Deciding to purchase a new camera can be a daunting task, not least because of the sheer number of options available. After all, many do not know what cameras are and how they differ. Therefore, before buying, the user must answer a series of questions that will help find the most suitable option.
But first of all, you need to know what types of cameras are. As a rule, they are classified into compact and mirror. The first type also includes transitional bridge and superzoom cameras with a large range of focal lengths and greater control over exposure settings. Their lens is built into the body and cannot be replaced.
Mirrorless cameras are close to the second type, since they allow the photographer to work in manual, automatic and semi-automatic modes like SLR cameras. Their lenses are interchangeable.
Now let's dwell on different types of cameras in more detail.
Entry level compact cameras
When deciding which camera is best for a beginner photographer, you need to look for inexpensive devices that are small in size, simple, no frills, ideal for everyday shooting. Often they are powered by AA batteries, which lose their charge quickly and are therefore not very economical. The best solution is to invest in a set of rechargeable lithium-ion batteries and charger. It's more expensive, but these batteries provide better battery life and can be used over and over again, lowering the total cost of camera ownership.
Most budget compacts are equipped with lenses with 3-10x optical zoom, which usually corresponds to 35-105mm. This range is convenient for general shooting, although some cameras extend it a little by offering extra wide or extra long focal lengths. A camera with a 28mm lens is ideal for group shots and landscapes, while a 140-150mm lens is ideal for capturing distant details. What is the best camera for a beginner photographer? As a rule, optical zoom of more than 8x is available for compacts above the average level, so such models are worth a closer look.
In recent years, there has been fierce competition between camera manufacturers to provide budget cameras with the functionality of high-end devices. During this time, the size of LCD screens has gradually increased. A 2.7-inch display is standard on low-end models, with 3-inch options becoming more common. This does not directly improve the quality of the photos, but it does provide a better view of the scene and review of the footage.
Currently, digital SLR cameras have the widest range of accessories. Regardless of which professional camera is chosen, in addition to a variety of lenses, you can connect an external flash to it. Many models come with an optional battery-powered grip that provides longer battery life and makes it easier to shoot in portrait mode. As HD video recording has become a standard feature, external microphones can be invested in for stereo recording, and the shallow depth of field offered by a larger sensor can come in handy for creative photography and shooting in low light.
Professionals advise using SLR cameras to capture the highest quality pictures, capture moving objects, and record video. However, they are expensive and large in size.
Which camera is best for a photographer: weight and portability
The user must be realistic about how seriously they plan to take photography.
Carrying a large and bulky camera is heavy and inconvenient, and owners who don't take photography very seriously are likely to leave it at home and want to purchase something more suitable. This is a really important factor, so before buying, you need to go to the store, take the camera and feel it in your hands, just to make sure that its weight and design will really satisfy the potential buyer.
The size and weight of the camera is not quite proportional to the quality of the pictures that can be obtained with it, so you should not think that more is better. Generally, compact cameras, as a rule, are better suited for carrying in a pocket, while mirror ones will require much more effort. Mirrorless models tend to sit in the middle, but there are notable exceptions that are larger than some DSLRs.
Sensor size and pixels
In digital cameras, image capture takes place on the so-called. sensor, which looks like a piece of electronic film. Tiny elements called pixels on this sensor capture the details of the subject being photographed.
You might think that the more pixels a sensor uses, the more detail it can capture, and theoretically this is true. But in real life, this is only part of the truth. More pixels don't always mean better shots, as camera designers have to balance between sensor resolution and how small the pixels need to be to fit on the sensor.
Small pixels are like small speakers - they "rattle" a little. What are camera matrices? In general, compact cameras use very small image sensors with very small pixels. DSLRs have larger sensors, so they have larger pixels.
When buying a SLR or mirrorless camera, professionals advise choosing a model with a resolution of 12 to 50 megapixels. Compact or Superzoom Imaging Sensors good quality should have from 10 to 14 megapixels.
Zoom and focal range
Regardless of which digital camera is selected, it will have a specific set of lenses or zoom settings. If this compact camera, you have to live with what it offers, so you need to make sure that it covers all the ranges that you plan to use.
The numbers on the package mean nothing. "10x zoom" only says that the longest setting is 10 times longer than the widest. Therefore, you need to look through the viewfinder to see for yourself what exactly these settings and numbers mean in real life.
Users who are considering buying a camera should take the time to see what lenses are available for DSLRs and mirrorless models and see how much they cost. It is not entirely good when, after buying a body, the owner finds that he cannot afford exactly the long-focus optics that he wanted to purchase.
Reviews and testimonials: should they be trusted?
Information about cameras can be found in special reviews, since there is no shortage of them at the moment, they can be found everywhere, so it’s better to spend a little time and get acquainted with the basic information before buying.
It allowed shooting with instant shutter speeds, which required a special mechanism to adjust the duration of exposure to light. Such a device was a photogate , the first designs of which appeared in 1853 . The invention by Ottomar Anschütz of a high-speed curtain-slit shutter led to the appearance of reporter cameras - press cameras, launched into mass production by Goerz in 1888.
The advent of gelatin-silver photographic papers suitable for projection printing, as well as the growth in the resolution of photographic emulsions, launched the process of miniaturization of photographic equipment and the emergence of its new portable varieties, such as folding and travel cameras. A technological breakthrough was made in 1888 by George Eastman, who released the first Kodak box camera, loaded with roll film on a flexible celluloid substrate. The invention marked the beginning of amateur photography, relieving the photographer of the need to develop photographic material and print pictures. All this was done by Eastman's company, where the camera with the captured film was sent by mail. On the way back, the amateur photographer, having paid $10, received a reloaded camera, ready-made negatives and contact prints from them. Simultaneously with compact cameras, numerous cameras for covert shooting appeared, including those built into clothing items: ties, hats and handbags.
The development of color photography technologies in the second half of the 19th century, based on Maxwell's three-color theory of color perception, led to the spread of specialized devices that allow color separation in various ways. The simplest solution was to shoot three color-separated images on a common photographic plate through three lenses covered with light filters of the primary colors. However, the distance between them inevitably led to parallax and, as a result, color contours in the image of close objects. Cameras with sequential shooting through one lens on an elongated photographic plate with automatic step-by-step shift turned out to be more advanced. The most famous are such cameras designed by Adolf Mite, one of which was used by Sergei Prokudin-Gorsky.
Three-exposure sliding-cassette cameras were only good for shooting still objects and landscapes because of the inevitable temporal parallax. Three-plate cameras with internal color separation were deprived of all shortcomings, which made it possible to shoot moving objects through a common lens in one exposure. The invention of the autochrome process and the subsequent spread of multi-layer photographic materials made it possible to abandon complex photographic equipment, but nevertheless, cameras with internal color separation using translucent mirrors were used in the publishing business until the mid-1950s.
One of the key roles in the improvement of photographic equipment was played by the formation of aerial photography, which received rapid development after the First World War. High flight speeds required short shutter speeds, forcing them to be compensated by the high aperture of lenses. At the same time, the inadmissibility of geometric distortions, especially in photogrammetry, forced the development of optics with minimal distortion. Many designs of shutters and lenses, which are common in modern photographic equipment, were developed specifically for aerial cameras, only then they found application in general-purpose cameras. The same applies to auxiliary mechanisms: for example, automated camera reloading was first used specifically for aerial photography.
compact cameras
Roll photographic materials made it possible to increase the efficiency of shooting and reduce the size of the camera, which, thanks to the folding design, can now be put in a vest pocket. A huge role in the formation of photographic equipment was played by the parallel development of cinematography technologies and the improvement of the most mass-produced 35 mm film. The growth of its information capacity led to the appearance in the early 1920s of small-format photographic equipment. The first cameras in this class were the Simplex Multi (1913, USA) and Ur Leica (1914, Germany).
In 1925 it began mass production the Leica I camera, which became a role model and the ancestor of the most numerous class of equipment, popular until the advent of digital photography. In 1932, the production of Leica's main competitor, the Contax camera of the same format, began. Almost simultaneously with the advent of small-format cameras in 1930, the production of disposable photobulbs began in Germany, which simplified shooting with pulsed illumination and made it safe. The result was the introduction of a sync contact into the shutters, which provided automatic synchronization and shooting with a flash at instant shutter speeds.
The advantages of a single-lens scheme, such as the complete absence of parallax and limitations in the focal lengths of lenses, characteristic of rangefinder cameras, forced developers to improve the design further. The result was the appearance in 1959 of the Nikon F camera with 100% frame display and a jumping aperture. The combination of an attached electric drive and telephoto lenses, inaccessible to rangefinder equipment, quickly made this camera the standard in photojournalism, especially sports. For several years, the production of similar cameras was launched by most manufacturers of photographic equipment.
Auto exposure and auto focus
The result of these innovations was the complete automation of exposure settings in both professional and amateur photographic equipment. Further improvement of cameras followed the path of introducing autofocus. The first mass-produced camera equipped with such a system was the Canon AF-35M compact camera, released in Japan in 1979. Two years later, a mirror "Pentax ME F" appeared with an objective contrast autofocus. A similar system was later equipped with Nikon F3 AF and Canon T80 cameras. A more advanced phase autofocus, first implemented in the Visitronic TSL system, found widespread use in 1985 in the Minolta 7000 camera. This system acquired its modern look after the creation of the Canon EOS standard in 1987, where focus drives began to be installed in lenses, and the sensor was located under the auxiliary mirror at the bottom of the camera. All these improvements became possible thanks to the rapid development of microelectronics, which made cameras volatile.
Digital cameras
As a result of the cooperation between Nikon and Kodak, in August 1994, a hybrid digital camera "Kodak DCS 410" was created based on the Nikon F90 camera, the removable back cover of which was replaced by a digital set-top box with a 1.5 megapixel CCD matrix. In March 1998, the first one-piece digital SLR camera "Canon EOS D2000" appeared on the market. All these samples were intended for photo services of news information agencies and cost from 15 to 30 thousand dollars. The cheapest cameras, such as the Canon EOS D30 released in 2000, cost upwards of $2,500, and remain unacceptable to most photographers.
Device and principle of operation
The simplest camera is an opaque chamber, inside of which a flat light detector is fixed, in the form of photographic material or a photoelectric converter. Light enters the light receiver through a hole in the opposite wall: a pinhole camera is built on this principle. In more advanced cameras, the hole is closed by a converging lens or a complex multi-lens lens, which builds a real image of the objects being photographed on the surface of the light receiver.
Camera classification
Both classic and digital cameras are divided into two main groups: general purpose and special, designed for special work. The main classifying feature of any general-purpose camera is the size of the frame window, on which most of the other characteristics depend. According to this principle, cameras are divided into large format, medium format, small format and miniature, designed for non-perforated 16 mm film and smaller photographic materials. Miniature cameras also include cameras of the Advanced Photosystem. A different classification has been adopted for aerial cameras: cameras with a frame size of less than 18 × 18 centimeters are considered small-format, and larger ones are considered large-format. If this size matches, the camera is considered "normal format".
Usually included in this category photo guns and cameras for shooting in invisible rays (infrared and ultraviolet). This equipment differs in design, and it may contain devices that are not typical for general-purpose cameras, and vice versa, some common components are missing. For example, in aerial cameras there are no focusing mechanisms, since the lens is rigidly fixed in the “infinity” position. There is also no viewfinder in dental cameras, since framing is done by pressing a special lens guard against the patient's face. In photographic equipment for shooting in ultraviolet rays, a lens made of quartz glass, which least delays this type of radiation. For infrared photography in digital cameras, it is required to remove the filter installed in front of the matrix. Stereo cameras are equipped with two lenses and a special tape path. Document cameras were equipped with several lenses, giving a multiple number of shots on one sheet of a photo set of a single-stage process.
see also
- Photo equipment manufacturers
Notes
Sources
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The second most important is the method of sighting and focusing, which are determined by the type of viewfinder. It is customary to single out the simplest, scale, rangefinder and SLR cameras. The latter, in turn, are divided into single-lens and two-lens. A separate group consists of box cameras with a fixed focus lens and direct view format cameras with focusing on a removable frosted glass. Large-format equipment is divided into several categories depending on the main purpose: road cameras, gimbal cameras, press cameras, etc. Most of these types have a folding design and allow the lens and cassette part to move relative to each other.
In digital equipment, only the definition of a medium format camera remains from this classification due to the characteristics of this class of photographic equipment. All other varieties are classified according to other criteria, the main of which are the physical size of the matrix and the type of viewfinder. Digital cameras came into being when autofocus became a standard part of any camera and can do without manual focusing aids. Therefore, some classes of equipment, such as scale and two-lens reflex cameras, do not have digital analogues. The simplest compact-class digital cameras are equipped with autofocus or a fixed lens that is constantly focused at the hyperfocal distance. The same applies to most camera phones. Special cameras include reproduction, panoramic, aerial cameras, cameras for covert photography, fluorography, dentistry, photo recorders and others.
What you need to know about the camera in order to make fewer mistakes and enjoy the results more often or the key issue of progress and its impact on the growth of professional excellence.
A few years ago, professionals smiled indulgently when they heard talk about digital cameras. Now everything has changed, and digital SLR cameras have ceased to cause surprise and ridicule in professional circles. Literally, the explosive growth of the "digitalization" of photographic equipment has slowed down, approaching the border of technological and physical possibilities. More importantly, the possibilities of digital technology have approached the border of the reasonable needs of an amateur photographer. The functional and quality characteristics of digital cameras from different manufacturers have come close and, finally, prices have stabilized in an acceptable consumer corridor. What is especially important, the quality of the image formed by professional and some amateur digital devices is not inferior, and in many cases even superior to film. Yes, the film is alive and, perhaps, will live for a long time, but progress cannot be stopped. Agree, the technology that is more convenient and cheaper wins. Therefore, studying the camera as the main tool of the photographer, we will talk, first of all, about digital cameras. Which camera to shoot - film, or digital, everyone decides for himself? Which model to choose, with what characteristics, which manufacturer is also a matter of taste and personal preferences? It doesn't matter what brand of camera you use to effectively learn the art of photography.
But! I want to draw your attention, dear colleagues - it is much more convenient and cheaper to study with a digital camera, and it is absolutely vital that your camera has the ability to shoot in semi-automatic and manual modes. Why these theses are true, you will understand in the process of getting acquainted with the material of this lecture.
Briefly about the device of the camera and the influence of structural elements on the result.
1. LENS
Lens - a device that creates an image on a light-recording plane.
We have already considered this issue in sufficient detail in a lecture on lenses, so I will remind and clarify only a few important points:
resolution- the most important characteristic that determines the maximum possible clarity and sharpness of the generated image. It depends on the quality of the material from which the objective lenses are made, the quality of surface treatment and the accuracy of the optical design itself. It is easy to guess that the better the lens, the more expensive it is.
aperture ratio - in a simplified way, this is the ratio of the amount of light transmitted by the lens into the light-recording plane, to the amount of light reflected from the object being photographed (in the direction of the lens, of course). Aperture is characterized by the minimum aperture value f (reciprocal, see the lecture on lenses), the best lenses have a value of f / 1.2, most lenses have a minimum value of f / 4.
aberrations (they are introduced distortions)- most often, there are two main groups of distortions affecting the image:
Scheme of chromatic aberration (1) and its reduction with an achromatic lens (2)
- geometric aberrations- distortion, spherical aberration, coma and astigmatism. The most noticeable - distortion - distortion of the image of straight lines, depends on the relative position of the diaphragm and the lens. In most optical systems, these distortions can be compensated and reduced to almost zero.
The luminous flux in the figure spreads from left to right.
Result in frame plane:
pincushion distortion
barrel distortion
No distortion
About spherical aberration, coma and astigmatism, as well as about diffractive aberration, especially inquisitive students can read in the reference literature.
Vignetting is not so much a characteristic of a lens as it is an effect associated with the lens - darkening of the image at the edges of the frame, which occurs in part due to the restriction of the light beam by the diaphragm, but is most pronounced when using several filters on the outer barrel of the lens.
autofocus is already a characteristic of the camera-lens system. The speed and accuracy of focusing in autofocus lenses depends on the type of drive used and the quality of the autofocus system as a whole. I think there is no need to explain what and how it affects. Today, ultrasonic drive is most often used, which makes this process very fast, smooth, silent and accurate. Difficulties usually arise in the case of low light, to solve this problem, some cameras use an autofocus illuminator system. When working with a camera without autofocus illumination, it is often possible to illuminate with a conventional laser pointer. In some cases, it is more efficient to use manual autofocus, if it is structurally provided, of course.
As you might guess, the quality of the image depends primarily on the quality of the lens. Lens characteristics such as focal length and depth of field can be considered as variables or derived from other characteristics. We talked about this in detail in the lecture on lenses.
2. MATRIX
Matrix - electronic device, located in the same light-recording plane in which the lens forms an image and actually registers this same image.
Usually, reflections on the subject of a digital camera begin with an assessment of the resolution of the matrix and its other characteristics. To a large extent this is correct. Simply put, a matrix, also known as a sensor, is an analog-to-digital converter (ADC converts an analog signal - the amount of light, into a digital one - an electrical impulse) based on a silicon crystal in which a plane (matrix) of photodiodes is formed, each of which is a pixel. Together, these elements convert the light flux incident on the plane into a data stream in the form of a set of electrical signals. Matrices differ in type and size (more on this in the article by Salavat Fidaev). Without going into technical details, it can be noted that a 2-megapixel matrix (two million light-sensitive elements) is enough to obtain satisfactory quality photo prints in the traditional household format of 10 × 15 cm. It is clear that those who are learning photography skills are not interested in the everyday format, which means that a higher resolution is needed. Fortunately, most digital cameras have long since crossed the 5-megapixel frontier. Why did five megapixels matter so much? Because, in professional photography, the most common format is 20×30 cm, the size of a standard sheet (A4), and five megapixels is just enough to get a high-quality image of this format. So, point by point.
resolution - the number of pixels from which the image is formed. In general terms, I hope this is an intuitive characteristic - the higher the resolution, the better.
dynamic range- in fact, the quality of dots is a very important parameter of the matrix, which characterizes the ability of an analog-to-digital converter (sensor) to capture and detail light information in the range from the minimum amount of light (dark part of the image) to the maximum (light part of the image). In other words, the ability to qualitatively capture the details of the image at the same time in the lightest and darkest parts of the picture. Naturally, the greater the dynamic range, the more accurate and softer the image. The dynamic range is determined by the bit depth of the data representation. To understand what bit depth is, I will give a simplified example. One bit - one position in the binary number system (uses a computer), which can take on the values 0 or 1, that is, either black or white. Two bits - two positions, two values each - 2×2=4 four in total: black, dark gray, light gray, white. Three bits - 2x2x2=8 - eight levels (steps) of detail from black to white; four bits - 2×2×2×2=16 - respectively, sixteen levels. And so on. To date, most systems for capturing, converting and displaying images use an eight-bit range, that is, 2 to the eighth power, which corresponds to 256 steps from pure white to pure black. This, of course, is significantly less than the range of the human eye, but in most cases it is enough to solve photo problems. We discuss this in more detail in the lecture "Light and Lighting in Photography".
physical sensor size and crop factor- the area occupied by pixels in a plane that is so important for us and the ratio of the ratio to the standard size 24×36. What is important to understand here?
- pixel size- as you might guess, if there is a small eight-megapixel matrix and a significantly larger one, say, six-megapixel, then their pixel sizes are different. Does it affect anything and how exactly? The larger the size of the cells (photodiodes), the “deeper” and “cleaner” the photo image is. This is due to the fact that, first of all, The light sensitivity of a pixel and its accuracy as an ADC is proportional to its area and, secondly, the larger the pixels, the less the influence of thermal noise that inevitably occurs during operation and heating of the matrix. Therefore, small, multi-megapixel matrices most often imitate the 8-bit range, significantly extrapolating noisy data. As you understand, there is nothing surprising in the fact that photographs taken by "digital cameras" with tiny eight-megapixel matrices are so noisy and fuzzy. In addition, such matrices are much more sensitive to exposure errors. Minimal underexposure leads to an increased level of noise in the shadows, and with a slight overexposure, the details in the highlights are “burned out”.
- crop factor or no silver lining. The crop factor only shows how much the matrix is smaller in area than the standard narrow-film format (see the article by Salavat Fidaev). What is important to understand here? First, the use of a small light-recording area makes it possible to make fast lenses with large focal lengths of a very small size. This feature is fully used in digital compacts and prosumer format cameras with superzooms. Secondly, in digital SLRs with standard optics, the peripheral part of the image is “cut off”, namely, there, as you remember, the main distortions.
There is also such a thing as the type of matrix, but we will not delve into these technological jungles yet. As a summary, I would like to say that if a technological breakthrough makes it possible to create a sufficiently small ten-megapixel "cold" (without thermal noise) matrix with a real dynamic range of more than twelve, then the camera professional quality will easily fit in any phone. The question is, is it possible, when to expect such a miracle, and will it benefit the photographic industry?
3. PROCESSOR
The processor is a device that converts the data stream into an image and controls the entire system.
What is a processor, today, in general terms, everyone represents. What does a photographer need to know about their camera's processor? In general, nothing special - this is the brain of the camera, which is involved in determining the exposure, optimizing the exposure pair if necessary (in semi-automatic modes and in scene programs), focusing, if necessary, recognizing faces in the frame and showing what exactly he recognized. In addition, he deals with sensitivity, ensures the correct operation of the controls - turns the photographer's instructions into effective parameters for the operation of the entire system called digital camera. When it is dark, turns on the AF-assist beam and controls the flash. And, finally, the most important thing is that it creates an image from the faceless data stream that it receives from the matrix. And then, of course, it converts the image to the specified format, with the specified compression options in the desired color space. Well, it also records a picture on a memory card and displays the image on the monitor. And finally enters the mode of readiness for a new picture. Yes, I completely forgot, the aperture and shutter speed, as well as the shutter, are also controlled by the processor, honestly following the instructions of the photographer. By the way, he can take pictures on his own, you just need to instruct. Processors are all different and they have drawbacks - some think for a long time, others are smart with focusing, others regularly make mistakes in difficult light conditions, and others do not cope well with simple light. But the biggest drawbacks of any processor is the inability to choose the location / time of shooting and the inability to line up the frame. So, colleagues, the photographer has to be smarter than the processor, and apparently this is for a long time, since photography is a creative process.
Addition or thanks again to the processor.
Often you think about the fact that the luminous flux in a room with lamps and the light outside on a sunny day have a different nature and composition - they have a different “color temperature”. Those who shot on film, having probably received prints, wondered why some photographs from the same film are normal, others are blue, and still others are very yellow. For the correct color reproduction in different lighting conditions, different films are produced and used. Unlike film, the processor of a digital camera can be quickly adjusted to change the spectral composition of the light flux, using white as the standard, and provides natural color reproduction in a variety of conditions - this is called white balance. It can be adjusted automatically, it can be set forcibly according to the type of lighting: daylight, cloudy, incandescent lamps, fluorescent lamps and can be set manually or adjusted according to a white sheet. Learn more about white balance and color temperature in the Light and Lighting in Photography lecture.
4. DISPLAY
Display, main clue, teacher and... deceiver
The display, which is also a monitor, does not need a long introduction, it is a screen on which the frame obtained after shooting is visible. It also allows you to see in advance a semblance of what should happen after pressing the shutter release button and make the necessary corrections. Most DSLRs, however, do not allow viewing through the display, but allow the image to be viewed immediately after the exposure. The opportunity to see the result in the process of taking pictures, to reject unsuccessful shots, to reshoot is the most important for many and, as you might guess, very educational and methodological for us. It is obvious that the display can have a different size, resolution and brightness. These parameters do not need a detailed description due to the obviousness. It is very important that almost all modern cameras allow you to display a histogram on the display, you should not neglect this feature, it saves you from many errors both in exposure and in framing. Some models of cameras are equipped with swivel or rotating displays, which significantly improves the usability - for example, you can accurately frame (aim) when shooting with outstretched arms above your head, or shoot from ground level. There was no question why the display, with all its pluses, is a deceiver? I think not, but just in case, I will explain: due to the small size, the display leaves our minds with too much room for imagination. Therefore, very often a frame that seemed brilliant on the display turns out to be hopeless on the big screen.
5. EXPOSYSTEM
The exposure system is a quite intelligent and rather complex system for determining lighting conditions and balancing exposure values.
I won't tell you how TTL metering works at full aperture using a multi-zone silicon photocell, what exposure metering systems are most common today, or what is the difference between incident and reflected light metering. The main thing you need to understand is what measurement methods are fundamentally used in cameras and how this affects photography.
exposure metering. The built-in exposure meter of a modern camera can estimate the amount of light reflected from the shooting area, usually in several ways. In different models, different manufacturers, the names of the modes and the measurement technology can vary quite a lot, but the principle is the same everywhere. There are two basic modes - point and integral. In the first case, the illumination of a small point, which, as a rule, coincides with the focus point (or several points), is estimated, in the second, the illumination of the entire frame or a large area of it is averaged. All other regimes will be variations between these polar cases. For example: evaluative metering linked to any AF point, partial metering 10% area at center of frame, center spot metering 3-4% of the area in the center of the frame, center-weighted integral metering, integral metering with the priority of zones in which the system recognized faces ... What follows from this you already know or, for sure, you can guess. If you are photographing a blonde woman in dark clothes against a dark background, and the exposure is metered over the entire area of the frame, you will get a well-designed suit with a white spot instead of a face. Of course, eyebrows, eyes and lips will most likely be drawn near the spot, but it will not be easy to pass off such a portrait as a high key against a dark background. Hence the conclusion - the exposure metering mode must be selected in accordance with the cut-off nature of the frame, the area and the illumination of its semantic centers. So, you have determined and set the appropriate mode, now the processor knows how to correctly estimate the total amount of light and, by linking it with sensitivity, calculate the value of the exposure pair.
Expopara is a pair of two parameters: shutter speed and aperture. The exposure is set with the help of the exposure pair. Obviously, quite a few exposure pairs correspond to the same exposure, for example, 1/30 - f / 8, 1/60 - f / 5.6, 1/120 - f / 4, etc. Next, the most interesting thing is determining the correct expoparas. Here you can not do without the help of a photographer. You need to set (enter, set) the exposure mode: programmed automatic (P), shutter priority (S), aperture priority (A), scene programs (full auto, portrait, landscape, macro, sports, night ...). Still sometimes there is an automatic exposure taking into account the depth of field and always an automatic exposure using your own flash. Further, having determined the exposure and having received additional creative information from the photographer, the camera itself chooses the optimal aperture-shutter ratio. It is clear that if you shoot a sports report and a landscape in the same lighting conditions, then in the first case you need to give priority to shutter speed by making it as short as possible, and let the aperture adjust. In the second case, on the contrary - you need to close the aperture harder and let the shutter speed be long, the sensitivity is minimal, and the tripod stable. Noticed? It is on a solid tripod that you can see a serious landscape painter! How accurately do you think the camera does what the photographer needs? You are right - very accurate. Only a very experienced photographer can solve this problem more accurately. Therefore, in many cameras, there is also a manual mode (M), in which the system only prompts the correct setting of the exposure parameters, and the photographer sets the parameters themselves. We figured out the exposure pair and exposure modes, but that's not all - there is still exposure compensation, which is absolutely necessary if the processor is stupid or categorically disagrees with your creative ideas. If, for example, you need to underexpose or overexpose a frame, you enter the appropriate exposure compensation and the processor honestly works it out. And, finally, in the case when not only the processor, but also the photographer has difficulties, there is an automatic exposure bracketing, it is also exposure bracketing. Typically, this is a continuous shooting of three frames in a range of ±2 stops (EV), in 1/2 or 1/3 stops.
You can read in detail about exposure and exposure pair in the supplement to this lecture "Exposure and Exposure Metering".
6. MEMORY CARDS AND IMAGE STORAGE FORMATS
Flash cards. Digital memory on removable media - a method and place for storing captured photographs. Today, there are mainly four types used in professional photography:
- CF- Compact Flash.
- SD- Secure Digital Card - these also include the "nested" MiniSD and MicroSD formats.
- memory stick- they also include Memory Stick Pro, Memory Stick Pro Duo, Memory Stick Micro M2.
- xD-Picture Cards
CF (Compact Flash)- the oldest and most common type of flash memory. Modern CF cards are different high speed read / write and large volume up to 32GB. Flash memory prices have dropped so much now that it makes no sense to use past generation CF cards.
SD (Secure Digital)- smaller and faster than CF cards, but have slightly lower capacity. The SD architecture theoretically allows higher data rates than CF, so it is considered more promising.
memory stick is a flash memory format developed and promoted by Sony. This, if not all, says a lot.
xD-Picture Cards- the least common and therefore increasingly expensive type of flash memory compared to others, and therefore the least competitive.
Image formats. There are three main formats:
- RAW- technical format, a set of data obtained directly from the matrix;
- TIFF- a standard format for many computer programs, in which each point has a description of color indicators;
- JPEG- also a standard format, actually a compressed (archived) file, without loss or with minimal loss of information.
TIFF- sequential point-by-point description of the entire image, indicating for each point the entire data set. Recently, it is rarely used for photography, because using this format significantly slows down the camera due to the large amount of data transferred and significantly reduces the number of frames that fit on the memory card. For example, a photo with maximum resolution taken by a DSC with a 12-megapixel matrix in TIFF format at 8 bits per channel will have a size of 28Mb, and in JPEG format with maximum quality - about 2.0 Mb, and in RAW - 10 Mb. That is why many manufacturers in models aimed at amateur photographers have abandoned the use of the TIFF format.
JPEG compressed image, has significant shortcomings of a different nature. First, even with minimal compression, the JPEG image quality is lower than the original. Secondly, JPEG does not support bit depths higher than eight, which, as we have already noted, negatively affects the tonal range of the image. Third, TIFF and JPEG images cannot be used as proof of authenticity because they are easily editable in graphics applications.
RAW- the most commonly used format in professional digital photography, devoid of the disadvantages mentioned above. What kind of format is this and why is it good, and why is TIFF many times larger in volume, and more information is contained in RAW? There are two definitions, not very scientific, but together they explain well the meaning of this format. First - RAW is a raw file containing the original data obtained from the matrix. Second - RAW is the original black and white TIFF - not quite correct, but helping to understand the essence of the format definition. RAW is a point-by-point description of the entire image without color information. Files in this format require conversion in a computer, but they make it possible to adjust the exposure and white balance over a wide range. In addition, photo editing is not possible in the format. AT recent times there are more and more viewers and converters that make it easier to work with RAW and make it more attractive to amateur photographers.
7. GOVERNING BODIES
Camera control. In addition to the traditional buttons (keys, dials) for power on, shutter release, zoom control (zoom) and shooting modes, the digital camera has special buttons and keys for working with the menu. The display screen shows shooting modes and settings, as well as various advanced settings that can be changed during and after shooting to review and share the footage. Naturally, manufacturers try to make communication with the camera convenient and intuitive, but they manage it in different ways.
Regardless of what you shoot with, this material must be mastered if you want to achieve high-quality results in photography. In any kind of photography, knowledge material base and the ability to use its advantages and disadvantages underlies the predictability of the result.
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This article will focus on professional cameras. We will mention only five of them, and if you think that this is a very narrow selection, then we can assure you that all the most iconic models of the market for 2017 will be covered. After all professional cameras really not that much today.
Hu from hu, or Not everyone is given
Novice photographers, shop assistants and even some journalists in their reviews easily classify this or that camera as a professional one. At the same time, the manufacturers themselves are much more modest in their assessments. They consider only top-end cameras to be professional. As a rule, these are SLR cameras designed for photojournalists. And we agree with this distribution of roles. Nevertheless, in order not to limit our review to just a couple of models, we added cameras to it, which, although they do not occupy a top position in model range, but have a narrowly defined specialization and are designed specifically for professional use. This is the pinnacle of modern photography. It is these cameras that already today create the most interesting and expensive photographs that you will see everywhere tomorrow. Do you want the same for yourself?
Indestructible
The class of professional reportage DSLRs has existed for decades. At first these were film models, then they were replaced by the "figure". But the main features of this class remained unchanged from year to year. We are talking about the highest shutter life at the time of the camera's creation, reliability, as well as high speed and perfect matrices for shooting in difficult lighting conditions. It is with such cameras that the World Football and Hockey Championships, the Olympic Games are filmed (for quick transfer of photos from the sports arena, they even have an Ethernet connector, which is mandatory technical requirement). It is with such indestructible "tanks" that reporters go to the hot spots of the planet. Dust and moisture protection, metal housing, battery life for thousands of shots - it is impossible in a different way in complex professional work.
Particular attention in these models is given to image quality. The resolution should be sufficient for printing on a relatively large scale (A2 format is not a problem!), and at the same time, the camera should have high operating sensitivity values to make it possible to photograph in any lighting conditions. As a rule, the sensors of these cameras are unique and are not installed in other models. Their resolution is small by modern standards - about 20 megapixels. Frame format 24x36 mm.
Canon EOS-1D X Mark II
Canon in recent years and even decades shares the palm with Nikon in the professional photography segment. You can argue endlessly which of the cameras is better, there will still be no unambiguous solution. Therefore, we arranged the cameras alphabetically.
Formally Nikon D5 is slightly slower. Max speed"only" 14 frames per second. But in practice, this difference is not felt.
NIKON D5 / Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II SETTINGS: ISO 400, F6.3, 1/1250s, 200.0mm equiv.
A jet plane flying overhead? Not a problem: the camera will have time to take more than a dozen frames, from which it will still take a long time to choose the most successful one, because they will all be correctly focused and exposed.
NIKON D5 / Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II SETTINGS: ISO 400, F8, 1/1250s, 180.0mm equiv.
This camera is literally made for shooting in any conditions. The night is no problem for him. There is traditionally no built-in flash in such models, and it is often not needed. After sunset, with poor city lighting, you can get the same high-quality shots as during the day. And without any tripod.
NIKON D5 / Nikon AF-S Zoom-Nikkor 24-70mm f/2.8G ED SETTINGS: ISO 25600, F8, 1/320s, 24.0mm equiv.
This camera can also shoot 4K video (however, using only the central part of the sensor for this), has a touch interface on a par with huge amount separate convenient buttons. And all in order to be able to change all the parameters even in complete darkness to the touch. In a word, a tank in the world of photography.
NIKON D5 / Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II SETTINGS: ISO 800, F11, 1/400s, 200.0mm equiv.
Sony ILCE-9
To be at the top together in conditions modern market- an unaffordable luxury. Therefore, in 2017, Sony decided to press the top segment of DSLRs with the new Sony ILCE-9 mirrorless model. The event itself is significant. Firstly, Sony has never made cameras in this segment. Secondly, we have never seen mirrorless cameras of such a high professional level. And, finally, the characteristics of the novelty are so high that, according to formal indicators, representatives of the mirror segment are plugged into the belt. Sony Alpha 9 has just been announced and hasn't been in-depth testing at Prophotos, so it's premature to draw final conclusions about its superiority. But let's talk about the outstanding characteristics.
At the heart of the image is a brand new 24-megapixel full-frame sensor. It is made using back-illumination technology, which increases the possibilities when shooting in poor lighting conditions. But even this is not the main thing in it. The sensor has a so-called stack memory built into the same chip. We have previously seen a similar solution in the Sony Xperia XZs and XZ Premium smartphones and the Sony DSC RX family of cameras. The secret is that such a solution significantly (up to 20 times) increases the speed of reading data from the matrix. This means that it is possible to work with electronic shutter and shoot at high speed. The rate of fire here is up to 20 frames per second! The buffer size is up to 200 frames in RAW. Characteristics are quite reportable.
The matrix is stabilized: the optical stabilizer compensates for camera shifts along five axes and keeps working even with third-party optics installed through adapters.
But that's not all: the Sony Alpha 9 camera uses a lot of high technology. This is high-quality 4K video recording, and a touch screen, and smart 4D autofocus. The novelty turned out to be at least interesting. Top photographers using the technique of photo agencies will not massively and quickly switch to A9 - the habit cannot be changed. Someone will miss the optical viewfinder (although a unique electronic one with a resolution of almost 4 megapixels is used instead), someone will miss the park of optics. But A9 will surely find its buyer in other genres: from wedding to professional travel. Perhaps a significant gain in weight will also play a role. Mirrorless is much lighter!
When quality comes first
In professional digital photography, there have always been two different approaches to evaluating image quality. Traditionally, there have been genres that require taking pictures in medium or even low resolution, but in extreme conditions. For them, cameras are created, which we wrote about above. But there is a segment where high resolution and accurate color reproduction is the main element. They can sacrifice speed, convenience, weight, and size of photographic equipment. Such cameras are used for landscape, advertising, fashion shooting. And if earlier speech was about bulky studio "monsters", then recently the models have become really compact and sometimes even mirrorless.
Hasselblad X1D-50c
At the same time, each individual pixel also turns out to be relatively large, and this is a guarantee of correct color reproduction, a wide dynamic range, and the absence of noise even at relatively high ISOs. We remember that high quality is a priority here!
The camera turned out to be very "advanced" and therefore largely ambiguous. It combines many previously incompatible features. This is the most compact medium format. Not a poor and advanced photographer can easily use it instead of a regular camera for everyday shooting or travel, going out on principle new level image quality. It uses almost entirely touch control - working with the Hasselblad X1D-50c is easy and simple.
At the same time, the purely studio advantages of the system are preserved. For example, the central shutter of the lenses allows you to work with any synchronization shutter speed: from 60 to 1/2000 s. Shooting en plein air with powerful studio light is Hassel's element.
Hasselblad X1D SETTINGS: ISO 100, F9, 1/125 s
The practice of working with the Hasselblad X1D-50c revealed a number of camera features associated with its slowness and sluggishness, especially compared to the previous segment of professional cameras. But for such a high image quality, the camera can be forgiven for everything. A professional photographer should always understand exactly why he needs this or that tool.
Canon EOS 5DS
No, this is not a top-end DSLR like Canon EOS-1D X Mark II, its characteristics are more modest. But it's capable of shooting in almost any environment, with fast autofocus, a high rate of fire, and even comparatively high sensitivity.
Canon EOS 5DS / Canon EF 16-35mm f/4L IS USM SETTINGS: ISO 3200, F4, 1/10s
Of course, in terms of RAW editing capabilities, the camera will give way to medium format solutions. However, the loss in real resolution will not be so great. But in terms of autofocus speed, continuous shooting (up to 5 frames / s) and a number of other parameters, the advantage is obvious. The camera and optics are significantly cheaper than medium format. Moisture protection, although not the same as that of top models, is also implemented here. And the battery life easily exceeds five thousand frames.
Canon EOS 5DS / Canon EF 16-35mm f/4L IS USM SETTINGS: ISO 100, F4, 1/800 s
An important advantage will also be the consistency of this camera: there are hundreds of models of Canon EF lenses on the market! Not all of them work perfectly with a 50-megapixel matrix; saving on optics is not always possible. But still, its choice, including specific and rare models, is simply huge.
Canon EOS 5DS / Canon EF 70-200mm f/2.8L IS II USM SETTINGS: ISO 100, F5, 1/640 s
This is a solution for those photographers who want to engage in commercial photography and sell their images at the highest quality, but at the same time they are forced to work in completely different shooting conditions (even extreme ones) and without being tied to a specific genre.