You can pay a lot more, but no camera does anything significantly better than the D3300 for most people's photography. The D3300 is far superior to any mirrorless, superzoom or compact camera because it's a real DSLR, meaning you view and the camera focuses live directly through the lens optically, not via an electronic screen. If you already have a preference for Canon, the Canon SL1 is even a little bit smaller and equally excellent. I start with normal camera recommendations for normal people who just want great pictures, then get to suggestions for dedicated photographers, and end with great gift suggestions.
If you find this page helpful, you can help me keep helping you by using these links to approved sources when you get anything, regardless of the country in which you live. I've been buying my own gear from Adorama and B&H Photo Video since the mid-1970s and have had nothing but great service and the lowest prices, which is why I recommend them so highly. DSLRs, Digital Single-Lens-Reflex cameras, are the best camera for shooting action and motion. If you're the sort of person who's an accomplished photographer and reads this site everyday, then you'll appreciate the many extra external controls of the Nikon D7200.
The Nikon D7200 is better than anything else if you really know what you're doing, but bigger, more confusing and more expensive if you're not an expert.
See Is It Worth It, which says that if you have the money, sure, go for the D7200, but if you don't, then don't worry and you'll LOVE the less expensive cameras.
If you have the money, then the benefit of the D7200 is that it does everything just a little bit better.
The difference between the D7200 and less expensive cameras is mostly in how pleasant it is to hold, to own, to use and to shoot. I cover the larger Nikon D610 and other even more expensive DSLRs under more costly cameras. While you're saving all this money over more expensive cameras, I suggest getting the Nikon SB-400 miniature external flash ($175 used). The best telephoto lens for general photography and portraits is your choice of the inexpensive Nikon 55-200mm VR (about $250 or less) or the Nikon 55-300mm VR (about $400 or less). For action and sports, get the 70-300mm VR (about $587 or less), which focuses much faster. While not cheap, if you need wider than the excellent 18-55mm VR lens lens, the Nikon 10-24mm (about $810) is the one to get. For carrying everywhere, for photographing people under any and every available lighting condition, for silent shooting and for macro, there is no camera that compares with the Fuji X100T.
The X100T is also the very best camera available for new families, travel and vacation photography. The X100T is the smallest and lightest serious camera available (half the weight of a LEICA and a fraction of the size and weight of a pro DSLR), and also gives the best results for people pictures under every sort of crazy light you'll find people being people.
No camera captures life like the Fuji X100T, and it's so easy to carry everywhere around your neck since it's even smaller and lighter than the Nikon D3300. All the pros I've talked to prefer their X100T to the LEICAs they used to shoot for reportage photography. New as of July 2015, the RX100 Mark IV is head and shoulders above other pocket cameras because it works essentially instantly, and the pictures look fantastic.
The Nikon and Canon cameras look great for everything, while the Fujifilm X100T is optimized for people photos. Take the Fuji for better results in low light, or take the Sony if you need a zoom lens and are shooting in better light.
Built-in flashes are excellent, but can't be pointed to bounce off the ceiling to improve your indoor photos. Even if you don't bounce it, the SB-400 lets you shoot faster since it recharges much faster than the built-in flash.
If you want a larger flash to get more range or to bounce sideways, the Nikon SB-700 is my favorite. The huge SB-910 is too big unless you really need all that power as a full-time journalist or or sports shooter. The huge Canon 600EX RT is intended for full-time journalist or wedding shooters who use several of them in multiple portable flash setups.
My recommendation on tripods is not to bother with one, or if you must, get something so small and light that you won't mind carrying it. When I do use a tripod, I use the lightest one I can find, a $49 Dolica GX600B200 which I always carry in my trunk. The Dolica GX600B200 has padded, adjustable-angle legs with rubber feet and or spikes, and includes a ball-head with a quick-release, a compass, a level, a center column with hook, and a nice padded shoulder-strap case in its low price! The Dolica GX600B200 is a premium product, complete with loads of nice extras (like the case) usually sold separately with more heavily-advertised brands. If you want a bigger, stronger and even nicer tripod (I don't), the amazing $130 Dolica ZX600B300 is carbon-fibre is also a steal, weighing 3.8 pounds with padded non-rotating adjustable-angle legs, a ball-head with a quick-release, non-rotating center column with hook, and a nice padded case with shoulder strap. My Dolica ZX600B300 carbon-fibre has more features and advanced design than my other two real Gitzo tripods. I bought my original Gitzo 1228 carbon-fibre in 1995 and a smaller metal G106 Gitzo in 1997 for travel, both of which have legs that rotate making them harder to lock. My Dolica ZX600B300 has a spring-loaded center-column hook that retracts automatically (my $500 Gitzo carbon-fibre hook doesn't retract, and is broken anyway), and the Dolica is extremely solid, much more steady than my smaller metal Gitzo G106 that weighs more!
Not a bargain, but I use my existing Novoflex Mini Magic Ball I used to use on my Gitzo G106 on my Dolica ZX600B300. All in all, my Dolica GX600B200 is all I carry with me, and I use it with its included head. The key is to have a tripod light enough and in a convenient case so that we'll actually take it out and use it.
For you guys who use tripods a lot, the Dolica ZX600B300 carbon-fibre is the new standard for nice triploids done right at the right price. I'll also always carry a graduated neutral-density filter only for shooting into a sunrise or sunset. The Nikon D3300, its kit lens, and maybe a separate flash, are all anyone really needs for anything. I go on vacations for a week at a time with my D7200, one lens and an SB-400 flash, and never miss anything.
If you have special needs, or need a lens for a camera which sells without a lens, keep reading. I usually use just this lens all day instead of a zoom because it lets me shoot indoors without flash, without a problem! Because it gathers so much more light than zoom lenses, my cameras don't have to shoot at such a high ISO or slow shutter speed, so I can take great photos in bad light.
I'd suggest everyone who shoots indoors or in dim light get one of these lenses, since its a wonderful lens with a wonderful price. The only reason for longer lenses is if you can't get close enough, like to kids on stage or playing sports on the field. For wildlife photography, the best pictures aren't made with expensive telephotos; they are made by carefully sneaking up on the animals. It's always better to get closer and use the regular lens, but if you can't, here are my suggestions.
If you prefer, you can spend more for the 55-300mm VR to get longer range and a metal lens mount.
If you want to get serious shooting sports, get the bigger, longer more serious Nikon 70-300mm VR lens which autofocuses much faster than the two above.
You're paying much more because this lens is ideal for shooting sports at night and stage indoors, and also because it's a heavy metal professional beast. I carry the 70-300mm VR for my FX or film cameras, or the Nikon 55-200mm VR if I'm carrying a DX camera.
As of 2016, for FX and 35mm film, I bring my 28-300mm VR instead of any of these other teles. For FX and 35mm cameras, the Nikon 16-35mm is the world standard for ultrawide performance.
If an 18-55mm lens isn't wide enough, my favorite for all Nikon DX camera is Nikon's 10-24mm DX. For DX cameras, Nikon's 18-200mm VR II has been the top do-it-all lens since it came out in 2005. Today's -II version is the same as the original, with a zoom lock at 18mm I never use anyway.
For FX and 35mm cameras, Nikon's 28-300mm VR does everything except for action in low-light or crazy-wide angles. With the 28-300mm VR, I can dump all my other lenses into the lake; the 28-300 is perfect for 99% of what I do on serious photo outings.
For FX and film, Nikon has made fantastic lenses ever since the 1950s, many of which are available for almost free, used. See Recommended Nikon FX lenses, the Nikon FX Dream Team, Nikon D3 Lens Suggestions, and Nikon FX Cheapskate Lenses for suggestions.
My favorite wides for Canon are either the 17-40mm L (for light weight and bargain price) or 16-35mm L II (wider and faster). I own fancier cameras because they make it even easier to do fringe-element things, like burn away at 10 frames per second for sports. I love my 5D Mk III over all my Nikons and LEICAs because it handles and feels so much better. For less money, many people prefer the Canon 6D, which also adds GPS and Wi-Fi in exchange for a few features removed. I prefer the D610 or D7200 to the more heavier and more expensive D800, D800E and D4 because the D610's and D7200's ergonomics are far superior, and the images are the same or better.
Honestly, the biggest difference between full-frame (FX) in the D610 and the smaller DX sensor of the D7200 is that the D610 viewfinder is bigger. Spend $30 of what's left on a copy of The Art of Photography, and give the rest away to the needy. With RealRaw, you both have the actual image captured on film forever, and it's easy to get digital files if you want them, too.
Shot on 35mm film, the F6 gives digital images of equal 24MP resolution to the D3X, with better color and dynamic range. Other favorite Nikon 35mm cameras available used are the Nikon FA, the indomitable Nikon F4 and Nikon F5. I'd also suggest a PME metered prism finder, which lets you see the image as you expect in an SLR.
The Canon AE-1 Program is one of my very favorite manual-focus Canon FD cameras, and it sells used for next to nothing. The LEICA M7 (2002-today) is a rangefinder version of the Nikon FE that uses Leica's superior lenses.
Another reason to use the LEICA is that it and its lenses are much smaller and lighter than SLRs.
Its 70 x 56mm images are over double the area of the largest medium-format digital sensors.
It has been one of the most popular cameras for decades for serious landscape and outdoor photography because of its ultra light weight, ability to fold up about as big as a book, its ample set of movements, and great screen. It has recently been discontinued; I need to test some newer cameras to give personal recommendations, however I suspect that the $990 Toyo Field 45CF is also excellent, and built a lot tougher out of metal.
Of course you can go whole-hog and buy the classic of classics, the timeless Linhof Master Technika, for $10,000. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. Surfing, like any other activity, can be learned with some basic knowledge and a bit of practice.
As an additional challenge and to further increase my enjoyment, you can add photography in the mix. If you are getting interested in surf photography then let me share with you some of the tips and techniques that are vital to any aspiring surf photographer. I’m guessing you are reading this article because in one way or another, you are interested in surfing.
Let’s just assume that you are a capable swimmer and a decent surfer and you want to capture some images in the water. When you feel that you have mastered capturing images using smaller cameras then you can upgrade to a DSLR. Now there are other ways of having excellent surfing pictures while not being on the water. The best time for surf photography is the golden hours, 2-3 hours after sunrise and 2-3 hours before sunset. There is no need to bite the bullet and splurge on the most expensive gear when you want to do surfing photography. The LEICA M3 is the best camera that LEICA has ever made, and by many accounts, the best camera of all time. This is because the LEICA M3 has LEICA's biggest and best finder, and offers the most precise focus of any LEICA. The LEICA M3 never puts another frameline inside the one you're using, unlike newer, lesser LEICAs.
The LEICA M3's ultrasmooth, quiet, solid and precise mechanics are much better than the LEICA M9. The LEICA M3 is perfectly compatible with every LEICA M lens (1954-today), and with a simple adapter, perfectly compatible with every screw-mount lens (1933-today). When used properly with the coupled LEICAMETER MR or LEICAMETER MR-4, the LEICA M3 becomes an ergonomic joy, with foolproof semi-automatic exposure that just takes pictures. Most LEICA M3 that have sat unused since the 1970s will need an overhaul, after which, they will be as good as new. It's taken me about two years get to reviewing the LEICA M3, because trying to review the LEICA M3 is about as meaningful as trying to review any other immortal masterwork, like Beethoven's 9th Symphony or the Mona Lisa.
Ratings of the features and specifications of any masterpiece never properly convey its brilliance. This is why the LEICA M3, although scaldingly expensive in its day, still remains as LEICA's largest selling camera ever, with about a quarter-million copies sold. Cameras are simply light-tight boxes that hold a lens in front of film (the easy part), and some sort of viewfinder, exposure and focus system (the hard part). The LEICA M3 is the camera to which every other camera has attempted to compare itself for seven decades: the 1950s, the 1960s, the 1970s, the 1980s, the 1990s, the 2000s, and now in the 2010s.
You won't see messages like this for the disposable cameras of today; the first thing you see after the table-of-contents in the LEICA M9's user's manual are instructions for its disposal as household waste! The LEICA M3 is today's best 35mm camera because it does what a 35mm camera needs to do better than any other 35mm camera. Up through the 1990s, 35mm cameras were used professionally to cover news, sports and action, so SLRs, like the Nikon F5, ruled. Today, digital has replaced 35mm for action, leaving 35mm as a medium for careful photography of nature, landscapes, and for creating timeless works art. The manual-focus LEICA M3 isn't the camera I'd use for fast action; it is the camera I prefer for careful photography of still subjects. Among the many reasons the LEICA M3 is the world's best 35mm camera, especially today, is because it gets out of the way to let us make better pictures.
With the LEICA M3, we are free to pay attention to making a great image, and are never distracted by menus, settings, or pointless features added to lesser cameras as sales features, but which rarely help make better pictures. Even if the LEICA M3 wasn't the world's best 35mm camera for actual shooting, it is also the world's best-made camera as an instrument unto itself. The LEICA M3 has the world's biggest, brightest, sharpest, cleanest, clearest and most-accurate viewfinder and rangefinder system.
The LEICA M3 has a brilliant 0.91x viewfinder, and its flare-free rangefinder spot is the biggest, clearest and most accurate of any other camera. James Bond uses the LEICA M3 with LEICAMETER MC, deftly carried in his attaché, as yet one more impossibly expensive bauble of the ultra-rich.
While only those who also owned their own helicopters and platinum mines could afford a LEICA M3 in the 1950s, today, a LEICA M3 today sells for less than a Nikon D90. Loading film into the brick-solid and Swiss-bank-vault-precise LEICA M3 completely overwhelms the dinky metal film canister and plastic-backed film; when you load an M3, you know the results will be extraordinary. Setting exposure and focus with the semiautomatic systems of the M3 and LEICAMETER MR is trivially easy, much faster and easier than screwing with metering patterns, exposure compensations and stupefying autofocus-system tomfoolery of today's slowly blinking cameras.
Shooting the LEICA M3 proves to me what I've been saying for decades: most of what we've been dealt in the past 60 years is just marketing BS. All previous (screw-mount) LEICAs used one eyepiece for focus, and a second peephole for framing.

While M stands for Messsucher, today we know that LEICA was too humble to use the word Meisterstück (Masterpiece), as we use to refer to the LEICA M3 today. At introduction, the M3 cost about 50% more than the already very expensive and very popular screw-mount LEICA IIIf. Collectors will pay two or three thousand dollars for a really nice, unused M3 body in its box with papers.
If you use this direct link to the M3 at eBay, which is where I got my two M3s, you can pay about $1,100 for an M3 complete with a 50mm lens, if you know How to Win at eBay. The best cap is the 14 056 metal-insert body cap, which shipped in red and white boxes in its day. Every LEICA lens works flawlessly on the LEICA M3, unlike LEICA's lesser, newer cameras like the M typ 240, whose design flaws prevent proper operation with some of LEICA's greatest lenses like the 50mm SUMMICRON with near-focusing range. For shorter lenses, or 35mm lenses not intended for the LEICA M3, use an external finder, as one does with every other LEICA. Works with any of the coupled LEICAMETER M, LEICAMETER MC, LEICAMETER MR or LEICAMETER MR-4 for foolproof semiautomatic exposure setting. Some few samples (about 7,000 or 3%) were given the dishonor of being off-shored to Canada.
Here are two otherwise identical snaps of the LEICA M3's finder and the LEICA M9's finder, each looking at the sky with the same 50mm lens. The M3's finder is to-the-point, while it's difficult to see the M9's frame lines lost inside a jumble of mush. LEICA got cheap after the M3, and has been making their finders much less complex to save money, but incapable of the high magnification of the M3. The M3 has real, complete rectangular frames; even more than the 35mm and 50mm frame, the 90mm and 135mm frames are real, square-sided rectangles. The M3's finder is a little cool on the color balance side, nothing I've noticed before I ran these comparisons above and printed the results. Yes, newer finders are antireflection coated as a marketing exercise to attempt to imply that they might offer more contrast or transmission than an M3, but look through a clean M3's finder, and you'll see that there is no comparison. Because it's plain glass, the LEICA M3's finder stays cleaner and clearer with use and fingerprints, compared to the easily soiled finders of LEICA's newest cameras. No matter how difficult the subject or your lighting, the M3's rangefinder spot never flares.
To compare this yourself, look through a finder and cover both the viewfinder (main) and rangefinder (smaller) windows, leaving only the center frameline illuminating window uncovered. In every other camera, you'll see the rangefinder spot light up with varying amounts of flare as you move your eye. The early LEICA M7s are horrible at this, while today's M7, MP and M9 are much better, but nowhere near as good in difficult conditions as the LEICA M3. The M3's shutter release is more than just one gloriously smooth push to save an instant for an eternity: there is no lateral play in the shutter release button!
The lack of kinks in the shutter release lead to less camera shake, and therefore sharper pictures.
90% of a camera is its finder, and the LEICA M3 has the best rangefinder finder ever created. The LEICA M3's frame lines are never cluttered, meaning that one never has a frame for another lens appearing inside the frame with which one is trying to compose.
It is astonishing how quickly and clearly perfect focus snaps-in, and how brilliant and clear is the frame in which one composes. Because of the large magnification, focus is more precise than with other LEICAs, again leading to sharper images.
The M3 shoots best when used with a genuine LEICAMETER, especially the LEICAMETER MR or LEICAMETER MR-4. With the coupled LEICAMETER MR or LEICAMETER MR-4, press a button, set the indicated aperture, and shoot. Unlike cameras that use rotating cranks for rewind, the M3's rewind knob never gets caught in your hand when shooting vertically.
The shutter speed dials of the earliest M3s are shiny chrome-plated turned brass, which are much harder to read in direct sunlight than the matte-finish knobs of later M3s. The LEICA M3 shutter is pretty much the same as every other LEICA shutter since the 1920s: slow, quiet cloth. Slower speeds (like 1 second) will have some afterbuzz, meaning that they are supposed to buzz a little bit after the exposure completes. The faster speeds are but an almost silent, soft click, while slower speeds add a slight interval between two even softer clicks.
Unlike SLRs, the only thing going on when you take a picture is two pieces of soft cloth moving about two inches to the left.
While focus precision is a factor of camera design, and the LEICA M3 has more focus precision than any other LEICA, focus accuracy depends on the calibration of your particular sample of camera body, the calibration of every sample of lens, and how well the two samples work together.
While largely invisible in its day, with high-resolution film scanning so popular today, it is much easier to see even the slightest errors in focus. Often the second shot of the day in an F6 is blurred because the kink in the film where the film first starts wrapping around the spool in the film can is drawn to the film gate, and it isn't held flat enough to keep everything in focus at large apertures. Real LEICA photographers grab only the rewind knob and use it as a pivot with which to spin the entire camera around while holding it over their heads; I don't do that. Excepting deliberate destruction or inept repair attempts, an M3 can be rebuilt for an unlimited number of lives.
Every other LEICA since the M3 has been an inferior cost-reduction that merely plays on the M3's genius in an attempt to keep selling cameras. The LEICA M1 (1959-1964) removed the rangefinder entirely for microscope and reflex (VISOFLEX) use. The LEICA M4 (1967-1975) was an M3 with a canted rewind crank, and used an inferior, lower-magnification finder with a simpler, cheaper and inferior rangefinder system. The LEICA M4-2 (1978-1980) and LEICA M4-P (1981-1987) were made even cheaper again, with low-magnification finders and flare-prone rangefinders.
The LEICA M6 (1984-1998) and LEICA M6 TTL (1998-2002) were cheaper cameras, with zinc, not brass outer plates, and made not in the Holy City of Wetzlar, but elsewhere in Germany. The LEICA M7 (2002-) uses an inferior low-magnification finder, and also has a design flaw preventing its use with the near-range of the LEICA 50mm SUMMICRON with near-focusing range.
The LEICA MP is but another attempt to simulate the M3, so again, why settle for a mediocre finder when you can enjoy a real M3, with a far better finder, instead? The LEICA M9 has almost nothing in common with the LEICA M3, except sharing the mount, the basic rangefinder layout and some outward similarity in appearance.
Queen Elizabeth of England's 60th birthday commemorative postage stamp (17p and 34p, issued in 1986 in the UK) shows her with her own LEICA M3, which she's been using since 1958. The only fluff features added to newer LEICAs these past 50 years has been a faster-loading take-up spool (retrofittable to the M3 with a conversion kit part nr. Many newer LEICAs claim to have a 28mm frame, however it's so big that it's nearly impossible to see or use, and even if you can see it, you can't see all of it at the same time; you have to wiggle your eye around and look at it in sections, which is not the way to see a composition! Good enough for royalty, good enough for National Geographic and good enough for Miles Davis? In street photography as well as general photography, photographers can sometimes become more obsessed about camera gear over actually taking photos.
Therefore many individuals fall into this trap and go on a never-ending chase in the hope that buying more expensive camera bodies and lenses will help them get better images. When it comes to street photography, I like to believe that the best policy is to have the least obtrusive camera and lens as possible. Although my knowledge of cameras may be limited when compared to the 20+years plus photo veteran, I will try my best to outline the pros and cons of different cameras that street photographers use, including rangefinders, DSLRS, or compact “point and shoots”. Rangefinders are glorified for their ability to take images without a battery, being small and unobtrusive, quick in operation, and virtually silent in terms of a shutter sound. Taking photos with a rangefinder is much different than many other cameras because what you see through your viewfinder is not necessarily what your photos show up as.
Furthermore if one decides to get a digital Leica rangefinder, they are most likely going to drop a huge chunk of change. It seems that nowadays many street photographers use digital SLRs (DSLRs) to take their photographs.
However the downside to DSLRs for street photography is that they are relatively large and clunky, and look intimidating to the average person. Furthermore, DSLRS have great high-ISO capabilities, which make them ideal for shooting at night without having too much noise in the shots. There are currently a handful of high-end point-and-shoots on the market that many street photographers use for shooting in the street.
The advantages of point-and-shoot cameras for street photography is that they are small, have a virtually silent shutter, and that they are unobtrusive. Get the best tech deals, reviews, product advice, competitions, unmissable tech news and more!
Below I cover the best cameras for general use, and at the new Best Camera page I suggest exactly the best camera for each kind of subject, situation and application. What's the best camera that can handle every kind of photo situation, but still lightweight and at a reasonable price?
Especially if you have kids in sports, a DSLR like the D3300 is a huge step up from a point-and-shoot or iPhone because it can zoom-in (especially with a telephoto lens) and focus fast enough to track all the action.
The reason guys like me pay more for fancier cameras isn't for better pictures; it's for more controls and options that let us few who actually know how to use all these controls to get to them faster. The D3300 focuses fast enough to catch people and kids doing anything in any light, while other kinds of cameras get lost hunting. The differences between the SL1 and D3300 are a matter of which fits your hands better or which has controls or menus that you personally might find more convenient. Most of these places ship internationally, and if you are outside the USA, B&H Photo Video even has a calculator which shows the final, total cost to-your-door including taxes, shipping and duties before you complete the order. Using these links costs you nothing (and probably saves you money), gets you the same great service I've enjoyed myself, and most importantly, is what helps me keep adding to this website for everyone's benefit.
Just as your signature is uniquely your own no matter what sort of pen you use, it's the same with pictures and cameras. The biggest differences among these cameras is not technical picture quality (the pictures from these cameras are indistinguishable from each other), but how many knobs and buttons they have to allow skilled and experienced photographers to adjust the things that most people don't even understand. It is more pleasant to use because it has a bigger, brighter viewfinder, and everything works a little faster and more smoothly.
These are for special purposes; the D7200 is the best you can get overall, and the less expensive Nikon DSLRs like the D5300 that adds a swivel LCD screen are no slouch either. The D3300 and D7200 have built-in flashes, but this tiny external flash gives a lot more range, and most importantly, saves the camera's batteries and lets you shoot a lot faster because it recharges almost instantly after each shot. The difference is that the 55-300 can zoom-in closer than the 55-200; each works as well otherwise. It's best for families and people because of its unique ability to get great skin tones in any light, and great for travel because it's a full-featured camera in a very small package. It's low-light, auto fill-flash, auto ISO, auto WB and color rendition under difficult conditions is far better than any of my Canons, Nikons or LEICAs. Even if it seems wiggly, it's still good enough to hold your camera so long as you're not trying to wiggle it while you're taking the picture. It's all-metal, and lighter than any of the far more expensive brands that advertise like crazy, only 2.5 pounds total for head and legs. My new Dolica ZX600B300 has legs that don't rotate so it's much faster to open and close them. No, it's not the sturdiest if I'm going to bang on it during exposure, but I don't jiggle the camera while shooting and this way I need not lug a heavier tripod. It's bigger and tougher than the Dolica GX600B200, but also a bit heavier and more expensive, too. I wouldn't expect it to hold up under regular use, but as an inexpensive tripod to hide away for when you need it, or one light enough to take everywhere in case you need it, for $15 you can't go wrong. They are also expensive, but I'm still using the Tiffen grads I bought back in the 1990s as well.
If you want to go whole-hog, I see no reason ever to need to buy anything other than the DX Dream Team lenses. Imagination is the important part, with which any lens will do, and without imagination, any lens will make awful portraits.
All of these lenses are super sharp and zoom and focus well, the difference is in what you want to do with them not just today, but tomorrow, too. Except for low-light action or crazy-wide angles, the 18-200mm does everything I need in DX.
The 28-300 also covers every reasonable focal length, has vibration-reduction so you can forget the tripod, and you can get instant manual-focus override just by flipping the focus ring.
It's ultra sharp, extremely well made, has image stabilization for hand-held shots in the dark, and it's small and light. I put the camera around my neck, and if I'm on a dedicated photo trip, maybe have a bag with me with just two more lenses. No one needs this, but if you have the cash or use cameras so much that even little improvements are appreciated, go for it. The old 5D was also the king of landscape and nature photography, and to be honest, if you can find a deal on an old 5D, it's a bigger pain to use with a dreadful LCD, but also gives spectacular results.
The pictures are as good; the difference being that you get more depth-of-field with the D7200, or more subject isolation (narrower depth of field) with the D610. Even today in 2016 pros wished they could afford a new Hasselblad, the same as they've wished for over 50 years.
I love my 503 CX because it's the least expensive Hasselblad new enough to have the super-bright Acute-Matte screen. As shown above with a waist-level finder, you have to look down to see a reversed image, exactly as on a TLR.
Everything on it just works, as opposed to more expensive Canons, like the New F-1, that cost a lot more and do a lot less.
Shooting 6x7cm medium-format film, this lightweight interchangeable-lens rangefinder camera is the same or smaller in size and weight than 35mm SLRs and DSLRs, while offering far superior image quality and more convenient size and weight.
They are as good as LEICA, but for a format with over four times the image area of full-frame 35mm. I also use a 1956 Linhof Technika IV which is the same thing, but I grew tired of carrying the weight. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. From a technical point of view, it looks really hard, but in reality, it’s really very simple to learn, as is surf photography. Sharks can be swimming near the beach, huge waves can suddenly form and wipe every surfer, and there is always the possibility of drowning.
The best thing I recommend at this stage is that you bring a disposable water proof camera or a water proof point and shoot camera.
Buying a water proof housing or getting one made specifically for your camera should be on top of your list.
A telephoto lens preferably 600mm and up will give you the advantage of taking photos from dry land.
The high cost of using a helicopter makes it an expensive choice but it is the most productive way of capturing those superb action photos. If you catch yourself on the water during the off times then leave your camera behind and enjoy the surf. As I’ve said you can always start small and just try it out for a couple of times and get the hang of it bit by bit. Removing your eye from the viewfinder from time to time will help you see where the real action is, so it’s time to get out there and have a blast on the waves.
To those who already appreciate it, there is nothing more I could possibly add, and to those who don't, there is no way a review could possibly convey the brilliance and eternal genius these works contain. Of course not; just like great photography, Mozart's brilliance often lies in how few notes he used to express his points more clearly than if he had used more.
The LEICA M3 is superior to every other camera, and to every other LEICA, precisely because of the M3's superior finder system. In the LEICA M3 you have the utmost in photographic performance, speed, and convenience that we, as specialists in high-grade optical precision instruments, can provide.
The LEICA M3 is an entirely mechanical rangefinder camera which uses interchangeable lenses and whose viewfinder selects framelines automatically as any lens is attached.
Therefore image quality, ergonomics and portability are more important than frames-per-second, so the LEICA M3 reigns once again as the world's best 35mm camera. The LEICA M3's simplicity and singularity of purpose lets us concentrate on our subjects and our pictures, instead of being side-tracked by having to think about a camera.

Nikon and Canon SLR and rangefinder lenses don't measure up to LEICA lenses, and among LEICAs, the M3 offers the world's highest focusing precision — better than any other LEICA, ever. Forgive my gloating, but this classic LEICA equipment costs a lot less than today's made-in-who-knows-where plastic rabble from Nikon and Canon. If all I got was the same results as I get from digital cameras, this sublime pleasure of shooting would be worth it, but the results I get from film are superior to what I get with digital capture, both artistically and technically.
It takes just a second to set exposure, focus, aim, shoot, and wind for the next great shot.
This older, higher-quality equipment takes better pictures, takes them more quickly and more easily, and costs less than the disposable plastic digital dross of today. It's called the M3 because the viewfinder has three automatically selected framelines for three lenses: 50mm, 90mm and 135mm.
With these adapters, the framelines automatically set themselves, and focus works perfectly, too. With an actual subject, it's also obvious how much smaller is the M9's puny low-magnification finder. This reduces focus accuracy, so much that the puny 0.68x finder of the LEICA M9 comes with a warning in the instructions not to use 135mm lenses at their widest apertures because the M9's finder lacks sufficient accuracy! Other LEICAs make do with mere line segments, or just corners, while the M3 projects big, bright and complete rectangles. By comparison, it's hard to find a lens with newer LEICAs whose finder frame isn't polluted with other irrelevant frame lines. My M3 shows me what I get on my slide mount, while LEICA M9 images include much, much more than shown in its finder.
The difference is that fingerprints are obvious and distracting on the coated front windows of newer cameras, but not distracting on the uncoated windows of the LEICA M3. Its solid-brass wind lever works great; more solid and faster than the plastic thingys on lesser LEICAs.
That's right: while mortal cameras like the LEICA M typ 240 have shutter buttons that wobble from left to right as they press-in, the shutter button of the LEICA M3 only goes straight in towards its mark, unwavering and without lateral play, exactly like the vision and determination of the LEICAMAN.
There are no distractions; your attention in on nothing except one's subject and composition.
The M3, exposure and focus never delay anything, and the simple finder allows one to concentrate on creating the strongest picture. The LEICA M3's rewind knob does not rotate as the film advances because it is declutched from the film's spool until the knob is lifted for rewind.
This isn't important, as one should be using the LEICAMETER to move the shutter speed dial, in which case the camera's dial is covered.
This is because looking at a 3,600 DPI scan at 100% on a computer is a 36x magnification of the film, the same as looking at a 33 x 50" (85 x 130 cm) print, just inches from your face. Yes, LEICA lenses and camera bodies vary from sample-to-sample, and you will have to hand-pick which lenses work best on your M3. I have no idea how or why the M3 is better than the M7, but the few times I've tried this, it is. Nikon still hasn't figured out why the Nikon SP only sold one-tenth as many cameras as the LEICA M3: the SP lacked genius, more specifically, the Nikon SP had more finders and frame lines, but asked that you used two different finders to do what the LEICA M3 does better with just one! It also lacked the automatically-resetting internal frame counter of the M3, and uses a primitive external wheel as a film counter, requiring manual resetting for every roll! The M7 also offers an optional 0.85x finder, the best available today, but still inferior to any old M3.
The M9 is sort of like the crudeness of a Polaroid SX-70 crossed with an M3 with a broken viewfinder.
She's shown in the image of her her 50th birthday, or in 1976, enjoying her nearly 20-year old (at the time) LEICA M3. 14 260), TTL metering (which lacks the simplicity and hold function of the LEICAMETER MR and LEICAMETER MR-4), and the ability to show a 35mm finder frame with less-expensive lenses that lack the auxiliary finder optics of 35mm lenses designed for the M3.
35mm lenses with the finder optics for the M3 work great on all newer LEICAs, and I prefer the smaller frame size called-up with these optics as an aid to composition! Beats me, and the market agrees: this is why LEICA has sold more M3s, even at platinum-mine prices, than any other camera. As there is no “best” paintbrush for a painter, there is no “best” camera when it comes to the street photographer. Photographers who are obsessed with camera gear often feel that their images are lacking due to their equipment, when their underdevelopment of photographic vision is the culprit.
However most of them are quite dismayed when they realize that when they buy the newest and most expensive equipment, their images don’t get any better. Rangefinders are fully manual, meaning that you have to manually focus and manually control exposure through aperture and shutter speed.
It carries all of the fore mentioned characteristics and has a tradition for being built like a tank with superior optics. There are superimposed grid lines showing the borders of how much your camera will actually capture which many photographers claim that gives them a sense of freedom and seeing entire scenes. First of all, rangefinders are fully manual, meaning that one has to learn how to constantly adjust for the changing lighting in an environment with aperture and shutter speed, while modern digital cameras can do this automatically. DSLRs are massively popular due to their overall image quality, quick shutter speed, and their ability to interchange lenses, and relative affordability.
Furthermore due to the fact that it has a mirror inside, it makes a loud clicking (or clunking) sound when taking photos, which can disturb the serenity of a scene. I currently use a Canon 5D for my street photography and in order to make my camera more stealthy, I covered up my “Canon” and “5D” logo with black gaffers tape. Therefore, one can switch up his or her lenses once in a while if you want to shoot at different focal lengths. These cameras tout larger image sensors, which gives better image quality as well as cleaner images at higher-ISOs.
However on the other hand, many point-and-shoot cameras have shutter-lag, which can make it difficult to capture moving people without getting them blurred out.
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The D3300 has the same adjustments, just that you'll more often have to use a menu to set them instead of a knob or button.
If you know what you're doing, all a better camera does is make it easier, faster and more convenient to take great pictures. If you want to take better pictures, your efforts are better spent learning how to take better pictures, not in buying new cameras.
In-camera flashes drain the camera's battery and can take a long time to recycle after each shot. The catch with the Tokina macro won't autofocus on the less expensive DSLRs (the wide will focus on everything).
Yes, I can get the same results after fiddling with my Nikon or Canon or LEICA for half an hour, but the Fuji X100T always nails the first shot in difficult light all by itself without fiddling, when means the Fuji gets my shot while I'd still be fiddling with one of the other cameras.
The LEICA is great for nature and landscapes as I suggest below, but for the people shots that LEICA used to do best, today it's Fuji.
Companies that spend money on advertising and sponsoring big-name photographers aren't spending that money on making me a better tripod, so I'll stick with Dolica where we get a much better tripod for less money. I use it for travel, and I use a huge Bogen Manfrotto 3275 410 Geared Head on my big Gitzo 1228 in the studio sometimes.
They are expensive, but you'll be using your polarizing filter on many lenses in the future; filters don't go obsolete. Cameras drop in price and go obsolete every year, while lenses can stay current for decades, and their prices usually go up. Unlike the 55-200mm VR, which only works with DX cameras, the 70-300mm VR also works on professional FX and film cameras if you upgrade later.
It covers every reasonable focal length, has vibration-reduction so you can forget the tripod, and you can get instant manual-focus override just by flipping the focus ring. It is about 25% bigger in every dimension from the 18-200mm; I'm showing them at the same size for detail.
It's new enough that any you buy will probably work perfectly without needing service, and old enough to be inexpensive. Even though the light Tachihara feels flimsy, its results are what get published every month in your landscape calendars and seen on gallery walls. But when one accepts the possible dangers of surfing and tries his best to prevent such things from happening, then surfing becomes a life changing experience. The whole day of surfing is ended with the best souvenir ever and you can’t help but feel happy and proud of your achievements. Disposables are relatively cheap and water proof point and shoot cameras are a bit expensive (around $300) but if you like swimming or any water related activities I’m sure you’ll use it a lot.
A camera housing can be installed on the surfer’s board and provide you with pictures with a different perspective.
Shorter lenses are okay for zoomed out photos but if you really want to include face action shots then you should invest in a decent telephoto lens.
You can be a bit closer than usual to the surfers when using a helicopter so all you need is a 70-200mm lens. Then if you’ve mastered everything that you can and you find yourself really enjoying the experience, then it’s time to break the bank and invest in some proper photography gear. This free website's biggest source of support is when you use any of these links, especially this direct link to the M3 at eBay (see How to Win at eBay), and you also can get them from Adorama. With the LEICA M3, every time I hear the second curtain delicately slide home, I know I have just created another perfect photograph that will remain immortal for all time.
The LEICA M3 was the most advanced camera in the world when I was born, it is today the world's best 35mm camera, and most likely will be long after I pass from this Earth. The LEICA M3 is so well built that it's a treat just to touch it, much less adjust its delicious controls and to fire it.
Unlike digital, all my shots come back perfectly exposed and in focus; I never have to make a second shot after seeing how bad one is on the LCD.
These real cameras feel so much better than the digital plastic electronics that too many people confuse with cameras today.
35mm lenses come with special reducing optics to change the 50mm finder into a 35mm finder, while one uses external finders with shorter lenses.
There really isn't any bottom to the M9's 50mm frame, and it doesn't look any better during actual use. This isn't about close-focus design differences, it's about what I get on my film in real shooting.
The LEICA M3 also uses real ground-glass for its frameline-illuminating window, while LEICA's newer cameras make do with molded plastic. All newer finders are inferior, and can flare when pointed towards light sources, making it nearly impossible to focus. The shutter buttons of newer cameras, like the LEICA M7, M8 and M9, have additional nasty, distracting kinks in their travel, while the M3 (as well as LEICAs through the M6 TTL) enjoy only one smooth push.
As I was shooting in Bodie in October 2010, for every snap I made carefully, at least ten other people buzzed by like flies as they snapped away on their plastic digitals without FARTing, making scores of forgettable snapshots to be deleted an hour later.
The LEICAMETER's dial is big and well knurled, so speeds are easily set with one's shutter finger from the front of the camera. Back even as recently as the 1980s, no one regularly looked at all their photos this closely, but today, even the very slightest focus inaccuracy is obvious at this magnification.
Lenses up to 50mm should all be perfect, while probably only half of the 90mm and longer lenses you try will be right-on. The Nikon SP also came from the stone age, demanding that you stop and change finder frames manually.
Worse, the LEICA M6 TTL has a design flaw (too-tall a top plate) that prevents it from working with LEICA's greatest lens, the LEICA 50mm SUMMICRON with near-focusing range, in its close-range.
The problem with the extra 35mm frame in newer LEICAs is that this 35mm frame is too big to see it all at once, and in exchange for this questionably useful 35mm frame, the entire finder has been dumbed-down to a puny 0.72x for all lenses, making 50mm, 90mm and 135mm lenses far less useful. The camera is merely a tool, and there are different tools required for different situations and tasks at hand.
Now don’t get me wrong—nice bodies and lenses can indeed give you images with better sharpness, resolution, and color, but they won’t give one intrinsically better photos.
Shoot—the granddaddy of all street photography (Henri Cartier-Bresson) used a Leica for his entire career. Although many advocates of using fully-manual settings do not see this as a disadvantage, the aspiring street photographer may have a difficult time constantly adjusting his or her settings. I feel the advantage of this is that it converts my “professional-looking camera” into any old generic-looking camera. I never hesitate to shoot my camera at ISO 1600 or even 3200 at night when capturing scenes with faster shutter speeds. They range from the inexpensive Ixus 145 and Ixus 150, both with a 16-megapixel sensor and 8x optical zoom, through the Ixus 150 (20 megapixels and 10x zoom) up to the 16-megapixel 12x zoom Ixus 265.
If you shoot all day every day as I do, it's worth it, otherwise, there's no reason to pay more since most people have no idea what these other settings do. If you want to save money with the Tokina lenses instead of Nikon, that could pay the difference in price between the D7200 and the D3300.
Starting off small will benefit you because it’s easier to carry and won’t distract you too much from actually surfing. There are other ways of getting closer to the water and it depends on the layout of the beach. The M3 is good for more than a single lifetime of perfect photos; it's good for innumerable lifetimes.
It most favorably combines the experience of a long tradition in the design of scientific instruments with the latest advances of modern optics. When I dream about which camera I want to take with me to go shooting, it's usually the LEICA M3. This makes the camera look less conspicuous in public, and makes people feel less anxious when you are taking photos of them.
The best surf shots are done in a POV or point of view style which is usually a few feet from the surfer.
Point and shoots produce great images; just remember that when dealing with these kinds of cameras that your timing should be perfect. If you think that’s a bit hard then you can use a jet ski or a motorized boat to photograph a surfer.
Shooting in burst mode should also be frequently done to increase the chances of having a wonderful action shot. We can discuss the various things that comprise a masterpiece, yet the masterpiece goes beyond any of these descriptions.
LEICA still services them, and plenty of other service facilities have no problem getting parts for it. It has matured through the many thousands of tests and trials at the hands of the elite of international photographers. You will see for yourself the scope and precision of the LEICA and how in many years' time it will still be as exact and reliable as it is now." This is what LEICA shares after you've bought the camera! We'll bring full reviews as soon as these cameras are available.Canon PowerShot D30 waterproof cameraThe D30 is the perfect compact camera for more adventurous travellers.
It's waterproof down to a depth of 25m, which is pretty good going for a consumer camera without a specialised underwater housing. The Canon PowerShot N is designed for fun 'social' photography.The Canon N isn't intended to take the place of a DSLR or even a phone, but to complement them as a 'take-everywhere' type camera.
It's certainly smaller than other bridge cameras, but the deep SLR-style design means it's more awkward to push into a pocket. On the upside, it does have a 30x optical zoom.From here on, you're definitely into bridge camera territory. The PowerShot SX510 HS has a 30x optical zoom lens, and the newer PowerShot SX520 has a 42x optical zoom and 16-megapixel resolution.
The SX60 combines a massive 65x zoom with DSLR styling and controls.The top model, though, is the PowerShot SX60 HS, with a massive 60x zoom range, full manual control and the option shoot raw files. The SX530 HS replaces the SX520HS, the SX710 HS replaces the SX700 HS and the SX610 HS replaces the SX600HS. These are routine updates rather than major new cameras, and we'll bring you full reviews just as soon as these cameras become available.

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