Photography by Dean O'Shea & Toby Reeve

We have captured in excess of 500 weddings since 1995. Being located in Ashby de la Zouch , Leicestershire means all wedding venues are easily accessible. Our reputation goes before us guaranteeing your big day is captured in a relaxed, reportage or traditional fashion.

Your day is tailored to meet your requirements.

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Weddings packages that suit the bride & grooms requirements guarantees your satisfaction. We influence your choice of photos using our experience & knowledge. This makes no shoot too small, from a registry office / civil ceremony to the full church ceremony with hotel reception & evening do.

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All images our captured digitally using the latest Panasonic Lumix G Professional Digital Cameras.

Simply call us today and we will happily send out our Information Pack & example DVD for 2016/2017 or call into Dean & Smedley in Ashby. We recommend making an appointment.


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Please note that I own & use both a Panasonic LUMIX TZ40 Point and Shoot digital camera, a LUMIX GX7 CSC camera and I use LUMIX G Micro4/3rds CSC for my job. I like having both. I use my TZ40 & GX7 for personal use. I do feel they compliment each other and are each suited for different situations. My preference in terms of quality of shots is with my CSC but for convenience the point and shoot sometimes wins out. I converted from Canon EOS in September 2012 as I found that the camera industry is constantly evolving and changing & the LUMIX G system best fitted my photographic requirements.

The lines between D-SLRs, CSC, Bridge and Point and Shoots are blurring.

* Are Megapixels Everything?

Before I get into the Pros and Cons of D-SLRs V Point and Shoot digital cameras I want to address a common misconception that I regularly hear among digital camera owners – that a cameras megapixel rating is the main thing to consider when determining a camera’s quality.

Megapixels are NOT everything. Despite point and shoot cameras now coming with up to 20 megapixels their quality level is not necessarily as good as a D-SLR with only 12 or so.

The main reason for this is that the image sensor used in point and shoot digital cameras is generally much smaller than the image sensor used in a D-SLR. This means that the pixels on a point and shoot camera have to be much smaller and collect fewer photons. The long and short of it is that because of this point and shoot cameras need to work at slower ISO levels which means that they produce ‘noisier’ grainy shots.

A lot more could be said on sensor size – some small sensors significantly reduce the quality of an image. I’d much rather have a camera with less megapixels and a larger image sensor than the other way around. Also a CMOS Sensor produces superior quality images than a CCD Sensor.

D-SLR's

Some camera manufacturers have released cameras with the D-SLR label that technically are not i.e CSC (Compact System Cameras). For the purposes of this article, D-SLR’s are cameras that have removable lenses, that have a reflex mirror which allows live optical viewing through the lens taking the image. i.e D-SLR’s use a mirror that allows you to see the image you’re about to shoot through the view finder – when you take the shot the mirror flips up allowing the image sensor to capture the image.

D-SLR Strengths

• Image Quality –

I’ve already covered this above in my discussion on megapixels and image sensors – but due to the larger size of image sensors in D-SLRs which allows for larger pixel sizes – D-SLRs are generally able to be used at a faster ISO which will lead to faster shutter speeds and less grain.

• Adaptability –

D-SLR’s ability to change lenses opens up a world of possibilities for photographers. While my TZ40 point and shoot has a nice superb 20x Optical Zoom a D-SLR can be fitted with many higher quality lenses ranging from wide angle to super long focal lengths depending upon what your photographing (and, of course, your budget). Add to this a large range of other accessories (flashes, filters etc) and a D-SLR can be adapted to many different situations. It should be noted that when it comes to lenses that the diversity in quality of lenses is great. Image quality is impacted greatly by the quality of the lens you use.

• Manual Controls –

While many point and shoots come with the ability to shoot in manual mode, a D-SLR is designed in such a way that it is assumed that the photographer using it will want to control their own settings. While they do come with good auto modes, the manual controls are generally built in in such a way that they are at the photographers finger tips as they are shooting.

• Depth of Field -

– One of the things I loved about my D-SLR was the versatility that it gives me in many areas, especially depth of field. I guess this is really an extension of it’s manual controls and ability to use a variety of lenses but a D-SLR can give you depth of field that puts everything from foreground to background in focus through to nice blurry backgrounds.

• Quality Optics –

I hesitate to add this point as there is a large degree of difference in quality between D-SLR lenses (and point and shoot cameras are always improving) but in general the lenses that you’ll find on a DSLR are superior to a point and shoot camera. I would strongly advise D-SLR buyers to buy the best quality lenses that they can afford. It is the difference between a high end lens on a medium range camera or a medium range lens on a high end camera I’d go for quality lenses every time as they add so much to photos. When I had my EOS system all my lenses were 'L' Series lenses.

• Optical Viewfinder –

Due to the reflex mirror D-SLR’s are very much a what you see is what you get operation.

• Speed –

D-SLR’s are generally pretty fast pieces of machinery when it comes to things like start up, focussing and shutter lag.

• Large ISO range –

This varies between cameras but generally D-SLRs offer a wide array of ISO settings which lends itself to their flexibility in shooting in different conditions.

• Depreciation -

Some argue that a D-SLR will hold it’s value longer than a point and shoot. There is truth in this. D-SLR models do not get updated quite as often as point and shoot models (which can be updated twice a year at times). The other factor in favour of D-SLRs is that the lenses you buy for them are compatible with other camera bodies if you do choose to upgrade later on (as long as you stay with your brand). This means your investment in lenses is not a waste over the years. Technically you are buying into a system for example, Pentax K, Canon EOS, LUMIX G etc.

DSLR Weaknesses

• Size and Weight –

Probably the main reason why I moved to LUMIX G as I didn’t want to lug my D-SLR (and all it’s lenses) around with me. D-SLRs are heavy and sizable and when you add a lens or two to your kit bag you can end up with quite the load!

• Price –

While they are coming down in price (especially at the lower end), D-SLR’s are generally more expensive than point and shoot digital cameras. Also consider that you might want to upgrade your lens (as kit lenses are generally not of a super high quality) or you may wish to add more lenses later and that this adds to the cost of a DSLR.

• Maintenance –

A factor well worth considering if you’re going to use a DSLR with more than one lens is that every time you change lenses you run the risk of letting dust into your camera. Dust on an image sensor is a real annoyance as it will leave your images looking blotchy. Cleaning your image sensor is not a job for the faint hearted and most recommend that you get it done professionally (which of course costs). This is a problem that is being rectified in many new DSLRs which are being released with self cleaning sensors.

• Noisy –

D-SLRs are generally more noisy (louder) to use than point and shoots. This will vary depending upon the lens you use but while point and shoots can be almost silent when taking a shot a D-SLR will generally have a ‘clunk’ as the mechanisms inside it do their thing.

• Complexity –

While D-SLRs are designed for manual use this of course means you need to know how to use the tools that they give you. Some friends that have bought DSLRs in the past few months have told me that they were a little overwhelmed at first by the array of settings and features. The learning curve can be quite steep. Having said this – all DSLRs have fully Automatic mode and many have the normal array of semi-auto modes that point and shoot digital cameras have.

•No live LCD –

In some D-SLRs the only way to frame your shot is via the optical viewfinder. Some photographers prefer to use a camera’s LCD for this task. This is another thing that is changing with more and more new DSLRs having a ‘Live View’ LCD which enables you to frame your shots without looking through the view finder.

So what D-SLR do I recommend?

If I was to own a D-SLR again it would have to be the PENTAX K-S2 (TIPA Awards Best D-SLR 2015). The K-S2 is the TIPA Awards Best Advanced D-SLR 2015. It's Weather-Resistant & currently the smallest weather-resistant D-SLR available. This would allow me to shoot in conditions that I would be putting my camera away if I was to own any other system.

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Point and Shoots

Point-And-Shoot

While some people write off all non D-SLR’s as inferior, I think they’ve got a lot going for them and would highly recommend them depending upon the level of photography that you engage in, your budget, the things that you’ll want to do with your photos and the subject matter that you will be shooting. You’ll also notice below that I note that the Point and Shoot market options available are improving. Some of the weaknesses I note are being improved by manufacturers lately on some of their models.

Point and Shoot Digital Camera Strengths

• Size and Weight –

To be able to slip a camera in a pocket as you dash out the door to a party is a wonderful thing. These days point and shoot cameras can be slim and light – to the point of not even knowing you’ve got them with you. This is great for parties, travel and all manner of situations with image quality superior to that of any smart-phone.

•Price –

Point and shoot digital cameras are generally cheaper. Of course you can go to the top of the range (LUMIX TZ70) and spend as much as you would on a cheaper D-SLR, but most are in a much more affordable price bracket.

•Auto Mode –

The quality of images produced in point and shoots varies greatly, but in general they now shoot very well in Auto mode. I guess manufacturers presume that this style of camera will be used in auto mode (or one of the other preset modes) mostly and as a result they generally come pretty well optimized for this type of shooting (as do many D-SLRs these days).

• Quiet Operation –

This was the thing I noticed about my new point and shoot the most. Not only didn’t my subjects not notice I’d taken shots of them at times, once or twice it was so quiet that even I didn’t notice I’d taken a shot.

•LCD Framing –

As I mentioned above, many digital camera users prefer to frame their shots using LCDs. Point and Shoots always come with this ability and some even come with ‘flip out’ screens (LUMIX TZ57) that enable their users to take shots from different angles and still see what they’re shooting.

Point and Shoot Digital Camera Weaknesses

•Image Quality –

Point and shoots generally have smaller image sensors which means that the quality that they produce is generally lower. This is slowly changing in some point and shoots but in comparison to D-SLRs they still have a way to go. It’s worth saying however – that if you’re not planning on using your images for major enlargements or in professional applications then the quality of point and shoot cameras can be more than enough for the average user. Manufacturers are making improvements all the time in their technology and are making significant image quality improvements.

•Smaller ISO range –

Once again this is changing slowly but in general ISO ranges are more limited in point and shoot cameras – this limits them in different shooting conditions.

•Speed –

Point and shoot digital cameras were always notorious for their slowness, particularly their ‘shutter lag’ (the time between pressing the shutter and when the image is taken. This has constantly been improved but the instantaneous feel of many D-SLRs is still not there with point and shoots when it comes to shutter lag, start up and even focusing time.

•Reliance upon LCD –

Most point and shoot digital camera rely almost completely upon their LCD for framing. While some enjoy this others like to use a viewfinder. Most point and shoot cameras no longer have view finders with the exception of the LUMIX TZ70.

• Manual Controls Limited –

Many point and shoot cameras do have the ability to play with a full array of manual settings and controls (or at least make it difficult to do so). They often come with ‘aperture priority’ and ‘shutter priority’ modes which are great – but quite often the manual controls are hidden in menu systems and are not as accessible as on a D-SLR (if they are there at all).

• Less Adaptable –

While they are highly portable point and shoot cameras are generally not very adaptable. What you buy when you first get them is what you are stuck with using for years.

Which Point and Shoot digital cameras do I recommend?

Top of my list would be the LUMIX TZ70 but seeing as I now have my CSC System I would add an 'Action Camera' to my kit to allow me to shoot in all conditions & all scenarios. If I was to replace my TZ40 I would purchase a PENTAX WG-5 or the TIPA Award Winning, PENTAX WG-M1, Best Action Camera 2015.

Should You Buy a DSLR or a Point and Shoot Digital Camera?

This is ultimately a question that you need to answer for yourself. My answer is to have both but I would say that with being a camera salesman if I had to choose between one or the other I’d get a DSLR based upon my experience level, the type of photos I take, my desire to use manual settings and the quality of image that I’m after.

If your situation is different to mine however and you want a portable camera that takes good pictures that you’ll mainly use for small prints and emailing that you’ll mainly shoot in auto mode – you’ll probably be quite happy with a cheaper point and shoot.


I photographed my first Wedding in 1995 following a successful first year as a portrait photographer. Canon EOS was my chosen system which I continued with during the early days of D-SLR cameras. I invested in Canon L Series lenses which gave me the best image quality possible but, in 2012, having sold many Compact System Cameras (CSC) in the shop & having seen some wonderful images from my customers, it had me thinking.

The bulk, the size, the weight & lack of in-built creativity was making me research more into CSC cameras.

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I have sold many CSC's cameras like Olympus Pen & Panasonic Lumix G cameras but neither match the sales of the Pentax Q10, Q7 and the New Pentax Q-S1. I chose the Lumix G5 with standard 14-45mm (28-90(35mm Equivalent)) and I used the Lumix G5 at my next wedding alongside my Canon EOS. At the next wedding a few weeks later, I shot the whole wedding on the Lumix. I was sold completely & purchased the Lumix GH3 as my new, main camera for all my Wedding & Portrait shoots keeping the G5 as my, tried & trusted, back-up. My kit now consists of a Lumix GH3, 2x Lumix G5, Lumix GX7, 8mm FishEye, 12-35mm F2.8 X, 14-42 PZ, 45-175 PX, 45-200mm & 20mm F1.7. I now have all scenario's covered.

So, why should you consider a CSC camera from Pentax, Panasonic, Olympus or Fuji?

  • They're smaller and lighter

D-SLRs use a mirror to bounce light up into a pentaprism (or pentamirror) viewfinder, but compact system cameras don’t have a mirror or a pentaprism, so this enables them to be made smaller and lighter. The benefits of this are pretty obvious as your camera takes up less space in your bag and it’s lighter and easier to carry. This in turn means that you are more likely to take your CSC with you wherever you go, so you’ll get more shots.

Further good news about CSCs is that their small size doesn’t have to mean a compromise in image quality because many have the same size sensor as you find inside an SLR. There are now full-frame, APS-C and Four Thirds format CSCs.

Remember; a 4ltr tractor can not go as fast as a 3ltr Formula One car. What do I mean? It's not all about Mega Pixels & Sensor size. It's about the best, total package for your photography needs.

  • They're quiet and discrete

Because there’s no mirror that needs to move out of the way when you’re taking a shot, compact system cameras are usually quieter and more discrete than a D-SLR.

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This makes them ideal for shooting street and documentary photographs when you want to go unnoticed. They are also useful for shooting portraits of camera-shy subjects.

Many people also assume that smaller cameras are ‘less serious’ so they pay less attention to you while you are using one and it’s easier to get the shots that you want.

  • They have responsive Live View

In Live View mode SLRs show the image from the sensor on their main screen, but screen refresh rates and autofocus times are usually quite poor so it’s hard to compose images of moving subjects.

Compact system cameras only show a live view image but their manufacturers have invested heavily in making sure that the screen and autofocus performance is good.

Micro Four Thirds cameras from Olympus and Panasonic are especially good in this respect and you can shoot moving subjects while composing on the main screen.

  • What you see is what you get.

Because CSCs always use a live view feed from the sensor, the screen or electronic viewfinder (EVF) shows the impact or camera setting selections.

Switch to black and white mode, for instance, and you’re able to preview the monochrome image in the EVF or on the screen. And if you reduce the exposure you also see the preview get darker.

As well as making life easier because you don’t need to guess how the image will appear like you do with an SLR and composing in the optical viewfinder, this ability to preview an image can make you more creative.

For example, if you look through the viewfinder of an SLR you will see the scene more or less as it appears to your eye and you have to imagine how the image will appear with the selected settings applied.

Your only guide to exposure is your experience and the scale in the viewfinder.

With a compact system camera, however, you may look in the viewfinder and see that the image looks good when it’s very bright, using settings that the camera’s scale considers will over-expose the scene.

You may also decide that you like the slight warmth (or whatever) that the scene has and enhance it by changing white balance or applying a filter effect.

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  • They have more creative features

The constant live view design of compact system cameras has enabled their manufacturers to include novel features that can be very helpful for photography.

Olympus’s Live Bulb mode, for example, allows you to see a long exposure image build up on the screen on the back of the camera during the exposure.

This means that rather than having to calculate or guess the length of the exposure you can assess it visually and close the shutter when the image looks right.

Panasonic also has a system that enables the impact of shutter speed to be seen so you can decide how blurred or sharp you want any movement to be in the final image.

Compact system camera manufacturers have also been quick to embrace technology such as Wi-Fi and NFC (Near Field Communication) connectivity, as well as allowing images to be shared on Facebook and Twitter etc., quickly. A Wi-Fi connection also enables a camera to be controlled remotely via a smartphone.

This is very useful for avoiding camera-shake and when shooting timid subjects.

  • No mirror-slap

That lack of a mirror has another advantage; you don’t need to worry about engaging mirror lock-up mode when shooting long exposure shots to reduce vibration.

It’s still a good idea to use a remote release, but because more compact system cameras have Wi-Fi connectivity built-in you often don’t need to buy a dedicated unit, a smartphone can be used instead.

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To conclude, size is important but bigger it not necessarily better and if you do choose a D-SLR over a CSC remember that the Pentax K50 & KS-2 cameras are fully weather-resistant. The K-S2 (TIPA Awards Best D-SLR 2015) is also currently the worlds smallest weather-resistant D-SLR, close to the size of some CSC's and has £40 cash-back until 1st August 2015.

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Again, I hope you found this educational,

Dean


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Bridge Cameras

Bridge cameras are so named because, like CSC, they bridge the gap between D-SLRs and Compact Cameras, offering a similar user experience and level of manual control. The newer category of Compact System Cameras (CSCs) arguably better deserves that title these days but bridge cameras have been around a lot longer and the name has stuck, although they’re also known as superzooms, or ultra-zooms. Bridge camera's do resemble a DSLR in appearance, and the casual observer may think that it is one. They have the same prominent handgrip, a raised hump above the lens (usually with a hotshoe) which, on a DSLR, would house the prism, and a large protruding lens on the front. Bridge cameras are often a comparable size too, with a similar arrangement of dials and buttons for manual control. The better ones even cost about the same as entry level DSLRs. But there the similarities end. The lens on a bridge camera is not removable. The viewfinder, if it has one, will be electronic and not optical, because there is no reflex mirror or prism assembly inside the camera like a DSLR has. The focusing system is different and isn’t as fast. Finally, the image quality will not be as good as that from a DSLR. Bridge cameras do however offer some major advantages over D-SLRs, which we’ll come onto.

D-SLR uses a mirror and prism assembly to reflect the light coming through the lens up to an optical viewfinder. A bridge camera doesn’t have an optical viewfinder, so doesn’t need the mirror and prism – the light coming through the lens goes straight to the sensor and, in most cases, an electronic viewfinder

A bridge camera is essentially a compact camera in a bigger body, with a high magnification zoom lens. The sensor is the same size as a typical compact camera’s sensor, so the image quality will be broadly similar. (The size of a camera’s sensor, and the density of the pixels on it, is the biggest factor determining a camera’s image quality). However, it’s that small sensor that makes possible the bridge camera’s secret weapon. The defining feature of a bridge camera, and its key benefit, is a lens that exceeds in range anything that you can buy on a DSLR. Even the most modest models offer at least a 20x zoom range, and some go up to 50x. At maximum zoom, the magnification on a typical bridge camera zoom lens is equivalent to at least 500mm on a DSLR, with the longest extending to over 1000mm. The lens on the Pentax XG-1, for example, extends from 24mm to 1256mm (equivalent). No such lens exists for DSLRs, and if it did it would be so big and heavy it would need wheels, and so expensive you’d need a mortgage to buy it.

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The defining feature of a D-SLR is its mirror and prism assembly, which enables users to see directly through the lens using an optical viewfinder. This contributes to the DSLR’s bulk, so bridge cameras follow a different design. With a bridge, users must compose using the live view feed to either the LCD screen or an electronic viewfinder (EVF). Some, but not all, LCD screens are articulated for shooting at high or low angles, or for self portraits.

The EVF does offer some advantages over an optical system: the electronic image provides a more accurate representation of the exposure and white balance; you can see more shooting data (including a live histogram); in manual focus mode you can magnify the central area to enable critical focusing; and in low light an EVF can be brighter than an optical viewfinder, where on the latter the brightness level is affected by the maximum aperture of the lens attached to the camera. But the resolution of EVFs is not as good as an optical viewfinder; there’s a slight lag when you look through the eyepiece; and the image can drag or smear as you pan quickly. It can also freeze momentarily as it saves your images.

Most bridge cameras offer a similar range of control to entry level DSLRs. Many have a mode dial and direct buttons for key shooting parameters such as ISO and White Balance, and the majority of them shoot raw. As for HD video, this is pretty much standard, though the bit rates, file formats and frame rates vary, and only a couple of models feature an external mic input for better audio. Some of the most recent bridge camera models offer Wi-Fi, and a few offer GPS to appeal to the travelling photographer.

Although all bridge cameras have long zooms, with most models the zoom is controlled using a toggle switch on the camera body, though on one or two models it’s achieved by rotating a collar on the lens itself, like the zoom on a D-SLR. Neither is better than the other, it just comes down to personal preference. Virtually all of them feature optical or sensor-shift image stabilisation.

Most cameras have a hotshoe for a dedicated flash, and in most cases these are compatible with the manufacturers’ DSLR flashguns, so if you have a Canon DSLR and Speedlight, for example, you can use that same flashgun on the company’s PowerShot SX50 HS.

Pros and Cons

Compared with a compact, bridge cameras are somewhat bigger, but this can be either good or bad depending on your needs. Although it won’t fit in a pocket a bridge camera does at least provide more to hold onto, with a decent sized grip for the right hand and a lens big enough to cradle with your left hand. One-handed shooting is also easier with a bridge than a pocket compact, which can be like handling a bar of soap. Bridge cameras generally offer more buttons for direct control, and a hotshoe for flash. While some premium compacts also offer these benefits, they don’t have the long zoom range.

Compared with DSLRs, bridge cameras are still somewhat smaller and lighter than even the lightest D-SLRs with their 18-55mm kit lenses, yet offer vastly greater zoom magnifications which would be either unachievable, impractical or prohibitively expensive to achieve on a DSLR.

The downside is that even though they’re more like a D-SLR in size, the image quality is akin to compacts because of their small sensors but only becomes especially noticeable in low light at higher ISOs, where they struggle more with noise. Bridge cameras use the contrast detect method of auto-focusing, which is slower than the phase detect method used by DSLRs, making them less suitable for fast action, and this is why the AF tends to ‘hunt’ as it struggles to find focus on the subject at higher magnifications. There’s also the issue of camera shake to consider…

If you’ve ever tried to hold a pair of binoculars steady you’ll know that it isn’t easy. High-zoom lenses are the same. This makes them difficult to hold still at high magnifications, especially if you don’t have a viewfinder and are relying on the LCD screen. If fact you could go so far as to say that bridge cameras without viewfinders should be avoided altogether, such is the difficulty of holding a camera steady at arms length at a high zoom magnification. Using a viewfinder requires users to rest the camera against their face, which helps to stabilise the camera’s movement.

The other problem with high zoom shooting is camera shake. The zoom magnifies your camera shake, as well as the subject. Although virtually all bridge cameras come with image stabilisation systems (and any that don’t should be avoided like the plague) this only reduces camera shake, it doesn’t eliminate it. You’ll still need to shoot at a relatively high shutter speed. An old rule of thumb is that it should be at least as high as the equivalent focal length you’re using, so 1/500sec if you’re zoomed out at 500mm (though with modern image stabilisation systems you can go two to three stops lower than this, and perhaps more, if you shoot carefully).

In order to achieve fast shutter speeds you need good light, or a wide aperture in the lens, and here is the bridge camera’s Achilles Heel, because most of them (with one exception) have very small maximum apertures when you zoom in – usually around f/6.3. This means that unless there’s a lot of ambient light, the only way to avoid camera shake is to raise the ISO sensitivity – and because the sensor is small this may introduce visible noise into the image.

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Should you buy a bridge camera? Here are three reasons why you should…

The lens

Many people are attracted to bridge cameras by their big zoom lenses without asking themselves whether they need such a lens. In reality, there are fewer uses for a 500mm or 1000mm equivalent lens than most people think. The most obvious applications for such lenses are nature and wildlife photography and sport. In these cases you may not be able to get close enough to your subject to fill the frame. If you want to photograph deer in the park, birds in your garden, or the kids playing in school sports tournaments bridge cameras come into their own (though with fast moving subjects the contrast detect AF system may struggle to keep up). Long lenses can be good for travel too, and for candid portraiture. But for most day to day shooting the vast majority of images are taken within the focal range provided by the average 10x zoom lens.

The EVF

For many photographers a viewfinder is essential, especially among older users whose close range vision has started to fail, and for whom the LCD screen is impossible to see clearly without reading glasses. The LCD can also be difficult to view in bright conditions. For those who don’t want the bulk or complexity of a DSLR, the bridge camera is one of the few types of camera where a viewfinder is still the norm, albeit an electronic one. Yes, there are also a few Compact System Cameras (aka CSCs or ILCs) that have EVFs too but these tend to cost more.

The size and shape

If you have big hands, and find compacts too fiddly, you may prefer the design and shape of bridge cameras which, like DSLRs, offer a substantial grip, a lens you can support more easily and a good number of decent sized buttons, reducing the need to keep going into the menu.

And here’s three reasons why you shouldn’t…

  1. Image quality
    If image quality is the most important factor in choosing a camera, you can do better than a bridge. Some DSLRs are not a lot bigger, or you could also consider one of the growing number of CSCs, many of which are smaller and lighter than bridge cameras yet have much bigger sensors, and faster lenses (so camera shake won’t be such an issue). There are even some premium compacts with relatively large sensors. Some of these are in a similar price bracket to the average bridge camera.

  2. Portability
    As we’ve already explained, a bridge camera gives you at least 50% of the bulk of a DSLR without the associated image quality benefits. If compact size is more important than ultimate image quality, but you still want a reasonably good zoom, look at the growing number of pocket superzooms (aka travel compacts) with 20x zooms that will fit in your pocket. Used properly you’ll still be able to get a very good quality A4 or 8×10 inch print from them, which is as big as most people ever want to go.

  3. Speed
    Although some bridge cameras are capable of short high speed bursts (usually by pre-fixing the focus point before the first frame) in general bridge cameras are not ideal for fast moving sports, despite the appeal of the long zooms lenses, because the AF isn’t fast enough to keep up, and the EVF may not refresh quickly enough. A DSLR is really the best solution here. Even though you won’t be able to zoom in as far with a DSLR as you would with a bridge, the much larger sensor does give you much more scope for cropping afterwards, especially with the latest high-resolution models.

I hope you found this educational & if you now don't buy a bridge camera you should consider a CSC like the Pentax Q-S1, Lumix G, Fuji or Olympus.

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Compact System Cameras (CSC) in brief...... have interchangeable lenses & are considerably smaller and more portable than a D-SLR.

The Compact System Camera – or CSC – has been around since Panasonic kick-started the genre with its launch of the G1 in 2008. Since then the CSC market has grown to become the fastest growing of all the digital camera markets. It didn't take too long for me to convert to Panasonic Lumix G after 18years using Canon EOS and I have not looked back.

The market has grown to such an extent that it’s now one of the most camera-laden in all of photography, thus making it difficult to separate the good from the truly special.

Thanks for reading.

Regards

Dean & Toby


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BEST: 633x
Built for exceptional FullHD and 4K Video & RAW performance. These BEST cards wont drop frames in FullHD and 4K Video & they support rapid fire RAW in D-SLRs. They are also Slow-Motion approved and built to survive abuse.

So when your camera stops recording video without pressing stop or the continuous shoot fails to take more than a few frames, you now know why. You need the right card for your job. You need a new card by Delkin from ukphotoprinting.com or Dean & Smedley Digital Imaging.

Yet again, we hope you found this blog educational.

Dean, Toby & Jacob