Editor’s Note: The following article is an excerpt from
Take Control of Buying a Digital Camera, Third Edition, a $10 electronic book available for download from
TidBITS Electronic Publishing. The 107-page ebook helps readers determine the best camera for their needs and provides a detailed guide to buying a digital camera with looks at the latest trends, camera models, and pricing. Special offer for Macworld.com readers—save 30 percent!
For the most part, the advice in
Take Control of Buying a Digital Camera
applies equally to digital single lens reflex (DSLR) and point-and-shoot cameras. But since DSLRs are inherently designed for advanced users, many trade-offs that you must choose between with point-and-shoot cameras do not exist in the same fashion as they do for DSLRs.
For example, no DSLR fits in your pocket. If you want quality, you get quality in spades, but you have to lug it around. Lens choices abound: zooms of all kinds, as well as super wide angles and big, fast sports/wildlife lenses. You have to lug those around, too. In other words, SLRs are for people who are willing to sacrifice convenience for quality.
Therefore, choosing a DSLR is less about camera model trade-offs and more about finding a total system that works the way you do. The DSLR camera body is just one part of an overall system of lenses, lights, other accessories, and computer hardware and software, making your research options more complicated.
This figure shows a huge cropped shot (this is about 5 percent of the original frame!) from the 8-megapixel Canon Digital Rebel XT and a 50mm Macro lens. DSLRs can use special lenses, and their image quality makes such sharp pictures possible.
The DSLR system
I recommend that you consider these important factors when choosing the camera hardware for a DSLR system:
Are you willing to carry around the weight and bulk of a DSLR and its complement of lenses and other accessories? Are you willing to go out to shoot during the magic hours of sunrise and sunset when everyone else is kicking back at dinner or breakfast? Will your friends/spouse/partner let you go have fun while they cook?
Does the DSLR fit your hands well? Do the controls naturally fall under your fingers, or do you have to contort your hands even a little to operate them? (If so, you will have ergonomic problems in the long run.) Better to choose the system that best fits your hands.
Do elements of the DSLR system make sense to you? Specifically, do the control layouts and control menus make sense? Do the buttons make sense as you learn their layout and function, or do you find yourself thinking “I would have put it over there instead,” or “I would prefer a single button push instead of this design.” Do the menus give you rapid access to features you need, such as custom white balance mode or resolution settings? These, too, should make sense to you as you learn them.
Does the DSLR camera body, the lenses, and other components of the system perform as advertised
in the field
? Does the auto-focus reliably and consistently lock when engaged in various types of lighting conditions with moving subjects? Does the camera’s automatic exposure meter make consistent (not necessarily accurate) readings in varying light? Does the camera make accurate exposures with the system’s speedlites? Does the automatic white balance work well indoors as well as outdoors? Does the custom white balance function well when the automatic system does not? Do the batteries hold up in cold weather? Are the lenses well designed and well made? Is the body weather and dust resistant?
Can you actually see fine detail in the optical viewfinder? Some people have described the image seen through DSLR viewfinders as like “looking at a postage stamp at the end of a dark tunnel.” To keep costs down, DSLRs have smaller mirror/prism assemblies than their film counterparts. Thus, you can’t always quite tell if you got what you wanted until after you download your pictures or preview them on the LCD screen. Finer details can be missed because the image in the camera viewfinder is simply too small. This is important if you photograph people’s expressions, for example. Unfortunately, most low-cost DSLRs suffer in this area.
Does the system’s workflow enable you to use the histogram and overexposure warning signal quickly and effortlessly? For digital photography at this level, histograms and overexposure warnings are more than features—they’re necessities.
Due to the use of certain image sensors and proprietary image processing systems, each manufacturer’s DSLR family has a recognizable “look.” As with point-and-shoots, the settings are adjustable, but do you like the overall color palettes offered by a camera family? Is this even important to you?
Is the manufacturer’s hardware on the leading edge of digital imaging technology, or is it just keeping pace with the competition? This distinction matters because once you begin acquiring lenses and other special equipment for a given system, you tend to stay with that system; switching from one to another is time-consuming and costly.
What is the field-of-view cropping factor? (See
Lens Focal Length Options.) How does that affect your lens selection?
DSLR models usually work best with a specific brand of memory card. The reasoning is beyond the scope of this guide, but what it means for you is additional research and expense to discover and purchase the better-performing memory cards that “mate” better with your chosen DSLR. See
Rob Galbraith’s Web site
for his CompactFlash (CF) database. Note that you needn’t buy a top-of-the line pro memory card if it gives you only a few more bits of data per second.
DSLRs are highly specialized computers, and they are subject to the same rapid depreciation as computers and other electronics. Is it worth spending $1,500 or $4,500 or $8,000 on something that will be upstaged by a significantly improved model in 18 months?
Prices and resolution
After comparing systems, choose your price point (and don’t forget that you aren’t buying only a camera body; you need lenses and other accessories too). I believe strongly that a system’s usability is in many ways more important than the number of megapixels built into the camera’s sensor. Nonetheless, we are always comparing our cameras by the megapixel yardstick, and who wants the best camera design in the world if it only has a 3-megapixel sensor? Just remember to ask yourself, “How much is enough?” At present, DSLR models hit the price points and resolutions shown below.
Digital SLR Comparison
||6 to 10 megapixels
||6 to 10 megapixels
||8 to 12 megapixels
In discussing megapixels earlier, I said an 8-megapixel DSLR is likely to be superior to an 8-megapixel point-and-shoot. Here’s why: the megapixel number comes from the number of pixels on the image sensor chip. However, any DSLR chip is physically larger than a point-and-shoot chip because the DSLR must accommodate the larger size of the image projected by DSLR lenses. Practically speaking, a large physical pixel produces a cleaner (less noisy) signal than a physically smaller pixel (all else being equal). Thus, DSLRs should provide for much cleaner image data than a comparably sized point-and-shoot, especially at higher ISO settings. While I cannot predict how much you will want to spend, I suggest that the upper low-end models (up to $1,500) are the best value, because they combine high image quality with superior usability and other features that all but the most demanding pros and hobbyists will need.
As a matter of fact, for most publications today, pictures made with any 6- to 8-megapixel model is more than adequate for print reproduction. They are also adequate for making enlargements and printing up to 11 x 17 inches and beyond, depending on the image and the Photoshop techniques used to enlarge them.
Pros and advanced hobbyists use the higher priced models for three primary reasons: speed, usability, and reliability (e.g., superior autofocus speed, autofocus tracking, viewfinder black-out time, color, contrast, workflow, weather-sealing). In many small ways that add up to big differences, the $4,000 cameras are superior to the lower priced models; for some photographers, these machines are considered “entry-level.” Sports and wildlife photographers in particular push the technology to its limits in their quest for unique images.
The $8,000 model attracts commercial advertising pros and fine art photographers seeking the state of the art. When absolute resolution and massive file size are more desirable than speed, the top of the line is it. Clearly, you can make a pretty big print with so much data.