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If there’s one filter everyone should have, it’s a circular polariser. Sometimes, for cutting out unwanted reflections from windows or shiny objects, it’s the only realistic solution. It can darken skies, too, especially when used at roughly 90° to the sun. All you have to do is rotate the filter around and watch as reflections disappear and colours become more saturated.

Sigma’s reputation for high-quality lenses continues to grow, thanks to the Art series. These photo lenses offer incredible but affordable quality, and lend their optical design to Sigma’s full-frame cinema lenses.

Very fast telephoto prime lenses are often the workhorse of sports and wildlife photographers. Fujifilm has now joined Canon, Nikon and Sony in offering lenses like this. Canon and Nikon only make fast tele primes for their DSLRs, but Sony and Fujifim do for their mirrorless cameras, too.

If you want a fast f/2.8 standard zoom for your full-frame Sony mirrorless camera but were put off by the size, weight and price of the only lens available (Sony’s G-Master), then now you have a choice. The Tamron’s build quality isn’t in the same league, but optically it’s not far off and it works just as well in most shooting situations. It’s a mid-range, mid-price standard f/2.8 zoom for Sony full-frame. 

For the ultimate in image quality for a DSLR or mirrorless camera, the Zeiss Otus is about the best you can get. But it comes at a high price compared to other lenses that are designed for smaller cameras – all of which have very effective autofocus systems.

If you shoot Sony and want a fast, super-telephoto for wildlife or sport, then you’ve been out of luck until now. But the premium G Master lens series is now up to a magnificent seven, thanks to the new, eye-wateringly expensive FE 400mm f/2.8 GM OSS.

About us

Targeting independent commercial filmmakers and small production companies, Pro Moviemaker delivers the latest industry tech innovation and gear scoops to creatives, entrepreneurs and decision makers hell bent on staying ahead of the game. As early adopters, Pro Moviemaker readers want news, reviews and technique features focused on kit so that they know what to buy next and how it will drive the continued success of their business. Diverse in their roles and shooting genres, Pro Moviemaker readers are united by their thirst for knowledge – a thirst which is quenched not only by our hands-on production, post and business advice features, but also our inspirational interviews with leading pros.

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Editor-in-chief Adam Duckworth

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Staff writer Chelsea Fearnley

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