What to Consider When Buying a Camera Part II - by Jerry Schneir

Jerry is an instructor at Emeritus College in Santa Monica, California where he teaches courses in digital photography dedicated to seniors. He also has taught introductory courses in Photoshop Elements.

Today we’re continuing our 2 part series on the 7 major factors to to consider when buying a camera.

CAMERA WEIGHT (AND SIZE) Think about a day of walking around in the sun with a camera hanging from your neck or shoulder should give you a far greater appreciation for considering that point in selecting a camera. Not all pocket cameras are created equal. Some will really fit into a shirt pocket while the others require something more like a jacket pocket. I don’t know if I would be happy carrying around a camera weighing 12 oz or more even in a shirt’s pocket. Smaller camera often mean having that camera with you when you are out and about rather than leaving it at home, in the car, or in the hotel room. Smaller cameras are also less intrusive, less threatening and thus more readily accepted in places where a larger camera may make photo subjects wary and uncomfortable. I have seen this and been the subject to that reaction. It is one of my reasons for having a small camera always with me whenever I travel.

LCD  Most LCDs are fixed, they do not tilt or rotate. Some cameras do have tilting LCDs. This feature can be very useful in shooting above a crowd or down low to the ground. Some LCDs can rotate as well as tilt, “fully articulated”. It is a big feature but something that also adds to size and weight. Some of the LCDs may have a touch screen. For some people this is a great benefit but for others it is a real pain. Some LCDs are far easier to use in bright light, others much less so. Almost all current model cameras have LCD with at least 460,000 pixels. By today’s standard, 460,000 pixels should be the minimum you should accept on any camera. LCDs with high pixel (or dot) counts generally means greater ability to use in bright light or at an angle.

MEGAPIXELS-(MP) The number of pixels on the sensor CAN affect how large a picture you can print or crop and print. The more pixels in the picture the more you can crop and still get a printable image as large as 12x18. More pixels also tend to yield a greater dynamic range and should, also in theory, mean sharper pictures. However, packing too many pixels onto a sensor can, and often does, degrade the final image. On some cameras changing the resolution, i.e., the number of pixels being used, can increase the zoom range. Also note: the internal image processors in the cameras also play a large part in image quality and lack of noise at higher ISO levels.

CONTROLS OR SHOOTING PROGRAMS The ability to easily change shooting parameters, such as Program, Shutter speed, or Aperture are critical to some, not so for others. The scene mode options on many of today’s cameras can, to a certain extent, offset that lack of specific aperture or shutter speed controls. As you become more proficient in using a camera you may find the lack of some camera controls frustrating. Most lower priced cameras lack any direct method for controlling shutter speed or aperture.

OTHER THOUGHTS 

• Is the camera being considered a back-up or the primary camera? Two cameras from the same manufacturer often have SIMILAR menu systems and shooting modes which makes mastering the new camera faster and life easier especially when traveling .
• Placement of buttons or dials can make using a camera easier or harder. Harder because a misplaced button can accidentally activate a feature and cause confusion.
• Camera construction or weather sealing can be critical for people who may be traveling to moist, humid places.
• Is the camera being considered an older or newer model? Camera prices can drop dramatically a few months before a new model appears.
• If this is going to be your primary camera, and if so, what does it offer that your smart phone does not?
• Do you want to get an interchangeable lens camera to grow with as your ability grows or get a very sophisticated fixed lens camera that will meet current and future needs?

What To Consider When Buying a Camera Part I - by Jerry Schneir

Jerry is an instructor at Emeritus College in Santa Monica, California where he teaches courses in digital photography dedicated to seniors. He also has taught introductory courses in Photoshop Elements.

I buy 3 or 4 cameras a year as I am always looking for that one perfect camera and still have not found it. Come close, but no winner. Think about it for a second; if you're trying to take really great bird pictures you want a fast lens and a lot of zoom. That almost always means a bigger camera, and probably a bit heavy as well. At a party you might like something smaller and unobtrusive. Each set of circumstances and conditions tend to dictate a somewhat different type/style camera. It is hard to balance cost along with your perceived photographic needs as well as your photographic knowledge and/or ability.

Trying to evaluate things like: zoom range; viewfinder; fixed, tilting or fully articulating LCD; maximum lens aperture; movie functions and types; weather sealing or proofing; weight; size; these are just some of the factors that should play a role in making that choice. Sometimes the placement of buttons or dials becomes even more important as to how well you will like using a particular camera. Sometimes intangibles like ease of use of the menu or the degree of customization may become final determining factors. What is close to ideal for me may be a horrible choice for you.

ZOOM RANGE In today’s digital world, optical zoom in even pocket sized cameras have reached 50-60x. The lens can go from 24 or 28mm wide angle to 1200mm or more. That amount of optical zoom in a very compact camera generally has some very negative tradeoffs. The lenses on those cameras lose their fast aperture, if they have one, very quickly as you start to zoom out. That fast f2.8 lens at 24mm quickly slows to f5.6 by the time you zoom out to as little as 100mm on some cameras. Some of those lenses can be very much slower than a camera with less optical zoom. On some cameras you can increase the zoom range by reducing the resolution, sometimes a worthy trade.

LENS APERTURE-SPEED A faster lens (larger opening, smaller F number) means you can take pictures at higher shutter speeds and can contribute to getting sharper pictures, IF you used that higher shutter speed. A big lens opening yields a shallower depth of field (DOF). Note: MOST lenses are marked with 2 aperture values, the larger numbered one is at maximum zoom, the smaller numbered one is at maximum wide angle. The drop in lens speed is NOT linear but rapidly occurs as you start to zoom in on your subject. The bigger lens opening means you can use a lower ISO even with higher shutter speeds. Using a lower ISO level means less noise in the image and thus a sharper picture. A faster lens (larger lens opening) also means not having to use flash as often. And larger lens openings also means that you have an increased ability to blur the background so that your subject stands out better. That faster lens almost always means faster auto focusing even in poor light.

VIEWFINDER The more zoom a camera has the more important it is to have a viewfinder. The need becomes even more acute in bright sunlight. Trying to use a camera at or near maximum zoom but without a viewfinder in bright sun can be an impossible obstacle. The newer EVF (electronic viewfinder) closely mimic the best optical viewfinders and sometimes offer some advantages.

A few of the cameras with a built-in EVF (electronic view finder) have an eye sensor which automatically switches from the LCD to the EVF as you place your eye near the EVF. The EVF can display a live view, i.e., how the picture will look when the shutter is tripped by just half pressing the shutter button. That is not possible with some of the optical viewfinder. On the other hand, some type of an optical viewfinder may show you what is happening as you follow the action of a scene, there is no lag in what the camera is showing in the viewfinder and what will be captured. Again, depending of the type of optical viewfinder it may be best for taking fast action pictures.

Some cameras do not have a built-in viewfinder. On some of those cameras there is an accessory viewfinder, generally an electronic viewfinder that use the external flash bracket. That increases the bulkiness of the camera, may limit your use of an external flash, and gives you something else to carry around and perhaps lose or break.

In the next post, we’ll look at the size and weight of the camera, the LCD, the megapixels and the controls and shooting programs.

Staycation Photography Series: Theme Parks, Fairs and Carnivals

Summer vacation! Seems like as soon as summer comes, everyone is busy planning for and talking about their vacation. Going away is wonderful, but a "staycation" can be just as much fun! Explore your hometown, take day trips or just hang out in the backyard. Plus, there's tons of  photography fun to be had on a staycation and in this blog series we're going to give you some tips on enjoying staying home and tell you the right gear for your staycation photography! 

What’s summer without at least one or two day trips to a theme park or your local county fair? If you're lucky enough to live close to a big amusement park, go for it! But you don't need to make a long, expensive trek to Disney World or any of the other big name parks if your community has a county or state fair or even a local church or fire company carnival, grab your gear and get ready for some exciting photo ops! 

While a small ferris wheel or slow moving carousel might be ok to take your camera on, for the most part, you won’t be able or won't want to take your camera on the rides (it’s also tiring walking all day with your equipment in the summer sun!) so consider stowing your camera gear in a locker or other secure box offered in many theme parks for valuables. Ride the rides and explore, making mental notes (or snapping locations with your cell phone!) then go retrieve your gear and head back just for photos.

TIP: Some theme parks have restrictions for photographers or require permits. Check the park’s website to see if any such restrictions apply before you go!

The same rule that says to take holiday light pictures *before* it's completely dark applies here too: plan to shoot some of your frames just after the sun dips low when the lights on the rides and amusements become really lively and the sky is a deep blue.

Shoot some frames of the lights before it's completely dark for a stunning deep blue sky!

Tip: You probably won’t want to lug a tripod around with you (see gear concerns above), so get creative! If you’re shooting at dusk or at night try balancing the camera on a trash can or other stable object and use a cable/remote release.

What you’ll need: 
1. Lenses and Filters
For a lens, you want a sharp, fast focusing lens like the Sigma 17-50mm 2.8 that will allow you to zoom in as well as shoot fairly wide. This lens also helps get rid of the pesky blur you might have with small camera movements. Throw in a filter to help eliminate glare from water and add a bit of saturation to the blue summer sky.  If you’re at a county fair or small carnival, sometimes the attractions are very close together, and a wide angle might be the only way to get it all in the frame, so you may want to include a super wide angle like the Sigma 10-20mm f4.5-5.6 (Bonus: this lens is now on sale with a $150 instant rebate!) 

The Sigma 10-20mm shoots W  I  D  E, perfect for getting a lot of action in the frame.

But let's face it, there's more than just the rides to photograph, there's the people! Focus on the faces you see with the tried and true SIGMA 70-200mm f/2.8. Super fast and sharp, this lens also shoots great in low light and is one of our all time favorite lenses. 

2. Rain Hood (optional) Some of the best faces you'll see are on the water flume rides, which have the added bonus of splashing water to add action to your images. But the water is also a hazard to your equipment, so if you’re trying to get action shots of the water flume rides, those signs that warn riders that they will get wet apply to you, too! If you want to stay close, consider a rain hood. 

3. Bag
Carry your gear in the Tenba Small Messenger Camera Bag. Sturdy and light, it holds your camera body plus a couple lenses with ease. If you’re not going to ride the rides and need to have your gear with you all day, then keep your hands free for hot dogs and snow cones with a backpack camera bag like the brand new Tenba Shootout 18L Backpack! 

The brand new Tenba Shootout 18L Backpack

With a little planning you can make some amazing images at a theme park, fair or carnival, but if heading to one of these events isn't in your summer plans, then stay tuned for our next couple of installments in the Staycation Photography Series, as we'll be talking about photo ops in your own backyard! 

Which Camera Is Right for Me? Continued

Last week we began getting into the specifics of DSLR cameras, dependent upon photography needs. Today we will continue with more expectations for professionals. In general, pro photographers spend around $2,500 or more. Both the Canon EOS 7D and EOS 5D Mark III are great examples of more affordable cameras that still provide features to meet your expectations. Many photographers end up spending more on lenses than the body. Balance your budget between both and remember you do not need to spend $8,000 on a camera.

• Documentary/travel/wildlife: All three have their pictures printed in high quality, either in magazines, books, or printed for large displays in exhibits, etc. Resolution should be 12 megapixels or more, preferably with a full-frame sensor. The frame rate should be at least 5fps and a 20-shot burst depth. Video is not as important but a 30fps for video can come in handy—if you think you will use it. Wildlife photographers will want a lightweight body as they trek across terrain.
• Studio/landscape/fine art: Portraits, fashion, products, ads, abstract—you need a camera that can handle it all. 12 megapixels is the minimum but 14 or more is preferred. The frame rate need only be 3fps or more with a burst depth of 6 or more. Again, video not entirely important. Instead look for great raw-conversion software, flash-control features, and a range of color modes.
• Wedding/events: A camera with at least 12 megapixels and a full-frame sensor is good place to start. 3fps or more for the frame rate is ideal with a 6-shot burst depth. If you plan on taking video, 30fps with manual controls for shutter and aperture is ideal, but not the only option. Also look for excellent flash control features, white-balance controls, and a solid battery.

Do not feel confined by these recommendations. Even without an expensive camera full of feature after feature, photographers can still take amazing shots. Equipment is important, but skill reigns supreme.

Which Camera Is Right for Me?

A few weeks ago we delved into the different types of DSLR cameras available on the market. You feel a bit more confident, but you are still not sure which features to look for or how much to spend on a camera. It all depends on your purpose. Are you an amateur or a student? Are you interested in sports or news photography? Let's go over the features each type of photographer needs.

• Hobbyists: Not ready to make an expensive plunge? Do not spend more than $600 for the body and starter lens. Resolution can be anywhere from 6-15 megapixels with a frame rate of 2fps to 5fps and a burst depth of 5 to 6 shots. Also look for a compact body and a lightweight zoom lens.
• Students: Students who are seriously considering photography as a career should spend less than $1,000 on a body and starter lens. 12-18 megapixels offers great resolution. The frame rate should be 5fps to 8fps or faster with a burst depth of 10 shots or more. AF speed and tracking should be the best you can afford and video should be 24 or 30fps. The DSLR should have a comprehensive viewfinder, good raw-conversion software, and comprehensive flash-control features.
• News/sports/action: Whether your pictures are printed in magazines, newspaper, or on the Internet, a DSLR for you is a serious investment. Expect to pay $1,000 and up for the body. Resolution needs to be 10 megapixels or more while the body all metal and weather-resistant. The frame rate should be 8fps to 10fps and a burst depth of 40 shots or more. Video should also be 30fps or faster. Purchase an extensive telephoto lens and look for simultaneous raw-plus-JPEG capture, flexible white-balance, and good battery life.

Check back next week when we dive into other types of photography and the best features to have.

The Heart of a Digital SLR: The Sensor

The sensor is an important part of your camera. And while it should never be the “be all and end all” when making a camera purchase, you should put thought and consideration into the type and size.

The CCD (charged-coupled device) is the most common type of sensor in a digital SLR. Every manufacturer offers at least one model with a CCD. They offer the highest image quality, hands down, but they are of course, the most expensive and use a lot of power.

CMOS (complementary metal-oxide semiconductor) strip away extra circuits on the chip to increase a pixel's light-collecting area while reducing costs and using less power than a CCD. The only con is they are bigger and therefore, the cameras are bigger.

What about sensor size? There are three standard sizes. The first is called Four Thirds, found on Olympus and Panasonic cameras. It's a standard size that was created by Olympus and Kodak, measuring 17.3mm by 13mm. Most other DSLRs use an APS sized sensor, the second standard size. It is a fairly loose term for a sensor the size of an APS-C or APS-H film format. Finally, we have the 35mm-film format, also called a full-frame because it is the size of a standard frame on a roll of 35mm film. These sensors are big and expensive to build. You'll find them on the Canon EOS 5D and the Nikon D3.

We can thank large sensors for giving us better photos with less noise, a greater dynamic range, and better performance at high ISO settings.  

Battle of the Cameras: DSLR vs. Interchangeable-Lens Camera

Last week we saw a digital SLR do battle with a high-end point-and-shoot—today the DSLR faces its hybrid challenger, the interchangeable-lens camera. The main difference between these two cameras is that the latter does not have a mirror to bounce the image to the viewfinder.

The major difference between these two cameras lends itself to the main advantage of a DSLR over an ILC. The viewfinder on a DSLR is superior and ensures there is no update lag. The mirror allows the photographer to see what is currently happening in the viewfinder, while an ILC can only show you what has already happened. The advantage to the EVF, however, is that it accurately displays exposure and white balance. Some optical viewfinders on DSLRs can do this, but it comes at a greater cost.

While there are certainly plenty of digital camera lenses to choose from for ILCs, the selection is still larger for digital SLRs. DSLRs also have the ability to use older film-camera lenses without an adapter. But with better technology and bulky lenses, DSLRs tend to be bigger and heavier than ILCs (though there are compact DSLRs, as well as large ILCs on the market).

The bottom line is that the ILC is a good stepping stone for consumers who want a step above their point-and-shoot but without the bulk and the high cost.  

The Leap to Digital SLR Cameras

Over the next few weeks I'd like to devote some time to amateur photographers. As of late, there has been an increased interest in the purchase of SLR cameras. A decade or so ago they were used solely by professionals, students, and serious hobbyists. But today, we all know someone with little-to-no photography knowledge desiring the quality of a digital SLR. We may as well give them some advice before they purchase and we sincerely hope that the occasional photographer turns into a more serious hobbyist!

So what the heck is an SLR? It stands for digital single lens reflex because these cameras use a mirror behind the lens to direct light towards the viewfinder. As the shutter is released, the mirror moves out of the way, allowing light to travel to the sensor and briefly blacking out the viewfinder. A prism inside the viewfinder flips the image right side up and bounces it onto the screen.

All SLR cameras are not created equal, however. There are several types and you should know the difference before investing. The one most people are referring to when speaking of one is a full system digital SLR with an interchangeable lens. Users can remove the lens and replace it with another. Almost all SLRs today are this type.

A fixed-lens digital SLR is one in which the lens cannot be removed. Most use a semitransparent, non-moving mirror to bounce some of the light to the viewfinder, while the rest of the light goes through the main sensor. This translates to using the LCD to compose the shot.

An SLR-like, or SLR-style, is actually a standard digicam that uses an electronic viewfinder (EVF) instead of the standard pentaprism. They're technically not an SLR because they don't use a mirror and the image quality does not compare.

And lastly, we have the interchangeable lens camera, also known as a hybrid camera. They use the technology of a point-and-shoot with the ability to change digital camera lenses. However, they too use an EVF and lack a mirror in the viewfinder.