Choosing a Camera

There are so many cameras out there, that which one to choose can be a daunting task. If you are serious about photography, this task may be aided by the purchase of several cameras for different purposes, but even then the choices are seemingly endless. Here’s a brief guide to point out some of the important criteria to be aware of.

Entry level, prosumer or professional?
There’s an old saying out there that if something is labeled “professional”, it really isn’t.

Professional equipment doesn’t need to be labeled as such as it’s readily recognized by professionals who learn of such equipment by speaking with other professionals and keeping up to date with the industry on a regular basis.

But for quite some time now there has been healthy competition between what is considered “consumer” equipment and what’s considered “pro”, and it’s not specific to the photo industry. Technology has given us such remarkable consumer equipment that many professionals take advantage of the cost savings by using it instead of purchasing professional equipment. On the other hand, consumers with gobs of disposable income often purchase pro equipment in order to look professional, so it also works the other way around. Today, the greatest reason to choose pro over consumer is to take advantage of its ruggedness, and user friendliness is a compelling reason to choose consumer over pro.

The Viewfinder

Whether it’s the ground glass of a view camera or the LCD of a point-and-shoot, the method of composing the image is the first thing you should consider.

The DSLR is by far the best performer in this regard as it offers the most complete and accurate solution, albeit at the cost of size and weight. The optical viewfinder of an SLR sees exactly what the taking lens sees, right down to its depth of field. It also provides detailed shooting information so you never have to remove your eye from the viewfinder while you shoot. Depth of field preview, and the ability to compose via the LCD (aka “Live View”) are two important features to look for. SLRs, the film counterpart of the DSLR, also offer outstanding viewfinders, but of course no LCD.

Bridge and Mirrorless EVIL Cameras use the LCD as the primary means of image composition, but also include a viewfinder, either in the form of an optical with zoom capability or an electronic display. The optical zoom is not as accurate in terms of cropping and subject to parallax error, but is very comfortable and natural to use. The electronic viewfinder is very accurate as technically it also sees exactly what the lens sees. However its “drive by wire” effect governed by resolution and refresh rate leaves you feeling detached from your subject, and takes some getting used to. Go for the optical if you can.

Film cameras such as the autofocus 35mm, Holga 120, disposables, and fixed-focus of old use a simple optical viewfinder as their primary means of composition.

View cameras and TLRs employ a “ground glass” which is an acquired taste. The view camera is the most accurate, but upside down, while the TLRs waist-level finder is subject to parallax and flipped left to right. Working with these cameras requires devotion, but rewards with excellence.

Digital Cameras which only employ the LCD as a means of composing the image are last in the running. However for the snap-shooter, or proamateur seeking a backup camera, they can be indispensable with their ability to slip into a shirt pocket. Using the LCD as a viewfinder keeps cost down, and provides a 100%, TTL view (optical viewfinders typically crop the image slightly). But their use under bright conditions is challenging, and the need to hold the camera at arm’s length tends to reduce sharpness. Some however, also include zoom viewfinders.

The Interchangeable Lens

The ability to use different lenses offers both an upgrade path, and a means to customize the optics for a given situation.

Again, the DSLR reigns high with its ability to both swap out lenses and preview through them with utmost accuracy.

EVILs offer the advantages of a DSLR in a compact package without the luxury of a “real image” viewfinder. This is often a good compromise. These cameras are often considered to be the digital replacement for the rangefinder.

Finderless, Mirrorless Digital Cameras offer the quality and convenience of a rangefinder, with the viewfinder as a second thought. Some employ optional electronic and optical viewfinders which slide into the hot shoe, rangefinder-style. The EVF can accommodate zoom lenses, while the optical viewfinders work with prime lenses. These cameras feature high quality with the ability to trim off the fat if necessary so they are very flexible.

The view camera comes in second if you overlook the inverted image, nothing is more accurate.  The mirroless EVIL trails behind  

The Sensor

Unlike film, resolution isn’t dependent on the dimensions of the sensor, at least in theory. What this means is that you could have two sensors of the same physical size with vastly different pixel resolutions. Often a sensor with a lower photosite density will outperform one with a higher density. Many cameras have downgraded from 12 MP to 10 MP in order to improve low light performance.

But resolution isn’t the only factor when considering sensor size. Larger sensors yield sharper images at smaller apertures, and are compatible with a wider variety of lenses. Some typical sensor sizes are:

Medium format sensors like the Kodak KAF 3900 at 50.7mm x 39mm, are available on larger DSLRs and rangefinders. This larger size makes it possible to use apertures smaller than f/16 for superior sharpness.

Full-frame sensors used in professional DSLRs are the same size as 35mm film, but can be very expensive. However, they remain 100% compatible with legacy lenses, offer high ISO performance, and images remain sharp with used with apertures f/16 and larger.

APS-C sensors used in consumer and prosumer DSLRs are quite affordable, and compatible with both legacy lenses (with a 1.5x crop factor), and the new generation of “DX” lenses which offer superior quality at a lower price. Quality often rivals that of a full-frame sensor, but sharpness drops off at aperture of f/16 and smaller.

Four-Thirds and Micro Four Thirds sensors have approximately one quarter the area of a full-frame sensor, and are available on compact, full-featured cameras with interchangeable lenses. Unlike the sensors above, they use the 4:3 aspect ratio of standard video. Images remain sharp at f/11.

1/1.7" sensors are used in full-featured bridge cameras and also have a 4:3 aspect ratio. These cameras typically use fixed zoom lenses. Because of their small physical size, the effects of diffraction become a factor, so their minimum apertures are limited to about f/5.6.

1/2.5" sensors are used in compact “pocket” cameras of the “point and shoot” variety. Typically these cameras have limited features and full automatic and/or programmed auto exposure. Again, the effects of diffraction limit the minimum aperture.