\nReleased into Canon\u2019s double-digit lineup of DSLRs in 2013, the EOS 70D is the successor to the EOS 60D and predecessor of the EOS 80D, which was replaced by the EOS 90D in 2019. Aimed squarely at enthusiasts who\u2019d like an intuitive layout of external controls, a vari-angle screen and a build-quality superior to Canon\u2019s entry-level DSLR\u2019s, it was also the first DSLR to showcase Canon\u2019s revolutionary Dual Pixel CMOS AF technology. It was released at body-only price of \u00a31070. Today it\u2019s possible to source a second-hand 70D in excellent condition with a shutter count under 5,000 frames for \u00a3444, which is a good amount of camera for the money. At its heart lies a 20.2-million-pixel APS-C sized sensor.<\/p>\n
![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Canon-EOS-70D-2-470x400.jpg\")
\nThe small jump in resolution from the 60D went virtually unnoticed as all attention was drawn to the way it could perform on-sensor phase-detection focusing when using live view and shooting video to improve focus acquisition and response. The 70D\u2019s sensor and DIGIC 5+ processor combine to offer a sensitivity range of ISO 100-12,800 (extendable to ISO 25,600), meanwhile it can shoot continuously at up to 7fps. The buffer permits 16 raw files or 65 JPEGs to be recorded at this speed before its capacity is reached, it has a single SD card slot at the side and its LP-E6 battery gets close to 920-shots on a single charge. Canon\u2019s BG-E14 battery grip (\u00a399 in mint used condition) can be attached for longer spells of shooting and improves the handling when shooting in portrait format.<\/p>\n
The AF system is borrowed from Canon\u2019s original EOS 7D and consists of 19 points, all of which are the sensitive cross-type. It doesn\u2019t provide a joystick to easily nudge the AF point around the frame like the newer 90D, but users do get a dedicated button on the top plate to toggle through the AF modes. The 70D\u2019s 3in, 1.04m-dot articulated touch screen is particularly useful when it comes to creative framing and above it is a pentaprism-style optical viewfinder that can display a small level indicator to avoid skewed shots. As is usually the case with more-advanced DSLRs, the 70D sports a small LCD display on the top of the camera providing a quick reference point to key camera settings. With regard to exposure modes, the 70D is served by the usual quartet of PASM modes, along with a fully automatic Auto mode and a range of specific Scene modes for less-experienced users.<\/p>\n\t\t
![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Canon-EOS-70D_Sample-Image3-600x400.jpg\")
\t\t\tAn example of the rich colours you get from the 70D\u2019s raw files Canon EOS 70D, EF-S 18-135mm f\/3.5-5.6 IS Nano USM, 1\/640sec at f\/5.6, ISO 100<\/p>\n\t\t<\/div>\n\t\t\n
There\u2019s built-in Wi-Fi, enabling image sharing and remote capture from a smartphone or tablet via Canon\u2019s app, while video-recording abilities extend to 1080p Full HD capture up to 30fps. The design and layout will be familiar to Canon entry-level users who might like to upgrade and though its polycarbonate body isn\u2019t as strong as a magnesium alloy, it\u2019ll survive the odd knock here and there, plus it\u2019s reassuring to know it is dust and moisture resistant. Though the 70D\u2019s sensor is starting to get on a bit, you\u2019re guaranteed well-exposed images, superb colours from the camera\u2019s raw files, with high detail preserved up to ISO 3200. Some colour noise can be traced in dark shadowed regions of JPEGs though so we\u2019d give precedence to shooting in Raw. For beginners starting out and amateurs looking to hone their skills, the 70D makes a compelling choice. There\u2019s also no shortage of excellent second-hand EF\/EF-S mount lenses to pair it with.<\/p>\n
At a glance<\/strong> Canon EF-S 10-18mm f\/4.5-5.6 IS STM (\u00a3139)<\/strong> Canon EF-S 18-135mm f\/3.5-5.6 IS STM (\u00a3209)<\/strong> Canon EF-S 60mm f\/2.8 USM Macro (\u00a3199)<\/strong> Sigma 30mm f\/1.4 DC HSM Art (\u00a3259)<\/strong> * \u00a3369<\/strong> There\u2019s also a massive difference in terms of design. In contrast to the Olympus\u2019s charismatic retro styling, the Lumix is built much more along the lines of a conventional DSLR, with a squat black weather-sealed body and prominent handgrip. It\u2019s festooned with external controls, including a pair of large top-plate dials for changing exposure settings, a drive-mode dial on the top plate, and a focus-mode switch on the back.<\/p>\n As a result it\u2019s easy to carry around one-handed, balances well with telephoto lenses, and in most respects is a pleasure to shoot with. Panasonic\u2019s control set-up may not suit everyone, as both dials do the same thing by default (except in manual mode), and it relies on the touchscreen for positioning the focus point. But the good news is that the camera is highly configurable to suit the user. Viewing is via a large, clear 2.36m-dot OLED finder, while the rear screen is fully articulated for shooting at awkward angles.<\/p>\n\t\t Micro Four Thirds is great for telephoto reach Panasonic G80, 100-300mm, 1\/80sec at f\/5.6, ISO 3200<\/p>\n\t\t<\/div>\n\t\t\n An excellent touch interface complements the physical controls nicely. The G80 was Panasonic\u2019s first SLR-style model to include in-body image stabilisation (IBIS), and in general it works very well. When coupled with an optically stabilised lens, the two systems work together for increased effect, in a system Panasonic calls Dual IS. The caveat is that with some lenses the firmware will need updating, and with the very oldest ones, Dual IS won\u2019t work at all.<\/p>\n Noteworthy features include a really quiet, well-damped shutter, in-camera raw conversion, and up to 900 shots battery life when using the energy-saving Eco mode. The G80 doesn\u2019t have quite the same high-end video credentials as its more expensive siblings, but 4K recording is available at 30fps and 100Mpbs, with Cinelike colour profiles available for easier post-production, and a built-in 3.5mm stereo microphone socket. Panasonic\u2019s 4K Photo mode effectively allows 8MP still images to be captured at 30fps. As usual from Panasonic, the G80 relies on the firm\u2019s Depth from Defocus technology for autofocus. It\u2019s not quite as decisive as phase detection, but is quicker than simple contrast detection and better at dealing with moving subjects. Low ISO image quality is very good indeed, especially in sunlight, with attractive colours and easily enough detail to make a sharp A3 print. The metering tends to underexpose in dull light, but this is easy to correct.<\/p>\n The sensor continues to deliver decent image quality at up to ISO 6400, while built-in Wi-Fi connectivity makes it easy to transfer images to your smartphone for sharing on social media. Overall, while the G80 may not have the retro charm of its Olympus rival, it\u2019s still an impressive camera that\u2019s fully featured, a pleasure to use, and capable of great results for both stills and video.<\/p>\n At a glance<\/strong> Panasonic Lumix G Vario 12-60mm F3.5-5.6 ASPH OIS (\u00a3159)<\/strong> Panasonic Lumix G Vario 100-300mm F4-5.6 II OIS (\u00a3359)<\/strong> Panasonic Lumix G Vario HD 14-140mm F3.5-5.6 II ASPH OIS (\u00a3319)<\/strong> Panasonic Lumix G 20mm F1.7 ASPH (\u00a3159)<\/strong> * \u00a3409<\/strong> At heart the Alpha 7 answers a very simple question, of how to squeeze a full-frame sensor into the smallest possible body while including an eye-level viewfinder. The resultant SLR-style design with its central EVF measures 127x94x48mm and weighs 474g, making it almost 200g lighter than the contemporary Canon EOS 6D, or 176g less than the current Alpha 7 III. Even now, the only full-frame model that\u2019s lighter is the rather less practical\u00a0Sigma fp. It still packs in a pretty decent set of specifications, as befits a camera that originally cost \u00a31,300 body-only. The 24MP full-frame sensor offers sensitivities up to ISO 25,600, and you can rattle off shots at 5 frames per second, with a creditable 28-frame raw buffer. Autofocus uses a hybrid system, with 117 phase-detection points arranged in the central region of the frame, complemented by contrast detection that extends almost to the edges.<\/p>\n\t\t The Alpha 7 delivers full-frame image quality on a budget. Sony Alpha 7, 24-70mm f\/4 at 24mm, 1\/60sec at f\/16, ISO 1000<\/p>\n\t\t<\/div>\n\t\t\n With static subjects autofocus is pretty snappy, and inherently accurate, but C-AF performance lags some way behind Sony\u2019s latest technology. One notable omission is in-body image stabilisation, which debuted on the second-generation model, but that\u2019s the trade-off for the slimmer body. There\u2019s no denying that, in certain aspects of its design, the Alpha 7 now feels decidedly clunky. Sony was still feeling its way into mirrorless, after all, having released its first APS-C bodies little more than three years previously. The shutter operates with a loud clack, and while the camera sports no fewer than four dials to set exposure, the control layout is frankly a bit of a mess. Battery life is unimpressive, but thankfully third-party spares are cheap and easy to find.<\/p>\n The Alpha 7 is compatible with a large range of full-frame E-mount lenses, not just from Sony but also third-party makers such as Samyang, Sigma, Tamron and Zeiss. Even better, it will also work with a vast array of old manual-focus lenses originally designed for 35mm film SLRs and rangefinders via mount adapters, making it a great way of reviving optics from long-dead systems. The electronic viewfinder previews exactly how your shot will turn out, in terms of brightness, colour and depth of field, and the tilting screen is handy for shooting at high or low angles. When shooting in raw, you can expect image quality that\u2019s not all that far behind contemporary models, with excellent dynamic range at low ISOs, and very respectable high-ISO performance. JPEG quality isn\u2019t so great, though, and has been much improved on subsequent generations.<\/p>\n The Alpha 7 was on sale new for a very long time, which means that it\u2019s quite plentiful on the second-hand market, and relatively easy to find in good condition. If you can live with its quirks, it\u2019s one of the best ways to get into shooting full-frame At a glance<\/strong> Sony FE 24-70mm F4 ZA OSS (\u00a3439)<\/strong> Sony FE 85mm F1.8 (\u00a3409)<\/strong> Samyang AF 35mm F2.8 FE (\u00a3169)<\/strong> *\u00a3319<\/strong><\/p>\n While the future of Olympus\u2019s imaging business may be uncertain, there\u2019s no denying the quality of the cameras and lenses that it\u2019s made in the recent past. The key promise of the Micro Four Thirds system \u2013 small, high-performance cameras and lenses \u2013 aligns perfectly with what the company has always done best, and arguably, no camera represents that better than the OM-D E-M5 Mark II. This compact, charismatic SLR-style model sold for \u00a3900 body-only when it launched in early 2015, but can be bought for well under half that price second-hand, even in as-new condition.<\/p>\n The E-M5 II\u2019s main attractions remain much the same as when it was new, as few other cameras are this small, yet fully featured and robust. It measures just 123.7x85x44.5mm and weighs in at 469g, yet sports a weather-sealed magnesium-alloy body and a good range of well-placed external controls.<\/p>\n Its 2.36m-dot electronic viewfinder provides a large, sharp view, while the fully articulated rear touchscreen facilities shooting at creative angles, in both portrait and landscape formats. Not surprisingly some of the core specifications now look a little dated, particularly the 16MP Four-Thirds sensor that technically can\u2019t match larger formats for raw image quality. Also as the autofocus is based purely on contrast detection, it\u2019s really not happy trying to track fast-moving subjects, meaning this is far from the best choice for shooting sports or action. Likewise video is limited to Full HD at 60fps.<\/p>\n\t\t Like all Olympus cameras, the E-M5 Mark II gives lovely colours. Olympus OM-D E-M5 Mark II, 12-40mm f\/2.8 at 15mm 1\/800 sec at f\/5.6, ISO 200<\/p>\n\t\t<\/div>\n\t\t\n But in other respects, you get a whole lot of camera for your money. Olympus\u2019s 5-axis in-body stabilisation works with every lens you can use, often allowing you to shoot at slower shutter speeds and hence lower ISOs, offsetting the image-quality disadvantage of the smaller sensor. There\u2019s also a 40MP high-resolution multi-shot mode, although it requires the camera to be set on a tripod and the subject to be completely static, which limits its usefulness. The mechanical shutter, which provides speeds up to 1\/8000sec, is extremely quiet and discreet for stealthy shooting.<\/p>\n When buying second-hand, make sure you\u2019ll get the handy FL-LM3 flash; it slides onto the hot shoe, is powered from the camera, and sports an articulated head for bounce flash. In terms of operation the E-M5 II works pretty well out of the box, with two large tactile dials under your forefinger and thumb for changing exposure settings. It\u2019s also highly configurable, and we\u2019d recommend remapping the top-plate HDR button to change ISO and white balance, and perhaps setting the rear switch to engage manual focus.<\/p>\n As usual Olympus\u2019s JPEG processing is excellent, delivering attractive, punchy colour, aided by near-perfect auto white balance. Built-in Wi-Fi makes it easy to transfer images to your phone for sharing, using the well-designed OI Share app. One of the biggest attractions of Micro Four Thirds is the large range of small, high-quality lenses available. With its diminutive size the E-M5 II is really most at home wearing relatively small, lightweight zooms, or Olympus\u2019s tiny but sharp f\/1.8 primes. If you\u2019d like to use it with larger telephoto lenses, you may find it helpful to add either the HLD-8 two-part grip that also takes a second battery, or the rare ECG-2 handgrip.<\/p>\n At a glance<\/strong> Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro (\u00a3439)<\/strong> Olympus M.Zuiko Digital \u00a017mm F1.8 (\u00a3249)<\/strong> Olympus M.Zuiko Digital ED 40-150mm F4-5.6 R (\u00a399)<\/strong> Olympus M.Zuiko Digital 45mm F1.8 (\u00a3139)<\/strong> For the second part of our major guide to the best used camera bargains under \u00a3500, we feature Canon, Sony, Panasonic and Olympus<\/p>\n","protected":false},"author":7,"featured_media":140000,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[57,1554],"tags":[],"product-category":[],"class_list":["post-139999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-latest-announcements","category-second-hand"],"yoast_head":"\n
\n* Sensor 20.2MP CMOS, 22.5 x 15mm
\n* \u0007Sensitivity ISO 100-12,800; ISO 100-25,600 (extended)
\n* Autofocus 19-point phase detection
\n* Continuous shooting 7fps
\n* Video Full HD up to 30p
\n* \u0007Rear display 3in, 1.04m-dot fully articulated touchscreen
\n* Viewfinder Optical, 98% coverage, 0.6x equivalent magnification<\/p>\nFour great lenses to consider<\/h2>\n
\nIf you\u2019re after a compact wideangle zoom for your Canon APS-C DSLR, this is a fine example and one that pairs up well with mid-range DSLRs like the EOS 70D. Its Stepping Motor Technology (STM) helps keep focus operation inaudible and with four-stop image stabilisation it\u2019s possible to shoot sharp handheld images with shutter speeds as slow as 1\/5sec. It may have a plastic mount and electronic manual focus, but don\u2019t let that put you off as it delivers very pleasing results for such a low price. As such, it\u2019s hard to think of a reason not to include this in your lens collection if you\u2019re looking to expand and fancy owning an optic that\u2019s better suited to containing more of what\u2019s around you in the frame. It\u2019s great for landscapes, interiors and architecture.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Canon-EF-S-10-18mm-f4.5-5.6-IS-STM-400x400.jpg\")
\n
\nThis is an appealing lens for Canon users who\u2019d like a versatile zoom that covers a practical focal length range that is equivalent to 29-216mm. Not to be confused with the older EF-S 18-135mm f\/3.5-5.6 IS, this lens is equipped with Canon\u2019s stepping-motor technology (STM) to ensure quiet, smooth focus operation when capturing stills and shooting video. It\u2019s a feature that works particularly well with the EOS 70D\u2019s Dual Pixel CMOS AF technology. In addition the lens features a dynamic image stabiliser that lets you shoot handheld shots up to four stops slower than is otherwise possible, whilst being able to focus as close as 39cm to a subject at any point in the zoom range. It has a construction of 16 elements in 12 groups, accepts 67mm filters and weighs 480g.
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Canon-18-135mm-f3.5-5.6-IS-STM-400x400.jpg\")
<\/p>\n
\nIf you own a Canon APS-C DSLR and like the sound of photographing objects at true life-size (1:1), you\u2019ll want to add a dedicated macro lens to your kit. Equivalent to 96mm mounted to an APS-C DSLR, this dedicated macro lens will enable you to capture stunning close-ups, thanks to its 20cm minimum focus distance. The inclusion of Canon\u2019s Ultra Sonic Motor (USM) means it can focus silently on subjects, and with Super Spectra coatings to suppress ghosting and flare, in addition to full-time manual focus override, it\u2019s not short of features for the price. What\u2019s more, it doubles up as an effective portrait lens and creates beautiful background blur behind subjects when it\u2019s used at its maximum aperture. All in all, it\u2019s an excellent dual-purpose optic for Canon APS-C users who want a lens that\u2019ll last a lifetime with due care.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Canon-60mm-f2.8-USM-Macro-519x400.jpg\")
\n
\nEquivalent to a 48mm prime coupled to an APS-C DSLR, this compact, wide-aperture prime provides a field of view extremely close to what we see with our eyes. It has an updated optical configuration over the older Sigma 30mm f\/1.4 EX DC HSM, with 9 elements arranged in 8 groups. The lens features a double-sided aspherical lens element to minimise spherical distortion and its Hyper Sonic Motor (HSM) delivers smooth and quiet autofocus. Fulltime manual focus is also supported. Firmware updates and focusing adjustments can be made via Sigma\u2019s USB dock device and it\u2019s a lens that can be relied on to produce striking images, with its nine-blade diaphragm producing very satisfying specular highlights \u2013 also known as bokeh. It\u2019s not weather-sealed, but given the quality of the images it produces you can\u2019t argue at the price.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Sigma-30mm-f1.4-DC-HSM-Art-414x400.jpg\")
\n\nPanasonic Lumix xG80<\/strong><\/h2>\n
\nReleased towards the end of 2016, the Lumix G80 is essentially Panasonic\u2019s answer to the Olympus OM-D E-M5 Mark II. Indeed a glance through the spec sheets reveals that in terms of photographic ability, on paper the two cameras are practically identical. But there\u2019s a major difference for those who are also interested in video, because the G80 is capable of recording in 4K, and with very creditable quality too.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Panasonic-G80-front-400x400.jpg\")
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Panasonic-G80-100-300mm-P1030220-edit-533x400.jpg\")
\t\t\t
\nSensor 16MP CMOS, 17.3x13mm
\nSensitivity ISO 200-25,600; ISO 100-25,600 (extended)
\nAutofocus 49-point contrast detect
\nContinuous shooting 9fps with AFS, 6fps with AFC l Video 4K up to 30p
\n\u0007Rear display 3in, 1.04m-dot fully articulated LCD
\nViewfinder 2.36m-dot electronic, 0.74x equivalent magnification<\/p>\nFour great lenses to consider<\/h2>\n
\nThis might look like just another small-aperture kit zoom, but in fact a couple of desirable characteristics make it stand out from the crowd. First is the unusually versatile 24-120mm equivalent zoom range, making it suitable for a broad range of subjects from landscapes to portraits. Secondly, the lens is weather-sealed to match the G80, making it the ideal choice for shooting outdoors in less than perfect conditions. It\u2019s small and lightweight, at just 210g, while accepting 58mm filters and focusing as close as 25cm at the telephoto end. Sharpness is very respectable, with the best results seen around f\/5.6-8, while integrated software compensation eliminates distortion and chromatic aberration. It\u2019s a fine lightweight general-purpose zoom for everyday use.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Panasonic-Lumix-G-12-60mm-f35-56-400x400.jpg\")
\n
\nOne of the biggest advantages of Micro Four Thirds is the ability to get substantial telephoto reach without having to carry around massive lenses, and Panasonic\u2019s 100-300mm f\/4-5.6 is arguably the epitome of this. Smaller, lighter and much less expensive than the firm\u2019s Leica DG 100-400mm F4-6.3 OIS, it delivers a 200-600mm equivalent zoom range in a remarkably portable package that weighs only 520g. It focuses quickly, provides excellent optical stabilisation, and gives very respectable images, although it benefits from being stopped down a little at 300mm. We\u2019ve selected the \u2018II\u2019 version here, as it\u2019s dust and splash-proof and fully supports Panasonic\u2019s Dual IS system, which makes it a great match to the G80. However the original can also be found at an even more affordable price.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Panasonic-Lumix-G-100_300mm-f4-56-II-400x400.jpg\")
\n\n
\nIf you\u2019re interested in a weather-sealed all-in-one superzoom that\u2019s ideal for both stills and video use, this optic fits the bill as an ideal partner to the G80. The \u2018II\u2019 suffix indicates that it\u2019s an update of an older lens that lacks the dust and splash proofing, but is otherwise identical in design. As superzooms go, this 28-280mm equivalent optic is remarkably small, especially given the inclusion of Panasonic\u2019s Power OIS optical stabilisation that\u2019s designed to compensate for slow, large-amplitude movements that can otherwise spoil long exposures and videos, as well as more conventional shake. It measures 67mm in diameter by 75mm in length, and weighs 265g. For users on a tighter budget, the older non-weathersealed 14-140mm f\/4-5.8 can be had for almost half the price.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Panasonic-Lumix-G-14-140mm-400x400.jpg\")
\n
\nPancake lenses seem to have gone out of fashion these days, which is something of a shame as when done well, they can provide fine image quality in an incredibly compact size. The Panasonic 20mm f\/1.7 is a case in point \u2013 it\u2019s just 26mm long and weighs 100g, but is capable of producing really attractive photos. It\u2019s very sharp in the centre of the frame wide open, while giving its best results overall between f\/2.8 and f\/5.6. As usual for Micro Four thirds, residual distortion and chromatic aberration is mopped up by software\u00a0compensation, meaning that the user simply experiences pleasingly sharp, clean images. Its main disadvantage is sluggish autofocus, due to a design that moves the entire optical unit back and forth for focusing.
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Panasonic-Lumix-G-20mm-f1.7-II-400x400.jpg\")
<\/p>\n\nSony Alpha 7<\/h2>\n
\nIt\u2019s easy to forget just how revolutionary the Sony Alpha 7 looked when it was launched back in 2013 alongside the 36MP Alpha 7R, as one of the world\u2019s first full-frame mirrorless cameras. Now that we\u2019re three generations down the line, with the Alpha 7 III being one of the most sophisticated and accomplished all-rounders on the market, it\u2019s also easy\u00a0to forget just how small, stripped-back and lightweight the camera felt compared to contemporary full-frame DSLRs.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Sony-A7-slant-533x400.jpg\")
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Sony-A7-24-70-DSC00009-acr-600x400.jpg\")
\t\t\t
\non a budget.<\/p>\n
\nSensor 24MP CMOS, 35.8×23.9mm
\nSensitivity ISO 100-25,600
\nAutofocus Hybrid, 117-point phase detect, 25-point contrast detect
\n\u0007Continuous shooting 5fps
\nVideo Full HD up to 60p
\n\u0007Rear display 3in, 1.23m-dot tilt
\nLCD Viewfinder 2.36m-dot electronic, 0.71x magnification<\/p>\nFour great lenses to consider<\/h2>\n
\nSony\u2019s cheapest standard zoom is the FE 28-70mm F3.5-5.6 OSS, which is available for less than \u00a3160 second-hand. But unless you\u2019re really on a budget, we\u2019d forgo this entry-level lens in favour of the Zeiss-branded 24-70mm F4, as a better way of realising the potential of the full-frame sensor. It provides a usefully wider view, along with higher-quality optics and a more robust all-metal barrel that\u2019s sealed against dust and moisture. However it\u2019s still relatively compact and lightweight, at 94.5mm in length and 426g, and uses 67mm filters. It also includes optical stabilisation to help keep your images sharp when shooting handheld at slower shutter speeds. Overall it\u2019s the ideal everyday zoom for use on the Alpha 7.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Sony-FE-24-70mm-F4-ZA-OSS-1-400x400.jpg\")
Sony FE 50mm F1.8 (\u00a3129)<\/strong>
\nFor a certain generation of photographer, the 50mm f\/1.8 is simply the classic lens for use with full frame, having been near-universally supplied with manual-focus 35mm film SLRs. Sony\u2019s version updates the venerable double-Gauss optical formula by the use of an aspherical element in its 6-element, 5-group design, with the aim of reducing peripheral aberrations to give sharper images at large apertures. The diaphragm employs seven curved blades to deliver attractive bokeh, and filters can be used via a 49mm filter thread. At just 186g the lens is distinctly lightweight, although at 60mm in length, it\u2019s longer than classic SLR 50mm primes. In real-world use it provides sharp images with minimal distortion or chromatic aberration, but users may find its sluggish autofocus to be\u00a0frustrating.
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Sony-FE-50mm-F18-400x400.jpg\")
<\/p>\n
\nOne of the main pictorial advantages of full-frame over smaller sensor formats is its increased ability to achieve shallow depth of field when shooting at large apertures, which is considered to be particularly desirable when photographing people. Sony\u2019s FE 85mm F1.8 is a classic short-telephoto portrait prime that delivers sharp images with a good degree of background blur, but without breaking the bank. To match it on APS-C you\u2019d need a 56mm f\/1.2; only Fujifilm makes such a thing, and it\u2019s considerably more expensive. Rapid internal focusing is provided, with full support for Sony\u2019s Real-Time Eye AF on more recent cameras. At 371g and 82mm in length, this f\/1.8 optic is also considerably more manageable than Sony\u2019s huge FE 85mm F1.4 GM, which weighs more than twice as much.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Sony-FE-85mm-F18-400x400.jpg\")
\n
\nPretty much the smallest and lightest \u2018proper\u2019 autofocus lens that you can get for Sony\u2019s full-frame E-mount mirrorless cameras, this is a great option for when you want to travel super-light. It\u2019s also extremely affordable when compared to its Sony equivalent. Despite its compact dimensions \u2013 just 33mm long and a featherweight 85g \u2013 Samyang has managed to fit in an optical system that includes 7 elements in 6 groups, including two aspherical elements and one made of high-refractive index (HR) glass.\u00a0In addition, its internal focus design delivers reasonably snappy AF. Images are pretty good at f\/2.8, with the sweet spot of maximum sharpness being two stops down at f\/5.6. It\u2019s a compelling option for photographers who want full-frame image quality in the smallest possible package.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Samyang-AF_35mm_f28_FE_2-384x400.jpg\")
\n\nOlympus OM-D E-M5 Mark II<\/h2>\n
![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Olympus-E-M5-II-slant-484x400.jpg\")
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Olympus_EM5II_12-40mm_P8293689-acr2-533x400.jpg\")
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\nSensor 16MP CMOS, 17.3x13mm
\nSensitivity ISO 200-25,600;\u00a0ISO 100-25,600 (extended)
\nAutofocus 81-point contrast detect
\nContinuous shooting 10fps with S-AF; 5fps with C-AF
\nVideo Full HD up to 60p
\nRear display 3in, 1.04m-dot fully articulated LCD
\nViewfinder 2.36m-dot electronic, 0.74x equivalent magnification<\/p>\nFour great lenses to consider<\/h2>\n
\nIt may seem odd to recommend a standard zoom that\u2019s more expensive than the camera, but the 12-40mm f\/2.8 is quite simply the perfect complement to the E-M5 Mark II. Indeed, more than any other lens in Olympus\u2019s line-up, aside perhaps from the recently launched 12-45mm f\/4, it best realises the concept of the high-quality, lightweight, weather-sealed\u00a0system. Optically it\u2019s fantastic, delivering excellent image quality at any focal length even when shot wide open, while also being capable of superb close-ups down\u00a0to just 20cm, where it delivers 0.6x equivalent magnification. Operationally it boasts a\u00a0dual-mode focus ring that can be snapped back towards the camera to engage manual focus, revealing a distance scale in the process. There\u2019s also a programmable L.Fn button.
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Olympus-12-40mm-F2.8-545x400.jpg\")
<\/p>\n
\nSmall primes complement Olympus\u2019s compact OM-D bodies really nicely, allowing you to shoot in low light without having to hike the ISO too far, and to achieve a degree of background blur. The 17mm f\/1.8 is a particularly fine choice when you want to travel really light and work discreetly, as it weighs in at just 120g, while measuring a mere 36mm in length. It still finds space for two aspherical elements and one made from high refractive index (HR) glass to suppress aberrations, along with a fast, silent internal-focus mechanism. It even has a snap-back focus ring for switching to manual focus, complete with distance and depth-of-field scales. It\u2019s perhaps not the sharpest lens Olympus makes, but it\u2019s one of the nicest.
\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Olympus-17mm-F1.8-534x400.jpg\")
<\/p>\n
\nIn Olympus\u2019s Micro Four Thirds lens line-up, there\u2019s often no middle ground between inexpensive kit zooms and the firm\u2019s high-end, but large and expensive Pro-series lenses. This is very much the case with telephoto zooms, where there\u2019s a yawning chasm between the 40-150mm f\/2.8 and its f\/4-5.6 sibling. Thankfully, though, this lightweight and inexpensive optic is still a very decent performer, thanks in part to the use of an extra-low dispersion (ED) glass element to combat chromatic aberration. It weighs less than 200g, is just 8.6cm long and employs 58mm filters, and yet provides an 80-300mm equivalent range. Autofocus is rapid and practically silent, with the minimum focus distance being less than a metre. Just be aware that the lens isn\u2019t weather-sealed for use in inclement conditions.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Olympus-40-150mm-r-533x400.jpg\")
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\nWe regularly sing the praises of this fine little short-telephoto prime, and with good reason. Quite simply, it\u2019s a fantastic budget portrait lens. Just like its 17mm sibling it\u2019s extremely small and light, at 46mm long and 116g, but it focuses snappily and delivers lovely-looking images. Wide open it combines just a little flattering softness with attractive background blur; stop down to f\/2.8 and it sharpens up very nicely. Its main weakness optically is when shooting directly into the light, where it\u2019s very prone to flare. However for the next step up in optical quality, but also size and weight, you have to go to the excellent Sigma 56mm F1.4 DC DN, which will set you back at least twice the price.<\/p>\n![\"\"](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2020\/08\/Olympus-45mm-f18-black_390710992_678392562-400x400.jpg\")
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