Why it’s time to change to mirrorless

Some DSLR users used to look down on mirrorless cameras, writes Angela Nicholson, but now mirrorless offers advantages that are convincing more and more

In the earliest days of modern mirrorless cameras, the main claim made for them was that they were smaller and lighter than DSLRs. Dumping the mirror and pentaprism saved lots of space and allowed the lens mount to be moved closer to the sensor, enabling the cameras and lenses to be made smaller. But the first mirrorless system cameras weren’t without issues. Their electronic viewfinders (EVF) lacked in the resolution and refresh-rate department, so they were often viewed as something of a poor relative to optical viewfinders. And their autofocus (AF) systems needed good light to work and could only really cope with stationary subjects.

Thankfully things have moved on a lot in the past 10 years. Mirrorless cameras can still be tiny, but there are also larger models to satisfy those photographers who want larger controls and more space for their hands. EVFs have also improved to the point that they now offer some distinct advantages over optical viewfinders and some of the AF systems are phenomenal. Still need convincing? Read on.

What you see is what you get

One of the most significant advantages of modern mirrorless cameras is that they operate in permanent live view mode. That means they use the imaging sensor to provide the view in the viewfinder and on the main screen on the back of the camera. As a result, they’re able to show the impact of aspects such as exposure, white balance and colour settings. So if you’re shooting in black & white mode with a shutter speed that’s too fast for the conditions, you’ll see a dark monochrome image in the viewfinder and on the screen. And as you adjust the shutter speed closer towards what’s needed, you’ll see the image gradually brighten in the viewfinder. You can use the image in the viewfinder to decide the correct exposure rather than rely on the exposure scale. However, should you need it, there’s also usually a live histogram available to let you assess the brightness distribution.

Better composition

The electronic nature of the viewfinders in mirrorless cameras allows them to show some useful tools for improving image composition. For example, they can show an electronic level that doesn’t disappear when you half-press the shutter release to focus on the subject. Most offer a few different grid displays that can help with aligning objects in a scene. However my favourite tool after the electronic level is the Aspect Ratio control, which can be found in the main or quick menu. Some DSLRs can indicate the selected aspect ratio with lines, but a mirrorless camera can display the image with the aspect ratio applied properly.

When an aspect ratio other than the sensor’s native setting is used, the JPEG le is cropped in-camera. However the raw file usually has the data from the whole sensor so you can change your mind if you like. You may find that you need to open the image in your raw-editing software and select the crop tool before you see the whole image.

These in-camera aspect-ratio options help to move the decision about aspect ratio to the shooting stage instead of at the editing stage. Rather than waiting to see an image on a computer screen with the cursor hovering over the crop tool, you can look at the scene and view it with different aspect ratios applied in-camera. That might sound like a small point, but a step or two to the left or right can make a significant difference when you swap between the aspect ratios. If you decide at the editing stage, you don’t have the opportunity to take these steps.

Creative use of exposure

Being able to see images as they will be captured can promote using exposure as a creative tool. For instance, there have been occasions when I’ve held a camera to my eye and the exposure settings have been wrong in the traditional sense, but the image looked great – so I’ve taken the shot. Subsequently, I find I experiment more with exposure with mirrorless cameras than I ever do with SLRs. I also love that some camera manufacturers allow you to assign exposure-compensation control to the manual focus ring (or a third ring) of a lens. It makes adjusting and assessing exposure more of a part of the creative process of photography.

Customising the lens ring on a Nikon Z 6 or Z 7

  1. Press the Menu button and navigate to the Custom Setting Menu. You need section f2: Custom Control Assignment.
  2. Select the option in the bottom right corner, which is set to M/A by default.
  3. Select Exposure compensation or Aperture, depending upon which you wish to adjust with the ring. It reverts to manual focusing when it’s needed.

Better focusing

There was a time when the dedicated phase-detection AF sensor in a DSLR gave it an advantage over a mirrorless camera, but that’s decreasingly the case now. Mirrorless cameras use their imaging sensor for autofocusing, with some having embedded phase-detection pixels and others using contrast detection. These contrast-detection systems are much improved over the versions in the earliest mirrorless cameras. In addition, some cameras use a hybrid system that combines phase detection with contrast detection for the best of both worlds.

Close to the edge

Using the imaging sensor for focusing allows mirrorless cameras to have AF points further towards the edges of the frame than most DSLRs – especially full-frame models. That’s really useful with off-centre subjects, and there’s no need to focus and recompose. It also means that mirrorless cameras can continue to follow the subject further around the frame which lets you create better compositions in-camera with less need to crop than when you rely on an AF point near the centre of the frame.

Subject recognition

The AF systems are becoming increasingly sophisticated, and some can recognise the subject it’s supposed to focus on. It began with face detection and cameras spotting, highlighting and focusing on faces in the frame. Some Sony cameras, such as the A7 III, can recognise registered faces. The system allows you to register individual faces so that it prioritises them in a scene. This is useful for wedding photographers who need to make sure that the bride and groom are the centre of attention in all their images.







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