Buying a camera today is tough! How do you choose which brand, and then once you got that figured out you find out that there are several models from each brand!!! How are you supposed to choose which camera you should buy?


There are many good camera companies right now. And the competition between them all is good for the consumer. Just seeing what the features are between each camera brand is mind boggling, however, the features from the cheapest camera carry on to the most expensive, just that they are more intense with the more expensive. Let’s go over each major brand and see what we can learn:


So many different choices in cameras now!


  • Can I get perfect photos with the cheapest model, as good as the expensive model?


Every camera made today will let you choose your own shutter speed, F-stop number, and ISO setting. That is the basics to taking great photos. If you understand how to use all those, then you will be fine.

So, why should I spend anymore for a camera?

Let’s look at one brand of camera and see what you get by going with more money:


Nikon has 16 DSLR cameras on their website. They range from: $499.00 (US dollars) to $6499.00 (US dollars).

Also, they have: 8 camera models that are listed as: Mirrorless cameras. They range from: $859.95 (US dollars) to $5499.95 (US dollars).

So that means they have 24 different models to choose from. The first thing you need to know is what the difference is between DSLR cameras and Mirrorless cameras. Then half your job is done. To learn about that go to: CLICK HERE

Then the next job is to decide how much money you have to spend on a camera. You have the price ranges here now. Realize also that the prices quoted here are Nikon’s suggested Retail price. The price you pay could be considerably less, depending on where you shop.

Learn how to do the different settings in your camera. The one nice thing is that you can set the shutter speed, aperture, and ISO in any of these cameras. As you go more money in a more expensive camera, you will get faster shutter speeds, higher ISO range, and the aperture won’t change because that’s a function of the lens. The other thing that would change is the ability to do video better and offers more features for the videographer. In some cases you may get more durability with the camera, as they can handle more rugged wear, and waterproofing. With the faster shutter speed, you also get improvements in the light meter, the motor drive, the autofocus will be better because they use a new higher technology in their focus now. In order to learn more about the different features, go to the NIKON website here: https://www.nikonusa.com/en/nikon-products/cameras.page


If you take a look at the other manufactures, they will have impressive and differences between their different models.

To study each manufacture, go to their websites, listed here:







LEICA CAMERAS: https://leica-camera.com/en-US

There are a few other, not so well known brands. If you have interest in studying their information, contact me here: Email: editor@123photogo.com


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How to Maximize Image Quality in Photography

green and gray bird perching on aloe vera plant
Photo by Jean van der Meulen on Pexels.com

I know when I take photos, the one thing I am most focused on is sharpness of my image. Sometimes when I want to do some “Adobe” work on my photo, I sometimes find that the photo isn’t as sharp as it could be. Is it my fault? Is it the camera’s fault? Is my “Kit” lens not good enough? Should I not trust autofocus? So many questions run through my mind as I try to get the best photos.


I can’t avoid pointing out that your choice of camera system has an impact on image quality. Some cameras simply have more resolution or better high ISO performance than others. Certain lenses are sharper, too.

But my goal today is not to recommend that you buy new camera gear if you want better image quality. It’s to explain how to maximize your image quality from any equipment.

If your current gear cannot produce the images you need, even with perfect technique, I’d be pretty surprised. I’d also recommend a different camera system. But if you’re reading this, I’m assuming that you already have workable equipment for the job at hand.

So, the only point I’ll make here is simple: Use a tripod!

Certainly, there are cases where tripods don’t work – most street photography, aerial photography, underwater photography, and a few others – but right now, we’re talking about maximizing image quality. Unless a tripod simply won’t work for your shot, use one. It’ll do more good than anything else discussed below.

2. Best-Case Scenario Exposure Settings

I’m going to start with the optimal settings for best-case scenario photos.

By “best-case scenario,” I mean that you don’t have any restrictions on what shutter speed you can use. You’re shooting from a tripod, and nothing in the scene is moving (or anything moving is meant to be a blur, like a waterfall).

I’ll cover the exceptions afterward, but they’re all just variations on the process below.

2.1. Aperture and Focusing:

Before setting anything, note your lens’s “target” aperture – where it has the sharpest performance on a flat, test-chart-like scene.

For most modern lenses, this occurs somewhere from f/4 to f/8. But you should test your own lenses to be sure, or at least compare reviews online that analyze things like sharpness.

If you thought that everything should be at F16 or F22 to get the sharpest image, think again. Time and time again, every lens has a perfect aperture for sharpness. You can make that test your self by shooting at different apertures with your lens, on a tripod and notice which one is the sharpest.

landscape photograph of lake and mountains
Photo by Julius Silver on Pexels.com

Here’s the key: This aperture (call it f/5.6) might be the target in terms of sharpness, but that doesn’t make it optimal for your photo. Quite often, you’ll need less or more depth of field than f/5.6 offers.

The first case is if you want a shallow depth of field – then, your job is super easy, and you can skip to the next section of this article. Just set whatever aperture gives you the depth of field you need. Don’t worry that you’re not at the lens’s “target” aperture. First and foremost, you need your photo to look right.

NIKON D7000 + 105mm f/2.8 @ 105mm, ISO 100, 1/40, f/3.2

But shallow depth of field isn’t always going to be your goal. If you want the whole photo to be sharp from front to back, you’ll need to put in a bit more effort. Specifically, you’re going to balance depth of field and diffreaction. That’s a big task, though not as hard as you might think.

I’ve covered the optimal method a few times in the past; it’s optimal because it leads to equally and maximally sharp foreground and background regions in your photo. That won’t always be your goal – sometimes, you’ll be prioritizing foreground or background sharpness over the other – but it’s a pretty excellent default.

Essentially, you focus using the double the distance method, followed by consulting charts to determine which aperture is mathematically ideal for maximum image quality. It goes like this:

  1. Frame the shot.
  2. Identify the closest object in your photo that you want to be sharp.
  3. Focus on something that is double the distance away from that object. So – if the closest object in your photo is a patch of grass a meter away, focus on something that’s two meters away.
  4. Use a chart derived from our chart to figure out which aperture best balances depth of field and diffraction.
  5. Set that aperture.

Creating the chart is where most people have hangups, but it’s not especially difficult. It takes perhaps 10 minutes of effort to whittle down the charts I already made into something useful for your gear.  

For example, the chart (in feet) for the Nikon 20mm f/1.8 AF-S is below. Note that this lens has a “target” aperture of f/8, and it can’t stop down more than f/16:

If you don’t want to consult charts in the field, I don’t blame you. One alternative – which I hope doesn’t sound too crazy – is just to memorize the chart for your typical gear. It’s easier with a prime lens than a zoom, but doable regardless.

And, again, this article is about maximizing image quality in every possible way. If that’s not your goal, just don’t follow these steps. An experienced photographer can guess a good focusing distance and aperture in most cases, no need to follow the technique above. Do whatever works best for you.

white and gray bird on the bag of brown and black pig swimming on the beach during daytime
Photo by Pixabay on Pexels.com

2.2. ISO

Set base ISO, and you’re done.

Many aspects of image quality are about gathering as much light as possible. With the lowest possible ISO value, you can use a longer shutter speed to gather more light while avoiding overexposure.

You’ve probably heard that some cameras have special “LO” ISO values that are lower than base ISO. Don’t use those; they’ll harm your dynamic range. Stick to your camera’s base ISO value instead.

2.3. Shutter Speed and ETTR

Next – set a shutter speed that exposes to the right (ETTR). I’ll explain the two different methods to do so in a moment.

ETTR is all about gathering as much light as possible, without gathering too much and overexposing important parts of your photo.

Somewhere along the way, photographers invented a myth that ETTR means capturing bright, overexposed photos. Frankly, in many cases (high-contrast scenes especially), the proper ETTR image is significantly darker than what the camera’s matrix meter recommends by default.

ETTR has nothing to do with capturing a photo that looks bright. It’s all about retaining 100% of your important highlight detail. Here’s how you do it:

Method One: Histogram

The easiest way to check if you’ve exposed to the right is to consult your camera’s histogram and see if any color channels are overexposed.

It’s not a flawless method, in part because the histogram on your camera is based on the JPEG preview. This means that you’ll get a very different histogram in “Vivid” versus “Portrait” picture control. 

If you rely heavily on this technique, you’ll want to use the most neutral picture control, since it most approximates a RAW file.

Ah, forgot my usual disclaimer – shoot in RAW, NOT JPEG. Especially if you’re the type of photographer who reads articles like this, with the goal of maximizing image quality.

Method 2: Use spot metering:

A more advanced way to figure out the optimal exposure is by spot metering on the brightest part of your photo. Then, dial in positive exposure compensation to place that part of your photo as a bright highlight – to be specific, as bright as possible so that you can still recover it 100% in post-processing.

It might take a moment in the field to figure out what the brightest part of your photo is, and the consequences for picking the wrong spot are almost certain to be overexposure. But at the end of the day, this isn’t too terribly difficult to do in the field, especially for something slower-moving like landscape photography.

However, the exact “100% recoverable point” is something you need to test ahead of time for your specific camera. With my Z7, it’s +2.7 EC (though I’ll often set +2.3 EC instead, to build in a bit of a safety net). Picture Control doesn’t matter here, since it is independent of your camera’s metering.

As an aside, this method – spot metering to expose the brightest tone of your scene optimally – reminds me a lot of Ansel Adams’s zone system, just a bit more digital. Kind of exciting if you ask me.

scenic view of mountain
Photo by Philip Ackermann on Pexels.com


f you use the histogram method, the optimal way to set your white balance and tint to optimize histogram accuracy is to set “unitary white balance” or UniWB.

In short – use the flattest possible picture control settings. Then, turn “tint” as green as possible, and set the white balance on your camera so that the red and green color channel multipliers are as close to each other (and to 1) as possible.

You can figure out the white balance at which this occurs by examining your photos in EXIF viewing software. (For MacOS, I use ApolloOne because it’s free, although there are plenty of similar programs.) It’s labeled as “Blue Balance” and “Red Balance” in most EXIF viewers. With the Nikon Z7, for example, the UniWB is 4945 K, although you can’t set that exact value and need to use 4940 or 4950 instead.

Color Filters

To take this to the extreme, you can use a color filter on your camera to balance out the fact that the green channel generally clips before the others in sunlight. I recommend a 30% magenta filter (specified as cc30m or cc30p by most filter companies) or a 40% magenta filter (cc40m or cc40p).

As a side note, if you use a magenta filter in combination with UniWB, the in-camera preview image will actually look relatively normal.

And yes, this is a really esoteric method for eking out maximum image quality, but it works. You’ll get (at best) about 2/3 additional stops of exposure with a cc30m or cc40m filter before you start blowing out one of your color channels. That’s not bad – akin to using a camera with base ISO 64 rather than 100.

There are 8 sections to this article. We will make this article today: PART 1. Come back again in a couple of days for PART 2, AND THEN PART 3 in a couple of more days after that. This particular subject of how to make your photos sharper than ever will prove to be valuable some day. There are many aspects that it takes to make sure you get sharp photos. This training will be worth reading time and time again so you can choose which method will work best for you.

How to Maximize Image Quality in Photography

What you need to know about every facet of image quality – from camera gear to color spaces and exposing to the right, was written by: SPENCER COX for Photography Life.

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New Google 6 Pro now utilizes face recognition to unlock your phone!

Have you ever really thought about who the biggest guns in the cell phone industry are? Yes, Apple is big, Samsung is big, and Google? The biggest and most powerful company in the world is looking to make their presence known by incorporating features that no one has done yet (at least to my knowledge). With the recent update to Android systems, there was a new feature available in the upgrade that allows the camera(s) to use facial recognition to unlock your phone.

Google could be preparing to finally enable facial recognition in its Pixel 6 range for the first time since launch, at least, if a couple of snippets of evidence are anything to go by. 

According to a user on Reddit, their Pixel 6 Pro showed Face Unlock as an option during set up, where usually the only biometric option is fingerprint scanning. 

Following this user report, 9to5 Google did some digging and found that Pixel 6 Pro Android 12 builds have referenced the facial recognition references as early as October 2021. Is it as secure as fingerprint scanning that many phones are using now? As I think about it, it would have to do 3D imaging to make it anywhere as secure as a fingerprint. Who’s to say, someone couldn’t just pick up a photo of you and point it at the camera and unlock your phone. However, this feature will only be available on the Pro Model, so chances are they have figured out a way to make it secure.

Google Pixel 6a will be as powerful as Pixel 6

New Google Pixel 6a is as powerful as the 6

(Pocket-lint) – Google’s Pixel 6a has been rumoured for some time now, with most reports suggesting it will launch in May during Google’s Developer I/O conference.

Many of the rumours have claimed the mid-range device would run on the same hardware as the flagship Pixel 6, with Googles Tensor Chip under the hood and the most recent leak supports this.

The Google Pixel 6a has appeared on Geekbench alongside the Pixel 6and the tests see the Pixel 6a doing better in both the single-core and multi-core tests, suggesting it will be as powerful as its flagship brother. But, it’s designed to be a midrange priced phone so this is making the mid-grade market even more exciting.

The Google 6 could be the most surprising phone / camera in the market today.


There are two big talking points with the Pixel 6: the unique design and the Google-made processor. This focus on creating a phone that’s visually distinct from everything else on the market while also investing in its own home-grown silicon suggests Google is taking this whole smartphone thing very seriously. And the Pixel 6 is one great result of that.

The Pixel 6 is undoubtedly the worst kept tech secret in recent years. Predominantly because Google hasn’t really wanted to keep it a secret. Instead of keeping hush on the leaks when they first surfaced, Google confirmed them and has been pushing big marketing bucks behind the phone in the run-up to the official announcement.

Google’s messaging has very much been that this is the next cool thing, an Android phone for people with their finger on the pulse, those who want to be different to everyone else. It’s a trendy phone. With its unique design and fresh software experience, it’ll certainly get people interested, that’s for sure. 

It’s safe to say that whether you look at it from the front or the back, the Pixel 6 doesn’t quite look like any other Android smartphone on the planet. It’s about as different as a glass rectangle can be. 

Part of that distinctiveness is down to the design of the frame and bezel. It’s very angular and right-angled, but still has skinny bezels. Rather than go with a rounded appearance around the corners with an internal curved corner in the bezel, Google has opted to make them much more square. In a way it almost has a Nokia Lumia-esque vibe about it. To us, that’s a good thing. 

The size and weight mean the Pixel 6 is hardly the most nimble smartphone on the market, but Google has tried to alleviate some of your potential stretching by adding a one-handed mode in Android 12. Similar to Apple’s Reachability feature in iOS, this lets you drag down content from the top of the screen further down, so you can reach it with a thumb.

It’s on the back of the phone you’ll find the most striking difference between the Pixel and other phones. Just one glance and anyone will see it’s not quite the same as other devices. There’s no rectangular, square or pill-shaped camera protrusion in the corner. Instead, Google has spread the camera unit across the entire width of the phone. 


Much of the information used in the blog today comes from the website: “POCKET LINT”. Thanks to them for this valuable information.



One thing I like to do on my blogs is to keep you up to date with the technology from the major camera manufactures. Even though I have a picture of Nikon DSLR vs. Sony mirrorless, all camera manufactures are still trying to decide which way is the best to go.

Today, I hope to go over the differences and then you can decide on which camera is right for you, if you choose to buy one soon.


DSLRs and mirrorless cameras differ in their construction and design, but not in their sensors, image quality, technologies and indeed many of their features. A Nikon D850 DSLR will give the same image quality as a Nikon Z7 II, which has essentially the same sensor – bar a few more recent developments in image processing.

The differences are elsewhere, both on the outside in terms of body design, and inside in terms 4K (or even 6K or 8K) video capture. But one huge factor that should not be forgotten is personal preference. Ultimately, your choice between mirrorless and DSLR will likely come down to which one you like more!

Pentax makes only DSLR cameras and they have made significant changes and improvements in their DSLR camera that many mirrorless camera owners wish they had.


DSLRs and mirrorless cameras both show the scene through the camera lens itself as you compose the picture, but the way they display it is completely different. DSLRs use a mirror to reflect an optical image up into the viewfinder. When you take a picture, the mirror flips up so that the image can then pass to the back of the camera where the sensor is exposed to the image.

DSLR’s use a mirror in the body to reflect the image up into the viewfinder. The instant you take a picture, the mirror flips up and out of the way.

Mirrorless cameras take a different approach. They use the ‘live view’ captured by the camera sensor itself to create an electronic image that can be displayed either on the rear screen or in an electronic viewfinder. There is no mirror mechanism to flip up and out of the way.

But what sounds like a win-win situation is a little more complicated than that. First, many people prefer the optical image of a DSLR viewfinder. Second, digital displays consume a lot more power, and mirrorless cameras still can’t compete with DSLRs for battery life.


The key difference here is that mirrorless cameras use a single autofocus system for both rear screen and viewfinder shooting, whereas DSLRs – confusingly – use two.

DSLRs use dedicated ‘phase detect’ autofocus sensors which are in the base of the camera behind the mirror. When you take a picture, the mirror flips up and out of the way and the AF sensor is no longer available.

Back when DSLRs didn’t have live view, this wasn’t a problem. But when the demand grew for live view shooting using the rear screen, DSLRs had to switch to autofocus systems that used the image formed on the sensor itself.

So you have a situation that persists to this day – DSLRs have one autofocus system for the viewfinder and a different one for live view shooting.

Once, the dedicated phase-detect autofocus systems of DSLRs gave them a speed advantage over mirrorless cameras, but now mirrorless cameras have caught up and, in many instances, surpassed DSLRs.

Many newer DSLRs like the Nikon D780 also have on-sensor phase-detect autofocus for fast live view shooting, as do Canon DSLRs – but they STILL have two different AF technologies when swapping from viewfinder to live view shooting.

One of the most popular mirrorless cameras is the Fuji Film cameras. Well built, and designed with only 1 autofocus sensor, unlike the DSLR

Mirrorless cameras can now be successfully used for fast-moving sports and action photography that once demanded a DSLR. In fact, if you look at the capabilities of the hybrid on-sensor autofocus system in the latest Sony A7 IV, even DSLR diehards would have to concede that the separate phase-detect AF systems in DSLRs are dinosaurs by comparison.


The design of mirrorless cameras means they need to use electronic viewfinders. These have improved hugely in a very short space of time.

This is the Panasonic mirrorless camera. The screen on the back and also inside the viewfinder show exactly what will be recorded on the image sensor.

The latest and best electronic viewfinders available today have such high resolution that you can hardly see the ‘dots’ and they have a clarity that genuinely approaches optical viewfinders. 

Viewfinder lag is less of an issue than it used to be thanks to faster refresh rates, and the most recent area of focus for manufacturers has been in the blackout effect you would typically see when shooting continuous bursts of images.

Electronic viewfinders can show a more clearly visible view of a scene in low light, and have zoom functions for precise manual focusing – two highly underrated benefits of electronic viewfinders. Because of their auto-gain light amplification effect, electronic viewfinders let you compose and shoot images in near darkness, and have made small-aperture telephotos like the Canon RF 600mm f/11 and RF 800mm f/11 perfectly practical to use.

It’s also worth pointing out that if you are a fan of vintage manual lenses which need to be used in stopped-down mode, a DSLR viewfinder will be way too dark but a mirrorless EVF will be fine.

However, many photographers still prefer the ‘naked eye’ view of an optical viewfinder over a digital one. You’ll soon see the image the camera has recorded in playback mode anyway.

DSLR optical viewfinders are still popular because they offer a ‘naked eye’ view of world with no screen lag or digital artifacts.
The Fujifilm X-Pro3 offers a hybrid viewfinder, one that combines both optical and electronic types. Almost every other mirrorless camera either has no viewfinder or an electronic one.

Optical viewfinders have another key advantage that’s particularly relevant for sports and action photographers. There is unavoidable screen blackout in the camera’s burst shooting mode as the mirror flips up and down between exposures, but this is rarely an issue – the key point is that there is no lag, and it’s much easier to follow a fast-moving subject with a high-speed DSLR like the Pentax K3 III, for example, than it is with the average mirrorless camera.


Even very basic DSLRs will happily offer 600 shots per battery charge, but the entry-level Nikon D3500 DSLR, for example, can capture up to 1,550 images on a single charge. The very best pro DSLRs can rattle off almost 4000 frames per charge, although this is admittedly with considerably larger batteries. With the Nikon D6, Nikon claims a stunning battery life of 3,580 shots – and twice that if the camera is used for high-speed continuous shooting.

The DSLR camera batteries still are the winner as they get a lot more shots off one battery charge than a mirrorless camera.

Mirrorless cameras, however, fare far less impressively here, with around 350-400 frames per charge being the norm while some are a whole lot less. The Sony A7R III ushered in an extended 650-shot battery life almost double that of its predecessors, and the Sony A7R IV even improves on that slightly, so that’s a significant step forwards, but the Canon EOS RP can only manage 250 shots. 

Mirrorless cameras are inherently more dependent on battery power than DSLRs. Either the LCD display or the electronic viewfinder is on all the time. Furthermore, the fact that most manufacturers try to make mirrorless models as small as possible means that their batteries are also small, which also presents a limit on their capacity.


The most often claimed advantage of mirrorless systems is that they are much smaller than DSLRs. This is the main sell of mirrorless systems: the same size of sensor and image quality as offered by a DSLR without the bulk.

But there are often trade-offs in making a mirrorless camera body so compact, such as battery life, the way a camera handles with larger lenses, and how much space there is for external dials and buttons.

Small bodies also means small controls, and users with larger hands may not find smaller mirrorless bodies easy to use. This extends to touchscreens too, with virtual buttons and controls often too small for then to be keyed comfortably, so although the Nikon D850 DSLR seems huge in comparison to today’s full frame mirrorless camera, many of its pro users will prefer its size because it makes it much easier to see and change camera settings – and because it balances better with big lenses, which is what we cover in the next section.

Size has certainly been an issue in both ways with some photographers. Photographers who have had mirrorless cameras are coming back to the DSLR camera because it is easier to handle than the mirrorless cameras. And it also goes the other way: DSLR users are going to the smaller mirrorless cameras because they are smaller and not so much weight to carry around.

This is where you need to hold the two cameras, and see the difference in your hands. Then you can see which one feels the best for you.


DSLRs still have an advantage for lens choice, simply because they’ve been around and supported for decades. Anyone that opts for a Canon EOS DSLR today has 30 years’ worth of native optics to choose from, and many more when you factor in compatible third-party options. Nikon and Pentax are in a similar position with their DSLR ranges.

However, the development of new DSLR lenses has slowed dramatically. Canon and Nikon now put almost all of their lens development effort into mirrorless lenses. Not only that, wider mirrorless lens mounts and shorter back-focus ‘flange’ distances have given lens designers a blank slate, and many new mirrorless lenses out-perform older DSLR equivalents.

Nikon and Canon have been especially clever with their new full frame mirrorless cameras. Nikon makes an FTZ mount adaptor for using any of Nikon’s current DSLR lenses without restriction. Canon has also launched lens adapters for its EOS R full-frame mirrorless cameras, opening up its entire range of EF DSLR lenses to these cameras. Although putting a larger DSLR lens on a smaller mirrorless camera with the adapter, seems like you are defeating one of the reasons for having a mirrorless camera.

Panasonic’s healthy range of lenses for its mirrorless cameras is joined by further compatible options from the likes of Olympus, Sigma and Samyang and, for its full frame Lumix S models, there are lenses not just from Panasonic, but Sigma and Leica too.

Fujifilm and Olympus have also had time to develop their own native lens systems, to the degree that none of the mirrorless camera brands is now at any real disadvantage regarding lens choice.

HOWEVER, mirrorless camera lenses are non inherently smaller. Mirrorless camera makers can indeed demonstrate that their camera bodies are a lot smaller than their DSLR counterparts, but the same can’t be said for their lenses.

The Canon RF 28-70mm F/2L USM is a remarkable mirrorless lens, but just look at the size of it! (Image credit: Future / Matthew Richards)

It’s the sensor size that largely determines the size of camera lenses, not whether. the camera is mirrorless or not. Some mirrorless makers have produced small or retracting lenses that do offer a size saving, but when lens makers produce mirrorless lenses to match the specifications and performance of DSLR lenses, they end up pretty much the same size.

This not only undermines the ‘mirrorless is smaller’ argument, it produces handling issues with small-body-big-lens combinations. Sony’s A7-series camera bodies are remarkably small, but many of its lenses – especially its top-quality G Master lenses – are unexpectedly big. You might find yourself buying a battery grip for your mirrorless camera just to make it handle better with your favorite lenses.


This is where mirrorless cameras have a considerable advantage, and for two main reasons. First, their design makes them much better suited to the constant ‘live view’ required for video capture. Second, this is where camera makers are concentrating their video capture technologies and where you’re going to get the best video features and performance.

But let’s not forget that DSLRs can shoot video too. The Nikon D90 brought HD video to the consumer market, and the Canon EOS 5D II brought DSLRs into the professional videography and film-making arena. 

For today’s DSLRs, video capture is a standard feature, and the Nikon D5, D850 and Canon EOS 5D IV offer 4K video capture, while the Nikon D780 is as effective for video as any mirrorless camera. 

Even so, when it comes to 6K and 8K capture, raw or 10-bit video, high frame rates and more, all the effort and development work is going into mirrorless cameras.

Don’t assume DSLRs can’t shoot video – the Canon EOS 5D IV is actually pretty good at it.


Read through all the advantages of each. See which one fits your needs better. Also, get to a store and compare the two formats. And then check out the viewfinder and see which way you like to go. The DSLR will give you a true image in the viewfinder, while the mirrorless viewfinder is a screen, like a small TV screen to look at. Which way would you like it? Also, take a look at the difference in sizes between the DSLR and the Mirrorless. The difference is size is not so great anymore as the DSLR manufactures have found ways to make their cameras smaller as well.

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