Comparison Canon EOS R10 body vs Sony ZV-E10 body

The physical size of the photosensitive element of a camera. Measured diagonally, often indicated in fractions of an inch — for example, 1/2.3" or 1/1.8" (accordingly, the second matrix will be larger than the first). Note that in such designations it is not the “ordinary” inch (2.54 cm) that is used, but the so-called "Vidiconovsky", which is less than a third and is about 17 mm. This is partly a tribute to the tradition that comes from television tubes — “vidicons” (the forerunners of modern matrices), partly a marketing ploy that gives buyers the impression that the matrices are larger than they actually are.

Anyway, at equal resolution (see Number of megapixels), a larger sensor size means a larger size of each individual pixel; accordingly, on large sensors, more light enters each pixel, which means that such sensors have a higher photosensitivity (see Light sensitivity) and a lower noise level, especially when shooting in low light conditions.

Most often in modern cameras there are such options:

— 1/2.3" and 1/1.7". Small matrices, typical for models without interchangeable lenses — compacts and digital ultrazooms(see "Camera type").

— 4/3. A kind of "transitional option" between small sensors of compact devices and large, but at the same time expensive "SLR" APS-C. The size of such a matri...x is 18x13.5 mm, which gives a diagonal of 22.5 mm (approximately 4/3 of the "Vidicon" inch described above, hence the name). It is used in SLR and "mirrorless" cameras (see "Camera type"), mainly entry-level, with Four Thirds and Micro Four Thirds mounts, respectively.

— APS-C. The size of matrices of this type can vary from 20.7x13.8 mm to 25.1x16.7 mm, depending on the manufacturer. They are widely used in entry-level and mid-level SLRs, as well as "mirrorless" models.

— APS-H. Somewhat larger than the APS-C described above (the size is 28.1x18.7 mm), otherwise it is almost completely the same.

— Full frame (or APS). The size of such a matrix is equal to the frame size of a classic photographic film — 36x24 mm. It is usually equipped with professional-grade SLR cameras.

— Big frame. This category includes all types of matrices, the size of which exceeds 36x24 mm (full frame). Cameras with similar sensors belong to the so-called medium format class and are, usually, professional models of the premium level. Large matrices allow you to use a resolution of tens of megapixels, while maintaining high clarity and colour quality, however, such devices cost accordingly.

The total number of individual light sensitive dots (pixels) provided in the camera's sensor. Denoted in megapixels - millions of pixels.

The total number of MPs, as a rule, is greater than the number of megapixels from which the frame is directly built (for more details, see "Effective number of MPs"). This is due to the presence of service areas on the matrix. In general, this parameter is more of a reference than practically significant: a larger total number of MPs with the same size and effective resolution means a slightly smaller size of each pixel, and, accordingly, an increased likelihood of noise (especially at high ISO values).

The maximum size of photos taken by the camera in normal (non-panoramic) mode. In fact, this paragraph indicates the highest resolution of photography — in pixels vertically and horizontally, for example, 3000x4000. This indicator directly depends on the resolution of the matrix: the number of dots in the image cannot exceed the effective number of megapixels (see above). For example, for the same 3000x4000, the matrix must have an effective resolution of at least 3000*4000 = 12 million dots, that is, 12 MP.

Theoretically, the larger the size of the photo, the more detailed the image, the more small details can be conveyed on it. At the same time, the overall image quality (including the visibility of fine details) depends not only on resolution, but also on a number of other technical and software factors; see "Effective MP number" for more details.

The sensitivity range of a digital camera matrix. In digital photography, light sensitivity is expressed in the same ISO units as in film photography; however, unlike film, the light sensitivity of the sensor in a digital camera can be changed, which gives you more options for adjusting shooting parameters. High maximum light sensitivity is important if you have to use a lens with a low aperture (see Aperture), as well as when shooting dimly lit scenes and fast-moving objects; in the latter case, high ISO allows you to use low shutter speeds, which minimizes image blur. However, note that with an increase in the value of the applied ISO, the level of noise in the resulting images also increases.

The type of bayonet mount — mount for interchangeable lenses — provided in a SLR or MILC camera (see "Camera type"). Bayonets come in different sizes, and interchangeable lens specifications usually indicate which mount it is designed for. Most often, mounts of different types are not compatible with each other, but there are exceptions (sometimes directly, sometimes using adapters).

Also note that one brand can use different mounts for different classes of cameras — and vice versa, one mount can be used by several manufacturers. So, Canon releases cameras with mounts EF-M, EF-S, EF and Canon RF. Leica has Leica M, Leica SL, Leica TL. Nikon has in its arsenal Nikon 1, Nikon F, Nikon Z. Pentax — Pentax 645, Pentax K, Pentax Q. Samsung offers NX and NX-M mounts. Sony cameras have Sony A and Sony E, Fuji has Fujifilm G and Fujifilm X. And as an example of a mount used by different brands, one can cit...e Micro 4/3, which is widespread in Olympus and Panasonic cameras.

An image stabilization method provided by the camera. Note that systems of the optical type and with a sensor shift are sometimes combined under the term "true" stabilization - due to their effectiveness. See below for more on this.

By itself, stabilization (regardless of the principle of operation) allows you to compensate for the effect of "shake" with an unstable camera position - especially when shooting handheld. This is especially true when shooting with a significant increase or at slow shutter speeds. However, in any case, this function reduces the risk of spoiling the frame, so cameras with stabilization are extremely common. The principles of work can be as follows:

— Electronic. Stabilization, carried out due to a kind of "reserve" - a section along the edges of the sensor, which initially does not participate in the formation of the final image. However, if the camera electronics detect fluctuations, it compensates for them by selecting the necessary image fragments from the reserve. Electronic systems are extremely simple, compact, reliable and at the same time inexpensive. However, for their work it is necessary to allocate a fairly significant part of the sensor - and reducing the usable area of the sensor increases the noise level and degrades the image quality. And in some models, electronic stabilization is turned on only at lower resolutions and is not available at ful...l frame size. Therefore, in its pure form, this option is found mainly in relatively inexpensive cameras with non-replaceable lenses.

- Optical. Stabilization, carried out when light passes through the lens, is due to a system of movable lenses and gyroscopes. As a result, the image hits the sensor already stabilized, and the entire sensor area can be used for it. Therefore, optical systems, despite the complexity and rather high cost, are considered more preferable for high-quality filming than electronic ones. Separately, we note that in SLR and MILC cameras (see "Camera Type") the availability of this function depends on the lens installed; therefore, for such models, optical stabilization is not indicated in our catalog in principle (even if the complete lens is equipped with a stabilizer).

- With sensor shift. Stabilization, carried out by shifting the sensor "following" the shifted image. Like the optical one described above, it is considered a fairly advanced option, although in general it is somewhat less effective. On the other hand, systems with a sensor shift have serious advantages - first of all, the fact that such stabilization will work regardless of the characteristics of the lens. For cameras with fixed lenses, this means that the lens can do without an optical stabilizer and make the optics simpler, cheaper and more reliable. In SLR and MILC cameras, the sensor shift makes it possible to use even “non-stabilized” lenses with convenience, and when installing “stabilized” optics, both systems work together, and their efficiency is very high. In addition, sensor shift is somewhat simpler and cheaper than traditional optical stabilizers.

— Optical and electronic. Stabilization that combines both of the options described above: initially it operates according to the optical principle, and when the capabilities of the lens are not enough, an electronic system is connected. This improves the overall efficiency compared to purely optical or purely electronic stabilizers. On the other hand, the disadvantages of both options in such systems are also combined: the optics are relatively complex and expensive, and not all of the sensor is involved. Therefore, such a combination is rare, mainly in separate advanced digital compacts.

- With sensor shift and electronic. Another type of combined stabilization systems. Like “optical + electronic”, it improves the overall stabilization efficiency, but at the same time it combines the disadvantages of the two methods (they are also similar: the complication and rise in price of the camera, plus a decrease in the useful area of \u200b\u200bthe sensor). Therefore, this option is used extremely rarely - in single models of digital ultrazooms and advanced compacts.

The number of scene programs provided in the camera design.

Scene programs are preset settings for some of the most common shooting scenes - for example, Portrait, Landscape, Sports, Sunset, etc. In addition to these presets, this list may include special effects and creative tools (such as color swap or fisheye), as well as exposure modes (see below). The presence of scene programs is especially useful for beginners and non-professional photographers, as it eliminates the need to tinker with each setting separately - just select the most suitable program, and all the necessary settings will be set automatically. The more scene programs the camera design provides, the wider its automatic adjustment capabilities.

The highest number of shots a camera can capture “in one go” in JPEG continuous shooting.

The technical features of modern digital cameras are such that during continuous shooting, photos have to be recorded in a special buffer, and only then, after the end of the series, they can be copied to a memory card. This buffer has a limited size, so the number of frames in one series is also limited. At the same time, we note that this indicator is usually indicated for shooting at the highest possible resolution (see "Maximum image size"); at lower resolutions, the volume of each image is reduced, and the number of frames in the series may turn out to be more than stated in the specifications.

JPEG, the most popular digital photography format today, is smaller and requires less processing power than RAW (see "Recording in RAW Format"). Therefore, in a JPEG series, as a rule, more frames are available to the photographer. However, in some models that have two separate buffers (for RAW and JPEG), it may be the other way around.

The highest number of shots the camera can capture “in one shot” when shooting in RAW format continuously (see “Recording in RAW Format”).

The technical features of modern digital cameras are such that during continuous shooting, photos have to be recorded in a special buffer, and only then, after the end of the series, they can be transferred to a memory card. This buffer has a limited size, so the number of frames in one series is also limited. At the same time, we note that this indicator is usually indicated for shooting at the highest possible resolution (see "Maximum image size"); at lower resolutions, the volume of each image is reduced, and the number of frames in the series may be more than stated in the specifications.

RAW images take up more space and require more processing power than "finished" JPEGs. Therefore, the number of frames in a series of this format is usually lower than that of JPEG. However, there are exceptions — usually these are cameras that have two separate buffers (for RAW and JPEG).