What Digital Camera - December 2014 UK

THE UKS BEST SOURCE FOR IN-DEPTH TESTS AND CAMERA REVIEWS
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Master Action
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26
Tips & essential

shooting advice
Get to
grips with
shutter speed
FREE
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TECHNIQ
U
GUIDE E
OLYMPUS
NIKON
D750
OM-D E-M1
Is the E-M1
a dream to
use out on an
assignment?
We nd out...
Worlds rst full frame DSLR with

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TOP 20 INTERCHANGEABLE LENS CAMERAS REVIEWED AND RATED

Our listings rate and compare the specs of all the nest DSLRs, CSCs & compacts
FIELD
TEST
W E L C O M E
Camera
WHAT DIGITAL
DECEMBER 2014
ewind six years and the Nikon D700

was the hot topic of conversation
among photo enthusiasts. Its
professional credentials came at an
affordable price and it quickly gained a
reputation as the most desirable DSLR going. After a
long and patient wait, Nikon users nally have the
model theyve been waiting for the D750, which
slots into the gap between the D610 and D810. Our
full review looks at it in more detail on page 12.
Our main cover feature looks at helping you nd the
best camera no matter how much youre willing to
spend, while this months pull-out technique guide
offers no less than 26 tips for shooting action and
reveals why shutter speed is such a vital setting.
Elsewhere in this issue we subject the
Olympus OM-D E-M1 to a grilling eld test
to nd out if its still one of the nest
Micro Four Thirds cameras; we test the
Sony Alpha A5100 to see if its as
promising as its specs suggest; and as
always we answer all your photographic
questions. Enjoy the issue.
P4
First Look
We get hands on with
the new Panasonic Lumix
GM5 and Samsung NX1
P8
P33 Field Test

We take Olympuss OM-D
E-M1 aboard a yacht to
nd out how it fares at
documenting an epic race
Incoming
The rest of the best
releases from this years
Photokina imaging fair
P10 Opening Shot

A sensational wildlife shot
by Richard Shucksmith
P38 Sony A5100

The latest addition to the
Alpha series gets reviewed
P40 Accessories
We test the rst portable
Wi- hard drive with an
SD slot for secure backup
when youre on the move
P12 Nikon D750

How does Nikons latest
full frame DSLR stack up
and perform in the eld?
P45 Technique
This months pull-out
guide reveals how to take
better action images and
master your shutter speed
P17 Best Cameras You

Can Buy Right Now
Unsure of the best camera
to buy on a strict budget?
We round up the nest
choices from 150-2,500
P26 My Digital Camera

Two Canon DSLR users
offer their opinions on the
EOS 500D and EOS 7D
P30 Secondhand Classic
MANAGING EDITOR MICHAEL TOPHAM
P58 Help
Your photography-related
queries get answered
P62 Buying Guide

Reviews of all the current
cameras plus lens listings
P98 Competition
Enter to win a Fujilm
S9200 bridge compact!
An old classic gets revisited
TESTS YOU CAN TRUST
o ensure the camera you buy

doesnt disappoint when you
get it home, every camera
that passes through the hands
of What Digital Cameras highly
experienced technical team is
put through a series of tests to
analyse how it performs.
Every model, from high-spec
DSLRs through to entry-level

compacts, is subjected to a series
of rigorous tests in our lab, with
results analysed by the very best
industry software. This makes our
reviews the most authoritative in
the UK.
We test for colour different
sensors and camera image
processors can interpret colour

differently, while this can also
shift at different ISO sensitivities.
We then get down to the nittygritty of resolution, with our lab
tests showing us exactly how
much detail each camera can
resolve even though cameras
can share identical pixel counts,
some perform better than others.

Then we look at Image Noise,
since different cameras can
produce cleaner images at higher
ISOs than others.
Finally, we get out and shoot
with every camera and lens in
real-world conditions just as you
will, to nd out how they perform.
ISO 100
ISO 100
ISO 400
ISO 100
22
20
COLOUR
RESOLUTION
NOISE
Subjecting each camera to our colour chart test

reveals any variation and differences in colour
between Raw and JPEG le formats.
Our resolution chart reveals exactly how much

detail a sensor can resolve and its measured in
lines per picture height, abbreviated as l/ph.
The diorama is used to ascertain how image

noise is handled through an ISO range. Some
cameras produce cleaner results than others.
WWW.WHATDIGITALCAMERA.COM 3
F IR ST LO O K
4 5 5 - 1 2 0 0
C O M PA C T S
The grip
offers a pleasing
and comfortable
feel in the hand
SAMSUNG DEBUTS NX1

ANDY
W E STL A KE
T EC H N IC AL
hotokina 2014 brought us

an array of exciting new
cameras, from large-sensor
zoom compacts to top-end SLRs.
But one of the real stars of the
show came from a less likely
stable the Samsung NX1. The
NX1 is a high-end Compact
System Camera thats designed
to appeal to advanced
enthusiasts. This places it in the
same bracket as current standout
cameras including the Fujilm
X-T1 and the Olympus OM-D
E-M1. However, on paper, the NX1
offers the most impressive
feature set of the lot.
The NX1 has a 28MP APS-C
CMOS sensor, with a hybrid
autofocus system that includes
phase detection elements arrayed
across almost the entire frame. It
can shoot at 15fps with
continuous autofocus, and has a
70-frame JPEG buffer. It also
joins a select group of cameras
that offer video recording at 4K
resolution. For viewing, it
incorporates a large 2.36-million-
ED ITO R
dot electronic viewnder, a

3in Super-Amoled tilting
touchscreen, even a top-plate
LCD panel of the type normally
reserved for enthusiast DSLRs.
The body is made of magnesium
alloy, and is dustproof as well as
splashproof. Naturally Wi- with
NFC is built-in, but interestingly,
Samsung also adds Bluetooth.
This is all pretty mouthwatering
stuff, with the NX1 out-gunning
the other top-end APS-C
announcement at Photokina, the
Canon EOS 7D Mark II, at least in
terms of specication.
SE N SO R
The NX1 is based on an entirely

new 28MP sensor which is the
rst APS-C sized unit to employ
back-side illumination (BSI)
technology. Samsung says this
increases sensitivity, so that
each pixel can record as much
light as those on its previous
20MP sensors. In principle the
technology also reduces lens
shading effects. The available
sensitivity range runs
from ISO 100 up to
ISO 25,600 or ISO
51,200 in extended
In the hand,
the NX1 feels a
mode.
touch plasticky
The sensor
in some areas
includes no fewer
than 205 phase detection
elements for autofocus covering
a wide area of the frame, which
work in concert with 209
4 WWW.WHATDIGITALCAMERA.COM
HIGHLIGHTS
SENSOR 28.2MP BSI APS-C CMOS sensor

PROCESSOR DRIMe V image processor
LENS MOUNT Samsung NX mount
AUTOFOCUS 205-point Hybrid AF system
SCREEN 3in, 1,040k-dot touchscreen
VIEWFINDER EVF (OLED) 2,360k-dot
VIDEO 4K (4096x2160) 24fps, Full HD (1920x1080)
PRICE 1,299 (body only)
contrast detection elements in
the hybrid autofocus system.
Of these, 153 are cross-type:
sensitive to both horizontal and
vertical detail. Whats more,
Samsung claims the system can
track moving subjects while
shooting at 15fps, and focus in
just 55 milliseconds. It can also
operate during movie recording.
Our initial impressions from trying
the camera are positive the NX1
focused quickly and decisively
in Samsungs reasonably well-lit
demo area at Photokina.
Image processing employs
the DRIME V, Samsungs most
powerful processor yet. It
uses a multi-core processor to
achieve speeds 2.8x faster than
its predecessor. Samsung says
its more power-efcient than
previous designs, which helps
allow a battery life of 500 shots
unusually high for a CSC.
The NX1 closely resembles a
mid-size SLR in its design, with a
central housing for its electronic
viewnder, a prominent handgrip,
and a body peppered with
buttons and dials. It feels pretty
Unlike many
CSCs, the NX1
has an LCD topplate display
solid in your hand, but doesnt

quite exude the same sense of
bomb-proong that you get from
its direct Photokina rival, the
Canon EOS 7D Mark II.
Samsung is keen to stress that
the NX1 can shoot video as well
as stills. Its 4096 x 2160 pixel
resolution 4K video is encoded
using the H.265 codec, which is
twice as space-efcient as the
standard H.264 used by most
cameras. The NX1 records at
80Mbps to its own SD card, so
theres no need for an external
recorder, and has an input socket
for an external microphone.
Samsung has also announced
a raft of accessories for the NX1
which reveal the full extent of
its ambitions. Theres a premium
50-150mm f/2.8 S series lens
to complement the existing
16-50mm f/2-2.8, and the highpower ED-SEF580A ash with a
maximum guide number of 58.
And the ED-VGNX01 vertical grip
replicates the NX1s main controls
for portrait format shooting.
FI RST
I MPRESSI O NS
The NX1 sees Samsung aiming
higher than it ever has before,
offering a true top-end model to
rival cameras such as the
Olympus OM-D E-M1. On paper
its a startlingly impressive
camera, and looks worthy of
serious attention. Samsungs
biggest problem to date has been
one of brand perception, and
convincing potential buyers that
its a proper camera maker. The
NX1 might just change that, and
were looking forward to trying it.
C O M PA C T S
The GM5 builds

on the success
of the excellent
Lumix GM1
MICRO PERFECT LUMIX

HIGHLIGHTS
L
ANDY
W E STL A K E
T EC H NIC AL
ast year Panasonic

impressed us with its tiny
GM1 a Compact System
camera barely taller than its Micro
Four Thirds lens mount. With its
near-silent electronic shutter and
extensive touchscreen-based
controls, the GM1 is a ne
carry-everywhere camera for
serious photographers. But it has
its weaknesses, most notably a
ddly rear control dial thats used
for changing exposure settings.
And as I found out testing
Panasonics latest 15mm f/1.7 lens
this summer, the xed rear screen
and lack of any other viewing
option means that shooting in
bright light can become a matter
of guesswork.
With the new GM5, Panasonic
has addressed both these issues.
Its added an electronic viewnder
ED ITO R
SENSOR 16MP Live MOS sensor

PROCESSOR Venus engine image processor
LENS MOUNT Micro Four Thirds
AUTOFOCUS 23-area AF system
SCREEN 3in, 921k dots
VIEWFINDER EVF, 1,166k dots
PRICE 769 (with 12-32mm kit lens)
and revised the control layout,

while barely increasing its size.
The result is a camera that can
stake a serious claim to being the
best small interchangeable lens
camera on the market.
To replace the GM1s tiny rear
dial, Panasonic has added a small
thumbdial on the cameras
shoulder, re-introducing a control
thats long been a staple of
Panasonics G-series cameras,
right back to the cult-classic GF1.
This is used to change exposure
settings such as shutter speed,
aperture, and exposure

compensation; clicking it inwards
toggles its function between
whichever are active in the
current exposure mode. This dial
isnt very large, but past
experience says it should make
shooting with the GM5 a much
more pleasant experience.
The second new feature is the
electronic viewnder, which is
placed rangender-style in the
upper left corner. Its impressively
high resolution, but pretty small
a necessary compromise for
keeping the body this compact.
As usual a wide range of exposure
information is visible while youre
shooting, including a live
histogram and electronic levels.
The slight increase in size
relative to the GM1 means that the
control layout on the cameras
rear has been revised and spaced
out. Panasonic has persisted with
placing a focus mode switch on
the top-plate, which seems like a
waste of real estate its not the
most obvious function wed
dedicate the space to, especially
with exposure compensation dials
becoming more commonplace.
The GM5 retains the GM1s xed
rear touchscreen, which offers
quick access to a wide range of
secondary functions via the
onscreen Q menu. Its also
possible to specify the focus area
by tapping the screen when
shooting with the LCD, which
weve always found to be a useful
GOPRO SHOOTS 4K VIDEO

A
MIC H A E L
TO P H A M
M A NAG IN G
ction camera specialist

GoPro has taken wraps
off its most powerful
lineup of HERO cameras to date.
Comprised of three new models,
the GoPro HERO 4 Black edition
is the latest agship action cam,
which builds on the success of
the HERO 3+ Black edition by
supporting broadcast-quality 4K
video at 30fps and 2.7K video at
50fps, with the option to shoot
Full HD video at a blistering
120fps for slow-motion effects.
In addition, the HERO 4 Black
features an entirely new audio
system thats said to capture
enhanced sound with 2x the
dynamic range of previous
models. For those interested in
F IR ST LOOK
4 5 5 - 1 2 0 0
option. Like the GM1, the GM5

feels like a quality product in your
hand. Theres no grip as such, but
there is sufcient space on the
back of the camera for your
thumb to rest.
FI RST
I MPRESSI ONS
The GM5 takes what was already
a superb little camera, and by
adding an electronic viewnder
and tweaking the controls, turns it
into something very desirable
indeed. It makes an interesting
comparison with the coannounced LX100 xed-lens
compact camera; the GM5 is
noticeably smaller while using the
same size sensor. Its 12-32mm
f/3.5-5.6 kit zoom is much slower
than the LX100s similar range,
f/1.8-2.8 built-in lens, but the GM5
has the advantage of accepting
interchangeable lenses.
Overall the GM5 looks like it will
be a lot of camera in a very small
package, competing almost as
much with 1-inch sensor compact
cameras as with other small
Compact System cameras. Its
also likely to be very attactive to
existing users of larger Micro Four
Thirds cameras like the Panasonic
GH3 and GH4, and the Olympus
OM-D E-M1, as an ultra-portable
second camera. It may risk being
somewhat overlooked in the
inevitable excitement around the
LX100, but its an interesting
camera in its own right.
The HERO 4 Silver Edition is the

rst GoPro to feature an inbuilt
touch display to aid composition
and make it easier to view stills
and videos in playback mode
ED ITO R
rattling out stills as well as video,

it can shoot 12MP still images at
a lightning-fast 30fps. Other
improvements include a
refreshed user-interface, 50%
faster Wi- and LED strips
beside the LCD screen to offer a
clear view of when the GoPro is
recording or when Wi- is active
and switched on.
Equally as impressive is the
GoPro HERO Silver edition.
Although it lacks 4K,
professional video capture is
captured at 2.7K (30fps), 1080p
(60fps) and 720p (120fps). The
real standout feature is the
built-in touch display. Until
recently, users wanting to
compose via the camera instead
of the app and watch footage

back in playback mode have
required an LCD Touch BacPac
accessory, at additional expense.
The HERO 4 Silver also shoots
12MP still images at up to 30fps,
comes with GoPros fresh menu
interface and faster Wi-.
Just as noteworthy is the
debut of the HERO the rst
entry-level GoPro aimed at
attracting a consumer whos

seeking the perks of shooting
video and stills in extreme
environments on a budget. As a
simplied model it shoots 1080p
footage at 30fps or 720p at
60fps, and is supplied in rugged,
waterproof housing.
All three models are available
to preorder now, costing 369,
289 and 99 respectively.
C O M P LOOK
A C T S
FIRST
4 5 5 - 1 2 0 0
Exposure
compensation is
controlled below
the mode dial
The zoom
has a variable
aperture of
f/1.8-2.8
CANON POWERSHOT G7X

ANDY
W E STL A KE
T EC H N IC AL
anons PowerShot range

of advanced compacts
has proved incredibly
popular over the past few years,
and the all-new PowerShot G7 X
looks set to continue this trend.
Perhaps the most impressive of
the Canon PowerShot G7 Xs
numerous features is its lens. The
4.2x optical zoom covers a focal
range of 24-100mm, and with a
The screen ips

by 180 for the
times when
youd like to
shoot a sele
ED ITO R
maximum aperture range of

f/1.8-2.8, its a lens that
outperforms one of its key rivals
the Sony RX100 III. It matches
the RX100 III in terms of sensor
specication, also boasting a 1in
CMOS chip. That in the G7 X
offers a 20MP resolution and a
maximum ISO 12,800, meaning it
should be capable of capturing
stunning shots, even in low light.
HIGHLIGHTS
SENSOR 20.2MP 1inch back-illuminated CMOS
LENS 4.2x optical zoom (24-100mm)
LCD 3in, 1,040k-dot touchscreen
ISO 125-12,800
VIDEO Full HD video (1080p) at 60/30fps
AF SYSTEM 31-point
PRICE 579
The Canon G7 X, as you might
expect for a modern compact,
features both Wi- and NFC
The G7 X also
comes with NFC
connectivity for
instant touch
sharing with
mobile devices
connectivity. Both of these

technologies allow for the camera
to connect to a smartphone or
tablet with Canons Camera
Window app installed. The model
also features Full HD video
capture at 30 and 60 frames per
second, with full manual exposure
control available in this setting.
In terms of the cameras
design, the G7 X features a
touchscreen LCD thats hinged so
as to facilitate adjustment for
viewing at different angles. That
having been said, although it can
be moved to face forwards for
self-portraits it cant be tilted
either sideways or downwards,
and as such its effectiveness is
somewhat limited.
Its fair to say the model is
more akin to an S-series
PowerShot than a G-series model
in terms of feel, although it is a
touch thicker. Canon has paid
attention to the models control
layout, ensuring the presence of
an exposure compensation dial
on the cameras top-plate as well
as a control dial around the lens.
Both of these have pleasing click
steps to give tactile feedback
something often overlooked in
competing models.
FI RST
I MPRESSI O NS
In equipping the PowerShot G7 X
with a 1in sensor as well as a
host of manual controls Canon
has lined the camera up squarely
in competition with Sonys
successful RX100 series, and in
particular the latest RX100 III,
which if we recall features that
superbly designed pop-up
electronic viewnder a rst of
its kind on a premium pocket
compact model.
Our time spent with the Canon
PowerShot GX 7 gives us the
impression that the camera is
certainly going to present keen
competition to the RX100 III,
certainly in terms of the control
layout and lens specication.
Whats more, the touchscreen
control is extremely responsive
and makes for easy navigation of
the intuitive menu interface.
One thing is for sure its great
to see other manufacturers
launching large-sensor pocket
compacts to challenge the
popular Sony RX100 III. Were
looking forward to seeing how it
compares in a head-to-head test.
Be sure to watch this space.
Lenses and accessories shown are not included
Introducing the worlds smallest and toughest

PL mount Super 35 digital lm camera!
Now you can shoot Ultra HD TV or 4K feature lms virtually anywhere with
the Blackmagic Production Camera 4K! You get a large Super 35 size imaging
sensor with global shutter, professional PL or EF lens mount, high quality
visually lossless Cinema DNG RAW and ProRes recording with the built in
SSD recorder, and an easy to use touchscreen for entering metadata, setting
camera options, and checking focus. Imagine shooting cinematic, feature
lm quality video with the worlds most portable 4K digital lm camera!
Super 35 Sensor
The large Super 35 size sensor gives you 12 stops of dynamic
range for beautiful, lm like images. The cameras PL or EF
compatible mount combined with the sensors minimal crop
factor means you get familiar framing, great depth of eld, and beautiful wide
angle shots from the lenses you already own! And because the sensor features
a global shutter, youll get perfectly smooth pans and camera moves every time!
Portable Rugged Design

Precision engineered for quality and durability in an incredible
size! You get a beautifully crafted design featuring a machined
aluminum chassis, professional broadcast connections, internal
battery and high resolution LCD display. Now you can shoot native 4K video with
a professional digital lm camera thats small enough to hold in your hand!
Workow/Compatibility
The Blackmagic Production Camera 4K includes a built in SSD
recorder that saves industry standard ProRes and compressed
CinemaDNG RAW les. That means you dont have to convert
les to start working on your video. Simply connect the SSD to your computer
and edit or color correct your shots in applications like Final Cut Pro X and
DaVinci Resolve 11 straight from the disk!
Ultra HD 4K
The future of broadcast television and Digital Cinema is 4K!
With its massive 3840 x 2160 pixel image, Ultra HD is 4
times the size of 1080HD and matches the resolution of traditional 35mm lm.
The Blackmagic Production Camera 4K lets you shoot the most amazing
high resolution music videos, episodic television programs, commercials,
documentaries, and more!
www.blackmagicdesign.com/uk
*SRP is Exclusive of VAT
Blackmagic Production Camera 4K PL

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1,915
Includes DaVinci Resolve Software
I NCOM I N G
C O M PA C T S
4 5 5 - 1 2 0 0
T H IS M O NTHS HOTTE ST NE W GE AR
A D OBE E LE M E N TS 1 3
Latest version brings new effects and a new
crop selection tool, which can analyse an
image and apply the best crop based on the
rules of classic composition clever stuff!
79 www.adobe.com/uk
PANASONIC LUMIX C M 1
SON Y FE 1 6-35M M F/4
The shock announcement at this years Photokina was the launch of the Lumix CM1 the rst
smartphone to feature a 1-inch sensor. Destined to offer a detail and image quality performance like
no smartphone camera weve seen before, it has an elegant design and runs the Android 4.4 KitKat
operating system. Itll initially be sold in France and Germany before potentially coming to UK shores.
This new wideangle zoom becomes the fth

full-frame zoom lens for Sonys Alpha 7-series.
Its bound to be a hit with serious landscape
photographers using the Sony A7 or A7R.
900 www.panasonic.com/uk
1289 www.sony.co.uk
SA N DI SK 512GB
Whod have thought it would be possible to t
512GBs worth of storage on an SD card?
SanDisks latest release offers just that ideal
for memory-hungry HD and 4K video footage.
685 www.sandisk.co.uk
OLYMP US 4 0-150MM
R ICOH WG- M 1
This professional-grade zoom features an f/2.8

maximum aperture and dual linear motors for
quick and silent focusing. Its available with a
new 1.4x converter for even more zoom power.
The action camera market is thriving with new releases of late. The Ricoh WG-M1 looks to take on its
rivals with a 14MP CMOS sensor capable of recording full HD video (1920 x 1080) at 30fps. Its design
shares similarities with the companys WG-4 rugged compact, being waterproof to a depth of 10m,
freezeproof to -10C and surviving drops from 2m all without the need of a protective case.
1299 www.olympus.co.uk
199 www.ricoh-imaging.co.uk
C O M PA C T S
IN CO M I NG
4 5 5 - 1 2 0 0
SI G MA 1 50-600MM F/5-6.3 D G OS HSM | S

Featuring the manufacturers Sport branding, and a construction of 24 elements in 16 groups, this
Sigma 150-600mm is dustproof and splashproof for use in demanding shooting environments. Its
lauched beside another Sigma 150-600mm telephoto zoom that is more compact and portable.
1599 www.sigma-imaging-uk.com
VA N G UA RD SEDONA
TAM R ON 1 5-3 0 M M
N IKON SB- 500
Designed for hiking and travelling

photographers, the new Sedona range is
available in two sling bag sizes and three
rucksack sizes in black, khaki green or blue.
Tamron has revealed development of an ultra

wideangle lens for full-frame DSLRs with an
f/2.8 maximum aperture. Its expected to be on
sale and available to buy around May 2015.
The SB-500s unique feature is its bright LED at

the front that covers a wide 24mm angle of
view (FX). This continuous light source will be
extremely useful for videographers.
109 www.vanguardworld.co.uk
TBA www.intro2020.co.uk
199 www.nikon.co.uk
SI G MA FILT ERS
Sigma has unveiled a pair of new teleconverters
- a 1.4x and 2x - designed exclusively for the
new Sigma lens lines. Theyll be available in
Canon, Nikon and Sigma mounts.
259 www.sigma-imaging-uk.com
L EI CA X
PA N ASON IC LU M IX LX 1 0 0
The Leica X is the manufacturers new agship,

xed-lens compact thats intended to sit above
the newly announced X-E a cosmetically
refreshed version of the two-year-old Leica X2.
The Lumix LX100 has become Panasonics agship premium compact. Its large 4/3-inch sensor is
more than ve times the size of that in the Lumix LX7 its out to replace. Becoming the third
Panasonic camera to join the 4K brigade, its newly developed Leica DC Vario Summilux f/1.7-2.8 lens
has a zoom range of 24-75mm in 35mm terms and its possible to shoot at 11fps continuously.
1550 www.leica.com
799 www.panasonic.com/uk
OPENING
SHOT
This striking shot was highly

commended in this years British
Wildlife Photography Awards
Go to www.bwpawards.org for more information about the British Wildlife
Photography Awards, the prizes, and how to enter next years competition
NIKON
D4
RICHARD
SHUCKSMITH
This shot of a
ock of gannets
off the Shetland
Islands recently
picked up a Highly
Commended
award from the
British Wildlife
Photography
Award judges. Of
his technique,
Richard explained:
Trying to capture
a split-level shot
of a diving gannet
with gannets ying
around proved
challenging. There
was an element
of guesswork as I
found it easier not
to look through the
viewnder.
More of Richards
superb wildlife
images can be
seen by visiting:
10www.ecologicalWWW.WHATDIGITALCAMERA.COM
photography.co.uk
richard shucksmith
WWW.WhatdiGitaLcamEra.cOm 11
T E S T
BIG
TE ST
NIKON
D750
Welcome to the D750 Nikons latest full frame

DSLR, featuring an improved AF system, inbuilt Wi-
and a vari-angle LCD screen
TESTE D
DSLR
BY
24MP
CMOS
SENSOR
CA LLUM
MCINER N EY- R ILEY
3.2in
VA RI-A NG L E
SCREEN
ESSENTIALS
12 WWW.WH ATDIGITALCAMERA.COM
10051,200
I SO
1799
BODY ONLY
ikons full frame

DSLR line-up is
currently looking
stronger than ever,
with ve models all
offering something slightly different
for those looking for the very best in
image quality.
The Nikon D750 is the latest
addition to the collection, aimed to
sit between the D610 and the D810;
the manufacturer states that its
targeted towards the enthusiast, but
also caters for the hobbyist and the
aspiring professional alike.
The D750 adopts the same 24.3MP
sensor found in the D610 but also
inherits a host of features from the
more advanced D810, while adding a
few of its own including a
redeveloped AF module and
in a rst for a Nikon full frame DSLR
a vari-angle LCD screen.
All of these features combine in
what could well be one of the most
attractive enthusiast DSLRs on the
market. Lets dig a little deeper to
see if thats really the case.
FEATURES
One of the most notable features on
the D750, and one which marks it
out from the rest in Nikons full frame
DSLR line-up, is its wireless
connectivity. The D750 has full Wi-
built into the camera something we
havent seen in a Nikon DSLR since
the release of the D5300. Its the rst
full frame Nikon DSLR to go down
the all-wireless route; in the past
DSLRs had to enlist an extra Wi-
adaptor at both extra cost and extra
bulk and as such many purchasers
were often happy to go without.
However, now that the new model
arrives with the functionality straight
out of the box we can imagine that it
will become a lot more widely used.
The Wi- connectivity allows for
wireless transfer of images between
the camera and either a smartphone
or tablet, as well as the remote
control of the cameras shooting
settings, provided that Nikons
wireless mobile utility app is installed.
In terms of the core imaging
functionality, the Nikon D750 sports
a full frame sensor with a resolution
of 24.3MP. Although this is the same
resolution as the Nikon D610, Nikon
makes it clear that its a redesigned
chip and one which benets from
several developments.
One feature of the sensor that
distinguishes it from the D810 is the
presence of an optical low pass lter
that will help to prevent moir
patterning, although its worth
N i k o N
noting that it will do so at the

expense of some fner detail
reproduction.
The camera pairs its full frame chip
with Nikons latest Expeed 4
processor, which allows a continuous
shooting speed of 6.5fps as well as
claimed improved AWB accuracy and
enhanced JPEG processing.
Elsewhere, the D750 features a
native ISO range of 100 to 12,800,
extendable right up to 51,200, which
is equivalent to a stop higher than
the extended top setting on the D610.
There are a range of other features
the D750 has inherited from its full
frame stablemates such as the D810.
One such example is the LCD
monitor a 3.2in, 1,299k-dot screen
boasting RGBW technology. What
this RGBW technology means is that
the screen features a fourth white
pixel alongside the red, green and
blue pixels conventionally found in an
LCD monitor, and as such its deemed
to feature improved contrast and
colour rendition.
New to the LCD screen, however, is
its vari-angle functionality. The screen
is hinged in such a way that its
possible to pull it away from the
body and tilt it so it faces either
upwards or downwards. This makes
the D750 stand out from the crowd,
especially when you consider that
Canon is yet to release a full frame
The impressive
dynamic range
allows you to
push images
hard using post
processing
techniques
DSLR that offers as much versatility

in this department. Although the
vari-angle mechanism isnt as
complete as on some other DSLRs,
being located as it is on a solely
horizontal hinge, it is well suited
towards videographers who might
prefer to shoot from lower angles,
and those whod like to take still
images millimetres from the deck
looking upwards.
Touching on video capture, the
D750 comes well equipped in this
department too. The model offers full
HD video (1920x 1080) capture at 60,
50, 30, 25 and 24fps. In addition, the
D750 boasts a range of new video
features frst seen on the D810. For
example, the camera now features
zebra striping technology which
warns of burnt highlight detail, while
a Flat Picture Mode setting will
allow for video to be captured with
very little automated processing.
D 7 5 0
The D750 was

paired with the
nikon 58mm
f/1.4 g AF-s
to create this
shallow depth of
feld portrait
De sig n
Nikon has been keen to stress the
D750s rugged build quality; itll be
able to stand up to a range of bumps
and bruises associated with heavy
use out in the feld.
The body itself is of a monocoque
design akin to the D5300 and
D3300, with various materials used
including a mix of thermoplastic and
lightweight carbon fbre. Although
this combination is rugged enough,

its reassuring to see that magnesium
alloy has been employed on both the
top and the rear of the camera.
Although at around 840g the
Nikon D750 is by no means light. Yet,
thanks to the aforementioned
monocoque body, the D750 is
actually smaller than its D610
stablemate, despite the incorporation
of the highly useful tiltable LCD.
Despite being a touch smaller than
the Nikon D610, the D750 manages
to feel well balanced in the hand
owing to a large and pronounced
grip. The grip is so secure in fact
that the D750 even feels well
matched and solid in the hand when
coupled with Nikons pro-spec
zooms, such as the 70-200mm
f/2.8G ED VR II lens.
The D750s control layout is more
akin to enthusiast models than the
manufacturers pro-level cameras.
This is because the D750 features a
mode dial towards the left hand side
of the top-plate with a range of
different camera controls down the
left hand side of the screen.
One slight disappointment is the
lack of an AF-ON button, although
when you consider that the D750
isnt a professional-level camera in
the purist sense, its not perhaps
surprising this is amiss. If an AF-ON
button is important to you, the Nikon
D810 might be more appropriate.
T E S T
IMAGE QUALITY
ISO 100
ISO 100
ISO 400
32
32
ISO 1600
ISO 6400
ISO 100
ISO 800
ISO 6400
ISO 51200
ISO 51200
32
30
ISO 12800
ISO 51200
26
COLOUR
Subjecting each camera to our colour chart test

reveals any variation and differences in colour
between Raw and JPEG le formats.
COLOUR AND WHITE

BALANCE
Owing to the fact that the D750
utilises the same colour sensor
as the D800E and the D810, the
colour rendition is very much
the same. What this means in
practice is you get well-saturated
colours across a wide range of
subjects, and colours which are
punchy and very rich straight
out of the camera. The D750 is
also now capable of performing
spot white balance in live view,
a feature which will prove a big
benet to videographers, as they
can quickly and easily be assured
24
RESOLUTION
Our resolution chart reveals exactly how much

detail a sensor can resolve and its measured in
lines per picture height, abbreviated as l/ph.
the white balance is correct in a

specic area of the frame.
exposures across a wide range

of challenging lighting conditions.
EXPOSURE
RESOLUTION
The Nikon D750 utilises a

91k-pixel RGB sensor also seen
in the D800E and D810. One
nice feature it carries over is the
Highlight Metering Mode which
meters for the highlights in
particular to ensure theyre not
blown out and lose vital detail.
This setting is certainly
effective, although its also
worth noting that both spot
and evaluative metering modes
deliver extremely accurate
While the inclusion of an antialias lter is sure to affect the

nest detail reproduction in
comparison to other full frame
DSLRs that lack an anti-alias
lter, the D750s resolution
performance is around the
level you would expect for its
megapixel count. Impressively,
even at ISO 6400 the high
resolution is generally sustained
and our test chart revealed it
resolved 30 lines per picture
The 3.2in
screen swings
open and tilts
up to 90, and
down to 75
Theres a
3.5mm mic
port and audio
monitoring port
at the side
NOISE
The diorama is used to ascertain how image

noise is handled through an ISO range. Some
cameras produce cleaner results than others.
height (l/ph) at this sensitivity.

At the highest setting (ISO 51,200)
images begin to lose sharpness,
although generally performance
is still impressive at this point.
NOISE
Images are noise-free up to ISO
400, and pretty much so up to
ISO 1600. At ISO 12,800 both
luminance and colour noise start
to be more prominent, while at
ISO 25,600 and 51,200 quality
certainly suffers. That said,
those two highest settings
can still be used in extreme
circumstances.
N I K O N
P E RFOR M AN C E
One of the real areas where Nikon
pitches the D750 to excel at is in its
autofocus performance. The model
sports a new Multi-Cam 3500FX
Mark II Autofocus module and one of
the highlights of this new system is
the ability to focus in extremely dark
conditions, right down to -3EV.
The D750 sports 51 AF points with
15 cross-type points and 11 points
intended for use with a teleconverter.
Its safe to say that the range of AF
settings and customisation is
comprehensive. For example, in AF-S
mode, users can select Auto Area AF,
Single Point AF or Group Area AF, all
of which can be adjusted and
selected from using the dpad on the
rear of the camera. When AF-C
continuous mode is selected the
D750 makes use of 3D tracking
thanks to a 91k-dot colour sensor,
and as a result it delivers an
impressive level of accuracy. The new
module also delivers an impressive
lock-on speed, which was noticeable
as light levels dropped beyond dusk.
In live view the D750 employs
contrast detection AF, though this
doesnt match the speed of Canon
DSLRs that employ Dual AF
technology namely the EOS 7D
Mark II and EOS 70D. Despite this, its
pleasing to see a professional level of
AF performance in whats essentially
an enthusiast full frame DSLR.
One other welcome feature of the
camera not to be forgotten is the DX
crop mode. This offers a 1.5x crop
(10.3MP), as well as 1.2x crop
(16.7MP), which is bound to cater
well for those whod like to get a bit
more length from their lenses.
SPECS
SENSOR 24.3MP 35.9 x 34mm full frame CMOS sensor
OUTPUT SIZE
6016 x 4016 pixels
FILE FORMAT
JPEG, Raw, Raw+JPEG
COMPRESSION
Fine, Normal, Basic
SHUTTER SPEEDS
30secs-1/4000sec, bulb
EXPOSURE COMP
Yes, +/- 5EV in 1/3 or 1/2 EV steps
ISO
ISO 100-12,800, extendable to ISO 51,200
EXPOSURE MODES PASM, Auto, Scene, Special effects
METERING SYSTEM TTL metering RGB sensor (91k pixels)
DRIVE MODE
6.5fps
MOVIE MODE
Yes; 1920 x 1080 @ 60, 50, 30, 25, 24p
DISPLAY
3.2in, tilt angle 1,229k-dot LCD
VIEWFINDER TYPE
Optical (100% coverage)
FOCUSING MODES AF-S, AF-C, Predictive focus tracking,
Manual
MEMORY CARD
SD, SDHC, SDXC (Twin card slot)
CONNECTIVITY
High Speed USB, Type C HDMI,
3.5mm mic port, 3.5mm audio out,
Wi-, Accessory terminal
WEIGHT
750g (body only)
DIMENSIONS
140.5 x 113 x 78mm
D 7 5 0
R AW V
JPEG
While JPEG les

do a great job of
managing ne
detail through
noise reduction
at higher ISO
settings, to get
the most detail
from the sensor it
remains sensible
to shoot Raw les
and process these
manually yourself
in post processing
software such as
Adobe Lightroom.
Of course, at
high ISO settings,
this means more
chroma noise
in the original,
although this
was easily dealt
with using the
colour and noise
reduction sliders.
RAW
100%
JPEG
The 24.3MP
chip delivers
more than
enough detail
for resolutionconscious
enthusiasts
VERDICT
Theres no denying that the Nikon D750 is an excellent
enthusiast DSLR, complete with almost every feature you
could want from such a camera. Not only has it inherited a
bunch of functionality from its predecessors and
stablemates, but with the introduction of a tilting LCD and
Wi- functionality included inside the body as standard its
fair to say that the camera breaks new ground to boot.
Once you take the camera out shooting, it continues to
impress. Developments with AF set-up means that the
camera performs brilliantly in the eld in a wide range of
demanding conditions and environments.
Thanks to a modied and large grip the camera also
handles well, while the mode dial and button conguration
has been carefully thought through to ensure those making
the step up from an entry-level model feel right at home.
Although the resolution isnt as good as some full frame
cameras lacking anti-alias lters, on the whole its one of the
best all-round enthusiast DSLRs currently available. CMR
PROS
High-resolution
sensor Vari-angle
LCD screen Inclusion
of Wi- as standard
Solid and robust build
quality 1,230-shot
battery life 6.5fps
burst shooting
CONS
Maximum shutter
speed of 1/4000 sec
might be restrictive
for some Lack of GPS
could be viewed as a
negative LCD doesnt
sit entirely ush to the
back of the camera
F E AT U R E S
19/20
X
PERFORMANCE
18/20
X
DESIGN
19/20
X
I M AG E Q UA L I T Y
19/20
X
VA L U E
18/20
X
W D C R AT I N G
GOLD
Cam
era
L
IGITA
AT D
WH
BEST
THE BEST
CAMERAS YOU
CAN BUY
RIGHT NOW.
So youve been saving up hard for a
new camera, but youre unsure of what
constitutes the best buy for what you
have to spend? Before you splash out
and make a rash purchase, cast your eye
over this guide which will help you nd
the best camera, whatever your budget
WORDS
AUDLE Y
0
150-2
0
400-6
1500
+
JARVIS
THE BEST
BEST CAMERAS YOU CAN BUY RIGHT NOW.
WHICH CAMERA TYPE

IS RIGHT FOR YOU?
DSLRS
A bulky and heavy

option, but the rst
choice of enthusiasts
and pros who demand
rst class performance
and image quality
CSCS
BRIDGE
CAMERAS
Share a similar look to

DSLRs, but are in fact
compacts with highmagnication zoom
lenses
Features an
interchangeable lens
design and usually an
electronic viewnder
(EVF) as opposed to the
conventional optical type
f youre looking for a new

camera then, generally
speaking, you have three
main options: a compact
camera, a Compact System
Camera (sometimes referred to
as mirrorless interchangeablelens cameras) or a DSLR. Sony
also manufactures a type of
camera called a Single-Lens
Translucent camera, which falls
mid-way between a Compact
System Camera and a
traditional DSLR in that it uses a
translucent mirror that remains
xed in place. This lets the
majority of light directly
through to the sensor, while
rebounding the rest into a
phase-detection module in the
roof of the camera.
Each type of camera offers its
own particular set of strengths
and weaknesses. Compact
cameras, for example, are small
and lightweight, which makes
them ideal for carrying around
in a bag or even a pocket.
Cheaper compacts tend to be
fully automatic and rather basic,
whereas high-end or advanced
compacts are often generously
featured with things such as fast

f/1.8 lenses, full manual control,
and the ability to capture images
as lossless Raw les.
The main downside to
compacts though, is that they
use much smaller sensors than
CSCs and DSLRs. This means
that they tend to struggle in
low light, often producing much
noisier images. Indeed, images
shot on compacts tend to lack
the overall quality of CSCs and
DSLRs when put under the
microscope.
W HAT A B O UT
THE SE N SO R?
Compact System Cameras are
generally bigger than compacts
but smaller than DSLRs. This
makes them lighter and easier
to carry than their full-sized
cousins. The physical size
of the sensor found inside
CSCs differs between the
various manufacturers. Some
manufacturers (Canon, Sony and
Fujilm) employ APS-C sized
sensors inside their Compact
System Cameras, while others
(Panasonic and Olympus) opt
for the slightly smaller Micro

Four Thirds (MFT) sensor.
The important thing to
remember here is that the
difference in image quality
between an APS-C/MFT
sensor and a regular
1/2.3in sensor used in the
majority of cheap compacts is
much more noticeable than the
difference between a MFT and
an APS-C one. In any case, there
is much more to image quality
than sensor size alone and,
indeed, some MFT-equipped
cameras could even be said to
outshine their APS-C touting
rivals. In other words, if youre
in the market for a new CSC go
for what feels right for you. As a
footnote, its also worth adding
that Sony now makes a small
number of full-frame CSCs the
A7 range however, they do
come at quite a premium in
terms of cost.
Digital Single-Lens Reex
(DSLR) cameras and their
Sony D-SLT cousins are usually
considered the natural choice of
serious enthusiasts and jobbing
professionals, although given
COMPACTS
Large-sensor compacts
are gaining momentum
in the market and deliver
superior image quality to
the cheapest models
the quality of some of the highend CSC models now on the

market this is perhaps less the
case than it has previously been.
Either way, DSLRs tend to be
bigger and heavier, but are also
generally a bit more durable.
FULL FRAM E ?
Broadly speaking most
entry-level and mid-range
enthusiast-grade DSLRs will
come equipped with an APS-C
sensor tted, which is generally
ne for most peoples needs. If,
however, you want to make the
step up to the best image quality
possible (and your budget will
stretch to it) then you may want
to consider investing in a full
frame DSLR, where the physical
size of the sensor measures the
same as an old-school 35mm
lm frame. Thankfully, full frame
cameras have been dropping
in price in recent years and are
becoming ever more affordable.
100 250
After a more sophisticated camera than your

smartphone? Look no further heres our pick
of the nest budget compacts money can buy
Lens
features an
f/3.7-6.6 variable
aperture
Features
a 10cm
minimum focus
distance
12 9
N I KON CO O L P IX S530 0 129
9
SAMSUNG WB1100F 14
149
The S5300 is a generously featured, pocket-friendly compact

that comes with the added benet of built-in Wi-, allowing
you to transfer images to your mobile phone or tablet.
Internally, the S5300 is built around a 16MP CCD-type sensor
and an 8x optical zoom (25-200mm). Full HD movie capture
is also offered, as are a selection of portrait-specic Glamour
Retouch effects. On top of this you also get a number of
built-in digital lters.
The Samsung WB1100F superzoom is equipped with a manually

operated 35x optical zoom that provides the 35mm focal range
equivalent of 25-875mm. Other highlights include built-in Wi-
and NFC connectivity; a Dual Image Stabilisation system for
sharper images at extended focal lengths and slower shutter
speeds; and 720p HD video recording. While exposure modes
are limited to the fully automatic variety, the WB1100F remains
very good value for the money.
Sensor 16MP, ISO 125-6400, Drive Mode 7fps, Display 3in/460k-dot
Sensor 16.2MP, ISO 100-3200, Drive Mode 8.5fps, Display 3in/460k-dot
Focuses
within 5cm
of subjects in
macro
Has a
super-slow
motion movie
mode
2 3X5
T SX 70 0H S XX
O
SH
ER
W
PO
N
O
CAN
it easy to
35mm thick, making
pact is just
ul
This slimline travel com
this, it packs a powerf
en not in use. Despite
slip inside a pocket wh
lent of
iva
equ
ge
ran
al
foc
t provides the 35mm
lt30x optical zoom tha
full manual control, bui
able features include
not
and
25-750mm. Other
fps
ording at 30
tivity, Full HD movie rec
in Wi- and NFC connec
As travel compacts
k.
bac
the
on
y
LCD displa
a large, high-resolution
on the market.
rently one of the best
go, the SX700HS is cur
lay 3in/922k-dot
e Mode 8.5fps, AF 9-point, Disp
Sensor 16MP, ISO 100-3200, Driv
49
224
PANASONI C LUMI X FT5 -
Waterproof to a depth of 13m, shockproof to drops of up to
2m and crushproof to 100kg, the FT5 is an excellent choice for
those seeking a tough compact able to withstand an active
lifestyle. Internally the FT5 is built around a 4.6x optical zoom
that delivers a 35mm focal range equivalent of 28-128mm. Other
highlights include built-in Wi-, NFC and GPS connectivity,
Panasonics Power O.I.S image stabilisation technology, and
1080p Full HD video recording at up to 50fps.
Sensor 16MP, ISO 100-3200, Drive Mode 10fps, AF 23-area, Display 3in/460k-dot
The Lumix FT5 is comfortable to hold and

operate. The grip is well proled, while the
metal front and back covers give the camera
added protection from shock or knocks
GROUP EDITOR NIGEL ATHERTON ON THE PANASONIC LUMIX FT5
THE BEST
250 400
With 250-400 in your back pocket, you can

pick up a superb travel compact, an entry-level
DSLR, or even a stunning CSC with a retro look
Features
a basic kit
lens to get you
started
30x
optical zoom
retracts into the
slimline body
19
PAN AS O N IC LUMIX TZ6 0 -3
31
OLYMPUS E-PL5 WITH 14-42 MM 3

3119
9
Built around a 30x optical zoom that offers the 35mm focal
range equivalent of 24-720mm, the TZ60 travel compact further
benets from a manual control ring that allows you to adjust
focal length, focus and exposure settings on the y. Add to this
a Live View Finder for eye-level shooting, full manual control,
Raw image capture, Wi- and GPS connectivity, Hybrid O.I.S
image stabilisation and 1080p Full HD video recording and the
TZ60 is up there as the most complete travel compact going.
With its price having dropped substantially since its release at the
start of 2013, the E-PL5 now represents fantastic value for money.
Built around the same 16.1MP sensor found in the excellent (and
considerably more expensive) OM-D E-M5, the E-PL5 also offers
touchscreen control via its tiltable rear LCD display. While it lacks
Wi-, the E-PL5 does deliver impressively fast AF performance
along with great image quality. The predominantly metal
construction is a neat touch too, especially at this price point.
Sensor 18.1MP, ISO 100-6400, Drive Mode 10fps, AF 23-area, Display 3in/920k-dot
Sensor 16.1MP, ISO 200-25,600, Drive Mode 8fps, AF 35-point, Display 3in/460k-dot
Available
in black,
silver or this tan
colour
Compatible
with EF and EF-S
Canon lenses
3 49
CANON EOS 1200D WITH 18-55MM 349
Released earlier this year the 1200D receives a number of
upgrades over its predecessor, including an enhanced 18MP
CMOS APS-C sensor along with a much improved rear LCD
display. Of course, this being a Canon DSLR you also gain
access to Canons vast array of lenses. While Wi- connectivity
is missing, the 1200D does benet from 1080p Full HD video
recording a feature that its predecessor lacked. Overall, the
1200D is a solid entry-level DSLR thats ideal for beginners.
Sensor 18MP, ISO 100-12,800, Drive Mode 3fps, AF 9-point, Display 3in/460k-dot
FU JI FI LM X- M 1 WI
TH 16-
50 MM 3
389
89
The X-M1 uses the adv
anced X-Trans sensor
that the agship
X-Pro1 has. This uses
a unique pixel arrang
ement that minimises
the effects of false col
our and moir and allo
ws Fuji to remove
the low-pass lter for
better sharpness. The
X-M
1 also has Wi-,
a super-sharp LCD dis
play and a premium
me
tal
nish. Theres
no viewnder and the
rear display lacks tou
ch
con
trol, but that
aside, the X-M1 delive
rs in terms of overall
feel and image quality
.
Sensor 16MP, ISO 100-12,800, Driv
e Mode 5.6fps,
AF 49-point, Display 3in/922k-dot
The Fujilm X-M1 excels in three key areas

over its rivals that are hard to see when spec
sheets are analysed style, feel and the
results it produces
APS FEATURES EDITOR PHIL HALL ON THE FUJIFILM X-M1
400 600
Stretch your budget beyond 400 and youll be

looking at a well-specied model designed to
meet your requirements and expectations
Stunning
build with an
all-metal nish
Available
in black as well
as in white
4 0
00
55 MM WR DA L 4
18TH
WI
50
KX
TA
n
PE N
atever the weather, the
to take photos wh
If you like to get out
sistant and fully dustused inside a water-re
the K-50 is ideal. Ho
down to -10. With
fed
0 is also freeze-proo
sealed body, the K-5
can also choose
you
e
vic
our-to-order ser
the aid of Pentaxs col
hlights include
our scheme. Other hig
your own bespoke col
0p Full HD video
e sensitivity range, 108
a higher than averag
play. Throw in a
esolution rear LCD dis
recording and a high-r
package.
s and its a fantastic
water-resistant kit len
Sensor 16.28MP, ISO 100-51,200,
lay 3in/922k-dot
Drive Mode 6fps, AF 11-point, Disp
499
OLYMPUS E-PL7 WTH 14-42 MM 49
The big innovation with the style-driven E-PL7 is its tiltable
screen, which can be folded out by 180 so that its forward
facing. This makes it ideal for taking seles, with the added
benet that the screen sits underneath the camera rather than
above it, which enables a ash to be attached. Internally, the
E-PL7 benets from the same lightning-fast 81-point AF system
used in the agship OM-D E-M1. If youre looking for a superstylish, quick-focusing camera thats great at shooting seles, this
is your match and you wont be disappointed.
Sensor 16MP, ISO 200-25,600, Drive Mode 8fps, AF 81-point, Display 3in/1,037k-dot
NEW
Astonishingly
quick at focusing
on subjects
Features
a large 1in
sensor like the
RX100 III
5 49
S O N Y A 510 0 549
79
CANON POWERSHOT G7X -5
57
A relatively new addition to Sonys Compact System Camera

range, the A5100 combines a 24.3MP APS-C sized sensor with
Sonys powerful BIONZ-X image processor and a 179-point
hybrid AF system thats as fast and precise as anything in
its class. Other notable highlights include built-in Wi- and
NFC connectivity, a high-resolution rear LCD display with
touchscreen functionality and 1080p Full HD movie shooting at
up to 50fps. Its the most fully featured CSC at this price.
Advanced compacts such as the G7 X have proved immensely

popular in recent years thanks to their advanced feature sets and
ability to take a cracking shot while remaining small enough to
carry in a pocket. The G7 X ups the ante in this respect with a 28100mm zoom lens that provides an impressively fast maximum
aperture of f/1.8-f/2.8. Elsewhere, the G7 X also boasts integrated
Wi- and NFC connectivity, full manual control over exposure
settings, and the ability to capture images as lossless Raw les.
Sensor 20.2MP, ISO 125-12,800, Drive Mode 6.5fps, AF 31-point, Display 3in/1,040-dot
Canon has paid attention to the models

control layout, ensuring the presence of an
exposure compensation dial on the topplate and a control dial around the lens
APS TECHNICAL EDITOR ANDY WESTLAKE ON THE CANON POWERSHOT G7 X
THE BEST
600 800
Shoots a
burst at up to
ve frames per
second
Whether youve got 600 or 749 to spend, you

can guarantee youll get advanced features and
the latest tech from one of these contenders
Built
to last with a
metal body
construction
6 00
N I KO N D 53 0 0 WITH 18-55MM 6
0
Positioned between the entry-level D3300 and the more
enthusiast-orientated D7100, the D5300 comes equipped with
a 24.2MP APS-C CMOS sensor and Nikons EXPEED 4 image
processor. Unlike its more expensive sibling, however, the D5300
benets from the removal of the low-pass lter, which enables
the camera to retain more ne detail. Built-in Wi- has also
been added, which allows you to transfer captured images to a
smartphone or tablet via Nikons free Wireless Mobile Utility app.
Sensor 24.2MP, ISO 100-25,600, Drive Mode 5fps, AF 39-point, Display 3.2in/1,037k-dot
50
65
10 WI TH 14- 42M M 6
M
E-D
M
O
S
PU
M
O LY
mium OM-D series into
mpuss pre
The E-M10 takes Oly
n the agship
h a lower price-tag tha
wit
ry,
consumer territo
le, the E-M10
mp
exa
for
have been made;
E-M1. Compromises
ive sibling. You still
ling of its more expens
h,
lacks the weather-sea
nd in the E-M5 thoug
Live MOS sensor fou
d
Ad
get the same 16.1MP
1.
E-M
the
used in
VII image processor
en
along with the TruPic
cre
chs
tou
er,
wnd
0k-dot electronic vie
to this a high-res 1,44
a lot for the money.
ers
off
it
and
-
Wi
control, and built-in
Sensor 16.1MP, ISO 200-25,600,
lay 3in/1,037k-dot
Uses a 1in
sensor, much
like the Canon
G7 X
Features a
built-in ND lter
699
SONY CYBER-SHOT RX100 III 699
749
PANASONI C FZ 1000 74
The RX100 III adds a 1,440k-dot electronic viewnder to the

mix, albeit at the expense of the previous models built-in ash.
The newer model also gets a redesigned lens that offers a faster
maximum aperture of f/1.8-f/2.8 throughout its 24-70mm focal
range (compared to f/1.8-f/4.9 on the RX100 IIs 24-100mm
optic). Image quality from the 1in, 20.1MP CMOS sensor is
excellent, making the RX100 III an excellent choice for anyone
seeking a new pocket-friendly advanced compact.
Built around a larger than average 1-inch sensor, the generously

featured FZ1000 comes with a 16x optical zoom that offers
the 35mm focal range equivalent of 25-400mm, along with
an impressive f/2.8-f/4 maximum aperture. The FZ1000s main
attraction, however, is that its the rst superzoom on the
market to offer 4K (3840 x 2160) photo and video recording
technology it borrows from the Lumix GH4. This makes it an
ideal choice for those seeking a single camera that can do it all.
Sensor 20.1MP, ISO 80-12,800, Drive Mode 10fps, AF 25-point, Display 3in/1,229k-dot
This is not just another superzoom. To

put it simply, its not only the best bridge
camera Ive used, its one of the most
enjoyable models Ive used in any class
APS TECHNICAL WRITER JON DEVO ON THE PANASONIC LUMIX FZ1000
800 1000
The
viewnder
provides 100%
coverage
If photography is your favourite hobby youll

want a camera to match your ability and allow
you to progress further as a photographer
Features a
3in, vari-angle
touchscreen
8 09
N I KO N D 7 10 0 BODY ONLY 80
The D7100 brings a generous number of upgrades to the table.
Not only has resolution jumped from 16.2MP to 24.1MP, the
D7100 also sees the removal of the low-pass lter for added
detail retention. The AF module has also received a major
upgrade, with the number of AF points boosted from 39 to 51.
In keeping with other recent Nikon DSLRs the rear LCD display
is larger than average too, making it easier to review captured
images. All in all, it represents a solid choice for an enthusiast.
Sensor 24.1MP, ISO 100-25,600, Drive Mode 6fps, AF 39-point, Display 3.2in/1,229k-dot
C A N O N EO S 70 D
BO
DY ON LY 8
849
4
The headline feature
here is the 20.2MP Du
al Pixel CMOS AF
sensor. This clever inn
ovation employs two
photodiodes for
each pixel to provide
on-sensor phase-detec
tion AF. This
facilitates markedly fas
ter autofocus perfor
ma
nce when the
camera is being used
in live view or record
ing
mo
vies. Those
raising the camera to
the eye will nd a 19po
int
AF
system,
where all the AF points
are of the cross-type
var
iety
. Other
highlights include bu
ilt-in Wi- and a sup
erb touchscreen.
Sensor 20.2MP, ISO 100-25,600,
lay 3in/1,040k-dot
NEW
Premium
magnesium
alloy
build
Shoots
a burst of
images at up to
8.3fps
879
PENTAX K-3 BODY ONLY 87
9 99
FUJI FI LM X100T 999
The K-3 is Pentaxs latest enthusiast-level DSLR and offers

great value for money. Solidly built from magnesium alloy, the
K-3 is fully weather sealed meaning you can shoot in inclement
weather with condence. Internal upgrades include a new Sonymanufactured 24MP sensor and a 27-point AF module that
includes 25 cross-type sensors. While theres no built-in Wi-,
the addition of a Pentax Flucard SD card will give you wireless
and remote control over the camera via a tablet or smartphone.
New from Fujilm, the X100T is a retro-styled xed-lens

advanced compact that builds upon the strengths of the X100
and X100S models. Built around Fujis proprietary APS-C
X-Trans CMOS II sensor and a Fujinon 35mm f/2 lens, the big
advancement is undoubtedly the X100Ts Advanced Hybrid
Viewnder that provides a superimposed EVF close-up of the
focus area in the corner of the optical viewnder, which in turn
enables more precise manual focusing.
Sensor 24MP, ISO 100-51,200, Drive Mode 8.3fps, AF 27-point, Display 3.2in/1,037k-dot
Sensor 16.3MP, ISO 100-51,200, Drive Mode 6fps, Display 3in/1,040k-dot
The Dual Pixel AF sensor will no doubt

revolutionise the way AF performs on future
DSLRs. Its one of the most complete
APS-C DSLRs of its kind currently available
APS FEATURES EDITOR PHIL HALL ON THE NIKON D7100
THE BEST
1000 1800
When youre forking out a four-gure

sum on a camera, it has to excel, and all
four of these models do just that
Capable of
focusing within
0.07sec
Equipped
with 5-axis
image
stabilisation
9
10044
M 1 BO DY ON LY 1
E-D
M
O
S
PU
M
O LY
del
5 as the agship mo
from 2012s E-M

The E-M1 takes over
a 16.3MP Micro
-D range. Built around
within Olympuss OM
y smaller than
abl
not
well specied yet
Four Thirds sensor, its
LR. The removal of
APS-C equipped DS
an enthusiast-grade
retention of ne
o ensures exceptional
the low-pass lter als
phase-detection AF
advanced on-sensor
detail. Furthermore,
n when the camera is
speedy focusing, eve
technology ensures
a fantastic camera.
. All in all, the E-M1 is
used with older lenses
int, Display 3in/1,037k-dot
Drive Mode 10fps, AF 81/37-po
Sensor 16.3MP, ISO 200-25,600,
1299
PANASONIC LUMIX GH4 BODY ONLY 299
Released earlier this year, the GH4 became the rst CSC to offer
4K (4096 x 2160) photo and video recording. Theres much
more to recommend about it than this alone though. Autofocus,
for example, is among the speediest weve ever seen on a digital
camera and highly customisable too. The 2.36m-dot EVF is also
one of the best weve held our eye to, while image quality, build
quality and overall feel also left us highly impressed. Not only is
the GH4 jack of all trades, it manages to master them too.
Sensor 16MP, ISO 100-25,600, Drive Mode 12fps, AF 49-point, Display 3in/1,040k-dot
NEW
NEW
Weathersealed for
maximum
durability
Accepts
a pair of SD
cards with a
twin slot
1599
CANON EOS 7D MARK II BODY ONLY 159
1799
NI KON D750 BODY ONLY 179
With its twin DIGIC 6 image processors, the 7D Mark II is built

for speed. Able to shoot full-resolution images at up to 10fps
its even faster than the 5D Mark III. Complementing this is a
65-point AF module, with all the sensors being of the more
sensitive cross-type variety. This enables the 7D Mark II to
lock-on quickly, with improvements also made to the AF
tracking system. If youre keen on action photography, the 7D
Mark II could well be the ideal camera for you.
Although it might be tempting to think of it as the natural

successor to the now-discontinued D700, the two cameras are
worlds apart. Instead, the D750 borrows elements from both
the D810 and D610 to create a camera that sits in the middle
of both. From the D610 it takes the 24.3MP sensor, while the
51-point AF module is lifted from the D810. The main new
addition, that the two other models both lack, is built-in Wi-
connectivity. In addition, the D750s LCD display is also hinged.
Sensor 24.3MP, ISO 100-51,200, Drive Mode 6.5fps, AF 51-point, Display 3.2in/1,229k-dot
Thanks to the ergonomic design and

compact form-factor, its a pleasure to
pick up and shoot with, with controls
falling nicely to the hand
APS FEATURES EDITOR PHIL HALL ON THE OLYMPUS OM-D E-M1
1800+
So you want the best camera that money can

buy, but cant justify the pro-spec Nikon D4S or
Canon EOS 1D X. Here are the full-frame options
Boasts a
2.36m-dot OLED
viewnder
Enables
audio
monitoring for
HD video
9
209
S O N Y A 7 S BODY ONLY 2
09
2299
CANON EOS 5D MARK III BODY ONLY 2
With the launch of the full frame A7S, Sony offers three very
distinct A7 models: the 36.3MP A7R thats geared towards
studio and landscape photographers, the 24MP A7 thats more
of an all-rounder, and the 12.2MP A7S that uses gapless sensor
technology to ensure the best possible results in low light. It has
an ISO range of 50-409,600 in expanded mode. While the top
settings do result in noisy images, image quality between ISO
6400 and 25,600 is impressive. It also supports 4K video.
Despite being over two years old, the full frame 5D Mark III
remains an impressive camera and is a favourite of wedding
photographers thanks to its tank-like durability and all-round
versatility. Able to deliver great results at high ISO settings and
with a fast-focusing 61-point AF module, the 5D Mark III is a
great camera for the professional and semi-pro alike. While it
lacks some modern must-have technologies such as Wi-, a
signicant drop in its price more than compensates for this.
YOUVE CHOSEN YOUR CAMERA

NOW FIND THE BEST
BEST PRICE
NEW
Features
a small Raw
(sRAW) le
format
N IK O N D 81 0 BO DY
ON
2399
LY 2
3
The launch of the full
-frame 36.3MP D800
two
yea
rs ago
pushed the megapixe
l count of DSLRs clo
se to medium forma
territory, and was soo
t
n followed by the D8
00E which removed
the anti-aliasing effect
s of the low-pass lter
(but actually kept
the physical lter in pla
ce) to enhance ne det
ail. The D810
combines the best of
both cameras. It offers
tru
ly stunning
image quality, and res
olves detail better tha
n just about any
camera currently on
the market.
Sensor 36.3MP, ISO 32-51,200,
lay 3.2in/1,230k-dot
Now youve decided on the best

camera that ts your budget,
the next step is nding the best
price, whether it be in-store or
online. Theres a huge number
of price comparison websites
our there to help you save a
few pounds, but to save you the
time and effort trawling through
these, wed recommend a
visit to www.camerapricebuster.
co.uk as your rst port of call.
Regularly updated with all the
best deals and prices from
reputable UK stock suppliers,
the neatly laid out website is
intuitive to use and lets you
search by manufacturers, or
view the best deals of the day.

Dont forget to click on the
Contact Us link, where youll be
guided to some useful discount
codes and vouchers for use
with online purchases. If youve
never visited the website before,
it comes highly recommended,
and we often use it ourselves to
bring you the most up-to-date
prices in the magazine.
Whether you shoot landscapes,

portraits, editorial, action or nature,
the Mk III is right at home in
virtually any shooting situation
MANAGING EDITOR MICHAEL TOPHAM ON THE CANON EOS 5D MARK III
MY
READER
GALLERY
DIGITAL
CAMERA
Reuben Clarke
R E D H I L L ,
S U R R E Y
As a zoologist Ive always been

interested in animals. I started
out by making short videos of my
reptiles with a webcam and wanted
to progress and capture images with
a DSLR. I received my rst camera
for Christmas 2009,
the Canon EOS
500D, which I still
use regularly today.
www.ickr.com/
photos/reuben_clarke/
R EU BEN
U S ES
CANON EOS 500D
have always been a Canon

user as I was attracted to the
exibility of shooting stills and
video, along with the promise of
obtaining more L-series glass.
The main drawbacks with this
camera for my wildlife
photography have been the
relatively slow continuous burst
(4fps) and the ISO being usable
at only 400 or less. It can be hard
to capture the decisive moment,
but this has improved my eld
craft and understanding of when
an animal is going to display the
behaviour I want to capture.
My favourite lens is the EF-S
60mm f/2.8 Macro USM. Its
images are outstanding and its
large aperture makes the
cameras drawbacks pale into
insignicance. I will be ready for
upgrade once I buy some better
lenses but for now Im still happy
using my beloved 500D.
Overshing in Ifaty
Taken on a eld trip to Madagascar,
a sherman takes some time out
after hauling in his nets.
Canon EOS 500D with Canon EF
18-55mm f/3.5-5.6 IS, 1/400sec @
f/11, ISO 400
Elephant Ears
My dog, Oscar, is a favourite
subject of mine and doesnt often
get a photo-free walk.
60mm f/2.8 Macro USM, 1/320sec
@ f/2.8, ISO 400
EACH READER FEATURED WINS A SAMSUNG CLASS 10 EVO 16GB SD MEMORY CARD!
Each reader selected for My Digital Camera will receive a great Class 10 EVO 16GB SD card from Samsung.
With a Grade 1 transfer speed of up to 48Mb/s, this is ideal for DSLRs and full HD camcorders. Visit: www.samsung.com
Into the Mist
One of the cable cars leading to

the top of Mont Blanc, high above
the clouds.
Canon EOS 500D with Canon
EF 70-300mm f/4-5.6 IS USM,
1/640sec @ f/11, ISO 400
Calumma nasutum
Taken in Ranomafana, Madgascar,

this small species of chameleon
sleeps at the end of tree branches
ready to fall to the ground when a
nocturnal predator gets too close.
60mm f/2.8 Macro USM, 1/200sec
@ f/11, ISO 200
The Machiavellian
One of my favourite British

natives, this red fox was on the
move back to an area of cover,
after just fnishing a meal.
Canon EOS 500D with Canon
EF 70-300mm f/4-5.6 IS USM,
1/1000sec@f/8, ISO 3200
MY CAMERA
DIGITAL
Rashid Mannan
Q U E E N S ,
N E W
YO R K
Ive always enjoyed taking pictures,

but it wasnt until a couple of
years ago that I started to pursue
photography as more of a serious
hobby. Im always at my happiest
when shooting landscapes, and
really enjoy scouting out new
locations, and taking
pictures right through
from sunrise to sunset.
www.ickr.com/photos/
photosbyrashid/
R ASH I D
U S ES
CANON EOS 7D
use my Canon EOS 7D with

the 18-135mm kit lens. The
reason I purchased the 7D was
down to the fact I liked the idea
of getting a bit more reach from
lenses thanks to its 1.6x crop
factor. That, and because it was
more within my budget,
compared to more expensive full
frame cameras at the time.
The 18-135mm lens gives me
the exibility to take landscape
shots, portraits, and everything in
between. Ive taken pictures with
it where the lighting has been
minimal and it produces clear
shots where Id previously never
thought it possible. It has pushed
me to shoot landscapes during
the hours of darkness, which is
when I rely on using it with my
remote shutter release.
Although Canon has recently
replaced the 7D with the Mark II
version, I was disappointed to
read it doesnt feature Wi-,
which I believe could be useful
for my type of photography and
instantly uploading my work to
my Flickr page. Although I love
my 7D, I can see myself
upgrading to a full frame camera
in the near future and purchasing
an L-Series wideangle lens thatll
be better suited to the wide-vista
and landscape shots Ive built up
such a passion for shooting.
Sunset at Castle Hill
This beautiful sunset scene

presented itself on a trip to
Newport, Rhode Island, last
September. The 7D captured
the scene and its cool tones just
as I remember it at the time.
Canon EOS 7D with Canon EF-S
18-135mm f/3.5-5.6 IS,
30 seconds @ f/22, ISO 100
Great Falls
A visit to the Great Falls in New

Jersey allowed me to take this
shot, which would have been
nothing special without the
bridge spanning the gorge.
18-135mm f/3.5-5.6 IS,
New York City
In my opinion, nothing beats

the city landscape of New York
City. This image was created
from three exposures stitched
together using Photomerge.
18-135mm f/3.5-5.6 IS,
CALUMET
Nikon D750
NEW
Call: 08706 03 03 03
Click: www.calphoto.co.uk
Visit: 8 stores nationwide
Canon EOS 7D Mark II
Fuji X-T1
NEW
NEW
GRAPHITE
EDITION
The latest full frame DSLR from Nikon, boasting 24.3

megapixels and a newly developed image sensor and
EXPEED 4 to achieve superior high-ISO performance.
Nikon D750 Body
1799.00
The X-T1 interchangeable lens camera featuring a 2.36m

dot resolution OLED display, X Trans II CMOS sensor, EXR
II processing and a real time digital viewfnder. A super
stylish addition to the X-Series family of Fujiflm cameras.
Fujiflm X-T1 Graphite
Edition Body
1199.00
Fujiflm X-T1 Black Body 979.00
Nikon D810
Nikon DSLRs
Offering incomparable
image quality, highspeed performance,
along Full HD
video fexibility,
the completely
redesigned D810 is
the new benchmark NEW
for high-resolution
shooting. A 36.3 megapixel sensor, new EXPEED4
processor, up to 7fps burst rate and an ultra-wide ISO
range are the detail highlights of the ultimate imaging
machine from Nikon.
Df Body
Df+50mm f1.8
2199.00
2225.00
D610 Body
D610 + 24-85mm
1330.00
1849.00
Nikon D810 Body
2399.00
Nikon Lenses
Available in Black or Silver
Fuji Lenses
1315.00
829.00
519.00
584.00
679.00
409.00
1235.00
659.00
1579.00
949.00
EOS 7D Mark II Body
10-24mm F4 R XF
14mm F2.8 XF
18mm F2R XF
23mm F1.4 XF
27mm F2.8 Black XF
27mm F2.8 Silver XF
35mm F1.4R XF
50-230mm F4.5-6.7 OIS Black XC
50-230mm F4.5-6.7 OIS Silver XC
55-200mm F3.5-4.8 R LM OIS XF
D4S Body
5199.00
D7100 Body
809.00
D7100+18-105mm 939.00
EOS-1D X Body
56mm F1.2 XF
60mm F2.4R Macro XF
Calumet Rental
Calumets national network
of rental centres
offer an extensive
range of photographic
equipment,
including the latest
technologies.
Specialising in
cameras, digital
equipment, video,
lighting, studio
products and much
more. We are constantly updating and adding
products to our portfolio, so visit our exclusive rental website at
www.calumetrental.co.uk to view our extensive range.
All prices include Vat at 20%. Prices correct at time of going to press. E&OE. 0523-0914.
2150.00
1449.00
979.00
559.00
989.00
1599.00
1449.00
3170.00
EOS 70D Body
EF 50mm F1.4 USM

EF 50mm F1.8 II
EF-S 60mm F2.8 USM Macro
EF 85mm F1.2L II USM
EF 100mm F2.8L IS USM Macro
EF 8-15mm F4.0L USM Fisheye
EF 16-35mm F2.8L USM II
EF 17-40mm F4.0L USM
EF 24-70mm F4L IS
EF 24-70mm F2.8L II USM
EF 24-105mm F4.0L IS USM
EF 28-135mm F3.5-5.6 IS USM
EF 70-200mm F2.8L IS USM II
EF 70-200mm F4.0L IS USM
EF 70-300mm F4.0-5.6 IS USM
EF 70-300mm F4.0-5.6L IS USM
EF 100-400mm F4.5-5.6L IS USM
849.00
279.00
80.00
365.00
1549.00
699.00
999.00
1198.00
619.00
889.00
1549.00
813.00
359.00
1699.00
959.00
389.00
1069.00
1239.00
Profoto
Printers
Canon
Pixma Pro-1
Pixma Pro-10
Pixma Pro-100
Epson
Stylus Pro 3880
Stylus Photo R3000
EOS 5D Mark III Body 2299.00

EOS5D+24-105mm 2899.00
Canon Lenses
Otus 55mm F1.4

3170.00
Distagon 15mm F2.8

Distagon 21mm F2.8
Distagon 28mm F2
Planar 50mm F1.4
Planar 85mm F1.4
APO Sonnar 135mm F2
Makro-Planar 100mm F2
Otus 55mm F1.4
4845.00
EOS 6D Body
1299.00
EOS 6D+ 24-105mm 1799.00
Zeiss Lenses
799.00
665.00
399.00
719.00
339.00
339.00
399.00
359.00
359.00
539.00
829.00
434.00
1599.00
Canon DSLRs
Fuji 56mm f/1.2 XF Lens

829.00
Nikon 35mm
f/1.8G ED Lens
465.00
14-24mm F2.8G AF-S ED

16-35mm F4.0G AF-S ED VR
18-35mm F3.5-4.5G AF-S ED
18-200mm F3.5-5.6G AF-S VR II
18-300mm F3.5-5.6G AF-S ED VR
24-85mm F3.5-4.5G AF-S ED VR
24-70mm F2.8G AF-S ED
28-300mm F3.5-5.6G AF-S VR
70-200mm F2.8G AF-S VR II
70-200mm F4G AF-S VR ED
The latest DSLR from Canon allows you to shoot bursts

of images at up to 10 frames per second, with full
autofocus and auto exposure.
645.00
499.00
364.00
934.00
545.00
Trade In Your Old Kit
Looking to upgrade your equipment? Why not part exchange your

old kit towards the latest models? Visit www.calphoto.co.uk or
Email secondhand@calphoto.co.uk for further information on
our trade in process. We also stock a wide range of second hand
equipment across our stores, check with your local store or visit
our website for current stock and prices.
Available in store
and in rental.
NEW
B1 Location 2 Head Kit

3060.00
Profoto B1 Single Head
1554.00
SECOND
HAND
CANON EOS 50D

I
ntroduced in 2008, the Canon EOS 50D sat in the

middle of Canons APS-C line-up at the time aimed
squarely at the enthusiast market. It features a 15.1MP
APS-C sized sensor, which represented a 5MP jump up
from its predecessor, the 40D. It was the last camera in
this line to use a Compact Flash memory card, as its
successor the 60D which was announced a couple of
years later switched to SD cards. With an EF-mount,
its compatible with a huge range of Canon EF and EF-S
lenses, and even by todays standards its specication
looks reasonable on paper.
At the rear it has a 3in, 920k-dot screen, and it marks
the last double-digit Canon DSLR to feature a highly
durable magnesium alloy body. Although its now two
generations old, it can be picked up very reasonably and
would make a great backup body for APS-C Canon users.
HOW MUCH?
LAUNCH PRICE:
830 (body only)
CURRENT USED PRICE:
230 - 270
KEY SPECS
SENSOR 15.1 million pixel
APS-C CMOS sensor
SCREEN 3 in TFT LCD,
approx. 920k dots
ISO 100-3200 (expandable
up to 12,800 equivalent)
BURST MODE
Approx 6.3fps maximum
AF SYSTEM 9 cross-type
AF points (f/2.8 at centre)
What do the owners think? Two Canon EOS 50D users give their verdict
PAUL TRUNFULL
NEWHAVEN, EAST SUSSEX
When I purchased my EOS 50D it was

in as-new condition with an extremely
low shutter count. Picking it up for the
rst time, it felt perfect in my hands
all the buttons and dials were at my
ngertips, but I bought the BG E2
battery grip to make it feel better

supported with my heavy lenses.
The real perk of the camera is
the speed at which it shoots and
I took advantage of its 6.3fps burst
mode when I was shooting motor
WHAT
WE SAID
Yes, it produces excellent images
in good lighting conditions, but
is that really enough to merit the
price-tag when competitors
have released excellent
models in the same eld?
RECOMMENDED
P ROS
CO NS
Digic 4
processor
handles burst
mode well
High-resolution
LCD Quick
Control Screen
Highest native
ISO is ISO
3200 Battery
life Varied
exposures and
underexposure in
difcult light
sports on a regular basis.

One niggle I do have is the ISO
range, which only goes down to ISO
100. I would have liked the option to
shoot as low as ISO 50, much like the
original Canon 5D. At the high end of
the sensitivity range Id happily push
to ISO 3200, but Id consider this to
be my limit. Colour rendition is
extremely important, particularly
when shooting JPEGs, and I have
discovered over the years that the
50D delivers consistently good colour.
As for the build quality, nothing has
dropped off yet, which I consider to
be very good for a camera thats
getting on for being ve years old.
I cant recommend it enough the
EOS 50D is a true workhorse.
PROS Burst speed AF performance Build

CONS No ISO settings lower than ISO 100
Flickr name: photoautomotive
BATTERY
STAMINA
HOW IT
STACKS UP
TODAY
NEW
ALTERNATIVES
Its worthy of note that the

upgrades made to the EOS 50D over
the 40D manifested in a reduced
battery life. Where Canon claimed
that the Canon 40D would muster
800 images at optimal shooting
conditions on a full charge, it
claimed the Canon 50D could only
manage 80% of that, at around 640
shots per charge. This was, to an
extent, to be expected. After all, the
Canon 50D is essentially the same
camera as the Canon 40D, but with
more hardware in place to add extra
drain to the battery. Compared to
todays cameras, the 50Ds battery
stamina is no match for the 70D,
which can shoot up to 920 shots.
While a 15-megapixel sensor isnt

huge by some standards, unless
you need to make enormous
prints, or want to crop right into
an image, it should be more
than enough for most situations.
Perhaps the 50Ds weakest point
is its low light capability, with
newer cameras being capable
of much higher sensitivities and
better noise control throughout the
range. If youre mainly shooting
in good light though, this will be
less of a problem. The 50D also
doesnt shoot video by default, a
specication which has become
default on pretty much every
modern consumer camera today.
The 50D is now two generations

old, having been replaced by the
60D in 2010, and more recently
the 70D in 2013. The latter
features a DIGIC 5+ processor,
20.2-million-pixel sensor, a
19-point AF system, articulating
screen, full HD video and built-in
Wi- so theres a lot more
available compared to the 50D. Of
course you will pay the price for
this with the body only retailing
for about 815 nearly four times
the price of a used 50D. The 60D
and 70D also take SD cards, so
bear this in mind if you have a lot
of CF cards and youre unprepared
to fork out serious cash to change.
JOHN RIPER
ROTTERDAM, NETHERLANDS
I bought my EOS 50D in September

2009, as a replacement for the almost
similar 40D, which was stolen on one
of my holidays. What I like most about
the 50D (and the 40D before that), is
its build quality. The metal magnesium
alloy body feels very solid and reliable.
That Canon made the newer 60D and
70D with a polycarbonate
construction is the main reason that
I have never replaced my 50D.
I have used my 50D for travel, nature
and weddings. Lately, I mainly do street
photography in black and white and to
catch the right moment a fast shutter
response is crucial something the
50D is particularly good for.

Compared to standards today, the
noise level at high ISO is not so good.
Up to ISO 800 the results are
acceptable. This, however, is the only
minus point for me and almost
negligible if the camera is not used in
extreme low-light situations that
demand a fast shutter speed.
I often think of buying a full frame
camera, such as a secondhand 5D
Mark II or a new 6D, but Id also keep
my 50D because the trade-in price is
very low for such a great camera.
Overall, Im very pleased with the 50D.
PROS Fast shutter response Build quality

CONS Introduction of noise above ISO 800
Flickr name: John Riper
F I E L D
T E S T
Taking to the water can be a challenging environment for any

camera, as Michael Topham found out when he subjected
Olympuss agship CSC to one of its toughest tests
T E ST E D
BY
M ICH A EL
TO P H A M
F I E L D
T E S T
s I reach for my iPhone

to silence my early
morning alarm and
I stumble over my bag
to take my camera
battery off-charge, it dawns on me
that todays eld test is going to be a
rather special experience. Pulling back
the curtains in my hotel room, I
breathe a sigh of relief for a clear start
to the day thats blessed with a rich
blue sky. With such a long and
demanding day ahead its not long
before Im tucking into a bowl of
porridge and knocking back a coffee
to give my energy levels the boost
theyll need, and make my way to join
the queue for my ferry bound for the
Isle of Wight.
Whats the reason behind this
extremely early start? It happens to
be Cowes Week one of the worlds
longest-running regattas that attracts
the nest sailors from around the
globe to race on the tricky waters of
the Solent. Today Im privileged to be
joining eight yachtsmen that
constitute the Dongfeng Race Team
as they take part in the Artemis
Challenge a 50-nautical-mile race
around the island.
Before setting off for the south
coast, I had to think long and hard
about the best camera to take and
Shot using the

7-14mm f/4
Lumix G Vario
lens, to squeeze
in as much as
possible from
close distance
guess what it might come up against.

Most importantly, it had to be
weather-sealed to survive a soaking
from crashing waves or spray out at
sea. Second, and just as important, it
has to be a fast and reliable performer
to capture any spur of the moment
opportunities, while it must also
feature a viewnder and preferably
have a tilting screen to assist in the
taking of low and high angle shots.
Though there are many enthusiast
and professional DSLRs that tick
these boxes, the thought of carting
around heavy lenses and constantly
climbing up and down into the yachts
living quarters to swap them over
swayed my decision towards a smaller
system camera. With my choices
narrowed, I settled for the Olympus
OM-D E-M1 a camera well geared for
shooting action with its 10fps
continuous shooting speed and
1/8000sec maximum shutter speed,
not to mention the vast range of
Olympus and Panasonic Micro Four
Thirds lenses available to use from the
What Digital Camera stock cupboard.
As I climb aboard the Volvo Ocean
65 racing yacht and am taken aback
by its vast size, Im introduced to Yann
Riou the teams ofcial reporter. As
I explain my reasoning in bringing the
E-M1 and the fact it benets from a
Colours are
vibrant and
lifelike straight
out of camera
helped by the
high-contrast
conditions
O LY M P U S
BATTERY
L IFE
strong magnesium body and as many

as 60 gasket rings to make it as
water-resistant as any DSLR, he grabs
his Canon EOS 70D to capture a shot
of the crew assembling the mainsail
ready for our imminent departure.
Things happen quickly here, he says,
at which point I pull the E-M1 from my
bag and opt to attach the 45mm f/1.8
M.ZUIKO a lens Im a huge fan of for
its compact size, pin-sharp results and
the beautiful depth of eld it creates
wide open at its maximum aperture.
Theres barely any time for me to get
fully accustomed to using the E-M1
again. It feels like Ive been thrown
straight in the deep end, but Im
thankful for the quick menu that lets
me set up the camera as I want it in
the few seconds I have.
CRYSTAL CLEAR EVF

As I lift the camera to my eye and
begin taking my rst portraits of the
crew operating the winches, Im given
a gentle reminder of why I opted to
bring the E-M1. The large electronic
viewnder (0.74x magnication in
35mm-equivalent terms) displays a
crystal-clear image from corner to
corner and refreshes at a blazing
120fps, helping to ensure theres
barely any lag of fast-moving subjects
through the frame. The built-in eye

sensor is extremely sensitive too. Its
activating as soon as my eye comes
within 5cm, though as I discovered by
the end of the day, its a fraction faster
at switching the feed between the
screen and the EVF than vice versa.
Although Im shooting in Raw and
have the option to tweak the
exposure later in post production,
some of my early backlit shots and
their histograms reveal that the
Electro Selective Pattern (ESP)
metering mode is overexposing more
than Id like in the extremely bright,
high-contrast conditions Im faced
with. Just as youd expect from a
pro-level DSLR, the E-M1 has an
exposure compensation range of -5 to
+5EV, but to resolve the issue I decide
to hold the metering button on the
top-plate while using the front scroll
dial to switch to centre-weighted
average metering mode. This instantly
xes my early exposure concerns and
with the ve-dimensional image
stabiliser deployed, I continue to
rattle out a burst at a rate of 6.5fps,
which equates to being 3.5fps slower
than if the cameras stabiliser is
switched off altogether.
As we draw closer to the start line,
Im passed a jacket to wear so Ill
Im always paranoid
about battery life.
Since CSC cells
are physically
smaller than those
found in DSLRs,
theyre notorious
for running out
of juice after
around 300 shots.
Two workaround
solutions can be to
carry a few spares
or purchase a
battery grip, with
the latter having
the advantage of
improving stability
and handling of
the camera in the
portrait format.
Unfortunately, with
my conrmation
to sail with the
race team coming
through so late,
I regrettably didnt
get a chance to
source an HLD-7
battery grip (179)
or spare BLN-1
battery (55),
leaving me with
little choice but
to be economical
with battery power
and hope a single
cell would see me
through, which
it did, just! An
inspection of my
images revealed Id
shot 370 images
by opting to use
the electronic
viewnder instead
of the screen and
I only wirelessly
streamed images
to my smartphone
once using Wi-.
Switching the
camera off when it
wasnt being used
helped to preserve
battery life and
the incredibly
quick start-up
time meant there
was barely any
hesitation between
icking the on/off
switch and ring
the shutter.
O M - D
E - M 1
blend in with the sailing teams

apparel. Im grateful for its deep
pockets, which can accommodate all
the Micro Four Thirds lenses Im
planning to use. Then, right on time,
the countdown begins and were off
the race is ofcially under way. As
the crew set about their arduous
tasks, I swap the 45mm prime for the
much wider Panasonic 7-14mm f/4
Lumix G Vario lens to squeeze as
much of the yacht as possible in the
frame. I notice the focal length of the
lens is displayed as its adjusted in the
top right corner of the viewnder to
save glancing at the barrel of the
lens just one of the advantages of
the E-M1s electronic viewnder as
opposed to the optical type.
EXPERI MENTAT I ON
A quick glance around the viewnder
display brings my attention to the
natural picture mode icon, which
reminds me Im yet to experiment
with the E-M1s Art Filters. Hitting the
large OK button at the rear reveals
that the E-M1 has similar spongy
buttons to its predecessor the
OM-D E-M5. That said, theyre better
placed and are larger too, making
them much easier to nd from behind
the camera. The uncomfortable
positioning of the playback button on
the OM-D E-M5 frustrated many
photographers, but the placement
of the E-M1s beside the main menu is
so much better. As the quick menu
loads on the 3in, 1.04-million-dot
screen, I use the touchscreen to select
the picture mode.
Its at this point I expected the
F I E L D
T E S T
FOCAL POINTS
The Olympus OM-D E-M1 has a responsive
autofocus system with an impressive 81
selectable AF points for improved accuracy
OLYMPUS DUAL FAST AF SYSTEM
The OM-D E-M1 benets from a dual AF system, however phase-detection AF
is only ever employed when users connect Four Thirds lenses to the camera
via the MMF-3 adaptor. Couple standard Micro
Four Thirds lenses to the camera (such
as those used in this eld test) and
it relies on standard contrastdetection AF. Selection between
the 81 AF points is incredibly
quick you can either tap the
touchscreen display, use the
rear four-way controller or enter
AF area via the quick menu or
The E-M1
use the front command dial to
features
move the AF point horizontally or
both phase
the rear command dial to move
and contrast
the AF point vertically.
detect AF
ART MODES
FUNCTION BUTTONS
The cameras Art modes can be

chosen by either switching the
mode dial to its appropriate setting
or scrolling through the picture
modes with the front command dial.
There are 12 modes in total, with
the most effective being Dramatic
Tone, Diorama and Pinhole. Hitting
the right button on the rear four-way
controller allows users to apply
borders directly to the image, or
experiment with colour variations
within each Art mode.
The customisation of buttons is

excellent. Though there are only two
dedicated function buttons on the
body itself, positioned on the rear
corner and the top-plate, most of
the buttons can be reassigned to
different tasks. For example, if you
dont shoot much HD video, the
movie-rec button can be used to
activate focus peaking, HDR or a
range of other options instead.
A screen that
swivels as well
as tilts would
have made
composition of
this outstretched
shot much easier
camera to list the 12 lter effects to

choose from, but no. Regrettably the
touchscreen isnt as advanced as
those of other CSCs and instead of
being fully integrated with the menu
and its options, its uses are far more
restrictive. Forced to use the front
scroll dial to select the Dramatic Tone
Black and White lter, I refer to the
screen to double check Im shooting
in Raw&JPEG.
POWER CONCE RNS
A dual SD
card slot
would be good
to see on its
successor
EVF
The OM-D E-M1 improves on the
electronic viewnder (EVF) found in the E-M5,
with the resolution jumping from 1.44m dots to a signicantly higher
2.36m dots thats identical to that of the VF-4 EVF as used with Olympuss PEN
system cameras. Not only that, but it also carries over the impressive 1.48x
(0.74x in 35mm-equivalent terms) magnication thats only slightly bettered by
the Fujilm X-T1s 0.77x magnication.
SENSOR 16.3-million-pixel, Micro Four Thirds Live MOS LENS MOUNT Micro Four Thirds
ISO RANGE ISO 200-25,600 BURST 10fps continuous shooting IMAGE STABILISATION
5-axis IS (sensor shift) AF POINTS 81-point AF system VIEWFINDER 2,360k-dot EVF (0.74x magnication) DISPLAY
3in, 1.04-million-dot tiltable LCD (3:2 aspect) DIMENSIONS 130.4 x 93.5 x 63.1mm WEIGHT 497g (with battery and card)
KEY SPECS
By recording Raw and JPEG les

simultaneously, it guarantees that
unprocessed colour images are being
recorded, as well as the processed
black and white JPEGs. The highcontrast mono shots with deep blacks
and bright highlights look superb on
the rear LCD and I cant resist using
the cameras Wi- functionality to
immediately share some of my
images with the world. In hindsight it
might have been an idea to download
the Olympus Image Share app before
we set sail, but thankfully Im able to
pick up a 3G signal on my iPhone.
App downloaded, camera and phone
paired, I select multiple images I want
to share and these transfer rapidly
across to my camera roll in seconds.
An image status update on Facebook
and a couple of tweets later and Im
O LY M P U S
shutter with touch shutter enabled.

These settings combined with the Pop
Art lter creates a vibrant image and
reiterates how sensitive and
responsive the screen is to being red
by touch which is ideal for eeting
moments that require an
instantaneous shutter release.
SECOND PLACE
As we race side-by-side with the
Artemis racing team, another photo
opportunity presents itself as a crew
member leans out across a boom to
tweak the ropes. Arm at full stretch
and with the camera strap wrapped
around my wrist to prevent it falling
into the turquoise waters below, I
point and re in the hope I get the
composition about right. A quick
review onscreen reveals my shots are
on a skew, but Ive bagged the shot
Im after something Im happy to
admit was more luck than judgment.
This gets me thinking about how the
E-M1s screen could be improved. A
vari-angle screen that has the ability
to be angled in on itself, just like the
type tted to the Canon EOS 70D,
would have certainly helped in this
awkward shooting situation, also
allowing me to view and check that
the electronic level was covering the
back shooting again, albeit a little
concerned that in the relatively short
time using Wi-, the battery power
has drained from three bars down to
two. Switching off Wi- to help
preserve battery life, I ask Charles (the
teams skipper) how many hours of
sailing remain before we get
anywhere close to the nish line.
About four, he replies. Glancing at the
screen reveals Ive taken 89 shots so
far. Safe in the knowledge the BLN-1
battery has a life of 350 shots, Ive got
some way to go before I deplete the
battery altogether.
Two hours into the race and just as
we start to navigate the famous
Needles Rocks at the western tip of
the island, a crew member scrambles
up the mast to make adjustments to
the sails. Its at this moment I
appreciate the speed of the E-M1s
contrast-detect AF system. Though
the bright conditions arent exactly a
demanding test of its low-light
capabilities, it locks on and conrms
focus with a beep in a fraction of a
second. It feels equally as fast as any
enthusiast or semi-professional DSLR
Ive used before. Tapping the screen
to take full advantage of the models
touch AF functionality, I also vary the
size of the AF point using the scale at
the side before opting to re the
O M - D
E - M 1
subject rather than guessing.

A few hours later and Im still
nding out pros and cons of the
camera as we draw closer to the nish
line. The battery level has gone down
by another bar, but the body remains
just as comfortable to hold in the
hand as it did for the rst shot, which
is testament to its large, and fairly
deep, curvaceous handgrip. Theres
barely a bone to pick with the
handling, and despite it being around
half the size and weight of the
agship models in Canon and Nikons
DSLR line-ups, it manages to feel just
as robust and hardwearing. The body
isnt without battle scars though, and
paint has chipped off the scroll dials
and beneath one of the Fn buttons.
Added to this, the small rubber cover
to protect the electronic contacts for
the attachment of the battery grip has
fallen off and been lost at sea.
As our voyage around the island is
completed and the team picks up
second place in the monohull class,
I begin reviewing my images using the
slideshow feature in playback mode.
Barely halfway through, the battery
indicator starts to ash red and
moments later it runs out completely.
A single battery got me through the
ve-hour sail, but only just!
VERDICT
The rst time I picked up the OM-D E-M1 was
when it was launched a year ago, and
spending a day with it and putting it through
its paces in such a challenging situation has
only made me like it more. Though I want to
say its 100% perfect, there are areas that
could be improved to make operation a
smoother and more pleasing experience. On
the whole, the E-M1 is enjoyable to use once
you get familiar with it, but I still cursed the
menu system at times for its lack of
intuitiveness. The way it doesnt intertwine
with the touchscreen is disappointing, and
what seems like an endless list of options in
the custom menu could benet from being
better arranged. For instance, it
took several minutes to work
out that the level gauge
has to be switched on
within the Info settings.
The same can be said
for the highlight and
shadow clipping
warnings, where many
would expect them
to appear with a
simple touch of the
Info button. Menu
and touchscreen
functionality aside, its an impressive

performer with great handling. The deep grip
offers more to wrap your hand around than
Fujilms X-T1 and theres no question it has
more of a DSLR feel and character about it.
That said, with 1,100 in my back pocket,
would it be the camera body Id buy if I were
seeking a smaller and lighter alternative to
my DSLR? It would certainly be in my top
three and the superb range of Micro Four
Thirds lenses would sway me in favour of it
over the limited number of optics in the
Sony Alpha 7 series. Choosing
between the Olympus OM-D
E-M1 and its closest rival, the
Fujilm X-T1, is about as
difcult as camera decisions
get. If the choice were to be
made by ipping a coin then
my instinct would call heads
for the X-T1, but if it landed
on tails I wouldnt be
disgruntled with the
OM-D E-M1. Its a
camera that has its
quirks, but it remains
one of the best Micro
Four Thirds system
cameras to date.
TRIED&
TESTED
The design of
the A5100 is
similar to Sonys
A6000
The A5100
has limited
touchscreen
control
SONY ALPHA 5100 549

Is the new A5100 the most advanced entry-level APS-C sensor-sized camera weve ever seen?
TEST E D
BY
J ON
DE VO
onys latest Compact

System Camera model, the
Sony Alpha 5100, features
some of the Japanese rms
latest technology, including
the 24.3-million-pixel Exmor APS HD
CMOS sensor, with an ISO sensitivity
range of 100-25,600, and the Bionz X
processor seen in the more advanced
Sony Alpha 6000. That cameras
hybrid AF with 179 points has also
made it inside the Alpha 5100s
compact frame, which can deliver
super-fast autofocusing as quick as
0.06 seconds making it one of the
fastest cameras currently on the
market. Rather than updating the
Sony Alpha 5000 released earlier this
year, the introduction of the A5100
replaces the Sony NEX-5T, the nal
NEX-branded camera in the compact
range, which is now discontinued.
This move nally consolidates all
Sonys E-mount Compact System
Cameras and Alpha-mount SLTs
under the Sony Alpha branding.
F E AT U R ES
The A5100 ticks most boxes anyone
in the market for a Compact System
Camera could want, and in use these
features shine through. The 179-point
autofocusing with touchscreen focus
functionality on this camera covers
over 90% of the frame and can
deliver incredibly quick focusing

responses. This is because each of
the cameras autofocus points feature
on-chip phase detection, which are
further enhanced by the inclusion of
25 precision contrast AF points
positioned around the centre of the
cameras 24.3-million-pixel sensor.
When shooting in low light, such
opportunities can be better exploited
with this cameras ISO sensitivity
range of 100-25,600, and Bionz
X-enabled area-specic noise
reduction. However, a small pop-up
ash is provided for shooting nearby
subjects in extremely low light.
VIDE O
Capable of recording full HD 1920x
1080 movies in either cinematic 24
frames per second or 50p/50i, the
video recording capabilities of the
A5100 surpass those of many DSLR
cameras twice its size, and even its
pricier relation, the A6000. This is
because Sony has made it possible to
record broadcast-quality XAVC S 25p
footage at a high bitrate of 50Mb/s
or Blu-ray quality AVCHD while
simultaneously recording in the less
hefty MP4 codec for uploading
straight to web or creating rush edits.
Professional video makers can also
use the Alpha 5100 to lm
uncompressed 8-bit 4:2:2 video using
KEY
SPECS
SENSOR
24.3-million-pixel Exmor
HD CMOS sensor
LENS Sony E-mount
LCD 3in-wide TFT with
921,600-dot resolution
FILE FORMATS JPEG, Raw,
Raw+JPEG
SHUTTER SPEEDS
30-1/4000sec
EXPOSURE MODES PASM,
Scene, Superior Auto,
Sweep Panorama, iAuto
EXPOSURE
COMPENSATION -3EV to
+3EV in steps of 1/3EV
METERING SYSTEM
1,200-zone evaluative
ISO RANGE 100-25,600
BURST 6fps
BUILT-IN FLASH Yes
MEMORY CARD Memory
Stick PRO Duo, SDHC/
SDXC UHS-I
CONNECTIVITY Wi-, NFC
POWER NP-FW50,
400 shots
DIMENSIONS 109.6 x 62.8
x 35.7mm
WEIGHT 283g with
battery and card
an external recording device

connected via the provided clean
HDMI port. The only drawback is the
lack of an input for an external
microphone, but it is common for
professionals to record audio
separately so this may not be an
issue for some.
BUI LD AND
HANDLI NG
Considering what has been packed
into the A5100 its quite astonishing
that Sony has managed to keep it so
compact. Physically its identical to
the Sony Alpha 5000, the worlds
smallest APS-C-sized camera, but
weighs a fraction more. Yet due to its
plastic construction it only weighs
283g with a card and battery loaded,
so it should t comfortably into most
jacket pockets when mounted with
its kit lens.
Its obvious that this camera has
been built to a price, but with that
said, it doesnt feel cheap. Its plastic
exterior is tough and the plastic grip
has a leatherised texture that is easy
to hold when shooting, though a
slightly deeper grip would have been
ideal. Capturing images on its 3in,
921,600-dot LCD can be done with
the screen tilted upwards or front
facing when taking self-portraits. Its
also possible to use the screen to
C O M PA C T
S Y S T E M
C A M E R A
T E S T
IMAGE
QUALITY
In terms of the amount of detail the
A5100 is capable of resolving, at
the lowest ISO setting it performs
much in line with what you would
expect from an APS-C DSLR. It
handles image noise well, although
one you start to head up the ISO
range luminance noise does begin
to creep in. Once you reach ISO 800,
both luminance and chroma noise
become an issue, while once you
head above this, noise reduction
artefacts are present. In terms of
the cameras dynamic range, the
results are almost identical to those
delivered by the Sony Alpha 6000.
ISO 100
ISO 400
31
ISO 3200
28
ISO 6400
25
Challenging
lighting scenarios
such as this white
subject in a dark
setting proved no
problem for the
metering system
24
VERDICT
The A5100s auto

white balance
system delivered
pleasing tonality.
Our images were
neither too warm
or too cool
point-focus and shoot, though

touchscreen functionality is limited to
taking pictures only, which is a
slightly odd design choice. In use, the
touchscreen is highly responsive, its
just a shame it wasnt enabled during
playback mode at least for pinchzoom and scrolling through images.
PE R FO R MA N C E
The speed and accuracy of the
autofocus is what stands out. In my
brief time using this camera with the
Sony E PZ 16-50mm f/3.5-5.6 OSS kit
lens I didnt get a single out-of-focus
shot. With a half press of the shutter
button the camera actuates its
focusing motors almost
instantaneously and locks on to
targets without fuss when continuous
AF is engaged. You can adjust AF

drive speed and tracking separately,
and drive can be set to fast, normal
and slow, while tracking duration can
be set to normal and high. I tested
the AF-C function by focusing on a
section of leaves in a bush blowing in
the wind and even when set to
normal, with a challenging
background that is similar to the
subject, the camera tenaciously held
on to the section of blowing leaves
that I had initially focused on.
Despite its limited number of
physical controls and lacking full
touchscreen functionality, navigating
and operating the A5100 is very
straightforward thanks to Sonys
simplied and user-friendly interface.
Pressing the centre button allows you
to select from PASM modes as well
as Scene, intelligent and superior
auto modes, panoramic shooting and
movie recording using the multifunction rear dial, while the inclusion
of a power zoom lever on the
shoulder of the camera makes it fully
operable with one-hand only. Wi-
and NFC connectivity opened up the
possibilities of wireless shooting as
well as sending images straight to my
tablet for improved image reviewing.
I found these functions easy to set up
and image transfer speeds are
marvellously fast.
The A5100 takes the advanced

image capturing technology
from the companys premium
model in the range and places it
inside a truly compact body that
has a simple and easy-to-use
interface. If you dont need a
viewnder or the extra control
dials featured on the A6000, but
want more advanced stills and
video-capturing capabilities than
those offered by the A5000, the
A5100 is a camera that youll
seriously want to consider. JD
PROS
Superb resolution
and autofocus speed
Lightweight, but
tough with a
compact body
Advanced video
lming capabilities
CONS
Only 6 frames-persecond continuous

shooting
Touchscreen limited
to taking pictures only
No input for
external microphone
F E AT U R E S
18/20
PERFORMANCE
19/20
DESIGN
17/20
18/20
VA L U E
18/20
W D C R AT I N G
GOLD
TRIED&
TESTED
WESTERN DIGITAL
MY PASSPORT WIRELESS 2TB 179
W W W.W D C .CO M
In recent months weve seen an

increasing number of Wi- enabled
hard drives enter the market, which are
designed to perform like a portable
hard drive, but feature their own
internal battery to allow them to also
perform wirelessly. The benet of
being able to connect to the drive via a
Wi- network using a smartphone or
tablet opens up the possibility to
stream videos, view images and share
content no matter where you are at
any given time.
The Western Digital My Passport
Wireless differentiates itself from those
weve seen before by being the rst of
its kind to provide an SD card slot at
the side, making it an ideal solution for
photographers whod like to backup
images as they shoot.
Installing the WD My Cloud app onto
our tablet and connecting to the drive
via Wi- took less than three minutes,

however the apps interface isnt the
most intuitive. After watching a series
of pre-installed how-to videos to gain a
better understanding of the import
process, an SD card with 5.45GB of
data was inserted, with all the Raw and
JPEG images transferring wirelessly in
a time of 11 minutes 38 seconds much
slower than using its USB 3.0 interface,
but not slow by wireless terms.
Heading into the SD card settings
within the app revealed theres the
option to import an SD cards data
automatically as soon as its inserted
into the drive and imports arent
interrupted if the Wi- network is
changed. Photos that are copied to the
drive from an SD card are placed in
their own folder within an SD Card
Imports folder, and users have the
option to delete les off the SD card
after the import is complete. The app

provides the option to email, print, or
open imported images in photo editing
apps such as PS Touch or Snapseed.
Streaming of data was reasonably fast
and we found we only had to wait a
few seconds before thumbnails loaded
and images could be viewed larger.
The only downsides to this device
are its six-hour battery life, which isnt
as long lasting as some of its rivals.
That, and its fairly bulky dimensions,
but it still manages to t inside most
pockets. As a device for streaming
videos, photos or music it works well
straight out of the box. For
photographers who own a camera that
accepts SD media and are looking for a
means of backup for storing images on
the move or on location, its a musthave device. Best of all it offers great
functionality at an affordable price. MT
WINDOWS/MAC
COMPATIBLE
Best of all it offers

great functionality at an
affordable price
RECOMMENDED
AVAILABLE IN
500GB, 1TB AND
2TB CAPACITIES
P R OS
CO NS
Clear battery
indicator
Formatted to
ExFat
Build quality is
fairly plasticky
Bulky and
heavy for its size
WI-FI, SD CARD
SLOT & USB 3.0
INTERFACE
A C C E S S O R I E S
MANFROTTO TRAVEL BACKPACK 110
DUST SNAPPER
22
W W W. M A N F R OT TO.CO.U K
W W W.V I S I B L E D U S T. C O M
If youre condent enough to

clean your electronic equipment
yourself, youll want to consider
adding the Dust Snapper polymer
pad from Visible Dust to your
cleaning kit. Cameras and
lenses attract dust particles like
biscuit crumbs to dark-coloured
sweaters so its vital that you
create a sterile environment to
clean your equipment in. Simply
place your gear on a clean Dust
Snapper, and dust will stick to
it as its brushed off your kit.
Cleaning it is as easy as running
it under water and blasting it
with compressed air. Its a simple
product that works as described
and is highly recommended. JD
GOLD
IRISTA BY CANON FREE

W W W. I R I S TA . C O M
Irista from Canon is a browserbased personal photography

library tool to upload and manage
collections. It allows users to
connect and upload your images
in three different ways, either via
desktop upload if you have an
Apple computer running OS X 10.7
and above, via the website and by
importing images from existing
Facebook and Flickr accounts.
Users get up to 10GB free just
for signing up, and storage can
be upgraded to either 50GB or
100GB for 4.49 and 9.99 per
month and 45 and 99.99 on a
yearly agreement. The site looks
relatively simple to use but it
mysteriously refused to store
my uploads, regardless of which
browser I used or computer I tried
to upload the les from. Perhaps
it was a week-long server glitch,
but as a result I cant recommend
this service. Give it a go yourself,
you may have better luck. JD
Part of Manfrottos advanced bag range, the

Travel Backpack is ideal for photographers
who need their essential shooting kit close by
whenever theyre on the move. Without being
too bulky, this backpack manages to hold a
good amount of photography equipment,
including a DSLR with lens attached, a
ashgun, small accessories and up to two
additional lenses. With all of that kit inside, its
still possible to squeeze in a few personal
items as well as a laptop up to 15in in size,
despite Manfrotto listing it as only suitable for
13in laptops.
A quick-access pocket on one side makes it
easy to get to your camera without fully
opening the bag, while the other side
incorporates an internal tripod holder,
suitable for compact stands. The
detachable dividers inside the backpack
can also be removed so it can be used
when not carrying photography kit.
The rst thing that struck me about
this backpack was its modern and
professional-looking design. It
P R OS
CO NS
Quick-access
side pocket
Modern design
Not the best

if you own over
three lenses
doesnt immediately appear to be a camera

bag, which will appeal to some, and as a
result Id feel comfortable using it in a number
of situations, whether taking pictures in the
street or attending conferences and business
meetings. Theres enough storage space for
me to carry everything I need for an average
days work and I nd it comfortable to wear
when fully loaded. For the travelling
photographer, this is one of the most
attractive backpacks weve come across. JD
GOLD
TECHLINK RECHARGE 6000 POWER AND WALL CHARGER 70

W W W.T E C H L I N K .U K .CO M
Giving you the best of both worlds, the

ReCharge 6000 from TechLink doubles up as
a dual USB wall charger and a portable
lithium-polymer powerbank. It provides
6000mAh of power enough to charge most
smartphones three times, or a Compact
System Camera that can be charged
via USB. Multi-voltage
charging is also available
via the units 2.1A and
1.0A USB ports.
Being able to charge
two devices at once
while its plugged into
the wall is particularly
convenient as you can
P R OS
Capable of
charging two
devices
grab it and continue charging your kit on the

go if youre running late. We also like the fact
that the ReCharge automatically stops
charging gadgets once it detects that they
are fully charged. The TechLink
ReCharge 6000 comes in a smart
case with a two-pin international
charger included. It takes a couple
of hours for the ReCharge to ll
up, and measuring 9.2 x 6.4 x
3.2cm and weighing 120g, its
RECOMMENDED
not particularly portable.
Other than that, its a decent
hybrid charging option
thats certainly worth
a look. JD
CO NS
Fairly bulky to
transport
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T E C H N I Q U E
12 PAG E
T
P U L L OUN
SEC T IO
Shoot Better
Action
Images
27
PLUS Get to grips: Shutter Speed
MICHAEL TOPHAM
tips to take into the eld to enhance the way you shoot
action. Plus we reveal how to get the most from your GoPro
Discover everything there is to know about Shutter Priority mode

We reveal the best shutter speed to use, whatever the shooting situation
Learn how opening the shutter for longer can benet your photography
T E C H N I Q U E
27 Tips for Shooting Better
ACTION SHOTS
Getting Started
Whatever action youre shooting, its going to be hard to react
fast enough get a good shot if youre too close. Stand further
back and use a telephoto lens to minimise the necessary arc of
movement. In some cases this will also be quite a lot safer.
3
IF YOU
CAN,
BRING
TWO
BODIES
You dont want to be
swapping lenses
when the action is
happening. Two
bodies with lenses
attached will
allow you to be
quick and versatile
whatever the
situation. Try to think
about two lenses that
will complement each
other a 300mm prime
on your main body and a
70-200mm on your
backup would be a good
combination.
USE A
MONOPOD
The disadvantage of a
telephoto lens is that
youre carrying a fair bit more weight,
and holding it for an extended period
is likely to make your arms ache and
your camera shake. Of course, you
dont want to be restricted by a tripod
either. A monopod is a good halfway
solution, allowing you to support your
camera and remain mobile.
GET A SEAT
It may sound silly, but a small

collapsible chair is a godsend
if youre going to be stuck in
one place for any length of time. Get
yourself a small seat instead of kneeling or
crouching your knees and back will thank
you. This goes double if youre at something
like a football match, where standing may
obstruct the view of people behind you.
MICHAEL TOPHAM
USE A LONG LENS
PICK THE
RIGHT
CAMERA
Key to good action shooting

is picking a camera with fast, reliable
continuous AF and serious burst shooting
chops. Something like the Canon EOS 7D
Mark II or Olympus OM-D E-M1 would t the
bill nicely.
LOOK AT WATER
JACKETS AND
UNDERWATER
HOUSINGS
If you like the idea of
shooting watersports but are
less than enamoured with the
idea of ruining your camera
with seawater, there are ways
of ensuring this doesnt happen. Waterproof
housings such as those produced by Ikelite
are very robust, and if youre shooting with a
DSLR then its worth looking into Aquapacs
underwater cases.
T E C H N I Q U E
Using Shutter Speed

W W W. I S TO C K P H OTO . C O M
Of course, freezing a subject isnt always the best approach. In

many situations adding a little blur is the best course of action
for suggesting speed and motion, and this requires a slower
shutter speed. If youre shooting moving cars, for example,
getting a little blur into the background is a good way to make
things feel more lively. Try speeds of 1/60sec and below this
is where that monopod will start to come in handy.
USE SLOWER
SPEEDS FOR
CREATIVE BLUR
FREEZE MOTION WITH

FAST SHUTTER SPEEDS
If you want to record your subject in sharp focus,

youll need to use a fast shutter speed. In something
like a football or rugby match the absolute minimum youd want to
use would be 1/250sec, and even then its probably wise to go a bit
higher if the lighting conditions allow. Many sports photographers
will swear by a minimum of 1/800sec to 1/1250sec.
PAN TO BLUR
THE BACKGROUND
An effective technique with slower shutter

speeds is to pan the camera with your subject as it moves,
thereby introducing motion blur into the background only.
Panning involves keeping your subject at the same point in
the frame (the centre is easiest) as it moves across your eld
of view by moving the camera with it. If you get it right, the
result should be a sharp subject and a nicely blurred
background. It takes practice, but the results are worth it.
10
TURN ON CONTINUOUS
DRIVE MODE
Set your camera to continuous and dont
be afraid to keep your nger on the
shutter youve got a much
better chance of capturing
the decisive moment
that way. You will have
to make a decision
about what kind of
les you want to
shoot though
Raw les offer
more exibility in
post-production,
but will put a cap
on your burst mode,
whereas your camera
will be much more
capable of shooting
sustained bursts of
JPEGs. Weigh up
whats more
important to
you.
T E C H N I Q U E
Focus
11
13
USE THE
CENTRAL
AF POINT
In order to avoid confusing

your AF system, its safest to narrow things
down to just the central AF point and then
take responsibility for keeping the action
centred yourself. This will help you keep the
crucial part of the action such as the player
with the ball as the part thats in focus.
USE CONTINUOUS
FOCUS
12
PRE-FOCUS
This is a useful technique

when photographing a sport
or event with somewhat
predictable paths of movement, such as a
track race. If your AF is struggling to keep up
with the speed, switch to MF and pre-focus
on a spot you know the subject will pass
through. As the subject approaches, start
shooting on continuous drive, and keep
on shooting until the subject has passed.
Youre sure to get a few sharp shots.
This will keep your lens

refocusing as your
subject moves and allow
you to keep shooting even when the
subject isnt in focus. Some cameras will
be able to predict the focal point before
the subject reaches it. This will help to
prevent you missing the crucial shot.
PHIL HALL
14
FOCUS TRACKING
WITH LOCK-ON
Some cameras have the capability to follow a subject

even if it leaves the selected focus point on Nikon
DSLRs this is labelled as dynamic-area AF. If your camera can hack it
there is also the option to adjust the speed at which it tries to work out
what to focus on; this can be used to prevent the camera instantly
refocusing when an object moves between it and the subject.
For subjects that

move erratically
through the
frame, its worth
enabling focus
tracking for
pin-sharp results
T E C H N I Q U E
Using ISO
15
CONSIDER USING
AUTO ISO
Theres plenty to think about in action photography,

and often a lot of decisions to be made in a short
space of time. If you feel comfortable automating some of those
decisions then its worth doing, and Auto ISO can be a boon in tricky
fast-moving situations, for example, a runner moving rapidly from
light into shade.
16
DONT BE TIMID
Your shutter speed is commonly the most important

factor in shooting action. If you need to use a fast
shutter speed to capture a certain moment or event
then dont be afraid to crank up the ISO to compensate. We said this
before in our ISO guide a couple of issues ago, but it bears repeating
a grainy but sharp image is worth a million times more than a clean
one thats blurred where it isnt supposed to be.
A few more tips and suggestions

17
REMEMBER THE
BACKGROUND
This is a point that really applies to all

photography, but its easy to forget
when youre shooting action and concentrating hard
on a fast-moving subject. A distracting background
can ruin an action shot just as surely as a portrait. Be
mindful of distracting elements, and use a shallow
depth of eld if necessary.
Using a shallow
depth of eld
helps to keep
the viewers eyes
away from any
distractions in
the background
18
GET INSURED
Action photography can be risky for a

photographers gear theres always the
chance that an accident or miscalculation could
send an out-of-control dirt bike piling into your expensive
Canon lens. If youre serious about action photography its
denitely worth looking into getting your equipment insured,
just in case the worst should happen when you least expect it.
19
USE WIRELESS
TRANSFER
The thing to remember with action photography is

that youre going to be rattling off a lot of shots
throughout the course of an event. Its worth setting things up so you
can transfer these straight from your camera to a laptop computer,
cloud service or smart device with a decent amount of storage. That
way if you ll up your card you can just format it and keep on
shooting. For this reason its worth investing in a camera with built-in
Wi-, or an additional wireless transmitter such as the Nikon WT-5.
T E C H N I Q U E
A few more tips and suggestions

20
TRY A SEQUENCE
Want to push things further? Why not try using multiple

exposures to create a sequence? If you know your way
around Photoshop Layers theres no reason why you cant
blend together an exciting action sequence. Pre-focus is your friend, and a
very fast burst rate is essential. Remember that keeping the camera still is
key and try to resist any urge to pan with the subject. Give it a try!
Shooting a burst
of images and
then comping
them together in
Photoshop can
create a striking
nal image
21
TRY A
TOUGH
CAMERA
1 OLYMPUS STYLUS TOUGH TG-3

Waterproof to 15m, shockproof to 2.1m, the
Olympus Tough TG-3 reasserted Olympus
as a serious contender in the tough
camera market thanks to its 16MP sensor
and f/2-4.9, 25-100mm (equiv.) imagestabilised lens. Its expensive at 349 but
wont let you down.
If youre going to be getting up close and personal with your action subjects, then your
best bet is probably to pick up a tough camera.
These hardy devices are built to withstand being dropped, crushed, submerged,
frozen... whatever the world can dish out, these cameras can probably take it. Here are
some of our picks of the best tough cameras around.
2 CANON POWERSHOT D30

What you lose in image quality compared
to the Olympus, you make up for in
toughness with Canons hardy D30. Able
to be submerged up to 25 metres, the D30
dives up to 10 metres deeper than its
nearest rival. Its a little cheaper too and
can be picked up from 244.
3 FUJIFILM FINEPIX XP200

If youre really restricted by your budget,
consider Fujis XP200, which is a
comparative steal at 169. Fuji has packed
a lot into its stylish body, including 10fps
burst shooting, a 16.4-megapixel 1/2.3in
CMOS sensor and even built-in Wi-. An
alternative is the Fujilm XP70 (144).
T E C H N I Q U E
Get the most from your GoPro

GoPros are currently among the hottest-selling cameras around, and with the
recent release of the HERO 4 this trend
looks only set to continue.
GoPros are a perfect companion for
action photography, especially if youre the
adventurous type yourself, enabling you to
get right into the thick of the action without
fearing for your camera and allowing you
the option of taking stills or video.
Even if youre not the type to go climbing
glaciers, there are plenty of ways you can
get more out of your GoPro. On this page
we run through some easy ways to augment
your GoPros action-shooting potential.
25
GET A
SPARE
BATTERY
GoPros Li-Ion battery can be a little

light, and if youre spending a busy
day recording its easy to lose track of
how much power youve used. Pick up
a spare Li-ion battery and get in the
habit of keeping it with you; that way
youll lessen the chances of being
caught out by an unnoticed power
drain. This is a cheaper option than
buying the ofcial Battery BacPac,
which will cost you around 50.
REMEMBER
YOURE USING
A FISHEYE LENS
The type of lens you

use will always have a
signicant impact on
your photographic
composition, and on a
GoPro youre xed with a sheye.
When planning and executing shots,
keep in mind that youll have a very
wide eld of view to work with. Dont
work against it incorporate it into
your photography. Look for wide
scenes and leading lines that you can
use with the exaggerated perspective.
MICHAEL TOPHAM
22
23
CAREFULLY
COMPOSE
THE IMAGE
A camera strapped to your head, out of

your eld of view, is an easy thing to forget
about. If youre going to mount your GoPro
in this way make sure youre mindful that
youre wearing it, otherwise youll end up
with mostly shots of the sky and/or your
feet. Try to think about framing and
positioning in the same way you would if
you were holding a camera and remember
to download the GoPro App, which allows
you to frame up easily using a smartphone.
24
GET A
FEEL FOR
OPERATING
IT BLIND
In the situations you may nd yourself in

with a GoPro not least it being attached to
your head you may well be in a position
where its not all that convenient to look at
the controls. Practice operating the camera
without looking at the buttons; get a feel for
where each function is. There arent too
many buttons so this shouldnt be too hard.
Youll be able to use your GoPro much more
effectively if you can shoot without looking.
26
HELMET
MOUNT
27
TRIPOD
MOUNT
ADAPTOR
Alternatively, get more

into the thick of the
action with a helmet mount. If youre a
cyclist, surfer, skiier or climber, attach
a GoPro to the front of your helmet
and let the world see what you see.
These mounts are also
available on the
GoPro site and
are quite
inexpensive just $14.99
(9.29) will get you all set
up and ready to go.
GoPro stills are just as susceptible to

blur and camera shake as stills from
any other camera. If youre worried
about taking nothing but blurry
handheld shots, why not mount
your GoPro on your tripod? The
ofcial GoPro shop sells mount
adaptors for just 7.99. If youd rather
be a bit more mobile, a monopod will
work just as well.
T E C H N I Q U E
Getting to Grips With
SHUTTER SPEED
The Basics
very month were taking a single

aspect of digital photography and
breaking it down to its
fundamental components. If youve
ever found yourself confused by all
the numbers, settings and acronyms that seem
inextricable from photography, let us be your guide.
Last month we looked at aperture this month were
tackling shutter speed. Forming the last corner of the
exposure triangle along with aperture and ISO, shutter speed is
arguably the factor that has the biggest impact on how your pictures
look. Whether a pin-sharp shot of a basketball player mid-jump or a
tranquil shot of a still-looking ocean, the effective mastery of shutter speed
makes these possible. Over these pages well show you how it all works.
SO WHAT IS SHUTTER SPEED EXACTLY?

When your camera takes a photo, it opens
the shutter to expose the imaging sensor
to light. How long it opens the shutter for
and therefore how much light the sensor
receives is determined by the shutter
speed that is set.
HOW DOES IT
WORK WITH
OTHER SETTINGS?
Like aperture and ISO, which weve looked
at in previous issues, shutter speed forms
part of the exposure triangle. This means
that it will directly affect and be affected
by the other components of the triangle
aperture and ISO. If you use a fast
shutter speed to capture a fast-moving
subject, then you will have to widen your
aperture, or raise your ISO (or both) to
compensate, and vice versa.
HOW IS IT
MEASURED?
Shutter speed is measured in seconds
most commonly fractions of a second. If
you see an image labelled with 1/25sec,
then that means, as youd expect, that the
shutter was open for 1/25th of a second.
Easy enough.
Shutter speed increments are on a
standardised scale, meaning theyll be the
same from camera to camera. The
standard stops of shutter speed are 1, 1/2,

1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250,
1/500, 1/1000 and 1/2000.
Most DSLRs on the market at the
moment will offer minimum shutter
speeds of 1/4000sec, or 1/8000sec on
newer models, and maximum shutter
speeds of either 30sec or Bulb, which
allows you to keep the shutter open
indenitely (well come onto the uses of

this mode a little later).
So far, so simple. Where it gets a little
more complicated is in understanding
what these speeds mean for your photos,
and what speeds you should use in
specic situations or to create particular
effects. Over the page we reveal the many
uses shutter speed has.
LESS LIGHT
ISO 100
More detail
MORE LIGHT
f/1.4
Shallow DOF
Controls the
sensitivity of
your cameras
sensor to light
Controls the
area over which
light can enter
your camera
ISO
MORE LIGHT
ISO 12,800
Less detail
LESS LIGHT
1/1000 sec
Freeze action
APERTURE
SHUTTER SPEED
Controls the duration
of the exposure (how
much light is allowed
to reach the sensor)
LESS LIGHT
f/22
Greater DOF
MORE LIGHT
1 sec
Artistic blurs
T E C H N I Q U E
Common Shutter Speeds and How to Use Them
MICHAEL TOPHAM
MICHAEL TOPHAM
By slowing
down slightly,
we introduce
just a little blur
and convey the
trains motion
more effectively
An ultra-fast
shutter speed
is necessary in
order to freeze
this split-second
moment of
action
1/250SEC AND FASTER
AROUND 1/60SEC
Faster shutter speeds are used for freezing action. Anything above
1/250sec is likely to be used for sports and action photography,
freezing crucial moments, or in wildlife photography to capture a
fast-moving animal. Images shot at these speeds will have little to
no motion blur, rendering any subject crisp and sharp. To freeze the
fastest subjects wed recommend shooting at 1/500sec or faster, but
most cameras will allow you to shoot up to 1/4000sec or 1/8000sec.
1/60sec is conventionally thought of as the slowest speed you can

get away with when shooting handheld with a standard kit lens. Any
slower than this, and you risk introducing camera shake into your
images and should therefore think about using a tripod. These kinds
of speeds are useful if you want to have your subject sharp but
introduce motion blur to convey a sense of speed (the best way to
do this is a technique called panning, which well come onto later).
AUDLEY JARVIS
MICHAEL TOPHAM
Shooting moving
cars at fast
shutter speeds
can make them
look parked.
Introduce blur to
convey speed
The smoothed
water and the
slightly streaked
clouds are
indicative of the
longer shutter
speed
AROUND 1/25SEC
1SEC AND SLOWER
Once your shutter speeds start getting to this level youll start
needing to use a tripod to stop your images becoming blighted by
camera shake. Speeds such as this are often used for getting
running water effects that are smooth but not completely lacking in
denition theyre especially good for shooting waterfalls. Theyre
also useful in evening and twilight photography, ensuring that
enough light hits the sensor of your camera.
Once your shutter speed increases to above 1sec, youre into

long-exposure territory. A tripod is absolutely necessary, and
you may need other accessories such as ND lters as well. Well
cover long exposures in detail on the next page of this guide,
but its worth knowing that theres a whole host of effects you
can create with them: trafc trails, milky water, dynamic skies
with streaking clouds, light painting, star trails theres plenty
of fun to be had.
T E C H N I Q U E
Shutter speed tips and techniques

Now we understand shutter speed a little
better, how can we start using it creatively?
Weve compiled a few tips for utilising
shutter speed out in the eld.
LON G EXPOS UR E S
Long exposures are a fantastic way to
capture movement in a stylised way. The
shutter speed range of most DSLRs will, as
weve mentioned, go from 30sec to
1/4000sec, however most will also have
whats called Bulb mode, which enables
you to hold the shutter open for as long as
youd like.
Bulb mode has a multitude of uses,
one example of which is in the shot below
the ambient light in this situation is quite
poor, and 30 seconds isnt quite long

enough to get the strong trafc trail effect
we want. By using Bulb mode, we can keep
the shutter open as long as we need to, and
therefore get the striking effect that makes
the picture interesting.
It isnt as simple as all that, however. With
all automated settings out of the window,
youll need to have calculated your exposure
and know how long you want the shutter
open for, and be able to time it exactly using
a stopwatch or your phone. This will
probably take a bit of trial and error,
especially in the beginning once youve
got some practice though, youll then get a
better sense of the length of exposure
required for different situations.
Keeping the
shutter open
longer creates
this trafc
trail effect. Be
careful not to
overexpose
There are a few things to watch out

for when using bulb mode:
OVEREXPOSING
IN DAYLIGHT
Though we used the long exposure
(see left) at night, theres no reason
why you cant capture them during
the day. Keep in mind that youll be
working with much more light and
therefore are much more likely to
overexpose an image. The best way
to combat this is with a 10-stop ND
lter, which afxes on the front of
your lens and
reduces light
enough to give
you back ten
stops of exposure.
Lees Big Stopper
CAMERA SHAKE
Even when the camera is on a tripod,
it is very easy to cause blur in
long-exposure images by knocking
the camera, even very slightly, when
you touch the shutter release button.
Prevent this either by setting up Wi-
to trigger the shutter with your
phone, using a cable device like
ioShutter or Triggertrap to connect
your phone, or by using an
independent cable release.
An attached
remote release
INCREASED
NOISE
One thing to bear in mind is that

keeping the shutter open longer will
lead to increased noise in your
images. You can try to keep your ISO
settings as low as you can to minimise
this, but its also worth looking into
getting hold of some noise-reduction
software if youre planning on taking
lots of long exposures. We covered
noise-reduction software a couple of
issues ago in our guide to ISO Topaz
Labs DeNoise is a good user-friendly
option that wont break the bank.
T E C H N I Q U E
SHOOT AT
HIGH SPEED
R A D U R A Z VA N 2 0 1 3 / W W W. I S TO C K P H OTO . C O M
PAN WITH
MOTION
Ultra-fast shutter speeds can be used to

capture the briefest, most eeting moments
and make for unforgettable, dynamic
images. It takes a bit of practice and
precision, but if you persevere then the
results are worth it. A ashgun is denitely a
worthwhile purchase if youre planning on
investigating high-speed photography.
Moving subjects can be tricky to deal

with in terms of shutter speed. A fast
shutter speed will ensure the subject is
pin-sharp, but can mean the image
looks static. Meanwhile, slow shutter
speeds do suggest motion, but can
result in the main subject being too
blurred. The solution? Select an
intermediary shutter speed such as
1/60 and pan follow the subject with
your camera while the shutter is open.
For more on panning see page 47.
CAPTURE
LIGHTNING
If youve ever wanted to

capture a spectacular lightning
strike at night then the best
thing to do is use a slow
shutter speed use 30sec
exposures or go even longer
with Bulb mode. Manually
focus on the sky, then use
regular long exposures. Youll
nd this a far more reliable way
of getting good results.
I S A A C L A N E KO VA L 2 0 0 9 / W W W. I S TO C K P H OTO . C O M
PAINT
WITH LIGHT
HANDHELD
SHUTTER SPEED
This is something else you can

try with long exposures use a
single light source and move it
while the cameras shutter is
open to create a painting
effect. You can make shapes or
even write words. Its actually
easier to do than you might
think, just be sure to wear dark
clothing if you dont want to
show up in the image yourself.
If you want a shot of a building or

landmark but its swamped with
tourists and crowds, a long
exposure is a neat way to remove
them from the shot theyll be
moving too much for the camera to
register them. Once again, a 10-stop
lter is an absolute must for this
technique, as youll likely be
shooting in daytime.
W W W. I S TO C K P H OTO. C O M
USE A LONG
EXPOSURE
TO REMOVE
CROWDS
Despite image-stabilisation
technology there is still a limit to how
slow you can shoot before needing a
tripod. This will also depend on your
lens: a long telephoto is more
susceptible to shake than a short
wideangle because at longer focal
lengths movement is magnied.
A decent rule of thumb is to try to
match the shutter speed to the focal
length of your lens. This can involve a
bit of maths if youre using a 50mm
lens on an APS-C crop sensor, you
have to factor in the 1.5x focal length
multiplication, giving you a true focal
length of 75mm. This means you
should use shutter speeds faster than
1/75sec when handholding in
standard stop terms, this makes
1/125sec your minimum. For a 200mm
lens, the equivalent focal length will
be 300mm, so you wont want to go
slower than 1/300sec handheld. If you
set your camera to increase exposure
in 1/2 or 1/3 stop increments, you can
get closer to the ideal focal length for
your lens: so with the 50mm on our
APS-C DSLR, wed be able to shoot at
1/90 or 1/80sec rather than 1/125sec.
T E C H N I Q U E
Advanced Image Stabilisation

While it is a good rule of thumb to not shoot
below certain shutter speeds when using
certain lenses, image stabilisation
technology has become better and better in
recent years and opened up a new world of
possibilities for handheld shooting at slower
shutter speeds.
Image stabilisation is technology designed
to counteract the effects of camera shake
which is the single biggest cause of
blurred photos. Here is our guide to the
essentials of image stabilisation.
LENS-BASED IS
Many higher-end lenses now have built-in

image stabilisation. This works by moving
elements inside the lens in the opposite
direction to the movement of the camera,
using gyro sensors inside the lens to
calculate direction and degree of shift
required. The overall effect is to offset
movement which would otherwise cause
blurry images.
ADVANCED MODES
As well as simply reducing camera shake, some cameras also offer IS modes that
can counter erratic and unpredictable movement at higher frequencies. This can
be useful if youre shooting from a moving vehicle or a boat. You normally
access these settings either via a switch on the lens or the in-camera menu.
SENSOR-BASED IS
This works on a similar principle to the

lens-based system, only its the sensor
that moves to counter motion, rather than
the lens elements. In cameras such as the
Olympus OM-D the sensor is mounted on
a moveable platform and uses gyro
sensors to counter-move when camera
motion is detected.
LONGER
EXPOSURES
If you think of image stabilisation as
basically giving you back three or four stops
of exposures, then its possible to use it to
capture longer exposures than you would
otherwise when shooting handheld (refer to
our focal length and shutter speed guide on
the previous page). So if youre shooting on
a 200mm lens and would therefore normally
need to shoot at 1/500sec or faster, good
image stabilisation can dramatically cut this
down and allow you to shoot at 1/30sec and
still achieve sharp results.
PHIL HALL
PHIL HALL
Weve talked about panning already, but its worth knowing that many of
the more sophisticated image stabilisation systems are able to detect
panning and reduce vibration in the vertical axis for smoother results.
SWITCHING IT OFF
Image stabilisation is a useful tool, but there
are times when youll want to switch it off. If
a camera is on a tripod then some image
stabilisation systems can actually cause
problems, attempting to correct vibrations
that theyre actually causing themselves.
Some systems in newer cameras will
detect whether the camera has been placed
on a support and turn themselves off. If
youre not sure about your camera, refer to
the manual.
PHIL HALL
PANNING
R E A D E R
Q U E S T I O N S
HELP
Got a question? Need some buying advice? Drop our experts a line
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whatdigitalcamera
Pentax K-30, Canon

100D or Nikon D3200?
A M CG01
VI A
TH E
FORUM
Ive always had decent

little compact cameras
with which Ive
managed to get some excellent
results over the years. I now feel
its the time to take the step up
to a DSLR. Im looking to spend
around 350-380 in total and
ideally I need this to include a
lens and some sort of bag. The
type of things I photograph
varies widely from low-light

scenes, music festivals, holidays
(usually outdoors from the
west of Ireland to the odd ski
trip) to pets and family. I dont
tend to take too much video
apart from when Im attending
festivals, where I occasionally
have to record short clips to put
up on Youtube on behalf of a
band. So the candidates Ive
narrowed my choice down to are

the Pentax K-30, Canon EOS
100D and Nikon D3200. I have
visited a camera shop to hold
and play with all three and, to
my eye, they all have different
strengths. Ive listed my reasons
and what I see as the strengths
of each model beneath, but Im
hoping you can guide me in the
best direction before I purchase?
K-30 350
100D 389
D3200 330
Built like a tank, which is tremendously appealing

to us. Ireland is not the driest of places, and the
K-30s weather sealing is particularly appealing
Viewnder was very clear and enjoyable to use
Theres no external 3.5mm microphone jack
Fairly heavy as youd expect from the tank-like
construction of its build
The size is great its the tiniest DSLR Ive seen

Then again, I have small hands for a man and,
although the small size and lightness was very
appealing to me, it got me wondering if the size
was almost too small?
Features continuous AF in video
Has a responsive touchscreen
Felt more solid than the Canon EOS 100D, but not as
robust as the Pentax K-30
Im aware theres an excellent range of lenses for
the Nikon D3200, which could allow me to expand
the system down the line as my ability improves
The battery life is signicantly better on than the
EOS 100D, shooting 540 shots as opposed to 380
second, progressive (50p or

60p) in full HD. Regarding
camera size, its not necessarily
the diminutive size of a cameras
design but the way it has been
executed regarding the
arrangement and size of external
controls. Most photographers I
know nd that they prefer a
smaller and lighter camera as
long as they can still operate the
controls unhindered. Its true that
there are fewer lenses in the
current Pentax line-up than with

either Canon or Nikon, but there
are hundreds of Pentax K-mount
compatible lenses going back
over nearly 40 years. In the end
your own appraisal has identied
key factors that are important to
you. All these cameras should
work for you though if there is a
weaker choice it would be the
Canon EOS 100D, as its sensor
copes slightly less well in low
light than the others. IB
For video use I would

not necessarily get too
obsessive about
continuous video AF. You may
nd yourself switching this off,
especially in poor light as it
tends to have a mind of its own
and only works decently with
lenses optimised for video, which
tend to be the more recent lens
models. The Pentax K-30 is the
only model in your shortlist that
can shoot at 50 or 60 frames per
THE FORUM
www.whatdigitalcamera.com/
forums
Sigma lens
branding
K .O LA FSSO N
I am still trying to
get to grips with
Sigmas new lens
branding: Art, Sports and
Contemporary. Can you
explain what each of these
labels represents?
This is all as a result

of Sigmas
marketing
department aiming to
differentiate lenses from
each other even lenses
with similar specications
on paper. Lenses marked
Contemporary represent
the more affordable
general-purpose range.
These will tend to have
fewer fancy features that
would otherwise command
a premium. Sports lenses,
as the name indicates, are
for action and outdoor
photography and will
variously feature faster
apertures, dust and
moisture sealing and more
robust build quality.
Sigmas Art lenses are
positioned as the
companys best performers
from an optical point of
view. Naturally, there are
overlaps between the three
categories. Sigma hasnt
rebranded its entire range
but new lenses will be
categorised accordingly. IB
R E A D E R
New to all this

R O B E RTW F
VI A
T HE
My girlfriend and I are

nally fed up of using
my HTC One to take
photographs and want to invest
in a better camera. Ive done a
bit of research and every time I
look at a certain model I just get
more confused by the amount of
information out there. So I
thought Id ask here and let you
guys know what Im looking for
and then see what comes back.
We travel a lot so think we are
better off with an automatic
zoom lens rather than an
interchangeable one. We take a
lot of wideangle shots of
mountains and valleys, and Im
prepared to carry something
larger than your average
compact camera, but nothing
overly bulky. It needs to be
reasonably good at shooting in
low light, and in situations where
theres often a contrast between
dark shadows and very bright
Camera
WHAT DIGITAL
FORUM
Blue Fin Building,

110 Southwark Street,
London SE1 0SU 020 3148 4795
Email: wdc@timeinc.com
Website: www.whatdigitalcamera.com
highlights. If the camera could

blend two exposures to create a
better one that would be ideal.
Our budget is fairly tight and the
maximum wed be willing to
spend is around the 300 mark.
It looks like you value a

wideangle lens over an
extreme telephoto. You
also refer to shooting ability
where dynamic range the ability
to cope with both light and dark
areas of a scene, traditionally a
big weakness of cameraphones
is important. Your budget is
very tight for the camera that
would be ideally suited for your
needs but the original Sony
DSC-RX100 just about ts your
budget. The RX100 has a 1in
sensor, which is considerably
larger and more sensitive than
most compact digital cameras
and so delivers better dynamc
range and low light noise
E D ITO RI AL
The Sony RX100 can be picked up

for 349 new, whereas the X20 costs
329 if purchased secondhand
performance. To create an image

with a wide dynamic range, it
comes with an Auto HDR mode,
or it can be set up manually up to
6EV in 1EV increments. Whats
more, it has an excellent 3.6x Carl
Zeiss lens that is a reasonably
good wideangle view equivalent
to a 28mm full frame lens. If for
whatever reason you dont think
its the camera for you, theres the
Fujilm X20, although youd
probably have to resort to a used
one with your strict budget. IB
Best smartphone camera for photographing children?

JKNSTC K
Please help me nd a
new cameraphone.
All reviews Ive seen
about cameraphones are
best for outdoors, best for
features, etc. None gives me
any idea of how they would
be when trying to take a
picture of a two-year old
running around a swing park. I
take all my pictures on my
phone, as its always with me,
but they arent good enough
to print out at larger than
5x7in. My contract is up for
renewal soon, so Id like my
next phone to have a better
camera on it. My pictures are
all of my children, so it needs
to be able to cope with
fast-moving subjects, both
indoors and outdoors.
A quick and easy way to
get to the camera app from
the screen-locked phone is
also preferable. My current
phone is the Nokia Lumia
620. It has a dedicated
shutter button, and I can
press and hold it to get to the

camera from the locked
phone. My only other
requirement is that the phone
be either Android or
Windows. I will not use iOS. I
dont much mind about the
rest of the phone as long as it
texts, makes calls, and emails.
You say you wont

choose an iPhone
although it has to be
said that Apple endowed
recent iPhone models with a
very responsive, if featuresparse, camera. You
can tap away at the
camera shutter
icon and get almost
lag-free shots at a
generous rate. But
as you are currently
a Nokia Lumia user
you might be best
upgrading to one
of the latest Nokia
Lumia models like
the top-of-the-
Q U E S T I O N S
range 930 or the more

affordable 830. Both are
designed to excel in the
camera department
compared to other
smartphones and both can
shoot 4K video. This means
you can shoot ultra-high
denition video clips and
afterwards select a stills
frame from the video that
best captures the essence of
the moment. Each still frame
amounts to an 8MP still
image. At the time of writing
both models were waiting for
full camera functionality
to be unlocked via a
rmware update but
this should be
complete by around
November. IB
One of the best

upgrade options
would be the
Nokia Lumia 930
Group Editor Nigel Atherton

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2014 Time Inc. (UK) Ltd ISSN No. 1366-5324
R E A D E R
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Should I buy the D5300 or the D3300?

PH I L L IPS C 1
VI A
T HE
Im looking at buying a
Nikon D5300 or a
D3300 to replace a
D40. Would you say the D5300
is worth the extra expense (Im
buying from Japan so the price
difference is around 75)?
Also I was going to go with
the standard 18-55mm VR II or
the 18-140mm VR lens. Id prefer
the latter as it has a much better
zoom I found the 18-55mm to
be lacking zoom-wise in a lot of
situations on the D40.
But I read one review saying
the 18-140mm was not so brilliant
and now Im unsure. I bought a
Tamron 18-270mm some years
back for the D40, and it was so
FORUM
slow to focus (it struggled to

focus at either end of its zoom
ranges) it was useless and I had
massive buyers regret.
Id prefer to have one lens
than carrying several and the
18-140mm seems like a good
compromise between size,
weight and length but I just
wonder if the image quality and
AF speed will be good enough.
First of all its not a given

that it will be cheaper to
buy from Japan. Even if
it is, sometimes Japanese
market versions of camera
models are, to varying degrees,
different from the export
Teleconverter for Micro Four Thirds

J. M I TC H ELL S
VIA
I have recently
switched from a
Canon DSLR system
to an Olympus OM-D E-M1
Micro Four Thirds system and
with my Canon gear I made
frequent use of a
teleconverter
mated to my
L-series
70-200mm
f/2.8. Until
recently there
were no options
for using a
teleconverter with Micro Four
Thirds cameras but now I see
that Olympus has released a
1.4x converter. However, there
is some uncertainty as to
whether or not it can be used
with non-Olympus lenses. Im
intrigued to know the answer.
T HE
FORUM
Its possible to use

Olympus EC-14 and
EC-20 (1.4x and 2x,
respectively) converters with
Micro Four Thirds cameras
via an appropriate Four
Thirds lens to Micro Four
Thirds body adapter
but this will only
work with Four
Thirds lenses.
Olympus has just
revealed a Micro
Four Thirds 1.4x
converter but its only
designed to work with its
new 40-150mm f/2.8 Pro and
the upcoming 300mm f/2.8
Pro. It wont t onto the rear
of other Micro Four Thirds
lenses as the converters
elements protrude past the
plane of the lens mount. IB
versions. It may simply be that

camera menus default to
Japanese, or there may be more
radical changes including
model designations
unique to the
Japanese market, not
to mention warranty
uncertainties. The
Nikon D5300 offers a
number of key
technical advantages
over the D3300,
including a much more
comprehensive AF
system. You also get a large
ip-out screen and GPS with the
D5300. From an image quality
point of view, these two cameras
A teleconverter in reverse?
R .CH A N
V IA
T H E
FO R U M
I have heard about a

teleconverter that can
actually make the lens
brighter rather than darker
which is usually the case. Do
these really work or are they a
just a gimmick?
Depending on the make

and model these are no
gimmick. The best
known manufacturer of such
adapters, known as
SpeedBoosters, is
Metabones, though
there are some
cheaper pretenders
from Chinese
manufacturers.
Fotodiox is another
brand in this market. A
SpeedBooster works in
the opposite way to a
teleconverter. The effective focal
length of the lens is reduced
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will produce images that will be

almost impossible to tell apart
given the same lens and
shooting conditions.
As for lenses, the
Nikkor 18-140mm
f/3.5-5.6 is a very
good wide-range
zoom which is a nice
compromise between
a kit lens and a true
superzoom. Its a
sharp lens but does
exhibit a fair amount of
distortion although this is
easily corrected in postprocessing. Focus speed will be
pretty similar to that of the
18-55mm kit lens. IB
rather than increased and this

concentrates more light onto
the sensor, increasing the
effective aperture of the lens.
Typically, the focal length of the
hosted lens is reduced by about
0.7 and the brightness increased
by one stop. As with
teleconverters, SpeedBoosters
are an optical compromise and
there are mixed views on their
performance. But when you
consider that a lens with a
maximum aperture of
f/1.4 can be changed
to one with an
aperture of f/1.0 the
attraction is clear,
though cost is
considerable.
SpeedBoosters are
meant to be used with
smaller-sensor mirrorless
cameras, and lenses designed
for full frame DSLRs. IB
B U Y I N G
A D V I C E
If youve set aside a budget for a new camera, youll want to know which type is going to
make the best choice and why. Our complete guide runs through your best options
ll digital cameras
are based around
the same theory;
use a light-sensitive
sensor to capture
light, then process the result and
save it onto a memory card.
Beyond that the functionality can
vary wildly from model to model,
from touchscreen controls to HD
video and wide-aperture lenses
differentiating one from another.
Digital cameras t into three
distinct categories: Compact
Camera, Compact System
Camera (CSC) and Digital Single
Lens Reex (DSLR) Cameras. All
three have sub-genres within
them, but there are other obvious
qualities which set them apart.
Compact cameras have a xed
lens, which cant be removed and
changed. This means the lens
becomes a feature in itself, with
some starting at a particularly
wide focal length, or reaching out
much further than others (or
both), and others having wide
maximum apertures which prove
their worth in low light and for
controlling depth of eld.
Manual controls, the ability to

record HD video and a large,
high-resolution display or
viewnder are just a few of many
other features that can be had
when more money is spent.
Within the compact camera
genre are the likes of bridge, or
superzoom models, which offer a

far longer zoom and a body shape
akin to that of a DSLR, together
with manual control over shutter
speed and aperture. While they
can be used more creatively than
regular compacts, their small
sensors (relative to DSLR and
CSC cameras) place restrictions

on the kind of image quality that
can be achieved.
CSCS
CSCs t somewhere between
compacts and DSLRs, with the
benet of a small-format body
BRIDGE
Looks like a DSLR but is actually a compact
with a high-magnification zoom lens in a
DSLR-shaped body usually incorporating a
large hand-grip and often a viewfinder.
PR O S
Long zooms, All-inone design, Manual

controls
C O M PA C T
C O NS
Generally small
sensors are no match
to DSLR quality, Build
quality can be more
plasticky than
a DSLR
Small camera, generally pocket sized, with

non-removable zoom lenses. Designed for
convenience more than image quality, though
some premium models feature larger sensors
and manual controls.
PROS
CO N S
Small, Affordable,
No additional lenses
required, Pocketable,
Less intimidating to
use than DSLRs
No option to change
lenses for specific
purposes, Small
sensors not suited to
all conditions
JARGON BUSTER
COMPACT SYSTEM
CAMERA (CSC)
Cameras which offer
interchangeable lenses while
omitting the viewnder and mirror
box construction common to DSLR
cameras. These include Sonys
NEX series and Olympuss PEN
range, as well as Nikons 1 system
and Samsungs NX line of models.
DIGITAL SINGLE LENS

REFLEX (DSLR)
A digital SLR camera, which is
constructed around a mirror-box
and pentamirror/pentaprism
assembly, such as the Canon EOS
700D and Nikon D5300. These
are popular among beginners,
enthusiasts and professionals,
thanks to their wide compatibility

with different lenses, manual
control over exposure and
ergonomics.
COMPACT CAMERA
A small camera whose lens
cannot be removed, in contrast
to interchangeable-lens cameras
such as DSLRs. These are often
cheaper than CSC and DSLR
cameras, although they usually
have more limited functionality
and smaller sensors.
APERTURE
The aperture of a lens refers to the
size of its opening which allows
light through to the camera. This
is created by a series of blades
inside the optic, and is usually

regulated through the camera
body, although some older
lenses have physical aperture
rings around their barrels. An
aperture of f/2 or f/2.8 is classed
as being large (or wide) because
the opening itself is larger than
those created by higher-number
apertures such as f/16 or f/22.
SHUTTER SPEED
The length of time that the
shutter inside the camera is
open, exposing the sensor to
light. Longer shutter speeds let
in more light, and so are often
required in low-light conditions,
or when the intention is to blur
certain elements in the scene.
Faster shutter speeds are ideal

for freezing motion, such as when
photographing sports.
DISPLAY
The rear panel on the back of a
camera which shows captured
images and videos, as well as
the live feed from the sensor.
These are usually TFT LCD types,
although some cameras now make
use of Organic Light Emitting
Diode (OLED) alternatives.
Resolution is usually specied in
dots: compact camera displays
often have 230k or 460k dots, while
those displays that are on highend enthusiast compacts, CSCs
and DSLRs are usually 921k dots
or higher.
B U Y I N G
and interchangeable lenses. Due

to their mirrorless designs, optical
viewnders are exchanged for
electronic variants that continue
to get better all the time in terms
of their resolution and sharpness.
Due to the lack of an
established form factor, unlike
DSLRs, CSCs come in a wide
variety of shapes and sizes. The
majority of differences are purely
aesthetic, but a fair few affect the
handling quite signicantly too.
Some models have thin, wide
bodies, whereas others are
shaped like DSLRs to provide
more to wrap your hand around.
CSC
An interchangeable-lens camera with no
optical viewing assembly but either an
electronic one, or just the LCD screen to shoot
with. CSCs come in a wide variety of forms
with a wide range of sensor sizes, so image
quality varies greatly between models.
PROS
CO N S
Typically smaller
than DSLRs, HD video,
Interchangeable
lenses, Hotshoes for
accessories, Great
image quality for
the size
Optical viewnders
usually not available,
Lens ranges
continuing to evolve,
Premium models can
be expensive
DSLR
The choice of professionals, a DSLR features
interchangeable lenses, plus an optical
viewnder that sees what the lens sees thanks
to a 45 mirror and prism assembly inside the
camera. The bulkiest camera type, but the full
frame models deliver the highest image quality.
DS L R S
DSLRs range from absolute
beginner models, such as the
Canon EOS 1100D, up to
professional level models, such as
the same companys EOS-1D X.
The body shape is similar
throughout, with a large hand
grip and dials on the top,
although most professional
DSLRs are shaped to be more
square than rectangular, with
additional shutter release buttons
and dials to make portraitorientation shooting comfortable.
The addition of an optical
viewnder is one of the unique
features that differentiates a
DSLR model from most CSCs and
compact cameras.
The only models that buck this
trend, and as a result cant quite
be described as true DSLRs, are
those in the Sony SLT range,
whose models include the A58
and A77. The SLT construction
ISO
Also known as sensitivity, the ISO
range of a camera determines its
latitude for capturing images in
different conditions. For a given
camera, images captured at lower
sensitivities generally contain
less noise than those captured
higher up, as the signal from
the sensor which contains
unwanted noise requires less
amplication.
OPTICAL VIEWFINDER
A viewnder which relies on an
optical, rather than electronic,
construction. DSLRs are equipped
with optical viewnders, which
present the view through the
lens. Those on cheaper DSLRs
A D V I C E
uses a translucent mirror which

means it does not need to move
in order for light to pass through
to the sensor, in contrast to
DSLRs which ip their mirrors up
at the point of exposure. As a
result the burst rate is faster; with
the likes of the A77 able to shoot
at up to 12fps. The disadvantage,
depending on your preference, is
the presence of an electronic,
rather than optical, viewnder.
There are essentially two
different kinds of sensor used in
DSLRs: APS-C and full frame,
are constructed with a hollow

chamber with mirrored sides
(penta-mirrors) while those on
pricier models feature a ground
glass prism (pentaprism) which
is brighter.
ELECTRONIC
VIEWFINDER (EVF)
An electronic alternative to an
optical viewnder. These are
typically integrated into bridge
cameras and some Compact
System Cameras, where an
optical viewnder is either not
possible or less desirable. More
recent EVFs are constructed
from OLED panels rather than
LCDs, and some of these are
surprisingly detailed and bright.
although full frame sensors are

starting to creep into some CSCs
such as the Sony Alpha 7 and 7R.
Full frame is described as such
because its roughly the same size
as a 35mm negative. APS-C
sensors are smaller, and as a
result they only use the central
part of a lens, which in turn
increases their effective focal
length (reducing the angle of
view). This is known as a crop
factor. Full frame lenses do not
apply a crop factor to lenses, and
so they maintain the same angle
SENSOR SIZE
The physical size of the sensor
inside a camera. Cameras with
larger sensors often produce
better-quality images than
those with smaller ones, as
each photosite is larger. A larger
capacity allows its signal-to-noise
ratio to be higher; as a result
images stand a better chance of
having a wider dynamic range and
of being less affected by noise.
BURST RATE
The speed at which a camera can
re consecutive frames, given in
frames per second (fps). Many
recent cameras have a standard
fps rate which captures at the
sensors full resolution, with
PR O S
C O NS
Interchangeable
lenses, Manual
exposure control,
HD video, Excellent
ergonomics
Large and weighty

bodies, Expensive,
Poor-quality
kit lenses often
supplied as standard
of view and focal length as if they

were used on a lm SLR.
DSLRs and CSCs also attract
the attention of videographers,
given the proliferation of HD
video functionality and the range
of lenses available. Many DSLRs
particularly those aimed
towards a more discerning
audience also now incorporate
ports for external microphones
and have a full complement of
options for different frame rates
and output options as well as
control over audio recording.
further faster options which

output images at a reduced pixel
count. Often a cameras fastest
burst mode will only be possible
with focus and exposure taken
from the rst frame.
NEUTRAL DENSITY
(ND) FILTER
ND lters are commonly used
with DSLR cameras, although
some enthusiast compacts now
have these integrated into their
lenses. Their purpose is to reduce
exposure times, so that longer
shutter speeds can be used, with
the neutral part of their name
signifying that they are designed
to have no effect on the colour
balance of an image.
B U Y E R S
G U I D E
4 0 0 - 4 5 0
PENTAX K-500 450
RECOMMENDED
The K-500 retains the 16.28MP sensor

weve seen in previous Pentax DSLRs,
but has been tweaked to offer a
broader ISO sensitivity of 100-51,200.
Compared to similarly priced DSLR
rivals it equates to a 1-2 stop sensitivity
advantage. The Pentax K-500 is
equipped with a xed 3in, 921k-dot LCD
display thats bright and clear and
produces good contrast. This is paired
with an optical viewnder that offers
100% coverage and an impressive
0.92x magnication.
The K-500 is capable of shooting at
up to 6fps in burst mode. It also comes
equipped with Pentaxs proprietary
SAFOX IXi+ AF sensor module. This
offers 11 AF points, nine of which are of
the cross-type variety, which means
they are sensitive to both the horizontal

and vertical. While the K-500s AF
performance is impressively fast, its
also quite noisy with an orchestra of
audible whirrs and buzzes with the
18-55mm f/3.5-5.6 kit lens attached. Its
a shame Pentax didnt see t to equip
the kit lens with its SDM (Supersonic
Direct-drive Motor) technology.
Another performance issue that grates
is the fact that the active AF point
remains invisible in the viewnder.
While the camera does show you the
active AF point on the rear screen, its
of little comfort when youve got the
camera raised to your eye. The K-500s
sensor performs well, resolving detail
down to just over 24 lpmm (lines per
mm), dropping to a still respectable
22 lpmm at ISO 6400. At low and
mid-range ISO settings images display
little or no noise its only at ISO 3200
or above that noise shows up in JPEG
les. Raw les behave a little differently
at the same sensitivity, with some
chroma noise also present, but with
images displaying a touch more detail.
Raw les retain more detail than JPEGs
and naturally have the wider exposure
latitude for post processing.
KEY
SPECS
VERDICT
SENSOR:
16.28MP APS-C CMOS
FILE FORMATS:
Raw (DNG/PEF), JPEG
DISPLAY:
Fixed 3in, 921k dots
ISO RANGE:
100-51,200
EXPOSURE MODES:
PASM, Sensitivity Priority,
Auto Picture, Scene
DRIVE MODE:
Single, Continuous, SelfTimer, Remote, Exposure
Bracketing
MOVIE MODE:
1920x1080 (30, 25, 24fps), 1280x720
(60, 50, 30, 25, 24fps)
DIMENSIONS:
96.5 x 129 x 70mm
WEIGHT:
650g
The K-500 is perhaps the

best-specied entry-level DSLR
youll nd, with a large
pentaprism viewnder, 6fps
burst mode and competitive
image quality. Unfortunately, its
held back by the loss of the
active AF point superimposed in
the viewnder. If you can
overcome this, youll be
rewarded with a capable DSLR.
PROS
B EST FOR
People who value specs and value for money
Those wanting an entry-level DLR thats easy
to handle Shooting indoor scenes in particular
F E AT U R E S
Excellent set of features P E R F O R M A N C E

compared to the competition
Comfy and large grip
DESIGN
Image quality Detail
CONS
AF point not
superimposed in
viewnder Noisy AF
from bundled lens
VA L U E
18/20
16/20
18/20
18/20
18/20
CANON EOS 1200D 450
RECOMMENDED
The Canon EOS 1200D is equipped with

a new 18MP APS-C CMOS sensor a
signicant increase in resolution over
the 12.2MP chip found in its
predecessor, the 1100D. This is paired
with a Canon DIGIC 4 image processor
to facilitate a burst speed of 3fps, up to
a maximum 69 consecutive JPEG les
or six Raw images.
On the back the 1200D is equipped
with a xed 3in, 460k-dot TFT LCD.
The 1200D is bundled with a 18-55mm
f/3.5-5.6 kit lens that features a newly
developed image stabilisation (IS)
system. Video recording has also been
improved with the 1200D capable of
shooting 1080p Full HD at 30, 25 or
24fps. Battery life has fallen to around
500 shots per charge though 200
shots fewer than the 1100D. In terms of

build quality, the 1200D does initially
feel a bit plasticky, however its still a
big improvement over the 1100D. Its a
comfortable camera to hold with
functions such as AF Mode and ISO
accessed directly through the cameras
d-pad. The dedicated Quick Menu
button next to the d-pad is also useful
as it allows for one-touch access to a
host of commonly used functions. The
1200D features a nine-point AF module,
which is speedy enough when the
camera is used through the viewnder.
Unfortunately the AF feels noticeably
sluggish when used in Live View mode
though. With a 63-area iFCL coloursensitive metering system (the same
module thats found inside the much
more expensive EOS 7D), the 1200D
delivers accurate exposures, with the
camera striking a good balance
between shadow and highlight detail.
The Automatic White Balance (AWB)
setting delivers accurate colour, and
theres little sign of either luminescent
or colour noise between ISO 100 and
1600. Images at ISO 6400 remain
printable at A4 size, but ISO 12,800 is
best reserved for extreme situations.
KEY
SPECS
SENSOR:
18MP APS-C CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-6400 (exp to 12,800)
EXPOSURE MODES:
PASM, Auto, Scene
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
1920 x 1080p Full HD at
30/25/24fps
DIMENSIONS:
129.6 x 99.7 x 77.9mm
WEIGHT:
480g
VERDICT
Compared to some rivals,
namely the Nikon D3300 and
Pentax K-50, the 1200Ds
specication is underwhelming.
However, the AF speed and
high ISO performance are
excellent. While a higher burst
speed and more AF points
would be nice, the 1200D is
more than capable for beginner
DSLR photographers.
B EST FOR
Novices looking for their rst DSLR Anyone
seeking better image quality than a compact
Those working to a strict budget but want a
DSLR model
PROS
F E AT U R E S
Lightweight design
PERFORMANCE
Great value for money
Performance at higher ISO D E S I G N
setting EOS companion app
CONS
Lacking Wi- as
standard Could benet
from more AF points Low
burst speed
VA L U E
17/20
17/20
18/20
18/20
19/20
B U Y E R S
G U I D E
5 0 0 - 6 0 0
NIKON 1 J4 500
RECOMMENDED
The Nikon 1 J4 follows on the J3,

arriving with an 18.4MP 1in CX-format
sensor and a really impressive
performance with regard to speed.
Capable of shooting up to 20 frames
per second at full resolution, this jumps
up to 60fps if youre happy to shoot in
xed AF thanks to the cameras
electronic shutter. Other improvements
include a substantial raise in the ISO
sensitivity range to 160-12,800, while
theres also the added benet of a jump
in battery life to some 300 images on a
single charge. The rear of the camera
houses an impressive 3in, 1,037k-dot
LCD touchscreen and theres Wi- too
for hassle-free transfer of images to
mobile devices.
Particularly welcome is the access to
AF point selection through the
touchscreen, with swipe and pinch-to-
zoom functionality also being a bonus.

The body is noticeably more rened
than the J3 and its design will certainly
appeal to the style-conscious.
Something that might present an issue
is the lack of any type of handgrip to
get a solid grasp of the camera when
your hands are wet or cold.
The shooting modes include Auto,
Best Moment Capture, and Creative, so
its perhaps no surprise then that the J4
caters more for the beginner
photographer than advanced shooters,
and as a result, its often easiest to use
the auto setting if youre shooting in
situations that demand quick
adjustment of camera settings.
Despite the metering system being
reliable, the disappointment is the J4s
dynamic range, which doesnt retain a
great level of detail in shadow or
highlight areas. Resolution and detail
captured is in line with whats to be
expected from a camera of its type and
the performance at the lower end of the
ISO scale is respectable. Above ISO
800 however, images suffer from a loss
of detail and aggressive noise reduction
applied by the camera, meaning these
settings are best avoided.
KEY
SPECS
SENSOR:
18.4MP CX-format CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
3in, 1,037k dots
ISO RANGE:
200-12,800
EXPOSURE MODES:
PASM, Auto, Scene
DRIVE MODE:
Single, Continuous,
Self-Timer
MOVIE MODE:
60/30p
DIMENSIONS:
99.5 x 60 x 28.5mm
WEIGHT: 232g inc battery
and card
PROS
Lightning-fast continuous
shooting Excellent
touchscreen New chassis
design is welcome
CONS
Issues with shutter noise

and readout
Poor kit lens High ISO
performance
VERDICT
Despite the impressive headline
features found on the J4, the
issues with the cameras
operation are a pain, while the
kit lens is less than impressive
and the model really struggles
at the higher ISO settings. That
said, in terms of the burst speed
and AF performance, its hard to
nd a CSC which comes close
to the speed it offers.
B EST FOR
Those whod like to shoot at breathtaking
speeds (20fps with continuous AF enabled,
or up to 60fps in xed AF) Wi- users with
mobile devices such as smartphones and tablets
F E AT U R E S
18/20
PERFORMANCE
18/20
DESIGN
17/20
17/20
VA L U E
18/20
NIKON D3300 600
GOLD
The Nikon D3300 retains the classleading 24.2MP APS-C CMOS sensor of
its predecessor, however the antialiasing lter has been removed to
improve sharpness. The new EXPEED 4
image processor inside the D3300
increases maximum ISO to 25,600 and
also boosts continuous shooting from
4fps to 5fps. On the back, the D3300
retains the xed 3in, 920k-dot LCD
found on its predecessor.
It also features the same 420-pixel
RGB sensor and 11-point AF system that
served the D3200 so well. The D3300
retains the Guide Mode of its
predecessors, complete with the
eye-catching graphical rear display.
This gives beginners a visual reference
point to the settings theyre changing.
The aperture graphic, for example, gets

larger and smaller relative to the
selected setting. Theres also a ?
button which can be used to activate a
more in-depth explanation of the
settings being used. The body is
constructed from a polycarbonate shell
as the D3200, although the body is 25g
lighter. The redesigned 18-55mm kit
lens, meanwhile, now has a collapsible
design to make it some 30% smaller
and 25% lighter. The optical viewnder
has also been improved, and now
delivers 0.85x magnication compared
to 0.78x on the D3200. Autofocus
performance is decent, with the 11 AF
points well spread out across the frame.
With regards to image quality, the
Standard colour setting delivers a
pleasingly natural palette, while the
Vivid preset mode adds extra oomph.
Thanks to the class-leading resolution
and removal of the low-pass lter, the
D3300 resolved 34 lines per mm
(lpmm) on our test chart, reducing to
28 lpmm at ISO 6400 very impressive
indeed. Although there are signs of
colour noise at ISO 800, its not until
ISO 12,800 that luminance noise
becomes a real issue.
KEY
SPECS
VERDICT
SENSOR:
24.2MP APS-C CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-12,800 (exp to 25,600)
EXPOSURE MODES:
PASM, Auto, Scene, Guide
DRIVE MODE:
Single, Continuous, SelfTimer, Remote, Quiet
MOVIE MODE:
60/50/30/25/24fps
DIMENSIONS:
124 x 98 x 75.5mm
WEIGHT:
460g inc battery and card
The Nikon D3300 is an excellent

demonstration of what
entry-level DSLRs can offer. It
does lack inbuilt Wi-
connectivity, though this is
probably understandable owing
to the impressively low
price-tag. If youre after an
entry-level DSLR with a high
resolution, the D3300 should be
near the top of your wish list.
B EST FOR
Novices looking to step up to DSLRs If you
want to learn advanced DSLR features as you
shoot HD video with the option to attach an
external mic
PROS
F E AT U R E S
Low price-tag Impressive P E R F O R M A N C E
burst mode Reduction in
size of kit lens
DESIGN
High-resolution sensor
CONS
Lack of built-in Wi-

might disappoint some
users Issues with noise
apparent at lower ISO
VA L U E
18/20
18/20
18/20
17/20
19/20
B U Y E R S
G U I D E
6 7 0 - 7 5 0
SONY A6000 670

GOLD
The Alpha 6000 replaces the NEX-6,
with Sony having decided to rebrand all
of its NEX cameras, migrating them
over to its Alpha range.The A6000 is
equipped with a 24.3MP Exmor CMOS
sensor, Sonys latest Bionz X image
processor and a lightning-fast AF
system all of which are class-leading.
The proprietary Bionz X processor
enables the A6000 to shoot at 11fps for
up to 49 consecutive frames when
shooting JPEG, or 21 frames when
shooting Raw and JPEG.
It also helps to facilitate lightning-fast
autofocus, with Sony claiming a
minimum focus acquisition time of just
0.06 seconds. The Hybrid AF is not only
quick but also accurate thanks to the 25
contrast-detect and 179 phase-detect
points that cover the frame. While the
A6000 operates like a DSLR it looks
and feels more like a CSC, much like its
predecessor, the NEX-6, did. With a

lens attached the A6000 feels nicely
balanced and comfortable in the hand.
The handgrip features an ergonomic,
rubberised nish that allows for easy
one-handed operation too. While the
NEX-6 featured a 0.5in, 2.3m-dot
electronic viewnder, the A6000
comes with a 0.39in, 1.44m-dot unit.
While that does feel like a bit of a step
backwards, the 100% eld-of-view and
increased vibrancy and clarity are both
improvements. On the back theres a
3in, 921k-dot LCD display hardly
class-leading, but still capable enough.
In terms of connectivity, the A6000
boasts both Wi- and NFC, allowing for
wireless image transfer and remote
shooting.The Sony A6000 uses a
1,200-zone evaluative multi-segment
metering system that, on the whole,
excels when it comes to delivering
accurate exposures. The Auto White
Balance setting is consistent, even in
mixed lighting. Image noise is well
controlled up to ISO 6400, although
beyond this, noise does begin to take
over. Thankfully, this can be alleviated
with the cameras multi-frame noisereduction technology.
KEY
SPECS
VERDICT
SENSOR:
24MP APS-C CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-25,600 (exp to 51,200)
EXPOSURE MODES:
PASM, iAuto,
Superior Auto, Scene
DRIVE MODE:
Single, Continuous,
Self-timer, Bracketing
MOVIE MODE:
60/24fps
DIMENSIONS:
120 x 67 x 45mm
WEIGHT:
344g
The Sony Alpha 6000 comes

with an impressive specication,
and its performance doesnt
disappoint. The blisteringly
quick AF performance and a
superb burst mode are
especially worthy of praise. Its
hard to pick out any substantial
aw on the Alpha 6000, and its
safe to say that it is one of the
most impressive CSCs around.
PROS
B EST FOR
Those shooting fast-moving action subjects
People who want the performance of a DSLR
in the body of a CSC NEX users looking to
upgrade
F E AT U R E S
18/20
Good high ISO performance P E R F O R M A N C E

Great specication
AF speed acquisition
DESIGN
18/20
18/20
VA L U E
18/20
CONS
LCD screen could be

a little more high-end
EVF a touch behind
competition
18/20
CANON EOS 700D 750
GOLD
Based around an APS-C CMOS sensor

the 700D retains the same 18MP pixel
count thats offered by recent EOS
models an interesting decision given
that some other manufactures have
opted for 24MP sensors in their
mid-range models.
The 700D employs a nine-point AF
system that uses the same diamond
formation found in the 650D. All nine
points are of the superior cross-type
variety. The 700Ds optical viewnder
offers 95% coverage. This is
complemented by a vari-angle 3in,
1,040k-dot LCD display on the back
that also offers touchscreen control. In
terms of build quality the 700D benets
from a stainless steel chassis encased in
a polycarbonate resin shell. It does feel
a little plasticky, but is comfortable to

hold and offers a secure grip too. With
the 18-55mm STM lens attached,
autofocus performance on stationary
subjects is both fast and silent. Using
the 700D in live view, the combination
of the Hybrid AF system and STM lens
results in impressively quick autofocus
and pleasingly smooth transitions.
Focus tracking is possible during live
view too, and provided that your
subject doesnt move too erratically, the
camera does a good job of maintaining
focus. While the maximum 5fps burst
mode is useful it can only shoot six
consecutive Raw les before the buffer
lls. Things are a little better when
shooting JPEG images, with a maximum
22 consecutive frames possible. Auto
White Balance is generally consistent,
delivering pleasingly natural-looking
shots. Shooting under articial light can
occasionally result in cool-looking
images though. The 63-zone metering
system generally delivers accurate
exposures, although it can be a touch
inconsistent in tricky light. Low ISO
settings are devoid of image noise, with
texture beginning to become noticeable
above ISO 800.
KEY
SPECS
VERDICT
SENSOR:
18MP APS-C CMOS
FILE FORMATS:
Raw, JPEG, Raw+JPEG
DISPLAY:
ISO RANGE:
100,-12,800 (exp to 25,600)
EXPOSURE MODES:
PASM, Intelligent Auto, Scene
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
30/25/24fps
DIMENSIONS:
133.1 x 99.8 x 78.8mm
WEIGHT:
580g with battery and card
The EOS 700D is essentially

identical to its predecessor the
650D. As such, its difcult to
recommend it as an upgrade
model for anyone with a recent
EOS DSLR. Those with a model
older than the 500D are likely to
be more satised with the
improvements on offer here.
Those looking for their rst
DSLR should consider it too.
B EST FOR
Those seeking their rst DSLR A good
balance of features, size, price and performance
Low-light shooting up to ISO 6400
PROS
F E AT U R E S
Responsive and wellPERFORMANCE
implemented touchscreen
Light body Fast AF
DESIGN
Noise control Video quality
CONS
Can feel a little plasticky

Limited number of
AF points Buffer
performance
VA L U E
18/20
18/20
18/20
18/20
18/20
B U Y E R S
G U I D E
8 3 0 - 8 7 0
NIKON D5300 830
GOLD
In addition to introducing Wi-

connectivity, Nikon has made a number
of signicant improvements to the
Nikon D5300 over its predecessor, the
D5200. While the newer model sticks
with the same 24.2MP APS-C CMOS
sensor, sharpness has been boosted
thanks to the removal of the optical
low-pass lter.
Continuous shooting maxes out at
5fps and the D5300 retains the same
39-point AF system of the D5200,
which includes nine cross-type sensors.
Autofocus performance impresses on
the whole, although the bundled
18-55mm kit lens is a little on the noisy
side for video capture. The D5300
comes equipped with a large 3.2in,
1,037k-dot LCD screen, which is of the
vari-angle variety for maximum

exibility. Sadly, theres no touchscreen
functionality though. Build quality sits
somewhere between the cheaper
D3200 and more expensive D7100. One
of the consequences of the larger
screen are smaller buttons below the
d-pad for zooming in playback mode.
Unlike models from higher in the Nikon
DSLR range the D5300 lacks a
secondary command dial to adjust
aperture independently of shutter
speed when using the camera in manual
mode. In terms of image quality the
D5300 delivers rich, punchy and vibrant
colour straight out of the camera.
Resolving 28 lines per mm (lpmm) on
our test chart, the D5300s sensor also
delivers impressive levels of detail,
allowing you to crop aggressively
without a disastrous effect on image
quality. Although a faint trace of
luminance noise is introduced at ISO
800, this can be removed using noise
reduction techniques. Colour noise
doesnt appear until ISO 6400 though.
Higher sensitivity settings such as ISO
3200 and 6400 are usable on a
day-to-day basis. ISO 12,800 and
25,600 are best avoided if possible.
KEY
SPECS
VERDICT
SENSOR:
24.2MP APS-C CMOS
FILE FORMATS:
JPEG, Raw (NEF), Raw+JPEG
DISPLAY:
Vari-angle 3.2in, 1037 dots
ISO RANGE:
100-12,800 (exp to ISO
25,600)
EXPOSURE MODES:
PSAM, Auto, Scene
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
60/50/30/25/24fps
DIMENSIONS:
125 x 98 x 76mm
WEIGHT:
480g
While it may be a very subtle

upgrade from the D5200, the
added renement makes the
D5300 a much more rounded
proposition, though we still feel
that a touchscreen is missing. If
a touchscreen isnt one of your
main concerns, it remains an
excellent DSLR and its hard to
pick faults in terms of image
quality or its build and nish.
PROS
Superb image detail

Excellent build Fast AF
acquisition Wi- User
interface Inbuilt mic port
CONS
Lacks touchscreen
functionality Poor app
performance Noisy kit
lens No headphone port
B EST FOR
Those looking for a well-specied and easy to
use entry-level DSLR Those wanting to share
images on the move Superb images
F E AT U R E S
19/20
PERFORMANCE
18/20
DESIGN
18/20
19/20
VA L U E
17/20
PENTAX K-5 II 870
GOLD
Pentax has given its four-year-old K-5

model a modest makeover to create
the second-generation K-5 II.
Interestingly, the newer model retains
the same 16.28MP sensor of its
predecessor, with the main update
being its new SAFOX X autofocus
module. Pentax claims that this offers
the broadest autofocusing EV range in
its class.
This new system offers 11 AF points
as before, with nine of these being of
the cross-type variety. Another change
is the newer models 3in, 921k-dot LCD
display, which now uses a gapless
design between the display and the
tempered outer panel. Pentax claims
that helps to reduce internal reections,
with the anti-glare lm on the outer
panel also helping to improve visibility.

The optical viewnder, meanwhile,
offers 100% coverage impressive for a
mid-range DSLR. Whether the Pentax
K-5 II is an attractive DSLR or not is
subjective, but one thing thats difcult
to dispute is its utilitarian design. The
grip is substantial and rubbered, while
the command dial travels freely when
turned. The focus-pattern selector
control is unnecessarily stiff, though,
while the ash-sync port plug is not
only awkward to remove but also easy
to lose. Backing up Pentaxs bold AF
claims, the K-5 II offers impressively
consistent focus in low light, even when
faced with low-contrast scenes. Even
with the AF Assist light disabled the K-5
II manages to lock-on against barely-lit
subjects within a couple of seconds.
The Auto White Balance system also
performs well when used in natural
light, while video quality is also better
than expected. JPEGs see a slight boost
in contrast compared to unadulterated
Raw les, with details better dened
and colours more appealing too. Raw
les can easily be boosted in postprocessing. A consistent exposure
performance was also noted on test.
KEY
SPECS
VERDICT
SENSOR:
16.28MP APS-C CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-12,800 (exp to 8051,200)
EXPOSURE MODES:
PASM, Sensitivity Priotity,
Auto
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
1920 x 1080p Full HD at 25fps
DIMENSIONS:
97 x 131 x 72.5mm
WEIGHT:
760g
That the Pentax K-5 II is a minor

upgrade on the Pentax K-5 is
not necessarily a bad thing, as
the Pentax K-5 was an
impressive model in itself. Its
headline improvement of a
more sensitive AF system is
minor although combined with
the changes to the LCD screen
and the lower launch price its
unquestionably a better choice.
PROS
Excellent build Large

viewnder Very capable
AWB Impressive low-light
AF Weather-sealing
CONS
Awkward focus point

select dial Noisy kit lens
Fiddly ash sync cover
B EST FOR
Superb image quality in all lighting conditions
Enthuasiast photographers Those shooting a
range of different subjects
F E AT U R E S
19/20
PERFORMANCE
18/20
DESIGN
17/20
19/20
VA L U E
17/20
B U Y E R S
G U I D E
1 0 9 0 - 1 1 0 0
CANON EOS 70D 1090
GOLD
In a clean break from the regular 18MP
sensor found in previous entry-level and
mid-range Canon DSLRs, the EOS 70D
uses an all-new 20.2MP Dual Pixel
CMOS AF sensor. This is partnered by
Canons powerful DIGIC 5+ processor to
deliver a continuous shooting speed of
7fps, and an standard ISO range of
100-12,800. The 70Ds innovative
APS-C sensor uses two photodiodes for
each pixel, with one reserved for
phase-detect AF duties.
This enables the camera to do away
with the need for contrast-detect AF
during live view. Its undoubtedly a
huge step up from the 60D. The 70Ds
optical viewnder offers 98% coverage
and a magnication of 0.95x, while a
vari-angle 3in, 1,040k-dot LCD display
sits on the back, offering some

touchscreen control over the camera.
The built-in ash doubles as an
Integrated Wireless Transmitter to offer
off-camera ash control for compatible
ashguns, and the 70D also offers
built-in Wi- functionality for remote
control and image transfer. The 70Ds
body is constructed from aluminium
and polycarbonate resin with glass
bre, and feels especially solid. Those
upgrading from a triple-digit EOS body
will immediately notice the bulkier size
and larger grip. Thanks to the new
sensor, AF performance in live view
represents a massive leap forward for
DSLRs. That said, its still not perfect.
When light levels drop, autofocus
becomes more hesitant and isnt quite
as good as the best system cameras.
The 70Ds colour rendition is pleasing,
and the Auto White Balance also
performs well to produce neutral
images under a range of lighting
conditions. The 20.2MP sensor resolves
crisp detail, with a very faint hint of
luminance noise creeping in at ISO 1600
and 3200. ISO 6400 is impressive too
and though chroma noise is apparent,
its not detrimental to the nal image.
KEY
SPECS
VERDICT
SENSOR:
20.2MP APS-C CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Vari-angle 3in, 1,040k-dots
ISO RANGE:
100-12,800 (exp to 25,600)
EXPOSURE
Modes: PASM, Scene
Intelligent Auto, Scene
DRIVE MODE:
Single, Continuous, Selftimer, Remote
MOVIE MODE:
30/25/24fps
DIMENSIONS:
139 x 104.3 x 78.5mm
WEIGHT:
For the enthusiast, the EOS 70D

is one of the most complete
DSLRs available. It has a sharp
and responsive touchscreen and
feels well put together and
satisfying to shoot with. The
swift AF performance is likely to
revolutionise the way future
DSLRs perform. Overall, the
EOS 70D is a very impressive
and capable APS-C DSLR.
PROS
B EST FOR
Enthusiast photographers Excellent handling
with its touchscreen and on-body controls
Those wanting a fast AF performance
F E AT U R E S
AF performance in live
PERFORMANCE
view 19-point AF system
Responsive touchscreen D E S I G N
interface Wi- connectivity
CONS
Creative lters only

active during live view
VA L U E
19/20
18/20
18/20
18/20
18/20
FUJIFILM X-T1 1100
GOLD
Positioned below the X-Pro1, the X-T1

employs the same 16.3MP APS-C
X-Trans sensor. This advanced chip
houses more than 100,000 phasedetect pixels on its surface, which
combine with the cameras standard
contrast-detect AF module to form a
Hybrid-AF system. The X-T1 offers an
impressive maximum continuous
shooting speed of 8fps.
On the back theres a 3in, 1,040k-dot
LCD display, and while its of the tiltable
design for easy self-portraits, theres
sadly no touchscreen functionality. The
2.36m-dot electronic viewnder is one
of the best on the market. The X-T1 also
offers Wi- connectivity allowing you to
control the camera remotely via a
dedicated smartphone/tablet app. In
Aperture-priority mode, aperture is

controlled using the aperture ring on
the lens, something that will doubtless
please old-school SLR users looking for
a nostalgic shooting experience. Many
of the buttons can be customised too,
while the XT-1s magnesium alloy body
feels reassuringly solid. More than 70
weather seals are in place to keep out
moisture and dirt too. The viewnder is
larger than the optical variety found on
the pro-level Canon EOS-1DX and
thanks to a magnication rate of 0.77x,
the view is far from tunnel-like either.
Focus is almost instantly gained and in
terms of overall speed, its comparable
to Panasonics Light Speed AF system.
In terms of image quality, the X-T1
delivers pleasingly natural tones with
accurate colour in a range of conditions.
The 256-zone metering system rarely
fails to impress and the wide dynamic
range allows you to retrieve a high level
of detail from shadow and highlight
areas provided that youre happy to
shoot in Raw. Luminance and colour
noise is handled well between ISO 100
and 800, with a ne level of grain
creeping in as you move towards the
higher ISO 3200 and 6400 settings.
KEY
SPECS
VERDICT
SENSOR:
16.3MP, APS-C X-Trans II CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Tiltable 3in, 1,040k-dots
ISO RANGE:
200-6400 (exp to 10051,200)
EXPOSURE MODES:
PASM
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
60/30fps
DIMENSIONS:
129 x 89.8 x 46.7mm
WEIGHT:
440g
With the X-T1, Fujilm has

continued to improve upon
what is already one of the most
successful ranges in the market
of late. The X-Trans sensor
delivers fantastic results, the
build quality is sublime and it
really impresses in the hand. A
silver nish would have been
well received, but on the whole
its a very appealing CSC.
B EST FOR
Portability with no sacrice in image quality
Highly desirable, attractive design
Delivering a performance exceeding
expectations for the price
PROS
F E AT U R E S
Design Handling Image P E R F O R M A N C E
quality Class-leading
viewnder 8fps burst
DESIGN
shooting Quick AF Wi-
CONS
Lack of touchscreen
JPEG only at expanded
ISO settings Battery life
could be better (350 shots)
VA L U E
19/20
18/20
19/20
19/20
18/20
B U Y E R S
G U I D E
1 1 0 0 - 1 3 0 0
NIKON D7100 1100
GOLD
Introduced as a replacement for the
popular but aging D7000, the D7100 is
an enthusiast-level DSLR built around a
24.1MP APS-C sensor. In keeping with
other recent Nikon DSLRs the D7100s
sensor has had its anti-aliasing lter
removed for the benet of detail
retention. The D7100s AF module sees
a marked improvement over its
predecessor; while the Nikon D7000
offered a 39-point system including
nine cross-type points, the Nikon D7100
increases this to 51 points including 15
cross-type points.
The pentaprism optical viewnder
provides 100% coverage and 0.94x
magnication. Furthermore, an OLED
panel has been added in place of the
LCD, and this is used to display details
such as grid lines and the levelling

function. Compared to the D7000, the
rubber thumb rest now extends further
downwards, and a new i button joins
the previous four on the left-hand side.
Build quality is undoubtedly solid.
Unlike some other models whose outer
casings are constructed from either
magnesium alloy or polycarbonate, the
D7100 blends both to create a tough
yet lightweight shell. On the back of the
camera, the 3.2in, 1,229k-dot LCD
display produces good contrast and
detail, is sufciently bright at default
settings and also delivers excellent
viewing angles. Above the screen, the
pentaprism viewnder is bright and
clear, and offers a 100% eld-of-view.
The D7100s on-board 51-point AF
system covers a good portion of the
viewnder and includes 19 cross-type
sensors. The D7100 produces accurate,
lifelike colour, with the Auto White
Balance rarely making any errors of
judgement. There isnt a great deal to
fault with exposure metering either, but
the main concern is noise; a slightly
gritty texture can be seen as low as ISO
400 in most scenes. Processing Raw
les is advised for more critical work.
KEY
SPECS
SENSOR:
24.1MP APS-C CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Fixed 3.2in TFT LCD screen
ISO RANGE:
100 - 6400 (exp to 25,600)
EXPOSURE MODES:
PASM, Auto, Scene
DRIVE MODE:
Single, Continuous, Selftimer, Quiet
MOVIE MODE:
30/25/24fps
DIMENSIONS:
135.5 x 106.5 x 76mm
WEIGHT:
765g with card and battery
PROS
Superb LCD Responsive

Accurate AWB Intuitive
metering system
Highly customisable
CONS
Processing times
Locking buttons make
dials ddly Image noise
AF could be faster
VERDICT
The D7100 is perhaps one of the
most complete enthusiast
DSLRs weve seen, with an
abundance of functionality
packed into a reasonably
compact body. If burst shooting
or low-light photography is your
thing it may not be ideal, but
with its impressive spec, many
will consider it the camera
theyve been waiting for.
B EST FOR
Accurate, lifelike and highly detailed images
Fuss-free exposures Those looking to
upgrade from a consumer-orientated DSLR
F E AT U R E S
20/20
PERFORMANCE
17/20
DESIGN
19/20
17/20
VA L U E
17/20
PANASONIC LUMIX GH4 1300
RECOMMENDED
The GH4s big claim to fame is that its

the rst mirrorless system camera to
shoot 4K video. Thankfully, this is just
the tip of the iceberg though as theres
a good deal more to it than 4K video.
The GH4 is built around a reworked
16.05MP Live MOS sensor, which has
been paired with a new quad-core
Venus Engine processor to give the
GH4 signicant improvements over the
GH3, most signicantly in ISO sensitivity
and noise control.
With a native ISO range of 20025,600, the GH4 is better equipped for
low-light situations. Thanks to
Panasonics Depth from Defocus (DFD)
technology, the GH4 is capable of
achieving focus at a blistering speeds;
in the right conditions, it takes just 0.07
seconds. The GH4 can also burst shoot

with continuous AF at 7.4fps (12 in AF-S
mode), making it an especially good
camera for capturing fast-moving
action with. In terms of build quality, the
GH4 is heavier than its predecessor and
feels more solid in the hand thanks to
its metallic chassis and extensive
weather sealing. The only complaint
regarding the design is the controls; the
GH4 is equipped with ve customisable
function (Fn) buttons, which is likely to
be intimidating to the novice user. In
terms of its headline feature the GH4
can record 4096 x 2160-pixel video at
24p with a bitrate of 100Mbps, and
1080p Full HD video with a maximum
bit rate of 200Mbps. Brand new to the
GH4 is a 2.36-million-dot OLED live
viewnder. Boasting 1.34x magnication
and a 100% eld-of-view, the EVF is one
of the closest equivalents to an optical
viewnder weve yet seen. The EVF is
complemented by a 3in, 1,036k-dot
vari-angle touchscreen. The GH4
produces generally decent colour, albeit
lacking a little punch in the standard
settings. The 1,728-zone multi-pattern
metering system puts in an exemplary
performance with excellent exposures.
KEY
SPECS
VERDICT
SENSOR:
16.05MP Four Thirds Live MOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Vari-angle 3.2in, 1,036k-dot
touchscreen
ISO RANGE:
200-25,600 (exp to base
100)
EXPOSURE MODES:
PASM, iAuto
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
4096 x 2160 4k at 24fps
DIMENSIONS:
133 x 93 x 84mm
WEIGHT:
560g
Signicantly more than just the

mirrorless 4K camera, the GH4
looks to be a real jack-of-alltrades. As well as pro-level
video you get stunning, rich
images delivered with snappy
autofocus. Its not perfect, with
unreliable tracking AF and an
over-complex control set, but
its feel, handling and style are all
impressive. A commendable CSC.
PROS
Impressive 4K video
Durable weather-sealed
body Very fast autofocus
DSLR styled design
CONS
Weak Tracking AF
Higher-resolution sensor
would have been welcome
Complicated controls
B EST FOR
Freezing fast subjects with snappy autofocus
and burst shooting Superior quality video
Solid DSLR-styled feel in the hand
F E AT U R E S
19/20
PERFORMANCE
18/20
DESIGN
17/20
17/20
VA L U E
18/20
B U Y E R S
G U I D E
1 3 0 0 - 1 7 0 0
OLYMPUS OM-D E-M1 1300
GOLD
The OM-D E-M1 succeeds the E-5 as

Olympus pro-spec Four Thirds system
camera. Built around a 16.3MP sensor
the E-M1 differs from the E-M5 in two
key areas: the absence of a low pass
lter and the inclusion of an on-sensor
phase-detect AF system. To reduce the
risk of aliasing and moir, Olympus has
introduced a TruePic VII image
processor, which features Fine Detail
Technology II. The E-M1s ve-axis
sensor-shift anti-shake system is
effective to four stops of correction and
a continuous burst of up to 10fps is
available provided that ve-axis IS is
switched off. Elsewhere, theres an
impressive 2.36m-dot EVF with a 1.48x
magnication while the tiltable 3in,
1,040k-dot rear display offers
touchscreen control over the camera.

With a plethora of Art Filters, Wi-
connectivity and a new PC socket, one
of the only features the E-M1 lacks is a
built-in ash. A detachable ash is
supplied in the box though, which
attaches via the hotshoe. The E-M1
features a tough but light, weathersealed magnesium chassis. The speed
at which the E-M1 acquires focus in
Single AF is incredibly snappy thanks to
its 240fps refresh rate. The Dual Fast
AF system also addresses the
sluggishness of Continuous AF, and is
now a viable option for those looking to
capture pin-sharp action shots. If youre
unsure about EVFs, we can safely say
that your opinion will change once
youve raised the E-M1 to your eye it
displays a crystal-clear image from
corner-to-corner, while the screen is
also clear and extremely responsive.
The AWB system in the main performs
well, with punchy colours straight out of
camera. The 324-zone multi-pattern
metering cant be faulted either, and
Raw les resolve 25 lpmm at ISO 200
improving on the E-M5. There are no
signs of image noise until ISO 1600, and
at ISO 6400 the results are usable.
KEY
SPECS
VERDICT
SENSOR:
16.3MP Micro Four Thirds
Live MOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Tiltable 3in, 1040k dots
touchscreen
ISO RANGE:
200-25,600 (exp to base
100)
EXPOSURE MODES:
PASM, iAuto, Art, Scene
DRIVE MODE:
Single, Continuous, AF
Tracking, Self-timer
MOVIE MODE:
1920 x 1080p Full HD at 30fps
DIMENSIONS:
130 x 93.5 x 63mm
WEIGHT:
497g with card and battery
The E-M1 is a camera that

doesnt disappoint and any
enthusiasts or pros wont be left
wanting. Build quality and nish
is stunning, while the speed and
accuracy of the AF is probably
the best weve seen from a CSC.
Its a camera thats a pleasure to
use. Put simply, its not just one
of the best CSC models around,
its one of the best full stop.
PROS
B EST FOR
Those after a great-performing, weathersealed alternative to a DSLR Travel and
reportage photographers Existing PEN and
E-series shooters
F E AT U R E S
Build quality Electronic P E R F O R M A N C E

viewnder is excellent Fast
and responsive AF system D E S I G N
Image quality
CONS
JPEG les a little overprocessed Controls can

be overwhelming
One SD card slot
VA L U E
19/20
18/20
19/20
18/20
18/20
CANON EOS 6D 1700
GOLD
Cheaper, smaller and lighter than any
existing Canon full-frame DSLR, the
EOS 6D is equipped with a 20.2MP
sensor and Canons powerful DIGIC 5+
image processor the same processor
used inside the 5D Mark III. This
combination provides a native
sensitivity range of ISO 100-25,600
which can be extended to a base ISO
50 and upwards to an equivalent of ISO
102,400. The 6D offers a maximum
continuous burst rate of 4.5fps.
The EOS 6Ds 11-point focusing
system is entirely new, though its
disappointing to see only a single
cross-type sensor in the middle, with
ten additional points scattered around
the perimeter. The optical viewnder,
meanwhile, provides 97% frame
coverage and 0.71x magnication, while

the 3in rear display boasts a 1,040k-dot
resolution. The 6D offers Wi-
connectivity, and complements this
with a built-in GPS system a rarity
among DSLRs. In terms of design and
build the 6D shares characteristics with
the 5D Mk III minus a few subtle
differences. The rubberised handgrip
isnt as chunky and its also noticeably
lighter in the hand. The layout of the
top-plate is clear, with independent
buttons to control AF mode, drive
mode, metering modes and ISO. The
EOS 6D excels in terms of its low-light
AF performance. The central
cross-type AF point can lock onto
subjects right down to -3EV, which
enables the 6D to lock on even in
extremely dark situations. That said, it
cant quite match the Nikon D610 for
advanced AF tracking. The 63-zone
metering system can be relied on to
attain accurate exposures. The 6Ds
sensor is capable of resolving nely
spaced horizontal lines right down to 32
lines per mm (lpmm), which is equal to
its main rival - the Nikon D600 at the
same ISO sensitivity. Up to ISO 3200
youll get clean, noise-free images.
KEY
SPECS
VERDICT
SENSOR:
20.2MP Full-frame CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-25,600 (exp to 100102,400)
EXPOSURE MODES:
PASM, Scene Intelligent
Auto, Scene
DRIVE MODE:
Single, Continuous,
Self-timer, Silent
MOVIE MODE:
30/25/24fps
DIMENSIONS:
144.5 x 110.5 x 71.2mm
WEIGHT:
Its great to nally see a new full

frame body in Canons line-up
for under 2,000, and for
APS-C DSLR users considering
the jump up to full frame its a
logical though still not exactly
cheap option. The addition of
Wi- is excellent, and though its
no 5D Mark III, it goes above
and beyond what most
enthusiasts are calling out for.
PROS
Image quality ISO

performance Inclusion
of both Wi- and GPS AF
performance in low light
CONS
One cross-type AF point

JPEG sharpness
Playback zoom control
97% viewnder
B EST FOR
Enthusiasts wanting to upgrade from a DSLR
to full frame Travel photography because of
the inbuilt GPS and Wi- Shooting in low light
F E AT U R E S
18/20
PERFORMANCE
18/20
DESIGN
18/20
19/20
VA L U E
18/20
B U Y E R S
G U I D E
1 7 0 0 - 1 8 0 0
SONY ALPHA 7R 1700
GOLD
Whereas the Alpha 7 employs a 24.3MP

sensor, the Alpha 7R is tted with a
36.4MP Sony Exmor CMOS chip. The
anti-aliasing lter has been removed
too in an effort to retain maximum
detail and sharpness. This is paired with
Sonys latest BIONZ X processor, which
allows the 7R to reach a maximum
continuous shooting speed of 4fps in
Speed Priority Continuous mode.
Video capture at full 1080p resolution
is supported at a frame rate of either 60
or 24fps. An external microphone
socket is also included, as is a socket for
headphones to monitor audio. In
addition, the 7R offers both Wi- and
NFC technology, allowing users to
transfer images wirelessly from the
camera to a smartphone or tablet using
the Sony PlayMemories app. Build

quality is excellent. The 7Rs
magnesium-alloy shell feels up to the
rigours of daily shooting, and further
benets from full weather-sealing for
wet-weather use. The back of the
camera is tted with a 3in, 921k-dot
LCD display, while above this sits a
2.4m-dot electronic viewnder. The
tiltable design allows the screen to be
pulled out and angled for low and high
shooting opportunities, however it does
lack touchscreen functionality. Used in
evaluative metering mode the 7R can
be relied upon to deliver even
exposures straight out of the camera.
While the contrast-detection system is
fast enough in good light, it does begin
to slow when light levels drop. The 7Rs
sensor delivers outstanding resolution,
and even managed to resolve every line
on our resolution chart a performance
in keeping with the Nikon D800 and
D800E. There are signs of luminance
noise at ISO 800, although this isnt a
detriment to overall image quality. At
ISO 1600 colour noise makes a slight
appearance, although once again this
isnt a major issue, with ISO 6400
proving eminently usable.
KEY
SPECS
VERDICT
SENSOR:
36.4MP Full frame Exmor
CMOS
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Tiltable 3in, 921k dots
ISO RANGE:
50-25,600
EXPOSURE MODES:
PASM, iAuto, Superior Auto,
Scene, Panorama
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
60/25fps
DIMENSIONS:
126.9 x 94.4 x 48.2mm
WEIGHT:
407g body only
Although the Alpha 7R is more

expensive than the Alpha 7, if
youre a landscape
photographer who needs the
extra resolution its a worthy
investment. There are some
reservations about the cameras
focusing performance and
battery life, while the lens range
is limited, but it remains one of
the best CSCs on the market.
PROS
Fantastic image quality

High-end resolution
Solid video specication
Robust build
CONS
AF performance not as
strong as Alpha 7
Currently a limited
native lens line-up
B EST FOR
Those looking for the best detail possible in a
small and lightweight body Wi- and NFC
DSLR-like handling
F E AT U R E S
19/20
PERFORMANCE
17/20
DESIGN
17/20
19/20
VA L U E
18/20
NIKON D610 1800
GOLD
The Nikon D610 succeeds the D600,

bringing with it a modest range of
improvements: maximum burst speed
has been raised from 5.5fps to 6fps,
theres now a new Quiet Continuous
mode that shoots at 3fps, while the
cameras Auto White Balance has been
tweaked for improved colour under
articial lighting and more realistic skin
tones. Despite the lack of big headline
improvements, the D610 still offers a
mightily impressive specication. This
includes a high-resolution 24.3MP full
frame CMOS sensor with a native ISO
range of 100-6400 that can be
expanded to an ISO equivalent of
50-25,600.
The D610 is equipped with a
generous 39-point AF system, with the
central nine points of the cross-type

variety for improved AF acquirement.
Our only minor grumble is that the AF
points are grouped relatively closely
together in the centre of the frame. The
optical viewnder provides 100%
coverage at 0.7x magnication, while
on the back of the camera youll nd a
3.2in, 921k-dot display.The top and rear
covers are made from magnesium alloy,
with the rest made from high-impact
polycarbonate plastic. While it doesnt
have the same bombproof feel as the
more expensive D800, it still offers
weather-sealing to protect it from dust
and moisture. The Multi-CAM4800 unit
works well, acquiring lock-on quickly
without any hunting, even in relatively
dim conditions. The sophisticated AF
tracking options at your disposal also
work impressively well. As with the
D600, we found the D610s Auto White
Balance performed very well. The level
of detail achievable from the 24.3MP
sensor, meanwhile, is highly impressive,
resolving down to 32 lpmm (lines per
mm) on our charts. Its only at ISO 3200
and higher that image noise becomes
apparent, with subtle luminance and
colour noise beginning to show.
KEY
SPECS
VERDICT
SENSOR:
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Fixed 3.2in, 921k dots
ISO RANGE:
100-6400 (exp to 50-25,600)
EXPOSURE MODES:
PASM, Auto, Scene, User
DRIVE MODE:
Single, Continuous,
Self-timer, Quiet
MOVIE MODE:
30/25/24fps
DIMENSIONS:
141 x 113 x 82mm
WEIGHT:
850g
It wouldnt be unreasonable to
be cynical about the D610, with
its very minor updates
suggesting a marketing x for
the somewhat tarnished D600.
While to some extent this may
be true, the D610 is still a
fantastic piece of kit. Very well
made with logical controls, the
D610 is a high-performing DSLR
thats very tempting at the price.
PROS
Sensor delivers excellent

results AF performance is
very good Handling
Ergonomics
CONS
AF points grouped a
little too closely to the
centre 10-pin and sync
socket missing
B EST FOR
Sports and action Landscape photography
thanks to high levels of detail Those wanting a
full frame camera at a relatively affordable price
F E AT U R E S
18/20
PERFORMANCE
18/20
DESIGN
18/20
19/20
VA L U E
19/20
B U Y E R S
G U I D E
2 6 0 0 - 3 0 0 0
NIKON D810 2600
GOLD
What makes the D810 notable is that

its the rst full frame DSLR to be
completely lacking in an optical low
pass lter and this, combined with the
35mm full frame CMOS sensor that
boasts a resolution of 36.3MP, makes it
stand out as one of the best cameras
out there for recording detail.
Nikon has given it a wider range of
image capture formats too, including a
new S Raw format, which captures
uncompressed les at 9MP. Despite the
hefty le sizes it churns out, it can shoot
continuously at up to 5fps, or 6fps in
DX crop mode. A 3.2in, 1.23m-dot LCD
screen and Full HD video makes up the
jaw-dropping spec.
The D810 features several button
placement renements: the ddly

metering mode button has been
replaced by a dedicated button taking
the place of the bracketing button,
which is now housed on the side of the
camera. The grip also has a larger
indentation for the middle nger and
theres a larger thumb rest too, adding
up to give it a more secure feel in the
hand. The body is comprised of
magnesium alloy and although that
makes the camera heavy at a touch
under 1kg in weight the improved
weather-sealing means its built to
survive the toughest tests. Autofocus is
lightning-fast as youd expect and
although the 51 focus points are
concentrated towards the middle, they
can be altered between focus modes.
The 91,00-pixel RGB metering sensor
delivers well-balanced exposures, and a
new highlight mode specically looks
to preserve more highlight detail in
high-contrast conditions. At its base
ISO, it almost out-resolves test charts
and the detail the camera captures has
to be seen to be believed. Noise is
handled very well up to ISO 3200,
although ISO 25,600 and 51,200 are
best reserved for emergencies only.
KEY
SPECS
SENSOR:
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
Fixed 3.2in, 1,229k dots
ISO RANGE:
64-12,800 (exp to ISO
32-51,200)
EXPOSURE MODES:
PASM, Programmed Auto
DRIVE MODE:
5fps (6fps in DX-crop mode)
MOVIE MODE:
60/50/30/25/24fps
DIMENSIONS:
146 x 123 x 81.5mm
WEIGHT:
880g body only
PROS
High resolution Stunning

detail capture Superb LCD
screen ISO range
CONS
Bulky Heavy
Lacks Wi- or GPS
No 4K video High price
VERDICT
The improvements to the LCD
screen are instantly noticeable
and enhances the image review
process no end. Its also
welcome to have the varying
le size options so you dont
always have to shoot at 36MP.
The level of detail resolved by
the sensor is truly stunning, and
overall its a great upgrade to
one of the best DSLRs going.
B EST FOR
Photographers wanting to resolve the highest
level of detail possible from a full frame DSLR
Those after a S Raw format Users looking
for a solid workhorse of a camera
19/20
F E AT U R E S
PERFORMANCE
18/20
DESIGN
19/20
19/20
VA L U E
18/20
CANON EOS 5D MARK III 3000
GOLD
While resolution remains similar to that
of the EOS 5D Mk II, the 22.3MP CMOS
sensor inside the 5D Mk III is a
completely new design that employs
gapless microlenses for improved
light-gathering. This is paired with
Canons latest DIGIC 5+ image
processor the same processor used
inside Canons agship EOS 1D-X. The
5D Mk III offers a native sensitivity
range of ISO 100-25,600 which can be
expanded to the equivalent of ISO
102,400. Continuous shooting,
meanwhile, maxes out at 6fps.
The optical viewnder is large and
bright and offers a 100% eld-of-view,
while the back of the camera is adorned
with a 3.2in, 1,040k-dot LCD display.
The body is constructed from highgrade magnesium alloy, and further
benets from weather-sealing to keep

dust and moisture out. In Single
One-Shot AF, focus locks on very
quickly. You can use all 61 AF points if
you wish, using the joypad on the back
of the camera, or a combination of the
rear and front command dials. If you
dont need to use all 61 AF points then
the number of active AF points can be
reduced to the 41 cross-type points,
along with 15 points or nine points. The
5D Mk IIIs metering system copes well
under a range of lighting conditions,
though it can be guilty of
underexposure at times, which requires
a touch of exposure compensation
(typically +0.3EV or +0.7EV) in order to
get more balanced results. Images
generally display a pleasing and smooth
tonal range. The cameras built-in
Highlight Tone Priority feature can be
used to further improve gradation in
brighter areas. Automatic White
Balance is also reliable, delivering
pleasing results under a range of
lighting sources both indoors and out.
Raw and JPEG images look similar at
low sensitivities. Image noise is very
well controlled in general, with images
up to ISO 1600 relatively noise-free.
KEY
SPECS
VERDICT
SENSOR:
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-25,600 (exp to ISO
50-102,400)
EXPOSURE
Modes: PASM, Auto+
DRIVE MODE:
Single, Continuous,
Self-timer
MOVIE MODE:
30/25/24fps
DIMENSIONS:
152 x 116.4 x 76.4mm
WEIGHT:
950g body only
While the Mk II was more suited

to specic photographic
disciplines, the Mk III is a much
more well-rounded, versatile
DSLR, thanks to boosts in many
aspects of its performance. The
ISO improvements make the Mk
III one of the best cameras
around for shooting at high
sensitivities, while the detail
makes large prints a reality.
B EST FOR
Those seeking a well-rounded, advanced DSLR
Shooting everything from detailed landscapes
to portraits or action High ISO shooting
PROS
F E AT U R E S
Excellent set of features P E R F O R M A N C E
Build quality is much
better than Mk II Great AF D E S I G N
system Video performance
CONS
Expensive compared
to some rivals Very
occasional underexposure
No built-in ash
VA L U E
19/20
19/20
17/20
19/20
18/20
B U Y E R S
G U I D E
5 2 0 0 - 5 3 0 0
CANON EOS 1DX 5300
GOLD
The EOS-1D X resides at the top of
Canons DSLR line, where its joined by
the similar but video-leaning EOS-1DC
model. Mirroring Nikons D4 release, the
1DX combines a high-resolution 18.1MP
sensor with a rapid burst rate to
produce an all-round DSLR designed
for professional use. The 1D X employs
not one but two powerful DIGIC 5+
image processors in tandem, which
enables the camera to shoot at up to
12fps in its standard continuous setting,
or 14fps in a JPEG-only option.
Theres also a 61-point High Density
Reticular AF system which is claimed to
be the most advanced yet on an EOS
camera. Other notable features include
Full HD video recording and a
pentaprism viewnder that provides

100% frame coverage, together with a
3.2in, 1,040k-dot LCD display. The
overall build quality of the 1D X cant be
faulted. Encased within an all-metal
body the 1D X further benets from full
weather-sealing, allowing it to be used
on a daily basis in all kinds of inclement
weather. In use, the 1D Xs AF system
tracks subjects exceptionally well in AI
Servo mode, both in daylight and
oodlit lighting conditions. With a
high-speed memory card inserted we
managed to shoot a burst of 17
Raw+JPEG(L) les at 12fps. The
astonishing speed at which the EOS-1D
X shoots is one thing, but to be able to
process such a high volume of data at
the speed it does is remarkable.
Metering is all but faultless under a wide
range of conditions. With the 1D X set
to the evaluative pattern for most of
our shots, it produced pleasing levels of
detail in the brightest highlights. The
Auto White Balance setting renders
colour accurately, even at higher
sensitivities. Only at ISO 6400 and
above does noise become apparent.
Even so, results at ISO 25,600 and
51,200 remain usable.
KEY
SPECS
VERDICT
SENSOR:
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
ISO RANGE:
100-51,200 (exp to
50-204,800)
EXPOSURE MODES:
PASM
DRIVE MODE:
Single, Continuous,
Self-timer, Silent
MOVIE MODE:
30/25/24fps
DIMENSIONS:
158 x 163.6 x 82.7mm
WEIGHT:
1,340g
What Canon has achieved with

the EOS-1D X is remarkable. The
way it controls noise to produce
acceptable results even at ISO
12,800 and 25,600 is extremely
impressive. Then theres the
speed at which it shoots and
processes images, which sets a
new benchmark for
professional-grade DSLRs.
Overall, its a fantastic camera.
PROS
B EST FOR
Professional photographers and well-heeled
enthusiasts Action and sports photographers
Low-light situations
F E AT U R E S
19/20
Solid build Brilliant AF

system Astonishing burst
shooting
PERFORMANCE
19/20
DESIGN
18/20
CONS
19/20
VA L U E
18/20
Star rating not as

intuitive as on EOS 5D
Mark III No movie
button
NIKON D4S 5200
GOLD
The D4S is to the D4 what the D3S was

to the D3 an update that takes the
best features from its predecessor and
builds on them to produce a premiumgrade DSLR for professional
photographers. Continuous shooting
speed has been increased to 11fps, but
more impressive is that the D4S has the
processing power to maintain the 11fps
rate for up to 104 consecutive 14-bit
Raw images, or 200 ne large JPEG
les. Although it inherits the same
16.2MP full frame CMOS sensor used in
the D4, the D4S provides a new Hi4
extended ISO setting thats equivalent
to ISO 409,600.
The 91k-pixel metering system and
3.2in, 921k-dot LCD remain unchanged

from the D4. In addition to the 30, 25
and 24p Full HD video recording
options offered by the D4, the D4S also
offers 60 and 50p capture options. The
D4S body is almost identical to the D4s,
with only subtle modications made to
the buttons to improve handling. As
you would expect from a agship
pro-spec DSLR, the D4S is also fully
weather sealed. The D4S utilises the
same Advanced Multi-CAM 3500FX
system used in the D4 and its 51-point
3D tracking system is able to cope with
the fastest moving subjects. Metering is
also highly consistent and, in general
use, the D4S can be fully relied upon to
get exposure spot-on. The colours
produced by the D4S are realistic, while
the Auto White Balance delivers
accurate results in most situations.
Sensitivity performance impresses too,
with the D4S retaining pretty much the
same amount of detail at ISO 12,800 as
it does at ISO 100. Although there isnt
a huge upgrade in general image
quality over the D4, the D4S does
deliver improved images at lower to
mid ISO settings. The D4S is a sublime
DSLR for the pros its designed for.
KEY
SPECS
VERDICT
SENSOR:
16.2MP Full-frame
FILE FORMATS:
JPEG, Raw, Raw+JPEG
DISPLAY:
3.2in LCD, 921k dots
ISO:
100-25,600 (exp. to ISO 50
and 409,600)
EXPOSURE MODES:
PASM
DRIVE MODE:
Single, Continuous, Quick,
Self-timer, Mirror Up
MOVIE MODE:
60/50/30/25/24fps
DIMENSIONS:
160 x 156.5 x 90.5mm
WEIGHT:
1,350g
Although the D4S doesnt

deliver a huge upgrade in
general image quality over its
predecessor, images shot at
lower to mid ISO settings do
look slightly better. This along
with a slightly faster burst mode
and some improvements to AF
performance help to make the
D4S a complete package for the
professional photographer.
PROS
High ISO performance

Improved continuous
shooting Enhanced video
performance
CONS
Weight No 4K video
support
B EST FOR
Professional photographers looking for a
dependable workhorse Sports and action
photographers Photographers who regularly
shoot in low light
F E AT U R E S
18/20
PERFORMANCE
19/20
DESIGN
19/20
19/20
VA L U E
18/20
B U Y I N G
A D V I C E
There are tough, long zoom, xed lens and manual control compact
cameras to choose from, so which type is best for you?
nything with a
xed lens is, in
essence, a compact
camera. This
covers models that
can t in a pocket through to
those with huge optical zooms.
Since theres such a wide range
of options its worth paying
attention to the feature lists,
because these often have a huge
impact on the aesthetics.
The more traditional shape of
compact camera is wider than it
is tall, and can t into a pocket
quite easily. The feature set can
differ quite wildly between
models, from those with
large, touchscreen displays to
those with wideangle lenses,
or the ability to withstand the
cold and rain.
At the budget end, factors
such as the zoom range, LCD
screens and design are quite
basic. Batteries are often
lithium-ion rechargeable options
(some still use AA alternatives)
but a decent model can be
picked up for under 100. This
makes the lower end of the

market perfect for younger users
or as Christmas or birthday gifts.
Head up a price band and youll
nd that longer optical zooms,
larger screens and manual
controls become more
commonplace. Lithium-ion
batteries are also virtually
assured, alongside a more solid
build, while the likes of GPS
in order to tag
images by
location also begin to appear.

At this price range tough
cameras also become available.
Although outwardly they look
quite similar to a standard model,
these compacts are able to stand
up to being dropped from a
height onto a hard surface,
dunked underwater and frozen,

which makes them perfect for
extreme sports.
Heading toward the upper end
brings about the large optical
zoom ranges, huge displays (up
to 4.8in), and full manual controls.
Some models, such as the Fujilm
X100S and Canon PowerShot
G1 X, even offer a larger sensor to
improve image quality.
Bridge cameras, also called
superzoom models, are aimed
almost entirely at providing the
user with the largest possible
zoom in a xed-lens camera. The
bodies are thus quite bulky,
looking like a reduced-size DSLR
with a large grip and an electronic
viewnder.
Some compacts, especially the
more expensive ones, offer a
xed lens not a zoom lens.
Although this gives the camera
the best possible optical quality
(as the lens is only optimised for a
single focal length, and indeed, a
single sensor too) the lack of
optical zoom does make them far
less versatile.
JARGON BUSTER
PRICE RANGE
The amount of cash you want to
spend makes a vast difference
to the functionality and image
quality youll get. The prices can
range from 60 to 2,600 with the
likes of long zooms, HD movie
recording, the ability to be used
underwater and manual controls
being introduced in between.
CAMERA TYPE
Selecting the type of camera you
want revolves to some extent
around the feature set. For
example, if a zoom longer than
20x is needed a bridge model will
be required, whereas if it needs
to be capable of withstanding a
drop or going underwater then a
tough camera will be required. An
BUILD QUALITY
average compact will be ne for

taking a decent snap, but more
specic usages might need a
more involved camera.
makes just as much of an impact

on image quality as the number
of megapixels, making it all the
more important as a feature.
MEGAPIXELS
MANUAL CONTROLS
The number of megapixels

may be a focal point for some
consumers, but by no means is
it the only element to consider
when buying a camera. Higherresolution sensors may have the
capacity to produce a detailed,
high-quality digital image, but
without a decent lens in front of
it and decent processing engine
behind it the extra pixels are all
but useless.
Unlike with DSLRs and

CSCs, manual controls arent
commonplace on compact
cameras, meaning you may have
to seek the features out or pay a
touch extra.
The more you spend on a camera,

the better the build is likely to be.
A sturdier camera can withstand
far more bashing around than
a fragile plastic body, although
if youre really concerned about
damage a tough camera may be
worth considering. These models
are built to withstand being
thrown, submerged in water and
frozen, among other things.
HD VIDEO
ACCESSORIES
LENS QUALITY
The optical quality of a lens
High-denition video is fast

becoming commonplace among
even cheaper compact cameras. If
youd like to capture high-quality
movies be sure to look out for the
movie mode, as anything below
720p wont be considered HD.
Some compacts can accept

waterproof housings, lens
converters, external ashguns
and GPS units, so investigate
these options beforehand if you
imagine youll want to expand
your system in the near future.
C O M PA C T S
CANON POWERSHOT D30
260
KEY
SPECS
RECOMMENDED
The D30 shares many

features with the D20,
including the 12.1MP BSI
CMOS sensor, 5x zoom,
3in, 461k monitor, even the
same DIGIC 4 processor.
The main difference is the
depth below water at
which it can be used; it
survives use down to 25m
and withstands a drop
from 2m. The styling is a
lot more conservative with
a atter top panel. Its
easier to grip and use
one-handed, while the
heavily textured grips on
the front and rear are a
noticeable improvement.
Made of solid high-density

plastic with a faade of
aluminium, it offers fast,
accurate focusing in good
light with a GPS system
that works well. Images
can look a touch undersaturated, but switching to
Vivid colour mode gives
richer results, while the
12MP produces a good A3
print. The weak link is the
lens there is chromatic
aberration towards the
corner of the frame.
Compared to its rivals, it
looks good, but for the
asking price wed expect
better image quality.
PANASONIC LUMIX FT5

Despite a similar design to
its FT4 predecessor the
FT5 promises to improve
things, with a 16MP sensor
taking the place of the
previous 12.2MP one, and
also both Wi- and Near
Field Communication
functionality. Theres also
GPS on hand to geotag
images, while Optical
Image Stabilisation is
integrated into the lens to
steady handheld shooting.
Panasonic claims the
camera to be waterproof
to a depth of 13m, as well
as droppable from a
height of 2m and
freezeproof down to
temperatures as low as
-10C. Testing veried
these claims, with the
camera ring into life
almost straight out of the
freezer, surviving a drop,
and remaining operable
underwater.
Focusing performance
underwater proved strong,
even if colour saturation
was slightly muted. In drier
conditions we found
images characterised by
rich colour and clearly
dened details which only
started to soften at around
ISO 800.
SENSOR
12.1MP
LENS
28-140mm
f/3.9-4.8
DISPLAY
3in, 461k dots
ISO RANGE
100-3200
BURST MODE
1.9fps
DIMENSIONS
109.4 x 68
x 27.5mm
WEIGHT
218g
CANON POWERSHOT SX700 HS

As with all travel cameras
the main feature of the
SX700HS is its lens. With a
focal length equivalent to
25-750mm (30x zoom) its
one of the most powerful
on any compact camera,
competing with class
leaders including the
Panasonic TZ60 and the
Sony HX60, both of which
are more expensive.
It delivers excellent
image quality from its
16.1MP CMOS sensor under
almost all circumstances,
and is particularly good in
low light situations. The
superb image stabilisation
system also means that

you can get full use out of
the massive zoom range.
The inclusion of usable
manual exposure options
and easy-to-use image
control will appeal to
those who want to get a
bit more creative, while
the simple, accessible
controls and comfortable
handling will ensure that it
satises everyone else.
The battery life allows you
to shoot over 300 shots,
and its a steal when you
consider its one of the
best long-zoom compacts
on the market at just 280.
PR O S
300
PR O S
CONS
LCD scratches
easily Images
can lack vibrancy
underwater
SENSOR
16.1MP
LENS
25-750mm
f/3.2-6.9
DISPLAY
3in, 922k-dot
ISO RANGE
100-3200
BURST MODE
8.5fps
DIMENSIONS
112 x 65 x 35mm
WEIGHT
269g
C O NS
Slightly ddly
Wi- setup
GOLD
SONY CYBER-SHOT HX60
KEY
SPECS
SENSOR
16.1MP
LENS
28-128mm
f/3.3-5.9
DISPLAY
3in LCD, 460k dots
ISO RANGE
100-3200 (exp. to ISO
6400 equivalent)
BURST MODE
10fps
DIMENSIONS
109.2 x 67.4 x
28.9mm
WEIGHT
188g (incl battery
and card)
KEY
SPECS
Features
Performance
Image quality
CO N S
Price Lens
performance
Only available
in blue
280
PROS
Improved
underwater
depth Handling
Image quality
Build and
handling Wi-,
NFC and GPS
GOLD
2 6 0 - 3 5 0
320
KEY
SPECS
RECOMMENDED
With a 30x optical zoom

lens covering an extensive
focal range of 24-720mm,
the HX60 makes a great
companion for travel and
boasts a 20.4MP Exmor
CMOS sensor like its
predecessor. Performance
speeds are three times
faster however thanks to
the inclusion of Sonys
latest Bionz-X image
processor, plus theres
support for Sonys
PlayMemories where users
can add extra functionality
to the camera by installing
various apps. Theres no
inbuilt EVF, but the multi
interface shoe does allow

Sonys EV1MK viewnder
to be attached, and theres
Wi- connectivity too.
The body also features
an ergonomic feel thanks
to the presence of a nicely
rubberised hand grip. The
top-plate has a dedicated
exposure compensation
dial to give it an advanced
feel and its a camera that
certainly feels up to the
rigours a travel camera
might face.
Image quality improves
over the HX50 at high ISO,
but there is a tendency for
it to underexpose slightly.
SENSOR
20.4MP
LENS
24-720mm
f/3.5-6.3
DISPLAY
3in, 920k-dot
ISO RANGE
80-3200 (exp. to
12,800)
BURST MODE
10fps
DIMENSIONS
108.1 x 63.6 x
38.3mm
WEIGHT
246g
PROS
Focal range
Solid
performance
Good handling
C O NS
Expensive EVF
Not many
improvements
on predecessor
C O M PA C T S
3 5 0 - 4 4 0
OLYMPUS STYLUS TG-3
350
KEY
SPECS
RECOMMENDED
The TG-3 follows on from

the excellent TG-2 and
boasts a 16MP sensor, 4x
optical zoom (25-100mm)
and an impressive f/2.0
maximum aperture.
Submersible to depths of
15m, it can withstand falls
of 2.1m onto hard surfaces
and temperatures down to
-10C. Interesting features
include a 1cm microscope
macro function, focus
stacking and inbuilt GPS
for location tagging. With
regards to its build, its
solid and robust as youd
expect, but some buttons
such as the zoom are hard
to operate when gloves

are worn. The interface is
excellent and provided the
camera is used in bright
conditions, focusing is fast
and accurate. A burst of
high-resolution images can
be rattled off at 5fps and
we were very impressed
by its battery life. The lens
and sensor record a good
level of detail, however we
did experience issues with
the metering system that
over-exposed by around
half a stop. It has Wi-
connectivity, but it does
cost quite a lot more than
its closest rivals.
SONY CYBER-SHOT HX300
SENSOR
16MP
LENS
25-100mm
(f/2-4.9)
DISPLAY
3in, 460k dots
ISO RANGE
100-6400
BURST MODE
5fps
DIMENSIONS
112 x 66 x 31mm
WEIGHT
247g
to be easily pressed. Still,

the viewnder presents a
clear and detailed feed,
with the LCD screen only
coming unstuck in bright
conditions, while the AF
system is generally prompt
enough in most situations.
The cameras metering
system is sound, while
colours are, on the whole,
reproduced accurately.
The only sore point comes
when examining images at
their full resolution, where
the effects of noise and
noise reduction make
themselves known.
Whereas the TZ60s

predecessor the TZ40
featured a reasonable
20x optical zoom, the new
model increases the zoom
by some 50%, sporting a
30x optic covering a focal
length of 24-720mm.
The 18.1MP sensor it
employs is teamed up with
a Venus Engine Processor,
which allows it to shoot at
up to 10fps, albeit for only
six frames. Completing the
comprehensive spec is an
electronic viewnder, NFC
and Wi- functionality.
The TZ60 benets from
a ring around the front of
the lens that operates as a

secondary control input.
The cameras shell has also
been upgraded to make it
stronger, and the textured
hand grip gives the TZ60
a premium feel in the
hand. While AF speeds are
improved at the long end
of the zoom, its a touch
sluggish to lock-on in
low-light situations. Its
undoubtably one of the
best travel zooms on the
market and thanks to the
inclusion of the EVF, Raw
capture and enhanced
build quality its enough to
improve on its forerunner.
350
KEY
SPECS
SENSOR
18MP
LENS
24-720mm
f/3.3-6.4
DISPLAY
3in, 920k dots
ISO RANGE
100-6400
BURST MODE
10fps
DIMENSIONS
110 x 64 x 34mm
WEIGHT
214g
PRO S
PROS
CO N S
C O NS
Fast start-up
time
Creative lters
Battery life
Price
Fiddly controls
Expensive
add-on lenses
400
KEY
SPECS
Its hard not to be

impressed by what the
HX300 offers, with its
20.4MP backlit sensor, 50x
optical zoom, electronic
viewnder and a tiltable
LCD screen standing out
of the spec sheet. Theres
also manual control over
exposure and full HD
video, although a Raw
option is not supported.
The design of the topplate is awkward, in that
the power and Finder/LCD
buttons dont protrude far
enough from the plates
concave prole for them
PANASONIC LUMIX TZ60
SENSOR
20.4MP
LENS
24-1200mm
f/2.8-6.3
DISPLAY
3in swivel LCD,
921k dots
ISO RANGE
80-12,800
BURST MODE
10fps
DIMENSIONS
129.6 x 93.2 x
103.2mm
WEIGHT
650g
EVF addition
Wi-
performance
Raw capture
GOLD
PANASONIC LUMIX FZ200

The FZ200 boasts
something quite
remarkable: a 25-600mm
lens with a constant f/2.8
aperture. This is paired up
with Panasonics Power
O.I.S. system, with a 12.1MP
sensor behind this
capturing Raw and JPEG
images in addition to full
HD video.
The cameras grip has a
pleasing rubber-like
texture, while the buttons
are plentiful and the build
quality satisfactory. The
1.3m-dot viewnder is also
an excellent performer,
although the articulated
PRO S
display is a little awkward

to pull out from the
cameras body.
The camera focuses
quickly and accurately at
both ends of the zoom,
and write times are better
than expected too.
Images display accurate
exposure and consistent
white balance, although
some may prefer colours
more optimised than the
neutral ones produced.
Theres little distortion
at the wide end of the lens,
although noise reduction
does leave images with
a texture.
440
KEY
SPECS
SENSOR
12.1MP
LENS
25-600mm f/2.8
DISPLAY
3in swivel LCD,
460k dots
ISO RANGE
100-6400
BURST MODE
12fps
DIMENSIONS
125.2 x 86.6 x
110.2mm
WEIGHT
588g
PROS
Viewnder
Great video
Deep grip
Prompt AF
Good AF
performance
Constant f/2.8
aperture
CO N S
Noise and noise

reduction Some
design issues
No Raw
Aggressive
noise reduction
EVF a touch
underspecied
C O NS
GOLD
LCD awkward to
pull away
Noise reduction
C O M PA C T S
CANON POWERSHOT S120
450
KEY
SPECS
GOLD
The S120 has a very similar

range of features to the
larger PowerShot G16 (see
p78), with the same 1/1.7in
back-illuminated 12.1MP
CMOS sensor, DIGIC 6
processor, and a similar
3in display. The S120
features a 5x 24-120mm
zoom, optical lens-shift
image stabilisation and an
automatic lens cover.
The S120 is a beautiful
example of understated
design; the unassuming
body is strong and
functional. Performance is
very good. The S120 is
capable of ve frames at
12.1fps, which then drops
to 5.5fps. Images are well
detailed and, up to ISO
800, virtually noise-free.
The major difference
between the G16 and the
S120 is the lens. The S120s
isnt quite as good as the
G16s, but its not at all bad.
Centre sharpness is
excellent, and corner
blurring is minimal. There
is no visible chromatic
aberration, but some
purple fringing is caused
by sensor charge leakage
in high-contrast areas.
NIKON COOLPIX P7800
SENSOR
12.1MP
LENS
24-120mm
f/1.8-5.7
DISPLAY
3in, 922k-dot
touchscreen
ISO RANGE
80-12,800
BURST MODE
12.1fps
DIMENSIONS
100.2 x 59 x
29mm
WEIGHT
217g
bracketing and other

functions. Its replaced by
a button that brings up a
menu, but both are poorly
placed and complicated.
From a cold start the
P7800 takes 2.5 seconds
to turn on and take a
picture slower than the
G16. In Raw+JPEG mode,
loaded with a Class 10
SDHC card, the shot-toshot time is over ve
seconds. Things are also
problematic at the long
end of the zoom, where
the autofocus will often
hunt around before
focusing when in low light.
PANASONIC LUMIX LX7

With the LX7 Panasonic
has opted for a newly
designed 1/1.7in 10.1MP
sensor with a standard
ceiling of ISO 6400, and
an ISO equivalent to
12,800 at a reduced
resolution.
The 24-90mm lens in
front of the sensor boasts
a maximum aperture of
f/1.4 at its widest focal
length, and theres also an
ND lter with three-stop
ltration, together with AF
Tracking and Raw capture.
Thanks to its
predominantly metal
exterior nish, the LX7
450
retains the same high-end

quality feel as the LX5,
with the revised hand grip
providing a nice and
comfortable hold.
With images, the LX7
delivers pleasing
exposures most of the
time, just occasionally
overexposing, while its
AWB system only errs
now and again with the
odd colder cast. The lens is
nice and sharp too, with
minimal distortion at the
wide end, and while it
cant match the Sony
RX100 for noise control, it
still does reasonably well.
PR O S
500
SENSOR
12.2MP
LENS
28-200mm, f/2-4
DISPLAY
3in, 921k-dot,
fully articulated
ISO RANGE
ISO 806400
BURST MODE
8fps
DIMENSIONS
118.5 x 77.5 x
50.4mm
WEIGHT
399g
C O NS
Screen bettered
by rivals
Occasional
overexposure
GOLD
FUJIFILM X20
The X20 sports a 12MP
X-Trans CMOS II sensor
and a new panel inside
the optical viewnder to
display exposure
information.
Other changes include
phase-detect pixels on the
sensor to assist in
focusing, as well as a new
EXR II processor to reduce
start-up and AF times,
although the camera
retains its 28-112mm
f/2-2.8 manual zoom lens.
The body makes use of
die-cast magnesium for
solidity, but at just 353g it
isnt weighty.
PR O S
500
The X20 powers up and
down with practically no
delay, and focusing speeds
are excellent even against
low-contrast subjects.
Images from the camera
are, on the whole, pleasing,
largely thanks to sound
metering, appropriate
colour and (in JPEGs) ne
contrast. Distortion is
pleasingly minimal, and
detail is superb at low
sensitivities.
Overall, despite a few
minor issues, the X20 is
one of the best enthusiast
compacts with an optical
viewnder.
KEY
SPECS
SENSOR
12MP
LENS
28-112mm f/2-2.8
DISPLAY
2.8in LCD,
460k dots
ISO RANGE
100-12,800
BURST MODE
12fps
DIMENSIONS
117 x 69.6 x
56.8mm
WEIGHT
353g
PROS
Fast zoom lens

Build
Articulated LCD
Mic port
Excellent
low-ISO detail
Prompt AF
Solid build
C O NS
CO N S
Slow
performance
Complicated
controls Size
SENSOR
10.1MP
LENS
24-90mm
f/1.4-2.3
DISPLAY
3in LCD, 920k dots
ISO RANGE
80-12,800
BURST MODE
11fps
DIMENSIONS
110.5 x 67.1 x
45.6mm
WEIGHT
298g
Rened design
Little distortion
Bright lens
CO N S
Quite pricey
compared to
rivals
Battery life
KEY
SPECS
PROS
Versatility
Touchscreen
Performance
Wi-
KEY
SPECS
The P7800 has the same

1/1.7in 12.2MP back-side
illuminated CMOS sensor
as the P7700, and the
same 7.1x zoom lens. It
also sports an articulated
3in, 921k-dot screen.
One new feature is the
electronic viewnder. Its
quite a nice device, with a
921k-dot 0.5in screen,
however the downside is
the picture quality, which
doesnt match the colour
balance of the LCD, and
appears overexposed.
Adding the viewnder
has meant the removal of
a control dial for ISO,
4 5 0 - 5 0 0
GOLD
Noise reduction
Exposure comp
dial gets easily
knocked
C O M PA C T S
5 3 0 - 7 5 0
CANON POWERSHOT G16
530
KEY
SPECS
GOLD
The G16 is an incremental
development from the G15,
but whats surprising is
how few new features
there are. It retains the
same optically stabilised
5x zoom f/1.8-2.8 lens
(equivalent to 28-140mm).
Also carried over is a
xed 3in, 922k-dot screen,
but the new DIGIC 6 image
processor is claimed to
offer a 50% increase in
focus speed, enhanced
JPEG processing and
improved noise reduction.
The key new feature the
G16 adds is Wi-. Installing
the Canon CameraWindow
app onto iOS or Android

handsets opens up the
opportunity to copy and
share images, as well as
add GPS location data.
The G16 can start up,
extend the lens, focus and
take a picture in 1.8secs. In
continuous shooting mode
its fast too, capable of
shooting at 12.2fps in JPEG
mode for ve frames.
If youre looking for an
advanced compact for
hobby photography, or as
a lighter camera to use
alongside your DSLR, then
it remains one of the best
choices on the market.
PANASONIC LUMIX FZ1000
SENSOR
12.1MP
LENS
5x optical zoom
(28-140mm)
DISPLAY
3in, 922k dots
ISO RANGE
100-12,800
BURST MODE
12.2fps
DIMENSIONS
108.8 x 75.9 x
40.3mm
WEIGHT
356g
The inclusion of a 1in

20.1MP MOS sensor and
impressive 16x optical
zoom (25-400mm) puts
the FZ1000 a cut above
many compact cameras.
Its Leica DC optic is a nice
and bright lens (f/2.8-4.0),
while its claimed to be
275% faster than the
FZ200 when it comes to
focusing. The headline
feature is the inclusion of
4K video, which is four
times the resolution of full
HD. Its possible to grab
8MP stills from video
footage, while in the hand
it feels tough without

being bulky. Regrettably
theres no touchscreen,
but the LCD can be fully
articulated. The quality of
the EVF (2.36 million-dot)
is superb and the addition
of Wi- will satisfy those
who want to transfer
images wirelessly. Detail
and noise is handled well
up to ISO 1600, beyond
which JPEGs deteriorate
due to noise reduction. Its
up there as one of the best
and most enjoyable bridge
cameras to use, and will
appeal to most hobbyists.
With a design sharing

similarities to Olympuss
OM-D series, the Stylus 1
bristles with complexlooking controls. Behind
the respectably fast 10.7x
optical zoom (equivalent
to 28-300mm) that has a
xed f/2.8 aperture across
the range, lies a 1/1.7in
back-side illuminated
CMOS sensor. The 3in,
1.04million-dot monitor is
also exceptionally good,
though the touchscreen
is only used for focus
point selection, touchshutter release and a few
simple tasks.
Wi- enables users to

connect a suitable Android
or iOS device, while the
EVF with a resolution of
1.44 million dots impresses.
In terms of image quality
its a match for its rivals
and though image noise is
visible from about ISO
800, it is well controlled,
with consistent exposure
and colour reproduction
being maintained up to
ISO 3200. The Stylus 1s
Achilles heel is its lens that
does suffer from
chromatic aberration,
particularly in wideangle,
wide-aperture shots.
PRO S
550
KEY
SPECS
SENSOR
12MP
LENS
10.7x optical zoom
(28-300mm)
DISPLAY
3in, 1.04m dots
ISO RANGE
100-12,800
BURST MODE
7fps
DIMENSIONS
116 x 87 x
56.5mm
WEIGHT
402g
PROS
Performance
Image quality
Build Features
Wi-
Design
Performance
Viewnder
Versatile Wi-
CONS
CONS
Fixed monitor
Small
viewnder
Zoom coverage
750
KEY
SPECS
GOLD
OLYMPUS STYLUS 1
SENSOR
20MP (1in)
LENS
16x (25-400mm)
DISPLAY
3in, 921k dots
ISO RANGE
125-12,800 (exp.
to 50-25,600)
BURST MODE
12fps
DIMENSIONS
137 x 99 x 131mm
WEIGHT
831g
Chromatic
aberration in
wideangle, wideaperture shots
SONY CYBER-SHOT RX100 III

Improving where the
RX100 II left off, the RX100
III benets from a number
of key features. Although
the lens covers a shorter
focal range of 24-70mm,
the maximum aperture
now spans between f/1.8
at the wide end and f/2.8
at full telephoto. Retaining
the same 20.2MP 1in chip,
the sensor is paired with a
new Bionz processor, but
perhaps most interesting
is the addition of an inbuilt
EVF a rst on an RX100
model. Its innovative in its
implementation, popping
up from the body much
PRO S
like a ash unit and boasts

an impressive 1.3-milliondot resolution. The design
has resulted in the loss of
the Multi-Interface shoe, so
a ashgun can no longer
be attached, but it does
feature its own pop-up
ash. Though it could be
argued the additions are
incremental rather than
revolutionary, its a
compact that continues to
get better and better. If
youre after a pocket
compact that delivers
superb results and one of
the best specications,
you should look no further.
750
KEY
SPECS
SENSOR
20.2MP (1in)
LENS
2.9x optical
zoom (24-70mm)
f/1.8-2.8
DISPLAY
3in, 1.22m dots
ISO RANGE
125-12,800 (exp.
to 25,600)
BURST MODE
10fps
DIMENSIONS
101.6 x 58 x 41mm
WEIGHT
290g
PROS
4K video
capture
Wi-
Build quality
Addition of EVF
Increased
maximum
aperture
CO N S
C O NS
Proliferation
of buttons may
intimidate novice
photographers
GOLD
Lacking ability
to manually
select AF points
on rear screen
C O M PA C T S
CANON POWERSHOT G1X MK II
750
KEY
SPECS
Retaining the same 1.5in

CMOS sensor from its
predecessor, the G1 X Mark
II has a 12.8MP resolution
and 5x optical zoom
covering 24-120mm.
The lens benets from
an improved maximum
aperture of f/2 and its
DIGIC 6 image processor is
implemented to cut down
on shutter lag by over
50%. Though the
viewnder has been
dispensed with (optional
EVF is available), there is
an impressive touchscreen
3in 1,040k-dot LCD which
is a hinged vari-angle type.

As well as Wi- and NFC,
theres a pop-up ash and
built-in 3-stop ND lter.
While the new lens focuses
more closely, the battery
life remains disappointing,
the handgrip looks like an
afterthought and the AF
system cant compete with
the speed of some rivals.
Detail is impressive, but for
the price there are better
premium compacts that
can t the pocket and
have an EVF two key
areas where the G1 X Mk II
misses the mark.
FUJIFILM X100S
SENSOR
12.8MP
LENS
24-120mm f/2-3.9
DISPLAY
3in, 1,040k-dot
touchscreen
ISO RANGE
100-12,800
BURST MODE
5.2fps
DIMENSIONS
116.3 x 74 x
66.2mm
WEIGHT
558g
its rivals, but the extra bulk

is worth it for the excellent
(and improved) Hybrid
viewnder. The bulk is
even more managable
when married with the
tactile controls and
no-fuss handling, making
the X100S a pleasure to
shoot with.
While it may not appear
to be a massive leap from
the X100, the X100S has
improved in most of the
areas it needed to while
keeping the charm that
made us fall in love with
the Fujilm X100 in the
rst place.
The Sony RX10 is one of

the most expensive bridge
cameras on the market,
but features a specication
to match its hefty price. It
has the same 1in sensor as
the RX100 II, combined
with a Carl Zeiss
24-200mm lens with a
xed maximum aperture
of f/2.8. The premium
specication is further
signied by some seriously
impressive LCD and EVF
technology. The
viewnder is the same as
that on the premium Sony
Alpha 7, meanwhile the
screen measures 3in and
features a class-leading
resolution of 1.229m-dots.
The RX10 produces
images that are well
saturated with a bright
colour palette and a good
level of contrast. At the
base ISO of 100 the sensor
resolves to around
27 lpmm (lines per mm)
and its not until ISO 3200
where noise really
becomes an issue. The
RX10 offers a whole lot of
camera for the price-tag
and is worth serious
consideration as it is
probably the best bridge
camera weve ever tested.
SENSOR
16.3MP
LENS
35mm f/2
DISPLAY
2.8in LCD,
460k dots
ISO RANGE
200-6400
(exp. to ISO
100 and 25,600
equivalent)
BURST MODE
5fps
DIMENSIONS
126.5 x 74.4 x
53.9mm
WEIGHT
445g
KEY
SPECS
SENSOR
20MP
LENS
24-200mm f/2.8
DISPLAY
3in, 1,290k dotS
ISO RANGE
125-12,800
BURST MODE
10fps
DIMENSIONS
129 x 88 x 102mm
WEIGHT
813g
Impressive lens
Complete
feature-set
Great images
CO N S
No EVF
Pricey
AF speed
1049
PROS
Solid build
Image quality
Connectivity
KEY
SPECS
The X100S picks up from

where its predecessor, the
X100, left off, with over 70
improvements said to
have been made.
The most notable
update is the sensor, and
the addition of the 16MP
X-Trans CMOS sensor
coupled with the
high-quality xed prime
delivers fantastic results.
The AF has improved
thanks to the addition of
the phase-detect pixels,
but its still not quite as
quick as wed like.
It may not be as
pocket-sized as some of
SONY CYBER-SHOT RX10
PR O S
1100
GOLD
7 5 0 - 2 6 0 0
C O NS
Eye-watering
price-tag
GOLD
SONY CYBER-SHOT RX1

The Sony RX1 is the
worlds rst full frame
compact camera, marrying
a 24.3MP full frame sensor
with a 35mm Zeiss lens
that has a fast f/2
maximum aperture.
Details picked up by the
lens are nothing short of
magnicent, and while
some may lament the lack
of a zoom lens, others will
appreciate the Sony RX1s
high image quality that
can no doubt be largely
attributed to its prime lens.
While its true that its
expensive, itd be hard to
nd a full frame DSLR and
2600
optic of equivalent
performance for less. Its
compact size and
reasonably discreet styling
means it also presents a
real advantage over full
frame DSLRs with similar
lenses; for the reportage
photographer in particular.
With a superb build,
excellent detail retention
at low and high
sensitivities and
competent metering and
auto white balance
systems on hand, its
unquestionably one of the
nest digital cameras
weve seen yet.
KEY
SPECS
SENSOR
24.3MP
LENS 35mm f/2
DISPLAY
3in LCD, 1,228m
dots
ISO RANGE
100-25,600
(exp. to ISO 50
and 102,400
equivalent)
BURST MODE
2.5fps (exp. to
5fps)
DIMENSIONS
113.3 x 65.4 x
69.9mm
WEIGHT
482g
PR O S
PROS
CO N S
C O NS
Superb lens
Hybrid
viewnder
Handling
Pricey
AF could be
faster
Detail
Solid build
Low noise
Excellent LCD
GOLD
AF can hunt
Battery life
Some aliasing
artefacts
l i s t i n g s
LISTINGS
-
06/11
p65
600
04/14
600
03/14
Pentax K-50
600
10/13
Nikon D3200
650
07/12
Canon EOS 100D
650
07/13
Nikon D5200
720
03/13
750
09/12
p66
750
kit
Web
Only
790
02/12
p67
830
01/14
p67
870
03/13
950
body
Canon EOS 1100D

Nikon D3300
Pentax K-30
Canon EOS 60D

Canon EOS 700D
Sony Alpha 65
Nikon D5300
Pentax K-5 II
Pentax K-3
kit
kit
kit
kit
kit
kit
kit
kit
kit
kit
kit
kit
01/14
20.1MP Sony
12.2MP Canon
name & model
PaGe
rrP tested score
1000
09/14
Nikon D7000
1100
01/11
p68
1100
11/13
p69
1100
05/13
1150
12/11
Canon EOS 7D
1500
XMAS
Canon EOS 6D
p70
1700
02/13
Nikon D610
p71
1800
12/13
1800
XMAS
2600
06/12
2600
02/14
p72
2699
11/14
2600
08/12
Canon EOS 5D Mk III p72
2999
06/12
Nikon D4
5290
05/12
p73
5290
Web
p73
5300
11/12
Canon EOS 70D

Nikon D7100
Sony Alpha 77
Sony Alpha 99
Nikon D800
Nikon DF
Nikon D810
Nikon D800E
Nikon D4S
Canon EOS-1D X
body
body
body
body
body
body
body
body
body
body
kit
body
body
kit
body
body
body
4.5H
4.5H
4.5H
4.5H
5H
5H
4.5H
5H
4H
5H
4H
5H
4.5H
5H
5H
5H
5H
Weight
depth (mm)
Height (mm)
Width (mm)
articulated lcd
Flash
GPs
WI-FI
Battery life (shots)
dImensIons
500 129.6 99.7 78 480g
3in
11 6 100
3in
16,000 1080p
15 5 100
2.7in
6400
9 3 95
2.7in
700 129 99
11 5 95
3in
700 124 98 75.5 460g
16.3MP Pentax 25,600 1080p
11 6 100
3in
410 96.5 128.5 71.5 660g
16.3MP Pentax 51,200 1080p
11 4 100
3in
410 130 97
71 650g
3in
540 125 96
76 505g
3in
380 117 91
69 407g
3in
n/a 129 98
78 555g
3in
1,100 145 106 79 755g
440 133 100 79 580g
720p
24.2MP Nikon 25,600 1080p
24.2MP Nikon 12,800 1080p
11 4 95
18MP Canon 12,800 1080p
9 4 95
24.1MP Nikon 25,600 1080p
39 5 95
Canon 25,600 1080p
9 5 96
18MP Canon 12,800 1080p
9 5 95
16,000 1080p
15 10 100
24.2MP Nikon F 25,600 1080p
23 5 95
16.3MP Pentax 51,200 1080p
24.2MP Pentax 51,200
18MP
24.3MP Sony
1080i
summary
sensor lens maX Iso vIdeo
With the mkII Sony has brought built-in Wi-f, great handling
and an enhanced AF that will suit sports and wildlife shooters
A semi-pro DSLR offering some fantastic features and which
still has everything an aspiring photographer would need
Worlds frst DSLR to boast Dual Pixel CMOS AF technology, giving
the best autofocus performance for a DSLR during live view
The D7100 updates the D7000 in several signifcant ways, and
while not without fault its still praiseworthy. Wi-f optional
Offers an impressive feature set that includes a fast 12fps
burst shooting mode, ideal for action
Good enough to be used as a regular camera by semi-pros,
the 7D is a welcome addition to the EOS line. Wi-f optional
Superb image quality from Canons latest and cheapest
full frame DSLR. Also offers Wi-f and GPS connectivity
Upgrade from D600: improved auto white balance, faster
continuous shooting and a quiet continuous mode. GPS optional
Sonys full frame A99 offers translucent mirror technology
allied to a 19-point AF system with 11 cross sensors
Offering a massive 36MP, this is the camera to go for if you
want to produce ultra-large prints. GPS optional
Nikons retro-tinged full frame DSLR has a solid spec although
it lacks a video mode. Overall, its images are superb
Replacing the D800 and D800E, the D810 is a truly welcome
upgrade and one of the very best DSLRs on the market
Removes the anti-aliasing flter of the D800 for even greater
detail should you need it. GPS optional
An excellent full frame sensor, fast burst rate, high ISO range and
advanced AF make this an impressive piece of kit. Wi-f optional
Now updated by the D4S, the D4 is Nikons previous fagship
and one of the best DSLRs weve seen. GPS & Wi-f optional
Nikons fagship DSLR, the D4S takes the best features of the
D4 and improved the burst speed, AF and processing power
A contender for the crown of best DSLR on the market, this
camera is hard to fault. GPS & Wi-f optional
24.3MP Sony
3in
3in
3.2in
11 7 100
27 8 100
stereo mic input

aF points
DSLRS 1000-5300
Sony Alpha 77 MkII
viewfnder cov (%)
16.3MP Pentax 51,600 1080p
screen
l
sHootInG
l
79 12 100
Nikon 25,600 1080p
39 6 100
1080p
19 7 98
24.1MP Nikon 25,600 1080p
51 6 100
1080p
19 12 100
18MP Canon 12,800 1080p
19 8 100
20.2MP Canon 102,400 1080p
11 4.5 97
24.3MP Nikon 25,600 1080p
39 6 100
24.3MP Sony
25,600 1080p
19 10 100
36.3MP Nikon 25,600 1080p
51 4 100
20.2MP Canon
24.3MP Sony
12,800
16,000
16.2MP Nikon 204,800
78 495g
81 543g
700 125 98
76 530g
3in
980 131 97
73 760g
3.2in
560 131 100 77 800g
3in
dImensIons
480 142.6 104 81 647g
3in
3in
3in
3in
3in
800 148 110 73 820g
3in
980 145 111 71 755g
51 12 100
36.3MP Nikon 51,200 1080p
690 129 95.5 78 492g
39 5.5 100
71 646g
440 132 98
l
screen
25,600 1080p
16MP
410 130 97
l
Weight
07/13
500
sHootInG
depth (mm)
Sony Alpha 58
kit
9 3 95
Height (mm)
10/13
450
kit
16MP Canon 12,800 1080p
Width (mm)
450
sensor lens maX Iso vIdeo
Entry level update to Canons 1100D, the 1200D excels in the key
areas of AF speed and accuracy while ISO performance is good
Stripped-down version of K-50 without weather sealing
boasts 100% glass prism viewfnder; uses AA batteries
Replacement for A57 boasts Bionz image processing engine,
OLED viewfnder, plus 20MP sensor up from 16MP
While the 1100D doesnt offer the most advanced spec for a
DSLR in its class, its a solid performer for the price
Nikons new entry-level DSLR is smaller than previous offerings
while a sensor with no anti-aliasing flter means detail is high
Stellar image quality make this a welcome alternative to
Canon, Nikon and Sony offerings at the price
Replacement for K-30 offers 16MP sensor, weather sealing
and improved processing. Still able to shoot at up to 6fps
With a 24MP sensor and excellent Guide mode, this is the
perfect entry-level DSLR. Wi-f & GPS optional
Billed as the worlds smallest and lightest DSLR; kit lens is the
companys EF-S 18-55 f/3.5-5.6 IS STM zoom. GPS optional
Inspired by the D5100 and D7000, the D5200 has a vari-angle
LCD, 24MP sensor and HD video. Wi-f & GPS optional
Still current in the companys DSLR range, this semi-pro
design packs in an 18MP CMOS sensor and a vari-angle screen
Update to 650D comes bundled with a new 18-55mm STM kit
lens, that promises improved movie AF. GPS & Eye-f optional
Featuring the same sensor as the A77, the A65 can rattle off
10 frames per second and has a crisp electronic viewfnder
Update on the D5200 with large sensor, larger screen, HD video,
and long lasting battery, should appeal to videographers
Latest update to K-5 promises improved AF performance in
low light and subject tracking with moving subjects
Upgrade from Pentax K-5. GPS optional. Impersonates a low
pass flter. High FPS rate and is the frst to carry Ricohs name
p64
summary
articulated lcd
Pentax K-500
4H
4H
4H
4H
4.5H
4H
4.5H
4.5H
4.5H
4.5H
4.5H
4.5H
4.5H
4.5H
4.5H
4H
Flash
06/14
GPs
450
WI-FI
rrP tested score
p64
viewfnder cov (%)
PaGe
Canon EOS 1200D
Burst mode (FPs)
name & model
stereo mic input

aF points
DSLRS 400-999
Burst mode (FPs)
If you want maximum control over your creative shooting options, you want an
interchangeable-lens camera, whether a DSLR model or a Compact System Camera.
Here we list and rate all the models on the market
1,050 132 105 77 690g

l
920 139 104 79 755g

950 135 106 76 765g
470 142 104 80 653g
3.2in
900 141 113 82 850g
3in
500 147 111 78 812g
3.2in
900 146 123 81 900g
3.2in
1,400 143.5 110 66.5 765g
3.2in
146 123 82 980g
3.2in
900 146 123 81 900g
3.2in
950 152 116 76 950g
36.3MP Nikon 25,600 1080p
51 4 100
22.3MP Canon 102,400 1080p
61 6 100
16.2MP Nikon 204,800 1080p
51 10 100
3.2in
2,600 160 156 90 1,340g
16.2MP Nikon 409,600 1080p
51 11 100
3.2in
3,020 160 156.5 90.5 1,350g
18.1MP Canon 204,800 1080p
61 12 100
3.2in
1,120 158 163 82 1,100g
400
Web
400
11/13
400
Web
400
Web
420
Web
450
05/14
480
Web
480
02/13
499
11/14
500
12/13
530
06/13
540
Web
540
01/14
549
12/14
550
07/13
569
WWeb
629
01/14
670
06/14
680
10/13
699
05/14
4H
4H
4H
4H
4H
4.5H
3H
4H
4H
4.5H
4H
4.5H
4.5H
4H
4.5H
PaGe rrP tested
canon EOS M
nikon 1 AW1
nikon 1 V2
sony NEX-6
Panasonic Lumix GX7
olympus PEN E-P5
samsung NX30
Fujiflm X-T1
Panasonic Lumix GH3
sony NEX-7
Fujiflm X-E1
olympus OM-D E-M5
Fujiflm X-E2
Panasonic Lumix GH4
samsung Galaxy NX
olympus OM-D E-M1
sony Alpha 7
leica T
Fujiflm X-Pro1
sony Alpha 7R
sony Alpha 7S
p68
p69
p70
p71
-
700 XMAS12
749
12/13
800
02/13
800
01/13
900
10/13
900
09/13
900 Webonly
1100
4/12
1120 XMAS12
1130
01/12
1149
01/13
1150
5/12
1200
02/14
1300
07/14
1300
10/13
1300
12/13
1300
01/14
1350
08/14
1430
05/12
1700
02/14
2099
09/14
score
4.5H
3.5H
3.5H
4H
4.5H
4.5H
4.5H
5H
5H
4H
4.5H
4.5H
4.5H
4H
4H
5H
4.5H
4H
5H
4.5H
4.5H
20.1MP Sony E 16,000 1080p
25 3.5
This may well be the best-value NX camera yet
20.3MP Samsung 25,600 1080p
21 5
23 20
Newly developed Venus Engine and a 180 tilt screen
16MP
Mic4/3 25,600 1080p
Extra large sensor and improved AF
12.4MP Pentax 12,800 1080p
Update to E-PM1 offers 16.1MP sensor
16.1MP Mic4/3 25,600 1080p
Weight
depth (mm)
dImensIons
230 106 61 29.8 280g

480 128 91 84.5 353g
3in
Height (mm)
Width (mm)
screen
3in
l
l
articulated
touchscreen
Flash
GPs
Wi-f
viewfnder
Burst (FPs)
Compact, affordable, and delivers DSLR-style results
6400
370 117.4 66
39 266g
340 111 65
38 323g
250 102 58
34 200g
360 110 64
34 269g
3in
3in
25 5
3in
35 8
3in
3in
530 119 62 22.5 196g
21MP Samsung 25,600 1080p
35 6
Aims to compete with entry-level DSLRs
20.1MP
Sony
16,000 1080p
- -
3in
Replacement for A37 and A57
20.1MP
Sony
16,000 1080p
15 8
3in
700 128.6 95.5 77.7 573g
User-friendly with an uncluttered interface
10.1MP Nikon 1
6400
135 60
3in
220 102 61
30 197g
3in
360 110 64
34 261g
The light and compact NX Mini is very impressive
1080p
Mic4/3 12,800 1080p
23 20
Excellent shooting speed and AF performance
18.4MP Nikkor 1 12,800 1080p
171 20
Virtually identical to X-M1, but with a standard sensor
16.3MP Fuji X
25,600 1080p
41 5.6
Company adds to its range of Wi-f-enabled cameras
20.3MP Samsung 25,600 1080p
105 8.6
Boasts a 14.2MP sensor from range-topping V2
14.2MP Nikon 1
1080p
135 60
APS-C sensor delivers DSLR results
16.1MP Sony E 25,600 1080p
25 3
One of the most competent CSCs at the price
16MP
6400
One of the very best in class, in video and image quality
24MP
Sony E 25,600 1080p
DSLR-like performance and images
16MP
Wireless functionality and a hybrid autofocus system
179 6
Mic4/3 25,600 1080p
23 7
16.1MP Sony E 16,000 1080p
25 10
Tiny, retro compact design is impressive
16MP Mic 4/3 25,600 1080p
23 5
Class-leading AF and an impressive APS-C sensor
24MP
25,600 1080p
179 11
6400
54 5.6
Companys third CSC features X-mount lens mount

Maintains the high-end features of its OM-D siblings
Sony
16.3MP Fuji X
16MP
1080p
Mic4/3 25,600 1080p
320 122 64
220 101 61
29 244g
330 111 59
39 276g
3in
3in
3in
n/a 122 85
72 340g
3in
330 110 59
39 276g
230 99
30 204g
3in
41 15
Revamp for V1. Price includes 10-30mm kit lens
14.2MP Nikon 1
6400
1080p
73 15
Excellent EVF and fast operation
16.1MP Sony E 25,600
1080p
25 10
16MP Lumix G 25,600
1080p
23 40
Mic4/3 25,600
1080p
35 9
21MP Samsung 26,500
1080p
247 8
shootInG
3in
310 120 67
45 344g
3in
350 117 67
39 330g
3in
320 119 82
46 396g
screen
3in
3in
3in
3in
3in
n/a 122.6 70.7 43.3 402g
3in
330 122 69
37 420g
3in
360 127 96
58 375g
3in
23 6
3in
25 10
3in
Mic4/3 25,600
1080p
Sony E 16,000
1080p
Solid build, retro design and high image quality
16MP
The re-imagining of the classic Olympus OM
16MP
25,600
1080p
Mic4/3 25,600
49 6
3in
3in
3in
3in
4.8in
3in
3in
1080p
35 9
25,600
1080p
49 7
Mic4/3 25,600
4096p
49 12
Worlds frst 3G/4G Android CSC
20.3MP Samsung 25,600
1080p
105 8.6
Fully weather-proofed and Wi-f enabled
16.8MP Mic 4/3
25600
1080p
81 10
One of the lightest, smallest full frame cameras
24.3MP Sony E
25,600
1080p
117 5
Excellent image quality
16MP
Leica T 12.500 1080p
195 5
Offers innovations including a hybrid viewfnder
16MP
Fuji X
43 287g
16MP
46 277g
49 8
24MP
n/a 109 82
360 120 67
Responsive touchscreen and superb video mode
dImensIons
230 109 66.5 32 298g

220 113 71.5 37.5 356g
1080p
DSLR-level control in a compact frame
55
51,200
41 284g
36 283g
1080p
16MP
400 110 63
6400
Both 4K video quality and still images are impressive
14.2MP Nikon 1
16.3MP Fuji X
3.3in
High-end CSC is waterproof and shockproof
Has over 60 improvements on the X-E1
Fuji X
31 4.3
16.3MP Fuji X
3in
3in
1080p
One of the best premium CSCs on the market
300 99.5 60 28.5 192g

350 117 66.5 39 330g
18MP Canon M 25,600
sensor lens maX Iso
A DSLR-style CSC with a burst rate of up to 8fps
36 296g
summary
No built-in EVF but has fast AF plus high quality images 16MP
110 63
Shares much of its functionality with the EOS 650D DSLR
With fast AF and tiltable EVF, delivers excellent results
vIdeo
81 8
3in
CompaCt SyStem CameRaS 700-1700
name & model
shootInG
41 60
Nikon
Weight
Weight
10/14
vIdeo
1080p
10MP
depth
(mm)
depth
(mm)
350
sensor lens maX Iso
Height
(mm)
Height
(mm)
12/13
summary
Update to J1 boasts more creative options
Width
(mm)
Width
(mm)
350
score
3.5H
2.5H
4H
4H
3H
3H
4H
articulated
articulated
touchscreen
touchscreen
Battery
lifelife
(shots)
Battery
(shots)
04/14
viewfnder
Wi-f
Wi-f
GPs
GPs
Flash
Flash
300
aF Points
Burst
(FPs)
Burst (FPs)
viewfnder
PaGe rrP tested
nikon 1 J2
sony Alpha 3000
samsung NX3000
Panasonic Lumix GF6 Pentax Q7
olympus PEN E-PM2 samsung NX Mini
sony Alpha 5000
sony A58
nikon 1 S1
olympus PEN E-PL5
p65
nikon 1 J4
Fujiflm X-A1
samsung NX300
nikon 1 J3
sony NEX-5T
p38
sony Alpha 5100
Panasonic Lumix G6
sony NEX-5R
Panasonic Lumix GM1 p66
sony Alpha 6000
Fujiflm X-M1
olympus OM-D E-M10 -
stereo mic input

aFstereo
Points mic input
name & model
aF Points
CompaCt SyStem CameRaS 300-699
stereo mic input
l i s t i n g s
l
l
350 129 89.8 46.7 440g

l
540 133 93.4 82 470g

330 110 58.8 38.2 229g
350 129 75
l
l
3.7in
38 350g
tbc 121 89.6 41.9 373g

350 129 75
37 350g
500 133 93
84 560g
137 101 26 495g
330 130 93.5 63 497g

340 127 94
48 474g
134 69
33 384g
25,600
1080p
49 6
36.4MP Sony E 25,600
1080p
25 4
3in
340 127 94
The Sony Alpha 7S is the latest Sony full frame CSC 12.4MP Sony E 409,600 1080p
25 5
3in
380 127 94.4 48.2 489g
One of the lightest, smallest full frame cameras
300 139 81.8 42.5 450g
3in
48 465g
L E N S
L I S T I N G S
LENSES
A DSLR or Compact System Camera is hugely affected by the lens attached to the front, as the
light hitting the sensor impacts focus, exposure and image quality. Cast your eyes over our lens
listings to nd out which is best for you before you make a purchase
MAGNIFICATION
FACTOR
BUILT-IN
FOCUS MOTOR
If youre changing from a 35mm

SLR, your lenses wont provide the
same eld of view on a DSLR unless
you have a full-frame model. So
for Nikon, Pentax and Sony DSLRs,
magnify the focal length by 1.5x to
get a 35mm equivalent; for Canon
1.6x and Sigma 1.7x.
Some lenses incorporate a motor

within the lens to drive the
autofocusing, while others are
powered by motors within the camera.
The former will focus quicker than the
latter. Canon lens motors are USM
(Ultrasonic Motor), Sigma HSM
(Hypersonic-Motor).
35MM
COMPATIBILITY
MAXIMUM
APERTURE
Most digital sensors are

smaller than 35mm,
which is why lenses
designed for digital
can be smaller.
Wider apertures mean

you can use faster,
motion-stopping
shutter speeds.
FILTER THREAD
In order to correct for colour casts

or create more contrast, a screw-in
lter can be used. The thread at the
front of the camera will have a
diameter, in mm, which will allow
you to attach a variety of lters or
adapters to the lens.
LENS MOUNTS
Each manufacturer has its own

lens mount and most arent
compatible with one another. For
example, a Canon DSLR cant use
Nikon lenses, though you can use
independent brands if you get
them with the right mount.
LENS TYPES EXPLAINED
FIXED FOCAL
LENGTH (PRIME)
Fixed lenses offer wider

maximum apertures and
superior image quality. A
50mm lens is perfect for
low light, 85-105mm is
ideal for portraits, while a
300mm+ tele is for sports
shooters.
TELEPHOTO ZOOM
Telephotos are great for

sport and wildlife, while
short teles are good
for portraits. Telephoto
lenses magnify camera
shake, so look for one
with Image Stabilisation
to ensure you achieve the
sharpest shots possible.
STANDARD ZOOM
Most DSLRs come with

a standard zoom which
spans from moderate
wideangle to short
telephoto. These kit
lenses are ne for most
purposes, but there are
alternatives that offer
superior image quality.
SUPERZOOMS
While they rarely

compare with shorter
lenses in image quality,
a superzoom offers
convenience. Great for
travelling when youre
concious of weight,
dont expect pin-sharp,
aberration-free images.
WIDEANGLE ZOOM
Wideangle lenses make
subjects seem further
away, enabling you to
get more into the shot
perfect for landscapes
and architecture. The
most popular wideangle
zooms are the 10-20mm
and 12-24mm ranges.
MACRO LENSES
A true macro lens lets

you reproduce your
subject at life-size (1:1)
or half life-size (1:2) on
the sensor. Macro lenses
come in various focal
lengths and extension
tubes can offer a greater
magnication.
LENS SUFFIX GUIDE USED BY MANUFACTURERS

AD Tamron Anomalous Dispersion elements
AF-DC Nikon defocus feature
AF-S Nikon lenses with Silent Wave Motor
APO Sigma Apochromatic lenses
ASL Tamron lenses featuring aspherical elements
ASP Sigma lenses featuring aspherical elements
AT-X Tokinas Advanced Technology Extra Pro
CRC Nikons Close Range Correction system
D
Nikon lenses that communicate distance info
DA Pentax lenses optimised for APS-C sized sensors
DC Sigmas designation for digital lenses
DF Sigma lenses with dual focus facility
DG
Di
Di-II
DO
DT
DX
ED
EF
EF-S
EX
FC
FE
Sigmas designation for all lenses

Tamron lenses for full-frame sensors
Tamron lenses designed for APS-C
Canon diffractive optical element lenses
Sony lenses for APS-C sized sensors
Nikons designation for digital lenses
Low Dispersion elements
Canons full-frame lenses
Canon lenses for APS-C sized sensors
Sigmas Excellent range
Tokinas Focus Clutch Mechanism
Canons sheye lenses
FE
G
HF
HID
HLD
HSM
IF
IRF
IS
L
LD
M-OIS
Tokina oating element lenses

Nikon lenses without an aperture ring
Sigma Helical Focusing
Tamrons High Index Dispersion glass
Tokina low dispersion glass
Sigmas Hypersonic Motor
Internal Focusing
Tokinas Internal Rear Focusing lenses
Canons Image Stabilised lenses
Canons Luxury range of lenses
Tamron Low Dispersion glass
Mega Optical Image Stabilisation
N
OS
PRO
RF
SD
SDM
SF
SHM
SIC
SLD
SP
SSM
Nikons Nano Crystal Coating

Sigmas Optically Stabilised lenses
Tokinas Professional range of lenses
Sigma & Nikon Rear Focusing
Tokinas Super Low Dispersion element
Pentaxs Sonic Direct Drive Motor
Canon lenses with Softfocus feature
Tamrons Super Hybrid Mount
Nikons Super Integrated Coating
Sigma Super Low Dispersion elements
Tamrons Super Performance range
Sony/Minolta Supersonic Motor lenses
SWD
SWM
TS-E
UD
USM
VC
VR
XR
ZL
Olympus Supersonic Wave Drive

Nikon lenses with a Silent Wave Motor
Canon Tilt and Shift lens
Canon Ultra Low Dispersion glass
Canon lenses with an Ultrasonic Motor
Tamrons Vibration Compensation
Nikons Vibration Reduction feature
Tamron Extra Refractive Index glass
Tamrons Zoom Lock feature
EF 35mm f/1.4 L USM

EF 40mm f/2.8 STM
TS-E 45mm f/2.8
EF 50mm f/1.2 L USM
EF 50mm f/1.4 USM
EF 50mm f/1.8
EF 50mm f/2.5 Macro
EF-S 55-250mm f/4-5.6 IS II
EF-S 60mm f/2.8 Macro USM
mp-E65 f/2.8 1-5x Macro
EF 70-200mm f/2.8 L USM
EF 70-200mm f/4 L IS USM
EF 70-200mm f/2.8 L IS II USM
EF 70-200mm f/4 L USM
EF 70-300mm f/4.5-5.6 IS USM
EF 70-300mm f/4-5.6 L IS USM
EF 70-300mm f/4.5-5.6 DO IS USM
EF 75-300mm f/4-5.6 III
EF 75-300mm f/4-5.6 III USM
EF 85mm f/1.2 L II USM
EF 85mm f/1.8 USM
TS-E 90mm f/2.8
EF 100mm f/2 USM
EF 100mm f/2.8 Macro USM
EF 100mm f/2.8 L Macro IS USM
EF 100-400mm f/4.5-5.6 L IS USM
EF 135mm f/2 L USM
EF 135mm f/2.8 SF
EF 180mm f/3.5 L Macro USM
EF 200mm f/2 L IS USM
EF 300mm f/2.8 L IS II USM
EF 300mm f/4 L IS USM
EF 400mm f/2.8 L IS USM
EF 400mm f/4 DO IS USM
EF 400mm f/5.6 L USM
EF 500mm f/4 L IS USM II
1720
230
1670
1910
450
130
350
330
540
1250
1540
1450
2800
790
470
1600
1700
300
350
2640
470
1670
559
650
1060
1940
1360
520
1870
7350
960
7500
1740
9810
8000
1660
5299
TESTEd ScorE Summary
NYT
NYT
NYT
NYT
2/10
NYT
NYT
1/12
8/06
NYT
NYT
11/11
10/10
NYT
11/10
7/11
NYT
NYT
9/07
8/06
2/11
NYT
NYT
11/09
1/13
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
NYT
A good performer, with solid MTF curves and minimal chromatic aberration
Updated version of above lens, with impressive resolution at f/8 but less so wide open
4-stop image stabilisation and Super Spectra coatings, together with a useful range
Mark II of above lens, and a good performer with strong results at f/8 in particular
Versatile and with a useful IS system, this is a very good ultra-wideangle zoom for full frame cameras
Tilt and shift optic with independent tilt and shift rotation and redesigned coatings
4H
4H
3H
3.5H
Designed to match the needs of demanding professionals and does so with ease
Very capable lens with three-stop image stabilisation, Super Spectra coating and a circular aperture
Doesnt really live up to its promises. The zoom range is excellent but there are better alternatives
Given the low price of this zoom, its results are very impressive
4-stop image stabilisation and automatic panning and tripod detection
4H Automatic panning detection (for image stabilisation) and a useful 11x zoom range
Wideangle lens with a foating rear focusing system and a USM motor
Subwavelength structure coating, together with UD and aspherical elements
4H Small wideangle optic with image stabilization
Tilt and shift optic with independent tilt and shift rotation and redesigned coatings
4.5H A solid performer with an excellent reputation that only years in the feld can secure
5H Professional quality standard zoom lens with a fast aperture
L series zoom said to be compact, portable and aimed at both professionals and amateurs
4.5H An excellent all-round performer, and keenly priced too
USM motor and an aspherical element, together with a wide maximum aperture
3.5H Lightweight and inexpensive lens, with a single aspherical element

4.5H Excellent optical performance, with the beneft of image stabilisation
L-series optic with expansive range, image stabilisation and a circular aperture
4.5H A cut-price fxed focal length lens

First 35mm prime from Canon to feature an optical stabilisation system
L-series construction and a wide maximum aperture, with a ring-type USM
A portable and versatile compact pancake lens. A fast maximum aperture enables low-light shooting
Wide-aperture tilt and shift optic with a rear focusing system
Very wide maximum aperture and Super Spectra coatings, and a circular aperture
5H Brilliant performer, with a highly consistent set of MTF curves. AF motor is a tad noisy though
Lightest EF lens in the range, with wide maximum aperture and a Micro Motor
Compact macro lens with foating system
4H Ideal budget addition to the 18-55mm kit lens, with image stabilisation and USM
4H Great build and optical quality, with fast, accurate and near-silent focusing
Macro lens designed to achieve a magnifcation greater than 1x without accessories

Non-stabilised L-series optic, with rear focusing and four UD elements
5H A superb option for the serious sports and action photographer

5H A great lens but also a costly one. Peak resolution at 0.4 cycles-per-pixel is simply amazing
A cheaper L-series alternative to the f/2.8 versions available
4H A great level of sharpness and only the small apertures should be avoided
5H An L series lens with a highly durable outer shell
3-layer diffractive optical element and image stabilisation
Essentially the same lens as the 75-300mm f/4.0-5.6 III USM but with no USM
2.5H Good but not outstanding. The inclusion of a metal lens mount is positive, though
4H A well-crafted lens, with fast and quiet AF with good vignetting and distortion control
5H Non-rotating front ring thanks to rear focusing system, as well as USM
Said to be the worlds frst 35mm-format telephoto lens with tilt and shift movements
A medium telephoto lens with a wide aperture, making it ideal for portraits
4H A solid performer, but weak at f/2.8 (which is potentially good for portraits)
5H Stunning MTF fgures from this pro-grade macro optic
L-series construction and optics, including fuorite and Super UD elements
L-series construction with two UD elements and wide maximum aperture

Soft-focus feature with two degrees of softness
L-series macro lens with inner focusing system and USM technology
5-stop Image Stabilisation with tripod detection and Super Spectra lens coatings
Two UD elements and a rear-focusing system in this L-series optic

4 stop Image stabilisation makes this lens perfect for action photography
Two-stop image stabilisation with separate mode for panning moving subjects
Super telephoto with ring-type USM, one fourite element and image stabilisation
Multi-layer diffractive optical element to correct for chromatic aberration
Super UD and UD elements, as well as a detachable tripod mount and built-in hood
Full-time manual focus, a single fourite element and dust and moisture protection
n/a
77
n/a
72
82
77
77
77
77
67
58
67
72
72
77
58
82
77
82
77
77
58
52
72
77
52
67
72
52
72
72
58
52
52
58
52
58
77
67
77
67
58
67
58
58
58
72
58
58
58
58
67
77
72
52
72
52
72
52
77
52
52
77
52
78.5
83.5
80
81.6
88.5
82.6
88.9
83.5
83.5
78.5
68.5
75.4
78.6
77.5
93.5
67.5
88.5
83.2
88.5
83.4
83.5
73.6
67.4
78.4
92
67.4
62.6
79
68.2
81
85.8
73.8
68.2
67.6
70
73
81
84.6
76
88.8
76
76
89
82.4
71
71
91.5
75
73.6
75
79
77.7
92
82.5
69.2
82.5
128
83.2
128
90
163
128
90
146
Weight
Length (mm)
15
24
20
35
28
28
25
28
35
35
25
45
45
25
25
25
21
38
38
38
45
25
30
50
70
25
24
30
30
40
45
45
45
23
110
20
24
150
120
120
120
150
120
140
150
150
95
85
50
90
31
30
180
90
130
48
190
150
200
150
300
350
350
450
mouNT
Impressive-looking fsheye zoom lens from Canon
4H
4.5H
4H
4.5H
4H
Width (mm)
1499 NYT
9/09
990
2810 7/10
3/11
900
1790 6/10
1199 9/14
2920 NYT
940 11/08
2/13
795
600 11/08
220 11/08
NYT
500
740 10/11
NYT
610
2010 NYT
750 05/13
2550 NYT
1540 7/09
2300 XMAS 12
1499 NYT
1049 3/13
NYT
570
730 05/13
560 12/09
3290 NYT
3/12
320
NYT
799
Filter Thread
(mm)
rrp
EF 8-15mm f/4 L USM

EF-S 10-22mm f/3.5-4.5 USM
EF-S 15-85mm f/3.5-5.6 IS USM
EF 16-35mm f/2.8 L II USM
EF 16-35mm f/4L IS USM
TS-E 17mm f/4 L
EF 17-40mm f/4 L USM
EF-S 17-55mm f/2.8 IS USM
EF-S 17-85mm f/4-5.6 IS USM
EF-S 18-55mm f/3.5-5.6 IS II
EF-S 18-135mm f/3.5-5.6 IS
EF-S 18-200mm f/3.5-5.6 IS
EF 20mm f/2.8 USM
EF 24mm f/2.8 IS USM
TS-E 24mm f/3.5 L II
EF 24-70mm f/2.8 L USM
EF 24-70mm f/2.8 L II USM
EF 28mm f/1.8 USM
EF 28mm f/2.8 IS USM
EF 28-135mm f/3.5-5.6 IS USM
EF 28-300mm f/3.5-5.6 L IS USM
EF 35mm f/2
EF 35mm f/2 IS USM
l i s t i n g s
Min Focus (cm)
LENS
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
CANON
Image Stabilisation
l e n s
dImENSIoNS
83
89.8
94
87.5
111.6
112.8
106.9
96.8
110.6
92
70
101
102
70.6
86.9
48.5
106.9
123.5
113
93
107
55.6
42.5
96.8
184
42.5
77.9
86
22.8
90.1
65.5
50.5
41
63
108
69.8
98
193.6
172
199
172
143
143
99.9
122
122
84.0
71.5
88
73.5
119
123
189
112
98.4
186.6
208
136.2
248
221
349
232.7
256.5
387
540g
385g
645g
575g
635g
615g
820g
500g
645g
475g
200g
455g
595g
405g
650g
270g
780g
950g
805g
600g
670g
310g
185g
540g
1670g
210g
335g
580g
130g
645g
580g
290g
130g
280g
390g
335g
710g
1310g
760g
1490g
705g
630g
1050g
720g
480g
480g
1025g
425g
565g
460g
600g
625g
1380g
750g
390g
1090g
2520g
765g
2400g
1190g
5370g
1940g
1250g
3870g
rrP
TESTEd SCorE Summary
DX format fsheye lens with Nikons Close-Range Correction system and ED glass
NYT
678
834 10/09 4H MTF performance is good from wide open to f/11, only breaking down past f/22
1044 9/09
4H This venerable optic may be a little weak at f/4, but otherwise its a good performer
1554 7/10
5H A really nice lens that handles well and offers excellent image quality
1670 2/08
5H A remarkable piece of kit, producing sharp images with little chromatic aberration
Full-frame fsheye lens with Close-Range Correction system and 25cm focus distance
NYT
762
1072 6/10
5H A fantastic lens that deserves to be taken seriously, with very little CA throughout
3/11
574
4H Boasting Nikons second-generation VR II technology and Super Integrated Coating
High-quality wideangle zoom for full-frame Nikon users
1878 NYT
1356 3/07
4H A higher quality standard zoom for DX-format DSLRs
669 Xmas13 5H Wideangle zoom with instant manual-focus override for full-frame DSLRs
156 12/08 3.5H Entry-level standard zoom lens
5/08
188
4H An improvement over the above version, with excellent resolution the beneft of VR
Popular 3x zoom lens that is remarkably compact and lightweight, offering great portability
NYT
229
8/12 4.5H Kit lens for Nikon D90 & D7000 with Silent Wave Motor and Vibration Reduction
292
762 10/11 4.5H 4-stop VR II system, two ED and three aspherical elements in this DX superzoom lens
850 12/12 4H DX-format zoom lens with wideangle to super-telephoto reach
New DX-format 16.7x zoom with super-telephoto reach a compact walkabout lens
NYT
849
Compact wideangle lens with Nikons Close-Range Correction system
NYT
584
Compact wide lens with Close-Range Correction system
NYT
427
1990 8/10
5H Nothing short of stunning. Aside from its high price there is very little to dislike about this optic
Perspective Control lens with Nano Crystal Coating and electronic control over aperture
1774 NYT
1565 7/09
5H An excellent set of MTF curves that show outstanding consistency, easily justifying the price of this lens
520 XMAS 12 5H FX-format standard zoom with Auto Tripod detection and VR
1072 5/11
5H Constant maximum aperture of f/4 and the addition of VR makes this a superb lens
4/13
619
5H If you crave a wide aperture and prefer a single focal length then this Nikon prime delivers
Compact wideangle lens with a minimum focusing distance of 25cm
NYT
282
1/13 4.5H Technical testing shows this zoom to be, as Nikon claims, the ideal walkabout lens
889
3/12
208
5H Designed for DX-format DSLRs, a great standard prime lens
Fast FX-format prime lens with bright f/1.8 aperture. Versatile and lightweight
NYT
TBC
9/08
324
3H At wide-aperture settings this optic achieves respectable resolution, which decreases with aperture
1735 9/12
5H A Nano Crystal-coated lens designed for the FX range
250 12/11 5H A budget-priced macro lens that delivers the goods on multiple fronts
Perspective Control lens with ED glass and Nano Crystal Coating
1774 NYT
Ultra-fast f/1.2 aperture prime lens
NYT
855
2/10
292
5H Entry-level prime puts in a fne performance while offering backwards compatibility with AI cameras
2/10
376
5H Internal focusing and superior AF drive makes this a good alternative to the D-series 50mm f/1.4
Compact, lightweight, affordable prime, will stop down to f/22
NYT
135
9/11
200
5H A cut price standard lens for FX shooters or a short telephoto on DX-format DSLRs
Macro lens with 1/2 maximum reproduction ratio
NYT
625
8/07 3.5H Designed for DX-format cameras, with Vibration Reduction and SWM technology
314
1/12
378
3H Offers a wide telephoto coverage, but better options available
1599 2/14
4H FX-format full frame premium prime lens with large f/1.4 aperture
8/06
405
5H Nikons most compact Micro lens, with Close Range Correction (CRC) system
Micro lens with 1:1 repro ratio, as well as a Silent Wave Motor and Super ED glass
NYT
500
2085 10/10 5H Very little to fault here, with stunning image quality and consistent results at different focal lengths
1180 7/13
5H Latest 70-200mm zoom offers third-generation VR and weight savings over its more expensive f/2.8 cousin
556 11/10 4H Feature-packed optic, with a VR II system, 9-bladed diaphragm, SWM and ED glass
3-stop Vibration Reduction with panning detection and a nine-bladed diaphragm
1512 NYT
DX-format Micro lens with a 1:1 reproduction ratio, VR II system and ED glass
NYT
522
1532 2/11
5H Fast mid-tele lens with an internal focusing system and rounded diaphragm
Portable medium telephoto - ideal for portraits
NYT
385
5/12
470
5H Rear-focusing system and distance window in this medium telephoto lens
782 11/09 4.5H A very sharp lens, with swift and quiet focusing and consistent MFT results
A portrait lens with defocus control
NYT
980
Defocus-Image Control and a rounded diaphragm in this telephoto optic
1232 NYT
Useful telephoto length and internal focusing technology, together with ED glass
NYT
782
1:1 reproduction range in this Micro lens, with a Close-Range Correction system
1429 NYT
A full frame lens offering ghost-reducing Nano Crystal coating
5412 NYT
Light, compact AF-S telephoto lens with ED glass elements
1230 NYT
This lens promises fast and quiet AF, and is ftted with Nikons latest VR II system
5209 NYT
14
24
30
20
28
25
28
38
28
36
28
28
28
28
na
50
45
48
25
30
25
21
38
38
45
25
25
50
30
25
25
30
20
25
50
45
45
45
45
25
110
140
58
22
18
140
1000
n/a
230
28
85
85
80
31
90
110
150
50
190
145
230
n/a
77
77
n/a
n/a
n/a
77
67
77
77
77
52
52
52
67
72
77
67
62
52
77
77
77
72
77
67
52
77
52
58
52
67
52
77
52
52
58
52
58
52
52
58
72
62
62
77
67
67
77
52
77
62
67
62
n/a
n/a
72
62
52
77
52
63
82.5
82.5
87
98
63
82.5
72
82.5
85.5
83
73
70.5
66
76
77
83
78.5
69
64.5
83
82.5
83
78
84
73
65
83
70
72
64.5
83
68.5
83.5
68.5
64.5
73.5
63
72
63.5
73
76.5
85
70
73
87
78
80
91
73
86.5
71.5
80
83
79
79
78.5
76
124
90
124
mouNT
Weight
dImENSIoNS
Length (mm)
Width (mm)
LENS
10.5mm f/2.8 G ED DX Fisheye

10-24mm f/3.5-4.5 G ED AF-S
12-24mm f/4 G ED AF-S DX
14mm f/2.8 D ED AF
14-24mm f/2.8 G ED AF-S
16mm f/2.8 D AF Fisheye
16-35mm f/4 G ED AF-S VR
16-85mm f/3.5-5.6 G ED VR AF-S DX
17-35mm f/2.8 D ED-IF AF-S
17-55mm f/2.8 G ED-IF AF-S DX
18-35mm f/3.5-4.5 G ED AF-S
18-55mm f/3.5-5.6 G II AF-S DX
18-55mm f/3.5-5.6 G VR AF-S DX
18-55mm f/3.5-5.6 G VR II AF-S DX
18-105mm f/3.5-5.6 G ED VR AF-S DX
18-200mm f/3.5-5.6 G IF-ED AF-S VR DX
18-300mm f/3.5-5.6 G ED-IF VR
18-300mm f/3.5-6.3 G ED VR
20mm f/2.8 D AF
24mm f/2.8 D AF
24mm f/1.4 G ED AF-S
24mm PC-E f/3.5 D ED PC-E
24-70mm f/2.8 G ED AF-S
24-85mm f/3.5-4.5 G ED VR
24-120mm f/4 G ED AF-S VR
28mm f/2.8 D AF
28-300mm f/3.5-5.6 G ED AF-S VR
35mm f/1.8 G AF-S DX
35mm f/2 D AF
40mm f/2.8 G AF-S DX Micro
45mm PC-E f/2.8 D ED PC-E
50mm f/1.2
50mm f/1.4 D AF
50mm f/1.4 G AF-S
50mm f/1.8 D AF
50mm f/1.8 G AF-S
55mm f/2.8 Micro
55-200mm f/4-5.6 G VR AF-S DX
55-300mm f/4.5-5.6 G VR AF-S DX
58mm f/1.4 G AF-S
60mm f/2.8 D AF Micro
60mm f/2.8 G ED AF-S Micro
70-200mm f/2.8 G ED VR II AF-S
70-200mm f/4 G ED VR
70-300mm f/4.5-5.6 G ED AF-S VR
80-400mm f/4.5-5.6 D ED VR AF
85mm f/3.5 G EDAF-S DX VR
85mm f/1.4 G AF-S
85mm f/1.8D
85mm f/1.8 G AF-S
105mm f/2.8 G AF-S VR II Micro
105mm f/2 D AF DC
135mm f/2 D AF DC
180mm f/2.8 D ED-IF AF
200mm f/4 D ED-IF AF Micro
200mm f/2 G ED AF-S VR II
300mm f/4 ED-IF AF-S
300mm f/2.8 G ED AF-S VR II
Filter Thread
(mm)
Image Stabilisation
NIKON
Min Focus (cm)
l i s t i n g s
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
l e n s
62.5
87
90
86.5
131.5
57
125
85
106
110.5
95
79.5
74
59.5
89
96.5
120
99
42.5
46
88.5
108
133
82
103
80
44.5
114
52.5
71.5
43.5
89.5
64.5
112
47.5
42.5
54
39
52.5
62
99.5
123
70
74.5
89
209
178.5
143.5
171
98.5
84
58.5
73
116
111
120
144
104.5
203
222.5
267.5
300g
460g
485g
670g
970g
290g
685g
485g
745g
755g
385g
265g
205g
195g
420g
560g
830g
550g
270g
270g
620g
730g
900g
465g
710g
330g
205g
800g
200g
305g
205g
600g
235g
780g
360g
230g
280g
160g
185g
290g
335g
530g
385g
440g
425g
1540g
850g
745g
1340g
355g
595g
380g
350g
720g
640g
815g
760g
1190g
2930g
1440g
2900g
1900
tEStED ScorE SummAry
8mm f/3.5 ED Fisheye
930
NYT
9-18mm f/4-5.6
640
9/09
6/08
n/a
Weight
25
mouNt
5H An excellently constructed objective, with image quality to match
Length (mm)
Width (mm)
Filter Thread
(mm)
rrp
7-14mm f/4 ED
l i s t i n g s
Min Focus (cm)
LENS
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
olympus
Image Stabilisation
l e n s
DImENSIoNS
86.5 119.5 780g
13
n/a
79
77
485g
4H Good results up to f/11, past which point resolution drops a little
25
72
79.5
73
280g
4H Offers electromagnetic zoom mechanism plus variable zoom speed
20
72
57
83
211g
25
72
79.5
98.5
575g
485g
Diagonal fsheye lens, offering a 180-degree view and a splash-resistant construction
12-50mm f/3.5-6.3 ED
370
5/13
12-60mm f/2.8-4 ED SWD
1130
11/08
11-22mm f/2.8-3.5
1020
NYT
Wide angle (2x) addition to Olympus E-System lens range
28
72
75
92.5
14-35mm f/2 ED SWD
2400
NYT
Pro lens with Supersonic Wave Drive AF system and dust and splashproof casing
35
77
86
123
915g
14-42mm f/3.5-5.6 ED
285
NYT
Small, light lens especially designed for the compact Four Thirds system standard
25
58
65
61
190g
4.5H While not quite as consistent as the 14-54mm, this optic is perhaps more versatile
14-54mm II f/2.8-3.5 II
660
12/09
4H An affordable lens with great resolution only CA control lets it down a touch
22
67
74.5
88.5
440g
18-180mm f/3.5-6.3
560
6/10
4H A good performer everywhere except at 180mm, with a solid feel to it
45
62
78
84.5
435g
25mm f/2.8 Pancake
270
9/08
20
43
64
23.5
95g
35mm f/3.5 Macro
270
NYT
14
52
71
53
163g
35-100mm f/2
2630
NYT
One Super ED and four ED elements inside this telephoto optic
140
77
96.5 213.5 1650g
40-150mm f/4-5.6 ED
300
NYT
ED and aspherical elements in this optic, together with an internal focusing system
90
58
65.5
72
220g
50mm f/2 ED Macro
600
8/06
24
52
71
61.5
300g
50-200mm f/2.8-3.5 ED SWD
1300
NYT
Supersonic Wave Drive focusing system and an equivalent focal range of 100-400mm
120
67
86.5
157
995g
620g
3.5H Excellent image quality from such a tiny optic, but the lens cap is a little fddly
Macro lens equivalent to 70mm on a full-frame camera
3.5H A fast, high-quality lens, with excellent MTF curves and low chromatic aberration
450
NYT
Three ED elements and multi-coatings feature in this popular tele-zoom optic
96
58
80
127
6200
NYT
Dust and splashproof lens with 3 ED elements and a 180-500mm equivalent range
250
105
124
276 3270g
150mm f/2 ED
2650
NYT
Splashproof telephoto lens with a wide maximum aperture
140
82
100
150 1610g
300mm f/2.8 ED
7800
NYT
Splashproof telephoto lens with three ED elements and an inner focusing system
240
43
129
281 3290g
Filter Thread
(mm)
Width (mm)
LENS
rrp
DA 10-17mm f/3.5-4.5 smc ED IF
590
NYT
Fisheye zoom lens with Super Protection coating and Quick Shift manual focus
14
n/a
71.5
68
320g
DA 12-24mm f/4 smc ED AL IF
1050
NYT
2 aspherical elements, ELD glass and a constant aperture of f/4 in this wide zoom
30
77
83.5
87.5
430g
17
77
83.5
69
420g
18
49
39.5
63
212g
30
77
98.5
84
600g
28
67
75
93.5
485g
25
52
68
67.5
220g
25
52
68.5
67.5
230g
405g
tEStED ScorE SummAry
DA 14mm f/2.8 smc ED IF
730
7/10
DA 15mm f/4 smc ED AL Limited
820
NYT
DA* 16-50mm f/2.8 smc ED AL IF SDM
950
1/09
DA 17-70mm f/4 smc AL IF SDM
630
NYT
4.5H Best performance lies between f/5.6 and f/11, but good results can be had at f/4 too
Limited edition lens with hybrid aspherical and extra-low dispersion elements
3.5H A nice balance and robust feel, but poor sharpness at f/2.8 (which signifcantly improves from f/4 onwards)
Featuring Pentaxs Supersonic Direct-drive (SDM) focusing system
3.5H Something of a bargain. Only the maximum apertures and awkward manual focusing really let it down
mouNt
Weight
Length (mm)
Min Focus (cm)
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
pENTAX
Image Stabilisation
70-300mm f/4-5.6 ED
90-250mm f/2.8 ED
DImENSIoNS
DA 18-55mm f/3.5.5.6 smc II ED AL IF
220
1/09
DA 18-55mm f/3.5.5.6 smc AL WR
229
NYT
DA 18-135mm f/3.5-5.6 DA ED DC WR
600
6/11
40
62
73
76
DA 18-270mm f/3.5-6.3 smc EDSDM
699
NYT
15x superzoom for companys K-mount DSLRs featuring two extra-low dispersion (ED) elements
49
62
76
89
453g
DA 20-40mm f/2.8-4 ED Limited DC WR
829
NYT
With state-of-the-art HD coating, a completely round-shaped diaphragm, and weather-resistant
28
55
68.5
71
283g
140g
A weather resistant construction and an aspherical element, as well as SP coating
3.5H A weather resistant mid-range zoom lens
DA 21mm f/3.2 smc AL Limited
600
NYT
This limited-edition optic offers a foating element for extra-close focusing
20
49
63
25
FA 31mm f/1.8 smc AL Limited
1149
NYT
Aluminium body; when used on a Pentax DSLR offers a perspective similar to that of the human eye
30
58
68.5
65
345g
DA 35mm f/2.8 smc Macro
640
9/08
14
49
46.5
63
215g
DA 35mm f/2.4 smc DS AL
180
3/12
30
49
63
45
124g
DA 40mm f/2.8 smc Limited
450
NYT
Pancake lens with SMC coating and Quick Shift focusing system
40
49
63
15
90g
DA 40mm XS f/2.8 XS
325
NYT
The worlds smallest fxed focal length lens
40
N/A
62.9
52g
FA 43mm f/1.9 smc Limited
729
NYT
Focal length is ideal for portraits as well as everyday use, and features an smc multi-layer coating
45
49
27
64
155g
FA 50mm f/1.4 smc
399
NYT
High quality fast prime. The FA indicates that its image circle covers the 35mm full-frame format
45
49
63.5
38
220g
DA 50mm f/1.8 smc DA
249
NYT
Affordable short telephoto lens ideal for portraits
45
52
28.5
63
122g
DFA 50mm f/2.8 smc Macro
550
NYT
DA* 50-135mm f/2.8 smc ED IF SDM
1200
11/12
DA 50-200mm f/4-5.6 smc ED WR
210
NYT
DA* 55mm f/1.4 smc SDM
800
2/10
4.5H Despite slight edge softness, this lens performs excellently and is a pleasure to use
5H A budget price prime lens for beginners
Macro lens capable of 1:1 reproduction and with a Quick Shift focus mechanism
4H Constant f/2.8 aperture; well suited to portraiture and mid-range action subjects
Weather-resistant construction, Quick Shift focus system and an SP coating
4.5H Even despite questions about the particular sample tested, this lens scores highly
4H The lens boasts a useful focal range, as well as a dirt-resistant SP coating
19
49
60
67.5
265g
100
67
76.5
136
765g
n/a
49
69
79.5
285g
45
58
70.5
66
375g
140
58
75
111.5
440g
140
58
71
111.5
466g
110
67
167.5
82
1040g
DA 55-300mm f/4-5.8 smc ED
370
10/12
DA 55-300mm f/4-5.8 ED WR
399
NYT
DA 60-250mm f/4 smc ED IF SDM
1450
10/12
DA 70mm f/2.4 smc AL Limited
600
NYT
Medium telephoto lens with an aluminium construction and a Super Protect coating
70
49
63
26
130g
FA 77mm f/1.8 smc Limited
1050
NYT
With Pentaxs Fixed Rear Element Extension focusing system for sharp, crisp images
70
49
48
64
270g
D-FA 100mm f/2.8 Macro
700
NYT
Designed for both digital and flm cameras, this macro lens boasts a 1:1 repro ratio
30
49
67.5
80.5
345g
D-FA 100mm f/2.8 Macro WR
680
11/12
30
49
65
80.5
340g
DA* 200mm f/2.8 smc ED IF SDM
1000
8/12
120
77
83
134
825g
DA* 300mm f/4 smc ED IF SDM
1300
NYT
140
77
83
184
1070g
Weatherproof HD telephoto lens featuring quick shift focusing system
4.5H With a constant f/4 aperture and an ultrasonic motor for speedy focusing
5H Street price makes this something of a bargain for a true macro offering full-frame coverage
4.5H SDM focusing system on the inside, and dirtproof and splashproof on the outside
This tele optic promises ultrasonic focus and high image quality thanks to ED glass
l i s t i n g s
Filter Thread
(mm)
Width (mm)
LENS
rrp
8mm f/3.5 UMC Fisheye CS II
274
NYT
Wideangle fsheye lens designed for digital refex cameras with APS-C sensors
30
N/A
75.
77.8
10mm f/ 2.8 ED AS NCS CS
429
NYT
Features a nano crystal anti-refection coating system and embedded lens hood
24
N/A
86
77
580g
14mm f/2.8 ED UMC
279
NYT
Ultra wideangle manual focus lens; bulb-like front element means no flters can be used
28
N/A
94
87
552g
16mm f/2.0 ED AS UMC CS
389
NYT
Ultra wideangle lens for digital refex cameras and mirrorless compact cameras ftted with APS-C sensors
20
N/A
89.4
83
583g
Fast ultra wideangle manual focus lens comprising 13 lenses arranged in 12 groups
25
77
95
116
680g
Wideangle tilt-shift prime featuring 16 glass elements and f/3.5 maximum aperture
20
82
110.5
113
680g
30
77
83
111
660g
30
77
83
111
660g
100
72
78
72.2
513
tEStEd ScorE Summary
499
24mm f/3.5 AS T-S ED AS UMC
789
NYT
35mm f/1.4 AS UMC
369
3/13
35mm T1.5 AS UMC VDSLR
419
NYT
VDSLR version of 35mm f/1.4 AS UMC with de-clicked aperture ring for silent operation when used for video
85mm f/1.4 IFMC
239
NYT
Short fast telephoto prime, manual focus, aimed at portrait photographers
Weight
Width (mm)
LENS
rrp
4.5mm f/2.8 EX DC
739
NYT
Circular fsheye lens designed for digital, with SLD glass and a gelatin flter holder
13
n/a
76
77.8
470g
8mm f/3.5 EX DG
799
NYT
The worlds only 8mm lens equipped with autofocus also boasts SLD glass
13
n/a
73.5
68.6
400g
105.7 555g
mouNt
Weight
Length (mm)
Filter Thread
(mm)
417g
Min Focus (cm)
Image Stabilisation
SIGMA
4.5H While manual focus only, this prime impressed us in real-world use, making it something of a bargain
dImENSIoNS
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
24mm f/1.4 AS UMC
NYT
mouNt
Length (mm)
Min Focus (cm)
Image Stabilisation
SAMYANG
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
l e n s
dImENSIoNS
24
72
75
13
n/a
75.8
83
475g
24
82
87.3
88.2
520g
5H A fne all-rounder, thanks to MTF curves which stay above 0.25 cycles-per-pixel down to f/16
24
77
83.5
81
470g
8/09
4H A tightly matched set of MTF curves, but APS-C users are advised to look at the 10-20mm instead
28
n/a
87
4H Excellent performance at 8mm which sadly drops at the 16mm end
8-16mm f/4.5-5.6 DC HSM
800
10/10
10mm f/2.8 EX DC
599
NYT
A Hyper Sonic Motor (HSM) and built-in hood in this diagonal fsheye lens
10-20mm f/3.5 EX DC HSM
650
3/10
5H An absolute gem of a lens that deserves a place on every photographers wish list
10-20mm f/4-5.6 EX DG HSM
550
8/09
12-24mm f/4.5-5.6 EX DC HSM
868
102.5 600g
15mm f/2.8 EX DG
629
7/10
4H This fsheye optic puts in a very solid performance not to be dismissed as a gimmick!
15
n/a
73.5
65
370g
17-50mm f/2.8 EX DC OS HSM
689
NYT
FLD and aspherical elements, a constant f/2.8 aperture and Optical Stabilisation
28
77
83.5
92
565g
17-70mm f/2.8-4 DC Macro OS HSM
449
NYT
Redesign of this well-received lens launches the Contemporary range and sees it in more compact form
22
72
79
82
470g
18-35mm f/1.8 DC HSM
799
11/13
5H Said to be the worlds frst constant f/1.8 zoom; DOF equivalent of constant f/2.7 on full frame
28
72
78
121
810g
18-200mm f/3.5-6.3 DC
349
3/08
3H Good CA control at 200mm but otherwise an average performer
18-200mm f/3.5-6.3 DC OS
449
3/08
4H Excellent resolution and consistent performance, but control over CA could be a little better
18-250mm f/3.5-6.3 DC OS HSM
572
1/10
18-250mm f/3.5-6.3 DC Macro OS HSM
500
NYT
Ultra-compact 13.8x high zoom ratio lens designed exclusively for digital SLR cameras
24mm f/1.8 EX DG
529
NYT
Aspherical glass and a dual focus system, together with a wide maximum aperture
24-70mm f/2.8 EX DG IF HSM
899
8/09
5H Not perfect, but an excellent alternative to Canon and Nikons 24-70mm lenses, with great MTF curves
24-105mm f/4 DG OS HSM (A)5
849
3/14
4.5H Serious full frame alternative to own-brand lenses at a lower price but with no compromises in the build
28mm f/1.8 EX DG
449
NYT
A dual focus system and aspherical elements, for both full-frame and APS-C cameras
30mm f/1.4 EX DC HSM
490
9/08
3H A consistent performer, with slightly weaker but not unacceptable performance wide-open
35mm f/1.4 DG HSM Art
799
9/13
5H Large aperture prime; frst lens in companys Art series
5H
4H This lens is a unique design that pays off in truly excellent image quality
459
2/10
50mm f/1.4 DG HSM Art
849
7/14
50mm f/2.8 EX DG Macro
326
NYT
50-150mm f/2.8 EX DC OS HSM
950
12/12
50-200mm f/4-5.6 DC OS HSM
306
5/11
50-500mm f/4.5-6.3 DG OS HSM
1499
4/11
4.5H A very capable set of MTF curves that only shows minor weakness at wide apertures
45
62
70
78.1
405g
45
45
79
100
610g
45
72
79
101
630g
35
62
73.5
88.6
470g
18
77
83.6
82.5
485g
38
82
88.6
94.7
790g
45
82
89
109
885g
20
77
83.6
82.5
500g
40
62
76.6
59
430g
30
67
77
94
665g
45
77
84.5
68.2
505g
40
77
85.4
100
815g
19
55
71.4
66.5
320g
80
77
86.4
197 1340g
110
55
74.4
202
50-180
95
104.4
219 1970g
Floating focusing system and coatings for better colour and to minimise aberrations
4.5H With a useful tele range, this lens combines an Optical Stabiliser with HSM technology
4H A 10x zoom range, SLD elements and compatibility with 1.4x and 2x teleconverters
70mm f/2.8 EX DG Macro
459
NYT
SLD elements and a focus limiter switch in this macro optic
70-200mm f/2.8 EX DG OS HSM
1539
NYT
Two FLD glass elements, said to have the same dispersive properties as fuorite
70-300mm f/4-5.6 APO DG Macro
235
NYT
70-300mm f/4-5.6 DG OS
408
1/12
70-300mm f/4-5.6 DG Macro
173
5/09
85mm f/1.4 EX DG HSM
890
2/11
105mm f/2.8 EX DG OS HSM
649
12/11
120-300mm f/2.8 DG HSM
3599
NYT
First lens in companys Sports series; switch enables adjustment of both focus speed and focus limiter
120-400mm f/4.5-5.6 DG OS HSM
899
NYT
Reaf focusing system and a four-stop Optical Stabiliser in this tele zoom
This lens may be priced above the norm, but it delivers results which are similarly elevated
4H Large-aperture telephoto zoom lens giving the classic 70-200mm focal length
420g
25
62
76
95
140
77
86.4
197 1430g
527g
95
58
76.6
122
150
62
76.5
126
610g
3H Generally unremarkable MTF curves, and particularly poor at 300mm
95
58
76.6
122
545g
5H The Sigmas resolution from f/4 to f/8 is excellent
85
77
86.4
87.6
725g
31.2
62
78
126.4 725g
150-250 105
A 9-bladed diaphragm and two SLD elements in this tele-zoom lens
3.5H Four-stop Optical Stabiliser and Super Multi-Layer coating, and a single SLD element
4.5H An optically-stabilized macro lens
150
550g
124
291
77
92
203 1640g
TBA
999
NYT
38
72
79.6
150
1499
4/13
5H 1:1 macro lens featuring three FLD glass elements and foating inner focusing system
47
86
95
204 1640g
3H Signifcant softness at wide maximum apertures for all focal lengths
220
86
94.7
252 1780g
250
46
119
214.5 2400g
544 5880g
A macro lens offering image stabilization
150-500mm f/5-6.3 DG OS HSM
999
6/09
300mm f/2.8 APO EX DG
2899
NYT
Extra Low Dispersion (ELD) glass, multi-layer coatings and a Hyper Sonic Motor
300-800mm f/5.6 EX DG HSM
6999
NYT
A constant aperture of f/5.6 throughout the expansive 300-800mm zoom range
4799
NYT
Telephoto lens with multi-layer coatings to optimise the characteristics of DSLRs
5499
NYT
HSM and compatibility with Sigmas 1.4x EX APO and 2x EX APO teleconverters
950g
600
46
156.5
400
46
123
350 3150g
700
46
156.5
521 4900g
LENS
aT-X 107 (10-17mm) f/3.5-4.5 AF DX Fisheye
aT-X 116 (11-16mm) f/2.8 PRO DX
aT-X 12-28mm f/4 PRO DX
aT-X 16-28mm f/2.8 PRO FX
aT-X 17-35mm f/4 PRO FX
aT-X 16.5-135 (16.5-135mm) f/3.5-5.6
aT-X m100 (100mm) f/2.8 AF PRO D Macro
rrp
550
515
529
757
830
610
360

Fisheye zoom lens with Water Repellent coating and Super Low Dispersion glass
NYT
6/12 4.5H Wide zoom with a One-Touch Focus clutch mechanism and a constant f/2.8 aperture
Replacement for 12-24mm F4 wideangle zoom; for Nikon DX DSLRs
NYT
6/11
5H A pro-end wideangle zoom aimed at full frame cameras
11/12
5H One of the most capable super-wide zooms available, though only available in Canon and Nikon mounts
9/11 3.5H Three aspherical and two SD elements, together with a useful focal range
11/09
4H Some weaknesses wide-open, but reasonable MTF curves make this a decent optic
62
77
55
72
55
55
77
80
42
mouNT

24
39
27
29
45
50
49
49
38
33
49
23
95
130
150
95
29
30
270
47
250
mouNT
14
30
25
26
28
50
30
n/a
77
77
n/a
82
77
55
Weight
77
67
67
72
62
62
72
62
82
67
62
55
77
77
62
62
55
58
95
72
86
83.2
99.5
74
79.6
73
62
79.6
74.4
88.2
73
73
73
89.5
85.8
81.5
76.6
71.5
115
105.6
84.8
93.5
86.5
75
81.7
94.5
83.7
96.7
101
88
116.9
92
83.7
80
194.3
188.3
142.7
116.5
97
76.4
257.8
165.7
227
406g
540g
434g
570g
423g
460g
550g
450g
825g
510g
420g
400g
1150g
1470g
765g
435g
405g
550g
1951g
920g
1237g
Weight
Length (mm)
Min Focus (cm)
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
Weight
rrp TESTEd SCorE Summary

2/10 3.5H Good consistency at 10mm and 18mm, but a steep decline at 24mm
511
8/14
600
4H Versatile megazoom, a very good all-in-one solution, as long as you wont need to enlarge to A2 size
2/09 4.5H Very good optical performance, which peaks at f/5.6-8
450
4/10 4.5H Very strong performance at longer focal lengths but weaker at the other end
541
3/08
306
3H Excellent CA control in the centre, but unremarkable wideangle performance
A redefned all-in-one lens to replace a shorter kit lens
NYT
550
1/10 4.5H Much better results at shorter focal lengths than longer ones, but still impressive
613
10/11
663
3H The next-generation incarnation offers a new form of ultrasonic engine
1099 10/12
5H Fast zoom with image stabilization for both full-frame and APS-C cameras
Standard zoom with constant f/2.8 aperture and minimum focusing distance of 33cm
NYT
460
A useful 10.7x zoom range and low-dispersion elements in this optic
NYT
664
12/10
550
5H Macro lens designed for APS-C sensor cameras, with 1:1 reproduction ratio
10/09
817
4H No image stabilisation and no advanced AF system, but at this price its a steal
Compact yet full-size telephoto zoom with vibration compensation
NYT
TBC
1/12
300
4H Ultrasonic Silent Drive (USD) technology for focusing and Vibration Compensation
11/10 3.5H Low dispersion glass and compatible with both full-frame and cropped-sensor DSLRs
170
11/09
470
4H A very nice macro lens that is capable of producing some fine images
Redesign of the 90mm f/2.8 SP AF Di Macro; comes with vibration compensation
NYT
TBC
6/14
1150
4H Longest focal length of any affordable enthusiast zoom on the market and produces excellent results
11/10
896
5H Two Low Dispersion elements and internal focusing system in this 1:1 macro lens
6/09 4.5H A well-matched and consistent set of MTF curves, with good performance at f/8-11
1124
Length (mm)
3H
360g
400g
900g
577g
445g
470g
398g
405g
440g
285g
555g
955g
565g
150g
510g
170g
170g
220g
518g
295g
305g
460g
1340g
1340g
760g
1500g
460g
560g
175g
505g
1004g
730g
2310g
Length (mm)
3.5H
Width (mm)
4.5H
5H
4H
80.5
66.5
114
88
83
83
86
85.5
86
53.5
76
111
94
45
76
52
45
43
71.5
60
85
116.5
196.5
196.5
135.5
196
122
72.5
52
98.5
115
99
242.5
Width (mm)
4H
Width (mm)
5H
Filter Thread
(mm)
3H
3.5H
3.5H
83
75
83
81
72
72
76
73
75
78
78
83
77.5
70
69
70
70
65.5
81
71.5
71.5
77
87
87
82.5
95
71
81.5
70
75
84
80
122
dImENSIoNS
25
20
28
100
35
40
45
45
45
25
19
34
38
12
30
23
34
45
45
20
95
140
120
120
120
150
150
85
60
35
72
87
200
Filter Thread
(mm)
4.5H
4H
4.5H
3H
Fisheye lens with a close focusing distance of 20cm and a 180 angle of view
High-end Zeiss wideangle zoom lens ideal for full-frame Alpha DSLRs
Bright short-range telephoto lens
Carl Zeiss standard zoom lens
An ambitious lens that is good in parts. Quality drops off at 105mm
A versatile zoom with Direct Manual Focus
While the focal range is certainly useful, the lens is an overall average performer
Good overall, but performance dips at longer focal lengths
Wideangle prime lens with rear focusing mechanism and focus range limiter
An impressively bright wideangle Carl Zeiss lens
Carl Zeiss mid-range zoom lens with superb optics ideal for full-frame Alpha DSLRs
A constant f/2.8 aperture and a Smooth Autofocus Motor (SAM) in this standard zoom
Macro lens designed for digital with 1:1 magnifcation and Smooth Autofocus Motor
With an equivalent focal length of 52.5mm, a wide aperture and aspherical glass
Budget price indoor portrait lens
A very useful lens that performs well and carries a rock-bottom price tag
While this lens performs well overall, performance at f/1.4 could be better
Carl Zeiss design said to be ideal for quality-critical portraiture and low-light shooting
A macro lens with a foating lens element
Designed for cropped-sensor DSLRs, with a Smooth Autofocus Motor
Compact, lightweight telephoto zoom offering smooth, silent operation
Super Sonic Wave motor and a constant f/2.8 aperture in this pro-grade tele zoom
High performance G Series telephoto zoom lens
G-series lens with ED elements, Super Sonic wave Motor and a circular aperture
Redesign of original features a new LSI drive circuit and promises faster autofocus
Compact and lightweight zoom with a circular aperture
Fixed focal length lens aimed at indoor portraiture
A light, low price portraiture lens
Macro lens with circular aperture, double foating element and wide aperture
A bright, Carl Zeiss portrait telephoto lens
Telephoto lens with defocus effects
Super Sonic Wave motor, two Direct Manual Focus modes and a wide aperture
77
n/a
77
72
62
62
62
62
62
72
72
77
67
49
55
55
49
55
72
55
55
62
77
mouNT
Min Focus (cm)
TOKINA
3H A solid overall performance that simply fails to be outstanding in any way
Filter Thread
(mm)
LENS
10-24mm f/3.5-4.5 SP AF Di II LD Aspherical IF
16-300mm f/3.5-6.3 Di II VC PZD Macro
17-50mm f/2.8 SP AF XR Di II LD Aspherical IF
17-50mmf/2.8 SP AF XR Di II VC LD Aspherical IF
18-200mmf/3.5-6.3 AF XR Di II LD Aspherical IF Macro
18-270mm f/3.5-6.3 AF Di II VC LD PZD IF Macro
24-70mm f/2.8 SP DI VC USD
28-75mm f/2.8 SP AF XR Di LD Aspherical IF Macro
28-300mm f/3.5-6.3 AF XR Di LD Aspherical IF Macro
60mm f/2 SP AF Di II LD IF Macro
70-200mm f/2.8 SP AF Di LD IF Macro
70-200mm f/2.8 Di VC USD
70-300mm f/4-5.6 SP VC USD
70-300mm f/4-5.6 AF Di LD Macro
90mm f/2.8 SP AF Di Macro
90mm f/2.8 Di Macro 1:1 VC USD
150-600mm f/5-6.3 SP VC USD
180mm f/3.5 SP AF Di LD IF Macro
200-500mm f/5-6.3 SP AF Di LD IF
9/09
NYT
9/09
4/12
4/09
3/09
NYT
4/08
1/10
9/11
NYT
7/09
NYT
3/12
NYT
NYT
3/10
2/10
Web
NYT
NYT
NYT
NYT
NYT
12/10
NYT
8/12
NYT
NYT
NYT
NYT
NYT
NYT
Image Stabilisation
TAMRON
Min Focus (cm)
609
709
1729
569
709
559
429
509
559
559
1119
1679
709
179
1369
179
159
369
1300
529
219
309
1889
TBC
869
1799
219
1369
219
659
1429
1119
5609
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
rrp
11-18mm f4.5-5.6 DT
16mm f/2.8 Fisheye
16-35mm f/2.8 ZA SSM T*
16-50mm f/2.8 SSM
16-80mm f/3.5-4.5 ZA T*
16-105mm f/3.5-5.6 DT
18-135mm f/3.5-5.6 DT SAM
18-200mm f/3.5-6.3 DT
18-250mm f/3.5-6.3 DT
20mm f/2.8
24mm f/2 ZA SSM T*
24-70mm f/2.8 ZA SSM T*
28-75mm f/2.8 SAM
30mm f/2.8 DT SAM Macro
35mm f/1.4 G
35mm f/1.8 DT SAM
50mm f/1.8 DT SAM
50mm f/1.4
50mm f/1.4 ZA SSM
50mm f/2.8 Macro
55-200mm f/4-5.6 DT SAM
55-300mm f/4.55.6 DT SAM
70-200mm f/2.8 G
70-200mm f/2.8 G SSM II
70-300mm f/4.5-5.6 G SSM
70-400mm f/4-5.6 G SSM II
75-300mm f/4.5-5.6
85mm f/1.4 ZA Planar T*
85mm f/2.8 SAM
100mm f/2.8 Macro
135mm f/1.8 ZA Sonnar T*
135mm f/2.8 STF
300mm f/2.8 G
Image Stabilisation
LENS
l i s t i n g s
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only
SONY
Image Stabilisation
l e n s
dImENSIoNS
dImENSIoNS
70 71.1 350g
n/a 89.2 560g
84
90 600g
90
133 950g
89
94 600g
84
78 610g
73 95.1 540g
mouNt
Weight
Length (mm)
Weight
Length (mm)
Weight
Length (mm)
Weight
dImENSIoNS
56.5 49.5 155g
56
43 130g
57
83 211g
57
35 120g
57
22 71g
62 43.5 150g
56.5 50 112g
63.5 83 280g
63.5 83 190g
56
46 116g
69 117 423g
64
69 305g
40.5
N/A
40
N/A
N/A
40.5
dImENSIoNS
48.5 48 96g
40.6 25 21g
50
56 90g
40.6 19.5 18g
40.6 30.5 29g
45.5 23 37g
30
90
Weight
52
46
52
46
37
40.5
37
58
58
37
58
58
Weight
Image Stabilisation
Length (mm)
25
20
20
25
20
25
25
50
90
50
90
84
mouNt
Length (mm)
Image Stabilisation
Length (mm)
Width (mm)
dImENSIoNS
56.5 46 125g
55.5 22 77g
57.5 42 115g
57.5 31 80g
66
47 235g
60.5 70.5 298g
56
36 70g
60
61 180g
77
95 530g
Width (mm)
Width (mm)
Width (mm)
Image Stabilisation
Image Stabilisation
52
40.5
40.5
40.5
52
55
40.5
40.5
72
Width (mm)
dImENSIoNS
78
87 410
65 58.4 235g
62.6 98.3 195g
64.5 40.6 116g
61
23 78g
65 70.4 310g
75 118 580g
65 54.9 187g
73.2 69.7 405g
25
20
20
30
45
35
20
100
300
mouNt
Width (mm)
Filter Thread
(mm)
tEStEd SCorE Summary

The standard prime lens in the Q system
NYT
A wide lens for the Q system
NYT
Telephoto zoom covers focal lengths between 83mm and 249mm in 35mm terms
NYT
A telephoto lens for the Q system
NYT
A fsheye lens for the Q system
NYT
A short zoom lens for the Q system
NYT
Filter Thread
(mm)
rrp
tBC
129
249
129
149
279
Filter Thread
(mm)
LENS
8.5mm (Q System) f/2.8
15-45mm (Q System) f/7.1
18mm (Q System) f/8
5-15mm (Q System) f/2.8
pENTAX CSC
72
58
58
52
39
58
62
52
62
Filter Thread
(mm)

This super wideangle lens offers an equivalent focal range of 18-36mm in 35mm terms
NYT
1/12
5H A wideangle fxed lens for the Micro Four Thirds system
A reasonably-priced MFT zoom lens
NYT
7/13
5H Wide-aperture, wide-angle prime boasting excellent peak sharpness and no colour fringing
5/10
4H Results are impressive across the most-used apertures given the wide angle of view offered
5/10
4H Generally a good performer, but control over chromatic aberrations could be a little better
A redesigned variation of the standard kit lens
NYT
Plenty of focal range is offered by this MFT lens
NYT
This middle distance zoom lens has an 80-300mm 35mm equivalent focal length
NYT
2/12
5H Fast-aperture lens for taking portrait shots proved to be sharp, quiet and without colour fringing
Update featuring Zuiko Extra-low Refection Optical coating said to reduce ghosting
NYT
8/13
5H Ultra-fast prime lens ideal for portraits and action shots
24
18
30
18
34
18
110
28
70
dImENSIoNS
61 61 210g
61 58.2 220g
61 23.7 105g
Filter Thread
(mm)
rrp
630
739
349
450
300
300
269
630
309
279
499
799
52
55
43
Filter Thread
(mm)
LENS
9-18mm (micro) f/4-5.6 ED
12mm (micro) f/2.0 ED
12-50mm (micro) f/3.5-6.3 ED EZ
17mm M.Zuiko f/1.8 MSC
17mm (micro) f/2.8 Pancake
14-42mm (micro) f/3.5-5.6 ED
14-42mm II r (micro) f/3.5-5.6 II
14-150mm (micro) f/4-5.6 ED
40-150mm r (micro) f/4-5.6
45mm (micro) f/1.8
75-300mm II (micro) f/4.8-6.7
75mm f/1.8 ED
OlympUS CSC
Min Focus (cm)

Compact, lightweight, ultra-wide angle zoom lens with Vibration Reduction for Nikon 1 system
NYT
2/12
4H A wideangle lens for Nikons 1 series of Compact System Cameras
Nikons kit lens for the 1 series of CSC models
NYT
Compact standard zoom for Nikon 1 system
NYT
First 1 system lens to offer a silent wave motor and nano crystal coating
NYT
CX-format zoom lens with focal length range of 10100mm (27270mm 35mm equivalent)
NYT
Nikons 1 series gains a traditional fast prime
NYT
A longer zoom lens, with image stabilization, for the Nikon 1 series
NYT
A powered zoom lens aided by the VR image stabilization system
NYT
Min Focus (cm)
rrp
459
229
149
179
799
479
179
229
679
mouNt
25
15
15
Min Focus (cm)
LENS
6.7-13mm f/3.5-5.6 VR 1
10mm f/2.8
10-30mm f/3.5-5.6 VR
11-27.5mm f/3.5-5.6
32mm f/1.2
10-100mm f/4-5.6 VR 1
18.5mm f/1.8
30-110mm f/3.8-5.6 VR
10-100mm f/4.5-5.6 VR PD-ZOOM
NIKON CSC
mouNt
Min Focus (cm)

Ultra wideangle lens, minimal ghosting with Fujis HT-EBC multi-layer coating
NYT
7/13
5H Ultra wideangle prime, high resolution to all corners, performance justifes price tag
Lightweight lens for mirrorless X-series offers 24-75mm equivalent zoom range
NYT
6/13
4H A compact, wideangle lens with a quick aperture
Pancake lens measuring just 23mm thick; boasts a 40mm equivalent angle of view
NYT
Short zoom lens with optical image stabilisation
NYT
11/13
4H Telephoto with built-in optical image stabilisation plus aperture control ring
6/13
4H Shallow depth of feld and bokeh effects are simple to achieve with this lens
9/14
4H This wide-aperture portrait lens for X series cameras has great sharpness and detail and is great value
Min Focus (cm)
rrp
849
729
359
430
379
599
599
439
899
dImENSIoNS
68 270g
84
87 470g
87
84 510g
71
95 570g
83
55 480g
64
93 520g
72
76 200g
120 122 850g
64
97 530g
66
69 350g
72
88 530g
76
113 680g
Min Focus (cm)
LENS
XF 10-24mm f/4 R OIS
XF 14mm f/2.8 R
XC 16-50 f/3.5-5.6 OIS
XF 18mm f/2 XF R
XF 27mm f/2.8
XF 18-55mm f/2.8-4 R
XF 55-200mm f/3.5-4.8 R LM OIS
XF 35mm f/1.4 XF R
XF 56mm f/1.2 R
FUJI CSC
Sony Alpha
Canon
Four Thirds
Nikon
Pentax
Sigma
Full Frame Only

Compact and versatile zoom lens
NYT
Ultra-wideangle lens with a compact, retractable lens design
NYT
Small and bright wideangle pancake lens
NYT
67
82
82
67
58
58
52
72
58
72
67
72
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
rrp
269
355
220
18
30
30
25
17
24
23
30
30
45
24
44
Image Stabilisation
LENS
EF-m 18-55mm f/3.5-5.6 IS STM
EF-m 11-22mm f/4-5.6 IS STM
EF-m 22mm f/2 STM
CANON CSC
mouNt
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Digital Only
rrp tEStEd SCorE Summary

5/14
959
5H Designed specifcally for Sony NEX and Fujiflm X-series CSC cameras. Very impressive performance
8/10
1150
5H No AF, but the optical and build qualities of this lens are nothing short of stunning
A wideangle lens that doesnt compromise on optical quality
NYT
1579
A landscape lens with a fast aperture
NYT
1350
A macro lens offering unrivalled quality
NYT
750
For low light shooting the 28mm lens has plenty of potential
NYT
850
7/14 4.5H Optimised for use with APS-C format sensors, a fast standard lens for Fujiflm X-series cameras
700
Promises to produce some stunning bokeh effects
NYT
1600
An extremely fast focusing lens
NYT
940
A portrait lens in its element in low light
NYT
650
A macro lens with impressive-looking levels of sharpness
NYT
665
A rapid-focus portrait lens
NYT
1399
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
LENS
12mm f/2.8 Touit Distagon T*
18mm f/3.5 ZF.2
21mm f/2.8 Distagon T*
25mm f/2 Distagon T*
32mm f/1.8 Touit Planar T*
50mm f/1.4 Planar T*
50mm f/2 Makro-Planar
100mm f/2 Makro-Planar
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
ZEISS
Image Stabilisation
l i s t i n g s
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
l e n s
Weight
62
49
40.5
55
49
72
62
67
49
49
67
55
49
49
49
49
49
49
72
dImENSIoNS
70 63.5 225g
62 22.5 67g
64.7 29.9 116g
66.6 75 308g
62
60 194g
78 110 427g
68 97.1 460g
75.5 99 524g
62.6 20.4 69g
63 65.6 225g
73 94.5 426g
72.5 83 295g
62 55.5 138g
62.2 45 155g
61.5 36.5 120g
62
62 202g
64.4 70.5 281g
63.8 108 345g
80 175 840g
mouNt
25
24
25
35
25
45
50
30-50
20
16
40
30
9
30
35
39
50
100
Weight
46
46
46
Length (mm)
20
30
50
Width (mm)
mouNt
dImENSIoNS
60.8 45.7 140g
60.8 40.5 130g
60.8 56 190g
Weight
Length (mm)

7/12
5H Metal-bodied wideangle prime for Micro Four Thirds or Sony NEX Compact System Cameras
7/12
5H Metal-bodied fast standard prime for Micro Four Thirds or Sony NEX Compact System Cameras
Latest addition to Art range is a mid-range telephoto lens with metal body
NYT
Weight
dImENSIoNS
50 12.5 31g
50 29.5 73g
50 27.5 55g
63.5 65.5 208g
61
24 90g
81 96.5 622g
64.8 31 111g
63.2 39.8 119g
63
65 198g
72 105.5 549g
62
25 89g
61
21 85g
62 44.5 115g
62 44.5 122g
70 100 417g
73.5 84 389g
79
92 714g
Width (mm)
Length (mm)
Width (mm)
N/A
39
39
58
43
72
43
40.5
58
67
43
43
43
43
52
52
67
Length (mm)
Filter Thread
(mm)
Width (mm)
Filter Thread
(mm)
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
Min Focus (cm)
11
14
18
24
18
30
24
28
28
50
17
25
45
50
98
18
82
Filter Thread
(mm)
rrp tEStEd ScorE Summary

8/13
750
4H Super wideangle zoom with Super ED glass and Optical SteadyShot image stabilisation
2/12
220
4H Pancake lens for NEX system, with a circular aperture and Direct Manual Focus
Compact lens with Power Zoom, ED glass and Optical SteadyShot image stabilisation
NYT
299
A lightweight, versatile mid-range zoom with a constant f/4 aperture
NYT
839
Optical SteadyShot, said to be silent during movie capture, and a circular aperture
NYT
270
Sony G lens for E-mount cameras with a constant f/4 aperture
NYT
499
Lightweight with a versatile focal length range an ideal travel lens
NYT
609
Superzoom optic with an 11x range, SteadyShot and a 7-blade circular aperture
NYT
709
Pancake wide-angle lens promises to be the perfect walkaround partner for E mount cameras
NYT
309
Top quality Carl Zeiss optic ideally suited to the NEX-7
NYT
839
Compact lens with an f/4 maximum aperture across the zoom range and built-in image stabilisation
NYT
1049
Built-in Optical SteadyShot image stabilisation, lightweight, and a popular zoom range
NYT
449
A macro lens for the NEX Compact System Cameras
NYT
219
Lightweight versatile prime with Optical SteadyShot image stabilisation
NYT
399
When coupled with a full frame Sony E-mount camera, this prime lens promises to deliver
NYT
699
A handy, low price portrait lens for the NEX range
NYT
219
35mm full frame prime lens with wide aperture allowing good images indoors or in low light
NYT
849
Lightweight telephoto zoom lens for the NEX range
NYT
289
1359 10/14
4H G Series telephoto zoom lens, dust and water resistant, with built-in image stabilisation
Filter Thread
(mm)
LENS
10-18mm f/4
16mm f/2.8
16-50mm f/3.5-5.6
16-70mm f/4 ZA OSS Vario-Tessar T*
18-55mm f/3.5-5.6
18-105mm f/4 G OSS
18-200mm f/3.55.6 OSS LE
18-200mm f/3.5-6.3
20mm f/2.8
24-70mm f/4 ZA OSS Vario-Tessar T*
28-70mm f/3.5-5.6 OSS
30mm f/3.5 Macro
35mm f/1.8
50mm f/1.8
55-210mm f/4.5-6.3
70-200mm f/4 G OSS
Min Focus (cm)
Image Stabilisation
rrp
170
170
189
mouNt
Image Stabilisation
LENS
19mm f/2.8 EX DN
30mm f/2.8 EX DN
60mm f/2.8 EX DN
SONY CSC
Image Stabilisation
SIGMA CSC
dImENSIoNS
70 83.1 300g
60.7 51.7 165g
57 81.8 45g
67.6 73.8 305g
55.5 20.5 55g
56
49 110g
61 26.8 95g
60
60 195g
67
75 265g
36 57.5 115g
63 54.5 200g
67.4 100 360g
62
73 200g
63 62.5 225g
61.6 90 210g
70 100 380g
70 100 380g
Min Focus (cm)

At 12.5mm thin, this pancake lens is constructed of solid metal for the NX Mini
NYT
tBc
Versatile and compact zoom lens for NX Mini
NYT
tBc
Portrait prime lens designed for the NX Mini
NYT
tBc
Portable ultra-wideangle zoom lens
NYT
480
A pancake lens with a wide angle of view
NYT
300
Bright-aperture zoom lens made of metal, with quiet AF performance whether shooting stills or video
NYT
1000
Ultra-compact and lightweight design
NYT
tBc
Ultra-compact lens with a retractable design. Its lightweight and an ideal optic for travelling
NYT
200
9/10 4.5H Not an outstanding set of MTF curves but acceptable nevertheless. Weaker at 18mm
150
9/12 4.5H A mid-range zoom lens aimed at movie making
700
2/12
230
5H Wideangle pancake lens
9/10
230
4H This pancake optic exhibits very impressive peak sharpness at around f/4-5.6
Fast f/1.8 aperture produces a shallow depth of feld making it ideal for portraiture
NYT
220
Delivers high-end 3D capabilities with a large aperture and smooth autofocus system
NYT
400
9/10
180
4H Performance at the 50mm end is good, though this drops off at the tele end
2/12
500
5H This macro lens should be useful for portraiture
4/12
899
5H This prime lens is missing image stabilisation, but should still perform well
22
58
46
46
37
52
58
46
46
58
52
46
46
52
52
Min Focus (cm)
LENS
9mm f/3.5 ED
9-27mm f/3.5-5.6 ED OIS
17mm f/1.8 ED OIS
12-24mm f/4-5.6 ED
16mm NX i-Function f/2.4
16-50mm f/2-2.8 Premium S
16-50mm f/3.5-5.6 Power Zoom
20-50mm f/3.5-5.6 ED II
18-55mm NX i-Function oIS f/3.5-5.6
18-200mm NX i-Function oIS f/3.5-6.3
30mm NX i-Function f/2
45mm NX i-Function f/1.8 2D/3D
50-200mm NX i-Function oIS f/4-5.6
60mm NX i-Function macro oIS f/2.8
85mm NX i-Function oIS f/1.4
SAMSUNG CSC
25
10
60
25
18
20
20
30
30
20
30
85
90
15
90
100
100
mouNt
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only

5/10
1300
5H For a wideangle zoom, the overall level of resolution is very impressive
The worlds lightest and smallest fsheye lens for an interchangeable lens camera
NYT
730
Allows compatible cameras to shoot 3D images
NYT
320
1095 10/12
5H Fast, high-quality standard zoom for Micro Four Thirds cameras
Wideangle pancake lens which should suit landscape photographers
NYT
249
Addition of two aspherical elements helps make this lens smaller than previous version
NYT
375
2/13
369
4H Powered zoom; impressive results in terms of both sharpness and chromatic aberration
A lightweight and compact standard zoom featuring MEGA O.I.S. optical image stabilisation
NYT
189
Metal-bodied zoom featuring companys POWER O.I.S. optical image stabiliser
NYT
599
High-speed prime with a compact metal body and includes 3 aspherical lenses to cut down distortion
NYT
549
2/12
550
5H A fast-aperture fxed focal length standard lens from Leica
Telephoto zoom with Nano Surface Coating technology for dramatic reduction of ghosting and fare
NYT
1099
2/13
280
4H Compact, lightweight telephoto zoom comprising 12 elements in 9 groups
5/10 4.5H Although maximum and minimum aperture are a tad weak, mid-range scores impress
730
7/12
400
4H A powered long focal length zoom lens
7/12
330
4H Superzoom lens with three ED elements and Mega O.I.S. technology
7/11
550
4H Long zoom lens offering optical image stabilization
l i s t i n g s
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
LENS
G 7-14mm f/4 ASPH
G 8mm Fisheye f/3.5
G 12mm 3d Lens f/12
G X 12-35mm f/2.8 X PZ POWER OIS
G 14mm f/2.5
G 14-42mm II ASPH MEGA OIS
G X 14-42mm X PZ POWER OIS
G 14-45mm f/3.5-5.6 ASPH MEGA OIS
G 14-140mm ASPH POWER OIS
15mm f/1.7 ASPH LEICA DG SUMMILUX
dG 25mm f/1.4 DG SUMMILUX
G X 35-100mm f/2.8 POWER OIS
G 45-150mm ASPH MEGA OIS
dG macro 45mm f/2.8 ASPH MEGA OIS
G X 45-175mm f/4-5.6 X PZ POWER OIS
G 45-200mm f/4-5.6 MEGA OIS
G 100-300mm f/4-5.6 MEGA OIS
l e n s
Canon M
Micro 4 Thirds
Samsung NX
Sony E
Pentax Q
Nikon 1
Fuji X Mount
Full Frame Only
PANASONIC LUMIX CSC
Image Stabilisation
c s c
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CANON EOS 7D MARK II
Nikon D3200
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Canon EOS 1200D
Nikon D3300
Canon EOS 100D
18.0
MEGA
PIXELS
18.0
MEGA
PIXELS
3 FPS
Body Only
285.00
+ 18-55 IS II
349.00
Consider our Understanding

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Canon EOS 70D
18.0
MEGA
PIXELS
4 FPS
Body Only
375.00
+ 18-55 IS STM
449.00
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Canon EOS 7D
20.2
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PIXELS
Canon EOS 700D
20.2
MEGA
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7 FPS
Body Only
815
.00
+ 18-55 IS STM
934
.00
Add an Expanded Guides EOS

70D Book for only 12.99!
759
.00
MEGA
PIXELS
Body Only
479.00
+ 18-55 IS STM
549.00
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1,299
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Body Only
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2,899.00
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for only 59!
CANON LENSES
1,299
.00
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Understanding your
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30th Jan 2015
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Prices updated DAILY!

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18-135 IS STM (No packaging) 299.00
EF-S 18-200mm f/3.5-5.6 IS 399.00
24-70mm f/2.8L II USM 1,549.00
24-70mm f/4.0L IS USM
889.00
24-105mm f/4.0L IS USM 813.00
24-105mm (White Box)
739.00
28-135mm f/3.5-5.6 USM IS 359.00
28-300mm f/3.5-5.6L IS USM 1,899.00
EF-S 55-250mm f/4-5.6 IS STM 284.00
EF-S 55-250mm f/4-5.6 IS II 169.00
70-200mm f/2.8L IS II USM 1,699.00
70-200mm f/2.8L USM
1,019.00
70-200mm f/4.0L IS USM 959.00
70-200mm f/4.0L USM
495.00
70-300mm f/4.0-5.6 IS USM 389.00
70-300mm f/4.0-5.6L IS USM 1,069.00
70-300mm DO IS USM
1,138.00
75-300mm f/4.0-5.6 III
188.00
75-300mm f/4.0-5.6 USM III 209.00
100-400mm L USM IS
1,239.00
EF 200-400mm f/4.0L USM IS8,749.00
1.4x III Extender
329.00
2x III Extender
329.00
EF 12II Extension Tube
79.99
Canon PowerShot SX60 HS
Canon PowerShot S120
Canon PowerShot G7 X
16.1
12.1
20.2
NEW!
NEW & NOW IN STOCK!

SRP 449.00
See our website for full details

and to place a pre-order!
MEGA
PIXELS
5x
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NEW!
SRP 579.00
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on accessories inc.
ashguns, visit us in
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4.2x
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SRP 449.99
579.00
+ 18-105 VR
Body Only
699.99
809.00
Add a Nikon MB-D11 battery

grip for only 224!
QUIET
RELEASE
MODE
Body Only
1,330.00
MEGA
PIXELS
+ 24-85 VR
1,749.00

grip for only 229!
Add a spare Canon LP-E13

AF-G 10.5mm f/2.8G ED DX 549.00

AF-D 14mm f/2.8D
1,239.00
AF-D 16mm f/2.8D Fisheye 625.00
AF-S 20mm f/1.8G ED NEW See Web
AF-D 20mm f/2.8
463.00
AF-D 24mm f/2.8D
369.00
AF-S Nikkor 24mm f/1.4G 1,465.00
PC-E 24mm f/3.5D ED
1,465.00
AF-D 28mm f/2.8
243.00
AF-S 28mm f/1.8G
495.00
AF-S 35mm f/1.4G
1,295.00
35mm f/2 AF Nikkor D
255.00
AF-S 35mm f/1.8G ED
465.00
AF-S 35mm f1.8G DX
148.00
AF-S 40mm f/2.8G ED
185.00
PC-E 45mm f/2.8D ED
1,393.00
AF 50mm f/1.4D
244.00
AF-S 50mm f/1.4G
279.00
AF-D 50mm f/1.8
109.00
AF-S 50mm f/1.8G
149.00
AF-S 58mm f/1.4G
1,599.00
AF-D 60mm f/2.8 Micro
368.00
AF-S 60mm f/2.8G Micro ED 404.00
AF-S 85mm f/3.5G DX Micro 375.00
1,149.00
MEGA
PIXELS
7 FPS
11 FPS
In stock from 5,199.00
Body Only 2,599.00
See website for full details
Learn more about the D810 at

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Add a Nikon WT-5 wireless

transmitter for only 489!

AF-D 85mm f/1.8D
299.00
AF-S 85mm f/1.8G
375.00
AF-S 85mm f/1.4G
1,177.00
AF-S 105mm f/2.8G VR
629.00
PC-E 85mm f/2.8D ED
1,299.00
AF-DC 105mm f/2 Nikkor 805.00
AF-D 135mm f/2.0D
1,029.00
AF-D 180mm f/2.8 IF ED
695.00
AF-D 200mm f/4D IF ED 1,179.00
AF-S 200mm f/2G ED VR II 4,099.00
AF-S 300mm f/2.8G ED VR II 3,999.00
AF-S 300mm f/4 D IF-ED 1,029.00
AF-S 400mm f/2.8G ED VR6,589.00
AF-S 400mm f/2.8 FL ED VR 10,399.00
AF-S 500mm f/4G ED VR 5,849.00
AF-S 600mm f/4G ED VR 7,069.00
AF-S 800mm f/5.6 FL ED VR 13,995.00
AF-S 10-24mm f/3.5-4.5G ED 639.00
AF-S 12-24mm f/4 G IF-ED 839.00
AF-S 14-24mm f/2.8G ED 1,315.00
AF-S 16-35mm f/4G ED VR 829.00
AF-S 16-85mm f/3.5-5.6G VR 438.00
AF-S 17-35mm f/2.8 IF ED 1,499.00
AF-S 17-55mm f/2.8G DX 1,049.00
AF-S 18-35mm f/3.5-4.5G ED 519.00

AF-S 18-105mm ED VR
234.99
AF-S 18-105mm VR (White Box)175.00
AF-S 18-140mm ED VR DX 459.00
AF-S 18-200mm ED DX VR II 584.00
AF-S 18-300mm ED VR DX 629.00
AF-S 18-300mm ED VR DX 679.00
AF-S 24-70mm f/2.8G ED 1,245.00
AF-S 24-85mm ED VR
409.00
AF-S 24-85mm VR (White Box)375.00
AF-S 24-120mm f/4G ED VR 799.00
AF-S 28-300mm ED VR
659.00
AF-S 55-200mm DX Black 199.99
AF-S 55-200mm VR DX
241.00
AF-S 55-300mm VR DX
279.00
AF-S 70-200mm f/2.8 VR II1,579.00
AF-S 70-200mm f/4.0 ED VR 949.00
AF-S 70-300mm IF ED VR 439.00
AF-D 80-400mm ED VR
939.00
AF-S 80-400mm ED VR
1,899.00
AF-S 200-400mm VR II
4,899.00
TC-14E II 1.4x Teleconverter 309.00
TC-14E III 1.4x Teleconverter 449.00
TC-17E II 1.7x Teleconverter 309.00
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7S
7
In stock from
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Meet the full-frame, palm sized a7 range: portability and capability in one.
Featuring a 35mm Full-Frame sensor into a body half the weight of leading
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Sony QX1
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For a WIDE RANGE of

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16.2
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Interested in a refurbished
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Body Only
7 FPS
36.3
MEGA
PIXELS
300mm f/2.8L USM IS II 4,899.00

EF 300mm f/4.0L USM IS 1,079.00
400mm f/2.8L USM IS II 7,799.00
400mm f/4.0 DO L USM IS 5,399.00
400mm f/5.6L USM
989.00
500mm f/4.0L USM IS MK II 7,049.00
600mm f/4.0L USM IS MK II 8,899.00
800mm f/5.6L IS USM
9,999.00
TSE 17mm f/4.0L
1,659.00
TSE 24mm f/3.5L II
1,479.00
TSE 45mm f/2.8
1,129.00
TSE 90mm f/2.8
1,124.00
8-15mm f/4L Fisheye USM
999.00
EF-S 10-18mm IS STM
299.00
EF-S 10-22mm f/3.5-4.5 USM 449.00
EF-S 15-85mm f/3.5-5.6 IS
579.00
16-35mm f/2.8L II USM 1,199.00
16-35mm f/4.0L IS USM 1,199.00
17-40mm f/4.0L USM
619.00
EF-S 17-55mm f/2.8 IS USM 619.00
EF-S 17-85mm f/4.0-5.6 IS USM 356.00
EF-S 17-85 IS (No packaging) 189.00
EF-S 18-55 IS ll (No packaging) 70.00
EF-S 18-135mm IS STM
359.00
65x
*Prices include 30 cashback

from Nikon UK. Ends 25.01.2015
MEGA
PIXELS
24.3
14mm f/2.8L II USM

1,669.00
20mm f/2.8 USM
409.00
24mm f/1.4L Mk II USM 1,224.00
24mm f/2.8 IS USM
458.00
28mm f/1.8 USM
379.00
28mm f/2.8 IS USM
409.00
35mm f/1.4L USM
1,099.00
35mm f/2.0 IS USM
469.00
40mm f/2.8 STM
159.00
50mm f/1.2 L USM
1,149.00
50mm f/1.4 USM
279.00
50mm f/1.8 II
80.00
50mm f/2.5 Macro
234.00
EF-S 60mm f/2.8 Macro
365.00
MP-E 65mm f/2.8
853.00
85mm f/1.2L II USM
1,549.00
85mm f/1.8 USM
289.00
100mm f/2 USM
359.00
100mm f/2.8 USM Macro 385.00
100mm f/2.8L Macro IS USM 699.00
135mm f/2.0L USM
769.00
180mm f/3.5L USM Macro 1,109.00
200mm f/2.0L IS USM
4,449.00
200mm f/2.8L USM/2
569.00
MEGA
PIXELS
374.00*
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Nikon D810
Canon EOS 5D Mark III Canon EOS-1D X

22.3
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319.00*
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Nikon D610
Body Only
.00
364.00*
+ 18-55 VR II
Nikon D7000
MEGA
PIXELS
5 FPS
Body Only
Body SRP 1,799.00
Canon EOS 6D
MEGA
PIXELS
7 FPS
Body Only
24.2
5 FPS
Also available with 18-135mm IS

STM & 40mm STM for only 859!
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Sony 6000 + 16-50mm
Sony RX100 III
24.3
20.1
MEGA
PIXELS
11 FPS
Now only 599.00
50
cashback
SRP 729.00
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SRP 759.00
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Sigma 30mm
Sigma is a world leader in the optical eld

with top quality lenses available in Sigma,
Canon, Nikon, Pentax, Sony and FourThirds t. See below to nd a lens for you
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Sigma 50mm
f/1.4 DC HSM
f/2.8 Macro EX DG
Available in Canon,
Nikon, & Sigma ts
Available in Canon,
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Available in Canon,
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Available in Canon,
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f/4.5-5.6 DC HSM
f/4-5.6 EX
In stock at 369.00
In stock at 249.00
In stock at 679.00
In stock at 349.00
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Sigma 18-35mm
Sigma 18-300mm
Sigma 120-400mm
Sigma 150-500mm
Sigma 150-600mm
Sigma 70-200mm
Available in Canon,
Nikon, Pentax, Sony &
Sigma ts
Available in Canon,
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& Sigma ts
Available in Canon,
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& Sigma ts
Available in Canon,
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& Sigma ts
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f/1.8 DC HSM
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SIGMA LENSES
4.5mm f/2.8 Fisheye EX DC 579.00

8mm f/3.5 Fisheye EX DG 618.00
500mm f/4.5 APO EX DG 3,769.00
489.00
15mm f/2.8 Fisheye EX DG 474.00
19mm f/2.8 DN
159.00
20mm f/1.8 DG Asph. RF
514.00
24mm f/1.8 DG Asph. Macro429.00
28mm f/1.8 DG EX Macro 359.00
30mm f/1.4 DC HSM
369.00
30mm f/2.8 DN
159.00
35mm f/1.4 DG HSM
669.00
329.00
50mm f/2.8 Macro
249.00
60mm f/2.8 DN
159.00
70mm f/2.8 Macro
329.00
NEW & COMING SOON!!

649.00
105mm f/2.8 EX DG OS HSM 379.00
150mm f/2.8 OS Macro
699.00
180mm f/2.8 EX DG OS HSM1,299.00
300mm f/2.8 APO EX DG 2,279.00
800mm f/5.6 APO EX DG 4,349.99
8-16mm f/4.5-5.6 DC HSM 549.00
10-20mm f/4-5.6 EX DC
349.00
10-20mm f/3.5 EX DC HSM 399.00
12-24mm f/4.5-5.6 II DG HSM 599.00
17-50mm f/2.8 DC OS HSM 309.00
17-70mm f/2.8-4 Macro OS 344.00
18-35mm f/1.8 DC HSM
649.00
18-200mm f/3.5-6.3 II DC OS 239.00
18-200mm f/3.5-6.3 OS HSM 269.00
18-250mm Macro OS HSM 299.00
24-70mm f/2.8 IF EX DG
599.00
24-105mm f/4 DG OS HSM 679.00
50-150mm f/2.8 OS
739.00
70-200mm f/2.8 OS
799.00
70-300mm f/4.0-5.6 Macro 150.00
70-300mm f/4.0-5.6 DG Macro 99.00
70-300mm f/4.0-5.6 DG OS 239.00
120-300mm f/2.8 OS HSM S 2,799.00
120-400mm f/4.5-5.6 DG OS599.00
150-500mm f/5.0-6.3 DG OS699.00
200-500mm f/2.8 EX DG 12,699.00
300-800mm f/5.6 EX DG HSM5,498.00
EX DG 1.4x APO
198.00
EX DG 2x APO DG
232.00
USB Dock
39.95
Sigma Filters
from 17.99
Visit us in store & try these leneses out for youself & receive expert advice
Sigma DP1
29.0
MEGA
PIXELS
7 FPS
3.0
FIXED
19MM
LENS
SCREEN
In stock at 799.00
NEW & COMING SOON!!
Sigma DP2
NEW!! 29.0
QUICK
SET
MENU
SD
card
MEGA
PIXELS
7 FPS
3.0
FIXED
30MM
LENS
SCREEN
Learn more about this camera at

SD
our team about

this camera on
01444 23 70 65

Register your lens with Sigma EF 610

Sigma UK & receive a Super DG
FREE 3 Year warranty
For registration and terms
and conditions, visit
sigma-imaging-uk.com/warranty
SRP 259.99
Pentax K-50
NEW!!
MEGA
PIXELS
23.3
MEGA
PIXELS
8.3 FPS
3.2
HD
SCREEN
SD
card
Special
AP Price
Body: 829.00*
Looking at the K-3?
Consider the Prestige
Edition with grip, two
batteries and strap.
See web for details.
Body Only
349.00
+ 18-55 WR
lens for only 419!
Pentax
f/3.5-6.3
PIXELS
16.0
SCREEN
50
MEGA
PIXELS
1080p
MOVIES
5 FPS
100

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cashback
cashback
Body Only
529.00
+ 20mm
649.00*
Body Only
499.00*
MEGA
PIXELS
+ 12-35mm
1,199.00
4K
MOVIES
5 FPS
Body Only
1,099.00*
100
cashback
+ 14-140mm
1,549.00*

from Panasonic. Ends 12.01.2015

*Prices includes 100 cashback

Fujilm X-E2 + 18-55mm
Fujilm X-Pro 1 Body
Fujilm X-T1 Body
16.3
16.3
16.3
MEGA
PIXELS
FUJI
X-MOUNT
100
cashback
Now only 729.00*

SRP 1,049.00
*Price after 100 cashback. You

pay 829.00 & claim 100 from Fuji.
MEGA
PIXELS
HD
2 FREE
LENSES
Now only 799.99

Buy the X-Pro 1 and receive the
XF18mm & XF27mm for FREE!
MEGA
PIXELS
HD
5.4 FPS
16.2
8.3 FPS
3.2
SCREEN
Limited numbers
now in stock!
Panasonic LUMIX GX7 Panasonic LUMIX GH3 Panasonic LUMIX GH4 Olympus E-PL6
16.0 3.2
MEGA
MEGA
PIXELS
NEW!!
20.1
MEGA
PIXELS
23.3
399.00
16.1
429.00
Now only 319.99

SRP 379.99
OLYMPUS
M. 4/3 LENSES
9mm Fish-Eye Body Cap

89.00
12mm f/2.0 Silver
556.00
15mm f/8.0 Body Cap
59.00
17mm f/1.8 Silver / Black 369.00
17mm f/2.8 Silver
229.00
60mm f/2.8 Macro
365.00
9-18mm f/4-5.6
479.00
12-40mm f/2.8 Pro
799.00
12-50mm f/3.5-6.3 (Unboxed)249.00
14-150mm f/4.0-5.6 ED
489.00
40-150mm f/4.0-5.6R
129.00
14-42mm Black (Unboxed) 99.99
14-42mm f/3.5-5.6 II R MFT 239.00
40-150mm f/2.8 Pro MFT See web
75-300mm f/4.8-6.7 ED II 389.00

See instore or online.
NEW!
Olympus OM-D E-M10 Olympus OM-D E-M1

16.3
MEGA
PIXELS
MEGA
PIXELS
+ 14-42 EZ
Speak to one of
our team about
this camera on
01444 23 70 65
Sigma EM-140
DG Macro Flash
Now only 155.00
16.2
card
In stock at 799.99
NEW & COMING SOON!! Speak to one of

QUICK
SET
MENU
FREE 8GB
Flash Air card
Add an Olympus VF-4 digital

viewnder only 200!
16.3
1080p
Full HD
Body Only
499.00
MEGA
PIXELS
+ 14-42 EZ
659.00
Test drive this camera for FREE!

Available at both stores. See web
Body Only
999.00
+ 12-50mm
1,249.00
Test drive this camera for FREE!

Available at both stores. See web
HD
100
cashback
Now only 849.00*

SRP 1,049.99
*Price after 100 cashback. You

pay 949.00 & claim 100 from Fuji.
Hero 4
Black
369.00
Hero 4
Silver
289.00
Hero
99.00
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EOS M
EOS 70D
EOS 70D
EOS M + 18-55 IS STM
279
EOS M + 22mm f2.0 + EF Adapter
329
Canon Lenses
NEW EF-S 24mm f2.8.................................... 179
EF 35mm f1.4 L USM..................................... 1099
EF 50mm f1.2 L USM..................................... 1146
EF-S 60mm f2.8 USM Macro......................... 348.26
EF 85mm f1.8 USM ....................................... 288
EF 100mm f2.8 L IS USM Macro ................... 699
NEW EF 400mm f4.0 DO IS USM II ............... 6999
EF-S 10-22mm f3.5-4.5 USM ........................ 448
EF 16-35mm f2.8 L USM MkII ....................... 1169
EF 17-40mm f4 L USM .................................. 619
EF-S 17-55mm f2.8 IS USM ........................... 576.89
EF-S 18-135mm f3.5-5.6 IS STM ................... 359
EF-S 18-200mm f3.5-5.6 IS............................ 399
EF 24-70mm f2.8L II USM ............................. 1549
NEW EF 24-105mm f3.5-5.6 IS STM ............. 479
EF-S 55-250mm f4-5.6 IS II............................ 208
EF 70-200mm f4 L IS USM............................. 495
EF 70-300mm f4.0-5.6 L IS USM ................... 1069
For Canon-t Tamron,

Sigma or Samyang lenses,
visit our website
EOS 7D
20.2
18.0
18.0
megapixels
megapixels
megapixels
5.0 fps
1080p
7.0 fps
1080p
8.0 fps
1080p
movie mode
movie mode
479
700D Body
700D + 18-55mm IS STM

549
700D +18-135mm IS STM
719
700D + 18-135mm IS STM + 40mm STM
movie mode
815
70D Body
70D Body
70D+18-55mm IS STM
70D+18-135mm IS STM
815
934
1070
799
7D Body
7D Body
7D + 18-135mm f3.5-5.6 IS
7D + 15-85mm f3.5-5.6 IS USM
799
999.97
1349.97
859
NEW
EOS 7D
Mark II
EOS 6D
EOS 5D
Mark III
20.2
megapixels
20.2
megapixels
10.0 fps
1080p
movie mode
22.3
4.5 fps
1080p
megapixels
movie mode
6.0 fps
full frame
Full Frame
CMOS sensor
CMOS sensor
NEW 7D Mk II Body 1599
6D Body
NEW 7D Mark II Body
6D Body
6D + 24-105mm f4 L IS USM
1599
1299
1299
1799
5D Mk III Body
2299
5D Mk III Body
2299
5D Mk III + 24-105mm f4.0L IS USM 2899
5D Mk III + 24-70mm f2.8 II
3799
Black, Grey
or Red
Black or Red
D3300
D5300
D7100
24.2
24.1
megapixels
megapixels
6.0 fps
1080p
movie mode
megapixels
24.2
5.0 fps
1080p
megapixels
5.0 fps
movie mode
379
D3300 Body
D3300 Body
D3300 + 18-55mm VR II
379
404
D610
24.1
6.0 fps
1080p
movie mode
504.80
D5300 Body
D5300 Body
D5300+18-55mm VR II
D5300 + 18-140mm VR
504.80
579
839
809
939
1330
D610 Body
809
D7100 Body
D7100 Body
D7100 +18-105mm VR
D610 Body
D610 + 24-85mm
1330
1749
Nikon Lenses
NEW
D4s
D750
1 V3
NEW
16.2
24.3
megapixels
megapixels
6.5 fps
11.0 fps
Full Frame
Full Frame
18.4
megapixels
60.0 fps
sensor
sensor
From 1799
NEW D750
NEW D750 Body

NEW D750 + 24-85mm VR
NEW D750 + 24-120mm VR
1799
2249
2349
5199
D4s Body
D4s Body
5199
NEW Nikon 1: V3
729
Nikon 1 V3 Body
+10-30mm PD Zoom + EVF + Grip
V2 + 10-30mm Lens
729
1049
649
NEW 20mm f1.8G AF-S ED..................................679

35mm f1.8 G AF-S DX..........................................148
40mm f2.8 G AF-S DX Micro ...............................185
50mm f1.8 G AF-S ...............................................149
85mm f1.8 G AF-S ...............................................375
105mm f2.8 G AF-S VR IF ED Micro ....................629
16-85mm f3.5-5.6 G AF-S ED DX VR ...................438
18-105mm AF-S DX Nikkor f3.5-5.6 G ED VR......204
18-200mm f3.5-5.6 G ED AF-S DX VR II ..............584
24-70mm f2.8 G AF-S ED ....................................1235
28-300mm f3.5-5.6 G AF-S ED VR.......................659
55-200mm f4.0-5.6 G AF-S DX VR IF ED..............241
55-300mm f4.5-5.6 G AF-S DX VR.......................279
70-300mm f4.5-5.6 G AF-S IF ED VR...................439
For 2-year warranty on any camera and lens kit simply register your new Nikon within 30 days of purchase. Oer applies to UK & Republic of Ireland stock only. Call 0800 597 8472 or visit www.nikon.co.uk/register
OM-D M10
Black or Silver
X-T1
OM-D E-M1
NEW
A7S
Black
24.3
12.0
16.3
megapixels
megapixels
16.3
megapixels
8.0 fps
8.0 fps
OM-D E-M1
OM-D E-M10
From 949
From 499
OM-D E-M1 Body

OM-D E-M1
+ 12-50mm
OM-D E-M1
+ 12-40mm
OM-D E-M5 Body
OM-D E-M5
+ 12-50mm
OM-D E-M10 Body 499

OM-D E-M10
659
1249 + 14-42mm EZ
949
1699 E-P5 Body

589 E-P5 + 14-42mm
599
699
749
1049
459
E-P5 + 17mm
+ VF-4 EVF
E-PL5 + 14-42mm
GH4
NEW
16.05
megapixels
megapixels
5.0 fps
12.0 fps
12.0 fps
4k Video
movie mode
1080p
4k Video
megapixels
16.1
NEW
A77 II
X-T1
NEW A7S
NEW A77 II
NEW GH4
From 959
Body 2099
Body 930
Body 1299
X-T1 Body
X-T1 +18-55mm
X-E2 Body
X-E2 +18-55mm
X-M1 Body
X-M1 + 16-50mm
X-Pro 1 + 18mm
959
1329
569
919
349
389
779
A7 Body
A7 + 28-70mm
A7R Body
A6000 Body
Black or Silver
A6000 + 16-50mm
Power Zoom
1159 A77 II + 16-50mm

1399
1299 A58
From 339
From 1799
1511 A99
549
599
Sony A-Mount Lenses:

30mm f2.8 SAM DT
150
18-250mm f3.5-6.3 DT AF 439
24-70mm f2.8 ZA SSM Carl
Zeiss Vario-Sonnar T* 1449
GH4 Body
+ 14-140mm f3.5-5.6
GX7 + 14-42mm
GX7 + 20mm
1299
1749
599
699
RECOMMENDED LENSES:
14-140mm f3.5-5.6 O.I.S.
495
35-100mm f2.8 O.I.S.
895
CALL CENTRE NOW OPEN SATURDAYS
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208461
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THE WEX PROMISE: Part-Exchange Available | Used items come with a 12-month warranty
Digital compact bateries, cases and accessories are available to buy on our website
Digital Compact Cameras

12.8
megapixels
5.0x
20.2
megapixels
NEW
4.2x
65x
optcal zoom
optcal zoom
optcal zoom
1080p
1080p
1080p
movie mode
movie mode
IXUS 265 HS Black............................................129

PowerShot SX600 Black ..................................129
PowerShot SX510 HS Black ................................189
PowerShot D30................................................244
PowerShot SX700 HS.......................................234
PowerShot S120 Black.....................................279
PowerShot G16 Black ......................................379
16.1
megapixels
movie mode
Watch Wex on Youtube

PowerShot G1 X Mark II
Black 649
NEW PowerShot G7 X Black
For hints, tps, interviews, tutorials

and more, nd our videos at:
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PowerShot SX60 HS Black
579
449
Coolpix P340 Black or White ....................269

Coolpix A Silver or Black ...........................499.95
Coolpix S9700 Black, Red, or White .........229
Coolpix S3600 Black, Blue, Pink,
Silver, Red or Pink Line Art.........................79
Coolpix S5300 Black or Plum....................129.99
Coolpix S6800 Black, Red, White, Pink.......159
16.1
megapixels
60x
12.2
optcal zoom
megapixels
7.0x
optcal zoom
1080p
Coolpix P7800 Black
Coolpix AW120 Black, Orange

or Camouage 249
Coolpix P600
379
movie mode
299
Stylus SH-1 Black ............................................279

Stylus Tough TG-3 Black .................................339
Stylus Tough TG-835 Blue...............................219
SP-100EE Black................................................279
TG-850 White, Silver or Black .........................239
Stylus 1
449
APS-C
size sensor
FinePix SL1000 Black ....................................234

FinePix HS50 Black........................................249
FinePix XP70 Orange or Blue........................144
FinePix S9200 Black, Red or White...............199
NEW X30 Silver or Black ...............................479
NEW FinePix X100T
Cyber-Shot RX100 III
699
Memory Cards
Extreme Pro: 95MB/s SDHC

8GB .................................. 24
16GB ................................ 39
32GB ................................ 59
64GB SDXC ....................... 99
SanDisk Extreme Pro:
160MB/s UDMA CompactFlash
16GB ................................ 74
32GB ................................ 139
Photo Bags & Rucksacks

Toploader Pro
70 AW II Black
NEW
NEW Toploader:
Pro 70 AW II ...........................75
Pro 75 AW II ...........................85
Tripods & Heads
999
RX10 Black ...................................................... 699

RX100 Black .................................................... 349
RX1 Black ........................................................ 2249
RX1R Black ...................................................... 2299
Cyber-Shot RX100 II...................................... 489
Cyber-shot HX400 Black................................. 339
Cyber-shot HX60 Black ................................... 289
Cyber-shot WX350 Black...........................................199
Cyber-shot H400 Black ................................... 199
NEW
Perfect for
carrying a
Pro DSLR
plus 2470mm lens
or 14-24mm
lens plus
accessories.
NEW
NEW
MT055XPRO3 .....................179
MK055XPRO3
+ X-Pro 3-Way Head .............269
MK055XPRO3
+ 498RC2 Ball Head..............269
MT055CXPRO3
Carbon Fibre.........................359
MT055CXPRO4
Carbon Fibre.........................374
MT190XPRO3 .....................159
MT190XPRO4 .....................169
Lumix TZ60
319
64GB .....................249
128GB ...................499
SanDisk Class 10
Extreme Micro SD
Card plus adapters:
16GB .....................28
32GB .....................44
64GB .....................79
Pro Trekker
NEW
450 AW
Black
Perfect for
carrying 1-2
Pro DSLRs,
4-7 lenses, 2
ashguns, a
tripod
plus a 15
laptop.
NEW Pro Trekker:

450 AW.............................. 325
650 AW.............................. 365
NEW Lens Trekker:
600 AW II........................... 255
MT190XPRO3
160cm
Max Height
9cm
Min Height
SanDisk
USB 3.0
ImageMate
Reader
29.95
SB910
209
339
LED Lights
From 29.99
Ezybox Speed-Lite
Sofbox 44.99
Expediton
8x
Black/Slate
Expediton:
4x........................................... 99
5x......................................... 129
6x......................................... 144
7x......................................... 179
8x......................................... 199
9x......................................... 219
Manfroto
Professional
Backpacks
Plus III Set

229
Pixma
Pro 100
PIXMA Pro 100 ...................................364

PIXMA Pro 10 .....................................499
PIXMA Pro 1 ........................................645
F-803
RuggedWear
Professional range of backpacks designed

to hold a pro digital SLR, lenses, and
several accessories.
Professional Backpack 20....... 124

Hadley: Canvas/Leather:
Khaki/Tan, Black/Tan, Black/Black.
FibreNyte/Leather: Khaki/Tan,
Sage/Tan, Black/Black.
Digital.................................. 119
Small ................................... 144
Large.................................... 164
Pro Original.........................174
Tripod Strap Black or Tan....19
SLR
Zoom
SILK ROAD - 3D Column:

YTL9353 Aluminium ....... 99
YTL9383 Aluminium ....... 109
YTL8353 Carbon Fibre .... 179
L308s
149
479
MX-1 Black or Silver ........................................219

WG-4 GPS Blue or Black...................................269
WG-20 Red, White or Black .............................154
Professional 1066x
Compact Flash: 160MB/s
16GB ...................................79
XQD Memory Card:
32GB ...................................129
168MB/s
64GB ...................................319
32GB.......................................199 128GB .................................499
64GB.......................................399
Professional 600x UHS-1: 90MB/s
XQD USB 3.0 Reader:
16GB ...................................24
High-speed transfer of RAW and
32GB ...................................39
HD les from your XQD memory
64GB ...................................59
card to your computer...........49 128GB .................................89
GT2541EX
164cm
Max Height
3cm
Min Height
Series 2: Explorer Tripod

GT2541EX................ 519
Light Stands
From 10.99
F-5XB RuggedWear........ 76
F-5XZ RuggedWear ........ 99.95
F-6 RuggedWear ............ 104.95
F-803 RuggedWear ........ 145
F-2 RuggedWear ............ 149.99
Have you got what

it takes to be our
Photographer of
the Year?
#WexMondays is changing. Enter weekly,
for a chance to win the title and 1000 of
vouchers. Find out more at:
bit.ly/WPY2014
Gorillapod:
Compact....................... 17
Hybrid (Integral Head).. 29
SLR Zoom ................39.95
Focus GP-8 ................... 84
Lightng & Accessories
430EX II
16.2
megapixels
GR Digital
Hadley Pro
Original
Canvas
Khaki/Tan
Silk Road
YTL8353
171cm
Max Height
19cm
Min Height
MT190CXPRO3
Carbon Fibre.........................299
MT190CXPRO4
Carbon Fibre.........................299
MT190XPRO3
+ 496RC2 Ball Head..............179
MT190XPRO4
+ 496RC2 Ball Head..............219
Lumix LF1 Blue, Orange, Silver or Black ....... 269

Lumix TZ55 Black .......................................... 179
Lumix LZ40 Black .....................................169.99
Lumix SZ8 Black ............................................ 119
Lumix LX7 Black ............................................ 289
Lumix FZ200.................................................. 349
Lumix FZ272.................................................. 269
Gemini Pulsar
D-Lite 4Rx
Urban Collapsible
Tx 500R Kit 859
Tx 500 Pro Kit 1199 Sofbox Kit 639 Background 165
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C O M P E T I T I O N
WIN!
WORTH
250
EACH
NEXT
MONTH
CANON
POWERSHOT G7 X
We get out to test Canons latest model
in the G-series to nd out if its a worthy
alternative to the superb Sony RX100 III
STOCKING FILLERS
WIN ONE OF 3 FUJIFILM

FINEPIX S9200 CAMERAS
You could be one of the three lucky readers who will each
win one of three Fujilm superzoom bridge cameras that
we have up for grabs with a total prize value of 750!
ith the Fujilm

FinePix S9200
youll be able to get
creative with
advanced shooting
modes, capture stunning photographs
and HD movies and wirelessly transfer
your images to your smartphone.
Featuring an advanced CMOS
sensor and robust body, the FinePix
S9200 bridge camera has a 50x
optical zoom lens and an electronic
viewnder to help compose images.
And its Super Macro Mode can capture
subjects as close as 1cm from the lens.
Ideal for long range shooting, the
FinePix S9200 seamlessly covers an
enormous focal range with no need to
ever change lenses, so youll always
be ready to get the best shots.
Thanks to Fujilm we have three of
these to give away to some very lucky

readers. Enter our competition online
for your chance to win!
FUJIFILM X30
Fujilms pocket powerhouse the X30
promises to be the manufacturers best
compact yet. We put it to the test prior to
putting it up against its direct rival the
Panasonic Lumix LX100
HOW TO ENTER
For your chance to win, just visit www.
whatdigitalcamera.com/fujilmnepix
and answer this simple question:
Which mode
allows you
to capture
subjects as
close as 1cm
from the lens?
Closing date: 22 December 2014
REVIEW
OF THE YEAR
As the year draws to a close, we take an
overview of the breaking news stories and
the innovative products thatll long be
remembered from 2014
For more details about the Fujilm FinePix

S9200, visit: www.fujilm.eu
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What Digital Camera - December 2014 UK

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THE UKS BEST SOURCE FOR IN-DEPTH TESTS AND CAMERA REVIEWS

THE MAGAZINE YOU NEED TO FIND YOUR NEXT CAMERA

Tips & essential

Worlds rst full frame DSLR with

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TOP 20 INTERCHANGEABLE LENS CAMERAS REVIEWED AND RATED

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MICRO PERFECT LUMIX

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GOPRO SHOOTS 4K VIDEO

ction camera specialist

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The HERO 4 Silver Edition is the

rattling out stills as well as video,

of the app and watch footage

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CANON POWERSHOT G7X

anons PowerShot range

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