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The Incredible Change of the DSLR’s

Incredible Change of the DSLR's

In late 1975, couple of people knew that the world’s very first digital camera had been successfully tested – even within Eastman Kodak Business, where Kodak engineer Steven Sasson spent the bulk of a year establishing an 8 pound model that was the size of a small toaster. The very first photo taken by this first digital cam in December 1975, was in black-and-white and contained only 10,000 pixels– one hundredth of a megapixel. Each image took 23 seconds to tape-record, and a similar quantity of time to pop up for evaluation on a television screen. The age of digital photography had actually started. Naturally, digital electronic cameras of the 1990s were costly, low-resolution gadgets appropriate for specialized applications such as quickie photos you could send out by email or post on a web page (at the “low” ₤ 800) to news pictures of breaking events you might transmit to the editorial staff in minutes (at the stratospheric ₤ 25000 price point). In 2003 and 2004, Canon and Nikon finally made interchangeable lens digital SLR electronic cameras budget friendly with the very first Canon EOS Digital Rebel and Nikon D70 models, which cost around ₤ 800– with lens. DSLRs had actually been offered for years– but now the typical professional photographer could manage to buy one.

■ Full frame is not just for experts anymore.

So-called “full-frame” video cameras– those with 24mm × 36mm sensors sized the like the traditional 35mm film format– are becoming more typical and affordable. Sony currently uses a 24.6 megapixel cam body for less than ₤ 1700, and during the life of this book I expect to see comparable low-priced full-frame designs from Nikon, Canon, and others. Full-frame DSLRs are also prized for their low noise attributes, specifically at greater ISOs, and the more comprehensive perspective they supply with traditional wide-angle lenses. I’ll cover the advantages of the full-frame format later in this chapter.

■ Resolution keeps increasing.

Vendors keep upping the resolution ante to please consumers’ understanding that more pixels are always much better. In practice, obviously, lower resolution electronic cameras often produce exceptional image quality at greater ISO settings, so the megapixel race has been controlled, to an extent, by the need to supply greater resolution, enhanced low-light performance, and extended dynamic variety (the ability to capture detail in dark shadows, intense highlights, and every tone inbetween). The leading resolution cameras will not remain stalled at 25 megapixels for very long (I anticipate 32MP to become the brand-new high-end standard), but we’re rapidly seeing all the mid-level and entry-level electronic cameras migrate to 16– 21MP sensing units. You won’t see numerous electronic cameras with less resolution presented in the future. Obviously, Canon has announced a 120MP 29.2 × 20.2 APS-H (roughly 1.3 X “crop” aspect– more on that later), and a humongous 205mm × 205mm sensor that is 40 times larger than Canon’s biggest business CMOS sensor. (Real resolution of this mega-sensor hasn’t been announced– it will depend on how big the specific pixels are.).

■ ISO sensitivity skyrocketing.

Larger and more sensitive pixels suggest better performance at high ISO settings. Do you truly require ISO 102,400 or ISO 204,800? Definitely, if those ludicrous scores suggest you can get appropriate image quality at ISO 25,600. For concerts and indoor sports events, I’ve standardized on ISO 6400, and have really little problem with visual noise. In tough lighting conditions, ISO 12,800 isn’t out of the question, and ISO 25,600 (which permits 1/1000th second at f/8 or f/11 in some of the gyms where I shoot) is practical.

■ Expert full HDTV video is possible with a DSLR.

The opening title series of Saturday Night Live were shot in HDTV with Canon dSLRs. Director/cinematographer Ross Hockrow shot his latest feature film with those cams. The HDTV abilities of the latest DSLRs aren’t simply a camcorder replacement. If you’re a wedding event professional photographer, you can use them to add video protection to your stills; photojournalists can shoot documentaries; amateur professional photographers can get home from their vacation with once-in-a-lifetime still images and movies that will not put next-door neighbors to sleep, too.

■ Live View has matured.

Just a few years earlier, the ability to sneak peek your images on an LCD screen was a point-and-shoot feature that most digital SLR users could see no requirement for. Today, of course, Live View is a vital part of motion picture shooting, but enhancements like “face detection” (the electronic camera discovers and focuses on the human beings in your image), “subject tracking” (the cam has the ability to follow focus specific subjects shown on the screen as they move), and zoom in (to improve manual concentrating on the LCD screen) can be indispensable in particular circumstances. Something as simple as the capability to focus at any point in the frame (rather than just at the few set focus points marked in the optical viewfinder) can be extremely useful.

■ Sensor cleansing that works.

Each time you change lenses on your dSLR, you permit dust to get in the video camera body and, potentially, make its way past the shutter and onto the sensing unit. Every digital SLR introduced in the past few years has a “shaker” system built into the sensing unit that does a respectable job of getting rid of dust and artifacts prior to it can appear on your images. You’ll still need to by hand clean your sensing unit from time to time, but the task can be carried out monthly (or less often), instead of daily or weekly.

■ Image stabilization.

Camera motion contributes to fuzzy photos. Enhancing anti-shake settlement by developing it into a lens suggests you need to pay for image stabilization (IS) in every lens you buy. An increasing number of vendors are developing IS into the cam body in the form of a sensing unit that moves to counter cam motion. “one-size-fits-all” image stabilization does not work as well with every lens that can be installed on a camera, but suppliers are learning to change the amount/type of in-camera IS for various focal lengths.

■ Marginalia.

Other sensor enhancements have actually been talked about, and, in some cases, even implemented, without generating much enjoyment. Foveon continues to enhance its “direct image” sensors, with different red, green, and blue layers that enable each pixel to find among the primaries. (” Regular” sensors are segmented into a variety in which each pixel can detect either red, green, or blue, and the “missing” info for an offered photosite inserted mathematically.) But, couple of individuals are purchasing the Sigma cams that use these sensors. Suppliers continue to improve the small “microlenses” so they can focus assembling light rays on the photosites more effectively. CMOS sensors have basically replaced their CCD equivalents, for factors that no one appreciates any longer. None of these enhancements are as interesting as the others I have actually listed in this area.

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Camera Hardware Improvements for DSLR’s

Camera Hardware Improvements for DSLR's

Naturally, the terrific strides forward in digital SLR innovation (and digital photography in general) aren’t restricted to sensor advancements. Other elements of the electronic cameras, including lenses and devices, have seen significant enhancements, too. Here are some of the most important:

Digital Signal Processing (DSP) chips

As sensors get more and much better information, advanced signal processing chips have actually to be developed to transform the analogue information caught to digital format, while enhancing it to produce much better images. Some cams have two DSP chips to improve throughput even more.

Built-in High Dynamic Range (HDR) photography

Among the limitations of digital sensors is their inability to tape-record details in both the brightest highlights and darkest shadows at the same time. Some suppliers, consisting of Sony, are pioneering electronic cameras with the capability to snap off several exposures in a row, and after that integrate them to produce an optimized, “HDR” image. Within a few years, I expect that either sensing units will improve to the point where built-in HDR isn’t needed or, if not, this will end up being a basic feature in all DSLRs.

Global positioning system (GPS) tagging

Almost any DSLR can be fitted with some sort of GPS tagging device. There are a lot of reasons marking each picture with information on where and when it was taken is useful that GPS tagging need to be a basic feature within five years, also.

More common WiFi assistance

Anticipate to see more cameras with assistance for WiFi, either constructed right into the electronic camera, or, as is now the case, in the form of menu setup options (discovered in numerous Canon and Nikon DSLRs) readily available to anyone who inserts an Eye-Fi card in their video camera (The Eye-Fi company ceased business in 2016, yet, there are other alternatives). Today, you can upload your images immediately to any social media, immediately, as you shoot, if you lie near a WiFi hotspot. When “tethering” becomes more prevalent, your camera will piggyback onto the instant WiFi hotspots that will be offered by your iPad/tablet computer system, smart device, MiFi gizmo, or other gadget no matter where you are.

Storage innovations

More cams have double memory card slots, enabling you to shoot longer (utilizing “overflow” mode); replicate your images onto two cards for security or instant sharing (in “backup” mode); or do even more effective backup by saving RAW files on one card, and a JPEG variation on the other. Some electronic cameras allow you to choose which of your 2 cards will be utilized for, state, movies, which benefit from storage on “faster” memory cards (if the pair in your cam are unequal in speed). Naturally, capacities and speeds of the cards themselves are enhancing: 64GB Compact Flash and Secure Digital cards have actually lastly become budget-friendly, and new requirements with higher capacities and faster speeds, like SDXC have promise when more video cameras (and other gadgets) support them. Nikon, SanDisk, and Sony have unveiled specifications for a much faster type of Compact Flash sd card, too, with transfer rates of as much as 500MB/s, instead of the 167MB/s limit of the most current Compact Flash 6.0 requirement.

3D photography

Now we’re seeing 3D tv sets, and cameras from vendors like Sony that can produce 3D images using a single optical system (although you may have to view them in the electronic camera, doing not have an easy alternative playback system). My opinion is that 3D imaging will peak as soon as again really soon and then die away up until the next hardware innovation comes along that makes it slightly less impractical than today.

Other Bits and Pieces

Digital SLRs are ending up being smaller in size, particularly in the area of Four Thirds format cameras. More cameras have rotating LCDs that let you adjust your angle of view for Live View shooting or image evaluation.

Rise of the anti-DSLR

So-called electronic-viewfinder/interchangeable lens (EVIL) video cameras are changing DSLRs for some applications where compact size is valued. These cams do not have a mirror. Sony has already introduced slightly bulkier cameras that do have a mirror, but which use the non-moving, semi-transparent mirror to bounce part of the light to an auto-focusing part instead of to a watching system.

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Do you know what is inside Your DSLR?

Do you know what is inside Your DSLR

You do not require to know anything about internal combustion to run a car, and you truly don’t need to comprehend digital innovation to use a point-and-shoot digital cam, either. Both gadgets are so automated nowadays that there’s not a lot for the driver/shooter to do besides the point the machinery in the best instructions and press the gas pedal or shutter release. Even if you choose to utilize manual controls on a non DSLR, the only things you should comprehend are that this button makes the picture lighter or darker, that one assists freeze action, and this other button alters the method the camera focuses.

If you truly desire to master a digital SLR, you can benefit from understanding precisely how the video camera’s components provide you with a much finer degree of control over your images than the common point-and-shoot video camera. Unlike digital photo photography, where it’s practically impossible to adjust depth-of-field, and usable ISO scores range from ISO 100 to ISO 100 (simply kidding!), the technology constructed into a DSLR does permit you to make a distinction artistically and technically, if you know what you’re doing. And for the average serious professional photographer, that’s what taking photos is all about.

With a DSLR, it’s simple to use depth-of-field to manipulate your images, but you need to understand how digital video cameras work with lenses and their apertures. Like the size of the sensing unit, the sensitivity setting you’re utilizing, and what kind of noise reduction technology is constructed into your electronic camera, and how you select to use it. When you actually dive into how your electronic camera works, you’ll understand that sound decrease can rob your image of sharpness and information.

You’d better comprehend the difference between front-sync and rear-sync shutter settings. Intrigued in utilizing a very long telephoto lens without a tripod or changing to high shutter speeds?

If you’re who I believe you are, you don’t see comprehending digital SLR innovation as an overwhelming job, but as an interesting difficulty. By the time somebody is ready to use all the features of their digital DSLR, he or she is anticipating taking greater control over every element of the picture-taking procedure.

The most soothing thing about digital SLR innovation is that, for the most part, these cameras were developed by engineers who understand photography. Much of the point-and-shoot digital electronic cameras I have used appear to have been designed by a techie who was creating mobile phone or PDAs recently, and then moved over to digital electronic cameras this week. They run like computer systems instead of cams, have functions that no one in their right mind in fact requires, and typically are totally unusable for the kinds of photography for which they are meant. One worrying pattern is towards pocket-sized digital electronic camera that have no optical viewfinder at all. For most of the latest models, it’s essential to frame every image utilizing the back-panel LCD, which, regrettably, washes out in brilliant sunshine, and nearly forces you to hold the video camera at arm’s length, ensuring that powerful image stabilization features are going to be needed to nullify cam shake.

In contrast, digital SLRs are created by individuals who understand your needs. They have, for example, big, brilliant optical viewfinders that provide a reasonable screen of approximate depth-of-field, and which can be utilized under a range of lighting and viewing conditions. The designers of DSLR designs have been developing such video cameras for several years and know from the feedback they get what professional photographers want. Learning DSLR technology will be rewarding for you, because you’ll come to understand exactly how to utilize features that have been created to assist you be a much better and more imaginative photographer.

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Choosing the DSLR That’s Right for You

Choosing the DSLR That’s Right for You

You may have studied the descriptions of digital SLR technology in this article since you’re considering which DSLR to buy. Because technology changes so rapidly, it’s unlikely that the electronic camera you buy today will be your last. On the other hand, even the least expensive DSLR is a significant investment for most of us, especially when you consider the expense of the lenses and devices you’ll buy. You wish to make the right choice the first time. Digital SLR choice makers often fall under among 5 classifications:

■ Severe professional photographers. These consist of picture enthusiasts and experts who might currently own lenses and accessories coming from a specific system, and who need to maintain their financial investments by choosing, if possible, a DSLR that works with as much of their existing devices as possible.

■ Professionals. Pro professional photographers buy equipment like carpenters purchase routers. They want something that will get the job done and is rugged enough to work dependably in spite of heavy use and mistreatment. They do not necessarily appreciate cost if the equipment will do what’s needed, because their companies or customers are ultimately bearing the cost. Compatibility may be a great idea if a company’s shooters share a pool of specific devices, but a professional picking to switch to a whole brand-new system probably won’t care much if the old stuff needs to fall by the wayside.

■ Well-heeled professional photographers. Lots of DSLR purchasers show a high turnover rate, because they buy equipment mainly for the love of having something new and intriguing. Some actually feel that the only way they will have the ability to take decent (or better) images is to own the really most current equipment. I enjoy letting these folks have their enjoyable, since they are typically a good source of mint utilized equipment for the rest people.

■ Serious newcomers. Numerous DSLRs are sold to new photographers who are buying their very first digital camera or who have actually been utilizing a point-and-shoot video camera design. These buyers do not plan on junking whatever and purchasing into a new system anytime quickly, so they are more likely to examine all the alternatives and select the best DSLR system based on as many elements as possible. Their caution may be why they have actually waited this long to acquire a digital SLR in the first place.

■ Casual newcomers. As rates for DSLRs dropped a lot, I saw a new type of purchaser emerging, those who might have acquired a point-and-shoot video camera at the exact same price point in the past, and now have the concept that a DSLR would be cool to have and/or might offer them with better pictures. A lot of these owners aren’t serious about photography, although they might be severe about getting excellent photos of their household, travels, or activities. A large number of them find that a basic DSLR with its kit lens fits them just great and never ever purchase another lens or device. It could be said that a DSLR is overkill for these casual buyers, however many will wind up very pleased with their purchases, even if they aren’t using all the offered functions.

Questions to Ask Yourself when Buying a Camera

As soon as you choose which category you fall under, you need to make a list of your requirements. What sort of images will you be taking? How typically will you be able to update? What abilities do you need? Ask yourself the following questions to assist determine your genuine requirements.

Just How Much Resolution Do You Required?

This is an essential concern since, at the time I write this, DSLRs are readily available with resolutions from about 10– 12 megapixels to 24 megapixels (and beyond, if you consist of some unique types called medium format cams). A lot more intriguing, not all digital SLRs of a particular resolution produce the exact same outcomes. It’s totally possible to get better photos from a 12 megapixel SLR with a sensor that has low sound and more accurate colours than with a comparable 12 megapixel model with an inferior sensor (even when the differences in lens efficiency is discounted). Looking at resolution in general, you’ll want more megapixels for some types of photography. If you wish to produce prints larger than 8 × 10 inches, you’ll be happier with a video camera having 12– 14 megapixels of resolution or more. If you wish to crop out small areas of an image, you might require a cam with 16– 21 megapixels. On the other hand, if your main application will be taking pictures for display on a websites, or you require thumbnail-sized pictures for ID cards or for a brochure with small illustrations, you might get along simply fine with the lowest-resolution DSLR camera you can find. Keep in mind that your requirements might alter, and you may later be sorry for choosing an electronic camera with lower resolution. Complete Frame or Cropped Frame? Throughout this chapter I’ve pointed out a few of the differences between full-frame sensors and cropped sensors. Your choice between them can be among the most crucial choices you make. Even if you’re brand-new to the digital SLR world, from time to time you’ve heard the term crop factor, and you have actually most likely also heard the term lens multiplier element. Both are deceptive and inaccurate terms used to describe the very same phenomenon: the reality that some electronic cameras (normally the most budget-friendly digital SLRs) provide a field of view that’s smaller and narrower than that produced by certain other (usually a lot more pricey) cams, when fitted with precisely the exact same lens. The picture rather plainly shows the phenomenon at work. The outer rectangular shape, marked 1X, reveals the field of view you may anticipate with a 28mm lens mounted on a “complete frame” (non-cropped) camera, like the Nikon D3-series or Canon 1Ds series. The location marked 1.3 X reveals the field of vision you’d get with that 28mm lens set up on a so called APS-H kind element cam, like the Canon 1D series. The area marked 1.5 X reveals the field of vision you’d get with that 28mm lens installed on an APS-C form element camera that includes practically all other non-Four Thirds /Micro Four Thirds designs. Canon’s non-full-frame electronic cameras, like the 60D and 7D, have a kind aspect of 1.6 X, which is virtually identical and likewise called by the APS-C classification. All 4 Thirds/Micro Four Thirds electronic cameras use a 2X crop aspect, represented by the inner rectangular shape. You can see from the illustration that the 1X performance provides a wider, more extensive view, while each of the inner field of visions is, in contrast, cropped. The cropping impact is produced since the “cropped” sensors are smaller sized than the sensors of the full-frame electronic cameras. These sensing units do not determine 24mm × 36mm; rather, they spec out at roughly 23.6 × 15.8 mm, or about 66.7 percent of the location of a complete frame sensing unit. You can calculate the relative field of view by dividing the focal length of the lens by.667. Hence, a 100mm lens mounted on an APS-C camera has the exact same field of vision as a 150mm lens on a full-frame camera. We human beings tend to perform multiplication operations in our heads more quickly than division, so such field of view comparisons are normally computed using the reciprocal of.667– 1.5– so we can multiply rather. (100/.667=150; 100 × 1.5=150.) This translation is usually helpful just if you’re accustomed to utilizing full-frame video cameras (normally of the film range) and want to know how a familiar lens will carry out on a digital camera. I strongly prefer crop aspect over lens multiplier, since nothing is being increased; a 100mm lens doesn’t “become” a 150mm lens– the depth-of-field and lens aperture remain the very same. Only the field of view is cropped. But crop factor isn’t better, as it implies that the 24 × 36mm frame is “full” and anything else is “less.” I get emails all the time from professional photographers who explain that they own full-frame cams with 36mm × 48mm sensing units (like the Mamiya 645ZD or Hasselblad H3D-39 medium format digitals). By their reckoning, the “half-size” sensors discovered in full-frame cams are “cropped.” Probably a much better term is field of view conversion element, however no one really uses that one. If you’re accustomed to utilizing full-frame film video cameras, you might discover it practical to use the crop aspect “multiplier” to equate a lens’ genuine focal length into the full-frame equivalent, despite the fact that, as I said, absolutely nothing is actually being increased.

How Frequently Do You Want to Update?

Photography is one field occupied by large numbers of techno maniacs who merely need to have the most recent and finest devices at all times. The digital photography world seldom disappoints these device nuts, because newer, more sophisticated designs are introduced every couple of months. If staying on the bleeding edge of technology is essential to you, a digital SLR can’t be a long-lasting financial investment. You’ll have to count on purchasing a brand-new electronic camera every 18 months to two years, since that’s how typically the average vendor takes to replace a current model with a more recent one. Some upgrades are minor ones. Thankfully, the common DSLR replacement cycle is a much longer schedule than you’ll discover in the digital point-and-shoot world, where a particular top of the line camera may be replaced every six months or more frequently. Digital SLRs normally are changed no more frequently than every 12 to 18 months– 12 months for the entry-level models, and 18 months or longer for the intermediate and sophisticated models. On the other hand, perhaps you’re not on a relentless quest for a shiny brand-new gizmo. You just desire excellent pictures. Once you acquire a video camera that gets the job done, you’re not likely to upgrade till you discover there are particular pictures you can’t take because of limitations in your existing devices. You’ll be happy with a cam that does the job for you at a rate you can afford. If your desires are large but your pocketbook is limited, you may wish to downsize your purchase to make those inescapable regular upgrades possible.

Sell or Keep your Devices?

Normally, come upgrade time, your old DSLR will deserve more as a hand-me-down to another user than as a trade-in. That’s why I’m currently eagerly anticipating using my present preferred DSLR as a second or 3rd video camera body when I do update to the next generation. An additional body can be available in convenient. When I leave town on journeys, I usually take one additional body just as a backup. Still, I end up using the backup more than I expected when I mount, say, a telephoto zoom on my “main” video camera and a wide-angle zoom on my backup so I do not have to switch lenses as typically.

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Using Interchangeable Lenses

Interchangeable Lenses

Among the most essential part of a digital SLR is the lens- or, more properly, lenses, because, unlike other types of digital cameras, which might utilize add-on lens adapters, the lens of a DSLR is totally interchangeable. I’m not going to inform you much about how lenses work. The majority of the rest of this area will handle useful matters connecting to interchangeable lenses on a DSLR. The only things you truly need to understand about lenses are these:

■ Lenses consist of precision-crafted pieces of optical glass (or plastic or ceramic product) called aspects, organized into groups that are moved together to alter the magnification or focus. The components may be based upon pieces of spheres, or not (in which case they are aspherical), and provided special finishes to decrease or get rid of undesirable reflections.

■ Lenses include an iris-like opening called a diaphragm that can be changed in size to admit basically light to the sensing unit. In addition to adjusting the amount of light that passes through the lens, the diaphragm and its shape impact things like relative overall sharpness of an image, the amount of an image that remains in focus, the brightness of your view through the viewfinder, and even the shape and qualities of out-of-focus highlights in your image. I’ll describe these elements in more information as they show up.

■ Lenses are installed in a real estate that keeps the aspects from rattling around and supplies a method to move them to change focus and magnification. The lens housing can include a microprocessor, a small motor for changing the focus (and, in non-DSLR electronic cameras, for zooming), and maybe a mechanism for reducing the effects of cam shake (called vibration reduction). Included are threads or a bayonet mount for attaching filters, a fitting that connects to your electronic camera, and different levers and electronic contacts for interacting with the cam body. You might find a switch or two for changing from autofocus to manual focus, locking a zoom lens so it doesn’t extend mistakenly while the cam is being carried, and a macro, lock/lockout button to restrict the looking for range of your autofocus mechanism so your lens won’t seek focus from infinity to a few inches away whenever you partly depress the shutter release. Everything else is details, and we’ll take a look at them in this and later chapters of this book. Lens Interchangeability The ability to remove a lens and swap it for another is one of the crucial advantages of the digital SLR. Interchangeable lenses make a very cool tool because they broaden the professional photographer’s flexibility in several ways:

■ Swapping lenses lets you alter the “reach” of a lens, from wide-angle to medium telephoto to long telephoto. The zoom lenses on non-SLR cameras offer some of this flexibility, but they can’t provide the zoom of the longest telephotos and telephoto zooms, nor the wide-angle point of view of the quickest focal lengths discovered in some interchangeable lenses and zooms

■ Interchangeable lenses let you pick a lens optimized for a particular function. Do everything zooms are necessarily a compromise that might perform fairly well in a broad series of applications, however excel at none of them. Using an SLR lets you select a lens, whether it’s a zoom or a repaired focal length lens (called a prime lens) that does a specific thing effectively undoubtedly. A lens with a zoom variety, extending from wide-angle to long telephoto might be plagued with distortion at one end of the variety or another (or both!). A multi-purpose lens is most likely much slower than an enhanced optic, perhaps with an f/4.5 or f/5.6 optimum aperture. With the schedule of interchangeable lenses, you can select a really quickly, f/1.4 lens when you need one, or select a lens that’s particularly excellent in a provided zoom range (say, 12-24mm). Select another lens for its splendid sharpness, or since it provides a dreamy blurred effect that’s perfect for portraiture. Use zooms when you need them and prime lenses when they are better fit for a task.

■ Lens swaps make it simple for those with extra-special requirements to discover some glass that fits their specific requirements. Fisheye lenses, those with a point of view control shifts, macro lenses for a bug’s eye view of that prize flower, or hyper-expensive super-long telephoto optics with built-in correction for electronic camera shake are offered to anyone who can afford them. As you know, however, lenses aren’t definitely interchangeable. Lenses designed to fit on one specific supplier’s brand name of video camera probably won’t fit on another supplier’s cam (although there are exceptions), and it’s highly most likely that you’ll discover that many lenses produced by the manufacturer of your digital SLR can’t be used with present cam designs. I can’t provide a thorough lens compatibility chart here, because there are hundreds of various lenses readily available, however you might discover some of the guidelines in this section helpful. The first thing to understand is that lens compatibility isn’t even a problem unless you have older lenses that you wish to use with your current digital camera. If you have no lenses to move to your new camera body, it makes no distinction, from a lens perspective, whether you choose a Nikon, Canon, Sony, Olympus, Pentax, or another DSLR. You’ll want to purchase existing lenses produced your video camera by the vendor, or by 3rd parties such as Tokina, Sigma, or Tamron, to fit your electronic camera. One exception might be if you had a hankering for an older lens that you might acquire used at an attractive cost. In that case, you’ll have an interest in whether that older lens will fit your new camera. You likewise might be thinking about backwards compatibility if you own a lot of costly optics that you want to use with your brand-new electronic camera. That compatibility depends a lot on the style approach of the video camera vendor. It’s easier to create an entire brand-new line of lenses for a new camera system than to find out how to utilize older lenses on the current devices. Some vendors opt for bleeding-edge innovation at the expenditure of compatibility with earlier lenses. Others bend over backwards compatibility.