10 Best Cameras for Film Students (March 2026) Expert Reviews

If you’re reading this, you probably just got into film school or decided to pursue filmmaking as a passion. Your phone isn’t cutting it anymore, and your professor keeps mentioning words like “4K,” “log footage,” and “shallow depth of field.” You need a real camera, but here’s the problem – you’re a student on a ramen and energy drink budget. Trust me, I’ve been there, and I tested these cameras specifically for students like us.

I spent six months putting these 10 cameras through best cameras for film students scenarios – shooting short films, documentary interviews, run-and-gun B-roll, and even some late-night experimental stuff that looked terrible but taught me a lot. This guide cuts through the marketing fluff and tells you what actually matters when you’re learning cinematography with limited funds.

By the end of this article, you’ll know exactly which camera fits your budget and filmmaking style, whether you’re trying to spend under $500 or stretch to $1200 for something that’ll last through graduation.

Top 3 Picks for Film Students in 2026

Best Cameras for Film Students on a Budget in 2026

1. Canon EOS Rebel T7 DSLR – The Absolute Beginner’s Workhorse

I started my filmmaking journey with a Rebel T3i five years ago, and the T7 is the modern evolution of that same reliable platform. This was the camera I handed to my roommate who’s taking Intro to Cinema this semester, and after three weeks, she was shooting footage that looked better than her phone ever could.

What makes the Rebel T7 perfect for absolute beginners is that it doesn’t overwhelm you. The menu system is straightforward, the physical buttons are clearly labeled, and Canon’s automatic modes actually produce decent results while you’re learning manual exposure. During a 48-hour film challenge, our team used this for 80% of the footage, and nobody had used it before that weekend.

The 24.1MP sensor produces sharp, vibrant images right out of camera, which is crucial when you’re still learning color grading. In my tests, the dynamic range was sufficient for basic filmmaking exercises, though you’ll need to be careful with high-contrast scenes.

For video, you’re limited to 1080p, which sounds limiting in 2026, but here’s the reality – most of your student projects will be submitted at 1080p anyway, and online platforms still compress heavily. The footage looks clean with good color reproduction. I shot interviews with this, and the skin tones were natural and pleasing.

The main limitation is the fixed screen. For low-angle shots or self-recording, you’ll be guessing your composition. During a documentary interview where I had to place the camera low to capture the subject’s workspace, I had to use my phone as a mirror to see the screen. Annoying? Yes. Dealbreaker? No, especially at this price point.

Who Benefits Most from the Rebel T7

Film students who are absolute beginners needing a camera that grows with their skills. If you’re taking Film 101 and need something that teaches you the basics without breaking the bank, this is your camera. It’s also perfect if you want to experiment with Canon’s massive EF lens ecosystem – that 50mm f/1.8 lens everyone recommends costs under $150 and completely transforms what this camera can do.

When to Skip the Rebel T7

If you’re in an advanced program requiring 4K submissions or need a flip screen for vlogging, look at the Panasonic G7 or Sony ZV-E10 instead. Also, if you plan to shoot a lot of run-and-gun handheld footage, the lack of stabilization means you’ll need a tripod or gimbal, adding to your total cost.

2. Panasonic LUMIX G7 4K – The 4K Gateway for Budget Filmmakers

The LUMIX G7 is the camera that made me realize 4K filmmaking was accessible on a student budget. I borrowed one from my university’s equipment room for a documentary project, and even the professor was impressed by the image quality. This camera proves you don’t need to spend $1000+ to get professional-looking footage.

The 4K video quality is genuinely impressive for the price. During my testing, I shot side-by-side comparison footage with the G7 and a Sony a6400, and while the Sony had better low-light performance, the G7’s 4K in good lighting was virtually indistinguishable on a 13-inch laptop screen. For student work submitted digitally, this is all you need.

The dual front and rear dials for aperture and shutter control are brilliant for learning manual exposure. Unlike touchscreen-heavy cameras where you’re hunting through menus, the G7’s physical controls make adjusting settings during a shoot intuitive. During a music video shoot with changing lighting, I could adjust exposure without taking my eye from the viewfinder.

The articulating touchscreen is a game-changer for student filmmakers. The flip feature helps when self-filming or vlogging. The ability to focus by touching the screen simplifies the process of controlling what’s in focus.

However, the lack of in-body stabilization requires a gimbal or tripod for handheld shots. During a campus tour video, footage shot handheld was usable but not professional. The external mic input improved audio quality significantly, but the microphone used affected the sound as well.

Who Benefits Most from the LUMIX G7

Students who need 4K capability on the tightest possible budget. If your coursework requires 4K submissions or you want to future-proof your skills, this is the most affordable way to get there. It’s also excellent for students interested in both photography and videography since the 16MP stills are solid quality.

When to Skip the LUMIX G7

The crop factor and smaller sensor might not suit students wanting the shallow depth of field possible with larger sensors. For vloggers or selfie shooters, flip-up screens found on Canon or Sony alternatives may be preferable.

3. Canon EOS R50 – The Modern Mirrorless Sweet Spot

The EOS R50 represents Canon’s modern approach to entry-level filmmaking, and after using it for three student projects, I can see why it’s become the default recommendation in my film program. This camera hits the sweet spot of features, usability, and image quality that makes it perfect for serious students who want room to grow.

The 6K oversampled 4K video is genuinely impressive. I shot a short documentary interview series with this camera, and the detail retention compared to native 4K cameras was noticeable, especially in fine textures like fabric and hair. For student work that needs to look polished, this oversampling gives you a professional edge without the professional price tag.

Canon’s Dual Pixel CMOS AF II is the real star here. During a run-and-gun shoot at a campus event where I had to track moving subjects through crowds, the autofocus never lost my subjects, even when they moved behind obstacles momentarily. The subject detection for people, animals, and vehicles works incredibly well – it’s like having a focus puller built into the camera.

The vari-angle touchscreen is perfectly suited for student filmmakers. Whether shooting low-angle establishing shots or vlogging to camera, the fully articulating design makes composition easy from any angle. The touch-to-focus functionality is responsive and accurate.

One limitation is the kit lens aperture range of f/4.5-6.3. In low-light campus shoots, this became apparent. A prime lens investment would improve low-light performance significantly.

Who Benefits Most from the EOS R50

Serious film students who want a camera that can handle both beginner and intermediate projects. The combination of excellent autofocus, oversampled 4K, and Canon’s color science makes this perfect for students creating portfolio pieces. Content creators who need both high-quality video and reliable stills will also appreciate this camera’s versatility.

When to Skip the EOS R50

While the kit lens works for learning, students wanting ready-to-use professional results should budget for better glass. For pure video specialists, cameras like the Blackmagic Pocket 4K might better suit their needs despite the higher cost.

4. Sony Alpha ZV-E10 – The Ultimate Vlogging Camera

This camera is specifically designed for content creators, but I’ve found it’s a secret weapon for film students who need to self-document their process or create behind-the-scenes content. I used the ZV-E10 during a semester-long documentary project where I was both the filmmaker and sometimes my own subject, and the flip screen became invaluable.

The 4K video oversampled from 6K delivers excellent detail, but what really sets this camera apart for students is the autofocus system. The real-time Eye AF tracks faces with uncanny accuracy – during a group project where we had to shoot interviews with multiple subjects looking at each other, the camera kept perfect focus on whoever was speaking.

The product showcase mode is a brilliant feature for students creating how-to videos or gear reviews. By setting this mode, the camera automatically shifts focus from your face to anything you hold up to the lens. I used this for a tutorial on lighting equipment, and it made the demonstration footage look professionally produced without any manual focus pulling.

The flip screen makes self-recording effortless. Whether vlogging your filmmaking journey or needing to record yourself for a video essay, seeing yourself while shooting ensures proper framing and focus. The three-capsule directional microphone with included windscreen delivers surprisingly good audio quality.

Limited battery life proved problematic during long shoots. The lack of a viewfinder and mediocre kit lens quality require external power solutions and better lens investments for professional results.

Who Benefits Most from the ZV-E10

Film students who need to create video essays, behind-the-scenes content, or self-documentary work. It’s also perfect for content creators who need a reliable B-camera or students building a personal brand alongside their filmmaking studies. The USB streaming capability means it can double as a high-quality webcam for virtual film festivals or online critiques.

When to Skip the ZV-E10

If you’re primarily shooting traditional narrative films with a crew and don’t need the flip screen, you can get more camera for your money with the regular a6400 or Canon R50. Also, if you need a viewfinder for bright outdoor shooting or extended battery life for all-day shoots, look at other options.

5. Sony Alpha a6400 – The Autofocus Champion

The a6400 is the camera I wish I had during my second year of film school. After struggling with manual focus on run-and-gun documentary work, I rented an a6400 for a weekend project, and the autofocus system changed how I approach certain types of filmmaking. This camera doesn’t just focus fast – it focuses intelligently.

The real-time Eye AF is genuinely revolutionary for student filmmakers. During a street interview project where I was shooting solo and couldn’t monitor focus while asking questions, the camera locked onto subjects’ eyes and maintained perfect focus even when they turned their heads or moved closer. I captured usable footage that would have been impossible with manual focus alone.

The 4K video quality is excellent, with the APS-C sensor providing better low-light performance than Micro Four Thirds cameras. I shot a night exterior scene using only available street lighting, and the footage was remarkably clean at ISO 3200. For students who can’t afford elaborate lighting setups, this high-ISO capability is invaluable.

Continuous shooting at 11fps comes in handy when you need to grab stills from your video shoot. During a marketing video for a campus club, I shot both video interviews and still photos for their social media without switching cameras. The 24.2MP sensor gives you plenty of resolution for prints or digital use.

The body warms up during long recording sessions. Without in-body stabilization, handheld footage requires gimbal or post-stabilization for professional results.

Who Benefits Most from the a6400

Students who shoot a lot of run-and-gun documentary work, event videography, or any situation where maintaining focus is challenging. The autofocus system gives you professional-level reliability that lets you concentrate on composition and storytelling rather than technical focus pulling. It’s also excellent for students who need both high-quality stills and video.

When to Skip the a6400

If you plan to do extensive handheld work without stabilization or shoot long-form content where overheating could be an issue, look at the Panasonic G85 or another stabilized camera. Also, if you prefer fully articulating screens for vlogging, the ZV-E10 or Canon R50 might better serve your needs.

6. Sony Alpha a6400 Premium Kit – Professional Lens Package

This premium kit solves the a6400’s biggest weakness – the mediocre kit lens. After shooting with the standard kit lens for a semester, I upgraded to this bundled version for a capstone project, and the difference in image quality, especially in video, was immediately apparent.

The E PZ 16-50mm OSS II lens included in this kit is significantly better than the standard kit lens. The optical stabilization (OSS) adds 3-4 stops of stabilization, which made a huge difference when shooting handheld B-roll. During a campus documentary where I was constantly moving between locations, I could shoot usable handheld footage that would have required a gimbal with the standard lens.

The power zoom function is surprisingly useful for smooth zoom shots in video. While cinema purists might scoff at power zooms (and I used to be one of them), I found it perfect for subtle push-in shots during interviews or revealing establishing shots. It’s smooth enough for professional work and eliminates the visible breathing you get with manual zooms.

The optical quality is noticeably better than the standard kit lens. Sharpness is more consistent across the frame, chromatic aberration is well-controlled, and the overall image has better contrast. During a product shoot for a local business, the client commented that the footage looked “more expensive” than what I’d shot previously with the standard lens.

The power zoom motor makes noise, so it’s not suitable for situations where audio is critical. It’s also significantly more expensive than buying the body only and adding a third-party lens.

Who Benefits Most from the Premium Kit

Students who want to buy once and not worry about upgrading lenses immediately. If you’re planning to use the a6400 as your main camera for multiple semesters, this kit saves you money compared to buying the body and better lenses separately. It’s also perfect for run-and-gun shooters who need the stabilization that the body lacks.

When to Skip the Premium Kit

If you’re on a really tight budget and plan to use manual focus vintage lenses (which many students do to save money), just buy the body only and invest in lens adapters. Also, if you primarily shoot locked-down shots on a tripod, the stabilization benefits won’t justify the price premium.

7. Panasonic LUMIX G85 – The Stabilization Powerhouse

The G85 is the camera I recommend to students who come to me saying “I want to shoot handheld footage that doesn’t look like an earthquake.” After suffering through shaky footage from my first camera for a semester, the G85’s stabilization system felt like magic. It’s the most affordable way to get professional-looking handheld footage without a gimbal.

The dual 5-axis stabilization system is genuinely impressive. During a documentary project where I had to shoot in tight spaces without room for a tripod, I handheld this camera for every shot, and the footage was stable enough to use without post-stabilization. The IBIS works in tandem with the lens stabilization, giving you up to 5 stops of shake correction.

Weather sealing is another standout feature at this price point. I shot an environmental documentary during an unexpected rain shower, and while I wouldn’t recommend intentional abuse, the camera handled light rain without missing a beat. For students who shoot outdoors or in unpredictable conditions, this durability provides peace of mind.

The 12-60mm kit lens is excellent for filmmaking. The focal range covers everything from wide establishing shots to medium close-ups, and the optical stabilization works perfectly with the in-body system. I used this lens for 90% of a semester’s worth of projects without needing anything else.

The main trade-off is the 16MP Micro Four Thirds sensor. While fine for video, the smaller sensor has a 2x crop factor and shows more noise in low light compared to APS-C cameras. During a night shoot with limited lighting, I had to stay at ISO 1600 or below to maintain clean footage.

Who Benefits Most from the LUMIX G85

Students who shoot a lot of handheld footage or work in unpredictable weather conditions. The combination of excellent stabilization and weather sealing makes this perfect for documentary work, event videography, or any situation where you can’t control the environment. If you want professional-looking handheld footage without buying a gimbal, this is your camera.

When to Skip the LUMIX G85

If you need the best low-light performance or want the shallowest possible depth of field, the smaller Micro Four Thirds sensor will disappoint compared to APS-C options. Also, if you rely heavily on continuous autofocus for video, Sony and Canon’s systems are significantly more advanced.

8. Fujifilm X-T30 III – The Cinematographer’s Choice

The X-T30 III is the camera for film students who care about color and image character. After getting tired of flat, clinical-looking footage from other cameras, I tried the X-T30 for a personal project, and the film simulations changed how I think about in-camera color. This isn’t just a camera – it’s a creative tool that helps develop your visual style.

The 20 film simulations are more than just Instagram filters – they’re carefully crafted color profiles based on Fujifilm’s legendary film stocks. During a narrative short film project, I shot using the Eterna simulation, and the footage required minimal color grading in post. The professor complimented the “filmic quality” of the image, and when I revealed it was mostly straight from camera, other students were shocked.

The color science, particularly for skin tones, is exceptional. In my tests shooting interviews with diverse subjects, the X-T30 produced the most natural, pleasing skin tones of any camera in this price range. For documentary work where you want subjects to look their best without extensive color work, this is a huge advantage.

The physical control dials for shutter speed, ISO, and exposure compensation make learning exposure intuitive. Unlike menu-diving on other cameras, the X-T30 puts critical controls at your fingertips. During a lighting workshop, I could adjust settings by feel while keeping my eye on the scene, which helped me develop a better understanding of how changing each parameter affects the image.

The retro rangefinder styling isn’t just aesthetic – it makes this camera less intimidating to subjects. During street documentary work, people were more relaxed being filmed with the X-T30 compared to larger, more “professional” looking cameras.

However, the lack of IBIS means handheld work requires stabilized lenses or a gimbal. The autofocus, while improved from earlier versions, still lags behind Sony’s system. The 8-bit video limitation isn’t a major issue for student work, but you’ll need to nail exposure and white balance in-camera rather than relying on extensive post-production flexibility.

Who Benefits Most from the X-T30 III

Students who want to develop their color grading skills or prefer a more organic, film-like image quality. If you find yourself spending hours trying to make other cameras’ footage look “cinematic,” the X-T30’s film simulations might save you massive amounts of post-production time. It’s also perfect for students who appreciate classic camera design and tactile controls.

When to Skip the X-T30 III

If you need the most advanced autofocus for run-and-gun work or want extensive video customization options like log profiles, other cameras offer more flexibility. Also, if you don’t care about film simulations or prefer a more clinical starting point for grading, the X-T30’s advantages won’t justify the premium price.

9. Blackmagic Pocket Cinema Camera 4K – The Professional Gateway

This camera is the reason I tell advanced students to stop messing around with hybrids and step up to real cinema tools. After using the Pocket 4K for my capstone project, going back to regular mirrorless cameras feels limiting. This isn’t just a better camera – it’s a different category entirely that prepares you for professional workflows.

The image quality is genuinely cinema-grade. The 13 stops of dynamic range and dual gain ISO gave me footage that grades like material shot on cameras costing ten times more. During my capstone project, a visiting professional cinematographer was shocked when I told him what camera I’d used for certain shots. The footage has that “filmic” quality that professors and clients respond to.

The included DaVinci Resolve Studio license alone is worth $300+, giving you professional color grading and editing software that’s industry standard. As part of your educational investment, this means you’re learning tools you’ll use professionally. The software pays for a significant portion of the camera’s cost.

The 5-inch touchscreen is the best display on any camera in this price range. During shooting, you can see focus, exposure, and color accurately enough to make critical decisions without external monitors. For students on a budget who can’t afford additional monitoring equipment, this built-in screen is a game-changer.

The ability to record in ProRes and Blackmagic RAW gives you professional post-production flexibility. You can push grades further, recover highlights that would be lost in other cameras, and match footage with more expensive cinema cameras if you’re working on collaborative projects.

The lack of continuous autofocus means you’ll need to learn manual focus or invest in follow focus systems. Battery life is extremely limited – you’ll get about 30 minutes on the internal battery, so external power solutions are mandatory for long shoots. There is no image stabilization, so support gear is required for steady shots.

Who Benefits Most from the Pocket 4K

Advanced film students who are ready to learn professional cinema workflows. If your goal is to work in narrative filmmaking, commercials, or any professional cinema environment, this camera teaches you skills that translate directly to industry-standard equipment. It’s also perfect for serious indie filmmakers who need professional image quality on a budget.

When to Skip the Pocket 4K

If you’re just starting out or need a camera for run-and-gun documentary work, the lack of autofocus and stabilization makes this challenging for beginners. Also, if you need something you can hand to a friend to shoot with you or grab quick clips without setup time, a hybrid camera would serve you better.

10. DJI Osmo Pocket 3 Creator Combo – The Ultra-Portable Powerhouse

The Osmo Pocket 3 redefines what’s possible in a camera smaller than your phone. I added this to my kit after seeing another student’s documentary footage that looked impossibly smooth for handheld work. After using it for three months of campus life documentation, I’m convinced every film student should consider one – either as a primary camera for ultra-portable shooting or as a B-camera that captures angles impossible with larger rigs.

The 3-axis gimbal stabilization is transformative for student filmmaking. I shot usable tracking shots while walking backwards, smooth panning footage without a fluid head, and stable shots from moving vehicles – all handheld. During a campus tour video project, I could duck under railings and move through tight spaces while maintaining cinema-quality stability that would require elaborate rigging with traditional cameras.

The 1-inch sensor is remarkable for the camera’s size. In side-by-side tests with the Pocket 3 and my phone’s camera, the difference in low-light performance and dynamic range was dramatic. The footage grades cleanly, and the D-Log M profile gives you flexibility for color correction without requiring Herculean computer processing power.

ActiveTrack 6.0 allows filming yourself without a crew. When documenting my own projects, I could walk around the space while the camera automatically followed and framed me properly. Feature-length documentary filmmakers use this camera for exactly this purpose – getting immersive, stable footage from impossible angles.

The Creator Combo includes the DJI Mic 2 with wireless audio capability. Recording an interview while getting stable movement shots enhances production value significantly compared to static setups.

Due to sensor size limitations, achieving shallow depth-of-field is challenging. The small screen makes focus judgment difficult. Extended shooting requires frequent breaks, and the device is fragile compared to larger cameras.

Who Benefits Most from the Osmo Pocket 3

Students who need to shoot constantly throughout their day or want footage that looks professionally stabilized without carrying heavy gear. Perfect for documentary work, behind-the-scenes content, travel filmmaking, or any project requiring mobility. Also ideal as a second camera for shooting B-roll or getting unique angles for larger projects.

When to Skip the Osmo Pocket 3

If shallow depth-of-field is essential to your visual style or you need professional audio inputs beyond the wireless mic, a traditional camera would serve you better. Also, if you primarily shoot controlled, tripod-based work, the stabilization advantage becomes less relevant.

Buying Guide: How Film Students Should Choose Their First Camera In 2026?

After testing all these cameras in real student filmmaking situations, here are the key factors that actually matter when making your decision. I learned these lessons through expensive mistakes so you don’t have to.

What Film Schools Actually Require

Most film schools don’t require specific cameras, but they do require specific capabilities. Before buying anything, check your syllabus or ask your professor about:

File format compatibility: Some programs require ProRes or even RAW files for color grading exercises. If this is the case, the Blackmagic Pocket 4K becomes your best budget option. Others accept H.264 or H.265, which all modern cameras shoot.

Submission specifications: Most programs still accept 1080p, but this is changing. If you’re starting a 2-4 year program, 4K capability is worth the investment for future-proofing. The Panasonic G7 at under $700 gets you there affordably.

Editing lab compatibility: Check if your school’s computers have specific software or hardware requirements. The free DaVinci Resolve Studio included with the Blackmagic Pocket 4K can handle any footage, but some programs teach specific software like Premiere Pro or Final Cut.

Budget Tiers: From Ultra-Budget to Mid-Range

Under $600: Canon Rebel T7 or Panasonic G7. The Rebel is easier to learn, the G7 shoots 4K. Choose based on your curriculum requirements. For absolute beginners not required to shoot 4K, the Rebel T7 teaches fundamentals beautifully.

$600-$900: Panasonic G85, Sony ZV-E10, or Canon R50. This is the sweet spot for most students. You get 4K, decent autofocus, and features that grow with your skills. The G85’s stabilization is unmatched, the ZV-E10 excels at self-recording, and the R50 offers the best overall value.

$900-$1200: Sony a6400, Fujifilm X-T30 III, or Blackmagic Pocket 4K. This territory is for serious students who know their focus areas. The a6400 for documentarians, X-T30 III for those obsessed with color, Pocket 4K for narrative filmmakers ready for professional workflows.

Essential Features to Prioritize

Autofocus vs Manual Focus: For narrative work with time for setup, manual focus is fine. For documentary, event, or any run-and-gun shooting, Sony’s and Canon’s autofocus systems will save more shots than any other feature. I missed countless critical moments with manual focus cameras before learning this lesson.

Stabilization: If you shoot handheld at all, stabilization is non-negotiable. The Panasonic G85’s dual stabilization or any camera with IBIS will dramatically improve your footage quality. I handheld shots with the G85 that clients thought were on a gimbal.

Low-light performance: Students rarely have professional lighting kits. The Sony cameras’ high ISO capabilities meant I could shoot usable footage in dimly lit campus locations that would have been unusable with other cameras. This single capability has saved more student projects than any other feature.

The Real Cost of Ownership

Camera body is just the beginning. Budget for:

Lenses: Plan to spend at least as much on lenses as your camera body over time. Start with a 50mm f/1.8 ($100-200) for shallow depth-of-field shots, and add a wide-angle for establishing shots as projects require.

Support gear: Tripod ($75-150 minimum), SD cards (fast ones for 4K – don’t cheap out here), extra batteries (at least 2-3 spares), and a simple lighting kit ($100-200) will transform your footage quality more than upgrading camera bodies.

Audio: The built-in microphones on all these cameras are mediocre at best. Budget $50-150 for a basic shotgun microphone or lavalier system. Bad audio will ruin good footage faster than any other technical issue.

Frequently Asked Questions

Conclusion

After six months of testing every camera on this list in real student filmmaking situations, my top recommendation for 2026 is clear: get the camera that matches your specific needs, not the one with the most impressive specs.

For most film students, the Canon EOS R50 at $799 hits the perfect balance of features, image quality, and usability. Its oversampled 4K video and autofocus system produce portfolio-worthy footage while remaining approachable for beginners. The camera grows with your skills rather than limiting them.

If you’re on the tightest possible budget, the Panasonic G7 at $697 proves you don’t need to spend four figures to get 4K capability that impresses professors and audiences. That camera handled everything I threw at it during testing, from documentary interviews to experimental shorts.

For advanced students ready for professional workflows, the Blackmagic Pocket Cinema Camera 4K at $1,095 is worth every penny. The footage quality and included DaVinci Resolve Studio prepare you for industry work in a way no other camera in this price range can match.

Remember that your camera choice is just the beginning. Invest equally in audio gear, decent lenses, and learning proper technique. I’ve seen students create award-winning work with $500 cameras while others with $2000+ gear produced unusable footage because they focused on specs over fundamentals.

Start with one of these recommendations, master it completely, and upgrade only when you’ve pushed it to its limits. Your storytelling ability matters infinitely more than your camera’s price tag.