Canon has recently introduced its new ultra-wide angle,11-24mm f/4L USM lens to the world, and even at first glance, you can tell it’s a monster. The first thing that might strike you is the resemblance to its Nikkor counterpart, the 14-24mm f/2.8 AF-S G. Just like the Nikkor, Canon’s new ultra wide is huge and it has a massive front element that looks like it wants to jump out of the lens barrel. The build quality is obviously there and you can feel it no matter how you hold the lens. The built-in lens hood isn’t made of metal like the Nikkor’s, but it’s still very high quality material. You can’t put a filter on it and that’s one of the few downsides to this lens. At the price, you should at least be able to fully weather seal it, but I guess it’s a normal design limitation.
Moving on to what really matters, the field of view is absolutely insane. If you thought 14mm was ultra-wide, think again. Have a look through this lens at 11mm and you’ll almost see the people behind you. It’s crazy wide and a pleasure to use. Even with all the distortion and exaggeration, straight lines are still straight, which makes a difference between this and fisheye lenses.
Image quality is simply astonishing. Color contrast and incredible detail are all there, and it even makes classic landmark lenses like the 24-70mm f/2.8L look bad in a side-by-side comparison.
There’s really nothing bad you can say about this lens and it’s just one of those pieces of equipment that are born as legends. Yes, the almost $3,400 price tag is not an insignificant figure, but you do get what you pay for.
Check out how it performs in the field in this video review made by DigitalRev.
See the full specs of the 11-14mm f/4L USM lens here
This is a lens that has been anticipated for over ten years. The first Canon 100-400mm f/4.5-5.6 was introduced about sixteen years ago and it was a brilliant piece of lens for its time, and also one of the first to feature an optical stabilization unit. It’s hard to tell why it took Canon this long to put out the successor, especially with all the competition taking an important part of the market segment. One can only assume they took their time to make a better lens.
The impressive focal range is one of the most important reasons for looking at a lens like this. The range is a dream for any photographer who loves to keep the distance or shoot subjects that are out of reach. This type of lens is not a landscape photographer’s tool, but it’s something wildlife and sports shooters are aching for.
So at least in this regard, this lens will satisfy most photographers who use telephoto lenses. While the zoom range is identical to the specifications when using a full frame camera, if you mount this lens on a crop camera you get a 160-640mm lens, which is nothing short of impressive, especially when you consider its physical size.(View full specs and photos of the Canon 100-400mm lens here)
Getting deeper into things, you would expect it to be very well built, since it’s an “L” piece, and you would also think it has significant design improvements over the previous model. And you’d be right. This is a very well engineered lens, both inside and outside, and you only need to pick it up to feel the quality and reliability. With the collar foot mounted, it weighs a total of 1,616 grams, which is very acceptable for a 400mm optical system. The original 100-400 had a push-pull system that has now been replaced with a standard, very smooth zoom ring. Since it is a lens created for heavy outdoor use, it is thoroughly weather sealed. While it isn’t fully water and dustproof, it can be used in harsh conditions.
Focusing and zooming are very smooth as I’ve mentioned earlier, and this is just one major step forward from the original 100-400.
But the improvements that concern most photographers who have been waiting for this lens are related to image quality and autofocus speed. Let’s start with the later. Keep in mind, autofocus speed depends on the camera body as well. But if you use it with something like a 5DMK III or a 7D MK II, this lens focuses almost instantly at all focal lengths. This is by all means a very responsive piece of equipment that can handle fast moving subjects accurately and effortlessly. It has been majorly upgraded from the original model, and one of the first indications of this is the minimum focusing distance, which has been greatly reduced. It now focuses at slightly over half the distance of the old model. For a non-macro lens, it allows you to get very close.
In terms of image quality, a 16 year gap should make a difference. And it does. Images shot with this lens are tack sharp at all focal lengths, even with a 1.4x extender mounted. The lens has an Air Sphere Coating which Canon have developed to reduce flare and reflections. The coating consists of a film made from nanoparticles that is positioned above the multi-coating layers. There is also a Fluorite element in the optical design that allows the lens to achieve amazing sharpness and detail.
Since this is a lens that can be easily used handheld, the importance of stabilization is crucial. As I’ve mentioned before, the first lens was equipped with one of the earliest systems, one that was rated at 2 stops of assistance. This model has 3 stabilizing modes, another anticipated major improvement.Mode 1 is ideal for static objects. Mode 2 is for panning and with the help of a single axis stabilization, it’s the best option for tracking linearly moving objects. The third mode was first introduced on the 300 and 400mm f2.8L II lenses. Photographers who have previously used them will find this stabilizing mode very familiar. It kicks in when you half press the shutter release and it will activate only after it detects panning and motion. Overall, the IS performs very well in real life and it is of great help in some situations, especially when shooting in lower light or indoors. Like all stabilizing systems on the market, it won’t replace a tripod or a monopod. If you want the lens to be absolutely steady, simply mount it on a tripod. If you can’t do that, we recommend you keep the IS setting on because it will make a significant difference when shooting handheld.
So after all this info, two important questions still need to be answered. Who is this lens for?
To keep it short, any pro or amateur photographer who needs a long focal length, but doesn’t want the large size and weight of a fixed lens. While it may not be the cheapest lens on the market, it is still an attractive option for hobbyists too. Parents who love to photograph their children playing sports will fall in love with it instantly. The second, and most important question is should you buy it? There is a significant price difference between this lens and the original model, and it could be a way for Canon to protect the original investment and keep photographers who own it from feeling bad. While again, this is not a cheap lens, it is without doubt one I highly recommend for anyone who loves to shoot using this kind of focal length. It is still a lot cheaper than a 400 f2.8L II, and the results are very close.
Would I buy it if I had the first 100-400? Probably not. Would I get it if I didn’t? I’m probably going to place my order after I finish writing this.
I think it’s safe to say at this point that the Nikon Z7 is taking the world by storm.
And it should, too – Nikon’s first mirrorless camera (along with the Z6) is exciting news. Not only that, it’s a darn good camera that has the features to back up all the hype.
Looking at the Z7 and considering the excitement around its release, I have to say that even if I shot exclusively with Canon, Sony, or another brand, I’d still be impressed with the Z7.
So, that got me thinking – if the Z7 is so awesome, I should outline the reasons why I need one, and why you need one too.
The Nikon Z7 Has Impressive Specs
Check out these incredible features and tell me that this isn’t one impressive camera:
Backside-illuminated 45.7-megapixel full frame CMOS sensor
EXPEED 6 image processing
9fps continuous shooting speed
ISO range of 64-25600; expandable to 32-102400
493-point autofocus system
5-axis sensor-based image stabilization
3.2-inch tilting, touch-enabled LCD with 2.1 million dots
OLED electronic viewfinder with 3.69 million dots and 0.80x magnification
Impressed yet?
For me, there’s two things that stand out among the primary features of the Z7…
What Caught My Eye About the Z7
First, that sensor is something else. I shoot with a Nikon D850, so I know firsthand how good Nikon’s recent high-megapixel backside-illuminated sensors are.
The second thing that jumps out at me about the Z7 is its incredible autofocus performance.
For starters, Nikon upped its game in the AF point department, giving the Z7 a ludicrous 493-point system. My D850 has “only” 153 points.
Not only that, the Z7’s autofocus system has 90 percent coverage of the viewfinder. It can also acquire subjects as soon as they enter the frame and track them throughout, even when they move to the edges.
As if that’s not impressive enough, consider this – the Z7’s autofocusing algorithm enables it to switch between focal-plane phase-detect autofocus and contrast-detect autofocus automatically. That means it will help you get the sharpest images possible no matter the situation.
Why I Need a Z7 (and Why You Need One Too)
I’m not going to buy a Z7 to replace my D850, but what I will do it buy a Z7 to give my D850 some company in my camera bag.
And for those of you that think having both of these cameras in my bag is crazy, let me convince you otherwise.
For starters, there’s times when a bigger, chunkier DSLR is better suited to what I’m doing, and times when I want something smaller and lighterweight.
When I shoot at the beach, for example, and have a 100-yard walk to the shoot location, my D850 is my go-to. But when I’m driving to Joshua Tree to do a little night photography and have to hike all over the place in the middle of the night, having a smaller, lighter camera is preferable.
Additionally, though the D850 and Z7 have similar video capabilities, when I shoot video, I prefer the smaller body of a mirrorless camera to do so.
I would also love to have a Z7 in my bag simply for that crazy-good autofocus system I outlined earlier.
I can just imagine taking photos of my son playing soccer in the park with 493-points of autofocus goodness. I visit my fair share of air shows, too, so believe me when I say that I’m salivating at the chance of firing up the Z7 for some aviation photography.
The fact that Nikon has a group of dedicated lenses for their mirrorless systems (with more on the way) and the fact that you can use older Nikon lenses with the Z7 (with an adapter) is a big selling point as well.
Of course, another big reason why you and I need a Z7 is because mirrorless is the wave of the future.
Though I’m not giving up my D850 anytime soon, I see the writing on the wall. In my opinion, there will be a time when DSLRs are viewed as a quaint relic of photography’s past.
If mirrorless is where we’re headed, I might as well get used to it now!
Just because digital photography can be technically complex is no reason for the major camera manufacturers to make it equally complicated to understand and select the right DSLR camera. Nonetheless, they do; and theNikon D5000DSLR is another example of bringing a camera to market that is neither a direct replacement of an earlier model nor quite as capable as a higher-level model; it’s both somewhere between and in a niche of its own. The D5000 segments the entry-level DSLR market even more, as Nikon considers it a “high-end,” but still a beginner’s DSLR, camera.
Read real customer reviews of the Nikon D5000 here.
Part 1 of this PhotographyTalk.com article provides considerable details about how Nikon has created a place for the D5000 between its D60 and D90, so it can compete against the Canon EOS 500D and Olympus E-620. Part 2 reveals a number of other features of the D5000 that should make it appealing to a number of groups of camera buyers.
The camera’s general performance is well above average and a definite improvement of the Nikon D60’s processor power and buffering. The D5000’s speed is particularly noticeable in its continuous shooting mode and raw mode, which puts it at the top of the list for this segment of the camera market.
The D5000’s competitive performance is also evident in its auto-focus speed and accuracy. This is a case where the D5000 is more like the D90, with that camera’s advanced AF system. The focus locks quite fast, and proves to be precise, picture after picture. Although low lighting conditions retard focus performance somewhat, which is not unexpected, your photos will be clear and distinct. AF points are easily selected and work well, but don’t expect the 3D tracking mode to follow quickly moving subjects. Nikon admits this flaw, but states 3D tracking is still an advantage for focus and recomposing images.
The D5000’s contrast-detect AF is equally flawed, unfortunately, being so slow, as to be a waste of space in the camera. Whenever you’re in live view, or shooting video, the focus is not capable of locking onto high-speed action, but neither do any of its competitors’ cameras. If this is important function for you, then be prepared to spend much more for a DSLR with better video capture.
That being said, the video capabilities of the Nikon D5000 are still quite impressive. It was one of the first DSLRs, with a sensor of its size, to record video. Again, the D5000’s video specs are the same, or similar, as the D90.
Sizes: 1280 x 720 (24 fps), 640 x 424 (24 fps) and 320 x 216 (24 fps).
Audio: 16-bit mono, 11 kHz (internal mic only).
Format: AVI (Motion JPEG).
File size: ~2.3 MB/sec (HD).
Running time: 5 minutes in HD, 20 minutes in all other modes.
Even though the D5000’s video output is considerably better than compact cameras, video is, at best, a secondary feature of this camera. It’s probably more of a marketing move because digital photographers upgrading from a compact to the D5000 have come to expect video on any camera they might use. With many entry-level DSLRs, including this one, there are a number of common limitations to video recording.
The sensor accepts the video image as a series of horizontal lines instead of a simultaneous scan of the entire image. When a subject or object moves quickly and the camera movement is just as quick to follow it, some verticals within the image will become distorted into diagonals. You must set aperture (and the resulting depth of field) prior to selecting live view mode. This means automatic exposure doesn’t change smoothly, but from one distinct position to another. Auto-focus must also be set before pressing the record button. Once you’re recording, you must focus manually.
On the upside, video from the D5000 reveals plenty of detail and playback is good. The camera’s large sensor is definitely an asset when shooting in low light. Many consumers will like the movie mode on the D5000, but it is not a reason to buy this camera.
As with any of the “upgrade” DSLRs in this category, the Nikon D5000 features and capabilities are all most entry-level DSLR users, and even those advancing from an older, first-time DSLR, will ever need. Sure, it has limitations, but the D5000 is less than $600 with its kit lens, an AF-S DX 18–55mm, so it’s still an excellent value. Purchasing this camera is a matter of how it feels in your hands (and it should feel very good, despite its somewhat strange body design), what kind of digital photography you shoot and the results you expect. With so many of the features of the D90 packed inside the body, you know the innards have proven their quality and capabilities and that alone makes the Nikon D5000 an excellent choice.
Just because digital photography can be technically complex is no reason for the major camera manufacturers to make it equally complicated to understand and select the right DSLR camera. Nonetheless, they do; and theNikon D5000DSLR is another example of bringing a camera to market that is neither a direct replacement of an earlier model nor quite as capable as a higher-level model; it’s both somewhere between and in a niche of its own. The D5000 segments the entry-level DSLR market even more, as Nikon considers it a “high-end,” but still a beginner’s DSLR, camera.
Read real customer reviews of the Nikon D5000 here.
Part 1 of this PhotographyTalk.com article provides considerable details about how Nikon has created a place for the D5000 between its D60 and D90, so it can compete against the Canon EOS 500D and Olympus E-620. Part 2 reveals a number of other features of the D5000 that should make it appealing to a number of groups of camera buyers.
The camera’s general performance is well above average and a definite improvement of the Nikon D60’s processor power and buffering. The D5000’s speed is particularly noticeable in its continuous shooting mode and raw mode, which puts it at the top of the list for this segment of the camera market.
The D5000’s competitive performance is also evident in its auto-focus speed and accuracy. This is a case where the D5000 is more like the D90, with that camera’s advanced AF system. The focus locks quite fast, and proves to be precise, picture after picture. Although low lighting conditions retard focus performance somewhat, which is not unexpected, your photos will be clear and distinct. AF points are easily selected and work well, but don’t expect the 3D tracking mode to follow quickly moving subjects. Nikon admits this flaw, but states 3D tracking is still an advantage for focus and recomposing images.
The D5000’s contrast-detect AF is equally flawed, unfortunately, being so slow, as to be a waste of space in the camera. Whenever you’re in live view, or shooting video, the focus is not capable of locking onto high-speed action, but neither do any of its competitors’ cameras. If this is important function for you, then be prepared to spend much more for a DSLR with better video capture.
That being said, the video capabilities of the Nikon D5000 are still quite impressive. It was one of the first DSLRs, with a sensor of its size, to record video. Again, the D5000’s video specs are the same, or similar, as the D90.
Sizes: 1280 x 720 (24 fps), 640 x 424 (24 fps) and 320 x 216 (24 fps).
Audio: 16-bit mono, 11 kHz (internal mic only).
Format: AVI (Motion JPEG).
File size: ~2.3 MB/sec (HD).
Running time: 5 minutes in HD, 20 minutes in all other modes.
Even though the D5000’s video output is considerably better than compact cameras, video is, at best, a secondary feature of this camera. It’s probably more of a marketing move because digital photographers upgrading from a compact to the D5000 have come to expect video on any camera they might use. With many entry-level DSLRs, including this one, there are a number of common limitations to video recording.
The sensor accepts the video image as a series of horizontal lines instead of a simultaneous scan of the entire image. When a subject or object moves quickly and the camera movement is just as quick to follow it, some verticals within the image will become distorted into diagonals. You must set aperture (and the resulting depth of field) prior to selecting live view mode. This means automatic exposure doesn’t change smoothly, but from one distinct position to another. Auto-focus must also be set before pressing the record button. Once you’re recording, you must focus manually.
On the upside, video from the D5000 reveals plenty of detail and playback is good. The camera’s large sensor is definitely an asset when shooting in low light. Many consumers will like the movie mode on the D5000, but it is not a reason to buy this camera.
As with any of the “upgrade” DSLRs in this category, the Nikon D5000 features and capabilities are all most entry-level DSLR users, and even those advancing from an older, first-time DSLR, will ever need. Sure, it has limitations, but the D5000 is less than $600 with its kit lens, an AF-S DX 18–55mm, so it’s still an excellent value. Purchasing this camera is a matter of how it feels in your hands (and it should feel very good, despite its somewhat strange body design), what kind of digital photography you shoot and the results you expect. With so many of the features of the D90 packed inside the body, you know the innards have proven their quality and capabilities and that alone makes the Nikon D5000 an excellent choice.
Digital photography took a large leap forward for many serious enthusiasts and pros when Nikon introduced the D3S DSLR camera, as an upgrade of its earlier D3. The differences in the two Nikon models are not immediately apparent, since the bodies look virtually the same. The D3S, however, has several important improvements that certainly distinguish it from the D3, when you take a closer look. Careful investigation is a good idea since prices for the Nikon D3S (body only) range from $5,200 to $6,400. If you are looking for compact design and high resolution camera then check Nikon D3300.
A major enhancement is 720x1280p video capture mode. Nikon has also made some minor upgrades, so it can compete with other manufacturers’ models in the same price range. These upgrades include a quiet shutter release model, less in-camera dust and four image area formats: DX as well as a 1.2x crop option. The older D3 and the D3S may have the same resolution (12 million pixels), but the D3S’s advanced sensor provides greater ISO performance: a standard range of ISO 200–12,800, and then an expanded range to 102,400.
At best, the quiet mode only stifles the high-frequency clacking sound made by most shutter releases. It’s still too noisy for situations where the shutter would be a distraction. The DX format has its place for many digital photography assignments, but the 1.2X crop mode should pique the interest of action photographers, which is one of Nikon’s primary target markets for the D3S. That 1.2X crop mode creates an 8.4MP file, which is comparable to the magnification of Canon’s EOS 1-D series of cameras. Although the maximum frame rate of 9 fps (frames per second) is the same as the FX format, you’ll be able to record large/fine JPEGs in full-speed burst of approximately 105 frames, compared to 78.
Video Vanguard
The Nikon D3S is the company’s first professional DSLR with a D-Move mode. The resolution may be the same as the D90, the first Nikon DSLR that could shoot video, but the D3S has contrast-detection AF (auto-focus) during filming and supports a plug-in stereo microphone. As with many DSLR cameras that can shoot video, the D3S’s CMOS sensor was built for still photography, not video. Although quick panning is not a pleasing video shooting method on any DSLR or video camera, doing so will produce some unusual effects with the D3S. Again, that’s to be expected with a “non-video” sensor. Shoot video in a “normal” manner and you’ll discover that the Nikon D3S creates quite stable and acceptable video.
What excites digital photographers the most about the D3S’s video capabilities is that it can shoot video throughout the entire ISO sensitivity range, including the “High-Sensitivity” mode, to ISO 102,400. The HS mode is extremely useful when the light level is low, although the resulting video is much grainer. Despite that the Nikon D3S will still produce acceptable video that most hobbyist/family video equipment is incapable of duplicating.
Plus, it makes much more sense to start video capture with the PV button than the center button on the rear multi-controller. You’ll be able to shoot video in any of the PASM modes. Press the OK button before or during shooting and you’ll initiate real-time metering. Then, as you would with still digital photos, you can use the shutter and/or aperture settings to control the video brightness. Change the aperture during shooting and you’ll increase or decrease the depth of field, without the need to pre-set the lens to a chosen aperture. A downside of this feature is that an aperture adjustment creates enough noise to be captured with the built-in microphone.
Nikon D3S Features
Newly redesigned 12.1 megapixel Full-Frame (36 x 24 mm) sensor.
ISO 200–12,800 (ISO 100 – 102,400 including extension settings).
720p / 24 fps HD movie mode.
Eleven frames per second in continuous and DX mode.
Larger buffer for more than 30 RAW frames in one burst.
Multi-CAM3500FX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage), fine-tuned for improved acquisition and tracking.
1. What will first cause your eyes to pop from your head is that the Nikon D3X DSLR is quite likely the ultimate pro camera with its 24.5-megapixel, FX-format CMOS sensor. The resolution of the D3X is a major advantage for many photographers, but especially stock, commercial and fashion photographers, who often see their images super enlarged, even to billboard size. TheNikon D3500is another powerful camera with similar features,
Read real customer reviews of the Nikon D3X 24.5 MP here.
2. To earn the respect of professionals (and serious enthusiasts with deep pockets), the D3X must look and feel like professional-grade equipment. The camera’s magnesium alloy body that is sealed from dust and moisture is immediate evidence of its construction quality. At 2 lbs., 11 oz. (1220g), the D3X has enough heft to feel solid in your hands, but also allows for a long day of shooting without hands, arms or shoulder fatigue.
The battery grip also provides the versatility that pros demand. Use the grip either horizontally or vertically for portraits, landscapes and fashion. The D3X package includes a MH-22 quick charger, so the photographer will always have two charged battery packs. (A second pack is an option.) The complete charge time is approximately 2 1/4 hours.
3. Pros also demand easy and complete control of their camera and the shooting process. Nikon answered the call by carefully designing ergonomically superior buttons and other fingertip controls, plus an LCD window on the top of the camera. At the rear is a 3-inch, 920,000-dot resolution LCD with Live View functionality and a smaller LCD panel below the main display. The optical viewfinder is big, captures plenty of light, and provides 100% coverage.
4. Many photographers will have to force their eyes back into their head when they see the long list of lenses that are compatible with the Nikon D3X DSLR. This includes support of DX lenses. The viewfinder automatically masks the display for the 1.5x crop factor.
5. Nikon’s Multi-CAM3500FX Auto-Focus module gives the D3X 51 focusing points, 15 cross-type. The technology delivers more vertical coverage and a wide range of selection/grouping options. Its four Dynamic AF modes include 3D Focus Tracking. This is auto-focus at its best, seeking and holding moving subject matter, even in low-light situations, making the resulting images exceedingly sharp and precise.
6. Third-party tests reveal that Nikon’s Picture Control feature in the D3X particularly benefits landscape photographers. Upon selecting Vivid from the four preset options (the others being Standard, Neutral and Monochrome), they can capture colors that virtually match the subtle hues and tones of nature. Picture Control also provides 9 customizable settings, so photographers can be even more creative and give their images a signature all their own.
7. Your peepers will be ready to leap from their sockets with the D3X’s RAW file-capture capability. Nikon renders RAW files in its NEF format with 16-bit processing in approximately 138MB 12 or 14 bit image files. D3X owners have the option of selecting bit depths of 12-bit (4,096 tones) or 14-bit (16,384 tones). Either gives any pro the exceptional image quality they expect in a DSLR at this level.
8. Third-party tests also confirm the professional-grade results of the D3X’s Active D-Lighting feature, especially in the Auto mode. Highlights and shadows were recorded with an extraordinary balance of detail, with neither blooming (highlights) nor extreme density (shadows). Nikon’s D-Lighting feature not only pushes more of the complete dynamic range of the sensor into JPEGs, but also operates independently and quickly before raw image data can be processed into JPEGs.
9. Professional photographers, who do most of their shooting on location, either interiors or exteriors, are opening their eyes wider when they see the D3X is built with Nikon’s wireless WT-4 unit and first-time GPS capabilities.
10. Believe or not, the Nikon D3X DSLR’s price tag of $7,999.95 from B&H Photo Video doesn’t cause many bug-eyed looks from the pros. They know superior quality when they see it, and they know they need it. For those pros at the top of their game, and paid accordingly, the D3X is a no-brainer investment.
The best part about shopping on a budget is finding diamonds in the rough, which is exactly what all of these cheap DSLRs are.
While each of the budget-friendly DSLRs on this list are older, you can still find many of them in like-new condition, just with used prices.
Every camera on this list can be found for under $200, and some of them are closer to $100, which may just be the perfect gift for photographers for Valentine’s Day. The Nikon D3200 camera is our most favorite because it has got all round features that we need in a DSLR camera.
Photo by Neil Thomas on Unsplash
Look no further for a great camera on a budget than these excellent options!
The Nikon D3200 dropped in April of 2012, making it nearly a decade old. However, if you’re looking for a cheap entry-level DSLR, it probably features enough modern technology for you.
As a bonus, the Nikon D3200 is frequently used in photojournalism courses to this day because of how simple it is to use.
This under $200 DSLR shoots Full HD videos, weighs just over 1 lb, and has an incredibly easy to use interface.
Plus, the LCD resolution is not much worse than other, much newer DSLRs I’ve written about before.
Nikon D3200 Specs:
24.2MP CMOS sensor
1080p video capabilities
ISO range of 100-6,400
4fps burst mode
3” LCD with 921k dots
95% viewfinder coverage
1 lb
Built-in Wi-Fi
Since the Nikon D3200 is too old to purchase new, you can buy one used on MPB starting at $150.
Canon T2i
The Canon Rebel T2i, which dropped in 2010, is extremely similar to the Nikon D3200, right down to its build.
The Canon T2i features full HD video, like the D3200, the exact same ISO range (which isn’t excellent, but there are ways around poor low-light shooting capabilities, and they both weigh just over 1 lb.
The Canon T2i doesn’t feature built-in Wi-Fi, unfortunately. But, it is otherwise an excellent camera on a budget.
The Pentax K-5, which also dropped in 2010, is my favorite camera on a budget on this list, although I’ve always been partial to Pentax.
It features 100% viewfinder coverage, which neither of the other cameras on this list do, and it has a larger ISO range, which normally doesn’t affect a camera’s performance so much considering modern cameras have incredible ISO ranges, but when it’s the difference between 6,400 and 12,800, it matters.
The Pentax K-5 also features a faster burst mode.
But, if you’re looking for an under $200 DSLR that is compact, this camera might not be your best bet since it’s noticeably heavier than the other cameras under $200 on this list.
The question is, when you’re shopping for the best landscape photography camera, what features should you look for?
Photo by Brendan Church on Unsplash
In this quick guide, I offer up a few tips that will help you make the best decision for your landscape photography.
Camera Features You Need for Landscape Photography (and Some You Don’t)
First things first…
Let’s identify a few camera features that will help you take better landscape photos:
Sensor size – Both full frame and crop sensor cameras are great for landscapes. Where full frame cameras like the Nikon D850 offer better image quality and the ability to capture more of the scene in one shot, a crop sensor camera like the Nikon D7500 is often less expensive. Additionally, since a crop sensor camera increases the effective focal length of a lens, you can take telephoto images with smaller, less expensive lenses.
Megapixels – High megapixels means high-resolution images, and the more resolution you have, the finer the details will be. Plus, if you intend to make your images into large-format prints, more megapixels is definitely a good thing.
Dynamic range – One of the most important features to consider is the dynamic range the camera is capable of capturing. The wider the dynamic range, the better the shadows and highlights will be and the less noise there will be in the shot.
Construction – To protect against rain, snow, dirt, and other elements, look for a camera that is well built and has weather sealing.
What a good landscape photography camera doesn’t really need are features that have to do with capturing motion.
That is, where a sports photographer will want a camera with advanced autofocus features and ultra-fast continuous shooting, since most landscapes don’t involve quick motion, you can likely skip looking for those features.
Top Canon Cameras for Landscape Photography
Now that you have an idea of some of the most important features for a landscape photography camera, let’s take a look at a couple of Canon cameras that could serve you well.
The first choice (in my opinion, anyway), is the Canon EOS 5D Mark IV.
This full frame camera has excellent resolution with a 30.4-megapixel full frame sensor.
It’s got excellent dynamic range, is great in low-light situations for dusk and nighttime shots, and it has excellent weather sealing.
You can even use its built-in GPS system to tag your images with details about where each one was shot. Not bad, eh?
See the 5D Mark IV in action in the video above by Brendan van Son.
If you’re on a tighter budget but still want a high-performance full frame camera, the Canon EOS 6D Mark II is a great option.
It’s got a 26.2-megapixel full frame sensor, an articulating touchscreen LCD, and is smaller and lighter than the 5D Mark IV, which is handy when you’ve got a long hike in front of you.
The 6D Mark II also has an improved dynamic range over its predecessor, so your photos will have those deeper shadows and brighter highlights discussed earlier.
In addition to the Nikon D850 and Nikon D7500 mentioned earlier, Nikon has other cameras that will do the trick for photographing landscapes.
That includes the older Nikon D750 which offers full frame performance with a 24.3-megapixel sensor, but with a much smaller price tag given that it’s two models old.
Additionally, the D750’s sensor has a reputation for imagery with very low noise, even when you have to push the ISO, and it has a rockstar of a battery that allows more than 1,200 shots on a single charge.
It’s built like a tank, too, so it’s perfectly suited for landscape photography.
Learn more about the Nikon D750 in the video above by James Popsys.
Like I said in the introduction, it’s not the gear you use that has the greatest impact on the quality of your photos.
Instead, it’s you, your capabilities, skills, and talents behind the lens.
You can take great photos with nothing but your smartphone, but having gear that has features that specifically aid in taking landscape photos will only help your situation.
Any of the cameras mentioned in this article are a great choice, but this is by no means a comprehensive list. Do your due diligence, research different cameras you like, and get one that fits your budget and your needs.
The great thing about being a landscape photographer these days is that there are simply so many lenses that you can use to take great photos.
And while all that selection is nice, picking between them can be a tough task…Thankfully, Nigel Danson is to the rescue with his three favorite landscape photography lenses.
While you might not be able to purchase all three lenses, you can bet that any one of them will be well-suited to landscape photography.
Have a look at his side-by-side-by-side comparison above, and for more details about each, check out the quick review below.
Best Landscape Lens: 16-35mm f/4G ED VR II
On the wide-angle end, the 16-35mm f/4G ED VR II from Nikon is an excellent choice for a Nikon shooter’s landscape photography kit.
Though the f/4 aperture isn’t particularly wide, a massive aperture opening isn’t needed for shooting typical daytime photos of landscapes.
This lens is outfitted with Nikon’s vibration reduction technology, so you can more confidently hand hold the camera without as much worry about camera shake.
That feature comes in handy when you need to work quickly and don’t have time to set up a tripod for each and every shot.
This lens’s performance is outstanding as well.
Its optical design includes two extra-low dispersion elements and three aspherical elements which give you improved image quality due to reduced aberrations and distortion.
Not only does that improve sharpness, but combined with a nano crystal coating, this lens also has reduced flare and ghosting, improved color accuracy, and better contrast as well.
The wide-angle range of 16-35mm is also perfect for capturing sweeping landscapes in greater totality.
For more details on this lens, consult the video above by Nikon Europe.
Must-Have Landscape Lens: Sigma 50mm f/1.4 ART
Sigma has come a long way in recent years and has quickly become a fantastic lensmaker, particularly when it comes to their ART line of lenses.
First, this lens is lightning-fast with a f/1.4 aperture that allows you to get clean shots at dawn, dusk, and even in the middle of the night thanks to all the light that the f/1.4 aperture can collect.
Second, this lens is supremely sharp from corner to corner. There is little in the way of distortion or chromatic aberration, either.
The 50mm focal length on a full frame camera offers a beautiful representation of the landscape in standard view. On an APS-C camera, the effective focal length jumps into short telephoto territory, so you can more effectively capture distant elements or create more intimate landscapes.
Either way, this is one heck of a lens that offers top-notch performance. It’s available for Canon and Sony cameras as well. It’s on the pricey side, but if you buy pre-owned, you can find great deals that allow you to stretch your budget a little further.
Get more details on this lens by viewing the video above by DigitalRev TV.
Nikon 70-200mm f/2.8
When you consider the best lenses for landscape photography, you have to include a telephoto lens in the bunch.
The Nikon 70-200mm f/2.8 gives you the extra-long focal length needed to take photos of very distant subjects and wildlife.
But this lens also has a large f/2.8 maximum aperture, which allows it to collect more light and gives you more possibilities for when you take photos.
Granted, it’s not going to compete with the aforementioned Sigma 50mm f/1.4 in a low-light shooting competition, but f/2.8 is nothing to thumb your nose at!
What’s more, this variation of this lens is smaller and lighter weight than its predecessor, so even though it’s a big lens, you don’t feel like you’re bogged down by it.
Its performance is excellent, too.
The autofocus performs well in situations in which you need to fire off quick shots, and with Nikon’s Vibration Reduction, you can shoot handheld in a vast majority of situations without worrying as much about camera shake.
It’s a sharp lens as well, particularly in the center of the frame. There is some fall off to the sides, but that’s to be expected. It’s nothing that should deter you from thinking about buying this lens! Learn more about this lens in the video above by LensProToGo.
No matter which of these Nikon landscape lenses you buy, it’ll be a great addition to your kit.
And even if they’re prohibitively expensive brand new, remember that you can find great deals on pre-owned lenses, so before you commit to buying a new lens, see if you can find a quality used one instead!
A Must-Have Lens Accessory: A Good Filter Kit
You can shop for the best landscape photography lenses, but even if you buy good glass, you should take it a step further to maximize the quality of the images that your lenses can capture.
You can do that with a good filter kit.
Like lenses, filter kits – the good ones, anyway – can be pricey, but they’re worth it.
I know that Photoshop and Lightroom can do amazing things, but when it comes to achieving the look of a good ND filter, grad ND, or polarizer, using the actual thing is still a much better option.
There’s a lot of reasons for that – the high-quality construction among them – but perhaps more importantly, this kit has everything you need to rock out awesome landscape photos:
A Firecrest UltraSlim Polarizing Filter, which cuts down glare, reduces haze, and improves contrast in the sky.
A Firecrest 6-Stop Neutral Density Filter for creating gorgeous daytime long exposures that accentuate the movement of clouds and water.
A Firecrest 2-Stop Soft Edge Graduated Neutral Density Filter for darkening bright skies and evening out the dynamic range between the sky and the landscape.
A Firecrest 2-Stop Reverse Graduated Neutral Density Filter for taking improved photos at sunrise and sunset.
You also get a 100mm filter holder, step rings and adaptor rings, pouches to carry your filters, and a Colby Brown booklet to get your creative juices flowing.
At best, the quiet mode only stifles the high-frequency clacking sound made by most shutter releases. It’s still too noisy for situations where the shutter would be a distraction. The DX format has its place for many digital photography assignments, but the 1.2X crop mode should pique the interest of action photographers, which is one of Nikon’s primary target markets for the D3S. That 1.2X crop mode creates an 8.4MP file, which is comparable to the magnification of Canon’s EOS 1-D series of cameras. Although the maximum frame rate of 9 fps (frames per second) is the same as the FX format, you’ll be able to record large/fine JPEGs in full-speed burst of approximately 105 frames, compared to 78.
Photo by Brendan Church on Unsplash
Image Credit: Matic Grmek via iStock
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