Compact budget camera for stills
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Solved by skimmilk5,
I'm partial to Peter McKinnon as far as YT creators go. If you want to read about cameras and lenses, Ken Rockwell publishes very extensive and detailed reviews.
I've been working in photography for about a decade, but my experience is much more journalistic, so it might not apply to you. Hopefully you can adapt some of these lessons.
- Nowadays, largely, the camera body itself doesn't really matter. Modern cameras, even at the lower end, have so much technology from their high-end counterparts that they can produce amazing images. Like with everything, the features of the high-end market eventually trickle down to the lower-end: Xeon features trickle down to Core processors, for example.
- Learning the controls of your camera will do you much better than getting a better camera. Knowing instinctively what to change to achieve the image that you want to get without having to think about it will make your images better. You'll be able to fire off the shot far faster than if you're sitting there, fumbling with the settings, by which point the subject will have moved on. Learn the exposure basics, learn what features of your camera affect the quality, learn what the limitations of your camera's body are (dynamic range, sensitivity limitations, low-light limitations), and actively work against them to find its advantages.
- Glass matters. A lot. My one key lens (again, minding that I work in sports journalism) is the 70-200mm f/2.8. That lens, while expensive, has the durability to be handled by pros on a daily basis, getting banged around, dropped, rained/snowed/sleeted/hailed on and so much more. It's also a well crafted assembly, featuring a metal construction and quality glass. The performance difference between a $300 lens and a $3000 lens is far larger than the performance difference between a $500 camera body and a $5000 camera body.
- For travel, I'd probably go wider. Somewhere in the 14-85mm range is a good place to look for focal length (essentially, the zoom). The pro-level versions would be the 14-24mm f/2.8 and the 24-70 f/2.8. Find something in these ranges (the kit lens with many entry-level cameras is an 18-55mm f/5.6) and learn what its focal length characteristics are and how it handles.
- Your photographic style might be conducive to using prime lenses (lenses that only focus, their focal length is locked). A quality 35mm, 50mm, and 85mm set isn't too expensive, but these lenses are incredibly versatile and produce very, very sharp images.
- Brand doesn't matter (as much). Where possible, I like to stick to first-party lenses (rather than the third-party Sigma, Tamron, or Rokinon lenses). They maintain their value better and don't experience nearly the same number of "weird" issues. However, the debate between Canon/Nikon/Sony/Fujifilm/Panasonic/insert-other-brand-here isn't really as big as some people make it out to be. That being said, many photographers will stick to what they started with, and their entire collection of equipment will be from a single brand. The pieces will all play nice with each other, and the controls and feel of the cameras and lenses will be familiar.
- Front lens caps can sod off. They get in the way and are generally just a nuisance. The only place for a front lens cap is when a lens is going back in the bag. Don't keep lens caps in your pocket or attached to your camera. Just leave them in the bag.
- Rear lens caps and body caps are far more important. Keep the inside of your camera clean, and always cover when not actively switching.
- Lens hoods are a good idea. Not so much for flares, but simply for impacts to the front of the lens and to protect the front element. If you have the camera over your shoulder as you're traveling, you'll bang the front of the lens around naturally. The lens hood will take a lot of those impacts and break before the lens does.
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