RSS
 

Posts Tagged ‘Buying’

A Beginner’s Guide to Buying a Camera (2021 Edition)

16 Aug

The post A Beginner’s Guide to Buying a Camera (2021 Edition) appeared first on Digital Photography School. It was authored by Jeremie Schatz.

a beginner's guide to buying a camera

Are you searching for your first real camera? Do you want to know what to look for and how to choose?

In 2021, you have plenty of options, but talk of megapixels, mirrorless technology, viewfinder type, and other technical terms can get very confusing, very fast. That’s why, in this camera buying guide for beginners, I’m going to break it all down for you.

Specifically, I’m going to cover the different types of cameras and the key features to look for, plus I’m also going to share some simple tips for getting the right model for your needs.

Let’s dive right in.

Price

camera with money

Brace yourself: High-quality photography equipment often requires a significant investment.

All cameras cost money, and sometimes lots of it – so determining your budget is a good place to start.

In my experience, the easiest approach to camera budgeting is to come up with a narrow price window. If you think you want to spend under $ 1,000 USD, you’ll be overwhelmed with choices, but if you aim for the $ 800-$ 1,000 range, your options will be much more manageable.

While you’re mulling over your camera budget, consider what other accessories you may need or want. Don’t blow your entire budget on a camera body with no lens. And depending on the type of photography you plan to do, you may want to acquire a tripod, external flash, extra batteries, and memory cards.

Types of cameras

Now that you’ve (hopefully) determined your budget, it’s time to figure out which camera type is right for you.

Generally speaking, you have four main options:

  1. Point-and-shoot cameras
  2. Bridge cameras
  3. DSLRs
  4. Mirrorless cameras

many cameras in a group

Point-and-shoot cameras are compact and convenient. In general, they’re designed for beginners, and they feature automatic modes for easy, no-knowledge-required photography. Unfortunately, the lenses are built in and non-interchangeable, though they usually cover a wide zoom range. Quality-wise, point-and-shoots run the gamut from cheap and uninspiring to pro-level compacts.

Bridge cameras take the point-and-shoot concept and kick it into high gear; while bridge cameras don’t offer interchangeable lenses, they do offer more control over camera settings, along with larger grips, improved ergonomics, and more rugged bodies.

DSLRs are the classic, fancy-looking cameras with all the buttons and big lenses. Lower-end DSLRs offer good image quality and give users a ton of control, while higher-end DSLRs include an array of advanced features, such as lightning-fast continuous shooting, complex autofocus tracking, and an ultra-rugged frame. You’ll find a mind-boggling assortment of lenses and flashes, as well as a myriad of other gadgets for all sorts of creative effects.

Mirrorless systems are all the rage these days, packing the features of DSLRs into smaller bodies. They offer a great compromise of quality and versatility, and thanks to advances in mirrorless sensor technology, many photographers view mirrorless as the future.

Of course, at the end of the day, none of these camera types are obviously best – rather, they’re good for different users and different types of photography. Choosing a camera type is about recognizing what you want to photograph and how you want to photograph it, rather than grabbing the option with the flashiest features.

So if you’re after an ultra-compact model designed for beginners, I’d suggest picking a point-and-shoot camera, especially if you don’t ever plan on moving past the basics. On the other hand, if your goal is to do serious photography, an entry-level DSLR or mirrorless camera is probably best; these cameras offer excellent image quality at a reasonable price.

Of course, if money is no object, you might consider purchasing a high-level DSLR or mirrorless camera, though these models mainly distinguish themselves in terms of high-level features that you may not have much use for, so think long and hard before you spend thousands on a body like the Sony a7R IV.

Sensor

Once you’ve picked the perfect camera type, you’ll need to understand how to compare different sensors, which vary in three key ways:

  1. Size
  2. Resolution (megapixels)
  3. High-ISO capabilities

Let’s take a closer look at each characteristic in turn:

Sensor size

buying a camera with a sensor

The bigger the sensor, the better the image quality (all else being equal). For this reason, big sensors tend to be pricey, and they also tend to make their way into the hands of professionals rather than beginners.

In fact, the largest consumer sensors are known as full frame and are the size of a 35mm film negative. But the majority of cameras on the market pack sensors smaller than full frame; these are usually referred to as cropped, or APS-C. Then there are smaller sensors still, known as Four Thirds, and even smaller sensors (though once you get below Four Thirds, you’ll be looking exclusively at compact and bridge cameras).

If capturing sharp, clean images is your main goal, then I’d recommend purchasing a Four Thirds sensor at the very least (and I’d urge you to consider APS-C and even budget full-frame options). That said, larger sensors do correspond to larger camera bodies, so a smaller sensor is a tradeoff worth considering, especially if you plan to travel frequently or you like the idea of carrying a camera around in your pocket.

Note that larger sensors often offer more megapixels, the importance of which I discuss in the next section:

Resolution (megapixels)

These days, high-megapixel cameras are all the rage. You have cameras like the Canon EOS R5 and the Nikon Z7 II packing 45 megapixels, the Sony a7R IV reaching to a whopping 61 megapixels, and talk of an 80+ megapixel model from Canon.

But what do all those megapixels get you? Two things: big prints and cropping latitude.

In other words, a 61 MP camera will let you produce gigantic prints with tons of detail, or it will let you crop in on your subject for a magnified view.

Unfortunately, higher megapixel counts do come with several significant drawbacks. For one, more megapixels tend to reduce high-ISO capabilities so that you’ll capture noisy, messy images in low light. Also, resolution is directly correlated with file size, so you’ll fill up your memory cards and computer hard drive much quicker with a high-resolution camera.

Before you go out and buy that 40+ megapixel camera, ask yourself: do I really need that many megapixels? Sometimes it pays to skimp!

camera memory card

High-megapixel cameras come at a price: they eat up storage on your memory cards and hard drive.

High-ISO capabilities

Some cameras can shoot at ISO 3200, ISO 6400, and beyond without producing significant noise, whereas others struggle to produce usable images past ISO 800.

Here, the difference is partly a function of size, where larger sensors offer better low-light performance, but also a function of sensor technology, where certain sensor types (often found in the most expensive cameras) outperform others.

Unfortunately, it’s difficult to determine a camera’s high-ISO capabilities from its specification sheet alone, so it’s important to read hands-on reviews before purchasing any particular model, especially if low-light photography interests you.

Lens quality (and lens selection)

A sensor is only as good as the lens you put in front of it. If your lens is blurry, then you could have the best sensor in the world, but your photos will turn out blurry, too.

If you’re aiming to purchase a point-and-shoot or bridge camera, compare the zoom range of different models. Ask yourself: How much zoom do I need? Some lenses cover huge ranges and can therefore handle many genres of photography from landscapes to birds and everything in between. Other lenses feature more limited zoom ranges, which might be fine or might become an issue, depending on your interests.

camera lens

With DSLRs and mirrorless models, you must purchase at least one lens – otherwise, your camera can’t capture photos. Fortunately, the lens options are nearly endless, and there are lenses for pretty much every photographic genre, from portraits to street to wildlife and beyond. Many cameras are offered as kits that come with the camera body and lens. These “kit” lenses are usually lower quality but can certainly produce good results.

Some lenses are more expensive than others, based on several main factors: they let in a lot of light, for one, and they produce very sharp, undistorted images. They also might feature longer focal lengths or large zoom ranges and are often built to more exacting and durable standards.

Really, choosing the perfect lens is often as hard as choosing the perfect camera. As a beginner, though, it often makes sense to start with a kit lens, spend time developing your photographic interests, and then upgrade to more specialized lenses as needed.

Additional key features

Up until this point, I’ve focused on the camera essentials – the characteristics that you should always think about before picking a camera.

But there are plenty of additional features worth considering, depending on the genres that interest you. In this section, I’ll highlight a few of the big ones, starting with:

Autofocus and drive speeds

If you want to photograph action – sports, wildlife, or birds – then you need a camera with advanced autofocus and high continuous shooting speeds.

Look for models that feature complex tracking algorithms (e.g., human or animal eye AF). Also look for 10+ frames per second, as well as a deep (50+ frames) buffer.

Durability

Some cameras are built to last, whereas others struggle to handle a light rain.

If you plan to shoot most of your photos indoors, durability may not matter to you. But if you’ll be capturing landscapes, wildlife, sports, or even outdoor events, the more weather-sealed your camera, the better.

Ergonomics and handling

Some cameras are comfortable to hold plus they’re easy to operate, thanks to helpful features such as fully articulating screens, touch functionality, and autofocus joysticks.

man with a camera pointed upward

For each camera you consider, make sure to look carefully at the specification list. If there’s a feature you desperately want – such as a fully articulating touchscreen – make sure you grab a camera that includes it!

Other

Here’s a long list of other features worth considering:

  • Wireless connectivity
  • Built-in flash
  • Hot shoe (for an external flash)
  • Dual memory card slots
  • Image stabilization
  • RAW file support
  • Video capabilities (HD, 4K, etc.)
  • External microphone support
  • Shooting modes (for creative effects)
  • Battery life
  • Weight

Guide to buying a camera: final words

Buying a digital camera can be intimidating, and it often feels like the choices never end. Hopefully, this article has offered you some clarity – and you’re now ready to make your first camera purchase.

Also, it’s important to remember: While camera choice does matter, pretty much every model out there is capable of great shots. So don’t stress too much!

camera silhouette at sunset

The post A Beginner’s Guide to Buying a Camera (2021 Edition) appeared first on Digital Photography School. It was authored by Jeremie Schatz.


Digital Photography School

 
Comments Off on A Beginner’s Guide to Buying a Camera (2021 Edition)

Posted in Photography

 

What you need to know before buying your first lens

27 Jun

Updated June 2021

A camera is nothing without a lens, and while the bundled ‘kit’ lenses sold with many interchangeable lens cameras (ILCs) are good enough to get started, they’re quite limiting. If you want to explore the full potential of your camera – and your own creativity – you should consider adding another lens or two to your collection. But with a bewildering variety of lenses out there, how do you know which ones are right for you?

In this guide we’ll lead you step-by-step through the process of understanding the different kinds of lenses available, and choosing the right one for your needs.

Lenses and sensors

Lenses themselves know nothing of the sensor mounted behind them, but different sized sensors change the visual impact of the lens (specifically the focal length and aperture) on the final image.

Among interchangeable lens cameras today there are three commonly-used sensor sizes: Four Thirds, APS-C and full-frame. The examples given in the rest of this article are lenses designed for full-frame bodies but we’ll also discuss what impact sensor size will have.

How are lenses named?

Looking at the lens pages on manufacturers’ websites can be a little intimidating for a budding photographer. Lens names often include long lists of letters and numbers, which certainly sound impressive but can also be thoroughly confusing. Luckily you can safely ignore most of them to start off with, and concentrate mainly on just a few factors:

  • Focal length – this defines how wide or zoomed-in a view the lens provides
  • Aperture – expressed as ‘F’ or ‘f/’ this describes how much light the lens can gather and its ability to blur the image background
  • Image Stabilization – some lenses include optical stabilization units to counteract the blurring effects of hand shake
  • Format – describes the sensor size the lens is designed to work with
  • Lens mount – determines whether the lens will physically fit your camera

We’ll look into each of these in more detail below.

Focal length

The first number used to describe a lens is its focal length; in combination with the camera’s sensor size, this defines the angle of view covered by the lens, with smaller ‘mm’ numbers indicating a wider angle or more ‘zoomed out’ view. Zoom lenses are named using two numbers which indicate the extremes of the range, for example 24-70mm for a typical kit zoom lens. Fixed focal length lenses which don’t zoom (also known as ‘prime’ lenses) just have a single number (e.g. 50mm).

Here, we can see this lens’ key specifications expressed in terms of its focal length span (‘zoom range’) which is 18-35mm, and its minimum aperture range, which is F3.5 at 18mm, and F4.5 at 35mm.

The image below shows how the angle of view varies with focal length. In this instance it shows the effect of these lenses mounted on a full-frame camera. The same focal length lenses, mounted on a smaller, APS-C sensor would give a narrower, more cropped-in angle of view, and an even narrower coverage if mounted on a Micro Four Thirds format camera.

The effect is as is as though you’ve ‘zoomed’ the lens, but instead you’ve only magnified a smaller portion of its projected image. As a result, the focal lengths that are useful on one sensor format will differ from those that you’d use for the same purpose on another sensor.

Illustration showing the coverage given by a series of popular focal lengths. These are shown for a full-frame sensor; each would cover a smaller area if used with an APS-C or Four Thirds sensor.
Lens type
35mm ‘full-frame’
 APS-C / DX Four Thirds
Ultra wide angle 24mm and wider 16mm and wider 12mm and wider
Wide angle 28mm 18mm 14mm
Standard (Normal) 50mm 30mm 25mm
Telephoto 80mm and longer 55mm and longer 42mm and longer

For the sake of convenient comparison, lenses are often referred to by their ’35mm equivalent’ focal length; for example a 18-55mm kit lens for APS-C may be described as a 28-90mm equivalent. This means simply that an 18-55mm lens on an APS-C format camera covers the same angle of view as a 28-90mm lens does on a full-frame camera.

Aperture

The aperture specification of a lens describes how much light it is capable of gathering. Aperture simply means ‘hole’; in this context, the hole that lets light pass through the lens and onto your camera’s sensor.

Lens apertures can be expressed in several different ways, with F4, f/4, 1:4 all meaning the same thing. Confusingly, a smaller number means the lens has a larger maximum aperture – a bigger hole – and therefore can gather more light; an F2.8 lens collects twice as much light as an F4, for example.

‘Whole stop’ Aperture values
F1.4 F2.0 F2.8 F4.0 F5.6 F8.0 F11 F16

This table lists the common aperture values that are one ‘stop’ apart: each value lets in twice as much light as the one to its right.

A lens with a larger maximum aperture allows you to shoot in lower light, and (for example) take pictures indoors without using flash. Wide apertures also give decreased depth of field (i.e. how much of the picture in front of and behind the focus point appears sharp), which is an important aspect of creative photography.

Longer lenses give less depth of field for the same aperture, when focused at the same distance. And, because you need a shorter focal length to get the same image framing on an APS-C or Micro Four Thirds camera, you’d need a larger aperture if you want to achieve the shallow depth of field you’d get on a full-frame camera.

A large aperture such as F1.4 gives a shallow depth of field, blurring backgrounds and foregrounds to isolate a subject in a picture. The 24mm F1.4 used to take this picture also allows you to shoot indoors in low light without having to resort to flash.

It’s worth noting that lenses are usually described by their maximum aperture value. When you see an aperture range written on the side of a lens (e.g. F3.5-5.6), those are the maximum aperture values at the wide and long ends of its zoom range, respectively. You can usually reduce the size of the aperture if you need more of your image to be in focus.

Image stabilization

Image stabilization increases the amount of sharp images you get by correcting vibration caused (usually) by natural hand-shake when shooting without a tripod.

In-body stabilization (where the camera’s sensor moves to counteract accidental movement) is increasingly common, but many lenses offer their own stabilization mechanisms to compensate for shake. In-lens stabilization is especially effective when using long telephoto lenses, where in-body stabilization is generally not as effective. Many cameras can use in-lens stabilization in conjunction with their in-body systems, to provide a greater degree of correction.

Image stabilization systems reduce the blur caused by camera shake, allowing sharp pictures to be taken even in low light, at long focal lengths or at high magnifications.

If you own a camera that doesn’t have stabilization built into the body, you’ll probably want to consider buying stabilized lenses, especially when it comes to telephotos.

The various lens manufacturers all call lens-based optical image stabilization by different names, with corresponding initials in the lens names, so here’s what you need to look out for when buying:

  • Canon – Image Stabilization (IS)
  • Fujifilm and Panasonic – Optical Image Stabilization (OIS)
  • Nikon – Vibration Reduction (VR)
  • Sony – Optical Steady Shot (OSS)
  • Sigma – Optical Stabilization (OS)
  • Tamron – Vibration Control (VC)

Format coverage

Having said that sensor format has a significant impact on the way lenses behave, it’s also worth considering that some lenses only work on certain sensor formats. In several instances, camera makers use the same mount for their APS-C and full-frame cameras. In most of these situations, full-frame lenses will work on the smaller APS-C models, but APS-C lenses end up restricting full-frame cameras to a cropped APS-C mode.

Some photographers start with an APS-C camera and then buy full-frame compatible lenses for it, to lower the amount of money they have to spend if they later buy a full-frame camera that uses the same mount. In general, we’d advise buying lenses that suit your needs now, rather than ones that may better suit a camera you don’t yet own.

Lens mounts

Each camera maker uses its own proprietary lens mount, meaning that lenses can’t be swapped across brands; a Canon lens won’t fit on a Nikon body, for example, and you’ll cause damage to both lens and camera if you try. The two exceptions are Micro Four Thirds, which was developed jointly by Panasonic and Olympus, and L-mount, a full-frame collaboration between Leica, Panasonic and Sigma.

Most companies are now focusing their efforts on their Mirrorless camera mounts, so this is where the newest and most advanced lenses are emerging. Many DSLR-mount lenses can be adapted to work on the mirrorless cameras made by the same brand (older designs are less likely to offer a full range of functions) but lenses for mirrorless cameras cannot be used on DSLRs.

Mount Mount type Sensor formats Notes
Canon EF DSLR

• Full-frame
EF-S DSLR

• APS-C

 Canon EF-S lenses cannot be mounted on full-frame DSLRs but other brands’ EF-mount APS-C lenses can.
EF-M Mirrorless

• APS-C

 EF and EF-S lenses can be adapted to work on EF-M cameras
RF Mirrorless

• Full-frame

 Most EF-mount lenses work well on RF mount via an EF/RF adapter.
Four Thirds
• Olympus
• Panasonic		 Micro Four Thirds Mirrorless • Four Thirds
Fujifilm X Mirrorless • APS-C
L-Mount Alliance
• Leica
• Panasonic
• Sigma		 L Mirrorless

• Full-frame
• APS-C (TL)

 Only Leica has made TL-mount (APS-C) cameras and lenses.
Nikon F DSLR

• Full-frame
• APS-C (DX)

 F-mount was modernized over many decades but only relatively modern ‘AF-S’ designs offer AF when adapted onto Z-mount cameras
Z Mirrorless

• Full-frame
• APS-C (DX)
Pentax K DSLR

• Full-frame (FA)
• APS-C (DA)

 As with Nikon, there are variants of the K mount, but most lenses work with the latest DSLRs
Sony E Mirrorless

• Full-frame (FE)
• APS-C (E)

 Other lens makers use ‘E’ for both APS-C and full-frame lenses, so it’s worth checking which format they cover

A number of third party manufacturers, including Tamron, Tokina and Sigma make lenses for other makers’ lens mounts, with the older DSLR mounts benefiting from the widest support. Sony allows some third-parties to make lenses for its mirrorless E-mount system but Nikon and Canon have, so far, been protective of their new Z and RF mounts, meaning there are fewer third-party options available.

Zoom vs. Prime

Zoom lenses have become almost ubiquitous over the past few years, and at first sight buying a lens which is restricted to a single angle of view might seem pointless. But prime lenses still have some very real advantages; compared to zooms they tend to be smaller and lighter, have faster maximum apertures, and give sharper, cleaner images. These factors make them extremely useful for specific purposes, for example low light shooting or blurred-background portraiture where a large maximum aperture is advantageous.

Almost counterintuitively, the restrictive nature of using a single focal length can encourage creativity by forcing you to visualize your composition before you shoot. Shooting with primes forces you to think more about what you want to include and exclude from your photo and also makes you consider where you’re standing, and the impact this has on perspective in your image. For instance, a long focal length, shot from a distance can compress your subject and the background, whereas a wide-angle lens placed near your subject will exaggerate the distance between it and the surroundings.

Fixed focal length ‘prime’ lenses are often much smaller and lighter than zooms covering the same angle of view. This is Nikon’s Z-mount 35mm F1.8 lens alongside its standard 24-70mm F2.8 zoom – the size advantage is obvious.

Some popular lens types

Standard zoom

A standard zoom is a general-purpose lens that covers a range of focal lengths from wide-angle to moderate telephoto. The most obvious example is the kit lens that came with your camera (generally something like an 18-50mm for APS-C or a 24-70mm for full-frame). It offers versatility but can become limiting when you find yourself wanting to get more creative. The kit lens can be upgraded to an optic with more range or a faster F2.8 maximum aperture, with better optical performance, like the Canon RF 24-70mm shown F2.8 below.

Most manufacturers offer general-purpose upgrades to their kit lenses with expanded zoom ranges suitable for a wide range of subjects, such as this Canon RF 24-70mm F2.8.

Telephoto zoom

Often the second lens that photographers buy, a telephoto zoom effectively allows you to ‘get closer’ to your subject by enlarging it within the frame. It’s therefore useful for photographing such things as sports, wildlife, distant nature scenes, or children running around playing. By narrowing your field of view, a long lens can have the effect of compressing your subject and background, often making it appear as though the background is magnified and closer to your subject.

Telephoto zooms such as this Nikon Z 70-200mm F2.8 S allow you to zoom in on your subjects and compress them against the background.

Superzoom

Superzooms are all-in-one lenses which cover a full range of focal lengths from a moderate wide-angle to long telephoto. In one package they combine the range of the kit zoom that came with the camera, plus that of a telephoto zoom, and therefore make perfect general purpose travel lenses. The technical image quality is often not quite as good as two separate lenses, and the maximum aperture tends to be small (a higher F-number), meaning worse low light performance and less ability to achieve shallow depth of field. However, for many users this is more than made up for by their convenience.

Superzoom lenses such as the Tamron 28-200mm F2.8-5.6 Di III RXD encompass a wide range focal lengths from wide-angle to telephoto, in a relatively compact single lens.

Wide-angle zoom

A wide-angle zoom extends the angle of view out beyond that captured with the standard zoom, allowing you to capture broad sweeping vistas or architectural wonders. It’s therefore a popular choice for landscapes, cityscapes, architecture, interior shots, and night- and astro-photography.

Wide zooms such as the Sony 16-35mm F2.8 pictured here let you fit more in the frame.

Macro lens

‘Macro’ is used to describe a lens with extreme close-focusing ability, which allows you to take photographs of small objects such as insects or flowers. Some zoom lenses use ‘macro’ in their name to indicate closer-than-usual focusing ability, but true macro lenses tend to have fixed focal lengths. In general, the longer the focal length, the further away you can be from your subject. (Nikon calls these lenses ‘Micro’ or ‘MC’ lenses instead, which is technically more accurate.)

Macro lenses like the Sigma 105mm F2.8 DG DN Macro allow you to shoot closeups in fine detail.

Fast prime lens

Fast prime lenses come in all focal lengths, from wide angle to ultra-telephoto, but what they share in common is the ability to capture a lot of light, blur backgrounds and offer high optical quality.

We’ve traditionally found 35mm (or the equivalent 23mm or 17mm on APS-C or Four Third sensors) to be a pretty good do-everything focal length, in terms of not being too wide or too zoomed-in. An F1.8 maximum aperture can give shallow depth of field and lets you work in low light without the need for flash, while remaining compact and lightweight. Wider-angle and longer focal length primes are also available, as are lenses with even faster maximum apertures (F1.4 and brighter) that typically offer higher quality optics, let you work in lower light and give even shallower depth-of-field to help isolate your subject.

A ‘fast’ prime, such as this Canon 35mm F1.8, can let you shoot in low light without flash, while isolating your subject against a blurred background. They are also typically smaller than zoom lenses.

Other lens features

There are a few other aspects of build and operation which you may wish to consider when buying a lens:

Autofocus

Autofocus performance can vary significantly between lenses, and autofocus performance can make a huge difference between capturing the perfect moment at a sports event or social occasion and having a frustrating photographic experience.

Mirrorless camera systems are still relatively new, and there’s a subtle interplay of optical design and focus motor that effects performance. For instance the ring-type ultrasonic motors that were great for focusing on DSLRs aren’t as well suited to focusing on mirrorless cameras, particularly for the smooth, subtle movements required for video autofocus. As such, it’s difficult to make generalizations, so it’s worth checking reviews of the lens you’re planning to buy.

Electronic manual focus (‘focus by wire’)

Many modern lenses have no physical connection between the focus ring and the focusing lens elements, as was the case in older SLR and DSLR lenses. Many cameras use this to provide speed-sensitive manual focus, where a quick turn of the focus ring results in a bigger focus jump than a slow movement. This lets you jump quickly to the part of the focus range you want, but can be awkward if you’re trying to manual focus while shooting video.

To get round this, some cameras offer a ‘linear’ focus response mode, where the focus always moves by the same amount in response to how much you turn the focus ring: letting you practice and anticipate the amount by which you need to turn the ring.

Manual focus lenses

Although modern autofocus is excellent, there is still a huge number of manual focus lenses on the market. These include designs optimized for shooting video and traditional, high-quality designs, through to unusual, specialist lenses that would be near-impossible to make autofocus along with the creations of small companies without the experience (or access to lens mount protocols) to manufacture AF lenses.

Ultra-wide angle lenses, tilt-shift lenses and some very expensive lenses designed to be mechanically simple but optically excellent are out there, and are worth considering.

Build quality and weather sealing

Premium lenses often include weather sealing. This can extend from an o-ring around the mount through to a series of seals at every joint, as with this Panasonic lens.

As a general rule, the more expensive a lens is, the better built it is likely to be. The kit lenses that come with cameras tend to rather lightweight and plastic in construction. If you spend a bit more, you can get something more durable. Some lenses incorporate environmental seals against dust and water; in general this tends to be towards the top end of the price spectrum, but Pentax and Olympus in particular offer a decent range of mid-priced sealed lenses.

System addict…

One last word. When choosing a camera system to invest in, it’s important to appreciate that the lens has just as great an impact on the image quality as the camera. Lenses tend to last longer than cameras too, becoming obsolete less quickly than bodies, so it can be worth spending a little bit extra to get the quality or flexibility you really want. But, while DSLR systems are much more extensive, most new lens development is focused on Mirrorless cameras, so these may prove more future-proof.

Bear in mind that most mirrorless lens systems are still only a few years old, so they may be missing the type of lens you want, for now. That said, the system with most options isn’t inherently any better than a smaller system that includes all the lenses you need.

Even if you don’t have a very specific application that needs specialized lenses (or other accessories) in mind, it’s worth doing some research before committing to one system or another. Oh, and once bitten by the lens buying bug, many enthusiasts find it hard to stop; you have been warned…

Glossary

Angle of view – Describe the view offered by a lens, measured as the angle between the furthest extremes of the lens’s coverage. If this is confusing, imagine the view in front of you as a semicircle of 180 degrees: a ‘wide-angle’ lens can see a bigger segment of the semicircle than a ‘long’ (telephoto) one.

Depth of field – This describes how much of the scene in front and behind the point of focus appears acceptably sharp. An image with shallow depth of field leaves the background (and foreground) appearing blurry and out-of-focus. An image with deep depth of field contains a greater amount (depth) of sharp detail.

Fast / slow lens – An informal way of describing a lens’ aperture in terms of its relation to exposure time. ‘Fast’ lenses have large maximum apertures (low F-numbers), which allow the use of shorter, ‘faster’ shutter speeds. ‘Slow’ lenses have smaller maximum apertures, and typically require longer, ‘slower’ shutter speeds.

Focal length – Expressed in millimeters, focal length describes the angle of view of a lens. Telephoto lenses have a long focal length, and wide-angle lenses have a short focal length. The longer the focal length, the narrower the angle of view and the more zoomed-in it appears.

Long / wide lens – A way of describing the field of view offered by a lens. Long lenses are more zoomed-in, while wide lenses are zoomed-out and capture a wider angle of view.

Micro Four Thirds – A mirrorless system founded by Panasonic and Olympus, based around a 17.3 x 13mm sensor (224 sqmm) format known as Four Thirds. The system allows some very compact camera/lens packages, particularly for very long telephoto lenses. This system includes some high-end video cameras.

APS-C – A common sensor format used by interchangeable lens camera manufacturers. APS-C format sensors measure around 24 x 15mm (~360 sqmm), and this format offers a balance of image quality, size and price in between Four Thirds and ‘full-frame.’

Full-frame – A sensor format the same size as a frame of 35mm film – the dominant film format of the 20th and early 21st Centuries. Measures 36 x 24mm (864 sqmm), giving a significant image quality benefit compared to smaller formats, but resulting in larger, more expensive camera/lens combinations. Despite the name, sensor larger formats do exist, in sizes known collectively as ‘medium format’.

Prime lens – A lens with a fixed focal length, which cannot zoom in or out. A technical term not to be confused with Amazon Prime.

Zoom lens – A lens whose field of view (described in terms of focal length) can be adjusted, allowing you to zoom-in or out on a subject, to achieve a different composition without changing your position.

35mm / full-frame equivalent – A way of understanding the characteristics of a lens when used on a non-full-frame camera by relating it to the 35mm film format that’s familiar to many photographers. Most commonly used in reference to focal length: e.g a 28mm lens on an APS-C camera is equivalent to a 42mm lens on a full-frame camera.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on What you need to know before buying your first lens

Posted in Uncategorized

 

Tips for Buying Used Camera Gear

05 Feb

The post Tips for Buying Used Camera Gear appeared first on Digital Photography School. It was authored by Tom Mason.

tips for buying used camera gear

If you’re shopping on a budget, then buying used camera gear is a great idea.

Modern digital cameras are updated on a regular basis, so the used market is full of cameras looking for a new home. Used cameras are a great way to upgrade your gear without breaking the bank (and they often offer fantastic value for the money, too).

But when looking at secondhand gear, not all of it will be up to scratch. Not everyone cares for their gear, so you must exercise consideration and caution.

Below are some pointers to make sure you get the best bang for your buck when buying used gear. That way, you can update your cameras, lenses, and accessories for a fraction of the original price!

buying used camera gear tips

Buying used cameras

Cameras are complex machines, so there are a few key indicators to look for when shopping for a secondhand body.

Shutter count

The shutter count of a camera is simply the number of times the shutter has been fired in its lifetime.

(The shutter count is also known as the number of shutter actuations.)

Generally, the shutter count will give you a great indication of the amount of use a camera has seen, similar to checking the mileage on a car. Cameras are rated for shutter durability, with enthusiast models often rated around the 150,000-shot mark, and professional models rated at 300,000 shots or higher.

When browsing, low shutter counts often indicate less heavily-used items. Fewer than 10,000 shots on a camera that is 2-5 years old is very low, with the normal amount being around 30,000-50,000.

If a camera has a very high count of 100,000 or more, it’s probably best avoided, especially because this number will also give you a little insight into the owner’s use of the camera. Higher-count cameras may have seen professional use (and a harder life), while lower counts indicate casual consumer use.

So how do you find out a camera’s shutter count?

The number is often provided when cameras are being sold secondhand. But if you’re not sure, you can find it out a few ways, depending on the model. Check out this article for guidance: Finding Your Camera’s Current Shutter Actuations.

Camera checks

When looking at a used camera, there are a few things you can check to get a better understanding of its condition.

First, remove the body cap and inspect the inside of the camera around the mirror, focusing screen, and lens contacts. Look for any signs of damage, oil, or gunk that has collected in these areas.

Inspect inside of body used camera gear
Inspect inside the camera, paying special attention to the mirror and focusing screen; look for any sign of oil or residue.

Oil can indicate that the mechanisms of the internal parts are not functioning correctly, sometimes due to the camera being bumped or dropped. Look for any oil around the sides of the internal section. A small flashlight can be a big help here.

Remember to hold the camera face-down as much as possible to reduce the risk of contamination from dust and dirt.

Hold downward used camera gear
When inspecting a camera, try to hold it face down.

If you have a lens on hand, it’s worth taking a test shot to look for any issues with the sensor.

Set the camera to f/16 to f/22, point it at a bright subject (a white wall or the sky), and shoot a frame. Play the image back and zoom in on the LCD screen to look for any marks and scratches.

Dust spots are not a huge problem, as a simple sensor clean can take care of them. But lines can be evidence of a scratch on the sensor (which means that the camera is best avoided).

example of sensor test shot
What to look for in the test shot.

General wear and tear

Of course, it’s also important to look for any external signs of damage. Small scratches, scuffs, and marks should be expected, but heavy blemishes can indicate that the camera has been dropped. Rubber grips often start to come off with heavy use, but these can be replaced at a low cost.

Body outside used camera gear
Outside grips often become worn and unglued. As long as there are no signs of a drop, these are a simple and cheap fix.
Check LCD used camera gear
Remove any protective screens or filters to look at the true body and lens in order to assess the damage.
Inspect external body when buying used camera gear
Look externally for any signs of bumps and scrapes. Often, cameras will have a few marks, but major dents may be evidence that the camera has been dropped.

Buying used lenses

Camera lenses are expensive, so secondhand options are a great alternative to buying new.

Once again, however, there are a few things to look for when making a purchase.

Lens blemishes

When inspecting a lens, you’ll want to check both the external and internal optics.

Externally, look for any scratches or chips on the glass. Tilting the lens toward the light can help you make sure the optics are in great condition.

Note that, even if a lens has a front filter, it may not be optically perfect. So unscrew the filter and check the true front element to be sure.

Lens wear tear used camera gear

Often, lenses will show signs of wear on their focus or zoom ring and the external barrel. Simple rubbing is normal and isn’t usually a concern.

Moving on, inspect internally for dust and mold. Shine a small light inside the lens and look for any particles. Most lenses will have small dust spots, but look for any large patches or seemingly smeared areas, as these will indicate whether the lens has any fogging or other internal issues.

Check lens optics when buying used camera gear
Look through the optics to ensure they are clear of dust and mold.
Dust lens used
Heavy dust and mold in a lens are to be avoided. The hundreds of particles inside this lens offer a perfect example of what not to buy.
Inspect the inside of the lens when buying used camera gear
Using a small flashlight, inspect inside the lens, paying particular attention to the aperture blades. Any evidence of oil may indicate the lens is functioning less than perfectly.

Aperture blades

On the rear of the lens, you’ll find a small lever that you can push to open the aperture blades. Do this, and check if the blades are snappy and without any stickiness that could be a sign of collected oil.

Check aperture
Using the lever, you can manually operate the aperture for a better sense of the lens’s functionality. Check that the aperture blades are snappy when they open and close.

Look through the lens with the iris fully open, once again checking for any particles or oil spots.

Open aperture of the lens
Open up the lens’s aperture to aid inspection.

Sharpness

Check the lens sharpness using a test chart. These patterned charts are easy to find online, and they can be stuck on a wall and used to quickly evaluate a lens.

Here’s how it works:

Mount the lens on a camera, then put the camera on a tripod. Focus on the test chart, then fire the camera using a remote release or the self-timer (to make sure you don’t create any camera shake).

Check the shots on your camera LCD (or, if you can, on the computer). Zoom into 100% to be sure of focus. Of course, some cameras and lenses will need fine in-camera adjustments for perfection, but any wildly unsharp tests may indicate a lens has been dropped or is out of alignment.

It’s also a good idea to test the full aperture range and look for sharpness from edge to edge. Even at f/2.8, the center of your test image should be relatively sharp.

Additionally, it’s a good idea to look for any external marks or blemishes when performing these tests, turning the focus and zoom rings to check for any stickiness or grating sounds.

With those checks done, you’ll have a good indication of whether the lens is up to scratch (and worth purchasing!).

lens test target
Here’s a lens sharpness target. You should use a large version of this type of chart to test a potential purchase.

Where to purchase used camera gear

If you’re struggling to find high-quality used camera gear, here are a few suggestions:

Camera shops

Lots of camera retailers offer some secondhand stock as well as new cameras. Buying from a dealer has its advantages, because items are often checked before being added to the inventory, plus they’re often serviced before they’re sold.

Also, most dealers will have a return policy, so if you find any faults, you can exchange the used gear for a full refund. Many of the better dealers offer warranties on used gear that range from three months to a year, which will give you excellent peace of mind when purchasing.

Of course, one of the downsides of buying from a dealer is the increased price. Used kit bought from outlets often costs more than gear bought from private sellers – so you must decide if it’s worth that added peace of mind!

Ebay and private sellers

Purchasing from private sellers directly offers the best chance to find a bargain. Some people sell their gear at far below the market value. If you know what to look for, and are confident about the quality and genuine nature of the sale, you can often get an excellent deal.

It pays to be wary when shopping for used camera gear, though. Be suspicious of any deal that looks too good to be true, or of buyers who will only accept cash in person. Using PayPal or PayPal alternatives offers an additional layer of protection (one that’s very important in online sales).

Of course, private sellers generally won’t offer a warranty, but that is a risk you take to get a bargain.

Buying used camera gear: Conclusion

Buying used camera gear is all about taking your time to search out a bargain. Carefully study the used gear you’re considering, whether it’s from a dealer or a private seller, and look out for the telltale signs of damage.

Assuming you use careful consideration and do a thorough inspection before buying, the used market is a fantastic way to trade up your gear at a fraction of the cost of buying new.

And this, in turn, gives you money to buy additional kit – or even better, a trip or two on which you can use it!

Now over to you:

Have you ever bought used camera gear? What was the experience like? Share your thoughts, as well as any tips or tricks for purchasing used gear, in the comments below!

The post Tips for Buying Used Camera Gear appeared first on Digital Photography School. It was authored by Tom Mason.


Digital Photography School

 
Comments Off on Tips for Buying Used Camera Gear

Posted in Photography

 

Buying guide: The best gifts for film photographers in 2020

21 Nov

Introduction

Do you love film photography, or are you shopping for someone who does? Lucky you / them! Film photography is exploding in popularity and the folks in on the fun tend to be some the coolest cats in town: sorry, digital peeps.

Cool cats deserve cool gifts. And so we’ve combed the analog universe, searching high and low for the hottest gear to include in this guide. It’s filled with fun stuff that should please even the pickiest analog avenger, and most budgets. From funky film stocks, to home developing and digitizing solutions, these are the best film photography gifts in 2020.

Note: Gifts are listed in order from least to most expensive.

Fujifilm Neopan 100 Acros II – $ 12 a roll – A classic film stock, resurrected from the dead

Fujifilm’s beloved B&W film stock is back, baby! Discontinued in 2018, the Japanese film producer announced a new and improved Acros II in November of 2019, much to the delight of monochrome fanatics everywhere. Available in 35mm and 120 formats, Acros II offers silky smooth grain, excellent sharpness and lovely tonality; the perfect film for a nice sunny day.

It’s nostalgic, yet practical, and a film certainly worthy of a spin through any analog lovers’ camera, whether they shot the OG version or not.

See our Fujifilm Acros II sample gallery

The Solarcan – $ 20 – A cool recyclable pinhole camera

The Solarcan is a long exposure camera, which, you guessed it, is built from a can. The intended use is for documenting the path of the sun across a horizon over a long period of time – we’re talking weeks or months. Originally launched on Kickstarter back in 2017, this single-use pinhole camera is a fun project for any analog nerd also interested in astronomy. Plus, it’s recyclable!

Each Solarcan is preloaded with a piece of B&W photographic paper (Solarcan Color is coming soon) and includes instructions for use, mounting materials and a storage tube to keep it light tight until exposure time. The Solarcan is also available in a five-pack ($ 80), which we recommend for added experimentation. Note: this item ships from the United Kingdom.

Lomography Analogue Aqua camera – $ 40 – An inexpensive waterproof 35mm camera

I’m giddy with excitement just thinking about how fun Lomography’s reloadable waterproof cameras are. For folks in the Northern Hemisphere facing a dreary winter, summer swims may seem like a far-off memory. But sunny skies and COVID-free days will someday soon (hopefully) be back upon us. And when the time does come again to take the watery plunge, the film-lover in your life will have the perfect camera to document it.

The Analogue Aqua is basically one of Lomography’s $ 20 disposable cameras sandwiched into a watertight plastic case. There are two version of the camera, one with Lomo Color Negative 400 film and one with Lomochrome Purple film. But it’s worth noting, unlike a traditional ‘disposable’ camera, these ones are not sealed shut and Lomography intends for you to reload them them again and again.

Lomography Fantôme Kino B&W ISO 8 film – $ 45.50 (5-pack) – A cool and new 35mm film stock

Speaking of Lomography, another great idea for the celluloid celebrator is the gift of a new film stock to try. Lomo’s Fantôme Kino B&W ISO 8 – announced earlier this year – is not technically new, since it’s cut from German cine film stock, but it’s newly-available for stills shooters!

This incredibly-low ISO monochrome film is super contrasty and perfect for creating a film noir–style look. And for more B&W fun, we also recommend Lomography’s Babylon Kino B&W ISO 13 film. Unlike Fantôme, it offers subtle tonal changes and plenty of dynamic range. Both are only available in 35mm as of writing.

View our sample gallery: Lomo Fantôme Kino ISO 8 & Babylon Kino ISO 13

The Pixlatr – $ 55 – A better way to digitize negatives

One of the most annoying struggles faced by analog lovers is how to get high-resolution, high-quality digital versions of their negatives. One of the best non-scanning solutions is to photograph negatives using a digital camera and a macro lens. But how the heck do you hold them in place and ensure even lighting?

Thankfully our good pal and DPR’s Film Photography Talk forum moderator, Hamish Gill, invented a solution. The Pixlatr, originally launched on Kickstarter, is a modular film holder that works with most film formats (up to 4×5) and features a semi-translucent back to diffuse light. It’s a simple, versatile and effective solution for anyone who owns a macro lens, a digital camera and a tripod.

Another solution is the Nikon ES-2. It’s a little more straightforward to use than the Pixlatr – it attaches to the end of a lens – but is also nearly three times the cost ($ 145) and only works with 35mm format film.

Analogue Wonderland film subscription box – $ 65 every other month – A reoccurring 35mm film subscription box

Who doesn’t love getting a parcel filled with fun surprises in the mail on a reoccurring basis? UK-based Analog Wonderland is bringing the concept of the ‘curated subscription box’ to 35mm film lovers everywhere. Once signed up, subscribers will receive a box every other month (depending on the length of subscription). Each box contains six different rolls of 35mm film, curated from a selection of 100.

This is not only a fun way for film lovers to try new emulsions, but also a way to connect with other 35mm shooters. Each month all subscribers receive the same film stocks, and Analog Wonderland provides an online space for folks to both discuss their results and compete in friendly competitions.

Lomography HydroChrome Panoramic Camera – $ 80 – A wacky camera with a ‘water lens’

Bear with us on this one, because Lomography’s HydroChrome Panoramic camera is truly wild. Based off a mid-1800’s camera design, this inexpensive panorama camera is built around a 32mm equivalent water-filled lens. Yes, you read that correctly.

While the concept may sound gimmicky, the results are actually pretty compelling and cool. And the camera plays nice will all sorts of liquids, not just water (though we’d avoid anything sticky). For instance, simply adding food coloring, or watered-down coffee can change the results dramatically.

UN Twin Film Pocket & Rama Works Film Canister – $ 20 & $ 110 – A watertight film holder

Is the film shooter in your life also an adventure-seeker? If so, a water/light tight film holder may be the perfect gift, providing peace of mind. And we’ve got two models to choose from: one on the sensible side and one a little more swanky.

First, the sensible: The UN Twin Film Pocket is a straightforward product that will safely store two rolls of 35mm film. It’s built of plastic and features screw-down caps with rubber gaskets as well as a metal clip to attach to a camera or bag strap. These units can be a little tricky to hunt down stateside, but the product is carried by both European and Japanese distributors. That said, we’ve successfully had them sent to the USA, just plan for a little extra time in transit.

On the other end of the spectrum is the Rama Works Film Canister. Sure, it costs 5x as much as the UN Twin Film Pocket, but it is a beauty to behold: machined from a solid block of aluminum and anodized. Note: Only the 120 format version is currently available as the time of writing.

Rama Works Film Canister shown above.

Fujifilm SQ1 Instax Square camera – $ 120 – A larger format Instax Camera

Most folks are probably familiar with Fujifim’s Instax Mini format, but did you know there’s also an Instax Square format, which provides a larger image size? And the hottest new Instax Square model is the Fujifilm SQ1, which dropped earlier this year.

It’s a handsome-looking model that’s easy-to-use, comfortable and capable of excellent results. Available in three chic colors, it’s the perfect camera for documenting social outings, once we’re allowed to gather together again!

For even more Instax photography fun, we also recommend the Fujifilm Wide Instax 300 ($ 90). It’s a good bit chunkier than the SQ1, but makes use of the largest Instax format: Instax Wide. It also offers a bit more creative control than the SQ1.

Lab-Box Daylight Developing Tank – $ 160 – An easier way to develop film at home

Analog shooting and DIY often go hand-in-hand. And nothing beats the thrill of successfully developing your own images at home. But for those a little nervous to dip their toes in the unknown world of loading exposed film to reels in the dark, the Lab-Box Daylight Developing Tank is for you.

Because let’s face it, most home developing mistakes are a result of improperly loading film and/or accidentally exposing it in the process. Lab-Box removes this pain point, though there is a slight learning curve to using the device. But ultimately, once mastered, it should help speed up the workflow of any home developer while also cutting down on the number of botched rolls.

And there you have it, the best film photography gifts in 2020, sure to bring a smile to the faces of emulsive eccentrics everywhere! Happy holidays and happy shooting, from the analog nerds here at DPReview.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Buying guide: The best gifts for film photographers in 2020

Posted in Uncategorized

 

Tripod Buying Guide – 6 Vital Features to Look For

08 Jun

The post Tripod Buying Guide – 6 Vital Features to Look For appeared first on Digital Photography School. It was authored by Suzi Pratt.

dps-tripod-buying-guide

A tripod is one of the first accessories people like to buy when they get a new camera. But there are hundreds of thousands of tripods out there, all with different features and price points. How do you go about choosing the best tripod for you? This tripod buying guide will highlight 6 features to consider before purchasing a new tripod.

Best tripod for beginners
Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/7.1, ISO 400

Why use a tripod?

There are a couple of reasons why you might need a tripod in the first place.

First, you should use a tripod if you plan to shoot slow shutter speeds or high f-stops (apertures). Conditions like this are typically real estate, interior, architectural, and landscape photography, where you need your scene to be as sharp as possible, often in low light conditions.

You should also use a tripod when shooting bracketed photos for compositing or HDR in post-production, or when taking selfies or group photos that you want to be a part of.

There are certainly more reasons to consider using a tripod, but hopefully, these give you good examples to start thinking about.

Waterfall tripod photo
Fujifilm X-T3 with Carl Zeiss Touit 12mm f2.8 WITHOUT Tripod – 1/75 sec, f/2.8, ISO 2500
Waterfall tripod photo
Fujifilm X-T3 with Zeiss 12mm WITH Tripod – 0.8 sec, f/9, ISO 400

1. Payload (or load capacity)

The very first feature to consider when researching tripods is its payload or maximum load capacity. In other words, how much weight is it able to support? The payload is typically found in the product description of each tripod. To come up with this number, consider the heaviest and largest camera setup that you plan to use on the tripod. Camera and lens weights can easily be found via a Google search or examining their respective product descriptions.

For example, my Sony A7rIII camera body alone weighs 23.2 oz (657 grams). My heaviest lens, the Sony 70-200mm f/2.8 weighs 52.16 oz (1480 grams). So together, my heaviest camera setup would be 75.36 ounces (2137 grams). That means I should find a tripod with a payload of at least that amount.

It is also important to look at the payload of the tripod head or the piece that attaches your camera to the tripod legs. Some tripods come with a head included, or you can replace it with a head that you buy separately. Many tripod heads have their own payloads specified, so be sure to consider that number as well.

Best tripod for beginners
MeFoto Roadtrip travel tripod. Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/7.1, ISO 400

2. Tripod minimum and maximum height

All tripods have a minimum and maximum height expressed in their product descriptions. Some tripods can get ultra-tall, others can get ultra-low to the ground. Think about what kind of subjects you will be photographing, and the optimal height you would want your tripod to be.

If you are tall or plan to shoot tall subjects, aim to get the tallest tripod you can find. However, if you shoot subjects that are lower to the ground, you may want to consider tripods with a low minimum height. There are even new tripods like the upcoming Peak Design Travel Tripod designed to get extremely low, down to 5.5 inches.

Best tripod for beginners
Manfrotto 055 tripod. Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/7.1, ISO 400

3. How stable is the tripod?

The next quality to consider is how stable the tripod is. First, consider the payload or weight capacity mentioned above – this will give you a good idea of whether the tripod can support your camera and lens combination. But there are other features that can enhance tripod stability.

Some tripods come with retractable or removable spikes in the tripod feet. These provide extra stability by sticking into the dirt or soft ground if you happen to be shooting outside.

Tripods can also come with a retractable hook in the center column of the tripod, allowing you to hang weight to stabilize the tripod. Attaching a heavy sandbag to the hook is often the optimal option, but you can also get creative by using other items like a heavy water bottle or even your camera bag.

Best tripod for beginners
MeFoto Roadtrip Travel Tripod.
Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/7.1, ISO 400
Best tripod for beginners
Legs of the Manfrotto 055 tripod.
Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/7.1, ISO 400

4. How easy is it to carry the tripod?

If you plan to travel a lot with your tripod, or use it on the go, it’s important to consider the overall weight and folded length of the tripod. If you opt for a heavy, large tripod, you might get optimal stability, but you will likely struggle to carry that tripod around.

Consider the material the tripod is made from. Most tripods are made of aluminum (cheaper, but heavier) or carbon fiber (lightweight, but more expensive). Many tripod models are available in either construction material, so think about your budget and how important the weight saving is to you.

Also, look at the overall ease of folding the tripod up. Most tripod legs are three sections meaning they get taller with each section you open, but some can be two sections or even five sections. The more leg sections you have to deploy equates to a longer time to set up and put away. Along the lines of tripod legs, look at the mechanism they use to deploy. Most tripods use a twist-lock mechanism, which can get confusing about which direction locks or unlocks the legs. Meanwhile, other tripods have a simple clip lock that is much easier to unlock and lock.

5. Tripod head quality?

Some tripods come with a tripod head, and others require that you buy it separately. In some cases, you may even want to buy your own tripod head if you have a preference in the best type to use.

A ball head is the most common type of tripod head, allowing for 360-degree rotation to position the camera where you want it. However, many ball heads, especially cheap or low-quality ones, will slip over time and be less stable. Thus, it may be worth buying a high-end ball head or looking at another type of head to use on your tripod.

Examples include the Manfrotto 3-Way (my favorite), or a pistol grip tripod head. Pretty much every large tripod allows you to replace the tripod head with one of your choosing.

Best tripod for beginners
Standard Arca Swiss type tripod ball head.
Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/7.1, ISO 400

The final piece of the tripod head to consider is the tripod plate or the piece that mounts directly to your camera. Arca-Swiss type plates are among the most common and universal, but they often come with the need to use an Allen wrench to tighten the plate to your camera.

On the other hand, there are other tripod plates such as those made by Manfrotto or Joby that includes a twist screw that you can easily secure without the need for an extra tool.

6. Extra features?

The last things to consider are any extra features or bells and whistles that come with the tripod. Here are a few examples to look out for:

Tripod to monopod conversion

Some tripods such as those made by MeFoto, allow you to easily convert the tripod into a monopod by simply removing one leg and attaching it to the center column. This is a handy feature if you anticipate needing a monopod.

Tripods with a column that can be positioned at 90 degrees

If you have the need to shoot with a 90-degree column, look for a tripod that offers this feature. My Manfrotto 055 has this feature and it comes in very handy for product or flat lay photography.

Built-in bubble leveler

While many cameras have a built-in leveler, it always helps to have a physical bubble leveler to make sure your camera is straight. Some tripods have bubble levelers built-into the tripod head or the center column of the tripod.

Carrying case

Some tripods come with a carrying case to aid in transportation, and others require the carrying case to be purchased separately.

Best tripod for beginners
Manfrotto 3-Way tripod head.
Canon 5D Mark III with Canon 100mm f/2.8 – 1/160 sec, f/2.8, ISO 2000

In conclusion

There are a plethora of tripods out there and it is not an easy task to find the right one for you. Ultimately, this tripod buying guide is intended to help you think of all of the situations in which you plan to use a tripod and encourage you to carefully research all six features above. And while there are plenty of cheap tripods out there, consider investing in a high-quality tripod to begin with. Your camera equipment is expensive, and you don’t want to risk dropping or damaging it due to placing it on a cheap tripod.

Video

The post Tripod Buying Guide – 6 Vital Features to Look For appeared first on Digital Photography School. It was authored by Suzi Pratt.


Digital Photography School

 
Comments Off on Tripod Buying Guide – 6 Vital Features to Look For

Posted in Photography

 

12 Things Not To Do When Buying Your First Film Camera

29 May

12 Things Not To Do When Buying Your First Film Camera

You’ve got your flannel and your beanie and you’re ready to buy your first film camera. So… now what? I can’t tell you exactly what to do, because then you’d risk turning into me, which means drowning in an ever-deepening lake of 35mm SLRs, but I can tell you a few things to avoid. Here are a dozen things you should try not to do when buying your first film camera.

Images by Dan Bracaglia except where noted

1. Don’t worry about buying ‘the best’ camera

Here’s a tidbit that’s a bit of a mind-bender for some digital photographers: When it comes to film photography, the camera body itself has very little bearing on image quality. In the digital world, an entry-level Nikon D40 simply cannot achieve the same image quality as a high-end Nikon D5, but with film, a low-end Nikon N55 really can make just as good a picture as a pro-level Nikon F6. It’s the lens and film choice that really impact the technical quality of your pictures.

Find a good working camera that you like, because with film, good is good enough

All a film camera does is hold the film in place and facilitate its exposure. More advanced cameras give you more options for doing this, but they don’t necessarily do the job any better, to the point that few people can tell the difference between a photograph made with a $ 5,000 Leica and one made with a $ 50 Minolta. As long as the camera has a decent lens—and most lenses made by camera manufacturers are pretty decent—the capability for an image of good technical quality is there. (Good composition is up to you.) So don’t get caught up in trying to find the best camera—just find a good working camera that you like, because with film, good is good enough.

Photo: Nikon

2. Don’t assume a more expensive camera is a better camera

Used film camera prices are subject to all sorts of forces, including nostalgia. As a result, popular ‘student’ cameras like the Pentax K1000 and Canon AE-1 often command prices out of line with their feature set. In fact, in the topsy-turvy world of used film cameras, some of the most advanced cameras are among the cheapest. The N8008, Nikon’s top-of-the-line ‘prosumer’ camera in the late 80s, was priced three times higher than the entry-level Pentax K1000 when both were new. Today it’s the K1000 that costs three (or more) times as much.

Used film camera prices are subject to all sorts of forces, including nostalgia

Brand reputation also plays a big (and sometimes outsized) role. The Nikon FE, a magnificent manual-focus SLR with an aperture-priority automatic mode, sells in the $ 75 to $ 150 range, a good deal for a Nikon of that era. But the Ricoh KR-10 offers most of the same features, and you can easily find one for $ 35 or less. I own both cameras, and while the Ricoh is less refined, it makes equally good photos. (How do you find out what a camera can do? Camera-wiki.org is a great resource for looking up specs and features.)

Photo: John Nuttall

3. Don’t be afraid of electronic cameras

There are a lot of mechanical camera snobs out there; I’m one of them. But some of the arguments for going all-mechanical aren’t relevant to all film shooters (Sure, they work if the batteries fail, but their light meters won’t). Mechanical cameras like the Nikon FM, Olympus OM-1 and Pentax MX are robust but expensive. Cameras with electronically timed shutters (which need a battery for the shutter to work) usually sell for less, and many all-electronic autofocus cameras are even cheaper.

It’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera

Electronic cameras do have some key advantages over mechanical cameras, particularly for first-timers. They have fewer moving parts and are less prone to going out of adjustment than mechanical cameras. That means that if they work, they probably work correctly, with accurate metering and shutter timing (which is why camera manufacturers switched over to electronics in the first place). Repairs can be dicey because they often rely on ‘donor’ cameras for electronic parts, which are subject to the same age-related issues. But because they are so cheap, it’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera.

Photo: John Nuttall

4. Don’t buy a camera without researching lenses

The obsession with lens optics is the film equivalent of pixel-peeping. In truth, few people can look at a photo and tell if it was shot with a Nikkor, a Rokkor or a Takumar. The differences in quality between the camera manufacturers’ lenses* is narrow, but the price differences can be massive. (It’s a different story with third-party lenses, which vary in quality.) Remember, an inexpensive camera isn’t inexpensive if it locks you into pricey lenses.

An inexpensive camera isn’t inexpensive if it locks you into pricey lenses

The general wisdom is that manual-focus cameras are best paired with prime (fixed focal length) lenses, as the optical quality of zooms from that era wasn’t great. Also, primes tend to have larger maximum apertures for low light. Zoom technology improved in the mid-to-late 80s, so they’re a safer bet for autofocus cameras. You’ll need to do some research on lens compatibility (which can get confusing—for example, Nikon has used the same lens mount for decades, but not all lenses are fully functional with all cameras). Don’t know where to start? For 35mm SLRs, a 50mm lens with a max aperture between F2 and F1.4 is a good first lens, and for autofocus cameras, a zoom in the neighborhood of 28-85mm works nicely. Or you can just buy a rangefinder, compact or bridge camera with a non-detachable lens.

* Some camera manufacturers used different brand names for their lenses. Nikkor = Nikon, Rokkor = Minolta, Takumar = Pentax, Zuiko = Olympus, and Rikenon = Ricoh.

5. Don’t get a camera that’s too automatic… or too manual

Film cameras have different levels of automation. Some only have manual exposure control, requiring the photographer to set both aperture and shutter speed. Some require you to pick one (usually aperture) and will set the other for you. Still others have ‘program’ modes that do everything. Focusing and winding can be manual or automatic as well.

A manual-focus camera with both manual and automatic exposure modes is a great way to start

I recommend avoiding automatic-exposure-only cameras as a first-time buy. While they take great pictures, it’s nice to have the option to set your exposure manually and really take control of the process. On the other hand, an all-manual camera can be frustrating if you’re used to digital-era automation. A manual focus camera with both manual and automatic exposure modes is a great way to start. You can shoot in automatic as you get the hang of focusing and winding (which takes more getting used to than you might think), then switch to manual when you’re ready. Some good examples of these cameras include the Nikon FE2, Minolta X-700 and Canon AE-1. If you buy an autofocus SLR, look for one that has a manual mode.

6. Don’t buy a camera that hasn’t been tested

If you’re buying on an auction site, check the description and see if the camera has been tested. If it doesn’t say, ask. Working, for a film camera, means that the light meter turns on, the shutter fires at all speeds, the film and battery doors latch shut, the film advance moves freely, and autofocus, auto-wind, and self-timer functions, if present, are operational. Not every seller knows this, but you do, and if the seller says the camera works and it doesn’t, you have grounds for a refund. ‘Not tested’ or ‘parts’ cameras are a crapshoot. If you’re squeamish, shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting.

Shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting

Should you buy a non-working camera? Probably not for your first one, but don’t rule it out. Most issues with mechanical cameras, and some better-made electronic cameras, can be fixed as part of a CLA (cleaning, lubrication and adjustment) service, which generally costs $ 100 and up, and this may be worthwhile for a more valuable camera or a model you really want. Once CLA’d, a camera should work for years without needing further attention. Find a good film camera repair shop and get their opinion on whether a given camera is worth fixing.

Photo: Gerry Lauzon

7. Don’t buy a camera that doesn’t focus

If you’re looking at compact point-and-shoot cameras, you should be aware of the difference between autofocus and focus-free. Autofocus is exactly what you think it is. Focus-free cameras have a small lens aperture and rely on depth-of-field to get your shot in focus. These cameras often don’t have much in the way of exposure control, either; they rely on the built-in flexibility of the color print film process to get good pictures out of close-enough exposures.

If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free

Believe it or not, there were focus-free cameras made by big-name brands like Olympus, Minolta and Kodak as well as cheap-camera purveyors like Vivitar, Argus and Keystone. Most of these will say ‘Focus Free’ on the body. If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free.

Photo: E Magnuson

8. Don’t buy a used ‘pro’ 35mm camera

When you see a legendary top-of-the-line camera like a Nikon F4 or Canon EOS-1n come up on eBay for a fraction of its original price, it can be tempting to slam that ‘BUY NOW’ button. These cameras were the best of the best in their day, listing for upwards of $ 2,000, and the idea of buying one for a couple hundred bucks is pretty darn tasty. Resist! Resist!

Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives

Here’s the problem: A lot of these cameras were purchased by working professional photographers, which means they were used often and hard. Like DSLRs, film cameras with electronic shutters have finite shutter lives, and even mechanical shutters can wear out. An avid shutterbug averaging two 35mm rolls a week will take around 3,800 pictures per year, but a busy wedding or news photographer can take that many snaps in a month. If the shutter goes south, replacing it can cost more than the camera is worth. Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives.

Photo: ShikikanZero

9. Don’t buy a medium-format camera (yet)

Medium format cameras produce big, beautiful negatives that can be enlarged to ridiculous sizes. But the bigger the image, the more money you’ll spend, both for cameras* and film. If you’re just starting out in film, 35mm offers you a lot more camera and lens choices at a lower price point. If you find you’re in love with film, you can always move up to medium format later.

If you find you’re in love with film, you can always move up to medium format later

* Okay, not always. Plastic cameras like the Holga and the Diana (sometimes called ‘toy’ cameras) are inexpensive, but they have imperfect plastic lenses and the occasional light leak, which injects a random element into one’s photography. Some people like that look (I think it’s pretty darn cool), but they aren’t a real alternative to a professional-quality cameras from Mamiya, Rolleiflex, Hasselblad or Pentax. Another exception: Older twin-lens reflex (TLR) cameras, which were popular with snap-shooters before the rise of smaller film formats. They offer limited creative control but can make beautiful photos.

Photo: Classic-Photographic

10. Don’t start out with good film

Buying a used camera always carries an element of risk, and I can imagine few things that will turn off a first-time film photographer more than spending a lot of money on film and processing and getting back a roll of unusable negatives. Save that Ektar, Portra or Cinestill film for later. The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest (not expired) print (not slide) film you can buy.

The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest film you can buy

Fire off a quick few exposures close to home. Try to include a variety of subjects of different textures and brightness, and shoot at different distances. If possible, use a variety of apertures and shutter speeds. Get the film processed and check the negatives carefully. If you don’t have experience evaluating negatives, your lab can help you find signs of light leaks or improper exposure, as can your friends on the DPReview film forum. Once you’re sure your new camera works, you can confidently load up the good stuff.

11. Don’t buy just one camera

Back in The Day, it was common to carry two cameras in your gear bag. Unlike digital, a film camera can’t change ISO on the fly or switch seamlessly between color and black-and-white, at least not without unloading and reloading. A second camera gives you options: You can shoot the same scene in color and B&W, or you can run faster film if the clouds roll in or the action moves indoors. And it’s nice to have a backup in case your primary camera craps out.

A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX

If you use an interchangeable-lens camera, owning two compatible camera bodies means less gear to carry. They needn’t even be the same model: A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX (or a Nikon EM + FM2). I wouldn’t necessarily buy two cameras right off the bat, but if you find a camera and a set of lenses you like, a second compatible camera body is a smart investment.

12. Don’t spend too much money just yet

I think film photography is wonderful, but it’s not for everyone. You might get some film experience under your belt and decide you prefer digital, and that can be a real tragedy if you’ve spent $ 500 on gear. There are plenty of good cameras available for $ 100 or less (often a lot less), so start with something more modest.

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss—or give it to someone else who wants to try film. If you do fall in love, as so many of us have, you can always buy something more expensive, though I can all but guarantee that your first film camera will always have a special place in your heart.

Ready to start the hunt for your first film camera? Here are some of our all-time favorite analog gems, most of which are affordable and easy to find in good working order (though not all follow the advice of this article!):

Analog gems: 20 film cameras worth buying right now

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on 12 Things Not To Do When Buying Your First Film Camera

Posted in Uncategorized

 

Film Fridays: 20 film cameras worth buying right now

28 Mar
The Canon T90 is just one of the 20 film cameras worth buying right now. Check out Analog Gems – part 1 and Analog Gems – part 2 to view them all.
Photo: Dan Bracaglia

Happy Film Friday! In the spirit of celebrating all things analog, we felt today was the perfect time to take another look at our two popular film camera buying guides. These guides are chock full of cameras that are easy to find on the secondhand market in good working order, and many of them were included as staff and reader favorites. So if you’re a first-time camera buyer or simply looking to add to your collection, there’s probably a camera in there for you.

Analog Gems – part 1: 10 film cameras worth buying

Analog Gems – part 2: 10 more film cameras worth buying

Do note: the price of one or two cameras has jumped a good bit since initial publication (we’re looking at you Olympus Stylus Epic). That’s not to say we wouldn’t still recommend these cameras, just be aware of price inflation!

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Film Fridays: 20 film cameras worth buying right now

Posted in Uncategorized

 

A Photographer’s Guide to Buying a Drone – Getting it Right the First Time

05 Mar

The post A Photographer’s Guide to Buying a Drone – Getting it Right the First Time appeared first on Digital Photography School. It was authored by Matt Murray.

photographers-guide-to-buying-a-drone

In this photographer’s guide to buying a drone, I’ll share with you some invaluable tips for buying a drone for the first time.

Seven years ago, my employer wanted a photo of a local lighthouse from an elevated viewpoint. It sounds ridiculous now, but very early on a winter’s morning, I was loaded into a cherry picker with two cameras and hoisted 15 meters in the air to take photos. I’m a little bit scared of heights, so I really had to concentrate on getting the images and not looking down!

With the introduction in the last few years of many relatively low-cost good quality drones (also known as UAVs – unmanned aerial vehicles), that whole scenario seems laughable.

So why should you think about buying a drone if you haven’t already?

Here are some of the key considerations.

Image: By chance, I saw this boat sailing past when I was taking aerial images of fishing boats in Y...

By chance, I saw this boat sailing past when I was taking aerial images of fishing boats in Yamba. Taken with the DJI Mavic.

A photographer’s guide to buying a drone

Why buy a drone?

The main reason for buying a drone is the unique viewpoints that it will bring to your photography that you couldn’t achieve easily otherwise.

Sure, you can take elevated images from buildings, planes, helicopters – or even a cherry picker. However, those options are unlikely to be suitable or cost-efficient, depending on what you’d like to photograph. Having a drone in your kit opens up new possibilities and viewpoints like never before.

How else would you be able to take images from viewpoints like this? Boats at the seaside taken with the DJI Mavic Pro 2.

What kind of photographers would benefit from having a drone?

The short answer is – all kinds of photographers. I’ve seen or heard of aerial images from UAVs used in many industries.

Travel

Aerial images have been a stable of Instagram travel accounts for years now. Many Instagrammers take a compact drone with them on their travels to add to the range of shots they can take at a destination. They can use the images for both posting on social media or as deliverables for clients.

These images are often featured by large national and regional travel accounts to showcase destinations.

A Photographer's Guide to Buying a Drone

Real estate photographers

Drones are widely used amongst real estate photographers and seem to be essential kits these days.

Aerial images are common on many listings here in Australia to show the boundaries and layout of a property and its location to nearby landmarks and amenities.

Fine art

This is a small but very well paid niche. Some photographers make thousands of dollars for breathtaking fine art aerial images taken with UAVs.

Stock photographers

There’s been an increasing number of aerial images and videos sold on stock photography sites recently. Using a drone is one way to add to the range of images you have for sale in your portfolio.

A Photographer's Guide to Buying a Drone

A stock photography library I shoot for had a call out for images to illustrate bad parking. This is an image I sold them for the campaign.

Wedding and portrait photography

Aerial images are becoming increasingly popular for weddings, engagement shoots, and portrait sessions.

Images for your family archive

When I’m out and about taking photos for stock or travel, my family often accompanies me. I love taking aerial images of them; it certainly makes for a different type of shot in the family photo archive.

Tips before buying a drone

If you’re thinking about buying a drone, it pays to do your research first. Take a look at photos taken by drones on Instagram using hashtags such as #dronephotography, #dronestagram, and #droneoftheday.

Which make and model of UAV took these images? Looking at the photos will give you a good indication of the quality you can expect from each model.

Join some drone-related Facebook groups. Have a read through the discussions and ask questions. People will often be happy to share how they took a photo, what equipment they used, and what post-processing they did on the image.

Image: My daughter taking her board out for a surf in northern New South Wales, Australia.

My daughter taking her board out for a surf in northern New South Wales, Australia.

Try before you buy

Do you know a friend who has a drone? Ask if you can go along with them next time they fly it and learn the basics. You could also see if a local drone Facebook Group has meetups where you can learn the ropes. Maybe you’ll love it, but maybe you’ll hate it. Handy to know before you shell out for such a high cost.

Buy cheap, buy twice

I’ve heard many people buy a cheap toy drone to see if they’ll like it. The truth is, many of those cheaper drones are a complete nightmare to fly, and people are put off when it crashes. Typically, the more expensive a UAV, the easier it is to fly.

I’d recommend the “try before you buy” approach over this.

Which drone should I buy?

Ultimately, this is down to two different factors: the first is your budget, the second is what you want to do with your aerial images.

If you want to sell your images for stock, weddings, or fine art, go with the drone with the best image quality. However, if you want to travel with your drone, take family photos or only post to social media, perhaps you’d value a compact, lighter offering.

Pros and cons of some popular drone models

Below are some of the pros and cons of popular drones.

The Mavic Pro

The Mavic Pro is one of the best-selling drones of all time. It’s capable of taking photos in both horizontal and landscape orientations, which I found very handy when I owned it. The 12-megapixel camera has a fixed f/2.2 aperture, which compared to newer offerings, is a bit limiting. The good news is, you should be able to pick up one for a good price secondhand.

Image: DJI Mavic Pro

DJI Mavic Pro

Mavic Pro 2

I sold my Mavic Pro when they released the Mavic Pro 2. It has a significantly better 20-megapixel camera with a 1-inch sensor, which suited me better for taking larger images for stock libraries.

It also has an f/2.8-11 variable aperture, which gives you the potential to be more creative with your aerial images.

The one potential downside is that when facing the horizon, the gimbal doesn’t rotate the camera so you can capture vertical images like you can with the Mavic.

Read a full review of the Mavic Pro 2 here.

A Photographer's Guide to Buying a Drone

The Mavic 2 drone.

Mavic 2 Zoom

The Mavic 2 Zoom came out at the same time as the Mavic Pro. Its main advantage over the Pro 2 is the ability to zoom the camera. Combined with movement, you can use this to achieve the dolly zoom effect. The downside is that its camera is only 12-megapixel, and the aperture is f2.8-3.8.

Read a review of the Mavic 2 Zoom here.

A Photographer's Guide to Buying a Drone

DJI Mavic 2 Zoom

Mavic Mini

The Mavic Mini is a very small and light drone with impressive specifications. The Mavic Mini is the cheapest I’ve covered and would be ideal for many people wanting to take aerial images as they travel. It has a 12-megapixel camera. Unlike the others listed, it is only capable of taking images in JPG format for stills.

A Photographer's Guide to Buying a Drone

DJI Mavic Mini

Also, read a review of the DJI Spark here, and the Mavic Air here.

What else do I need to consider?

Is your device up to scratch? To fly a DJI drone, you’ll need the DJI GO app on your smartphone or on a tablet.

Is your device good enough to support the latest app? You’ll need to look into this before you get started.

A Photographer's Guide to Buying a Drone

Make sure your phone or tablet is powerful enough to run the drone app.

How will you edit your image?

If you’re a dPS regular reader, no doubt you’ll know all about the various ways you can post-process your images. I use Adobe Lightroom and occasionally Adobe Photoshop to edit my JPG and DNG drone images.

Insurance

UAVs are an expensive investment. Make sure that your camera insurance or home contents insurance adequately covers your new kit.

DJI have their own insurance product – DJI care. Whichever option you go for, make sure you understand the limits of the policies, so you don’t get caught out.

Flying legally

This is very important. You don’t want to find yourself on the wrong side of the law, especially if you take your drone overseas.

It’s good to learn all the rules when you’re considering buying one or while you’re waiting for it to arrive.

Rules differ from country to country, region to region, so always make sure you know the correct laws to fly at your destination.

For example, in Australia, you’ll need permission to fly a drone in a National Park in the state of New South Wales, but over the border in Queensland, you do not.

Image: Early morning view of South Stradbroke Island, Queensland. DJI Mavic.

Early morning view of South Stradbroke Island, Queensland. DJI Mavic.

Flying safely

Investing time learning the rules and regulations is just one part of things. You also need to learn to fly safely.

A major part of this is learning to identify hazards, whether they be trees, powerlines, buildings, weather, or as I found out once, a swooping bird in my local park.

It’s always a good idea to have a pre-flight and post-flight-check routine in place.

Conclusion

Buying a drone is a fantastic way of adding new viewpoints to your photography. The latest offerings from companies such as DJI have given photographers the ability to capture scenes that were not possible a few years ago without chartering a plane or helicopter.

However, there are many things to consider before you dive in. Consider what you want to use the images for, which model to buy, and how to edit your images. You also need to learn how to fly safely and legally.

I hope this photographer’s guide to buying a drone has been helpful if you are currently looking at adding a drone to your photography kit.

What other considerations do you think are important when considering buying a drone? Tell us below.

 

The post A Photographer’s Guide to Buying a Drone – Getting it Right the First Time appeared first on Digital Photography School. It was authored by Matt Murray.


Digital Photography School

 
Comments Off on A Photographer’s Guide to Buying a Drone – Getting it Right the First Time

Posted in Photography

 

Find great cameras for less money in our updated ‘best bargains’ buying guide

02 Mar

We’ve updated our ‘best bargains’ buying guide, which features both newer cameras that we think are great values, as well a few older models that are inexpensive yet still very capable.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Find great cameras for less money in our updated ‘best bargains’ buying guide

Posted in Uncategorized

 

Are Lightroom Presets Worth Buying?

06 Feb

If you follow any popular photographer on YouTube or Instagram, chances are, that you’ve been pitched to buy their Lightroom presets. Some photographers actually give theirs away, while some charge a pretty penny. Which leads to the question, are Lightroom presets worth buying? If you search the Internet for this question, you would mostly find strong opinions telling you to Continue Reading

The post Are Lightroom Presets Worth Buying? appeared first on Photodoto.


Photodoto

 
Comments Off on Are Lightroom Presets Worth Buying?

Posted in Photography

 
« Older Entries