The main difference between a DSLR and a mirrorless camera is the lack of a mirror, needed to divert light to the viewfinder and show the scene. This makes mirrorless cameras smaller and lighter, giving them faster on-sensor focus and making necessary an EVF – electronic viewfinder, which shows real-time changes to the scene as you change camera settings.

But with so many brands and hundreds of models, it is very difficult to choose the best mirrorless camera that offers the most value. To make your life simpler, here are the 3 best mirrorless cameras for different budgets, which will provide you the best value.

Olympus E-M10 Mark II and Panasonic GX850 – For A Low Budget

The Olympus OMD E-M10 Mark II is a very capable camera at a very budget-friendly price of around $500. The first thing you will notice is that this camera looks like a vintage SLR, without the bulk. At the heart of it lies a 16 MP Micro 4/3rds sensor, with an 81-point contrast detect AF.

One standout feature of the E-M10 Mark II is its 3 inch touch-enabled LCD, which can move up or down for selfies but not fully turn around. The camera also has a Simulated OVF, which mimics optical viewfinders and increases dynamic range of the EVF, giving a more accurate picture of the scene.

I have seen the AF system of this mirrorless work excellently in daylight, especially in Face detect mode, although it falls short when subject tracking. On the video side, the camera can shoot up to 1080/60p and offers zebra warnings and focus peaking, features you will not find easily.

With extra features like 5-axis image stabilization, better EVF, touchscreen, Wi-fi, 3 control dials and the excellent 16 MP sensor, the camera is a very good package for anyone looking for a capable and portable camera for general photography.

My second choice in this category is the amazingly compact Panasonic Lumix GX850. Marketed as the “most affordable 4K Compact camera”, the Panasonic Lumix DC-GX850 features a 16 MP Micro 4/3rds sensor, a flip-up 1040k-LCD screen, Wi-Fi  and 4K video. It is available for around $550 with the 12-32 mm kit lens, and comes in 4 different color schemes.

Although the DFD autofocus is great point to point, it does not do very well with moving subjects, especially if the movements are erratic. The little noise that does creep into photos is not a big deal, and nothing that is not found on other mirrorless cameras as well.

Video is of good quality, especially with features like the flippy touchscreen and 4K. But for people looking for more controls and advanced settings, this is not the camera.

The camera’s lack of a dedicated viewfinder, low battery life and lack of manual controls will make you want to upgrade after a few months. But if you are a beginner or a person looking for an easy to use family camera, this will not disappoint.

Sony Alpha a7 II – For A Medium Budget

With a price of around $1500, the full-frame Sony a7 II is a serious camera for a serious photographer. Being a company that is always technologically ahead, the Sony a7 II has many impressive features like in-body 5-axis image stabilization, Wi-fi, S-log2 for video and high-bit-rate XAVC S format with 60p, 30p, and 24p recording options, all at 50 Mbps.

The 24 MP full-frame sensor provides excellent dynamic range and sharp details. The sensor is complemented by an on-sensor phase detect autofocus with 117 phase detect points, along with the usual contrast detect. The only downside is that the coverage is not very good, and you will have to keep your subject in the central portion of the frame.

The one downside of this camera is its bulk. Although it is a mirrorless, the bigger sensor, a better grip and EVF have taken their toll, making the a7 II almost the weight of a flagship DSLR.

Nikon Z7 – For A High Budget

The Nikon Z7 is the most-recent flagship of Nikon, and it can be clearly seen that Nikon went all out on this camera. A relatively compact and portable camera, the Z7 comes with a massive 45.7 MP full-frame CMOS sensor and a very reliable 493-point on-sensor hybrid AF, with a price tag of about $4000 to match.

Apart from the amazing sensor which provides class-leading dynamic range utilizing Nikon’s new Z-mount, the Z7 also comes with in-body 5-stop image stabilization, 4K video, 10-bit HDMI output, a lower ISO of 64 – which can be reduced to ISO 32 – and a high-resolution OLED electronic viewfinder with a touchscreen LCD for easy focus.

There is very little about this camera to find a problem with. The main problem is only the comparatively lower speed of 5.5 fps with Live View updates while shooting. If you aren’t trying to follow action and don’t need live view, the Z7’s ‘High+’ mode can faster. This mode allows full autofocus but locks the exposure settings after taking the first image, shooting at 8 fps in 14-bit Raw or 9fps if you drop down to 12-bit mode.

You can also check out the Canon EOS R full-frame mirrorless camera, and the Sony Alpha a7 III. Apart from these possible alternatives, and maybe the Nikon D850 if you don’t mind a bulkier DSLR with even better AF reliability and speed, the Z7 is probably the one camera for every photographer.

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Any average camera body today will give you the results you want. A megapixel count of more than 12, a decent autofocus system and additional features like Wi-Fi, touch screen LCD and shooting speeds of 6 to 8 fps – these are all common now. And if you really know how to use your camera, these basics are all you will need anyway.

But if you are in the market and don’t know where to start and what the options are, this list is for you. Here I’ll be discussing the top 3 cameras in 2019, for all types of budgets.

Nikon D3500 – For A Low Budget

Released only a few months back, the Nikon D3500 is perfect for people who simply want a good camera without breaking the bank. The basic kit with the excellent AF-P 18-55 mm lens comes just under $400.

Although this DSLR is not a huge step-up from the previous D3400, it does have a few important changes. The grip on this one has more space and depth for your fingers, similar to the Nikon D5600. Even the rear controls have been modified, with the ISO button now gone and the setting put in the menu. Another big change is the battery life, which is now rated for an astonishing 1550 shots on one full charge.

At the heart of the Nikon D3500 lies a new 24 megapixel sensor, which is officially 24.78 MP. Further, Nikon has continued the trend of not putting in an optical low-pass filter, which promises to make your images as sharp as possible and bring out the full potential of the sensor.

Other specs include a 11-point AF system, 3 inch fixed LCD display, 1080p standard video, 5 fps shooting speed, Pentamirror viewfinder and Bluetooth connection but no Wi-Fi.

In a nutshell, the Nikon D3500 is perfect for your first step. It gives great image quality using its 24 MP sensor, which has probably the highest dynamic range of all beginner cameras at a similar budget. If you want an easy-to-use and affordable DSLR, this camera won’t disappoint.

Nikon D7500 and Canon 80D – For A Medium Budget

For this section I have 2 cameras because they are both excellent, but one is especially good if you want to focus on videography along with photography. The Nikon D7500 has a price tag of about $1100, while the Canon 80D can be bought for $1000.

I’ll talk about the Nikon D7500 first. It borrows a lot of nifty features from the D500 while maintaining the efficient design and controls of D7200 in a lighter body. Surprisingly, the megapixel count of the Nikon D7500 has gone down from the usual 24 to 20.9 MP.

This is because 20.9 is still enough to give you huge prints, while also making low light performance of the camera and the buffer capacity much better. The new Expeed 5 image processor too contributes to the stellar sharpness and detail, along with the 8 fps shooting speed.

Although the image sensor has been improved, the autofocusing has not. The D7500 has the same 51-point Multi-CAM 3500 II DX system as its predecessor. On the video side is one of the biggest deal-makers of the camera.

Whereas the D7200 topped out at Full HD video, the D7500 can now capture 4K UHD video (3,840 x 2,160) at up to 30p. You also get headphone and mic ports, for better control over audio.

Coming to the Canon EOS 80D, it also makes it to this list because it is one of the best all-rounder cameras in the market. The excellent Dual Pixel AF technology, a big 24 MP APSC sensor and its overall capabilities in both stills and video category make the 80D amazing for both stills and videos.

The phase detect Dual Pixel AF along with the articulating touchscreen makes the camera very good for video. Focus pulls and subject tracking are as smooth as butter. Besides, you also get a long battery life and 100% coverage optical viewfinder. The only downside is the slightly lower dynamic range and lack of 4K.

Nikon D850 and Pentax K1 II – For A High Budget

It gets tougher to decide which camera to go with when your budget is high. So, here are 2 excellent choices for top-of-the-line full-frame DSLRs. The Nikon D850 comes in a little steep at almost $3000, and the very recent Pentax K1 II at a relatively cheaper $1800.

Personally, I think the Nikon D850 is probably the best full-frame DSLR currently on the market. From rough landscape and fast-paced sports photography to portrait and wedding shoots – the D850 can handle it all.

The Nikon D850 balances size and quality with its 45.7 MP sensor and 25,600 max ISO. This sensor provides a phenomenal dynamic range of 14.8 EV at base ISO and is supported by an almost-flawless 153-point AF system. With additional features like AF joystick, a touch rotating LCD display and 4K video capabilities, there is not much this camera misses.

I’ve always thought that Pentax cameras are the most value for money. Built like tanks with features like 100% viewfinders, image stabilization and weather-sealing in even the lower budget bodies, Pentax cameras really deserve more appreciation.

K1 II is a full-frame 36.4 MP camera with a reliable 33 point AF system, which features one of the best well thought-out designs and button layouts in camera history. Like all other Pentax cameras, this one is built like a tank, and can take a dive in a swimming pool without a hiccup.

The K1 II features in-body 5-axis image stabilization, which helps you take sharper photos at slower shutter speeds. It also features the novel Pixel Shift technology, which allows you to slightly shift the image sensor itself and combine multiple photos into one image with perfect detailing.

If fast frame rates – the Pentax goes only up to 4.4 fps – and the lack of video features do not bother you, the Pentax K1 II is a serious professional camera that will survive all your landscape expeditions.

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But that is, in fact, the redeeming quality of this camera. A combination of the Rebel simplicity and price with advanced features like Dual Pixel AF and a Digic 7 processor, the Canon 77D really is an all-round camera for almost any type of shooter. This 24 MP camera will be especially tempting for ones who are interested in both photos and videos, and are on a tight budget.

What you need to know about the Canon 77D.

Before I can explain why the 77D shines as a video journal camera, let me take you around the camera and highlight its key features.

Lying at the electronic heart of the 77D is a 24.2 megapixel sensor, the same one used in the 80D, underpinned by a Digic 7 processor. Everyone was very impressed with the output from 80D, and what 77D promises in this neat little package is the same performance at lower price. With a dynamic range of 13.3 Evs and 971 low-light score on DxO, the camera has capabilities to almost equal the Nikon D5600 and D7200.

The hard plastic-like body of this mid-range DSLR is where you may find a few minor faults, but even those are for keeping the price low and not making it a direct competition of the semi-professional 80D.

Even the viewfinder of the Canon 77D is a consumer-level one. Given that it is only a pentamirror, the OVF is dim and offers a coverage of about 95% only.

Overall handling is a pleasure, with a comfortable grip and most of the controls – including dual dials and an AF-On button – on the right and usable with one hand. Although one major drawback is the lack of AF micro-adjustment and customizable buttons, I think the touchscreen LCD makes up for it.

Although the Canon 77D has more visible changes on its body, like the rotating touch LCD for Live View, a top LCD panel and in-built Wi-Fi, by far the greatest strength of the camera lies in its autofocus system.

In most cameras, autofocus through the viewfinder uses an independent AF sensor for phase detection. On the other hand, Live View has to rely on the slower contrast detect method, because the mirror blocks the AF sensor to keep the LCD display working.

The 77D, however, borrows the excellent 45-point Dual Pixel CMOS autofocus from Canon 80D. This Dual Pixel system uses pixels of the image sensor itself, dividing each pixel into 2 halves for analyzing focus; and combining them when taking images. Simply put, this removes the need for slow contrast detection, because even in Live View the unblocked image sensor handles the focusing via the faster phase detect method.

What makes the Canon 77D a vlogger’s camera?

Now that you know the key specs of this DSLR, you may already have figured out why this camera is considered an all-rounder. A great sensor in a professional body, with nifty features like touchscreen LCD and Dual Pixel, makes this a great DSLR even for more advanced photographers.

However, I believe this to be an especially great camera if you want to make videos with excellent quality at a low budget. The rotating touchscreen is great for vlogging, as the left-sided hinge allows you to tilt it up and down and even flip it back for “selfie” mode where you can see yourself. This also makes changing settings very quick, without any need for fiddling with controls.

The video-making features are further boosted by the presence of Dual Pixel AF, which I have seen to be often more reliable than the viewfinder AF when tracking subjects. Combined with Canon’s face detection, the Dual Pixel tracks moving subjects in almost any condition better than the iTR tracking of the viewfinder.

You know Canon 77D is more than a beginner’s camera because of not just the advanced AF system, but also the addition of a microphone port and digital stabilization, which works better than those of other brands. The DSLR offers video recording in the standard 1080p resolution, with options that go up to 60 fps. The compression rate for the mp4 files is standard H.264.

Nonetheless, it’s not all good. The lack of 4K mode is a serious drawback for most people, especially where the competition offers it in cameras not much higher in price. Moreover, the video mode gives you either fully automatic shooting option, or fully manual, which means that you don’t get aperture priority or shutter priority. Fortunately, auto ISO is still included.

Final Verdict

I don’t think this needs to be spelled out. The Canon 77D may not have anything extraordinary, but it combines all that is good about Canon. The 24 megapixel APSC sensor, supported by the Digic 7 processor and a 45-point Dual Pixel AF, makes this DSLR a well-equipped tool for all – from beginners looking to buy their first camera to advanced photographers looking for a backup. Put these core strengths of the 77D in the same list of features like a touchscreen LCD, dual dials, in-built Wi-Fi and a microphone jack, and you have with yourself an excellent short film machine.

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Nikon D5600 Body

Body design and Controls

The D5600 is a very compact DSLR, although it is still bigger than most mirrorless cameras. It weighs just 670 gm with the 18-55 mm kit lens and battery attached. The carbon fiber monocoque frame ensures strength and durability, however, there’s no weather sealing.

A small but important improvement in the body is the slightly deeper and more textured grip. It makes the smaller body more comfortable to hold, and you won’t have the feeling that the compact body is about to slip.

The identifying feature of the D3000 and D5000 series has been the smaller viewfinder and single dial control. Nothing has changed in the Nikon D5600 too. It has a 95% coverage pentamirror viewfinder with 0.82x magnification, which is quite small, but nothing new. If you have never used a 100% full-frame viewfinder, you will probably not notice any difference.
The eye sensor above the viewfinder is a nifty feature too, and turns off the screen when you bring the camera up to your eye. The problem is that sometimes it is too sensitive and just moving your hand over it may cause the LCD to get switched off.

Nikon D5600 Back

Because the D5600 is a series aimed at the enthusiasts and photographers looking for a casual backup camera, the controls cover only the bare essentials.
At the top is the shooting mode dial with P, S, A, M modes along with other modes, and the command dial to change exposure values. Because there is only one dial, you will have to press another button while rotating the dial to change a value not assigned to the dial.

In Aperture priority mode, rotating the dial will change aperture, while in shutter priority the shutter speed gets changed.

Another important control at the top is the Live View lever. Flicking the Lv switch will start up the 3.2” LCD touchscreen at the back and give you a live view of the scene with the exposure settings.

On the rear of the camera, the button layout is standard and user-friendly. What is less standard is the large 3.2-inch LCD display, which has an impressive 1,036,800 dots (345,600 pixels) and offers tilt swivel articulation.

The touchscreen display can act as a “selfie screen” if you’re into that sort of thing. The large display works very well, and the touchscreen functionality works as advertised; it is particularly useful during live view shooting thanks to its nice touch AF feature. The only downside is that left-eyed shooters won’t be able to make full use of the touchpad AF.

Connectivity, Sensor and AF system

If you have been following Nikon lately, many of their new cameras have included Bluetooth Low Energy (BLE) capabilities. The addition of BLE in the Nikon D5600 is the biggest change in the camera from the D5500.

One advantage of BLE and SnapBridge is that you can set up your camera and smart device to automatically transfer images from the camera to your device. The transfer speeds are quite slow, but it is happening in the background so it is not a problem.

You also have the option of letting the full-size 24 megapixel images be transferred, rather than the small 2 MP ones. But because the connectivity is still unreliable, the success rate of transferring full-sized images is not very high. Hopefully, it will be something Nikon fixes through firmware.

Another connectivity feature is the built-in Wi-Fi, which allows you to control the camera remotely through your phone. As with most camera connectivity apps, the connection is sluggish and does not give you much control, except click the shutter and change focus.

Nikon D5600 Top

Thankfully, the sensor and the AF system of the camera is nothing like the slow and shaky connectivity features. The Nikon D5600 has the amazing 24.2 APSC CMOS sensor without an optical low pass filter, which gives excellent results. The sensor is coupled with the Expeed 4 processor, which is just one model below the processor in the flagship D7500.

The shooting speed is an average 5 fps, with the buffer being small. Even shooting in JPEGs for more than 2-3 seconds will make the speed fall from 5 to about 2. Because this camera is not aimed at dedicated action photographers, normal users won’t care much about the slow speed.

There has been no change in the autofocus system too. The D5600 utilizes a Nikon Multi-CAM 4800 DX phase-detect autofocus system. The system is comprised of 39 total autofocus points, nine of which are cross-type, which is a healthy amount. Although the AF points don’t cover the whole frame, the coverage is sufficient for normal use and quite accurate. Paired with good AF-S lenses, or the new and very sharp AF-P kit lens that comes with the D5600, the camera focuses very quickly through the viewfinder even in dim light, although Live View focusing can be slow at times.

Image quality, Low light performance and Video

It’s not a surprise at all. With sensor and processor and AF module matching those in the D7000 series, the Nikon D5600 delivers great images. 24 MP is a lot to work with, and the lack of an AA filter only makes things better. With the battery being rated for more than 900 shots, you can keep on using the camera.

In low light, you can see that the Expeed 4 processor is doing tis jobs. Straight out of camera JPEGs are very clean up to 3200, and even 6400 is good for web use. In RAW, images with ISO 6400 have a lot of detail and can be easily processed for big printing.

Metering performance was acceptable with the 2,016-pixel 3D Color Matrix Metering II system. White balance metering tended toward the cooler side, but it was generally quite good and both exposure and white balance metering was consistent.

Nikon D5600 Articulating Touchscreen

Like the Nikon D5500, the D5600 doesn’t offer a lot in the way of video features, although it does produce good-quality Full HD video. The D5600’s recording capabilities top out at 1920 x 1080 resolution at 60 frames per second, which is suitable for all general purposes. No 4K though.

Even though the video quality is very good and there’s no moire, the D5600 lacks features like headphone jack and slow motion videos and is just not a videographer’s camera.

Verdict

The D5600 is a very subtle revision of the D5500 but that sole added feature – always-connected smartphone transfer – has the potential to be a massive benefit to its target market. If you want the DSLR experience without breaking the bank and being overwhelmed by weight and dials, get the Nikon D5600 for its great image quality, compact size and easy handling at a price of around $700. If you think you don’t need SnapBridge, even the D5500 delivers the same performance.

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Leica M10 Front

Body Design and Controls

As always, the new Leica M10 is a gorgeous piece of equipment. Classy, minimalist and compact – the M10 is what the tagline of Leica stands for – Das Wesentliche – the essentials.
Slimmer by about 4 mm compared to the Typ 240, the M10 feels compact and dense, thanks to the three dimensional design of the camera, rather than the usual stacking up of electronics behind one another. The only downside is the compulsory use of a smaller battery too, which gives only around 400 shots.
The camera is comfortable to grip, although those with slippery hands may feel nervous because of the smooth body. The sort-of weather sealed body and magnesium alloy frame makes the M10 sturdy and solid.

The main new feature on the top is the ISO dial on the left. You have to pull it up to change it, and push it back down to lock it. Some may not like the extra step of pulling the dial, but it does make sure that your ISO is fixed at the value you want. The other change is that the multi-position On-Off dial of previous models is made only a simple On-Off lever.
There is also a very handy rear dial near the thumb rest, which can be used for exposure compensation or focus magnification. For other options like continuous shooting and self-timer you will have to go into the menu.

Leica M10 top and back

At the back is the simple 3-button system with a 1 million pixel LCD and a 4-way selector. Keeping in the spirit of distilling the interface to the Essentials, six buttons on the rear of the camera has been reduced to just three: Live View, Play and Menu. The buttons, flanking the left side of the LCD panel, are larger and easier to operate.
The LCD is a big improvement over previous models and offers better colors and contrast. The viewing angles are great and the screen can be seen from odd angles even in bright outdoor lighting. The screen is also protected by a layer of Gorilla Glass, which helps in avoiding scratches and cracks.

Viewfinder, Frame lines and the Better Menu

And then there’s the upgraded viewfinder. Compared to the Typ 240, the magnification has been increased to 0.73x and the eye-relief has been increased by 50%, which is great for anyone who wears glasses. The filed of view has also been increased by 30%, which makes this viewfinder one of the best I’ve ever seen in a compact digital camera.
The newly developed shutter – adapted to match the slimmer body – also has less of a kick to it and does not attract much attention.

Leica M10 top dials

Leica has experimented a lot with framelines and tweaked the distance from 0.2 m to 7 m. Thankfully, the popular 2 m distance has been brought back for the Leica M10. The bright framelines, which are LED illuminated like the M240, are projected at a distance of 2m, and offer the classic 28/90, 35/135 and 50/75 frameline pairs. Absent from the M240, the three-position frameline preview lever makes its reappearance on the front of the M10, under the viewfinder window.

The dedicated ISO dial takes care of the need for an ISO button, and the ‘Menu’ button now works overtime. On first press it brings up a slimmed-down ‘Favorites’ menu, which only contains your most often-changed functions, and on a second press it activates the full menu. During playback, the Menu button will give you further options like image rating and deleting.
The customizable Favorites menu is excellent to use, and gives you quick access to almost all the things you’ll need. For more specific options, there is no other way but to go into the Menu. But hey, simplicity and minimalism is what you got a Leica for in the first place!

The entire Menu and Display system has been modified in the M10. It is flat and basic, which is actually refreshing and easy to use. The Info screen has lots of information like the battery life, storage left, file format, metering mode (with Spot and Multi-field being unlocked in Live View), exposure compensation, Wi-Fi, GPS and the other exposure settings. The quick and intuitive Live View system combined with retro dials makes the camera an excellent blend of digital tech and old-fashioned film cameras.

Leica M10 in silver/chrome

Sensor and Image Quality

The Leica M10 has the supposedly new full-frame 24 Megapixel sensor found in the M 240, SL and Q. Also, there is no low pass filter. If it is truly newly developed or not is a matter for lab experts. But in short, the sensor performs like never before.
The usual center-weighted metering of the rangefinder camera has a slight tendency to underexpose, but that is a good thing, because the Leica M10 is simply amazing with shadow detail. You can mess up the exposure and get a pitch black image. But you can also be sure that you will be able to retain at least 3 stops of light from the shadows easily.

If you are careful with your highlights and can keep the ISO at or below 6400, you will be awarded with an image with huge dynamic range and lots of color. There is no hint of banding in the shadows until 3200, and even then if the exposure is not very wrong, you can go up to 6400. Noise is very well controlled and the grain pattern becomes noticeable only after 6400.

With a speed of 5 fps and a 2 GB buffer, the camera can record up to 30-40 DNGs at full burst rate until slowing down to 2fps. Even when the buffer is filled, you only have to wait for 8-9 seconds before the camera is ready to shoot again.
Before I forget like many Leica users, there is no video mode on the M10. Leica listens to its customers, and they told that they did not use the video mode anyway. So, if you want to spend $6000 on this camera, know what you are getting into.

Conclusion: Leica M10

A Leica is always expensive, and at first glance, does not seem to offer much in terms of power and technology. But that is the point of owning a Leica. You buy into the simple and pure experience of using a camera and paying attention to the photos, not the settings. This trend is carried forward greatly by the Leica M10.
With just 3 controls on top and a 3 buttons at the back and a small dial, the 24 MP rangefinder feels minimalist. The dials and the big viewfinder are a joy to use, and so is the basic and efficient Live View mode. With great image quality and amazing dynamic range, the Leica M10 is perfect for anyone with a big enough budget, looking to get a sleek and pure retro camera with the essential modern features, except video.

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But with so many options, which camera to choose for your video needs ? In this article, we’ll go over the top 3 cameras in the market which give you the best possible specifications for YouTubing and vlogging and videography in general.

Panasonic Lumix GH5

The most recent mirrorless camera of this list, the GH5 from Panasonic is clearly an over-developed update of the already excellent GH4. It has updated sensor, updated autofocusing system, upated electronic viewfinder and much more, with a fully articulating touchscreen LCD for selfies and video recording yourself easily.

Inside the GH5 is a 20 MP Micro 4/3rds sensor, without an OLPF, and the latest Venus image processing engine. Focusing on video features, you get the amazing 5-axis image stabilization built in the camera itself. Video specifications have been massively upgraded so that the camera is suitable for professional use, with the camera recording internal  4K video at 60fps, 4K 4:2:2 10 bit at 30fps, and FullHD video up to 180fps.

Panasonic Lumix GH5

Video recording time is unlimited, and the camera uses the full-sensor readout for the best 4K video quality. From release date, the GH5 can record 4K at 150 mbps, which Panasonic plans to increase to 400 with firmware updates.

This compact beast of a camera is the first one in the list because it is an excellent package. Specs like DFD 225 Area Multi AF, 5-axis image stabilization, articulating touchscreen, internal 4K, V-Log format bundled together in a 600 gm weather sealed magnesium alloy body are not easily found.

Get this camera if you need excellent handling, excellent build quality, excellent video capabilities in an easy to use and convenient body design. The latest Panasonic GH5 is easily one of the best video and stills camera out there.

Olympus OMD E-M1 Mark II

Another very well-packed and compact mirrorless camera is the Olympus E-M1 Mark II. The Mark I version was already off-the-charts good. But the Mark II is even better.

The E-M1 Mark II’s stand-out feature is the dual quad-core image processors. This huge processing power allows the Micro 4/3rds camera to shoot 18 fps with continuous autofocusing. Combine this with a sensor shift 5-axis image stabilization and an advanced 121 point hybrid AF module and a fully articulating touchscreen and internal 4K, and you have all you will ever need for your vlogs and Youtube tutorials, casual family vacations and even professional documentaries and short films.

Olympus OMD E-M1 Mark II

Sensor-shift image stabilization in 4K is very good, resulting in almost tripod-steady footage despite some corner distortion. If you enable the industry first sensor shift with digital stabilization while shooting 4K, the footage gets even smoother, with fewer corner artifacts, but at the expense of a slight crop and slight loss of detail. For audio, you get on-screen audio level monitoring and both microphone and headphone monitoring jacks.

The Olympus E-M1 Mark II is very close to the GH5, especially in manual control in video mode. Even the E-M1 is weather sealed and very very sturdy. Where it loses out by a small bit is the overall video quality and a weird menu system, which may seem confusing. Other than that, with a compact body and a surprisingly good battery life, the E-M1 Mark II is another camera to consider if video is your main concern.

Canon EOS 80D

Mirrorless cameras are good. But they still don’t offer the same experience of both photography and videography as a good old DSLR.

As far as video goes, the Canon EOS 80D makes into this list because of its ease of use, excellent Dual Pixel AF technology, a big 24 MP APSC sensor and its overall capabilities in both stills and video category, more so because of the long battery life and the 100% coverage optical viewfinder.

The biggest letdown is the lack of 4K. If that is not a big requirement for you, and you are also looking to make your video camera your photography backup, the 80D is the perfect choice. It can shoot up to 1080/60p when using MP4 with Standard IPB compression. For higher quality video, the EOS 80D can also record MOV files at either 1080/30p or 1080/24p using All-I compression.

Canon EOS 80D

The Canon 80D also has an in-built stereo microphone which works okay, along with a microphone and headphone port for audio monitoring. Unlike the more pro-level 7D Mark II and 1D X Mark II, program exposure modes such as Aperture or Shutter Priority are not offered. Instead, you have either fully Auto, or fully Manual exposure modes.

The redeeming feature of the 80D is its autofocus in Live View, which you will be using for making videos of yourself while holding the camera or even when setting up the camera on a tripod and recording. The phase detect Dual Pixel AF along with the articulating touchscreen makes the camera very good for video. Focus pulls and subject tracking are as smooth as butter.

Overall, the Canon 80D may not be the advanced videographer’s choice, but it does what it does very well. If you do not need 4k, very complex adjustments and have a smaller budget, and just need a camera that focuses accurately and gives decent video, you don’t need anything else. The Canon 80D will easily do the basic vlogging tasks along with taking great stills. The video quality is good, the focusing is very good, and the skin tones rendered are fantastic. If you want a proper DSLR experience for video and a bit of stills, keep it simple with the 80D.

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In this article, I will introduce you to the 4 Nikon lenses you will need to cover any type of photography situation – from wide angle landscapes to small and compact street photography.

Nikon 10-24 mm f/3.5-4.5G ED

At around $900, this Nikkor is probably the most expensive DX lens in this list. But if you can buy this one, you should. Perfect for all your wide angle needs, this lens covers the whole ultra-wide to wide focal lengths. This lens will also give you better close-focusing capabilities and offer a bigger view for interior and architectural photography.

Nikon 10-24 mm f/3.5-4.5G ED

This 10-24mm lens features two extra-low dispersion (ED) lenses and three aspherical lens elements to reduce chromatic and spherical aberrations. Nikon coats their glass with their own Super Integrated Coating that makes light transmission more efficient, reducing ghosting and flare.

Autofocus is also not a problem for this lens. With the silent wave motor in-built, this lens will work even with lower end DX models like the D3200 and D5200. You also get the M/A focus switch for manual focus override. Moreover, with auto-correction in almost all cameras and tools like Photoshop, the slight distortion will also be easily corrected.

Nikon 16-85 mm f/3.5-5.6G ED VR

If you can carry just one lens with you on a trip, carry this one. From 16 mm wide to 85 mm normal, this lens will do well in any kind of situation. The Silent Wave motor and the Vibration reduction are big bonuses, and give great sharpness with quick and quiet focusing.

Nikon 16-85 mm f/3.5-5.6G ED VR

One of the sharpest travel zoom lenses you can buy, this will be a huge upgrade from your kit lens. The only downside of this lens is that it is a bit pricey, with a tag of about $700. But I am sure that once you make an investment on this, its versatility and performance will compensate for it.

If your budget is a bit more and you need excellent low light performance, you can even check out the Nikkor 16-80 mm f/2.8-4 VR Lens, which has about the same range but a bigger aperture value.

Nikon 50mm f/1.8 (D or G)

A nifty fifty is an essential in every camera kit. Beautiful bokeh, low price and a very small size – a 50 mm focal length will give you the best length for portraits and discreet street photography.

The 50 mm f/1.8D is an older model, and actually designed for FX bodies. For a price of less than $200, you get amazing optical performance. The only con is that it won’t autofocus on lower-end Nikon bodies, as the lens does not have an internal AF motor. You’ll need a Nikon D7000 or above for autofocusing on this great prime lens.

Nikon 50mm f/1.8 (D or G)

The 50 mm f/1.8G is the newer model of the 1.8D, and has a better build quality and an internal focusing motor. Even this lens is one of the cheapest you’ll ever find, but the disadvantage is that it has a little more distortion.

Both the lenses are great, and you should choose one according to your camera. If you need autofocusing and have an enthusiast Nikon body, you should go for the G. If manual focus is your thing or if you have a focusing motor in your camera itself, go for the D, which will give you the same performance with lesser distortion.

Nikon 55-200 mm f/4-5.6G ED VR II

With this telephoto lens, your kit will be fully complete. If you are okay with the lens being of average plastic build, there is probably no better telephoto at this price point, that too with Vibration Reduction. The range is very good, and so is the sharpness when compared to usual zoom lenses. Another great thing is that this lens is collapsible, which means it’ll shrink and become a lot smaller when closed, which makes it a handy travel zoom.

So long as you’re careful not to break the plastic lens mount, this is an extraordinary lens. The 55-200mm VR II zooms easily and precisely. The zoom range is well spaced and there is a lot of room to turn. It focuses reasonably quickly, but not as fast as more expensive lenses. This lens should be more than good enough for chasing kids playing sports.

Nikon Lens 55-200 mm f/4-5.6G ED VR II

If your budget is more and you need extra range, you can also consider the 55-300 mm f/4.5-5.6G ED VR. It may not be good in low light because of the smaller maximum aperture of just 4.5, and the slow autofocusing. But it offers a longer range and a better build.

If you don’t really need 300mm, the 55-200 mm VR II is the same as this 55-300mm lens, except for the plastic mount and 200mm maximum length, for about half the price.

So, with these 4 lenses, the list of best Nikon lenses for DX cameras ends. There are many more lenses, but looking at the major factors like optical quality, price and sharpness, you will find that these 4 will match your needs perfectly.

Choose the lens you want keeping in mind your needs and style of photography. It is not always necessary that the most expensive equipment will make the best kit.

The post Top 4 Nikon Lenses for DX Cameras appeared first on SlickPic Digital Photography School.

What aperture to use, which shutter speed and ISO to use, the concept of hyperfocal distance and a few lens recommendations. This article will be a quick-start guide to landscape photography.

Which aperture value to use ?

You must have seen values like f/22, f/5.6 and others in your camera. This refers to the “f-stop” of your camera, which is related to the aperture of your lens.

Aperture refers to the opening of the lens. It is basically a hole which allows light to come in the camera. Bigger the aperture, more the light that comes in. But f-stop is actually the inverse of the aperture. So, bigger the f-stop, lower your aperture. What this means is that f/22 is actually a very small aperture, and thus lets in very less light. Similarly, f/2.8 or f/3.5 is a bigger aperture and lets in a lot of light.

But how do all these numbers affect your landscape shot ?

Well, smaller the aperture, sharper the photo across the frame. In other words, an aperture which is small – or a big f-stop number – should make your photo sharper. So, ideally, f/16 or f/22 is what your should use.

Which aperture to use

However, there is one more thing you should remember while setting up your camera for landscape photography. Very small apertures cause a phenomenon called diffraction, which is simply bending of light around very small objects. This diffraction makes your photo a bit soft, even though a smaller aperture should make it sharper.

So, simply put, just because small apertures give sharpness, does not mean you should set an extreme aperture value. F/22 is actually an extreme value, and will not give a sharp result like it should because of diffraction.

You should try to keep your apertures somewhere around f/11, as it is big enough to overcome diffraction, but also small enough to give sharpness all over the scene. You should also use a tripod whenever possible, as a small aperture will require long shutter speeds to let in enough light.

What about shutter speed and ISO ?

If your aperture is small and f-stop big, you will need to either increase your ISO, or decrease the speed of your shutter so that more light is let in. If you have a tripod, you should try to keep your ISO to the minimum and change only shutter speed.

A long shutter speed and a steady tripod will let you show motion in your image. A flowing river will be made silky smooth and the clouds will start to look like ribbons from a speed of 1 sec onwards. If at all you want to keep your shutter speed long and it is bright daylight, you will have to use an ND Filter or something similar, as it will reduce the light coming in. Because you cannot keep lowering your shutter speed and ISO and aperture, ND filters do come in handy.

Balancing ISO Shutter Speed Aperture

A tripod also has the added advantage of letting you finalize and fix your composition easily. And because you are not concerned about slow shutter speeds anymore, you can reduce the ISO too! The lack of light from aperture and ISO will be compensated for by a long shutter speed and a stable tripod.

As for changing the ISO, you should increase it only if you don’t have a tripod and need a fast shutter speed to hand hold your camera. A high ISO will lead to noise, whereas a low ISO will give a clean and sharp image.

Thus, an aperture of around f/11, a shutter speed which is long enough to make the exposure right, and a low ISO of about 100-200 should make for a good starting point for landscape photography. It is all a matter of balancing ISO, shutter speed and aperture to give the exposure and the artistic effect – motion blur and star trails and other such effects – you want in your image.

Hyperfocal distance

If you have set your focal length and are not zooming in and out anymore, focusing at the hyperfocal distance for that focal length – along with the right aperture – will give you sharpness over the entire scene.

It only sounds complex. But hyperfocal distances can be calculated easily if you have set your focal length and your aperture. Because there a lot of hyperfocal distance calculators available online, I won’t boggle your mind with mathematics.

A general rule is that the hyperfocal distance will be somewhere around 1/3rd into your scene. Although it is only a rough approximation, you should keep it in mind in case you cannot get the exact hyperfocal distance.

Just refer to this chart to see at what distance you have to focus for a given combination of aperture and focal length. If you do want to see how the hyperfocal distance is calculated, you can visit sites like dofmaster.com and outsight.com which have hyperfocal distance calculators and formulas.

Hyperfocal Distance Chart

A few lenses to get you started with landscapes

There are hundreds of lenses available for almost every camera. The lens you need will depend on your shooting style. Some prefer to have a wide angle lens so that they can include the whole scene. Some like a mid-range telephoto, with focal length around 50-70 mm, which can go wide enough, and also zoom in on a particular part of the scene. I have seen even 70-200 mm lenses being used for landscapes, as they compress the background and do not emphasize the foreground a lot.

A good standard lens like the Canon 15-85 mm f/3.5-5.6 IS USM is a good lens to start with. The range is versatile and you get image stabilization. There is also the Nikkor 14-24 mm f/2.8 lens, which has a big aperture to let you shoot well in low-light.

For an ultra-wide lens, you can check out the Tamron 10-24 mm f/3.5-4.5, which can be found for less than $500. If you want something with a little more zoom range, the 70-200 mm lenses are a great all-rounder choice.

Canon Wide Angle Lens

That was a long read, I know. But I hope you got an idea of how to balance ISO, shutter speed and aperture for your landscape photography. The idea is to get an even exposure along with the motion you are trying to show, or trying to freeze. Landscape photography is fun, and once you learn how to setup your camera and balance the settings, you will be able to get beautiful images within minutes.

The image depicts use of an aperture of f/10 with ISO 100 and a short shutter speed.

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To make your life simpler, here are the 4 best mirrorless cameras with different prices and sensor types, which offer excellent image quality, body design, video features and much more.

Fujifilm X-T2 – Mirrorless camera

Fujifilm X-T2

This is arguably the one crop sensor mirrorless camera which has it all right – specs and design-wise. Metal dedicated dials for shutter speed, ISO and exposure compensation with a 3” tilting screen and an OLED Viewfinder. This camera feels and handles perfectly, especially because of it’s weather-sealed body.

At the heart of the X-T2 lies a 24.3 megapixel APSC X-Trans CMOS III sesnor, with no OLPF, and the X-processor Pro engine, which ensures excellent details and dynamic range even in low light.

ISOs upto 6400 look flawless, and if need be, you can easily use ISO 12,800 too. The powerful engine allows a shooting speed of 8 fps with full tracking of the subject. With 325 autofocus points and on-sensor phase detection, autofocus is accurate and quick. The Fuji X-T2 nails focus everytime, and it is even better for focusing right on the eyes when face-detection is On.

Fujifilm X-T2 – Back view

For video, users get a range of Fujifilm video simulations and effects. Better than that, the camera offers internal UHD 4K video as well as an 8-bit 4:2:2 HDMI output, along with other usual video settings. There is also an F-log Gamma setting for capturing a flat profile for better grading.

All in all, the X-T2 is perfect for both stills and video. It is a beautifully designed camera with an excellent sensor, accurate autofocusing and 4K in a weather-sealed compact body. No wonder it gets the top place.

Sony Alpha A7 II

Sony Alpha a7 Series (a7 II, a7R, a7S)

With a price of around $1500, the Sony a7 II is similar to the Fuji X-T2. They are both high end Mirrorless cameras. The main difference though, is the 24 megapixel CMOS full-frame sensor. Being a company that is almost always technologically ahead, the Sony a7 II has many impressive features like the 5-axis image stabilization built in the body itself, Wi-fi, S-log2 for video and the high-bit-rate XAVC S format with 60p, 30p, and 24p recording options, all at 50 Mbps.

The trade-off is that the camera as a whole is a relatively big mirrorless camera and not very portable like the a6300. But because of a bigger body, you are at least getting a bigger grip and a better screen and EVF, plus a full-frame sensor and excellent image quality.

The a7 II, unlike Sony a7r and 7s, uses on-sensor phase detect autofocus with 117 phase detect points, along with the usual contrast detect. The only downside is that the coverage is not very good, and you have to keep your subject in the central portion of the frame. Even the shooting speed is a slow 5 fps, which is a suprise when you see that the camera has the BIONZ X processor.

Sony Alpha A7 II – Front view

There are many more features which the a7 II is equipped with, but many of them are hidden away. Apart from the relatively bulky build, a slow shooting speed and a complicated menu system, there is nothing which the Sony a7 II has got wrong.

But, if at all you are looking for something more, there is the more recent Alpha a7R, which has a mammoth 36 MP sensor without an optical low pass filter. There is also the a7S, which may not have a huge megapixel count, but it has a top-of-the-line sensor with ultra high ISO sensitivity of 409600. Low light won’t be a problem now, will it ?

Olympus OMD E-M10 Mark II

Olympus OMD E-M10 Mark II and Sony a6500

This small but stylish Micro four-thirds camera is the least expensive mirrorless in this list, with a shockingly low price of $500. This Micro four-thirds mirrorless camera offers a time-tested 16 MP sensor, a stylish body with highly customizable controls, a host of features for all levels of photography, and a very nice electronic viewfinder. It is certainly excellent value for money.

The E-M10 was already a great camera. The E-M10 Mark II builds up on that, with the 5-axis image stabilization, touch autofocus, a higher resolution EVF and an electronic shutter now included. Moreover, 3 well-placed dials on top and features like Wi-fi make this mirrorless a joy to use.

But because of the limitations of its smaller sensor, continuous focusing and low light performance are the few weak points of this compact package. Its 81 AF points are quick in single shot and even better in face detection mode, but not great when you are trying to keep up with the action. Similarly, the video is not that great, and you should expect this to do only casual vacation videos.

Don’t get me wrong, the smaller sensor may not be the best in low light, but its image quality and color rendition are amazing. If you are looking for a comfortable and easy to use camera without breaking the bank, this is the camera to buy.

In case your budget is bigger, you can consider the very recent Sony a6500 too. With a weather resistant metal body and a 24 MP sensor and a 275 point phase detect hybrid autofocus, this one is a strong contender too. The a6500 is a fast and steady shooter at 11fps with 5 axis stabilization, and has a front-end image processor, which is Sony’s best. Being a successor of the already excellent a6300, the a6500 is a top-notch camer, only with a bigger price tag.

So, I hope you found a mirrorless camera that you can buy for yourself. There are many more mirrorless cameras in the market, and if you look at smaller brothers and sister models of these cameras, you may find something even better suited to your budget. Just keep in mind what you will be buying the camera for and how much you want to invest in lenses and accessories, and you will find the perfect camera for yourself.

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There are lots of situations in which using back button focus will ensure sharp photos and easier shooting, especially with moving subjects. In this article, I will explain why you should use this back button focus method and how you can set it up in your own camera in a few simple steps. Read on!

Back button for Nikon

Why will Back Button Focus help?

Focus once locked, stays locked

Suppose you are photographing FIFA World Cup match. Football players are running around and the fans are shouting their hearts out. You take a photograph of a player resting on the sidelines. He is quite still, so you can half-press the shutter button, acquire focus, and shoot continuously.

But now, he is suddenly called for the play and he starts to run around. By the time you somehow move your focus point and get it back on the player and acquire focus, the goal has been scored!

This is where back button focus will come in. By separating the focus from the shutter and assigning it to another button, keeping your finger on or off the shutter will not affect focus.

By default, whenever you take your finger off the shutter, your camera loses the focus. With back button focus, when you press the assigned button once, the focus gets acquired. Now, you can press the shutter if you want, or not press it. The focus is there, locked and ready to go!

Traditionally, what happens with still subjects is that you acquire focus with the shutter button and click a photo. Now, maybe you stroll around or wait for the light to change. When the shoot begins again and you go to take the photo, the camera starts hunting for focus all over again. With back button focus, once you press the back button, the focus is locked on. There is no need to keep pressing the shutter to make start focusing again and risk getting something else in focus.

Instant Subject tracking and shooting

Let us extend the example. Now, instead of the player standing still, he is moving around. Tracking him with a small focus point is a pain. With back button and continuous focus (AI Servo for Canon and AF-C for Nikon) enabled, you get to track a suddenly moving subject with ease.

If the football player – or your pet for that matter – was still, you could have tapped the Back button once and shot the photo. Nothing magical. But, as soon as he started moving, all you had to do was keep the Back button pressed, which means that the player is now being tracked by your camera.

No more fiddling around with focus points, trying hard to keep the shutter half-pressed, or even pressing the shutter fully and capturing the wrong moment. With the back button pressed, the subject gets tracked, and you are free to let the shutter burst off whenever you want!

You get continuous autofocusing instantly, without going into any menu or settings.

Easy focus and recomposing

With no back button focus, the focusing of the camera kicks off when the shutter is half-pressed. As soon as you take your finger off the half-press, the focus is gone. Poof!

This is an annoying thing if you are trying to take a portrait using the ancient Focus and Recompose method. You half-press and get the focus, move your position to get the perfect composition, and press the shutter to take the photo, only to find that your camera is hunting for focus again. Even worse, it managed to hunt for ages and focused on the tree behind your subject. Sure, you can solve this problem by locking focus, but that is just another thing to worry about.

With back button focus being assigned to something other than the shutter, you simply press the assigned Back button to get focus on the eye of your model, and then just let go. No need to press any button for focusing again! You can recompose too, without losing focus of the model.

Press the back button, get focus, recompose – without changing the distance between your camera and the model, as it throws off focus – and then start firing off. No hunting, no re-focusing.

How to set up Back Button Focus

Different cameras have different menu systems. But the logic will remain the same. All you have to do is get into the menu once and find a setting which allows Autofocus-On to be assigned to a button at the back of the camera.

Here, I’ll show how to set up back button focus on a Nikon and a Canon camera. Note, the exact setting and number might change a bit depending on the model.

On a Nikon Camera

1. Go to Custom Settings in the menu. Then go to Controls.
2. Select F.5, “Assign AE-L/AF-L button”. (The one on the left of the back dial)
3. Choose “AF-ON” within this menu. The Back button is now ready!
4. Now, set up your camera so that it can take photos even if it thinks there is no focus.
5. Go to Custom Settings and select Autofocus.
6. Select A.1, “AF-C Priority selection” and then choose “Release”. Then set “AF-S Priority selection” to “Release” too.

Back Button Used in Nikon

On a Canon Camera

1. Go to Custom Function (C.Fn) in the menu and look for something similar to Shutter button/AF-On option. (or Shutter/AE-lock, marked with a *)
2. In here, whatever is before the slash, is for the shutter. Whatever is after the slash, is for the back button.
3. You have 2 options. You can select the option which assigns to the back button only focus, while metering is updated for every shot as long as the shutter is pressed. The 2nd option allows you to keep both focusing and metering in the back button, which means the metering used for the first shot is what will be used for the whole sequence of shots as long as the shutter is pressed.
4. 1st option: Metering start / Meter+AF start. This means continuous metering using the shutter along with back button focus. No exposure lock (unless you have a high-end camera with another dedicated button).
5. 2nd option: AE Lock / Meter+AF start. This means same metering for one series of shots if you have pressed the shutter continuously, along with back button focus.

Which button for focusing in Canon

Setting up a Canon for Back Button Focus

To summarize this long post, I will say just a few lines. Back button focusing is something you should definitely try out, as it allows you to quickly acquire and hold focus without the problem of hunting and pressing the shutter halfway for every photo. Also, it allows you to quickly start tracking a subject by simply press and holding the back button. To set it up, simply look for a setting which makes AF move to a button at the back. I hope this method works out for you!

The post Why Use Back Button Focusing and How appeared first on SlickPic Digital Photography School.

Focus on your subject

I mean this both literally and figuratively. If your subject is a nice autumn tree, make sure you have focused on it. You don’t know how many people forget to actually tap their phone screens and use the autofocus. Don’t simply point and shoot. Focus first!

Also, if the tree is behind a friend of yours or a taco truck is blocking your view, you have not really focused on your subject. You should try to make sure that the eye of the viewer is drawn to the subject and that the subject is emphasized properly. Decluttering your frame is super important.

Move Around and Look for Different Perspectives

Move around

Don’t always take out your smartphone and shoot whatever is on the screen. Move around and see if there is another perspective that makes your subject stand out, or some foreground interest that leads up to the subject. For example, the following image was taken when crouching, which allowed more of the yellow leaves to come into the frame.

No zoom, only crop

Because our smartphones do not have optical zooms, they use digital zoom, which is simply adding more pixels to make something which is already there bigger. Don’t do that. Take the photo without zooming. Try to move around and find a better vantage point, and later, crop if necessary. Even a 5 megapixel phone has enough resolution to let you crop significantly and retain a lot of detail.

Rule of Thirds

Remember the Rule of Thirds and Leading Lines

Though they are not used in every single photo, these rules will almost always make an image more pleasing. The basic gist is to not always keep your subject in the dead center of the frame. Keeping it in one of the corners or to the side adds depth to the image and lets the viewer’s eyes move around the space. Also, leading lines are visual marks – like a road going into a forest – that lead the eyes of the viewer across the frame and right to your subject. Be a lookout for such marks and use negative spaces around the subject.

Using the Sun and Shadows for more punch

Use the sun and the shadows

Photographers will usually say that the early morning and evening light is the best for photography. But it is not always necessary. Sometimes, harsh sunlight and pitch black shadows will give an amazingly dramatic and contrasty image. Such photos even make for a beautiful black and white image, where the light and the shadows bring out interesting patterns. In the example image below, moving under the tree and pointing right up at the sky allowed for a much more punchy image.

No more phone flash

Sure, it makes for a handy torchlight in case of emergencies. But do not expect it to light up the whole scene and give a perfect exposure. All smartphone flashes do is give everyone a red eye, add a horrible white reflection and leave all the colours washed out. Instead, use the HDR mode of your camera and also increase the brightness when focusing. For example, in an iPhone, when you tap to focus, there is the symbol of a sun, which can be dragged up to increase exposure levels.

Frame your subject if possible

Sometimes, an open window or an old wooden door can make for an interesting element in your image. Using natural elements to frame your subject and give it more emphasis is something a lot of photographers tend to overlook. You should always take a second before clicking the shutter to see if there is something you can use to remove surrounding distractions and focus on your subject.

Look out for repeating shapes, lines and textures

It is not always that gorgeous sunsets and clear blue waters give the best photo. It can also be something very simple – like the bark of a tree, or an old dried leaf with a web-like pattern. Shapes and patterns can be even more important than colour, as they are elements people often don’t notice. For example, the image below is a simple monochrome of a man’s feet. Gross, I know, but very effective as a unique subject.

Use editing apps to enhance light and colour. No filters

Take less photos and edit the ones you have taken

Keep it simple and don’t just keep shooting whatever you see. Take your time and enjoy the shoot. Later, you will have the time to review all images properly and edit them. One more thing, editing does not mean using Instagram filters. Use apps like Snapseed to enhance colours, sharpness, brightness, contrast and white balance.

Visualize and practice

This one actually goes along with the previous one. Even though you should not shoot everything, you should also not loose an opportunity to take a photo. Take out your smartphone, try to imagine what you want the photo to look like, and then click the photo.

This is all, folks!

There is not much that is needed for good smartphone photography. A unique perspective, a little bit of imagination and a simple composition. Keep these tips and tricks in mind the next time you take out your camera and get ready to take a photo. Happy shooting!

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