Saturday 27 November 2021

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 Photography and videography can change us.
They change the way we feel.
Our understanding.

They change our hearts and minds.

They change the rules.

Testing the limits of our comfort zones.

Changing the way others see the world.
See themselves.

Together let’s change the way we do things.

Change the narrative.
Change the bigger picture.
Open up opportunity.
Give more people a voice.
Put camera kit in more hands.
Create a more sustainable future.
A future with more people included in it.
Here’s to the stories to come.

MPB

Change gear.
mpb.com Buy. Sell. Trade. Create. Rated ‘Excellent’ 4.9/5 based on 14,000+ reviews

There has long been a healthy
trade in used film cameras and
lenses, as the best examples have
always held their value. The
COVER PICTURE © IAN PACK (WINEPHOTOS.UK)
7days
cover feature this week is all about getting the best
deal when buying or selling second-hand, while
the rest of the issue is packed with other essential
money-making and saving tips – including

pre-loved digital business is
booming too, particularly as the
big makers increasingly focus on premium priced,
high-end mirrorless cameras and lenses. Not
everyone needs this kind of firepower, or has
several grand lying around in spare change. Our
generating income from stock libraries, and how to
shoot products to sell on eBay. Hardware highlights
include a review of Sony’s FE 70-200mm f/2.8 II,
the iPhone 13 Pro and a field test of a real compact
film classic, the Olympus XA3. Get stuck in!
Nigel Atherton, Editor

This week’s If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
cover image SOMETHING TO SAY? Write to us at ap.ed@kelsey.co.uk with your letters, opinion columns (max 500 words) or article suggestions.
PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to ap.ed@kelsey.co.uk.
JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities.
Our cover image this
week was photographed facebook.com/ flickr.com/groups/
by Ian Pack. The three amateurphotographer.co.uk amateur.photographer.magazine amateurphotographer @AP_Magazine @ap_magazine
cameras were kindly
loaned to us for the cover

This week in 1947

shoot by Park Cameras

In this issue
3 7 days TREASURES FROM THE HULTON ARCHIVE
10 Enter our Xmas
AP cover contest!
14 Buying & selling
second-hand kit
18 Inbox
20 Perfect prep
24 A click fix
30 Is it still possible
to make money
from stock
photography?
34 Celebrating the
UK at its best
38 Compact classic
43 SonyFE70-200mm
F2.8 GM OSS II
46 Apple iPhone
13 Pro
52 Tech talk
55 Buying Guide: Flying Car by FPG
DSLR lenses
A ConvAirCar, Model 118 flying car during a test-flight one. The ConvAirCar was designed to be used by
66 Final Analysis in California in November 1947. The hybrid vehicle mainstream consumers, following the post-war
was designed by Theodore P Hall for the aviation boom, but after its early problems,
Consolidated Vultee Aircraft Company of San Diego, enthusiasm for the project quickly waned and it never
California. Just two prototypes were built and flown went into further production.
– the second being rebuilt from the damaged first

The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic
Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.
Our favourite photos posted by readers
on our social media channels this week

Reflection of the City by

Alan and Tam Greenwell
Yashica Electro GTN35 using Ilford HP5+ at f/8
Alan says, ‘My autistic son Tam and I go on a lot of
photo walks around the city centre of Newcastle and
this building was one that caught our eye. It contrasts
the modern glass building against the historical
terraced streets of the city.’ Find Alan on Flickr at
www.flickr.com/photos/193686344@N04.

Want to see your pictures here? Share them with our Flickr, Instagram, Twitter, or Facebook communities using the
hashtag #appicoftheweek. Or email your best shot to us at ap.ed@kelsey.co.uk. See page 3 for how to find us.

4 www.amateurphotographer.co.uk
 AP picture
of the week
Bokeh Portrait
by Ben Lewis
Canon EOS 90D, Sigma
18-35mm f/1.8 Art lens,
1/1250sec at f/1.8, ISO 500
‘I started photography about a
year ago and take portrait
shots in my spare time – I am
loving it. This photograph was
taken when I visited Uphill in
Weston-super-Mare with
Georgina Hartgen,’ says Ben.
‘We tried many different poses
but we found some trees to
create this lovely effect, and
I used Photoshop to play with
the colours.’ Ben is on
Instagram at @Lewis_
photography91.

#appicoftheweek
Win!
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY

Each week we choose our favourite picture on Facebook,

Instagram, Flickr or Twitter using #appicoftheweek. PermaJet
proudly supports the online picture of the week winner, who will
receive a top-quality print of their image on the finest PermaJet
paper*. It is important to bring images to life outside the digital
sphere, so we encourage everyone to get printing today!
Visit www.permajet.com to learn more.

www.amateurphotographer.co.uk 5

New Kase filter
holder system
FILTER maker Kase has announced a
100mm holder system in which
everything fits together magnetically. It’s
being offered as an alternative to the firm’s
excellent, but more conventionally
designed, Kase Wolverine K9 holder. The
new ‘Armour’ system is designed to work
with full-frame lenses as wide as 14mm
without vignetting. The holder accepts a
rear-mounted 95mm polariser and more
unusually, 95mm circular ND filters in front.
This is said to allow a lighter overall weight
and a light-tight design. Two rectangular
filters, 150x100mm or 100x100mm, can
be added using magnetic metal frames
designed to take conventional 2mm-thick
glass filters. Prices start at £269 for the
Kase Armour Holder Kit 100mm system.
See bit.ly/kasearmor.
Get ready for Black Friday
FRIDAY 26 November is Black Friday, so
expect to get some significant discounts
on cameras, lenses, accessories and
software. While ongoing supply-chain
headaches are presenting a challenge to
many retailers trying to slash prices, you
should still be able to save money.
As with previous years, the discounting has
started early. Some of the best pre-Black
Friday deals include a generous 39% off an
Adobe Creative Cloud All Apps subscription
– so you can get Photoshop, Lightroom,
InDesign and lots more for £30.34 per
month, down from £49.94. Via Amazon,
you can also get 11% off the Nikon Z 5,
17% off this camera with the 24-50mm
f/4-6.3 kit lens, and a 14% discount off the
Nikon D780. Meanwhile accessory maker
Joby is giving away $1 million (£745,000)
worth of prizes, via an online ‘wheel of
fortune.’ In addition to product prizes ranging
from £10 to £180, discount codes up to 50%
are also being handed out – see joby.com/
uk-en/black-friday.
By the time you read this, many more early
Black Friday deals will have come through, so
make sure you visit our website for the latest
updates – www.amateurphotographer.co.uk.
Joby has an online
‘wheel of fortune’
for Black Friday

All the fun of the Canon announces firmware updates

LensFayre
NOTTINGHAM-based online camera
shop LensFayre has launched a
disposable 35mm camera called the Snap
LF-35M (see above). The camera body is
made from a thermostatic plastic that can
easily be melted down and re-used; if you
return the camera to LensFayre, the
company will safely recycle it and give you
a 10% discount voucher for further
purchases. The camera, which can be
easily customised via replaceable stickers,
features a 28mm f/8 fixed lens, a
1/120sec shutter speed, built-in flash, 1x
AA battery power source and a weight of
just 110g. It costs £38. LensFayre was set
up by freelance photographers and
creatives Alecia Barnes and Dan
Giannopoulos. See www.lensfayre.com.
CANON has announced a number of
firmware updates for the EOS
R5 (firmware v1.50), EOS R6 (firmware v1.50)
and EOS-1D X Mark III (firmware v1.60)
boosting AF performance and options as well
as adding other enhancements.
The firmware update improves subject
detection and tracking, enabling the EOS R5
and EOS R6 to track cars and bikes.
Face and eye detection has been improved
allowing detection even when the subject is
wearing a mask, and body detection has been
added. You’ll also be able to set a custom
white balance in live view. Other changes The R5 updates will improve subject detection
include updated FTP operation, to avoid
accidental image transfer. Lens support has 70-200mm F4L IS USM lens.
been improved, with the EOS R5 supporting All of these Canon firmware updates will be
the RF 5.2mm f2.8L Dual Fisheye lens, and available from Thursday 2 December,
full-time manual focus is available with the RF from www.canon-europe.com/support.

6 www.amateurphotographer.co.uk
 “ I T ’ S A M O N S T E R , M Y N E W FAV O U R I T E L I G H T ”
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Viewpoint
Emma Darwin
When is a portrait not a portrait?
asks Emma Darwin
I
t all started with AP’s Portrait
Special (27 July 2021). In the
opening 7 Days section all four
‘portraits’ were of models: people
booked purely to be the human in the
shot. Later, the feature Natural Light
Portraiture declared the first job to be
‘finding a model’, paid or unpaid.
Perhaps that would be about searching
out individual personality? Hardly, it
turned out – although ‘you have to show
a bit of interest in the model’.
Had I been wrong all these years, in
assuming that portraiture is about
capturing the particular character of an
individual? About who they are? I went
© MARK GREY
to the authoritative Grove Dictionary of
Art and found that, while allowing that
‘portrait’ is a complicated concept,
Grove’s ‘serviceable definition’ is an
image ‘in which the artist is engaged
with the personality of his sitter and is
preoccupied with his or her
characterisation as an individual’.
That takes much more listening,
intuiting, thinking and even research
than ‘a bit of interest’.
When I look at Damien Lovegrove’s
exquisite portrait of his ballet dancer
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR KELSEY MEDIA LIMITED
friend Yulia, I think of photographer
Yousuf Karsh saying, ‘There is a brief
moment when all there is in a man’s
mind and soul and spirit is reflected
through his eyes, his hands, his attitude.
This is the moment to record’ – the
‘man’ in this case being Yulia. And
Philippe Halsman asked his portrait
sitters to jump, because ‘The mask
falls. The real self becomes visible’.
But the goal of a portrait-maker
needn’t be mask-stripping, soul-baring,
or art at all. Commercial photographers
are paid by actors and business
people to take headshots, but they still
ask the sitter ‘How do you want to
look?’, ‘What narrative do you want to
convey?’, ‘What jobs are you hoping
for?’. Individual personality, however
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the email address on page 3 and win a year’s digital subscription to AP.
www.amateurphotographer.co.uk
Books & exhibitions
The latest and best books and exhibitions
from the world of photography
© DAVID HURN/MAGNUM PHOTOS/AMGUEDDFA CYMRU
David Hurn: Swaps
Until 27 March 2022, National Museum
Cardiff, Cathays Park, Cardiff, CF10 3NP, Free,
see museum.wales for opening times
After being delayed due to the Covid pandemic, the
second presentation of highlights from the David
Hurn Collection has finally gone on display at the
National Museum of Wales.
Well known for his Swaps project, whereby Hurn
swapped prints with the great and good of the
photography world, his vast collection was donated
to the museum in 2017.
Is a portrait simply a picture of a person? The latest exhibition will feature 68 photographs
celebrating David’s keen eye for a picture and his
pin-striped, is the subject, as it is when support of other photographers. It has been curated
a newspaper pays Cecil Beaton to by Martin Parr and Magnum Photos, originally for
photograph Winston Churchill, or Magnum’s 70th anniversary in 2017. Hurn has been
Madonna pays Herb Ritts to photograph part of the collective for 55 years himself.
herself – and as it is when you take a A must-see for anyone interested in some of the
picture of your husband cooking, your biggest names in global photography – including
nephew in his wedding suit or your Hurn himself – this exhibition represents a real
favourite singer: this is who they are. highlight of the calendar year.
Mr AP himself, Nigel Atherton,
completely disagrees with me. Drawing
on a different dictionary, he defines a The Pocket Photographer
portrait simply as a picture of a person,
seeing no difference whether the by Mike Kus
subject is a paid model, or a family £14.99, Laurence King, hardback, 144 pages,
friend. But if I buy or borrow a person ISBN: 9781913947682
as I would a sheaf of flowers or an Although many of the tips featured in
antique jug, then pose, light and this charming little book will be very
photograph them, it’s for the visual familiar to the readers of AP, it still
value of their physical appearance: serves as an excellent reminder that
what they are, not who they are. I may you don’t always need your ‘proper’
learn a lot, and the result may be a camera in order to get a fantastic shot.
beautiful picture of what that model is, It also never hurts to have a refresher of the
but only marginally of who. To me, that basics, covering ground you might already be aware
isn’t a portrait. of – you may benefit from the odd reminder or two.
You might additionally use it as a little workbook to
Emma Darwin writes fiction and creative non-fiction get you familiar with your own smartphone if you’ve
for work, and takes photographs for fun, but somehow thus far not really used it for anything other than its
the two things never stay separate for long originally intended purpose.
A book like this also makes a fantastic stocking
filler Christmas present for those in your life who are
also interested in photography but perhaps only have
a phone with which to do it.
9
 Be a Christmas
cover star
Would you like to see one of your images in print, Tips for
on the cover of the world’s number one weekly
photography magazine? If so, read on… cover success
Don’t crop in too tightly
THE HOLIDAY season is have something on file, Leave space for the magazine
almost upon us, which great; if not try to shoot HOW TO ENTER ‘furniture’ – masthead, coverlines
means it’s time for Stir-up something specifically for and any graphic devices that we use
Sunday, sentimental TV the competition. The competition is open to to describe what’s in the issue. Busy
adverts, and the Amateur Don’t forget that to everyone, whether amateur or images that have lots of detail are
Photographer Christmas succeed as a cover photo, professional. There are two generally unsuitable as they make
cover contest. Here is a images will need space at the ways to enter: superimposed text tricky to read.
once-in-a-lifetime top for the AP masthead,
opportunity to have your plus plenty of space for the 1 Post them on your Instagram Shoot portrait-format
work featured on the front coverlines. (See right for our or Twitter feed, and be sure to pictures
cover of the world’s number insider tips for success). use the hashtag #apxmascover. While it’s not unheard of for us to
one weekly photography We’ll contact you for the use a section of a landscape-format
magazine over Christmas! The prize high-res file if your picture is image, your chances are improved
You are free to interpret The overall winner (as shortlisted. by shooting in the upright format.
the theme in any way you judged by the AP team) will
choose: naturally we are see their picture grace the 2 Email your images to us at Make eye contact
happy to see shots of cover of the bumper AP ap.ed@kelsey.co.uk. Emailed If you’re submitting a portrait,
baubles, trees and lights, but Christmas Special issue (18 images should be in the JPEG ensure good eye contact, with the
we also want pictures that December 2021). They will format and be a minimum of subject looking directly into the lens.
show the creative potential also receive a cash prize of 2,000 pixels wide along the Make sure the eyes are pin-sharp.
of the season in general, so £100, and a one-year longest side.
feel free to submit winter subscription to AP. Provide plenty of options
landscapes, indoor portraits, A selection of commended Try various angles and subject
frosty flora and fauna etc.  entries will be published For full terms and conditions, visit placements, with the main focal
If you think you already inside the magazine. amateurphotographer.co.uk. point to the left, the right and centre,
to give the art editor lots of options
The closing date for entries is midnight on Friday 26 November 2021 for where to put the coverlines.
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From the archive
Nigel Atherton looks back at past AP issues

Topics of the Week & Editorial Comment An awe-struck tour of the new Kodak HQ

27 November 1911
THE GRAND neo-classical interior featuring on this week’s
cover was none other than the Reception Hall of the brand
new Kodak building on Kingsway, London. Designed by John
James Burnet, it was one of the seven wonders of the
photographic world, judging by AP’s enthusiasm about it. ‘So The Rose, by Guido Rey The White Sail, by John H Anderson
ubiquitous has the Kodak become that it has taken its place
in the language as being practically synonymous with
“camera”, a fact evidenced by more than one dictionary.
Messrs. Kodak would be the last to suggest that they were
responsible for all the cameras in use today, although an
inspection of the palatial new building which has sprung up
in Kingsway might give rise to the idea. It is surely a sign of
the times, and a corollary of the oft-repeated statements
concerning the enormous spread of photography as a
pastime or business, that such a building devoted to such a
purpose is possible. In the new Kodak building one sees at
every turn evidence of the genius of organisation and
efficiency that has always characterised this great firm.’ The
Reception Hall, pictured on the cover, was particularly
impressive. ‘In this beautifully proportioned hall, which is
reached via a white marble staircase from the entrance hall,
Italian crestola statuary marble is used for the walls, and
Greek white marble for the floors. The pilasters are of blue
Belge marble and the columns in the Reception Hall of
rochetta pavonezza marble.’ The building survives to this day
at 61 Kingsway and is now Grade II listed, though some
would say that Kodak lost their marbles some time ago. Novice’s Notebook discussed printing The weekly critique of readers’ pictures

12 www.amateurphotographer.co.uk
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 Technique BUY AND SELL WITH CONFIDENCE

Buying & selling

second-hand kit
Selling your current gear
and buying your next camera
or lens second-hand can
save you a fortune –
Angela Nicholson has a few
tips on how to go about it

Private or specialist dealer sale?

There are basically two ways to sell photographic kit
you no longer want: privately to an individual or to a
specialist dealer such as Park Cameras. In some
cases, you may find that you can get a better price with
a private sale, but you have to factor in the extra time it
takes to advertise the item you’re selling, whether
that’s in a local paper or via an online sales site. You’re
responsible for finding an individual who is interested in
buying what you’re selling. If you sell to a specialist
retailer, however, it’s just a case of agreeing the price
and sending them the kit – in some cases they will even
arrange the collection for you, or you can pop into a
store to speak to an expert and leave the kit with them.

Private or specialist dealer

purchase?
Just like selling second-hand kit, it can take time to find
an individual who is selling the item that you are looking
for in the condition and at the price that you want. A
dealer, however, is likely to have several examples of key
products at different prices that reflect their condition.
You can also call into a shop to look at the kit and buy it
or order it via their website for delivery.

TRADE-IN OR SELL YOUR KIT

FAIR HONEST QUOTES: provided within 24 hours

FREE COLLECTION SERVICE: See website to learn more

TRADE-IN BONUSES: available on a wide range of products

14 www.amateurphotographer.co.uk
Reset and update
Over time many of us customise our cameras to suit
the way we like to shoot, but it can be confusing for a
new user if some buttons don’t operate as one might
expect. Switching from using the shutter release to
back-button focusing is a classic example. The simple
solution is to find ‘Reset’ in the menu to set the
camera back to the default settings. Also, if you fancy
being a good Samaritan, you could ensure that the
camera’s firmware is up to date with the latest version.

Give it a clean
Before you sell a camera or lens, give it a good Know
clean to ensure it’s looking and performing its your rights
best. It may only be a small splash of mud on the When you shop with an
zoom ring from when a dog shook itself near you, online retailer you are
but a potential buyer is likely to assume that the protected by the
whole camera and lens were dropped in a puddle Consumer Contracts
and caked in mud. Don’t forget to clean hard-to- Regulations which means
reach places like the viewfinder with a brush or a you have the right to
blower to remove any dust on the optics. cancel your order and get
a refund at any point up
until 14 days from the
day you receive it. The kit
is also covered by the
Consumer Rights Act,
which means it should be
as described and the
retailer has a duty to tell
you about any faults.
You’re not so well-
covered if you buy from a
private seller as,
although the kit should
be in the condition they
described and they
should not misrepresent
it, they don’t have to tell
you about any faults.
This means a private
Make a few checks seller can’t describe a
Whether you’re selling or buying second-hand kit, lens as in perfect working
you should make the same checks to ensure that order if the focus ring
you describe the item correctly or that it meets the doesn’t rotate, for
seller’s description. With all photographic gear, the example. However,
cosmetic condition is very important as this gives getting your money back
a good indication of how much it’s been used and if you have a problem
Buying and selling how well or not it has been looked after. If you’re can be harder and you
your kit through a selling, it’s best to describe any scratches or scuff may need to go via the
dealer gives you marks, paying particular attention to the screen on small claims court.
greater protection
the back of a digital camera.
and is hassle-free

See below what you can get on some of the most popular
new products if you trade-in your old camera gear with us
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www.amateurphotographer.co.uk 15
 Technique
Find the
battery
Buyers like to see the
original battery with a
camera so don’t forget
to supply that, along
with any spares you
may have if your next
camera can’t use
them. Naturally, the
battery charger and
mains cable should
Check and clean the sensor come with the camera
Nobody wants to see dust spots on the first unless otherwise
images they take with a new (to them) camera, so stated. Take a look
check the sensor and if necessary give it a clean inside the camera’s
to ensure it’s spotless before you sell it. If you’re battery compartment
not confident or you don’t have the right cleaning to make sure that
equipment, again you may be better off selling there’s no sign of
your kit to a dealer such as Park Cameras as they corrosion or leakage.
check and clean the sensor in all second-hand
cameras that come through their doors.

Check the
shutter Check the
It’s always worth fine-tuning
taking a few test DSLR users may
shots to check that sometimes find that a
the shutter is working lens focuses a little in
correctly. Fire off a front of or behind their
shot at every intended target when they
selectable shutter compose images in the
speed and check viewfinder. This can often
that the exposure be corrected using the AF
adjusts accordingly. Fine Tuning or Adjustment
Also, listen out for feature found on more
any unusual sounds advanced DSLRs. It
and make sure that should not be an issue for
Lens checks none of the blades mirrorless cameras.
The most obvious thing to check with a lens is that the elements are clean and are sticking.
free from dust, scratches or fungus. After any dust has been cleaned off and
with the lens removed from the camera, take a good look at the elements. It’s Ask about a warranty
also important to check that any rings move smoothly with no sticky or gritty A reputable dealer will give second-hand kit a
sections. Equally, they shouldn’t be too slack and rotate too readily. Then with thorough check upon receiving it, and a
the lens mounted on a camera, check that the aperture adjusts correctly and professional clean before sending it to the new
that you are able to select every value. Also, check that it focuses correctly in owner. They also usually offer a warranty on most
manual focus and (when available) autofocus mode. items that they sell so if it develops any faults
during the first few months, you’re covered.

Trade-in 5%
TRADE-IN BONUS
or sell AVAILABLE!
your gear
Enter AP-27-NOV when submitting GET YOUR QUOTE AT
your quote to benefit from the bonus.
WWW.PARKCAMERAS.COM/TRADE-IN

16 www.amateurphotographer.co.uk
 Box it
Buyers like to see the original box with the kit that
they purchase and dealers may even give you a
higher price if you have it, so if you can, it’s worth
keeping any packaging in good condition.

Get a quote
A reputable dealer will give you a quote for your camera
gear before you commit to selling it. Park Cameras, for
example, has a dedicated page on its website where
you can put in all the details of the kit that you’re
selling, complete with guidance on how to grade the
condition of your kit. If you decide to go ahead with the
sale, Park Cameras will arrange for your kit to be
collected free of charge, and there’s a free return if
you’re not 100% satisfied with the final quote that’s
offered after they’ve received and assessed the gear.

A reputable dealer
will give you a
quote for your kit
before you commit
to selling it

Avoid the common mistakes

Fortunately, the most common mistakes that
sellers make are easy to avoid. For example, make
sure that you include the expected accessories
like the battery, battery charger, strap and
viewfinder eyecup. If you can’t remember exactly
what came with the camera, there’s usually a list
on the outside of the original box, or you may be
able to find it detailed on the manufacturer’s or a
retailer’s website.
Also be careful to quote the correct version of
the camera that you have because there’s usually
a significant price difference between a mark I and
a mark II model.
Lastly, remove your memory card from the
card port, you would be amazed how many people
forget to do that.

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We offer competitive quotes and provide a hassle free service.
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Simply complete the form at Having accepted the quotation, send your gear Once the equipment has been received & checked,
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www.amateurphotographer.co.uk 17
YOUR LETTERS

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Publisher Liz Reid Photographer of the Year book and of pockets and ability
Retail Director Steve Brown decided to check on the statistics on levels. Why do you need to
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Print Production Controller Hayley Brown good old DSLR. So of the images in There’s a big film revival
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UK annual subscription price: £152.49 cameras and one by a phone. photographers, so by
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This further breaks down as 50 taking 30 years off, you’ve
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18 www.amateurphotographer.co.uk

Oxfam often has plenty of second-hand camera gear for sale on its shop website
days when screen
resolution was much
smaller than it is today
and unless you want to fill
the screen with a forced
enlargement, the old
pictures look tiny. In our
house we have an iPad,
an iPad Mini, a MacBook
Air, a MacBook Pro and an
iMac. All have significantly
different screen
resolutions and I find the
best quality comes from
sizing the image to match
the screen. This ensures
that I, and not the
computer, decide how it
will appear on screen.    lovely Olympus OM10
Like a number of other
people over the past 18
months, the camera and
the garden have given me
something to fall back on
when travel was off limits.
It has made that period
easier to cope with.
Stuart Gooda
Charities in bed
with dealers?
When I asked about the
scarcity of camera
equipment at my local
charity shops, I was told
by certain shops that
there was an
‘arrangement’ with a
camera dealer who would
get first refusal. As a test
I donated some decent
and sellable film SLRs to
see whether they
appeared in the shop
www.amateurphotographer.co.uk
YOUR LETTERS
In next week’s issue
© MARTIN EVENING
window. To no surprise at mean and they also
all, they did not. describe very well the
Perfect
Paul O’Sullivan activity involved.
Those wishing to
Deputy Editor Geoff Harris sanitise our language
replies: Certain charities want to destroy its beauty
may do such deals, but and colour so as not to
this doesn’t seem to be a
widespread practice – I
recently donated a spare
Minolta 35mm lens to a
frighten the horses. The
politically correct tendency
comprise a tiny minority of
the population. Let’s
exposure
charity shop and they ignore them!
promptly put it on display Barry Shaw How you can improve your
rather than calling up a shooting technique to
dealer for first dibs. Editor Nigel Atherton
Oxfam also has lots of replies: I’ve often wrestled achieve the ideal exposure
used camera gear for sale with the inappropriateness
on its website, and I got a of some of the verbs used
© ANDY WESTLAKE
in photography when it
from one of their stores a comes to writing
while ago. Do other headlines and
readers have any similar coverlines, struggling to
stories? find alternatives to ‘how to
shoot birds’ or ‘shoot
Achtung ‘aggressive children’ when the word
photograph is too long.
terminology’ The word capture doesn’t
Enough already! Every day seem suitable either: ‘how
I read about ‘progressives’ to capture badgers’. Yes of
moaning about various
words that are supposed
course people know what
is meant but that doesn’t Motorsports monster
to be incompatible with make it any better. This is Andy Westlake assesses the Canon
current mores. And then nothing to do with EOS R3 and its Eye control AF
I turn to AP and what do ‘political correctness’… as
I see? Jon Bentley you point out, the English A special legacy
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
(Viewpoint, 6 November) language is constantly AP finds out more about a moving
suggesting that we as evolving. Though I exhibition on Holocaust survivors
photographers should certainly have no intention
abandon such aggressive of stopping using words Ordinary pictures
terminology as ‘take’, like shoot and capture I Peter Dench on the iconic Picture Post
‘shoot’, ‘capture’ and don’t see anything and the people behind it
‘trigger’. But these words ‘beautiful’ about them and
have been a part of our have no problem with
lexicon since God was a sometimes using better
boy; we all know what they alternatives.
On sale every Tuesday
19
 Technique
Perfect prep
Thinking of selling your kit online? Josh Waller is your
guide on how to take great product photographs, so you can
maximise how much you make, and sell more quickly
Check your item
Check your item for dust, dirt and
marks and clean it where possible.
Selling your kit in a presentable
manner shows that you take care of
your things and will give the buyer a
better view of the item’s condition.
PRODUCT PHOTOGRAPHY
Think about lighting
Think about lighting – where is your light coming from? If you
don’t have enough light, then you may need to consider
purchasing some. A simple LED panel can be used, but for better
lighting you ideally want two light sources. Another option is a ring
light. Good lighting will make your product stand out from other
people’s, and will show the buyer the condition of your item.
Use a macro
lens for
smaller objects
For smaller objects,
you’re most likely
going to need a macro
lens. This will save you a
lot of time, as you will not
need to crop your images.
www.amateurphotographer.co.uk
Smartphone
tips
For the best results use a
camera, be it a compact,
a DSLR, or a mirrorless
camera. If you do use a
smartphone to speed up
the process of getting your
images onto the site
you’re selling on, such as
eBay, then be aware that
all of the same principles
apply. Lighting is key,
especially as the
smartphone has a
smaller sensor.
Include the
details
If there is any damage or
wear to the item, then be
sure to show clear photos
detailing this, because
this will avoid
disappointment, and also
ideally prevent people
from wanting to return the
item. If there are any
issues or problems with
the item you’re selling,
make sure you include
this clearly in the listing.

How many
photos do
I need?
Take the right number of
photos – if you’re using
eBay, then you can upload
a maximum of 12 photos.
If your product warrants it,
then use all 12 photos.
Make sure you show
everything that is included
in the sale – for example,
if there’s a box, manuals,
accessories, battery and
charger. This will minimise
the questions you get
asked about the listing.
Edit your
photos
If you have time, then
adjusting the brightness
levels in photo editing
software such as
Photoshop can help, as
can cropping your photos.
A white background will
give your images a
professional look.
www.amateurphotographer.co.uk
Set your
aperture for
greater depth
Set up your camera
on a tripod, as this
will allow you to use a
smaller aperture and set
the camera to aperture
priority. As a rough guide,
here are some
recommended apertures
for better detail: f/8-9
(Micro Four Thirds),
f/10-12 (APS-C), f/13+
(full frame). For smaller
items you may want to
increase this further, so
instead of f/8, you may
want to use f/16, though
beware of diffraction.
‘If there is any
damage or wear
to the item,
then make
sure to show
clear photos
detailing this’
Prep your area
Set up an area where
you will be taking the
photos – this could be a
white shelf, window ledge,
or table. If you don’t have
anything suitable, then
you can use an A3 or A4
piece of paper to create a
white background.
Check your
white balance
Check that your white balance
settings match your lighting,
because this will improve your
photos as well as more accurately
represent the colour of your items.
If you’re shooting using tungsten/
incandescent lighting, then using
this setting on your camera will give
you great-looking colours, and your
background should be nice and
white, depending on your camera. If
needed, manual white balance will
give you the best results.
 Enjoy Winter Savings
of up to £180 on
Nikon at Grays.

40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays
Instagram: @nikonatgrays LinkedIn: Grays of Westminster
CAMERA REPAIR
A
click
fix
The objects we share our lives with can
have a rich history that echoes our own.
Tracy Calder asked photographers and
repairers about the camera equipment
that tugs at their heartstrings
I
n 1970 Don McCullin was
with a platoon of Cambodian
soldiers in the rice fields of
Prey Veng when the Khmer
Rouge opened fire. McCullin chucked
his camera (a Nikon F) on a nearby
ridge and hurled himself into the
water, his head almost submerged.
When he retrieved his camera
moments later, it bore the imprint
of a bullet from an AK-47. The
photographer found this exhilarating,
as he explains in his autobiography
Unreasonable Behaviour. ‘I thought to
myself, Boy, you’ve done it again,’ he
admits, ‘you’ve managed to get away
with it.’ Almost 50 years later this
battle-scarred Nikon was a key exhibit
in an exhibition of McCullin’s work
at Tate Britain.
I’ve long held the belief that
objects have a biographical history
that can sometimes be read in their
appearance. Just as we are
unavoidably shaped, marked and
transformed by our experiences, so
too are the objects we share our lives
with. ‘Every thing has its history as
every person has its own biography,’
echoes historian Asa Briggs. Two
people who obviously feel the same
are photographer Mark Nixon and
author (and photographer) Matthew
Hranek. Nixon’s book Much Loved is
a favourite of mine. It features
24
The in-house repairer
at the Camera Museum
fixes a Hasselblad
A12 film back
portraits of stuffed toys that have
been snuggled, squeezed and stroked
until they have literally been loved
to bits. Nixon describes these toys as,
‘repositories of hugs, of fears, of
hopes, of tears, of snots and smears’.
They are transitional objects that
ease the path from childhood to
adulthood. The pictures are both
celebratory and bittersweet.
Hranek, on the other hand,
selected watches as his muse. In his
book A Man and His Watch, he
recounts stories behind much-loved
timepieces, from the Omega JFK
wore during his presidential
inauguration to the Rolex Paul
Newman received from his wife,
Joanne Woodward, to mark their
25th wedding anniversary – the case
bears the words ‘Drive slowly’, a
reference to the motorbike accident
he was involved in in 1965. All 76
watches in the book were
photographed by Stephen Lewis who
used his ‘love of objects and life-long
practice of observation’ to reveal the
most essential qualities of each one.
To the author, the photographer
and the people who own these
watches they are more than just
objects, they have been worn on
© CAMERA MUSEUM
the body, close to the heart.
If proof were needed that objects
have a biographical history
www.amateurphotographer.co.uk
www.amateurphotographer.co.uk 25
CAMERA REPAIR
then consider the BBC TV series
The Repair Shop for a moment.
Week after week people show up
with objects that are in need of
serious TLC: a ceramic bowl in
pieces, an airman’s jacket with
broken zips and weakened seams, a
pump organ that hasn’t made a
sound for a generation. To anyone
else these are just ‘things’, but to the
people who know their stories they
are hugely emotive. ‘There are
compelling stories attached to each
item, which range from romantic
and sentimental to downright
terrifying,’ says presenter Jay Blades.
With each stitch, dab of glue or turn
of a screwdriver the experts
entrusted with their care fall a little
bit in love with each object. Going
forwards, they become part of the
item’s history.
All of this got me thinking about
McCullin and whether there were
other cameras with biographical
histories. To find out, I asked a
selection of photographers and
camera repairers to tell me about the
cameras that have tugged at their
heartstrings. First up is author and
expert in photographic history John
Wade. ‘Some years ago, while
26
© CAMSERVE LTD
© CAMERA MUSEUM
researching Wrayflex cameras, I
managed to track down one of the
old directors of the Wray company,’
he recalls. ‘Arthur Penwarden was 97
years old when we met and proved
to have a lifetime of invaluable
memories. After we’d chatted for a
while, he showed me the first
Wrayflex camera, one of three
pre-production prototypes. I saw
immediately that it differed slightly
from the production models and I
wanted it. Unfortunately, it wasn’t
for sale because, he said, it held too
many memories. I left him my
business card and we parted
company. Two years later, I received
a phone call from Arthur’s daughter.
Arthur had passed away two months
short of his 100th birthday and,
among his goods, she had found a
camera, wrapped up with my
business card and a note to say it
should be passed on to me. To the
untrained eye, it looks like any other
Wrayflex. To me, it’s among the few
cameras in my collection that I will
never sell.’
Next, I spoke to Wes Davies from
Camera Repair Direct. Davies has
been repairing cameras for 24 years
and has a particular love for the
Above: The engineering of old 35mm models.
Camera Museum ‘We see a lot of cameras that have
houses a sentimental value,’ he says. ‘These
comprehensive items have often been passed down
timeline of
cameras from the or given as a present, so I must admit
19th century to that I try a little harder to get them
the digital age going for our customers. One of our
customers, who recently passed
Top left: A Sony away, used to bring his cameras in
AF lens in the for a yearly service and show me the
process of being pictures he had taken from around
stripped down for
cleaning at the world. He had some great shots,
Camserve Ltd and you could see how much he
cared for his equipment – it was like
Above left: A an extension of his soul. I love to
copy of Amateur travel but I don’t get much chance
Photographer these days, so I enjoy looking at
from 1960 pictures and hearing such stories.’
accompanies one
Davies is not the only one who
of the exhibits at
the Camera enjoys working on analogue
Museum equipment. Philip Sendean from
Sendean Cameras has a soft spot for
Contax 645 cameras and the Braun
Nizo 801 Super 8 Cine Camera. ‘The
Nizo 801 is well engineered and was
ahead of its time,’ he enthuses. ‘It
should outlast its rivals.’ Sendean
has heard many stories over the
years and is keen to tell me about a
Canon EOS 5D that crossed his path.
‘It was used for filming a
documentary about walking with
www.amateurphotographer.co.uk

elephants and following their
journey,’ he explains.
Meanwhile, Adrian Tang from the
Camera Museum loves to get his
hands on cameras from the
Hasselblad V-series. ‘It’s always
rewarding to keep such iconic
models fully working and in good
health,’ he says. ‘Once a customer
brought in a Hasselblad V-series
camera with a lot of sand inside and
we had to dismantle and clean
every part. It was time
© JOHN WADE
www.amateurphotographer.co.uk
CAMERA REPAIR
Camera repair shops
A small selection of the camera repair
services offered in the UK
Aperture UK
www.apertureuk.com
In-house repair service for film cameras and lenses, specialising in
repairs to all mechanical cameras, but especially Leica, Hasselblad,
Rollei and Nikon.
What is your favourite camera to repair?
‘Nikon, Hasselblad and Leica, but especially the Nikon F2.’
Kriton Krimitsos (camera technician)
Camera Museum
www.cameramuseum.uk
Camera shop, gallery, coffee shop and in-house repair service,
specialising in analogue Hasselblad, Rolleiflex, Leica, Nikon (and
other similar models).
How do you approach a repair job? ‘It’s a bit like surgery: first you
need to identify the problem and then you need to work out what
parts you need to fix it!’ Adrian Tang (co-founder)
The Classic Camera
theclassiccamera.com
Rangefinder and mirrorless camera specialists offering repair
options for mechanical cameras, lenses and optical devices, plus
digital repairs through individual manufacturers.
© CAMERA MUSEUM
Camera Repair Direct
www.camerarepairdirect.co.uk
In-house repair service, specialising in digital cameras, SLRs,
compacts and lenses.
What can’t be repaired? ‘Liquid damage can be fatal. Cameras can
often be brought back to life, but they can experience issues later
down the line because liquid gets everywhere.’ Wes Davies (owner)
Camserve Ltd
www.camserve.co.uk
Below: A
pre-production Camera service and repair centre (90% of work carried out in-house)
handling everything from analogue to digital, lenses and flash.
model of the
Wrayflex I, Are there repairs that people shouldn’t attempt at home? ‘We see
probably the quite a lot of cameras and lenses in pieces because customers
oldest Wrayflex have taken them apart and can’t put them back together again.
still in existence The rise in “how-to” videos is partly to blame – some suggestions
are plain wrong!’ Steve Smart (director and owner).
[Most digital cameras can also give you a nasty electric shock if
not handled correctly.]
Fixation
www.fixationuk.com
In-house repair service for DSLR and mirrorless digital camera
systems. Also has a professional lens repair workshop and lighting
repair centre.
Sendean Cameras
www.sendeancameras.co.uk
Camera repair and equipment hire service, handling analogue and
digital equipment (all technicians work in-house).
What are the most challenging repair jobs? ‘Some older electronic
cameras are tricky because spare parts are no longer available and
we have to engineer methods and make parts (sometimes using 3D
printing) to keep them running.’ Philip Sendean (director)
27
 CAMERA REPAIR
consuming (and very
expensive!) but both parties
were happy in the end.’ Tang
believes that almost anything can be
repaired, but not everything is worth
the time and money it takes. Like
Tang, Steve Smart from Camserve
Ltd loves to work on well-designed
and manufactured models. ‘All
manufacturers tend to make the odd
“lemon” from time to time, but in
general Canon, Hasselblad, Leica,
Nikon and Rollei all make items that
BOTH PICS © CAMSERVE LTD
28
are serviceable for years,’ he suggests.
Smart is often told about cameras
that have come to a sticky end. ‘One
guy left his Canon EOS 5D Mark III
and zoom lens on the roof of his car
and didn’t realise until he’d finished
his journey,’ he remembers. ‘When
he retraced his steps, he found what
was left of it – it had been run over
several times. Another chap suffered
a heavy nosebleed at the precise
moment he was cleaning his sensor,
so it ended up covered in blood.’
Above: A Leica Finally, I made contact with
M6 with its covers neuropsychologist (and former
removed for photojournalist) Dr David Lewis-
adjustment and Hodgson who told me about his
cleaning at
Camserve Ltd beloved Nikon F. ‘This camera
“served” with me throughout the
conflict in Belfast (1969-75). It has
been attached to the tailplane of a
Tiger Moth, smashed (but repaired)
by a Lightning fighter making an
emergency landing in a gravel pit
arrester and drowned in 40ft of sea
water when the underwater casing
flooded. Despite being half-a-century
old, it still works fine!’ Going back to
McCullin, I can see why his particular
Nikon F attracts so much attention.
This camera has been a witness to
atrocities that, thankfully, few of us
have had to endure. It has served as
both a physical and mental buffer for
the photographer over the years. The
scars it bears can be interpreted as his
own: every scratch, dent and graze
tells its own story. Just like McCullin,
this camera has a personal biography
and its past, present and future have
been shaped by war. The objects we
Left: A Nikkor share our lives with – from teddy
18-70mm
f/3.5-4.5 ED DX bears to watches and cameras – might
lens awaits not have a voice, but for those who
some TLC at know the source of their scars
Camserve Ltd they do speak.
www.amateurphotographer.co.uk
 Technique MAKING MONEY
Is it still possible
to make money
from stock
photography?
The golden age of stock photography may be over but
James Abbott investigates some alternative approaches
to the traditional stock model that can be profitable
S
tock photography has long played
an important role in photographers’
revenue streams thanks to its ability
to generate passive income from
images. But where the stock industry was
once lucrative to the point where some
photographers could make a comfortable
living from stock photography alone, this is
unfortunately no longer the case.
Digital photography and the ability for
almost anyone to sign-up to some stock
libraries have flooded the market with images,
which has in part driven down the royalties
photographers receive; it’s a simple case of
supply and demand. But that’s not to say
that the larger libraries such as Adobe Stock,
Alamy, iStock, Getty, Shutterstock and many
more are redundant since they can all provide
that all-important passive income, albeit a
modest one.
30
So, while you may not make a fortune from
using one or more of these larger libraries to
license your images, it’s still worth considering
them because they can provide an additional
revenue stream regardless of how profitable.
You just have to consider the amount of work
involved in preparing, uploading and
keywording images against the potential
income their sales will generate.
There are also other ways to license and sell
your images, and that’s what we’re going to
concentrate on here with four approaches to
licensing and selling images in both digital
and physical formats using alternative
approaches to the traditional stock model.
The advantage of these is that you have
control over pricing and the images you can
sell, not to mention the opportunity to
generate a much higher level of income from
your photography.
www.amateurphotographer.co.uk
 Expert tips for
maximising
image sales
Philip Mowbray, content manager at
Picfair (www.picfair.com) is an
expert on all things stock
photography and shares his top ten
tips to help you to increase your
chances of selling more images
using online hosting services.

1 Don’t over-edit your photos

Keep editing to a minimum because
buyers often apply their own
adjustments to images to fit
in-house styles. Any significant
adjustments to a photo, especially
those that render the image
unrealistic, will restrict its use. So,
when editing images for selling
online, less is much more.

2 Leave space for text

Editorial customers often overlay
text on images (eg. magazines and
book covers) in areas such as sky,
sea, grass or anywhere with a
solid block of colour that isn’t too
busy. Including space for text within
your images will give them added
value and ultimately much greater
sales potential.

3 Self-promotion is essential
The landscape of image buying has
changed dramatically over the past
ten years and buyers often use
social media to discover images. We
find that photographers who are the
most active on social media, linking
and promoting their Picfair Stores,
have increased success with selling
their images.

4 Network with potential

buyers
If a photographer’s work caters to a
specific niche or industry, they
should research and reach out to
any relevant companies or contacts
with a link to their images. This
could be as simple as sending a
quick email to an editor or manager
to introduce themselves and
their photography.

www.amateurphotographer.co.uk 31
 Technique
5 Accurately keyword images
Think like a buyer and include
keywords that accurately describe
the image and are likely to be used
as search terms; an image might be
an ideal fit for a buyer, but it needs
the right keywords to be
discoverable. Avoid using irrelevant
keywords because this type of
spamming annoys buyers.
6 Always include location
information
Location information can have a
significant influence on whether an
image is purchased or not. Buyers
often need clarity on where a photo
was taken, especially for location-
specific creative briefs and editorial
features so providing this
information is an effortless way to
help your images sell.
7 Stand out from the crowd
Concentrate on developing a unique
style and mastering a specific genre,
rather than recreating the same
generic images as other
photographers. Photographers who
stand out from the crowd with a
more unique and identifiable style
are generally more successful in
the long run.
8 Follow upload requirements
Always follow the upload
requirements of the hosting site.
Any rules on what you can or cannot
upload are there for a reason and
ultimately to help you sell images
and increase your chances of
success. Attempting to bypass them
will result in rejected images,
disappointment and wasted time.
9 Sign up to email newsletters
Many photography blogs and image
hosting sites will send regular
emails to their photographer
community; make sure you
subscribe and absorb their advice.
They’ll usually cover topics such as
trends, what’s been popular on the
platform and general tips for
improving your images.
10 Take time to consider
pricing
At Picfair, as with many other online
hosting services, photographers are
free to set their prices for their
images. Prices vary, but we find that
there’s a sweet spot between
£10-£25 for an editorial/commercial
licence or to purchase a print
(excluding production and shipping).
32
MAKING MONEY
Picfair
www.picfair.com
Picfair is a stock photography disruptor that
puts photographers of all levels in much
greater control over image pricing when
selling their images as either digital
downloads or prints. All you have to do to
get started is to sign up to the website,
upload your images, set your price and you
can then sell your images through your
personal store on Picfair as well as through
the Central Marketplace.
Setting up an account is incredibly easy,
and you can opt for the free account, pay
£69.90 for an annual subscription to Picfair
Plus or sign-up for a monthly subscription
for £7 per month. The free account is
limited to 50 images with basic functionality
that’s more than enough to get started, but
if you’d like more control over the look and
feel of your personal store, enjoy additional
functionality, unlimited uploads, zero
commission and much more, Picfair Plus is
for you. You could always get started with
the free account and upgrade once you’ve
got to grips with the platform.
With this website, the photographer sets
the price that they would like to receive for
each image sold regardless of the account
type they hold, while Picfair adds a 20%
commission to this price for free accounts.
So, an image where the photographer has
set the price to £20 will sell for £24, while
no commission is added to Picfair Plus
accounts so that image would sell for £20 or
another price set by the photographer.
Funds from sales will then be paid by BACS
(UK only) or to your PayPal account – it’s
really that simple.
Images can be purchased as digital
downloads with licenses for editorial and
personal uses, commercial uses and
advertising uses. Each of these is on a
sliding price scale with advertising usage
providing the highest revenue for the
photographer. Buyers can also purchase
prints, framed prints and canvas wraps with
fulfilment handled by Picfair so you can sit
back and relax.
SmugMug
www.smugmug.com
If you’d like full control over image sales,
whether digital downloads or prints, framed
prints and other traditional print options,
SmugMug is a great option because it allows
you to incorporate these selling options into
your SmugMug website. SmugMug is a
website and hosting company whose
e-commerce solutions are aimed primarily at
professional photographers, which is
reflected in the price for the two plans
where this functionality is available.
To sell images as digital downloads with
either a personal or commercial license, or
to sell prints etc. you’ll need to sign-up for
the Portfolio or Pro accounts; Portfolio costs
$32 per month or $240 annually, while Pro
costs $50 per month or $432 annually,
which means you need to be selling a lot of
images to make the investment worthwhile.
However, this does include your website
and hosting, excluding your URL cost, so it
may not be a great deal more expensive
than the website service you already use or
are considering.
When it comes to selling downloads,
these are set up by you and the process is
quite simple with plenty of guides
available. Fees are attached to this service
but they are low and can be viewed in the
Help sections of the SmugMug website.
Selling prints is just as easy, with fulfilment
in the UK and EU provided by Loxley
Colour, with several other options
available in the US. You can even order test
prints to check the print quality of the
different labs.
The SmugMug option is the ultimate in
control because you host all sales within
your own website and set your prices while
SmugMug takes care of payment handling
and print fulfilment through its reputable
partner labs. You receive 85% of the
difference between your price and
SmugMug’s default print prices with the
15% retained by SmugMug paying for
credit card payment fees, customer service
and administration.
www.amateurphotographer.co.uk

Creative Market Fine Art
America
www.creativemarket.com
Creative Market is one of the lesser-known
options here and is primarily a website for
selling digital design downloads such as
graphics, fonts, design templates, Photoshop
Actions and much more, with photo
downloads and licensing being one of the
options. Physical print options are, however,
not available because the emphasis here is
digital downloads so it’s not as
comprehensive as other options covered here.
With this website, you create a store,
upload your images, set the prices and you’re
now selling your images online. Creative
Market then offers three licenses to buyers –
Personal Only, Commercial and Extended
Commercial with the ability for buyers to
contact Creative Market for additional
premium usage options. These licenses
provide a sliding scale of cost, with
Extended Commercial being the most
expensive if not counting premium usage
where prices aren’t listed.
The beauty of this site is that it takes care of
payments and sales tax for you, which can be
a headache when selling digital products to
EU countries because of the different rates of
VAT in member states. But since the website
is based in the United States, you need to fill
in a tax form to avoid paying unnecessary US
taxes if based outside of the country and this
can be done through the website itself. You
are, of course, still liable for income tax in the
UK and must declare your earnings as with all
of the options we’ve covered here.
Payments are available to be requested once
you’ve reached the minimum threshold of
$20, and payments are made on a set date
each month to your nominated PayPal
account. Use of Creative Market is free, but
each sale you make is subject to a 30%
commission that goes to the website and is
automatically deducted from your sales. This
can be offset against the amount you sell
your images for, but prices here are generally
lower than Picfair, for instance, so you
wouldn’t want to make your prices too high
to remain competitive.
www.amateurphotographer.co.uk
www.fineartamerica.com
Throwing something of a curveball into the
mix, Fine Art America is a website that’s
primarily aimed at selling a wide range of
physical products featuring your photos.
These range from traditional print options
such as canvases and framed prints, to
products such as bags and phone cases
featuring your images – the full range of
products is simply too large to list. Plus, you
can also license royalty-free and rights-
managed digital downloads of your images,
although the website is best known for its
print-based offerings.
Creating an account, uploading your
images and setting your profit on top of the
production costs of the products is quick and
easy, and with the free account you can
upload up to 25 images. The Premium
Membership only costs $30 per year and
provides unlimited uploads, the ability to sell
your Fine Art America products on your
website, provides a personal website if you
don’t have one and you can send up to
10,000 marketing emails at a time. It’s a small
price to pay for unlimited uploads and being
able to copy and paste code into your existing
website to sell products.
For physical products, Fine Art America has
16 manufacturing facilities in five countries
around the world, meaning your work is
accessible to the global market. When it
comes to digital downloads and licensing,
you can set any of your images to be sold this
way with the ability to sell royalty-free and
rights-managed digital downloads, as well as
being able to set up custom licenses for more
specific uses with time limitations. For
downloads, you set the price and Fine Art
America adds a 30% commission on top.
The website is also a little like Flickr in that
you can join groups, enter challenges and
comment on other photographers’ images. So
while it’s primarily a platform for selling
photography products, there’s also a vibrant
community that you can take part in.
Jargon
buster
Rights managed
In stock photography, this is a
licence that allows a single use
of an image as outlined by the
licence. The buyer can choose an
exclusive licence which means
additional licences won’t be sold
within a set timeframe, but this is
more expensive. Non-exclusive
means that further licences can
be sold.
Royalty-free
Royalty-free images are anything
but free – the buyer still has to
pay for a licence to use, but
usage is much more open than
rights managed. With this
non-exclusive licence, that the
image can be used multiple
times for different uses for
the initial price that’s paid for
the licence.
Commercial use
Commercial use refers to images
that are used to sell a product or
service. These images require
model and property releases,
while logos, brand names and
recognisable products should be
avoided when shooting because
these can be problematic and
could lead to lost sales or hours
of retouching.
Editorial use
Images depicting people or
private property that don’t have
model releases can be used
editorially in magazines,
newspapers and textbooks etc.
to illustrate a story or idea, but
they can’t be used commercially
to sell a product or service, for
instance.
Releases
For images depicting people or
private property, you must have a
model release or property
release for images to be used
commercially to sell a product or
service. Even if you photograph a
friend or family member with the
intention of using the images
commercially, you still need a
model release.
33
ADVERTISEMENT FEATURE

Celebrating
the UK
at its best
Enjoy the winning images from our
major competition with cottages.com to
capture the best of Britain

E
arlier this year we ran a competition with cottages.com,
the UK’s leading provider of self-catering holiday
properties and luxury homes, to win one of five fantastic
UK breaks up to the value of £2,500 and a GoPro bundle.
The competition, called Viewfinder, featured five categories –
Classic Countryside, City Break Sights, Capturing the Coast,
Sunscape Scenes and Wild Walks – which gave fans of landscape and
scenic photography a lot of creative scope.
The judging panel comprised AP editor Nigel Atherton, well-
known travel writer and broadcaster Simon Calder, and Paul Evans
from cottages.com. The results are now in – see below for full details
of the category winners.

Classic Countryside
Nikon Z 50 with 16-50mm lens
Andrew Kennedy from Northampton wins this category,
with an image of the Milky Way over Stevington Windmill,
located outside Bedford. ‘We never get to see the Milky Way in
this part of the UK, but with the right settings on the camera,
you can just make it out,’ he explains. ‘I used the Photo Pills
app to locate the Milky Way, but it was going to be hours
before it was positioned where I wanted it to be for my
image. I used the time by taking some light paintings of the
windmill, then the Milky Way was showing just where I wanted
it. I tried a number of shutter speeds and ISO settings to see
which setting brought out the Milky Way best.’

Editing the image

The editing process consisted of using 20 images of the
Milky Way and three light-painted images of the windmill.
‘I loaded the 20 images into Sequator, which helps to align
the stars and stacks them. Once it had rendered the final
shot, I opened the image in Photoshop before making the
final touches in Lightroom.’

34
City Break Sights
iPhone 12
Matt Henderson from Kelbrook wins with an image of
the Natural History Museum in London, reflected in a
puddle. ‘Visiting London during very rainy, changeable
weather, I took many shots of famous landmarks reflected
in puddles,’ he explains. ‘The overhanging tree, height of
the tower and the angle of the building leading you in, gives
this image a symmetry and clarity which made it stand out
from the other shots I took that day.’

Editing the image

‘The conditions where pretty perfect, with a sunny hot spell
following very heavy rain, so I did some small adjustments
in Lightroom,’ Matt explains.

35
ADVERTISEMENT FEATURE

Capturing the Coast

Nikon D750 with Tamron 24-70mm lens
The winner of this category is Aoife Crawford-Bonner
from Loughton, with an image taken at Smalls beach
at Salcombe in Devon. ‘This photo represents typical great
British summer weather,’ Aoife explains. ‘Grey skies and a
little chilly, but this couldn’t dampen the fun of the little
ones. We spent hours on the beach, building sandcastles,
rivers and dens, all overlooking the beautiful backdrop of
Salcombe. Having just been through lockdown and home
schooling, this photo felt like pure paradise and freedom.’

Editing the image

‘I edited this photo very slightly in Lightroom Mobile,’
Aoife adds. ‘As it was an overcast day, I adjusted
slightly for shadows/highlights, and straightened it up.
Other than that, the scene in front of me did all the
hard work to look so picture perfect.’

Sunscape Scenes
Huawei P30 Lite, f/2.4 ultra-wideangle
(13mm equivalent)
Jason Louis from Taunton wins with an image of
Bamburgh Beach. ‘My wife Sarah, my dog Bert and
I stopped at the beach on the way home from touring
Scotland,’ says Jason. ‘We had no idea how beautiful
the Northumberland coast was and were treated to a
stunning sunset, with the light changing by the minute.
I love how the joyful movement in the photo, with Bert’s
tail wagging and Sarah holding her shoes aloft, is
reflected in the water, and how the eye is drawn to them
near the point where the line of waves and sunlit clouds
converge.’ The image did not require any editing.
Wild Walks
Nikon D3500 with Nikkor 35mm lens
Last but not least, Francis Wilson from
Huddersfield bags this category with an
image of Storthes Hall in West Yorkshire. ‘My
intention was to shoot some treescapes in
this ancient woodland, but it quickly came to
my attention that the wood was a popular
dog-walking spot,’ says Francis. ‘So when I
spotted this gentleman walking towards me, it
was just a matter of waiting for him to walk
into the composition. This image stood out to
me because it shouts “autumn”. I also like
the soft bokeh effect on the surrounding
foliage, which adds an almost dreamy feel.’

Editing the image

‘I upped the vibrance in Lightroom Classic,
then lowered the saturation a touch. After
this, I dropped the texture and clarity down,
but then brushed it back in selectively. I then
sharpened the subject, whilst adding a touch
more clarity. Next, I upped the saturation of
the reds, oranges and yellows, whilst moving
the colour calibration slider over, so I brought
the whole image closer to orange. Then
I brought the image into Photoshop to
accentuate the shadows and highlights with a
few curve layers. I finished with a bit of
sharpening using a high-pass filter.’

36 www.amateurphotographer.co.uk
 The judges’
comments
on the winners
Paul Evans (cottages.com)
‘Our aim when launching Viewfinder
was to give people the chance to
preserve a moment in time during
what will forever be remembered as
the year of the staycation – and boy,
did they deliver! Every single corner of
these fantastic isles seems to have
been captured as part of this
competition and it just goes to show
why the UK continues to be such an
attractive holiday destination,
particularly for those of us fortunate
enough to already live here!’

Simon Calder
‘Judging this photographic
competition was a huge pleasure. 
The overall standard was incredibly
high and it was lovely to be taken on
a tour of the UK through so many
high-quality images. It really reminds
us that an award-winning picture
does not need to be taken at some
place that is foreign or exotic; if you
can skilfully combine and catch light,
subject matter and atmosphere,
you can take a great photo in your
back yard, down the road or in your
local park. I hope that this
competition becomes an annual
opportunity for everyone.’

Nigel Atherton
‘I am involved in judging a lot of
competitions and the quality of
images submitted to Viewfinder was
really outstanding. Entrants captured
the sheer variety of the British Isles,
and showed lots of creativity and
imagination. It was a hard task to
draw up a shortlist, but the category
winners are superb. Everyone who
entered Viewfinder should be
applauded for their photographic
skill, however, and I am sure this
competition will only get bigger and
bigger in the future.’

www.amateurphotographer.co.uk 37
 Testbench
Compact
classic
Matt Parry makes his case for the
Olympus XA3, an often-overlooked
sibling of the XA, to be considered
the ultimate ‘take everywhere’
35mm point-and-shoot film camera
T
he revolutionary
Olympus XA was the
brainchild of Yoshihisa
Maitani, Olympus’s
famed camera designer and the
man who, in a quest to deliver
superb quality in a compact form,
had previously gifted the world
the OM series as well as the Pen
half frame cameras.
Yet despite Maitani’s earlier
successes, the XA was
considered by some to be his
greatest achievement and was
ground-breaking in so many ways
when it was launched in 1979.
Born out of Maitani’s desire to
have a camera that could fit in a
shirt pocket and be carried
anywhere, his innovative
clamshell design offered sleek
lines as well as protection for the
super-sharp 35mm f/2.8 F.Zuiko
lens that continued to outperform
its peers long after its release.
At a glance
£50 - £60 second-hand
O 35mm compact with
clamshell cover
O 35mm f/3.5 lens
O Shutter speeds 2sec - 1/750sec
O ISO range 25-1600, DX coding
O Centre-weighted meter
O Uses two SR44/LR44 batteries
38
IN THE FIELD
Even today, over 40 years on, it
retains its status as one of the
best 35mm compact film
cameras ever made.
Maitani’s XA was in fact the
first of five ‘XA’ cameras to adopt
this same design, a concept
which was later utilised in
Olympus’s hugely popular Mju
cameras. As an aperture-priority
rangefinder, the pro-spec’d XA is
undoubtedly the pick of the bunch
when it comes to desirability and
functionality. Like any popular
older sibling, it was a hard act to
follow, particularly as the stripped-
back models to come were aimed
squarely at the amateur market.
First, with the XA2 in 1980, and
then the XA3 in 1985, Olympus’s
more budget-friendly offerings
lost both rangefinder focusing
and aperture-priority control. Above: Krabi, Thailand The Olympus XA3
Despite this, they still packed a Olympus XA3 & Agfa Vista 200 At this point I should say that
punch in terms of image quality. I own the XA, XA2 and XA3 and
I am a big fan of all of these
cameras. Yet it often surprises
people when I say that the XA3
is my pick of the bunch.
It was the first film camera I
bought back in June 2017 (for
just £33.50 on eBay) soon after
I started shooting film again. At
the time I was using a relatively
modern Canon EOS SLR, but I
wanted a compact camera that
I could take everywhere.
My first impressions were
mixed. The feather-light shutter
was frustratingly sensitive, the
viewfinder poor and I had never
www.amateurphotographer.co.uk
experienced zone focusing before
so I missed the ability to focus
accurately on my subjects,
particularly for portraits. However,
I was very impressed, and
admittedly surprised, with the
results this small camera
produced, thanks to its
wonderfully accurate centre-
weighted meter and sharp lens.
I persevered and have since
put over 70 films through the XA3
covering a large variety of colour
and black & white stocks. In the
process, I’ve been converted to a
fully-fledged member of this
camera’s fan club. I had become
the embodiment of Maitani’s
vision; his diminutive yet quality
www.amateurphotographer.co.uk
‘pocket’ camera meant I was
taking it everywhere and as a
result, shooting more and more.
Overseas and much closer to
home, on walks or bike rides with
the family, this is the one camera
guaranteed to accompany me
whenever I leave the house. On
longer trips it is usually joined by
either a 35mm SLR or medium
format TLR (and as a travel
photographer I will have my digital
camera too). Yet its form factor
and results ensure I return to it
time after time. So much so that
it has seen many other cameras
come and go from my collection
and has largely reduced the
mighty XA to living on the shelf.
Features
When exploring the feature set of
the XA3 it is worth highlighting
some of the key similarities and
differences versus both the XA
and XA2. Getting the most
obvious one out of the way first,
it is important to note that the
XA2 and XA3 are fundamentally
nothing more than zone-focused
point-and-shoot cameras. They
offer very little in terms of
functionality versus the aperture
priority, rangefinder-focused XA
and for many photographers they
would be unfairly discounted
purely because of this.
At their core both the XA2 and
XA3 are uncomplicated and
affordable cameras packing an
excellent lens into ultra-compact
bodies that weigh just 200g and
220g respectively.
They share a 4-element D.Zuiko
35mm f/3.5 lens, so on paper a
step down from the 6-element
f/2.8 lens of the XA; yet it offers
no discernible difference in image
quality. The lenses all utilise
Maitani’s ingenious internal
focusing design that allows the
front element to sit just 31mm
from the film plane and avoid the
need for it to protract or retract
from the camera, a critical and at
the time ground-breaking feature
that enabled the small form
factor to be achieved.
39
 Testbench
While the XA2 and XA3
are very similar, one of the
XA3’s ‘upgrades’ over the XA2
was the inclusion of DX coding.
This can be a blessing or a curse,
depending on how you like to rate
your film. For those that shoot at
box speed (like I do more often
than not) it saves having to
remember to set your ISO when
you swap between film stocks.
For those who want to pull or
push films you will need to mask
the DX code on the cassette. But
when you do, you are able to set
the ISO between 25 and 1600,
an improvement over both the XA
and XA2’s ISO 800 limit.
Another change versus the XA2
is the inclusion of the backlight
compensation option on the
bottom lever. Previously seen on
the XA, this feature adds 1.5
stops of exposure for shooting
subjects that are backlit. While it
is a nice addition, it is one I rarely
take advantage of.
All three cameras have a 12-
second self-timer function found
on this same lever while the base
includes a standard thread for
tripods as well as the battery
compartment. The cameras all
take 2x LR44 / SR44 batteries
which are easy to find and can
last for years. The battery can be
checked using the same switch
on the base. A healthy battery
should make a continuous noise,
Olympus XA range at a glance
IN THE FIELD
but if the sound is intermittent or
the red LED light is flashing then
the battery needs changing.
Simple yet effective!
The cameras’ small size is
partly achieved through the
omission of a flash or hot shoe.
For many, including myself, this
was a worthy sacrifice that
favoured form over features.
Those wanting a flash were still
catered for with the A16 or more
common A11 flash attachments.
These are compatible with every
XA model and are curved to fit
the shape of the camera.
One unique feature that these
cameras share is the ‘feather-
touch shutter’ which unlike a
traditional shutter button is a very
sensitive red pressure pad. While
this ensures the camera remains
streamlined and is designed to
avoid shake, it does take some Porto, Portugal.
getting accustomed to. The This pocket
shutter produces a subtle ‘tinny’ camera has
clink that is inoffensive and accompanied me
quiet enough to appeal to all over the world
street photographers. Olympus XA3 & Agfa Vista 200
Despite being electronically
operated these cameras don’t frame advance and rewind. Lastly it is worth highlighting
have an on/off switch and are Loading film is remarkably easy the 3-zone focus settings on the
ready to shoot as soon as the and trouble-free. It only requires a XA2 and XA3. Focus starts at 1m
cover is opened. The cover also short length of film for the leader (3.3ft) up to 1.5m (5ft) for the
serves as protection for the to reach a red line where the close-up ‘twin heads’ icon, 1.2m
viewfinder and lens, which means sprockets can take over and do (4ft) to infinity on the ‘double
you don’t need to carry the their thing. This allows me to body’ setting and 2.5m (8.3ft) to
cameras in a case. The XA consistently shoot 39 frames on infinity for the landscape
cameras are all manual film load, a 36-exposure film. ‘mountain’ icon. A common
criticism of the XA’s rangefinder
patch is that it is too small and
dull, especially in low light. As a
result, the zone-focused models
are usually quicker to use.

XA (below left). The first and most advanced model
in the series packs aperture-priority autoexposure
and a rangefinder focused 6-element 35mm f/2.8
lens into a wonderfully compact body.
XA1 The battery-less runt of the litter was released
in 1982 and is the most basic model in the range
with a selenium meter, f/4 lens, no focusing and a
more traditional button shutter. These cameras are
best avoided.
XA2 (below right). This best-selling ‘point and
shoot’ model was released in 1980 and introduced
3-zone focusing and an excellent 4-element 35mm
f/3.5 lens into the same compact body as the XA.
XA3 (below centre). A minor upgrade to the XA2
introduced DX coding, increased the upper film
speed limit to ISO 1600 and added the option of
1.5 stops of backlight exposure compensation.
XA4 The rarest of them all. Released at the same
time as the XA3, this is all-but-identical in spec with the short lens design of all these
the exception of a wider angle 28mm ‘macro’ lens
that can focus as close as 1 foot (0.3m), aided by a vignetting and distortion, which in
1-foot wrist strap.
Limitations
No camera is perfect and the XA3
is not without some significant
compromises in terms of
functionality, particularly the lack
of manual focus or aperture
control found in the XA. While
image quality is mostly excellent,
cameras mean they are prone to
certain scenes, subjects or
lighting can be quite pronounced.
Along with the very sensitive
shutter pad, the small and
simplistic viewfinder also takes
some getting used to, lacking the
quality demonstrated in other
areas of the camera’s build.
Anything but looking perfectly
straight through it can cause the

40 www.amateurphotographer.co.uk

frame lines to vanish, offering
little confidence as to what the
final image will include.
Likewise, this is not the camera
for beautiful bokeh-rich portraits
or that wide open look with
narrow depth of field. The XA will
give a bit more control in this
regard with its ability to select the
aperture and focus accurately.
Reliability
Both the image quality and build
of the XA series has stood the
test of time and my experience
with these cameras has proven
them to be robust and reliable,
particularly considering they will
not work without a battery.
My first XA did suffer from a
dead meter which would default
to the slowest shutter speed of
two seconds. This is a known
issue across the series and
something to look out for when
buying them. Aside from this, like
most cameras that date back to
the late 1970s and early 1980s
their only other common blight is
light seal foam deterioration or
possible lens fungus.
In terms of availability, the XA2
is the most common out of those
I’ve discussed here, which is
unsurprising given that they were
mass-produced between 1980
www.amateurphotographer.co.uk
Above: Abu Dhabi, UAE. Another Below: Krabi, Thailand. The
and 1986. Both the XA2 and XA3
example of the fantastic metering short lens design can create a
can be picked up in the region of even in low light pronounced vignette
£50 to £60, while the XA can Olympus XA3 & ILFORD FP4+ 125 – tripod mounted Olympus XA3 & Agfa Vista 200
command over double that, given
its cult status and extra features.
Most of the cameras are black
but Olympus did release some
red and blue XA2s and XA3s
which you can occasionally find,
as well as even rarer white and
pink ones. These normally
command an additional premium.
Final thoughts
The old adage of the best camera
being the one you have with you
always resonates more when that
camera is capable of excellent
images. In that respect, the
Olympus XA range of 35mm film
cameras tick the boxes of
ultimate compactness, accurate
meters and superb lenses.
They are perfect for travel or
street shooters who want a
compact film camera in their
pocket at all times and they are
small and robust enough for
anyone who just wants an
‘every-day’ walkabout camera.
While the XA stands out for its
features and there is little to
differentiate the XA2 and XA3,
you really can’t go wrong with any
of them with the XA3 just
edging it for me.
 LENS TEST Testbench
Scarlet Ibis at Leeds
Tropical World, using
Eye-AF for focusing
Sony Alpha 1, 191mm,
1/200sec at f/2.8, ISO 1250

Sony FE 70-200mm
F2.8 GM OSS II
There’s a new lens from Sony, which is the lightest Features
The Sony FE 70-200mm F2.8 GM
70-200mm f/2.8 lens for full-frame cameras. OSS II lens is designed for
people who want a high-quality
Joshua Waller tests it with the Sony Alpha 1 multi-purpose telezoom lens, with

N
ot content with having
a 70-200mm f/2.8
lens that weighs in at
1,480g, Sony has
released an updated version, the
70-200mm f2.8 GM OSS II, which
weighs just 1,045g. It also has
improved autofocus speed and
adds extra controls, including an
aperture ring with clickless
operation and a DMF switch.
Before this new Sony lens
appeared, the Canon RF
70-200mm F2.8L IS USM was
the shortest and lightest
70-200mm F2.8 lens on the
market. The Canon lens is still
shorter due to its extending zoom
design, whilst the Sony’s
conventional internal zoom
means it always stays the same
length. But there’s not a whole
lot in it, with the Sony being
only slightly lighter.
What is impressive, is how
much lighter this new lens is
compared to its predecessor. It’s
the same length and diameter as
the older model, adds additional
controls including the aperture
ring and extra switches, yet still
manages to reduce the weight by
an impressive 435g.
its relatively bright f/2.8 aperture
making it suitable for a variety of
lighting conditions. With weather-
sealed construction, it’s also
suitable for the often unpleasant
weather found in the UK.
The lens is made up of 17
elements in 14 groups, including
1 aspherical element, 1 XA
extreme aspherical, 1 ED
aspherical, 2x ED, and 2x
Super ED. This is probably

www.amateurphotographer.co.uk 43
This wooden head image shows
good subject separation and
pleasing background blur
Sony Alpha 1, 70mm, 1/80sec at f/2.8, ISO 250
where Sony has made most
of the weight savings, as the
previous lens was made up of 23
elements in 18 groups. There’s
also a new 11-blade circular
aperture unit that’s designed to
give beautiful bokeh,
complementing the XA element
which aims to eliminate any
unsightly onion-ring effects.
The Nano AR Coating II is
designed to suppress internal
reflections, reducing flare and
ghosting. The lens also benefits
from a flourine coating that’s
designed to repel dust, oil,
moisture and fingerprints from
the front element. Minimum
focus distance is improved over
the previous version, with the
closest focus distance ranging
from 0.4-0.82m. This brings a
maximum magnification of 0.3x.
There are four XD (extreme
dynamic) linear motors to give
fast, precise autofocus and
tracking, two for each of the
lens’s focus groups. Sony says
that this new system is up to
4x quicker than its predecessor’s.
The lens has also been designed
to suppress focus breathing and
axis shift on zooming.
For additional zoom reach, the
lens supports SEL14TC and
SEL20TC (1.4x and 2.0x)
teleconverters at F5.6, giving up
to 140-400mm with the 2.0x
teleconverter on a full-frame
camera. An aperture ring can be
found on the lens body with A
(Auto), and aperture selection
from f/2.8 to f/22. An iris lock
switch lets you lock the lens in
the auto position, which lets the
camera control the aperture, with
auto or the command dials in the
aperture and manual priority
modes. There’s a newly
developed aperture drive unit,
and combined with the linear
motors, it’s designed to be
extremely quiet.
Optical SteadyShot (OSS) is
built-in and works on 5-axis, with
three different modes of
operation available.
Build and handling
You’ll find the focus ring at the
front, with three customisable
function buttons behind this
Have you considered trading in your old equipment for either cash or Part-Exchange?
Tell us what you have at CameraWorld.co.uk/trade-in
(bottom, left, and top), then the
zoom ring, plus aperture ring with
click switch on/off. The zoom ring
has been designed to give
optimum torque to allow a
smooth zoom action, and this
certainly feels good in use, not
too tight, and not too loose.
Multiple side switches configure
the autofocus and optical
stabilisation systems. These are
AF/MF; Full time DMF (on/off); a
focus limiter (offering full, or
3m-infinity); OSS On/Off; and
OSS Mode 1,2,3. There are also
two switches that control the
aperture ring, an Iris lock and a
‘Click’ switch on the other side.
The focus ring is very smooth in
operation, and is an electronic
fly-by-wire design, with no stops.
This means once you’ve reached
the focus limit, you can continue
turning the focus ring and nothing
happens. This ring is designed to
give a linear response, like a
traditional manual focus lens.
The function buttons can be
customised, giving you quick
access to settings without the
need to move your hand away
from the lens, or your eye away
from the viewfinder. For example,
you could use them to toggle
between the different face
detection modes: Human, Animal
and Bird.
The aperture ring has an A/
Auto setting, where it’s controlled
by the camera. Alternatively you
can turn the ring to set the
aperture between f/22 and f/2.8,
with two click-stops in between
each marking. If you switch the
clicks off, then the aperture ring
is silky-smooth, only stopping
when you get to f/22 or f/2.8.
The tripod collar can be rotated,
as you would expect, although
there are no click stops, as you
might find on some lenses.
Instead, you are left to line up the
dots yourself. The collar can’t be
removed, but the tripod mounting
foot can, which brings the weight
of the lens down from 1,124g to
Sony’s stated 1,045g. The foot
has two tripod threads, with an
additional central hole. Thanks to
the lens’s light weight, the total
weight is under 2kg when it’s
used with the Sony Alpha 1.

Shooting this dandelion flower
at the closest focus distance
at 200mm gives an
excellent result
Sony Alpha 1, 200mm, 1/800sec at f/5, ISO 100
A large, high-quality hood is
provided, which should help
shield the lens from stray light.
There’s also a padded case with
a strap, offering additional
protection for your lens.
Autofocus
The lens features internal
focusing and floating focusing
groups. This design improves
focus speeds, promising up to
four times faster AF than the
firm’s previous 70-200mm f/2.8.
Sony also says that focus
tracking capability while
zooming has improved by
approximately 30% compared to
the previous model.
Autofocus is extremely rapid
and confidence-inspiring, with
the lens and camera locking
onto the subject with very high
www.amateurphotographer.co.uk
levels of success. In fact, the
only time I found there were any
focus problems was when I was
trying to shoot right at the lens’s
close focus distance. Using the
Sony Alpha 1’s bird detection
focus resulted in the camera and
lens focusing correctly on the
birds’ eyes with great success.
Performance
Images are incredibly sharp
even when shooting at f/2.8,
with very good levels of
sharpness across the frame
throughout the zoom range.
Although it’s worth noting that
you won’t necessarily see the
true sharpness of the lens
unless you have a look at the
raw images, as default noise
reduction settings reduce
the sharpness and detail
The background
bokeh is rendered
beautifully
Sony Alpha 1, 78mm,
1/80sec at f/2.8, ISO 500
LENS TEST
recorded in the camera’s JPEGs.
There is perhaps a very slight
fall-off of sharpness in the
corners at 200mm and f/2.8,
but this is minimal.
I struggled to find any photos
with signs of vignetting when
correction was switched on,
except at 200mm and f/2.8
when the corners of the frame
were slightly but visibly
darkened. But again this is
minimal and easily corrected in
software. Some slight
chromatic aberration can be
visible but, similarly, this is easily
corrected. Likewise if you take
photos without applying
distortion correction, then you
can see that there is very
slight pincushion distortion,
which is strongest at the
telephoto end. Overall, though,
there are very few optical
problems to speak of.
As promised by Sony, the
out-of-focus areas are extremely
pleasing, and particularly the
background blur. The lens
renders great-looking ‘bokeh
balls’, with none of the onion
ring effect you get from some
other optics.
Flare resistance is impressive,
with the lens being extremely
resistant to ghosting, even when
shooting with the sun in the
frame. Indeed multiple attempts
to induce flare failed to
produce anything of note.
Testbench
Verdict
Whilst it’s easy to read the
manufacturer’s website, and be
impressed by how good a lens
sounds, there’s always a level of
doubt. However, that isn’t justified
in this situation, as the Sony
FE 70-200mm F2.8 GM OSS II
simply performs exceptionally
well, producing sharp images at
both ends of the zoom range.
There’s beautiful bokeh on offer,
as well as crisp detail and
sharpness. Combined with a fast
and reliable focus system, you get
impressive shots time after time.
The lens offers additional
controls and features, including
an aperture ring, additional
switches for aperture click, direct
manual focus (DMF), and more.
Yet with a new optical design, it
gives a noticeably lighter overall
weight. Weather-sealing ensures
the lens is usable in a variety of
shooting conditions, whether
that’s in wet, humid, or dusty
conditions. The lens is also
impressively resistant to flare,
even when shooting with the sun
in the frame.
For those that already own the
original Sony FE 70-200mm F2.8
GM OSS lens, if you’re happy with
your results, then there may not
be enough reason to upgrade to
this lens. However if you’d like to
reduce the weight of your camera
kit, as well as gain access to
additional controls, then the new
II version is an excellent choice.
Data file
Price  £2,600 Diaphragm blades 
Filter diameter  11 (circular)
77mm Aperture f/2.8-22
Lens elements/ Minimum focus 
groups  0.4–0.82m
17, 14  (XA, Asph, Maximum
2x Super ED, 2x magnification 
ED, ED aspherical) 0.3x
Length 200mm
Diameter 88mm
Weight 1,045g
Lens mount Sony
E (full-frame)
GOLD
45
 The wide camera is
the best of the
three, delivering
impressive results
Apple iPhone 13 Pro, 26mm,
1/5600sec at f/1.5, IS0 50

Apple iPhone 13 Pro

Apple’s iPhone 13 Pro makes some interesting camera At a glance
upgrades on its predecessor. Angela Nicholson gives
her verdict after using it every day since launch £949 128GB
£1,049 256GB
A
pple has established the iPhone 13 Pro, with its Starting with the iPhone 13
a cycle of announcing
a range of new
6.1in screen. Pro’s ultra-wide camera, the focal
length remains equivalent to £1,249 512GB
smartphones every
September and this year brought
Hardware and design
Like the iPhone 12 Pro, the
13mm, the same as the iPhone
12 Pro’s, but the aperture is £1,449 1TB
the iPhone 13 series with a host iPhone 13 Pro has a 3-camera f/1.8 rather than f/2.4. It’s O iOS smartphone
of upgrades. While the navigation system, but the new model also capable of focusing on O 6.1in screen
and telecommunication makes the biggest step up in subjects just 2cm away, which O Three lenses: 13mm, 26mm, 77mm
technologies are of note, it’s camera technology that Apple opens up the world of macro and O 12MP sensors
always the camera specs that has ever taken. Firstly, although close-up photography. O 5.9x optical zoom
attract the most attention. This the cameras all have the same Next is the wide camera, which O Choice of four colours
year the iPhone 13 Pro and the 12MP resolution as the iPhone has the same 26mm equivalent O www.apple.com
bigger iPhone 13 Pro Max have 12 Pro’s, the lenses and sensors focal length as the wide camera
exactly the same camera are all new. They’re also powered on the iPhone 12 Pro. This has
system and, preferring by the brand new A15 Bionic chip also received a boost in the
something more pocketable which is claimed to be the aperture size, up from f/1.6 to
and less expensive, I’ve opted for ‘fastest chip in any smartphone’. f/1.5 but the pixels are 1.9μm in

46 www.amateurphotographer.co.uk
p g p
 SMARTPHONE TEST Testbench

13mm ultra-wide lens 26mm wideangle lens

size, which makes them the possible to see details when the
largest that have ever been used screen is held in direct sunlight
in an iPhone. That should give on an October day.
the default camera an advantage Smartphones are prone to
for noise control. taking the occasional dip, but
Lastly, there’s the telephoto thanks to its IP68 rating for
lens which has been upgraded dust- and water-sealing, the
from a 52mm f/2.0 lens on the iPhone 13 Pro should survive
iPhone 12 Pro to a 77mm f/2.8. the experience.
It means there’s a drop in the
aperture size but a nice increase Camera app
in the focal length. Consequently, Anyone who has used an iPhone
the iPhone 13 Pro has a 5.9x recently will feel instantly at home
optical zoom range, however, with the iPhone 13 Pro’s native
there’s also a 15x digital zoom camera app. The shooting modes
function for stills and a 9x digital – Time-Lapse, Slow-Mo,
zoom for video. Cinematic, Video, Photo, Portrait,
For the first time in an iPhone, and Pano – are arranged at the
all three of the cameras are bottom of the screen, above the 77mm telephoto lens
stabilised with the ultra-wide prominent shutter button This comparison illustrates the difference in angle of view between the
camera using sensor-shift icon, and it’s just a case of iPhone 13 Pro’s three lenses, ultra-wide, wideangle and telephoto
stabilisation and the wide and
telephoto cameras having dual
optical stabilisation.
Initially, the iPhone 13 Pro looks
identical to the phone it replaces,
but careful examination reveals
that the cameras are bigger and
the buttons on the side have
moved a little. This makes it
incompatible with older iPhone
Pro cases.
As before, the flat edge of the
iPhone 13 Pro has a steel band
while the front cover is protected
by a Ceramic Shield that is said
be tougher than any other
smartphone glass. Sadly, that
hasn’t stopped mine picking up a
small scratch.
The display is a Super Retina
XDR OLED that measures 6.1in Apple offers
across the diagonal and with the iPhone 13
Pro in a choice
2532x1170 pixels, it gives a of four colours;
clear view with a pleasing level of Sierra Blue,
detail. It also copes very well with Silver, Gold
bright ambient light and it’s and Graphite

www.amateurphotographer.co.uk 47
 Testbench
Here the camera has
done a fine job of
balancing highlight
and shadow detail
Apple iPhone 13 Pro, 26mm,
1/1150sec at f/1.7, ISO 50
swiping them left or right to
select the one you want. In
Time-Lapse, Photo and Portrait
mode there’s a small arrow at
the top of the screen that allows
access to other settings with a
tap. It’s very easy to get to grips
with it all.
If Apple ProRAW is selected
via the phone’s Setting menu,
there’s the option to turn on
DNG raw file shooting in Photo
mode. However, using that
option rules out using one of
new introductions brought by the
iPhone 13, Photographic Styles.
These are essentially the picture
styles we’re used to seeing on
cameras and they can’t be
applied post-capture. They’re
more subtle in effect than the
filters and there’s control
available over the Tone and
Warmth of each.
The Cinematic mode is like
Portrait mode for video, it
enables the computational
aperture and depth of field to be
adjusted for Full HD video. You
tap on the screen where you
want the focus to be and set an
aperture setting that gives the
degree of blur that you want.
Then, once you start recording,
you can shift the focus with a
second tap.
48
SMARTPHONE TEST
‘It delivers impressively good results with
plenty of impact and attractive colours’
In Photo and Portrait mode the
iPhone 13 Pro activates Night
mode automatically when it
detects low light levels, showing
a yellow icon in the top left of
the screen. This triggers the
camera to take a series of
exposures over a longer period
(typically 1 or 2 seconds but it
can be longer) and then
composite them into one image.
Image quality
The 26mm wide camera is the
default unit on the iPhone 13
Pro and it delivers impressively
good results with plenty of
impact and attractive colours
that don’t look too saturated but
are still vibrant. In the absence
of a white balance control in the
native camera app, I often use
the Warm Photographic Style
and it delivers nice results in
many instances.
It only takes a tap on the
screen to slip between the three
cameras and aside from the
change in framing, the images
are a great match for each other
on the iPhone screen. Examining
images in more detail on a
computer monitor reveals that
the wide camera is the best of
the bunch, capturing the most
natural detail, but none of them
really disappoint. The raw files
also look a little more natural
when examined on a computer
screen, and have more scope for
adjustment, but don’t expect to
pull back high amounts of
highlight detail. It will be
interesting to see how much
flexibility ProRes recording brings
for video when it comes later
this year.
On the subject of highlights,
these are lost a bit quicker than
with a DSLR or mirrorless
camera, and very bright areas of
a blue sky can cause problems,
but overall the iPhone 13 Pro
balances the exposure well and
has decent dynamic range.
Thanks to the large apertures
and Deep Fusion technology that
carries out pixel-by-pixel analysis,
the iPhone 13 Pro usually
produces very good results in low
light and the stabilisation does
an excellent job of compensating
for shake from hand-
holding the phone.
Recommended
Verdict
ALTHOUGH not dramatically
different, the image quality from
iPhone 13 Pro is better than that
from the iPhone 12 Pro as the
contrast is managed slightly
better so there’s less of an ‘HDR
look’ to some shots.
The new Cinematic mode can
work well, but it needs to be used
with care as any mistakes in the
selection of the subject and the
transition to blur are more
obvious in a moving image than
they are in a still. However, it’s an
interesting development that I’m
sure will improve with time.
When shooting stills, the
iPhone 13 Pro does a great job of
identifying the subject and
focusing on it quickly even in very
low light. It also manages to
create natural-looking shallow
depth of field effects in many
instances, even dealing well with
fuzzy subjects like fur and hair.
It’s hard to justify upgrading
from the iPhone 12 Pro to the 13
Pro, but if you’re an iPhone fan
and you want the best image
quality, the iPhone 13 Pro (or
iPhone 13 Pro Max if you’re
looking for something bigger), is
the one to go for.
Data file
Price Display
£949 128GB 6.1in Super Retina
XDR OLED with
£1,049 256GB
£1,249 512GB ProMotion, 2532 x
1170px, 10-120Hz
£1,449 1TB
Cameras Dimensions
146.7 x 71.5 x
13mm equiv f/1.8
7.65mm
26mm equiv f/1.5
Weight
77mm equiv f/2.8
203g
Operating System
iOS15
www.amateurphotographer.co.uk
 Mifsuds Photographic Ltd Est. 1954.
Family Run Pro Dealership With Friendly, Knowledgeable Staff.
27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
www.mifsuds.com 01803 852400 info@mifsuds.com
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MIRRORLESS R SERIES CAMERAS & LENSES
New Stock EOS R5 body..............£4299 EOS R6 body......... £2399
CANON EOS R3 EOS R6 plus 24-105mm F4/7.1 IS STM ............. £2729
RF 5.2mm F2.8L DUAL FISHEYE............................ £2099
RF 14-35mm F4 L IS USM ....................................... £1749
RF 15-35mm F2.8 L IS USM .................................... £2389
RF 16mm F2.8 STM black ..........................................£319
RF 24-70mm F2.8 L IS USM .................................... £2389
RF 24-105mm F4 L IS USM ..................................... £1149
RF 24-105mm F4/7.1 IS STM.....................................£479
RF 24-240mm F4/6.3 IS USM....................................£959
RF 28-70mm F2 L USM ........................................... £3099
Body only £5879 RF 35mm F18 IS STM Macro...................................£529
RF 50mm f1.2 L USM ................................................ £2389
RF 50mm F1.8 STM ......................................................£219
RF 70-200mm F2.8 L IS USM.................................. £2729
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F5/6.8 IS USM OS 1DX MKIII body .................................................£6999
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EOS 6D MKII + 24-105mm F3.5/5.6 IS STM ......£1819
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EOS 90D body.............................................................£1249
EOS 90D plus 18-55mm..........................................£1349
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body £379 EOS 2000D + 18
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55mm...£468 £468
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RF 85mm F1.2 L USM ............................................... £2869
RF 85mm F2 IS Macro .................................................£669
RF 100mm F2.8L IS USM Macro ........................... £1479
RF 100-400mm F5/6.8 IS USM black......................£699
RF 100-500mm F4.5/7.1 L IS USM ....................... £2979
RF 400mm F2.8 L IS USM ......................................£12449
RF 600mm F4 L IS USM .........................................£13409
RF 600mm F11 IS STM ................................................£769
RF 800mm F11 IS STM ................................................£999
RF 1.4 Extender.....£579 RF 2x Extender..............£719
Speedlite EL-1.....£1299 Speedlite 600EXII RT.. £538
Speedlite 430EXIII RT.. £299 Speedlite 470EX-A1.£479
BG-R10 grip fits R5 / R6 ..............................................£419
LP-E6NH battery .................................................... £119.99
Mount adapter EF-EOS R .................................... £119.99
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Powershot G5X MarkII ............................................... £849
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PANASONIC BRIDGE & COMPACTCAMERAS
FZ1000 MarkII ............................................................... £729
FZ330 ........................£429 FZ82............................... £299
LX15...........................£429 LX100 MarkII............... £749
TZ200 ........................£599 TZ95............................... £399

Quality Used Equipment

Part Exchange Welcome

BEST
PRICES
CALL MATT 0736 828 8126
Open 8am till 8pm daily. RING NOW!
Or email equipment details to info@mifsuds.com

FREE BAG DEAL - SEE HOMEPAGE

Sensor cleaning and Pro equipment hire available
ANY PRICES SHOWN INCLUDE VAT AND U.K. MAINLAND DELIVERY. Correct 12/11/2021. E&OE.
 Website
updated daily
inc. promotions
QUALITY USED EQUIPMENT. 3 Month warranty on most secondhand. See website for full list and details etc.
CANON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
Used Canon 7D MKII CAF
300mm F2.8
EX DG
1DX MKII 5D MKIV body body box 50-500 120-300mm F2.8
body box box F4.5/6.3 DG OS Sport
HSM OS
£2399 £1999/2397 £997
CANON R DIGITAL AF USED
R5 body Mint- box ........................£3897
RF 35 F1.8 IS macro STM............... £449
RF 70-200 F2.8 L IS USM box....£2399
CANON DIGITAL AF USED
1DX MKII body box .......................£2399
7D MKII body box............................ £997
6D body box...................................... £599
5D MKIV body box ............ £1999/2397
5D MKIII body box........................... £997
5D MKI body...................................... £299
80D body Mint box......................... £699
70D body box ................................... £499
40D body............................................ £149
20D body box ......................................£69
400D body ............................................£99
250D body ......................................... £449
1000D body....................................... £149
BG-E20 grip box............................... £249
NIKON AUTOFOCUS CAMERAS, LENSES, FLASH, ACCESSORIES ETC USED
NIKON Z DIGITAL AF USED
Z7 body box ........................ £1399/1499
Z6 MKII body box ..........................£1699
Z6 body box ...................................... £997
24-70 F4 S Mint box........................ £599
FTZ adapter box............................... £239
NIKON DIGITAL AF USED
D5 XQD body box .............................£3699
D5 CS body box .................................£3199
D3 body box....................................... £799
D850 body box................... £2099/2297
D810 body box................... £1199/1397
D780 body Mint box ....................£1699
D750 body box................................. £997
D600 body.......................................... £599
D500 body Mint box ....................£1349
D300 body box................................. £299
D7100 body box .............................. £499
D7200 body box .............................. £649
D7000 body....................................... £299
D3400 body....................................... £299
FUJI, MINOLTA/SONY, OLYMPUS, PANASONIC ETC. DIGITAL USED
FUJI DIGITAL USED
X-H1 body box.................................. £699
X-T4 body Mint- box....................£1299
X-T1 body box................................... £349
X-T10 body box ................................ £199
8-16 F2.8 XF WR box.....................£1399
10-24 F4 R OIS XF box.................... £699
14 F2.8 R box..................................... £529
16-80 F4 XF WR ................................ £599
18-55 F2.8/4 XF Mint- .................... £399
23 F1.4 XF M- box............................ £699
50-140 F2.8 XF box ......................... £997
50-230 F4.5/6.7 OS XC ................... £299
60 F2.4 XF box .................................. £479
90 F2 R LM WR XF box ................... £699
100-400 F4.5/5.6 XF LM OIS WR.. £1299
1.4x extender XF WR ...................... £279
2x extender XF WR.......................... £339
X100 Limited Edition kit box....... £499
BRONICA, FUJI, HASSELBLAD, MAMIYA, PENTAX ETC. MEDIUM FORMAT USED
BRONICA 645 USED
ETRSi + 75 PE + WLF + back ........ £699
ETRS + AEII prism + 75 PE
+ speed grip ...................................... £699
ETRSi body box ................................ £299
40 F4 E ................................................. £299
150 F3.5 E ........................................... £149
200 F4.5 PE......................................... £299
ETRSi 120 back RWC late .............. £119
ETRS 120 back early...........................£99
Polaroid back box...............................£29
Plain prism E box............................. £169
AEII prism ........................................... £169
35mm AUTO/MANUAL FOCUS CAMERAS & ACCESSORIES, CANON, MINOLTA, NIKON, OLYMPUS, PENTAX, ETC. USED
CANON AF FILM BODIES USED
EOS 5 body ...........................................£89
EOS 600 / 650 / 3000 body each...£39
EOS 300 / 50E / 500N body each..£39
EOS 1000/1000fn body each..........£39
CANON FD USED
A1 body............................................... £169
AE1P silver body .............................. £169
T90 body............................................. £199
T70 body................................................£99
A1 World Cup 1982 body box..... £249
AV-1 body..............................................£99
50 F1.8...............£69 50 F2.................£69
70-210 F4...............................................£99
135 F3.5..................................................£69
2x extender B.......................................£49
FD bellows ......................................... £149
CONTAX USED
CZ 180 F2.8 AE.................................. £399
ITEM YOU REQUIRE NOT LISTED? EMAIL DETAILS OF WHAT YOU ARE LOOKING FOR AND WE WILL EMAIL YOU WHEN WE CAN HELP. CORRECT 05/11/2021.
Mail order used items sold on 10 day approval. Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). E&OE.
www.mifsuds.com
Here to help - just call 01803 852400
500mm F4 IS
HSM 100-400mm 300mm F2.8 USM LII box
F4.5/5.6 LII box IS USM LII
BG-E16 grip........................................ £179
BG-E13 grip........................................ £149
BG-E11 grip........................................ £149
BG-E9 grip box.....................................£89
BG-E6 grip .............................................£89
BG-E2 grip .............................................£39
CANON AF LENSES USED
10-18 F4.5/5.6 IS STM..................... £219
10-22 F3.5/4.5 USM EFS ................ £349
14 F2.8 USM LII...............................£1299
15 F2.8 fisheye.................................. £449
15-85 F3.5/5.6 EFS........................... £299
16-35 F2.8 USM LIII box...............£1299
16-35 F4 USM IS L............................ £799
17-40 F4 L USM ................................ £399
17-55 F2.8 EFS IS USM ................... £649
18-55 F3.5/5.6 IS STM........................£99
18-135 F3.5/5.6 USM Nano .......... £399
18-200 F3.5/5.6 EFS ........................ £299
D3200 body....................................... £199
D3000 body. .........................................£99
D80 body............................................ £199
MBD-15 (D7100/7200) .................. £129
MBD-12 grip (D810)........................ £249
MBD-200 grip (D200) ........................£69
NIKON AF LENSES USED
10-24 F3.5/4.5 AFS .......................... £499
12-24 F4 DX AFS .............................. £499
14-24 F2.8 AFS.................................. £997
16 F2.8 AFD fisheye box................ £499
16-35 F4 AFS VR box ...................... £699
16-80 F2.8/4 VR DX ......................... £649
18-35 F3.5/4.5 AFS M- box ........... £549
18-55 F3.5/5.6 AF VR .........................£99
18-105 F3.5/5.6 VR DX AFS........... £199
18-200 F3.5/5.6 VRII box ............... £349
18-200 F3.5/5.6 VR box.................. £199
18-300 F3.5/5.6 VR DX box........... £699
24 F1.4 G AFS Mint.......................... £997
24 F2.8 AFD........................................ £349
VG-XT3 vertical grip box............... £149
VPB-XT2 grip box............................. £149
VG-XT1 grip ..........................................£79
Nissin Air 10S box...............................£49
MINOLTA/SONY DIGITAL USED
Sony RX10 MKIV box....................£1199
Sony RX100 MKIII............................. £299
Sony A100 body..................................£79
Sony VG-C70AM..................................£99
FE 35 F1.4 ZA OSS cox ................... £899
A 16-50 F2.8 SSM DT ...................... £399
A 18-70 F3.5/5.6..................................£89
A 50 F1.8 SAM DT box ......................£99
MINOLTA/SONY A MOUNT AF USED
28-80 F3.5/5.6 ......................................£49
28-85 F3.5/4.5 ......................................£99
35-70 F3.5/4.5 ......................................£29
35-105 F3.5/4.5....................................£99
70-210 F4.5/5.6....................................£79
Speed grip E .........................................£99
Lenshoods various.............................£40
BRONICA 6x6 USED
SQAi complete................................£1097
SQAi body .......................................... £499
SQA body ........................................... £299
SQB body............................................ £299
40 F4 PS............................................... £499
50 F3.5 PS box .................................. £349
110 F4.5 PS macro........................... £399
150 F4 PS ............................................ £299
2x converter PS ................................ £299
2x converter S................................... £149
CZ 300 F4 AE ..................................... £399
LEICA USED
IIIg body box ..................................... £997
LIGHTMETERS USED
Minolta Flashmeter IVF ................. £199
Sekonic L308s box .......................... £169
Sekonic L308x................................... £189
Sekonic L358..................................... £239
MINOLTA AF USED
7Xi body.................................................£69
Dynax 3 body.......................................£29
500Si / 505Si Super body each......£29
MINOLTA MD USED
X700 body.......................................... £199
X300s body black ...............................£99
X300 body blk/chrome ....................£99
28-70 F3.5/4.8 ......................................£69
50 F1.7 ....................................................£79
50 F3.5 macro ................................... £149
Used Sigma
£799 £2199 £1399
24 F2.8 STM ....................................... £129
24-70 F2.8 L USM II .......................£1199
24-70 F4 IS USM L............................ £699
24-105 F4 IS USM LII M- box........ £799
24-105 F4 IS USM L ......................... £549
28-135 F3.5/5.6 USM ...................... £219
35 F2 IS USM ..................................... £399
50 F1.2 L USM box........................... £997
50 F1.4 USM....................................... £299
50 F1.8 STM box..................................£99
55-250 F4/5.6 IS EFS ....................... £199
60 F2.8 EFS macro ........................... £299
65 F2.8 MPE macro ......................... £849
70-200 F2.8 IS USM LIII box........£1799
70-200 F2.8 IS USM LII .................£1297
70-200 F4 IS USM box.................... £699
70-200 F4 L USM.............................. £449
70-300 F4.5/5.6 U L IS box............ £899
70-300 F4/5.6 IS USM II.................. £449
24-70 F2.8 AFS VR M- box ..........£1499
24-70 F2.8 AFS box ......................... £897
24-85 F3.5/4.5 AFS VR .................... £399
24-120 F4 AFS VR box.................... £499
28-105 F3.5/4.5 AFD....................... £199
28-300 F3.5/5.6 VR box.................. £649
35 F1.4 G AFS M- box..................... £997
35 F1.8 AFS DX ................................. £149
35-105 F3.5/4.5 AFD one touch . £169
40 F2.8 AFS DX macro box........... £249
45 F2.8 PC-E tilt box......................£1199
50 F1.4 AFS G box ........................... £299
50 F1.8 AFS box................................ £169
50 F1.8 AFD box............................... £129
58 F1.4 AFS G box ........................... £997
60 F2.8 AFS box................................ £449
60 F2.8 AFD box............................... £349
70-200 F2.8 E FL AFS box ...........£1699
70-200 F2.8 AFS VRII M- box.....£1097
70-200 F4 VR box............................. £699
70-300 F4.5/5.6 AF-P ED VR box £479
75-300 F4.5/5.6....................................£79
80-200 F4.5/5.6....................................£49
100-300 F4.5/5.6 APO .................... £199
100-300 F4.5/5.6 .............................. £149
3600HSD flash .....................................£49
OTHER MIN/SONY A MOUNT AF USED
SIG 18-300 F3.5/6.3......................... £299
SIG 50-500 F4.5/6.3 HSM OS ....... £899
SIG 70-200 F2.8 EX DG OS box .. £599
SIG 105 F2.8 EX DG OS .................. £329
SIG 150-500 F5/6.3 DG OS box... £599
SIG 1.4x EX converter........................£99
TAM 90 F2.8 SP ................................. £199
Teleplus 1.4x conv..............................£69
Teleplus 2x conv .................................£79
Kenko 1.4x Pro 300DG................... £149
SONY NEX E MOUNT AF USED
A6000 body ....................................... £369
E 16-50 F3.5/5.6 PZ OSS ................ £169
SQAi 120 back late .......................... £199
SQA 120 back early......................... £149
Polaroid back.....£29 WLF............. £199
Lenshoods various...................... £20/50
HASSELBLAD 6x6 USED
500CM + 80 F2.8 + A12...............£1997
150 F4 CF............................................ £699
150 F4 Blk T* box............................. £499
45º prism unmetered late ............ £399
A12 black latest box ....................... £499
WLF chrome late.............................. £299
Pola+ back box....................................£79
Lenshood various...............................£49
70-210 F4...............................................£99
75-200 F4.5 ...........................................£99
100-300 F5.6...................................... £149
Kenko Teleplus macro conv............£69
Auto bellows III................................. £149
Bellows IV box................................... £149
Macro ext tube for 50 F3.5..............£49
Auto ext tube set................................£89
VC700 grip ............................................£49
NIKON AF FILM BODIES USED
F5 body box....................................... £699
F4s body ............................................. £499
F801 body .............................................£99
F801s body ...........................................£99
NIKON MF USED
Nikon F Photomic FTn Apollo
chrome body..................................... £699
F3 body ............................................... £499
CF22 / CF20 case for F3 each .........£39
70-300 F4.5/5.6 USM ...................... £299
85 F1.2 L USM MKII .......................£1299
100 F2.8 IS USM L macro .............. £849
100 F2.8 USM macro ...................... £399
100-400 F4.5/5.6 LII box..............£1799
100-400 F4.5/5.6 L........................... £997
135 F2 USM L box............................ £649
180 F3.5 L USM macro.................£1097
200 F2.8 USM LII .............................. £549
300 F2.8 IS USM LII........................£4499
300 F4 IS USM L................................ £749
400 F5.6 USM L................................. £799
500 F4 IS USM LII ...........................£6999
1.4x extender MKIII ......................... £399
2x extender MKIII............................. £369
SIGMA CAF USED
8 F4 EX DG fisheye .......................... £499
8-16 F4.5/5.6 HSM DC box ........... £399
10 F2.8 EX DC HSM ......................... £499
70-300 F4.5/5.6 AFS VR box......... £349
70-300 F4.5/5.6 G ...............................£99
80-400 F4.5/5.6 AFS VR box.......£1399
80-400 F4.5/5.6 AFD box .............. £599
85 F1.4 AFS box................................ £997
85 F1.4 AFD Mint box .................... £997
105 F2.8 AFS VR................................ £599
180 F2.8 ED........................................ £399
200 F4 AFD macro.........................£1599
200-400 F4 AFS VR II box ............£3697
200-500 F5.6 VR AFS box............£1099
300 F2.8 AFS VRII box...................£3997
300 F4 AFS E PF ED VR box ........£1449
500 F4 AFS VR E FL latest box ...£7997
500 F4 AFS VR box ........................£4499
500 F5.6 E PF VR AFS box ...........£3199
TC14-EII box....................................... £329
TC17-EII box....................................... £299
TC20-EIII box......£349 TC-20EII ... £199
SIGMA NAF USED
8 F3.5 EX DG fisheye....................... £599
E 50 F1.8 OSS box............................ £189
E 55-210 F4.5/6.3 ............................. £219
TAM 70-300 F4/6.3 Di III RXD ...... £479
OLYMPUS 4/3 USED
14-42 F3.5-5.6..£69 14-45 F3.5-5.6.. £69
35 F3.5 ....................................................£99
40-150 F3.5/4.5....................................£99
40-150 F4/5.6 .......................................£69
EX 25 extension tube........................£99
OLYMPUS MICRO 4/3 USED
OMD-EM1X body box..................£1499
OMD-EM1 body black.................... £399
OMD-EM5 MKIII Pro body M- box .....£699
OMD-EM5 MKII body box............. £599
OMD-EM5 body box....................... £299
OMD-EM10 MKII body................... £249
E-PL5 body black box .................... £149
12-40 F2.8 Pro................................... £549
12-100 F4 IS Pro box....................... £799
MAMIYA 645 MF USED
Teleplus 2x converter........................£39
120 insert......£29 Ext tube each ...£29
MAMIYA 7 RF USED
43 F4.5 L + V/F box ......................... £997
Viewfinder for 150 F4.5 ................. £199
MAMIYA RB USED
55 F4.5 ................................................. £299
Ext tube 1 or ext tube 2 each ........£59
MAMIYA RZ USED
100-200 F5.2 W................................. £299
180 F4.5 W.......................................... £299
Plain prism ......................................... £349
DW-4 finder for F3..............................£89
F2 Photomic + DP-1 chrome....... £599
FM2n body Black ............................. £599
FM2n body Chrome........................ £599
F301 body .............................................£69
15 F3.5 AIS.......................................... £799
24 F2.8 AI............................................ £299
28 F3.5 AI............................................ £169
28 F4 shift........................................... £499
28-85 F3.5/4.5 AIS............................ £199
35 F2 AI ............................................... £249
35-70 F3.5 AIS ......................................£99
35-105 F3.5/4.5 AIS......................... £149
50 F1.4 AIS box................................. £299
50 F1.4 AI............................................ £249
50 F1.8 AIS.......................................... £149
50 F2 AI ..................................................£99
55 F2.8 AIS micro............................. £199
80-200 F4 AIS .................................... £249
Used Canon
£1799 £4499
10-20 F3.5 EX DC HSM................... £279
12-24 F4.5/5.6 II HSM ..................... £599
17-50 F2.8 EX DC HS OSM............ £269
17-70 F2.8/4 DC OS HSM .............. £249
18-250 F3.5/6.3 DC OS HSM ........ £199
50-500 F4.5/6.3 HSM OS ............... £799
70-200 F2.8 EX DG OS HSM ......... £599
85 F1.8 EX DG box........................... £499
105 F2.8 EX DG HSM OS box....... £329
120-300 F2.8 DG OS Sport box.£2199
150 F2.8 EX DG OS HSM box....... £649
150-500 F5/6.3 APO DG OS ......... £599
150-600 F5/6.3 sport....................£1197
150-600 F5/6.3 contemporary.... £749
300 F2.8 EX DG HSM ....................£1399
TC1401 extender ............................. £179
OTHER CAF USED
TAM 10-24 F3.5/4.5 Di II ................ £199
TAM 16-300 F3.5/6.3 II VC............. £399
8-16 F4.5/5.6 HSM DC box ........... £399
10-20 F3.5 DC box........................... £269
10-24 F3.5/4.5 Di II VC HLD.......... £449
12-24 F4.5/5.6 II HSM ..................... £599
18-250 F3.5/6.3 DC OS................... £199
35 F1.4 Art box ................................. £549
50-500 F4.5/6.3 HSM OS ............... £799
70-200 F2.8 EX DG OS HSM ......... £599
70-300 F4/5.6 DG APO macro..... £139
70-300 F4/5.6 DG macro............... £139
100-400 F5.6/6.3 DG....................... £599
105 F2.8 EX DG HSM OS................ £329
120-300 F2.8 DG OS Sport box.£2199
150 F2.8 EX DG OS HSM box....... £649
150-500 F5/6.3 DG OS HSM......... £599
150-600 F5/6.3 sport....................£1197
150-600 F5/6.3 contemporary.... £749
TC-1401 extender............................ £179
1.4x EX DG conv box ...................... £149
OTHER NAF USED
TAM 16-300 F3.5/6.3 II VC............. £399
12-200 F3.5/6.3 box........................ £599
14-42 F3.5/5.6 II AR MSC..................£99
14-150 F4.5/5.6 MKII....................... £429
17 F1.2 ED Pro................................... £799
17 F1.8 box ........................................ £299
25 F1.2 Pro M- box .......................... £997
40-150 F2.8 Pro ................................ £929
40-150 F4/5.6 ED ............................. £149
45 F1.8 silver...................................... £149
60 F2.8 macro box........................... £349
75 F1.8 box ........................................ £499
75-300 F4.8/6.7 MKII Mint box.... £369
SAMYANG 12 F2 Mint box MF .... £239
FL-900AR flash .................................. £379
PANASONIC DIGITAL USED
G7 body Silver Mint box ............... £299
GH2 body ........................................... £299
G2 body .................................................£99
14-42 F3.5/5.6 ......................................£99
PENTAX 645 AF USED
55-110 F5.6 FA .................................. £599
80-160 F4.5 FA .................................. £399
150-300 F5.6 FA................................ £599
200 F4 FA ............................................ £399
300 F4 FA ............................................ £799
400 F5.6 FA......................................... £799
PENTAX 645 MF USED
45 F2.8 ................................................. £349
80-160 F4.5 ........................................ £499
120 F4 macro .................................... £399
135 F4 leaf.......................................... £399
200 F4 .................................................. £199
85 F2 AI box....................................... £299
100-300 F5.6 AIS .............................. £149
105 F2.5 AI ......................................... £299
105 F4 AI macro ............................... £199
135 F2.8 AI ......................................... £199
300 F4.5 ED AI................................... £299
TC14B conv ...........................................£99
TC300 conv ........................................ £149
SAMYANG 85 F1.4 Mint box MF. £249
DG-2 Eyepiece magnifier.................£59
SB-8A flash............................................£69
OLYMPUS OM USED
OM-2N body chrome..................... £299
OM-2 body chrome box................ £299
OM-1N body chrome ..................... £299
OM-10 chrome body.........................£79
28-48 F4 .............................................. £129
35-70 F4 .................................................£99
35-105 F3.5/4.5................................. £149
The best stocked
dealer in the
West Country
£6999
TAM 28-300 F3.5/6.3 VC PZD....... £499
TAM 70-200 F2.8 VC
USD GII box........................................ £799
TAM 180 F3.5 Di macro ................. £399
TOK 12-24 F4 ATX Pro II
DX box................................................. £299
TOK 12-24 F4 ATX Pro box ........... £249
Kenko ext tubes box .........................£99
FLASH/ACCESSORIES USED
MR-14EX ringflash box .................. £399
430EX MKIII RT box......................... £229
430EX II................................................ £149
580EX II................................................ £169
580EX................................................... £129
600EX RT............................................. £299
ST-E3 Speedlight transmitter ...... £239
ST-E2 Speedlight transmitter .........£99
Angle finder C................................... £149
WWW.MIFSUDS.COM
TAM 24-70 F2.8 Di VC USD........... £499
TAM 28-300 F3.5/6.3 Di VC PZD . £499
TAM 100-400 F4.5/6.3 Di VC USD ..£599
TOK 11-16 F2.8 ATX ProII .............. £349
TOK 11-16 F2.8 ATX Pro................. £299
TOK 12-24 F4 ATX Pro II................. £299
TOK 12-24 F4 ATX Pro .................... £249
TOK 16-50 F2.8 ATX DX box......... £299
Kenko ext tubes box .........................£99
FLASH / ACCESSORIES USED
R1 ring flash....................................... £449
SB-600............£99 SB-700 box ..... £219
SB-900.................................................. £249
SB-910.................................................. £299
SU-800 box ........................................ £299
Nissin i40 ...............................................£99
DR-6 angle finder ............................ £169
DR-5 angle finder ............................ £169
MC-36A rem.....£89 MC-30A rem..£39
SC-17/SC-19/SC-28 cable each......£49
WWW.MIFSUDS.COM
14-45 F4/5.6....................................... £149
25 F1.4 box ........................................ £379
45-200 F4.5/5.6................................. £199
200 F2.8 box....................................£1299
1.4x converter................................... £299
PENTAX DIGITAL USED
K5 body MKII..................................... £449
16-45 F4 ED DA box........................ £199
18-55 F3.5/5.6 AL................................£69
18-250 F3.5/6.3 DA ......................... £249
28-80 F3.5/5.6 silver FA ....................£69
35 F2.4 DA AL.......................................£99
35-80 F4/5.6..........................................£49
50 F1.8 DA.......................................... £119
55-300 F4/5.8 ED WR...................... £299
DG-4 grip for K5 ..................................£79
OTHER PENTAX AF USED
SIG 70-300 F4/5.6 DG macro....... £139
SIG 150-500 F5/6.3 DG OS HSM. £599
REF converter angle finder box.. £179
PENTAX 6x7 USED
45 F4 late ............................................ £599
55 F4 late ............................................ £499
55-100 F4.5 ........................................ £699
75 F4.5 ................................................. £399
90-180 F5.6 ........................................ £499
100 F4 + macro adapter................ £699
120 F3.5 soft focus .......................... £399
200 F4 late.......................................... £399
300 F4 latest ...................................... £349
2x rear converter grey ................... £299
WWW.MIFSUDS.COM
50 F1.8 ....................................................£99
135 F3.5..................................................£99
200 F4 .................................................. £129
7/14/25 ext tube each ......................£20
14/25 auto ext tube each................£29
Converter 2x A.....................................£99
PENTAX AF USED
SFXN body ............................................£39
PENTAX MF USED
17 F4 PK .............................................. £399
50 F1.4 PK........................................... £149
50 F1.7 PK..............................................£69
50 F2 PK .................................................£49
80-200 F4.5 PK.....................................£69
135 F3.5 PK ...........................................£79
300 F4 PK box ................................... £399
400 F5.6 PK ............................... £399/499
Bellows M + slide copier............... £199
WWW.MIFSUDS.COM
 Tech Talk
BLAST FROM THE PAST
Corfield 66
John Wade unveils a
still very usable English
roll film reflex
LAUNCHED 1961
PRICE AT LAUNCH £76 10s 6d
(£76.52½)
GUIDE PRICE NOW £120-150
THE CORFIELD company was best
known for making Periflex 35mm
cameras, first launched in 1953.
Although of unconventional
design, the cameras were very
successful. But in the 1960s,
with these cameras losing out to
Japanese 35mm models recently
landing on the British market,
Corfield turned in a different
direction. The result was a
camera that aimed to challenge
Rolleiflex and Roilleicord twin lens
reflexes. Enter the Corfield 66, a
single lens reflex for 12 6x6cm
negatives on 120 roll film.
This is a sturdy camera, made
from aluminium die-castings, with
steel and brass fittings, and
weighing in at nearly 2 kilograms.
The focal plane shutter, wound by
a knob on the side, is speeded
1/10-1/500sec. The reflex mirror
reflects its view to a large
focusing screen on the top of the
52
body. With the shutter wound,
pressing then releasing a small
knob on the front of the body
raises the mirror, fires the shutter
and then drops the mirror back
into place. The film is inserted
into a detachable magazine
protected by a dark slide that
must be removed before
exposure. Unfortunately Corfield
didn’t make the magazines.
Instead they were bought in from
Germany, and appear to have
been adapted from magazines for
the 6x9cm format. This means
the magazine is longer, and
therefore the camera body is
Left: The back
of the camera
with the film
magazine open
for loading
Right: The
camera broken
down into its
component parts
Below: The Corfield
66 fitted with a
contemporary
Corfield Perilite, one
of the first electronic
flashguns built into a
single unit, rather
than having the flash
tube separate from
the powerpack
taller, than expected, giving a
slightly ungainly appearance.
The four-element 95mm f/3.5
Lumax lens is interchangeable on
a unique mount, but no others
were made. The waist-level
viewfinder is interchangeable too,
but no alternatives were made.
Rare accessories include a lens
hood, extension tubes and a
hand grip. Only around 900-
1,000 cameras were made, but if
you find one today in working
condition, the lens has a
reputation for quality.
What’s good Inexpensive
route into medium
format reflex
photography.
What’s bad Very
heavy, lack of
accessory lenses,
shutter fires with
dark slide in place.
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www.amateurphotographer.co.uk
 Guide
242
lenses
listed &
rated

Our comprehensive listing of key specifications for DSLR

LR lenses
len
nses

Lens mounts
Each manufacturer has its own
DSLR 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 type motors for fast focusing, but some
of small objects. now have video-friendly stepper motors
Large-aperture lenses as widely used in mirrorless systems.
allow you to isolate
subjects against blurred
backgrounds, or shoot in
low light without having to Filter thread Maximum
raise the ISO too high. A thread at the front of aperture
Meanwhile, all-in-one the camera will have Wider apertures mean
superzooms cover a wide range a diameter, in mm, which you can use faster,
of subjects, but usually with will allow you to attach motion-stopping
rather lower optical quality. a variety of filters or shutter speeds.
adapters to the lens.

OUR GUIDE TO THE SUFFIXES USED BY LENS MANUFACTURERS

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

SPONSORED BY Park Cameras was established in 1971 in Burgess Hill, West Sussex. For 50 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.

www.amateurphotographer.co.uk 53
 BUYING GUIDE

FILTER THREAD (MM)

DSLR Lenses

DIAMETER (MM)
STABILISATION

MIN FOCUS (CM)

FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WEIGHT (G)
PENTAX
CANON

SIGMA
NIKON
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

CANON DSLR
EF 8-15mm f/4 L USM £1499 Impressive-looking fisheye zoom lens from Canon • • 15 n/a 78.5 83 540
EF-S 10-18mm f/4.5-5.6 IS STM £299 4★ A superb ultra-wideangle that’s a must-have for anyone shooting landscapes and cityscapes • • 22 67 74.6 72 240
EF-S 10-22mm f/3.5-4.5 USM £990 4★ A good performer, with solid MTF curves and minimal chromatic aberration • 24 77 83.5 89.8 385
EF 11-24mm f/4 L USM £2799 5★ Long-awaited by Canon full-frame users, this is the world’s widest-angle rectilinear zoom lens • • 28 n/a 108 132 1180
EF 14mm f/2.8 L II USM £2810 4.5★ Impressive resolution at f/8 but less so wide open • • 20 n/a 80 94 645
EF 16-35mm f/2.8 L III USM £2150 Revamped wideangle zoom includes new optics in a weather-sealed lens barrel • • 28 82 89.5 127.5 790
EF 16-35mm f/4 L IS USM £1199 4★ Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full-frame cameras • • • 28 77 82.6 112.8 615
TS-E 17mm f/4 L £2920 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 25 77 88.9 106.9 820
EF 17-40mm f/4 L USM £940 4★ Designed to match the needs of demanding professionals – and does so with ease • • 28 77 83.5 96.8 500
EF-S 17-55mm f/2.8 IS USM £795 4★ Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture • • 35 77 83.5 110.6 645
EF-S 18-55mm f/4-5.6 IS STM £220 Latest standard zoom for Canon’s APS-C EOS DSLRs, with compact design and updated optics • • 25 58 66.5 61.8 215
EF-S 18-135mm f/3.5-5.6 IS STM £478 Uses stepper motor for silent and fast autofocus that’s also well suited to video work • • 39 67 76.6 96 480
EF-S 18-135mm f/3.5-5.6 IS USM £500 Versatile zoom with new Nano USM focus technology and optional power zoom adapter • • 39 67 77.4 96 515
EF-S 18-200mm f/3.5-5.6 IS £740 4★ Automatic panning detection (for image stabilisation) and a useful 11x zoom range • • 45 72 78.6 102 595
EF 24mm f/1.4 L II USM £2010 Subwavelength structure coating, together with UD and aspherical elements • • 25 77 83.5 86.9 650
EF-S 24mm f/2.8 STM £165 4★ Bargain price, tiny carry-everywhere size and a highly competent imaging performance • 16 52 68.2 22.8 125
TS-E 24mm f/3.5 L II £2550 Tilt-and-shift optic with independent tilt-and-shift rotation and redesigned coatings • • 21 82 88.5 106.9 780
EF 24-70mm f/2.8 L II USM £2300 5★ Professional-quality standard zoom lens with a fast aperture • • 38 82 88.5 113 805
EF 24-70mm f/4 L IS USM £1499 L-series zoom said to be compact, portable and aimed at both professionals and amateurs • • • 38 77 83.4 93 600
EF 24-105mm f/4 L IS II USM £1129 4★ Reworked workhorse zoom for full-frame cameras uses an all-new optical design • • • 45 77 83.5 118 795
EF 24-105mm f/3.5-5.6 IS STM £479 3.5★ A versatile standard zoom lens that’s an ideal route into full-frame photography • • • 40 77 83.4 104 525
EF 28-300mm f/3.5-5.6 L IS USM £3290 L-series optic with expansive range, image stabilisation and a circular aperture • • • 70 77 92 184 1670
EF-S 35mm f/2.8 Macro IS STM £399 Features an innovative built-in dual-LED light for close-up shooting • • 13 49 69.2 55.8 190
EF 35mm f/2 IS USM £799 First 35mm prime from Canon to feature an optical stabilisation system • • • 24 67 62.6 77.9 335
EF 35mm f/1.4 L II USM £1799 5★ An outstanding addition to the L-series line-up • • 28 72 80.4 104.4 760
EF 50mm f/1.2 L USM £1910 Very wide maximum aperture and Super Spectra coatings, and a circular aperture • • 45 72 85.8 65.5 580
EF 50mm f/1.4 USM £450 5★ Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy, though • • 45 58 73.8 50.5 290
EF 50mm f/1.8 STM £130 5★ Lightest EF lens in the range, with wide maximum aperture and a Micro Motor • • 35 49 69.2 39.3 130
TS-E 50mm f/2.8L Macro £2500 One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 45mm f/2.8 • • 27 77 86.9 114.9 945
EF-S 55-250mm f/4-5.6 IS STM £265 A compact telephoto lens featuring smooth, quiet STM focusing when shooting movies • • 110 58 70 111.2 375
MP-E 65mm f/2.8 1-5x Macro £1250 Macro lens designed to achieve a magnification greater than 1x without accessories • • 24 58 81 98 710
EF 70-200mm f/2.8 L USM £1540 Non-stabilised L-series optic, with rear focusing and four UD elements • • 150 77 84.6 193.6 1310
EF 70-200mm f/2.8 L IS III USM £2150 Updates Canon’s excellent pro workhorse zoom with water-repellent fluorine coatings • • • 120 77 88.8 199 1480
EF 70-200mm f/4L IS II USM £1300 Upgraded premium telephoto zoom promises five stops of image stabilisation • • • 100 72 80 176 780
EF 70-300mm f/4.5-5.6 IS II USM £499 4.5★ Mid-range telephoto zoom offers really good optics and fast, silent autofocus • • • 120 67 80 145.5 710
EF 70-300mm f/4-5.6 L IS USM £1600 5★ An L-series lens with a highly durable outer shell • • • 120 67 89 143 1050
EF 75-300mm f/4-5.6 III £300 Essentially the same lens as the 75-300mm f/4-5.6 III USM but with no USM • • 150 58 71 122 480
EF 85mm f/1.4L IS USM £1570 5★ Sublime, highly desirable portrait lens combines large aperture and optical image stabilisation • • • 85 77 88.6 105.4 950
EF 85mm f/1.8 USM £470 5★ Non-rotating front ring thanks to rear-focusing system, as well as USM • • 85 58 75 71.5 425
TS-E 90mm f/2.8L Macro £2500 One of a trio of tilt-and-shift macro lenses, this replaces the TS-E 90mm f/2.8 • • 39 77 86.9 116.5 915
EF 100mm f/2.8 L Macro IS USM £1060 5★ Stunning MTF figures from this pro-grade macro optic • • • 30 67 77.7 123 625
EF 100-400mm f/4.5-5.6 L IS II USM £1999 4.5★ L-series construction and optics, including fluorite and Super UD elements • • • 98 77 94 193 1640
EF 135mm f/2 L USM £1360 L-series construction with two UD elements and wide maximum aperture • • 90 72 82.5 112 750
TS-E 135mm f/4L Macro £2500 One of a trio of tilt-and-shift macro lenses, with 1:2 magnification • • 49 82 88.5 139.1 1110
EF 180mm f/3.5 L Macro USM £1870 L-series macro lens with inner focusing system and USM technology • • 48 72 82.5 186.6 1090
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

LAOWA DSLR
12mm f/2.8 Zero D £899 Ultra-wideangle lens for full-frame DSLRs that exhibits minimal distortion • • • • • 18 77 74.8 82.8 609
14mm f/4 Zero-D DSLR £499 Relatively compact and lightweight ultra-wideangle manual focus prime that promises low distortion • • • 15 67 72.5 75 320
15mm f/4 1:1 Macro £449 4★ Unusual wideangle lens that offers 1:1 Macro together with vertical shift movements on APS-C cameras • • • • • 12 77 83.8 64.7 410
15mm f/4.5 Zero-D Shift £1249 4★ The world’s widest-angle shift lens offers +/-11mm movement in any direction • • • 20 n/a 79 103 597
24mm F14 2x Macro Probe £1599 Unique specialist macro lens with submersible front barrel and built-in LED lights • • • 47 n/a 38 408 474
25mm f/2.8 Ultra Macro 2.5x - 5x £399 Unusual lens designed solely for ultra-close-up shooting, with magnification from 2.5x to 5x • • • • 17.3 n/a 65 82 400
60mm f/2.8 2X Ultra Macro £319 3.5★ With 2:1 Macro, an all-in-one option for normal portrait photography as well as ultra-macro • • • • • 18.5 62 95 70 503
100mm f/2.8 2:1 Ultra Macro APO £469 Full-frame macro lens with twice-life-size magnification and apochromatic design • • • • 24.7 67 125 72 638

We’ve tried our hardest to ensure that the information in this guide is as complete and accurate as possible. However, some errors will
inevitably have crept in along the way: if you spot one, please let us know by emailing ap.ed@kelsey.co.uk. Unfortunately we don’t have space
to list every single product on the market, so we don’t include the most expensive speciality items. Before making a purchase we advise you
to check prices, along with any crucial specifications or requirements, with either a reputable retailer or the manufacturer’s website.

s nothing without a lens attached!

where you’ll find hundreds of lenses
range of uses, for a variety of budgets.

lm • Nikon • Laowa • Olympus

• Pentax • Samyang • Sigma
n • Viltrox • Voigtlander • Zeiss

54 www.amateurphotographer.co.uk
 SPONSORED BY

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)
FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WEIGHT (G)
PENTAX
CANON

SIGMA
NIKON
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

NIKON DSLR
8-15mm f/3.5-4.5 E ED Fisheye AF-S £1299 Fisheye zoom for full-frame DSLRs that gives a circular view at 8mm and full-frame coverage at 15mm • • 16 n/a 77.5 83 485
10-20mm f/4.5-5.6 G VR AF-P DX £330 3.5★ Inexpensive wide zoom for DX DSLRs has effective image stabilisation but rather average optics • • 22 72 77 73 230
10-24mm f/3.5-4.5 G ED AF-S DX £834 4★ MTF performance is good from wide open to f/11, only breaking down past f/22 • 24 77 82.5 87 460
10.5mm f/2.8 G ED DX Fisheye £678 DX format fisheye lens with Nikon’s Close-Range Correction system and ED glass • 14 n/a 63 62.5 300
12-24mm f/4 G ED AF-S DX £1044 4★ This venerable optic may be a little weak at f/4, but otherwise it’s a good performer • 30 77 82.5 90 485
14mm f/2.8 D ED AF £1554 5★ A really nice lens that handles well and offers excellent image quality • • 20 n/a 87 86.5 670
14-24mm f/2.8 G ED AF-S £1670 5★ A remarkable piece of kit, producing sharp images with little chromatic aberration • • 28 n/a 98 131.5 970
16mm f/2.8 D AF Fisheye £762 Full-frame fisheye lens with Close-Range Correction system and 25cm focus distance • • 25 n/a 63 57 290
16-35mm f/4 G ED AF-S VR £1072 5★ A fantastic lens that deserves to be taken seriously, with very little CA throughout • • • 28 77 82.5 125 685
16-80mm f/2.8-4E ED VR AF-S DX £869 4★ This new standard zoom for DX-format users is designed as a travel lens for APS-C DSLRs • • 35 72 80 85.5 480
17-55mm f/2.8 G ED-IF AF-S DX £1356 4★ A higher-quality standard zoom for DX-format DSLRs • 36 77 85.5 110.5 755
18-35mm f/3.5-4.5 G ED AF-S £669 5★ Wideangle zoom with instant manual-focus override for full-frame DSLRs • • 28 77 83 95 385
18-55mm f/3.5-5.6 G AF-P DX £149 A compact, lightweight DX-format zoom that’s an ideal walk-around lens • 25 55 64.5 62.5 195
18-55mm f/3.5-5.6 G VR AF-P DX £199 A compact, lightweight DX-format zoom lens with Vibration Reduction • • 25 55 64.5 62.5 205
18-140mm f/3.5-5.6 G ED VR AF-S DX £579 A compact and lightweight DX-format zoom, this lens is a great all-rounder • • 45 67 78 97 490
18-200mm f/3.5-5.6 G IF-ED VR II AF-S VR DX £762 4.5★ Four-stop VR II system, two ED and three aspherical elements in this DX superzoom lens • • 50 72 77 96.5 560
18-300mm f/3.5-6.3 G ED VR £849 New DX-format 16.7x zoom with super-telephoto reach – a compact walk-around lens • • 48 67 78.5 99 550
19mm f/4 E ED PC £3300 Super-wideangle tilt-and-shift lens for architecture and landscape photography • • 25 n/a 89 124 885
20mm f/1.8 G ED AF-S £679 A fast FX-format prime lens that’s compact and lightweight • • 20 77 82.5 80.5 335
20mm f/2.8 D AF £584 Compact wideangle lens with Nikon’s Close-Range Correction system • • 25 62 69 42.5 270
24mm f/2.8 D AF £427 Compact wide lens with Close-Range Correction system • • 30 52 64.5 46 270
24mm f/1.4 G ED AF-S £1990 5★ Nothing short of stunning. Aside from its high price, there is very little to dislike about this optic • • 25 77 83 88.5 620
24mm f/1.8 G ED AF-S £629 Fast FX-format lens that aims to appeal to landscape, interior, architecture and street photographers • 23 72 77.5 83 355
24mm f/3.5 D ED PC-E £1774 Perspective Control lens with Nano Crystal Coating and electronic control over aperture • • 21 77 82.5 108 730
24-70mm f/2.8 G ED AF-S £1565 5★ An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens • • 38 77 83 133 900
24-70mm f/2.8 E ED VR £1849 5★ Nikon’s latest pro-spec standard zoom looks like its best lens yet • • • 38 82 88 154.5 1070
24-85mm f/3.5-4.5 G ED VR £520 5★ FX-format standard zoom with Auto Tripod detection and VR • • 38 72 78 82 465
24-120mm f/4 G ED AF-S VR £1072 5★ Constant maximum aperture of f/4 and the addition of VR makes this a superb lens • • • 45 77 84 103 710
28mm f/1.4 E ED AF-S £2080 Boasts a dust- and drip-resistant build for reliable shooting in challenging weather conditions • • 28 77 83 100.5 645
28mm f/1.8 G ED AF-S £619 5★ If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers • • 25 67 73 80 330
28mm f/2.8 D AF £282 Compact wideangle lens with a minimum focusing distance of 25cm • • 25 52 65 44.5 205
28-300mm f/3.5-5.6 G ED AF-S VR £889 4.5★ Technical testing shows this zoom to be, as Nikon claims, the ‘ideal walkabout lens’ • • • 50 77 83 114 800
35mm f/1.8 G AF-S DX £208 5★ Designed for DX-format DSLRs, a great standard prime lens • 30 52 70 52.5 200
35mm f/1.8 G ED AF-S £479 Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight • • 25 58 72 71.5 305
35mm f/2 D AF £324 3★ At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture • • 25 52 64.5 43.5 205
35mm f/1.4 G ED AF-S £1735 5★ A Nano Crystal-coated lens designed for the FX range • • 30 67 83 89.5 600
40mm f/2.8 G AF-S DX Micro £250 5★ A budget-priced macro lens that delivers the goods on multiple fronts • 20 52 68.5 64.5 235
45mm PC-E f/2.8 D ED Micro £1393 Perspective Control (PC-E) standard lens used in specialised fields such as studio and architecture • • 25 77 82.5 112 740
50mm f/1.4 G AF-S £376 5★ Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4 • • • 45 58 73.5 54 280
50mm f/1.8 D AF £135 Compact, lightweight, affordable prime, will stop down to f/22 • • 45 52 63 39 160
50mm f/1.8 G AF-S £200 5★ A cut-price standard lens for FX shooters or a short telephoto on DX-format DSLRs • • 45 58 72 52.5 185
58mm f/1.4 G AF-S £1599 4★ FX-format full-frame premium prime lens with large f/1.4 aperture • • 58 72 85 70 385
60mm f/2.8 D AF Micro £405 5★ Nikon’s most compact Micro lens, with Close Range Correction (CRC) system • • 22 62 70 74.5 440
60mm f/2.8 G ED AF-S Micro £500 Micro lens with 1:1 reproduction ratio, as well as a Silent Wave Motor and Super ED glass • • 18 62 73 89 425
70-200mm f/2.8 E FL ED VR AF-S £2650 Latest update to Nikon’s pro workhorse fast telephoto zoom brings electronic aperture control • • • 110 77 88.5 202.5 1430
70-200mm f/4 G ED VR AF-S £1180 5★ Latest 70-200mm offers third-generation VR and weight savings over its more expensive f/2.8 cousin • • • 1000 67 78 178.5 850
70-300mm f/4.5-5.6 E ED VR AF-P £750 Nikon’s first full-frame lens to feature a stepper motor for autofocus • • • 1200 67 80.5 146 680
70-300mm f/4.5-6.3 G AF-P DX £300 Budget telephoto zoom with stepper motor for AF and space-saving collapsible design • 110 58 72 125 400
70-300mm f/4.5-6.3 G VR AF-P DX £350 Adds extremely useful optical stabilisation to Nikon’s budget compact telephoto • • 110 58 72 125 415
80-400mm f/4.5-5.6 G ED VR AF-S £1899 5★ Successor to the 80-400mm f/4.5-5.6D ED VR, focusing is excellent at tracking fast-moving subjects • • • 175 77 95.5 203 1570
85mm f/3.5 G ED AF-S DX VR £522 DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass • • 28 52 73 98.5 355
85mm f/1.4 G AF-S £1532 5★ Fast mid-tele lens with an internal focusing system and rounded diaphragm • • 85 77 86.5 84 595
85mm f/1.8 G AF-S £470 5★ Rear-focusing system and distance window in this medium telephoto lens • • 80 67 80 73 350
85mm f/2.8D PC-E Micro £1299 Perspective Control (PC-E) telephoto, designed to be ideal for portraits and product photography • • 39 77 83.5 107 635
105mm f/1.4 E ED AF-S £2049 A 105mm FX-format prime lens with bright f/1.4 aperture, ideal for portraiture • • 100 82 94.5 106 985
105mm f/2.8 G AF-S VR II Micro £782 4.5★ A very sharp lens, with swift and quiet focusing and consistent MFT results • • • 31 62 83 116 720
200-500mm f/5.6 E ED VR AF-S £1179 A super-telephoto zoom lens compatible with Nikon FX-format DSLR cameras • • • 220 95 108 267.5 2300
300mm f/4 E PF ED VR AF-S £1230 5★ Light, compact AF-S full-frame telephoto lens with ED glass elements • • • 140 77 89 147.5 755

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 BUYING GUIDE

FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)
FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WEIGHT (G)
PENTAX
CANON

SIGMA
NIKON
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS

PENTAX DSLR
DA 10-17mm f/3.5-4.5 HD Fisheye ED £499 Updated fisheye zoom lens gains refreshed cosmetic design, new optical coatings and removable hood • 14 n/a 70 67.5 317
DA* 11-18mmF2.8 ED DC AW HD £1399 Premium fast ultra-wideangle zoom, includes all-weather construction and innovative focus clamp • 30 82 90 100 704
DA 12-24mm f/4 smc ED AL IF £1050 Two aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom • 30 77 83.5 87.5 430
DA 15mm f/4 smc ED AL Limited £820 Limited-edition lens with hybrid aspherical and extra-low-dispersion elements • 18 49 39.5 63 212
FA 15-30mm f/2.8 ED SM WR HD £1500 Weather-resistant ultra-wideangle zoom with fast maximum aperture and fixed petal-type hood • • 28 n/a 98.5 143.5 1040
DA* 16-50mm f/2.8 smc ED AL IF SDM £950 3.5★ A nice balance and robust feel, but poor sharpness at f/2.8 (which significantly improves from f/4 onwards) • 30 77 84 98.5 600
DA* 16-50mm f/2.8 ED PLM AW HD £1500 All-new premium large-aperture standard zoom with updated optics and electromagnetic aperture control • 30 77 84 117 712
DA 16-85mm f/3.5-5.6 ED DC WR £600 Weather-resistant, this zoom features a round-shaped diaphragm to produce beautiful bokeh • 35 72 78 94 488
DA 17-70mm f/4 smc AL IF SDM £630 Featuring Pentax’s Supersonic Direct-drive (SDM) focusing system • 28 67 75 93.5 485
DA 18-50mm f/4-5.6 DC WR RE £230 Super-thin standard zoom that’s weather-resistant and features a round-shaped diaphragm • 30 58 71 41 158
DA 18-55mm f/3.5-5.6 smc AL WR £229 A weather-resistant construction and an aspherical element, as well as SP coating • 25 52 68.5 67.5 230
DA 18-135mm f/3.5-5.6 DA ED DC WR £600 3.5★ A weather-resistant mid-range zoom lens • 40 62 73 76 405
DA 18-270mm f/3.5-6.3 smc ED SDM £699 15x superzoom for company’s K-mount DSLRs featuring two extra-low-dispersion (ED) elements • 49 62 76 89 453
DA 20-40mm f/2.8-4 ED Limited DC WR £829 With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather resistant • 28 55 68.5 71 283
NEW HD-FA 21mm f/2.4 ED Limited DC WR £1499 Ultra-wide addition to the premium Limited line-up, with aluminium barrel and electromagnetic aperture motor • • 18 67 74 89 416
DA 21mm f/3.2 smc AL Limited £600 This limited-edition optic offers a floating element for extra-close focusing • 20 49 63 25 140
FA 24-70mm f/2.8 ED SDM WR £1149 Full-frame-compatible premium standard zoom – includes a HD coating to minimise flare and ghosting • • 38 82 109.5 88.5 787
FA 28-105mm f/3.5-5.6 ED DC HD £549 Standard zoom lens for the K-1 full-frame DSLR that’s much more affordable than the 24-70mm f/2.8 • • 50 62 73 86.5 440
HD-FA 31mm f/1.8 Limited £1100 Premium aluminium-bodied wideangle prime boasts an aperture ring plus HD and fluorine coatings • • 30 58 69 65 341
FA 35mm f/2 HD £399 Latest version of venerable Pentax fast prime features a multi-layer HD coating • • 30 49 64 44.5 193
DA 35mm f/2.4 smc DS AL £180 5★ A budget-priced prime lens for beginners • 30 49 63 45 124
DA 35mm f/2.8 smc Macro £640 4.5★ Despite slight edge softness, this lens performs excellently and is a pleasure to use • 14 49 46.5 63 215
DA 40mm f/2.8 smc Limited £450 Pancake lens with SMC coating and Quick Shift focusing system • 40 49 63 15 90
HD-FA 43mm f/1.9 Limited £650 Classic full-frame fast prime with perfect focal length for everyday use • • 45 49 64 27 155
FA* 50mm f/1.4 SDM AW HD £1200 Premium fast prime with dustproof, weather-resistant design and electromagnetic aperture • • 40 72 80 106 910
FA 50mm f/1.4 smc £399 Compact fast prime with film-era double-Gauss optics and traditional aperture ring • • 45 49 63.5 38 220
DA 50mm f/1.8 smc DA £249 4★ Affordable short telephoto lens ideal for portraits • 45 52 38.5 63 122
D-FA 50mm f/2.8 smc Macro £550 Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism • • 19 49 60 67.5 265
DA* 50-135mm f/2.8 smc ED IF SDM £1200 4★ Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects • 100 67 76.5 136 765
DA 50-200mm f/4-5.6 smc ED WR £210 Weather-resistant construction, Quick Shift focus system and an SP coating • n/a 49 69 79.5 285
DA* 55mm f/1.4 smc SDM £800 4.5★ Despite questions about the particular sample tested, this lens scores highly • 45 58 70.5 66 375
DA 55-300mm f/4.5-6.3 ED PLM WR RE £400 Compact weather resistant telephoto zoom has video-friendly fast and silent autofocus motor • 95 58 76.5 89 442
DA 55-300mm f/4-5.8 ED WR £399 Weatherproof HD telephoto lens featuring quick shift focusing system • 140 58 71 111.5 466
DA 60-250mm f/4 smc ED IF SDM £1450 4.5★ With a constant f/4 aperture and an ultrasonic motor for speedy focusing • 110 67 167.5 82 1040
DA 70mm f/2.4 smc AL Limited £600 Medium telephoto lens with an aluminium construction and a Super Protect coating • 70 49 63 26 130
D-FA* 70-200mm f/2.8 ED DC AW £1850 Fast telephoto zoom in Pentax’s high-performance Star (*) series developed for best image rendition • • 120 77 91.5 203 1755
D-FA 70-210mm F4 ED SDM WR £1199 Compact telephoto zoom with constant f/4 maximum aperture and weather-resistant construction • • 95 67 78.5 175 819
HD-FA 77mm f/1.8 Limited £800 Renewed version of short telephoto portrait prime that features a traditional aperture ring • • 70 49 48 64 270
D FA* 85mm f/1.4 SDM AW £1999 Upcoming large-aperture short telephoto prime promises premium optics and weather-sealing • • 85 82 95 123.5 1255
D-FA 100mm f/2.8 Macro WR £680 5★ Street price makes this something of a bargain for a true macro offering full-frame coverage • • 30 49 65 80.5 340
FA 150-450mm f/4.5-5.6 ED DC AW £2000 Super-telephoto lens with weather resistance, designed to produce extra-sharp, high-contrast images • • 200 86 241.5 95 2000
DA* 200mm f/2.8 smc ED IF SDM £1000 4.5★ SDM focusing system on the inside, and dirtproof and splashproof on the outside • 120 77 83 134 825
DA* 300mm f/4 smc ED IF SDM £1300 This tele optic promises ultrasonic focus and high image quality thanks to ED glass • 140 77 83 184 1070

SAMYANG DSLR
8mm f/3.5 UMC Fisheye CS II £274 Wideangle fisheye lens designed for digital reflex cameras with APS-C sensors • • • • • 30 n/a 75 77.8 417
10mm f/3.5 XP MF £950 World’s widest-angle rectilinear lens promises 130° field of view with minimal distortion • • • 26 n/a 95 98.1 731
10mm f/2.8 ED AS NCS CS £429 Features a nano crystal anti-reflection coating system and embedded lens hood • • • • • 24 n/a 86 77 580
12mm f/2.8 ED AS NCS Fisheye £430 Fisheye ultra wideangle prime lens for full-frame DSLRs • • • • • • 20 n/a 77.3 70.2 500
14mm f/2.4 XP MF £899 High-end ultra-wideangle prime with premium optics and large maximum aperture • • • 28 n/a 95 109.4 791
AF 14mm f/2.8 £649 4.5★ Samyang’s first AF SLR lens features very decent image quality and weather-sealed construction • • • 20 n/a 90.5 95.6 485
14mm f/2.8 MF Mk II £439 Ultra-wideangle manual-focus prime with weather-sealing and de-clickable aperture ring • • • 28 n/a 87 96.3 641
16mm f/2.0 ED AS UMC CS £389 Fast wideangle lens for digital reflex cameras fitted with APS-C sensors • • • • • 20 n/a 89.4 83 583
20mm f/1.8 ED AS UMC £430 Large-aperture manual focus wideangle lens for full-frame DSLRs • • • • • • 20 77 83 113.2 520
24mm f/1.4 AS UMC £499 Fast ultra-wideangle manual-focus lens comprising 13 elements arranged in 12 groups • • • • • • 25 77 95 116 680
24mm f/3.5 ED AS UMS TS £949 3★ Tilt-and-shift wideangle lens for a fraction of the price of Canon and Nikon’s offerings • • • • • • 20 82 86 110.5 680
35mm f/1.2 XP MF £719 Ultra-large aperture, manual focus prime with premium optics • • 34 86 93 117.4 1106
35mm f/1.4 AS UMC £369 4.5★ While manual focus only, this prime impressed us in real-world use, making it something of a bargain • • • • • • 30 77 83 111 660
50mm f/1.2 XP MF £639 Large aperture manual-focus prime promises 50MP resolution • • 45 86 93 117.4 1200
50mm f/1.4 AS UMC £299 Manual-focus fast standard prime for full-frame DSLRs • • • • • • 45 77 74.7 81.6 575
85mm f/1.2 XP MF £899 High-end manual focus lens sports an impressively fast maximum aperture • • 80 86 93 98.4 1050g
AF 85mm f/1.4 £599 3★ Autofocus fast short telephoto portrait lens for use on Canon or Nikon full-frame DSLRs • • • 90 77 88 72 485
ALL PRICES ARE RRPS, STREET PRICES MAY VARY

85mm f/1.4 MF Mk II £389 Large-aperture short telephoto manual-focus prime is weather-sealed and the aperture can be de-clicked • • • 110 72 78 72.2 541
100mm f/2.8 ED UMC Macro £389 Full-frame compatible, the Samyang 100mm is a true Macro lens offering 1:1 magnification • • • • • • 30 67 72.5 123.1 720
135mm f/2 ED UMC £399 Manual focus portrait prime has fast aperture for subject isolation and background blur • • • • • • 80 77 82 122 830

SIGMA DSLR
10-20mm f/3.5 EX DC HSM £650 5★ An absolute gem of a lens that deserves a place on every photographer’s wish list • • • • • 24 82 87.3 88.2 520
12-24mm f/4 DG HSM | A £1649 5★ Premium full-frame wideangle zoom designed to have minimal distortion in its wideangle imagery • • • • 24 n/a 101 132 1150
14mm f/1.8 DG HSM | A £1679 World’s first f/1.8 ultra-wideangle prime lens for full-frame DSLRs • • • • 27 n/a 95.4 126 1170
14-24mm f/2.8 DG HSM | A £1399 5★ Pro-specification fast ultra-wide prime for full-frame DSLRs includes weather-sealed construction • • • • 26 n/a 96.4 135.1 1150

56 www.amateurphotographer.co.uk
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FILTER THREAD (MM)

DSLR Lenses

STABILISATION

MIN FOCUS (CM)

DIAMETER (MM)
FOUR THIRDS
SONY ALPHA

LENGTH (MM)
FULL FRAME

WEIGHT (G)
PENTAX
CANON

SIGMA
NIKON
IMAGE
LENS RRP SCORE SUMMARY MOUNT DIMENSIONS
15mm f/2.8 EX DG £629 4★ This fisheye optic puts in a very solid performance – not to be dismissed as a gimmick! • • • • • • 15 n/a 73.5 65 370
17-50mm f/2.8 EX DC OS HSM £689 FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation • • • • • • 28 77 83.5 92 565
17-70mm f/2.8-4 DC Macro OS HSM £449 Compact redesign of this well-received lens launches the ‘Contemporary’ range • • • • • • 22 72 79 82 470
18-35mm f/1.8 DC HSM £799 5★ Said to be the world’s first constant f/1.8 zoom; DoF equivalent of constant f/2.7 on full frame • • • 28 72 78 121 810
18-200mm f/3.5-6.3 DC OS £449 4★ Excellent resolution and consistent performance, but control over CA could be a little better • • • • 45 45 79 100 610
18-300mm f/3.5-6.3 DC Macro OS HSM £499 Compact and portable high ratio zoom lens offering enhanced features to make it the ideal all-in-one lens • • • • • 39 72 79 101.5 585
20mm f/1.4 DG HSM | A £799 5★ An outstanding wideangle fixed-focal-length lens • • • • 27.6 n/a 90.7 129.8 950
24mm f/1.4 DG HSM | A £799 5★ The latest addition to Sigma’s ‘Art’ line of high-quality fast primes • • • • 25 77 85 90.2 665
24-35mm f/2 DG HSM | A £949 5★ The world’s first large-aperture full-frame zoom offering a wide aperture of f/2 throughout the zoom range • • • • 28 82 87.6 122.7 940
24-70mm f/2.8 DG OS HSM | A £1399 5★ Latest premium fast standard zoom for full frame includes optical image stabilisation • • • • • 37 82 88 107.6 1020
24-105mm f/4 DG OS HSM | A £849 4.5★ Serious full-frame alternative to own-brand lenses at a lower price, with no compromises in the build • • • • • • 45 82 89 109 885
28mm f/1.4 DG HSM | A £1099 4.5★ High-quality, weathersealed fast wideangle prime for full-frame DSLRs • • • • 28 77 82.8 107.1 865
30mm f/1.4 DC HSM | A £360 Unique fast prime for APS-C DSLRs that gives 45mm equivalent ‘normal’ angle of view • • • • • 30 62 63.3 74.2 435
35mm f/1.4 DG HSM | A £799 5★ Superb large-aperture prime; first lens in company’s ‘Art’ series • • • • • • 30 67 77 94 665
40mm f/1.4 DG HSM | A £1100 5★ Large and heavy prime promising natural-looking perspective and top-quality optics • • • • 40 82 87.8 131 1200
50mm f/1.4 DG HSM | A £849 5★ This lens has a unique design that pays off in truly excellent image quality • • • • • 40 77 85.4 100 815
50-100mm f/1.8 DC HSM | A £829 5★ This APS-C-format lens aims to cover the focal lengths of three prime lenses in one • • • 37.4 82 93.5 170.7 1490
60-600mm f/4.5-6.3 DG OS HSM | S £1899 Weathersealed 10x zoom encompasses huge range from standard to super-telephoto • • • • • 60 105 120.4 268.9 2700
70mm f/2.8 DG Macro | A £499 The first macro lens in Sigma’s Art line-up features an extending-barrel focus-by-wire design • • • • 26 49 71 106 515
70-200mm f/2.8 DG OS HSM | S £1349 5★ Superb large-aperture telephoto zoom shows high sharpness and minimal chromatic aberration • • • • • 120 82 94.2 202.9 1805
85mm f/1.4 DG HSM | A £1199 5★ Optically stunning fast short telephoto prime is the ultimate portrait lens for DSLR users • • • • 85 86 95 126 1130
100-400mm f/5-6.3 DG OS HSM | C £799 4.5★ Relatively lightweight telezoom comes with weather-sealing and choice of push-pull or twist zoom • • • • • 160 67 86.4 182.3 1160
105mm f/1.4 DG HSM | A £1499 4.5★ Sigma’s ‘bokeh monster’ super-fast portrait lens is weathersealed and comes with a tripod foot • • • • 100 105 115.9 131.5 1645
105mm f/2.8 EX DG OS HSM Macro £649 4.5★ An optically stabilised macro lens, this super-sharp lens is one of our favourites • • • • • 31.2 62 78 126.4 725
120-300mm f/2.8 DG HSM | S £3599 First lens in company’s ‘Sports’ series; switch enables adjustment of both focus speed and focus limiter • • • • • • 150 105 124 291 3390
135mm f/1.8 DG HSM | A £1399 5★ Super-fast portrait prime designed to provide sufficient resolution for 50MP DSLRs • • • • 87.5 82 91.4 114.9 1130
150-600mm f/5-6.3 DG OS HSM | C £1199 Budget ‘Contemporary’ version of Sigma’s long-range telephoto zoom is smaller and lighter • • • • • 280 95 105 260.1 1930
150-600mm f/5-6.3 DG OS HSM | S £1599 This portable, high-performance telephoto zoom from Sigma’s Sports line is dust and splashproof • • • • • 260 105 121 290.2 2860

TAMRON DSLR
10-24mm f/3.5-4.5 Di II VC HLD £580 4.5★ Wideangle zoom of APS-C with dust and splashproofing and optical stabilisation • • • 24 77 83.6 84.6 440
15-30mm f/2.8 SP Di VC USD G2 £1279 Second-generation image-stabilised fast wide zoom includes weather-sealing and faster AF • • • • 28 n/a 98.4 145 1110
16-300mm f/3.5-6.3 Di II VC PZD Macro £600 4★ Versatile mega-zoom, a very good all-in-one solution, as long as you won’t need to enlarge to A2 size • • • • 39 67 99.5 75 540
17-35mm f/2.8-4 Di OSD £629 4★ Most compact and lightest full-frame ultra-wideangle zoom in its class • • 28 77 83.6 90 460
18-200mm f/3.5-6.3 AF Di II VC £169 4★ Lightweight all-in-one lens for APS-C DSLRs with Vibration Compensation • • • • 49 62 75 96.6 400
18-400mm f/3.5-6.3 Di II VC HLD £650 4★ The longest-ranging telephoto zoom yet made turns in a surprisingly decent performance • • • 45 72 79 123.9 710
24-70mm f/2.8 SP Di VC USD G2 £1249 Upgraded fast zoom with improved image stabilisation and moisture-resistant construction • • • • 38 82 88.4 111 905
35mm f/1.4 SP Di USD £930 Premium large-aperture prime with moisture-resistant construction, billed as Tamron’s best-ever lens • • • 30 72 80.9 104.8 815
35mm f/1.8 SP Di VC USD £580 4.5★ Moderately wide prime combines ultrasonic focusing, image stabilisation and a fast aperture • • • • • 20 67 80.4 80.8 480
35-150mm F2.8-4 Di VC OSD £799 Unusual image-stabilised full-frame zoom designed for portraits, with large maximum aperture • • • • 45 77 84 126.8 796
70-200mm f/2.8 SP Di VC USD G2 £1350 5★ Excellent telephoto zoom with updated autofocus and image stabilisation plus sealed construction • • • • 95 77 88 193.8 1500
70-210mm f/4 Di VC USD £699 4.5★ Lightweight telezoom promises high optical performance, image stabilisation and weather-sealing • • • • 95 67 76 176.5 860
100-400mm f/4.5-6.3 Di VC USD £789 5★ Relatively compact and lightweight telephoto zoom with moisture-resistant construction • • • • 150 67 199 86.2 1135
150-600mm f/5-6.3 SP Di VC USD G2 £1340 Popular long telephoto zoom that produces excellent results • • • • • 220 95 108.4 260.2 2010

TOKINA DSLR
ATX-i 11-16mm f/2.8 CF £449 Gains a new waterproof top coating for the front element and updated cosmetic design • • 30 77 84 89 555
AT-X 11-20mm f/2.8 PRO DX £499 4★ Compact, ultra-wideangle lens with a fast maximum aperture and decent optical performance • • 28 82 89 92 560
AT-X 12-28mm f/4 PRO DX £529 Replacement for 12-24mm f/4 wideangle zoom; for Nikon DX DSLRs • • 25 77 84 90 600
AT-X 14-20mm f/2 PRO DX £849 Wideangle zoom with super-fast, super-bright, constant f/2 aperture for shooting in very low light • • 28 82 89 106 725
Opera 16-28mm f/2.8 FF £699 4★ This large-aperture wide zoom for full-frame DSLRs is an updated version of the AT-X 16-28mm f/2.8 • • • 28 n/a 89 133.5 940
Opera 50mm f/1.4 FF £900 Premium fast prime designed for high-resolution DSLRs, with dust and weather-resistant construction • • • 40 72 80 107.5 950

VOIGTLANDER DSLR
28mm f/2.8 Aspherical SL II-S Color-Skopar £499 Manual-focus wideangle prime for Nikon F-mount SLRs boasts high-quality metal construction • • 15 52 66.3 32.8 205
58mm f/1.4 SL II-S Nokton £518 Large-aperture manual focus standard prime for Nikon SLRs, inlcuding classic film cameras • • 45 52 67.6 45.5 320
NEW 90mm f/2.8 APO-Skopar SL II-S £529 Remarkably small and lightweight manual-focus short telephoto portrait prime • • 90 52 66.3 41 260

ZEISS DSLR
15mm f/2.8 Milvus £2329 This super-wideangle lens has an angle of view of 110° and uses an advanced retrofocus design • • • 25 95 102.3 100.2 947
18mm f/2.8 Milvus £1999 Compact super-wideangle lens with premium optics including a floating focus system for close-ups • • • 25 77 90 93 721
21mm f/2.8 Milvus £1299 Premium wideangle lens with complex optics designed to be free of distortion • • • 22 82 95.5 95 851
25mm f/1.4 Milvus £1999 5★ Optically excellent, large-aperture manual focus wideangle lens with weather-sealed construction • • • 25 82 95.2 123 1225
35mm f/1.4 Milvus £1699 Large aperture, premium-quality manual-focus prime with weather-sealed construction • • • 30 72 84.8 124.8 1174
35mm f/2 Milvus £829 Compact, moderate wideangle manual focus prime • • • 30 58 77 83 702
50mm f/1.4 Planar T* £559 Classic double-Gauss design manual focus standard prime for full-frame SLRs • • • 45 58 71 71 380
50mm f/1.4 Milvus £949 5★ An exceptionally good lens offering sharpness, detail, clean edges and a great user experience • • • 45 67 82.5 94 922
50mm f/2 Milvus Macro £949 Manual-focus macro lens with half-life-size magnification and stunning optics • • • 24 67 81 75.3 730
85mm f/1.4 Planar T* £989 Classic portrait prime designed to give smooth, rounded bokeh effects • • • 100 72 78 88 670
85mm f/1.4 Milvus £1379 5★ Fast 85mm manual-focus prime lens that’s perfect for portraiture • • • 80 77 90 113 1280
100mm f/2 Milvus Macro £1299 A manual-focus macro lens with absolutely superb optics and half-life-size reproduction • • • 88 67 80.5 104 843
135mm f/2 Milvus £1899 Telephoto lens with a large aperture and smooth bokeh, ideal for medium-distance portrait photography • • • 80 77 129 132 1123

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 Photo Critique

Peter Dench considers...

Corner Shop, All Saints, Birmingham 1968 by Nick Hedges

F
our AAA batteries, flax seeds, oat
milk, a tub of Prime Gelato and
a watermelon are on the receipt
from my last trip to the corner
shop, Park Local Express (PLE). It sells
organic products, vegan products, gluten-
free products, dairy-free products and
frozen products. When I first moved into
the area over 25 years ago, it mainly sold
cigarettes, cow’s milk, sliced white bread,
two-litre bottles of cider and packets of
brightly coloured sweets high in additives.
My world became more localised during
the global coronavirus pandemic and my
visits to PLE more crucial and frequent.
They always had my favourite toilet roll
in stock, not like the supermarkets that
threaten its existence. PLE has adapted to
the needs of local residents and remained
relevant to survive.
Corner shops have been around for 130
years and given how resilient they’ve been,
I expect them to be around for another 100.
There are still over 46,000 convenience
stores open across the UK today and have
become embedded in art and popular
culture. ‘He knows it is a hard life but it’s
nice to be your own boss really,’ sings Paul
Weller in The Jam’s 1980 song, Man in the
Corner Shop. Ronnie Barker starred as
shopkeeper Albert Arkwright, and David
Jason as his hapless nephew Granville in
the much-loved classic British sitcom, Open
All Hours, and BBC reality documentary
Back in Time for the Corner Shop tracks a
real-life Sheffield family living and working
as local shop retailers spanning eras from
the late 19th century to the 1990s.
This photograph by Nick Hedges is a
blueprint of a 1960s corner shop; it couldn’t
be on more of a corner. The window is
stacked with loaves, packets and bars. I can
almost hear the ting-a-ling of the door as
it’s opened and imagine a respectful
reception from the proprietor upon
stepping inside. I hope it sells affordable
treats for the children playing in the street
outside and has what the lady wearing a
buttoned-up coat striding towards it desires.
Perhaps she’s going in to pick up her ration
of British cigarettes, Craven A, named after
the Earl of Craven. She may be reassured by
the slogan, Will Not Affect Your Throat,
which helped make the first machine-
manufactured cork-tipped cigarette become
a household brand around the globe.
Hedges has been a documentary
photographer for around 50 years working
in the field of social affairs. His work is in
the collections of the National Media
Museum, the Victoria and Albert Museum,
and is archived at the Central Library,
Birmingham. This photograph features in
the hardback book STREET, published by
Bluecoat Press, the corner shop of British
documentary photography publications.
I’m sure if you decide to pop in for a copy,
shopkeeper Colin Wilkinson will
declare, ‘Thank you, come again.’

Peter Dench is a photographer, writer, curator and presenter based in London. He is one of the co-curators of Photo North in Harrogate and has been exhibited dozens of times. He has published a
number of books including The Dench Dozen: Great Britons of Photography Vol 1; Dench Does Dallas; The British Abroad; A&E: Alcohol & England and England Uncensored. Visit peterdench.com

66 www.amateurphotographer.co.uk
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