10 Reasons to Buy a DSLR Camera : By Kurtis Kronk

1. Creative Control: This is probably the single most obvious advantage of DSLR cameras. These cameras have a multitude of settings that are just begging to be adjusted. Everything from shutter speed and aperture to white balance, in-camera sharpening and contrast, white balance and white balance shift, flash synchronization, and more...

Superior Sensors: DSLRs typically use a sensor that is approximately the same dimensions as an APS film negative (22.7 x 15.1 mm). In contrast, the 2/3" sensor size of an 8 Megapixel digicam is dramatically smaller, about the size of the tip of your pinky (8.8 x 6.6 mm). The larger sensor translates directly to higher image quality in terms of detail, color depth, and dynamic range.

Less Noise: Noise is the digital equivalent of film grain. The fact that DSLRs display less noise is at least in part a result of the larger sensor size mentioned above, however it is significant enough to warrant getting its very own bullet point. With your typical digicam, you will get noticeable noise which is detrimental to image quality at pretty much anything above the lowest possible ISO setting. Contrast that with your typical modern DSLR, where you can actually make acceptable prints even at some of the highest ISO settings. I should note that in the literal sense, DSLRs usually make MORE noise when you click the shutter than a point-n-shoot, hehe.

Accessories Galore: DSLR cameras can almost be considered upgradeable, they have so many accessories... There are lenses, filters, adapters, extension tubes, flashes, strobes, brackets, and the list goes on. For example, you can buy affordable general purpose lenses or high-end lenses with superior quality. Some lenses serve special functions as well, such as those with image stabilization, macro abilities, tilt-shift functionality, and soft focus. You get the idea. With a DSLR, you have a lot of compatible tools at your disposal which opens the door to new creative possibilities.

No Shutter Lag: Shutter lag is that awful delay between the time that you click the shutter on a digicam and the time that an image is actually taken. With DSLRs, there is virtually no delay between the time that you click the shutter and the image is taken. How many times have you missed a great photo opportunity because the camera didn't focus fast enough and then didn't take the shot fast enough once it was focused?

Instant Startup: Most DSLRs have nearly instant startup times. That means if your camera is hanging around your neck and in the OFF position, and you see a three-legged man riding a unicycle towards you, you can quickly turn the camera on and snap the shot. And the aforementioned lack of shutter lag will further help in getting the photo. With a digicam it will usually take several seconds to startup, and then you'll have to wait a second or so for it to focus, and then when you click the shutter there will be maybe another second before the image is actually taken - and the three-legged man will be gone.

Higher Build Quality: Most digicams are plastic, plastic, and more plastic. They feel flimsy and they're not all that hard to break. DSLRs are built to much higher standards, increasingly so as you get into the more expensive models of course. Some of the cheaper DSLRs are still going to have a lot of plastic in them, but overall they're more durable than a similarly priced digicam. When you get into some of the more expensive models in the $1,000+ range, bodies are ruggedized with largely metal bodies and nice rubberized grips. The ultra-high-end professional bodies are the most rugged and are weather-sealed so you can use them in the harshest environments without a problem. I don't think you'll find many war photographers using a rinky-dink digicam.

Viewfinder: This can be a plus and a minus, but mainly it's a plus. With a DSLR, you do not compose your shots on the camera's LCD, you do so through the viewfinder, and you're actually looking through the lens (that's what TTL stands for, though not to be confused with TheTechLounge). Looking through the viewfinder allows you to see more detail as you compose your shots with regard to what's in focus, and you won't have to worry about glare on an LCD interfering with composition. The only negative looking through the viewfinder really has is that if you are in a situation where you have to shoot from the hip or over your head, you have to sort of blindly shoot. By contrast, some digicams have swiveling and rotating LCD screens which allow you to compose such a shot without a problem. It's a small sacrifice. I suppose there's also the fact that it might be less comfortable to press your face against the back of the camera, but you get used to it.

Ergonomics: Back when I used to shoot with a small digicam, I would notice that my hand would cramp after a while of holding the tiny camera. DSLRs are larger and have molded grips which (to a varying degree) make holding the camera for long periods much more comfortable. The cheaper DSLRs are smaller and less comfortable, whereas the more expensive ones are usually larger and more comfortable. This is actually the main reason why I chose to purchase a Canon 20D over a Canon Digital Rebel XT - the 20D feels much better in my hand. And since I'm on the computer pretty much all day every day and I already experience occasional pain in my hands, I wanted a very comfortable camera to hold.

Price: DSLR cameras are practically affordable nowadays. The big two (Canon and Nikon) currently offer DSLRs for as low as $500-$600 (Canon Digital Rebel XT and Nikon D50) and they've been encroaching on point-n-shoot price territory more and more each year. Believe it or not, this is actually already cheaper than some digicams out there. Not to mention the fact that you can often find a great deal on a used DSLR at some major online stores such as BHPhotoVideo.com and KEH.com. Another great source for used equipment is the Buy & Sell forums (registration is required, but free) over at FredMiranda.com. Incidentally, FredMiranda is also a great site to learn from other photographers, and it's also a good resource for camera and lens reviews by the site's users.

DSLR Lenses on the Cheap: A Guide to Second Hand Glass : By Charlie Sorrel

 

Just because you have a fancy new DSLR, it doesn’t mean you are limited to fancy new DSLR lenses. In the olden days, all you had to worry about was whether a lens would fit your camera. Now you need to worry about crop factors and autofocus, too. But the reality is that pretty much any lens that will fit onto your camera will work. There will be some limits, but some of them are actually useful.

The crop factor, for instance, can work to your advantage. If you shoot wildlife the 1.5x focal length multiplier will turn a 400mm lens into a 600mm lens. Conversely, a lens made for a DX format camera will become ultra-wide on a regular film of full-frame digital SLR, although generally the quality of these lenses isn’t so good and you’ll probably get some vignetting at the corners where the larger sensor “sees” the edges of the lens.

But the point is that, if you are willing to make some compromises, you can buy some amazing, top-quality lenses for very little money. So instead of picking up that third party, vibration reduction auto-everything lens, take a trip to your camera store and see what is on offer on the second-hand case.

To keep it easy, I’m using a lens I picked up recently. It’s a Nikon 24mm ƒ2.8 AF-D, released in 1993, and I’m using it on a Nikon D60, an SLR with a DX sized sensor. This means the lens gives a 35mm equivalent of 35 mm.

Why buy a full-frame lens for a DSLR? First, Nikon doesn’t make a prime (fixed focal length) 35mm equivalent for digital cameras. In fact, the only prime DX lens is a 10.5 mm fisheye. Second, although ƒ2.8 isn’t a particularly fast maximum aperture, it lets in a lot more light than a zoom lens and is a lot better at throwing the background out of focus (wide aperture equals shallow depth of field.)

Third, prime lenses often give sharper results and are smaller and lighter than zooms. Finally, when I eventually spring for a full-frame DSLR (the D700 is looking mighty tempting), I won’t have to sell the lens.

 

So, I have a tack sharp lens which works at 35mm, the favorite focal length of candid shooters and street photographers (the most popular Leica lens is a 35mm prime). But what are the problems?

First, and probably the scariest for photographers who have grown up with digital, is the lack of autofocus. The lens was designed 15 years ago, before Nikon put motors in its lenses. Old film bodies and the higher-end DSLR bodies have motors inside which will focus these older lenses. The D60 doesn’t.

This means manual focussing, which is to be honest a little tricky these days. Older cameras had focussing screens with a split-image aid on them — line up the two halves and you were ready to go. Plus, older manual focus lenses had a much longer “throw” and a stiffer focussing ring which made accurate hand-focussing a lot easier. The D60 has an LED rangefinder in the viewfinder which tells you when you have got the subject sharp, but it’s not ideal.

Thankfully, the lens is wide enough to allow some cheating. Taking advantage of a big depth of field, you can stop the lens down to ƒ8 and use what is called the hyperfocal distance. In practical terms, if I set the focus to 4’11”, everything from three and a half feet to infinity will be sharp. This means you can wander the streets and snap away, confident that almost everything will be in focus.

Another advantage of these older leses is that they were made before the camera did everything for you and therefore have some handy extra markings:

Below the focus scale you see the depth of field markings. Say the lens is set at ƒ22. Just move the “infinity” mark to line up with the number 22 on the left and everything from there to the 22 mark on the right will be acceptably sharp.

You also see a white dot just between 11 and the focus mark. This is for infrared photography. Infrared light has a different wavelength and will not focus where visible light does. What you do is to focus normally and then twist the barrel to line the distance up with this dot instead of the central marker. It’s pretty useless with digicams as they have built-in filters to cut out the infrared light. It’s nice to know what it does, though.

There is also a manual aperture ring. Sadly, this can’t be used, and you need to lock the dial to ƒ22 for the camera to function. It’s a shame, as this is a quick and easy way to set the aperture size.

If you are used to using your camera’s auto exposure settings, especially the flash modes, some older lenses will limit them. This is because they don’t offer all the depth information needed for the camera’s calculations. But then, with a digicam, you can always take a test shot and tweak the settings.

Try it. Not only will you be able to get a very nice lens for little money, the limitations will be both fun and informative: you’ll learn a lot about photography just by having to do a few things for yourself. It’s like having somebody to tie your shoelaces for you. It’s great when they’re around, but isn’t it better to know how to do it yourself?

Product page [Nikon]

Portrait Photography Taking great portraits By: Cecil Garcia

Portrait Photography is one of the most challenging arts if you are considering becoming a professional in this. If you don't have a photo studio, then you can always start by concentrating on environmental portraits through which you can show the subject as well as his surroundings. The best work is the one that can produce an enlarged image of the size 11x14 inches. If the image is any smaller than this then the subject's face will look too small. You will require the help of a low ISO setting, prime lenses, a tripod, and a mid-range digital SLR. 

There are two basic elements for portrait photography in a photo studio. The first one is a controlled background. You will have to focus all your attention on the subject and at the same time minimize or remove the distracting elements in the frame. A common mistake made by many portrait photographers is the use of seamless paper or various monochromatic backgrounds. What you need to understand is that you don't require a special room to create a controlled background. There are various types of clever portable backdrops and backdrop supports, which you can build or even buy. Inspite of all this, if you are still unable to control the background, then the next best thing is to use a long fast lens like a 300/2.8. A fast telephoto lens will have very little depth of field and hence the eyes and the nose of your subject will be sharp. The distraction in the frame will become a blurry blob of colors. 

The second most important element of a portrait studio is controlled lighting. If you have lights kept on stands or if you can hang them from the ceiling then it will be easier to pick the angle at which light will strike the subject. The use of umbrellas and various diffusion equipments will help you to pick the harshness of the shadows on your subject. Backgrounds have always played an important role bringing out the details in a portrait photograph. So if you can’t find a big open space with diffuse light and a neutral background then you will have to steal one

Here are some key factors of portrait photography. The first one is: 

Lighting
The best lighting condition for portraits is soft and off-camera. If you have a large north-facing window or the soft-box then it will work very well. For shooting outdoors, an overcast day or sky will provide a perfect lighting condition. If there’s sun outside then you can use an electronic flash or a reflector to fill in shadows underneath the eyes. 

Lens
The best way to flatter your subject is by de-emphasizing the nose. This means that you will have to stand at least 10 feet away from your subject. The problem that arises in this case is filling your frame with the subject's face since you are standing at 10 feet. To deal with this problem, you will require a high magnification or telephoto lens. Typical portrait lenses vary between 90 and 135 millimeters long for 35mm cameras.