The 5 Best Low Light DSLRs You Can Buy in 2019

By: Jaymes Dempsey 

Do you want a camera that will capture amazing shots in low light?
As camera technology advances, DSLRs get better and better at handling the low light demands of photographers. Ten years ago, you would feel uncomfortable pushing ISOs past triple digits; now, ISO 3200 and ISO 6400 are common settings. And low-light autofocus lets you do some much more compared to 2010.

Of course, if you want these low light capabilities, there is one caveat:
You have to have the right camera. Because while some cameras perform admirably in low light conditions, others are still less than impressive.
In this article, I break it all down. I’ll share with you the five best low light DSLRs you can buy.
You’ll come away knowing which DSLR you need to grab – if you want the best low light capabilities out there.
Let’s dive right in.

1. Overall winner: the Canon 5D Mark IV

The Canon 5D Mark IV is an all-round great camera. And its low light performance is, well, amazing.
First, the Canon 5D Mark IV features strong low-light autofocus. The camera is rated down to -3 EV, and the autofocus does well when acquiring focus in the dark.
But where the Canon 5D Mark IV really shines is in its high ISO performance. The 5D Mark IV’s sensor easily outperforms the 5D Mark III, the 6D Mark II, and every Canon crop-sensor DSLR ever produced.
Images are great up through ISO 1600, and still usable at ISO 3200, 6400, and even 12800. This makes the Canon 5D Mark IV perfect for those who need to carry on shooting, even in ultra-dark conditions, such as wedding photographers and astrophotographers.
Plus, the Canon 5D Mark IV is just great across the board, packing a 30.4-megapixel sensor, dual card slots, 61 AF points with 41 cross-type points, and 7 frames-per-second continuous shooting.
Note that the Canon 1D X Mark II (Canon’s $5000+ flagship camera) does give better photos than the Canon 5D Mark IV, especially at ISO 6400 and 12800. But the unspeakably high price makes it a non-starter for pretty much every enthusiast and even semi-professional photographer, so I opted to leave both it and its Nikon equivalent, the D5, off the list.

2. Incredible alternative: the Nikon D850

First things first:
The Nikon D850 is one of Nikon’s top DSLRs and an amazing low light shooter in its own right.
In fact, the Nikon D850 edges out the Canon 5D Mark IV when it comes to low-light focusing. The Nikon D850 can lock focus in almost complete darkness, and it’s rated by Nikon down to an AF sensitivity of EV -4. In other words, the D850 is a strong option for event photographers, as well as anyone else looking to shoot moving subjects in low light.
Where the Nikon D850 falls short is in terms of ISO performance – though “falling short” is a bit of a misnomer in this case, because the D850 features amazing high ISO capabilities.
(It’s a credit to the Canon 5D Mark IV’s outstanding low light performance that it comes in ahead of the Nikon.)
The D850 offers beautiful photos up to ISO 1600. Images are still usable at ISO 3200. After this, color casts begin to distort the D850’s photos, though noise performance is still impressive.
If you’re comparing the D850 versus the 5D Mark IV, it’s worth noting the higher resolution of the D850 (45.7 megapixels) with the same frame-per-second rate (7 fps). Add to that 4K video capabilities, and you’ve got yourself a tremendous competitor.

3. Good budget option: the Nikon D750

The Nikon D750 is a few years old now (it was released in 2014), but that doesn’t stop it from offering up impressive low light performance, five years later.
The biggest benefit the D750 offers in terms of low-light capabilities is its autofocus; while it can’t go down to the -4 EV AF sensitivity featured on the D850, it offers autofocusing at a respectable -3 EV and does extremely well (better than the D810) at acquiring focus in low light.
The D750 packs impressive high-ISO capabilities, as well. You should be able to shoot comfortably up through ISO 1600. At ISO 3200, some noise will be present, increasing at ISO 6400, but remaining usable.
Other features include a 6.5 fps continuous shooting speed, a full-frame, 24.3-megapixel sensor, and an adjustable LCD screen. Where the D750 shows its years is in terms of its accessories: there’s no touchscreen, and no 4K video.
But it’s easy to find used D750s on sale for under 1000 dollars. So if you’re looking for a stellar low-light camera on a budget, the D750 may be the way to go.

4. Canon 6D Mark II

The Canon 6D was considered an exciting full-frame option for enthusiasts. Unfortunately, its successor, the Canon 6D Mark II, debuted to less critical acclaim.
That said, the Canon 6D Mark II does have a few features worth noting, including its low light ISO performance, which is outranked only by the 5D Mark IV among Canon’s semiprofessional and APS-C DSLRs.
On the 6D Mark II, you can push your ISO to 1600 without worrying about intense noise. Even ISO 3200 gives useable, though somewhat noisy, images.
Low light focusing is good, with the 6D Mark II acquiring focus down to an EV of -3, and featuring a strong AF center point (as part of a 45 AF point spread).
All in all, the Canon 6D Mark II is a solid low light option, especially for those not willing to shell out the money for a Canon 5D Mark IV (or its Nikon competitors).

5. Best APS-C low light option: the Nikon D7500 (and the Canon 80D)

Full-frame cameras are better low light shooters, hands down. The larger pixel size gives better noise performance, and top brands channel their best features into semi-professional and professional full-frame bodies.
That said, there are some great low-light crop-sensor options out there.
In particular, the Nikon D7500 offers some impressive low-light capabilities at a very reasonable price (and is just an all-around solid option).
First, the ISO range is outstanding: ISO 100 to ISO 51,200, with an extension to the whopping ISO 1,638,400 (not that you should ever use it).
ISO 1600 shows noise, but nothing serious. Images at ISO 3200 are surprisingly good for an APS-C camera, and even ISO 6400 is usable with some noise reduction for smaller print sizes.
On the Canon side of things, the 80D doesn’t quite match the low-light performance of the Nikon D7500 but is still worth a look. Images become noisy around ISO 1600, increasing with ISO 3200 and beyond. I’d also recommend checking out the new Canon 90D; while the noise performance will no doubt be scrutinized over the coming months, initial tests indicate that the 90D is close to equivalent with the 80D at high ISOs.

Here’s the bottom line:
For entry-level shooters looking to grab a strong low-light performer, the Nikon D7500 or the Canon 80D might be the way to go.

The 5 best low light DSLRs you can buy: conclusion

You should now have a good sense of the best low-light DSLRs out there – and the right one for your needs.
If you’re looking to do some serious shooting and you have the cash to spare, the Canon 5D Mark IV or the Nikon D850 is the way to go.
But the Canon 6D Mark II and the Nikon D750 are solid backups.
And for the entry-level photographer, the Nikon D7500 and the Canon 80D both feature good high-ISO performance, even if they are APS-C bodies.
Do you agree with these low light shooters? Are there any other low-light DSLRs you’d recommend? Share with us in the comments!

The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video

By: Jaymes Dempsey

Canon hasn’t given up on its DSLRs yet.
While we’ve seen the imaging giant shift its resources to mirrorless tech in recent years, it seems that Canon still plans to keep its DSLR lineup going.
At least for a little while.
Because the Canon Rebel T8i, also known as the Canon EOS 850D, was announced just days ago, along with specifications that give us a good idea of what the camera will offer and who it’s for.
If you’re an entry-level Canon DSLR shooter or a vlogger, then the T8i looks to be a fine (though not thrilling) option. You get an APS-C, 24.1-megapixel sensor with the potential to shoot up to ISO 25600 (ISO 51200 when expanded). You also get a DIGIC 8 processor, 7 frames-per-second continuous shooting, a 45-point AF system, and 4K/24p video.
Those familiar with the T7i/EOS 800D will undoubtedly notice the lack of major differences between the T8i and the T7i, because it seems that Canon went for a minor set of changes rather than a moderate upgrade.
That said, three key differences are:

• 7 frames-per-second shooting (7.5 fps in Live View) versus 6 frames-per-second shooting in the T7i
• A new processor (DIGIC 8 versus the T7i’s DIGIC 7). This is responsible for the improved continuous shooting speed.
• 4k video

Probably the biggest among these changes is the added 4K video, as many reviewers lamented its lack of inclusion in the T7i. But the T8i’s 4K video comes with a big qualification: Canon’s fantastic Dual Pixel autofocus, which performs extraordinarily well in Live View, won’t work. Instead, you must shoot at 1080p for access to Dual Pixel AF; otherwise, you’re stuck with contrast-detection AF, a system that’s historically much slower than its Dual Pixel counterpart.
In terms of image quality, we can expect something very similar to the T7i, which performed well but hardly managed to astonish. And while the 24-megapixel count is enough for most enthusiasts, I can’t help but wish Canon had pushed the T8i a bit further. We know that they can, having seen the 32.5 MP resolution capabilities produced by the APS-C Canon 90D.
As for speed, the extra frame per second probably won’t matter much to the average user of this camera. Either you’re doing more serious action work, in which case a frame-per-second more can be the difference between a failed shot and a nailed shot, or you’re an entry-level consumer or enthusiast in this camera’s target market, in which case the minor speed upgrade doesn’t matter much.
While the Canon Rebel T8i doesn’t yet have a release date, the camera should drop for $900 (including an 18-55mm kit lens), or $750 USD (body only).
So what do you think of the new Canon Rebel T8i/850D? Are you satisfied? Were you hoping for something more? Or do you want Canon to focus entirely on mirrorless? Share your thoughts in the comments!

Does the Camera Matter? SLR versus Mirrorless versus Smartphone

By: Andrew S. Gibson  

When our wonderful editor Darlene asked me to write an article comparing camera types my first thought was to show you a series of photos just like the following, and ask you to guess which ones were taken, with which cameras. It’s a fun idea, so let’s do it.
This is the list of cameras.
1. Olympus D345 (5 megapixel compact, purchased 2006)
2. EOS Digital Rebel XT (8 megapixels APS-C dSLR, purchased 2006)
3. EOS 40D (10 megapixel APS-C dSLR, purchased 2007)
4. EOS 5D Mark II (21 megapixel full-frame dSLR, purchased 2010)
5. iPhone 5
6. Fujifilm X-T1 (16 megapixel APS-C mirrorless, purchased 2014)
Here are the photos:






How did you do? Here are the answers.
A. EOS 5D Mark II
B. Olympus D345
C. Fujifilm X-T1
D. EOS 40D
E. EOS Digital Rebel XT
F. iPhone 5
Now, this isn’t a fair comparison, for several reasons. One is that these photos are reproduced here at 750 pixels wide. You really need to see them uncropped to appreciate the difference in quality and size (for example, the photo taken with the 5D Mark II is four times the size of the one taken with the Olympus D345).
Also, these photos don’t tell you much about the dynamic range capability of each camera, or how well they perform at high ISO settings. The Olympus D345 doesn’t even have a high ISO setting – all photos are taken at a fixed ISO of 50 (something I didn’t realize until after I bought it).
Then there’s the variable of lens choice, which also affects image quality, plus post-processing (clarity and sharpness adjustments in particular can make a big difference to the apparent sharpness of an image).
All this exercise does, is tell you that if all you want to do is post photos online, then just about any camera will suffice. John Lennon is quoted (probably apocryphally) as saying:

“When I went to school, they asked me what I wanted to be when I grew up. I wrote down ‘happy’. They told me I didn’t understand the assignment, and I told them they didn’t understand life.”

To paraphrase, anybody who asks what camera you took a photo with probably doesn’t understand photography. Okay, that’s a bit harsh, but it’s a question that misses the point. Nobody who matters cares what camera you you used to take the photo.
If you submit a photo to a magazine, a photography competition, or a gallery, unless there’s a specific reason they need to know (good luck sending a photo taken with a Canon camera to Nikon Photo magazine) they don’t care.
All that matters is the strength of the photo – did you capture an interesting subject? Is the composition strong? Is the lighting beautiful? Does your photo move people, inspire emotion? None of this has anything to do with the camera, and everything to do with the photographer.
So, why do we have this endless discussion about cameras? Well, for most of us photography is a hobby and discussing gear and lenses is all part of the fun.
But sometimes the discussion is more purposeful. Cameras are tools, and good photographers learn to either adapt to the tool at hand, or choose the best one for the job. The question is not what camera is best, but which camera is best for you, and the purpose you have in mind. Discussions about what cameras are best for what subject can go on a long time!
So, bearing in mind I’ve been asked to write about SLRs vs mirrorless cameras vs smartphone cameras, let’s take a look at which each of these tools does.

The Digital SLR

SLR cameras replaced rangefinders sometime in the 1960’s, as the camera style of choice for most photographers. The main advantages of SLRs is that, unlike rangefinders, the viewfinder shows you exactly what the lens sees (or 95% or so, of it anyway).
Until about six years ago the digital SLR was the undisputed king of 35mm and crop sensor camera designs. You get an optical viewfinder that shows you what the lens sees, no matter which lens you use on the camera, and fast and reasonably accurate autofocus in an ergonomic body. Sizes range from small (such as the EOS 100D/Rebel SL1) to massive (the Nikon D5) and the specifications range from entry level, to high-performance professional.
Where digital SLRs excel (high-end ones at least) is with autofocus tracking of moving objects. That, plus the wide range of available super-telephoto lenses, makes them the camera of choice for most professional sport and nature photographers.

Digital SLRs are good for capturing photos of fast moving subjects like this knight on horseback.

The Smartphone

Apple more or less invented the modern smartphone with its first iPhone back in 2007. Since then smartphones and their cameras have improved immensely. The appeal of the smartphone camera is fairly obvious – most people carry their phone just about everywhere.
An antidote to the large, heavy SLR, smartphones bring a degree of freedom that photographers hadn’t experienced before. When I asked a friend once how she was going with her EOS 40D (she bought one about the same time as me) she replied that she was “sick of lugging that thing about” and just used her iPhone now.
Throw in apps like Instagram and Snapseed, and the ability to share photos instantly, and you can see why smartphone cameras are popular. If you’ve seen Apple’s iPhone posters you’ll also know they are capable of creating insanely good images in the right hands.

The Mirrorless Camera

The mirrorless camera fills the gap between smartphone and digital SLR that was previously occupied by high end compacts. The best mirrorless cameras have the lens choice, image quality, and functionality of professional digital SLRs in a lighter, cheaper, and smaller body. The biggest difference between the two, in terms of performance, is accurate autofocus tracking of moving subjects, and the gap is getting smaller (whether it will ever be reduced to zero is something we will see in the future).
Mirrorless cameras appeal to photographers who want high performance cameras in a small body. They are great for street and travel photographers.

Mirrorless cameras are great for street and travel photography, helping you take photos like this.

So, here’s my answer to the question “Does the camera matter?” No it doesn’t. Most people don’t care what camera you took a photo with. You may be curious – for example, if you see someone creating beautiful landscape photos, it’s natural to wonder if buying the same camera and lens will help you do so as well (the answer is that it may help, but it probably won’t – you’d be better off asking how they mastered their craft and how hard they work to get their images). But ultimately, nobody cares. They only care about the photo.
Should you care what camera you use? Yes, you should, because it is your job as photographer to make sure your tools are up to the job at hand. You need a camera that suits you and your way of working, that fits into your budget, and has all the features you need for the types of photography you do.
Agree? Disagree? Let us know in the comments!

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Editor’s Note: This is one of a series of articles this week that are Open for Discussion. We want to get the conversation going, hear your voice and opinions, and talk about some possibly controversial topics in photography.
Give us your thoughts below.

10 of the Best iPhone Photographers [by Photo Style and Genre]

The iPhone has revolutionised the ability to shoot, edit and share your photographs on one device. For many photographers, both amateur and professional, this integrated process has given them the freedom to experiment both within and across photographic styles.
To show you what’s possible with the iPhone, we’ve put together a showcase of talented photographers who use the iPhone as part of their photographic process. The photographers are from all corners of the world and span different styles including: landscape, portraiture (self and street), nature and wildlife, architecture, travel, street photography (colour and black and white), conceptual and documentary.
Four of the photographers shown below (Robert-Paul Jansen, AikBeng Chia, Oliver Lang and Benedicte Guillon) are featured in our new iPhone Photography eBook. If you are interested in understanding not on the shooting and editing techniques, but also the motivation behind using an iPhone for photography – then the book is for you.

Portraiture – Jim Darling

Since picking up his very first camera over 25 years ago, Jim Darling has been drawn to the faces and stories of people he meets. According to Darling, “using just the iPhone and any number of great photography apps, the stranger/street portrait enters a whole new level. I love the spontaneity and the quick relationship that exists between me and the subject.”

Bill

Bryan and Ola

Teri

More of Jim Darling’s work can be found on his website.

Landscape – Robert-Paul Jansen

Robert-Paul Jansen is a Dutch photographer who uses an iPhone to take magical landscape photographs in the countryside around his home in the small village of Gemonde. Jansen started shooting on his iPhone because of convenience “the camera I always have in my pocket has shown me more small miracles, more tiny details, than I ever thought possible.”

There where fairies live

Swamped

No need to look further for love

You can find more of Jansen’s photography on his website.

Travel Photography – Benedicte Guillon (Paris, France)

Benedicte Guillon is masterful in her use of natural light to paint unique scenes, whether travelling the world or at home in Paris. According to Guillon, she uses an iPhone as part of her photographic process when travelling because it “allows me to feel my very first impressions when I arrive in a new place. The fact that it is the most compact camera I have makes me feel more comfortable shooting with it during the first days. I’m able to start exploring the area in a way that helps me to learn about people and the way they live.”

Eyep, Istanbul

Kadikoy, Istanbul

Essaouira Station, Morocco

More of Benedicte Guillon’s work can be found on her website.

Nature and Wildlife – Kaisa and Stanley Breeden

Kaisa and Stanley Breeden, based in tropical far-north Queensland, Australia, are usually known for their incredibly detailed focus stacking photography, as seen in their books Wildflower Country and Rainforest Country.  They have recently branched out into iPhoneography, inspired by the way the device and its many photography apps encourage people to look differently at the world around them.

Carpet Python

Gristle Fern

Docuna Rubropicta

More of Stanley and Kaisa Breeden’s work can be found on their website.

Conceptual – Richard ‘Koci’ Hernandez

Richard “Koci” Hernandez is a national Emmy® award-winning video and multimedia producer who worked as a photographer at the San Jose Mercury News for 15 years. In 2007 after taking his first mobile photograph, he was hooked on the medium’s potential and immediacy, “not only is it the camera in my hand, but it’s the printing press in my pocket and more importantly, with the rise of social networks like Instagram, it’s become my satellite dish in order to instantly transmit, globally. I can share my vision at the touch of a button and receive instant feedback”.

We shape our buildings; thereafter they shape us. Winston Churchill

Everything that we see is a shadow cast by that which we do not see. Martin Luther King Jr.

Depth must be hidden. Where? On the surface. Hugo von Hofmannsthal

More of Koci’s photography is available on his Flickr.

Colour Street Photography – Oliver Lang

Oliver Lang is a Sydney based street photographer. He shoots with a mobile phone for the convenience and connectivity.  He is also interested in participatory photography and the innovations that the connected culture of mobile photography is driving.

Hiding from the light, Market St, Sydney

Floating, Park Street, Sydney

Newtown, Sydney

You can find more of Oliver Lang’s work on his website.

Black and white street photography – Greg Schmigel

Greg Schmigel is not an iPhoneographer, rather a street photographer who happens to use an iPhone as his main camera of choice. Schmigel is inspired by a variety of photographers, both old and new, including: Garry Winogrand, Vivian Maier, Jules Aarons, Tim Cadman and many more. Schmigel was born in Worcester, Massachusetts, in 1969, but has spent the majority of his life in and around the Washington, DC, Metropolitan area.

The Conversation

Pale Beauty

The Old Rabbi and his Keeper

You can find more of Greg Schmigel’s photography on his website.

Self-Portraiture – Klaudia Cechini

Klaudia Cechini is a Polish photographer who uses her iPhone for self-portraiture. Her images are often self-reflective; a visual expression of a personal emotion or feeling. Cechini notes that “It is about catching every day moments which fail to be expressed adequately by words”.

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More of Klaudia Cechini’s self-portraits can be found on her Flickr.

AikBeng Chia – Documentary

AikBeng Chia wanders the Singapore back streets at all hours of the day and night looking for interesting people, traditions, and stories. According to Chia, he uses his iPhone as part of his documentary photography because “it phone helps your subject to be at ease with you. Most of the people I meet are amazed and curious that I use such a small device to capture photos instead of a DSLR or a rangefinder”.
Here are three images from AikBeng Chia’s “Will you still love me tomorrow” series about the dying art of Chinese Street Opera in Singapore.



You can find more information on this series in this blog post. For more of AikBeng Chia’s photographs, visit his website.

Architecture – Dan Cole

Dan Cole is a Seattle-area photographer who is using his iPhone to take architectural photographs, which he shares on Instagram to his over 100,000 followers.
Dan was educated at the Art Institute of Seattle and University of Washington, and has worked as an artist in the game industry for over 14 years. He has been pursuing photography since 2005, and has been an engaged member of the Instagram community since October of 2010.

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You can find more of Dan Cole’s images on his website.
Are you taking photos with your iPhone as part of your photographic journey? We’d love you to share your photos in the comments below.


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$7.99   Get your copy here: https://amzn.to/3b76mGJ

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