Camera Upgrade - Choices
Derek Smith • 18 May 2020
Camera Upgrade – Choices
So, I would suggest that the first choice that you need to make is DSLR, or a mirrorless camera.
A DSLR as you know has the mirror that swings out of the way to expose the shutter and take the photo. The viewfinder is an optical device essentially looking through a prism and out through the lens, that’s why the viewfinder goes dark as you stop the shutter down, and there’s a preview button to open the aperture so that you see your subject. Focusing, the phase detect array (PADF) sits below the mirror and gives the focus accuracy, occasionally the PDAF array does not align the focus correctly and the camera and lens have to be sent away for recalibration. On the sensor are the contrast detect focus points (CDAF), if you switch to “Live View” the mirror swings out of the way, and the image is now displayed on the rear screen, (as all mirrorless cameras do) and the focusing is by way of CDAF rather than via the more accurate PDAF. This all comes into play when taking a portrait, in a studio, setting up for using flash I’m used to switching to Manual mode, setting the aperture f/2 as an example, and ISO fixed at 100, then increasing the shutter speed until the rear screen goes dark, then adjust the flash until the lighting on the subject is the correct exposure. With a DSLR, you have 2 choices with this situation, either take the shot, and see if the exposure is dark enough, or switch to “Live View”, and use a different focusing system. Wildlife photographers will not be concerned by this as “Live View” is very rarely used, but for macro photography, and portraiture this may be a consideration.
With mirrorless cameras the PDAF, and CDAF sites are on the sensor, in the case of the latest Sony A6xxx APS-C cameras 425 hybrid (combination of CDAF / PDAF) focus points. The viewfinder, and rear screen are essentially TV screens, whichever you look through is exactly what the photo will turn out like, the focusing is quicker, and more accurate. Internally the mirrorless camera loses the mechanism to move the mirror, and the glass prism, making the cameras simpler, lighter, and more reliable (no need for focus calibration), the downside is poor battery life to power the 2 TV screens.
For action, sports, and wildlife photography the DSLR was always the first choice, nowadays mirrorless cameras are more advanced with high shutter speeds, high continuous frame rates, and accurate PDAF subject tracking.
The second choice is between a full frame, or a crop sensor camera.
There is a lot of info, and debate on YouTube regarding sensor size, and I wrote a blog on this a couple of weeks ago.
Once you have made those fundamental choices, you will be able to narrow the choice then to specific manufacturers, and camera models.
I honestly do not think any manufacturer produces a “bad” camera anymore, so in the end the choice of camera body should be decided by features, and budget.
Full frame DSLR listing:
Nikon D850 £2500
Nikon D780 £2100
Nikon D750 £1100
Canon EOS 5D IV £2600
Canon EOS 6D II £1300
Canon EOS 90D £1100
Nikon D7500 £900
Canon EOS 250D £500
Full frame mirrorless models:
Nikon Z6 £1600
Sony A7 III £1700
Canon EOS RP £1400
Canon EOS R £2000
Crop sensor mirrorless models:
Nikon Z50 £850
Fujifilm X-T30 £700
Olympus OM-D E-M5 III £950
Fujifilm X-T3 £900
Sony A6100 £700
Panasonic G9 £1100
Sony A6600 £1400
These are just a few suggestions of camera models, once a short list has been made, I would advise that the next area to research is the lens choice for the short-listed models. The Nikon Z mount, and Canon R mount mirrorless cameras are new additions to the respective manufacturer’s product lines, and therefore have fewer lens options at the present time, whereas both manufacturers have a good selection of lenses for DSLR cameras. For mirrorless cameras Sony, Fujifilm, Olympus, and Panasonic all have an extensive range of lens choice, with renowned third party lens manufacturers since as Sigma, and Tamron producing quality lenses, some lenses will also be available on the second hand market further reducing costs.
As an example, personally I like a standard zoom lens with a constant aperture usually in the full frame range of 24 – 70mm. Tamron produce an excellent 28-75mm f/2.8 for the Sony A7 camera. Fujifilm have a new 16-80 f/4 lens (24-120mm equivalent) Sony produce an excellent 18-105mm f/4 for the A6000 range of APS-C crop sensor cameras, and Olympus have a constant f/2.8 12-40mm (24-80mm equivalent) lens in the “PRO” range of lenses. Nikon have recently announced a 24-70 f/2.8 lens, which has very good reviews, however it’s a pricey £1600, compare that with the Tamron (Sony FE) at £650, the Fuji at £700, the Sony 18-105mm at £420, Olympus 12-40mm at £850, and you begin to see why the choice of lens is so important.
Factor in any other lenses, a good 50mm prime, a telephoto, and perhaps a macro lens to give an idea of the budget required to upgrade.
Read camera, and lens reviews, ideally try the camera out usually in a camera shop, but that is not possible now, so maybe ask someone who owns that specific brand of camera. Look out for deals, many camera manufacturers are struggling financially this year especially. Sony often offer cashback deals; Canon have offered a twin lens starter pack in the past.
Hopefully, this article will provide some help in making difficult choices.
Article, and photo: Derek Smith
So, I would suggest that the first choice that you need to make is DSLR, or a mirrorless camera.
A DSLR as you know has the mirror that swings out of the way to expose the shutter and take the photo. The viewfinder is an optical device essentially looking through a prism and out through the lens, that’s why the viewfinder goes dark as you stop the shutter down, and there’s a preview button to open the aperture so that you see your subject. Focusing, the phase detect array (PADF) sits below the mirror and gives the focus accuracy, occasionally the PDAF array does not align the focus correctly and the camera and lens have to be sent away for recalibration. On the sensor are the contrast detect focus points (CDAF), if you switch to “Live View” the mirror swings out of the way, and the image is now displayed on the rear screen, (as all mirrorless cameras do) and the focusing is by way of CDAF rather than via the more accurate PDAF. This all comes into play when taking a portrait, in a studio, setting up for using flash I’m used to switching to Manual mode, setting the aperture f/2 as an example, and ISO fixed at 100, then increasing the shutter speed until the rear screen goes dark, then adjust the flash until the lighting on the subject is the correct exposure. With a DSLR, you have 2 choices with this situation, either take the shot, and see if the exposure is dark enough, or switch to “Live View”, and use a different focusing system. Wildlife photographers will not be concerned by this as “Live View” is very rarely used, but for macro photography, and portraiture this may be a consideration.
With mirrorless cameras the PDAF, and CDAF sites are on the sensor, in the case of the latest Sony A6xxx APS-C cameras 425 hybrid (combination of CDAF / PDAF) focus points. The viewfinder, and rear screen are essentially TV screens, whichever you look through is exactly what the photo will turn out like, the focusing is quicker, and more accurate. Internally the mirrorless camera loses the mechanism to move the mirror, and the glass prism, making the cameras simpler, lighter, and more reliable (no need for focus calibration), the downside is poor battery life to power the 2 TV screens.
For action, sports, and wildlife photography the DSLR was always the first choice, nowadays mirrorless cameras are more advanced with high shutter speeds, high continuous frame rates, and accurate PDAF subject tracking.
The second choice is between a full frame, or a crop sensor camera.
There is a lot of info, and debate on YouTube regarding sensor size, and I wrote a blog on this a couple of weeks ago.
Once you have made those fundamental choices, you will be able to narrow the choice then to specific manufacturers, and camera models.
I honestly do not think any manufacturer produces a “bad” camera anymore, so in the end the choice of camera body should be decided by features, and budget.
Full frame DSLR listing:
Nikon D850 £2500
Nikon D780 £2100
Nikon D750 £1100
Canon EOS 5D IV £2600
Canon EOS 6D II £1300
Crop sensor DSLR listing:
Nikon D3500 £450Canon EOS 90D £1100
Nikon D7500 £900
Canon EOS 250D £500
Full frame mirrorless models:
Nikon Z6 £1600
Sony A7 III £1700
Canon EOS RP £1400
Canon EOS R £2000
Crop sensor mirrorless models:
Nikon Z50 £850
Fujifilm X-T30 £700
Olympus OM-D E-M5 III £950
Fujifilm X-T3 £900
Sony A6100 £700
Panasonic G9 £1100
Sony A6600 £1400
These are just a few suggestions of camera models, once a short list has been made, I would advise that the next area to research is the lens choice for the short-listed models. The Nikon Z mount, and Canon R mount mirrorless cameras are new additions to the respective manufacturer’s product lines, and therefore have fewer lens options at the present time, whereas both manufacturers have a good selection of lenses for DSLR cameras. For mirrorless cameras Sony, Fujifilm, Olympus, and Panasonic all have an extensive range of lens choice, with renowned third party lens manufacturers since as Sigma, and Tamron producing quality lenses, some lenses will also be available on the second hand market further reducing costs.
As an example, personally I like a standard zoom lens with a constant aperture usually in the full frame range of 24 – 70mm. Tamron produce an excellent 28-75mm f/2.8 for the Sony A7 camera. Fujifilm have a new 16-80 f/4 lens (24-120mm equivalent) Sony produce an excellent 18-105mm f/4 for the A6000 range of APS-C crop sensor cameras, and Olympus have a constant f/2.8 12-40mm (24-80mm equivalent) lens in the “PRO” range of lenses. Nikon have recently announced a 24-70 f/2.8 lens, which has very good reviews, however it’s a pricey £1600, compare that with the Tamron (Sony FE) at £650, the Fuji at £700, the Sony 18-105mm at £420, Olympus 12-40mm at £850, and you begin to see why the choice of lens is so important.
Factor in any other lenses, a good 50mm prime, a telephoto, and perhaps a macro lens to give an idea of the budget required to upgrade.
Consider also a lower specification camera a Sony A6400, in preference to the A6600, a Fujifilm X-T30, as opposed to the Fujifilm X-T3 (although the X-T3 is due to be replaced by the X-T4, and may be available at a discounted price). An Olympus OM-D E-M5 III, as opposed to the Olympus OM-D E-M1 III.
Dual SD card slots? The Sony A7 III, Fujifilm X-T3, Olympus OM-D E-M1 III
Hopefully, this article will provide some help in making difficult choices.
Article, and photo: Derek Smith
Louth Photographic Society
At our meeting last night an instructional DVD on “Macro Photography” was shown. The DVD material was quite detailed, very interesting, with lots of facts, and figures to consider. After the break, I attempted to unpack some of that detail with a practical demonstration using my own camera, (the OM Systems OM-1) a set of extension tubes, an LED light, and an on-camera flash. There’s lots to consider when beginning with macro photography, first of which I would say is get to know your camera, being able to adjust aperture, ISO, and watching the shutter speed if shooting in Aperture Priority mode to optimise exposure, and detail. Next, lens choice, select a lens with the closest focusing distance, if you have a dedicated macro lens then use that, otherwise a set of extension tubes may bring your camera closer to your subject. Choosing a subject, and lighting the subject with a LED light, or a camera flash speedlight will yield improved results. Don’t be afraid to experiment with settings, only by continual practice will the best images in this incredible genre, that is macro photography be realised, above all have fun. We meet at Red Hill Nature Reserve, Goulceby next week, Wednesday 4th June, to hopefully capture some amazing macro photography.
Good Morning all What a good night we had last Wednesday in the LPA Battle against Lincoln. We managed three twenties and overall won by twenty points, the second best score in the first round overall only bettered by Scunthorpe who we meet next. This week, Wednesday 28th May we are showing a DVD, "The Essential Guide to Close-up and Macro Photography". I was asked if I could get a speaker on the subject but there didn't seem to be any so a DVD should be a good substitute. We have a print competition coming up, with the categories of "Britain's Coastline" and "Open", it covers a very large area including all the islands. Due to outings and the LPA Battles it will not be easy getting our prints to Dave, so you can bring them this Wednesday or send an email with your entries to Dave as usual and bring them on the night if you don't see Dave beforehand. If you do this, you must send the titles to Dave to get on the scoresheet. I have confirmed our booking at the Splash on 4th July as I had twenty members and partners replying indicating they would be attending. I have paid the deposit so if you could give me £5 per person deposit when you next see me. They have also asked us to have menu choices decided two weeks before we go. Regards Graham
On Wednesday 28th May, the Society will be showing a DVD that hopefully will give advice on techniques, and skills for “Macro Photography”. The following Wednesday we will meet up at Red Hill to practice those skills, and techniques. So, what is “Macro Photography”? Wikipedia gives the following definition: "Macro photography is extreme close-up photography, usually of very small subjects and living organisms like insects, in which the size of the subject in the photograph is greater than life-size." To photograph small insects, or flowers larger than life-size a photographer will need to have a lens suitable for the purpose, a dedicated macro lens, a close focusing telephoto zoom lens, or the least expensive option is a set of extension tubes. With my Fuji camera system I used a 70-300mm zoom lens to capture these images, now that I am using the Olympus / OM System cameras I can buy a dedicated macro lens for about £400, however rather than spending a lot of money, I have opted to purchase a set of extension tubes, for £33, the tubes fit between the camera body and the lens enabling closer focusing to the subject. One of my techniques for close focusing is to obtain focus, either with auto focus, or manual focus, and gently rock back, and forward to fine tune the focus. A camera flash, or a portable LED light can also be used to highlight the subject.
Good Morning All Last week at the club we held our monthly PDI competition, with the categories of "Seasons" and "Open" judged by a new judge to the LPA, Dane Butler. There is a report on the evening on our blog and all the results are on our website under competitions. Well done to Steve Chapman who came first in both subjects. This week, Wednesday 21st May, we host Lincoln in the first round of the print LPA Battles judged by Brian Grommett. Don't forget, subs are now due, also keep going on your project, prime time if you are taking part. Regards Graham
The first round of the LPA Print Battles was held last night, Louth hosted Lincoln for this round. The judge for the evening was the excellent, quietly spoken, knowledgeable Brian Gromett. Brian reviewed the prints in his usual calm manner, holding back four prints from the Lincoln entries, and nine prints from Louth. The club room was packed for the evening, I was especially taken with three of the detailed insect prints submitted by Lincoln, and presumably by the same author, as the pastel like green backgrounds were in the same style. It was an excellent and close fought competition, well done to Lincoln, but after the points were added up Louth led by 20 points.
Our PDI (Projected Digital Image) competition with the categories of “Seasons”, and “Open” was held last night. Dane Butler was the judge for the evening, and there were some stunning images submitted into the competition to review. Dane judged the images fairly, majoring on the technical imperfections of the images, depth of focus, composition, elements within an image that could have been removed, improved cropping of an image, and image titling. Thank you to Dane who is a new judge on the LPA circuit, I felt he did well, he does need to think about addressing the audience with his critique of the submitted images, and speak a little louder. I know that the technical critique helps us to develop our skills as photographers, sometimes though, it would be nice if a judge could concentrate on the pleasing aesthetics of a submitted image, rather than on the technical deficiencies of an image, for me as a personal viewpoint it should be how an image has an impact on the viewer, or the story that the image conveys. I present two images for consideration, the first of the heritage passenger train hauled by the steam locomotive “Eric Treacy” drawing into Goathland station and being met by the Stationmaster on the platform conveys a story, the second is of a visually impactful corn flower, both images have technical imperfections but are nevertheless stunning. Congratulations to Steve Chapman, and Graham Harrison for achieving the highest placings in the competition. All the competition results, and top three placements from the competition categories have been uploaded to the Competition page on the website.
Good Morning All Last Wednesday we held our Annual General Meeting, it was a good attendance, with all the Officer, and Committee posts filled for another year, thank you to all. This week, Wednesday 14th May, we hold our monthly PDI competition, with the categories of "Seasons" and "Open" to be judged by Dane Butler, entries to Harry by midnight tonight please. Regards Graham
Our AGM was held last night; it was a productive evening with all the Society Officers re-elected for the forthcoming year. A big thank you to Peter Cory who has stood down from the Committee, Paul Twomey has been nominated in his place on the Committee. Following the AGM, the cups, and trophies were awarded to members with the highest points scores in the competitions.
We held a PDI Competition last night with the categories of “Local Events”, (the “Local” designation applies to any photograph taken within a 25-mile radius of St. James Church, Louth) and “Open”. Our own Graham Harrison was the judge for the evening, and he did a sterling job of selecting the top three highest placed images in each category. All the results of the competition can be viewed on our Competition webpage. I want to take a moment to praise the work of our Competition Secretaries, Dave Turner is the Print Secretary, he collects, collates the submitted competition prints, and produces the score sheets, he also submits club entries into the LPA Fosters competition, and the LPA Battles for members. Harry Kerman is our PDI Secretary, he receives submitted digital images usually via WeTransfer, collates the entries, produces the score sheets, and presents the images on the competition evening, as he did last night. Our Society would be much poorer without the hard work and dedication of these two individuals. It would be a real help to both Competition Secretaries if you could pay attention to the titles of your submitted entries, in the topic categories a judge must be guided by the title, as well as the image to evaluate whether the image meets the topic criteria. Our next PDI competition has the topic of “Seasons”, carefully choose both the image and the appropriate title to help the judge. It seems a shame to put a lot of hard work into taking a photograph, editing the image, and submitting the entry, only to lose points because your image did not meet the criteria. I would also encourage you to join our outings in June, it’s where we can socialise, and learn from other members how to use our cameras and gain some composition tips. This photo of an Orb Weaver spider taken at Chambers Farm Wood, from last year, is an example of what can be achieved on our outings.
Good Morning All Last week at the club Derek Smith kindly organised a studio night for us all, it was a very successful evening with Derek providing all the lighting, backdrops, and booking the model. Thank you, Derek, for all your hard work organising the evening. This week, Wednesday 30th April, we are holding a local PDI competition, with the categories of "Local Events" and "Open", you have until midnight tonight to get your entries to Harry. The local is always judged by members and this week you have yours truly judging. The following week it is that time of year already when we hold our AGM and presentation night. If any members have trophies to hand in, this week please. The week after the AGM it is the first monthly PDI competition of our new competition year, Seasons and Open, you can begin sorting out your entries for that one as well now and send them to Harry after this Monday to avoid confusion. Regards Graham
