connecting the viewer to that is to protect the habitat.’
WILDLIFE PHOTOGRAPHY
Aptly, it was the setting rather much wanted to do with this book.
than the animal itself that Straightaway, we wanted to transport
provided the inspiration for this people out of Africa, and we wanted
photograph. Jonathan had crossed to have a picture of an animal which
this stream several times when he is iconic, which is a universal symbol
realised its potential. ‘I think this is of how enthralled we are with nature
the key to good photography – and in particular with these great
you’re always visualising the picture iconic cats. Also, the patterns mean it
that you hope you’ll get. Every time works so well as a black & white.’
we went into the forest and crossed There are many other powerful
that stream, there was light, the very black & white images in the book,
thing you hope for and want as a and remarkably no photograph jars
photographer, and of course there as a result of the change from
was the water itself and this colour to black & white, or vice versa.
wonderful setting. You enter a Such seamless image sequencing is a
rainforest, you don’t just step into it, mark of first-class visual story-telling
you immerse yourself in it. It’s like a and editing.
cathedral, it’s the most incredible Unsurprisingly, books such as this
piece of architecture.’ are expensive to create. The first
volume was privately funded; this
Great iconic cats time the Scotts supplemented
Like the first book, Sacred Nature 2 is donations from a network of
a large, heavyweight hardback, individuals and companies,
beautifully designed by their son, including Canon (one of the backers
US-based creative director David of the first book), with a Kickstarter
John Scott, whose clients include crowdfunding campaign that raised
Netflix, Sony, Apple and Google. in excess of $130,000. Some of the
Through their previous books, money was used to establish the
exhibitions and TV programmes, Sacred Nature website, ‘so we could
especially the globally popular TV really be a force for good and
series, Big Cat Diary, Jonathan and actually create projects and put
Angela are synonymous with money towards them,’ says
African wildlife. But it is not a lion, Jonathan. ‘I think the reason why
leopard or cheetah that takes star the Kickstarter was so successful
billing on the cover of Sacred Nature was because we’ve worked hard to
2; instead, India’s regal predator, the build our social media presence, and Above: Silverback, with the message of the Sacred
Bengal tiger, stares menacingly out the reason we have that level of Nkuringo mountain Nature Initiative.’
from the cover. interest is because of our television gorilla family,
‘It’s a picture taken by Angie. I work. After the success of 12 years of Uganda’s Bwindi Pictures with purpose
remember when she brought it up on Big Cat Diary, and to create with Impenetrable The idea of taking the message of the
screen and instantly I thought, “that’s Abraham Joffe two seasons of Big Cat National Park first book, published in 2016, and
it!” It works because one, it’s the most Tales recently for television, and to Below: Young expanding it into a global
black-tipped reef
endangered of the big cats, and two, have other television projects now shark, Velassaru, multiplatform conservation
it took us out of Africa which we very in the pipeline, these all resonate Maldives initiative, was taken three years later.
How does the Sacred Nature Initiative work?

‘SNI is a new entity incorporated in the UK and dedicated to conserving the
planet’s natural wonders. Its approach is holistic and targeted, committed to
rigorously analysing needs and feasible interventions in areas of concern. To
achieve this, it will assess likely outcomes and create or support donor-funded
projects with designated results, time frames and accountabilities. Solutions in
ecosystem restoration and maintenance must be sustainable and significant.
‘It is essential that everyone – children, parents, teachers, business leaders,
politicians – understands the importance of nature, that the natural environment
sustains all life. Equally, we must adopt a new convention that says we do not
own nature, that land isn’t a commodity to be used as we please. Nature is
something to be respected and nurtured, held in trust by each generation for the
benefit of future generations. Something sacred.
‘Though the SNI is global in its scope and ideals, Phase 1 will focus on the
place we know best: the Mara-Serengeti ecosystem spanning the border
between Kenya and Tanzania. By purchasing the book, you have already
supported SNI because a percentage of the profits from the sale will be donated
to projects supported by the Initiative.’
To learn more about SNI and how you can reconnect to nature please visit:
www.sacrednatureinitiative.com.
Home of the
mountain goril a
While hiking in the mountainous jungle
terrain of Bwindi Impenetrable National
Park in Uganda, Jonathan saw the
picture potential of this jungle setting.
‘From the moment we saw the
location, we began thinking, “imagine
this with a gorilla!”’Luckily, the
opportunity arose on another visit
when he saw the gorilla heading down
to the water’s edge. Having already
imagined the scene, and camera
ready, he composed the picture at the
wide end of a 24-105mm zoom. ‘I
wanted to capture the sense of this
extraordinary piece of forest and to
have a silverback sitting there, and to
feel that he was just in his world and
you weren’t unduly affecting his
behaviour. It’s so important if you’re a
photographer to capture a sense of
where the animal lives. What is it’s
natural setting? What would the world
look like from that animal’s
perspective in terms of its home? This
silverback was perfectly relaxed and
he was at home.’
By then, the couple felt a renewed whether it’s in lectures, social media explains: ‘The three pillars are to
urgency about the need to use their or on television, we want to use it inspire, which we hope we do
photography as a means to inform for the good of the planet and join through our work; to educate,
the public about the value of nature everybody else who’s beginning to because so many kids now are
and to inspire the changes needed to realise that we can’t take it for disconnected from nature. They
conserve what remains. ‘We want to Below: Female granted any more.’ used to run around and had the
be out with a purpose and a cheetah, Maasai The Scotts have identified ‘three freedom to have adventures in
mission,’ says Jonathan, ‘and to use Mara National pillars’ to define the ethos and nature, but parents are too scared, or
our photography, our voice – Reserve, Kenya objectives of the Initiative. Jonathan the kids are too much into a virtual
world where they’re frightened of
losing battery power or not being
plugged into their device!’
Yes, I think to myself, the question
on everyone’s lips these days seems
to be, ‘what is the Wi-Fi password?’
Jonathan continues: ‘What you
don’t know about, you can’t care
about. How can you care if you don’t
know? This is an alert, a way to wake
people up, but wake them up in a
way in which we can say there are
still things of wonder out there.
And the third pillar? ‘Conserve.
Inspire, educate and conserve.
Nature creates us. You won’t
conserve it if you don’t know about
it and you’re not feeling good about
it. The photographer Yann-Arthus
Bertrand said, “Look, it’s not the
planet that needs saving, it’s
humanity”.’
Lenses
for video
Looking to make the move into movie-making?
You don’t have to break the bank to get the right
lens for the job. Matty Graham explains all
A s brands launch a steady stream of cameras packed with high-resolution

video modes, more photographers than ever are testing the waters and
taking tentative steps into the world of movie-making – not only as an
additional stream of revenue but also to capture precious moments of
friends and family. While the camera bodies have features on hand such as 4K video,
Log Profiles and ports to capture enhanced audio, it’s often down to lens choice
where problems with results and quality can occur. Quite simply, not every lens you
own will be up to the job but before you rush out and spend big money on a pricey
Anatomy
Wide focus ring
of a
There’ll be times when filming scenes with
a shallow depth of field that you’ll want to
take more control over the focusing system
and instead switch to Manual Focus (MF).
cine lens designed solely for video use, take a moment to read this feature. There In these scenarios, you want to have as
are plenty of stills lenses out there that include features which are advantageous for much physical control over the lens as
video use and do a great job of helping videographers capture impressive footage. possible and the lenses to avoid are ones
that have impossibly thin focus rings that
are very unergonomic and hard to get
precise control over. Instead, look out for
optics with a big, wide focus ring that you
Technique
good lens for video

can get a good hold of. Better still, focus shutter speed, such as 1/100sec, so in Stabilisation
rings with a pronounced rubberised texture order to balance an exposure level, you’ll Shaky footage is no good to anybody and
will further aid your hold and prevent your want to adjust the aperture instead while there are other options to stabilise
digits slipping off the focus ring. (although you can also use ISO and ND footage – namely IBIS (in-body image
filters to balance exposure too). Some stabilisation) inside the camera body or the
Declicked aperture ring
An aperture control ring enables users to
aperture rings are ‘clicked’ meaning you
feel a physical click or step as you turn the
use of a gimbal so the videographer can
move around while keeping the camera
change the aperture setting via the ring on ring. It’s more advantageous for a video- steady – using a lens with Image
the lens, rather than needing to fiddle friendly lens to have a declicked aperture Stabilisation technology adds to the
about with the camera body dials or menu. ring, that will turn freely without photographer’s ability to keep things
This is important because when you are resistance, allowing you to balance the steady. Most IS-enabled lenses offer
capturing footage, you’ll be using a set exposure more easily. the user the ability to switch the
Four video-fri
Plenty of stills lenses

have features that will
help you capture great Canon RF 50mm
video footage F1.8 STM
● £210 ● canon.co.uk
stabilisation off and on, giving the f/5.6, which won’t give you the shallow Canon’s ‘nifty fifty’ lenses have been highly
user even more control. For the depth of field you’re looking for. Instead, acclaimed for years by photographers using
ultimate in stabilisation, pairing an IS lens look for lenses that have a maximum the brand’s DSLRs to shoot stills and video,
with a camera body with IBIS will extend aperture of f/2.8 or faster. but with Canon’s introducing a full-frame
the compensation limits. mirrorless range with cameras like the R6
Lightweight dimensions Mid-telephoto focal length
One common mistake many
and RP, a new version was needed. The
result is the RF 50mm f/1.8 STM – a lens
Big, heavy lenses are okay for video as photographers make when moving into that balances price, size and a fast
long as you are happy to lock off the video for the first time is to select a lens maximum aperture beautifully to produce a
camera on a tripod, but this delivers static that’s too wide. Of course, there will be must-own optic for Canon video shooters.
and uneventful footage. If you are going times when a wider angle view will suit the Measuring 69.2x40.5mm and tipping the
to capture motion by using the camera on scene, but going too wide all the time can scales at only 160g, this lens will balance
a gimbal or other device then you want to leave subjects in the frame looking too nicely with cameras like the EOS R6 when
reduce the load on the gimbal motors and small and generally lost. A mid-telephoto paired with a gimbal like the Ronin-SC. The
this means using a lightweight and focal length such as 50mm is a great place 50mm will give a natural perspective close
compact lens. Pancake optics are ideal – to start as this focal length is similar to the to that of the human eye and the lens
for example, Sony’s 16m f/1.8 not only natural perspective of the human eye. features Canon’s STM motor technology for
measures just 62x22.5mm but it tips the fast autofocus that will be quiet and won’t
scales at a mere 67g, making it a
gimbal-friendly choice for videographers
Fast motor
Picking a lens with the right motor system
pick up on your audio track. The RF 50mm
enables videographers to capture frame-
on a budget. is crucial when selecting a video-friendly filling footage of smaller subjects thanks to
optic. Sluggish motor systems will not only a closest focusing distance of 30cm and
Advanced coating
When shooting video, you’ll more than
struggle to keep up with a moving subject
in the frame, but they will also create ‘lens
features Canon’s Super Spectra Coating to
enhance quality.
likely want to shoot a lot of contre-jour hum’, which can be picked up on your
shots when you shoot into the light to microphone and ruin your audio. By Focal length 50mm
capture backlit subjects. These high- contrast, a lens with a fast, modern motor Lens construction (Elements/Groups) 6/5
contrast lighting situations can flummox system will be quiet, fast and accurate,
inferior lenses and produce huge amounts leading to more usable footage. Max aperture f/1.8
of flare and specular highlights. When
looking for a lens that you can use for stills Familiar filter thread size Minimum aperture f/22
and video, make sure it has a decent level ND filters can prove useful when shooting Closest focusing distance 30cm
of coating to protect against these issues. video as well as stills. With your shutter
speed locked in at 1/50sec or 1/100sec, it
Fast maximum aperture can be easy to overexpose a frame,
For those beautiful, shallow-depth-of-field particularly if you wish to employ a fast
shots that add a heavy layer of cinematic aperture like f/1.4 to create a shallow depth
style to your footage, you’ll need a lens of field. A video-friendly lens with a
that offers a fast maximum aperture. familiar filter thread size (such as 67mm,
Regular kit lenses often have a variable 72mm or 77mm) will mean you probably
aperture so at best, you may be able to use already have a ND filter (whether it be a
f/3.5, but if you zoom in, you’re more screw-on or via a filter holder) that you
likely to have a maximum aperture of can use to balance your exposure level.
LENSES FOR VIDEO Technique
endly lenses
Samyang 85mm T1.5

Sony E 16mm F2.8 AS IF UMC II VDSLR Sigma 85mm F1.4
● £229 ● sony.co.uk ● £295 ● wexphotovideo.com ● £999 ● sigma-imaging-uk.com
While longer focal lengths can provide A purpose-built cine lens from less than The exceptional optical performance of
tighter framing, there are times when you £300? You’d better believe it and if you are Sigma’s Art series has been well known for
will also want to shoot wider scenes and a starting to take video seriously, it could well a while now, but what you may not be aware
great choice for these occasions is Sony’s be worth taking a good look at this Samyang of is that the Art series shares a lot in
16mm pancake lens, which is designed for optic. Available for Nikon F, Canon EF, Pentax common with the construction of Sigma’s
use with the brand’s APS-C cameras such K, Sony E, Sony A, Fujifilm X and Micro Four Cine lenses, making them perfect for filming
as the Alpha 6600 where it takes on an Thirds mounts, the Samyang 85mm is a video without the additional price-tag. The
equivalent focal length of 24mm thanks to manual focus optic that features 9 85mm F1.4 DG DN Art gives videographers
the sensor’s 1.5x crop factor. Make no elements in 7 groups including an a lens that can capture tighter scenes and
mistake, this is a tiny lens, measuring just aspherical element. The lens features an the maximum f/1.4 aperture will create an
62x22.5mm and tipping the scales at only aperture (A) ring, although on a cine lens incredibly shallow depth of field that’ll bring
67g, but there’s still room for a 5-elements- the aperture is prefixed with T instead (for a cinematic feel and a higher production
in-5-groups design and a 7-bladed aperture. example T/1.5) and there’s also a wide value to your movies.
What’s more, the tiny Sony optic offers geared focusing ring, that will allow The 85mm f/1.4 Art lens packs in no less
Direct Manual Focus with non-rotating focus videographers to pair this up with a follow than five SLD (Special Low Dispersion)
ring for when videographers want to take focus system, enabling precise adjustments elements to deliver that optical quality but
more control over their focus point in the to the focus setting. there’s far more to this lens than the glass
frame. The barrel is made from aluminium Sporting a dust-proof design, the lens because the lens also features a declicked
and if you need to go wider, the 16mm f/2.8 also offers Samyang’s Ultra Multi Coating aperture ring, enabling users to change
is compatible with Sony’s VCL-ECU1 (UMC) technology for better image quality aperture and balance exposure levels during
ultra-wide converter and VCL-ECF1 fisheye and to provide protection from flare. Other a live take. The AF system employs a
converter accessories. features include an 8-bladed aperture to stepping motor, which is optimised for both
make the most of the bokeh created from phase and contrast detection. Despite
Focal length 16mm that fast T/1.5 maximum aperture and a these pro features, the 85mm isn’t a lump
Lens construction (Elements/Groups) 5/5 72mm filter thread. and weighs in at 630g while offering a
familiar filter thread of 77mm, which allows
Max aperture f/2.8 Focal length 85mm users to add ND filters to further control
Minimum aperture f/22 Lens construction (Elements/Groups) 9/7 exposure levels. Boasting dust and splash
resistance, the 85mm f/1.4 Art also
Closest focusing distance 24cm Max aperture T/1.5 features an oil-repellent coating and the
Minimum aperture T/22 build features a mix of aluminium and TSC
(Thermally Stable Composite) to keep the
Closest focusing distance 110cm construction strong yet light.
Focal length 85mm
Lens construction (Elements/Groups) 15/11
Max aperture f/1.4
Minimum aperture f/16
Closest focusing distance 85cm
Testbench
Choosing an unusual lens

such as a fisheye can add
impact to familiar scenes
Optical
Olympus OM-D E-M5 Mark II,
Samyang 7.5mm f/3.5 UMC Fisheye MFT,
1/800sec at f/5.6, ISO 200
exotica
Looking for a lens that will deliver images that
are out of the ordinary? Andy Westlake is your
Fisheyes
With their vast angle of view and extreme
curvature of lines that conventional lenses
would draw as straight, fisheye lenses are
not for the faint-heated. But this is exactly
the kind of challenge that might get your
creative juices flowing and inspire you to
look at the world in different ways.
If you’d like to experiment with this look,
Samyang offers a broad range of affordable
fisheyes for all types of camera, ranging
guide to some of the most unusual and from a 7.5mm f/3.5 for Micro Four Thirds
L
for £249, to a full-frame 12mm f/2.8 for
interesting lenses on the market £399. Micro Four Thirds users can also
experiment with the Olympus 9mm f/8 Body
ook in most photographers’ kit popular options. Then for close-ups there’s Cap Lens (£89), while Pentax DSLR users
bags, and chances are you’ll find a the macro lens, most likely in the 90mm to can play with the 10-17mm f/3.5-4.5 zoom
similar set of lenses. The majority 105mm range. Together, such a lens set (£449). At the other end of the scale, Canon
will likely spend much of their time should cover most types of photography. and Nikon both offer full-frame 8-15mm
shooting with a standard zoom: either the kit However if you want to try something fisheye zooms for around £1,250.
lens that came with their camera, or for more different and make your photos stand out
advanced users, a higher-end optic along the from the crowd, it might be time to seek out
lines of a 24-70mm f/2.8 or a 24-105mm something more exotic. In this article I’ll look
f/4 (or their equivalents). Eventually, at some of the most unusual and interesting
photographers will probably add telephoto lenses on the market and explain what they
and wideangle zooms alongside, for getting can be used for. And while you might think
closer in to subjects or taking a broader view that such optics will inevitably be ruinously
of the world. Next come fast primes for expensive, that’s not necessarily true. What’s
shooting in low light or for shallow depth of more, even the pricier ones can be hired for a
field, with 50mm and 85mm being the most one-off occasion without breaking the bank.
Ultra-large-aperture lenses
can deliver strikingly shallow
slices of sharp focus
Ultra-fast lenses Fujifilm X-T4, Fujifilm XF 50mm F1.0 R WR,
1/950sec at f/1, ISO 160
Want shallow depth of field and a lovely blurred It’s not so long ago that anything faster than f/1.4 was considered
background? Try an ultra-large-aperture lens extremely rare and expensive (not to mention barely possible to
focus), but that’s all changed with the emergence of mirrorless
ONE OF the biggest differentiators between smartphone photos and cameras. One of the big advantages of these systems lies with lens
those taken with ‘proper’ cameras lies with the ability to focus design; freed from the constraints of leaving space for a mirror box,
selectively on your subject and blur away the background using a designers have more freedom to optimise the optics. This allows
large-aperture lens. In a bid to imitate this, ‘fake bokeh’ modes are ultra-fast lenses to be designed much more readily, while accurate
now commonplace on smartphones, but even the best are focusing is also much easier as it directly employs the image sensor.
unconvincing and don’t provide such attractive results. If you want to As a result, you’ll find plenty of large-aperture manual-focus lenses
take this look to an extreme, you’ll need the largest-aperture lens you from emerging Chinese makers for surprisingly low prices. But in
can get your hands on, and it also makes most sense to work with a general, you get what you pay for, with more expensive optics from
full-frame system. longer-established names likely to yield technically better results.
Sony FE 50mm F1.2 GM Voigtländer Super-Nokton Fujifilm XF 50mm F1.0 R WR

● £2,100 ● www.sony.co.uk 29mm f/0.8 ASPH MFT ● £1,499 ● www.fujifilm.com/uk/en
This isn’t the world’s fastest lens for ● £1,599 ● www.voigtlaender.de The world’s largest-aperture autofocus lens
full-frame mirrorless; that’s the Nikon Nikkor Not content with making a series of f/0.95 has engendered plenty of debate among
Z 58mm f/0.95 S Noct. But weighing in at manual focus primes for Micro Four Thirds Fujifilm fans, in part because it commands
fully 2kg and costing £8,300 for a manual- cameras, Voigtländer has gone a step a huge premium over the firm’s much-loved
focus design, it has limited real-world further with this remarkable optic. Offering a 56mm f/1.2 that’s a particularly fine
appeal. Instead, the most practical field of view equivalent to 58mm on full portrait lens in its own right. It’s also been
ultra-large-aperture full-frame lenses are frame, the 29mm f/0.8 is the world’s optimised to deliver attractive background
f/1.2, with Canon, Nikon and Sony all largest-aperture production lens. This blur ahead of outright wide-open sharpness,
making autofocus 50mm designs, and comes at a price, though, with the half-stop which has divided opinion amongst
Canon adding a pair of 85mm portrait increase in brightness over the firm’s 25mm commentators. However, despite its f/1
lenses. The Sony 50mm f/1.2 manages to f/0.95 commanding more than double the aperture, it offers perfectly practical
be the smallest, price. This manual autofocus that, while not the
lightest and least focus lens employs quickest, is fine if you’re
expensive, while still a mechanical ring to not shooting
being optically set its 12-bladed fast-moving action.
fabulous. It delivers a aperture, while its The optics really
giddying combination 11-element, 7-group make portrait images
of impressive design employs two sing, with a dreamy
sharpness and lovely aspherical elements softness to
bokeh, backed up by to suppress the defocused
rapid, reliable, and aberrations typical of backgrounds at
silent autofocus. such lenses. maximum aperture.
Testbench Ultra macro lenses let you get in
close and capture tiny details
Fujifilm X-T3, Laowa 65mm f/2.8 2x Ultra Macro,
1/5sec at f/11, ISO 160
Ultra macros
Most macro lenses provide life-size magnification, Venus Optics has blazed a trail in this sector, with an array of
but a range of specialist optics get in even closer specialist optics in its Laowa lineup.
At this point it’s worth considering how the magnification provided
THERE’S something addictive about close-up photography. It allows by the lens interacts with sensor size and resolution. A 1:1 macro will
you to see the world in a whole new way, revealing tiny details that are fill the frame with a subject measuring 36x24mm on full frame,
usually invisible to the human eye. But this inevitably requires 24x16mm on APS-C, and 17x13mm on Micro Four Thirds, so the
specialist optics. Typically, most camera and third-party lens smaller the sensor, the higher the equivalent magnification becomes.
manufacturers produce specialist macro lenses that are designed to But when it comes to the tiniest detail that can be captured, the
deliver life-size magnification; in other words, the image is projected resolution of the sensor also needs to be considered. When we look
onto the sensor at the same size as the subject is in real life. But for at the highest-resolution cameras on the market, Canon’s 32.5MP
the most striking close-up images, some lenses are available that let APS-C EOS 90D and EOS M6 Mark II slightly surpass 20MP Four
you focus in even closer. Over the past few years, Chinese maker Thirds models, with both beating 61MP full-frame ones in this regard.
Canon MP-E 65mm f/2.5 Laowa 24mm f/14 Macro Laowa 100mm f/2.8 2x
1-5x Macro Photo Probe Lens Ultra Macro APO
● £1,069 ● www.canon.co.uk ● £1,599 ● www.venuslens.net ● £469● www.venuslens.net
One of the most unusual lenses of all, this Available in Canon EF, Nikon F, Sony FE, and Venus Optics also produces a whole family
full-frame manual-focus optic is designed Pentax K mounts, this bizarre-looking optic of Ultra Macro lenses that offer 2x
exclusively for macro shooting at extremely has gained a cult following for its unique magnification while still focusing to infinity.
high magnifications. It’s not even capable of capabilities. It focuses from infinity all the The 100mm f/2.8 is for full-frame cameras
focusing to infinity; instead it takes over way to 2:1 magnification, with an unusual and available in a wide range of mounts for
where other macros leave off, offering 1x wideangle perspective and extensive depth both DSLR and mirrorless, while the 65mm
magnification at a working distance of of field. The long, slim barrel provides f/2.8 is about half the weight and available
around 10cm. Turning the large ring around access to awkward locations that wouldn’t in Nikon Z, Sony E and
the barrel extends the lens dramatically, ba accessible using a normal macro lens, Fujifilm X mounts for
focusing closer and increasing the while a USB-powered LED ring light APS-C mirrorless
magnification, with a maximum of 5x on surrounds the front element to provide cameras. Finally,
offer at a 4cm working distance. At such additional illumination. The front section of there’s a 50mm f/2.8
levels the slightest the lens can even be safely immersed in Ultra Macro for Micro
camera water for shooting aquatic wildlife. There’s Four Thirds that’s
movement will nothing else on the market remotely like it. smaller and lighter
blur the image, still. All three use a
so the lens is similar optical design,
equipped with a and I was extremely
collar for fixing impressed by the
it to a tripod. 65mm when I reviewed
it in Fujifilm X mount.
© RICHARD BARTZ
Using a 100-400mm on
Micro Four Thirds, I was
able to capture this as a
quick handheld grab shot
Olympus OM-D E-M1 Mark III, Panasonic
Ultra telephotos Leica DG 100-400mm f/4-6.3 ASPH OIS,
1/160sec at f/6.3, IS0 200
If you’re trying to photograph something off

in the distance, there’s little alternative but breaking either the bank or your back, there’s a lot to be said for
to use a long focal length ignoring the current obsession with full frame, and adopting a camera
with a smaller sensor. If you’re focal-length limited and can’t get any
WHILE macro lenses allow you to photograph subjects that are very closer to your subject, so are going to be cropping your files, then
small and close, long telephotos are required for those that are far having a sensor with smaller pixels should deliver more detail.
away. For example, serious bird or aviation photographers routinely However, this does come with caveats. Lightweight long telephotos
use large, expensive telephoto primes. It’s not our intention to cover will inevitably have small apertures, which means that you will often
lenses with five-figure price tags here, though, so instead we’ve picked need to shoot at high ISOs, and this inevitably limits image quality.
out some more affordable and practical alternatives. Atmospheric distortions can also cause significant degradation with
If you want to be able to shoot with long telephoto reach but without telephoto shots, sometimes across surprisingly short distances.
Canon RF 800mm F11 IS STM Sigma 60600mm f/4.56.3 Panasonic Leica DG 100-
● £999 ● www.canon.co.uk DG OS HSM 400mm f/46.3 ASPH OIS
Designed for Canon’s full-frame EOS ● £1,699 ● www.sigma-imaging-uk.com ● £1,199 ● www.panasonic.com/uk
R-series mirrorless cameras, this For DSLR users, this is arguably the most At first sight, this lens looks like any other
remarkable lens employs an array of versatile ultra-telephoto zoom available. It’s 100-400mm zoom. But because it’s made
technologies to keep its size and price a development of the firm’s 150-600mm for Micro Four Thirds, it gives a 200-800mm
down. It has a fixed f/11 aperture, exploits f/5-6.3 DG DN OS design, which itself equivalent range, while being smaller and
diffractive optics to shorten its physical comes in two different versions. This lens, lighter than any of its peers. It also boasts
length, boasts optical stabilisation to help though, widens the short end to 60mm, premium glass and extremely effective
keep images sharp and employs a retracting giving a 10x zoom ratio. This might seem optical image stabilisation. The result is an
barrel design for additional portability. As a counter-intuitive, but it expands the ability to ultra-telephoto zoom that’s easy to carry
result, it measures just 35.2cm in length keep shooting as a distant subject gets around and can readily be used handheld.
when collapsed and weighs 1.26kg, which closer, in effect negating the need to carry Indeed MFT users are well-served in this
makes it a tempting option for enthusiast an additional 70-200mm zoom. This is department; Olympus also makes a similar,
wildlife photographers. The main catch is its useful when the action can occur across a although bulkier lens, while for serious
6m minimum focus distance. The firm also broad range of distances, such as airshows wildlife photographers it offers the
makes the even smaller RF 600mm F11 IS and field sports. incredible
STM (£769) with a similar design. 150-400mm
F4.5 TC 1.25x
IS Pro, which
delivers a
1000mm
equivalent range
but costs £6,500.
Testbench
Shift lenses let you keep

verticals straight without
sacrificing image resolution
Tilt-Shift lenses Sony Alpha 7 II, Samyang T-S 24mm f/3.5
ED AS UMC, 1/10sec at f/11, IS0 1600
Get your architectural shots right in-camera using Such lenses allow the optical unit to be moved relative to the
these specialist technical lenses camera in two different ways. Lateral shift movements enable the
correction of converging verticals, while angular tilt movements can be
ANYBODY who’s photographed buildings using a wideangle lens will used to manipulate depth of field. All the tilt-and-shift lenses on the
be familiar with the converging verticals effect, which makes them market are designed for use on full-frame DSLRs, with Canon offering
look like they’re falling over backwards. While this so-called keystone 17mm, 24mm, 50mm, 90mm and 135mm focal lengths, while
distortion is straightforward to correct in software such as Photoshop, Nikon’s range covers 19mm, 24mm, 45mm and 85mm. The wider
this comes at the cost of a severe drop in image resolution. As a options are ideal for architecture, while the longer ones tend to be
result, there’s still an argument for doing things the old-fashioned way, used more for close-up and product photography. For photographers
using a perspective control lens. on a tighter budget, some interesting third-party optics are available.
Samyang TS 24mm Laowa 15mm f/4.5

F3.5 ED AS UMC
● £689 ● www.samyanglens.com
Zero-D Shiﬅ
● £1,249 ●www.venuslens.net Tilt lens
For photographers looking to exploit both tilt
and shift movements for architectural
photography, this is pretty much the only
The world’s widest-angle perspective control
lens provides +/-11mm shift via a unique
dial mechanism that allows smooth, precise
adapters
third-party option available. Designed adjustment. However it lacks a tilt facility, If you use a mirrorless camera and would
principally for use on full-frame DSLRs, it which enables a smaller and lighter design. like to experiment with lens tilt for
has been made in a wide range of mounts. The direction of shift can be rotated freely manipulating depth of field, mount adapters
Its control arrangement and operational relative to the camera, allowing the can be bought for the purpose for as little
principles are very similar to Canon’s TS-E correction of either converging verticals or as £30 from Amazon and eBay. They work
24mm f/3.5 L II, but it’s less than half the horizontals, or a mixture of both. Focusing best with vintage lenses for 35mm film
price. Not surprisingly, this means it doesn’t and aperture operation are both manual, SLRs that have mechanical focus and
provide the same optical quality or controlled by traditional rings around the lens aperture control, and provide a highly
smoothness of barrel. The Zero-D controllable means of either increasing
operation, but used designation indicates depth-of-field for close-ups, or producing
carefully it’ll deliver extremely low barrel ‘fake miniature’ effects. More complex (and
decent results. It distortion, which is expensive) versions include both tilt and
provides +/-12mm shift highly desirable from shift movements, but are harder to find.
and +/- 8° tilt, with this kind of lens. It’s
both movements being an impressive tool for
independently rotatable serious architectural
relative to the photographers,
camera. Both especially those
focusing and aperture who regularly shoot
operation are manual. interiors.
42 tographer.co.uk
Lensbaby’s creative optics
allow you to blur away your
subject’s surroundings that
would normally be in focus
Sony Alpha 7 III, Lensbaby Edge 80,
1/680sec at f/2.8, ISO 100
Creative lenses
If you’re prepared to embrace optical against this trend, including Lensbaby, Lomography and Meyer Optik
Görlitz. Their quirky, technically imperfect lenses aren’t every
imperfection as a creative tool, these lenses photographer’s cup of tea, but in the hands of the right user, they can
might inspire you to take a new direction give great results.
All three firms produce a range of lenses, with Lensbaby and
THE STORY of digital photography, in terms of hardware, has been Lomography’s offerings in particular being imaginative and varied.
generally one of ever-increasing technical quality. The search for A common thread that they all embrace is the idea of using blur for
imaging perfection has seen sensor resolutions increase, while noise creative effect. However, they do so in a number of different ways.
has simultaneously been driven to a minimum. Similarly lenses have Some render eye-catching bokeh across the entire frame, while others
grown ever sharper, especially at large apertures and towards the give a swirly look to the background around a sharp central subject.
edges of the frame, although this means they’ve become larger and You can read more about Lensbaby users and see their work in our
more expensive too. But a few companies have fought stubbornly feature on pages 26-29.
Lensbaby Composer Pro II Lomography Petzval 55 mm Meyer Optik Görlitz Trioplan

with Edge 80 f/1.7 MKII 100 f2.8 II
● £409 ● www.lensbaby.com ● £349 ● shop.lomography.com ● Approx. £880 inc postage and VAT
In general, Lensbaby’s optics are all about Lomography specialises in re-imagining ● www.meyer-optik-goerlitz.com/en
creatively exploiting selective focus effects vintage lenses for modern cameras. Its Meyer Optik Görlitz is a reincarnation of a
and surrounding the subject with blur. The Petzval 55 mm f/1.7 MKII is based on a famous old name, and its tag-line is ‘Unique
firm has moved on dramatically since its 19th-century optical design, with a relatively lenses with character’. Its lenses are based
earliest, distinctly lo-fi efforts, and now small region of central sharpness and on vintage optical formulae, but the latest
produces several types of lens with different characteristic ‘swirly bokeh’. However it’s versions boast improved, up-to-date
characteristics. Its Composer Pro II housing specially designed for the latest full-frame mechanical designs. The Trioplan 100mm
can accept an array of swappable optics, mirrorless cameras, being available in Sony f/2.8 typifies the line, with its triplet optical
with its tilting design allowing the user to E, Canon RF and Nikon Z mounts. This design delivering distinctive ‘soap bubble’
move a ‘sweet spot’ of focus over the manual-focus optic employs an unusual bokeh in out-of-focus backgrounds. It’s
subject. The Edge 80 optic is a dual aperture system; along with a stepless available in a wide range
short telephoto that’s 8-bladed diaphragm, it also takes drop-in of mounts, not only for
fairly conventionally Waterhouse stops DSLR and mirrorless
corrected, which allowing creatively cameras, but also Leica
means that when shaped out-of-focus M (although without
tilted, it produces an highlights. In addition, rangefinder coupling,
edge-to-edge slice of a Bokeh Control Ring meaning it has to be
sharp focus. It’s provides further used in live view). Just
particularly well control over the way be aware that 20% VAT
suited to portrait and backgrounds are is payable on imports
close-up photography. rendered. from the EU.
My favourite kit
AmyDavies
AP staff member Amy Davies reveals why the
Nikon Z 20mm f/1.8 S has become a firm favourite
AP: Tell us a little about your this year to have a long-term loan of
photography background the Nikon Z 7II. I also have the
AD: I’ve been the Features Editor at 24-70mm f/4 lens, along with a
Amateur Photographer for the past 70-200mm f/2.8, 35mm f/1.8, 50mm
three years. Previously I’ve worked f/1.8 and the one I am perhaps most
for other photography and keen on, the 20mm f/1.8. Similarly,
technology magazines and websites. I also have a long-term loan of the
I’ve been interested in photography Panasonic LX100 II, a fantastic little
since I got my first camera aged 15, compact that I take with me when
Amy Davies has been but I studied journalism at I don’t want to carry too much.
taking photographs for university. To this day, I continue to
almost 20 years and be amazed that I’m able to combine AP: If you had to pick a
lives in Cardiff. See my hobby with my career to make a favourite item in your kitbag
more of her work at living. This year I have also started a what would it be?
www.walksof2021. new project and blog called Walks of AD: If pushed to choose just one lens
com, or on Instagram @ 2021. It’s pretty self-explanatory, but it would reluctantly have to be the
amydavies started as a way to document the 24-70mm. I use this most often
many, many lockdown walks I was thanks to its flexibility. However, in
carrying out. In Wales, we were terms of the one I enjoy using the
restricted to walks which started and most, it’s the 20mm f/1.8, which I’ve
ended from your front door in the found to be surprisingly versatile for
early part of 2021, so I wanted to the subjects I shoot.
challenge myself. As lockdown
restrictions eased, I’ve carried onAP: What is it about the lens
with the project. Now my walks takeyou’re so fond of and why?
place in various locations in England
AD: I’ve been using this lens as part
and Wales, and I’ve thoroughly of the long-term loan of the Z 7II,
enjoyed exploring various new and prior to that I used it with the as you might get with 14mm and
destinations in the UK. Z 7. I was keen to try it as I’m a big beyond. I was also keen on the lens
fan of landscape photography and because of the f/1.8 aperture. I
AP: What does your standard very wide-angles in particular. There started using the lens in the winter
set-up/kit consist of? are occasions when 24mm isn’t quite and would often be photographing
AD: Being in the privileged position wide enough, and having that little in the dark. Being able to open up
that I am, my kit varies, often bit of extra width really comes in the lens nice and wide meant I was
depending on what I’m working on. handy. It’s not so wide though as to able to photograph scenes without
That said, I’ve been lucky enough create unnatural-looking shots, such ramping up the ISO too much.
This shot of Clifton Suspension
Bridge was one of Amy’s first
photos after the easing of
lockdown restrictions in Wales
AP: Can you elaborate about Distortion is kept to a minimum too. other places I was keen to visit this
how you find the lens performs Occasionally I do apply distortion year. I also love all the pictures of my
in use? Below from left: correction in ACR, but mostly find dog, because, well, she’s my dog.
AD: Just like other Nikon Z lenses in Long-term loan that it produces very natural results.
the system, the 20mm f/1.8 lens Nikon Z7 II and Primarily I use it for landscape AP: If it could be improved in
performs incredibly well. It focuses Z 20mm f/1.8 S, scenes, but I’ve also found it works any way, how would this be?
quickly and quietly, and produces the Principality well for environmental portrait shots AD: It would perhaps be good to
Stadium in Cardiff,
extremely sharp results, with very and Amy’s beloved – particularly of my dog. The wide include hard stops at either end of
few problems such as flare. dachshund, Lola aperture helps to create a shallow the focusing ring to help you to
depth of field effect while also giving know when you’ve reached the
an idea of where you are – crucial closest focusing distance when
when I’m trying to show off a manually focusing. The barrel size is
location on my blog. a little bit awkward and larger than
other prime lenses I’m used to.
AP: Is there a memorable
photograph you’ve taken using AP: Tell us how you think your
the Nikon Z 20mm f/1.8 S? set-up/kitbag might look ten
AD: I really like the one of the years from now?
Clifton Suspension Bridge, because it AD: I think it’s safe to say that DSLRs
was taken on the first day we’d been in 2031 will be probably be a distant
permitted to travel outside of Wales memory – I haven’t used one
for several months. This location is regularly myself for some time now.
only a 45-minute drive from my I’d be quite keen for camera kit to be
house, but the regulations had been smaller and lighter so that I can
so severe that it was out of bounds carry more of it for longer, so
for what felt like the longest time. It hopefully we will continue to see
got me thinking about all of the improvements in this area.
In association with MPB
Amateur Photographer
£11,000
of the Year Competition
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of MPB prizes to be won

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Testbench ACCESSORIES
Thingyfy Pinhole Pro
Andy Westlake tries out a unique
optic with pinholes of multiple sizes Zoom
The effective focal
Aperture ring
This allows click-stopped
● Approx £85 including shipping ● thingyfy.com length can be increased selection between eight
by the simple expedient different pinholes ranging
IN AN issue that’s all about lenses, here we’re of adding extension from 0.8mm to 0.1mm in
looking at an optical device that isn’t a lens at all. tubes. diameter.
Pinholes can project an image onto a sensor or film
without using any glass, simply because light
travels in straight lines. The effective focal length is
defined by the distance between the pinhole and
the sensor, while the image resolution is
determined by their relative sizes. However, it’s
impossible to get truly sharp results because tiny
holes become subject to diffraction blurring, while
letting in too little light to be practically usable. As a
result, pinhole photography tends to be
impressionist in nature.
It’s possible to make a simple pinhole lens by
punching a hole in a thin sheet of metal, and then
fixing it to a body cap that’s had a larger hole drilled
in its centre. Theoretically, though, you’ll get the
best results from a precision-machined, perfectly
circular hole. With its Pinhole Pro, Thingyfy has gone
a step further by providing a choice of eight pinhole
diameters, selected using a ring around the barrel.
To a first approximation, there are one-stop steps
between each, aside from the trio of 0.3mm,
0.25mm and 0.2mm where the difference is more
like half a stop. The largest 0.8mm pinhole gives
Mount
Thingyfy offers the
decidedly broad-brush images, and you’ll generally
get the sharpest results at 0.2mm, if that’s what
Filter thread
The device sports a 58mm
Pinhole Pro in Canon,
Nikon, Pentax and Sony A
you want. With pinhole photography, though, the thread for attaching filters DSLR mounts, and Micro
sharpest images aren’t always the most pleasing. Recommended such as a polariser. Four Thirds, Fujifilm X, and
On a DSLR, the device provides a focal length of Sony E mirrorless
50mm, while the mirrorless version is 26mm. mounts.
Unfortunately it vignettes on Sony full-frame
mirrorless cameras due to its mechanical design,
but this can be fixed by inserting a cheap 10mm
extension tube, which results in about the same
angle of view as on APS-C. With a DSLR you’ll need
to engage live view, and if you prefer to shoot at low
ISOs, exposure times will be measured in seconds,
necessitating the use of a tripod. If on the other
hand you have a camera with good high-ISO
capabilities and in-body stabilisation, you can often
shoot handheld in daylight.
Verdict I shot this summer landscape handheld
Thanks to its aluminium construction, the Thingyfy using the Pinhole Pro on the Sony A7 II
Pinhole Pro is a beautifully made device that’s a THE PINHOLE PRO RANGE
pleasure to use. Offering a choice of pinholes may At a glance
S E C I RP T E E R TS E T A M I X O R P PA E R A S E C I R P L L A
appear gimmicky but provides interesting scope for Thingyfy also offers a fixed-aperture, wideangle Pinhole Pro S
experimentation, not just by finding out which size ● Multi-aperture pinhole lens that offers a 37mm focal length on DSLRs, and 11mm on
best suits any particular scene, but also by ● Available in most major mounts mirrorless, for about £60. In addition, it makes the unique zoom
creatively layering shots taken with different ● 50mm focal length on DSLRs Pinhole Pro X (approx. £102), with the DSLR version providing a
pinholes. It won’t be for everyone, but if you’d like ● 26mm focal length on 40-60mm range and the mirrorless version, 18-36mm. They can
to try taking your photography in a different mirrorless be bought either from its website or via photospecialist.co.uk.
direction it’s certainly worth a try.
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Binocular Camera
John Wade discovers an antique
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LAUNCHED: 1892 released by a tiny button on top.
PRICE AT LAUNCH: £5 5s (£5.25) Now comes the tricky bit:
changing the plate for the next
GUIDE PRICE NOW: £150-200 exposure. First the camera is
turned on its back with the
IT’S ALWAYS good to find a lenses pointing upwards, then a
classic camera that can still be rod on the side of the body is
used today. But just sometimes, pulled. The action leaves the
Summer
it’s interesting to find one that is
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fascinating. This is one such. It
just-exposed plate in position
behind the lens, while the other
11 are pulled sideways into the
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looks like a stereo camera, but it those plates come to rest, the an issue
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In fact, the lens on the right, as
then pressed back into the body,
moving the rest of the plates into 2 EASY
you face the camera, takes the
pictures; the one on the left is
position again behind the lens.
The exposed plate is now at the WAYS TO
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subject is viewed via an eye-level
bottom of the stack and a fresh
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Buyin
Guide
Our comprehensive listing of key specifications for DS
Lens mounts
299
lenses
listed &
rated
DSLR Lenses Each manufacturer has its own

lens mount and most aren’t
compatible with one another. For
Interchangeable lenses come in example, a Canon DSLR can’t use
a huge array of types for shooting Nikon lenses, although you can
use independent brands if you get
different kinds of subjects them with the right mount.
IN GENERAL, the easiest way to
expand the kinds of pictures
you can take is by buying Built-in focus motor
Most lenses now incorporate an internal
different types of lenses. For
example, telephoto lenses motor to drive the autofocus, although
let you zoom in on distant some are still driven from the camera
subjects, while macro body. DSLR lenses often use ultrasonic-
lenses enable close-ups type motors for fast focusing, but some
of small objects. now have video-friendly stepper motors
Large-aperture lenses as widely used in mirrorless systems.
allow you to isolate
subjects against blurred
backgrounds, or shoot in
low light without having to Filter thread Maximum
raise the ISO too high.
Meanwhile, all-in-one
A thread at the front of
the camera will have
aperture
Wider apertures mean
superzooms cover a wide range a diameter, in mm, which you can use faster,
of subjects, but usually with will allow you to attach motion-stopping
rather lower optical quality. a variety of filters or shutter speeds.
adapters to the lens.
OUR GUIDE TO THE SUFFIXES USED BY LENS MANUFACTURERS
AF Nikon AF lenses driven from camera DC Sigma’s lenses for APS-C digital ED Extra-low Dispersion elements LM Fujifilm Linear Motor SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DG Sigma’s designation for full-frame lenses EF Canon’s lenses for full-frame DSLRs MP-E Canon’s high-magnification macro lens SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors Di Tamron lenses for full-frame sensors EF-S Canon’s lenses for APS-C DSLRs OIS Optical Image Stabilisation STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di-II Tamron lenses designed for APS-C DSLRs EF-M Canon’s lenses for APS-C mirrorless OS Sigma’s Optically Stabilised lenses STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-III Tamron lenses for mirrorless cameras EX Sigma’s ‘Excellent’range PC-E Nikon tilt-and-shift lenses TS-E Canon Tilt-and-Shift lens
APO Sigma Apochromatic lenses DN Sigma’s lenses for mirrorless cameras FA Pentax full-frame lenses PF Nikon Phase Fresnel optics UMC Ultra Multi Coated
ASPH Aspherical elements DO Canon diffractive optical element lenses FE Sony lenses for full-frame mirrorless PZD Tamron Piezo Drive focus motor USM Canon lenses with an Ultrasonic Motor
AW Pentax all-weather lenses DT Sony lenses for APS-C-sized sensors G Nikon lenses without an aperture ring RF Canon full-frame mirrorless lenses USD Tamron Ultrasonic Drive motor
CS Samyang lenses for APS-C cropped sensors DX Nikon’s lenses for DX-format digital HSM Sigma’s Hypersonic Motor S Nikon’s premium lenses for mirrorless VC Tamron’s Vibration Compensation
D Nikon lenses that communicate distance info DS Canon’s Defocus Smoothing technology IS Canon’s Image-Stabilised lenses SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
DA Pentax lenses optimised for APS-C-sized sensors E Nikon lenses with electronic apertures L Canon’s ‘Luxury’ range of high-end lenses SDM Pentax’s Sonic Direct Drive Motor WR Weather Resistant
DC Nikon defocus-control portrait lenses E Sony lenses for APS-C mirrorless LD Low-Dispersion glass SMC Pentax Super Multi Coating Z Nikon’s lenses for mirrorless cameras
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DSLR Lenses
) M M( D A E R H T R E T L I F
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EGAMI
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
CANON DSLR
EF 8-15mm f/4 L USM £1499 Impressive-looking fisheye zoom lens from Canon • • 15 n/a 78.5 83 540
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ A superb ultra-wideangle that’s a must-have for anyone shooting landscapes and cityscapes • • 22 67 74.6 72 240
EF-S 10-22mm f/3.5-4.5 USM £990 4★ A good performer, with solid MTF curves and minimal chromatic aberration • 24 77 83.5 89.8 385
EF 11-24mm f/4 L USM £2799 5★ Long-awaited by Canon full-frame users, this is the world’s widest-angle rectilinear zoom lens • • 28 n/a 108 132 1180
EF 14mm f/2.8 L II USM £2810 4.5★ Impressive resolution at f/8 but less so wide open • • 20 n/a 80 94 645
EF 16-35mm f/2.8 L III USM £2150 Revamped wideangle zoom includes new optics in a weather-sealed lens barrel • • 28 82 89.5 127.5 790
EF 16-35mm f/4 L IS USM £1199 4★ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full-frame cameras • • • 28 77 82.6 112.8 615
TS-E 17mm f/4 L £2920 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 25 77 88.9 106.9 820
EF 17-40mm f/4 L USM £940 4★ Designed to match the needs of demanding professionals – and does so with ease • • 28 77 83.5 96.8 500
EF-S 17-55mm f/2.8 IS USM £795 4★ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture • • 35 77 83.5 110.6 645
EF-S 18-55mm f/4-5.6 IS STM £220 Latest standard zoom for Canon’s APS-C EOS DSLRs, with compact design and updated optics • • 25 58 66.5 61.8 215
EF-S 18-135mm f/3.5-5.6 IS STM £478 Uses stepper motor for silent and fast autofocus that’s also well suited to video work • • 39 67 76.6 96 480
EF-S 18-135mm f/3.5-5.6 IS USM £500 Versatile zoom with new Nano USM focus technology and optional power zoom adapter • • 39 67 77.4 96 515
EF-S 18-200mm f/3.5-5.6 IS £740 4★ Automatic panning detection (for image stabilisation) and a useful 11x zoom range • • 45 72 78.6 102 595
EF 24mm f/1.4 L II USM £2010 Subwavelength structure coating, together with UD and aspherical elements • • 25 77 83.5 86.9 650
EF 24mm f/2.8 IS USM £750 4★ Small wideangle optic with image stabilisation • • • 20 58 68.4 55.7 280
EF-S 24mm f/2.8 STM £165 4★ Bargain price, tiny carry-everywhere size and a highly competent imaging performance • 16 52 68.2 22.8 125
TS-E 24mm f/3.5 L II £2550 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 21 82 88.5 106.9 780
EF 24-70mm f/2.8 L II USM £2300 5★ Professional-quality standard zoom lens with a fast aperture • • 38 82 88.5 113 805
EF 24-70mm f/4 L IS USM £1499 L-series zoom said to be compact, portable and aimed at both professionals and amateurs • • • 38 77 83.4 93 600
EF 24-105mm f/4 L IS II USM £1129 4★ Reworked workhorse zoom for full-frame cameras uses an all-new optical design • • • 45 77 83.5 118 795
EF 24-105mm f/3.5-5.6 IS STM £479 3.5★ A versatile standard zoom lens that’s an ideal route into full-frame photography • • • 40 77 83.4 104 525
EF 28mm f/2.8 IS USM £730 3.5★ Lightweight and inexpensive lens, with a single aspherical element • • • 30 52 67.4 42.5 185
EF 28-300mm f/3.5-5.6 L IS USM £3290 L-series optic with expansive range, image stabilisation and a circular aperture • • • 70 77 92 184 1670
EF-S 35mm f/2.8 Macro IS STM £399 Features an innovative built-in dual-LED light for close-up shooting • • 13 49 69.2 55.8 190
EF 35mm f/2 IS USM £799 First 35mm prime from Canon to feature an optical stabilisation system • • • 24 67 62.6 77.9 335
EF 35mm f/1.4 L II USM £1799 5★ An outstanding addition to the L-series line-up • • 28 72 80.4 104.4 760
EF 40mm f/2.8 STM £230 A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting • 30 52 68.2 22.8 130
TS-E 45mm f/2.8 £1200 Tilt-and-shift lens designed for studio product photography • • 40 72 81 90.1 645
EF 50mm f/1.2 L USM £1910 Very wide maximum aperture and Super Spectra coatings, and a circular aperture • • 45 72 85.8 65.5 580
EF 50mm f/1.4 USM £450 5★ Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy, though • • 45 58 73.8 50.5 290
EF 50mm f/1.8 STM £130 5★ Lightest EF lens in the range, with wide maximum aperture and a Micro Motor • • 35 49 69.2 39.3 130
TS-E 50mm f/2.8L Macro £2500 One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 45mm f/2.8 • • 27 77 86.9 114.9 945
EF-S 55-250mm f/4-5.6 IS STM £265 A compact telephoto lens featuring smooth, quiet STM focusing when shooting movies • • 110 58 70 111.2 375
EF-S 60mm f/2.8 Macro USM £540 4★ Great build and optical quality, with fast, accurate and near-silent focusing • 20 52 73 69.8 335
MP-E 65mm f/2.8 1-5x Macro £1250 Macro lens designed to achieve a magnification greater than 1x without accessories • • 24 58 81 98 710
EF 70-200mm f/2.8 L USM £1540 Non-stabilised L-series optic, with rear focusing and four UD elements • • 150 77 84.6 193.6 1310
EF 70-200mm f/2.8 L IS III USM £2150 Updates Canon’s excellent pro workhorse zoom with water-repellent fluorine coatings • • • 120 77 88.8 199 1480
EF 70-200mm f/4 L USM £790 A cheaper L-series alternative to the f/2.8 versions available • • 120 67 76 172 705
EF 70-200mm f/4L IS II USM £1300 Upgraded premium telephoto zoom promises five stops of image stabilisation • • • 100 72 80 176 780
EF 70-300mm f/4.5-5.6 IS II USM £499 4.5★ Mid-range telephoto zoom offers really good optics and fast, silent autofocus • • • 120 67 80 145.5 710
EF 70-300mm f/4-5.6 L IS USM £1600 5★ An L-series lens with a highly durable outer shell • • • 120 67 89 143 1050
EF 75-300mm f/4-5.6 III £300 Essentially the same lens as the 75-300mm f/4-5.6 III USM but with no USM • • 150 58 71 122 480
EF 85mm f/1.2 L II USM £2640 4★ A well-crafted lens, with fast and quiet AF with good vignetting and distortion control • • 95 72 91.5 84.0 1025
EF 85mm f/1.4L IS USM £1570 5★ Sublime, highly desirable portrait lens combines large aperture and optical image stabilisation • • • 85 77 88.6 105.4 950
EF 85mm f/1.8 USM £470 5★ Non-rotating front ring thanks to rear-focusing system, as well as USM • • 85 58 75 71.5 425
TS-E 90mm f/2.8 £1670 Said to be the world’s first 35mm-format telephoto lens with tilt-and-shift movements • • 50 58 73.6 88 565
TS-E 90mm f/2.8L Macro £2500 One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 90mm f/2.8 • • 39 77 86.9 116.5 915
Y R AV YA M S E C I R P T E E R T S , S P R R E R A S E C I R P L L A
EF 100mm f/2.8 Macro USM £650 4★ A solid performer, but weak at f/2.8 (which is potentially good for portraits) • • 31 58 79 119 600
EF 100mm f/2.8 L Macro IS USM £1060 5★ Stunning MTF figures from this pro-grade macro optic • • • 30 67 77.7 123 625
EF 100-400mm f/4.5-5.6 L IS II USM £1999 4.5★ L-series construction and optics, including fluorite and Super UD elements • • • 98 77 94 193 1640
EF 135mm f/2 L USM £1360 L-series construction with two UD elements and wide maximum aperture • • 90 72 82.5 112 750
TS-E 135mm f/4L Macro £2500 One of a trio of tilt-and-shift macro lenses, with 1:2 magnification • • 49 82 88.5 139.1 1110
EF 180mm f/3.5 L Macro USM £1870 L-series macro lens with inner focusing system and USM technology • • 48 72 82.5 186.6 1090
EF 200mm f/2.8 L II USM £960 Two UD elements and a rear-focusing system in this L-series optic • • 150 72 83.2 136.2 765
EF 300mm f/4 L IS USM £1740 Two-stop image stabilisation with separate mode for panning moving subjects • • • 150 77 90 221 1190
EF 400mm f/5.6 L USM £1660 Super UD and UD elements, as well as a detachable tripod mount and built-in hood • • 350 77 90 256.5 1250
LAOWA DSLR
12mm f/2.8 Zero D £899 Ultra-wideangle lens for full-frame DSLRs that exhibits minimal distortion • • • • • 18 77 74.8 82.8 609
NEW 14mm f/4 Zero-D DSLR £499 Relatively compact and lightweight ultra-wideangle manual focus prime that promises low distortion • • • 15 67 72.5 75 320
15mm f/4 1:1 Macro £449 4★ Unusual wideangle lens that offers 1:1 Macro together with vertical shift movements on APS-C cameras • • • • • 12 77 83.8 64.7 410
15mm f/4.5 Zero-D Shift £1249 4★ The world’s widest-angle shift lens offers +/-11mm movement in any direction • • • 20 n/a 79 103 597
24mm F14 2x Macro Probe £1599 Unique specialist macro lens with submersible front barrel and built-in LED lights • • • 47 n/a 38 408 474
25mm f/2.8 Ultra Macro 2.5x - 5x £399 Unusual lens designed solely for ultra-close-up shooting, with magnification from 2.5x to 5x • • • • 17.3 n/a 65 82 400
60mm f/2.8 2X Ultra Macro £319 3.5★ With 2:1 Macro, an all-in-one option for normal portrait photography as well as ultra-macro • • • • • 18.5 62 95 70 503
100mm f/2.8 2:1 Ultra Macro APO £469 Full-frame macro lens with twice-life-size magnification and apochromatic design • • • • 24.7 67 125 72 638
105mm f/2 (T3.2) STF £649 4★ Designed for full-frame DSLRS, and features an apodisation element that renders lovely bokeh • • • • • 90 67 98.9 76 745
We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will
inevitably have crept in along the way: if you spot one, please let us know by emailing [email protected]. Unfortunately we don’t have space
to list every single product on the market, so we don’t include the most expensive speciality items. Before making a purchase we advise you
to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.
BUYING GUIDE
DSLR Lenses
NOI T A S I LIBATS
SDRIHT RUOF
A H P L A YNOS
)MM( H T G N E L
EM A R F LLUF
)G( T H G I E W
XATNEP
NONAC
AMGIS
NOKIN
EGAMI
NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S £1299 Fisheye zoom for full-frame DSLRs that gives a circular view at 8mm and full-frame coverage at 15mm • • 16 n/a 77.5 83 485
10-20mm f/4.5-5.6 G VR AF-P DX £330 3.5★ Inexpensive wide zoom for DX DSLRs has effective image stabilisation but rather average optics • • 22 72 77 73 230
10-24mm f/3.5-4.5 G ED AF-S DX £834 4★ MTF performance is good from wide open to f/11, only breaking down past f/22 • 24 77 82.5 87 460
10.5mm f/2.8 G ED DX Fisheye £678 DX format fisheye lens with Nikon’s Close-Range Correction system and ED glass • 14 n/a 63 62.5 300
12-24mm f/4 G ED AF-S DX £1044 4★ This venerable optic may be a little weak at f/4, but otherwise it’s a good performer • 30 77 82.5 90 485
14mm f/2.8 D ED AF £1554 5★ A really nice lens that handles well and offers excellent image quality • • 20 n/a 87 86.5 670
14-24mm f/2.8 G ED AF-S £1670 5★ A remarkable piece of kit, producing sharp images with little chromatic aberration • • 28 n/a 98 131.5 970
16mm f/2.8 D AF Fisheye £762 Full-frame fisheye lens with Close-Range Correction system and 25cm focus distance • • 25 n/a 63 57 290
16-35mm f/4 G ED AF-S VR £1072 5★ A fantastic lens that deserves to be taken seriously, with very little CA throughout • • • 28 77 82.5 125 685
16-80mm f/2.8-4E ED VR AF-S DX £869 4★ This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs • • 35 72 80 85.5 480
16-85mm f/3.5-5.6 G ED VR AF-S DX £574 4★ Boasting Nikon’s second-generation VR II technology and Super Integrated Coating • • 38 67 72 85 485
17-55mm f/2.8 G ED-IF AF-S DX £1356 4★ A higher-quality standard zoom for DX-format DSLRs • 36 77 85.5 110.5 755
18-35mm f/3.5-4.5 G ED AF-S £669 5★ Wideangle zoom with instant manual-focus override for full-frame DSLRs • • 28 77 83 95 385
18-55mm f/3.5-5.6 G AF-P DX £149 A compact, lightweight DX-format zoom that’s an ideal walk-around lens • 25 55 64.5 62.5 195
18-55mm f/3.5-5.6 G VR AF-P DX £199 A compact, lightweight DX-format zoom lens with Vibration Reduction • • 25 55 64.5 62.5 205
18-140mm f/3.5-5.6 G ED VR AF-S DX £579 A compact and lightweight DX-format zoom, this lens is a great all-rounder • • 45 67 78 97 490
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX £762 4.5★ Four-stop VR II system, two ED and three aspherical elements in this DX superzoom lens • • 50 72 77 96.5 560
18-300mm f/3.5-6.3 G ED VR £849 New DX-format 16.7x zoom with super-telephoto reach – a compact walk-around lens • • 48 67 78.5 99 550
19mm f/4 E ED PC £3300 Super-wideangle tilt-and-shift lens for architecture and landscape photography • • 25 n/a 89 124 885
20mm f/1.8 G ED AF-S £679 A fast FX-format prime lens that’s compact and lightweight • • 20 77 82.5 80.5 335
20mm f/2.8 D AF £584 Compact wideangle lens with Nikon’s Close-Range Correction system • • 25 62 69 42.5 270
24mm f/2.8 D AF £427 Compact wide lens with Close-Range Correction system • • 30 52 64.5 46 270
24mm f/1.4 G ED AF-S £1990 5★ Nothing short of stunning. Aside from its high price, there is very little to dislike about this optic • • 25 77 83 88.5 620
24mm f/1.8 G ED AF-S £629 Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers • 23 72 77.5 83 355
24mm f/3.5 D ED PC-E £1774 Perspective Control lens with Nano Crystal Coating and electronic control over aperture • • 21 77 82.5 108 730
24-70mm f/2.8 G ED AF-S £1565 5★ An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens • • 38 77 83 133 900
24-70mm f/2.8 E ED VR £1849 5★ Nikon’s latest pro-spec standard zoom looks like its best lens yet • • • 38 82 88 154.5 1070
24-85mm f/3.5-4.5 G ED VR £520 5★ FX-format standard zoom with Auto Tripod detection and VR • • 38 72 78 82 465
24-120mm f/4 G ED AF-S VR £1072 5★ Constant maximum aperture of f/4 and the addition of VR makes this a superb lens • • • 45 77 84 103 710
28mm f/1.4 E ED AF-S £2080 Boasts a dust- and drip-resistant build for reliable shooting in challenging weather conditions • • 28 77 83 100.5 645
28mm f/1.8 G ED AF-S £619 5★ If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers • • 25 67 73 80 330
28mm f/2.8 D AF £282 Compact wideangle lens with a minimum focusing distance of 25cm • • 25 52 65 44.5 205
28-300mm f/3.5-5.6 G ED AF-S VR £889 4.5★ Technical testing shows this zoom to be, as Nikon claims, the ‘ideal walkabout lens’ • • • 50 77 83 114 800
35mm f/1.8 G AF-S DX £208 5★ Designed for DX-format DSLRs, a great standard prime lens • 30 52 70 52.5 200
35mm f/1.8 G ED AF-S £479 Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight • • 25 58 72 71.5 305
35mm f/2 D AF £324 3★ At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture • • 25 52 64.5 43.5 205
35mm f/1.4 G ED AF-S £1735 5★ A Nano Crystal-coated lens designed for the FX range • • 30 67 83 89.5 600
40mm f/2.8 G AF-S DX Micro £250 5★ A budget-priced macro lens that delivers the goods on multiple fronts • 20 52 68.5 64.5 235
45mm PC-E f/2.8 D ED Micro £1393 Perspective Control (PC-E) standard lens used in specialised fields such as studio and architecture • • 25 77 82.5 112 740
50mm f/1.4 D AF £292 5★ Entry-level prime puts in a fine performance while offering backwards compatibility with AI cameras • • 45 52 64.5 42.5 230
50mm f/1.4 G AF-S £376 5★ Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 • • • 45 58 73.5 54 280
50mm f/1.8 D AF £135 Compact, lightweight, affordable prime, will stop down to f/22 • • 45 52 63 39 160
50mm f/1.8 G AF-S £200 5★ A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs • • 45 58 72 52.5 185
58mm f/1.4 G AF-S £1599 4★ FX-format full-frame premium prime lens with large f/1.4 aperture • • 58 72 85 70 385
60mm f/2.8 D AF Micro £405 5★ Nikon’s most compact Micro lens, with Close Range Correction (CRC) system • • 22 62 70 74.5 440
60mm f/2.8 G ED AF-S Micro £500 Micro lens with 1:1 reproduction ratio, as well as a Silent Wave Motor and Super ED glass • • 18 62 73 89 425
70-200mm f/2.8 E FL ED VR AF-S £2650 Latest update to Nikon’s pro workhorse fast telephoto zoom brings electronic aperture control • • • 110 77 88.5 202.5 1430
70-200mm f/4 G ED VR AF-S £1180 5★ Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin • • • 1000 67 78 178.5 850
70-300mm f/4.5-5.6 E ED VR AF-P £750 Nikon’s first full-frame lens to feature a stepper motor for autofocus • • • 1200 67 80.5 146 680
70-300mm f/4.5-6.3 G AF-P DX £300 Budget telephoto zoom with stepper motor for AF and space-saving collapsible design • 110 58 72 125 400
70-300mm f/4.5-6.3 G VR AF-P DX £350 Adds extremely useful optical stabilisation to Nikon’s budget compact telephoto • • 110 58 72 125 415
80-400mm f/4.5-5.6 G ED VR AF-S £1899 5★ Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects • • • 175 77 95.5 203 1570
85mm f/3.5 G ED AF-S DX VR £522 DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass • • 28 52 73 98.5 355
ou’ll find hundreds of lenses

ange of uses, for a variety of budgets.
lm • Nikon • Laowa• Olympus
ang • Sigma
x • Voigtlander • Zeiss
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EGAMI
85mm f/1.4 G AF-S £1532 5★ Fast mid-tele lens with an internal focusing system and rounded diaphragm • • 85 77 86.5 84 595
85mm f/1.8 G AF-S £470 5★ Rear-focusing system and distance window in this medium telephoto lens • • 80 67 80 73 350
85mm f/2.8D PC-E Micro £1299 Perspective Control (PC-E) telephoto, designed to be ideal for portraits and product photography • • 39 77 83.5 107 635
105mm f/1.4 E ED AF-S £2049 A 105mm FX-format prime lens with bright f/1.4 aperture, ideal for portraiture • • 100 82 94.5 106 985
105mm f/2.8 G AF-S VR II Micro £782 4.5★ A very sharp lens, with swift and quiet focusing and consistent MFT results • • • 31 62 83 116 720
105mm f/2 D AF DC £980 A portrait lens with defocus control • • 90 72 79 111 640
135mm f/2 D AF DC £1232 Defocus-Image Control and a rounded diaphragm in this telephoto optic • • 110 72 79 120 815
200-500mm f/5.6 E ED VR AF-S £1179 A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras • • • 220 95 108 267.5 2300
300mm f/4 E PF ED VR AF-S £1230 5★ Light, compact AF-S full-frame telephoto lens with ED glass elements • • • 140 77 89 147.5 755
PENTAX DSLR
DA 10-17mm f/3.5-4.5 HD Fisheye ED £499 Updated fisheye zoom lens gains refreshed cosmetic design, new optical coatings and removable hood • 14 n/a 70 67.5 317
DA* 11-18mmF2.8 ED DC AW HD £1399 Premium fast ultra-wideangle zoom, includes all-weather construction and innovative focus clamp • 30 82 90 100 704
DA 12-24mm f/4 smc ED AL IF £1050 Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom • 30 77 83.5 87.5 430
DA 15mm f/4 smc ED AL Limited £820 Limited-edition lens with hybrid aspherical and extra-low-dispersion elements • 18 49 39.5 63 212
FA 15-30mm f/2.8 ED SM WR HD £1500 Weather-resistant ultra-wideangle zoom with fast maximum aperture and fixed petal-type hood • • 28 n/a 98.5 143.5 1040
DA* 16-50mm f/2.8 smc ED AL IF SDM £950 3.5★ A nice balance and robust feel, but poor sharpness at f/2.8 (which significantly improves from f/4 onwards) • 30 77 84 98.5 600
NEW DA* 16-50mm f/2.8 ED PLM AW HD £1500 All-new premium large-aperture standard zoom with updated optics and electromagnetic aperture control • 30 77 84 117 712
DA 16-85mm f/3.5-5.6 ED DC WR £600 Weather-resistant, this zoom features a round-shaped diaphragm to produce beautiful bokeh • 35 72 78 94 488
DA 17-70mm f/4 smc AL IF SDM £630 Featuring Pentax’s Supersonic Direct-drive (SDM) focusing system • 28 67 75 93.5 485
DA 18-50mm f/4-5.6 DC WR RE £230 Super-thin standard zoom that’s weather-resistant and features a round-shaped diaphragm • 30 58 71 41 158
DA 18-55mm f/3.5-5.6 smc AL WR £229 A weather-resistant construction and an aspherical element, as well as SP coating • 25 52 68.5 67.5 230
DA 18-135mm f/3.5-5.6 DA ED DC WR £600 3.5★ A weather-resistant mid-range zoom lens • 40 62 73 76 405
DA 18-270mm f/3.5-6.3 smc ED SDM £699 15x superzoom for company’s K-mount DSLRs featuring two extra-low-dispersion (ED) elements • 49 62 76 89 453
DA 20-40mm f/2.8-4 ED Limited DC WR £829 With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather resistant • 28 55 68.5 71 283
DA 21mm f/3.2 smc AL Limited £600 This limited-edition optic offers a floating element for extra-close focusing • 20 49 63 25 140
FA 24-70mm f/2.8 ED SDM WR £1149 Full-frame-compatible premium standard zoom – includes a HD coating to minimise flare and ghosting • • 38 82 109.5 88.5 787
FA 28-105mm f/3.5-5.6 ED DC HD £549 Standard zoom lens for the K-1 full-frame DSLR that’s much more affordable than the 24-70mm f/2.8 • • 50 62 73 86.5 440
FA 31mm f/1.8 smc AL Limited £1149 Premium aluminium-bodied wideangle prime boasts full-frame compatibility and an aperture ring • • 30 58 68.5 65 345
HD-FA 31mm f/1.8 Limited £1100 Updated version of classic fast wideangle prime with new HD and fluorine coatings • • 30 58 69 65 341
FA 35mm f/2 HD £399 Latest version of venerable Pentax fast prime features a multi-layer HD coating • • 30 49 64 44.5 193
DA 35mm f/2.8 smc Macro £640 4.5★ Despite slight edge softness, this lens performs excellently and is a pleasure to use • 14 49 46.5 63 215
DA 35mm f/2.4 smc DS AL £180 5★ A budget-priced prime lens for beginners • 30 49 63 45 124
DA 40mm f/2.8 smc Limited £450 Pancake lens with SMC coating and Quick Shift focusing system • 40 49 63 15 90
FA 43mm f/1.9 smc Limited £729 Classic full-frame fast prime with perfect focal length for everyday use • • 45 49 64 27 155
HD-FA 43mm f/1.9 Limited £650 Revised standard prime for full-frame cameras gains improved coatings for higher contrast • • 45 49 64 27 155
FA* 50mm f/1.4 SDM AW HD £1200 Premium fast prime with dustproof, weather-resistant design and electromagnetic aperture • • 40 72 80 106 910
FA 50mm f/1.4 smc £399 Compact fast prime with film-era double-Gauss optics and traditional aperture ring • • 45 49 63.5 38 220
DA 50mm f/1.8 smc DA £249 4★ Affordable short telephoto lens ideal for portraits • 45 52 38.5 63 122
D-FA 50mm f/2.8 smc Macro £550 Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism • • 19 49 60 67.5 265
DA* 50-135mm f/2.8 smc ED IF SDM £1200 4★ Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects • 100 67 76.5 136 765
DA 50-200mm f/4-5.6 smc ED WR £210 Weather-resistant construction, Quick Shift focus system and an SP coating • n/a 49 69 79.5 285
DA* 55mm f/1.4 smc SDM £800 4.5★ Despite questions about the particular sample tested, this lens scores highly • 45 58 70.5 66 375
DA 55-300mm f/4.5-6.3 ED PLM WR RE £400 Compact weather resistant telephoto zoom has video-friendly fast and silent autofocus motor • 95 58 76.5 89 442
DA 55-300mm f/4-5.8 ED WR £399 Weatherproof HD telephoto lens featuring quick shift focusing system • 140 58 71 111.5 466
DA 60-250mm f/4 smc ED IF SDM £1450 4.5★ With a constant f/4 aperture and an ultrasonic motor for speedy focusing • 110 67 167.5 82 1040
DA 70mm f/2.4 smc AL Limited £600 Medium telephoto lens with an aluminium construction and a Super Protect coating • 70 49 63 26 130
D-FA* 70-200mm f/2.8 ED DC AW £1850 Fast telephoto zoom in Pentax’s high-performance Star (*) series developed for best image rendition • • 120 77 91.5 203 1755
D-FA 70-210mm F4 ED SDM WR £1199 Compact telephoto zoom with constant f/4 maximum aperture and weather-resistant construction • • 95 67 78.5 175 819
FA 77mm f/1.8 smc Limited £1050 With Pentax’s Fixed Rear Element Extension focusing system for ‘sharp, crisp images’ • • 70 49 48 64 270
HD-FA 77mm f/1.8 Limited £800 Renewed version of short telephoto portrait prime that features a traditional aperture ring • • 70 49 48 64 270
D FA* 85mm f/1.4 SDM AW £1999 Upcoming large-aperture short telephoto prime promises premium optics and weather-sealing • • 85 82 95 123.5 1255
D-FA 100mm f/2.8 Macro WR £680 5★ Street price makes this something of a bargain for a true macro offering full-frame coverage • • 30 49 65 80.5 340
FA 150-450mm f/4.5-5.6 ED DC AW £2000 Super-telephoto lens with weather resistance, designed to produce extra-sharp, high-contrast images • • 200 86 241.5 95 2000
DA* 200mm f/2.8 smc ED IF SDM £1000 4.5★ SDM focusing system on the inside, and dirtproof and splashproof on the outside • 120 77 83 134 825
DA* 300mm f/4 smc ED IF SDM £1300 This tele optic promises ultrasonic focus and high image quality thanks to ED glass • 140 77 83 184 1070
Canon EF 70-200mm Caon EF 100-400mm
f/2.8L IS III USM f/4.5-5.6L IS II USM
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BUYING GUIDE
DSLR Lenses
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SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II £274 Wideangle fisheye lens designed for digital reflex cameras with APS-C sensors • • • • • 30 n/a 75 77.8 417
10mm f/3.5 XP MF £950 World’s widest-angle rectilinear lens promises 130° field of view with minimal distortion • • • 26 n/a 95 98.1 731
10mm f/2.8 ED AS NCS CS £429 Features a nano crystal anti-reflection coating system and embedded lens hood • • • • • 24 n/a 86 77 580
12mm f/2.8 ED AS NCS Fisheye £430 Fisheye ultra wideangle prime lens for full-frame DSLRs • • • • • • 20 n/a 77.3 70.2 500
14mm f/2.4 XP MF £899 High-end ultra-wideangle prime with premium optics and large maximum aperture • • • 28 n/a 95 109.4 791
AF 14mm f/2.8 £649 4.5★ Samyang’s first AF SLR lens features very decent image quality and weather-sealed construction • • • 20 n/a 90.5 95.6 485
14mm f/2.8 ED UMC £363 Ultra-wideangle manual-focus lens; bulb-like front element means no filters can be used • • • • • • 28 n/a 87 94 552
14mm f/2.8 MF Mk II £439 Updated manual focus prime with weather-sealing and de-clickable aperture ring • • • 28 n/a 87 96.3 641
16mm f/2.0 ED AS UMC CS £389 Fast wideangle lens for digital reflex cameras fitted with APS-C sensors • • • • • 20 n/a 89.4 83 583
20mm f/1.8 ED AS UMC £430 Large-aperture manual focus wideangle lens for full-frame DSLRs • • • • • • 20 77 83 113.2 520
24mm f/1.4 AS UMC £499 Fast ultra-wideangle manual-focus lens comprising 13 elements arranged in 12 groups • • • • • • 25 77 95 116 680
24mm f/3.5 ED AS UMS TS £949 3★ Tilt-and-shift wideangle lens for a fraction of the price of Canon and Nikon’s offerings • • • • • • 20 82 86 110.5 680
35mm f/1.2 XP MF £719 Ultra-large aperture, manual focus prime with premium optics • • 34 86 93 117.4 1106
35mm f/1.4 AS UMC £369 4.5★ While manual focus only, this prime impressed us in real-world use, making it something of a bargain • • • • • • 30 77 83 111 660
50mm f/1.2 XP MF £639 Large aperture manual-focus prime promises 50MP resolution • • 45 86 93 117.4 1200
50mm f/1.4 AS UMC £299 Manual-focus fast standard prime for full-frame DSLRs • • • • • • 45 77 74.7 81.6 575
85mm f/1.2 XP MF £899 High-end manual focus lens sports an impressively fast maximum aperture • • 80 86 93 98.4 1050g
AF 85mm f/1.4 £599 3★ Autofocus fast short telephoto portrait lens for use on Canon or Nikon full-frame DSLRs • • • 90 77 88 72 485
85mm f/1.4 IF MC £239 Short fast telephoto prime, manual focus, aimed at portrait photographers • • • • • • 100 72 78 72.2 513
85mm f/1.4 MF Mk II £389 Evolved large-aperture manual focus telephoto is weather-sealed and the aperture can be de-clicked • • • 110 72 78 72.2 541
100mm f/2.8 ED UMC Macro £389 Full-frame compatible, the Samyang 100mm is a true Macro lens offering 1:1 magnification • • • • • • 30 67 72.5 123.1 720
135mm f/2 ED UMC £399 Manual focus portrait prime has fast aperture for subject isolation and background blur • • • • • • 80 77 82 122 830
SIGMA DSLR
8mm f/3.5 EX DG £799 The world’s only 8mm lens equipped with autofocus also boasts SLD glass • • • • 13 n/a 73.5 68.6 400
8-16mm f/4.5-5.6 DC HSM £800 4★ Excellent performance at 8mm, which sadly drops at the 16mm end • • • • • 24 72 75 105.7 555
10-20mm f/3.5 EX DC HSM £650 5★ An absolute gem of a lens that deserves a place on every photographer’s wish list • • • • • 24 82 87.3 88.2 520
12-24mm f/4 DG HSM | A £1649 5★ Premium full-frame wideangle zoom designed to have minimal distortion in its wideangle imagery • • • • 24 n/a 101 132 1150
14mm f/1.8 DG HSM | A £1679 World’s first f/1.8 ultra-wideangle prime lens for full-frame DSLRs • • • • 27 n/a 95.4 126 1170
14-24mm f/2.8 DG HSM | A £1399 5★ Pro-specification fast ultra-wide prime for full-frame DSLRs includes weather-sealed construction • • • • 26 n/a 96.4 135.1 1150
15mm f/2.8 EX DG £629 4★ This fisheye optic puts in a very solid performance – not to be dismissed as a gimmick! • • • • • • 15 n/a 73.5 65 370
17-50mm f/2.8 EX DC OS HSM £689 FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation • • • • • • 28 77 83.5 92 565
17-70mm f/2.8-4 DC Macro OS HSM £449 Compact redesign of this well-received lens launches the ‘Contemporary’ range • • • • • • 22 72 79 82 470
18-35mm f/1.8 DC HSM £799 5★ Said to be the world’s first constant f/1.8 zoom; DoF equivalent of constant f/2.7 on full frame • • • 28 72 78 121 810
18-200mm f/3.5-6.3 DC OS £449 4★ Excellent resolution and consistent performance, but control over CA could be a little better • • • • 45 45 79 100 610
18-300mm f/3.5-6.3 DC Macro OS HSM £499 Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens • • • • • 39 72 79 101.5 585
20mm f/1.4 DG HSM | A £799 5★ An outstanding wideangle fixed-focal-length lens • • • • 27.6 n/a 90.7 129.8 950
24mm f/1.4 DG HSM | A £799 5★ The latest addition to Sigma’s ‘Art’ line of high-quality fast primes • • • • 25 77 85 90.2 665
24-35mm f/2 DG HSM | A £949 5★ The world’s first large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range • • • • 28 82 87.6 122.7 940
24-70mm f/2.8 DG OS HSM | A £1399 5★ Latest premium fast standard zoom for full frame includes optical image stabilisation • • • • • 37 82 88 107.6 1020
24-105mm f/4 DG OS HSM | A £849 4.5★ Serious full-frame alternative to own-brand lenses at a lower price, with no compromises in the build • • • • • • 45 82 89 109 885
28mm f/1.4 DG HSM | A £1099 4.5★ High-quality, weathersealed fast wideangle prime for full-frame DSLRs • • • • 28 77 82.8 107.1 865
30mm f/1.4 DC HSM | A £360 Unique fast prime for APS-C DSLRs that gives 45mm equivalent ‘normal’ angle of view • • • • • 30 62 63.3 74.2 435
35mm f/1.4 DG HSM | A £799 5★ Superb large-aperture prime; first lens in company’s ‘Art’ series • • • • • • 30 67 77 94 665
40mm f/1.4 DG HSM | A £1100 5★ Large and heavy prime promising natural-looking perspective and top-quality optics • • • • 40 82 87.8 131 1200
50mm f/1.4 DG HSM | A £849 5★ This lens has a unique design that pays off in truly excellent image quality • • • • • 40 77 85.4 100 815
50-100mm f/1.8 DC HSM | A £829 5★ This APS-C-format lens aims to cover the focal lengths of three prime lenses in one • • • 37.4 82 93.5 170.7 1490
60-600mm f/4.5-6.3 DG OS HSM | S £1899 Weathersealed 10x zoom encompasses huge range from standard to super-telephoto • • • • • 60 105 120.4 268.9 2700
70mm f/2.8 DG Macro | A £499 The first macro lens in Sigma’s Art line-up features an extending-barrel focus-by-wire design • • • • 26 49 71 106 515
70-200mm f/2.8 DG OS HSM | S £1349 5★ Superb large-aperture telephoto zoom shows high sharpness and minimal chromatic aberration • • • • • 120 82 94.2 202.9 1805
85mm f/1.4 DG HSM | A £1199 5★ Optically stunning fast short telephoto prime is the ultimate portrait lens for DSLR users • • • • 85 86 95 126 1130
100-400mm f/5-6.3 DG OS HSM | C £799 4.5★ Relatively lightweight telezoom comes with weather-sealing and choice of push-pull or twist zoom • • • • • 160 67 86.4 182.3 1160
105mm f/1.4 DG HSM | A £1499 4.5★ Sigma’s ‘bokeh monster’ super-fast portrait lens is weathersealed and comes with a tripod foot • • • • 100 105 115.9 131.5 1645
105mm f/2.8 EX DG OS HSM Macro £649 4.5★ An optically stabilised macro lens, this super-sharp lens is one of our favourites • • • • • 31.2 62 78 126.4 725
120-300mm f/2.8 DG HSM | S £3599 First lens in company’s ‘Sports’ series; switch enables adjustment of both focus speed and focus limiter • • • • • • 150 105 124 291 3390
135mm f/1.8 DG HSM | A £1399 5★ Super-fast portrait prime designed to provide sufficient resolution for 50MP DSLRs • • • • 87.5 82 91.4 114.9 1130
150-600mm f/5-6.3 DG OS HSM | C £1199 Budget ‘Contemporary’ version of Sigma’s long-range telephoto zoom is smaller and lighter • • • • • 280 95 105 260.1 1930
150-600mm f/5-6.3 DG OS HSM | S £1599 This portable, high-performance telephoto zoom from Sigma’s Sports line is dust and splashproof • • • • • 260 105 121 290.2 2860
SONY DSLR
11-18mm f/4.5-5.6 DT £609 3★ A solid overall performance that simply fails to be outstanding in any way • 25 77 83 80.5 360
16mm f/2.8 Fisheye £709 Fisheye lens with a close focusing distance of 20cm and a 180° angle of view • • 20 n/a 75 66.5 400
16-35mm f/2.8 ZA SSM II T* £1999 4.5★ High-end Zeiss wideangle zoom lens ideal for full-frame Alpha DSLRs and SLTs • • 28 77 83 114 900
16-50mm f/2.8 SSM £569 4★ Bright short-range telephoto lens • 100 72 81 88 577
16-80mm f/3.5-4.5 ZA T* £709 4.5★ Carl Zeiss standard zoom lens • 35 62 72 83 445
18-55mm f/3.5-5.6 DT SAM II £159 Basic kit zoom for Sony’s Apha mount SLT cameras • 30 55 72 69 222
18-135mm f/3.5-5.6 DT SAM £429 A versatile zoom with Direct Manual Focus • • 45 62 76 86 398
18-250mm f/3.5-6.3 DT £559 3.5★ Good overall, but performance dips at longer focal lengths • 45 62 75 86 440
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DSLR Lenses
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20mm f/2.8 £559 3.5★ Wideangle prime lens with rear focusing mechanism and focus range limiter • • 25 72 78 53.5 285
24mm f/2 ZA SSM T* £1119 An impressively bright wideangle Carl Zeiss lens • • 19 72 78 76 555
24-70mm f/2.8 ZA SSM II T* £1899 5★ Carl Zeiss mid-range zoom lens with superb optics ideal for full-frame Alpha DSLRs • • 34 77 83 111 955
28-75mm f/2.8 SAM £709 A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom • • 38 67 77.5 94 565
30mm f/2.8 DT SAM Macro £179 4★ Macro lens designed for digital with 1:1 magnification and Smooth Autofocus Motor • 12 49 70 45 150
35mm f/1.4 G £1369 With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass • • 30 55 69 76 510
35mm f/1.8 DT SAM £179 Budget-price indoor portrait lens • 23 55 70 52 170
50mm f/1.8 DT SAM £159 4.5★ A very useful lens that performs well and carries a rock-bottom price tag • 34 49 70 45 170
50mm f/1.4 £369 5★ While this lens performs well overall, performance at f/1.4 could be better • • 45 55 65.5 43 220
50mm f/1.4 ZA SSM £1300 4★ Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting • • 45 72 81 71.5 518
50mm f/2.8 Macro £529 A macro lens with a floating lens element • • 20 55 71.5 60 295
55-200mm f/4-5.6 DT SAM £219 Designed for cropped-sensor cameras, with a Smooth Autofocus Motor • 95 55 71.5 85 305
55-300mm f/4.5–5.6 DT SAM £309 Compact, lightweight telephoto zoom offering smooth, silent operation • 140 62 77 116.5 460
70-200mm f/2.8 G SSM II £2799 High-performance G Series telephoto zoom lens • • 120 77 87 196.5 1340
70-300mm f/4.5-5.6 G SSM £869 3.5★ G-series lens with ED elements, Super Sonic wave Motor and a circular aperture • • 120 62 82.5 135.5 760
70-400mm f/4-5.6 G SSM II £1799 Redesign of original features a new LSI drive circuit and promises faster autofocus • • 150 77 95 196 1500
85mm f/1.4 ZA Planar T* £1369 Fixed-focal-length lens aimed at indoor portraiture • • 85 72 81.5 72.5 560
85mm f/2.8 SAM £219 A light, low-price portraiture lens • • 60 55 70 52 175
100mm f/2.8 Macro £659 Macro lens with circular aperture, double floating element and wide aperture • • 35 55 75 98.5 505
135mm f/1.8 ZA Sonnar T* £1429 A bright, Carl Zeiss portrait telephoto lens • • 72 77 84 115 1004
135mm f/2.8 STF £1119 Telephoto lens fitted with apodisation element to give attractive defocus effects • • 87 80 80 99 730
TAMRON DSLR
10-24mm f/3.5-4.5 Di II VC HLD £580 4.5★ Wideangle zoom of APS-C with dust and splashproofing and optical stabilisation • • • 24 77 83.6 84.6 440
15-30mm f/2.8 SP Di VC USD G2 £1279 Second-generation image-stabilised fast wide zoom includes weather-sealing and faster AF • • • • 28 n/a 98.4 145 1110
16-300mm f/3.5-6.3 Di II VC PZD Macro £600 4★ Versatile mega-zoom, a very good all-in-one solution, as long as you won’t need to enlarge to A2 size • • • • 39 67 99.5 75 540
17-35mm f/2.8-4 Di OSD £629 4★ Most compact and lightest full-frame ultra-wideangle zoom in its class • • 28 77 83.6 90 460
17-50mm f/2.8 SP AF XR Di II VC LD Asph IF £541 4.5★ Very strong performance at longer focal lengths but weaker at the other end • • • 29 72 79.6 94.5 570
18-200mm f/3.5-6.3 AF Di II VC £169 4★ Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation • • • • 49 62 75 96.6 400
18-400mm f/3.5-6.3 Di II VC HLD £650 4★ The longest-ranging telephoto zoom yet made turns in a surprisingly decent performance • • • 45 72 79 123.9 710
24-70mm f/2.8 SP Di VC USD G2 £1249 Upgraded fast zoom with improved image stabilisation and moisture-resistant construction • • • • 38 82 88.4 111 905
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro £460 Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm • • • • • 33 67 73 92 510
28-300mm f/3.5-6.3 Di VC PZD £529 A new, full-frame, high-power zoom incorporating PZD (Piezo Drive) • • • • • 49 67 75 99.5 540
35mm f/1.4 SP Di USD £930 Premium large-aperture prime with moisture-resistant construction, billed as Tamron’s best-ever lens • • • 30 72 80.9 104.8 815
35mm f/1.8 SP Di VC USD £580 4.5★ Moderately wide prime combines ultrasonic focusing, image stabilisation and a fast aperture • • • • • 20 67 80.4 80.8 480
35-150mm F2.8-4 Di VC OSD £799 Unusual image-stabilised full-frame zoom designed for portraits, with large maximum aperture • • • • 45 77 84 126.8 796
70-200mm f/2.8 SP Di VC USD G2 £1350 5★ Excellent telephoto zoom with updated autofocus and image stabilisation plus sealed construction • • • • 95 77 88 193.8 1500
70-210mm f/4 Di VC USD £699 4.5★ Lightweight telezoom promises high optical performance, image stabilisation and weather-sealing • • • • 95 67 76 176.5 860
70-300mm f/4-5.6 SP VC USD £300 4★ Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation • • • • • 150 62 81.5 142.7 765
70-300mm f/4-5.6 AF Di LD Macro £170 3.5★ Low-dispersion glass and compatible with both full-frame and cropped-sensor DSLRs • • • • • 95 62 76.6 116.5 435
85mm f/1.8 SP Di VC USD £749 5★ The first full-frame 85mm f/1.8 lens with image stabilisation, that’s also moisture resistant • • • • • 80 67 85 91 700
90mm f/2.8 SP AF Di Macro £470 4★ A very nice macro lens that is capable of producing some fine images • • • • • 29 55 71.5 97 405
90mm f/2.8 Di Macro 1:1 VC USD £579 Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation • • • • • 30 58 115 76.4 550
100-400mm f/4.5-6.3 Di VC USD £789 5★ Relatively compact and lightweight telephoto zoom with moisture-resistant construction • • • • 150 67 199 86.2 1135
150-600mm f/5-6.3 SP Di VC USD G2 £1340 Updated version of Tamron’s popular long telezoom • • • • • 220 95 108.4 260.2 2010
150-600mm f/5-6.3 SP VC USD £1150 4★ Longest focal length of any affordable enthusiast zoom on the market and produces excellent results • • • • • 270 95 105.6 257.8 1951
TOKINA DSLR
ATX-i 11-16mm f/2.8 CF £449 Gains a new waterproof top coating for the front element and updated cosmetic design • • 30 77 84 89 555
AT-X 11-20mm f/2.8 PRO DX £499 4★ Compact, ultra-wideangle lens with a fast maximum aperture and decent optical performance • • 28 82 89 92 560
AT-X 12-28mm f/4 PRO DX £529 Replacement for 12-24mm f/4 wideangle zoom; for Nikon DX DSLRs • • 25 77 84 90 600
AT-X 14-20mm f/2 PRO DX £849 Wideangle zoom with super-fast, super-bright, constant f/2 aperture for shooting in very low light • • 28 82 89 106 725
Opera 16-28mm f/2.8 FF £699 4★ This large-aperture wide zoom for full-frame DSLRs is an updated version of the AT-X 16-28mm f/2.8 • • • 28 n/a 89 133.5 940
Opera 50mm f/1.4 FF £900 Premium fast prime designed for high-resolution DSLRs, with dust and weather-resistant construction • • • 40 72 80 107.5 950
AT-X 100mm f/2.8 AF PRO D Macro £360 4★ Some weaknesses wide open, but reasonable MTF curves make this a decent optic • • • 30 55 73 95.1 540
ZEISS DSLR
15mm f/2.8 Milvus £2329 This super-wideangle lens has an angle of view of 110° and uses an advanced retrofocus design • • • 25 95 102.3 100.2 947
18mm f/2.8 Milvus £1999 Compact super-wideangle lens with premium optics including a floating focus system for close-ups • • • 25 77 90 93 721
21mm f/2.8 Milvus £1299 Premium wideangle lens with complex optics designed to be free of distortion • • • 22 82 95.5 95 851
25mm f/1.4 Milvus £1999 5★ Optically excellent, large-aperture manual focus wideangle lens with weather-sealed construction • • • 25 82 95.2 123 1225
35mm f/1.4 Milvus £1699 Large aperture, premium-quality manual-focus prime with weather-sealed construction • • • 30 72 84.8 124.8 1174
35mm f/2 Milvus £829 Compact, moderate wideangle manual focus prime • • • 30 58 77 83 702
50mm f/1.4 Planar T* £559 Classic double-Gauss design manual focus standard prime for full-frame SLRs • • • 45 58 71 71 380
50mm f/1.4 Milvus £949 5★ An exceptionally good lens offering sharpness, detail, clean edges and a great user experience • • • 45 67 82.5 94 922
50mm f/2 Milvus Macro £949 Manual-focus macro lens with half-life-size magnification and stunning optics • • • 24 67 81 75.3 730
85mm f/1.4 Planar T* £989 Classic portrait prime designed to give smooth, rounded bokeh effects • • • 100 72 78 88 670
85mm f/1.4 Milvus £1379 5★ Fast 85mm manual-focus prime lens that’s perfect for portraiture • • • 80 77 90 113 1280
100mm f/2 Milvus Macro £1299 A manual-focus macro lens with absolutely superb optics and half-life-size reproduction • • • 88 67 80.5 104 843
135mm f/2 Milvus £1899 Telephoto lens with a large aperture and smooth bokeh, ideal for medium-distance portrait photography • • • 80 77 129 132 1123
Mifsuds Photographic Ltd Est. 1954.
Family Run Pro Dealership With Friendly, Knowledgeable Staff.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
www.mifsuds.com 01803 852400 [email protected]
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CANON EOS R5 Canon RF 100-500mm
F4.5-7.1 L IS USM
Canon RF 400mm F2.8
L IS USM Canon RF 600mm F4
L IS USM
Body only £4299 Our Price £2979 Our Price £12449 Our Price £13409
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CANON EOS R6 Canon RF 14-35mm
F4 L IS USM
Canon RF 100mm
F2.8 L IS USM Macro Canon RF 600mm
F11 IS STM
Body only £2599 Our Price £1749 Our Price £1479 Our Price £769
Quality used quipment

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QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc.
CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
Used Canon 5D MKIV
1DX MKIII 1DX MKII body box HSM OS
50-500mm F4.5/6.3
CAF150-600mm
150-500mm F5/6.3 100-400mm 300mm F2.8 500mm F4 IS
Sport F4.5/5.6 LII box IS USM LII USM LII box
Used Sigma Used Canon
body box body box F5/6.3
DG OS
APO
£5699 £2699 £1999/2297 £799

CANON R DIGITAL AF USED 1000D body ...................................... £149 17-85 F3.5/4.5 EFS serviced ........ £199
£599 £1197 £1899 £4499
70-200 F4 L USM ............................. £449 12-24 F4.5/5.6 II HSM .................... £599
£6999
TAM 16-300 F3.5/6.3 II VC............ £399
R5 body M- box.............................£3799 BG-E20 grip box .............................. £249 18-135 F3.5/5.6 IS nano USM ..... £349 70-300 F4.5/5.6 U L IS box........... £699 14-24 F2.8 DG Art M-box ............. £997 TAM 17-50 F2.8 XR Di VC box..... £279
RF 15-35 F2.8 L IS USM box ......£1997 BG-E16 grip. ...................................... £199 18-200 F3.5/5.6 EFS ....................... £299 70-300 F4/5.6 IS USM II................. £449 17-50 F2.8 EX DC HS OSM ........... £269 TAM 28-300 F3.5/6.3 VC PZD box .......
RF 70-200 F2.8 L IS USM box...£2399 BG-E13 grip....................................... £149 24 F2.8 STM ...................................... £129 70-300 F4.5/5.6 USM ..................... £299 17-70 F2.8/4 DC OS HSM ............. £249 £499
RF 85 F1.2 L USM M- box ...........£2399 BG-E11 grip....................................... £149 24-70 F2.8 LII USM........................£1099 100 F2.8 IS USM L macro ............. £849 18-250 F3.5/6.3 DC OS HSM ....... £199 TAM 70-200 F2.8 VC USD GII box£799
CANON DIGITAL AF USED BG-E9 grip box....................................£89 24-70 F4 IS USM L........................... £699 100 F2.8 USM macro ..................... £399 24-105 F4 DG OS box.................... £549 TAM 100-400 F4.5/6.3 Di VC USD .......
1DX MKIII body box .....................£5499 BG-E6 grip ............................................£89 24-105 F4 IS USM LII M- box....... £799 100-400 F4.5/5.6 LII box.............£1899 50-500 F4.5/6.3 HSM OS .............. £799 £599
1DX MKII body box ......................£2699 BG-E2 grip ............................................£39 24-105 F4 IS USM L ........................ £549 100-400 F4.5/5.6 IS USM .............. £999 50-500 F4.5/6.3 HSM ..................... £599 TAM 180 F3.5 Di macro ................ £399
1D MKIV body box ......................... £699 CANON M USED 28-135 F3.5/5.6 USM ..................... £219 135 F2 USM L box........................... £649 70-200 F2.8 EX DG OS HSM ........ £599 TOK 12-24 F4 ATX Pro II DX box £349
7D MKII body box.........................£1097 M5 body black box ........................ £399 35 F1.4 L USM MKII Mint box ...£1399 200 F2.8 USM LII ............................. £549 105 F2.8 EX DG HSM OS box ...... £319 TOK 12-24 F4 ATX Pro box .......... £299
6D body box..................................... £499 M body + 18-55............................... £199 35 F2 IS USM .................................... £399 300 F2.8 IS USM LII .......................£4499 120-300 F2.8 DG OS Sport box £2199 Kenko ext tubes box ........................£99
5Ds body box.................................£1599 CANON AF LENSES USED 50 F1.2 L USM box.......................... £997 300 F4 IS USM L............................... £749 150 F2.8 EX DG OS HSM box ...... £749 FLASH/ACCESSORIES USED
5D MKIV body box ........... £1999/2297 10-18 F4.5/5.6 IS STM.................... £219 50 F1.4 USM...................................... £299 400 F5.6 USM L................................ £799 150-500 F5/6.3 APO DG OS ........ £599 430EX RT MKIII................................. £239
5D MKIII body box...............£997/1199 10-22 F3.5/4.5 USM EFS ............... £349 50 F1.8 STM box.............................. £109 500 F4 IS USM LII box..................£6999 150-600 F5/6.3 sport ...................£1197 430EX II............................................... £139
90D body Mint box......................£1049 14 F2.8 USM LII ..............................£1399 55-250 F4/5.6 IS EFS ...................... £199 1.4x ext MKIII .................................... £399 150-600 F5/6.3 contemporary... £749 580EX MKII. ....................................... £169
80D body Mint box........................ £699 15 F2.8 fisheye ................................. £449 60 F2.8 EFS macro .......................... £299 1.4x ext MKII ..................................... £199 TC1401 extender ............................ £199 ST-E2.......................................................£99
20D body box .....................................£69 15-85 F3.5/5.6 AFS ......................... £299 65 F2.8 MPE macro ........................ £849 2x extender MKIII............................ £369 1.4x EX DG converter .................... £149 ST-E3 box ........................................... £249
400D body ...........................................£99 16-35 F2.8 USM LIII ......................£1399 70-200 F2.8 IS USM LIII ...............£1799 SIGMA CAF USED 2x EX DG converter........................ £149 Angle finder C.................................. £149
350D body ...........................................£69 16-35 F4 USM IS L........................... £799 70-200 F2.8 IS USM LII ................£1299 10 F2.8 EX DC HSM fisheye ......... £349 OTHER CAF USED MORE ON WEBSITE
1300D body ...................................... £199 17-40 F4 L USM ............................... £399 70-200 F4 IS USM box ................... £699 10-20 F3.5 EX DC HSM.................. £279 TAM 10-24 F3.5/4.5 Di II ............... £199 WWW.MIFSUDS.COM
NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
NIKON DIGITAL AF USED MBD-10 grip ........................................£89 18-200 F3.5/5.6 VRII ....................... £349 70-200 F2.8 AFS VRII M- box....£1097 TC-20EII .............................................. £199 TAM 24-70 F2.8 Di VC USD .......... £499
D5 body box...................................£2999 MBD-200 grip (D200) .......................£59 18-200 F3.5/5.6 VR ......................... £199 70-200 F4 VR box............................ £849 SIGMA NAF USED TAM 28-300 F3.5/6.3 Di VC PZD £499
D4s body box.................................£1699 NIKON Z DIGITAL AF USED 18-300 F3.5/5.6 VR DX box.......... £699 70-300 F4.5/5.6 AF-P ED VR ........ £479 10-20 F3.5 DC box .......................... £269 TAM 60 F2 SP DiII macro .............. £299
D3X body box .................................. £899 Z7 body box ...................................£1499 20 F1.8 AFS box............................... £579 70-300 F4.5/5.6 AFS VR................. £349 10-20 F4.5/5.6 DC ........................... £199 TAM 70-300 F4.5/5.6.........................£99
D3 body box..................................... £699 Z6 body box ...................................£1199 24 F1.4 G AFS Mint......................... £997 70-300 F4.5/6.3 DX AF-P VR ........ £249 10-24 F3.5/4.5 Di II VC HLD ......... £449 TAM 90 F2.8 SP ................................ £199
D850 body box..............................£1999 16-50 F3.5/6.3 DX ........................... £249 24 F2.8 AFD....................................... £349 70-300 F4.5/5.6 G ..............................£99 12-24 F4.5/5.6 II HSM .................... £599 TAM 100-400 F4.5/6.3 Di VC USD .......
D810 body box..............................£1199 24-70 F4 S Mint box....................... £599 24-70 F2.8 AFS VR M- box .........£1349 80-400 F4.5/5.6 AFS VR box ......£1499 18-250 F3.5/6.3 DC OS.................. £199 £599
D780 body Mint box ...................£1599 FTZ adapter ...................................... £249 24-70 F2.8 AFS box ........................ £897 80-400 F4.5/5.6 AFS VR box ......£1299 50 F1.4 DG box ................................ £549 TOK 11-16 F2.8 ATX ProII ............. £349
D750 body box................................ £997 NIKON AF LENSES USED 24-85 F3.5/4.5 AFS ED................... £199 80-400 F4.5/5.6 AFD box ............. £799 50-500 F4.5/6.3 HSM OS .............. £997 TOK 11-16 F2.8 ATX Pro................ £299
D700 body ........................................ £499 8-15 F3.5/4.5 AFS Mint box......... £997 24-120 F4 AFS M- box................... £549 85 F1.4 AFD Mint box ................... £997 70-200 F2.8 EX DG OS HSM ........ £599 TOK 12-24 F4 ATX Pro II................ £299
D500 body Mint box ...................£1197 10-24 F3.5/4.5 AFS ......................... £499 28-105 F3.5/4.5 AFD ...................... £169 105 F2.8 AFS VR............................... £599 105 F2.8 EX DG HSM OS............... £319 TOK 12-24 F4 ATX Pro ................... £249
D300 body box................................ £299 12-24 F4 DX AFS ............................. £499 28-200 F3.5/5.6 AFG ...................... £199 105 F2.8 SFD..................................... £599 120-300 F2.8 DG OS Sport box £2199 TOK 100 F2.8 ATX Pro.................... £299
D7500 body Mint box................... £749 14-24 F2.8 AFS Mint- box ..........£1197 28-300 F3.5/5.6 VR box................. £649 200-400 F4 AFS VR II box ...........£4499 150 F2.8 EX DG OS HSM box ...... £749 Kenko ext tubes box ........................£99
D7200 body box ............................. £649 16 F2.8 AFD fisheye box............... £549 35 F1.8 AFS DX ................................ £169 300 F2.8 AFS VRII ..........................£3997 150-500 F5/6.3 DG OS HSM ........ £599 FLASH / ACCESSORIES USED
D7000 body box ............................. £399 16-35 F4 AFS VR box ..................... £799 35-105 F3.5/4.5 AFD one touch £169 300 F4 E PF VR box.......................£1399 150-600 F5/6.3 sport ...................£1197 SB-600...........£99 SB-700 box ..... £219
D5000 body ...................................... £179 16-80 F2.8/4 VR DX ........................ £549 50 F1.4 AFS G ................................... £299 500 F4 AFS VR serviced ..............£4499 150-600 F5/6.3 contemporary... £749 SB-800.........£149 SB-900.............. £249
D3200 body ...................................... £199 16-85 F3.5/5.6 AFS DX VR ............ £249 50 F1.8 AFS box............................... £169 500 F5.6 E PF VR AFS ...................£3199 TC-1401 extender ........................... £199 SB-910................................................. £299
D200/D90/D80 body each .......... £149 18-35 F3.5/4.5 AFS M- box .......... £599 50 F1.8 AFD....................................... £129 800 F5.6 E FL VR AFS .................£13997 1.4x EX DG conv box ..................... £149 Nissin i40 ..............................................£99
D50 body ..............................................£99 18-55 F3.5/5.6 AF VR ........................£99 60 F2.8 AFS ....................................... £449 TC14-EII box...................................... £329 OTHER NAF USED DR-6 or DR-5 angle finder each £169
MBD-15 (D7100/7200) ................. £129 18-105 F3.5/5.6 VR DX AFS.......... £199 60 F2.8 AFD....................................... £349 TC17-EII box...................................... £299 TAM 10-24 F3.5/4.5 Di II VC HLD £449 MC-36A rem.....£89 MC-30A rem £39
MBD-12 grip (D810)....................... £249 18-140 F3.5/5.6 VR ......................... £199 70-200 F2.8 E FL Mint box .........£1699 TC20-EIII ............................................. £349 TAM 16-300 F3.5/6.3 II VC............ £399 SC-17/SC-19/SC-28 cable each.....£49
FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED
FUJI DIGITAL USED Nissin Air 10S box..............................£49 A 16-80 F2.8 SSM DT ..................... £399 SIG 1.4x EX converter .......................£99 OMD-EM1 MKII body .................... £599 20 F1.7............£179 25 F1.4 box . £379
X-T4 body black Mint- box.......£1249 SONY NEX AF USED A 17-40 F4/5.6 G SM silver .......... £699 TAM 90 F2.8 SP ................................ £199 OMD-EM1 body black................... £399 45-200 F4/5.6 ................................... £199
X-T10 body........................................ £199 A6000 body ...................................... £369 A 18-70 F3.5/5.6 .................................£89 Teleplus 1.4x conv .............................£69 OMD-EM5 body box...................... £299 200 F2.8 box ...................................£1299
X-F10 black body ............................ £799 NEX 7 body ....................................... £299 MINOLTA (SONY A MOUNT) AF Teleplus 2x conv ................................£79 12-40 F2.8 Pro .................................. £499 1.4x converter .................................. £299
10-24 F4 XF R OIS box................... £599 E 18-200 F3.5/6.3 box ................... £429 USED Kenko 1.4x Pro 300DG .................. £149 12-50 F3.5/6.3 .................................. £149 PENTAX DIGITAL USED
14 F2.8 R box.................................... £529 E 55-210 F4.5/6.3 ............................ £219 28 F2.8............£79 28-75 F2.8 AFD ...... OLYMPUS 4/3 USED 14-150 F4.5/5.6 MKII...................... £429 K5 body .............................................. £299
16-80 F4 XF WR ............................... £549 E 16-50 F3.5/5.6 PZ OSS ............... £169 £199 14-42 F3.5-5.6 .....................................£69 25 F1.2 Pro M- box ......................... £997 16-45 F4 ED DA box....................... £199
18 F2 box ........................................... £349 MINOLTA/SONY DIGITAL USED 28-80 F3.5/5.6 .....................................£49 14-45 F3.5-5.6 .....................................£69 40-150 F2.8 Pro ............................... £929 18-55 F3.5/5.6 AL...............................£69
18-55 F2.8/4 XF Mint- ................... £299 Sony RX10 MKIV Mint box.........£1299 28-85 F3.5/4.5 .....................................£99 35 F3.5 ...................................................£99 75 F1.8 box ....................................... £499 18-250 F3.5/6.3 DA ........................ £249
18-135 F3.5/5.6 XF ......................... £499 Sony RX10 MKIII box ..................... £699 35-70 F3.5/4.5..£39 35-105 F3.5/4.5... 40-150 F3.5/4.5...................................£99 75-300 F4.8/6.7 ED MSC MKII box ...... 28-80 F3.5/5.6 silver FA ...................£69
23 F1.4 XF M- box........................... £649 Sony RX100 MKIII............................ £299 £99 40-150 F4-5.6 ......................................£69 £369 35 F2.4 DA AL......................................£99
50-140 F2.8 XR...............................£1149 Sony A9 body M- box .................£2299 75-300 F4.5/5.6...................................£79 EX 25 extension tube .......................£99 SAMYANG 12 F2 Mint box MF ... £199 35-80 F4/5.6.........................................£49
60 F2.4 XF box ................................. £479 Sony A100 body.................................£79 100-300 F4.5/5.6 ................................£99 FL-600R flash .................................... £149 MC20 2x converter box ................ £329 50 F1.8 DA ......................................... £119
90 F2 R LM WR XF box .................. £699 Sony VG-C70AM.................................£99 3600HSD flash ....................................£49 OLYMPUS MICRO 4/3 USED PANASONIC DIGITAL USED 55-300 F4/5.8 ED WR..................... £299
2x extender XF WR box ................ £339 FE 24-70 F4 ZA OSS box............... £499 OTHER MIN/SONY AF USED OMD-EM1 MKIII body Mint- box......... G7 body Silver Mint box .............. £299 DG-4 grip for K5 .................................£79
X100 Limited Edition kit box...... £599 FE 24-105 F4 G OSS box............... £799 SIG 18-300 F3.5/6.3 ........................ £299 £1399 7-14 F4................................................ £599 OTHER PENTAX AF USED
XT-3 vertical grip G-XT3 box....... £169 FE 35 F1.4 ZA OSS cox .................. £899 SIG 50-500 F4.5/6.3 HSM OS ...... £899 OMD-EM5 MKIII body blk M- box....... 14-42 F3.5/5.6 .....................................£99 SIG 17-50 F2.8 DC HSM box........ £199
XT-2 grip box...£149 XT-1 grip .....£79 FE 100 F2.8 GM macro .................. £897 SIG 150-500 F5/6.3 box ................ £599 £799 15 F1.7 box ....................................... £349 SIG 50-500 F4.5/6.3 HSM OS ...... £899
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA 645 USED EI winder ...............................................£99 HASSELBLAD 6x6 USED MAMIYA 7 RF USED 150-300 F5.6 FA............................... £599 120 insert..............................................£99
ETRS + AEII prism + 75 PE Speed grip E ........................................£99 150 F4 CF box .................................. £699 43 F4.5 L + V/F box ........................ £997 200 F4 FA ........................................... £399 PENTAX 6x7 USED
+ speed grip ..................................... £699 Lenshoods various ............................£40 150 F4 Blk T* box ............................ £499 50 F4.5 + VF ...................................... £799 300 F4 FA ........................................... £799 45 F4 late ........................................... £599
ETRSi body box ............................... £299 BRONICA 6x6 USED PME5 prism....................................... £449 Viewfinder for 150 F4.5 ................ £199 400 F5.6 FA........................................ £799 55 F4 late ........................................... £499
150 F3.5 E .......................................... £149 SQB body........................................... £299 WLF chrome late............................. £299 Polarizing filter ZE702................... £149 PENTAX 645 MF USED 55-100 F4.5 ....................................... £699
200 F4.5 PE........................................ £249 110 F4.5 PS macro.......................... £399 Pola+ back box...................................£79 MAMIYA RZ USED 35 F3.5 ................................................ £499 75 F4.5 ................................................ £399
200 F4.5 E box.................................. £199 150 F4 PS ........................................... £299 Lenshood various ..............................£49 Pro 120 RFH ...................................... £129 45 F2.8 ................................................ £349 90-180 F5.6 ....................................... £499
ETRSi 120 back RWC late ............. £119 2x converter S .................................. £119 RCP80 projector + 150 F2.8 ......£1499 100-200 F5.2 W................................ £299 80-160 F4.5 ....................................... £499 100 F4 + macro adapter............... £699
ETRS 120 back early..........................£99 SQAi 120 back late ......................... £219 MAMIYA 645 MF USED 180 F4.5 W......................................... £299 120 F4 macro ................................... £299 120 F3.5 soft focus ......................... £399
Polaroid back box..............................£29 SQA 120 back early ........................ £149 Teleplus 2x converter.......................£39 PENTAX 645 AF USED 135 F4 leaf......................................... £399 200 F4 late......................................... £399
Plain prism E box ............................ £169 Polaroid back ......................................£29 120 insert..............................................£29 45 F2.8 FA .......................................... £499 200 F4 ................................................. £199 300 F4 latest ..................................... £349
AEII prism .......................................... £169 SQAi WLF ........................................... £199 Ext tube each ......................................£29 55-110 F5.6 FA ................................. £599 300 F4 ED IF Green * ..................... £599 2x rear converter grey .................. £299
Motor winder ................................... £169 Lenshoods various .....................£20/50 www.mifsuds.com 80-160 F4.5 FA ................................. £399 REF converter angle finder ......... £129 Wooden grip .................................... £199
35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED
CANON AF FILM BODIES USED CZ 300 F4 AE .................................... £399 50 F1.7 ...................................................£79 F2a body black ................................ £599 85 F2 AIS box ................................... £299 35-70 F4 ................................................£99
EOS 5 body ..........................................£89 LEICA USED 50 F3.5 macro .................................. £149 F2 Photomic + DP-1 chrome...... £599 135 F2.8 AI ........................................ £199 50 F1.8 ...................................................£99
EOS 600 / 650 body each ...............£39 IIIg body box ..................................£1199 70-210 F4..............................................£99 F Photomic Apollo blk b/o.......... £499 200 F4 AIS macro............................ £399 135 F3.5.................................................£99
EOS 3000 / 300 body each .............£39 LIGHTMETERS USED Kenko Teleplus macro conv ...........£69 FM2n body Blk or Chrome each £599 200 F4 AIS.......................................... £249 200 F4 ................................................. £129
EOS 50E / 500N body each ............£39 Minolta Flashmeter IVF ................ £199 Auto bellows III................................ £149 DW-4 finder for F3.............................£89 200 F4 AI ............................................ £199 7/14/25 ext tube each .....................£20
EOS 1000/1000fn body each.........£39 Sekonic L358 box ........................... £329 Bellows IV box.................................. £149 F301 body ............................................£69 TC14B conv ..........................................£99 14/25 auto ext tube each ...............£29
CANON FD USED Sekonic Digilite F ............................ £149 Macro ext tube ...................................£49 28 F2.8 AI ........................................... £249 TC300 conv ....................................... £149 Converter 2x A....................................£99
A1 body.............................................. £169 MINOLTA AF USED Auto ext tube set...............................£89 28 F3.5 AI ........................................... £169 SAMYANG 85 F1.4 Mint box MF £249 PENTAX AF USED
AE1P (black) body .......................... £169 7Xi body................................................£69 NIKON AF FILM BODIES USED 28 F4 shift.......................................... £499 DG-2 Eyepiece magnifier................£59 MXZ50 body........................................£39
T90 body............................................ £199 Dynax 3 body......................................£29 F5 body box...................................... £599 28-85 F3.5/4.5 AIS........................... £299 DR-4 Angle finder box .................. £129 SFXN body ...........................................£39
T70 body...............................................£99 7000i / 500Si / 300Si body each...£29 F4s body ............................................ £499 35-70 F3.5 AIS .....................................£99 PB-6D spacer for PB-6 ......................£99 PENTAX MF USED
A1 World Cup 1982 body box.... £249 505Si Super body ..............................£29 F801 / F801s each .............................£79 35-105 F3.5/4.5 AIS ........................ £149 SB-8A flash ...........................................£69 17 F4 PK ............................................. £399
AV-1 body.............................................£99 MINOLTA MD USED F601M body ........................................£39 50 F1.4 AIS box ................................ £299 OLYMPUS OM USED 50 F1.4 PK .......................................... £149
50 F1.8.............£69 50 F2..................£69 X700 body ......................................... £169 NIKON MF USED 50 F1.4 AI ........................................... £249 OM-2N body chrome .................... £299 50 F1.7 PK .............................................£69
2x extender B ......................................£49 X300s body black ..............................£99 Nikkormat FTn body box ............. £599 50 F1.8 AIS.....£149 50 F2 AI ..........£99 OM-2 body chrome box............... £299 50 F2 PK ................................................£49
FD bellows ........................................ £149 X300 body blk/chrome ...................£99 F3HP body......................................... £599 55 F2.8 AIS micro ............................ £199 OM-1N body chrome .................... £299 75-150 F4 PK .......................................£99
CONTAX USED 28 F2.8 ...................................................£69 F3 body .............................................. £499 80-200 F4 AIS ................................... £249 OM-1N body black ......................... £299 80-200 F4.5 ..........................................£69
CZ 180 F2.8 AE................................. £399 35-70 F3.5.............................................£69 CF22 or CF20 case F3 each ............£39 85 F1.4 AIS......................................... £497 OM-10 chrome body........................£79 Bellows M + slide copier .............. £199
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL EMAIL YOU WHEN WE CAN HELP. CORRECT 02/08/2021.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
01954 252352
LEICA 50mm f2 SUMMICRON RIGID SER No 15933XX.. . . . . . . . . . . . . . . . .MINT- £975.00 MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC.. . . . . . . . . . . . . . . . . . .MINT-CASED £365.00
Digital Photography LEICA 90mm f2.8 TELE ELMAR + HOOD.. . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £395.00 MAMIYA 80mm f1.9 SEKOR C FOR 645 etc.. . . . . . . . . . . . . . . . . . . . . . . . . . MINT £299.00 Nikon Manual Focus
CANON EOS 7D BODY COMPLETE LOW ACC 1875.. . . . . . . . . . . . . . .MINT BOXED £375.00 LEICA 5cm f3.5 COLLAPSIBLE ELMAR.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £225.00 MAMIYA 150mm f3.5 SEKOR C FOR 645 SUPER etc.. . . . . . . . . . . . . . . . . . . MINT £145.00 NIKON F3 BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+ £245.00
CANON EOS 40D COMPLETE WITH ALL ACCESSORIES.. . . . . . . . . . . MINT-BOXED £125.00 LEICA 90mm f2 SUMMICRON PRE ASP SER No35234XX.. . . . . . . . . . . . . . .MINT- £945.00 MAMIYA 150mm F4.5 “G” WITH HOOD FOR MAMIYA 6.. . . . . . . . . . . . . . . . MINT £295.00 NIKON FM BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £165.00
FUJI X-A2 WITH FUJI 16-50 OIS MK 2 LENS COMPLETE.. . . . . . . . . .MINT BOXED £295.00 LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M.. . . . . . . . . . . . . . . . . . . . .MINT- £275.00 MAMIYA 180mm F4.5 SEKOR Z W FOR RZ.. . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £199.00 NIKON FM2n BLACK BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £325.00
FUJI TCL-X100 TELECONVERTER FOR X100/100S etc.. . . . . . . . . . . .MINT BOXED £195.00 LEICA 90mm f4 ELMAR M MOUNT.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £165.00 MAMIYA 250mm F4.5 LENS FOR RZ.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £195.00 NIKON FM2n CHROME BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+++ £245.00
NIKON D7500 BODY KIT ONLY 297 ACTUATTIONS.. . . . . . . . . . . . . . .MINT BOXED £699.00 LEICA 135mm f2.8 ELMARIT M 11829 WITH CASE.. . . . . . . . . . . . . . MINT BOXED £375.00 MAMIYA 210mm F4 SEKOR C FOR 645.. . . . . . . . . . . . . . . . . . . . . . . MINT CASED £195.00 NIKON FM2 CHROME BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £199.00
NIKON MB-D18 BATTERY GRIP for D850 + BL5 COVER.. . . . . . . . . . MINT BOXED £295.00 LEICA 135mm f4.5 HEKTOR.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC+ £75.00 MAMIYA 180mm F4.5 SEKOR FOR RB.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £169.00 NIKON FE CHROME BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £125.00
NIKON FE CHROME BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £145.00
NIKON D4S BODY WITH BATT AND CHARGER.. . . . . . . . . . . . . . . . . . . . . MINT-- £1,495.00 LEICA 90mm FINDER.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £99.00 MAMIYA 220 BACK FOR RZ 67.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £95.00 NIKON FM BLACK WITH MF-16 BACK.. . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+++ £169.00
NIKON D3000 WITH BATT AND CHARGER.. . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £125.00 VOIGTLANDER BESSA T WINDER.. . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT BOXED £149.00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD.. . . . . . . . . . . . . MINT- £199.00 NIKON FM BLACK.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £145.00
NIKON D200 BODY WITH BATTERY,CHARGER+MB-D200.. . . . . . . . . . . . . . .MINT- £225.00 LEICA 5cm f2 SUMMAR SCREW.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £175.00 PENTAX 55mm F4 SMC FOR 6X7.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £175.00 NIKON FE2 BLACK BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ BOXED £225.00
NIKON SB900 SPEEDLITE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT-BOXED £145.00 LEICA 90mm f4 ELMAR BLACK SCREW.. . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £145.00 PENTAX 55mm F2.8 FOR PENTAX 645.. . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £199.00 NIKON F2 A BLACK BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC+++ £245.00
NIKON SC28 TTL REMOTE CORD.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT BOXED £65.00 LEICA 135mm f2.8 ELMARIT M WITH SPECS.. . . . . . . . . . . . . . . . . . . . . . ECX+++ £299.00 ROLLEIFLEX SCHNEIDER 150MM F4.6 MAKRO FOR 6008.. . . . . . . . . . . . . . .MINT- £575.00 NIKON F2 A BODY FULLY WORKING.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+ £199.00
NIKON ML-3 REMOTE CONTROL SET.. . . . . . . . . . . . . . . . . . . . . . . .MINT-- BOXED £145.00 LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT.. . . . . . . . . . . . . . . . . . . . . . EXC++ £99.00 YASHICA 124G TELEPHOTO AUX LENS SET.. . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £69.00 NIKON F2 BODY FULLY WORKING.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+ £169.00
NEEWER SPEEDLITE 750 MK II FOR NIKON.. . . . . . . . . . . . . . . . . . . . . MINT BOXED £55.00 LEICA 135mmf4.5 HEKTOR IN KEEPER.. . . . . . . . . . . . . . . . . . . . . . . . . . . EXC+++ £199.00 NIKON F2 PHOTOMIC BODY CHROME.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £275.00
OLYMPUS 45mm f1.8 M ZUIKO DIGITAL M 4/3rds + HOOD.. . . . . . . MINT BOXED £225.00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS.. . . . . . . . . . . MINT BOXED £145.00
LEICA 135mm f4.5 HEKTOR + HOOD SCREW.. . . . . . . . . . . . . . . . . . . . . . . . EXC++ £99.00
LEICA SF20 FLASH FOR M6 etc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT BOXED £89.00
Nikon Auto-Focus & Digital, Lenses Accessories NIKON F2 PHOTOMIC BODY CHROME.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+ £199.00
NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS.. . . . . . . . . . . . . . . . . . EXC++ £250.00
SIGMA 30mm F2.8 DN MICRO 4/3RDS.. . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £115.00 LEICA 14472 GRIP FOR M8/M9 etc.. . . . . . . . . . . . . . . . . . . . . . . . . . MINT BOXED £125.00 NIKKORMAT FT CHROME WITH 35mm f2.8 S LENS.. . . . . . . . . . . . EXC++ CASED £145.00
NIKON F5 BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £465.00 NIKKORMAT FT CHROME.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EXC+++ £75.00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR.. . . . . . . . . . . . . . . . . . . . .MINT BOXED £75.00 LEICA FONOR BLACK RANGEFINDER.. . . . . . . . . . . . . . . . . . . . . . . . . MINT-CASED £175.00 NIKON F100 PRO BODY WITH MB15 GRIP.. . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £275.00 NIKKORMAT FT2 BLACK WITH 50mm f2 LENS.. . . . . . . . . . . . . . . . EXC++ CASED £165.00
Canon Autofocus, Digital Lenses, Canon FD LEICA R7 CHROME BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £365.00
LEICAFLEX BODY CHROME.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £195.00
NIKON 10.5 f2.8 “G” IF-ED AF DX FISHEYE.. . . . . . . . . . . . . . . . . . . . MINT BOXED £325.00
NIKON 28mm f2.8 A/F “D” MINT BOXED £225.00
NIKON 24mm F2.8 AIS SUPERB SHARP LENS.. . . . . . . . . . . . . . . . . . . . . . . MINT-- £199.00
NIKON 28mm f2.8 AI.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £165.00
CANON 50mm f1.8 MK II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £65.00 LEICA CURTAGON 35mm f4.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT-BOXED £395.00 NIKON 35mm f2 A/F “D”.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT BOXED £245.00 NIKON 45mm F2.8 GN NIKKOR.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £199.00
CANON 85mm f1.2 USM “L” MK II LATEST MODEL.. . . . . . . . . . . . MINT BOXED £1,045.00 LEICA 28 - 70mm f3.5/4.5 VARIO ELMAR R ROM.. . . . . . . . . . . . . . . . . . . . .MINT- £475.00 NIKON 50mm f1.4 A/F “D”.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £195.00 NIKON 50mm f1.2 AIS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £395.00
CANON 100mm f2.8 MACRO USM IMAGE STABILIZER.. . . . . . . . . . . MINT BOXED £699.00 LEICA 50mm f2 SUMMICRON 2 CAM.. . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC+++ £299.00 NIKON 50mm f1.4 “G” AFS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £265.00 NIKON 50mm f1.4 Ai.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £195.00
CANON 300mm f4 USM IMAGE STABILIZER LENS.. . . . . . . . . . . . . . .MINT BOXED £695.00 LEICA 90mm f2.8 ELMARIT 2 CAM.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £299.00 NIKON 50mm f1.4 “G” AFS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £215.00 NIKON 50mm f1.8 AIS SHARP LENS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £89.00
CANON EF-S 10 - 22mm f3.5/4.5 USM.. . . . . . . . . . . . . . . . . . . . . . . .MINT CASED £245.00 LEICA 560mm f6.8 TELYT LENS WITH CASE AND.. . . . . . . . . . . . . . . . . . .EXC+++ £399.00 NIKON 50mm f1.8 A/F “D”.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £89.00 NIKON 50mm f1.8 AI LENS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £85.00
CANON 24 - 105mm f4 “L” USM IMAGE STABILIZER.. . . . . . . . . . . . MINT CASED £395.00 NIKON 135mm f2.8 AI LENS SHORT TELEPHOTO.. . . . . . . . . . . . . . . . . . . . . MINT- £175.00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER.. . . . . . . . . . . . MINT CASED £599.00 Binoculars Nikon 60MM F2.8 a/f D macro lens.. . . . . . . . . . . . . . . . . . . . . . . . . . . mint boxed £295.00
NIKON 85mm f1.8 A/F D.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £215.00
NIKON 500mm f8 MIRROR LENS UNMARLED SUPERB.. . . . . . . . . . . . . . . . . MINT £295.00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER.. . . . . . . . . . . . MINT BOXED £645.00 SWAROVSKI 10x40 SL HABICHT+STRAP AND COVERS.. . . . . . . . . . . . . . . . MINT- £465.00 NIKON 35 - 70mm F3.3/4.5 ZOOM NIKKOR MACRO AIS.. . . . . . . . . . . . . . . .MINT- £169.00
NIKON 300mm f4E PF ED VR AF-S LENS LATEST.. . . . . . . . . . . . . .MINT BOXED £1,195.00 NIKON 35 - 105mm F3.5/4.5 AIS ZOOM MACRO.. . . . . . . . . . . . . . . . . . . . . EXC++ £119.00
CANON 10 - 22mm f3.5/4.5 USM.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £295.00
CANON 17 - 55mm f2.8 EFS IS USM WITH HOOD.. . . . . . . . . . . . . . . . . . . . . MINT £445.00 Medium & Large Format NIKON 10 - 24 mm f3.5/4.5 “G” ED DX AF-S.. . . . . . . . . . . . . . . . . . . . . . . . MINT- £399.00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S.. . . . . . . . . . . . . . . . . . . . . .MINT BOXED £395.00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP.. . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £145.00
CANON 18 - 55mm f3.3/5.6 STM VIBRATION REDUCTION.. . . . . . . . . . . . . . . MINT £149.00 BRONICA ETRSi COMPLETE, BODY,75mm LENS, WLF.. . . . . . . . . . . .MINT BOXED £425.00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP.. . . . . . . . . . . . . . . . . . . . . .MINT BOXED £165.00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S.. . . . . . . . . . . . . . . . . . . . . .MINT-CASED £365.00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP.. . . . . . . . . . . . . . . . . . . . . . . . . . EXC+++ £99.00
CANON 28 - 135mm f3.5/5.6 USM IMAGE STAB.. . . . . . . . . . . . . . . MINT + HOOD £165.00 HASSELBLA X PAN LEATHER EVER READY CASE.. . . . . . . . . . . . . . . . . . . . .MINT- £195.00 NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3.. . . . . . . . . . . . . . . MINT £145.00
NIKON 16 - 35mm f4 “G” AF-S ED VR LATEST VERSION.. . . . . . . . . MINT BOXED £675.00
CANON 70 - 300mm f4.5/5.6 USM IMAGE STABILIZER.. . . . . . . . . . . . . . . . . MINT £269.00 HASSELBLAD 28mm f4 HC FOR H SYSTEM.. . . . . . . . . . . . . . . . . . .MINT BOXED £1,075.00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2.. . . . . . . . . . . . . . . . . MINT-CASED £115.00
NIKON 24 - 85mm f2.8/4 A/F “D” WITH HOOD.. . . . . . . . . . . . . . . . . . . . . . . MINT £225.00
KENCO DG CANON FIT TUBE SET 12,20,36MM.. . . . . . . . . . . . . . . . . . .MINT BOXED £99.00 HASSELBLAD 120mm f4 MACRO HC FOR H SYSTEM.. . . . . . . . . . . . . . . EXC++ £1,095.00 NIKON SB 16 FLASH FOR F3.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £65.00
CANON 580EX MK II SPEEDLITE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT-CASED £169.00 HASSELBLAD 150mm f4 SONNAR T* BLACK.. . . . . . . . . . . . . . . . . . . . . . . EXC++ £195.00 NIKON 16 - 80mm f2.8-4EAF-S VR ED DX + HOOD.. . . . . . . . . . . . . . MINT CASED £545.00
NIKON 16 - 85mm f3.5/5.6 G ED AF-S VR.. . . . . . . . . . . . . . . . . . . . . MINT-BOXED £199.00
CANON 580 EX SPEEDLITE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++CASED £99.00
CANON 580 EX SPEEDLITE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT-CASED £149.00
HASSELBLAD 150mm f4 SONNAR CF.. . . . . . . . . . . . . . . . . . . . . . . . MINT-BOXED £395.00
HASSELBLAD 150mm f4 SONNAR SILVER.. . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £175.00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL.. . . . . . . . . . MINT CASED £499.00 Olympus Manual
CANON 550 EX SPEEDLITE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT-BOXED £89.00 HASSELBLAD 250mm f5.6 SONNAR SILVER.. . . . . . . . . . . . . . . . . . . . . . . . . EXC+ £179.00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL.. . . . . . . . . .MINT BOXED £595.00 OLYMPUS OM4 BLACK BODY.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £225.00
CANON 550 EX SPEEDLITE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++CASED £65.00 HASSELBLAD HTS 1.5X TILT AND SHIFT ADAPTOR.. . . . . . . . . . . . MINT BOXED £1,995.00 NIKON 35 - 70mm f3.3/4.5 A/F LENS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £49.00 OLYMPUS OM2 SP.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXC++ £129.00
KENCO DG CANON FIT TUBE SET 12,20,36MM.. . . . . . . . . . . . . . . . . . . . . . . . MINT- £99.00 HASSELBLAD GIL GPS UNIT FOR H SYSTEM.. . . . . . . . . . . . . . . . . . . MINT BOXED £399.00 NIKON 70-200mm f2.8E AF-S FL ED VR LATEST.. . . . . . . . . . . . . . MINT BOXED £1,399.00 OLYMPUS 28mm f2.8 ZUIKO.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £75.00
KENCO TELEPLUS PRO 300 DGX 1.4 TELECONVERTER.. . . . . . . . . . . . MINT CASED £99.00 HASSELBLAD PM90 PRISM FINDER.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £275.00 NIKON AF-S TELECONVERTER TC-14E III.. . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £395.00 OLYMPUS 38mm f2.8 ZUIKO MACRO LENS.. . . . . . . . . . . . . . . . . . . . MINT-CASED £299.00
CANON EF 1.4x EXTENDER.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £215.00 HASSELBLAD PME3 METERED PRISM FINDER.. . . . . . . . . . . . . . . . . . . . . . .MINT- £275.00 SIGMA 1.4x TC-1401 TELECONVERTER.. . . . . . . . . . . . . . . . . . . . . . . MINT CASED £189.00 OLYMPUS 50mm f1.8 ZUIKO LENS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT- £55.00
SIGMA EX 1.4 TELECONVERTER.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £75.00 HASSELBLAD VFC-6 METERED PRISM.. . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £175.00 NIKON DR-6 RIGHT ANGLED FINDER.. . . . . . . . . . . . . . . . . . . . . . . . . MINT BOXED £145.00 OLYMPUS 50mm f1.8 ZUIKO LENS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MINT £65.00
NIKON TC-17E II TELECONVERTER.. . . . . . . . . . . . . . . . . . . . . . . . . . .MINT BOXED £175.00 OLYMPUS 80mm f4 ZUIKO MACRO LENS.. . . . . . . . . . . . . . . . . . . . . .MINT-CASED £175.00
SIGMA 14mm f2.8 EX HSM ASPHERIC.. . . . . . . . . . . . . . . . . . . . . . . .MINT CASED £365.00 HASSELBLAD A12 BACK CHROME.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MINT- £129.00 OLYMPUS 135mm f3.5 ZUIKO LENS.. . . . . . . . . . . . . . . . . . . . . . . . . . .MINT-CASED £69.00
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Photo Critique
Final Analysis
Benedict Brain considers… ‘Richard Kearton inside the
Kearton’s taxidermy ox hide, 1890s’ by Richardand Cherry Kearton
A few months ago

I wrote about an
image called ‘Biker
Practising Yoga in
Kensington Gardens, London,
1976’ by Patrick Ward. It’s a
wonderful image in which a
biker appears to have his head
lodged in the ground after a
nasty, albeit peculiar, biking
accident. It doesn’t immediately
make ‘sense’ what’s really going
on and as a consequence has, to
me at least, surreal undertones.
I’ve loved that photograph for
many years. And then I
stumbled upon ‘Richard
Kearton inside the Kearton’s
taxidermy ox hide, 1890s’ in a
proof copy of Gemma Padley’s
new book about wildlife
photography – just when I
didn’t think ‘Biker Practising
Yoga’ could be trumped for
sheer bizarreness. I fell in love
with Kearton’s taxidermy ox
hide image the moment I saw
it. It really was love at first sight.
This does make me question
my developing affection for
images of upturned folk, but I’ll ‘This wonderful image is virtually impossible to figure
worry about that later. It’s the
surreal element that I think out and make sense of until reading the title or caption’
I find so appealing. I am a
surrealist sympathiser, I sense. Kearton, who was inside the hundred years after this image They also created the first
The truth of the matter, as taxidermy ox, fainted and fell was made I fondly recall nature book illustrated with
was the case with ‘Biker over. Cherry – quick to seize the helping Barney Britton put a photographs, namely British
Practising Yoga’, is that the moment – grabbed a shot and review of the best wildlife hides Birds’ Nests: How, Where and
reality is much less surreal. we are presented with an image together for this very magazine When to Find and Identify Them
This wonderful image is in which we see all six legs in the mid-noughties, and that (1895). Gemma Padley’s book,
actually a picture of one of the pointing directly skyward. It’s too had a surreal twist; six hides Into The Wild, features this story
world’s first-ever hides made for bizarre, and a virtually all hidden in the foliage at and many other delights from
wildlife photography. It was impossible image to figure out Richmond Park. You couldn’t the history of wildlife
created by Richard and Cherry and make sense of until reading see the hides for looking as they photography – it really is a
Kearton. The idea was that the the title or caption. It appears were so well camouflaged. Made fascinating read.
camera lens was positioned so that Cherry and Richard me laugh anyway. Cherry and
that the photographer could Kearton were pioneers in many Richard claimed other firsts too Into The Wild: The Story of The World’s
shoot through a hole in the aspects of wildlife photography including the first-ever Greatest Wildlife Photography by Gemma
animal’s ‘head’. that we take for granted today, photograph of birds’ eggs in a Padley will be published by Laurence
On this occasion, Richard not least the hide. Over a nest photographed by Cherry. King at £40 on 16 September.
Photographer and journalist Benedict Brain combines his personal practice with writing about photography and leading workshops. Regularly asked to judge competitions such as the BPA, in
2020 he founded Potato Photographer of the Year. He travels as a public speaker talking about photography, and he sits on the distinctions panel for the RPS. www.benedictbrain.com
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M a
of tivi
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FUJ ILM-LOAN.C M

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