Canon and Nikon ate both excellent cameras, find these items here http://thedigitalcamera.net/canon-eos-70d-vs-80d-vs-nikon-d7200-whats-the-difference/
I am much more photographer than railfan, and support my hobby by shooting weddings and portraits. I've been selling photos since the mid 1990s. I take photos of something almost every day, and have been doing trains for about 16 years now. I know what camera offerings are out there and have tried many of them myself. Some thoughts.
1. Camera is the least important thing. Right now, the Nikon cameras are the best because they use the Sony sensors. They have more dynamic range than the other brands. Dynamic range means they capture more detail from the darkest part of the photo to the brightest. They are also plentiful and thus less expensive. There are many, many lens options for them. Spend as little as you can on a camera. Models that would work for you and make sense for a student budget are Nikons D7000, D5300, D5200. RR photography is about the least demanding kind of photography there is on cameras.
2. Lenses. The most important thing. I'd suggest a simple two lens set to start. The best for the money is the Sigma 18-50mm f2.8 OS HSM. The f2.8 means it gathers lots of light. This means you can take photos in lower light, and get a higher shutter speed to freeze moving trains. The "OS" means the lens has image stabilization, something very useful for sharp photos. The "HSM" means it has a focus motor built into the lens, something you need for a D5300. The Nikon equivalents are "VR" and "AFS." For a long lens I'd suggest either the Nikon 70-200mm AFS VR or the Nikon 70-300mm AFS VR. The longer lens will give you more reach. Use lens hoods with the lenses as that will protect the lens and help give you better image quality.
3. Tripod. I use a tripod for most all of my own shots, but then I shoot at night a lot. Nothing helps sharpness more than a tripod with a good ballhead. Unfortunately, you can easily spend over 300 bucks for even a used one that's any good. I'd put it off for now, but what you want is a ball head that is Arca/Swiss compatible quick release. A good brand for less money is Photo Clam. You will also want a dedicated quick release plate for your camera. A used Bogen/Manfrotto tripod such as 3221 would be good to start with. When you are in the market for tripods, don't go too cheap. You will end up just throwing it away. The ballhead is the most important part. A cheap one will drive you insane.
4. Camera bag, spare batteries (2), and software. Image processing software has become about one third of photography now. I highly recommend Photoshop Elements. It will do all you want and more.
It's easy to spend way too much. Think of photo gear as a SYSTEM, not just pieces. The system all works together. The classic beginner mistake is to spend a ton of money on a camera and then not have any money left for the important things. The small mirrorless cameras are a good choice too, but they aren't quite as good for shooting in low light, or fast action such as sports. OTOH, they are smaller and very portable. Same thing applies to them--money on the lenses. Finally, virtually everything I own was bought used, either from ebay or Fredmiranda buy/sell forum. You get a lot more for your money.
My Flickr page:
https://www.flickr.com/photos/96826069@N00/
Kent in SD
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Hi Kent,
Thanks for the wonderful synopsis. I will definitely keep all of it in mind.
Once I'm done with school for the year, I will start searching the market for used bodies and looking at new lenses. Like you mentioned it definitely seems like the way to go to get the most bang for your buck.
To add a little more, consider the advantages of a DSLR over just using your phone or an all in one camera. The main advantage is the ability to snap on a different lens. Really, it's the lens that determines what you can photo, and how well. A "fast" lens (f2.8, f1.4) lets in a lot more light than a slow lens (f5.6). That let's you shoot at a faster shutter speed to freeze motion, or blur a background to make your subject stand out more. Putting on a short lens (e.g. 18mm) lets you photo a large'wide scene while standing closer. A long lens (e.g. 200mm) lets you magnify something small or distant. There are other specialty lenses I won't go into.
I have lenses that stretch from 20mm to 400mm, which gives me a lot of flexibility. However, only two of the lenses are zoom lenses--most are single focal. This gives me top quality but at the price of quickness and flexibility. I have missed fast breaking shots because I had the wrong lens on. EVERYTHING in photography is a trade off, some where. You have to have a clear idea of what you want to accomplish (and spend). Once you do that, the camera gear sort of selects itself. Steve Barry (Railfan & Railroad editor) has gone a different direction than I have. He uses a Nikon D7000 with a simple Nikon 18-200mm VR lens. Those all in one lenses compromise image quality to some degree, and they are typically "slow." That lens is f5.6 where most of mine are f1.4--for shooting at night. However, the 18-200mm does have one big advantage for shooting trains--it is quick to use. You rarely have to stop and change lenses, potentially missing a shot. With the 18-200mm you could photo a train coming at you from some distance and slowly zoom wider and wider as it comes closer. I get far fewer shots with my single focal lenses (such as Sigma 35mm f1.4), but for me the big increase in image quality is worth it. Steve would argue that shots from the 18-200mm are plenty good enough.
Another advantage of a DSLR is they will have better/faster autofocus than something like a camera phone, and have better sensors. That allows you to shoot at higher ISO (e.g. ISO 800), allowing for a faster shutter speed.
I break camera systems down into four parts:
1. Lenses--most important
2. Camera
3. Tripod
4. Software--now quite important (Photoshop Elements)
I could also add a fifth part--lighting system, but very, very few RR photographers do much with flash. The small flash on the camera will help you when taking shots inside cabs or as fill flash for people on sunny days.
A suggested system:
Used D7000
http://www.ebay.com/itm/Nikon-...3:g:nWYAAOSwck5XMRHd
Used Sigma 18-50mm HSM OS
http://www.ebay.com/itm/Nikon-...3:g:nWYAAOSwck5XMRHd
Used Nikon 50-300mm
http://www.ebay.com/itm/Nikon-...e:g:fIwAAOSwvU5XM3PM
If you want something better than the above, look for a used Tokina 70-200mm f4 VC. Not as long as the 300mm, but it is an f4 lens which allows you to take a photo at twice as fast a shutter speed. It's also optically better overall. The "VC" stands for "vibration control" and is Tokina's version of "VR" (image stabilization.) I would NOT buy a long lens that doesn't have image stabilization.
http://www.ebay.com/itm/Tokina...6:g:-8gAAOSwPc9W1hVT
If you live in the East, you could probably get by with only a 200mm lens.
And there, I managed to put together a very capable and flexible system for around $1,000.
Cheapest tripod that will consistently do a great job:
http://www.ebay.com/itm/Markin...4:g:BgIAAOSwYmZXG~DZ
http://www.ebay.com/itm/Nikon-...3:g:EHAAAOSwKfVXJqVK
http://www.ebay.com/itm/Origin...9:g:65IAAOSwYmZXFVAT
Note the head cost more than the actual tripod. The ballhead is the critical part.
Kent in SD
Kent, what Nikon DSLR body would you recommend for someone who has an assortment of Nikon lenses from the film days; i.e. 50mm and 135mm fixed "fast" lens, and 35-80mm and 70-210mm zoom "slow" lens???
Thank you for any input,
Warren W. Jenkins
Thanks Kent for the additional information.
Couple of questions:
Can you elaborate on how "f" numbers dictate how much light enters the sensor on the camera? Does f stand for focal length? Additionally, you say that your f2.8 lenses are better image quality but as a single focal lens you have to deal with slower action and less flexibility can you give a real life scenario along the tracks that I would encounter this?
As an amateur and as I learn the ropes, I would prefer something more all around and not necessarily good at just one particular thing. Would the kit lens' like Steve uses on his Nikon be exactly that? Quick and "all around" good?
The "f-stop" refers to the size of the opening (the aperture) in the lens that the light goes through to reach the sensor. F2.8 is a very large aperture. F29 (or higher) is a very small aperture.
The lower the number, the larger the aperture and the more light reaches the sensor. Now, while that sounds wonderful, there is a trade-off relating to what is called "depth of field."
Depth of field refers to the portions of the image that are in focus. I'm sure you've seen images of models where only the front of the engine is in focus and everything else is fuzzy. An image like that is said to have a very shallow depth of field. On the other hand, an image where everything is in focus has a deep depth of field.
Now here's the trade-off...the larger the aperture, the smaller the depth of field. In other words, if you want your model photos to have deep depth of field, you need to be shooting at very small f-stops, like f16 or higher. That means you either need a lot of light or a long shutter speed. It also means you have to use a tripod to get professional results.
I often shoot model images at f29 and shutter speeds of multiple seconds...5 to 15 seconds or more. You can't hand-hold that! 
The f-stops you use when shooting real trains outdoors in good light will not be too critical. That's because you will be shooting things that are brightly lit and far away from the camera. Depth of field is not a huge issue when shooting at a distance. However, you should plan to shoot at something less than wide open, maybe in the f8 to f16 area. Because there is so much more light outdoors, you can shoot at a fast shutter speed (1/250 or faster) which will allow you to get good results hand-holding the camera.
Warren--
You need a camera that has a focus motor in the body. I'm assuming you have the "AFD" series of lenses from the 1990s and later. If you have the AiS lenses--manual focus, a camera with the motor in the body will still benefit you. The D7000 is the oldest camera I'd suggest, and the D7100 would be a step up (mainly because it has 24mp rather than 16mp, but also if your lenses are AF, the AF on the D7100 is significantly improved.) These are plentiful used. The current model is the D7200. It has no real advantage over the D7100 for RR photography.
Kent in SD
For train photos I read to use at least 1/400 of a second and I do whenever possible. I have bought and used a lot of 35mm film and digital cameras and I stick with Canon. I think they are a little more user friendly. Plus, I stick with Canon lens. Look at what the pros use. I think Canon gives you a better lens choice, too.
Rich,
Thanks for the information.
I thought the "f-stop" was controlled by the camera body itself? Kent seems to allude, unless I misread in my amateur understanding that lens' have their own f stop setting?
I've watched many videos explaining aperture and depth of field and they all seem to be pretty arbitrary in which results in the best look. Is it correct to guess that it is solely up the artist/photographer to decide what's best for his look when shooting real trains?
Lastly, I know many DSLRs have aperture priority, shutter priority, and ISO priority modes. Are any of these three user friendly to the amateur like me breaking into manual control of my DSLR camera? Are they good for shooting railroad photography or should I not even waste my time?
Thanks again!
I agree with most of what I read. I don't agree with idea of the 18-55 mm lens. I would recommend the 18-140mm especially trying to photograph a moving train in a yard trying to dodge light and telephone poles and all sorts of junk. With the 140 end, the lens will really draw a loco or car or whatever you want to photo. The 18 mm end, all wider angle photos are possible.
I use a Nikon D90 with the 18-140 VR lens. I also have a 70-300mm telephoto. The Canon/Nikon is like the Ford/Chevy argument. It is what you started with and learned to like and use.
Dick
Nothing wrong with a Nikon. i have owned several and they take good pictures.
The f-stop is a function of the lens, not the camera body.
I don't pay attention to any of the automatic functions because I always use my cameras (video and still) in full manual mode. I control the f-stop, shutter speed and focus and I know it will be right. I have been burned too many times in the past with so-called "automatic" functions. I learned my lesson and only use manual mode now. A pro photographer rarely uses auto mode for anything.
jim pastorius posted:Nothing wrong with a Nikon. i have owned several and they take good pictures.
Every camera can take good pictures. The camera is not the determining factor here.
It's the person behind the camera that ultimately determines how "good" a picture is.
OGR Webmaster posted:The f-stop is a function of the lens, not the camera body.
I don't pay attention to any of the automatic functions because I always use my cameras (video and still) in full manual mode. I control the f-stop, shutter speed and focus and I know it will be right. I have been burned too many times in the past with so-called "automatic" functions. I learned my lesson and only use manual mode now. A pro photographer rarely uses auto mode for anything.
How do you typically test your settings going from location to location when you are chasing for example? Do you shoot just a quick test shot and then review it on the camera?
To me it seems very tricky to get it right before the train shows up since you could get changing light patterns/weather patterns going from area to area.
Thanks Kent for the additional information.
Couple of questions:
1. Can you elaborate on how "f" numbers dictate how much light enters the sensor on the camera?
2. Does f stand for focal length?
3.Additionally, you say that your f2.8 lenses are better image quality but as a single focal lens you have to deal with slower action and less flexibility can you give a real life scenario along the tracks that I would encounter this?
4. As an amateur and as I learn the ropes, I would prefer something more all around and not necessarily good at just one particular thing. Would the kit lens' like Steve uses on his Nikon be exactly that? Quick and "all around" good?
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1. I'll do this the easy way and just get the concept across. It's a VERY simple concept. Let's say you have two lengths of PVC pipe. Pipe "A" is 4 inches long and an inch in diameter. Pipe "B" is 4 inches long and 2 inches in diameter. Which one do you think will let the most light through? Obviously, pipe "B". Let's say you divide the pipes' length by their diameters. For pipe A that's 4/1= 4. For lens B that's 4/2=2. Pipe A allows half as much light through as pipe B. A lens is basically a tube that let's light through. The same basic concept applies. If you have a lens that is 100mm long (4 inches) and its narrowest point is 25mm, that's 100mm divided by 25mm (4 in. / 1 in.) The result is a RATIO, a ratio of length / diameter. We call that RATIO --f--. Thus, a 100mm lens with a 25mm diameter would be an f4 lens. The 100mm lens with a narrowest diameter of 50mm would be 100mm/50mm=2, or f2. The "f-stop" is nothing more than a RATIO. The bigger the ratio, the LESS light it lets through. The smaller the ratio, the MORE light it lets through. The "hole" (diameter of the opening) in a camera lens is variable--you can adjust how much light goes through. But, there is still a point where the lens is wide open, and that is the maximum f-stop. I could go into why they're called "stops" but won't here. That dates to about 1858 and a British man named Waterhouse.
2. What "f" stands for has been lost in antiquity. The term started appearing before the Civil War. Best guess is it comes from the calculus term, "f=function.' It is a RATIO. Focal length is abbreviated as "FL."
3. No. f2.8 does not have better image quality. It simply means it is brighter, i.e. lets more light into the camera. Generally though, f2.8 lenses (and f1.8, f1.4 etc.) do have a bit better image quality because they are better made--better glass elements, better coatings, better design. They are designed for "pro" use, where the slower f5.6 lenses are designed for less critical work. Generally speaking. There are f2.8 zooms (such as the Sigma I recommended) and f2.8 single focal lenses (such as the Nikon 20mm f2.8). A fast lens (e.g. f1.4, f2.8) is actually more versatile because you can photo in MUCH lower light than an f5.6 lens.
Example out along the tracks? Sure, I can give plenty. The sun has just set. It's getting dark. To freeze the motion of a moving train you generally want 1/1000s shutter speed. Your buddy has a "kit" lens that only opens to f5.6. He has his ISO set as high as he likes to go (lets say ISO 1600), but he still only gets 1/250s shutter speed. That's too slow to freeze motion on a train--his shots will be blurry. He goes home. You have the same camera but your lens is the Sigma 17-50mm f2.8. That allow you to shoot two more "stops" faster shutter speed. He was limited to 1/250s. So, 1/250s--->1/500s---->1/1000s. With your f2.8 lens, you can still hit 1/1000s shutter speed and freeze the train. HUGE advantage! An f2.8 lens will also autofocus much faster and with more accuracy in lower light than an f5.6 will. I.e., the camera will hunt for focus significantly less.
4. The Sigma 17-50mm f2.8 (or similar lens) will give you the "quickness" of a zoom, and the flexibility to shoot in lower light with fast shutter speed. The trade off (and there ALWAYS is one) that you have to change the lens to shoot with more magnification (to Tokina 70-200mm f4 for example). But, isn't the ability to change lenses the reason to buy a DSLR rather than an all in one compact camera? Steve's lens is a step up from a kit lens and is designed for convenience. He never has to change the lens. He just pulls his camera out and shoots. That's his style. The trade off for him is when the light begins to get low, he is screwed. And even if shooting something sitting still, an f5.6 lens has more trouble attaining focus. Lenses really determine what you can shoot and how. If you only shoot in sunny conditions, an f2.8 lens doesn't give you much advantage (other than the ability to blur backgrounds.) Let's go back to my sun down scenario. I have my camera set to ISO 1600, as does Steve. It's getting really dark--astronomical twilight (the "blue hour.") Steve's camera is showing 1/60s--WAY too slow to freeze a train. He has to either pull out flash or go for a blur shot. My camera is set to ISO 1600 but I'm using an f1.4 lens. f1.4--->f2--->f2.8--->f4---f5.6: four stops difference. My lens can hit 1/1000s with only 1/16th as much light as f5.6!
Now a quiz. Let's say you have three PVC tubes (or lenses.) They are:
1. 50mm with 25mm aperture (FL=50, d=25)
2. 100mm with 50mm aperture
3. 20mm with 10mm aperture
Which lens is the brightest (i.e. let's in the most light?)
Hint--think RATIO
Attached:
Photo of the rear of a Sigma 20mm f1.8 (left),
and a Nikon 20mm f2.8 (right). Which let's in more light?
Kent in SD
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OGR Webmaster posted:The f-stop is a function of the lens, not the camera body.
A pro photographer rarely uses auto mode for anything.
Well, for the past three years I've been shooting weddings at $2,000 per event. Won't go so far as to say I'm a "pro," but.....
I do use Aperture Priority (A) on my Nikons most of the time. The reason is this is much faster and it allows me to catch breaking action without fiddling with the camera. I select the aperture, camera selects the shutter speed. Most wedding photographers I have worked with do this. I use A-priority for my RR shots too, except at night. Then I pretty much have to use Manual (M). The meter on the Nikons is really pretty good. With RR shots it can get quickly screwed up when the headlights shine directly at the lens, but I know that. I take my meter reading (push shutter button half way down) and hold it until I take the shot (pushing the AE lock button on camera back does same thing.) Automation is good--it let's you concentrate on composition and timing. You just have to know your meter and anticipate problems.
Kent in SD
PennsyPride94 posted:OGR Webmaster posted:The f-stop is a function of the lens, not the camera body.
I don't pay attention to any of the automatic functions because I always use my cameras (video and still) in full manual mode. I control the f-stop, shutter speed and focus and I know it will be right. I have been burned too many times in the past with so-called "automatic" functions. I learned my lesson and only use manual mode now. A pro photographer rarely uses auto mode for anything.
How do you typically test your settings going from location to location when you are chasing for example? Do you shoot just a quick test shot and then review it on the camera?
To me it seems very tricky to get it right before the train shows up since you could get changing light patterns/weather patterns going from area to area.
If there is time (and almost always there is) I take a test shot, look at the histogram, and adjust if needed using the exposure compensation button. Many Nikons have "blinking highlights" on the LCD to show if you are blowing out highlights. I suggest using that method if you have it. You darken exposure until the highlights quit blinking. Otherwise, look for clipping on the right side of the LCD histogram.
Advanced info:
The histogram on all cameras shows only JPEG exposure. You can actually shoot a little further to the right so highlights appear a bit clipped if shooting NEF (or RAW.) Nikon sensors have more dynamic range than shows on the histogram, and you can recover highlights in Photoshop. Why do that? By pulling the exposure to the right, you are reducing noise in the shadows and gaining more shadow detail.
Kent in SD
PennsyPride94 posted:
1. I thought the "f-stop" was controlled by the camera body itself? Kent seems to allude, unless I misread in my amateur understanding that lens' have their own f stop setting?
2. I've watched many videos explaining aperture and depth of field and they all seem to be pretty arbitrary in which results in the best look. Is it correct to guess that it is solely up the artist/photographer to decide what's best for his look when shooting real trains?
3. Lastly, I know many DSLRs have aperture priority, shutter priority, and ISO priority modes. Are any of these three user friendly to the amateur like me breaking into manual control of my DSLR camera? Are they good for shooting railroad photography or should I not even waste my time?
Thanks again!
1. The camera has the shutter, the lens has the aperture. In below photo, note there is a big circle of glass on each lens, and below it is a tiny hole in the black metal. THAT is the iris, which controls the aperture. Think of it as a valve that opens and closes to let more/less light through the tube. It works EXACTLY like the pupil in your eyes, BTW.
2. Yes, up to the photographer. Sometimes the background is distracting and I want to blur it out more, so my subject stands out from it. Sometimes I want everything from "front to back" to be sharp. This is what DoF (depth of field) is all about, and it's controlled by the aperture (iris.) BUT, if shooting in low light and you need a faster shutter speed, you must open up the iris to allow more light in.
3. Yes, they are certainly good. Using manual mode really slows you down. I generally use "A" mode, where I select the aperture (very RARELY shoot tighter than f8 or f11 because of diffraction,) and the camera selects shutter speed. Many RR photographers want to prohibit camera from going below 1/1000s shutter speed, so they use Shutter Priority (and camera selects the aperture.) You can also have the camera select a range of ISO too, let's say stay between ISO 400 and 2000. These modes are quite useful, but you do need to learn how to predict what the camera is going to do in extreme situations, such as when train headlights are close and shining directly into the lens.
Kent in SD
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If you buy a Nikon D7000, which are around for 325 to 350 used, you can use the "Program" mode
which will select a shutter speed and aperture for you, according to the light, while you learn
to use the camera.
Here is what I got last October with my D7000, a nice one goes for 350. The lens is a 55/200 vr Nikon,
they can be had for 100. The second image is a near 100 percent size, cropped from the first image.
Not bad for 450 bucks, I think. Ed
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OGR Webmaster posted:jim pastorius posted:Nothing wrong with a Nikon. i have owned several and they take good pictures.
Every camera can take good pictures. The camera is not the determining factor here.
It's the person behind the camera that ultimately determines how "good" a picture is.
Absolutely. Most photos (90%?) fail because of poor composition, not photo gear issues. I can take interesting photos with my 1904 Kodak Brownie, which has only three apertures and one shutter speed (1/30s). HOWEVER, it's a lot easier to take a photo with my Nikon D800E and Sigma 35mm f1.4 lens, and I can make a much bigger enlargement from it. Ansel Adams once said, "Any photographer worth his salt can make compelling photographs using only a Kodak Brownie." Correct, and Ansel did start with a Model D Kodak Brownie No. 2. HOWEVER, when Ansel made the quote he was shooting either a Deardorff 8x10 or a Hassleblad 501C, with any lens he wanted for free from Hassleblad. :-)
Kent in SD
Below shots made with a
1904 Kodak Brownie
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Couple of things:
For a starting level camera here are my recommendations, go with whatever you can afford. Quoted prices are from B&H, but are competitive with other reputable sources. These all have the motor drive to allow early Nikkor AF and AF-S lenses to operate.
Something to consider when buying used is to be sure to get hands on with the camera and make sure nothing seems loose and that everything works. Also use the EXIF Data to check the shutter count. All of the cameras listed below should have an average shutter life of 100,000 clicks or more. I've read that the D300s has a more robust shutter than the other models listed, but haven't done much research on it. Over all, I would look for a used body with less than 50,000 clicks, as anything more was likely to have been used by a professional, and was probably worked hard. On the other hand someone that depends on their camera for income often takes better care of it than hobbyists.
D70 $120 (Note: I really like the D70 when it works, unfortunately I have half a dozen of these where the memory card reader has failed and this is a common problem for these cameras. If you'd asked a year ago this would be my top choice for a starter DSLR, but now I prefer the D50 as it uses a different card system, even though it is otherwise not quite as good of a camera. If you see one with a low shutter count and that looks really good cosmetically, I might spend $100 for the D70 today.
D50 $120: This is a rather basic DSLR, but the price may just be right, and it is a pretty good camera for it's age. The sensor likes a lot more light than the cameras further down the list.
D80 $150
D200 $200
D90 $270 (shoots video, but only 5 minute long clips. )
D7000 $350 (Shoots Video)
D300s $520 (Shoots Video) (Higher quality shutter.)
F-stops: These confuse the heck out of people for no good reason... Probably the same reason that kids in school hated fractions and I loved them. The F stop is simply the ratio of the length of the lens compared to the diameter of it's aperture, or how wide the lens is opened. f/1 would be a lens that is equally as wide as it is long. f/2 would be twice as long as it is wide, f4 four times as long and so on. The f-stop number is actually the denominator of a fraction. ex 1/2.8, read as the aperture is 1/2.8 as wide as the lens is long. while we usually write it as f2.8 or some such it should be f/2.8. (focal length / x = aperture)
This is also why zoom lenses have a variable wide open f-stop. The aperture still opens just as wide at any focal length, but as the lens grows longer, the ratio is changed.
As a note, TWO23 above gave a fair example with the pipes of how aperture effects light coming into the camera, but it isn't exactly correct. F2 would not allow twice as much light in as F4. Most pros, and many amateurs that learned to shoot before the advent of digital cameras with 800-million settings still use 'full stops' to shoot. These are f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, and f/22. (then f32, f45, f90, however only high quality lens will allow anything more than f/22, and unless you need exceptional depth of field, f/22 is plenty.) Each one of these full stops allows half of the light through as the previous stop. Most pros will start at a full stop then adjust to a 1/3 stop if needed. ex: f/5.6 is a full stop. f/6.3 is +1/3, and f/7.1 is +2/3, then f/8 is the next full stop.
You can read more than you ever wanted to know about it HERE: or as I noted above I Highly, highly, recommend the book Understanding Exposure by Bryan Peterson.
On lenses, I've never liked any of the various off-brand lenses. They don't feel as good in my hand, and the glass is not as good. I prefer a nikon kit lens to the off brands. That said and out of the way, the 18-55 AF-S DX is a fantastic entry level lens. it is quick and it will work for 60% plus of the photos most folks will take. the compliment 55-200 AF-S DX lens will handle almost everything else. While it is a little expensive just to get started with the 18-200mm AF-S DX VRII is my go to lens and it remains on the camera 99% of the time. The other lenses I'd carry are a 50mm f/1.2 prime lens for when I want a really shallow depth of field, a 10mm lens for super wide shots, a 500mm telephoto lens, and from time to time a 24 or 28mm prime lens for group photos with shallow depth of field. The 18-200mm lens does a good enough job, however, most of the time that none of the other lenses come out of the bag unless I'm on my own time and want to play.
For the money I think the 18-55 and 55-200mm AF-S DX lenses are the best value, especially for someone starting out. From there I would buy a nice used 50mm f/1.8 and those three lenses will do just about anything someone starting out needs to do. One can buy all three of those lenses and a good camera body for less than $500 if they wanted to.
One last thing, on the question of how to know what settings to use: There are only 4 positions on the main setting dial that you should ever have to use on a DSLR. These are P,S,A, M. Program, Shutter priority, Aperture priority, and Manual.
Program will use the onboard computer to try to determing the best settings for you, it is great if something happens quickly and you just don't have time to think and need to take a shot. Program mode on Nikon cameras which I have used seems to get it useably correct about 85% of the time.
Shutter priority will leave the shutter speed where ever you set it and adjust the aperture for what it thinks is the correct exposure. This is used when taking photos of things that are moving. You know you need a high shutter speed to freeze the action, and allow the camera to determine the aperture.
Aperture priority will leave the aperture where you set it and adjust the shutter speed. This is used when you require a certain amount of depth of field, but motion blur is not a concern.
In Manual the camera does nothing but what you tell it to. if possible this is where you want to shoot because you have the most control over what you'll get. This is where I shoot most of the time.
As to how you know what the manual settings need to be, some is as simple as experience, at least for a starting point. When it comes to something like a moving train that you know is coming, my plan would be to meter the light, aiming my camera at the sky closest to where the train will be. set my camera to the correct exposure for that patch of sky, then open up the lens and frame the oncoming train with the exposure locked in. If sky is in the picture, that is what you want to use to set the exposure.
Within reasonable limits, you can always make a photo that is too dark brighter. the information is there. You can't, however, make an over-exposure darker, the data just isn't there to 'fix' it.
JGL
In the price range that most of us are likely going to buy a camera in, you will do well with any of the cameras out there. I was at a funeral for a cousin of mine, and I asked another cousin of mine's wife, who is a pretty famous photographer, about it, and she said that the technology and the quality of cameras from Nikon, Canon and Olympus at the consumer level are pretty much the same. What ends up happening is that they pretty much play can you top this, so one comes up with better light sensor technology, the others follow, another switches to a mirrorless SLR, the others follow. My cousin uses Olympus gear these days, she said she finds them rugged and more importantly, to be lighter than the other brands, but that is her preference. weight can make a big difference, even though all the SLR's are a lot lighter than my mid 80's Nikon, when you put a lens, especially a zoom or telephoto, on the body it can get tiring, can be hard to quickly move to take a picture, or if you are hiking, can be a nuisance.
Some people asked about terminology. The F stop is basically the opening in the lens, when you adjust the f stop on the camera (usually a ring), it opens or closes the lens to light. The smaller the number, the larger the opening. Usually when you buy a lens, they will give the focal length (or if a zoom lens, the range of focal lengths) and they will also give a number like f2.8. This means that the maximum opening is f 2.8. In general, usually the shorter the focal length, the greater the max F stop is from what I recall, and also with lenses, the larger the max F stop is, the more expensive it is (thus a 50 mm f 2.8 lens would be less expensive than a 50 mm f 2.0 lens).
As Rich I believe pointed out, you pay for a large F stop with decreased depth of field, you take a picture and the things around it can be blurry. The larger F stop allow you to shoot a picture with a very fast shutter speed (so if you are shooting a rapidly moving train, a large F stop with a quick shutter speed is the way to go, if you want to 'freeze' the train). There is a way around that, if you adjust the iso setting to be a higher value, to 1000,1500 and more, you could shoot with a rapid shutter speed and a higher F stop (ie instead of F 2.0 at 1/1000 shutter speed, you might be able to use F 3.x at 1/1000 with an iso of 1500). The price you pay is that pictures shot at higher ISO values are not as sharp, in film days higher ASA/ISO value meant more graininess, and you pay a price with digital as well.
One thing I highly recommend is try the cameras at a store, try it with different lenses if they let you, and see how it feels, how easy it is to use. My cousin's olympus has a view screen that rather than pulling out to the side, folds up so you can look down at it while shooting (kind of like on an old hasseblad or the like) , if you want to hold the camera down to take a picture that way.
With lenses, unless you are doing some highly specialized photography, I doubt you will see that much different if you decide to buy something like a sigma lens, which will be a lot cheaper than a lens from the body maker. As I think I wrote in another post, you also can buy used lenses and they can be a good deal, unless the person who owned them abused them, they will be fine.
In terms of the automated features, most cameras these days offer fully automatic (will focus automatically, set the F stop and shutter speed), then they allow you to decide, you can do aperature priority, you set the F stop, it sets shutter, shutter priority (you set shutter, it sets F stop), with or without autofocus. I hadn't heard of ISO priority someone was talking about, I would guess that lets you set the ISO then the camera chooses the shutter and F stop (I could be wrong).
Pros don't use the automated features much, and to be honest I always found the pictures are better if I set it myself, the software in the camera chooses settings based on the preferencess of the designer, and it often isn't what I wanted, playing with F stop and shutter speed allows changing the nature of the picture.
The biggest thing I recommend is practicing taking all kind of pictures, given you can wipe them out after doing it, lot easier today. The other thing I encourage is that a lot of the time camera stores if you buy the camera there may offer free classes in using it, and if not a lot of places, stores and such, offer classes. Nikon used to offer courses to Nikon owners at their place in NYC near Rockefeller center years ago, I don't think they do any more, but there are plenty of courses offered in local school districts extension courses or community colleges, definitely worth taking it. The real key to taking great pictures is learning how to achieve proper lighting and depth of field and white balance and other aspects, and how to use all the elements to frame that perfect picture
. As I told my cousin's wife, I could give her my old Fujii snapshot camera (btw if you want an inexpensive camera that can take some great pictures, Fujii has some great offerings) and she would take brilliant pictures......she teaches a class in photography with an iphone, and you should see some of the pictures her students took, unbelievable.
Kent,
If I understood the logic behind aperture as a ratio of length to diameter then I believe all of your given problems in the "quiz" would be f2?
Thanks to those who jogged my memory about what an F stop is, it brings into focus something else my cousin's wife mentioned. Because the F stop is a ratio that involves the focal length of the lens, with a standard (variable apurture) zoom lens the F stop varies with the level of zoom you are using, it will be lower if you are at the lower end of the zoom range, and higher at the higher end. There are zoom lenses with fixed apurture, that remain F2.8 let's say zoomed in or zoomed out. Looking at the Nikon website, those with Fixed apurture are a lot more expensive than ones with variable, which is not surprising, and they are heavier.
I tend to agree with others, that what is probably most important is finding a camera you feel comfortable using, the brand, the kind of lenses, for most casual users won't matter much. Canon and Nikon make great cameras, but that doesn't mean you can't do well with Olympus or another brand, and might get more bang for the buck with them, too, as others keep pointing out and it is true, most of the secret to great pictures is someone knowing what they are doing. I personally have used and liked Nikon products when I had cameras, but I also really liked the camera my cousin has (I didn't get the model, but I would bet it is top of the line pro equipment from Olympus).
PennsyPride94 posted:Kent,
If I understood the logic behind aperture as a ratio of length to diameter then I believe all of your given problems in the "quiz" would be f2?
Correct! It was a trick question, and you got it. Lenses can be different lengths and the physical measurement of internal diameter can all be different, but what matters is the RATIO. Thus, a 200mm f2.8 lens allows exactly the same amount of light to hit the sensor as a 20mm f2.8. This allows the exposure to be the same, lens to lens. Obviously, the 200mm lens is going to need a much bigger "hole" for the light to go through than the 20mm will. I think you have now learned the concept.
If anyone is interested, I could explain the history of how we got to where we now are in regards to the three different factors determining exposure (ISO, F-stop, shutter speed.) It's a fascinating story, but it would be going down a "rabbit hole." Things didn't begin to get standardized until the late 1890s. It took about 60 years and World War 1 for all the pieces to fall into place.
Final tidbit-- someone above listed the current standard f-stops, which are:
f1.4, f2, f2.8, f4, f5.6, f8 and so on. This was originally the British system, and it became the standard over two other widely used systems. So, what is it based on? The area of a circle (which determines the size of the "hole" the light goes through.) Thus, 1.4 x 1 = 1.4,,, 1.4 x 2 = 2.8,,, 1.4 x 3= 4.2 (round to 4,) 1.4 x 4 = 5.6, etc. What happened to f2? 1.4 x 1.5 = 2.1, round to 2. (There are some half stops in there.) Is this a coincidence? No. Remember that 1.4 is the mathematical constant known as "pi," 3.14159.... To find the area of a circle multiply diameter time pi. The Brits were pretty smart.
Final trivia:
Can you have an f-stop that is even smaller than f1? Can a lens be made that is brighter than f1? Yes, at least three companies have made lenses faster than f1. Two were made for 35mm/DSLR cameras. Both Canon and Leica have a 50mm f0.95 lens. They are mostly bought by collectors who want bragging rights. The lens can be difficult to use in practice.
Leica 50mm Nocitilux:
http://www.bhphotovideo.com/c/...ux_M_Aspherical.html
Kent in SD
Two23 posted:Warren--
You need a camera that has a focus motor in the body. I'm assuming you have the "AFD" series of lenses from the 1990s and later. If you have the AiS lenses--manual focus, a camera with the motor in the body will still benefit you. The D7000 is the oldest camera I'd suggest, and the D7100 would be a step up (mainly because it has 24mp rather than 16mp, but also if your lenses are AF, the AF on the D7100 is significantly improved.) These are plentiful used. The current model is the D7200. It has no real advantage over the D7100 for RR photography.
Kent in SD
Kent, thank you for your reply; I have both AF lens and AiS lens.
In all this freely given advice, there is one suggestion I did not see, so as a former camera shop owner for 20 years, I'll say it - go to your local camera shop, tell them what you want to do, and ask for their advice.
If you are near Strasburg you probably live in Lancaster County or very nearby. Coe Camera in Lancaster would be a great place to start.
Feel free to email me for assistance - email in my profile.
Yes, I dealt with family owned camera shop and they were great people but they went out of business. Miss them very much. Had to buy my last camera from BestBuy. I did buy a very nice, expensive Sony video camera some years ago from an NYC from a magazine ad and it went very well.
Borden Tunnel..if you have both AF and AIS lenses, what kind of camera do you currently have?
I have a few AF and AIS and AI lenses, those old manual focus lenses are pretty sharp. I have found
that the Nikon D7000 just about peaked my skill level. So I have two of them. One with the 18/140
for RR photography and whatever else I want to use it for. The other takes or uses what ever I'm in the
mood to use at the time. I use the AI 50mm a lot, it's very sharp! It makes great panos in photoshop.
Some of the AIS lenses, and also AI lenses, are some of the best lenses Nikon has ever made, for
the price they now sell for. For instance, the AI or AIS 200mm F4 is very, very sharp. The Nikon
105mm 2.5 AIS or AI is simply one of the great all time Nikkors. I have and love an older converted
55 3.5 PC micro, converted to use as an AI lens. It's sharp and a lot of fun. The D7000, in it's menu,
allows you to register these old lenses, so you can go to the menu and select, say, the 50mm 1.8, it will
then meter with that lens. This is why I prefer Nikon, what a wide group of lenses you can use
with their better cameras! The smaller "consumer" cameras will only auto focus with with their "DX"
lenses, which makes the D7000, D7100 and D7200 a great buy. One other advantage these three
cameras have is that they have two flash card slots. I use one for still photos, and reserve the other
for video. You can also change that, and use the second card for overflow.
If you have some of the older manual focus lenses, you know how beautifully they are made.
Just using them is a pure delight, smooth focusing, aperture ring clicks nicely, I love 'em. You can't go wrong
with any of the three cameras. They have metal bodies, easy to use settings, a nice handling camera, for sure. Ed
Ed Mullan posted:Borden Tunnel..if you have both AF and AIS lenses, what kind of camera do you currently have?
I have a few AF and AIS and AI lenses, those old manual focus lenses are pretty sharp. I have found
that the Nikon D7000 just about peaked my skill level. So I have two of them. One with the 18/140
for RR photography and whatever else I want to use it for. The other takes or uses what ever I'm in the
mood to use at the time. I use the AI 50mm a lot, it's very sharp! It makes great panos in photoshop.
Some of the AIS lenses, and also AI lenses, are some of the best lenses Nikon has ever made, for
the price they now sell for. For instance, the AI or AIS 200mm F4 is very, very sharp. The Nikon
105mm 2.5 AIS or AI is simply one of the great all time Nikkors. I have and love an older converted
55 3.5 PC micro, converted to use as an AI lens. It's sharp and a lot of fun. The D7000, in it's menu,
allows you to register these old lenses, so you can go to the menu and select, say, the 50mm 1.8, it will
then meter with that lens. This is why I prefer Nikon, what a wide group of lenses you can use
with their better cameras! The smaller "consumer" cameras will only auto focus with with their "DX"
lenses, which makes the D7000, D7100 and D7200 a great buy. One other advantage these three
cameras have is that they have two flash card slots. I use one for still photos, and reserve the other
for video. You can also change that, and use the second card for overflow.
If you have some of the older manual focus lenses, you know how beautifully they are made.
Just using them is a pure delight, smooth focusing, aperture ring clicks nicely, I love 'em. You can't go wrong
with any of the three cameras. They have metal bodies, easy to use settings, a nice handling camera, for sure. Ed
Ed, all of my lenses were acquired during my Kodachrome 64 days, when I had several Nikon bodies, all FE and FG. All these were sold around 2007-08 when I first experimented with digital, I also bought a new Nikon FM10 to shoot slides (Fuji Velvia).
I have 4 Nikon lenses (2 50MM, 1 35-80MM, 1 70-210MM, and a Quanteray 135mm ) They were bought between 1993-2004.
I hope to buy a Nikon 7100 body per Kent's advice, but must first pay off motel/train ticket bills from my weekend with the 611 in Roanoke.
Besides the FM10, I am currently using a Canon A1400 and a GE X-550 to shoot digital, both are inexpensive point and shoots that have limitations. A camera with a motor drive would be a real change for me.
Thanks, Warren W. Jenkins
I think you will like the D7100, but I would also add an 18/140 lens if you can.
It will be a big help with RR photography.
Google B&H photovideo . It is a reliable New York mail order house which often
has good deals on Nikon factory refrubrished cameras and lenses.
I have purchase three Nikon DLSR refbs, and have had not one problem.
Ed
