8 Best DSLR Cameras | March 2017
- power aperture control
- slim unibody design
- variable angle lcd display
- excellent depth of field
- whisper quiet operation
- high frame rate and resolution
- 5-axis in-body image stabilization
- durable shutter mechanism
- 79 hybrid af cross-point array
- average battery life of 950 photos
- iso range from 100 to 6400
- can control remotely via smartphone
- accurate subject tracking
- continuous shooting speed of 14 fps
- maximum burst rate of up to 170 raws
The Problem Of Pixels
I found my family's old digital camera from the early aughts a few months back, and it still had the little promotional stickers attached to it that boasted its features. It had a whopping three megapixels!
It was kind of like going back and watching the first iPod launch as Steve Jobs says his 5 GB music device is just the size of a deck of cards. Now, I don't know how many of you remember those first generation iPods, but they were like big, alien bricks of soap compared to the sleek nano design that exists today.
Over a similar span of years to the iPod's development, the camera industry has become obsessed with that one statistic: the megapixel count.
An increase in megapixels is rarely a bad thing, but it's only one of a slew of variables that determine your overall picture quality. The reason it gets so much attention is that it's easy to quantify; it's a relatively small number that you want to be as big as possible.
But what do the megapixels actually do?
Well, a megapixel measures two basic things: whether or not light is hitting it, and how much light is hitting it.
When you stack those pixels tightly together, you can achieve higher resolution photos from the same field by having more nuanced contrast throughout.
The problem is a law of diminishing returns. As you increase your pixel count beyond 10 MP the amount by which your resolution increases gets smaller and smaller.
What's worse is that an increased pixel count also decreases your low light performance. You ever enter a dark room after being out in the blazing sunlight, and you can't see anything until your eyes adjust?
Well, pixels are like pupils with a fixed diameter, so if they're too small, they can't drink up light from a darker source.
All this is to say that, unless you're shooting high resolution photographs for print advertisement with a bevvy of professional lights and maybe even a couple of assistants, you don't actually need anything more than 12 MP. So, focus, instead, on these cameras' other stats.
What's In A (Brand) Name?
Reaching back into the film era, the two giants of the camera industry dominated the landscape and posed the same question from shooter to shooter: Nikon or Canon, Canon or Nikon?
In today's digital market, there are a few competitors keeping up with the big two by offering features that they don't. For example, Panasonic introduced 4K to consumers while Nikon and Canon were still perfecting their performance at 1080.
And neither Canon nor Nikon has a viable mirrorless system. Each company has tried, but you've probably never heard of the cameras–they were that bad.
Still, photographers tend to gravitate toward one of these two brands, especially if they're working professionals in still photography fields.
There was a time when Canon's 5D Marks II and III were the finest videography DSLRs in the world, and Nikon was desperate to catch up, but Sony has come along with its a7s series and taken that corner of the market by storm.
Between Nikon and Canon, really, there's almost no difference. I recommend putting one in your hand and playing with it. Personally, I found Nikon's control layout much more in tune with the way my brain works when shooting, but then all my friends shoot Canon.
The Best Kind Of Camera
In the late 1960s, the only two people apparently not taking immeasurable amounts of drugs (or perhaps the only two taking enough of them) developed the first digital imaging technology using a CCD sensor.
Just six years later, Kodak had invented the first digital camera incorporating this technology, with a whopping 100x100 pixel resolution.
Sony and Kodak both chipped away at the concept for the next 15 years until Nikon came around with its E Series in 1991, a 1.3 MP digital camera that would kick off an engineering and marketing race that we're still enduring today.
Canon came to the party a little later, but since they had already established themselves as an imaging conglomerate in many more fields than Nikon, they were poised to sink more money into R&D, especially around the DSLR's potential as a video camera.
I won't spend too much time discussing the advent of the cameraphone and what that means for the future of DSLRs. There's an old saying in the camera world, though, that goes back to long before a digital image was ever rendered: "The best kind of camera is the one you've got on you."