The best Cameras for architectural photography - A classification
Note: Specific camera recommendation will be given at the end of this article, after some basics have been explained.
A camera is this piece of equipment which is probably all too often totally overestimated in its relevance for a good photo. Nevertheless, photography is all about the camera. The manufacturers often try to sell you the latest model. The Youtuber’s are all too often making money from affiliate links and an independent advice is also not possible in photography stores. How can you then know which camera model is suitable, who should you trust?
This question can only be answered objectively and independently with some background knowledge. In this article, however, only the relevant background knowledge from the perspective of architectural or real estate photography is described. The latest camera model can be quite useful for wedding, sports or animal photographers where new developments in camera speed, image stabilization, autofocus and low-light-performance are helpful. Whereby certain innovations in real estate photography will hardly help us. The same probably applies to the field of landscapes, macro, product- and still life photography. Especially for architecture photography the latest camera is not necessary the best one.
Camera brands in comparison
One hears pretty often that nowadays all cameras make good pictures and the manufacturer does not really matter; it would be much more important that the camera feels good in your hands… On the one hand, this may be true that no significant difference between the brands can be seen in the photos. On the other hand, this decision is not trivial, since it is not only about image quality, but about a commitment to a complete system. Lenses and other accessories are quickly added for a lot of money. Should the camera break down one day, a new camera from the same manufacturer will inevitably be needed to continue using the existing lenses. I myself take pictures with Nikon and have had very good experiences with this brand, so my opinion may be a bit distorted. Nevertheless, in the following we will compare the camera brands as objectively as possible.
Fujifilm
Fuji produces extremely good and high-quality cameras, which are extremely robust and durable and feel accordingly valuable. The ergonomics, operation and software are excellent. Furthermore, Fuji regularly brings new features and makes them available to older camera models via software updates. The customer service is also convincing. However, Fuji mainly produces small cameras with APS-C sensor, which can be priced at the level of the usually more expensive full-frame cameras from other manufacturers. On the other hand, comparable lenses are much cheaper. Therefore, from a certain number of lenses on, Fujifilm can also be financially beneficial. In general, full-frame cameras are considered to be somewhat more "professional", although Fuji provides an enormously good image quality and this does not necessarily have to be inferior to full-frame models. In addition to the small APS-C cameras, Fujifilm also offers medium format cameras, which are even better than the full format because the sensor is larger. Here, Fuji is even extremely cheap in terms of price, as long as the medium format cameras are compared to those of other manufacturers (nevertheless, about 4.500€ have to be invested). But what Fuji does not offer are tilt shift lenses for architectural photography (There are some rumors that this might change soon). Whereby Canon lenses can be attached to a Fuji GFX using an adapter. For Nikon lenses, a corresponding adapter with electronic transmission for E-type lenses, has already been announced. Thus, the currently new Fuji GF system would be almost perfectly suited for real estate photography, but is associated with high acquisition costs. So the APS-C cameras from Fuji are quite useful for real estate photography as well. Entrance models are already available for less than 1000€. But for the APS-C system in general, there are hardly any suitable tilt-shift-optics available or the picture section is too narrow for the field of architectural photography. Real estate photos can be taken and digitally corrected without such optics, but this solution is not optimal, but should be sufficient for most applications.
Olympus, Panasonic
These manufacturers behave in a similar way to Fujifilm, but in my opinion they do not feel quite as valuable. Olympus has a lot more to offer in terms of software, such as a live composite function for long exposures that shows how the photo changes during the shot. Whether this function is really necessary is a matter for consideration. Olympus and Panasonic, however, do not have a medium format system and the full format system is also not worth mentioning, as there are hardly any lenses for this. In addition, there are no tilt shift lenses for architectural photography in the MFT segment.
Sony
If you compare the technical data sheets of the cameras, you will find that Sony almost always offers the best cameras! The range of lenses is also quite good, and almost all other lenses of other manufacturers can be adapted without any problems. So Sony is actually perfect. What is not convincing, however, is the high price point of the Sony Lenses and the very high frequency of new product releases. This leads to the fact that camera models are sometimes "not quite finished" on the market. Thus, there are always overheating problems (see Sony A6300) or banding phenomena under artificial light (see Sony A9). Also, Sony cameras are not built as robustly as other manufacturers' cameras. Older camera models are often no longer supplied with spare parts, so that in many cases repair is no longer possible after the warranty has expired. Traditional camera manufacturers, however, are often able to repair models that are more than 10 years old at fair prices. The repair of a water damage on an old Nikon D80 from 2006 was recently done for about 120€ in an official Nikon service point. The advantage of Sony, on the other hand, is that used full-frame cameras are relatively inexpensive. They are also generally better suited for the video sector, but that is not what this is about.
In case of a long term investment Sony looks kind of being a risky decision. If investing a couple dozen grand into Sony lenses, you want to make sure being able to use them for at least 10 or 20 years. For this you will obviously need to buy a Sony camera in future, in case your old one has to be replaced at some point. But how can you be sure that Sony will still be into the camera market in +10 years? The way how Sony discontinued their Walkman when Apple announced the iPod, instead of trying to compete with a different MP3-Player, shows how a consumer electronics companies works. The famous Sony-Vaio-Laptop range was also discontinued surprisingly and all customer support was ended immediately, even though the Vaio Laptops has been selling well. When studying how Sony was operating in the past (e.g. the Sony DSLR A-Mount System), there is not really a guarantee that they wouldn’t get out of the full frame camera market one day if the competition increases to their disadvantage.
Leica
Leica is a lens manufacturer and does not make its own cameras, although it does sell them. On Leica's website there is a press release in which Leica itself writes about "the agreement regarding the extension of the license agreement to use the Leica trademark on digital camera products from Panasonic". Leica cameras are manufactured by Panasonic and have a different branding. Some of the Leica cameras, except for the mount, are identical in construction to Panasonic cameras. Even the batteries of Panasonic cameras can be used in a Leica without any problems. The Leica D-Lux 6 and the Panasonic Lumix-LX7, the Leica V-LUX and the DMC-FZ1000, the Leica Digilux 3 and the Panasonic L1, as well as the Leica C-Lux and the ZS200 from Panasonic should suffice as identical examples. Also the medium format systems or the famous Leica M are manufactured by Panasonic and are finally assembled in Germany by Leica. Since Leica itself does not have the know-how in the field of electronics, customer service may take considerably more time than with other manufacturers, because some of the service cases have to be handed over to third-party companies. The Leica lenses, on the other hand, are truly good! However, by using an adapter, they can also be used on a Fuji or Sony camera, for example. Nevertheless, even the Leica range lacks high-quality tilt shift optics.
Pentax
Pentax no longer exists in this form, since Pentax was bought up by Ricoh. Since then, there has been little news from Pentax. A new investment in this system is therefore a bit risky, as it is not clear whether in case of a defect a new camera from Pentax would still be available in e.g. 10 years, which is compatible with the existing lenses.
Canon and Nikon
Similar to Pentax, there is little innovation to be heard from Canon. Canon rather relies on well-tried technology: Modern BSI sensors with low noise and high dynamic range do not exist at Canon, also the fast XQD memory cards are still not supported and very light sensitive autofocus systems up to -5 EV are not available in the product range (as of January 2020). Canons Dual-Pixel CMOS AF seems also kind of outdated, compared to other cameras like the Nikon D780 or Sony A7iii. As far as future-proofing is concerned, however, Canon is in a very good position, as Canon is still considered the market leader. Similar to Nikon, Canon also offers very high quality products that are quite robustly built. Also the customer service is good and the repair of older models is possible. On the other hand, the latest optics of Canon's L-lenses are often cheaper than comparable lenses for Nikon. In this respect, sports photographers who rely on sharp, fast zoom lenses with fast autofocus and good image stabilization prefer the Canon system, as it is slightly cheaper. But for architectural photography these features are not that important. Furthermore, Canon is said to be able to reproduce skin tones in good and pleasant colours. With Nikon, however, the red is a bit stronger, which can make the skin look blotchy, but is better for landscape photography. Anyway, this peculiarity can be corrected relatively easily in image editing anyway if you are shooting RAW. The big advantage of Nikon is that the F-Mount bayonet has been retained since 1959. Thus, old used and partly extremely cheap manual lenses can be used. Optically, the old lenses are not even necessarily worse than the brand new ones. What would be uninteresting for sports photographers because of the missing autofocus or image stabilizer, is just right for us in architectural photography. An autofocus or image stabilizer is rarely needed in architectural photography anyway. In addition, Nikon and Sony cameras are known for their wide dynamic range, which is especially relevant for indoor use. Canon is more affordable for sports photographers who need the latest lenses. Whereby the 17 mm tilt shift lens from Canon is also considerably cheaper than its 19 mm counterpart from Nikon. Especially wedding and portrait photographers benefit from Canon's pleasant skin tones and their colour representation. Architectural, real estate and landscape photographers are often better off with Nikon. Nikon offers the possibility to save a lot of money with old manual lenses without having to lose image quality. In addition, the wide dynamic range of Nikon cameras makes image processing easier and offers considerable reserves for the correction of areas that are too dark or too light. Both brands also offer a wide range of special lenses such as ultra wide angle, zooms, macro lenses, fisheye lenses, tilt shift optics for architectural photography or extravagant designs such as DC (=Defocus Control) or compact PF lenses, as well as mirror telephoto lenses and much more. The disadvantage is that with Canon and Nikon, relatively few lenses from other manufacturers, such as Leica, can be adapted. The latter point is again better solved at Sony or Fuji.
Mamiya, Phase One, Hasselblad
These manufacturers play in the absolute top league of the medium format system. Indeed, all manufacturers also offer smaller medium format cameras, but these can hardly keep up with the much cheaper GFX series from Fujifilm. This concerns the software, the processing quality, the handling as well as the customer service. With Fujifilm's excellent price-performance ratio and the existing adapters for the Fuji GF system, it is difficult to find an objective reason to recommend another manufacturer in the small medium format segment. With the large cameras from PhaseOne or Hasselblad it looks a little different. These offer an image quality and detail accuracy that cannot be found with any other manufacturer. However, such cameras sometimes cost more than a mid-range Car and are therefore irrelevant and not affordable for most people. If a reader of this blog wants to afford only the best, the Hasselblad H-System (e.g. H6D-400c MS or 100c) would be preferable. For real estate photography, Hasselblad covers a wider wide-angle range, and all lenses can be optimized for architectural photography using a tilt shift adapter. For such a camera, however, just under 49.000€ (without lens and accessories) must be planned...
DSLR vs. mirrorless DSLM
This section is about mirrorless system (DSLM) cameras in comparison to classic DSLR cameras in general. Both systems provide comparable results, but have their individual advantages and disadvantages. Mirrorless system cameras are a little bit smaller and provide the same image quality. However, the smaller size is a significant advantage only in combination with small lenses. With a 70-200 lens, it doesn't make much difference if the overall system is only one centimetre shorter. When using small pancake or kit lenses, mirrorless cameras are actually more handy and noticeably lighter. In professional use with bigger lenses, there is not really a difference in size noticeable.
At the same time, the viewfinder offers much better possibilities for displaying system information. Focus peaking is one such example: when focusing manually, sharp image areas are highlighted in colour and the histogram can also be shown within the electronic viewfinder. On the other side an optical viewfinder of an DSLR is much clearer in low-light-situations. During a clear night you would be able to see the milky-way through your optical viewfinder, through an EVF of a mirrorless camera this would not be possible at all.
With autofocus (AF), DSLRs are usually more accurate in low-light conditions, but the AF system is also more prone to errors. The AF can be performed by contrast measurement or by phase AF sensors. Usually the latter is much faster, which is why it is an advantage in sports photography. Specially developed sensors are required for the AF phase. With mirrorless cameras, the phase AF sensors are located directly on the image sensor. As a result, no image is recorded at the locations where the phase AF sensors are located. The fact that a photo of a DSLM does not have quite a lot of black dots, is due to the fact that the software calculates away the information gaps and fills them based on the surrounded content. For this to work reliably and for the image errors not to be noticed, the phase AF points on the sensor must be as small as possible so that the camera-internal image correction works reliably and the fully automatic retouching is not visible.
With a single-lens reflex camera, however, the phase AF sensors are not located on the image sensor, but under the mirror. Since these are not image relevant, the phase AF sensors can be much larger than in DSLMs. Similar to the noise that occurs with high-resolution image sensors (= small pixels), noise in the form of signal fluctuations occurs earlier with smaller phase AF sensors than with large phase AF sensors of DSLRs. Under poor light conditions, a high-quality SLR camera will therefore almost always focus more precisely (lower signal noise) than a mirrorless camera. But this has nothing to do with the AF speed. The sensitivity range of the autofocus is in the mirrorless DSLM range at a maximum of -3 EV (e.g. Sony A7 iii), while in the DSLR range up to -5 EV is common on the market.
Under good lighting conditions, on the other hand, a DSLM without a mirror will often focus more precisely because the sharpness is measured directly on the image sensor. In a reflex camera there is a mechanical component more: the movable mirror. For the AF to focus reliably, the distance from mirror to image sensor must be exactly the same as from mirror to phase AF sensor. If there is something wrong with the DSLR, e.g. because it got hit and the mirror is slightly distorted, the focus will always be slightly off. This misfocus can be corrected in software, but first of all we have to notice it in order to do so.
A disadvantage of system cameras is the comparatively low battery life, as the sensor must be constantly turned on to deliver an image to a small monitor in the electronic viewfinder. DSLRs solve this problem purely optically, do not consume power throughout and therefore have up to 10 times longer battery life. Nevertheless, the battery of a modern DSLM without mirrors should still last around two days under normal use. The battery of a good DSLR camera, on the other hand, can last for three weeks and can take up to 4,000 photos, provided that the monitor is switched off and no power-consuming long exposures are made. The mirror in a DSLR also provides physical protection for the sensor, covering it and preventing dirt from getting onto the sensor, which can happen when the lens is changed frequently. Since DSLR cameras have a mechanical component with the mirror, this is subject to wear. Normally, a service life around 300,000 photos can be expected. In addition, the mirror box and the lock can be exchanged, similar to the clutch in a car. A repair is basically possible, although mirrorless cameras also have a mechanical shutter and are therefore not free of wear either.
Sensor Size
It is known that smartphones have a worse image quality than expensive studio cameras for several thousand euros. Although the high-quality smartphones also deliver high-quality photos in good light, these are JPEG files that are automatically processed by the mobile phone’s software and are subject to noise reduction and proper sharpening, colour adjustment and contrast enhancement. Without a doubt, smartphones have better software integrated, which conceals many things. But in the late twilight their weaknesses become visible. When trying to print such a smartphone photo in large size, there will only be disappointment if it is expected to look as good in large as on the small display of the phone it was taken with. Real cameras are in a completely different league. Even though the raw data may not look as great as the mobile phone photo at first, there is a lot of potential in them that needs to be exploited. However, this requires a little practice. Unlike mobile phone photos, the raw data is not processed fully automatically by the camera. However, there are apps with which mobile phone photos can be saved in RAW format, but they will never be able to compete with the raw data of a camera. What is the technical difference between a camera and a mobile phone, apart from interchangeable lenses? The answer clearly lies in the sensor size! The larger the sensor, the better the image quality usually is. With a larger sensor, the resolution can be higher, but at the same time the pixel pitch is lower. Thus, not only do considerably more pixels fit on a larger sensor, but each individual image pixel is also larger. Larger pixels start to generate noise later, which is an advantage at high ISO values and in the dark. They also store more information, which increases the dynamic range. Larger sensors can image very fine details better and lens errors occur. In order for small sensors, such as those found in smartphones, to be able to capture a photograph with a halfway wide angle, the focal lengths of the lenses must be correspondingly short. Here focal lengths of less than 4 mm are common. With a small image sensor, a high depth of field occurs, which is not necessarily intended. Although there are portrait modes in smartphones that produce a blurred background, this is caused by the software and does not always produce nice results, especially at edges. So another difference between smartphones and the right cameras is the possibility to play with depth of field or background blur (Bokeh), to adjust camera settings manually and of course the better image quality. In this context, we are inevitably confronted with the issue of sensor size first. Terms such as 1/3.2", Micro-Four-Thirds, APS-C (DX), full format (FX) and medium format are used for the various sizes. It should also be mentioned that not all cameras have larger sensors. Many of the so-called bridge cameras have only a 1/2.33" sensor implemented. Such image sensors are also found in better smartphones. In this respect, a 650€ bridge camera would have made absolutely no progress in terms of image quality compared to a smartphone. There it would have been more reasonable to invest in a used APS-C SLR camera, which is available from about 150€. The sensor area of an APS-C camera exceeds that of a bridge camera by around 15 times! Regarding the availability of interchangeable lenses, APS-C and full frame cameras offer the largest and best selection of lenses with a good price/performance ratio, so in the following only these two systems will be considered in more detail.
Typical sensor formats and their designations
An MFT or Micro Four Thirds Sensor has the dimensions 17.3 x13 mm. The designation does not describe the sensor size, but corresponds to the historical dimensions of picture-tubes, which were designated according to the outer diameter of the tube in inches in order to be able to project an image in the particular size which the sensor has. The next largest sensor is the APS-C sensor. An APS-C (Advanced Photo System type-C; C=Classic) sensor differs from a full format sensor also in the sensor size. An APS-C sensor has a size of 22.2x14.8 mm, while a 35mm or full format sensor has a size of 36x24 mm. Strictly speaking, the Nikon DX-system is not an APS-C format; but it is colloquially called so, as with 23,7x15,6 mm it has very similar dimensions and the difference is hardly noticeable in practice. The Term of “full frame format” has a historical origin, in the last century this format was the most common film format for analogue photography. However, at this time it was one of the smallest film formats, since it was made for compact cameras and for travel purposes to save some space. The first digital sensors have been very expensive and therefore the smaller APS-C format was used first in digital photography. After the digital sensors became cheaper, the sensor size of 36x24 mm, which was equivalent to the old common film format, was established into the digital world. The sensor had from this point on the original “full size” back and it was continued to be a “full-frame-sensor”. Before that it was simply called 36- or 35mm film.
Everything that is even bigger than the full frame format is called medium format: 43,8x32,9 mm or 53,4x40 mm are for example common medium format sizes in the digital photography. Back in the analogue times the medium format wasn’t the biggest one. 35mm film was almost the smallest format for photography, followed by the medium format for studio photography and at the end there was a large format camera existing for reproduction work. However, in the digital world the medium format is now considered as the biggest available camera sensor.
The camera - APS-C (DX) or Full Frame (FX)?
Because APS-C cameras have a smaller image sensor, they can also be made significantly smaller, lighter and cheaper. Furthermore, APS-C cameras are also called crop cameras because of the smaller sensor. This is because when the same lens is used, the image area on an APS-C camera appears smaller, as if the image had been cropped. The effect is similar to zooming in, except that instead of the focal length, the sensor size is changed. The same happens with the digital zoom in a mobile phone, which is actually nothing more than a crop. Furthermore, APS-C cameras make better use of the sweet spot of a full frame lens. Every lens has a slightly poorer imaging performance at the edge of the image than in the center. Sharpness and contrast decrease towards the edge, and the distortion at the edge is greater and the image appears slightly darker (vignetting). With APS-C cameras, this dark blurred edge is "cut off", which makes the overall imaging performance appear more uniform when combined with full frame lenses. However, there are very good and expensive lenses where this effect is not really visible.
Apart from that, full format cameras have a slightly better image quality due to the larger image sensor, which in practice does not always have to be visible under good lighting conditions. As far as the image noise at high ISO values is concerned, it does not depend so much on the sensor size as on the pixel size or pixel pitch and the technology used (e.g. CCD, traditional CMOS or BSI). One of the most light-sensitive image sensors on the market, which is used for industrial processes, is the Sony IMX426 with a 21-times smaller area compared to the full frame. The reason for the incredible light sensitivity and the low noise behaviour is due to the low pixel density. Therefore, it cannot be generalized that full frame cameras would be better at high ISO values per sé, even if this is admittedly mostly the case. A 51-megapixel Canon 5DS R (full frame), for example, produces much more noise than a 20-megapixel Nikon D500 (APS-C), because the latter has a lower pixel pitch and uses a different sensor technology. In addition, the noise also depends to a large extent on the software and signal processing. Thus, the Nikon D610 produce more noise than the newer D750, although both use the exactly identical sensor. Since high ISO values are almost never used in the field of architectural photography anyway, the noise behaviour is not a relevant selection criterion.
In some situations, APS-C cameras even offer better picture quality. For example, when shooting from a long distance with telephoto lenses and the image may need to be cropped, APS-C cameras often have an advantage. An application example would be the photography of eagles in nosedive. An APS-C camera with 24 megapixels (e.g. Nikon D7200) has a much higher pixel density than most full frame cameras. Although the Canon 5DS R has more pixels overall, the pixel density (pixels per square millimetre) is lower. Since the full frame has a 2.33x larger area compared to the APS-C format, the theoretical resolution calculated on full frame would have to be 56 megapixels (24 MP x 2.33) to achieve the same pixel density. Therefore, it is possible to crop images from a high-resolution APS-C camera more generously and still achieve a resolution and level of detail sufficient for printing, which would not be possible with full frame cameras using the same optics. So the APS-C format is neither better nor worse, it's just a little different. The bottom line is that the difference in picture quality between the APS-C and full format is marginal.
However, there are a few differences to be noted with regard to the image design: With APS-C cameras, the image appears cropped due to the smaller sensor. The size of the effect can be calculated using the crop factor. The factor from APS-C to full format is about 1.5, which can be an advantage with telephoto lenses, as a distant subject can be photographed in even greater detail. A 300 mm lens on an APS-C camera, corresponds to the image section of a 450 mm telephoto lens on a full frame camera. This crop factor is‑ theoretically disadvantageous in wide-angle photography‑, as the image appears less wide-angled. Fortunately, there are wide-angle lenses that have been specially designed for APS-C cameras, so that extremely wide-angle perspectives can be achieved even with such cameras. But what the APS-C segment lacks are wide-angle tilt shift lenses. Due to the choice of tilt shift lenses, full-frame cameras are therefore slightly better suited for real estate photography. But APS-C cameras can also be used for this purpose. After all, tilt shift optics are very expensive anyway, and in digital image processing these can also be simulated by comparable corrections.
Due to the crop factor, APS-C cameras have a higher depth of field and thus a lower potential for cropping at open aperture, which can be a disadvantage when photographing details. The lower potential for exemption is due to the fact that the image appears to be cropped. In order to achieve a comparable image detail with an APS-C camera, either the focal length must be reduced or a wider-angle lens must be used. Alternatively, you can go back a few steps so that everything fits back into the picture. Smaller focal lengths in themselves have a lower potential for blur at the same aperture values. However, background blur also depends on the distance to the subject. If this is enlarged, it is more difficult to get the background out of focus. If the focal length is not reduced or the viewpoint is not changed compared to the full format, the APS-C camera will produce the same blur, but the image is smaller and appears cropped. In architectural photography, however, a good blur potential is relatively unimportant. On the contrary, most of the time you work with closed aperture values anyway, because a continuous sharpness is often desired. In the end, all types of photography can be covered very well with both camera systems, so it is of secondary importance on which system the decision is made. In some situations one thing is more suitable, in others the other is minimally better...
So, both systems have their individual advantages and disadvantages!
Advantages of a full frame camera:
· Mostly better image quality at high ISO values (low-light performance) and marginally better detail
· Greater potential for background blur
· Wider range of high-quality tilt shift & wide angle lenses
Advantages of an APS-C camera:
· Predominantly comparable image quality
· Exploitation of the sweet spot of a full format lens
· At the same resolution 1.5 times further in the telephoto range
· Generally more lenses usable (all full format lenses fit on DX/APS-C cameras)
· Cheaper, lighter and smaller
Specifications of a Camera
What features should the camera have?
In the following, we will discuss some of the features a camera can have and then discuss their practical relevance. This is based on APS-C or full format models with interchangeable lenses. Compact or bridge cameras are excluded from the outset. In the following, the individual points are explained mainly with reference to architectural and real estate photography.
Size, weight and processing
Cameras are available in a wide variety of weight & size-classes. However, larger cameras do not necessarily have a better image quality. What requires a lot of space in the camera body are for example the capacitors for the camera-internal flash or the autofocus system, as well as the hardware for processing a larger memory buffer. Therefore, the size of the camera is more related to working speed and accuracy than to the image quality. The construction method is also important. Cheap cameras with a plastic housing are lighter, but also break down faster than massive and robustly built cameras in a metal housing and existing splash water protection. A general recommendation is hardly possible, as it depends on the individual needs of each person. However, APS-C cameras are generally smaller than full frame models. In the APS-C segment, cameras are therefore available that are robust and at the same time not too large. In the end, a compromise must always be made.
Ergonomics and handling, sufficient number of buttons
It is also important that the camera fits well in the hand and that the handling gives a pleasant impression. It is of relatively little use to buy a technically fully developed camera for a lot of money, if it causes cramps in the hand after a long time and the desire to take pictures dwindles.
In addition, a sufficient number of buttons are useful. The possibility of individual key assignment with certain functions makes the operation of the camera much easier. For long exposures, for example, the mirror lock-up is a useful feature, but the spirit level in the viewfinder can sometimes be useful, as can the bracketing and self-timer functions. On a high-quality camera, these functions are immediately accessible at the touch of a button and can be accessed without the tedious task of searching through a menu. When shooting in the dark, it's also handy if all buttons have backlighting that can be switched on when needed. In real estate photography the latter function is not essential. However, other features and display options such as focus peaking or split screen in Live View are useful. The camera software is therefore not to be neglected.
Size of the display, swivel & fold display or touch screen
The display should be sufficiently large and bright to be able to view photos directly on site and to assess them at first glance. Touchscreens are a nice feature, but do not offer any significant advantages. Swivel & Flip displays, on the other hand, can be a remedy for extreme perspectives and are also quite practical in real estate photography! However, a folding display is not absolutely necessary.
Wifi, Bluetooth & GPS
A Wifi connection in the camera may be useful if you are using a tall tripod and the camera is so high up that it is not possible to look through the viewfinder. With a special app, the live image of the camera is transferred to the smartphone and it is possible to view, focus and trigger the image section via your smartphone. How often this is actually used and whether it is therefore a relevant feature should be decided by everyone individually. A Bluetooth connection is typically used to transfer photos from the camera to the smartphone so that pictures can be shared instantly on Instagram, Flickr, 500 px or Facebook. Bluetooth is therefore not a feature that is relevant for real estate photographers. The integrated GPS module, on the other hand, stores the geo-information and embeds it in the exif data of the photos. So after a longer holiday the locations of all photos can be retraced. This feature is also not mandatory for real estate photography.
Viewfinder type (EVF or Optical)
An eyepiece cover is mandatory for the use of long exposures with ND-Filters on a DSLR with an optical viewfinder. Cheaper cameras do not always have one which can results in flare if very strong ND Filters are used. (Will be explained in a different chapter with sample photos)
Whether an optical or digital viewfinder is preferred is ultimately a matter of taste. Both systems have their individual advantages and disadvantages. Digital viewfinders allow more information to be superimposed on the image, whereas optical viewfinders are less effective. Nevertheless, even with optical viewfinders, information such as a spirit level, a grid, the camera settings, or the display regarding the phase sharpness of individual focus points can be displayed. However, the layout does not look quite so elegantly solved with optical viewfinders. On the other hand, they offer a clearer and more natural image, which many find more pleasant and you may view through an optical viewfinder even under dark conditions without seeing any disturbing noise appearing. If a DSLR with an optical viewfinder is chosen, an integrated eyepiece-cover is a great feature for long exposures or night-time shooting as well.
Battery life
How long the battery should last at least is something that everyone has to decide for themselves. On a city trip, where you can recharge your batteries at any time in a hotel or various cafés, the challenges are completely different from those of a several week Himalayan expedition. But for most real estate photographers this point will probably be of secondary importance. In an emergency, however, several batteries do not take up as much space.
Number of memory card slots
There are cameras with only one SD card slot and those that have two memory card slots. The latter variant with two slots is always recommended. Ultimately, however, it is a matter of weighing up the purchase price and the willingness to take a higher risk.
Flash memories (such as XQD, CF or SD cards) do not last indefinitely. Each individual memory cell can be written to approximately 500 to a maximum of 1000 times. The manufacturers indicate the expected life span with "terabytes written until failure" (TBW). SanDisk specifies a value of up to 128 TBW. Note that this is not an average figure, but an “up-to” figure, which takes the very optimistic maximum value. This value refers to the entire lifetime of the SD cards and other flash memories. In this context, by the way, there is a misconception that XQD cards are more reliable than SD cards. However, both cards are based on exactly the same Flash EEPROM memory technology with floating gate transistors and charge trapping. XQD boards are therefore not more reliable, they are just physically more robust and do not break so quickly when used improperly. The failure rate is almost identical for both. Why a flash memory fails, however, can have various causes and does not necessarily have anything to do with age and TBW. Electrostatic charges, for example, can cause this. But also a defective cable of a card reader or a loose USB connection can cause a flash memory to be ejected unexpectedly during operation due to a loose contact. This can damage the file system and leads to loss of data. There are also quite banal causes such as poor production quality. The causes of errors can be various. Admittedly, a complete failure due to a defective memory card occurs very rarely, but it can never be excluded. Two memory card slots therefore offer the advantage that both cards can be written to in parallel with exactly the same data and the data is therefore protected against the failure of a memory card (see RAID 1 or mirroring).
The question whether two memory card slots are absolutely necessary is difficult to answer. Each person must assess for himself whether a total loss would be justifiable in case of doubt. If only the own real estate in the nearer surroundings is photographed, a loss of data is possibly bearable, since the photo session can be repeated if necessary. In the case of larger contract work, which is time-consuming from the planning stage and also involves high travel costs, data loss cannot be risked. Especially as it would be shameful to explain this to the customer and have to arrange new appointments. In the latter case, it is even strongly discouraged to use a camera with only one memory card slot. It would even be better to use at least two cameras with two slots each.
Sound emission
Cameras can be of varying sound volume. With DSLRs, the moving mirror makes noise when you release the shutter. Some DSLRs have a quiet mode in which the mirror moves slower. In addition, each DSLR model sounds fundamentally different. Some DSLRs have a mirror-up mode and then work similar to a mirrorless camera. When Live View is switched on, some DSLRs are therefore completely silent. With the mirrorless system cameras, it is almost always possible to operate them completely silently. A quiet camera is useful if you want to take pictures inconspicuously. In real estate photography, however, this is of secondary importance.
Autofocus
The autofocus is there to automatically focus the image and every camera has it. However, there are differences in the quality, accuracy and speed of the autofocus (AF). Some special features are software-related, for example, automatic face recognition in AF or 3D motif tracking can be useful for some applications. Other AF characteristics concern the hardware. So it depends on the number of AF points and their distribution: An AF system with a three-digit number of measuring points distributed evenly over the entire image field, right down to the last corner, is state-of-the-art. But there are also entry-level cameras with only 11 measuring points, whereby these are arranged rather in the center of the image and the image edges are not covered by the AF. Subject tracking cannot work with the latter AF system either. In addition to the number and distribution of AF points, their measuring range is also relevant. For example, the sensitivity range of the autofocus can be set at an exposure value of -4 to +20 Ev (Ev=Exposure Value). An Ev value of zero corresponds to a 50 percent grey value, so a value of -4 Ev would be underexposed by four f-stops, with each f-stop halving the brightness. The value of -4 Ev therefore corresponds to a 96.9% black level that the AF can still focus on. An AF system with a measuring range of -3 to +20 Ev, for example, would be only half as suitable for poor light conditions.
The AF speed results from the interaction of the hardware and the software behind it, as well as from the speed of the processor. In addition, the AF speed is also influenced by the lens and depends, for example, on the type and strength of the motor installed in the lens and how heavy the lens groups to be moved in the lens are. In addition, the lens also has a small processor and its own software, which must first communicate with the camera. The AF is therefore always dependent on the overall system and cannot be evaluated exclusively by the camera. Incidentally, the AF system is sometimes the most expensive feature of high-quality cameras. This is also constantly being developed further, which is why professional sports photographers in particular tend to use the latest and most up-to-date equipment. In real estate photography, however, the AF is almost never needed, since 85% of the focus is manual anyway. Many of the best lenses for real estate photography, such as tilt shift lenses or extreme wide-angle lenses, do not even have AF support. In this respect, the simplest AF variant should be completely sufficient for our everyday life.
Serial image speed
The continuous shooting speed indicates how many pictures a camera can take per second. A high continuous shooting speed is not absolutely necessary in real estate photography, but it can sometimes be helpful. If it should be shown that the public transport is running in the immediate vicinity of our object, it makes sense to photograph a passing tram for example. However, it may be that it moves very fast, but it should be at a certain position in the image so that the image looks good. With as many pictures as possible in a short time, the probability of catching the subject at the right moment is increased. This is helpful if you do not like to wait 20min for the next tram.
Please make sure that the camera has a sufficiently large buffer and that fast memory cards are used. With a low buffer memory, it could happen that the camera refuses to cooperate after two seconds and 14 images and then goes on strike for a few minutes because it is still busy with the saving process. If, on the other hand, the buffer is large and the SD cards are fast, work can continue smoothly and without any interruption.
But in the case of the serial image speed, it is important to read the details, as there are different indications that are not always well comparable. A value of 6 to 7 frames per second is considered good if AF tracking and exposure correction is supported between frames and is performed with a mechanical shutter without the need for an external power supply to achieve these values.
Some cameras also advertise at 15 fps, but they often fail to mention that the autofocus is not readjusted between images, which is bad for tracking subjects as they move towards you. In addition, the exposure in A mode, for example, may only be adjusted for the first frame and this value may be maintained for the rest of the series. This is bad when tracking a subject moving from the shadow to the sun. Values of more than 15 fps, on the other hand, can no longer be achieved mechanically, but often only with an electronic shutter. The electronic shutter leads to the rolling shutter effect and produces the ugly "banding" at slightly higher ISO values under artificial light (e.g. LED lighting), which is noticeable by horizontal lines in the image. There are cameras that advertise even higher continuous shooting rates of 30 fps, but these are not saved as RAW but mostly as JPEG files.
Specifying the continuous shooting speed is tricky and depends on many factors. If the serial image speed should be a purchase criterion for someone, the small print in the data sheet must also be read, to which the indicated value refers. In the everyday life of the real estate photographer a high serial image speed is not necessary. In some situations, however, frame rates between 5 and 7 fps can be a helpful supplement
The resolution – How many Megapixels do you need
A laptop screen with a Full HD resolution has a maximum of about two megapixels (MP) in full screen mode. On a typical website, however, the photos take up about 1/10 of the screen area: 0.2 MP would theoretically be sufficient for websites or social media and real estate portals. If, on the other hand, a future-proof investment is to be made to ensure that future 4K UHD screens are also fully exploited, then 8 MP would be appropriate. Here, by the way, it is already possible to make printouts with an incredible 300 dpi in A4 format. But even photos with 150 dpi pixel density are of good quality: with 8 MP prints in A2 format are perfectly fine. If light reserves are still required, 10 MP represents a sufficient resolution…
But now it is the case that today's full frame cameras can already deliver as much as 61 MP. As pixel density increases, image noise usually increases at higher ISO values. Therefore, low-resolution cameras tend to be better equipped for dark situations. However, this only applies in direct comparison of halfway current models. A new 61 MP camera is likely to have less noise than a 10-year old 12 MP camera. Since high ISO values are seldom used in real estate photography anyway, camera models with higher resolution can be used. Even if 10 MP would theoretically be sufficient for almost all tasks, it does not necessarily correspond to the current standard. In contrast, current models with approx. 24 MP represent a very good compromise between resolution, dynamic range and low image noise that is suitable for everyday use. For new acquisitions, the resolution should therefore be at least 24 MP. There are additional reserves here, with regard to a possible cropping of an image. However, higher image resolutions also require a lot of computing power in image processing and could therefore make a new computer appear necessary.
Dynamic range
The dynamic range is essential in real estate photography. Especially Sony sensors, which are also used in cameras from Nikon or Fujifilm, are known for their large dynamic range. The dynamic range indicates the brightness range or contrast range that can be captured by the sensor without losing details. The greater the dynamic range, the more information is stored and the greater the scope for brightness or colour corrections is. If the windows have become much too bright in a photo, they can be darkened until you can see what was outside the window. At the same time, the interior of the same picture, which in turn has become too dark, can be brightened up. A large dynamic range therefore allows us to make generous image corrections without loss of quality. The new BSI CMOS sensors (BSI = backside illuminated) generally have a wider dynamic range and improved light sensitivity than classic CMOS sensors. However, there are also older camera models with impressive dynamic range. The manufacturers do not always state this value in the data sheet.
ISO-noise and low-light performance
In low light conditions, the image may still be too dark despite a longer exposure time and wider aperture may not be possible, then the ISO value must be increased. The ISO value is a digital signal amplification. Thus, a high ISO setting will brighten the image. In addition, all sensor signals, like the background noise as well, will be amplified. At very high ISO values, the image becomes very bright, but an unattractive and grainy noise may dominate the picture. The less a particular camera is prone to noise, the higher ISO values are then considered acceptable and the camera is therefore better equipped for dark situations. Colloquially, the term "good low-light performance" is used. BSI-CMOS sensors are also a bit better in this respect, i.e. conventional CMOS sensors. In real estate photography, a good low-light performance or low ISO noise is relatively unimportant, as the four-digit ISO range is almost never reached anyway.
IBIS – In Body Image Stabilization
In many situations, an image stabilizer is initially a useful thing. On the one hand, there is the optical image stabilization in the lens, as well as the sensor stabilization in the camera. Both variants have their advantages and disadvantages. For example, the camera's internal image stabilizer tends to be less expensive, since much cheaper lenses can be used, which in turn are not stabilized, but ultimately result in a stabilized overall system thanks to IBIS. The IBIS (In Body Image Stabilization) allows cheaper investments for future lenses. With the IBIS, all lenses can be stabilized, whereas lenses with image stabilizer are much more expensive, i.e. those without. But IBIS also has its disadvantages: the sensor moves more within the image circle projected by the lens and thus reaches its outermost edge more strongly. With extreme wide-angle lenses, this may lead to increased edge shading. Especially Sony cameras are not very good in stabilizing wide angle lenses, du to the comparably very small E-Mount. In addition, IBIS is not nearly as effective as optical image stabilization at long telephoto focal lengths. The IBIS design ensures that the sensor is a moving part in the camera. However, there are no "brakes" mounted on the sensor, so an IBIS that is switched off is still a moving element. Although a slight resistance will prevent it from shaking loosely, all movement cannot be prevented when IBIS is turned off. Therefore, such a camera can deliver somewhat blurred images at longer exposure times of e.g. ¼ sec. Another negative effect of IBIS is also due to the suspended design of the sensor. Due to this, the heat dissipation works worse, which leads to a higher heat development during long exposures and is noticeable in the stronger image noise or in the occurrence of hot pixels. As the sensor moves, it charges electrostatically faster. With frequent lens changes, dust almost attracts and the sensor must be cleaned more often. Although cameras with IBIS can also provide beautiful architectural images, the disadvantages tend to outweigh the benefits. While IBIS is considered indispensable for the video sector, it would make more sense to do without it in the area of real estate photography.
14-bit RAW support
To get the full image quality it is advantageous to save the RAW data in a colour depth of 14-bit. However, some cameras only support a maximum of 12-bit. With not too intensive image processing, this difference should not be noticeable. Nevertheless, the 14-bit option is the better option, as more colour nuances can be displayed and there are greater reserves for subsequent image processing. But this feature is not particularly important, because the difference to 12 bit is hardly noticeable in practice if you do not make heavy image editing.
Bracketing function
With extremely high-contrast subjects, no matter how exposed, we may always get areas that are too dark or too bright. At this point at the latest it is necessary to deal with exposure series. Several congruent images are created from a tripod, which differ from each other only in brightness and exposure time. The bracketing function takes over this task automatically. If instead we would change the camera settings after each picture manually, there would be the danger that we would shake something and the pictures would no longer be congruent. For later image processing, however, these must be as congruent as possible. Here, for example, four images that are too dark, one medium and two images that are too bright are offset against each other so that the dynamic range is maximized. If the camera has a bracketing function, this is an advantage for real estate photography. However, it is even better if it has its own bracketing button (BKT). This eliminates the time-consuming search of the camera menu for this function.
Number of available lenses / type of available lenses
Before buying a camera, it is important to find out which lenses are available for the system in question and what these costs are. For the APS-C range, the respective camera system should at least have high-quality and affordable wide-angle lenses with a focal length of about 10 mm. In the full format segment, at least affordable 15 mm lenses must be available. Furthermore, the availability of tilt shift lenses, in the wide-angle focal length range below 24 mm, is desirable for real estate photography. For this purpose it is also useful to compare availability and used prices.
Video functions
Video functions are almost not needed in the context of real estate photography. Nevertheless, it is an advantage if the camera supports at least 1080p recordings at 25 and 30fps. There is nothing wrong with better and more advanced functions.
Motif programs (beginner modes) and other functions
Motif programs for specific shooting situations and internal panorama or HDR functions, as well as various creative modes are nice and helpful for beginners. But as soon as we get a little closer to the matter, exposure time, aperture and ISO are the only three functions that are actually mandatory. All other creative programs that are supposedly optimized for landscape, portraits, animals or close-ups are not needed. Playful special functions can be dispensed with.
Available accessories
Besides remote releases, TTL flashes, chargers with 12V car connection, etc., sufficient accessories should be offered for the purchase. The overall system should offer a certain degree of future security for all eventualities. The availability of spare parts should also be guaranteed. Therefore, the camera manufacturer should not be selected based on camera specifications, but also on the support of its products and customer service. At the latest after investing in some high-priced lenses, a system change is only possible at high additional costs.
camera recommendations for 2020
It is very difficult to give a concrete recommendation to buy. Especially as the camera market is changing rapidly and the recommendations which are currently the state of the art, might soon be outdated. Besides, it always depends on personal preferences. Nevertheless, in the following, concrete recommendations for different target groups will be made. These are only intended to provide a rough overview for rough orientation. Depending on when this article is read, there may be several successor models that are more suitable. Furthermore, I am a Nikon user myself and have had much less experience with other systems. In this respect, I can only make recommendations here which currently cover my personal experience.
The very inexpensive acquisition
It does not always have to be the latest one! A used Nikon D90 is already available from 150€. This APS-C camera does not have a huge resolution, but should be sufficient for most purposes. Since it is a former professional machine, the D90 is extremely robustly built. In addition, this camera supports the autofocus of D-series lenses and older manual Ai-S lenses are also supported with regard to exposure metering. Thus, old lenses from the 1960-90s can be used not only in the manual M mode, but also in the semi-automatic A mode. The image quality is also excellent. Fast moving objects are more difficult to shoot with this camera, because the AF is not very good and the camera is a bit slow. A video function is not supported and other helpful features are partly missing. But for real estate photography this camera is absolutely sufficient.
However, it is not recommended to use the newer entry-level models of Nikon's D3000 and D5000 series, as less lenses are compatible. Thus, D-series lenses and older Ai-S lenses are not supported. As a result, investment in more expensive G-series or E-type lenses is necessary what doesn’t make this a cheap choice at the end of the day, even if the camera itself is on a low price point. Furthermore, these cameras are not built to last very long.
Compact, small and lightweight entry-level model
The Fuji X-E3, Fuji XT-100 or the Sony A6000 are good entry-level cameras. For both cameras there are numerous adapters for the use of other lenses. With the Sony camera this is a big advantage, with the Fuji camera it's a nice additional offer, as Fuji itself has a wide range of lenses. The Fuji is more robustly built, but the Sony is cheaper. Both cameras are technically up-to-date and convince by compact dimensions at a fair price.
The camera for the ambitious
At the latest from this price class on, cameras with at least two memory card slots are obligatory. A professional use would otherwise be negligent with regard to data security.
The somewhat cheaper but larger variant is a used Nikon D7200. This APS-C camera leaves nothing to be desired. With 24 MP and a fast AF, it is still up to date. It also supports, like the Nikon D90, older Ai-S lenses and the autofocus of Nikkor D-series lenses. Furthermore, it offers an additional plus in security with two SD card slots. The successor model, the D7500, however, has become worse: Here the second SD card slot has been removed and Ai-S lenses are also no longer supported. In addition, the D7500 (also applies to the D500) has a different image sensor, which is designed more for low-light, but has a poorer dynamic range at the highlights. This is a disadvantage for architectural photography.
Those who like it more compact, newer and a bit faster will also be very satisfied with the Fuji X-T3. Only used for real estate photography, the Fuji X-T3 is, perhaps a bit too much. However, in case of additional private use, this is a good choice.
The middle class all-rounder
The Nikon D780 is the updated and much newer full-format version of the D7200, so it has other additional features and a more modern BSI-sensor-technology. It is fast, has integrated Wifi and numerous other functions, it has a foldable display and a great dynamic range! Only for portrait photographers the reduced vertical-grip support might be an issue, but for architecture and landscape this does not matter anyway.
The Nikon Z6 is in a similar price range, but is not recommended for professional use (also applies to the Canon EOS R). Thus, data mirroring as Raid 1 is not possible due to the lack of a second card slot and despite adapters not all lenses can be used. For example, autofocus is not supported in the current DC-Nikkor lenses and the DX-Crop mode cannot be deactivated, so creating 360° VR tours is not possible with this camera. Otherwise, the Sony A7iii would be an interesting consideration due to its good price-performance ratio, when taking in mind that you should be careful with investing too much money into Sony lenses. However, you can buy Canon or Nikon glass and adapt it to this Sony camera.
The professional model
In this segment there is with the Nikon D810 an economical camera available. This can also be purchased used without hesitation. In terms of real estate photography, as well as the processing, it is to be classified in the professional segment. These cameras feature a 36 MP full frame sensor with an enormous dynamic range and incredible image quality. However, this camera is not known for its speed, but we as real estate photographers do not need this either. Like the D780, this camera supports Ai-S and D-series, as well as G, E and DC lenses.
If you are looking for the ultimate, the Nikon D850 is the perfect choice. It has all imaginable functions and has a 46 MP BSI sensor. In addition to the high resolution, it has a good dynamic range and is excellent at high ISO values even under poor lighting conditions. The AF system is one of the best and fastest on the market and the continuous shooting speed is also at the top of the list. It also has Wifi, Bluetooth, a foldable touch display, illuminated buttons which make the handling in the dark pretty easy, a split screen function in Live View which is perfect for focusing Tilt-Shift-Lenses and it offers many more features. The Nikon D850 is well equipped not only for real estate photography, but also for almost all other types of photography. The only disadvantage is their high weight and the not inconsiderable price point.
The next better camera is not a fast all-rounder like the D850, but a slightly better specialist. The Fuji GFX 50r is ideal for still life, studio and architectural photography. When it comes to detail, resolution and image quality, this camera is excellent. Only compatible ultra-wide-angle zoom and tilt shift lenses are somewhat lacking here. However, suitable adapters have already been announced.
