There are cameras I use professionally. Then, there are ones I use for fun. The Panasonic Lumix S5II and the GH5 are of the former variety, while the Olympus E-PM2 falls in the latter category. That's because bringing a professional camera to a soccer match or event can be too much. I need a smaller, older, less expensive camera to bring on the weekend because I'm not scared to drop or lose it. If either happens, it doesn't affect my bottom line.

I'm constantly looking for a new, fun camera, of which there are too many. It seems like every time I get on YouTube shorts there's a creator telling me about a digital camera from the 2000s that I've never heard of. That's how I heard of the Lumix L1 (shout out to snappiness), a beautiful rangefinder-style Panasonic DSLR from 2006.

The Lumix L1's aesthetics alone are reason enough to get this camera. It looks like a Leica on steroids, sporting a magnesium body that makes the camera super durable and lightweight, considering its size. Being a DSLR, the L1 is bulky. Built like a tank is how I'd put it, and it behaves like one too: tactile, slow, and durable. Two hours after I saw it, it was on its way to me. It's been a refreshing, albeit humbling, experience that's made me appreciate the joy of shooting photography.

A slower-paced, analog-like shooting experience

Shooting with the L1 feels like going back to basics. It feels analog. There's a button for almost everything, and that tactility makes me feel more familiar with the camera. The grip is comfortable, and most functions can be done with the right hand.

The area around the shutter dial alone has a combination of six dials, switches, and buttons, and I can reach an additional 14 functions with my right thumb. There's so much happening on the body, there's not much need to visit the menu often — a good thing, as the menu is shockingly minimal compared to modern Lumix cameras.

Coming from a modern system, it’s surprising not to see a mode dial, especially since there are so many functions available. The shutter dial lets you set the shutter to ‘auto’, but there are no shutter priority or aperture modes. While you can shoot in a fully automatic way by setting all aspects of the exposure triangle to ‘auto’, it's not an intuitive or quick process. The lack of a mode dial snatches away the training wheels. With few aids to fall back on, I have to be more comfortable with the exposure triangle and slow down to double-check the exposure meter, even when shooting with an automatic shutter or aperture. This level of constraint, while slow, is also freeing.

Why freeing? Because I feel at the peak of my creativity when there are constraints. Give me too many options, too many settings, and I feel overwhelmed. But take something away, and now I have to adapt and get creative to get a shot I'm happy with. For example, instead of switching to aperture priority when shooting indoors, which isn't possible on the L1, I have to really slow down to tweak the ISO, shutter, or aperture to find the right exposure. Yes, it takes time, and it can lead to missing a shot altogether, but slowing down gives me time to compose the image to my liking in the moment rather than spraying and praying.

It's like Kodak Tri-X straight out of camera

Fuji may have the market cornered when it comes to film recipes, but the L1's film modes are low-key great. These modes are accessible through the camera menu or via one of the function buttons. The options are sparse, with just seven to choose from. Four are color, and three are black and white. The black and white modes leave the color ones in the dust, and are the main reason I got this camera in the first place.

There's just something about this LiveMOS sensor that makes black and white images look so good, especially when shooting in the contrast-heavy ‘Dynamic’ black and white mode. I'm no expert on the minutiae of sensor technology, but Olympus' LiveMOS sensors bridge the gap between the beloved CCD sensors and modern CMOS sensors, which dominate the industry today. You get the image quality of the CCD sensor with the low power consumption of a CMOS sensor. The result is a level of contrast and tonality in these images that I've only experienced when shooting Kodak Tri-X film stock.

After a day of shooting, I don't have to go into the editing bay to squeeze some juice out of the L1’s images, because they’re already the finished product. They look great to me straight out of the camera, aside from some cropping. It's why I leave the camera on the Dynamic black and white mode all the time. The best part is that if I want the image in color in addition to black and white, I still have the RAW file to mess around with, which is in color.

A surprisingly modern... 20-year-old camera

A camera old enough to drink won't have the modern trappings you're used to — the aforementioned mode dial being one. But things like stacked sensors, 100 FPS burst modes, and 5-axis IBIS are out of the question, too. That doesn't mean the camera is a dinosaur, though. The Lumix L1 included some features that were ahead of its time, which makes it feel at home in 2026.

One of those features is the Live View, something we take for granted these days. Yet, back in 2006, this was cutting-edge on a DSLR, making it possible to see what the sensor was seeing on the rear display. What was a game-changer then is par for the course now, and it's part of why the camera doesn't feel ancient. Using Live View is loud and slow, as the camera has to shift the mirror aside every time you half-press the shutter to focus, but it's very usable.

Autofocus is another modern feature. Although AF wasn't groundbreaking in the mid-aughts, it was far from perfect. The autofocus on this system was super reliable when I used it. I didn't feel the need to switch to manual focus often. The only times when it was necessary were in dimly lit conditions or when focusing on something far away. Other than that, autofocus worked well for me.

One thing I have to mention is the flash system on the L1. Hardly anyone in the history of camera reviews has been excited about an onboard flash, but this one is different. The pop-up flash works very similarly to the flash on the Lumix GX1 and GX85 (GX80 in the UK and Europe). You press the button, and it pops out to face the subject. But if you lightly press the button, the flash pops out to face upward. Pointing it upward lets you bounce the reflection off the ceiling, which is less harsh than a full flash to the face. It's incredibly clever and, I believe, a one-of-a-kind flash design that I'd like to see more of in modern cameras.

In addition to all these features, you also get a hotshoe compatible with the excellent Godox iT30 Pro flash, an SD card slot, and the ability to shoot in RAW. These last two features work naturally with modern workflows. There's no need for an SD card adapter or relying on JPEG files that give you little flexibility.

It's not for beginners

The Lumix L1 is a great weekend camera. I feel closer to the craft of photography while using it, but it's not the camera I'd hand a friend to shoot pictures with. It's just not intuitive, and the lack of modes, like shutter or aperture priority, can be frustrating for someone who just wants to point and shoot. This camera is clunky, heavy, and slow. Using Live View, which would appeal to someone with modern sensibilities, is sluggish and loud. The shutter is equally noisy, so it's not an ideal camera for stealthy street photography. The rear display is another setback. It has low resolution, lacks touch capability, and it's fixed to the camera — you can't tilt or rotate it at all.

Functionality aside, the L1 is not an easy camera to find or purchase. Looking on used camera sites like MPB or KEH will get you nowhere, so eBay is the best place to find it, where it sells for between $300-$400 for the body alone. The L1 body I bought cost $300 and came with a third-party battery and charger.

Lenses are even harder to find since every time you look for "Four Thirds lenses," you get served with Micro Four Thirds lenses instead, which are not backward compatible with this system. I got lucky and found a 14-54mm kit lens on KEH for $80. However, if you want the nice Panasonic lenses made in collaboration with Leica, you'll have a harder time finding those, and they're not cheap. The good news is that, with an adapter, you can use older Four Thirds glass on the Micro Four Thirds systems, so the investment is worth it if you own cameras from both systems, as I do.

The legacy of Four Thirds lives on

You don't need to buy a Lumix L1 to experience the joys of shooting on a 4/3"-size sensor. Cameras like the Lumix L1 and the Olympus E-330 walked so that the Micro Four Thirds system could run. You can purchase a new Micro Four Thirds camera right now, like the video-focused Panasonic Lumix GH7; the photography-focused Lumix G9 II; a retro film body like the OM System OM-3; or the compact entry-level OM System E-M10 Mark IV.

These cameras are more compact than full-frame ones, and have a huge selection of quality first-party glass that can be found for cheap on used sites. Even older, used M43 cameras like the GX1 are great ultracompact pocket rockets perfect for weekend photography, and they're way more affordable than the point-and-shoots popular on TikTok.

But, if you want a shooting experience that's tactile, feels analog, and has enough obstacles to slow you down, the Lumix L1 deserves a serious look.

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I've spent the last month testing the Pentax KF DSLR camera. While it could be a contender for one of the best cameras, one question kept coming back to me — are DSLR cameras actually relevant anymore?

New technology has meant the camera world can move away from pentaprisms and mirror boxes and rely on mirrorless systems, which use electronic viewfinders instead of the optical viewfinders on DSLRs. As such, mirrorless cameras don't need the mirror of DSLRs, and this comes with certain advantages.

However, both types of cameras come with their pros and cons, so it really depends on the type of photography you want to do. But I, for one, won’t be straying from my beloved Sony a6100 mirrorless camera anytime soon.

Here's why.

The good stuff: What the Pentax KF does well

Despite my mirrorless preference, I had a lot of fun with the Pentax KF. The controls are extremely easy to use, and with so many different shooting modes, I was always able to set myself up for the perfect shot.

The camera has brilliant real-world color replication capabilities, and my shots came out totally natural. In this image of the water on the lake, it feels like it’s moving thanks to the color saturation and the way the camera is able to capture the highlights.

I love taking cameras out with me on hikes in the nearby wilderness because the landscapes are so photogenic; it'd be a disservice not to. And this is really easy since the camera is weather sealed, so windy and rainy weather isn’t going to stop you.

The IBIS system in the camera also meant I was able to shoot down to shutter speeds of ¼ second while using it handheld — something I can't do with my Sony. This was really effective and meant I could shoot easily in pretty much any light condition.

The Pentax costs just $696, which makes it pretty much the cheapest way I can think of to get a new camera with IBIS.

The bad: Drawbacks of a DSLR camera

The world seems to have moved on from DSLR, with the KF being the only major release since 2020. Some of the technology used by DSLR cameras is clunky, like the internal mirror and prism system. This system uses the mirror to direct light to the optical viewfinder, showing a direct real-time view of what is happening through the lens.

It becomes cumbersome very quickly as it makes the camera heavy, and I could definitely feel the effects of the weight around my neck — especially when taking it out on longer walks. Since you are getting an optical view through the viewfinder, you can’t see the effects of the camera’s settings on the image in real time either.

Where the DSLR wins

There are still some advantages to using a DSLR. Although the mirror system makes the camera heavy, it also means that you don’t rely on battery life to see your shot through the viewfinder. Mirrorless cameras rely on battery power to display the image in the electronic viewfinder. By using the OVF, you conserve battery life and can shoot for longer.

As I mentioned, with the OVF, you aren’t able to see what the camera’s exposure, aperture, or ISO settings are doing to the image. But this is a good opportunity for beginners to practice theory and experiment with the camera’s settings.

The OVF is also lag-free as it gives you a real-time view of what the lens is seeing. You also only get the basic information of what is happening with the camera, and for me, it’s a case of the fewer distractions, the better.

Why mirrorless still has my heart

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After shooting with the Pentax KF DSLR camera for a few weeks, I have to admit, it’s not going to make me switch from my beloved mirrorless. But it does have a few things going for it.

If you’re looking for one of the best cameras for beginners, the Pentax KF is a decent option — and indeed if you want a new beginner DSLR, it’s the only option. It boasts a sturdy, weather-sealed design and a convenient vari-angle LCD screen. It largely retains the core features of its predecessor, the K-70, such as a 24MP sensor and even IBIS.

The autofocus can lag at times though, and the camera is very heavy for an entry-level DSLR — especially if, like me, you are used to mirrorless cameras. Otherwise, the KF is a compelling DSLR for beginners and perhaps even enthusiasts alike.

You can find out more about the camera and its performance in this full Pentax KF review.

Pentax KF review: Specs

Pentax KF review: Price & availability

The Pentax KF replaces the Pentax K-70, which has been discontinued, but the two cameras are pretty much the same apart from the higher-resolution vari-angle LCD screen and a USB-C battery charger.

The KF is available at Amazon U.S. for $596 body-only or for $696 as part of a kit that includes an 18-55mm WR lens. The camera is also available from Amazon U.K. for £849 body-only or for $949 with the lens.

The U.S. list price is a good price for a new entry-level camera, but the price point in the U.K. is not so appetizing. The Canon EOS R50 is a mirrorless camera, but it’s what we recommend as our best option for beginners, priced at $679. It features a 24MP sensor, has a vari-angle screen, and a superior autofocus system. However, it doesn’t have IBIS, so the Pentax is more reliable for getting stable handheld images, and more flexible in low light.

Pentax KF review: Design & controls

The Pentax KF is a very sturdy camera that looks a lot like its predecessor, the Pentax K-70. The all black speckled design looks really slick, and it has a chunky grip to make handling a breeze. The neck strap that comes with the Pentax KF is very secure and also looks really sleek with the Pentax logo down the length of the strap. The Canon EOS R50 is another option for a small step up from beginner as an entry-level full-frame camera. It looks just as sleek as the Pentax and has similarly tactile controls.

The build of the Pentax is incredibly sturdy, and although it’s generally a lot heavier than the mirrorless camera models I’m used to, I have no issues handling it. At 24.12 ounces without a lens, it’s 0.14 ounces lighter than the discontinued Pentax K-70, but that’s not going to make any sort of difference. It’s heavier than my usual Sony a6100 ($848) mirrorless camera, though, which weighs in at 13.97 ounces, and I did miss having a lightweight mirrorless around my neck instead. Generally speaking, DSLR cameras like the KF have bulkier bodies to accommodate the internal mirror and prism for the optical viewfinder.

The camera measures 125.5 x 93.0 x 74.0 mm, and I actually like how bulky the camera felt in my hands. I felt like it gave me a lot more control when using the camera at odd angles.

However, the bulkiness affects portability, so if that’s important to you then consider one of the best mirrorless cameras instead. Mirrorless cameras like the Fujifilm X-E5 are often a lot smaller in size. This doesn’t seem like much of a difference, but I found the X-E5 to be far easier to use and a lot more portable when shooting with it in Valencia last summer.

Display & viewfinder

The Pentax KF has a three-inch TFT color LCD vari-angle 1037K-dot display screen and an optical viewfinder with 100% field view and 0.95x magnification. The three-inch vari-angle LCD screen is similar to the EOS R50, as the screen can flip out and rotate 180º. It is very useful for getting shots at lower angles when using live view.

When not being used for live view, the screen of the Pentax KF displays camera information, including the current primary settings and the focus zones. This came in super handy when I was manually altering my settings.

The optical viewfinder meant I could see my field of view in real time without any lag. And I wasn’t dealing with camera information displayed over the image. This is a major advantage to DSLRs that mirrorless cameras like the EOS R50 can’t match, as they have electronic viewfinders which essentially show a real time video of your frame.

Key information is still displayed along the bottom of the KF’s OVF to show your exposure and what settings are in play. At the same time, all the settings being used are displayed in more detail on the LCD screen.

As someone used to a mirrorless camera, the OVF took a second to get used to after being reliant on EVFs for so long. There is a slight learning curve as the OVF meant I wasn’t able to see and judge the exposure of the image before taking it. Seeing your exposure in an EVF, as you’ll be able to do on the EOS R50, can be more useful for beginners, although there’s an argument that using an OVF takes more skill and could be better in the long run.

Either way, if the viewfinder isn’t your first choice, the KF also features a Live View mode for seeing your frame and exposure in real time on the rear display.

Connectivity

The camera has an HDMI and USB connection on the right side, which can be used for shooting tethered and transferring pictures from the camera to your computer. The camera also has Wi-Fi, so the pictures can be transferred straight to your phone with the Image Sync app.

These ports are just below the SD card slot. There is only room for one SD card, so no second card for back-ups, meaning you’re stuck if your card corrupts. A single card also affects shooting speeds and buffer times, although it’s par for the course in this price range. The EOS R50 and Nikon Z50 II also have a single card slot. You’ll need to step up in price to a Fujifilm X-S20, Nikon Z5II, or Canon EOS R7 for dual slots.

There is also a port on the left side for microphone connectivity when shooting video.

Weather sealing

The camera is weather-resistant and dustproof, so you don’t have to worry if you encounter some light rain in your outing. When I took the camera on a walk around the reservoir, it started raining, but I had no issues using the camera in these conditions, and it still works just fine.

Pentax KF review: Controls

Although the camera is pretty small, it still manages to fit on a whole bunch of dials and settings. There is a dial at the top right that changes the camera shooting settings, and the dials on the front and back of the camera control ISO, exposure, shutter speed, and aperture. There is also a button on the left side of the camera to quickly switch between RAW and JPEG files.

The controls were very easy to get the hang of, once I knew which dials were in play based on which setting was being used. Everything is within a finger tip’s reach when you are holding the grip of the camera, making it very easy and comfortable to operate.

Menu

The menu for the camera is very user-friendly, and I was able to navigate it and change settings pretty quickly. I felt like I had plenty of control over the camera with all of the settings available to me.

Pentax KF review: Autofocus

I appreciated the autofocus capabilities of the Pentax KF, although I wish it were quicker at times. The camera hosts an 11-point AF system that can track moving subjects and face recognition that can detect up to 15 faces in frame. Comparatively, the Canon EOS R50 has 651 points of focus and has subject detection for human eyes and faces, which is great for such an affordable camera. In fact, we were seriously impressed with the EOS R50’s AF in our review — it’s the best AF in an entry-level camera.

The autofocus of the Pentax KF works effectively most of the time; however, at times it was a bit temperamental. I would half-press the shutter button to activate the autofocus, and the camera would lag or not focus at all. I could only solve this by switching the camera off and on and trying again.

The camera can, according to Pentax, focus down to EV-3. This is only a stop brighter than the EOS R50 which can focus down to EV-4. However, when real world testing in lower light conditions, I found the autofocus struggled. The KF found it very hard to lock onto subjects, so I needed a little patience. Despite this, it (eventually) managed to focus on the buds of the flowers above, which was shot in dim conditions, and I’m pretty happy with the results.

The AF did a good job at tracking moving objects in bright conditions, such as my dog walking towards me in the photo above. This is something that my Sony a6100 struggles with, so I was impressed with the Pentax KF’s tracking ability.

The KF also features human face detection, which works well. I took the picture above of my mom and dad using the face detection mode, and as you can see, the camera has locked onto their faces. The camera is able to detect up to 15 faces at once. The Canon EOS R50 has Dual Pixel CMOS AF II, which offers a wider range of subject detection, including animals. And since the R50 can lock in on eyes and not just faces, it is better for more precise focus when shooting portraits.

Pentax KF review: Stabilization

The Pentax KF has the same in-body image stabilization (IBIS) system as the Pentax K-70: the Pentax shake reduction system. This also uses a pixel shift resolution system, which captures multiple images before combining them to create a composite image, so there’s a fair bit at work here to reduce the effects of any shake.

For these images, I was able to shoot down to 1/5 second handheld and still achieve a sharp image. When this was reduced down to 1/4 second, the sharp lines were lost, and I could see the blur from the handheld camera shake.

The camera can shoot at such slow shutter speeds, even though I was shooting handheld, because the IBIS system is working hard. The EOS R50 doesn’t have an IBIS system and won’t be able to shoot at such slow shutter speeds without an optically stabilized lens, so the Pentax KF takes a win here.

Pentax KF review: Image performance

The Pentax KF features a 24MP CMOS APS-C sensor, which is the same as its predecessor. Rival cameras like the Canon EOS R50 and the R100 have 24MP sensors, so for an entry-level camera, this is exactly what to expect. The images on the Pentax KF came out sharp and clear with great real-world color representation.

The 24MP resolution is a great starting point for beginners, casual photography, and online sharing.

However, if you want to do large-format printing or more towards crop-heavy genres like wildlife photography, which requires more intense cropping on distant subjects, you’ll need a higher resolution sensor. For crisp distant crops, you’ll want to look at something like the Fujifilm X-T50, which has a 40MP sensor.

The colors produced by the Pentax KF are very impressive and true to life. In this picture of the lake, the blue of the water is incredibly vibrant, and I have not experienced such bold colors with real-world replication with a camera before.

And in the picture of the berries, the glossiness of the fruit is captured extremely well without losing any of the effect from the bright red colors. The images feel completely natural.

I was very happy with the images I captured with the camera. There are no extra color profiles with the camera. But I made some edits in post, as you can see in the black and white portrait of my dog.

ISO performance

The camera has an ISO range of 100 - 102,400. To test the ISO performance, I cycled through a few settings to see where the camera starts to struggle.

These two images were captured as RAW files on the camera and exported as JPEG files in Photoshop. At ISO 12,800 in the first image, the image is still definitely usable, which is a great result, as this is a high ISO value.

There is naturally some noise, especially visible in the darker parts of the image, but on the whole, the image still looks really good for such a high sensitivity. In the second image at ISO 16,000, the darker areas of the image begin to struggle, and the whole image looks grainy, even in the lighter areas, rendering it unusable. I would stop at ISO 12,800. But this is impressive performance for an APS-C sensor and ISO16,000 isn't totally ruined.

The above images are out-of-camera JPEGs, with in-camera noise processing applied. The camera worked to correct some of the noise in the darker areas of the image, and there is a little bit of definition lost due to the noise suppression. That being said, the image is still usable. Even at ISO 16,000, you get more of the same, and you can still come away with decent shots. This is very impressive for an entry-level camera.

High speed performance

The camera shoots at 6fps for up to 40 frames JPEG, and up to 10 frames RAW. I was able to capture images of my dog moving across the garden with ease.

I noticed the camera began to lag toward the end of the burst of images while the camera was writing to the SD card, but the shots were still usable. Again, a single SD card slot is all you can expect in this price range, so buffers filling in continuous drive is an occupational hazard.

Dynamic range

To test the dynamic range of the camera, I set up my subjects, a Lego F1 car and Knuckles, in front of the Neewer RP19H ring light, which you can see in the first image. The camera has an ISO range of 100 to 102,400, but for these pictures, the ISO is set to 100, the lowest sensitivity.

In the second image, I have increased the shadows and exposure to bring out the detail in the subjects. As you can see, the camera does a good job at retaining detail even in very challenging lighting conditions. The highlights in the image also remained fairly under control.

I repeated this test in more natural conditions with a bunch of flowers in front of a window and revealed plenty of shadow detail in the petals of the flowers. The shadows are also very clean and noise-free.

Video

To test out the video capabilities of the camera, I recorded a video of my dog. I took the video with the camera handheld and was able to get pretty steady footage thanks to the IBIS. The mic does pick up wind buffeting though, and the 18-55mm WR lens is very noisy when focusing, as you can hear on the video.

The camera exports the files in .MOV or MP4. It shoots in 1080p at 30fps, which is a shame as 4K would’ve made this camera a viable tool for content creators, especially given the IBIS. If you want high quality video, check out the Canon EOS R50 V, or something with IBIS like the Fujifilm X-S20 or Sony a6700.

Pentax KF review: Battery life

The Pentax KF has a CIPA-rated battery life of approximately 460 images when the flash is not in use. However, I took 354 images with the camera and still had about 50% remaining.

As someone who mostly uses their camera for fun when I am out walking, this was more than enough for me for the day. However, suppose you are using this camera more intensively. In that case, you may want to consider packing an extra battery, especially if using the onboard flash, which drops the shot count to 400 images.

One of the only benefits of DSLRs over mirrorless cameras is typically their battery life, with many mirrorless cameras offering sub-400 shots per charge (mirrorless EVFs and more advanced AF systems are more power hungry). That said, the EOS R50 offers 440 shots per charge, so the KF’s 460-shot rating isn’t that impressive for a DSLR.

The KF’s lithium-ion battery is rechargeable by USB-C or the mains charging adapter that comes with the camera — the latter being a rarity these days.

I had a few issues where the camera would freeze from time to time, and the only solution was to remove the battery and restart the camera. This was annoying, but it seems to be isolated to the unit I was testing, as I can’t find any other instances of this in online discourse.

Pentax KF review: Verdict

The Pentax KF is a decent DSLR camera, especially for beginners (in the U.S., as the U.K. price is very high). The camera takes great photos and packs some useful features such as fac detection and IBIS. It’s also weather sealed, making it great for getting action shots out in the wild, and the vari-angle LCD screen makes it easy to use in a variety of situations.

That said, if you’re looking to upgrade from the K-70 the KF definitely doesn’t pack enough extra features to justify it. The autofocus is also behind the curve given today’s modern mirrorless powerhouses — it’s laggy at times and not very good in low light. The camera is also very heavy if you’re working with it for a long time. For me, mirrorless will always be the winner, but if you absolutely want a DSLR, the KF is a great entry point for new photographers.

The Pentax K-3 III is an excellent DSLR born into a world that no longer cares much about DSLRs. In fact, with most people happy to snap away with one of the best camera phones and even enthusiasts having now switched to the best mirrorless cameras, it’s a surprise it even exists.

But here it is nonetheless, an APS-C DSLR that proves Pentax is standing by its assertion that it “believes in the future of SLR photography,” despite the fact that neither Canon nor Nikon has released one in two years.

None of that should count against the K-3 III of course, which taken on its own merits is a very good example of a dying breed. But equally, it’s impossible not to consider whether there’s actually a market for it outside of Pentax enthusiasts.

Let’s put all that aside for a moment, though, and talk about what it offers. That’s actually quite a long list, including a new 25.7-megapixel sensor, new processor, new 101-point autofocus system, 5-axis image stabilization, 12fps burst shooting, 4K video and USB charging.

• Best photo editing software
• Save your images in the cloud with the best photo storage and sharing sites

I spent several weeks with it, and enjoyed shooting with it despite its drawbacks. In fact, I'd say it's one of the best DSLRs. Find out what it gets right, and wrong, in our full Pentax K-3 III review.

Pentax K-3 III review: Price and availability

The Pentax K-3 III costs $1,995 in body-only form and is also available with a variety of kit lenses. Among them are the 11-18mm f/2.8 lens I tested it with ($3,399), the 55-300mm f/4.5-6.3 ($2,349) and the 16-85mm f/3.5-5.6 ($2,449). There’s also a battery grip, which costs $295. The Pentax K-3 III is available now. 

We don’t expect any discounts on it so soon after its release, but you never know, so bookmark our Black Friday camera deals page to be sure.

Pentax K-3 III review: Design

There are no design surprises with the Pentax K-3 III: it’s a DSLR, it’s proud of it, and it sure as hell isn’t going to take any risks. But while there’s nothing particularly wrong with its looks, as far as DSLRs go, it suffers from the format’s familiar drawbacks.

To that end, it’s a fairly big and bulky camera, although it is smaller than the K-3 II. You certainly won’t be fitting it in your pocket unless you’re dressed as a clown for the day. It’s also quite heavy, particularly when teamed with the chunky 11-16mm lens I used for my testing; strap it round your neck for more than an hour or two and you’ll notice it.  

The biggest flaw here, though, is that the 3.2-inch LCD touchscreen doesn’t flip out as most now do. Come on, Pentax — I know making a DSLR in 2021 is something of a throwback, but that doesn’t mean you can’t move with the times.

On the plus side, it’s extremely well built. It’s crafted from magnesium alloy and is fully dust- and weatherproof; it’s certainly tougher and better able to handle the British weather than I am.

It also feels great, with a nicely rounded grip that offers plenty of purchase, and the multitude of manual controls are mostly accessible with the thumb or forefinger through feel alone. Dual SD card slots are another bonus, as is the top status panel.

And then there’s the optical viewfinder, which is big and bright with a 100% field of view and 1.05x magnification. Electronic viewfinders, as found in most mirrorless cameras, have improved a lot in recent years and have some advantages — but there’s still no beating an optical one for clarity.

Overall, there’s plenty here to like, and while it may lack the retro stylings of some mirrorless rivals, it’s a nice camera to shoot with.

Pentax K-3 III review: Controls

The Pentax K-3 III gets a lot right with its controls. For starters, there are plenty of them — I counted a staggering 29 buttons or dials spread across the top, back and sides of the camera. This could be overwhelming for some, but then again the majority of people buying the K-3 III will probably have used a DSLR before. Many of the controls are also customizable, so you’ll be able to set it up exactly as you want.

The main mode dial is on the top left and has a lock below it to prevent accidental changes. As well as the usual modes you also get Pentax’s TAV option, which lets you control aperture and shutter speed via the two control dials.

Round the back, there’s a nice little joystick for choosing focus points, while an AF button on the left-hand-side lets you flip between the various autofocus modes. But my favorite control (yes, I have one) is the green button; this resets settings to default and is a great little touch.

Pentax K-3 III review: Performance

Autofocus is handled by a new 101-point SAFOX 13 AF system, but though it does a good job in some situations, it’s one area where the K-3 III lags behind its mirrorless rivals; it certainly doesn’t compare to the likes of the Fujifilm X-T4 or Sony a6600.  

That’s partly due to coverage: 101 points might sound like a lot, but the X-T4 has 425 and the a6600 has 850. What’s more, only 25 of those are faster cross-type points and they all sit in the center. Plus, the autofocus points don’t extend across the full width or height of the frame, meaning there are some areas where they simply won’t work. Though it does have continuous AF and subject tracking, it struggles to keep up if the subject moves out of the frame. The situation is worse still if you’re using Live View, which only has outdated contrast-detection AF.  

What all this means in practice is that the K-3 III handles still subjects excellently, snapping on quickly and accurately, but it isn’t the best when it comes to fast-moving action such as sports. I certainly had mixed results when taking photos of my energetic labrador puppy. The above image (which has been cropped in) illustrates this — it's caught him mid-bound, but the focus is soft.

On the other hand, the K-3 III’s 5-axis image stabilization is excellent. Pentax claims it’s good for an extra 5.5 stops and that sounds about right from my experience; I was able to shoot as low as 1/8sec with some good results.

The K-3 III is also relatively fast, shooting at up to 12fps in burst mode, although the relatively small buffer (37 JPEGs, 32 RAW files) is a bit of a drawback.

Battery life is excellent — Pentax says it’s good for 800 images and I only needed to charge it a couple of times in my several weeks with it. Plus, you can charge it via USB-C, which is a bonus if you’re away from a plug as you can just use one of the best portable chargers and power banks.

Pentax K-3 III review: Image quality

The K-3 III teams a new back-illuminated 25.7MP APS-C CMOS sensor with a new PRIME V processor, and the combination makes for superb images in almost every situation. I used it extensively over sunny days and gloomy afternoons outside, and indoors under harsh lighting and it rarely made a wrong step.

Stills have masses of detail and are incredibly clean; you can shoot up to ISO 6400 without any concerns and even 25,600 is usable. That said, I wouldn’t recommend trying ISO 1,600,000, which makes it look like you’re using a filter called ‘colorful sand’.

Dynamic range is also impressive, with the Pentax K-3 III rendering blue skies without blowing out the highlights on a bright sunny day, and also picking up details in the shadows in more overcast conditions. Colors tend towards a more natural look, which can make them look muted compared to some, but you can easily ramp them up in the settings.

I shot the same scene with K-3 III and my beloved Fujifilm X-T3 and the results are quite stark. The X-T3 may be three years old, but it's still an excellent camera — but the K-3 III leaves it for dead in this comparison, doing a much better job at exposing the scene and serving up far more realistic colors.

Pentax K-3 III review: Video

Though the K-3 III can shoot 4K video, it’s definitely aimed more at stills shooters. The first problem is that video is only via live view, and that mode is hamstrung with slower contrast-detection AF. Plus, although there is a continuous autofocus option, it’s only available with certain lenses (of which mine wasn’t one). 

What’s more, 4K footage (at 30/24fps) is only available via a cropped mode, too, so you’re probably better off with 1080p (at up to 60fps). And because the screen can’t flip out, you end up having to hold the heavy body up in front of you in order to see what’s going on. 

But while it’s hardly going to trouble the best vlogging cameras, it’s perfectly serviceable for family videos. Footage is clear and colorful and the image stabilization really helps to keep things steady. In short, it’ll do the job for stills shooters who occasionally take videos, but not much more.       

Pentax K-3 III review: Features

Pentax has long had fans in the star-gazing community, thanks to its dedicated Astrotracer feature, which shifts the sensor as you shoot the heavens so that stars remain static even as the Earth rotates. Having used it on the K-3 II, I expected it to be in the new model, but while it is, there’s no built-in GPS as there was in its predecessor. The upshot of that is that amateur astronomers will need to buy the separate O-GPS-1 attachment ($195) to take advantage of it.  

The K-3 III does have built-in Wi-Fi and Bluetooth for easy connection to a phone, but unfortunately the Android version of its Image Sync app has been removed from the Play Store at the time of writing, so I was unable to try it.

Pentax K-3 III review: Verdict

If the Pentax K-3 III had come out five years ago, it would have been one of the best cameras available at its price point. As it is, it will have to settle for being one of the last great DSLRs. 

If you’re a long-time Pentax user, it comes highly recommended. Image quality is superb and it’s well built, with plenty of nice little touches that make it a pleasure to shoot with — though the absence of GPS for the Astrotracer function is annoying, and the price is on the steep side. 

That $1,995 price also counts against it when compared to several older DSLRs. The excellent Canon EOS 90D is available for less than half that, and shoots uncropped 4K video; Nikon’s D780 is slightly cheaper and has a full-frame sensor (and full-width 4K to boot).  

However, most people will instead be better off with a similarly priced mirrorless camera such as the Fujifilm X-T4 or Nikon Z6 II, both of which are smaller, lighter, faster and offer better autofocus.

Ultimately, while the K-3 III takes beautiful photos, it doesn’t do quite enough to justify that high price — or to explain why Pentax is sticking with DSLRs as the rest of the world moves on.

Sitting at the top of Nikon’s DX (APS-C) DSLR line, the Nikon 500 is a solid option for enthusiasts and semi-pros alike. It’s also a great back-up for professionals shooting full-frame who want a smaller and lighter but highly capable second camera. Sports and wildlife photographers, regardless of expertise, will benefit from its 1.5x crop and speedy autofocus.

Read the full review of the Nikon D500 to see why we’re excited about this camera (and a couple of things we’re not so thrilled about).

I tested the Nikon D500 under a variety of conditions using several different lenses including the kit AF-S DX NIKKOR 16-80mm f/2.8, 70-200mm f/2.8 and f/4 models), 200-500mm f/5.6 and, one of my all-time favorites, the lightweight 300mm f/4E PF ED VR. Check out our sample photos and videos below to see how well the Nikon D500 and these lenses performed, and why it’s one of the best DSLR cameras.

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Nikon D500: Price and availability

The Nikon D500 was introduced in 2016, and is still the company’s premier DX-series DSLR. The Nikon D500 is available starting around $1,500. A kit with the NIKKOR 16-80mm VR lens will set you back around $2,100. Both DX and FX format lenses can be used with the Nikon D500, so if you already have Nikon lenses, you’re ahead of the game.

Nikon D500 review: Design

At 5.8 x 4.6 x 3.2 inches and 26.9 ounces, the Nikon D500 isn’t the smallest or lightest DSLR on the market (that honor goes to the Lilliputian Canon EOS Rebel SL3) but compact enough for one-handed shooting with a short lens like the NIKKOR 50mm f/1.8. The solidly built camera body is also well-balanced even with telephoto lenses thanks, in part, to its deep grip and comfortable handhold.

A large, bright optical viewfinder features 100% coverage, and the ability to display grid lines on the viewfinder helps with composition and level horizons. With a -2.0 to +1.0m diopter adjustment, I was able to easily adjust the viewfinder to accommodate my eyesight with and without glasses.

The Nikon D500’s 3.2-inch touchscreen LCD is bright and clear. Unfortunately, the monitor’s touch capabilities are limited. It has touch focus and touch shutter, and can be used to scroll and zoom images in playback. To navigate menus, though, you’ll need to use the four-way controller. Not a huge deal but somewhat disappointing. And, rather than having a fully-articulated LCD, the D500’s monitor only angles up and down, which is also a bit disappointing. A top control panel provides an at-a-glance view of exposure settings, number of shots remaining, battery life, etc.

What’s not disappointing, though, is the D500’s dual card slots that accommodate SD and XQD cards. The secondary card slot can be configured to store overflow (when the primary card is full), backup (a shot-by-shot duplicate of the primary card) or to save RAW files to the primary card and JPEGs to the secondary card.

Nikon recently released a firmware update so the D500 — as well as other Nikon DSLRs — are compatible with the faster and higher capacity) CFExpress Type B cards (up to 2TB). Since CFExpress is the same form factor as the XQD, no changes to the camera body are required.

Typical for this class of camera, there’s no built-in flash. As expected, it has a hotshoe to attach an accessory flash when needed.

Nikon D500 review: Controls

Buttons and dials are plentiful and ergonomically positioned for quick access. Current Nikon users will feel comfortable with the external controls and menus. And once you set up the camera to your liking, you’ll rarely have to call up the easy-to-navigate menu system.

In addition to front and rear dials, the Nikon D500’s dedicated buttons include movie record, ISO and exposure compensation located just off the shutter release/power switch. The top left panel includes access to white balance, exposure mode, metering and quality along with a release mode dial (single, continuous low speed, continuous high speed and two quiet shutter release modes).

The rear panel is home to a long list of other buttons/controls including playback, menu, zoom, AF-ON, 4-way controller, a joystick for choosing AF points, Live View, function and info buttons. There’s also a depth-of-field preview button and another function button on the front of the camera. Better yet, many of the Nikon D500 controls—above and beyond the two function buttons—can be customized.

One of this camera’s cool features is its backlit buttons. Rotate the power switch to the little light bulb icon and you’ll be able to see the buttons and their identifying marks in the dark. This is a real bonus when shooting in low/no light, like in the press pit during fashion week.

The D500’s menu is long but well organized and easy to navigate, particularly if you’re a Nikon user. Press the question mark button to the left of the LCD for detailed and helpful explanations of many of the menu settings.

Nikon D500: Image quality

In a word, the Nikon D500’s image quality is excellent. In fact, I was as comfortable submitting this camera’s images to a wire service news agency as I was images from the higher end Nikon D4s and D850.

Colors were accurate and looked natural with just the right amount of saturation and sharpness, as shown in this image of a kitesurfer.

Even under mixed lighting that is usually found at fashion shows, auto white balance worked well. When the lighting temperature was known, I switched from auto white balance to the appropriate Kelvin temperature.

Auto white balance easily managed to keep these bridal gowns white even in this shot, which mixed natural light through the large windows and artificial light.

White balance can, of course, be adjusted in post processing when shooting Raw. In fact, the D500’s Retouch Menu offers in-camera Raw processing capabilities—including white balance adjustments.

Exposures were generally spot on both when shooting in program auto, semi-manual and manual modes. For the latter, the exposure meter was, for the most part, accurate. As always, the manual exposure mode allowed me to tweak the exposure when shooting in challenging conditions. Overall, dynamic range was quite good, as shown in this photo of a hawk with its dark and light markings.

Native ISO ranges from 100-51,200 and is expandable to a low of 50 and a high of 1,650,000. Even at ISO 6400, the D500 kept image noise to a minimum, as shown in the image below. At the same time, the camera maintained details and sharpness even at higher ISOs.

Nikon D500: Video

One of the first DSLRs to offer 4K video, the Nikon D500’s video options range from 4K UHD (30/24 fps), Full HD (60/30/24fps) to HD at 60fps. Complementing its video capabilities are a built-in stereo microphone, an external microphone jack as well as a headphone connector. You can also add an external monitor or recorder.

Image quality is quite good, with accurate colors and exposures. Detail capture is better than expected. Keep in mind, though, that 4K recording uses only part of the sensor. Add that crop factor to the camera’s APS-C 1.5x native crop and you need to figure in a little more than a total of 2x crop when choosing a lens. For example, a 14mm lens will deliver the same field of view as a 28mm lens, which may or may not be wide enough for the shot you planned.

The Nikon D500 did a good job of balancing the exposure in this high contrast scene. But given the tendency of the Nikon D500’s autofocus to occasionally search for focus and the fact that seabirds might fly into and out of the scene, I thought manual focus would work better here.

The Nikon D500 makes time-lapse video incredibly easy. Set-up is simple: just choose the interval (time between shots) and the total shooting time and you’re good to go. One of the really nice features is the “smoothing” option, which compensates for extreme changes in exposure during the recording. Once all the images are captured, the camera combines them into the final video like the one you see below.

Nikon D500: Performance

Solid performance is one of the Nikon D500’s strong suits. While many photographers have started gravitating towards mirrorless cameras for sports, the D500 can shoot up to 10 frames per second with swift and accurate autofocus (when shooting with the viewfinder). The D500 was responsive and capable of capturing these horses and riders in motion during a polo scrimmage.

The Nikon D500 was also a great companion when shooting models on the runway at New York Fashion Week—regardless of lighting conditions.

And the camera was perfect for capturing fast moving kite surfers on a windy day.

Autofocus is less speedy when using Live View but it’s unlikely that you’ll be using Live View to shoot action.

Shutter speeds are available from 1/8000th second to 30 seconds. There’s a Bulb setting for extra long exposures. The camera has a sync speed of 1/250th second and several self-timer modes. The latter include 2, 5, 10, 20 second durations with 1 to 9 exposures at various intervals.

Battery life is great, too, which is super important when you’re making use of its 10fps continuous shooting speed. The D500 can capture up to 1250 shots per charge and I never had to change batteries when covering two or three back-to-back fashion shows.

Nikon D500: Wi-Fi, Bluetooth and NFC

Nikon’s free SnapBridge app is available for iOS and Android mobile devices and works with Wi-Fi, Bluetooth and NFC. Set-up is relatively easy and while I’ve occasionally had some problems getting the app to work effectively, it’s generally smooth going.

As expected, the app facilitates transfer of images from camera to mobile device. Users can add copyright or other information (up to two pieces) to the images.

The app and mobile device can also be used to shoot remotely with options to shoot in program auto, shutter priority, aperture priority or manual exposure modes. Exposure compensation, ISO and white balance adjustments can be made directly from the app. It’s pretty typical when it comes to functionality and can be a real bonus when you want or need to share images in the field.

Nikon D500 review: Verdict

The Nikon D500 is one of my all-time favorite Nikon DSLRs thanks to its excellent image quality and performance. Enthusiasts and even newcomers who want to step up to a higher end APS-C camera can do so thanks to its more affordable price.

Although it’s more expensive, the 20 megapixel Canon EOS 7D Mark II ($1800) might be a good fit, especially if you already have a set of Canon lenses. You’ll have to give up 4K video but you’ll still get 10fps continuous shooting and gain better video AF and as well as a built-in flash.

But if you have Nikon lenses and are looking for a step-up camera that's a solid performer with great image quality, you can’t go wrong with the Nikon D500.

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Time for an upgrade? The Canon EOS Rebel T8i is touted as an entry-level camera for beginners, hobbyists, and content creators, but it’s got a few features found in higher-end Canon cameras.

The most noteworthy is its ability to record video in 4K—including vertical video—which will appeal to the vlogging set. Combined with easy-to-use controls and guides, it’s one of the best DSLRs for novice photographers. 

Keep on reading the rest of our Canon EOS Rebel T8i review to see if it’s the right camera for you or someone you know.

Canon EOS Rebel T8i: Price and availability

The T8i is the most advanced camera in the EOS Rebel line. Released in February 2020, the Canon T8i is priced at $799 with an 18-55M STM kit lens. Take a look at our Canon promo codes for ways to lower the price. 

There aren't too many meaty differences between the T7i and the T8i other than a slight weight difference and the upgraded image processor. The most significant difference is that the T8i is powered by Canon's DIGIC 8 processor, which enables 4K video capture and 7fps continuous shooting, a feature the T7i (6fps) didn't have.

Canon EOS Rebel T8i: Design

The T8i was small enough to fit perfectly in my hands, and its buttons were placed so that I could make quick and easy changes without disrupting my flow. The 3-inch LCD touch screen gave greater visual control when setting my focus points, navigating menu settings and reviewing images. Its vari-angle design—it can flip out to the side and up and down— made capturing my go-to low angle shots much easier than with my Canon Mark 5D IV. 

Measuring  5.16 x 4 x 3 inches and 18.2 ounces (with battery pack and SD card), it’s light and compact enough that I could put it in my bookbag and forget it was even there. The downside is there are no illuminated buttons: Even for the most experienced photographers, illuminated buttons are a perk when shooting in low lighting conditions. Popping out the LCD screen might be a slight fix but not ideal when you need to be discreet. 

The T8i doesn't have environmental weather sealings to protect from water and dust, unlike pricier cameras such as the Sony Alpha a7 II.

Canon EOS Rebel T8i: Interface

If you're a visual learner or hate going through equipment manuals, the T8i’s 3-inch LCD screen will walk you through different camera functions and settings so you'll be ready to take sharp, crisp photos and videos in no time. These screens will prove especially helpful for novices as they learn the ins and outs of the T8i.

Creative filters will always be a win, especially for beginners who want creative shots without using photo editing software. The T8i filters include: Grainy B/W, Soft Focus, Fish-eye Effect (my favorite), Water painting, Toy camera, HDR Art Vivid, HDR Art Bold, and HDR Embossed. 

Canon EOS Rebel T8i: Image quality

The T8i is packed with a 24.1-megapixel sensor, 100 - 25600 ISO, 45-point all cross-type AF system and DIGIC 8 image processors. Capturing fine details and true-to-life rich colors with each shot won't be a problem. Portraits, sports, landscape, dorm life — this camera will tackle it all. 

I brought the camera on set with me to shoot behind-the-scenes footage during one of my photoshoots. We started shooting in the morning when the light settings were a bit extreme. The Scene Intelligent Auto Mode (A+) was able to quickly adjust between areas of shade and bright sun. I had no problem capturing rich colors and details created by our makeup artist. Makeup gurus, you won’t have to worry about losing fine details or discoloration in your beauty shots. 

Like many cameras, the T8i struggled with minimal lighting situations, especially when using the standard kit lens. I took a few images of my friends during a night skating session, but the T8i had trouble maintaining focus on the skaters that were zipping past my lens under the fluorescent park lights. I also came across the same problem at a dinner outing and photographing my friend’s new nail designs. Again, the T8i wasn’t able to produce rich colors and focus on subjects clearly. My iPhone was able to create better results. 

High grain, slight discoloration and blur will seep into your imagery when the ISO is pushed to the max, but that is nothing to fret over when you can easily pop open the flash or use a better lens suitable for low-light situations. 

You won't miss a shot with the T8i's 45-point All Cross-Type AutoFocus paired with Dual Pixel CMOS AF Systems. The 45-point phase-detection AF made it easy to shoot stills via the viewfinder. Even in average-to-mixed lighting conditions, it was swift and accurate when tracking of fast-moving subjects. Eye Detection AF is a feature that significantly helps maintain focus on a subject's eye if there is movement in the foreground and background or multiple people within your shot. 

When shooting Live view with the LCD screen or recording video, the Dual Pixel CMOS AF system was fast and smooth. The T8i makes it easy to record your socially distanced school and sports events, your crew’s #OOTD, or your quick getaway vacation. 

However, there’s no Auto ISO minimum speed; the T8i chooses the speed as you zoom and no there’s no image stabilization for still photography, only in video. 

Canon EOS Rebel T8i: Video quality

Not only does the T8i record video in crisp UHD 4K at up to 24fps, but a significant win is the support of 16:9 vertical video output, perfect for vloggers and content creators who use popular social media platforms like Instagram’s IGTV or Facebook’s Stories. The T8i’s vari-angle touchscreen LCD made it easy to compose shots from odd angles, and I especially liked the camera’s digital image stabilization, which minimizes camera shake for smoother footage.

The T8i captured smooth shots of my crew’s day time rollerblading adventure and gave even and fluid pans for a more cinematic image. 

Canon EOS Rebel T8i: Wireless

As a content creator, it is imperative to have consistent, timely, and relevant imagery to beat social algorithms and make sure your posts are seen. T8i’s has built-in Wi-Fi and Bluetooth sharing capabilities. After wrapping a shoot with an influencer, I was able to share the photos with her on the spot with the Canon Connect App. With this app, you are able to store and edit RAW and JPEG photos, making on-the-fly editing quick and easy. 

The time it usually takes to upload to my computer and send off images was drastically reduced. 

Canon EOS Rebel T8i: Battery life

When I’m shooting with my Canon cameras, I never have to worry about battery life. Unlike my Sony mirrorless cameras, one Canon battery will last me a whole day. The same is true for the T8i. According to Canon, its battery will last for up to 1240 shots when using the viewfinder alone. However, that figure drops to just 360 shots when using live view. 

One downside is there is no USB charging, so you’ll have to remove its battery to juice it back up.

Canon EOS Rebel T8i: Verdict

Overall, the T8i passes the test of being a newbie-friendly camera for novice photographers or content creators. Its ability to record 4K video with 16:9 support makes it a much-needed upgrade from the T7i, and places it in a class all its own. At the moment, the closest Nikon competitor is the Nikon D5600, which costs about $100-$200 less, but lacks 4K video. However, we expect its successor, the D5700, to arrive sometime in 2021.  

All in all, the Canon T8i delivers polished and crisp imagery in a camera that is easy to use and won’t break the bank. 

The 24-megapixel Nikon D5600 ($800 with 18-55mm AF-P lens) replaces its predecessor, the D5500, as our favorite DSLR under $1,000. Although a modest update, the new model features SnapBridge, a technology that allows easy image transfer from camera to mobile device, along with a couple of additional touch-screen functions and a camera-lens bundle with the new 18-55mm AF-P lens. You still get excellent image quality; a large, vari-angle touch-screen LCD; and HD video. With a long list of automatic, manual and creative features, it's the best DSLR camera for newcomers and experienced users alike, and one of the best cameras overall.

Nikon D5600: Price and availability

The Nikon D5600 has been on sale since early 2017. It's available in several bundles, including one with an 18-55mm f/3.5-5.6G VR and 70-300mm f/4.5-6.3G ED lens for $796. 

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Nikon D5600 Design: Compact but functional

Compact and lightweight, the D5600's body measures 4.9 x 3.9 x 2.8 inches and weighs 14.7 ounces. Add the 18-55mm AF-P kit lens and you have a very capable camera setup weighing in at a little more than a pound. It's the perfect companion for travel and any time you want, or need, to keep your camera bag light.

The camera's deep handgrip is comfortable and secure, even for one-handed shooting. The D5600 offers more than enough external controls to make digging into the menu system unnecessary beyond the first time you set up the camera. Especially useful is the "i" quick-menu feature, which grants access to all the important settings, from image quality to ISO and beyond.

Even for those with smaller hands, almost all the buttons and dials are within easy reach. The one exception is the release mode/self-timer button located on the side of the camera, just below the lens release. Unfortunately, you have to keep resetting the self-timer mode after each shot.

The viewfinder is adequately large and bright for a camera in this class. You can easily view shooting data, such as information about shutter speed and aperture, at the bottom of the frame. But the viewfinder covers only about 95 percent of what the camera actually captures in a shot.

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The D5600's 3.2-inch, touch-screen, vari-angle LCD is a real bonus. The screen folds into the camera body to protect the display from scratches and smudges. When enabled, an eye sensor turns the LCD on when you pull your eye away from the viewfinder. The LCD's brightness can be manually adjusted, too.

Touch functions are responsive, allowing quick adjustments to settings. In Live View mode, touch focus and touch shutter are also available. New for the D5600 in playback is the frame-advance bar; drag a finger across the bar to quickly scroll through images. Also new in playback is the ability to pinch-zoom in and then touch to trim (crop) the image.

As expected, the D5600 has a single SD/SDHC/SDXC card slot, a built-in pop-up flash and a hot shoe for an external flash. There's also a microphone jack and HDMI for connecting the camera to a TV.

MORE: Nikon Crop Factor: The Difference Between FX and DX Cameras

Nikon D5600: Image quality

The D5600 delivers very good image quality given the camera's price. Colors are rendered accurately and pleasing to the eye when set to the Standard Picture Control. This is a good setting for everyday picture taking, but you can always choose one of the other options, depending on your desired look: Vivid, Neutral, Flat, Portrait, Monochrome/Black and White.

Test shots were captured with the included NIKKOR 18-55mm AF-P lens, using shutter- or aperture-priority exposure modes. With its APS-C sensor and 1.5x crop factor, the focal length of this lens is a 35mm-equivalent of 27mm-82.5mm.

Reds are sometimes challenging for digital cameras, but the D5600 accurately captured these red dots displayed for the Yayoi Kusama exhibit in Washington, D.C.

These lake scenes on a sunny but wintry day show rich color saturation, particularly in the lake and the rocks.

One of Kusama's sculptures sat in the shade and lost a bit of its yellow vibrancy; use the Vivid mode in these situations.

Exposures were generally accurate. Even this highly reflective statue proved no challenge for the D5600's exposure accuracy and dynamic range. (Note that the image was slightly cropped after straightening.)

The 18-55mm kit lens delivers surprisingly sharp details, in part thanks to the camera's lack of an Optical Low Pass Filter. An Optical Low Pass Filter tends to soften images to prevent moiré. Removing this filter is becoming standard practice on DSLRs, resulting in sharper images like these highly textured surfaces.

Unless you're shooting wildlife, the 18-55mm lens with its 35mm-equivalent focal length of 27mm-82.5mm, is a great all-around lens. Here are two shots captured from the same position at 18mm and 55mm.

Nikon D5600: Low light performance

A standard ISO range of 100-25600 is more than sufficient for most photographers. As always, choose the lowest ISO that gives you a hand-holdable shutter speed or the aperture you want for your intended depth of field.

The D5600 handles image noise quite well up to about ISO 1600-3200, even with noise reduction disabled. Not surprisingly, ISO 25600 shows significant image noise and softening of details, as shown in the image below.

Images shot at ISO 12800 and, to a lesser extent ISO 6400, exhibited speckles and softened details. If there are no other options than high ISO, these images — as well as ones shot at 25600 — may look fine on social media if displayed at small sizes.

Images captured at ISO 3200 show less image noise and, depending on subject matter, may retain enough details for print (perhaps up to 8 x 10 inches), as shown below.

At ISO 1600, the Nikon D5600 maintains excellent control over image noise, with good detail retention. Don't forget to use the camera's Exposure Value (EV) button to brighten (as I did with this low-light shot) or darken an image, above or below the camera's suggested exposure settings.

MORE: 5 Tips for Taking Better Low-Light Photos

Nikon D5600 Video: Solid, but no 4K

The D5600's entry-to-mid-level position keeps its maximum video quality at full HD (1920 x 1080), although the camera offers 60/50/24fps options. HD at 1280 x 720 at 60fps is also available, as is VGA (640 x 424) at 30fps. A time-lapse feature has been added.

The sensitivity of the built-in stereo microphone can be set to auto or manually adjusted. For the best audio, plug an external stereo mic into the camera's 3.5mm jack. The camera also features a filter for wind-noise reduction. Importantly, the D5600 records video in the .MOV format, which makes the video easy to view and edit.

In manual mode, you can adjust only shutter speed and ISO. The downside is that you may hear the clicks of the control dial when adjusting shutter speeds. The good news is that if you're shooting with the Nikon AF-P 18-55mm lens (versus AF-S lenses), you're less likely to hear noise from the autofocus and zooming movement of the lenses.

The D5600's video quality is quite good, with accurate colors and smooth footage. Touch AF and AF-F (continuous AF) are available.

Given the bright sunlight and water reflection, the D5600's auto exposure did an excellent job with this scene. Unfortunately, the wind was far too strong for the wind filter and overpowered the sound of the honking geese.

Dancer A.J. Guevara performs a little improvisational dance in this video to show off the D5600's video quality. With less wind, the in-camera microphone picked up the sounds of birds chirping and the dancer's feet gliding along the cement sidewalk. Auto exposure was spot on, even with the sun casting strong shadows.

Nikon D5600: Sharing and app

One of the main updates to the D5600 is the addition of Nikon's SnapBridge technology. Using Bluetooth low energy/Bluetooth 4.0 (or later), users can connect the camera to mobile devices. You can find more information and links to download the apps at snapbridge.nikon.com.

Bluetooth setup is painless. If you choose, the connection is always on, even when the camera is turned off. Fortunately, this doesn't drain the battery too much. When you turn off the camera, a message appears if the always-on connection is enabled.

With SnapBridge, you can manually tag and transfer full-resolution or 2-MP versions of individual images to your mobile device, or have all images automatically transferred to the device. The latter will continue even when the camera is turned off if you have enabled the always-on connection. The app also allows you to add credits, sync the clock on your device and camera, and — via the smart device's GPS — add location information.  

Overall, the process works smoothly, although the Bluetooth connection may slow during original file transfer — sometimes taking up to a minute for one high-resolution file. Moving 2-MP files from camera to mobile device is pretty quick (taking maybe 5-10 seconds or less).

You can also set up a Wi-Fi connection to use your smartphone as a remote. Basically, you can select a focus point and trigger the shutter remotely using your phone, but that's about it. While the Bluetooth connection is easy to set up, enabling Wi-Fi is a bit more complex and potentially wonky.

Nikon D5600: Performance and battery life

The D5600 is generally responsive from startup time to locking in autofocus. Continuous-burst mode captures up to 5 frames per second (JPEG and 12-bit NEF/RAW) or 4 fps (14-bit NEF/RAW), which makes it possible — especially with continuous AF — to capture moving subjects, like this dancer. As expected, autofocus in Live View is slower than when using the viewfinder.

Battery life is quite good at a CIPA-rated 820 shots. Even after a full day of shooting, I came away with plenty of power remaining.

Nikon D5600: Verdict

The D5600 is a highly capable camera at an affordable price that will appeal to a range of DSLR users. Beginners will find getting good shots easy from the get-go, and more advanced users will appreciate the camera's bells and whistles. Those users who share images regularly will appreciate how easy it is to go from camera to social media with SnapBridge.

Of course, image quality is key to any camera, and the D5600 doesn't disappoint. And its compact and light body won't weigh you down when you're traveling, wandering the city or hiking up a mountain. The inclusion of SnapBridge and a few tweaks to touch-screen options may not be enough to motivate current D5500 users to upgrade, but overall, this is a great DSLR.

Credit: Shaun Lucas/Tom's Guide

When it comes to choosing between the Nikon D3500 vs. the D5600, budding photographers have a hard choice, because both are two of the best DSLR cameras. Its D3500 model starts at under $500, with an 18-55mm zoom lens. The Nikon D3500 provides excellent image quality and a very user-friendly experience for beginners, including an onscreen guide to camera settings. 

But for $200 more, the Nikon D5600 offers a richer feature set, such as a rotating touchscreen LCD and external microphone jack. It also has a more-advanced autofocus system, which could be a decisive factor if you plan to do a lot of action photography. 

Let's look at how the two cameras compare to see which is better for you and your budget.

Nikon D3500 vs. D5600: Specs

Nikon D3500 vs. D5600: Design

The cameras have very similar physical design, with identical dimensions, in the traditional DSLR form factor. The right-hand grips offer solid purchase, even for one-handed operation. The D5600 is a tiny bit heavier, at 14.7 ounces, vs. 12.9 ounces for the D3500—hardly noticeable. The D3500 body is made of polycarbonate, while the D5600 has a carbon fiber composite body.

The clearest differentiator is in the rear LCD. The D3500 offers a basic, 3-inch screen, with a modest 640 x 480 resolution; and it doesn't tilt to help with framing shots in live view mode when holding the camera up high or down low. The D5600's screen provides a luxury upgrade, measuring 3.2 inches with 720 x 480 resolution. What's more, it's fully articulated. The screen swings outward to the left and rotates, offering great flexibility in how you can frame shots. The screen folds into the camera body to protect the display from scratches and smudges when you aren't using it.

The D5600 LCD is also a touchscreen, which comes in handy for reviewing and editing images. You can drag a finger across the interface's frame-advance bar to quickly scroll through images. Use pinch-zoom to zoom into an image and then touch to crop the photo.

These being DLSRs, you'll mostly be framing shots using the viewfinder. The two cameras offer same-sized pentamirror optical viewfinders which offer 95% coverage of the frame, with 0.85x magnification on the D3500 and .82x on the D5600.  

Nikon D3500 vs. D5600: Interface

Both cameras offer essentially the same handy control layout. Highlights include a video record button just behind the shutter release button and a big "LV" lever to the right of the mode dial that you can easily flip to engage live view. Just to the right of each camera's LCD, the "i" quick-menu button grants access to all the important settings, from image quality to ISO and beyond. Owing to its smaller LCD, the D3500 offers roomier placement for buttons on the back of the camera, including space for one extra button (which brings up the release mode options for continuous shooting or the self-timer).  

The D3500 stands out for its Guide Mode, which provides assistance for novice shooters on setup, shooting, playback and retouching images. Activated via the mode dial, the Guide's directions — available in basic or advanced operation options — are simple and easy to follow. Instructions range from setting image quality to softening the background in a portrait. 

The D3500 also offers extensive in-camera retouching options. These include a quick, automatic retouch, resizing, D-Lighting (to help bring out details in shadows), red-eye correction, distortion control and vignette correction. Creative effects such as monochrome, image overlay, color outline, photo illustration, selective color and miniature effect are also available. 

These effects can be applied after you've shot the photo and saved as a new copy. Or you can switch the mode dial to Effects and apply them in realtime as you are shooting pictures. A few of these effects can also be applied when shooting video.

Nikon D3500 vs. D5600: Image quality

The core elements of the cameras are identical. Each features a 24.2MP image sensor and Nikon's Expeed 4 image processor. Though no longer the latest tech, it's still a powerful imaging combination. The cameras deliver rich, accurate colors and excellent dynamic range (fidelity ranging from very dark to very light elements). 

Each camera's sensor dispenses with the anti-aliasing filter, which was used to blur fine details (like a finely repeating pattern) that could lead to distortions on lower-resolution image sensors. With the move to 24MP, Nikon realized the AA filter was no longer needed, and the cameras achieve much sharper image quality without it. In fact, each camera is capable of capturing higher detail than the budget-priced kit lens will allow through, especially at the edges of the image. 

The cameras perform excellently in low light, as well. Images are sharp, with accurate color and minimal pixel noise up to ISO 3200--good enough for an 8x10-inch print. Noise at ISO 6400 is not too noticeable if displayed at small sizes, say for a Facebook post. The higher ISO settings aren't worth using on either camera, unless you have no other choice to get the photo.

One difference by low light is in flash photography. The D5600's built-in flash is rated to illuminate a subject up to 12 meters (39 feet) away, which is quite far. The D3500's flash is rated for 7 meters (22 feet).

Nikon D3500 vs. D5600: Autofocus and speed

The cameras do differ in their autofocus systems. The D3500 provides just 11 autofocus points on its AF sensor, while the D5600 features 39. This won't make much of a difference in most still images, such as posed portraits or landscape shots. But with tricky lighting or fast-moving subjects, the D3500 could slip up. If you shoot a lot of action photos, say of sports or wildlife, you will notice the improvement with the D5600.

Speaking of action photography, each camera captures JPEG images at up to 5 frames per second. That's about standard for entry-level DSLRs. More-expensive DSLRs, like the Canon EOS Rebel T8i, offer 7fps. Mirrorless cameras, with fewer moving parts, can provide speeds around 10fps.

Nikon D3500 vs. D5600: Video quality

Video quality tracks that of photo quality for both cameras, with each capturing accurate colors and wide dynamic range. Resolution is limited to 1080p (at 60, 30, or a cinematic 24fps) for both, which is plenty for most online posting.

Lacking phase detection autofocus on the image sensor, however, neither camera is well suited to maintaining focus in action settings. Indeed most smartphones today have better autofocusing systems for video than either of these DSLRs do. Settings options are limited, as well. For instance, neither camera allows you to adjust the aperture to control depth of field in video.

If you do intend to shoot a lot of footage, the D5600 makes a much stronger case because of its audio capabilities. For starters, it has built-in stereo microphones, vs. the mono mic on the D3500. And the D5600 mics are adjustable so you can set the camera to record at the optimal audio level. Furthermore, the D5600 has a 3.5mm audio input, allowing you to attach an external microphone for recording much richer sound than any internal mic can capture. 

The D5600 can also record time-lapse video, which the D3500 cannot. Neither camera records at high frame rates for slow-motion playback. If high-grade video is a priority, neither of these cameras is a top choice, however. Consider instead the 4K-capable Canon EOS Rebel SL3 among DLSRs or the Sony a6000 or a6100 mirrorless cameras. 

Nikon D3500 vs. D5600: Battery life

Battery life has always been a strong point of DLSRs, and it certainly is for these two models. The Nikon D5600 is rated (based on the CIPA standard tests) for 970 shots per charge. Even after a full day of shooting, you'll come away with plenty of power remaining. If that sounds like a lot, consider the 1550-shot endurance of the D3500. You could go several days without recharging. That would allow you to bring the D3500 on a multi-day backpacking trip without having to pack a spare battery. 

Nikon D3500 vs. D5600: Wireless capabilities

Both cameras are equipped with Bluetooth, which allows them to transfer images to Android and iOS devices using Nikon's free Snap Bridge application. This works pretty smoothly when you use the option of transferring 2MP versions of images, which is plenty for social media posting (images transfer in about 10 seconds or less). But Bluetooth proves painfully slow if you are trying to move full resolution images, which can take a minute each. Fortunately, SnapBridge can run in the background.

The SnapBridge app also allows your smartphone to function as a basic remote control for the D3500. You can trigger the shutter, but you do not get a preview of the photo on the phone's screen.

The D5600 also includes Wi-Fi, which enables a slightly more capable remote control. You can preview an image, set the focus point, and activate the shutter. But that's about it: You cannot adjust settings such as shutter speed, aperture, or ISO. The D5600 also has NFC, which helps Android devices pair wirelessly by tapping the, against the camera.

Nikon D3500 vs. D5600: Which is right for you?

You can't go wrong with either the D3500 or the D5600. Equipped with essentially the same core imaging technology, each camera offers excellent still-image quality. And the D3500 provides that quality at a most attractive price, which is why we have long named it the best entry-level DSLR camera. If you are new to DSLR photography, and looking for an economical entry point, this is the ideal camera for you. With some practice, you'll be able to capture handsome portraits, gorgeous landscapes, and beautiful still lifes. (The Guide Mode will help you through the learning process.) 

And the low price offers room to grow, as you can put the savings towards an extra lens or two. (One popular bundle includes the 18-55mm kit lens and a 70-300m telephoto zoom for about $600.)

Action photography is the most compelling reason to upgrade to the D5600. It's 39-point autofocus system is much better equipped for tracking moving subjects than the D3500's basic 9-point system. But you're getting more than just better AF system. In addition to that must-have feature, the D5600 also has several nice-to-haves, chief among them the variable-angle LCD touch screen, which makes framing and especially reviewing photos much more convenient and enjoyable. If you can swing the higher price of the D5600, you will get your money's worth. 

• The Best Nikon D3500/D5600 accessories
• How to use the Nikon D5600

Nikon's new entry-level DSLR, the D3500 isn't a radical departure from the D3400, but then again, the company didn't need to change much.

While it has the same feature set and capabilities as its predecessor, Nikon tweaked the size, weight and control layout, making the new model slightly smaller, lighter and easier to operate. It also delivers improved battery life and the ability to trigger the camera via the SnapBridge app. Not bad for less for less than $500, which is why it's the best DSLR camera for beginners. Find out why it also made our list of the best cameras. 

Who is the Nikon D3500 for?

The Nikon D3500 will appeal to beginners and enthusiasts on a budget. Its guide modes make it great for students or those learning about photography. If you're looking for something a little more advanced, check out the Nikon D5600. Want to know the difference between the two cameras? Read our Nikon D3500 vs. D5600 comparison.

Nikon D3500: Price and availability

As of this writing, the D3500 costs $496.95 on Amazon and comes with a 18-55mm f/3.5-5.6G VR lens. A separate $596 bundle includes the 18-55mm lens and a 70-300m f/4.5-6.3G lens. 

Nikon D3500: Design

Nikon slimmed down the D3500's body just a little; it now measures 4.9 x 3.9 x 2.8 inches and weighs 12.9 ounces, versus the D3400's 4.9 x 3.9 x 3.0-inch, 14-ounce body. Its compact size and weight makes it easy to use the camera all day without strain, even with the longer 70-300mm kit lens. The camera's deep handgrip is comfortable to hold.

I thought that the D3400's control layout was quite good, but I like the D3500's control revisions even better. Dedicated controls are aligned to the right of the LCD, with the flash button on the back panel just to the left of the viewfinder. A live view switch sits adjacent to the mode dial and flips live view on/off with just a flick of your forefinger.

I don't know about you, but I'd be willing to pay a little more to have an articulated or tilting touch-screen LCD. This makes it easier in Live View to shoot overhead or low-angle photos. And, if you're out in the bright sunlight, angling the LCD helps alleviate glare on the screen so you can more easily read the menus and review your images. For that, you'll have to step up to the Nikon D5600, which costs a few hundred more.

Nikon D3500: Interface

The D3500's Guide Mode provides assistance for setup, shooting playback and retouching images. Located on the mode dial, the Guide's directions — available in basic or advanced operation options — are simple and easy to follow. They range from setting image quality to softening the background in a portrait. The latter (shallow depth of field) is manually achieved by setting the aperture to a low f/stop number and the Guide Mode outlines the process.

The D3500 also has more advanced controls to satisfy those who already have some photographic skills. In addition to full manual and semi-manual exposure modes, this DSLR offers a selection of white-balance options, including the ability to manually create a custom white balance. You'll also find picture controls, including Standard, Neutral Vivid Landscape and Flat, to name a few. More important, picture-control parameters — sharpness, clarity, contrast, brightness, saturation and hue — are adjustable so you can create your own custom version. And, you can even add copyright information to your images right in the camera.

As much as I think the Guide Mode is helpful for newcomers, there are two caveats. If you cut your photographic teeth on the Guide Mode and then switch to semi-automatic and manual exposure modes, it's easy to get confused. Some settings, like image quality, are located in the Setup menu in Guide Mode but in the Shooting Menu and the "i" button menu for other modes such as PSAM.

The other disconnect between the Guide Mode and PSAM is that settings are not consistent. For example, if you change the image quality to Normal while in Guide Mode, the setting change does not carry over in PSAM modes, so be sure to check your settings before you start shooting.

Nikon D3500: Image quality

Like the D3400, the D3500 has the same resolution — 24MP —  but has an updated sensor and EXPEED image processor. There's no word about what those updates entail, though, since most of the specifications between the D3400 and D3500 remain the same (an increased battery life is the main exception). Both models are known for their ease of use and top-notch image quality in their price class.

It's no surprise, then, that the Nikon D3500 delivered consistently good pictures with colors that were well-saturated and accurate. Exposure was almost always spot on regardless of the type of metering used (matrix, center-weighted or spot).

Nikon D3500: Video quality

Likewise, video clips exhibited accurate colors and exposure. The camera was able to retain good details in shadows and highlights even under relatively high contrast lighting.

Nikon D3500: In-camera editing tools

One of the benefits of shooting with the Nikon D3500 is its extensive retouch menu. Go into Playback, hit Menu and you're presented with a long list of options for editing still and movie files. Notably, the D3500 can process RAW files in-camera so you don't have to worry about whether your software supports RAW processing for this specific camera. If you'd like to have more control over RAW processing, check out Nikon's free Capture NX-D software.

Other retouching features include a quick, automatic retouch, resizing, D-Lighting (to help bring out details in shadows), red-eye correction,  distortion control and vignette correction. Creative effects such as monochrome, image overlay, color outline, photo illustration, selective color and miniature effect are also available.

These effects can be applied and a separate copy saved after you've captured the image. Or you can switch the mode dial to Effects and apply them to the original image as you're shooting. Some Effects are also available when shooting movies.

Nikon D3500: Battery life

Battery life has been improved by about 350 shots per charge to 1,550 on the D3500 — even though both the D3400 and the D3500 use the same battery, the EN-EL14a. This means you should be able to shoot for at least a couple of days without having to recharge if you're a prolific picture-taker. For more moderate everyday use, I found that the battery lasted a week, with a little bit of charge left over.

Nikon D3500: Smartphone features

I have mixed feelings about Nikon's Snapbridge app, which is available for iOS and Android smart devices. On the plus side, you can easily transfer images from the D3500 to a smart device via Bluetooth, either by selecting individual images or downloading them all. You can even have the camera automatically transfer images as you shoot them or while the camera is off.

The SnapBridge app allows you to choose the resolution (full or 2 megapixel for faster transfer). You can also sync the time and location from your smart device. More often than not, the pairing of the camera and the device goes smoothly when following directions on the camera and the app.

While you can shoot remotely via your smartphone, you're not able to preview the shot on your phone's screen, so you need to set up the camera (settings, focus, composition, etc.) beforehand. And there's no way to adjust camera settings remotely. Granted, that's all you could do with the $20 ML-L3 infrared remote, but higher-end Nikon DSLRs allow full remote control and viewing on a mobile device. 

Which brings us to the D3500 and SnapBridge's use of Bluetooth. Sure, it draws less power so your battery won't drain as quickly as it would with Wi-Fi. But it's pretty slow, especially if you want to transfer a lot of images even at the 2MB size. The latter took about 10 seconds per image to download to an iPhone 6S running iOS 10.3.3.

Nikon D3500: Verdict

Although Nikon hasn't made any major updates to the Nikon D3500, this camera can hold its own among such competition as the $500 Canon EOS Rebel T7 . With a solid feature set for its class, the D3500 really is a bargain at $400 with the 18-55mm f/3.5-5.6G VR lens.

All in all, the D3500 is an excellent camera for the price, but if you want an articulating touchscreen, you'll have to step up to the Nikon D5600.

Credit: Theano Nikitas/Tom's Guide

Want better picture quality and more control over your images than your compact camera or smartphone delivers? Then check out the Canon EOS Rebel T7. Although it's very similar to the T6, the new model features a higher, 24-megapixel sensor and some performance improvements that set it apart.

Priced affordably at $500 — including the Canon EF-S 18-55mm IS II lens — the T7 offers good picture quality and ease of use for those new to DSLRs. At the same time, the T7's feature set is expansive enough for those who want to grow their photography skills.

Editor's note: Canon has released the successor to the T7, the Canon EOS Rebel T8i. Priced at $749 (body only) and $899 with an 18-55mm IS STM lens, the T8i has a 45-point autofocus system, a 24.1MP APS-C image sensor, an ISO range of 100-25600, and can capture 4K video at 24 fps. Unlike the T7, the T8i also has an articulating 3-inch touchscreen. 

Take a look at our Canon promo codes for ways to lower the cost.  

Canon EOS Rebel T7: Design

Like the T6, the new EOS Rebel T7 is one of the smaller DSLRs on the market. It weighs 1.75 pounds (with the battery and SD card) and measures 5.1 x 3.9 x 3.1 inches. The grip is wrapped in textured rubber for a solid and comfortable handhold. The T7's body is otherwise mostly plastic, but the modest build quality is not surprising given the camera's price.

Although the on/off switch and four-way controller keys are stiff, buttons and dials are well marked. External controls provide one-touch access to the most important shooting parameters, such as ISO, white balance, focus and drive modes.

In combination with the quick menu (Q button), you'll rarely have to go into the full menu system. But if you do, you'll find that the internal menu is logically arranged in color-coded categories for shooting, playback and setup. There's also a My Menu option for saving and accessing a group of up to six of your most used settings.

Both the optical viewfinder and the 3-inch LCD are relatively bright and clear, though the display is fixed and lacks a touch screen.

The camera's pop-up flash covers a distance of up to 30 feet, but it's most effective if your subject is within 15 feet. If you need more light, you may want to pick up an external flash. Flash exposure compensation is available for the in-camera and accessory flashes and comes in handy if you need to adjust the exposure.

Both the optical viewfinder and the 3-inch LCD are relatively bright and clear, though the display is fixed and lacks a touch screen. During testing, I didn't miss either feature, but if they're important to you, check out the $800 Canon EOS Rebel T7i kit, which has both features (among other upgrades) and an 18-55mm lens.

Canon EOS Rebel T7: Image quality

Canon's EOS Rebel series has long been a favorite of those who want an affordable but capable DSLR. The T7 continues to deliver good image quality for a camera in its class. Under well-lit conditions, the camera consistently produced pleasing results, almost guaranteeing success straight out of the box.

The T7 continues to deliver good image quality for a camera in its class.

Colors were bright and well saturated, even with the Auto and Standard picture styles. The colorful kites, umbrella and bathing suits in the sunny beach scene below also show how perfectly the T7 captured the shades of sand, as well as the ocean and sky.

If you want a different look — or are shooting a specific genre, such as Portrait or Landscape, for which there are dedicated styles — the T7 offers additional options, including Neutral, Faithful and Monochrome, Sharpness, Contrast, Saturation and Color Tone. Each parameter can be adjusted within each style. You can also create three custom styles to save for later use.

Even with the 18-55mm kit lens, the T7 captured good details, as you can see in this close-up of fishing nets and the rather messy bird's nest.

The Canon T7's evaluative metering did a good job of balancing the exposure in this garden shot.

On a supersunny day at the beach with light reflecting from the sand, sea and sky, the T7 managed to produce a perfectly exposed image.

If you look very closely at the edges of the poles on the port (left) side of the cabin, you may notice very slight haloing, but it's barely noticeable. The highlights in this shot, like on the guy's white T-shirt, were a little blown-out, and the blue of the sky looks a little off. But these were rare occurrences during testing.

The camera's pop-up flash was powerful enough to illuminate this shady scene, although the rabbit statue looks just a little too bright. If I were to shoot this again, I would dig into the menu and dial down the flash exposure and/or lower the ISO. Otherwise, I think the little flash did a pretty good job.

For fun (in playback mode), you can apply special effects after you've captured an image. The camera keeps the original photo and makes a copy — with a new file number — for each of the five effects you choose. You can also adjust the intensity of the effect for all but the Miniature effect.

Here's the original photo, followed by Grainy B&W, Soft Focus, Fish-eye, Toy Camera and Miniature effects.

Canon EOS Rebel T7: Low light performance

You won't find off-the-charts ISO options on the T7 and its APS-C sensor, but its range (100-6400) should be sufficient for most T7 uses, such as parties where there is some light. There is also a Hi setting of 12,800. This will be available on the ISO menu only if you turn ISO Expansion to On in Custom Functions in Setup. For extremes, such as outdoor nighttime shooting, it's best to use a tripod and long exposures.

The T7 handled high ISO settings more competently than expected with high ISO and long-exposure noise reduction turned off. (You'll have to go into the setup menu and select Custom Functions to access these settings.) Noise was well under control, and details were generally kept intact up to ISO 6400, as you can see from the sample images below. Extend the ISO to Hi (12,800), and image noise and softening become much more noticeable, although photos shot at this ISO should look fine if kept small for online sharing.

The 18-55mm kit lens offers image stabilization and works pretty well when you're holding the T7 and shooting at slow shutter speeds. Thanks to the lens's image stabilization, I was able to photograph this barn door at 1/50 second and get a sharply focused image with no blur from hand shake.

Canon EOS Rebel T7: Performance

Both continuous shooting and autofocus speeds are good enough for most shooting conditions. At up to 3 frames per second, you won't be freezing a high-speed car race or hockey players, but I was able to capture a kiteboarder in action as he splashed down on a wave.

The camera's nine-point autofocus system, which works best in high-contrast scenes, was fast enough to sharply focus both the water and the athlete. AF and continuous shooting also worked well when photographing a bee moving between milkweed blossoms. You just have to practice your timing to compensate for the T7's performance, since it's not the fastest camera on the block.

The T7's battery life isn't bad, at 600 shots per charge. But that's assuming you use the viewfinder instead of Live View; otherwise, battery life can drop to between 250 and 260 shots. Flash, playback and Wi-Fi usage will also shorten battery life.

Canon EOS Rebel T7: Video

While 4K may be the rage on many DSLRs and mirrorless cameras, the T7 sticks with the basics of full HD (1920 x 1080 at 30 frames per second), HD (1280 x 720 at 60 fps) and SD (640 x 480 at 30 fps). Movies are recorded in MPEG4 AVC H264, which delivers .MOV files so the T7's video can be shared easily. And, like JPEG still images, .MOV files can be edited using any movie software program.

You can also make a couple of basic edits, like trimming, in playback mode as long as the battery is more than halfway full.

For easy shooting, the T7 offers a fully automatic mode, while those who want to go a little further can set the camera to manual and control shutter speed, aperture and ISO. You have to focus before you start recording or use manual focus during video capture.

MORE: Best DSLR cameras

Regardless of whether you choose Auto or Manual exposure modes, you also have the option to select a style as you can with still photos (Standard, Portrait, Landscape, etc.) or to let the camera make the decision.

The T7 also has a Video Snapshot feature that allows you to capture short clips between 2 and 8 seconds long, which are then merged to create an album of the minimovies into a longer video of highlights.

Overall, the video quality is good, with accurate color reproduction and generally sharp images, as you can see from the two clips below. The audio won't win any awards, but unless it's windy, you'll get decent sound. There are sound adjustments, including a wind filter, but as you can hear from this beach scene, even the filter isn't always capable of handling the wind.

Canon EOS Rebel T7: Wi-Fi/NFC

If you download Canon's Camera Connect app for iOS and Android, you can transfer images from the camera to your mobile device. You can also use the app to shoot remotely with the T7, and although you can't change all the settings, you do have the option to adjust parameters such as ISO, exposure compensation and white balance.

The setup is pretty easy, and the app is fairly intuitive. You can choose the size of the transferred image and add location information using the mobile device's GPS.

Canon EOS Rebel T7: Verdict

The combination of price, features and image quality make the Canon EOS Rebel T7 a solid option for both DSLR newcomers and more experienced users on a budget. Although it doesn't have all the bells and whistles of some of the more expensive models — like a touch screen and an articulated LCD — the T7 offers basic and advanced features, so you can choose between easy operation or control over your picture taking.

That said, the Nikon D3400 ($500 with 18-55mm lens) is still a better choice at this price. It has a 24-MP sensor and 5-fps continuous shooting and, in general, seems a bit more responsive. I find its built-in help a little more user-friendly than the Canon's, and the Nikon offers more frame rates (60, 30 and 24 fps) for its full-HD movies.

On the other hand, the Canon EOS T7 offers Wi-Fi, NFC and Bluetooth, whereas the Nikon D3400 uses a slower, Bluetooth connection. And Canon's Camera Connect app is much easier to use and more sophisticated than the Nikon D3400's SnapBridge app. If you plan to regularly transfer images from your camera to your mobile device, the Canon T7 has a definite edge. Either way, you'll end up with an affordable, capable camera.

Credit: Tom's Guide

It's been three years since Canon released the 24-megapixel EOS 80D DSLR, which was notable for its ease of use and a revamped Dual Pixel AF system. 

Its successor, the EOS 90D, includes a new, 32-megapixel APS-C sensor, 10fps continuous shooting, great ISO range (from 100-25600; expandable to 51200), 4K video and, thankfully, the return of an AF joystick. These features make the 90D one of the best DSLR cameras for advanced amateurs, especially those who want to shoot video.

Canon EOS 90D price and availability

The Canon EOS 90D is being offered for $1,199 (body only); $1,349 with an EF-S 18-55mm f/3.5-5.6 IS STM lens; and $1,599 with an EF-S 18-135mm f/3.5-5.6 IS USM lens.

Who is this camera for?

Advanced amateurs who are looking for a new DSLR and enthusiasts who want to step up to a more sophisticated camera — especially if they already have Canon lenses — will find a number of this camera's features appealing. And, current users of the 80D and earlier EOS D-series models may, rightfully so, be tempted by the 90D's higher resolution sensor, speedier continuous shooting and 4K video.

What I liked

Solid build and good ergonomics

Similar to its predecessor, the EOS 90D is solidly built and, at 24.73 ounces and 5.5 x 4.1 x 3 inches, is almost the same weight and size as the 80D. The 90D's body is weatherproof, although I wouldn't take it out in the pouring rain.

A slightly larger grip and a logical control layout provide good ergonomics and usability. Photographers with larger hands have plenty of wiggle room between the grip and the lens barrel. The camera's real estate is covered with buttons and dials that are within easy reach for all but those with petite hands. If you're a Canon DSLR user, you'll have an easy transition to this camera.

Fully articulated touch-screen LCD

A fully articulated LCD is one of the best camera inventions ever, in my opinion. The screen can be angled for low-level and over-the-head shots, to avoid wash out from bright sunshine. It can also be pushed to the side for easier viewing, flipped forward for self-portraits and folded into the back of the camera to prevent damage to the monitor.

With the 90D, you get all of this as well as a very responsive touch screen. You can touch to focus, trigger the shutter and quickly navigated on-screen menus.

Good image quality

Overall image quality from the EOS 90D was quite good. You'll get the best photos when shooting (and processing) RAW images, but straight-out-of-the-camera JPEGs were quite nice, with accurate and pleasing colors. For the most part, the 90D delivers good dynamic range by retaining details across a range of shadows and highlights. And with the higher resolution sensor, you have more flexibility to crop photos while retaining enough pixels for an enlargement.

A bright blue sky in the background of this goat portrait adds a nice bit of color to the subject's less colorful white, brown and black coat.

Check out the image below, shot in bright sunlight with a shadow to the right. Look closely and you can see that the 90D got the highlights and shadow exposure right but maintained details throughout. 

Practical and creative features

The 90D offers a solid feature set with practical functions that range from the expected (such as full manual and semi-manual exposure controls) to nice-to-have options such as in-camera RAW conversion. Although we recommend processing RAW files on the computer with imaging software, it's sometimes convenient to be able to make some quick adjustments to a RAW file and convert it to a JPEG while you're in the field.

On the creative side, the 90D comes with a set of creative filters that are applied after the shot. They include Grainy B&W, Toy Camera Effect, Soft Focus, Fish-eye Effect and more. And you can save the adjusted image as a new file so you don't overwrite the original.

• DSLR vs. Mirrorless Cameras: Which is better for you?

Fast and accurate eye- and face-detection tracking

With its iTR (Intelligent Tracking and Recognition) technology, the 90D quickly and easily tracks eyes and faces, whether you're shooting through the optical viewfinder or Live View. The face detection worked even when shooting a subject from the side, and it was easy  to keep up with the fast movement of a friend playing with my dog.

The 90D's 45-point phase-detect AF system, used when shooting through the optical viewfinder, is similar to that of the 80D and is relatively good. But the 90D's Dual Pixel AF system, available in Live View, is faster and more accurate.

Extended battery life

One of the great things about DSLRs versus mirrorless is battery life. The 90D's battery will last between 1,300 and 1,500 shots. Unless you're extremely prolific and/or are shooting a wedding or other event, you'll get at least a few straight days of shooting on a single charge (using Live View and shooting lots of 4K video will generally run down the battery sooner).

Easy Wi-Fi/Bluetooth connectivity

Canon's mobile app, Camera Connect, available for iOS and Android, is one of the easiest apps to set up with a camera. The directions are clear and there's an option to pair the camera and mobile device with a QR code. I opted to go through a manual pairing using a password, and it was a breeze — until I got a message that the 90D was not supported. (An update to the iOS on my iPad Pro fixed that.)

In addition to transferring files from camera to mobile device, Camera Connect also allows you to shoot remotely — great for photographing skittish wildlife or ensuring that you can get in a group photo.

4K video

The 90D offers a range of video options, including the new 4K video, which shoots footage uncropped. Image quality is decent but not award-winning. Still, it's certainly good enough for most users' needs. In addition to the fully articulated LCD, which comes in handy when shooting video, the 90D offers microphone and headphone jacks, as well as HDMI for output to external devices.

• YouTube Gets 4K Streaming: Here's How to Watch it

Recording for 4K is limited to 30fps; 1920 x 1080 can be captured at 60fps or 30fps; and 1080; 1280 x 720 at 30fps (unfortunately, there's no 24p for any resolution). There's a slow-motion option as well. And the responsive touch-screen LCD makes pulling focus a breeze. Just tap different AF points on the screen and the camera's AF moves where you want it.

What I didn’t like

No in-body stabilization

While in-body stabilization may be reserved for the best mirrorless cameras like those from Sony and Olympus, perhaps one day we'll see it in DSLRs like the 90D. But, for now, you have to rely on image-stabilized lenses for the 90D. And while the IS in the 18-135mm kit lens in the camera we tested was effective at eliminating blur from camera shake when hand-holding the camera, the lens' slow aperture (f/3.5-4.5) and less-than-stellar resolving power was disappointing.

Slow recharge for flash in low light

It's great to have a built-in flash on the 90D but when you need it the most — in very low light — it takes a little longer than we'd like to recycle. Although it's maybe a couple of seconds, when you're trying to capture several consecutive shots, you may miss a bit of the action. However, when used as fill flash outside, when it doesn't need as much power to fill in shadows, you can take 2 to 3 shots in quick succession, as I did in this image.

Image noise at high ISO

The 90D's broader ISO range (100-25600 and expandable to 51200 versus the 80D's 100-16000) is a welcome update but I was a little disappointed in how the 90D handled image noise. For the best results, keep the ISO as low as possible, of course. If you need to push the ISO, try not to exceed ISO 6400 and take care of the noise in post-processing software. The camera's noise reduction technology overdoes it and will result in softer than acceptable images.

Single card slot

A pet peeve of mine and other photographers is the single card slot. While you may never have experienced a card failure (and I hope you never do), a second card slot lets you have an immediate source of image backup. But, with 4K video and the large files from 90D's 32 MP sensor, you will fill up a single card more quickly and may well need a second card to capture the overflow.

Bottom line

These days, the question may be more about whether you want a DSLR or a mirrorless camera than which DSLR to buy. That's a valid concern but if you like the solid heft of a DSLR to balance long lenses, a never-blacks-out optical viewfinder (and the 90D has a good one), good battery life and a high level of responsiveness, then a DSLR may best meet your needs.

Although choices aren't quite as numerous as in days past, the 90D plays an important role in the midrange DSLR arena. It's more sophisticated than entry-level DSLRs like Canon's Rebel line, yet more affordable than, say, Canon's 5D series cameras or the Nikon D850. As such, the 90D is a good fit for photographers who want a sophisticated, high-performance camera that won't break the bank.

Take a look at our Canon promo codes for the latest offers from the retailer.

• More: Canon EOS M6 Mark II review

Are most DSLRs too big for your hands? Are most mirrorless cameras too small?  Perhaps the Canon EOS Rebel SL2 is just right. This 24-megapixel DSLR is the smallest and lightest of Canon's DSLRs, comes with a fully articulated touch-screen LCD, and has higher ISO and faster autofocus than its predecessor.

At $700 (with the EF-S 18-55mm f/4-5.6 kit lens), the SL2 is on the less-expensive side of the company's lineup, too. Those who want to upgrade from a point-and-shoot or older DSLR will find the SL2's up-to-date features appealing, and beginners can learn from the SL2's Feature Assistant and built-in guides.

MORE: How to Take Great Photos with the Canon EOS SL2

Editor's Note: Canon has released a successor to the SL2; the Canon EOS Rebel SL3 ($649 with 18-55mm lens), which has many of the same features, but lets you record video in 4K. However, the EOS Rebel SL2 is now available for $549 (with lens) or $449 (body only). 

Design: Plain and simple, with a twist

Available in black or white, the SL2 measures a mere 4.8 x 3.7 x 2.8 inches and weighs 1 pound, including the battery and SD card. By comparison, the T6, Canon's entry-level DSLR, measures 5.1 x 4 x 3.1 inches and weighs 17.1 ounces, while the EOS M5, Canon's newest mirrorless camera, measures 4.6 x 3.5 x 2.4 inches and weighs 1 pound.

The trade-off for the SL2's size and weight is that, other than the solid feeling of the grip, the camera has a decidedly plastic feel.

Although Canon reconfigured the position of some of the control buttons, the SL2 is a fairly pared-down version of other, higher-end DSLRs. In its quest for simplicity, Canon kept only the most critical dedicated controls, such as ISO, Exposure Compensation, Playback, Menu and Live View. A single command dial sits atop the grip.

The mode dial is Canon's typical style, with Automatic, semimanual and manual options, including Scene Intelligent Auto, Creative Auto, Scene, and Creative Filters options.

A well-organized menu system is available, but like other Canon DSLRs, the SL2 features a Q (Quick Control) button that provides convenient access to settings such as Picture Styles, White Balance and Metering. Once you set up the camera, there's rarely any reason to go into the full menu. But the camera's two My Menu options allow you to create your own menus, putting your favorite settings at your fingertips.

New to the SL2 is a 3-inch, vari-angle touch-screen LCD. With the ability to angle the LCD and adjust brightness, the screen is visible under almost all circumstances. Full touch-screen functionality includes touch focus, touch shutter and the regular assortment of touch gestures (pinch, zoom, etc.). The touch screen is responsive and, like all fully articulated LCDs, can be folded into the camera body to protect the screen while it's in your camera bag.

MORE: Best DSLR Cameras From Beginner to Pro

A built-in pop-up flash is complemented by a hot shoe for attaching an accessory flash. As is common for this class of camera, there's only a single SD card slot. Surprisingly, the SL2 also offers a jack for attaching an external stereo microphone.

Feature Assistant: Guided menus for novices

Unfamiliar with how a DSLR works? The SL2 offers a new Feature Assistant that explains how different aspects of the camera functions work. For example, if you put the camera in Tv (shutter priority mode), a visual with a basic text explanation shows the effects of using a fast shutter speed versus a slow shutter speed. It's a great learning tool, as are the guided menus and shooting screens. They are enabled by default, but photographers who prefer the standard Canon displays and menus can disable them.

Image Quality: Quite good

I shot with the EF-S18-55mm F/4-5.6 IS STM lens, with a 35mm-equivalent focal range of about 29-88mm. Most test images were captured using the Standard Picture Style and Shutter- or Aperture-priority exposure modes.

The image quality was quite good, especially for a camera in this class. Colors are nicely saturated and natural-looking, as you can see in the images below.

The exposure is accurate in pretty much all modes. Even the SL2's center-weighted metering did a good job of exposing the reflective water and sand, as well as the darker grassy foreground in the sample image below. It was bright enough that I could stop down the aperture to f/13 to get a broad depth of field. As a result, almost all of the image — from foreground to background and everywhere in between — looked in focus.

Highlight and shadow details were well-maintained, even in high-contrast scenes such as this late-afternoon beach scene.

High-contrast scenes often produce purple fringing along edges of dark against light (or vice versa). There was no noticeable fringing along the edges of the trees against the bright sky.

The pop-up flash worked well to fill in shadows outdoors, as seen in the images below. If you look closely, you can even see the catchlights (small white reflections of the light) in the girls' eyes.

Canon's auto white balance tends to retain the warm colors of, say, tungsten lighting. With the SL2, as with other newer Canon cameras, you can set the Auto WB to Ambience priority or White priority. The former delivers warmer images (similar to sepia toned) under tungsten lighting, while the latter adjusts for the light and balances the colors to help produce more accurate whites. You can see the difference in the images below:

The SL2 uses an older nine-point autofocus system when shooting through the viewfinder, but the camera was responsive when focusing on a variety of subjects, ranging from children playing to flowers. Images were sharp and detailed, as shown in the flowers below; look closely, and you can see details of the bugs that landed there.

With continuous shooting of up to 5 frames per second (dropping to 3.5 fps when using AI Servo continuous AF), the camera is capable of stopping action, like the girl running in the image below.

Canon has equipped the SL2 with its excellent Dual Pixel autofocus, which kicks in when shooting in Live View or capturing video. This AF system provides speedier and smoother AF in the latter two modes so, unlike with many other cameras, using autofocus in Live View (usually a slow process) is noticeably faster.

Low Light: Don't push it too far

In addition to an Auto ISO option, where the camera automatically adjusts the ISO to enable the chosen shutter speed/aperture combination, the SL2's manually selectable ISO ranges from 100 to 25600. Low-light performance isn't bad, even with noise reduction turned off.

But image noise becomes quite noticeable at ISO 3200, and its grainy effect increases from there. For the best quality, keep the ISO as low as possible, preferably under ISO 3200. Maxing out the ISO at 25600 results in noisy images that probably won't even pass muster for posting online.

Video: Versatile

Video options include full HD (1920 x 1080) at 60/30/24 fps, along with 1280 x 720 and 640 x 480 at 60/30 fps. Movies are recorded in MP4, which is easy to view and edit.

Manual exposure control is available during recording (set the camera to M on the mode dial), but beware that changing settings via the command dial produces a clicking noise. Go into the Setup menu, disable the Beep sound and use the touch screen to adjust settings silently (such as shutter speed, aperture, ISO, and more). If you're just starting out, set the camera to Auto, and let it handle everything.

Thanks to the use of Canon's Dual Pixel AF, autofocusing is smooth and responsive during video capture. Overall, footage is clear and sharp, with accurate focus and exposure. Sound quality was fine for casual videos using the camera's internal microphones, but if you're more serious about your movies, you can use the SL2's microphone jack.

MORE: Best Photo-Editing Software From Beginner to Pro

Video can also be captured using Creative Filter Effects, such as Dream, Old Movies and Dramatic B&W. Time-lapse movies are also available.

Battery life: Mediocre

You're better off shooting with the viewfinder than Live View to get the best battery life (650 shots). When you turn on Live View, battery life drops to a measly 260 shots. If you plan to shoot a lot of video, you might want to pick up an extra battery for extended shooting.

Wi-Fi/NFC/Bluetooth: Easy setup

An important addition to the SL2 is its Wi-Fi and Bluetooth connectivity — a must for all cameras these days.

Canon's free Camera Connect app is available for iOS and Android, and is needed for viewing, transferring images and shooting remotely. Once the app is installed on your mobile device, setup is fairly simple. If you run into problems, the app has a setup guide.

The process of moving images between the camera and your mobile device (or your computer or another compatible camera) can be a little sluggish at times, but the app gets the job done.

Bottom Line

The Canon EOS Rebel SL2 performs admirably for its class and price, thanks to a solid mix of beginner and advanced features. The Canon EOS Rebel T6 ($450 with 18-55mm lens) is cheaper, but it lacks many of the SL2's attractive features, including the fully articulated touch-screen LCD.

If you're on a tight budget, check out the $500 Nikon D3400, which is somewhat larger and heavier, but also delivers excellent image quality, has a good set of features, and lasts twice as long as the SL2. Or, if you're willing to spend a little more (or already have a Canon or Nikon lens or two), the $750 (body only) Canon EOS Rebel T7i is a solid option, as is the Nikon D5600. But both are a little larger and heavier than the SL2. If you've been considering the Canon EOS Rebel T6, save up a little more money, and go for the SL2. You'll get more bang for the buck.

Browse through our Canon promo codes for the latest offers from Canon.

Credit: Theano Nikitas/Tom's Guide

The successor to the Canon EOS Rebel SL2, the Canon EOS SL3 ($650 with an 18-55millimeter lens) offers a few improvements, such as a faster processor that delivers better battery life and 4K video. Continuous eye-detection auto focus has also been added, but there are some changes that are questionable, including a hot shoe that doesn’t work with third-party flashes. Still, the SL3 is a good value, making it one of the best DSLR cameras for beginners, and one of the best cameras overall.

Canon EOS Rebel SL3: Who this camera is for

First-time DSLR owners, families and picture-taking enthusiasts on a limited budget will appreciate the Canon EOS Rebel SL3’s price, ease of use, and built-in guidance. There are enough features to allow those interested to explore all facets of photography – while learning about fundamentals such as shutter speed, aperture and depth-of-field via the onboard help system. But you can just as easily use it as a point-and-shoot camera.

Vloggers will likely make this their go-to camera thanks to its side-hinged, fully articulated touchscreen. And there’s a 3.5-mm microphone jack to ensure higher quality audio for videos.

Canon EOS Rebel SL3: Design

Compact and lightweight

The smallest and lightest DSLR on the market (as of April 2019), the Canon EOS Rebel SL3 measures 4.82 x 3.65 x 2.75 inches and weighs 15.84 ounces with battery and card. Although it’s light, there’s enough heft to the body that it feels well balanced, even when the kit lens is fully extended. The SL3 is available in black or white, and features a deep grip that’s comfortable for both smaller and larger hands.

Articulated touchscreen

Canon is one of the few companies that seems to realize the importance of a fully articulated monitor and, despite being an entry-level model, the SL3 features a side-hinged touchscreen LCD, like its predecessors have. Since the monitor can be adjusted to any angle needed, it’s perfect for capturing overhead or low-to-the-ground shots, as well as selfies. Vloggers will especially love this feature.

Thanks to the vari-angle screen, I was able to capture this low angle shot without having to get on the floor.

The touchscreen is very responsive and fully functional — you can touch it to focus and scroll through menus, select settings, and swipe through images in playback.

Using the Live View monitor instead of the viewfinder provides users with a real-time view of settings adjustments. This is new for the SL3 and a great learning tool. Change the white balance and the results are immediately visible. Same thing for exposure; you know what you’re going to get before you snap the shutter and will have many more keepers on your SD card.

MORE: Best DSLR cameras

Other benefits of using Live View include being able to access the excellent Dual Pixel CMOS AF with Eye Detection AF. The latter works well when tracking a subject, keeping the focus on their eye.

Canon EOS Rebel SL3: Handling

External buttons are clearly labeled, and the menu system is well organized and easy to navigate. Better yet, users have a choice of a standard menu or Canon’s guided display; the latter uses text and visuals to show what each setting does. For example, when the camera is set to TV on the mode dial (Time Value or shutter-speed priority), the monitor displays a slider to adjust the shutter speed, showing an icon of a blurry person running at the lower end of the shutter speed and a sharp, “frozen” running person at the other end. This visual communication on how shutter speed affects a moving subject is clear, concise and easily understood.

Canon EOS Rebel SL3: Image quality

I tested the camera with the kit EF-S 18-55mm IS STM kit lens. Images were  colorful, with just the right amount of saturation and vividness. I shot test images with the Standard Picture Style settings, but optional Picture Styles (Auto, Neutral, Portrait, Landscape and more) settings can be tweaked to adjust parameters such as saturation, sharpness, contrast, etc.

And, if you decide that you want to add a little style after the fact, you can use the Creative Assist feature to adjust saturation or apply tones (sepia, blue and others) to your RAW images and save them as new JPEGs. It’s a fun way to explore different options without losing your original files.

The SL3 does a good job of balancing highlights and shadows in settings with a lot of contrast. The images retain details in darker subjects, like this barn with a bright blue sky overhead.

ISO ranges from 100-25,600, but if you want to take pictures in low light, try to keep the camera at or below ISO 3200. That said, ISO 6400 isn’t bad. If you’re in a shady spot, like I was when shooting these irises, ISO 1600 works very well and produces clean images.

Canon EOS Rebel SL3: Battery life

Although the SL3 uses the same battery as its predecessor, the new camera’s DIGIC 8 processor increases battery life more than two-fold, to between 1000-1600 images (depending on whether you use flash, etc.) when shooting with the optical viewfinder. Switch to Live View and it drops to between 300-350; still, that’s better than the 240-260 Live View shots on the SL2.

Canon EOS Rebel SL3: Video

The SL3 is one of the first budget DSLRs that can shoot video in 4K, but resolution isn’t everything. Sure, the videos look good,with pleasing colors and generally accurate AF. But, for some reason, Canon decided to drop the 24p (24 frames per second) for full HD (1920 x 1080) video, so you’re left with 30p and 60p. While this may not be a big deal for most people shooting home movies, it’s one of those odd omissions, since 24p is pretty much the standard for cinema, delivering nice, smooth footage. At 30p, footage — particularly of fast-moving subjects — is likely to be a little jerky. Switch to 60p, which is available for full HD, if you’re filming sports.

Perhaps the biggest video disappointment is that, unlike with the Full HD and standard HD settings, you can’t use Canon’s Dual Pixel AF when shooting in 4K. AF isn’t bad, but if one of the alleged selling points of a camera is its 4K video, then one expects more than just contrast-based autofocus.

MORE: DSLR vs. Mirrorless Cameras: Which Is Better for You?

The SL3 has a digital-stabilization option for video, but it crops the image and isn’t terribly effective when you’re walking with the camera in your hands.

Canon EOS Rebel SL3: Flash

Unlike the SL2’s flash, which automatically pops up when there’s not enough light, the SL3’s flash must be manually opened. This may not be a big deal and, in fact, some might prefer not having the camera take control over if/when the flash fires. However, if you’re a beginner, how do you know when you need flash?

The only time you’ll be alerted directly that a flash is needed is when the camera is set to Intelligent Auto (the green button the mode dial). It’s not so much having to physically raise the flash that’s an issue; rather, it’s knowing when the flash is needed. That said, flash exposure was generally accurate and produced even coverage.

Proprietary hot shoe

Canon changed the hot shoe for the SL3 and removed a sync pin, which allows third-party flashes and triggers to be used with the camera. Right now, the only external flashes that will work with the SL3 are those manufactured by Canon. However, we’ve heard rumors that at least one third-party flash manufacturer is working on a solution. If you don’t plan to use an accessory flash or have a compatible Canon flash, then this is not an issue. But it is something to be aware of.

Canon EOS Rebel SL3: Verdict

While mirrorless cameras have become increasingly popular, there’s still a market for affordable, entry-level DSLRS. With the Canon ELS Rebel SL3, photographers get the basics in a tried-and-true form factor with a solid — if not overly sophisticated — set of features. And, thanks to its guided menu and built-in help, the SL3 is an excellent learning tool.

If 4K video isn’t a necessity, the Nikon D3500 ($396 with an 18-55mm lens) offers great picture quality, extensive in-camera retouching. Battery life is great at 1,550 shots-per-charge, and beginners will make good use of its built-in help system. Unlike the SL3, however, the Nikon D3500’s LCD is fixed and doesn’t offer any touch capabilities.

Among mirrorless cameras, the speedy Sony A6300 ($498 with a 16-50mm lens) isn’t much bigger or heavier than the Canon SL3. And while the Sony has a tiltable LCD, it doesn’t fully articulate like the SL3; nor is it touchscreen capable. Given Sony’s dense menu system, you’ll need a little patience to navigate settings. And the Canon SL3 outperforms the A6300 when it comes to low light/high ISO shooting.

Despite a few drawbacks, such as a proprietary hot shoe and a flash that must be manually activated, the Canon Rebel SL3 is a very good beginner camera — and one of the few that records video in 4K.

Take a look at our Canon promo codes for the latest offers and discounts. 

Credit: Theano Nikitas/Tom’s Guide 

Looking for a full-frame DSLR but don't want to spend upward of $2,000? Canon's EOS 6D Mark II (currently on sale for $1,299; MSRP $1,799) is a little old, but this 26-MP camera can shoot at 6.6 frames per second, and it has a number of smart features — such as a 45-point autofocus system and a fully articulated touch-screen LCD — that make it a pretty good deal, and enough to make it to our best DSLR cameras page. 

Who is this camera for?

The Canon EOS 6D Mark II is a solid entry point into full-frame DSLR photography. With a slew of features, good image quality and performance, the price is right for those who want a full-frame camera without breaking the bank. The main caveat, as mentioned above, is its incompatibility with EF-S lenses, so if you have a big investment in those lenses for APS-C Canon cameras, then consider how much money you'll have to spend to update your lens collection.

MORE: Best DSLR Cameras

What I Liked

Good value for the dollar

Given the price of full-frame cameras — both DSLRs and mirrorless — the Canon EOS 6D Mark II offers good value for the money and is a comparatively affordable entry point to full-frame shooting. The camera also doesn't skimp on features and functionality, either. If you're a DSLR newbie or unfamiliar with some of Canon's naming and menu structures, just turn on the help guide for assistance.

Custom functions

With 28 custom functions, you can access frequently used controls much faster. Even more helpful is the My Menu option. You can create up to five individual My Menu groups with up to six menu items for each custom group. Although it's most useful for settings that are buried deep in the menu system (like Speedlite control), it can also be used for more basic settings such as ISO.

Articulated touch-screen LCD

I’m a huge fan of articulated LCDs, so the fact that the 6D Mark II was the first Canon full-frame camera to deliver this type of monitor is a big plus. The 3-inch monitor makes it easy to shoot at angles – low or overhead – that might otherwise be physically uncomfortable with a fixed or tiltable screen. Vloggers and self-portrait artists (the camera and a lens is too heavy for a handheld selfie) can pull the screen out to the side, facing them, to record video or stills. And, perhaps best of all, the 6D II can be stored or carried with the LCD folded in against the camera back to protect it from accidental scratches.

The touch screen is responsive, and can be used for everything from touch focus and touch shutter release to scrolling through menus and images in playback. Touch focus is especially helpful when shooting video, too. Although there is a slight delay "pulling focus" via the touch screen (changing focus from one focal plane or object to another), it's simple and intuitive.

Image quality and metering accuracy

Overall image quality is quite good, with true-to-life colors and generally sharp and detailed images. I found the evaluative metering mode and the Program and semi-automatic modes (aperture-priority and shutter-speed priority) capably handled exposures, even in high contrast situations. Skin tones were natural and auto white balance was generally accurate, although you have plenty of WB options within the camera.

With an ISO range of 100-40,000 (extendable to 102500), the Canon 6D Mark II performs fairly well in low light/high ISO conditions. I felt comfortable shooting at ISO 3200 and even combined with a long exposure (see image below), images weren't as noisy as anticipated straight out of the camera. Any higher than that and image noise starts to creep in.

Updated AF system and Dual Pixel CMOS

Canon provided a major AF update with the 6D Mark II. The 45-point, all cross-type system that’s used when shooting through the optical viewfinder is a vast improvement over the original 6D's 11-point system with only a single cross-type sensor.

More important, Live View shooting — for both stills and movies — supports Canon's Dual Pixel CMOS AF system, which delivers faster and more accurate focusing than the previous contrast-based AF system in the original 6D. The new AF system also allows for continuous AF in Live View that, although not great for stills, is a step up for focusing in movies. Face Detection in Live view is now possible and works quite well.

Live View provides more AF point coverage than the viewfinder (80 percent versus about 50 percent horizontal coverage) and offers exposure simulation so you can see how adjusting different parameters (such as white balance) will affect the final image.

MORE: DSLR vs. Mirrorless Cameras: Which Is Better for You?

Battery life

If you shoot exclusively (or almost exclusively) with the viewfinder, you'll be happy with the battery life of about 1200 shots per charge. Unfortunately, the count drops to around 380 shots or less when using Live View, so you may want to pick up an extra battery or two. A battery grip ($199) that holds two batteries is  available if you're an especially prolific shooter.

Mobile connectivity and remote shooting

Canon's Camera Connect app provides a wide range of functionality from viewing and transferring image to iOS and Android mobile devices. It's relatively easy to set up using the new NFC or the standard Wi-Fi (although I had a difficult time using Bluetooth and simply stuck with Wi-Fi). Better yet, Canon has done a great job with its remote shooting. You can control camera settings from your mobile device and use touch focus, too.

What I Didn't Like

Limited AF point coverage

Sure, Canon upped the AF points from 11 to 45. But since this AF system is borrowed from the 80D's cropped sensor, when you place it over a full-frame sensor, there are "empty" spaces around the perimeter of the frame. That means if you want to shoot off-center with AF, you'll have to focus and recompose.

No 4K video

While the 6D Mark II isn't the newest camera on the block, it's still recent enough that it should have 4K video. Unfortunately, video resolution tops out at full HD (1920 x 1080) and HD (1280 x 720). Both are available at 60fps, 30fps and a "light" 30fps using IPB compression.

And that brings up another issue. The original 6D offered both IPB and ALL-I compression options. While IPB results in smaller files, ALL-I offers higher quality footage, albeit with larger files. While this may not be a deal breaker, people interested in video may be disappointed in the lack of ALL-I.

That said, video quality isn't bad (see the full HD 60fps clip below) but it's just not as pro-level as we'd like. On a positive note, the 6D Mark II's electronic image stabilization for video is effective.

Note: sound is intentionally muted on video because of heavy wind and ocean noise

Single memory card slot

Although not a deal breaker, having dual card slots is always a benefit. You can use the second slot for overflow — perfect for all-day shooting — or build-in backup, for example.

Also, the single slot only supports UHS-1 SD cards. It's not a huge deal since the camera can only shoot a maximum of Full HD and not 4K, but faster is always better. For more information about SD card classifications go to: https://www.sdcard.org/consumers/choices/speed_class/index.html

No joystick for AF point selection

More often than not, I prefer to choose a specific focus point when shooting and found that using the 6D Mark II's 4-way controller on the rear of the camera was a little problematic. The controller is located inside the rear dial and it was sometimes difficult to find the right spot on the controller to move the focus point. It works, but it is not as definitive to the touch as a joystick.

Not compatible with Canon EF-S lenses

This caveat applies across the board to all Canon full-frame cameras: You cannot use EF-S (lenses designed for APS-C Canon cameras like the 80D) with the 6D Mark II or any other Canon full-frame camera, because the lens does not cover the larger sensor. Canon has also designed the EF-S lenses so they actually will not mount on a full-frame camera; you need to use Canon's full frame EF lenses. (You can use EF lenses on an APS-C camera, however.)

Nikon full-frame cameras have a crop mode so you can easily interchange full-frame (FX) and crop sensor (DX) lenses between the two types of cameras. I'll never understand why Canon didn't do the same thing since it really limits the usefulness of EF-S lenses.

Bottom Line

The Canon EOS 6D Mark II is an all-around solid performer -- from image quality to AF speed and accuracy. A full complement of features and an easy-to-use mobile app for remote shooting and image transfer make this an appealing camera, particularly at its $1,299 price. If you're really into video, the lack of 4K may be a deal breaker, however.

The 24MP Nikon D750 ($1,400 body only; $1,900 with a 24-120mm VR lens) is a comparable full-frame DSLR; it has a built-in-flash, dual card slots and a headphone jack, but lacks the articulated touch screen, higher ISO and some AF benefits of the Canon 6D Mark II.

If you're not locked in to the DSLR form,  and you are a little more flush with cash, check out the Sony A7IIK full-frame mirrorless camera ($998 with 28-70mm kit lens). It offers 24MP resolution in a smaller and lighter body, though its video also maxes out at 1080p.

Overall, the Canon EOS 6D Mark II is a good option for moving into full-frame photography.

Credit: Theano Nikitas/Tom's Guide

Nikon's entry-level DSLR, the venerable D3400, has for a long time been a cost-effective way for amateurs to get into photography. However, that camera is more than two years old; Nikon today announced its successor, the D3500, which boasts a number of improvements, but still keeps the price (with a kit lens) at a manageable $500. Here's what you'll find in the D3500, available in September.

For starters, the D3500 has a design more akin to the D5600, with a deeper grip. Moreover, almost all of the controls—including zoom, playback, and menu buttons—have been moved to the right side of the camera's LCD, making them easier to access using only your right-hand thumb. Speaking of the rear display, it's 3 inches in size diagonally, with a 921,000-dot resolution. However, like the D3400, it's fixed to the body, and lacks a touchscreen. The body itself is pretty much the same size as the D3400—4.9 x 3.9 x 2.8 inches—but at 12.9 ounces, is about two ounces lighter. 

MORE: Best DSLRs - Cameras for Beginners and Intermediates

The D3500 has a 24.2MP DX-format CMOS sensor that's the same resolution as its predecessor, but both the sensor and the Nikon Expeed image processor have been updated. Shooting speed is a modest 5 fps, and the ISO range of 100-25,600, while no different than the D3400, is more than acceptable for an entry-level camera. Also like the D3400, the D3500 can shoot video at a max resolution of 1920 x 1080/60 fps. Again, reasonable for the price. 

Of course, the Guide Mode, one of the most important features found on the D3400 for newbies, is still present on the D3500, as is SnapBridge, which lets you transfer files via Bluetooth from the camera to your smartphone, and then on to the social media outlet of your choice. New though, is the ability to remotely trigger the D3500 from the smartphone app itself.

Lastly, battery life gets a nice boost, to 1,550 shots from 1,200 on the D3400. 

The D3500 will be available in two configurations: A single-lens kit, which includes the camera and an AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR lens, will cost $500. A double lens kit, which also includes an AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED lens, will cost $849. Both will be available in September.

Considering how much we like the D3400—it's our favorite camera under $500—we're interested to see how the D3500 performs. Stay tuned for our review.

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The smallest and one of the least expensive DSLRs in Canon's entry-level Rebel line, the SL2 is easy to use but also offers manual features that help you understand how to create better pictures.

In this guide, we'll detail which settings to use in specific shooting situations so you can move from using automatic modes to taking control of your images.

Getting started

Be sure the Rebel SL2 is set to the Standard Shooting screen and Menu display. If the camera is set to the Guided mode (it is by default), go to Menu > Display Level Settings (the fourth option to the right), press the Set (center) button and choose the Standard Shooting screen and Menu display. The Standard menu offers more options than the Guided menu, but feel free to switch back to the Guided menu if you feel more comfortable.

Quick tips

1. See the green A+ icon on the mode dial? Forget it exists. Instead, start with the P (program auto) mode if you're not yet comfortable shooting in semimanual and manual modes (aperture-priority, shutter-speed priority, manual). But be sure to study the individual mode descriptions listed below to become familiar with what each mode does, and when and how to use them.

2. Always check the battery level and how much space is left on your SD card before you head out to shoot. The LCD shows the battery level in the lower-left corner. If it's down to two bars and you plan to use Live View, it's best to recharge the battery before you go.

In Live View shooting, you'll get between 260 and 290 shots on a full charge. But the battery gauge is an approximation, so it's better to err on the conservative side. Viewfinder shooting will get you about 770 to 840 shots per charge, depending on the ambient temperature (cold weather drains the battery faster), so two bars should get you through a day of shooting.

The lower-right figure shows how many still images you can capture on the SD card with the current settings.

3. Keep the ISO at 1,600 or below whenever possible to avoid image noise.

4. If you're shooting in a quiet environment, such as a wedding ceremony or a museum, turn the beeper off (Menu > Setup (wrench icon) > tab 3).

5. Have the camera automatically rotate vertical images in the camera and on the computer. (Menu > Setup (wrench icon) > tab 1 > Auto-rotate and choose the first option with icons of a camera and a computer.)

6. Before you place the camera in a camera bag, rotate the LCD so it folds into the back of the camera, to prevent accidental scratches on the screen.

Getting to know the Canon SL2 controls

The mode dial
Choosing the appropriate mode is the most important first step in picture taking. The selected mode regulates how exposure is calculated and controls other key components of image capture, as well as how many other options are accessible.

For example, automatic settings (such as Scene Intelligent Auto; Scene modes such as Landscape and Food; and Creative Filters) turn most control over to the camera while giving you limited access for options such as white balance. Manual controls (Program, Aperture-priority, Shutter-speed priority and Manual modes) provide a broader array of exposure options and access to more features.

MORE: Best DSLR Cameras From Beginner to Pro

Yes, fully automatic modes are easy to use, but unless you want the camera to make all the decisions for you (and are willing to live with its not-always-great results), you should take advantage of what's commonly known as PSAM (Program, Shutter-speed priority, Aperture priority and Manual) modes. While the functions are the same, Canon uses slightly different identifiers on the mode dial: Shutter-speed priority is labeled as TV (time value), and Aperture priority is labeled as AV (aperture value).

Here's a more in-depth look at the SL2's mode dial.

P = Program Auto Exposure: Although Program is essentially an automatic mode, in that the camera determines the shutter speed and aperture setting for the scene, you can adjust those parameters in tandem. If, for example, the initial shutter speed is too slow for you to hold the camera in your hand and get a steady shot, turn the main dial to increase the shutter speed. The camera will automatically change the aperture at the same time to ensure a proper exposure. Follow the same instructions to adjust the aperture if you want to control depth of field (how much of the scene appears in focus from near to far in the frame), but keep an eye on the shutter speed in case it ends up too slow for a handheld shot.

TV = Shutter-priority: In this mode, you choose the shutter speed, and the camera selects the aperture. Unless you have very steady hands, it's best to aim for a minimum shutter speed of about 1/125 of a second, especially if you're using Live View and have to hold the camera away from your body. Shooting with the viewfinder helps to stabilize the camera because it's braced against your face. So try to shoot with the viewfinder when using slower shutter speeds, or use a tripod.

To stop action, use a shutter speed of 1/200 of a second or faster; to blur images, like waterfalls, try 1/60 of a second or slower. Keep in mind, though, that if you're using the flash (built-in or accessory flash), the fastest shutter speed the camera allows is 1/200 of a second so the shutter and the flash can sync.

AV = Aperture-priority: The main benefit of shooting in Aperture-priority is the ability to control depth of field, or how much of the image is in focus. Aperture numbers can be a little confusing — the smaller the number (e.g., f/2.0), the larger the opening. The larger the opening, the more light can hit the sensor, which may be necessary in low-light conditions but also delivers a shallower depth of field. This is ideal for portraits because your subject is in focus, while the background and foreground are blurred, putting emphasis on the person you're photographing.

For landscapes, you want a broader depth of field so that more of the image across the frame is in focus. To achieve this effect, stop down the aperture (choose a higher f/stop number). However, this means less light will get in, so you'll need a longer exposure time.

M = Manual: This mode allows you to choose both the shutter speed and the aperture. Use the exposure gauge (in the viewfinder or on the LCD in Live View) to find the right exposure. When the mark is in the center, the image should be accurately exposed. If the exposure is not to your liking, you can easily adjust the shutter speed and/or aperture to make it brighter or darker.

The SL2 also offers a fully Auto mode (look for the green A+ icon), a flash-off mode for when you don't want the flash to pop up automatically, a Creative Auto mode, and a handful of scene modes, such as Portrait, Landscape, Food and Close-up. Check the camera manual for full explanations of each, but be aware that your options are limited with all of these modes, and one of the keys to taking great pictures is putting yourself in control.

Other important controls

The SL2 is equipped with a number of dedicated buttons that allow you to quickly adjust settings.

Q: Press the Q button to change all of the important settings when shooting in one of the PSAM modes.

Live View: Press the small camera-icon button to the right of the viewfinder to turn on Live View.

Video: Move the on/off switch all the way to the left to the video icon. This automatically enables Live View. Then, press the button to the right of the viewfinder (labeled with a camera icon) to start recording.

How do I shoot a portrait with fill flash?

Some portraits are strictly posed and serious, while others can be more candid and fun, like this photo of two friends. I asked them to pose under the shade of a tree to avoid the harsh shadows and possible squinting from the bright, midday sun.

MORE: Camera Recommendations for All Kinds of Photographers

To soften the background a little, I zoomed the Canon SL2's 18-55mm lens to 55mm (an 82.5mm equivalent in 35mm terms). An f/stop of 5.6 — the widest f/stop available on this lens at 55mm — ensured that there was enough depth of field to keep both subjects in focus while blurring the trees slightly. Since the two girls were in the shade, I pressed the flash button (on the side of the flash) to pop up the flash, and used it to add a small burst of light.

If the flash is too bright (or not bright enough), press the flash button a second time, and use the Flash Exposure option to adjust the intensity. For accurate exposure, it's usually best to set the metering mode to center-weighted when your subjects are in the middle of the frame.

How do I shoot a night-sky landscape?

Astrophotography is a complex genre, but there are some simple ways to capture interesting night-sky shots without investing a lot of effort or money.

MORE: A Beginner’s guide to astrophotography

Timing is important, though, if you want to shoot the moon and the remains of a colorful sunset. To plan ahead, use one of the many apps that determine sunset and moonrise, such as Magic Hour for iOS or the highly sophisticated The Photographer's Ephemeris (iOS and Android apps are available for purchase, but the web version is free).

Mount the Canon SL2 on a tripod, and choose Manual exposure mode. Start with an ISO of 6,400, a shutter speed of 1/30 of a -second and the fastest aperture available. On the 18-55mm kit lens, the widest aperture is f/4.0 at 18mm focal length and f/5.6 at 55mm focal length. Enable high ISO noise reduction (Menu > Shooting menu > tab 4), and set it to Standard. Do not use the Multi-shot NR, because it takes four pictures in a row and combines them; this may result in a blurred moon or streaking stars. If you're shooting in RAW, disable in-camera NR, and reduce noise using imaging software such as Adobe Photoshop Elements.

On the lens barrel, switch the lens's image stabilization to Off, and move the focus switch to MF. Turn on Live View, compose your image and use the focus ring (at the front end of the 18-55mm kit lens) to focus.

For the most accurate (and easiest) manual focus, press the Magnify/AF point selection button (to the far right of the viewfinder; it looks like a small grid). This magnifies the image on the LCD screen, making it easier to manually focus. Press the button twice for a 5x enlargement, or three times for a 10x enlargement. Use the touch screen or the four-way cross keys (circled around the Set button) to move through the frame. Press the Magnify button again to return to the full-screen view.

When you're ready, press the shutter gently to take the picture. Experiment with different shutter speeds and/or ISO settings until you get the exposure you like.

If you're interested in photographing dark-sky scenes, like one of the Milky Way, here are some very quick and basic steps to get started:

• Set your lens to the widest focal length and aperture — at least 24mm (18mm is the 24mm equivalent on the SL2). The kit lens's aperture will open to only f/4.0, so you may want to get a faster/wider lens if you really get into night-sky photography.

• Use the manual focus methods above.

• Set your ISO to 3,200 (to start) and shutter speed to about 20 seconds. Adjust both settings as needed. It's best to shoot in RAW so you can make adjustments in your editing software.

To find out when and where cool night-sky elements will occur, check out the SkySafari app for iOS and Android (skysafariastronomy.com), starting at $0.99, or check out Space.com’s Skywatching Events page.

How do I photograph tall buildings and monuments?

When we're standing below a tall structure, our instinct is to point the camera up and shoot. While this method can sometimes result in an interesting image, most of the time, you end up with a skewed perspective. We've all done it and ended up with buildings that look like they're leaning. You may be able to correct the image using software, but that's time-consuming, isn't always effective and requires cropping, so you lose part of your composition.

The best way to counteract this effect is to change your position and viewpoint. Fight the urge to use the widest angle on your lens. Aim for somewhere in the middle of the lens's focal length, or zoom all the way in if needed.

MORE: How to take great photos with the Canon EOS T7i

When you're on the same level as the building, move farther away, until the structure is straight up and down, as I did with the lighthouse in the picture below. Or, as I did with the shot of the Empire State Building, find a spot higher up in a nearby building — even if it means shooting through a window (rooftop bars are a great option). Remember, you can always crop the image if you want a closer view.

If you have enough light, as I did when I shot the lighthouse, step down the aperture to at least f/8 to get a broad depth of field. (The brick walkway nearest to the camera is in focus, as is the lighthouse itself.) Just make sure that the corresponding shutter speed is fast enough to take a handheld shot.

For the night shot of the Empire State Building, I bumped the ISO to 3,200 and was able to match it with an aperture of f/5 and a shutter speed of 1/200 of a second. This ended up being a good balance of exposing the building's lights and darkening the skies and surrounding buildings for a dramatic look. Because the shot was focused on a single structure, f/5 provided more than enough depth of field.

Also remember — even if the building or structure is vertical, that doesn't mean you have to shoot it that way. Try shooting in landscape (horizontal) mode; this orientation can produce great compositions, too.

Credit: Theano Nikitas/Tom's Guide

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We had many reasons for naming the 20-megapixel Nikon D7500 as the best DSLR under $1,500: image quality, extensive feature set and excellent performance, to name just a few of the capabilities of this DX-format camera.

Newcomers to DSLRs have plenty of room to grow, and those with more skills will quickly take advantage of the D7500's broad feature set. Regardless of your experience level, here are some tips and tricks that will help you to get the most out of  your photos with this camera.

Quick Tips

1. Format your SD card, but only after making sure you have transferred any images to your computer. Memory cards should be formatted each time you use a new or different camera. To format the card, go to Menu > Setup (wrench icon) > Format Memory Card > OK > Yes > OK.

2. While you're in the Setup menu, scroll through the pages and set your preferred Beep options (On/Off, Volume, Pitch) as well as touch-screen preferences (Enable/disable, playback only, direction of playback flick gestures).

3. Until (or unless) you're comfortable with semimanual and manual controls, start shooting with the D7500's P (Program Auto) mode. Once you're confident about handling the camera, move into A (Aperture-priority), S (Shutter-priority) or M (Manual) exposure modes. Scroll down to the Mode Dial section of this guide for more details about when and how to use each of these exposure options.

4. Save your most used combination of settings to the U1 and U2 user modes. Once your favorite settings are in place, go to Menu > Setup > Save user settings, press the right arrow and choose either U1 or U2. Press the right arrow, select Save settings and hit OK. When you're ready to use those settings, just move the Mode dial to the matching user option.

5. Always double-check your settings before heading out to take pictures; doing so will ensure, for example, that the camera isn't still set on ISO 3200 from last night's low-light shoot when you're ready to take pictures outdoors on a bright, sunny day.

Getting to Know the Nikon D7500's Exposure Controls

The mode dial
Nikon's mode dial is clearly labeled and includes the following icons: a green A (automatic) — and, going counterclockwise — the standard PSAM, Effects, User 1 and 2, Scene and Flash Off.

A (green) = Auto: This fully automatic mode turns over full control to the camera. While this may seem like a good option, and it's easy, the camera doesn't always know best, and you might end up with blurry photos (shutter speed too slow) or other problems. Avoid this mode. If you want an equally easy exposure mode with far more control, use Program Auto Exposure (listed next).

P = Program Auto Exposure: This mode delivers all the ease of the green Auto mode, with the camera deciding the final exposure, but it allows you to use its Flexible mode to prioritize Shutter and Aperture settings. Just half-press the shutter to activate the meter and rotate the Main Command dial (on the rear of the camera), and a small P or asterisk appears to the left of the shutter speed in the viewfinder.

Rotate the Main Command dial to the left to decrease the shutter speed and increase the aperture. This allows you to determine how much depth of field — how much of the image is in focus from near to far — the camera can achieve. Remember, a higher aperture number (f/16) delivers a broader depth of field. Reverse direction to increase the shutter speed and decrease the aperture setting. A faster shutter speed helps prevent blurry images; a lower (f/4) aperture number delivers a shallow depth of field. The latter is ideal for portraits, since the subject is in focus and the background and foreground will be softly blurred.

S = Shutter-priority: This mode allows you to select the shutter speed while the camera chooses the appropriate aperture for a proper exposure. Choose a faster shutter speed when handholding the camera (I prefer at least 1/125th second) or stopping action (at least 1/200th second; go higher for fast-moving action).

If you want to get creative, slow the shutter speed down to 1/60 or slower, put the camera on a tripod and photograph a waterfall or nighttime traffic. The waterfall will look soft and dreamy, while the surrounding scene will be in focus. For the latter scenario, you'll get interesting streaks of lights from the cars, while the remaining elements stay in focus.

A = Aperture-priority: With this mode, you choose the aperture (f/stop) and the camera selects the shutter speed to create what it considers to be a balanced exposure. The aperture setting helps determine the depth of field, or how much of a photo appears in focus from foreground to background and everything in between.

The way f/stops are numbered may seem backward, since a lower f/stop number — such as f/2.8 or f/4.0, for example — indicates a larger aperture opening and creates shallower depth of field. A lower f/stop number is ideal for portraits or other photos, where you want the focus — and, therefore, the emphasis — to be on the main subject, while the rest of the image falls into a soft blur.

Higher numbers, such as f/8, f/16, etc., create a broader depth of field, bringing more of the image into focus. These settings are best for landscapes and other scenes where you want everything to be in focus.

M = Manual: Don't be intimidated by this mode, which you can use to select both shutter speed and aperture. There's an exposure gauge in the viewfinder (and the LCD screen in Live View) to help guide you. Manual exposure gives you the most control over exposure, and you can adjust the exposure up or down by moving the exposure mark to the right (to make an image brighter) or to the left (to make an image darker).

A Bulb setting is available in the Manual mode. To use it, turn the Main Command dial to the left until the word "bulb," or two dashes (- -) indicating Time, appears in the top control panel. Both are perfect for long exposures when you're shooting at night — fireworks, astrophotography, light painting, etc. The shutter remains open for as long as you hold the shutter button down (either physically or via a remote). With the Time mode, the shutter opens when you press the shutter button (on the camera or via a remote), and it stays open until you press the button again.

Effects: The D7500 comes with 10 special effects, including Night Vision (which takes a high-ISO, grainy black-and-white image in low light), Super Vivid (with increased saturation and contrast), Toy Camera Effect and more. They're easy to use and many of the effects can be adjusted to your aesthetic tastes.

U1 and U2: You can assign your favorite settings to these two User modes. For example, if you have special settings for low-light photography, you can assign them to U1. For portraits, action or movies, assign those settings to the other User mode. Once they're set up, all you have to do is turn the mode dial to U1 or U2, and you're good to go.

Scene: In this mode, you choose from among 16 different scenarios (landscape, sunset, pet portrait, food, etc.), and the camera automatically chooses what it considers to be the ideal settings for each. Yes, it's easy to use, but you'll get better results using one of the semimanual or manual exposure controls.

Flash Off: The name is self-explanatory. Keep in mind, though, that the camera automatically selects your exposure settings in this mode. If the mode dial is set to PSAM, the flash will remain off until or unless you raise it manually — another good reason to shoot in one of those modes.

How to Take a Great Portrait

To emphasize your subject rather than the surrounding scenes, use either the P (Program Auto) or A (Aperture-priority) exposure modes. This gives you control over the aperture and, therefore, the depth of field. Set an aperture that's fairly wide (low f-stop number) to soften the foreground and background.

Focus on the eye of the subject that's closest to the camera. To switch to a single-point AF mode, be sure the camera's focus switch (located on the left side of the camera) is set to AF.

Press the center of the switch and, using the sub-Command dial (the front dial), change the AF mode to S (single). Half-press the shutter button briefly and use the left/right arrows on the rear controller to move the AF point over the subject's eye. Half-press the shutter again to lock focus, double-check your exposure and shoot!

How to Take Great Landscapes

Sure, we'd all like to go to the Grand Canyon or another spectacular national park, but sometimes, we're stuck at home and need to find someplace local to shoot. Why not check out a local park or conservancy, like I did? I waited for nice weather and a bright sky, with just enough clouds to make it interesting. Colorful fall leaves also helped to create a lovely scene.

Zoom your lens to its widest focal length (in this case, 18mm, which has a 35mm-equivalent focal length of 27mm on a DX-format D7500). Shoot in Aperture-priority mode and stop down to a higher f/stop number, such as f/8 or f/16, to increase depth of field — but keep an eye on your shutter speed so it's not too slow to handhold — and frame your shot. While landscapes are traditionally shot horizontally (landscape format), try a vertical shot just for fun. You may be pleasantly surprised.

Time-Lapse Movies

One of the cool features of the Nikon D7500 is Time Lapse, which automatically creates a silent video from a series of images. Similar to the camera's Interval shooting, Time Lapse takes pictures at a set interval of your choosing. However, with Time Lapse, the camera automatically assembles the images into a video. The Interval shooting feature requires that you import the images into your computer and use software to create a video. While the latter ensures that you end up with individual still images and Time Lapse does not, it's much faster and easier to let the camera put the video together.

To get started, it's best to shoot during the day since, in low light, you have to make sure that the interval at which the camera takes pictures is not longer than the shutter speed. You'll need the camera, an empty, high-capacity SD card (at least 8GB to be safe, but it depends on the length of your movie), a fully charged battery and a tripod. If you haven't lost the small eyepiece cap, remove the rubber eyecup and slide the cap into place to prevent light from entering the viewfinder.

Use Aperture-priority and Automatic ISO to set the exposure. Set the appropriate white balance. Also, make sure that D-Lighting and Vignette control are turned off. Head into the Movie Shooting Menu and choose the following settings: Frame Size/Frame Rate (I used 1080p at 60 fps, but try different variations until you find one that suits the subject and your aesthetics.) Set Movie Quality (I used High) and choose MOV Movie File Type. Scroll to the next page and choose a Picture Control; I used SD (Standard).

Scroll to the next and final page and press the OK button to open Time-lapse movie settings. First, turn on Exposure Smoothing; this helps adjust the exposure between shots. Choose the Interval between frames. I chose 5 seconds (the default), but you can set the interval from 1 second to 10 minutes for a maximum recording time of 7 hours and 59 minutes (with a maximum movie length of 20 minutes). The shorter the time between image capture, the slower the movement. If I wanted the clouds to appear to move more slowly, for example, I would choose 3-second intervals. For faster movement, choose longer intervals between shots. Once you dial in your settings, the bottom line on the menu shows you how long your movie will be.

Once everything is set and the camera is mounted on the tripod, click Start on the Time-lapse movie menu; shooting will start in 3 seconds and continue until the set time has elapsed. You can manually stop the time lapse in the same menu by selecting Off and then pressing OK. You can either view the movie on the camera or transfer it to your computer.

Credit: Theano Nikitas/Tom's Guide

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The 24-megapixel EOS 80D continues Canon's line of excellent midrange DSLRs. This $1,099 model produces great images and offers fast autofocus, improved dynamic range and high ISO performance.

The EOS 80D is a great camera for videographers, enthusiasts and those who want to grow their skills. Here are some quick and easy tips and tricks to help you make the most of this DSLR.

Quick Tips

1. If you're new to the 80D (or relatively new to DSLRs in general), first check out the Program auto mode (P). Once you're comfortable with the concept of controlling shutter speed and aperture, then move on to the Tv (shutter-priority auto) mode and Av (aperture-priority) mode. From there, it's much easier to move into M (manual) mode. See below for more information on the 80D's exposure modes and suggestions on how and when to use each one.

2. Although the 80D is equipped with multiple direct-control buttons for metering, ISO, drive mode, AF and more, it's a good idea to become familiar with the Q (Quick Control) button.

Located on the rear of the camera (to the upper right of the LCD screen), the Q button provides quick access to the major shooting settings and information. You can view the current settings and adjust everything from the ISO to the exposure mode. Since everything's in one place on this feature, it's sometimes easier to use the Q button when changing multiple settings at the same time.

3. Before you start taking photos, double-check all your settings to make sure you're ready for the day's shoot. For example, make sure that the ISO isn't set to 1600 from your last shoot in low-light conditions.

4. Go to the Shooting Menu, page one and set (or disable) Image Review to however long you want the image to appear on the LCD right after you shoot it. On the same page, scroll down to Release Shutter Without Card and turn it to Off. Otherwise, you may start shooting without having a card in the camera to record the images.

Getting to know the Canon EOS 80D's Controls

The mode dial

Canon segments its mode dial into two zones: the Basic Zone and the Creative Zone. Basic encompasses all the automatic point-and-shoot modes, while Creative includes all the manual and semimanual exposure modes.

The Basic Zone

Canon has simplified the shooting options in this Zone and limited access to more-advanced settings to keep these modes, well, basic. While you can get some good results using these automatic modes, it's best to use the Creative Zone modes. You'll learn faster, and your pictures will be more fine-tuned to your aesthetic.

A+ = Scene Intelligent Auto: This is a fully automatic shooting mode that takes all the work (and all the control) out of your hands. The camera chooses settings by analyzing the scene and deciding what it thinks is best.

Flash Off: This is essentially the Automatic mode but with the flash disabled. (If you're shooting in P/S/A/M, just keep the flash closed and it won't pop up.)

CA = Creative Auto: This is the same as Scene Intelligent Auto, but it allows you to tweak a few parameters such as background blur.

SCN = Special Scene mode: Like other scene modes, this setting provides a list of possible scenes (portrait, landscape, food, etc.) to choose from. Just pair up your subject and the scene mode, and the camera will take it from there.

Creative Filters: The final option in the Basic Zone (represented by two overlapping circles on the mode dial), this is where you'll find a series of 10 filters to add to your creative arsenal. They include Grainy B/W, Soft Focus, Fish-Eye and four HDR options.

The Creative Zone

As part of the Creative Zone, you have access to Program AE, Shutter-priority (Tv for Time value), Aperture-priority (Av for Aperture value), Manual (M) and Bulb (B).

P = Program AE (auto exposure): As mentioned before, P is a good place to start unless or until you're comfortable with the other exposure modes in the Creative Zone. Although the camera sets the shutter speed and aperture, you can use the Program Shift feature to adjust the shutter speed or aperture by pressing the shutter button halfway and turning the main command dial (the dial on the top front of the camera) until you get the shutter speed or aperture you want. This allows you to maintain a fast enough shutter speed to avoid blur or choose the aperture that will deliver a shallow or broad depth of field.

Tv = shutter-priority (Time value): In this mode, you select the shutter speed and the camera chooses the appropriate aperture for the lighting conditions. Although some people have rock-steady hands, most of us need a shutter speed of 1/125th of a second or faster to avoid blurry pictures of even static subjects. Use a tripod if you need to shoot a nonmoving subject at a slower shutter speed.

To capture action, set the shutter speed to a minimum of 1/200th of a second or higher if your subject is fast-moving. Increase the ISO if you need to do so. Alternatively, put the camera on a tripod and slow the shutter speed to 1/60th of a second or slower to intentionally blur movement, such as that of a waterfall. The tripod ensures that the rest of the scene will remain in focus.

Av = Aperture-priority (Aperture value): You choose the aperture, and the camera selects the shutter speed for what the device considers the right exposure. The benefit of shooting in aperture-priority is that it gives you control over depth of field, or how sharp (or blurred) the image appears from near to far.

Although the f/stop numbering system seems a little backwards, consider that the smaller number, such as f/2.0, opens up the aperture and lets more light in. The smaller numbers decrease the depth of field, keeping your main subject sharp while softening the foreground and background. Stop down the aperture (use a higher f/stop number, like f/11, f/16, etc.), and depth of field increases so that a broader area of the image appears in focus.

M = Manual: In this mode, you control the aperture and shutter-speed settings. Check the exposure-level indicator in the viewfinder and adjust the settings until the marker is in the middle. Then, adjust the settings to get the exposure you want; feel free to overexpose (adjust the mark to the right) or underexpose (adjust the mark to the left) if you're not happy with the camera's assessment.

B = Bulb: If you want to do long exposures at night, the Bulb mode is your ticket. It's perfect for light painting, for example, or getting those cool shots of car tail lights streaking by. In Bulb mode, you set the aperture and ISO, then press and hold down the shutter button for as long as you want the exposure to last. It's best to use a physical remote or the Canon Camera Connect app, and you'll definitely want to use a tripod, to minimize camera shake.

Other Important Controls

Because the Canon EOS 80D is equipped with so many dedicated external buttons and dials, there's not enough room to go over them here. But beyond the Q button, mentioned earlier, and the Mode dial, be sure to pay close attention to the functions of the Main Dial atop the camera as well as the Quick Control Dial on the rear of the body, because you will be using them frequently to change settings. The user manual has good descriptions of each button and dial.

How to freeze an action shot

The best way to capture action with the Canon 80D is to shoot in Shutter-priority, choose a fast shutter speed, and set the camera's release mode to continuous shooting and autofocus to AI Servo.

Start off with a shutter speed between 1/250th of a second and 1/500th of a second. If there's enough light, go for the latter; if the action is really fast — like in a car race — bump up the shutter speed even further. Set the appropriate aperture for the shutter speed and ISO (always keep ISO as low as possible).

MORE: How to Shoot Killer Sports Photos

Press the Drive Mode button (in front of the top LED Panel) and turn the Command or Quick Control Dial to High-speed continuous shooting (7fps). Then, press the AF button in front of the top LCD panel. Rotate the Command or Quick Control Dial and choose AI Servo AF. Focus and keep the shutter button pressed halfway to track your subject; press and hold the shutter button down fully when you're ready. The camera will continue shooting until you release the shutter button (or the buffer — where the images are stored before being written to the card — is full). Then, repeat the process for the next series of shots.

Beyond getting the right settings, it's up to you to time the shot to get the image you want. Be sure to anticipate the subject's movements. At a runway show, for example, you need to anticipate when the model's front foot will be flat on the ground, so it's important to, essentially, feel the beat of the model's walk, as I did in the image below.

Kite surfers move faster than models, but because they generally move in one direction, parallel to shore, their track is easy to follow.

How to take pictures in low — or no — light

Given that a flash can sometimes ruin the ambience of a scene and that the use of flash may be restricted (during a wedding ceremony or in a museum), you may need to turn to the 80D's ISO for help. Ideally, keep the ISO under 3200 whenever possible, but more importantly, adjust the ISO so that the shutter speed and aperture setting meet your criteria. For example, be sure that the shutter speed is fast enough to avoid blur if you're holding the camera in your hands. This speed differs for everyone, but I prefer at least 1/125th of a second.

Alternatively, you can set the ISO to Auto. The camera will then automatically adjust the light sensitivity (ISO) according to the shutter speed and aperture that you select. Don't be afraid to let most of the image go dark, like this shot of the Empire State Building (below).

To get this effect, choose Partial or Spot metering (press the Metering button, located farthest to the right in front of the top LCD panel), and turn the front command dial to select one or the other.

MORE: Tips for Taking Gorgeous Nighttime Photos

For a more evenly lit scene, like the museum shot below, set the metering mode to Evaluative (the icon looks like an eye with a dot in the center). This takes the entire scene into consideration when determining exposure.

When shooting in low light, the 80D's AF points light up red when focus is achieved (the focus points don't light up when you're shooting in bright light). If there's not enough light and contrast for autofocus to lock in on your subject, switch to manual focus.

How to take a great portrait

To ensure that the emphasis is on your subject and not the surrounding scene, use either P (Program AE) or Av (Aperture-priority) exposure modes so you control the aperture. Choose a fairly wide (low f-stop number) aperture setting to create a shallow depth of field and focus on your subject's eye (the one closest to the camera). Shallow depth of field will soften the scene surrounding the subject but keep the subject sharply focused.

MORE: How to Take Stunning Portraits

Zoom your lens to at least 55mm (which is the 35mm equivalent of about 88mm); if you have a longer lens, zoom in to about 70mm (the 35mm equivalent of approximately 112mm). If you need to use the built-in flash, make sure red-eye reduction is enabled. Also, be aware that shutter-speed options max out at 1/250th of a second when using flash so that the shutter and flash can sync properly.

How to shoot video

Video capture using a DSLR can be intimidating, but it doesn't have to be. First, make sure you have a high-speed SD card with plenty of capacity. You can find details in the manual, but aim for an absolute minimum of 8GB capacity and a Class 10 speed.

If you're new to video or just want to go the quick and easy route, set the mode dial to A+ and check the ISO to ensure that it's as low as possible. Move the Live View switch (to the right of the viewfinder) to the red camcorder icon. The mirror will flip up, and you'll see the scene on the LCD. Then press the start/stop button that is encircled by the Live View switch, and you'll be good to go — the camera will take care of focus and exposure.

For more control, set the mode dial to M (manual); use the ISO button to set your ISO (the lower, the better but be sure it's less than ISO 3200). Then move the Live View switch to the red camcorder icon. Press the Menu button, and in Shooting Menu 3, choose the Neutral (N) picture style. In Shooting Menu 4, set Movie Servo AF to Enable, and choose the Face detection + Tracking AF method. For Movie record quality, start with FHD 29.97 (30fps) and choose MP4/Standard IPB. Leave Sound recording to Auto for now. You can always explore the other options later on.

Since you're in Manual exposure mode, it's up to you to set the shutter speed and aperture. The general rule of thumb is that your shutter speed should be double the frames-per-second rate. At 30 fps, set your shutter speed to 1/60th of a second; then adjust the aperture (and ISO, if necessary) to get the proper exposure. When holding the camera by hand, be sure to set the lens's image stabilization (if available) to on; otherwise, leave the IS off and use a tripod. Press the start/stop button when you're ready to start shooting.

The 80D shoots excellent video, and with the proper settings, you're sure to get some great footage that you'll want to share with family and friends.

Before you buy, check our Canon promo codes for ways to save on your order. 

Use the Nikon D5600 like a pro

The 24-megapixel Nikon D5600 is our favorite DSLR camera under $1,000, thanks to its excellent image quality and speedy performance. It's perfect for photographers who are stepping up from an entry-level model like the Nikon D3400 or those who want to hone their photography skills.

Whether you're new to DSLRs or have some experience, the following guide will help you get the most out of your D5600 quickly and easily.

Quick tips

1. Start with the Program auto mode (P), and gradually work your way into the semiautomatic Shutter-priority (S) and Aperture-priority (A) modes before moving into the Manual (M) exposure mode. See below for descriptions of the D5600's exposure modes and advice on when and how to use the different options.

2. Get to know the "i" button, located to the right of the LCD panel (and on the LCD touch screen). Pressing this button (or tapping the on-screen icon) gives you quick access to all of the major shooting settings. This lets you change settings on the fly without going into the full menu system. The Info button, to the right of the viewfinder, gives you an overview of your current settings, but it's for viewing only.

3. Unsure of what a particular feature does or how to use it? If there's a "?" on the screen, you can press the little zoom-out/metering/question-mark button next to the lower-right corner of the LCD, and a description of the feature will appear on the screen.

4. Check out the different Information-screen options for Auto/Scene/Effects modes and for the P/S/A/M modes. Press the Menu button (to the left of the viewfinder, select Setup (the wrench icon) and head over to the top of the second page: Info display format and press the right arrow key. The information displayed is the same, but it's presented in different graphical layouts and colors. Pick the one you like best.

5. While you're there, scroll to the bottom of the second page. Make sure that "Slot empty release lock" is set to Lock. This prevents you from taking a picture without a memory card installed. (Lock is the default setting.)

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Getting to know the Nikon D5600's controls

The mode dial

One of the most important decisions you make when taking pictures is selecting an exposure mode. This choice not only determines how exposure is calculated but also how other features behave and what other options are available to you. While the Auto mode is good for novices and those getting used to a new camera, this option (along with Effects and Scene modes) pretty much turns the control over to the camera and limits your ability to change parameters such as white balance. Semiautomatic and Manual controls (P/S/A/M) allow you to access and adjust the camera's full complement of settings.

Program, Shutter-priority, Aperture-priority and Manual (P/S/A/M) exposure modes each play a specific role in picture taking. Here's how they work.

P= program auto exposure: Although we suggest you stay away from the Auto mode (it's the green icon on the dial), a good "automatic" starting point is the Program mode. While the camera still decides what shutter speed/aperture combination to use, you still have plenty of options to manipulate the camera's decisions. To control the shutter speed to avoid camera blur, for example, turn the command dial to the left. (The aperture will change in tandem to keep the same exposure.) Turn the command dial to the right to change the aperture. (The camera will adjust the shutter speed to ensure a good exposure.) You can also change the ISO to get different settings or use Exposure Compensation (the black/white button near the camera's on/off switch) to help tweak the exposure.

S = Shutter-priority: In this mode, you choose the shutter speed, and the camera selects the aperture. Unless you have very steady hands or you are using a tripod, aim for a shutter speed of 1/125 of a second or faster to avoid blurry pictures from minor camera or subject movement. (Adjust the ISO up if there's not enough light to achieve the desired shutter speed.)

If you want to freeze movement, set the shutter speed to at least 1/200 of a second, or higher for fast-moving subjects. On the other hand, if you want a photo to show motion, set the shutter speed down to 1/60 of a second or slower to capture the flow of a waterfall, for example. Use a tripod to ensure that the rest of the image isn't blurry.

A = Aperture-priority: You choose the aperture (f-stop), while the camera selects a shutter speed that will, in combination, deliver a good exposure. The main benefit of shooting in Aperture-priority mode is that it gives you control over the depth of field, or how sharp the image appears from near to far.

The numbering or f-stop system for aperture settings can be a little confusing. For example, the smaller the number — like f/2.0 — the larger the aperture opening, which allows more light to hit the sensor. Set the aperture to a smaller f-stop number in low light.

Another time to use a larger aperture opening (small f-stop number) is when you're taking a portrait. The large (also called fast) aperture decreases the depth of field. That means that the background and foreground will be slightly blurred, placing the emphasis on your subject.

On the other hand, if you want more of the image to be in focus (let's say you're shooting a cityscape), then you want to use a higher f-stop number, such as f/8, f/11, f/16, etc. This increases the depth of field, so that the image appears sharp throughout the scene. But  when you use a smaller aperture (a higher f-stop number), less light hits the sensor. Increase the ISO if you need to set a faster shutter speed to avoid blur from camera shake.

M = Manual: This mode allows you to choose both the shutter speed and the aperture. Shooting in manual-exposure mode is not as difficult as it might seem, because there's an exposure gauge in the viewfinder and in Live View to help you know when you've hit the right combination. Just adjust one or both settings until the mark is near the center of the gauge. If the picture is too light or too dark for your liking, just adjust the shutter speed or aperture (or both) until you see markers to the right (for a lighter exposure) or to the left (for a darker exposure) of the midpoint on the gauge.

The Nikon D5600's Auto mode is marked as a green square on the mode dial. Forget it exists. If you want point-and-shoot simplicity, go with the Program auto mode; if and when you decide you want to explore further options, this mode allows you to tweak many parameters, whereas the Auto mode does not.

On the mode dial, you'll also see a flash-off mode to use if or when you can't or don't want the flash to automatically pop up if there's not enough light.

The D5600 also has some fun Effects modes, including Super Vivid, Photo Illustration, Toy Camera effect, selective color and more to enhance your creative endeavors. Scene modes are easy to use, but they limit your manual adjustments and access to other controls. The D5600's Scene modes include Portrait, Landscape, Sports, Child, Beach/Snow, Party/Indoors and more. Feel free to experiment with these automatic scene modes, but your best bet is to use one of the P/S/A/M modes to control how your image looks.

How to take a great portrait

When taking a portrait, you want the emphasis to be on your subject and not on surrounding elements. To do this, set the D5600's mode dial to P (Program Auto) or A (Aperture-priority) or M (Manual). Open up the aperture (use a low f-stop number) to get a shallow depth of field; the maximum aperture setting will depend on your lens and where you set the zoom. This softens the background and foreground, so your subject will be the main focus — literally and visually. Be sure to check your shutter speed; it should be around 1/125 of a second or faster to prevent blur from minor camera (or subject) movement.

If you're using the 18-140mm f/3.5-5.6 zoom lens, set the lens to 70mm (which is the 35mm equivalent of 105mm, which is great for portraits). Zoom all the way in to 55mm on the 18-55mm kit lens; this gives you a 35mm equivalent focal length of about 82.5mm, which is also good for portraits.

Forget about that old "rule" of keeping the sun at your back when you're shooting. That puts the sun in your subject's eyes and makes them squint — not a good look for a portrait. Try to find a slightly shaded area to position your subject. Or, place your subject near a window, and use the daylight to illuminate the scene or combine it with the flash, as seen below.

If you need to use the built-in flash, turn on red-eye reduction via the "i" button, and make sure your subject is not standing up against a wall; move him or her a few feet in front of the background, if necessary. Otherwise, you'll end up with nasty shadows, as in the second photo below.

MORE: 12 Tips for Stunning Portrait Photography

How do I take an action shot?

There are three main elements to consider when shooting action shots, like those of sports, children, dancers and other fast-moving subjects. First, set your shutter speed so that it's fast enough to freeze movement. The exact shutter speed depends on how quickly your subject is moving, but for most fast-moving subjects, start with 1/500 of a second.

Then, set the release mode (Menu > Shooting Menu > Release mode on page two) to Continuous High for up to 5 frames-per-second continuous shooting. For the final step, push the "i" button, and change the AF mode to AF-C (Continuous-servo AF) so the autofocus tracks your subject once you half-press the shutter button to tell the D5600 what you want to focus on.

If you're shooting an activity that can be repeated, like this dancer's movements in the image below, have your subject repeat the movement so you get an idea of how to time your shot. Even if you don't have the luxury of having the subject repeat the movement, anticipate when the peak moment will be, and time your shot accordingly. With continuous shooting, you have a better chance of capturing that peak moment in time and getting some before-and-after shots.

MORE: 12 Tips for Taking Killer Sports Photos

How do I shoot a landscape?

Landscapes are easy to shoot. Just find a scene that pleases your eye, zoom your lens to wide-angle and stop down the aperture (set to a high number f-stop, such as f/11 or higher) in the P, A or M modes. Check your shutter speed to make sure you can hold the camera steady, or place it on a tripod. Press the "i" button, and set the Metering mode to Matrix (it's the rectangle with a center circle, with two perpendicular lines on each side). This takes a reading from the entire scene and averages out the exposure.

Use single-shot AF (AF-S), and snap away. Be sure to try different angles to see which best draws a viewer's eye into the scene, such as the rock jetty in the image below.

MORE: 12 Tips for Taking Amazing Landscape Photos

How do I transfer images to my mobile device?

First, download the Nikon SnapBridge app for iOS or Android. Then, go to Menu > Setup Menu > Connect to smart device (third page of the Setup menu), and follow the directions on the camera screen and on the SnapBridge app. The process is pretty straightforward, but if you run into issues, check out the Help section and the tutorials within the app.

Once the two devices are paired, you can view images on your smart device, transfer them from your camera to another device and set it up so that all images you shoot on the D5600 are automatically uploaded to your phone or tablet, even when the camera is off. (Just know that this will affect the battery life of both your phone and your camera.)) The app also allows you to add comments to images, and you can even trigger the camera remotely via the app — which is great for shooting long exposures, for example.

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On paper, it might seem like the Nikon D7500 is a step back from its predecessor, the D7200. The D7500 has fewer megapixels (20 MP, as opposed to 24 MP in the D7200), lacks a second card slot and doesn't work with older lenses. However, the new camera ($1,250 body only; $1,750 with 18-140mm kit lens) has the same sensor and image processor as the higher-end D500 — more than enough reason to ignore the loss of several megapixels.

The D7500 also has faster continuous performance, a responsive tilt-screen touch LCD, higher ISO capabilities and 4K video, making it one of the best DSLR cameras for enthusiast shooters.

Design: Functional, efficient and familiar

At 5.4 x 4.1 x 2.9 inches and 22.6 ounces (body only), the D7500 is just a shade smaller and about 5 percent lighter than the D7200. In fact, other than the relocation of a couple of buttons, a new LCD, a deeper grip and only a single (versus double) SD card slot, there are few visible physical differences between the two cameras. Although you can't see it, the durable body features improved weather sealing, too.

A new, tiltable, 3.2 touch-screen LCD graces the back of the camera. It's responsive and features touch focus, touch shutter (tap to focus, tap to shoot), and full touch access to menus and playback options, including scrolling and pinch to zoom.

Comfortable to hold, especially with the deeper grip, the D7500's external controls and dials are conveniently located and easy to use. Dual control dials and a top LCD panel provide more efficient access to features and to displays of  the current settings.

Even if you're stepping up from an entry-level Nikon D3400, many controls and features will feel familiar. While less-experienced photographers may face a learning curve with the advanced options, Nikon's built-in help explains most features in easy-to-understand terms.

The D7500 has a pop-up flash and a hot shoe for an external flash, and is compatible with the new SB-5000 Speedlight. It's very disappointing to lose the second SD card slot found on the D7200, especially given the new camera's high speed, high-capacity continuous shooting and 4K UHD video capture.

Image Quality: Excellent as always

Like the D500, the D7500 produces excellent images. Colors are rendered accurately and can be tweaked according to your personal preferences using the camera's Picture Control. Sample images were shot using the Standard (SD) Picture Control and are straight out of the camera JPEGs.

Exposures were generally spot-on in semiautomatic modes (aperture or shutter priority) with good dynamic range that retained details in shadows and highlights. But when faced with challenging, high-contrast scenes, the D7500's ADL (Active D-Lighting) can help solve any imbalance. Although the differences are subtle, the second shot, which was captured with ADL, shows slightly more detail in the walkway (especially in the highlights at the bottom of the image), as well as in the darker shadows of the trees on the left side. You can also set up ADL bracketing for a wider range of choices.

The D7500's ISO range beats out the D7200's with options from 100 to 51,200, and expandable to 1,640,000. Low-light/high-ISO capabilities are quite good, although we'd recommend sticking to ISO 6400 or lower for the best results.

Generally, I prefer to deal with noise reduction using photo-editing software, but the D7500's high-ISO NR did a great job. High-ISO NR can be set to Off, Low, Normal or High. The first sample image was shot without NR turned on, and the other with NR set to High. The latter seems a little oversharpened but can be easily dialed back, saving time in postprocessing on the computer.

Test images were captured with the 18-140mm f/3.5-5.6G ED kit lens. With the DX-format sensor, the 35mm-equivalent focal range is 27mm-210mm, which provides a highly usable balance for wide-angle and telephoto needs. At f/3.5-5.6, the lens is a little slow and best used under bright conditions. But thanks to the camera's strong low-light/high-ISO performance, and the lens' effective VR (vibration reduction), I didn't miss the wider apertures of our other lenses as much as I thought I would.

MORE: A Guide to All of Nikon's Lenses

Images captured with this lens were sharp, thanks in part to the camera's lack of an optical low-pass filter (which softens images to avoid moiré). While higher-end lenses should capture sharper details, this kit lens delivered better-than-expected results, as you can see in the textures of the bales of hay and the fabric petals of the faux sunflower in the photos below.

There was very little haloing or chromatic aberration. And with the Vignette Control turned on and set to normal, there was no noticeable shadowing in corners, as you can see in the photo of a barn below.

Given that the D7500 straddles the enthusiast and semipro photographer line, I wanted to see how it worked with studio lighting. As you can see from the portrait below, the camera provides a nicely focused image, rich shadows and good color balance for this dramatic lighting. With a black backdrop, I didn't have to worry about creating a blurred background, so I set the f/stop to 7.1 to gain some depth of field.

The D7500 is also great for candid shots, like the one below. I was impressed with the camera's matrix metering, which takes into account the entire scene when calculating a proper exposure. The reflection of the water could have easily thrown off the meter, but the D7500 didn't flinch when shooting in shutter-priority mode and perfectly exposed the subject as well as the water.

In addition to manual, semiautomatic and automatic modes, the D7500 offers a number of options for Effects and Scene (portrait, landscape, night landscape, pet portrait and more). The former offers more creative automatic modes, including Pop, Vivid and Toy Camera, along with Photo Illustration and Night Vision.

Photo Illustration turns photos into funky-looking images that are a little edgy and kind of fun.

Video: Good but with caveats

On paper, the D7500's video specs look great. You get a range of recording options: 3840 x 2160 (4K UHD) at 30/25/24fps, 1920 x 1080 full HD at 60/50/30/25/24fps and 1280 X 720 HD at 60/50fps. 4K footage can be recorded to the camera's media card or output via HDMI or both. Other features include manual exposure controls and multiple audio options (including an external microphone jack).

When I used the Standard Picture Control, video clips look sharp and nicely detailed, and the internal microphones pick up sound quite well. If you want to do your own color grading, you can use the flat profile option. Video can be recorded in user-friendly MOV or MP4 formats.

That's the good news. The bad news is that continuous AF isn't as smooth as we'd hoped (AF is so fast and accurate in still-image shooting that we anticipated the same for video). I found that it was best to focus prior to recording, although — in many cases — using the touch focus was faster than the hunting of continuous AF.

Using the command dial to change the aperture while shooting is noisy, so unless you plan to create your own soundtrack, you should use an external microphone, enable the Power Aperture (which allows you to adjust aperture more quietly by pressing and holding the Fn1 and Fn2 buttons) or set the aperture beforehand. Fortunately, Auto ISO works in Movie mode and is pretty good at automatically (and quietly) adjusting exposure during recording.

It's also important to note that 4K video employs a 1.5x crop, so you'll need a wider-than-average lens for those wide shots.

All in all, however, we're happy to see 4K video capture added to the D7500. The footage looks good, and there are plenty of options available for both beginner and advanced users. While we'd love to see Focus Peaking to check video focus, the D7500 does offer Zebra stripes to see if highlights are blown out.  

Here's a handheld sample I shot (apologies for the shaky footage) in 4K with auto ISO. The latter did a good job with exposure. Focus was locked in using touch focus on the LCD screen.

Nikon is known for including interval shooting in its DSLRs but goes one step further on the D7500 with Time-Lapse Movie. You set the interval between shots along with how many shots you want recorded, and the camera automatically creates a silent movie from the still images. Importantly, the D7500 includes an Exposure Smoothing option that automatically adjusts the exposure if and when the lighting changes during the extended shooting session.

Performance: Fast and accurate

Nikon has bumped up the continuous shooting speed on the D7500 to 8 frames per second (from 6 fps on the D7200). With the D7500, you also get a larger buffer, which more than doubles the number of JPEG and RAW files that can be captured in a single burst, upping those counts to 100 and 47 shots, respectively.

Autofocus is equally as speedy and accurate, with virtually no shutter lag when shooting with the viewfinder. Live View AF is pretty good but is not up to the viewfinder shooting speed. In Live View, I tend to prefer touch focus, because it seems a little faster and more accurate.

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At 950 shots per charge, battery life is down a little from the D7200's 1,100 shots. But that's a fairly conservative estimate; the battery should last through all but the most intense shooting days. If you think you're going to need more power — let's say you're shooting a wedding — pick up a second battery ($63). Unfortunately, there are no connections on the D7500 for an external battery grip.

The D7500 employs the same Wi-Fi/Bluetooth SnapBridge technology as some other Nikon DSLRs, such as the D3400.

Bottom Line

The Nikon D7500 is an excellent addition to the company's DX-format camera line. One can almost think of it as the younger sibling to the D500, with the same stellar image quality and incredible speed and AF accuracy. Its video autofocus performance may not be as responsive as that of, say, Canon's EOS 80D, but the D7500 is most impressive because of its image quality and high-speed performance, particularly against other DSLRs in its class.

With its close relationship to the D500, the Nikon D7500 wears several different hats. It's a great option for enthusiasts who want to take their photography up a notch. The D7500 also finds a comfortable place in the camera bags of semipros who want high-quality images and excellent performance without breaking the bank.

Credit: Theano Nikitas/Tom's Guide

The successor to the very popular Nikon D3200, the D3300 is a powerful DSLR with a lot of features to improve your photos over those taken in Auto mode. But these features can also hurt your photos if you don't use them correctly. Here are the main controls for the Nikon D3300 and how you can harness them to get better pictures. (Note: The sample photos in this article were shot on a variety of cameras and are meant to illustrate how the process works on any camera.)

Update: These tips will also work on the successor to the D3300, the Nikon D3400, as well. To see a full review of Nikon's latest entry-level DSLR, click here.

What are the most important controls on the D3300?

First, we'll give you a quick tour of the key controls, and then we'll explain how to use them for different effects.

Mode Dial

Starting at the top of the camera, you'll find a dial on the right side for a range of shooting modes. These are the ones you need to know:

AUTO – Auto: The camera makes all the decisions. 

P – Program: This mode is best for general shooting. The camera adjusts the shutter speed and aperture, and gives you the option to adjust a few other settings (which we'll explain).

S – Shutter Priority: You set the shutter speed using the Command dial on the back of the camera, where your right thumb rests. The camera will adjust the aperture (size of the lens opening) to insure you get a proper exposure. 

A – Aperture Priority: You set the aperture using the Command dial, and the camera sets the shutter speed.

M – Manual: You set both shutter speed and aperture. The camera will warn you if the exposure is off, but it won't stop you. If you are a novice, this mode often does more harm than good. However, as you get more comfortable with photography, Manual mode can help you get difficult shots in which you want a particular effect that the camera can't execute on its own.

 Some key controls on the D3300 include the Control dial (A), MENU button (B) and "i" button (C).

Effects

The D3300 offers a number of special Effects shooting modes, such as Super Vivid and Miniature. The one we found most useful was the Easy Panorama effect, which automatically stitches together multiple images you have shot into a wide, panoramic photo.

MORE: How Many Megapixels Do You Really Need?

ISO Light sensitivity and Noise Reduction

You control the D3300's sensitivity to light with the ISO setting. Use the lowest number you can that provides adequate exposure. You can raise the ISO in dim or dark lighting situations, but this produces graininess, called noise, in the images, so proceed with caution.

We recommend using the Auto ISO setting. (Go to: Menu>Shooting>ISO Sensitivity Settings, and turn the Auto ISO sensitivity control to On.) But lower the Maximum Sensitivity to 3200.

If you decide to set the ISO manually, try to go no higher than 1600 for everyday shooting, and no higher than 3200 for low light and evening shooting. You adjust ISO manually by pressing the "i" button, then selecting ISO from the settings menu.

In either situation, you should also turn on Noise Reduction (Menu>Shooting>Noise Reduction).

How can I capture action photos?

Use Shutter Priority and set the shutter speed to 1/100 second to freeze most action. Some action requires higher settings.

MORE: Why Autofocus Is the New Megapixel

How do I take portrait shots?

Set the zoom lens to about 35mm, and use Aperture Priority to control depth of field. An aperture of f5.6 or lower produces a shallow depth of field that blurs out the background, keeping focus on your subject. You set aperture by turning the rear Control dial.

How do I take landscape photos?

Using Aperture Priority again, go for a higher setting of f9 or greater to produce a deep depth of field. Having more of the scene in focus is also useful when shooting a group of people or any scene with important subjects at varying distances from your camera.

How do I take photos in low light?

When shooting hand-held, use Shutter Priority and turn the rear Control dial to set the shutter speed at 1/30 of a second or faster. (It's best to use 1/60 of a second or faster.) If you set it slower, the VR (Vibration Reduction system, where part of the lens moves to counteract shaking) won't be able to compensate.

How do I meter light for proper exposure?

The D3300 has three light-metering modes, controlled from the settings menu that is accessed by pressing the "i" button. Most of the time, you can leave this on Matrix mode, in which the camera judges the light in several parts of the image and picks the settings for an even exposure. If Matrix isn't giving you the results you want, you can try Center Weighted or Spot Metering mode, or adjust the exposure compensation.

Center Weighted

This option pays more attention to the center of the image, but also considers the rest of the picture.

Spot Metering

Use this to have the camera measure just a small spot in the center of the image, ignoring the rest.

Exposure Compensation

This control can lighten or darken the entire photo, regardless of the metering mode you use. To activate it, press the "+/-" button near the shutter and turn the rear Command dial. The "+" numbers lighten the exposure, and "–" numbers darken it. Use this control sparingly. Even one or two clicks in either direction can have a big effect.

The Exposure Compensation button, and an Exposure Compensation set to the default of zero.

How do I adjust color?

Three settings — White Balance, Picture Control and Retouch — determine how colors appear in your photos.

White Balance judges the overall color of the light in a scene in order to interpret colors accurately. The D3300 does this pretty well using its Auto White Balance mode. But in low light, photos can have an orangey cast that you can fix using a custom white balance. Activate this option by pressing the MENU button and going to White Balance>Preset Manual>Measure. Then point the camera at a white or gray object, such as a piece of paper, and press the Shutter. (Do this under the same lighting in which you will be shooting.) The camera will measure the white balance from the card and use this custom measurement to adjust the look of colors. Just remember to switch back to Auto White Balance or measure a new white balance when you move on to a different setting.

Picture Control determines the intensity of colors and also applies special effects. Turn the Mode Dial to EFFECTS and then press the MENU button to access the Picture Control settings. We recommend staying with the default SD (Standard) setting, as this produces the most-accurate and true-to-life colors.

Retouch is a better way to use color effects, as it applies them to a copy of the photo, leaving the original unaltered. Access it by pressing the "i" button while viewing a photo. Then select Retouch to apply effects like Monochrome and Color Sketch, plus Filter effects that can enhance some (or all) colors. If you don't like the result, you can go back to the original and try again.

What are the best lenses for the D3300?

The Nikkor 18-55mm f/3.5-5.6G VR II AF-S DX NIKKOR Zoom Lens that comes with the Nikon D3300 kit is good for general shooting, but one of the advantages of a DSLR is that you get access to a huge range of other lenses. Here are two low-cost options.

MORE: A Guide to all of Nikon's Lenses

We'd recommend that aspiring shooters consider adding the $199 Nikon 35mm f/1.8G AF-S DX Lens as a good prime lens (which means it has a fixed focal length with no zoom) for candids, street shooting and portraits. It's large aperture lets in plenty of light for shooting in dim conditions and for creating very shallow depth of field. 

A longer zoom lens like the $250 Nikon 55-200mm f/4-5.6G ED IF AF-S DX VR Nikkor Zoom Lens will help you get closer in to distant objects, although the lack of image stabilization means it should be used carefully. A small amount of hand shake can make an image blurry, so you should keep the shutter speed above 1/60 of a second if possible (raising the ISO as needed), or use a tripod.

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One of Canon's entry-level DSLRs, the EOS Rebel T6, is, in many ways, similar to its predecessor, the EOS T5. One of the biggest differences, however, is that it offers Wi-Fi for sharing images and remotely controlling the camera. Most other improvements, like a faster processor, are under the hood.

But the bottom line is that the T6 provides all the basic functions and features you need to take great pictures. We've outlined some of the recommended steps to get the most out of your camera in the following guide.

MORE: How to Take Great Pictures with the Canon T5

Quick tips

1. Start with the P (program auto) mode. Then, gradually work into shooting in TV (shutter priority) and AV (aperture priority), before moving on to full Manual mode (M). See below for a description of each mode and when to use the different options.

2. Set the camera to automatically rotate vertical images in the camera and on the computer. (Go to Setup menu > Auto Rotate, and choose the first option with icons of a camera and a computer.)

3. If you plan to shoot in a quiet environment, like at a wedding ceremony or in a museum, turn off the beeper (Shooting menu, tab 1).

4. Keep the ISO at 1600 or below whenever possible to avoid image noise.

5. Press the camera icon to the right of the viewfinder to access Live View, which flips up the mirror so you can see the scene in the LCD (versus the viewfinder). For movies, move the mode dial to the movie camera icon; the camera automatically enters Live View. Then, press the camera icon next to the viewfinder (with a red dot) to start or stop recording video.

Getting to know the Canon T6 controls

The mode dial
The mode dial is where your picture-taking decisions begin. The selected mode not only determines how the exposure is determined but also how many other features and controls are accessible to you. For example, automatic settings (such as Auto, Portrait, Landscape and Food) turn most control over to the camera while leaving you limited options for features such as white balance. Manual controls (such as Program, Aperture priority, Shutter-speed priority, and Manual exposure modes) provide more user options for exposure and allow access to all of the other features the camera offers.

Though the fully automatic modes are easy to use, you're better off getting to know — and using — what is often referred to as PASM (Program, Aperture priority, Shutter priority and Manual). On the T6 mode dial, Aperture priority is labeled as AV (aperture value), and Shutter priority is labeled as TV (time value).

P = program auto exposure: Although Program is essentially an automatic mode in that the camera determines the shutter speed and aperture setting for the scene, you can adjust those parameters in tandem. If, for example, the initial shutter speed is too slow to hold the camera in your hand and get a steady shot, turn the main dial to adjust the shutter/aperture combination until you get a faster shutter speed. The camera will automatically change the aperture at the same time to ensure a proper exposure.

TV = Shutter priority: In this mode, you choose the shutter speed, and the camera selects the aperture. Unless you have very steady hands or are using a tripod, it's best to aim for a shutter speed of about 1/125 second or faster, especially if you're using Live View and have to hold the camera away from your body. Using the viewfinder when shooting helps stabilize the camera, since it's braced against your face and your arms are not outstretched. So try to shoot with the viewfinder when using slower shutter speeds.

To stop action, use a shutter speed of 1/200 second or faster; to blur images, like waterfalls, try 1/60 second or slower. Keep in mind, though, that if you're using the flash (either a built-in one or an accessory flash), the fastest shutter speed the camera allows is 1/200 second in order for the shutter and the flash to sync.

AV = Aperture priority: The main benefit of shooting in Aperture priority is the ability to control depth of field (how sharp the image appears from near to far). Aperture numbers can be a little confusing — the smaller the number (f/2.0), the larger the opening. This not only allows more light to hit the sensor for exposure but also delivers a shallow depth of field, which is perfect for portraits, since it blurs the background and emphasizes the main subject. For landscapes, you want a broader depth of field, so more of the image is in focus. To achieve this, stop down the aperture (by choosing a higher f/stop number).

M = Manual: This mode allows you to choose both the shutter speed and the aperture. Keep an eye on the exposure gauge in the viewfinder or on the LCD in Live View. When the mark is in the center, the image should be accurately exposed. If the exposure is not to your liking, you can easily adjust the shutter speed and/or aperture to make it brighter or darker.

The T6 also offers a fully Auto mode (look for the green A icon), a flash-off mode for when you can't or don't want the flash to automatically pop up if needed, a Creative Auto mode, and a handful of scene modes, such as Portrait, Landscape, Food and Close-up. Check the camera manual for full explanations of each. But be aware that your options are limited with all of these modes, and one of the keys to taking great pictures is putting yourself in control.

Other important controls
The T6 is equipped with a number of dedicated buttons that allow you to quickly adjust settings.

Q: Press the Q button (located on the back of the camera) to bring up a detailed menu that allows you to change all the important settings when shooting in one of the PASM modes.

4-Way controls: Surrounding the Set button, you can press the arrow keys to adjust (clockwise from the left arrow) drive/self-timer, the ISO, autofocus (AF) and white balance (WB).

How do I shoot a portrait?

There are several types of portraits, ranging from posed to candid.

For the former, be sure to open up your aperture (low f/stop number) to blur the background, emphasizing your subject rather than his or her surroundings. Make sure the shutter speed is fast enough (1/125 second) to compensate for any movement of the camera — or of the subject. Most people know to stay still when their picture is being taken, so you generally don't have to remind them. If you do ask them to stay still, keep in mind that they may freeze up with a not-so-great look on their face.

When shooting a spontaneous portrait, use at least a 1/200 second shutter speed, since the person might move while you're taking a shot. For this active portrait, I kept the shutter speed set at 1/1,250 second, f/5.6 and waited for a fun moment. I cropped the image so that the focus was more on the child's face.

How do I freeze action?

As we mentioned earlier, shutter speed is the key to capturing and freezing movement. While a shutter speed of 1/200 second may be fast enough to capture a slow-moving child (if there is such a thing!), faster and more sudden action requires a higher shutter speed. For this image, I was able to freeze the action of this father-daughter duo and the huge water splashes by setting the shutter speed to 1/1,250 second.

Because I didn't know exactly where (or when) they would pop out of the water, I set the aperture to f/5.6 to get a decent depth of field and prefocused on where they were standing before they ducked under the water. Using one-shot AF (which locks in focus once when you half-press the shutter button), I focused on the two by half-pressing the shutter button and holding it in the partially depressed position and then triggering it when they jumped out of the water. You can try AI Servo (continuous autofocus) and/or continuous shooting, too, but I found that the T6's 3-frames-per-second burst mode wasn't quite fast enough to catch more than a single shot of the action. And one last thing: If you're not sure where the action will take place, zoom out a little so you have extra space in the frame; you can always crop it later.

How do I create cool night shots?

While we often spend our time trying to avoid blur, you can create some interesting images using a slow shutter speed to blur moving subjects such as waterfalls or carnival rides. You almost always need a tripod, though, since you want at least part of the image to be in focus.

For this carnival ride, I mounted the camera on a tripod, focused manually (move the switch on your lens from AF to MF) and set the shutter speed to 2 seconds (2") and the aperture to f/13 to get better depth of field. It takes some experimentation to get the exposure just right, but depending on how much blur you want (and how dark it is), you might want to start at about 1/30 second shutter speed and f/8 and go from there. Using the Canon T6's Wi-Fi and the Camera Connect app on my smartphone (available for iOS and Android) to trigger the shutter helps prevent some of the camera shake that might occur if you manually press the shutter button. (See below for more info about shooting remotely.)

How do I shoot remotely?

Canon's Camera Connect app is a great way to take pictures without having to lay your hands on the camera. It's especially useful for shooting at slow shutter speeds, when even pressing the button might cause the camera to move, or when you want to photograph something where your presence might be distracting, such as wildlife.

To set up a connection, follow these steps:

1. Download the free Canon Camera Connect app to your smartphone or tablet. (It's available for Android and iOS devices.)

2. On the T6, go to the third tab of the Setup menu. Make sure Wi-Fi is set to Enable.

3. Scroll down to Wi-Fi function, and click Connect to Smartphone. Leave the nickname as EOS T6, or enter a different nickname. Click OK.

4. Choose Easy Connection, and click OK.

5. Go to the Wi-Fi settings on your smartphone, and click on the EOST6 network.

6. Enter the password (the encryption key number on the camera LCD), and click Join. The little Wi-Fi light on the back of the camera will blink while it's making the connection and will show a solid green light when you're good to go.

Once the connection has been made, start the Camera Connect app on your smartphone, and select the Canon EOS Rebel T6 to connect. If you get lost, follow the directions on the camera LCD and the Easy Connection Guide in the Canon Camera Connect app.

Tap on the Remote Live View shooting icon. This will enable Live View on the camera. The scene in front of the lens will appear on your smartphone.

You can change a few settings depending on your chosen exposure mode. These include f/stop or shutter speed, as well as exposure compensation, white balance, autofocus and drive mode. Just tap the round button on your smartphone screen to capture the image, and you're all set! Note that if you change the exposure mode on the camera, you'll have to reconnect all over again.

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Credit: Canon

How to Take Great Photos with the Nikon D3400

The Nikon D3400 is a great entry-level camera with plenty of features that allow you to hone your photography skills without a lot of fuss.

Other than the addition of SnapBridge for easy wireless transfer and almost double the battery life, the D3400 is very similar to its predecessor, the D3300. Here’s a quick guide to some of the basics as well as a couple of more advanced features to explore. (You can also read about some of the basics here.)

Before we get into the specifics, here are some Quick Tips to get you started.

• Always check your settings before heading out to take pictures. The sunny-day settings you used yesterday won’t work well for tonight’s low light conditions.
  
• Use a special brush like the Lens Pen or a lens cloth to make sure the lens is dust-free.
• If you’re going to be shooting in a quiet venue (a museum, at a wedding, etc.), go into the setup menu and turn off the beep that indicates when the image is in focus.
• In the setup menu, make sure Slot empty-release lock is set to Lock so you don’t take pictures when you don’t have an SD card in the camera.
• Always check your shutter speed, regardless of what exposure mode you’re in, to make sure it’s fast enough to handhold and avoid blurry pictures. I tend to aim for at least 1/125th sec when possible, but others have a steadier hand and can easily shoot at slower shutter speeds.
  

The Mode Dial

The Mode Dial is the most important control on the D3400. From here, you choose the camera’s exposure mode. Not only does your choice affect the way in which the camera exposes the image but also what other controls you have access to. Most automatic exposure modes (such as Auto, Auto Flash Off, Landscape, Portrait) have limited access to advanced options such as white balance, while manual and semi-manual exposure modes (such as shutter priority), offer full access to all features.

Let’s start with the options (PSAM) that put the most control in your hands.

P = Program Auto. The camera chooses the shutter speed and aperture setting but you can change other parameters such as exposure compensation (to make the image lighter or darker). This is a good mode to start your exploration of the camera’s features.

S = Shutter Priority. You choose the shutter speed; the camera selects the appropriate aperture setting for what the camera considers a good exposure. This is the best option when you want to freeze action (fast shutter speed —1/200th sec or faster) or blur a moving subject like a waterfall (1/60th sec or slower). Importantly, the fastest shutter speed allowable when using the built-in flash or an external flash is 1/200 sec; this allows the flash and shutter to sync properly.

A = Aperture Priority. You choose the aperture (f-stop) setting; the camera selects the appropriate shutter speed for what the camera considers a good exposure. The aperture controls depth-of-field or how much of the picture — from near to far — appears in focus. A higher f-stop number, such as f/11, lets in less light but increases depth-of-field — the amount of the frame that’s in focus. A smaller number, such as f/2.8, does just the opposite.

M = Manual. You have full control over both shutter speed and aperture settings. Adjust one or both settings until the exposure gauge marker is in the center.

Guide. Choose the Guide mode, press the Menu button to get help with whatever you want to achieve. There are four options for different tasks: Shoot, View/delete, Retouch and Set up. Each section offers detailed instructions on how to accomplish a task manually or, in some cases, the camera automatically chooses the best settings for capturing a specific scene with a note about the specific setting(s) it’s using. It’s a solid learning tool for beginners.

Scene modes. The D3400 offers a half dozen scene modes, indicated by icons on the Mode Dial. Choose one that matches the type of photo you’re taking (Portrait, Landscape, Child, Sports, Close Up and Night Portrait) and the camera chooses all aspects of the image settings.

Auto/Auto Flash Off. The camera chooses what it considers the best settings for the scene; you have control over few advanced options.

Effects. If you want to get creative (or a little funky), check out the camera’s 10 special effects, such as Super Vivid, Photo Illustration and more.

Other important controls mentioned in this guide:

Lower left: Info button, which allows you to access and adjust most-often-used settings without going into the Menu system.

Upper right: Lv (Live View) button; flips up the mirror so you can view the scene via the LCD. Also used for capturing video.

Lower right: Release mode button. Here’s where you access self-timer and remote options, along with setting single or continuous shooting modes.

Now that you have some basic information about the camera, here are some tips on how to capture great images.

How to I take a selfie or group portrait?

When there’s no one around to operate the camera but you, the self-timer lets you get in the shot, whether you’re by yourself or with a group of friends. Set the aperture to f/5.6 or smaller (higher f-stop number) to make sure there’s enough depth-of-field to keep everyone in focus. If you’re shooting an action scene, make sure the shutter speed is fast enough to freeze movement (1/200 or faster). Go to Menu > Set up and set the self-timer to a delay of 10 or 20 seconds; choose the number of shots you want to take (from 1-9, with a delay of about 4 seconds in between). Focus manually, press the Release Mode button, choose self-timer, press the shutter button and get ready for your portrait. The camera will beep to let you know each time it’s about to take a picture.

MORE: 12 Tips For Taking Stunning Portrait Photos

How do I take a picture indoors without flash?

The short answer is set the Mode Dial to Auto Flash Off. For better results, make sure the flash is closed and use P, S, A or M exposure modes; otherwise, the flash may automatically pop up and fire if the camera feels there’s not enough light. In the Shooting Menu, turn the Auto ISO sensitivity control to Off and adjust the ISO (press the Info button) until you get the shutter speed/aperture combination you want. If the colors look strange, change the white balance to the dominant type of light (regular indoor light bulbs are usually tungsten). If you’re shooting under fluorescent lighting, go to Menu > Setup > Flicker Reduction and make sure it’s set to Auto to counteract the flickering of lights.

MORE: 5 Tips For Taking Better Low-Light Photos

What are the best settings for photographing a landscape or cityscape?

Set the Mode Dial to A (aperture priority) and choose a small aperture (high number) f-stop like f/5.6 or, preferably, higher to get a broad depth-of-field. Zoom your lens to its widest angle (or wide enough to achieve the composition you want). As always, make sure your shutter speed is fast enough to hold the camera in your hands without blurring the image, or place the camera on a tripod.

For a slightly different approach when shooting a cityscape, use less depth-of-field (set a smaller f-stop number, like f/4.9 or 2.8) to emphasize a particular building while throwing the surroundings a little out of focus.

MORE: 12 Tips for Taking Amazing Landscape Photos

How do I freeze action?

Set the Mode Dial to S for shutter priority. Depending on the speed of the movement, set the shutter to 1/200 sec or higher. Press the Release Mode button (on the right under the 4-way controller) and choose Continuous shooting. Then set the focus mode (use the Info button to access the menu) to AF-C (continuous autofocus). Keep the shutter half-pressed to engage continuous AF, anticipate the subject’s moves and when you’re ready, start shooting — keeping the shutter button pressed fully.

How do I shoot video?

Set the Mode Dial to S (shutter priority), Press the Lv (Live View) button to turn on the live monitor. Press the Info button and select a movie frame size and quality. For full HD, choose one of the 1920 x 1080 high-quality options. I prefer the 24p (24 frames per second) option for a more cinematic look but feel free to experiment with other frame rates.

The key here is to set your shutter speed at twice the fps rate. If you choose 24p, set your shutter to 1/50th sec; for 60p, the ideal shutter speed is 1/120th sec, and so on. By setting the shutter speed to double the frame rate, the camera will capture smoother video. When you’re ready to start, press the red movie record button near the shutter button.

How do I edit my pictures without a computer?

The Nikon D3400 has some great Retouch options that allow you to edit and process images right in the camera. If you want to shoot RAW images, the Retouch menu has a special RAW processing option so you can apply your own adjustments without the hassle of using software on your computer.

If you decide, after the fact, that you want to apply creative effects to images, check out the Retouch menu’s special-effects options and save them as copies so you can keep your originals as well.

How can I transfer my images from the camera to my smartphone?

Although the Nikon D3400 doesn’t have Wi-Fi, you can use Bluetooth and Nikon’s free SnapBridge app to connect the camera to your mobile devices. The process is pretty self-explanatory and the app has a built-in tutorial if you run into any issues, but here are the basics.

First, download the SnapBridge app to your Android or iOS device. On the camera, go to Menu>Setup>Connect to smart device and follow the instructions on the screen. Open the SnapBridge app, press the plus sign and select the D3400. From there you can choose several options, including auto downloading all your images to your mobile device as you shoot them (and finish the job when the camera is powered down, if you like). You can’t transfer movies or RAW files, but you can select whether to send a full-size JPEG or a smaller 2-megapixel version.

Sample Photos Credit: Theano Nikitas/Tom's Guide. D3400 Images Credit: Nikon

Getting Started With Your Canon EOS Rebel T7i

The latest model in Canon’s entry-level Rebel DSLR series, the T7i, is a great entry-level camera with plenty of room for you to grow your skills. In this guide, we’ll go into detail about what settings to use in specific shooting situations. If you’re just starting out, be sure to explore some of the more advanced settings — they’re easier than you think!

For basic picture-taking guidance, check out this article about taking great pictures with the Canon EOS Rebel T5, an earlier model with many of the same specifications and features.

Getting Started

If you’re just starting out, we suggest you use the T7i’s default settings and built-in help system. Go to Menu>Function Settings (yellow tab with a wrench)>Menu 4>Clear Settings>Clear All Camera Settings. Press the Set button on the back of the camera to confirm. This will bring everything back to the camera’s default settings. Be sure to write down any special settings you’ve used before this so you can go back to them later on.

Note: The Standard menu offers more menu options than the Guided menu. Feel free to explore these other options once you’ve mastered the methods below.

MORE: How Many Megapixels Do You Really Need?

Battery charged? SD card in the camera? Great -- let’s go take some pictures!

For each scenario, we’ve provided instructions for those new to photography, as well as for those with a little more experience.

If you get confused by any of the terms, please refer to our camera glossary.

Portraits

The ideal portrait draws attention to the subject by creating a shallow depth of field (the distance over which the image appears in focus). This results in a soft, out-of-focus background called bokeh. Here are two ways to achieve a lovely portrait. Set your 18-55mm zoom lens to 55mm (zoomed all the way in, if possible). A wide-angle setting, such as 18mm, might distort the person’s face.

Easy:

1. Set the mode dial to the Portrait icon. The camera automatically sets the exposure, blurs the background slightly and softens the skin and hair. By default, the camera is set to low-speed continuous shooting and Auto flash. If your subject is backlit, try the Backlight Control Scene Mode (under SCN).

Options:

Press the Q button to turn off the flash if you’re in a museum or other setting where flash is prohibited. Set the camera to single shot if you want to save space on your SD card.

Intermediate:

1. Set the mode dial to Av (aperture priority).

2. Use the main dial to set the f-stop (aperture). Set a low f-stop number to create a shallow depth of field (the distance over which the image appears sharp). With the kit lens, the lowest f-stop number you can choose ranges between f/4.5-5.6 (f/4.5 in wide angle; f/5.6 in telephoto). This won’t blur the background as much as a lens with an f/2.8 aperture, but it will still soften the area in front of and behind your subject.

3. Make sure the shutter speed is fast enough (at least 1/80th econd) so that you can hold the camera in your hand, and not worry about the picture being blurry. If not, increase the ISO using the button in front of the mode dial until you obtain a faster shutter speed. If the exposure is too light or too dark, press the Q button, select Brightness (exposure compensation). Rotate the Main Dial to the right to make the picture brighter; to the left to make it darker.

4. Enable red-eye reduction if you’re using flash: Menu>Shooting Menu 2. Also, see the Flash section in this article to learn how to adjust flash intensity via Flash Exposure Compensation if your subject is overexposed or underexposed.

5. Press the Q button and set Focusing Position to Manual 1 pt. When you’re ready to shoot, press the focus point selection button (forward of the Mode dial) and use the main dial or cross keys on the 4-way controller to position the AF focus point over your subject’s eye (the one closest to the camera).

6. To check the depth of field, press the Depth of Field Preview button on the front of the camera.

Landscape Photos

Wide-angle lenses work best for natural vistas and even cityscapes. In general, you also want to get as much of the image to appear sharp (broad depth of field). Bright, sunny days are best for colorful landscapes but don’t ignore misty and foggy conditions — you can capture beautiful, moody images when the weather is overcast.

MORE: How to Take Great Landscape Photos

Easy:

1. Set the Mode Dial to Landscape (the icon looks like two mountains and a cloud; it’s next to the Portrait icon).

2. This setting delivers a broad depth of field (the image appears sharp from near to far) and it intensifies blues and greens.

3. Zoom out to the widest setting on your lens (18mm for most kit lenses), focus and shoot!

Intermediate:

1. Set the Mode Dial to Av (aperture priority). Use the Main Dial to set the aperture to a high value (f/8 or higher) for a broader depth of field.

2. Check the shutter speed. If it’s too slow to hold the camera (typically, less than 1/60th second) and you don’t have a tripod, lower the aperture number or increase the ISO until the shutter speed increases.

3. Press the down cross key on the 4-way controller on the back of the camera. Select the L (Landscape) Picture Style. To further customize the style, adjust sharpness, saturation, contrast and other parameters by tapping Info/Detail Set in the lower left corner of the LCD.

Nighttime/Low Light Photos

Nighttime photography may take a little juggling between shutter speed and ISO settings. A tripod or a very stable mount for your camera opens up a world of options, as you’ll be able to take advantage of slow shutter speeds for beautiful long exposures, with streaks of light.

Easy:

1. Turn the mode dial to the scene (SCN) mode. Scroll to Handheld Night Scene.

2. Hold the camera steady, press the shutter button halfway to lock the focus and gently squeeze the shutter button. Hold the button down until four images are captured. This option works best with static scenes/subjects, since the camera merges the four shots in the camera. If anything moves (including the camera), you may notice ghosting where the combined images don’t line up. The flash is set to off by default in this mode.

4. If there are people in your shot, ask them to stay very still until all four shots are captured. You can turn the flash on via the Q button — it will fire on the first shot only; your subject(s) need to stay still until the end of the four-shot sequence.

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Intermediate: Long Exposure

1. Place the camera on a tripod or find a solid surface to rest the camera on.

2. Set the mode dial to Av (aperture priority). Set the aperture (f-stop) to a moderately high number (around f/8) to get a broader depth of field (more of the image appears in focus).

3. Set the ISO to between 100-400 to help minimize image noise (if possible). Check the corresponding shutter speed. If there are no moving subjects in your scene, the shutter speed can be as long as necessary. Alternatively, a long exposure — about 1/30thsecond or longer — creates a blur from moving objects such as car taillights for unusual and beautiful images.

4. Use the self-timer to capture the image (there’s less chance of camera shake). Press the left arrow on the 4-way controller to open drive options.

5. Alternatively, use your smartphone and the Canon Camera Connect app or the optional remote control to trigger the shutter.

Tip: Your best bet is to shoot in RAW or RAW + JPEG and use a software program like Affinity Photo or Adobe Photoshop to reduce noise in post-processing. If your exposure is 1 second or longer, enable the camera’s Long Exposure noise reduction (Auto or On) and, if your ISO is 1600 or above, set High ISO noise-reduction to Low. (See Menu>Shooting Menu 4.)

Action Photos

Action sequences are best captured with continuous shooting and continuous autofocus, but a single-shot stopping action is equally as compelling. Keep the shutter speed high and your reflexes sharp to catch that perfect moment.

Easy:

1. Switch the mode dial to the Sports scene mode (icon of a person running). Focus on the subject and shoot. Keep the shutter button depressed to capture multiple images; the default in this mode is high-speed continuous shooting

Intermediate:

1. Set the mode dial to TV (shutter speed priority). Use the control dial to set a shutter speed of 1/250-1/4000 second. The former should be fast enough to capture a running child; but you’ll need a faster shutter speed for stopping the action in a football game or motorcycle race. If the aperture (f-stop number) blinks in the viewfinder, the camera cannot achieve a good exposure. Lower the shutter speed or increase the ISO until the f-stop number stops blinking.

2. Press Q; set the second icon from the left to High Speed Continuous. Change Method of Focus to AI Servo for continuous autofocus (make sure the lens is set to AF). Keep the shutter half-pressed for continuous AF while you follow your subject with the camera; depress the shutter fully and hold it down to take a series of images.

HDR Photos

HDR stands for high dynamic range, a technique that gives an image a broader distribution of highlights, midtones and shadows. It’s best used for high-contrast conditions such as a backlit scene; for example,  if your subject is in shadow while the background is bright. It works by combining images of different exposures so HDR works best for static scenes. Any movement in the scene makes it more difficult to align and can result in ghost-like apparitions of the moving elements.

Easy:

1. Set the Mode dial to the Creative Filters mode (two interlocking circles between the SCN and M modes). Select HDR Art Standard. Hold the camera very still (or mount it on a tripod or some other stable surface) and press/hold the shutter button until three shots have been captured. The camera will remain busy, and not able to shoot again until the images are merged. For more creative HDR effects, check out HDR Art Vivid, Bold and Embossed.

2. Note: In low light, the flash may pop up and emit bursts of light to assist with autofocus; the flash itself won’t fire since it can’t recycle fast enough.

Intermediate:

You’ll need software such as Photomatix, Aurora HDR, Adobe Lightroom, Elements or Photoshop to merge images shot with Auto Exposure Bracketing.

For the best results, put your camera on a tripod.

 1. Set the Mode Dial to P (Program).

2. Go to Shooting Menu 2; select AEB (auto exposure bracketing). Turn the Main Dial three notches for a 1-stop difference between shots: one each, normal, underexposed, overexposed. Click Set, then exit the menu and return to the Program screen. (Be sure to re-set AEB to zero when you’re done.)

3. Press the Q button. Choose the first icon on the left and set to High Speed Continuous shooting. Holding the camera very still, press the shutter and hold until three shots have been captured.

4. Bring the images into your HDR-capable software and merge them.

5. Alternatively, you can set the camera to Manual exposure mode and change the shutter speed between shots (keep the aperture setting the same to maintain a consistent depth of field). This way you can capture as many

How To Use The Flash

The amount of control over the flash depends on your shooting mode; flash is always available in P, Av, Tv and M modes. Press the Q button to see if flash adjustments are available in other selected modes.

Easy:

1. Leave the flash on Auto. If the camera determines flash is needed, the unit will pop up automatically.

2. If the flash isn’t bright enough, move closer to your subject; if it’s too bright, move farther from your subject.

3. When photographing a person against a wall, have them step a couple of feet away from the wall to help avoid shadows.

4. To force the flash off (if you’re shooting in a museum and don’t want the flash to fire, for example), choose the Flash Off icon on the mode dial (between the green Auto icon and CA icon).

Intermediate:

This applies to P, Av, Tv and M exposure modes only.

1. Change to the Standard Menu option for easier access to flash settings: Menu>Display Level Settings (green). Click OK. Choose Menu Display and change to Standard; do the same for Shooting Screen.

2. Go to Shooting Menu (red) 2; choose Flash Control and make sure Flash firing is enabled (which it should be by default). Tap Menu to return to the previous screen and enable Red-eye reduction if you’re photographing people.

3. Press the flash button on the front of the camera to pop up the flash. This “forces” the flash to fire, even if it’s a bright sunny day; perfect for lighting a subject that’s in shadows.

4. To adjust flash intensity, press and hold the flash pop-up button to access the menu screen. Select “exp comp” and move the center marker to the right for brighter exposures; to the left for darker exposures.

5. Important tips: Shutter speed syncs with the flash at 1/200th second and will not go any higher when the flash is engaged. If you have an external flash, attach it to the hot shoe. Read the flash and camera manuals for settings details.

Photo credit: Theano Nikitas/Tom's Guide

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The Nikon D3400 is an excellent entry-level DSLR for budding photographers. It's capable of taking great photos in almost any situation. Although it normally sells for $499, Amazon currently offers it for $396.95, which is the lowest price it's ever been.

Given that the D3400 uses the same 24-megapixel sensor as its predecessor, images taken with this DSLR are richly saturated and appealing to the eye.

With a range of ISOs from 100 to 25,600, the D3400 offers plenty of opportunities to shoot in low light. In our tests we found that the camera does a pretty good job of holding image noise at bay while ensuring that images don't lose too much sharpness in the process.

In terms of video, you won't get 4K support, but you'll get 1080p capture at 60, 30, and 24 frames per second. We also liked Nikon's SnapBridge technology, which is a Bluetooth tech that connects your smartphone to your DSLR, thereby letting you transfer those Instagram-worthy shots seamlessly. You can transfer them as originals or as 2MP files.

Even if you're a first-time DSLR user, it's almost guaranteed that you'll get good photos out of the box. Currently $100 off, the Nikon D3400 is an excellent buy for yourself or as a gift.

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The 24-megapixel Canon EOS Rebel T7i ($750 body only) sits at the head of the company's entry-level DSLR family. A camera that newcomers can grow into, the T7i boasts a a ramped-up autofocus system with more than twice the AF points (45 versus 19) compared with its predecessor, the EOS Rebel T6i, and it has Canon's latest DIGIC 7 imaging processor.

Canon also improved the starting time on this camera, and the T7i now boasts continuous shooting speeds of up to 6 frames per second. You get longer battery life, too, at up to 820 shots per charge. While the T7i faces strong competition from Nikon's D5600, it's one of the best DSLR cameras for newbies and experienced amateurs to grow as photographers. 

Canon has announced the T7i's successor, the EOS Rebel T8i, which has the same image sensor, but a faster processor, face-detect autofocus, and the ability to shoot video up to 4K/24 fps. The T8i is available for $750 (body only) and $900 with an 18-55mm lens.

Design: Compact and functional

Designed for entry-level users, the T7i body is dotted with easily identifiable external controls, and a Q (Quick Control) button lets you access settings without having to delve into the menu system.

The T7i offers on-screen help, which can be disabled as your knowledge of the camera and photography grows. Be careful with the three-step power switch, though: The first two positions are off and on, while the third enables the movie mode; it's all too easy to go into the movie mode when powering on the camera.

The body is relatively compact and, with a deep handgrip, comfortable to hold. At 5.2 x 3.9 x 3 inches and 17.1 ounces (body only), this camera is slightly larger and heavier than the Nikon D5600 (4.9 x 3.9 x 2.8 inches, 14.7 ounces), even though the latter has a 3.2-inch vari-angle touch-screen LCD versus the T7i's 3.0-inch vari-angle touch screen.

Still, the T7i — with the new EF-S 18-55mm IS STM lens — is a lightweight kit ($900 for the f/4.5-5.6 combo; $1,300 for the f/3.5-5.6 kit). Unfortunately, our test unit came with an older lens, the EF-S 18-55mm f/3.5-5.6 IS II. As you will see, this affected our assessment of the T7i's video capture somewhat, but did not affect our overall rating of the camera.

The viewfinder and LCD are sufficiently large and bright, but, as is common for a camera in this class, each provides only a 95 percent view of the scene.  

Thanks to the T7i's vari-angle, 3-inch LCD, it's easier to shoot overhead or at low angles than with a fixed LCD, like the one on the Nikon D3400. While the Nikon D5600 offers a 3.2-inch LCD, the slightly smaller T7i LCD leaves a little more room for external controls on the rear of the camera. The touch screen is responsive and a welcome shortcut to changing settings and choosing focus points. Some on-screen icons, however, are a little small, so it's sometimes easy to tap the wrong icon.

A single SD/SDHC/SDXC card slot is available, as are a built-in pop-up flash and a hot shoe for attaching an external flash when you need or want extra illumination. Both the T7i and the Nikon D5600 (but not the Nikon D3400) come equipped with external microphone jacks.

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Image Quality: Very good

Overall, the T7i delivers excellent images. Accurate colors and generally well-balanced exposures are the norm, as are sharply focused images.

Occasionally, the T7i's metering system — which is the same as its T6i — tended to slightly overexpose highlights, as seen in this wide-angle shot of a park on a sunny day. (Note the white shirts on the subjects in the scene.)

At other times, however, the T7i's evaluative metering system is extremely accurate, maintaining details in bright objects such as this white tent.

Although the tree trunk lacks details, the fine details in both shadows and highlights on this building demonstrate how well the T7i handles a wide dynamic range. Even the texture of the rope is visible and sharply focused. The T7i, unlike the D5600, has an anti-aliasing filter (aka, optical low-pass filter). This filter ever so slightly softens images in order to avoid aberrations such as moiré in patterns. Although you may have to look closely to see the difference, the Nikon model has a slight advantage in sharpness.

This image shows the T7i's ability to capture a richly saturated blue sky and good details in the high-rise buildings in the foreground. There was no evidence of chromatic aberration (colored fringing along high-contrast edges) between the buildings and the sky.

The built-in flash easily balanced the exposure for this backlit subject. Flash exposure can be dialed down even further, to tone down the highlights in her eyes and on her hair, if desired.

Like other cameras in its class, the T7i offers a number of different creative filters, including HDR (high dynamic range). Choose a static scene like the one below, select the intensity from the camera menu, press the shutter, and the camera captures and combines a trio of images, each shot at a different exposure. The HDR effect broadens the dynamic range and, at the same time, intensifies the colors in the scene.

For an even funkier look, check out the Fisheye effect. Different intensities can be applied, as seen in the two images below. Like HDR and other effects, the in-camera processing takes a little time, so you won't be able to shoot again for about 10 seconds or so.

Low Light: Modest noise

The T7i's ISO range of 100-25,600 provides flexibility when shooting under a variety of lighting conditions. Even with the camera's internal noise-reduction options disabled, the T7i expertly handled high ISO noise, keeping those pesky blotches to a minimum at up to about ISO 6400.

Shot at ISO 3200, with exposure adjusted in post processing, this photo of bed covers and pillows shows only modest noise.

At ISO 6400, noise increases, but you should still be able to print an 8 x 10 (or slightly larger) with few issues.

Once the ISO is pushed above 6400, it's best to relegate these images to smaller prints or online posting. ISO 25600, as seen below, is quite noisy, even at smaller sizes.

However, the noise effects of ISO 25600 are less visible when shooting a city scene with a pitch-black sky, as seen below.

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Video: Improved autofocus

While 4K video has yet to trickle down to entry-level DSLRs like the T7i, this camera offers video capture at up to full HD (1920 x 1080 at 60fps or 30fps). HDR and time lapse movies are also available.

The T7i is the first Rebel to take advantage of Canon's Dual Pixel Autofocus, a sensor-based advanced AF technology seen in higher-end Canon DSLRs, such as the 80D that improves AF in movie and Live View shooting. It's very effective when tracking subjects during video capture and is a welcome addition.

As noted earlier, I was unable to test video with the new STM (stepper motor) lenses. These lenses are designed for quiet and smooth autofocus, while the EF-S 18-55mm f/3.5-5.6 IS II that came with the review unit is quite noisy when AF is engaged, as you'll hear in the clips below.

Overall video quality is quite good, with natural colors and well-focused footage thanks to the dual-pixel AF. Manual-exposure adjustments are possible during filming, but changing aperture or shutter speed, for example, results in audible noise. Using the touch screen is a quieter option.

However, as you can see in the clip below, shot on Program auto exposure, the T7i does a good job of automatically adjusting exposure when moving between bright and dark scenes.

The dual-pixel AF did a good job autofocusing when moving the camera across the scene from one flowering weed to another.

By comparison, a video shot with the T7i and one of the STM kit lenses is very quiet, other than a subtle noise when the lens is zoomed.

This was shot by a friend at a very high ISO and is included here only as an example of how quiet the STM kit lens is.

Camera Connect: Advanced mobile features

Canon has one of the more useful mobile apps for its DSLRs. With Camera Connect, you can transfer images from the camera to a mobile device, and use your phone to remotely trigger the T7i's shutter. You can also remotely adjust shutter speed, aperture, autofocus mode, ISO, white balance, exposure compensation and more, which you can't do with Nikon's SnapBridge.

Canon has also added Bluetooth to the camera, which is compatible with a new Bluetooth remote control, the BR-E1. But the app is so efficient, it's unlikely that you'll need the BR-E1.

Camera Connect is easy to set up; just be sure you have the latest version of the app installed on your mobile device before you begin. The app even has built-in, step-by-step directions if you run into any issues.

Battery Life

Under the best conditions (warm weather, using just the viewfinder and no flash), the T7i's battery life is rated for 820 shots per charge, but drops to from 550-600 shots if you use the flash 50 percent of the time, and as low as 230 if you're shooting consistently with Live View rather than the viewfinder, according to Canon.

The Nikon D5600 is rated at 970 shots per charge using the viewfinder with some flash and with Bluetooth disabled. Expect both to take some power drain with lots of playback, flash and video capture. The D5600 will get you more shots, but I was able to shoot for several days with both cameras before either needed to be charged.

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Bottom Line

The Canon EOS T7i can hold its own against strong competition like the Nikon D5600 and the more affordable Nikon D3400. All deliver great image quality and a good range of features. If you're just starting out or are on a tight budget, go with the Nikon D3400. Dig a little deeper into your pockets, and the choice between the T7i and the D5600 gets tougher.

Both the T7i and the D5600 offer many of the same features and functions. The T7i has a slight edge in shooting speed and autofocus, especially in video capture. And the Canon Connect app provides many more options in remote shooting than Nikon's SnapBridge app does. On the other hand, the D5600 takes sharper and richer images and has longer battery life. But either of these cameras will serve you well, whether you're a newcomer or an experienced DSLR photographer.

One of the biggest complaints about DSLRs is that when you want to share your photos, it's not easy. It's much more convenient to just use your smartphone to capture an image and then send it out. But now that Nikon has added built-in Wi-Fi, NFC and Bluetooth to our our favorite DSLR under $1,000, the new 24.2-MP Nikon D5600 has lots to love.

Why You Should Care

With its new and improved connectivity, every time you take a picture using a D5600, a low-res version gets automatically uploaded to your phone via Nikon's Snapbridge app -- no more SD cards to transfer or cables to hook up between your camera and a computer. On top of that, the D5600 is one of the few DSLRs to sport a touch screen, which means you can use your fingers to focus, shoot, crop and edit your pictures.

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The D6500 also has a dedicated mic port and supports video recording at up to FHD at 60 fps, which makes it a good choice for budding filmmaker.

Other specs include a 24.2-MP sensor, 5 fps continuous shooting and an ISO range from 100 to 25,600.

Pricing and availability

The D5600 will be available later this month (Jan 2017) starting at $799 for a kit including an 18-55mm lens. There will also be a kit featuring an 18-140mm VR lens for $1,200, and a two-lens kit with a 18-55mm lens and a 70-300mm lens for $1,150. 

Outlook

The D5500 was already our favorite DSLR under $1000, and with its new built-in Wi-FC, NFC and Bluetooth, simpler sharing and new touch-based controls and cropping, the D5600 is well worth the $100 increase in price over its predecessor.

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There's nothing more dispiriting than when you line up what you think is the perfect photo, snap the shot and end up with an image where all the vibrant colors you saw in the real world have been washed out in the digital realm, thanks to backlighting, bad white balance or any one of a number of mishaps that can mar a photo you tried capturing casually.

Relonch feels your pain. And the company wants to provide you with a camera capable of producing shots that match what you thought you were capturing in your mind's eye. The trick, as it turns out, is not to load the camera with features — the newly unveiled Relonch 291 has nothing but a shutter button — but rather to supplement the camera with an algorithm-based approach to processing images that's part of a $99-a-month membership you get along with your Relonch camera.

It's an unconventional — and pricey — approach to photography, but the people behind Relonch are betting that it's one that will appeal to people who want to be able to capture vivid photos of everyday life without having to mess around with a camera's sittings.

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Before showing me the Relonch 291 camera, co-founder Yuriy Motin flipped through a coffee table book of presidential photos, noting how much more compelling the candid shots of assorted presidents in their day-to-day lives were compared to official shots and staged photo opportunities. Wouldn't it be great, Motin mused, if you could effortlessly capture similar photos of your day-to-day life?

And since you probably don't have an official presidential photographer following you around to document your every move, the Relonch 291 figures to be an acceptable stand-in. The mirrorless DSLR camera features just a shutter button and a view finder for lining up your shot. (There's a knob next to the view finder, but that's just to adjust its focus for the eyesight of whoever's using the camera, Motin said.) There are no other buttons for adjusting settings, focus or anything else related to the shot; you just point the camera at what you want to capture and press the shutter.

The end results are pretty impressive. Korzhenevich showed me a raw image of a man reclining in a hammock whose face featured washed-out gray, blue tones without much detail. After Relonch's AI got through with the shot, though, the colors of his face looked much more natural and the background details were far more visible. Another shot of a woman in a flower garden picked up similar details after being processed by the Pictured technology, losing a lot of flatness of the raw image to take on greater depth and color.

Your $99 monthly membership with Relonch gets you both the camera and the image-enhancing digital assistant. In addition, the Pictured assistant sorts through the photos you take each day, delivering the best ones to a mobile app. The app highlights a picture of the day, but you can look through other photos to pick your favorite. The idea, Motin explains, is that you'll use Relonch so often, you should have a library of 365 photos of the day to sort through at the end of a year.

That's another break with how we're used to working with digital photos. Snap a picture with your phone's camera, for example, and you can review the finished product almost instantly. With the Relonch 291, there's more of a delay, particularly since you have no screen to look at the photo you just took. Instead, Relonch promises to send those photos to you the next morning — an eon in this Instagram age where many people want to shoot and share immediately.

If that's not a deal killer, than the $99 monthly membership fee may well be. Over the course of a year, that adds up to $1,188 — a pretty steep price to pay for enhanced photos, especially at a time when smartphones put 12-megapixel cameras at our fingertips for a fraction of that amount. Still, both Motin and Korzhenevich think the camera-as-a-service approach will appeal to families who want to amass a big collection of stellar-looking shots captured on the fly.

Getting your hands on a Relonch 291 may prove to be a bit of a challenge. The service is now available to early subscribers who stop by the company's Palo Alto showroom. (You can visit Relonch's website for more details.) Relonch says it will open more showrooms in major metro areas in 2017, expanding the service. The goal is to roll out the Relonch service globally in 2018.

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Design: Plain and Simple 

In keeping with the D3400's entry-level appeal, the camera body has the pared-down controls common for cameras in its class. Clearly labeled external buttons and dials are within easy reach and are complemented by an information screen that displays the current settings. Press the small "i" button on the rear of the camera to conveniently activate and change those settings.

The camera body measures 4.9 x 3.9 x 3.0 inches and weighs 14 ounces. Surprisingly light even with the 18-55mm AF-P lens attached, the D3400 is a great companion for a day's outing, especially if you want to keep your pack/gear bag light. It's easy to handle and well built (for its class), and has a substantial and deep handgrip, providing a comfortable handhold even if you have larger hands.

The viewfinder is adequately large and bright. Data, such as shutter speed and aperture, are easily visible at the bottom of the frame. The only downside is that the viewfinder covers only about 95 percent of what the camera will actually capture in a shot, so don't be surprised to see areas of the scene you didn't notice through the viewfinder.

A 3-inch LCD occupies most of the D3400's rear real estate, offering a clear view of the information screen, menus and Live View shooting. Unfortunately, the LCD is not articulated and doesn't have the touch-screen capabilities of, say, the similarly priced but older Canon EOS Rebel T5i ($600).

In keeping with its entry-level designation, the D3400 offers plenty of assistance for newbies. A Guide mode and built-in explanations for various settings and options serve as both easily accessible help and learning tools for those who want to gain photography skills. But this DSLR goes deeper as well, with manual controls and more sophisticated features for those who want to move beyond simple point-and-shoot.

As expected, the D3400 has a single SD/SDHC/SDXC card slot. A built-in pop-up flash and a hotshoe for attaching an external flash take care of those times when you need or want extra illumination. 

Image Quality: Superb 

Given that the D3400 uses the same 24-megapixel sensor as its predecessor, we had high hopes for its image quality, and we weren't disappointed. Colors were true but richly saturated and pleasing to the eye when set to the Standard Picture Control. (Vivid, Neutral, Flat, Portrait and Monochrome/black-and-white are also available options.)

We captured our test shots with the bundled Nikkor18-55mm AF-P lens, most often using the shutter-priority or aperture-priority exposure modes. With its APS-C sensor and 1.5x crop factor, the focal length of this lens is a 35mm-equivalent of 27-82.5mm.

The kit lens delivered sharp details overall, with a good range of fine details. These strengths can be attributed, in part, to a lack of an optical low-pass filter, which tends to soften images somewhat to prevent problems with moiré (unwanted patterns and lines in an image), for example. Even in available light, this shadowy image shows excellent details in the dancer's eyelashes. 

The D3400 capably captured the colors of these canoes, from the bright reds to the more subtle greens, blues and subdued, faded colors from a summer of use. 

Exposures — whether matrix, center-weighted or spot metering was used — were generally accurate. The dynamic range was quite good as well, providing a broad range of highlights, shadows and midtones, as shown in this shot captured on a sunny day. 

Although the lens produces sharp images, we noticed very occasional softness and distortion in corners in images shot at a wide angle (18mm). Check out the upper-left corner of this image, where the branches and leaves are soft and look almost smeared. 

Importantly, the D3400 offers Nikon's Active D-Lighting (ADL), a feature that helps retain details in highlights and shadows in high-contrast scenes. Although effective, the intensity cannot be changed; the feature can be set only to on or off. Still, when there's a chance highlights can be blown out, turning ADL on is a good choice. Using ADL for this afternoon shot helped produce a balanced exposure without blowing out the bright-white tent or blocking up shadows along the perimeter of the lake. 

Low Light: Watch your ISO! 

With a range of ISOs from 100 to 25,600, the D3400 offers plenty of opportunity to shoot in low light. And overall, the camera does a pretty good job of holding image noise at bay while ensuring that images don't lose too much sharpness and details in the process.

That said, it's important to know the camera's limits. Like all high-ISO shots, the amount of noise that's visible depends on the scene. In shots of dark skies, like this New York City nightscape, image noise is barely visible. Depending on how large you plan to print or display the image, ISO 3200 is probably the top setting for good (or at least decent) results. 

At the same time, a little extra exposure lightened the sky a bit, making image noise more visible. Still, this image is quite usable, and the kit lens's image stabilization worked quite well for this handheld shot. 

However, pushing the ISO to its limits in a partly lit scene like the snapshot below reveals just how ugly things can get at ISO 25,600—with lots of speckled colors and grain. Just keep the ISO at 3,200 or below, and you'll be happy with the results.If you're up to the task, try shooting and processing Raw to get the best results. 

Video: Quality footage 

Given its entry-level position in the DSLR world, it's no surprise that the D3400 doesn't support 4K video. Rather, Nikon concentrated on the basic video options that entry-level users find valuable, including 1920 x 1080 HD at 60, 30 and 24 frames per second, along with 1280 x 720 at 60 fps, two movie quality options (Normal and High), wind noise reduction and a built-in microphone with adjustable sensitivity. Equally as important is that video is recorded in the easily viewable and editable .movformat. 

Granted, the D3300 had an external microphone jack, so the D3400 is a bit of a step down for videophiles, but the sound recorded by the internal microphones is pretty good for casual movie capture. 

While manual exposure is available for video, it's a bit limited. You can change the shutter speed during video capture but at the risk of hearing the clicks of the control dial as the setting is adjusted. To set the aperture, you'll need to exit Live View first. Again, this is probably more than sufficient control for entry-level users. 

Video quality is quite good for a camera in this class. Colors are accurate, and movements are smooth throughout, although when set on AF-F (continuous AF), the lens will hunt for focus on occasion. However, the kit AF-P 18-55mm lens is designed for quiet operation and does a very good job of keeping zoom noises to a minimum. 

In this clip, you can see how well the D3400 records movement. And even under mixed indoor lighting, automatic white balance produces accurate and pleasing colors.

SnapBridge: Easier than Wi-Fi 

Although both the D3400 and the D3300 lack Wi-Fi compatibility, the big jump forward for the D3400 is the camera's compatibility with SnapBridge, the Bluetooth technology that Nikon now uses to connect the D3400 (and other Nikon DSLRs) with mobile devices. The free SnapBridge app is available for iOS (iOS 8.4 or later) and Android (Android 5.0 or later) devices. Bluetooth Low Energy/Bluetooth 4.0 is required for the connection to work. You can find more information and links to download the apps at snapbridge.nikon.com, but the app offers help and a tutorial.

The setup for this camera is painless. If you choose, you can set the connection to be always on, even when the camera is turned off. 

Although you can't trigger the camera remotely (you need a Wi-Fi-equipped Nikon DSLR for that), you can tag and transfer individual images to your mobile device. 

Or, you can opt to have all images shot with the D3400 automatically transfer to the device. The latter will continue even when the camera is turned off. The app also allows you to add credits, sync the clock on your device and camera, andaddlocation information via your smartphone's GPS.

Original, full-resolution images can be transferred, or you can opt to transfer a 2-MP version. However, RAW files and movies cannot be transferred.

Overall, the process works smoothly, with little effect on battery life. Occasionally, the app or Bluetooth connection may get a bit cranky and slow during original-file transfer, sometimes taking up to a minute to transfer one high-resolution file. But moving 2-MP files from the camera to a mobile device is generally fast (maybe 5 to 10 seconds per file, or less).

Battery Life  

The D3400's battery life is excellent, nearly doubling that of the D3300. With about 1,200 shots per charge (versus the D3300's 700 shots), the D3400 will last through several days of intense shooting. However, that number might drop depending on how often you use the flash, playback images and other features.

Bottom Line 

The D3400 delivers consistently good images with little effort, thanks to a multitude of automatic, semiautomatic and manual options. Even if you're a first-time DSLR user, it's almost guaranteed that you'll get good photos out of the box. If you're a current D3300 owner, know that the differences between the D3400 and its predecessor are minimal. But if you actively (or even occasionally) post your photos on social media, the D3400's easy SnapBridge connection should catch your eye, as should its excellent battery life.

Credit: Shaun Lucas/Tom's Guide

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The Canon EOS 80D ($1,199) builds upon the foundation of its predecessor, the 70D, and impresses with its new 45-point autofocus system, improved dynamic range and better high-ISO performance. The dual-pixel AF technology found in the 70D has been improved for more seamless focus during video and Live View, making this one of the best DSLRs for photographers who also want to capture video. Although you don’t get 4K resolution, the 80D's midrange feature set is perfect for enthusiasts who want a solid set of tools and is the perfect step-up model for entry-level Rebel users who want to expand their photo skills.

Design: Comfortable and Familiar

The 24-megapixel Canon EOS 80D is a 70D look-alike. Physically, not much has changed, and that is good news. Because of the continuity of design across entry-level and midrange DSLRs, Canon users can easily transition from one model to another.

Although it's constructed mostly of plastic, the 80D is well-built. It’s weather-resistant enough to withstand a few raindrops, but it's not as well-protected as Canon’s higher-end cameras, such as the 5DS/R or 1D-series models.

Thanks to its substantial and contoured grip, the camera is comfortable to hold and is well-balanced in the hand. At 5.47 x 4.14 x 3.09 inches and 1.6 pounds (with battery and memory card but without a lens), the 80D is just a hair lighter than its predecessor. My shoulder, neck and hand suffered no strain, even when I was carrying the 80D and shooting with it all day.

As expected for a camera in this class, the 80D is equipped with a built-in flash and a hot shoe for an external flash. It also offers an external microphone jack, HDMI mini out, a remote-control terminal and, new for the 80D, a headphone jack to monitor sound.

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Viewfinder and LCD: Efficient Touch Screen

Large and bright, the optical viewfinder is a pleasure to use, especially since it now provides 100 percent coverage of the scene, so what you see is what you get when it comes to framing and composition. The 70D provided 98 percent coverage, but a little extra always helps.

Like the 70D, the 80D offers a high-resolution (1.04 million dots), 3-inch articulated touch-screen LCD. Seven levels of brightness adjustments and the ability to tilt the screen help counter glare under bright sunlight. As a fan of fully articulated screens, I think that the main benefits include the ability you have to fold the LCD against the camera body to prevent scratching the screen when it's stowed in a camera bag, and the fact that you can angle the LCD to more easily shoot from high or low angles.

Touch-screen functionality includes tap to focus and, if enabled, tap to shoot in Live View. In addition to touch gestures in playback (swipe to flip through images, pinch to zoom), you can also scroll through menus, choose settings and return to the previous menu — all with a tap of your finger. I’m generally not a huge fan of touch screens, but the 80D’s is responsive, accurate and helps speed focus and menu navigation.

Controls and Menus:  Well Organized

Current Canon DSLR users will find a familiar array of external controls, while newcomers to the brand (and even to DSLRs) won’t face much of a learning curve for the basics.

The 80D offers a number of custom options, including two new custom-setting choices on the mode dial. A selection of buttons can also be assigned specific functions so that you can quickly access your most-often-used settings without going into the menus. A Q(uick) menu button also provides an efficient way to change settings.

Unlike higher-end DSLRs, the 80D offers only one Main dial, which can be used to navigate menus and, more importantly, to change exposure settings in semimanual modes. In full-manual mode, you have to use the main dial for shutter speed, then reach in the back for the Quick Control dial to adjust aperture. The latter also serves as a four-way controller.

I tend to use manual focus point selection, and I’d really like to have a joystick to move those focus points while I'm shooting. Right now, there are two dedicated buttons to activate the manual-focus point screen, but you have to use the Quick Control dial or the touch screen to move the points. It’s not a huge deal, but a joystick would be more convenient.

The tabbed menu system is logical and, although it encompasses multiple pages and subpages, is easy to navigate.

Because the 80D’s feature set is extensive, it’s important to explore its capabilities to get the most out of the camera. However, there’s no need to jump right in if you don’t feel ready for more advanced shooting. There are plenty of automatic features, including Auto, Program and Scene modes for point-and-shoot simplicity. On-screen descriptions and tips, along with the camera’s manual, will help you move forward with more sophisticated shooting, if or when you’d like to grow your skills.

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Image Quality: Solidly Good

The Canon 80D’s APS-C size sensor got a bump in resolution from the 70D’s 20 MPs to a new 24-MP CMOS sensor. It’s not a huge increase in resolution, but with it comes increased dynamic range and a higher maximum ISO (16000 vs. the 70D’s 12800), to mention only a couple of the 80D’s benefits.

Straight out of the camera, JPEGs are solid but not exceptional for its class, but if you play with the settings a bit, the 80D can produce excellent images. I tested the camera mostly with the new EF 18-135mm (28.8-216mm equivalent), f/3.5-5.6 IS USM kit lens, shooting on semimanual modes (shutter speed or aperture priority). Most images were shot in high-resolution JPEG + Raw.

Overall, images were well-exposed and evaluative metering was surprisingly accurate, even when sky and sea comprised a major portion of the scene, as in the shot below.

Exposure was equally accurate when a similar scene included the darker grasses that grew over the dunes. The retention of details in both highlights and shadows in this image shows the camera’s effective handling of dynamic range. 

Kite surfers provided a pop of color against the blue sky and ocean with their bright sails.

Although the yellow on this little fairytale boat lacked details, the colors were rendered naturally when I took a shot using the 80D’s Standard picture style.

Low Light

For low-light shots, I alternated between using the camera’s Auto ISO (where you set the shutter speed and/or aperture and the camera chooses the ISO) and manually setting the ISO.

Although this hawk was photographed during the day, it was in shadow and surrounded by dark trees. In order to allow me to set the shutter speed fairly high (1/800 second) in case the bird took flight, the camera automatically chose ISO 6400. After looking at the images, I would have opted to lower the 1/800-sec shutter speed to have a less noisy ISO setting. ISO 6400 images are usable, but you can see that the noise softened the details in the bird’s face and feathers.

I purposely underexposed this shot of the Empire State Building for a dramatic look, with the building’s lights set against a rich, dark background. ISO was set manually to 3200 and noise was barely visible in the midtones of the building, as you can see in the cropped version.

Although the ISO can be expanded to 25600, I’d recommend not pushing the light sensitivity any higher than ISO 6400. If you want to print images larger than 8 x 10, I’d recommend capping ISO at 3200 (at the very most) and using noise reduction in post processing.

Video: No 4K

Videophiles will be disappointed that the 80D doesn’t offer 4K video, but the 80D brings an improved version of the 70D’s excellent dual-pixel AF system. That technology translates to smoother and more accurate autofocus when you're shooting video.

Also new for the 80D is the addition of a headphone jack, so you can monitor audio while shooting. This new feature complements the 80D’s external microphone jack; when used in combination, the camera can deliver above-average audio tracks. And the kit lens is designed to be quiet when you're focusing and zooming.

The camera can record full 1920 x 1080 HD at 30 and 24 frames per second in MOV; and at 60/30/24 fps in MP4 mode. Other MP4 options include HD (1280 x720) at 60/30 fps. There’s also an HDR movie mode (1920 x 1080) at 30 fps.

In full-HD MP4, as seen below, the camera maintains its excellent exposure accuracy and delivers colors that are natural and pleasing to the eye. Unfortunately, the day I shot the video you see below, the wind was howling, as is quite evident in the audio track.

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Speed: Spritely

Perhaps the most notable upgrade to the 80D is its autofocus system. Beyond the benefits of the dual-pixel AF I mentioned in the video section, the 80D’s AF system goes from a relatively paltry 19 points in the 70D to a massive 45-point system in the 80D that provides a much broader coverage across the frame. This system allows you to choose from a variety of options ranging from manual selection of a single AF point to nine predefined AF zones, a “large zone” AF where you can select one of three zones or an automatic, let-the-camera-choose auto selection. Regardless of which option was selected, the camera’s AF system was fast and, for the most part, spot-on accurate.

Although I tend to prefer manually selecting an AF point, the 80D did a pretty good job when left to its own devices, as shown in this shot of daisies, where the focus points extended from the center outward. Shot at 35mm, the edges were a little more distorted than I would have liked, though.

With continuous AF and a high-speed burst rate of 7 fps, I was able to capture a pelican in flight. Unfortunately, the lens wasn’t quite long enough to get a closer shot.

But perhaps the most fun I had with the 80D was photographing kite surfers from the balcony of a beach house.

Even as the kites dipped and rose above the water, the 80D was fast enough to capture some nice shots of this fast-moving sport.

Battery Life

When you're shooting with the viewfinder, battery life will last for a couple of days of fairly intense shooting (about 1300 shots or more). Switch to Live View and that drops dramatically to a few hundred shots.

Bottom Line

The Canon EOS 80D is great for photographers who want to step up from Canon’s Rebel line, as well as 70D owners who want to upgrade to a much better AF system.

But there are other cameras in this APS-C class that are worth considering, such as the Nikon D7200 ($1,200). Both offer similar features, including a 24-MP sensor and Wi-Fi/NFC. The D7200 lacks an articulated LCD, but without an anti-aliasing filter, its images come out of the camera a little sharper and crisper. If you want a smaller camera, check out the Sony a6300 ($1,000, body only). This mirrorless camera is compact but really fast, can shoot up to 11 fps and records 4K video.

For midrange DSLRs, though, the Canon EOS 80D is the best under $1,500, as it captures excellent photos and video, and with both mic and headphone jacks, will be more of an asset to aspiring videographers. Whether you’re an experienced enthusiast or a beginner working toward mastering photography, the Canon EOS 80D is a solid choice.

Available for less than $500, the Canon EOS Rebel T5 is one of the company’s most affordable DSLRs, and offers a lot for the money. It can take 18 megapixel images at very high speeds (up to 1/4000 of a second) and capture HD video. However, the T5 offers a lot of features that can intimidate new users. But it doesn’t have to be scary: once you work out which controls and modes to use in different situations, you can unleash the power of this remarkable camera. Here is a guide to getting the most out of your Rebel T5.

First, let’s take a tour of the controls on the camera.

Quick Tips:

• The P (Program) setting is the best option for general shooting.
• Press the Lv button to get a live preview of the image.
• Don’t push the ISO higher than 3200, or you’ll get very grainy photos.
• Use Partial metering mode when photographing objects against snow.
• Don’t use the built-in flash unless you have no other options.

Mode Dial

The mode dial on the top of the Canon T5 is the primary way that you control the camera. It has 13 different settings, 4 of which are the most important: M, Av, Tv and P.

A - In full Auto mode, the T5 takes a look at what you are taking a picture of, and decides how best to capture it. If it detects fast motion, it will use a quick shutter speed to capture it. If it detects several objects that are near and far away from the camera, it will use a wider aperture. If it detects that there is too little light, it will pop up the flash and use that. In effect, it turns itself into a point-and-shoot camera, where you press the button and it makes all of the decisions.

P - In Program mode, the camera makes the decisions for shutter speed and aperture, trying to balance the two for the best image quality. This is the best mode for general shooting. The camera won’t provide much depth of field or action-capturing shutter speed, though. One thing to remember: when in P mode, the T5 won’t use the flash unless you press the button to activate it, just below the shutter. So, if you want to capture something indoors but don’t want the annoying and unflattering light of the flash, use P mode.

Av- In aperture priority mode, you set the aperture, which determines how much light the lens lets in. The larger the number after the F, the smaller the aperture will be, and the less light will be let in, and the longer the shutter speed will need to be. When you half-press the shutter, the camera will measure the light and set the shutter speed accordingly. The advantage of a smaller aperture (and thus the larger the F number) is that more objects will be in focus in front and behind the subject. That’s called depth of field.

Tv - Shutter priority mode allows you to set the shutter speed, and the camera picks the appropriate aperture. The larger the number after the 1/, the shorter the time that the shutter will be open, and the less light will be captured. Shorter shutter times mean that fast-moving objects will be less blurred: you can effectively freeze motion with a fast shutter speed.

Manual - When the mode  is set to M for Manual, you are fully in control: you set the shutter speed by rotating the dial next to the shutter, and the aperture by holding the Av button on the back and turning the dial. The camera will let you alter these settings however you want, which is useful if you are shooting in an odd situation where you want to override the camera's choice of settings.

The rest of the settings on the mode dial are for dedicated photo modes, such as portraits, landscapes, sports, etc. Generally, you should avoid using these, and instead focus on how you can do the same—such as using Tv mode, and setting the shutter speed to 1/500 or quicker, rather than using the sports mode.

The final setting on the mode dial is a little different: movie mode is for taking videos. We’ll discuss this one separately later.

Back Controls

There are a lot of controls on the back of the T5, grouped around the large screen. The most important ones are the menu (A) , the Q button (B) and the live view (C) buttons. The Menu button opens the on-screen menu that allows you to change the settings of the camera, while the Q button allows you to set any of the controls shown on the LCD screen. To move between the controls and change settings, use the directional buttons. The live view button flips up the mirror inside the camera and shows you a live preview of the image, like a point-and-shoot camera.

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ISO Sensitivity

The ISO setting determines how sensitive the T5 is to light. The more sensitive it is, the more light it can detect, which means shorter shutter speeds and better shots in low light. However, a higher ISO setting also means more of the digital photographers curse: noise. It’s like a radio straining to pick up a weak signal: turning up the volume gives you more of the signal, but also gives you more of the staticky background noise.

Cameras are no different, except that the noise shows up as a random pattern in the final image. For most subjects, you should set the ISO to auto. But if you are shooting late at night or in a dark room, setting the ISO to 1600 or 3200 can make for a sharper image. The T5 can set the ISO to 6400, but the image gets rather noisy when it is this high. The ISO can be adjusted by using the Q button, or by pressing the up key on the directional pad.

Metering Modes

Metering is how the T5 sees the world, analyzing the light it sees to decide how to take the photo. There are three modes that it can use here: Evaluative, Partial and Center-weighted Average. In evaluative mode, the camera analyzes all the light it sees. In Partial, the camera measures just the light in the center of the frame. This is useful in situations such as a portrait shot against a black background, where the background would otherwise confuse the meter. Center-weighted Average is similar to partial, but it measures the whole frame instead of just the middle.

Color Modes

There are two ways that the T5 judges color: White Balance and the Picture Style. In white balance, the camera is judging the light produced by whatever is illuminating the subject, and adjusting what it interprets as white accordingly. Most of the time, you won’t need to adjust this, but if your photos come out with a color cast (overly reddish, bluish, etc.), you can try using one of the settings to match the light source.

Picture Style is how the T5 interprets the colors that it sees. By using one of the Picture Style settings, you can make colors more vivid. The Landscape Picture Style, for instance, boosts the greens and blues in the image to make plants and blue skies more vivid.

Focus Modes

The T5 includes an excellent autofocus system that can snap the lens into focus very quickly. It works by detecting the focus at nine points in the image, which you see as black squares in the viewfinder. By using this carefully, you can make this system work better for you.

By default, the T5 will use all of these focus points and try and get as many as possible in focus, but you can pick a point by pressing the focus point button on the top right corner of the back of the camera and turning the dial. This is useful if you are trying to focus on something in the center of the frame and ignore others; the camera will then focus quicker.

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You can also change how the camera deals with moving objects by changing the AF operation setting, by pressing the left directional button. One Shot mode will focus the camera when you half-press the shutter, then beep and stop. AI Focus will do the same, but will keep checking the focus as long as you keep half-pressing the shutter down. AF Servo does the same, but without the annoying beeping. If you are trying to keep a moving subject in focus, use AF Servo, but otherwise the One Shot mode is fine.

Now that you know your way around the camera, let’s look at how you can use your T5 in a number of common situations.

How Do I Take Great Action Photos?

Action and sports photos are all about freezing the action, capturing an important moment. To best capture these, set the camera to shutter priority mode (Tv on the mode dial) and set the shutter speed to 1/125 of a second, or faster if possible. You should also set the drive mode to continuous shooting (press the left button on the directional pad), which means the camera will keep taking pictures for as long as you hold the shutter button down at a speed of about 5 per second. Also, setting the focus mode to AF Servo means that the camera will continually adjust the focus of the lens. This gives you a better chance of capturing that decisive sports play.

How Do I Take Great Portraits?

Portraits are about capturing the personality of the subject. To isolate the subject from the background, set the camera to aperture priority mode (Av on the mode dial) and set the aperture to F5.6 or lower. This means that the subject of the photo will be sharp and in focus, but the background will be soft and out of focus.

How Do I Take Great Landscape Photos?

Landscape photos are the opposite of portraits: you want everything near or far to be sharp and in focus. So, use aperture priority mode again, but set the aperture to f/9 or more. Putting the camera on a tripod (or resting it on a table or wall) also helps, as it keeps it still while shooting.

How Do I Take Low Light Photos?

To make the most of the light that you have, set the camera to shutter priority and use a shutter speed of 1/30 of a second. This will give the camera more time to gather the light, Again, a tripod, wall or table that keeps the camera steady will help, reducing the amount of camera shake that makes for blurry photos. 

When Should I Use The Flash?

The built-in flash on the T5 should only be used when you have no other choice, as it produces rather flat, unappealing photos that exaggerate facial scars or marks. If you put the camera into the A+ mode, it will automatically pop up the flash when in low light. In other modes, you can enable it by pressing the button just behind the shutter. One tip is to try reducing the power of the flash: press menu, then scroll down to Flash Control at the bottom of the menu. If you then select Built-in flash func. setting, and set the flash exposure comp to -1, it will reduce the power of the flash a bit, which can produce nicer shots.

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How Do I Shoot Video?

If you turn the mode dial to video (the last option when turning clockwise, the T5 becomes a camcorder. There are a few things to remember, though: the T5 is slow to focus in video mode, so make sure that you focus before you start shooting by gently pressing the shutter and holding until the square in the center turns green. If the camera detects that it is out of focus while it is recording, it will try and refocus, which produces a second or two of blurry video. So, keep your subject in the center of the frame and avoid moving the camera. If you want to focus on something else, stop the recording, refocus and start recording again. A cut between video clips is less disorientating for the viewer than the blurry video.

The microphone that records sound is on the top of the camera, so speaking while holding the camera will drown out other sounds. Keep quiet, and consider adding a better microphone that points forward if you are shooting a lot of video. The T5 has a socket that can connect an external microphone like the $60 Rode VMGO which is much better than the built-in one at recording people speaking. 

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LAS VEGAS -- At its press conference for CES 2016, Nikon said it would be announcing one of the biggest lineup makeovers it’s ever done, and the company wasn't kidding. Nikon announced not one, not two, but three new cameras: Nikon’s first ever action cam, and two new flagship DSLRs.

The $6,500 20.8-MP D5 stands at the top Nikon’s full-frame camera line, while the $1,999 20.9-MP D500 now leads Nikon’s pack of crop-sensor DX cameras. But despite the price difference, both cameras share quite a bit of the same DNA.

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These two flagship cameras are equipped with a Nikon’s newest Expeed 5 ISP (image signal processor) and 153-point autofocus system, although the sensor on the D500 is smaller to accommodate the DX (APS-C) format. Both cameras also feature new 3.2-inch touch-enabled displays on the back (the D500’s also tilts out), 4K UHD video capture at up to 30 fps and built-in Wi-Fi.

Where the D5 earns its price tag is with almost comical levels of low-light sensitivity and blazing fast burst speeds. The D5 extends down to an ISO equivalent of 3.28 million. And no, that’s not a typo. That’s three stops further than even the D4S, which featured an extended range of 409,600.

Then there’s the D5’s impressive high-speed mode, which goes up to 12 fps regularly, or 14 fps if you keep the mirror locked up. It’s so fast that when I tried it out during Nikon’s demo session, on full burst, the shutter sounds more like someone is shuffling cards than taking a picture.

The D5 is also Nikon’s first DSLR with a dedicated autofocus processor, a dream for sports photogs. It means that you won’t lose you subject even during the most fast-paced action.

While not as bursty featuring just a 10fps max, the D500 has a different trick up its sleeve. It will be the first camera from Nikon featuring its Snapbridge software that lets users connect their DSLR to a nearby smart device using the camera’s built-in NFC, Bluetooth and Wi-Fi.

Snapbridge should make it super simple to share high-quality DSLR photos on social media. It’s a strategy Nikon is behind full force, and the company said that almost all of its cameras going forward will have Snapbridge built-in.

The D5 will be available body-only in March with two versions: a model with XQD storage and another equipped for compact flash. Meanwhile, the D500 will land around the same time body-only or as a $3,070 kit with an included 16-80mm f/3.5-5.6 VR Nikor lens.

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With more than double the resolution of its 5D Mark III sibling, the Canon 5DS and 5DS R has set a new record for full-frame DSLRs with their 50.6-megapixel CMOS sensors. The 5DS ($3,699) and 5DS R ($3,899) are built around the same body, controls and most features of the 5D Mark III. More importantly, Canon has tweaked the body design and added options to minimize camera vibration since anything less than perfect focus is much more critical in large files.

The only difference between the 5DS and 5DS R is that the latter has a separate filter that cancels the effect of the OLPF (optical low pass filter), providing the “R” model—reviewed here—with slightly sharper images. And while it lacks some of the video features of its Mark III sibling, the 5DS R offers some of the sharpest images this side of a medium format camera. 

Design: Canon shooters will feel right at home

A virtual clone of the 5D Mark III ($2,499), the new 5DS R ($3,899) measures 5.98 x 4.58 x 3.01 inches and weighs a hefty—for its size--29.80 ounces (body only). Like its sibling, the 5DS R is sturdily built and weather- and dust-proof. There’s really nothing visible other than the nameplate to differentiate the older model from the new.

However, Canon has reinforced the chassis, baseplate and tripod lug on the 5DS R to provide a more rigid body to stabilize the camera against unwanted vibrations. With a 50-megapixel sensor, the slightest movement, including the vibration (“slap”) from the mirror flipping up to expose the sensor to light, can result in slightly blurred images. The reinforced body stabilization is complemented by user-controlled options via the new Arbitrary Release Time Lag Setting in Mirror Lock mode, which I’ll discuss below. 

Given its size, weight and design, photographers with large hands will feel comfortable working with the 5DS R. Although my hands are fairly petite, I found the camera easy to hold and operate, even for long periods of time. 

The optical viewfinder (OVF) provides an approximate 100 percent field of view for accurate composition. If you decide to use one of the 5DS R’s crop modes (1.3x or 1.6x), the cropped field of view is visible in the viewfinder. The viewfinder is clear and bright, although the focusing screen is not interchangeable.

Overlays for exposure, ISO and other data can be customized by adding or omitting options such as battery level, white balance and drive, among others. Overlays use black markings, which are difficult to read against a dark background but can be set to illuminate—along with focus points—when the shutter is half pressed (options are set in the camera’s AF menu). However, as is typical for Canon, focus points and the overlay are illuminated only for a split second. I’d much rather have everything illuminated for as long as I keep the shutter half pressed.

The 3.2-inch, 720 x 480 pixel (1.04 million dot) LCD has an anti-reflection coating, delivers an approximate 100 percent view and works well under almost all lighting conditions. The LCD’s brightness can be adjusted automatically or manually for more precision. The former is more than sufficient for day-to-day shooting but I’d suggest using the manual adjustment for extreme lighting conditions and for viewing more critical images.

Dual card slots accommodate a Type 1 CompactFlash card and an SD/SDHC/SDXC card (MultiMedia Cards cannot be used). Various recording options include saving images to a single card, using the second card as overflow or backup and saving the same image at different sizes between the two cards.

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Given the camera’s 50-MP sensor, you’ll need a high-capacity card. A high-speed card will help lessen the time it takes for the camera to read and write data. More importantly, video recording requires a high-speed card.

Like its siblings, the 5DS R does not have a built-in flash but is equipped with a hotshoe to attach a Canon Speedlite. A monaural microphone is built in but an external stereo microphone can be attached to the camera’s microphone IN terminal.

Additionally, the camera offers a USB 3.0 port, mini-HDMI out, video out, an extension system terminal for connecting a WFT-E7A (v. 2) wireless file transmitter and GP-E2 GPS receiver.

Image Quality: Super Resolution 

A 50-MP sensor is a double-edged sword. On the one hand, the resolution is amazing and the 5DS R can capture truly impressive images with extremely fine detail and excellent sharpness. With large file sizes, it’s easy to create large prints and/or crop images with more than enough pixels to maintain quality. 

On the other hand, large file sizes come with potential drawbacks, particularly when working in RAW. A full resolution RAW file open in Adobe Photoshop is 144MB (8-bit) or a whopping 288MB (16-bit). To avoid filling up your computer’s storage, it’s best to store these images on an external drive.

But that’s a small price to pay to achieve the extreme resolution and crisp details the 5DS R delivers, particularly when paired with a sharp lens like the Sigma 50mm f/1.4 DG HSM Art Lens.

Until I took this shot, I never thought about whether or not cows have eyelashes. But, as you can see, they do indeed have eyelashes, which are clearly delineated in the image below, along with the texture of the blue and yellow rope. If you want even finer detail, check out the 5DS R’s new “Fine Detail” Picture Style, which enhances the sharpness in JPEGs and movies.

Overall, the camera exhibited good dynamic range and even exposure under most conditions. However, its closest competitor, the 36 MP Nikon D810 ($2,999.95), delivers a broader range from highlights to shadows. While an overcast sky helped avoid blown highlights and blocked shadows in this man-made mini waterfall shot, the 5DS R did an excellent job capturing the subtle tone and texture differences in the rocks and foliage.

These goats took advantage of a little bit of shade on a sunny afternoon, but the camera maintained good detail throughout the highlights and all but the deepest shadows in the background.

In addition to Auto and User Defined Picture Styles, the Canon 5DS R offers seven customizable options. I shot with the Standard Style, at its default settings, using auto white balance and was generally pleased with the color accuracy in test shots. Colors were rich and, as the style promised, slightly more vivid than  the Neutral Style. The latter is better suited for post-processing but I found that the Standard Style worked well across the board reproducing the bright colors of this small fairytale house and keeping the surrounding foliage more natural looking.

Low Light: Limited ISO

Shooting in extreme low light isn’t the 5DS R’s strong suit with its modest ISO range of 100-6400, which is expandable to ISO 50 and 12800. Although their full-frame sensors are packed with slightly fewer megapixels, the Nikon D810 with its base 64-12800 ISO (expandable down to 32 and up to 51,200) and Sony’s 42 megapixel full-frame mirrorless A7R II, with a base ISO of 100-25,600 (expandable to a low of  50 and up to 102,400) have an edge when it comes to low light/high ISO capture.

That said, the 5DS R handled image noise quite well at lower ISOs, particularly under 1000-1600, delivering relatively clean files with good detail capture. While pixel peepers will notice minor image noise in the sky of this low light shot captured at ISO 1000, there was little visible noise in the carnival ride itself. As a bonus, the 5DS R’s auto white balance was surprisingly accurate.

Depending on conditions, you can easily get a usable image at ISO 6400 as long as you don’t crop too tightly or output a really large print (the maximum size is relative to the image and how tolerant you are of image noise). The two images below were shot as comparisons with the one of the left, shot at ISO 100; the one on the right at ISO 6400. While I’m not a fan of in-camera high ISO noise reduction, the 5DS R easily maintained sharp details in the image on the right, particularly in the highlights.

Image noise also results from long exposures and while the 2 second exposure below, doesn’t go to extremes, the image was surprisingly noise free—in the sky and even on the static portion of the ride on the right.

Autofocus and Speed: Competitive performance

Using the same 61-point autofocus system as the 5D Mark III, the 5DS R’s autofocus is solid in bright light, locking in quite readily. Live View AF, while not as fast, also performed well in bright light. Low light situations slowed AF slightly, but I had few complaints.

The 5DS R offers a wide range of AF options from which to choose based on the shooting conditions and personal preferences. The AF menu offers a number of different scenarios  ranging from Case 1—a general, multi-purpose setting—to, for example, Case 4, designed to track subjects that accelerate or decelerate quickly. It’s a sophisticated system and, fortunately, the camera’s built-in help explains the different options.

Overall performance was good, especially considering the amount of data the camera is processing and reading/writing to memory cards. The 5DS R tops out at 5fps continuous shooting—the same as the Nikon D810 in full-frame mode—and can capture about 14 fine JPEG + RAW in a single burst. Although Canon offers Medium and Small RAW file options, at 28.5 and 12.4 megapixels, shooting these smaller file sizes or even using its 1.3x and 1.6x crop modes does not increase continuous shooting speeds.

Given its 50-MP sensor, even the slightest blur from camera shake affects images. To counteract the vibration that occurs when the mirror flips up to allow light to hit the sensor, Canon has equipped the 5DS R with a new motorized mirror mechanism to cushion any vibration that occurs (the Nikon D810 also has a vibration reducing mechanism). But Canon went further to reduce vibration effects with the addition of the new Arbitrary Release Time Lag Setting in Mirror Lock mode. This allows you to set a delay—1/8, ¼, ½, 1, 2 seconds—between when you press the shutter and when the image is captured. This provides time for the vibration to subside before taking the picture.

Video Quality: Solid performance but some limitations

While the 5DS R offers a good range of exposure controls for video capture and delivers visually pleasing movies, video is not this camera’s strong suit, particularly compared with the 5D Mark III. This is partly because the Mark III offers features such as clean HDMI output to record uncompressed video to an external recorder and also lets you monitor audio recording with external headphones.

The other downside to the 5DS R, like the 5D Mark III, is that full HD, 1920 x 1080-pixel frame rates are limited to 30/25/24 fps. You’ll have to drop to 1280 x 720 to get a faster 60/50 fps. That said, the 5DS R’s video quality is quite pleasing, with accurate colors and exposure. Image noise was limited, even at slightly higher ISOs, and the camera produces sharp footage.

This footage was shot at dusk with recording set at 1920 x 1080/30 fps and captured in All-i versus IPB compression options for best image quality. [All-i treats (and compresses) each frame individually, while IPB essentially drops some frames and “guesses” at the missing data in order to compress the footage. The All-i is a much better option for quality as well as the ability to more easily post-process the footage.]

Although a challenging scene for any camera, with its moving parts and blinking lights, the 5DS R capably reproduced this carnival ride with few anomalies. Again, as with earlier shots, the camera’s auto white balance worked well. Given the noisy surroundings, the audio wasn’t as clear as I hoped and came through a bit muffled but there was little shutter roll and no visible moire.

Shot on auto, this daylight scene was beautifully rendered with spot on exposure and good detail capture. Other than the sounds of the water, the surroundings were quiet and, therefore, produced a cleaner audio track. While the Canon EF 24-70mm f/4L lens provided crisp focusing, the zoom barrel was stiff and any attempts at zooming resulted in very jerky movements.

New for the 5DS R is the addition of an intervalometer for time-lapse shooting. It maxes out at 99 shots but can be set at intervals from 1 second to 99 hours, 59 minutes, or unlimited. The camera’s bulb timer is also useful for long exposures if and when you don’t have a remote.

Controls: Canon convenience

As a clone of the 5D Mark III, the 5DS R offers the same convenient control layout as its sibling. Dual control dials, a lockable mode dial with a trio of customizable slots and assorted buttons are typical Canon—and that’s a good thing. Anyone who shoots with a Canon DSLR can easily transition to the 5DS R.

A couple of my favorite controls include an AF point selection button for quick and easy access to manually position an AF point. The Quick Control Dial and Info buttons save time when changing settings on the fly and AF-ON button (if you use it), is within easy reach.

The 5DS R’s extensive menu system requires a deep dive to become familiar with the camera’s many features. The good news is that sections are clearly labeled and scrolling through each tab, with its variety of sub-menus, is relatively speedy using the main command dial. Like other cameras with a sophisticated feature set, it pays to read the manual and/or explore the menu system to get a sense of where to find various functions.

Battery Life

Like the camera’s ISO, battery life is modest, although that’s not surprising given the number of pixels it’s pushing and processing. My tests exceeded Canon’s estimate of 700 still images per charge using the viewfinder, and I was able to shoot a couple of days in a row without recharging. Add a battery grip ($280) and you’ll double that to 1,400 images per charge.

MORE: Best Waterproof and Rugged Cameras

Lenses and Accessories

With approximately 57 EF lenses (not including Tilt-Shift models), there’s plenty of glass to choose from for the 5DS R. Whether you want to shoot wide angle or need a super telephoto for those wildlife shots, Canon has you covered. Keep in mind that, unlike Nikon, Canon full-frame DSLRs are not compatible with lenses that are designed for cropped sensors (e.g., Canon EF-S).

Because of the camera’s high resolution, it’s important to couple the 5DS R body with the best lenses you can afford. Unfortunately, the 24-70mm f/2.8L II USM ($1,899) was not available for review and although the 24-70mm f/4L IS USM delivered sharp images, I have to wonder how much better its faster (and twice the price) 24-70mm sibling would have performed.

The Canon EF 85mm f/1.2L II USM ($1,999) performed exceptionally well, and the amazingly sharp Sigma 50mm f/1.4 DG HSM Art Lens ($949) quickly gained permanent residency in my camera bag.

More than a half-dozen Speedlites, macro ring lites and other flash accessories are available and gain even more importance since the 5DS R doesn’t have a built-in flash. If you want wireless, you’ll need the WFT-E7A ($850). GPS recorders are also optional.

Bottom Line

At less than half the price of the least expensive 50-MP medium format camera (Pentax 645Z, $8,499) and with a smaller and lighter body, the Canon EOS 5DS R not only fills a small gap for professional photographers but brings Canon a high resolution model that its lineup was sorely missing. If you don’t need full resolution all the time, the 5DS R allows you to choose smaller file sizes for projects that don’t demand as many megapixels.

Image quality is excellent and the camera’s full feature set meets the needs of even the most demanding photographers. The 5DS R can also generally hold its own when it comes to shooting speed, especially considering it’s pushing data from a 50-MP sensor for 5 fps bursts. 

The most disappointing aspect of the camera lies in its video capabilities. While everyone will appreciate the manual video controls, the 5DS R hasn’t kept pace by including HDMI out for uncompressed footage, for example. If you’re brand agnostic or looking to switch from Canon, you may also want to check out the Nikon D810 ($2,996 body only) and, for those looking for a more compact high resolution camera, the Sony A7R II ($3,198 body only). But for its primary purpose--capturing exceptional still images--the 5DS R is a damn good choice.

Basic Specs

Model name: Canon EOS 5DS R
Megapixels: 50.6
Type: DSLR
Price: $3,899.00 (body only)
Shots per sec: up to 5 fps full resolution
Sensor type: Full-frame CMOS
AF points: 61 with up to 41 cross-type AF points
Shutter speed range: 1/8000-30 sec, Bulb
ISO range: 100-6400 (expandable to 50 L; 12800 H)
Main video resolutions/frame rates: full HD 1920 x 1080 at 30, 25, 24 fps; 1280 x 720 at 60, 50 fps; 640 x 480 at 30, 25 fps
Video file format:  .MOV
Built-in flash? No
Hot shoe: Yes
Card type: dual slot CompactFlash and SD/SDHC/SDXC
Ports: USB 3.0, mini-HDMI OUT, video OUT, extension system terminal stereo mic input
Shots per charge:  700 (stills); 1,400 (stills with battery grip)
Wireless capabilities: with optional WFT-E7A version 2
Image stabilization: lens dependent
Dimensions and weight: 5.98 x 4.58 x 3.01 inches; 29.80 ounces (body only)

Who It's For: Photo enthusiasts looking to learn more advanced techniques and videographers who want DSLR-quality footage

If you're looking to up your photography game and pick up a DSLR, the Canon EOS Rebel T6s, well-known for its compact size and wealth of user-friendly features, is an obvious candidate. With an upgraded hybrid autofocus system that promises faster focusing and motion tracking in video and live-view capture, the T6s is also a dream for those who want to record high-quality video. The Rebel T6s ($850 body only; $1,150 with kit lens) also packs Wi-Fi and NFC connectivity options, making it a sweet option.

MORE: How to take great pictures with the Canon T6

Design and Handling

Canon's Rebel series is well-known for its ease of use, and that hasn't changed with the T6s. With three dials, two switches, 17 buttons and a 3-inch touch screen, the T6s makes adjusting important, top-level settings convenient. A monochrome LCD panel on top of the grip (on the right) displays information such as ISO, aperture, battery level, exposure compensation, Wi-Fi connectivity and shots remaining, so it's easy to tell at a glance what your settings are.

If you're in one of the manual modes, such as Aperture or Shutter priority, turning the wheel behind the shutter button on the top of the grip will change the priority setting (aperture or shutter speed respectively). Pressing the Q button next to the camera's screen lets you edit other levels, such as white balance, exposure compensation and picture format.

The flip-out, tilting LCD made it wonderfully easy to compose low-angle images and, better yet, snap DSLR-quality selfies.

Weighing 1.14 pounds (body only), the T6s was light enough on its own to carry anywhere without being a pain on my shoulders, but when I added the 1.16-pound kit lens, the whole setup became a drag to lug around. The Nikon D5500 and its kit 18- to- 55mm VR II lens are much lighter, with the 6.1-ounce lens bringing the camera's total weight to 1.3 pounds. Of course, the Nikon lens doesn't have the focal range of the Canon kit.

Image Quality

I was impressed with the professional image quality delivered by the 24.2-megapixel T6s. Paired with the EFS 18- to- 135mm f/3.5 to 5.6 IS (image stabilizer) STM kit lens, the camera took crisp, colorful pictures. Pink flowers at a farmers' market in Union Square looked vibrant and sharp, with very pleasant bokeh (blur in out-of-focus parts of an image) in both the foreground and background.

The T6s also did a great job keeping subjects in focus, blurring out everything else. In my shot of a cut-out Statue of Liberty, the handcrafted Lady Liberty was tack sharp, while the people sitting around in the background were blurred, creating a nice depth-of-field effect.

The T6s is also adept at rendering skin tones. My portrait of my roommate showed off her tan complexion in the warm glow of dusk, and her eyelids and even strands of hair in her brows looked clear.

Even without much knowledge of how to take a good photo, you'll still be able to get great shots, thanks to the Rebel's many auto modes. Portrait mode opens up the lens (drops the aperture level down) to bring focus to subjects in the foreground and blur the background. Landscape ups the aperture to keep everything in the scene in focus.

In general, the T6s was capable of determining the right settings for most scenes, giving me sharp, evenly exposed landscapes and portraits. But when compared side by side with the same scenes captured in one of the manual modes, the auto settings fell short.

MORE: Best DSLR Cameras

My shots of a tree in a grassy field looked warmer and more pleasant when shot in Aperture Priority mode, and looked blue when captured in Landscape. The background of the picture taken in the latter mode also looked more washed out, and the blue cast made the image seem dull. Canon told us that a Picture Style setting in the camera, which is set to EOS Landscape in the Landscape Mode and Auto in Aperture Priority by default, could be responsible for this difference. (The EOS Landscape style enhances blues and greens and sharpens fine details.) If you are familiar with shooting in one of the manual modes, it might be a wiser option to do so than rely on an auto mode.

The Rebel T6s also took bright, clear pictures in low light. My nighttime cityscapes were accurately colored and detailed. I went up to a light sensitivity level of ISO 6400 without noticing too much noise in my shots, which is high enough to give me a lot of leeway on other settings, such as aperture and shutter speed. That's similar to the Nikon D5500, which can also go up to ISO 6400 without significant noise in pictures.

Under the Scene option on the mode dial, you can select what Canon calls a Handheld Night Scene mode, which combines four shots to create a sharper image. While I didn't see improved sharpness in the pictures I shot in this mode, they were generally brighter and showed more detail.

You'd have to either balance the camera against a sturdy object, place it on a tripod or hold extremely still to see good results in the Handheld Night Scene mode.

White Balance: Not Always Accurate, and Complicated Setup Process

While the T6s rendered colors in daylight accurately, the camera struggled with indoor lighting. I took a picture of a cake at a birthday dinner, and found it a little too orange. Changing the white-balance profile can give you more accurate hues, and most cameras offer a selection of common color temperatures. After switching to Tungsten white balance on the T6s, which sounded like the best profile of the ones available (Auto, Daylight, Cloudy, Shade, Fluorescent, Flash, Custom), the photo of my cake was still yellow overall.

More advanced photographers would use manual white balance at this point, but Canon’s interface for setting that up is not intuitive. Instead of letting you snap a picture of a white object for reference immediately after you select Custom as the profile, Canon requires you to first snap a picture of something white. Then, you go into the menu, pick Custom White Balance and choose your reference picture. By the time I figured it out, the cake had already been half eaten. By comparison, the Nikon D5500 lets you directly capture the reference shot when you are setting white balance.

After manually adjusting white balance, I was able to get a more accurately colored picture of my friends, but it's quite a hassle to make a group of people wait while you fuss over your camera.

Video Quality

The T6s boasts Canon's latest hybrid CMOS AF III system, which is supposed to lock focus on moving subjects during Live View recording or video capture. Note that this DSLR captures video in MP4 format only.

My clips of exuberant dogs in Madison Square Park lacked sharp and bright, and each canine's face was in focus, even as they ran up toward the camera. The T6s not only tracked moving subjects well, it was also able to shift its plane of focus quickly. The only time things got blurry was when an overexcited golden retriever put his face right up in front of the lens.

Similarly, my footage of passing Manhattan traffic was clear enough to make out street signs and advertising copy on the side a bus.

The Rebel T6s can record up to full-HD 1080p video at up to 30 frames per second, which is less than the Nikon D5500's 60 fps. That means the latter can record smoother sequences.

Autofocus and Speed

Some of life's best moments pass by so quickly that many cameras aren't fast enough to capture them. Thanks to its 19-point phase-detection autofocus system, the Rebel T6s proved speedy in many situations, letting me capture sharp shots of Manhattan buildings as I was zipping by in a cab.

I fired off three shots with autofocus on while waiting at an intersection, and could have easily gotten more.

Battery Life: Good Enough

Rated for 550 shots per charge based on the testing CIPA standard, the T6s should last you more than a day of shooting. The number of shots changes depending on how much you use the flash or LCD. The T6s delivers less than the 820 shots per charge (CIPA) clocked by the Nikon D5500, but more than the Sony Alpha A77 M2 (410).

Wireless Connectivity

New to the T6s is built-in Wi-Fi and active NFC support, which let you more easily share pictures with your friends or remotely control your DSLR. The camera's Wi-Fi was easy enough to set up — I took about five steps — and I could access my T6s via the free Canon Camera Connect app (for iOS and Android).

In addition to letting me transfer media from the camera to my phone, the app let me adjust such settings as aperture, ISO and exposure compensation, when remotely shooting in one of the manual modes. On the viewfinder, you can also tap to select your focal point. 

The NFC capability lets you sync your photos to a Canon Connect media station, which is a set-top box with 1TB of storage that links up to a TV or the Internet to let you share your files to Facebook, Twitter or other social networks via a built-in Web browser. . The camera's NFC support also lets you pair with Android devices with a touch.

Lenses and Accessories: Plenty of Options

The 18- to- 135mm IS STM kit lens that came with our review unit is a versatile option for a beginner, thanks to its wide focal range. It lets you get up close to faraway subjects (at 135mm) or capture beautiful landscapes on the wide end (18mm). It also provided sharp and colorful images.

Those who want to expand their lens collection will find dozens of compatible Canon EF lenses available, ranging from ultrawide and telephoto zooms to prime (nonzooming), tilt-shift and macro lenses. Plenty of third-party lens makers, such as Sigma, Tamron and Tokina, also make compatible lenses for the Rebel T6s' EF mount, and are often more affordable while offering similar quality. 

MORE: DSLR vs. Mirrorless Cameras: Which Is Better for You?

You can also get a selection of viewfinders, battery grips, tripods, lens hoods and filters for the Rebel T6s.

Bottom Line

For the photographer who already has an elementary knowledge of how DSLRs work, the Rebel T6s is a strong choice. It snaps clear, vibrant pictures that are accurately colored (in the right modes). I also like the tilting LCD that makes composing scenes at odd angles a breeze. But it could use a simpler white-balance setup process, and with the kit lens, it’s pretty heavy.

The Nikon D5500 ($747 body only on Amazon; $847 with 18- to- 55mm kit lens) is a less expensive, lighter option that provides smoother 60-fps video and a longer-lasting battery. But it doesn't have the same speedy and accurate autofocus system that the Canon Rebel T6s does, which makes capturing moving subjects much easier. Overall, the T6s is an excellent companion for intermediate photographers.

Key Specs

Model name: Canon EOS Rebel T6s
Megapixels: 24.2
Camera type: DSLR
Shooting speed: 5 fps
Sensor type: APS-C
Kit lens options: EF-S 18-135mm f/3.5-5.6 IS
AF points and type: 19-point cross-type phase detection (SLR mode)
Shutter speed range: 1/4000 to 30 seconds, bulb
ISO range: 100 - 25,600
Main video resolutions/frame rates: 1920 x 1080 (30/25/24fps), 1280 x 720 (60/50fps)
Video file formats: MPEG-4 AVC / H.264
Built-in flash: Yes
Hot shoe: Yes
Card type: SD/SDHC/SDXC
Ports: USB 3.0, mini HDMI out, mic, A/V Out,
Shots per charge (CIPA standard): 550
Wireless capability:  GPS (Wi-Fi via add-on)
Image stabilization:  Select lenses
Dimensions and weight: Approx. 5.2 x 3.9 x 3.1 inches, 18.35 ounces (body only)

Cherlynn Low is a Staff Writer at Tom's Guide. When she's not writing about wearables, cameras and smartphones, she's devouring old episodes of Torchwood or The X-Files. Or taking selfies. Follow Cherlynn @cherlynnlow . Follow Tom's Guide at @tomsguide and on Facebook.

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Who it's for: Advanced amateur photographers who want to step up to a more sophisticated DSLR, as well as pro and semi-pro Nikon owners who want a smaller DSLR.

The D7200 is a strong DSLR candidate for advanced amateur photographers looking to step up their games. An impressive upgrade from the D7100, the Nikon D7200 boasts a number of improvements, including Wi-Fi, a 30 percent faster processor and improved autofocus. At $1,199 (body only; $1,699 with 18-140mm lens), this midrange DSLR offers excellent image quality in a durable body, which is why it made it to our Best DSLRs page.

Design: Sturdy and ready for all-day shooting

Overall, the D7200's relatively compact size, modest weight and ergonomic control layout make it a good fit — whether you're doing a day hike, shooting a wedding or photographing a family get-together.

Put the D7200 side by side with the D7100, and you'll be hard pressed to spot any physical differences. Both bodies measure 5.3 x 4.2 x 3.0 inches and weigh approximately 1 pound, 11 ounces. Paired with the 17.3-ounce, 3 x 3.8-inch, 18-140mm kit lens ($500), the setup is manageable for an easy day of shooting. Constructed around a magnesium-alloy frame, the D7200 feels sturdy and well built. Photographers with larger hands, however, might prefer a deeper grip like that of the Nikon D750.

As on its predecessor, the D7200's body is weather-sealed against light rain as well as dusty or sandy conditions. You'll need an underwater housing if you want to immerse the camera in water, though.

With a 100 percent field of view, the optical viewfinder is a pleasure to use. Nikon enhanced the coatings on the viewfinder optics to deliver brighter and more accurate color. 

A 3.2-inch, 640 x 480-pixel LCD works well under almost all lighting conditions, whether you're cycling through the menu, working with the information panel, composing a shot in live-view mode, or playing back still images or video clips. I would prefer a vari-angle (rotating) LCD like the one on the new Nikon D5500, however. Perhaps I'll get my wish in the next update.

Like its predecessor, the D7200 is equipped with a pop-up flash and hot shoe for external flashguns. In addition to a built-in stereo microphone, the camera offers a microphone jack, microUSB, HDMI, two SD/SDHC/SDXC card slots as well as compatibility with Nikon's new ME-W1 water-resistant wireless lavalier mic ($250).

Image Quality: Top notch

The D7200 offers excellent image quality right out of the box. Colors are accurate and pleasing; images are generally crisp with lots of good details (even with the kit lens), and the D7200's metering is, for the most part, spot on. Plus, it doesn't take much to draw even better image quality out of this camera, thanks to its sophisticated feature set.

In line with the current trend in DSLRs, the D7200 lacks an optical low-pass filter. The OLPF, also known as the AA filter, is designed to slightly soften images to reduce the risk of a wavy moiré effect seen on fine, repetitive patterns. But even without the filter, the D7200 delivers crisp images and no noticeable moiré.

Details of the little boy's straw hat are clearly visible in this image, as are the patterns on his and his dad's shirts, with no evidence of any anomalies.

I used the SD (Standard) Picture Control on the D7200's default settings for testing. However, for the best results when post-processing, Nikon's new Flat Picture Control option allows users to pull the best dynamic range for photos, and more easily implement color grading for video.

Even without the D7200's Active D-Lighting, which helps maintain details in shadows and highlights, the D7200 generally exhibited very good dynamic range. Other than the overexposed hot spot on this little turtle's shell, this bright afternoon image shows clear details in both shadow and highlight areas. 

Check out the cropped image of this little guy's head to see how well the D7200 and kit lens capture fine details and how little of the shell is fully blown out.

The D7200's exposure metering did a great job with this challenging scene, rendering an evenly balanced exposure and fine dynamic range. Although it's difficult to see the details in the goose's black feathers, the brown feathers on the back and the white feathers on its hindquarter are nicely detailed. Typical of the D7200, colors are well-saturated and rich without being overly vivid.

Low Light: More ISO range

Overall, the D7200 handled low-light and high-ISO conditions extremely well. Depending on the shot, and your aesthetics, images captured at ISO 3200 (and perhaps 6400) should make good prints at standard (8 x 10 inch) sizes.

While the D7100 topped out at a native light sensitivity of ISO 6400, the new model can be set to ISO 25,600 — four times the sensitivity. For superdark conditions, you can expand the D7200's sensitivity to Hi1 (51,200) and Hi2 (102,500) ISO, but only in black and white.

MORE: Best DSLR Cameras From Beginner to Pro

At the same time, the D7200's autofocus system can now focus under low light down to -3EV versus the D7100's -2EV. That means that the camera can achieve focus in half as much light (one stop darker), which comes in handy for night owls (more on that later).

I'm not a fan of in-camera noise reduction and prefer to tweak any image noise in Adobe Camera Raw software. But for most test shots, I left the D7200's NR set at Low or Normal. Noise reduction softening was less intrusive than we've seen from other DSLRs, including the Nikon D5500, thanks in part to the D7200's new EXPEED 4 image processor.

As you can see from the images below, details were fairly well-maintained with the D7200's NR setting turned to Low. This carving is surprisingly free of image noise despite being shot at ISO 3200. Details, such as the bird's eye, are sharp and clean, with little softening effect from in-camera noise reduction.

At ISO 8000, with NR set on Normal, image noise is much more visible, as is the softening effect of in-camera noise reduction. Slight vignetting is also noticeable in the corners. However, the carving marks of this Kachina doll are still visible throughout.

Autofocus and Speed: Solid performance

One of the major complaints lodged against the D7100 was a buffer that limited continuous JPEG capture to about 33 images. Thanks to the D7200's latest EXPEED 4 image processor, the new model has increased its buffer capacity to 100 large/fine JPEG images. NEF (RAW) file continuous capture has also been extended to 27 shots, while the D7100 was limited to seven.

Continuous shooting speeds of up to 6 fps are the same as with the D7100 but are fast enough to capture a wide variety of action shots.

The camera's burst mode and continuous autofocus worked well enough to capture these young horse riders as they navigated around precisely placed markers.

Autofocus and overall operation using live view and its contrast-detection autofocus were understandably less responsive, but fine for shooting static scenes such as landscapes.

Video Quality: Moderate control, pleasing quality

The D7200 produced sharp video clips with accurate color and very few anomalies. Rolling shutter (a stretched appearance to moving subjects) was pretty much nonexistent, and continuous autofocus generally kept up with moving subjects, such as the young woman riding a horse in the image below. You can catch a quick refocus during the clip but it was minor (and possibly the result of user error if my finger slipped off or on the shutter button during filming).

The D7200 offers a basic range of video options including full-HD 1920 x 1080p, now with the ability to capture up to full HD at 60 fps. The 60 fps rate requires shooting in 1.3x crop mode, meaning the video looks a bit more zoomed in than if you shot at 30fps.

Keep in mind, though, that the 1.3x crop cuts the maximum recording length by more than half, to 10 minutes. The D7200 can also shoot up to 20-minute clips in 1080p at 30, 25 and 24 fps; in 720p at 60 and 50 fps; and in VGA at 30 and 25 fps.

Exposure control while shooting video is limited to shutter speed. ISO is automatically adjusted during capture to ensure smooth transitions between lighting conditions. All other settings need to be selected beforehand. Flat Picture Control is available, which makes color grading easier in the editing phase.

While the video adjustment limitations are a bit disappointing, the D7200 offers a number of other features, including a headphone jack for monitoring audio and the ability to adjust headphone volume. Microphone sensitivity is adjustable, and sound level measurements, time remaining and other data are displayed on the LCD. Frequency response can be set to Wide for ambient noise or Voice to better record speech, and wind noise reduction can be turned on or off.

New to the D7200 is zebra striping, an overlay for judging exposure and highlights. Video can also be displayed simultaneously on the LCD monitor and an external monitor when you're working with a team or want to have a larger view.

Audio capture was, for the most part, crisp and clean, even on a slightly windy day. The sounds of rushing water and chirping birds are clear and bright using the built-in stereo microphone.

Another video in low light captured clear sound and video, although the auto white balance was again a little off. But there was little visible image noise even though the ISO was, at one point, automatically boosted to 20,000.

Interval shooting and time lapse are available, capable of capturing up to 9,999 shots. Even better news is that Nikon's exposure smoothing (which automatically compensates for changes in lighting conditions) is available in the Time Lapse Mode to ensure evenly exposed images throughout.

Controls: Standard Nikon

The control layout on the D7200 is typical Nikon, which is a good thing. The DSLR sports forward and rear dials. In addition to adjusting exposure (shutter speed and/or aperture), the dials are also used to cycle through and select parameters such as white balance, image quality, ISO and menu options. These are probably the most-often-used controls on the camera and are perfectly placed for quick and easy access.

An Effects option on the Mode dial provides access to specialty shooting effects such as Lo Key, Hi Key, Selective Color and Miniature for photographers who prefer built-in creative tools. A nonflash mode (perfect for museums) and two custom User modes (in which you program shooting parameters) round out the Mode dial. Several buttons, including the dedicated Movie button, as well as the command dials, can also be customized to trigger different functions.

The D7200's menu system is extensive but easy to navigate once you're familiar with Nikon's logical hierarchy. Like other, newer Nikon DSLRs, still-image and video options are now available in separate menu tabs, making it easier to set parameters for each.

Wireless: Easy but basic access

As it has with all its DSLR updates, Nikon has added Wi-Fi to the D7200. Setup is simple once you've downloaded the free WMU (Wireless Mobile Utility) app for iOS or Android devices. It's even easier if you have a compatible NFC-equipped   Android device, since you can automatically connect the two by touching the phone or tablet to the camera's NFC antenna (marked by an "N" on the right side of the camera). For iOS, you'll have to locate and log in to the camera network on your phone or tablet, then open the WMU app.

MORE: DSLR vs. Mirrorless Cameras: Which Is Better for You?

Unfortunately, the app's functionality is pretty basic. You can trigger the camera's shutter remotely, and save and wirelessly transfer still images (RAW files are saved as JPEGs). Although you can see the camera settings (e.g., shutter speed) on the mobile device, you can't change them remotely. Location information can be added utilizing the connected phone's GPS.

Battery Life

While the D7200 uses the same battery as its predecessor, a single charge now supports up to 1,110 shots per CIPA standards (more if you don't use the flash), which is a nice jump from the D7100's capacity of 950 shots. You'll lose about 20 minutes of video though, since the battery is estimated to last for about 80 minutes versus the D7100's 100 minutes. If you plan to shoot a lot of video, you might want to pick up a second battery.

Lenses and Accessories

Nikon offers more than 80 lenses that are compatible with the D7200. It can take both the DX-format lenses for cameras (like itself) that sport mainstream (APS-C) sensors, as well as the FX lenses that also fit Nikon's full-frame cameras, like the professional D810. I paired the new full-frame (FX) and lightweight NIKKOR 300mm f/4E PF lens ($2000) with the D7200 and, because of the lens' smaller sensor, gained an extra 150mm on this amazing telephoto lens, bringing it to an effective 450mm focal length.

While not everyone will want to spend $2000 on a prime telephoto lens, the $500 18-140mm kit lens provides a useful range for most day-to-day shooting, though it's a little slow, at f/3.5-5.6. Taking the crop factor into account on the APS-C D7200, the kit lens delivers a full-frame equivalent focal range of 27-210mm. VR (vibration reduction) is relatively effective, and this lens generally delivers sharp images across the frame.

Videographers will want to check out the new Nikon ME-W1 water-resistant wireless lavalier microphone ($250) with its far-reaching, 164-foot range. A variety of lighting solutions and other accessories are available as well. 

Bottom Line

A full feature-set and solid performance — from autofocus to continuous shooting — are only some of the D7200's strong points. This DSLR also delivers excellent color rendition, sharpness and exposure, particularly at lower ISOs.

Despite a few shortfalls, such as limited manual exposure control in video, the D7200 is a solid update to its predecessor. The Canon EOS 70D has an edge in terms of video capture, but if you're a Nikon shooter and want a midrange DSLR, the D7200 is for you. 

Key Specs

Model name: Nikon D7200
Megapixels: 24.2
Type: DSLR
Price: $1,199.95 (body only); $1,699.95 (with 18-140mm f/3.5-5.6G ED VR lens)
Shots per sec: Up to 6 fps full resolution; 7 fps in 1.3x crop mode
Sensor type: APS-C CMOS
AF points: 51 with 15 cross-type sensors
Shutter speed range: 1/8000-30 sec, Bulb
ISO range: 100-25600 (expandable to 51,200 and 102,500 equivalent in black and white only)
Main video resolutions/frame rates: full HD 1920 x 1080 at 60 and 50 fps in 1.3x crop mode only); 1920 x 1080 at 30, 25, 24 fps; 1280 x 720 at 60, 50 fps; VGA 640 x 424 at 30, 25 fps
Video file format: .MOV
Built-in flash? Yes
Hot shoe: Yes
Card type: Dual slot SD/SDHC/SDXC
Ports: High-speed USB, HDMI, accessory terminal, stereo mic input
Shots per charge (CIPA): 1,110 (stills); approx. 80 minutes HD footage
Wireless capabilities: Wi-Fi/NFC
Image stabilization: Lens dependent
Dimensions and weight: 5.3 x 4.2 x 3.0 inches; 1 pound, 11 ounces (body only)

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Who it's for: Entry-level or enthusiast photographers who want an all-around camera — especially for the outdoors — and don't care about video.

Following close on the heels of Nikon's D5500, the 20-megapixel Pentax K-S2 ($800 with 18-50mm kit lens) fits neatly into the same class of midrange DSLRs that are user-friendly for casual shooters and sufficiently sophisticated for enthusiasts. Better yet, the Pentax K-S2 is weatherproofed to withstand the elements. Although this camera doesn't excel at video recording, overall, it's a good DSLR for all-weather shooting.

Design: Ready for Any Weather

Measuring 4.8 x 3.6 x 2.6 inches, the Pentax K-S2 is the smallest weatherproof DSLR on the market. It's a little smaller than the Nikon D5500 (which is not weather sealed), but the K-S2's 23.9-ounce body makes it almost 10 ounces heavier. The extra heft helps balance the camera when you're shooting with longer lenses, and it isn't a burden to walk around with the K-S2 and its collapsible 18-50mm kit lens, even for stretches of several hours.

Constructed of reinforced polycarbonate over a metal chassis, the K-S2 has a plastic but fairly sturdy feel. It's available in several color schemes, with bottom panel accents including black, white, desert beige, stone gray and forest green. With 100 seals, the camera is protected from dust, rain, sand and other elements, and is capable of operating in temperatures between 32 and 104 degrees Fahrenheit (0 to 40 degrees Celsius). That makes it perfect for outdoor activities, from cool-weather hikes to sun-filled days at the beach (if it's splashed, but not submerged). You'll need a weather-resistant lens, such as the 18-50mm WR kit model, to complete the setup.

Comfortably contoured, the K-S2's deep grip provides a solid handhold. The camera is equipped with a large pentaprism viewfinder that's usually found only in higher-end models. An LCD within the viewfinder features large, bright text that makes it easy to read data, including shutter speed, f/stop and ISO. The viewfinder also features a view of about 100 percent (rivals like the Nikon D5500 achieve about 95 percent), so what you see in the viewfinder is pretty much what you'll get.

A 3-inch, 640 x 480-pixel, vari-angle LCD is a little smaller than the Nikon D5500's 3.2-inch monitor but offers the same convenience for shooting at different angles and folding against the camera body for safe transport. When you flip the LCD to face forward for selfies in live view, the Wi-Fi button doubles as a shutter release. As a bonus, the monitor's brightness, saturation and color are adjustable.

A single SD/SDHC/SDXC card slot is available. The K-S2 also features a pop-up flash and a hot shoe for an external flashgun.

MORE: Best DSLRs for Any Photographer

Image Quality: Pleasing in Good Light

Like the Nikon D5500 (see review), the K-S2 does not have an anti-aliasing filter, which slightly blurs images to reduce the chance of wavy moiré patterns. Unlike the D5500, the K-S2 offers an AA Filter Simulator. But other than when the device was in movie mode, I didn't notice any moiré, so I kept the filter turned off to get the maximum sharpness. Although the kit lens captured good details, a higher-end lens would probably take better advantage of the K-S2's AA filterless resolution. We requested a second lens from Pentax but did not receive one in time to post results here.

By default, the camera's Custom Image mode is set to Bright, with options for Natural, Landscape and Vibrant, among others. The parameters (saturation, hue, high key/low key, contrast, sharpness) of each picture setting can be adjusted. I shot most test images on Bright, although there wasn't much difference between Bright and Natural under most conditions.

The colors of this playhouse were reproduced accurately, and clearly showed the vibrant hues of the structure along with the subtler colors of the natural vegetation in the background.

If you want to add a little pizzazz to your images, check out the Advanced HDR feature. Just press the shutter button, and the K-S2 automatically captures three images at different exposure levels and combines them. You can use the rear command dial to set the EV compensation (bracketing) for the lightest and darkest of the three photos. Aside from producing a slight halo effect around some of the roof's edges, the camera did an excellent job of blending the three exposures — even when shooting handheld in this static image of the playhouse on the left. The image at the right was shot as a normal, single exposure.

Exposures were generally on target, especially when I used center-weighted metering when the main subject filled the middle of the frame. Unlike the Nikon D5500, which tends to expose for highlights, the K-S2 favored shadow details, sometimes leaving highlights a little overexposed. But, as you can see from the image below, the camera's dynamic range kept most of the details in the shadow areas of the field as well as it did in the overcast sky.

Repeating patterns, like the brickwork in this old building, often cause moiré in cameras without anti-aliasing filters. As you can see in the image below, there were no signs of moiré from the Pentax K-S2 in still images.

Low-Light Performance: A Bit Limited

The K-S2 offers an ISO range of 100 to 51,200, with the ability to either set the ISO manually or cap the highest setting used in auto mode. For the best results, keep the ISO at or below 1,600. ISO 3,200 and 6,400 aren't too bad if you plan to keep the image small (under 4 x 6 inches at 300 ppi) or post it online (up to about 640 x 480 at 72 ppi). Above that, as you'll see in the images below, most details are very soft, and speckling from the high ISO is particularly visible in shadows.

Shot at ISO 6,400, this night scene is a little underexposed in the shadows but should be fine for a small print or posting online.

Shot at ISO 12,800, this tulip didn't fare well. Image noise is clearly visible in the flower, especially in the darker background.

This image of flowers takes on a painterly look at ISO 25,600. But the colors are accurate, and overall, I find the photo pleasing, specifically because of the more romantic appearance.

Autofocus and Speed: Generally Responsive

Overall, the K-S2's performance was responsive. Phase-detection autofocus, which you use when shooting with the viewfinder, is relatively spry in daylight conditions but slows slightly under low light. The K-S2's autofocus is not quite as speedy as the Nikon D5500's, particularly in lower-light conditions. But the K-S2 camera also offers focus peaking — highlighting on the screen the parts of the image that are in sharpest focus — a feature seen mostly in more advanced cameras.

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This little piglet was probably only a few days old but was quite lively. Using continuous autofocus, I was able to capture it as it ran to catch up with one of its siblings.

The camera's 5.5-frames-per-second continuous shooting is not much faster than the 5-fps rate of similar models such as the Nikon D5500 and the Canon T5i. But it might make a difference when you're shooting action sequences like a kid running down the soccer field and scoring a goal.

The K-S2 also bests the competition when it comes to shutter speed. While others max out at 1/4000 of a second, the K-S2 can snap a shot as fast as 1/6000 of a second to stop a quickly moving subject in its tracks.

Not surprisingly, autofocus was much less spry in live view, which uses the image sensor itself for contrast-detect AF. As I expected, live-view mode worked best for static scenes; however, it wasn't quite speedy enough to capture fast-moving subjects, such as the piglet.

Video Quality: Marred by Distortions

Despite its advanced video controls, including full manual exposure settings, the K-S2 is a poor video camera. Exposures were generally accurate and colors were well rendered, but images were slightly soft. More important, clips were plagued by distortions, including moiré, a stretching of subjects known as rolling shutter, and an overall wobbly, Jell-O-like effect. We requested a second review unit of the camera to compare results but have not yet received it.

I shot all video at full HD (1920 x 1080) at 30 fps. Though rivals like the Nikon D5500 can shoot full HD at 60 fps, the K-S2 can do 60 fps only at 1280 x 720. I tried recording with image stabilization on, and then with it off. Although turning off the image stabilization seemed to help calm some of the rolling-shutter effect, the only thing that seemed to somewhat quell the distortion was holding the camera extremely still (a tripod helped) and panning very, very slowly.

This clip, which was handheld with a fence for extra stability, shows the quivering effect of moiré in the brick building; the AA Simulator, which would help resolve the moiré, is not available in movie mode. As I pan to the right, you can see the wobbly distortion of the image.

The clip below fared a little better, but wobbling is still visible even though I rested the K-S2 on the edge of a fence and tried to keep the camera very steady. It was a windy day, which was easily picked up by the camera's built-in stereo microphone.

This clip also shows some Jell-O-like effects, and because the camera lacks continuous autofocus, this tractor-drawn ride appears slightly soft. You'll need to manually focus or prefocus (which is when the focus peaking indicator comes in handy) when shooting video.

Controls: Easy to Access

A few controls set the K-S2 apart from others in its class. The mode dial is slotted for the typical Auto, Program, Aperture-Priority, Shutter-Priority, Manual Exposure and Scene modes. However, it also offers Sensitivity Priority Auto Exposure mode, where you choose the ISO and the camera automatically sets the aperture and shutter speed to match it.

Other notable controls include two command dials to adjust exposure settings and to navigate through menus. Dual dials are more convenient than the typical single dial of the Nikon D5500, for example, particularly when you're shooting in manual mode, so you can use one dial to control the aperture and the other to set the shutter speed.

Atop the grip, where you often find a red Record button for video, is instead a green button that undoes your last adjusted setting. For example, if you increase the shutter speed from 1/100 to 1/125, tapping this button will reset it to 1/100.

To engage video capture on the K-S2, you turn the power switch from On to its third position — Movie — and press the shutter button to start and stop recording. It's an unusual setup, but it wasn't long before I became accustomed to using the power switch instead of a Record button.

Wireless: Easy Setup & Advanced Remote Shooting

The K-S2 is the first Pentax DSLR with built-in Wi-Fi and is painless to set up. Those with NFC-equipped smart devices just have to touch the device to the side of the camera. Otherwise, you need to enter a password, displayed in the K-S2's Wireless menu, into your smartphone's Wi-Fi setup.

Pentax provides a free Image Sync app for Android and iOS. I wasn't thrilled with the sharing interface, though. In the iOS app, I had to press and hold an image until a virtual menu appeared on the screen. I often had to try several times to get the menu up.

More impressive is the app's remote-shooting capabilities. A host of settings can be adjusted from the Image Sync app, including white balance, aperture, shutter speed, exposure compensation and ISO. You can also enable Touch AF in order to tap the phone's screen to select the focus point.

MORE: Canon Rebel T6s and T6i DSLRs Pack Faster Autofocus Tech for Video

Battery Life: Long

The K-S2's battery life is CIPA rated at 480 shots (with 50 percent of them using the flash). Live view, Wi-Fi and video capture may shorten battery life a little, but I was able to shoot on and off for several days on a single charge.

Lenses: Good All-Weather Options

Because the K-S2 offers sensor-shift image stabilization (which Pentax calls Shake Reduction), IS is always available regardless of which of Pentax's more than three dozen lenses you select. However, to take full advantage of the camera's weather-sealed body, you need a weather-resistant (WR) lens.

The 18-50mm kit lens ($230) we used for testing — the HD Pentax DA 18-50mm f/4.5-5.6 DC WR RE — is weather-resistant and offers a full-frame-equivalent focal range of 27.5-76.5mm. It offers an impressive f/22-32 minimum aperture, which is perfect for shooting in very bright scenes like the beach. While it's a little more than 3 inches long when fully extended, the kit lens retracts to 1.6 inches when it's not in use. Zooming with the lens was relatively smooth, but it was stiff and difficult to turn during the locking and unlocking process.

While the 18-50mm kit lens isn't the sharpest optic we've ever used, it managed to deliver generally well-focused images with good detail, as you can see from the carved face and the tree bark in the image below.

Pentax offers 11 WR or AW lenses covering a broad range of focal lengths for a variety of scenarios. These include the HD Pentax-DA 300mm f/4-5.8 ED WR ($450), the SMC Pentax-DA 18-135mm F/3.5-5.6 ED AL DC WR ($500) and the SMC Pentax DA 50-200mm f/4-5.6 ED WR ($250).

Bottom Line

The K-S2's most notable feature is its weather-resistant body, which certainly places it a step ahead of the competition for photographers who like to shoot outdoors. It also offers innovative options such as ISO Sensitivity Priority mode. Overall, the feature set is fairly sophisticated and will be put to good use by enthusiasts and advanced amateurs. At the same time, the camera is relatively easy to use for those new to DSLR photography.

While its aesthetics won't be to everyone's liking and the video quality is problematic, the K-S2's weatherproofing and advanced features, such as its sophisticated remote shooting app and focus peaking, add value to the price. If you don't need the weatherproofing, the Nikon D5500 is a better choice for its somewhat better image quality and much more reliable video.

Key Specs

Model name: Pentax K-S2
Megapixels: 20.42
Type: DSLR
Price: $799.95 with 18-50mm WR kit lens
Shots per second: up to 5.5 fps
Sensor type: APS-C CMOS
AF points: 11 with 9 cross-type points
Shutter speed range: 1/6000-30 sec, Bulb
ISO range: 100-51,200
Main video resolutions/frame rates: full HD (1920 x 1080 at 30/25/24 fps), HD (1280 x 720 at 60/50 fps), VGA 640 x 424 at 30/24 fps)
Video file format:  .MOV
Built-in flash: Yes
Hot shoe: Yes
Card type: Single slot: SD/SDHC/SDXC, Eye-Fi and FLU wireless card compatible
Ports: USB 2.0, HDMI out
Shots per charge (CIPA): 480
Wireless capabilities: Wi-Fi, NFC
Image stabilization: Sensor-shift
Dimensions and weight: 4.82 x 3.58 x 2.55 inches; 23.9 ounces (body only)

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Camera makers have been fibbing a bit. When they say, for example, that a camera captures 24 megapixels, what they really mean is 24 million subpixels, with 6 million for red, 6 million for blue and 12 million for green — the three primary colors that make up all the others. (Green gets twice as many subpixels because it's more important for how people see color). 

Ricoh's new $1,100 (body only) Pentax K-3 II DSLR — available in May — aims for better color resolution by using its moving image sensor to capture four images, each offset by a single subpixel, and combining them into one photo. The catch: Your subject has to be perfectly still. So, it might be useful for product photos and maybe landscapes, but not for portraits or action shots.

MORE: Best DSLRs for All Budgets 

However, Pentax has also pumped up the action-shooting potential of this new version of the K-3 with the claim of faster autofocus, thanks to better motion-analysis algorithms. And to help a photographer who's also moving, this DSLR boasts better image stabilization — using that same moving image sensor capability.

Combining colors 

Most cameras, even the K-3 II, capture images using what's called the Bayer array: Color filters over each photosite (pixel) are arranged in a grid with two green filters for every blue or red one. The eye is more sensitive to green than it is to red and blue, so cameras capture twice as much green data to get better quality.

Here, Pentax finds a second use for the camera's shake-reduction technology, which shifts the sensor in the opposite direction to which a jittery camera moves, in order to cancel out the movement. The K-3 II's system is so precise that it can shift the sensor by a single pixel, four times, and combine the images so that each pixel in the final photo has been shot with one red, one blue and two green filters over it.

(I asked Pentax for graphics to better show how this works, but the company said it couldn't provide anything we could publish.)

Pentax claims that this technique provides better color accuracy and results in less image noise (graininess), since the camera gathers more data for each pixel. Normally, a camera's processor fills in the missing color data by looking at adjacent pixels and interpolating (deducing) what color each one should be. But the K-3 II, in this special mode, records all three colors for each pixel without any guesswork.

 To get four photos to overlap perfectly, you have to keep the K-3 II still on a tripod and shoot something that doesn't — in fact, can't — move. That could be a still life, product photos, buildings or maybe landscapes, if no wind rustles the leaves. 

Pentax isn't the first camera maker to repurpose its image stabilizer. The recent Olympus O-MD E-M5 Mark II mirrorless camera does something similar, but instead of capturing more color, it simply captures more pixels, allowing its 16-MP sensor to output a 40-MP photo. We tested this capability in our review of the OM-D E-M5 Mark II, and it worked as promised in a studio setting. I'm curious to see what Pentax's twist on sensor shifting does for photos. 

Faster action shooting promised

For most times when the subject isn't perfectly still, Pentax has upped the image stabilization so that the shifting sensor can achieve 3.5 to 4.5 f-stops — meaning that, in theory, you can now get a sharp photo using a shutter speed that's 4.5 times slower than what you would need if you were shooting without image stabilization. In this area, Olympus may still have the edge. The M5 MII can compensate for motion along five axes, which allowed me to walk around and capture video as if I'd been wearing a steady cam. I'm anxious to see how well the K-3 II does. 

MORE: Why Autofocus Is the New Megapixel

Here's one more thing the Pentax K-3 II (and original K-3) and Olympus M5 MII cameras have in common: Each is weather-sealed for shooting in the elements. The new K-3 II, however, also adds temperature resistance down to 14 degrees Fahrenheit (minus 10 degrees Celsius). 

The third use for the moving sensor is astro tracing. Using its GPS receiver (new for the K3 line), the camera can avoid blurry images by shifting its sensor to compensate for the movement of the Earth during a long exposure (which you need at night).

Pentax also claims that its new DSLR can focus faster because it features a better processor and algorithms to analyze and anticipate a subject's movements — say, a running athlete or toddler. Motion tracking is a big battleground for high-end cameras. (Shooting speed remains the same, at about 8 frames per second, which is pretty fast for a DSLR.) The recent, 10 fps Canon 7D II DSLR (see review) is very adept at this task, and Samsung is continually tweaking the software in its 15 fps NX1 mirrorless camera to improve motion tracking. 

So often, when it seems there's nothing more to do with photography, a camera maker brainstorms a new idea. In a future review, we'll explore how well Pentax's ideas work on the K-3 II, which is set for release this May.

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Who it's for? Photographers stepping up from a point-and-shoot, bridge or entry-level DSLR camera as well as enthusiasts looking for a highly capable DSLR without the price tag of pro-level models. 

A modest update to last year's D5300, the Nikon D5500 ($900, body only) retains the top-notch image quality of its predecessor and adds a few appealing features, including a slimmed-down body, a touch-screen LCD and a larger grip. Although current D5300 users may not find enough reason to update, those looking to step up from an entry-level DSLR or a bridge camera should take a serious look at the 24.2-megapixel D5500.

Design: Small and Lightweight

A bit slimmer and lighter than its D5300 predecessor, the DX-format (mainstream-size sensor) Nikon D5500 measures 4.9 x 3.8 x 2.8 inches and weighs 14.8 ounces. It's nicely compact for a DSLR, particularly when combined with the small 18-55mm VR II retractable kit lens in a $1,000 bundle. A monocoque structure utilizing a new carbon fiber material and magnesium alloy (similar to that of the Nikon D750) is responsible for the camera’s light weight and durability under almost-daily use. 

Despite its pared-down profile, the D5500 incorporates a larger grip, which provides a more solid and balanced handhold when the camera is paired with a substantial lens, such as the AF-S Nikkor 16-35mm I used. In addition to the built-in flash, the D5500 has a hot shoe that's compatible with Nikon and some third-party flashes. There’s a single slot for an SD/SDHC/SDXC card. 

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Like the D5300, the updated model is equipped with a vari-angle 3.2-inch, 720 x 480 LCD. However, this is Nikon's first DSLR with a touch-sensitive monitor. You can tap the screen to navigate menus as well as to focus and to activate the shutter. (The latter can be disabled.) The screen is responsive without being overly sensitive. You can assign a function such as focus point selection, ISO sensitivity or AF-area mode to the screen and simply slide your finger across the screen to adjust it.

Image Quality: Solid All Around

The Nikon D5500 produced pleasing images under a variety of conditions. I used the Standard (SD) Picture Control setting, since its in-camera processing works well with most shooting situations and produced photos with well-saturated colors, good detail and generally balanced exposures. I shot almost all test images in aperture-priority mode, stopped down when possible for the best depth of field while maintaining a fast enough shutter speed for handheld shooting.

I mainly used two lenses: the $1,000 Nikkor 16-35mm and the $250 Nikkor 18-55mm VR II kit lens. Images were sharp with both lenses, thanks in part to the lack of an optical low-pass filter over the D5500's image sensor. (Nikon no longer considers that this filter, which is meant to reduce the chance of image distortions, is necessary with its latest sensors and processors.) Not surprisingly, images shot with the more expensive 16-36mm lens were sharper and exhibited more fine detail.

Accurate exposures were the norm for the Nikon D5500. I shot the image below in the late afternoon using Nikon’s Matrix metering (which averages the exposure from areas across the entire image). Although the sky may look slightly washed out, it’s a realistic rendering of the day’s partial cloud cover. The barn’s slats are well-exposed and well-detailed. 

Even without Nikon’s Active D-Lighting, which helps retain details in shadows and highlights, the D5500 spanned the entire dynamic range in the picture below, from deep, rich blacks to the clean whites and beige on the Empire State Building. Details and texture are clearly visible in the brickwork of the adjacent buildings as well as the antennas atop the tower. 

Shooting with the built-in flash helped illuminate these pots of pansies sitting in the shadows, revealing the D5500’s ability to accurately render bright colors in the metal pots and the flowers. 

Like its predecessor, the D5500 offers a number of special effects, including Toy Camera (pictured below, along with the same photo without the special effect), Miniature Effect and Selective Color, among others. Nikon has added three new effects in the D5500: Super Vivid, POP and Photo Illustration. 

Low Light: Usable Up to ISO 6400 

With ISO settings available from 100 to 25,600, the D5500 offers a broader light sensitivity range than its predecessor's 100 to 12,800. We rated image based on the highest-quality JPEGs the camera outputs. (For best results, though, I prefer processing RAW images in Adobe Camera Raw to correct for noise rather than relying on the in-camera noise reduction feature.) For the cleanest images, it’s best to keep the ISO under 3200 but, as you’ll see below, it’s possible to push the light sensitivity to 6400 without too many ill effects. Since image noise is more visible in shadows, the amount of mottling will depend on the scene and the exposure.

Shooting under dim, incandescent lighting at ISO 6400, and thanks to the 18-55mm lens’s image stabilization, I was able to handhold the camera at 1/40 of a second. Due to the bright exposure, image noise is only visible on the red felt backdrop, while the mask’s dark feathers are relatively clear of noise. As in this photo, the D5500’s auto white balance delivered accurate colors, as it did under a range of different lighting situations in my testing. 

I pushed the ISO to 10,000 in a very dark room to capture this carving against dark paneling. The photo clearly shows the graininess and softening effect at the D5500’s higher ISO settings.

Autofocus and Speed: Sluggish in Live-View Mode

Like the D5300, the D5500 utilizes Nikon’s 39-point autofocus system. AF is generally quite speedy and accurate when you use the viewfinder under bright (or relatively bright) conditions. AF speed slows a little under low light but is still fast enough to capture static or slowly moving subjects. 

The live-view (on-screen preview) mode’s contrast-detect autofocus is fairly slow; I could see and hear the lens moving in and out while I was trying to acquire focus. Tapping the touch screen to focus seems to be a hair faster than pressing the shutter button halfway, but you’d be hard-pressed to focus on a moving subject in live view. It's better to use the standard DSLR viewfinder mode.

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Continuous shooting on the D5500 maxes out at five frames per second (JPEG and 12-bit RAW) — the same as the D5300.

Video Quality: Many Adjustment Options

The D5500 shoots video up to full-HD 1920 x 1080p at 60 frames per second. Automatic, program and manual exposure modes are available for video, as are continuous AF and touch-screen AF. While I appreciate having control over these parameters, as well as ISO, it’s best to set exposure and focus prior to recording.

Colors are accurately rendered, exposures are well-balanced and clips are generally sharp in this video of a stream below.

While touch focus is available during video capture, the sound of the lens focusing is generally very noisy, and unless you’re at a heavy-metal concert, normal ambient sounds won’t camouflage the noise. In the video below, I set focus prior to recording to avoid lens noise. But even so, you can hear a loud click of unknown origin, showing how sensitive the microphone is to noise. You should plug an external mic into the D5500 for anything beyond casual clips.

The D5500’s autofocus worked well when following the antics of this active squirrel, even without a lot of contrast between the little animal and the grass. Exposure was accurate as well. As in all the videos I shot, the D5500 was free of rolling shutter — a common stretched, jellolike distortion of shapes when a camera pans across a scene or when a subject moves quickly through the frame.

Other than touch-focus noise issues, the Nikon D5500 offers solid video-capture capabilities. But if you’re serious about DSLR HD video, you might want to check out the roughly $1,200 Canon EOS 70D (see review). It’s more expensive, but its dual-pixel AF technology in live view provides astonishingly good autofocus for video capture. Canon's upcoming EOS T6i (about $900) may provide a better option for the price; we'll know after it comes out and we have tested it. 

Controls: Welcome Tweaks

The D5500’s control layout resembles that of the D5300, with a few, mostly welcome changes. The mode dial on the top deck is less crowded. Rather than allotting space to individual scene modes, the new dial has a single Scene position, after which you can choose a specific mode using the command dial. 

The rear command dial, which projected slightly from the back of the D5300, now sits on the top deck near the mode dial. I find it more comfortable to use the dial in this position to change settings such as aperture and shutter speed.

The “i” button on the back panel calls up a display menu for quick setting changes. Because I am right-handed, I found the Menu button’s position to the left of the viewfinder to be slightly awkward, but that’s a minor complaint, since the “i” button provides access to the most important options. 

A few controls are positioned on the front-left panel, within easy reach of your left hand. Hold the pop-up flash release button for access to various flash settings such as fill flash and redeye reduction. A nearby Fn (function) button is, sadly, the D5500’s only customizable hard control. It can be assigned a single function such as Image quality/size or ISO sensitivity.

Wireless: Easy Access

Setting up Wi-Fi on the D5500 is quite simple. Nikon’s free WMU (Wireless Mobile Utility) is available for iOS and Android devices. To set up an access point, simply download the app and enable Wi-Fi on the camera. Locate the camera network in your phone's or tablet's settings menu, then open the WMU app. The app is limited to sharing images and using the device for remote viewing or shooting. It does not allow you to change camera settings such as ISO or shutter speed, but WMU comes in handy for self-portraits (with and without a group) and other situations where you need to trigger the shutter from a distance.

Although the D5500 lacks its predecessor’s built-in GPS, you can add location data to images that you transfer to your smartphone or tablet.

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Battery Life: Plenty Long

Nikon estimates that the D5500 battery lasts for about 820 shots per charge, based on the CIPA testing standard. That number varies, depending on how much you use the flash or the LCD, utilize the Wi-Fi or capture video. In my experience, the battery exceeds that number when you're shooting mostly still images.

Lenses and Accessories: Dozens of Options

Nikon currently offers 84 DSLR lenses and a wide array of flashes and other accessories. You can mount a full-frame or DX lens on all cameras. Old lenses that don’t have a built-in AF motor (like my Nikon 60mm macro) still work, but they require manual focus on the D5500.

The 18-55mm kit lens delivered some sharply focused and nicely detailed images. It retracts to 2.6 inches long when not in use; a small button unlocks the lens, allowing it to expand. Like most kit lenses, this model is a little slow, with a maximum aperture of just f/3.5 (wide) to 5.6 (telephoto), but version II of Nikon VR (vibration reduction) works quite well. I don’t like to handhold a camera at a shutter speed slower than 1/125 of a second, but I was able to take a few sharp photos at about 1/40 of a second with this lens.

While zooming, the 18-55mm VR II review sample felt stiff. Although not a problem for still images, the lens produced jerky effects when I tried to zoom while I was shooting a video.

Conclusion 

The Nikon D5500 has a number of appealing features, and while none of them are “must haves,” several bring a new level of usability and enhancement capability to midrange DSLRs.

Excellent image quality, a full range of features that will satisfy enthusiasts (and help DSLR newcomers learn new skills) and convenient updates such as a touch-screen LCD make the D5500 a solid day-to-day camera. It’s so small and light, you’re likely to carry it with you on a regular basis. That means you’ll take more pictures, grow your skills and have fun while you’re doing it. Slow AF in live view and the mic's sensitivity to noise when recording video may put a damper on our accolades, but we’re so happy with the D5500’s feature set, performance and outstanding image quality, that we’re more than happy to overlook the camera’s minor quirks.

Key Specs

Model name: Nikon D5500
Megapixels: 24.2
Type: DSLR (DX format)
Price: $899.94, body only; kit options available
Shots per sec: up to 5 fps with AF
Sensor type: DX/APS-C CMOS
Kit lenses $999.95 with 18-55mm f/3.5-5.6G VR II; $1,399.95 with 18-140mm f/3.5-5.6G ED VR lens
AF points: 39 with 9 cross-type points
Shutter speed range: 1/4000-30 sec, Bulb
ISO range: 100-25,600
Main video resolutions/frame rates: full HD (1920 x 1080 at 60/50/40/25/24 frames per second), HD (1280 x 720 at 60/50 fps) and VGA 640 x 424 at 30/24 fps)
Video file format: .MOV
Built-in flash: Yes
Hot shoe: Yes
Card type: single slot: SD/SDHC/SDXC
Ports: high speed USB, HDMI, accessory terminal, stereo microphone input
Shots per charge (CIPA): 820
Wireless capabilities: Wi-Fi
Image stabilization: in kit and other lenses
Dimensions and weight: 4.9 x 3.9 x 2.75; 14.8 ounces

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Who it's for: Canon pros who want a second camera primarily for action photography or to multiply the range of their telephoto lenses.

Canon's 20.2-megapixel EOS 7D Mark II is one of the fastest, best-performing DSLRs we have seen. With a $1,800 retail price (body only), it is also one of the most expensive cameras using an APS-C size sensor rather than the larger full-frame sensors that are usually the mark of a professional camera. The 7D Mark II captures images at a top-notch speed of 10 frames per second. For shooting 1080p video, it uses Canon's Dual Pixel AF technology (more about that later) to quickly focus and track even fast and erratically moving subjects.

Canon has positioned the original 7D, and now the 7D Mark II, as cameras for pros who want to extend the reach of their telephoto lenses from their full-frame cameras. Switching to Canon's version of the smaller APS-C sensor increases a lens's telephoto range by a factor of 1.6. The 7D line is also aimed at pros who want a lighter, less-expensive camera for travel. Considering the users Canon is targeting, we subjected the camera to a demanding review to match what pros need. While it excelled in speed and performance, it fell a bit short in image quality, due to pixel noise.

Design and Use: Revised and More Familiar to Pros

Though built around a sensor less than half the size, the 7D Mark II is not much smaller or lighter than a full-frame camera. The new model measures 5.9 x 4.4 x 3.1 inches — just a fraction of an inch less than the 5D Mark III in length, width and depth. At almost exactly 2 pounds each, the 7D Mark II and 5D Mark III essentially weigh the same.

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There are some nice upgrades inside the camera. The 7D Mark II uses a transparent LCD screen that sits above the mirror and overlays extensive, customizable information and tools on the optical image preview. These include Canon's first electronic level for a DSLR and a new warning when the camera might encounter flicker in video and photos. (Many lights pulse on and off faster than the eye can perceive but slow enough that a camera captures images at different exposures.)

The 7D Mark II's rear LCD screen has a marginally higher resolution, up from 640 x 480 pixels of the original 7D to 720 x 480 pixels for the Mark II. It's a sharp screen, but it's no match for the clarity of the 720 x 480 OLED screen on the new $1,500 mirrorless Samsung NX1 (see review). In a welcome nod to serious video, the 7D Mark II has jacks for both an external microphone and headphones, to monitor audio levels while you're shooting, as well as an HDMI port to output footage in real time for high-end video work.

The 7D Mark II includes built-in GPS for geotagging photos — something I wish every camera had. (Most pro cameras require expensive add-on modules for GPS.) The camera's built-in flash provides excellent and natural coverage for the frequent instances when photographers don't bring an external flash along.

Even in a tunnel with the camera held sideways, the flash on the 7D Mark II provided soft, full illumination in the photo below. (As with most photo samples in this review, you can click on the image to bring up a larger version.)

Speed and Autofocus: The Real Upgrades

Speed is the main advantage of putting a smaller sensor into a large camera body. It allows for smaller and lighter components that can move faster, and the smaller file sizes from the sensor are easier to process. The result is a one-two punch of fast capture and fast processing times.

The 7D Mark II is one of the fastest DSLRs on the market today — in several ways. First, it's one of the fastest for image capture: Shooting at 10 fps, it's just behind the DSLR speed champ, Canon's 12-fps-capable EOS-1D X ($6,800, body only). It's also fast at processing images, with a buffer large enough to handle 31 RAW files or an astounding 1,090 JPEG images before filling. While Canon hasn't specified the time required to process RAW images and clear the buffer, I've found it to be noticeably faster than with the original 7D.

The camera is also incredibly fast and accurate at focusing on subjects. In DSLR mode, the 7D Mark II uses the same 65-point autofocus system found in the top-end Canon EOS-1D X, but the 7D Mark II improves upon the EOS-1D X system.

The 7D Mark II is the second camera, after the 70D, to use Canon's Dual Pixel AF technology when shooting with the mirror up in live view or video. Most of the pixels on the sensor perform double-duty, capturing image data and working in tandem with another pixel to perform fast phase-detection autofocus during live view.

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This system also enables face detection for shooting stills in live-view mode or shooting through the viewfinder, which Canon's EOS iTR (Intelligent Tracking and Recognition) combines with information on the subject's distance, color and focus in order to lock on to a subject and track it as it moves. Instead of forcing the photographer to select which of the camera's several focus modes to use, the 7D Mark II presents simple, plain-language choices like "Continue to track subject, ignoring possible obstacles." This is remarkably easier than the complex settings required to track a subject with the Samsung NX1.

On a busy street in New York City, the Canon 7D Mark II kept up with this dancing Salvation Army worker, despite the constant stream of people cutting in front of him.

Overall Image Quality: Inconsistent Based on Lighting

Because the Canon 7D Mark II is aimed at pros, I evaluated it with the same eye I would when reviewing other professional cameras rather than enthusiast models. In that respect, image quality is a mixed bag.

The 7D Mark II is a big upgrade from its predecessor, the 7D. The new camera uses a pair of Canon's latest Digic 6 processors to clean up images, while the 7D used two Digic 4 chips. The newer processors should result in better images even though the 7D Mark II has a slightly higher-resolution sensor (and thus smaller pixels, which can compromise quality). To put this into context, I reviewed several thousand images I had shot with the original 7D when I reviewed it in 2009. The 7D Mark II handily beat its predecessor in many areas, including exposure, contrast and low-light quality.

I also compared photos from the 7D Mark II with pictures from the $1,200 Canon 70D (see review). I found the images produced by the 70D to be less noisy. The ISO 200 images from the 70D had as little noise (graininess) as the ISO 100 images from the 7D Mark II.

Here, we see the detail the sensor is capable of capturing, even in mixed lighting. It shows every drip of oil, every crack and every scratch in the cab of this locomotive. But, due to noise, the image is flat. I had expected less noise at ISO 500.

(Click on images to view larger versions.)

To see if the lighting conditions contribute to the relative noise of the file, I shot this building from f/2.0 to f/22 to rule out the aperture setting from contributing to the noise. Here, at f/16, we can see that there is an incredible amount of noise (graininess) in the building — considering it's a daylight shot at only ISO 200. By comparison, similar building shots I took recently while reviewing the Samsung NX1 are almost completely noise-free at this ISO, as you'd expect for such a low-sensitivity setting.

Here is a 100 percent crop from the same image to show the noise at a pixel-for-pixel level.

However, under brighter lighting conditions, there's almost no noise. Even in the shadow regions — which you'd expect to be noisy due to the wide dynamic range of the subject — the image is crisp and beautiful.

When you find a setting with conditions optimal for the 7D Mark II, the results are stunning. This shot of my son has great detail on his eye and eyelashes, and individual strands of hair are visible.

Another common area where an APS-C sensor has issues relative to a full frame camera is at high-ISO/low-light combinations. The 7D Mark II has much higher ISO capability than the 7D — a recommended range of ISO 100 to 16,000, with the option to go two f-stops higher, to ISO 51,200. That said, image quality declines rapidly as ISO goes up, even to a relatively low ISO 800 in the photo below.

We're already starting to see a marked loss in detail and increase in noise — problems we wouldn't see from a typical full-frame camera at this setting and that I didn't see from the NX1. Detail on the face is particularly poor in this shot, despite the camera's usage of face-detection autofocus. The skin tones are blotchy, and the shirt is dark and missing detail. Quality continues to decrease noticeably as the ISO climbs.

Here, at ISO 10,000, things get pretty grainy but much, much less so than the original 7D could ever hope to achieve. The older model would show a similar level of noise down to about ISO 4,000.

Because the noise here is uniform, I've found that just a touch of adjustment using luminance noise reduction in an editing program vastly improves the image. But again, because of the price of the 7D Mark II, the benchmark here is a pro full-frame camera, whose photos are cleaner straight out of the device.

Video Quality: OK

The full-frame Canon 5D Mark III is $1300 more expensive than the 7D Mark II (based on list price) and is renowned for its video quality. Because the 7D Mark II is a brand-new system with the new Digic 6 processor, you'd expect top-notch video. But the quality is not exceptional, and has a level of noise and jerky playback that are absent from cameras like the 5D Mark III.

While the 7D Mark II uses fast phase-detection autofocus while shooting video, it uses a secondary system for face detection in live-view mode.

Video taken by the unflattering light of New York City subway stations was surprisingly attractive, with the camera's automatic white balance neutralizing the harsh fluorescent lights. Using face detection, focus stayed put on this woman in this pair playing traditional Chinese instruments on the platform. She remains relatively sharp even as we move about to get closer and a different angle.

The 7D Mark II also passed one of our favorite autofocus torture tests: trying to keep focus on a subject as a flood of commuters continually passes by.

The 7D Mark II generally keeps its focus point on the guitarist's face, as you can see in this video showing the camera's rear screen. (We captured this quickly using an iPhone.)

Perhaps the 7D Mark II fails to impress partially because there have been so many new cameras recently with truly groundbreaking video at a similar price. These competitors include the Samsung NX1 and the $1,500 Panasonic Lumix DMC-GH4, which shoot 4K video and produce truly stunning quality at a similar lower price. (Sony's $2,500 Sony A7s also shoots excellent 4K, and it's especially capable at very high ISO settings.)

Controls: Pro All the Way

The control layout of the 7D Mark II is all-pro, and follows Canon's typical professional layout. Atop the camera is the mode control dial, which is devoid of scene settings, such as Portrait, found on amateur cameras.

The left side of the camera's back (when you're facing it) contains new Menu and Info buttons, as well as a button to control the picture settings (Vivid, Natural, etc.) for JPEG images, and playback control buttons for reviewing images. The other side of the viewfinder includes live-view controls. The same ridge on the top of the camera has the AF controls.

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Below that is the thumb control with a new toggle switch, the Q button for quick access to camera settings and the traditional rotating command dial with a Set button in the center. This button can be locked via a large and easily accessible toggle switch. For details on the camera's usability, see the table at the end of the article with the number of steps required to reach key settings.

Battery Life: A Bit Short

The Canon 7D Mark II battery is rated for 670 shots. This is not only lower than the figure for the Canon 5D Mark III (950 shots) but is even below the original Canon 7D (800 shots). While I didn't completely run out of juice during any of my shoots, none were full-day affairs. Based on the 670-shot rating and my experience, I recommend bringing a backup battery (around $80) to a full-day shoot. Still, battery life is far better than you'll find on a mirrorless camera; the Samsung NX1 is rated for just 500 shots.

Wireless and GPS: Mixed Bag

The 7D Mark II has GPS built in and can geotag images automatically. (Using GPS will curtail battery life, but GPS is off by default.) This is an incredible feature — one that's often offered in amateur cameras and should be standard in pro-camera bodies. Having GPS data in your photos really enhances image search and categorizing.

The 7D Mark II also includes a digital compass, so it can log the direction the camera was facing for each photo. All of this needs to be configured in the custom menu, along with the frequency of the polling of the GPS data (the less often you check your location, the longer your battery will last) and whether the camera tracks a separate log file — which is helpful if you'd like to overlay your shoot on Google Earth or other tracking software.

The 7D Mark II does not include built-in Wi-Fi, which is a shame because it would allow for remote shooting over Wi-Fi and the transfer of images without a card reader or USB cable. Canon's optional WFT-E7 attachment provides Wi-Fi connectivity — and a much better range than built-in Wi-Fi in other cameras typically provides — but it costs around $850. Despite that long range, I'd rather see wireless built in.

Lenses and Accessories: Huge Selection

The Canon 7D Mark II is compatible with Canon's full line of nearly 100 current APS-C and full-frame lenses as well as third-party lenses. Many of the APS-C lenses available are aimed at the amateur or the enthusiast: There are a lot of slow, variable f-stop zoom lenses (such as f-3.5-f-5.6) in the lineup, but also some faster models. And you can use any of the full-frame lenses.

For the sports and nature photographer, the ability to take a full-frame lens and extend the reach by a factor of 1.6 might be reason enough to buy the 7D Mark II. Take a 300mm telephoto into the veldt, and with the Canon 7D Mark II, you're shooting at an equivalent of 480mm. There are countless accessories for the EPS system, from macro kits to strobes to the Canon BG-E16 vertical grip/battery pack.

I tested the 7D Mark II with Canon's sharp 35mm f/1.4 full-frame lens ($1,500) and its 18-135mm f/3.6-5.6 lens ($500). The 35mm lens produced cleaner images with better aperture-based subject blurring, and the lens felt more appropriate for a professional-level camera.

Like all variable f-stop lenses, the 18-135mm felt like a compromise — one that few photographers spending $1,800 on a camera body are likely to want to make. As a result, I anticipate that users of the Canon 7D Mark II would benefit the most from working with full-frame lenses — which, of course, defeats some of the purpose of working with an APS-C system camera, since the pro lenses are so large and heavy to accommodate the full-frame sensor.

Bottom Line

The Canon 7D Mark II is an incredibly powerful, exceptionally fast camera and the fastest remotely affordable DSLR on the market. However, its image quality is just below what you'd expect from this type of camera, and as a result, less-expensive cameras like the Canon 70D and recent high-end modelsupstarts like the mirrorless Samsung NX1 produce better-looking images.

The 7D Mark II maximizes the range of Canon lenses and accessories, and for Canon shooters who need high speed, it's the best-performing device on the market. Sports and nature photographers who prefer Canon will love the reach of the APS-C sensor crop and the ability to track nearly anything, no matter how erratically it moves. However, if speed isn't at a premium, these photogs can get nearly the same autofocus performance, and less-grainy images, from the cheaper Canon 70D.

People prepared to spend nearly $2,000 on a camera body might be happier with a full-frame camera, such as the Sony A7 mirrorless series ($1,500-$2,000) or even a Canon 6D DSLR ($1,800) if they value image quality more than speed.

Controls in Detail

The table below shows the number of steps required to access each key camera setting. A setting that has a dedicated knob or button requires zero steps to access. The extensive physical controls on the 7D Mark II make it exceptionally easy to use.

Notes:
*If switching from DSLR mode. Zero if in live view mode.
**1 if shortcut button programmed

Key Specs

Model name: Canon EOS 7D Mark II
Megapixels: 20.2
Camera type: DSLR
Shooting speed: 10 fps
Sensor type: APS-C
Kit lens options: EF-S 18-135mm f/3.5-5.6 IS
AF points and type: 65-point full cross phase detection (SLR mode)
Shutter speed range: 1/8000 to 30 seconds, bulb
ISO range: 100 - 51,200
Main video resolutions/frame rates: 1920 x 1080 (50/30/24fps)
Video file formats: MOV, MP4
Built-in flash: Yes
Hot shoe: Yes
Card type: CF, SD/SDHC/SD
Ports: USB 3.0, mini HDMI out, audio-in/mic, headphone
Shots per charge (CIPA standard): 670
Wireless capability:  GPS (Wi-Fi via add-on)
Image stabilization:  Select lenses
Dimensions and weight: Approx. 5.9 x 4.4 x 3.1 inches, 32.1 ounces (body only)

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New from Nikon is the 24-megapixel D7200 ($1200, body only), an update to the popular D7100 DSLR. This DX-format (APS-C sized crop sensor) DSLR, offers a few new features to entice enthusiasts to step up their game.

Thanks to the latest Expeed IV chip, processing speed is about 30 percent faster than with the D7100, says Nikon, so the camera will be ready to shoot more quickly. In addition, the buffer has been increased to hold up to 100 JPEGs in burst mode before slowing the camera down, versus the D7100’s buffer limit of 33 JPEGs. This allows you to capture longer sequences of whatever action suits your fancy. 

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Images should be sharper, too, since there is no optical low-pass filter (OLPF), also known as an anti-aliasing filter. The OLPF’s function is to slightly soften images to eliminate moiré patterns and false color, but both are rare and easy to fix in editing software, so Nikon and other camera makers have been skipping the OLPF in new models. 

And the D7200 has built-in Wi-Fi and NFC for pairing and sharing images via Nikon’s Wireless Mobile Utility app for iOS and Android devices. The app also allows you to trigger the camera remotely.

Also new for the D7200 are additional Picture Controls, to complement the camera’s long list of scene modes. Of course, you’ll find advanced features such as full manual exposure modes as well as bracketing, noise reduction and Nikon’s D-Lighting, which expands image’s dynamic range to include more detail in shadow and highlight areas. 

Full HD video is available; and while the camera is equipped with a built-in stereo microphone, you can opt for an external microphone as well. These include the new ME-W1—a wireless lavalier microphone that records audio from up to 164 feet away. Available in March, this optional accessory will cost $250.

Also keep an eye out for Nikon’s new View NX-i browsing software, which is compatible with RAW files from Nikon’s Capture NX-D software and allows for easy sharing of images to social networks. 

The Nikon D7200 is slated to ship in early April; the wireless microphone in March. View NX-i will be available on March 17 as a free download.

Key Specifications

Model: Nikon D7200
Megapixels: 24
Type: DSLR
Price: $1200 (body only); $1700 with 18-140mm f/3.5-5.6G ED VR lens)
Shots per second: up to 6fps at full resolution; 7fps in 1.3x crop mode
Sensor type: CMOS/DX (APS-C sized)
AF points: 51 with 15 cross-type sensors
Shutter speed range: 1/8000-30 sec
ISO range: 100-25,600 (expandable to 51,200 and 102,500 equivalent in black and white only)
Main video resolutions/frame rates: 1920 x 1080 at 60 and 50 fps (1.3x crop mode only); 1920 x 1080 at 30, 25, 24 fps; 1280 x 720 at 60, 50 fps
Video file format: MOV
Built-in Flash: Yes
Hot shoe: Yes
LCD: 3.2-inch
Card type: Dual slots SD/SDHC/SDXC
Ports: high speed USB, HDMI, accessory terminal, stereo mic input
Shots per charge (CIPA standard): 1,110 (stills); approx. 80 minutes HD footage
Wireless capabilities: WiFi; NFC; GPS
Image stabilization: lens dependent
Dimensions/weight: 5.4 x 4.2 x 3.0 inches; 1 lb., 8 ounces (body only)

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Writer and photographer Theano Nikitas has been covering photography for almost 20 years and has reviewed hundreds of digital cameras as well as other digital imaging hardware and software. Follow her @TNikitas1 and on Google+. Follow us @TomsGuide, on Facebook and on Google+.

Astrophotographers, experienced and novice alike, now have a fresh option for capturing images of the cosmos. Nikon's new D810A ($3,800) is a modified version of its full-frame D810 sibling and is designed specifically to record deep space sites such as nebulae and distant galaxies either with Nikon's AF-S or AF lenses or with a telescope connected via a third party adapter. The camera is slated to ship in late May.

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Here's how it works: The D810A’s infrared (IR) cut filter has been modified to allow the H-alpha (Hydrogen-alpha) wavelength to pass through to the sensor. By doing so, the D810A captures a more intense red from heavenly bodies that emit the 656nm wavelength of light. Nikon claims that the D810A provides four times more sensitivity to the 656nm spectral line than the D810, which is good news for night sky photographers. Because of the special filter, however, the D810A should probably stay pointed at the night sky, since color reproduction for general photography won’t be as accurate as the D810's. This is particularly true for reds, blues and purples.

Nikon has equipped the D810A with other features to make astrophotography a little easier. The camera has a new Long Exposure Manual Mode so you can set shutter speeds ranging from 4 seconds to 900 seconds (15 minutes). Bulb is also available, which keeps the shutter open as long as the button is depressed. Signal-to-noise ratio has been enhanced to deliver better low light/high ISO performance within the camera’s native ISO range of 200-12,800, which is expandable by three f-stops to ISO 100, 25,600 and 51,200. To complement the D810A, Nikon’s free Capture NX-D image-processing software will include a new Astro Noise Reduction feature. 

A Virtual Exposure Preview Mode, which simulates a 30-second exposure in Live View with a brighter preview image, provides the ability to more accurately compose and focus. And, a red-light virtual horizon indicator won’t interfere with your ability to see at night once your eyes have adjusted to the darkness.

Astrophotography can be challenging, but the D810A makes capturing those distant, natural phenomena in the skies a little less daunting. This is, as far as we know, Nikon’s first foray into astrophotography. Canon has had a couple of cameras, most recently the 60Da launched in 2012, designed specifically for astrophotography. But the 60Da is built around an APS-C sized sensor. With Nikon’s full-frame, 36-megapixel sensor, newer technology and improved light sensitivity, we think that the D810A will certainly cause a stir in the astrophotography community and beyond.

Key Specifications

Model: Nikon D810A
Megapixels: 36.3
Type: full-frame DSLR
Price: TBD
Shooting speed: 5fps
Sensor type: CMOS
AF points: 9, 21 and 51 options
Shutter speed range: 1/8000 to 30 sec, Bulb (unlimited), long-exposure manual mode from 4 to 900 sec
ISO range: 200-12,800 (expandable to low 100; high 51,200 equivalents)
Main video resolutions/frame rates: 1920 x 1080 at 60, 50, 30, 25, 24 fps; 1280 x 720 at 60, 50 fps
Video file format: MOV
Built-in Flash: Yes
Hot shoe: Yes
LCD: 3.2 inches
Card type: CompactFlash and SD/SDHC/SDXC slots
Ports: Audio in, HDMI output, headphone connector, USB 3.0
Shots per charge: 1200
Wireless capabilities: Eye-Fi compatible; optional wireless transmitter WT-4A; UT-1 communication unit + WT-5A
Image stabilization: lens-dependent
Size/Weight: 5.8 x 4.9 x 3.3 inches; 1 lb 15.1 ounces (body only) 

• Best DSLRs – Beginner to Pro 
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Writer and photographer Theano Nikitas has been covering photography for almost 20 years and has reviewed hundreds of digital cameras as well as other digital imaging hardware and software. Follow her @TNikitas1 and on Google+. Follow us @TomsGuide, on Facebook and on Google+.

Fresh off of the success of last year's K-S1, Pentax returns with a new camera based on its mid-range DSLR, this time featuring a redesigned all-weather body, compact kit lens, and a slew of color options.

The $800 K-S2 takes the 20.2-megapixel sensor from the K-S1 and adds a retractable 1.5-inch 18-55mm, f/4.5-5.6 zoom lens onto a new compact weather-resistant body, which Pentax says is the world's smallest DSLR kit. Pentax has also subtracted the low-pass anti-aliasing filter for increased sharpness at the cost of potentially more jagged edges.

MORE: The Best Cameras Available Right Now

Aside from the decreased size, the K-S2's body has received significant changes. The colored LEDs from the K-S1 have been removed, leaving just the LED light ring surrounding the shutter. Pentax has also improved the 3-inch LCD display by adding a vari-angle arm that twists and folds out to the side for selfies. More advanced users will really appreciate the new dial on the back, giving users dedicated controls for both shutter and aperture, unlike the single dial on the K-S1.

With the K-S2's ability to compose selfies on its non-touch LCD screen, Pentax decided to add a selfie shutter button on the front of the camera too. Now you don't have to struggle awkwardly to frame a selfie while simultaneously trying not to drop the camera and press the shutter.

Sharing sees an improvement as well, with Pentax adding built-in Wi-Fi and NFC for easy pairing with a nearby phone or tablet via the Image Sync app (free on iOS and Android).

The K-S2 will be available in March with black, white and graphite/orange color options. In April, Pentax will follow up with the Sports Collection and Nature Collection, which will feature colors such as forest green, black/pink and white with a black racing stripe.

It's nice that Pentax cares about retaining its title as the most colorful camera maker, but even better to see a new camera that offers advanced features in a compact body without breaking the bank.

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Sam Rutherford is a Staff Writer at Tom’s Guide. Follow him @SamRutherford on Twitter, andTom’s Guide on Twitter, Facebook and Google+.

We're going to need bigger memory cards. With Canon's 50-megapixel EOS 5DS and 5DS R, the DSLR megapixel war has two new champions.

The $3,699 5DS and $3,899 5DS R (body only) start with the chassis and layout of the 5D Mark III. But they make some drastic changes to the insides, resulting in cameras with full-frame 50.6-megapixels sensors and dual DIGIC 6 image processors, boasting more than double the resolution of the $3100, 22-MP 5D Mark III. The former highest-res DSLR is the Nikon D810, which features a suddenly less impressive 36.3-MP, while on the mirrorless side, the Samsung NX1 tops out at 28.2-MP.

MORE: Best DSLRs of 2015 - Beginner to Pro

Canon is quick to point out that the Mark III isn't going away; Canon claims it will still be the camera of choice for people who want the best all-around features for pictures and videos, with its slightly faster burst shooting (6 fps for the Mark III vs. 5 for 5DS/5DS R) and much wider ISO range (100-25,600 versus 100-6400). The only new video feature of note for the 5DS/5DS R is the Time Lapse Movie mode, which creates an HD video in camera (up to 2 minutes 30 seconds in length) from a specified set of interval shots, a first on all Canon cameras.

The 5DS and 5DS R target studio and landscape photographers looking for super detailed pictures with every last bit of sharpness. The 5DS R even lacks a low-pass anti-aliasing filter, which was used for reducing jagged lines and moire (wavy patterns), but at the cost of detail. This the first time a Canon EOS DSLR will ship without a low-pass filter, although this technique has already been employed on Nikon's D810 and Samsung's NX1.

In the quest for ultimate sharpness, the 5DS and 5DS R also have a built-in unsharp mask-like feature called “Fine Detail” for improving JPEG photos, with adjustable settings for strength, fineness and threshold. These settings look to be a match for the kind of adjustments you would find in Photoshop or Lightroom.

While the button layout on the 50-MP beasts remains identical to the 5D Mark III, Canon has added a new Quick Control Screen for customizing the function of commonly used buttons and making specific settings easier to access.

With DSLR-leading resolution and additional features such as improved vibration control, and a new time lag mirror lock-up setting, the 5DS and 5DS R look to potentially replace medium format cameras from makers such as Hassleblad and Mamiya, which often have price tags well north of $10,000.

Finally, the 5DS and 5DS R borrow the auto-exposure system from the 7D Mark II for detecting and adjusting to difficult lighting situations such as sodium vapor lamps.

If you’re already drooling over the prospect of 50-MP Canons, you’ll have to wait until June to purchase them from the nearest authorized dealer. question

• Nikon D810 Review - The Best Gets Better
  
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Sam Rutherford is a Staff Writer at Tom’s Guide. Follow him @SamRutherford on Twitter, and Tom’s Guide on Twitter, Facebook and Google+.

Aspiring filmmakers and photographers will soon have new gear options. Canon today (Feb. 5th) announced two new DSLR cameras in its consumer-focused Rebel lineup, the T6i and T6s, which pack a slew of exciting new features. Both available in April, the Rebel T6i will sell for $750, and the slightly higher-end Rebel T6s will sell for $850 (each body only). There will also be lens bundle options, such as $900 for the T6i with Canon's standard EF-S 18-55mm STM kit lens and $1200 for the T6s with the longer EF-S 18-135 STM lens.

The most intriguing addition to these cameras is Canon's new 24.2-megapixel CMOS image sensor with hybrid autofocus technology that is supposed to make focusing faster and more accurate in video and live view photo capture. The new hybrid CMOS AF III is the company's third iteration of this system.

MORE: Best DSLRs for Every Skill Level

It will feature the same amount (80 percent) of dual-duty phase-detect pixels as in the previous generation, but scattered in more places on the sensor. Handling focus while the mirror is up for shooting video or photos in live view, these phase-detect pixels are similar to the autofocus sensors that the camera uses in traditional SLR mode. According to Canon, they should allow faster and more-accurate autofocus than the slower method of contrast detection that some previous Rebels relied on when the mirror was up.

SLR-style viewfinder shooting features a 19-point all cross-type autofocus system. The T6s and T6i can shoot continuously up to a relatively slow 5 fps.

The new Rebels also represent a series of firsts for the company. They'll be the first in the EOS range to come with built-in Wi-Fi and NFC capabilities for fast pairing with smartphones or tablets for photo transfer or remote control and for sending photos directly to Wi-Fi equipped printers. Both cameras are also the first in the EOS line to pack Canon's color tone detection system to improve exposure and focus on people in photos.

Both the T6s and T6i will pack Canon's latest Digic 6 image processor and a 3-inch vari-angle (tilting) touchscreen for navigating menus or tapping to select a focus point and snap a photo in live view mode. The higher-end T6s will offer several bonus features, such as a top LCD panel enabling a quick glance at settings and a dedicated quick control dial. The T6s will also feature servo AF in live view, another first for the Rebel line, to continuously track a moving subject and adjust focus for each photo during burst mode shooting sequences. For videographers, the T6s also features an input jack for attaching a better microphone than each camera's tiny built-in stereo mics.

Video specs aren't as high as they could be, however. Both Rebels shoot at only up to 30fps, rather than the smoother 60fps that rival DSLRs from Nikon provide. And video resolution is limited to 1080p HD, while several mirrorless cameras, such as the new $799 Samsung NX500 will provide.

In all, it looks like the new Rebel T6 cameras are enticing options for those seeking better autofocus performance, especially in video recording. Canon's Rebel T5, T5i and SL1 DSLRs will continue to be available.

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Staff Writer Cherlynn Low shoots with her Canon Rebel T2i. Follow her @cherlynnlow. Follow Tom's Guide at @tomsguide on Facebook.

LAS VEGAS — What happened to the D5400? Who cares? While many camera companies are saving new products launches for later in the year, Nikon unveiled its first ever touchscreen DSLR, the D5500, which succeeds the D5300 from 2013. Nikon also released two new lenses along with the D5500 at CES 2015 this week.

The D5500 comes in a choice of black or a gorgeous shade of ruby red, with a price tag of $900 for just the body, an even $1,000 for a kit with an 18-55mm lens. A kit with Nikon's 18-140mm lens runs $1400. The 24.2-megapixel camera’s standout feature is its 3.2-inch vari-angle LCD touchscreen, which tilts and swivels and fallows you to set a focus point with a tap.

Other improvements on the D5500 include a redesigned plastic monocoque body, which adds extra strength without increased heft. In fact, the new 14.9-ounce D5500 (body only) weighs 10 percent less than the 16.9-ounce D5300 (see review).

MORE: CES 2015 Day 2: Top 10 Stories

In a brief hands-on with Nikon’s new shooter on the CES show floor, I got a chance to feel the subtle differences of its reinforced body. Unlike the D5300, the D5500 has a more contoured grip that lets you really wrap your fingers around its right side. Despite being constructed from plastic, rather than the magnesium of more-expensive DSLRs, there was zero flex anywhere on the body.

I'm a Nikon shooter, and my years of pent-up frustration waiting for Nikon equip a camera with a touchscreen washed away as I tapped the 720 x 480 display to focus and shoot with a single touch. Nikon’s first touchscreen DSLR has been a little overdue, but it seems the delay has been worth the wait.

New lenses, too

Along with the D5500, Nikon also added two news lenses to its already impressive arsenal: the 300mm f/4E PF ED VR (image stabilized) telephoto lens for its full frame DSLRs, and a 55-200mm f/4.5-5.6 ED VR II zoom lens for DX (mainstream APS-C sensor) cameras like the D5500.

Billed as “the world’s lightest 300mm full-frame fixed focal length AF lens,” at 3.5 x 5.8 inches and 26.6 ounces, the $2,000 full-frame 300mm f/4E PF ED VR lens is almost 30 percent shorter and 1.5 pounds lighter than its predecessor, according to Nikon. The weight loss comes thanks to the use of what's known as phase fresnel optical technology. (That’s what the PF in the names stands for.)

The lens doesn’t come with a tripod collar (which does save weight). Since it’s about the same size and weight as the NIKKOR 24-70 f/2.8, the 300mm can use that zoom lens’ tripod collar. And, Nikon says that the VR delivers 4.5 stops of image stabilization so you should be able to handhold this baby.

The new 55-200mm DX lens makes a perfect companion for the D5500’s 18-55mm kit lens. Priced at $350, the new zooms gives you additional reach and flexibility for a great two-lens system with a combined full frame equivalent range of from a wide 27mm to a very long 300mm. The VR tag denotes the new lens's vibration reduction ability, which can compensate for up to three stops of light, especially useful for reducing camera shake at full zoom.

The D5500 and both new lenses will all be available in early February, so start saving up if you are looking to get the hottest new tech from Nikon’s CES showings.

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Sam Rutherford is a Staff Writer at Tom’s Guide. Follow him @SamRutherford on Twitter. Theano Nikitas (@TNikitas1) contributed to this post. Follow Tom's Guide on Twitter, Facebook and Google+.

A variation on the conventional DSLR, Sony's Alpha 77 M2 camera is an upgrade of its popular Alpha 77 SLT (single-lens translucent) camera. This system lets a portion of the light through to a dedicated autofocus sensor while sending most light to the image sensor, providing a full-time live view as found on mirrorless cameras for shooting stills and videos. The $1,050 (body only) A77 M2 features a speedy new 79-point phase-detection autofocus system and a large ISO range to capture more detail in extreme low-light situations. With these improvements, can the new Alpha continue to impress, and take on competitors like Canon's $1,200 (body only) EOS 70D?

Image Quality

In general, pictures shot with the A77 M2 turned out bright, sharp and beautifully colored. Sony provided us with an f/2.8, 16-50mm SSM zoom lens ($800) to test the camera. We evaluated the camera's ability to set the right aperture, shutter speed and ISO light-sensitivity levels for even exposure by shooting on shutter- and aperture-priority modes. The A77 M2 performed well at these tasks, for the most part.

Bright-Light Results: Vivid Colors and Sharp Detail

In bright settings, the A77 M2 performed very well. My pictures of Central Park's Sheep Meadow on a sunny Sunday afternoon showed vibrant green blades of grass and a deep blue sky. The camera also retained the fine detail of wispy clouds in the sky.

A portrait of my friend taken at the same place captured great detail with a pleasing shallow depth of field.

The A77 M2 accurately captured the pink and red strands in her hair, and kept the overall picture evenly exposed despite her bright white blouse. The flowers on her metallic necklace also rendered clearly. I did notice some distortion in this picture though, where people and trees in the background appear to be stretched diagonally toward the corners.

This photo was shot at the lens's widest focal length (16mm), which results in some distortion on most systems. So if you're getting this lens (which the A77 M2 is frequently bundled with), make sure to set the focal length a little narrower (20mm and up removes the distortion).

The Sony's color reproduction is as good as the quality from Canon's $1,200 EOS 70D DSLR, albeit with subtle differences. A colorful installation at the High Line park taken with both cameras showed similarly rich hues, with the Sony image showing a slightly blue cast while the Canon picture displayed warmer tones.

Low-Light Results: High ISO Range Captures More Detail

With a light-sensitivity range of ISO 100 to 25,600, the A77 M2 is capable of capturing brighter and sharper images in darker situations than competitors such as the Canon 70D (which can achieve ISO 25,600, though Canon recommends staying at 12,800).

At a night game during the US Open, my picture of the Arthur Ashe stadium lit by floodlights is so clear you can see individual people in their seats if you zoom to 100 percent.

In even more challenging light situations, such as the nighttime view from my 36th-floor Hell's Kitchen apartment, the A77 M2 delivered pictures with crisp detail. With a top limit of ISO 25,600, the A77 M2 was able to snap photos of the Manhattan skyline at shutter speeds of 1/60, which is fast enough for handheld shots. (Shooting in aperture-priority mode, I set the aperture to f/2.8 to enable that shutter speed.)

However, Sony's JPEG processor was a bit overzealous. The JPEGs of my nighttime cityscapes appeared muddy in parts, as if someone had finger painted the black sky. In comparison, the unprocessed RAW version of the same shot showed crisp detail, but naturally also plenty of chroma noise (sharp, colored dots). Using Adobe Photoshop CC, I easily reduced the amount of noise to output a crisp JPEG without that finger painted look.

MORE: Best DSLR Cameras

With the A77 M2, you should be able to rely on the camera's JPEG processor up to ISO 6400 to deliver pictures that are relatively noise- and smudge-free. If you start seeing the smudged texture on your images, you're better off processing the RAW version yourself. To be safe, make sure you're shooting in RAW+JPEG (at least in low light) so you have a chance to rescue images in editing.

Video: Good Image Quality, Slight Stuttering

Thanks to its translucent mirror technology with full-time phase-detection autofocus, the A77 M2 deftly kept moving targets sharp even as I panned from a close-up object to one in the distance. All the videos for this review were shot at 1080p and 30 and 60 frames per second, and recorded in AVCHD format. The M2 also shoots in MP4, but not at the Full HD resolution that you get with AVCHD.

On a sunny day in Central Park, I recorded the busy road full of cyclists, horse carriages and people milling around at 1080p 30fps. The video displayed little to no shutter roll – a distortion that happens when the camera is unable to keep up with a moving object, resulting in stretched images. The Sony's footage did show some stutter as I panned slowly across the scene, though.

In darker environments, such as the streets of the Las Vegas strip at night, the A77 M2 showed some shutter roll (also at 30fps) in the fast-moving limbs of a street performer as he cartwheeled in front of an amused audience. The overall exposure in the video was somewhat even. Bright lights in the background were not blown out, but the features of a darker-skinned performer were a bit lost in the shadow and hard to see. More impressively, though, the cartwheeling man was sharp throughout the clip, without significant shutter roll.

I then shot 1080p video at 60 fps, but noticed even more stuttering in the clips when panning across a scene. Stuttering was also somewhat noticeable when subjects in the frame were moving. You won’t notice this effect when playing back the clips in the camera, but you likely will on a computer. We asked Sony's experts about the issue, and they suggested it could be that the computers were not up to the task of playback. But we were using several high-end laptops, including a Dell Latitude 6430u and an Apple MacBook Pro Retina Display. Clips uploaded to YouTube also exhibited the stuttering.

It may be that the AVCHD files are so large that they would require some processing and compression to play smoothly on typical computers and online. Exporting 1080p files in the MP4 format might be better for most users, but the A77 M2 isn't currently able to do this. (Sony first introduced this capability in its new entry-level a5100 mirrorless camera.) For now, the best advice, if you are not shooting professional video, is to shoot in AVCHD but at 30fps.

The A77 M2’s onboard stereo mics picked up sound very well. In the Central Park video, not only was the clopping of horses' hooves distinct, but the chatter of the carriage passengers was also crisp. I could hear birds chirping and kids laughing in the background.

Sony vs Canon EOS 70D Video

Canon’s EOS 70D packs its own system, called dual-pixel autofocus, for tracking a moving subject while recording video. Canon’s technology has 80 percent of its image-sensor pixels run double duty, capturing images and acting as autofocus sensors at the same time. I tested this out at Madison Square Park, filming parkgoers going about their business.

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For the most part, there wasn’t a significant difference in the focusing ability of the two cameras. However, the Canon definitely outperformed the Sony, as it was able to shift focus quickly from a set of bars in the foreground to blades of grass behind the bars within a fraction of a second. The Sony focused on the bars but struggled to shift to the new subject.

Also, while you can tap on the LCD monitor to designate a subject on the Canon 70D, the Sony just decides what to focus on. You can half-depress the shutter while recording to force the camera to refocus, but during my testing this was often cumbersome and I could not get the result I wanted.

The Canon shifted focus with ease, creating a pleasingly artistic look, while the Sony held focus on the leaves for a second, then struggled between keeping the leaves and the bar sharp.

Autofocus and Speed

With a shooting speed of 12 frames per second (with autoexposure and autofocus adjustment for each shot) up to 25 images on RAW+JPEG mode, and a top shutter speed of 1/8,000 second, the A77 M2 is quite the speed demon. In comparison, the Canon 70D can shoot only 7 fps up to eight shots on RAW+JPEG mode.

Thanks to the Sony's swift performance, I was able to snap several shots of my friend frolicking on Sheep Meadow in Central Park – and each shot was tack sharp.

Carrying a 79-point phase-detection autofocus system, the A77 M2 latched on to subjects quickly. During video recording though, the camera had a tendency to shift focus midway through filming, blurring the subject.

Design and Handling: Solid, User-Friendly Build

At 5.62 x 4.12 x 3.25 inches in size and 1.42 pounds (body only), the A77 M2 is a hair lighter than the Canon EOS 70D (1.48 pounds, body only). A rubberized grip on the right of its magnesium alloy body has contours to rest your middle and ring fingers on, while your index finger sits comfortably on the shutter button.

The majority of the A77 M2's controls lie on the right side of its body. I especially liked the 3-inch tilting LCD display on the camera, which you can flip out, rotate and twist around to let you easily compose shots at a wide variety of odd angles — even selfies.

One little annoyance with the A77 M2 is the sensor that detects if you put the viewfinder up to your face. Meant to automatically switch the active display between the viewfinder and the 3-inch LCD monitor, it also turned the LCD black anytime my finger hovered within 2 inches of the viewfinder. Thankfully, you can disable the sensor and use a switch on top of the camera instead to switch between viewfinder and screen.

Battery Life

The A77 M2's battery is supposed to last for 410 images, using the viewfinder, or 480 images with LCD monitor, based on CIPA testing standards. I took the M2 with me to a three-day tech convention in Las Vegas and shot 474 pictures and 10 videos (about 45 minutes in total) on one charge with a mix of viewfinder and monitor use. That's better than the touted ability.

Wireless: Useless

The A77 M2 has Wi-Fi built in for sending pictures from your camera to your smartphone or to remotely control the camera. During my time with the Sony, though, the Wi-Fi sharing function did not work at all, whether I used iOS or Android devices. I connected the phones to the camera's built-in Wi-Fi hotspot, entered the password and waited an eternity for the two devices to link, but it never happened. Canon's 70D has better built-in Wi-Fi capability (though that's not saying much, as it's still rather clunky to set up).

For better wireless connectivity, consider using an Eye-Fi memory card, which gives almost any camera a Wi-Fi connection to your smartphone, tablet or computer. In tests, I've found Eye-Fi very easy to use.

MORE: Camera Buying Guide

Controls: Plenty of Knobs and Dials for Easy Use

It might sound intimidating, but the total of 17 buttons, three wheels, a switch and a joystick make the A77 M2 easy to use. If you've already picked the mode you want to shoot in with the Mode dial on the left, you'll find everything else (such as ISO, White Balance and exposure compensation) easily accessible with your right hand.

Thanks to the Fn button on the right of the LCD monitor, top-level controls were easy to access. These include exposure compensation, metering mode, ISO light sensitivity, white balance and drive mode. Just press the button and a 6 x 2 grid appears on the LCD or in the viewfinder. You can go through it with the joystick to adjust each box's setting with either wheel on the camera. You can customize this menu to show your preferred options.

A Menu button on the top left of the LCD offers more in-depth and less commonly used settings. Since there isn't a touch screen, you're dependent on the joystick next to the screen to navigate the multiple pages under each of the five major menu tabs.

When you press the Fn button while looking at a playback of a picture or video, you'll bring up options to send that file to your smartphone or computer via Wi-Fi.

The A77 M2 scored well on our test of how easy it is to reach key settings, thanks to a wide array of dedicated buttons. (Settings that have a dedicated button or knob, such as shutter speed, require 0 steps to access.)

* Measured in the relevant priority mode

Lenses

The Sony A77 M2 is compatible with 12 Sony A-mount lenses. The f/2.8 16-50mm zoom lens we tested provided good color and image detail with some distortion at its widest setting. The amount of stretching was reasonable though, and expected. You can reduce or get rid of the distortion by pulling back a little from 16mm to 20mm.

Sony also offers a f/1.8 35mm prime (nonzooming) lens for a low $218, which should be great for food and portrait photography. Both Sony and third-party lens maker Sigma offer a 50mm prime lens in the $400 to $500 price range, and sample pictures taken with the Sigma 50mm f/1.4 EX DG HSM setup show that this lens delivers good clarity and color.

The M2 is also compatible with a wide array of A-mount lenses from other third-party manufacturers, such as Tamron and Tokina.

Bottom Line

All in all, Sony's Alpha 77 M2 is a great camera that performs well in everyday situations. A large ISO range also makes it ideal for extreme low-light photography, while the translucent mirror system enables decent autofocus while you're shooting video. The camera is also easy to use, and I especially loved the tilting LCD for selfies or a variety of odd-angled shots. Plus, the Alpha 77 M2 boasts an impressively fast still shooting speed (12 fps) that puts rivals to shame.

Those who want a rig for video recording may prefer Canon's EOS 70D, which has a superb dual-pixel autofocus system that effectively latches on to and tracks moving subjects. But the 70D only shoots up to 30 fps, while the Sony gets up to 60 fps. So each camera has its strengths and weaknesses. Ultimately, if action photography is a higher priority for you than video, the $1,050 Sony Alpha 77 M2 is an excellent choice.

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I remember chuckling in the early 2000s when I saw the first cellphone with a camera, wondering why anyone would need it. Why use that little camera with a fraction of a megapixel resolution, when we had point-and-shoots that could do 3 or even 4 megapixels? You know how that story ends.

Fast forward to the selfie. The poorly framed, self-indulgent Facebook and dating-site photo is growing into one of the main picture types we take. Google's Sundar Pichai said, at Google I/O this year, that we take 93 million selfies a day. And the selfie phenomenon is spreading beyond cellphones to regular cameras, point-and-shoots, bridge and mirrorless models, even DSLRs.

HTC's new Desire Eye smartphone sets a selfie milestone. For the first time, the front-facing camera is as good as the rear-facing one — each having a resolution of 13 megapixels. That's more than the iPhone's main camera. Megapixels isn't the only measure of quality, and 13MP may be overkill (thought it allowed me to do some serious cropping in these photos). But it's a sign of how important the selfie is that HTC invested in such a camera for what will likely sell as a midrange smartphone model when it comes to AT&T later this year. (HTC has not revealed the price and availability of them.)

MORE: How to Take a Great Selfie

I tried the Desire Eye this week, and found that HTC really had thought through the process. The front camera's 22mm-equivalent wide-angle lens makes it easy to get a few people and your surroundings into the shot. So it's not just a close-up of your nose, but more like the old practice of setting a timer and then running into place with your friends before the camera snaps — without all that hassle.

The quality is impressive for both the front and rear camera. Selfies I took with both came out about the same, though a little better with the front camera, thanks to the camera app's adjustable skin-smoothing tool.

Though the new iPhone 6 (see review) and 6 Plus haven't increased the front-camera megapixel count (it's still 1.2), Apple has upped the selfie game by nearly doubling the camera's light sensitivity and adding a 10fps burst mode.

Even on the high end, the selfie is not to be ignored. Like its predecessor, the new Sony Alpha 77 M2 DSLR has a tilting, rotating, articulating screen that makes it relatively easy to capture professional-grade selfies — at 24.3MP and up to 11fps. The LCD on the superb Canon 70D DSLR can also be turned towards the shooter.

The selfie screen is especially catching on with mirrorless cameras. Olympus has put a flip-down screen on its first selfie camera, the E-PL7. Every recent Samsung model, even its new, pro-level NX1, has a flip-up screen. And Samsung's NX mini series is designed especially for selfies.

Flip-up screens are becoming standard fare in the bridge-camera category. Aside from the ability to switch lenses, these cameras are approaching the capability of entry-level mirrorless and DSLR cameras.

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And selfies aren't just for the kids. Last week I saw a woman, likely in her fifties, taking her picture in front of the oft-photographed arch in New York's Washington Square Park. When I offered to take a proper photo of her using the phone's rear camera, the woman waved me away. She wanted to compose her own photo and didn't need my creative ideas.

If you are practiced in the art of selfie-taking, none of this may be surprising. If you are not proficient in selfies yet, chances are you will be soon — whether or not that currently seems likely to you.

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Senior editor Sean Captain is trying to look less dorky in his selfies. Follow him @seancaptain and on Flickr at sergiocapitano. Follow us @tomsguide, on Facebook and on Google+.

Panasonic is selling a new high-end, mirrorless camera, the LX100, with a large, 12.8-megapixel sensor, its latest image processor, a metal body and even the ability to shoot ultra HD (aka 4K) video, all for $899. That price includes a 24-75mm (full-frame equivalent) Leica lens. Its large max apertures, from f-1.7 (wide) to f-2.8 (telephoto) beat the kit lenses that come with Panasonic's other mirrorless cameras. But the glass on the LX100 isn't a kit lens; it's the only lens, one permanently attached to the camera.

Long considered the dividing line between serious and casual cameras, the ability to remove a lens is growing less important at least to camera makers that are offering high-performance devices with fixed lenses. They may have a point. If you have one really good lens, do you need the ability to add another — especially if that entails more bulk and expense? 

MORE: Best DSLRs 2014

The LX100 is the latest, and unlikely the last, of a new breed of camera that promises to do everything a DSLR or traditional mirrorless camera can do, except shed its lens. Canon's G1 X line is another example. Canon's G line began in the year 2000 as a series of beefy compact shooters with advanced controls meant to be casual cameras for photographers weary of carrying their DSLRs. But up through the G16, they packed tiny sensors typical of a point-and-shoot camera.

Bigger sensors make the difference

With the GX 1, launched in 2012, and this year's successor, the $800 GX 1 MII, Canon dropped a far-larger 1.5-inch sensor — about 5X the size of the old sensor — into a body not much larger than the previous G16. That sensor is a scosche bigger than the so-called Four-Thirds sensors in Panasonic's mirrorless cameras.

With the LX100, Panasonic has made a similar change to Canon's. The new camera succeeds Panasonic's LX7, which despite its sophisticated controls also packed the same dinky-size sensor of Canon's older G cameras. The LX100 has a comparatively massive Four-Thirds sensor.

Fujifilm takes the trend farther with its X100 cameras. The newly announced X100T sells for $1,300 and features the even-larger APS-C-size sensor found in most DSLRs and higher-end mirrorless cameras, but it limits users to a fixed lens with a single, slightly wide-angle 23mm lens.

Features
Canon GX 1 MIIFujifilm X100TPanasonic LX100Sony RX100 IIISensor (% full-frame)1.5-inch (27%)
APS-C (42%)
Four-thirds (26%)
1-inch (13%)
Megapixels12.8
16.3
12.8
20.1
Top video formats1080p: 30fps
1080p: 60/30/24fps
UHD 2160p: 30/24fps
1080p: 60/30/24fps
1080p: 60/30/24fps
Lens (full-frame)24-120mm
35mm
24-75mm
24-70mm
Max apertures
f/2 - 3.9
f/2
f/1.7 - 2.8
f/1.8-2.8
Burst shots (fps)5.2
6
11
10
Screen3-inch, tilt, touch
3-inch, touch
3-inch
3-inch, tilt
Viewfinder
No
Optical/LCD hybrid
LCD
OLED
Shutter (sec.)
1-1/4000
1-1/4000
60-1/4000
30-1/2000
Flash
Built-in & hotshoe
Built-in & hotshoe
External (included)
Built-in
Sensitivity (ISO)100-12,800
100 - 51,200
100 - 25,600
125-12,800
Ext mic option
No
Yes
No
No
Dimensions (in.)
4.6 x 2.9 x 2.6
5.0 x 2.9 x 2.1
4.5 x 2.6 x 2.2
4 × 2.4 × 1.6
Weight (oz.)
19.5
15.5
13.9
10.2
Price
$800
$1300
$899
$800

--------------------------------

Sony has taken this trend the farthest, though. Its RX1R camera has the kind of giant full-frame image sensor found in professional DSLRs, and a fixed lens with a single wide-angle focal length of 35mm. It costs $2,800.

A more affordable option from Sony is its RX100 line. The current RX100 III (read review) costs $800 and has a 2.9X zoom lens. It generally has lower specs than competitors, but it's also about half the size — small enough to fit into a pocket, with slight shove. The camera's 1-inch sensor is the smallest of the bunch — half the size of the latest Canon's. But this Sony took great photos in our tests, often beating the Canon GX 1 MII in our head-to-head comparison. Meanwhile, Canon has just introduced a closer competitor with its own pocektsize, 1-inch sensor model, the PowerShot G7 X.

The fixed lens bargain

In exchange for the limit to a single lens, buyers of these new cameras get a much better lens than they might be able to afford with a DSLR or mirrorless camera. They sometimes get an overall better camera, too. Take Panasonic's new LX100. In specs, it falls between Panasonic's $800 (with kit lens) GX7 and its $1,700 (without lens) GH4 mirrorless cameras. The LX100 is actually closer to the latter, sharing the same fast autofocus system and ability to shoot Ultra HD video. And it shoots still photos nearly as fast – 11 fps vs. 12 fps.

The LX100 does skimp on a few features, though, such as an external microphone jack to record audio worthy of the 4K video. And instead of an OLED electronic viewfinder, it has an LCD viewfinder with a bluish tint that the engineers told me they won't be able to completely eliminate. The resolution of the LX100 is lower, but that's not necessarily a downside. Camera companies sometimes pack fewer pixels onto a sensor in exchange for larger pixels that work better in low light.

MORE: Panasonic GH4 vs. Sony AX100: 4K Consumer Video Cameras

Then there's the lens. The large apertures on the LX100 allow for better low-light performance. The camera also allows for pleasing shallow depth of field effects and the blurring out of lights in the background into soft circles — an effect called bokeh that serious photographers salivate over.

The closest lens with similar specs for the GH4 or Panasonic's other mirrorless cameras is the Lumix G X Vario 12-35mm (equivalent to 24-70mm) lens, which costs $1,000. Put that on the GH4, and you have a camera that costs $2,700 and is far larger than the $800 LX100.

Compared to the removable-lens alternatives, fixed-lens camera's like Panasonic's LX100 look like a heck of a deal.

Senior editor Sean Captain believes a camera can never be too small, as long as it doesn't leave out any features. Follow him @seancaptain and on Google+. Follow us @tomsguide, on Facebook and on Google+.

• I Haz Some Tips for LOLcat Photos
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The just-announced 24-megapixel, full-frame Nikon D750 ($2,300) bears little technological resemblance to its long-discontinued D700 predecessor. A lot has changed in digital imaging since the D700 was launched more than six years ago, and the D750’s features reflect the improvements that have benefited cameras like the D810 and the D4S.

Within Nikon’s full-frame line-up, the D750 fits neatly between the D610 and the D810, making it ideal for photographers stepping up from a DX (mainstream APS-C size sensor) DSLR, or as a back-up camera for D810 or D4S shooters. Several features—including Group Area autofocus and advanced video capabilities, to name just two—are borrowed from the D810 and/or D4S. But the D750 beats them as the first full-frame Nikon DSLR with built-in Wi-Fi and a vari-angle LCD for flexibility when shooting video as well as photos overhead and from low angles. 

Solid construction and specs

I found the weather-sealed D750 to be well built — based on my handling of it during a pre-release briefing — thanks in part to its magnesium alloy top, back and bottom construction. The camera also features a built-in flash, Dual SD card slots and a 3.2-inch vari-angle LCD. While some controls have been moved around to make room for the tiltable LCD and there are now separate video and still menus, Nikon shooters will be able to transition smoothly to this new camera.

MORE: Nikon D810 Pro DSLR Review: The Best Gets Better

Specifications indicate solid performance with 6.5fps continuous capture, more than 1200-4400 images per battery charge (depending how much you use the flash) or 55 minutes of HD video. Default ISO light-sensitivity ranges from 100 to 12,800, but you can expand that to a low of 50 and a high of 51,200. Autofocus, particularly in low light, has been improved as well.

Highlight weighted metering promises better exposure accuracy for images where the main subject is, for example, under a spotlight. (Think concerts and plays.) Picture Control—for stills and videos--now features a “Flat Picture” option that provides a broad tonal range. Image parameters can further be adjusted with the new Clarity slider, within Picture Control.

Impressive video options

As the first company to produce a DSLR with video (the Nikon D90), it’s no surprise that Nikon has been emphasizing video features in its DSLR line. Like the D810, the new camera offers a Power Aperture option that allows smooth changing of aperture settings for better transitions and less noise that might interfere with the video. Other features include Zebra patterning to indicate overexposed highlights on the screen when shooting video.

Like the D810, the D750 can output uncompressed video to an external recorder and simultaneously record compressed video to one of the SD cards. The camera has built in stereo microphones but also features a 3.5mm jack for an external microphone or headphone. 

Nikon has managed to pack a broad assortment of the latest features in this compact (5.6 x 4.5 x 3.1 inches) and lightweight (1 pound 10.5 ounces) DSLR. While I, and many other photographers, have been waiting for a D700 replacement for quite a while, it looks like Nikon has put together a camera that—at least for me—has exceeded expectations. I suspect that others who have been waiting for a D700 successor for so long will embrace this new model.

New Flash and wide-angle lens on the way

Also slated to ship in September are a new compact flash and wide-angle lens.

Like Nikon’s DSLRs, the company’s new $250 SB-500 Speedlight acknowledges the important role video plays in picture taking these days. In addition to functioning as a regular flash, the SB-500 is equipped LED lights that can function as a video light. The LEDs, which offer three brightness levels, are great for macro photography as well. 

Powered by only two AA batteries (others usually require four AA’s), the SB-500 measures a nicely compact 2.6 x 4.5 x 2.8 inches, and weighs only 8 ounces. The flash head tilts up to 90 degrees and can also swivel horizontally for bouncing light to avoid hard direct illumination. The unit can also be used as a commander or remote to trigger additional speedlights in a multi-flash setup. This simple-to-use speedlight reaches as far as 78 feet (at ISO 100) and should be good for shooting with wide-angle lenses (such as the new 20mm) with 16mm24mm coverage.

The $800, AF-S NIKKOR 20mm f/1.8G ED lens is the fastest (i.e. largest-aperture) 20mm lens in Nikon’s line-up. With a 94-degree angle of view (on a full-frame camera), this lens should work well for shooting architecture and landscapes, among other genres and is a solid options when recording video. The lens measures 3.3 x 3.2 inches and weighs 11.1 ounces.

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Writer and photographer Theano Nikitas has been covering photography for almost 20 years and has reviewed hundreds of digital cameras as well as other digital imaging hardware and software. Follow her @TNikitas1 and on Google+. Follow us @TomsGuide, on Facebook and on Google+.

Whether you're a professional photographer or you just want to shoot like one, the Nikon D810 is a DSLR with serious power. This $3,300 camera is an upgrade to the company's popular D800 and D800E models. It sports the same 36.3-megapixel resolution and full-frame capture, but with a range of improvements. There's a new 51-point focusing system; a buffer twice the size of that in the D800, to allow longer burst shooting; and a quieter shutter. Other notable improvements include a wider ISO light-sensitivity range, 5 frames-per-second capture speeds and a new higher-resolution OLED screen within the optical viewfinder. Add in face-detection autofocus during optical viewfinder shooting, and you have one of the best DSLRs money can buy.

Design: quieter and more comfortable

The D810 is very similar to the D800 that it replaces, although it has been tweaked to be more comfortable to hold. This improvement is especially welcome for shooters with small hands, like myself. Together, the D810's body and battery weigh about 34.6 ounces (981 grams), which is almost an ounce (20 grams) lighter than the D800. Although that's not a big change, every little bit helps when you're carrying heavy camera gear.

A built-in flash is useful for fill flash and for triggering Nikon strobes mounted off the camera. I believe every camera — even professional models — should have a built-in strobe, because fill flash is vital in so many situations, such as brightening faces shadowed by backlighting or evening out tonality with subjects in shadow.

Internally, the Nikon D810 has a host of new components, including a Kevlar- and carbon-fiber shutter that replaces the noticeable "thunk" on the D800 with a more gentle movement that causes less vibration. All DSLR shutters should be this smooth and quiet.

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Image quality: stunning

I spent a lot of time shooting with the D800, and its images are among some of the most incredible I've seen from any DSLR I've tested. Nikon claims the new sensor in the D810 further boosts image quality, though it's not clear if Nikon has done anything new, aside from removing the optical low pass filter (OLPF).

The D810 is one of the few DSLRs to come without an OLPF. It's meant to remove moiré — a pattern of wavy lines that appears in photos of fine lines or shapes that are too high-detail for the sensor. The D810 promises to eliminate this pattern without requiring the filter, thus resulting in sharper images.

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As megapixel count increases on a sensor, the amount of noise (graininess) tends to increase as well, since the individual pixels on the sensor need to get smaller and closer together. That means that noise is a concern with cameras like the D800 and D810, especially in low light. To that end, I evaluated many of the test images for this review at 100 percent size in order to see what's going on at a pixel level.

I tested the Nikon D810 with a number of Nikkor lenses, including the 35mm f/1.8, the 35mm f/1.4G, the 24-70 f/2.8G zoom and the 58mm f/1.4G. The D810 demands good glass because the sensor reveals so much detail that it magnifies the strengths or weaknesses of a lens. Even the venerable 24-70mm, a mainstay of so many photographers, had a slight softness to its images when compared to the supersharp 58mm or even the 50mm.

I tested the D810 by capturing images in both 14-bit uncompressed RAW files and JPEG at the highest resolution to compare the results. Samples in this review are original JPEGs, and I confirmed that they are faithful to how images appear in RAW. Our lab also shot photos of test patterns with the very sharp 58mm lens and used the imatest evaluation software to judge factors such as color accuracy and noise at different ISOs.

Bright-light results

In bright conditions, it would be hard to find a DSLR that produces better images than the D810. As part of the redesign of the camera's internals, the D810 now can shoot down to ISO 64. The extra f-stop of lowered light sensitivity really makes the camera more usable in bright sun (without the need for a light-restricting neutral density filter).

The level of detail the D810 captures is breathtaking, as is evident in this quick handheld shot of flowers at a park, and in a cropped section from that shot. The detail on the fly making a landing to the left of the bloom is astounding, the legs are clearly visible and the proboscis tongue can be seen extending toward the flower. 

(Click any photo sample for a larger version.)

In this image captured in Live View mode, we see again the amazing detail evident in the D810 files. While the goose's head moved a touch out of focus from the time the Live View autofocus locked on until the shutter tripped, the detail in the plumage is amazing.

The D810 is also a great portrait camera, yielding accurate skin tones and tons of detail, even when the subject is far from filling the frame, as in this shot. Taken with the 24-70mm zoom, this image also shows the need to have excellent glass on the D810.

If you look at the area of detail in the crop, you'll notice two things: a strange halo around the subject's ear that looks like backlighting (but isn't) and a purple cast on the asphalt that wasn't there in reality. This purple cast isn't camera noise (as it's not at all evident in images from the prime lenses I tested); it's some chromatic aberration being produced by the 24-70mm that's not noticeable on most other bodies.

Switch to something like the 35mm f/1.4 lens, and the results are stunning, even as the light starts to drop. This shot at ISO 360 shows tack-sharp focus on the eyes and eyelashes and great bokeh — the soft blurring of out-of-focus areas in a photo.

Low-light results

For the D800, low light used to mean shots starting at about ISO 400. With the D810, I was comfortable shooting subjects up to about ISO 640 without much concern about noise.

The D810 produces very minimal noise (graininess) at low ISO sensitivity settings. But starting at ISO 640, sensor noise becomes more noticeable than it would on the Nikon D4S. That camera has fewer (and thus larger) pixels on the same-size sensor.

MORE: How to Take Great Photos with a DSLR or Mirrorless Camera

In this twilight image, I pushed the ISO up a few stops to 1250 in order to stop down the aperture and still set a shutter speed fast enough for hand-holding the camera (something I do at a sporting event). The image has great detail and low noise for an ISO 1250 shot.

And here again at ISO 1600, we see minimal noise (relatively speaking) with a shot illuminated both by the daylight in the front of the building and the harsher work lights within. There's grain here, but vastly less than I'd expect from a sensor with such a high pixel count.

Even pushing to ISO 10,000 still produced amazingly clean results for a camera with this resolution, as is seen in this shot taken at twilight.

The lack of the OLPF on the D810 obviously raises some concerns about moiré. I tried very hard to find an image with the D810 where moiré issues cropped up, but it was much harder than I would have expected. In fact, the D810 was so good with typical moiré-inducing subjects, I'm starting to wonder if camera processing has moved to an era when the OLPF is doing more harm than good.

In this photo, the thin rows of wood might be enough to cause moiré, but they don't have any effect on the D810. This might be due to the in-camera processing of the file or because the D810 has such a high-resolution sensor. In any case, the lack of the OLPF results in considerably fewer instances of moiré than I would have expected.

I spent a day in New York City, shooting brick walls, grates, fabrics and almost any moiré-causing subject I could find. The best I could come up with was this grate at Highline Park. To be fair, looking at the grate with just my eyeballs induced a moiré effect, so I'm not sure I could expect anything better from the camera.(When you click for the larger image, the moiré disappears.)

Autofocus and shooting speed

The Nikon D810's autofocus is much faster and more accurate than the D800's. In fact, it's on a par with the D4S — which isn't surprising, considering the D810 uses the same AF system. The D810 had no problem tracking moving subjects and locking on, and the wealth of autofocus options gives the photographer the chance to tackle any scene. The 51-point phase-detection focus system can be set to single-point focus; 9-, 21- or 51-point dynamic focus; group area; or 3D tracking.

However, the camera had trouble locking on to the key part of a subject's face when face detection was not on. With the Nikon D3, D3S, D4 and D4S, when I lay a single-point AF sensor over a subject's eye, I get the eye in focus for a huge percentage of the shots. And once I've set that spot, the subject will continue to be in focus as it moves. With the D810, however, I got a much lower percentage of shots in which the eye was actually in focus when face-detection mode was off. As a result, hardly any shots retained focus on the eye as the subject moved.

MORE: Autofocus is the New Megapixel

When I turned on the face-detection focus, which is now available in the optical viewfinder, the camera got the eyeball in focus nearly every time. It's a marked difference, and it helped confirm my suspicion that I was getting less-than-perfect focusing with it off.

With face detection on, the D810's autofocus follows movement well. In this shot, it tracks an erratically moving subject (my son) as he weaves across a field and moves in the direction of the camera. All dozen shots in this set were in focus, from the one farthest away, under the sculpture, right up to the minimum-focus distance.

At 5 fps, the D810 can capture images fast enough for most types of sports photography. But more impressive than the capture rate is the number of continuous shots possible, thanks to that large buffer and fast processor. Although the camera cranks out 36-MP images, there's very little downtime.

I tested the camera by shooting 14-bit uncompressed RAW files plus JPEG Fine, and the buffer captured between 17 and 19 frames before slowing from the 5 fps rate (and still kept shooting more slowly). The D810 took only about 17 seconds to fully clear the buffer and return to full-speed shooting. The same test shot with RAW resulted in only 24 frames before the capture speed slowed and 15 seconds to fully clear the buffer. For JPEG Fine I captured 100 frames before the shooting rate slowed, and in a few seconds, I could shoot full-rate again.

Video quality

Video shooters will appreciate the new built-in stereo microphone (the D800 had a monaural mic) with corresponding displays in Live View, as well as the ability to shoot full HD at 1080p 60 fps. ISO is now auto-adjusting in video mode, preventing noticeable and distracting shifts in exposure as lighting conditions change. The camera also includes manual focus control and the ability to simultaneously record video to a card and output it via HDMI to an external monitor.

MORE: How to Shoot Great Video

Generally speaking, the video from the D810 was excellent, though there were a few issues.

In this video, the detail is striking (once I refocused on the subject), with ultracrisp edges. You'll notice that the highlights are overexposed, though that's not unusual in video, since there's a limited dynamic range compared to what you see in stills. (Video quality of sample may vary depending on your Internet service.)

Credit: David Schloss

Controls: plentiful and easy to access

The upper rear control buttons for autofocus lock (AF-L) and autoexposure lock (AE-L) are easy to reach and actuate on the D810, while the pointer finger operates the shutter release and the front control dial. The camera's rear has a normal complement of pro-level switches and buttons, including a dedicated control switch for the Live View modes that toggles between video and camera functions. It also features a control pad and a rear control dial.

The top of the D810 has a four-way switch for quick access to White Balance, ISO, Quality and Metering, while a ring dial controls the camera's capture speed, (Single, Continuous Low, Continuous High, etc.). The right side of the top deck has a mode selection switch, a dedicated movie button, an exposure compensation dial and a shutter release.

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The slew of buttons on the front of the Nikon D810 is one of the giveaways that it's a pro camera. On the right (when you're facing the camera) is a bracket control button (also programmable), a button to release the built-in flash, a button to control the flash setting (normal, rear curtain, etc.) and flash exposure compensation, an incident light meter (for flash exposures), and the autofocus control button and switch. On the other side are the front control dial and the programmable Preview and Function buttons.

The D810 scores very well in our test of how easy it is to access key settings. This table shows the number of steps required to access a setting. If there is a dedicated control, such as a dial for shutter speed, there are zero steps.

Service advisory 

As I was wrapping up my tests, Nikon announced a service advisory that the D810 might produce white spots in long-exposure shots and any shots taken in the camera's 1.2x crop mode, although that mode is largely used by video shooters. Cameras that were corrected in the factory have a black dot inside the tripod adapter mount; cameras that weren't corrected are silver inside the mount. Our test camera wasn't corrected at the factory, which means it will need at least a firmware update. Nikon asks that D810 owners contact the company with the camera's serial number to find out if their camera needs to be corrected, and how they can do so.

I tried very hard to make the white spots appear, shooting long-exposure shots ranging from 2 seconds to 30 seconds, and I didn't see any. Nevertheless, if you aren't in a hurry, it might be worth waiting until corrected models appear in retail. 

Battery life

The battery life on the D810 is impressive as well, and all of the tests for this camera were performed on a single charge — more than 1,000 images, plus videos, including battery-draining long-exposure tests. Nikon claims the camera will get up to 1,200 images per charge, which jibes with my tests. 

Wireless and GPS: available separately 

The Nikon D810 has no built-in wireless or GPS support, though these features can be added with Nikon accessories.

For wireless connectivity, the camera can be used with Nikon's WR-1 Wireless Commander or the WR-R10 with the WR-A10 adapter. For GPS geotagging that is added to the image's EXIF data, you can use the Nikon GP-1 or GP-1A GPS unit, or a compatible GPS device with the MC-35 GPS cord and D-sub 9-pin cable. 

Lenses and accessories: plentiful selection

The Nikon D810 is compatible with hundreds of lenses spanning several decades, including Nikon's Nikkor lenses and third-party lenses, using the Nikon mount. Of the lenses I have used with this and other Nikons, I especially like the Nikkor 58mm f/1.4G ($1,700 list price), the Nikkor 35mm f/1.8G ($200), the Nikkor 14-24mm f/2.8G ED ($2,000) and the Nikkor 24-70 f/2.8G ED ($1,900)

The Nikon system also works with a range of Nikon-branded and third-party accessories ranging from the aforementioned Wi-Fi and GPS units to remote triggers.

Nikon's flash system includes strobes that can communicate wirelessly, allowing for quick and seamless multilight setups without any cables. 

Bottom line

The Nikon D810 is an exceptional camera and a great successor to the D800/D800E. There are few shooting situations it can't handle, aside from fast-paced sports, where the frame rate is not quite fast enough. In fact, the D810 is such a well-rounded camera that, at around $3,300, it might make sense as the main camera even for the serious pro. Sure, the D4S has even better high-ISO performance and a faster frame rate, but at $6,500, it's double the price. Shooters might do better to pick up the D810 as their main camera and to rent a D4S for situations in which the higher speed is critical. 

If you already have the D800, I'd still recommend looking at the D810. The faster processing times, better ISO range and faster autofocus take it to a whole level above the D800, so it might be time for a trade-in.

Key specs

Model name: Nikon D810
Megapixels: 36.2
Type: DSLR
Price: $3,300, body only
Shots per second: max 5 fps in FX mode, 7 fps in DX crop
Sensor type: Full-frame CMOS
Kit lens: None
Autofocus 51 Point Phase Detect AF including 15 cross-type sensors
Shutter-speed range: 1/8000 to 30 seconds
ISO range: 64-128,000
Main video resolutions/frame rates: 1080/60p
Video file format(s): MOV
Built-in flash: Yes
Hot shoe: Yes
Card slot(s): CF and SD
Ports: HDMI, USB 3.0, Mic, 9-pin remote
Shots per charge (CIPA standard measure): 1,200
Wi-Fi and GPS: With adapters
Image stabilization: Via select lenses
Dimensions and weight: 5.8 x 4.8 x 3.2 inches, 34.6 ounces

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