Olympus has unveiled its latest flagship camera, introducing the 16-megapixel Olympus E-P5 compact system camera.

Boasting a sleek, minimalist retro body design “with no visible screws in normal use,” the Olympus E-P5 incorporates the same 16-megapixel Live MOS sensor as the award-winning Olympus OM-D, as well as built-in WiFi and in a world first for compact system cameras, a 1/8000sec shutter speed.

The Olympus E-P5 price tag will start at €999 for the E-P5 body only, and kits start at €1099 for the 14-42mm lens and the 17mm 1:1.8 kit will sell for for €1449 (including the VF-4).

An Olympus E-P5 release date is slated for end of June 2013.

Among its new features, the Olympus E-P5 is the first compact system camera with a mechanical shutter capable of shooting at 1/8000sec, the company says. Photographers can also freeze fast-moving subjects with its 1:1.8 aperture.

A 2×2 Dial Control system incorporates two dials and a switch mounted on the back and top of the camera. According to Olympus, when shooting manually, the switch on the back of the E-P5 body can be moved to one of two positions.

In the first position, moving the dial on the front of the camera adjusts aperture while the dial on the back affects exposure time. With the second setting, the dials change the ISO value and white balance respectively. Alternatively, you can use the switch on the back of the camera to assign other functions.

Other features onboard the Olympus E-P5 include 5-axis IS, 9fps continuous shootingFocus Peaking on MF Assist, 12 Art Filters, FAST AF with Super Spot AF and Touch Shutter AF and a tillable LCD screen.

Olympus claims the E-P5 provides the best-ever image quality achieved by a PEN.

For more about this camera, see our testing team’s Olympus PEN E-P5 hands-on review.

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Olympus is launching a £150 saving on its award-winning OM-D camera and extending its popular offer of free accessories worth up to £330 until Monday 1 April!

For a limited time only over the Easter bank holiday weekend photographers can claim both offers and achieve incredible savings on Olympus’s latest gear.

Starting on Friday 29 March, the new offer allows readers to claim a £150 savings on either the Olympus OM-D E-M5 body only or OM-D + 12-50mm lens kit.

Launched last year, the flagship OM-D E-M5 brings the classic design of Olympus’s OM Series, introduced some 40 years ago, to the digital age.

Among the OM-D’s signature features are its 1.44-million-dot electronic viewfinder, dust and splash proof construction, 3in tilt OLED touchscreen, 5 Axis Image Stabilisation and the world’s fastest autofocus system (as of February 2012 – Olympus in-house test).

Combining these features from its E-system line of DSLR cameras with the needs of photographers who shoot with Olympus’s award-winning PEN Series, the OM-D is the camera our testing team called a “game changer”.

Starting today, the previous Olympus OM-D kit price drops from £1149.99 to £999.99, and the body-only price falls to £849.99 from £999.99.

Click here to learn more about the Olympus OM-D.

The second offer available to readers sees Olympus extending its scheme of free accessories worth up to £330!

From Friday 29 March to Monday 1 April 2013 you can claim either the M.ZUIKO DIGITAL 45mm 1:1.8 Portrait lens worth £279.99 or an HLD-6 2-part battery grip worth £229.99 on redemption with an extra BLN-1 battery worth £59.99, whichever you choose.

This Olympus accessory offer is available from selected stockists, including all Olympus Elite Centres.

Click here for more information about the offers.

Click the infographic below to find the Olympus stockist nearest you and to see the full terms and conditions of each offer.

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Olympus launched the PEN Mini E-PM2 and the PEN Lite E-PL5 at Photokina 2012. Both PEN cameras share a lot of similarities, most notably the same 16.1 million pixel sensor and TruePic VI processor that have been taken from the highly acclaimed Olympus OM-D M5.

In her Olympus E-PM2 review video, Amy Davies of our testing team investigates what this new PEN camera has to offer.

Olympus E-PM2 Review Video Transcript

Olympus launched two new cameras into its PEN range earlier in the year, and this is the E-PM2, also known as the PEN mini.

It replaces the E-PM1 which was announced last year. Impressively, it contains the same 16.1 million pixel sensor and image processor as the highly regarded Olympus OM-D, which was announced at the start of 2012.

This means that the Pen Mini is capable of producing the same image quality, but with the advantage of a much smaller, more compact body. The also newly announced E-PL5, which sits in the middle of the PEN line-up, also has the same sensor.

There are several noticeable differences between the PEN Mini and the E-PL5, which is also known as the PEN Lite, and of course, the OM-D. It’s a lot smaller than the OM-D and is one of the smallest compact system cameras on the market. Compared with the Lite, it also has fewer dials and buttons.

The screen on the back of the PEN Mini is a fixed, 460,000 dot device, and although it’s not tilting, it is a capacitive touchscreen, which is very responsive and easy to use. It’s particularly useful for setting the autofocus point, and you can also use it to activate the shutter release if desired.

It’s also a good performer in bright light, not suffering too badly from glares in the majority of conditions. There’s no viewfinder, though an optional one can be purchased separately if you prefer not to use the screen to compose images.

As there’s no mode dial, you can switch between the various modes the camera offers by hitting this Menu button. From here, you can choose fully automatic, semi-automatic, full manual or art and scene modes.

Most of the commonly used settings can be accessed quickly by hitting the OK button – here you’ll see parameters such as white balance, aspect ratio, raw format shooting and focusing mode. If you need more extensive settings, you need to go into the setup portion of the menu.

One slight annoyance is the way that aperture or shutter speed is altered. As there’s no direct dial, first you need to push up on the directional key pad, and then up and down again to change the setting.

It’s not the quickest way to make this change, and it can soon get a little frustrating when you need to change exposure frequently.

Although the camera is small, this grip here, combined with a thumb rest on the back of the camera makes it feel very secure in the hand – even when shooting one handed.

Unlike a couple of other cameras currently available on the market, the E-PM2 doesn’t have inbuilt WiFi, however, it is compatible with Toshiba FlashAir Wireless LAN SDHC cards.

This means, with the aid of the free Olympus app, that you can transfer your images across to a smartphone or tablet, without needing to connect to an internet connection. You can’t control the camera with the app, but perhaps that’s something that could be developed in the future.

Like the other cameras in the Olympus Micro Four Thirds range, the E-PM2 boasts very fast focusing speeds. Although there’s some debate between Panasonic and Olympus over who exactly has the quickest speeds, but as we’re talking about microseconds, it’s probably not worth arguing about. Needless to say, the Mini does indeed deliver on those quick speeds promised, especially in good light.

This isn’t really a camera aimed at enthusiast and advanced audiences, and as such the lack of direct access buttons and dials could frustrate those who are often looking to make changes.

For those people, we’d recommend taking a look at the E-PL5 or perhaps even the older E-P3 – or you might choose to wait a little while as there’s likely to be a replacement for that in the pipeline.

As we have tested both the OM-D and the E-PL5, we had no doubts that the E-PM2 would also deliver excellent images, and happily, we weren’t disappointed. That great sensor works well to deliver images with plenty of detail and bright, punchy colours.

Considering this camera is aimed at the beginner end of the market, it’s fantastic to see such great technology being used in what is a much more affordable option than ever before.

We can see this camera being very popular for those looking to get into their first compact system camera and really get creative with their photography.

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The Olympus XZ-10 also shares the same True Pic VI image processor found in the Olympus OM-D.

Combine this with its 12-million-pixel sensor, a 3in touchscreen and full manual settings, and the Olympus XZ-10, on paper at least, looks like it could be the perfect compact camera for serious photographers.

In our hands-on Olympus XZ-10 preview video below, Amy Davies of our testing teams runs through the rest of the Olympus XZ-10 key specs and features.

Olympus XZ-10 Hands-on Preview Video Transcript

This is the new Olympus Stylus XZ-10, which joins the XZ-2 in the company’s premium compact offering.

It boasts many of the same features as its older brother, but it comes in a body which Olympus says is around 40% smaller than the XZ-2.

It has the same bright f/1.8 lens, full manual settings and a True Pic VI image processor – the same processor which is used in the Olympus OM-D.

One feature which is different is the 12 million pixel sensor, which is smaller, in physical terms, than the sensor in the XZ-2. This could have an impact on image quality, so we’ll been to put it to the test when a final review sample is available.

The 5x optical zoom lens offers 26mm, in 35mm equivalent, at the wide angle, and also boasts a bright f/2.7 aperture even at the telephoto end of the optic.
.
Around the lens here is a customisable control ring, which can be used for adjusting key parameters, such as aperture or shutter speed. On the back of the camera is a function button, which can be used for quick access to settings such as ISO and metering.

This three inch screen is a CAPACITIVE touchscreen, which can be used to set the autofocus point or trigger the shutter release. Although this is a pre-production model of the camera, we can see that it’s pretty responsive and it’s nice to see such a feature on a model like this.

The camera doesn’t have built-in Wi-Fi, but, like the latest range of PEN cameras, it it is compatible with Toshiba’s FlashAir Wireless LAN cards which means you can connect it with a smartphone or tablet to share images between the two.

As of yet, Olympus is yet to design an app which can control the camera from a secondary device, but perhaps that is something that will happen in the future.

PAGE 1: Olympus XZ-10 Preview Video
PAGE 2: Olympus XZ-10 Official Press Release

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Photography has reinvented itself with the arrival of digital technology. Gone are sky-high film and developing costs; in their place are minimal running costs and fast processing times.

There’s a lot to be said for the pocket-sized convenience of digital compact cameras, but for ultimate image quality, unrivalled versatility and limitless creative options, there’s really no substitute for stepping up to a DSLR.

The boost in popularity and increasing affordability of SLRs fosters fierce competition between the major camera manufacturers like Canon, Nikon, Pentax and Sony.

That’s great news for consumers, because camera makers are constantly seeking to improve their designs, with innovative new features, greater ease of use, and ever-increasing picture quality. But what are the key factors to bear in mind when you’re choosing a new SLR?

DSLR advantages
The advantages of DSLRs over compact cameras are many and varied – starting with the all-important image sensor. Many compact cameras may equal or even exceed some DSLRs in their megapixel count, but outright resolution isn’t the primary concern.

Image sensors in DSLRs are physically larger than those in compact cameras, giving two key bonuses. First, bigger sensors mean bigger pixels that individually capture more light. This has the potential to massively reduce digital image noise, which can give photos a grainy appearance, especially when shooting at higher ISO settings.

Second, larger sensors enable a smaller depth of field (the distance between the nearest and furthest points in a scene that can be kept sharp), enabling you to throw the background out of focus and make the main point of interest really stand out. This is especially useful in portraiture.

Another critical benefit is that an DSLR enables you to actually look through the lens when composing shots. There’s no beating an optical viewfinder that leads
the eye right into the scene with perfect clarity and sharpness.

The perfect camera
Ergonomically, the larger build of a DSLR makes for much more natural and comfortable handling, while manual zoom and focusing rings on the lens enable far greater precision and control when composing and focusing.

Furthermore, 
buy a DSLR or a compact system camera, and you’re literally buying into a whole imaging system, with the possibility of buying additional lenses and accessories that can transform your camera into the perfect tool for any shooting scenario.

Over the next few pages, we’ll take a detailed look at the principal differences between different types of DSLRs and compact system cameras (which feature interchangeable lenses, but have no reflex mirror) so that you can make the best possible choice when picking out your new camera.

PAGE 1: Overview of how to buy a camera
PAGE 2: Body design and new DSLR features
PAGE 3: How many megapixels do you need?
PAGE 4: DSLR video options
PAGE 5: What you want in a viewfinder
PAGE 6: How fast should your new DSLR be?

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Below you can also find a transcript of our Olympus E-PL5 review video.

Olympus E-PL5 Review Video Transcript

Olympus has launched two new cameras into its PEN range, to replace the E-PL and E-PM range in the middle and bottom of the line-up.

This is the E-PL5. It replaces the E-PL3 and contains the same 16.1 million pixel sensor and image processor as the highly regarded Olympus OM-D, which was announced at the beginning of the year.

This should mean that the Olympus E-PL5 is capable of producing the same fantastic image quality, but with the advantage of a smaller, and more compact body.

One of the biggest differences between the E-PL5 and the OM-D is the lack of a built-in viewfinder. An optional one can be purchased separately, but it’s something to think about if you prefer not to use the screen to compose.

The screen itself marries together two of the best features of previous PEN series cameras, being both tillable and a touchscreen. It can be tilted upwards for self-portraits, or downwards for shooting from low down. Unfortunately it’s not fully articulating, so using it in portrait mode isn’t quite so easy.

Unlike a couple of the other cameras currently available on the market, the E-PL5 doesn’t have inbuilt WiFi. However, it is compatible with Toshiba FlashAir Wireless LAN SDHC cards.

This means you can transfer your images across to a smartphone or tablet, without needing to connect to an internet connection. You can’t control the camera with the Olympus app which is available as a free download, but perhaps that’s something that could happen in the future.

One of the biggest benefits of Olympus PEN cameras is their incredibly quick focusing speeds. Olympus and Panasonic both claim to have the fastest speeds in the world and this E-PL5 certainly does deliver very quick focusing speeds.

You can use the touchscreen to set the autofocus point, or have it focus and take the picture when touched. As you can see, the speeds here are really very quick, especially in good lighting conditions.

As we were expecting, images straight from the E-PL5 are very good. That great OM-D sensor works well to deliver images which are punchy, with fantastic colours and lots of detail.

Overall, the E-PL5 is a great camera, combining some of the best technology from its critically acclaimed OM-D, with the stylish and compact bodies the PEN series have become known for.

We can see this being a very popular model for both enthusiasts and novices, especially with its fun features, such as digital art filters.

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When Woodford became the President and CEO of Olympus in 2011, he was the first westerner ever to climb the ranks of one of Japan’s corporate giants, but within months of his appointment he had uncovered a $1.7 billion accounting fraud.

Realising that the irregularities he’d uncovered could bring down the company, Woodford turned to his fellow executives for answers, but instead of being heralded as a potential saviour, he was dramatically fired by the company’s board.

Worried by rumours that the company had connections with the Japanese mafia, he fled Japan and went straight to the press. In doing so, he became the first CEO of a global corporation to blow the whistle on his own firm.

For its part, Olympus says it sacked Woodford for his management style and his failure to understand Japanese culture – despite the fact that he had been with the firm for 30 years. In a classic case of art imitating life, Woodford has already been approached by Hollywood studios for the rights to a film based on his book.

The investigation is still ongoing and looks set to drag on for years, but for the story so far, you’ll have to read Woodford’s book, which is being published by Penguin (hardback $27.95/£20, ebook $14.99/£11.99).

Story and analysis by Photography Week magazine. 

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Olympus has introduced two new cameras to sit in its range of PEN cameras – the Olympus PEN E-PL5 and the Olympus PEN Mini E-PM2.

Both of the new Olympus cameras use the 16.1 million pixel sensor from the Olympus OM-D from the Olympus OM-D and will sit in the middle and bottom of Olympus’ PEN lineup.

The new Olympus PEN Lite E-PL5 and new Olympus PEN Mini E-PM2 also inherit the OM-D’s True Pic VI image processor, as well as touchscreen functionality.

The Olympus PEN E-PL5 (aka the PEN Lite E-PL5) offers a tiltable 3in, 460,000-dot LCD screen to allow photographers to shoot at different angles, and its ISO range goes up to ISO 25,600.

The Olympus E-PL5 also records Full HD videos at 1080p and offers 12 creative art filters and 8fps shooting.

The Olympus PEN Mini E-PM2 specs include the same ISO range as the E-PL5, as well as Full HD video capability, 12 art filters and 8fps – the main difference being its 460,000-dot LCD screen is fixed.

The Olympus PEN E-PL5 price tag will be £599, while the Olympus PEN Mini E-PM2 price is set for £100 cheaper at £499, with release dates believed to be November 2012.

Read our testing team’s hands-on Olympus PEN E-PL5 review and Olympus PEN Mini E-PM2 review over on our sister site, TechRadar.

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Inside the camera are an all new 16 million pixel Live MOS Four Thirds sensor and TruePic VI image processor, which Olympus says is designed to give better low light performance and higher dynamic range than previous Micro Four Thirds cameras in its line-up (for more on Micro Four Thirds, see CSC vs DSLR: their differences defined).

As a step-up from the PEN range, this camera is designed to appeal to advanced enthusiasts, however, Olympus is keen to point out that the camera isn’t necessarily intended for use by pros, which it still believes will be drawn in by the company’s range of DSLRs.

That said, there are a large number of impressive specs crammed into the OM-D’s diminutive body. A new image stabilisation system uses a 5 axis system which combats bodyshake for vertical, horizontal, pitch, rolling and yaw.

Along with its Micro Four Thirds cohort, Panasonic, Olympus is keen to emphasis the benefits of using the smaller sensor, including edge to edge sharpness.

That retro body has been designed with serious photographers in mind, with the magnesium alloy being dust and splash proof, featuring the same all weather proofing as its top of the range DSLR, the E-5.

This dust and splash proofing has also been carried over to a number of accessories compatible with the OM-D, including the detachable flash which is bundled with the camera, as well as the new 12-50mm zoom lenses and the new battery grip.

As the camera is pitched at higher end users, a new higher price tag has also been attached. At £1000 for the body only, the camera certainly isn’t cheap, but it’s likely to be pitched against other high-end cameras such as the Fujifilm X Pro-1 and Sony NEX-7, which fall into similar, if not more expensive, price brackets.

The Olympus OMD EM5 Verdict

Our testing team put the Olympus OMD through its paces, which you can read about in the full Olympus OMD review over on our sister site, TechRadar. If you want some of the key points from the full test and the final verdict on the OMD, here is what our team had to say:

On Build & Handling

“Despite its small size, it still feels like a solidly built camera, with extra confidence coming from the weatherproofing. The angular body of the OM-D also makes it easy to hold and quickly access the various buttons, which have been fairly sensibly laid out in the most part.

“As this camera is intended for a more advanced audience, there are a greater number of control dials and direct access buttons, many of which are customisable depending on how you prefer to use the camera. It’s a shame that there isn’t a direct ISO button, however one of the Function buttons can be customised to control this.

“We found the touchscreen to be very responsive and quick to use, certainly a step up from some of the compact cameras currently available.

“Electronic viewfinders tend to suffer from a bad reputation, but the device found on the OM-D is certainly one of the best we’ve used, if not quite matching up to the clarity of that found on the Sony NEX-7.” (Find out How to use a viewfinder, which is part of our ongoing free photography cheat sheet series)

On Performance

“Image quality from the Olympus OM-D is very good, producing a noticeable improvement over the 12 million pixel sensors found on its PEN series and making a fantastic argument for compact system cameras (CSCs) in general.

“The level of detail captured is particularly impressive, especially when shooting in natural light and using low sensitivity settings, while JPEGs straight from the camera are very sharp indeed.

“In most situations, the OM-D’s automatic white balance setting does a good job of producing accurate colours, although it does struggle a little indoors under artificial or mixed light – tending to favour warm tones.

The Olympus OM-D E-M5 promises 330 shots from its battery, which we found to be about accurate, and it’s worth remembering that this can be boosted by the addition of the battery grip.”

On Noise and Dynamic Range

“Our analysis shows that the Olympus OM-D’s raw files (after conversion to TIFF) produce impressive results that beat all the comparison cameras and compare well against models with larger APS-C and full frame sensors. When it comes to dynamic range, the raw file (after conversion to TIFF) results show it produces the highest result so far gained by any compact system camera.”

Olympus OMD Final Verdict

Our initial impressions of this camera were very promising, and after having spent a lot more time with it now, we’re happy to report that its charms still manage to hold our attention for the most part, especially now we have had a chance to fully examine image quality.

While its retro looks may not appeal to everyone, for original OM users, it will certainly be a treat. Weatherproofing and ruggedness of the camera mean it feels as if it is built to last after taking some serious abuse, so we can also see street photographers falling in love with this camera (check our 21 street photography tips from the professionals).

Introducing an in-built EVF to this camera elevates it status above the PEN, taking it (despite Olympus’s own protestations) almost into semi-pro territory.

The wide range of compatible Micro Four Thirds lenses now available on the market – not forgetting those made by Panasonic and third party manufacturers such as Sigma, make purchasing a Micro Four Thirds camera a very interesting proposition. It’s when using different optics that the versatility of the OM-D is truly revealed.

It is of course an expensive proposition at £1, 149 for the single lens kit or £999 body-only, but when you consider all of the improvements that have been made, we think the extra expense when compared with an E-P3 is just about worth it.

It’s also worth pointing out that one of its biggest rivals, the Fuji X Pro1, is currently retailing for around £1,500 body only, making the E-M suddenly seem more attractive.

However, having said all of that, we can’t help but feel that the E-M5 is a little bit ‘unfinished’. As this is the first camera in the new OM-D line-up, it seems as if there is some work to do to make this camera live up to its full potential. For example, the plastic buttons feel like an afterthought.

Olympus has been guilty of this before, with the original PEN (E-P1) being superseded by the E-P2 only a few months after, packed with better features. So, for that reason, we’ll be very excited to see how Olympus develops this line going forward, and will be watching with anticipation.

Overall, Olympus has delivered a fantastic camera, which, along with its premium CSC cohorts, has the potential to be a game-changer, stealing focus from certain areas of the DSLR market. There’s a lot to love about the OM-D, especially the great image quality and its retro appeal – it will be interesting to see how sales perform.

We liked
The excellent viewfinder shows a marked improvements on those we’ve used before, while new art filters and variations on existing ones show how creative you can be with this camera. Image quality, in certain situations, is excellent and comparable to DSLR quality, while being confined within a much more portable device.

We disliked
There are still a few little bugbears that could do with being ironed out. For such an expensive camera, the buttons could have been metal to add a better finish, while some of them were also a little slow and unresponsive.

Overall Score: 4/5

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Does your lens has more letters after its name than a retired rocket scientist. What do all these lens markings mean?

You can refer to a lens simply by the name of the manufacturer, the focal length, and its maximum aperture – a Sigma 70-300mm f/4-5.6, say, or Canon 50mm f/1.4. But as lenses have often evolved from decades of development, they usually have a line of additional letters after their names, stamped on the barrel or printed on the boxes.

Some lens markings are about manufacturer branding – defining a more recent range, or a lens that’s built to higher standards than another. Others are to do with the optics themselves, and to highlight specific technologies used in the lens construction.

In the jargon-busting guide below, we’ll translate these lens markings for you.

The ultimate guide to understanding lens markings

AF  Stands for autofocus. Nearly all lenses have this feature, 
but there’s an increasing trend for niche lens manufacturers (such as Samyang and Carl Zeiss) to offer lenses that can only be focused manually.

AF-S  Stands for autofocus-silent. This features on Nikon lenses that use a silent motor to control the autofocus.

AL  Stands for aspherical lens. All camera lenses are made up of a number of individual lenses or elements. Many of these elements are spherical – as if cut from a sphere. Aspherical elements are less rounded – and are used in some types of lenses to help minimise chromatic aberration.

APO  Stands for apochromatic. This features on Sigma lenses that use super-low dispersion (SLD) lens elements to reduce chromatic aberration.

AS  Stands for aspherical  (see AL).

Asp  Stands for aspherical (see AL).

AT-X  Stands for Advance Technology Extra – the branding used on all current Tokina lenses.

D  A type of Tokina lens that’s compatible with full-frame SLRs.

DA  Stands for Digital Auto. This features on a range of Pentax lenses that (unlike some earlier ranges) don’t have a manual aperture ring. They have a ‘Quick Shift’ mechanism that enables you to override focus manually, even when the lens is switched to autofocus.

DA*  Star by name, star by nature. The premium lens range from Pentax, which combines weatherproofing with the advantages of the DA range.

DC  This features on the range of Sigma lenses that are designed specifically for use with crop factor SLRs, and which can’t be used with full-frame models.

DFA  This features on the range of Pentax lenses that will work with full-frame 35mm film cameras, but which are also optimised for use on crop-factor digital SLRs.

DG  This refers to the Sigma lens range that’s suitable for full-frame SLRs (but that can also be used on crop-factor models).

Di  Tamron’s ‘Digitally Integrated’ lenses have a full-size image circle, so they are suitable for full-frame and crop-factor SLRs.

Di II  Tamron’s second-generation Digitally Integrated lenses are designed for use on popular crop-factor SLRs, and are not suitable for full-frame models.

DO  Diffractive Optics is used on a handful of Canon telephoto lenses – the technology allows these long lenses to be made smaller and lighter than equivalents using conventional optical designs.

DT  Sony lens with a smaller image circle, designed for use on crop-sensor cameras.

DX  Tokina’s and Nikon’s way of marking lenses that are only suitable for crop-factor – or APS-C – SLRs.

ED  A lens featuring Extra-low Dispersion glass in one or more of its elements, to help correct chromatic aberration. This abbreviation is used by Nikon, Panasonic, Olympus and others.

EF  Standing for Electro Focus. This is the name of the lens mount that Canon introduced 
on its first autofocus SLRs back in 1987. EF lenses can be used 
on all Canon SLRs.

EF-S  Electro Focus Short back-focus lenses were introduced by Canon in 2003. They have a small image circle so they are only suitable for use on crop-factor SLRs. A modified mount means that they can’t physically be fitted onto incompatible (ie full frame) Canon models.

EX  Sigma’s designation for its premium lens range.

f/X.X  The f-stop number is 
the size of the lens’s maximum aperture, measured as a fraction of the focal length of the lens. On some zoom lenses there may be two apertures quoted – f/4-5.6, for example. This means that the maximum aperture gets smaller as the lens is zoomed in. The maximum aperture on the lens barrel may also be expressed as 
a ratio – so 1:4-5.6.

FA  Pentax lens that’s full-frame compatible, and that features an old-fashioned aperture ring.

FO  Tokina’s Focus-One-touch mechanism allows you to switch quickly from autofocus to manual focus operation, and back again, by snapping the focus ring backwards and forwards.

FX  A Nikon, or Nikkor, lens that’s compatible with its full-frame SLRs, as well as crop-factor ones.

G  Stands for Gold – a designation found on top-class Sony lenses. It’s also used for current Panasonic Lumix compact system cameras and lenses.

HID  Stands for High Index Dispersion, a type of glass used in Tamron lenses that helps to minimise chromatic aberration.

HSM  Sigma’s Hyper Sonic Motor is used in some of its lenses to provide faster and quieter autofocus operation.

IF  Stands for Internal Focusing, and is found on many lenses from many manufacturers. The lens is constructed so that it doesn’t change in length as the lens is focused. It also means that the front element doesn’t rotate – which can help with the use of some lens attachments, such as petal-shaped lens hoods and polarising filters.

iFn  Stands for i-Function, a feature of Samsung NX cameras which allows photographers to access a number of key camera settings via a button and ring around the lens.

II  This stands for second-generation – a classic lens that’s been updated in design by the original manufacturer.

III  Stands for third-generation.

IS  Stands for Image Stabilization – optical camera shake reduction found in a wide number of Canon lenses.

L  Stands for Luxury, and is used to designate Canon’s best pro lenses, which have superior build quality and weatherproofing.

LD  This features on Tamron lenses that use one or more Low Dispersion lens elements to help reduce chromatic aberration.
mm  Stands for millimetres – used to measure the focal length of a lens.

OIS  Optical Image Stabilisation – the system used on Panasonic lenses to reduce camera shake.

OS  Optical Stabilization is 
the system used on some Sigma lenses to reduce camera shake.

PC-E  Stands for Perspective Control-Electronic. Used to designate Nikon’s range of tilt-shift lenses, which enable you to move the front elements on the lens to avoid or exaggerate lens distortion. They are commonly used in architectural photography to ensure vertical lines remain parallel in the picture.

PZ  Stands for Power Zoom, 
a servo-assisted zoom facility found on some Panasonic compact system camera lenses.

PZD  Stands for Piezo Drive, 
a type of ultrasonic motor used in Tamron lenses to provide 
fast, quiet autofocus.

RF  With Rear Focus, the group of elements nearest the camera are used to focus, providing faster autofocus. This feature is found on super telephoto lenses.

SAM  Stands for Smooth Autofocus Motor – used in recent Sony Alpha lenses.

SD  Super-low dispersion – 
the glass used in Tokina lenses 
to reduce chromatic aberration.

SDM  Supersonic Drive Motor, Pentax’s fast, quiet focus motor.

SLD  Super-low dispersion – lens elements in Sigma lenses that reduce chromatic aberration.

smc  Stands for Super Multi Coating, a seven-layer coating used on Pentax lenses to reduce light reflected the lens itself.

SP  Super Performance – a long-standing tag found on top-of-the-range Tamron lenses.

SSM  Supersonic motor – used for high-speed autofocus in top-of-the-range Sony lenses.

SWM  Silent Wave Motor, 
the high-speed quiet AF motor used on Nikon’s AF-S lenses.

TS-E Tilt-shift Electronic – Canon’s range of perspective control lenses (see PC-E).

UD Ultralow dispersion – type of glass used in Canon lenses to reduce chromatic aberration.

USD Ultrasonic Silent Drive, Tamron’s fast, quiet AF motor.

USM Ultrasonic motor – fast, low-noise autofocus motor used by some Canon lenses.

VC Vibration Compensation – optical camera-shake reduction system on some Tamron lenses.

VR Vibration Reduction, Nikon’s image-stabilisation system.

WR Weather Resistant – found on certain Pentax lenses.

XLD Extra Low Dispersion; glass used in some Tamron lenses to reduce chromatic aberration.

XR Extra Refractive – type of glass used in Tamron lenses. It can bend light at bigger angles than normal glass, helping make the overall size of a lens smaller.

ZA Zeiss Alpha – a range of Sony lenses made by Carl Zeiss.

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