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Compact advanced digicam offers a slew of features, but mediocre battery life.
The sophisticated $600 Canon PowerShot G7 boasts a 10-megapixel sensor, face-detection autofocus, optical image stabilization, and a maximum light sensitivity of ISO 1600. In contrast, the PowerShot G6 had a 7.1-megapixel rating, lacked image stabilization, and reached ISO 400.
The compact G7's rugged, bricklike metal body feels as though it could weather a few knocks. Its black exterior gives the camera a serious look.
The large, high-resolution 2.5-inch LCD doesn't swivel (the G6's did), lacks a wireless remote, and offers just a strip of rubberized material to grasp onto--a poor substitute for a true hand grip.
The mode dial atop the camera offers typical assortment of shooting modes, plus two positions you can assign customized settings to. Working with the camera's dedicated ISO dial is far more convenient than using an LCD menu.
Unfortunately, the top panel lacks a status display LCD.
On the back, the G7's four-way selector button is surrounded by a thin thumb wheel that lets you make menu selections without a lot of button pressing. When you select a scene mode using the thumb wheel, a virtual dial spins on the LCD screen--a nice touch.
The G7 delivered very sharp shots in our tests, earning the best score on this measure among recently tested advanced cameras. Overall, the G7 earned a Very Good rating for image quality. We were disappointed, however, by the indifferent accuracy of its exposures on indoor shots (at automatic settings), especially on shots where we used the built-in flash. On outdoor shots the G7 usually supplied accurate exposures. The slow autofocus proved frustrating: The lens tended to swim in and out for several seconds before locking onto my subject; and in dim lighting, it sometimes produced out-of-focus shots anyway.
The G7's 6X optical zoom is modest in comparison to the 10X or 12X zooms we've seen on most advanced cameras recently. Photo enthusiasts may be disappointed that the G7 shoots only JPEGs (no RAW images). And if you like to use a tripod, be forewarned that the SD card slot is located next to the battery compartment on the underside of the camera; before you can swap cards, you'll have to remove the camera from the tripod. It's just as likely that you'll have to replace the battery, however: The G7's battery lasted just 275 shots on a full charge, in a category where the average is over 400 shots.
The G7's shortcomings aside, its generous controls and easy navigation may prove an ideal combination for photographers who frequently adjust manual settings in pursuit of the perfect shot. But photo enthusiasts looking for a backup camera to supplement their digital SLR may be turned off by the G7's high price, lack of RAW support, and mediocre battery life.
Canon changed a bit more than the shape of the headlights between the PowerShot S2 IS and the S3 IS, but not much. The newer model integrates a 6-megapixel CCD instead of 5 megapixels, and Canon tosses in a few new features, but ultimately, it's the same camera. That's not necessarily a bad thing--the S2 remains a great camera, and the S3 carries on the tradition.
The Canon PowerShot S3 IS's aesthetic seems to be a cross between those of a classic Volkswagen Beetle and a Busy Box. Granted, it's the same body as its predecessor's, but the silver bits stand out more against the current version's iridescent, dark gray plastic than they did against the previous model's silver coloring. As with the S2, there's certainly enough here to keep you busy for a long time, though, and loving every minute of it. (For more details about the S2/S3's basic design and features, read the PowerShot S2 IS review.)
For the S3, Canon upped the size of the flip-and-twist LCD to 2 inches from 1.8, which is still disappointingly small. The company also added a ludicrous 16:9 aspect mode: not only does it simply crop and letterbox the standard 4:3 image, but the LCD is too small for a functional letterbox display. More useful is the new 320x240 60fps movie-capture mode, which produces slick little movies, as does the VGA, 30fps mode. Unfortunately, the camera still lacks raw format support.
Oddly, despite the different sensors--or perhaps because they use the same f/2.7-to-f/3.5, 36mm-to-432mm lens and Digic II imaging processor--the S3's photos look almost identical to the S2's. They display a broad tonal range, albeit with some clipping in the highlights and shadows, very good color accuracy and saturation, and acceptable edge-to-edge sharpness. Its noise profile follows suit as well: low until about ISO 200, then increasingly bad. Though the camera can now boost ISO sensitivity to as high as ISO 800, either manually or by enabling ISO Boost in a programmed-exposure mode, the noise at that setting is quite obtrusive. In general, the S3's photos look good but can't really shake the digital look, either onscreen or in print.
Performance, while not identical to the S2's, is either the equivalent or better. Start-up to first shot takes only 1.5 seconds, which is quite zippy overall, and extremely good for a camera that has a long lens to extend. Shutter lag in bright light runs about 0.4 second and doubles to 0.8 second when the lights get low. The S3 is also relatively responsive: 1.1 seconds typically from shot to shot, plus another second if the flash needs to recycle. Though it maxes out at 1.5fps in continuous-shooting mode, there's no buffer-constraint on the number of sequential shots at maximum resolution; I find that much more useful than a fast but limited burst mode. It was certainly sufficient to capture active dogs and children playing in the park, including kids spinning in a tire swing.
Autofocus occurs quickly for the most part, although a few of my shots looked as if the focus hadn't locked before capture. I didn't experience any of the problems that the S2's reviewer did with SuperMacro mode; it worked fine for me, even with the lens almost pressed against the subject. The image stabilization bought me about two stops of shutter latitude, but my hands shake like an octogenarian's--a coffee-drinking octogenarian.
I'm not a big fan of electronic viewfinders (EVFs), and the S3's didn't convince me otherwise; though it's fine for framing, I hate that it freezes when the shutter is pressed. The LCD is certainly viewable in most light, but I prefer an eye-level viewfinder to the unsteady arm's-length approach.
True, a cheap dSLR will provide better performance, and a moderately priced one will deliver better photo quality. But the Canon PowerShot S3 IS's combination of features, performance, and relatively compact design certainly gives megazoomers a compelling alternative.
CNET editors' review
dSLRs on a shoestring The Canon EOS Rebel XS joins the ranks of digital SLR cameras that can be had for a song--to the tune of $750 or less, with lens.Remember when it was common to drop $500 to $700 on a nice digital point-and-shoot? These days, with the same money, you can pick up a digital SLR camera.
These aren't professional models or the very best that current technology has to offer, but for the photo enthusiast on a budget--or even the avid family photographer--they can be a big leap forward. With larger sensors and generally faster performance than snapshot models offer, these cameras provide plenty of tools to photographers who prefer a camera with more than one button. And if you save your pennies, you can increase their flexibility and image quality in the future with additional lens and accessory purchases.
But which to buy from this year's models? Here's my take. For the best overall value for the money, the Pentax K200D hits all the right notes with a dust- and weather-resistant body, sensor-shift image stabilization, and other premium features. It's biggest weakness is not-terribly-accurate colors and a tendency to underexpose, which can be overcome with some tweaking. For the best photo quality, the Canon EOS Rebel XS delivers, especially in low light, and its kit lens is the best of the group.
It does have some operational annoyances, though, such as hard-to-see AF points in the viewfinder and no spot meter, and it lacks in-body image stabilization. Though it's not a clear winner in every race, the Nikon D60 seems to have the best overall performance of the group. However, its photo quality and feature set can't match most of the other models for the money.
For the cheapest model that fulfills the dSLR promise--better performance, photo quality, and flexibility than a point-and-shoot--the Sony Alpha DSLR-A200 seems to have garnered its share of fans.
When a series of products is as successful as Canon's PowerShot line, it's almost impossible not to approach each new offering with high expectations. Canon has produced hit after hit, including our Editors' Choice picks, the SD790 IS and SD1000. While the SD890 IS ($399.99 list) doesn't quite have what it takes to be our next top compact camera, this 10-megapixel shooter still lives up to its PowerShot name, with plenty of features and innovations, as well as impressive image quality.
The SD890 IS is actually a little lighter than the Nikon Coolpix P60 I tested recently, but it's also far more compact, so the weight (about 5.5 ounces, body only) is more noticeable. And at 2.3 by 3.8 by 1.1 inches (HWD), the SD890 IS is small enough to tote around easily. Yet the camera strikes a nice balance between size and comfort, as it's big enough to hold easily without being too bulky.
The only controls on the top of the camera are the shutter button and a toggle switch for the zoom. I'm not a fan of the power button. It's a small, half-moon-shaped nub wedged into the curve of the camera next to the LCD and above the viewfinder, making it difficult to tap without a conscious effort. Turning the camera on requires a deliberate press from just the right angle, and it helps if you have a long-enough fingernail. (Those with big hands and fingers will likely struggle.) This complaint might sound minor, but it can be an issue, particularly if you're trying to turn the camera on in a hurry.
A dial next to the power button lets you toggle between automatic, manual, video, and scene modes. Underneath it you'll find the Print/Share, Playback, Display On/Off, and Menu buttons, along with the SD890 IS's scroll wheel, which also functions as a four-way controller. This last feature allows one-touch access to frequently used items like the ISO settings (only high or auto), the self-timer, flash modes, and focus options.
The SD890 IS features a slightly better-than-average 6.6mm to 33.0mm 5X optical zoom lens (35mm equivalent: 37mm to 185mm) with corresponding maximum f-stops of f/3.2 to f/5.7. The camera's 2.5-inch LCD worked well, even in direct sunlight. The display adjusts its brightness to match the light conditions, and images appear crisp and clear.
Once you're ready to start shooting, making various adjustments is straightforward. When you're in manual or scene modes, you can use the scroll wheel to select and preview specific shooting modes. For instance, with the dial turned to scene, you can frame a shot on the LCD and see how it looks when adjusted to match the scene specifications for indoor, sunset, foliage, and more. It's convenient to shuffle through and quickly preview scene settings in this manner, especially if you have the time to set up a shot carefully. For instance, while shooting in a park, I had the camera in child/pet mode but chose to switch into foliage mode while taking in the greenery. As I turned the dial, the plants went from slightly muted to a vibrant green that really popped. The same preview advantages are available for manual modes, like digital macro, color swap, and color accent. Unfortunately, toggling through the various modes using the scroll wheel can take some getting used to. The wheel is not the most intuitive or responsive, and sometimes selecting a specific mode quickly is difficult.
High ISO mode will crank up the camera to an impressive ISO 3200, though of course you'll see some serious graininess at that setting. The images actually start to show some grain at around ISO 200 and are significantly grainy past ISO 400. The camera's face detection works well and is surprisingly responsive to moving subjects.
While most cameras offer straight-up image stabilization, that of the SD890 IS comes in three flavors: Continuous, Shoot-only (activated when the shutter button is pressed), and Panning (which stabilizes only up-and-down motion). When taking pictures of moving subjects in a dimly lit restaurant, panning mode produced the best results, but all three options produced a significant improvement over the shots I took with image stabilization turned off.
The SD890 IS isn't short on shooting modes, offering 11 within the scene setting, plus four more within manual, similar to those offered by the Fuji FinePix J10. The manual settings, similar to those found on other recent Canon models, include Digital Macro, Color Accent, Color Swap, Stitch Assist. Manual also offers a number of more advanced controls, including exposure compensation, white balance, and various autofocus options. While the scene modes are fairly standard (portrait, kids/pets, and the like), there are some more-unusual options, such as separate settings for snow and beach scenes, and an aquarium mode to enhance aquatic shots, cutting down on glare and ensuring deeper, more accurate color.
In-camera editing options are fairly limited but include red-eye correction, cropping, resizing, and "My Colors," which can highlight a selected color in an image or switch to sepia, black-and-white, or other effects. Like the Nikon P60, the SD890 IS can be started in review mode by holding down the playback button. You can then jump right into shooting mode by hitting the shutter button.
The camera's performance in the lab was good. I have a few minor complaints, but the average user probably won't notice many of them. Daylight shots were a bit shadowy. Viewed alone they looked fine, but the difference was easier to see when compared with the brighter shots the Editors' Choice SD1000 produced. Flash shots tended to be underexposed but otherwise consistent, with vivid color. The images didn't exhibit any purple fringing. The lens suffers from some distortion at the widest angles, but this wasn't a major problem.
The SD890 IS is responsive enough, but it's not going to set any records. Boot-up time is fine at 2.7 seconds. Recycle time is decent at 2.98 seconds, though the SD890's shutter lag, at 1.4 seconds, was a bit disappointing. However, while using the SD890 IS in everyday situations, I didn't have any significant complaints about the time it took to power up and shoot.
Video looked crisp, and the audio was clear. Videos can be shot at 640-by-480 or 320-by-240 resolution, both at 30 frames per second. There's also a time-lapse option, to shoot video at 1 or 0.5 frames per second at 640-by-480 resolution. I was able to zoom in while shooting, though the audio was so sensitive that, while shooting in a quiet office, the sound of the lens extending was recorded with my video. Besides the video mode on the dial, you can record standalone audio in playback mode, available among other editing options in the menu.
I was really impressed with the SD890's rechargeable battery, which held a full charge during my entire extended testing period.
Thanks in large part to a generous feature set and good picture quality, the Canon PowerShot SD890 IS holds its own among compact cameras. Still, there's no getting around the high $400 price tag. The Kodak EasyShare M1033 is just one example of another 10MP shooter that rings up at about half that price. While the M1033 may not live up to the SD890 IS's performance, it's a great low-cost alternative. Nevertheless, I wouldn't hesitate to recommend the SD890 IS for its ease of use, versatility, and impressive images.
Article courtsey of pcmag.com
Canon's $399.95 PowerShot SD950 IS is a high-performance point-and-shooter that's perfect for photographers who want brilliant, crisp images but don't want to mess with manual controls. While this very capable 12-megapixel camera might strain your pocket (and your pocketbook), it's a top-notch snapper loaded with high-end features for serious amateurs.
The SD950 is a step up from Canon's 8MP SD870. Canon has increased the resolution and added an optical viewfinder for use in bright daylight, though it had to reduce the SD950's screen to 2.5 inches to fit the viewfinder. (The SD870 left off the viewfinder to make room for a 3-inch LCD.) Another nice feature that's sometimes absent from point-and-shooters is an on-screen battery meter—a good idea and oh so useful. And for amateur videographers, the SD950 provides the option of high-def video at 1,024 by 768 (however, the frame rate drops to 15 frames per second, and the aspect ratio remains at 3:2).
The first thing you notice about the SD950 is its handsome, solid titanium body, which is rendered in snazzy curves and rounded corners. The 5.8-ounce camera feels substantial and durable in your hands. There's no real grip, although the rounded curve on the right-hand side makes for a more comfortable hold.
At 1 inch thick, this camera can fit into your pocket. It's not nearly as slim as Canon's Digital Elph series because its image sensor is almost twice as large—and that demands a larger lens. The SD950 is outfitted with a 3.7X optical zoom lens that runs from 36mm to 133mm (with corresponding maximum f-stops of f/2.8 to f/5.8). I'd prefer a slightly wider-angle lens, such as the 28mm-to-105mm lens on the Canon SD870, but those who go for more zoom will like the SD950. Its sensitivity ranges from ISO 80 to 1,600 (Canon includes an ISO 3,200 scene preset, but this lowers the resolution to 2MP). There's a 2.5-inch LCD for framing shots, as well as the optical viewfinder. Use the viewfinder with caution, though, because it doesn't provide the full view delivered by the display. On my tests, I found the LCD viewable even in bright daylight.
As do most current point-and-shoot models, the SD950 comes with advanced face detection and an optical image-stabilization feature, which is especially useful at longer zoom lengths. You also get 11 scene modes, such as portrait, indoors, beach, snow, and so on.
Ergonomically, Canon has arranged the dials and buttons in a logical way that lets you access settings quickly. A cleverly canted mode dial at the top lets you easily choose between auto, manual, movie, and scene modes. Below that is a center function button—a feature that enables you to choose from the four options by circling your finger around the dial, much like a scroll wheel on an iPod. As you scroll, a graphic appears on the LCD to indicate what will be selected if you depress the button. This sounds gimmicky, but it lets you keep your eye on the LCD if you're changing a setting in the middle of a shot. You can also find this feature on the SD870.
The function button is flanked by four small buttons for PictBridge printing, playback, display, and menu. These four buttons are perilously tiny but are raised somewhat for tactile guidance. The Power button at the top is small and flush; those with large hands are sure to fumble. The large shutter button at the top left is very responsive, however, as is the zoom toggle.
If you've ever used a Canon digital camera, the menu system will be familiar. It's marvelously simple to use. All settings are a click or two away and are arranged so conveniently that you can't get lost in the menu—although you won't have full control when using the manual setting. You can easily change the ISO and white balance, but the camera gives you no way to set the aperture manually. For a camera this sophisticated, Canon should consider adding full manual control. The 12MP Fuji FinePix F50fd offers more advanced settings, including flexible low-light and action shooting tools—for $100 less.
On our lab tests, the PowerShot SD950 delivered very strong performance. Daylight shots were awesome in their detail and clarity at ISOs of 100 and 200. At ISO 400, noticeable fuzziness crept in, and anything above that level was very noisy. Flash photos were similarly beautiful at ISO 100 and 200—and just as disappointing at high sensitivities. Boot-up time was a relatively fast 3.4 seconds, and recycle time using flash was about 3.2 seconds. Shutter lag was noticeable but not a deal-breaker. On the resolution test, the camera averaged 2,025 lines, which is outstanding for a 12MP camera. There was no pincushion distortion at the telephoto end of the range and just the average amount of barrel distortion at the widest angle. The FinePix F50fd yielded similar results on lab tests.
The camera performed beautifully on my field tests, capturing detailed images with true color. In Auto mode, many of the photos snapped at ISO 200 were crisp, with no noise. In many cases, photos taken in dark shadows at ISO 400 were also surprisingly crisp and impressive. Face detection worked as advertised, as did the image-stabilization technology. Again, these results were similar to the F50fd's.
Canon's Auto ISO Shift feature, which automatically increases the ISO setting to capture an image at a shutter speed that compensates for camera shake or low lighting, was hit or miss. On my tests, it delivered adequate exposure but recorded images at ISO 800, resulting in unacceptably fuzzy photos. This was particularly acute at longer zooms.
The camera's high-def video capture, at 1,024-by-768, is a nice touch. Details were very sharp, although the trade-off was a stuttering 15 fps. You can kick the resolution down to 640 by 480 at 30 fps for smoother video with less detail. It's your choice.
Canon bundles a proprietary rechargeable lithium ion battery and a 32MB SD storage card. You'll want to invest in a much higher-capacity card to hold your photos, since at 12MP resolution the included card can hold only eight images shot at best quality.
Primarily because of its high cost, the Canon PowerShot SD950 IS isn't for everyone. If you're not a Canon stalwart, the Fuji FinePix F50fd is definitely worth a look. But for those who don't mind paying top dollar for a point-and-shooter, this one delivers high resolution and truly impressive photos.
Canon offers a one-year limited warranty against defects in materials or workmanship. For online support visit: http://www.usa.canon.com.Article Courtsey of pcmag.com
Basic Specifications
Resolution 12.20 Megapixels
Kit Lens 3.00x zoom 18-55mm (29-88mm eq.)
Viewfinder Optical / LCD
LCD Size 3.0 inch
ISO 100-1600
Shutter 30-1/4000
Max Aperture 3.5
Mem Type SDHC / SD
Battery Custom LiIon
Dimensions 5.1x3.8x2.4in (129x98x62mm)
Weight 19.0 oz (539 g)
MSRP $900
Availability: 04/2008
Canon Rebel XSi / 450D Overview
Canon's new EOS Rebel XSi digital SLR includes quite a few features new to the EOS camera system, and once again exceeds some of the abilities of the company's intermediate digital SLR camera, the EOS 40D. With an updated look and a slightly taller profile, the Canon XSi has a 12.2-megapixel CMOS sensor, a 3.0-inch LCD, an improved nine-point autofocus sensor, a DIGIC III processor, and is capable of 3.5 frames per second. Its new Live View mode is improved over the Canon EOS models introduced in 2007, offering both contrast-detect and the more traditional phase detect modes. Like its XTi predecessor, the Canon XSi offers the EOS Integrated Cleaning System for dust removal both pre- and post-capture.
Picture Styles are also included as before, with a slightly updated interface. A few buttons have been moved around to make room for the larger LCD, and the body is slightly taller, yet with a lower overall weight. A new battery and the switch to SD/SDHC for storage may be part of the lighter weight. The Canon XSi is still compatible with all EF-S and EF lenses. Body-only the Canon Rebel XSi lists for $799, and the IS lens kit sells for an MSRP of $899. Check above right and at the bottom of the review pages for links to better pricing.
Canon Rebel XSi User Report
Canon's original Digital Rebel debuted in 2003, breaking new ground and bringing digital SLR technology within the grasp of consumers. Though the word "Digital" has been dropped, the Canon Rebel XSi continues the tradition of bringing advanced digital camera technology within the range of the casual photographer, with a price that leaves room in the budget for an extra lens or two. While the step from the Rebel XT to the Rebel XTi brought more internal than external changes, the Rebel XSi is a more complete overhaul. Many of the external changes are welcome, including the slightly taller grip and bigger LCD, but the real story, as is usually the case with Canon SLRs, is the improved sensor.
It's not just an improvement in number of pixels, but the improvement in their performance that makes the new 12.2-megapixel sensor extraordinary. Yes, Live View with contrast-detect autofocus, an image-stabilized lens, and several new automated features are welcome enhancements, but image quality is usually what gets our attention here, and the Canon XSi's is impressive.
Canon Rebel XSi Look and feel
My favorite part about my Rebel XTi is its small size. I shoot other Canon or other brands of SLRs when I need more advanced features, like a faster frame rate, but sometimes the only thing that will do is a small SLR, and the last three Rebels are among the smallest. The Canon Rebel XSi is only a little larger than its predecessor, but it looks bigger, and a little more professional like its big brother, the Canon 40D.
The XSi is about two millimeters wider and four millimeters taller than the XTi, and weighs about 29 grams less, despite the larger LCD and heavier image-stabilized lens. So while it's a little bigger, the Canon Rebel XSi is less of a burden when walking around. Canon has improved the grip again, adding a slightly taller grip area. My four fingers fit almost entirely, with only about three millimeters of overhang. It may be a little fatter too; but the greatest change is the more rubbery, leather-textured grip.
The thumbpad on the back also offers a better grip, and greater surface area. The diopter wheel is a little larger than the XTi's for easier access, and the Canon XSi's lens release button is a little larger too. Shutter release. It takes a real camera geek to notice, but the shutter button is set at a more aggressive angle than any Digital Rebels past; it now matches the angle of the semi-pro Canon 40D camera and pro 1D.
It's not a big deal, but it does make it easier to gently squeeze that important button when its activation angle matches the natural bend of the finger. Contours and accents. Muscular curves are the main design theme on the Canon XSi, with a look designed to evoke the Canon 1D Mark III and the Canon 5D. The pop-up flash that was a distinct element of the XTi is flush with the rest of the XSi's flow. While the XTi's metal parts, the hot shoe and strap loops, are painted black, those of the XSi are metal.
I prefer the black, but paint wears off, and the XSi's silver won't show the wear quite as clearly as the painted parts. The new design also eliminates at least one unnecessary accent part under the Mode dial, and the rear panel is less intricate to mold, likely lowering the cost of the Canon Rebel XSi's outer parts.
Basic Features
* 12.4-megapixel, 22.2 x 14.8mm, 14-bit RGB CMOS sensor delivering 4,272 x 2,848-pixel images. Effective count of 12.2-megapixels and 3:2 aspect ratio
* Single-lens reflex digital camera with interchangeable lenses (supports all Canon EOS series lenses). Focal length multiplier of 1.6x as compared to a 35mm camera
* Variable ISO (100, 200, 400, 800, and 1,600 settings)
* TTL optical viewfinder with detailed information display, diopter adjustment, and depth-of-field preview
* 3.0-inch, low-temperature TFT LCD with 230,000 pixels and Live View display mode
* Automatic, Program AE (shiftable), Shutter Priority, Aperture Priority, Depth-of-Field AE, and Manual exposure modes, plus Portrait, Landscape, Close-up, Sports, Night Portrait, and Flash Off programmed modes
* Variable white balance with Auto, six manual presets, and a Custom setting (reads from a neutral gray or white card), as well as a color correction tool and bracketing function
* External hot shoe supports E-TTL II metering, FEL, and FP (high speed sync) flash with Canon EX Series Speedlight
* Flash exposure lock function (FEL)
* 35-zone Evaluative metering linked to all focusing points, Center weighted average metering, Spot (4%) or Partial (9%) central-area spot metering; metering range of EV 1 to 20 (at normal temperatures, EF 50mm f/1.4 USM, ISO 100)
* Adjustable exposure compensation from -2 to +2 EV in 1/3 or 1/2 EV increments in all exposure modes
* Auto exposure bracketing (AEB) from -2 to +2 EV in 1/3 or 1/2 EV increments in all autoexposure modes
* Shutter speeds from 1/4,000 to 30 seconds, and a Bulb setting for longer exposures
* Electronic self-timer with a fixed duration of 10 or two seconds
* Image storage on SD or SDHC memory cards Special Features
* Live View mode includes two focusing modes: Quick, phase-detect mode, and Live, contrast-detect mode
* Dust reduction and automatic sensor cleaning
* Picture Style menu offers six presets plus three user-defined settings for contrast, saturation, sharpness, and tone
* Continuous Shooting mode capturing as many as 53 images as fast as 3.5 frames per second (with shutter speeds of 1/250 second or faster)
* TTL autofocus with nine focusing points, manually or automatically selectable; One shot AF, Predictive AI Servo AF, AI Focus AF, and manual focus with AF assist beam, depending on exposure mode selected; working range of EV -0.5 to 18 at ISO 100
* Built-in E-TTL II retractable-type flash with red-eye reduction; guide number is 13/43 at ISO 100, m/ft, flash angle said to cover the field of a 17mm lens (27mm in 135 format); topside hot shoe for external flash connection of EX Speedlite flashes
* E3 remote control socket and IR remote control window
* 24-bit JPEG and 36-bit RAW data file formats. Available resolution settings are: 4,272 x 2,848; 3,088 x 2,056; and 2,256 x 1,504
* Red-eye Reduction via built-in illuminator
* Optional external hand grip/battery pack adds secondary shutter release and control wheel, as well as AE lock and focus point buttons for vertical-format shooting
* NTSC/PAL selectable video out connectivity
* DPOF (Digital Print Order Format) and DCF (Design Rule for Camera File System) compliant
* PictBridge; Direct Print capability to selected Canon photo printers
* USB 2.0 connectivity with TWAIN driver for PC and Adobe Photoshop plugin for Macintosh
Pro:
* Excellent 12.2 megapixel sensor with impressively low noise and superb detail
* Live View mode works very well
* Live View mode offers a choice between phase-detect and contrast-detect modes
* Zoom in five or ten times with Live View
* Image-stabilized kit lens is excellent optically
* Small size is great for travel and all-day carry
* Dust removal technology largely eliminates sensor cleaning chores
* 3.0-inch LCD with a wide viewing angle for better image sharing and focus check
* Taller grip makes for a more comfortable hold
* New viewfinder offers greater magnification
* Integrated status display conveys a lot of information
* IR detection turns off LCD to reduce glare and battery drain
* Print/Share button enables quick and easy printing and image transfer
* Fast image transfer eliminates the need for a card reader
* AF system works well in low light
* Picture Styles makes choosing and customizing color modes fast and easy
* Compatible with over 50 lenses and accessories
* SD cards are inexpensive and easy to find
* Selectable auto-rotation feature rotates on the camera or only in the computer
* Fast autofocus
* Viewfinder magnification is very good at 97% accurate
* Shutter button design allows followup shots without refocusing
* Good macro performance
* Excellent detail from the sensor
* Images are sharp, but not oversharpened, and noise suppression is kept well under control
* Color is very accurate, with only red being a little high, which consumers generally like
* Auto white balance handles most situations very well
* Print quality is excellent, making sharp 16x20-inch prints
* High ISO shots are surprisingly good, easily useable at 11x14
* Great shot-to-shot, shutter lag, and cycle time numbers
* Suitable for the inexperienced amateur, perfectly usable by the seasoned pro
Con:
* AF-assist adjustment and Flash Exposure compensation are buried in the Flash Settings menu.
* In Live View Quick AF mode, camera does not tell you which AF points are in focus
* Kit lens produces somewhat high barrel distortion at wide angle
* Flash coverage is uneven, falling off in the corners
* Indoor white balance is a quite orange
* Battery capacity reduced with significant use of Live View mode, larger screen, dust off system
* Switch from CF to SD may bother experienced EOS users
* ISO range is not as broad as higher-end offerings
* Front lens barrel rotates, making polarizer lens use difficult
* Live View shutter lag is a little longer
