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This is fine in theory but there is the probability that once you get you hands on a "proper" camera you will be more likely to sell your wedding tackle!

Reading reviews will achieve little other than to give you information overload. Each of the cameras you are considering are fine bits of kit but each has its own strengths and weaknesses. Get to a shop and have a play with each one and your decision may become easier as one may well feel...

The D40 is almost obscenely good value and is a delight to use, for the same as you would spend on a D80 you could get the D40 with kit lens, an SB400 flashgun and have something towards a 55-200 VR lens as well.

Any possibility of cuteness completely destroyed by the vast amounts of partly dried slobber on the creature's chest. (Quite apart from the fact that to my eye the thing looks ugly and malproportioned) Nice shots though which make the best of a bad job!

From the specs the frame rate and buffer depth are indeed slighty lower on the 50 than the 40 but the differences are sufficiently small that this should not be an issue under most circumstances. Having said that, the difference between the 2 cameras is not vast and unless you really need the...

Have to agree with MK. Unlike film cameras where a top body could be seen as an investment (my F3 has been going strong for nearly 35 years and only had the light seals replaced once) digital bodies at this stage in their evolution should be viewed as almost disposable items. With a tight...

Considering that you will not be needing a huge quantity of blank media I would regard it as a far better plan to take it with you - in that way you will be sure of the quality and reliability rather than relying on the unknown properties of whatever you can pick up locally.

Whilst the guidelines about choosing a suitable shutter speed are correct as far as they go, they assume a modicum of correct technique. Without going into too much detail this includes your stance, arm position, how the camera is held, and perhaps most importantly of all how you release the...

Have a look here: http://www.kenrockwell.com/nikon/d40/users-guide/index.htm

In so many words, I thought that was what I said. You are quite right in saying that the contrast range is so high between sky and stonework that it would be impossible to get both exposed correctly. The photographer has made a mistake that we all did when we were starting out and did not...

Yes - in some of the autofocus modes you can use the round 4-way controller thing to select the autofocus point in the viewfinder you want - if your main subject is not in the centre of the shot you can pick the little rectangle closest to it. The lock switch prevents you from doing this by...

In the first 3 the sky areas are overexposed beyond repair, indeed all 3 look like they could have done with about 1/2 stop less overall to avoid the washed out look they have. Number 2 is perhaps the worst in this regard. Compositionally no real issues except in number 3 where that...

It locks the 4-way controller to prevent you accidentally changing the selected AF point

Unsurprisingly perhaps, Ken seems quite impressed. http://kenrockwell.com/nikon/d90.htm

Unsurprisingly perhaps, Ken isn't too impressed. http://www.kenrockwell.com/canon/50d.htm#rex

1) If you are after a fully manual Canon camera you need to check if this means manual focus as well. If it does you need to be aware that manual focus on the early Canon autofocus lenses was terrible due to the tiny manual focus rings and the very short "lock to lock" distance. This puts...

The sepia cast comes from the automatic colour correction of the printing machine trying to make a colour print out of a B&W neg because the staff don't know how (or can't be bothered) to set it up for B&W.

The film you are after is called Ilford XP2 Super 400.

I love black and white. For 35mm I use XP2 - just don't have the time to develop it otherwise. For 6x6 I use Pan F (although I usually also carry a couple of rolls each of FP4 and HP5 around with me just in case).

You are confusing macro with close up. Lenses get the "macro" label if they can produce an image which is close to life size and lens manufacturers tend to stretch this definition beyond breaking point. Long lenses tend to be able to do this only from a distance - if you want to get in close...