Buying a digital SLR

Why a digital SLR? 

     So you've decided to invest in a new digital camera and have made your mind up that you want to step up to a digital SLR, but the huge range of models on offer and endless flow of technical jargon have left you more confused than when you started? Fear not, this page will take the pain out of choosing the perfect digital SLR for you, whether you're a seasoned shooter or a total novice. 

     Before we get down to business it's worth stopping for a moment to ask the question: why would anyone want a digital SLR when compact digital cameras are so much smaller, lighter and more affordable? The answer can be summed up in two words: versatility and image quality.

The versatility isn't just the fact you can change lenses and add a wide range of accessories - from basics such as flashguns and remote controls to the more specialized equipment that allow SLRs to capture anything from the tiniest bug to the most distant stars. It's also about the creative versatility offered by the more advanced controls and higher quality components.
And this leads on to the second factor; image quality. In broad daylight the quality difference between a good compact and a digital SLR is minimal; both will produce sharp, colorful results with little effort. But when you start to push the boundaries a bit more; shooting in low light, attempting to capture fast moving sports action or wildlife, or when you want to experiment with shallow depth of field (to add a soft background to a portrait for example), the advantage of a digital SLR's larger sensor and higher sensitivity start to make a big difference. A digital SLR can't beat a compact camera for 'pop it in the purse or pocket' convenience but for serious photography the SLR wins hands down. With prices lower than ever it's not that surprising to discover that many people own one of each.

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). More on this - and on the newer 'mirrorless' hybrid cameras at the bottom of this page.

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 a basic 'auto' 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 will probably want one of the smaller sensor formats.

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 you may well decide that a 'live view' function is a high priority.
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), so if you're already heavily invested in a film system you may want to stick to the same system when you move to digital.
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 CCD or CMOS 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 Four-Thirds. 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 wide range of specially designed 'digital only' lenses for smaller sensor DSLRs.

 

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.

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 are often chosen by photographers who are upgrading from a film SLR and already own expensive wideangle lenses. 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 big and expensive, and there is only a handful of models to choose from. You also lose the focal length 'boost' offered by smaller sensor cameras when shooting with telephotos.

 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 by far the most common format, used in virtually all Canon, Nikon, Pentax and Sony DLSR models. With a crop factor of 1.5x or 1.6x you need special 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.

Four Thirds is a new 'all digital' format developed by Olympus and currently used in Olympus and Panasonic DSLR models. Unlike the other systems on the market Four Thirds is not based on any existing film SLR system and uses a totally new lens mount, so all the lenses in the system are designed for digital, making the crop factor issues mentioned above less relevant. With the smallest sensor size Four Thirds offers slightly more compact camera bodies and lenses. Although the smaller sensor should in theory mean that these cameras produce noisier (grainier) results in low light and at higher sensitivities, for most purposes the difference isn't huge.

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) 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.

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. Lens 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 cost more than their non-stabilized equivalents. At the moment Sony, Pentax and Olympus offer in-body sensor stabilization, whereas Canon, Panasonic 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 around 2.5 or 3 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 5 frames per second (though if money is no object the Canon EOS 1D Mk IV and Nikon D3s can deliver 10 and 11 frames per second respectively), and larger 'buffer' memory means you can take a lot more frames in a single burst.

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 all changing as more and more models offer a 'Live View' option that does just that.
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. Some models allow auto focus in live view mode (without the mirror flips), but this is often a fairly slow process. The only exception is Sony, with its unique 'dual sensor' live view system, which is fast, but currently cannot offer a high resolution live view image.

LCD screens have come on in leaps and bounds in recent years and 2.5 or 3.0 inch LCDs are now common. Some models offer very high resolution screens for an ultra-clear picture, though of course this adds a premium to the price.

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.
Some DSLRs even have articulated screens that can be angled to offer a better view when getting behind the camera is difficult.

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

IAs a direct consequence of the introduction of Live View to SLRs, n the last couple of years HD movie modes have started to appear on many digital SLRs. Video capable SLRs may be the new kids on the block, but they're already making a splash with both amateur videographers and serious movie makers. 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) is opening up a new world of creative possibilities.
Most video-enabled SLRs can't autofocus during movie clips, and some only offer rudimentary manual controls, but all are capable of surprisingly good results.

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.

 source www.dpreview.com/reviews/nikond700/

Nikon D700

The introduction of Nikon's new D700 may have been one of the worst kept secrets in an industry with more leaks than the Titanic, but it was still something of a surprise coming so hot on the heels of the D3 and D300. Essentially a D3 shrunk down and squeezed into a body roughly the same size as a D300, the D700 is Nikon's first 'compact' professional SLR, and in its segment of the market will compete with the recently announced Canon EOS 5D Mark II and Sony DSLR-A900.

The imaging side of the D700 is pretty much the same as the D3; it shares the acclaimed 12.1MP full frame ('FX') sensor and has the same processing engine, so we would presume output to be almost identical. The main differences (aside from being considerably smaller) are physical; there's a different shutter (good for 150,000 exposures rather than 300,000 on the D3), different viewfinder prism (with 95% coverage) and a slower burst rate. You also lose the rear LCD info panel (there's no room for it) and one of the D3's two CF card slots, but you do get a couple of extra features to soften the blow slightly; most notably a self-cleaning sensor and a built-in flash. We'll look a little more in-depth at the differences between the D3 and D700 in a moment.

The D700 joins the D3 as a fully-fledged 'professional' model; it has the same tank-like build quality (though we're sure the pop-up flash will cause a few raised eyebrows), and gets you the full pro service from Nikon. And the pricing (around $2999) reflects this; anyone hoping for an 'affordable' semi-pro full frame Nikon SLR will have to wait until the cost of producing such large sensors falls considerably.

Nikon D700 Key Features

• 12.1 megapixel full-frame sensor (8.45µm pixel pitch)
• Image Sensor Cleaning (vibration) *
• ISO 200 - 6400 (with boost up to ISO 25600 and down to ISO 100)
• Also supports DX lenses, viewfinder automatically masks (5.1 megapixels with DX lens)
• 14-bit A/D conversion, 12 channel readout
• Same ultra-fast startup and shutter lag as D3
• Nikon EXPEED image processor (Capture NX processing and NR algorithms, lower power)
• New Kevlar / carbon fibre composite shutter with 150,000 exposure durability *
• Multi-CAM3500FX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
• Auto-focus tracking by color (using information from 1005-pixel AE sensor)
• 95% coverage, 0.72x magnification viewfinder *
• Auto-focus calibration (fine-tuning), fixed body or up to 20 separate lens settings
• Scene Recognition System (uses AE sensor, AF sensor)
• Picture Control image parameter presets
• 5 frames per second continuous with auto-focus tracking*
• Optional MB-D10 Battery Pack (same as D300), increases burst rate to 8 fps *
• UDMA compatible single CF card slot *
• 3.0" 922,000 pixel LCD monitor
• Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
• Virtual horizon indicates if camera is level (like an aircraft cockpit display)
• HDMI HD video output
• 'Active D-Lighting' (adjusts metering as well as applying D-Lighting curve)
• Detailed 'Control Panel' type display on LCD monitor, changes color in darkness
• Magnesium alloy body with connections and buttons sealed against moisture
• Improved Info display on main screen

Nikon D700 vs D3: Key Differences

Although the D3 and D700 are essentially the same camera in a different form factor (the D700 being far closer to the D300 in design and control layout), there are a few important specification differences.

• Smaller, lighter body *
• Built-in iTTL flash (G.No 17 / ISO 200)
• No rear information panel (new info display on main LCD)
• D700 doesn't have the D3's 5:4 aspect ratio option
• 95% coverage, 0.72x viewfinder (D3: 100% / 0.7x)
• Focus screen DX mode now indicated with a rectangle rather than shaded area
• Lower burst rate (5.0 fps / 8.0 fps with optional MB-D10)
• 100 frames maximum in continuous shooting mode
• Smaller battery (EN-EL3e)
• Optional battery grip (MB-D10, same as D300)
• Expanded Function button options (can assign any camera menu item)
• Live View can be assigned to FUNC, AE-L or Preview buttons (allowing LV + different drive modes)
• Virtual Horizon can be overlaid on Live View preview image
• Different shutter (150,000 cycle rating - same as D300)
• Image Sensor cleaning ('sensor shake' dust reduction)
• Single CF slot (D3 has two)
• Minor menu and control differences (control layout is almost identical to D300)

* D700 is approx 34mm (1.3 in) shorter, 13mm (0.5 in) narrower and 10mm (0.4 in) shallower.
Weight (no battery) : D3 - 1240g, D700 - 995g 

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• Turning off the digital camera during a write process

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Top 10 Tips for Great Pictures

Do you wish you were a better photographer? All it takes is a little know-how and experience. Keep reading for some important picture-taking tips. Then grab your camera and start shooting your way to great pictures.

~Look your subject in the eye 
     Direct eye contact can be as engaging in a picture as it is in real life. When taking a picture of someone, hold the camera at the person's eye level to unleash the power of those magnetic gazes and mesmerizing smiles. For children, that means stooping to their level. And your subject need not always stare at the camera. All by itself that eye level angle will create a personal and inviting feeling that pulls you into the picture.

~Use a palin background
     A plain background shows off the subject you are photographing. when you look through the cameraviewfinder.force yourself  to study the area surrounding your subject. make sure no poles grow from the head of your favorite niece and no car seem to dangle from her ears.


~Use flash outdoors

     Bright sun can create unattractive deep facial shadows. Eliminate the shadows by using your flash to lighten the face. When taking people pictures on sunny days, turn your flash on. You may have a choice of fill-flash mode or full-flash mode. If the person is within five feet, use the fill-flash mode; beyond five feet, the full-power mode may be required. With a digital camera, use the picture display panel to review the results.

On cloudy days, use the camera's fill-flash mode if it has one. The flash will brighten up people's faces and make them stand out. Also take a picture without the flash, because the soft light of overcast days sometimes gives quite pleasing results by itself.

~move in close

     If your subject is smaller than a car, take a step or two closer before taking the picture and zoom in on your subject. Your goal is to fill the picture area with the subject you are photographing. Up close you can reveal telling details, like a sprinkle of freckles or an arched eyebrow.

But don't get too close or your pictures will be blurry. The closest focusing distance for most cameras is about three feet, or about one step away from your camera. If you get closer than the closest focusing distance of your camera (see your manual to be sure), your pictures will be blurry.

~move it from middle.

     Center-stage is a great place for a performer to be. However, the middle of your picture is not the best place for your subject. Bring your picture to life by simply moving your subject away from the middle of your picture. Start by playing tick-tack-toe with subject position. Imagine a tick-tack-toe grid in your viewfinder. Now place your important subject at one of the intersections of lines.

You'll need to lock the focus if you have an auto-focus camera because most of them focus on whatever is in the center of the viewfinder.

~Lock the focus

     If your subject is not in the center of the picture, you need to lock the focus to create a sharp picture. Most auto-focus cameras focus on whatever is in the center of the picture. But to improve pictures, you will often want to move the subject away from the center of the picture. If you don't want a blurred picture, you'll need to first lock the focus with the subject in the middle and then recompose the picture so the subject is away from the middle.

Usually you can lock the focus in three steps. First, center the subject and press and hold the shutter button halfway down. Second, reposition your camera (while still holding the shutter button) so the subject is away from the center. And third, finish by pressing the shutter button all the way down to take the picture.

~Know your flash range

     The number one flash mistake is taking pictures beyond the flash's range. Why is this a mistake? Because pictures taken beyond the maximum flash range will be too dark. For many cameras, the maximum flash range is less than fifteen feet—about five steps away.

What is your camera's flash range? Look it up in your camera manual. Can't find it? Then don't take a chance. Position yourself so subjects are no farther than ten feet away. Film users can extend the flash range by using Kodak Max versatility or versatility plus film.

~Watch the light

     Next to the subject, the most important part of every picture is the light. It affects the appearance of everything you photograph. On a great-grandmother, bright sunlight from the side can enhance wrinkles. But the soft light of a cloudy day can subdue those same wrinkles.

Don't like the light on your subject? Then move yourself or your subject. For landscapes, try to take pictures early or late in the day when the light is orangish and rakes across the land.

~Take some vertical picture
     Is your camera vertically challenged? It is if you never turn it sideways to take a vertical picture. All sorts of things look better in a vertical picture. From a lighthouse near a cliff to the Eiffel Tower to your four-year-old niece jumping in a puddle. So next time out, make a conscious effort to turn your camera sideways and take some vertical pictures.

~Be a picture director 

     Take control of your picture-taking and watch your pictures dramatically improve. Become a picture director, not just a passive picture-taker. A picture director takes charge. A picture director picks the location: "Everybody go outside to the backyard." A picture director adds props: "Girls, put on your pink sunglasses." A picture director arranges people: "Now move in close, and lean toward the camera."

Most pictures won't be that involved, but you get the idea: Take charge of your pictures and win your own best picture awards.