difference between viewfinder and lcd screen supplier

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.

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.

When I used a film SLR I used to take meticulous notes of the settings that I used when taking photos – noting frame number, aperture and shutter speed down after most shots so that a week or two later when I got my photos back from the lab I could compare my notes with the shots and work out how I might improve my photography.

The LCD screen on digital cameras cuts out the need for this process as images can be viewed immediately after they are taken and adjustments can be made to improve your shots straight away.

One question I get asked a lot by readers is whether they should use their digital camera’s LCD screen or viewfinder to frame their shots. I suspect that the majority of camera owners do use the LCD but there are a number of arguments both for and against it. Let me explore a few:

Convenience – Perhaps the main reason that people use the LCD is convenience. Rather than having to fire up the camera, raise it to your eye, squint through it (on many point and shoot models it’s quite small) etc… using the LCD means you simply switch the camera on and from almost any position you can snap a shot.

Size – As I hinted above – many models of digital cameras have very small view finders and when compared with the LCD (usually between 1.5 and 2.5 inches these days) there is really not that much of a comparison.

Instant Playback – shooting with the LCD means that after you take your shot you will immediately see the shot you’ve taken flashed onto the screen. You can see this if you use the viewfinder too by lowering the camera but it adds another action to the process.

Creativity – using the LCD opens up all kinds of creative opportunities for your photography by meaning that you don’t have to have the camera at eye level to be able to get your framing right. You can instead put it up high or down low and still be able to line things up well.

Framing Inaccuracy of Optical Viewfinders on Point and Shoots – one of the most common complaints about using the viewfinder on digital cameras is that what you see through it is slightly different to what the camera is actually seeing as the view finder is generally positioned above and to the left of the lens which means it is slightly different (a problem called parallax). Most viewfinders that have this will give you a guide as to where to frame your shot but it can be a little difficult – especially when taking close up/macro shots. (note that not all point and shoot cameras have optical viewfinders – some have electronic ones (see below).

Obstructed View – on some models of point and shoot digital cameras a fully extended zoom can actually obstruct the view from your viewfinder. This can be quite frustrating.

Glasses Wearers – if you wear glasses you might find using the viewfinder of your Digital camera more difficult. Many these days do come with a little diopter adjuster to help with this.

Battery Killer– the LCD on your camera chews up battery power faster than almost any other feature on your camera. Use it not only for viewing shots taken but lining them up and you’ll need to recharge a lot more regularly.

Camera Shake – when shooting with the LCD as a viewfinder you need to hold your camera away from your body (often at arms length). This takes the camera away from your solid and still torso and into midair (only supported by your outstretched arms) – this increased the chance that your camera will be moving as you take the shot which will result in blurry shots.

Competing Light – one problem that you will often have with framing your shots using the LCD is that for many cameras, shooting in bright light will make it difficult to see the LCD – leaving it looking washed out. Digital camera manufacturers are trying to overcome this with brighter and clearer screens but using the viewfinder instead of the LCD will generally overcome the problem.

DSLRs – most DSLRs do not give you the opportunity to use the LCD as a viewfinder at all. I suspect that this feature will become more available however as I hear it being asked for quite a bit. I’m not sure I’d ever use it though as DSLR view finders are generally larger and are a WYSIWYG (what you see is what you get) meaning you can be sure that what you’re looking at through the view finder is what the image will be when you shoot.

Electronic View Finders (EVF)– another type of view finder that is found on some point and shoot digital cameras is the EVF one. This overcomes the problem of your viewfinder and camera seeing slightly different things by giving you an exact picture of the scene you’re photographing in the viewfinder. This happens simply by putting a little LCD in the viewfinder.

Ultimately the choice in using the LCD or viewfinder will come down to personal preference. I have used a variety of digital cameras over the past few years and find myself using both methods depending upon the shooting situation and the camera. Some cameras have large and clear viewfinders (like my DSLR) and so I use them. Others have tiny viewfinders (in fact my latest point and shoot, the Fujifilm Finepix F10, doesn’t have one at all).

Given the choice between a great viewfinder and great LCD I’d probably opt for the viewfinder – call me a traditionalist but it just feels right for me.

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.

Viewfinders are what photographers rely on to accurately compose a pictures. There are different kinds of viewfinders, and it’s important to understand the pros and cons of each before buying a camera.

Cameras can have an LCD screen with Live View, an optical viewfinder, an electronic viewfinder, or a combination of these. For example, many DSLRs cameras now come with LCD screens with Live View, in addition to an optical or electronic eye-level viewfinder. Many point-and-shoots only have an LCD screen.

The electronic viewfinder technology has come a long way in the past few years and some DSLRs are using them instead of the more traditional optical viewfinders. Here is a look at each type of eye-level viewfinder and what they have to offer.

The optical viewfinders on point-and-shoot cameras are different in that they don’t show you exactly what the lens sees; they look through a separate hole above the lens and show a slightly different view from the final image.

Pros:The advantages of the OVF are that the photographer sees a scene with no time lag, no resolution limits, and with all the clarity the lens and the human eye can produce. Sports shooters rely on this system to see action immediately and anticipate the kind of timing necessary to capture the right moment. OVFs also save battery since looking through them doesn’t require any charge, and the photographer can take time to compose a shot before turning the camera on. And anyone who has tried to use an LCD screen in bright sunlight can appreciate that eye-level viewfinders aren’t affected by reflections.

The OVFs on entry-level cameras (sub $1,000) can be a bit dimmer than the ones found on high-end models. Also, all autofocus cameras can be a challenge to focus manually while looking through an OVF. A final downside of an optical viewfinder is that the mechanisms required to make it work take up space. In the quest for smaller, lighter camera bodies, OVFs are being replaced with their less-bulky digital equivalent, the electronic viewfinder.

The electronic viewfinder (EVF) has seen a renaissance in cameras over the past two years, with the release of new compact interchangeable-lens cameras with live view. Camera manufacturers are presenting EVFs as a serious alternative to the optical viewfinders that are in many high end DSLRs. But what differences remain?

Phase Detect autofocus system, and a camera’s body can be made much more compact. Those parts are replaced by a video feed from the sensor that is displayed on either a screen on the back of the camera, or on a screen inside a viewfinder—the electronic viewfinder. The high end EVFs found in Micro Four-Thirds, Samsung NX, and Sony SLT cameras aim for a more pleasurable shooting experience by overlaying helpful settings and guides on the EVF screen.

Many people find that focusing manually using an EVF is easier than with an OVF because the EVF allows you to magnify an area to clearly see when the subject snaps into sharp focus. EVF screens also brighten automatically, making it easier to see a scene in low-light situations, or preview at smaller apertures.

The EVF can also show much more information than an OVF. Besides exposure numbers, an EVF can show a live histogram map of the dark-to-light tones in the image. It can show a live preview of white balance settings and simulate shutter speed, among many things.

It’s not just what you see through the viewfinder that’s different. Using an EVF can also change the physical shape of a camera. Remove the need for mirrors, and the camera can be made much smaller, even open the possibility for entirely new shapes and ergonomics. And by removing the mirror, it’s easier, physically, to increase the shots taken per second.

Cons: Even with all the bells and whistles, the latest and greatest EVFs are often not good enough for many photographers. Though improved drastically over old versions, the refresh rate of an electric viewfinder still lags a little. For example, trying to catch a diver as he or she touches the water might actually result in a picture of legs sticking out of the water. You can miss a baseball batter’s swing, or the moment a tennis player’s racket hits the ball.

Even high-resolution video cannot match the human eye for seeing detail in shadow and bright areas at the same time, picking out fine details, and instant responsiveness — all of which are crucial for studio, sport, and fully manual photography. An EVF can also look jerky and noisy in very low light.

Probably the biggest issue with EVFs is their effect on battery life. The camera must be turned on and burning battery juice for an EVF to be used. Currently, interchangeable lens EVF cameras can only last between 270 and 400 images.

Electronic viewfinders offer far more features than the optical variety, but do they win out in function? User preference is definitely a key factor in making a viewfinder decision—do you prefer to look at subjects through a periscope or a television?

The increased flexibility and usability experience of a large, detailed EVF may just suit most situations better in the sub-$1000 category of cameras. However, a streamed video feed may never be clear or responsive enough, or accurately show enough dynamic range for some photographers.

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 good thing about technologies is that they keep on changing for the better. Just a few decades ago, photographers debated whether going digital would really be necessary. Today, mirrorless camera manufacturers are claiming that mirrorless is the future of DSLRs. But do mirrorless cameras really offer such substantial benefits, and do they really have what it takes to be your next camera? Photographer David Flores from B&H explains.

One of the major reasons for DSLRs to have a hefty size is the inclusion of a mirror box and a penta-prism. These mechanisms allow a photographer to see exactly what the lens is seeing but in turn increase the size and weight of the camera. Mirrorless cameras on the other hand are able to reduce their size by eliminating both of these and show the photographer what the camera is actually seeing. If weight is your concern, mirrorless cameras are the winner here.

DSLRs with their optical viewfinders allow a photographer to see what the lens is actually seeing without even turning the camera on. The viewfinders do not suffer from any kind of lag and refresh rate is not an issue. Meanwhile, with their electronic viewfinders or a rear LCD screen, mirrorless cameras allow a photographer to see what the sensor is seeing. Any changes in camera settings (aperture, shutter speed, ISO, camera effects for example) are immediately reflected in the viewfinder and the photographer can exactly see what the final photograph will look like. With electronic viewfinders, “what you see is what you get”. But, as mirrorless cameras have an electronic viewfinder, you will not be able to see through the viewfinder unless the camera is turned on.

DSLRs have always been a reliable work-horse with their brilliant, time-tested and proven auto focus system. They have a dedicated phase detect auto-focus (PDAF) sensor which quickly locks on to the subject even in challenging lighting conditions. Mirrorless cameras have an on-sensor mix of contrast detect and phase detect auto-focus systems (hybrid auto focus system) which the professionals are still not ready to rely on because of inconsistent results. Mirrorless cameras are playing a catch-up game as far as auto focus is concerned but with the release of theSony A9, Sony may have finally caught up. Let’s wait and see.

The bigger body size of DSLRs allow them to house a bigger battery. Combine that with the optical viewfinder which does not use any power and you have a perfect system for long battery life – hence more shots. Mirrorless cameras are at a disadvantage here because they tend to house a smaller battery to keep the form factor of the camera small, and the viewfinder and the LCD screen both suck good amount of battery juice. Recent cameras from Sony like the A9 and A7III have tried to eliminate this problem by upping the camera size a little bit to accommodate a larger battery.

DSLRs are a mature system and they have a good line-up of native as well as third party lenses for almost any kind of requirement. Mirrorless cameras are relatively very new and manufacturers have been steadily adding lenses to the arsenal. However, with their short flange distance, mirrorless cameras allow photographers to “adapt lenses”. For example, if you own a Sony mirrorless body, you could use an adapter to adapt a Canon glass to your system. However, the performance will surely be far from that of a native lens. Also, depending on the adapter being used, the lens may or may not auto focus, allow aperture control via camera, and transmit EXIF data.

At the end of the day it is about how the equipment in your hand will assist you to get the shot you desire. Do you seek convenience and are ready to adopt newer technology or do you want a no-nonsense, reliable work horse? The choice is all yours to make.

Many new and experienced photographers are asking what the differences are between DSLR and mirrorless cameras. This is a valid question as mirrorless technology has grown in recent years. I’m going to highlight for you the main key differences including size, view finder, focusing, and battery life.

Before we get into the specifics of the differences between a DSLR and a mirrorless camera, I first want to talk about how they relate to photography in general. Specifically, I want to tell you that there is no difference in how you take a photograph between the DSLR and mirrorless camera. They both use the same basic principles of aperture, shutter speed, ISO, and white balance. The exposure triangle between these settings are concepts used in both DSLR and mirrorless photography. Understanding aperture, shutter speed, ISO, and white balance are required for both DSLR and mirrorless cameras.

The first difference between DSLR and mirrorless cameras is the size and weight of the two cameras. DSLR cameras are bigger and heavier because they have a mirror in front of the camera sensor. Mirrorless cameras are smaller and lighter because the mirror has been removed from the camera. Some photographers prefer the DSLR camera because of the larger grip size that the larger body provides. Another advantage to the DSLRs bigger body is more room for individual camera setting controls. Other photographers prefer the mirrorless camera because they are smaller, more compact, and lightweight. The drawback to this is that there may not be as many buttons to control the individual settings of the camera although mirrorless camera manufacturers have been providing smaller buttons to fix this issue.

One of the biggest differences between the mirrorless and DSLR camera is the viewfinder. In a DSLR camera the viewfinder is the actual picture that you see with your naked eye. The image you see in the DSLR viewfinder is the light through the lens reflected with the mirror into the viewfinder. There is no processing and no light is actually hitting the sensor of the camera. The viewfinder on a mirrorless camera is actually an EVF or electronic viewfinder. The image is being captured by the sensor (because there is no mirror) and being electronically transmitted to the viewfinder on a mirrorless. There are advantages to this because you can see in real time what changing your camera settings will do to the image.

As an aside, if you are a photographer who only uses the LCD screen on the back of a DSLR to take images then you are essentially using the same technology a mirrorless camera uses in it’s viewfinder and on the LCD screen.

There have been many advances in the focusing technology of digital cameras. This is where I think the mirrorless camera has the advantage over a DSLR camera. In a DSLR camera the focusing is limited to certain areas of the image sensor whereas with a mirrorless camera the focusing is much faster and over a larger area of the sensor. Focusing technology advances such as eye tracking are what makes the mirrorless camera better than a DSLR camera. Don’t get me wrong, DSLR cameras have great autofocusing capability but this is the one area that mirrorless camera technology has the advantage.

The battery life is a key factor in the differences between a DSLR and a mirrorless camera. The fact of the matter is, the DSLR wins this battle hands down especially if you are not using the back LCD display. If you are only using the viewfinder on a DSLR camera, there is nothing electronic happening when you view the image before taking the actual picture. This means that there is very little battery being used.

The opposite is true for a mirrorless camera.  Because the mirrorless has to actually process the image on the sensor to view the image in the viewfinder or on the LCD screen, more battery is being used before even taking the photo.  To put this into perspective, the DSLR camera (when using the viewfinder) can take about 3000 images per battery charge.  In contrast the mirrorless camera can only take about 1000 images per charge.  This may not seem like a big deal, but if you are a wedding photographer or hope to be one, this would be a huge deal.  All that being said you can always (and you should no matter your genre of photography) have backup batteries with you at all times!

These are just an explanation of the four main differences between DSLR and mirrorless cameras. There are many other pros and cons to each so I encourage you to investigate on your own. If you are looking for a super technical explanation of the differences you can go read this article: DSLR vs. Mirrorless Cameras in 2022. Below you can find a table to summarize the differences listed above.

FocusingFocusing is good but slower – some of the newer focusing technology is not includedFocusing is fast and the new advancements such as eye detection help keep focus on fast moving subjects.

There is no right answer to whether you choose a DSLR or a mirrorless. If you really don’t know what to choose, my suggestion is to go to a camera store and hold both types. How the camera feels in your hands is just as important as the features!

So tell me, which camp are you in?  Team DSLR or Team mirrorless or are you both and have different uses for different cameras?  Tell me in the comments below!

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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.

With an optical viewfinder, you are literally looking through the lens, so you see exactly what will be in the frame. Now, we have reached the realm of the electronic viewfinder, the EVF. But there are some things you need to be aware of.

An EVF is nothing more than a very small digital screen (LCD or OLED) that has replaced the optical viewfinder. It does not make a camera better; you still look at the frame through the lens, but it comes with a few advantages. The most important advantage is a simpler construction of the camera. It does not require a mirror and pentaprism and thus makes it possible to reduce the size and weight. There are more advantages, but I won’t address those in this article. I would like to focus more on the issues that come with an electronic viewfinder.

You may think it is an article that is against the electronic viewfinder, but trust me, it is not. I do like the evolution of camera design and technique. It is a good thing. Nevertheless, I also believe an optical viewfinder may be more suitable on some occasions. The last thing I want is to rattle up the tiresome discussion about the supposed death of the DSLR, or the future of mirrorless cameras, or how good or how bad the one or the other is. I just want to point out seven issues with electronic viewfinders and a possible solution to work around these issues.

One of the benefits of an electronic viewfinder is the possibility to see the exposure. You will have a dark image in the viewfinder in case of underexposure, and the image will be too bright in case of overexposure. It makes it possible to correct the exposure settings before you take the picture.

But be careful when judging the exposure in the viewfinder. Most cameras have the possibility to adjust screen settings. Brightness, contrast, color, picture styles — a lot of adjustments are possible. If you have the incorrect settings, it will influence the judgment o