Our Black Friday just got significantly more awesome — a new Nikon D3S showed up on our doorstep a moment ago, along with a super-hot NIKKOR AF-S 24-70 f/2.8G ED lens. We’re just about to dive into this thing’s incredible ISO 102,400 performance (well, we will when it get a little darker) and full-manual 720p24 video mode, but for now we thought we’d hit you up with some unboxing shots — check ’em out!
We’re in kind of a golden age of DSLR cameras. They’re cheaper than ever, so they’re affordable, and they do more stuff than ever, so the time’s right to jump in. Here’s our DSLR picks for every (non-pro) budget.
Baby’s First DSLR: Nikon D3000
The D3000 is cheap. We’re talking a full kit (i.e., it comes with a lens) for just $460, making it the cheapest DSLR kit around. But what really makes it stand out for beginners is a built-in tutorial system that explains how to get certain kinds of shots—like shallow depth of field—in plain English.
Amateur Hour: Canon T1i
The next step up is Canon’s T1i. What we like is that it packs a bigger boy’s image sensor—it’s got the same 15-megapixel sensor as the pricier mid-range 50D—and 1080p video into a camera that’s $720 with kit lens. Also, for the money, it edges out Nikon’s D5000 on a few points, namely superior video handling and Live View.
Bigger Britches: Nikon D90
Nikon’s D90 was the first ever DSLR to shoot 720p video with manual controls, but that’s only part of the reason we like it. It’s got the awesome image sensor from the semi-pro D300, in a package that’s just over $1000. And at that price, it’s $100 cheaper than Canon’s competing 50D, which has the same image sensor as the cheaper T1i above, but none of the video benefits of either camera.
The Budding Auteur: Canon 7D
The only camera on this list that’s more expensive than its competition—the D300s—the 7D overwhelms with DSLR video that’s superior to every camera but Canon’s very pro 1D Mark IV (which costs $5000). It shoots in 1080p, with full manual controls, and it’s amazing what it can do in low light. Besides that, Canon’s somehow cheated physics with an 18-megapixel sensor that doesn’t explode with noise at high ISO settings, all while cramming a whole bunch of new features, and an actually good autofocus system. It’s $1900 with a kit lens.
Beyond here, honestly, you should already have a pretty idea of what you’re gonna buy without our help. And if you’ve got your own opinions about what’s best in every price range, let’s hear ’em in the comments.
Honesty: I never, in my wildest dreams, expected your slow shutter photography to be this crazy-awesome. But 74 of you turned in some humbling shots for this week’s Shooting Challenge.
First Place “Smoke Signal was taken with an Olympus sp350 set to night scene. This was taken with a color changing led rave light about six inches long by 1/2 inch wide that I wrapped with electrical tape to create a candy cane stripe. I placed the light on my record turn table at a slow RPM and swiped the camera vertically to create the spinning stripe” – Brad Bogle
Second Place “No photoshop! To take this photo, I set up some white paper for a background in a dark room. I laid strawberries on a table and separately stood up a banana with some cardboard and tape. With the lights on, I set up a quick-release tripod properly framing the banana (this makes it much easier later). Now the lights are off. So now I set my camera to bulb and used my built-in pop up flash to shoot straight down on the strawberries, filling the frame. Keeping my finger on the shutter button, I put my camera on the tripod and then hit the pilot button on an external flash. The flash hits the white background behind the banana, silhouetting it briefly. Effectively, this washes out all of the original photo of the strawberries except for where the silhouette is, thereby superimposing the first image into the second. And you get a cool glossy product-shot-reflection-look that results from the shadow drop off of the external-flash (although if you look closely, you’ll notice the “reflection” is actually just other strawberries from the initial shot) And now you can have a strawberry-banana! Canon 20D 17-55 IS lens @ f/22 ISO 200 13s (multiple focal length)” – Jason Yore
Third Place Nikon D5000; Nikkor 18-200mm VR; Exposure: 36.5 seconds; Aperture : f/5.0; Focal Length: 38mm; ISO: 400; WB: Daylight. I had a friend spin some burning steel wool in an eggbeater attached to a lanyard at the top of the overpass. What you’re seeing are the resulting spark trails. More here. [Ed note: the umbrella shots are even more impressive] – Dan DeChiaro
These placements are almost unfair with so many good shots being in the mix. I wish that I could honorable mention you all. Check the gallery. It’s well-worth a waste of 10 minutes.
Olympus’ PEN E-P2 is destined to be a fine product, we’re sure. What we aren’t sure of, however, is how exactly the company came up with the nearly laughable MSRP. The second-ever Micro Four Thirds offering from the outfit is up for pre-order right now at Amazon, though the $1,099.99 asking price is just far too lofty for us to recommend snagging a place in line. That said, you’re still probably interested in learning more about the device, so we’ll be pointing you in Gadling‘s direction for that; the crew over at our favorite travel blog managed to snag one of these buggers early, and exterior color aside, we’re told that it looks practically “identical to the E-P1.” Hit up the links below for a closer look — just keep your credit card far, far away until we see a full review.
You’ll know from our Canon 7D review roundup that these semi-pro DSLR reviews tend to take a little while longer to cook than ones for, say, the world’s latest, fastest graphics card. That means we’re looking at analyses of a shooter that’s been out for a while, but boy are they thorough. The D300S (our unboxing can be found here) is Nikon’s gentle massaging of the D300 formula for success — with added 720p video recording and an extra frame for a 7fps burst mode — and that’s borne out by the reviews. You’re still getting an outstanding 12.3 megapixel APS-C CMOS sensor, 51-point AF, and a sturdy weather-proofed body, but question marks remain as to whether the new additions offer enough of an upgrade from the D300. The HD video recording is hamstrung by a mono mic and a frankly silly 5 minute maximum clip length (a limitation not present on direct competitors from Canon and Pentax), but the addition of a second memory card slot (now offering SD as well as CF storage) and a dedicated Live View button along with purportedly improved noise performance could just make the difference for new buyers. Hit the links below for more, including comparisons against the Canon 50D and 7D, as well as the Pentax K-7.
For a long time with Canon, if you weren’t dropping nearly three grand on a 5D, you were stuck with a vastly lesser DSLR. The $1700 7D is Canon’s first semi-pro DSLR, and actually it’s my favorite yet.
What’s New and Dandy
What makes it my favorite Canon so far is actually everything that’s completely new to Canon—DP Review has a nice summary here, in pictures. But in short, while this might sound weird, it shoots more like a Nikon than any Canon DSLR I’ve used. This is primarily because of the new 19-point autofocus system and the color metering system that goes with it. You’re able to select AF zones—clusters of AF points—while in the past with Canon you’ve been limited to a full AF blast or picking out a single point. The system is also more customizable, so it can be locked with different default focus points depending on whether you’re holding the camera horizontally and vertically orientations. Against Nikon’s D300s, Canon’s new AF system mostly kept up, and definitely performs better than autofocus on the 5D Mark II.
The new viewfinder now provides 100 percent coverage, unlike previous Canons in this range, and it uses a new polymer LCD network for the graphical overlay to display AF points, grids and other displays, so it’s more flexible and feels more fluid. (It also just looks swankier, and again, more Nikon-like.) Your other viewfinder (when you’re shooting video, anyway), the LCD screen, is a 3-inch, 920k dot display like the 5D Mark II and it’s still excellent, with a wide viewing angle, nice color and the right amount of crispness.
Sensor and Image Quality
Truthfully, I’ve been mildly surprised at the quality of photos that’ve come out of the 7D, which uses an absolutely stuffed 18-megapixel, APS-C sized sensor. (So, there is a 1.6x crop factor.) For comparison, the D300s has a 12MP sensor that’s the same physical size (Update: For nitpickers, yes, Nikon’s DX format is marginally larger than Canon’s APS-C sensor, with the D300s’s sensor coming in at 23.6 x 15.8 mm to the 7D’s 22.3 x 14.9 mm.) The the D3 only goes for 12 megapixels on its bigger full-frame (35mm-equivalent) sensor. The 5D Mark II has a 21MP full-frame sensor. And typically, the more pixels you try to cram on a sensor of a given size, the more the image quality degrades, especially when it comes to low light, high ISO shots.
I was expecting a noisefest, or at best, seriously noticeable noise reduction employed by the camera’s software. It is clear that Canon’s using incredibly sophisticated noise reduction algorithms with the dual Digic IV processors onboard, though the effects are less drastic than I expected. It’s most apparent, actually, when you directly compare photos taken with the D300s. Looking at photos taken with the 7D and D300s at 100 percent crops, the D300s’s images are noisier, but they also preserve more detail. For web-sized images, the 7D’s images look better, with less noise and more smoothness.
I’ve got two sample galleries—an array of sample shots, and then another directly comparing the 7D with the D300s in low light situations, using identical settings for photos. 100 percent zooms follow photos in both galleries. Or you can download full size photos from Flickr here and here.
Video
You can get sense of Canon and Nikon’s philosophical differences with the difference in their buttons for video: Canon makes a distinction between Live View and video mode, while Nikon is ready to start shooting video as soon you tap the live view button on the D300s. Creating video is a separate, dedicated event for Canon, in other words, and there is a semi-serious video camera that happens to be built into a DSLR. Nikon’s D300s, on the other hand, is a DSLR that happens to shoot video.
With video, the 7D simply has the upper hand—video is very much a legitimized use of this camera, not a secondary one like the D300s. (As expected from a company with an entire wing dedicated to camcorders for pros and consumers.) Not only does it have full manual controls, I find that it’s slightly easier to use that the D300s while shooting video—not to mention the whole shooting in a real video codec at 1080p, yadda yadda. Three clips here: A melange of video above, and then by two videos, one from the 7D, one of the D300s, that mirror each other. Both were shot at ISO 6400, and you should be able to catch them at full res if you click over to Vimeo.
Build and Controls
The 7D is heavy, heavier than the 5D, but it’s also slightly sturdier, with a build quality and weatherproofing that that’s slightly in between the 5D and Canon’s definitely pro 1D. It feels about the same in your hand, though. And it’s roughly comparable to the D300s.
Controls aren’t radically different from other Canon DSLRs of this caliber—that is, it’s what you’d mostly expect from a DSLR that sits in between the lower end 50D and the higher end 5DMkII, though it’s a bit closer to the latter. While the menu system feels completely unchanged—leaving more advanced features, like the orientation autofocus a bit inscrutable—a few things are new on the outside: The power switch is up on the top left, under the mode dial; there’s a dedicated button for switching to RAW/JPEG; a quick action button; and a new toggle switch for Live View and video, which you engage by pressing a start button in the center.
You Already Know If You’re Going to Buy This
The real question for Canon users who want something more than the lower end 50D is whether they go for the 7D, at $1700, or full bore to full-frame with the $2700 5D Mark II. The 7D has a 1.6x crop factor which is useful for sports, a better autofocusing system, shoots faster, is slightly more rugged, and is $1000 cheaper. The 5D is full frame—which I suspect is the real consideration for folks—and takes slightly better photos at higher resolutions.
Obviously, if you’re locked into Nikon, with thousands of dollars in lenses, you’re not going to jump to Canon, or vice versa. But Canon’s dedication to DSLR video is proving formidable in carving out a new kind of market that Nikon might have some trouble competing in, since they’re a dedicated still camera company, not a video company, too, like Canon. Really, both the D300s and 7D deliver for the money, though I think the 7D delivers more, since it’s packed full of newer technology and for the people who want it, the video component is truly killer. Either way, it’s proof that competition is good—it clearly wouldn’t exist without the D300, and the D400 will be that much better because of it.
New 19-point autofocus and metering systems plus the new viewfinder rock
Excellent 1080p video with full manual controls
Not full-frame, which might put off some people
I’d like a secondary SD card slot, like the D300s
Noise reduction can get pretty aggressive at higher ISO speeds, obscuring detail
Canon’s EOS 7D is a pretty grandiose piece of image-recording equipment, whether you’re talking about its size, features or price. You’re probably aware of the 18 megapixel APS-C sensor and dual DIGIC 4 processors already, but we’ve all had to be a bit more patient than usual in waiting for the pro reviews to come out. Dpreview doesn’t disappoint though, with a thoughtful 31-page tome awaiting the keen reader, and we’ve also got more digestible video reviews from DPhoto Journal for the less patient among you. If you’re after direct comparisons against competing models, such as the Nikon D300s, you’ll find those sprinkled in among the reviews as well, with Cameratown throwing in a direct head-to-head with Canon’s own 5D Mark II. The 7D was found to produce “virtually no visible noise” all the way up to ISO 1600, and scored further points for its gorgeous 100 percent frame-covering viewfinder and fast 19-point AF. With a weather-sealed, highly ergonomic body design, ridiculously fast processing and a sensor so good that “in most situations the lens, rather than the camera, is likely to be the limiting factor,” the only thing reviewers could criticize was the somewhat uncompetitive pricing, but that’s likely to soften with time anyway. Read on… if you dare.
Read – dpreview review Read – Photography Blog review Read – Tech Radar review Read – DPhoto Journal video roundup Read – Cameratown comparison with 5D Mark II
Say what you will, but Canon‘s customer service / engineering department definitely looks out for consumers willing to spend just under two large on a new body. Merely days after the outfit made public that a “residual image phenomenon” was negatively impacting EOS 7D images under certain conditions, it has now published a firmware update to wipe all of those woes away. Firmware v1.1.0 specifically “corrects a phenomenon that in images captured by continuous shooting, and under certain conditions, barely noticeable traces of the immediately preceding frame may be visible.” Hit the read link if you’re looking to put said phenomenon to bed. Or don’t. We don’t care.
The Olympus E-P1 (shown above) is part of a new breed of cameras called Micro Four Thirds: they promise D-SLR-quality images and the blazing focusing speeds of D-SLR cameras, at half the size of D-SLRs. The E-P1 delivered on all points except fast focusing speeds. Olympus tried to improve things with a firmware update, but it didn’t helpshown .
Here we are at last. RED has finally dropped the full specs of at least one its “Digital Stills and Motion Cameras.” And what did you expect? RED has naturally blown this thing out. The first camera to be released will be the insanely high-end EPIC-X, which will come out in four stages and retails for $28,000 (ouch). A pre-production “TATTOO” version will hit this year, followed by a production model for pre-existing RED owners next year, a release after that for RED trade-ins and then finally a widespread release. Meanwhile the Scarlet 2/3-inch camera (which is much more akin to current video-shooting DSLRs, though it doesn’t have a full frame sensor) hasn’t been given a price range or a release window, but promises to please with dual XLR inputs, electronic lens interoperability with RED, Canon and Nikon lenses (adapters required) and 1080p shooting at 60 fps. One great function shared between the cameras is the ability to operate the camera with a touchscreen and perform “touch focus tracking.” So, now that we’ve frightened off all but the die-hards with a hint at pricing and some vaguely defined functionality, let’s let the bullet points take it away after the break:
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Honesty: I never, in my wildest dreams, expected your 
“Smoke Signal was taken with an Olympus sp350 set to night scene. This was taken with a color changing led rave light about six inches long by 1/2 inch wide that I wrapped with electrical tape to create a candy cane stripe. I placed the light on my record turn table at a slow RPM and swiped the camera vertically to create the spinning stripe”
“No photoshop! To take this photo, I set up some white paper for a background in a dark room. I laid strawberries on a table and separately stood up a banana with some cardboard and tape. With the lights on, I set up a quick-release tripod properly framing the banana (this makes it much easier later). Now the lights are off. So now I set my camera to bulb and used my built-in pop up flash to shoot straight down on the strawberries, filling the frame. Keeping my finger on the shutter button, I put my camera on the tripod and then hit the pilot button on an external flash. The flash hits the white background behind the banana, silhouetting it briefly. Effectively, this washes out all of the original photo of the strawberries except for where the silhouette is, thereby superimposing the first image into the second. And you get a cool glossy product-shot-reflection-look that results from the shadow drop off of the external-flash (although if you look closely, you’ll notice the “reflection” is actually just other strawberries from the initial shot) And now you can have a strawberry-banana! Canon 20D 17-55 IS lens @ f/22 ISO 200 13s (multiple focal length)”
Nikon D5000; Nikkor 18-200mm VR; Exposure: 36.5 seconds; Aperture : f/5.0; Focal Length: 38mm; ISO: 400; WB: Daylight. I had a friend spin some burning steel wool in an eggbeater attached to a lanyard at the top of the overpass. What you’re seeing are the resulting spark trails. More 
New 19-point autofocus and metering systems plus the new viewfinder rock
Not full-frame, which might put off some people
Noise reduction can get pretty aggressive at higher ISO speeds, obscuring detail
