In NYCa€™s cut-throat world of art, appearances can be deceiving a€”especially when newcomer Alice becomes a murder suspect. The perennial digital photography bestseller, now updated to cover the hottest topicsDigital SLR Cameras & Photography For Dummies has been a bestseller since it first came into the picture, and this new edition gets you up to (shutter) speed on the latest technologies available. Enabling JavaScript in your browser will allow you to experience all the features of our site. Veteran author David Busch walks you through new camera models from the leading manufacturers, WiFi and GPS options, full HD moviemaking, and the latest dSLR features. Busch John Wiley & Sons ISBN: 0-7645-9803-1 Chapter One The Digital SLR Difference In This Chapter * Discovering why digital SLRs are the next big thing * Finding out how your shoot will change - big time!
He also provides you with a solid foundation of knowledge about exposure, composition, and lighting that any new dSLR user needs to know to get great results from the camera.The straightforward-but-friendly coverage offers tips for choosing a camera and accessories, using different controls, maximizing lighting and exposure, and editing your photos. This doesn’t cost you anything extra and these commissions help to keep our blog up and running and the content free. However, your Nana - or you for that matter - might not know precisely what single lens reflex means. You find out how a digital SLR will transform the way you take and make pictures, why the strengths of the dSLR are important to you, and why the few downsides really don't matter. No squinting to compose your image on an LCD viewfinder that washes out in bright sunlight. Nor do you have to wonder whether you've chopped off the top of someone's head or guess how much of your image is in sharp focus. Before you know it, you'll find yourself convinced you must have optical goodies like the lens shown in Figure 1-1, a telephoto macro lens that's absolutely essential (you'll think) for taking photos of butterflies from enough of a distance to avoid scaring the timid creatures away.


If your most recent camera was a point-and-shoot digital model, you know the advantages of being able to review your photos on an LCD an instant after you took them, and you also know the benefits of fine-tuning them in an image editor. If you're switching to a digital SLR from a film SLR, you are likely a photo enthusiast already and well aware that a single lens reflex offers you extra control over framing, using focus creatively, and choosing lenses to give the best perspective.
And, if you're making the huge leap from a point-and-shoot non-SLR film camera to a digital SLR, you're in for some real revelations. A dSLR is very different from a film SLR, too, even though some vendors offer film and dSLRs that look quite a bit alike and share similar exposure metering, automatic focusing, and other electronics. If you look closely, you find that the digital SLR camera is different, and how you use it to take pictures is different. It's all done with mirrors (and other reflective surfaces) that bounce the light from the lens to your viewfinder, sampling only a little of the light to measure exposure, color, and focus.
As a result, the viewfinder image is usually bigger and brighter - from 75 percent to 95 percent (or more) of life size using a dSLR "normal" lens or zoom position, compared with 25 percent or smaller with a point-and-shoot camera's optical or LCD viewfinder. Your digital SLR viewing experience is likely to be more pleasant, more accurate, and better suited for your creative endeavors. Put in terms that make sense to human beings, the dSLR sensors have 8 to 20 times more area than their Lilliputian sensor-mates. Most point-and-shoot digital cameras have a sensitivity range of about ISO 50 to ISO 100 (at the low end) up to a maximum of ISO 400 (at the high end).
Fuji has introduced a compact digicam with its SuperCCD sensor that includes two light-sensitive areas per pixel, and it boasts an ISO 1600 maximum sensitivity, but virtually all other non-SLR cameras top out at ISO 400. There's a downside to this extra speed, as you see in the section "Reducing noise in your photos," but in general, the added sensitivity is a boon to people who want to shoot photos in dim light, take action pictures, or need to stretch the amount of depth-of-field available.


Although you can sometimes use noise as a creative effect, it's generally a bad thing that destroys detail in your image and might limit how much you can enlarge a photo before the graininess becomes obtrusive.
However, you can boost the information that the bigger dSLR sensors capture to higher ISO settings with relatively lower overall noise. I've used digital SLRs that had less noise at ISO 800 than some poor-performing point-and-shoots displayed at ISO 100. Obviously, the larger sensors found in dSLRs score another slam-dunk in the noise department and make high ISO ratings feasible when you really, really need them. For example, most older 6-megapixel dSLRs produce superior results to the newest 8-megapixel non-SLR digicams. I've seen results from one $3,500 4.3-megapixel pro-level dSLR that run rings around the best images possible from an $800 EVF model with an 8-megapixel sensor. So no matter how many megapixels a point-and-shoot camera's sensor can hoard, that sensor isn't as big as a dSLR's. And when it comes to reducing noise, the size of the sensor is one of the most important factors.
In general, being able to control the amount of depth-of-field is a good thing, because having more or less depth-of-field gives you creative control over what is sharp and what is not.



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