Wildlife D-SLRs

Choose your ideal camera for photographing birds and other wildlife

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While you can photograph wildlife with any camera, some models are better suited for it than others. Digital SLRs with smaller-than-full-frame sensors are ideal because they’re easy to carry in the field, offer excellent autofocusing capabilities for still and action situations, and their smaller sensors provide a focal-length “boost” compared to using the same lens on a 35mm or full-frame digital SLR. Of course, if a full-frame D-SLR has enough pixels, you can crop into an image to zero in on a distant animal and still have ample resolution for a decent-sized print. But such D-SLRs are very expensive.

Lenses of at least 600mm (35mm-camera equivalent) are available for all current D-SLRs, so all will let you get close to those shy beasties. Pro wildlife photographers prefer the fastest lenses—300mm ƒ/2.8, 400mm ƒ/2.8 and 600mm ƒ/4 are popular with pros—because these lenses offer the best image quality and ruggedness, allow them to shoot at slower ISO settings for better image quality or faster shutter speeds for sharper images of moving subjects, and provide a brighter viewfinder image for easy composing and manual focusing, especially in dim light. But faster lenses cost a lot more than slower ones, and they’re much bulkier, so the slower, lower-cost telephotos, especially tele-zooms, are popular with those on a tighter budget and still capable of delivering great wildlife shots.

Both pro and amateur wildlife shooters use teleconverters to get more out of their lenses: A 1.4x converter turns a 300mm focal length into 420mm; a 2x converter turns it into 600mm. There’s a penalty in lens speed, though—a 1.4x converter reduces light transmission by one stop, a 2x by two stops—but it’s a way to get lots more focal length for a little more money. Converters reduce image quality a bit, but if you use a converter designed for the lens (or focal-length range) you’re using, results can be excellent.

Another accessory frequently employed by wildlife pros is an extension tube. This mounts between the camera body and lens, and allows the lens to focus closer than it could otherwise, handy when using a 600mm ƒ/4 (normal minimum focusing distance around 18 feet) from a blind to photograph nearby birds and other smaller animals. Like teleconverters, extension tubes reduce the light transmitted to the sensor, but TTL metering automatically compensates for this.

Useful Wildlife Camera Features
Sub-Full-Frame Format. Full-frame sensors offer a number of advantages, but for wildlife, smaller sensors are better because they “see” a smaller angle of view than full-frame sensors. This effectively increases the focal length of any lens by a factor of 1.5x or 1.6x for the popular “APS-C” sensors and by a factor of 2x for Four Thirds System sensors. Put a 300mm telephoto on an APS-C camera, and it frames like a 450mm on a 35mm camera or full-frame D-SLR; put a 300mm on a Four Thirds System camera, and it frames like a 600mm on a full-frame D-SLR.

Lots Of Pixels.
It’s difficult to get close enough to wildlife, even when using super-telephotos. A camera with a high megapixel count lets you crop in on your images while still retaining good detail (assuming the original image is sharp, of course).

First-Rate AF Performance. While it’s easy enough to focus manually on a stationary subject with a tripod-mounted camera, quick wildlife action requires excellent autofocusing performance. The top-of-the-line D-SLRs have better AF performance than the lower-end models, but even today’s lower-end models can handle birds in flight.

Quick Operation. Wildlife moments can be fleeting, especially those involving small, quick-moving subjects. You want a camera that starts up (and wakes up from sleep mode) quickly, reacts quickly when you press the shutter button and can shoot successive images in rapid sequence.

Good High-ISO Performance. Some of the best wildlife opportunities occur at dawn and dusk when the light is dim. A camera that provides good image quality and reduced noise at higher ISOs is a plus. Higher ISOs also are useful for action shots, permitting use of faster shutter speeds in lower light or at smaller apertures.

Stabilization.
It’s best to use longer focal lengths with a tripod, but sometimes you have to work handheld. Canon, Nikon, Sigma and Tamron offer lenses with built-in image stabilizers that counter the effects of camera (but not subject) movement. Olympus, Pentax, Samsung and Sony offer D-SLRs with built-in sensor-shift stabilization, which works with any lens you attach to the camera, but stabilizes only the recorded image, not what you see in the viewfinder.

Sensor-Dust Remover.
Each time you change a lens, or add a teleconverter or extension tube, dust can enter the camera and settle on the sensor assembly—after which it will appear in every shot you make. Many of today’s D-SLRs incorporate anti-dust measures, the most effective of which is a super-high-frequency vibration mechanism that shakes dust off the sensor assembly—vital to anyone who shoots in field conditions.


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EOS-1D Mark III
Featuring the best image quality of any Canon D-SLR (with the possible exception of the 21.1-megapixel full-frame EOS-1Ds Mark III), the EOS-1D Mark III can shoot its 10.1-megapixel images at 10 per second. The camera is enormously popular among bird photographers in particular. The superb image quality is due, in part, to dual DIGIC III image processors, 14-bit A/D conversion and the Canon CMOS sensor’s large photo diodes (26% larger than those of the EOS-1Ds Mark III). The APS-H format (28.1x18.7mm) image sensor lies about midway between full-frame and APS-C, with a 1.3x focal-length factor: A 300mm lens on this camera frames like a 390mm lens on a full-frame camera.

The EOS-1D Mark III is quick (0.2-second startup, 55mm shutter lag, 80ms viewfinder blackout), and our test camera’s AF performance made it the best “bird” camera I’ve ever used. It’s also rugged, with excellent weather and dust sealing and a 300,000-cycle shutter. The 3.0-inch LCD monitor provides Live-View capability, which is handy for working at odd angles.

One advantage of both Mark III models (the EOS-1D Mark III and full-frame EOS-1Ds Mark III) for wildlife shooters is that they can autofocus with a 2x teleconverter and an ƒ/4 lens (ƒ/8 effective aperture), something Canon’s nonpro D-SLRs can’t do. Autofocus performance is slowed somewhat by the 2x converter, but both Mark IIIs autofocus consistently and accurately with a 300mm ƒ/4L IS lens and 2x converter.

Among Canon’s more than 60 EF lenses are quite a few that are ideal for wildlife, including the EF 300mm ƒ/2.8 and ƒ/4; 400mm ƒ/2.8, ƒ/4 and ƒ/5.6; 500mm ƒ/4, 600mm ƒ/4 and 800mm ƒ/5.6 primes; as well as the 70-200mm ƒ/2.8 and ƒ/4 and the 100-400mm ƒ/4.5-5.6 tele-zooms—all featuring an effective built-in Image Stabilizer. There are 1.4x and 2x teleconverters.
Predecessors: EOS-1D Mark II N, EOS-1D Mark II, EOS-1D
Cool Factor: 10.1 megapixels at 10 fps, with superb image quality

Features
Sensor: 10.1-megapixel CMOS, 1.3x
Stabilization: IS lenses
Max. Shooting Rate: 10 fps
Anti-Dust: High-frequency vibrations
ISO Range: 50-3200
Longest Current Lens: 800mm
Estimated Street Price: $4,150

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The back of the Canon EOS-1D Mark III, with its three-inch Live-View LCD. With slots for a CF card and an SD memory card, you can shoot hundreds of RAW images without having to stop and change cards. Wildlife photographers will appreciate the panel of buttons for vertical shooting. The panel includes AF-On, AF-Lock and Exposure-Lock and Shutter buttons, and it lets you go back and forth from horizontal to vertical quickly.


Alternative Wildlife D-SLRs
Camera: EOS-1Ds Mark III
Sensor: 21.1 MP/FF
Stabilization: IS in lens
Max. Shooting Rate: 5 fps
Anti-Dust: Vibration
ISO Range: 50-3200
Longest Lens: 800mm
Estimated Street Price: $7,800
wildlife
Camera: EOS 40D
Sensor: 10.1 MP/1.6x
Stabilization: IS in lens
Max. Shooting Rate: 6.5 fps
Anti-Dust: Vibration
ISO Range: 100-3200
Longest Lens: 800mm
Estimated Street Price: $1,050
wildlife

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Nikon D300
The D300 offers superb image quality up through ISO 3200 (and surprisingly good quality at ISO 6400), due, in part, to its 12.3-megapixel CMOS sensor, Nikon’s EXPEED image processing, 14-bit NEF (RAW) output and excellent noise control. Its major advantage over the full-frame D3 and D700 as a wildlife camera is its 1.5x focal-length factor—while all three are 12-megapixel cameras, the D3 and D700 images shrink to 5.1 megapixels when cropped to DX (APS-C) format.

Extremely quick (0.13-second startup, 45ms shutter lag), the D300 can shoot up to 6 fps (8 fps with the optional MB-D10 battery pack) and has an excellent 3D Focus Tracking AF system that can keep up. The rugged, magnesium-alloy body features weather and dust sealing and a 150,000-cycle shutter, yet is considerably lighter and less bulky than top-of-the-line pro models.

Active D-Lighting applies real-time highlight and shadow correction to provide better detail from bright highlights and dark areas, which is handy when shooting in harsh light. The high-resolution, 920,000-dot LCD monitor features two Live-View modes: Tripod mode is ideal for wildlife “portraits,” while Handheld mode uses the camera’s standard phase-detection AF and can handle action.

The D300 includes a built-in flash unit (ISO 100/GN 39, in feet), handy for filling shadows in close-by subjects and for macro work. Nikon long has been known for its excellent external flash system, and the D300 provides all the latest features, including i-TTL operation and comprehensive wireless off-camera control.

The D300 also incorporates Nikon’s first self-cleaning sensor unit, utilizing four different resonance frequencies to keep dust off the sensor assembly and your images spot-free.

Nikon offers more than 50 lenses, including quite a few ideal for wildlife. Among them are the 300mm ƒ/2.8, 400mm ƒ/2.8, 500mm ƒ/4 and 600mm ƒ/4 primes and the 70-200mm ƒ/2.8, 80-400mm ƒ/4.5-5.6 and 200-400mm ƒ/4 zooms, all with effective built-in Vibration Reduction, and all but the 80-400mm with super-smooth AF-S focusing motors. There are also 1.4x, 1.7x and 2x AF teleconverters.
Predecessors: D200, D100
Cool Factor: Excellent image quality and low noise at higher ISOs

Features
Sensor: 12.3-megapixel CMOS, 1.5x
Stabilization: VR lenses
Max. Shooting Rate: 6 fps
Anti-Dust: High-frequency vibrations
ISO Range: 100-6400
Longest Current Lens: 600mm
Estimated Street Price: $1,650

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The Nikon D300’s
920,000-dot LCD monitor offers Handheld and Tripod Live-View modes. Controls make for speedy operation, handy in the field. The Multi Selector can be locked to avoid inadvertent use. Below that is the focus-area selector.
The LCD Control Panel shows oft-needed info at a glance. The Focus Mode Selector lets you select the focusing mode directly, great when switching from perched to flying to perched birds. The D300 has a built-in pop-up flash unit.


Alternative Wildlife D-SLRs
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Camera: D90
Sensor: 12.1 MP/1.5x
Stabilization: VR in lens
Max. Shooting Rate: 4.5 fps
Anti-Dust: Vibration
ISO Range: 100-6400
Longest Lens: 600mm
Estimated Street Price: $999
Camera: D3
Sensor: 12.1 MP/FF
Stabilization: VR in lens
Max. Shooting Rate: 9/11 fps
Anti-Dust: None
ISO Range: 100-25600
Longest Lens: 600mm
Estimated Street Price: $4,999
Camera: D700
Sensor: 12.1 MP/FF
Stabilization: VR in lens
Max. Shooting Rate: 5 fps
Anti-Dust: Vibration
ISO Range: 100-25600
Longest Lens: 600mm
Estimated Street Price: $2,999

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Olympus E-3
The best-performing Four Thirds System camera, the pro-oriented E-3 features a rugged body with a 150,000-cycle shutter and a tilting/swiveling Live-View LCD monitor, yet weighs just 28.5 ounces. Olympus’ effective in-body Supersonic Wave Drive sensor-shift image-stabilization system works with all lenses, while the equally effective Supersonic Wave Filter dust-reduction system keeps the image sensor dust-free.

The E-3 starts up and responds quickly and can shoot at 5 fps. Autofocus is speedy, especially with the new SWD lenses. The Four Thirds System image sensor produces a 2x focal-length factor, so any lens used on the E-3 crops as would a lens of twice its focal length on a 35mm camera. For example, on the E-3, the Zuiko Digital 300mm ƒ/2.8 provides the same crop as does the popular pro 600mm ƒ/4 bird lens on a 35mm (or full-frame digital) SLR, yet costs and weighs much less, and is a stop faster.

Unlike most pro D-SLRs, the E-3 has a built-in flash unit (ISO 100/GN 42, in feet), handy for nearby subjects in dim light and softening harsh shadows (it also can trigger off-camera flash units and group wirelessly). The camera accepts a number of accessory flash units, including a versatile macro-flash attachment, great for insect photography.

Olympus’ TruePic III processing engine and Advanced Noise Filter III, Advanced Detail Reproduction III and Advanced Proper Gamma III technology provide good image quality for the speed throughout the ISO range, 100-3200.

Like all Four Thirds System cameras, the E-3 can use all Four Thirds System lenses. Among the best for wildlife are (remember the sensor’s 2x focal-length factor) the Olympus Zuiko Digital 150mm ƒ/2 and 300mm ƒ/2.8 primes and the 50-200mm ƒ/2.8-3.5 SWD and 90-250mm ƒ/2.8 tele-zooms, as well as the Sigma 300-800mm ƒ/5.6 super-tele-zoom (equivalent to a 600-1600mm zoom on a 35mm camera or full-frame D-SLR). Olympus also offers 1.4x and 2x teleconverters and a 25mm extension tube.
Predecessor: E-1 (there was no E-2 model)
Cool Factor: Tilting/swiveling Live-View LCD monitor for tricky compositions and 2x crop factor

Features
Sensor: 10.1-megapixel Live MOS, 2x
Stabilization: Sensor-shift
Max. Shooting Rate: 5 fps
Anti-Dust: High-frequency vibrations
ISO Range: 100-3200
Longest Current Lens: 300mm/800mm
Estimated Street Price: $1,575

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The Olympus E-3 is a solid pro wildlife camera, with easy-to-use controls. The optional STF-22 flash is ideal for close-ups. The E-3 has a built-in pop-up flash. Controls are well located for quick operation. The only pro D-SLR with a tilting/rotating Live-View LCD monitor, the E-3 makes high/low-angle compositions easy.


Pentax K20D

Weather-resistant and dustproof, the K20D (along with its Samsung GX-20 “twin”) offers the most megapixels in an APS-C-format D-SLR, meaning you get 14.6-megapixel resolution and a 1.5x focal-length factor, both of which help bring shy wildlife closer: The 1.5x lens factor means a 300mm on the K20D frames like a 450mm on a 35mm SLR, and 14.6 megapixels means you can crop into an image and still have plenty of pixels left.

Image quality is very good, and you can save images in your choice of Pentax’s PEF or Adobe’s “universal” DNG RAW format, as well as JPEG. A handy RAW button lets you quickly switch formats without scrolling through menus. You even can adjust and convert RAW images in-camera and save as JPEG or 8-bit TIFF files.

The K20D’s sensor-shift Shake Reduction is effective (I captured sharp handheld shots at shutter speeds of 1⁄20 to 1⁄60 sec. with 200mm and 300mm lenses) and works with all lenses. The sensor-dust remover works—I didn’t find dust on any of the more than 2,700 images shot with our test camera.

The K20D starts up and reacts quickly, and AF performance was very good with the SDM lenses. Erratically flying swallows are tough subjects, but I was able to get sharp shots of northern rough-winged swallows pursuing insects (with the 300mm ƒ/4), as well as capture approaching rock pigeons and a variety of hovering hummers (with the 200mm ƒ/2.8).

The K20D can use virtually all Pentax lenses, even old screw-mounts and medium-format lenses (via optional adapters). The best wildlife lenses among the current models include the aforementioned DA* 200mm ƒ/2.8 and 300mm ƒ/4 SDM primes. Sigma offers the 300mm ƒ/2.8, 500mm ƒ/4.5 and 800mm ƒ/5.6 super-telephotos in Pentax mounts for those who want really long reach.
Predecessor: K10D
Cool Factor: Weather resistance lets you keep shooting when the conditions start to deteriorate

Features
Sensor: 14.6-megapixel CMOS, 1.5x
Stabilization: Sensor-shift
Max. Shooting Rate: 3 fps
Anti-Dust: High-frequency vibrations
ISO Range: 100-6400
Longest Current Lens: 300mm/800mm
Estimated Street Price: $1,100

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The Pentax K20D features a sleek, clean and functional design. Especially nice features for field work include a lock for the SD card door, an easy on/off switch for the Shake Reduction, a handy Four-Way Controller and a 2.7-inch LCD monitor with Live-View capability. The Fn button brings up a screen for quickly setting drive and flash modes, white balance, ISO and more. The Mode Dial makes it easy to set shooting modes, and the Metering Mode Lever does likewise for metering modes. The pop-up flash nicely fills harsh shadows and adds catchlights to eyes.

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Samsung GX-20
The Samsung GX-20 is essentially the same camera as the Pentax K20D, so it can be expected to perform similarly for wildlife photography. Samsung manufactures the 14.6-megapixel CMOS sensor used in both cameras, which was developed by Samsung and Pentax.

Major differences are cosmetic (shapes of buttons, menu layout and the like), and the fact that the K20D gives you a choice of two RAW formats, Pentax’s own PEF and Adobe’s DNG, while the GX-20 provides only DNG (plus JPEG, of course). As on the K20D, a handy RAW button lets you quickly switch from JPEG to RAW recording.

Useful wildlife features include quick autofocus that can handle birds in flight, sensor-shift Optical Image Stabilization that works with all lenses, a sensor-dust remover, excellent weather resistance and dustproofing, thanks to 72 seals, and a 1.5x focal-length factor that effectively increases the focal length of any lens by 50% over its length on a 35mm camera.

Like the K20D, the GX-20 can use virtually all Pentax lenses. Samsung also offers its own lenses and Schneider lenses developed specifically for the camera. As with the K20D, the best wildlife lenses are the Pentax DA* 200mm ƒ/2.8 and 300mm ƒ/4 SDM, and the Sigma 300mm ƒ/2.8, 500mm ƒ/4.5 and 800mm ƒ/5.6 super-telephotos in Pentax mounts.
Predecessor:
GX-10
Cool Factor: The highest-resolution, APS-C-format D-SLR

Features
Sensor: 14.6-megapixel CMOS, 1.5x
Stabilization: Sensor-shift
Max. Shooting Rate: 3 fps
Anti-Dust: High-frequency vibrations
ISO Range: 100-6400
Longest Current Lens: 300mm/800mm
Estimated Street Price: $1,300 (with 18-55mm zoom)

wildlife wildlife wildlife wildlife
The Samsung GX-20’s optional battery grip allows for longer battery life and easy vertical-format shooting. The Mode Dial and Metering Mode Lever provide quick, direct setting. Press the flash button, and the built-in flash pops up to provide shadow fill and add life to eyes. The Direction Button is equivalent to the K20D’s Four-Way Controller, making it easy to use settings and move through menus. The 2.7-inch LCD monitor provides Live-View capability.


Sigma SD14

While it’s not the quickest D-SLR (others are better choices if your wildlife specialty is fleeting bird-in-flight moments), the SD14’s unique Foveon X3 full-color-capture image sensor, 1.7x focal-length factor, excellent lens selection and surprisingly low price make it a fine camera for less-frenetic wildlife subjects.

Conventional Bayer-array image sensors record just one primary color at each pixel site, then re-create the missing colors by interpolating data from adjacent pixels using complex algorithms. An image-softening, anti-aliasing, low-pass filter is needed over the sensor to minimize color artifacts and moiré patterns. The Foveon X3 sensor takes advantage of the fact that different light wavelengths penetrate silicon to different levels, in effect, stacking three layers of pixels. The top layer records blue, the middle layer green, and the bottom layer red, much as color film works. Thus, the X3 sensor records all three primary colors at every pixel site. There’s no need for the Bayer colored-filter array over the pixels, interpolation and image-softening, and anti-aliasing filter required by conventional sensors. The result is the potential for sharper, more accurate RAW images.

Aside from its unique image sensor, the SD14 offers a solid, no-nonsense camera that’s easy to use. It offers a quick mirror-lockup function (handy for high-magnification photography) and a sensor-dust protector that can be removed readily for infrared photography.

Sigma offers more than 40 lenses for the SD14, including a 4.5mm circular fisheye. The best for wildlife include the 300mm ƒ/2.8, 500mm ƒ/4.5 and 800mm ƒ/5.6 EX pro prime lenses and the 120-300mm ƒ/2.8, 300-800mm ƒ/5.6 and 200-500mm ƒ/2.8 zooms. The 200-500mm’s ƒ/2.8 aperture makes it the fastest 500mm lens on the market, and it comes with a 2x converter that turns it into a 400-1000mm ƒ/5.6. Sigma also offers more cost-friendly 120-400mm and 150-500mm OS zooms, plus 1.4x and 2x converters for its tele lenses.
Predecessors: SD10, SD9
Cool Factor: Unique Foveon X3 full-color-capture image sensor

Features
Sensor: 4.7x3-megapixel Foveon X3, 1.7x
Stabilization: OS lenses
Max. Shooting Rate: 3 fps
Anti-Dust: Filter
ISO Range: 100-1600
Longest Current Lens: 800mm
Estimated Street Price: $800

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The Sigma SD14 features a straightforward design with operation that’s more camera-like than computer-like. A handy built-in flash can fill shadows and add catchlights to eyes of nearby subjects. The body is uncluttered. The dial to the left of the viewfinder sets drive modes and easy mirror lockup. AE-lock, exposure-compensation, AF area and layback magnification buttons are easily accessed with the right thumb.

Sony DSLR-A900
With 24.6 megapixels on a full-frame sensor, the A900 has enough resolution to let you crop down to APS-C format (1.5x focal-length factor) and still have 10-megapixel images. We haven’t had a chance to test this new model (samples weren’t available at press time), but a 24-megapixel, full-frame D-SLR for $3,000 sounds promising. Highlights include that new Sony 24.6-megapixel CMOS sensor, dual Bionz image processors, 5 fps shooting, a 3.0-inch, 921,000-pixel LCD monitor, intelligent preview function and ISOs from 200-3200 (expandable to 100 and 6400)—all in a body weighing about 30 ounces.

Sony’s DRO (Dynamic Range Optimizer) in the A700 model we tested was effective in retaining highlight and shadow detail in harsh sunlit scenes; presumably the feature will do likewise for the A900. While we haven’t had a chance to try any Sony D-SLR with a really long lens, autofocus performance was very good with shorter focal lengths. The A900 features a new 9-point AF system with 10 assist points and a center dual-cross-type sensor for added performance with lenses of ƒ/2.8 or faster. The Super SteadyShot sensor-shift image stabilization in our A700 test camera proved effective; the A900 will be the first full-frame D-SLR to offer this feature. All Sony D-SLRs have built-in sensor-dust removers; it will be interesting to see how effective it will be with the big full-frame sensor.

Sony D-SLRs accept Sony and legacy Minolta Maxxum lenses, plus Zeiss T* lenses designed for the cameras. The best wildlife lenses include the Sony 300mm ƒ/2.8, 500mm ƒ/8 mirror and 70-300mm ƒ/4.5-5.6. Sigma offers 500mm ƒ/4.5 and 800mm ƒ/5.6 super-teles in Sony mount, and Tamron offers a 200-500mm ƒ/5-6.3. All three offer 1.4x and 2x teleconverters.
Predecessors: DSLR-A700, DSLR-A100
Cool Factor: 24 megapixels for $3,000

Features
Sensor: 24.6-megapixel CMOS, 1.5x
Stabilization: Sensor-shift
Max. Shooting Rate: 5 fps
Anti-Dust: High-frequency vibrations
ISO Range: 100-6400
Longest Current Lens: 800mm
Estimated Street Price: $3,000

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Slots for both CompactFlash and Memory Stick media provide lots of shooting capacity with the Sony DSLR-A900. Below the Alpha logo is the PC terminal for studio flash.

wildlife Remote and DC In terminals provide links for remote and AC-adapter operation.

wildlife The Mode Dial lets you select shooting modes and any of three custom setups. There’s no built-in flash, but the hot-shoe accepts powerful accessory units


Alternative Wildlife D-SLR
Camera: DSLR-A700
Sensor: 12.24 MP/1.5x
Stabilization: Sensor-shift
Max. Shooting Rate: 5 fps
Anti-Dust: Vibration
ISO Range: 160-6400
Longest Lens: 500mm/800mm
Estimated Street Price: $1,299
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Resources
Canon USA
(800) OK-CANON
www.usa.canon.com

Nikon USA

(800) NIKON-US
www.nikonusa.com

Olympus

(888) 553-4448
www.olympusamerica.com
Pentax
(800) 877-0155
www.pentaxslr.com

Samsung

(800) SAMSUNG
www.samsungcamerausa.com

Sigma
(800) 896-6858
www.sigma-photo.com

Sony

(877) 865-SONY
www.sonystyle.com

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