If you’re shopping for the best digital slrs you’ve come to the right place! Here we write in-depth reviews of cameras but understand you’re busy people who sometimes just want recommendations of the most outstanding products. So here I’ll cut to the chase and list the best DSLRs around right now. Note if you’re looking for cameras by Fujifilm, Olympus, Panasonic or Sony, check out my best mirrorless camera guide and the best professional dslr camera. Also note like my other guides they’re listed by review date, not in order of preference.Check prices at Amazon, B&H, Adorama, eBay or Wex.
best digital slrs
Canon EOS 90D review
The EOS 90D becomes Canon’s most powerful mid-range DSLR to date, inheriting the body, side-hinged screen, optical viewfinder and 45-point autofocus of the earlier 80D, while upgrading the sensor resolution to 32.5 Megapixels, offering uncropped 4k video at 25 or 30p, faster burst shooting of 10fps, and reinstating the AF joystick which went missing on the three previous models. As such there’s upgrades whether you shoot still photos, film video, or like most owners of this series, do both. The image quality has the potential to beat 24 Megapixel models, but not by a huge margin and crucially only when fitted with a quality lens. In terms of video it’s great to finally enjoy uncropped 4k with Dual Pixel AF on an EOS body, but while it resolves more detail than 1080, it’s not as good as 4k from the best of its rivals, most notably the Sony A6400 and Fujifilm X-T30 and like other recent Canon cameras, there’s no sign of 24p either. More than making up for the restrictions for most people though is the sheer confidence with which Dual Pixel AF can keep a subject in focus. The increased burst speed is a nice bonus, but the viewfinder autofocus system is no better than the 80D and proved unremarkable for fast action in my tess. It’s much better at focusing in live view, but the bursts become slower and trying to follow action with the screen alone can prove a challenge. Revealingly the mirrorless M6 II which shares the same sensor proved much more capable for action in my tests, but ironically the 90D’s better features made it preferable for video, so choose carefully. Had Canon equipped the 90D with the 7D II’s viewfinder AF system, it could have had a leader in all respects. But for now, the upgrades across the board still allow the 90D and DSLRs to remain relevant and compelling to those who prefer their form factor and viewfinder to smaller mirrorless cameras with all-electronic composition; it’s especially tempting for 60D or 70D owners who want a bunch of upgrades but without changing the look and feel of their bodies.
Nikon D850 review
The D850 is Nikon’s highest resolution DSLR to date, boasting a new 45.7 Megapixel full-frame sensor, coupled with the flagship D5’s 153-point AF system, and fast burst shooting at 7fps, boost-able to 9fps with the optional battery grip. As such, this long-awaited successor to the D810 appeals to both those who desire the highest resolution images as well as wildlife and sports shooters who demand fast bursts and top-end autofocus. Movie shooters will also appreciate the presence of un-cropped 4k as well as a tilting touch-screen, but Nikon continues to lack embedded phase-detect AF on its DSLRs, so video and live view AF lacks the confidence of Canon and Sony. Meanwhile SnapBridge lacks the speed and flexibility demanded by pros who’ll be driven to a Wifi accessory for the best wireless performance. But below-par movie autofocus and average Wifi aside, there’s very little the D850 can’t do. Indeed it’s arguably one of the best DSLRs overall to date and comes Highly Recommended.
Canon EOS 6D Mark II review
The EOS 6D Mark II is a ‘low-priced’ full-frame DSLR aimed at enthusiasts and upgraders from APSC bodies. The photo and movie quality looks great with the default settings and delivers noticeably less noise than the 80D at high ISOs. The combination of a fully-articulated touchscreen and Dual Pixel CMOS AF means shooting movies or in Live View is a highlight with confident focusing anywhere on the frame. The viewfinder AF is less successful though with limited coverage and a lower hit rate than in Live View. The 6D II also lacks 4k video, higher frame-rate 1080p, dual card slots and headphone jacks, four features present on most mirrorless cameras at this price, albeit normally combined with smaller sensors. So it’s Canon’s usual story of a feature-set carefully-pruned so not to step on the toes of its higher-end models. If you’re wedded to Canon’s World, you’ll enjoy the 6D II’s excellent touch interface, easy Wifi, effortless GPS tagging, leading movie autofocus, and crisp, clean photo quality. Recommended if you desire a full-frame camera at this price point but compare closely with Nikon’s D750 and Sony’s A7 Mark II.
Canon EOS 200D / Rebel SL2 review
Canon’s EOS 200D / Rebel SL2 is a compact DSLR aimed at photographers and vloggers buying their first interchangeable lens camera. Replacing the four-year-old EOS 100D / SL1, it offers a more sophisticated point-of-entry than the cheapest DSLRs and a smaller body to boot. You get a choice of three body colours, a 24 Megapixel APSC sensor with Dual Pixel CMOS AF for smooth and confident refocusing in Live View and movies, a fully-articulated touchscreen, and Wifi with NFC and Bluetooth for easy connectivity. The entry-level EOS 1300D / T6 may remain Canon’s cheapest DSLR, but with its smaller body, superb movie autofocus, mic input and flip-out touchscreen, the EOS 200D / SL2 is simply much more compelling for first-time DSLR buyers who are willing to spend a little extra. It may not have 4k video, and the viewfinder autofocus and burst shooting are basic for sports and action, but overall for the money it remains a highly desirable and highly recommended camera, especially if you’re into video.
Nikon D3400 review
The Nikon D3400 is an update to Nikon’s entry-level DSLR, replacing the two year old D3300. The headline new feature is SnapBridge – Nikon’s low-power Bluetooth connection that allows continuous image transfer to your smartphone in the background while you shoot. Battery life has been boosted to an impressive 1200 shots on a full charge and the kit lens has also been updated with quicker and quieter continuous AF for movies and Live view shooting. SnapBridge will ensure that the D3400 continues to be a popular choice for improving photographers who want a camera that’s more capable than a point-and-shoot compact or a phone, but don’t want to sacrifice the ease of sharing that those devices provide. Beyond that, there’s not a huge amount that’s new here over the D3300 and indeed a couple of features actually missing: the 3.5mm microphone input and ultrasonic anti-dust filter, no longer present on the D3400. Ultimately mirrorless cameras offer more features – not to mention greater portability – at this end of the market, but there’s no denying the D3400 offers one of the least expensive routes to a body with an APSC sensor, optical viewfinder and interchangeable lenses. As such it’ll continue to attract beginners and students, while the addition of SnapBridge means you’ll be sharing images quicker and more easily than most rival cameras.
Canon EOS 5D Mark IV review
Canon’s EOS 5D Mark IV is the long-awaited fourth model in the enormously popular series of full-frame DSLRs. Coming over four years after the previous EOS 5D Mark III, the Mark IV boosts the resolution to 30.4 Megapixels with a new full-frame sensor that supports Dual Pixel CMOS AF for confident refocusing during Live View and movies. It accelerates continuous shooting from 6 to 7fps, inherits the 61-point AF system and 3.2in touch-screen of the EOS 1Dx Mark II, and can film 4k movies (in the DCI Cinema format) up to 30p, along with 1080 / 60p and 720 / 120p. The body shares essentially the same control layout as before so will be immediately familiar to owners of the Mark III, but now features improved weather-proofing along with a built-in GPS and Wifi with NFC. It represents a significant step-up from the Mark III, but high-end videographers will be frustrated by the tight crop and high bit-rate when filming 4k, and the lack of Log profiles, peaking, zebras and 4k on the HDMI output; indeed if you’re only into shooting 4k video, I’d recommend Sony’s A7s Mark II for full-frame or the A6300 for APSC. But Canon is keen to retort the Mark IV is more about stills and it does these very well. It’s undoubtedly a powerful all-rounder, just no longer the no-brainer the Mark III was for video.
Nikon D7200 review
The Nikon D7200 is the company’s latest upper mid-range DSLR aimed at enthusiast photographers. Successor to the D7100, it slots between the D5500 and D610 in the range, making it the highest-end Nikon DSLR with a cropped DX-format sensor. Externally the D7200 is essentially identical to the D7100, so you get a weather-sealed body with an optical viewfinder boasting 100% coverage, 3.2in / 1229k dot screen, 6fps burst shooting (boostable to 7fps in 1.3x crop mode), twin SD slots and a wealth of ports. The resolution remains 24 Megapixels but new to the D7200 are improved low-light AF, an enlarged buffer and built-in Wifi with NFC. Other enhancements include the faster EXPEED 4 processor, 9-frame AEB, a 50p / 60p video option (albeit only in the 1.3x crop mode), timelapse shooting, slightly extended battery life and a flat picture control profile. Compare closely with the Canon EOS 80D and 7D Mark II.
Nikon D500 review
The D500 marks Nikon’s welcome return to the high-end APSC DSLR market. The combination of a new 20 Megapixel sensor, 10fps continuous shooting, a deep buffer (especially if you’re using XQD cards), and a new 153-point AF system shared with the D5, makes for a supremely confident camera. In my tests the D500 effortlessly tracked any subject I pointed it at, rattling-off bursts of focused images with eerie precision and consistency. On top of that you’re getting a large viewfinder, twin memory card slots, tough build quality, and backlit buttons which make it easy to use in the dark. It also features a large and detailed screen that’s touch-sensitive and tilts vertically, and allows you to record 4k UHD video in addition to 1080p. Learn how to configure SnapBridge and you’ll also enjoy one of the easiest ways to wirelessly tag and share your images. Sports and wildlife photographers will love the D500 which is arguably the most confident APS-C DSLR to date.
Canon EOS 1300D / Rebel T6 review
The abundance of alternatives to the EOS 1300D / Rebel T6, both DSLR and mirrorless, highlights the need for Canon to keep pace with its competitors if its entry-level DSLRs are to continue to be attractive options for aspiring photographers. As a response to that challenge, the EOS 1300D / Rebel T6 is frankly a little underwhelming. But though it may be a little lacklustre, it nonetheless remains one of the least expensive routes to a body with an APSC sensor, optical viewfinder and interchangeable lenses. As such it’ll continue to attract beginners and students, but remember if you want a kit lens with stabilisation, make sure you get the bundle with the EF-S 18-55mm f3.5-5.6 IS II rather than the DC III version which is unstabilised and only fractionally cheaper.
Canon EOS Rebel T6s / 760D Review
Canon’s EOS 760D / Rebel T6s is a solid DSLR that represents a good step-up over entry-level models. This has always been a very successful category for Canon, so it’s not surprising to find the company now splitting it into two options: the EOS 750D / T6i gives you the core spec of 24 Megapixels, 19-point AF, 5fps burst shooting, pentamirror viewfinder, fully-articulated touchscreen and 1080p movies. Then if you fancy something a bit more sophisticated, spending an extra $100 USD / 70 GBP or so gets you the EOS 760D / T6s which adds an upper LCD information screen, eye sensor, rear control wheel and viewfinder levelling gauge, along with digital zoom and HDR options for movies, and continuous AF in Live View. These additions add up to a camera that handles much better than its cheaper sibling and is well worth spending the extra on, but equally I feel mirrorless options such as Panasonic’s Lumix G7 and Sony’s A6000 offer more still to the target audience – compare closely if you’re not wedded to the idea of having an optical viewfinder.
Nikon D5500 review
Nikon’s D5500 is an upper entry-level DSLR aimed at photographers looking for a step-up from a budget model without the expense or complication of a higher-end camera. It shares the same 24 Megapixel resolution as the models above and below it, but remains the only model in the entire range to feature a fully-articulated, side-hinged screen. Like the D5300 before it, the screen remains large at 3.2in, but in a welcome upgrade, it’s now touch-sensitive. The GPS of its predecessor has sadly gone, but the Wifi remains, allowing you to wirelessly transfer images or remote control it with your smartphone. The collapsing kit zoom impacts the ultimate image quality, and the movie / live view autofocusing is slower and noisier than rival Canon bodies fitted with STM lenses. But none of this stands in the way of what’s a very solid DSLR for the money. Do compare closely with Canon’s EOS T6i / 750D, and in the mirrorless World, models like the Sony A6000.
Canon EOS 7D Mark II review
Canon’s EOS 7D Mark II is one of the toughest, fastest and most confident DSLRs for sports, action and event photography. If you always wanted the flagship 1Dx but couldn’t afford it or accommodate the size and weight, the 7D Mark II will give you most of its handling performance in a smaller, lighter and much cheaper package. Indeed it’ll also throw-in AF in lower light, effective focusing for movies and a built-in GPS receiver. Sure it can’t compete with full-frame cleanliness in low light, but the field reduction applied by the APSC sensor is actually preferred by many sports and wildlife photographers. If you’re after a camera mostly for landscape, architecture or more general-use, you’ll be better-served by one of the many high-end mirrorless options now available, but if you’re a sports, action or event shooter who likes to seamlessly capture quality stills and video, the 7D Mark II will make your job a breeze. If you’re not wedded to EF lenses though, also consider Nikon’s newer and arguably even more confident D500.
Basics of photography
Every camera, from the tiny webcam embedded in your laptop to the full-frame pro cameras built by Nikon and Canon, operates under the same set of basic principles. They come from the very name of photography, the roots of which are the Greek photos, meaning light, and graph, meaning to draw or record — ergo, a photograph is essentially a map of light. When you take a picture of your favorite cityscape, you’re not actually documenting the streets, or the skyscrapers, or the milling crowds — you’re drawing up a recording of the light reflecting off of them.
The most common technique for making this recording is by channelling light through a lens onto a photosensitive material that soaks it up and turns it into an image. That light-absorbing canvas was once film, which has since been replaced by electronic sensors in modern digital shooters. In either case, initiating the light capture is done by opening a shutter in front of the photosensitive surface. By adjusting how long that shutter stays open (shutter speed), the sensitivity of the digital sensor (ISO), and how much light passes through the lens (aperture), you can control exactly how your image appears.
Since light is the only information your camera collects, it should come as no surprise that well-lit scenes typically come out looking sharper and nicer than dark and moody shots illuminated only by a streetlight — more light just gives you more information to work with. When shooting in the dark, the camera must work either harder (with higher ISO) or longer (with a slower shutter speed) to properly recreate the image in front of it. That’s where the flash comes in, a strobe of white light synchronized with the opening of the shutter. It comes with tradeoffs of its own, though: the strength of the flash can wash out fine detail in nearby subjects or lead to the infamous red-eye effect. Tripods are also invaluable in counteracting the blur caused by shaky hands. Unfortunately, they can do nothing about motion within your composition, and they aren’t exactly portable.
Ultimately, the number one lesson in photography is that there are always tradeoffs. If you want the best possible image quality, you’ll need specialized, expensive, bulky equipment. Should portability be your highest priority, you’ll have to accept that some photos and creative ideas will be beyond your reach. There are a number of other considerations to take into account when composing an image — and, consequently, choosing the best camera for the job — which we’ve detailed below. Once you’ve wrapped your head around what they will mean for your intended photography adventure, you should have a good idea of the kind of camera that will best suit your needs.
The key settings
If you’re new to digital photography, the three things you should acquaint yourself with first are the ISO, aperture, and shutter speed. The three work in concert, and if you can manipulate and control them all, you’ll take fabulous photos without even touching the rest of your camera. Together, they’re known as the Exposure Triangle, because they control how much light you’re exposing the camera to (aperture), how sensitive the camera is to that light (ISO), and how long your exposure lasts (shutter speed).
For some help calculating the depth of field for your chosen camera, aperture setting, and focusing distance, you can use Simple DoF on iOS or DoF Calculator for Android.
Coming from the International Organization for Standardization, ISO (it’s not an acronym) describes the light sensitivity of your camera’s sensor set against a common standard. It was originally known as “film speed,” as it was a static measure of the amount of light a given type of film could absorb, but in modern digital cameras ISO can be adjusted up and down. Higher ISO means a brighter image, which is achieved by digitally amplifying the information collected during exposure. It’s an imperfect process that generates errors, which become apparent in your pictures as discoloration and noise — the unattractive speckling effect you usually see in low-light photos.
The quality of your camera’s sensor and noise-reduction processing will affect the maximum ISO at which you can produce images that are still worth using. From among the cameras we’ve tested ourselves, Canon’s 5D Mark III and Nikon’s D4 are the best in that respect. They can shoot at ISO 12,800 the way most cameras perform at ISO 1000, allowing you to keep shooting in significantly lower light.
AS BRUCE DICKINSON MIGHT SAY, I’VE GOTTA HAVE MORE LIGHT!
Measured using the horribly confusing f-number scale, the aperture is another dead-simple setting saddled with obtuse nomenclature. Basically, most lenses have the ability to constrict the light that passes through them using an internal element (called a diaphragm), which can be extended and retracted using controls on the camera. If you want more light in your image, you pull that diaphragm back as far as it goes, or if you need less, you extend it and limit the incoming rays to a narrower, more focused hole. Aperture, therefore, is just a relative measure for the diameter of your lens opening. Lower f-numbers indicate a wider aperture, with f/2.8 and below being the extremes, while higher ones signify that more light is being blocked.
One side effect of a wide-open lens is that it lets in a lot of unfocused light rays. The result is a shallow depth of field, meaning anything in front of or behind the area on which you’re focusing will appear blurry. Wide aperture settings tend to constrict the in-focus area to a razor-thin sliver, particularly on nearby subjects, giving you the much-desired soft background “bokeh” effect.
When you want a larger focus, the obvious countermeasure is to tighten up the aperture to f/8 or narrower — it bundles up the incoming light into a more focused beam, which will result in greater depth to your focus area. The most extreme depth of field effects are the exclusive preserve of large-sensor cameras; you simply can’t achieve the same defocusing effect with smaller sensors, which retain a generous in-focus depth even at f/1.4.
Shutter speed controls how long the camera spends collecting light, as opposed to ISO and aperture, which direct how much light is absorbed at once. It’s measured in fractions of a second, so a shutter speed of 1/125 means the shutter is open for one 125th of a second. Higher shutter speeds mean the camera captures a shorter period of time, which is key for getting blur-free action shots, while lower speeds allow you to soak up more light, albeit at the risk of blurry results if your camera and subject aren’t still.
Of course, you don’t always have to fear motion blur. Strap your camera to a tripod and you can exploit the blur to your advantage — that’s how the pros create those pictures of highways decorated by streaks of light or waterfalls that look like they’re composed of cascading wisps of smoke instead of frozen drops of water. Most of the time, you’ll want to match your settings to your circumstances, but it’s also good fun to sometimes start with a given set of attributes and rearrange your scene to match them.
Other features that matter
The trifecta above represents the most important controls on your camera, but there are other attributes you need to be mindful of in the pursuit of the best image quality.
You can tweak your settings as much as you like, but without a truly sharp piece of glass to filter light through, your pictures will never look their best. The distinction between sharpness and softness in imaging is one of detail: sharp photos retain a clear separation between edges and colors right down to a pixel level.
Unfortunately, nobody has yet invented an easy metric for quantifying lens quality, so you won’t be able to simply walk into a store and order up the Superlative Edition of your favored lens. Part of the problem is that lens performance varies both with aperture and zoom level. The sharpest lenses at f/4 are typically f/1.8 or f/1.4 lenses that have been pulled back from their highest setting. Similarly, lenses start to exhibit distortion at the extreme wide (16mm and lower) and telephoto (135mm and above) ends of their zoom range, which some cameras are able to automatically correct for with software.
LENSES ARE LIKE SUNSCREEN: ALL-IMPORTANT
There are a couple of easy guiding principles that can steer you in the right direction. First: construction materials matter. Canon’s L series of lenses and the higher end of Nikon’s Nikkor line are both built out of real glass on the inside and extremely robust materials on the outside. The kit lenses bundled with DSLRs and the non-removable lenses on cheaper cameras are made from plastic both on the inside and out, which makes them less reliable in the long term and less impressive when you come to review your results. That’s not a universal rule — there are some exceptionally good lenses with plastic optics — but generally, you’ll be able to tell a good lens by its considerable weight and durable feel.
The second point to remember is that prime lenses — those without a zoom function, whose focal length is fixed — tend to perform better than zoom lenses thanks to their simpler construction. For the absolute best results, you’ll want a camera capable of exchanging lenses, along with wide-aperture lenses at each of the most common focal lengths: 24mm, 50mm, 80mm, 100mm, and 200mm, for instance. That’s more than a backpack’s worth of gear to heave around with you (and quality glass weighs quite a bit anyway), so do it only if you’re unwilling to compromise a little sharpness for a lot more flexibility.
A common misconception is that shutter lag actually has anything to do with the shutter. Sure, there’s a minuscule delay between the instruction to open and the shutter actually opening, but the lion’s share of lag actually comes from the automated focusing and metering systems. Metering is where the camera judges how long it needs to expose the image for, while autofocus is a little more self-explanatory. Cameraphone makers have gotten wise to the fact that people want to see the picture taken the moment they press a button, so we now have phones that continuously refocus and re-meter the scene so as to be ready at a moment’s notice. Samsung even features a “Best Shot” feature on the GS4, which takes a dozen photos while you’re focusing and firing and then chooses the best one automatically.
Every phone and camera maker is trying to dodge the problem of focusing speed, but the only true solution is more focusing points on your camera combined with a faster focusing motor for the lens. The reliability and speed of autofocus, particularly in low light, is one of the ways in which professional cameras still stand head and shoulders above the rest. Canon’s EOS 1D-X packs in a whopping 61 AF points, 41 of them of the more precise cross-type variety. Stick a fast-focusing lens on that camera and you can bid adieu to shutter lag.
STRAYING BEYOND 8 MEGAPIXELS IS OVERKILL FOR ALL BUT THE PROS
WHETHER OPTICAL OR ELECTRONIC, A GOOD VIEWFINDER IS WELL WORTH HAVING
If there’s one rule to follow in photography, it’s that bigger sensors mean better photos. That’s a generalization, of course, but it’s based on a very basic empirical truth: the bigger the photosensitive surface area, the more light is taken in at a time. Practical evidence for this is abundant, from the Nikon 1 series that disappointed everyone with its undersized CX sensor, to the Nokia Lumia 1020, the best cameraphone on the market largely thanks to its enormous 1/1.5-inch sensor.
Full-frame cameras derive their name from the size of their sensors, which match the “full frame” of 35mm film, and are predictably the professional’s favorite option. With a full-frame camera, a 24mm lens gives you exactly that focal length, whereas with smaller sensors, you’re subject to a crop factor that tends to turn everything into a slightly more zoomed-in version of itself (i.e. if the sensor is 1.5 times smaller than full-frame, as with Nikon’s popular DX format, you get 1.5 times the focal length; with a 24mm lens; that’d mean an effective focal length of 36mm).
Alas, price and sensor sizes scale rather proportionally, so medium format and full-frame cameras are usually outside the reach of most enthusiasts, which is why the most popular digital SLRs like the Canon Rebel T4i today feature the APS-C format. It’s a happy compromise.
Strictly speaking, a megapixel contains 1 million pixels, but it’s somewhat meaningless to know that your camera shoots 10 million pixels at a time. What you want to know, and what the megapixel count truly tells you, is how big you can make your image without having to enlarge it digitally (and suffer the resultant degradation in image quality). A 3-megapixel photo is more than dense enough to be printed out at the US standard 6- by 4-inch size at 300ppi, while 9 megapixels get you closer to a regular sheet of paper at the same density. Compromise a little on the pixel density, say down to 200ppi, and you’ll get massive printouts from a humble old 12-megapixel shooter. Now, there are no guarantees that the actual photo would look good — megapixel numbers only measure the number of data points recorded by the camera — but at least you’ll be able to do it.
Practically speaking, however, you’re not likely to need such huge images. Most digital imaging ends up being consumed on computer screens, and if all you need are new profile shots for Facebook even a solitary megapixel will suffice. If you’re shooting for billboards, murals, or other enormous photo sizes, you should get all the megapixels you can (like the whopping 36 from the Nikon D800) but for the average photographer, other specs matter far more.
VIEWFINDER / LCD
Optical viewfinders are a funny thing. Until you use one, you wonder why everyone bothers with the effort, then you get your first DSLR and suddenly you can’t live without one. Mirrors in SLR cameras reflect the exact image that will be imprinted onto the sensor through a sort of porthole atop the camera: that’s your viewfinder. Once again, the more expensive models offer a more luxurious experience, with the Canon 7D and Nikon D700 featuring bigger, more comfortable viewfinders than entry-level DSLRs. Electronic viewfinders (EVF) are getting much better and starting to compete, particularly in Sony’s line of single-lens translucent (SLT) cameras like the A77, and they offer helpful guides and more information to make your shot better anyway. It’s features vs. accuracy, and while the purists tend to stick with optical viewfinders, the electronic variety is catching up quickly.
If your camera doesn’t have a viewfinder, then you’d better make damn sure it’s equipped with a good LCD. You’ll be using it to both frame and review photos, so any shortcomings in terms of color fidelity or resolution can force you into a guessing game you don’t want to play. LCD resolution is measured in dots, with 230,000, 460,000, and 920,000 being the typical values. The more dots the better, obviously, but do take a moment to check out the quality of the screen as well. Sony and Samsung are using OLED displays in some of their latest cameras, which look fantastic. Touchscreens are finally starting to get good, too, from the tap-to-focus features on the Olympus PEN E-P5 to the completely touch-friendly Canon T4i — they’re not essential yet, but are increasingly a great thing to have.
Like a big-name actor who’s too important to sit in the middle of the cast list but not so crucial as to headline the show, the camera’s white balance (WB) gets a dedicated slot at the end. This is the function that everyone leaves on auto, which is why the majority of indoor pics on Facebook look yellow. In simple terms, cameras are a bit dumb. If you don’t tell them that you’re under incandescent lights (which cast a yellow hue), they won’t account for it and will try to balance the colors before them based on their presets. All modern cameras have a WB preset for artificial lighting, but only the more professionally inclined ones give you granular control over white balance and the ability to easily tweak it on the fly.
The best solution we’ve found for overcoming unnatural color tinging is to feed your camera a sample image. The majority of DSLRs now have the option to set WB by taking an image of something that you know is white under the particular lighting conditions you intend to shoot in. Thus, when the camera snaps a nice white sheet of paper under the lurid orange and violet lights of a trade show floor, it’ll calibrate itself to know that white looks a little different at that spot.
It was only a few years ago that video recording was considered a novelty in still cameras, but today HD video is a standard, and assumed, feature. Still, there are pitfalls to beware, such as a selection of cameras that will lock the focus and zoom when video recording starts (for example, the otherwise excellent Canon S95), significantly limiting your options. Reliable autofocus, in the cameras that are capable of it, remains a mirage. You’ll do well to learn to love manual focus if you want your videos to be free of the irritating focus jumps that cameras do when they get confused as to what you’re trying to film.
Cameras with larger sensors make capturing video a harder process compared to simpler point-and-shoots, owing to their greater sensitivity, bulkier bodies, and typically mechanical zoom and focus mechanisms. They give you more to worry about, as lens operation noises are often picked up by the integrated microphone. However they also provide access to a range of cinematic effects that smaller cams can’t touch. Want to start your movie masterpiece with a gorgeously circular bokeh that gradually comes into focus on your leading man? You’ll need something in the class of a Canon 60D with a wide-aperture lens to match.
FIGMENTS OF MARKETING IMAGINATION: DIGITAL ZOOM AND DIGITAL IMAGE STABILIZATION
Zoom is a simple concept — it’s how close you can get to whatever you’re shooting without having to physically move closer — but it’s not always obvious what you’re really getting. The actual x-multiple of your zoom is much less important than the angle measurements at the widest and closest settings, which measure how much you can fit into your photo. A camera that starts at 28mm and has 10x zoom will ultimately get closer (280mm) than one that begins at 24mm (240mm when zoomed in), though the tradeoff is a slightly smaller field of view when you’re zoomed out. If you want to be as close as possible to your subject, the most important number is the telephoto angle — more so than the x-multiple.
But be warned: cameras with huge zoom tend to be hard to hold steady when zoomed in, so getting sharp photos might be tough even with the best image stabilization. Additionally, as we’ve mentioned, great zoom comes with image quality dropoffs — lens makers have to compromise on something, so if you’re going after a massive zoom range, it won’t deliver sublime images the way a fixed focal length might.
When it comes to zoom operation, fixed-lens cameras have the upper hand. They usually have powered zoom mechanisms, allowing you smooth control at the press of a button. Interchangeable lenses are more fiddly for the newcomer, as their zoom is usually (but not always) controlled mechanically with a ring around the body of the lens. That gives more granular control to those who want it, but can be off-putting to the casual user.
Finally, do yourself a favor and ignore the very idea of a “digital zoom.” It’s done either by enlarging the picture (and reducing its quality) or cropping down to a smaller area of the sensor, both of which you can do much better with dedicated post-processing software on your computer — a few phones like the Lumia 1020 offer clever ways to zoom and re-process on your device, but they can’t match Photoshop or even your average desktop viewer.
As with digital zoom, digital image stabilization (IS) is more of a marketing ploy than a useful feature. The optical stuff, however, is a whole other story. Lenses with optical IS are equipped with internal elements that move in the opposite direction of any small movements you make, steadying the image that arrives onto the sensor. Nikon’s “Vibration Reduction” is particularly effective, allowing you to shoot at two or three steps slower shutter speed than you usually would be able to without motion blur. For example, if 1/40 shutter speed is your floor before you start seeing blurring on a regular lens, its VR version will move that down to 1/25. Canon’s version of this is called the “Optical Image Stabilizer,” Panasonic’s is “MegaOIS,” and virtually every other camera and lens maker has its own variety too.
Sony and Olympus have made a habit of building image stabilization right into the body of their DSLRs, simplifying lens design and reassuring users that all of their lenses will be stabilized. Ultimately, whichever system you choose, each serves the purpose of reducing the deleterious effects of unintended motion and should be considered highly desirable in a camera. If you’re going after a shooter with a long telephoto zoom, optical IS should be the first thing you look for.