difference between viewfinder and lcd screen factory

LCD screens are great, and the quality improves with each new generation of DSLR cameras appearing on the market. But, many professional photographers prefer to use a camera"s viewfinder. We explain the benefits and disadvantages of each.

LCD screens have advantages, but so do optical viewfinders. When it"s time to frame a photo with your DSLR camera, you need to decide which side of the viewfinder vs. LCD debate you lean. Unlike the optical viewfinder, the LCD screen displays the entire frame that the sensors capture. Optical viewfinders, even on a professional level DSLR, only show 90-95% of the image. You lose a small percentage on the edges of the image.

Digital SLRs aren"t light, and it"s easier to produce a crisp, sharp image when you hold the camera up to your eye to use the viewfinder. That way, you can support and steady the camera and lens with your hands. But, viewfinders are generally smaller than LCD screens. Viewfinders are also less convenient to use, especially if you wear glasses.

At the end of the day, though, as intelligent as digital cameras are, the human eye can resolve more detail than an LCD screen. You get a sharper and more accurate view of your image by using the viewfinder.

The biggest drawback with LCD screens is probably shooting in sunlight. Depending on the quality of the screen, you may not be able to use it in bright sunshine because of the glare. All you see are reflections off the screen. Also, the crystals contained within LCD screens tend to flare in bright sunlight, making the situation worse.

Holding the camera at arm"s-length while looking at the LCD screen—and then keeping the camera steady while zooming in on a subject—takes effort. When you use the LCD screen this way, you often end up with a blurry image.

No matter how good an LCD screen is, it"s unlikely to give an accurate overview of the image you took. Most overexpose an image by as much as one full stop. It"s best to acquire the technical knowledge about photography, rather than rely on the LCD screen to determine image quality. With this technical knowledge, you"ll have the confidence your settings are correct, and your images are properly exposed. So, in most cases, it"s best to use the viewfinder. But, if you like the convenience of an LCD, or you wear glasses, use the LCD. It"s mostly a matter of personal preference.

The benefits of the viewfinder and LCD screen are often compared with one another. Depending on whom you ask, you might hear remarkably different opinions on the usability of the two.

Let’s go through some of the pros and cons of both and present you with an objective case for why you should pick one over the other. Keep in mind that this isn’t meant to dictate which shooting method you should use. There are valid reasons to use both; it just depends on the situation.

As discussed above, photography is all about precision. Viewfinders have been around long before LCD screens, and therefore many photographers find viewfinders more comfortable to work with.

Viewfinders offer much more precision when you are shooting, especially on a bright day. It allows you to focus on the small details. Viewfinders reduce image distortion and capture an accurate image. That’s why most DSLRs and high-end mirrorless cameras today still have viewfinders.

Running out of battery is a nightmare for photographers, especially if you don’t have any spares. That’s why viewfinders are considered optimal in these situations. Viewfinders use comparatively much less battery than LCD screens.

If you are shooting in an area where electricity is scarce, or don’t have access to a charger or backup batteries, the viewfinder will be a better choice for you.

Viewfinders are very convenient to use and provide smooth handling. When looking through the viewfinder, it’s easy to keep the camera steady. This makes the viewfinder an optimal choice when you need to zoom in or have a slightly heavier camera.

For many people, this extra effort of adjusting your eyeglasses is troublesome. However, some viewfinder cameras have a built-in diopter that can help make it easier to use with glasses.

Viewfinders can be much smaller compared to LCD screens. As a result, you may not be able to see everything you’re capturing in the viewfinder accurately. This drawback is very important for photographers who want to preview every single detail when taking a picture.

To see details on viewfinders, especially the electronic ones, you have to zoom in on the frame. However, this can lower the resolution of the preview. Luckily, if most of your shots consist of zoom shots, this may not bother you much.

What sets LCD screens apart from viewfinders is their ability to provide 100% image coverage to the photographer. In comparison, cameras with a viewfinder offer around 90-95% of the image, sometimes less.

What you see through the viewfinder doesn’t always end up in the final result. Small details can be crucial. That’s why this 5-10% difference in image coverage can be a significant reason why you might choose an LCD screen over the viewfinder.

When you are in a lower field-of-view, framing can be much more difficult. Many people can’t take a picture while lying on the ground using a viewfinder. This is where LCD screens come in. Flexible LCDs make it easier for you to capture images when you can’t reach awkward angles.

LCD screens produce great results for night photography. LCD screens are often used for night photography due to their bright image playback quality. They help you focus on the small details when you are shooting at night.

An evident shortcoming of the LCD screen is its lack of utility on a bright day. Because of the glare, many people cannot use their LCD screen at all on a sunny day. It’s hard to see anything on the LCD except the reflections.

Another drawback to using an LCD screen is its difficulty in handling it. Holding the camera while looking through the LCD screen is difficult and takes a lot of effort, especially when you are zooming and trying to be precise.

Another disadvantage of LCD screens is the fact that they can easily overexpose your image. This should not be a problem for seasoned photographers who can improve the quality of the image with better handling and precision.

Those were some of the benefits and drawbacks of using a viewfinder and LCD screen to consider. So, which one is best? The answer depends on your personal preferences and budget.

If you’re a traditional photographer, you’ll probably be more comfortable with the viewfinder. If you are a photographer who likes to focus on small details and image quality, you should opt for the LCD screen.

Whether you"re shooting with a DSLR or a mirrorless camera, there are times when it"s easier to use the camera"s viewfinder rather than the LCD screen, and vice versa. For example, it"s usually easier to hold the camera steady when it"s held to your eye because it"s braced against your face. It"s also easier to follow a moving subject in a viewfinder than it is on a screen with the camera at arm"s length.

However, when you"re shooting landscape, still life, macro or architectural photography with the camera mounted on a tripod, the larger view provided by the LCD screen is extremely helpful. Similarly, when you want to shoot from above or below head height or at an angle, it"s very convenient to frame the image on a tilting or vari-angle screen instead of trying to use the viewfinder.

It"s also very helpful to use the LCD screen when you"re focusing manually because the Live View image can be zoomed in to 5x or 10x magnification. This provides a very detailed view of any part of the image, making critical focus adjustments much easier.

On the EOS 90D in Live View mode and on mirrorless cameras including the EOS R5, EOS R6, EOS R, EOS RP, EOS M6 Mark II and EOS M50 Mark II, you can also enable Manual Focus Peaking (MF Peaking), a visual aid to show which parts of the image are in sharpest focus. In theory, areas in focus will coincide with the greatest contrast, so the image is evaluated for contrast and these areas are highlighted on the display in a bright colour of your choice. You can see the highlighted areas of the scene change as you change the focus.

Bear in mind, however, that using your camera"s rear screen for extended periods will have an impact on battery life. Using Live View on a DSLR is also not recommended when you want to take fast bursts of shots, because it will usually reduce the continuous shooting speed. At the other extreme, if you"re shooting an exposure that lasts for multiple seconds or minutes, an optical viewfinder can cause a particular problem: stray light can enter the viewfinder and interfere with the exposure. To prevent this, use the eyepiece cover provided on your DSLR"s strap.

EOS cameras with an EVF have a proximity sensor that will automatically switch from the rear screen to the viewfinder when you raise the camera to your eye (although you can optionally disable this).

Should I use the camera viewfinder or LCD? More importantly, in the age of iPhones and touchscreens, is the viewfinder now obsolete? Read on, and you may just discover a need for both.

Should I use the camera viewfinder or LCD when capturing an image? Indeed, this debate will no doubt continue into the foreseeable future. At any rate, long before the liquid crystal display (LCD) came into the picture, the viewfinder was the only game in town. Thus, it certainly stands to reason why many seasoned photographers prefer the viewfinder over the LCD. However, in light of the miniature camera revolution, one might consider the viewfinder outdated or even obsolete; consequently, many contemporary photographers appear to favor the LCD. In any case, the LCD has changed the game and offers distinct advantages and new possibilities for photography. Regardless of your current preference, a bit of experimentation may help improve your game.

Above all, composition is the most crucial element in any photograph. Indeed, everyone enjoys a stunning well-exposed tack sharp photo. Of course, the methods used to capture an image play an essential role in the quality of the image. For example, during hand-held photography, using the viewfinder draws the camera closer to the body offering a lower profile thus providing a better foundation as opposed to extending the camera forward to compose an image. Naturally, getting the shot is what counts! Deciding between using the LCD or viewfinder boils down to personal preference.

Although wearing eyeglasses can exacerbate the situation, it’s still possible to use the viewfinder. However, whether farsighted or nearsighted, fumbling around with eyeglasses can take the fun out of photography. Fortunately, many cameras offer viewfinders with a built-in diopter that permits one to compensate for optical shortcomings. In fact, some camera models offer additional diopters for those requiring further correction. Honestly, while wearing reading glasses, I do find it a bit cumbersome to bounce back and forth from the viewfinder to the LCD. I sometimes wear my glasses tethered around my neck. At any rate, I find using the viewfinder worth the extra effort.

No doubt, shooting at ground level can make framing an image extremely difficult. Composing a photograph with the viewfinder while lying on wet grass presents an unacceptable challenge for some people. Still, using the LCD does not guarantee the user will remain completely dry, even with a tilting LCD. Plus, not all cameras have an adjustable LCD. Nevertheless, the increasing popularity of the adjustable LCD suggests many people may favor the LCD over the viewfinder. Although I prefer the viewfinder in most situations, the LCD occasionally has its advantages. Regardless of one’s preference, an adjustable LCD has an undeniable ergonomic benefit when shooting at low levels. On the other hand, for the diehard viewfinder fan, it is possible to retrofit many camera models with an angled viewfinder.

While composing an image, a mindful photographer pays careful attention to every detail in the frame, especially distracting elements near the edges. Unfortunately, excluding high-end cameras, most DSLR viewfinders do not offer 100 percent coverage. For example, when using a DSLR with only 95 percent coverage, during post-processing one is likely to discover overlooked articles near the edge of the image. Whereas the articles would have been visible if composed on an LCD. In other words, unlike the LCD, what you see in the viewfinder isn’t necessarily what you get in post-processing. As for myself, this is an outright deal-breaker. Although many camera models offer viewfinders with greater than 95 percent coverage, nothing beats 100 percent. On the other hand, is five percent more coverage worth the added expense? Honestly, the deciding factor comes down to personal preference and budget.

Viewing an image on an LCD in brightly illuminated situations may prove difficult indeed. When shooting under extremely bright conditions, one may find it impossible to actually see the image on the LCD. Although I certainly prefer the viewfinder in bright situations, purchasing an LCD hood or shade provides a simple solution. Though an LCD hood will help reduce glare, these devices are bulky and require removal to use of the viewfinder. Honestly, the LCD has its benefits, but in this case, why add an additional device if it’s not necessary.

I occasionally hear the notion that bright light from an LCD impairs night vision. Of course, staring at any bright light source will affect one’s night vision. Be that as it may, I would not rule out using the LCD for night photography. In fact, I often use the LCD at night for image playback, and I’m yet to stumble over my gear from loss of night vision. In any case, both the viewfinder and LCD are beneficial for night photography. Incidentally, while shooting a moonbow at Cumberland Falls State Park near Corbin Kentucky, I found the LCD indispensable in reviewing the color span captured in the moonbow. Due to sparse lighting, the human eye has a difficult time discerning the colors of a moonbow, and thus it appears white to the naked eye. Nevertheless, during image playback on the LCD, the colors in the moonbow are evident. See the moonbow here.

Depending on the camera model, the information available in both the viewfinder and LCD will vary. Regardless of the camera data, with today’s technology, most people have no trouble pointing and shooting a camera with satisfactory results. However, being acquainted with the exposure triangle can open new possibilities with the potential for boundless creativity. Hence, the ability to observe shutter speed, aperture, ISO, and exposure is paramount. One advantage of the LCD is the ability to view a live histogram in live view. Indeed, a live histogram is pretty impressive, but not available on all cameras. In any case, I prefer to use the histogram during image playback.

Now, this is extremely important for those that need to squeeze every ounce of life from a battery. I often hike and camp in primitive areas where electrical power is a luxury. That being the case, the difference in battery life is monumental! An LCD requires far more energy compared to an optical viewfinder. In fact, the LCD requires 100 percent more energy. However, poor battery life is easily mitigated in most cases. For example, carry extra batteries and take advantage of charging opportunities while traveling near power sources or while dining in a restaurant. Also, consider investing in a battery grip.

Depending on the type of photography, both the viewfinder and LCD have distinct advantages. For example, live view employs contrast detection to analyze image contrast pixel by pixel, thereby significantly improving focusing accuracy. Furthermore, live view provides additional focusing points allowing more versatility, especially handy when the camera is mounted on a tripod. Utilizing the LCD, one can zoom in and precisely focus on a specific detail. Consequently, a landscape photographer may favor using the LCD to enhance the focus of still subjects. However, the focusing speed is at a snail’s pace compared to using a viewfinder which employs phase detection for focusing.

For this reason, a sports photographer would likely opt for the benefits of the viewfinder. In fact, because of its quick and reliable focusing, phase detection yields better results for fast-moving subjects. Indeed, a sharp image is the benchmark of any serious photographer. With this in mind, understanding the fundamentals of phase detection and contrast detection is instrumental.

Indeed, whether using the LCD or viewfinder to compose an image, covering the viewfinder eyepiece on a DSLR is an excellent idea. In fact, in backlit situations, light can enter through the viewfinder and appear on the image as a solar flare. Moreover, light entering through the viewfinder can fool the camera’s light meter resulting in an underexposed image. Despite manufacturing attempts to protect against light leakage, even the most expensive cameras can leak light back to the sensor. In fact, with the mirror in the up position, the light may still pass through and find its way to your image, especially during a long exposure. Consequently, and for a good reason, many manufacturers deploy the use of built-in eyepiece shutters or external eyepiece covers. Why leave your masterpiece to chance?

A DSLR utilizes a mirror to reflect an image through the lens and onto the sensor. Obviously, a “mirrorless” camera does not use a mirror to reflect an image to the viewfinder. Instead, a mirrorless camera projects an electronic or “digital” image to the viewfinder. I think an electronic viewfinder (EVF) is much like an LCD only smaller. As a matter of fact, an EVF is analogous to having a tiny TV screen extremely close to your eye. Alternatively, an optical viewfinder (OVF) allows the user to look straight through the lens via the mirror. Nevertheless, both the OVF and EVF provide the user with a practical view; however, the two views are entirely different.

Nevertheless, the EVF does have a few advantages. For example, like the LCD, the EVF offers 100 percent coverage, so what you see in the viewfinder is what you get in the image. Also, the EVF is illuminated and thus beneficial in low-light situations.

Despite having a few benefits, none outweigh the advantages of the OVF in my humble opinion. Honestly, zero lag time and image clarity alone provide sufficient reason to opt for the OVF. At any rate, it’s important to note that no two photographers are alike, and every situation is unique. As a landscape photographer, I truly appreciate the magnificence of nature and embrace any occasion to connect with it. Therefore, unlike the EVF, the OVF allows me to view a composition in its true color and natural brilliance. Still, the choice resides with each photographer to decide what works for their particular circumstance. In the end, it’s all about having a grand experience and possibly heading home with a magnificent image!

Although I do my best to remain objective when writing, I’m sure it’s apparent that I prefer the viewfinder over the LCD. Despite that being the case, you may have noticed that I practice both in my photography. Honestly, I suspect many people do the same. Indeed, I very much enjoy the connection to nature that photography affords. Although an LCD has its benefits, I prefer viewing my subject through the sharp clarity produced by an optical viewfinder. In short, if forced to decide between one or the other, I choose the OVF. At any rate, these are mere opinions and should be taken with a healthy portion of common sense and personal experience. As I always like to say, it’s genuinely a matter of personal preference.

Whether you"re shooting with a DSLR or a mirrorless camera, there are times when it"s easier to use the camera"s viewfinder rather than the LCD screen, and vice versa. For example, it"s usually easier to hold the camera steady when it"s held to your eye because it"s braced against your face. It"s also easier to follow a moving subject in a viewfinder than it is on a screen with the camera at arm"s length.

However, when you"re shooting landscape, still life, macro or architectural photography with the camera mounted on a tripod, the larger view provided by the LCD screen is extremely helpful. Similarly, when you want to shoot from above or below head height or at an angle, it"s very convenient to frame the image on a tilting or vari-angle screen instead of trying to use the viewfinder.

It"s also very helpful to use the LCD screen when you"re focusing manually because the Live View image can be zoomed in to 5x or 10x magnification. This provides a very detailed view of any part of the image, making critical focus adjustments much easier.

On the EOS 90D in Live View mode and on mirrorless cameras including the EOS R5, EOS R6, EOS R, EOS RP, EOS M6 Mark II and EOS M50 Mark II, you can also enable Manual Focus Peaking (MF Peaking), a visual aid to show which parts of the image are in sharpest focus. In theory, areas in focus will coincide with the greatest contrast, so the image is evaluated for contrast and these areas are highlighted on the display in a bright colour of your choice. You can see the highlighted areas of the scene change as you change the focus.

Bear in mind, however, that using your camera"s rear screen for extended periods will have an impact on battery life. Using Live View on a DSLR is also not recommended when you want to take fast bursts of shots, because it will usually reduce the continuous shooting speed. At the other extreme, if you"re shooting an exposure that lasts for multiple seconds or minutes, an optical viewfinder can cause a particular problem: stray light can enter the viewfinder and interfere with the exposure. To prevent this, use the eyepiece cover provided on your DSLR"s strap.

EOS cameras with an EVF have a proximity sensor that will automatically switch from the rear screen to the viewfinder when you raise the camera to your eye (although you can optionally disable this).

Hope you caught the first line of my last post as a joke, and that you recognize that most of my ire about camera design is reserved for whomever else might have the power to change it.

Melissa, there will come a time in your growth into photography that you may begin to recognize that some of the most important stuff happens before you look through the viewfinder. The viewfinder will come to be mostly a confirmation of what you expect from your picture. It"s more of a final, but important, check.

There have been many good photos made with little more than a peephole and a wire frame for viewfinding. I have, and still use, one such camera. It can take a little more time, but once you get there, you may not notice. You"ll probably be too busy composing and visualizing before you make the picture.

The newer versions. Well, you can see I"m not a big fan. Yet, not only should the structure of the viewfinder not be too influential; there will come that time when non-reflex work, pictures without a look through the lens, will be important. The oldest of cameras were like this. We"ve just seen a computerized simulation of the return to these practices, except the contemporary kind is hybridized into that LCD interface in the point and shoot.

Back when, George Eastman needed plenty of ladies to gather chicken eggs and cook "em up in order to build his empire. In his first camera, I think there was no viewfinder at all. I think it was in the second camera that they added a mirrored window to help people aim the camera. Its screen was small enough to fit on the face of a dime.

The thinking before you use the viewfinder will come to be more important as you start to round out your basic skills as a photographer. You might find that this thinking may be one of the most influential segments of your creative process, later. The more I make pictures, the more before the camera work occupies me quite a bit.

The eye sensor turns the viewfinder on when you put your eye to the viewfinder and turns it off when you take your eye away (note that the eye sensor may respond to objects other than your eye or to light shining directly on the sensor). If automatic display selection is enabled, the LCD monitor will turn on when the viewfinder turns off.

Use the viewfinder selector to switch between the electronic viewfinder (EVF), the optical viewfinder (OVF), and a dual optical viewfinder/electronic range finder (ERF) display.

The optical display is sharp and free of blur so that your subject’s expression is always visible. In addition, the OVF shows the area just outside the frame, making it easier to compose shots on the fly. Because the viewfinder window is a slight distance from the lens, the area visible in photographs may however differ slightly from the display in the viewfinder due to parallax.

The live view display gives you a preview of the final picture, including depth of field, focus, exposure, and white balance. Frame coverage is approximately 100%, ensuring accurate framing under all conditions.

As for the optical viewfinder but with a focus preview. A magnified view of an area of the frame including the current focus position is shown at the bottom right corner of the display.

This is a nice copy of the Zacuto Z-finder. It apes Zacuto"s housing"s design, so it should fit Zacuto"s lanyard and camera mounting solutions. Unfortunately, Seagull did not copy Zacuto"s lens design, so it won"t fit Zacuto"s eye cups, but it might fit the Bluestar chamois. Zacuto"s optics are larger, 40mm in diameter as stated in their website, while Seagull"s are 30mm wide. I haven"t tried a Zacuto for comparison, but I can infer that this difference in optics size will be the reason for 2 thinks I"m seeing in the image that might not happen with a Zacuto:

1. The point of perfect focus is limited to a very small area at the center, meaning that you have to keep your eye dead center on the lens to see the whole image clearly: stray just a little bit off this center area and you see a muddy image that worsens the farther away you move your eye from dead center. Might be a problem if you move a lot while running and gunning, as you will need to keep compensating to maintain your eye in the proper position, don"t know for sure as I have yet to use the viewfinder in the field.

2. Coupled with the way the lens barrel is designed, it"s very easy to see the extreme corners clipped, even when you are looking dead center into the lens. Not a big deal, and you only need to turn your eye just a little bit to get the corner you are interested in back into view and, again, only the extreme corners are affected.

Having said that, the lenses and the lens barrel are all very well made: the lenses are coated and made of optical glass (they remind me of the optics on a Seagull TLR I owned 30 years ago) and the barrel is machined aluminum with very fine threads and close tolerances. The focusing knob is also aluminum, and it rides the lens barrel nice and tight.

I am nearsighted and couldn"t acquire focus without my glasses on (you need to place the camera/viewfinder against your face with some pressure to make the most of the 3rd point stabilizing effect, doing so with glasses on is not a good idea, unless you use goggle type frames, ala Kareem Abdul Jabar), so I took the advice from some of the other reviewers and took out the lenses to re-arrange their positions and see what happened. This is fairly easily done: you take away the eye cup and unscrew the lens barrel"s top containment ring (the part where the eye cup attaches) like you would a bottle cap. This part has a very fine thread, so it will take a lot of turns to unscrew, take your time. Now all the lenses are free to be taken out: you only need to push the lowermost lens (the one facing the LCD) up and one after the other come out the components I listed for your convenience above. I tried several combinations and the one that worked for me (I need about -3 diopter) was to turn the lowermost 2 lenses around, so they become:

This afforded me sharp focus with the lens barrel turned very close to the housing to keep the whole contraption as compact as possible. I also tried with the flat/convex lens turned around, with the convex face sitting against one of the faces of the concave/concave lens, their curvatures seem match one another to fit perfectly, but then the lens barrel ended up too much into the housing and the lens retaining ring couldn"t be turned all the way in, leaving the lenses loose. This might be the way to go for -4 diopter (or is it -2 diopter?) with the lens barrel turned away from the housing some more, I don"t know, you"ll need to figure this out for your own diopter need. Seagull should provide instructions for this, or else I don"t see how to get to those -/+4 diopters.

One last detail: with the way the eye cup is designed, if you press it against your face your eyelashes will be constantly running against the lens" surface, oiling/fogging it in no time. This is were the Bluestar chamois will come in very handy, or you can get a plastic ring in a hardware store sized about the same as the spacing ring mentioned above and place it between the lens and the containment ring, there is enough thread there to have this installed and for the whole lens barrel to be safely closed.

Positioning your eye near the viewfinder will trigger the eye sensor to automatically display the image.The eye sensor sensitivity can be set to [HIGH] or [LOW] in the main menu → [DISPLAY SETUP] → [EYE SENSOR].

Adjust the characters inside the viewfinder screen so that they are clearly visible using the diopter adjustment lever.NOTEThe image brightness and color hue seen on the viewfinder and LCD monitor may be different from that seen on a TV monitor. The final check of the color hue should be done on a TV monitor.

ABOVE: The pentaprism assembly of an SLR camera, which allows you to view what the camera sees through the lens. The focusing screen is the flat screen with red markings.

The eyepiece is a small magnifying lens and it is this which enables you to focus your eye on the screen. This is crucial, as otherwise you wouldn’t be able to focus on anything that close to your face.

Additionally, because the image is formed on the focusing screen, this means that your eye doesn’t need to change focus because you are constantly looking at a fixed point, regardless of which area of the frame you are looking at.

Digital and film SLR cameras come factory-fitted with a focusing screen that has few, if any, markings. It is designed to give you a clear view of the subject and your camera’s autofocus points, with a reasonable balance between viewfinder brightness and manual focusing capability – Canon call it a standard precision matte focusing screen.

There are times, though, when some markings in the viewfinder could help you out. The most common situation is when photographing landscapes or architecture – a grid in the viewfinder would help you keep horizons and buildings straight. Some EOS cameras offer the option for interchangeable focusing screens, meaning that you can opt for a screen which offers markings.

Digital cameras work very much like film cameras. The quality of the image depends on the quality of the lens and the sensor chips in the camera (which convert the light into a digital signal).

Some higher-end models are just camera back and accept interchangeable lenses. Others have the capability to use screw mount lenses used on video cameras. These options allow for close-up portraits and wide-angle shots. Close-up lenses are also available for some models.

Most cameras come with a built-in flash. The higher-end models have a hot shoe for an attachable flash unit, allowing for better lighting options. Some models have adjustable f-stops (aperture settings). The lower the f-stop setting, the better your image will be in low-light settings. Shutter speeds are also a consideration. Moving images require a faster shutter speed. 1/60 of a second is the lowest shutter speed for hand-held, stop-motion photography.

Digital cameras vary in how many images they shoot, and how they store them. How you will (in the studio or in the field) and what you will be shooting (still lives or race horses), will be a major factor when deciding what type of camera you purchase.

Consumer and mid-range digital cameras can now store up to 100s of images at a time. There are a number of different types of storage options, memory cards, sticks, and CDs. Memory options are available in many different sizes, the larger the storage device the more images it can hold. Many cameras now come with both memory card and stick slots available.

The cards range from 2MB to 128MB+ storage capacity. How many shots you can store depends on the resolution and compression quality of the image and the size of the card. These cards are reusable but can be a bit expensive. If you will be in the field shooting, larger cards or a camera that saves to an external disk may be the option for you.

Be aware that most cameras have two or more image quality settings (or may use interchangeable memory cards for extra storage space). Images can be set to standard, high quality, and beyond. Standard can range from 320x240 pixels to 640x480 pixels. High quality images can run from 480x240 pixels to 1,024x768 pixels or more. Check each camera manual to see what the manufacturer describes as its camera’s “standard” and “best” resolution. Compare these details before you buy a camera.

Many of the consumer level point-and-shoot cameras use optical viewfinders on their cameras. This means that they have a separate viewfinder that works with the lens but is independent. What this means to you is that what you see in the viewfinder is not what you get in your image. This situation is especially true when you zoom in on an area. Many manufacturers include little bracket lines in the viewfinder to help compose the image. This is why many people who use optical viewfinder often use their LCD screen to compose their shots. Some camera makers have discontinued viewfinders altogether and have bigger LCD screens.

Most cameras have an LCD screen attached to the camera body, which allows you to compose and view your shot instantly. This feature allows you to preview your shots and helps you decide whether to keep it or erase it and shoot it again, without downloading it to your computer first. Some LCDs can swivel, which improves your chances of good shots in tight situations. The problem with LCDs is that you may not get an accurate rendering of the image: the image may look bad on the LCD, but it could be salvageable after it is downloaded. You may find the LCD hard to view in bright sunlight, and LCDs vary in size and brightness. If you will be using the LCD for setting up your shots, look for big bright LCDs. While in the store, look at the LCD in bright sunlight if possible.

Many cameras come with EVF, which acts like a traditional camera viewfinder. It allows you to bypass the LCD screen and see what the camera sees along with the camera settings. Often, when you snap the shutter, a small version of the image will appear in the viewfinder. You also have the added benefit of viewing menu options in it, bypassing the need to use the LCD screen. Both the EVF and LCD use battery power to display the preview image.

Image quality varies from camera to camera, depending upon the size and quality of the CCD, the filter placements, and the interpolation software. The lower the image resolution the higher the likelihood of color fringing on the edges of objects in your image and artifacts appearing in the shadows.

Chromatic aberrations, most often known by its more descriptive name “purple fringing”, can appear on images where high contrast areas meet dark and sometimes mid-tone areas (i.e., a bright sky meets dark mountains, or the side of a brightly lit building meets one in shadow, thin tree branches against sky).

In general, if you"re reducing these images before printing, some or most of the purple fringe will not be noticeable. If on the other hand, you are enlarging the image, the dreaded purple fringe can become very noticeable.

Some cameras handle this problem better than others. The problem is not just with inexpensive models--even the best SLRs (single lens reflex) can suffer from purple fringing.

Basically, 4 types of digital cameras are available to choose from today. Web cams, point-and-shoot, midrange, and digital SLRs. Like traditional photography, it is important to buy a camera that meets your needs and skill level. Do not spend extra money on features you don’t need or will never use.

Point-and-Shoot cameras are available in a wide range of resolutions but are noted for their ease of use. They are usually fully automatic. They often have a range of scene presets to choose from, with few or no manual controls. These cameras are best suited for those who wish to take images with out fussing with controls. If you are considering a point-and-shoot camera, if it is optical, be sure it has a large and bright viewfinder and LCD display.

Midrange cameras come in a wide range of resolutions and offer more features, including scene presets and auto and manual override settings. Some also offer a few more film ASA (American Standards Association) speed options. They usually offer a larger range of image sizes, formats, and compression options than the point-and-shoot models. In most cases, these cameras have accessories that can extend or enhance their performance such as telephoto and macro lens extension kits, the ability to accept an optional flash unit, professional filters, etc. These cameras are for those who are comfortable with photography and who want to have the freedom to override the auto settings. They’re also for those who want to advance their photography skills or move up from point-and-shoot.

Digital SLR cameras are most like traditional professional cameras and feature through-the-lens viewing. What you see in the window is what appears on the picture. They are usually digital camera bodies, and the lens comes separately. The good news is they usually come with one general-purpose lens. They are available in only higher resolutions, offer scene presets, auto settings and lots of manual overrides, and more film ASA options. They also have many options for saving and compressing images. Most often, they have an internal hard drive to store images or the option to attach one. These cameras are not for the point-and-shoot user, and they may be more than the average midrange camera user needs. This camera is aimed at the professional photographer who is making the move to digital or the midrange user who is (or has become) more serious about digital photography.

Digital cameras measure their digital image output in megapixels, which is the total number of pixels in the image. How the pixels are arranged will determine the final size and quality of your final printed image.

For example, I took a picture with my 2.1 megapixel camera. I opened the image in Photoshop and saw that it was 1600 pixels wide and 1200 pixels high. The print dimensions were 22.222 inches wide and 16.667 inches high with a resolution of 72 pixels per inch. My printer works best with print resolutions of 260 or 280 pixels per inch. So, I need to rearrange the pixels to get the best output.

When I change the image resolution in Photoshop to 280 pixels per inch in the resolution control box, the image height and width change to 5.717 inches by 4.286 inches. The total number of pixels stays the same but are now reorganized based on the desired output.

Your printer’s resolution and the size images you want to print are important factors to keep in mind when deciding on pixels. The more pixels you have to work with, the larger and crisper the images you can create. When larger output is your most important consideration, in most cases, the more pixels you can afford the better. If you don’t print larger format prints, or if you only use your images for online distribution, a less expensive model with fewer pixels may make better sense for you.

More pixels also come in handy if you crop your images using computer software. With a larger number of pixels, you can crop out some of the image and still have enough pixels for a large printout. You may not be able to get a full size print of the original image before your edit, but depending on the amount of your crop, you could get pretty close.

When reading the manufacturer’s information about their cameras, you will often see “optical” and “digital zoom” listed in the features. Often the optical zoom will be a lower number and than the digital zoom.

The difference between optical and digital is really very simple: It’s just what it says it is. Optical zoom is the base level of zoom that the lens can zoom in and out. With digital zoom, the camera tries to increase zoom range by cropping the image previewed in the viewfinder. Once cropped, it blows that area up as if you zoomed in closer. It is a bit like interpolation on scanners. While the extra zoom possibilities seem great, the images employing this feature usually come out soft (blurry) and can become very grainy.

Digital cameras devour batteries. Some companies package recharger kits with the cameras, others offer them as an extra purchase. In the long run, you would do well to invest in the recharger kit and purchase three sets of rechargeable batteries. This set up allows you to have a set in the charger, a set in the camera, and a replacement set charged and ready to go.

You can save your battery life by taking photos and selecting the camera’s options setting using menu options through the viewfinder, not the LCD monitor. Another good habit to get into is not to rely on battery power to download your images to your computer. Use your power adapter when downloading images to your computer whenever possible, or better yet, use a card reader.

Most cameras come with software and connections for both Macintosh and Intel-based computers. Most cameras save in JPEG or TIFF format, or its downloading software will convert the image to your favorite format.

Generally the options are TIFF for uncompressed files and various degrees of JPG compression. These settings are referred to as normal, fine, superfine, and good, better, or best. The more compression applied, the smaller the file size; therefore, more photos can be stored on a card. With high compression, digital artifacts and lost details can occur. When less compression is applied, fewer images can be stored on the card, but there are fewer JPG artifacts in the image.

Most manufacturers use a middle of the road setting of “better” or “fine.” Unfortunately these terms are not standardized. What is better on one camera may be good or best on another. Be sure to research these differences before buying a camera.

Many of the newer model cameras are able to use two or more types of memory cards. This is a very nice feature that some camera companies are using as an enticement to switch camera makers. This set up enables you to use your older style memory cards preferred by the other camera maker (and that you have lots of money invested into), in your new camera. Some of the higher-end cameras come with a small hard drive or can accommodate one. Some cameras also burn files directly to CD storage.

To make downloading easier, you can purchase a handy device to read your memory cards. You insert your memory card into the device and it is reads the files like an external hard drive. Some of these devices come with the ability to accept multiple types of cards. These units are very handy when you have more than one camera type in a household or office environment.

Older models of card readers came in the shape of floppy disk. You inserted your memory disks into the reader. The reader then was inserted into the computer’s floppy drive and appeared on the desktop just like a disk.

A number of printers on the market are made specifically for digital camera output. Some come with card readers built in. The best for photo quality images at this point in time are inkjet and dye sub technologies. Sometimes the camera manufacturer will recommend an appropriate printer for the camera.

There are printers with inks sets ranging from 4 to 8 color ink cartridges. Some of the colors are packaged in one cartridge and others come packaged individually. Six or more color inks will give you optimal color reproduction. Additionally, the higher the resolution of the printer, the more photo-real the printed image can appear. Of course if your image is a large image, with a 72-pixel resolution, then higher printer resolution will probably be wasted, and the image will appear dotty and pixilated.

Some companies have made archival inks available which are waterproof, and according to the manufacturers, can last as long as 100 years on the right paper and under the right lighting conditions. These inks usually need to be used with higher-end papers, which are sometimes referred to as professional papers. If used with lesser quality papers, they may not be waterproof, or light safe, and the colors may be inferior and contain colorcasts.

Dye sub printers are very different from inkjet printers. The ink is joined to the paper in a sublimation process, and become one. This technique usually an expensive option, as you have to use a paper that the special inks can be sublimated to. The paper and inks are not easily available in stores. But, the output can be very good when the image resolution is matched to the printer.

Always remember that in most cases the printer will NOT be able to accurately reproduce on paper the colors on your screen. Monitors and inks have an altogether different range of colors, known as color gamut. Please study this very important issue before you spend lots of time, ink, paper and money, only to end up frustrated with your image output. That said, many of the newer model printers are doing a great job fixing gamut problems with their software. It is important to read the manual to set up the printer for the best possible output. Always take notes about your settings if you change them. If you’re happy with the image, and you want to reproduce it a month or two later, you’ll know what settings you used.

Keep in mind that if you are just buying a photo printer exclusively for your digital images, and will not be printing 8x10 or larger images, or if your camera can’t create acceptable output at those sizes, you don’t need to buy an 8x10 or larger format printer.

The great news about photo printers is that they are getting cheaper every day. The replacement inks and paper supplies are another matter altogether.

The great advantage to a mirrorless camera such as the Nikon Z series is the ability to confirm the camera settings such as exposure, white balance, Picture Controls, etc. before you shoot, using the EVF (electronic viewfinder).

Nikon’s EVF in the Z series cameras provides users with a clear and comfortable view of the subject. With minimal lag and blackout—you’ll experience the feel and responsiveness of an optical viewfinder. The approx. 3.6M-dot Quad-VGA electronic viewfinder boasts approx. 100% frame coverage and approx. 37.0° diagonal viewing angle.

Along with Nikon’s optical and image-processing technology, the Z series’ EVF ensures a clear and comfortable view with reduced aberration and minimum eyestrain, even when shooting for extended periods of time. A Fluorine coat is applied to the eyepiece protection window (the element closest to where your eye rests) to reduce flare and repel dirt.

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If you want to turn off the EOS R eye sensor on this Canon digital mirrorless camera to stop the screen from turning off whenever you or another object comes close to the viewfinder, here’s what to do.

The electronic viewfinder on your Canon EOS R mirrorless camera will now be disabled and you can use the camera’s LCD screen for your video shoot without the screen turning off whenever you or another object get too close to the viewfinder proximity sensor.

If you look just below the viewfinder of the Canon EOS R mirrorless digital camera you will see a small dark shiny rectangle. It looks not unlike the window over infrared emitters on remote controls.

However, on the EOS R, it is the viewfinder sensor or proximity sensor. It is designed to detect your face as you put your eye up to the electronic viewfinder.

Having it built-in to the camera makes a lot of sense. Obviously, while you’re looking through the viewfinder you do not need the screen to be powered on.

By blanking the screen battery power is conserved. It will also prevent peripheral light from the screen distracting you when shooting at night or in low light level situations.

Of course, there are times when using the viewfinder makes sense, like shooting outdoors on a sunny day when the screen is difficult to see clearly. I tend to use the screen most of the time.

That’s especially true when using the touch screen to quickly change focus points. So, when using the screen to watch what’s being recorded the last thing you want is for the screen to go blank.

For instance, it can detect my hand, a mug, or a piece of clothing. When it senses something close by it switches the display from the screen to the viewfinder. So, I don’t need to bring the camera’s viewfinder to my eye for the sensor to detect me.

At one point I needed to shoot a tilt-up on the front of a cardboard baling machine. Now had I done the shot hand-held using the viewfinder I wouldn’t have had a problem.

The electronic viewfinder on your Canon EOS R mirrorless camera will now be disabled and you can use the camera’s LCD screen for your video shoot without the screen turning off whenever you or another object get too close to the viewfinder proximity sensor.

But hang on. Sometimes being able to use the viewfinder during a video shoot is useful. It is great to have the ability to quickly switch between the screen and the viewfinder.

Perhaps the screen is difficult to see properly because of the sun. Alternatively, maybe you want to shoot at night without the screen lighting you up as a distraction behind the camera. With the Canon EOS R mirrorless digital camera, it’s not a problem.

You can easily toggle between the viewfinder and screen by customizing the button of your choice. It’s mentioned on page 558 of the Canon EOS R Advanced Users Guide.

So, you manually selected the screen as your display in the wrench menu but say you didn’t customize a button to toggle between the viewfinder and screen. But what if you happen to be in a situation where you’d like to switch to the viewfinder only.

If you want quick access to the electronic viewfinder here’s what to do. Simply flip the LCD screen over and snap it into the back of the camera body. The display will automatically switch to the viewfinder and the screen will turn off.

The electronic viewfinder on your Canon EOS R mirrorless camera will now be disabled and you can use the camera’s LCD screen for your video shoot without the screen turning off whenever you or another object get too close to the viewfinder proximity sensor.

The Canon EOS R is a full-frame 30.3-megapixel mirrorless digital camera, the first camera to feature Canon’s RF lens mount. It has been compared to the Canon 5D Mk IV and has the same Dual Pixel AF system. In photo mode, it can shoot at 8 fps, or 5fps with continuous autofocus.

EF and EF-S lenses can be used on the Canon EOS R mirrorless camera by using a Canon EF-EOS R mount adapter. Canon provides 4 different adapters, each offers distinctive features, but all are 24mm deep and allow you to use your existing EF and EF-S lenses on an EOS RF mount. They do not have any lens elements so there is no loss of image quality. The standard adapter only allows EF and EF-S lenses to be used on cameras with an RF mount with full functionality. The other three adapters. The next model is the Control Ring Adapter, which adds an extra control ring. The third adapter is a Drop-in Filter Mount Adapter within a drop-in circular polarizing filter. The fourth is a Drop-in Filter Adapter with a drop-in variable ND filter.

The Canon EOS-R is a weather-sealed camera. The buttons and dials are sealed, and rubber flaps protect the camera’s sockets and connectors. Some of the RF lenses, such as the RF 24-105mm f/4, have weather-sealing gaskets that provide a snug fit of the camera’s mounting ring. The weather sealing does not make the camera waterproof, and additional protection would be necessary for wet conditions.

The Canon EOS-R has Bluetooth and Wi-Fi connectivity. It will connect with smartphones allowing remote control and the ability to auto-send images to the phone. It can auto send images to computers and web services, as well as print from wi-fi printers.

Tosh Lubek runs an audio and video production business in the UK and has been using the Canon EOS R since it was released in the Autumn of 2018. He has used the camera to shoot TV commercials for Sky TV, promotional business videos, videos of events and functions, and YouTube creator content. He has also won international awards for his advertising and promotional work. You can meet him by visiting his “video booth” at HashTag business events across the country.

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