digital camera without lcd screen factory

German camera manufacturer Leica has announced a new M digital rangefinder that has no LCD panel. The Leica M-D (Typ 262) will be almost exactly the same as the existing M (Typ 262) but without a rear screen for reviewing images and working the menu. The company says it has produced a camera with only the ‘essentials of photography’, or ‘Das Wescentliche’, and that it will help photographers concentrate on the important elements of image making rather than getting distracted with the camera functions.

This isn’t the first time Leica has produced a digital M with no rear screen, as the company launched the limited edition M Edition 60 to mark the sixtieth anniversary of its rangefinder camera system. Leica made only 600 of these models, and they sell for about $18,000/£12,000, but the M-D (Typ 262) will be the first full production model without a rear LCD.

This new model will feature the standard 24MP CMOS sensor, will have an ISO range of 200-6400, and will have brass base and top plates. The viewfinder has a magnification of 0.68x and offers bright-frame markings for 35/135mm, 28/90mm and 50/75mm lenses. The body has no traditional red dot as Leica says it wants the camera to be discrete, and the single frame mode uses a particularly quiet shutter cocking system.

The Leica M-D (Typ 262) will go on sale in May with a price of $5995/£4650. The M (Typ 262), which does feature a rear screen, actually costs less, at $5195/£4050, but it doesn’t have the quiet shutter or brass top and bottom plates.

Leica Camera has extended its iconic rangefinder camera series with a new model: the Leica M-D (Typ 262). The fifth product in the Leica M range, the Leica M-D joins the Leica M and M-P (Typ 240), the Leica M (Typ 262) and the Leica M Monochrom (Typ 246), offering a greater choice for photographers looking for specific functionality from their rangefinder camera.

The Leica M-D is the first serial production model of the digital M family to be made without an LCD monitor screen. The standard location of the screen on the back of the camera is taken by the ISO sensitivity setting dial – one of the few, but essential, features of the camera. Although the Leica M-D embodies the entire range of technical developments perfected over decades for the Leica rangefinder system, it intentionally omits all but the most vital features. Concentrating entirely on the key parameters required for photography: shutter speed, aperture, distance and ISO sensitivity, the Leica M-D focuses the user on the most essential aspect – the picture they are taking – and brings back the anticipation of discovering the results later in the process, as when shooting with film.

Jason Heward, managing director, Leica UK, said, “With the exclusion of the ubiquitous LCD screen, photographers must return to the principles of photography when shooting with the Leica M-D: accurate framing and composition, selecting the appropriate parameters and settings, and ensuring that they capture the decisive moment with the thought and consideration that has always been necessary in analogue photography. This unique rangefinder camera also brings back the fascination and expectation associated with film – returning photography to its origins during the capturing process, whilst maintaining the obvious convenience and benefits of digital technology.”

Principally, the technical features of the Leica M-D are based on those of the Leica M (Typ 262). As with all other digital Leica M cameras, the Leica M-D (Typ 262) features a high resolution CMOS full-frame sensor, which has been designed exclusively for rangefinder photography, and supports neither video recording nor Live View. Its 24 megapixel resolution delivers exceptional image quality and extreme sensitivity, making it perfect for available light situations. At the same time, the camera’s Maestro processor guarantees fast processing of image data. Exposures are captured exclusively as RAW data in DNG format, enabling photographers to apply the required adjustments in post-processing software.

Leica’s focus on ‘Das Wesentliche’ (the essentials of photography) is immediately recognisable in the design of this camera. The Leica M-D expresses purely functional, formal clarity, and features characteristics such as a brass top plate with a ‘step’ at the end, referencing the design of the Leica M9. The Leica ‘red dot’ logo has been omitted from the front of the camera for ultimate discretion.

Furthermore, the barely audible shutter of the Leica M-D ensures the camera is inconspicuous when shooting: an invaluable advantage in scenarios where the photographer wishes to remain unobtrusive. As an aid to this, the camera features a shutter cocking system that is particularly quiet in single exposure mode, and enables a shutter release frequency of up to two frames per second. In continuous mode, the Leica M-D has the same sequential shooting speed as its sister model and shoots up to three frames per second.

Shooting with a Leica rangefinder is as challenging as it is rewarding. First, you have to be able to afford the dang thing---no small feat, as a Leica digital rangefinder costs at least five grand. That"s before you spend a few thousand more on a top-notch lens.

From the front, the M-D looks a lot like the red-dot-free Leica M-P; both cameras ditch the Leica logo from the front in the name of arguably less-conspicuous Leica ownership. In terms of specs, the M-D is a lot like the display-equipped Leica M: A 24-megapixel full-frame sensor, manual-control dials for shutter and aperture, ISO settings ranging from 200-6400, a rangefinder peephole, an SD slot, and that"s it. One would assume it gets way better battery life than any other digital camera, as there"s no LCD screen sipping juice.

If the M-D"s premium no-frills feature set sounds familiar, you"re probably thinking of the Leica M "Edition 60." Like the M-D, it dropped the LCD screen in favor of a ginormous ISO dial and had a similar ethos: Forget all the trappings of modern cameras and just take pictures. If you were drawn to the Edition 60 and simply couldn"t afford it, good news! At a shade under $6,000, the new M-D costs less than a third of the Edition 60"s $19,000 asking price.

Budding photographers and pros alike have something in common: They need a solid, reliable camera to do their work. Sure, the cameras built into the latest smartphones are powerful and offer excellent resolution for both still images and video. But if you’re looking for the best camera possible to be creative in stills or video, a “real” camera gives you an enormous amount of flexibility that the camera in your phone simply can’t offer. And depending your needs and interests, there are all sorts of options you can choose from.

The traditional “serious” camera has long been a big, heavy and powerful DSLR, but in the last few years, smaller mirrorless cameras have become popular. These can do more or less everything DSLRs can do, but have the distinct advantage of being smaller and lighter.

For better image quality and the flexibility of a standalone camera, but with the added benefit of simplicity? There are also plenty of point and shoot and instant cameras to choose from. And action cameras are an entirely different kind of beast, made for anyone who wants to mount a camera to their helmet or chest and capture their crazy antics, be it mountain biking, rock climbing or snow boarding.

With so many choices, you might need some help picking the best camera for your still photography or videography needs. So keep reading—we’ve rounded up 15 of the very best cameras you can get today.

Best for: Anyone looking for a powerful, compact and high-resolution starter camera that’s capable of shooting still images or video in a wide range of situations and settings.

Novice photographers coming to the Sony A6100 might not appreciate how compact and light it is, because they don’t have a ton of experience lugging around a DSLR to compare it to. Nonetheless, this is a perfect camera to start a photography hobby; in the slight body lives a formidable 24 megapixel sensor and the ability to shoot 4K video.

In addition, the camera has all the modern luxuries, including a responsive touchscreen display that tilts to any angle you need, a pop-up flash and an excellent, easy-to-use interface. But perhaps the best reason for a beginner to choose this camera is the fast and accurate autofocus that can detect faces and focus on eyes—both in people and animals. Combined with a shooting speed of up to 11 frames per second, this is a beginner-friendly camera that can serve you well as you learn and grow as a photographer.

You remember instant film, right? A little while ago, in the 70s and 80s, it seemed like Polaroid cameras were everywhere. Today, against all odds, they’re back and have become extremely popular. Like almost all instant cameras, the Fujifilm Instax Square SQ6 records your picture on film and develops it almost instantly. Nothing about this camera is digital. There’s no memory card and nothing to copy to your PC or edit later.

The SQ6 has a nice Instagram-come-to-life aesthetic and is available in seven different colors. The camera produces prints that are 2.4 inches square in about 90 seconds after snapping the shutter release. Image quality is surprisingly good—well above average for most instant cameras thanks to a high-quality glass lens—and it comes with some nifty extras, like colored filters you can fit over the flash to add an artistic hue to your shots.

If price were no object, you could find a handful of point and shoot digital cameras that outperform the Canon PowerShot G7 X Mark III. But for those dollars, it’s hard to justify not going the extra yard or two and just getting a mirrorless camera with swappable lenses. But dollar for dollar, the Canon PowerShot G7 X Mark III offers a really good value in a point and shoot. It gets close to rivaling what you can do with a pro-level camera.

Despite still being small enough to slip into your pocket, the G7 has a big one-inch sensor that lets in a ton of light, so the camera takes crisp, gorgeous shots in a wide array of lighting conditions—including very low-noise images at night. It would be nice if there were more than a 4.2x zoom range, but that’s enough to give you a lot of flexibility composing shots in most ordinary situations. It also records 4K video—awesome for a general-purpose camera—though be aware that this is at 30fps. At 60fps, you can only shoot in HD.

Best for:Amateur photographers looking for great quality at a low price; in a pinch, this can serve as a nice second camera for semi- and pro-photographers.

This spiffy little point and shoot camera offers a compact design that’s bundled with a bunch of useful features for shooting high-resolution still images or 4K video. Built into the camera is a 15x 24-360mm Leica DC Vario-Elmar lens that takes advantage of a powerful optical image stabilizer and a one inch sensor to help ensure crystal clear shots with vivid colors. The camera’s three inch LCD touchscreen display is used as its viewfinder. Unlike many cameras in this category, the viewfinder is surprisingly easy to see in bright sunlight.

Amateur photographers will love the specialty shooting modes that makes it easy to setup the camera to take pictures in specific situations, while more advanced photographers will appreciate the manual controls that can be utilized optionally. The entire camera weighs about one pound.

Mirrorless is poised to be the future of serious photography. The Z50 is an excellent starter camera for getting your feet wet in the world of mirrorless photography without spending a fortune.

The Z50 shoots 20.9 megapixel images on the somewhat smaller APS-C sensor, so the body is small and fits easily in your hands. It has the ability to shoot a blazing fast 11 fps, can record 4K video and has a large, articulating 3.2 inch touchscreen monitor (in addition to an electronic viewfinder). It can also use any lens in Nikon’s Z-series. This particular model comes with two kit lenses: a wide angle 16-50mm and a generously deep 50-250mm lens. There’s enough here to carry any beginner well into advanced photography before feeling the need to upgrade.

Canon’s compact and lightweight Rebel T7 is a textbook example of why it can still make sense to buy a single lens reflex camera when there are so many superb mirrorless camera alternatives out there. This “classic” DSLR design is a slight evolution from the older, venerable (and now discontinued) Rebel T6. For under $500, you get a great camera body and an all-around versatile 18-55mm lens, so you could go a long time before feeling the urge to add a telephoto lens (or other optional lenses) to your camera bag.

The cheapest camera in Canon’s DSLR stable, the T7 is aimed squarely at beginners. You won’t find a fast burst mode (at best, you can only take three frames per second), the rear LCD monitor isn’t a touchscreen, nor does it pivot for unusual shooting angles and there’s no 4K video recording—it’s 1080p only.

The D7500 is an impressive DSLR that is a significant step up in a lot of ways from most beginner bodies. Not only is it rugged and made to take a beating in the field, but it has a lot of the same high-end internals that you’ll find in a pro-level camera like the D500. The solid glass pentaprism trumps the dimmer pentamirror you’ll find in a camera, like the Nikon D3500. The 51 point autofocus system is fast and accurate—which enables you to shoot at a maximum speed of eight frames per second. And when we say this camera is fast, we mean it. It can lock focus in 0.05 seconds. And it’ll take its first shot in less than a quarter second after powering it on.

The rear has a convenient tilting touchscreen LCD display and you get both Bluetooth and Wi-Fi connectivity to transfer images wirelessly. In addition to the 21-megapixel stills, it can shoot video in 1080p or 4K. (The price displayed is for the camera body only.)

Best for:Outdoor adventurers who want to take a handheld point and shoot camera with them, but don’t need the unique camera design and mounts offered by an action camera.

Ruggedized cameras are a special subcategory of point and shoot models, and they’re relatively rare. The Olympus Tough TG-6’s name tells you everything you need to know: It’s shock-proof, dust-proof, crush-proof and even waterproof to a depth of 50 feet. If you’re a snorkeler or a diver, you can use this camera without an underwater housing on shallow dives, which is an enormous convenience. If you thrive in the great outdoors, few point and shoot cameras are as well equipped for the rough-and-tumble as the TG-6.

The camera is a modest performer, though. The optical zoom is just 4x and you only get 12 megapixel resolution images, which is pretty small by modern standards. But the camera can shoot as fast as 20fps and it records 4K video. Throw in the camera’s many shooting modes and scene selections and you have a real workhorse for documenting adventures.

This camera is great for taking photos or shooting video in locations you don’t want to take your smartphone. However, depending on what and where you’ll be shooting, you may be better off investing in one of the latest action cameras that’s even more powerful, offers much better resolution and is much more compact.

You can spend a small fortune on a mirrorless camera, but the Nikon Z5 is proof you don’t need to take out a second mortgage. This excellent camera looks and feels like a pro model. It’s fully weather-sealed and sculpted from a rugged magnesium alloy frame. It has dual card slots because many photographers write to two memory cards simultaneously for security. Plus, the full-frame sensor can capture more light for better low light photography.

The camera also features an integrated 5-axis vibration reduction mechanism and a highly effective 273-point autofocus system. It can capture up to 4.5 fps of continuous shooting and the ISO ranges from 100 to 102,400. Do you shoot video? If so, you’ll be happy to know this camera can capture 4K at up to 30fps. It also supports wireless image transfers using Wi-Fi and Bluetooth. (The price displayed is for the camera body only.)

Make no mistake: You can spend three times this much money on cameras from Canon, Nikon and Sony that take incrementally better photos. But unless you have some very specific needs, then this is a great general-purpose camera choice.

Here’s what you do get: a full-frame 26.2 megapixel sensor with a 45-point autofocus system, an excellent secondary autofocus system for the live view mode in the LCD monitor and integrated GPS for geotagging your photos. There’s also Bluetooth and Wi-Fi connectivity so you can use your smartphone as a remote trigger or to download images. Pros might not appreciate the limited top ISO of 40,000—which produces above-average noise at higher levels—but overall, this is a camera to be reckoned with, especially considering the price. (The price displayed is for the camera body only.)

While the accessories and mounts are a bit pricey, the camera itself is extremely powerful and can be used virtually anywhere. This makes it ideal for outdoor adventurers.

Action cameras have come a long way since GoPro more or less invented the category in 2004. The latest model—the GoPro Hero 10 Black—can shoot 23-megapixel stills, as well as video at a massive 5.3K at a full 60 frames per second. Dial down to 2.7K (which is still significantly sharper than full HD), and you can record at a blistering 240fps for awesome slow-motion.

The Hero 10 Black’s image stabilization is now up to version 4 (GoPro calls it HyperSmooth 4.0) and it can level the horizon with tilts up to 45 degrees. In some other respects, this camera is largely the same as the Hero 9 Black—but that is a good thing. The lens cover is removable, for example, so you can replace it if it gets scratched. And don’t forget about the dual LCD displays—the large rear touchscreen is now joined by a smaller display in front so you can frame shots from in front of or from behind the camera.

When it comes to shooting with a GoPro, always bring along extra (fully charged) batteries and make sure you have the appropriate (and optional) mount, mod and accessories on-hand to capture the images or video footage you want—whether the camera will be mounted on a tripod, attached to your body, or connected to the equipment you’re using (like your helmet, bike’s handlebars, or vehicle’s dashboard).

Best for:An adventure photographer looking for flexibility and maneuverability—this is an action camera with interchange and reversible lenses and a unique overall design that’s waterproof and rugged.

This action camera offers a unique three-piece design—the lens, viewfinder module and body. Both the lens and viewfinder can be independently positioned to face forward or backwards, which means you can shoot from first- or third-person perspective with ease. Another feature that sets this camera apart from a GoPro is that it can capture 360-degree images or video.

As for video, it shoots up to a stunning 6K widescreen resolution, while with the 360-degree lens, you can capture 5.7K resolution. When you use the optional Insta360 invisible selfie stick accessory, the camera automatically removes the stick from your photos or video content as you’re shooting.

Using the well-design Insta360 mobile app, you can use your smartphone or tablet as a remote viewfinder, or quickly and wirelessly transfer content from the camera to a mobile device for viewing, editing and sharing.

There are a lot of excellent quadcopter drones out there you can use to shoot video of scenic vistas and take selfies while you go rock climbing. Many of these drones—if not most—come from DJI. The DJI Air 2S is currently among the most advanced and affordable camera drones you can buy. Not only does it fold up compactly for travel, but it has a large 1-inch CMOS sensor that can shoot 4K video at 60 fps or even 5.4K at 30fps.

Additional features include the Air 2S’s HDR, low-light photography capabilities and its ability to crisply capture video at night. It can also handle hyper-lapse and panoramic shooting. And you can put all those camera capabilities to good use; the drone has AI-based flight modes, called MasterShots, in which it can employ any of 10 different maneuvers to smartly keep the subject in the center of the frame while flying autonomously. Another plus is that it’s almost impossible to crash this drone—thanks to obstacle avoidance in all directions.

Best for:Street photographers who want creative control when taking pictures or shooting video; photography enthusiasts looking to bring a compact camera on vacations.

When you get into the $1,000 and up price range for a camera, you expect something that offers good still photo resolution, excellent video resolution and a nice collection of photography and videography features. That’s what you get from the Panasonic Lumix LX100 II.

In addition to a lightweight and compact design—which makes the camera easy to carry around—you also get the benefit of a Leica 24-75mm lens. All this, along with the camera’s comfortable grip, give you ample flexibility and creative control for street photography, for example.

The camera offers a four-thirds MOS sensor that allows you to switch between 4:3, 3:2, 16:9 and 1:1 aspect ratio. One nice feature is that as you’re capturing 4K video content, it’s easy to pull high-resolution still images from that content, so you never have to worry about missing a time-sensitive shot.

The camera is also equipped to handle both macro and wide-angle photography. Thus, whether you’re photographing the finite detail of a flower or the vastness of a city skyline or landscape, you’ll be able to capture the content you envision—exactly the way you envision it—all from a camera that weights just 13.9 ounces.

Best for:Vloggers, YouTubers and social media influencers looking for a well-rounded, premium-level, point and shoot camera will appreciate all that the bestselling ZV-1 offers.

Sony’s ZV-1 is just short of genius. While vlogging has exploded as a career choice in the last few years, there are surprisingly few cameras made expressly for this purpose. Many vloggers tend to make do with ordinary point and shoot or bulky DSLR cameras.

If you’re looking for a camera that’s designed from the ground up with vlogging in mind, the Sony ZV-1 is one of your few choices. Thank goodness it happens to be a great choice. This is why some of the world’s most popular YouTubers and social media influencers now rely on this camera for their content creation.

So what makes the ZV-1 a vlogging camera? For starters, the articulating LCD monitor flips down to face front, so you can frame your shot easily while keeping on your mark. It also has a larger recording button, which might sound like a small thing, but is actually quite handy while shooting. Besides usability, the camera’s latest software adds neat new features, like Product Showcase mode. It’s a great vlogging feature which disables face priority focusing and locks onto the product you’re discussing. Available in a black or white casing, the camera also has improved audio recording that takes advantage of three microphones.

Before you consider specific models, decide what kind of camera you want. There are more kindsof cameras than ever: instant cameras, point and shoot, DSLR, mirrorless and action cameras, to list a few. Where to start? It all begins with what you want to do with the camera.Based on your skill level, the type of photos you plan to take and your budget, there are a bunch of ... [+]things to consider when choosing a camera.getty

For example, are you looking mainly for a camera for snapshots, or do you want to approach the craft of photography with an eye towards controlling exposure setting? While instant and point and shoot cameras are great for snapshots, for anything more sophisticated, you’ll want to look to the latest DSLRs or mirrorless models.

Also, consider your budget and skill level. Not only are intermediate and pro-level cameras much more expensive, but if you get one as a beginner you might be buying features you don’t need. Of course, specific models also come with any number of capabilities that could come in handy—like super high frame rates to capture fast-moving action and the ability to wirelessly transfer photos to your smartphone, tablet or computer.

This is the most important decision you will make. Get a point and shoot camera if you want a small and lightweight camera for casual snapshots and that can easily be taken just about anywhere. If you are more serious about the nuts and bolts of exposure, creative control and composition, get a mirrorless or DSLR.

DSLRs have been around for decades, have a traditional form factor and are compatible with a large number of interchangable lenses. Mirrorless cameras are the future of photography and are quickly becoming easier to use, but more powerful.

Often (but not always) one step up from the cameras built into your smartphone, point and shoot cameras generally offer better image quality, more shooting options, and, depending on the model, sometimes even a fair amount of exposure control. It’s a good entry point into the world of standalone cameras if you want to keep it both inexpensive and casual.PowerShot G7 X Mark III Silver is the perfect example of a versatile and feature-packed point and ... [+]shoot camera.Canon

That said, the cameras built into the latest smartphones (like the iPhone 13 Pro Max, Samsung Galaxy S22+, or Google Pixel 6 Pro) now rival what’s possible using a low-to-mid priced point and shoot cameras, which is why the popularity of this camera category is on the decline.

For about half of a century, SLR (Single Lens Reflex) cameras were the most common camera for serious photographers. Thanks to their interchangeable lenses, you could swap the lens in seconds to go from wide angle to telephoto. They offered complete exposure control. And the reflex mechanism—a mirrored prism that let you look through the viewfinder, but rapidly swung out of the way to expose film when you pressed the shutter button—enabled you to see exactly what you were about to take a picture of.DSLR cameras, like the Canon EOS Rebel T7 are ideal for beginner and more advanced photographers.Canon

These days, DSLRs are still that, only they use digital sensors (hence the “D”) instead of film. DSLRs have been the choice of serious (and aspiring) photographers for decades, but mirrorless cameras are quickly replacing them as the “go to” cameras used by semi-pro and professional-level photographers.

Mirrorless cameras are sort of like DSLRs, without the SLR part. In other words, there’s no mechanical mirrored prism that needs to move when you take the picture—the camera is a true digital device. It simply sends the same signal to the electronic viewfinder and the sensor that records the image. This lets mirrorless camera bodies weigh much less than DSLRs and be more compact in size (without compromising resolution or functionality).

Mirrorless cameras are the future of photography and will completely replace DSLRs eventually—but they currently still have some disadvantages. They can suffer from shorter battery life than DSLRs, for example, because they have to power an electronic viewfinder. Plus, the lens selection is sometimes more limited. However, this is quickly changing as the various camera manufacturers are all now fully embracing this new technology.

The first instant cameras were released in the late-1940s, but became super popular in the 1970s, thanks to Polaroid. Instead of using traditional film, these cameras use special photo paper that jettisons out of the camera once an image is taken—allowing you to hold a print in your hands within minutes after a photography has been taken.Instant camera photography has had a resurgence in popularity recently and companies like Polaroid ... [+]and Fujifilm now offer a wide range of instant cameras.getty

Instant cameras have made a resurgence in popularity in recent years. The latest instant cameras offer a few modern twists. To learn about the best instant cameras available in 2022, read The Best Polaroid Camera You Can Buy Today—And 11 Similar Instant Cameras To Make Prints On The Go.

These are small digital cameras that can easily be attached to your body, equipment you’re using, a selfie stick, or a tripod—allowing you to capture action from a stunning first-person or third-person perspective. They can also be used as a traditional, handheld point and shoot camera or as a video camera capable of shooting ultra-high resolution content.An action camera is small, rugged, waterproof and able to function in extreme temperatures.Insta360

Action cameras are waterproof, ultra-durable, will work in extreme temperatures and can often capture images and videos other cameras are not capable of. They also offer an ultra-wide angle lens. In some cases, they can capture 360-degree photos or video content as well.

These are digital cameras that either attach to or are built into drones, allowing you to capture stunning arial images while keeping your feet on the ground.

If you own an interchangeable lens camera—namely, a DSLR or a mirrorless camera—you might wonder if you should purchase additional lenses and what advantages they might bring. If your camera came with what’s often called a “kit lens”—a lens that comes bundled with the body—it might be all you need for all-around photography, especially when you’re first starting out. But there are some excellent reasons to consider upgrading.Most DSLR cameras offer a vast lens collection (each sold separately).Future via Getty Images

Imagine being able to zoom far beyond the reach of standard telephoto lenses, to capture not just the moon, but the craters, peaks and valleys of its surface. Imagine being able to view the International Space Station in flight, even the rings of Saturn—not with a telescope, but with a one-of-a-kind Nikon camera. Introducing the COOLPIX P1000, the most extreme zoom Nikon ever, and a game-changer for birders, sports and wildlife enthusiasts, travel photographers and even those aspiring to venture to the moon and beyond without leaving their backyard.16 MPLow-light CMOS Sensor

When shooting with extreme zoom power, tiny camera movements are amplified. The COOLPIX P1000 uses a Dual Detect Optical Vibration Reduction system to stabilize both horizontal and vertical movements.Bring your cinematic vision to life

The COOLPIX P1000’s smooth operating control ring provides next-level operation, enabling you to intuitively adjust focus in MF mode or exposure, white balance or ISO in AF mode right from the lens barrel without having to look away from the viewfinder.

Show off the COOLPIX P1000’s incredible zoom shots instantly on social media thanks to Nikon’s SnapBridge app for iOS® and Android™. SnapBridge pairs easily with Bluetooth/Wi-Fi® enabled Nikon cameras like the COOLPIX P1000 and allows you to send photos from the camera straight to your smartphone, then edit and share like normal.Great photos and videos from day one

Complementary metal-oxide semiconductor, one of the two main types of image sensors used in digital cameras. The Nikon COOLPIX CMOS image sensor with a backside illumination structure increases the amount of light that each pixel receives. The resulting improvement in noise and sensitivity reduction makes the select COOLPIX cameras more capable when shooting night scenes or in dark indoor situations.

This innovative technology improves screen visibility for a more vivid, clear image when taking and sharing pictures. Reflections are minimized while contrast and power savings are improved. (In select COOLPIX models).

Nikon COOLPIX cameras are so smart they know what kind of picture you"re taking and can automatically select from six commonly used scene modes, eliminating the mode-setting procedure and streamlining the shooting process.

Select COOLPIX digital cameras utilize the Target Finding AF feature which instantaneously assesses the intended subject and automatically adjusts the AF area according to its size to assure clearly focused images.

COOLPIX cameras and select D-SLRs in Live View mode, maintain focus on a moving subject using a contrast detection system, which is based on the principle that objects in a scene that are in focus display the highest contrast.

Refers to wireless technology and wireless communication. In photography, it"s most commonly the wireless transmission of images directly from a camera to a computer in order to achieve a swifter workflow.

This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.

As of Version 2.9, Android users of SnapBridge will also have compatibility with these cameras: D750, D7200, D7100, D5500, D5300, D3300, Df, J5, P900, AW130, S7000 and S3700.

If you have a different camera, you’ll find that the same functionality is present on your camera, though buttons and menus may be in places other than those shown here. Consult your owners’ manual.

Rather than developing and printing film, digital images can be downloaded easily to a computer. A photographer also can instantly review shots on an LCD (liquid crystal display) monitor built into the digital camera. The memory cards can hold a large number of images. After downloading the images to a computer, the flash cards can be erased for reuse.

A slight delay that occurs between clicking the camera’s shutter button and the camera actually taking the picture. The better the camera, the shorter this delay will be. Professional digital cameras do not suffer from this lag time, and the problem is becoming less pronounced even with cheaper consumer/pro-sumer cameras.

A battery is required for operation, so you’ll need to periodically recharge it (this can be done by connecting the camera to an AC power adapter and charging the battery in the camera, or by purchasing a separate AC battery charger).

Photos that are not quite as high quality as what you get with traditional single lens reflex (SRL) cameras, unless you purchase a very high-end (and expensive) digital camera. But even a mid-range digital camera produces photos that are suitable for the vast majority of purposes, including Web publishing.

There are two basic kinds of digital cameras: Digital SLR (single lens reflex) and non-SLR. Digital SLRs are generally more expensive and more accurate than non-SLR cameras, and include more professional features.

SLR cameras — whether film or digital — use a system of mirrors to take the image coming through the lens and reflect it up into the eyepiece. Thus, what you see in the eyepiece is exactly what you get on the camera back, where the image is recorded. In contrast, the eyepiece on a non-SLR camera looks out through a separate hole at the top of the camera. As a result, what’s seen through the viewfinder is slightly different from what comes through the lens. What you see is not exactly what you get.

While we sometimes think of the ability to preview a shot as a hallmark of digital cameras, there is an interesting side-effect of using an SLR camera in the digital world: The mirror that reflects light from the lens up to the viewfinder blocks the digital image sensor on the camera back until the image is shot. Therefore, digital SLR cameras generally do not let you frame and preview your shot on an LCD screen before shooting — you must frame your shot in the viewfinder, as you would with a traditional SLR camera.

There are a few digital SLR cameras that have come up with clever workarounds for this problem, but most digital SLRs, including the Canon Rebel, do not allow for LCD preview.

On the Canon Rebel, PowerShot G1 and G5, _the compartment is on the bottom of the camera. On the Pro1, the compartment is on the side. Push the button labeled BATT. OPEN in the direction of the arrow. Then to the right, place your thumb on the arrow and slide the battery compartment door to the right until it opens.

Digital still cameras can store images on a variety of different media types, such as SmartMedia, CompactFlash, and Sony’s MemoryStick. Some cameras even burn images to CD on the fly, or utilize small hard drives to store images. The CompactFlash format has emerged as the most popular storage media.

We’ll discuss resolution and compression in more detail later in this guide. Meanwhile, don’t be tempted to set your camera to the smaller formats and compression ratios just to squeeze more images onto a card. Memory cards and hard drives are cheap — even if you only intend to shoot for the web, you never know when the bureau chief might ask for a high resolution version for special purposes, or you decide you’d like to have a printable version. You can always remove data from an image, but you can’t restore data that was never there to begin with. For general purposes, we like to shoot at Medium format (2496 x 1664), Fine or Medium compression. Professional photographers use resolutions much higher than this.

The camera will have a slot into which you insert the flash card, generally on the right side of the camera. Place your thumb on the black arrow on the slot labeled CF OPEN and slide the small door to the slot in the direction of the arrow.

Swing open the door and insert the CompactFlash card into the slot, with the label facing toward the camera back and the arrow on the card pointing in. Push the card gently until it snaps into place. Then close the door until it clicks into place.

If your camera has a lens that extends automatically from the camera body, remove the lens cap from the front of the camera. This is important, because the camera lens will extend when the power is turned on. If it has to fight against the lens cap, the lens motor could be damaged.

On the Canon Rebel, use the large On/Off switch at the top right of the camera body, to the right of the Mode Dial. On the Canon PowerShot G1, the dial is on the top right. Turn the outer ring of the dial from Off to the red camera icon.

On the Canon PowerShot G5 and Pro 1, the power switch is the second dial from the right. With your thumb, move the dial to the red camera icon – it will flip back to its resting state afterwards, but the camera will be on.

As described in the introduction, digital SLR cameras generally do not let you frame shots on the LCD screen, while non-SLR cameras do. Regardless which kind of camera you’re using, set the camera to fully automatic mode before beginning. On the Canon Rebel,turn the main Mode dial to the plain square icon. For the G1, G5, and Pro 1, turn the main mode dial to “Auto.” Automatic mode will cause the camera to set focus, aperture, and shutter speed settings automatically.

To set PowerShot cameras to auto focus and exposure, use the Mode dial on the top right of the camera. Turn the dial until the word AUTO (in green) lines up with the black line to the left of the dial. Automatic mode on the Rebel is indicated in the photo in the Power-On section above.

Digital SLR: Use the viewfinder to frame your shot. In Automatic mode, the image should stay in focus as you move the camera. Twist the lens body to zoom in or out.

Non-SLR: Pull out the LCD screen from the back of the camera to see what the camera is framing for a shot. Alternatively, keep the LCD closed and look through the viewfinder on the back of the camera. Keep in mind that using the LCD screen will drain the battery more quickly. If you want to leave the LCD open but conserve battery power, tap the Display button on the back of the camera to temporarily turn it off.

The shutter button is almost always at the top right of the camera body, and is a large-ish button. To take a picture, press the shutter button on the top of the camera halfway down. Pressing the shutter button halfway tells the camera to set focus and exposure settings for the area inside one or more small rectangles seen in the viewfinder or on the LCD. You may also hear a beep or other sound from the camera, indicating that the camera is ready to shoot. This process is called pre-focusing.

When the rectangle(s) turn green, or a light flashes inside them, the camera has focused on and set exposure for the shot properly. Press the shutter button the rest of the way in to take the shot. While most modern cameras are fast enough to let you press the shutter button all the way down right away, without pre-focusing, it’s good practice to slow down and pre-focus first. You’ll get better results if both you and the camera have time to think about the composition of the shot.

Regardless the camera type, the new shot will appear on the LCD screen for two seconds (by default). This gives you a chance to review your shot before taking more, so you can make any necessary exposure or framing adjustments. If a shot comes out badly, you may want to delete it immediately, by pressing the trash can button on the camera (see Erasing Images). If you don’t want to wait two seconds, you can press the shutter button again to quickly take another shot. If you never want to wait two seconds, you can change this duration (or turn it off) in the camera’s menu.

The number of pictures remaining on your flash card will be displayed in the smaller view window on the top left of the camera (on the Rebel, the Info window is below the viewfinder on the back, rather than on top of the camera).

Settings that might vary from one picture to the next are made with the various dials and buttons on the camera body. Other settings specific to general camera operations, such as resolution and compression of the photos, are changed through the camera’s menu, which is displayed on the LCD screen.

On Canon cameras, access the menu by pressing the button labeled MENU. The menu will be displayed in the LCD screen. On the Rebel, the Menu button is at the top left of the camera back. _

The layout of the menu is somewhat different for every camera, but they generally cover the same thing. Here we cover the menus for the PowerShot G2 and the Rebel.

The Rebel has a total of five menus: Two shooting menus, one playback menu, and two setup menus. Menus can be navigated either with the Main Dial (the plastic wheel/knob at the top right of the camera or with the arrow keys. Major sections of the menu can also be navigated with the Jump button. Pressing the middle SET button activates the current menu choice (you should generally think of the SET button like an OK button as you work with the camera).

The Shooting menus let you set things like image resolution, whether the camera should beep for confirmation when you do certain things, ISO speed, set “bracketing modes,” and adjust the white balance. The Playback menu lets you “lock” images, rotate them, and run a slideshow on the LCD. The Setup menus let you do things like set LCD brightness, set the timestamp, or format a CF card.

You can press the Info button on the back of the Rebel at any time to see a listing of all current camera settings. This makes it easy to see at a glance all of the menu options currently set or selected.

In some menu items you may be asked to confirm an action (such as reformatting the flash card, which will prompt you to OK the action). In that case, used the left and right Omni Selector buttons and press the SET button on the back of the camera just to the left of the menu button to confirm the action. The SET button is the equivalent of saying “OK.”

This will restore the camera to the settings we recommend, with the exception of the Resolution setting, which you’ll need to change to one of the middle settings using the Func button.

You can change both the resolution and the compression level of the pictures you take with a digital camera. Resolution refers to the dimensions of the images as measured in pixels and compression refers to the amount of data used to describe the image.

3456 x 2304 – the best possible resolution on the Canon Rebel, not available on other cameras covered here. Using this resolution will dramatically reduce the number of shots you can fit on a card.

640 x 480 – the lowest quality, which allows you to take the largest number of photos on a single flash card. This resolution is still be good enough in many cases for photographs being used on Web pages. Use this resolution only if caught in the field without an extra memory card.

Set the resolution from the Shooting menu. Press the camera’s MENU button and navigate to the Shooting tab, then down to the Resolution or Image Quality sub-menu.

On the PowerShot cameras, use the Omni Selector dial, the gray button with four arrows that’s on the back top right of the camera, to navigate through the menu. On the Rebel, the arrow keys work much like the Omni Selector. Press on the downward pointing arrow until the Resolution settings line is highlighted. Then press the right or left arrows to move between and select a resolution. For Web purposes, we recommend using a resolution of at least 1024×768. For print purposes, we recommend using a resolution of at least 2048 x 1564.

Some cameras also let you access the image resolution directly, without going all the way through the menu system. On the PowerShot G5 and Pro1, set the resolution by pressing the FUNCbutton on the back of the camera. Then use the Omni Selector, the gray button with four arrows that’s on the back top right of the camera, to scroll down to the bottom entry in the list for resolution.

Digital cameras usually store pictures in JPEG format, which also happens to be the standard format for displaying images on the Web. The JPEG format allows you to change the compression of the pictures you take.

This setting offers another trade-off between the quality of the pictures and the number of pictures you’ll be able to fit on a single memory card. Compression discards some of the information in a digital photo (in effect some of the pixels) to reduce its size, while trying to retain enough of the information so the quality of the photo is still high.

On the Canon PowerShot G1, set the compression through the menu. On the back of the camera, push the MENU button. The menu will be displayed in the LCD screen. Be sure the red Rec menu is highlighted. Then use the Omni Selectordial, the gray button with four arrows that’s on the back top right of the camera, to navigate through the menu. Press on the downward pointing arrow on the Omni Selector until the Compression settings line is highlighted. Then press the right or left arrows on the Omni Selector dial to move between and select one of the three icons that represent different settings:

There are several camera “modes” you can use that determine how much thinking the camera should do for you. Most cameras offer a range of options from fully manual to fully automatic, and everything in between. These modes let you more control over the kinds of pictures you take with your camera, and let you make choices such as whether to use manual focus, exposure, close-ups, portaiture, and so on.

The settings fall into two general categories, or “zones.” The most basic mode is fully automatic. On most Canon cameras, automatic mode is marked by an “A” or the word “Auto.” On the Rebel, automatic mode is marked with a plain square icon. As you turn the main dial clockwise from automatic mode, where the icon graphics are, you’re using the camera in the Basic zone. As you turn the dial counter-clockwise from Automatic mode, you’re using the camera in the Creative zone. Basic zone settings do more of the setup work automatically, while Creative zone modes give you more control. Basic zone modes can also be thought of as “pre-sets” for specific combinations of focus and exposure tailored for certain shooting conditions.

These pre-set options or modes are listed as you turn the dial clockwise from the auto setting. Various cameras have various combinations of these modes – your camera may not have some modes listed here.

Pan Focus Mode – for shots with a lot of action where focusing is difficult. This sets the camera at the widest possible angle to try to keep everything in focus. This mode does not exist on the Rebel.

Sports Mode – Icon = a running figure. Use this mode for shooting scenes with lots of motion, which you want to capture without blurring. This mode does not exist on earlier models of Canon cameras.

Movie Mode – Icon = a movie camera. Use this mode to shoot low-resolution movies directly in the camera (note: no digital still camera in movie mode can come close to the movie quality you get with a digital video camera — consider this mode a novelty only.) This mode does not exist on the Rebel.

Here are the options on the Canon cameras that give you more manual control over the camera settings, listed as you turn the Main Dial counter-clockwise from the auto setting:

Program mode is much like Automatic mode – the camera will still do most of the setup work for you — but it allows you to manually override some settings, such as focus, while the camera still automatically adjusts exposure. For example, you might want to manually adjust the focus if there’s an object in the foreground that the camera would automatically focus on, while you want to focus on something that’s more in the background.

Program mode is recommended for users who want good shots without thinking too hard about it, but require just a bit more control than is offered full Auto mode.

Rebel: To manually focus the Rebel, first look for the AF/MF switch at the top left of the lens body. Make sure it’s set to MF (manual focus). Then, with the camera in P mode, turn the outermost focus ring on the lens body while looking through the viewfinder.

This mode allows you to manually adjust the shutter speed, while the camera automatically adjusts the aperture. Remember: Exposure is a combination of exposure and shutter speed.

The shutter speed is how long the shutter remains open to record a digital image. If you decrease the shutter speed, the shutter remains open a longer period of time.

G1: On the Canon G1 camera you manually adjust the shutter speed in TV mode by pressing the left and right arrows on the large Omni Selectorbutton on the back top right of the camera.

G5: On the Canon G5 you manually adjust the shutter speed in TV mode by turning the Main Dialon the top front right of the camera (in front of the shutter button).

The shutter speed you select will be shown in the LCD display – the higher the number the faster the shutter speed (most numbers are fractions of a second, while numbers with ” next to them are the slowest shutter speeds, measured in seconds).

This allows you to manually adjust the aperture, while the camera automatically adjusts the shutter speed. Remember: Exposure is a combination of exposure and shutter speed.

The aperture is the size of the opening to the camera lens. It’s measured in “F stops,” ranging from F2 to F8, with F2 being the largest opening and F8 being the smallest. Many cameras have ranges that go lower than F2 and higher than F8 (on the Rebel, available aperture values depend on what lens is currently attached to the camera).

G1: On the Canon G1 camera you manually adjust the aperture in AV mode by pressing the left and right arrows on the large Omni Selectorbutton on the back top right of the camera.

G5 and Pro 1: On the Canon G5 and Pro1, you manually adjust the aperture in AV mode by turning the Main Dialon the top front right of the camera (in front of the shutter button).

In Manual mode, shutter speed and aperture are adjusted on all cameras described in the TV and AV sections above. In Manual mode, you are 100% responsible for these settings – the camera will not try to figure anything out for you.

Most digital cameras come with a built-in flash. This usually can be set to fire automatically, in which case the camera will measure the lighting and engage the flash when you take a picture whenever the lighting level is too low.

Rebel:In any of the Creative modes, press the lightning bolt icon button at the left of the camera body. The flash unit will pop up, and the flash will go off when the next shot is fired. To turn the flash off again, press the flash unit itself down until it snaps into position. The flash cannot be turned off when the camera is in any of the Basic modes.

PowerShot _cameras: Set the flash by pressing the small button on the top left of the back of the camera that’s marked with a tiny lightning bolt. As you press the button the options are displayed as icons in the upper left corner of the LCD screen. The options are:

PowerShot G1: Press the “WB” button on the camera back repeatedly, until the scale on the LCD shows a flash icon. Then press the omni selector left or right to adjust the flash intensity up or down. Press the Set button to accept the new setting.

PowerShot G5: Press the FUNC button on the camera back, then use the down arrow on the omni selector to scroll down to the flash entry. Now scroll left or right to adjust the flash intensity up or down. Press the SET button to accept the new setting.

Most cameras can also accept high-quality aftermarket flash units, which will provide more full and even illumination. Consult your camera’s documentation to see which flash unit to buy.

To do this, go into Playback mode on the camera, which will display your photos on the LCD screen. You can scroll through the pictures one at a time or display multiple images on a single screen. When you enter Playback mode, the last recorded picture will be displayed on the LCD screen, and you can use the left and right arrow keys (or the Omni Selector) to navigate through the collection of images on the CF card.

Rebel:Press the blue Playback button on the back of the camera. It’s marked with an arrow icon. The last image you shot will appear on the LCD. Press the Info button on the back of the camera to see a wealth of metadata about the current image (such as resolution, exposure settings, timestamp, etc.)

You can zoom in and out on an image by pressing the magnifying glass buttons at the top right back of the camera body, or pan over the image by using the arrow keys. As long as you are not in pan or zoom mode, you can press the blue checkboard icon button to view nine images at a time. Use the Jump button to skip forward nine images at a time. To get out of checkerboard mode and focus again on a single image, navigate to that image with the arrow keys and press the Play button again.

PowerShot G1: Go into playback mode by using the main dial on the top of the camera. Turn the outer ring of the dial from the on or off position to the blue playback icon arrow.

PowerShot G5 and Pro1: Go into playback mode via the small ring that surrounds the OFF button. Push your thumb on the small recessed button and slide the toggle from camera mode to playback mode.

You can view “metadata” (additional information) about the currently displayed image by pressing the DISPLAY button on the back of the camera at the bottom. To get more information on the particular photo, press the display button a second time.

You can display nine photos at a time by pressing the multi replay button on the back of the camera on the top left (it’s the same button that sets the flash when you’re in camera mode). This button looks like a small checkerboard. The multi replay mode will let you see your images as thumbnails, nine to a screen.

You again can use the left-right and up-down arrows on the omni selector button to scroll through the photos. And once you’ve selected a photo you want to view in more detail, press the multi replay button again to return to displaying a single picture on the screen.

Since images appear on the LCD for two seconds as soon as they’re shot, you often know immediately when a shot hasn’t worked out and can be discarded. Press the Trash Can button (at the bottom left of the camera back on the Rebel) while the image is on screen and a confirmation dialog will appear. Press the right arrow key to select OK and then press the SET button. With a bit of practice, you can get very fast at this, and not have to worry about your CF card being filled up with poor images that you’ll have to weed out later. But be careful – because the LCD is small, sometimes you can’t see an image clearly enough to know that what you thought was garbage actually contained something you should have kept. Be judicious with what you delete.

Reformatting the CF card has a similar effect to using the Erase All function, with one important difference: If you’ve used the same CF card in an audio recorder / player or other device, the “Erase All” function simply deletes the photos on the camera. Formatting the card wipes it entirely clean, including any non-camera data on the card. If a CF card starts to malfunction, reformatting will often restore it to full working condition.

Some cameras come with USB or FireWire cables you can connect directly to the computer. Alternatively, users can purchase an inexpensive “card reader” which attaches to the computer via USB or FireWire. If you have a card reader, you’ll need to turn off the camera, remove the memory card, and insert it into the card reader.

You can then transfer the images from the camera or the flash card reader using any of a number of photo management programs (which often come bundled with the camera). In many cases you simply use the computer’s file manager (such as Windows’ Explorer or OS X’s Finder) to drag image files directly from the CF card to the computer.

When a camera is connected to a Mac running OS X, iPhoto launches automatically, tells you the name of the connected camera, and how many images are on the memory card inside. Clicking the Import button at the lower right of the iPhoto window starts the import process. You’ll have the opportunity to tell iPhoto to delete images from the card after transfer, or to keep them. In most cases, you’ll want the images deleted.

If you’re familiar with your camera’s options and settings, and you’re the sole user of the camera, you’ll probably want to leave all settings the way they are when you turn the camera off, so they’ll be set the same way when you use the camera again. However, if you share the camera with others, or if the camera is new/unfamiliar to you, you may want to reset the camera’s settings to its factory defaults. This way you’ll know you haven’t inadvertently inherited settings you or someone else made when they previously used the camera.

Press the Menu button and navigate (with the Jump button) to Setup menu #2, then down to “Clear Settings.” You’ll get two sets of default options: One to clear settings and one to clear functions. Clearing the settings resets options such as ISO, image resolution and compression, drive and metering mode, and exposure compensation. Clearing the functions resets custom functions such as mirror lockup, exposure level increments, and auto-focus assist beam (these are items you might have set earlier through the Custom Functions menu item). To be sure you’ve reset the camera completely, clear both the settings and functions.

On the Canon PowerShot G5 and Pro1 cameras, you can easily restore the factory default settings by pressing the Menu button on the back of the camera for 5 seconds or longer.

When you get the “Reset settings to default?” prompt, use the right arrow on the Omni Selector button to select OK. Then press the Set button to restore the default settings. Now all you need to do is change the resolution and compression settings. On the PowerShot G5 and Pro1, go into camera mode for taking pictures, and then set the resolution by pressing the FUNC button.

This digital still camera tutorial is based on lectures Mimi Chakarova gave in multimedia skills classes at the UC Berkeley Graduate School of Journalism. It was written by Paul Grabowicz and Scot Hacker.

This content may not be republished in print or digital form without express written permission from Berkeley Advanced Media Institute. Please see our Content Redistribution Policy.

A digital camera is a camera that captures photographs in digital memory. Most cameras produced today are digital,photographic film. Digital cameras are now widely incorporated into mobile devices like smartphones with the same or more capabilities and features of dedicated cameras (which are still available).

Digital and digital movie cameras share an optical system, typically using a lens with a variable diaphragm to focus light onto an image pickup device.shutter admit a controlled amount of light to the image, just as with film, but the image pickup device is electronic rather than chemical. However, unlike film cameras, digital cameras can display images on a screen immediately after being recorded, and store and delete images from memory. Many digital cameras can also record moving videos with sound. Some digital cameras can crop and stitch pictures and perform other elementary image editing.

In the 1960s, Eugene F. Lally of the Jet Propulsion Laboratory was thinking about how to use a mosaic photosensor to capture digital images. His idea was to take pictures of the planets and stars while travelling through space to give information about the astronauts" position.Texas Instruments employee Willis Adcock"s film-less camera (US patent 4,057,830) in 1972,

The Cromemco Cyclops was an all-digital camera introduced as a commercial product in 1975. Its design was published as a hobbyist construction project in the February 1975 issue of RAM (DRAM) memory chip.

Steven Sasson, an engineer at Eastman Kodak, invented and built a self-contained electronic camera that used a CCD image sensor in 1975.Fujifilm began developing CCD technology in the 1970s.

Nikon has been interested in digital photography since the mid-1980s. In 1986, while presenting to Photokina, Nikon introduced an operational prototype of the first SLR-type electronic camera (Still Video Camera), manufactured by Panasonic.pixels. Storage media, a magnetic floppy disk inside the camera allows recording 25 or 50 B&W images, depending on the definition.

At Photokina 1988, Fujifilm introduced the FUJIX DS-1P, the first fully digital camera, capable of saving data to a semiconductor memory card. The camera"s memory card had a capacity of 2 MB of SRAM (static random-access