388 camera stores in this directory stock used gear — digital bodies, film cameras and vintage glass.
Below: how to inspect a used body and lens before you hand over money, what those condition
grades really describe, and the one advantage a counter has that no online listing can match.
The thing most buyers get wrong
KEH, MPB, B&H and Adorama condition grades describe cosmetics only — not
function. "Excellent" means it looks excellent. It does not tell you the shutter count,
whether the lens has haze or fungus, or how much life is left in the body. Every graded item is
expected to work; the grade is about appearance. Which is exactly why standing at a counter with
the thing in your hands is worth the trip.
How to inspect a used camera before you buy it
Ten minutes of checks separates a bargain from an expensive paperweight. Ask to handle the gear and go in this order.
The lens — where the money is lost
Point it at a bright, even light source and look through it from both ends.
Fungus. Fine, branching, web-like growth on an inner element. It etches coatings permanently and can spread to other lenses in your bag. Walk away.
Haze. An even, milky fog inside the lens, often from outgassing lubricants. It kills contrast and shows up as veiling flare against the light. Sometimes cleanable, usually for more than the lens is worth.
Element separation. A rainbow, oil-slick or crystalline edge creeping in from the rim of an element, where the cement holding a glued group has failed. Effectively unrepairable. Walk away.
Sticky aperture. Fire the blades from wide open to stopped down repeatedly. They should snap instantly and dry. Slow, hesitant or oily blades mean a service, and on a cheap lens that costs more than the lens.
De-centring. Shoot a flat detailed subject square-on and compare the frame edges. If one side is soft while the opposite is sharp, the elements are misaligned — a common consequence of a drop, and rarely worth correcting.
Zoom creep. Hold a zoom vertically. If the barrel slides under its own weight, the internal friction is worn. Annoying rather than fatal, but it is a bargaining chip.
The body
Shutter count (actuations). Ask for it. Entry-level DSLRs are typically rated around 100,000 and pro bodies 300,000–500,000. Treat it like an odometer, not a verdict: a serviced pro body at 200,000 is often a better buy than a neglected consumer body at 20,000.
Light seals on any film body. Open the back and look at the foam in the door channels. Crumbling black goo means light leaks and a cheap but necessary re-seal — and it tells you the camera has been sitting.
Sensor and mirror box on digital. Stop down and shoot a bright evenly lit surface; dust shows as soft grey dots and cleans off, while scratches or oil spots on the sensor stack do not.
Everything that moves. Every shutter speed (listen for the slow ones dragging), every dial, the card door, the battery contacts, the ports, and the meter against a known good reading.
Brassing and dents. Honest wear on the edges is fine and normal. A dented filter ring, a bent lens mount or a misaligned hot shoe means an impact — and impacts are what cause de-centring.
What the condition grades mean (and do not)
Every major used dealer publishes a grading ladder — KEH runs from "As-Is" up through "Bargain", "Good", "Excellent" and "Like New"; MPB uses "Well Used", "Good", "Excellent" and "Like New"; B&H and Adorama run their own equivalents. The vocabulary differs but the principle is identical, and it is the part almost nobody reads:
The grade describes how the item looks. It is not a functional rating. A "Bargain" body is cosmetically rough and expected to work perfectly. An "Excellent" lens is cosmetically clean and could still have haze. Nothing in the grade tells you shutter count, optical condition, or remaining service life.
So the grade is useful for one thing — deciding how much cosmetic wear you can live with — and useless for the questions that actually determine whether the gear is a good buy. Those you ask separately, or answer yourself at a counter.
Used film bodies vs used digital
They fail in opposite ways, and that should change what you look for.
Mechanical film cameras are the most durable purchase in photography. A fully mechanical body has no circuit to die; it can be cleaned, lubricated and adjusted more or less forever. Expect to budget for light seals and a CLA on anything that has been stored a long time, and check the slow shutter speeds, which drag first.
Electronic film cameras from the 1980s and 90s are the genuine risk. When a proprietary board or LCD fails there is often no replacement part in existence, and a working example gets parted out rather than repaired. Beautiful cameras, but understand what you are buying.
Used digital is binary — it works or it does not — so you are really buying two things: remaining shutter life and a sensor generation. The sweet spot is usually a well-cared-for body one or two generations behind current, where the depreciation has already happened and the files are still excellent.
If you are buying film, check who develops film locally before you commit — a film camera with no lab within driving distance is a mail-order habit you did not sign up for.
Why a local shop beats a mail-order grade
Online used dealers are legitimate, and their return policies are usually good. But there is one thing they structurally cannot offer: the gear, in your hands, before your money leaves.
At a counter you can mount the lens on your own body and shoot the frame edges for de-centring. You can run the aperture thirty times and watch for oil. You can hold the barrel to a light and see haze that no product photo would ever show. You can put a card in and check the shutter count yourself. And you can ask the person selling it what it has been through — shops that take trade-ins usually know the previous owner's story.
The trade-off is inventory. A single shop stocks what has walked in the door, so the specific body you want may not be there this week. Which is the argument for calling ahead rather than for shopping online.
Camera stores stocking used gear
Used inventory is confirmed from each shop's own listings or from customer reviews.
Showing the 48 highest-reputation of 388; state links below go local.
Stock turns over fast — call before making a trip for a specific body.
Showing 48 of 48
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Photography shop selling new and used cameras, lenses and accessories, as well as offering film development, photo printing, digitizing services and equipment rental.
Store selling new and used cameras, lenses and accessories, plus studio gear and offering equipment rentals and classes.
Shops that buy as well as sell
Trading your old body against a used purchase in one visit is usually the best value available — the shop earns on both halves of the deal and can afford to be better on yours.
Used inventory is thinner and more local than other services, so this hub stops at the state level — each page lists every confirmed shop in that state by city.
On a body: shutter count (actuations) against the rated life, sensor condition under a bright even surface, light seals on film bodies (crumbling foam is cheap to fix but tells you the camera sat), and that every dial, port and card slot works. On a lens: hold it up to a light and look for fungus (fine branching webs), haze (an even fog on an inner element), element separation (a rainbow or oil-slick edge where cemented elements have parted), a sticky or slow aperture, de-centring (soft on one side of the frame only), and zoom creep. Fungus and separation are the two that should stop the sale.
What do KEH, MPB, B&H and Adorama condition grades actually mean?
This is the most misunderstood thing in used gear: those grades describe COSMETICS ONLY, not function. An "EX" or "Excellent" body is one that looks a certain way — light marks, minimal brassing — and a "Bargain" body is one that looks rough. Both are expected to work; neither grade tells you the shutter count, whether the lens has haze, or how much life is left. Grade is about appearance. Function is a separate question you have to ask separately.
Is a used film camera a safe buy?
Safer than people fear, with two caveats. Mechanical film bodies are repairable almost indefinitely and often outlive their owners — the failure points are light seals, sticky shutter speeds after long storage, and dead meters. Electronic film bodies from the 1980s and 90s are the risk: when a proprietary circuit board dies there is frequently no part to replace it with. Used digital is the opposite — it works or it does not, and you are mostly buying remaining shutter life and a sensor generation.
Why buy used from a local shop instead of online?
Because you can hold it. A mail-order grade is one word describing appearance; ten minutes at a counter tells you what no grade can — mount a lens on your own body, shoot the frame edges, run the aperture from wide open to stopped down and watch for stickiness, look through the barrel at a light for fungus and haze, work every dial. A shop also stands behind the sale in person, often with a return window and its own warranty, and can service what it sold you.
What is a high shutter count?
It depends entirely on the body. Entry-level DSLRs are typically rated around 100,000 actuations and professional bodies 300,000–500,000, and plenty exceed their rating. Treat the number as a used-car odometer: a high count on a pro body that was properly serviced beats a low count on a consumer body that sat in a damp cupboard. Ask for the count, then weigh it against the price rather than treating it as a pass or fail.
Will a camera store buy my old gear too?
Many will buy or trade. Trading against a used purchase in the same visit is usually the best value you will get, because the shop makes margin on both sides and can be more generous on yours. See which shops buy on the sell camera gear page.