One of my readers recently suggested I do a round up of my favorite camera bags. I’ve reviewed many bags here on Photofocus, but as I often say, there is no perfect bag.

Just as I wouldn’t think of owning just one camera lens, I wouldn’t think of owning just one camera bag. You need different bags for different tasks.

Here are my favorites, in no particular order.

The BODA V3 Lens Bag

I reviewed this bag here – http://photofocus.com/2010/02/01/mini-review-of-the-boda-v3-weatherproof-lens-bag/ – it’s a working bag. I wouldn’t use it to ship my gear from Seattle to Florida, nor would I use it to store everything I own. But as a bag you can work out of, it’s tough to beat.

Tenba ProDigital 2.0 Messenger

I reviewed this bag here – http://photofocus.com/2010/01/07/tenba-prodigital-2-0-messenger-mini-review/ – it’s a great gadget or computer or compact camera bag. When you want a bag that doesn’t scream “CAMERA BAG” this is it. It works well as either a laptop/briefcase or a small gear bag for things like flashes, compact cameras and other accessories.

Domke 700-10B F-1X Little Bigger Bag

I reviewed this bag here – http://photofocus.com/2009/06/01/mini-review-of-the-domke-700-10b-f-1x-little-bigger-bag/ – when I have a bit more gear than the BODA V3 Lens Bag will carry, the next best choice is the Domke. Again, this is a shooter’s bag. It’s not for transporting your gear. You work out of this bag. It is an old design but still works very well.

Gura Gear Kiboko

I reviewed this bag here – http://photofocus.com/2008/11/04/wildlife-photographer-launches-new-photo-bag-line-twip/ – it’s a traveling/transport bag. Is it my imagination or are airline overheads getting smaller? If you want a bag that (if not overstuffed) will fit in almost ANY airline’s overhead bin, the Kiboko is for you. It’s light weight and is the best bag I’ve tried at getting my gear TO the field. It also works well for simply storing gear in at my studio.

Think Tank Photo Airport Addicted

I haven’t formally reviewed this bag on Photofocus although I’ve talked about it in almost every article I’ve written about photo bags. It’s too old to have made the review list here, but there is a newer version (V2.0) that I hope to review some day. This bag is the standard benchmark bag for me. It’s no longer sold, but you can find out more about the new version at http://www.thinktankphoto.com/products/airport-addicted-backpack.aspx – in short, my original Airport Addicted is one of my all-time favorite bags since it does probably the best job of providing all the things you might need in a bag. It’s good at transporting, storing and in a pinch, you can work out of it if you have enough room. It’s not perfect either, but if I could only have one bag, this would probably be it.

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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC

Yep, I have a problem. It’s a serious problem. AA can’t help me. Nobody can help me. But admitting my problem is supposed to be the first step to correcting it, so here goes. I am a camera bag addict! There. I said it!

I have 25 or more camera bags. In my pursuit of the perfect camera bag I’ve learned one thing… there is no perfect bag. But you can find the perfect bag for a specific job, or situation. And the BODA V3 is just such a bag.

The BODA V3 is the brain-child of Jim Garner, a Seattle-based wedding photographer. He’s sought out and received input from more than 100 photographers, and in this – his third edition of the BODA Lens Bag, he has achieved success.

I was lucky enough to get an advance unit, shipped to me well before the retail drop date this week. I tested the bag in several situations and was simply blown away by how well thought-out it is.

Let’s start at the beginning. The construction is top-notch. It even has metal rivets on the bottom for strength. This bag will last you a lifetime. I have no doubt of that. The ballistics Cordura is tough as nails. Jim also made sure to use sealed, weather-proof zippers which actually work.

You wear this on your belt (with an optional belt strap) or hang it over your shoulder like any other photo bag. The shoulder strap is wide and thick and provides superb weight distribution.

This bag is not designed to carry everything you own. In my opinion, it’s best use is as described – a lens bag. I can fit four big fat super fast prime lenses in the BODA V3. The bag will support a lens up to 70-200 in length. There’s also room for accessories like flash, media cards, cell phones, batteries and a water bottle. The bag even comes with a built-in, retractable, micro-fibre lens cleaner. Brilliant!

Everything is accessible. This is a shooters bag. You work OUT of this bag. Event shooters, sports shooters, photojournalists, wildlife shooters – or any photographer who needs to get quick access to their gear will love this bag.

The dimensions are 13×7.5×5″. The hinge points now lock. There are new multi-purpose O-rings for hanging stuff off the bag. The lens separators are new and improved. The whole bag is just a big bigger and more comfortable than previous editions.

I have lots of bags, but few I love. This BODA V3 bag fits into the love category. If you can understand that this isn’t a bag designed to store your gear in, but rather to work from, you won’t be disappointed. HIGHLY recommended.

The BODA V3 bag is available directly from www.goboda.com at $195. Like many of the cool things I get to use and review, this one may be hard to get. Each edition of the BODA bag sells out quickly. If you’re interested, don’t wait. You may end up having to order a BODA IV.

You can never have too many camera bags – or computer bags or combination computer/camera bags for that matter.

I recently got my hands on the Tenba ProDigital 2.0 Messenger. This is a bag that will carry my large 17-inch MacBookPro and a small camera, a lens or two and accessories.

This is a very, very versatile bag. It could be used as a briefcase, a laptop bag, a camera bag or for anything that requires a lightweight bag that’s easy to access, functional and affordable. One of its best features is that it doesn’t look like a camera bag. You can use it to carry cameras without anyone knowing that you have expensive equipment with you.

These urban-style laptop bags are quite popular these days. They aren’t designed to carry your gear on a long trip. They are day trip bags

The bag is very sturdy and made of 1000 Denier Nylon fabric. It comes in a variety of colors. The bag only weighs three pounds and a removable insert allows for gear. There are more than 20 interior pockets and some nice zippered pockets on the front flap. The handle feels good in your hand and the bag balances well.

Features:

* Removable photo insert provides padded storage for a SLR body with two or three lenses and a flash.
* Bottom reinforced with rubberized, moisture and abrasion-resistant panel.
* Thickly padded, contoured shoulder strap and hand grip for all-day carrying comfort.
* Dual Duraflex flap clips provide security, while large Velcro patches allow for quick ins-and-outs.
* 3M Scotchlite reflective trim on front flap for nighttime visibility.
* Optional laser-engravable version can be customized with name, logo or other personal identification.

For those times you don’t want to lug a bunch of gear in your backpack, but need your laptop and maybe a small DSLR or compact camera, this is the perfect bag. I’ve started using mine to carry all the stuff I need to and from the office each day. Highly recommended.

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This post sponsored by Ray Flash – Ring Flash Adapter

PUBLISHER’S NOTE: This post is an updated compilation of several shorter posts I wrote in the past trying to answer the question, “What camera should I buy?”

It’s still the most popular question I am asked. “What camera should I buy?” No matter how hard I try to tell people that there’s no perfect answer, they keep asking. So since I can’t convince anyone otherwise, at least know the answers to THESE questions before you ask me YOUR question.

1 ) What subject(s) will you photograph most often? Weddings, portraits, wildlife, sports, landscapes, still lifes, food, fashion, etc.
2 ) What gear (if any) do you now own?
3 ) If you had to choose between ease of use and power, which would you select?
4 ) Do you want a compact pocket-sized camera (point and shoot) or a DSLR?
5 ) On a scale of 1-10 (10 being a working pro and 1 being someone who usually shoots with a disposable camera) how would you rate your skill?
6 ) What is the MOST money you’d be willing to spend on a camera?
7 ) How long do you think you might keep the camera?
8 ) What do your friends use?
9 ) Do you have a local camera store that can offer you support?

If you have thought carefully about these questions and have the answers – you should then be closer to knowing what the perfect camera for you might be.

Hopefully, your interest in photography is strong enough that you’ll read this entire article. That will give you the best chance of making the right decision. If you’re just not that interested, scroll all the way to the bottom to see some of the popular cameras that I recommend.

For those who stuck with me:

I know that beginners especially want this question answered. They are more likely to think that it’s the camera that takes the picture, not the photographer. Unfortunately for them, that’s not the case. And there’s no secret, magic or special camera that will make you into Ansel Adams.

Let’s start with goals. What goals do you have with your photography? Photographing the kids is much easier and less expensive than photographing wildlife. Making studio portraits will require a different kind of camera than that used by sports photographers. Do you want to turn pro or just make pictures you’ll share with your immediate family? Understand this simple truth: There is no perfect camera. And not all cameras are designed for all types of photography. Many photographers have more than one camera, depending on how many photographic pursuits they are engaged in at one time.

You’ll need to take into account a wide variety of factors when selecting a camera, and the first is budget.

This post continues below….

Good equipment can sure make it easier to capture great shots, but you do not have to be Bill Gates to afford good quality equipment. Depending on the kind of photos you want to make, and how accessible your intended subjects are, you should be able to get a good camera outfit for less than $500-$600. But if you want to specialize if wildlife or sports photography, that budget will increase. If you want to specialize in food, medical, aerial, high fashion, again – the budget will increase.

Regardless of budget, you’ll need to start with some basics. And I am making some assumptions here. I am assuming you are looking for a digital camera. Few film cameras are sold these days. And the focus of Photofocus.com is digital photography, so I am not going to cover film. If you’re the kind of person who doesn’t know what kind of camera you want, a film camera is the wrong choice almost all of the time. (You film purists out there flame away, because I’ll just ignore you.)

Now if you are serious about producing quality photography, you’ll need to invest in a 35mm single-lens reflex camera with at least one lens. Commonly referred to as DSLRs, these cameras offer speed, choice, and control. The convenience of smaller format SLRs, combined with their ability to work with affordable lenses, make 35mm SLRs the a good starting point for most types of photography.

Point-and-shoot cameras USUALLY don’t deliver enough control or digital data to deliver professional quality photos. You can get some decent images with the higher-end digital point-and-shoot cameras, and as time goes by, you’ll see more published images come from these cameras, but generally, they don’t have sufficient focal length, response or image quality. Another problem with point-and-shoot cameras is that they are often too slow for some types of photography.

Therefore, I highly recommend 35mm format DSLR. Medium and large format cameras are also an option, but not a practical one for most due to their cost, size and learning curve. Digital 35mm cameras offer a wider range of lenses, are usually less expensive, easier to carry, easier and faster to operate, and provide the most flexibility to photograph a wide range of subjects.

Why DSLR over Point-And-Shoot?

Shutter lag is the interminable span of time between the moment you trigger the shutter and the moment the camera actually captures the image. You won’t face this problem on a high-end SLR but point-and-shoot cameras are commonly slow. If your goal is to capture spur of the moment and candid opportunities, you’ll have far greater success with the SLR. This is especially important in wildlife, sports, baby and some other forms of photography. It’s impossible to calculate the number of times I’ve waited for a subject to move just a few inches this way or that. Having access to instant response in the shutter release is absolutely essential in such cases.

TTL or through the lens is the term used to describe what happens when you look through the viewfinder of an SLR. You’ll see the actual composition recorded on the sensor. With point-and-shoot film cameras (most digitals have an LCD view screen), you’re usually looking through a viewfinder and not through the lens itself. This factor can introduce something called parallax error, a visual distortion resulting from the difference in apparent direction of an object as seen from two different points. In other words, you’ll photograph a slightly different picture than what you saw through the viewfinder. Parallax error increases as distance to your subject decreases. This makes photographing close-ups without TTL problematic. While many newer cameras use “live view” to show you what the lens sees on the camera’s LCD, this is hard for some people to get used to, so TTL is the best choice.

Lenses – With SLR cameras, you have a wider range of lenses available. Whether you need a macro lens for close-ups or long telephoto lens to pull in wildlife, you’ll be able to attach one to your SLR body. This is something you can’t do with a point-and-shoot camera. Yes, there are macro attachments and digital zoom available on point-and-shoot cameras, but they are almost always for appearance sake and are quality compromises due to low-quality optics.

F/stops – By using a variety of interchangeable lenses, you’ll have a wider range of available f/stops to work with, giving you greater creative control with depth of field.

Shutter Speeds – SLR bodies also offer a wider range of shutter speeds, often from 30 seconds to 1/8000 of a second, as well as bulb setting. A wide range of shutter speed settings is a requirement for good general photography. Most point-and-shoots have a very limited shutter speed.

Metering – SLR bodies have more sophisticated metering systems. They also give you the choice between different metering patterns such as matrix metering, spot metering, and center-weighted metering. Many even permit you to shift the point of focus.

Auto focus – SLR bodies will give you faster auto focus. This is especially useful if you want to include fast-moving subjects in your photography. Most point-and-shoot cameras won’t permit manual focusing, something that is essential for landscape and close-up photography.

Filters – Lenses on many P/S cameras don’t allow for the use of filters. At a minimum, you’ll need to be able to attach a polarizing filter.

Flash – A modern SLR camera body gives you much greater creative control when using flash. You’ll be able to use more than one flash, and you’ll have other creative controls, such as rear-curtain sync and repeating flash.

Depth of Field Preview Button – A main reason I recommend the SLR camera over a point-and-shoot camera is the depth-of-field preview button. The DOF preview button shows the effect of your chosen f/stop on your image. You see what the film or sensor will see. This way you can fine-tune your image before pressing the shutter and avoid unpleasant surprises in the final image. I don’t know of any point-and-shoot camera that features a depth-of-field preview button, but most midrange to pro-level SLRs offer one. If you’re serious about any sort of outdoor or nature photography, I don’t recommend buying a camera without this feature.

All that said, there are some very good compact cameras out there. And while they will not deliver the image quality or flexibility of even an inexpensive DSLR, they can make great images.

Assuming you want a DSLR, here are some specific features to look for in a digital SLR camera body.

*Depth of Field Preview button. In my opinion, this is essential but Live View may make this less important.

*High ISO noise reduction.

*Full range of shutter speeds, from 30 seconds and bulb to at least 1/2000 second.

*Spot meter capability.

*Full range of exposure mode options, including manual, aperture priority, and shutter priority.

*Continuous auto focus and focus tracking.

*Capability of using a cable release. This reduces photographer-induced vibrations.

*Multiple focus and spot meter points.

*Motor drive. Most new cameras can achieve at least three frames per second.

*Custom function capabilities that allow you to configure the camera for the way you like to work.

*Built-in or add-on vertical grip with shutter release. This feature makes holding the camera in vertical orientation much more comfortable and makes working in the vertical orientation easier and more efficient, particularly for photographers with bigger hands.

*The camera body feels right. This is very subjective. You should hold the camera in your hand and decide if you like the way it fits.

What haven’t I talked about? Sensor size for one. Most cameras costing $500 or more have very high-quality sensors that deliver more than enough information to make large prints. Do note that simply having more megapixels doesn’t mean better image quality. You want the physically largest sensor you can afford, not the one with the most pixels crammed on it. This is why even cheap DSLRs tend to deliver better picture quality than compact cameras. The sensors in the DSLR are physically larger than the sensor in the compact camera.

I haven’t talked about battery life, since most modern cameras have batteries that last a long time. I haven’t covered other technical or specialty features because frankly, if you’re reading this with interest, it’s probably because you’re new at this. That means you should stick with the basics for now. Later on, you’ll know what to look for when the time comes to upgrade.

Should you buy Canon or Nikon? Olympus or Pentax? Any current, brand-name camera system on the market today will give you good results. Some things to take into consideration when choosing a brand are availability of lenses. Someday, you may want to add to your collection. Also consider things like image stabilization, ruggedness, custom features, and how easy it is to use.

What are your friends using? If many of your friends are using Canon, and you buy Canon, you’ll have a ready-made “technical support” group (as well as sources for borrowing lenses.) Likewise, if all your friends are using Nikon, buy Nikon for the same reasons.

One point here to consider. When it comes to DSLRs, Nikon and Canon together have more than 90% of the market. That means it’s probably going to be easier to find accessories, educational materials, support, etc., when using these brands.

There are lots of choices out there. If you stick with big brands that offer large lens lines, you’ll be fine. Don’t agonize over this decision. Remember, you can’t go to the store where Stephen King buys his pens, and expect to write great novels. You can’t go to the art supply store where Van Gogh bought his paints and brushes and expect to make great paintings. And you can’t expect to buy cameras with secret powers either.

Photography is about having a vision, a good eye, passion for the subject, great light, access, storytelling and heart. The camera equipment is just a tool designed to help capture the rest. I don’t know a single professional photographer who’s ever told me an editor refused to buy an image because the photographer used the wrong camera. It’s your eye, your vision, your ability to tell a story with the camera and your desire that matter most.

Now just go out and buy the camera, whichever one it is, and start shooting. Good luck.

If you just want to know what cameras I like, here’s the list.

UPDATE: Note: I am not saying these are the only cameras I like, or that other cameras aren’t good. I am saying that based on price and performance, these are safe picks in each category.

Point and Shoot

Canon Powershot S90
Canon PowerShot S90IS 10MP Digital Camera with 3.8x Wide Angle Optical Image Stabilized Zoom and 3-inch LCD

Canon G11
Canon PowerShot G11 10MP Digital Camera with 5x Wide Angle Optical Stabilized Zoom and 2.8-inch articulating LCD

Budget DSLR

Canon Rebel Xsi
Canon Digital Rebel XSi 12.2 MP Digital SLR Camera with EF-S 18-55mm f/3.5-5.6 IS Lens (Black)

Nikon D3000
Nikon D3000 10.2MP Digital SLR Camera with 18-55mm f/3.5-5.6G AF-S DX VR Nikkor Zoom Lens

Canon T1i
Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

Prosumer

Nikon D300s
Nikon D300s 12MP CMOS Digital SLR Camera (Body Only)

Canon 7D
Canon EOS 7D 18 MP CMOS Digital SLR Camera with 3-inch LCD (Body Only)

Pro
Canon 1D MK IV
Canon EOS 1D Mark IV 16.1 MP CMOS Digital SLR Camera with 3-Inch LCD and 1080p HD Video (Body Only)

Nikon D3s
Nikon D3S 12.1 MP CMOS Digital SLR Camera with 3-Inch LCD and 24fps 720p HD Video Capability (Body Only)

The Canon PowerShot S90 takes the helm as the latest and greatest from the PowerShot “S” series of digital compact cameras, and does so with a bevy of photographer friendly specifications.

Featuring a 10 megapixel sensor, DIGIC IV processing, and a fast f/2 lens, Canon has placed an emphasis on a typical compact camera weakness, low light photography, while at the same time offering full manual shooting controls, a large 3 inch LCD, and an innovative control ring that emulates an analog experience. In short, the S90 appears perfectly designed to please photographic enthusiasts.

Highlights

10.0 Megapixel, 1/1.7-inch CCD Sensor: Combined with the S90’s DIGIC IV processing, the 10 megapixel sensor forms the heart of what Canon dubs the “High Sensitivity System”, offering improved low light performance and minimal noise. This is the same sensor found in Canon’s flagship PowerShot, the G11.

3.8x Zoom Lens (f/2-f4.9, 28-105mm): The S90 offers decent wide-angle coverage at 28mm with a fast f/2 aperture. This means improved performance in lower light, and shallow depth of field effects.

RAW and RAW+JPEG Shooting: The S90 allows photographers to capture RAW images for improved post-processing.

3 Inch, 461K LCD Display: The large display is bright with ample clarity for capturing and reviewing images. It features Canon’s “PureColor” system that enhances viewing angles, while multiple coatings improve resistance to dust and scratches.

Customizable Control Ring: The bezel around the lens is actually a “Control Ring” which can be set up by the user to manipulate ISO, white balance, focal length, and more.

In The Hands

Offered only in matte black, the PowerShot S90 is small camera, with simple, yet classic good looks. Less than an inch wide, the S90 easily fits into most pants pockets, and certainly fits comfortably in a jacket pocket or purse. Overall build quality is pretty good, with nice tight seams and a minimal of “flex”. I quite like the slim styling, but it does mean consumers will have to do without any sort of grip. Fortunately the S90 is light enough to handle with ease and the buttons on the back, along with the shooting mode dial’s protrusion, do sort of give the thumb something to hold on to. Since the large 3 inch LCD occupies so much space on the rear, camera buttons are small, and can be on occasion, accidentally pressed. By far the worst aspect to the S90’s design is the dial that surrounds its d-pad. It simply spins too freely, giving a distinct sense of lack of precision. While it does get the job done, it would be tremendously improved by the simple addition of a “clicking” type action.

In Use

Exposure: 0.04 sec (1/25) | Aperture: f/2.0 | Focal Length: 28mm | ISO Speed: 100 | Exposure Bias: -1/3 EV

Set to “Auto”, using the S90 is a simple affair with near instant startup times, and responsive AF performance, even in very low light. This smart auto mode uses scene detection to determine the appropriate camera settings without any input from the user. Of course like any good PowerShot, the S90 offers a healthy supply of shooting modes for specific situations and environments like “Landscape”, “Portrait”, “Fireworks”, and “Snow”. Further it allows enthusiasts to take additional creative control with Program, Aperture Priority, Shutter Priority, and Manual modes. Camera settings are easily changed via the wisely chosen dedicated buttons, or by pressing the d-pad’s centered Function/Set button which reveals a menu with access to camera settings like ISO, white balance, and exposure compensation. Options are indicated with large, easy to read icons, further enhanced with descriptive text. A dedicated Shortcut button is even provided for users to assign their favorite settings.

When it comes to composing photos, the S90 provides several different views to aid in the process, from totally unobstructed, to grid overlays and live histograms. Focusing is accomplished from a point in the center of the frame, and while the point can be enlarged, it can’t be moved. That said, if the default AF mode isn’t up to the task, the S90 provides a manual AF mode, which displays a zoomed in view of your subject to aid in acquiring focus, and it works surprisingly well. Also, for close up work, users can choose the Macro AF option that allows for focusing to happen just inches away from your subject.

Finally, I have to offer some praise for Canon’s innovative Control Ring. With its own dedicated button atop the camera, users can quickly set the Control Ring to a number of settings, like aperture, or intuitively, focal distance. Cleverly, the Control Ring comes into play elsewhere, for example in the Nostalgic shooting mode, the Control Ring is used to progressively adjust the strength of the filter’s effect. Due to the S90’s small size, the Control Ring at times can be awkward to turn, but I still very much liked this novel and well implemented approach.

If there’s fault to find in the S90’s performance, it would be its average continuous shooting speed. A number of compacts offer faster continuous shooting speeds and even special “burst” shooting modes. The S90 takes a more leisurely pace, a distinctly average .9 fps. I’m not terribly upset by it, but some consumers will have higher expectations from a camera in this price range.

Image Quality

Exposure: 0.003 sec (1/320) | Aperture: f/2.8 | Focal Length: 28mm | ISO Speed: 400 | Exposure Bias: +1/3 EV

The real appeal of the PowerShot S90 for enthusiasts will clearly be its image quality. A distinct step above nearly all other small sensor compacts, the S90 provides surprisingly good low-noise files up to and including ISO 800. After ISO 800, detail begins to suffer due to in-camera noise reduction, but I was surprised at how good ISO 1600 looked. Also, as I mentioned above, the S90 has a special Low Light mode, but these lower resolution files are far less pleasing on a pixel peeping level, especially at this mode’s highest ISO level, ISO 12,800.

RAW and JPEG files pulled from the S90 and viewed in either Adobe’s Lightroom or Canon’s Digital Photo Professional (included) show ample detail and pleasing color, and thanks to Canon’s i-Contrast, above average (for a compact) dynamic range. However, like many compacts, the S90 struggles to resolve the finest details, especially when further away in the picture plane. Visual flaws include frequent purple fringing and some slight distortion at the wider end of the lens. All in all though, the S90’s image quality ranks amongst the best in the compact class, and for some photographers, it will be impressive enough to leave their DSLR at home on less critical outings.

Conclusion

Exposure: 0.006 sec (1/160) | Aperture: f/3.5 | Focal Length: 60mm | ISO Speed: 800 | Exposure Bias: 0 EV

With its impressive image quality, all around superb performance, and sleek good looks, the Canon PowerShot S90 should be at the top of any photographic enthusiast’s wish list. While I tend to be quite reserved in my praise for compact cameras, largely on the basis of image quality, I was easily impressed by the S90. There’s something quite appealing about a camera that fits into your breast pocket, that can achieve attractive shallow depth of field effects, and can be counted on in challenging light conditions, even if that means using the camera at ISO 1600. But of course, that’s exactly what the S90 offers, and which few others can. The S90 is almost perfect, only the lack of HD video recording, and faster continuous shooting speed really keep it from that description. Outside of that, the S90 comes so close, we can’t help but to “Highly Recommend” it.

Availability

Canon PowerShot S90 Digital Camera

Additional Samples

Exposure: 0.025 sec (1/40) | Aperture: f/4.0 |Focal Length: 70mm | ISO Speed: 200 | Exposure Bias: +1/3 EV

Exposure: 0.4 | Aperture: f/7.1 | Focal Length: 28 mm | ISO Speed: 80 | Exposure Bias: -1 EV

About the Author: Patrick Dean is the editor of the photography news and review website, NeutralDay.com. He also frequently tweets at twitter.com/neutralday.

Post from: Digital Photography School - Photography Tips.

Canon PowerShot S90 Review

What lens should I buy?

That question is sent to me hundreds of times each month. The answer is always the same – it depends. It depends on your budget, your experience and the subject(s) that you want to photograph.

So without that basic information, I can’t tell you what lens you need. But I can tell you which lenses are popular according to Amazon.

Both Canon and Nikon offer very affordable 50mm F/1.8 lenses. Lenses like these are amongst the most popular because they offer a shallow depth-of-field with beautiful bokeh for very little money. They’re also what we call fast lenses, meaning that they have large apertures which permit the lens to work well in low light. Lastly, for the money, these lenses are amongst the sharpest you can buy.

Preferred lenses in this class include:
Canon EF 50mm f/1.8 II Camera Lens

Nikon 50mm f/1.8D AF Nikkor Lens

Next up, the medium telephoto zoom. 70-200 mm lenses are versatile, sharp and while much more expensive than the 50mm lenses above, still are relatively fast offering the chance for low-light images that are sharp thanks to stabilization.

In this class, the popular kids are:
Canon EF 70-200mm f/2.8L IS Lens

Nikon 70-200mm f/2.8G ED VR II AF-S Lens
(NOTE: This lens replaces the old VR-I version which had vignetting problems on full-frame cameras.)

At the next level, we see the focal lengths diverge between the brands. The Canon shooter prefer the 24-105 mm focal length. Canon’s offering here is image stabilized and while not as fast as the previous choices, at a constant aperture of F/4 more than fast enough. Canon’s “L” glass is their best and this lens has been labeled the one most people would pick if they could have only one piece of Canon glass because of it’s versatility.

Canon choice:
Canon EF 24-105mm f/4 L IS USM Lens

The Nikon users want even more versatility. The Nikon 18-200 is both wider and longer than its Canon counterpoint at this level, but similarly priced. It has virtually everything you’d expect from a professional lens except that it’s a DX lens. That means it’s designed to work with crop sensors.

Nikon choice:
Nikon 18-200mm f/3.5-5.6 G ED-IF AF-S VR DX Lens

Of course there are some very good third-party lenses, particularly the high-end stuff from Sigma.But I’m going to focus this post on the most popular Canon and Nikon glass since between the two of them, they own the market.

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This post sponsored by WHCC. Visit White House Custom Color to receive five free 8×10 prints.

Guest post by: Ara Roselani Follow Ara on Twitter
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The Cotton Carrier is a nifty strap system allowing photographers and videographers to secure their camera bodies to their chest and waist.  Its quick-release system makes grabbing your primary or backup body fast, while keeping even heavy cameras secure when not in use.  It’s easy on your back and shoulders, putting virtually no strain or uncomfortable weight on them.

This one-piece strap system has a heavy-duty cloth-covered plate in the front, and a matching optional plate for your belt.  A round, military-grade bolt mount fits to the base of your camera (tripod plate to screw in below it), allowing you to pop your camera into a holding slot on the front of your chest.  Twisting your camera 90 degrees releases it, and with a quick pull, it’s ready to be shot.

The initial fitting out of the box is important, and takes time.  Straps on your back and torso can be adjusted, but the only quick adjust is velcro in the front.  All other straps should be snugly fitted before going on a shoot, or you’ll be struggling and the camera will throw everything out of alignment once attached.  It took my assistant and I about 10 minutes to get the straps fitted–doing it by yourself would take longer.  The system fit very securely with a lot of extra room in the straps for different body types.  I was able to quickly release the camera with a few practice tries.  Pulling gently doesn’t work well and the camera gets stuck–you must pull quickly and with intention, or risk being the wedding entertainment when you can’t get your camera off your chest.  My D700, battery grip and 24-70 f/2.8 lens sat securely on the chest plate and the weight can barely be felt.

The Carrier is not designed well with women in mind–it fit my male assistant much better than me.  The front plate sits somewhat uncomfortably across my chest, despite the contours that seem designed to take care of this–the plate is just too wide. The straps adjust poorly for my 30″ ribcage, sometimes leaving the entire system loose on my torso or crooked in the back.  Men with smaller ribcages might have similar fitting problems.

While practical, I wouldn’t wear this to a wedding or high-end event without a jacket or vest over it.  It looks somewhat like a laser tag vest–not the most professional gear for a black tie event.  The back has a mesh panel.  It does hide well, and the mount is positioned high enough to still button or zip something over it.  I love the belt mount for weddings–being able to grab a backup camera so easily is great!  I also used the front plate to secure my camera while changing my lens, never worrying about dropping it or exposing the sensor to wind as the body is pointed down.

For hikers and more casual events, the system is very industrial with good construction that seems like it would last well and hold up to abuse.  I was able to climb rocks while shooting landscapes without risking my camera swinging around and hitting a rock, or having to constantly take my camera out of my bag then put it back.  My camera never felt insecure, even at severe angles.

The $99 Cotton Carrier is well-made, and its clever design is great for someone with at least a medium build who wants their hands free, but still have quick access to their camera(s).  The optional belt/bag attachment for a second camera is $59 if purchased separately (or the entire system is $139 as a package).  To see it in action, check out the demo video on the Cotton Carrier site.  It shows the system used while riding a bike, hiking, and skiing, along with many tips on adjustment and use.  Buy the Cotton Carrier here.