Gear | Picturing Change

Compare Nikon D5100 vs D7000 vs D90 vs D3100

Choosing between the Nikon D5100, D7000, D90, and D3100:

A few months ago I wrote a post comparing the Nikon D90 vs D7000 vs D300s. Now that the D5100 is available, I am updating the comparison and include this new model, the highly competent successor to the Nikon D5000.

Nikon D5100 vs d7000 vs d3100 manual book compare choose
Detail of the Nikon D5100 – photo by author – copyright 2011 – please do not use without permission!

In the Nikon lineup, the D5100 sits just above the D3100, a bit below the aging D90, and a few steps below the highly capable and immensely popular Nikon D7000. You may see some comparison charts that make the cameras appear somewhat (or very) similar at first, but those charts don’t tell the whole story. They can even be deceptive. You really need to take a closer look at not just the specifications, but the features and how they are used in real life, and determine which camera is the right tool for your photography.

The D5100 boasts a 16 megapixel image sensor just like the D7000, shoots 4 frames per second in continuous mode, has HD video capability at 24, 25, and 30 fps, and includes a fully adjustable side-mounted rotating screen more similar to the Canon T3i and 60D than to the bottom mounted limited angle screen on the D5000. It is closer in specifications and price to the Canon T3i than the entry level D3100 and should prove to be an excellent option for new dSLR users plus those experienced enthusiasts wishing to upgrade their D50, D60, or even their D3000 to gain additional megapixels, video, and an improved rear LCD screen.

side by side review compare Nikon D5100 vs D7000 vs D3100 vs D90
Nikon 3100, D90, D7000 (D5100, not shown, is virtually the same size as the D3100) – photo by author at Newtonville Camera

Below I will spell out some of the differences in specifications and features, as well as what these differences mean and why they may or may not be important to you and your photography. Generally as the cameras increase in price and capability from the entry level model to the enthusiast pro-sumer model they gain more sophisticated autofocus and exposure metering systems, shoot faster (more frames per second) in continuous shooting mode, have more controls on the camera body for changing settings, have sturdier construction, and offer more menu and custom function options. As I always like to point out, when you are trying to determine which camera to purchase or upgrade to, you need to first consider and determine your needs, and then see which camera fills those needs. Not the other way around where you look at the new features and speculate if you really need or will use them. The latest cameras almost always have more impressive features and specifications than the preceding models, and the more expensive, higher-end models will offer more features and options than the lower-end models, but if your needs and shooting style don’t required those additional features and functions then it is possible that you can save some money and be completely happy with a less expensive model.

Sensor and Image Quality: The sensors of the D7000 and D5100 are greatly improved over the older D90 in a couple of ways (it is the same sensor in both cameras). The D7000 and D5100 have 16.2 megapixel sensors, where the D90 has 12.3 megapixels. The relatively new D3100 has a 14.2 MP sensor. This increase in resolution allows for more intrusive editing of the files in Photoshop, the ability to crop a picture and still obtain an image with high enough resolution for printing or display, and allows for larger prints. In addition, the improved sensor results in better performance at high ISO settings and in low light, better dynamic range, tonal range, and color sensitivity. Have a look at dxomark.com to compare the sensors – run your mouse along the red-to-green color bar to the right some of the graphs, such as Dynamic Range, to see how these differences affect images.

Exposure Metering: The D5100, while sharing a similar sensor to the D7000, does not have the same advanced metering system. It shares the less sophisticated 420 pixel RGB metering sensor of the D3100 and offers matrix metering, non-adjustable center-weighted, and spot metering modes. This system may be more than sufficient for many users, especially those not intending to adjust their exposure settings and dig into their menus in reaction to complex lighting situations. But if your shooting demands require more precise exposure metering and control over the size of the areas being metered, you need to consider the D90 or D7000. The 2016 pixel RGB metering sensor of the D7000 is also improved compared to the D90, and will result in more accurate metering performance of straightforward and complex lighting scenes and situations. Both these cameras offer matrix metering, center-weighted, and spot metering modes. With center-weighted metering on the D90, you can select the size of the center-weighted area to be a 6, 8, or 10mm center circle, and the D7000 adds a 13mm circle option to those. (If you don’t understand what this means or why you may need it, you probably don’t need it!)

Autofocus: The autofocus systems of the D3100, D5100, and D90 all have 11 autofocus (AF) points with the center one being a more accurate cross-type. These AF systems may be more than sufficient for most users, and they can successfully track moving objects in the frame such as athletes, performers, or animals. However, if you specialize in sports, action, wildlife, or bird photography, you are going to want to consider the much more sophisticated, accurate, and customizable AF system of the D7000. The D7000 boasts a significantly improved AF system of 39 AF points with 9 of them (in the center) being cross type. The AF system of the D7000 allows for you to use these points in various ways including automatic AF point selection, single point AF, and dynamic area AF using your choice of 9 points, 21 points, all points, or all points with 3D-tracking. With the D7000 you can also use a custom function to limit the AF system to 11 points, which may be more manageable for someone who wishes to manually select their AF points. (Have a look at this article for an in-depth explanation of the D7000 AF system and its capabilities)

review compare Nikon D5100 vs D3100 vs D7000 vs D90 side by side
Nikon 3100, D90, D7000 (D5100, not shown, is virtually the same size as the D3100) – photo by author at Newtonville Camera

Body, Construction and Size/ Weight: The D5100 is just slightly larger and a tiny bit heavier than the D3100, both weighing just over one pound. Both have plastic bodies and more limited buttons and controls that the higher end models. The D90 and D7000 appear very similar at first glance, but the plastic body of the D90 has been upgraded to the partially magnesium alloy body (top and rear) of the D7000. This adds slightly to the weight: 1.5 lbs for the D90 vs. 1.7 lbs for the D7000. The sturdier construction of the D7000 versus the D90 – including its nicer rubber gripping surfaces – creates the impression and feel of a more professional body. The D7000 also has weather sealing at the memory card and battery doors.

The higher end D7000 includes not only the 3″ rear LCD screen but also a top LCD panel for viewing and changing your settings. This is essential for photographers who are constantly changing their settings to deal with various shooting situations. It is worth noting that the magnesium alloy body of the D7000 does not fully extend around the front, and thus the area surrounding the lens mount is plastic. See this image of a D7000 skeleton next to one of a 7D for details. For most users, including even those using the camera daily or in rugged travel situations, the non-magnesium construction of the D5100 should be far more than good enough, strong enough, and durable enough.

Please know that the size and weight of these bodies is a result of their build, features, and capabilities. Those are the criteria that should be compared first, not the resulting size and weight. (Also be sure to read this post of Why How it “Feels” is not a valid Criterion for Choosing an dSLR.)

ISO: As mentioned in the Sensor and Image Quality section above, the high ISO performance of the D7000 is greatly improved over the D90. The tests at dxomark.com tell this story, along with the fact that the native ISO range of the D7000 is 100-6400 expandable up to 25,600. The D5100 shares these specifications, and should offer similar results. The D3100 has a native ISO range of 100-3200 expandable to 12800, and the range of the D90 is 200-3200. This means that with the D7000 and D5100 you can use higher ISO settings when required, such as in low light situations, and not have as much difficulty with digital noise, particularly in the shadow areas of images.

Controls: As with construction, the buttons and controls vary with these cameras. The D3100 and D5100 offer limited, basic controls on the exterior of the camera. However you can use the rear LCD screen to quickly change many settings, or else go into the menus. The D7000 offers an extensive array of controls on the camera body, allowing one to quickly change a large number of settings as they work, including focus mode and focus area settings, shooting mode, and exposure mode. The controls of the D7000 are similar to the D90 with some changes including the addition of the shooting mode ring under the mode dial (to change from single shot to high speed continuous to self timer, etc.), and the live-view switch with movie record button inside it. The top AF button of the D90 is incorporated into the AF switch and button at the base of the lens on the D7000. The D7000 also offers more white balance options than the other cameras, plus 2 customizable user settings (U1, U2) on the mode dial, and you can assign functions of your choice to buttons such as the Fn Button.

Menus and Custom Settings: These allow for greater control over customizing how the camera functions. The D5100 has less Menu and Custom Settings options than the D90 and the highly customizable D7000, and more than the D3100 (which offers no custom settings). These settings enable you to customize the operation, function, and controls to work how you want them to, including things like exposure increments, Live View options, tweaking how the autofocus system operates, setting more precise white balance settings, and customizing which button does what. There are ebooks such as my Nikon D7000 Experience and Nikon D5100 Experience which walk you through all of the Menu settings and Custom Settings so that you can set up your camera to work best for how you photograph, and also begin to learn to master all the advanced features, settings, and controls of these powerful dSLR cameras.

Brief commercial interruption: I would like to mention that I have written an eBook user’s guide for the Nikon D7000, and one for the Nikon D5100. After spending so much time studying, experimenting, writing about, comparing, and discussing these cameras, I decided to put some that knowledge into eBook form! The guides covers all the Shooting, Setup, and Playback Menu settings and every Custom Function setting – with recommended settings – plus discussions of how, when, and why to use the cameras’ settings and features, (metering modes, aperture and shutter priority modes, advanced autofocus use, focus lock, exposure lock, and more) for everyday and travel use, to help you take better photos.

Click HERE to learn more about Nikon D7000 Experience – and to view a preview, or purchase it!

And see HERE to learn about, preview, and purchase my ebook guide Nikon D5100 Experience.

Wireless Flash: The D7000 includes the feature of advanced wireless lighting using the built in flash as a commander for off-camera Nikon Speedlights. However, the D5100 and D3100 do not have this capability. With the D7000, you can set up one or more Speedlights in remote mode, then trigger them wirelessly with the built in flash of the camera.

Viewfinder: The D5100 has a pentamirror viewfinder with approximately 95% coverage of the actual resulting image, just like the D3100. The higher quality pentaprism viewfinder of the D90 gives 96% coverage of the actual resulting image, while the D7000 has a larger, brighter pentaprism viewfinder with 100% coverage. While in-and-of-itself, a 95% viewfinder works just fine, when you compare it side-by-side with the large, clear view of the D7000, you can see and understand the advantages of a clearer view of your entire scene with a 100% view, pentaprism viewfinder.

Processor: The Nikon D5100 and D3100 use the fast Expeed 2 image processor just like the D7000. This allows for more video options including full 1080p HD at 24fps, overall faster processing of stills and video files, and the ability to maintain fast continuous speed shooting for numerous frames. The D90 has the older Nikon Expeed processor, which is also fast enough to handle its processing needs.

review compare D7000 vs Nikon D5100 vs D3100 vs D90 size
Nikon 3100, D90, D7000 (D5100, not shown, is virtually the same size as the D3100) – photo by author at Newtonville Camera

Continuous Shooting Speed: As you work your way up the Nikon dSLR line-up the cameras’ continuous shooting speed and maximum shots at that rate increases. The D3100 shoots 3 frames per second (fps) in continuous shooting mode, the D5100 shoots 4 fps, and the D7000 shoots 6 fps for up to 100 shots. The D90 can shoot 4.5 fps up to 100 images. If you often capture action and really need the higher frame rate, such as for sports, action, or wildlife shooting, you are going to have to seriously consider the D7000 over the other cameras. Paired with its advanced autofocus system, this fast frame rate can sharply capture moving objects is all types of situations. A nice feature of the D7000 is that you can adjust the low speed continuous mode to shoot anywhere from 1 to 5 fps, using the custom settings.

Memory Card: The D5100, D3100, and D90 all use a single SD memory card. The D7000 accepts 2 SD cards, where the second card can be used in a variety of ways: overflow when the first card fills up, JPEG on one / RAW on the other, or mirrored backup of the first card. The second card can come in handy as well if one is shooting video files, and one card can be designated for stills and the other video.

Battery and Battery Grip: The D5100 and D3100 both use the EN-EL14 battery, and the D7000 uses the new, higher capacity EN-EL15 battery, which will last for over 1000 shots. The D7000 accepts the optional MB-D11 battery pack/ vertical grip which is constructed of magnesium alloy. The D90 uses the EN-EL3e battery and its optional battery pack/ vertical grip is the MB-D80. The D5100 and D3100 don’t accept a battery grip. The battery pack /grip is handy for providing the ability to use a second battery and thus prolonging shooting time, and also creates a larger camera body which some users find more comfortable, especially when shooting in portrait orientation.

Full HD video: The D5100 shoots 1080p and 720p video at 24, 25, and 30 fps. The D3100 shoots 1080p at 24 fps and 720p at 24, 25, and 30 fps. The D7000 also shoots 1080p at 24 fps only and 720p at 24, 25, and 30 fps, up to 20 minutes with full-time continuous autofocus. The D90 offers 720p video at 24 fps, with a 5 minute shooting time.

Ease of Operation: While beginners may find all the buttons, controls, and menus of any dSLR difficult and confusing at first, the menus and controls of the D5100 and D3100 are pretty basic and simple to learn for a dedicated user. The additional controls and menus of the D7000 and D90 are all quite intelligently designed and will become intuitive and straightforward for the more advanced user once they are learned and understood. Again, have a look at helpful guides such as my Nikon D7000 Experience and Nikon D5100 Experience to begin to learn to master all the advanced features, settings, and controls of these powerful dSLR cameras.

If you are interested in comparing the D5100 or D7000 to the comparable Canon models, have a look at these articles:

Nikon D5100 vs. Canon T3i

Nikon D7000 vs. Canon 60D (and 7D)

Purchasing these cameras: If you plan to buy any of these cameras, accessories, or anything else through Amazon.com or Amazon.com UK, I would appreciate it if you use my referral links. Your price will be the same, and they will give me a little something for referring you, which will help support my blog. Thanks! In the USA, use the links throughout this post or use this referral link to Amazon. And for those of you across the pond, click here for my referral link to Amazon UK. Thank you for supporting my efforts!

See the Nikon D5100 with 18-55mm Lens on Amazon $899

See the Nikon D5100 – Body Only on Amazon $799

See the Nikon D7000 – Body Only on Amazon $1199

See the Nikon D7000 and 18-105mm Lens on Amazon $1499

See the Nikon D3100 with 18-55mm Lens on Amazon

See the D90 on Amazon $739 body only or $1049 with 18-105mm lens

Purchasing from the UK? Use my Amazon UK referral link here. If you wish to purchase from B&H Photo, Adorama, or direct from Canon, please click on their logos on the left side of this page or on the Gear page. Thanks!

Accessories and Books: Now that you are on your way to deciding on a camera, you should also start looking into photography gear, accessories, and books. Check out these links, dSLR Photography Gear, Accessories, and Books, which discusses essential gear plus accessories specific to Nikon cameras; Equipment for Travel Photography, which discusses useful and practical photo accessories and equipment for both everyday and travel photography.

And to sum it all up, here is a brief, mostly serious synopsis to help you make the camera decision:

Get a Nikon D3100 if you are new to photography or to digital SLR photography and don’t want to spend a lot of money on a camera because you might only be using it on Auto mode, or if you don’t plan to really “get into” photography beyond taking better photos than you are able to with your compact point-and-shoot and having the ability to use various lenses. The D3100 is a camera one could outgrow in time if they work at their photography and advance. See the Nikon D3100 on Amazon.

Get a Nikon D5100 if you are new to photography or to digital SLR photography and think you will want to experiment beyond Auto mode, or want to upgrade from an older entry level model because you want higher image quality and more mega-pixels, or HD video. If you have been happy with the features and controls of your previous basic dSLR camera and have not discovered the need, in your use of it, for any specific additional advanced features, there may be no need to look beyond the D5100. The D5100 is a camera one can grow with, but it is also one a user could outgrow if they are dedicated to their photography and start to require more advanced capabilities. See the Nikon D5100 on Amazon.

Get a Nikon D90 if you have outgrown the capabilities of an older Nikon like a D3000 or D40 through D60 due to your greater experience and more demanding shooting needs which require more direct or sophisticated controls and customization options. Or you have been pretty pleased with your D70 or D80 and its features but wish to upgrade for the increased image quality and mega pixels (or HD video). And/ or you need a more rugged camera for your frequent and demanding shooting and off-the-beaten-path traveling needs. Or if you need the increased 4.5 frames per second continuous rate to shoot sports or action. If you typically shoot on Auto or Program mode, you may not need a D90. If you do not manually select your own focus point and have never used exposure compensation you may not need a D90. If you have never used the AE-Lock [AE-L] button to lock exposure you may not need a D90. If you don’t understand the relationship between aperture, shutter speed and ISO and don’t intend to learn more about it, you may not need a D90. Or unless you plan to dedicate yourself to learning this camera and the principles of SLR photography and grow into this more advanced camera, consider saving the money or using it towards a better lens. The D90 is a camera one would not outgrow as it has advanced features and capabilities, but its drawback is that it is now outdated. See the Nikon D90 on Amazon.

Get a Nikon D7000 if you have extensive experience with a D3000, D40 through 60, or D70 through D90 camera, and you know and understand most of the D7000’s advanced features and customization options, and you specifically need some of them for your demanding shooting needs. If you haven’t passed the above “criteria” for a D90, you probably don’t need a D7000. If you have never used A aperture priority mode or M manual mode, you probably don’t need a D7000. If you have never used autofocus tracking settings to track a moving subject across your frame and worried how an interfering object would affect your focus you might not need a D7000. If you have never used spot metering to determine a critical exposure level you may not need a D7000. Or unless you plan to dedicate yourself to learning this camera and the principles of SLR photography and grow into this very advanced camera, consider saving the money or using it towards a better lens. However, if you often need to take 100 consecutive photos at the rate of 6 frames per second, you do need the D7000. Immediately. Even if you just sometimes need that. Totally worth it. That’s 16.67 seconds of continuous shooting. Who doesn’t need that? You’d make Eadweard Muybridge proud. The D7000 is not a camera one would outgrow for a long time, and in fact will meet many of the demands of a professional. See the Nikon D7000 on Amazon.

(Please note, the D3100, D5100, D90, and D7000 all have these features and capabilities I just listed: manually selected focus points, exposure compensation, AE-Lock, auto-focus tracking, and spot metering. I’m just using them as a determination of your experience level and needs.)

Was this post helpful? Please let others know about it by clicking the Facebook, Twitter, or Google+ sharing buttons below, or linking to it from your blog or website, or mentioning it on a forum. Thanks! Want to help support this blog with no cost or effort? Simply click on the Amazon and B&H Photo logos on the left side of this page to go to those sites and make your purchases. They will then give me a little referral bonus!

Camera Equipment Shortages Expected

As I expressed in a previous post, camera equipment might be of little concern to victims of the natural disasters and their ongoing effects in Japan. For someone planning on purchasing equipment for an upcoming assignment or trip, however, it is important to know that camera equipment shortages of dSLR cameras and lenses are already being reported and is evident by the stock listed on major retailers’ websites. The earthquakes and tsunami in Japan have affected manufacturing and the supply chain of products or parts needed to assemble the products, and these effects could continue for months.

If you are planning to make a camera purchase in the near future, or if you need certain equipment for an assignment or trip you have planned in the upcoming months, it might be wise to go ahead and make those purchases now.

the Nikon D5100 and the Canon T3i

The latest addition to the Nikon dSLR line-up is the versatile Nikon D5100, which replaces the D5000. It sits just above the D3100 in the Nikon consumer offerings, and a bit below the D90 and D7000 – both sturdier and more sophisticated cameras. The D5100 boasts a 16 megapixel sensor (like the D7000), and a swivel screen more like the one on the Canon T3i and 60D, attached at the left side, rather than the less convenient bottom swivel of the previous D5000. (see my post comparing several of the latest Canon dSLR cameras here, and one comparing the Nikons here.)

Nikon D5100 book manual how to instruction download vs Canon T3i
Nikon D5100 – photo by author – copyright 2011 – please do not use without permission!

The D5100 shoots 4 frames per second, faster than the 3 fps of the D3100, and of course has 1080p HD video with all the frame rate options. The D5100 now has in-camera processing filters like those of the 60D and T3i (including miniature, high or low key, and selective color in the Nikon). And it has the 11 point AF system, with one cross type sensor, like the D3100.

Canon T3i vs Nikon D5100 compare side by side
Canon Rebel T3i on left, Nikon D5100 on right

First, a Comparison of the Nikon D5100 vs. the Canon Rebel T3i specs, to see how they stack up “on paper”:

Canon Rebel T3i / EOS 600D

18 megapixels
Articulating rear LCD screen
1080p HD video with all the frame rate options
9 point autofocus system with 1 cross-type sensor
3.7 frames per second continuous shooting for a maximum 34 JPEG burst
63 zone dual layer exposure metering system – the same as the one in the 60D and 7D
In-camera image processing filters plus RAW to JPEG, cropping, and other options
Some scene modes
ISO range 100-6400
95% viewfinder with .85 magnification
1.26 lbs with battery
Accepts optional battery pack / vertical grip – the Canon BG-E8
Wireless flash control of external Speedlites with built-in flash
Compatible with and autofocuses with all Canon EF and EF-S lenses
Depth of Field preview button
Full manual video exposure control
Exposure Simulation of approximate image exposure and histogram in all Live View shooting modes

Canon T3i vs Nikon D5100 compare side by side
Canon Rebel T3i on left, Nikon D5100 on right

Nikon D5100

16 megapixels
Articulating rear LCD screen
1080p HD video with all the frame rate options
11 point autofocus system with 1 cross-type sensor
4 frames per second continuous shooting for a maximum 100 JPEG burst
420 pixel RGB metering sensor like the one in the D3100, not the 2016 pixel RGB metering sensor found in the D7000.
In-camera image processing filters
A lot of scene modes
ISO range 100-6400
95% viewfinder with .78 magnification
1.2 lbs with battery
Does not offer an official Nikon optional battery pack-vertical grip (3rd party grip now available)
No wireless flash control of external Speedlights with the built-in flash
No autofocus motor in body, and will not autofocus with non-AF-S lenses, such as the 50mm f/1.8
No Depth of Field preview button
Also an auto HDR feature where the camera combines 2 images to create an image with extended tonal range.
NO full manual video exposure control
Exposure Simulation of approximate exposure in P, A, S Live View shooting modes. NO Exposure Simulation in M mode. NO histogram in any Live View mode.

Canon T3i vs Nikon D5100 compare side by side
Canon Rebel T3i on left, Nikon D5100 on right

As you can see, both cameras are incredibly similar as far as specifications, and it looks as if the price may even be nearly the same. The wireless flash capability, better exposure metering system, and ability to autofocus with all compatible lenses are all definite advantages for the Canon T3i. But the D5100 offers in-camera Auto Distortion Correction (such as when using a wide-angle lens) and a faster rate and higher number of continuous shots in a single burst. (But with any camera, consider if you ever really need to take a 100 shot burst, much less a 34 shot burst. If you shoot like that, you should probably be looking at a Canon 7D or Nikon D7000!) Another deciding factor may be which camera feels more comfortable in your hands as you are using it and accessing the typical buttons and controls (not simply holding it and and checking its weight and general “feel”), which controls and menus seem better placed and easier to navigate for you (though either are equally easy to learn and to become used to using), and which system you want to invest in for the long term (lenses, flashes, etc.). The Canon T3i is a slightly larger camera, plus allows for the optional battery grip. The D5100 is not compatible with an optional Nikon vertical grip (edit: a 3rd party has now made an optional battery grip for the D5100). A look at the image quality here seems to show that the Canon’s JPEG images straight out of the camera are sharper, have more clarity, and more color “punch,” but these types of settings are widely adjustable with the Picture Settings or Picture Controls.

Also, while the specs look similar on paper, there are numerous small differences that are encountered in actual use, which begin to add up and become significant if they affect the features and controls you will be using. For example, one important one is how the settings are changed using the “i” or “Q” buttons and the rear LCD screen. If you change your settings often, you will see on the D5100 Information Display Screen how you have to navigate down the line through each setting to get to the one you want then enter a second menu to change it. On the T3i Quick Control screen, you can jump quickly to the setting you want then simply turn the Main Dial to quickly change it without opening up a second menu. So that is a speed and convenience issue that would be noticeable if you are one to change your settings often, on the fly. And while the rear LCD screens appear nearly similar, the 3:2 aspect ration of the screen on the T3i matches its sensor ratio, so images viewed during playback are seen larger on the Canon screen than on the Nikon Screen, possibly allowing you to inspect the focus and details slightly better.

There are other small but potentially important differences between the two cameras that are worth considering if you have specific needs (especially full manual control of exposure in video mode – see below). For example, while in Live View, both cameras have Exposure Simulation so that as you change your exposure or exposure compensation settings, you will see the approximate resulting exposure on the image on your rear LCD screen. However, with the D5100, Exposure Simulation does not function while in Manual M shooting mode. This could be a deal-breaker if you use and need that feature. Using the T3i in Live View you can optionally view the histogram to help determine proper exposure, however the histogram is not available on the D5100 when using Live View in any shooting mode.

Also, do you make use of Spot Metering mode? You may prefer the viewfinder of the T3i, as it indicates the Spot Metering area with a circle, while the D5100 does not. But, there is a very good reason the D5100 doesn’t have the center spot, and that is because in the Nikon, Spot Metering is linked to the selected AF point, and so not necessarily to the center AF point and center of the frame. This is obviously a very useful feature and maybe you’d prefer that your camera’s Spot Metering works that way.

Canon Rebel T3i viewfinder with 9 autofocus points and Spot Metering area indicated in center

Nikon D5100 viewfinder with 11 autofocus points but Spot Metering area not visually indicated because it is linked to the active AF point

As mentioned, it is not possible to see actual exposure simulation with the Nikon D5100 in Live View while in Manual M shooting mode. However, in the P, A, or S shooting modes, the live view image will lighten or darken to simulate the exposure settings or the exp. compensation that you set. And to add insult to injury, there is no exposure meter displayed on the Live View screen, so to check your exposure you will need to temporarily leave Live View and switch to the control panel view by pressing the [i] Button. The Canon 60D and Canon Rebel T3i both have Exposure Simulation in all modes during Live View. On the 60D you can turn this feature off and on. On the T3i it is on automatically while in Live View.

Manual Control of Exposure in Video Mode: It was quickly discovered by D5100 users that the camera does not offer full manual control of exposure in video mode. The T3i offers this ability. This is pretty important if you are serious about shooting video. However, there is a “work-around” for this deficiency. To manually set your shutter speed, you must set the camera on Shutter-Priority Auto Mode (S) and set your desired shutter speed before going into Live View mode, use exposure compensation to obtain the aperture setting you want, and use the AE-L/AF-L Button to lock that exposure (set Custom Setting f2 for AE-Lock Hold). If you wish to first set the aperture setting, you must set the camera on Aperture-Priority Auto Mode (A) and set your desired aperture before going into Live View mode, use exposure compensation to obtain the shutter speed setting you want, and use the AE-L/AF-L Button to lock that exposure (set Custom Setting f2 for AE-Lock Hold).

The Canon T3i comes with a much more comprehensive and user friendly user’s manual than the small brochure size user’s manual of the Nikon D5100, although the more detailed D5100 Reference Manual is available as a file on the included Reference CD.

To gain further understanding of what the specs, features, controls, and functions of these cameras mean in relation to real life shooting and camera use, have a look at the articles that compare the various current Canon dSLR models and Nikon dSLR models.

If you decide on the Canon T3i, please be sure to check out my ebook, Canon T3i Experience, and if you choose the Nikon D5100, have a look at my ebook Nikon D5100 Experience. Each of these guides will help you to take control of your camera in order to consistently capture better images!

See and purchase the Canon T3i with 18-55mm lens on Amazon

See and purchase the Nikon D5100 with 18-55mm lens on Amazon

Was this post helpful? Please let others know about it by clicking the Facebook or Twitter sharing buttons below, linking to it from your blog or website, or mentioning it on a forum. Thanks!

Want to help support this blog with no cost or effort? Simply click on the Amazon and B&H Photo logos on the left side of this page to purchase from their sites, or click on the links throughout this post to view and purchase those products on Amazon. They will then give me a little referral bonus!

Top 10 Accessories for Your Canon Rebel T3i / EOS 600D

I have updated this post for the Canon Rebel T5i / EOS 700D and the Rebel T4i / EOS 650D, which you can now view on this blog here:

Top Ten Accessories for the Canon T5i / EOS 700D

All of the accessories still apply to the T3i and the T2i (EOS 600D, 550D).

Black and White Challenge Addendum

The Nikon P300 has been released, and since it joins the same class of cameras as the ones I used in the Grainy Black and White Challenge, I’ll add an image from the Nikon P300 using its High-Contrast Monochrome setting.

The previous cameras that I used to compare their grainy black and white settings included the Olympus XZ-1, the Canon S95, and the Panasonic Lumix DMC-LX5.

Here is the entry from the P300. To get to this setting, you set the mode dial to Scene Mode, go to Special Effects, and set it for High-Contrast Monochrome.

Nikon P300 – High-Contrast Monochrome

See the the Grainy Black and White Challenge post for more info, and have a look at a larger version of the image on Flickr.

The Canon 70-300mm DO Travel Companion

In some of my posts, such as the one about the Best Lenses for Travel and Humanitarian Photography, I venture to suggest a good single lens for travel. My recommendations have typically been the Canon 18-200mm f/3.5-5.6 or the more expensive Canon 24-105 f/4L. Both offer a useful focal length range for travel, image stabilization, and excellent image quality (relative to their price, of course – the professional L lens is of much higher quality). The 24-104mm also boasts the fast and quiet USM focusing motor.

One lens that I have previously failed to mention is the unique Canon 70-300mm f/4.5-5.6 DO IS USM lens. Its broad focal length range, image stabilization, and USM focusing motor with full-time manual focus* are all appealing features. (*you can over-ride or tweak the autofocus with a twist of the focus ring without switching to MF.) But what makes it a potentially great travel companion is its size and appearance. Due to its use of Diffractive Optics (the DO in its name) the lens is relatively small and light. And in addition, its exterior is black rather than the white of the L lenses. Thus it becomes a much more portable and much less obtrusive lens than the big, white 70-200mm and 70-300mm L lenses.

$Canon 70-300mm DO lens diffractive optics$
The unique green band of the Canon 70-33mm DO lens

The 70-300mm DO declares its uniqueness with a green band around the front of the barrel, where the red band of the L lenses sits. Diffractive Optics is a technology developed by Canon to reduce lens size while maintaining image quality and eliminating chromatic aberrations, and currently only two Canon lenses use DO. This lens has been around since 2004, and has overall received excellent reviews. For a professional photographer it will never quite replace a 70-200mm or 70-300mm L lens due to its slightly lower image quality and sharpness, and lack of the f/2.8 or f/4 maximum aperture throughout its full range, but for those just a little less demanding it could be the perfect travel companion for photographers not wishing to carry around a larger and more noticeable white lens.

$Canon 70-300mm DO lens diffractive optics$

There are mixed reviews on its sharpness. Some users claim it is sharp as can be, some say it loses sharpness at certain focal lengths and apertures, and other say with standard post-process sharpening there is virtually no difference between it and an L lens. One complaint that can’t be denied is its propensity for lens creep. Due to the weight of the lens elements and the fact that it zooms externally (unlike the internal zoom of the 24-105mm or the 70-200mm lenses) the zooming barrel will move on its own when pointed up or down. The lens has a locking switch for storage or for walking around, but otherwise it is going to creep. This DO lens also does not have a rubber weather-sealing ring at its mounting base, which is disappointing for a lens in this price range.

Optically the 70-300mm DO displays a couple unique characteristics as well. At certain apertures a hazy, often described as dreamy, outline will appear around bright out-of-focus areas. And due to the concentric circles of the DO optics (visible in the lens just by looking at the glass at an angle) out-of-focus spots of light also contain concentric circles, or “targets,” as shown in the image below. These rings also appear in areas of flare, so it is best not to use this lens if you are a fan of shooting into the sun to achieve purposeful lens flare.

$Canon 70-300mm DO lens diffractive optics bokeh target bullseye$
The interesting bullseye/ target bokeh of the 70-300mm DO lens, pronounced when at narrow apertures (f/16 here) – click image to view larger on Flickr.

The above image is a crop from the one below. Notice that in addition to the concentric circles, the bokeh of bright light spots becomes hexagonal at narrower apertures (like f/10 or f/16) as shown below, but it is nice and circular starting at f/8, without the targets being so pronounced at wider apertures (like f/5.6).

$Canon 70-300mm DO lens diffractive optics bokeh$
Canon 70-300mm DO lens – hexagonal bokeh with bullseye targets seen at f/16 – click image to view larger on Flickr.

So if you are looking for a high quality lens for travel with an exceptional telephoto zoom range, you may wish to consider the 70-300mm DO. It is not everyone’s ideal single lens for travel because its focal length starts at 70mm and thus lacks the wide angle range, but for those who like to zoom in close and capture faces and details, it could be a lens that stays on your camera much of the time. And even for those who already have a big, white 70-200mm lens, this could come in handy in many situations which you wish to be a little more discreet or even appear less intimidating to your subjects. Go to the store and play with one, and I think you may find that you love the size and feel of this lens, and can envision its great travel potential.

See and purchase the 70-300mm DO lens at Amazon.com

Have a look at some other reviewers’ posts to learn more about this lens, its technical specs, and its performance, as well as see images comparing its size to other lenses:

Review and description with size/ weight comparisons at The-Digital-Picture.com

Review focusing on image quality at Photo.net

Field test and very technical review at Luminous-Landscape.com

Canon’s explanation of Diffractive Optics

Grainy Black and White Challenge: XZ-1, LX5, S95, P300

I’m not usually a big fan of the “creative fun filters” that are included as in-camera processing options for many of the current dSLR and compact point-and-shoot cameras. I prefer to do my processing in Photoshop, where I can see the full quality version of the image, and have more control over the editing. However, I was playing around with the “Grainy Film” mode of the new Olympus XZ-1, and I was quite impressed with how cool, fun, and easy it is. Perhaps I should reevaluate their usefulness!

Olympus XZ-1 grainy film black and white
Olympus XZ-1 – Grainy Film

So I decided to have a look at some of the other cameras’ black and white grainy film options and see how they all compare. This is a pretty informal comparison without too much strict effort put into the “test” other than putting the subject camera in about the same place, zooming in all the way and using the maximum aperture if possible, and loosely trying to frame the images all about the same.

Since the Olympus XZ-1 inspired this experiment, I will cover that one first. The Olympus XZ-1 is a new competitor to the high end compact point-and-shoot class of cameras which includes the Canon S95 and the Panasonic Lumix DMC-LX5 – as well as the ~~upcoming~~ newly released Nikon P300. They are all roughly about the same size, and have excellent image quality and low light performance. Their features and maximum apertures vary, and there are other site, such as DPReview, that do full reviews of these models if you are more interested in learning about them.

For the Olympus XZ-1, you turn the Mode Dial to “Art.” How cool is that?! All you have to do is turn the dial and you can make art! Other cameras merely have “Scene Modes,” while the Olympus offers “Art!” In Art Mode choose Art 3, which is Grainy Film. While in Art Mode, as in most of its other modes, you can easily change the exposure compensation by pressing up on the rear dial and dialing in a (+) or (-) compensation amount, and immediately see what you will get. I kept it at 0 for this test.

The image from the Olympus, seen at the top of this post, is nice and contrasty. It has a bit of grain, but actually isn’t really very grainy. The large aperture does blur out the background nicely. Have a look at the larger version on Flickr to see it better.

Next up is the Panasonic Lumix DMC-LX5, another one of the high end point-and-shoots. For this camera you go into the My Color Mode and choose Film Grain.

Panasonic Lumix DMC-LX5 film grain black and white
Panasonic Lumix DMC-LX5 – Film Grain

Compared to the Olympus, it appears to have created more of a dark monochrome image, without the high amount of dramatic contrast. There is a bit of grain, perhaps a little more than the Olympus, but I really wouldn’t call it grainy. The background blurring isn’t nearly as dramatic as the Olympus. See larger image on Flickr.

The Canon S95 is quite a popular camera for those seeking great image quality in a compact point-and-shoot. After David Pogue wrote an ode to it in the New York Times, they really started to move off the shelves. For the S95, you use one of the Scene Modes called the Nostalgic Mode. You have a few degrees of exposure to choose from as you turn the front lens dial, which first start to affect image color, then go to sepia, and then to contrasty black and white. I choose the highest setting to get the grainy black and white look.

Canon S95 Nostalgic Scene mode black and white
Canon S95 – Nostalgic Scene Mode

The contrast of the S95 image is between the other two – more than the Panasonic but less that the highly contrasty Olympus. The background really shows the grain, but is not very dramatically blurred out. Have a look at the larger version on Flickr to see it better.

Here is the entry from the Nikon P300. To get to this setting, you set the mode dial to Scene Mode, go to Special Effects, and set it for High-Contrast Monochrome.

Nikon P300 – High-Contrast Monochrome

Like the Panasonic, the contrast isn’t actually that dramatic. And I did not find any way to adjust the aperture setting while in this mode so as to take advantage of its fast lens (including the inability to change the ISO in this mode), so it used f/5.5 and thus the background blurring really isn’t very dramatic either. And this setting does not introduce any grain into the image. Have a look at a larger version of the image on Flickr.

The final camera is the Canon 60D, used here with its 18-135mm kit lens. This is a digital SLR, not a compact point-and-shoot like the others, but I knew it offers a grainy black and white option in its Creative Filters, so I added it to the mix. To use this feature, you take an image in color, then access the Creative Filters to apply the affect, and then save the new copy along with the original image. You can quickly access the Creative Filters during playback by pressing the Q Button. This one is called Grainy B/W, and is offered in three levels of contrast: Low, Standard, and Strong. I chose Standard to demonstrate the middle ground. Standard appears to be pretty contrasty, and is closer to the highly contrasty Strong setting than it is to the not-as-contrasty Low setting.

Canon 60D Grainy B/W creative filter
Canon 60D – Grainy B/W Creative Filter

As you can see, even on the Standard level of contrast it is quite contrasty. And you can definitely see the grain in the background of this image, which is nicely out of focus because I was able to use a long lens and a wide aperture. The Strong setting increases the contrast to a level very similar to the Olympus. See larger image on Flickr.

With the compact cameras, you can see on the rear LCD screen what you are going to get in advance, while with the Canon 60D, you can see how your original color image will be affected by the different levels of contrast.

So there you have it – the grainy black and white in-camera processing of these camera. Of the compacts, my favorite is the very dramatic look of the Olympus XZ-1, due to both its contrast and its more out-of-focus background. Thanks to my patient subject, the classic Nikon F3 with the stunning 50mm f/1.2 lens. Have a look at some real black and white grain on some of my earliest SLR photos from Rome, 1991.

Canon T3i / 600D vs T2i vs 60D vs 7D vs 5D MkII

Since several of the current Canon dSLR cameras – such as the T4i/650D (and T3i/600D), 60D, and 7D – share similar features and an 18 megapixel sensor, it can make it difficult and confusing to decide which one is best for you. But each one is designed for different levels of photographers with specific needs, and there are significant differences that may or may not be important to how and what you photograph.

Obviously as you pay more, you get more, and this article will explain what that “more” is and help you decide if you need it. If you are new to dSLR cameras, know that things like 9 cross-type AF points and dual Digic IV processors aren’t feature-bloated “bells and whistles” or marketing hype, but are important features for how advanced photographers work and they provide the capabilities that some demand from their equipment. If your needs don’t demand them, don’t be swayed to invest more in a camera that provides far more than you require. It won’t help you take better photos, and in fact may cause you to take worse photos until you figure out how to properly take control of a more advanced camera!

This comparison post has grown organically as new models have been released, so please be sure to look through the entire post to find the section that best applies to you, such as T2i vs T3i, or 60D vs 50D, the Canon 5D Mk II, or the overall Canon EOS 7D vs. 60D vs. 600D / Rebel T3i comparison which is the main point of this post. Don’t miss the Which Canon dSLR is Right for You summary at the end of this article!

Rather than add the T4i into this post, I have written a new post to introduce and explain the features of the latest Rebel, the T4i – Introduction to the Canon Rebel T4i / EOS 650D. The additional features of the T4i make the decision between the T4i vs. 60D more challenging than ever, and so I wrote more about that in Canon Rebel T4i vs EOS 60D.

I know there is a lot to read, but you are preparing to spend a lot of money, and this post will thoroughly explain the differences of these cameras and help you decide which one if right for you! Even if some of these models become outdated, the majority of the information and comparison factors remain similar, and it is still worthwhile to read this article before heading over to the T4i articles.

If you haven’t yet committed to Canon and are interested in comparing the Canon 60D vs. Nikon D7000 , or the Canon T3i vs Nikon D5100, or the entire Nikon line-up, have a look at those posts next.

Canon Rebel T3i EOS 600D book guide manual tutorial how to instruction
The new Canon Rebel T3i / 600D (all photos by the author, some equipment courtesy of Newtonville Camera)

Review / Comparison of Canon EOS 7D vs. 60D vs. 600D / Rebel T3i:

Sensor and Image Quality: As I said above, all three cameras share a very similar sensor with 18 megapixels, and so their image quality and low light performance will be virtually the same. All are capable of taking professional quality images.

Exposure Metering: The threecameras all share the latest 63-zone, dual-layer exposure metering system and 4 metering modes. That means they will all determine the exposure virtually identically and enable you to take properly exposed photos in most every situation, including difficult back-lit scenes. The size of the areas metered for Partial and Spot metering vary slightly between the cameras, but that isn’t anything critical.

Autofocus: The 60D shares a similar autofocus system to the T3i and the previous 50D, with 9 focus points and three auto focusing modes. However the 9 AF points of the 60D are more sensitive/ accurate than those of the T3i: all are cross-type in the 60D, only the center is cross-type in the T3i. This means that the outer focus points of the 60D will do a better job, in difficult focusing situations, of quickly and accurately focusing on the subject. This may include, for example, lower light situations or tracking moving subjects. The T3i does a stellar job of focusing, but if you are highly demanding or are going to be primarily shooting action and motion, this is an important difference to consider.

The 60D autofocus system in turn is much less complex than the sophisticated AF system of the 7D with its 19 AF point system and its additional Zone, Spot, and Expansion area modes. If you shoot serious sports, action, birds, wildlife, etc., then you are going to want to consider the highly capable autofocus system of the 7D. With its additional AF points and the ability to group them in various ways (Autofocus Area Modes), as well as the multiple Custom Functions that allow you to customize exactly how the AF system works, it is ideal for sports and action. These Custom Functions can dictate how it tracks subjects, how it deals with objects that come between you and your initial subject, how quickly it responds to these changes of possible subjects that are at different distances from you, etc. The entire AF system of the 7D is a bit complex, and will take some studying and experimentation if you wish to fully understand and take advantage of it. However, if you are not an avid sports photographer, a wildlife shooter, or someone who understands, needs, and will use the elaborate features of the 7D AF system, then this shouldn’t dissuade you from the 60D.

I have written an additional post about Taking Control of Your Canon Autofocus System.

Canon EOS 7D compare 60D T3i
Detail of the Canon 7D

Construction: As you can probably figure out from the prices, each camera is not built the same. The 60D has relatively strong construction of an aluminum frame and polycarbonate body. It is better built than the stainless steel frame with polycarbonate body of the T3i/ 600D but not as strong as the 7D’s magnesium alloy construction. The 60D also has some amount of weather sealing – more than the 600D/T3i, less than the 7D. But for most users, including even those using the camera daily or in travel situations, the construction of any of these cameras is far more than good enough, strong enough, and durable enough. But if you are going to be working extensively in dusty or moisture-heavy areas or situations, you will want to seriously consider the extensive weather sealing of the 7D. While the strong magnesium construction of the 7D is impressive, that is not really needed by many people other than pros who intensively use their cameras in photo-journalist or constant-travel type situations.

ISO: Since they all share a very similar sensor, the ISO sensitivity and performance at high ISO settings is virtually the same for these three cameras. But don’t take my word for it, don’t be swayed by pixel peepers on forums, instead check out the camera sensor tests at dxomark to verify this. As you can see, they all share the exact same overall score, and show very similar performance.

Controls: As with construction, the buttons and controls vary significantly with these cameras. Unlike the T3i, the more advanced 60D and 7D have nearly every control an advanced photographer needs on the exterior of the camera and they also have the top LCD panel and rear Quick Control Dial that are not on the 600D/T3i. Do you find yourself constantly changing the ISO, the metering mode, or the autofocus mode to adapt to changing situations? Then you will want direct access to these controls and the ability to more easily monitor them on the top LCD panel. Or do you generally work in one of the more automatic modes and not need to deal with these settings? With all the cameras, any controls can also be easily accessed with the Q button and Q menu or in the other menus on the rear LCD monitor. The top buttons of the 60D set only one setting each, so this is less complicated (but thus less versatile) than the multiple-setting buttons of the 7D. Canon has removed the white balance (WB) button on the 60D that the 7D and 50D have, but that isn’t a big deal – use the Q Menu. Another change on the 60D is that the Multi-controller has been moved from the thumb joystick like the 7D and 50D and placed in the middle of the rear Quick-control dial. This doesn’t change how it functions, and should just be a matter of getting used to the difference. (Unfortunately, I still really do prefer the old design and location, though I find it is easier to quickly and accurately click on the diagonal directions with the new 60D Multi-controller design). If you plan on using your camera on Auto or Program most of the time, then the controls of the T3i are more than sufficient for your needs. If you work in Av, Tv, or M modes and need quicker and more direct access to your controls and the additional top LCD screen to view and change your current settings, then you need to look at the 60D or 7D over the T3i.

Brief commercial interruption: I want to mention that I have written e-book user’s guides for the Canon 7D, Canon 60D, Canon Rebel T3i, and Rebel T2i. After spending so much time studying, experimenting, writing about, comparing, and discussing these cameras, I decided to put all that knowledge into e-book form! Each of these user’s guides cover all the features, settings, and controls – but more importantly when and why to use them in your photography. This includes metering modes, aperture and shutter priority modes (Av and Tv), advanced autofocus use, and more. They also describe all the Menu settings and Custom Function settings – with recommended settings. Take control of your camera and the images you create! Canon 7D Experience, Canon T3i Experience, Your World 60D and T2i Experience. Learn more about the e-books by clicking on their titles or on the covers below.

Menus and Custom Functions: These allow for greater control over customizing how the camera functions. The 60D has many more Menu and Custom Function options than the 600D/T3i and nearly as many as the 7D. These settings enable you to customize the operation, function, and controls to work how you want them to, including things like exposure increments, peripheral illuminations correction for lenses (fixes dark corners), tweaking how the autofocus system operates, setting more precise white balance settings, and customizing which button does what. These settings are very important to advanced users who wish to customize their camera to work exactly how they need it too, but aren’t nearly as critical to others who don’t have such intensive demands. (Since many of the Menu and Custom Function settings can be complicated and confusing, my e-books on the 60D, the 7D, and on the T3i/600D cover all of these options along with my recommended settings to get you up and running quickly!)

Wireless Flash: Like the 7D, the 60D and the T3i both incorporate wireless flash triggering. It allows you to trigger multiple off camera flashes at different output levels. The older 550D/T2i does not have this feature.

Articulating LCD Screen: The big new feature that the 60D and T3i have that the 7D and T2i do not is the articulating rear LCD screen. This may prove useful for videographers, as well as for setting up compositions while the camera is on a tripod, for macro use, or for using it from unusually low or high vantage points. Some users will be able to avoid buying an expensive angle finder because of this feature. There is also an electronic level in the 7D and 60D, visible in the viewfinder, rear LCD, or top LCD.

Viewfinder: The 60D has a large, bright pentaprism viewfinder with 96% coverage of the actual resulting image, better than the pentamirror and 95% coverage of the 600D/T3i, but not quite as nice as the nearly 100% view of the 7D pentaprism.

Processor: The 60D shares the same Digic 4 processor as the 600D/T3i. The 7D has dual Digic 4 processors. However, if you don’t need to shoot dozens of continuous images, you probably won’t notice any processing speed issues.

Continuous Shooting Speed: The 7D can shoot a blazing 8 frames per second, in which the photos barely change from frame to frame. The 60D can shoot a respectable 5.3 fps which is actually a more useful rate, and is a higher rate than the 600D/T3i rate of 3.7 fps. If you need the extremely high fps for sports, wildlife, or other action shooting, consider the 7D. If not, don’t be swayed by this excessive feature that is designed for people like pro sports or dedicated wildlife shooters. However, if you are shooting any type of sports, action, birds, dance, etc., the 5.3 fps of the 60D is much more useful than the slower T3i.

Detail of the Canon 7D

Memory Card: The 60D uses the SD memory card like the 600D/T3i, not the CF card of the 7D and 50D. This doesn’t really mean too much other than the CF cards are larger and more rugged, yet prone to bending the camera’s internal connection pins. Handle either of them with care and it shouldn’t make much of a difference.

Battery: The 60D uses the LP-E6 battery like the 7D and 5D, which is a nice feature as this battery can often last through a full day of shooting. The T3i and T2i use the smaller LP-E8 battery with less capacity. In any case you should have an extra battery or two.

Size and Weight: The T3i is smaller and lighter (18.2 oz/515 g) than the 60D (23.8 oz/675 g), which in turn is smaller and lighter than the 7D (28.9 oz/820 g). Go to the store and hold them to get a better feel for their size and weight. HOWEVER, please know that the size and weight of these bodies is a result of their build, features, and capabilities. Those are the criteria that should be compared first, not the resulting size and weight. (Also be sure to read this post of Why How it “Feels” is not a valid Criterion for Choosing an dSLR.) But, I do realize that size and weight is important to some, perhaps many, due to physical limitations or just simple comfort and enjoyment. So take my dramatic proclamation with a grain of salt! The 60D and 7D “feel” like the more substantial cameras that they are. A nice improvement of the T3i is that its hand grip area has been modified, and has a different feel than that of the T2i – the area where the thumb rests is contoured differently and has a nice channel for the thumb, which allows for a much more secure one-hand-grip of the camera.

AF Microadjustment: The 7D has this feature, the 60D and T3i and T2i do not. Many are disappointed that the 60D does not include the ability to micro-adjust the focus so that each of your lenses focuses extremely accurately. However, if you have a major focus issue, send your camera and/ or lenses to Canon while under warranty and ask them to calibrate them. Bad bodies and lenses are rare, but they do exist. Doing AF microadjustment yourself is often a maddening undertaking. You may make a good calibration under controlled conditions, but this really doesn’t replicate real life shooting. And due to manufacturing tolerances of both cameras and lenses, there is a relatively wide range of what is considered acceptable. If you need your camera and lens to be perfectly sharp, you are going to need to buy a $6000 pro body and a $1500 lens. See this article This Lens is Soft and Other Myths, its follow up article, and the follow up controlled tests to learn more about this.

Locking Mode Dial: This is a new feature for a Canon dSLR, only on the 60D, that keeps the Mode dial from accidentally rotating. A nice touch, and not at all difficult to change quickly with one hand, as some people have claimed: just push the center button with your left index finger, rotate dial with thumb and middle finger. I actually wish my 50D had this. If you wish to retrofit your 7D or 5D Mk II with this feature, Canon will do it for $100.

Full HD video: Of course they all offer this capability. Note that this is not video for your kids’ parties and soccer games. It does not have continuous autofocus while shooting, as a camcorder does. It is not designed for that kind of use, but rather for serious videographers who typically manually focus. You can adjust autofocus while shooting by pressing the shutter button or the AF button, but it may have a less than desired looking result and unless you are using an external microphone, the autofocusing sound will be picked up. The T3i has the digital zoom feature in video, which allows for nice smooth zooms while filming.

Flash Sync: A Note to Strobists -the 60D and T3i do not have a PC sync flash socket to plug in PC sync cords. The 7D has this.

Ease of operation: While beginners may find all the buttons, controls, and menus of any dSLR difficult and confusing at first, the additional controls and menus of the 7D and 60D are all quite intelligently designed, intuitive, and straightforward for the more advanced user. The menus and controls of the T3i and T2i are also pretty basic and simple to learn. There is certainly a “price of admission” to learning and getting the most from any dSLR, and you will need to invest time and effort into both reading and using/ experimenting with your camera. Start with the manual, then perhaps have a look at my e-book camera guides, then practice, practice, practice!

Remember that all of these comparisons and features are relative. Of course the fact that the 7D can take 126 consecutive photos at the rate of 8 frames per second makes it “better” than the other models. Advanced features like that differentiate it from the other cameras and are also why it costs more. But is it actually “better” for you and how you plan to photograph? Do you ever need to take 15.75 seconds of continuous photos? Ever? (Look at your watch for 15.75 seconds right now and act like you are taking continuous photos. Now what are you going to do with all those nearly identical 126 imaginary photos?!)

Purchasing: If you plan to purchase any of these cameras, please see the Purchasing section below.

*****

Canon Rebel T3i EOS 600D book guide manual tutorial how to instruction
Mode dial of the Canon Rebel T3i

T3i vs T2i

Review / Comparison of Canon Rebel T3i vs T2i (600D vs 550D): If you are trying to decide between the Canon T2i or T3i, the previous model, the T2i, already shared many important features with the 60D (and even features of the semi-pro 7D) including the 18 MP sensor, 63-zone exposure metering system, high ISO performance, HD movie capabilities, and Digic 4 image processor. Now with the addition of the vari-angle articulating rear LCD screen (aka rotating screen), remote flash capabilities, creative filters, additional movie options, and in-camera image processing features, the new Canon T3i is even closer in specifications to the 60D, which may make your choice harder. But there are some important differences, and this post will hopefully help you decide which features are important to you and the way you photograph, which ones may be unnecessary, and thus which model fits you best. As I’ve said before, you need to choose which camera is best for you based on your needs and experience as a photographer and based on how the advanced features, controls, and customization options fit those needs and serve the way you work – not the other way around where you look at the new features and speculate if you really need or will use them.

The Rebel T3i is replacing the T2i at the entry level end of the Canon line-up. (There is also the T3 in the most basic, entry level position.) The differences are minor but possibly significant depending on your needs. Since both cameras share the same 18 megapixel sensor and Digic 4 processor, both the T2i and T3i will create images with exactly the same image quality, produce the same low light-high ISO performance, shoot at 3.7 frames per second, and have nearly the same size and build quality. They are both offered with the same 18-55mm kit lens (with some minor cosmetic differences on the new T3i kit lens). The T3i is very slightly larger and heavier due to the addition of the rotating rear LCD monitor. And that is one of the biggest differences between the two cameras: do you want and need a vari-angle rear screen or not? The other major difference is the ability of the T3i to remotely control multiple off-camera flashes. Like the 60D and 7D, you can use the built-in flash of the T3i to trigger other Canon Speedlites. This could be an important reason for choosing the T3i. However, if you don’t use or plan to use one or more off-camera flashes, this shouldn’t be important to you.

Some other minor additions to the T3i include the Scene Intelligent Auto Mode, which is a feature borrowed from point and shoot cameras. When in Auto mode, the T3i will make a determination of what type of scene you are shooting – close-up, portrait, landscape, etc. – and automatically configure the camera settings accordingly. However, if you want to use a powerful and costly digital SLR as a point and shoot, you should probably save the money and just buy a nice, high quality point and shoot like the Canon S95. Other additional but not very important upgrades include the in-camera processing Creative Filters like Grainy Black and White or Fisheye, and the ability to choose different image size ratios and to rate your images. However, this type of processing is best done on your computer with software like Photoshop or even Photoshop Elements. There is also a marginally helpful Feature Guide which gives brief descriptions of various settings and some additional video features like digital video zoom (for nice smooth zooms) and Video Snapshot, which you can use to shoot short video clips that are automatically joined together into a video, with music. Again, this is pretty easily done on your computer, and with much more control, with basic video editing software.

So if you need any of these new features, get the Canon Rebel T3i / 600D. If not, buy whichever one if offered at a cheaper price. However, if you still wish to compare the Rebel T3i to the 60D and 7D, see below. If you wish to compare the Canon T3i to the Nikon D5100, check out this post Nikon D5100 vs. Canon T3i.

see the Canon EOS Rebel T3i (Body Only) on Amazon
see the Canon EOS Rebel T3i with 18-55mm Lens on Amazon

********

Review of Canon EOS 60D vs. 50D: Since the Canon EOS 60D basically replaces the Canon 50D (well, replacement isn’t exactly the right word because the 60D doesn’t really follow the 20D to 50D progression of improvements…), the 60D or 50D decision is an easy one. The 50D shouldn’t really be considered anymore. While the Canon 50D does hold a couple interesting advantages over the 60D (faster frame per second (fps) burst rate in continuous mode, stronger construction, more comprehensive buttons and controls, complete lack of fun filters like “grainy black and white”), the sensor and exposure metering system have been greatly improved in all the newer cameras (such as the 7D or 60D or 600D/ T3i or 500D/ T2i) and I feel these features, along with the increase in megapixels, outweigh any other 50D advantages. I would definitely choose a 60D instead of a 50D. This is coming from experience, as I use a 50D professionally and on a weekly basis. Or choose a 7D instead of a 50D if your needs require it and budget allows it. (Find out below if your needs require it!) If you still wish to learn more about the differences of these two models, I write in more detail about the 50D vs. 60D comparison here from a camera features and operation point of view.

Canon Rebel T3i EOS 600D vs Canon 60D
Canon Rebel T3i / 600D and the Canon 60D

Purchasing: If you plan to purchase cameras, photo equipment, books, or anything else from the retailers below I encourage you to do so through these referral links. While your price will be the same, they will give me a little something for the referral, which helps to support my blog and my work – thanks! I appreciate your support!

If you are in the UK, please click here for the UK Amazon referral link.

And if you are in Canada, please click here to use my Canada Amazon.ca referral link.

For those interested in purchasing through B&H Photo, Adorama, or directly from Canon, I have set up affiliate links with them as well. Just click on the logos below to start shopping:

These are all retailers that I have purchased equipment from (excluding Amazon UK/Canada), and I recommend them based on my good experiences, their extensive selection, competitive prices, great customer service and responsiveness, and fair return policies.

or use one of these direct links to Amazon:

See and buy the Canon EOS Rebel T3i (Body Only) on Amazon
See and buy the Canon EOS Rebel T3i with 18-55mm Lens on Amazon

See and buy the T2i on Amazon.

See and buy the 60D on Amazon.
See and buy the 7D on Amazon.
See and buy the Canon 5D MkII on Amazon

Canon Rebel T2i, T3i, 60D, and 7D – photo by author at Newtonville Camera

Which Canon dSLR is Right for You?

This section of the article, which can help you decide on a camera based on your photography experience and needs (and also includes the discussion of the Canon 5D Mk II), has been moved to its own post here:

http://blog.dojoklo.com/2011/10/14/which-canon-dslr-is-right-for-you/

*****

As I said above, when you are trying to determine which camera to purchase or upgrade to, you need to first consider and determine your needs, and then see which camera fills those needs. Not the other way around. Here is a post I wrote which discusses this, titled

How to Choose a New dSLR Camera

Want to help support this blog with no cost or effort? Simply click on the Amazon and B&H Photo logos on the left side of this page to go to those sites and make your purchases. They will then give me a little referral bonus!

Canon Rebel T3i / EOS 600D e Book User’s Guide

Go beyond the Canon Rebel T3i / EOS 600D manual with my new book, now available!

T3i Experience – The Still Photographer’s Guide to Operation and Image Creation – an eBook user’s guide and tutorial for the Canon Rebel T3i / EOS 600D.

Learn to use your Rebel T3i / EOS 600D, quickly and competently, to create the types of images you want to capture. The T3i / 600D is an advanced tool, and this guide explains how to use it to its full potential. Take control of your camera, the image taking process, and the photos you create.

This instant download Canon T3i / 600D book is for those who wish to get more out of their camera and to go beyond Full Auto and Program modes and shoot in Av mode and Tv mode. To get you started, it includes explanations and recommended settings for all Menu settings, Movie Mode Menu settings, and Custom Function settings of the T3i/600D. It covers basic dSLR camera functions and exposure concepts for those new to digital SLR photography, and explains more advanced camera controls and operation, such as using the various metering modes and exposure compensation for correct exposure of every image, controlling autofocus modes and focus points for sharp focus of still or moving subjects, and utilizing dramatic depth of field for professional looking photographs.

You can preview T3i Experience at the following link. The preview shows the Table of Contents and Introduction, a sample T3i/600D Menu Settings page, a sample Custom Functions Settings page, and a sample text page.

http://www.dojoklo.com/writing/Canon_T3i_Experience-Preview.pdf

Canon T3i Experience not only covers the various settings, functions and controls of this digital SLR, but it also explains when and why to use them for your photography. And it describes every T3i / 600D Menu setting and Custom Function setting, with recommended settings to get you started quickly, including Movie Mode menu settings. Note that it focuses on still-photography and not video except for a brief introduction to video menus and settings to get you up and running. Sections include:

Setting Up Your Camera – All of the Menu settings and Custom Function settings for the T3i / 600D, including movie mode menus, with brief descriptions and recommended settings for practical, everyday use. Set up and customize the advanced features of this dSLR to work best for the way you photograph.
Aperture Priority Mode (Av) and Shutter Priority Mode (Tv) – How and when to use them to create dramatic depth of field or to freeze or express motion.
Auto Focusing Modes and Drive Modes – How they differ, how and when to use them to capture sharp images of both still and moving subjects. Also how and when to use focus lock and back-button focusing.
Exposure Metering Modes of the Canon T3i / 600D – How they differ, how and when to use them for correct exposures in every situation. Also how to make use of exposure lock.
Histograms, Exposure Compensation, Bracketing, and White Balance – Understanding and using these features for adjusting to the proper exposure in challenging lighting situations.
Composition – Brief tips, techniques, and explanations, including the creative use of depth of field.
The Image Taking Process – A descriptive tutorial for using the settings and controls you just learned to take photos.
Lenses – Explanation of Canon lenses and choosing your next lens.
Photography Accessories – The most useful accessories for day-to-day and travel photography including those specific to this camera, plus recommended photography books.
Introduction to Video Settings – Some basic settings to get you started.

This digital field guide to the Canon Rebel T3i / EOS 600D is a 60 page, illustrated PDF document that builds upon the information found in the Canon Rebel T3i / EOS 600D manual, and will help one begin to master their dSLR and learn to use it to its full capabilities!

Author: Douglas Klostermann
Format: PDF – Instant Download – can be read on your computer, printed on your printer, transferred to your iPad, Android or other tablet, Kindle, Nook, or other e-reader (see here for iPad/ iPhone transfer instructions).
Page Count: 60 pages, illustrated
Price: $9.99 – Available Now!
(plus 6.25% sales tax for residents of Massachusetts)
Secure payment with PayPal or Credit card

Other versions of Canon T3i Experience e-book available for purchase:

The Kindle version is available on Amazon.com
The Nook version is available at BarnesandNoble.com
The iPad and iPhone version is available through Apple’s iTunes or through the iBooks App.

What Readers are Saying about Doug’s Previous Guide, T2i Experience:

Best Guide to using a T2i – I don’t know how I could fully take advantage of all the features the T2i has to offer without this publication! It’s well-organized, easy to understand, and succinct enough to keep your attention while still containing a wealth of tips and tricks to get the most out of your camera. I’m very happy that I found this guide.
-Nathan K.

Essential Travel Companion – Alas, a comprehensive and concise guide for hobbyists who desire to enhance their photography experiences. I highly recommend this guide to anyone who wants to ease out of auto mode and learn how to take high-quality photos. It brilliantly explains how to apply advanced techniques and tips, walks you through the daunting task of menu settings, and smoothly guides you through the image-taking process. The instructions and brief explanations are easy to follow and well organized. The guide is a portable class on digital photography! A must-have if you want to learn how to use your camera to its fullest advantage.
-Elizabeth J.

A Fantastic Book For Beginning T2i Users – This book has exactly the no frills condensed practical advice on camera settings that I was looking for. The author has a gift for separating the wheat from the chaff. I didn’t have a clue how to operate a digital camera, let alone know the definition of the technical terms. After reading this book, I now understand all the critical functions of the Canon T2i and how to take advantage of them. This is a book I plan to keep handy for years to come.
-TP

What Readers are Saying about Doug’s other dSLR User’s Guides:

This book, together with the manual that came with your camera, is all you need to start discovering all the potential of this camera.
-Max M.

It’s the first guide I’ve read which has taken me through all the settings in an understandable way. I now feel that I have control over the camera.
-Peter S.

I would recommend this to anyone who wants to get a quick start to using their camera. Manuals are nice, but this eBook highlights the important information and gives a quick easy to understand explanation of most all of the functions and controls.
-Ray M.

I found the (camera’s) manual good for understanding how to set things up but not much on the why – this book really focuses on the “why.” Prior to reading the book I was setting up my metering on Spot Metering thinking it was much better than Matrix (Evaluative) – the guide helped me understand why to use specific settings for specific needs. The Custom Settings sections helps to make firm decisions on how to apply settings by understanding the usage of each in addition to knowing how to set them up. I would like to thank you for saving me time – now I’m confident that my camera is well tuned!
-Benoit A.

This manual is a clearly written, concise and useful explanation of the rationale for the seemingly infinite and often confusing settings options. Used in conjunction with the (camera’s) manual I feel a bit more confident in understanding how to at last proceed in getting better photographs.
–WLS

dSLR Photography Gear, Accessories, and Books

In my e-book user’s guide for digital SLRs I include a list of accessories and books, complete with links to purchase these products on Amazon or from the manufacturer. However, the links don’t always work with some e-book formats, so I am posting the list here too. Some accessories may have been updated since this list was last modified, such as the Nikon SB-5000 Speedlight replacing the SB-910, or the Canon 600 EX II-RT Speedlite replacing the 600 EX-RT, so be sure to check for the latest versions of the various accessories.

Below are some accessories that are handy for general and travel photography use with any dSLR camera, plus some of my favorite photography books, and camera-specific accessories mentioned in the texts of my Full Stop camera guides. Click on the links to go to the product or category pages on Amazon.com or the manufacturer’s website. Please note that these are my referral links, and I will receive a small referral fee if you use these links to make your purchases, which helps to support my blog and my work. Thanks!

Contents:

dSLR Photography Accessories
Digital Photography Books

Nikon D780 Accessories
Nikon Z8 / Z7 / Nikon Z6 / Nikon Z 7II / Nikon Z 6II Accessories
Nikon D850 Accessories
Nikon D500 Accessories
Nikon D750 Accessories
Nikon D810 Accessories
Nikon D7500 / D7200 / D7100 Accessories
Nikon D7000 Accessories
Nikon D5600 / D5500 / D5300 / D5200 / D5100 Accessories
Nikon D610 / D600 Accessories
Nikon Df Accessories
Nikon D3300 Accessories

Canon EOS R, EOS R7, EOS R6II,EOS R8 Accessories
Canon 5D Mark IV Accessories and 5DS / 5DS R Accessories
Canon 7D Mark II Accessories
Canon 80D / 77D / 70D Accessories
Canon 7D Accessories
Canon 60D Accessories
Canon T5i, T4i, T3i and T2i (EOS 700D, 650D, 600D and 550D) Accessories
Canon 5D Mark III Accessories
Canon 6D Accessories

dSLR Photography Accessories

UV Filters – Clear, protective filters for the lenses. You should have these on at all times to protect your lenses. Get high quality coated ones, such as B+W, especially for higher quality lenses. Consider the MRC multi-coated versions for highest quality lenses. While some argue that any filter may degrade image quality, a high-quality filter will show little effect, and most know that it is cheaper to replace a $100 filter than to repair a $1500 lens. Use the slim filters for wide angle lenses to avoid vignetting.

Circular Polarizing Filter: Use this outdoors in sunlight to darken the sky, cut through haze and reflections, and increase contrast. Do not use on a wide angle lens as it will cause the sky to change from light to dark and back again across the frame. You have to turn the second ring of the filter to create the amount of lightness or darkness in the sky that you desire, or to reduce or eliminate reflections. It works best when the sun is to your left or right, but does not have any polarizing effect if the sun is directly in front or behind you. Do not use an older linear polarizing filter with a digital camera, as it will interfere with the metering and autofocus systems.

Neutral Density (ND) Filter: If shooting video in bright lighting, you will need to use a dark neutral density (ND) filter on the lens to block light in order to be able to use dramatic wide aperture settings (such as f/ 2.8 or f/4.0). These are also useful with still photography for allowing slow shutter speeds in bright light, such as for photographing waterfalls. They are available in a variety of densities to block out the amount of light to enable you to increase your exposure settings by a certain number of stops, such as 3 stops (0.9), 6 stops (1.8), 10 stops (3.0), etc. For example, when working in M or S mode and the exposure meter reads 1/30s, f/8, ISO 100, but you wish to use and aperture setting of f/2.8 while “holding” the other settings – you can use a 3-stop ND filter and the exposure meter will now read 1/30s, f/2.8, ISO 100, allowing you to obtain the wide aperture setting and resulting shallow depth of field. There are also variable ND filters, where you can adjust one of the filter’s rings to vary the amount of density, as well as the Cokin filter system that makes use of a filter holder that attaches to the front of the lens, which then holds square filters. These are useful to landscape photographers using graduated or split neutral density filters that either gradually or sharply transition from dark to light. Using the square filter in front of the lens, you can then vary the angle and location of the transition to align with the horizon.

Nikon Lens Hoods or Canon Lens Hoods: Use a lens hood on your lens to both prevent flare and to protect the front of the lens when it inevitable bangs against something or drops. Some nicer lenses typically come with a lens hood. With other lenses, buy the corresponding optional hood.

BlackRapid R-Straps: A different, more comfortable style of strap for carrying and using your camera, especially with a larger or heavier lens. There are a variety of current models, including the Curve, Metro, Kick, Sport, and Cross Shot.

Manfrotto 055XPROB Tripod Legs and Manfrotto 496RC2 Ball Head: This is an excellent “starter” combination of tripod legs and head for the beginner or enthusiast. They are sturdy, durable, and well built. If you know you will be doing a lot of tripod work, such as for studio, landscape, or travel photography, it is best to invest in more advanced (expensive) versions, including lighter carbon fiber legs and a head with additional features.

Insurance: Make sure your equipment is covered by insurance. When I worked in a camera store, people came in on a weekly basis to replace the equipment that was stolen from their car, trunk, luggage, while traveling, or was in a fire. You may need special insurance or a rider if your homeowner or renter’s insurance does not cover it. I use the policy available through NANPA, though you have to join NANPA to get it. This insurance is primarily for the equipment only, so you are not paying for liability coverage geared toward a business as you are with many other photo equipment insurance plans. Please note that the NANPA membership fee covers you annually from July – they don’t pro-rate, so you will not get a full year if you join at any other time. (If you happen to join NANPA to get their insurance, mention my name as a referrer, and I save on my next membership renewal!)

Silica Packs: Keep these in your camera bags to absorb moisture. Consider using real ones that you buy in solid cases instead of the little packs that you found in your new pants pocket that may break open over time.

Sto-Fen Omni Bounce Diffuser: Works great on the optional external flash units (note some Nikon flashes come with a diffuser like this). Do not use this on your flash outdoors because all it will do outside is cause your flash to work harder. I know you see lots of people doing it. They didn’t bother reading how to use it. Don’t imitate them. Use a direct bare or gelled flash outdoors. These diffusers are designed to work as a diffuser when bounced off a surface and angled at 45 degrees or so. Not straight on, and not bouncing off the sky.

Giottos Rocket Air Blaster: Always have this manual air blower handy for getting dust off lenses in a hurry, because blowing on them with your mouth – no matter how careful – inevitably leads to spittle on the lenses. Also use for manually cleaning the sensor, carefully following sensor cleaning instructions.

Dust-Aid Platinum dSLR Sensor Filter Cleaner: If the Air Blaster does not remove all the dust during sensor cleaning, you can move to a “silicon stamp,” such as this one. This is slightly more invasive, as you will be touching the sensor with the cleaning device. Be sure to carefully read and follow the Dust-Aid instructions, as well as the manual’s sensor cleaning instructions, particularly the correct way to raise the mirror and access the sensor.

Lens Pen Cleaning System: Works great for cleaning off mysterious spots and smudges that appear on the lens. Blow dust off the lens first with the Rocket Air Blaster, brush it with the Lens Pen brush, and then follow the instructions for using the Lens Pen.

Digital Grey Card: Used to measure and set accurate custom white balance.

Rosco Strobist Collection Flash Gels: Use these to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single WB setting that neutralizes the color cast of the entire scene. Tape them in place or use the LumiQuest Gel Holder which attaches to your flash with the Honl Speed Strap, an overpriced strip of Velcro.

Sandisk Extreme CF Memory Cards (CompactFlash for Canon 7D, Canon 5D Mk II, 5D Mk III): I suggest getting a couple 16 GB or 32 GB CF cards to store your photos – more if traveling. Be sure to check the Sandisk site for current rebates.

Sandisk Extreme Pro CF Memory Cards: For an even faster CF memory card, look at the Extreme Pro version, which saves at 90MB/s over 60 MB/s of the Extreme CF cards.

SanDisk Extreme Pro UDMA 7 CF Memory Card: This CF memory card will allow you to take full advantage of the high speed continuous shooting of the 5D Mk III (or the 7D) to capture up to the maximum 16,270 continuous JPEG images or 18 RAW images in a single burst (7D rates are 130 JPEG / 25 RAW).

SanDisk Extreme Pro SDXC UHS-I SD Memory Cards: I suggest getting a couple 64GB or higher capacity Secure Digital (SD) cards to capture and store your photos – more if traveling. The current version of this card is rated at up to 170 MB/s (read) and 90 MB/s (write) speed. The older version of the card, SanDisk Extreme Pro SDXC UHS-I SD, is rated at 95 MB/s (read) and 90 MB/s (write) speed, and is available in the smaller 32GB size.

SanDisk Extreme Pro SDXC UHS-II SD Memory Cards: These high speed SD cards, with 300/260 MB/s read/write speeds, will enable you to take advantage of the camera’s maximum burst rate.

Eye-Fi Wireless Flash Memory Card: This SD memory card can be used to automatically upload photos wirelessly via Wi-Fi to your computer during shooting or afterwards.

Card Reader: Use this to transfer image files from the memory cards to your computer if your computer does not have a card reader built in. They may be faster than the camera’s USB cable and will save camera batteries.

Stereo Microphones: The Rode VideoMic or the Rode VideoMic Pro are good-quality affordable external stereo microphones for recording audio while shooting video. They mount to the camera’s Hot Shoe.

Camera’s USB Cable: Always have the included camera USB cable when traveling, as a back-up method of transferring image files to your computer.

Lens and Body Caps: Don’t forget to have these in your camera bag, to protect lenses and camera body when switching and storing them.

Camera Wrap: For protecting your camera while carrying it around in dusty, misty, or sandy situations, or for protection when storing it.

Rainhood or Rainsleeve: For protecting your camera while using it in dusty, misty, rainy, or sandy situations.

Adobe Creative Cloud (with Photoshop and Lightroom): These software programs are essential for editing, processing, retouching, and manipulating your photographs, especially if you are shooting in RAW. Lightroom is designed specifically for photographers and is the processing program of choice for many of them, but it does not have the manipulation capabilities of Photoshop. Take advantage of Adobe’s significant student and teacher discounts if applicable.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

Camera Bags and Travel Gear: For additional gear that is helpful for travel situations, including various camera bags for different situations, have a look at my travel gear blog post:

http://blog.dojoklo.com/2009/12/01/assignment-guatemala-gear/

Digital Photography Books

Understanding Exposure: How to Shoot Great Photos with Any Camera by Bryan Peterson

Learning to See Creatively: Design, Color & Composition in Photography by Bryan Peterson

The Photographer’s Eye: Composition and Design for Better Digital Photos by Michael Freeman

The Photographer’s Mind: Creative Thinking for Better Digital Photos by Michael Freeman

Available Light: Photographic Techniques for Using Existing Light Sources by Don Marr

On-Camera Flash Techniques for Digital Wedding and Portrait Photography by Neil van Niekerk

Speedliter’s Handbook: Learning to Craft Light with Canon Speedlites by Syl Arena

Digital Photographer’s Complete Guide to HD Video by Rob Sheppard and Michael Gunchen.

Canon Speedlite System Digital Field Guide by Michael Corsentino

Nikon Speedlight Handbook: Flash Techniques for Digital Photographers by Stephanie Zettl

The New Complete Guide to Digital Photography by Michael Freeman – a comprehensive general reference guide with brief explanations of nearly every aspect of digital photography.

New Epson Complete Guide to Digital Printing by Rob Sheppard.

More Essential Digital Photography Books are listed in this post.

Nikon D780 Accessories

Nikon EN-EL15b Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling, or when photographing all day, or for an event.

EH-7P Charging AC Adapter: This charging adapter allows you to directly charge the battery while in the camera, via a USB cable. Note that the camera needs to be turned off in order for it to charge, and it will not charge older EN-EL15or EN-EL15a batteries.

MC-DC2 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button, thus preventing possible camera shake.

WR-T10 Remote Transmitter and WR-R10 Remote Controller or WR-R10 Wireless Remote Adapter Set: These wireless remote accessories will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button, thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with the WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power. The less sophisticated SB-500 is also compatible.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-7 Wireless Transmitter: This can be used to wirelessly transmit your images and videos to an FTP server, computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. It also offers a wired Ethernet port for a wired (tethered) connection. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection, which allows you to remotely change numerous camera settings.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as a BeachTek dSLR audio adapter, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop or Lightroom, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: https://nikonimglib.com/ncnxd/

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV (or other external HDMI device), and then view images, slideshows, or video from the camera.

Nikon z8 / Z7 / Nikon Z6 / Nikon Z 7II / Nikon Z 6II Accessories

Nikon EN-EL15b Rechargeable Battery or updated EN-EL15c: It is always good to have an extra battery or two, especially when traveling, or when photographing all day, or for an event. The MB-N10 Multi-Power Battery Pack will be offered in the future, and will hold two EN-EL15bbatteries.

EH-7P Charging AC Adapter: The Z 7 includes this charging adapter, which allows you to directly charge the battery while in the camera, via a USB cable. This adapter is also compatible with the Z 6, but is not typically included. Note that the camera needs to be turned off in order for it to charge, and it will not charge older EN-EL15or EN-EL15abatteries. This adapter is compatible with the Z 6, but is not typically included.

Nikon MB-N11 Power Battery Pack with Vertical Grip: This battery grip for the Z 7II and Z 6II accepts two EN-EL15 type batteries, while also providing a vertical grip and duplicated, customizable controls including the shutter release, AF-ON Button, Fn Buttons, and Multi Selector. Note that the thumb-joystick on the grip corresponds to the Multi Selector thumbpad on the camera body, and not to the Sub-Selector joystick on the camera.

Nikon MB-N12 Power Battery Pack with Vertical Grip: This battery grip for the Z 8 accepts two EN-EL15 type batteries, while also providing a vertical grip and duplicated, customizable controls including the shutter release, AF-ON Button, Fn Buttons, and Multi Selector.

MB-N10 Multi-Power Battery Pack: This battery grip for the Z 7 and Z 6 will hold two EN-EL15b batteries. However, it does not have any camera controls.

Nikon FTZ Adapter or newer FTZ II Mount Adapter: These lens adapters will enable you to use a large number of compatible Nikon F-mount lenses and teleconverters with the Z 7 and Z 6.

MC-DC2 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button, thus preventing possible camera shake.

WR-T10 Remote Transmitter and WR-R10 Remote Controller: These wireless remote accessories will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button, thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10receivers on multiple cameras and trigger them simultaneously with one WR-T10remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with the WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power. The less sophisticated SB-500is also compatible with the Z 7 and Z 6.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-7 Wireless Transmitter: This can be used to wirelessly transmit your images and videos to an FTP server, computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. It also offers a wired Ethernet port for a wired (tethered) connection. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection, which allows you to remotely change numerous camera settings.

Nikon GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time. Remember that you can also make use of the camera’s wireless capabilities via the SnapBridge app, to add time and location data from your smart phone to the images on the camera, and thus perform similar capabilities as a GPS device. Here is an alternate Micnova GPS receiver if the Nikon model is no longer available.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as a BeachTek dSLR audio adapter, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop or Lightroom, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: https://nikonimglib.com/ncnxd/

Nikon D850 Accessories

Nikon D850 User’s Manuals – For PDF downloads of the Nikon D850 User’s Manual and D850 Menu Guide, see the webpage and below:

http://downloadcenter.nikonimglib.com/en/products/359/D850.html

Nikon EN-EL15a Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D18 Battery Pack/ Grip: This accessory will enable you to use an additional EN-EL15a battery, or eight alkaline, lithium, or Ni-MH AA batteries, or an EN-EL18 battery with the use of the optional BL-5 Battery Chamber Cover. This allows you to shoot longer without having to change batteries, and can allow you to share EN-EL18 batteries with the Nikon D5 body. It also increases the size of the D850 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation. There is also an MB-D18 Battery Pack kit that comes with the battery pack, plus the BL-5 Cover and an EN-EL18b battery.

MC-30 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

WR-T10/ WR-R10 /WR-A10 Wireless Remote Controller, Transceiver, and Adapter: This wireless remote set will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-910 or Nikon SB-700 Speedlight Flash: These external flashes will give you significant flash power and control over output and direction. They have adjustable and rotating heads so that you can use indirect and bounce flash. They can also be used as commanders to trigger remote Speedlight flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time. Remember that you can also make use of the camera’s wireless capabilities to add time and location data from your smart phone to the images on the camera, and thus perform similar capabilities as a GPS device.

Nikon ES-2 Film Digitizing Adapter Set: This accessory for digitizing negatives using your camera includes holders for 35mm film strips and slides, and attaches to the AF-S Micro 60mm f/2.8G ED lens. This can be used with the Negative Digitizer feature of the D850 (accessed via the Live View i Button Menu), to more easily “scan” your negatives.

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV (or other external HDMI device), and then view images, slideshows, or video from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.

Nikon D500 Accessories

Nikon EN-EL15 Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event. Be sure to use the newer Li-Ion20 type of EN-EL15 battery for best results. Nikon will replace your older EN-EL15 Li-ion01 batteries with the newer version, for free. See this link for further information:

https://support.nikonusa.com/app/answers/detail/a_id/19541

Nikon MB-D17 Battery Pack/ Grip: This accessory will enable you to use an additional EN-EL15 battery, or eight alkaline, lithium, or Ni-MH AA batteries, or an EN-EL18 battery with the use of the optional BL-5 Battery Chamber Cover. This allows you to shoot longer without having to change batteries, and can allow you to share EN-EL18 batteries with the Nikon D5 body. It also increases the size of the D500 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-7A Wireless Transmitter: This can be used to wirelessly transmit your images and videos to an FTP server, computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. It also offers a wired Ethernet port for a wired (tethered) connection. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection, which allows you to remotely change numerous camera settings. However for certain situations and uses, an Eye-Fi SD memory card may be a more convenient and less expensive solution for wireless transmission of full sized images.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as one of the BeachTek Audio Adapters, or an external audio recorder such as the Zoom H6 Portable Recorder.

Lexar 64GB Professional 2933x XQD card: The maximum continuous burst capacity specifications given by Nikon for the D500 are based on the use of this card. When set for RAW L image files and DX Image Area, this XQD card can capture up to the maximum 200 14-bit lossless compressed or 12-bit uncompressed images, without filling the buffer and having to pause. Sony also offers numerous XQD cards that are compatible with the D500, as listed on page 385 of the Nikon D500 User’s Manual.

SanDisk Extreme Pro UHS-II 280MBs SD: This is a very fast SD type card that appears to be working well with the D500. There have been issues reported with SD cards from Lexar and Transcend, which are caused by the card and not the camera. Nikon has released a firmware update that creates a workaround for errors when using a problematic UHS-II card, though it reverts to using it as a slower UHS-I card. The memory card manufacturers are working to resolve this issue.

Nikon D750 Accessories

Nikon EN-EL15 Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D16 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use six AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D750 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

MC-DC2 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: This wireless remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-5A Wireless Transmitter with the Nikon UT-1 Communication Unit: These can be used together to wirelessly transmit your images to a computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. The two units can also be purchased together: WT-5A and UT-1. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection. The Nikon UT-1 Communication Unit when used alone will allow you to connect the camera to a computer or FTP server via an Ethernet cable, rather than wirelessly. However for certain situations and uses, an Eye-Fi SD memory card may be a more convenient and less expensive solution for wireless transmission.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as the BeachTek DXA-SLR Pro Audio Adapter, or Mini Pro version, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: http://nikonimglib.com/ncnxd/#

Nikon D810 Accessories

Nikon EN-EL15 Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D12 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use eight AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D810 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation. And its use with AA batteries will enable the maximum 7 frames per second continuous shooting speed when using DX Image Area. If you wish to use the larger EN-EL18 battery (used with the D4 body) with this MB-D12 battery grip, you can purchase the optional BL-5 Battery Chamber Cover which accepts the EN-EL18 battery.

MC-30A Remote Release Cord: Another basic corded remote release, with a larger thumb button that enables you to hold it down to keep the shutter open for Bulb shooting.

MC-36a Remote Shutter Release Cord: A multi-function corded remote for shutter release with an intervalometer, which attaches via the ten-pin connector.

WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: This wireless remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-5A Wireless Transmitter with the Nikon UT-1 Communication Unit: These can be used together to wirelessly transmit your images to a computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. The two units can also be purchased together: WT-5A and UT-1. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection. The Nikon UT-1 Communication Unit when used alone will allow you to connect the camera to a computer or FTP sever via an Ethernet cable, rather than wirelessly. However for certain situations and uses, an Eye-Fi SD memory card may be more convenient and less expensive.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as the BeachTek DXA-SLR Pro Audio Adapter, or Mini Pro version, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop, this software will enable you to process and retouch your JPEG, TIFF, or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: http://nikonimglib.com/ncnxd/#

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV, and then view images and slideshows from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.

Nikon D810 dSLR Filmmaker’s Kit: This package, costing about $5,000, includes the D810 camera plus everything one needs to get started with dSLR HD filmmaking. In addition to the body, the kit includes three prime lenses which are all f/1.8 (35mm, 50mm, 85mm), a video recorder with HDMI cable, the ME-1 Stereo microphone, variable ND filters so that you can take advantage of wide apertures even in brighter lighting, and two EN-EL15 batteries.

Sandisk Extreme CF Memory Cards: I suggest getting a couple 32 GB or higher CompactFlash (CF) cards to store your photos – more if traveling. Be sure to check the Sandisk site for current rebates. This card’s speed is 120 MB/s, so to achieve the buffer rates of the D810 listed in the manual you will need to use the CF card listed just below.

SanDisk Extreme Pro UMDA 7 CF Memory Card: For an even faster CF memory card, look at the Extreme Pro version, which is rated at 160 MB/s, higher than the 120 MB/s speed of the Extreme CF cards. This is the minimum card needed to achieve the buffer capacity rates listed in the D810 manual on page 489.

SanDisk Extreme Pro SDHC UHS-I SD Memory Cards: If you plan to use the camera’s SD card slot, I suggest getting a couple 32GB or higher capacity Secure Digital (SD) cards to capture and store your photos – more if traveling. Review the various ways that the camera’s two memory card slots can be used with the Primary slot selection and Secondary slot function items of the Shooting Menu. Again, be sure to check the SanDisk site for current rebates. This card is rated at 95 MB/s speed, so you may need the above CF card to achieve the maximum the buffer capacity of the D810.

Nikon D7500 / D7200 / D7100 Accessories

Nikon EN-EL15 Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D15 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D7100 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote Controller or WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: These wireless remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The new WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 unit.

MC-DC2 Remote Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless.

Nikon SB-910 (or SB-900, SB-800, SB-700, SB-600, SB-500) Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash, and with the exception of the SB-600 all can be used as commanders to trigger remote flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

Nikon WU-1a Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, share your images, or even use your smart phone or tablet to remotely release the camera’s shutter – all with Nikon’s Wireless Mobile Adapter Utility app:

Nikon GP-1 GPS Unit: / GP-1A GPS Unit (check compatibly with your camera here.) Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

Nikon ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. Other options include the Rode VideoMic or the Rode VideoMic Pro, which are good-quality affordable external stereo microphones for recording audio while shooting video. They mount to the camera’s Hot Shoe.

UT-1 Communication Unit: This unit is used with an Ethernet cable or wirelessly with the WT-5a Wireless Transmitter to connect to a network and transfer images to a computer or server, or to control the camera remotely from your computer. You can also purchase these two units, the UT-1 and WT-5a as a bundle.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

Nikon D7000 Accessories

Nikon EN-EL15 Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D11 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D7000 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote or MC-DC2 Remote Release Cord: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Nikon SB-910, SB-900, SB-800, SB-700, or SB-600 Speedlight Flashes: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash, and with the exception of the SB-600 all can be used as commanders to trigger remote flashes.

Nikon WT-4A Wireless Transmitter: This can be used to wirelessly transmit your images to a computer as you shoot. However for certain situations and uses, an Eye-Fi SD memory card may be more convenient.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

Nikon D5600 / D5500 / D5300 / D5200 / D5100 Accessories

Nikon EN-EL14a Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Battery Pack/ Grip: This third-party accessory will enable you to use two EN-EL14a batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D5600 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

MC-DC2 Remote Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

Nikon SB-910 or SB-700 Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. And they can be used as commanders to control and trigger multiple remote flashes.

Nikon WU-1a Wireless Mobile Adapter: (Nikon D5200, D7100, D3200 and later cameras only) This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, share your images, or even use your smart phone or tablet to remotely release the camera’s shutter – all with Nikon’s Wireless Mobile Adapter Utility app:

Nikon GP-1 GPS Unit: / GP-1A GPS Unit (check compatibly with your camera here.) (Not needed for D5300) Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time. Using this accessory, you images will also be automatically located on a map, such as when uploaded to the Flickr photo website.

ME-1 Stereo Microphone or ME-W1 Wireless Microphone: External, stereo mics to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera.

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the D5600 to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By accessing the Playback Menu item HDMI > Device control > On, you will also be able to then control the image or video playback using the TV remote. Note that movies may not display properly, depending on the Frame size / Frame rate settings at which they were recorded.

Nikon D610 / D600 Accessories

Nikon EN-EL15 Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D14 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D600 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote or MC-DC2 Remote Release Cord: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

Nikon WU-1b Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, or even use the smart device to remotely release the shutter. However for certain situations and uses, an Eye-Fi SD memory card may be more convenient.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

Nikon Df Accessories

Nikon Df User’s Manual – For a PDF download of the Nikon Df manual, see the webpage below:

https://support.nikonusa.com/app/answers/detail/a_id/18767

AF-S NIKKOR 50mm f/1.8G Special Edition Lens: This lens, with its silver ring, is specifically designed to match the retro-style of the Df – though it contains the same optics of the non-special AF-S 50mm f/1.8 lens.

Nikon EN-EL14a Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: This wireless remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The new WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

AR-3 Cable Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless. In keeping with the styling of the Df, it is a “retro” cable-release with a plunger.

MC-DC2 Remote Release Cord: This is also a straightforward corded remote used to trigger the shutter of the camera, and is plugged into the Accessory Terminal of the Df.

Nikon SB-400 Speedlight: This is a much smaller and less powerful flash than the versatile SB-910, and is closer to the strength of a typical built-in flash. However you can angle it for bounce-flash purposes.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Wireless Mobile Utility: To get started with Wi-Fi, you will also need to download Nikon’s Wireless Mobile Utility app, which is available for both iOS and Android. Note that the iPad app is available as an “iPhone Only” app in the Apple App Store, though it can still be used on the iPad. You can find links to both versions of the app below, along with links to both versions of the Wireless Mobile Utility User’s Manuals:

Nikon GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, sharpening, and noise. This version is in the process of being replaced with Capture NX-D.

CF-DC6 Semi-Soft Case or CF-DC5 Semi-Soft Case: The CF-DC6 is a retro-styled leatherette case specially designed for the Df, and is available in Black or in light Brown. The CF-DC5 is of a more contemporary style and materials.

Leather Strap in Black or in Brown: You can pair the retro-styled CF-DC6 case with a leather strap, available in similar colors.

Gariz Leather Half-Case: There is also a very nice looking leather half-case by a third-party named Gariz. It is available in black and brown, and covers the grip area and lower part of the Df body, but also allows you to open and access the battery/ memory card compartment and the side terminal covers, without removing the case. It lengthens the body of the camera in order to provide a replacement tripod socket (since the camera’s is used for attaching the case), and perhaps to enlarge the camera to offer a better grip.

Screen Protectors: This pair of screen protectors is specifically sized for the LCD screens of the Df. While I have not personally used them, and thus cannot vouch for their quality or usefulness, previous versions of this brand have gained good reviews.

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the Df to an HDMI CEC compatible TV, and then view images and slideshows from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.

Nikon D3300 Accessories

Nikon D3300 Manuals: The D3300 Reference Manual can be obtained as a PDF file from the Nikon website at this link:

https://support.nikonusa.com/app/answers/detail/a_id/18824

Nikon WU-1a Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, to share your images, or even to use your smart phone or tablet to remotely release the camera’s shutter – all with Nikon’s Wireless Mobile Adapter Utility app.

Wireless Mobile Utility:To get started with Wi-Fi, you will first need to download Nikon’s Wireless Mobile Utility app, which is available for both iOS and Android. Note that the iPad app is available as an “iPhone Only” app in the Apple App Store, though it can still be used on the iPad. You can find links to both versions of the app below, along with links to both versions of the Wireless Mobile Utility User’s Manuals:

Nikon EN-EL14a Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Battery Pack/ Grip: This third-party accessory will enable you to use two EN-EL14a batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D3300 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

MC-DC2 Remote Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless.

DK-5 Eyepiece Cap:When using any of the Release Modes such as Self-Timer or Remote, where your eye is not at the Viewfinder, be sure to cover the Viewfinder with a piece of tape or this optional eyepiece cap in order to prevent stray light from entering the camera and modifying the exposure settings.

Nikon SB-910 or SB-700 Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. And they can be used as remote flashes triggered by the built-in flash, and as commanders to control and trigger multiple remote flashes.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the D3300 to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By accessing the Playback Menu item HDMI > Device control > On, you will also be able to then control the image or video playback using the TV remote. Note that movies may not display properly, depending on the Frame size / Frame rate settings at which they were recorded.
–
–

Canon EOS R / EOS R7 / EOS R6II/ EOS R8 Accessories

Canon LP-E6N Battery or the current Canon LP-E6NH Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon LP-E17 Battery for the EOS R8

Canon BG-E22 Battery Grip: This optional battery pack and grip for the EOS R will enable you to use two LP-E6N batteries, thus allowing you to shoot longer without having to change batteries. (No official Canon grip is available for the EOS R7.) The grip replicates the controls of the body and also increases the size of the EOS R body which may be more comfortable for some shooters, especially when using the camera in the vertical position. Note that there is a firmware update for the BG-E22 Battery Grip:

https://www.usa.canon.com/internet/portal/us/home/support/details/supplies-accessories/batteries-grips/battery-grip-bg-e22?tab=drivers_downloads

Canon EF-EOS R Mount Adapters: Canon offers three EF to EOS R mount adapters, which enable you to use EF and EF-S lenses with the EOS R mirrorless models, as well as extenders. The adapters are dust and weather sealed. One is a basic EF-EOS R adapter, the Canon Mount Adapter EF-EOS R. One includes a Control Ring similar to the one on the RF lenses, the Canon Control Ring Mount Adapter EF-EOS R. And the Canon Drop-In Filter Mount Adapter EF-EOS R allows for the use of a drop-in filter, including a variable ND filter or a circular polarizing filter. This adapter can be purchased with the Circular Polarizing Filter, with the Variable ND Filter, and you can separately purchase just the Variable ND Filter or just the Circular Polarizing Filter.

Canon Remote Switch RS-60E3, Canon Wireless Remote Control RC-6, or the Bluetooth Canon BR-E1 Wireless Remote Controller: These remotes will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. Note that you must pair the BR-E1 remote with the camera, by first setting the Setup 5 Menu > Wireless Communication Settings > Bluetooth Function > Remoteoption. Then select the Pairing item in the Bluetooth Function menu, and simultaneously press and hold the W and Tbuttons on the remote, for 3 seconds. Infrared remote controllers such at the RC-6 are not compatible with the EOS R.

Canon Speedlite EL-1: This is the newest flagship flash, which replaces the 600EX-II-RT. This external flash will give you the most flash power and control of the Canon Speedlites, as well as continuous shooting support. It has an adjustable and rotating head so that you can use indirect and bounce flash, and includes a diffuser plus color filters for white balance. It also allows optical wireless functionality plus is compatible with the radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Canon Speedlite EL-5: This is a non-professional version of the EL-1 external flash. The EL-5 will provide less flash power and control, and fewer features than the top-of-the-line EL-1, however it may meet your needs if you don’t make extensive use of a flash. It also has an adjustable and rotating head so that you can use indirect and bounce flash. It allows optical wireless functionality plus is compatible with Canon’s radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Canon Speedlite 600EX II-RT: This external flash will give you the most flash power and control of the Canon Speedlites, as well as continuous shooting support. It has an adjustable and rotating head so that you can use indirect and bounce flash, and includes a diffuser plus color filters for white balance. The 600EX II-RT also allows optical wireless functionality plus is compatible with the radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Compatible with the Canon 600EX II-RT Speedlite.

Note that either the 600EX II-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the EOS R. If either one of these units is in the Hot Shoe of the EOS R, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Speedlite 430EX III-RT external flash will provide less flash power and control, and fewer features than the top of the line 600EX II-RT, however it may meet your needs if you don’t make extensive use of a flash. It also has an adjustable and rotating head so that you can use indirect and bounce flash. The 430EX III-RT allows optical wireless functionality plus is compatible with Canon’s radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT or a 600EX II-RT. And the 430EX III-RT offers an optional bounce adapter and color filter.

Speedlite 470EX-AI external flash has an auto-intelligent bounce function, meaning that the flash head will rotate and swivel automatically, to be positioned at the best angle for bounce flash, based on the subject distance and ceiling height. The 470EX-AI also allows optical wireless functionality.

Canon HTC-100 HDMI cable or a similar HDMI cable Use this HDMI cable to connect the EOS R to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera.

WFT-E7A Wireless File Transmitter Version 2: This optional device enables fast wireless or wired Ethernet transfer of images from the camera to a computer or smart device such as an iPad or tablet. It also offers remote control and linked shooting capabilities, and offers built-in Bluetooth function.

Canon GPS Receiver GP-E2: This optional device can be used to automatically geotag your images with location data. If you are using the GP-E2, be sure to update its firmware to the latest version (Version 2.0.0 or later).

–

Canon 5D Mark IV Accessories and Canon 5DS / 5DS R Accessories

Canon LP-E6N Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E20 Battery Grip: This optional battery pack and grip for the 5DIV will enable you to use two LP-E6N batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 5D Mark IV body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Canon Speedlite 600EX II-RT: This external flash will give you the most flash power and control of the Canon Speedlites, as well as continuous shooting support. It has an adjustable and rotating head so that you can use indirect and bounce flash, and includes a diffuser plus color filters for white balance. The 600EX II-RT also allows optical wireless functionality plus is compatible with the radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Compatible with the Canon 600EX II-RT Speedlite.

Note that either the 600EX II-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 5D Mark IV. If either one of these units is in the Hot Shoe of the 5D Mark IV, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Speedlite 430EX III-RT or Speedlite 320EX: These external flashes will provide less flash power and control, and fewer features than the top of the line 600EX II-RT, however they may meet your needs if you don’t make extensive use of a flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 430EX III-RT allows optical wireless functionality plus is compatible with Canon’s radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT or a 600EX II-RT. The 430EX III-RT offers an optional bounce adapter and color filter. The 320EX has a built in LED light for lighting video.

Canon HTC-100 HDMI cable: Use this HDMI cable to connect the 5D Mark IV to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By setting the Control over HDMI menu item to Enable (Playback 3 Menu), you will also be able to then control the image or video playback using the TV remote.

WFT-E7A Wireless File Transmitter Version 2: This optional device enables fast wireless or wired Ethernet transfer of images from the camera to a computer or smart device such as an iPad or tablet. It also offers remote control and linked shooting capabilities, and offers built-in Bluetooth function.

Canon 7D Mark II Accessories

Canon LP-E6N Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E16 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6N batteries or six AA/ LR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 7D Mark II body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon Speedlite 600EX-RT: This most recently introduced external flash will give you the most flash power and control of the Canon Speedlites. It has an adjustable and rotating head so that you can use indirect and bounce flash, and is compatible with a specially designed color filter holder and gels (see below). The 600EX-RT also allows infrared wireless functionality plus is compatible with the new radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 7D Mark II. If either one of these units is in the Hot Shoe of the 7D Mark II, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder: This plastic holder attaches to the front of the 600EX-RT Speedlite and holds the gels of the Canon Color Filter Set. Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single White Balance setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you varying levels of flash power and control, with the 580EX II being the most powerful of the group. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 320EX also has a built in LED light for lighting video. To attach color filters to these models see the Rosco Strobist Collection Flash Gels section below.

Canon HTC-100 HDMI cable: Use this HDMI cable to connect the 7D Mark II to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By setting the Control over HDMI menu item to Enable (Playback 3 Menu), you will also be able to then control the image or video playback using the TV remote.

Eh-S Super Precision Matte Focusing Screen: The 7D Mark II is able to accept this optional focusing screen, which is designed for manual focusing. However, you will need to be using a lens with a maximum aperture of f/2.8 or larger, or else it will make the Viewfinder appear darker than the standard focusing screen. This screen will display the out-of-focus areas of the scene more dramatically out-of-focus, thus helping you to better view what is in-focus. Be sure to change the C.Fn 3 Custom Function item of the Focusing Screen for Eh-S, if you make use of this screen.

Canon 80D / 77D / 70D Accessories

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E14 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6 batteries or six AA/ CR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 70D body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 70D. If either one of these units is in the hotshoe of the 70D, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you varying levels of flash power and control, with the 580EX II being the most powerful of the group. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 320EX also has a built in LED light for lighting video. To attach color filters to these models see the Rosco Strobist Collection Flash Gels section just above.

Canon HTC-100 HDMI cable: Use this HDMI cable to connect the 70D to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By setting the Control over HDMI menu item to Enable (Playback 3 menu), you will also be able to then control the image or video playback using the TV remote. Use the Canon AVC-DC400ST Stereo AV cable for non-HD TV sets.

Canon 7D Accessories (see also the Canon 5D Mark III Accessories section for the new Canon 600EX-RT flash and its accessories)

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E7 Battery Grip: This accessory will enable you to use two LP-E6 batteries, (or else use six AA batteries), thus allowing you to shoot longer without having to change batteries. It also increases the size of the 7D body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Canon Remote Switch RS-60E3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash. The 320EX also has a built in LED light for lighting video. (see also the Canon 5D Mark III Accessories section for the new Canon 600EX-RT flash and its accessories).

Canon WFT-E5A Wireless File Transmitter: Use this accessory to wirelessly transmit your images from the camera to a computer over a Wi-Fi or Gigabit Ethernet connection. It can also be used to wirelessly control the camera via a web-enabled mobile device.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Canon 60D Accessories (see also the 5D Mark III section for the new Canon 600EX-RT flash and its accessories)

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E9 Battery Grip: This accessory will enable you to use two LP-E6 batteries, (or else use six AA batteries), thus allowing you to shoot longer without having to change batteries. It also increases the size of the 60D body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Canon Remote Switch RS-60E3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Canon Hand Strap E2: This hand strap provides a more secure grip and allows for easier single hand operation of the camera. It attaches on the right side of the 60D and your right hand slips between it and the camera.

Canon EF-D Focusing Screen: This is the grid focusing screen to help you keep your compositions and horizons straight and level.

Canon Rebel T5i/700D, T4i/650D, T3i/600D, and T2i/550D Accessories

Canon LP-E8 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E8 Battery Grip: This accessory will enable you to use two LP-E8 batteries, (or else use six AA batteries), thus allowing you to shoot longer without having to change batteries. It also increases the size of the camera’s body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the T4i. If either one of these units is in the hotshoe of the T4i, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon Hand Strap E2: This hand strap, used with or without the battery grip, provides a more secure grip and allows for easier single hand operation of the camera. It attaches on the right side of the camera and your right hand slips between it and the camera.

Canon EOS 5D Mark III Accessories

Sandisk Extreme CF Memory Cards: I suggest getting a couple 16GB, 32GB, or higher capacity CompactFlash (CF) cards to capture and store your photos – more if traveling. Be sure to check the Sandisk site for current rebates.

Sandisk Extreme Pro CF Memory Cards: For an even faster CF memory card, look at the Extreme Pro version, which saves at 90MB/s over 60 MB/s of the Extreme CF cards.

Sandisk Extreme SD Memory Cards: If you plan to use the camera’s second card slot, I suggest getting a couple 16GB, 32GB, or higher capacity Secure Digital (SD) cards to capture and store your photos – more if traveling. Review the various ways that the camera’s second card slot can be used. Again, be sure to check the Sandisk site for current rebates.

Sandisk Extreme Pro SD Memory Cards: For an even faster SD memory card, look at the Extreme Pro version, which saves at 95MB/s over 30 MB/s of the Extreme SD cards.

SanDisk Extreme Pro UDMA 7 CF Memory Card: This CF memory card will allow you to take full advantage of the high speed continuous shooting of the 5D Mk III to capture up to the maximum 16,270 continuous JPEG images or 18 RAW images in a single burst.

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E11 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6 batteries or six AA/ CR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 5D Mk III body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon WFT-E7A Wireless File Transmitter: Use this accessory to wirelessly transmit your images from the camera to a computer over a Wi-Fi or Gigabit Ethernet connection. It can also be used to wirelessly control the camera via a web-enabled mobile device.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 5D Mk III. If either one of these units is in the hotshoe of the 5D Mk III, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder: This plastic holder attaches to the front of the 600EX-RT Speedlight and holds the gels of the Canon Color Filter Set. Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single WB setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you varying levels of flash power and control, with the 580EXII being the most powerful of the group. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 320EX also has a built in LED light for lighting video. To attach color filters to these models see the Rosco Strobist Collection Flash Gels section just above.

Sto-Fen Omni Bounce Diffuser for the Canon 580EXII or for the Canon 600EX-RT: Works great on the optional external flash units like the Canon 580EX II Speedlite or the newer 600EX-RT Speedlite. Do not use this on your flash outdoors because all it will do outside is cause your flash to work harder. I know you see lots of people doing it. They didn’t bother reading how to use it – don’t imitate them! Use a direct bare or gelled flash outdoors. These diffusers are designed to work as a diffuser when bounced off a surface and angled at 45 degrees or so, not straight on, and not bouncing off the sky.

Canon EOS 6D Accessories

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E13 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6 batteries or six AA/ CR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 6D body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time. However the EOS 6D (WG) has built-in GPS, so this accessory is generally not necessary. Ironically, the GP-E2 is not compatible with the EOS 6D (N), the model that is sold in certain regions without built-in Wi-Fi and GPS.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 6D. If either one of these units is in the hotshoe of the 6D, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Viewfinder Focusing Screens: The optional Canon Eg-S Super Precision Matte focusing screen is designed to assist with manual focusing, and the optional Canon Eg-D Precision Matte focusing screen provides a grid in the Viewfinder to help keep your compositions straight and level.

Introduction of new Canon Rebel T3i / EOS 600D

Canon just announced the replacement for the T2i called, as expected, the Canon Rebel T3i / EOS 600D. It has a few upgrades from the T2i, borrowed from the 60D, including the high resolution swivel rear LCD screen, remote flash capabilities, some additional menu options, and built in Creative Filters. Canon also introduced a new 18-55mm image stabilized kit lens to pair with it. Read more about it here at DPReview, and I will fill in more details about it soon. As Canon’s own press release dramatically states, Canon Empowers The Masses To Take Better Photographs And Video With The New EOS Rebel T3i And EOS Rebel T3 Digital SLR Cameras. Wow!

I’ve completed a Canon Rebel T3i e-book user’s guide, following in the footsteps of my popular e-books Your World 60D and T2i Experience, titled Canon T3i Experience. See here for more info.

image from Canonusa.com

Order your Canon Rebel T3i (EOS 600D) from Amazon now:

Canon EOS Rebel T3i 18 MP CMOS APS-C Digital SLR Camera with 3.0-Inch LCD (Body Only)

Canon EOS Rebel T3i 18 MP CMOS APS-C Digital SLR Camera with 3.0-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

———

Canon T2i vs T3i (Canon 550D vs 600D): If you are trying to decide between these two cameras, or deciding between the T3i vs 60D vs 7D, please see the post I wrote that reviews and compares the current cameras in the Canon dSLR consumer line-up: Canon T3i vs T2i vs 60D vs 7D, etc.

Set Up and Customize the Nikon D7000 – Menus and Custom Settings

I’ve spent a significant amount of time with the new Nikon D7000 as I was researching and writing my ebook user’s guide Nikon D7000 Experience. It has been interesting to contrast it with the recent Canon 60D, as they sit in a somewhat similar position in each brand’s current dSLR line-up.

They are both excellent cameras and are both highly customizable for you to set up for the way you shoot. But I have to say I’m incredibly impressed with the higher amount of customization options offered by the D7000. Nikon offers the opportunity for advanced shooters to fine-tune many settings of the D7000 – options that the 60D just doesn’t have.

Advanced settings of the Nikon D7000 include:

White Balance – many more fluorescent options and the ability to tweek any of the WB settings along the blue-amber and green-magenta axes – including the ability to make blue-amber adjustments on the fly without going into the menus by using the WB button. The 60D not only doesn’t offer this level of adjustment, it doesn’t even have a WB button on the body of the camera.

Frame Rate – The Continuous Low release (drive) mode can be set for between 1 to 5 fps. Canon only offers 3fps in Low Speed Continuous. This is not such a big deal on the 60D because High Speed Continuous is 5.3 fps. However with the Canon 7D, this would have been an incredibly helpful option. The 8 fps of High Speed is blazing fast, typically too fast for real life use as the scene barely changes from image to image yet the large files can quickly fill up a card. But then 3 fps is too slow for action use. I have long wished for a 5 or 6 fps option on the 7D.

Metering – With the D7000 you can change the size of the area metered in Center-Weighted Area metering mode if you wish for more or less precision or if you are working with a subject of a particular size. The camera can be set to meter a circle of various sizes: 6mm, 8mm, 10mm, 13mm, or even an average of the entire scene (Average will act like a very dumbed down Matrix (Evaluative) Metering and just average the entire frame and not take selected AF points into consideration). The 60D does not offer this ability but does offer Center Weighted metering mode and Partial metering mode (which meters a center circle that is 6.5% of the viewfinder). Both cameras offer Spot Metering for very precise metering.

Exposure – In the D7000 you can fine tune the default settings of each of the metering modes to slightly under- or over-expose. This is an adjustment done behind the scenes and not exposure compensation. This is something I would find very handy on my 50D because it always overexposes by about 1/3 a stop in Evaluative Metering mode. So instead of using -1/3 exposure compensation all the time, I finally settled on using Center Weighted Average metering. But with the D7000, you can fine tune the camera to always underexpose. For example if you were to have this slight overexposure problem in Matrix metering, you could fine-tune Matrix for -1/3 and then it would be fixed. You could use exposure compensation on top of that when necessary. You can also customize the controls for exposure compensation (EC) so that your EC adjustment applies to only the next photo taken or to all subsequent photos.

Autofocus – The D7000 offers AF Fine Tune (or AF Micro-Adjustment as Canon users may know it) to slightly fine tune the autofocus of multiple lenses if any of them are slightly back- or front-focusing. This feature was on the 50D but was disappointingly dropped from the 60D. The D7000 also allows you to choose from all the AF points or just 11 of them, which could be helpful to those just getting the hang of selecting their own AF point instead of allowing the camera to choose what it thinks you wish to focus on. (You should nearly always be choosing your own AF point!)

So as you can see, the D7000 offers many advanced customization and fine-tune options in the Menus and Custom Settings that the 60D just doesn’t offer. Keep in mind however that these are pretty advanced features, and if you are not going to be making use of them, don’t be swayed by them when choosing a camera.

For a more detailed comparison of these two cameras, see my post Nikon D7000 vs. Canon 60D.

If you would like to learn more about all the Menu and Custom Settings of the Nikon D7000 or the Menu items and Custom Functions of the Canon 60D, be sure to have a look at my ebook user’s guides for each of these cameras:

Nikon D7000 Experience – The Still Photographer’s Guide to the Nikon D7000

Your World 60D – The Still Photographer’s Guide to the Canon 60D

In these books I cover all of the menus and custom settings, along with their recommended settings for general photography and travel photography use. These kinds of settings are what make these cameras very powerful and precise tools that you can – and should – set up to work for the way you photograph. They are worth learning, understanding and making use of.

If you wish to compare the Canon 60D with the other Canon dSLRs, see this post Canon 5D vs. 7D vs. 60D vs. 550D/T2i and if you wish to compare the Nikon D7000 with the other Nikon dSLRs, see this post Nikon D7000 vs. D90 vs. D300s.

Canon Lens Price Increase Feb. 01

Word on the street is that there is going to be a 5% price increase for many Canon lenses and Speedlites starting February 1, 2011. Here is one list showing potential increases ranging from 1% to 11%.

Canon lens price increase
(I always find it a bit silly and obsessive when photographers take photos of their own gear but, well, I needed an appropriate image!)

So make that decision now and buy that awesome new lens you’ve been desiring, before the prices go up! Don’t know which lens(es) to buy? Be sure to check out one of my most popular posts, Best Lenses for Humanitarian and Travel Photography to get the run down on several recommended lenses (which also applies to general and everyday photography).

If you decide to purchase from Amazon.com, I would appreciate it if you use my referral links on that post, or use this link to enter Amazon and make your purchases! Amazon will give me a little something, which helps to support this blog. Thanks!

Holiday Gift Ideas for Yourself or your Favorite Photographer

I suppose I should join the photo blogger holiday tradition of putting together a holiday and Christmas gift guide for photographers or those who are shopping for the photographer in their life! If you plan to purchase any of these items through Amazon.com, I you can use the product links I set up throughout this post, which will bring you right to that product’s page on Amazon. (Amazon will then reward me with a small referral reward for my effort, which will help support my blog. Thanks! If you are in the UK or wish to purchase from B+H, see the end of this post for link information.) And now on to the shopping:

The first thing you are going to need is the Canon 24-105mm f/4 lens Mug or Nikon 24-70mm f/2.8 lens Mug to drink your hot cocoa or hazelnut coffee as you are unwrapping the rest of your gifts. These extremely popular and awesomely realistic mugs, complete with rubber ring grips, have a wide f/4 or f/2.8 opening which enables them to take in copious amounts of liquid just as your lens takes in all that light. The lens caps protects your beverage when not in use – no UV filter needed.

The best gift of the season for most photographers would most likely be a brand new digital dSLR camera to upgrade what they are currently shooting with – one with a few more megapixes, improved autofocus system, faster continuous shooting speeds, and some new bells and whistles.

For many photographers this will be the new Canon EOS 60D body only or the Canon 60D with 18-135mm kit lens. The EOS 60D has continued Canon’s tradition of ease of use, great ergonomics and controls, fantastic image quality and low light performance, plus added a swiveling real LCD screen. And full HD video with more frame rate options than the competitors.
canon eos 60d
For Nikon shooters the best choice is the brand new, highly sought-after Nikon D7000. The Nikon D7000 body only or D7000 with 18-105mm lens cost a bit more than the 60D, but they provide the additional features to justify the higher cost: faster continuous shooting rate, partial magnesium body, more advanced and customizable autofocus system, and two SD memory card slots to save all those shots and HD movies. Either one makes a excellent camera that is capable of producing high quality images.
Nikon D7000
Of course you are going to want some new lenses to go with these cameras. Why not step up to the professional quality lenses to see that immediate improvement in image quality, color, contrast, as well as lens and autofocus performance? For Canon this means the L series of lenses. Expand your focal range or fill in some gaps with a high quality wide angle zoom, standard zoom, or telephoto zoom.

For wide angle zooms, look at either the Canon EF 16-35mm f/2.8L II USM or the EF 17-40mm f/4L USM

For standard zooms, which make for a great “walk-around” lens, consider the Canon EF 24-70 f/2.8L USM or EF 24-105 f/4L IS USM

And in the telephoto zoom range, look at the EF 70-200, f/2.8L II IS USM or the much less expensive and lighter EF 70-200, f/4L IS USM

One of these lenses in each pair will be both more expensive AND heavier, so be sure and handle them first before you decide on one.

This may also be a good time to start experimenting with prime lenses. Their extra wide maximum apertures will allow you to use them in much lower light, and will create great, smooth background blurring for awesome portraits. Depending on how closely you like to work to your subject, a few to consider are the Canon 35mm f/2, Canon 50mm f/1.8 II for about $100, Canon 50mm f/1.4 (a little more costly 50mm), or the Canon 85mm f/1.8.

An extremely fun lens to work with is the Canon EF 100mm f.2.8 Macro USM. It is incredibly sharp, has dramatically narrow depth of field at f/2.8, and works as a great portrait lens too. If you have never used a macro, go try one out and experience what makes them so cool. The 60D and D7000 images just above were taken with this lens, as well as the cool close up shots of the following post comparing the Nikon D7000 vs D90 vs D300s.

If you need just one versatile lens for everyday use or for travel, the three lenses to consider are the EF 24-105 f/4L IS USM in the L series lenses, or else the EF-S 18-135mm f/3.5-5.6 IS or EF-S 18-200mm f/3.5-5.6 IS.

Of course with any of these lenses, be sure to protect them with a clear or UV filter, preferably a high quality, coated B+W brand UV filter. You can read a lot more about these lenses and how to choose between them in my earlier post, Best Lenses for Everyday and Travel Photography.

Possibly the most comfortable way to carry your camera around all day, especially when using a larger, heavier lens, is the BlackRapid RS-7 Camera Strap. I highly recommended this strap, and I use the older RS-4 version daily. They have made some steady, welcomed improvements on them, including the curved shoulder pad of the RS-7, the quick release strap, and the improved connecting hardware. The base that screws into your camera is a lower profile, stronger single piece, and the securing screw surface on the clasp ring is smooth rather than knurled so that it will no longer scratch up your camera bottom. The strap is comfortable, easy to use, quick, strong, and rugged. I often use it in conjunction with wearing a backpack, and although the straps fight for space against each other on my shoulder, it still works fine. There is also now a version designed for women, the RS-W1 plus a new woman’s version in just black. They are also introducing 2 different pieces of hardware which will allow you to attach your camera to a tripod without removing the R-Strap’s base that is already attached to your camera.

You are going to need something to carry all this equipment around in. My current favorite is the Lowepro Compu Trekker AW backpack, which is now called the Lowepro ProRunner 350 AW. I use this as both my airline carry-on and my working bag during the day. The size works perfectly for both needs. It easily fits the airline carry-on size, including smaller international requirements in some regions, yet fits more that it would first appear. With careful configuration of the interior dividers, I can fit 2 Canon bodies, three lenses, a 580EX II flash, its diffuser, 2 external hard drives in cases, a couple memory card cases, and some filters. In the outside pocket, I have a couple battery chargers, extra batteries, medium Rocket Blower, miscellaneous cords, caps, and accessories. In the rear pocket designed for a laptop, I easily fit a 32″ 5 in 1 reflector. The pack is extremely comfortable, has tons of padding on the straps and the back so that its weight never bothers me and I don’t feel the reflector in my back. I often wear it for hours a day while working, and it is never a problem. The Pro Runner 450 AW might be a better carry on size so that you could carry more gear on the plane with you (if it fits the airline’s requirements) but it would be too big for daily use. There are also rolling versions of these, with an “x” in the name, thought the retractable handles and wheels add weight and size to the bags.

For adventure videographers, the item of the year is the GoPro HD HERO Cam, which you attach to your helmet, head, mountain bike, snowboard, skateboard, motorcycle, or whatever to shoot professional quality, point of view video. It comes in a variety of packages with different mounts. Film and share your adventures in full HD video! Click the image to see it on Amazon or click here to learn more and but direct at the GoPro website.

And to save all those images you are taking, memory cards will make great stocking stuffers. I like Sandisk Extreme 16 GB SD cards . If you still use CF cards, be sure to get the SanDisk Extreme 16GB CF cards. Use a Sandisk card reader to upload the images to your computer, rather than from the camera directly, in order to save the camera batteries. This Sandisk Card Reader is for the CF cards, and the 5 in 1 reads SD cards.

And for some basic stocking stuffers, here are a few simple but essential items for keeping your camera and lenses clean:

Giottos Medium Rocket Blower in the medium or large size. Always have it handy for getting dust off lenses in a hurry, because blowing on them – no matter how careful – leads to spittle on the lenses 5% of the time when it doesn’t matter and 95% of the time when you are in the most critical situations.

Pearstone LP-1 Lens Pen – Works great for cleaning off mysterious spots, smudges, and fingerprints that always appear on the lens (this is why I always use UV filters) as well as that a-fore-mentioned spittle. There is a retractable brush on one end and a cleaning head on the other end. Twist the cap to load the cleaning tip with the carbon based cleaning material, then remove the cap and use. Please read the instructions and visit the LensPen website to fully learn how to use it properly.

For more photography equipment and accessories like those above, be sure to see this previous post Equipment for Travel (and Everyday) Photography.

To edit and save all your photos, you are going to need some hard drive space and some software:

External Hard Drives – The Iomega Ego 1TB and a Lacie Rugged USB 1TB work great both at home and when traveling. There is a FireWire version of the Lacie Rugged 500GB also. Both are built solid and sturdy, and each fit perfectly in the Case Logic Portable Hard Drive Case made for these types of drives. Get the cases in different colors so you can quickly differentiate your different drives. For storage at home, consider a couple Western Digital My Book 1TB External Hard Drives.

Post-Production – After taking all these wonderful images with your new equipment, you are going to need to organize, edit, and work on all your photos. And for that, of course you are going to needAdobe Photoshop and/ or Adobe Lightroom 3. You can start off with the trial versions that you can download from the Adobe site, but sooner or later you are going to have to get the real versions. Use that student discount if you can!

Also be sure to consider all the great photo books to help you learn to use your equipment, improve you images and compositions, and be inspired. I’ve put together a post of several of my favorites that you can read here. The most recent addition to the bookshelf is:

The Photographer’s Mind: How to See and Shoot Better Digital Photos by Michael Freeman
Every time I read Freeman’s The Photographer’s Eye, I lament, usually aloud, “why doesn’t he have more books like this?” Well, my wishes appear to have been answered. His next book The Photographer’s Mind has just come out.

And don’t forget the eBooks I put together for setting up and learning to use you Canon dSLR:

Your World 60D – The Still Photographer’s Guide to Operation and Image Creation with the Canon 60D – an eBook user’s guide and tutorial I wrote to help get you up and running with the 60D, quickly and competently. You can learn more about it at this post here. In addition to the PDF version, which also looks great on the iPad, it is also available in a Kindle edition on Amazon.com here and a Nook verion on BarnesandNoble.com Plus, for the Rebel T2i / EOS 550D, I have written T2i Experience – a similar guide for Canon T2i / 550D users.

Purchasing: If you plan to purchase cameras, photo equipment, books, or anything else from Amazon.com I encourage you to do so through any of the Amazon referral links I’ve set up. Just click on the equipment name or book title within this post and you will be taken to that Amazon page. Or click here to go directly to Amazon or click on the Amazon.com logo below, and start shopping. Thanks, I appreciate your support!

If you are in the UK, you can click here for the UK Amazon referral link.

For those interested in purchasing through B&H Photo, Adorama, or directly from Canon, I have set up affiliate links with them as well – find them on the left side of this page.

Happy Holidays, and I hope you get everything on your list!

Nikon D90 vs. D7000 vs. D300s

Comparing the Nikon D300s vs. D7000 vs. D90:

Since the Nikon D5100 was recently announced, I have updated this post to include all the current Nikon dSLR offerings. Read the updated post Nikon D5100 vs D7000 vs D90 vs D3100 here.

Just as Canon has made the decision between its consumer and pro-sumer dSLR cameras difficult due to the fact that they all share so many features, now so has Nikon with the release of the extremely admired new Nikon D7000. Although the D7000 sits above the Nikon D5100 and between the Nikon D90 and the Nikon D300s in price and features, its impressive new sensor, increase in megapixels and resolution, improved autofocus (AF) system, and construction and controls have made it a viable upgrade not only to the D90, but it some aspects it even challenges the more expensive, semi-professional D300s. Have its impressive specs created a lame duck of the D300s?

Nikon D7000 vs D300s vs D90 macro lens
photo by the author

As I always like to point out, when you are trying to determine which camera to purchase or upgrade to, you need to first consider and determine your needs, and then see which camera fills those needs. Not the other way around where you look at the new features and speculate if you really need or will use them. The latest cameras almost always have more impressive features and specifications than the preceding models, but if your needs and shooting style don’t required those upgrades then it is possible that you can save some money and be completely happy with a less expensive or earlier model.

Sensor and Image Quality: The sensor of the D7000 is greatly improved over both the D90 and the D300s in a couple of ways. The D7000 has 16.2 megapixels, where the D90 and D300s each have 12.3 megapixels. This increase in resolution allows for more intrusive editing of the files in Photoshop, the ability to crop a picture and still obtain an image with high enough resolution for printing or display, and allows for larger prints. In addition, the improved sensor, manufactured by Sony, results in better performance at high ISO settings and in low light, better dynamic range, tonal range, and color sensitivity. Have a look at dxomark.com to compare the sensors – run your mouse along the red-to-green color bar to the right of the graphs to see how these differences affect images.

Exposure Metering: The 2016 pixel RGB metering sensor of the D7000 is also improved compared to the D90 and D300s, and will result in better TTL metering performance of straightforward and complex lighting scenes and situations. All three cameras offer matrix metering, center-weighted, and spot metering. With center-weighted metering, the D90 can make use of your choice of a 6, 8, or 10mm center circle for its weighting, while the D7000 and D300s add a 13mm circle option to that.

Autofocus: The autofocus system of the D90 has 11 autofocus (AF) points with the center one being the more accurate cross type. The D7000 boasts a significantly improved AF system of 39 AF points with 9 of them being cross type. The D300s offers 51 AF points with 15 being cross type. The AF systems of the D7000 and D300s allow for you to use these points in various ways including automatic AF point selection, single point AF, and dynamic area AF using your choice of 9 points, 21 points, all points, or all points with 3D-tracking. With the D7000 you can also use a custom function to limit the AF system to 11 points, which may be more manageable for someone who wishes to manually select their AF points.

Nikon D7000 vs D300s vs D90 macro lens
photo by the author

Body, Construction and Size/ Weight: The D90 and D7000 appear very similar at first glance, but the plastic body of the D90 has been upgraded to the partially magnesium alloy body (top and rear) of the D7000. This adds slightly to the weight: 1.5 lbs for the D90 vs. 1.7 lbs for the D7000. The D300s is slightly larger than the other 2 bodies, and weighs in at 2.2 lbs, with full magnesium construction. The sturdier construction of the D7000 vs. the D90, including its nicer rubber gripping surfaces, creates the impression and feel of a more professional body. The D7000 and D300s have weather sealing at the memory card and battery doors. All 3 cameras have a 3″ rear LCD screen as well as a top LCD panel. It is worth noting that the magnesium alloy body of the D7000 does not fully extend around the front, and thus the area surrounding the lens mount, which plays an important role in supporting a heavy lens, is plastic. See this image of a D7000 skeleton next to one of a 7D for details.

ISO: As mentioned in the Sensor/IQ section above, the high ISO performance of the D7000 is greatly improved over both the D90 and the D300s. The tests at dxomark.com tell this story, along with the fact that the native ISO range of the D7000 is 100-6400 expandable up to 25,600. The other two cameras have a native ISO range of 200-3200 expandable to 6400. This means that with the D7000 you can use higher ISO settings when required, such as in low light situations, and not have as much difficulty with digital noise, particularly in the shadow areas of images. Early reports indicate that the high ISO performance is excellent.

Controls: The controls of the D7000 are similar to the D90 with some changes including the addition of the shooting mode ring under the mode dial (to change from single shot to high speed continuous to self timer, etc.), and the live-view switch with movie record button inside it. The top AF button of the D90 is incorporated into the AF switch and button at the base of the lens on the D7000. The D300s has entirely different switches, dials, and buttons than the other two cameras, however this allows for quicker and easier access to more features on the D300s since the D300s has more controls and settings directly available on the body. The D7000 also offers more white balance options than the other two cameras, plus 2 customizable user settings (U1, U2) on the mode dial, and you can assign functions of your choice to buttons such as the Fn Button.

Wireless Flash: All three cameras allow for advanced wireless lighting using the built in flash with Nikon Speedlights.

Brief commercial interruption: I would like to mention that I have written an eBook user’s guide for the Nikon D7000. After spending so much time studying, experimenting, writing about, comparing, and discussing the camera, I decided to put some that knowledge into eBook form! The guide covers all the Shooting, Setup, and Playback Menu settings and Custom Setting options – with recommended settings – plus discussions of how, when, and why to use the cameras’ settings and features, (metering modes, aperture and shutter priority modes, advanced autofocus use, focus lock, exposure lock, and more) for everyday and travel use, to help you take better photos. Click HERE to learn more about it – Nikon D7000 Experience – and to view a preview, or purchase it!

Viewfinder: The D90 has a viewfinder with 96% coverage of the actual resulting image, while the D7000 and D300s have improved large, bright 100% viewfinder coverage.

Nikon D7000 vs. D90 vs. D300s macro lens
photo by the author

Processor: The D90 and D300s have the Nikon Expeed Processor, while the D7000 has the improved Expeed II processor. This allows for more video options including full 1080p HD at 24fps, and overall faster processing of stills and video files.

Continuous Shooting Speed: The D90 can shoot 4.5 frames per second (fps) up to 100 images, the D7000 shoots 6 fps up to 100 shots, and the D300s shoots 7 fps – or 8fps with the battery grip. If you often capture action and really need the higher frame rate, such as for sports or wildlife shooting, you are going to have to seriously consider the D300s over the D7000. Otherwise, 7 or 8 fps is often complete overkill in typical real-life use.

Memory Card: The D90 uses a single SD memory card. The D7000 accepts 2 SD cards, where the second card can be used in a variety of ways: overflow, JPEG on one / RAW on the other, or mirrored backup of the first card. The D300s uses 1 CF card and 1 SD card, which also can be configured in a variety of ways. The second card can come in handy as well if one is shooting a lot of video files.

Battery: The D7000 uses the new, higher capacity EN-EL15 battery, which will last for over 1000 shots, and accepts the optional MB-D11 battery pack/ vertical grip which is constructed of magnesium alloy. The D300s uses the EN-EL3e battery and the optional MB-D10 battery pack/ vertical grip. The D90 also uses the EN-EL3e battery and its optional battery pack/ vertical grip is the MB-D80.

Full HD video: The D90 and D300s offer 720p video at 24 fps, with a 5 minute shooting time. The D7000 improves this tremendously with full 1080p HD video at 24 fps for up to 20 minutes with full-time continuous autofocus. Plus it offers 720p at 30, 24, and 25 fps.

Price: See below

Shooting Experience: The D7000 feels and performs great. After spending some time with the D7000, and getting over all its quirky differences vs. Canons – as far as menus, custom functions, and buttons/ controls – I’m really beginning to become attached to it. I actually prefer some of the controls it provides vs. the Canons plus some of the options it provides, such as the optional grid in the viewfinder, the ability to limit the AF points to 11 including the 9 cross type points – for quicker manual selection, the ability to change the continuous low shooting speed between 1 to 5 shots (I complained over a year ago that the 7D should have had that feature as its 8 fps is usually overkill for me), and the versatility to change the size of the central spot size for center weighted metering. Also, thank goodness the D7000 includes the ability to reverse the + and – directions of exposure compensation, because the Nikon default is just plain wrong!

So as you can see, the D7000 truly is an improvement over the D90 in every way, and an improvement over the D300s in many ways. Unless you have a couple very specific needs that only the D300s can accommodate – such as faster continuous shooting speeds, direct access to certain controls and settings, and a full magnesium alloy body – then it may be difficult to justify the older D300s over the new D7000.

See and buy the Nikon D7000 – Body Only on Amazon $1199

See and buy the Nikon D7000 and 18-105mm Lens on Amazon $1499

See and buy the D90 on Amazon $739 body only or $1049 with 18-105mm lens

See and buy the D300s on Amazon $1449 body only

Purchasing from the UK? Use my Amazon UK referral link here. If you are in another country, click on an Amazon link, scroll to the bottom of the page, and click on your country for your local Amazon. If you wish to purchase from B+H Photo please click the link below. Thanks!

DPReview has excellent, very thorough reviews of all of these cameras, including one just published for the D7000.

What Works for You

When one is getting more and more into photography, learning about different techniques and equipment, they may start to think – or get the impression from reading various books and blogs – that there is the “right way” or the right piece of equipment to use to achieve the best images. For example there are dozens of flash modifiers and diffusers available, and you might start to think that one of them works the best, one of them is the one that the pros use, if you could only find the right information and figure out which one it is. But the truth is, when it comes to photography, there is sometimes no one right way to do something. You just have to look at all the options, experiment, analyze how you work and your resulting images, and then figure out what is going to work best for you.

Delilah and the spring

I recently got sucked into a discussion on a forum about whether or not to use a UV protective filter on your lenses. I contend that it is always a good idea to use one. But that is because I feel it is a wise thing to do for the way I work and photograph. It may not be necessary for others who work differently. I work out in the field traveling, or out-and-about in a city. I take off my lens cap when I start working for the day and put it aside until the end of the day. My camera is slung over my shoulder and is exposed to being banged around, touched by kid’s fingers, and to dust and mystery spots that need to be quickly cleaned off. I don’t mind quickly wiping some dust off the front of my filter with my shirt, a blast of air with the Rocket Blower, or a quick brush and clean with the LensPen, but I would not want to do that so quickly and often with the actual lens and risk scratching it. I feel that replacing a $100 filter is a better idea than risking a several hundred dollar repair with 4 weeks down time on a lens.

Other people walk around, carefully carrying their camera in a case between shots, or replacing the lens cap after each shot or between situations. Or perhaps they take out their camera, put it on a tripod, and take landscape shots. They may not need a protective filter in those uses, and may not wish to risk any minor degradation in image quality. (If you get a coated or multi-coated UV filter like a B+W brand one, your loss of image quality will be less-than-negligible. If you use a cheaper Tiffen filter, you risk having some issues.) If the risk of damage to their lens is small, then it works for them not to use a filter. However, I was in a camera store yesterday, and a woman was replacing her UV filter because her camera dropped and the filter was shattered. The filter’s ring was dented, but there was no damage to the lens at all. She did not intend to drop her camera – that was not part of the way she worked – but it happened. A few dollars for a new filter saved her hundreds of dollars in repairs and the loss of her lens over the holidays.

Before you invest in various accessories that sound like they might improve your images or assist you in how you work, put some thought into it first. If they are a hassle to use or don’t fit into your process, you may end up putting them aside and never really using them. Analyze your needs first and then find a product that matches them. You may read about someone touting a white balance device that seems like it almost magically improves all their photos. You want better photos, so why not give it a try? But have you really come across the need for it? Are you prepared to custom set your white balance every time you enter a new lighting situation? Or do you typically work outside in daylight or inside in standard incandescent light and really don’t need to set a custom white balance at all?

So, all that being said, there are several accessories I find helpful, or even essential – at least for the way I work! I talk about them in this previous post, Equipment for Travel (and Everyday) Photography.

Canon 50D vs. 60D

I know a lot of readers are interested in a review comparing the Canon 60D vs. 50D. The EOS 60D was recently released, and has caused a lot of discussion as to how it fits into the Canon xxD lineup and progression. I wrote a bit about this comparison in a previous post comparing several of the dSLR cameras in the current Canon line-up (Canon 5D vs 7D vs 60D vs 600D/ T3i and 550D / T2i), but I will go into a bit more detail about how to choose specifically between the 60D and the 50D.

Canon 60D vs Canon 50D

Canon EOS 60D vs. 50D: The Canon 60D sort of replaces the 50D, so I suppose people are trying to determine if they should get the latest camera (60D), or if they can save a little bit of money and go with the older model (50D), and then maybe use the leftover savings to invest in nice lenses. The 50D is no longer being manufactured, and new stock of them will only be around until they sell out. Don’t expect the price of the 50D to suddenly drop – typically, Canon doesn’t need to lower the price of the older model because they control their manufacturing and the timing of the replacement process very well.

Unfortunately with digital cameras, they are all somewhat disposable. Yes, even $1000 cameras. Within 5 years or less, your new camera will have become “old,” outdated equipment. So the problem with the 2 year old 50D is that it is already approaching that point now. (Actually, in many ways it is 3.5 year old technology, since it shares most every feature of the 40D, including the autofocus system, but with a slightly higher megapixel count.) If you start with one now, in 4 more years its technology will be absolutely archaic! With digital SLRs, I advise buying a recent model, at whatever price range you can currently afford. Of course as with everything in digital photography, this is relative. The 50D is still an excellent camera. The 40D is still an excellent camera. And I just recently went out with a 5 year old 5D Mk I and was thoroughly wowed at how awesome it still is. But camera companies have to keep coming out with new models every 12-18 months because that is what they do. The trouble comes in 2-3 years when your 50D is still perfectly good and still pretty new to you, but it can no longer compete with the latest offerings in terms of megapixels, ISO performance, and autofocus systems. Maybe you will be fine with that and perhaps the 50D will still be serving your needs. But maybe you will have advanced as a photographer and start feeling left behind, wishing you had a more current model. You are going to have to consider that now.

As far as my experience with these cameras, I use a 50D weekly, and on professional assignments. It has the megapixel count and the features I need and which make it a powerful, practical, and useful camera. I just spent several weeks writing an eBook user’s guide for the 60D, Your World 60D, so I also know that camera inside and out. I said in a previous post,

Since the Canon 60D basically replaces the Canon 50D (well, replacement isn’t exactly the right word because the 60D doesn’t really follow the 20D to 50D progression of improvements…), the 60D or 50D decision is an easy one. The 50D shouldn’t really be considered anymore. While the Canon 50D does hold a couple interesting advantages over the 60D (faster FPS in continuous mode, stronger construction, more comprehensive buttons and controls, complete lack of fun filters like “grainy black and white”), the sensor and exposure metering system have been greatly improved in all the newer cameras (7D or 60D or 500D/ T2i) and I feel these features, along with the increase in mega pixels, outweigh any other 50D advantages. I would definitely choose a 60D instead of a 50D. This is coming from experience, as I use a 50D professionally and on a daily basis. Or choose a 7D instead of a 50D if your needs require it and budget allows it.

I realize this may not be a convincing argument for some, and that they are still interested in possibly choosing the 50D. So here is a more in depth, side by side comparison:

Sensor and Image Quality: The 50D has 15 megapixels and the 60D has 18 MP. At the time that the 50D came out, a lot of people were disappointed with the image quality and claimed that they crammed too many megapixels on the 50D sensor and that its image quality and sharpness suffered, especially compared to the 40D. This may be most noticeable in a head to head comparison of images, but I haven’t had an issue with this. You need to look at a site like dxomark.com to see actual lab comparisons. It looks like they are incredibly similar, with the 60D having slightly better high ISO performance. Both cameras are capable of taking professional quality images.

Exposure Metering: This is where the big advantage of the 60D lies. The 50D has a 35-zone system and the 60D has the latest, more precise 63-zone exposure metering system. They both have 4 metering modes: evaluative, partial, spot, and center weighted. I have found that the 50D overexposes by about 1/3 stop with evaluative metering, so I always had the exposure compensation on -1/3. However, I switched to center weighted metering, and the exposures have generally been fine. From extensive experience with the 7D, which shares the same metering system as the 60D, I feel the new 63-zone system is noticeably superior and determines proper exposure 99% of the time, even in difficult and dramatic lighting situations like back-lit scenes. The 50D does not perform quite that well, and requires occasional use of exposure compensation and switching of metering modes for better exposures.

Autofocus: The 50D and the 60D share the same autofocus system, with 9 focus points and three auto focusing modes. The 9 AF points of the are all accurate cross-type. This autofocus system is much less complex than the sophisticated AF system of the 7D with its 19 AF point system and its additional Zone, Spot, and Expansion focus modes (not the same as spot metering mode) – plus the custom settings of the 7D which will allow one to customize how the AF system works. If you are an avid action, sports, or wildlife shooter, or someone who understands, needs, and will use the elaborate features of the 7D AF system, you should consider the 7D. The next, future camera in the 60D price range will inevitably incorporate a better autofocus system, as this 9 point AF system has become dated.

Construction: The 60D is slightly smaller and lighter than the 50D, in part because its construction is aluminum and polycarbonate rather than the magnesium alloy of the 50D. They both have some amount of weather sealing, for example in the battery and memory card doors. For most users, including even those using the camera daily or in travel situations, the construction of either of these cameras is far more than good enough, strong enough, and durable enough.

ISO: The 60D looks to have slightly better performance with high ISO settings. Again, have a look at dxomark.com to see actual lab comparisons.

Controls: As with construction, the buttons and controls vary slightly with these cameras. The 50D has the thumb joystick, called the Multi-controller, used to select focus points and other things. With the 60D this control has been moved to the center of the Quick Control Dial on the back. Since I am so used to the joystick of the 50D and the 7D, I find the new 60D control a bit more cumbersome, and raised slightly too high in relation to the surrounding dial. However, it is easier to select the diagonals (corner AF points) with the 60D controller than with the 50D controller, and I have missed many shots with the 50D due to this difficulty. It may be just fine once one gets accustomed to it. The 60D also assigns only one setting to each of the top buttons and I wish they had retained the 2 settings of the 50D. However, the Q Button and Menu of the 60D make it easy to choose any setting. The 60D also has the locking Mode Dial, which prevents it from moving inadvertently. I think this is a great addition. However, it requires 2 handed operation or careful one hand coordination to change it, which has frustrated some.

Menus and Custom Functions: These allow for greater control over customizing how the camera functions. These settings on the 50D and 60D are almost the same except that the 60D also has the additional Movie Mode menu settings. Plus the 60D has the in-camera filters (grainy b+w, toy camera, etc) and processing features (RAW to JPEG, resizing, etc). However, these are all a bit gimmicky and these types of operations can be more easily done in Photoshop and in batches rather than one image at a time in the camera. Since many of the Menu and Custom Function settings can be complicated and confusing, especially to a new dSLR user, my eBook on the 60D, Your World 60D covers all of these options along with my recommended settings to get you up and running quickly!

Wireless Flash: Like the 7D, the 60D incorporates wireless flash triggering, which the 50D does not have. It allows you to trigger multiple off camera flashes at different output levels.

Articulating LCD Screen: The big new feature of the 60D that no other current Canon dSLR has is the articulating rear LCD screen. This may prove useful for videographers, as well as for setting up compositions while the camera is on a tripod, for macro use, or for using it from unusually low or high vantage points. Some users will be able to avoid buying an expensive angle finder because of this feature. There is also an electronic level in the 60D, visible in the viewfinder, rear LCD, or top LCD.

Viewfinder: The 60D has a large, bright viewfinder with 96% coverage of the actual resulting image, a tiny bit better than the 95% of the 50D.

Processor: The 60D shares the same Digic 4 processor as the 50D.

Continuous Shooting Speed: The 50D can shoot 6.3 consecutive frames per second (fps) and the 60D shoots a slightly slower 5.3 fps in high speed continuous mode. They both also offer 3 fps continuous shooting mode. Again, if you often capture action and really need the higher frame rate, you are going to have to consider the 50D or the 7D, with its blazing 8 fps, which is actually overkill in typical real-life use.

Memory Card: The 60D uses the SD memory card like the 550D/T2i, not the CF card of the 7D and 50D.

Battery: The 60D uses the LP-E6 battery like the 7D and 5D, which is a nice feature as this battery can often last through a full day of shooting or longer. The 50D uses a slightly smaller battery with less capacity. There is also a battery grip available for the 60D, the BG-E9 which holds your choice of either 2 LP-E6 batteries or 6 AA batteries, to lengthen your shooting time and give you an easier to handle camera if you often switch between shooting horizontal and vertical shots..

Size and Weight: The 50D is slightly larger and heavier than the 60D. Both are a comfortable size and weight, but you should check them out in person to see which feels better for you.

AF Microadjustment: The 50D has this feature, the 60D does not. Many are disappointed that the 60D does not include the ability to micro-adjust the focus so that each lens is completely accurate. However, if you have a focus issue, send your camera and/ or lenses to Canon while under warranty and ask them to calibrate them.

Full HD video: Of course the 60D offers this capability, while the 50D does not.

Flash Sync: A Note to Strobists -the 60D does not have a PC sync flash socket to plug in PC sync cords. The 50D has this.

In conclusion, I would like to mention again that I have written an eBook user’s guide for the Canon EOS 60D (and one for the Canon Rebel T2i and Rebel T3i). After spending so much time studying, experimenting, writing about, comparing, and discussing these cameras, I decided to put some that knowledge into eBook form! Each of these user’s guides cover all the Menu settings, Movie Mode menus, and Custom Function settings – with recommended settings – plus discussions of how, when, and why to use the cameras’ settings and features, (metering modes, aperture and shutter priority modes, advanced autofocus use, and more) for everyday and travel use, to help you take better photos – Your World 60D, T2i Experience, and Canon T3i Experience. Learn more about the eBooks by clicking on their titles. As a Winter special, both books are on sale!

*****

Purchasing the 60D: If you plan to buy the Canon 60D or any of these cameras through Amazon.com, I would appreciate it if you use this referral link to Amazon or the camera links just below. Your price will be the same, and they will give me a little something for referring you, which will help support my blog. Thanks! If you are purchasing from Amazon UK or wish to purchase from B+H Photo, please see just below for that info.

See the 50D on Amazon.
See the 60D on Amazon.
See the 7D on Amazon.

Thanks, I appreciate your support!

If you are in the UK, you can click here for the UK Amazon referral link. If you are in another country, click on one of my Amazon links, scroll to the bottom of the page, and click on your country for your local Amazon.

For those interested in purchasing from B&H Photo, Adorama, or direct from Canon, please click on their logos on the Gear page. Thanks!

Accessories and Books: Now that you are on your way to deciding on a camera, you should also start looking into photography gear, accessories, and books. Check out this link, Equipment for Travel Photography, which discusses useful and practical photo accessories and equipment for both everyday and travel photography. This post lists and describes Essential Books for Digital Photography, including the best user’s guides for each of these cameras.

*****

DPReview has an excellent, very thorough review of the 60D. They concluded that “for the Rebel upgrader it’s a better option than a second-hand 40D or 50D in almost every respect.” They indicate that for the 30D, 40D or 50D “upgrader,” the Canon 7D is the way to go.

Was this post helpful? Please let others know about it by clicking the Facebook or Twitter sharing buttons below, linking to it from your blog or website, or mentioning it on a forum. Thanks!

The Difference Between f/4 vs. f/2.8

This weekend I followed my own advice, and rented a lens to try out before deciding whether or not to buy it. As I suggest in my post Why You Shouldn’t Buy the Kit Lens, if you are considering purchasing an expensive lens or want to compare a couple similar lenses to decide which one to go with, rent one or both of them for a day or a weekend, and see how you like using them. Check with camera stores near you, or look into online lens rental sites that mail the lens to you, like LensRentals.com. I went to Calumet to rent, since there is a store near me and it’s pretty cheap for the weekend rate.

(click on any product links in the text to view the lenses on Amazon.com)

I rented the Canon 24-70mm f/2.8L since I’m curious how it compares to the Canon 24-105mm f/4L IS. While they have a similar focal-length range and can each serve as a great walk-around lens for everyday use, they have some differences that make it difficult to choose between the two. The 24-70mm is larger, significantly heavier (2.1 lbs. vs. 1.48 lbs.) and extends externally as you zoom. The 24-105mm has an internal zoom mechanism, and also has image stabilization (IS). But a major difference is the maximum aperture: f/2.8 vs. f/4.

side by side bokeh
click here to view these images larger on Flickr – from the garden at the Longfellow House, Cambridge, MA

The wider maximum aperture of the 24-70mm makes it a “faster” lens, allowing it to be used in lower light, although the IS of the 24-105mm can make up for that shortcoming. Visually, the wider maximum aperture allows for shallower depth of field (dof) which provides more dramatically blurred backgrounds, or bokeh. While I have resisted using the term bokeh in my writing, I can’t really avoid it in this discussion because the difference between f/4 vs. f/2.8 is all in the bokeh. The above image demonstrates what that means. It refers to the “circles of confusion” of the out-of-focus areas of an image – their size, shape, edges, and quality. Both of the images are taken with the 24-70mm lens – at f/4 on the left, and f/2.8 on the right. You can see that while they both demonstrate dramatically shallow depth of field and background blurring, the image taken with the aperture set at f/2.8 shows a smoother blend of the background colors and contrasts. The images are from the garden of the Longfellow House in Cambridge, MA.

When I got my Canon 70-200mm f/4L IS lens, I chose the f/4 version rather than the f/2.8 IS version because it was smaller and significantly lighter, and I knew I would not dread using it on a long day of shooting as I feared I would with the 3.24 pound f/2.8 IS version. Three and a quarter pounds! (According to the Canon website. I’m not sure if that is right – Amazon says it is 2.9 lbs.) Anyway, that kind of weight might be an important consideration for someone traveling with a lens or using it for consecutive full days of shooting. I know it is a consideration for me. So, even though I got the f/4, I’ve wondered what I have been missing image-wise by not being able to open up to f/2.8. So I took these two images with the 24-70mm to see the difference, and it is more considerable than I had thought it would be.

I was very pleased with the 24-70mm. I had been concerned that I would want more range on the telephoto end, and I did end up with a lot of images taken at the 70mm focal length, but I didn’t usually feel like I needed or wanted to zoom in any closer. It really is a great range for everyday use. It is a big lens, but other than the weight, it feels great and is comfortable to use. You can’t deny its image quality, the bokeh is wonderful, but the weight is still a consideration and may dissuade me in the end.

Here is a great site at The-Digital-Picture.com to compare lenses, side by side. You can compare test images taken at various focal lengths and apertures. I will leave all the pixel peeping and debating of the merits of the 24-70mm vs. the 24-105mm to the forums, and just share a few photos I took with the 24-70mm at the Harvard Museum of Natural History and the adjoining Peabody Museum of Archaeology and Ethnology. All the images are hand-held, without flash, in very low lighting. The leaves and flowers in the images below are from the world renowned glass flower collection. Yes, they are made entirely of glass! Even those fall leaves. It is mind boggling, especially when viewing them in person.

If you are considering buying any of these lenses from Amazon.com, please use the links above, and I will get a little something for referring you. Or use this link to go directly to Amazon.com. I appreciate your support!

HMNH cat

HMNH bird-hawk

HMNH bird-dove

HMNH autumn leaves
glass leaves above, glass flowers below. yes 100% made of glass!
HMNH purple flowers

HMNH snake

HMNH fish fossil

HMNH Peru map

HMNH Mayan stones

HMNH Indian diorama

HMNH Indian diorama 2

Nikon D7000 vs. Canon 60D

(Sorry for the wrong link to the Essential Digital Photo Books – you can find that list HERE:
http://blog.dojoklo.com/2010/10/06/essential-digital-photography-books/)

Just when you thought it was difficult to choose between the latest offerings from Canon – the 7D vs 60D vs. T3i / 600D – Nikon comes out with the D7000! The Nikon D7000 is a competitor to both the Canon 60D and some say to the 7D, and I guess it is up to the forums and early users to really figure out where it stands. (See the comparison of the Canon dSLR line-up – 7D, 60D, T2i here and the comparison of the Nikon dSLR line-up – D7000, D90, D300s – in this post.)

I spent a couple months writing eBook user’s guides to both the Canon 60D (Your World 60D) and the Nikon D7000 (Nikon D7000 Experience), so I’ve spent considerable time with each of these cameras and know their features and controls inside and out. Check out these ebook guides to learn more about using and photographing with these cameras including all of their Menu settings and Custom Function settings (with recommended settings) plus discussions of how, when, and why to use the cameras’ settings and features, (metering modes, aperture and shutter priority modes, advanced autofocus use, focus lock, exposure lock, and more) for everyday and travel use, to help you take better photos.

Image of a Canon 60D taken with a Nikon D7000 and Nikkor 24-70mm f/2.8 – by the author

Comparing their features on paper, the Canon 60D and the Nikon D7000 are incredibly similar. One model is slightly better in one area, and the other model wins out in another area. With both models, it appears that you pretty much get what you pay for. Pay a couple hundred dollars more for the D7000, and you get a camera that rewards you for that extra cost.

Here is how the Canon 60D and the Nikon D7000 compare:

Canon 60D: (see it on Amazon)
18 megapixels
ISO 100-6400 expanded to 12800
HD Video with more fps options
3″ Articulating rear LCD screen
9 point autofocus system – all cross type
5.3 frames per second maximum burst rate
construction: aluminum chassis with polycarbonate body
single SD card
wireless flash triggering
96% viewfinder
size – slightly bigger but lighter
$1099

Nikon D7000: (see it on Amazon)
16.2 megapixels
ISO 100-6400 expanded to 25600
HD Video with full time autofocus
3″ fixed rear LCD screen
39 point autofocus system – with 9 cross type
6 frames per second maximum burst rate
construction: magnesium chassis with partial magnesium alloy body
dual SD cards
wireless flash triggering
100% viewfinder
size – slightly smaller but heavier
$1199

Here is a more in-depth exploration of these features:

Megapixels: Canon’s 18MP is more than the Nikon’s 16MP, which gives you slightly more cropping and enlarging ability with the 60D. To see how this affects images quality, you are going to have to look at the tests at dxomark.com. ISO performance is very similar, with the D7000 having a slight edge. And as far as color sensitivity, dynamic range, and tonal range, the sensor of the D7000 performs noticeable better. But, be aware that dxomark tests the sensors, but not in conjunction with the camera’s processor, so it is not a complete indication on the final image. A camera processes the images captured by the sensor, even when shooting in RAW, to produce optimal image quality – such as applying a bit of noise reduction, maybe tweeking the color. So it is likely that any “shortcomings” of a particular model’s sensor are addressed by that camera’s processor.

Nikon D7000 vs Canon 60D
Image of a Nikon D7000 taken with a Canon 60D and EF 100m f/2.8 Macro lens – by the author

ISO: You typically shouldn’t be shooting over 1600, maybe 3200 if absolutely necessary, so this is no big deal to most users. But since the megapixel race is over, ISO has become the current benchmark for comparison. It gives the pixel peepers and forum folks something to argue about. Again, check out the tests at dxomark.com to see that they show pretty similar ISO performance, with the D7000 slightly better. DPReview says the D7000 is arguably the best performing sensor for high ISO/ low noise in the consumer class (along with the Sony A55 since they have the same sensor. Did you know that little nugget? Sony manufactures sensors used by numerous other camera ).

HD Video: Canon offers 60fps which I understand is very important to videographers, and Nikon doesn’t shoot 30fps or 25fps at 1080p as Canon does. Nikon offers full time autofocus which may be slow and cumbersome and thus isn’t a big deal to videographers. We will have to see how well that works – early reports say not so great.

LCD screen: the articulating screen of the 60D could come in handy for several types of shooters. There are many times I could have benefited from a rotating screen such as when I was on my belly in wet grass trying to crane my neck to see through my viewfinder and capture a subject and her active dogs from grass level.

Auto focus system: This is a difficult comparison. The 39 AF point system of the Nikon offers both many more AF points plus customization capabilities for how it operates and tracks moving objects that rival the 7D (see Custom Functions/Custom Settings section below). However, only 9 of those points are the more accurate cross type, while all 9 points of the 60D are cross type. The 39 point system of the Nikon might be better for situations where you let the camera choose the AF points to track motion, such as sports, action, and wildlife. But you should often otherwise be choosing the AF point yourself. So with the Nikon, you may want to limit selection to 11 points (Custom Setting a6). If you want a Canon body with a more advanced AF system than the 9 points and basic tracking of the 60D, and overall more accurate than the D7000, have a look at the incredibly advanced and customizable AF system of the 7D with 19 AF points, all cross type.

Maximum burst rate: Close, but Nikon wins this one by a hair. Either rate should be fast enough for most photographer’s needs. The Nikon has the nice feature of being able to change the low speed continuous rate from between 1 to 5 fps. I had previously complained that the 7D should have had this feature since its 8 fps is often overkill. The 5.3 fps of the 60D is great, so it doesn’t really require the ability to change the fps beyond the available 3 or 5.3. Also note that the Canon will allow a continuous burst rate of 58 continuous photos in highest quality JPEG and 16 in highest quality RAW, while the Nikon is limited to a much lower 31 JPEG and 10 RAW before its buffer fills.

Construction: Nikon wins this one, but Canon saves weight with its construction. And I assure you both are more than strong enough for everyday, even abusive use. That being said, the partial metal body (magnesium allow on top and rear) and rubber grip material of the Nikon has a nicer feel and is a great detail that the 60D should have had. I think it is one of the main reasons for the increased price of the D7000 over the 60D. It is worth noting that the magnesium alloy body of the D7000 does not fully extend around the front, and thus the area surrounding the lens mount, which plays quite an important role in supporting a large, heavy lens, is plastic. See this image of a D7000 skeleton next to one of a 7D for details. Kind of an ugly sight for those trying to compare the D7000 to the 7D. Important details like this demonstrate why, in the end, the D7000 just ain’t no 7D competitor. Sorry, the name of this post will just have to remain Canon 60D vs. Nikon D7000!

SD Memory cards: I’m not sure the appeal of 2 memory cards in the Nikon, and why that might be better than just using one larger capacity card? Is it really useful or just a bell/ whistle? You can use the two cards of the D7000 in four ways: overflow, JPEG / RAW, backup, or stills / movies, so maybe that is kind of cool, but I actually prefer to be dealing with just one card at a time at this point.

Wireless, remote flash triggering: A super-cool feature available on both cameras using the built in flash to trigger off camera flashes.

Viewfinder: Nikon wins this one with slightly bigger size, though I don’t know how the actual brightness and view compares. It is a shame the 60D viewfinder view is not 99% or 100% of the actual resulting image like the Nikon. In reality, you won’t notice any shortcomings with either the 60D or the D7000 viewfinder once you start using it. The D7000 includes the option of displaying the grid in the viewfinder, which the 7D also has, and I wish the 60D did as well.

Size and Weight: Not a major difference, you will have to see how they feel in your hands.

Metering: They each have different metering systems, so it is difficult to compare. I’m sure they will both perform quite well. In addition to Evaluative/Matrix and Spot in both of them, the Canon has Center-Weighted and Partial, while the Nikon doesn’t have Partial but has the ability to change the size of the center area in Center-Weighted mode, which sounds pretty cool but may be more of a “set it once to your preference and forget it” thing. Depends on how quick and easy it is to access it in the menus, on the fly.

Processor: This is a pretty important component in the comparison and can really help resolve if the D7000 sits closer to the 7D or the 60D. I don’t yet know enough about the performance of Canon’s Digic IV vs. Nikon’s Expeed II to comment on this. The larger maximum burst buffer of the 60D may point to a more powerful processor. However the dual Digic IV processors of the 7D are able to handle much longer bursts of many more images than the single processor of the D7000 (and the 60D) – again, another very important reason the D7000 is not actually head to head with the 7D.

Custom Functions/ Custom Settings: Despite what I say below in the Controls and Menu section, the Custom Settings of the D7000 are far more sophisticated than those of the 60D, and in that respect make it much more of a contender with the Canon 7D. With the D7000, you can change the size of the center area metered in Center Weighted Metering Mode (not possible on 60D or 7D), you can change the frame rate of Continuous Low Speed between 1 and 5 frames per second (not possible on 60D or 7D), you can give buttons a “hold” feature or not, where you press and release instead of having to hold it down when turning another dial to dial-in a setting (“hold” means the camera does the holding, not you). With the D7000 you can set the autofocus tracking to be nearly as sophisticated as the 7D in terms of how to react to objects that come between you and your intended subject, and also in setting focus priority or release priority (take the picture only when focus is attained or take it immediately even without necessarily attaining focus). You can limit the number of AF points to 11 if you don’t wish to deal will all 39, you can fine-tune focus adjustment for different lenses like the 7D AF microadjustment (not possible on the 60D), plus you can fine-tune exposure adjustment for each individual exposure mode (to set a baseline compensation behind the scenes and not have to use exposure compensation every time, if you feel one of those modes is consistently over- or under-exposing). You can fine-tune the white balance for many more standard fluorescent options without having to have a Kelvin cheat sheet, as you might need to set the same temperature settings on a Canon. All very impressive, and all features that the 60D and certainly the 7D should have but don’t. Also, while I like the two rear thumb buttons of the 60D 7D for exposure and focus lock, you can set the AE-L/AF-L and Fn buttons (and preview button) of the D7000 to take on similar operations.

Controls and Menus: As a Canon user, I find the controls and menus of the Canons to be incredibly practical and intuitive. As a photography instructor, I try to be open-minded about the Nikon controls, notations, and menus, but continue to find them incredibly irritating, nonsensical, and not nearly as intuitive and user-friendly as Canons. I also think that the consistency of the controls and menus across the Canon line, from the 550D to the 5D MkII points to intelligent and thoughtful design. You can pick up any model and go to work, then quickly and intuitively change the ISO setting or metering mode. On the Canons, the controls are not scatted about in seemingly random places that change dramatically from model to model. Please don’t think I’m just a Canon guy on a rant here. Have a look at the controls on the top, back, and front of the D300s vs. the D7000 – essential controls are completely different. Why is that? Functions that are switches at the rear of one are a button at the top of the other, or marked dial switches on the rear become an unlabeled button on the front. The standard dSLR mode dial completely disappears and becomes a trio of buttons on one Nikon but not the other? I challenge you to pick up a D7000 and change the AF area mode to single point AF. The first time I picked it up I searched the camera’s buttons, switches, and menus for 15 minutes and never found it. I handed it to my camera store co-worker and he failed as well! (Spoiler alert! It is done with the unmarked button located inside the Auto/ Manual focus switch near the lens mount in conjunction with a command dial.) Wait, so a switch that is C/S/M (continuous/ single/ manual) on one Nikon becomes AF/M (autofocus/ manual) on the other? So the same switch now partially controls a different function? Where are AF-C and AF-S (auto-focus continuous/ single modes) found now? Oh, who knows! (Actually, the same place as above, with the unmarked button and the other command dial.) As you can see, this is maddening to a photography instructor or salesperson who must deal with a number of different models and who is attempting to quickly demonstrate these very functions. I’m not even going to start on my feeling for Nikon menus!

Keep in mind, this all doesn’t really matter if you buy and use one of these cameras- you get that one and learn its controls. But I feel it does point to an intelligent consistency on Canon’s part, and as an architect in an earlier life, I highly appreciate good design and intuitive wayfinding. And also many photographers work with two bodies which are often different models of the same brand, and the ability to switch between a Canon 50D and a 5D Mk II without skipping a beat is how it should be. You can actually forget which one you have in your hands and it doesn’t matter. But once you do learn all the controls on the body of the D7000, you have an incredible amount of control at your fingertips.

edit: After much more experience with various Nikon cameras, I no longer have any issues with their menus – once you get used to the Canon or the Nikon menu system it really is no big deal. I still do think that the ability to seamlessly go from a 60D or 7D to a 5D Mk II with all the controls being the much the same is awesome (with the exception of the thumb multi-controller now becoming a pad on the 60D) and many photographers working with two bodies do this often – as opposed to going from a D90 or D7000 to a D300s, where there are some dramatic differences (which I do understand make sense in relation to the capability of the bodies, yet must aggravate those photographers working with two of these different bodies…).

Price: The Nikon is $100 to $200 more than the 60D (depending on current specials), and people are saying it is a cheaper competitor to the 7D. But if you study them closely, you can see that it does actually sit between the two. While the D7000 has an advanced AF system and tremendous customizing capabilities, details like the partial vs. full magnesium body construction and the single vs. dual processors of the D7000 vs 7D demonstrate why they are not exactly head to head competitors. The D7000 definitely offers at least $200 of improvements over the 60D, if not more, and is being very well received among photo enthusiasts just as the Canon 7D was last year – you pay a bit more and you get more features. Oddly, DPReview has suggested that the pro-sumer D7000 is a viable upgrade to the Nikon D300s, a higher end, more expensive semi-pro camera. So this makes the decision a bit more complicated for the Nikon D7000 vs. D300s comparison.

Quality Control: There have been numerous reports on the Internet of faulty D7000 bodies. The issues are mainly the bad pixel problem and the front/ back focusing issue. While this type of reaction seems to occur every time any new camera model comes out, there seems to be legitimacy to these complaints. My local camera store (where I worked for a time) reports that they continue to experience these issues with their customers. For the pixel peepers who insist on a clean sensor, nearly every D7000 body tested was found to have bad pixels out of the box. The firmware upgrade fixed some of cameras with bad pixels but not all of them. (What is the fix exactly? Pixel mapping?). Several pixel peeping customers also had front or back focus issues, and went through 2 or 3 bodies to find one they could accept. (see This Lens is Soft and Other Myths for an article about front/ back focus and quality control.) Also, some of the official Nikon EN-EL15 batteries are larger than others – yes physically larger – and do not properly fit or get stuck in the D7000 body. As far as Canon 60D QC issues or exchanges: none. Zero. (But perhaps Canon customers aren’t so picky…! Who knows.) And for their report on repairs and customer service for Canon and Nikon in general: Repairs with Nikon cameras is a daily, ongoing issue. They see Nikons come back, both new and older models, and it sometimes takes sending the camera / lens / flash 3 or 4 times to Nikon to resolve the problem or the customer gives up by then. A few Canon models come in for repair, typically 4-6 year old heavily used Rebels that stop functioning properly. Canon repair is reported as excellent, customer service incredibly helpful, and turnaround is quick. Pile of brand new, defective Nikons returned over two month period: 15. Number of defective Canons: 0. Please note, this is the store’s report, not my opinion or bias, but I think it is worth taking this into account when choosing a dSLR system.

edit 2011-09-29: When any new camera comes out, there is an outcry of “this problem” and “that problem.” Some are exaggerated because you only read about the few bad ones and not the tens of thousands of good ones. Some are possibly over-reactions by people not fully understanding the new or advanced features or nuances of the latest model. But I wanted to speak from personal experience while working at a camera store and comment on the issues that were being discussed in forums which proved to be real. The scope of the issues in the overall picture (of tens or hundreds of thousands of bodies made), however, should be taken into account, as well as the fact that the returns and exchanges may have been prompted in whole or in part by the internet reports, thus creating a circular chain of whatnot (I’m sure there is a term for this!).

Just keep in perspective, while your camera is a precious object to you, there are literally hundreds of thousands of the same body manufactured. It is a consumer electronics item, just a (precision) hunk of metal, plastic, and 100’s of tiny screws. It is a tool to be used towards an end goal of great photos, not an end unto itself. (If you wish to learn to take control of your camera and capture great photos, please have a look at my dSLR camera guides such as Nikon D7000 Experience.)

Know that C and N are reputable companies and will make right any genuine issue you may encounter (within your warranty period!). And while it is frustrating if you encounter a bad pixel, I think it is a marvel of technology that any sensor can be manufactured with 16 million pixels that all work!

Conclusion: Hey look! They are incredibly similar! (other than quality control issues) Both are capable of taking high quality digital images. They are both leaps and bounds better – and cheaper – than the same level dSLRs of just a few years ago. I do like the specifications of the expanded autofocus system, the slightly better sensor performance, the larger viewfinder, the custom setting options, and the partial magnesium alloy body construction of the D7000. Yet the 60D has the additional HD video frame rates, 9 out of 9 cross type AF points, and the articulating screen. You pay a few hundred dollars more for the Nikon, and you get a camera with body construction and features that are a bit better than the 60D. However, if you don’t actually need, understand, or wish to learn how to use all these additional features of the D7000, there is no point in paying for them. (If you are going to leave the camera in Auto or Program mode and let the camera choose the autofocus points, you definitely don’t need a D7000!) In the end, it totally comes down to which one you are more comfortable with – which one feels better, which one’s buttons and controls work best for the way you work, which one’s menus make better sense to you, which one’s custom functions allow you to make the customizations you want to make, and how much money you want to spend. Or which system you want to invest in for the long-term, as far as all the lenses, flash, and accessories you are going to accumulate. Or which camera brand your friends use so that you can go to them for help. Just choose one, learn to use it well, and get out and take photos! That’s what digital SLRs are all about.

Canon didn’t drop the ball with the xxD line, as some have said. It’s just that they reconfigured their price points and naming conventions. The 7D replaced the 50D months ago, and it was widely agreed to be a dramatic, spectacular, and successful improvement. That was very much like the Nikon D90 to D7000 improvement we see now. Canon definitely took the 50D to the next level with the 7D. But then they needed a high-end consumer model to offer between the entry level Rebel line and the semi-pro 7D. Hence the highly capable 60D. So who wins? The consumer. The digital photographer. Cheesy, but true.

If you wish to compare the Nikon D7000 vs the Nikon D90 vs the D300s, have a look at this post.

Purchasing? If you are planning to buy either of these cameras from Amazon.com (or other equipment, accessories, or simply anything else), please use the links below and I will get a little something for referring you, which will help support my blog. Thanks!

see and buy the Canon EOS 60D – Body Only

see and buy the Canon EOS 60D with 18-135mm lens

see and buy the Nikon D7000 – Body Only

see and buy the Nikon D7000 with 18-105mm lens

Link for any other Amazon.com purchases

Purchasing from the UK? Use my Amazon UK referral link here.

If you wish to purchase from B&H Photo, Adorama, or direct from Canon, please click on their logos on the Gear page. Thanks!

Was this post helpful? Please let others know about it by clicking the Facebook or Twitter sharing buttons below, linking to it from your blog or website, or mentioning it on a forum. Thanks!

Current Canon Rebates

The rebates are back! Well, not as great as some previous ones. This time you need to buy a Canon 1D, 5D, or 7D PLUS a lens or Speedlite in order to qualify. See here for details:

http://www.mpex.com/

or go to the Canon promotions page for updates.