Among the meta data saved inside image files by digital cameras is a serial number unique to the camera. Stolen Camera Finder looks for that data field in anything it can find posted online, helping you track down the thief.

There are two ways to use the app: let the it scan a sample image file for your serial number, or run a manual search. I drag and dropped a jpg exported from Lightroom into my browser but the meta data scan failed, however the manual search worked fine. It even found my Flickr photos.

Here are a few other ways to find out your camera’s serial number:

• In Lightroom’s Library view, look for the “Serial Number” field in the right hand side toolbar. It’s right underneath the date, make and model.
• In Adobe Bridge, look for “Serial Number” underneath the “Camera Data (exif)” section of the metadata panel.
• In Apple Aperture under the Metadata tab, click the drop down and choose “Edit”. Make a new “Metadata View” and look for the serial number.
• Unfortunately I have not yet figured this out in iPhoto. Clicking Photos → Show Extended Camera Info accesses a lot of metadata but that doesn’t include the serial number.
• Picasa doesn’t show it when you right click → Get Info either.
• Look at the FCC sticker on the bottom of your camera. It’s printed next to “No.”, although my camera is a few years old and the number is partially worn off.
• Plug your Canon DSLR into your computer using the USB cord and start up EOS Utility. Choose “Camera Settings/Remote Shooting”, click the Tools button, then click the little gray “i” button. You’ll see “Body No.”, this is the serial number.
• If you have a Nikon or other brand DSLR, your manufacturer’s software may have a similar function.

Thanks to Almond Butterscotch for help with figuring out how to get the SN through Aperture.

It’s also a good idea to embed your name inside the camera’s onboard software. This field is stored inside the camera, and also embedded in every image file generated. Canon users can set the owner name with EOS Utility. Nikon users can enter the Copyright Name through the camera’s settings menu.

This 75-300 is not a fast lens. A long lens not only magnifies subjects, but also the effects of the photographer’s movement. When hand-holding a lens this long, a fast shutter speed is essential to counteract blur. The 75-300’s small max aperture means raising your ISO will often be necessary to let in enough light to utilize those fast shutter speeds. Especially indoors.

The 75-300′s max aperture varies according to focal length. It starts at 70mm at f/4 and closes down to f/5.6 at the 300mm end. When exposing manually, you need to be conscious of your focal length because zooming may change your exposure. I suppose some people don’t mind variable max aperture lenses; they irritate me. The lenses, that is.

This lens is small, light and feels fragile. Its light weight makes it easy to carry around, keep in a bag, and hang around your neck without causing too much strain. At the same time it doesn’t feel very strong and I would be careful not to abuse it too much. I didn’t own it long enough to see exactly how much punishment it could take.

EOS Digital Rebel XTi w/ EF 75-300mm f/4-5.6 III @ 75mm, f/8, 1/1250 sec., ISO 400

I was never impressed with this lens’ image quality. It’s not incredibly sharp and I thought it produced average color. Of course it doesn’t hold a candle to L zooms like the various 70-200 lenses, but that comparison is unfair since the L zooms are extremely expensive professional-grade gear.

A comparison that makes more sense is the EF 70-300 f/4-5.6 IS USM. That lens has a similar focal length range, the same variable max aperture, a USM focus motor and Image Stabilization. It’s heavier, feels much more durable, and I think it produces a much better image.

EOS Digital Rebel XTi w/ EF 75-300mm f/4-5.6 III @ 80mm, f/7.1, 1/400 sec., ISO 100

Where does the 75-300mm f/4-5.6 III excel? Telephoto for cheap. The main reason most people buy this is the reason I originally did: 4x zoom to 300mm for only about $200. This is a very affordable lens that will produce decent photos of kids running around outside, animals at the zoo, and such.

Being telephoto at all focal lengths, the 75-300 makes it easy to produce background blur. Set the aperture wide open, zoom in and you will be able to achieve singular focus, isolating your subject from most reasonably distant backgrounds.

This was one of the least liked lenses I have owned. I bought it in August and sold it four months later for a few reasons:

1. My shooting style doesn’t often necessitate 300mm.
2. I didn’t like the image quality.
3. I didn’t like the variable max aperture.
4. I do most of my photography in low light, where this lens doesn’t excel.

If you want the most zoom for the least amount of money, consider the EF 75-300mm f/4-5.6 III. If you shoot in low light, abuse your gear or are critical of image quality, consider other options.

The EF 24mm f/1.4 L is one of the most frequently used lenses in my collection. It’s small, lightweight, rugged, has a fast f/1.4 max aperture and exceptional image quality.

Like many other prime lenses, the EF 24mm f/1.4 L is small and light. It doesn’t take up much room in your camera bag. It’s very easy to carry around all day, and not a problem to pack for trips. Small lenses also make you less conspicuous, which is key for going unnoticed on the street and getting natural, relaxed reactions when documenting people in social situations.

Mark II Upgrade

My lens is the first version 24mm f/1.4 L, which Canon has replaced with the EF 24mm f/1.4 L II. The new one is a little bigger, has a different hood and one more aperture blade. I have not used the newer version, but 100% and 50% crop comparisons over at The Digital Picture reveal significant improvements in image quality.

My equipment reviews are far less technical than other sites’, so much of this review will apply to both versions of the lens. Since general qualities like focal length and max aperture haven’t changed, my discussion of these things as they relate to real world shooting aren’t version-specific.

So on to the review…

Focal Length and Field of View

So, speaking of people, remember that this is a wide angle lens. When you get in close, the distortion can do weird things to facial features. But take a few steps back and it’s great for making images of people in their environment… or fitting a lot of bodies in the frame.

Canon EOS 5D w/ 24mm f/1.4 L @ f/8, 1/80 sec., ISO 320

This lens’ field of view is “kind of” wide on APS-C and very wide on full frame. When used on a cropped sensor camera such as a Digital Rebel or any of the prosumer models, you get a 38mm equivalent f.o.v. that sits somewhere between wide and normal. Pop it on a full frame camera like the 5D or 1Ds and you get the widest possible f.o.v. without crossing into ultra-wide territory.

The 24L does a nice job of keeping lines straight. Lesser wide angle lenses will make straight lines bulge out, but the distortion seen here is minimal.

The following image is uncorrected for distortion. Hover your mouse over it to see the corrected version.

Uncorrected Version | Corrected Version

Wide f/1.4 Max Aperture

An f/1.4 max aperture means the opening through which light passes into this lens can open up very large. Letting in lots of light at once means faster shutter speeds are possible than with smaller apertures, making this a fast lens.

Shooting wide open at f/1.4 can create blurry out-of-focus backgrounds. The 24mm focal length emphasizes distance between near and far objects which means you won’t get quite as blurry a background as fast portrait lenses like the 135mm f/2 L will produce, but blurry backgrounds are still possible.

To get the most blur possible, bring your subject close and put as much distance between them and the background as possible. Example:

Canon EOS 5D w/ 24mm f/1.4 L @ f/1.4, 1/4000 sec., ISO 100

Great in Low Light

This lens can open up and let in a lot of light. The combination of short focal length and large max aperture means you can hand-hold in low light at very slow shutter speeds.

Unlike long lenses that magnify your own body movements along with the scene, wide angle lenses are much easier to hold still for sharp images. Consider this image of the NYC skyline which was done at night without a tripod, handheld at just one fifth of a second.

Canon EOS 5D w/ 24mm f/1.4 L @ f/3.5, 1/5 sec., ISO 400

Here’s an even more extreme example, shot handheld at f/1.4 and again 1/5 sec. That’s not a post-sunset blue sky… I made this image at 1 AM. That’s moon light.

Canon EOS 5D w/ 24mm f/1.4 L @ f/1.4, 1/5 sec., ISO 1600

I Really Like This Lens

I can never decide which is my favorite lens because that changes depending on what there is to shoot, but going by the numbers this is currently the lens I get the most from. According to my Lightroom database, 97 out of my 500 favorite photos were made with the 24mm f/1.4 L. That’s 19.4%, more than any other lens in my collection, and includes my favorite photo to date:

Canon EOS 5D w/ 24mm f/1.4 L @ f/16, 6 secs., ISO 500

Here are a few more:

Canon EOS 5D w/ 24mm f/1.4 L @ f/10, 15 secs., ISO 200

Canon EOS 5D w/ 24mm f/1.4 L @ f/3.2, 1/125 sec., ISO 1250

Canon EOS 5D w/ 24mm f/1.4 L @ f/2, 1/25 sec., ISO 1600

As I wrote in the beginning of this review, I’m using the older “Mark I” version. Canon has since discontinued that version and replaced it with the EF 24mm f/1.4 L II.

This old school-looking camera is shaping up to be one of the most in demand releases of the year. Inside the classic look is high tech power: an APS-C sensor that’s been producing sample images which look great at high ISO. I’ve seen more than a few comments comparing its performance to the Nikon D3. That’s quite a claim though so I’ll wait until its out on the street and there are more real world images to study.

The hybrid electronic viewfinder is one of its most talked about features, but another that really has me interested is the fixed 23mm f/2 lens. I’ve read a few claims that it “lacks versatility” or some other knee-jerk reaction based only on the numbers, but to me a fast fixed lens seems like a great feature for a camera that will surely see a lot of action on the street. The kind of feature that eliminates technical variables and gives you more breathing room to think about your frame.

The X100 should be available in April.

Tripod vs. Monopod

Tripods are stationary tools while monopods are meant for photographers who need a compromise between stability and mobility. A tripod has three legs and can stand by itself while supporting your equipment. A monopod is a single pole meant for you to hold onto and plant on the ground for added stability.

A landscape photographer who intends to carefully choose his positioning and wants the maximum stability would choose a tripod. Meanwhile, a sports photographer who wants to gain some extra stability while still being able to quickly pick up and move (or jump out of the way!) would go for a monopod.

Sometimes private places like parks, zoos and museums have strict rules against tripods but will be lenient when it comes to monopods. If their concern regarding tripods is that the device takes up space and creates a falling hazard for other visitors, then you might be able to get away with a monopod.

Construction Material

The two main materials used to make tripods are aluminum and carbon fiber. The difference between the two is weight and cost.

Carbon fiber tripods are extremely light, and usually very expensive. Someone who will spend a lot of time carrying their tripod around such as a travel photographer who is a frequent flyer and covers a lot of ground on foot might look into spending more money in order to get an ultra-light tripod.

Aluminum tripods are cheaper and certainly capable of getting the job done, but they are heavier. I don’t mean heavy as in carrying a cinder block vs. a feather… they are still manageable for walking around. But the difference is certainly significant. An aluminum tripod might be a good choice for someone who wants to save money and won’t be carrying the tripod around for extended periods of time… perhaps leaving it in the trunk of their car.

Tripod Parts

A tripod has two main parts:

1. Legs
2. Head

The legs determine the tripod’s minimum and maximum height, and the head holds the camera/lens in place and allows you to adjust its position.

Picking a tripod head requires you to choose between a ball head and a pan head. A ball head is a ball & socket joint that can be loosened, rotated in the desired direction and then tightened to hold its position. A pan head has separate controls for rotating vertically and horizontally. Ball heads are more expensive but sometimes not as strong as a pan head at the same price point.

Some tripods are sold as a complete package, however many photographers prefer to evaluate the choices for each part individually. For example, my tripod consists of Induro legs and a Giottos ball head purchased separately.

Monopod Parts

Like a tripod, a monopod also has two parts: the leg and the head. Although some monopods can attach directly to a camera, an adjustable head is usually used in order to easily change the position of the camera and quickly uncouple the two.

Also like most tripod legs, many monopods are telescoping. The monopod is made of sections which can be unlocked and collapsed for storage and transport.

Camera Attachment

When evaluating a tripod/monopod, take a look at exactly how the camera attaches. How stable is the attachment? Is it easy or unnecessarily difficult to attach and remove the camera? Ultimately every camera will attach to the tripod head via its threaded hole, however some heads do this via a quick release mechanism. A small plate attaches to the bottom of your camera, locks into place on the tripod head, and can then be released with the flick of a lever or press of a button.

Weight Capacity

It’s extremely important that all the parts of your tripod/monopod are strong enough to support the weight of your gear. The technical specifications of every part of a tripod should state the maximum amount of weight that can be safely supported.

Take inventory of your gear and know the heaviest possible configuration (e.x. heaviest camera body + battery grip + heaviest lens + largest flash), then make sure whatever you buy can support that weight. B&H’s site lists the weight of every item under the “Physical” heading of the “Specifications” tab.

Choosing the Right Tripod/Monopod

Like all other “what gear should I get?”-type questions, choosing the right tripod or monopod means figuring out what you want to do and making the choice that fits your style as a photographer. Do you require all the stability you can get, or do you need to be somewhat mobile?

When figuring out the price, it generally comes down to the smaller, lighter and more advanced products being more expensive and the bigger, bulkier, heavier, less-intuitive ones being cheaper.

Regardless of whether you choose to spend money on a carbon fiber product or save with an aluminum model, you should not try to save money by choosing a poor quality product. Getting a good, strong, high quality tripod/monopod is important considering it will be supporting hundreds or even thousands of dollars worth of your photography equipment. Is it worth it to save a few dollars on a tripod if it’s going to tip over, collapse or fall apart under the weight of your $1,500 camera and lens? Absolutely not.

• I most often shoot wide open. My most-used apertures are f/2 (EF 135mm f/2 L), f/4 (EF 24-105 f/4 L) and f/2.8 (EF 24-70 f/2.8 L and EF 70-200 f/2.8 L IS).
• My most used focal length is 24mm followed closely by 135mm, then 50mm.
• My heavy use of prime lenses means most of my images are at the same handful of focal lengths, but even with zooms I tend to stick to either the long or short end and don’t often use the in-between focal lengths.
• My most used ISO settings by far are 100 and 1600.
• My favorite mode settings are Av followed closely by Manual.
• My image library was made by 12 different cameras excluding unknowns, the most-used by far being my Canon 5D.

Table of Contents

• Prime vs. Zoom
• Crop Factor
• Fisheye Lenses
• Ultra-Wide Angle Lenses
• Wide Angle Lenses
• Normal Lenses
• Telephoto Lenses
• Macro Lenses
• Tilt-Shift Lenses

Prime vs. Zoom

A prime lens has a fixed focal length, while a zoom lens has a range of focal lengths. For example, a 50mm lens is fixed at 50mm and that cannot change, however a 24-70mm lens goes from a wide angle 24mm to a medium telephoto 70mm and all the focal lengths in between.

A zoom lens allows the photographer to achieve or a wider or tighter framing by changing the lens’ focal length, without physically moving. If a photographer using a prime lens wants a tighter framing he or she must physically move closer to the subject. This is referred to as “sneaker zoom”.

The word “zoom” is often incorrectly used to refer to a lens which uses magnification to bring distant subjects close. The correct word for this is telephoto. A zoom lens simply means the focal length can be changed… an ultra-wide zoom lens might be able to change from 16mm to 35mm, but at 35mm it still doesn’t serve to magnify distant subjects.

All prime lenses technically have a 1× zoom range since they don’t zoom at all (50mm × 1 = 50mm). An 18-55mm kit lens has a 3× zoom range (18mm × 3 = ~55mm). An 18-200mm “super zoom” has a massive 11× zoom range (18mm × 11 = ~200mm). And so on, and so forth.

Crop Factor

A full frame DSLR has a digital sensor which is the same size as a frame of 35mm film. A “cropped” DSLR sensor is slightly smaller. If you were to put images of the same scene from full frame and cropped cameras side-by-side, taken from the same spot with the same lens at the same focal length, the image from the “crop” camera would look like it was cropped out of the center of the full frame image.

This means that a lens at any given focal length produces an image with a different field of view depending on which camera is being used. Nikon DX format cameras have a cropped APS-C sensor while the FX cameras are full frame. All Canon cameras with the exception of the 5D, 1D and 1Ds series have a cropped APS-C sensor. The 5D and 1Ds series are full frame, and the 1D series has it’s own unique APS-H format.

In order to get an idea of the field of view you’ll get from a lens on a cropped camera in terms of traditional 35mm photography, you can use a field of view conversion factor. For Nikon APS-C it’s 1.5× and for Canon it’s 1.6×. Here are some examples:

• 24mm × 1.6 = ~38mm, therefore a 24mm lens on a Canon Digital Rebel will produce a field of view similar to what you’d see with a 38mm lens of a full frame or film SLR.
• 50mm × 1.5 = 75mm, therefore a 50mm lens on a Nikon DX camera will produce a field of view similar to what you’d see with a 75mm lens on a full frame or film SLR.

This is important to understand when choosing a lens. In the first case you might have thought that the 24mm was a wide angle lens, but when used on a cropped camera it’s not very wide. In the second case you might have though you were getting a “normal” lens, but when used on a DX camera body the field of view is actually moderately telephoto and you’ll have a narrow field of view.

On full frame cameras like the Canon 5D series or the Nikon D3 series there is no conversion factor. There are other systems with different conversation factors too, such as the Olympus 4/3 format with its 2× conversion factor.

Fisheye Lenses

A fisheye lens has a very short focal length producing an extremely wide field of view. The image is distorted in such a way it has the appearance of looking through a fish’s eye, or perhaps a porthole. Straight lines appear curved, bulging out towards the edges of the frame. Distortion increases as subjects get further from the center, with those placed near the corners appearing to be extremely distorted.

Fisheye focal length:

• Crop (APS-C): 8-10mm
• Full frame: 15-16mm

Note: not all lenses with a short focal length are fisheye. A lens such as the Sigma 12-24 is capable of a very short 12mm focal length, however it is designed to correct distortion in order to keep lines straight and minimize the “fisheye effect”.

Ultra-Wide Angle Lenses

Ultra-wide angle lenses produce an extremely wide field of view, much wider than what we see with our eyes. This makes it possible to fit a great deal into a single frame. For example with the sun even just slightly at your back, your shadow will very often appear in the photograph. Sometimes you may even need to carefully position yourself so as to not include your feet in the frame.

Unlike fisheyes, wide-angle lenses are designed with rectilinear correction which keeps the straight lines straight. The level of correction can vary, with some lenses doing an excellent job while others still exhibit visible distortion.

An ultra-wide angle lens will greatly emphasize distance between near and far objects. The foreground will appear very close, and the background will appear to be very far away.

Ultra-wide angle focal lengths:

• Crop (APS-C): less than 15mm.
• Full frame: less than 24mm.

Wide Angle Lenses

A wide angle lens produces an image with a wide field of view, where a great deal can be fit into a single frame. Like ultra-wides, a wide angle lens emphasizes distance between near and far subjects, just not to such an extreme degree.

Wide angle lenses exhibit varying degrees of distortion which increases towards the edges and corners. The severity (or lack) of distortion depends on each lens’ design and construction.

Popular applications for wide angle lenses include landscapes, street photography in which the photographer immerses his or herself in the scene, and indoor photography where space is limited and a narrower field of view might have the photographer’s back to the wall.

Wide angle focal lengths:

• Crop (APS-C): 15mm – 22mm
• Full frame: 24mm – 35mm

Normal Lenses

Normal lenses produce a field of view similar to what we see with the human eye. These are often small, light and affordable because they are not as complicated to manufacture as wide angle or telephoto lenses. A normal focal length for a cropped (APS-C) camera is about 30mm, and a normal focal length for a full frame camera is about 50mm.

Telephoto Lenses

Telephoto lenses have a long focal length and use magnification to bring distant subjects close. They compress the scene and de-emphasizing distance between near and far subjects. This compression effect increases with focal length.

Telephoto lenses can produce a very shallow depth of field given a wide enough aperture, ranging from natural-looking blurry backgrounds at normal and medium telephoto focal lengths to extremely diffuse blurred-out backgrounds with telephoto and super telephoto lenses.

Technically speaking a lens can have a long focal length yet not be telephoto. Such is beyond the scope of this article, and for the sake of simplicity I will ignore this fact.

Medium telephoto lenses have a moderate amount of magnification. These are often described as “portrait lenses” because the telephoto compression is pleasing to facial features, however the focal length is not excessively long so the photographer can still be relatively close to the subject.

Medium telephoto focal lengths:

• Crop (APS-C): 35mm – ~60mm
• Full frame: 55mm – 100mm

Regular telephoto lenses bring distant subjects close, compress the scene and bring the background in close. Sample applications for these lenses include situations where the subject is moderately far from the photographer, such as portraits, zoo photography, weddings and indoor sports.

Telephoto focal lengths:

• Crop (APS-C): 80mm – 200mm
• Full frame: 135mm – 300mm

Super telephoto lenses specialize in greatly magnifying subjects, bringing very distant ones in close. This is the domain of wildlife and outdoor sports photography.

Super telephoto focal lengths:

• Crop (APS-C): 200mm+
• Full frame: 300mm+

Macro Lenses

A macro lens makes small subjects appear life size. These lenses have a short minimum focusing distance, making it possible to lock focus on a subject that is very close to the lens. For example, Canon’s EF 100mm f/2 USM lens requires at least 3′ to the subject, while the EF 100mm f/2.8 USM Macro lens can focus on subjects as close as 1′.

Sample applications for macro lenses include small plants and insects, product photography, weddings (e.g. the ring shot), and food photography.

Tilt-Shift

A tilt-shift is a very specialized type of lens that allows the photographer to control the orientation of the plane of focus, and move the lens parallel to the image plane ¹. This is useful for controlling perspective in architectural photography but also has creative applications such as controlling which portions of the frame appear out of focus, or creating “fake miniature” scenes.

1. Tilt-shift photography – Wikipedia

1. Compact Point & Shoot
2. Prosumer Point & Shoot
3. Mirrorless Interchangeable Lens
4. DSLR
5. Digital Rangefinder

Compact Point & Shoot

The wallet-sized cameras you see virtually everywhere are commonly referred to as “compact point & shoot” cameras. They’re designed as portable and easy to use gadgets that can be brought everywhere.

A compact point & shoot camera: the Powershot S100 by Canon

These cameras are called “compact” because they are always very small. Targeted at people who want to casually bring a camera to social events, family functions and on vacation, it’s important that they be lightweight and able to slip inside any pocket or purse.

The second part of their name, “point and shoot” refers to these cameras’ simplicity. The average user is not concerned with choosing exposure settings — they simply wish to point the camera at something and immediately take a picture. These cameras default to an automatic mode that can grab a snapshot in almost any situation. That main “auto mode” is usually accompanied by scene-specific presets such as “sports”, “snow”, “beach” and “portrait”.

Prosumer Point & Shoot

Prosumer P&S cameras are sometimes referred to as “bridge” cameras. While they have much in common with their compact counterparts, they also have refined features and controls reminiscent of what’s found in the expensive professional digital cameras.

A small camera with a large sensor: Canon’s Powershot G1 X

On the surface these models appear to be chunky point & shoots. They’re a little bigger than the compact cameras, but can still squeeze into most pants, jackets and luggage. The controls are similar to the compacts’, perhaps with a few more buttons and dials. They may have swivel screens, additional menu options, and a hot shoe for an external flash.

The guts of a prosumer point & shoot are usually very similar to what’s found inside a compact camera^*. What’s gained in upgrading to these chunkier models is far more control and technical latitude. On the mode dial next to the familiar “green box” automatic option will be semi-automatic and full manual operation, yielding control over aperture and shutter speed to the photographer. Other features may include decreased shutter lag, increased frames per second, and RAW capture mode.

^*This is less true in cutting edge models. The prevalence of high quality cameras in smart phones is inspiring manufacturers to beef up the hardware inside prosumer point & shoots in order to differentiate them from the mobile competition. For example, the Canon G1 X possesses a large “almost APS-C” sized sensor for high image quality and low light performance.

Mirrorless Interchangeable Lens

One of the most exciting trends in digital photography is the mirrorless interchangeable lens camera. Meant to combine portability and performance, these cameras combine sleek style with powerful components. Lots of new models are hitting the shelves, and companies like Fuji and Olympus are sidestepping DSLR competition to carve out their portion of the market with mirrorless cameras.

Fujufilm X Pro 1 mirrorless interchangeable lens camera

The name of these cameras is derived from their lack of a moving mirror, which DSLRs use to reflect light from their lens up into the viewfinder. A mirror induces both clunk and chunk: it makes a loud noise as it flips out of the way each time a frame is snapped, and it necessitates a bulky body design with large lenses.

Digital technology makes it possible to see through the lens without bouncing light off mirrors — a live stream from the image sensor can be piped to an LCD screen or into an electronic viewfinder. The rest of the camera can then be made much smaller, but maintain a physically large sensor which is an important factor in high image quality.

Most mirrorless models support another photog-favorite feature: interchangeable lenses. Most pros lament the built-in retractable lenses of compact cameras, insisting that lens choice is profoundly important… check out “Pro DSLR + Cheapo Lens vs. Cheapo DSLR + Pro Lens” by DigitalRev TV. People are trending towards mirrorless cameras because while they’re small and portable, the photographer still gets to choose the glass.

DSLR

The DSLR is the workhorse of modern amateur and professional photographers. They’re versatile, durable, compatible with many lenses and yield high image quality. They can also be very big and heavy.

The Canon EOS 7D is used by professionals and amateurs.

DSLRs use the same basic design as their film ancestors: the single lens reflex system. Light enters the lens, bounces off a mirror and up into the viewfinder for you to see. Hitting the shutter button makes the viewfinder go black — the mirror flips out of the way so the light can hit the image sensor. The amount of room required for this moving system of parts is what makes the cameras big and bulky.

DSLRs have a great many features. They give the photographer complete control over exposure, and have auto and semi-auto modes which are friendly to novices. They’re compatible with various lighting systems, and can take many different lenses. Their autofocus systems can track fast moving subjects, their motor drive can snap many frames per second, and their large sensors can suck up lots of light for high image quality in low light environments.

There are many grades of DSLR. The smallest and most affordable models are aimed at casual photographers who are looking for better results than a compact camera’s. Mid-range DSLRs are used by serious amateurs, weekend warriors and professionals. And the biggest, heaviest and most expensive models seen in the hands of full-time pros and on the sidelines of sports stadiums have all the features and can survive the elements.

Digital Rangefinder

Rangefinders are a classic camera design loved by street photographers for their simplicity and low profile. They also operate on an interchangeable lens system.

The antithesis of a large and imposing “professional-looking” DSLR, rangefinders are much smaller and low profile. Street photographers praise their ability to go unnoticed in a crowd, making it possible to photograph people’s natural behavior from a close distance.

Rangefinders are synonymous with manual focus. The viewfinder contains a double-image area that blends into one when the photographer has accurately focused the lens. Photographers inexperienced with rangefinders may think of this as a hinderance, but devotees swear by the simplicity of operation found in these cameras. Longtime rangefinder photographers maintain that this design system steps aside and gives way to their creativity.

Currently, there are just a few options in the digital rangefinder market. Everywhere you look, you’ll see red Leica dots. The M8 was their first digital rangefinder and has an APS-C sensor sized sensor like entry-level and midrange DSLRs, while the current M9 has a full frame sensor.

Which Camera Should You Get?

Only you can answer that. There are many, many digital cameras and often the case is they’re not better or worse than others, but different. Are you a discerning photographer who must travel light? Maybe a mirrorless camera or digital rangefinder will work. Do you want the best results from the best lenses and not mind carrying heavy equipment? Check out DSLRs. On the other hand, maybe you just want to stick something in your pocket to snap photos and not be bothered with the finer points of photography… take a look at the compact options. Think about your photographic style and make a list of the things you photograph. Come to terms with what you personally need in a camera, and match your needs up to what’s available.

In the digital age we might view cameras as complicated gadgets, but most of what comes along with a camera these days is just extra features. These things make photography easier and more technologically advanced, but they are unnecessary. Stripped down to the bare minimum, a camera is a box that captures light.

Extra Features of a Camera

First let’s take a look at some of the features found in modern cameras:

• Advanced lenses.
• Built-in flash.
• Digital sensor and circuitry.
• Light meter to assist with choosing exposure settings.
• LCD screen for reviewing photos and adjusting settings.
• Various exposure and scenes modes, e.g. aperture priority, program, auto, sports mode, snow mode.

This list could go on forever. The point is that almost every feature of your camera is extra. Over the years engineers have done an amazing job designing cameras that make photography more advanced and accessible, but if you want to understand exactly what a camera is you must put those things aside for a moment and think about the ultimate goal of all these features: to facilitate the capture and recording of light.

Basic Features of a Camera

What is an image? Photons from a light source such as the sun or moon reflect off physical matter in various way. If a person is present, his or her eyes focus those light rays onto photoreceptor nerve cells which generate electrical impulses describing the scene to the brain, and the person sees an image.

Similarly, a camera has an opening through which light passes and is projected onto a medium which then records the light so that an image can be made. Today that medium is most commonly a digital sensor. In the past it was film or photographic plates.

A camera works by making an exposure. The photographer decides how much light the sensor or film will be exposed to by adjusting three basic variables:

1. The size of the opening through which the light passes (aperture).
2. The amount of time for which light will be allowed through (shutter speed).
3. How sensitive to light the medium should be (film speed or ISO).

These three variables come together to establish how much light will be allowed into the camera. The photographic medium (film/sensor) will record that light, and the photographer will use that information to make an image. With film, a lab usually did the job of making prints from the negatives, and with digital cameras an image file is saved to the memory card.

Put It All Back Together

Now add back in some of those extra features and you can better understand how they make photography easier, more accessible and more advanced, but ultimately are still optional:

• Advanced lenses allow you to control the field of view more effectively.
• A flash, strobe or studio lighting lets you make your own light in dim environments, or be creative with multiple light sources.
• A digital sensor and circuitry records the light in a way that can be understood by computer software.
• A built-in light meter allows you to efficiently measure light levels.
• The LCD lets you review the results of your exposure instantly.
• Various modes let you put the exposure on autopilot (or semi-autopilot).

When you come to an understanding that at its most basic level a camera is a box which captures light, you can think about creative photography in an entirely different way. All the extra features we have today can convince people that a camera makes great images. But if that were the case, photographers would be mere technicians. In creative photography an image is made in the photographer’s mind, and the camera is a tool for recording that vision.

Nicole uses a Canon Digital Rebel whose interchangeable lens system opens the door to lots of high quality options in the glass department. The problem is I know nothing about food and cooking, so when she asked me which lens to use for photographing food I initiated my highly scientific process of analysis:

“Shoot lots of photos and let’s see what happens.”

Data Collection

So she made and photographed lots of delicious food, and I ate it, and we gradually came to know what was necessary to make images of food. She experimented primarily with the 18-55mm IS kit lens and the EF 50mm f/1.8 II fixed lens, and the roadblock that came up over and over was minimum focusing distance. Time and again, getting close enough to fill the frame with an edible subject was difficult because the lenses would not focus within that short distance. The 50mm f/1.8 needs at least 1.5 feet to the subject and the 18-55mm kit lens wants 9.8 inches.

Since the main requirement has turned out to be focusing close, the answer is a macro lens. A macro lens is able to focus close and produce sharp images, making the subject appear life-size. That sounds like the makings of a great food photograph.

Picking a Lens

Nicole picked up the Canon EF 100mm f/2.8 USM macro lens which has proven to take very sharp, high quality images. I’m really amazed at the great quality that comes out of this very reasonably-priced lens.

If weather sealing and image stabilization is important to you, there’s a professional-grade version called the EF 100mm f/2.8L IS USM for a few hundred more dollars. An equivalent Nikon lens (which I have not used) is the Nikon 105mm f/2.8G ED-IF AF-S VR.

If you will be shooting from your seat in restaurants instead of a kitchen and will have less room to move around, you might want to consider a shorter focal length macro lens such as a 50mm, 60mm or 70mm.

Although the majority of Great Eats with Petes’ images are now made with the 100mm macro lens, there are still times when getting in close is not entirely necessary. For those situations Nicole still makes use of the EF 50mm f/1.8 because it’s very sharp and at f/1.8 produces blurry out-of-focus backgrounds.

Sample Images

Canon EOS Rebel T2i w/ 100mm f/2.8 USM @ f/6.3, 1/200 sec., ISO 1600, bounce flash

Canon EOS Rebel T2i w/ 100mm f/2.8 USM @ f/7.1, 1/200 sec., ISO 400, bounce flash

Canon ESO Rebel T2i w/ 100mm f/2.8 USM @ f/2.8, 1/4000 sec., ISO 800