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Revised from a series of articles that originally appeared in the TAMR Hotbox
"Time out": one essential element has been forgotten in all this hype. Cameras do not point themselves at subjects; neither do they start the process of taking the picture. It takes a photographer to do that, regardless of the technology level. Having a Nikon F6, D200, or Canon D60 and a bag full of lenses will not make you any better a photographer than having a Stradivarius or Fender will make you a great musician.
The idea behind this series is to help photographers who don't have a lot of money to throw around. It's easy enough to buy something, find out if it works, and then sell it or toss it if you don't like it--but that is an expensive way to go. It's also a premise of this series that quality is worth buying: it's also cheaper to buy something once, even if it's a bit more costly, than to buy it two or three times. To that end, you first need to think about what you're going to do with a camera, and what you really need.
It is fashionable among some who style themselves "real photographers" to tell the rest of us that equipment does not make photographs--and then avidly pursue the latest, top-of-the-line showpieces, all the time "reminding" the rest of the world that it's purely talent and work that get the credit. It is true enough that equipment does not make photographs--but, as with many such maxims, especially those issued by the elite, while it may may have some truth, it is not the whole truth.
For starters, you cannot take good pictures with lenses that aren't sharp or with malfunctioning equipment. Nor can you expect to support it on wobbly tripods. Newer equipment does provide advantages with flexibility, automation of difficult tasks, and so on. At the same time, just as with our brains, there are far more resources available than are typically used. Equipment may be technologically obsolete, but if it works, it can usually do a lot more than anyone ever asks of it. You may have limitations with some of this equipment, but if you know them, you can still get a lot of good photographs.
Now, no one will deny that some of features on a high-class system make getting a good photograph easier. It's easier to play a guitar that's in tune with itself, and it's easier to take photographs when the camera you're using works well. However, just as one needs to know how to tune and finger, you need to know what a camera does to start taking good pictures. The camera, just like a musical instrument or a fire engine, is a tool. You need to choose the right tool to do the job.
The choice of digital or film should be regarded as the choice of a recording medium and equipment range. This choice is not, otherwise, one that creates a fundamental difference in your photos or the components of a well-rounded setup. The camera is basically a box designed to hold a recording medium (film or digital sensor) in place and let a certain amount of light onto the recording medium when you tell it to. It works with a lens that collects the light and lets a certain quantity through. If we can keep this in mind, we're on the way to understanding photography, a pair of Greek words that mean "to write with light." The differences in cameras are in how the image is recorded, how the functions that control light work, and what you can add to them.
It is my advice, and that of many others, to buy a basic camera set-up and proceed from there. As you learn more, and find yourself bumping into the limitations of what you have, it's time to expand.
The stuff you'll need would include:
On a film camera, the film size limits how big an enlargement you can make. Cameras that use small film sizes (APS or 110) barely make good 5x7's most of the time. A 35mm camera can make a good 16x20. Large-format cameras (120 roll or 4x5 sheet film) make superb posters, but most are designed for experienced users (and are quite expensive).
Digital cameras are similar: a fixed (and so far, non-upgradeable) sensor chip replaces film. Be aware that most lenses resolve more detail than either film or sensors can record. As film improves, you can change film. As sensors improve, you buy a new camera--an expensive move. The amount of information captured by this sensor (typically measured in megapixels, or "mp") determines how big a print you can make. More megapixels cost more money and make bigger prints. They also require more storage capacity. A 2 megapixel camera will make a good 4x6 print; 8x10's require 4 to 5 megapixels. Consider cropping (removing part of the photo after taking it) and putting pictures on your wall or in a magazine before you rush to buy a cheap 2 megapixel job. Just as with film size, however, megapixels alone are not the final measure. Some cameras are have better resolution and color rendition than others, so pay attention to these factors as well. The recent crop of 6 to 8 megapixel cameras should satisfy nearly everyone. I use a small 5 mp camera to carry around and a 10 mp for serious work (this allows me to crop if needed, or extra size for the occasional big enlargement).
One problem of some newer cameras that are more electronic device than not is that you can get lost if you push the wrong button, wandering around in a sequence from which, it seems, you will never return. Look for a reset button that will return you quickly to basic operation.
Also consider the battery. Nearly all cameras these days are battery dependent, which means that if the batteries give out, the camera doesn't work at all. I have two rules for battery-powered devices. First, always carry a spare. Few batteries hold up in real life as well as the "typical use" that's touted in ads. Second, always get devices that use off-the-shelf batteries. A proprietary battery (one that fits only a particular model) can leave you with an expensive piece of jewelry if it runs out--and it will cost you a premium to get another (especially when the camera is older). Note that digital cameras generally use rechargeable batteries. Take a look at how they charge--does it tie up the camera?
Somewhere along the way, you may want to get another camera; think about how your present purchase will work with it. Two SLR bodies give you a lot of flexibility (different speeds, color or black and white, or different lenses), but can be confusing if their controls aren't similar. A point and shoot gives you a small, light camera that you can take a lot of places quite easily.
Often, the decision is made for you: non-SLR cameras generally have a fixed lens (typically a zoom), and many SLR's are sold only with a lens.
If you are looking at a 35mm film SLR, and have a choice, the 50mm "normal" lens is a good place to begin. It's cheap, sharp, and light. It is tolerant of mistakes. It lets you concentrate on what you're doing while you learn. From there, you can move in whatever direction your style takes you. The "normal" for a typical digital SLR is 30-35mm, but these are rather expensive, so you're probably better off with the zoom that comes with most cameras.
Zoom lenses offer a lot of flexibility, but there's a cost. Zooms are generally slower, mechanically complicated, and have more distortion. The particular problem here is "barrel" and "pincushion," wherein straight lines are rendered as curved. The higher the zoom ratio (divide the long number by the short number), the more a problem this is. The best zooms are 2:1 or 3:1. Also, the more a zoom runs below and above 50mm, the greater the problems (thus a 24-135 is more likely to distort than a 35-70); a lens that's entirely on one side of 50 (for example, 70-200) is generally better.
Those 28-300mm (film) or 18-200 (digital) lenses look nice on paper, but they are problematic. They're very complex mechanically (which can mean breakdowns) and optically (which can mean distortion). They're also slow. Furthermore, only a blessed few can hand-hold a 200mm lens and get good results, a 300mm demands at least a monopod, if not a tripod.
When buying a lens, get a hood (or shade). I always use one, although not necessarily the suggested one. A lens hood provides some protection against dropping or scratching the lens on junk in the camera bag (or wherever else you put the lens). It also reduces flare from off-axis light that sneaks into the lens and bounces around. On many Nikon lenses, you can use the shade for the next-up focal length (I use the shade for the 28mm on the 24; the 85 on the 50; and the 105 on the 100). This gives better shading. The "snap on" ones (which also snap off, a very expensive habit) can be coverted to screw-in with a small block of wood (toothpick, match end, etc), colored black with a Sharpie pen, stuck between the two spring ends (possibly secured with a drop of Elmer's Glue). You still need a cap; many accept a standard size. The others can take some poking around a kitchenware or container store.
Last but not least! Without good support, you can't get good pictures. I nearly always use at least a monopod, and a tripod whenever possible. The primary requirement is that a support be solid--and this includes being solid when it's high enough to use comfortably. A tripod is a very individual choice: make sure you can use it comfortably without extending the center column more than half its length. For me, the multiple handles of the typical tripod head are a nuisance; I prefer to use a ball head, which offers easy adjustment. A lot of companies offer quick-release devices. Always have a spare!
Getting a good deal on what you want
Getting reliable information so you don't get burned is a bit of a challenge. Ads overstate the results, and magazines aren't out to alienate their advertisers. A first check is to see if any of the big-name ones have published a review. If they haven't, it may be that they just haven't done the work yet--this is long and involved, and there are new cameras coming out all the time. It may also be that there's a problem and they're keeping quiet until it's fixed (this is the explicit, but not publicized policy of Popular Photography & Imaging--the policy itself is not out of line, as many cameras, just like much software, hit the market with flaws which tend to get fixed, but it seems to me that it ought to be made better known). The Internet has made the situation much easier. Several of the sites listed in the Photography Basics page offer reviews or links to reviews. If you like the sound of "you've got mail" there are e-mail groups covering nearly every manufacturer. It takes some basic logic skills to work with this information: there are grumps and grinners everywhere, so you need to find out why someone says what they do.
Is the person behind the counter your friend? It used to be common practice to tell budding photographers to visit a camera store. I'd still strongly recommend that, but such a visit requires using your head as much as does reading ads. In several years working at a store myself, I was free to recommend whatever sounded like the best solution to a customer. But it's not that way everywhere, and a Catch-22 is rapidly developing in the business. With offers and quantity requirements from manufacturers, salespeople can be under orders to sell certain equipment, whether it's what you need or not. Local stores are feeling the heat to sell, often at an apparent price disadvantage to discounters. The discounters will sell you about anything--but you have to know what to ask for. This is where you can be "penny wise and pound foolish." It's fair to shop several stores, look at a lot of stuff, and compare it (this will also give you some indication if you're being misled at one). But it's not fair to go to a local store, learn what you can, and buy elsewhere based only on price. (Before anyone flames me, I think it's fair to buy elsewhere if a store doesn't offer good service, but if that's the case, you shouldn't be asking them a lot of questions to begin with. I also think you need to look at all the costs before jumping to the conclusion that a discounter is really cheaper).
I've forgotten who, but some years ago a photo magazine writer noted that the favorite photo activity of many amateurs was switching camera systems. Start with Nikon, and jump to Canon when they introduce a super-high-speed lens. Then jump back to Nikon when they catch up. Then Minolta when they introduce a new autofocus mode. Then back to Nikon, because he misses the "marque." It makes for great consumers in "the land of desire" (William Leach's book by that title is still great reading, and highly recommended before setting out on any advertising-dominated journey), but it doesn't get a lot of photos taken.
My first advice is to choose a manufacturer, realize that others will jump ahead, behind, and so on, but competition means that if something is really useful and works, it will get to you. In the meantime, spend your time getting used to how what you have works. Good camera equipment lasts a long time, and generally is capable of more than most of us will ever get from it.
How do you choose, though? While Nikon (among others) advertise that their equipment has the recognized name among professionals, one must ask, so what? Professionals have certain goals that may or may not accord with yours. So let me first offer a beginning list of possible criteria that should be considered in the light of what you do:
It can be a great way to save money, but the problem is that things that have been used by someone else don't always work. The best advice here is to get something with a good guarantee (90 days minimum; 30 isn't long enough for most people) and use it extensively right away. Warranties go by time, not use.
Finally, it's important to keep your equipment in good condition. It's also helpful to have it all where you can find it. To that end, most people buy a bag. Unfortunately, many bags are designed more for fashion than function. I think it's best to start with a soft side insulated cooler (especially if you live in Texas). It also doesn't look like anything expensive is inside. You may find that it's ideal.
From this point, when you take a picture, think about how you feel limited by what you have. Consider the most serious limitations as your priority purchases. We'll explore some of those growing edges and how to resolve them as this series progresses.
