Wednesday, July 30, 2014

Buying a digital SLR

How to Choose a DSLR Camera

DSLR Cameras are increasingly becoming a type of camera that is in the reach of the average photographer as prices fall and as manufacturers develop more user friendly models.

I’ve previously discussed some of the advantages and disadvantages of moving from a point and shoot to DSLR but in this post would like to explore how to choose a DSLR.

In doing so I’ll cover:

1. 9 Reasons to Upgrade to a DSLR Camera

2. 8 Factors to Consider when Choosing a DSLR

3. My DSLR Camera Recommendations (also check out this post on the Top DSLR Models As voted by our Readers)

Firstly, a quick recap on some of the reasons why you might want to upgrade to a DSLR.

Reasons to Upgrade to a DSLR Camera

Image Quality – Due to the larger size of image sensors in DSLRs which allows for larger pixel sizes – DSLRs are generally able to be used at a faster ISO which will lead to faster shutter speeds and less grain (ie shoot at 1600 ISO on most DSLRs will have less noise than shooting at 1600 on a Point and Shoot). DSLRs also have built in noise-reduction when genearating JPG images which also helps cut down on noise.
Adaptability – DSLR’s ability to change lenses opens up a world of possibilities for photographers. While my point and shoot has a nice little 3x Optical Zoom (and many these days have longer ones) my DSLR can be fitted with many high quality lenses ranging from wide angle to super long focal lengths depending upon what I’m photographing (and of course my budget). Add to this a large range of other accessories (flashes, filters etc) and a DSLR can be adapted to many different situations. It should be noted that when it comes to lenses that the diversity in quality of lenses is great. Image quality is impacted greatly by the quality of the lens you use.
Speed – DSLR’s are generally pretty fast pieces of machinery when it comes to things like start up, focusing and shutter lag.
Optical Viewfinder - due to the reflex mirror DSLR’s are very much a what you see is what you get operation.
Large ISO range – this varies between cameras but generally DSLRs offer a wide array of ISO settings which lends itself to their flexibility in shooting in different conditions.
Manual Controls – while many point and shoots come with the ability to shoot in manual mode, a DSLR is designed in such a way that it is assumed that the photographer using it will want to control their own settings. While they do come with good auto modes the manual controls are generally built in in such a way that they are at the photographers finger tips as they are shooting.
Retaining Value – some argue that a DSLR will hold it’s value longer than a point and shoot. There is probably some truth in this. DSLR models do not get updated quite as often as point and shoot models (which can be updated twice a year at times). The other factor in favor of DSLRs is that the lenses you buy for them are compatible with other camera bodies if you do choose to upgrade later on (as long as you stay with your brand). This means your investment in lenses is not a waste over the years.
Depth of Field – one of the things I love about my DSLR is the versatility that it gives me in many areas, especially depth of field. I guess this is really an extension of it’s manual controls and ability to use a variety of lenses but a DSLR can give you depth of field that puts everything from forground to background in focus through to nice blurry backgrounds.
Quality Optics – I hesitate to add this point as there is a large degree of difference in quality between DSLR lenses but in general the lenses that you’ll find on a DSLR are superior to a point and shoot camera. DSLR lenses are larger (more glass can add to the quality) and many of them have many hours of time put into their manufacture (especially when you get into higher end lenses). I strongly advice DSLR buyers to buy the best quality lenses that they can afford. It it’s the difference between a high end lens on a medium range camera or a medium range lens on a high end camera I’d go for quality lenses every time as they add so much to photos.

Before I tackle how to buy a DSLR keep in mind that DSLRs are not for everyone. I’vewritten more on the down sides of DSLRs in a post previously which you might find helpful in deciding whether you should stick with a point and shoot or upgrade.

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How to Decide Which DSLR Camera is for You?

So how do you decide which DSLR to buy? There are an increasing array of them on the market so you have a real choice ahead of you.

Here are a few factors to consider when looking for a DSLR:

1. Price – a good place to start when thinking about buying a DSLR is obviously price. DSLRs price range in price from some quite affordable deals at the lower end to extremely high prices at the professional end. Set yourself a budget for your purchase early on but make sure that you keep in mind that you’ll need to consider other costs of owning one including:

Lenses (some deals offer ‘kit lenses’ but you should consider upgrading – see below for more on this)
Batteries (all models will come with one but if you are travelling you might need a spare)
Memory Cards (some models come with one but most are inadequate in terms of size. Even if you’re lucky enough to have one included you’ll probably want to upgrade to at least a 1 gigabyte card).
Camera Bag (some dealers will throw one in – but once again don’t expect a high quality ‘free’ bag. Your DSLR is something worth protecting – invest in a good bag)
Filters (at the least you’ll want to get a UV filter for each lens you purchase – but you might also want to consider other types down the track also).
Extended Warrantees (there’s a variety of opinions on whether they’re good or not – but they’re worth considering)

2. What will You use it For? – when you head into a camera store to purchase any type of question the first thing most sales people will ask you what type of photography you want to do. It is well worth asking yourself this question up front as it will help you think through the type of features and accessories you’ll need.

Will this be a general purpose camera for recording ‘life’? Are you wanting to travel with the camera? Is it for sports photography? Macro Photography? Low Light Photography? Make a realistic list of the type of photography you will use it for (note I said ‘realistic’ – it’s easy to dream of all kinds of things you’ll photograph – but in reality most of us only do half what we think we will).

3. Size – DSLRs are all more sizeable than compact point and shoot cameras but there is a fair bit of variation in size between them also. Some photographers don’t mind carrying around weighty gear but if you’re going to use it for on the go photography (travel, bushwalking etc) then small and light models can be very handy.

4. Previous Gear - the attractive thing about DSLRs is that in many cases they are compatible with some of the gear you might already have.

This is particularly the case for lenses. The chances are that if you have a film SLR that your lenses might well be compatible with a DSLR made by the same manufacturer. Don’t assume that all lenses will be compatible (particularly older gear) but it’s well worth asking the question as it could save you considerable money.
If you have a point and shoot camera you might also want to look at the type of memory card that it takes as some models of DSLRs could also be compatible with them. This probably won’t be a major consideration as memory cards are considerably cheaper than they used to be but it could be a factor to consider.

5. Resolution – ‘how many megapixels does it have’ is a question that is often one of the first to be asked about a new camera. While I think ‘megapixels’ are sometimes over emphasised (more is not always best) it is a question to consider as DSLRs come with a wide range of megapixel ratings. Megapixels come into play as you consider how you’ll use your images. If you’re looking to print enlargements then more can be good – if you’re just going to print in small sizes or use them for e-mailing friends then it’s not so crucial.

6. Sensor Size – Another related question to consider is how big the image sensor is. The term ‘crop factor’ comes up when you talk about image sensor size – I’ll upack this further in a future article as it’s perhaps a little complicated for the scope of this one. In general a larger sensor has some advantages over a smaller one (although there are costs too). But I’ll unpack this in a future post (stay tuned).

7. Future Upgrades - will you be in a position to upgrade your camera again in the foreseeable future? While entry level DSLRs are attractively priced they tend to date more quickly than higher end models and you run the risk of growing out of them as your expertise grows and you thirst for more professional features. Ask yourself some questions about your current level of expertise in photography and whether you’re the type of person who learns how to master something and then wants to go to a higher model that gives you more control and features. It’s a difficult question but you might find it’s worthwhile to pay a little more in the short term for a model that you can grow into.

8. Other Features

Most DSLRs have a large array of features that will probably overwhelm and confuse you at first as you compare them with one another. All have basic features like the ability to use aperture and shutter priority, auto or manual focus etc but there’s also a lot of variation in what is or isn’t offered. Here are some of the more common features that you might want to consider:

Burst Mode – the ability to shoot a burst of images quickly by just holding down the shutter release – great for sports and action photography. DSLRs vary both in the number of frames that they can shoot per second as well as how many images they can shoot in a single burst.
Maximum Shutter Speed – most DSLRs will have a decent range of speeds available to you but some will have some pretty impressive top speeds which will be very useful if you’re into sports or action photography.
ISO Ratings - Similarly, most DSLRs will offer a good range of ISO settings but some take it to the next level which is useful in low light photography.
LCD Size – It’s amazing how much difference half an inch can make when viewing images on your cameras LCD. I noticed this recently when testing a camera with a 2.5 inch screen after using my own 1.8 inch one. While it might not change the way you shoot photos (people tend to use viewfinders at this level to frame shots) it certainly can be nice to view your shots on a larger screen.
Anti Shake – in the past few weeks a range of new DSLRs have been announced by manufacturers in the lead up to the Christmas rush. One of the features that is featuring more and more in them is anti shake technology. While it’s been common to get ‘image stabilisation’ technology in lenses the idea of it being built into camera bodies is something that is attractive.
Dust Protection – another feature that has started appearing in the latest round of cameras is image sensor dust protection (and in some cases self cleaning for image sensors) – something that will help alleviate a lot of frustration that many DSLR photographers have. To this point this is a feature that is mainly on lower end DSLRs but it’s bound to appear on new professional models also.
Connectivity – Getting photos out of your DSLR and into a computer or printer generally happens these days via USB but some people like FireWire and/or Wireless.
Semi-Auto Modes – As with point and shoot cameras – many DSLRs (especially lower end ones) come with an array of shooting modes. These generally include ‘portrait’, ‘sports’, ‘night’ etc. If you rely upon these modes on your point and shoot you may well use them on your DSLR too. Higher end DSLRs often don’t have them.
Flash – Generally professional grade DSLRs don’t offer built in flash and just have a hotshoe while entry level DSLRs include a built in flash.

Which DSLR camera is right for you?

At the time of writing this post there are a large range of DSLRs currently on the market (with a fresh batch of them set to be announced in the new year).

I’m a Canon user so my recommendations will reflect this below. Here are three that you might like to consider.

Canon EOS 400D (Digital Rebel XTi) – I had the opportunity to play with this camera last week for a day and while I was a little skeptical at first as it’s fairly much an entry level DSLR I came away from testing it quite impressed. It has a 10.1 megapixel sensor, 2.5 inch LCD and all the features you’ll need to switch into manual (and semi manual) modes.

It is a camera with a lighter feel than the 30D (below) which will leave some feeling as though it might be a little light on – however this adds to it’s portability.

This is a good camera if you’re a little nervous about stepping out of point and shoot land and want something that is easy to use. Compare prices on the Canon EOS 400D from around the web.

Canon EOS 30D – if there’s one DSLR that I’ve recommended more than any other it is the 30D. I’ve owned it’s predecessor for a few years now (the 20D) and have loved it but the 30D has a few nice extra features that make it worth the upgrade.

The 30D is has an 8.2 megapixel sensor and nice large 2.5 inch LCD as well as an array of other features that give you plenty of opportunity to explore your photographic ability (as well as a good Auto mode for when you hand it over to a digital camera novice). This is a more serious camera than the 400D (it’s more solid in your hands too) but it is very user friendly also.

It is positioned nicely between the entry level and Professional models going around and produces wonderful images. Compare prices on the Canon EOS 30D from around the web.

Canon EOS 5D - this camera will be out of reach of most of us (although I’m saving up) but I wanted to include it as it’s the best camera I’ve had the privilege of testing so far (in fact I’ve had it for the last 3 weeks and I just don’t want to send it back).

The 5D is not at the very top of the Canon DSLR range but it is not cheap and is aimed at the higher end amateur digital photographer who knows what they are doing. It doesn’t have a built in flash and there are no semi-auto modes on the dial (at this level you wouldn’t need them). It has a 12.8MP full frame sensor, 2.5 inch LCD, weighty magnesium body and a list of features longer than my arm.

This camera has great reviews from around the web and is high on my own personal wish list. Compare prices on the Canon EOS 5D from around the web.

Of course there are more options than just Canon DSLRs.

While I’ve not extensively tested them I have friends with the Nikon D200 and theNikon D70s who are more than satisfied with their cameras also. Nikon’s DSLRs get highly recommended in reviews around the web and you’ll not go wrong in going with them either.

Feel free to add your own recommendations below in comments. As I say – I’m a Canon guy and am pretty much won over by the quality of camera that they make (their image sensors go beyond what I’ve seen in other cameras) however there are many more great DSLRs out there (particularly from Nikon) and I’d love to include the recommendations of others – simply leave a comment below with your own recommendation and I’ll include some of them in the main post as an update over the next day or two.

Update: A few readers have asked me for recommendations for DSLR lenses via email after reading this post. You might like to start with some introductory posts that I’ve written on the topic at:

What is an SLR?

The basic physical design of the SLR has remained essentially unchanged for over half a century. The name itself, 'Single Lens Reflex', refers to the hinged mirror that bounces the light passing through the lens up to the viewfinder for framing then flips out of the way when you press the shutter to allow the light to hit the sensor (or film).

As the (simplified) diagram above shows, the mirror inside an SLR reflects the image formed by the lens up to the optical viewfinder (via a focusing screen and prism). When the picture is taken the mirror flips out of the way to allow the light to fall directly onto the sensor (or film), which sits behind a mechanical shutter. The mirror is also flipped up for live view operation (where the sensor is used to provide a live video feed directly to the screen on the back).

SLR versus SLT?

As well as traditional DSLRs from Canon, Nikon and Pentax, Sony makes a range of 'SLT' cameras. SLT stands for 'Single Lens Translucent' and the difference is that in cameras like the Sony Alpha SLT-A77 and A99, their mirrors are fixed, and not 100% reflective. Light coming through the lens is allowed to pass through the mirror, to the cameras' sensor, and a small portion is reflected onto an autofocus array, allowing full-time fast focussing with the mirror in a fixed position. This is especially useful when shooting video. Sony's SLT camera are distinguished from DSLRs in another way, too - they have electronic, rather than optical viewfinders.

Sony's recently-announced (August 2013) A3000 is a slightly different beast, looking more or less like Sony's SLT models but being in effect an oversized NEX camera with an electronic viewfinder. You can read more about mirrorless interchangeable lens cameras a little further down in this article.

The diagram below illustrates how SLT cameras work.

This (Sony supplied) diagram shows the imaging and focusing systems in the Sony Alpha SLT-A77. Light coming in through the lens is split by the fixed, semi-transparent mirror - a portion feeds the phase-detection AF sensor, and the majority hits the main imaging sensor for live view and image capture.

What do you need?

With so many digital SLRs on the market at so many different price points it's a good idea to narrow down your options by thinking about what 's important to you, and what you want to do with the camera. Do you want the same kind of 'point and shoot' simplicity as you get with a compact camera or are you the type of photographer who likes to roll up his or her sleeves and take control of every function? Many entry-level DSLRs offer a range of 'point and shoot' subject / scene modes, whereas more 'professional' models don't (though all have an 'auto exposure' program mode). Do you shoot a lot of sport or wildlife? If so you'll need a fast camera with a high frame rate, and you may find that one with an APS-C sensor is better than full-frame, thanks to the 'crop effect' which effectively gives you a little more telephoto reach.

If you shoot in very low light you'll be looking for a camera with the best possible high ISO performance and possibly in-body image stabilization, if you do a lot of studio, portrait or macro work, a good Live View mode will also be a major consideration.

Finally there are practical considerations; do you need a particularly rugged (or weatherproof) body? Does the size and weight of the camera play an important role in your choice? Do you have a particular application in mind that requires a specialist lens or other accessory? Not all camera systems offer the same range of lenses and not all cameras are compatible with the more specialized add-ons.

And don't forget that most DSLRs are compatible with many of the lenses and accessories originally designed for film SLR cameras (from the same manufacturer or compatible third-party options), so if you've got a collection of relatively modern lenses that were originally designed for film, that's a good reason for sticking to the same system when you move to digital. Old Minolta AF lenses will work well with new Sony SLT cameras, and all Canon EF lenses will play perfectly nicely with current EOS DSLRs, likewise Pentax and Nikon (although low-end Nikon DSLRs will require AF-S lenses in order to focus automatically).

Armed with some answers to these questions you can use the information on the rest of this page to produce a shortlist of cameras that match your needs perfectly.

Sensor size

Let's look first at the physical size of sensor used to capture your photographs. Although there are slight variations, virtually all DSLR sensors fit into one of three size categories (starting with the largest);Full Frame, APS-C and the now effectively defunct Four-Thirds (to explain - these days, Four Thirds is almost exclusively a format used bymirrorless system cameras - more later).

Sensor size isn't as important as some people would have you think, but there are some key differences. The first is what is known as the 'crop factor'. As the diagram below shows, as the sensor gets smaller it captures a smaller area of the scene, resulting in a photograph that looks like it was taken at a longer focal length (1.5x or 1.6x longer for APS-C, 2x for Four-Thirds).

The crop factor isn't a major issue for most users, but it does have important consequences for some. If you're buying a digital SLR to replace a film model because you've got a kit bag full of lenses you need to be aware that unless you buy a full frame model all your lenses will produce very different results on your new camera.

For telephoto shooters the result is quite a bonus, as all your lenses will effectively get even more powerful. On the other hand the crop factor means your wideangle lenses will no longer offer anything like a 'wide' field of view. Fortunately there is a huge range of specially designed 'digital only' lenses for smaller sensor DSLRs out there, from both camera manufacturers and third-part lens-makers like Sigma and Tamron.


The three most common sensor sizes compared: full frame, APS-C and Four-thirds. Smaller sensors 'crop' the scene and make a lens appear to have a longer focal length.	For sports and wildlife shooters the smaller sensor has the effect of making their telephoto lenses and zooms even more powerful, - about 50% more in the case of an APS-C DSLR.

So which is right for you? Each has its own benefits and each has its limitations, and if you're building a DSLR system from scratch you needn't get too hung up on which is right for you.

The largest (and most expensive) DLSR format is full frame (so called because the sensor is the same size as a frame of 35mm film). DSLRs with full frame sensors have the biggest, brightest viewfinders and because there's no crop factor they traditionally appealed to photographers upgrading from a film SLR who already owned expensive wideangle lenses.

Perhaps more importantly for today's consumers, the larger sensor also means that - all other things being equal - full frame cameras will produce the best results in very low light and at higher sensitivities. On the downside, full frame cameras are bigger, and despite coming down in price a lot in the past few years, they're relatively expensive too. You also lose the focal length 'boost' offered by smaller sensor cameras when shooting with telephotos, and if you've invested in lenses designed for APS-C DSLRs, upgrading to full-frame means you'll be looking at buying a whole new set of optics.

The larger the sensor the easier it is to get very shallow depth of field effects. The flip side of this is that it can be harder to get everything in focus when you do want to. Overall though, the larger sensors offer more control over depth of field for those that know how to use it.

APS-C is still the most common DSLR format, used by all of the major manufacturers. With a crop factor of 1.5x or 1.6x you need dedicated digital lenses to get true wideangle results, but these are readily available and are usually less expensive than their 'full frame' counterparts. The 'kit lens' supplied with most APS-C cameras is a good starting point, offering a versatile zoom range from wideangle to short telephoto. Typically 18-55mm, which is equivalent to a traditional 28-80mm (ish) standard zoom in 35mm terms.

The difference in size and weight between a compact entry-level DSLR (Nikon D3200, left) and a full frame professional level camera (Nikon D4, right) is considerable. But as well as extra bulk, professional DSLRs come with rafts of extra functionality.

'Anti shake' systems

Photos taken in low light or with long telephoto lenses can easily be ruined by blur caused by the camera moving during the exposure (camera shake). Image stabilization (IS, sometimes called 'VR' or some other variation) systems are designed to counteract the motion of camera shake and reduce (or eliminate) the resultant blurring. Every manufacturer has a different name for it ('Super SteadyShot', 'Anti Shake', 'Vibration reduction', Mega OIS'), but all use one of two techniques. Optical IS works by moving a small element inside the lens and is totally separate from the camera. Sensor shift IS - as the name implies - moves the sensor itself. Note that the terms 'optical' and 'mechanical' IS are often used interchangeably.

Image stabilization systems reduce the blur caused by camera shake, allowing sharp pictures to be taken even in low light or at long focal lengths.
Some DSLRs/SLT cameras feature in-body stabilization by shifting their sensors, while other systems (Canon and Nikon) provide optical stabilization courtesy of adaptive elements in selected lenses.

The net result is the same, though obviously sensor IS is built in to the camera, so offers its benefits to every lens you buy, even very old lenses, or third-party lenses attached via adapters. Many Pentax DSLR users treasure this functionality for exactly this reason. The number of lenses available for, or which can be made compatible with the Pentax K-mount is vast, and built-in stabilization makes shooting with them much easier.

Lens-based IS has the advantage of stabilizing the view through the viewfinder as well as reducing blur in the final picture, but if you intend to buy several lenses it can end up being more expensive as stabilized lenses typically cost more than their non-stabilized equivalents. At the moment Sony, Pentax and Olympus offer in-body sensor stabilization, whereas Canon and Nikon offer stabilized lenses (including standard 'kit' lenses).

Speed

If you're used to using a compact digital camera picking up and taking pictures with a digital SLR will be a revelation; even entry-level models focus and shoot faster than any compact. As you move up the range to more expensive models focus speed will increase slightly, but the real difference is continuous shooting frame rate, something of vital importance to sports and wildlife photographers.

Most entry level DSLRs offer a continuous shooting rate of less than 5 frames per second; plenty enough for most casual photographers trying to snap the kids or pets running around the back yard. The most basic models limit the number of shots you can take in a single 'burst' (especially if you're shooting in the highest quality RAW mode), but again this isn't likely to trouble the average user.

If you do have real 'need for speed' you'll need to leave the entry-level behind and move into the mid range or semi-professional sector. Here the starting point is 4-5 frames per second (though if money is no object the Canon EOS-1DX and Nikon D4 can deliver more than 10 frames per second at full pelt), and larger 'buffer' memory means you can take a lot more frames in a single burst. To compare frame rates and other aspects of SLR performance for any model you're interested in check out the reviews here.

Size, weight and durability

As mentioned above digital SLRs come in a variety of shapes and sizes from the ultra compact entry-level models to the tank-like professional models. If you're likely to do a lot of shooting in damp, humid or dusty conditions you'll need to look for a DSLR with some kind of weatherproof sealing and a solid magnesium alloy chassis, and possibly one with a built in dust removal system to keep the sensor clean. Obviously this kind of durability doesn't come cheap, though there are plenty of mid-range models that offer some level of protection from the elements.

High-end DSLRs typically offer a degree of weather-sealing, usually comprising rubber seals around major body seams, compartments and control points. This image shows a Nikon D800, with water and dustproof seals shown in yellow.
Lower-end cameras typically dispense with this level of protection, but of course, they're correspondingly smaller and cheaper as a result.

On the other hand, if you like to travel light and don't feel like lugging two or three pounds (1 to 1.3 Kg) of camera gear round your neck then look for one of the new generation of ultra compact lightweight DSLRs - some of which tip the scales at not much more than 20 oz / 0.5 Kg with a small lens. It doesn't matter how great a camera is if you can't be bothered carrying it around with you because it's too big or too heavy. You can check out camera weights and dimensions using the comparison tools here.

Screens and live view

One of the defining features of an SLR camera is that you frame the picture by looking through the same lens that takes the picture (by looking through the viewfinder). And many users moving from a compact to a DSLR in the past few years have been surprised to discover that you can't use the color screen on the back of the camera to frame the pictures in the same way you can with a compact. That's changed in the past few years as 'Live View' has become pretty much standard (with some exceptions - the altogether unique Sigma SD1/Merrill for example).

Live view isn't without its drawbacks; in most cases it slows down the picture taking process in use as the design of an SLR means the mirror inside the body has to be flipped up to enable live view and flipped back down to focus or take a shot. Most DSLRs can only offer slower contrast-detection auto focus in live view mode, as well. The honorable exceptions are Sony's SLT models (see above) and Canon's latest enthusiast-level APS-C offering, the highly innovative EOS 70D.

LCD screens have come on in leaps and bounds in recent years and 3.0 inch+ displays are now common. Some models offer partial or total articulation, too (this image shows Canon's EOS700D / Rebel 5Ti) which is great for shooting video, or still images from awkward angles.

That's not to say live view isn't a useful feature; in the studio the ability to magnify a portion of the display to check focus is a real boon, and the fact you don't need to put your eye to the viewfinder can make shooting from very awkward positions (such as low on the ground or with the camera above your head) considerably easier. A flexible screen will help, too, and an increasing number of low-end and midrange DSLRs offer some degree of display articulation.

You can check out the live view performance of any DSLR model you are interested using the in-depth reviews here.

Ease of use features

With entry-level digital SLRs now aimed at first-time users and those who might normally choose a compact camera, many of the ease of use features (on-screen guides, intelligent automatic modes, on-screen guides, face detection and so on) common on compacts have started to appear here too. Although any SLR can be used in simple 'point and shoot' mode, some models go a lot further in helping you get the right shot than others.

On-screen guides, intelligent automatic modes and compact camera-like 'fun' features (such as special effects and face detection) are starting to appear on entry-level SLR models. ideal if you find the idea of using this kind of camera daunting.

Advanced photography features

Although all digital SLRs share a common base feature set as you move up the ranges you'll find more and more advanced features and more controls that may or may not be of importance to you. You'll also find that higher level SLRs offer far more customization options, allowing you to fine tune every aspect of the camera's operation. Many of these functions and options will be of interest only to the more advanced photographer.

Movie modes

As a direct consequence of the introduction of Live View to SLRs, in the past five years HD movie modes have become pretty much standard on digital SLRs, and as well as casual videographers, a great many professional filmmakers have embraced DSLR video. These days, some of your favorite TV shows are probably filmed using DSLRs. The main reason is that big sensor, which allows Hollywood-style focus effects and excellent image quality, even in low light, and the versatility offered by the huge range of lenses (from fisheyes to extreme telephotos), which is opening up a new world of creative possibilities.

With the exception of Sony's innovative SLT models and Canon's EOS 70D, DSLRs offer contrast-detection autofocus in video mode, which is slower and less responsive than the phase-detection AF used for still photography. Professional filmmakers though tend to eschew automatic focus altogether, preferring to focus manually for better control over focus in staged scenes.

Mirrorless Interchangeable Lens Cameras (MILCs)

Mirrorless cameras use a mechanically simpler system than traditional DSLRs that does away with the optical viewfinder and mirror altogether. This allows for physically smaller 'big sensor' cameras that deliver excellent image quality without the bulk of a typical DSLR. As such, if you're shopping for an entry-level or midrange DSLR, you should definitely take a look at today's crop of mirrorless ILCs as well.

The best-established of the current mirrorless systems is Micro Four Thirds (offered by Olympus and Panasonic) which comprises two distinct camera formats. The first looks (and in many respects acts) like a conventional SLR, complete with a large high resolution electronic viewfinder. The second format gets a lot closer to 'compact camera' size by dropping the eye-level viewfinder altogether (all framing is done with the rear LCD screen). Some models offer an optional clip-on electronic viewfinder.

Micro Four Thirds is based on the older Four Thirds format. Four Thirds was an 'all digital' format developed by Olympus and was used in Olympus and Panasonic DSLR models. Four Thirds was not based on any existing film SLR system and used a totally new lens mount, allowing all the lenses in the system to be designed from the ground up, specifically for digital imaging. In theory, the smaller sensor also allowed lenses to be smaller and lighter than their conventional DSLR counterparts, although this advantage has mainly been realised more recently in Micro Four Thirds equipment.

Nikon's 1 System comprises a small selection of entry-level models and the more enthusiast-oriented V2 (shown here). As you can see, the cameras are significantly smaller than any DSLR, thanks to their correspondingly smaller 1 inch sensors.

Other mirrorless systems include Sony's NEX-series and Samsung's NX-series, which both feature APS-C format sensors. Canon's nascent mirrorless range starts and ends (at time of writing) with the APS-C EOS M, which is basically an EOS 650D / Rebel 4Ti without the mirror. Nikon has taken a different approach in its 1-System mirrorless cameras, which offer much smaller 1-inch 'CX format' sensors for a crop factor of 2.7X, but with the advantage of an innovative new hybrid AF system that incorporates on-sensor phase-detection AF with subject tracking.

Mirrorless cameras have come on in leaps and bounds in recent years, but despite the advances, the playing field isn't entirely level yet. There are many pros, but still some cons to a mirrorless system camera when compared to a similarly-priced DSLR. Here are some things to consider. Bear in mind, this is an 'in general' list. Not all mirrorless ILCs offer the advantages we've outlined here, and not all display the disadvantages either.

Mirrorless ILC advantages

Smaller, lighter and usually quieter than equivalent SLR
Generally smaller and lighter lenses
Often better implemented video modes
Ease of use with many compact camera features (such as face detection and wide AF areas)
Electronic viewfinders often larger with greater coverage than entry-level SLR optical viewfinders
Full shooting information and menus in the (electronic) viewfinder

Mirrorless ILC disadvantages

Slower autofocus compared to phase-detection from a DSLR, with poorer subject tracking
Many electronic viewfinders cannot match the clarity of a good optical finder
the 1.5 / 2X or greater crop factors of mirrorless ILCs offer less control over depth of field than full-frame DSLRs.

System addict...

One last word. Buying an SLR is, for many people, only the first step on what can become a lifelong relationship with a specific camera system, so it's important to look at the 'bigger picture' when making your choice. The camera is only part of the equation when it comes to image quality; the lens has an equally important role to play.

Most of the major players have broadly similar lens options (and there's plenty of third-party alternatives for those that don't), but inevitably each has its relative strengths and weaknesses. If you have a specific application that needs specialized lenses (or other accessories) it's worth doing some research before committing to one system or another; dpreview's lens reviews and user forums are an excellent place to start, and you'll find a lot of information at our sister site

gearshop.dpreview.com as well.

Yoma Strategic	0.71	+0.01	+1.43%
Interra Resource	0.215	+0.01	+4.88%
Myanmar Inv Int	1.135	0.00	+0.00%
$ We	0.011	-0.001	-8.33%
Super Group	1.145	-0.03	-2.55%
$ Ntegrator Intl	0.03	0.00	+0.00%
Upp	0.245	0.00	+0.00%
Kreuz	0.80	0.00	+0.00%
Gunkul Engineer-f	0.48	+0.181	+37.71%
Usd/mmk	1038.00	N/A	N/A

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