the world’s best-selling digital photo magazine 19-25 january issue 226

inspiration ideas in-depth reviews street

smartssmartimple techniques for candid portraits of strangers Crumbling beauty Ross MoRe ross’s image, taken in the city of antigua in guatemala, is a classic example of street . the image evokes a strong sense of place and character, the composition is strong and uncluttered, and the subject is oblivious to the presence of the . For essential tips on be sure to check out this issue’s main feature. http://tiny.cc/yqsfiy W e l c o m e

the world’s best-selling digital photo magazine 19-25 january issue 226

the world’s best-selling digital photo magazine 12-18 JANUARY issue 225 the best action cam of all time? we put the new 4k gopro hero5 through its paces the world’s best-selling digital photo magazine inspiration ideas in-depth reviews Best photo Backpacks 5-11 JANUArY issUe 224 we put six top options to the test the world’s best-selling digital photo magazine 29 december-4 January issue 223 the world’s best-selling digital photo magazine 22-28 december issue 222 street inspiration ideas in-depth reviews

inspiration ideas in-depth reviews inspiration ideas in-depth reviews inspiration ideas in-depth reviews

smartsimple techniques for candid tips for better 100 portraits of strangers portraits Improve your winter people skIlls and capture cANoN slr great-lookIng wonderland 17Images today! secrets Capture stunning seasonal landsCapes (and most work with any camera!) battle of the beginner dslrs canon eos rebel t6 / 1300d vs nikon d3400

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NEwS FEaTUrE SHOW STOPPERS New from Fujifilm and polaroid unveiled at CES 2017 FEaTUrE HIT THE STREETS Tips and tricks for capturing candid people pictures pHOTOS gallERY The very best reader images from around the world INSpIraTION GallEry INSpIraTION alPINE aCTION flICk racing drone buzzes mountain to capture breathtaking video CraSH COUrSE SlOW dOWN THE SkY Use a long to blur the movement of clouds pHOTOSHOp maSTER laYER maSkS learn how to get creative with layers and masks in photoshop

SKIllS pHOTOSHOp JUST 39¢/39p GE a r PER ISSUE! SONY fE WHEN YOU SUBSCRIBE 50mm f/2.8 SEE THE SUBSCRIPTION maCRO TurnPag Eto f ORour m ORESubscribe INfO http://tiny.cc/dudisx we put Sony’s page to learn more versatile new macro through its paces n e w s what’s hot The week’s Top headlines in phoTography

FujiFilm goes graphite with X-t2 and X-pro2

Fujifilm’s mirrorless flagship cameras just got even more desirable

hile Fujifilm isn’t quite scaling with Fujifilm increasing the amount shadow areas. the second layer uses w the heights of its GFX 50s of black pigment in the top coating to thin-film multi-layer coating technology announcement at Photokina deliver a more rich metallic texture, for a smooth finish, while the third layer last year, it still managed to announce while bundled with the camera will be is a clear varnish for a glossy finish. two updates at Ces 2017 in Las Vegas a unique XF23mm f/2 R wR prime lens Unlike the special edition X-Pro2, that have certainly got us drooling. and hood that’s been finished in the there’s no bundled lens to go with while the new X-t2 Graphite silver same as the body. the X-T2, but it will be supplied with edition and X-Pro2 Graphite edition are the X-t2 Graphite silver edition, a tailor-made premium leather strap, identical to both existing models as far meanwhile, has been treated with aluminum hotshoe cover and matching as the spec is concerned, Fujifilm has a multi-layer coating that’s triple- eF-X8 . tinkered with the paint finish to give both baked – the bottom layer is a matte the X-Pro2 Graphite edition will be models a more premium look. black undercoat that’s applied to the priced at $2,299 / £2,149, while the X-t2 the X-Pro2 Graphite edition benefits magnesium top cover, and which Fujifilm Graphite silver edition will be available from a multi-layer coating process, claims delivers deeper blacks in the for $1,799 / £1,649. n e w s

The week’s Top headlines in phoTography

the polaroid pop is a modern twist on a classic concept

A retro design with some thoroughly up-to-date specs KodaK’s new 4K action cam maKes 360 video simple

Two cameras, two lenses, one block

odak has rolled out a new K PixPro orbit360 4K action camera designed to make creating 360-degree movies a simpler process. whereas the older Pixpro sP360 4K required you to buy and pair two separate cameras to record t this point we’re all fairly used fun-looking than previous Polaroid 360-degree videos, the orbit360 4K a to the mash-up of digital and digital models, looking less like a digital combines two sets of cameras and instant photography that’s camera and more like a flattened lenses into a single block, like the offered by the classic Polaroid brand. version of the brand’s original cameras nikon KeyMission 360. the company is now entering its 80th (or the Instagram logo). the new camera also ups the year, and to celebrate it announced what’s more interesting about the resolution from 12MP to 20MP, while another instant called Pop, though, is that its specs are actually retaining the same wide-angle the Pop at Ces 2017. fairly attractive. Polaroid is ramping the lenses that capture a 235-degree Like previous offerings from Polaroid, megapixels up to 20, and is offering dual field of view. the camera’s two such as the snap and the touch, the LeD flash, as well as the ability to record sensors allow users to shoot 3840 x Pop is a digital camera that enables you 1080p full hD video. 1920 footage at 24p. the orbit360 to capture and store photos, or instantly the camera also has a 3.97-inch 4K can also capture slowmotion print them using inkless Zink photo LCD screen to view your photos on, a action at 1440 x 720 and 120fps. paper, like the cameras of days gone by. microsD slot, a self-timer, and three alternatively, users can also choose For a real throwback to Polaroid’s roots, colour modes. Like other models, the to record with only one camera for the Pop will also allow you to print full Pop can also connect to your phone 3840 x 2160 video at 30fps. colour photos in the iconic 3x4 format via wi-Fi or Bluetooth, so you can print Like its predecessors, the orbit360 with the classic Polaroid border logo. photos from there too. 4K is ruggedized and comes with when it comes to appearance, the Polaroid Pop isn’t planned for nFC and wi-Fi for smartphone though, the Pop offers something a release until the end of 2017, and the pairing. the Pixpro orbit360 4K is little different; it’s more square and price hasn’t been announced. priced at $499 (about £410). F E A T u R E

emmA drAbble Andrew AFTER training sHoot Higgins as a documentary ANDREW is a professional photographer in editorial photographer but Marseilles, Emma has enjoys dabbling in street now turned to the photography. He opted to world of commercial out! use a single prime lens for and commissioned street pHotogrApHy this Shoot-out, as he feels photography to earn a that a can slow you down for this type of living. She’s shot subjects For our latest Shoot-out, Claire Gillo quick-fire photography. ranging from actors to Although he opted for a dressage horses, and is recruited two photographers who, DSLR here, he normally a keen user of the Lumix although a couple, fancied favours a Micro Four Thirds G range of cameras – so camera or even a compact much so that she’s now taking each other on in a for street shooting. a Panasonic Ambassador street photography for Europe. showdown… F E A T u R E CHAllenge 1 Capture the quirky side of London

emmA drAbble

RATHER than camp out in one spot waiting place for observant photographers to explore. for situations to develop, we spent much “I approached this scene with a Martin of the day walking the central London Parr sensibility and had plenty of time streets in search of shots, and Emma and space to take a few frames, slowly soon homed in on this scene. “I find moving around and lining up the other people who take are oblivious to self-portrait-takers behind this lady. I the world outside their iPhone,” she says. love her face – she spent some “The world of the selfie can be a fruitful time perfecting her ‘moment’.”

expert opinion • Emma has artfully stage-managed the elements here. • Three really is the magic number when it comes to photography composition. • Emma has a great eye for colour - the cool blues running through the shot tie everything together. F E A T u R E CHAllenge 1 Capture the quirky side of London

Andrew Higgins TRAFALGAR Square was bustling, and moment when there looked to be some we knew pictures would come our way interaction between them. if we were patient. “The huge hoardings “This lady stopped and shielded promoting the Caravaggio art show her eyes as she looked around. immediately offered possibilities, The moment had potential, but as the artist used light in a way I had to walk in closer to bring that was similar to the directional the elements together, as if the afternoon sunshine,” explains faces were looking at her. I’m Andrew. “I just had to watch often amazed at how one can and wait to see how the passing make street photos without being people would work with the faces noticed, but you have to be quick: you on the hoardings, trying to catch a can’t ‘overstay’ the moment.”

expert opinion • Who could resist this classic street photography setup? • Andrew’s picked out a woman in darker colours, which allows the eye to be drawn up to the brighter poster face. • The person on the right helps to ‘ground’ the shot and ensure it doesn’t feel over-engineered. F E A T u R E CHAllenge 2 shoot a night sCene without using fLash

emmA drAbble

PARTS of the city centre were “I used my Panasonic GH4 – purely experiencing a blackout on the because I’d left the spare batteries evening of our Shoot-out. “All the for the GX8 at home – with startled and alarmed faces in the settings of f/2 at ISO3,200 in crowds certainly helped us on order to get a speed of our street photography mission,” 1/60 sec. This wide says Emma. “I noticed this lady wouldn’t have been my first at a underground entrance, and choice, but shooting in the dark I couldn’t resist its theatrical nature. means you have to compromise.”

expert opinion • The woman’s expression and bright coat ensures that she’s a striking focal point • Not only does the railing provide a leading line into the image, it helped Emma steady her camera • There’s plenty of space for viewers to ‘read’ this scene

PHOTO OF THE DAY F E A T u R E CHAllenge 2 shoot a night sCene without using fLash

Andrew Higgins

EARLIER in the evening we headed to Covent Garden with the intention of shooting street performers, but we couldn’t resist the picture potential offered by this fashion ad. “As day turned to night, there was a period of quite bland twilight,” Andrew says. “Then London lit up, and the city became a film set. This illuminated advertising photo was one of two side by side, which I thought had the possibility of a fun street picture; the supermodel and the people she lit up, the pedestrians in silhouette. The fact that passing people were wrapped up in warm clothes for the chilly weather added to the contrast. “I just waited and shot a number of people going by, always trying to catch the matching step of the supermodel’s leg. I also had to adjust the camera’s exposure in order to overexpose slightly and keep the clean bright image of the model, but not to lose the silhouette of the people walking past.”

expert opinion • Who’d have thought a backlit ad would deliver such a cinematic quality of lighting? • The contrast between the two sets of figures – both visually and conceptually – is effective. • Opting for a black-and-white treatment is fitting for what is essentially a mono scene. F E A T u R E top street pHotogrApHy tips Follow these rules to help you capture successful candid shots

1 2 be reAdy for AnytHing plAy tHe wAiting gAme

Things happen fast in street photography, so you need to have We were covering lots of ground as opposed to finding a your camera switched on, and ready to go. Avoid using a brightly location, and waiting and watching – but the latter approach coloured camera strap, and wrap the strap around your wrist can often bring great rewards in street photography. Our visit rather than over your shoulder. Keep the camera held at chest to Trafalgar Square coincided with incredible light, so we or head height as you walk around, to reduce the movement decided to spend a little more time there. Waiting gives you required to get the camera up to your eye; not only does this let the opportunity to engineer shots and experiment, as Emma you react faster, it’s less likely to distract your subjects. did with the street-level shot.

3 4 CAmerA settings ConfrontAtion

For sharp shots, you need a fast . To guarantee When you’re getting up close to people, you have to this, consider using Shutter Priority mode, dialling in your be prepared for someone to challenge you. We only preferred shutter speed and switching to Auto ISO; the camera experienced this a couple of times, but a friendly smile and will then adjust the aperture and sensitivity according to the a smart exit was all that was needed to prevent things from situation. When it comes to focusing, choose Continuous turning unpleasant. In some instances you can defuse any autofocus. Alternatively, switch to manual focus and preset the potential problems by explaining to the person what you’re focus distance to two or three metres. doing, and showing them your images. new learn new slr skills! All the best bits from and in two brilliant 228-page handbooks

On sale now at newsagents, Apple Newsstand & Zinio For more brilliant handbooks visit www.myfavouritemagazines.co.uk/photo G A L L E R y XPOSURE The week’s mosT inspiring reader phoTos

Flamingos in Walvis Bay, namiBia Marco Bertazzoni marco has captured a really striking, almost abstract, wildlife image, with the soft pinks of the flamingos reflected beautifully in the water, and the legs and beaks of the foreground birds providing detail amid the wash of colour. http://tiny.cc/n9meiy G A L L E R y

The week’s mosT inspiring reader phoTos

durdlE door sunsEt Gareth thoMpson “this is the durdle door rock arch on the ‘Jurassic Coast’ of Dorset in southern England. it was my first visit here, and i was fortunate to have excellent conditions for the golden hour around sunset.” http://tiny.cc/zeleiy

EndlEss strEam andrejs Fjodorovs “this is the intersection of London’s Oxford Street and regent street at rush hour. i used a neutral density filter and a to capture a long exposure, which enabled me to blur the motion to portray the constant flow of people.” http://tiny.cc/ijleiy G A L L E R y

The week’s mosT inspiring reader phoTos

LOOk whO’S baCk… heidi spieGler “this young kingfisher flew through our garden regularly on its way to and from a river, so i set up a camouflage tent, and waited to get a photo of it. on this morning i was lucky because it sat on this fence post, allowing me to get some shots with my Canon 5d mark iii and tamron 150-600mm lens.” http://tiny.cc/egmeiy

into thE mist duarte sol duarte shot this spectacular image on the 1500-meter high Paul da serra plateau on the island of madeira, with a glimpse of sunset and the light trails of passing cars breaking up the low cloud. http://tiny.cc/q3leiy G A L L E R y

The week’s mosT inspiring reader phoTos

WintEr WEBs jessica dunn this is a wonderfully composed abstract nature shot, with the dew-covered fine branches and cobwebs, and background , combining to create a mosaic-like effect. http://tiny.cc/llmeiy

a stiCk on a mushroom rinaldo riva “this is a tiny stick insect nymph on a mushroom. the image is a focus stack created from 50 shots taken handheld using a sigma 105mm macro lens and a diffused meike mk320 mini flash.” http://tiny.cc/esmeiy G A L L E R y

The week’s mosT inspiring reader phoTos

la déFEnsE jean-François cloüet Jean-François’ imposing architecture shot shows the La Défense business district France just west of Paris, with the mono conversion accentuating the strong shapes and intricate textures of the buildings. http://tiny.cc/wymeiy

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the world’s best-selling digital photo magazine 12-18 JANUARY issue 225

the best action cam of all time? the world’s best-selling digital photo magazine we put the new 4k gopro hero5 through its paces 29 december-4 January issue 223 the world’s best-selling digital photo magazineBest photo Backpacks 5-11 JANUArY issUwee 224 put six top options to the test the world’s best-selling digital photo magazine 15-21 december issue 221 inspiration ideas in-depth reviews the world’s best-selling digital photo magazine 22-28 december issue 222

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tips for better portraits 100 winter Improve your people skIlls wonderland Capture stunning seasonal landsCapes and capture set up a fun and festive party photo booth at home cANoN slr great-lookIng 17Images today! secrets battle of the (and most work with any camera!) beginner dslrs canon eos rebel t6 / 1300d vs nikon d3400

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I N S P I R A T I O N IT’S COOL, THAT The besT Thing we’ve seen This week Images © Gabriel Kocher Images © Gabriel

racing drone captures an alpine action movie Videographer buzzes a Swiss mountain to capture stunning high-speed footage

f we say ‘drone video’ you’ll Hübschhorn mountain in the Swiss Alps at probably conjure up an image of an altitude of more than 3,000 metres, I another lovely-looking but rather steering it via FPV video goggles. stately aerial sequence shot with a DJI The resulting footage is breathtaking, Phantom or similar. If so, strap yourself in and borderline motion sickness-inducing before clicking ‘Watch the video’. – it looks for all the world like it was shot Rather than using a conventional from a helicopter using a top-of-the-line watch the video camera drone such as a Phantom, cinema camera, and is reminiscent of the http://tiny.cc/xxfdiy Canadian drone racer and videographer opening scenes of The Lord of the Rings: Gabriel Kocher strapped a GoPro Hero4 The Two Towers, or a sequence from a Session to a custom-built racing video game. You can see more of Gabriel’s quadcopter, and flew it over the drone videos at his YouTube page. Reveal the next step in your photography journey

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@UKPHOTOSHOW photographyshow.com s K I L L s crash course ESSENTIAL PHOTO SKILLS MADE EASY Take The long view

To capture cloud movement as beautiful blur you need to take things slowly. Armed with a neutral density filter, James Paterson explains how

Long shutter speeds can 30 have a stunning effect on mins motion, transforming water or clouds into beautiful, milky blur. under normal daylight conditions, however, your camera will struggle to achieve very long shutter speeds. even with the lowest possible Iso and narrowest aperture you’d be unlikely to get a speed slower than half a second without overexposing your shot. This is where neutral density lens filters come in. They restrict the amount of light that enters your camera, and they come in different strengths, measured in ‘stops’. For every stop of light blocked by the filter you’re able to double your shutter speed and still take a correctly exposed .

How many stops? so what strength of filter is right for you? This will vary from subject to subject, and depends on the speed of the objects you wish to blur and the brightness of the scene. When we shot our windmill, our aim was to capture the movement of the clouds. In strong winds you might only need a shutter speed of second or two to capture good cloud blur, and that can usually be achieved with a three- or four-stop ND filter. But on a calm day, when clouds take longer to drift across the frame, a longer shutter speed, and therefore a darker filter, will be required. at the extreme end of the filter scale, there are 10-stop filters that enable you to multiply your exposure time by a thousand, sending your shutter speeds well into the minutes. read on to find out how you can give your landscapes an atmospheric edge by transforming passing clouds into gorgeous silky blur. s K I L L s

STEP bY STEP CLOuD YOur vIEw

1 Ready, sTeady… It’s impossible to shoot handheld at the kind of shutter speeds you need to blur clouds, so a tripod is essential. If, like us, you opt to use a 10-stop filter, get your focusing and composition sorted before you attach it, then switch to Manual focus – once the near-black filter is on your lens you can’t see a great deal through the viewfinder.

2 look, no filTeR Take a test shot without any filters attached to work out an initial exposure. use Manual mode, Iso100 and a narrow aperture like f/22, then adjust the shutter speed while keeping an eye on the exposure scale on the rear screen until your image is correctly exposed. We eventually settled on a shutter speed of 1/40 sec.

3 sTack ’em up Filters can be stacked on top of one another, so before you attach the neutral density filter, consider using a circular polariser too – these cut through reflections and enables you to darken the blues in skies. Polarisers also knock out about one- and-a-half stops of light, which took us from 1/40 to 1/10 sec here.

without polariser with polariser

waTch The weaTheR scout out a suitable location well in advance. The only thing you’ll have no control over is the weather, so you’ll need to wait for a day when the conditions are right – ideally you want white clouds, blue skies and plenty of wind. s K I L L s

STEP bY STEP CLOuD YOur vIEw

4 peRfecT 10 once your composition and focusing are spot-on, attach your ND filter to your lens. as the clouds were moving slowly on the day we were shooting, we opted for a 10-stop filter. If you’re using the filter in combination with a polariser, be careful not to adjust the polariser’s rotation when you screw on the ND filter.

5 Take iT slow With a 10-stop filter you might find you’ll need a shutter speed longer than your camera’s maximum setting of 30 seconds; if so select Bulb mode, which enables you to begin and end the exposure manually. attach a cable release to your camera as well – this way, you can lock the shutter open for as long as you like, and time the exposure manually.

6 eveRy second counTs With Bulb mode set you can keep the shutter open as long as you like, but how long do you need? every stop blocked by the filter enables you to double the shutter speed, so increasing our 1/10 sec exposure by 10 stops gave an exposure of 100 seconds. We experimented with exposures at around this length, settling on 127 seconds. s K I L L s KeY sKill choosing a filTeR sysTem

Filters come in different shapes and sizes, but which system is right for you and your lens collection?

1 squaRe filTeR sysTem This system is more versatile, as you can use each filter on any lens, as long as you’ve got an adaptor ring the right size. It also makes possible the use of graduated filters (where half the glass is darker), as you can shift the filter up or down so that the darker area only covers the sky.

top tip The RighT clouds

cloud movement shows up best if you have dappled clouds against a blue sky – when there’s too much white cloud, all you get is a milky smooth sky like in this shot, so check the forecast and wait for blue skies. 2 When composing your shot, observe the direction of movement too. With careful placement, you can make scRew-on filTeRs the blurred clouds complement your composition by screw-on filters are compact, and protect the front element leading the eye towards the subject. of the lens from dust and water drops. however, each filter is restricted to one lens thread size. E d I t I N g photoshop cc LEARN ESSENTIAL EDITING SKILLS FAST!

WatCH tHe VIDeO http://tiny.cc/fokciy

HOW tO... master layer masks Photoshop’s layers and masks are essential for any type of creative image editing, so it’s well worth spending the time to understand how to use them

hotoshop’s layers and layer different exposures to create images hide it. Masks are also editable, so if you masks set it apart from many of with greater dynamic range. mask off too much of an image areas p the alternative image-editing Furthermore, each layer can be can be painted back in quickly and software packages available. Layers can moved and adjusted independently easily. Essentially, they enable the be explained in simple terms as a stack from the others. they can also be opacity of a layer to be selectively and of images, with the top layer the one modified by multiple adjustment layers, reversibly edited. that’s visible. If the opacity of that top which are positioned above the target one click is all that’s required to image is reduced, or sections of it are layers in the layer stack. create a mask, and once that’s done, it’s erased, the layer beneath will be Masks add an extra element of simply a question of hiding or revealing revealed. this concept enables us to do sophistication to layers because they parts of the image, using a brush or the a variety of things, such as create can be applied to any layer individually, gradient tool. In this video tutorial we’ll composite pictures from several and rather than simply erasing image show you everything you need to start images, or merge shots taken at data to reveal the layer beneath, they working with layers and masks. b a c k i s s u E s missed something? It’s never too late to pick up a back issue!

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watch the video return of the http://tiny.cc/x2qx9x get the sharpest capture majestic landscapes wildlife Of yOur life nikon 1 J5 review: learn how to shoot from at your local zoo is this nikon’s best CsC? unusual perspeCtives we put 8 top lenses to the test become a hyperfocal master

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Sony FE 50mm F/2.8 macro A standard prime that fully lives up to its macro billing

£500/$500 www.sony.com rEviEw sony FE 50mm F/2.8 macro

01

03

02

01 02 03 The inner barrel extends at shorter focus on-board controls include aF/mF and Eight optical elements are arranged in seven distances, to as little as 4.5cm from the subject autofocus limiter switches, as well as a focus groups, which include an aspherical front element in full 1.0x macro shooting. hold button. and an Ed (Extra-low dispersion) element.

here have been 50mm ‘macro’ magnification. No is supplied, switch earns its keep here. Wide-open T lenses from the likes of Canon but the front element is deeply recessed at f/2.8 there’s a little and a and Zeiss that, while giving a within the inner barrel, helping to guard slight drop in sharpness, but the quality natural perspective with a full-frame against ghosting and flare. of the bokeh is pleasing. DSLR, don’t deliver the full macro Unusually for a relatively short-focal- Sharpness is excellent from f/4 to benefit. Instead they only offer a length macro lens there’s a focus limiter f/11, although macro photographers maximum magnification ratio of 0.5x at switch that can lock out the short or long might be disappointed that it drops off their closest focus distances. Like ends of autofocus travel. There’s also at f/16 – and that f/16 is the narrowest Sony’s older A-mount 50mm macro, a handy focus-hold button. available aperture. however, this new E-mount optic Manual focusing is usually preferable matthew richards boasts 1.0x magnification, reproducing in , so the smooth- small objects at full life-size on the action, fly-by-wire manual focusing . system is a bonus. It offers excellent precision with the availability of fine VErdicT Build & handling adjustments, aided by the magnified Although the lens is compact and light, focusing view available on Sony it feels well-built and fairly robust. It compact system cameras. The sony FE 50mm f/2.8 Macro lacks a weather-sealed mount but is works very well as both a ‘standard’ dust- and moisture-resistant. The inner Performance lens and a macro prime lens, with barrel doesn’t rotate during focusing The autofocus system is highly excellent handling and very good but does extend at shorter focusing accurate but rather slow. For close-up overall image quality. distances, revealing calibrated shots, AF speed can be further markings for focus distance and hampered by hunting, so the limiter

Full-Frame compatible yES eFFective 50mm (75mm aPS-c) image StabiliSer no minimum FocuS diStance 0.16m WireleSS yES max magniFication Factor 1.0x manual FocuS override yES FocuS limit SWitch yES internal FocuS no Filter Size 55mm iriS bladeS 7 Weather SealS ParTial Supplied acceSSorieS caPS dimenSionS (dia x length) 71 x 71mm Weight 236g new

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