Right:
Reflections in Tidal River, Wilson's
Promontory
National Park,
Australia. I shot this image on a digital Canon Powershot
G5 camera, which was so good and
so much fun that I quit using film.
Index to this page: Equipment
Summary ; A.
Advantages of Digital: 1.
Slow Film Work Flow , 2.
Fast Digital Work Flow , 3.
Compact
versus SLR
B. Disadvantages
; C. Film
versus
Digital Camera Table
See related pages:
Best
Travel Cameras ~ What's
New Blog ~ Tom's
Photography Equipment History
How
to Take Better Pictures:
How to Compose an Image , How to Use Fill
Flash , How to
Optimize Shadows and Highlights
A. Advantages of a Digital Camera
Your camera needs may differ from mine. Throughout this discussion I mention specific examples such as the Canon Powershot Pro1 and G5, but many other good cameras are also available: see "The Best Travel Cameras."
   Consumer-level
digital
versus film camera: the digital image (on the left) looks better than
scanned
film (on the right).
Left: Shot on 5
megapixel digital Canon Powershot G5 (three 100% pixel
sections shown). Image
on
far right: Fuji Velvia 50 film scanned to 8
megapixels (2405 x 3568), shot on Nikon N70 (three
100% pixel sections shown). |
2. "Advantages of a Digital Camera": Fast
Digital Work Flow
Excites Creativity.
The instant feedback, high quality and powerful
features
of a digital camera give me a better creative tool
than
a 35mm-film SLR camera:
3. "Advantages of a Digital Camera": Choose
from
Two Styles of Camera: Compact or SLR.
Both SLR and compact styles of high-end digital
cameras (2004
or later) generally exceed the capabilities of 35mm-film cameras in a
given
class.
Recommendations for nature travel photography:
- DEFINITION: an SLR (Single Lens Reflex) camera has a mirror that lets the viewfinder see directly through the interchangeable lens. SLR cameras come in film or digital models. A digital SLR is also called a DSLR.
- Most SLR cameras autofocus instantly, whereas many older compact digital cameras have significant shutter lag (as do "point-and-shoot" film cameras). But as of 2006, many high-end compact cameras eliminate most shutter lag. The subcompact Pentax Optio S5i (new in 2004) offers a shutter lag of only 0.4 seconds. My Canon Powershot Pro1 with firmware upgrade version 1.0.1.0 (December 2004) reduces shutter lag to as low as 0.2 or 0.3 seconds. The ultra-subcompact Canon Powershot SD700 IS camera (new in 2006) has a faster click speed.
- Low noise at higher ISO: When shooting at a speed above ISO 100, DSLR digital cameras capture significantly less noise than compact cameras. DSLR cameras are excellent for photographing low light, indoor, and action subjects (children, sports, pets, birds, animals, insects), much better than film technology. (Digital noise looks like random-colored grain, most noticeable in the shadows or continuous tone areas such as skies.)
- SLR systems offer a bigger variety of high quality interchangeable lenses (in which you may have already invested). Manufacturers have retrofitted existing SLR body designs by fitting a smaller digital sensor in place of the 35mm film, which crops the image area, using just the "sweet spot" (central area) of the lens, and creates a nice 1.5x or 1.6x telephoto "magnifier" effect (but "wastes" the unused glass, makes the design unnecessarily heavy, and forces you to buy a wider angle zoom lens to compensate for the effect). A few of the most expensive professional DSLRs have fitted a full-35mm-size sensor (with 12+ megapixels) with no field of view cropping effect, which can shoot with impressively less noise at higher ISO.
- Note: 35mm film measures 36x24mm.
- Battery life for DSLR cameras is often superior to compact digital cameras. (Battery power on my Nikon D40X lasts 2.5 times longer my compact Pro1 in real world use.)
- The extra quality of DSLR cameras can be useful if you intend to print larger than 16 x 12 inches, such as for fine-art posters. For a given megapixel sensor size, SLR digital cameras can make significantly larger prints versus compact digital cameras, due to bigger lenses and physically larger sensors which gather more light, more accurately at each pixel.
- For example, the Canon EOS 20D DSLR has a light sensor 22.5 x 15.0 mm, 6 times the light-gathering area of the compact Canon PowerShot Pro1 sensor,which measures 8.86 x 6.64 mm, yet both sensors capture 8 megapixels. The extra light-gathering power on the bigger SLR sensor captures significantly better color accuracy, wider dynamic range and significantly less noise, especially at ISO settings of 400 and higher. This difference will only become noticeable around ISO 200 or higher when making prints larger than 5x7 inches. The 2007 Nikon D40X sensor is 23.7 x 15.6 mm and captures 10 megapixels with excellent quality.
- Break-even point of DSLR versus non-DSLR cameras:
- When shooting at ISO 50, the 8-megapixel Canon PowerShot Pro1 (at half the bulk) equals the quality of a 6-megapixel DSLR (such as the Nikon D70). At ISO 100 or higher, a DSLR image will capture less noise than the Pro1. Noise looks like random color or monochrome spots visible in areas of continuous tone like shadows and skies.
- The 10-megapixel Sony DSC R1 has image quality equal to an excellent 8-megapixel DSLR (such as Canon Rebel XT) at ISO up to 400, and at a better price value. Unfortunately the "R-1" is just as bulky as a small SLR. The Sony DSC R1 is the first fixed-lens "prosumer" camera with a large sensor (APS-C size, measuring 21.5 x 14.4 mm). The Sony DSC R1 has a superb 24-120 mm lens, with f/2.8-4.8 widest aperture. Shutter release time is as good as an SLR in good light (but slows in lower light). The flip-out & twist, top-mounted LCD is transreflective (visible in direct sunlight), and has better manual focus visibility than an SLR's LCD, and shows a live histogram. No movies. Its RAW files are unnecessarily large, 20MB, requiring more memory card space and slow shot turnaround. You can extend the telephoto 1.7x to 204 mm f/4.8 (by adding a hefty 2.2-pound, 5.75 inch long “VCL-DEH17R tele conversion lens”, $400 in 2005). For better alternatives, see "Best Travel Cameras".
- For travel, I recommend using the lightest DSLR cameras such as the Canon Rebel XTi mounted with lightweight, high-quality Canon "EF-S" lenses which are specifically designed for the "APS-C" digital sensor size (educational link). Or get the Nikon D40X DSLR mounted with Nikkor "DX" lenses. Or buy Sigma "DC" lenses for most DSLRs. (The older pre-digital lenses are heavier, with enough glass to focus on a full 35mm-sized film frame, and when used on digital SLR cameras, only the center or "sweet spot" of the lens is used, which can have the advantage of eliminating edge distortions, if any, but at the cost of heavier weight.)
- DSLR (digital SLR) cameras can be about twice the size, twice the weight and twice the price of compact digitals, which may discourage you from carrying them everywhere, so you may miss many great shots.
- Better value: You get more for your money with an "all-in-one" compact digital, which lets you upgrade sooner to the next generation camera (every 2 years or so), if desired. You can sell your former cameras on e-Bay like I do. Compact digital cameras offer a portable all-in-one photography solution with quality good enough for most consumers. See "The Best Travel Cameras"
- SLR digital cameras don't record sound or Movies with sound (while compact digital cameras do). "SLR" digital cameras don't display a live image or capture movies, due to the viewfinder mirror blocking the sensor. On an SLR, you must first snap the shutter before seeing a fixed image on the LCD. [In contrast, before clicking the shutter, compact digital cameras act like a video camera showing a live, continuous view of exposure, white balance and in some cases a live light-value histogram, as you creatively pan and zoom through all possible compositions.]
- Macro or close-focus photography is more difficult on an SLR due to the lack of a flip out and swivel LCD, and more expensive & heavier, requiring a separate macro lens. [Many compact digital cameras have excellent built in close-focus ability with good depth of field, such as 1 or 2 centimeter focus.]
- Changing lenses opens an SLR to a serious dust problem on the sensor, which is difficult to clean, and mars every image - many professional photographers complain about this. I use the Giotto Rocket hand-squeezed blower for my Nikon D40X, which required immediate dusting when new out of the box. (Compact digital cameras don't let dust onto the sensor, yet still accept high-quality external add-on lenses, which actually increase the camera's light-gathering power. In 3 years of dusty travel, my Canon PowerShot Pro1 never got dust on its sensor. Although some dust & maybe fungus did get into the inside surface of lens elements through lack of sealing of the zoom, which must have softened images a little, I did not notice any affect on image quality.)
- An SLR can be overkill for many photographers:
- Little cameras can now make high-quality large prints. Read here about maximum print size.
- Top-of-the-line compact digital cameras of at least 5 megapixels can create an image file similar in quality to scanning 35mm film, in a given camera class. For example, the little Canon G5 (2003) makes good prints to 12 x 16 inches, like a similar-sized film camera.
- If all you need are prints up to 8x10 inches, an inexpensive 4 or 5 megapixel camera is sufficient, such as the compact Panasonic Lumix DMC-FZ20 (which offers a high-quality, image-stabilized 12x zoom lens, at a great price value; with shutter lag of 0.5 to 1 seconds; 5 megapixels). The FZ50 improves upon it.
- While the extra quality of digital SLR images can make superior prints beyond 16 x 12 inches in size, this size exceeds the needs of most magazine, book, or web publishing. If you want more megapixels in an image (for added quality in giant enlargements & panoramas), you can shoot a panorama (or square) of multiple images and easily stitch them together with software.
- If your only goal is high quality image projection on an HDTV or computer monitor, you need less than two megapixels of resolution, or as little as SXGA, 1280x1024 pixels; but this severely limits your print size.
- For bigger prints, get a heavier compact camera:
- In a very compact size, Canon Powershot Pro1 offers quality similar to scans of 35mm film from an SLR-film camera. Tests show that the 8-megapixel Canon Powershot Pro1 rivals the quality of 6-megapixel SLR cameras when shooting at 50 ISO.
- I really enjoy an all-in-one, carry-everywhere camera such as the Canon Powershot Pro1 which is less than half the weight and size of an SLR, yet equals digital SLR print quality up to at least 16 x 12 inches (when shooting at ISO 50 on a tripod). I have sold impressive prints measuring 30 by 23 inches from my tripod-mounted Canon Powershot Pro1.
- Reasonable performance:
- High-end compact digital cameras such as my Canon Pro1 (new in 2004) have reduced shutter lag to as fast as 0.2 to 0.3 seconds (with firmware upgrade version 1.0.1.0), which is not bad.
- Shutter lag is reduced in more recent cameras (2007), along with less sensor noise. The Canon Pro1, released in 2004, uses the relatively noisy DIGIC I chip. Canon's "DIGIC II" chip, used in the ultra-subcompact Canon ELPH SD500 and SD700 IS, greatly reduces sensor noise at ISO up to 400. In 2006, Canon DIGIC III cameras offer faster & better performance at ISOs up to 400 (but ISO 800 is very noisy on compacts).
|
B. Disadvantages
of an Older Compact Digital Camera, such as the 2003 "Canon
Powershot
G5".
I really enjoyed the Canon Powershot G5 which, at half the size and weight, managed to exceed the overall capabilities of my SLR film camera! The G5 was so good that I quit using film. However, the G5 had some disadvantages, with workarounds shown below in italics. I resolved the G5's limitations by upgrading to the excellent "Canon Powershot Pro1" in 2004.
|
|
|
SLR camera, shooting 35mm Fujichrome Velvia 50 film |
compact digital camera |
compact digital camera |
**** BEST: Nikon D40X DSLR (new in 2007) with Nikkor 18-200mm VR lens (new in
2006) |
| Weight with lens system & battery: | 54 ounces (includes camera & two interchangeable lenses below, giving a range from 28-210 mm) | ** 28 ounces (19-ounce G5 camera with 4x zoom 35-140 mm equivalent, plus 9-ounce bayonet-mounted fixed 245 mm equivalent telephoto lens) | **** 25 ounces (a completely self-contained, small and lightweight 7x zoom, 28-200 mm camera) | *** 38 ounces (18-ounce camera, mounted
with
excellent 20-ounce 11x
zoom lens, 27-300mm equivalent, with 4 stops optical image
stabilization) |
| Size: | 5.9 x 4.1 x 2.8 plus 2 lenses. | *** 4.8 x 2.9 x 2.8 inches plus telephoto makes G5 bigger than Pro1. G5 is about half the weight & size of Nikon N70. | **** 4.6 x 2.8 x 3.5 inches
all inclusive. Smallest, lightest
high
quality system for a travel photographer &
hiker such as myself! Great for backpacking, extended trips or day
hikes. |
** 5.0 x
3.7 x 2.5 inches (126 x 94 x 64 mm) body,
plus lens extends 3.8 inches / 96.5mm from
the body, and has diameter of 3 inches /
77mm. Much bulkier than the Pro1, but proportionately more
powerful. |
| Resolution, Megapixels, Sensor, and Effective Print Size: | * ~9
megapixels = time-consuming
& lossy scanning of slides on a * Nikon LS-2000 scanner at 2700 dpi with dynamic range 3.6,
creating an image 3700
x 2500 pixels, of sufficient quality to enlarge prints up to 12x18
inches. Image proportion for 35mm
film = 3:2. ** ~12 megapixels = quicker & better scans on my ** Konica Minolta DiMAGE Scan Dual IV at 3200dpi (with dynamic range and resolution higher than film), give 2892 x 4284 pixels, of sufficient quality to enlarge prints up to 20 x 30 inches, but only from exceptionally sharp slides. |
* 5 megapixels, 2592 x 1944 native size, of sufficient quality to enlarge prints up to 12x16 inches, (with quality similar to Nikon LS-2000 scans of 35mm film). Dynamic range is superior to slide film. DIGIC I processor. Image proportion = 4:3 matches computer monitors & TV. | *** 8 megapixels, 3264
x 2448 native size (sensor
size = 8.86 x 6.64 mm), of
sufficient quality to enlarge prints up to 23 x 30 inches (with quality
similar to higher resolution
35mm film scans, such as Konica Minolta DiMAGE
Scan Dual IV at 3200dpi). Dynamic
range
is superior to slide film. DIGIC I processor.
Image
proportion = 4:3 matches computer monitors & TV. |
**** 10.2 megapixels, 3872 x 2592 native size
(sensor size 23.7 x 15.6 mm CCD;
1.5x FOV crop). Enlarge prints to 23 x 30 inches (or larger maximum print size
if viewed from a
distance equal to the longer print dimension). Image
proportion = 3:2. The D40X's ISO 800 captures less luminance noise than Pro1's ISO 100. This is three stops improvement in terms of ISO speed (because the D40X sensor gathers 6.3 times more light area than the Pro1's; the D40X's DIGIC II processor is superior to the Pro1's DIGIC I; and the 1.7x larger diameter lens gathers more light). **** |
| Lens: | 1. Sigma 28-105 mm, f/2.8-4
zoom lens
** 2. Sigma 70-210 mm, f/3.5-4.5 macro zoom telephoto lens |
1. 35-140 mm (in
35mm-film terms),
amazingly fast f/2.0-3.0
zoom lens. 2. Fixed 245 mm f/3.0 telephoto lens, with quick bayonet mount. (Brighter lens requires tripod much less than film camera.) |
*** 28-200 mm (in 35mm-film terms), f/2.4-3.5 zoom lens (professional "L" series, UD & fluorite, ultrasonic). The high-quality 7x zoom lens means no more annoyance of juggling multiple lenses! (Brighter lens requires tripod much less than film camera.) | **** 27-300 mm in
35mm-film terms, or actually 18-200mm
f/3.5-5.6G IF-ED AF-S DX VR Zoom-Nikkor. The
f/3.5 widest aperture on this lens is one f/stop
slower than the Pro1's f/2.4, but its physical glass diameter (72mm) is
1.7 times bigger & gathers more light. |
| Macro close focus: | Limited close focus; need separate macro lens for good quality. | *** 5-15cm close focus. G5 results are faster & better than my Nikon N70 35mm film camera. | **** 3-10 cm close focus in Super Macro mode, which gives you a 5-megapixel 1:1 macro at 90 mm f/3.0 in 35mm terms, an excellent and fast macro! | ** 46 cm close focus throughout zoom range. Best magnification at 200mm captures subjects 4 inches wide (or an area of 6.7 x 10 cm), not too bad |
| Focus/shutter speed: | *** very fast to lock focus and release shutter | Very slow to lock focus, about 1 second (not good for action). Image capture is instant (less than 0.1 seconds) if you first press shutter release halfway to lock focus, or use manual focus. Spot autofocus may also be faster than area autofocus. | ** Quick shutter response 0.2 - 0.3 seconds (with Firmware upgrade version 1.0.1.0) . Image capture is instant (less than 0.1 seconds) if you first press shutter release halfway to lock focus, or use manual focus. Spot autofocus may also be faster than area autofocus. | **** very fast to lock focus and release shutter |
| Battery Life: | **** ~1000 images (but note that I must frequently pause to rewind and change 36-shot film rolls on this 35mm SLR camera, at least 4 times more often than I pause on a digital camera for any reason, such as to change the rechargeable batteries) | ** ~400 images or 6 hours. | ~160 images or 2.5 hours. (I change rechargeable digital camera batteries less often than I would change 35mm film.) | *** ~ 420 images |
| LCD: | No LCD - cannot view image until film is developed, days or weeks later. Often clumsy to frame macro or overhead shots through viewfinder. | ** 1.8 inch LCD (118,000 pixels), flips out and twists for easy overhead, waist-level or macro shots. Light value histogram. Instant image review and magnification! | **** 2.0 inch LCD (235,000 pixels), flips out and twists for easy overhead, waist-level or macro shots. Light value histogram. Instant image review and magnification! | **** 2.5 inch LCD TFT
(230,000 pixels) |
| Viewfinder: | ** Through the lens (SLR),
nice and
sharp. (--But cannot see the captured image, a histogram, or the effect of exposure changes.) |
In this small viewfinder, the lens protrusion blocks the view by 18%. (Using the LCD is usually more helpful.) | *** Large electronic
through-the-lens
viewfinder (EVF) works
even in bright sunlight. Matches LCD view (235,000 pixels).
Light
value histogram. Instant image review & magnification! I like this
EVF as much as the through-the-lens viewfinder of an SLR camera, except
for focus accuracy, for which I usually rely on autofocus or zooming
into the image after shooting.. |
**** bright &
detailed optical viewfinder, with focus indications, AE/FV lock
indicator, Shutter speed, Aperture value, Exposure/Exposure
compensation indicator, Exposure mode, Flash & Exposure
compensation, Number of remaining exposures, Flash-ready indicator |
| White Balance: (Very important to adjust each shot for cloudy, shady, or artificial lighting situations.) | Very limited or clumsy control (by using warming filters or changing film). |
|
**** Easy to control white balance for each shot; plus total control using RAW, where you can change white balance and 1-2 stops exposure on a computer after shooting! | *** Changing white
balance requires annoying 5+ button presses on the D40X (but only 2+
presses on the Pro1). |
| Movies with sound: | No movies or sound recording. | *** 320x240 pixels Movie+sound @ 15 frames/sec. Can also attach sound recordings to stills. | **** 640 x 480 pixels Movie+sound (also 320x240) @ 15 frames/sec. Can also attach sound recordings to stills. | No movies or sound recording. |
| Overall Advantages + | + Very fast focusing, good for action. *** (true for both film & digital SLRs) + Can add a larger variety of different lenses, including VR (Vibration Reduction, or image stabilization) + Change batteries only once every ~1000 images (-- but have to change film frequently) |
+ Sharp, detailed
shadows &
highlights, DIGIC
accurate tones (quality similar to, but much quicker than film
scanning+Photoshop)
** + Makes impressive prints up to 12x16 inches, equaling print quality from my film scans. + Impressive lens with good 35-140 zoom range, great in low light, don't need tripod as often as film camera. *** + Change to telephoto less often than film camera. ** + Dedicated button for each major feature. + Built-in digital 3-stop Neutral Density filter, great for blurring waterfalls. + Uninterrupted photography: Pause to change batteries or memory less often than I would change film on a film camera. *** |
+ Sharp, detailed
shadows &
highlights, DIGIC
accurate tones (faster & better than film scanning+Photoshop) ***
+ Makes impressive 23x30 inch prints, usually better than my film scans. *** + Less need to add a telephoto lens, due to wide 7.2-50.8 mm (28-200 mm) 7x zoom range, and higher resolution of 8 megapixels allows extra cropping (or digital zoom) *** + Fairly quick shutter release 0.2 - 0.3 seconds (with Firmware upgrade version 1.0.1.0) ** + Dedicated button for each major feature. + Built-in digital 3-stop Neutral Density filter, great for blurring waterfalls. + Versus Canon G5: Pro1 has better lens quality & wider zoom range (7x versus 4x); can use electronic viewfinder in bright sunlight; much less magenta/green fringing on high contrast boundaries; much faster autofocus; bigger LCD; flash pops up for better lighting; backlight on top display + Uninterrupted photography: Pause to change batteries or memory less often than I would to change film on a film camera (but more often than G5 battery change). ** |
+ 11x zoom is better quality than
Pro1's 7x zoom. Less
vignetting. **** + Four stops vibration reduction. **** + The D40X's ISO 800 captures less luminance noise than Pro1's ISO 100, which is three stops improvement in terms of ISO speed. Why: The D40X sensor gathers 6.3 times more light area than the Pro1's; the D40X's DIGIC II processor is superior to the Pro1's DIGIC I; and the 1.7x larger diameter lens gathers more light. **** + Longer flash range, guide number 17 at ISO 200. Higher pop-up for less red eye. **** + Quicker shutter release and shot-to-shot timing. **** + Batteries last 2.5 times longer than Pro1. *** + Improved megapixel resolution, for 23x30 inch and larger prints (viewed from a distance of the print's longer dimension). **** + Can add a larger variety of different lenses. The Nikon 18-55mm lens in the D40X package is of excellent quality, lacking VR, but has slightly better optics than my 18-200mm VR Nikkor. **** |
| Overall Disadvantages -- | -- Must wait weeks
before reviewing
images; must bracket
and shoot extra expensive film to capture correct exposure. -- Large and heavy equipment, gathers 2 or 3 stops less light than digital systems, inconvenient for travel -- Slide film has a low dynamic range, losing detail, and often requires a graduated filter. -- Cannot easily change white balance. -- Must frequently change lenses, which consumes vital shooting time and lets dust enter to scratch film. Workaround: use a good all-in-one 28-200mm lens. -- Interrupted photography: Must pause to change film often (more often than changing batteries or memory on a digital camera) -- Editing slides with loupe and light table is dusty, laborious and time consuming -- Annoying multiple button/dial presses required for most features on Nikon N70 (though other SLR models resolve this) |
-- Very slow (1-second)
shutter response
when autofocusing. -- Magenta/green fringing in high contrast boundaries, especially from f2-4.5 (but correctable in Photoshop, and still looks better than scanning film) -- Need to recharge 1 battery daily when shooting heavily (but carrying backup batteries resolves this.) |
-- Noticeable vignetting
at wide aperture
&
telephoto
(correctable in Photoshop) -- Versus Canon G5: The Pro1 has half the battery life; and its lens is a half stop slower (but makes up for this with wide 28-200 mm zoom range, better quality, etc) -- Need to recharge 1 or 2 batteries daily when shooting heavily (but carrying backup batteries easily resolves this; and I change batteries much less frequently than I formerly changed 36-shot 35mm film rolls.) |
-- No flip-out-and-twist
live LCD for assisting macro and overhead shots. -- Since the LCD doesn't show a live video image, the effects of exposure compensation and white balance are not visible until after the shot. -- No movies or sound. -- Removable lenses leave the sensor open to collecting dust. Workarounds: A hand-squeezed blower removed most factory dust from the new D40X. I mount an all-in-one 27-300mm equivalent lens which I rarely take off. -- Lacks dedicated buttons for white balance & ISO (though one button can be reprogrammed). Changing white balance requires annoying 5+ button presses on the D40X, but only 2+ presses on the Pro1. -- No built-in ND filter (found on Canon Pro1 & G5) |
| Other film versus
digital issues: - - bad + good |
-- Long delay (>2
weeks) before film is
developed
& image viewed. -- File scanned from film looks dull & requires hours of Photoshop work to restore appearance to match reality, although newer scanners released after 2004 have significantly improved quality and require less touch-up time. -- Labeling and editing is laborious and dusty using loupe and light table. -- Dust and scratches cause permanent problems on film & slides. -- Must pause to change film more often than you change battery or memory on digital camera. -- Slides & film often begin fading after 20 years. -- Airport security XRAYs can accumulate and fog undeveloped film. (My film has never fogged, but I often worried and required film to be inconveniently hand-checked) -- Multimedia slide film presentations require more than one projector, need specialized synchronization equipment, and are very limited for special effects. |
|
+ Image looks
wonderfully accurate as
shot when using appropriate white balance; few
or no changes required in Photoshop or Zoombrowser's RAW Converter.
+ Instant visual feedback on exposure, light value histogram, focus (playback enlargement), & tone. Encourages creativity in the field. + I efficiently review & delete undesired images daily in the field, which adds creative input in the field and saves later editing time. + Instant shows on TV; LCD screen; PC monitor; or digital projector (best). + Show stunning multi-media presentations on a digital projector (XGA resolution or higher), connected to a PC running Microsoft Powerpoint or other software. + Make DVD shows (a fixed 720 x 576 pixel format; limited to VGA quality) for HDTV; future movie disc formats of 720p and higher will take much better advantage of HDTV capabilities. + Camera automatically labels image with detailed time & shot settings. Additional editing and labeling are quick & easy on the computer. + No problem with dust or scratches marring image (though camera's little lens makes water spots look big, and needs frequent cleaning with silk cloth to remove dust or spray, just like for any camera). + Archived image files are secure on CD-R or DVD+R with 50+year long life; and you can easily make perfect copies to future storage formats as technology progresses. |
+ Image
looks
wonderfully accurate as
shot when using appropriate white balance; few
or no changes required in Photoshop or RAW Converter. + Instant visual feedback on exposure, light value histogram, focus (playback enlargement), & tone. Encourages creativity in the field. + I efficiently review & delete undesired images daily in the field, which adds creative input in the field and saves later editing time. + Instant shows on TV; LCD screen; PC monitor; or digital projector (best). + Show stunning multi-media presentations on a digital projector (XGA resolution or higher), connected to a PC running Microsoft Powerpoint or other software. Or use new DVD formats on HDTV. + Camera automatically labels image with detailed time & shot settings. Additional editing and labeling are quick & easy on the computer. + Archived image files are secure on CD-R or DVD+R with 50+year long life; and you can easily make perfect copies to future storage formats as technology progresses. |
|
|
SLR film camera |
compact digital camera |
compact digital camera |
**** BEST: Nikon D40X DSLR (new in 2007) with Nikkor 18-200mm VR lens (new in 2006) |