Winter Tips: How to shoot in the snow

With winter well underway we thought it was time to put a few tips together for anyone looking to go out and shoot in the colder months.  If you get a chance to take photos in the snow (for the lucky few that actually get snow in this big old country of ours), there are a few things to keep in mind.  Below are a handful of things I discovered while walking the streets of Europe during the coldest months and dealing with snow, sleet and rain.

The first thing anyone will tell you is that keeping your camera’s batteries warm is a necessity. This is spot-on as the cold temperatures can dramatically reduce the performance of your batteries.  When possible, keep your batteries housed within an internal pocket so that they are warm and retain their charge better.  Make sure they are fully charged at the start of each shoot and have a spare one handy as batteries lose charge quicker in cold weather.  Always be ready to shoot!

Pay careful attention to your exposure.  Some scenes that are predominantly white may cause confusion to your exposure metering system and attempt to underexpose the photo, giving a greyish look to the snow instead of a crisp white.  If this is happening you can either set your exposure manually to get the result you want or overexpose the photo by 1 to 1.5 stops on the exposure recommended by your camera.

Be mindful of where you step to ensure you don't leave footprints throughout the scene.  An ideal solution is to wake up and trek out early before the snow begins to melt and before people walk around, leaving footprints everywhere.  I was lucky to be in Hyde Park, London where it had snowed the night before and made it to the park first thing in the morning.  I captured some great shots of the park while it was almost deserted with a thick layer of snow on everything. By around 10:30am it had reduced to a snowy mush and looked decidedly less photogenic.

If you choose to shoot in JPEG then make sure your white balance is set to daylight so the snow will appear white.  If you know how to set a manual white balance in your camera then this could also be done using a photo of the snow although in theory this should give you the same white balance setting as the 'daylight' option.   If you shoot in RAW then disregard this advice as you will have a colour balance option during your RAW conversion.  I always shoot in RAW as it provides maximum control during post-processing. 

If your camera has no weather seals then take precautions to keep it dry.  My Canon 5D MKII DSLR is weather sealed and has survived through rain, snow, sleet, and hail with zero adverse effects.  I hate passing on photo opportunities and some of my best shots were taken during difficult weather scenarios.  Make sure you check for snow or water drops on your lens that will show up in the photo.  If moisture is present, ensure you dry it as soon as possible!  If your camera is not weather sealed then be extra cautious when water is present as cameras and water generally don't go well together and water damage is not covered under manufacturer’s warranty.

If you wish to shoot portraits in the snow then consider encouraging the subject to wear a bright, bold colour in order to draw attention to them so that they don't get 'lost' in the frame.  Red generally works quite well.

Dress appropriately for the weather. Think warm.  If it’s going to be windy then keep this in mind as the temperature can drop rapidly due to the wind chill factor.  One of the coldest days for me was in Edinburgh when the temperature was approximately 2^oC but then the wind picked up and it felt like I was in a deep freeze with the wind punching through every tiny gap in my clothing. I don't normally wear gloves while shooting but on occasion it has been necessary. This is when being experienced with your camera and knowing where all the buttons are is handy so that when you can only feel them with limited tactile feedback, the task is no challenge for you.

Acclimatise your camera when you go back inside.  I keep mine safely housed in my camera bag and under no circumstance will I ever remove the lens from the body until I am certain that the camera has reached the room’s ambient temperature which typically takes at least half an hour.  If you don't take this precaution then condensation may form inside your camera which can only lead to undesirable outcomes.

Finally, as with any form of photography, be on the lookout for any kind of photo that may present itself from macro to the grand-vista.  

If you do get a chance to shoot some winter photos then share your pics on this blog or with our Facebook community for live feedback and prize giveaways! We LOVE seeing photos taken by our talented customers and community fans!

Good luck and stay warm this winter! 

 - Marc @ DCW

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Portrait Photography: A Beginner's Guide

This blog post will guide you through all the necessary steps to recreate successful studio lighting using Canon flashguns that can be set up in almost any situation, though the same setup may be achieved with other brands in a similar fashion.  Shooting in a studio or similar scenario is an excellent way to learn how light can affect your photos.  These lessons can be used in any photographic situation, be it a highly controlled studio setup or shooting with natural light in an uncontrolled environment.



DCW's Portrait Photography Demo at Sydney Morning Herald's Photo1440 Workshop

The following are some general rules for lighting -

1) The larger the light source when compared to the subject, the softer the quality of the light that falls on the subject. This is because the larger light source wraps around the subject, softening the edge of shadows.  As the light source gets smaller you’ll notice the shadow edges become more defined.

Moving a large light source closer to the subject also has the effect of softening the shadows while moving the light away makes the edge of the shadow sharper and more defined.        

If you diffuse a light source, the light scatters and results in a softened quality as the diffuser essentially becomes the light source. For example - On a bright, sunny day the shadows are strongly defined as the light source is far away i.e. the sun. If passing clouds then block the sun, the light will soften as it becomes diffused by the clouds, thus simultaneously drawing the light source closer as the clouds now become the source.  So you can look at it two ways - the hard light source is now diffused OR the light source is now very large and close.

2) Bouncing a hard light source off a wall onto your subject effectively creates a larger light source.

This occurs by making the wall a light source.  As the wall is much larger than the size of the flash, the light also becomes a lot softer.  This requires a greater power output from your flash as some light is lost from the wall and the light also has to travel further to reach the subject.  Be aware of the colour of the wall as the light from your flash will change to whatever colour the wall is i.e. red wall equals red light, green wall equals green light, etc.

3) Front lighting diminishes texture, side lighting (from any direction) emphasizes texture and rear lighting highlights the shape of the subject.

The direction of a light source has a big affect on the appearance of texture in an image. Lighting from the side will increase the appearance of texture on surfaces while light hitting the subject from the camera position will flatten the texture in an image. To achieve this, the light should be un-diffused as a diffused light source will soften the shadows and may even eliminate the texture. Light from behind the subject highlights the shape of the subject; a prime example of this would be a silhouette.

Some general portrait photography tips -

1) A messy background will interfere with a good portrait. That is unless the background helps to tell the story of the portrait.  For example - a violinist may have a portrait taken with their violin in the background to tell the viewer more about the subject.  If the background doesn’t assist the story then blur it out as much as you can with a large aperture or if possible, get rid of any distracting elements completely.  There’s nothing flattering about seeing images of people with trees sprouting from their heads.  

2) Have the lighting set up and the camera ready to go before your subject arrives so that they won’t have to wait for you upon arrival.

3) In portrait photography the primary area of interest and focus is almost always the eyes.  As humans, that’s where we look first. Because of this it’s critical that the eyes are in focus.

​4) The direction of a subject’s eyes is also very important in a portrait. Having the subject return the gaze of the photographer can give the viewer a sense of connection with the subject.  An alternative is to have your subject looking at someone or something within the shot, which sets up a story in the image.  The most obvious one is a mother with her child looking at each other.  If you imagine that same photo with the mother looking directly at the camera and not her baby, the image immediately shifts to a completely different vibe.

​5) Portraits are most commonly taken at the same eye level as the subject. Playing around with the angle can give a different perspective to the portrait. For example, shooting down on your subject from above, or up at them from ground level can change the viewer’s perceptions of the inherent power of the subject.

​6) Firing a number of shots at a time can either give you a series of images that work together or it can help you achieve one image that is natural. This is useful when you’re photographing somebody engaged in an activity or when working with kids.

Lighting Setup

The following is a list of steps to recreate our portrait set up.  In this example we used 3 Canon 600EX RT flashes, 2 60x60 Mircopro soft boxes and a Honl light shaper (for the hair light).

Step One.

Flash 1 is set up with the soft box at a 45 degree angle to the subject.  The light in this photo is softer than a direct flash due to the soft box and off-centre position which creates a nice modelling effect upon our subject.  This light is referred to as the key light or main light as it is responsible for the primary lighting effect in the shot.  At this point the line between the lit part and the shadow is nice and gradual but the shadow area is quite dark. I set this flash at +1/3 exposure compensation to make the image a bit brighter.

Step Two.

To lighten this area we require a second light from the opposite side of the subject.  This light needs to be less powerful than the key light so it doesn't eliminate the modelling effect the shadow creates.  I set the power of this light to half of the power of the key light and use the same soft box on it.  This will lighten the shadows to even out the contrast while still keeping the shadow areas present but to a lesser degree.  I set this light at -2/3 exposure compensation.

Step Three.

Now we need to add a bit more light to the hair of our subject to create a bit of shape.  For this I put a Honhl flash bender onto the third flash.  I’ve put it into the shape of a snoot, which is simply a tube made to funnel light into a specific area of a photograph.  In this case I want the light to fall onto the hair of our subject to highlight it and give some definition and shape to the subject. To do this I simply aim the snoot towards the subject directly from the other side of the key light.  Also make sure you have a bit of height so you are shooting the light at more of a downward angle.  This has created a highlight effect that helps the image to pop and adds a bit more depth.  This light is set to +/-0 exposure compensation to make the highlights stand out when compared to the second flash.

So there you have it. A simple, quick technique for studio lighting to get you started.  Off-camera flash is a great way to begin learning about how different angles and quality of light can change the look of the subject.  Once you are confident in using flash then it is easier to know how the quality of existing light will look in your photos.  Using flash is also a really good way to train yourself to understand how different lighting can affect the photo you take and also trains you to identify lighting conditions and ways you can manipulate it to obtain a good result. 

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Crumpler Bags & Accessories Arrive At DCW!

We’re thrilled to announce our new partnership with Crumpler and as of now are stocking the full range of Crumpler professional camera and photography bags online and in all of our retail locations! We’re super excited to be the largest photographic specialist stocking Crumpler’s pro photo and camera range in the country outside of Crumpler branded stores.



Our Crumpler wall-of-pretty is here!

Crumpler is an Australian owned company that designs and manufactures an extensive range of premium quality bags that include professional camera and photography bags, laptop and technology bags, backpacks, casual sling packs and travel luggage. Complimenting their wide range of bags are numerous accessories that include camera straps, tablet sleeves and even compact gadget pouches that are easily affixed to their larger bags. To top is all off, Crumpler offers a lifetime warranty on their products as they truly believe in the quality of their goods! 

 

So if you're in the market for a new camera bag or accessory, why not join the millions around the globe and see what the hype is all about? We know you will be pleased!

Click here to discover more!

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Canon Releases the EF 200-400mm f/4L IS USM Extender 1.4x Lens

 

Canon have finally released the long awaited EF200-400mm f/4L IS USM Extender 1.4x lens that was originally seen at a tradeshow in Japan two years ago in prototype form.  The trick this lens has is the inclusion of a built in 1.4 x extender that is activated via a switch on the lens.  This turns the focal length from 200-400mm to a massive 280-560mm and the maximum aperture changes from f4 to f8.  The lens also features all the usual high quality things you would expect from Canon including a fluorite element and four UD elements to give superior sharpness and contrast.  The great thing about this lens is the extender can be activated without the need to remove the lens from the body, greatly reducing the risk of dust and moisture getting inside your camera. 

Below is the official press release from Canon for those of you that want all the nitty gritty detail.  The lens is expected to ship to us at the end of May.

CANON EF200-400mm f/4L IS USM Extender 1.4x Press Release

Sydney, Australia, 14 May 2013 – Canon announces today the launch of a new addition to the company’s line-up of interchangeable EF lenses for use with Canon EOS-series SLR cameras: the EF200-400mm f/4L IS USM Extender 1.4x. The ground-breaking L (luxury)-series lens, the world’s first*¹ super-telephoto zoom lens to incorporate an internal extender, delivers enhanced convenience and exceptional imaging performance on par with large-diameter super-telephoto prime lenses. Covering a wide zoom range from 200–560 mm, the new lens supports the advanced needs of professional photographers and contributes to expanding the possibilities in imaging expression.

 

Featuring a built-in 1.4x extender that employs eight lens elements in four groups, the new Canon EF200-400mm f/4L IS USM Extender 1.4x enables users to instantly change the lens’s zoom range from 200–400 mm to 280–560 mm with the single flip of a switch.*² In addition, the super-telephoto zoom lens realises high image quality even when the extender is in use.*³ Offering superior convenience, the model is particularly useful for capturing sports, nature and other types of photography involving weight and shooting-space restrictions that limit the amount of equipment that can be brought to a location, or in situations where users are unable to get close to a subject.

 

Through a simple one-touch operation, the zoom range of the EF200-400mm f/4L IS USM Extender 1.4x can be extended without having to switch lenses, eliminating the risk of dust or moisture entering the lens or camera when changing lenses. In addition, with the attachment of an external 1.4x extender (sold separately), users can realise image capture up to a maximum focal length of 784 mm and auto-focusing at a maximum aperture of f/8.*⁴

 

The Canon EF200-400mm f/4L IS USM Extender 1.4x incorporates a new optical design that makes use of a fluorite lens and four UD (ultra-low dispersion) lens elements, which effectively correct for colour aberrations across the entire zoom range, making possible high-resolution, high-contrast imaging performance comparable to that made possible by large-diameter super-telephoto prime lenses. Greatly minimising the occurrence of flare and ghosting, the new lens employs optimal lens positioning and coatings, as well as Canon’s proprietary SWC (Subwavelength Structure Coating) anti-reflection coating technology.

 

In order to equip the new lens with an internal extender, Canon newly developed a compact IS unit that delivers image stabilisation equivalent to approximately four shutter-speed stops.*⁵ The EF200-400mm f/4L IS USM Extender 1.4x allows users to select from three different IS modes, including IS Mode 2, which is ideal for photography where panning is necessary, such as when shooting motor sports and moving trains; and IS Mode 3, which provides optimal image stabilisation when capturing fast-paced action, such as sports.

 

The new super-telephoto zoom lens has been thoroughly reduced in weight through the liberal use of magnesium alloy and features a construction that ensures a high level of durability and ruggedness in the face of harsh shooting conditions to satisfy the demands of professionals.

 

The Canon EF200-400mm f/4L IS USM Extender 1.4x super-telephoto zoom lens is expected to be available in Australia from the end of May with pricing at dealer discretion.

 

*1 Among interchangeable lenses for interchangeable-lens cameras (SLR and compact-system cameras). As of May 1, 2013 (based to a Canon survey)

*2 When switching on the internal extender, different restrictions may apply depending on the camera used

*3 When using the internal 1.4x extender, the amount of light is reduced in accordance with the amount that the focal length has been extended (one f-stop), making it necessary to adjust exposure

*4 When using a camera that supports auto-focusing at an aperture of f/8

*5 Based on a Canon standard. A shutter speed of 1/(focal length) seconds is generally considered the limit to prevent hand-shake blur during hand-held photography

 

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Documentary and Photojournalist Tips and Techniques

Shooting in a documentary or journalistic style is a really good way to produce a strong and coherent body of work on a subject you are passionate about.  Unfortunately it’s not always easy to get the results you want.  We have a few preparation tips for events or assignments which you wish to photograph as a story. This could range from your kids first soccer match to a harder hitting subject.  Whatever the story is, there are some key things that will enable you to be capture-ready when that perfect moment occurs.  To get a head start on telling your story, read on....

 

The most important thing is to be prepared with batteries fully charged (both primary and spares), testing them in-camera to ensure all necessary gear is in good working order. Triple-check your camera settings before you begin to confirm everything is a-ok. Don’t forget to also obtain permission to shoot the event if required.  

Have a pre-determined idea of the story you wish to tell and think about the type of shots needed to tell that story effectively. An example might be a wide-angle shot of a factory to set the stage, a few portraits of factory workers and some candid photos of their day-to-day experiences.  Remember to be patient as you may not always get the shot on day one. The photographic style you choose can say a lot about the subject and the aim should be to always show the reality of the subject’s situation. The challenge is to capture the humanity in the scene and this only comes from practice, patience and experience.

Keep in mind you may need to do some homework before you start.  Check with the organisers (if applicable) of the event to see if there are any restricted subjects or areas and if you need a permit to shoot in a specific location. If it's a public event held on public property then you should generally be fine to simply show up and shoot.  If you do have a meeting with anyone in the lead up to an event make sure you are punctual and act in a professional manner.  This will give you credibility and shows that you have respect for them as well.

Some factors to consider during your project is – ‘How will you present the finished folio?’ ‘Will it be in colour or black and white (or both)?’ ‘Are you going to print them or will it only be viewable online?’ Also take note of locations, dates, times and names as you shoot because the photos will need to be given context with a few words attached to each image.  People need to know what they are seeing and their significance as it pertains to the overall portfolio.  Documentary photos rarely speak for themselves.

The equipment required is very personal and also dependent on the story type.  For some stories, being unobtrusive and ‘under-the-radar’ is essential so therefore using a compact but high-quality camera is important.  Some suggestions would be the Fujifilm X100s , Sony RX1, Leica X2 or Olympus OM-D-E5 . These are all compact cameras with serious sensors and high quality optics yet they are hard to notice and whisper quiet when shooting with them.

If there is no need for a low-profile then feel free to equip yourself with what you think will be needed and that you can deal with carrying around all-day.  For me it would be the Canon 16-35, 24-70 f2.8 and 70-200 f 2.8 (or equivalent lengths in your chosen brand) or a combination of two of these depending on the situation.  Also, two strobes may come in handy with two Gorillapods to hold them in position should an opportunity arise to set up some posed portraits. A small tripod with an adapter can work as a light stand or a tripod when required.

Check out these links to get inspired by some talented photojournalists.

*Please note that the following links are to external sites and may contain photos of a mature nature so reader discretion is advised.

Verve Photo - photos and links to some of the best photographers in this field.

The New York Times Lens blog - excellent photography with each entry telling a story from The New York Times.

Tatiana Cardeal - a mixture of travel and photojournalist work.

Sanjit Das - some great reportage stories and great photography.

Once you're feeling inspired why not give it a go and enter the Sydney Morning Herald Photos1440 Challenge!  Great prizes are on offer for the best of the best including a Canon 5D Mk3 Pro kit (includes a 24-70 f2.8 II Lens), an internship with The Sydney Morning Herald and prizes from Digital Camera Warehouse!  The challenge is 'Capturing the minutes of the day' and the winning entrants will be displayed as part of The Sydney Morning Herald exhibition - Photos1440 capturing the minutes of the day.  The exhibition is proudly presented by Canon Australia.

Good luck and don't forget to share with us your results on our Facebook page or right here on this blog.

 

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Prime Lenses - A Quick Guide

Canon 50mm EF f/1.8 II aka 'Nifty Fifty' 


A prime lens is a lens with only one focal length, like a 50mm or 100mm lens.  They are different from zooms which have a varying focal length such as an 18-55mm 'kit' lens most people buy with their first DSLR.  Shooting with a prime lens is one of the quickest ways to improve your photography.  It makes you think about your image more and forces you to get out of the zoom lens habit.  If you think that you've hit the creative wall and are looking for something to kick start your passion again or are looking for a different angle with your photography than read on to find out how a prime lens can help.

Advantages of a prime lens over a zoom -
Optical quality for even entry level prime lenses is usually better than or equal to all but the most expensive zoom lenses.  This is due to the fact that fixed focal length lenses are less likely to suffer from excessive chromatic aberration (colour fringing near the edge of the frame), barrel or pincushion distortion than a lot of zoom lenses.  A prime is also lighter and more compact than a zoom and is easier to carry around all day.

Disadvantages of a prime lens over a zoom -
You will need to carry around several prime lenses to cover the same range of a single zoom lens.  Changing focal length is sometimes the only way to get a shot if you can't physically move your position.  Changing lenses less often with a zoom can keep more dust out of your sensor area.  A professional level zoom can have very high quality optics but at a much higher cost (you get what you pay for). 

I carry around 24mm, 50mm and 100mm lenses in my kit bag for when I go out for a day’s shooting.  I also have a 24-70mm Canon L series lens for professional work as the optics are very good and there is no time to change lenses on a fast paced shoot.  For street and architecture I almost always use a prime lens as the situation is a bit more predictable, particularly architecture as buildings don't tend to move much.  The 50mm is my favorite for portraits as the shallow depth of field is very effective at isolating my subject and I find the perspective to be quite natural. 


Olympus Zuiko 25mm f/2.8 'Pancake'

A Few Tips -
With a bit of practice you can become quite quick at changing lenses on the fly.  Keep your surroundings in mind while changing lenses, keep an eye on things like rain, high dust environments and always face the camera in a downwards direction as this helps stop things falling inside the mirror box.

You can get a prime lens for a surprisingly small amount of money and it can be a great way to get inspired again, plus, isn't it always nice to buy some new glass?

Check out our wide range of lenses HERE. 

- Marc Busoli @ DCW

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Canon EOS 5D MKIII 1.2.1 Firmware Update Now Live!

Canon EOS 5D Mark III

The latest firmware update to the Canon 5D MK III has just been released and promises to further improve this awesome DSLR.  This is what Canon have to say about the latest update -

“The upgrade, which was first announced in October 2012, enables the use of the HDMI output functionality for more efficient video editing and monitoring workflows by professionals in the fields of cinema and TV production. With HDMI output, users can record HD uncompressed video data (YCbCr 4:2:2, 8 bit) to an external recorder via the camera’s HDMI terminal, supporting minimal image degradation during video data editing for greater onsite efficiency during motion picture and video productions. Additionally, video can also be displayed on an external monitor while being captured, for real-time on-site monitoring for HD video during shoots.

To further improve functionality, the upgrade improves the AF system with centre AF point now enabled at f/8 supporting the needs of photographers to achieve more from their camera when using fast super-telephoto lenses with extenders. Drastically increasing the shooting range, version 1.2.1 now makes it possible to use an EF600 f/4 lens and two-times extender to achieve a massive 1200mm focal length with precise AF performance. This will benefit sport and nature photographers who shoot over long distances. This upgrade also increases the range of lens options with full AF capabilities, including the EF400mm f/5.6 and the EF100-400mm f/4.5-5.6L IS with 1.4x extenders, for zoom ranges up to 560mm.“

The short version being that this update makes possible the use of the HDMI output for uncompressed video output and improving auto focus performance at smaller apertures i.e. f/8.

You can download the update from here .

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Pentax Announces Firmware Update for K-5 II/IIs DSLRs & Q Mirrorless Camera

The latest update addresses an issue in the K-5 II/IIs where some controls may cease to function on the status screen and also improves the overall stability.  The Q update fixes a minor issue with one of the Smart Effects filters.  Updates are now available from the Pentax website. 

 

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Sigma Announces the 18-35mm f/1.8 DC HSM Lens

18-35mm f/1.8 DC HSM for APS-C Digital SLRs

Sigma today announced a new 18-35mm f/1.8 DC HSM lens. You read that right, f/1.8 the whole range through. The lens is made specifically for APS-C sensors and gives you the equivalent of a 27-50mm lens on a cropped frame body. It is part of the Art range of lenses and will be compatible with the upcoming USB dock for Sigma lenses which will allow photographers the ability to update the lenses firmware and set focussing parameters from their home PC. It has internal focus and zooming that make it easier to work with circular polarisers and Cokin-type filters. The focus has a full-time manual setting so you can take over focussing duties if the auto-focus is having a hard time locking onto your subject.

This will be an exciting new lens but no release date is available as yet from Sigma Australia. Stay tuned!!

                                                       

Primary Specifications

 

Lens Type - Zoom Lens

Max Format Size - APS-C / DX

Focal Length - 18-35mm

Image Stabilization - No

 

Aperture

 

Maximum Aperture - F/1.8

Minimum Aperture - F/16

No. of Diaphragm Blades - 9

 

Optics

 

Elements - 17

Groups - 12

 

Focus

 

Autofocus - Yes

Motor Type - Ultrasonic

Full-time Manual - Yes

Focus Method - Internal

 

Physical

 

Weight - 810g

Diameter - 79mm

Length - 122mm

Filter Thread - 72mm

Hood Supplied - Yes

 

 

 

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The Compact System Camera (CSC)

To begin with, what exactly is a Compact System Camera (CSC)?  A compact system camera is a cross between a Digital SLR and a point-and-shoot camera.  They also have interchangeable lenses but unlike a traditional SLR they have no internal mirror. This makes them a lot smaller in size but maintains the image quality of a crop-frame DSLR.  This camera type is a good alternative to a full-size DSLR kit due to the high quality results housed within a much smaller and lighter set up. All the major manufacturers have released at least one CSC model - Canon have the EOS M, Nikon have the 1-Series and Fujifilm have the X-Series.  Panasonic and Olympus both use the Micro Four Thirds (MFT) standard which enables these two companies' lenses to be interchangeable. 







Fujifilm XE-1



We find two main purchases of compact system cameras with the first being the point-and-shoot upgrader who are looking to step-up to a better camera system with potentially much better results.  The second is the DSLR owner who seeks similar image quality as their current kit but in a smaller form factor and without the added bulk.

 

 

Advantages over full-frame DSLR cameras -

 

Smaller (more discrete), lighter and a shorter flange focal distance allows almost any lens ever made to be adapted to a CSC body. This allows you to adapt all your existing lenses to many CSC bodies.  Greater depth of field can be achieved due to smaller sensor size but shallow depth of field can be harder to achieve.

 

Disadvantages over full-frame DSLR cameras -

 

The sensor size is 35% smaller than an APS-C sensor (with the exception of the Canon EOS M series which utilizes an APS-C sensor) and 75% smaller than a full-frame camera. Generally, a digital SLR is easier to keep clean due to the mirror and shutter mechanisms offering basic dust protection.







Sony NEX-6



More and more people are discovering the advantages of a smaller system that still has all the functionality of a DSLR system. The weight advantage means it’s a breeze for photographers to travel with a full focal range of lenses and still be able to comfortably lift their camera bag. The lens selection is really starting to grow to a point where a lot of focal lengths and lens types found in a DSLR range are now available to the CSC photographer without compromise on quality.  Fujifilm have released a 14mm X-Series lens which is an excellent piece of glass while the Panasonic 25mm Leica lens is arguably one of the best lenses available in the CSC category. The focal lengths available range from 14mm wide all the way up to 600mm in 35mm equivalents.   



Metabones Nikon F to Sony E-mount Adapter

Additionally, this doesn't include all the lenses that can be adapted to the CSC format via a range of third party adapters that are fast becoming more widely available. This is great news as it means you’re now able to mount a majority of old lenses you may have in storage (such as any old Nikon or Canon FD lenses) to your new compact camera. Bear in mind that the focal multiplier for CSC systems vary from 1.6x to 2x depending on which system you adopt. Therefore your old 50mm lens could potentially become a 75mm or even 100mm in focal length!  



Lenses such as the Nikkor D-Series are popular due to its manual aperture ring and functions. If a manual aperture ring is absent, the lens will still function but will remain locked to the aperture’s setting when unattached to a body. E.g. Canon EF lenses will always remain at their widest aperture.



Olympus OM-D E5

The compact system camera is definitely here to stay. It's not for everyone but it does fill a void in the market for a high quality yet compact camera with interchangeable lenses and is becoming quite regular for amateurs and even advanced enthusiasts to sell their DSLR kit in order to set themselves up with a compact camera that is easier to use and more convenient to carry.  

 

 

Drop in to one of our stores and check out our range of compact system cameras including the three listed below to see if it’s the right move for you!

Fujifilm X-E1  |  Olympus OM-D E5  |  Sony NEX-6

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