SLR Cameras

PHOTOgraphic Magazine's editors call the 35mm autofocus single-lens reflex (SLR) camera "the most versatile camera type available today." You can find a high-quality lens for almost any purpose, from room interiors to close-ups of birds in distant trees, not to mention slides for jury submissions, beautiful portraits with blurred backgrounds and action shots of sports and children at play. You can shoot in bright sunlight or in absolute darkness. Best of all, there are film SLRs suitable for pros—portrait and wedding photographers, wildlife journalists, news journalists, and more, but also for family and student use—at a very broad price range.

Slide film remains the most accurate way to test lens quality and to record colors, while print film is available in a dizzying array of types for different color effects and lighting. Even photographers who've added digital SLRs to their repertoire still use film for many purposes. You can scan a slide or print to convert it to digital for less money than converting a digital image to a slide; it's easier to have the best of both worlds if you start with film.

Reviewers note that Canon tends to bring new improvements and technology to the less expensive models first, while Nikon innovates more with the pro models. This contributes, perhaps, to the idea that Nikon is a "professional's brand" used by news and other pro photographers, while Canon is for hobbyists. However, experts consider both brands equal in quality, both for camera bodies and lenses. Since Canon EOS lenses only fit EOS bodies, and Nikon lenses only fit Nikon cameras (with possible exceptions), choosing a first SLR camera can have long-term consequences as you collect more and more lenses. Each brand has its special strengths, so we'll use information we gleaned from experts to help you make the choice that's best for your specific desires.

Canon versus Nikon

As mentioned earlier, most serious SLR buffs decide to build either a Canon or Nikon system of lenses plus one or more camera bodies. We found several good articles explaining the relative strengths of each brand.

Philip Greenspun, in an article at Photo.net, recommends Nikon for eyeglass wearers, because their viewfinders usually have eyecups and better eye relief, a longer comfortable distance between eye and viewfinder, for seeing the entire image field. On the other hand, newer Canon models usually have a wider range of built-in diopter correction, adjusting the focus of the viewfinder to match your eyesight. Some eyeglass wearers will be able to use diopter correction instead of wearing glasses while shooting photos. So comparing viewfinders is an important test to do in person when examining SLR cameras.

Comparing the two systems of lenses—both of which are very extensive, with at least forty lenses each—Greenspun rates the Nikon lenses superior for macro and wide-angle lenses. Canon is better, he says, for long image-stabilized telephoto lenses and perspective-correcting shift-tilt wide-angle lenses. If you already know your main photographic interests, this may tell you which brand to choose.

Other reviews note that Nikon cameras usually focus much better in dimmer light than Canons. Canon, on the other hand, offers mirror lockup (to minimize camera vibration that can blur shots) on even mid-range models. Canon also offers depth-of-field preview—for making sure the subject will be sharp front to back—even on entry-level models. Many find Canon better for people with limited budgets, because basic features like this are available on lower-priced models.

Since it's easy to agonize over comparisons between brands and models, it may help to remember that it's not the equipment that really matters. In his article on how to choose a 35mm SLR, experienced amateur Ken Rockwell states emphatically that picture quality is in no way dependent on your camera or lens. He notes in a separate article that about 90 percent of the photos that win awards are taken with a very ordinary SLR and 50mm "normal" lens—nothing fancy. It's good to be reminded that it's your eye and the skill you develop with practice that makes the picture. So in the end, the overall feel of the camera in your hands may be more important than any features we can describe here.

Entry-level SLRs

At the budget level, we found excellent reviews for three SLRs. Among the reviews covering budget models, far more reviewers (six in all) recommend the popular Canon EOS Rebel K2 ( *est. $135 body only , *est. $200 with zoom lens ), a newer version of the Rebel G and GII models. The Canon kit lens is the Canon 28-90mm f/4-5.6 II, which covers the focal lengths most often needed; 28mm for wide-angle views of room interiors, for example, and 80-90mm for portraits and wildlife photography.

The f/4-5.6 means that the maximum opening at the wide-angle end is F4—not letting in as much light as, say, F1.8, but not unusual in a zoom lens—and letting in even less light at F5.6 at the longest focal length of 90mm. To use the full range of the K2's ability to focus in dim light, however, you'd probably want a lens with a maximum opening of F1.4 (*est. $310) . Since this lens costs quite a bit more than the camera body, the ability to focus in dim light is probably a moot point. If you intend to do much photography at dawn, twilight, or at night, you'll probably want a more expensive model.

Costing only slightly more than the older Rebel GII (*est. $110 body only , *est. $250 with lens ), the Rebel K2 offers several important improvements. The kit lens zooms to 90mm instead of only 80mm, significant not only for the extra closeups available, but because the "sweet spot" on a zoom lens is usually not found at either extreme. In other words, pictures shot at 80mm on a 90mm lens are more apt to be sharper and free of distortions, than pictures shot at 80mm when that's at the very end of the zoom options.

Also, the K2 automatically switches to continuous shooting when a subject moves, and has seven autofocus (AF) points rather than three. The active AF point glows red so you can tell which part of the image will be in sharpest focus. It can focus in dimmer light than the Rebel GII, as well—at EV 1 rather than 2. (EV is a standardized measurement of the light available, with lower numbers meaning dimmer light.) But as we've seen, to take advantage of this would require buying an expensive lens.

The Rebel K2 can shoot slightly faster, too, at 1.5 frames per second (fps) rather than 1 fps, and exposure metering uses 35 zones rather than 6—quite a significant improvement. There's a large LCD display screen on the back of the K2 that shows you the settings you've selected. Although the built-in flash has been improved to prevent red-eye, a hot shoe on top of the camera accepts an external flash, which can be controlled by the camera. The camera body is mainly plastic (common for budget cameras). Controls can all be reached with one hand, so your free hand can be used to steady the camera.

The K2 also offers automatic exposure bracketing. Bracketing is a way to hedge your exposure bets by taking photos "bracketed on either side" of the metered exposure—letting in slightly more light in case that's a better exposure, as well as letting in slightly less. It's a kind of exposure insurance, to make sure you get the shot. In addition to manual and full automatic exposure settings, the K2 offers five scene modes: Portrait, landscape, close-up, sports and night scene. These are settings "short cuts" which help you pick the right exposure parameters.

Nikon now makes a comparable budget model, the Nikon N55 or F55 (*est. $200 sold only with kit lens) —their least expensive and smallest, lightest model, weighing only half an ounce more than the Canon Rebel K2. (Nikon models are sometimes labeled both N and F, with the F applied to the same model when sold in Europe.) A 2002 review in Popular Photography praises the N55's controls, balance and overall feel, saying that it compares well to Nikon's former flagship, the F5 (*est. $2000).

The Nikon N55 is mostly comparable to the Canon Rebel K2, but there are a few significant differences. The kit lens is the 28-80mm f/3.3-5.6 G-AF, not as long as the Canon kit lens, but with more light-gathering capacity and a maximum aperture of F3.3 at the wide-angle end. For manual focus or taking pictures in dim light, that could matter. The continuous shooting speed is the same—1.5 fps, with automatic shift to continuous shooting if the subject moves. The five Nikon scene modes are like those of the Canon K2, except that the sports mode is for continuous shooting rather than one shot at a time.

However, the Nikon autofocus uses only three sensors compared with the seven on the Canon. Exposure metering uses only five zones rather than the Canon's thirty-five, which should give the Canon quite an advantage. You can also choose, on the Canon, to set the exposure for a desired depth of field—especially useful for portraits and slides of 3D objects. On the other hand, the Nikon offers a wider range of built-in diopter correction to compensate for eyesight variations. This is much more convenient than having to buy a replacement diopter lens with a set focus, as you'd need to do on the Rebel K2 unless its preset correction happens to fit your eyesight.

A third option is the Konica Minolta Maxxum 50 (*est. $90 body only , *est. $165 with lens ). At this bargain price, the Minolta comes with an even better lens, the 28-100mm f/3.5-5.6 AF-D, with both a longer maximum focal length of 100mm, and a maximum F3.5 opening at the wide-angle end, close to that of the Nikon kit lens. It also comes with a built-in date feature—adding the date to the negative. A recent review in PHOTOgraphic Magazine says, "Despite the rock-bottom price, it's got lots of features, and good performance." It has five preset scene modes as well as the basic exposure settings, automatic exposure bracketing and three-point autofocus. It also has "predictive focus control" so the camera tracks a moving subject, keeping it in focus till you're ready to shoot. You can also operate it with an infrared remote control.

You can also select any of the three focus spots, not just the center spot, for focusing on off-center subjects—a feature the budget Canon and Nikon models lack. Also better than the Canon and Nikon models is the TTL exposure compensation for an external flash unit. When the camera is mounted on a tripod or other stable surface, you can operate it with an optional infrared remote control (*est. $20). This eliminates the natural camera vibration caused by depressing the shutter button to take a picture—which can blur a picture. The IR remote is also useful for self-timer shots.

The Minolta can focus in dimmer light, as well—down to EV-1. On the other hand, the exposure meter is only based on two zones, compared with five on the Nikon and thirty-five on the Canon. This won't matter much for still-life photos if you learn to set exposure yourself, perhaps with the aid of an exposure meter.

If you think you'll be moving into photography as a serious hobby or even a profession, then experts say the Canon or Nikon models are a better choice. Minolta does offer additional lenses, but their prices are comparable to those of Canon and Nikon, with fewer options available for purchase, and far fewer to rent for special events. Also, it's easier to upgrade gradually in the Canon and Nikon lines, now that Minolta has discontinued its mid-range model, the Maxxum 7. Canon makes it easiest, because all the EOS lenses fit on their full range of models, while not all Nikon lenses fit on the N55. In addition to the overwhelming popularity of the Canon Rebel models, that's another reason we include the Rebel K2 in ConsumerSearch Fast Answers.

A bit beyond entry-level: Canon

If you can afford a bit more, there are better entry-level models. Again, the overwhelming favorite is a Canon—with another new model, the Rebel T2 ( *est. $190 body only , *est. $260 with zoom lens ). Offering improvements over the popular Rebel Ti ( *est. $200 body only , (*est. $250) with lens ), the kit version of the Rebel T2 comes with a Canon 28-90mm f/4-5.6 EF III lens. In a January, 2005 review for Shutterbug.net; Peter Burian calls the Rebel T2 "a best-value SLR that will keep the Rebel series the most popular in 35mm photography." Burian praises several improvements the T2 makes over the Rebel Ti—it's faster at 3 fps (2.8 in continuous shooting) and has more convenient controls, more autofocus mode options, superior autofocus tracking speed and improved flash metering with the new E-TTL II system—useful for photographing dark-toned or highly reflective subjects. (Jewelers and artists working with metal or ceramics, take note.)

Other experts agree that if you can afford it, the Rebel T2 is also a significant upgrade from the less expensive K2. The lens mount is stainless steel for more durability. (One K2 user says he cracked the entire camera body trying to mount a lens on it.) You can use a cable release with the T2, though it must be the Canon RS-60E3 (*est. $26). When the camera is mounted on a tripod, the cable release takes the picture instead of the shutter button, minimizing any vibration that could blur the shot.

The T2 has illuminated, user selectable autofocus points. The T2 has a slightly more powerful built-in flash, and it can also synchronize exposures using an external Speedlite flash—especially useful for portraits. There's a focus-assist light to help the camera focus in dim light. For catching moving subjects in action, the shutter speed can be as fast as 1/4000 second, compared with 1/2000 second for the K2). Unusual for an entry-level model, the T2 offers six user-selectable custom functions.

The Rebel T2 has an orientation sensor that adjusts settings when you turn the camera vertically, a shutter lock that prevents shooting if there's no film or lens, plus an anti-shake warning if the shutter speed is too slow for hand-held photography. There's a larger diopter correction range on the T2. The Rebel T2 is a bit heavier than the K2—12.9 ounces compared with 12 ounces for the K2—but still plenty lightweight enough for travel.

Unusual in an entry-level model, The Rebel T2 also offers depth of field (DOF) preview. Controlling depth of field is a key to beautiful portraits and wildlife shots, keeping the subject in sharp focus against a blurred background. With DOF preview, you can make sure, before taking the shot, that the parts of the image you want in focus are sharp, while the parts you want blurry are in fact blurred. This feature is also important for photography students and anyone interested in pursuing photography as a serious hobby—also for anyone doing product or other still life shots.

A bit beyond entry-level: Nikon, Konica Minolta, Pentax and Sigma

The equivalent Nikon model is the N75 ( *est. $180 body only , *est. $270 with lens ), with a Nikon kit lens 28-80mm f/3.3-5.6 G-AF. Like the Canon T2, it has DOF preview, but the Nikon has twelve custom settings compared with six on the Canon. Although the N75 shoots at the same 1.5 fps speed as the N55, it offers some significant upgrades. Instead of three autofocus sensors, the N75 has five. Instead of five metering segments as on the N55, the N75 has twenty-five, plus spot metering—which helps get good exposures on backlit subjects.

You can control the N75 with an IR remote control. You can choose from among three autofocus modes. The N75 also offers more flexibility than the N55 in the program or scene modes, and accepts a wider range of Nikon lenses. At 18.2 ounces, it weighs quite a bit more than the N55 and Canon K2 and T2 models, but it's still quite a bit lighter than the higher-end Nikons.

While slightly more reviews recommend the Canon Rebel T2 as the best entry-level SLR, the Konica Minolta Maxxum 70 (*est. $150 body only , *est. $200 with lens ), like the Nikon 75, is a close competitor. The Maxxum 70 costs less than either the Canon or Nikon, and like the Maxxum 50, comes with a lens that has a longer telephoto zoom, 28-100mm f/3.5-5.6 AF-D. For the most part, its features are comparable to those of the Canon Rebel T2 and Nikon N75, though it lacks some of the convenience features of the Canon.

The Maxxum 70 is as fast as the Canon Rebel T2, shooting up to 3 fps, and like the Nikon, it has an optional IR remote control, the RC-3 (*est. $20). The maximum shutter speed of 1/2000 second is slower than the T2's 1/4000 second, and the Maxxum 70 has only fourteen metering segments compared to the T2's thirty-five.

The Maxxum 70 makes it easy to fine-tune focus, because when using Minolta D-series lenses, you can stay in an autofocus mode but still fine-tune the focus manually. The Maxxum 70 has fifteen custom functions, and you can control extra flash units wirelessly. A review in PHOTOgraphic Magazine says the camera is easier to use than its predecessor, the Maxxum 5, and feels better in the hands. It weighs 1.2 ounces. This is more than the Canon T2, but less than the Nikon N75. As with the budget models discussed above, experts recommend choosing a Canon or Nikon if you plan to do more serious photography.

In this price range, Pentax and Sigma also enter the arena. Pentax offers its Pentax ZX-L ( *est. $220 body only , *est. $300 with lens), while Sigma, known more for its inexpensive lenses, makes the SA-7 (*est. $180 body only, $350 with two zoom lenses). Pentax makes lenses that are usually less expensive than the corresponding lenses by Nikon and Canon, so students and hobbyists on limited budgets sometimes prefer to build 35mm systems with Pentax. A 50mm "fast" autofocus lens with a maximum aperture of F1.4 by Canon, for example, costs about $310, while the Pentax equivalent costs a hundred dollars less (and the Minolta equivalent is around $250). Sigma, on the other hand, doesn't make a regular 50mm lens, there's only a 50mm macro lens.

A "fast" lens enables you to use a faster shutter speed, because the lens lets in so much light, with a maximum aperture labeled 1.4 instead of 1.8. The lower the F-stop number, the more light the lens lets in. For most users, F1.8 is fine, but since a lens is usually sharpest one or two stops below its maximum aperture, experts prefer F1.4 lenses for the sharpest possible images. Even though at this budget price range, you're not apt to be buying such expensive lenses, it's a good idea to be aware of what you might want in the future.

The Pentax ZX-L can focus in light as dim as EV-1, and its F1.4 lens (*est. $210) is inexpensive enough to make this practical. Its exposure meter uses six zones, fewer than even on the Minolta Maxxum 70, but its six autofocus points are in line with the competition. The Pentax has built-in diopter correction, and like the others, permits multiple exposures of the same frame. Its maximum speed is 2 fps; it weights 13.6 ounces—a bit more than the Canon Rebel T2 and Minolta Maxxum 70, but less than the Nikon N75.

Pentax has another entry-level model in the same price range, the ZX-M (*est. $160 body only, *est. $220 with lens) but this is a manual focus model. It's especially popular with photography students, since it's compatible with all the older Pentax manual lenses, which are often available at bargain prices. As we've seen, new Pentax lenses are relatively inexpensive.

Although it doesn't take multiple exposures and lacks a built-in flash or a full range of diopter adjustments, the ZX-M does have DOF preview. And at 10.7 ounces, it's one of the lightest SLR cameras made. Unless you have very good eyesight, however, and plan to take pictures where there's plenty of light so you can see to focus, experts say there will be times when you'll prefer to have the option of using autofocus. Also, as photographers age, manual focusing can become more difficult because of changes in eyesight.

A review in PHOTOgraphic Magazine calls the Sigma SA-7 ( *est. $180 body only, *est. $350 with lenses) "ideal for the serious shooter on a tight budget." The SA-7 is unusual in that the kit version comes with not just one, but two zoom lenses. It's also the only entry-level camera to offer not only DOF preview, but mirror lockup as well. Mirror lockup is a valuable feature when used on a tripod, because it eliminates any blur caused by internal camera vibration due to the mirror moving out of the way.

The Sigma SA-7 has eight exposure-metering segments, more than the Pentax ZX-L but fewer than the other entry-level cameras. It's hard to compare its autofocus sensor with that of the other models, because it's simply described as a "cross-type"—but it seems likely that the other models have an edge. With a film-advance speed of 1.5 to 2 fps, it's slower than all but the Nikon N75. At 13.9 ounces, it's heavier than all but the Nikon N75, too.

In summary, Canon still holds the leading edge at this price point, but for eyeglass wearers and others who might prefer Nikon, the N75 is also a good choice. As an all-around family camera, or for ease of manual use, the Minolta Maxxum 70 is very well recommended in reviews, with the kit available at a bargain price. For students and hobbyists wanting to build a 35mm lens system at the lowest possible price, the Pentax models are an even better bargain in the long run. The Sigma is another bargain choice, especially if you need mirror lockup at this price level. So as usual, selecting the best camera depends on your budget, needs and plans for future photography.

Mid-range models are the "sweet spot" of SLR cameras

If you can afford it, experts say this is the best place to start, because you get so much for your money. The camera bodies are metal instead of plastic, which is more durable in the long run. Many reviewers say that the best cameras in this price range will serve just about any purpose, from student and family use to daily professional photography.

The Canon EOS Elan 7N/NE ( *est. $300 body only, *est. $430 with lens ) is definitely the reviewers' favorite in a mid-range model, with the Nikon N80 ( *est. $340 body only , *est. $400 with lens) also getting plenty of positive reviews. The Pentax *ist ( body only, *est. $350 with lens) is a highly recommended bargain choice. By the time you're buying a camera in this price range, it's pretty important to decide which system of 35mm lenses you're going to build.

The two Canon Elan 7 models, the 7N and 7NE, differ only in that the 7NE has a sophisticated eye-control feature. This means that you can train the camera to follow the direction your eye takes, to set the main focal point. A safe infrared beam monitors your corneal movements to calculate exactly what you're looking at. A December 2004 review in Popular Photography recommends the Canon 7NE as the best mid-level SLR, saying its eye-control focus works better than on previous models. Users vary in how well this feature works.

The Elan 7N models are faster than the Rebel T2, advancing film at 4 fps instead of 3 fps, with faster autofocus as well. They have both mirror lockup and DOF preview. Although the Elan 7 models have a built-in flash, Canon recommends using the Speedlite 420EX (*est. $180) for even better results.

The viewfinder shows 92 percent of the final image. The backlit LCD is easy to read. You can rewind the film silently. The viewfinders offer 19.5mm of eye relief—more than the 18mm usually recommended as a requirement for eyeglass wearers. Thirteen custom functions are available. These extra features—plus the metal body—add quite a bit more weight—20.3 ounces compared with 12.9 for the Canon T2.

The mid-range Nikon model is the N80 ( *est. $340 body only , *est. $400 with lens ). Photographer Philip Greenspun, reviewing it for Photo.net, calls the N80 "all the camera that 99 percent of people need, 99 percent of the time." The Nikon N80 boasts pro features like spot metering, but is still compact and light. The only reasons Greenspun believes you'd need a more expensive model would be for weatherproofing, mirror lockup and/or for the luxurious viewfinder on Nikon's pro model, the F100 (*est. $940, body only) which shows 100% of the image.

Sadly, the Nikon N80 does indeed lack mirror lockup—another example of Canon's providing higher-end features at lower price points. The N80 does offer some upgrades compared with the N75, although it has fewer exposure metering segments—ten compared with the 25 on the N75. Flash speed is quicker, though—1/4000 second compared with 1/2000 on the N75, and action shots are better, with a 2.5 fps film advance. An autofocus lock keeps the focus on the subject even if an object should temporarily move between the camera and the subject. Autofocus tracking stays with a moving subject.

The Nikon N80 focuses much better in dim light—down to EV -1, while the Canon Elan 7N models focus only to EV 1. That's a two-exposure-stop difference, which can be very important if you want to take photos at dawn or twilight, and certainly important if night photography matters to you. It can also make a difference in studio work, because you can focus better at higher F-stops without bright supplemental lighting.

You can impose grid lines on the viewfinder to assist with composing images with level horizons, and the N80 offers eighteen custom settings. Although an IR remote control is not an option, the camera does accept a standard cable release. Either option is effective in minimizing the camera vibration caused by using the shutter button to take the picture, but an IR control is handier for use with a self-timer. The N80 weighs 18.2 ounces, less than the Canon Elan 7N.

The Pentax *ist (*est. $300 body only, *est. $350 with lens) is only recommended in one of the reviews we found, the December 2004 review at Popular Photography. However, PHOTOgraphic describes it as "a remarkable device that packs plenty of performance and features into the smallest AF 35mm SLR body ever." Weighing only 11.8 ounces, its size and weight could be a significant advantage if you want an SLR with advanced features to take on trips or even to carry with you all the time. Like most Pentax SLRs, it takes the full range of inexpensive Pentax lenses, giving it a significant cost advantage over Canon and Nikon.

It has eleven autofocus sensors, spot metering as well as center-weighted metering, sixteen-segment metering and built-in diopter correction. It has mirror lockup as one of its seventeen custom functions. Shutter speed is fast at 1/4000 second, and film advance is 2.5 fps. So the Pentax is not ideal for shooting sports.

Again the Sigma offers "lots of bang for the bucks," according to editors at PHOTOgraphic Magazine. The mid-range Sigma SA-9 (*est. $300 body only, *est. $400 with two zoom lenses) is a bargain when bought as a two-lens kit. With 28-80mm and 70-300mm Sigma lenses, the extra long telephoto is ideal for wildlife photos, but short enough at the 70-100mm end to do great portraits of people as well. Maximum shutter speed is 1/8000, faster than its competitors, and film advance is a respectable 3 fps. Exposure metering is based on eight segments (as well as a center area option), while the Canon Elan 7N uses only seven. The DOF preview is controlled with a convenient button, but mirror lockup requires using the optional remote control, the Sigma RS-21 (*est. $24). This is actually a clever way to set it up, since when using mirror lockup you'd want to use the remote control as well. The SA-9 weighs 15.3 ounces—more than the Pentax *ist, but less than the Canon and Nikon mid-range cameras.

Pro models

For weatherproofing and heavy-duty use, reviewers consistently give the Nikon F-100 (*est. $940, body only) top rank. It's the Nikon "pro" model, although experts note that many professional photographers do fine with mid-range cameras. The F100 finally offers Nikon buffs a depth-of-field preview. It also offers a luxurious 100% view of the image in the viewfinder—a rare feature among SLRs. Also, the F100 is faster, not only offering 4.5 fps continuous shooting, but the option of silent continuous shooting, albeit at only 3 fps.

The F100 offers the option of interchangeable focusing screens. This is useful in case your eyes do better with one screen than another for manual focusing. Specialized focusing screens are also available for activities like astrophotography.

Spot metering is extremely precise, and can be linked to any of five focus points, each of which has cross-hairs. You can download shooting data directly from the F100 to a PC, which could simplify record keeping. The shooting data is important for improving future shots, too, but most photographers have to keep these records on paper. You can power the F100, too, with AA batteries if you're somewhere where lithium batteries aren't available. It's easy to see why news journalists and travel photographers might prefer this camera.

At the pro level, SLR cameras don't have a built-in flash, so you'll probably want to carry an external speedlight to mount on the hotshoe. The F100 also lacks mirror lockup. Thirdly, even with magnesium alloy construction, the F100 weighs almost two pounds (27.7 ounces). That's a lot of extra weight, so reviewers recommend sticking with the N80 unless you absolutely require the extra features offered by the F100.

Canon's EOS 3 (*est. $875 body only) does have mirror lockup. It also has the weatherproofing and sturdy construction you'd expect in a pro model, though it lacks the magnesium body of the F100. Like the Elan 7NE, this Canon offers Eye Controlled Focus. The autofocus areas are expanded to forty-five, and you can choose more than one of the twenty-one metering zones for multi-spot metering. The EOS 3 focuses in dimmer light than the Elan 7N models, down to EV 0, but still not as far down as the Nikon F100, which like the N80, focuses down to EV -1. Maximum shutter speed matches that of the F100 at 1/8000 second. Unfortunately, its weight comes close to matching, at a hefty 27.5 ounces.

The Canon lacks the F100's interchangeable focusing screens. Also, the Canon's spot metering is not as precise, with the smallest area set 2.5% compared with the Nikon's 1%, but the Canon can also do multi-spot metering—on up to eight out of the twenty-one metering areas. Focusing in dim light isn't as good either, with the Canon focusing down to EV 0—at ISO 100 with a F1.4 lens, which is the standard (while rather impractical) measurement—while the F100 focuses down to EV -1. For some photographers, this apparently slight difference becomes very significant in choosing between the two. Also, the Canon requires a lithium battery—a small detail but one that could be important if you're in a part of the world where you can't find one.

On the plus side, the EOS 3 can use the top-of-the-line Speedlite 550EX (*est. $310) plus a wireless transmitter to control up to three flash groups. So you can really do studio portraits at a pro level. The F100 can do this too, according to its specifications, but does it via a PC.

That makes Canon a slightly better choice for studio use, with mirror lockup and easy control of extra flash units. With an optional power grip, it can even be faster than the F100 out in the field. But most reviews emphasize the sturdy magnesium build and go-anywhere grit of the F100, so our consensus chart gives the F100 top rank.

At the top of the line, the flagship models add just a few features without much additional weight. The Canon EOS 1V (*est. $1,650 body only) finally offers a 100% viewfinder, like the one on the F100, plus interchangeable focusing screens. Also as with the F100, you can download shooting data to a PC. The EOS 1V also has a magnesium body.

You can buy an optional Power Drive Booster PB-E2 (*est. $385) to boost continuous shooting speed to 10 fps. However, it's a better deal to initially buy the two together, in a model called the EOS 1V HS (*est. $1970). Another kit includes a grip for just ten dollars more.

Reviewers praise its shutter, which is rated much higher than previous EOS 1 models. At 150,000 shutter cycles (shutter cycles are how photographers measure the use of their cameras, similar to miles on a car) the 1V will have a long life. In their 2005 buyer's guide, editors at PHOTOgraphic call the EOS 1V a "working pro's delight" and "the best EOS film camera in terms of performance, ruggedness, and features." The editors note that its autofocus and metering systems benefit from a better microprocessor than previous EOS models, as well as from updated algorithms. In fact, editors at Popular Photography, which gave this Canon model five stars for capability, convenience, features and overall, said its autofocus system "is among the fastest and most accurate we've ever tested."

The central autofocusing sensor functions at apertures as small as F8, but the focusing range still only goes to EV 0, not a match for the Nikon that goes to EV -1 even in the mid-range N80. Also, on the EOS 1V you lose the optional eye-control focus found on the Elan 7NE. Furthermore, the EOS 1V weighs 33.3 ounces, 5.8 ounces more than the EOS 3.

While the Nikon F5 (*est. $2,000) has been Nikon's flagship model for several years, Nikon has now added the new F6 for only about fifty dollars more. The F6 has already won an award from the Technical Image Press Association, where the editors say, "It seemed unlikely that the world would see true innovation in a new analog SLR camera, but Nikon have managed to prove everyone wrong and pull it off!" The review calls the viewfinder exceptional, and the autofocus fast and responsive.

With the F6, metering zones have exploded from 10 to 1,005, and center-weighted metering is flexible in size. As on the F100, 1% spot metering is linkable to eleven focusing points. The autofocus system has been improved as well. Also, Nikon claims that the F6 is even more weatherproofed than its earlier models, and all the operations are extremely quiet. The same design features that make for quiet operation also minimize vibration, which can greatly assist in making images sharp. The F6 not only offers 41 custom settings, but a user-customized button. You can control a set of flash units from the F6 as well. There really seems to be no doubt that the F6 is now the most advanced film SLR available. The total weight (without lens) is over two pounds, at 34.4 ounces, slightly more than the top-of-the-line Canon, but probably worth it. With the F5 and F6, Nikon finally has mirror lockup. The only reason you might prefer the F5 is that you can buy different finders for it—so you could look down into the camera instead of holding it at eye level, for example.

Konica Minolta also has a flagship model, the Maxxum 9 (*est. $1,060 body only) but its features and price place it somewhere between the Canon and Nikon pro and flagship models—more expensive than their pro models, cheaper than their flagship cameras. The Minolta is probably only a best buy for people who've already assembled a collection of Minolta lenses.

A review at PHOTOgraphic notes that the Maxxum 9's body is die-cast stainless steel and zinc, well sealed against dust and moisture. At 32 ounces, it's a tad lighter than the Canon and Nikon top models. Like the entry-level Minolta, the flagship model has mirror lockup and focuses in light as dim as EV -1. You can use interchangeable focusing screens, but the focusing sensor only has three points with a crosshair center, and there are only 14 exposure metering zones. More important, the Minolta's top continuous speed is only 4.5 fps, with a maximum of 5.5 fps for single shots. This is far slower than the Canon and Nikon flagship models. The Minolta also lacks the 100% viewfinders found on both the Canon EOS 1V and the Nikon F100, F5, and F6.

Note that at this price range, especially, you may be better off buying a medium-format camera. See our Alternative Considerations section below for details.

Important Features: SLR Cameras

Here's what experts say to look for in a film SLR camera:

• Experts say that the overall feel of the camera in your hands is crucial. If at all possible, examine the models that interest you most before buying. Go through the motions of changing all the settings. Does the camera seem to fit your hands? Are the controls easy to reach? Ideally, you should be able to change settings in the dark.
  
  
• The retailer's return policy is important. A two-week examination period is typical, but some retailers offer only a week, or charge a restocking fee. Be sure not to open any software envelope if one is included, until you're sure you want to keep the camera, because most retailers will refuse to accept a return once any software has been opened.
  
  
• Hold out for US models, and avoid gray-market (imported) cameras no matter how tempting the price, because only the USA models will carry a warranty valid in the US. If you're in another country, the same principle applies—hold out for a model with a warranty valid where you live. You may also want to buy an extended warranty.
  
  
• If you wear eyeglasses, eye relief, eyecup, and diopter adjustment are important. Be sure to compare models to see how well you can see through the viewfinder. Often, Nikon SLRs offer built-in soft rubber eyecups and higher eye relief—the distance between eye and lens at which you can see the whole image field—so they're often recommended more than Canon for eyeglass wearers. But this is best tested yourself.
  
• Look for a sturdy metal body. Plastic bodies are light, but tend to be fragile, and can't support heavier lenses. A chrome finish keeps your film cooler than a black one. Magnesium and aluminum bodies are usually found on the high-end models, along with weatherproofing.

• Top brands will offer plenty of lens options for future upgrades. One major reason to go with a Nikon or a Canon, even in a first SLR, is the quality and range of interchangeable lenses for rental or purchase. Experts recommend buying a kit with a Canon or Nikon lens, too—rather than a Quantaray lens or other less expensive zoom. The kit lens will still be a relatively low-end zoom lens, but most experts recommend buying a 50mm "normal" lens as well. If you're on a strict budget, you might consider a Pentax SLR, since a variety of lenses are available at lower prices, including a good selection of second-hand lenses.

• The more points, the more accurate the autofocus. Multipoint autofocus helps prevent the camera from keying on to an extraneous object in the foreground or background, rather than the subject of the photograph. Cross-hairs also improve autofocus. Spot autofocus (at the center of the viewfinder, or user-selectable) allows the option of precise control. The best cameras let you select the focus point you want sharpest, even when the camera is mounted on a tripod.

• For autofocus cameras, manual overrides give you more options. It's important to be able to switch to manual so you can choose your own settings. Nearly all allow you to do this to varying degrees, but vary in convenience. Be sure to check lenses too, since many autofocus lenses have narrow focusing rings that are inconvenient to use for manual focusing.
  
  
• Eye Control Focus, an option on the Canon EOS Elan 7NE and EOS 3 models, can be very convenient if it works for you. Be sure to choose a retailer with a long enough return policy to give yourself time to train the camera, so you can be sure you like this feature enough to pay the extra cost.
  
  
• Look for more exposure metering segments, for more accurate exposures over a wider range of lighting conditions. Experts say that improved metering is one of the main benefits of paying for a mid-range or pro model. If most of your photos will be simple outdoor shots in sunlight, this may not matter. But for portraits and studio shooting as well as low light or night shots, reviewers say the extra cost for better metering will be worth it. Spot metering is a big plus and high-end cameras let you pick more than one spot in the image field to emphasize in the exposure. The more flexible the metering, the better—at least for intermediate and advanced users. (You can always grow into a camera, too, gradually learning to take advantage of its advanced features.)

• For focusing in dim light, look for a low EV number like EV 0 or even EV -1. Nikon has the advantage over Canon on this score. Remember, too, that good autofocus can let you focus the camera in light where your own eyesight just isn't capable of it—one reason to choose an AF camera rather than a manual-only model.

• The more shutter speeds, the better. A broad range of available shutter speeds lets you capture the action or blur it for effect. A typical range is from 30 to 1/4000 seconds. For night shots, most SLRs also offer an unlimited shutter opening. Remember that for shutter speeds of 1/4 second or longer, you'll need a tripod.

• A built-in flash is convenient, though most professionals prefer a separate speedlight unit, which is farther from the lens and less likely to cause "red eye" in the image. It's also easier to add a diffuser to a speedlight, for portraits and for photographing shiny, reflective subjects. And speedlights offer much faster synchronization, useful for fill flash outdoors. But to use a speedlight, you'll want a model with built-in TTL exposure compensation for it.

• Faster electronic flash synch speed allows for a better balance between flash and ambient light. Faster top speeds allow better balance, especially when using "fill flash" to prevent silhouettes in backlit scenes. 1/125 second is typical, but faster is better. Most SLRs can synchronize at much faster speeds when used with a speedlight.

• For action shots, look for a high continuous shooting rate. With a motorized film drive, it is typically 2.5 to 4 frames per second (fps). The faster the better. This feature typically increases as you move to higher price ranges.
  
  
• For studio shots, look for a cable release or remote control, plus mirror lockup. Both minimize the vibration that can blur shots—especially important when doing closeups. For mirror lockup, Minolta and Canon have the advantage over Nikon, which doesn't offer it except on their most expensive models.
  
  
• Controlling extra flash units can also aid studio shots. The automatic exposure compensation can make this quite a valuable feature.
  
  
• For travel, consider weight and batteries. The easiest SLRs to carry are the Pentax models, with the Pentax *ist as a great travel choice. For travel to far-off areas where lithium batteries aren't available, the Nikon F100, F5, and F6 cameras can run on AA batteries. Many old manual models can work without any battery at all.
  
  
• Remember to budget for accessories. You'll want a case—probably more than one, since sometimes you'll only want to carry the camera with one lens, but other times you'll want a whole set of lenses. You'll soon want a tripod, cable release or remote control, and speedlight as well. You don't have to buy all these things at the start, but keep in mind that you'll probably develop a persistent longing for more or better photography equipment.
  
  
• Budget for upkeep. Most film buffs expect to send in a film SLR for a complete CLA—cleaning, lubrication, and adjustment—about once a year, finding this inconvenience and expense preferable to finding that the camera malfunctioned and important shots were lost forever. You'll be pleased to know, however, that one of the best ways to keep fungus from growing inside a lens is simply to use it—because exposing the entire lens to light deters fungus.
  
  
• Test each lens if at all possible. This is especially important with an inexpensive or secondhand lens, but even expensive lenses can vary in quality. Experts recommend testing a lens with at least one roll of slide film sent to a pro lab. (Print film and printing shows too much variation from the processing itself.) For resources see Best Research below.

Our Consensus Report shows how many times products are top-ranked by reviewers included in our
All The Reviews Reviewed chart.

# of Picks	Model (with Retailer Links)	Details from Amazon.com
10	Canon EOS Elan 7N/NE (*est. $430)	details
7	Nikon N80 (*est. $400)	details
6	Canon EOS Rebel K2 (*est. $200) (and predecessors, G, GII)	details
5	Konica Minolta Maxxum 7 (*est. $957) (discontinued)	details
4	Canon EOS 1V (*est. $1,650 body only)	details
4	Nikon F100 (*est. $940, body only)	details
4	Nikon N65 (*est. $200)	details
4	Konica Minolta Maxxum 70 (*est. $200) (& predecessor Maxxum 5)	details
3	Nikon FM3 (*est. $550) (& predecessor FM2)	-
2		details
2	Nikon 55 (*est. $200)	details
1 each	Konica Minolta Maxxum 9, Nikon F5, Pentax *ist , Pentax ZX-L (& predecessor ZX-30 ), Sigma A-9

More reviewers recommend the Canon EOS Elan 7N/NE than any other model, since it's a mid-range model with many advanced features for the price, with the mid-range Nikon N80 following. The Canon Rebel K2 is the most popular budget model, while the Nikon F100 is the most popular pro model. At the flagship level, the Nikon F6 is too new to be included in comparative reviews.

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