If you're feeling limited by what your point-and-shoot camera can do, there are plenty of reasons to consider a D-SLR. These advanced shooters feature larger image sensors, superior optics, robust manual controls, faster performance, and the versatility of changeable lenses. All this added functionality doesn't come cheap, though, as the cost of a D-SLR can add up, especially when you start buying lenses. And the cameras are understandably larger and heavier than their compact and mirrorless interchangeable lens counterparts. You also need to remember that you're buying into a camera system. If your first D-SLR is a Canon, chances are that your next one will be as well, simply for the fact that you'll be able to make use of existing lenses and accessories. Here are the most important aspects to consider when you're shopping for a digital SLR:

Understanding Sensor Size
Most consumer D-SLRs use image sensors that, while much larger than those found in point-and-shoot cameras, are somewhat smaller than a 35mm film frame. This can be a bit confusing when talking about a camera's field of view, as focal lengths for compacts are often expressed in terms of 35mm equivalency. The standard APS-C sensor features a "crop factor" of 1.5x. This means that the 18-55mm kit lens that is bundled with most D-SLRs covers a 35mm field of view equivalent to 27-82.5mm. If you're upgrading from a point-and-shoot that has a 3x zoom lens that starts at about 28mm, the D-SLR kit lens will deliver approximately the same field of view.

There are many inherent advantages to a larger sensor. It allows you to better control the depth of field in images, making it possible to isolate your subject and create a blurred background. This blur is often referred to by the Japanese term bokeh. Much has been written about the quality of the bokeh created by different lenses, but the general rule of thumb is that the more light a lens can capture—measured numerically as its aperture, or f-number—the blurrier the background can be. A lens with a maximum aperture of f/1.4 lets in eight times as much light as one of f/4, and can create a shallower depth of field at an equivalent focal length and shooting distance.

Another reason to go for the big sensor is to minimize image noise. A 14-megapixel D-SLR has much larger pixels than a point-and-shoot of the same resolution. These larger pixels allow the sensor to be set at a higher sensitivity, measured numerically as ISO, without creating as much image noise. Another advantage to the larger surface area is that changes in color or brightness are more gradual than that of a point-and-shoot. This allows more natural-looking images with a greater sense of depth.

Some higher-end D-SLRs, like the Canon EOS 6D, feature sensors that are equal in size to 35mm film. These full frame cameras are much more expensive than their APS-C counterparts. If you do see yourself moving up to a full frame camera in the future, be careful in buying lenses. Some lenses are designed to be used with APS-C sensors. Canon refers to its APS-C lens line as EF-S, while lenses that cover full frame are EF. Nikon takes a similar approach, calling APS-C lenses DX and full frame lenses FX. Sony, the only other manufacturer that currently offers a full frame D-SLR camera, adds a DT designation to its APS-C-only lenses.

Choose a Camera that Feels Right
It's very important to choose a camera that feels comfortable in your hands. While most D-SLRs are similar in size and build, the styling of the handgrip, position of controls, and other ergonomic features can differ drastically. The camera you choose should be one that you are most comfortable using. If a D-SLR is too big or small for you to hold comfortably, or if the controls are not laid out in a way that makes sense to you, chances are you won't enjoy shooting as much as you should.

Get the Best Viewfinder
By definition, a D-SLR features an optical viewfinder that shows you the exact image that the camera's lens is capturing—but not all of these viewfinders are created equal. A mirror directs light from the lens to the viewfinder, which is one of two types. The first, the pentamirror, is generally found on entry-level cameras like the Canon EOS Rebel SL1 and Nikon D5200. This type of viewfinder uses three mirrors to redirect the image to your eye, flipping it so that it appears correct, as opposed to the upside down and backwards image that the lens is actually capturing.

The second type of optical viewfinder is the pentaprism. This is a solid glass prism that does the same job as the pentamirror. A pentaprism is generally heavier and brighter than a pentamirror. The extra brightness makes it easier to frame images and to confirm that your photo is in focus. Pentaprisms usually start appearing in mid-range D-SLRs, like the Canon EOS 70D, and are standard issue on pro bodies like the Nikon D4SEE IT. The Pentax K-50 is a rare entry-level model with a pentaprism that features 100 percent coverage; that affordable camera also boasts full weather-sealing for use on rainy or snowy days.

You should also pay attention to magnification and coverage numbers for pentaprism finders, as they give you an idea of the actual size of the finder and how much of the captured image can be seen. In both cases you'll want to look for a higher number.

Another Option: The EVF
A few cameras on the market offer a third viewfinder option—an electronic viewfinder. Sony cameras that feature fixed, translucent mirrors, like the Alpha 77See it at Amazon UK, are referred to as SLTs. Rather than redirecting light to your eye, the semi-transparent mirror in these cameras redirects it to an autofocus sensor. If you aren't set on an optical finder, these cameras are worth considering. Even Sony's flagship full-frame Alpha 99 uses an OLED EVF, eschewing the glass pentaprism found in other full-frame SLRs.