Australian Camera Magazine Imaging Awards 2026 winners announced

In this era of rapid change, a year is a very long time in any industry and certainly a lot has happened in the imaging business over the last 12 months. For starters, it finally looks like we’re recovering from the multiple hits of the smartphone – which decimated the compact camera business – and the varied impacts of the Covid-19 pandemic.

Economic uncertainties remain, but there are plenty of signs that our industry is looking at the future with more confidence. Well, how else do you explain the Sigma BF, Fujifilm’s X Half and the GFX100R, a few cameras with sharp-intake-of-breath price tags, and a near-deluge of more exotic or highly-specialized lenses.

Very few of these products will sell in significant numbers, but it doesn’t matter when your bread-and-butter stuff is doing so well. Flights-of-fancy, whimsies and indulgences can be afforded when the market is getting back to full health, and they’re a key factor in stimulating interest, excitement and, yes, a sudden desire to buy something new.

Of course, the key imaging technologies continue to evolve, so there are always improvements to be had with every new generation of both hardware and software. However, with maturity the advances can become more incremental and perhaps not really enough to convince you to upgrade… at least not this time around. Something more out of left field, however, may well tempt you, which is undoubtedly why we’re now seeing more adventures in camera design and feature sets with the aim of going beyond mere practicality and performance. The X Half and the BF, for example, put a lot more emphasis on the experience of use, rather than simply fast-tracking you to a result.

With these cameras, the destination is just as important as the journey which is something that’s sometimes been missing with digital imaging when the emphasis has mostly been on just how much technology can be brought into play when you press the shutter button. Fujifilm’s X Half goes further by artificially imposing film-camera limitations – such as a fixed ISO – while still ultimately delivering a digital file with all its post-production possibilities. Just how appealing this cross-over approach is going to be remains to be seen, but some may find it a more convenient option than going all the way with film… and actually shooting film. The so-called film revival is still in need of the boost that would come with the involvement of a mainstream manufacturer with a mainstream camera. Yes, the Pentax 17 has certainly been a hit with a certain type of user, but as a half-frame 35mm compact – and a quirky one at that – it’s not what many would-be ‘analogue’ photographers would choose to shoot with.

It should be noted again that the vinyl record revival really took off when the main hi-fi companies restarted making new turntables, and now that market sector is bigger than it ever was from entry-level to high-end esoterica with six-figure price tags. Nobody, so far, has followed the Pentax 17 and Ricoh (owner of the Pentax brand), it would seem, now has bigger fish to fry with its sure-fire profitable GR series digital compacts. Perhaps a revival of the original 35mm R1 or GR1 might be a better bet as a foray into film photography, but right now it’s flat-out meeting demand for the latest Ricoh GR IV model which has carried over the cult camera status from its many predecessors.

Of course, the GR series never went away, but the GR IV’s timing is close to impeccable as compact cameras are suddenly cool again. The seemingly out-of-nowhere rapid rise in demand has also seen Canon crank up production of its PowerShot G7X III – which has also actually still been around all this time – and its very likely a number of other manufacturers are looking through their back catalogues to see what might be feasibly given a make-over and reissued. Compacts will never be as big as they were during the height of 35mm’s popularity or the first decade or so of digital models, but if they gain fashion status – perhaps simply by virtue of being a ‘real camera’ as opposed to a smartphone – then this revival could be long-term. As will always be the case now, the emphasis will be on higher-end models (although, that said, a few cheapies are starting to make an appearance).

Another notable trend gathering momentum is the compact cine camera based on a mirrorless platform… so far, Canon’s RF mount EOS C50, Nikon’s Z mount ZR and Sony’s FX2 with its FE mount. Of course, Sony was really here first with its full frame FX3 and then the ‘APS-C’ FX30, but the new FX2 is the package that’s being chased by the others. Compared to a hybrid mirrorless camera, these models are primarily (or, indeed, exclusively) video cameras before anything else, offering more modularity to suit different applications while still being comparatively compact and, importantly, comparatively affordable.

Demand for video content continues to drive camera design at all levels from small solo presentations to full-scale multi-crew productions, and, in turn, there’s a growing emphasis on lenses specifically designed for the requirements of shooting video. This is now progressing beyond just ‘hybrid’ lenses – essentially lens for photography that can be adapted for video – to fully-fledged cine lenses with geared control collars, T stops, silent operation, and optical designs which minimize focus breathing.

In lenses more generally, adventure is certainly evident in a year of quite fabulous designs made possible by the design freedoms afforded by the mirrorless camera configuration. Sigma’s stonking 300-600mm f/4.0 – which elicited a collective gasp from the audience when it was first unveiled – has since been followed up with a 12mm f/1.4, a 135mm f/1.4, a 200mm f/2.0, and a 20-200mm f/3.5-6.3 zoom. And these are just Sigma’s full-frame offerings.

Other notables are Sony’s FE 50-150mm f/2.0 G Master zoom, the OM System 50-200mm f/2.8 PRO (equivalent to a 100-400mm), Panasonic’s Lumix S 100-500mm f/5.0-7.1 and Samyang’s ongoing collaboration with Schneider- Kreuznach which has yielded models such as the AF 14-24mm f/2.8 FE. Additionally, some of the ever-expanding number of Chinese lens makers are doing very interesting things too.

So, in a nutshell, there’s a lot to take into account when picking a winner in each of the Australian Camera Magazine Imaging Awards categories so everybody who has had a part in bringing one of these products to the market should be very proud.

Consumer mirrorless camera

NIKON Z50II

Nikon built its reputation on building exceptionally fine high-end cameras, but ever since its very first entry-level model – the EM 35mm SLR in 1979 – it’s shown that it can balance capabilities with a lower cost quite adeptly. OK, so the EM wasn’t loved by everybody, but it kicked off a long line of interchangeable lens cameras – SLRs, DSLRs and now mirrorless – that made owning a Nikon more accessible. Prices have risen across the board in the mirrorless era so affordability here isn’t quite what it was with DSLRs, but Nikon’s original Z50 represented exceptional value while still offering all the essential ingredients of the Z mount system. With some key upgrades – such as a faster processor and brighter viewfinder – the Z50II is a better package again, but still with value-for-money very much to the fore.

The ‘APS-C’ sensor size translates into a more compact body, but with all the ergonomic attributes of Nikon’s full-frame Z-mount cameras. It handles superbly – the grip is still a good size and comfortable too – with a typically Nikon control layout that puts a lot of operations directly at your fingertips. It’s old school without going full-on retro but converts from DSLRs – a growing cohort now – will still be able to find their way around without any problems. Nikon’s latest gen ‘EXPEED 7’ processor delivers a swag of upgrades, including the possibility of shooting JPEGs at either 15 fps or 30 fps with continuous autofocusing and pre-capture buffering. The list of recognised subjects for autofocusing and tracking expands to nine (up from just three previously) and there’s the ‘3D Tracking AF’ option for more faster and reliable tracking with any subject.

Another notable update is a much-expanded selection of 11 ‘Picture Control’ presets – including Flat Monochrome, Deep Tone Monochrome and Rich Tone Portrait – along with 20 ‘Creative Picture Control’ settings plus the ‘Flexible Color Picture Control’ function for downloading custom profiles created in NX Studio and which allows much more scope for fine-tuning than the in-camera adjustments. This provides much more scope of creativity when it comes to customising the look of an image… a capability that’s generally limited to higher-end cameras.

Conveniently, too, the Z50II has a dedicated button to directly access a set of selected ‘Picture Controls’. On the video side, there’s now 10-bit 4:2:2 colour, the N.Log recording, the HDR HLG profile and 4K up to 50/60 fps (albeit with a crop) and Full HD up to 100/120 fps.

At the price point, it’s the best feature set you can buy, remembering that you also get a super EVF which most of the Z50II’s rivals don’t have and plenty of other higher-end goodies that normally cost more. In fact, it’s remarkable that Nikon can do all this for the money. Be very glad that it does.

Enthusiast mirrorless camera

FUJIFILM X-E5

Fujifilm’s combination of its 40.2 megapixels ‘X-Trans CMOS 5 HR’ sensor and latest-generation ‘X Processor 5’ engine has proven a winner in all the various cameras it has served in since it made its debut in the X-H2. In the compact, rangefinder-style X-E5 it creates a potent combination of portability and performance that’s works just as well as an interchangeable lens alternative to X100VI or a more compact alternative to the X-T5. And, of course, compared to the X-M5, there’s an EVF which for many photographers is a must-have feature.

So, is the Fujifilm X-E5 the pick of the current generation Fujifilm X-mount cameras, at least for non-professional shooters? It’s hard to go past with its particular combination of size, styling and specifications which make it a superb all-rounder, further enhanced by a revised control layout which includes a nifty dial for direct access to Fujifilm’s famed ‘Film Simulation’ profiles. There’s also now a small handgrip – at both the front and rear – which enhances both comfort and a more secure hold. So the camera’s ery appealing looks are backed up by its excellent handling and ergonomics. Put simply, the X-E5 is a joy to use, combining traditional control elements which add to the experience and contemporary aids such as a touchpad ‘Quick Menu’ which adds to the efficiency. The main feature set is shared with the X-E5’s X-T series siblings so you get subject-recognition autofocusing and tracking, 10-bit HEIF capture, in-body image stabilisation (IBIS) for up to seven stops of correction, and video recording at up to 6.2K and 25/30 fps (albeit with a crop). There’s the current full complement of ‘Film Simulation’ profiles, plus a facility for separately creating and storing three user-created “recipes”. Here you can you all the adjustable profile parameters (such as color, contrast and sharpness) and also mix in the various effects processes to create your own custom ‘looks’.

Well proven elsewhere across the Fujifilm X mount range, the image quality is superb and the sensor also has ‘dual conversion gain’ output circuits which enhance the high ISO performance. In any area then, it’s hard to fault the X-E5. As we noted on our original road-test, “It really is an enticing proposition and, as a result, it’s a small camera that’s also big on value”.

Pro mirrorless camera: full frame

SONY A1 II

There were no doubt high hopes when Sony launched its foray into interchangeable lens cameras after purchasing Konica Minolta’s imaging business. However, even the most optimistic could not have predicted how much Sony would achieve here in a little under two decades… market leader in a number of countries around the world, the most extensive lens system in the mirrorless world (a major feat in itself) and building professional-level cameras that can win against the companies that have traditionally long dominated the category – Canon and Nikon. Of course, the Minolta DNA helped kick things off, but Sony has very much been doing its own thing with the Alpha mirrorless system and pretty well kicking goals all the way… and showing that it understood photographers as well as it has understood video-makers.

The original Alpha 1 – or, if you prefer, the A1 – wasn’t Sony’s first go at a pro-grade ILC because there was a DSLR, the A900 in 2008, which was a full frame tour-de-force, but perhaps still just a bit too early in the piece. The A1 certainly helped establish Sony’s pro-end credentials, but now that there are so many pro-level FE mount lenses and performance camera bodies, the Mark II model now muscles into the category with much more confidence and swagger. It improves on much of what the previous camera could do, and hasa set of specs with more winning numbers than a Lotto draw. For example,the A1 II has blackout-free continuous shooting with full AF/AE adjustment at up to 30 fps and can track complex subject movements with AF/AE calculations at up to 120 fps. And it’ll still do 20 fps with lossless compressed RAW files. There’s pre-capture buffering, multi-shot high-res capture, AI-based in-camera noise reduction processing for JPEGs, up to 8.5 stops of stabilisation, and ‘human pose estimation’ is added to the subject recognition which also has a customisable Auto mode (i.e. you can be selective about what subjects will be recognised). And there’s still 50.1 megapixels res on tap via a stacked sensor supported by dual processors to leverage its speed in all areas, including the autofocusing.

Not surprisingly, the Sony A1 II is also a pretty handy video camera, recording 8K at up to 30 fps (oversampled from 8.6K) and 4K at up to 50/60 fps, both with 10-bit 4:2:2 colour. There’s the option of 4K at up to 100/120 1.1x crop. The Full HD frame rates run up to 200/240 fps for 10x slow-motion effects (at a 24 fps output). You can import up to 16 LUTs (look-up tables) for creating cinematic ‘looks’, and with the wider S-Log3 gamma profile now matching Sony’s pro-level cinema cameras.

A superb 9.44 megadots OLED EVF (which can refresh at up to 240 fps) is just one element of the user interface that enables the A1 II’s immense capabilities to be accessed and deployed with optimum ease and efficiency. It is a camera that compellingly emphasizes just how far Sony has come since the Alpha system was launched in 2006 and has subsequently been at the forefront of many key developments, including the first full-frame mirrorless cameras. Right now, it’s the Alpha One in both name and status.

Pro mirrorless camera: Cropped frame

OM SYSTEM OM-3

The legendary OM compact 35mm SLRs have frequently informed the camera design thinking in the digital era of both Olympus and then its imaging business successor OM Digital Solutions. Reducing size has been a constant theme since the E-400 DSLR which was introduced in 2006 and various film camera design elements have been reworked over time, especially with the mirrorless OM-D series. With the new OM-3 – remember that there was a 35mm camera with the same model number – a much more unabashed homage is being paid to the OM heritage.

With this camera, OM Digital Solutions has perhaps got the closest to the ideal of a ‘digital OM’ which has been a stated intention since the E-400. It is arguably the most classically styled mirrorless camera we’ve seen so

far, even going withouta handgrip to maintain dimensions very close to hose of the original OM-1. Compared in silhouette, the new OM-3 is only very marginally wider and taller than the 35mm SLR which changed the world in 1972. Yet under its elegant covers it’s essentially the OM-1 Mark II with the same 20 megapixels stacked BSI-type sensor and the ‘TruePic X’ processor. The all-metal bodyshell is weather-sealed to the IP53 standard with insulation for sub-zero shooting and, despite the more compact size, it still uses the higher-capacity BLX-1 battery pack from the OM-1 models.

Despite being many, many times more complex than the camera it acknowledges, the digital OM-3 still handles with the same uncomplicated purity and with the sense that it’s up to you to make the most of what it has to offer. And that’s a lot which includes the OM-1 II’s stacked BSI CMOS sensor, all the ‘Computational Photography’ functions, the ‘Cross Quad Pixel AF’ system and continuous shooting at full res up to 120 fps. OMDS has still managed to squeeze in in-body image stabilisation which is good for 6.5 stops of correction, and sensor shifting also drives the multi-shot high-res capture which delivers 50 MP with hand-held shooting and 80 MP when the camera is on a tripod. The star of the CP functions – as it is on the OM-1 II – is digital graduated neutral density filter effects which are full controllable in the frame, and do away

with having to struggle to adjust filters in a holder attached the front of the lens… a near impossible challenge in bad weather. This feature is just one highlight among a great many, making the OM-3 as advanced on the inside as it is classical looking on the outside.

It’s a design that quite seamlessly melds its traditional elements with the modern. Consequently, there’s an integrity to the whole thing that really add to the overall appeal… because here is a camera that’s as pretty as on the outside, but a mirrorless powerhouse on the inside and with great ergonomics sowing it all together beautifully. It’s the prettiest pro-level camera since… well, the last OM-3.

Hybrid mirrorless camera

PANASONIC LUMIX S1R II

When Panasonic says that the Lumix S1R II is “…our best ever hybrid mirrorless camera”, you must sit up and take some notice. After all, this is the company that invented the concept of a hybrid still/video mirrorless camera with its GH1 model back in 2009. Since then, every iteration of the Micro Four Thirds GH series has become even more capable in both areas, and this has carried over into the full frame Lumix S family, now all moving into their second-generation models. Of course, the S1H has been the hybrid king – and we suspect its Mark II replacement will take over the crown – but for now the S1R II is very much the complete package for photographers who shoot video and videographers who shoot stills.

It’s been on the same diet as the S5 II models so it’s quite a bit more compact and lighter than its predecessor, but performance boosts come from a new sensor with faster read-out speeds, a more powerful (and also speedier) processor, uprated in-body image stabilisation, a much-expanded list of subject recognition modes for autofocusing and tracking, and a whole bunch of new creative features such as the ‘Real Time LUTs’ with an ever-expanding library of distinctive looks. Dual gain circuitry – which Panasonic tags ‘Dual Native ISO’ – enhances the high ISO performance for both stills and video by significantly reducing noise. There’s up to eight stops of correction via IBIS, and the S1R II can shoot at up to 40 fps with continuous AF and either full-res RAW or JPEG capture.

The camera’s video specs are way too extensive to list here, but among the highlights are 8K UHD in the 16:9 aspect and at 8.1 K which delivers a 17:9 aspect frame. Internal recording in Apple ProRes RAW or RAW HQ is available at up to 5.8K 17:9, or in ProRes 422 or 422HQ. The full 3:2 aspect sensor area is available for ‘open gate’ recording at 6.4K for format flexibility. The full width of the sensor is used for 4K UHD and DCI recording at up to 100/120 fps and with 10-bit 4:2:2 colour, and there’s again the option of here of using the ProRes 422 or 422HQ codecs at up to 50/60 fps. You get the picture… the S1R II will do pretty much anything you want in terms of resolutions, frame rates, codecs, colour subsampling and compression methodology.

It’s immensely capable, but importantly, everything is easily accessible via the efficient ergonomics and well-organised menus. Panasonic emphasizes functionality over anything that might be a distraction, and so the S1R II is all about getting the job done and getting it done well. It works.

Fixed lens camera

RICOH GRIV

Ricoh has plenty of form in these awards with a string of past winners – FF-70 (1985, and our very first Compact Camera of the Year), Mirai (1988), Shotmaster Zoom 105 Plus (1993), R1 (1995), GR Digital (2005), Caplio GX100 (2007), GR Digital III (2009), CX4 (2010) and GXR (2010). You’ll note three of this year’s ancestors in this list, including the model which kicked off one of the most successful camera lines ever – certainly in terms of sustained sales over a very long period – in the slim form of the 35mm R1. The same basic formula has been used ever since and certainly from 1997’s GR1 onward, cult status has been carried over from one generation to the next, and nor did it miss a beat in the transition from film to digital.

The GR IV is destined to continue the legend. It retains all the core values of a super-slim all-metal body, a high-quality 28mm-equivalent prime lens, a photography-oriented feature set, and a ‘real camera’ control interface. However, the GR IV is definitely as case of the same, but different because there’s a new sensor, a new processor, a redesigned optical construction for the lens, new autofocus algorithms, uprated in-body image stabilisation and a massive increase in the internal storage. Add to this many small tweaks here and there, and the new model improves on just about everything that’s gone before. The sensor gets a small bump in resolution, but more importantly is a BSI-type design to the benefit of the uniformity of sensitivity across its surface. To match, the lens has an additional aspherical element to enhance corner sharpness. New autofocusing algorithms improve the speed and precision of the hybrid phase/contrast detection system, and there are a couple of new auto white balance modes, including a ‘Warm Priority’ option. A revamping of the control layout – essentially back to what worked best with the GR II – enhances the ergonomics, making the GR IV surprisingly intuitive and logical to use for such a small camera. And it is small… in fact, the smallest camera with an ‘APS-C’ sensor currently on the market. The tweaks to the sensor, autofocusing, image stabilization and high ISO IQ mean it also delivers a big performance for a camera that will easily slip into a jacket pocket. The GR legend is in good hands, but there are much sounder reasons for buying this camera than just because it’s fashionable. It’s totally brilliant too.

Medium format camera

HASSELBLAD X2D II 100C

For the first time in a long time, there was some serious competition in this category. Yes, Fujifilm and Hasselblad are the only ones in the category currently introducing new products on a regular basis, but there was Fujifilm's GFX100RF and GFX100S II to consider alongside the Hasselblad X2D II 100C.

The GFX100RF gets a big look-in because it’s the first digital-era fixed-lens medium format camera – creating an unmatched combination of portability and performance – while the GFX100S II is priced to compete with the high-end full frame bodies, but with the undeniable appeal of its 102 megapixels sensor. But the Hasselblad is more than just a mild revision of the original X2D 100C; there have been significant changes everywhere, including the feature set, the operability and, quite conclusively, the imaging performance.

The original X1D mirrorless body exuded real Scandi cool, and the subsequent generation models have not only got even cooler, but also significantly more capable. The X2D II 100C is Hasselblad at the absolute peak of its game and, at every level, leaves you with just one conclusion – ‘Forget the money, I just want one’. With its graphite grey matte finish, it’s undoubtedly one of the best-looking cameras on the market, but this beauty is now much more than skin deep. The headline act is HDR capture as the default – with the option of either HEIFs or Ultra HDR JPEGs – and a high-brightness, P3 gamut OLED-type monitor screen for viewing. You will never look at the world in quite the same way again. There’s continuous PDAF autofocusing with subject recognition, a massive ten stops of image stabilisation with five-axis correction, a dynamic range of 15.3 stops, a massive 1.0 TB of internal storage on an SSD and revised controls to enhance operational efficiency, especially with the addition of a joystick-type navigator.

Hasselblad has also been diligent with regular new lens releases, so its XCD system is now pretty competitive – a 28-76mm equivalent standard zoom is the latest addition – so the X2D II 100C is well supported with optics to make the most of all the dynamic range and resolution that it’s able to deliver. This is, without doubt, the best X series mirrorless camera Hasselblad built so far and, more notably, it finally realises all the promise that could be seen in that first model, but which just was not quite there. Everything comes together brilliantly in the X2D II 100C and the user experience is now thoroughly enjoyable… with the promise of great rewards.

Hasselblad’s illustrious history is littered with legendary cameras that in one way or another enhanced photography… this is another of them.

Prime lens: full frame

NIKKOR Z 35mm f/1.2 S

Ultra-fast primes are A Thing at the moment so competing in this category were Zeiss’s Otus 50mm f/1.4 and 80mm f/1.4 (reissued for mirrorless mounts), Canon’s RF 24mm f/1.4L VCM, Sony’s FE 16mm f/1.8 G and Sigma’s 200mm f/2.0 DG OS Sports which is a first for mirrorless cameras. That Nikon’s Z mount 35mm f/1.2 S beat all comers tells you something about just how good this lens really is.

The challenge for Nikon is that it already offers an exceptionally capable 35mm f/1.4 model which isn’t an S line model, but still delivers a creditable performance and it’s smaller, lighter and cheaper… much cheaper. Consequently, the f/1.2 lens needs to prove it’s all worth the extra half-stop of speed because it’s big, heavy and pretty pricey. Of course, since it’s starring here, it obviously does. In fact, it’s one of the best performing wide-angle primes Nikon has made for a long time, and it’s up there with the very best from any brand.

Not surprisingly, a lot of work has gone into the optical design to deal with the challenges of a wide-angle focal length with a very large maximum aperture. There’s a total of 17 elements arranged in 15 groups and which includes no fewer than seven special types – three with extra-low dispersion (ED) characteristics and three with aspherical surfaces along withone which is both ED glass and aspherically-shaped.

The aspherical elements are designed to correct for distortion as well as spherical aberrations and coma. They also contribute to more uniform sharpness and brightness across the frame. The ED glass elements correct for chromatic aberrations, but also help optimise sharpness. Additionally, the lens relays a profile to the camera body which drives automatic corrects for distortion and chromatic aberrations as well as vignetting and diffraction when shooting JPEGs (and also HEIFs). Three Nikon multi-coating technologies are used to minimise internal reflections, which have the potential to be problematic with such a complex optical design with a very bright maximum aperture. The effective suppression of flare and ghosting benefits both contrast and colour when shooting in side lighting or even with the sun located near the even with the sun located near the edges of the frame

Clearly, Nikon’s objective here has been image quality first and any other consideration second – including the cost – with no compromises and it’s resulted in an all-round superlative performance at any aperture and any focusing distance. There just aren’t the issues with corner sharpness, vignetting or chromatic aberrations which often just isn’t the case even some other so-called high-performance fast primes. Consequently, you can explore all the creative possibilities of shooting at f/1.2 – chiefly selective focusing – without any compromises to image quality. This is a big plus for both photographers and video-makers and puts this Nikon lens in an elite class.

Prime lens: Cropped frame

FUJIFILM XF 500mm f/5.6 R LM OIS WR

While the current generation of camera bodies are contributing significantly

to the popularity of Fujifilm’s X mount mirrorless system, the growing list of more specialised lens is also playing a big part. As well as upgrading a number of its key models – such as the XF 16-55mm f/2.8 zoom – Fujifilm is also filling out its lens line-up with everything from ultra-wides to supertelephotos.

The Fujinon XF 500mm f/5.6 R LM OIS WR has obvious appeal for sports, adventure and wildlife photographers. This isn’t just because the effective focal length is 762mm, but being for the ‘APS-C’ sensor size, it’s also comparatively compact and weighs a shade over 1.33 kilos which makes handheld shooting quite feasible. Better still, optical image stabilisation gives up to 5.5 stops of correction for camera shake to there’s more flexibility when shooting in low-light situations.

Physically, it’s designed to deal with tough outdoor conditions being fully weather sealed and able to operate in subzero temperatures down to -10 degrees Celsius. The exposed surface of the front element has a fluorine coating to help better repel moisture and grease while also making it easier to clean. On the inside, the optical construction is designed to counter the common supertelephoto including chromatic aberrations and reduced sharpness and brightness in the frame corners. Focusing is performed internally – another plus as far as handling is concerned – and uses a high-speed linear AF motor to give a claimed focusing speed of just 0.33 seconds. The minimum focusing distance is 2.75 metres which gives a magnification ratio of 1:5… that’s one-fifth life size and not bad for a lens this long.

The XF 500mm f/5.6 is obviously a quite specialised lens, but it gives X mount shooters something that they’ve haven’t had before… namely, a native prime supertelephoto that’s neither overly bulky nor, it has to be said, excessively expensive. A superlative optical performance is its biggest selling point with the handling, functionality and specs ticking plenty of boxes if you want lots of telephoto lens without breaking your back… or the bank.

Zoom: Full frame

SIGMA 300-600mm f/4.0 DG OS SPORTS

When Sigma unveiled its astonishing 300-600mm f/4.0 DG OS Sports supertelephoto zoom, it was described as “a dream lens” and it almost certainly is for many sports, adventure and wildlife photographers. It’s not often a new product elicits a collective gasp from an audience, but that’s what happened at the 300-600mm’s Japanese launch, followed by a big round of applause. It’s perhaps not surprising given the technical challenges Sigma has to overcome to build this lens with its comparatively fast constant aperture of f/4.0, exceptional optical performance across the full focal range and – the biggie – keeping it to a physical size and weight that makes handholding actually quite feasible.

It’s a feat of both optical and mechanical engineering and, given what you’re getting, pretty good value too. All the 600mm f/4.0 mirrorless system primes currently available cost significantly more… in some cases twice as much. Notably too, Sigma’s 300-600mm is just under 47 centimetres in length and weighs in at 3.985 kilograms. Consequently, it’s very similar dimensionally to a 600mm f/4.0 prime lens. Both zooming and focusing are performed internally so the length of the lens doesn’t extend at all. The main construction uses magnesium alloy barrel tubes and is weather sealed along with a fluorine coating on the front element to help repel moisture and grease. The optical design comprises 28 elements in 21 groups, which includes six of Sigma’s ‘FLD’ types and one ‘SLD’ type. The ‘FLD’ elements – it stands for ‘F Low Dispersion’ – are designed to have the same super extra-low dispersion characteristics of fluorite glass without being as expensive to produce. Along with the ‘SLD’ elements, these significantly reduce chromatic aberrations and enhance overall sharpness. The autofocusing system – employing Sigma’s high-thrust ‘HLA’ (High-Response Linear Actuator) is fast and precise, while the optical stabilisation gives 5.5 stops of correction for camera shake at the 600mm focal length, which also a big help when it comes to shooting hand-held. The ergonomics and balance are excellent too, so the Sigma 300-600mm really is the complete supertelephoto package – portability, flexibility, affordability and capability, topped off with a superlative image quality. If you’re not there already, you’d jump into the FE or L mount systems just so you could have this lens.

Zoom: Cropped frame

SIGMA 16-300mm f/3.5-6.7 DC OS | C

The idea of one lens that can do nearly everything is very appealing, but oftenthere are design compromises that can limit the promised versatility. But if anybody was going to get close the ideal, it would be Sigma and its 16-300mm f/3.5-6.7 DC OS Contemporary for the ‘APS-C’ sensor size… so it has an effective focal range of 24-450mm. Whoa! Ultra-wide to supertelephoto in the one lens? Yes, and what’s more, it has pretty decent close-up capabilities and up to six stops of image stabilisation. It looks too good to be true, but it isn’t and, better still, the image quality that holds up across the entire focal range is the proof.

Available in the Fujifilm X, Canon RF, Sony E and the L mounts, Sigma’s 16-300mm is a comparatively compact despite its very wide 18.8x zooming range (currently the widest for ‘APS-C’ format mirrorless cameras). The barrel length is around 121 millimetres and it weighs a very manageable 610 grams (both these measurements vary slightly according to the lens mount). The barrel extends quite a bit when the lens is zoomed out, but it doesn’t unduly upset the handling or balance. Furthermore, the scope for hand-held shooting is increased by built-in optical image stabilisation which gives up to six stops of correction for camera shake at 16mm and 4.5 stops at 300mm. The external construction is weather-sealed with a water-repellent coating on the front element to help with easier cleaning.

The optical construction employs 20 elements in 14 groups which includes eight special types – four aspherical, one ‘FLD’ and three ‘SLD’ – to counter all the issues that are created by a lens that spans such a wide focal range. The optical design also helps suppress focusing ‘breathing’ so the image size remains the same across the focusing range, which is important for video. It’s a minor miracle that Sigma’s engineers have still also managed to make this lens focus close enough to deliver a reproduction ratio of 1:2 – in other words, half life size – at the 70mm focal length. It’s still 1:3 at the wide-angle end and 1:4 at the maximum telephoto focal length.

That so much capability and flexibility is possible with the one lens that’s also surprisingly compact and lightweight – not to mention affordable – is partially a nod to what’s now possible with the mirrorless camera configuration, but mostly all about the talents of Sigma’s product planners and engineers. The 16-300mm is a master class in the design and manufacture of an ultrazoom and if you have a compatible camera body, you’re definitely a winner too.

Photo printer

CANON IMAGEPROGRAF PRO-1100

It’s getting harder to impress in this category as the inkjet printer technologies have long ago reached maturity and the subsequent advances are largely incremental. Yet impress the imagePROGRAF PRO-1100 most certainly does, described by our expert in this field as “An excellent printer. The best I’ve reviewed and well deserving of plenty of publicity”.

Canon’s A2 desktop flagship delivers improvements just about everywhere, including a longer print life, wider panoramas and more reliable operation. The upgraded Lucia PRO II 11-colour pigmented ink set delivers enhanced longevity and durability, the latter via much improved scratch resistance that’s achieved by adding wax to the inks. Canon is claiming a light fastness that gives a print life of up to 200 years for indoor display. The reformulated pigments deliver a wider colour gamut smoother graduations along with deeper blacks and blues. The ink set additionally includes a reformulated ‘Chroma Optimiser’ which is a transparent coating designed to reduced bronzing and gloss differential when printing on glossy or semi-gloss papers. Particularly usefully, this can now be turned off completely – for example, when a print is going to be laminated – or set to coat the image only leaving the edges of the media with their original texture.

The PRO-1100’s print head has a total of 18,432 nozzles (1536 per colour) with a minimum droplet size of four picolitres to give a resolution of 2400x1200 dpi. Canon’s ‘Anti Clogging’ technology ensures continuous clean ink ejection. For B&W printing, the printer automatically switches between photo black and matte black inks for printing on glossy or matte surfaces. Notably, there’s a dedicated ‘Black & White’ mode that only uses the black and grey inks to eliminate any colour casts. Among the features helping to improve reliability, the top tray has an ‘Air Feeding System’ which uses a vacuum to ensure the paper is held with uniform flatness while an ‘Anti Skewing’ function ensures that it’s fed into the printer precisely aligned.

The PRO-1100 can print up to borderless A2 size on cut sheets and its accepts paper rolls which then enables panorama prints or banners up to a user-defined size of just under 3.3 metres in width (compared to 1.2 metres previously). Productivity is a key requirement of a professional-level photo printer and the PRO-1100’s combination of greater efficiency, reliability, repeatability and consistency makes it a winner in the studio, home office, and, of course, in this year’s awards.