DSLR Buyer’s Guide

I’ve seen – and repeated, and believe to a big extent – the photographic maxim that it’s not the gear that matters. But that statement should always have an asterisk next to it, because sometimes gear does matter.* If you’re shooting with a point-and-shoot camera or a camera phone and realizing that A: you’re really enjoying photography, and B: you’ve started to hit some frustrating limitations with your current gear, you’ve probably given some thought to buying a DSLR or compact interchangeable lens system. As with the other guides that I’ve put out this week, the SLR guide (which you can also apply to Micro 4/3) has less to do with brands than with the questions it’s helpful to ask – sometimes of yourself, sometimes of the person at the camera shop – before you buy.

Do You Already Own an SLR? If you shot in the film days and still have a brace of lenses, it may be worth sticking to the same mount. Of course, there are caveats: if you used Pentax, Nikon, or Leica, more of those lenses will fit the manufacturers’ current models without adapters than the others. If you used Minolta (whose later AF lenses fit the Sony Alpha mount), Canon (who changed mounts in the 1990’s) or Olympus, your mileage may vary… some lenses will fit, while others will require adapters. Not all lenses will work perfectly on all cameras; you may lose autofocus or metering, for instance. But being able to use older lenses on a new body can represent a significant savings.

What Can You Spend? Start here. What you’re willing or able to spend is going to determine quite a bit else. If you’re budgeting for lenses along with the camera and something’s got to give, go cheap on the body, not the glass, and you’ll thank me later. Once you’ve figured out your price range, you can narrow it down to a set of bodies that fall within those price points.

What Category of SLR? Here, we’re talking about types rather than brands. Broadly speaking, your choices break down to entry-level, consumer, “prosumer” and professional, in addition to the usual divide between full frame or crop sensors. Because a camera is consumer-grade doesn’t necessarily mean that you’re going to get consumer-grade photos out of it; a number of factors, including the quality of the lenses you put on the camera, and the skill level of the person behind the camera, will do just as much to determine that as will the body.

That’s also not to say they’re all the same. Each step up in a manufacturer’s lineup adds something that the camera “below” it didn’t have. By way of an example, let’s do a cursory comparison between the Nikon D5100 and the Nikon D7000. The 7000 has a larger, heavier body that’s sealed better against the elements, and uses more metal in its construction. It also has a built-in AF screw, more manual controls, dual card slots, better battery life… I could go on, but I think you get the point. A similar comparison between the entry-level D3xxx and the consumer D5xxx would reveal similar differences. Figure out the specs that matter to you, and buy accordingly. And don’t worry if your next-door neighbor shoots with a “better” camera (unless he offers to pay, in which case, he can be as opinionated as he’d like); after all, you’re the one who’s going to be using the thing.

New or Used? If you can find a used camera with a low to moderate number of actuations (clicks), it can represent a significant savings over buying new. A body that’s two to three (or more) generations old can run a fraction of the cost of something newer, and as long as you’re buying from a reputable seller (that is to say, a local shop and not Craigslist or eBay), it should be a safe buy. Used equipment is also good for someone who’s just dipping a toe in the waters, or just doesn’t feel like plunking down hundreds/thousands more on a newer model. The trick to buying an older body is to know what improvements have been made in technology since the model you’re looking at was last on the shelves. Each generation brings improvements in ISO, image quality, and other parts of the feature set, and knowing the differences between models allows you to make an intelligent decision on the kinds of tradeoffs you’re willing to make.

How are the Reviews? Go to a well-trafficked forum (dpReview, Canon Rumors, Nikon Rumors and the like) or a review site like Amazon, Adorama, or B & H, and check out the reviews for the most recent models within the price points you’ve chosen. If a camera has several good, and well-substantiated, reviews, you may have something worth a closer look. Conversely, if you’re seeing a lot of negative reviews overall, or certain issues with the camera, take those into consideration. Once you’ve narrowed it down to a small handful of models, you’re ready to go further in depth on your research.

How’s the Ecosystem? If you’re married, or have ever thought about marriage, you’ve probably heard it said that you don’t just marry someone, you also marry their family. That also, in a roundabout sort of way, applies to cameras. You’re not just buying a camera body, after all; you’re buying a “family” of lenses and peripherals (speed lights, GPS dongles, video microphones, and lots more) to go with it. The investment in glass alone can – and likely will – run you at least as much as the cost of the body, if not much, much more.

And the lenses are more important, in a sense, than the body. Remember, the technology in your camera will become obsolete at some point. That doesn’t mean won’t still make photos (and very good ones). But you may find that in a generation or two, you may want to upgrade your body. Lenses, if you choose them carefully, don’t become obsolete; they hold their value much better (at least in the case of OEM lenses, though some aftermarket lenses retain value well).

If you’re buying a used body, you can usually find a good, and inexpensive, used kit lens. Your other alternative is to pick up a 35mm f/1.8 or 50mm f/1.8 as your first lens. On one hand, you don’t get the convenience of a zoom lens. On the other, however, primes are great learning tools, in addition to being great for creativity and shot discipline. They’re also sharp, inexpensive, and fast. You’ll appreciate the flexibility you get in low light, or in isolating subjects with shallow DOF, that you won’t get to the same degree with a zoom unless it’s a very expensive zoom.

Examine the Guts:  The person at the big box electronics store is probably going to lead with the megapixels. They’re the least of your worries. A higher megapixel count has its places, but also its problems. Higher MP counts mean larger files, which mean slower write speeds if the camera’s processor is poky, and also means that you’ll find yourself running out of drive space that much faster. If you’re trying to decide between two versions of the same camera (say, a T2i and a T4i), pay attention to the processors as well, since changes in the processor can mean better stills and videos, quicker write speeds, et cetera.

How’s the Build Quality? Although SLRs mostly share a very similar form factor — pentaprism or pentamirror atop a body that accepts lenses of varying types and sizes, usually with a grip of some sort — there are variations (some subtle, others not) in how those things are implemented, and how it all fits together. See if the body is metal or plastic; if it’s a bit of both, see how it’s deployed, and how the camera feels in your hands. If the camera has a built-in flash, see where the flash is relative to the lens. A test shot with the flash (with the zoom racked out to its longest reach) is helpful to see if the lens casts a shadow.

Controls – what you’ve got and how it’s laid out – also matter a great deal. Just remember that generally, more manual (more knobs, buttons and dials) means more money. The upside is that it can also mean fewer headaches, since those external controls give you the option of changing settings at eye level versus having to explore menus every time you want to change something. Even if the camera has more controls than a small aircraft, I’d still suggest that you go into the menu and see how easy it is to find and change the settings you use, or think you’ll use, the most often. You can and should familiarize yourself with the manual, but a good menu layout is vital when it comes to being able to change something quickly and still get the shot.

Ready for Your Closeup? Take test shots under as many conditions as you can. You’re looking at two things here: the camera’s performance while you’re shooting, and the photos that come out as a result. The one caveat I’m going to add before you get started: whatever lens you plan on using at first – a kit lens, a 50mm f/1.8, an 18-200mm – use that for your test shoot. You don’t want to put a 60mm macro on the camera to test it, and then go back home and shoot with an 18-55mm. You want the photos to look like they’d look as you would shoot them.

Now let’s get down to brass tacks. In terms of performance, how quick and accurate is the autofocus system in low light? In normal light? How about with a low-contrast subject (like a white box against a white background)? How’s it feel in your hands? How quickly is it writing files? How smooth is the zoom? How well does it handle close focusing? Is the viewfinder bright and easy to use for manual focus? Is the LCD sharp and clear, even in bright light? If you plan on using the video feature seriously, make sure you also put the video features through their paces.

Next, take a long, hard look at the images. How accurate is the auto white balance? How sharp are the photos? How’s the default exposure? Is the camera’s color rendition pleasing? How well does the camera handle the noise from high ISOs? If you’re going to a local camera shop and you don’t have to buy that day, bring some memory cards with you if you’ve narrowed it down to a couple of finalists. Format, shoot, and check them out on a monitor. Don’t forget that this is all about capturing your vision, so it’s all about what looks pleasing to your eye.

A Few Thoughts in Closing: Remember that you’re not done just because you’ve picked your camera. You’ll also want to consider the following:

  • Spare batteries: I strongly suggest a battery from the camera manufacturer, especially if you’re buying new.
  • Memory Cards: One for the camera, plus one spare (or one per slot if the camera has dual card slots, plus spares). Avoid Class 2 cards, and stick to class 6 or class 10, especially if you plan on shooting video or doing a lot of burst shooting.
  • Case: You’ll need some protection from the elements, and room to put other “stuff” (like the items listed above) so it’s all in one place. There’ll be a case buying guide in this space tomorrow.
  • Strap: I know, your camera probably came with one. You want to hear the one thing that pretty much any photographer — die-hard Nikonian, ardent Canon fan, Sony partisan, etc. — can agree on? Ask them about the straps that came with their cameras. They’re uniformly scratchy and uncomfortable. Don’t do that to yourself, especially if you’re going to have it around your neck for any length of time. There are much better options, from the pricey but lovely Black Rapid to straps by MOD and Crumpler (the latter is my personal favorite, especially if you’ve got heavier glass on the end of your camera). Your neck will thank you.
  • Support: If you’re shooting with an SLR, I’d suggest investing in a tripod or monopod before putting money into additional glass. Even a mediocre tripod beats the best image stabilization system if you use it properly. Just don’t be stingy spending on a tripod. Yes, you can get one at a flea market for 25 bucks… and that $25.00 “investment” is all that’s going to be between your expensive gear and the pavement. Think about it.
  • Cleaning Equipment: I’ve written elsewhere about cleaning supplies for cameras, and rather than belabor the point here, I’m just going to suggest you check out that article:

There are other doohickeys and gadgets to go with your camera… speedlights, ring lights, reflectors, macro tables, backdrops, extension tubes, teleconverters, and lots, lots more. However, if you take the stuff above into consideration and choose carefully, you’ll have built the foundation for a solid kit, and a hobby — or an obsession — that you can spend a lifetime learning and perfecting.

*For why the gear doesn’t matter, read this. For why it does, kinda, read this. Then take an aspirin, which you can probably find here. The first two links are my takes on the “gear doesn’t matter” argument, and that last one’s an Amazon affiliate link. Your purchases through that link help keep The First 10,000 going. Thanks!

**Incidentally, if you don’t want to spring for a new camera strap yet, consider a seatbelt cover. It’s not the most attractive option, but it’s cheap, effective, and surprisingly comfortable. If you end up with a pair, use the other one for the shoulder strap on your camera bag if that’s not already padded.

Compact Camera Buyer’s Guide

Kaleidoscope
Kaleidoscope

If you’re looking to buy a compact camera, you’ve come to the right place. Let me preface this little buyer’s guide with a little disclaimer, however. This isn’t going to be a typical guide, with reviews of individual cameras. There are a number of reasons for this. First, most compacts have the average lifecycle of a fruit fly. Second, if you pick nearly any manufacturer, you’re going to find some cameras that are awful, some that are acceptable, and some that are really good. Finally, and most importantly, my criteria for a camera — for everything from its controls to its image quality — may not be the same as yours, so there’s no substitute for actually picking them up and trying them.  With that in mind, here are some suggestions as to what you should look for, ignore, or avoid from one camera to the next.

What’s It Cost? Start here, since quite a bit else will stem from what you’re able and willing to spend. You can get a competent compact for under $100.00, but venturing beyond that price point adds more features (some more useful than others) that you may find helpful, or even essential, for your purposes.

How will you use it? Think about your typical subject matter, and what kind of shots you need, or expect, to get with the camera. When I bring my Fuji X10, I know I’m not going to get distance shots. The upshot – pardon the pun – is that I can always have a camera with me, and I can bring that camera with me places that I can’t get away with (or don’t want to take) my SLR. I’ve also used the compact for close-up shooting and put a zoom lens on the SLR for distance work. But again, that’s up to you, and what you want/need from it.

How Are The Reviews? Go to a well-trafficked review site like Amazon, Adorama, or B & H, and check out the reviews for the most recent models within the price points you’ve chosen. If a camera has several good, and well-substantiated, reviews, you may have something worth a closer look. Conversely, if you’re seeing a lot of negative reviews overall, or certain issues with the camera, take those into consideration. Once you’ve narrowed it down to a small handful of models, you’re ready to go further in depth on your research.

Let’s consider some of the most commonly discussed specs, and what they mean for practical purposes.

How Many Megapixels? The person at the big box electronics store is probably going to tell you that you want something with lots of megapixels. Don’t believe him.  Especially on a compact, more isn’t necessarily better. A point and shoot sensor’s about the size of your thumbnail, which means 16mp is the photographic equivalent of stuffing ten pounds of shit in a five pound bag. They’re not making the sensor bigger; they’re making the pixels smaller, which means that at some point image quality starts to fall off. A 10-12MP sensor will give you good quality, the ability to do some cropping, and better high ISO performance, all else being equal.

Optical or Digital Zoom? I’ve covered this in another post (Optical vs. Digital Zoom: What it Is, Why it Matters), so I’ll give you the short version here: they’re not the same thing, and if you have to choose one or the other, optical always beats digital.

What’s the Zoom Range? I don’t suggest going too “long.” Here’s why: first, the greater the range on a zoom, the more complicated the optics. A lens that gives you 30x magnification sounds good in theory, but doesn’t look great on (photo) paper. There’s another issue with any long lens: high magnification doesn’t just magnify your subject, it also magnifies camera shake. If you’re shooting at 600mm equivalent in low light, you’ll notice (because of the slower shutter speed) that the camera’s picking up every last shake. This is true of long SLR lenses, too, but the added size and weight of SLRs make them easier to stabilize. You could put your compact on a tripod, but the added bulk and weight rather defeats the purpose of traveling light in the first place. At any rate, most of the better cameras max out between 105-120mm equivalent zoom.

How Are the Controls? Maybe the camera only shoots in full auto, with a handful of scene modes (portrait, sports, fireworks, etc.) thrown in for good measure, and maybe that’s all you need. On the other hand, maybe you’re starting to get serious about photography (or you’re already serious, and already used to an SLR or interchangeable-lens camera), and would like a higher degree of control. After all, more control means more options. Well, more manual means more money, but it can also mean less time spent spelunking in the menus, and fewer headaches, especially if there’s an assignable soft key among all the other knobs and buttons. I’d also suggest that you go into the menu and see how easy it is to find and change the settings you use, or think you’ll use, the most often. Yes, you can look at the manual (and you should), but a good menu layout is vital when it comes to being able to change something quickly and still get the shot.

How’s the Build Quality? See if the body is metal or plastic; if it’s a bit of both, see how it’s deployed, and how the camera feels in your hands. See if the lens has a cap or those little doors, and whether the lens is threaded for filters. Look for a hot shoe or accessory shoe, and if the camera has a built-in flash, see where the flash is relative to the lens. A test shot with the flash (with the zoom racked out to its longest reach) is helpful to see if the lens casts a shadow.

Does it Have a Viewfinder? Most compacts don’t come with viewfinders. They’re mostly useful for shooting in bright light or at longer shutter speeds (it’s easier to stabilize the camera closer to your face than it is when you’re holding it out in front of you), but strictly speaking, they’re not 100% necessary. Viewfinders come in two types, Optical or Electronic (OVF or EVF). OVF is nearly useless for macro shooting on a compact (because of parallax issues), and an optical finder usually also has less than 100% coverage, meaning you have to second guess what’s going on outside the frame. An EVF, while it generally provides 100% magnification, doesn’t have the same resolution, drains the battery a bit faster, and also, in many cases, shows a bit of a jelly effect when you’re trying to pan.

How’s the Video? You’ll want to check the quality (whether it shoots in HD, for instance), and what that quality looks like to the naked eye. Also check the camera’s noise damping, and whether there’s a mic input and/or HDMI output (if you plan on using either). Video performance is usually competent, but — same as SLR video — the sound quality is a crap shoot, partly because of the mics used (condenser mics, which don’t pick up sound with great fidelity, and which pick up noises you didn’t even know your camera was making).

How Does the LCD Look? It doesn’t have to have the same kind of resolution that, say, a MacBook with a Retina display does. However, resolution does matter. If your opportunities for getting the shot are limited for one reason or another and you need to know if you got it right the first time, it doesn’t help if there’s terrible glare, or if the quality on the display looks like a bad VHS transfer of a 1920’s silent movie.

How Big is It? Compact cameras range in size from comparatively tiny, to “bridge” cameras which have the same kind of fixed lens that a compact has, but a body that’s closer in shape to an SLR. What you choose depends on how much the form factor matters, and how vital it is to you that the camera is truly compact. Added bulk means it’s not something you can stick in a purse or a jacket pocket (unless they’re big).

Is It Ready for Its Close-Up? Now, test shoot. Take test shots under as many conditions as you can. You’re looking at two things here: the camera’s performance while you’re shooting, and the photos that come out as a result.

In terms of performance, how quick and accurate is the autofocus system in low light? In normal light? How ‘bout with a low-contrast subject (like a white box against a white background)? How’s it feel in your hands? How quickly is it writing files? How smooth is the zoom? How well does it handle close focusing?

Next, take a long, hard look at the images. How accurate is the white balance? How reliable is the metering? How sharp are the photos? How’s the default exposure? How well does the lens handle distortion? Is the camera’s color rendition pleasing? How well does the camera handle the noise from high ISOs? Do you notice flare, color fringing, or vignetting? If you’re going to a local camera shop and you don’t have to buy that day, bring some memory cards with you if you’ve narrowed it down to a couple of finalists. Format, shoot, and check them out on a monitor.

Eyes Front
Eyes Front

By definition, small cameras are about compromise. You’re giving something up — oftentimes lots of somethings — for the sake of portability. The other thing to consider is that compacts typically have a much shorter life cycle than SLR’s. It’s expected that an SLR will be on the market for at least two years (longer, in some cases) and be used even longer still. Therefore, there’s a lot more attention paid to the feature set, build quality, et cetera. Most compacts aren’t designed or built like that, ’cause in another year they’re going to be replaced anyway (there’s a lot of market pressure to turn compacts out quickly ’cause for a lot of manufacturers, the volume of sales of the cheap stuff helps keep the more expensive stuff afloat). What you need to decide is what things you absolutely can’t live without, and adjust accordingly.

But let’s assume you’ve narrowed it down to your final choice. You’ve picked your camera. Congratulations! You’re not done yet! You should also give thought to each of the following:

  • Spare Batteries OEM if it’s proprietary; if the camera takes AA batteries, invest in rechargeables.
  • Memory Cards One for the camera, plus one spare; Class 6 if you plan on doing a lot of video or burst shooting, otherwise it probably doesn’t matter unless it’s a higher-end compact.
  • Cleaning Equipment At the very least, pick up a microfiber cloth or two and keep them with your camera. They double to keep your specs clean, too.
  • Case Something water-resistant, preferably. Your camera might well fit in the pocket on your shirt, jacket, or cargo pants. But things can, and do, fall out of pockets. A case gives you some protection from the elements, and room to put other “stuff” (like the items listed above) so it’s all in one place.

That probably sounds like a lot of stuff to consider. And, now that I read over all of it, I suppose it is. Here’s the thing, though: camera gear doesn’t come cheap (unless you’re buying a $40.00 Vivitar off the rack at your local drugstore). If you’re going to be plunking down a decent amount of money for any kind of gear – and lets’ face it, even $100.00 isn’t chump change – you want to make sure that the money’s well spent. A piece of gear that isn’t doing what you need it to, or that doesn’t work as expected, is frustrating, so spare yourself the frustration by doing your homework first, and then making your purchase.

I’ve tried to be comprehensive, but if you think I’ve missed something or would like to chime in, sound off in the comment section below.

*In case you’re wondering why I don’t do something like this for camera phones, there are far too many options, for one thing. For another, I don’t know anyone for whom the camera on their phone is a primary consideration. I’ve found CNet to be a reliable judge of camera quality on mobile phones, and would suggest that you start there.

**I should point out that I’m using “compact camera” to cover a slew of non-interchangeable/fixed lens options. I’m aware that there are some great options for compact interchangeable lens cameras (the Olympus PEN series, Sony’s NEX cameras, the Fuji X-01, the Nikon V and J series, among many others), but we’ll be taking those up another time.

Psst: Want to help support The First 10,000? Your purchases through through this Amazon Affiliate link help keep us going!

Support Your Local Camera Shop!

Support your local diner while you're at it.

If you do a quick Google search, it’s pretty easy to find several thousand articles debating the merits of film versus digital photography (waters into which I’ll probably dip my own toe at some point). One thing that hasn’t gotten nearly as much attention – and should – is what the rise of digital photography has done to the local camera shop. If film seems an endangered species, your local camera shop is doubly so.

The advent of digital photography as a viable medium roughly corresponds to the advent of viable, trustworthy online shopping. Just as companies like Fujifilm and Kodak have sometimes struggled to adapt to the changes digital has wrought in the landscape, so too have small independent retailers found themselves on the losing end of a price war sparked by the likes of Amazon and Best Buy. In the past, I’ve purchased from both of these retailers

Let’s look at the pros and cons of buying locally versus buying online:

  • Price: This is one arena in which your local camera shop has difficulty competing. However, ask. Some will be flexible on pricing to the extent that they can, others may be willing to bundle an additional item or two if you’re making a big purchase. Besides, the savings you’ll get at your typical online retailer on newer items often won’t be that much. To pick just two examples at this writing*, the Fuji X100 retails at Amazon for $1,199.95, while the Canon Rebel T3i (body only) goes for $799.00. Over at my closest local camera shop, the Fuji is identically priced, and the Canon sells for a whopping 99 cents more. Some savings, huh?
  • Selection: Sure, Amazon carries a bit of everything. They can afford to, since they buy in massive quantities, and because the sales of items that move help to offset the stuff that doesn’t. Your local shop doesn’t generally have that luxury, so they’re not going to have every item from every brand. However, if it’s a brand with which they usually deal, ask if they’ll special order for you.
  • Knowledge: You tell me which is easier: sorting through a hundred reviews on Amazon (or talking to a salesperson in Wal Mart, who usually works in small appliances, but is filling in for the person in the camera department today, ’cause the girl who normally works cameras is subbing for someone in Automotive), or asking one person at a camera shop who’s either worked with a brand for years, or has at the very least been thoroughly trained on it?
  • Support: No matter how hard we try, how knowledgeable we are, or how much research we put in, nobody thinks to ask every question before they buy. Some questions aren’t covered in the manual. And some of them won’t come up ’til you’ve used the camera for a couple of months. Many local shops also offer classes for all levels of photographers that can help take your photography to the next level.
  • Try Before You Buy: Quality control is generally pretty tight at most camera manufacturers. However, sample variations do exist. In other words, it’s possible to get a lousy copy of a camera, lens, or just about anything else you use on or around your camera. If you want to try out that “nifty fifty” on your camera before you buy it to make sure it doesn’t have any issues, you’ll have a much easier time doing it at your local dealer than, say, walking into Target with your gear and asking them to try out one or more lenses.
  • Used Equipment: Maybe you’ve outgrown the 18-55mm kit lens that came with your camera and want to sell it, or maybe you just don’t feel like paying retail for the macro lens you’ve been waiting to get your sweaty paws on. If inspecting and testing new equipment is a good idea, for used equipment it’s mandatory. It’s easier to do this before purchasing than having to re-pack and return an item that wasn’t quite what the online seller or auctioneer said.
  • Rentals: Every so often, a particular project or assignment may call for a specific type of equipment that you may only need one time. If you can’t see the sense in buying something, and don’t have a friend or colleague from whom you can borrow, rental’s always an option. You can’t rent a body, lens, speedlight, or much of anything else from most online retailers. ‘Nuff said.

Camera equipment doesn’t come cheap, so it can be tempting to buy on price alone. When you stop to consider the rest of the picture, however, buying locally has quite a bit to recommend it. Support your local camera shop!

*July, 2011

Additional reading:

1001 Noisy Cameras’ “Support Your Local Camera Store Initiative”