Digital SLR Photography All-in-One For Dummies

By Robert Correll

The complete beginner's guide to DSLR photography

It doesn't matter if your camera says Canon, Nikon, or Sony on the outside. If a passion for photography is on your inside, this all-encompassing guide will be your new best friend. Packed with instruction on how to take your photos from so-so to stunning, Digital SLR Photography All-in-One For Dummies gives you all the easy-to-follow guidance you need to capture stills, portraits, action shots, and moments in time you'll be proud to share.

Clocking in at over 600 pages, this no-nonsense guide covers it all! From controlling light, color, focus, and exposure to editing images to improve the final product—and everything in between—it's the only guide to DSLR photography you need. If you've caught the photography bug but aren't sure where to turn to improve your skills, you can bank on building an impressive portfolio with the simple tips and tricks provided inside!

• Set the right exposure in any situation
• Know when to use flash and when to turn it off
• Edit your images into masterpieces
• Take better photos of people and places

Get ready to develop your photographer's eye and start snapping shots like the pros.

• Language: English
• Publisher: Wiley
• Release date: Dec 22, 2016
• ISBN: 9781119291411

Book preview

Introduction

The real question today is, given the plethora of digital devices that take photos, why bother with digital SLRs? Seriously. Smartphones, tablets from Apple, Microsoft, Samsung, Amazon, and others, compact digital cameras, and even toys offer you a wealth of options. And you know what? They aren’t necessarily bad ones. I understand how convenient it is to take a quick snapshot with a small, portable device. They are pretty easy to use and take decent photos.

However (you knew that was coming) digital SLRs (and by extension, dSLTs and the dSLR-sized mirrorless cameras) take fantastic photos. Pound for pound, if you’re interested in photography, you will find no better device. You really can’t beat the combination of power, flexibility, growth potential, and accessorize-ability of a dSLR.

Their greatest strength is a long history of using interchangeable lenses. You can mount different lenses on the same camera body, each one with unique strengths. That enables you to take pictures ranging from close-ups of jewelry, to wide-angle landscapes, to portraits of your friends and family, to super telephoto shots of the moon. And everything in between! I find this versatility breathtaking. Even if you stick to a single zoom lens, you will have more power in that one lens to take quality photos than any smartphone or tablet ever had.

The greatest weakness of the digital SLR is probably the fact that they intimidate people. If that’s you, don’t be. Given the technological world that we live in, if you can operate your smartphone, the GPS system on your car, and probably your refrigerator, you can become a successful photographer using a digital SLR.

The sky is the limit. Over the course of this book I hope to show you how to take advantage of the incredible strengths and versatility of digital SLRs, and become closely familiar with their lenses, the flash, software, and other accessories. My sincere hope is to help you become the photographer you want to be, and along the way, get the most out of your time and money.

About This Book

Digital SLR Photography All-in-One For Dummies, 3rd Edition, is for anyone who’s interested in enjoying photography using a dSLR camera. My goal is to demystify and un-convolute the technical aspects and illustrate the artistic elements of dSLR photography.

You don’t need to have a dSLR to enjoy this book; maybe it’s on your wish list. If you do have a dSLR, you can immediately apply the knowledge you glean from these pages. You also don’t need a brand new dSLR. I still use a Nikon D200, which was released in 2005, and a Canon D3200, which came out in 2012. Cameras change from year to year. I’ve tried to include a wide variety of cameras from different manufacturers, so you’re bound to find the information you need no matter what camera you’re using.

How This Book Is Organized

This book is split into six minibooks. Each minibook has its own broad focus, ranging from what you need to get started, to giving practical advice designed to help you photograph certain subjects. Within each minibook, you find the chapters that flesh things out. Some have more than others. That’s okay. It just depends on the subject.

Here’s a quick summary of each minibook.

Book 1: Pursuing Digital SLR Photography

I start out with a book that has everything you need to get started. I talk about dSLRs and how they work, what makes them tick, what the buttons do, how to handle and clean them, introduce you to lenses, show you how to work the menu, and how to set up the camera to start taking photos.

Book 2: Looking Through Lenses

This book goes into great detail about the different types of lenses you can use with a dSLR. You read about standard zoom lenses, explore how to photograph wide-angle scenes, get creative with macro and telephoto lenses, and explore unique lenses like tilt-shift and pinhole lenses. Along the way, I pass along tips and tricks for using each lens type and suggest what each is best for.

Book 3: Taking Creative Control

If you want to exercise more creative control over the photos your camera takes, then this book is for you. You see how exposure works, how to control it, and learn about the aperture (which affects depth of field), shutter speed (which controls motion blur), and ISO (which increases your camera’s sensitivity to light). You also read about filters.

Book 4: Lighting the Scene

I start this minibook with a chapter on natural light. You see the difference between taking photos in the morning, late in the day, or at night. After that, I cover flash photography. If you take photos indoors or in poor light, knowing even a little about your camera’s flash will help you take much better photos. In the last two chapters, you learn how to use your camera’s built-in flash, see whether getting an external flash is right for you, and explore a ton of cool flash and lighting accessories and techniques.

Book 5: Managing and Processing Your Shots

This book is mostly about software. I explain how to manage your photos, how to quickly spruce them up, how to dig deeper into photo editing, and even how to express your artistry. You also see how to shoot and process panoramas and high dynamic range (HDR) photos.

Book 6: Showcasing Different Scenes

The last book has five chapters that focus on specific subjects. I’ve chosen some of my favorite photos to share and give you insight into how I took them.

Icons Used in This Book

Helpful icons are scattered throughout the book. They appear beside information I want you to pay particular attention to (or to avoid if you see fit). Each icon has a unique meaning:

warning The Warning icon highlights lurking danger. Pay attention and proceed with caution. Your equipment or photos or safety might be at stake.

remember The Remember icon marks an interesting fact that you should tuck away in your brain to remember and use later. They’re often facts. (With some wiggle room thrown in for good measure.)

tip The Tip icon points out helpful information that might save you time. It’s something you might want to try or do. I love tips. If I could, I would make every paragraph a tip.

technicalstuff When you see this icon, you know that technical information lurks nearby. If that’s not your cuppa tea, skip it.

Where to Go from Here

First, have a look at the table of contents. Next, jump to somewhere in the book that looks interesting or has information you want to know right now. Then go out and take some pictures. Rinse and repeat.

Do you want to start with lenses? Turn to Book 2 first. You don’t even need to read the chapters within a minibook in order. If you want to immediately jump to the chapter on shutter speed, by all means do.

If you’re new to photography, though, I do suggest starting at the beginning and reading the first minibook in order. When you’ve finished that, you should be able to turn to any place in the book and not get totally lost.

Lastly, when you have a minute, go to dummies.com to find the cheat sheet with this book. It’s full of information you might find valuable.

The more photos you take with your dSLR, the more you learn about it and how to take great photos. So go out and start shooting!

Book 1

Pursuing Digital SLR Photography

Contents at a Glance

Chapter 1: Embracing Digital SLRs

Introducing the Digital SLR

Naming and Classifying Digital SLRs

Pricing Digital SLRs

Delving into Camera Specifications

Following Recent dSLR Developments

Shopping for a dSLR

Embracing dSLRs

Chapter 2: Handling, Cleaning, and Protecting Your Camera

Anatomy of a dSLR

Working the Controls

Gripping the Camera

Providing Additional Support

Handling an Articulated Monitor

Using a Touchscreen

Changing Batteries

Inserting and Removing Memory Cards

Cleaning Your Camera

Protecting Your Camera

Chapter 3: Learning about Lenses

Identifying and Naming Lenses

Categorizing Lenses

Looking at Lens Anatomy

Working with Lenses

Cleaning Lenses

Chapter 4: Exploring Menus and Camera Settings

Understanding How Menus Are Organized

Opening and Using the Menu

Setting Up Your Camera

Setting Typical Shooting Options

Making Other Choices

Controlling Playback

Keeping Everything Running Smoothly

Exploring Advanced Options

Chapter 5: Taking Pictures with Your dSLR

Seeing the Big Picture

Planning Ahead

Unpacking and Readying Your Gear

Setting Up Your Camera

Taking and Reviewing Photos

Chapter 1

Embracing Digital SLRs

IN THIS CHAPTER

check Learning about digital SLRs

check Defining different dSLR types

check Understanding camera specifications

check Seeing what's new in the world of dSLRs

check Buying a dSLR and accessories

What's so special about dSLRs? The short answer is: Lots! Digital SLRs are tremendous cameras. They take great photos, are versatile, friendly to new and casual users, serious enough for more advanced and professional photographers, and have the potential to accompany you through a lifetime of photography.

People sometimes think digital SLRs are complex, expensive, professional cameras that are hard to master. You don’t have to feel intimidated. Learning to use them isn’t hard. You don't have to start out with the model that has the most buttons and advanced features. You can find the right camera for you, no matter what your skill or interest level. Once you do, you’ll be able to learn and grow at your own pace. The sky is the limit!

Introducing the Digital SLR

The digital SLR (also known as dSLR or DSLR) is the modern, digital descendant of the 35mm film-based camera called the SLR. Both types of camera are shown in Figure 1-1. In many ways, the relatively new Nikon dSLR on the left is a direct technological descendant of the much older Nikon FE2 film SLR on the right.

FIGURE 1-1: Digital SLRs (left) have come a long way from its predecessor (right).

SLR stands for single lens reflex, and it identifies a class of camera with two unique characteristics: They have something called a reflex mirror, which enables the camera to use a single lens. Here are some details:

Reflex mirror: SLR cameras use a hinged reflex mirror (reflex means that it moves) to, when lowered, reflect light that enters the camera through the lens and bounce it around inside the camera body for various purposes. When you press the shutter button, the mirror moves up and out of the way, allowing light to expose the film or be collected by the image sensor when the shutter opens.

Single lens: SLR cameras can therefore use a single lens for all viewing, focusing, and metering. While that does not sound earth-shattering to us today, there was a time when photographers had to resort to using additional lenses or other mechanical devices (such as a framing rectangle on top of the camera) to view the scene and focus. Through-the-lens viewing, composing, metering, and focusing means that what you see is what you’re going to get when you take the photo.

SLRs and dSLRs also feature an interchangeable lens design. Although this isn’t a unique property, it's often thought of as a defining characteristic. Lenses attach to the camera body and can be removed, making it possible to use different lenses with different qualities for different purposes.

Naming and Classifying Digital SLRs

This section shares and explains the information you need to decode the names and understand the basic characteristics of different types of digital SLRs available today. For example, you should be able to grasp the essential characteristics of the Nikon D3300 24.2MP DX-format (APS-C) dSLR with 18-55mm lens and how the Sony A99 24.3MP full-frame A-mount dSLT with electronic viewfinder differs from it just by reading the names.

There’s obviously a lot going on with those two names. I’ve overloaded them with extra details to show you how much information can be embedded within camera names and listings. The rest of this section will help you identify the make and model, sensor size, pixel count, lens mount, mirror and viewfinder, and kit lens details of each camera.

Make and model

Let’s start with the basic name of the camera. Each camera manufacturer has a method to its naming madness.

Nikon starts its dSLRs with the letter D (think digital), followed by a number. In general, the smaller the number, the more advanced and expensive the camera. For example, the D5 is currently Nikon’s premier professional camera. The D3300, on the other hand, is an entry-level consumer camera.

Canon uses the acronym EOS (electro-optical system) and then a specific model number to identify its digital SLRs. For example, the Canon EOS 80D is a mid-range model. Canon uses the term Rebel to identify its consumer dSLRs. The Rebels sport one of two model numbers, depending on the market they are sold in. For example, the EOS Rebel T6i is also known as the 750D. You may see it written as the EOS Rebel T6i/750D.

Sony dSLRs and SLTs are identified by the letter A, followed by a two- or three-digit model number, such as the A99 or older A300. When you pronounce the name, you can say A as you would any other A, or you can say Alpha. New Sony models are all SLTs, which have translucent mirrors that do not need to move out of the way when you take a picture. The A77 II is a dSLT, although you may see it listed as an Interchangeable Lens Digital Camera (ILDC).

Sony calls its digital Single Lens Translucent cameras SLTs. They are, in essence, dSLRs with the moving reflex mirror replaced by a translucent mirror that doesn’t move. The more general acronym is dSLT. For more information on how dSLTs differ from dSLRs, jump ahead to the upcoming section, "Mirror and viewfinder type."

Pentax dSLRs use the letter K followed by an identifying number, such as the K-70 and K-3 II.

Olympus has phased out its digital SLRs in favor of the popular OM-D mirrorless Micro Four Thirds line (named Micro because they do not have the same mirror and optical viewfinder as standard Four Thirds system cameras). OM-D (I keep wanting to write OM-G!) cameras have interchangeable lenses and most of the same features as dSLRs. Although I don’t cover mirrorless cameras in depth in this book, they look, feel, and act like dSLRs in most ways. The main differences that you will notice are that they are smaller and thinner than most dSLRs. Like dSLTs, whose mirrors don’t move, cameras like the OM-D E-M10 do not clunk when you take a photo. There is no mirror to move. Older Olympus dSLRs are designated by the letter E followed by a number, such as the E-5.

Sensor size

Digital SLR sensors vary in size. Aside from the differences in cost and the technical merits of using a smaller or larger sensor, sensor size has a profound impact on how photos look. In effect, smaller image sensors make it look like you’ve zoomed in compared to a camera with a larger sensor. The amount is expressed as a multiplier, and is called crop factor. I have more information on crop factor in the section "Delving into Camera Specifications," later in the chapter.

Here are the most popular sensor sizes and their crop factors:

Full-frame: dSLRs whose image sensors are the same size as a 35mm frame of film are called full-frame dSLRs. This is the gold standard of professional dSLR quality. The aspect ratio of these sensors, and hence the photos you take with them, is the same as 35mm film: 3:2. Full-frame cameras have a crop factor of 1.0x. Nikon full-frame cameras are labeled FX.

Cropped-frame: dSLRs whose sensors are smaller than a 35mm frame of film are called cropped-frame, cropped, or cropped-body dSLRs. There are several types of cropped-frame sensors:

APS-C: This is the standard sensor size for most consumer and mid-range digital SLRs. It's smaller than a 35mm frame of film, but far larger than a compact digital camera sensor. APS-C sensors have a crop factor that ranges from 1.5x (most APS-C cameras) to 1.6x (Canon). Nikon labels its APS-C cameras DX.

technicalstuff APS-C stands for Advanced Photo System, Classic. APS was a film format created in the mid-1990s. It had three print formats: C (classic print), H (wide print), and P (panoramic print). You chose the format you wanted using a switch on the camera. When developed, the print would come back cropped according to the setting you used. APS film cartridges were smaller and easier to load into cameras than 35mm film. APS cameras and film were quickly overshadowed by the introduction of affordable digital cameras and are not used anymore. Digital APS-C image sensors match the rough dimensions of APS film when shot in the classic format, hence the -C designation.

Four Thirds and Micro Four Thirds: These sensors are much smaller than APS-C sensors and have a 4:3 aspect ratio. Four Thirds/Micro Four Thirds sensors have a crop factor from 1.8x to 2.0x.

APS-H: This category is not very prevalent today. It’s a tweener size. APS-H sensors are smaller than full-frame but larger than APS-C sensors. They have a crop factor of approximately 1.3x.

Figure 1-2 shows an APS-C cropped-frame Nikon dSLR sitting next to a full-frame Pentax camera. Both mirrors are raised, enabling you to see the relative size of the image sensors inside them. The difference in price? About $1,700, including the lenses.

FIGURE 1-2: Comparing APS-C to full-frame.

Pixel count

You will often see a camera’s pixel count — how many pixels make up each photo — listed as part of the name. Digital camera pixel counts are expressed as megapixels (MP), or millions of pixels. Today, even new consumer-level dSLRs have 18MP or more. More advanced cameras have pixel counts ranging from 24MP to 36MP, topping out at an astounding 50MP, which rivals some medium-format cameras (the ones that cost $15,000 to $45,000).

The total number of megapixels affects your photos’ pixel dimensions and file size, as shown in Figure 1-3. The photo’s type, size, and dimension are just below the Image Quality line in this figure.

FIGURE 1-3: This camera captures photos up to 24 megapixels in size.

tip All other aspects being equal, the camera with more pixels will probably serve you better in the long run. While I hate to buy into the premise that more is always better, having greater resolution means that you can crop your photos and have more left over. Having more pixels can also help you fight the urge to upgrade your camera prematurely. Camera technology doesn’t stand still, and you should enjoy the one you have for as long as you can.

Lens mount

Lenses attach to the body of the camera using a lens mount. Figure 1-4 shows a close-up of the mount on a Sony dSLR. It’s pretty large, and has to be made of metal to stand up to the stresses of mounting different sized lenses. Here is a quick summary of the lens mounts that the top manufacturers use:

Nikon uses the F-mount, which is standard on both its cropped (DX format) and full-frame (FX format) dSLRs. Nikon also uses the DX classification to identify lenses that are optimized to work on cropped-frame, DX-format camera bodies. Lenses without the DX identifier are compatible with DX and FX-format camera bodies. As a bonus, Nikon’s FX-format camera bodies can use DX-format lenses in a special DX crop mode. This mode uses the area in the center of the image sensor and results in a smaller, cropped photo.

Canon dSLRs use the EF lens mount on all its cropped and full-frame cameras. Canon uses the EF-S lens designation to identify lenses that are only compatible with cropped-frame Canon cameras. All Canon dSLRs can mount EF lenses. Only cropped-frame dSLRs can mount EF-S lenses.

Sony uses the Alpha mount or A-mount (refer to Figure 1-4). Of note, DT lenses are compatible with cropped and full-frame bodies, but images are recorded cropped on the latter. Sony E-mount cameras such as the A7R and A6300 have dSLR-sized sensors without the mirror or optical viewfinder. A-mount SLR lenses can attach to E-mount cameras with a special adapter.

Pentax dSLRs use the K-mount. There are several K-mount sub-types that feature different contacts and autofocus drive capabilities. In addition, adapters are available to mount old screw mount Pentax lenses to K-mount cameras.

Olympus dSLRs use the Four Thirds mount while its newer mirrorless interchangeable lens cameras use the Micro Four Thirds mount. Note that you can attach Four Thirds lenses to a Micro Four Thirds body with the proper adapter, but not vice versa.

FIGURE 1-4: The lens mount determines what lenses are compatible with your camera.

remember When buying lenses, confirm that they are compatible with your camera body.

Mirror and viewfinder type

Digital SLRs have a reflex mirror that sits in front of the closed shutter and covered image sensor. Its purpose is to reflect light that comes into the camera through the lens up and into the viewfinder (among other things). This is how you view the scene, and how the camera meters the light and focuses. When you press the shutter button, the mirror moves (this is what reflex means) quickly up and out of the way, allowing light to expose the sensor. When the exposure is over, it moves back into the down position.

Digital SLTs (single-lens translucent) cameras do not have a moveable mirror. They have a semi-transparent, or translucent, mirror that stays put when you take the photo. The mirror allows some light to shine through it and onto the image sensor while bouncing the rest up into the camera's viewfinder (or into another sensor that drives the electronic viewfinder). For most purposes, dSLTs look and function just like dSLRs.

Typical dSLR viewfinders are optical. You look through a prism that directs light from the reflex mirror to your eye. They work whether the camera is on or off.

Some cameras (especially dSLTs and mirrorless cameras) now use electronic viewfinders to display information. Sony's electronic viewfinders, for example, are small, high-resolution organic light-emitting diode (OLED) monitors. This type of viewfinder combines the functionality of a standard viewfinder with the LCD monitor on the back of the camera. Because you’re looking at a monitor, anything that can be displayed on the back of your camera can also be shown to you in the viewfinder. You can compose and frame the scene normally, view photos during playback, see the camera's shooting display, and use the menu system — all without taking your eye away from the viewfinder. Truly awesome.

Figure 1-5 shows the electronic viewfinder of another Sony camera. This particular model extends outward from the body of the camera a bit. Optical viewfinders don’t need as much space, and will appear flush with the body even on small cameras.

FIGURE 1-5: Whether optical or electrical, the viewfinder enables you to see through the lens.

Lenses

You can buy most dSLRs bundled with something called a kit lens. While they are not typically top-of-the-line lenses, kit lenses are decent and have enough versatility for most amateur photographers. Kits are designed to get you started with a good lens without breaking the bank.

Currently, many consumer kit lenses are standard 18-55mm zoom lenses. Depending on the camera, you may have the option of choosing different kit lenses. Very often, these alternate lenses are a step up in quality and price, and have different focal length ranges.

Turn to Book 1, Chapter 3 to learn more about lenses. You can also turn to Book 2, which covers a number of different lens types in depth.

Wrapping it up

Returning to the two cameras I mentioned in the introduction to this section, you should now understand that the Nikon D3300 is an F-mount, cropped-body dSLR from Nikon with an APS-C sized sensor. It is compatible with Nikon DX and FX-format lenses and captures photos that are 24.2 megapixels in size. It comes with an 18-55mm kit lens. The Sony A99 is full-frame A-mount dSLT. The photos it captures are 24.3 megapixels in size. It features a fixed translucent mirror along with an electronic viewfinder. The A99 is not generally sold as a kit so no lens information is listed.

Pricing Digital SLRs

Camera manufacturers design and create dSLRs for different audiences. This enables them to meet the needs of a wide range of people and sell more cameras. It gives you the freedom to choose a camera with the features, capabilities, and price that you want.

The following sections organize these market segments into three broad categories, each featuring cameras designed and priced to appeal to that audience. If you shop around, you’ll see that Canon and Nikon have more than one dSLR in each category and are constantly updating their lineup. Not all camera manufacturers compete so heavily across the board.

Consumer dSLRs

Consumer dSLRs are great cameras for the average person. They range from entry-level models priced under $750 (see Figure 1-6) to more advanced consumer-level models that cost near $1,000. At this level, cameras are often sold as kits. This means that a basic zoom lens is sold with the camera body. The lens increases the overall cost slightly compared to buying the body only, but most consumers like the convenience of having everything they need to get started in one box. At this level, all dSLRs are made from polycarbonate and their image sensors are cropped-frame.

FIGURE 1-6: The Nikon D3200 is a good example of an entry-level consumer dSLR.

Compared to more expensive cameras, consumer dSLRs are less expensive, smaller, lighter, more convenient, and less intimidating. They have a plethora of automatic modes and are easy to use. They use different image sensors, processors, and other technologies than more expensive dLSRs, which limits their performance somewhat, but makes them affordable.

At the more expensive end of the consumer level category, people want more features and a bit more performance out of their dSLR. These cameras tend to have higher maximum ISO speeds, better, articulated monitors, faster frame rates, and more options compared to entry-level models. They are also often slightly larger.

remember All dSLRs can take fantastic photos. Don't let the consumer or entry-level distinction make you think they are toys. They’re not. These cameras just aren't designed to perform in all situations or to be as customizable as more expensive cameras.

Mid-range models

Mid-range dSLRs are priced roughly between $1,000 and $1,500. They include a mix of enthusiast and pro-level features. This makes them a great choice for photographers who want a serious upgrade from a consumer-level camera and an inexpensive back-up option for professionals.

Mid-range dSLRs often have faster maximum shutter speeds than the less-expensive models, faster flash sync speeds, faster frame rates, better viewfinders, depending on the manufacturer, slightly larger LCD monitors with greater pixel counts, more professional setup options, a better autofocus system with more autofocus points, more custom shooting modes, more precise metering, better battery life, and a top LCD panel to display shooting information.

While this level of camera is considered light by professional standards, they’re larger and heavier than consumer dSLRs. Magnesium alloy is often used to strengthen the camera body. Figure 1-7 shows the Canon EOS 80D.

FIGURE 1-7: Mid-range cameras add even more power and features.

Professional cameras

Professional dSLRs are designed to excel in a professional setting. They have all the bells, whistles, features, and performance pro photographers need. These cameras are large and rugged. They weigh more, are made from magnesium alloy, and have more features than consumer or mid-range models. They also shoot faster, focus better, and provide more reliable metering. You’ll find flagship (the best model a company sells) cropped-frame and full-frame (see Figure 1-8) dSLRs at this level.

FIGURE 1-8: The full-frame Pentax K-1 is the flagship of the Pentax dSLR line.

Professional dSLRs that range from $1,500 to $2,500 have performance and form factor compromises that keep them relatively affordable. Ultra-high-end professional dSLRs run between $2,500 and $7,000. For example, the Canon EOS-1D X Mark II body lists for approximately $6,000 and the Nikon D5 body lists for almost $6,500. These cameras represent the pinnacle of a company's dSLR lineup. They have the best sensors, image processors, autofocus and metering systems, best ISO performance, and have a whole host of other premier features. Simply put, they are the best cameras you can buy in the 35mm equivalent digital SLR format.

Delving into Camera Specifications

Camera specifications (informally called specs) are details that describe a camera’s features and capabilities. Companies put this information on their websites and in the camera manual. Specifications can be technical, but this isn’t rocket science. Knowing a few basics will help you understand what each camera is capable of, and you’ll be able to compare models against each other.

tip Sometimes every camera has the same capability. In those cases, that specification is useless as a discriminator. File format is a good example. All dSLRs today save photos in two formats: Raw and JPEG. It wouldn't make any sense for you to go up to a salesperson and ask her to show you only the dSLRs that support Raw or JPEGs. They all do.

Basic information

I’ve already covered specifications like the camera name, pixel count, sensor size, and so forth, so I won’t duplicate that here. If you need to review, flip back to the "Naming and Classifying Digital SLRs" section, earlier in this chapter.

Crop factor

When you look at camera listings and specifications you will quickly run across the term crop factor. As described earlier, crop factor is related to sensor size. Here’s why it’s important: Identical 50mm lenses will produce different photos when mounted on full-frame cameras versus cropped dSLRs. Why? Because the larger image sensor on the full-frame camera captures more of the scene than the smaller sensor on the cropped-frame camera. The smaller sensor captures a cropped area by comparison. By how much? By the amount of the crop factor. Figure 1-9 shows how much less a cropped-frame image sensor captures than a full-frame dSLR. It’s important to note that this does not make cropped-frame cameras worthless. Quite the contrary. In fact, having larger pixel counts than ever before has enabled newer cropped-frame dSLRs to compete more effectively. They are able to capture much more detail than they used to.

FIGURE 1-9: Smaller image sensors crop the scene by the amount of the crop factor.

technicalstuff Knowing the crop factor gives you the ability to compare lenses mounted on cameras that have different sensor sizes and the photos they capture. Multiply the focal length of the lens by the camera’s crop factor to get the 35mm equivalent focal length. You’re able to compare mangos to mangos using 35mm equivalent focal lengths.

ISO

ISO, also called ISO speed or ISO sensitivity, is a measure of the image sensor’s sensitivity to light. The camera specification will list an ISO range. This range will begin at 50 or 100 and increase to something like 12800 or 16000, sometimes vastly more. See Book 3, Chapter 4 for more information on ISO. I am setting the ISO speed in Figure 1-10 to 3200, well below the maximum of 16000.

FIGURE 1-10: Setting the ISO.

remember Higher ISOs improve your ability to shoot in low light and let you choose faster shutter speeds when capturing action. The downside to higher ISO is increased noise, especially in consumer cameras.

Shutter speeds

There are three shutter speeds that are listed in a camera’s specifications: the fastest, slowest, and the flash sync speed (the fastest shutter speed you can use and still fire the built-in flash). The fastest shutter speeds in use today range from 1/4000 second for consumer dSLRs to 1/6000 or 1/8000 second for more advanced models (see Figure 1-11). The slowest shutter speed you can typically set is 30 seconds.

FIGURE 1-11: This camera has a maximum shutter speed of 1/8000 second.

Consumer dSLRs have sync speeds from 1/160 to 1/200 second while more expensive models are a bit faster (1/250 second). Faster shutter speeds are possible with an external flash and a feature called high-speed sync. I talk more about that in Book 4, Chapter 3.

OTHER SPECS

There are a number of other camera specifications that are not listed here because, frankly, they are either the same for most cameras or irrelevant to most photographers. This includes color spaces, release modes, file formats, white balance, and so forth. They may be interesting, but not the best way to decide what camera to buy. Generally speaking, you’ve decided on a camera before the point where things like metering technology make a difference.

Autofocus system

The autofocus system is another area where you can compare cameras. Each camera has a number of autofocus (AF) points and AF area selection modes. Cameras use AF points to automatically focus on subjects. Having several points spread over a large area gives you a greater chance of having an AF point where you need it. AF area selection modes enable you to choose how the camera decides which points to use. You can have the camera decide, or choose to manually select an individual point for greater precision. You can also choose a group of points, often called a Zone, to lock onto and track action, as shown in Figure 1-12.

FIGURE 1-12: This camera has four AF point selection modes.

Here are a few examples: The entry-level Canon T6 has 9 AF points located in the central region of the viewfinder. The similarly priced Nikon D3300 has 11 AF points, which cover the same basic area. More expensive cameras will have more AF points and a larger number of selection options. The Canon 80D and Nikon D7200, for example, have 45 and 51 AF points respectively, spread over a wide area.

Movies

All current dSLRs shoot movies (Figure 1-13 shows this in action). Full HD video is the standard format. Most cameras also have an HD option, which is smaller than Full HD. Support for older VGA is diminishing. 4K video is emerging. Here are their sizes:

Full HD movies (including Sony AVCHD) are 1920 x 1080 pixels.

Sony cameras have a special intermediate HD movie mode recorded at 1440 x 1080 pixels but played back at 1920 x 1080 pixels. These movies use the MP4 format.

HD movies are 1280 x 720 pixels.

Standard definition (SD) movies are 640 x 480 pixels.

There are currently two types of 4K movies. Nikon dSLRs and Sony mirrorless camera movies are 3840 x 2160 pixels in size. Canon 4K movies are 4096 x 2160 pixels. Nikon and Sony set the size of their 4K movies according to the UHD alliance standard, which is twice the width and twice the height of Full HD. Canon uses the size established by the Digital Cinema Initiatives venture, which is twice the width and height of 2K video.

FIGURE 1-13: Shooting a video with a professional Canon dSLR and extensive rig.

When you look at your camera's movie specs, look for how much control you have over movie settings, especially exposure and shutter speed, as well as different movie sizes, compression settings, formats, and frame rates.

Shooting modes and scenes

Digital SLRs have a handful of classic shooting modes (sometimes called exposure modes). They include programmed autoexposure, aperture-priority, shutter-priority, manual (you might see these four called PASM modes), and Bulb. Bulb mode may not be on the mode dial. When it isn’t, it should be accessible as a function of shutter speed. Cameras like the Pentax K-3 II have new, ingenious modes like sensitivity priority automatic exposure, where you set the ISO like you would aperture or shutter speed, and shutter- and aperture-priority automatic exposure (think manual mode with Auto ISO).

Most cameras have several scene modes that help you take photos of specific subjects. You select the subject or shooting conditions, and the camera sets itself up to capture them most effectively. Standard scenes include Portrait (see Figure 1-14), Landscape, Action, and Close-up. Additional scenes vary from camera to camera and often include Night Portrait, Child, Candlelight, Sunset, Pet, Surf & Snow, Fireworks, and Food.

FIGURE 1-14: This camera has several scene modes right on the dial.

Many cameras have even more user-friendly modes designed to automate the camera and make shooting easier. Examples modes include Scene Intelligent Auto, Superior Auto, Sweep Panorama, various automatic HDR (High Dynamic Range) modes, time-lapse, multiple exposures, and more.

tip When comparing cameras, carefully investigate the automatic shooting modes and scenes they offer.

In-camera processing

Most dSLRs allow you to process JPEGs and Raw files in-camera (the Raw file is converted and saved as a JPEG). You may be able to resize photos, crop them (see Figure 1-15), modify the exposure, white balance, color profile, and perform many other retouching tasks. Being able to touch up photos in the camera takes the pressure off of having to use a computer and complicated software to accomplish these tasks. I think they are incredibly useful features for most photographers to have.

FIGURE 1-15: Look for in-camera processing features like cropping.

Filters and other creative effects

Look for fun filters and other special effects to add pizazz to your photos. They help you express your creativity without having to mess around with a computer. Each manufacturer has its own names. Canon calls them Creative Filters; Nikon has Filter Effects; Sony uses the term Picture Effects; and Pentax lists its effects as Digital Filters. Some specific examples include Toy Camera (always a fun filter to use), Miniature, High-Key, Retro, Replace Color, Monochrome, Pop Color, Posterization, Soft Focus, and many HDR effects. I’m applying a creative Art Bold effect to a photo in Figure 1-16.

FIGURE 1-16: Creative effects and filters help make photography more fun for everyone.

Media

Digital cameras store photos and movies on memory cards. Be sure to look at your camera’s specifications before buying new memory cards to confirm compatibility. For specialty cards such as FlashAir, check that company’s website for compatible cameras. Here are the card types, then:

SD cards are the most prevalent type of memory card. They’re reasonably small and thin. There are several types of SD cards (SD, SDHC, and SDXC), speed classes, and bus interfaces, each with different capabilities.

Eye-Fi SD cards enable your camera to wirelessly transfer photos and movies to a phone, computer, tablet, or other mobile device. You must install additional software or apps for everything to work.

Flucard is a card unique to Pentax cameras. Similar to Eye-Fi, these SD cards offer wireless connectivity between your camera and smartphone or computer. Unlike Eye-Fi, however, you can use your smartphone to control the camera during remote Live View shooting with a Flucard and the proper app installed.

If you prefer to look at other options, there are a handful of other Wi-Fi SD cards available. Toshiba FlashAir and Transcend Wi-Fi are two examples.

CF (Compact Flash) cards are an older memory card design, larger than SD cards. Despite this, they perform well and are often used in high-end cameras.

CFast cards, also known as CompactFast, are a newer, high-performance CF card variant with much faster read and write speeds. They are meant to support 4K video recording.

Memory Stick cards were created by Sony, and are used in its cameras. There are different versions of Memory Stick media. Variants currently in use are Memory Stick PRO-HG Duo HX, Memory Stick PRO Duo, and Memory Stick PRO-HG Duo.

XQD cards are another high-performance card used in newer Nikon cameras. They are intended to support high-speed still photo and 4K video recording.

Viewfinder specs

Take a look at two specifications relating to viewfinders:

Frame coverage: This specification, given as a percentage, identifies how much of the scene the viewfinder sees compared to the image sensor. Oddly enough, most dSLR viewfinders don’t show you everything. This can be a problem when you’re trying to frame a scene precisely, and why more expensive professional cameras feature 100 percent (see Figure 1-17) or near-total coverage.

Now, despite the fact that it can be a nuisance, don’t obsess over having less than 100 percent coverage. You can still frame great shots. With experience, you’ll be able to account for the differences between your viewfinder and image sensor and frame your shots accordingly. For example, I have learned to place people’s heads a bit closer to the top edge of the viewfinder than appears necessary on many of my dSLRs. You can also crop photos in-camera or use software to achieve the perfect composition.

Magnification: Most digital SLRs shrink the scene slightly in the viewfinder compared to what you see with your unaided eye. Expressed as a multiplier, anything under 1.0x means the view is reduced. If it’s over 1.0x, the view is magnified. Most cameras have magnification factors between .70x and .95x, with an exceptional few at or over 1.0x.

FIGURE 1-17: This camera has a nice, large viewfinder with 100 percent coverage.

Image stabilization

Image stabilization is important when shutter speeds are slow and you are supporting the camera by hand. Camera movement robs you of a sharp photo. All new digital SLRs from the major manufacturers steady the image using one of two different approaches:

Lens: The image is stabilized in the lens, not in the camera body. Current lens-based stabilization systems are named differently, depending on the brand of camera. Canon calls its approach Image Stabilization (IS). Nikon uses the term Vibration Reduction (VR; see Figure 1-18). In both cases, the lens has a floating optical element that, when turned on, is gyroscopically stabilized. Subject to some limits, the IS/VR unit in the lens moves in opposition to camera movement. This keeps the image focused on the image sensor rather than jumping around.

The advantage to lens-based stability systems is that everything benefits from stabilization: