![\"second-hand](\"\/wp-content\/uploads\/2019\/04\/second-hand-camera-bargains.jpg\")
\n![\"Fujifilm](\"\/wp-content\/uploads\/2019\/04\/Fujifilm-X-A1-1.jpg\")
\nFujifilm X-A1 with Fujinon XC15-45mm F3.5-5.6 OIS PZ<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a3233<\/li>\n
- Sensor<\/strong> 16.3MP APS-C CMOS<\/li>\n
- Sensitivity ISO 100-25,600<\/li>\n
- Continuous shooting<\/strong> 5.6fps<\/li>\n
- Video<\/strong> Full HD video at 30fps<\/li>\n
- Rear display<\/strong> 3in, 920k-dot tiltable LCD<\/li>\n
- Viewfinder<\/strong> No electronic viewfinder<\/li>\n<\/ul>\n
Positioned as the entry point to Fujifilm\u2019s premium X-series range, the X-A1 was the cheapest interchangeable-lens model in the range at the time of its release in 2013. As with other cameras in the X-series range, the X-A1 takes Fujifilm\u2019s unique take on retro rangefinder design and combines it with modern digital camera technology to produce a camera that looks and feels great and is capable of producing great images, too. For those looking to invest in their first \u2018proper\u2019 interchangeable-lens camera, the X-A1 is easy to use but also provides plenty of scope to expand your skills.<\/p>\n
At its heart, the X-A1 is built around a 16.3MP APS-C CMOS sensor and Fujifilm\u2019s own EXR Processor II. Unlike the X-Trans sensor found in more advanced X-series models, the sensor inside the X-A1 employs a conventional Bayer colour filter array. This produces a maximum output of 4896 x 3264 pixels when shooting at full resolution in the sensor\u2019s native 3:2 aspect, although you can of course lower the resolution when shooting JPEGs. The X-A1 also provides raw capture for more-advanced users who would prefer to process their own images. Exposure modes are plentiful, with PASM controls for experienced users being backed up by a range of fully automatic modes for point- and-shoot duties. The X-A1 also comes with a selection of Fujifilm\u2019s proprietary \u2018Film Simulation\u2019 digital filters, which mimic the look of classic 35mm film stock from Fujifilm including Provia, Astia and Velvia. Note that later additions to the range, such as Classic Chrome, Acros and PRO Neg, aren\u2019t available on the X-A1 as these were released after the X-A1 came out and can\u2019t be added.<\/p>\n
Features<\/h2>\n
In use the X-A1 is quick to start up and provides a useful burst speed of 5.6fps. Video capabilities, meanwhile, extend to 1080p Full HD video at up to 30fps for a maximum duration of 14 minutes. Shutter speed can be adjusted from 30sec to 1\/4,000sec, while sensitivity ranges from ISO 100-25,600 (extended). There\u2019s also built-in Wi-Fi connectivity that enables you to transfer images wirelessly to a connected smartphone or tablet via the Fujifilm Remote app. Note that the X-A1 does not support wireless remote control over the camera via Wi-Fi though.<\/p>\n
The X-A1 is equipped with a 49-point contrast-detect autofocus system that provides fast and accurate focus when light is plentiful, although some focus-hunting can be expected when light levels drop. The X-A1 is well served with a range of focusing options including Multi-area, Single-point, Tracking, and Face detection.<\/p>\n
Display and build quality<\/h2>\n
The back of the X-A1 is fitted with a 3in, 920k-dot tiltable display that can be angled up and down for shooting overhead or from the hip. While there\u2019s no touchscreen functionality, the display is of good quality and plenty sharp enough to review your captured images effectively. In keeping with most other entry-level mirrorless cameras there\u2019s no built-in electronic viewfinder, which means you\u2019ll have to use the display to compose your images, which can occasionally be a little awkward in bright sunlight. The X-A1 also comes with a built-in pop-up flash, which sits under a panel on the left shoulder and is rated to 7m at ISO 200.<\/p>\n
As with most Fujifilm X-series cameras, the X-A1 is solidly constructed and nicely finished. The finger grip on the front isn\u2019t the largest, but does enable you to get a good hold of the camera thanks to its textured finish. The X-A1 is also an exceptionally easy camera to operate; buttons are large and well spaced, with the ever-useful \u2018Q\u2019 button providing instant access to a streamlined graphical menu from where you can directly adjust all of the camera\u2019s most commonly used settings.<\/p>\n
While a brand new X-A1 body and Fujifilm XC 15-45mm kit zoom cost around \u00a3530 at launch, reputable second-hand dealers such as MPB.com<\/a> currently have stock of second- hand X-A1 bodies in \u2018excellent\u2019 condition for just \u00a399. In addition it\u2019s also possible to pick up \u2018like new\u2019 examples of the XC 15-45mm kit zoom for \u00a3134, while those looking for a more discreet set-up might want to consider the Fujifilm 27mm f\/2.8 prime instead, which is available used in \u2018excellent\u2019 condition for as little as \u00a3209. Whichever lens option you decide on, building a second-hand package around the X-A1\u2019s diminutive body certainly enables you to extract plenty of value for money while looking suitably stylish. You\u2019ll love the images it produces too!<\/p>\n
\nAlso consider<\/h2>\n![\"Panasonic](\"\/wp-content\/uploads\/2019\/04\/Panasonic-Lumix-GF1.jpg\")
\nPanasonic Lumix GF1 with Lumix G Vario 14-45mm f\/3.5-5.6 ASPH Mega OIS<\/h2>\nAt a glance<\/h3>\n\n- Price <\/strong>\u00a3124<\/li>\n
- Sensor<\/strong> 12.1MP Live MOS<\/li>\n
- Sensitivity<\/strong> ISO 100-3200<\/li>\n
- Continuous shooting<\/strong> 3fps<\/li>\n
- Video<\/strong> 720p HD at 30fps<\/li>\n
- Rear display<\/strong> 3in, 460k-dot LCD<\/li>\n
- Viewfinder<\/strong> None<\/li>\n<\/ul>\n
While a brand new GF1 would\u2019ve cost you around \u00a3700 upon its release in 2009, it\u2019s possible to pick up a second-hand example in \u2018good\u2019 condition along with a 14-45mm kit zoom for about \u00a3125. Given its age it comes as no great surprise to find that it lacks many modern conveniences such as built-in image stabilisation, Wi-Fi connectivity or 4K video capture. That said, there\u2019s still plenty to like about it. Not least the fact that owning one gives you access to the extensive range of lenses available for Micro Four Thirds cameras.<\/p>\n
\n![\"Olympus](\"\/wp-content\/uploads\/2019\/04\/Olympus-PEN-lite-E-PL3.jpg\")
\nOlympus PEN Lite E-PL3 with M.Zuiko ED 14-42mm f\/3.5-5.6 EZ<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a3178<\/li>\n
- Sensor<\/strong> 12.3MP Live MOS MFT<\/li>\n
- Sensitivity<\/strong> ISO 200-12,800<\/li>\n
- Continuous shooting<\/strong> 5.5fps<\/li>\n
- Video<\/strong> 1080p Full HD at 60fps<\/li>\n
- Rear display<\/strong> 3in, 460k-dot tiltable LCD<\/li>\n
- Viewfinder<\/strong> None<\/li>\n<\/ul>\n
Released in 2011, the E-PL3 was praised at the time for building on the strengths of its predecessor to deliver a stylish and generously featured little camera. Built around a 12.3MP Micro Four Thirds sensor, the E-PL3\u2019s maximum continuous shooting speed is a more-than-respectable 5.5fps, while video capabilities max out at 1080p Full HD at 60fps. Autofocus is taken care of via a 35-point contrast-detect system that provides solid performance in good light. In addition, the E-PL3 also provides raw capture and the full complement of PASM shooting modes for more-experienced users, along with a fully automatic iAuto mode for more casual users.<\/p>\n
\nCheap APS-C DSLRs under \u00a3400<\/h1>\n![\"Nikon](\"\/wp-content\/uploads\/2019\/04\/Nikon_D7000.jpg\")
\nNikon D7000 with AF-S DX Nikkor 35mm f\/1.8G<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a3313<\/li>\n
- Sensor<\/strong> 16.2MP APS-C CMOS<\/li>\n
- Sensitivity<\/strong> ISO 100-25,600<\/li>\n
- Continuous shooting<\/strong> 6fps<\/li>\n
- Video<\/strong> 1080p Full HD video at 24fps<\/li>\n
- Rear display<\/strong> 3in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism viewfinder, 100% coverage at 0.95x<\/li>\n<\/ul>\n
The enthusiast-grade DSLR market has long been a highly competitive segment, with new models often benefiting from the \u2018trickle down\u2019 effect as manufacturers look to make their latest models more appealing by importing hardware and features directly from more advanced and expensive cameras. This is still as much the case today as it was in 2010 when the D7000 arrived on the scene.<\/p>\n
Before the arrival of the D7000, the flagship model in Nikon\u2019s DSLR range was occupied by the professional-grade, full-frame D3S. The only other full-frame DSLR offered by Nikon at the time was the popular D700. Nikon\u2019s most advanced APS-C DSLR back then was the D300S, with the D90 from 2008 occupying the enthusiast-grade slot. Although commonly thought of as a direct replacement for the D90, the D7000 was actually much closer to the D300S in terms of its abilities.<\/p>\n
Features<\/h2>\n
At its heart the D7000 is built around a 16.2MP APS-C sensor and a Nikon EXPEED 2 image processor. This enables the camera to shoot consecutively at a maximum rate of 6fps, while native sensitivity ranges from ISO 100-6400 \u2013 with expanded \u2018Hi-1\u2019 and \u2018Hi-2\u2019 settings taking things up to the equivalent of ISO 25,600. In addition to JPEG capture, the D7000 also offers the choice of recording still images in 12-bit or 14-bit raw files in the proprietary Nikon .NEF format.<\/p>\n
Autofocus duties are handled by a 39-point AF system with nine cross-type sensors in the central area of the viewfinder. While this might not seem like a lot compared to contemporary enthusiast DSLRs (the current D7500 provides 51 AF points), we must remember that many current entry-level DSLRs still only have 11 AF points. The D7000 also benefits from the added flexibility of dual SD memory card slots, whereas the current D7500 somewhat bizarrely only gets one! Unfortunately the D7000 came out before built-in Wi-Fi connectivity became a standard.<\/p>\n
Build quality<\/h2>\n
Encased within a magnesium alloy shell, the D7000 has a weighty feel to it. The handgrip, and indeed much of the front of the camera, is rubber coated for a secure grip while buttons are plentiful and intuitively placed. Image quality from the 16.2MP sensor is very good too, producing generally pleasing JPEGs with natural-looking colour.<\/p>\n
At the time of writing Park Cameras<\/a> has a selection of used D7000 bodies in \u2018good\u2019 condition for as little as \u00a3199, rising to \u00a3229 for one in \u2018excellent\u2019 condition with a shutter count under 13k. Add a lens like a 35mm f\/1.8G DX wideangle prime in \u2018excellent\u2019 condition for \u00a3114, and a D7000 body and lens package comes in at well under \u00a3350 \u2013 not bad for an enthusiast-level DSLR that would\u2019ve cost \u00a3999 body-only at launch.<\/p>\n
\nAlso consider<\/h2>\n![\"Canon](\"\/wp-content\/uploads\/2019\/04\/Canon-EOS-60D.jpg\")
\nCanon EOS 60D with Canon EF-S 24mm f\/2.8 STM Pancake<\/h2>\nAt a glance<\/h2>\n\n- Price<\/strong> \u00a3293<\/li>\n
- Sensor<\/strong> 18MP APS-C CMOS<\/li>\n
- Sensitivity<\/strong> ISO 100-12,800<\/li>\n
- Continuous shooting<\/strong> 5.3fps<\/li>\n
- Video<\/strong> 1080p Full HD at 30fps<\/li>\n
- Rear display<\/strong> 3in, 1.04m-dot vari-angle LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism, 96% coverage at 0.95x<\/li>\n<\/ul>\n
Released in 2010 and positioned as an enthusiast-grade DSLR, the 60D is now available second-hand in \u2018good\u2019 condition with a lens for a fraction of its original \u00a31,100 launch price. Built around an 18MP APS-C sensor and Canon\u2019s DIGIC 4 image processor, the 60D further benefits from a pin-sharp vari-angle rear display, a nine- point AF system that uses all cross-type sensors, and a water- and dust-resistant protective shell. While it lacks built-in Wi-Fi connectivity, the 60D is compatible with Eye-Fi cards, which provides a usable workaround for the wireless transfer of captured images.<\/p>\n
\n![\"Pentax](\"\/wp-content\/uploads\/2019\/04\/Pentax-K-30.jpg\")
\nPentax K-30 with 18-55mm f\/3.5-5.6 AL<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a3259<\/li>\n
- Sensor<\/strong> 16.3MP APS-C CMOS<\/li>\n
- Sensitivity<\/strong> ISO 100-25,600<\/li>\n
- Continuous shooting<\/strong> 6fps<\/li>\n
- Video<\/strong> 1080p Full HD at 30fps<\/li>\n
- Rear display<\/strong> 3in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism, 100% coverage at 0.92x<\/li>\n<\/ul>\n
Pentax has long enjoyed a reputation for producing DSLRs that offer excellent value for money, and the K-30 is no exception. Released in 2012, the K-30 was notable for offering a range of features not normally found at its price point. This includes things like built-in sensor-shift image stabilisation technology, a 100% pentaprism viewfinder and a weather-resistant build quality. In addition, it provides all the tools and functions expected of an upper entry-level range DSLR, including raw capture, dual control wheels and PASM exposure mode options. While the K-30\u2019s effective resolution of 16.3MP is perhaps a little lacking today, in most other respects the K-30 remains generously featured and as such provides excellent value for money.<\/p>\n
\nFull-frame bargains under \u00a31050<\/h1>\n![\"Canon](\"\/wp-content\/uploads\/2019\/04\/Canon_5D_Mk_III.jpg\")
\nCanon EOS 5D Mark III and EF 50mm f\/1.8 II<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a31028<\/li>\n
- Sensor<\/strong> 22.3MP full-frame CMOS<\/li>\n
- Sensitivity<\/strong> ISO 50-102,600<\/li>\n
- Continuous shooting<\/strong> 6fps<\/li>\n
- Video<\/strong> 1080p Full HD video at 30fps<\/li>\n
- Rear display<\/strong> 3.2in, 1.04m-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism viewfinder, 100% coverage at 0.71x<\/li>\n<\/ul>\n
Canon’s full-frame EOS 5D range has been in production since the release of the original 12.8MP EOS 5D in 2005. While subsequent models in the line have evolved greatly in terms of their core hardware and technology, the 5D range as a whole remains committed to providing photographers with the same professional-grade image quality, features and build quality of Canon\u2019s flagship full-frame DSLR models but in a smaller and less expensive body. For this reason the 5D series has long been one of the most popular DSLR ranges on the market for both professionals and advanced enthusiasts alike.<\/p>\n
Features<\/h2>\n
Released in 2012, the 5D Mark III was launched as the successor to 2008\u2019s multi award-winning 5D Mark II model that was notable at the time for being the first DSLR to offer 1080p Full HD video capture. While the 5D Mark II was immensely popular in its day, by 2012 it was starting to look a little dated \u2013 not least in terms of its nine-point AF system. The 5D Mark III therefore brought a timely raft of upgraded hardware to the table, some of which was inherited directly from the then flagship Canon EOS-1D X. This includes the 5D Mark III\u2019s 61-point autofocus system that incorporates 41 cross-type sensors, along with a range of built-in and adjustable autofocus \u2018presets\u2019 that can be used to set the camera up for optimum focus performance in a range of scenarios that involve moving subjects.<\/p>\n
While the 5D Mark II\u2019s 21.1MP sensor represented a fairly significant boost in resolution over the 12.8MP sensor of the original 5D, the Mark III provided a more modest increase to 22.3MP. Unlike its predecessor though, the 5D Mark III\u2019s sensor benefits from the \u2018gapless\u2019 microlens design employed by the 1D X. This was actually considered a fairly big deal at the time of the 5D Mark III\u2019s launch, as the gapless design enables more light to reach the sensor, thereby improving dynamic range and reducing noise. As a result of the change to gapless, the 5D Mark III was able to offer a native sensitivity range of ISO 100-25,600 \u2013 two stops higher than its predecessor\u2019s top setting of ISO 6400. Furthermore, the 5D Mark III also provides expanded sensitivity settings equivalent to ISO 50-102,400.<\/p>\n
The 5D Mark III is equipped with a single DIGIC 5+ image processor (the 1D X got two), which provides a notable boost to overall performance compared to the 5D Mark II. Continuous shooting, for example, is a solid 6fps \u2013 compared to 3.9fps on the 5D Mark II. The ability to record 1080p Full HD video was perhaps the biggest draw of the 5D Mark II, and while the 5D Mark III doesn\u2019t reinvent the wheel in terms of its video capabilities it does offer a top capture rate of 60fps \u2013 compared to the 24fps maximum setting of the Mark II. While the current 5D Mark IV betters this with 4K video capture, a second-hand 5D Mark IV will currently set you back around \u00a32,000, around double the cost of a used Mark III.<\/p>\n
Build quality and handling<\/h2>\n
In terms of construction and build quality, the 5D Mark III is housed within a weather-sealed magnesium alloy shell and feels very much like a professional-grade DSLR should, which is to say a little weighty but incredibly solid. Despite this the 5D Mark III sits nicely in the hand thanks to its deep handgrip. Buttons are plentiful too, much as you\u2019d expect, but also well spaced and clearly labelled. Meanwhile, the in-camera menu offers plenty of advanced tools and customisation options that allow you to set the camera up exactly as you want it.<\/p>\n
While the EOS 5D Mark III launched with a body-only price of \u00a33,000, it\u2019s now possible to find second-hand examples for as low as \u00a3969 from the likes of MPB.com<\/a>. For this price you can expect a camera in \u2018good\u2019 condition with a frame count of between 30k and 80k. Pair this with something like the Canon EF 50mm f\/1.8 II standard prime for an additional \u00a359 and the complete package comes in at just over \u00a31,000 \u2013 less than half the 5D Mark III\u2019s original body-only price.<\/p>\n
\nAlso consider<\/h2>\n![\"Nikon](\"\/wp-content\/uploads\/2019\/04\/Nikon-D800-with-lens.jpg\")
\nNikon D800 with AF Nikkor 50mm f\/1.4D<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a3818<\/li>\n
- Sensor<\/strong> 36.8MP full-frame CMOS<\/li>\n
- Sensitivity<\/strong> ISO 50-25,600<\/li>\n
- Continuous shooting<\/strong> 4fps<\/li>\n
- Video<\/strong> 1080p Full HD at 30fps<\/li>\n
- Rear display<\/strong> 3.2in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism, 100% coverage at 0.7x<\/li>\n<\/ul>\n
The big draw of the D800 upon its release in 2012 was its 36.8MP full-frame sensor. At the time this was the highest resolution of any full-frame camera on the market. While that\u2019s obviously no longer the case these days, the D800 remains a powerful camera with well above average resolution. It launched with a body-only price of \u00a32,599, but second-hand examples of the D800 can currently be found for as little as \u00a3659 in \u2018good\u2019 condition or \u00a3749 in \u2018excellent\u2019 condition. For those photographers seeking a high-resolution, full-frame DSLR without the associated high costs, a decent used D800 could well make for a solid and more affordable investment over the Nikon D810.<\/p>\n
\n![\"Sony](\"\/wp-content\/uploads\/2019\/04\/Sony-Alpha-7R-with-lens.jpg\")
\nSony Alpha 7R with Sony FE 50mm F1.8<\/h2>\nAt a glance<\/h3>\n\n- Price<\/strong> \u00a3758<\/li>\n
- Sensor<\/strong> 36.4MP full-frame CMOS<\/li>\n
- Sensitivity<\/strong> ISO 50-25,600<\/li>\n
- Continuous shooting<\/strong> 4fps<\/li>\n
- Video<\/strong> 1080p Full HD at 24fps<\/li>\n
- Rear display<\/strong> 3in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> 2.35m-dot EVF<\/li>\n<\/ul>\n
The release of the Sony Alpha 7 and Alpha 7R models in 2013 was something of a watershed moment in that they finally brought full-frame mirrorless cameras to the masses \u2013 until then the only other compact full-frame option was the uber-expensive Leica M9. While the base A7 model sported a highly capable 24.3MP full-frame sensor, the big draw of the A7R was its 36.4MP chip, making it an ideal choice for those seeking billboard-sized resolution. While a brand-new Sony A7R body would\u2019ve set you back around \u00a31,700 at the time of its launch, it\u2019s possible to pick up a used A7R in \u2018good\u2019 condition for as little as \u00a3614. If you\u2019re looking for maximum resolution with minimum outlay, then the A7R ticks all the right boxes.<\/p>\n
\nBuying second-hand<\/h2>\n
Here we reveal a few tips for buying second-hand equipment<\/strong><\/p>\nSecond-hand rating system<\/h2>\n
In order to help you with your purchase, second-hand camera dealers employ a grading scale that indicates the condition of the cameras they have for sale. While the terminology does vary a bit between the various retailers, the most commonly used terms to describe used equipment are: \u2018Mint\u2019 or \u2018Like New\u2019, \u2018Excellent\u2019, \u2018Good\u2019 and \u2018Well Used\u2019 or \u2018Fair\u2019. Some companies \u2013 Wex Photo Video<\/a>, for example \u2013 use a numerical grading system instead. Either way, \u2018Mint\u2019, \u2018Like New\u2019 or \u201810\u2019 is used to describe a camera that is scratch-free and in perfect working order \u2013 essentially the same condition as it was when new. \u2018Excellent\u2019 describes a camera in perfect working order, but with minor cosmetic marks. \u2018Good\u2019 describes a camera that has been well looked after, but which shows some obvious signs of use. Last, \u2018Fair\u2019 or \u2018Well Used\u2019 is used to describe a camera in good working order, but which bears obvious signs of use and age. In all cases, the retailer will have checked the sensor for dust and cleaned it if necessary.<\/p>\nShutter count<\/h2>\n
Another useful indicator to find out, which can help you to gauge the condition of a second-hand camera, is the shutter count. This describes how many times the shutter has been opened and closed and is useful to know because the delicate blades that make up a camera\u2019s shutter mechanism have a limited lifespan, after which expensive repairs may be required. Knowing a camera\u2019s shutter count therefore not only provides a good idea of how heavily it has been used by the previous owner, but also gives an indication of how much life is left in it.<\/p>\n
Warranties and guarantees<\/h2>\n
If you decide to buy a second-hand camera, then we\u2019d strongly advise sticking with an established and reputable firm. This includes the likes of Wex Photo Video<\/a>, Camera World<\/a>, MPB<\/a>, Park Cameras<\/a>, Ffordes<\/a>, Grays of Westminster<\/a> and the London Camera Exchange<\/a>. Reputable specialists like these will generally offer a short guarantee on all used cameras \u2013 usually for a period of three to six months. This is in addition to any consumer protection rights you are legally entitled to. While buying privately can usually save you some money over a second-hand specialist you\u2019re unlikely to get any such guarantees.<\/p>\n
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Second-hand digital camera bargains - Amateur Photographer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Second-hand digital camera bargains\" \/>\n<meta property=\"og:description\" content=\"If you have a strict budget and aren't fussed about having the latest model then it might be worth considering a used camera, says Audley Jarvis\" \/>\n<meta property=\"og:url\" content=\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/\" \/>\n<meta property=\"og:site_name\" content=\"Amateur Photographer\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/Amateur.photographer.magazine\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-04T10:46:32+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/sites\/16\/2019\/04\/Second-hand-cameras.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"630\" \/>\n\t<meta property=\"og:image:height\" content=\"420\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@AP_Magazine\" \/>\n<meta name=\"twitter:site\" content=\"@AP_Magazine\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/\"},\"author\":{\"name\":\"\",\"@id\":\"\"},\"headline\":\"Second-hand digital camera bargains\",\"datePublished\":\"2019-06-04T10:46:32+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/\"},\"wordCount\":3671,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/sites\/16\/2019\/04\/Second-hand-cameras.jpg\",\"articleSection\":[\"Camera round ups\",\"Latest articles\",\"Latest news\",\"Round ups\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/\",\"url\":\"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/second-hand-digital-camera-bargains\/\",\"name\":\"Second-hand digital camera bargains - 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- \n
- Price<\/strong> \u00a3233<\/li>\n
- Sensor<\/strong> 16.3MP APS-C CMOS<\/li>\n
- Sensitivity ISO 100-25,600<\/li>\n
- Continuous shooting<\/strong> 5.6fps<\/li>\n
- Video<\/strong> Full HD video at 30fps<\/li>\n
- Rear display<\/strong> 3in, 920k-dot tiltable LCD<\/li>\n
- Viewfinder<\/strong> No electronic viewfinder<\/li>\n<\/ul>\n
Positioned as the entry point to Fujifilm\u2019s premium X-series range, the X-A1 was the cheapest interchangeable-lens model in the range at the time of its release in 2013. As with other cameras in the X-series range, the X-A1 takes Fujifilm\u2019s unique take on retro rangefinder design and combines it with modern digital camera technology to produce a camera that looks and feels great and is capable of producing great images, too. For those looking to invest in their first \u2018proper\u2019 interchangeable-lens camera, the X-A1 is easy to use but also provides plenty of scope to expand your skills.<\/p>\n
At its heart, the X-A1 is built around a 16.3MP APS-C CMOS sensor and Fujifilm\u2019s own EXR Processor II. Unlike the X-Trans sensor found in more advanced X-series models, the sensor inside the X-A1 employs a conventional Bayer colour filter array. This produces a maximum output of 4896 x 3264 pixels when shooting at full resolution in the sensor\u2019s native 3:2 aspect, although you can of course lower the resolution when shooting JPEGs. The X-A1 also provides raw capture for more-advanced users who would prefer to process their own images. Exposure modes are plentiful, with PASM controls for experienced users being backed up by a range of fully automatic modes for point- and-shoot duties. The X-A1 also comes with a selection of Fujifilm\u2019s proprietary \u2018Film Simulation\u2019 digital filters, which mimic the look of classic 35mm film stock from Fujifilm including Provia, Astia and Velvia. Note that later additions to the range, such as Classic Chrome, Acros and PRO Neg, aren\u2019t available on the X-A1 as these were released after the X-A1 came out and can\u2019t be added.<\/p>\n
Features<\/h2>\n
In use the X-A1 is quick to start up and provides a useful burst speed of 5.6fps. Video capabilities, meanwhile, extend to 1080p Full HD video at up to 30fps for a maximum duration of 14 minutes. Shutter speed can be adjusted from 30sec to 1\/4,000sec, while sensitivity ranges from ISO 100-25,600 (extended). There\u2019s also built-in Wi-Fi connectivity that enables you to transfer images wirelessly to a connected smartphone or tablet via the Fujifilm Remote app. Note that the X-A1 does not support wireless remote control over the camera via Wi-Fi though.<\/p>\n
The X-A1 is equipped with a 49-point contrast-detect autofocus system that provides fast and accurate focus when light is plentiful, although some focus-hunting can be expected when light levels drop. The X-A1 is well served with a range of focusing options including Multi-area, Single-point, Tracking, and Face detection.<\/p>\n
Display and build quality<\/h2>\n
The back of the X-A1 is fitted with a 3in, 920k-dot tiltable display that can be angled up and down for shooting overhead or from the hip. While there\u2019s no touchscreen functionality, the display is of good quality and plenty sharp enough to review your captured images effectively. In keeping with most other entry-level mirrorless cameras there\u2019s no built-in electronic viewfinder, which means you\u2019ll have to use the display to compose your images, which can occasionally be a little awkward in bright sunlight. The X-A1 also comes with a built-in pop-up flash, which sits under a panel on the left shoulder and is rated to 7m at ISO 200.<\/p>\n
As with most Fujifilm X-series cameras, the X-A1 is solidly constructed and nicely finished. The finger grip on the front isn\u2019t the largest, but does enable you to get a good hold of the camera thanks to its textured finish. The X-A1 is also an exceptionally easy camera to operate; buttons are large and well spaced, with the ever-useful \u2018Q\u2019 button providing instant access to a streamlined graphical menu from where you can directly adjust all of the camera\u2019s most commonly used settings.<\/p>\n
While a brand new X-A1 body and Fujifilm XC 15-45mm kit zoom cost around \u00a3530 at launch, reputable second-hand dealers such as MPB.com<\/a> currently have stock of second- hand X-A1 bodies in \u2018excellent\u2019 condition for just \u00a399. In addition it\u2019s also possible to pick up \u2018like new\u2019 examples of the XC 15-45mm kit zoom for \u00a3134, while those looking for a more discreet set-up might want to consider the Fujifilm 27mm f\/2.8 prime instead, which is available used in \u2018excellent\u2019 condition for as little as \u00a3209. Whichever lens option you decide on, building a second-hand package around the X-A1\u2019s diminutive body certainly enables you to extract plenty of value for money while looking suitably stylish. You\u2019ll love the images it produces too!<\/p>\n
\nAlso consider<\/h2>\n
\nPanasonic Lumix GF1 with Lumix G Vario 14-45mm f\/3.5-5.6 ASPH Mega OIS<\/h2>\n
At a glance<\/h3>\n
- \n
- Price <\/strong>\u00a3124<\/li>\n
- Sensor<\/strong> 12.1MP Live MOS<\/li>\n
- Sensitivity<\/strong> ISO 100-3200<\/li>\n
- Continuous shooting<\/strong> 3fps<\/li>\n
- Video<\/strong> 720p HD at 30fps<\/li>\n
- Rear display<\/strong> 3in, 460k-dot LCD<\/li>\n
- Viewfinder<\/strong> None<\/li>\n<\/ul>\n
While a brand new GF1 would\u2019ve cost you around \u00a3700 upon its release in 2009, it\u2019s possible to pick up a second-hand example in \u2018good\u2019 condition along with a 14-45mm kit zoom for about \u00a3125. Given its age it comes as no great surprise to find that it lacks many modern conveniences such as built-in image stabilisation, Wi-Fi connectivity or 4K video capture. That said, there\u2019s still plenty to like about it. Not least the fact that owning one gives you access to the extensive range of lenses available for Micro Four Thirds cameras.<\/p>\n
\n\nOlympus PEN Lite E-PL3 with M.Zuiko ED 14-42mm f\/3.5-5.6 EZ<\/h2>\n
At a glance<\/h3>\n
- \n
- Price<\/strong> \u00a3178<\/li>\n
- Sensor<\/strong> 12.3MP Live MOS MFT<\/li>\n
- Sensitivity<\/strong> ISO 200-12,800<\/li>\n
- Continuous shooting<\/strong> 5.5fps<\/li>\n
- Video<\/strong> 1080p Full HD at 60fps<\/li>\n
- Rear display<\/strong> 3in, 460k-dot tiltable LCD<\/li>\n
- Viewfinder<\/strong> None<\/li>\n<\/ul>\n
Released in 2011, the E-PL3 was praised at the time for building on the strengths of its predecessor to deliver a stylish and generously featured little camera. Built around a 12.3MP Micro Four Thirds sensor, the E-PL3\u2019s maximum continuous shooting speed is a more-than-respectable 5.5fps, while video capabilities max out at 1080p Full HD at 60fps. Autofocus is taken care of via a 35-point contrast-detect system that provides solid performance in good light. In addition, the E-PL3 also provides raw capture and the full complement of PASM shooting modes for more-experienced users, along with a fully automatic iAuto mode for more casual users.<\/p>\n
\nCheap APS-C DSLRs under \u00a3400<\/h1>\n
\nNikon D7000 with AF-S DX Nikkor 35mm f\/1.8G<\/h2>\n
At a glance<\/h3>\n
- \n
- Price<\/strong> \u00a3313<\/li>\n
- Sensor<\/strong> 16.2MP APS-C CMOS<\/li>\n
- Sensitivity<\/strong> ISO 100-25,600<\/li>\n
- Continuous shooting<\/strong> 6fps<\/li>\n
- Video<\/strong> 1080p Full HD video at 24fps<\/li>\n
- Rear display<\/strong> 3in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism viewfinder, 100% coverage at 0.95x<\/li>\n<\/ul>\n
The enthusiast-grade DSLR market has long been a highly competitive segment, with new models often benefiting from the \u2018trickle down\u2019 effect as manufacturers look to make their latest models more appealing by importing hardware and features directly from more advanced and expensive cameras. This is still as much the case today as it was in 2010 when the D7000 arrived on the scene.<\/p>\n
Before the arrival of the D7000, the flagship model in Nikon\u2019s DSLR range was occupied by the professional-grade, full-frame D3S. The only other full-frame DSLR offered by Nikon at the time was the popular D700. Nikon\u2019s most advanced APS-C DSLR back then was the D300S, with the D90 from 2008 occupying the enthusiast-grade slot. Although commonly thought of as a direct replacement for the D90, the D7000 was actually much closer to the D300S in terms of its abilities.<\/p>\n
Features<\/h2>\n
At its heart the D7000 is built around a 16.2MP APS-C sensor and a Nikon EXPEED 2 image processor. This enables the camera to shoot consecutively at a maximum rate of 6fps, while native sensitivity ranges from ISO 100-6400 \u2013 with expanded \u2018Hi-1\u2019 and \u2018Hi-2\u2019 settings taking things up to the equivalent of ISO 25,600. In addition to JPEG capture, the D7000 also offers the choice of recording still images in 12-bit or 14-bit raw files in the proprietary Nikon .NEF format.<\/p>\n
Autofocus duties are handled by a 39-point AF system with nine cross-type sensors in the central area of the viewfinder. While this might not seem like a lot compared to contemporary enthusiast DSLRs (the current D7500 provides 51 AF points), we must remember that many current entry-level DSLRs still only have 11 AF points. The D7000 also benefits from the added flexibility of dual SD memory card slots, whereas the current D7500 somewhat bizarrely only gets one! Unfortunately the D7000 came out before built-in Wi-Fi connectivity became a standard.<\/p>\n
Build quality<\/h2>\n
Encased within a magnesium alloy shell, the D7000 has a weighty feel to it. The handgrip, and indeed much of the front of the camera, is rubber coated for a secure grip while buttons are plentiful and intuitively placed. Image quality from the 16.2MP sensor is very good too, producing generally pleasing JPEGs with natural-looking colour.<\/p>\n
At the time of writing Park Cameras<\/a> has a selection of used D7000 bodies in \u2018good\u2019 condition for as little as \u00a3199, rising to \u00a3229 for one in \u2018excellent\u2019 condition with a shutter count under 13k. Add a lens like a 35mm f\/1.8G DX wideangle prime in \u2018excellent\u2019 condition for \u00a3114, and a D7000 body and lens package comes in at well under \u00a3350 \u2013 not bad for an enthusiast-level DSLR that would\u2019ve cost \u00a3999 body-only at launch.<\/p>\n
\nAlso consider<\/h2>\n
\nCanon EOS 60D with Canon EF-S 24mm f\/2.8 STM Pancake<\/h2>\n
At a glance<\/h2>\n
- \n
- Price<\/strong> \u00a3293<\/li>\n
- Sensor<\/strong> 18MP APS-C CMOS<\/li>\n
- Sensitivity<\/strong> ISO 100-12,800<\/li>\n
- Continuous shooting<\/strong> 5.3fps<\/li>\n
- Video<\/strong> 1080p Full HD at 30fps<\/li>\n
- Rear display<\/strong> 3in, 1.04m-dot vari-angle LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism, 96% coverage at 0.95x<\/li>\n<\/ul>\n
Released in 2010 and positioned as an enthusiast-grade DSLR, the 60D is now available second-hand in \u2018good\u2019 condition with a lens for a fraction of its original \u00a31,100 launch price. Built around an 18MP APS-C sensor and Canon\u2019s DIGIC 4 image processor, the 60D further benefits from a pin-sharp vari-angle rear display, a nine- point AF system that uses all cross-type sensors, and a water- and dust-resistant protective shell. While it lacks built-in Wi-Fi connectivity, the 60D is compatible with Eye-Fi cards, which provides a usable workaround for the wireless transfer of captured images.<\/p>\n
\n\nPentax K-30 with 18-55mm f\/3.5-5.6 AL<\/h2>\n
At a glance<\/h3>\n
- \n
- Price<\/strong> \u00a3259<\/li>\n
- Sensor<\/strong> 16.3MP APS-C CMOS<\/li>\n
- Sensitivity<\/strong> ISO 100-25,600<\/li>\n
- Continuous shooting<\/strong> 6fps<\/li>\n
- Video<\/strong> 1080p Full HD at 30fps<\/li>\n
- Rear display<\/strong> 3in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism, 100% coverage at 0.92x<\/li>\n<\/ul>\n
Pentax has long enjoyed a reputation for producing DSLRs that offer excellent value for money, and the K-30 is no exception. Released in 2012, the K-30 was notable for offering a range of features not normally found at its price point. This includes things like built-in sensor-shift image stabilisation technology, a 100% pentaprism viewfinder and a weather-resistant build quality. In addition, it provides all the tools and functions expected of an upper entry-level range DSLR, including raw capture, dual control wheels and PASM exposure mode options. While the K-30\u2019s effective resolution of 16.3MP is perhaps a little lacking today, in most other respects the K-30 remains generously featured and as such provides excellent value for money.<\/p>\n
\nFull-frame bargains under \u00a31050<\/h1>\n
\nCanon EOS 5D Mark III and EF 50mm f\/1.8 II<\/h2>\n
At a glance<\/h3>\n
- \n
- Price<\/strong> \u00a31028<\/li>\n
- Sensor<\/strong> 22.3MP full-frame CMOS<\/li>\n
- Sensitivity<\/strong> ISO 50-102,600<\/li>\n
- Continuous shooting<\/strong> 6fps<\/li>\n
- Video<\/strong> 1080p Full HD video at 30fps<\/li>\n
- Rear display<\/strong> 3.2in, 1.04m-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism viewfinder, 100% coverage at 0.71x<\/li>\n<\/ul>\n
Canon’s full-frame EOS 5D range has been in production since the release of the original 12.8MP EOS 5D in 2005. While subsequent models in the line have evolved greatly in terms of their core hardware and technology, the 5D range as a whole remains committed to providing photographers with the same professional-grade image quality, features and build quality of Canon\u2019s flagship full-frame DSLR models but in a smaller and less expensive body. For this reason the 5D series has long been one of the most popular DSLR ranges on the market for both professionals and advanced enthusiasts alike.<\/p>\n
Features<\/h2>\n
Released in 2012, the 5D Mark III was launched as the successor to 2008\u2019s multi award-winning 5D Mark II model that was notable at the time for being the first DSLR to offer 1080p Full HD video capture. While the 5D Mark II was immensely popular in its day, by 2012 it was starting to look a little dated \u2013 not least in terms of its nine-point AF system. The 5D Mark III therefore brought a timely raft of upgraded hardware to the table, some of which was inherited directly from the then flagship Canon EOS-1D X. This includes the 5D Mark III\u2019s 61-point autofocus system that incorporates 41 cross-type sensors, along with a range of built-in and adjustable autofocus \u2018presets\u2019 that can be used to set the camera up for optimum focus performance in a range of scenarios that involve moving subjects.<\/p>\n
While the 5D Mark II\u2019s 21.1MP sensor represented a fairly significant boost in resolution over the 12.8MP sensor of the original 5D, the Mark III provided a more modest increase to 22.3MP. Unlike its predecessor though, the 5D Mark III\u2019s sensor benefits from the \u2018gapless\u2019 microlens design employed by the 1D X. This was actually considered a fairly big deal at the time of the 5D Mark III\u2019s launch, as the gapless design enables more light to reach the sensor, thereby improving dynamic range and reducing noise. As a result of the change to gapless, the 5D Mark III was able to offer a native sensitivity range of ISO 100-25,600 \u2013 two stops higher than its predecessor\u2019s top setting of ISO 6400. Furthermore, the 5D Mark III also provides expanded sensitivity settings equivalent to ISO 50-102,400.<\/p>\n
The 5D Mark III is equipped with a single DIGIC 5+ image processor (the 1D X got two), which provides a notable boost to overall performance compared to the 5D Mark II. Continuous shooting, for example, is a solid 6fps \u2013 compared to 3.9fps on the 5D Mark II. The ability to record 1080p Full HD video was perhaps the biggest draw of the 5D Mark II, and while the 5D Mark III doesn\u2019t reinvent the wheel in terms of its video capabilities it does offer a top capture rate of 60fps \u2013 compared to the 24fps maximum setting of the Mark II. While the current 5D Mark IV betters this with 4K video capture, a second-hand 5D Mark IV will currently set you back around \u00a32,000, around double the cost of a used Mark III.<\/p>\n
Build quality and handling<\/h2>\n
In terms of construction and build quality, the 5D Mark III is housed within a weather-sealed magnesium alloy shell and feels very much like a professional-grade DSLR should, which is to say a little weighty but incredibly solid. Despite this the 5D Mark III sits nicely in the hand thanks to its deep handgrip. Buttons are plentiful too, much as you\u2019d expect, but also well spaced and clearly labelled. Meanwhile, the in-camera menu offers plenty of advanced tools and customisation options that allow you to set the camera up exactly as you want it.<\/p>\n
While the EOS 5D Mark III launched with a body-only price of \u00a33,000, it\u2019s now possible to find second-hand examples for as low as \u00a3969 from the likes of MPB.com<\/a>. For this price you can expect a camera in \u2018good\u2019 condition with a frame count of between 30k and 80k. Pair this with something like the Canon EF 50mm f\/1.8 II standard prime for an additional \u00a359 and the complete package comes in at just over \u00a31,000 \u2013 less than half the 5D Mark III\u2019s original body-only price.<\/p>\n
\nAlso consider<\/h2>\n
\nNikon D800 with AF Nikkor 50mm f\/1.4D<\/h2>\n
At a glance<\/h3>\n
- \n
- Price<\/strong> \u00a3818<\/li>\n
- Sensor<\/strong> 36.8MP full-frame CMOS<\/li>\n
- Sensitivity<\/strong> ISO 50-25,600<\/li>\n
- Continuous shooting<\/strong> 4fps<\/li>\n
- Video<\/strong> 1080p Full HD at 30fps<\/li>\n
- Rear display<\/strong> 3.2in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> Pentaprism, 100% coverage at 0.7x<\/li>\n<\/ul>\n
The big draw of the D800 upon its release in 2012 was its 36.8MP full-frame sensor. At the time this was the highest resolution of any full-frame camera on the market. While that\u2019s obviously no longer the case these days, the D800 remains a powerful camera with well above average resolution. It launched with a body-only price of \u00a32,599, but second-hand examples of the D800 can currently be found for as little as \u00a3659 in \u2018good\u2019 condition or \u00a3749 in \u2018excellent\u2019 condition. For those photographers seeking a high-resolution, full-frame DSLR without the associated high costs, a decent used D800 could well make for a solid and more affordable investment over the Nikon D810.<\/p>\n
\n\nSony Alpha 7R with Sony FE 50mm F1.8<\/h2>\n
At a glance<\/h3>\n
- \n
- Price<\/strong> \u00a3758<\/li>\n
- Sensor<\/strong> 36.4MP full-frame CMOS<\/li>\n
- Sensitivity<\/strong> ISO 50-25,600<\/li>\n
- Continuous shooting<\/strong> 4fps<\/li>\n
- Video<\/strong> 1080p Full HD at 24fps<\/li>\n
- Rear display<\/strong> 3in, 921k-dot LCD<\/li>\n
- Viewfinder<\/strong> 2.35m-dot EVF<\/li>\n<\/ul>\n
The release of the Sony Alpha 7 and Alpha 7R models in 2013 was something of a watershed moment in that they finally brought full-frame mirrorless cameras to the masses \u2013 until then the only other compact full-frame option was the uber-expensive Leica M9. While the base A7 model sported a highly capable 24.3MP full-frame sensor, the big draw of the A7R was its 36.4MP chip, making it an ideal choice for those seeking billboard-sized resolution. While a brand-new Sony A7R body would\u2019ve set you back around \u00a31,700 at the time of its launch, it\u2019s possible to pick up a used A7R in \u2018good\u2019 condition for as little as \u00a3614. If you\u2019re looking for maximum resolution with minimum outlay, then the A7R ticks all the right boxes.<\/p>\n
\nBuying second-hand<\/h2>\n
Here we reveal a few tips for buying second-hand equipment<\/strong><\/p>\n
Second-hand rating system<\/h2>\n
In order to help you with your purchase, second-hand camera dealers employ a grading scale that indicates the condition of the cameras they have for sale. While the terminology does vary a bit between the various retailers, the most commonly used terms to describe used equipment are: \u2018Mint\u2019 or \u2018Like New\u2019, \u2018Excellent\u2019, \u2018Good\u2019 and \u2018Well Used\u2019 or \u2018Fair\u2019. Some companies \u2013 Wex Photo Video<\/a>, for example \u2013 use a numerical grading system instead. Either way, \u2018Mint\u2019, \u2018Like New\u2019 or \u201810\u2019 is used to describe a camera that is scratch-free and in perfect working order \u2013 essentially the same condition as it was when new. \u2018Excellent\u2019 describes a camera in perfect working order, but with minor cosmetic marks. \u2018Good\u2019 describes a camera that has been well looked after, but which shows some obvious signs of use. Last, \u2018Fair\u2019 or \u2018Well Used\u2019 is used to describe a camera in good working order, but which bears obvious signs of use and age. In all cases, the retailer will have checked the sensor for dust and cleaned it if necessary.<\/p>\n
Shutter count<\/h2>\n
Another useful indicator to find out, which can help you to gauge the condition of a second-hand camera, is the shutter count. This describes how many times the shutter has been opened and closed and is useful to know because the delicate blades that make up a camera\u2019s shutter mechanism have a limited lifespan, after which expensive repairs may be required. Knowing a camera\u2019s shutter count therefore not only provides a good idea of how heavily it has been used by the previous owner, but also gives an indication of how much life is left in it.<\/p>\n
Warranties and guarantees<\/h2>\n
If you decide to buy a second-hand camera, then we\u2019d strongly advise sticking with an established and reputable firm. This includes the likes of Wex Photo Video<\/a>, Camera World<\/a>, MPB<\/a>, Park Cameras<\/a>, Ffordes<\/a>, Grays of Westminster<\/a> and the London Camera Exchange<\/a>. Reputable specialists like these will generally offer a short guarantee on all used cameras \u2013 usually for a period of three to six months. This is in addition to any consumer protection rights you are legally entitled to. While buying privately can usually save you some money over a second-hand specialist you\u2019re unlikely to get any such guarantees.<\/p>\n
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Sensor<\/strong> 36.4MP full-frame CMOS<\/li>\n
- Sensor<\/strong> 36.8MP full-frame CMOS<\/li>\n
- Sensor<\/strong> 22.3MP full-frame CMOS<\/li>\n
- Sensor<\/strong> 16.3MP APS-C CMOS<\/li>\n
- Sensor<\/strong> 18MP APS-C CMOS<\/li>\n
- Sensor<\/strong> 16.2MP APS-C CMOS<\/li>\n
- Sensor<\/strong> 12.3MP Live MOS MFT<\/li>\n
- Sensor<\/strong> 12.1MP Live MOS<\/li>\n
- Sensor<\/strong> 16.3MP APS-C CMOS<\/li>\n