Camera Types

Format definitions (by film width, or shortest dimension on digital):

Tiny - Smaller than 16x24mm

Small - 24mm or smaller (ex. 24x36mm or 16x24mm)

Medium - 3-6cm (ex. 30x45mm or 6x7cm)

Large - 4" and up (ex. 4x5" or 8x10")

SLR (Single Lens Reflex)

Format: Small/Medium

Film? Yes. SLRs have been made for APS, 35mm, 120 and 220 film sizes

Digital? Yes, digital SLRs or dSLRs will have a progressive sensor rather than film

Defining Characteristics: SLRs are characterized by their viewing system. "Single Lens Reflex" refers to the fact that a mirror behind the lens kicks the light up into a viewing system so you can see directly through the image-taking lens. Viewing systems can include ground-glass focusing screens and pentaprism viewing systems.

Pros: The SLR viewing system allows for 90% or better accuracy when composing and focusing for a photograph. Modern SLRs usually have advanced autofocusing mechanisms and rapid frame rates for sports and action photography. Smaller formats make large telephoto lenses a possibility. Relatively portable. Most SLRs offer interchangeable lenses

Cons: Bulky and noisy due to the mirror chamber. There is a momentary block-out of the viewing screen during photo taking. The vibration from the mirror slapping against the top of the camera can cause camera shake at slower shutter speeds. While SLRs are responsive, there is still a slight lag for picture taking while the mirror gets out of the way.

Twin-Lens Reflex

Format: Medium

Film? Yes, 120/220 roll film

Digital? None

Defining Characteristics: Twin lens reflex cameras have two identical lenses that are synchronized. One provides the viewing system while the other is for exposures only. The viewing system usually consisted of a ground-glass focusing screen with a metal shield. The low cost of these cameras combined with the relatively small size made these popular for journalism when they first came out.

Pros: No image block-out during image capture. Relative portability. Medium format for better quality.

Cons: Only one lens, and no zoom. While focusing was relatively accurate, composition had a margin of error due to parallax error (not viewing from the exact same angle).

"Point and Shoot" Compacts

Format: Tiny, Small

Film? Yes, APS and 35mm

Digital? Yes

Defining characteristics: Traditionally, point and shoots have a separate viewing lens with general composition guides. Some of these have intelligent zoom features that allow the user to see an approximation of how their photo is composed. Digital cameras will also have a live view function allowing the user to see exactly what is seen through the lens. Some will allow manual focusing, but rarely. The genre is largely characterized by the ability for fully-automatic exposure and focus.

Pros: No image block-out during capture. Small and compact for portability. Easy to use for novices.

Cons: Parallax error when using a separate viewing lens. No interchangeable lenses. Very limited manual focus capability. Sensor size in digitals is generally tiny which exaggerates digital noise and lens defects.

Digital Hybrids

Format: Tiny, Small

Film? No

Digital? Yes

Defining characteristics: Digital hybrids play to the strengths of the digital medium. By taking out the optical viewing system of the dSLRs, but retaining the sensor size, the camera can be more compact without sacrificing quality. The viewing system is left up to a digital feed from the sensor. Micro four-thirds is a standard that has emerged, but several other camera manufacturers have been putting their own take on this concept.

Pros: Compact size. Most allow for interchangeable lenses. Sensor size is much larger than compacts allowing for higher definition. Micro four-thirds system is a standard between multiple companies, widening the available lens and accessory choices.

Cons: Sensor size is still small. The largest in this category are APS-C format, or 16x24mm. Focusing is limited by resolution of the screen. Leica is the only heavy-hitter making this style of camera, so lens selection is still limited.

Rangefinder Cameras

Format: Small, Medium

Film? Yes. 35mm, 120, and 220

Digital? Yes. APS-C and 35mm format digitals have recently emerged

Defining characteristics: On first glance, rangefinder cameras look a lot like compacts. They have a separate optical lens for composition and are relatively the same size. The similarities end there. Rangefinder cameras have a coupling between the image capture lens and the viewing system allowing for precise focusing via split-screen focusing. Composition lines on the interchangeable viewing lens show where the edge of the frame is depending on focal length. Rangefinders have interchangeable lenses, but due to the lack of a reflex mirror, are much smaller and sit much closer to the film or sensor.

Pros: Quietest of the portable cameras. Small size and unassuming appearance give it a low profile, making it a favorite of journalists. Smaller lens size makes larger-aperture lenses possible with higher optical performance. No block-out during image capture. Fastest response of all cameras.

Cons: Parallax error. Super-wide lenses require a shoe-mounted composition lens while still requiring focusing through main viewing lens. Viewing system requires frequent calibration. Manual focusing only. No zoom lenses. Expensive, lenses usually start at $1k and go up to $10k. Bodies usually start at $2.5k. Digitals suffer from aberrations caused by the lens being so close to the sensor resulting in light hitting the sensor at bad angles.

View Cameras

Format: Medium, Large

Film? Yes. 120/220 roll feed, sheet film, or polaroid

Digital? Yes. Medium format backs with adapters or digital scanning backs for large format

Defining characteristics: This is that old-style camera you think of with the bellows and the guy under the black hood. It was a favorite of many famous photographers including Ansel Adams. The large format makes it the king of quality. The camera itself is almost always mounted on a tripod and offers the ability to move the front and back elements independently of each other. This allows for perspective control and the ability to tilt your focal plane. The large ground-glass back allows for incredibly precise focusing, and large format allows for apertures of f/22 and small that are free from diffraction issues. This is a favorite for both landscape photographers and studio still life photographers.

Pros: Incredibly flexible design for total creative control over focus, focus plane, perspective, etc. Largest format and best quality of any camera.

Cons: Huge and cumbersome. Very long setup time. Total image blackout during image capture. Difficult to capture action. Scanning back for digital records one color at a time, making it only feasible for still life work. Sheet film is expensive and difficult to process/print. Requires a lot of patience.

Pinhole cameras

Format: Any

Film? Any

Digital? Any

Defining Characteristics: Pinhole cameras refer largely to the light capturing method. Any camera with a removable lens can be converted to a pinhole camera by replacing the lens with a black cover with a small pinhole. This is the oldest form of the camera. Artists used a form of this called the "Camera Obscura" which was simply a dark room with a single hole in a wall which would project an image of whatever was outside the room onto the opposing wall. This technique helped early artists to learn how to convey three dimensions on a two-dimensional piece of art.

Pros: The least expensive form of camera, often as simple as a shoebox with a hole and a piece of film in the bottom. Lack of a lens creates even focus regardless of subject distance.

Cons: Long exposure times or very soft focus depending on pinhole aperture. Similar disadvantages as a view camera