How to Buy a Digital Camera01 Oct 2011
Digital Cameras Buying Guide
These days, it's hard to find a new camera with anything less than a 10-megapixel sensor. Instead of the "megapixel wars" of years past, we're seeing a different kind of battle nowadays: Manufacturers are building specialized cameras for different types of shooters.
That's a great thing for prospective buyers. No matter what you'd like to use your camera for, there's likely to be a model custom-built for you. The trouble is that, what with bargain-bin cameras, ruggedized point-and-shoots, high-zoom pocket cameras, hybrid still-and-video cameras, interchangeable-lens compact cameras, and full-fledged DSLRs, your options are getting a lot more confusing.
We're here to help you pick the perfect camera for your needs. This Digital Camera Buying Guide will help you make a purchasing decision based on the specs that you need to examine closely (and the specs you can basically ignore) before you spend your hard-earned cash.
Choosing the Right Digital Camera
If you're having a hard time figuring out which camera to buy, you may be tempted to make a decision based solely on megapixel count. However, outside of making huge prints or blowing up small portions of an image, megapixels can be meaningless. In fact, a high megapixel count can lead to noisier, less-sharp images unless you're using a camera with a larger image sensor (such as a DSLR or a compact interchangeable-lens camera).
Other features are often more important, depending on what you'll be using the camera for. For example, a lethargic camera that takes too much time between shots is a lemon for sports or action photographers; and a big, heavy DSLR that takes amazing photos may spend more time on the shelf than in your carry-on bag. A camera with no manual controls may take fabulous shots in bright sunlight, but lousy ones in more challenging situations.
Starting at the top of the photographic food chain, here are the pros and cons of each type of camera.
Digital SLR (DSLR) Camera
Strengths: Superb photos, videos, and low-light shooting; no shutter lag; versatile interchangeable lenses; manual controls for exposure and focus; through-the-lens optical viewfinder
Weaknesses: Expensive; lacking in portability; not all DSLRs shoot video; can be complex and intimidating
If money's no object and performance is your top priority, a digital SLR will give you the best photo quality and imaging controls of any type of digital camera. The combination of a large sensor, high-quality lenses that you can swap out to achieve a wide range of effects, great high-ISO performance in low light, and lightning-quick shutter response times make it the go-to camera for hobbyists and pro shooters. A DSLR is also the only type of camera that lets you frame shots using a through-the-lens optical viewfinder, meaning that what you'll see through the eyepiece is a true-to-life representation of your shot.
Though the prospect of using a DSLR can be intimidating for novice users, most modern models are outfitted with point-and-shoot-like features and LCD-based viewfinders to make the migration easier. Beyond user-friendly auto-exposure and scene modes, you get room to grow as a photographer due to a DSLR's full range of manual controls.
The biggest drawback of a DSLR is its size, which makes it a tough camera to take with you when you go out and about. Price is another major consideration--even after you spend anything from Rs. 30K to a lakh initially on the camera body. Additional lenses are a must to unleash the full power of your DSLR, and they usually cost several hundred dollars a pop (at least). If you're interested in shooting video, make sure that your DSLR supports that function; such cameras can capture stunning HD video, but only the newest DSLRs are video-capable.
Compact Interchangeable-Lens Camera (Nikon 1 Series, Panasonic G-Series, Pentax Q, Olympus PEN, Sony NEX, Samsung NX)
Strengths: More compact than a DSLR; excellent photo and video quality; no shutter lag; versatile interchangeable lenses; manual controls for exposure and focus
Weaknesses: No through-the-lens optical viewfinder; can be expensive; fewer lenses available than for DSLRs; some are a bit bulky for everyday use.
This type of camera is also commonly referred to as a "mirrorless" camera, as a "compact system camera (CSC)," or by the unfortunate acronym "EVIL" (Electronic Viewfinder, Interchangeable Lens).
Assuming that you can live without an optical viewfinder, these interchangeable-lens cameras offer most of what a DSLR can provide but in a more compact body: noticeably better image and video quality than your average point-and-shoot, faster shutter response times, swappable lenses, and manual controls.
Their lack of an optical viewfinder is a by-product of these cameras' smaller size: By eliminating the somewhat large mirror box that lets you frame your shot through the lens, manufacturers are able to reduce the thickness of these interchangeable-lens cameras. Some newer models, such as the Nikon 1 J1 and Nikon 1 V1, Panasonic Lumix GF3, Pentax Q, Olympus Pen Mini, and Sony Alpha NEX-C3, can fit in a coat pocket if they have a pancake lens attached.
One of the main problems with this category of cameras involves deciding which of the emerging compact interchangeable-lens formats to buy into, because like DSLR lens mounts, they're incompatible with one other: Nikon uses the new 1-mount system for the J1 and V1; Panasonic and Olympus both use the Micro Four-Thirds System lens mount, but not all Micro Four-Thirds lenses are compatible with both companies' cameras; Samsung's NX10 uses its own NX lens mount; Sony's NEX series uses the E-Mount system; and Pentax uses the Q mount.
Because this is a newer type of camera, there are fewer lens options to choose from than are available for a DSLR--a problem that will undoubtedly become less of a problem over time. Adapters are available to enable you to use full-size DSLR lenses with these cameras, but the adapters often cost a hundred dollars or more. A couple of the adapters available stand out: Nikon's FT1 mount adapter lets you use legacy Nikkor DSLR lenses with the 1 Series cameras; and Sony's NEX mount adapter not only lets you use Sony's A-Mount DSLR lenses, but also adds fast phase-detection autofocus to the company's NEX line by adding a translucent-mirror AF system in the body of the adapter.
Megazoom (Fixed-Lens High-Zoom) Camera
Strengths: Very high optical zoom range; manual controls; normally has excellent image stabilization; better lenses than standard point-and-shoot cameras have
Weaknesses: Bulkier than a point-and-shoot camera; expensive for a fixed-lens camera; not much smaller than an interchangeable-lens camera
Megazooms don't give you the lens-swapping versatility of a DSLR or compact interchangeable-lens camera, but they are the most versatile fixed-lens cameras available. They're called "megazooms" because their lenses serve up a whopping amount of optical zoom (20X to 36X), providing impressive wide-angle coverage and telephoto reach.
Most megazooms also offer DSLR-like manual controls for aperture and shutter, as well as excellent image stabilization to help steady full-zoom shots. Because of their lenses' versatility, they're good cameras for landscape photography (they can capture both wide-angle vistas and faraway details), sports photography (you can sit in the crowd and still get tight shots of in-game action), and animal photography (because you really shouldn't get too close to that bear).
A typical megazoom camera is smaller than a DSLR, but it's about the same size as the larger interchangeable-lens compact cameras we've seen, and it won't slip into a pocket or purse. You'll probably need a backpack or camera bag to tote it along with you.
Advanced Point-and-Shoot (Compact Camera With Manual Controls)
Strengths: Better image quality than most fixed-lens cameras; manual controls over shutter speed and aperture settings; usually has a wide aperture at wide-angle end of the zoom; good secondary camera for DSLR owners; good learning tool for novice shooters
Weaknesses: More expensive than a basic point-and-shoot; can be more complicated to use than a basic point-and-shoot; smaller optical zoom range
Not all point-and-shoot digital cameras can live up to the scrutiny of a DSLR-toting pro, but an advanced point-and-shoot often gets the nod as a pro shooter's secondary, more portable camera. These cameras have manual controls for setting the aperture, shutter, and ISO, enabling you to fine-tune your shot more granularly than you can with a basic point-and-shoot. Some advanced point-and-shoots also have accessory shoes to accommodate external flashes and microphones.
Their lenses tend to have wider maximum apertures than most fixed-lens cameras, meaning that you can shoot at faster shutter speeds, get good shots in low light, and achieve shallow depth-of-field effects to give macro shots and portraits a more artistic look. Though you don't get the zoom range of a pocket megazoom, image quality is often better; you rarely encounter the distortion you sometimes see with a high-zoom lens.
While a pocket megazoom type camera is our pick for any casual shooter looking for a camera that offers zoom-range versatility, an advanced point-and-shoot camera is our pick for anyone who normally takes wide-angle, portrait, and macro shots, as well as for anyone who wants a non-DSLR camera that can help them get the hang of manual controls.
Ruggedized Point-and-Shoot Camera
Strengths: Immune to drops, water, freezing, and sand
Weaknesses: Usually has fewer features than a standard point-and-shoot camera; sometimes has subpar image quality.
These are the ultimate cameras for extreme-sports enthusiasts, mountaineers, snorkelers, and the just-plain-clumsy. Quite a few waterproof, freezeproof, drop-proof, and dustproof cameras are available, and they're great for taking underwater shots of fish, lugging to the beach, or taking on a snowboarding trip.
Due to their unique appearance and sometimes-barren feature sets, these rugged cameras aren't the first choice for everyday, on-the-go use. Image quality can be a mixed bag, too: The cameras are rugged, but they usually don't have the best optics or biggest sensors. On the other hand, they're durable, and that's sometimes a more important trait to have.
Basic Point-and-Shoot Camera
Strengths: Very easy to use; inexpensive; small enough to fit in a pants pocket; usually has a large number of scene modes that select the right in-camera settings for your shot
Weaknesses: Usually doesn't have any manual controls; image quality is typically mediocre, especially in low light; inflated megapixel counts
A basic point-and-shoot camera is a no-brainer pick for anyone who just wants an affordable camera to keep on hand at all times; all of the newer ones even shoot high-definition video now, and their scene mode selections cover a lot of bases.
In-camera automation is getting better and better, meaning that these cameras basically drive themselves; you don't get manual controls that help you fine-tune your photos, but basic point-and-shoots normally have very good Auto modes and scene selections that choose the appropriate in-camera settings for your shot.
This is one area in which the megapixel war continues to rage: You'll see a lot of entry-level cameras with sub-15K prices and 16-megapixel sensors. Unfortunately, these cameras usually have small sensors, so don't fall into the trap of buying an inexpensive camera with a very high megapixel count. Packing more megapixels into a small sensor usually leads to image noise, especially when you shoot at higher ISO settings.
Though they won't offer the same optical zoom reach as a more expensive camera, some basic point-and-shoot cameras do provide wide-angle coverage (ideally around 28mm on the wide-angle end). That extra wide-angle coverage comes in very handy for group shots, arm's length self-portraits, and landscape shots. If you want a low-priced camera that has more features than a typical smartphone camera can offer, look for a basic point-and-shoot with a 5X-or-higher optical zoom lens, a fast burst-shooting mode (3 images per second or greater), and optical image stabilization.
The Specs Explained
Different specs are important to different people, but a few generalizations hold true for most cameras.
If you intend to take pictures only to e-mail them to distant friends or to print at snapshot size, a camera of most any resolution will do. Even so, having more pixels gives you greater flexibility--you can print sharper pictures at larger sizes, or crop and print small sections of pictures. These days, it's hard to find a camera with a resolution of less than 10 megapixels, which is overkill for most shooters. As a rule of thumb, 5 megapixels is enough to make a sharp 8-by-10-inch print; and 8 megapixels is enough to make a sharp 11-by-14-inch print. A 10-megapixel camera can produce acceptable prints of up to 13 by 19 inches, though they may lose some detail. Images from a 13-megapixel camera look good at 13 by 19 inches and can be pushed to 16 by 24 inches. Many digital single-lens reflex (SLR) cameras today exceed 13 megapixels--all the better if you want to creatively crop your images.
If you only share your shots digitally, couldn't care less about cropping and resizing your shots, and/or want to save a lot of space on your storage card, we recommend lowering the default resolution of your camera's photos to either 5 megapixels or 8 megapixels. Most cameras let you change the capture resolution to a lower setting, but check to see whether the model you have in mind allows you to do it.
Not all megapixels are created equal. Cameras with larger sensors and lenses normally take better shots, regardless of the unit's megapixel count. Bigger sensors normally create better images, as do higher-quality lenses; this is why DSLRs take such stunning photos. If you can't get any hands-on time with a camera before deciding whether to buy it, check the specs to see how big its sensor is, and look at the physical size of the glass on the front of the camera. If both are big, it most likely offers good image quality.
Shutter Lag and Startup Time
Even if the camera you've decided to buy has some drool-inducing specs, shutter lag may prevent you from capturing the perfect shot. When it comes to shutter lag, a camera can let you down in a handful of ways: a slow shot-to-shot time, a slow startup-to-first-shot time, and a laggy autofocus that has trouble locking in on a crisp shot.
You can check for only one of these problems by scanning a camera's spec sheet: To get a sense of a camera's shot-to-shot time, look for the camera's "burst mode" or "continuous shooting" count in shots per second. This is the number of shots a camera will take in rapid-fire succession as you hold the shutter button down. If you're interested in shooting a lot of sports or action photography, look for a camera with a continuous shooting mode of at least 3 shots per second; bear in mind that the listed continuous-shooting speed usually refers to situations where the flash is turned off, as the time needed to recharge the flash tends to be longer than the shot-to-shot time. Some cameras are built for high-speed shooting with shot rates much higher than that, but usually they significantly reduce the resolution of each photo in order to speed up image processing and write speeds.
The other forms of shutter lag are important reasons for you to get some hands-on time, if possible, with any camera before you buy it. Check to see how long the camera takes to power on and snap a first shot; generally, anything close to a second is considered fast. Another good hands-on, in-store test is to see how long the camera's autofocus system takes to lock in on a shot after you press the shutter button halfway down. If the camera searches in and out for more than a second, you'll be better off with another camera for sports or spur-of-the-moment casual shots.
Size, Weight, and Design
To some users, a camera's weight and its ability to fit in a pocket may be more important factors than its resolution. Slim cameras are convenient, but they frequently have tiny dials and few buttons, and these characteristics make changing settings somewhat trying. Smaller cameras usually don't have manual controls, instead relying on automated in-camera settings that pick the right in-camera settings for your shot. These auto modes normally do a great job, but you have less control over the look and feel of a photo.
Zoom Lens and Image Stabilization
Inexpensive cameras often lack a powerful optical zoom lens, but that's changing. Among the new breed of 15K-range cameras are a few pocket megazooms: compact cameras with optical zoom lenses as powerful as 10X optical zoom.
If we had to choose between a point-and-shoot camera with stronger optical zoom and one with higher resolution, we'd take the model with the more powerful zoom lens--it means that you won't have to magnify your subject and then use software to crop the image (and discard some of the resolution as a result).
If you're buying a DSLR or a compact interchangeable-lens camera, both the zoom range and the stabilization features depend on the lens you're buying. A few DSLRs and interchangeable-lens compacts have in-body image stabilization, meaning that your images will be stabilized by in-camera mechanics (usually, the sensor physically moves to compensate for shake) regardless of which lens you attach. If your camera doesn't have in-camera stabilization features, you can obtain optically stabilized lenses, but they're often a bit more expensive.
Fixed-lens cameras now offer zoom ratings of up to 36X. These lenses are great for nature or sports photography, but unless the camera has good image stabilization (look for a camera with optical image stabilization) or a very fast shutter, you may need a steady hand or a tripod to avoid blurry pictures at extreme telephoto lengths. Before you buy, you should try a camera's autofocus at full zoom: We've tested some models that were slow to focus at full zoom in low light.
Also note that not all high-zoom cameras are created equal. You know how you have to ask everyone in your group shot to gather in close to get in the shot? A wide-angle lens can solve that problem, so pay attention to the wide-angle end (lowest number) of the optical zoom range, as well as to the telephoto end (highest number). If you take a lot of group shots or landscape shots, the wide-angle end of the lens is even more important; it lets you capture more of the scene when you're zoomed all the way out. A good wide-angle lens starts at about 28mm or less on the wide-angle end; the lower the number, the wider-angle the lens.
Be wary of advertised zoom ratings--many vendors quote "extended zoom" or "simulated zoom" counts. These combine the optical zoom (which moves the lens to magnify the subject) with digital zoom, which merely magnifies your image digitally by cropping and zooming it. Optical zoom gives you all the benefit of the camera's maximum resolution, combined with the ability to focus in tight on faraway action.
All digital cameras take .JPEG images by default, which compresses your photos and compromises the details in each shot. Many DSLRs and compact interchangeable-lens cameras--and some advanced point-and-shoot cameras--also allow you to shoot in RAW mode, which preserves all of the data in your images without compression. Shooting in RAW mode lets you bring out more detail in your image during the editing process, but it also means that the file sizes on your images will be much higher. If you plan to shoot in RAW mode, make sure that you have a high-capacity storage card to hold all of the extra data.
For close-ups and other situations where a camera's autofocus doesn't quite cut it, switching to manual focusing can help you get the shot. Low-end cameras often omit manual focusing, which forces you to trust the camera's autofocus system and lose a bit of control over the look of your shot. It's a good idea to test a camera's autofocus before you buy; some cameras struggle to lock in on a focus point at full telephoto or in macro mode, meaning that you may not be able to capture your perfect shot.
If you have an existing storage card that you'd like to use with your new camera, make sure that it's compatible with your new purchase. Most cameras on the market today use SD (Secure Digital) or SDHC (Secure Digital High Capacity) cards. SDHC (Secure Digital High Capacity) cards are more expensive, offering storage capacities up to 32GB, but they're not backward-compatible with standard SD slots. There's also a more recent, higher-capacity format on the block: SDXC, which supports storage capacities up to a whopping 2TB; those are even more expensive, and they aren't compatible with all SD/SDHC card slots.
In addition to storage capacity, there's also the speed issue to consider. SD and SDHC cards come with a "Decoding Class" rating, which refers to the data-writing rate for each card. The higher the Class number, the faster the card's write speed; if you're planning on shooting video or using a high-speed burst mode, look for a Class 4 or Class 6 card at the very least.
To complicate matters further, some smaller cameras support MicroSD or MicroSDHC cards, a smaller version of the SD card format that isn't compatible with full-size SD slots. Older Sony cameras take MemoryStick cards, and older Olympus cameras use the XD card format; both companies' new cameras now support SD/SDHC cards. What's more, many higher-end DSLRs have a larger-format CompactFlash card slot.
Cameras may use one or more of several types of batteries: Typically, brand-new cameras use proprietary rechargeable batteries that can cost from 1.5K to 3K to replace. Lower-priced and older cameras use standard AAs--either nonrechargeable alkaline (Rs. 70 for four) or rechargeable nickel metal hydride (NiMH, about Rs. 500 for four)--or high-capacity disposable CRV3s (around Rs. 300 apiece; some cameras take two).
With their big LCD screens and whiz-bang features, some digital cameras quickly drain batteries--especially alkaline batteries--which can be expensive and annoying. Battery life and cost often aren't related: Some inexpensive cameras have great battery life, and some expensive ones use up a charge quickly. Either way, it's a good idea to buy spare batteries.
Movies and Sound
The majority of today's cameras can capture video as well as still shots, and the latest cameras record 1080p high-definition video. If you plan on shooting a lot of video with your camera, here are some things to consider:
• Can the camera zoom in and out optically while filming video?
• Can you use autofocus while shooting video?
• Does your video-editing software support the format your camera records in? Most cameras' video output will work with any video-editing program, but the AVCHD format is still incompatible with some software. That said, AVCHD files will upload directly to YouTube.
• Do you have a Class 4 or Class 6 SDHC card? You'll want to pick one up to make sure that your card can handle the speed of video capture.
If you're torn between a digital SLR camera and an advanced point-and-shoot model, check to see whether the DSLR you're considering shoots video. A growing number of DSLRs capture high-definition video, and the larger sensors and lenses mean that the video quality is usually phenomenal.
All digital cameras let you shoot in fully automatic mode--just press the shutter release, and you get a picture. Some cameras also offer aperture- and shutter-priority modes, in which you adjust the size of the lens opening or how long the shutter stays open, and the camera automatically controls the other variable to give you the proper exposure.
Typically, you'll use aperture priority to maintain control over an image's depth of field--for example, to blur the background of a shot while keeping the foreground sharp--and shutter-priority mode to capture fast-moving subjects. A camera that relies exclusively on full auto will attempt to keep both the foreground and background in focus in the former example, and it will probably blur the moving subject in the latter.
Usually, cameras that offer priority modes also provide full-manual exposure control, in which you set both variables. These modes make a camera adaptable to almost any situation.
The sleekness of a camera is usually inversely proportional to how easily you can adjust its settings. DSLRs, interchangeable-lens cameras, and advanced point-and-shoots are studded with buttons and knobs; and if you know what you're doing, they make adjusting the camera's settings a quick-and-easy affair.
When evaluating a camera, consider how easily you can reach common settings--resolution, macro mode, flash, and exposure adjustments--and how easily you can play back just-taken images. Too many buttons, and you waste time trying to figure out which button does what; too many menus, and you waste time digging through them.
Some cameras try to entice prospective buyers, particularly beginning photographers, with a large number of scene modes--presets that are designed for such specialized settings and subjects as the beach, fireworks, and underwater. Unfortunately, selecting one of these less common modes usually involves a trip to the menus, and multiple button presses. Some cameras let you assign one of the modes--or a custom mode that you create--to a position on the control dial, where you can more easily access it. Some DSLRs offer multiple positions on their control dial for storing customized settings, and some point-and-shoots allow you to store customized settings as a mode within the scene modes menu or via the control dial.
One potentially helpful feature offered by almost every point-and-shoot camera is facial detection. In detecting people's faces, the camera aims to optimize both focus and exposure for the subjects, presumably to better effect than the more traditional portrait mode that almost every camera offers. Some new cameras even have smile recognition, which will automatically take a picture when someone in the frame smiles; this feature is great for baby pictures or for shooting an otherwise moody subject.
Unique Shooting Modes
Camera manufacturers are also discovering new ways to make their offerings stand out from the pack. Some in-camera features are worth the price of admission by themselves, and they vary by vendor. For example, a Lytro camera lets you focus your photos after you shoot them. Casio has a high-speed shooting mode in many of its cameras that takes up to 60 shots per second. Nikon has a camera with a projector inside it. Sony has a Sweep Panorama mode that lets you press the shutter button once and then pan across a scene to create an instant panoramic image, and several other vendors have since adopted this mode. Many cameras have a "Miniature Mode" or a "Tilt-Shift" mode that makes large objects look like miniature models. Several companies also have cameras that shoot 3D images. And you'll find quite a few cameras today with built-in GPS and mapping features. When it comes to cameras, don't be afraid to dive into the details; you may discover a cool feature hiding in the spec sheet that makes a camera a top contender for meeting your needs.
Almost all digital cameras allow you to choose a white-balance setting via presets. This setting tells the camera which elements in a shot should look white, and (by inference) which elements should look black--and what everything in between should look like. If you're finicky about color accuracy, look for a custom white-balance mode in which you press the shutter button while aiming at a white object.
LCD and Viewfinder
All digital cameras have an LCD screen; these vary in size from 1.8 to 3.5 inches. The smaller size limits your ability to review just-taken images on the camera. A good LCD is essential for knowing whether you got the picture you wanted, and it can usually give you an indication of whether the shot was properly exposed. Newer cameras have touchscreen LCDs that allow you to tap on subjects in the frame to focus on, as well as to navigate menus. If you're thinking about getting a camera with a touchscreen LCD, make sure that the screen is responsive--and account for the screen-smudge factor. Also, confirm that accessing the settings you'd normally use doesn't take too many screen-presses.
LCD quality varies widely: Many wash out in sunlight or become grainy in low light, or the image may change if you tilt the camera slightly. If possible, try using a camera outdoors before you buy it. Some cameras also have an eye-level viewfinder, which is a convenient backup for framing your shots (and if you turn off the LCD when not using it, you'll save battery power). Perhaps the best way to ensure an accurate exposure is to view the photograph's histogram on the LCD, if the camera offers this feature. A histogram is a graph that show you highlights that are overexposed to the point of being pure white, and shadows that are underexposed and show as pure black.
Using Wi-Fi to transmit images to a PC, a printer, or a photo-sharing site may sound enticingly free of entanglements, but we recommend that you try this feature beforehand. In our reviewers' experience, sending Wi-Fi transmissions did not work seamlessly in some instances; and as a result, this feature was not worth the extra money it added to the camera's cost. You don't have to buy a Wi-Fi-enabled camera to send photos directly from your camera, however. Eye-Fi cards enable any compatible camera to send photos wirelessly to your computer, to photo-sharing sites, and even directly to a mobile phone.
Some Useful Tips
Ready to buy a digital camera? Here are our recommendations:
Match megapixels to your use: Most point-and-shoot cameras offer a resolution of at least 5 megapixels, which is plenty for producing 11-by-14-inch prints. Cameras with more megapixels will yield even larger prints and will allow you to blow up part of an image with less likelihood that the print will be blurry. If you plan to make only 4-by-6-inch prints, though, you don't have to shoot at the camera's highest resolution--and as a result, you'll be able to fit more shots onto your memory card.
Look for rechargeable batteries and a charger: The cost of disposable batteries adds up over the long haul. Some cameras can use AA batteries of any type--disposable or rechargeable. That capability can be helpful if your rechargeable batteries run out of juice and you don't want to wait while they replenish.
Disregard digital zoom: Most cameras offer at least 3X optical zoom--and some boast an optical zoom as high as 30X. But sometimes vendors tout a high total zoom that includes digital zoom, which you should disregard: Digital zoom produces photos that are inferior to those produced with an optical zoom.
Look for a low-light focusing aid: Some cameras have auxiliary lights that help them focus in dim settings. That's important for many indoor shots. A lot of cameras these days have backside-illuminated (BSI) sensors, which generally do a great job in low-light situations.
Try the camera before you buy: Some cameras have commands and menus that are easier to use than others, a fact you can ascertain only by means of a hands-on trial. In testing a camera, evaluate the lag time between when you press the shutter button and when the camera actually takes the picture. Try the zoom lens--does it operate quickly and smoothly? Find out how long you must wait between taking pictures. And try the LCD viewfinder--in the sun if possible--to determine how easy it is to read.
Consider investing in a memory card reader or a camera dock: A memory card reader acts like an external hard drive attached to your PC or laptop, allowing you to download pictures directly from your camera's storage media. Many newer laptops have one or more memory card slots built in, as do some inkjet printers. Alternatively, some cameras come with a dock (or offer one as an option), and some of these docks include a dedicated button for uploading all of your new photos from a memory card. A dock also charges the camera's battery.
Buy a second memory card: If you have a second memory card, you can keep shooting while the images download, rather than having to keep the camera hooked up to your PC. Also, you won't have to worry about running out of space (and missing your perfect shot) quite so quickly.
via PC World