The author takes a look at the reasons to buy a second digital single-lens reflex camera body and gives some advice about what the 2nd DSLR should be. This expanded edition goes more in-depth about the reasons to own a 2nd DSLR body and includes film SLR cameras and a handy backup system.

Photographer/writer Shawn M. Tomlinson explains the reasons why you need a second DSLR camera, and how to choose one. "The point is that, as a photographer, your DSLR is your main instrument or tool," Tomlinson writes. "You need to be so familiar with it that it is automatic for you to get it to do what you want." He covers the basics of buying and working with a second DSLR, illustrating points with many photos. In part two, 'The Workhorse DSLR: Revisiting the Canon EOS 20D," he explains in detail the joys of this great camera. "Still, it all comes back to the 20D. It was and is a workhorse of a DSLR, mostly metal and rugged, and it produces spectacular images. I use mine frequently. Sure, it has a little more grain than my newer DSLRs, but grain is not a bad thing. The colors are fantastic, as are those produced by most Canon cameras." The author covers the basics of buying and working with the Canon EOS 20D, illustrating points with many photos from that DSLR.

Furnishes an overview of digital photography, covering such topics as cameras, exposure, lighting, shutter speed, depth of field, and resolution--and tips on how to avoid hours of photo-editing by taking great photographs the first time.

Film cameras - the bodies themselves - have little to do with image quality. Lenses are far more important to image quality than camera bodies. So, as long as your camera has accurate shutter speeds, aperture settings and metering, the brand you pick doesn't really have much of an effect upon the final image. So, then, it appears the model camera you choose is irrelevant. Well, no. The type of film SLR camera you choose is most important to you as the photographer in features and convenience. Comfort has a lot to do with how good you are as a photographer. What I mean by that is that, you choose a camera that feels comfortable in your hands and becomes an extension of your brain as a photographer. This makes it easier to capture the types of images you want.

In this expanded edition of 'Photography: The Workhorse DSLR: Revisiting the Canon EOS 20D, ' photographer and author Shawn M. Tomlinson reminds us of just what a great camera the 20D was. The camera is relevant today, especially for those just starting out in photography. Tomlinson illustrates the book with many images shot with the Canon EOS 20D, which he uses frequently in his own work. This popular volume now contains more details and hands-on practice hints and tips

Simply put, medium-format photography is quite a bit more complex than shooting with 35mm film SLRs or 35mm-style DSLRs. It takes a bit more skill - and experience - to handle medium-format cameras. Not only do you need to learn to think differently about how you shoot, but you also have a whole new type of equipment to learn. Medium-format cameras produce bigger images, which allows for more detail and greater enlargement. And because they, in general, were designed for professional photographers, the lenses tend to be of better quality that most 35mm lenses, which also adds to the detail in the images. In this book, we'll take a look at medium-format SLRs and TLRs, and we'll even touch upon some other types. We'll also consider a few lenses, although these largely are a matter of choice. And there are far fewer choices for medium-format cameras than for other types. Time to do some weight training and heft those medium-format cameras and lenses into position. Let's go.

I have been somewhat reluctant to write about the absolute best digital single-lens reflex camera I have ever used, the Nikon D800E. The reason is that I like to write about older cameras that have become cheaper to buy and use for the frugal photographer. Although some of the cameras I have written about were terribly expensive when first released, by now they are reasonably cheap. For example, IÍve written books about the Canon EOS 1DS/1DS Mark II, the Nikon D1 and the Nikon D2X. These all are pro DSLRs and as such were released at prices ranging from $6,000 to $8,000. By now, however, the most you will pay is around $400 for any of them. In a few years, the Nikon D800E, too, will be much cheaper and an obvious choice for the frugal photographer. No matter the price, the D800 and D800E are two of the best DSLRs ever made. Either will change you as a photographer in fantastic ways.

The designers at Nikon in 2004-05 were looking for a way to reach the semi-pro photographer. The semi-pro is someone who has another job but shoots photos Ñ often at weddings Ñ as a part-time job. TheyÕre sometimes called weekend warriors. They tend to be serious and dedicated, but they had no need for the pro digital single-lens reflex behemoths like the Canon EOS IDX Mark II or the Nikon D5. What they needed then and now is a DSLR camera that is built strong, is always reliable and can handle their workload. That led to the first true semi-pro camera from the company, the Nikon D200. The D200 may have been overshadowed by its successor, the Nikon D300, but itÕs still a great camera. A great camera that can be had relatively cheaply, and that makes it an even better camera.

Companion website includes additional information on gear updates, video samples, and interviews.

A beacon of creativity with boundless energy, Chase Jarvis is well known as a visionary photographer, director, and social artist. In The Best Camera Is The One That’s With You, Chase reimagines, examines, and redefines the intersection of art and popular culture through images shot with his iPhone. The pictures in the book, all taken with Chase’s iPhone, make up a visual notebook—a photographic journal—from the past year of his life. The book is full of visually-rich iPhone photos and peppered with inspiring anecdotes. Two megapixels at a time, these images have been gathered and bound into a book that represents a stake in the ground. With it, Chase underscores the idea that an image can come from any camera, even a mobile phone. As Chase writes, “Inherently, we all know that an image isn’t measured by its resolution, dynamic range, or anything technical. It’s measured by the simple—sometimes profound, other times absurd or humorous or whimsical—effect that it can have upon us. If you can see it, it can move you.” This book is geared to inspire everyone, regardless of their level of photography knowledge, that you can capture moments and share them with our friends, families, loved ones, or the world at the press of a button. Readers of The Best Camera Is The One That’s With You will also enjoy the iPhone application Chase Jarvis created in conjunction with this book, appropriately named Best Camera. Best Camera has a unique set of filters and effects that can be applied at the touch of a button. Stack them. Mix them. Remix them. Best Camera also allows you to share directly to a host of social marketing sites via www.thebestcamera.com, a new online community that allows you to contribution to a living, breathing gallery of the best iPhone photography from around the globe. Together, the book, app, and website, represent a first-of-its-kind ecosystem dedicated to encouraging creativity through picture taking with the camera that you already have. The Best Camera Is The One That’s With You—shoot!