Saturday 4 August 2018

Fujiilm X-T 100

y-level
Is this the best entr
TESTED mirrorless camera you can
buy?

12-page
BUYING Passionate about photography since 1884
GUIDE

Go wide
597 cameras
& lenses listed
& rated

Techniques and tips for getting the

best out of wideangle lenses

Captive wildlife
How to get better shots in
wildlife parks and zoos

Ainity
Photo 1.6.7
‘As good as Photoshop’
for under £50 Bruce Gilden
The controversial Magnum
Photos photographer talks to
AP about his hard-hitting work
Win a Sigma sd Quattro Send us your best landscapes and cityscapes
 7days
COVER PICTURES © MARK BAUER / PAUL HOBSON

A week in photography
Pretty much everyone has a prominence to the foreground, or distorting
wideangle lens, even if it’s just perspective, there’s a lot you can do with a
their kit zoom. At a superficial wideangle and this week we offer a refresher on
level they’re ideal for getting how to get the best out of them. Also this week
more in the shot than you we talk to American photojournalist Bruce
In this issue otherwise could – more view, more people in the
group. But wideangles have distinctive visual
Gilden about his controversial portraits, we test
Fujifilm’s latest entry level X-series and examine
12 It’s a wide world
characteristics that a skilled photographer can the editing software that gives you the power of
Expert James Paterson
explores the world of exploit to do a lot more than that. Whether it photoshop for less than £50. See you next week.
wideangle lenses and be emphasising leading lines, giving more Nigel Atherton, Editor
explains how to get the
most out of them JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
18 In your face
Magnum ace Bruce
Gilden’s provocative ONLINE PICTURE OF THE WEEK
portraits are unforgettable
22 Photo roadshow
World-class
gardens
Enjoy the photogenic
gardens at Mount Stewart
in Northern Ireland
30 Location guide
Jeremy Walker shares his
expertise on shooting the
Great Dorset Steam Fair
32 APOY Round 6
Your chance to enter

IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
Round 6: Town and Country
34 Wildlife on
your doorstep
Make the most of your local
zoo and wildlife centre to
capture great images of
all manner of animals
38 Fujiilm X-T100
© HANNY FOXHALL

Michael Topham tests

Fujifilm’s new entry-level
mirrorless camera
45 Serif Ainity
Photo 1.6.7 Tangled
A decent alternative to by Hanny Foxhall
Photoshop? Rod Lawton Nikon D610, 50mm, 1/250 sec at f/4, ISO 320
Win!
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

certainly rates this Each week we choose our favourite

software as such This evocative and detailed shot I especially love poppy fields, both picture on Facebook, Instagram,
of tangled red poppies at dusk before and after sunset. On this Flickr, Twitter or the reader gallery using
55 Buying Guide was uploaded to our Twitter particular day, once the sun had #appicoftheweek. PermaJet proudly supports
Our comprehensive listing page using the hashtag vanished over the horizon, I really the online picture of the week winner, who will
of key specifications for #appicoftheweek. It was taken by didn’t mind practically lying on receive a top-quality print of their image on the
cameras and lenses Birmingham-based photographer the floor to get a more detailed finest PermaJet paper*. It is important to bring
Hanny Foxhall. and striking perspective, and so images to life outside the digital sphere, so we
Regulars She tells us, 'Flowers are making best use of the remaining encourage everyone to get printing today! Visit
3 7 days probably what I shoot best and available light.' www.permajet.com to learn more.
26 Inbox
48 Accessories Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
51 Tech Talk Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@ti-media.com.
82 Final Analysis CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 26.
Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 26.
NEWS ROUND-UP
The week in brief, edited by Geof Harris

Photojournalism’s MeToo moment?

Photojournalism has a major and long-standing problem with
sexism and sexual harassment, suggests a report in the Columbia
Journalism Review. According to the authors ‘many women in the
industry say the behaviour is so common that they have long
considered it simply one of the realities of working as a woman in
the profession.’ See www.cjr.org/special_report.

New 48MP smartphone sensor from Sony

Sony has announced a new 48MP smartphone sensor, a 1/2-type
(8.0mm diagonal) device using the Quad Bayer colour filter array. As
well as its impressively high pixel count, the IMX586 sensor is the
first in the world to feature a minutely small pixel size of 0.8μm.
The IMX586 will go into production from September.

Let there be Light New Manfrotto bags

Light, a computational imaging
specialist, has raised an extra
$121 million of funding led by the
SoftBank Vision Fund with the
participation of Leica Camera.
Light’s imaging platform uses
Manfrotto has added two bags
to its Manhattan range. The
Manhattan Mover-30 can hold
two mirrorless cameras and
lenses, while the top section
can also hold a drone with two
© JANE BOWN ESTATE

advanced algorithms to combine batteries. The smaller courier-

images from multiple camera style Speedy-30 has two padded
modules into a high-quality image. compartments for a 14in laptop
Later this year, the first mobile and 9.7in tablet. Both come

phone incorporating Light’s
imaging technology will go on
sale. See light.co for details.
BIG
with adaptable inserts and Jane Bown retrospective now
prices start from £109.95. See
www.manfrotto.co.uk. on display in London
An exhibition displaying the works of

picture
esteemed photojournalist Jane Bown is on
First Photo North Festival adds to its roster display at Proud Central (www.proudonline.co.uk)
The organisers of the first international Photo North Festival, until 12 August. Working within a male-
taking place in Harrogate from 9-11 November, have announced dominated industry, Bown was a pioneer of
top documentary photographer Stuart Freedman has joined the the genre, capturing portraits of post-war
20-strong artist roster as a speaker, along with AP-regular Harry Britain on assignments for The Observer.
Borden and other leading pros. See www.photonorthfestival.co.uk.

4 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Her career spanned six decades,

12
documenting the austerity of the 1950s to Words & numbers
the rise of modern celebrity culture. The
exhibition includes this previously unseen
photograph of the Beatles. Taken in Knole Photography is a
Park, Sevenoaks, it was shot during the
language more
filming of a promo for Penny Lane. Bown
came across the band in the park by chance.
She returned to the house to get a camera,
and only had colour Cibachrome film.
universal than words
Minor White (1908-1976)
mm
Widest angle rectilinear lens
available for full-frame
Photographer, theoretician, critic and educator

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 5


Fujifilm releases
premium compact
FUJIFILM has released the
XF10: a keenly priced, travel-
friendly compact camera featuring a
24.2-million-pixel APS-C sensor
and 18.5mm f/2.8 fixed focal-length
lens. This 28mm equivalent optic
offers a 10cm close focusing
distance along with a 9-bladed
diaphragm for attractive bokeh.
There is also an extra digital
teleconverter feature, which enables
focal lengths equivalent to 35mm
The XF10 features a 3in touchscreen, ISO up to 12,800 and 4K video recording
6 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
and 50mm, albeit at the expense of
image resolution. Other key features
include an ISO range up to 12,800
(expandable to 51,200), a 91-point
AF system, 6fps shooting for around
13 JPEGs, a 3in touchscreen LCD
and 4K/Full HD video recording.
This compact, which is aimed at
travellers and those upgrading from
smartphones, is very portable
measuring 112.5x64.4x41mm and
weighing approximately 280g.
Although light and
compact, the XF10
has all the hallmarks
of Fujifilm’s X compact 23mm, 35mm
series system
Being a Fujifilm compact, the
XF10 has 11 Film Simulation modes, and AF capability. Fujifilm
19 Advanced Filters, with filter fans
gaining two brand-new options: Rich production capacity for
& Fine and Monochrome [NIR]. The interchangeable lenses by
former is a fancy name for more
saturated colours and subtle
vignetting, and the company claims
it’s particularly suitable for food
photography. Monochrome [NIR]
seeks to emulate infrared camera
effects. Meanwhile fans of Instagram
will appreciate a new touchscreen
feature which enables users to
quickly select a square (1:1) format.
The XF10 is in essence a simpler,
cheaper update to the firm’s old X70
compact. Although the XF10 lacks
several key features of the older
model, including analogue shutter
speed and exposure compensation
dials, an aperture ring on the lens, a
tilting rear screen or a hotshoe for a
flash unit, it does gain a handy AF
joystick for easier and quicker focus
point selection. It is also a well-
connected camera, with integrated
Wi-Fi and Bluetooth.
The XF10 is on sale now with a
suggested retail price of £449.
Fujifilm updates
roadmap for
X-system lenses
JULY has been a busy
month for Fujifilm, with
the company also updating
the ‘roadmap’ for its
X-system lenses. This
development plan reveals
the basic specifications
of three new lenses: a
wideangle compact prime,
a standard zoom lens with
a constant f/4 aperture,
and a super-fast f/1 prime.
Firstly, the XF 16mm
f/2.8 R WR will feature an
equivalent focal length of
24mm and complement
the firm’s existing set of
and 50mm f/2 primes.
Meanwhile, the XF
16-80mm f/4 R OIS WR
standard zoom will have a
5x zoom range equivalent
to 24-120mm, and a
constant f/4 aperture
further boosts its versatility.
Finally, Fujifilm claims
that the XF 33mm f/1 R
WR will be world’s first
mirrorless glass with a
maximum aperture of f/1.0
also plans to boost its
70% by 2020.
Subscribe to
SAVE *
35%
Visit amateurphotographer
subs.co.uk/14AW (or see p50)
* when you pay by UK Direct Debit
Fujifilm unveils two
lenses for X series
AS WELL as the XF10,
Fujifilm has unveiled
two new lenses for its X
system cameras – the
Fujinon XF 200mm f/2 R
LM OIS WR and Fujinon
XF 8-16mm f/2.8 R LM
WR. The fast 200mm
prime features 19
elements in 14 groups,
and includes a 1.4x
teleconverter as standard;
this extends the 300mm
equivalent focal length to
the equivalent of 427mm
at f/2.8. The lens is made
from sturdy magnesium
Nikon goes full-frame mirrorless
IN A MOVE that will
come as no surprise
to anyone who’s been
watching the industry
closely, Nikon has officially
announced that it’s
working on a brand new,
full-frame mirrorless
system. Initial details are
sketchy, but Nikon has
confirmed that the camera
will employ a new lens
mount, with an adapter for
F-mount SLR lenses to be
available. It has also stressed
that it is still committed to
making DSLRs.
Nikon appears to be
showing off its new
mirrorless camera in a
teaser video titled Travel
of Light. This is a rather
overwrought sci-fi affair
showing how light reaches
a camera sensor, but at the
end features a camera and
lens (in silhouette) that
looks like nothing in Nikon’s
For the latest news visit www.amateurphotographer.co.uk
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
The XF 200mm f/2 and
XF 8-16mm f/2.8 (below)
alloy and is moisture and
dust resistant, and has a
matte silver finish to avoid
overheating. There is
also image
stabilisation (with
up to five stops
compensation)
and a handy
Focus Preset
Function. The
lens is due to go
on sale in October at
A brightened frame from Nikon’s Travel of Light video
current line-up.
Brightening the video
reveals an SLR-style body
with a central viewfinder
and tilting rear screen, not
unlike Sony’s Alpha 7
range with which it will
directly compete.
Nikon says, ‘The
mirrorless camera and
Nikkor lenses that are in
development have enabled
Back in the day
A wander through the AP archive. This
week we pay a visit to August 1981
a cost of £5,399.
Fujifilm’s other new lens
is a fast, weather-resistant
ultra-wideangle zoom with
an equivalent focal length
of 12-24mm. The Fujinon
XF 8-16mm f/2.8 R LM
WR is designed to
complement the firm’s
existing 16-55mm and
50-140mm f/2.8 zooms.
It will go on sale in late
November priced £1,799. 1981
ANOTHER very ’80s issue this week, featuring a cover
model with impressive tonsorial architecture and who
appears to be wearing exotic leaves from the Amazon
rainforest. Inside the magazine are in-depth features
on two photographic giants of the age: Lord Snowdon
(now known to millions worldwide thanks to The
Crown) and the rather more sedate Norman Parkinson
(a banger, anyone?). This was royal wedding time and
there is a poignant piece inside based on Snowdon’s
famous images of Charles and Diana. Few could have
foretold the trials and tragedy that were to beset the
happy-looking couple. Snowdon’s quote is also telling,
considering how soon this marriage was about to hit
the rocks: ‘Once I tended to think that the photograph
was more important than the person... but now I
wouldn’t mind taking a boring picture if it gave truthful
information about the human being.’ Whatever woes
lay ahead, Diana’s stunning beauty shines through.
the pursuit of a new
dimension in optical
performance, with the
adoption of a new mount.
‘With this new mirrorless
camera and Nikkor lenses,
we are committed to
providing photographers
with the ability to capture
images that are richer
and more vivid than
ever before.’
A feature on Lord Snowdon’s portraits of the royal couple
7
Exhibition
Politics of Seeing
by Dorothea Lange
Oliver Atwell sees how Dorothea Lange used
her camera as a political weapon to highlight the
cruel injustices of 20th-century America
O
ne of the most critical aspects
‘Dorothea
of any photojournalist and
Lange: Politics documentary photographer is
of Seeing’ runs a capacity for empathy. Often
at the Barbican this is an innate quality, but for some, it’s a
Art Gallery in result of their own hardship. Dorothea
London until Lange, who was born in Hoboken, New
2 September. Jersey, in1895 to second-generation
Tickets are German immigrants, understood what it
£13.50. was to have the cards stacked against you.
While her troubles were comparatively
small compared to the difficult situations
faced by her future photographic subjects,
it was enough to instil the quiet and crucial
sensibility of compassion.
When she was just seven years old,
Dorothea (who at that time still carried
her father’s surname of Nutzhorn)
contracted polio. While the disease
obviously didn’t kill her, it left its mark by
damaging her right leg and leaving her
with a limp. In later years, Dorothea
suggested that the altered gait ‘formed
me, guided me, instructed me, helped me
and humiliated me… I’ve never gotten
over it, and I am aware of the force and
power of it.’
Dorothea Lange in Texas on the Plains, c. 1935
8 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
Five years later her father, Henrich,
abandoned his family leaving her mother
Johanna to take care of Dorothea and her
brother, Martin. It was then that Dorothea
reverted to her mother’s maiden name,
Lange. Polio was just one of many ailments
that would afflict Lange throughout her
life, including ulcers, gallbladder disease
and post-polio syndrome. She died of
oesophagal cancer in October 1965.
The Great Depression
Such a catalogue of health-related
disasters would render many of us
as hollow wrecks but for Lange these
events only served to increase her drive
to explore and highlight the adversities Administration, an agency created in
that faced her fellow Americans at a 1937 to highlight and tackle rural poverty
time when the Great Depression was during the aforementioned Depression.
sweeping across the country like an The agency’s legacy has survived thanks
economic Black Death. largely to its highly influential photography
This exhibition at the Barbican in programme, which ran from 1935-1944.
London spans the breadth of Lange’s At the same time as such luminaries as
work, starting from her early studio Walker Evans and Gordon Parks, Lange
portraits of the bourgeoisie in San – along with her husband Paul Schuster
Francisco to her unparalleled work taken Taylor, who gathered interviews and
as part of the Farm Security economic data – set about producing
ALL PICTURES © US LIBRARY OF CONGRESS
Family walking on the highway bound for Krebs, Oklahoma, June1938

Flag of allegiance pledge at Raphael Weill School, San Francisco
a series of images that revealed the
dispossessed migrants and sharecroppers
that existed across California.
It was during this period that Lange took
her most famous photograph. The image,
taken in Nipomo, California, in 1936,
depicts a mother of three called Florence
Owens Thompson staring into the
distance as she comforts her children. The
image became known as ‘Migrant Mother’
(right) and quickly became the defining
visual of America’s great dark period. The
symbol of the mother has traditionally
been a powerful symbol. But where we
traditionally see the mother as a strong
and comforting presence, one of security
and warmth, here we see her as ragged
and beaten down. It was confirmation that
something had seriously gone wrong in
the fabric of US society.
According to Lange, she spoke to
Thompson who said she was 32, had
been feeding her family frozen vegetables
and had resorted to selling their vehicle’s
tyres to make ends meet. Years later,
Thompson was tracked down and
claimed that Lange had fabricated and
embellished many details of her story,
and even promised that the images were
never to be published. Regardless, the
power of the image remains. Legend
always takes precedence.
‘Dorothea Lange: Politics of Seeing’ is
running in tandem with another exhibition
at the Barbican, which surveys the work of
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
Lange’s most famous image ‘Migrant Mother’
contemporary photographer Vanessa
Winship who has in many ways continued
the legacy of Lange (most notably in her
utterly perfect book She Dances on
Jackson). We’ll take a look at that
exhibition in the 18 August issue.
This is a rare chance to see a major
exhibition of such an icon’s work; if you
can spare the time to visit then be sure
to do so. No one has quite matched the
humanity of Lange’s work before or
since. They are perhaps one of the most
perfect demonstrations of the power
of photography.
Also out now
The latest and best books from the
world of photography. By Oliver Atwell
© SANDY SKOGLUND 1980
The Eye
By Fotografiska, teNeues, £65, 256 pages,
hardback, ISBN 978-3961711130
Back in 2010, Fotografiska first
opened its doors to the public.
The gallery set up shop in an old
industrial building on the harbour at
the waterfront in Stockholm. In no
time at all the gallery played host
to a number of the world’s most
influential and respected photographers. In this book
we see them gathered into one space and it really is
something to behold. The range of names is a who’s
who of contemporary photography, though there’s
also plenty of room for photographers of the past. It’s
good to see that the gallery is egalitarian in its aim to
present these big names besides photographers who
have yet to establish themselves. That alone makes it
worth picking up. The fact that it is genuinely one of
most incredible collections of images we’ve seen from
a photography publication for some time makes it
utterly indispensable and well worth the price tag.
If you’re a collector of photography books, this is
definitely one for the bookshelves. +++++
Another Kind of Life:
Photography on the Margins
By Alona Pardo, Prestel, £39.99, 288 pages,
hardback, ISBN 978-3791384276
In AP 28 April, we looked at the
Barbican’s brilliant exhibition
‘Another Kind of Life’ that featured
20 stories by 20 photographers,
all dealing with the theme of what
it is to be an outsider. This book,
released to coincide with the
exhibition, is no less affecting in its themes and in its
presentation of a diverse group of photographers. The
book is unflinching in its depictions of gang members,
sex workers, drug users and members of the
transgender community. It allows is a mature discussion
about the nature of representation in photography
and what these images can do to highlight fringe
communities. A vital and important addition to many
of the current cultural discussions. +++++
9
 In next week’s issue
Viewpoint On sale Tuesday 7 August
Andy Westlake

© STEVE DAVEY
Don’t just choose the camera with the
highest speciication instead, ind the one that
works best for you and your photography

A
s a child of the1970s, I look
back fondly on a card game of
the time called Top Trumps.
For those not in the know, this
used a pack of cards on a specific
theme, maybe cars, trucks
or aircraft. Each card
featured a particular
example with a set of
specifications – with aircraft,
for example, this might be
maximum speed, wingspan
etc. The object of the game
was to win all the cards by
calling out a number on your
current card that was higher than
those of your opponents. The
fastest, largest or heaviest won.
The skill was in working out what
category to call. Some cards excelled in
The Clash of
the Cameras
Top Trumps Take the
many areas, but others were decidedly
middle-of-the-road and never won much.
This is where the game diverged from
reality; the most extreme aircraft may
Strengths and weaknesses
All this brings me neatly on to this year’s
two super-expensive premium travel zoom
compacts: the Panasonic Lumix TZ200 and
high road
have been the best cards to have in your Sony RX100 VI (which I reviewed in last Don’t let low light get you
hand, but the unwanted mid-pack week’s issue). The Sony is smaller and lighter,
examples represented workhorses that which for a compact camera looks like a down – hone your high-ISO
were far more widely used in the real good thing, but turns out to compromise
world. Jumbo jets are all very well, but battery life and handling. The Panasonic has
skills with Steve Davey’s tips
on most routes you want something a considerably longer lens, so should win for
smaller and cheaper. shooting distant subjects, but the Sony’s
I was reminded of this game recently lens is so much sharper at full telephoto that
when AP’s reviews editor Michael Topham the gap is considerably narrower than you’d
turned up at the office with a pack of think. The specs really don’t tell the whole
camera Top Trumps, received as a free gift story; both cameras have their strengths
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED

from the lens-hire company Lens Lab. In
this case, the camera with the most
megapixels, highest ISO setting or fastest
shooting speed wins. It seems this is also
how some people determine which
camera is ‘best’.
Back in the real world, again it’s just not
that easy. Sometimes factors that aren’t
easily quantifiable are just as important in
determining whether a camera works well.
It might be how it feels in your hand, how
and weaknesses, and either might be the
right choice for different people.
This, of course, is the whole point of our
reviews. We go beyond the spec-sheet
comparisons and assess what does and
doesn’t work. But every reviewer has their
own preferences, and chances are, yours
will be different from mine. There’s no
single ‘best camera’ – just pick what works England’s irst (and last)
for you, and stick with it. Life’s not as simple 35mm SLR
as a game of Top Trumps. John Wade tells the story of the Wrayflex
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE

comfortably placed its controls are, or

how easy it is to change important Andy Westlake is currently the Technical Editor Samyang AF 85mm f/1.4 EF
settings. Compromise these and you can of Amateur Photographer. For six and a half years Michael Topham tests this affordable
end up with a flawed camera, no matter he wrote for Digital Photography Review, writing fast telephoto prime for Canon users
how good it might be on paper. numerous lens and camera reviews.
The surreal truth
Do you have something you’d like to get off your chest? Send us your thoughts in around The images of Lee Miller – an important
500 words to the address on page 26 and win a year’s digital subscription to AP, worth £79.99 figure in the British Surrealist movement

10 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 *HW D IUHH ZRUWK  ZKHQ \RX EX\ D

:LWK ISV KLJKVSHHG FRQWLQXRXV VKRRWLQJ DFFXUDWH $) WUDFNLQJ DQG D ]HUR UHF\FOH WLPH +66 /(' ÀDVK \RX¶OO QHYHU PLVV D VKRW
7KH UHDO SRWHQWLDO RI IXOO IUDPH LV QRZ XQOHDVKHG

$YDLODEOH DW WKH IROORZLQJ VWRFNLVWV

FDPHUD

'LVFRYHU PRUH DW ZZZURWROLJKWFRPVRQ\

μ6RQ\¶ DUH UHJLVWHUHG WUDGHPDUNV RI 6RQ\ &RUSRUDWLRQ μ5RWROLJKW¶ μ1(2 ¶ DQG WKHLU ORJRV DUH UHJLVWHUHG WUDGHPDUNV RI 5RWROLJKW /WG
$OO RWKHU ORJRV DQG WUDGHPDUNV DUH WKH SURSHUW\ RI WKHLU UHVSHFWLYH RZQHUV 2IIHU HQGV QG -XO\ 
 Technique WIDEANGLE PHOTOGRAPHY

It’s a wide
James Paterson explains why wideangle
lenses are so useful, how to get the most
out of them, and when to go wide
© GETTY IMAGES/ALLARD SCHAGER

Lighthouse of Cap de
Formentor, Mallorca,
Balearic Islands, Spain,
around sunset
Nikon D810, 20mm, 1/8sec
at f/16, ISO 64

KIT LIST
▲

Prime wides Fisheye

▲

Usually fixed at either 14mm, Covering 180° or more,

20mm, 24mm, 28mm or a fisheye is a special type
35mm, prime wides are of wideangle that offers
typically sharper and faster a huge field of view
than zooms, but with a and characteristic
trade-off in versatility. bulging distortion.

12 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 A
wideangle lens is one of the most useful
lenses you can own. By offering a greater
field of view, wideangles let you fit more

world
into a frame. As such, they’re beloved by
landscape photographers, where big skies, dramatic
scenery and interesting foregrounds can all be
included in a single, detail-rich frame.
But it’s not just landscape photographers who can
reap the rewards of a wideangle lens. They’re useful
for all kinds of applications, from architectural and
interior photography to travel and environmental
portraiture. Over the next few pages we’ll explore
some of the key things to consider when using a
wideangle lens. How to get the most out of them,
overcome common problems and create expansive
photos of all kinds of subjects.

The basics
Typically, any lens with a focal length of 35mm
or less is classed as a wideangle (that’s full frame
35mm, which is an equivalent 23mm on an APS-C
sensor camera). The shorter the focal length, the
wider the field of view. Of course, many multi-
purpose zooms can be used as a wideangle at the
short end. Lower focal lengths result in wider fields
of view, so you can fit more of the scene in the
frame. As such, a wideangle is handy when you
simply can’t get back far enough to include
everything you want.
Focal length also has an effect on the sharpness
of your photos. Depth of field is exaggerated with
a wideangle. So you can usually achieve front-to-
back sharpness across the scene when using a
narrow aperture. What’s more, wideangles will
usually have a close minimum-focusing distance,
which means you can get right up close to your
subject, giving the impression of being right in
the thick of the action.

Wide landscapes
One of the best things about a wideangle is
the ability it gives you to include a detailed
foreground, distant scenery and big sky all in

© JAMES PATERSON
A wideangle helps to exaggerate perspectives
Nikon D800, 16mm, 2.5sec at f/16, IS0 100

James Paterson
James is an award-winning journalist, skilled photo editor
and photographer. His work has appeared in countless
magazines and books, and in 2014, he was appointed editor
of Practical Photoshop magazine. To see more of his work,
visit www.patersonphotos.com.
▲

Zooms Tripod
▲

Wideangle zooms offer A tripod is especially useful for

greater flexibility than wideangle photography as it
primes, especially gives you time to perfect your
when composing composition and allows for
a frame to arrange longer exposures.
both foreground and
background neatly.
 Technique

© GETTY IMAGES/DANIEL BOSMA

Basalt columns, Giant’s Causeway, Northern Ireland

one frame. However, with such a

wide field of view, it can be a
challenge to find enough interesting
objects to place within it. Landscape
photographers will often seek out
foreground interest – an interesting rock
formation, tree or winding river – that
leads the eye towards the distant scenery.
It’s this challenge of finding harmony
between foreground, background and
sky that makes wideangle landscape
photography such a rewarding pursuit.

Exaggerated perspectives
A wideangle of view could be invaluable
Get more from your wideangle
in situations where you can’t get back far A wideangle can be a good exaggerate a person’s features or to
enough to fit everything in with a longer choice for all kinds of subjects elongate their limbs. A wide focal length
lens. However, there are also more creative might also be helpful for environmental
applications. A wideangle will help you to Portraits portraits, where it’s important to show
exaggerate perspectives, because they Wideangles aren’t thought of as portrait the subject in situ.
change the visual relationship between lenses. The exaggerated perspective
objects that are closer to the camera and makes objects closer to the camera look Wildlife
those that are further away. Closer objects unnaturally large. Which can be unkind For obvious reasons wideangles are not
can appear unnaturally large, while the to faces, enlarging noses and foreheads. usually thought of for wildlife. But if you
distance between them and objects As such, it’s usually best to step back and want to create an unusual perspective
further from the camera is exaggerated. zoom in to a longer focal length for a then a wideangle can be a great choice.
We can use this to creative effect by more flattering portrait (a focal length of The field of view will show more of an
bringing our lens up close to elements 85mm is regarded as perfect for people). animal’s surroundings than a longer
and surfaces in our scene. However, the distortion a wideangle lens, so it can give more of a sense of the
creates can be used for comic effect to animal’s environment. The challenge is
Wideangle challenges
© GETTY IMAGES/MIKE KOROSTELEV

When using a wideangle lens it can be African penguins on

tricky to craft an uncluttered composition. Boulders Beach
By nature these lenses let you fit more in Simon’s Town,
things in, which can sometimes make it South Africa
harder to organise all those things into a Canon EOS 5D Mark III, 15mm,
1/500sec at f/10, ISO 500
visually pleasing whole. The exaggerated
perspective also means that slight
changes in camera height can make a
dramatic difference to the relationship
between foreground and background in
your compositions.
It helps to pay particular attention to the
edges of the frame, as unwanted clutter
can easily creep in. A tripod can help
us take a more studied approach to
composition. While we’re thinking about
the edges of the frame, we also need to be
cautious about placing subjects near the
edges, especially around the corners.
Distortion in the corners of the frame
is more pronounced, so people can be
stretched into unnatural shapes.

14 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 © JAMES PATERSON
Using ilters
A selection of filters can be
very useful when shooting
with a wideangle. If you’re
including both land and sky
– as is often the case when
shooting wide – then a
graduated filter can help to
balance the two. A polariser
can also be useful for
enhancing skies and cutting
through reflections in foliage,
but be careful when shooting
blue skies, as the wide field
of view might result in uneven
dark patches, where the
polariser affects one part of
the sky more than another.
Lens flare can also be an
issue when pairing filters with
a wideangle as the lens hood
must usually be removed –
The beauty of wideangle so if shooting in bright
lenses is being able to sunlight be sure to shade
capture cramped interiors the front element of the lens.
Nikon D800, 10.5mm, 1/20sec
at f/6.3, ISO 800
© JAMES PATERSON

Filters can prove tricky when

in getting the camera up close to the using wideangles; keep an eye
subject without spooking it. This is on corners and odd patches
where remote releases and Wi-Fi
shooting via a phone can make a real
difference. We can set the camera up on
a tripod with a few enticing snacks near
the lens, then hide nearby and wait.

Travel
One of the best things about wideangles
is the feeling they give the viewer that
they could almost step into the scene. So
a wideangle – or versatile zoom with a
wide end – is a great lens to have in your
bag when travelling. A wide will allow
you to capture vibrant scenery, shoot in
cramped interiors and – if you’re lucky
enough to own an underwater housing
– they’re even helpful underwater, as
they counteract the magnifying effect
of shooting through the water.
Documentary
Documentary photography is about
telling the story of the scene unfolding
in front of the camera. A wideangle can
be a powerful tool, simply because it
allows us to compose both close-up
foreground details with expansive,
detail-filled backdrops. What’s more,
when used up close to a subject,
wideangle lenses offer a visceral
in-your-face perspective. It places the
viewer in the thick of things, which can
create a powerful reaction.
‘The field of view will
show more of the animal’s
surroundings’
Barrel distortion
There’s an inherent difficulty in fitting a wide
field of view – one that naturally extends in
a hemisphere around the camera – and
cramming it onto a flat rectangle. The edges
have to be compressed so that everything
fits. This is why wideangles are particularly
susceptible to barrel distortion, where
naturally straight lines within the frame
appear to be bowed or bulging. It’s more
obvious in landscapes with straight
horizons, or architectural shots with lots
of straight building lines.
Quality wideangle lenses will have less
distortion, but every lens suffers to some
extent. Thankfully, correcting distortion
is a simple step if you have software
like Photoshop, Lightroom or DxO
ViewPoint. The lens used to take the
photo is automatically detected (most of
the time, if not you can select the lens
manually), and a correction for barrel
distortion is applied.
Converging verticals
When we tilt a wideangle lens up to shoot a
tall building – the vertical lines tend to collapse
in on one another. Known as converging
verticals or keystoning, the optical effect is
especially apparent with wideangles, simply
because the perspective is so exaggerated.
One option is to correct for the converging
verticals. At the time of shooting find a
straighter angle to shoot from, by moving
further backwards or higher so the upward
camera angle is less acute. Corrections can also
be made in post-production. The excellent
Upright command found in Lightroom’s
Develop Module (and also in Photoshop’s
Camera Raw plugin) can detect and correct
verticals as well as fix wonky horizons.
The second option is to embrace the visual
effect and use it to enhance your composition.
In a visual sense, diagonal lines are more
aesthetically pleasing than horizontals or
verticals. You can take advantage of this by
composing dynamic upward angles with
your wide lens.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 15

 Technique WIDEANGLE PHOTOGRAPHY

A moving tram on Hong

Kong Island. In the
background you can see
the Bank of China
Canon EOS 5D Mark III,
1/10sec, ISO 3200
© GETTY IMAGES/WWW.STEFANBOCK.DE

Fisheye lenses Tilt–shift wideangle image of a

Most lenses are designed train station in Munich, Germany
to correct distortion, so Sony RX100 II, 10.4mm,
that straight natural lines in 1/60sec  at f/2, ISO 1600
a scene will appear straight
in the resulting image.
Fisheye lenses offer a
different approach.
Distortion correction is
embraced in the attempt
to cram as many degrees
of view as possible into
the frame. The result is
a bulging, hemispherical
image where anything
outside of the centre of
the frame appears very
distorted. As such, a
© GETTY IMAGES/EYEEM/REINHARD KRULL

fisheye isn’t for everyday

use, but it can give images
a dynamic feel that can
be used to great effect on
certain subjects like sports
and action photos, or
city scenes where the
otherworldly distortion can Tilt–shit wides take expansive photos of interiors without skewing the
transform angular straight A tilt-and-shift wideangle lens allows the photographer vertical lines of the walls. The shift control offsets the lens
lines into more abstract to counteract the problem of converging verticals by up or down, giving the effect of changing the camera
curved shapes. changing the alignment of the front of the lens. This is position along the vertical plane. We can also rotate the
the ‘shift’ part, and it’s the reason why architectural orientation of the lens body, so that we can tilt on the
photographers love tilt–shift wides. It allows them to vertical axis and shift on the horizontal.

16 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 


 & ",*1 & /1& 0 &.#

1 & * / *  */* &,$ & /*  &* & ,* $
/*$ $ * $&  % 2 $&!
.   $ $1 * $ ,& . &2& *
* .$1* $  $$$&& $ /*  * & *  $$  1 /*  '3+33 (+!
**   ,$  * &&!

1 & $,* * 1, 1  * $ /* .$ 3 1$&  $&& $ 
&!

           



**,!*&!(&1

&  -   

 W
hat do you think

USA, OVERTOWN, MIAMI, FLORIDA, 2017. JESSICA © BRUCE GILDEN/MAGNUM PHOTOS

when you look at
Bruce Gilden’s
pictures? Are you
drawn in by a close-up look at the
human subject, or do they make
you feel a little bit uncomfortable?
Either way, it’s highly likely that
you’ll linger on them.
Magnum photographer Bruce
Gilden made his name for his
controversial photographic methods
in his home city of New York – his
images stand out from others who
usually play the role of passive
observer. Now 71, he’s shooting in
the street less (unless someone pays
him to do so) and concentrating on
posed portraits.
I met Bruce at this year’s Photo
London, where his ‘Farm Boys and
Farm Girls USA’ project was on
display at the Leica Collector’s
Lounge. Huge 40x60in prints
(available to buy for £9,000 ex VAT
if you’re interested), adorned the
walls, and were some of the most
arresting portraits at this year’s fair.
Although Gilden admits, ‘You’ll be
hard pressed to find anyone who
can do good pictures in the street
after 40 or 50,’ there are other
reasons why street photography
has lost its appeal. ‘A ll the cities,
the main cities – New York, Paris,
London – are becoming gentrified.
All the people with souls are being
WEST BROMWICH, UK, 2013 © BRUCE GILDEN/MAGNUM PHOTOS

pushed out. People look more

similar than they did before – there
are less characters, so it wouldn’t be
as interesting for me,’ he explains.
Inspired by old police mug shots,
This portrait is a Gilden first developed the idea of
rare example of an
what he calls ‘face portraits’ while
occasion when
Bruce showed his working on a commission for the
subject their image Archive of Modern Conflict. Later,
while in Florida with Magnum

In your
for the ‘Postcards from America’
project, he was introduced to the
edium format Leica S camera.
rge and imposing, using medium
mat is about as far removed from
eet photography as it’s perhaps
ssible to get.
ll of this laid the ground work

fa
‘Farm Boys and Farm Girls
A’. Explaining the origins of

Love them or hate them,

Bruce Gilden’s portraits
are certainly provocative.
The Magnum legend
speaks to Amy Davies
18 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 PORTRAITURE

A portrait from Gilden’s

ongoing ‘Only God
Can Judge Me’ series
 PORTRAITURE

IOWA, USA 2017. NATHEN, A FARM BOY © BRUCE GILDEN/MAGNUM PHOTOS

IOWA, USA 2017. JENNA, A FARM GIRL © BRUCE GILDEN/MAGNUM PHOTOS

the project, Bruce tells me, Above and right: came up with Minnesota, Iowa hard, they’re so polite, they get up at
‘I had a Guggenheim Gilden’s latest series and Wisconsin. I was totally tired four in the morning, they take care
Foundation Grant – that means ‘Farm Boys and and bored because with the face of their animals, then they go to
Farm Girls USA’ was
they give you x amount of money, project, I can walk around for 10 school, and they have so many
shot entirely on the
and you can photograph whatever medium-format hours and only take three pictures interests that they don’t have time
you want. I figured, since I’m doing Leica S system – you have to really push yourself. to get in trouble.
the face project, I might as well go So I said, let’s go into the livestock ‘What was also amazing was that
to state fairs, because they have a area, I had been many times before, about 98% of the parents said, yes, I
lot of people at them. ‘We looked up but I’d never really found anything could photograph their kid. Which
where the largest state fairs are, and so interesting. in New York, if I went over to a
‘But I found him, I found that parent and asked to photograph
guy, I found him, and one other their kid, they’d say, “Are you
WHY LEICA? (at this point, Bruce is pointing to kidding me?” They might be afraid
various portraits around the lounge). the kid would get kidnapped if
BRUCE Gilden is a Leica ambassador. As well as using the I ruminated on it for a while, then someone saw the picture. It’s the
Leica S medium format camera for his posed portraits, in 2017, the Guggenheim [money] same here [London], I’m sure.’
much of his early street work was taken on smaller Leica was finished so I had to pay for it Gilden seems somewhat taken
rangefinders. He says, ‘Look at the quality myself. It’s quite expensive, but if aback at the suggestion that some
of these pictures; my printers have told I want to do something and I can might struggle with his imagery.
me that it’s sharper afford it, I’ll do it.’ ‘I don’t know why people find these
than an 8x10 The appeal of these particular uncomfortable,’ he explains. ‘I don’t
camera, and they subjects to Gilden lies in the find them uncomfortable. I think
know better than unfamiliar. ‘What I saw about the people who find them
me. They keep on these kids is that they have an uncomfortable don’t know very
making them better intensity, and I don’t know much about life.
– I hear they have Middle America at all. If you live ‘Our daughter at one time was
a new one coming in New York, there’s New York anorexic, she had a lot of
out, I wonder how and the rest of the world, and the problems. That’s because of the
much sharper can rest of America. f***ing magazines saying this is
you go?’ ‘These kids; they work so how you should be. I’m showing you

20 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


IOWA, USA 2017. TRINITY, A FARM GIRL © BRUCE GILDEN/MAGNUM PHOTOS
what’s real; I don’t retouch these
pictures. These are people that
people don’t look at. They don’t
want to look too closely, if at all,
because they might have to do
something for these people.
‘My other series are much tougher
than these. One of my series is
hookers on crack and heroin [‘Only
God Can Judge Me’]. People don’t
want to admit that these people
exist. They want to be in a little
comfortable world. They don’t
want to see the reality – I want to
see the reality.
‘I started the face project as
people who are left behind, and
then I found out, they’re not left
behind – for a lot of people, they’re
invisible. And these are the softer
images; a lot of people can’t look at
the other pictures. But that’s why
the world is not a great place. I don’t
expect everyone to like it, but I
‘I don’t find them uncomfortable. I think
the people who find them uncomfortable
don’t know very much about life’
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
PORTRAITURE
MILWAUKEE. WISCONSIN, USA, 2017. CALEB, A FARM BOY © BRUCE GILDEN/MAGNUM PHOTOS
think people don’t like it because of different perception. I could take
their problems, not mine.’ your picture, and let’s say it’s not a
It’s clear that Gilden doesn’t really very good picture, you might say
care what the general public thinks, “Oh, that’s not me,” but it is you,
but I was intrigued to find out how in some way. I’m not doing it as a
his subjects feel. ‘I didn’t ask their humanitarian, I’m doing it for my
opinion,’ Gilden says, ‘There’s a good own selfishness, to do pictures –
example, there’s a lady that I took a I don’t buy those humanitarian
photo of in the Midlands – I have a Bruce Gilden was born photographers or their diatribes,
whole series on West Bromwich, in Brooklyn in 1946 and you know, because let me tell
Dudley and Walsall. She had seen bought his first camera you something, they’re usually
better days, if you look at her; at one in 1967. He has received the worst.’
time, she must have been pretty, numerous awards and Gilden doesn’t show any signs of
attractive. Her lipstick was put on grants for his work, and stopping, or even slowing down.
very neatly, but of course she has has published more He still has plenty of projects he
some lipstick on her forehead. She wants to complete, including the
than 15 books. He joined
asked me can I see my picture, series ‘Only God Can Judge Me’.
Magnum Photos in 1998.
I showed it to her – do you know ‘I also want to finish my waist-up
what she said to me? She said “I’m See more of his work portraits,’ he says, ‘I’ve done about
beautiful.” I showed her another at brucegilden.com, 30 so far; they’re very good, if I say
one, again she said, “I’m beautiful.” or at instagram.com/ so myself. Those are random
‘I don’t mind showing anybody bruce_gilden though, you have to go somewhere
the pictures, but [when] you show and find someone interesting.
pictures to people, they have a Then I want to continue my series
I started in Bogota, Colombia –
I like tough areas…’
Whether you like Gilden’s portraits
or not, his work is definitely
powerful. I can’t wait to find
out what he tackles next.
21
 Technique

The gardens at Mount

Stewart are renowned
for their originality

PHOTO ROADSHOW
World-class gardens Fact file
The gardens at Mount Stewart were recently voted among Mount Stewart
the best in the world – for good reason, finds Justin Minns Location Mount Stewart is
on the Newtownards to

T
he unusual and inspiring gardens at Portaferry road, A20, 15 miles
Mount Stewart delight the senses. They Justin’s top tips southeast of Belfast. Your
satnav might lead you to the
were created by Edith, Lady Londonderry,
who had a love of bold planting schemes
– and the mild climate of Strangford Lough allows
1 Capture the overall feel of the garden with a
range of wide views followed by more intimate
details. Use the structure and colours of the garden
back gate at Mount Stewart,
which is not open to the public
rare plants from across the globe to thrive in this in your composition, but avoid bright, sunny days – stay on the Portaferry Road
celebrated location. Famous for its Mediterranean- when the light can be harsh. where you will see the
style formal gardens that resemble an Italian villa entrance signposted.
2 Look for interesting patterns – man-made or
IMAGE ABOVE © NATIONAL TRUST IMAGES/ANDREW BUTLER

landscape, this attraction also has a natural side, natural – to photograph in the garden. Fill the Cost Free to National Trust
with picturesque walks through the woodland and frame to emphasise the repetition of pattern, or members. Refer to the website
along the lakeside. Indeed, as the wooded areas focus on something that breaks up this repetition. for full ticket prices: www.
support plants from all corners of the world, there nationaltrust.org.uk/
is always something to see, no matter the season.
On the shores of Strangford Lough, Mount Stewart
House, a 19th-century family home, is fresh from
3 Use a telephoto or macro lens to photograph
nectar-loving insects and creepy-crawlies in the
garden. Keep your shutter speed fast by using auto
mount-stewart.
Opening times The house is
a three-year restoration that has returned it to its ISO and shoot handheld which will enable you to open 11am-5pm, trails are open
previous elegance and charm. move around easily. 10am-5pm until 29 October;
then both are open 10am-4pm.
Photographing NT properties: Visitors to National Trust properties can take pictures out of doors for their own private use. Amateur photography (without flash and use of a tripod) is permitted inside some National Trust
properties at the General Manager’s discretion. The National Trust does not permit photography at its properties for any commercial or editorial use without first seeking permission from National Trust Images. Fees may be
The formal garden is open
charged. (Licensing images of National Trust properties through professional image libraries isn’t permitted). Requests to use any photographs for commercial or editorial use should be directed to images@nationatrust.org.uk. 10am-5pm all year.

22 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 IN ASSOCIATION WITH

Shooting advice

© NATIONAL TRUST IMAGES/MIKE KING

Photograph butterflies KIT LIST
when they are less active

Justin Minns
Justin is a landscape photographer and workshop
leader who has been working with the National
Trust for several years. His images have been
widely recognised in photography competitions
including Landscape Photographer of the Year.
Visit www.justinminns.co.uk.
Patterns and repetition
Patterns and repeating objects make fascinating subject matter,
and formal gardens such as those at Mount Stewart are full of
them – both man-made and natural. One way to photograph
a repeating pattern is to zoom in and fill the frame, giving the
impression of an endless pattern. Keep elements that disturb
the rhythm out of the image (or clone them out later).
Including something that breaks up the pattern is another
approach. Imagine a swathe of flowers that consists only of pink
tulips, except for a single yellow one. The odd one out draws the
eye, breaking up the pattern but strengthening the composition.
It doesn’t have to be a change of colour – it could be a change of
size, texture, shape, direction, or anything that catches the eye.
Pay attention to composition when positioning the break
in the pattern, perhaps placing it off-centre. This contrasting
element can be further emphasised by using shallow depth
of field, selecting a wide aperture and focusing on it.
Garden photography
On sunny days, the light can be harsh so, if possible, visit
early in the morning or late afternoon. At times such as
these, conditions are softer and the light is generally more
pleasing. Alternatively, plan your trip for a bright but
overcast day, when contrast is less of a problem. Some
plants will sway in the slightest wind and will appear blurred
in your shot so, unless this is the effect you’re after, aim for
a calm day. Plan your visit to coincide with seasonal beauty,
be it spring bulbs, summer borders or winter colours.
Aim for a range of shots: a wider view to set the scene,
zooming in on interesting areas, then filling the frame with
individual flowers. Also, make use of structural features.
Paths make excellent lead-in lines, archways show
glimpses of what is beyond, and formal pools work well
as foreground interest, reflecting a house or garden.
▲ Panasonic
LUMIX DC-G9
Garden insects With fast autofocus and an
Plants aren’t the only things to keep
impressive frame rate, this
photographers busy in a garden – there
camera is ideal for capturing
are bees, butterflies, ladybirds, snails and
insects, particularly by using
all manner of insects, too. Butterflies are
the flip-out screen when you
easier to photograph early in the morning
want to get down low.
or evening when it’s cool and they are
less active – you should be able to get
close enough to use a macro lens and
tripod. The light will be better at these
times of the day, too – try backlighting
your subject against low sunlight.
During the day, insects will be on the ▲ Leica DG
move and harder to photograph. Be Vario-Elmar
patient, approach with caution and avoid 100-400mm
casting your shadow over them. Find f/4-6.3 lens
an attractive, nectar-rich plant and wait Ideal for photographing those
for the insects to come to you. A long shy garden creatures, this
telephoto lens, handheld, will allow you to 200-800mm (35mm equivalent)
shoot from further away so you are less lens was specifically designed
likely to disturb your subject. Use auto for nature photographers.
ISO to keep your shutter speed around
1/500sec for sharp handheld shots.
Turn on your camera or lens’s image
stabilisation, and if your camera has a
silent shutter mode, switch this on as well.
Depth of field is minimal with telephoto
and macro lenses, so keep your camera
parallel to the subject, and photograph
butterflies side-on with their wings ▲ Leica DG
closed, or from above with their wings
open. This way, most of your subject will
Macro
stay in the plane of focus and be sharp. 45mm f/2.8
This 90mm (35mm equivalent)
macro lens is perfect for
shooting garden insects or
© NAT ONAL TRUST MAGES/ANDREW BUTLER

The scope of the plant flower close-ups, and the optical

collections at Mount
Stewart is stunning
image stabilisation will help you
get sharp shots handheld.

▲ Panasonic
LUMIX
DMC-FZ1000EB
With a large 1in sensor and a
25-400mm (35mm equivalent)
zoom lens, this camera has all
the flexibility you need for
garden photography.

23
 Technique IN ASSOCIATION WITH

© NATIONAL TRUST IMAGES/ANDREW BUTLER

The structural features
of Mount Stewart can
be used to good effect
in composing images

Join Panasonic LUMIX National Trust

at Mount Stewart
Come along between 10-4pm on 18/19 August
AS PART of its long-standing
relationship as official photography
partner of the National Trust,
Panasonic will be holding events
around a variety of stunning National
Trust places over the coming months.
The team will be at Mount Stewart
on 18/19 August.
The gardens at Mount Stewart were
recently voted as one of the world’s top
ten. Highlights include the seven-acre
lake – photogenic in every season
– which is surrounded by primulas,
irises and large-leafed gunneras, and
the Sunk Garden, with planting based
on a sketch from a garden notebook
that dates back to 1922. You can even
hone your wildlife-photography skills
on the red squirrel trail.
On the weekend of 18/19 August,
photo competition
Capture nature at its best this summer for the chance
to be featured on the cover of the 2019 National Trust
Handbook or membership card. The theme is ‘Our
space to explore’ and the closing date is 2 September
2018. For details (including terms and conditions), see
nationaltrust.org.uk/photography-competition.
The impressive gardens at Mount Stewart
visitors to Mount Stewart the chance
to try its latest cameras and lenses,
and to take advantage of expert
advice. Normal entry fees (and photo
restrictions) apply – see page 22. To
find out more, see www.nationaltrust.
org.uk/mount-stewart; call 02842
788387 or visit www.nationaltrust.
© MICHAEL TOPHAM

Panasonic LUMIX will be offering org.uk/panasonic-roadshows.

How to get there You can try Panasonic cameras and lenses at the roadshows
● By car Mount Stewart is on the Newtownards to Portaferry road, A20, 15 miles southeast of
Belfast. If you are using satnav/GPS, please be aware that it may lead you to the back gate at
Mount Stewart which is not accessible to the public. Mount Stewart is on the Portaferry Road to
Future events
Newtownards heading towards Greyabbey. Stay on the Portaferry Road, where you will see Mount Giant’s Causeway Northern Ireland 1/2 September
Stewart clearly signposted. ● By bus Belfast to Portaferry, alight at gates. See Translink NI website
for bus departure and arrival times: www.translink.co.uk. Dunham Massey Cheshire 8/9 September

24 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 YOUR LETTERS

Inbox
Email ap@ti-media.com and include your full postal address.
Write to Inbox, Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road,
Farnborough Business Park, Farnborough, Hants GU14 7BF
LETTER OF THE WEEK
Nigel Bewley used his Holga 60mm
f/8 creatively to get some great shots
Holga horror show
In your interesting article on cheap accessory port. Brands that I’ve
creative lenses (AP 21 July), I
completely agree with your
assessment of the Holga 60mm
f/8. It is a horrible lens. I hadn’t
thought of prising off the vignette
plate, so I fished out the lens,
made the amendment and took
a few shots in the garden with a
full-frame camera. A great
Rob is a strong supporter of local camera shops improvement! I also have the
Holga push-fit wide lens 0.5X
use by photographers who could
not shoot right handed. A
Google search seems to
confirm his understanding,
though US commentator
Ken Rockwell ran a
review of a fictitious
Canon EOS 7D L
intended for left-hand
use – but it was an April 1
spoof in 2013. But all is
not lost – an entirely
practical workaround for
lefties (or indeed anyone with
the use of only one hand) is to
use a pistol grip attached to the
camera body and by cable to the
found include ProMaster and the
virtually identical JCC HR Series
Remote Handle Pistol Grip, both
of which can trigger the camera
shutter (and auto focus, etc.) via a
short remote cable compatible
with your camera’s remote/
accessory port. The JCC lists
remote cables compatible with
Nikon and Canon, but I’m sure
most camera brands have suitable

Talking shop, part two attachment which fits over the cables available. Both include
60mm and I use this combination a trigger-lock function for
with a Canon 5D Mark II that I’ve continuous shooting when desired.
I was saddened to read one of your correspondents complaining
converted to infrared. I hadn’t Avoid grips which don’t include
about a high street store not stocking a lens he wanted, or
thought of using the Holga lenses a shutter trigger – those are
supplying it the next day (Inbox, AP 21 July). Only a few ‘flagship’
in such a way. Much to my delight simply grips.
stores hold a comprehensive stock, and most larger operations
there seems to be no blocking of Graham Lockerbie
(Jessops, Wex, etc.) in my experience deliver orders within a day
IR, and the images look great! (Darwin, Australia)
or two. I have a long-standing relationship with a local camera
Thanks for leading me down this
shop that was taken over by Jessops many years ago, and I have
creative path with your article. Excellent advice from down
known one member of staff for over 40 years. What the online
Nigel Bewley under – Geoff Harris, deputy
operators cannot provide is the wealth of practical skills, product
editor
knowledge and friendly advice the staff in the local stores can
Glad we were able to help
offer. This is an incredibly useful resource that should not be
underestimated, but could be lost if high street stores become
– Nigel Atherton, editor The price of Silver
In Geoff Harris’s reply to the letter
uneconomical and end up closing.
That said, I recently tried to order a big-ticket item from my
One vision ‘Program Puzzler’ (Inbox AP 7
I totally agree with previous July) you stated that it is possible
local Jessops only to be told they could not supply the item – it
correspondents about there being to acquire Silver Efex Pro for free
had to ordered online. This means the transaction does not go
endless articles about Lightroom. from the Nik Collection. On trying
through the store till (an important point if the store is to be seen
There are other software programs to get this program, which I used
as viable to the company). I try to support the local store, but am I
that are just as good. I use Capture to have on my old laptop, it seems
being defeated by the company’s own policy? My advice is to
One, which I understand is used to be only free for 30 days; then a
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

support your local store – you’ll miss it when it’s gone!

by many top pros. Initially I bought payment of £59 is needed for a
Rob Speak
it to use with a Mamiya 645 Afd permanent download. Am I
and digital back, but now use it missing something here?
We totally agree, Rob. My local camera shop in Wells,
with my Canon EOS 5D Mark III. A Binder
Somerset, also holds events for local photographers, and I
Excellent! I find that I do very little
do tend to pop in for some friendly advice on film cameras.
in Photoshop Elements Sorry for not making that clear.
It’s not just about saving money here – a high street filled
afterwards. I read occasional The Nik Collection has been
with phone, charity and fast-food shops is a sorry sight
mentions of Capture One in AP, through a torrid time and the
indeed, as many readers know too well – Geoff Harris,
usually good and positive points, original cost, as set by the
deputy editor
but nothing in-depth. developers Google, was much
Barry Lowe higher before it became free.

Win!
As you say, it’s now only free

The MicroSDHC EVO Plus

Southpaw solution
In your 5 May issue, Jerry Scott
adapter 32GB Class10 UH lamented (‘Left out in the cold’,
Grade U1 card will support 4K and has read speed Inbox) about the lack of cameras
of up to 95MB/s and write speeds up to 20MBs.
www.samsung.com/uk/memory-cards/ designed for, or capable of,
left-hand operation suitable for
for a trial period. New owners
DxO recently filed for
bankruptcy, but will hopefully
now enter a more stable phase
after reorganisation – Geoff
Harris, deputy editor

26 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


Elements headache
In Inbox in AP 21 July, you asked
how many people still use
Photoshop Elements. I have been
using version 11 for many years
for my stereoscopic photography,
but I recently upgraded to
Photoshop Elements 18 after
purchasing a new Windows 10
computer. All went well until a
Microsoft Windows 10 upgrade
resulted in Elements 18 being
unusable. Researching online
forums revealed that I am not
alone in this. There is a fix which
involves altering settings in the
registry which I am loathe to do
on my new computer. I have
been hoping for a solution from
Microsoft or Adobe, but in the
meantime I’m back to using
Elements 11 on my old
Vista computer.
Kevin Harvey
Thanks for the tip, Kevin – Nigel
Atherton, editor
Budget beef
My sympathies with both Andrew
Herbert and Steve Bastiman
(Inbox, AP 21 July). When I
purchased my computer almost
10 years ago, it came with
Elements 7, and I only shoot
JPEGs. Elements 7 is sufficient
and it’s also free. I get fantastic
results from it, and no one seems
to tell the difference.
Regarding singing the praises
of expensive equipment, when I
went digital in 2010 I purchased
the Nikon D5000 to learn the
ropes – it was the only Nikon with
a fully articulating screen and
pop-up flash. In 2012, I bought
the Nikkor 18-300mm Di zoom
lens. I rarely use any other
lens now.
Two years ago when I upgraded
to a second-hand D5500 for its
John appreciates the extra-sensitive
sensor on his Nikon D5500
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
The UK’s oldest and
most prestigious
extra-sensitive sensor, I photo competition
transferred the 18-300mm to it,
and now have the perfect for amateur
go-anywhere combination. You
have never sung the praises of this In association with photographers
fantastic lens nor how budget
equipment can produce excellent is now open
results. Instead you hype on about
fast prime lenses and how great
the D850 is. Amateur Photographer
With my D5000 and D5500
together with the Nikkor 18-
300mm, I shoot documentary,
of the Year Competition
£10,000
environmental and studio
portraits, often in low light without
any additional lighting; landscapes;
semi-macro; wildlife; and videos.
Sharpness with the auto focus
with the vibration reduction (VR)
on the 18-300mm zoom is OF PRIZES Enter
brilliant even enlarged to 20x30in.
TO BE WON today!
Apart from Tamron’s fast primes,
no other lens manufacturer FOR THE second year running, AP has teamed up with Sigma and
includes VR. Photocrowd to bring you more than £10,000 worth of Sigma
Come on AP, let’s have a prizes and an easy-to-use portal that makes entering the competition
different tune for a change and straightforward. APOY is open to amateur* photographers from
produce articles taken on modest around the world.
modern gear. Just because you’ve *FOR THE PURPOSE OF THE COMPETITION, THE DEFINITION ‘AMATEUR’ REFERS TO A PERSON WHO EARNS
spent £15,000 on gear does not
10% OR LESS OF THEIR ANNUAL INCOME FROM PHOTOGRAPHY OR PHOTOGRAPHIC SERVICES.
mean you are going to produce a
£15,000 photograph! Most of the
population would never be able to
tell the difference.
John Heywood
It has been part of AP’s remit
since 1884 to keep readers
up to date with new releases.
So we test the full range of
equipment available, covering
every budget – from pro DSLRs
to cheap lenses from China, and
we regularly write about buying
secondhand, too. But it would
be wrong to assume amateurs
© JAN SIEMINSKI
don’t buy expensive pro gear
– we know this from talking to
camera makers and meeting a
range of AP readers at events,
shows or online. The most
popular cameras used in
Round Six
Reader Portfolio submissions,
for example, are those from
Town and country
the Canon EOS 5D series. If you like cityscapes or landscapes then this round is for you. We are
That said, we don’t review happy to receive images ranging from contemporary architecture to
many £15K camera grand, mountainous vistas. Don’t be afraid to be abstract in your
and lens set-ups. interpretation. Light is everything, so pay attention to sunrise and
In terms of sunset times, etc. Whether you go urban or rural, planning is a must.
features, most
photographers who YOUR FREE ENTRY CODE
are expert enough Enter the code below via Photocrowd to get one free
on their subject to entry to Round Six – Town and country
offer authoritative
advice to others will
tend to use ‘pro spec’ APOY13660736 ROUND SIX CLOSES ON 24 AUGUST
kit, but their tips are
equally applicable to pretty TO ENTER VISIT
much any camera – Geoff
Harris, deputy editor WWW.AMATEURPHOTOGRAPHER.CO.UK/APOY

 

  

¹/ZIa[ Q[V¼\ I [PZQVM \W 6QSWV

Q\ Q[ I [PZQVM \W K][\WUMZ
[MZ^QKM Q\ Q[ I \Z]Ta
M`\ZIWZLQVIZa [PWXº
· ,IUQMV ,MUWTLMZ

 +P]Z\WV ;\ZMM\ 4WVLWV ;?> 48 -VOTIVL <MT"   ! 5WV.ZQ IU  "XU ;I\ IU  XU
QVNW(OZIa[WN_M[\UQV[\MZKW]S >Q[Q\ W]Z _MJ[Q\M" ___OZIa[WN_M[\UQV[\MZKW]S
.IKMJWWS" /ZIa[ WN ?M[\UQV[\MZ AW]<]JM" /ZIa[ WN ?M[\UQV[\MZ <_Q\\MZ" (VQSWVI\OZIa[
1V[\IOZIU" (VQSWVI\OZIa[ 4QVSML1V" /ZIa[ WN ?M[\UQV[\MZ
 SPONSORED BY

LOCATION GUIDE
Great Dorset
Steam Fai
The Great Dorset Steam Fair is
a festive feast of sight and sound.
Jeremy Walker shares his top tip
for shooting all manner of subjec
© CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15
KIT LIST

▲
Standard
zoom
Very nearly everything I shoot
requires a tripod, but for the
Steam Fair I suggest going with
as little kit as possible. Ditch
the tripod and carry one body
and a 24-70mm zoom.
THE GREAT Dorset Steam Fair is ‘nestled’ just Characters coated in coal
▲ 4.5 miles north east of Blandford Forum, close and dust make for great
Telephoto to the village of Tarrant Hinton. There is an candid portraiture
zoom entrance fee into the Fair (and free on-site Nikon D810, 50mm,
If you are feeling super parking), which runs from Thursday, 23 August 1/6400sec at f/6.3, ISO 400
human, a 70-200mm is through to the bank holiday – Monday, 27
great for isolating subjects August. It is reputedly the largest show of its
and details from a distance. kind in the world.
If you want to shoot the Glorious on a summer’s day with blue sky
funfair in the evening and and fluffy clouds punctuated by the smoke and
do some long steam of leviathans of a bygone era, the Steam
exposures, Fair is a sight to behold. Not only are there rows
you can and rows of steam-powered traction engines,
always nip agricultural machinery, vintage cars and lorries,
back to the but also many stallholders selling a huge variety
car and of things from vintage car spares to second-
collect hand garden machinery and objects d’art that
your you never knew you wanted. Characters coated
tripod. in coal, dust and dirt are usually happy to show
their machinery off and have a portrait taken
ALL P CTURES © JEREMY WALKER

(although it’s always polite to ask first). In

addition to this there are arts and crafts, live
music, beer and food tents as well as a huge
funfair with all its associated stalls that stays
open late into the evening.

30 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Technique
Shooting
advice
One of the most
impressive sights and a
must for photographers
who enjoy a reportage
approach is the First World
War trench system and
artillery field battery.
Staffed by fully uniformed
re-enactors who are more
than happy to have their
pictures taken and tell you
about the trench system.
Not only are there the
trenches, military vehicles,
a workshop and first-aid
post, but also horses and
stabling. If it was up to me
I would head here first.
Small groups are led
around the trench system,
but it has proved popular
over the last three years
and there can be queues.

Food and
lodging
There are plenty of There are plenty of food
sights on offer for outlets with everything
those preferring a from Indian, Mexican and
reportage style Oriental to crêpes, a hog
Nikon D5500, 18-55mm,
roast and Cornish pasties.
1/500sec at f/7.1, ISO 200
There are also marquees
selling bread, pastries,
cakes, speciality pies and
cream teas.
You can stay at the
Steam Fair if you take
your own caravan (you’ll
need to book in advance).
Any nearby accommodation
will probably have been
booked up a while ago
but it may be worth trying
the nearby town of
Blandford Forum.

Safety
As with anywhere with
large crowds, watch out
The steam-powered engines and machinery make for some great detail shots for pickpockets and take
Nikon D810, 50mm, 1/160sec at f/4, ISO 160 care around the traction
engines and machinery
Jeremy Walker – after all it was designed
Award-winning professional photographer Jeremy Walker has been and built before the days
shooting landscapes, architecture and people for more than 25 years of health and safety. For
for advertising, design and corporate clients. See some of his work at more information, see
www.jeremywalker.co.uk www.gdsf.co.uk.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 31

COMPETITION

Amateur Photograp
Your chance to enter the UK’s most prestigious com
Round Six
Town and country
If you like cityscapes or landscapes then this round is for you. The brief is
purposefully loose, and we are happy to receive images featuring anything
from contemporary architecture to grand, mountainous vistas. From the
early morning sun throwing shadows onto a skyscraper, to the undulating
form of hills receding into the distance, the possibilities are endless. Don’t
be afraid to be abstract in your interpretation: architecture, for instance, is
full of curves and lines. Light is everything – so pay attention to sunrise
and sunset times, the weather forecast and tide timetables, where
appropriate. Whether you go urban or rural, planning is a must.

Plan your APOY 2018 year

Below is a list of all this year’s rounds including when the rounds open,
when they close and the dates the results will be announced in AP.
THEME SYNOPSIS ANNOUNCED CLOSES RESULTS
Best of British Britain 17 Mar issue 6 Apr 26 May issue
Fur and feathers Wildlife 7 Apr issue 27 Apr 30 Jun issue
Mono culture Black & white 5 May issue 25 May 28 Jul issue

£10,000
Close encounters Macro 2 Jun issue 22 Jun 25 Aug issue
Persons of interest Portraits 7 Jul issue 27 Jul 29 Sep issue
Town and country Urban and rural 4 Aug issue 24 Aug 27 Oct issue
World in motion Movement 1 Sep issue 21 Sep 24 Nov issue
Travellers’ tales Travel 6 Oct issue 26 Oct 22 Dec issue of
YOUR FREE ENTRY CODE
prizes to
Enter the code below via Photocrowd to get one free be won
entry to Round six – Town and country

APOY13660736
© JAN SIEMINSKI

To enter visit www.amateurphotographer.co.uk/apoy

ROUND 6: PHOTOGRAPHY TIPS
Advice and ideas to help you capture eye-catching portraits
Flip out Use lead-in lines
© IVAN

© PAUL GREENHALGH

When shooting Directing the viewer’s

architecture as striking eye into and around
as the Evolution Tower the picture is often
in Moscow (left), why easier if you use a
not surprise those lead-in line. These
familiar with it by can be natural, as in
flipping the image the lines in the crops
upside down. Thereby here or man-made
asking the viewer to like a bannister
work a little harder. or stairwell.

32 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

her of the Year
petition for amateur photographers
This image comprises nothing
more than a diagonal strip of
grass bisecting a backdrop of
brown earth, but it works due to
In association with
its simplicity – there is nothing
extraneous in the frame

PRIZE
WORTH
£1,050

This month’s prize

SIGMA sd Quattro and a
30mm f/1.4 DC HSM Art lens
Featuring a 39-megapixel-equivalent
Foveon sensor, the SIGMA sd Quattro
balances outstanding image quality
with fundamental performance. This
interchangeable lens camera is
designed for the artist who loves
photography and, as such, aims to get
the most out of SIGMAs high-quality
lenses. The prize includes a SIGMA
30mm f/1.4 DC HSM Art lens. This
large aperture lens has an angle-of-
view equivalent to 45mm on a 35mm
camera, making it a great go-to lens for
multiple purposes. The total prize value
is £1,050.
© LEE STONEMAN

Frame old
© STIAN NESOY

Create context
and new Give buildings some
context by making a
When old and new sit
side-by-side the feature out of the
juxtaposition can be surrounding area.
striking. Here the By using a wideangle
Sage Concert Hall in lens and adopting a
Gateshead, Tyne and relatively low viewpoint
Wear, looms over the photographer here
older housing. Use has shown us how
a telephoto lens to hard it must be to live
compress perspective. in this desolate terrain.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 33

 Technique WILDLIFE PHOTOGRAPHY

Wildlife on your
doorstep
Photographing exotic wildlife abroad is
neither easy nor cheap but a visit to a local
zoo, wildlife or bird of prey centre will
help hone your skills, says Paul Hobson

An adult male otter

(Lutra lutra) on a river
bank in the UK
Canon EOS-1D Mark III, 500mm,
1/250sec at f/4, ISO 1000

KIT LIST
Tripod or
▲

Lenses
▲

A medium zoom, such as monopod

a 100-400mm, is ideal for
allowing you to frame the
image or go close in for detail.
For aquarium work a macro
lens such as a 100mm or
180mm is more ideal.
The number of other visitors will help
you decide which is best. If possible
choose a tripod, but be aware
that if it’s crowded, such
as at feeding times, a
monopod is more
people friendly.

34 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 Paul Hobson
Paul is a professional wildlife
photographer and loves
travelling but prefers working
in the UK. He uses his images
to work with local and national
organisations. His book
Wildlife Photography Field
Skills and Techniques shows you how to get close to,
and photograph, Britain’s wild animals and plants.
Visit www.paulhobson.co.uk.

T
ime-consuming travel, expensive
plane journeys and their large
carbon burden make expeditions
to far-flung wildlife destinations
available to only a few. However, all is not
lost – this is when, photographically, zoos,
wildlife parks and aquariums come into
their own. At first glance photographing
captive animals may seem a bit of a
doddle. You can choose the right day
and weather and, in theory, the animal
should perform right in front of your lens.
However, there are a number of small
pitfalls that you need to consider in order
to get the best from your images. Britain
has a large number of zoos, aquariums,
wildlife parks and bird of prey centres that
offer an incredible selection of exotic and
British animals for you to focus on.

Focus on a species
I always feel that targeting one or a small
number of species on each shoot is the key
to producing quality work. First, decide
which species you want to work with, for
example bonobos. Different zoos tend to
specialise, and conservation is now one of
their main aims. Gone are the days when
every zoo had the same animals. Twycross
Zoo, for example, specialises in great
ALL PICTURES © PAUL HOBSON

apes and has a breeding group of

Flash extender Fold-out

▲
▲

If the wildlife park or zoo is stool

happy with you using a flash, then It is unlikely that you will
think about adding one of these be kneeling down but if
to your kit list. They are you intend to spend a few
relatively cheap and mean hours at one enclosure,
you can extend the distance then a small fold-out
your flash effectively stool can make your day Depending on where you go, focus on one species
works at. far more comfortable. Canon EOS-1D X, 500mm, 1/125sec at f/4, ISO 3200

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 35

 Technique

Tub gurnard (Trigla lucerna), The Wash, UK

Canon EOS 5D Mark II, 180mm, 1/200sec at f/3.5, ISO 800

bonobos. Other wildlife centres may

specialise solely in British species
such as weasels, foxes and otters.

Tawny owl (Strix aluco),
roosting in tree, UK
Canon EOS-1D Mark II, 300mm,
1/200sec at f/4, ISO 400
When to visit
Choosing the right day can make or break a
shoot. Where possible avoid weekends and
bank holidays – the zoo will be crowded
making your photography stressful. The
weather can also play a huge part. Poor
weather such as rain can add atmosphere
to an image, but you need to check how it
may affect the animals you want to work
with. Winter can produce some superb
opportunities, but will the animals be
indoors avoiding the cold? Feeding times
are often advertised and should be checked
out because the activity can be intense and
very photogenic. Many wildlife parks,
particularly bird of prey centres, now
advertise specialist wildlife photography
days. While these can be expensive they
may allow you access to animals that you
would normally never get. However, many
are open to negotiation. You may be able
to gain access to certain enclosures for an
additional charge. This can become cost
effective if you can organise some friends
to make up a group, particularly if you can
choose a quiet time such as midweek.

TOP TIPS FOR CAPTURING WILDLIFE IN CAPTIVITY

Perches
If you are doing
a bird-of-prey
shoot bring
along a couple
of your own
photogenic
perches and
ask if it is OK to
use them. The
centre may ask
for a small fee
but you will
be producing
original images. Jesses (leather straps) The sun
If you go on a bird-of-prey shoot make sure While sunlight can add sparkle to an image,
the falconer hides the jess behind the perch, in many cases it can produce harsh shadows.
and choose an angle that avoids them. If the High cloud will make for smooth, even light for
bird is flying this may be impossible so you will full-face portraits of your subjects. If the sun is
have to clone the jesses out later in Photoshop. out, watch those highlights.

36 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


Challenges
Probably the biggest issue to contend
with when shooting in such environments
is the background. Unsightly fences can
kill a shot. Walk around the enclosure and
check the background from each angle,
choosing the best one, but also take some
time to consider the light direction. If it
looks difficult to get a whole body image
without telltale ‘zoo features’ try to go
close-in with a big lens and focus on
only the head or detail images. Patience is
the key. If possible use a tripod and wait
Angles
In many enclosures you may be looking down
on the animal. Try to find an alternative
viewpoint that allows you to get on a level with
the animal’s eyes for a more engaging portrait.
The difference can really improve your image.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
until the animal produces something
out of the ordinary, perhaps an unusual
facial expression.
Aquarium photography is challenging.
The light levels are nearly always low, so
high ISOs are needed (flash will almost
certainly be banned because it can
seriously disturb the animals). If you are
unsure, ask first. Photographing through
glass will degrade your image. The thinner
the glass the less degradation, so smaller
tanks may be better. The angle you work
at is vital. Make sure your lens is at a right
Flash
While flash may be banned in zoos, in other
enclosures, particularly outdoor ones, it may
not be. Always ask first as it will depend on
your subject. Think about buying a flash
extender to give your flash further reach.
Why it works
All the large apes, particularly
chimps, have fantastic,
photogenic faces. In this image
the background was very
distracting so I chose to go in
close and focus on his face.
I was shooting through glass in
winter so chose a wide aperture
– f/3.5 on my 70-200mm
zoom lens. I waited until he was
looking to one side and focused
on the near eye, which allowed
a plane of focus to include the
side of his face. I framed the
composition so that he was
looking into space on the right
of the image. The raw image
had little colour, which lent itself
to black & white processing for
a moody atmospheric portrait.
angle to the glass front. Any other angle
will add distortion. Another good tip is
to get the lens as close as possible to the
glass to avoid any reflections appearing in
your images. The lighting in the aquarium
may be produced by artificial bulbs. If so,
experiment with your white balance
until you get an image that matches as
closely as possible to what you actually
see. The outside front of the aquarium
may be dirty so ask the staff if they are
happy with you wiping it clean with a
soft cloth.
Fences
Many enclosures are surrounded by fences.
So try to get your lens as close to the fence
as possible (as long as it’s safe) and position
it in the centre of the hole. Choosing a wide
aperture can blur the fence out of your image.
37
 Testbench
At a glance
£619 with 15-45mm kit lens
● 24.3MP APS-C CMOS sensor
● Fujifilm X mount
● ISO 200-12,800 (expandable to ISO
100-51,200)
● Up to 6fps continuous shooting
● 3in, 1,040k-dot 3-way tilt type
LCD touchscreen
● 4K burst
● Wi-Fi and Bluetooth connectivity
short of entry-level mirrorless
cameras, o where does the X-T100 it in?
Michael Topham tests Fujiilm’s new ofering
For and against
Stylish X-series design
Produces excellent image
quality straight out of camera
Compact and portable
Supports USB charging on
the move
Touchscreen responsiveness
Kit zoom is plasticky and
noisy in use
ALL PR CES ARE APPROX MATE STREET PR CES
Dated menu system
4K video quality is
underwhelming
38
CAMERA TEST
Fujifilm
X-T100
I
Data file n the early days of the the X-A5, but below the X-T20,
X-series, Fujifilm targeted its it’s aimed at novices who desire an
Sensor 24.2-million APS-C CMOS sensor system to professionals and electronic viewfinder and tilting
Output size enthusiasts. After the screen at a more affordable price
6000x4000 pixels
Focal length mag
1.5x release of the X-Pro1 in 2012, the than any previous X-T series
Lens mount Fujifilm X-mount X-E1 arrived, which was a camera launched to date.
Shutter speeds 30sec-1/4000sec mechanical slimmed-down, more affordable
30secs-1/32000 sec electronic alternative. This was the first sign of Features
Sensitivity ISO 200-12,800 (standard) Fujifilm expanding its line-up to The X-T100 is equipped with
ISO 100-51,200 (extended) attract photographers who loved same 24.2MP APS-C CMOS
Exposure modes PASM, SR+, Auto the appeal of the small system, but sensor that Fujifilm’s X-A5 uses.
Metering Multi, Spot, Average were working to a stricter budget. Like its entry-level cousin, this chip
Exposure comp –5 to +5 EV, in increments of 1/3EV Over the years we’ve seen employs the more traditional
Continuous 6fps Fujifilm add its entry-level X-A Bayer colour pixel array rather
shooting
series, develop its successful X-T than the proprietary X-Trans pixel
Screen 3in, 1,040k-dot 3-way tilt touchscreen
series and launch its recent X-H array found in more advanced
Viewfinder 0.39in, 2,360k-dot, 0.62x series, all of which complement the Fujifilm cameras higher up in the
magnification with 100% coverage
Video
much-loved X100-series where range. The welcome news is that
4K (15p); Full HD (60/50/24/23p)
the X-series first began. Today the the sensor benefits from the
External mic 2.5mm stereo mini connector
X-series provides a healthy range addition of on-chip phase-
Memory card SD, SDHC, SDXC
of models for all types of user, detection, which the otherwise
Power NP-W126S battery
from beginner to professional, and similar 24.2MP sensor within the
Battery life 430 shots
continues to flourish with the older X-A3 didn’t. The sensor isn’t
Dimensions 121.0x83.0x47.4mm
introduction of new models like paired with Fujifilm’s X-Processor
Weight 448g with battery and card the X-T100. Designed to sit above Pro. Instead, it teams up with the
4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

same newly developed image-
processing engine that the X-A5
has. It can’t rattle out a continuous
burst at 14fps like the X-T20 and
despite having a mechanical and
electronic shutter, it shoots at a
more pedestrian 6fps and 3fps in
its high and low burst modes. The
standard sensitivity range of ISO
200-12,800 can be expanded to
ISO 100-51,200, however you’re
restricted to the JPEG format only.
By now you will have clocked on
that the X-T100 inherits a lot of
what the X-A5 has to offer and
this extends to its autofocus
system. In total you get 91 AF
points arranged in a 13x7
rectangular grid, with the central
portion of 35 AF points being the
sensitive phase-detection type.
You can choose from single-point
AF, zone AF (using blocks of 9, 30
or 49 points) or a Wide/Tracking
AF mode that employs all 91
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
points and can be used to track
subjects through the frame. Focus
modes include AF-S, AF-C and
manual focus, with various Face/
Eye detection settings available.
Fujifilm has kept things fairly
simple on the top plate, choosing
to equip the X-T100 with a mode
dial and traditional PASM controls
ahead of a dedicated shutter
speed and exposure
compensation dial. Beginners
who’d feel more comfortable
shooting in auto before
progressing to the manual modes
can use the fully automatic
Advanced Scene Recognition
(SR+) mode, there are 18
advanced filter modes with a live
preview and a great selection of
scene modes – some of which
(portrait, landscape, sport and
night) get their own dedicated
position on the mode dial. Added
to this you get a panorama mode
The X-T100’s metering system delivers excellent
Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ, 1/160sec at f/5.6, ISO 200
and 11 Film Simulation modes,
though the newest Acros and
Eterna modes are both absent.
Two features likely to lure people
to the X-T100 ahead of the X-A5
are its 0.39in, 2,360k-dot OLED
electronic viewfinder and 3.0in,
1,040k-dot three-way tilt LCD
screen. The EVF offers 100%
coverage and 0.62x magnification,
while providing dioptre adjustment
and an eye sensor that provides
automatic switching with the rear
screen. The displayed information
in the EVF rotates depending on
the shooting orientation and
there’s a view mode button to
cycle through various viewing
options. The screen is different
from those we’ve seen on other
X-series models. It flips up for
low-angled shooting and down for
overhead shots, with the extra
benefit that it can be pulled out to
the side to assist with selfies.
exposures in tricky shooting situations
In addition to Wi-Fi, the X-T100
features the same low-power
Bluetooth connectivity that we first
witnessed on the X-E3. This is
designed to preserve battery life
and make light work of connecting
previously paired smartphones,
but you are still required to install
Fujifilm’s Camera Remote app
that’s free for iOS and Android.
As well as offering 4K recording
at a measly 15fps, Full HD video at
up to 60fps is available. Like other
mirrorless cameras, the X-T100
presents the opportunity to
extract an 8MP still image from a
clip of movie footage in its 4K
burst mode. The maximum
continuous record time in any
movie-recording mode is 30
minutes and there is a 2.5mm
microphone port and HDMI (Type
D) micro connector for anyone
wishing to improve audio
quality or output movie
39
 Users can crop in tightly when
required while retaining an
excellent level of fine detail
Fujifilm XF 50mm f/2 R WR, 1/5000sec
at f/2, ISO 200

footage to an external wonder why Fujifilm didn’t sculpt be customised, however it can’t be X-A5 that only offer a rear screen
monitor. Finally, the X-T100 the grip like this from the start. I controlled by touch. for compositional purposes. On
accepts a single SD card beside its would have liked to see a The employment of a mode dial, high-contrast days when sunlight
rechargeable NP-W126S battery, rubberised thumb rest at the rear with direct access to a number of can play havoc with glare and
which has enough stamina for too. Instead, it’s made of hard auto modes, is befitting of its reflections it’s possible to set the
430 shots on a single charge. plastic and can be prone to get position in the market as a camera view mode to EVF only to take the
slippery with wet or sweaty hands. aimed at people wanting to take rear screen completely out of the
Build and handling Like many entry-level and the jump from a smartphone, or equation. The EVF isn’t just a
The X-T100 has a strong enthusiast models, the X-T100’s pursue photography more compositional aid, it’s good for
resemblance with other X-T buttons and dials aren’t weather- seriously. To the right of it you get reviewing images in bright sunlight
models, particularly the X-T20. It sealed, meaning you’ll want to be small function (Fn) and movie-rec too. However you will notice there’s
doesn’t have a sculpted handgrip cautious in wet environments. The buttons, with the on/off switch a momentary delay before each
or the same high-shouldered top plate is stripped of the shutter encircling a non-threaded shutter image is rendered perfectly sharp.
design, but with its central EVF, speed, exposure compensation button. Despite only having one
three top-plate dials and faux and drive dials we’re used to function button and one function
The X-T100 renders faithful
leather finish you can see where seeing on X-T-series cameras. In dial, six custom functions can be colour in its Provia/Standard
its inspiration has come from. manual exposure mode the set in total. It’s possible to assign film simulation mode
Compared to the light, plasticky unmarked top-plate thumb dial four swipe functions to the Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ,
feel of the X-A5, the X-T100 has controls shutter speed, with the touchscreen (up, down, left and 1/1500sec at f/5.6, ISO 200
a more refined, solid quality about vertically mounted rear dial right), but don’t expect the
it. You’d think the X-T20’s providing independent control of screen’s responsiveness to be as
magnesium alloy body would be aperture. In program, shutter good as today’s smartphones or
heavier, but the X-T100’s priority and aperture priority tablets. As I found, it’s not unusual
aluminium and polycarbonate modes, the top-plate thumb dial to perform swipe gestures several
plastic body weighs 65g more. It controls exposure compensation times before they take effect.
has a surprisingly weighty feel for a across a +/-5EV range. In While the X-T100 is an
camera of its size. playback mode it can be used to attractive little camera, you can
The front flat section of the body scroll through images or work identify the difference in build
contributes to its pleasing through settings in the menu. The quality between it and more
aesthetics, but also sounds alarm unmarked dial on the far left of the robustly made models such as the
bells about how it might feel in the top plate is customisable to no X-T20 and X-T2. Unlike the
hand without any form of fewer than 18 settings. Around its X-T20, a metal handgrip to add a
protrusion to wrap your fingers perimeter you’ll find a lever to bit more bulk isn’t available. It
around. Out of the box, the X-T20 raise the small pop-up flash. The looks stylish in graphite finish, but
is the more comfortable camera d-pad provides direct access to there’s also the choice of all black
to hold. Thankfully, the handling of autofocus, white balance, drive or eye-catching champagne gold.
the X-T100 can be improved by mode and self-timer settings,
attaching a detachable grip, which while the ‘Q’ button above it loads Viewinder and screen
is supplied. This screws into the a quick menu on the rear display Having the option to raise the
side of the body and transforms to access a variety of commonly X-T100 to your eye gives it a huge
the feel tenfold. It does make you used settings. This quick menu can advantage over cameras like the

40 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


It’s possible to reposition the AF
point by moving your thumb over
the screen’s surface at the same
time the EVF is raised to your eye.
Double tapping the screen in the
same manner loads a detailed
magnified view. In use I found this
functionality to be a bit hit and
miss – sometimes it would register
that I wanted to shift the AF point
but other times it wouldn’t. Hitting
the AF button and shifting the AF
point around using the d-pad is
the more reliable method.
Using the touchscreen to tap
between AF-S, AF-C and manual
focus, pick a new film simulation
mode or swipe through images in
playback mode is more successful.
Double tapping the screen in
playback mode loads a magnified
view to check sharpness, however
it doesn’t magnify the precise area
where you’ve tapped and defaults
to centre, so you’ll need to use the
d-pad to navigate the image.
As for the manoeuvrability of the
screen, it’s good that it can be
angled out by 180° to aid with
self-portrait shooting. The caveat
is that it doesn’t flip like a
vari-angle screen, so you can’t
compose any type of image except
a selfie in its pulled-out position.
Performance
Other than a few criticisms
regarding the responsiveness of
the touchscreen and the
effectiveness of its touch
functions, the X-T100 is a reliable
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
performer that will capture great
images, be it on your travels
abroad or for use closer to home.
Although it may not have an
X-Trans sensor, colour
reproduction straight out of the
camera is excellent. A majority of
our test images were taken with
the white balance set to auto and
the film simulation mode set to
Provia or Velvia. The camera
served up faithful, vibrant colours
with each and every shot. The
tried and tested 256-zone
metering unit rarely disappoints
and delivers accurate exposures
when it’s challenged by dark
indoor scenes and bright natural
light outdoors. Only occasionally
did I find that my images benefitted
from a tweak of exposure
compensation. As we said when
we reviewed the X-A5, there isn’t
much to fault with the X-T100’s
Bayer-array CMOS sensor at all.
The X-T100 provides accurate
focus-lock on in bright lighting
conditions and doesn’t disgrace
itself in low-light environments.
Anyone who’d like to photograph
moving subjects will want to have a
good understanding of its zone
and wide/tracking modes, however
users should know that the
47.4mm
X-T100 doesn’t employ the same
sophisticated AF-C algorithm and
tracking modes that Fujifilm’s
X-Processor Pro models have and
neither does it offer the AF-C
custom settings you get on
the X-T20 or X-T2 to
83.0mm
CAMERA TEST Testbench
Focal points
The X-T100 is petite, yet it manages to squeeze a
lot within the confines of its small body
Panorama mode
You can access the panorama mode directly from the X-T100’s mode
dial. The camera will take a series of shots as you pan before merging
them into one panoramic image. You can choose between ‘L’ for a 180°
shot and ‘M’ for a 120° shot.
4K burst shooting Function dial
This mode is found below the continuous shooting This easy-to-
modes from the drive options. It allows you to extract access function
8MP images from 4K 15fps movie footage, but focus is dial can be
fixed from the first frame. The ‘Q’ button is used to save assigned to
your favourite images from a 4K burst during playback. 18 different
functions from the
set-up menu in
shooting mode.
In the ‘Default’
setting, the dial
is automatically
assigned to the
best options
for each
shooting mode.
Pop-up flash Multi Focus mode
The X-T100 has a small pop-up This mode adds multiple images together
flash that’s manually raised to generate a sharp image with a deep
using the switch around the depth of field from front to back. For the
perimeter of the function dial. best results and to ensure each image
Although it’s not very powerful taken aligns, it’s highly recommended to
(GN 5 at ISO 100), it can be used use it when the camera is supported on a
to add some fill-in when your tripod. You get the choice to select the
subject is underexposed due to point/range of focus or let the camera
a strong backlight. decide automatically.
121.0 mm
41

Bluetooth connectivity
TO ACTIVATE the X-T100’s that Bluetooth on both devices is
Bluetooth connectivity you first turned on) – a process that takes
need to enter the connection about five seconds after which
settings via the main menu, the remote control, receive,
select ‘Bluetooth settings’ and browse camera and geotagging
then click on ‘pairing registration’. options in the app all become
From here you’re prompted to active. These functions require a
load Fujifilm’s camera remote Wi-Fi connection to work, but
app on your mobile device the good thing about Bluetooth
and select the pairing is it initiates the Wi-Fi connection
registration option. After faster provided that your device
selecting X-T100 on your mobile isn’t already connected to a
device the camera will ask if Wi-Fi network. If it is you’ll need
you’d like to set the date/time to go into the Wi-Fi settings on
from the smartphone. Confirm the phone to switch the wireless
this and the Bluetooth set-up network the phone is connected
process is complete. to before images can be
Each time the Camera Remote transferred or remote control of
app is loaded from this point on, the camera is taken.
the camera and mobile device As well as being able to
automatically connect (provided customise the X-T100’s function
button to wireless
communication, this can be
assigned to a swipe gesture
on the rear screen. Users
can also turn Auto Image
Transfer on, which sends
the last batch of captured
images to the mobile device
the next time a connection
is established. A 3MP
resize option can be
selected if you’d like to
keep file transfers quick
The process of sending images to your and not fill up too much
mobile devices is simple on the X-T100 precious memory space.
42
fine-tune how the camera
reacts to the way a subject
moves within the frame. The wide/
tracking mode is best for capturing
a subject that moves unpredictably
up/down, left/right and closer/
further from the camera, where
you do not wish to move the
camera around to chase the
subject. Zone AF is more effective
for moving subjects when you’re
prepared to move the camera with
the subject. You’ll want to choose
the zone size carefully from the
3x3, 5x5 or 7x7 focus area
options, and with AF-C enabled,
the camera will continue to
refocus on your subject all the
while the shutter button is half
depressed. If you’d like to switch
between the autofocus modes
quickly you’ll want to set the AF
mode to all. Hit the AF button and
use the scroll dial above the
thumb rest and it’s possible to
cycle through all the AF modes
and focus area settings at once.
The menu system of the X-T100
is more dated than you get on
Fujifilm’s X-Trans III cameras.
Settings are listed under shooting
and set-up icons at the side of the
screen, and it lacks the My Menu
setting to collate your most
frequently used settings in one
area. For those who’d like to shoot
discreetly, there’s the option to
take shots silently by activating the
electronic shutter. This is also
handy when you’d like to exceed
the mechanical shutter’s limit
4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
The X-T100 pairs up
brilliantly with Fujifilm’s
compact f/2 prime lenses
Fujifilm XF 50mm f/2 R WR, 1/3000sec
at f/2.8, ISO 200
(1/4,000sec) and push as high as
1/32,000sec using the electronic
shutter. The status screen that
provides a general overview of all
shooting settings is useful, but it’s
not possible to view the remaining
battery power as a percentage so
you’ll want to observe its three-
bar battery level closely. I lost
count of the number of times I
recharged the battery on the go
using a portable USB power bank.
The X-T100 is only available
with the XC 15-45mm f/3.5-5.6
OIS PZ kit lens, which is Fujifilm’s
first attempt at making a compact
motorised zoom. It’s smaller than
the older 16-50mm kit lens and
features built-in Optical Image
Stabilisation technology. It extends
by 24mm when the camera is
switched on and it’s operated via
two control rings: an inner one
that operates the zoom in power
assisted mode, and an outer ring
that either acts as a focus ring
when focusing manually or as a
manual zoom control that alters
the focal length in tiny increments.
It’s good the lens automatically
reverts to the most recent focal
length setting used when the
camera is switched off and back
on again, but the two-step process
of using both rings to find the ideal
focal length is a bit finicky. The lens
isn’t the quietest in operation
either and the built-in microphone
picks up the whirring that occurs
while zooming and focusing
during video recording.
 CAMERA TEST Testbench

Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details

The combination of Bayer APS-C CMOS sensor and newly developed image-processing engine
is the same pairing as used within the Fujifilm X-A5. It’s no great surprise that the image quality
results are identical to those previously recorded by its entry-level cousin. By opting to use the
Bayer colour pixel array rather than the more complex X-Trans pixel array, Fujifilm has been able
to make the X-T100 more affordable than the X-T20. This ultimately comes down to the Bayer Recommended
sensor being a less expensive component. Like the X-A5, it does not feature a low pass filter.

THE X-T100 slots into Fujifilm’s desirable

Resolution X-T series below the X-T20 where there’s
been a gap for a more affordable entry-level
Like 24MP Bayer sensors we’ve tested in other Fujifilm 800 and only starts to dip below 3,000l/ph when you model for some time. As a camera designed
cameras in the past, the X-T100 is capable of resolving push past ISO 3200. The detail resolved at ISO 6400 for first-time mirrorless buyers and those
fine detail. The X-T100 resolves 3,200l/ph between ISO and ISO 12,800 (2,800l/ph) is good too, but you will advancing from smartphones, it’s appealing,
100 and ISO 400, with resolution dropping slightly at notice detail reducing more abruptly at its highest from both from an aesthetic and performance
ISO 800 to 3,000l/ph. Detail holds up well beyond ISO extended ISO 25,600 and ISO 51,200 settings. perspective. It feels solid in the hand, more
so than Fujifilm’s X-A5, provides a centrally
JPEG RAW RAW JPEG
ISO 100 ISO 1600 ISO 12,800 ISO 51,200 positioned EVF to assist composition, and
serves up the advanced features one needs
to hone shooting skills after exploiting the
auto modes. Is it worth spending £120 more
On the right we show details for the X-T100 over the X-A5? Having used
from our resolution chart test both cameras, I’d say it’s a small price to pay
pattern (above). Multiply the for the added benefit of an electronic
number beneath the lines by 200 viewfinder and its lovely SLR styling.
to give the resolution in lines per Those who do buy it will fall in love with its
picture height. form factor and the quality of the images it
produces almost instantly. Despite not having
an X-Trans sensor, it delivers very impressive
Noise image quality, with vibrant colour and
excellent detail preserved high into its ISO
The X-T100 provides excellent JPEG results between ISO 100 and ISO 1600, range. As positive as all this sounds, it does
beyond which point you’ll start to notice in-camera noise reduction have some cons. The touchscreen isn’t as
beginning to soften the finer details in an image. Set the sensitivity to ISO well implemented as other entry-level
1600 or above and you’ll want to shoot in raw for the best results. Noise is mirrorless models, the low frame rate in 4K
very well controlled at ISO 3200, and though it’s more obvious in raw files movie mode produces poor, stuttery footage
captured at ISO 6400, it’s not offensive to the point it’ll stop you using it in that’ll force you to record videos in Full HD,
a low-light situation. Pushing to ISO 12,800 introduces increased noise, and the motorised kit zoom is loud and
The crops shown below are taken but could be used in an emergency. Entering the expanded ISO settings is pesky to use. The good news for those who
from the area outlined above in red where the noise performance starts to go downhill very rapidly. outgrow the kit lens quickly is that there are
26 X-mount lenses to choose from and
JPEGISO100 RAW ISO 400 RAW ISO 1600 when it’s used with Fujifilm’s lovely f/2 primes
it takes up very little space in your bag.
With regard to looks and styling, the
X-T100 is arguably the most attractive
entry-level camera on the market at its price
point. You do get a lot of camera for your
money, but the same can be said for the
Canon EOS M50 and Olympus OM-D
E-M10 Mark III, which challenge it strongly.
To sum up, the X-T100 is an excellent
gateway to Fujifilm’s X-T series and it will
RAW ISO 6400 JPEG ISO 25,600 JPEG ISO 51,200
serve first-time mirrorless buyers very well.

FEATURES 8/10
BUILD & HANDLING 8/10
METERING 9/10
AUTOFOCUS 7/10
AWB & COLOUR 9/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 8/10
VIEWFINDER/LCD 8/10

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 43

 Testbench SOFTWARE TEST
Serif boasts ‘best in class’ noise
reduction in Affinity Photo. It’s
certainly effective, though you have
to balance noise reduction carefully
against detail loss and smoothing
Serif Affinity
Photo 1.6.7
Lots of programs are bandied about as being
‘Photoshop alternatives’, but the impressive
Ainity Photo really is, says Rod Lawton
P
hotoshop has the reputation of
being the best image-editing
application in the world, but lots of
people are looking for alternatives,
and Affinity Photo is just about the most direct
rival it has in the market right now.
It has several key features which place it in
this position. First, it’s a proper professional tool
that matches Photoshop’s features blow-by-
blow and even beats it in some respects. This
is not a ‘budget’ program pretending to be
professional – it’s the real deal. Second, at just
£48.99/$49.99 it’s very affordable. It’s a
tenth of what Photoshop used to cost as a
standalone product.
Third, it’s available on a regular ‘perpetual’
licence, so that you pay once and that’s it. This
could be the most important factor of all for
many photographers. Adobe’s Photography
Plan subscriptions are pretty cheap compared
to what you used to pay for Photoshop and
Lightroom as standalone products, but it’s
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
clear that there are plenty of people not
prepared to accept the idea of subscription
software, whatever the cost.
Affinity Photo comes from Serif, a
company once known principally for its
low-cost Windows design, publishing and
photo software. But with its Affinity range,
Serif has reinvented itself as a developer of
high-end, professional-level design tools.
Affinity Designer, a vector-based drawing and
illustration app, was its first release and Affinity
Photo is its second.
Originally developed for the Mac, Affinity
Photo is now available in a Windows version
too, though it’s the Mac version that’s reviewed
here. There’s even an iPad version, sold
separately, which has almost the same power
and features as the desktop version.
Features
Affinity Photo’s list of features is much the
same as Photoshop’s, though with some
interesting additions and improvements. Like
Photoshop, it excels at image retouching and
complex, multi-layer composite images. Both
programs are designed for detailed, intricate
work primarily on single images.
Having said that, Affinity Photo does have
a Macro facility where you can record an
automated series of processing steps, with
optional user intervention or adjustment at
key points, and these Macros can be used
in conjunction with the software’s batch
processing tools for automated image
enhancement, but this is a fairly technical
process to set up.
This is where you need to make a strategic
decision about the kind of software you need.
If you don’t need layers, just regular image
enhancements, modest local adjustments
and a choice of preset ‘looks’, then a non-
destructive all-in-one image cataloguing,
raw-processing and editing program like
Lightroom is probably better for you.
Affinity Photo is for when you need to go a
whole lot further. Its retouching options include
clone, dodge, burn and healing tools and an
inpainting brush that automatically uses
surrounding image areas and details to
remove unwanted objects from your photos.
In addition there’s also a powerful Liquify
‘persona’ (workspace) which enables you to
push, pull and warp objects in your pictures in
order to achieve subtle enhancements or
surreal transformations.
Other ‘personas’ include the Photo persona,
where you’re likely to spend most time, the
Develop persona, for processing raw files prior
to editing, the Tone Mapping persona for
merging bracketed exposure sets and
applying HDR effects and adjustments,
45
 Testbench SOFTWARE TEST

The Develop persona lacks any quick-fix ‘looks’ for raw files, so it can take work to get the best results, but it has transformed (left) our gloomy original (right)

and the Export persona for exporting
images in a variety of formats and sizes
for different uses.
The Liquify, Develop and Tone Mapping
personas offer specialised tools for a specific
purpose, and the results are passed back to
the Photo persona, where the regular editing
tools are located. These include Affinity Photo’s
layers tools, which offer almost identical
features to Photoshop’s.
The Develop persona is equivalent to
Photoshop’s Adobe Camera Raw module. It
launches automatically when you attempt to
open a raw file and you need to go through
this process before a raw image can be worked
on in the regular Photo module. Serif says
Affinity Photo now has correction profiles for
‘hundreds’ of lenses, but there are also manual
corrections for lens distortion, perspective
distortion, chromatic aberration and vignetting.
The Overlay tab offers localised adjustments
ahead of the raw conversion, using a gradient
tool (linear or radial) or brush tool to mask the
areas you want to adjust.
The list of features goes on. Affinity Photo
can also merge panoramic images and has a
focus-stacking option for precise macro work.
It can edit 360° images and it supports the
Photoshop PSD format, keeping adjustments,
effects and layers intact.
What it’s like to use
It’s impossible not to compare Affinity Photo
with Photoshop because they fill exactly the
same niche in the expert photographer’s
image-editing workflow.
Like Photoshop, Affinity Photo does not have
its own native image browsing or cataloguing
tools, so unless you have a cast-iron image
filing system and you know where to find every
photo, you’ll probably need some kind of
image browsing or cataloguing application, too.
JPEG, TIFF and Photoshop PSD files will
open directly in the Photo persona, but raw
files pass through the Develop persona first.
This is much improved over previous versions
and offers a lot of tools for fettling and fine-
tuning your images. Getting the best from a
raw file can take a little work, though, because
the initial results can look a little flat in the
same way as those from Adobe Camera Raw
with the default Adobe Standard profile can.
It’s worth the effort, though, because the
Develop module can reveal great depth, colour

Affinity Photo offers

LUT adjustments; you
can blend these with
your image just like
regular adjustments

The Tone Mapping persona is great for merging bracketed exposures, but also works on single images

46 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Affinity Photo’s layering and masking tools allowed replacement of the sky in the original image (left) with a more interesting one from a second shot
and detail in raw files and has a very handy
split-screen view so that you can compare your
adjusted image with the original.
What you don’t get is the instant presets
available in Lightroom and other photo-editing
applications. With Affinity Photo you have to
pretty much bring your own visual skills and
ideas rather than relying on the software to
create a ‘look’ for you.
The Tone Mapping persona is extremely
good. Photoshop’s HDR tools are tricky to use
and even trickier to coax good results from,
but Affinity Photo can produce very natural-
looking stacked HDR images, and offers a
selection of great processing presets, too. You
don’t have to work with bracketed exposure
sets. You can just open a single raw file if it has
a wide enough tonal range, and then use the
Tone Mapping and HDR adjustment tools to
level up the bright and dark tones within the
image and create an effect as subtle or as
dramatic as you like.
HDR merging can take a little while, though,
especially with high-resolution raw files such
as those from a Sony Alpha 7R III, for example,
or Nikon D850. This is the first hint that Affinity
Photo needs a fair slice of processing power
for some of its tools, and this is borne out even
further in the Liquify persona, where our test
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
machine – a quad-core i5 iMac with 16GB
RAM – started to stutter and struggle.
There’s no such problem in the main Photo
persona, though, where Affinity Photo proves
very fast and responsive – Serif does say that
this version is ‘Faster, smoother and more
powerful than ever’.
The layers panel is where much of the work
is done, and almost all everyday adjustments
are available as adjustment layers, including
Levels adjustments, Curves, Black & White,
Colour Balance and a whole lot more.
This means that the image itself remains
unaltered on a base ‘Background’ layer,
while the adjustments you make only alter
its appearance.
You can save your work in progress in the
Affinity Photo file format, or export a finished
JPEG or TIFF image, for example, with your
adjustments ‘baked in’. Like regular layers,
these adjustment layers can have a mask
applied – it’s displayed underneath the image
layer rather than alongside, but otherwise it
works just like Photoshop.
Interestingly, Affi nity Photo offers a LUT
adjustment. LUT stands for ‘lookup table’
– a type of adjustment popular in video
editing but now fi nding its way into stills
photography as well. LUTs are like
conversion profiles that remap the tones in
the image on to new values. They’re typically
used to create vintage looks, colour shifts
and other effects. Affi nity Photo comes with
a small selection, displayed as preset options
when you select the LUT adjustment type,
but you can load LUT files downloaded from
other sources, too.
Apart from adjustment layers, you can also
create Live Filters layers. With these you can
add filters as layers, also with masks, but with
effects displayed live on your image (not in a
smaller dialog) as you make adjustments. You
can apply a Lighting filter, Depth of field filter,
noise, clarity, noise removal and more.
If you’re used to Photoshop or Photoshop
Elements, you might have to adapt to a slightly
different way of working here and there, but it
doesn’t take long to translate all the editing
processes you’re used to into their
Affinity Photo equivalents.
Our verdict
GIVEN its power, scope, range of tools and
the effects it can achieve, Affinity Photo is
a deeply impressive program, even if you
ignore its price. But when you factor in its
low purchase cost, it starts to look even
more remarkable.
It’s not without flaws, but some of these
are part and parcel of the niche it fills, and
apply just as much to Photoshop. It doesn’t
offer you a way of cataloguing your image
library and it doesn’t offer quick and simple
effects – or the fast and efficient non-
destructive editing of Lightroom, say. It’s not
a tool for beginners looking for an easy way
into photo editing – there are lots of other
programs for that. Instead, Affinity Photo is
a full-on professional photo-editing tool that
makes no concessions at all to its price
point. You’re not getting a watered-down
Photoshop; you’re getting a strong, fast,
highly-capable rival – and one that doesn’t
need a regular subscription payment.
You’re also getting an illustration, painting
and design application aimed at creative
professionals, not just photographers, so
not all of the tools will be directly relevant
to photography.
And if you wanted to be picky you might
say that the interface and icons have
something of a comic-book look that
undermines the software’s serious and
professional nature, but that’s just a
superficial thing.
If you’re looking for an up-to-date
replacement for an ageing version of
Photoshop and you don’t want to join
Adobe’s subscription plan, then Affinity
Photo could be just what you’re looking for.
Adobe may appear to have an iron grip
on the photo-editing
market, but there are
plenty of alternatives out
there that are just as
good or better in their
own way, and Affinity
GOLD
Photo is one of them.
47
 Testbench ACCESSORIES

Fujifilm Instax SQ6

This square-format instant camera should appeal to At a glance
the selie generation, says Andy Westlake ● Analogue instant camera
● £124.99 ● www.fujifilm.co.uk ● Uses Instax Square film
Power ● Fully automatic exposure
FUJIFILM has been making instant Two CR2 batteries are ● Three colour options
cameras for almost 20 years, but until Viewfinder supplied in the box. According
recently hasn’t been able to offer the The small optical viewfinder to Fujifilm they should last
iconic square print format originally gives a very approximate for 30 ten-shot packs.
popularised by Polaroid. However that indication of the picture
changed last year with the hybrid Instax you’re going to get.
Square SQ10, essentially a basic digital
camera with a built-in film printer. Now
we have the firm’s first purely analogue
square-format instant camera, in the
shape of the Instax Square SQ6.
As if to reinforce this, Fujifilm has
made the camera itself square, which
could be seen as labouring the point.
It’s available in three colours named
Blush Gold, Graphite Grey and Pearl
White, which are clearly intended to
match your favourite iPhone. Thanks
to its retracting lens, the SQ6 is
reasonably compact compared to old
Polaroid models, at 119x128x58mm.
As usual for an instant camera, the
feature set is sparse. A mode button
cycles through three focus positions,
alongside a multiple exposure mode
and adjustment for lighter or darker
pictures. By default the flash fires
every shot, but there’s a button to
disable it, while another activates a
10-second self-timer. Unusually, along
with landscape and portrait focus
positions, there’s a close-focus setting
for macro shooting and selfies. For the
Tripod socket
latter, you even get a small mirror to
A standard 1⁄4in socket lets
compose your shots.
you attach the camera to a
Indeed this reveals a lot about the
tripod for shooting long
camera’s intentions. Another clue lies
exposures or with its
10-second self-timer. Selfie mirror
in the handling. It’s awkward to hold for Flash filters
viewfinder shooting, as there’s barely Used with the camera’s Three coloured plastic
any space for your fingers to go. But dedicated selfie mode, a small filters – orange, purple and
turn it around and point it towards you, mirror beside the lens caters green – can be snapped over
and you’ll find a subtle grip on the back prints showing well-judged exposure for those who can’t bear to the flash to add a tint to the
that provides a surprisingly secure hold, and strong, saturated colours. They leave themselves out of prints, if you like that
while your thumb nestles naturally on take about five minutes to develop fully. their pictures. kind of thing.
the shutter button. It’s the first camera
I’ve used that handles better the Verdict
‘wrong’ way around. It’s easy to find flaws in the SQ6’s
The lens is a moderate wideangle design, but in a way that’s not really FILM COSTS
with a maximum aperture of f/12.6, the point. The camera is not intended
meaning you’ll need to use flash or put as a serious tool for enthusiast Fujifilm’s Instax Square film gives 62x62mm
ALL PRICES ARE APPROXIMATE STREET PRICES

the camera on a tripod when shooting
indoors or in poor light. The fully
automatic exposure system provides
shutter speeds as slow as 1.3 seconds,
but you have no way of knowing what it
has chosen for any given shot. Image
quality is pretty good, at least, with
photographers, but instead is photos and is available with either white or
designed for its black borders. It costs £9 for a pack of 10
entertainment shots, or £17 for a 2x10-shot twin-pack.
value at social This means that it’s a little more expensive
events. Judged than the smaller, rectangular Instax Mini
on that basis, it film, and as yet there’s nowhere near the
does just fine. same variety of borders available.

48 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


!%$ &5 &+/## . &+## &,&55. *%$   55  $*' %") *) 5(+
 %. ) )%** $
%  .)%%#

 



* $ %0.%%) '%.%)')  %.$ "%%! .% $"0 2 ""  $ . ) $.0)" *.. $ .% %#'". . *.%)4(  * $
#$ 2%)! $ 2 .  2  $" "$* .% $"0 %. . *!4 $ . "$*' $ . )# #! $  *. % 
 ".)* $ **$. " %#'%$$. % #4 ! . (
 "*. 2. $ . '0$* %$ . "* *"$ % !%#)  )" * .) 2* $ %''%).0$ .4 .% '.0) *%#. $
 )$. .% . 0*0" )# "" $ '%).) .( 2 . $ .%  2  $" "$*    $*' %") * $  ".) .%
 1 . "%0* *%# 3.) '0$ $ ") .4(  . . *0$ "%2 $ . *!4  "*% $ .% "$ . 3'%*0)
0* $  5(+
 *%. )0. ".)(
$ ')%** $ . *%.  2* '"* .% *  )  . " *!4 2 .%0. $4 %"%0) *. $ .. . *%.
.)$* . %$ % . ".)  $%. )*0". $ .  )*  %# $ %1)"4 )!(

..2 ..""



  

 


 
IN ASSOCIATION WITH
Ask the
Looking for a new camera or accessory and need some advice? The experts at Wex Photo Video
are here to help. Contact us at ap@ti-media.com or on Twitter at @AP_Magazine and #AskAP
How can I speed
up my editing?
Q I am a professional
wedding photographer
who processes thousands
of images in Adobe Lightroom
every month. I would love to
find some kind of computer
peripheral to speed up my
workflow and make editing a
little easier. I only have a budget
of £200 and am wondering if
there’s anything out there that
would suit my requirements?
Elizabeth Baker
A
Recently, an increasing
array of editing
peripherals has hit the
market, offering photographers
new intuitive ways to edit their
images. One of our favourites is
the Loupedeck+, a photo-editing
console with dedicated buttons,
dials and scroll wheels for
tweaking settings such as
exposure, contrast and clarity,
and various other functions
including star ratings, colour
labels and undoing/redoing
actions. Its intuitive and
ergonomic design makes
operation a far more comfortable
and tactile process than using a
mouse and keyboard. With the
necessary controls at your
fingertips, the Loupedeck+ also
allows you to close down all
on-screen windows and tabs,
meaning you can edit your image
in full-screen mode and free of
distractions. The Loupedeck+ is
currently compatible with Adobe
Lightroom Classic CC and Aurora
HDR, with more software support
expected later in the year. It also
comes in just under your
budget at £199.
The Loupedeck+
photo-editing console
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018
Tech Talk
ex erts
Suitable lenses for music photography
Q I have just bought a Nikon D750
camera and have been authorised to
shoot my first proper gig in about a
month’s time. If all goes well, music photography
A
The opportunity to capture your favourite
acts can be a lot of fun, but shooting live
music can prove highly challenging.
Fast-moving performers leaping around in tricky
is something I’d really like to specialise in, so I lighting conditions demand equipment that can
would like to build a collection of suitable optics. make the most of the available light. You’re
Currently I only have a kit lens which tends to fortunate to own a camera body that’s well-
struggle in less-than-perfect light. I have a suited to this kind of work – the full-frame Nikon
budget of £2,000 and so would like to know D750 is well known for its impressive
what lenses you’d recommend investing in to performance at higher ISOs. However, fast
help my future work? aperture lenses are still a must. Here are three
Matt Dodd popular lenses for music photography.
Our experts suggest
Nikon AF-S Nikkor Nikon AF-S Nikkor Nikon AF-S Nikkor
50mm f/1.8G AF-S 24-70mm f/2.8G AF-S ED 70-200mm f/2.8E FL ED VR
You’ll find a ‘nifty fifty’ in almost Larger dedicated music spaces This recommendation is over
every music photographer’s tend to have far better stage your budget and is for when
kit bag. This little prime’s focal lighting set-ups than your local you’ve established yourself and
length is ideally suited for use in pub. With more light available, start to land large arenas. Big
small to mid-size music venues, you can start to consider using stages can stand between 5-10ft
while its fast aperture means zoom lenses, although you’ll still tall, and if you don’t want your
you’ll still be able to achieve a want to try and select lenses images to be looking up a band
good exposure in the darkest of with a maximum aperture of member’s nostrils, you’ll need to
venues. Shoot wide open and f/2.8. A solid option is a step back. This is where the
you’ll have to nail your focus 24-70mm f/2.8 standard zoom, extra reach of a telephoto zoom
owing to that shallow depth of which will allow you to switch earns its keep. This 70-200mm
field, but you’ll be able to keep quickly between wide, scene- also features a fast f/2.8
your camera’s shutter speed setting shots of almost the aperture and up to four stops
fast enough for sharp shots and entire stage and tighter portraits of image stabilisation (useful as
your ISO at a useable level. of individual musicians. you’ll be shooting handheld).
£219 £1,699 £2,549
● Wide f/1.8 aperture ● Fast constant aperture of f/2.8 still ● Greater reach for large arena and
● One of the most affordable Nikon lets plenty of light into the camera festival stages
lenses available ● Versatile focal length enables you ● Fast and constant aperture
● Compatible with Nikon FX and DX to vary compositions quickly of f/2.8
format DSLRs ● Focuses as close as 38cm ● Minimum focus distance of 1.4m
51
 Tech Talk
A
s an enthusiastic
teenage photographer,
encouraged by my
school photographic
society, the first ‘proper’ camera I
owned was a second-hand Praktica
Nova SLR, but the first camera I
bought new was a Russian Lubitel 2
twin lens reflex. In the 1970s,
Russian cameras, and indeed
other optical equipment, were a
low-cost option for the hobbyist,
allowing one to test the waters
before, if the bug bit, investing in
more expensive gear. To be fair,
the Soviets weren’t trying to hide
anything. The word Ǡȕș website: Andrew Robertson, lisadb, Nick Roberts,
(Lubitel) is Russian for amateur.
I have a bit of a soft spot for
Russian cameras and although
they have a reputation for being
clunky and unreliable, I can’t say
I’ve noticed the failure rate to be
any higher with my Soviet gear
than it is with the rest. As the
name suggests, a twin lens reflex
has two lenses: the upper one is
used to throw an image onto a
waist-level screen, on which the
image is composed and focused,
while the lower lens forms the
Tony’s very first new camera purchase
Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he
can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Lubitel 2: www.flickr.com/
tony_kemplen/sets/72157625857458741/
52
Tony Kemplen on the …
Lubitel 2
This reliable Russian twin lens reflex camera
was a low-cost option for a keen amateur
What you see is what you get with the Lubitel 2 – this crooked spire is real
image on the film, as well as
contains the shutter and
aperture mechanism.
In order to maintain the same
distance between the front of the
lens and the focal plane, the two
lenses have to be linked together,
using bellows or a moving lens
board. But the Lubitel, borrowing
from Voigtländer, used a ring of
fine teeth mounted around the
lenses which mesh together and
turn the helical screws that allow
the lenses to move in and out. The
teeth are quite sharp, and if you’ve
got small fingers, you have to take
care not to get them nipped!
The Russians tended to use the
same lenses and shutters over
many years. The shutter on my
Lubitel is the five speed ZT-5, a
copy of one of the German
Compurs, with speeds running
from 1/15 to 1/250sec. It appears
on numerous cameras, including
© TONY KEMPLEN
the popular and common Smena
series. The number of these
shutters made must have run into
the tens of millions, I’ve got at least
a dozen of them, and as far as I
can remember they all work,
despite often sitting idle for years.
This one spent three decades in
a box in the garage, and yet
worked perfectly when I dug it out.
A twin lens reflex is a step up
from a simple viewfinder when it
comes to framing and focusing, but
as the above shot of St Mary’s
Church in Chesterfield shows, you
can’t beat an SLR when it comes to
seeing exactly what will appear on
the negative. Even though I tried to
allow for parallax error, I missed
framing the church spire as I had
intended. In case you’re wondering,
the distortion is not some
aberration caused by cheap Soviet
glass – the spire has been that
shape for more than 600 years!
4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
Contact
Amateur Photographer, TI Medial Limited,
Pinehurst 2, Pinehurst Road, Farnborough,
Hampshire GU14 7BF
Telephone 01252 555 213
Email ap@ti media.com
Picture returns: telephone 01252 555 378
Email appicturedesk@ti media.com
Subscriptions
Enquiries and orders email
help@magazinesdirect.com
Telephone 0330 333 1113 Overseas +44 330 1113
(lines open Mon Fri GMT 8.30am 5.30pm excluding
bank holidays)
One year (51 issues) UK £155.50; Europe e259;
USA $338.99; Rest of World £221.99
Test Reports
Contact OTC for copies of AP test reports.
Telephone 01707 273 773
Back Issues
Contact 01795 662976; support@mags-uk.com
Advertising
Email liz.reid@ti media.com
Inserts Call Mona Amarasakera,
Canopy Media, on 0203 148 3710
Editorial team
Group Editor Nigel Atherton
Deputy Editor Geoff Harris
Technical Editor Andy Westlake
Reviews Editor Michael Topham
Features Editor Amy Davies
Features Editor Ailsa McWhinnie
Technique Editor Hollie Latham Hucker
Production Editor Jacqueline Porter
Chief Sub Editor Jolene Menezes
Art Editor Sarah Foster
Senior Designer Steph Tebboth
Studio Manager Andrew Sydenham
Photo-Science Consultant Professor Robert Newman
Senior contributor Roger Hicks
Office Manager Hollie Bishop
Special thanks to The moderators of the AP
The Fat Controller
Advertising
Commercial Manager Liz Reid 07949 179 200
Commercial Director Dave Stone 07961 474 548
Senior Account Manager Sereena Gill 07583 106879
Production Coordinator Chris Gozzett 0203 148 2694
Marketing
Head of Marketing Samantha Blakey
Publishing team
Chief Executive Officer Marcus Rich
Group Managing Director Andrea Davies
Managing Director Gareth Beesley
Editorial Director Simon Collis
Printed in the UK by the Wyndeham Group
Distributed by Marketforce, 5 Churchill Place,
London E14. Telephone 0203 787 9001
Editorial Complaints We work hard to achieve the highest standards of
editorial content, and we are committed to complying with the Editors’
Code of Practice (https://www.ipso.co.uk/IPSO/cop.html) as enforced by
IPSO. If you have a complaint about our editorial content, you can email
us at complaints@ti media.com or write to Complaints Manager, TI Media
Limited Legal Department, 161 Marsh Wall, London E14 9AP. Please
provide details of the material you are complaining about and explain
your complaint by reference to the Editors’ Code. We will endeavour to
acknowledge your complaint within 5 working days, and we aim to correct
substantial errors as soon as possible.
All contributions to Amateur Photographer must be original, not copies
or duplicated to other publications. The editor reserves the right
to shorten or modify any letter or material submitted. TI Media
Limited or its associated companies reserves the right to re use
any submission sent to the letters column of Amateur Photographer
magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC
OR OTHERWISE Amateur Photographer® is a registered trademark
of TI Media Limited © TI Media Limited 2018 Amateur Photographer
(incorporating Photo Technique, Camera Weekly & What Digital
Camera) Email: amateurphotographer@ti media.com Website: www.
amateurphotographer.co.uk. TI Media Limited switchboard tel: 0203 148
5000 Amateur Photographer is published weekly (51 issues per year) on
the Tuesday preceding the cover date by TI Media Limited, 161 Marsh
Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5 Churchill
Place, London E14. ISSN 0002 6840. No part of this publication may be
reproduced, stored in a retrieval or transmitted in any format or medium,
whether printed, electronic or otherwise, without the prior written
permission of the publisher or the editor. This is considered a breach of
copyright and action will be taken where this occurs. This magazine must
not be lent, sold, hired or otherwise disposed of in a mutilated condition or
in any authorised cover by way, or by trade, or annexed to any publication
or advertising matter without first obtaining written permission from
the publisher. TI Media Limited does not accept responsibility for loss or
damage to unsolicited photographs and manuscripts, and product samples.
TI Media Limited reserves the right to use any submissions sent to Amateur
Photographer magazine in any format or medium, including electronic.
One year subscription (51 issues) £155.50 (UK), e259 (Europe), $338.99
(USA), £221.99 (rest of world). The 2015 US annual DEU subscription price
is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o
Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434,
USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send
address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet
Shipping Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA.
Subscriptions records are maintained at TI Media Limited, 161 Marsh Wall,
London E14 9AP. Air Business Ltd is acting as our mailing agent.
 



 

:K\ FKRRVH :H[ 5HQWDO"
&KRRVH IURP D ZLGH &RPSHWLWLYH SULFHV 2YHU QLJKW GHOLYHU\
UDQJH RI SURGXFWV DFURVV WKH 8.

*ODMVEJOH DBNFSBT 8F XJMM NBUDI UIF XJUI TBNFEBZ EFMJWFSZ

MFOTFT BDDFTTPSJFT EBJMZ QSJDF PG BOZ 6, BWBJMBCMF JO -POEPO
WJEFP BOE MJHIUJOH SFOUBM DPNQFUJUPS BOE .BODIFTUFS

7JTJU ZH[FRXNUHQWDO PS DBMM VT PO   

5FSNT BOE $POEJUJPOT 8FY 3FOUBM JT B USBEJOH OBNF PG $BMVNFU 1IPUPHSBQIJD -JNJUFE $PNQBOZ 3FHJTUSBUJPO /VNCFS 
BOE 8BSFIPVTF &YQSFTT -JNJUFE $PNQBOZ
3FHJTUSBUJPO /VNCFS 
 7"5 /VNCFS    3FHJTUFSFE PGmDF  'SFOTIBN 3PBE 4XFFU #SJBS *OEVTUSJBM &TUBUF /PSXJDI /PSGPML /3 #5
ª 8BSFIPVTF &YQSFTT -JNJUFE 
 In association with

Enter
today!
Amateur Photographer
of the Year Competition

£10,000
© CLOCKWISE FROM TOP LEFT: 1. HILARY LAKEMAN 2. PAUL GREENHALGH 3. LEE ACASTER 4. ELECTRA STAVROU. BOTTOM ROW L-R: 1. ELENA PARASKEVA 2. GEORGE DIGALAKIS 3. HEATHER ALLEN

OF
Enter the UK’s oldest and most prestigious photo
competition for amateur photographers. There are
eight rounds, so you have eight chances to win PRIZES TO
some great Sigma cameras and lenses! BE WON

To enter visit www.amateurphotographer.co.uk/apoy

 SPONSORED BY

Buyin
Guide
597
cameras
& lenses
listed &
rated
Our comprehensive listing of key specifications for cameras and lenses

Controls Viewfinder Size and weight

Cameras Entry-level cameras
tend to have simple,
Interchangeable-lens cameras easy-to-understand
controls, while more
come in two types: DSLRs expensive models add
with optical viewfinders, lots of buttons and
and mirrorless models with dials to give quick
electronic viewing access to settings.
The biggest difference
between DSLRs and
mirrorless cameras
is that the latter use
electronic, rather than
optical viewfinders.
They’re more power
hungry, but can
display more
information and show
exactly how your
pictures will turn out.
Mirrorless models tend
to be smaller and
lighter than DSLRs,
and not just the
cameras themselves,
but their lens systems,
too. However, there’s
still a wider choice
of lenses available
for DSLRs.

ALMOST all serious photographers latest models have narrowed the

Handgrip
DSLRs traditionally
have relatively large
handgrips, while many
mirrorless models have
much smaller grips
to keep size down.
However, some can
accept accessory grips
to improve handling
with larger lenses.
Lens mount
Each camera brand
uses its own lens
mount, and mirrorless
cameras use different
lenses to DSLRs even
from the same brand.
However, mirrorless
models can often use
DSLR lenses via a
mount adapter.
prefer to use cameras with
interchangeable lenses, as this gives
the greatest degree of creative
flexibility. At one time, this meant
digital single-lens reflex (DSLR)
cameras, but these have now been
joined by mirrorless compact
system cameras (CSCs) that use
electronic viewfinders. Previously,
these lagged behind DSLRs in some
respects such as autofocus. But the
gap considerably, and are true
alternatives to DSLRs, offering the
same image quality and creative
options. Camera manufacturers
offer a range of models, from
simple, relatively inexpensive
beginner-friendly designs through
to sophisticated professional
models. In the middle of the range
you’ll find enthusiast cameras with
more advanced control layouts.

SPONSORED BY Park Cameras was established in 1971 in Burgess Hill, West Sussex. For over 40 years they have forged a reputation
across the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of
all photographers, from enthusiasts through to professionals, through the very highest level of customer service.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 55

 BUYING GUIDE

VF COVERAGE (%)
RESOLUTION (MP)

BURST MODE (FPS)

SCREEN SIZE (IN)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
DSLR cameras

LENS MOUNT
SENSOR SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)

WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS 1300D £450 4★ 7Z\^ccZg [g^ZcYan bdYZa l^i] h^beaZ Xdcigdah VcY Wj^ai ^cL^";^ 6EH 8 &- 8Vcdc :; &'!-%% &%-% . ( .*   ( *%% &'. &%&#( ,,#+ )-*
Canon EOS 2000D )+. (★ B^cdg jeYViZ id :DH &(%%9 \V^ch ')#&BE hZchdg 6EH 8 ')#& 8Vcdc :; &'!-%% &%-% . ( .*   ( *%% &'. &%&#( ,,#+ ),*
Canon EOS 4000D (+. HjeZg X]ZVe hig^eeZY WVX` 9HAG [dg WjY\Zi XdchX^djh WZ\^ccZgh 6EH 8 &- 8Vcdc :; &'!-%% &%-% . ( .*   '#, *%% &'. &%&#+ ,,#& )(+
Canon EOS 200D *-% )#*★ KZgn XdbeVXi Zcign aZkZa 9HAG l^i] [jaan Vgi^XjaViZY idjX]hXgZZc 6EH 8 ')#' 8Vcdc :; *&!'%% &%-% . * .*   (   +*% &''#) .'#+ +.#- )*(
Canon EOS 700D ,*% )#*★ A^`ZVWaZ Zcign aZkZa 9HAG! Wji hZchdg ^h cdl add`^c\ YViZY 6EH 8 &- 8Vcdc :; &'!-%% &%-%  . * .*  (  ))% &(( &%% ,. *-%
Canon EOS 750D £599 4★ :cign aZkZa bdYZa l^i] ')BE hZchdg VcY Vgi^XjaViZY idjX]hXgZZc 6EH 8 ')#' 8Vcdc :; '*!+%% &%-%  &. * .*  (   ))% &(&#. &%%#, ,,#- ***
Canon EOS 760D +). *★ =^\]Zg ZcY kZgh^dc d[ :DH ,*%9 l^i] ^begdkZY Xdcigda aVndji 6EH 8 ')#' 8Vcdc :; '*!+%% &%-%  &. * .*   (   ))% &(&#. &%& ,,#- *+*
Canon EOS 800D ,-% )#*★ JeYViZh :DH ,*%9 l^i] hde]^hi^XViZY )* ed^ci Vjid[dXjh 6EH 8 ')#' 8Vcdc :; '*!+%% &%-%  )* + .*   (   +%% &(& .. ,+#' *('
Canon EOS 77D -(% )#*★ HVbZ XdgZ heZX Vh :DH -%%9 Wji ^c ]^\]Zg ZcY WdYn YZh^\c 6EH 8 ')#' 8Vcdc :; '*!+%% &%-%  )* + .*   (   +%% &(& &%% ,+#' *)%
Canon EOS 80D £999 5★ :migZbZan XVeVWaZ b^Y gVc\Z 9HAG [dg Zci]jh^Vhi e]did\gVe]Zgh 6EH 8 ')#' 8Vcdc :; '*!+%% &%-%  )* , &%%   (   .+% &(. &%*#' ,-#* ,(%
Canon EOS 7D Mk II &*.. )#*★ =^\] heZZY 6EH 8 9HAG ^cXajYZh hde]^hi^XViZY 6; hnhiZb 6EH 8 '%#' 8Vcdc :; *&!'%% &%-%  +* &% &%%  ( +,% &)-#+ &&'#) ,-#' .&%
Canon EOS 6D &,%% )#*★ 8Vcdc¼h bdhi V[[dgYVWaZ [jaa [gVbZ 9HAG ^cXajYZh L^ ;^ VcY <EH ;; '%#' 8Vcdc :; &%'!)%% &%-%  && )#* .,  ( .-% &)* &&& ,& ,**
Canon EOS 6D Mk II &... )#*★ >cXajYZh '+#'BE [jaa [gVbZ hZchdg VcY [jaan Vgi^XjaViZY hXgZZc ;; '+#' 8Vcdc :; &%'!)%% &%-%  )* +#* .-  (   &!'%% &)) &&%#* ,)#- ,+*
Canon EOS 5D Mk III £2999 5★ <gZVi Vaa gdjcY 9HAG [dg hZg^djh Zci]jh^Vhih VcYegd[Zhh^dcVah ;; ''#( 8Vcdc :; &%'!)%% &%-%  +& + &%% (#' .*% &*' &&+ ,+ .*%
Canon EOS 5DS '... =^\] gZhdaji^dc bdYZa l^i] *%BE hZchdg ;; *%#+ 8Vcdc :; &'!-%% &%-%  +& * &%% (#' ,%% &*' &&+#) ,+#) -)*
Canon EOS 5DS R £3199 5★ HVbZ Vh i]Z *9H! Wji adl eVhh ÄaiZg gZbdkZY [dg bVm^bjbgZhdaji^dc ;; *%#+ 8Vcdc :; &'!-%% &%-%  +& * &%% (#' (.% &*' &&+#) ,+#) -)*
Canon EOS 5D Mk IV (*.. )#*★ =j\Zan VXXdbea^h]ZY ldg`]dghZ bdYZa! Wji eg^XZn ;; (%#) 8Vcdc :; &%'!)%% (-)%  +& , , &%%  (#'  .%% &*& &&+ ,+ -.%
Canon EOS-1D X Mk II *&.. Egd[Zhh^dcVa ]^\] heZZY hedgih VcY VXi^dc bdYZa ;; '%#' 8Vcdc :; )%.!+%% (-)%  +& &) &%% (#'   &!'&% &*- &+,#+ -'#+ &()%
Nikon D3400 £399 4★ 6YYh 7ajZiddi] id 9((%% [dg XdccZXi^c\ id hbVgie]dcZ 9M ')#' C^`dc ; '*!+%% &%-%  && * .*  (  &!'%% &') .- ,*#* ))*
Nikon D5300 -(% )#*★ 6\Z^c\ b^Y gVc\Z 9HAG ^h cdl VkV^aVWaZ Vi WVg\V^c eg^XZh 9M ')#' C^`dc ; '*!+%% &%-%  '( * .*   (#'  ,%% &'* .- ,+ *(%
Nikon D5600 -%% )#*★ :mXZaaZci ^bV\Z fjVa^in VcY ]VcYa^c\! eajh 7ajZiddi] XdccZXi^k^in 9M ')#& C^`dc ; '*!+%% &%-%  (. * .*   (#'   .,% &') ., ,- )+*
Nikon D7200 £939 4★ JeYViZh i]Z 9,&%% l^i] hdbZ jhZ[ja ZmigVh hjX] Vh L^ ;^ 9M ')#' C^`dc ; '*!+%% &%-%  *& + &%%   (#' &!&%% &(*#* &%+#* ,+ ,+*
Nikon D7500 &'.. )#*★ EaVXZh i]Z ZmXZaaZci hZchdg [gdb i]Z 9*%% ^cid V hbVaaZg WdYn 9M '%#. C^`dc ; &!+)%!%%% (-)%  *& - &%%   (#'   .*% &(*#* &%) ,'#* ,'%
Nikon D500 &,'. *★ EgdWVWan i]Z WZhi 9M [dgbVi 9HAG ZkZg! l^i] gZbVg`VWaZ Vjid[dXjh 9M '%#. C^`dc ; &!+)%!%%% (-)%  &*( &% &%%  (#'   &!')% &), &&* -& -+%
Nikon D610 £1800 5★ C^`dc¼h X]ZVeZhi [jaa [gVbZ bdYZa l^i] V hda^Y [ZVijgZ hZi ;M ')#( C^`dc ; '*!+%% &%-%  (. + &%%  (#'  .%% &)& &&( -' -*%
Nikon D750 £1800 5★ <gZVi Vaa gdjcY Zci]jh^Vhi [jaa [gVbZ bdYZa l^i] i^ai^c\ hXgZZc ;M ')#( C^`dc ; *&!'%% &%-%  *& +#* &%%   (#'  &!'(% &)%#* &&( ,- -)%
Nikon DF '+%% )★ GZigd hinaZY [jaa [gVbZ bdYZa l^i] ZmXZaaZci hZchdg ;M &+#' C^`dc ; '%)!-%% (. *#* &%% (#' &!)%% &)(#* &&% ++#* ,+*
Nikon D810 '+.. *★ =^\] gZhdaji^dc [jaa [gVbZ 9HAG d[[Zgh hjeZgW ^bV\Z fjVa^in ;M (+#( C^`dc ; *&!'%% &%-% *& &' &%%  (#' &!'%% &)+ &'( -' .-%
Nikon D850 £3499 5★ =^\] heZZY VcY hjeZgW ^bV\Z fjVa^in bV`Z i]^h i]Z WZhi 9HAG nZi ;M )*#, C^`dc ; &%'!)%% (-)%  &*( , &%%  (#'   &!-)% &)+ &') ,-#* &%%*
Nikon D5 *&.. C^`dc¼h ide ZcY hedgih VcY VXi^dc bdYZa [dg egd[Zhh^dcVah ;M '%#- C^`dc ; (!'-%!%%% (-)%  &*( &) &%% (#'   (!,-% &+% &*-#* .' &)%*
Pentax K-S2 +). )#*★ >cXajYZh V [jaan Vgi^XjaViZY hXgZZc VcY ^c WdYn hiVW^a^hVi^dc 6EH 8 '%#' EZciVm @ *&!'%% &%-%  && *#) &%%   (  )&% &''#* .& ,'#* +,-
Pentax K-70 +%% )#*★ Hda^Y eZg[dgbZg i]Vi jeYViZh i]Z @ H' l^i] V ')BE hZchdg 6EH 8 ')#' EZciVm @ &%'!)%% &%-% && + &%%   (  )&% &'*#* .( ,) +--
Pentax K-3 II ,+. )#*★ LZaa [ZVijgZY Zci]jh^Vhi bdYZa l^i] ^c WdYn hiVW^a^hVi^dc VcY <EH 6EH 8 ')#( EZciVm @ *&!'%% &%-%  ', -#( &%% (#' ,'% &(&#* &%'#* ,,#* ,-*
Pentax KP £1099 4★ 8dbeVXi Wji lZaa heZX^ÄZY 9HAG l^i] ^ciZgX]Vc\ZVWaZ ]VcY \g^eh 6EH 8 ')#( EZciVm @ -&.!'%% &%-%  ', , &%%   (  (.% &(&#* &%& ,+ ,%(
Pentax K-1 £1599 5★ I]Z Äghi EZciVm [jaa [gVbZ 9HAG ^h ZmXZaaZci kVajZ [dg bdcZn ;; (+ EZciVm @ '%)!-%% &%-%  (( )#) &%%  (#'  ,+% &(+#* &&% -*#* &%&%
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

Pentax K-1 II &,.. )#*★ JeYViZY @ & l^i] ]^\]Zg bVm^bjb >HD VcY ]VcY]ZaY e^mZa h]^[i bdYZ ;; (+ EZciVm @ -&.!'%% &%-%  (( )#) &%%  (#'  +,% &(+#* &&% -*#* &%&%
Sigma SD Quattro £850 3★ H9 bdjci b^ggdgaZhh XVbZgV l^i] jc^fjZ ;dkZdc M( hZchdg 6EH 8 &.#+ H^\bV H9 +)%% . (#+ &%% ( I78 &), .*#& .%#- ,%(
Sigma SD Quattro H &).. E]nh^XVaan ^YZci^XVa WdYn id H9 FjViigd! Wji l^i] aVg\Zg 6EH = hZchdg 6EH = '*#, H^\bV H9 +)%% . (#- &%% ( I78 &), .*#& .%#- ,%-
Sony Alpha 68 ),. (★ :mXZaaZci 6; VcY hZchdg! Wji adl gZhdaji^dc A89 hXgZZc VcY cd L^ ;^ 6EH 8 ') Hdcn 6 '*!+%% &%-%  ,. - &%%  '#,  *-% &)'#+ &%)#' -'#- +,*
Sony Alpha 77 II &%%% )#*★ >begZhh^kZ Vjid[dXjh VcY [Vhi h]ddi^c\! eajh \ddY ]VcYa^c\ 6EH 8 ')#( Hdcn 6 '*!+%% &%-%  ,. &' &%%   (  )-% &)'#+ &%) -& +),
Sony Alpha 99 II '... )#*★ EaVXZhi]ZhjeZgWhZchdg[gdbi]Z6ae]V,G>>^cV9HAG"hinaZYWdYn ;; )'#) Hdcn6 &%'!)%% (-)%  ,. &' &%%   (   &%% &)'#+ &%)#' ,+#& -).

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 apti-media.com. We don’t have space to list every single product on
the market, so we don’t include the most expensive speciality optics such as long telephoto primes. Before making a major purchase we advise you
to double-check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.

nd CSC models at competitive

meras in store or online.

xpert team for free impartial

www.parkcameras.com/ap erfect camera for your needs.
Keep up to date with us on:

01444 23 70 42

56 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

RESOLUTION (MP)

BURST MODE (FPS)

SCREEN SIZE (IN)

ARTICULATED LCD
BUILT-IN WI-FI

TOUCHSCREEN
VIEWFINDER
Mirrorless cameras

LENS MOUNT
SENSOR SIZE

BATTERY LIFE

HEIGHT (MM)
WIDTH (MM)

DEPTH (MM)

WEIGHT (G)
AF POINTS
MIC INPUT
MAX ISO

(SHOTS)
FLASH
VIDEO
NAME & MODEL RRP SCORE SUMMARY SHOOTING SCREEN DIMENSIONS
Canon EOS M10 (.. 8dbeVXi! ZmigZbZan h^beaZ 8H8 YZh^\cZY [dg WZ\^ccZgh 6EH 8 &- 8Vcdc B '*!+%% &%-% ). )#+   (   '** &%- ++#+ (* (%&
Canon EOS M100 £449 3★ A^\]ilZ^\]i bdYZa [dg WZ\^ccZgh! Wji dkZgan h^bea^hi^X 6EH 8 ')#' 8Vcdc B '*!+%% &%-% ). +#&   (   '.* &%-#' +,#& (*#& (%'
Canon EOS M50 £649 4.5★ KZgn a^`ZVWaZ VcY lZaa heZX^ÄZY Zcign aZkZa bdYZa l^i] k^ZlÄcYZg 6EH 8 ')#' 8Vcdc B *&!'%% (-)%  &)( &%    (   '(* &&+#( --#& *-#, (-,
Canon EOS M3 £599 4★ B^Y gVc\Z bdYZa l^i] Zci]jh^Vhi Xdcigdah Wji cd k^ZlÄcYZg 6EH 8 ')#( 8Vcdc B '*!+%% &%-%  ). )#'   (   '*% &&%#. +- ))#) (++
Canon EOS M6 ,(% (#*★ JeYViZ id :DH B( l^i] [VhiZg Vjid[dXjh VcY ^begdkZY Xdcigdah 6EH 8 ')#' 8Vcdc B '*!+%% &%-%  ). .   (   '.* &&' +- ))#* (.%
Canon EOS M5 £1049 4★ 9AHG hinaZ b^ggdgaZhh XVbZgV XdbW^cZh heZZY VcY \ddY ]VcYa^c\ 6EH 8 ')#' 8Vcdc B '*!+%% &%-%  ). .    (#'   '.* &&*#+ -.#' +%#+ )',
Fujifilm X-A10 £500 4★ H^beaZ Zcign aZkZa 8H8 l^i] i^ai^c\ hXgZZc [dg hZaÄZh 6EH 8 &+#( ;j_^ M '*!+%% &%-% ). +   (  (*% &&.#+ +,#) )%#) ((&
Fujifilm X-A3 *.. ;j_^¼h WjY\Zi gVc\Z d[ k^ZlÄcYZgaZhh 8H8h \V^ch ')#'BE hZchdg 6EH 8 ')#' ;j_^ M '*!+%% &%-% ,, &%   (   )&% &&+#. ++#. )%#) ((.
Fujifilm X-A5 £549 3.5★ HeZZY^Zg WjY\Zi bdYZa l^i] cZl egdXZhhdg VcY e]VhZ YZiZXi^dc 6; 6EH 8 ')#' ;j_^ M *&!'%% (-)% .& +   (   )*% &&+#. +,#, )%#) (+&
Fujifilm X-E2S £549 4★ GVc\ZÄcYZg hinaZ YZh^\c l^i] k^ZlÄcYZg VcY VcVad\jZ Xdcigdah 6EH 8 &+#( ;j_^ M *&!'%% &%-%  ). ,    ( (*% &'. ,)#. (,#' (*%
Fujifilm X-E3 £849 4.5★ :mXZaaZci ^bV\Z fjVa^in ^c XdbeVXi WdYn i]Vi ]VcYaZh lZaa 6EH 8 ')#( ;j_^ M *&!'%% (-)%  ('* *   (  (*% &'&#( ,(#. )'#, ((,
Fujifilm X-H1 £1699 4.5★ Egd ÅV\h]^e l^i] gdWjhi Wj^aY VcY * Vm^h ^c WdYn hiVW^a^hVi^dc 6EH 8 ')#( ;j_^ M *&!'%% )%.+  ('* &)   (   (&% &(.#- .,#( -*#* +,(
Fujifilm X-T100 £619 4★ 6iigVXi^kZan YZh^\cZY Zcign aZkZa bdYZa \^kZh ZmXZaaZci ^bV\Z fjVa^in 6EH 8 ')#' ;j_^ M *&!'%% (-)% .& -    (   )(% &'& -( ),#) ))-
Fujifilm X-T20 ,.. *★ HbVaa HAG hinaZ bdYZa l^i] higdc\ [ZVijgZ hZi ^cXajY^c\ idjX]hXgZZc 6EH 8 ')#( ;j_^ M *&!'%% (-)%  ('* -    (   (*% &&-#) -'#- )&#) (-(
Fujifilm X-T1 £1100 5★ GZigd YZh^\c WVhZY VgdjcY VcVad\jZ Xdcigda Y^Vah VcY aVg\Z :K; 6EH 8 &+#( ;j_^ M *&!'%% &%-%  ). -   (  (*% &'. -.#- )+#, ))%
Fujifilm X-Pro2 £1349 5★ =^\] ZcY bdYZa l^i] jc^fjZ dei^XVa$ZaZXigdc^X ]nWg^Y k^ZlÄcYZg 6EH 8 ')#( ;j_^ M *&!'%% &%-%  ,, -   ( '*% &)%#* -'#- )*#. ).*
Fujifilm X-T2 £1450 5★ HjeZgW ^bV\Z fjVa^in VcY ]VcYa^c\ bV`Z ^i i]Z WZhi 6EH 8 8H8 id YViZ 6EH 8 ')#( ;j_^ M *&!'%% &%-%  ('* &)   (  ()% &('#* .&#- ).#' *%,
Leica CL £2250 4.5★ <dg\Zdjh 6EH 8 b^ggdgaZhh bdYZa l^i] k^ZlÄcYZg VcY idjX]hXgZZc 6EH 8 ')#' AZ^XV A *%!%%% (-)% ). &%   (  ''% &(& ,- )* )%(
Leica TL &(*% Hina^h] Vajb^c^jb WdYn VcY idjX]hXgZZc aZY Xdcigda 6EH 8 &+ AZ^XV A &'!*%% &%-% &.* *   (#,  )%% &() +. (( (-)
Leica TL2 &,%% )★ JeYViZ id i]Z IA l^i] ')BE hZchdg VcY bjX] [VhiZg deZgVi^dc 6EH 8 ') AZ^XV A *%!%%% (-)% ). '%  (#,  '*% &() +. (( (..
Leica SL £5500 4★ AZ^XV¼h [jaa [gVbZ 8H8 ]Vh Vc Vhidc^h]^c\ k^ZlÄcYZg ;; ') AZ^XV A *%!%%% )%.+ ). &&   (  )%% &), &%) (. -),
Olympus PEN E-PL8 (.. GZigd ZmiZgcVa YZh^\c ]^YZh hZg^djh heZX^ÄXVi^dch )$( &+#& B^X)$( '*!+%% &%-% -& -#*   (   (*% &&,#& +-#( (-#) (,)
Olympus PEN E-PL9 £650 4★ :cign aZkZa 8H8 l^i] Wj^ai ^c ÅVh] VcY )@ k^YZd Wji cd k^ZlÄcYZg dei^dc )$( &+#& B^X)$( '*!+%% (-)% &'& -#+   (   (*% &&,#& +- (. (-%
Olympus OM-D E-M10 II £549 4.5★ B^Y gVc\Z bdYZa ]Vh V higdc\ [ZVijgZ hZi VcY eZg[dgbh kZgn lZaa )$( &+#& B^X)$( '*!+%% &%-% -& -#*    (   ('% &&.#* -(#& )+#, ()'
Olympus OM-D E-M10 II £699 4.5★ :mXZaaZci b^Y gVc\Z 8H8 l^i] h^bea^ÄZY! ZVhn id jhZ ^ciZg[VXZ )$( &+#& B^X)$( '*!+%% (-)% &'& -#+    (   ((% &'&#* -(#+ ).#* )&%
Olympus OM-D E-M5 II £900 5★ 8dbW^cZh \gZVi ]VcYa^c\ VcY ^bV\Z fjVa^in l^i] hina^h] add`h )$( &+ B^X)$( '*!+%% &%-%  -& &%   (  ,*% &'(#, -* ))#* )+.
Olympus PEN-F £1000 5★ AdkZan gZigd gVc\ZÄcYZg hinaZY 8H8 l^i] Wj^ai ^c k^ZlÄcYZg )$( '%#( B^X)$( '*!+%% &%-% -& &%    (   ((% &')#- ,'#& (,#( )',
Olympus OM-D E-M1 II £1850 5★ HjeZgW 6; hnhiZb! hjeZg [Vhi h]ddi^c\ VcY gZbVg`VWaZ ^c WdYn >H )$( '%#) B^X)$( '*!+%% (-)%  &'& &-   (   ))% &()#& .%#. +-#. *,)
Panasonic Lumix G7 +,. )★ )@ k^YZd XVeijgZ ^c V gZaVi^kZan ^cZmeZch^kZ HAG hinaZ 8H8 )$( &+ B^X)$( '*!+%% (-)%  ). -    (   (+% &')#. -+#' ,,#) )&%
Panasonic Lumix G9 £1499 4.5★ =^\] heZZY! gj\\ZY e]did XZcig^X ÅV\h]^e 8H8 l^i] ^c WdYn >H )$( '%#( B^X)$( '*!+%% (-)%  ''* .   (   -.% &(+#. .,#( .&#+ +*-
Panasonic Lumix G80 £699 4.5★ 9HAG hinaZ bdYZa [dg Zci]jh^Vhih l^i] ^c WdYn >H VcY )@ k^YZd )$( &+ B^X)$( '*!+%% (-)%  ). .    (   ((% &'-#) -. ,)#( *%*
Panasonic Lumix GX800 £500 4★ I^cn ZVhn id jhZ edX`Zi 8H8 l^i] i^ai^c\ hXgZZc VcY )@ k^YZd )$( &+ B^X)$( '*!+%% (-)% ). *#-   (   '&% &%+#* +)#+ ((#( '+.
Panasonic Lumix GX80 £599 4.5★ LZaa _jY\ZY XdbeVXi bdYZa l^i] >H! i^ai^c\ hXgZZc VcY k^ZlÄcYZg )$( &+ B^X)$( '*!+%% )%.+ ). -    (   '.% &'' ,%#+ )(#. )'+
Panasonic Lumix GX8 £1000 5★ >c WdYn hiVW^a^hVi^dc VcY i^ai^c\ k^ZlÄcYZg ^c V aVg\Z gj\\ZY WdYn )$( '%#( B^X)$( '*!+%% (-)%  ). -   (   ((% &((#' ,- +(#& )-,
Panasonic Lumix GX9 £699 4★ 8dbeVXi WdYn l^i] i^ai^c\ hXgZZc VcY k^ZlÄcYZg! VcY * Vm^h hiVW^a^hVi^dc )$( '%#( B^X)$( '*!+%% (-)% ). .    (   .%% &') ,'#& )+#- )*%
Panasonic Lumix GH5 £1299 4.5★ K^YZd [dXjhZY ]^\] ZcY 8H8 l^i] ^c WdYn hiVW^a^hVi^dc VcY )@ gZXdgY^c\ )$( '%#' B^X)$( '*!+%% )%.+  ''* &'   (#'   )&% &(-#* .-#& -,#) ,'*
Panasonic Lumix GH5S '&.. Egd[Zhh^dcVa k^YZd kZgh^dc d[ <=* l^i] &%#'BE bjai^ VheZXi hZchdg )$( &%#' B^X)$( '%)!-%% )%.+  ''* &&   (#'   )&% &(-#* .-#& -,#) ++%
Sony Alpha 5000 £420 4★ H^beaZ! XdbeVXi bdYZa V^bh id XdbeZiZ l^i] Zcign aZkZa 9HAGh 6EH 8 '%#& Hdcn : &+!%%% &%-%  '* (#*   (  )'% &&% +( (+ '.+
Sony Alpha 5100 £549 4★ DcZ d[ i]Z kZgn WZhi Zcign aZkZa XVbZgVh [dg k^YZd VcY ^bV\ZfjVa^in 6EH 8 ') Hdcn : '*!+%% &%-% &,. +   (   )%% &&% +( (+ '-(
Sony Alpha 6000 +,% )#*★ Hde]^hi^XViZY 6; VcY Vc ^begZhh^kZ 6EH 8 hZchdg 6EH 8 ') Hdcn : '*!+%% &%-% &,. &&    (  (&% &'% +, )* ())
Sony Alpha 6300 £1000 4.5★ EgZb^jb 8H8 i]Vi WdVhih [Vhi 6; igVX`^c\ VcY )@ k^YZd 6EH 8 ')#' Hdcn : *&!'%% (-)%  )'* &&    (  (*% &'% ++#. )-#- )%)
Sony Alpha 6500 £1500 5★ IZX]c^XVaan ]j\Zan VXXdbea^h]ZY 8H8 l^i] ^c WdYn ^bV\ZhiVW^a^hVi^dc 6EH 8 ')#' Hdcn : *&!'%% (-)%  )'* &&    (   (*% &'% ++#. *(#( )*(
Sony Alpha 7 £1300 4.5★ DcZ d[ i]Z a^\]iZhi! hbVaaZhi [jaa [gVbZ XVbZgVh ;; ')#( Hdcn : '*!+%% &%-%  &&, *   (  ()% &', .) )- ),)
Sony Alpha 7 II £1498 5★ I]Z [jaa [gVbZ 6ae]V , >> ^cXajYZh ^c WdYn ^bV\Z hiVW^a^hVi^dc ;; ')#( Hdcn : '*!+%% &%-%  &&, *   (  (*% &'+#. .*#, *.#, **+
Sony Alpha 7 III £1999 5★ GZbVg`VWaZ Vaa gdjcYZg l^i] &%[eh h]ddi^c\ VcY )@ k^YZd gZXdgY^c\ ;; ')#' Hdcn : '%)!-%% (-)%  +.( &%   (   +&% &'+#. .*#+ ,(#, +*%
Sony Alpha 7R &,%% )#*★ HVbZ WdYn YZh^\c Vh i]Z 6ae]V , Wji ]^\]Zg gZhdaji^dc hZchdg ;; (+#) Hdcn : '*!+%% &%-%  '* )   (  ()% &', .) )- )+*
Sony Alpha 7R II £2599 5★ 6 W^\ hiZe je [gdb i]Z 6,G0 dcZ d[ i]Z WZhi [jaa [gVbZ XVbZgVh VkV^aVWaZ ;; )'#) Hdcn : &%'!)%% (-)%  (.. *   (  '.% &'+#. .*#, +%#( +'*
Sony Alpha 7R III £3200 5★ HVbZ hZchdg Vh 6,G >>! Wji [VhiZg VcY l^i] ^begdkZYWdYnYZh^\c ;; )'#) Hdcn : &%'!)%% (-)%  (.. &%   (   +*% &'+#. .*#+ ,(#, +*,
Sony Alpha 7S £2259 4★ GZbVg`VWaZ adl a^\]i VcY k^YZd XVeVW^a^i^Zh ;; &'#' Hdcn : )%.!+%% &%-%  '* *   (  (-% &'+#. .)#) )-#' )-.
Sony Alpha 7S II £2500 5★ 6 heZX^Va^hi XVbZgV [dg adl a^\]i h]ddi^c\ VcY )@ k^YZd ;; &'#' Hdcn : )%.!+%% (-)%  &+. *   (  (&% &'+#. .*#, +%#( +',
Sony Alpha 9 £4500 5★ HjeZg"[Vhi8H8l^i]'%[ehh]ddi^c\VcYhijcc^c\dkZgVaaeZg[dgbVcXZ ;; ')#' Hdcn: '%)!-%% (-)%  +.( '%    (   +*% &'+#. .*#+ +( +,(

Up to Up to
£120 CASHBACK £300 CASHBACK
on selected Canon on selected Panasonic
cameras this Summer! cameras this Summer!

See website for details. See website for details.

Offer ends 31.08.18. Offer ends 10.09.18.
T&Cs apply. T&Cs apply.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 57

 BUYING GUIDE

Lens mounts
Each manufacturer has its own
Lenses lens mount and most aren’t
compatible with one another. For
Interchangeable lenses come in example, a Canon DSLR can’t use
Nikon lenses, although you can
a huge array of types for shooting 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
different types of lenses. For Most lenses now incorporate an internal
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 of type motors for fast focusing, while
small objects. Large- those for mirrorless cameras tend to
aperture lenses allow you employ video-friendly stepper motors.
to isolate subjects against
blurred backgrounds, or
shoot in low light without
having to raise the ISO too Filter thread Maximum
high. Meanwhile, all-in-one A thread at the front of aperture
superzooms cover a wide the camera will have Wider apertures mean
range of subjects, but usually a diameter, in mm, which you can use faster,
with rather lower optical quality. will allow you to attach motion-stopping
a variety of filters or shutter speeds.
adapters to the lens.
LENS SUFFIX GUIDE USED BY MANUFACTURERS
AF Nikon AF lenses driven from camera DC Nikon defocus control portrait lenses ED Extra low Dispersion elements LD Low Dispersion glass SP Tamron’s Super Performance range
AF-S Nikon lenses with Silent Wave Motor DC Sigma’s lenses for APS C digital EF Canon’s DSLR lenses for full frame LM Fujifilm Linear Motor SSM Sony Supersonic Motor lenses
AF-P Nikon lenses with stepper motors DG Sigma’s designation for full frame lenses EF-S Canon lenses for APS C sized sensors MP-E Canon’s high magnification macro lens STF Sony and Laowa Smooth Trans Focus
AL Pentax lenses with aspheric elements Di Tamron lenses for full frame sensors EF-M Canon’s lenses for its mirrorless M range OIS Optical Image Stabilisation STM Canon lenses with stepper motor
APD Fujifilm lenses with apodisation elements Di-II Tamron lenses designed for APS C DSLRs EX Sigma’s ‘Excellent’ range OS Sigma’s Optically Stabilised lenses TS-E Canon Tilt and Shift lens
APO Sigma Apochromatic lenses Di-III Tamron lenses for mirrorless cameras FA Pentax full frame lenses PC-E Nikon tilt and shift lenses UMC Ultra Multi Coated
ASPH Aspherical elements DN Sigma’s lenses for mirrorless cameras FE Sony lenses for full frame mirrorless PF Nikon Phase Fresnel optics USM Canon lenses with an Ultrasonic Motor
AT-X Tokina’s Advanced Technology Extra Pro DO Canon diffractive optical element lenses G Nikon lenses without an aperture ring PRO Tokina and Olympus Professional lenses USD Tamron Ultrasonic Drive motor
AW Pentax all weather lenses DT Sony lenses for APS C sized sensors HSM Sigma’s Hypersonic Motor PZD Tamron Piezo Drive focus motor VC Tamron’s Vibration Compensation
CS SamyanglensesforAPS Ccroppedsensors DX Nikon’s lenses for DX format digital IF Internal Focusing SAM Sony Smooth Autofocus Motor VR Nikon’s Vibration Reduction feature
D Nikon lenses that communicate distance info E Nikon lenses with electronic apertures IS Canon’s Image Stabilised lenses SDM Pentax’s Sonic Direct Drive Motor XR Tamron Extra Refractive Index glass
DA Pentax lenses optimised for APS-C-sized sensors E Sony lenses for APS-C mirrorless L Canon’s ‘Luxury’ range of lenses SMC Pentax Super Multi Coating WR Weather Resistant

FILTER THREAD (MM)

MIN FOCUS (CM)
FOUR THIRDS
SONY ALPHA

DSLR Lenses
LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA

LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON DSLR
EF 8-15mm f/4 L USM &).. >begZhh^kZ add`^c\ Äh]ZnZ oddb aZch [gdb 8Vcdc   &* c$V ,-#* -( *)%\
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ 6 hjeZgW jaigV l^YZVc\aZ i]Vi¼h V bjhi ]VkZ [dg VcndcZ h]ddi^c\ aVcYhXVeZh VcY X^inhXVeZh   '' +, ,)#+ ,' ')%\
EF-S 10-22mm f/3.5-4.5 USM ..% )★ 6 \ddY eZg[dgbZg! l^i] hda^Y BI; XjgkZh VcY b^c^bVa X]gdbVi^X VWZggVi^dc  ') ,, -(#* -.#- (-*\
EF 11-24mm f/4 L USM ',.. *★ Adc\ VlV^iZY Wn 8Vcdc [jaa [gVbZ jhZgh! i]^h ^h i]Z ldgaY¼hl^YZhi"Vc\aZgZXi^a^cZVgoddbaZch   '- c$V &%- &(' &&-%\
EF 14mm f/2.8 L II USM '-&% )#*★ >begZhh^kZ gZhdaji^dc Vi [$- Wji aZhh hd l^YZ deZc   '% c$V -% .) +)*\
EF-S 15-85mm f/3.5-5.6 IS USM .%% )★ ;djg hide ^bV\Z hiVW^a^hVi^dc VcY HjeZg HeZXigV XdVi^c\h! id\Zi]Zgl^i]VjhZ[jagVc\Z   (* ,' -&#+ -,#* *,*\
EF 16-35mm f/2.8 L II USM &,.% )#*★ 6 \ddY eZg[dgbZg l^i] higdc\ gZhjaih Vi [$- ^c eVgi^XjaVg   '- -' --#* &&&#+ +(*\
EF 16-35mm f/2.8 L III USM '&*% GZkVbeZY l^YZVc\aZ oddb ^cXajYZh cZl dei^Xh ^c V lZVi]Zg hZVaZY aZch WVggZa   '- -' -.#* &',#* ,.%\
EF 16-35mm f/4 L IS USM £1199 4★ KZghVi^aZ VcY l^i] V jhZ[ja >H hnhiZb! i]^h ^h V kZgn \ddY jaigV l^YZVc\aZ oddb [dg [jaa [gVbZXVbZgVh    '- ,, -'#+ &&'#- +&*\
TS-E 17mm f/4 L '.'% I^ai VcY h]^[i dei^X l^i] ^cYZeZcYZci i^ai VcY h]^[i gdiVi^dc VcY gZYZh^\cZY XdVi^c\h   '* ,, --#. &%+#. -'%\
EF 17-40mm f/4 L USM .)% )★ 9Zh^\cZY id bViX] i]Z cZZYh d[ YZbVcY^c\ egd[Zhh^dcVah VcY YdZh hd l^i] ZVhZ   '- ,, -(#* .+#- *%%\
EF-S 17-55mm f/2.8 IS USM ,.* )★ KZgn XVeVWaZ aZch l^i] i]gZZ hide ^bV\Z hiVW^a^hVi^dc! HjeZg HeZXigV XdVi^c\ VcY VX^gXjaVgVeZgijgZ   (* ,, -(#* &&%#+ +)*\
EF-S 18-55mm f/3.5-5.6 IS STM &.* KZghVi^aZ! V[[dgYVWaZ hiVcYVgY oddb [ZVijg^c\ [djg hide ^bV\Z hiVW^a^hVi^dc   '* *- +. ,*#' '%*\
EF-S 18-55mm f/4-5.6 IS STM ''% AViZhi hiVcYVgY oddb [dg 8Vcdc¼h 6EH 8 :DH 9HAGh! l^i] XdbeVXi YZh^\c VcY jeYViZY dei^Xh   '* *- ++#* +&#- '&*\
EF-S 18-135mm f/3.5-5.6 IS STM ),- JhZh hiZeeZg bdidg [dg h^aZci VcY [Vhi Vjid[dXjh i]Vi¼h Vahd lZaa hj^iZY id k^YZd ldg`   (. +, ,+#+ .+ )-%\
EF-S 18-135mm f/3.5-5.6 IS USM
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

*%% KZghVi^aZ oddb l^i] cZl CVcd JHB [dXjh iZX]cdad\n VcY dei^dcVa edlZg oddb VYVeiZg   (. +, ,,#) .+ *&*\
EF-S 18-200mm f/3.5-5.6 IS ,)% )★ 6jidbVi^X eVcc^c\ YZiZXi^dc [dg ^bV\Z hiVW^a^hVi^dc VcY V jhZ[ja &&m oddb gVc\Z   )* ,' ,-#+ &%' *.*\
EF 20mm f/2.8 USM +&% L^YZVc\aZ aZch l^i] V ÅdVi^c\ gZVg [dXjh^c\ hnhiZb VcY V JHB bdidg   '* ,' ,,#* ,%#+ )%*\
EF 24mm f/1.4 L II USM '%&% HjWlVkZaZc\i] higjXijgZ XdVi^c\! id\Zi]Zg l^i] J9 VcYVhe]Zg^XVaZaZbZcih   '* ,, -(#* -+#. +*%\
EF 24mm f/2.8 IS USM ,*% )★ HbVaa l^YZVc\aZ dei^X l^i] ^bV\Z hiVW^a^hVi^dc    '% *- +-#) **#, '-%\
EF-S 24mm f/2.8 STM &+* )★ 7Vg\V^c eg^XZ! i^cn XVggn ZkZgnl]ZgZ h^oZ VcY V ]^\]an XdbeZiZci ^bV\^c\ eZg[dgbVcXZ  &+ *' +-#' ''#- &'*\
TS-E 24mm f/3.5 L II '**% I^ai VcY h]^[i dei^X l^i] ^cYZeZcYZci i^ai VcY h]^[i gdiVi^dc VcY gZYZh^\cZYXdVi^c\h   '& -' --#* &%+#. ,-%\
EF 24-70mm f/2.8 L II USM '(%% *★ Egd[Zhh^dcVa"fjVa^inhiVcYVgYoddbaZchl^i]V[VhiVeZgijgZ         (- -' --#* &&( -%*\

58 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
EF 24-70mm f/4 L IS USM &).. A hZg^Zh oddb hV^Y id WZ XdbeVXi! edgiVWaZ VcY V^bZY Vi Wdi] egd[Zhh^dcVah VcY VbViZjgh    (- ,, -(#) .( +%%\
EF 24-105mm f/4 L IS II USM £1129 4★ GZldg`ZY ldg`]dghZ oddb [dg [jaa [gVbZ XVbZgVh jhZh Vc Vaa cZl dei^XVa YZh^\c    )* ,, -(#* &&- ,.*\
EF 24-105mm f/3.5-5.6 IS STM ),. (#*★ 6 kZghVi^aZ hiVcYVgY oddb aZch i]Vi¼h Vc ^YZVa gdjiZ ^cid [jaa [gVbZ e]did\gVe]n    )% ,, -(#) &%) *'*\
EF 28mm f/1.8 USM *,% JHB bdidg VcY Vc Vhe]Zg^XVa ZaZbZci! id\Zi]Zg l^i] V l^YZ bVm^bjb VeZgijgZ   '* *- ,(#+ **#+ (&%\
EF 28mm f/2.8 IS USM ,(% (#*★ A^\]ilZ^\]i VcY ^cZmeZch^kZ aZch! l^i] V h^c\aZ Vhe]Zg^XVa ZaZbZci    (% *' +,#) )'#* &-*\
EF 28-300mm f/3.5-5.6 L IS USM ('.% A hZg^Zh dei^X l^i] ZmeVch^kZ gVc\Z! ^bV\Z hiVW^a^hVi^dc VcY V X^gXjaVg VeZgijgZ    ,% ,, .' &-) &+,%\
EF-S 35mm f/2.8 Macro IS STM (.. ;ZVijgZh Vc ^ccdkVi^kZ Wj^ai ^c YjVa A:9 a^\]i [dg XadhZ je h]ddi^c\   &( ). +.#' **#- &.%\
EF 35mm f/2 IS USM ,.. ;^ghi (*bb eg^bZ [gdb 8Vcdc id [ZVijgZ Vc dei^XVa hiVW^a^hVi^dchnhiZb    ') +, +'#+ ,,#. ((*\
EF 35mm f/1.4 L II USM &,.. *★ 6c djihiVcY^c\ VYY^i^dc id i]Z A hZg^Zh a^cZ je   '- ,' -%#) &%)#) ,+%\
EF 40mm f/2.8 STM '(% 6 edgiVWaZ VcY kZghVi^aZ XdbeVXi eVcXV`Z aZch# 6 [Vhi bVm^bjb VeZgijgZZcVWaZhadl"a^\]ih]ddi^c\  (% *' +-#' ''#- &(%\
TS-E 45mm f/2.8 &'%% I^ai VcY h]^[i aZch YZh^\cZY [dg hijY^d egdYjXi e]did\gVe]n   )% ,' -& .%#& +)*\
EF 50mm f/1.2 L USM &.&% KZgn l^YZ bVm^bjb VeZgijgZ VcY HjeZg HeZXigV XdVi^c\h! VcY V X^gXjaVg VeZgijgZ   )* ,' -*#- +*#* *-%\
EF 50mm f/1.4 USM )*% *★ 7g^aa^Vci eZg[dgbZg! l^i] V ]^\]an Xdch^hiZci hZi d[ BI; XjgkZh# 6; bdidg ^h V iVY cd^hn!i]dj\]   )* *- ,(#- *%#* '.%\
EF 50mm f/1.8 STM &(% *★ A^\]iZhi :; aZch ^c i]Z gVc\Z! l^i] l^YZ bVm^bjb VeZgijgZ VcY V B^Xgd Bdidg   (* ). +.#' (.#( &(%\
TS-E 50mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH : )*bb [$'#-   ', ,, -+#. &&)#. .)*\
EF-S 55-250mm f/4-5.6 IS STM '+* 6 XdbeVXi iZaZe]did aZch [ZVijg^c\ hbddi]! fj^Zi HIB [dXjh^c\ l]Zc h]ddi^c\ bdk^Zh   &&% *- ,% &&&#' (,*\
EF-S 60mm f/2.8 Macro USM *)% )★ <gZVi Wj^aY VcY dei^XVa fjVa^in! l^i] [Vhi! VXXjgViZ VcY cZVg h^aZci [dXjh^c\  '% *' ,( +.#- ((*\
MP-E 65mm f/2.8 1-5x Macro &'*% BVXgd aZch YZh^\cZY id VX]^ZkZ V bV\c^ÄXVi^dc \gZViZg i]Vc &m l^i]dji VXXZhhdg^Zh   ') *- -& .- ,&%\
EF 70-200mm f/2.8 L USM &*)% Cdc hiVW^a^hZY A hZg^Zh dei^X! l^i] gZVg [dXjh^c\ VcY [djg J9 ZaZbZcih   &*% ,, -)#+ &.(#+ &(&%\
EF 70-200mm f/2.8 L IS II USM &.%% *★ 6 \gZVi aZch Wji Vahd V Xdhian dcZ# EZV` gZhdaji^dc Vi %#) XnXaZh eZg e^mZa ^h h^bean VbVo^c\    &'% ,, --#- &.. &).%\
NEW EF 70-200mm f/2.8 L IS III USM '&*% JeYViZh 8Vcdc¼h ZmXZaaZci egd ldg`]dghZ oddb l^i] lViZg gZeZaaZci Åjdg^cZXdVi^c\h    &'% ,, --#- &.. &)-%\
EF 70-200mm f/4 L USM ,.% 6 X]ZVeZg A hZg^Zh VaiZgcVi^kZ id i]Z [$'#- kZgh^dch VkV^aVWaZ   &'% +, ,+ &,' ,%*\
EF 70-200mm f/4 L IS USM &'&% *★ 6 hjeZgW dei^dc [dg i]Z hZg^djh hedgih VcY VXi^dc e]did\gVe]Zg    &'% +, ,+ &,' ,+%\
NEW EF 70-200mm f/4L IS II USM &(%% Je\gVYZY egZb^jb iZaZe]did oddb egdb^hZh ÄkZ hideh d[ ^bV\Z hiVW^a^hVi^dc    &%% ,' -% &,+ ,-%\
EF 70-300mm f/4.5-5.6 IS II USM ).. )#*★ B^Y gVc\Z iZaZe]did oddb d[[Zgh gZVaan \ddY dei^Xh VcY [Vhi!h^aZciVjid[dXjh    &'% +, -% &)*#* ,&%\
EF 70-300mm f/4-5.6 L IS USM &+%% *★ 6c A hZg^Zh aZch l^i] V ]^\]an YjgVWaZ djiZg h]Zaa    &'% +, -. &)( &%*%\
EF 70-300mm f/4.5-5.6 DO IS USM &,%% I]gZZ aVnZg Y^[[gVXi^kZ dei^XVa ZaZbZci VcY ^bV\Z hiVW^a^hVi^dc    &)% *- -'#) ..#. ,'%\
EF 75-300mm f/4-5.6 III (%% :hhZci^Vaan i]Z hVbZ aZch Vh i]Z ,* (%%bb [$) *#+ >>> JHB Wji l^i] cd JHB   &*% *- ,& &'' )-%\
EF 75-300mm f/4-5.6 III USM (*% '#*★ <ddY Wji cdi djihiVcY^c\# I]Z ^cXajh^dc d[ V bZiVa aZch bdjci ^h edh^i^kZ! i]dj\]   &*% *- ,& &'' )-%\
EF 85mm f/1.2 L II USM '+)% )★ 6 lZaa XgV[iZY aZch! l^i] [Vhi VcY fj^Zi 6; l^i] \ddY k^\cZii^c\ VcY Y^hidgi^dc Xdcigda   .* ,' .&#* -)#% &%'*\
EF 85mm f/1.4L IS USM &*,% *★ HjWa^bZ! ]^\]an YZh^gVWaZ edgigV^i aZch XdbW^cZh aVg\Z VeZgijgZ VcY dei^XVa ^bV\ZhiVW^a^hVi^dc    -* ,, --#+ &%*#) .*%\
EF 85mm f/1.8 USM ),% *★ Cdc gdiVi^c\ [gdci g^c\ i]Vc`h id gZVg [dXjh^c\ hnhiZb! Vh lZaa Vh JHB   -* *- ,* ,&#* )'*\
TS-E 90mm f/2.8 &+,% HV^Y id WZ i]Z ldgaY¼h Äghi (*bb [dgbVi iZaZe]did aZch l^i] i^ai VcY h]^[i bdkZbZcih   *% *- ,(#+ -- *+*\
TS-E 90mm f/2.8L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! i]^h gZeaVXZh i]Z IH : .%bb [$'#-   (. ,, -+#. &&+#* .&*\
EF 100mm f/2 USM **. 6 bZY^jb iZaZe]did aZch l^i] V l^YZ VeZgijgZ! bV`^c\ ^i ^YZVa [dg edgigV^ih   .% *- ,* ,(#* )+%\
EF 100mm f/2.8 Macro USM +*% )★ 6 hda^Y eZg[dgbZg! Wji lZV` Vi [$'#- l]^X] ^h ediZci^Vaan \ddY[dgedgigV^ih   (& *- ,. &&. +%%\
EF 100mm f/2.8 L Macro IS USM &%+% *★ Hijcc^c\ BI; Ä\jgZh [gdb i]^h egd \gVYZ bVXgd dei^X    (% +, ,,#, &'( +'*\
EF 100-400mm f/4.5-5.6 L IS II USM &... )#*★ A hZg^Zh XdchigjXi^dc VcY dei^Xh! ^cXajY^c\ Åjdg^iZ VcY HjeZg J9 ZaZbZcih    .- ,, .) &.( &+)%\
EF 135mm f/2 L USM &(+% A hZg^Zh XdchigjXi^dc l^i] ild J9 ZaZbZcih VcY l^YZ bVm^bjb VeZgijgZ   .% ,' -'#* &&' ,*%\
TS-E 135mm f/4L Macro '*%% DcZ d[ V ig^d d[ i^ai VcY h]^[i bVXgd aZchZh! l^i] &/' bV\c^ÄXVi^dc   ). -' --#* &(.#& &&&%\
EF 180mm f/3.5 L Macro USM &-,% A hZg^Zh bVXgd aZch l^i] ^ccZg [dXjh^c\ hnhiZb VcY JHB iZX]cdad\n   )- ,' -'#* &-+#+ &%.%\
EF 200mm f/2.8 L II USM .+% Ild J9 ZaZbZcih VcY V gZVg [dXjh^c\ hnhiZb ^c i]^h A hZg^Zh dei^X   &*% ,' -(#' &(+#' ,+*\
EF 300mm f/4 L IS USM &,)% Ild hide ^bV\Z hiVW^a^hVi^dc l^i] hZeVgViZ bdYZ [dg eVcc^c\ bdk^c\ hjW_ZXih    &*% ,, .% ''& &&.%\
EF 400mm f/5.6 L USM &++%  HjeZgJ9VcYJ9ZaZbZcih!VhlZaaVhVYZiVX]VWaZig^edYbdjciVcYWj^ai"^c]ddY         (*% ,, .% '*+#* &'*%\

NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S &'.. ;^h]ZnZ oddb [dg [jaa [gVbZ 9HAGh i]Vi \^kZh V X^gXjaVg k^Zl Vi -bb VcY [jaa [gVbZ XdkZgV\Z Vi &*bb   &+ c$V ,,#* -( )-*\
10-20mm f/4.5-5.6 G VR AF-P DX ((% (#*★ >cZmeZch^kZ l^YZ oddb [dg 9M 9HAGh ]Vh Z[[ZXi^kZ ^bV\Z hiVW^a^hVi^dc Wji gVi]Zg VkZgV\Zdei^Xh   '' ,' ,, ,( '(%\
10-24mm f/3.5-4.5 G ED AF-S DX -() )★ BI; eZg[dgbVcXZ ^h \ddY [gdb l^YZ deZc id [$&&! dcan WgZV`^c\ Ydlc eVhi [$''  ') ,, -'#* -, )+%\
10.5mm f/2.8 G ED DX Fisheye +,- 9M [dgbVi Äh]ZnZ aZch l^i] C^`dc¼h 8adhZ GVc\Z 8dggZXi^dc hnhiZb VcY :9 \aVhh  &) c$V +( +'#* (%%\
12-24mm f/4 G ED AF-S DX &%)) )★ I]^h kZcZgVWaZ dei^X bVn WZ V a^iiaZ lZV` Vi [$)! Wji di]Zgl^hZ ^i¼h V \ddY eZg[dgbZg  (% ,, -'#* .% )-*\
14mm f/2.8 D ED AF &**) *★ 6 gZVaan c^XZ aZch i]Vi ]VcYaZh lZaa VcY d[[Zgh ZmXZaaZci ^bV\Z fjVa^in   '% c$V -, -+#* +,%\
14-24mm f/2.8 G ED AF-S &+,% *★ 6 gZbVg`VWaZ e^ZXZ d[ `^i! egdYjX^c\ h]Vge ^bV\Zh l^i] a^iiaZ X]gdbVi^X VWZggVi^dc   '- c$V .- &(&#* .,%\
16mm f/2.8 D AF Fisheye ,+' ;jaa [gVbZ Äh]ZnZ aZch l^i] 8adhZ GVc\Z 8dggZXi^dc hnhiZb VcY '*Xb [dXjh Y^hiVcXZ   '* c$V +( *, '.%\
16-35mm f/4 G ED AF-S VR &%,' *★ 6 [VciVhi^X aZch i]Vi YZhZgkZh id WZ iV`Zc hZg^djhan! l^i] kZgn a^iiaZ 86 i]gdj\]dji    '- ,, -'#* &'* +-*\
16-80mm f/2.8-4E ED VR AF-S DX -+. )★ I]^h cZl hiVcYVgY oddb [dg 9M [dgbVi jhZgh ^h YZh^\cZY Vh V igVkZa aZch [dg 6EH 8 9HAGh   (* ,' -% -*#* )-%\
16-85mm f/3.5-5.6 G ED VR AF-S DX *,) )★ 7dVhi^c\ C^`dc¼h hZXdcY \ZcZgVi^dc KG >> iZX]cdad\n VcY HjeZg >ciZ\gViZY 8dVi^c\   (- +, ,' -* )-*\
17-55mm f/2.8 G ED-IF AF-S DX &(*+ )★ 6 ]^\]Zg fjVa^in hiVcYVgY oddb [dg 9M [dgbVi 9HAGh  (+ ,, -*#* &&%#* ,**\
18-35mm f/3.5-4.5 G ED AF-S ++. *★ L^YZVc\aZ oddb l^i] ^chiVci bVcjVa [dXjh dkZgg^YZ [dg [jaa [gVbZ 9HAGh   '- ,, -( .* (-*\
18-55mm f/3.5-5.6 G II AF-S DX &*+ (#*★ :cign aZkZa hiVcYVgY oddb aZch  '- *' ,( ,.#* '+*\
18-55mm f/3.5-5.6 G VR II AF-S DX ''. EdejaVg (m oddb aZch i]Vi ^h gZbVg`VWan XdbeVXi VcY a^\]ilZ^\]i! d[[Zg^c\ \gZViedgiVW^a^in   '- *' ++ *.#* &.*\
18-55mm f/3.5-5.6 G AF-P DX &). 6 XdbeVXi! a^\]ilZ^\]i 9M [dgbVi oddb i]Vi¼h Vc ^YZVa lVa` VgdjcY aZch  '* ** +)#* +'#* &.*\
18-55mm f/3.5-5.6 G VR AF-P DX &.. 6 XdbeVXi! a^\]ilZ^\]i 9M [dgbVi oddb aZch l^i] K^WgVi^dc GZYjXi^dc   '* ** +)#* +'#* '%*\
18-105mm f/3.5-5.6 G ED VR AF-S DX '.' )#*★ @^i aZch [dg C^`dc 9.%  9,%%% l^i] H^aZci LVkZ Bdidg VcY K^WgVi^dc GZYjXi^dc   c$V +, ,+ -. )'%\
18-140mm f/3.5-5.6 G ED VR AF-S DX *,. 6 XdbeVXi VcY a^\]ilZ^\]i 9M [dgbVi oddb! i]^h aZch ^h V \gZVi Vaa gdjcYZg   )* +, ,- ., ).%\
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX ,+' )#*★ ;djg hide KG >> hnhiZb! ild :9 VcY i]gZZ Vhe]Zg^XVa ZaZbZcih ^c i]^h 9M hjeZgoddb aZch   *% ,' ,, .+#* *+%\
18-300mm f/3.5-5.6 G ED-IF VR -*% )★ 9M [dgbVi oddb aZch l^i] l^YZVc\aZ id hjeZg iZaZe]did gZVX]   )* ,, -( &'% -(%\
18-300mm f/3.5-6.3 G ED VR -).  CZl9M"[dgbVi&+#,moddbl^i]hjeZg"iZaZe]didgZVX]·VXdbeVXilVa`"VgdjcYaZch         )- +, ,-#* .. **%\

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 59

 BUYING GUIDE

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
19mm f/4 E ED PC ((%% HjeZg l^YZVc\aZ i^ai VcY h]^[i aZch [dg VgX]^iZXijgZ VcY aVcYhXVeZ e]did\gVe]n  
'* c$V -. &') --*\
20mm f/1.8 G ED AF-S +,. 6 [Vhi ;M [dgbVi eg^bZ aZch i]Vi¼h XdbeVXi VcY a^\]ilZ^\]i  '% ,, -'#* -%#* ((*\
20mm f/2.8 D AF *-) 8dbeVXi l^YZVc\aZ aZch l^i] C^`dc¼h 8adhZ GVc\Z 8dggZXi^dc hnhiZb  '* +' +. )'#* ',%\
24mm f/2.8 D AF )', 8dbeVXi l^YZ aZch l^i] 8adhZ GVc\Z 8dggZXi^dc hnhiZb  (% *' +)#* )+ ',%\
24mm f/1.4 G ED AF-S &..% *★ Cdi]^c\ h]dgi d[ hijcc^c\# 6h^YZ [gdb ^ih ]^\] eg^XZ! i]ZgZ ^h kZgn a^iiaZ id Y^ha^`Z VWdji i]^h dei^X  '* ,, -( --#* +'%\
24mm f/1.8 G ED AF-S +'. ;Vhi ;M [dgbVi aZch i]Vi V^bh id VeeZVa id aVcYhXVeZ! ^ciZg^dg! VgX]^iZXijgZ VcY higZZi e]did\gVe]Zgh  '( ,' ,,#* -( (**\
24mm f/3.5 D ED PC-E &,,) EZgheZXi^kZ 8dcigda aZch l^i] CVcd 8gnhiVa 8dVi^c\ VcY ZaZXigdc^X Xdcigda dkZg VeZgijgZ   '& ,, -'#* &%- ,(%\
24-70mm f/2.8 G ED AF-S &*+* *★ 6c ZmXZaaZci hZi d[ BI; XjgkZh i]Vi h]dl djihiVcY^c\ Xdch^hiZcXn! ZVh^an _jhi^[n^c\i]Zeg^XZd[i]^haZch   (- ,, -( &(( .%%\
24-70mm f/2.8 E ED VR &-). *★ C^`dc¼h aViZhi egd heZX hiVcYVgY oddb add`h a^`Z ^ih WZhi aZch nZi    (- -' -- &*)#* &%,%\
24-85mm f/3.5-4.5 G ED VR *'% *★ ;M [dgbVi hiVcYVgY oddb l^i] 6jid Ig^edY YZiZXi^dc VcY KG   (- ,' ,- -' )+*\
24-120mm f/4 G ED AF-S VR &%,' *★ 8dchiVci bVm^bjb VeZgijgZ d[ [$) VcY i]Z VYY^i^dc d[ KG bV`Zh i]^h V hjeZgW aZch    )* ,, -) &%( ,&%\
28mm f/1.4 E ED AF-S '%-% 7dVhih V Yjhi VcY Yg^e gZh^hiVci Wj^aY [dg gZa^VWaZ h]ddi^c\ ^c X]VaaZc\^c\ lZVi]Zg XdcY^i^dch   '- ,, -( &%%#* +)*\
28mm f/1.8 G ED AF-S +&. *★ >[ ndj XgVkZ V l^YZ VeZgijgZ VcY egZ[Zg V h^c\aZ [dXVa aZc\i] i]Zc i]^h C^`dc eg^bZ YZa^kZgh   '* +, ,( -% ((%\
28mm f/2.8 D AF '-' 8dbeVXi l^YZVc\aZ aZch l^i] V b^c^bjb [dXjh^c\ Y^hiVcXZ d[ '*Xb   '* *' +* ))#* '%*\
28-300mm f/3.5-5.6 G ED AF-S VR --. )#*★ IZX]c^XVa iZhi^c\ h]dlh i]^h oddb id WZ! Vh C^`dc XaV^bh! i]Z »^YZVa lVa`VWdji aZch¼    *% ,, -( &&) -%%\
35mm f/1.8 G AF-S DX '%- *★ 9Zh^\cZY [dg 9M [dgbVi 9HAGh! V \gZVi hiVcYVgY eg^bZ aZch  (% *' ,% *'#* '%%\
35mm f/1.8 G ED AF-S ),. ;Vhi ;M [dgbVi eg^bZ aZch l^i] Wg^\]i [$&#- VeZgijgZ# KZghVi^aZ VcY a^\]ilZ^\]i   '* *- ,' ,&#* (%*\
35mm f/2 D AF (') (★ 6i l^YZ VeZgijgZ hZii^c\h i]^h dei^X VX]^ZkZh gZheZXiVWaZ gZhdaji^dc! l]^X] YZXgZVhZhl^i]VeZgijgZ   '* *' +)#* )(#* '%*\
35mm f/1.4 G ED AF-S &,(* *★ 6 CVcd 8gnhiVa XdViZY aZch YZh^\cZY [dg i]Z ;M gVc\Z   (% +, -( -.#* +%%\
40mm f/2.8 G AF-S DX Micro '*% *★ 6 WjY\Zi eg^XZY bVXgd aZch i]Vi YZa^kZgh i]Z \ddYh dc bjai^eaZ [gdcih  '% *' +-#* +)#* '(*\
45mm PC-E f/2.8 D ED Micro &(.( EZgheZXi^kZ 8dcigda E8 : hiVcYVgY aZch jhZY ^c heZX^Va^hZY ÄZaYh hjX] Vh hijY^d VcY VgX]^iZXijgZ   '* ,, -'#* &&' ,)%\
50mm f/1.4 D AF '.' *★ :cign aZkZa eg^bZ ejih ^c V ÄcZ eZg[dgbVcXZ l]^aZ d[[Zg^c\ WVX`lVgYh XdbeVi^W^a^in l^i] 6> XVbZgVh   )* *' +)#* )'#* '(%\
50mm f/1.4 G AF-S (,+ *★ >ciZgcVa [dXjh^c\ VcY hjeZg^dg 6; Yg^kZ bV`Zh i]^h V \ddY VaiZgcVi^kZ id i]Z 9 hZg^Zh *%bb[$&#)    )* *- ,(#* *) '-%\
50mm f/1.8 D AF &(* 8dbeVXi! a^\]ilZ^\]i! V[[dgYVWaZ eg^bZ! l^aa hide Ydlc id [$''   )* *' +( (. &+%\
50mm f/1.8 G AF-S '%% *★ 6 Xji eg^XZ hiVcYVgY aZch [dg ;M h]ddiZgh dg V h]dgi iZaZe]did dc 9M [dgbVi 9HAGh   )* *- ,' *'#* &-*\
55-200mm f/4-5.6 G VR AF-S DX (&) (#*★ 9Zh^\cZY [dg 9M [dgbVi XVbZgVh! l^i] K^WgVi^dc GZYjXi^dc VcY HLB iZX]cdad\n   &&% *' ,( ..#* ((*\
55-200mm f/4-5.6 G VR II AF-S DX '*& D[[Zgh V kZghVi^aZ [dXVa gVc\Z VcY Vc jaigV XdbeVXi YZh^\c! eZg[ZXi [dg hbVaaZg9M"[dgbVi9HAGh   &&% *' ,%#* -( (%%\
55-300mm f/4.5-5.6 G VR AF-S DX (,- (★ D[[Zgh V l^YZ iZaZe]did XdkZgV\Z! Wji WZiiZg dei^dch VkV^aVWaZ   &)% *- ,+#* &'( *(%\
58mm f/1.4 G AF-S &*.. )★ ;M [dgbVi [jaa [gVbZ egZb^jb eg^bZ aZch l^i] aVg\Z [$&#) VeZgijgZ   *- ,' -* ,% (-*\
60mm f/2.8 D AF Micro )%* *★ C^`dc¼h bdhi XdbeVXi B^Xgd aZch! l^i] 8adhZ GVc\Z 8dggZXi^dc 8G8 hnhiZb   '' +' ,% ,)#* ))%\
60mm f/2.8 G ED AF-S Micro *%% B^Xgd aZch l^i] &/& gZegd gVi^d! Vh lZaa Vh V H^aZci LVkZ Bdidg VcY HjeZg :9 \aVhh   &- +' ,( -. )'*\
70-200mm f/2.8 G ED VR II AF-S '%-* *★ KZgn a^iiaZ id [Vjai ]ZgZ! l^i] hijcc^c\ ^bV\Z fjVa^in VcY Xdch^hiZci gZhjaih Vi Y^[[ZgZci [dXVa aZc\i]h    &)% ,, -, '%. &*)%\
70-200mm f/2.8 E FL ED VR AF-S '+*% AViZhi jeYViZ id C^`dc¼h egd ldg`]dghZ [Vhi iZaZe]did oddb Wg^c\h ZaZXigdc^X VeZgijgZ Xdcigda    &&% ,, --#* '%'#* &)(%\
70-200mm f/4 G ED VR &&-% *★ AViZhi ,% '%%bb d[[Zgh i]^gY \ZcZgVi^dc KG VcY lZ^\]i hVk^c\h dkZg ^ih bdgZ ZmeZch^kZ [$'#-Xdjh^c    &%%% +, ,- &,-#* -*%\
70-300mm f/4.5-5.6 G ED AF-S VR **+ )★ ;ZVijgZ eVX`ZY dei^X! l^i] V KG >> hnhiZb! . WaVYZY Y^Ve]gV\b! HLB VcY :9 \aVhh    &*%% +, -% &)(#* ,)*\
70-300mm f/4.5-5.6 E ED VR AF-P ,*% C^`dc¼h Äghi [jaa [gVbZ aZch id [ZVijgZ V hiZeeZg bdidg [dg Vjid[dXjh    &'%% +, -%#* &)+ +-%
70-300mm f/4.5-6.3 G AF-P DX (%% 7jY\Zi iZaZe]did oddb l^i] hiZeeZg bdidg [dg 6; VcY heVXZ hVk^c\ XdaaVeh^WaZ YZh^\c  &&% *- ,' &'* )%%\
70-300mm f/4.5-6.3 G VR AF-P DX (*% 6YYh ZmigZbZan jhZ[ja dei^XVa hiVW^a^hVi^dc id C^`dc¼h WjY\Zi XdbeVXi iZaZe]did   &&% *- ,' &'* )&*\
80-400mm f/4.5-5.6 G ED VR AF-S &-.. *★ HjXXZhhdg id i]Z -% )%%bb [$)#* *#+9 :9 KG! [dXjh^c\ ^h ZmXZaaZci Vi igVX`^c\ [Vhi bdk^c\hjW_ZXih    &,* ,, .*#* '%( &*,%\
85mm f/3.5 G ED AF-S DX VR *'' 9M [dgbVi B^Xgd aZch l^i] V &/& gZegdYjXi^dc gVi^d! KG >> hnhiZb VcY :9 \aVhh   '- *' ,( .-#* (**\
85mm f/1.4 G AF-S &*(' *★ ;Vhi b^Y iZaZ aZch l^i] Vc ^ciZgcVa [dXjh^c\ hnhiZb VcY gdjcYZY Y^Ve]gV\b   -* ,, -+#* -) *.*\
85mm f/1.8 G AF-S ),% *★ GZVg [dXjh^c\ hnhiZb VcY Y^hiVcXZ l^cYdl ^c i]^h bZY^jb iZaZe]did aZch   -% +, -% ,( (*%\
85mm f/2.8D PC-E Micro &'.. EZgheZXi^kZ 8dcigda E8 : iZaZe]did! YZh^\cZY id WZ ^YZVa [dg edgigV^ih VcY egdYjXi e]did\gVe]n   (. ,, -(#* &%, +(*\
105mm f/1.4 E ED AF-S '%). 6 &%*bb ;M [dgbVi eg^bZ aZch l^i] Wg^\]i [$&#) VeZgijgZ! ^YZVa [dg edgigV^ijgZ   &%% -' .)#* &%+ .-*\
105mm f/2.8 G AF-S VR II Micro ,-' )#*★ 6 kZgn h]Vge aZch! l^i] hl^[i VcY fj^Zi [dXjh^c\ VcY Xdch^hiZci B;I gZhjaih    (& +' -( &&+ ,'%\
105mm f/2 D AF DC .-% 6 edgigV^i aZch l^i] YZ[dXjh Xdcigda   .% ,' ,. &&& +)%\
135mm f/2 D AF DC &'(' 9Z[dXjh >bV\Z 8dcigda VcY V gdjcYZY Y^Ve]gV\b ^c i]^h iZaZe]did dei^X   &&% ,' ,. &'% -&*\
180mm f/2.8 D ED-IF AF ,-' JhZ[ja iZaZe]did aZc\i] VcY ^ciZgcVa [dXjh^c\ iZX]cdad\n! id\Zi]Zg l^i] :9 \aVhh   &*% ,' ,-#* &)) ,+%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

200mm f/4 D ED-IF AF Micro &)'. &/& gZegdYjXi^dc gVc\Z ^c i]^h B^Xgd aZch! l^i] V 8adhZ GVc\Z 8dggZXi^dc hnhiZb   *% +' ,+ &%)#* &&.%\
200-500mm f/5.6 E ED VR AF-S &&,. 6 hjeZg iZaZe]did oddb aZch XdbeVi^WaZ l^i] C^`dc ;M [dgbVi 9HAG XVbZgVh    ''% .* &%- '+,#* '(%%\
300mm f/4 E PF ED VR AF-S &'(% *★ A^\]i!XdbeVXi6;"H[jaa"[gVbZiZaZe]didaZchl^i]:9\aVhhZaZbZcih         &)% ,, -. &),#* ,**\

LAOWA DSLR
12mm f/2.8 Zero D -.. JaigV l^YZVc\aZ aZch [dg [jaa [gVbZ 9HAGh i]Vi Zm]^W^ih b^c^bVa Y^hidgi^dc      &- ,, ,)#- -'#- +%.\
25mm f/2.8 Ultra Macro 2.5x - 5x (.. JcjhjVa aZch YZh^\cZY hdaZan [dg jaigV XadhZ je h]ddi^c\! l^i] bV\c^ÄXVi^dc [gdb '#*m id *m     &,#( c$V +* -' )%%\
15mm f/4 1:1 Macro )). )★ L^YZVc\aZ aZch! l^i] &/& BVXgd VkV^aVWaZ ^c 8Vcdc! C^`dc! EZciVm! Hdcn : VcY Hdcn 6      &' ,, -(#- +)#, )&%\
60mm f/2.8 2X Ultra Macro (&. (#*★ L^i] '/& BVXgd! Vc Vaa ^c dcZ dei^dc [dg cdgbVa edgigV^i e]did\gVe]n Vh lZaa Vh jaigV bVXgd      &-#* +' .* ,% *%(\
100mm f/2.8 2:1 Ultra Macro APO I78 ;jaa [gVbZ bVXgd aZch l^i] il^XZ a^[Z h^oZ bV\c^ÄXVi^dc VcY VedX]gdbVi^X YZh^\c     ')#, +, &'* ,' +(-\
105mm f/2 (T3.2) STF +). )★ 9Zh^\cZY[dg[jaa"[gVbZ9HAGH!VcY[ZVijgZhVcVedY^oVi^dcZaZbZcii]VigZcYZghadkZanWd`Z]         .% +, .-#. ,+ ,)*\

g without a lens attached!

ou’ll find hundreds of lenses
uses, for a variety of budgets.

̭ ÁǾȓ ̭ ×Ȗʣ əɤ
ʢ ̭ Ćź ʣźDz ̭ ĆǾDz ź
ŐǾDzɰȖźƸǀɜ̭ŰǀǾɤɤ

60 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

PENTAX DSLR
DA 10-17mm f/3.5-4.5 smc ED IF *.% ;^h]ZnZ oddb aZch l^i] HjeZg EgdiZXi^dc XdVi^c\ VcY Fj^X` H]^[i bVcjVa [dXjh  &) c$V ,&#* +- ('%\
DA 12-24mm f/4 smc ED AL IF &%*% Ild Vhe]Zg^XVa ZaZbZcih! :A9 \aVhh VcY V XdchiVci VeZgijgZ d[ [$) ^c i]^h l^YZ oddb  (% ,, -(#* -,#* )(%\
DA 15mm f/4 smc ED AL Limited -'% A^b^iZY ZY^i^dc aZch l^i] ]nWg^Y Vhe]Zg^XVa VcY ZmigV adl Y^heZgh^dc ZaZbZcih  &- ). (.#* +( '&'\
FA 15-30mm f/2.8 ED SM WR HD &*%% LZVi]Zg gZh^hiVci jaigV l^YZVc\aZ oddb l^i] [Vhi bVm^bjb VeZgijgZ VcY ÄmZY eZiVa ineZ ]ddY   '- c$V .-#* &)(#* &%)%\
DA* 16-50mm f/2.8 smc ED AL IF SDM .*% (#*★ 6 c^XZ WVaVcXZ VcY gdWjhi [ZZa! Wji eddg h]VgecZhh Vi [$'#- l]^X] h^\c^ÄXVcian ^begdkZh [gdb [$) dclVgYh  (% ,, .-#* -) +%%\
DA 16-85mm f/3.5-5.6 ED DC WR +%% LZVi]Zg gZh^hiVci! i]^h oddb [ZVijgZh V gdjcY h]VeZY Y^Ve]gV\b id egdYjXZ WZVji^[ja Wd`Z]  (* ,' ,- .) )--\
DA 17-70mm f/4 smc AL IF SDM +(% ;ZVijg^c\ EZciVm¼h HjeZghdc^X 9^gZXi Yg^kZ H9B [dXjh^c\ hnhiZb  '- +, ,* .(#* )-*\
DA 18-50mm f/4-5.6 DC WR RE '(% HjeZg i]^c hiVcYVgY oddb i]Vi¼h lZVi]Zg gZh^hiVci VcY [ZVijgZh V gdjcY h]VeZY Y^Ve]gV\b  (% *- ,& )& &*-\
DA 18-55mm f/3.5-5.6 smc AL WR ''. 6 lZVi]Zg gZh^hiVci XdchigjXi^dc VcY Vc Vhe]Zg^XVa ZaZbZci! Vh lZaa Vh HE XdVi^c\  '* *' +-#* +,#* '(%\
DA 18-135mm f/3.5-5.6 DA ED DC WR +%% (#*★ 6 lZVi]Zg gZh^hiVci b^Y gVc\Z oddb aZch  )% +' ,( ,+ )%*\
DA 18-270mm f/3.5-6.3 smc ED SDM +.. &*m hjeZgoddb [dg XdbeVcn¼h @ bdjci 9HAGh [ZVijg^c\ ild ZmigV adl Y^heZgh^dc :9 ZaZbZcih  ). +' ,+ -. )*(\
DA 20-40mm f/2.8-4 ED Limited DC WR -'. L^i] hiViZ d[ i]Z Vgi =9 XdVi^c\! V XdbeaZiZan gdjcY h]VeZY Y^Ve]gV\b! VcY lZVi]Zg gZh^hiVci  '- ** +-#* ,& '-(\
DA 21mm f/3.2 smc AL Limited +%% I]^h a^b^iZY ZY^i^dc dei^X d[[Zgh V ÅdVi^c\ ZaZbZci [dg ZmigV XadhZ [dXjh^c\  '% ). +( '* &)%\
FA 24-70mm f/2.8 ED SDM WR &&). ;jaa [gVbZ XdbeVi^WaZ egZb^jb hiVcYVgY oddb ^cXajYZh V =9 XdVi^c\ id b^c^b^hZ ÅVgZ VcY \]dhi^c\   (- -' &%.#* --#* ,-,\
FA 28-105mm f/3.5-5.6 ED DC HD *). HiVcYVgY oddb aZch [dg i]Z @ & [jaa [gVbZ 9HAG i]Vi¼h bjX] bdgZ V[[dgYVWaZ i]Vc i]Z ') ,%bb [$'#-   *% +' ,( -+#* ))%\
FA 31mm f/1.8 smc AL Limited &&). 6ajb^c^jb WdYn0 l]Zc jhZY dc V EZciVm 9HAG d[[Zgh V eZgheZXi^kZ h^b^aVg id i]Vi d[ i]Z ]jbVcZnZ   (% *- +-#* +* ()*\
FA 35mm f/2 smc AL **% 6 XdbeVXi l^YZVc\aZ aZch i]Vi lZ^\]h V bZgZ '&)\   (% ). +) ))#* '&)\
DA 35mm f/2.8 smc Macro +)% )#*★ 9Zhe^iZ ha^\]i ZY\Z hd[icZhh! i]^h aZch eZg[dgbh ZmXZaaZcian VcY ^h V eaZVhjgZidjhZ  &) ). )+#* +( '&*\
DA 35mm f/2.4 smc DS AL &-% *★ 6 WjY\Zi eg^XZY eg^bZ aZch [dg WZ\^ccZgh  (% ). +( )* &')\
DA 40mm f/2.8 smc Limited )*% EVcXV`Z aZch l^i] HB8 XdVi^c\ VcY Fj^X` H]^[i [dXjh^c\ hnhiZb  )% ). +( &* .%\
DA 40mm f/2.8 XS ('* I]Z ldgaY¼h hbVaaZhi ÄmZY [dXVa aZc\i] aZch h]VgZh i]Z hVbZ dei^Xh Vh i]Z A^b^iZY kZgh^dc  )% c$V +'#. . *'\
FA 43mm f/1.9 smc Limited ,'. ;dXVa aZc\i] ^h ^YZVa [dg edgigV^ih Vh lZaa Vh ZkZgnYVn jhZ! VcY [ZVijgZh Vc HB8 bjai^ aVnZg XdVi^c\   )* ). +) ', &**\
NEW FA* 50mm f/1.4 SDM AW HD &'%% EgZb^jb [Vhi eg^bZ l^i] Yjhiegdd[! lZVi]Zg gZh^hiVci YZh^\c VcY ZaZXigdbV\cZi^X VeZgijgZ   )% ,' -% &%+ .&%\
FA 50mm f/1.4 smc (.. 8dbeVXi [Vhi eg^bZ l^i] Äab ZgV YdjWaZ <Vjhh dei^Xh VcY igVY^i^dcVa VeZgijgZ g^c\   )* ). +(#* (- ''%\
DA 50mm f/1.8 smc DA '). )★ 6[[dgYVWaZ h]dgi iZaZe]did aZch ^YZVa [dg edgigV^ih  )* *' (-#* +( &''\
DFA 50mm f/2.8 smc Macro **% BVXgd aZch XVeVWaZ d[ &/& gZegdYjXi^dc VcY l^i] V Fj^X` H]^[i [dXjh bZX]Vc^hb   &. ). +% +,#* '+*\
DA* 50-135mm f/2.8 smc ED IF SDM &'%% )★ 8dchiVci [$'#- VeZgijgZ0 lZaa hj^iZY id edgigV^ijgZ VcY b^Y gVc\Z VXi^dc hjW_ZXih  &%% +, ,+#* &(+ ,+*\
DA 50-200mm f/4-5.6 smc ED WR '&% LZVi]Zg gZh^hiVci XdchigjXi^dc! Fj^X` H]^[i [dXjh hnhiZb VcY Vc HE XdVi^c\  c$V ). +. ,.#* '-*\
DA* 55mm f/1.4 smc SDM -%% )#*★ 9Zhe^iZ fjZhi^dch VWdji i]Z eVgi^XjaVg hVbeaZ iZhiZY! i]^h aZch hXdgZh ]^\]an  )* *- ,%#* ++ (,*\
DA 55-300mm f/4.5-6.3 ED PLM WR RE )%% 8dbeVXi lZVi]Zg gZh^hiVci iZaZe]did oddb ]Vh k^YZd [g^ZcYan [Vhi VcY h^aZci Vjid[dXjh bdidg  .* *- ,+#* -. ))'\
DA 55-300mm f/4-5.8 ED WR (.. LZVi]Zgegdd[ =9 iZaZe]did aZch [ZVijg^c\ fj^X` h]^[i [dXjh^c\ hnhiZb  &)% *- ,& &&&#* )++\
DA 60-250mm f/4 smc ED IF SDM &)*% )#*★ L^i] V XdchiVci [$) VeZgijgZ VcY Vc jaigVhdc^X bdidg [dg heZZYn [dXjh^c\  &&% +, &+,#* -' &%)%\
DA 70mm f/2.4 smc AL Limited +%% BZY^jb iZaZe]did aZch l^i] Vc Vajb^c^jb XdchigjXi^dc VcY V HjeZg EgdiZXi XdVi^c\  ,% ). +( '+ &(%\
D-FA* 70-200mm f/2.8 ED DC AW &-*% CZl VYY^i^dc id EZciVm¼h ]^\] eZg[dgbVcXZ HiVg  hZg^Zh YZkZadeZY [dg WZhi ^bV\Z gZcY^i^dc   &'% ,, .&#* '%( &,**\
FA 77mm f/1.8 smc Limited &%*% L^i] EZciVm¼h ;^mZY GZVg :aZbZci :miZch^dc [dXjh^c\ hnhiZb [dg »h]Vge! Xg^he ^bV\Zh¼   ,% ). )- +) ',%\
D-FA 100mm f/2.8 Macro WR +-% *★ HigZZi eg^XZ bV`Zh i]^h hdbZi]^c\ d[ V WVg\V^c [dg V igjZ bVXgd d[[Zg^c\ [jaa [gVbZ XdkZgV\Z   (% ). +* -%#* ()%\
FA 150-450mm f/4.5-5.6 ED DC AW '%%% HjeZg iZaZe]did aZch l^i] lZVi]Zg gZh^hiVcXZ! YZh^\cZY id egdYjXZ ZmigV h]Vge! ]^\] XdcigVhi^bV\Zh   '%% -+ ')&#* .* '%%%\
DA* 200mm f/2.8 smc ED IF SDM &%%% )#*★ H9B [dXjh^c\ hnhiZb dc i]Z ^ch^YZ! VcY Y^giegdd[ VcY heaVh]egdd[ dc i]Z djih^YZ  &'% ,, -( &() -'*\
DA* 300mm f/4 smc ED IF SDM &(%%  I]^hiZaZdei^Xegdb^hZhjaigVhdc^X[dXjhVcY]^\]^bV\ZfjVa^ini]Vc`hid:9\aVhh         &)% ,, -( &-) &%,%\

SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II ',) L^YZVc\aZ Äh]ZnZ aZch YZh^\cZY [dg Y^\^iVa gZÅZm XVbZgVh l^i] 6EH 8 hZchdgh      (% c$V ,* ,,#- )&,\
10mm f/2.8 ED AS NCS CS )'. ;ZVijgZh V cVcd XgnhiVa Vci^ gZÅZXi^dc XdVi^c\ hnhiZb VcY ZbWZYYZY aZch ]ddY      ') c$V -+ ,, *-%\
12mm f/2.8 ED AS NCS Fisheye )(% ;^h]ZnZ jaigV l^YZVc\aZ eg^bZ aZch [dg [jaa [gVbZ 9HAGh       '% c$V ,,#( ,%#' *%%\
14mm f/2.4 XP MF -.. =^\] ZcY jaigV l^YZVc\aZ eg^bZ l^i] egZb^jb dei^Xh VcY aVg\Z bVm^bjb VeZgijgZ   '- c$V .* &%.#) ,.&\
AF 14mm f/2.8 EF +). )#*★ HVbnVc\¼h Äghi 6; HAG aZch [ZVijgZh kZgn YZXZci ^bV\Z fjVa^in VcY lZVi]Zg hZVaZY XdchigjXi^dc   '% c$V .%#* .*#+ )-*\
14mm f/2.8 ED UMC ',. JaigV l^YZVc\aZ bVcjVa [dXjh aZch0 WjaW a^`Z [gdci ZaZbZci bZVch cd ÄaiZgh XVcWZjhZY       '- c$V .) -, **'\
16mm f/2.0 ED AS UMC CS (-. ;Vhi l^YZVc\aZ aZch [dg Y^\^iVa gZÅZm XVbZgVh ÄiiZY l^i] 6EH 8 hZchdgh      '% c$V -.#) -( *-(\
20mm f/1.8 ED AS UMC )(% AVg\Z VeZgijgZ bVcjVa [dXjh l^YZVc\aZ aZch [dg [jaa [gVbZ 9HAGh       '% ,, -( &&(#' *'%\
24mm f/1.4 AS UMC ).. ;Vhi jaigV l^YZVc\aZ bVcjVa [dXjh aZch Xdbeg^h^c\ &( ZaZbZcih VggVc\ZY ^c &' \gdjeh       '* ,, .* &&+ +-%\
24mm f/3.5 ED AS UMS TS .). (★ I^ai VcY h]^[i l^YZVc\aZ aZch [dg V [gVXi^dc d[ i]Z eg^XZ d[ 8Vcdc VcY C^`dc¼h d[[Zg^c\h       '% -' -+ &&%#* +-%\
35mm f/1.4 AS UMC (+. )#*★ L]^aZ bVcjVa [dXjh dcan! i]^h eg^bZ ^begZhhZY jh ^c gZVa ldgaY jhZ! bV`^c\ ^i hdbZi]^c\ d[ V WVg\V^c       (% ,, -( &&& ++%\
50mm f/1.2 XP MF ,.. EgZb^jb fjVa^in jaigV [Vhi eg^bZ l^i] bVcjVa [dXjh deZgVi^dc! YZh^\cZY [dg *%BEhZchdgh   )* -+ .( &&,#) &'%%\
50mm f/1.4 AS UMC '.. BVcjVa [dXjh [Vhi hiVcYVgY eg^bZ [dg [jaa [gVbZ 9HAGh       )* ,, ,)#, -&#+ *,*\
85mm f/1.2 XP MF -.. =^\] ZcY bVcjVa [dXjh aZch hedgih Vc ^begZhh^kZan [Vhi bVm^bjb VeZgijgZ   -% -+ .( .-#) &%*%\
NEW AF 85mm f/1.4 EF *.. 6jid[dXjh [Vhi h]dgi iZaZe]did edgigV^i aZch [dg jhZ dc 8Vcdc [jaa [gVbZ 9HAGh   .% ,, -- ,' )-*\
85mm f/1.4 IF MC '(. H]dgi [Vhi iZaZe]did eg^bZ! bVcjVa [dXjh! V^bZY Vi edgigV^i e]did\gVe]Zgh       &%% ,' ,- ,'#' *&(\
100mm f/2.8 ED UMC Macro (-. ;jaa [gVbZ XdbeVi^WaZ! i]Z HVbnVc\ &%%bb ^h V igjZ BVXgd aZch d[[Zg^c\ &/& bV\c^ÄVXi^dc       (% +, ,'#* &'(#& ,'%\
135mm f/2 ED UMC (..  BVcjVa[dXjhedgigV^ieg^bZ]Vh[VhiVeZgijgZ[dghjW_ZXi^hdaVi^dcVcYWVX`\gdjcY Wajg        -% ,, -' &'' -(%\

Treat yourself to a new camera or lens by trading in your existing kit with .
We offer competitive quotes and provide a hassle free service.
Step 1 Step 2 Step 3
Get a quote Post or bring Receive your payment
us your gear or new product!
Simply complete the form at our website or pop Having accepted the quotation, simply send your Once the equipment has been received & checked,
into our showroom and talk to our friendly staff. equipment to us or head to one of our stores. your new gear / payment shall be sent to you.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 61

 BUYING GUIDE

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA DSLR
4.5mm f/2.8 EX DC HSM ,(. 8^gXjaVg Äh]ZnZ aZch YZh^\cZY [dg Y^\^iVa! l^i] HA9 \aVhh VcY V \ZaVi^c ÄaiZg ]daYZg    &( c$V ,+ ,,#- ),%\
8mm f/3.5 EX DG ,.. I]Z ldgaY¼h dcan -bb aZch Zfj^eeZY l^i] Vjid[dXjh Vahd WdVhih HA9 \aVhh     &( c$V ,(#* +-#+ )%%\
8-16mm f/4.5-5.6 DC HSM -%% )★ :mXZaaZci eZg[dgbVcXZ Vi -bb! l]^X] hVYan Ygdeh Vi i]Z &+bb ZcY      ') ,' ,* &%*#, ***\
10mm f/2.8 EX DC *.. 6 =neZg Hdc^X Bdidg =HB VcY Wj^ai ^c ]ddY [ZVijgZ ^c i]^h Y^V\dcVa Äh]ZnZ aZch    &( c$V ,*#- -( ),*\
10-20mm f/3.5 EX DC HSM +*% *★ 6c VWhdajiZ \Zb d[ V aZch i]Vi YZhZgkZh V eaVXZ dc ZkZgn e]did\gVe]Zg¼h l^h] a^hi      ') -' -,#( --#' *'%\
12-24mm f/4 DG HSM | A &+). *★ EgZb^jb [jaa [gVbZ l^YZVc\aZ oddb YZh^\cZY id ]VkZ b^c^bVa Y^hidgi^dc ^c ^ih l^YZVc\aZ^bV\Zgn     ') c$V &%& &(' &&*%\
12-24mm f/4.5-5.6 II DG HSM +). JaigV l^YZVc\aZ oddb [dg [jaa [gVbZ HAGh! VkV^aVWaZ ^c Vaa d[ i]Z bV^c bdjcih       '- c$V -, &'%#' +,%\
14mm f/1.8 DG HSM | A &+,. LdgaY¼h Äghi [$&#- jaigV l^YZVc\aZ eg^bZ aZch [dg [jaa [gVbZ 9HAGh     ', c$V .*#) &'+ &&,%\
14-24mm f/2.8 DG HSM | A &(.. *★ Egd heZX^ÄXVi^dc [Vhi jaigV l^YZ eg^bZ [dg [jaa [gVbZ 9HAGh ^cXajYZh lZVi]ZghZVaZY XdchigjXi^dc     '+ c$V .+#) &(*#& &&*%\
15mm f/2.8 EX DG +'. )★ I]^h Äh]ZnZ dei^X ejih ^c V kZgn hda^Y eZg[dgbVcXZ cdi id WZ Y^hb^hhZY Vh V \^bb^X`       &* c$V ,(#* +* (,%\
17-50mm f/2.8 EX DC OS HSM +-. ;A9 VcY Vhe]Zg^XVa ZaZbZcih! V XdchiVci [$'#- VeZgijgZ VcY Dei^XVa HiVW^a^hVi^dc       '- ,, -(#* .' *+*\
17-70mm f/2.8-4 DC Macro OS HSM )). 8dbeVXi gZYZh^\c d[ i]^h lZaa gZXZ^kZY aZch aVjcX]Zh i]Z »8dciZbedgVgn¼ gVc\Z       '' ,' ,. -' ),%\
18-35mm f/1.8 DC HSM ,.. *★ HV^Y id WZ i]Z ldgaY¼h Äghi XdchiVci [$&#- oddb0 9d; Zfj^kVaZci d[ XdchiVci [$'#, dc [jaa [gVbZ    '- ,' ,- &'& -&%\
18-200mm f/3.5-6.3 DC OS )). )★ :mXZaaZci gZhdaji^dc VcY Xdch^hiZci eZg[dgbVcXZ! Wji Xdcigda dkZg 86 XdjaY WZ V a^iiaZ WZiiZg     )* )* ,. &%% +&%\
18-250mm f/3.5-6.3 DC OS HSM *,' )#*★ 6 kZgn XVeVWaZ hZi d[ BI; XjgkZh i]Vi dcan h]dlh b^cdg lZV`cZhh Vi l^YZ VeZgijgZh       )* ,' ,. &%& +(%\
18-250mm f/3.5-6.3 DC Macro OS HSM *%% JaigV XdbeVXi &(#-m ]^\] oddb gVi^d aZch YZh^\cZY ZmXajh^kZan [dg Y^\^iVa HAG XVbZgVh       (* +' ,(#* --#+ ),%\
18-300mm f/3.5-6.3 DC Macro OS HSM ).. 8dbeVXi VcY edgiVWaZ ]^\] gVi^d oddb aZch d[[Zg^c\ Zc]VcXZY [ZVijgZh id bV`Z^ii]Z^YZVaVaa"^c"dcZaZch      (. ,' ,. &%&#* *-*\
20mm f/1.4 DG HSM | A ,.. *★ 6c djihiVcY^c\ l^YZVc\aZ ÄmZY [dXVa aZc\i] aZch     ',#+ c$V .%#, &'.#- .*%\
24mm f/1.4 DG HSM | A ,.. *★ I]Z aViZhi VYY^i^dc id H^\bV¼h »6gi¼ a^cZ d[ ]^\] fjVa^in [Vhi eg^bZh     '* ,, -* .%#' ++*\
24-35mm f/2 DG HSM | A .). *★ I]Z ldgaY¼h Äghi aVg\Z VeZgijgZ [jaa [gVbZ oddb d[[Zg^c\ V l^YZ VeZgijgZ d[ [$' i]gdj\]dji i]Z oddb gVc\Z     '- -' -,#+ &''#, .)%\
24-70mm f/2.8 DG OS HSM | A &(.. AViZhi egZb^jb [Vhi hiVcYVgY oddb [dg [jaa [gVbZ ^cXajYZh dei^XVa ^bV\Z hiVW^a^hVi^dc      (, -' -- &%,#+ &%'%\
24-105mm f/4 DG OS HSM | A -). )#*★ HZg^djh [jaa [gVbZ VaiZgcVi^kZ id dlc WgVcY aZchZh Vi V adlZg eg^XZ! l^i] cd Xdbegdb^hZh ^c i]ZWj^aY       )* -' -. &%. --*\
30mm f/1.4 DC HSM | A (+% Jc^fjZ [Vhi eg^bZ [dg 6EH 8 9HAGh i]Vi \^kZh )*bb Zfj^kVaZci »cdgbVa¼ Vc\aZ d[ k^Zl      (% +' +(#( ,)#' )(*\
35mm f/1.4 DG HSM | A ,.. *★ HjeZgW aVg\Z VeZgijgZ eg^bZ0 Äghi aZch ^c XdbeVcn¼h »6gi¼ hZg^Zh       (% +, ,, .) ++*\
50mm f/1.4 DG HSM | A -). *★ I]^h aZch ]Vh V jc^fjZ YZh^\c i]Vi eVnh d[[ ^c igjan ZmXZaaZci ^bV\Z fjVa^in      )% ,, -*#) &%% -&*\
50-100mm f/1.8 DC HSM | A -'. *★ I]^h 6EH 8 [dgbVi aZch V^bh id XdkZg i]Z [dXVa aZc\i]h d[ i]gZZ eg^bZ aZchZh ^c dcZ    (,#) -' .(#* &,%#, &).%\
50-500mm f/4.5-6.3 DG OS HSM &).. )★ 6 &%m oddb gVc\Z! HA9 ZaZbZcih VcY XdbeVi^W^a^in l^i] &#)m VcY 'm iZaZXdckZgiZgh        &-% .* &%)#) '&. &.,%\
70mm f/2.8 DG Macro | A I78 I]Z Äghi bVXgd aZch ^c H^\bV¼h 6gi a^cZje [ZVijgZh Vc ZmiZcY^c\ WVggZa [dXjh Wn l^gZ YZh^\c     '+ ). ,& &%+ *&*\
70-200mm f/2.8 EX DG OS HSM &*(. Ild ;A9 \aVhh ZaZbZcih! hV^Y id ]VkZ i]Z hVbZ Y^heZgh^kZ egdeZgi^Zh Vh Åjdg^iZ        &)% ,, -+#) &., &)(%\
70-300mm f/4-5.6 APO DG Macro '(* I]^h iZaZ oddb aZch ]Vh V . WaVYZY Y^Ve]gV\b VcY ild HA9 ZaZbZcih       .* *- ,+#+ &'' **%\
70-300mm f/4-5.6 DG Macro &,% (★ <ZcZgVaan jcgZbVg`VWaZ BI; XjgkZh! VcY eVgi^XjaVgan eddg Vi (%%bb       .* *- ,+#+ &'' *)*\
85mm f/1.4 DG HSM | A &&.. *★ Dei^XVaan hijcc^c\ [Vhi h]dgi iZaZe]did eg^bZ ^h i]Z jai^bViZ edgigV^i aZch [dg 9HAG jhZgh     -* -+ .* &'+ &&(%\
100-400mm f/5-6.3 DG OS HSM | C ,.. )#*★ GZaVi^kZan a^\]ilZ^\]i iZaZoddb XdbZh l^i] lZVi]ZghZVa^c\ VcY X]d^XZ d[ ejh] ejaa dg il^hi oddb      &+% +, -+#) &-'#( &&+%\
105mm f/1.4 DG HSM | A I78 H^\bV¼h »Wd`Z] bdchiZg¼ hjeZg [Vhi edgigV^i aZch ^h lZVi]ZghZVaZY VcY XdbZh l^i] V ig^edY [ddi     &%% I78 &&*#. &(&#* &+)*\
105mm f/2.8 EX DG OS HSM Macro +). )#*★ 6c dei^XVaan hiVW^a^hZY bVXgd aZch! i]^h hjeZg h]Vge aZch ^h dcZ d[ djg [Vkdjg^iZh      (&#' +' ,- &'+#) ,'*\
120-300mm f/2.8 DG HSM | S (*.. ;^ghi aZch ^c XdbeVcn¼h »Hedgih¼ hZg^Zh0 hl^iX] ZcVWaZh VY_jhibZci d[ Wdi] [dXjh heZZY VcY[dXjha^b^iZg       &*% &%* &') '.& ((.%\
135mm f/1.8 DG HSM | A &(.. *★ HjeZg [Vhi edgigV^i eg^bZ YZh^\cZY id egdk^YZ hj[ÄX^Zci gZhdaji^dc [dg *%BE 9HAGh     -,#* -' .&#) &&)#. &&(%\
150mm f/2.8 EX DG OS HSM Macro APO ... 6 bVXgd aZch d[[Zg^c\ ^bV\Z hiVW^a^hVi^dc      (- ,' ,.#+ &*% .*%\
150-600mm f/5-6.3 DG OS HSM | C &&.. 7jY\Zi »8dciZbedgVgn¼ kZgh^dc d[ H^\bV¼h adc\ gVc\Z iZaZe]did oddb ^h hbVaaZg VcY a^\]iZg      '-% .* &%* '+%#& &.(%\
150-600mm f/5-6.3 DG OS HSM | S &*.. I]^h edgiVWaZ! ]^\] eZg[dgbVcXZ iZaZe]did oddb [gdb H^\bV¼h Hedgih a^cZ ^h Yjhi VcY heaVh]egdd[      '+% &%* &'& '.%#' '-+%\
180mm f/2.8 EX DG OS HSM Macro APO &).. *★ &/& bVXgd aZch [ZVijg^c\ i]gZZ ;A9 \aVhh ZaZbZcih VcY ÅdVi^c\ ^ccZg [dXjh^c\ hnhiZb       ), -+ .* '%) &+)%\
300mm f/2.8 APO EX DG HSM '-..  :migVAdl9^heZgh^dc:A9\aVhh!bjai^"aVnZgXdVi^c\hVcYV=neZgHdc^XBdidg         '*% )+ &&. '&)#* ')%%\

SONY DSLR
11-18mm f/4.5-5.6 DT +%. (★ 6 hda^Y dkZgVaa eZg[dgbVcXZ i]Vi h^bean [V^ah id WZ djihiVcY^c\ ^c Vcn lVn  '* ,, -( -%#* (+%\
16mm f/2.8 Fisheye ,%. ;^h]ZnZ aZch l^i] V XadhZ [dXjh^c\ Y^hiVcXZ d[ '%Xb VcY V &-% Vc\aZ d[ k^Zl   '% c$V ,* ++#* )%%\
16-35mm f/2.8 ZA SSM II T* &... )#*★ =^\] ZcY OZ^hh l^YZVc\aZ oddb aZch ^YZVa[dg[jaa"[gVbZ6ae]V9HAGhVcYHAIh   '- ,, -( &&) .%%\
16-50mm f/2.8 SSM *+. )★ 7g^\]i h]dgi gVc\Z iZaZe]did aZch  &%% ,' -& -- *,,\
16-80mm f/3.5-4.5 ZA T* ,%. )#*★ 8Vga OZ^hh hiVcYVgY oddb aZch  (* +' ,' -( ))*\
16-105mm f/3.5-5.6 DT **. (★ 6c VbW^i^djh aZch i]Vi ^h \ddY ^c eVgih! Vai]dj\] fjVa^in Ygdeh d[[Vi&%*bb  )% +' ,' -( ),%\
18-135mm f/3.5-5.6 DT SAM )'. 6 kZghVi^aZ oddb l^i] 9^gZXi BVcjVa ;dXjh   )* +' ,+ -+ (.-\
18-250mm f/3.5-6.3 DT **. (#*★ <ddY dkZgVaa! Wji eZg[dgbVcXZ Y^eh Vi adc\Zg [dXVa aZc\i]h  )* +' ,* -+ ))%\
20mm f/2.8 **. (#*★ L^YZVc\aZ eg^bZ aZch l^i] gZVg [dXjh^c\ bZX]Vc^hb VcY [dXjh gVc\Z a^b^iZg   '* ,' ,- *(#* '-*\
24mm f/2 ZA SSM T* &&&. 6c ^begZhh^kZan Wg^\]i l^YZVc\aZ 8Vga OZ^hh aZch   &. ,' ,- ,+ ***\
24-70mm f/2.8 ZA SSM II T* &-.. *★ 8Vga OZ^hh b^Y gVc\Z oddb aZch l^i] hjeZgW dei^Xh ^YZVa [dg [jaa [gVbZ 6ae]V 9HAGh   () ,, -( &&& .**\
28-75mm f/2.8 SAM ,%. 6 XdchiVci [$'#- VeZgijgZ VcY V Hbddi] 6jid[dXjh Bdidg H6B ^c i]^h hiVcYVgY oddb   (- +, ,,#* .) *+*\
30mm f/2.8 DT SAM Macro &,. )★ BVXgd aZch YZh^\cZY [dg Y^\^iVa l^i] &/& bV\c^ÄXVi^dc VcY Hbddi] 6jid[dXjh Bdidg  &' ). ,% )* &*%\
35mm f/1.4 G &(+. L^i] Vc Zfj^kVaZci [dXVa aZc\i] d[ *'#*bb! V l^YZ VeZgijgZ VcY Vhe]Zg^XVa \aVhh   (% ** +. ,+ *&%\
35mm f/1.8 DT SAM &,. 7jY\Zi eg^XZ ^cYddg edgigV^i aZch  '( ** ,% *' &,%\
50mm f/1.8 DT SAM &*. )#*★ 6 kZgn jhZ[ja aZch i]Vi eZg[dgbh lZaa VcY XVgg^Zh V gdX` Wdiidb eg^XZ iV\  () ). ,% )* &,%\
50mm f/1.4 (+. *★ L]^aZ i]^h aZch eZg[dgbh lZaa dkZgVaa! eZg[dgbVcXZ Vi [$&#) XdjaY WZ WZiiZg   )* ** +*#* )( ''%\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

50mm f/1.4 ZA SSM &(%% )★ 8Vga OZ^hh YZh^\c hV^Y id WZ ^YZVa [dg fjVa^in Xg^i^XVa edgigV^ijgZ VcY adl a^\]i h]ddi^c\   )* ,' -& ,&#* *&-\
50mm f/2.8 Macro *'. 6 bVXgd aZch l^i] V ÅdVi^c\ aZch ZaZbZci   '% ** ,&#* +% '.*\
55-200mm f/4-5.6 DT SAM '&. 9Zh^\cZY [dg XgdeeZY hZchdg XVbZgVh! l^i] V Hbddi] 6jid[dXjh Bdidg  .* ** ,&#* -* (%*\
55-300mm f/4.5–5.6 DT SAM (%. 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb d[[Zg^c\ hbddi]! h^aZci deZgVi^dc  &)% +' ,, &&+#* )+%\
70-200mm f/2.8 G SSM II ',.. =^\] eZg[dgbVcXZ < HZg^Zh iZaZe]did oddb aZch   &'% ,, -, &.+#* &()%\
70-300mm f/4.5-5.6 G SSM -+. (#*★ < hZg^Zh aZch l^i] :9 ZaZbZcih! HjeZg Hdc^X lVkZ Bdidg VcY V X^gXjaVg VeZgijgZ   &'% +' -'#* &(*#* ,+%\
70-400mm f/4-5.6 G SSM II &,..  GZYZh^\cd[dg^\^cVa[ZVijgZhVcZlAH>Yg^kZX^gXj^iVcYegdb^hZh[VhiZgVjid[dXjh         &*% ,, .* &.+ &*%%\

62 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA
DSLR Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
PENTAX
CANON

WEIGHT
NIKON

SIGMA
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
85mm f/1.4 ZA Planar T* &(+. ;^mZY [dXVa aZc\i] aZch V^bZY Vi ^cYddg edgigV^ijgZ   -* ,' -&#* ,'#* *+%\
85mm f/2.8 SAM '&. 6 a^\]i! adl eg^XZ edgigV^ijgZ aZch   +% ** ,% *' &,*\
100mm f/2.8 Macro +*. BVXgd aZch l^i] X^gXjaVg VeZgijgZ! YdjWaZ ÅdVi^c\ZaZbZciVcYl^YZVeZgijgZ   (* ** ,* .-#* *%*\
135mm f/1.8 ZA Sonnar T* &)'. 6 Wg^\]i! 8Vga OZ^hh edgigV^i iZaZe]did aZch   ,' ,, -) &&* &%%)\
135mm f/2.8 STF &&&.  IZaZe]didaZchÄiiZYl^i]VedY^hVi^dcZaZbZciid\^kZViigVXi^kZYZ[dXjhZ[[ZXih         -, -% -% .. ,(%\

TAMRON DSLR
10-24mm f/3.5-4.5 SP AF Di II LD Asph IF *&& (#*★ <ddY Xdch^hiZcXn Vi &%bb VcY &-bb! Wji V hiZZe YZXa^cZ Vi ')bb     ') ,, -(#' -+#* )%+\
10-24mm f/3.5-4.5 Di II VC HLD *-% )#*★ L^YZVc\aZ oddb d[ 6EH 8 l^i] Yjhi VcY heaVh]egddÄc\ VcY dei^XVa hiVW^a^hVi^dc    ') ,, -(#+ -)#+ ))%\
15-30mm f/2.8 SP Di VC USD .*% )★ :mXZaaZci kVajZ! i]^h ^h i]Z dcan l^YZVc\aZ oddb l^i] ^bV\Z hiVW^a^hVi^dc VcY Vc [$'#- VeZgijgZ      '- c$V .-#) &)* &&%%\
16-300mm f/3.5-6.3 Di II VC PZD Macro +%% )★ KZghVi^aZ bZ\Voddb! V kZgn \ddY Vaa ^c dcZ hdaji^dc! Vh adc\ Vhndjldc¼icZZYidZcaVg\Zid6'h^oZ     (. +, ..#* ,* *)%\
17-50mm f/2.8 SP AF XR Di II LD Asph IF )*% )#*★ KZgn \ddY dei^XVa eZg[dgbVcXZ! l]^X] eZV`h Vi [$*#+ -     ', +, ,) -&#, )()\
17-50mm f/2.8 SP AF XR Di II VC LD Asph IF *)& )#*★ KZgn higdc\ eZg[dgbVcXZ Vi adc\Zg [dXVa aZc\i]h Wji lZV`Zg Vi i]Z di]Zg ZcY    '. ,' ,.#+ .)#* *,%\
18-200mm f/3.5-6.3 AF Di II VC £169 4★ A^\]ilZ^\]i Vaa ^c dcZ aZch [dg 6EH 8 9HAGh l^i] K^WgVi^dc 8dbeZchVi^dc     ). +' ,* .+#+ )%%\
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro £663 3★ I]Z cZmi \ZcZgVi^dc ^cXVgcVi^dc d[[Zgh V cZl [dgb d[ jaigVhdc^X Zc\^cZ     ). +' ,)#) -- )*%\
18-400mm f/3.5-6.3 Di II VC HLD +*% )★ I]Z adc\Zhi gVc\^c\ iZaZe]did oddb nZi bVYZ ijgch ^c V hjgeg^h^c\an YZXZci eZg[dgbVcXZ    )* ,' ,. &'(#. ,&%\
24-70mm f/2.8 SP Di VC USD &%.. *★ ;Vhi oddb l^i] ^bV\Z hiVW^a^hVi^dc [dg Wdi] [jaa [gVbZ VcY 6EH 8 XVbZgVh      (- -' --#' &&+#. -'*\
24-70mm f/2.8 SP Di VC USD G2 &'). Je\gVYZY [Vhi oddb l^i] ^begdkZY ^bV\Z hiVW^a^hVi^dc VcY bd^hijgZ gZh^hiVci XdchigjXi^dc     (- -' --#) &&& .%*\
28-75mm f/2.8 SP AF XR Di LD Asph IF Macro )+% HiVcYVgY oddb l^i] XdchiVci [$'#- VeZgijgZ VcY b^c^bjb [dXjh^c\ Y^hiVcXZd[((Xb      (( +, ,( .' *&%\
28-300mm f/3.5-6.3 Di VC PZD *'. 6 cZl! [jaa [gVbZ! ]^\] edlZg oddb ^cXdgedgVi^c\ EO9 E^Zod 9g^kZ      ). +, ,* ..#* *)%\
35mm f/1.8 Di VC USD *-% )#*★ BdYZgViZan l^YZ eg^bZ XdbW^cZh jaigVhdc^X [dXjh^c\! ^bV\Z hiVW^a^hVi^dc VcY V [Vhi VeZgijgZ      '% +, -%#) -%#- )-%\
45mm f/1.8 Di VC USD *-% )#*★ 6 aZch i]Vi gZlg^iZh i]Z hiVcYVgY [dXVa aZc\i] l^i] V [Vhi VeZgijgZ XdjeaZY l^i] dei^XVahiVW^a^hVi^dc       '. +, -%#) -.#' .)%\
60mm f/2 SP AF Di II LD IF Macro **% *★ BVXgd aZch YZh^\cZY [dg 6EH 8 hZchdg XVbZgVh! l^i] &/& gZegdYjXi^dc gVi^d    '( ** ,( -% )%%\
70-200mm f/2.8 SP AF Di LD IF Macro -&, )★ Cd ^bV\Z hiVW^a^hVi^dc VcY cd VYkVcXZY 6; hnhiZb! Wji Vi i]^h eg^XZ ^i¼h VhiZVa     .* ,, -.#* &.)#( &&*%\
70-200mm f/2.8 Di VC USD &%.. 8dbeVXi nZi [jaa h^oZ iZaZe]did oddb l^i] k^WgVi^dc XdbeZchVi^dc      &(% ,, -*#- &--#( &),%\
70-200mm f/2.8 SP Di VC USD G2 &(*% *★ :mXZaaZci iZaZe]did oddb l^i] jeYViZY Vjid[dXjh VcY ^bV\Z hiVW^a^hVi^dc eajh hZVaZY XdchigjXi^dc     .* ,, -- &.(#- &*%%\
70-210mm f/4 Di VC USD +.. )#*★ A^\]ilZ^\]i iZaZoddb egdb^hZh ]^\] dei^XVa eZg[dgbVcXZ! ^bV\Z hiVW^a^hVi^dc VcY lZVi]ZghZVa^c\     .* +, ,+ &,+#* -+%\
70-300mm f/4-5.6 SP VC USD (%% )★ JaigVhdc^X H^aZci 9g^kZ JH9 iZX]cdad\n [dg [dXjh^c\ VcY K^WgVi^dc 8dbeZchVi^dc      &*% +' -&#* &)'#, ,+*\
70-300mm f/4-5.6 AF Di LD Macro &,% (#*★ Adl Y^heZgh^dc \aVhh VcY XdbeVi^WaZ l^i] Wdi] [jaa [gVbZ VcY XgdeeZY hZchdg 9HAGh      .* +' ,+#+ &&+#* )(*\
85mm f/1.8 Di VC USD ,). *★ I]Z Äghi [jaa [gVbZ -*bb [$&#- aZch l^i] ^bV\Z hiVW^a^hVi^dc! i]Vi¼h Vahd bd^hijgZgZh^hiVci      -% +, -* .& ,%%\
90mm f/2.8 SP AF Di Macro ),% )★ 6 kZgn c^XZ bVXgd aZch i]Vi ^h XVeVWaZ d[ egdYjX^c\ hdbZ ÄcZ ^bV\Zh      '. ** ,&#* ., )%*\
90mm f/2.8 Di Macro 1:1 VC USD *,. GZYZh^\c d[ i]Z .%bb [$'#- HE 6; 9^ BVXgd0 XdbZh l^i] k^WgVi^dc XdbeZchVi^dc      (% *- &&* ,+#) **%\
100-400mm f/4.5-6.3 Di VC USD ,-. *★ GZaVi^kZan XdbeVXi VcY a^\]ilZ^\]i iZaZe]did oddb l^i] bd^hijgZ"gZh^hiVciXdchigjXi^dc     &*% +, &.. -+#' &&(*\
150-600mm f/5-6.3 SP Di VC USD G2 &()% JeYViZY kZgh^dc d[ IVbgdc¼h edejaVg adc\ iZaZoddb      ''% .* &%-#) '+%#' '%&%\
150-600mm f/5-6.3 SP VC USD &&*% )★ Adc\Zhi [dXVa aZc\i] d[ Vcn V[[dgYVWaZ Zci]jh^Vhi oddb dc i]Z bVg`Zi VcY egdYjXZh ZmXZaaZcigZhjaih      ',% .* &%*#+ '*,#- &.*&\
180mm f/3.5 SP AF Di LD IF Macro -.+ *★ IldAdl9^heZgh^dcZaZbZcihVcY^ciZgcVa[dXjh^c\hnhiZb^ci]^h&/&bVXgdaZch         ), ,' -)#- &+*#, .'%\

TOKINA DSLR
AT-X 10-17mm f/3.5-4.5 AF DX Fisheye **% ;^h]ZnZ oddb aZch l^i] LViZg GZeZaaZci XdVi^c\ VcY HjeZg Adl 9^heZgh^dc \aVhh   &) c$V ,% ,&#& (*%\
AT-X 11-16mm f/2.8 PRO DX II )). JeYViZ id i]Z edejaVg && &+bb [$'#- aZch! [dg ha^\]ian ^begdkZY dei^XVa eZg[dgbVcXZ    (% ,, -) -.#' **%\
AT-X 11-20mm f/2.8 PRO DX £499 4★ 8dbeVXi! jaigV l^YZVc\aZ aZch l^i] V [Vhi bVm^bjb VeZgijgZ VcY YZXZci dei^XVaeZg[dgbVcXZ   '- -' -. .' *+%\
AT-X 12-28mm f/4 PRO DX *'. GZeaVXZbZci [dg &' ')bb [$) l^YZVc\aZ oddb0 [dg C^`dc 9M 9HAGh   '* ,, -) .% +%%\
AT-X 14-20mm f/2 PRO DX -). L^YZVc\aZ oddb l^i] hjeZg [Vhi! hjeZg Wg^\]i! XdchiVci [$' VeZgijgZ[dgh]ddi^c\^ckZgnadla^\]i   '- -' -. &%+ ,'*\
AT-X 16-28mm f/2.8 PRO FX ,*, *★ 6 egd ZcY l^YZVc\aZ oddb V^bZY Vi [jaa [gVbZ XVbZgVh    '+ c$V .% &(( .*%\
AT-X 17-35mm f/4 PRO FX -(% *★ DcZ d[ i]Z bdhi XVeVWaZ hjeZg l^YZ oddbh VkV^aVWaZ! i]dj\] dcan VkV^aVWaZ ^c 8Vcdc VcY C^`dc bdjcih    '- -' -. .) +%%\
AT-X 24-70mm f/2.8 PRO FX +,. I]gZZ egZX^h^dc bdjaYZY Vaa \aVhh Vhe]Zg^XVa aZch ZaZbZcih VcY V [Vhi! XdchiVci [$'#- VeZgijgZ    (- -' -.#+ &%,#* &%&%\
AT-X 70-200mm f/4 PRO FX VCM-S +.& ;ZVijgZh V cZl K^WgVi^dc 8dggZXi^dc BdYjaZ VcY g^c\ h]VeZY jaigVhdc^X hinaZ Vjid[dXjh bdidg    &%% +, -' &+,#* .-%\
AT-X 100mm f/2.8 AF PRO D Macro (+% )★ HdbZlZV`cZhhZhl^YZdeZc!WjigZVhdcVWaZBI;XjgkZhbV`Zi]^hVYZXZcidei^X         (% ** ,( .*#& *)%\

ZEISS DSLR
15mm f/2.8 Milvus '('. I]^h hjeZg l^YZVc\aZ aZch ]Vh Vc Vc\aZ d[ k^Zl d[ &&% VcY jhZh Vc VYkVcXZY gZigd[dXjh YZh^\c    '* .* &%'#( &%%#' .),\
18mm f/2.8 Milvus &... 8dbeVXi hjeZg l^YZVc\aZ aZch l^i] egZb^jb dei^Xh ^cXajY^c\ V ÅdVi^c\ [dXjh hnhiZb[dgXadhZ"jeh    '* ,, .% .( ,'&\
21mm f/2.8 Milvus &'.. EgZb^jb l^YZVc\aZ aZch l^i] XdbeaZm dei^Xh YZh^\cZY id WZ [gZZ d[ Y^hidgi^dc    '' -' .*#* .* -*&\
25mm f/1.4 Milvus &... *★ Dei^XVaan ZmXZaaZci! aVg\Z VeZgijgZ bVcjVa [dXjhl^YZVc\aZaZchl^i]lZVi]Zg"hZVaZYXdchigjXi^dc    '* -' .*#' &'( &''*\
25mm f/2 Distagon T* &(*% 6 aVcYhXVeZ aZch l^i] V [Vhi VeZgijgZ     '* +, ,( .- +%%\
25mm f/2.8 Distagon T* ,(- GZaVi^kZan hbVaa VcY a^\]i l^YZVc\aZ eg^bZ! VkV^aVWaZ ^c C^`dc bdjcidcan   &, *- +) .% )+%\
28mm f/2 Distagon T* -*% ;dg adl a^\]i h]ddi^c\ i]Z '-bb aZch ]Vh eaZcin d[ ediZci^Va     ') *- ,'#) ,' *-%\
35mm f/1.4 Distagon T* &+%% Egdb^hZh id egdYjXZ hdbZ hijcc^c\ Wd`Z] Z[[ZXih     (% ,' ,- &'' -*%\
35mm f/1.4 Milvus &+.. AVg\Z VeZgijgZ! egZb^jb fjVa^in bVcjVa [dXjh eg^bZ l^i]lZVi]Zg"hZVaZYXdchigjXi^dc    (% ,' -)#- &')#- &&,)\
35mm f/2 Milvus -'. 8dbeVXi! bdYZgViZ l^YZVc\aZ bVcjVa [dXjh eg^bZ    (% *- ,, -( ,%'\
50mm f/1.4 Planar T* **. 8aVhh^X YdjWaZ <Vjhh YZh^\c bVcjVa [dXjh hiVcYVgY eg^bZ [dg [jaa [gVbZ HAGh    )* *- ,& ,& (-%\
50mm f/1.4 Milvus .). *★ 6c ZmXZei^dcVaan \ddY aZch d[[Zg^c\ h]VgecZhh! YZiV^a! XaZVc ZY\Zh VcY V \gZVi jhZg ZmeZg^ZcXZ    )* +, -'#* .) .''\
50mm f/2 Milvus Macro .). BVcjVa [dXjh bVXgd aZch l^i] ]Va[ a^[Z h^oZ bV\c^ÄXVi^dc VcY hijcc^c\ dei^Xh    ') +, -& ,*#( ,(%\
85mm f/1.4 Planar T* .-. 8aVhh^X edgigV^i eg^bZ YZh^\cZY id \^kZ hbddi]! gdjcYZY Wd`Z] Z[[ZXih    &%% ,' ,- -- +,%\
85mm f/1.4 Milvus &(,. *★ ;Vhi -*bb bVcjVa [dXjh eg^bZ aZch i]Vi¼h eZg[ZXi [dg edgigV^ijgZ    -% ,, .% &&( &'-%\
100mm f/2 Milvus Macro &'.. 6 bVcjVa [dXjh bVXgd aZch l^i] VWhdajiZan hjeZgW dei^Xh VcY ]Va[ a^[Z h^oZ gZegdYjXi^dc    -- +, -%#* &%) -)(\
135mm f/2 Milvus &-..  IZaZe]didaZchl^i]VaVg\ZVeZgijgZVcYhbddi]Wd`Z]!^YZVa[dgbZY^jb"Y^hiVcXZedgigV^ie]did\gVe]n         -% ,, &'. &(' &&'(\

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 63

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT
CSC Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON CSC
EF-M 11-22mm f/4-5.6 IS STM (** JaigV l^YZVc\aZ aZch l^i] V XdbeVXi! gZigVXiVWaZ aZch YZh^\c   &* ** +& *-#' ''%\
EF-M 15-45mm f/3.5-6.3 IS STM '). 8daaVeh^WaZ hiVcYVgY oddb [dg :DH B hZg^Zh XVbZgVh i]Vi¼h aZhh Wja`n i]Vc i]Z &- **bb   '* ). +%#. ))#* &(%\
EF-M 18-55mm f/3.5-5.6 IS STM '+. 8dbeVXi VcY kZghVi^aZ oddb aZch   '* *' +& +& '&%\
EF-M 18-150mm f/3.5-6.3 IS STM (.. L^YZ gVc\^c\ '. ')%bb Zfj^kVaZci hjeZgoddb l^i] hjgeg^h^c\an \ddY ^bV\Z fjVa^in   '* ** +%#. -+#* (%%\
EF-M 22mm f/2 STM ''% HbVaa VcY Wg^\]i l^YZVc\aZ eVcXV`Z aZch  &* )( +& '(#, &%*\
EF-M 28mm f/3.5 IS STM Macro '.) HbVaa! gZigVXiVWaZ aZch l^i] Wj^ai ^c A:9 a^\]ih [dg ^aajb^cVi^c\XadhZ"jehjW_ZXih   .#, )( +%#. )*#* &(%\
EF-M 55-200mm f/4.5-6.3 IS STM ((%  IZaZe]didoddbi]ViiV`ZhndjXadhZgidi]ZVXi^dc         &%% *' +%#. -+#* '+%\

FUJIFILM CSC
NEW XF 8-16mm f/2.8 R LM WR &,.. EgZb^jb jaigV l^YZVc\aZ aVg\Z VeZgijgZ oddb aZch l^i] lZVi]Zg gZh^hiVci XdchigjXi^dc  '* c$V -- &'&#* -%*\
XF 10-24mm f/4 R OIS -). L^YZVc\aZ oddb aZch! egdb^h^c\ b^c^bVa \]dhi^c\ l^i] ;j_^¼h =I :78 bjai^ aVnZg XdVi^c\   ') ,' ,- -, )&%\
XF 14mm f/2.8 R ,'. *★ L^YZVc\aZ eg^bZ l^i] ]^\] gZhdaji^dc ^cid i]Z XdgcZgh! ^ih eZg[dgbVcXZ _jhi^ÄZh i]Z eg^XZ iV\  &- *- +* *-#) '(*\
XC 15-45mm f/3.5-5.6 OIS PZ '*. A^\]ilZ^\]i gZigVXiVWaZ edlZg oddb i]Vi¼h hZi id WZ i]Z Zcign aZkZa `^i aZch [dg M hnhiZbXVbZgVh   &( *' +'#+ ))#' &(*\
XF 16mm f/1.4 R WR ,'. *★ LZVi]Zg hZVaZY [Vhi eg^bZ [dg M hnhiZb jhZgh  &* +, ,(#) ,( (,*\
XC 16-50 f/3.5-5.6 OIS II (*. A^\]ilZ^\]i aZch [dg b^ggdgaZhh M hZg^Zh d[[Zgh ') ,*bb Zfj^kVaZci oddb gVc\Z   (% *- +'#+ .-#( &.*\
XF 16-55mm f/2.8 R LM WR -.. *★ 6 ÅV\h]^e M; hiVcYVgY oddb aZch l^i] V XdchiVci [$'#- VeZgijgZ VcY lZVi]Zg gZh^hiVcXZ  +% ,, -(#( &%+ +**\
XF 18mm f/2 R )(% )★ 6 XdbeVXi l^YZVc\aZ aZch l^i] V fj^X` VeZgijgZ  &- *' +)#* )%#+ &&+\
XF 18-135mm f/3.5-5.6 R LM OIS WR +.. )★ LZVi]Zg gZh^hiVci oddb [dg ;j_^Äab M bdjci! YZh^\cZY id WZ i]Z eZg[ZXieVgicZg[dgi]Z;j_^ÄabM"I&   )* ,, ,*#, .,#- ).%\
XF 18-55mm f/2.8-4 R LM OIS *.. H]dgi oddb aZch l^i] dei^XVa ^bV\Z hiVW^a^hVi^dc   &- *- +* ,%#) (&%\
XF 23mm f/1.4 R +). EgZb^jb l^YZVc\aZ eg^bZ aZch l^i] [Vhi bVm^bjb VeZgijgZ  '- +' ,' +( (%%\
XF 23mm f/2 R WR )&. *★ 8dbeVXi lZVi]Zg gZh^hiVci l^YZVc\aZ eg^bZ aZch  '' )( +% *&#. &-%\
XF 27mm f/2.8 ',% 6 ]^\] eZg[dgbVcXZ h^c\aZ [dXVa aZc\i] aZch  +% (. '( +&#' ,-\
XF 35mm f/1.4 R )(. )★ H]Vaadl YZei] d[ ÄZaY VcY Wd`Z] Z[[ZXih VgZ h^beaZ id VX]^ZkZ l^i] i]^h aZch  '- *' +* *)#. &-,\
XF 35mm f/2 R WR '.. *★ 6 edlZg[ja VcY lZVi]Zg gZh^hiVci aZch i]Vi [ZZah \gZVi VcY ]Vh i]Z eZg[dgbVcXZ id bViX]  (* )( +% )*#. &,%\
XF 50mm f/2 R WR )). *★ A^\]ilZ^\]i lZVi]Zg gZh^hiVci h]dgi iZaZe]did eg^bZ aZch i]Vi¼h ^YZVa [dg h]ddi^c\ edgigV^ih  (. )+ +% *.#) '%%\
XF 50-140mm f/2.8 R LM OIS WR &'). 6 iZaZe]did oddb l^i] V XdchiVci bVm^bjb VeZgijgZ VcY lZVi]Zg gZh^hiVcXZ   &%% ,' -'#. &,*#. ..*\
XC 50-230mm f/4.5-6.7 OIS II (&* I]Z M8 aZch gVc\Z ^h YZh^\cZY id hj^i ;j_^¼h b^Y gVc\Z 8H8h! VcY i]^h aZch ]Vh dei^XVa ^bV\Z hiVW^a^hVi^dc   &&% *- +.#* &&& (,*\
XF 55-200mm f/3.5-4.8 R LM OIS *.. )★ IZaZe]did l^i] Wj^ai ^c dei^XVa ^bV\Z hiVW^a^hVi^dc eajh VeZgijgZ Xdcigda g^c\   &&% +' &&- ,* *-%\
XF 56mm f/1.2 R -.. )★ I]^h l^YZ VeZgijgZ edgigV^i aZch [dg M hZg^Zh XVbZgVh ]Vh \gZVi h]VgecZhh VcY YZiV^a VcY ^h\gZVikVajZ  ,% +' ,(#' +.#, )%*\
XF 56mm f/1.2 R APD &&*. )★ 6YYh VedY^hVi^dc ZaZbZci d[ *+bb [$&#' [dg ZkZc bdgZ ViigVXi^kZ WVX`\gdjcY Wajg  ,% +' ,(#' +.#, )%*\
XF 60mm f/2.4 XF R Macro *.. 6 h]dgi aZch YZh^\cZY [dg bVXgd ldg` l^i] ]Va[ a^[Z h^oZ bV\c^ÄXVi^dc  '+#, (. +)#& ,%#. '&*\
XF 80mm f/2.8 R LM OIS WR Macro &'). )★ ;j_^Äab¼h adc\ VlV^iZY &/& bVXgd ^cXajYZh lZVi]Zg gZh^hiVcXZ VcY dei^XVa ^bV\Z hiVW^a^hVi^dc   '* +' -% &(% ,*%\
XF 90mm f/2 R LM WR +.. *★ 6 XaVhh^X edgigV^i aZch i]Vi¼h h]Vge! l^i] \dg\Zdjh Wd`Z]  +% +' ,* &%* *)%\
XF 100-400mm f/4.5-5.6 R LM OIS WR &(.. *★ I]^hhjeZgWoddb^hWdi]lViZgVcYYjhigZh^hiVci!VcYXVcdeZgViZ^c"&%8iZbeZgVijgZh         &,* ,, .)#- '&%#* &(,*\

LAOWA CSC
4mm f/2.8 Fisheye MFT I78 A^\]ilZ^\]i Äh]ZnZ aZch [dg B^Xgd ;djg I]^gYh d[[Zg^c\ V X^gXjaVg ^bV\Z l^i] V '&% Vc\aZ d[ k^Zl  - c$V )*#' '*#* &(*\
7.5mm f/2 MFT ).. )#*★ I^cn Wji h]Vge l^YZVc\aZ eg^bZ [dg B^Xgd ;djg I]^gYh [ZVijg^c\ bVcjVa [dXjh VcY VeZgijgZ Xdcigda  &' )+ *% ** &,%\
9mm f/2.8 Zero D ).. 8dbeVXi bVcjVa [dXjh eg^bZ [dg 6EH 8 b^ggdgaZhh XVbZgVh egdb^hZh kZgn adl Y^hidgi^dc    &' ). +% *( '&*\
10-18mm f/4.5-5.6 FE Zoom I78 I]Z ldgaY¼h l^YZhi oddb [dg [jaa [gVbZ Hdcn b^ggdgaZhh! l^i] bVcjVa [dXjh VcY VeZgijgZ Xdcigda   &* (, ,% .%#. ).+\
15mm f/2 FE Zero D -..  BVcjVa"[dXjh[VhijaigV"l^YZVc\aZeg^bZ[dg[jaa"[gVbZHdcnXVbZgVh!l^i]b^c^bVaY^hidgi^dc         &* ,' ++ -' *%%\

LEICA CSC
11-23mm f/3.5-4.5 TL &)*% L^YZVc\aZ oddb aZch [dg AZ^XV¼h 6EH 8 b^ggdgaZhh hnhiZb  '% +, ,, ,( (+-\
18-56mm f/3.5-5.6 Vario-Elmar TL &'-% GZaVi^kZan aVg\Z! cdc gZigVXiVWaZ oddb [dg 6EH 8 b^ggdgaZhh  )* *' +(#* +& '*+\
18mm f/2.8 Elmarit TL &%'% Ha^ba^cZ! ZmigZbZan a^\]ilZ^\]i eVcXV`Z eg^bZ l^i] [Vhi Vjid[dXjh  (% (. +& '& -%\
23mm f/2 Summicron TL &)&% 8dbeVXi! a^\]ilZ^\]i [Vhi eg^bZ i]Vi d[[Zgh V XaVhh^X (*bb Zfj^kVaZci k^Zl dc AZ^XV¼h 6EH 8 8H8h  (% *' +(#* (-#& &*(\
24-90mm f/2.8-4 Vario-Elmarit-SL (,.% AVg\Z! Wji ZmXZei^dcVa fjVa^in [jaa [gVbZ hiVcYVgY oddb l^i] gZVaan jhZ[ja oddb gVc\Z   (% -' -- &(- &&)%\
35mm f/1.4 Summilux TL &-(% =^\] ZcY [Vhi eg^bZ YZh^\cZY id \^kZ ZmXZei^dcVa ^bV\Z fjVa^in  (% +% ,% ,, )'-\
55-135mm f/3.5-4.5 APO-Vario-Elmar-TL &)*% IZaZe]did oddb i]Vi ZhX]Zlh ^bV\Z hiVW^a^hVi^dc ^c V W^Y [dg bVm^bVa dei^XVa fjVa^in  &%% +% +- &&% *%%\
60mm f/2.8 APO-Macro-Elmarit TL &.'% BVXgd aZch [dg AZ^XV¼h 6EH 8 b^ggdgaZhh XVbZgVh d[[Zgh &/& a^[Z h^oZbV\c^ÄXVi^dc  &+ +% +- -. ('%\
75mm f/2 APO-Summicron SL (,*%  ;Vhih]dgi"iZaZe]didedgigV^iaZch[dgi]Z[jaa"[gVbZAZ^XVHA         *% +, ,( &%' ,'%\

OLYMPUS CSC
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

7-14mm f/2.8 ED Pro ... )#*★ HjeZg l^YZVc\aZ oddb aZch i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ egdd[  '% c$V ,-#. &%*#- *()\
8mm f/1.8 Pro Fisheye ,.. ;^h]ZnZ aZch l^i] ^begZhh^kZ ^bV\Z fjVa^in i]Vi¼h Yjhiegdd[! heaVh]egdd[ VcY [gZZoZ egdd[  &' c$V +' -% (&*\
9-18mm f/4-5.6 ED +(% I]^h hjeZg l^YZVc\aZ aZch d[[Zgh Vc Zfj^kVaZci [dXVa gVc\Z d[ &-"(+bb^c(*bbiZgbh  '* *' *+#* ).#* &**\
9mm f/8 Fish-eye Body Cap Lens -. Ha^ba^cZ aZch ^c V WdYn XVe l^i] &)% Vc\aZ d[ k^Zl  '% c$V *+ &'#- (%\
12mm f/2.0 ED ,(. *★ 6 l^YZVc\aZ ÄmZY aZch [dg i]Z B^Xgd ;djg I]^gYh hnhiZb  '% )+ *+ )( &(%\
12-40mm f/2.8 ED Pro -.. LZVi]Zg gZh^hiVci hiVcYVgY oddb l^i] ide cdiX] dei^Xh VcY V XdchiVci VeZgijgZ d[ [$'#-  '% +' +.#. -) (-'\
12-50mm f/3.5-6.3 ED EZ (). 6 lZVi]Zg gZh^hiVci oddb aZch l^i] bVcjVa dg ZaZXigdc^X oddb  '% *' *, -( '&&\
12-100mm f/4 IS ED Pro &%.. *★ HjeZgW]^\]"ZcYlZVi]Zg"hZVaZYhjeZgoddbaZch[ZVijg^c\edlZg[ja^c"aZch>Hl^i]HncX>H         &* ,' ,,#* &&+#* *+&\

cameras, lenses & accessories

d, tested & cleaned, including a
n on all cameras.

Ȗ ɜ əźɜɰǀʢƱź Dzǀ ʣɜ
ǰɜźƱəǀɰǾɰǾʗǀɛɰǀ̱

64 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 SPONSORED BY

FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT
CSC Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
14-42mm f/3.5-5.6 II R '+. 6 gZYZh^\cZY kVg^Vi^dc d[ i]Z hiVcYVgY `^i aZch  '* (, *+#* *% &&'\
14-42mm f/3.5-5.6 EZ ('. 8dbeVXi `^i aZch [dg Danbejh E:C VcY DB 9 bdYZah l^i] edlZgoddb Xdcigda  '% (, +%#+ ''#* .(\
14-150mm f/4-5.6 II **% =^\] edlZgZY oddb [dg Vaa ndjg cZZYh [gdb l^YZVc\aZ id iZaZe]did eajh lZVi]Zg gZh^hiVcXZ  *% *- +(#* -( '-*\
15mm f/8 Body Cap Lens +. Hig^Xian heZV`^c\ Vc VXXZhhdgn gVi]Zg i]Vc V aZch! l^i] WVh^X dei^Xh ^c V i^cn eaVhi^X ]djh^c\  (% c$V *+ . ''\
17mm f/1.2 ED Pro &(%% =^\] ZcY! aVg\Z VeZgijgZ lZVi]ZghZVaZY eg^bZ YZh^\cZY [dg YdXjbZciVgn dg aVcYhXVeZ ldg`  '% +' +-#' -, (.%\
17mm f/1.8 MSC )*% *★ L^YZ VeZgijgZ! l^YZVc\aZ eg^bZ WdVhi^c\ ZmXZaaZci eZV` h]VgecZhh VcY adl Xdadjg [g^c\^c\  '* )+ *, (* &'%\
17mm f/2.8 Pancake (%% )★ I^cn l^YZVc\aZ eVcXV`Z eg^bZ l^i] gZVhdcVWaZ dei^Xh  '% (, *, '' ,&\
25mm f/1.2 ED Pro &%.. =^\] egZX^h^dc! ]^\] heZZY dei^X l^i] V heZX^Va aZch hnhiZb XdchigjXi^dc [dg ZY\Z id ZY\Z h]VgecZhh  (% +' ,% -, )&%\
25mm f/1.8 (,% 8dbeVXi eg^bZ aZch l^i] jaigV Wg^\]i [$&#- VeZgijgZ  '* )+ *,#- )' &(,\
30mm f/3.5 ED Macro '). CZl ^c i]Z B#Oj^`d EgZb^jb gVc\Z! i]^h bVXgd aZch [ZVijgZh hjeZg [Vhi 6; VcY lZ^\]h dcan &'-\  .#* )+ *, +% &'-\
40-150mm f/2.8 ED Pro &'.. )★ I]^h edlZg[ja -% (%%bb (*bb Zfj^kVaZci [dXVa aZc\i] aZch d[[Zgh VbVo^c\ edgiVW^a^in [dgi]^hegdXaVhh  ,% ,' ,.#) &+% ,+%\
40-150mm f/4-5.6 R (%. I]^h b^YYaZ Y^hiVcXZ oddb aZch ]Vh Vc -% (%%bb (*bb Zfj^kVaZci [dXVa aZc\i]  .% *- +(#* -( &.%\
45mm f/1.2 ED Pro &'%% AVg\Z VeZgijgZ aZch YZh^\cZY [dg edgigV^i e]did\gVe]n l^i] egZb^jb dei^Xh  *% +' ,% -)#. )&%\
45mm f/1.8 ',. *★ ;Vhi VeZgijgZ aZch [dg iV`^c\ edgigV^i h]dih ^h h]Vge! fj^Zi VcY ]Vh cd Xdadjg [g^c\^c\  *% (, *+ )+ &&+\
60mm f/2.8 Macro )*% =^\] egZX^h^dc bVXgd aZch i]Vi¼h Yjhiegdd[ VcY heaVh]egdd[  &. )+ *+ -' &-*\
75-300mm f/4.8-6.7 ED II ).. JeYViZ [ZVijg^c\ Oj^`d :migV adl GZÅZXi^dc Dei^XVa XdVi^c\ hV^Y id gZYjXZ \]dhi^c\  .% *- +. &&, )'(\
75mm f/1.8 ED ,.. *★ JaigV [Vhi eg^bZ aZch ^YZVa [dg edgigV^ih VcY VXi^dc h]dih  -) *- +) +. (%*\
300mm f/4 IS Pro ''%%  8dbeVXijaigV"iZaZe]dideg^bZl^i]dei^XVa^bV\ZhiVW^a^hVi^dc!XdbeVi^WaZl^i]HncX>H         &)% ,, .'#* '', &',%\

PANASONIC CSC
G 7-14mm f/4 ,)% *★ ;dg V l^YZVc\aZ oddb! i]Z dkZgVaa aZkZa d[ gZhdaji^dc ^h kZgn ^begZhh^kZ  '* c$V ,% -(#& (%%\
G 8mm Fisheye f/3.5 ,(% I]Z ldgaY¼h a^\]iZhi VcY hbVaaZhi Äh]ZnZ aZch [dg Vc ^ciZgX]Vc\ZVWaZ aZch XVbZgV  &% '' +%#, *&#, &+*\
DG 8-18mm f/2.8-4 ASPH Leica &%). HeaVh]egdd[! Yjhiegdd[ VcY [gZZoZegdd[ jaigV l^YZVc\aZ oddb l^i] egZb^jb dei^Xh  '( +, ,(#) -- (&*\
DG 12mm f/1.4 Leica Summilux ASPH &&.. )#*★ 8dbeVXi [Vhi l^YZVc\aZ fjVa^in l^i] ZmXZaaZci dei^Xh VcY Wj^ai ^c VeZgijgZ g^c\  '% +' ,% ,% ((*\
G 12-32mm f/3.5-5.6 MEGA OIS ',% KZgn XdbeVXi l^i] V kZghVi^aZ oddb gVc\Z VcY i]gZZ Vhe]Zg^XVa aZchZh   '% (, **#* ') ,%\
G X 12-35mm f/2.8 OIS &%.* *★ ;Vhi! ]^\] fjVa^in hiVcYVgY oddb [dg B^Xgd ;djg I]^gYh XVbZgVh   '* *- +,#+ ,(#- (%*\
G X 12-35mm f/2.8 OIS II --% JeYViZY [Vhi hiVcYVgY oddb l^i] bViiZ WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda   '* *- +,#+ ,(#- (%*\
G 12-60mm f/3.5-5.6 OIS ASPH )(. )★ >cXdgedgViZh V hiZee^c\ bdidg [dg V hbddi]! h^aZci deZgVi^dc VcY [ZVijgZh V Yjhi VcY heaVh]egdd[ YZh^\c   '% *- ++ ,& '&%\
DG 12-60mm f/2.8-4 OIS Leica --% EgZb^jb hiVcYVgY oddb l^i] jhZ[ja [dXVa aZc\i] gVc\Z VcY lZVi]Zg gZh^hiVci XdchigjXi^dc   '% +' +- -+ ('%\
G 14mm f/2.5 II '). L^YZVc\aZ eVcXV`Z aZch i]Vi h]djaY hj^i aVcYhXVeZ e]did\gVe]Zgh  &- )+ **#* '%#* **\
G X 14-42mm f/3.5-5.6 X PZ POWER OIS (+. )★ EdlZgZY oddb0 ^begZhh^kZ gZhjaih ^c iZgbh d[ Wdi] h]VgecZhh VcY X]gdbVi^X VWZggVi^dc   '% (, +& '+#- .*\
G 14-45mm f/3.5-5.6 MEGA OIS &-. 6 a^\]ilZ^\]i VcY XdbeVXi hiVcYVgY oddb [ZVijg^c\ B:<6 D>H dei^XVa ^bV\Z hiVW^a^hVi^dc   (% *' +% +% &.*\
G 14-140mm f/3.5-5.6 POWER OIS *.. BZiVa WdY^ZY oddb [ZVijg^c\ XdbeVcn¼h EDL:G D>H dei^XVa ^bV\Z hiVW^a^hZg   (% *- +, ,* '+*\
DG 15mm f/1.7 Leica SUMMILUX *). )★ =^\] heZZY eg^bZ l^i] V XdbeVXi bZiVa WdYn! ^cXajYZh i]gZZ Vhe]Zg^XVa aZchZh id Xji Ydlc Y^hidgi^dc  '% )+ (+ *,#* &&*\
G 20mm f/1.7 ASPH II '). JaigV XdbeVXi [Vhi eg^bZ l^i] ZmXZaaZci dei^Xh Wji hadlZg Vjid[dXjhi]VcbdgZbdYZgcdei^dch  '% )+ '*#* +( &%%\
G 25mm f/1.7 ASPH &*. )#*★ >cZmeZch^kZ [Vhi cdgbVa eg^bZ [dg B^Xgd ;djg I]^gYh  '* )+ +%#- *' &'*\
DG 25mm f/1.4 Leica SUMMILUX **% *★ 6 [Vhi VeZgijgZ ÄmZY [dXVa aZc\i] hiVcYVgY aZch [gdb AZ^XV  (% )+ +( *)#* '%%\
G 30mm f/2.8 Macro MEGA OIS (%% (★ 8dbeVXi aZch d[[Zg^c\ igjZ id a^[Z bV\c^ÄXVi^dc XVeVW^a^in [dg WZiiZg bVXgd ^bV\Zh   &% )+ *-#- +(#* &-%\
G 35-100mm f/4-5.6 ASPH MEGA OIS (%% IZaZe]did oddb Zfj^kVaZci id ,% '%%bb dc V (*bb XVbZgV   .% )+ **#* *% &(*\
G X 35-100mm f/2.8 Power OIS II .,% EgZb^jb [Vhi iZaZe]did oddb l^i] bViiZ WaVX` Äc^h] VcY ^begdkZY Vjid[dXjh VcY VeZgijgZ Xdcigda   -* *- +,#) &%% (+%\
DG 42.5mm f/1.2 Leica DG OIS &(.. *★ B^Y iZaZe]did ]^\] heZZY AZ^XV 9< CdXi^Xgdc aZch l^i] ' Vhe]Zg^XVa aZchZh VcY jaigV l^YZ VeZgijgZ   *% +, ,) ,+#- )'*\
G 42.5mm f/1.7 Power OIS (). B^Y iZaZe]did aZch l^i] V (*bb Zfj^kVaZci d[ -*bb! ^ih [$&#, VeZgijgZ egdb^hZh V WZVji^[jaWd`Z]Z[[ZXi   (, (& ** *% &(%\
DG 45mm f/2.8 OIS Macro Leica *(. I^cn bVXgd aZch l^i] &/& bV\c^ÄXVi^dc VcY dei^XVa ^bV\Z hiVW^a^hVi^dc   &* )+ +( +'#* ''*\
G 45-150mm f/4-5.6 MEGA OIS '-% )★ 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb Xdbeg^h^c\ &' ZaZbZcih ^c c^cZ \gdjeh   .% *' +' ,( '%%\
G X 45-175mm f/4-5.6 X PZ POWER OIS )%% )★ 6 edlZgZY adc\ [dXVa aZc\i] oddb aZch   .% )+ +&#+ .% '&%\
G 45-200mm f/4-5.6 MEGA OIS II (-% JeYViZY iZaZe]did oddb aZch l^i] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H   &%% *' ,% &%% (-%\
DG 50-200mm f/2.8-4 OIS Leica &+%% EgZb^jb iZaZe]did oddb i]Vi XdbeaZiZh EVcVhdc^X¼h AZ^XV [$'#- ) hZg^Zh   ,* +, ,+ &(' +**
G 100-300mm f/4-5.6 MEGA OIS II *,% )★ JeYViZY adc\ oddb aZch l^i] Yjhi VcY heaVh]egdd[ XdchigjXi^dc! hjeedgih EVcVhdc^X¼h 9jVa >H   &%% *' ,% &%% (-%\
DG 100-400mm f/4-6.3 OIS Leica &(). Ide fjVa^in hjeZgiZaZe]did oddb l^i] lZVi]ZghZVaZY XdchigjXi^dc VcY 9jVa >H hjeedgi   &%( ,' -( &,&#* .-*\
DG 200mm f/2.8 OIS Leica '+.. *★ Hijcc^c\)%%bb"Zfj^kVaZci[VhiiZaZe]dideg^bZ!XdbZhl^i]&#)miZaZXdckZgiZg^ci]ZWdm         &&* ,, -,#* &,) &')*\

SAMYANG CSC
7.5mm f/3.5 UMC fisheye MFT '*( ;^h]ZnZ bVcjVa [dXjh aZch l^i] JaigV Bjai^ 8dViZY aZch ZaZbZcih id gZYjXZ ÅVgZ VcY \]dhi^c\  . c$V )-#( +% &.,\
8mm f/2.8 UMC fisheye II '). JeYViZY kZgh^dc d[ i]Z HVbnVc\ -bb [$'#- JB8 ;^h]ZnZ aZch! l^i] ^begdkZY dei^XVaXdchigjXi^dc    (% c$V +% +)#) '.%\
12mm f/2 NCS CS ((% ;Vhi l^YZVc\aZ eg^bZ [dg 6EH 8 VcY B^Xgd ;djg I]^gYh b^ggdgaZhh XVbZgVh     '% +, ,'#* *. ')*\
14mm f/2.8 FE AF (-. 6jid[dXjh l^YZVc\aZ eg^bZ YZh^\cZY [dg Hdcn 6ae]V , hZg^Zh XVbZgVh   '% c$V -*#* .,#* *%*\
21mm f/1.4 ED AS UMC CS '*. *★ BVcjVa [dXjh adl a^\]i aZch [dg b^ggdgaZhh XVbZgVh l^i] 6EH 8 dg hbVaaZg h^oZY hZchdg     '- *- *)#( +,#. '.%\
NEW 24mm f/2.8 FE AF '-% HbVaa! a^\]ilZ^\]i Vjid[dXjh l^YZVc\aZ eg^bZ [dg [jaa [gVbZ b^ggdgaZhh XVbZgVh   ') ). +&#- (, .(\
35mm f/1.2 ED AS UMC CS (*. HiVcYVgY Vc\aZ bVcjVa [dXjh aZch [dg b^ggdgaZhh XVbZgVh l^i] 6EH 8 hZchdg h^oZ     (- +' +,#* ,)#' )'%\
35mm f/1.4 FE AF +%% ;Vhi Vjid[dXjh eg^bZ YZh^\cZY [dg bVm^bjb h]VgecZhh l^i] V A^cZVg HjeZghdc^X Bdidg [dg 6;   (% +, ,*#. &&* +)*\
35mm f/2.8 FE AF ',. )#*★ 8dbeVXi! a^\]ilZ^\]i! ^cZmeZch^kZ Vjid[dXjh eg^bZ aZch [dg [jaa [gVbZ 8H8h   (* ). +&#- (( -+\
50mm f/1.2 AS UMC CS '.. *★ ;Vhi iZaZe]did eg^bZ i]Vi XVc egdYjXZ hijcc^c\ gZhjaih l^i] V hjeZg h]Vaadl YZei] d[ ÄZaY     *% +' +,#* ,)#* (-%\
50mm f/1.4 FE AF ).. )#*★ :mXZaaZci kVajZ [dg bdcZn [Vhi eg^bZ [dg [jaa [gVbZ Hdcn 8H8h   )* +, ,(#* .,#, *-*\
300mm f/6.3 ED UMC CS Reflex ').  6XdbeVXigZÅZmb^ggdgaZchYZY^XViZY[dgb^ggdgaZhhXdbeVXihnhiZbXVbZgVh         .% *- ,(#, +)#* ('%\

²½ĔG= ĆĔ×6°
Ő
²
5²G̱ ÁGő Α 6×½Áw Ć××Á̱

Tamron 28-75mm Fujifilm XF 8-16mm
f/2.8 Di III RXD f/2.8 R LM WR
Available for Sony FE Mount cameras Stock expected November 2018!

˙˖˛.00 Bring your subjects to life with higher

resolution and softer defocusing. ˓̯˙˛˛.00 Place a pre-order to recieve one of the first
lenses in the UK! See online to learn more.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 4 August 2018 65

 BUYING GUIDE

FILTER THREAD (MM)

MICRO 4 THIRDS
STABILISATION

MIN FOCUS (CM)

FUJI X MOUNT
CSC Lenses

LENGTH (MM)
FULL FRAME

WIDTH (MM)
CANON M

NIKON 1
SONY E

WEIGHT
LEICA L
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

SIGMA CSC
16mm f/1.4 DC DN | C )*% AVg\Z VeZgijgZ l^YZVc\aZ aZch l^i] Yjhiegdd[ VcY heaVh]egdd[ YZh^\c   '* +, ,'#' .'#( )%*\
19mm f/2.8 DN | A &-. BZiVa WdY^ZY ]^\] eZg[dgbVcXZ l^YZVc\aZ eg^bZ aZch   '% )+ +%#- )*#, &*%\
30mm f/1.4 DC DN | C (%% )★ 6 eg^bZ [dg B^Xgd ;djg I]^gYh VcY Hdcn : bdjci jhZgh! ^i¼h ^begZhh^kZan h]Vge ZkZc Vi [$&#)   (% *' +)#- ,( &)%\
30mm f/2.8 DN | A &-. JhZh V ]^\] fjVa^in YdjWaZ h^YZY Vhe]Zg^XVa aZch [dg V eZg[dgbVcXZ i]Vi¼h ldgi]n d[ H^\bV¼h »6gi¼ a^cZ   (% )+ +%#- )%#* &)%\
60mm f/2.8 DN | A &-.  AViZhiVYY^i^dcidH^\bV¼h»6gi¼gVc\Z^hVb^Y"gVc\Z!]^\]"eZg[dgbVcXZiZaZe]didaZchl^i]bZiVaWdYn         *% )+ +%#- **#* &.%\

SONY CSC
E 10-18mm f/4 OSS ,*% )★ HjeZg l^YZVc\aZ oddb l^i] HjeZg :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc   '* +' ,% +(#* ''*\
FE 12-24mm f/4 G &,%% )#*★ 8dbeVXi! lZVi]Zg gZh^hiVci hjeZg l^YZVc\aZ oddb l^i] ]^\] fjVa^in dei^Xh   '- c$V -, &&,#) *+*\
E 16mm f/2.8 ''% )★ EVcXV`Z aZch [dg C:M hnhiZb! l^i] V X^gXjaVg VeZgijgZ VcY 9^gZXi BVcjVa ;dXjh  ') ). +' ''#* +,\
FE 16-35mm f/2.8 GM '(%% EgZb^jb < BVhiZg hZg^Zh [Vhi l^YZVc\aZ oddb l^i] lZVi]Zg gZh^hiVci XdchigjXi^dc  '- -' --#* &'&#+ +-%\
FE 16-35mm f/4 ZA OSS Vario-Tessar T* &'-. *★ OZ^hh [jaa [gVbZ l^YZVc\aZ oddb aZch    '- ,' ,- .-#* *&-\
E 16-50mm f/3.5-5.6 PZ OSS '.. 8dbeVXi aZch l^i] EdlZg Oddb! :9 \aVhh VcY Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc   '* )%#* +)#, '.#. &&+\
E 16-70mm f/4 ZA OSS Vario-Tessar T* -(. 6 a^\]ilZ^\]i! kZghVi^aZ b^Y gVc\Z oddb l^i] V XdchiVci [$) VeZgijgZ   (* ** ++#+ ,* (%-\
E 18-55mm f/3.5-5.6 OSS ',% Dei^XVa HiZVYnH]di! hV^Y id WZ h^aZci Yjg^c\ bdk^Z XVeijgZ! VcY V X^gXjaVg VeZgijgZ   '* ). +' +% &.)\
E 18-105mm f/4 G PZ OSS ).. Hdcn < aZch [dg : bdjci XVbZgVh l^i] V XdchiVci [$) VeZgijgZ   )* ,' ,- &&% )',\
E 18-110mm f/4 G PZ OSS ((%% 8dchiVci [$) bVm^bjb VeZgijgZ edlZgoddb [dg k^YZd egdYjXi^dc! [dg HjeZg (*bb $ 6EH 8 XVbZgVh   )% .* &&% &+,#* &&%*\
E 18-135mm f/3.5-5.6 OSS *,% A^\]ilZ^\]i! XdbeVXi hiVcYVgY oddb YZh^\cZY id bViX] 6ae]V +%%% hZg^Zh XVbZgVh   )* ** +,#' -- ('*\
E 18-200mm f/3.5-6.3 OSS LE )-. HbVaaZg VcY a^\]iZg i]Vc XdbeVgVWaZ aZchZh! i]^h ^h Vc ^YZVa ]^\] bV\c^ÄXVi^dc igVkZa aZch   *% +' +- .- )+%\
E 18-200mm f/3.5-6.3 PZ OSS ... 7dVhih edlZgZY oddb VcY ^bV\Z hiVW^a^hVi^dc l^i] 6Xi^kZ BdYZ! bV`^c\ ^i ^YZVa [dg bdk^Zh   (% +, .(#' .. +).\
E 20mm f/2.8 (%. EVcXV`Z l^YZVc\aZ aZch egdb^hZh id WZ i]Z eZg[ZXi lVa`VgdjcY eVgicZg [dg : bdjci XVbZgVh  '% ). +'#+ '%#) +.\
E 24mm f/1.8 ZA Sonnar T* -(. Ide fjVa^in 8Vga OZ^hh dei^X ^YZVaan hj^iZY id 6ae]V +%%% hZg^Zh WdY^Zh  &+ ). +( +*#+ ''*\
FE 24-70mm f/2.8 GM &,.. *★ I]^h egd \gVYZ hiVcYVgY aZch [dg i]Z Hdcn [jaa [gVbZ ;: bdjci \^kZh ZmXZei^dcVaan h]Vge gZhjaih   (- -' -,#+ &(+ --+\
FE 24-70mm f/4 ZA OSS Vario-Tessar T* &%). *★ 8dbeVXi aZch l^i] Vc [$) bVm^bjb VeZgijgZ VXgdhh i]Z oddb gVc\Z VcY Wj^ai ^c ^bV\Z hiVW^a^hVi^dc    )% +, ,( .)#* )'+\
FE 24-105mm f/4 G OSS &&.. *★ :mXZaaZci [jaa [gVbZ hiVcYVgY oddb l^i] dei^XVa hiVW^a^hVi^dc VcY lZVi]Zg gZh^hiVci YZh^\c    (- ,, -(#) &&(#( ++(\
FE 24-240mm f/3.5-6.3 OSS .'. (★ >YZVa [dg igVkZa! aVcYhXVeZh VcY bdgZ! l^i] Wj^ai ^c hiVW^a^hVi^dc# 6ahd Yjhi VcY bd^hijgZ gZh^hiVci    *% ,' -%#* &&-#* ,-%\
FE 28mm f/2 )&. )★ I]^h [jaa [gVbZ l^YZVc\aZ eg^bZ l^i] V Wg^\]i [$' bVm^bjb VeZgijgZ egdb^hZh ZmXZaaZci h]VgecZhh   '. ). +) +% '%%\
FE 28-70mm f/3.5-5.6 OSS )). 7j^ai ^c Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc! a^\]ilZ^\]i! VcY V edejaVg oddb gVc\Z    (% ** ,'#* -( '.*\
FE 28-135mm PZ f/4 G OSS '(,. 8dchiVci [$) bVm^bjb VeZgijgZ edlZgoddb [dg k^YZd egdYjXi^dc! [dg [jaa"[gVbZXVbZgVh    .* .* &+'#* &%* &'&*\
E 30mm f/3.5 Macro '&. 6 bVXgd aZch [dg i]Z C:M XdbeVXi hnhiZb XVbZgVh  . ). +' **#* &(-\
FE 35mm f/1.4 ZA Distagon T* &**. )★ ;jaa [gVbZ O:>HH 9^hiV\dc aZch l^i] aVg\Z! Wg^\]i [$&#) VeZgijgZ   (% ,' ,( .)#* +(%\
E 35mm f/1.8 OSS (.. A^\]ilZ^\]i! kZghVi^aZ eg^bZ l^i] Dei^XVa HiZVYnH]di ^bV\Z hiVW^a^hVi^dc   (% ). +'#' )* &**\
FE 35mm f/2.8 ZA Sonnar T* +.. L]Zc XdjeaZY l^i] V [jaa [gVbZ Hdcn : bdjci XVbZgV! i]^h eg^bZaZchegdb^hZhidYZa^kZg   (* ). +&#* (+#* &'%\
E 50mm f/1.8 OSS '&. 6 ]VcYn! adl eg^XZ edgigV^i aZch [dg i]Z C:M gVc\Z   (. ). +' +' '%'\
FE 50mm f/1.4 ZA Planar T* £1500 5★ Dei^XVaan hijcc^c\ egZb^jb [Vhi eg^bZ! Wji ]j\Z VcY ]ZVkn   )* ,' -(#* &%- ,,-\
FE 50mm f/1.8 ')% )★ ;ZVijgZh V cZl dei^XVa YZh^\c l^i] V h^c\aZ Vhe]Zg^XVa ZaZbZci   )* ). +-#+ *.#* &-+\
FE 50mm f/2.8 Macro £500 4★ Hdcn¼h WjY\Zi bVXgd [dg [jaa [gVbZ 8H8h d[[Zgh YZXZci dei^Xh Wji ^h hadl Vi [dXjh^c\   &+ ** ,%#- ,& '(+\
FE 55mm f/1.8 ZA Sonnar T* -). (*bb [jaa [gVbZ eg^bZ aZch l^i] l^YZ VeZgijgZ Vaadl^c\ \ddY ^bV\Zh ^cYddgh dg ^c adl a^\]i   *% ). +)#) ,%#* '-&\
E 55-210mm f/4.5-6.3 OSS '-. A^\]ilZ^\]i iZaZe]did oddb aZch [dg i]Z C:M gVc\Z   &%% ). +(#- &%- ()*\
FE 70-200mm f/4 G OSS &(*. )★ < hZg^Zh iZaZe]did oddb aZch! Yjhi VcY lViZg gZh^hiVci! l^i] Wj^ai ^c ^bV\Z hiVW^a^hVi^dc    &%% ,' -% &,* -)%\
FE 70-200mm f/2.8 GM OSS '*%% *★ 8dbeVXi! a^\]ilZ^\]i iZaZe]did oddb aZch [dg [jaa [gVbZ : bdjci WdY^Zh    &%% ,' -% &,* -)%\
FE 70-300mm f/4.5-5.6 G OSS &&*% Hdcn ]Vh VYYZY i]^h aZch id ^ih \gdl^c\ gVc\Z    .% ,' -) &)(#* -*)\
FE 85mm f/1.8 £550 4★ GZaVi^kZan ^cZmeZch^kZ edgigV^i aZch ^cXajYZh Yjhi VcY bd^hijgZ gZh^hiVci XdchigjXi^dc   -% +, ,- -' (,&\
FE 85mm f/1.4 GM &--. *★ Hijcc^c\ ^bV\Z fjVa^in [gdb Hdcn¼h egZb^jb »< BVhiZg¼ edgigV^i aZch   -% ,, -.#* &%,#* -'%\
FE 90mm f/2.8 Macro G OSS &%). *★ Dei^XVaan ZmXZaaZci YZY^XViZY bVXgd aZch [dg Hdcn¼h [jaa [gVbZ : bdjci XVbZgVh    '- +' ,. &(%#* +%'\
FE 100mm f/2.8 STF GM OSS &,%% >ccdkVi^kZ edgigV^i aZch XdbW^cZh dei^XVa hiVW^a^hVi^dc VcY Vc VedY^hVi^dc ÄaiZg [dg hbddi] Wd`Z]    *, ,' -*#' &&-#& ,%%\
FE 100-400mm f/4.5-5.6 GM OSS '*%% *★ EgZb^jbdei^XVaanhiVW^a^hZY!lZVi]ZghZVaZYiZaZoddbYZh^\cZYidbViX]i]Z6ae]V.         .- ,, .(#. '%* &(.*\

TAMRON CSC
14-150mm f/3.5-5.8 Di III (,% )★ I]Z Äghi B^Xgd ;djg I]^gYh aZch [gdb IVbgdc [dg XdbeVXi b^ggdgaZhh ^ciZgX]Vc\ZVWaZ aZch XVbZgVh  *% *' +(#* -%#) '-*\
18-200mm f/3.5-6.3 Di III VC (.% A^\]ilZ^\]i! XdbeVXi! Vaa ^c dcZ oddb [dg b^ggdgaZhh XVbZgVh! id XdkZg egVXi^XVaan Vcnh]ddi^c\h^ijVi^dc    *% +' +- .+#, )+%\
28-75mm f/2.8 Di III RXD +.. )#*★ ;Vhioddb[dg[jaa"[gVbZb^ggdgaZhh^hgZaVi^kZanXdbeVXiVcY]VhÄcZdei^Xh         &. +, ,( &&,#- **%\

TOKINA CSC
Firin 20mm f/2 FE MF £800 5★ >begZhh^kZan h]Vge [Vhi l^YZVc\aZ eg^bZ [dg Hdcn b^ggdgaZhh! l^i] bVcjVa [dXjh VcY VeZgijgZ g^c\   '- +' +. -&#* ).%\
Firin 20mm f/2 FE AF I78  6jid[dXjhkZgh^dcd[i]ZZmXZaaZci;^g^c'%bb[$';:B;![ZVijg^c\jaigVhdc^X[dXjhbdidg         '- +( ,(#) -&#* )+)\

ZEISS CSC
Touit 12mm f/2.8 Distagon T* .*. *★ 9Zh^\cZY heZX^ÄXVaan [dg Hdcn C:M VcY ;j_^Äab M hZg^Zh 8H8 XVbZgVh# KZgn ^begZhh^kZ eZg[dgbVcXZ   &- +, -' +- ',%\
Batis 18mm f/2.8 ..% I]Z 7Vi^h gVc\Z ^h [dg b^ggdgaZhh [jaa [gVbZ hnhiZb XVbZgVh [gdb Hdcn   '* ,, ,- .* ((%\
Loxia 21mm f/2 &'(% 8dbeVXi bVcjVa [dXjh l^YZVc\aZ eg^bZ ejgedhZ YZh^\cZY [dg Hdcn 6ae]V , hZg^Zh XVbZgVh   '* *' +' ,' (.)\
Batis 25mm f/2 .-% *★ 6 l^YZVc\aZ aZch [dg Hdcn [jaa [gVbZ jhZgh d[[Zg^c\ jcg^kVaaZY fjVa^in   '% +, -& .' (**\
6AAEG>8:H6G:GGEH!HIG::IEG>8:HB6NK6GN

Loxia 25mm f/2.4 &&.% *★ <dg\Zdjh Wji ZkZg hd eg^XZn XdbeVXi bVcjVa [dXjh eg^bZ! l^i] VWhdajiZan hijcc^c\ dei^Xh   '* *' +' +.#* (,*\
Touit 32mm f/1.8 Planar T* ,%% )#*★ Dei^b^hZY [dg jhZ l^i] 6EH 8 [dgbVi hZchdgh! V [Vhi hiVcYVgY aZch [dg ;j_^Äab M hZg^Zh XVbZgVh   '( *' ,' ,+ '%%\
Loxia 35mm f/2 &%&* HbVaa l^YZVc\aZ bVcjVa [dXjh eg^bZ ^ciZcYZY [dg Hdcn 6ae]V , jhZgh   (% *' +' *. ()%\
Loxia 50mm f/2 ,)% BVcjVa [dXjh hiVcYVgY eg^bZ l^i] egZb^jb dei^Xh VcY : bdjci [dg Hdcn 6ae]V , jhZgh   )* *' +' *. ('%\
Touit 50mm f/2.8 Planar T* *-. BVXgd &/& aZch [dg ZmigZbZ XadhZ jeh! Vh lZaa Vh h]ddi^c\ edgigV^ih dg eVcdgVbVh Vh V a^\]i iZaZ aZch   &* *' ,* .& '.%\
Batis 85mm f/1.8 .%. *★ 6 ]^\] fjVa^in bZY^jb eg^bZ [dg lZYY^c\ VcY edgigV^i h]ddiZgh! YZkZadeZY [dg Hdcn¼h 6ae]V , hZg^Zh    -% +, ,- &%* ),*\
Loxia 85mm f/2.4 &&.. 6 XdbeVXi! bVcjVa [dXjh! h]dgi iZaZe]did aZch [dg i]Z b^ggdgaZhh Hdcn 6ae]V hZg^Zh   -% *' +'#* &%- *.)\
Batis 135mm f/2.8 &,). *★ 6WhdajiZanhijcc^c\!hjeZg"h]Vge^bV\Z"hiVW^a^hZYedgigV^iaZch[dgHdcn[jaa"[gVbZb^ggdgaZhh         -, +, -) &'% +&)\

66 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113







  

! "!    $ 
    
! 
 %!  " !       %        
   %   ! %   "   "
  % !       ! !      %
 #      %!   #   " 
 2QOLQH 3KRQH
,QFRUSRUDWLQJ
ZH[FRXN  
&DOO XV 0RQ)UL DPSP
6DW DPSP 6XQ DPSP

 2YHU  3URGXFWV  )UHH 'HOLYHU\ RQ  RU RYHU  :H FDQ GHOLYHU RQ 6DWXUGD\ RU 6XQGD\¹

ϳ DĂƌŬ /// ϳZ DĂƌŬ ///

EĞǁ
Ϯϱϯ
ŵĞŐĂƉŝdžĞůƐ
ϰϮϰ
ŵĞŐĂƉŝdžĞůƐ



  
ϭϬ ĨƉƐ ϭϬ ĨƉƐ  
ϰ< sŝĚĞŽ

ϳ DĂƌŬ /// ŽĚLJ άϭ

ϰ< sŝĚĞŽ

ϳZ DĂƌŬ /// ŽĚLJ άϯϭ

 
7KH 6RQ\ $ ,,, ZLWK QHZO\ GHYHORSHG 03 IXOOIUDPH
ϳ DĂƌŬ /// ŽĚLJ άϭ ϳZ DĂƌŬ // ŽĚLJ άϮϯ VHQVRU
ϳ DĂƌŬ /// н ϮϳϬŵŵ άϮϭ άϭ ŝŶĐ άϰϬϬ ĂƐŚďĂĐŬΎ
ϳ DĂƌŬ // ŽĚLJ άϭϭ ϳ^ DĂƌŬ // ŽĚLJ άϮϯ dŚĞ ƚŚŝƌĚ ŝƚĞƌĂƟŽŶ ŽĨ ^ŽŶLJƐ ƉŽƉƵůĂƌ ϳ ďƌŝŶŐƐ ĞǀĞŶ ŵŽƌĞ ĂĚǀĂŶĐĞŵĞŶƚƐ ƚŽ ƚŚĞ
ά ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ άϮϭ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ ĐŽŵƉĂŶLJƐ ĐŽǀĞƚĞĚ ^ ůŝŶĞƵƉ dŚĞ DĂƌŬ /// ďŽĂƐƚƐ Ă ŶĞǁůLJ ĚĞǀĞůŽƉĞĚ ďĂĐŬ
ϳ DĂƌŬ // н Ϯ ϳϬŵŵ άϭϯ ϳ^ ŽĚLJ άϭϲ ŝůůƵŵŝŶĂƚĞĚ ϮϰϮDW ĨƵůůĨƌĂŵĞ džŵŽƌ Z DK^ ƐĞŶƐŽƌ ĂŶĚ Ă ƌĞĚĞǀĞůŽƉĞĚ /KE y
άϭϭ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ άϭϰ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ ƉƌŽĐĞƐƐŝŶŐ ĞŶŐŝŶĞ ĚĚ ϲ$ϯ ƉŚĂƐĞĚĞƚĞĐƟŽŶ ĂŶĚ ϰϮϱ ĐŽŶƚƌĂƐƚ ĚĞƚĞĐƟŽŶ & ƉŽŝŶƚƐ(
ϳ ŽĚLJ άϳ ϭϱƐƚŽƉƐ ŽĨ ĚLJŶĂŵŝĐ ƌĂŶŐĞ ĂŶĚ ϰ< ,Z ǀŝĚĞŽ( ĂŶĚ ƚŚŝƐ ůĂƚĞƐƚ ŵŝƌƌŽƌůĞƐƐ ĚĞǀŝĐĞ ŝƐ ƐƵƌĞ
άϲϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ ƚŽ ƉƌŽǀĞ ƉŽƉƵůĂƌ ǁŝƚŚ ƉŚŽƚŽŐƌĂƉŚĞƌƐ ĂŶĚ ĮůŵŵĂŬĞƌƐ ĂůŝŬĞ
ϲϱϬϬ ϲϬϬϬ

Ϯϰ Ϯϰ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϭ ĨƉƐ ϭϭ ĨƉƐ
ϰ< sŝĚĞŽ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ

ϲϱϬϬ &ƌŽŵ άϭϮϳ ϲϬϬϬ &ƌŽŵ άϰϮ

ϲϱϬϬ ŽĚLJ
άϳ ŝŶĐ άϯϬϬ ĂƐŚďĂĐŬΎ
άϭϮϳ ϲϬϬϬ ŽĚLJ
άϯϳ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
άϰϮ ϳ /// ŽĚLJ
ϲϱϬϬ н ϭϲϳϬŵŵ
άϭϳ ŝŶĐ άϯϬϬ ĂƐŚďĂĐŬΎ
άϮϬ ϲϬϬϬ н ϭϲϱϬŵŵ
άϰϰ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
άϰ άϭ
ϲϯϬϬ ŽĚLJ άϳϳ >ĞŶƐ ĂǀĂŝůĂďůĞ
άϱϳ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ ƐĞƉĂƌĂƚĞůLJ
ϲϯϬϬ н ϭϲϱϬŵŵ άϳ
Ύ^ŽŶLJ ĂƐŚďĂĐŬ ĞŶĚƐ ϬϮϬ*ϭ
άϲϳ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ

ϱϬ 'y ',ϱ^ 'Ϭ

ϱ EĞǁ EĞǁ
Ϯϭ ϭϬϮ ϭϲ
ϮϬ ϰϱϳ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϮϬ ĨƉƐ Ϭ ĨƉƐ ϲϬ ĨƉƐ  ĨƉƐ
ϲϬ ĨƉƐ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ

ϱ ŽĚLJ άϱϲϮϱ ϱϬ ŽĚLJ άϯϰ 'y &ƌŽŵ άϱ ',ϱ^ &ƌŽŵ άϮϭ 'Ϭ &ƌŽŵ άϲϮ
ϱ ŽĚLJ άϱϲϮϱ ϱϬ ŽĚLJ άϯϰ EĞǁ 'y ŽĚLJ άϱ EĞǁ ',ϱ^ ŽĚLJ άϮϭ 'Ϭ ŽĚLJ άϲϮ
άϰϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ άϭϰ ŝŶĐ άϮϱϬ ĂƐŚďĂĐŬΎ άϱϳ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
ϱϬϬ ϳϱϬ EĞǁ 'y н ϭϮϲϬŵŵ άϳϳ ',ϱ ŽĚLJ άϭϱ 'Ϭ н ϭϮϲϬŵŵ άϳϰ
ůĂĐŬ άϭϯ ŝŶĐ άϮϬϬ ĂƐŚďĂĐŬΎ άϱ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ
άϲϮ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ
ϮϬ Ϯϰϯ
ŵĞŐĂƉŝdžĞůƐ
ŵĞŐĂƉŝdžĞůƐ ΎWĂŶĂƐŽŶŝĐ ĂƐŚďĂĐŬ ĞŶĚƐ ϭϬϬ*ϭ
ϭϬϬ ĨƉƐ ϲϱ ĨƉƐ ZKDDE >E^^
ϭϬϬƉ WĂŶĂƐŽŶŝĐ Ϯϱŵŵ Ĩϭϳ ' άϭϰ WĂŶĂƐŽŶŝĐ ϭϰϰϮŵŵ Ĩϯϱϱϲ ' y ^W, K/^άϮ
ϰ< sŝĚĞŽ ŵŽǀŝĞ ŵŽĚĞ WĂŶĂƐŽŶŝĐ ϯϬŵŵ ĨϮ DĂĐƌŽ ' ^W, άϮϲ WĂŶĂƐŽŶŝĐ ϭϰϭϰϬŵŵ Ĩϯϱϱϲ άϱϰ
WĂŶĂƐŽŶŝĐ ϰϮϱŵŵ Ĩϭϳ άϮ WĂŶĂƐŽŶŝĐ ϰϱϭϱϬŵŵ Ĩϰϱϲ ^W, K/^ άϭϳ
ϱϬϬ &ƌŽŵ άϭϳϬ ϳϱϬ &ƌŽŵ άϭϱϮ WĂŶĂƐŽŶŝĐ ϮϬϬŵŵ ĨϮ ' άϮϲ WĂŶĂƐŽŶŝĐ ϰϱϭϳϱŵŵ ĨϰϬϱϲ άϯϰ
WĂŶĂƐŽŶŝĐ ϭŵŵ ĨϮϰ ^W, sĂƌŝŽ άϭϬϰ WĂŶĂƐŽŶŝĐ ϭϬϬϯϬϬŵŵ Ĩϰϱϲ // άϱϰ
ϱϬϬ ŽĚLJ άϭϳϬ ϳϱϬ ŽĚLJ άϭϱϮ WĂŶĂƐŽŶŝĐ ϭϮϯϱŵŵ ĨϮ // >Ƶŵŝdž ' y άϳ WĂŶĂƐŽŶŝĐ ϭϬϬϰϬϬŵŵ Ĩϰϲϯ άϭϮ
άϭϱϮϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ άϭϯϰϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ
ϱϬϬ н ϭϲϬŵŵ άϮϲϬ ϳϱϬ н ϮϰϭϮϬŵŵ άϭϳ
άϮϯϯϰ ŝŶĐ άϮϳϱ ĂƐŚďĂĐŬΎ άϭϳϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ sŝĞǁ ŽƵƌ ĨƵůů ƌĂŶŐĞ ŽĨ ĐĂŵĞƌĂƐ Ăƚ ǁĞdžĐŽƵŬĐĂŵĞƌĂƐ
ΎEŝŬŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϭ

DϭϬ ///
ůĂĐŬ Žƌ ^ŝůǀĞƌ y,ϭ yWƌŽϮ
KD Dϭ // <ϭ // ůĂĐŬ ůĂĐŬ
ϮϬ EĞǁ
ŵĞŐĂƉŝdžĞůƐ ϯϲϳ Ϯϰϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϲϬ ĨƉƐ ϭϳϮ EĞǁ
ŵĞŐĂƉŝdžĞůƐ ϲϰ ĨƉƐ Ϯϰϯ  ĨƉƐ
ŵĞŐĂƉŝdžĞůƐ
ϰ< sŝĚĞŽ ϲ ĨƉƐ &Ƶůů &ƌĂŵĞ
DK^ ^ĞŶƐŽƌ Ϭ ĨƉƐ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ

KD Dϭ // &ƌŽŵ άϭϰ DϭϬ /// &ƌŽŵ άϱϳ <ϭ // ŽĚLJ άϭϳ y,ϭ &ƌŽŵ άϭϲ yWƌŽϮ &ƌŽŵ άϭϯ
KD Dϭ // ŽĚLJ άϭϰ KD DϭϬ /// ŽĚLJ άϱϳ <ϭ // ŽĚLJ άϭϳ EĞǁ y,ϭ άϭϲ yWƌŽϮ ŽĚLJ άϭϯ
KD Dϭ // н ϭϮϰϬŵŵ άϮϭ άϱϭϰ ŝŶĐ άϲϱ ĂƐŚďĂĐŬΎ <W ŽĚLJ ά EĞǁ y,ϭ н 'ƌŝƉ άϭϰ yWƌŽϮ ^ŝůǀĞƌ н y&Ϯϯŵŵ άϭ
KD Dϱ // ŽĚLJ ά KD DϭϬ /// н ϭϰϰϮŵŵ άϲϰ <ϯ // ŽĚLJ άϳ ydϮ ŽĚLJ άϭϮϰ
άϳϮϰ ŝŶĐ άϭϳϱ ĂƐŚďĂĐŬΎ άϱϰ ŝŶĐ άϲϱ ĂƐŚďĂĐŬΎ <ϳϬ ĨƌŽŵ άϱ ydϮ н ϭϱϱŵŵ άϭϰ
KD Dϱ // н ϭϮϰϬ άϭϮϰ KD DϭϬ // ŽĚLJ άϰϰ
&h:/EKE >E^^
ZKDDE >E^^ &ƵũŝĮůŵ ϭϲŵŵ Ĩϭϰ Z tZ y& άϰ
KůLJŵƉƵƐ Ϯϱŵŵ ĨϭϮ WƌŽ ά &ƵũŝĮůŵ Ϯϯŵŵ ĨϮ Z tZ y& άϰϬ
άϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ ZKDDE >E^^ &ƵũŝĮůŵ ϱϲŵŵ ĨϭϮ Z y& άϰ
KůLJŵƉƵƐ ϰϱŵŵ ĨϭϮ WƌŽ άϭϭ WĞŶƚĂdž ϭϱϯϬŵŵ ĨϮ  άϭϰϰ &ƵũŝĮůŵ Ϭŵŵ ĨϮ >D K/^ άϭϭϰ
άϭϬϰ ŝŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ WĞŶƚĂdž ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϮ &ƵũŝĮůŵ ϭϬ Ϯϰŵŵ Ĩϰ Z K/^ y& &ƵũŝŶŽŶ άϮ
KůLJŵƉƵƐ ϳϱŵŵ Ĩϭ άϲϭ WĞŶƚĂdž ϱϱϯϬϬŵŵ Ĩϰϱϲϯ άϯ &ƵũŝĮůŵ ϭϲ ϱϱŵŵ ĨϮ >D tZ &ƵũŝŶŽŶ  άϰ
ΎKůLJŵƉƵƐ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϳϭ
 6WRUHV )LQG \RXU QHDUHVW VWRUH DW ZH[FRXNVWRUHV
1RUZLFK  :H[ 3KRWR 9LGHR %LUPLQJKDP  :H[ 3KRWR 9LGHR %HOIDVW  &DOXPHW %ULVWRO  &DOXPHW
6OJU # 'SFOCVSZ &TUBUF /3 %1 6OJU   )BHMFZ 3PBE # -5 6OJU  #PVDIFS 1MB[B #5 )3 .POUQFMJFS $FOUSBM 4UBUJPO 3PBE &) )(
5FM   5FM   5FM   5FM  

/RQGRQ  :H[ 3KRWR 9LGHR (GLQEXUJK  :H[ 3KRWR 9LGHR 0DQFKHVWHU  &DOXPHW *ODVJRZ  &DOXPHW
 $PNNFSDJBM 3PBE & -' #POOJOHUPO #VTJOFTT $FOUSF &) )( 6OJU  %PXOJOH 4USFFU . )) 6OJU  0BLCBOL *OEVTUSJBM &TUBUF ( -6
5FM   5FM   5FM   5FM  

YLVLW ZH[FRXNVWRUHV IRU PRUH LQIRUPDWLRQ DQG RSHQLQJ WLPHV

 'D\ 5HWXUQV 3ROLF\  3DUW([FKDQJH $YDLODEOH  8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\

K^ ϮϬϬ K^ Ϭ

     ϮϰϮ

ŵĞŐĂƉŝdžĞůƐ
ϮϰϮ
ŵĞŐĂƉŝdžĞůƐ
    
 
ϱϬ ĨƉƐ ϳϬ ĨƉƐ
&ƌŽŵ ƚŚĞ ĚĂƌŬĞƐƚ ƐŚĂĚŽǁ ƚŽ ƚŚĞ ďƌŝŐŚƚĞƐƚ ϭϬϬƉ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ
ŚŝŐŚůŝŐŚƚ Ă ϯϬŵĞŐĂƉŝdžĞů DK^ ƐĞŶƐŽƌ
ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝů ĞǀĞŶ ŝŶ ƚŚĞ ƚŽƵŐŚĞƐƚ
ĐŽŶĚŝƟŽŶƐ ǁŝƚŚ Ă ŵĂdžŝŵƵŵ ŶĂƟǀĞ ƐĞŶƐŝƟǀŝƚLJ K^ ϮϬϬ &ƌŽŵ άϰ K^ Ϭ &ƌŽŵ άϭϬϭ
ŽĨ /^K ϯϮϬϬϬ ^ŚŽŽƚ ƵĂů WŝdžĞů Zt ĮůĞƐ K^ ϮϬϬ ŽĚLJ άϰ K^ Ϭ ŽĚLJ άϭϬϭ
ĨŽƌ ƉŽƐƚƉƌŽĚƵĐƟŽŶ ĂĚũƵƐƚŵĞŶƚƐ ůŝŬĞ LJŽƵ-ǀĞ άϰϯ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ K^ Ϭ н ϭϱϱŵŵ άϭϬ
ŶĞǀĞƌ ƐĞĞŶ ďĞĨŽƌĞ K^ ϮϬϬ н ϭϱϱŵŵ άϱϱ K^ Ϭ н ϭϭϯϱŵŵ άϭϮ
άϱϬ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ K^ ϳϳ ŽĚLJ άϳϭ
K^ ϱ DĂƌŬ /s ŽĚLJ άϯϮϰ K^ ϮϬϬ н ϭϭϯϱŵŵ άϳϲ άϲϯϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ
άϳϭ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ K^ ϳϳ н ϭϱϱŵŵ άϭ
K^ ϮϬϬϬ ŽĚLJ άϯϲ άϳϯϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ
άϯϮ ŝŶĐ άϰϬ ĂƐŚďĂĐŬΎ K^ ϳϳ н ϭϭϯϱŵŵ άϭϬϳ
ϯϬϰ ϳϬ &Ƶůů &ƌĂŵĞ K^ ϮϬϬϬ н ϭϱϱŵŵ άϰϲ άϰ ŝŶĐ άϱ ĂƐŚďĂĐŬΎ
ŵĞŐĂƉŝdžĞůƐ ĨƉƐ DK^ ƐĞŶƐŽƌ
άϰϮ ŝŶĐ άϰϬ ĂƐŚďĂĐŬΎ K^ ϬϬϬ ŽĚLJ άϲϯ
K^ ϰϬϬϬ ŽĚLJ άϯϮ άϱ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
K^ ϱ DĂƌŬ /s ŽĚLJ άϯϮϰ άϮ ŝŶĐ άϯϬ ĂƐŚďĂĐŬΎ K^ ϬϬϬ н ϭϱϱŵŵ άϳϰ
K^ ϰϬϬϬ н ϭϱϱŵŵ άϯϲ άϲ ŝŶĐ άϱϬ ĂƐŚďĂĐŬΎ
άϯϯ ŝŶĐ άϯϬ ĂƐŚďĂĐŬΎ

K^ ϳ DĂƌŬ // K^ ϲ DĂƌŬ // K^ ϱ^ Z K^ ϭ y DĂƌŬ //

ϮϲϮ ϱϬϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϮϬϮ ϲϱ ĨƉƐ ϱϬ ĨƉƐ ϮϬϮ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϬϬƉ ϭϬϬƉ
ϭϬϬ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϲϬ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ

K^ ϳ DĂƌŬ // ŽĚLJ άϭϯϰ K^ ϲ DĂƌŬ // ĨƌŽŵ άϭϱϰ K^ ϱ^ Z ŽĚLJ άϯϯ K^ ϭ y DĂƌŬ // ŽĚLJ άϱϰϮ
K^ ϳ DĂƌŬ // ŽĚLJ άϭϯϰ K^ ϲ DĂƌŬ // ŽĚLJ άϭϱϰ K^ ϱ^ Z ŽĚLJ άϯϯ K^ ϭ y DĂƌŬ // ŽĚLJ άϱϰϮ
άϭϮϮ ŝŶĐ άϭϮϬ ĂƐŚďĂĐŬΎ K^ ϲ DĂƌŬ // н ϮϰϭϬϱŵŵ άϭ K^ ϱ^ ŽĚLJ άϮ
ΎĂŶŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϭ

dƌŝƉŽĚƐ

   ^ĞƌŝĞƐ ϯ ϰ^ y>

+ ϮϬϮĐŵ DĂdž ,Ğ
tĞdž ĞdžĐůƵƐŝǀĞ
'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<
 &ůĞdžŝdƌŝƉŽĚ ůĞŐƐ
   + ϭϬĐŵ DŝŶ ,ĞŝŐ
DdϬϱϱyWZKϯ
ϭϳϬĐŵ DĂdž ,ĞŝŐŚƚ
Đŵ DŝŶ ,ĞŝŐŚƚ
ĞĨƌĞĞ KŶĞ
dƌĂǀĞů dƌŝƉŽĚ # ZĞĚ
 ϭϯϬĐŵ DĂdž ,ĞŝŐŚƚ
+ ϮϭĐŵ ůŽƐĞĚ >ĞŶŐƚŚ
+ ϭ<Ő DĂdž >ŽĂĚ
YƵĂůŝƚLJ ƵƐĞĚ ĐĂŵĞƌĂƐ ůĞŶƐĞƐ  ϰĐŵ DŝŶ ,ĞŝŐŚƚ
EĞǁ ^LJƐƚĞŵĂƟĐ dƌŝƉŽĚƐ 'ŽƌŝůůĂƉŽĚ
ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ^ĞƌŝĞƐ ϯ ϰ^ y>  άϳ 'ŽƌŝůůĂƉŽĚ ϱϬϬ άϯϱ
ǁŝƚŚ ϭϮ ŵŽŶƚŚƐ ǁĂƌƌĂŶƚLJΎ ^ĞƌŝĞƐ ϯ ϯ^ >  άϲ DdϬϱϱyWZKϯ ůƵŵŝŶŝƵŵ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ<άϱϮ
^ĞƌŝĞƐ ϱ ϰ^ y>  ά DdϬϱϱyWZKϯ ĂƌďŽŶ &ŝďƌĞ  άϮϲ ǀĂŝůĂďůĞ ŝŶ ůĂĐŬ ZĞĚ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϯ<άϱ
ǁĞdžĐŽƵŬ ^ĞƌŝĞƐ ϱ ϲ^ '  άϭϭϯ DdϬϱϱyWZKϰ ĂƌďŽŶ &ŝďƌĞ  άϮ ĂŶĚ 'ƌĞLJ ĨƌŽŵ άϭϬ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϱ<άϭϰ
ΎdžĐůƵĚĞƐ ŝƚĞŵƐ ŵĂƌŬĞĚ ĂƐ ŝŶĐŽŵƉůĞƚĞ Žƌ ĨŽƌ ƐƉĂƌĞƐ

&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ Ύ^ŽŶLJ ĂƐŚďĂĐŬ ĞŶĚƐ ϬϮϬϭ

DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ <ŝƚƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
^ƉĞĞĚůŝƚĞƐ

ϰϯϬy ///Zd ,s>&ϰϯD

άϮϲ άϮϰ
ϰϳϬy / ϲϬϬy //Zd άϮϬ ŝŶĐ άϲϬ DZϭϰy // ^ϱϬϬϬ ^ϳϬϬ Zϭ ůŽƐĞhƉ Zϭϭ άϭϲ ŝŶĐ άϬ ,s>&ϲϬZD &>ϯϬϬZ &>ϲϬϬZ & ϱϰϬ &' // & ϯϲϬ&' //
άϰϳ άϱϯ ďΎ άϲ άϱϲ άϮϱ άϰϳ άϲϱ ďΎ άϲϭ άϭϯϰ άϮϳ άϯϰ άϮϰ
&ůĂƐŚŐƵŶƐ DĂĐƌŽ ŇĂƐŚ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ

DϭϰϬ ' ^ƉĞĞĚŵĂƐƚĞƌ

ϰϰ &Ϯ DϰϬϬ ϱϮ &ϭ ϲϰ &ϭ ϭϱ D^ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ŝϰϬ ŝϲϬ ^ĞŬŽŶŝĐ >ϯϬy WƌŽ >ϰϳ*Z >*ϱ*
άϭϲ άϭ άϭ άϯϬ άϮ άϭϬ άϭϲ άϯϮ άϭϱ άϮϯ άϮϭϱ άϯ άϲϬϬ
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů sd Ăƚ ϮϬй WƌŝĐĞƐ
ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌLJΎΎ ĂǀĂŝůĂďůĞ
ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬ ;ďĂƐĞĚ ŽŶ Ă ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ
&Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮΎΎ ;ďĂƐĞĚ ŽŶ Ă
ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ &Žƌ EĞdžƚ tŽƌŬŝŶŐ ĂLJ ĞůŝǀĞƌLJ
ŽƵƌ ĐŚĂƌŐĞƐ ĂƌĞ άϰΎΎ ^ĂƚƵƌĚĂLJ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ
Ăƚ Ă ƌĂƚĞ ŽĨ άϳϱΎΎ ^ƵŶĚĂLJ ĚĞůŝǀĞƌŝĞƐ ĂƌĞ ĐŚĂƌŐĞĚ Ăƚ Ă
ϯŵ ĂĐŬŐƌŽƵŶĚ &ůĂƐŚĞŶĚĞƌϮ tĂůů ZĞŇĞĐƚŽƌ ƌĂƚĞ άϱΎΎ;ΎΎĞůŝǀĞƌŝĞƐ ŽĨ ǀĞƌLJ ŚĞĂǀLJ ŝƚĞŵƐ ƚŽ E/ Žƌ
DŝŶŝddϭ άϭϲϱ WůƵƐ /// ^Ğƚ WůƵƐy ^Ğƚ ϱŝŶϭ ZĞůĞĐƚŽƌ ^ƵƉƉŽƌƚ &ůĂƐŚĞŶĚĞƌϮ y> WƌŽ >ŝŐŚƟŶŐ DŽƵŶƟŶŐ <ŝƚ &ŽůĚŝŶŐ ^ŽŌďŽdž ƌĂĐŬĞƚ ƌĞŵŽƚĞ ĂƌĞĂƐ ŵĂLJ ďĞ ƐƵďũĞĐƚ ƚŽ ĞdžƚƌĂ ĐŚĂƌŐĞƐ  Θ K
WƌŝĐĞƐ ƐƵďũĞĐƚ ƚŽ ĐŚĂŶŐĞ 'ŽŽĚƐ ƐƵďũĞĐƚ ƚŽ ĂǀĂŝůĂďŝůŝƚLJ >ŝǀĞ
&ůĞdžddϱ άϭ άϮϮ άϭϰ άϮϰ ά άϯϳϱ ^LJƐƚĞŵ άϰ άϲϭ &ƌŽŵ άϯϯ άϮ ŚĂƚ ŽƉĞƌĂƚĞƐ ďĞƚǁĞĞŶ ϯϬĂŵϲƉŵ DŽŶ&ƌŝ ĂŶĚ ŵĂLJ
ŶŽƚ ďĞ ĂǀĂŝůĂďůĞ ĚƵƌŝŶŐ ƉĞĂŬ ƉĞƌŝŽĚƐ Ώ^ƵďũĞĐƚ ƚŽ ŐŽŽĚƐ
Kī ĂŵĞƌĂ ďĞŝŶŐ ƌĞƚƵƌŶĞĚ ĂƐ ŶĞǁ ĂŶĚ ŝŶ ƚŚĞ ŽƌŝŐŝŶĂů ƉĂĐŬĂŐŝŶŐ
ŇĂƐŚ ŽƌĚ tŚĞƌĞ ƌĞƚƵƌŶƐ ĂƌĞ ĂĐĐĞƉƚĞĚ ŝŶ ŽƚŚĞƌ ŝŶƐƚĂŶĐĞƐ ƚŚĞLJ ŵĂLJ
&ƌŽŵ άϯϯ ďĞ ƐƵďũĞĐƚ ƚŽ Ă ƌĞƐƚŽĐŬŝŶŐ ĐŚĂƌŐĞ ΏΏƉƉůŝĞƐ ƚŽ ƉƌŽĚƵĐƚƐ
ƐŽůĚ ŝŶ ĨƵůů ǁŽƌŬŝŶŐ ĐŽŶĚŝƟŽŶ EŽƚ ĂƉƉůŝĐĂďůĞ ƚŽ ŝƚĞŵƐ
ZĞŇĞĐƚŽƌƐ ƐƉĞĐŝĮĐĂůůLJ ĚĞƐĐƌŝďĞĚ ĂƐ /E Žƌ ŝŶĐŽŵƉůĞƚĞ ;ŝĞ ďĞŝŶŐ ƐŽůĚ
ϱϬĐŵ άϮϰ ĨŽƌ ƐƉĂƌĞƐ ŽŶůLJ tĞdž WŚŽƚŽ sŝĚĞŽ ŝƐ Ă ƚƌĂĚŝŶŐ ŶĂŵĞ ŽĨ
ŽůůĂƉƐŝďůĞ ϳϱĐŵ άϯ ĂůƵŵĞƚ WŚŽƚŽŐƌĂƉŚŝĐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶLJ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ
KŵĞŐĂ ZĞŇĞĐƚŽƌ hŵďƌĞůůĂ &ůĂƐŚ <ŝƚ njLJďŽdž ^ƉĞĞĚ njLJďŽdž ,ŽƚƐŚŽĞ njLJĂůĂŶĐĞ 'ƌĞLJ ĂĐŬŐƌŽƵŶĚ dƌŝ&ůŝƉ <ŝƚƐ hƌďĂŶ ŽůůĂƉƐŝďůĞ ϱĐŵ άϲϮ dŝůƚŚĞĂĚ ďƌĂĐŬĞƚ ϬϬϰϮϱϱϳ" ĂŶĚ tĂƌĞŚŽƵƐĞ džƉƌĞƐƐ >ŝŵŝƚĞĚ ;ŽŵƉĂŶLJ
άϭϭϯ άϭϬ >ŝƚĞ Ϯ άϰϳ &ƌŽŵ άϭϭϳ tŚŝƚĞ άϮϮ ^ƵƉƉŽƌƚ άϭϯ &ƌŽŵ άϳϭ άϭϲϯ ϭϮϬĐŵ άϳϲ άϮϲ ZĞŐŝƐƚƌĂƟŽŶ ŶŽ Ϭϯϯϲϲ"ϳϲ ΞtĂƌĞŚŽƵƐĞ džƉƌĞƐƐ >ŝŵŝƚĞĚ
ϮϬϭΎ^,<^ ƌĞ ƌĞĚĞĞŵĞĚ ǀŝĂ ƉƌŽĚƵĐƚ ƌĞŐŝƐƚƌĂƟŽŶ
ǁŝƚŚ ƚŚĞ ŵĂŶƵĨĂĐƚƵƌĞƌ WůĞĂƐĞ ƌĞĨĞƌ ƚŽ ŽƵƌ ǁĞďƐŝƚĞ ĨŽƌ
ĚĞƚĂŝůƐ
AUV[XV[T
NO\ba f\b_
 -$
$#)(# -%(# $( )"%!0
/#+ )$" 
)%## "$#0
$( 0$-( )-""( $!0'
-(# 0$-( -#/#+ %$+$ ( #+$ 

 +-  % "-  %  &  %
 +!  ) (($(!))  +$% $"%+ "()
 ,"" )  $"%+) # -" $("+
 $% ) +(%$)  ))$()
 $)+
   !#))

.*.'('!*
+&%, %# #+

1,1 '(+( 11 



 & *%* " 0% *#  

+

& & % /%$$-
1 , , 1  
 % !! *% &%  

% % /%$$-
1 + +('(  


+  * "
/# *.   +

&*.  % /%$$-

%, %# #+

$$) # !.(0 )(.) )-+ +$ )+$ # .!!+0& () )-+ +$ #& +-() ( $( !!-)+(+$# %-(%$)) $#!0& & 
&& -!! +(") # $#+$#) .!! $#!# + ///&"(/$(!&$&-
)  ## )A -, 1!F /-F 6666666666666677 <
*/?) >:00 ) >#&0 1/F
AHH 7 2#):H.. 66666666666666 7 < 77 >220 ) >2A0 2;)%H.. A6#  
6666666666666666666666666666666666667 >A#0
2H)A&.. &    66666666666666666666666666666666666 77 >;&0 )81A 1!F /-F66666666666666666666666666666666666666666666667 >0&0
A0H 7 2#)%%..666666666666666666666666666666666666666666 77 >20% 2;)#H.. @6%)&6% 
66666666666666666666666666666666666 77 >A&0
2A.. A6# 1B*? ) B+* 6666666666666666666666666666666
*/?) >%&0 )A -, 1!F /-F 666666666666666666666666666666666666 77 >A:0
@@ 1!F /-F 666666666666666666666666666666666666666666666666667 >220 2;.. A6# *9("F" 666666666666666666666666666666666666666 77 >&00
2&.. A6# 66666666666666666666666666666666666666666666666 77 >&00 )A (81." 1!F /-F666666 2% F9 < 77 >2#0 ) >A:0
@% 7 2#)%%..66666666666666666666666666666666666666666666 77 >2:0 2#)AHH.. @6%)%6; 6666666666666666666666666666666666667 >A@0
2;)%H.. @6%)%6;    ) *-C"8 6666666666666666 77 >2A0 )@ -, 1!F /-F 66666666666666666666666666666666666
*/?) >;;0
@%H 7 2#):H..6666666666666666666666666666666666666666666667 >2&0 %H.. 26#  666666666666666666666666666666666666666666666666 77 >%0
2;)%%.. A6#  
  666677 <
*/?) >:&0 ) >:#0 )
2 *-C"8 1!F /-F 66666666666666666666666666667 < 77 >2&0
@%H 1!F /-F 666666666666666666666666666666666666666666666666667 >#0 %%)AHH.. &)%6; 666666666666666666666 7 < 77 >@0 ) >&0
2;.. 26&   66666666666666666666666666
*/?) >:H0 ) >:20 )812 1!F /-F66666666666666666666666666666666666666666666667 >A@0
%# 7 2#)%%..666666666666666666666666666666666666666666666667 >A%0 :H)@HH.. &6%)%6;  
66666666666666666666666666 77 >@00
2#)2@%.. @6%)%6; 
   666666666666666 77 >&00 )812 1!F /-F66666666666666666666666666666666666666666666667 >A&0  7 A&):H.. 6666666666666666666666666666666666666666666667 >2 000 :%)@HH.. &6%)%6;
 66666666666666666 7 <
*/?) >;0 ) >:0
2#)%%.. A6#)&  
  6666 7 < 77 >A&0 ) >A:0 )2 -, 1!F /-F 6666666666666677 <
*/?) >@00 ) >&20 #%.. 26& 
6666666666666666666666666666666666666666666666
*/?) >:#0
2#.. A  66666666666666666666666666666666666666666666666 77 >A&0 )2 1!F /-F66666666666666666666666666 7 <
*/?) >@@0 ) >&20 ##  ' @HH.. A6#  
6666666666666666666666666666666666667 >& #&0
A@.. 26&  66666666666666666666666666666666666666666666 77 >%&0 )2H -, 1!F /-F 666666666666666 7 < 77 >A:0 ) >A00 % 1.3-"?" 4&H
5 7 A#.. &  66666 77 >; ##0
*/1-? A#)#%.. @6%)&6%
66666666666666666666666666667 >&0
@%.. 26&  6666666666666666666666666 7 < 77 >@20 ) >@&0 )2H *-C"8 1!F /-F 66666666666666666666666666666666666667 >A00 & 1.3-"?" D*?( ;H
 *'*?- ,666666 77 >2H 00% %H.. 26:
666666666666666666666666 2% F9 < 77 >@0 ) >%0
@%.. A   ) *-C"86666666666666666666666666666666
*/?) >A#0 -F.3B9 )
2 -, 1!F 7 ): 8*3 6666666 77 >&#0 & 7 8*9. 7 %H
 *'*?- , 77 >% :00 ) >; &00 :%)@HH.. &6%)%6;  6666666666666666666 7 < 77 >@0 ) >%0
%H)2&H.. A6#     6677 <
*/?) >0&0 ) >2 H&0 )
2 *-C"8 1!F 7 ): 8*3 666666666666666666666 77 >&%0 & 1.3-"?" 4@2
5 66666666666666666666666666666666 77 >@ A&0 #H)AHH.. A6#
31 6666666666666666666666666666666666666 77 >%&0
%H.. A    ) -,6666666666666666666666666666
*/?) >@:0 )
2H
 (81." 1!F /-F  66666666666666
*/?) >@&0 @ 1!F /-F66666666666666666666666666666666666666666666666 77 >%00 #%.. 26&
66666666666666666666666666666666666666666666666 77 >&#0
%;.. 26A  6666666666666666666666666 7 < 77 >;20 ) >;%0 )
2H
 *-C"8 1!F /-F666666666666666
*/?) <
*/? >A#0 A 1!F 7 */!"8 7 #H.. A6# 66666666666666666 77 >2 %00 2HH)AHH.. &6%
 6666666666666666666666666666666666666666667 >@0
)
2H
, -, 1!F /-F666666666666666666666666
*/?) >&;0 A 1!F 7 AH *'*?- ,6666666666666666666666666667 >2 &&0 2HH)@HH.. &6%)%6;
 6666666666666666 7 < 77 >%0 ) >#0
" %("# ## )
%
8, 1!F 7 )A '8*36666666666666666666666667 >%00 A 1!F 7 8*9. 7
' 66666666666666666666666666666 77 >2 A%H 2HH)&HH.. &6%);6:
31
 666666666666666666666666 77 >@00
/91/* 2A)@A.. @6%)%6;   77 <
*/?) >2&0 ) >2%0 )
% *-C"8 1!F /-F 666666666666666666666666666666666666667 >AA0 2 1!F 7 8*9. 7 @H *'*?- , 66666666666667 >2 ;&0 AHH.. A6#
31
 666666666666666666666666666666666666666667 >%#0
2A)@%.. A6#   8*1   6666666666666666666666666 77 >&;0 "/) -, 1!F /-F6666666666666666666666666666666666
*/?) >:20 2 1!F /-F6666666666666666666666666666666666666666667 < 77 >&&0 .81/ 2:)%H.. A6# * 6666666666666666666666666666667 >2:0
2A);H.. @6%)%6;  8*1  77 <
*/?) >A@0 ) >A%0 )% -, 1!F /-F 6666666666666666666666666666666666 77 >2&0 2 1.3-"?" 7 (9"1/" AH *'*?- , 66667 >2 :&0 A&):H.. A6# *  66666666666666666666666666666
*/?) >&&0
2&)2&H.. @6%)%6;    6666666666666666666666666666 77 >@@0 /91/*  % 1!F 7  ??"8F 8*377 >2 @#0 2 1.3-"?" 7 (9"1/" A% *'*?- , 66667 >A 2&0 A#):%.. A6# * 666666666666666666666666666666666666666 77 >2%0
2&)&A.. @6%)%6;
93(   666666666666666666666666666 77 >;0  % 1!F /-F 666666666666677 <
*/?) >2 A&0 ) >2 &&0 A#.. & 666666666666666666677 <
*/?) >2 200 ) >2 #00 A#.. 26#
93( 66666666666666666666666666666666666666666666666 E >00
2&)&A.. @6%)%6;  
93(  77 <
*/?) >2A0 ) >2@0  0 1!F /-F ) -, 6666666666666666666666666666
*/?) >%:0 @%)0H.. &)%6;  666666666666 7 < 77 >A 000 ) >@ %%H ;H.. A * 4*$5
81 666666666666666666666666666666666"D >A;0
2&)&%.. @6%)%6;
  8*166 7 < 77 >:0 ) >220 
)A) C"8 "!F 9" 666666666666666666
*/?) >20 @%.. @6%  666666666666666666666666 7 < 77 >#00 ) >2 H00 :H)@HH.. &)%6; *666666666666666666666666666666666666666 77 >&0
A%.. 26&  B..*-BE666666666666666666666666666666 77 >A00 #H 1!F /-F6666666666666666666666666666666666666666666666
*/?) >&00 %H)22H.. @6%)&6%  66666666666666666 7 >2 H00 ) >2 A00 :H)@HH.. &)%6; *   66666666666666666666666
*/?) >200
@H.. A6#
81
93(   66666666666666666666666666 77 >2:0 )@ -, 1!F66666666666666666666666666666666666666666666666667 >:0 %H.. @6%  666666666666666666666666 7 < 77 >#00 ) >2 200
@%)2HH.. &)%6;  
93( 6666666666666666666666
*/?) >2&0 : 1!F /-F66666666666666666666666666666666666666666666666 77 >A@0 2AH.. & 
8166666666666666 E < 77 >#:0 ) >2 A00
 
+
 '
&A6%.. 26:    66666666666666666666666666666666666666
*/?) >A@0 #H 1!F /-F6666666666666666666666677 <
*/?) >A&0 ) >@H% 2%H.. @6A  66666666666666666666666666666666 7 >0&0 ) >2 H&0 2H)AH.. &)%6;   66666666666666666666666666666666 77 >2:0
&%)2%H.. &)%6;
93(   666677 <
*/?) >2A0 ) >2@0 1/F
: 1!F /-F6666666677 <
*/?) >2 #@0 ) >2 #00 26%E  *-?<(*$? 1/C"8?"8 66666666666666666666666 77 >2 0%H 2A)A&.. &6%)%6;   666666666666666666666666666666667 >A;0
&%)AHH.. &)%6; B.*E  8*16666666666666666666 77 >2%0
: 1!F /-F 66666666666666666666666666666666666666666 77 >2 &&0 2:):H.. A6#)&  
81 
66666666666666667 >200
&%.. A6# 
93(
81 6666677 <
*/?) >@A0 ) >@&0
: 1!F 7 )A
8*3666666666666666666666666666
*/?) >0#0 ## 
"# 2:):H.. A6#)&6%  66666666666666666666666666666666666667 >220
-F.3B9 0)2#.. &)%6;
6B*,1 66666666666
*/?) >@;0
: 1!F /-F 666666666666666666666666666666666666666666666
*/?) >#;0 0H@ 1.3-"?"666666666666666666666666666666666666666667 >A A00 AH.. 26#   66666666666666666666666666666666666666666 77 >A20
2A)&H.. A6#
6B*,16666666666677 <
*/?) >%@0 ) >%:0
: 1!F /-F6666666666666666666666666666666666666666666666666E >:#0 B3"8 *!"  1.3-"?" 66666666666666666666666666666666666E >#&0 A&):H.. A6#    
666666666666666666666666 77 >@&0
2A.. A 
6B*,1 ) *-C"8 66666666666666666666666
*/?) >&A0
: 1!F /-F 666666666666666666666666666666666666666666666666666E >@00 AH% 1!F 7  7 ,666666666666666666666666667 >A &00 A#)2H%.. &)%6;  6666666666666666666666666666666666666 77 >@0
2&)&A.. @6%)%6; 
6B*,1666666666666666666666
*/?) >2@0
;@HH 7 2;)%H..66666666666666666666666666666666666666666667 >%:0 %H@ (81." 1!F /-F666666666666666666666666666666667 >:00 A#.. 26#   66666666666666666666666666666677 >2&0 ) >200
2:.. 26#
6B*,1 ) -, 666677 <
*/?) >A%0 ) >A:0
;@HH 1!F /-F 6666666666666666666666666666666666666666666 77 >%@0 %H@ -, 1!F /-F 6666666666666666666666666666666666667 >;00 @H.. 26&   66666666666666666666666666666666666666666 77 >2#0
A%.. 26A
6B*,1 66666666666666666666 77 <
*/?) >:#0 %H@ 1.3-"?" 7 
% 8*9.666666666666666666666667 >2 200 :H)@HH.. &)%6;
31 66666666666666666666666666666666
*/?) >%0
@H.. @6%
6B*,1
8166666666666666666666666666666
*/? >2:0 '
 "# %%@ -, 1!F /-F666666666666666666666666666666666667 >@00 :H)@HH.. &)%6;  6666666666666666666666666666666666666 77 >&0
&H)2%H.. A6#
6B*,1 8166666 E < 77 >:&0 ) >#00 /1/  2 1!F /-F6666666666666666666662% F9 >2 ;00 %%@ (81." 1!F /-F 66666666666666666666666666666667 >A00
&%.. 26#
6B*,1 66666666666666666666666666666666666666 77 >2%0  @H 1!F /-F 666666666666666666666666666666666666666666667 >%0 %HH
1-! !*?*1/ 66666666666666666666666666666666/B9"! >@ 000  
 ##
:%.. 26# 
6B*,1 66666666666666666666666666666666
*/?) >&;0  @%H 1!F /-F 66666666666666666666666666666666662% F9 >&0 &H.. &  -, 66666666666666666666666666666666666666666666E >@00 2H)A&.. @6%)&6% 
  6677 <
*/?) >&A0 ) >&&0
 &H 7 )A 8*3 66666666666666666666666666666666666667 >2A0 %H.. & 6666666666666666666666666666666666666666666662% F9 >A&0 2H6%.. A6# 
   *9("F" 66666666667 < 77 >A00

+  )' ##  &%H 1!F /-F 6666666666666666666666666666666666666 77 >220 2AH.. & 
81 66666666666666666 E < 77 >@&0 ) >&00 2A)A&.. &
   1,*/ 7 < 77 >2;0 ) >200
2;.. A6# 66666666666666666666666666666666666666666666666666
*/?) >:0  %HH 1!F /-F 66666666666666666666666666666666662% F9 >:0 2AH.. & 
81 66666666666666666666666677 >0#0 ) >000 2A)A&.. & 
  666666677 <
*/?) >@&0 ) >@00
2#.. A6# ?*9 *9?'1/  "*99 66666666666666
*/?) >#00  %
 1!F /-F666 2% F9 < 77 >:&0 ) >2 &&0 2%H.. & 666666666666666666666666666666666666666666666666 77 >@00 2&)A&.. A6# 
 6666666666666666666666 7 >#20 ) >#&0
20.. A6#  )
666666666666666666666666666666666666666666
*/?) >00  %
  1!F /-F666666666666666666666666666666 77 >A @00 2;H.. &6#  66666666666666666666666666666666666666666666 77 >@&0 2&.. A6#
666666666666666666666666666666666666666666666 77 >:&0
AH.. A *8*/ 1,*/ 6666666666666666666666666666666666666667 >&:0  % 1!F 7 )22 8*366666666666666666666
*/?) >A 2#0 A%H.. %6; 666666666666666666666666666666666666666666666 77 >@&0 2%.. A6# 6A "*99 6666666666666666666666666666/B9"! >2 :00
A2.. A6# 1E* "*99666666666666666666666666666666666
*/?) >0&0  % 1!F /-F 66666666666666 7 < 77 >2 :00 ) >2 #00 A%H.. %6; (81."66666666666666666666666666666666662% F9 >00 2;)#%.. @6%)%6;   
 7 < 77 >200 ) >A@0
A&):H.. &  
6666666666666 7 < 77 >%;0 ) >;A0  %  1!F /-F 66666666666666666666666666666666
*/?) >A 2&0 @%H.. %6;  -, 66666666666666666666666666666666666666667 >@&0 2;.. A6#
 *9("F"6666666666666666666666667 <
*/?) >&&0
A&.. 26& 
 
 .F/'666666666666666666 77 >AH0  ;HH 1!F 7 )# 8*3666666666666666666666666 77 >A:0 2:)%H.. A6#  *   .81/666666666666 77 >200
A%.. A ?*9 *9?'1/  "*99 66666666666666666
*/?) >;00  ;H 1!F /-F 66666666666666666666 7 < 77 >A&0 ) >A:0   2:)%%.. A6# 
  666666666666666666666666667 >A@0
A#):H.. @6%)%6;  6666666666666666666666666666 77 >200  ;%H /$8 "! 1!F /-F66666666666666666666666 77 >&A0
) (81." 1!F /-F6666666666666666666666666666666 77 >@ &#0 2#)2H%.. @6%)&6% 
   7 < 77 >220 ) >2A0
@H.. 26&   *'.666666666666666666666666666666 77 >2:0  ; 1!F 7 )2@ 8*3666666666666666666666666666667 >:&0
4A&H5 -, 1!F /-F6666666 7 < 77 >A %00 ) >A #&0 2#)AHH.. @6%)%6; 
   6666666666666666 77 >A#0
@H.. A6#   *'. 66666666666666666666666666666666 77 >0%  ; 1!F /-F 6666666666666666666666 7 < 77 >;#0 ) >:%0
4A&H5 (81." 1!F /-F 6666666666677 >A ;00 ) >A :&0 2#):H.. @6%)&6% 
   666 E < 77 >&0 ) >#%
@H.. @6% 
81 66666666666666666666666666666666666666 77 >220  :H 1!F /-F 666666666666666666666666666666666666666 77 >%20
)
4F3 2A:5-, 1!F /-F66666666666666666666 77 >A %00 AH.. A6#
6666666666666666666666666666666666666666666666667 >A&0
@A.. 26# 1B*?  "*9966666666666666666666666666666666 77 >@A0  : 7 ): 8*3 6666666666666666666666666666666666666667 >@%0
 H6:AE -3( *91/ !*?*1/ 666666666666666666
*/?) >% #00 A2.. A6#
*-CB9 6A "*99 66666666666666666/B9"! >2 A&0
@%.. A 1E* "*99666666666666666666666666666666666666
*/?) >:#0  : 1!F /-F 666666666666666666666 E < 77 >@20 ) >@00

(81." 1!F /-F6666666666666666666666666666666666667 >A00 A&)2AH.. @6%)%6; 
 6666666666666666666666666 77 >2&0
@%.. A6#  
666666666666666666666666666666666666666666 77 >&&0  :
 1!F /-F666666666666666 7 < 77 >#@0 ) >#&% 2;<2#<A2.. & 8* -.8 7 */!"87 < 77 >A ;00 ) >A 000 A&)2AH.. @6%)%6; 
   66666666666666666 77 >A20
%H.. A 1E* "*99666666666666666
*/?) <
*/? >&00 ) >%20 
%H 7 2%)&%.. 6666666666666666666666666666666666
*/?) >&00 A2.. @6& (81."6666666666666666666666666666666666666666667 >;&0 A&)2AH.. &
   6666677 <
*/?) >%A0 ) >%00
%H... 26#  6666666666666666666666666666666666666666
*/?) >2%0 
%H 1!F /-F66666666666666666666666666666666666666
*/?) >&&0 A2.. @6&
-, ;*? 6666666666666666666666666666 77 >2 ;&0 A&):H.. A6# *   .81/ 66666666666666666 77 >&&0
2HH.. A6#  

9?"8 66666666666
*/?) >2 2#0 A2.. & (81." 7 */!"866666666666E < 7 >:&0 ) >:00 A&):H.. A6# 
 6666666666666666666666666666666 77 >##0
2@%.. A6# ?*9
31)1//8  "*9966666
*/?) >2 2&0 *,1/ @ 1!F /-F666666666666666666666666666666662% F9 >:00 A&.. 26&
93(
) -, 66666666666666666666666
*/?) >@ A#0 A&)#%.. @6%)&6% 
6666666666666666666666666666666666E >:0
& 1!F /-F666666666666666666666666 7 < 77 >2 :&0 ) >2 :#0 A&.. A6#
93(
-,6666666 E < 77 >#00 ) >2 H00 A&)#%.. @6%)&6% 
 6666666666666666666666666 77 >A;0
 '*
 ## & 1!F /-F66666666666666666666666666666677 >A #00 ) >A 0#0 A&.. A6#
93(
-, ;*?666666666666666666666667 >2 H&0 A&.. 26& 
  6666666666666666666666666666666666666667 >#;0
A%.. A6#
666666666666666666666666666666666666666666666666667 >200 % 1!F /-F 4B- 5 666666666666666666666666666
*/?) >@ 000 A&.. @6#
93(
-,6666666666666666666666666666667 >2 H00 A&.. A6#
666666666666666666666666666666666666666666666 77 >A@0
A%.. A6#

666666666666666666666666666666666666666666666 77 >@&0 %H 1!F /-F666666666666666666666666 2% F9 < 77 >@0 ) >%0 A#.. A
93(
-, ;*?66666666677 >2 #&0 ) >2 #00 A&.. @6%  )666666666677 <
*/?) >2 H&0 ) >2 H00
A#):H.. @6%)&6%

6666666666677 <
*/?) >A&0 ) >A:0 %HH 1!F /-F666666666666662% F9 <
*/?) >:00 ) >2 A#0 A#.. A6#
-, 666666666666666666666666666666666666666667 >%&0 A%.. A6#  "*99666666666666666666 7 <
*/?) >@:0 ) >&&0
A#)#H.. @6%)%6;
 666666666 /B9"! < "D >@&0 ) >@00 %%HH 1!F /-F6666666666666666666666666666666666666666666 77 >@&0 @%.. 26&
*?*/B./666666666666666666666666666666667 >2 #00 A%.. A6# 6A "*99 66666666666666666666666666666666666 77 >%&0
@%.. A6#  (*$?
6666666666666666666666666666666 77 >2 H00 %%HH 1!F /-F ) -,666666666666 7 < 77 >@00 ) >&20 @%.. A
93(
-,666666666666666666666666666666 77 >2 A&0 A#)@HH.. @6#);6@ *   .81/ 666666666 77 >&A0
%H.. 26&
66666666666666666666666666666666666677 >@00 ) >&&0 ;H 1!F /-F6666666666666666666666666666666666666666666666666 77 >00 @%.. A
93(
-, ;*? 7 <
*/?) >2 %00 ) >2 :&0 A#):H.. A6;)A6#
 81 1,*/ 66666666666666666667 >200
:H)AHH.. @6%)&6%
 666666666666666666666666666666666 77 >A00 ;HH 1!F /-F666666666666666666666666666666666666666666666 77 >;20 @%.. A6&
93(
-, ;*?666666666666666666666
*/? >2 200 A#):%.. A6#  * .81/6666666666666666666666666 77 >2#0
:H)@HH.. &)%6;
 6666666666 77 < /B9"! >@&0 ) >;&0 ;2H 1!F /-F666666666666666666666666666666666677 >:20 ) >:&0 %H.. A6# -.866666666666666666666666666666666666662% F9 >A#0 A#.. A6#
6666666666666666666666666666 7 < 77 >2@0 ) >2&0
2HH.. A
6666666666666666666666666666666666666666666666666667 >%00 :H 1!F /-F6666666666666666666666666666666666666666666666666 77 >;0 %H.. A6#
-, 66666666666666666666666666666666666666 77 >;00 A#.. A6#
66666666666666666666666666 7 < 77 >2A0 ) >2@0
2@%.. A 4;H "8 !*?*1/566666666666666666666/B9"! >A @:0 :HH 1!F /-F666666666666666666666666666666666666666666666 77 >&00 ;%.. @6% -.86666666666666666666666 7 <
*/?) >2%0 ) >A00 @%.. 26& 
666666666666666666666666666666666666666666 77 >:00
2@%.. A6#
6666666666666666666666666 7 <
*/?) >2%0 ) >A&0 :HHH 1!F /-F6666666666666666 2% F9 < 77 >2&0 ) >A:0 :%.. A
31
-, ;*?666 7 < 77 >2 %00 ) >2 ;00 @%.. 26# 
  666666666666666666666666666666666666 77 >2H0
2@%.. A6#

666666666666666666666666 7 < 77 >2;0 ) >200 :H 1!F /-F66666666666666666666666666666 E < 77 >&0 ) >:% :%.. A6&
-, ;*? 7 11! 666666666666666666
*/?) >000 &%.. A6#  ) 
81666666666666666666666 77 >2 H&0
2#H.. A6#
666666666666666666666666666666666666666666666 77 >@&0 :2HH 1!F /-F6666666666666666666666666666666666666666666 77 >&&0 :%.. A6%
-, ;*? 7 11! 6666666666666666666 77 >#&0 %H)2HH.. 26#  

*'.66666666666666666 77 >:&0
2#H.. A6#

6666666666666666666666666666666666666666666 77 >@&0 :AHH 1!F /-F66666666666666666666666666666666666666666666667 >;&0 0H.. A
31
-,6666666666 7 < 77 >2 &00 ) >2 :00 %H.. 26&
66666666666666666666666666 7 < 77 >2@0 ) >2;0
AHH.. @6%
66666666666666666666666666 7 < 77 >2A0 ) >2&0 :%H 1!F /-F66666666666666666666666 7 < 77 >:00 ) >2 2A0 0H.. A (81."666666666666666666666666666666666667 < 77 >%00 %H.. 26&  "*9966666666666666666666666666666666666666 77 >@&%
AHH.. &
66666666666666666666666666666666666666666666/B9"! >&&0 #H 1!F /-F6666666666666666666666 2% F9 < 77 >;0 ) >220 0H.. A
-, 666666666666666666666666666666666666666666667 >:&0 %H.. A 6A
81 "*996666666666666666666666666666 77 >;:0
@HH.. &

66666666666666666666666666666666666666666666666667 >A;0 #HH 1!F /-F666666666666666666 2% F9 < 77 >:&0 ) >0#0 0H.. A6%
-, ;*? 6666666666666666666666666666666 77 >:&0 ;H.. A6#

*8166666666666666666666666666666666666 77 >A&0
#HH 1!F /-F6666666666666666666666666666666666666666 77 >2 H&% 0H.. A6#
-, 666666666666666666666666666666666666666667 >:&0 :H)AHH.. A6# 
  666666666666666666666666 77 >;00
' "" "## #2H 1!F /-F666666666666666666666666666666666666666666 77 >2 @&0 0H.. A6#
-, ;*? 6666666666666666666666666666666 77 >#&0 :H)AHH.. A6# 
   66666666666666666666666667 >0#0
B+**-. )A -, 1!F 7 /!'8*366666666666666667 >#:0 0H 1!F 7
)#H 8*366666666666666666666666662% F9 >2&0 :H)@HH.. &)%6; 
 6666666666666666666666666666666667 >#0
)A -, 1!F 7 )A "8?*-  8*377 <
*/?) >0&0 ) >2 H@0 0H 1!F /-F66666666666666666666666666666666666666666666666 77 >2#0  '%
+
 ## :H)@HH.. &)%6; 
 66666666666666666666666666 77 >A00
)A -, 1!F 7)A "8?*-  8*3
*/?) >2 H@0 $ 1!F /-F666666666666666666666666666666666666666666666666667 >2 @&0 1/F 2;)@%.. A6# 

66666666666666666666666666667 >:&0 #H)AHH.. A6# 
666666666666666666666666666666666667 >A&0
#H)&HH.. &6%)%6;
 666666666666666666666666666667 >@00 %H.. A6# 


816666666666666666666666666666666667 >220
#H)&HH.. &6%)%6;
 1,*/ 6666666666666662% F9 >2#0 %H.. & 
 
816666666666666666666666666666666666667 >:0
#H)&HH.. &6%)%6; 
   666666666666666667 >2 2A0 %%.. A 
  66666666666666666666666666666666666666666666667 >:0
#%.. 26& 
666666666666666666666666666666666666666666 77 >0&0 2@%.. A6% 
6666666666666666666666666666666666666666666667 >2;0
#%.. 26& ?B9 6A "*99 666666666666666666666666 77 >A 2:0 2@%.. @6% 

6666666666666666666666666E < 7 >A0 ) >@0
#%.. A6#  
*81666666666666666666666666666/,/1D/ >:00
AHH.. A6% 
6666666666666666666666666666666666666666666667 >@&0
0H.. A6# *
81
 .81/6666666666666666666
*/?) >2:0
AHH.. A6% 
  6666666666666666666E < 7 >200 ) >&&0
2H%.. 26&  
) 666666666666666
*/?) >2 %:0 ) >2 %#0
2H%.. A
  6666666666666666666666666666666666666666666667 >&:0 @HH.. & 
  666666666666666666666666666666 7 >2H% ) >2A0
&HH.. %6; 

66666666666666666666666666666 7 >200 ) >A%0
  ) ## E?"/9*1/ B" "? 2<A<@ 666666666666666666666666666666666 77 >@0
AH.. A6#
6666666666666666666666666666666666666666666666 77 >@00
AH.. @6%
66666666666666666666666666666666666666666666666667 >2#0   $,,, ##
A&.. A6#
6666666666666666666666666666666666666666666666 77 >A20 %H.. A6#  (/"*!"8666666666666666666666666666
*/?) >#00
A#.. A
6666666666666666666666666666666666666666666666666666667 >2:0
A#.. @6%
6666666666666666666666666666666666666666666666 77 >2A0
A#.. @6%  (*$?6666666666666666666666666666666666666666667 >A:0
A#.. &  (*$?6666666666666666666666666666666666666666666667 >A20
@%):H.. @6%)&6#
6666666666666666666666666666666666666667 >%0
@%.. A6#  (*$?66666666666666666666 7 < 77 >2:0 ) >AA0
&%.. A6# 6666666666666666666666666666666666666666666666666 77 >A&0
%H.. 26#
6666666666666666666666666666666666666666666666666667 >:0
816666666666666666666666666666666666666 77 >%00
#H)AHH.. A6# 
 666666666666666677 >2 %@0 ) >2 000
8166666666666666666666666666666666666 77 >:&0
%H.. &  6666666666666666666666666666666666666666666 77 >:&0
%H.. &  *9?'1/ 6666666666666666E < 7 >200 ) >A00
%H.. &  6666666666666666666666666666666666666666666666666 77 >&&0
#H.. A6# 6666666666666666666666666666666666666666666666667 >2A0
#H.. A6#  6666666666666666666666666666666666666666666666 77 >A00
#H.. A6#   66666666666666666666666666666666666666666E >2A0
2AH.. & 
2AH.. & 
2%H.. & 666666666666666666666666666666666666666666666666 77 >&&0

+!)#
 ## 2%H.. & 66666666666666666666666666666666666666666666666667 >2&0
A2.. @6% B*,1 6666666666666666666666666666666666666666666667 >A&0 2%H.. &  6666666666666666666666666666 7 < 77 >@&0 ) >@;0
A&.. A6# B*,1 666666666666666666666666666666666666666666666667 >00 2#H.. A6#  66666666666666666666666666666666666666666666 77 >000
A#.. A6# B*,1 66666666666666666666666666666666666667 < 77 >:0 AE  1/C"8?"8666666666666666666666666666666666666667 < 77 >%0
A#.. @6% B*,1 6666666666666666666666666666666666666 7 >@0 ) >&0
@%)2H%.. @6%)&6% B*,1 6666666666666666666666666666666667 >%0 "!  #
@%):H.. @6%)&6% B*,1 666666666666666666666666666666666667 >@0
*?G1 2@:H /<*-? "! 6666666666666666666666666666666 77 >%0
@%)#H.. A6# B*,16666666666666666666666666666666666666 77 >:&0
2@:; -- "! D*?( B*, "-"9" 666666666666 77 >%0
%H.. A 81 B*,166666666666666666666666666666666666 77 >@#0
%H.. @6% 81 B*,166666666666666666666666666666666666667 >#0 2%:; $$ "/?8" -- "! 6666666666666666666666666666E >;0
%%.. 26A B*,1 666666666666666666666666666666666666666666 77 >A00 
2%2 (1?1'83("8 & "91/
,"? ) "!*B. */?) >00
;%)AHH.. & B*,16666666666666666662% F9 < 7 >&% ) >00 2@#A  --  1,"? "! 666666666666666666666 77 >A20
:%)2%H.. & B*,16666666666666666666666666E < 7 >A0 ) >@0 2:#2 "/?8" -- 8C"--"8 "! 6666666 77 >;0
#H.. & 81 B*,166666666666666666666666677 >2&0 ) >200 A:#H "/?8" -- "!66666666666666666666666666 77 >2%0
#%)A%H.. % B*,166666666666666662% F9 < 7 >:0 ) >2A0 @:%H /18.* *9 "! 666 7 < */?) >#0 ) >2A0
2HH)AHH.. % B*,16666666666666666666666666666666662% F9 >00 $$ "/?8" -- "! 66666666666666666666666666666666666666666667 >%0
2@%.. &6% 81 B*,16666666666666666666666666666666667 >2&0 ?*1/"--" 1 A <*-? "!6666666666666666E < 7 >A% ) >;0
2@%.. &6% 81 B*,1 7 ;%)22; B"666666 77 >2:0 ?*1/"--" 1 & <*-? "!666666666666666666666666666666667 >2A0
2#H.. A6# B*,1 66666666666666666666666666666666666666666667 >A&0
"8*"9 % 1D- :%.. 666666666666666666666666666666666666666 77 >&0
AHH.. & B*,1 6666666666666666666666666666666666666666666666667 >%0
?B!"E @AH E?"/!*/' "/?8" 1-B./ 66666666666666 77 >A%
@HH.. &6% B*,1 6666666666666666666666666666666666666666 77 >2;0
@%H.. A6# B*,1 66666666666666666666666666666666666666667 >2 0%H /$81??1 @0@ "CF "-" "/9 B3318?666666666666667 >;0
&@H 1/' -?" D*?( 1B-"
??(."/?66666666666 77 >A0
'*
 ## &@# -- ."8 "C"-"8 @<#6666666666666666666666666666 77 >&0
2H)2:.. @6%)&6% 
*9("F"6666666666666666666666 77 >A@0 &;#  F!819??* "! 6666666666666666666666666666666 77 >2A0
2&.. A6# 
  66666666666666666666666666666666666666667 >@&0 &;#& 81 -- "!666666666666666666666666666666666666666667 >;0
2&.. A6#   
66666666666666666666666666666666666666 77 >@00 %HH--9( 2HH.. -$ 1D- (18? 666666666666666666 77 >A%
2;)&%.. & 

6666666666666666666666677 >2;0 ) >2:0 %H& 81 *!"1 "! :%66666666666666666666666666666 */?) >200
2;)&%.. & 
 
.9B/'6666666666666666666 77 >2A0 %:: 
!3?"8 <-*!*/' -?" 66666666666666666666666 77 >A0
2;)%H.. A6#
 
 66666677 < */?) >@00 ) >%&0 :H0 -" 8*31! 66666666666666666666666666666666666666666666 77 >20
2:)%H.. A6#  * .81/6666666666666666666666 77 >2;0
)2H;% 8*31! 9" ;%. 666666666666666666666666666666667 >2A
2:):H.. & 

 4 5  6666666666666666666666666 77 >A@0

)2&: 8*31! 9" ;H. 66666666666666666666666666666666667 >2%
2#)%H.. &)%6; 
  6666666666666666666666 */?) >00
A#)2H%.. @6A)&6% 
66666666666666666666666666666666666 77 >#%
&0% 8*31! 9" #%. 666666666666666666666666666666666666667 >AH
A#):H.. A6#  
 
 6666666666666666666666666666667 >%&0 
#H8*31! '6666666666666666666666666666666666666666 77 >2%
A#)#H.. @6%)%6; 


6666666666666666666666666666666 77 >&0 '0H !!"! 9" 0H.6666666666666666666666666667 >@%
@%.. A6& 

66666666666666666666666666666666666666666666 77 >:0 HA0 "!6666666666666666666666666666666666666666666666666666666666667 >20
@%.. A6# 
*.*?"! !*?*1/ 6666666666666666666666 77 >A&0 HA0 ,A "!666666666666666666666666666666666666666666666666666 E >A%
&H.. A6#   
 66666666666666666666666666666666 */?) >2:0 22% @DF "! 66666666666666666666666666666666666666667 < 77 >2%
%H)AHH.. &)%6; 
 6666666666666666666666666662% F9 >A0 22; ,@ B3"8 *!"1 -B*! "! 6666666666666666666666667 >#0
%H.. 26#   
66666666666666666666666666666 77 < */?) >:0 2A# *81 *8!*/' "! 6666666666666666666666666666666 77 >A0
;H)A%H.. &  4 5  6666666666666666666666666666 77 >;00 2@; -B*! "! 6666666666666666666666666666666666666666666666666667 >@0
#H)AHH.. &6:)%6;
66666666666666666666666666666666666666667 >&0 2@# "C"--*/' "! 666666666666666666666666666666666666666666 77 >@%
#H)AHH.. &6:)%6;   666666666666666666666666666666667 >&0
2&2 "!6666666666666666666666666666666666666666666666666666666666667 >2%
#%.. A6#   
1$? 1B96666666666666666666666 77 >@&0
2&2 "! 6666666666666666666666666666666666666E < 7 >2% ) >20
AHH.. $A6# 
  4 5  6677 < */?) >%00 ) >;&0
2;H "!6666666666666666666666666666666666666666666666666666666666667 >;0
'* ) AAA
1F9?*, "! 66666666666666666666666666 7 < 77 >A0 ) >@0
 (81." 1!F /-F 666666666666666666666666666666666666667 >2A0 A&2 B?*1/ *!"1 B3318?66666666666666666666666666666 77 >A%
 (81." 1!F /-F 666666666666666666666666666666662% F9 >@0 @H@-B9 *8?B- "-*?F 81 666666666666666666666666666666667 >200
 -, 7 %H.. 26:666666666666666666666666666666666666667 >%0 @AAA "! 66666666666666666666666666666666 E < 77 >@0 ) >%0
81'8.
7 %H.. 26: 6666666666666666666666666666666666667 >#0 @A@ B*, (/'" -?"
!3?"86666666666666666666666 77 >AH
81'8.
1!F /-F 66666666666666666666666666666666 7 >&0 ) >;0 @A0 "!6666666666666666666666666666666666666666666666666666666666667 >@0
A#)#H.. @6%)&6%
6666666666666666666666666666666666666666667 >@0 @%A  "! 666666666666666666666666 2% F9 < 77 >2% ) >AH
A#)#H.. @6%)&6%
6666666666666666666666666666666666666666667 >@0 @%: /*C"89- -*!*/' -?" 666666666666666666666666666666 77 >@%
A#.. A6#   6666666666666666666666666666666666666666666667 >%0
&2H
B/*18 "8"! "! 6666666666666666666666666667 < 77 >#0
@%)#H.. &)%6;  
66666666666666666666666666666666666667 >20
&;H  "!66666666666666666666666666666666666 7 < 77 >@% ) >&%
@%.. A  6666666666666666666666666666666666666666662% F9 >2#0
&H.. A6#   6666666666666666666666666666666666666666666667 >;0 &#A *81 -- "! 66666666666666666666666666666666666666666667 >2%
%H.. 26:  
66666666666666666666666666 7 < 77 >&0 ) >:0 &## *!* -- "! 666666666666666666666666666666666666666666 77 >@0
%H.. 26:   66666666666666666666666666666666666 7 >@0 ) >;0 %H@ 81 -B*! "! 66666666666666666666666666666666666666666667 >2%0
%H.. A  
66666666666666666666666666666666666666666666666667 >A0 %20 81 -B*! "! 66666666666666666666666666666666666666666667 >A20
%H.. A   6666666666666666666666666666666666666666666666667 >20 :HHA */* *!"1 "!6666666666666666666677 < /B9"! >@%

  1LNRQ 

/ZIa[ WN ?M[\UQV[\MZ IZM IT_Ia[ [MMSQVO ÅVM M`IUXTM[ WN 6QSWV KIUMZI[ TMV[M[  IKKM[[WZQM[ QVKT]LQVO"
,QOQ\IT ;4: *WLQM[ Y ). 4MV[M[ Y ;MTMK\ .QTU ;4: JWLQM[
5IV]IT NWK][ TMV[M[ Y >QV\IOM JWLQM[ Y 8ZM)1 TMV[M[ Y )KKM[[WZQM[

<W WJ\IQV I Y]W\M XTMI[M KWV\IK\ ][ \WLIa WV

   ! WZ MUIQT QVNW(OZIa[WN_M[\UQV[\MZKW]S
 To advertise here, call Bradley Turner: 01252 555374 Email: bradley.turner@ti-media.com
Wanted



  


    

 
    





Black & White Processing Classic Dealer :$17(' )25 &$6+
25 &200,66,21
3URIHVVLRQDO %: &RORXU 3ULQWLQJ  *&* "  "*"&$
+DQG 3URFHVVLQJ DOO W\SHV RI ¿OPV IURP P[
  
 

&"." "*"  *& )LOP &DPHUDV /HLFD 0/HLFD 555/HLFD 6FUHZ
    

 $'*'  &"-  /HLFD FRSLHV 1LNRQ 5DQJH¿QGHU1LNRQ )))+)7
 
  
 
$OO SULQWHG RQ JHQXLQH EZ FRORXU SDSHUV

 

 
 &DQRQ )&RQWD[ 576,,576,,,5;,,61**777
3KRQH IRU SULFH OLVW RI DOO VHUYLFHV
 
   &RQWD[ %URQLFD 5)*664$L)XML [[[
   ",* ",& -'* "&  ,'
6HQG FKHTXH   SS +DVVHOEODG5ROOHLÀH[ 7/55ROOHL 6/6/(6/6(
---%&"." $"*" *&%"%,
$OO ZRUN VHQW EDFN UHFRUGHG GHOLYHU\ .RQLFD +H[DU 0DPL\D 5=$)'3HQWD[ 
.DUO +RZDUG  &KDOIRQW &ORVH
+HPHO +HPSVWHDG +HUWIRUGVKLUH +3 -5
 /+/ ( !/# 3ODXEHO ::.RQLFD +H[DU9RLJWODQGHU %HVVD
$OSD&RPSDVV'XFDWL(NWUD)RFD*DPL,OIRUG :LWQHVV

 
  

5HFWDÀH[5RERW7HVVLQD=HLVV &RQWDUH[&RQWD[7HQD[


  
  
  
'LJLWDO 0HGLXP+LJK(QG 1LNRQ&DQRQ (266RQ\)XML
 %  !  /HLFD 06HULHV66HULHV;6HULHV'0546/ 7\S 
$$$$  # +DVVHOEODG +6HULHV3HQWD[ '=3KDVH 2QH /HDI
3DQRUDPLF +DVVHOEODG ;3DQ/LQKRI 7HFKQRUDPD HWF
Cameras For Sale /DUJH )RUPDW $UFD(ERQ\+RUVHPDQ/LQKRI6LQDU HWF
8QXVXDO /HQVHV $QJHQLHX[$VWUR %HUOLQ%R\HU
&RRNH 'DOOPH\HU*RHU].LO¿WW.LQRSWLN0H\HU2OG 'HOIW
3DVRSWLN5RVV6RP %HUWKLRW7D\ORU +REVRQ=XQRZ HWF
%LQRFXODUV /HLFD=HLVV+HQVROGW2SWLFURQ6ZDURYVNL

&RQWDFW XV QRZ IRU RXU EHVW SULFH (VWDWH VDOHV ZHOFRPH

:H FDQ DUUDQJH IUHH FROOHFWLRQ IURP \RX DQG
GHOLYHU\ KHUH IRU WUDQVDFWLRQV RYHU 
7HO   )D[  
(PDLOSZDOQHV#WUXHPHVKFRP :HEVLWHZZZSHWHUZDOQHVFRP
3HWHU :DOQHV32 %R[ 3HQ]DQFH&RUQZDOO 75 '3
!% $ $ # Cameras For Sale
&( "+'
  # !&( #& %) (- ( "  !
$- $     



!&' "'' " ''#&' ' '(&#"& (" *&
0&&& *& ++  0+0  +  $-$/
 " ",

 ( !  ! ) $$  $ .) ,! ) +  %
-$ .#  )
)"
( #)& +#& + "(+#& # )'(#!&' +& $-"  

  
 

( '( $&' #& 



%
$&
.&.)F= ?% K00- CJ2   -0F.C !0< F,)F =F2< ).555555555555555555555555555 /
.0. ! 1D#-- !D5# H)C' '00 C)2 C025555555555555555555555555555555555555555555555555555555555555555555555551
). ,.=  -0F.C ').0. 1L DL 0F2, ".<55555555555555555555555555555555555555555555555555555555555551/
' %#
#
'
##
$"

I+C <C, 1LLL 0J55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 %/
I+C "C -<)C< #L-- !E5/5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1#
$

"

##
$&
I+C "C 0-)2,. #L-- !E5 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1#
I+C "C-J< 02C)+ 0<=C0. #L-- !15 ,&.<J ,.=5555555555555555555555555555555555555555555>/
"
' " #(& (#$%) (- &"' I+C "C -J< 02C)+ ,J)C' H@ DL-- !D5# )CC0 H)C' -C, '0055555555555555555555555555#/
I+C "C <5 C<G.0. 5 =''C F,- 1D#-- !%5# <<)CJ5555555555555555555555555555555555555555555555>/
I+C "C F.)C0< FC0 ELL-- !D5#5555555555555555555555555555555555555555555555555555555555555555555555555555555555DD
I+C "C =0,)&0< FC0 DI 0.G<C<555555555555555555555555555555555555555555555555555555555555555555555555555555555 1E
I+C "C )0 EI FC0 0.G<C<555555555555555555555555555555555555555555555555555555555555555555555555555555555555555/
555555555555555555555555555555555555555555555555555 /
I+C "C G)G)C< EI FC0 0.G<C<555555555555555555555555555555555555555555555555555555555555555555555555555555555555/
!F*) I "C E -- !E5 J '.)-I555555555555555555555555555555555555555555555555555555555555555555555555555555555555555/
,) D/-- C'< ).F=C< #L-- !D5#55555555555555555555555555555555555555555555555555555555555555555555555551/
" $ ,)CK /L-- !E5# 0,0<2,. !0< 2<0G)C 2<0*C0< -).C555555555555555555555555555555555555555555555555D/
,)CK -&).0 1LL-- !E5# 2<0*C0<5555555555555555555555555555555555555555555555555555555555555555555555555555555551?
-).0,C <0++0< - ELL-- !%5# C)2 C02 :.)+; 6 =55555555555555555555555555555555555555555555555555555E/
-).0,C "C =)&- >L DLL-- , -<0
555555555555555555555555555555555555555555555555555555555555555555555 ?/
#"(( #"(" &&' #& " !!( %)#(
.)+0. "C -+).0 EI DI 0.G<C< -).C ). =55555555555555555555555555555555555555555555555555555555555555551?
.)+0. ! "C G)G)C< >L E1L K00- 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555D/

 

 1/##@# ). I5 0.)C)0.555555555555555555555555555555555555555555555 1E
G).C& G0 -C< )< 1/DL;= F.F=F, 0,,C, )C-55555555555555555555555555555555555555555555551
H=C0. ).G<0. C')= )C- ).,F   5555555555555555555555555555555555555555555555555555555555555555555551L
H=C0. ). I20=F< -C< ,+ +,)C 0,,C, 35 1/DL;=4555555555555555555555555555555E/
 ),,F-).C)0. -C<,+5 +,)C0I = H0<+).& ). !00C .,=555555555555555555D#
H=C0. F<0-=C<55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555E#
! % 6 5<5=555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555DD
!0H,<= -&.F- ,0.& = ,F,C0< F.F=F, )C- 55555555555555555555555555555555555555555555555555555D/
 =,) -0F.C).& 2<== 1E555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1E
 0F, &,== =,) ).<= E%ID? 0I= L! EL D 0I= !0< B# > 0I= !0<555555B1L
&,.K -)<0 C- K00- C,='0C 2C< -%E "C <<)CJ5555555555555555555555555555555555555555555555555D/
'.)-I %%LL -< 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1E


 "CC ,) = ).,F=)G 0! 2  2 
'==,, ),,F=C<C &F) C0 ,, -0,= ).,F=)G 0! 2  25555555555555555555555555555555555555551L
'==,, 2<0!==)0., 2<) ,)=C 1/>1 ). .F-<), 0 =7F. ).52 555555555555555?
'==,, #LL@=H ),,F=C<C &F) ='0H).& ==0<)= ).5 2  2 555555555555555555555555?
'=,, #LL ).=C<FC)0. -.F, ).,F=)G 0! 2  255555555555555555555555555555555555555555555555555555?
+0+ <C 0 !0,< 0<)&5 ') =555555555555555555555555555555555555555555555555555555555555555555555555555555E/
+0+ F0$I 11 C,< 0,,C,555555555555555555555555555555555555555555555555555555555555555555555555555555555555551L
+0+ <0H.) <$I C,< 0,,C, 55555555555555555555555555555555555555555555555555555555555555555555555555555555 1E
 
  ? ='),,).&=  ? 2. H,, F= FC !F,, 0! ).!0555555555555555555555555555555555555555555/
 

0,J-2F= "C 3.0 .-4 E L !D5# K00- =2'<) -<0 5555555555555555555555555555555555555555555E%  
    

  !0< )$I 55555555555555555555555555555555555555555555555555551/#
"#+#& +!&,"#) 0,J-2F= KF)+0 #L-- !15 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555E%  
 
 J <). 0H< !CF<= C'  ,<& 2@+5555555555 1E
2.CI "C -+).0. EI 0.G<C< 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555/  


 

 1/##@# ). I5 0.)C)0.555555555555555555555555555555555555555555555 1E
#& $#"   
2C<) ## 15 55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
2<+C)< 2.C0. #L-- !E5% ,C<)55555555555555555555555555555555555555555555555555555555555555555555555555 1#
 



    H)C' =<H C)&'C.<5555555555555555555555555555555555555555 1#
 


 1?5# 8  115>#9  
 0. =) ? 0C'< 3=,)&'C =<C'4 EL555555EE
' '$
2<+C)< 2.C0. #L-- !15 55555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
<)+.0. #L-- !E 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551?
<)+.0. 1D#-- !E5 2< =C ,C'< = I,,.C 55555555555555555555555555555555555555555555555555555551
C020< #D-- !E55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
C020< 1D#-- !% 55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555EE
C020< #L-- !E55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
,)CK +&00. ,,  =0+C '5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 %/
,)CK J, F, $=' F.)C ). 0<)&)., 0I -).C 55555555555555555555555555555555555555555555555555555555555555DD
,)CK ,) 0.CC 2<).C< ). 0<)&)., 0I -).C55555555555555555555555555555555555555555555555555555555555555E#
- !0< ,) C. ,C'< <)!= F=C0- ).C<)0< "CC !0< -<,.== C5
C5 55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 / :=H)=':
-).0,C J.I DLL =) 6 D# >L =! K00- ,.= H)C' ).=C<FC)0.=5555555555555555555555555555555555%E
  !   -).0I D#, 2,F= -).0I CD# $='&F.555555555555555555555555555555555555555555555555555555555555555555555555555555>/
<, K)== *. C==< #L-- !E5 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555EE





 >L DLL %5# 
  

   5555555555555555555555555555555555#/
',)0= # -- !E5 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551?
 $ %'  ' *'( #)& +'(
',)0= DI FC0 C,0.G<C< 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555/ 0,J-2F= K 1 K00- 0-2C H)C' ).=C<FC)0.=555555555555555555555555555555555555555555555555555555555555551/
'.)-< D#-- !D5#555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
'.)-< 1D#-- !E5 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
++++#& +!&,"#) --)J =+0< #L-- !E555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555E/
2.C0. 1D#-- !E5 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1>
2.CI + "C =)&- >L E1L K00- 55555555555555555555555555555555555555555555555555555555555555555555555555555555555555EE
2'0CI ELL-- !%5# 2<=C555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555/
=0,)&0< E#L-- !%5# 2<=C 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1#
=0,)&0< 1D#-- !D5# 2<=C 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555/
=0,)&0< ># E?L K00-555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555D/
=0,)&0< %LL -- !?5/ 2< =C 55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555E/
C-<0. FI),)<J 322<= C0  DE-- C'<4 ,C'< =555555555555555555555555555555555555555E#
H=CI 1D#-- !E5 2< =C555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
.)+0. !%L1 0J H)C' ).=C<FC)0.=55555555555555555555555555555555555555555555555555555555555555555555555555555555555E/
0,J-2F= KDDL =F2<K00- 0-2C 3 <, 'F.+455555555555555555555555555555555555555555555555555555E/
2.C0. ! 0J 3 <, 0,)45555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
2.CI -K #L 2,F= E >L ! ,.=5555555555555555555555555555555555555555555555555555555555555555555555555555555555555#/
2.CI =2)0 1EL 0-2C555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
2.CI  #L
5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551?
2C<) G11 2,F= 15 0&J ,.= 32<)2'<, !F.&F=4 =0 0J 2<) 6 !< ,.= E/55555555555E/
2<+C) !I E 0J 6 = 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555E%
2<+C) -C,D 0J H)C' ).=C<FC)0.=5555555555555555555555555555555555555555555555555555555555555555555555555555551/
2<+C)< 1D# -- !E5 ,C<)555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
2<).K$I =F2< C,55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 %/
<)0' ! # 0-2C 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
  D#  


 #L 15 
 

 
55555555555555555551E/


    <0,,)$I  <0,,)0< &F) 2F,)=' 1/%/ ).,F=)G 0! 2  2555555555555555555555555555555555555>
&! )=0,CC ,+ +,)C C02 ). =F2< 0.)C)0.555555555555555555555555555555555555555555555555555555E# C020. F.)<I 6 !E ,.= 6 5<5 =55555555555555555555555555555555555555555555555555555555555555555555555555555555555D/

5 % 
 
 

 555555555555555555555555555555555555555555555555555555555555555E% C020. F.)<I ,+ 6 !E ,.= 6 -C').& < = ,, C)2 C02 ).=C<FC)0.= 55555555555555>/
.0. =F<='0C 0-2=C 555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 G<)0F= ).=C<FC)0. -.F,=  B# ).,F).& 2 2 3

 
  
  

4
.0. 1 0J 5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555## G0)&C,.< G)C0 11 0,0< =+02< D5# ). I,,.C .)+6< = H0<+= FC)!F,,J55555555 ?/
.0.  1 2,F= 15 ,.= H)C' ).=C<FC)0.= 55555555555555555555555555555555555555555555555555555555555555555555%# J=') K00-C >L 0-2C555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 1E
.0. 0= #LL 0J555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555D/ J=') -)<0C K00- >L555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
.0. 0= ?LL 0J55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555 %% K)== )+0. J 0I55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555D/
.0. 0= 1LLL! 0J555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555## K.)C'  0J5555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/
I+C <), ,,0H=55555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555551/ K.)C' - ,+ 0,J-2) -,- 6 ',)0= E -- !E5 ,.=555555555555555555555555555555555555555555D/

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 4 August 2018 81

 Photo Critique

Final Analysis
Roger Hicks considers… ‘Farmer shoveling wheat
from wagon, Kansas,’ 1956, by Erich Hartmann

F
alse memory syndrome is often
associated with unpleasant
or traumatic events, but it’s
something that happens to all of
us to a greater or lesser extent; often with
trivial things we do not particularly want
either to remember or to forget.
Think back to when you were a child.
How many things do you really remember
clearly, and how many are traceable to, or
supplemented by, your parents repeatedly
retelling the story? If you tell the same
story now, how much of it comes from
your own memory and how much from
the story you’ve heard retold so often?
This line of inquiry can rapidly lead us
into archetypes and thence to clichés, but
as the late Sir Terry Pratchett said (in his
novel Guards! Guards!), clichés are the
hammers and screwdrivers in the toolbox
of communication. This may in turn lead
us to realise that clichés cease to be clichés
when they are done well enough.
All of which is relevant here. It is quite
easy to dismiss this picture by Erich
Hartmann (1922-1999) as a cliché, or at
the very least as a genre: honest toil, the
dignity of labour. There are even echoes of
socialist realism. But be honest: did that
unworthy thought occur to you until I
planted the idea? It isn’t a cliché because
it’s very well done.

Remembering reality
The archetypal overalls, the rolled-up
sleeves, the pose, the anonymity because
his face is hidden by his hat; it all comes
together. Next: have I ever seen someone
shovelling grain like this? I’ve seen roads
used as threshing floors in India, and
ox-carts in Portugal after the Carnation
Revolution of 1974. I’ve driven across the
United States seven times. At the annual fair
in a nearby village, hay-bale tossing is still a
popular competition. But; well; no, I don’t
think I have ever actually seen someone
shovelling grain from a wagon. It is however
of a piece with many things that I know, or
© ERICH HARTMANN/MAGNUM PHOTOS

think I know, or remember from... well, to be

honest, photographs from the ’30s, ’40s
and ’50s. Any ‘memory’ of seeing such a
thing in real life is probably false. Only
‘probably’ though: I might have seen it.
This is, perhaps, a way to make a
great photograph. Make it fit people’s
preconceptions, memories and prejudices Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many
in such a way as to reinforce them; in partnership with his wife Frances Schultz (visit his new website at www.rogerandfrances.eu). Every week in this column Roger
whether grounded in reality or not. deconstructs a classic or contemporary photograph. Next week he considers an image by Jonny Henchman

82 4 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113