Digital SLR Photography All-in-One For Dummies

By Robert Correll

Click your way to stunning digital images with this thorough resource! 

With the six mini-guides in Digital SLR Photography All-in-One For Dummies, you’ve got the six ingredients you need to cook up some fantastic photos. This book will help you make friends with your dSLR whether it’s the latest model or an older hand-me-down. Together, you’ll find the perfect angles, exposure, and lighting to capture magical images. 

It wouldn’t be digital photography without a bit of tech—SD cards, file transfers, resolution, and a few other things you might have never encountered before you picked up a dSLR. With this book, you can become a camera-wrangler extraordinaire, getting your shots and using digital editing tools to help them look their best. Now you have the tools you need to start building your portfolio—including some friendly advice on which images to include! Get out there and get shooting! 

• Explore your camera’s features and settings, then pick the perfect lenses for your photography style 
• Learn how to make beautiful images by controlling the key components of exposure -- aperture, shutter speed, and ISO settings 
• Light your shots perfectly with or without a flash or other lighting equipment 
• Use digital tools to make your photos shine and create an outstanding portfolio 

Upgrading to a digital SLR is a sign that you're serious about becoming a better photographer. Let this chummy Dummies guide, well, guide you as you become an image maker! 

• Language: English
• Publisher: Wiley
• Release date: Oct 22, 2020
• ISBN: 9781119711728

Book preview

Introduction

I want to stress three things in this introduction: Fun! More fun! And crazy fun!!

Digital single-lens reflex (dSLR) photography is fun. Digital SLRs take amazing photos and movies. Don’t be intimidated by a digital SLR. If you can operate your smartphone, your car, your doorbell, and probably your refrigerator, you can do this, too!

Digital SLR photography becomes even more fun when you know what you’re doing. You’re the brains behind the tech! It’s rewarding to hold a camera in your hands and get it working the way you want. You can unleash a huge amount of creativity based on the camera settings and lenses you choose. Take pictures ranging from close-ups of food to wide-angle landscapes, portraits of your friends and family, super telephoto shots of the moon, and everything in between. I find this versatility breathtaking. Even if you stick to a single, inexpensive zoom lens, you will have more creative possibilities than any smartphone or tablet can offer you.

Taking photos and movies is only part of the journey. The crazy fun part is experiencing the world we live in. Photography isn’t a sit-on-the-couch sport. Get out there! I’ve enjoyed going to different states like Ohio and Missouri, shooting in different cities like Detroit, St. Louis, Defiance, and Tulsa. It was crazy fun shooting landscapes in the wide-open spaces of Oklahoma and then driving to St. Louis to take photos of and inside the Arch. I’ve been to horse races and baseball games; I’ve shot off model rockets with my kids; and I’ve traipsed around the back woods of Indiana. I’ve had a blast going to breathtakingly pretty retreats and camps, shooting HDR and panoramas. I’ve also taken photos in our backyard and the basement, and I’ve opened a window on our second floor to take photos of Saturn and Jupiter.

I’ve taken photos of bugs, chipmunks, birds, fountains, cars, planes, helicopters, sunsets, sunrises, tractors, and more. What’s made it even better for me is sharing this passion with my family. If you're interested in photography, you'll find no better tool than a dSLR. You can't beat the combination of power, flexibility, growth potential, and quality that it offers. That’s what I call crazy fun!

The sky really 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. You’ll also learn how to use lenses, the flash, different software, and other accessories. My sincere hope is to help you become the photographer you want to be, and along the way, have fun!

About This Book

Digital SLR Photography All-in-One For Dummies, 4th 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, as well as illustrate the artistic elements of dSLR photography so that you can take the photos you want with the camera you have.

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, or a digital single-lens translucent (dSLT), or even a mirrorless interchangeable-lens camera, you can immediately apply the knowledge you glean from these pages. You also don’t need a brand-new dSLR. 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.

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.

Technical Stuff 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.

If you’re new to photography, though, I 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 feel overwhelmed.

Lastly, when you have a minute, go to dummies.com to type Digital SLR Photography All-in-One For Dummies Cheat Sheet in the Search box. The Cheat Sheet is full of information you might find valuable.

The more photos and movies you shoot with your dSLR, the more you learn about your camera, lens, and how to operate them. Don’t be afraid to take bad shots to get better. 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

Bullet Learning about digital SLRs

Bullet Defining different dSLR types

Bullet Understanding camera specifications

Bullet Seeing what's new in the world of dSLRs

Bullet Buying a dSLR and accessories

What's so special about the digital SLR (dSLR)? The short answer: Lots! Digital SLRs are fantastic cameras. They take great still photos and movies. They 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.

Digital SLRs’ popularity powers a large industry composed of camera, lens, and accessory manufacturers who are all trying to support you. Think about that. There is enough variety that it’s pretty easy to find the right camera and lens combination that will fit you, no matter what your skill level, interests, or budget. After you begin, you’ll be able to learn and grow at your own pace. The sky is the limit!

In this chapter you learn the basics of dSLRs and their various types, get a sense of technical specifications, and discover recent developments in dSLRs. The chapter also guides you through purchasing your camera and accessories.

Introducing the Digital SLR

SLR stands for single-lens reflex, which identifies a class of camera with two unique characteristics: a single lens and a reflex mirror.

SLR cameras have a single lens that handles everything. You look through it to compose, meter, and focus before you shoot the scene. Although that doesn’t sound all that impressive now, there was a time when photographers had to resort to using additional lenses or other mechanical devices to accomplish these tasks. It’s better this way. What you see is what you’re going to get when you take the photo.

SLRs also use a reflex mirror. It’s a mirror that is hinged and can move. Normally, it stays down and bounces light from the lens up through the viewfinder so that you can see out of the camera. When you press the shutter button to take the photo, the mirror moves up and out of the way, exposing the film or image sensor when the shutter opens. The mirror makes a recognizable clunking sound when it flips up out of the way.

None of these aspects has anything to do with 0s, 1s, or computers; SLR cameras using 35mm film were invented before all that. But the design is so strong that SLRs have been updated as new technologies have been developed.

The digital SLR (also known as dSLR or DSLR) is the modern, digital descendant of the analog SLR. Both types of camera are shown in Figure 1-1. Instead of using film, a digital SLR uses a digital image sensor to collect light and store the resulting image file on a memory card. In many ways, dSLRs are mobile computers with an impressive amount of processing power.

Photo depicts the Digital SLRs (left) which have come a long way from their predecessor (right).

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

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, enabling you to swap lenses with different qualities for different purposes. Mirrorless interchangeable lens cameras and digital single-lens translucent cameras (dSLTs), which have a translucent mirror that doesn’t move, also feature interchangable lenses.

Naming and Classifying Digital SLRs

This section explains the information you need to decode the names and understand the basic characteristics of different types of digital SLRs available today. For example, after flipping through this chapter, you will be able to grasp the essential characteristics of the Nikon D3500 24.2MP DX-format (APS-C) dSLR with 18-55mm lens and how the Sony A99II 42.4MP full-frame A-mount dSLT with electronic viewfinder differs from it just by reading the names.

Make and model

First, you need to understand the basic naming scheme of a 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 D6 is currently Nikon’s premier professional camera. The D3500, on the other hand, is an entry-level consumer camera.

Canon uses the acronym EOS (electro-optical system) followed by a model number to identify its digital SLRs. For example, the Canon EOS 90D 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 T8i is also known as the 850D. You may see it written as the EOS Rebel T8i/850D. Canon often identifies improved models by adding the term Mark and then a number, such as Mark IV.

Sony dSLRs and SLTs are identified by the letter A, followed by a two- or three-digit model number, such as the A99II. When you pronounce the name, you can say A as you would any other A, or you can say Alpha. New Sony mirror-based models are all SLTs, which have translucent mirrors that do not move. The A99II is a dSLT, although you may see it listed as an Interchangeable Lens Digital Camera (ILDC). Sony identifies improved models by designating them as II, such as A77II or A99II.

Pentax dSLRs use the letter K followed by an identifying number, such as the K-70 and K-1 Mark II. Other models, such as the KP, do not have a number. Pentax also identifies improved models with Mark numbers such as Mark II. You may also see them simply named 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. Older Olympus dSLRs are designated by the letter E followed by a number, such as the E-5.

As you can tell, camera model numbers vary so much that they aren’t always the best guide to decoding a camera’s capabilities. If you are familiar with a specific line, such as the Canon EOS Rebel series of cameras, you will know that the T8i is the next version of the T7i. However, you may not know how this line compares with other Canon cameras. It helps to focus on a few basic specifications so that you can easily compare cameras. The rest of this chapter has the information you need to be able to do this.

MIRRORLESS INTERCHANGEABLE-LENS CAMERAS

Mirrorless cameras that feature interchangeable lenses like dSLRs are becoming increasingly popular. In fact, most of the major dSLR manufacturers now have offerings in this category. Although I don’t cover mirrorless cameras in depth in this book, they look, feel, and act very much like dSLRs in most respects. Therefore, most of the content of this edition is applicable to you if you own one or are thinking about buying one.

The significant physical difference is that mirrorless cameras are thinner than their dSLRs counterparts. They don’t need to be as large because they do not have a reflex-mirror mechanism.

The main differences that you will notice between dSLRs and mirrorless cameras when shooting are the following:

They do not have the same clunk as dSLRs when you take a still photo because no mirror needs to be moved out of the way. You may still hear a sound, however, if you are using a mechanical shutter.

An electronic viewfinder facilitates displaying more information than an optical viewfinder, including menus and photo playback. In addition, manually focusing is easier because you may be able to magnify the scene and show other focusing aids, such as focus peaking. Electronic viewfinders are not unique to mirrorless cameras, however. Sony, for example, uses electronic viewfinders in its translucent-mirrored Alpha cameras like the A99II.

The other difference, and it’s a big one, is lenses. Mirrorless cameras have different lens mounts and lenses than dSLRs. The geometry inside the camera is different. This difference affects what lenses are available for and compatible with your camera. Nikon mirrorless cameras, for example, sport the new Nikon Z mount. Canon’s new mount for mirrorless interchangeable-lens cameras is the Canon RF mount. If you have lenses meant for a dSLR, look for a lens adapter that will allow you to mount those lenses on your mirrorless camera.

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 determines something called the crop factor. I have more information on crop factor in the section "Delving into Camera Specifications," later in the chapter. Sensor size may also affect what lenses are compatible with your camera.

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. Expect to pay a lot more for a full-frame camera. 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. These cameras are less expensive than most full-frame dSLRs and have features that range from entry-level to semi-professional. 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.

Technical stuff 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 $1,900, undiscounted, including the lenses.

Photo depicts comparing APS-C to full-frame.

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 24MP or more. More advanced cameras have pixel counts ranging from 36MP to the mid-forties, with some reaching more than 50MP.

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.

Photo depicts the features of camera which captures up to 32 megapixels in size.

FIGURE 1-3: This camera captures photos up to 32 megapixels in size.

Tip All other aspects being equal, the camera with more pixels will probably serve you better in the long run. Having greater resolution means that you can crop your photos without sacrificing too much print quality. For example, my Canon 90D has 32 megapixels compared to my old Nikon D200, which has 10. I am able to crop a 90D shot aggressively and still print a reasonably sized 10 megapixel photo at 300 dpi. Gimme moar pixels! 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 full-frame Canon dSLR. It’s large and is made of metal to stand up to the stresses of mounting different sized lenses. Here’s a 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. Nikon mirrorless cameras use Nikon’s Z-mount.

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 compatible only with cropped-frame Canon cameras. All Canon dSLRs can mount EF lenses. Only cropped-frame dSLRs can mount EF-S lenses. Canon put index marks on the lens mount to show where EF (a red dot, as shown in Figure 1-4) and EF-S (a white square) lenses line up to the mount. Cropped-frame cameras will have both marks because they can mount both types of lenses. Canon’s new mirrorless cameras use the RF mount.

Photo depicts the lens mount which determines what lenses are compatible with the camera.

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

Sony uses the Alpha mount or A-mount. Of note, DT lenses are compatible with cropped and full-frame bodies, but images are recorded cropped on the latter. Sony mirrorless interchangeable such as the A7R IV and A6400 use the E-mount. 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 mirrorless interchangeable lens cameras use the Micro Four Thirds mount. Older Olympus dSLRs, no longer sold new, use the Four Thirds mount. You can attach Four Thirds lenses to a Micro Four Thirds body with the proper adapter, but not vice versa.

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 at an angle in front of the shutter and image sensor. Its purpose is to reflect light that comes into the camera through the lens up to the viewfinder. This is how you view the scene and how the camera meters the light and focuses. When you fully press the shutter button, the mirror moves quickly up and out of the way, allowing light to expose the sensor when the shutter opens. When the exposure is over and the shutter closes, the mirror 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 and onto the image sensor while bouncing the rest up into the camera's viewfinder (or into another sensor that drives the electronic viewfinder).

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.

All mirrorless interchangeable lens cameras and dSLTs 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 an example of a traditional optical viewfinder. Viewfinders have a rubber cushion surrounding them to make them more comfortable. You can adjust viewfinders to your eyesight using something called a diopter adjustment knob, which I explain more fully in Book 1, Chapter 2. More expensive cameras have larger viewfinders that fully cover the scene.

Photo depicts whether optical or electrical, the viewfinder enables to see through the lens.

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

Lenses

Many dSLRs come bundled with something called a kit lens. The lens and camera body are sold as a package deal, which is why the lens may appear in the title. Although they are not typically top-of-the-line lenses, kit lenses are decent and have enough versatility for most amateur photographers.

Currently, the most popular consumer kit lens is the 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 mention in the introduction to this section, you should now understand that the Nikon D3500 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 A99II is a full-frame A-mount dSLT. The photos it captures are 42.4 megapixels in size. It features a fixed translucent mirror along with an electronic viewfinder. The A99II is generally sold as a body only, 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

Compared to more expensive cameras, consumer-level 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. This limits their performance, by comparison, but makes them affordable.

Consumer dSLRs are great cameras for the beginner or cost-conscious consumer. They range from entry-level models priced under $400 (see Figure 1-6) to more advanced consumer-level models that cost near $1,000. At this level, cameras are most 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 people like the convenience of having everything they need to get started in one box. These dSLRs are made from polycarbonate and their image sensors are cropped-frame.

Photo depicts the Nikon D3500, which is a good example of an entry-level consumer dSLR.

FIGURE 1-6: The Nikon D3500 is a good example of an entry-level consumer dSLR.

If you want more features and a bit more performance out of your dSLR, shop at the high end of this category. You will find cameras that 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 — especially when combined with a good lens. 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, as well as 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, and better battery life. They’re also sealed against the weather and may have a top LCD panel to display shooting information.

Although this level of camera is considered light by professional standards, these cameras are larger and heavier than consumer dSLRs. Magnesium alloy is often used to strengthen the camera body. Figure 1-7 shows the Canon EOS 90D.

Photo depicts the mid-range cameras which add even more power and features.

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 that pro photographers need. These cameras are large and rugged. They weigh more than lower-level dSLRs and are made from magnesium alloy, are weather sealed, 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.

Photo depicts the full-frame Pentax K-1 Mark II, which is the flagship of the Pentax dSLR line.

FIGURE 1-8: The full-frame Pentax K-1 Mark II 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, both the Canon EOS-1D X Mark II and Nikon D6 full-frame camera bodies list for approximately $6,500. These cameras represent the pinnacle of a company's dSLR lineup. They have the best sensors, image processors, autofocus and metering systems, and ISO performance, along with 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 don’t duplicate that information 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 may run across the term crop factor. I use Figure 1-9 to illustrate what that term means.

The photo shows an image circle that a lens might produce inside a digital SLR. The rectangles show what part of this circle an image sensor would capture when you take a photo. The large red rectangle represents the image captured by a full-frame camera. The smaller, cyan rectangle shows what a typical cropped-frame camera would capture using the same lens. It’s not as large as the full-frame photo because the sensor in a cropped-frame camera is smaller. This is why photos taken with a cropped-frame camera look cropped if you compare them to photos of the same scene taken by a full-frame camera using the same lens.

Photo depicts the smaller image sensors which is used to crop the scene by the amount of the crop factor.

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

This isn’t the end of the world. It’s just a way of comparing cameras. If you want the photo to look the same on a cropped-frame camera, all you need to do is zoom out.

Technical stuff 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.

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 begins at 50 or 100 and increases to something like 25600, often vastly more. Unlike film, which has a set ISO speed per roll, you or the camera can change ISO speeds on a dSLR between every photo. See Book 3, Chapter 4 for more information on ISO. I set the ISO speed in Figure 1-10 to 200, well below this camera’s maximum, which is 51200.

Photo depicts setting the ISO.

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

Three shutter speeds are listed in a camera’s specifications: the fastest, slowest, and flash sync speed. 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), and possibly faster if using an electronic shutter in Live View mode. The slowest shutter speed you can typically set is 30 seconds.

Photo depicts that the camera has a maximum shutter speed of 1/8000 second.

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

Consumer dSLRs have flash sync speeds from 1/160 to 1/200 second. More expensive models are a bit faster, at 1/250 second. The flash sync speed is the fastest shutter speed you can set when using the camera’s internal flash. 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.

Autofocus system

The autofocus system is another area in which 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 you can 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.

OTHER SPECS

A number of other camera specifications aren’t listed here because, frankly, they are either the same for most cameras or irrelevant to most photographers. These include color spaces, release modes, file formats, white balance, and so forth. They may be interesting but are 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.

Photo depicts that the camera has five AF point selection modes.

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

Here are a few examples: The consumer-level Canon T8i has 45 AF points. The similarly priced Nikon D7500 has 51 AF points. Both cover the same basic area. Less expensive or older cameras might have fewer points, and they might be more centrally located in the viewfinder. More expensive cameras may have more AF points, more sensitivity, and a larger number of selection options. The Canon 5DS has 61 and the Nikon D850 has 153 AF points, respectively.

Movies

Digital SLRs also 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 now available on new cameras. Here are their sizes:

Most 4K movies are 3840 x 2160 pixels in size, which is twice the height of Full HD.

Full HD movies are 1920 x 1080 pixels.

HD movies are 1280 x 720 pixels.

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

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.

Don’t confuse frame rates with shutter speed. The frame rate is how many frames per second the movie plays back at. Frame rate also affects how the movie is recorded. Common settings are 24, 30, 60, and 120 fps for NTSC and 25, 50, and 100 fps for PAL video systems.

Photo depicts shooting a video with a professional Canon dSLR and extensive rig.

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

Shooting modes and scenes

Digital SLRs have at least one fully automatic mode and a handful of classic shooting modes (sometimes called exposure modes). The classic modes include programmed autoexposure, aperture-priority, shutter-priority, and manual. You might see these four called PASM modes. Bulb mode, which is an open-ended exposure, 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-1 Mark II have ingenious modes like sensitivity priority automatic exposure, through which you set the ISO as 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.

Photo depicts that the camera has several scene modes right on the dial.

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 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, and color profile, and perform many other retouching tasks. Being able to touch up photos in the camera means not having to use a computer and complicated software to accomplish these tasks. I think they are incredibly useful features for most photographers to have.

Photo depicts the look for in-camera processing features which is like cropping.

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 pizzazz 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 Toy Camera effect to a photo in Figure 1-16.

Photo depicts the creative effects and filters which helps to make photography more fun for everyone.

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 several popular card types currently in use:

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. UHS-II cards are newer and much faster than UHS-I type SD cards. Some cameras support the much smaller microSD format card.

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

Newer formats include CFexpress, XQD, and CFast cards. These are high-performance variants with much faster read and write speeds. They are meant to support 4K video recording.

Memory Stick cards were created by Sony and are still used in some cameras. There are different versions of Memory Stick media. A few variants currently in use are the Memory Stick PRO-HG Duo, Memory Stick PRO Duo, and Memory Stick XC-HG Duo.

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. Some dSLR viewfinders may have only about 95 percent coverage. 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.

Photo depicts that the camera has a nice, large viewfinder with 100 percent coverage.

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

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 some 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.

Image stabilization

Image stabilization is important when shutter speeds are slow and you are supporting the camera by hand. Camera movement can rob 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.

Photo depicts the Nikon’s lens-based image stabilization technology which is called VR.

FIGURE 1-18: Nikon’s lens-based image stabilization technology is called VR.

The advantage to lens-based stability systems is that everything benefits from stabilization: the autofocus system, the image sensor, the metering sensor, and what you see through the viewfinder or on the back monitor.

The main downside to lens-based image stabilization is that not all lenses have the feature. In addition, you have to keep buying new lenses to benefit from improvements and updates to the technology.

Sensor: This type of image stabilization occurs in the camera body. The camera adjusts the position of the image sensor in opposition to camera movement, thereby enabling you to capture a clear photo. Sony calls its technology SteadyShot (see Figure 1-19), whereas Pentax refers to its system as Sensor-shift Shake Reduction.

Photo depicts that the camera features in-body image stabilization, complete with an on/off switch.

FIGURE 1-19: This camera features in-body image stabilization, complete with an on/off switch.

The main advantage to body-based stability systems is that the sensor, and therefore the image, is stabilized no matter what lens is attached to the camera. The most expensive long-range super-telephoto lens in the world and the cheapest plastic lens will both benefit from in-camera stabilization. As you upgrade camera bodies, you get the latest and greatest implementation of image stabilization for all your older lenses.

Following Recent dSLR Developments

Digital SLRs continue to evolve. That is truly fantastic news, because photographers benefit from new capabilities and technology. Here are some recent dSLR developments and trends:

Wi-Fi: New dSLRs have built-in Wi-Fi. You can connect your camera to a smartphone (see Figure 1-20), tablet, computer, printer, network computer, or the Internet to view, print, or transfer photos. You can often control the camera remotely using the same connection and the proper app.

Photo depicts the increased Wi-Fi support which is a positive dSLR development.

FIGURE 1-20: Increased Wi-Fi support is a positive dSLR development.

Touchscreens: Taking a cue from the popularity of smartphones and tablets, many new digital SLRs feature touchscreen monitors. You can drag, swipe, and tap through menus, photos (see Figure 1-21), and even use the touchscreen to focus and snap the shutter.w

Photo depicts selecting a photo to view from the index view.

FIGURE 1-21: Selecting a photo to view from the index view.

In-camera processing: Cameras continue to add processing options and filters. Even entry-level cameras enable you to edit Raw photos in camera, for example. More advanced cameras now include features such as focus stacking/bracketing, which takes lets you take a bevy of shots focused at slightly different depths and merge them together to create a photo with a large in-focus depth of field.

Higher ISO speeds: Maximum ISO speeds continue to rise. Entry-level consumer cameras now have maximum ISOs in the range of 25600, and more advanced dSLRs can have astronomically high ISOs. Higher ISO speeds make shooting inside and in other low-light conditions easier. They also help you keep shutter speeds reasonable in a wider variety of conditions if using a less-capable lens with a smaller maximum aperture. Higher ISOs can also offset not having image stabilization.

Higher pixel counts: Pixel counts also continue to rise. New consumer-level dSLRs have more pixels than professional models from years past. This means that you can take photos and make poster-sized prints without losing quality. You can also crop photos more without losing too much resolution.

Expanded shooting modes: Today’s dSLRs offer more creative shooting modes and scenes than ever before.

4K Video: Digital SLRs are keeping up with the trend in video: 4K. These movies have quadruple the resolution of Full HD.

Articulated monitors: More cameras feature articulated monitors that swing out from the back of the camera. This feature gives you greater flexibility in how you hold and position the camera. See Figure 1-22.

Photo depicts pulling the monitor out from the back of the camera and position it.

FIGURE 1-22: Pull the monitor out