Sony A3000 Interchangeable Lens Digital 20.1MP Camera with 18-55mm Lens

CUSTOMER REVIEW



I won't go into all the features because you can find that information elsewhere.



Upon picking up the camera, the first thing I liked was the feel. It's the perfect sized travel camera for someone used to a bigger DSLR while having a comfortable, deep recessed, rubberized grip. The included 18-55 zoom feels mechanically solid for a kit lens, and it's also fairly sharp corner to corner. There's very little geometric distortion or chromatic aberration.



Shooting stills in low light, the shots are amazingly clear with very little noise. In decent light or with flash, the photo quality is amazing for a 400 dollar camera. Pretty much in the top ten list in this price range. It's also quick to turn on and shoot the first shots. If you're buying this to shoot primarily stills, you'll be very happy. It's good enough and fast enough for anyone but a hard core pro. You'll have the usual gamut of full auto, full manual and many combinations in between.



The first videos I shot were at night in a well lit downtown open air mall. What I observed through the view screen was stunning. The stabilizer isn't very good at damping out motion from walking, but it's fine for stabilizing shots while you're standing still. Looking at the well lit video shots on a computer at 1920x1080, I was impressed. The autofocus tracked accurately and silently, and the auto white balance always kept the colors true. Depth of field, while not film-like, was better than most video cameras. Edge sharpness was better than my Alpha 57, but saturation looked more video-like than film-like. Again, you can use full auto, full manual or several combinations in between. Your outdoor vacation shots will simply be amazing. It shoots video better than most cameras under 1000 dollars, especially if you go through the menu and turn off some of the automatic features. So why the three stars?



When I shot some indoor footage at home, I was expecting decent results, and a first quick look didn't disappoint. But as I looked with a practiced eye, I saw blue vertical lines throughout the image on all my indoor footage. Granted, they are very subtle and in very soft focus, but they are there regardless of the camera settings. I noticed them particularly when slowly panning against solid colored areas like a plain wall. At fist, I thought it might be an interaction with my LED room lights, but this was dispelled when I saw the blue bars in the outdoor footage as well, just not as prevalent. This may be a subtle problem, and many viewers may never notice it or be bothered by it unless it's brought to their attention. But to me, it means I could never use this camera for footage I intend to use in a project. The blue bars are caused by what is known as fixed pattern noise in the image sensor. It's not something you can solve by a firmware upgrade or by replacing it with another camera of the same model. While fixed pattern noise exists to some extent in any image sensor, it is usually mistaken for grain and not visible as a pattern of vertical lines.



Another huge disappointment is there is no HDMI port. I like to hook the camera to a TV to set up various parameters and see the live results as I make changes. No can do with this camera. It also means you can't immediately play back footage from the camera on a TV until you edit it and put it on a disk or an SD card if your TV has a slot. There is also no external mike jack, so you are relegated to using only the built in mikes.



Sound quality is clear, but there is no means of making any adjustments to the volume or turning off the AGC. However, the AGC does a good job bringing down the levels of loud music without distortion.



In conclusion, the image quality is excellent on this camera aside from the aforementioned sensor noise. That may not be noticed in outdoor shots, and may not be objectionable enough to most users on indoor shots.

Canon EOS Rebel SL1 Digital SLR Camera

CUSTOMER REVIEW



This is a very compact DSLR similar in ability and layout to a Rebel T2i/T3i for stills. Enhanced autofocus has made it Canon's best DSLR for point-and-shoot style movies. Paired with small primes, it makes for an exceedingly capable travel camera. Larger kits can make the T5i preferable. Smaller kits come more readily from mirrorless cameras with smaller senors.



==== Rebel T5i:

18 MP

5 fps

9-point AF w/ 9 cross points

Hybrid AF w/ 9% frame coverage

1080p/30, 720p/60

Articulating touchscreen

Stereo mics

13m flash range

20 oz



==== Rebel SL1:

+ 14 oz, 30% smaller by volume

+ Hybrid AF w/ 64% frame coverage

-- 4 fps

-- fixed touchscreen

-- 9 point AF w/ 1 cross point

-- 9.4m flash range

-- mono mic



DIFFERENCES:



* Size.



This is the smallest DSLR from any make. It's a whole size tier below the T5i and level with a number of mirrorless bodies. Whether that's a worthwhile ergonomic compromise depends on the use case. With a small lens like a 40/2.8, the combined package reduces to prosumer point-and-shoot dimensions. Anything more ample (even the kit 18-55) and the bulk of the lens rapidly offsets the SL1's space efficiency.



In-hand, the SL1 is a fingertip camera. The palm of my large right hand doesn't rest easily against the body without finger contortions, so support comes mostly from the left under the lens. It feels (and looks) lilliputian if you're used to larger DSLRs, but that's the only real adjustment; the button layout has no surprises relative to the T2/3/4/5i.



* Single cross-point AF.



First, context: Canon uses autofocus to differentiate between DSLRs. More expensive cameras tend to have 'better' autofocus. Precisely what that means, and whether it matters, depends on your requirements. With the addition of movie capability, we've got three parameters to consider: stills with static subjects, stills with movement, and movies with movement. A complicating factor is that performance depends greatly on whether you're shooting through the viewfinder or from the rear LCD ("Live View"). Unlike point-and-shoot and mirrorless bodies, Canon DSLRs (and all others save Sony's) have two entirely separate autofocus systems.



When I talk about 'phase-detect' AF and 'cross-points', these are characteristics of the viewfinder AF system. The SL1's phase-detect AF array has 9 points. Only the center point is a cross-point. Cross-points (shaped like a +) detect contrast in any orientation. The 8 outer points (shaped like lines) only see contrast that's near perpendicular to them. The practical implication is that the T4i/T5i will be somewhat faster and more consistent with off-center compositions with wide-aperture lenses (e.g., 50/1.8) and motion-tracking.



Both systems outperform the contrast-detect focus in any current mirrorless body with motion. You focus through an optical viewfinder that'll never wash out, show noise in dim lighting, lag the action, or smear colors. In exchange, you lose the clever information overlays of electronic viewfinders (EVF), the face tracking that's become a part of many contrast-detect systems, and the precise matching between what the EVF shows and the camera records.



Here's the phase-detect breakdown for this body:



VF, stills, static: fast and accurate in frame-center

VF, stills, movement: moderately fast and accurate in frame-center

VF, movies, any subject: not possible



This is the same AF array as in the T2i/T3i. If you were happy with those bodies, you'll be equally so with this one.



* Hybrid AF II.



In the T3i and prior, Live View focusing from the rear LCD was achieved by contrast-detect. This method is vastly slower than phase-detect and, in Canon's DSLR implementation, isn't capable of tracking motion in movies. It's reasonably quick and quite accurate with stills. It isn't possible to use the main phase-detect array without interrupting Live View because a mirror gets in the way.



The T4i/T5i added a second phase-detect system integrated into the imaging sensor itself that boosted acquisition speed and improved motion tracking to mediocre/adequate levels, but only for the center 9% of the frame. The SL1 expands this system to 64% frame coverage. The result is significantly more confidence with continuous autofocus in movies. With off-center subjects, it hunts (bringing the scene in and out of focus) much less than the T4i/T5i.



Here's the contrast-detect breakdown:



LV, stills, static: reasonably fast and accurate over the whole frame

LV, stills, movement: slow, accurate when it can keep up

LV, movies, static: reasonably fast, occasional hunting

LV, movies, movement: slow, accurate when it can keep up



Motion tracking is still short of exceptional. STM lenses (which use a stepper motor instead of standard USM or a noisy micro-motor) work more quickly and precisely than non-STM lenses. They'll track slow, undemanding subjects and faces. For more challenging movement, either prefocus, manually focus, or jump to the next performance tier comprised of Sony's 'translucent mirror' DSLRs and many mirrorless bodies (e.g., Panasonic G/GH). The SL1 has no focusing aids (e.g., focus peaking) for Live View except full-screen zoom. Focusing accurately by hand on a moving target is very challenging.



OTHERWISE:



Everything else is to lesser consequence. A slightly weaker flash, a slightly slower framerate, a smaller battery, one less microphone channel. Even the loss of LCD articulation isn't much of a bother unless you're continually shooting from vantage points away from the viewfinder.



A major advantage of the SL1 is that, like the T4i/T5i, it has a new touchscreen that that significantly lowers the EOS learning curve. It's capacitive and almost as responsive as a modern smartphone. Adjusting functions (e.g., exposure, white balance, focus points; everything) is as simple as tapping what you want. The camera won't be at the ready when you're manipulating the LCD, but thanks in part to an integrated 'feature guide' that explains most options, you probably won't need to pull out the manual on first acquaintance.



Phone gestures (e.g., pinch zoom, swiping) are now part of the picture review system, which makes checking focus vastly quicker and more flexible than on any other non-touch EOS body. Focus itself is touch-enabled in Live View mode, so you can tap to focus on static subjects anywhere in the frame without ever having to manipulate the 9-point AF system.



The interface isn't necessarily intuitive, but photography in general isn't intuitive. There's a large gulf between a design for novice users that hides complication and one for experienced users that makes powerful features easily accessible. By offering redundant touch controls, Canon straddles this line surprisingly well. This is a camera that can grow with you.



STILLS QUALITY:



This sensor is functionally identical to those in the T2i/T3i/T4i/T5i/60D/7D save for the pixels devoted to phase-detect. Noise and dynamic range are similar in raw. Expect acceptable results up to ISO 3200. Nikon's D5100 is slightly better, Sony's A65 slightly worse. It's about two solid stops better than a typical point-and-shoot.



Unless you're in a JPEG-only shooting mode (e.g., multi-shot NR, HDR), raw gets the most out of this camera. JPEG often lacks the flexibility for significant changes in post. Raw shooting also lets you defer decisions (e.g., white balance, sharpening, noise reduction, color, lens corrections, tone curves, and even exposure) that distract from catching whatever moment you're after.



That aside, if your scene and shooting technique don't call for major adjustments on the computer, you're likely to be pleased with the JPEG output.



LENSES:



The 18-55/3.5-5.6 STM is a stellar optic. Focus is as fast as the camera allows, near-silent, and inaudible in movies, as is the IS system. If you upgrade, it'll be for speed, a different range, or perhaps more contrast, not because it isn't sharp enough. The 18-135/3.5-5.6 STM is equally impressive, though about an inch longer and twice the weight.



Light and small primes are well-suited to this body. The 40/2.8 STM, 50/1.8, 28/1.8, and 28/2.8 are all more compact than the kit lens. Larger lenses work as with any other EOS body, though some will be slightly more awkward when you're trying to adjust the zoom ring and support the rig from under the lens at the same time.



ACCESSORIES:



For video, buy SD cards 32 GB or larger. My pair of 16 GB cards have been inadequate for even a one-day event. The highest recording quality uses 350 MB/minute, equating to about 90 minutes per 32 GB card. For stills (~7 MB in JPEG and ~25 MB in raw), two or three 8 GB cards is plenty.



Interface responsiveness isn't much affected by card speed. Faster cards have three advantages: they can shoot longer bursts at 4 FPS, clear the picture buffer more quickly, and record video at the highest quality without risking a speed warning. Buffer depth is 28 JPEGs and 7 raw files with a standard SD card. Buffer cycling times are much lower with UHS-1 ('Ultra High Speed'). In one-shot mode, this difference is invisible; very fast cards would only make sense if you were time-limited on card-to-computer transfers with a USB 3.0, SATA, or Firewire card reader.



If you buy protection filters for your lenses, try Hoya's "DMC PRO1 Clear Protector Digital" line. They have very high light transmission and cause no visible flare. Digital sensors filter UV natively, there's no reason to pay more for that feature. I've written reviews on the relevant Hoya product pages with more details and why you might (or might not) want a filter.



IN SUM:



Whether this DSLR is your huckleberry depends on your priorities. This is new territory for Canon. The SL1 is sized to compete with mirrorless, but the EOS lens line doesn't have many compact options to pair with it. And it never will, because the SL1 uses an APS-C sensor, the second-largest available. That applies doubly for Canon's mirrorless EOS-M, which looks like a deck of cards beneath an Evian bottle when attached to any of the f/2.8 zooms or longer telephotos. Canon's lens line is simultaneously the greatest strength and weakness of this body.



The EOS mount makes accessible some extraordinary and unique high-dollar glass. If you want to shoot supertelephotos, or real tilt-shift, or superfast primes that see in the dark, or macro lenses that'll fill the frame with Roosevelt's head on a dime, there's no other system that has it all under one umbrella. And if you've already invested in it, the SL1 is the obvious choice.



But what if that's not you? What if you plan to stay with the general-purpose lenses that just about every system contains? The advantages of the SL1 narrow considerably. They are: subject isolation, motion tracking with stills, the immediacy of an optical viewfinder, and Canon's highly polished user interface.



Relative to a M4/3s body like Panasonic's G6, the SL1 will have more foreground and background blur at any given aperture. If you're all about creamy backgrounds for portraiture, the difference is noticeable. You can still isolate with M4/3s, it just takes a closer subject and more telephoto.



Motion tracking for stills used to be a huge arrow in the SL1's quiver. It still is relative to most mirrorless bodies, though recent ones have gotten surprisingly fast. Likewise for low-light focusing, formerly a mirrorless weakness. Still, if your subjects are often running children, or anything that moves toward or away from you at high speed, the SL1 will have a higher hit-rate.



The optical viewfinder is a double-edged sword. On the one hand, you're seeing the scene in real-time with no processing delays from imaging hardware. On the other, you're not seeing what the camera sees. The DSLR shooting process involves a lot of chimping, where you take the shot with the viewfinder and immediately check the exposure with the rear LCD. Not so with mirrorless: what you see is what you get, for better or worse. The SL1 finder maintains an edge with fast action and in very dark conditions that'll cause OLED/LCD viewfinders to fade to black.



And then we have Canon's UI. They've polished it for thirty years and the effort shows, particularly relative to recent entrants like Sony's NEX line. But Panasonic and others are closing the gap. This SL1 isn't the only camera with a touchscreen and logical menus. More to the point, mirrorless bodies are often less clunky than the strange amalgam of 'Live View' and traditional mirror shooting that defines this camera and other DSLRs. That may well consume the SL1's advantage.



So what conclusions?



If you're all about small size and you can sacrifice the SL1's advantages, mirrorless is where you want to be. Panasonic's G/GH line leads the pack now in this price range, thanks partly to unique usability features (e.g., touch-focus with the flipout screen while looking through the viewfinder). Tomorrow, the leader may be something else.



If you want to pair this body with fast, high-dollar EOS lenses or bulky accessories like an external flash, the T5i is a better alternative. The cost difference disappears into the system cost. The SL1 maintains an advantage with continuous focus in movie-mode, but lags everywhere else.



If you want the smallest possible EOS-compatible body, the EOS-M has identical image quality in a truly miniature package. After a recent firmware update, it's now acceptably fast at focusing, though still well behind the SL1 in general responsiveness.



But if your priorities favor DSLRs, hands-off autofocus in movies, and small size, the SL1 is the best choice in Canon's arsenal. A compromise, yes, but a good one.

Canon EOS Rebel SL1 18.0 MP CMOS Digital SLR with EF-S 18-55mm IS STM Lens

CUSTOMER REVIEW



This is a very compact DSLR similar in ability and layout to a Rebel T2i/T3i for stills. Enhanced autofocus has made it Canon's best DSLR for point-and-shoot style movies. Paired with small primes, it makes for an exceedingly capable travel camera. Larger kits can make the T5i preferable. Smaller kits come more readily from mirrorless cameras with smaller senors.



==== Rebel T5i:

18 MP

5 fps

9-point AF w/ 9 cross points

Hybrid AF w/ 9% frame coverage

1080p/30, 720p/60

Articulating touchscreen

Stereo mics

13m flash range

20 oz



==== Rebel SL1:

+ 14 oz, 30% smaller by volume

+ Hybrid AF w/ 64% frame coverage

-- 4 fps

-- fixed touchscreen

-- 9 point AF w/ 1 cross point

-- 9.4m flash range

-- mono mic



DIFFERENCES:



* Size.



This is the smallest DSLR from any make. It's a whole size tier below the T5i and level with a number of mirrorless bodies. Whether that's a worthwhile ergonomic compromise depends on the use case. With a small lens like a 40/2.8, the combined package reduces to prosumer point-and-shoot dimensions. Anything more ample (even the kit 18-55) and the bulk of the lens rapidly offsets the SL1's space efficiency.



In-hand, the SL1 is a fingertip camera. The palm of my large right hand doesn't rest easily against the body without finger contortions, so support comes mostly from the left under the lens. It feels (and looks) lilliputian if you're used to larger DSLRs, but that's the only real adjustment; the button layout has no surprises relative to the T2/3/4/5i.



* Single cross-point AF.



First, context: Canon uses autofocus to differentiate between DSLRs. More expensive cameras tend to have 'better' autofocus. Precisely what that means, and whether it matters, depends on your requirements. With the addition of movie capability, we've got three parameters to consider: stills with static subjects, stills with movement, and movies with movement. A complicating factor is that performance depends greatly on whether you're shooting through the viewfinder or from the rear LCD ("Live View"). Unlike point-and-shoot and mirrorless bodies, Canon DSLRs (and all others save Sony's) have two entirely separate autofocus systems.



When I talk about 'phase-detect' AF and 'cross-points', these are characteristics of the viewfinder AF system. The SL1's phase-detect AF array has 9 points. Only the center point is a cross-point. Cross-points (shaped like a +) detect contrast in any orientation. The 8 outer points (shaped like lines) only see contrast that's near perpendicular to them. The practical implication is that the T4i/T5i will be somewhat faster and more consistent with off-center compositions with wide-aperture lenses (e.g., 50/1.8) and motion-tracking.



Both systems outperform the contrast-detect focus in any current mirrorless body with motion. You focus through an optical viewfinder that'll never wash out, show noise in dim lighting, lag the action, or smear colors. In exchange, you lose the clever information overlays of electronic viewfinders (EVF), the face tracking that's become a part of many contrast-detect systems, and the precise matching between what the EVF shows and the camera records.



Here's the phase-detect breakdown for this body:



VF, stills, static: fast and accurate in frame-center

VF, stills, movement: moderately fast and accurate in frame-center

VF, movies, any subject: not possible



This is the same AF array as in the T2i/T3i. If you were happy with those bodies, you'll be equally so with this one.



* Hybrid AF II.



In the T3i and prior, Live View focusing from the rear LCD was achieved by contrast-detect. This method is vastly slower than phase-detect and, in Canon's DSLR implementation, isn't capable of tracking motion in movies. It's reasonably quick and quite accurate with stills. It isn't possible to use the main phase-detect array without interrupting Live View because a mirror gets in the way.



The T4i/T5i added a second phase-detect system integrated into the imaging sensor itself that boosted acquisition speed and improved motion tracking to mediocre/adequate levels, but only for the center 9% of the frame. The SL1 expands this system to 64% frame coverage. The result is significantly more confidence with continuous autofocus in movies. With off-center subjects, it hunts (bringing the scene in and out of focus) much less than the T4i/T5i.



Here's the contrast-detect breakdown:



LV, stills, static: reasonably fast and accurate over the whole frame

LV, stills, movement: slow, accurate when it can keep up

LV, movies, static: reasonably fast, occasional hunting

LV, movies, movement: slow, accurate when it can keep up



Motion tracking is still short of exceptional. STM lenses (which use a stepper motor instead of standard USM or a noisy micro-motor) work more quickly and precisely than non-STM lenses. They'll track slow, undemanding subjects and faces. For more challenging movement, either prefocus, manually focus, or jump to the next performance tier comprised of Sony's 'translucent mirror' DSLRs and many mirrorless bodies (e.g., Panasonic G/GH). The SL1 has no focusing aids (e.g., focus peaking) for Live View except full-screen zoom. Focusing accurately by hand on a moving target is very challenging.



OTHERWISE:



Everything else is to lesser consequence. A slightly weaker flash, a slightly slower framerate, a smaller battery, one less microphone channel. Even the loss of LCD articulation isn't much of a bother unless you're continually shooting from vantage points away from the viewfinder.



A major advantage of the SL1 is that, like the T4i/T5i, it has a new touchscreen that that significantly lowers the EOS learning curve. It's capacitive and almost as responsive as a modern smartphone. Adjusting functions (e.g., exposure, white balance, focus points; everything) is as simple as tapping what you want. The camera won't be at the ready when you're manipulating the LCD, but thanks in part to an integrated 'feature guide' that explains most options, you probably won't need to pull out the manual on first acquaintance.



Phone gestures (e.g., pinch zoom, swiping) are now part of the picture review system, which makes checking focus vastly quicker and more flexible than on any other non-touch EOS body. Focus itself is touch-enabled in Live View mode, so you can tap to focus on static subjects anywhere in the frame without ever having to manipulate the 9-point AF system.



The interface isn't necessarily intuitive, but photography in general isn't intuitive. There's a large gulf between a design for novice users that hides complication and one for experienced users that makes powerful features easily accessible. By offering redundant touch controls, Canon straddles this line surprisingly well. This is a camera that can grow with you.



STILLS QUALITY:



This sensor is functionally identical to those in the T2i/T3i/T4i/T5i/60D/7D save for the pixels devoted to phase-detect. Noise and dynamic range are similar in raw. Expect acceptable results up to ISO 3200. Nikon's D5100 is slightly better, Sony's A65 slightly worse. It's about two solid stops better than a typical point-and-shoot.



Unless you're in a JPEG-only shooting mode (e.g., multi-shot NR, HDR), raw gets the most out of this camera. JPEG often lacks the flexibility for significant changes in post. Raw shooting also lets you defer decisions (e.g., white balance, sharpening, noise reduction, color, lens corrections, tone curves, and even exposure) that distract from catching whatever moment you're after.



That aside, if your scene and shooting technique don't call for major adjustments on the computer, you're likely to be pleased with the JPEG output.



LENSES:



The 18-55/3.5-5.6 STM is a stellar optic. Focus is as fast as the camera allows, near-silent, and inaudible in movies, as is the IS system. If you upgrade, it'll be for speed, a different range, or perhaps more contrast, not because it isn't sharp enough. The 18-135/3.5-5.6 STM is equally impressive, though about an inch longer and twice the weight.



Light and small primes are well-suited to this body. The 40/2.8 STM, 50/1.8, 28/1.8, and 28/2.8 are all more compact than the kit lens. Larger lenses work as with any other EOS body, though some will be slightly more awkward when you're trying to adjust the zoom ring and support the rig from under the lens at the same time.



ACCESSORIES:



For video, buy SD cards 32 GB or larger. My pair of 16 GB cards have been inadequate for even a one-day event. The highest recording quality uses 350 MB/minute, equating to about 90 minutes per 32 GB card. For stills (~7 MB in JPEG and ~25 MB in raw), two or three 8 GB cards is plenty.



Interface responsiveness isn't much affected by card speed. Faster cards have three advantages: they can shoot longer bursts at 4 FPS, clear the picture buffer more quickly, and record video at the highest quality without risking a speed warning. Buffer depth is 28 JPEGs and 7 raw files with a standard SD card. Buffer cycling times are much lower with UHS-1 ('Ultra High Speed'). In one-shot mode, this difference is invisible; very fast cards would only make sense if you were time-limited on card-to-computer transfers with a USB 3.0, SATA, or Firewire card reader.



If you buy protection filters for your lenses, try Hoya's "DMC PRO1 Clear Protector Digital" line. They have very high light transmission and cause no visible flare. Digital sensors filter UV natively, there's no reason to pay more for that feature. I've written reviews on the relevant Hoya product pages with more details and why you might (or might not) want a filter.



IN SUM:



Whether this DSLR is your huckleberry depends on your priorities. This is new territory for Canon. The SL1 is sized to compete with mirrorless, but the EOS lens line doesn't have many compact options to pair with it. And it never will, because the SL1 uses an APS-C sensor, the second-largest available. That applies doubly for Canon's mirrorless EOS-M, which looks like a deck of cards beneath an Evian bottle when attached to any of the f/2.8 zooms or longer telephotos. Canon's lens line is simultaneously the greatest strength and weakness of this body.



The EOS mount makes accessible some extraordinary and unique high-dollar glass. If you want to shoot supertelephotos, or real tilt-shift, or superfast primes that see in the dark, or macro lenses that'll fill the frame with Roosevelt's head on a dime, there's no other system that has it all under one umbrella. And if you've already invested in it, the SL1 is the obvious choice.



But what if that's not you? What if you plan to stay with the general-purpose lenses that just about every system contains? The advantages of the SL1 narrow considerably. They are: subject isolation, motion tracking with stills, the immediacy of an optical viewfinder, and Canon's highly polished user interface.



Relative to a M4/3s body like Panasonic's G6, the SL1 will have more foreground and background blur at any given aperture. If you're all about creamy backgrounds for portraiture, the difference is noticeable. You can still isolate with M4/3s, it just takes a closer subject and more telephoto.



Motion tracking for stills used to be a huge arrow in the SL1's quiver. It still is relative to most mirrorless bodies, though recent ones have gotten surprisingly fast. Likewise for low-light focusing, formerly a mirrorless weakness. Still, if your subjects are often running children, or anything that moves toward or away from you at high speed, the SL1 will have a higher hit-rate.



The optical viewfinder is a double-edged sword. On the one hand, you're seeing the scene in real-time with no processing delays from imaging hardware. On the other, you're not seeing what the camera sees. The DSLR shooting process involves a lot of chimping, where you take the shot with the viewfinder and immediately check the exposure with the rear LCD. Not so with mirrorless: what you see is what you get, for better or worse. The SL1 finder maintains an edge with fast action and in very dark conditions that'll cause OLED/LCD viewfinders to fade to black.



And then we have Canon's UI. They've polished it for thirty years and the effort shows, particularly relative to recent entrants like Sony's NEX line. But Panasonic and others are closing the gap. This SL1 isn't the only camera with a touchscreen and logical menus. More to the point, mirrorless bodies are often less clunky than the strange amalgam of 'Live View' and traditional mirror shooting that defines this camera and other DSLRs. That may well consume the SL1's advantage.



So what conclusions?



If you're all about small size and you can sacrifice the SL1's advantages, mirrorless is where you want to be. Panasonic's G/GH line leads the pack now in this price range, thanks partly to unique usability features (e.g., touch-focus with the flipout screen while looking through the viewfinder). Tomorrow, the leader may be something else.



If you want to pair this body with fast, high-dollar EOS lenses or bulky accessories like an external flash, the T5i is a better alternative. The cost difference disappears into the system cost. The SL1 maintains an advantage with continuous focus in movie-mode, but lags everywhere else.



If you want the smallest possible EOS-compatible body, the EOS-M has identical image quality in a truly miniature package. After a recent firmware update, it's now acceptably fast at focusing, though still well behind the SL1 in general responsiveness.



But if your priorities favor DSLRs, hands-off autofocus in movies, and small size, the SL1 is the best choice in Canon's arsenal. A compromise, yes, but a good one.

Canon EOS 6D 20.2 MP CMOS Digital SLR Camera with 3.0-Inch LCD (Body Only)

The compact and lightweight EOS 6D full-frame digital SLR camera features a 20.2 Megapixel Full-Frame CMOS sensor, a wide ISO range of 100–25600, expandable to L: 50, H1: 51200, and H2: 102400, for incredible image quality even in low light, and a DIGIC 5+ Image Processor. The camera also has a new 11-point AF including a high-precision center cross-type AF point with EV -3 sensitivity, continuous shooting up to 4.5 fps, and Full HD video with manual exposure control, multiple frame rates, and the benefits of a Full-Frame sensor provides stunning performance and creative flexibility. The built-in Wi-Fi transmitter allows you to wirelessly transfer your images to social networking sites through CANON iMAGE GATEWAY, or upload virtually anywhere from your iOS or Android smartphone with the free download of the EOS Remote app.

• 20.2 MP Full-Frame CMOS Sensor, 14-bit A/D Conversion, 100-25600 ISO Range


• 11 Point AF points, 63-zone Dual-Level Metering Sensor


• Canon iMAGE GATEWAY to Share and Upload Photos Anyhwere on iOS or Android Devices with Free EOS Remote Application


• Built-in GPS Receiver and Wi-Fi Transmitter


• Memory Cards: SD/SDHS/SDXC, and Ultra High-Speed (UHS-I) cards

Canon EOS 70D 20.2 MP Digital SLR Camera with Dual Pixel CMOS AF and EF-S 18-135mm F3.5-5.6 IS STM Kit

CUSTOMER REVIEW



This is going to be short, since I've not had the chance to do a whole lot of shooting as yet. Consider it a "just out of the box" impression. I already have a Canon 5D Mk III, and a number of L series lenses. I wanted a "backup camera" for video shooting, and I was intrigued by the new auto-focus system offered on the 70D.



So far, I'm extremely pleased with this camera. The 18-35 mm kit lens gives a lot of range, and I tested the camera out with my other lenses. The L series lenses work very well, and auto-focusing is fast, smooth, and doesn't search around much even in very low light. The camera is not as heavy as the 5D Mk III, but feels solid enough, and not all that different in the hands. Even with the 70-300mm f4-5.6L IS USM zoom - my heaviest lens at the moment - the camera feels surprisingly balanced.



The crop sensor obviously changes the effect of the lenses, but having a full sensor and a crop sensor both, it's like having 2 sets of lenses. My 70-300mm zoom now has an effective reach up to 480 mm (on the Canon 70D) due to the crop factor of 1.6. To me, this is kind of a bonus, though not in itself a reason to buy the camera. Smaller sized sensors result in an apparent increase in focal length, and a greater depth of field, but this is a generalization and each lens has its own properties that affect the image as well. Read the reviews of individual lenses when considering how each one reacts to different types of camera bodies.



The main thing to take note of is that while the Canon 70D will accept all the EF and EF-L lenses, it is designed to use the EF-S series lenses as well. In fact, the EF-S series lenses are custom tailored specifically for the Canon 70D and (as far as I know) other APS-C crop sensor cameras made by Canon. These lenses - and the kit lens is one of them - will not work on a full frame camera like the Canon 5D mkIII; the rear element extends back into the camera body in a way that makes it impossible to attach lenses of this series to full frame sensor cameras. Even if they could be attached, I suspect the captured image might suffer from serious vignetting and other problems.



For a thorough understanding of how the APS-C, full frame and other types of sensors interact with various lenses, I highly recommend doing some research on the web. There's a lot of good information out there, and this is a fairly involved subject that I don't even want to attempt to dive into here :)



One thing I couldn't figure out before having the camera in my possession deserves a mention. This is my first experience with a fold-out LCD screen on a DSLR, and I had no idea how the display would deal with flipping around 180 degrees. Would it be upside down? This was the first thing I tried, and the screen auto-flips when it is rotated. Maybe everyone else already knows this - but I didn't! Anyway, the fold-out display is a great feature, and it also folds face-in to protect the display when not in use.



The ability to touch various points on the LCD display while in Live View or shooting video, and shift focus while shooting is - to me at least - worth the price of admission. If Canon eventually updates the 7D and/or the 5D Mk III, this functionality would be most welcome!



Purely as a "gut reaction" - I really like the 70D immensely. And it seems a very good value for the price. This may actually become my preferred "walk-around camera, though time will tell.



EDIT - 10/22/2013: I've spent a lot more time with the camera now, so I can add to my earlier comments.



While I purchased the 70D mainly for shooting video, I recently used it to shoot bracketed exposures for HDR (high dynamic range) panoramas. A friend of mine had a nodal camera head (The "Ninja" head) which allowed for precise rotation of the camera to cover a full 360 degree field-of-view. The Canon 70D allows for up to 7 bracketed exposures via the AEB controls. The plates were shot in the RAW (CR2) format, using the kit lens, and stitched together using PTGui software.



After some initial trial runs, where we ironed out the kinks in the whole process, the results were exceptional. For those who may be wondering "why do you want a 32 bit HDR 360 panorama at 10k-16k resolution?" it is used to create realistic lighting and reflections in a 3D/CG software (i.e. Modo or Maya, for example). The 3D scene can be lit entirely by the 360 panoramic image, producing a very convincing result.



At any rate, the Canon 70D delivered terrific results doing something I didn't even foresee when I bought the camera. I will try and upload some of the tests (where the photographic panorama serves as both background and light-source) if I can figure out how to do so on the Amazon site.



EDIT - 11/9/2013: A note to anyone who intends to shoot green screen (for color keyed composites) or do precise color grading in post production: The video output from the 70D is not YCbCr 4:2:2 compression. This is not apparent to the naked eye when viewing the video footage, but it becomes an issue when attempting to work with the footage in a post environment. The firmware update for the Canon 5D addressed this problem by enabling 4:2:2 color output via the HDMI port to an external recording device (I use the Atomos Ninja 2 for this) but currently uncompressed "clean" HDMI is not enabled on the Canon 70D. I have my fingers crossed this will be dealt with in an update to the firmware.



This is not a huge issue unless you intend to do extensive manipulation of your video footage in post production, but it is something to consider with this camera and DSLRs in general. There are workarounds, of course, but that can entail a fair amount of time & effort, particularly when extracting color key mattes (masks) involving fine edge detail or areas of transparency.



That being said, the footage is nevertheless beautiful. And I suspect this technical point should not be an issue for most people considering buying the Canon 70D. The CR2 (camera raw) files are not at all affected by this, it's a factor limited to the HD video.

Nikon D5100 16.2MP CMOS Digital SLR Camera with 18-55mm f/3.5-5.6 AF-S DX VR Nikkor Zoom Lens

CUSTOMER REVIEW



I am a photography teacher in NYC and online. (See my Amazon profile for my website.) I teach beginner and intermediate photography students every week. I've also been a professional photographer for the last five years with images published in The New York Times, GQ, New York Magazine, Women's Wear Daily, The New York Observer, The Village Voice and Time Out New York.



(This review is for beginner photographers.)



If you're a beginner, you're most likely asking yourself: Nikon or Canon? Really, I feel confident in saying that you can't go wrong with either. I've used both brand's cameras extensively and find that they both offer amazing image quality with well-built, solid cameras that, if taken care of, will last decades. There are two differences between the cameras, though, that can be taken into consideration.



The user-interface: If cameras were computers, Nikons would be PCs and Canons would be MACs. PCs are built for people not afraid of technology whereas Macs are built for people who want things super-easy. Nikons excel at customization options which means you'll see so many more options with the Advanced features of a Nikon than you will with a Canon. Canons, on the other hand, excel at ease-of-use for beginners. Canons offer less advanced options and can be easier to learn on. This can be frustrating down the line, though, once you've learned a lot about photography. At that point you may want all of the options that Nikon offers and be frustrated with your Canon. If you're someone who really likes to delve deep into your hobbies or if you're intent on becoming a professional photographer, I'd say a Nikon would be your best bet. If you're someone who wants to learn the basics of photography and only imagine yourself being a hobbyist, Canon would be a better option for you.



Where Nikon excels: Flash photography. I often find myself in situations where I'm shooting event photography (weddings, movie premiers, benefits and galas) where I need to use a lot of flash. For this kind of photography, I'll always prefer to be shooting with a Nikon. Nikon's flash metering (how the camera magically decides how much light to fire out of the flash) is much more consistent than Canon's. You can take a Canon and shoot the same scene three times in a row with flash and all three images will be at different brightness levels. You can do the same thing with a Nikon and all three images will be wonderfully the same. If you're somebody who plans on shooting a lot with flash (indoor photography, event photography, etc.) you'll want to consider going with Nikon.



Where Canon excels: Richness of colors. I've been in numerous situations where I've been on the red carpet taking the exact same picture as the photographer next to me. I'll have a Canon and the person next to me will have a Nikon. This has provided quite a few opportunities to compare the images side-by-side. What I've found is that the colors on the Canon's images look richer and make the image pop more. If I'm doing fine art photography (anything I'd like to someday hang in a gallery), I'll always want to be shooting with a Canon for this reason.



If you're set on Nikon, there are three cameras you should be considering and it all comes down to what your budget is:



D7000 $1,400 without lens

D5100 $750 without lens

D3100 $600 only available with lens

(current prices as of 2/19/11)



Here's what you get for spending extra money (each camera compared to the one below it):



D3100 vs. D5100:



The D3100 is an EXCELLENT camera so if you only have $550 to spend total on camera and lens then go out and buy this camera. You won't regret it. If you're considering spending more money, here's what you'll get from the D5100 in comparison:



-Better performance in low light situations.

-A higher resolution screen on the back of the camera so you can see your images more clearly and make out if they actually turned out well.

-An external mic jack. (If you're planning on shooting video with an external mic, you'll want the D5100 over the D3100.)

-A flip out screen (handy if you want to put your camera anywhere but at your eye level and be able to see what your camera is about to capture before you shoot it)

-Faster continuous shooting. If you're often shooting sports or any fast moving subject, continuous shooting allows you to capture multiple images in a single second. The D3100 shoots at three frames per second whereas the D5100 shoots at four frames per second.

-Higher ISO options. The D5100 offers one more stop of ISO than the D3100 does. If you don't know what ISO means (or what a stop is) just know that this allows you to more easily shoot images in low-light situations.

-Longer battery life. The D5100's battery will last 20% longer than the D3100



The two advantages of the D3100 over the D5100 are: less expensive and less weight. Whenever a camera is less expensive, it means you'll have more in your budget for the lens. The D3100 weighs 10% lighter and is 10% smaller than the D5100.



D5100 vs. D7000:



The D5100 is Nikon's latest and greatest and is even newer than the D7000. Phenomenal camera! If you're stuck, though, between the D5100 and the D7000, here's what you'll get by spending more money on the D7000:



-More focus points. When using auto-focus, the D7000 will have an easier time focusing on what you want it to focus on.

-60% longer lasting batteries.

-Faster continuous shooting. If you're often shooting sports or any fast moving subject, continuous shooting allows you to capture multiple images in a single second. The D5100 shoots at four frames per second whereas the D7000 shoots at six frames per second.

-Weather sealed. This means you can shoot with the D7000 in the rain.

-Two memory card slots. This is really a cool feature. The D7000 has two memory card slots which means you'll be less likely to find yourself standing in front of a gorgeous scene with no more memory left.

-Faster shutter speed. The fastest shutter speed on the D5100 is 1/4000th of a second; on the D7000: 1/8000th of a second. To be honest, I can't think of any practical reason why this would benefit you unless you're planning on shooting some really bright scenes like directly into the sun.



Advantages of the D5100 over the D7000:



-A flip out screen (handy if you want to put your camera anywhere but at your eye level and be able to see what your camera is about to capture before you shoot it)

-Smaller and lighter: The D5100 is 10% smaller and 30% lighter than the D7000. This is something to consider if you plan on carrying your camera around with you a lot.

-Less expensive so you can spend more on your lens!



If I can clarify any of this, please email me!



-JP Pullos, photography teacher, NYC and online (see my Amazon profile for my website)

Canon EOS 60D 18 MP CMOS Digital SLR Camera with 3.0-Inch LCD and 18-135mm f/3.5-5.6 IS UD Standard Zoom Lens

CUSTOMER REVIEW



Update: With the release of the T4i, this review needs a short addendum, which I will add to the end.



The newest addition to Canon's XXD line might initially seem like a minor downgrade to the previous XXD cameras, but several new capabilities actually help make this a nice, well-featured camera that will appeal to many people who don't get caught up in whether or not this is a better camera than it's predecessor. Canon certainly made this camera for the price point and was careful to add just enough features to make it desirable over the T2i, but not desirable enough to compete with the 7D. In some respects though, it seems like a beefed-up version of the Rebel line (a "Super-Rebel") instead of a new addition to the XXD line.



As someone who has now had the opportunity to use all three of Canon's mid-range lineup (the T2i, 60D, and 7D), I have to say that I really like the feel of the 60D. Even though it no longer has the magnesium alloy body, it feels solid. In no way does it feel cheap. I have fairly small hands and the 60D feels like it was made for me. It's significantly lighter than the 7D and feels like it would be much more friendly on long hikes. The 7D feels much more robust; however, the 60D feels much more "comfy". It is definitely bigger in size than the T2i, but the angles and design of the camera have a nicely updated feel to them that makes it seem like you are getting a much more substantial camera. The articulating screen was also done very well. My initial worries that the screen would feel cheap and break easily were immediately relieved after using it. The hinges are very solid and feel almost stiff to the point where you are comfortable with it staying right where you want it. It also is very flush with the rest of the body and offers little space in between.



Aside from the feel, the camera takes beautiful pictures. Quality-wise, there is very little difference between the pictures that come out of the T2i, 60D, and 7D. ISO performance is very similar and therefore can not be much of a deciding factor between the models. Most of the decision factors really will focus on which user interface and camera system best appeals to your type and level of photography. Each of Canon's mid-range models has it's own pros and cons, and while there are MANY differences between each camera, these are the main points I considered when deciding between cameras to purchase (hopefully it helps those going through the same decision I did):



60D vs. 50D:



(+) New Sensor - the same 18MP sensor that the 7D and T2i have, better ISO coverage/performance

(+) 63 zone dual-layer metering

(+) Better viewfinder - 96% coverage vs 95% coverage

(+) Video

(+) Articulating screen

(+) Wireless flash control

(+) Horizontal electronic level

(+) In camera processing (new RAW processing feature and in camera filter effects)

(+) Control over max auto-ISO

(+) Eye-Fi wifi file transfer functions



(-) The magnesium alloy body of the 50D has been replaced with a polycarbonate body

(-) 6.3 fps shooting is down to 5.3 fps

(-) No lens microadjustment in 60D



(+/-) Compact flash card slot has been changed to a SD card slot

(+/-) Joystick replaced by directional pad



60D vs. T2i



(+) 9 all cross-type AF points vs T2i's 9 points w/ 1 center cross-type

(+) 96%, .95 magnification pentaprism viewfinder vs T2i's 95%, .87 magnification pentamirror viewfinder

(+) Articulating screen

(+) Wireless flash control

(+) Horizontal electronic level

(+) In camera processing (new RAW processing feature and in camera filter effects)

(+) Top LCD screen

(+) 5.3 fps vs 3.7 fps

(+) Built in adjustable audio level capability in video



60D vs. 7D



(+) Articulating screen

(+) In camera processing (new RAW processing feature and in camera filter effects)

(+) Control over max auto-ISO

(+) Eye-Fi wifi file transfer functions

(+) Built in adjustable audio level capability in video



(-) 9 all cross-type AF points vs 7D's 19 all cross-type points

(-) Less AF features (such as Zone AF and Point Expansion)

(-) Polycarbonate body vs 7D's magnesium alloy

(-) 96%, .95 magnification pentaprism viewfinder vs 7D's 100%, 1.0x magnification pentaprism viewfinder

(-) Transmissive LCD screen on focus screen on 7D

(-) Only horizontal electronic level vs both horizontal and vertical level on 7D

(-) 5.3 fps vs 7D's 8 fps

(-) No lens microadjustment in 60D

(-) Shutter life of 100,000 vs 7D's 150,000

(-) Dual DIGIC 4 processors in 7D

(-) 3 custom settings in 7D; 1 custom settings in 60D

(-) No PC Sync in 60D



By comparing these features, it's easy to see that the 60D fits well in the price point directly between the T2i and 7D, but of course, a large segment of previous 40D and 50D owners hoping for a true successor that isn't watered down to a certain price point will still undoubtedly be disappointed. It's easy to see in comparing the 60D to the 7D and also to Nikon's newest offerings that Canon chose to limit functionality merely so that 60D sales didn't interfere with the 7D. In fact, if you are not completely entrenched in the Canon camp, I would also suggest looking at the new Nikon D7000. It looks like a spectacular camera for not much more than the 60D. I have not used it nor will I, so I can't comment on whether it's a better choice or not.



Even so, the quality of the 60D and new functionality offer enough new aspects that many customers will surely be happy with it. The articulating screen offers a way to attain tough shots that would have previously demanded extra equipment or odd contortions to reach. It also gives a great new avenue for video capture. Eye-fi wireless transfers work well and help out on those lazy days where you just want to set your camera down and have the work of transferring photos be done for you. Much of the in camera post-production comes off as being a little "gimmicky" to me, but having the option to add effects and process photos definitely doesn't detract from the camera. And many people who don't do much of their own post-processing after transfer to a computer will probably find the in camera RAW conversion and creative effects to be a nice addition.



To me, it really came down to one major factor though: autofocus. I tend to do a lot of shooting involving fast moving subjects, so autofocus for my photography is key. The T1i and T2i were disappointing in this respect. 9 points with one cross-type in the T1i/T2i is respectable, but I found that I really could only rely on using the center point in AI servo mode to get many speedy subjects in focus. I purchased a 7D later, and was blown away by the accuracy. The options of using extra points for expansion, using autofocus zones, having 19 full cross-type points, superior subject tracking, and even the option for narrowing the points in spot autofocus really opened up new areas of photography for me. I get about 10x the amount of usable shots than I would with the T1i and T2i. The 60D isn't THAT good, but it is still much better than the T1i/T2i. In fact, just like with almost everything else about the camera, it's just about right in between the T2i and 7D. Autofocus is fast and accurate, but there are still moments where subjects just move too fast and unfortunately, the 60D doesn't have the capabilities of the 7D. If you are deciding between the 7D and 60D, this is the area you should really look at, because this is the real difference between the 2 cameras. I chose the 7D, and then decided to give the 60D a try just to see if I made the right decision. I am happy with my 7D, but the 60D was no slouch.



In my honest opinion, I think this is a huge sticking point for 40D and 50D owners though. The autofocus system needed to be updated from the previous 2 XXD editions. It has the same 9 cross-type points as the 40D and 50D did before it, and same functionality. To be a good upgrade for previous XXD users, it didn't have to be as good or better than the 7D, but it would have been nice for it to be better than the previous 2 models. Removing the magnesium alloy body and lens microadjustment really comes across as a slap in the face to some users who valued those aspects. I have to say that the body is much lighter, doesn't feel significantly less sturdy (even though it probably is less sturdy), and I've never needed to use lens microadjustment though, so I'm not overly upset about those aspects. I am not thrilled about the "non-update" of the autofocus system though.



Now that I have handled and used all 3 cameras currently in Canon's mid-range lineup, I can definitively say that they are all stellar cameras, but just made for different segments of the market. The T2i is an amazing starter camera and takes great photos for those who want to save a little extra money by going without some of the features they might not use. It might be the best budget option for those who don't take many action shots. For an extra few hundred dollars, the 60D adds some intriguing new features and seems to be aimed at the people who want a slightly higher-end camera than the T2i, but aren't ready to shell out the money for the 7D. It's a great compromise, and to me, the main thing you are missing out on is superior autofocus capabilities. The 7D is more aimed towards the pro-sumer market who want/need a faster autofocus and overall faster, more rugged camera. It's hard to go wrong with any of them, but the 60D offers a great blend of features from both the T2i and 7D along with new features of it's own for a price that won't completely break the bank. It seems to have accomplished everything it needed to do, except for one: giving the 40D and 50D owners an option for upgrade aside from the expensive 7D. If the 60D had kept the magnesium alloy body, lens microadjustment, or even just had a slightly better AF system compared to the 50D, I could easily give this camera 5 stars. As it is, I can only give it 4 stars because it's a wonderful camera for a certain segment of customers looking for a new camera, but completely isolates another loyal customer base looking for their beloved XXD line to continue.



Update: With the release of the T4i, Canon's camera playing field has certainly changed. The minor changes to the T3i didn't warrant much more discussion on the 60D vs Rebel DSLR's than was already posted with the T2i, but the T4i brings some new interesting features to the table, puts picture quality and capture characteristics on par with the 60D, and in some respects ends up being a more appealing camera.



Perhaps the most interesting new features on the T4i are that it now has autofocus during video while using Canon's new STM lenses and has a touchscreen display. For those who want or need autofocus while shooting video, this is a big selling point for the new Rebel instead of the 60D. Granted, it's not going to live up to the snappy autofocus you get when not using live-view mode or that when using specialized video camera's, but Canon did a great job with it over all. In my mind, it is a desirable feature to have access to even if you prefer to manual focus video most of the time.



The T4i also upped the Rebel line's bar to include the 5 fps and 9 cross type autofocus points already found on the 60D.



So back to the question at hand though: If you are choosing between the 60D and the T4i, which one do you go for? The 60D still has some major advantages in my opinion, and it really comes down to the better camera body of the 60D vs. the new video features of the T4i. With the 60D, you get the large dial on the back of the camera for rotating through images and selections and you also get the top LCD. The 60D still has a better, brighter viewfinder and can shoot at 1/8000 of a second opposed to the max 1/4000 of a second that the T4i can do. If those aspects don't concern you and you desperately want video autofocus, go for the T4i instead. It's a great camera. If, on the other hand, you would like a slightly more professional body and can live without video autofocus, the 60D is a great choice too. My personal choice still goes to the 7D if you can afford the upgrade though - the autofocus and 8 fps on it really put it in another level.

Canon EOS 5D Mark III 22.3 MP Full Frame CMOS with 1080p Full-HD Video Mode Digital SLR Camera (Body)

CUSTOMER REVIEW



I didn't rush to make a review of this camera, as I wanted to really put it through it's paces first. I won't try to list every feature or go over every bullet point (the above description does a fine job), but instead try to go over a few things which make a big difference to me as a 5D Mark II owner. For some background, I bought an original 5D in 2007, a 5DII in 2008 and have been working with these bodies ever since then. I also have experience with all of the Canon 1-series up through the 1DIII and 1DsIII. I currently log about 60,000 photos per year with the 5D Mark IIs as a professional wedding and portrait photographer. I shoot almost exclusively with fast L prime lenses in my work.



So after a week of solid shooting with the camera, here are the areas which are of note relative to previous 5D bodies:



**AUTOFOCUS**

AF is the elephant in the room here so I'll address it first. Good news, we now have a focusing system worth of it's price point. The AF system here is identical to that in the 1Dx and is THE most sophisticated AF system EVER put in any Canon body. It is superior to that in the 1DV and all bodies before it.



I have tested the AF point in servo and one shot mode with my fastest lenses. Speed, accuracy, and consistency have been exceptional and better than anything I have used before. AF gets the job done with zero drama. NO focus jitter, NO frontfocus, NO backfocus, nothing but near-instant, dead accurate focusing with all of my lenses. Even with my Sigma 85/1.4 (which gives my 5DII bodies absolute fits) is 100% accurate with no jitter on the 5DIII. Center AF point and all peripheral AF points are all usable with fast primes. With the 5DII you just use the center AF point and hope for the best (with often mixed results). You could forget using the outer AF points with fast lenses on previous 5D bodies. That has all changed now.



Just to see how far I could push it, I took my most difficult to focus lens (24/1.4 II), put it on the 5DIII, and tried to focus on my black lab in my dimly lit apartment. At a distance of about 2 feet I would able to lock focus on the dog's eye with the far left AF point at F1.4, 1/40, ISO4000. Think about that. I was able to focus on a black eye on a black dog in a dimly lit apartment at F1.4. The 5DII would have hunted all day long trying to do this, even with it's center AF point.



I could sit here and write a book on how happy this performance makes me. For what I do, if this were the only upgrade from the 5D Mark II, it alone would be worth of the $3500 price tag. That said, there is more...



**BUILD QUALITY**

It's hard to put my finger on exactly what changed, but the 5DIII just feels more substantial. It feels like a chopped down 1-series instead of a buffed up 10 series. The contour of the body has changed to fit your hand better. The rubber is also a new compound which is much grippier than before. The 5DIII feels much better to hold and use than the previous 5D bodies.



**SCREEN**

I wasn't expecting a big improvement here, but the screen is drop dead gorgeous. The height is about the same, but it's wider than that in the 5DII and fits the aspect of horizontal images perfectly now. The screen itself has better coatings which allow you to see it easier outside. The contrast, viewing angle, color, and saturation have all improved noticeably. It has a very similar look to a high end smartphone screen. This is a substantial upgrade from the 5DII's screen.



**IMAGE QUALITY**

Image quality is better than the 5DII, but not substantially so. Let me explain.



The 5DIII now natively amplifies the sensor data to ISO 25,600 whereas the 5DII only natively went to ISO 6400. This means that for anything higher than ISO 6400, the 5DIII is better. In RAW you are looking at an improvement of about 1/2 to 3/4 of a stop at high ISO. At lower ISOs, the noise level is about the same.



JPEG quality has improved much more though. The JPEG engine in this camera is staggeringly good and a solid 2 stops better at controlling noise at high ISO than the 5DII. It strikes the best balance of detail and noise control of any camera on the market right now. Note though that default NR in JPEG mode is fairly strong and that you will generally attain a better "look" from your files with the "low" NR setting.



As an aside, the nasty cross-hatch banding present in the deep shadows of 5DII files is now gone with the Mark III. There is still mild vertical banding, but it's similar to the original 5D and only visible when pushed heavily (3 or more stops).



**METERING**

I don't have any hard data on this, but I'm fully convinced the metering of the 5DIII is better than that of the 5DII. I find myself correcting with exposure compensation MUCH less now with the new body than with the mark II. Shooting with the two side the newfound metering accuracy of the mark III is very obvious. I found the 5DII metering very similar to the original 5D. The new 5DIII is much improved here.



**SPEED AND STORAGE**

Camera startup and operation is near-instant. Shutter lag and mirror blackout is now faster than before and leads to a more instant, responsive feel while shooting. This, combined with the vastly improved AF make for a radically different experience from previous 5D bodies.



Dual memory card slots mean you can now either backup your data to a 2nd slot *OR* you can "span" cards. Spanning means that once one card is full it will automatically swtich to the second card. SUCH a nice feature. I can't tell you how many times my card has filled up at the most inopportune moments and shooting stopped. No more.



Shooting speed is either 3fps or 6fps and the buffer is about 18 frames deep in RAW only with a fast CF card. You can shoot almost indefinitely in JPEG mode without hitting the buffer. For RAW I would recommend a 60MB/s CF card to take full advantage of the CF slot speed. The SD slot is slower, but still capable of about 30MB/s write speed.



**COLOR**

The 5D Mark II had a slight magenta color cast. This was easily correctable in post processing and wasn't a huge deal most of the time. I now report that color cast is gone and that the 5DIII's color is much more neutral. Skin tones in general look better due to the more neutral tone.



Additionally I have found auto white balance to be improved over previous 5D models. I've noticed that while post processing I'm having to correct color less with the 5DIII files than the 5DII files. This is very exciting, as it will save me a fair amount of time in post processing. Per usual, all of the cameras struggle under tungsten lighting. However, AWB is able to get color surprisingly close with anything that contains natural lighting.



**MENUS**

I would strongly advise reading the manual because there are a lot of new settings and options which won't be familar to 5DII users. There are also a LOT of different ways to set up your AF system, so a little experimentation is needed. In general, the menu system is more complicated that before, but this also allows a much greater degree of customization of the camera. In that regard, the 5DIII is much closer to a 1-series than before. Take the time to learn it and set it up correctly.



**MISC**

You now have the option to one-click zoom to 100% at your AF point. This means you can instantly check focusing with one button push. This saves a lot of time and frustration while shooting. There is also a "silent" shutter mode which only makes about 1/2 the noise as the standard shutter. You can do one-shot or 3FPS in silent shutter mode. 6FPS continuous is only available with the standard shutter mode.



Another brand new feature that's exciting is the ability to re-map buttons on the camera to perform other functions. The options are very extensive. One in particular I'm excited about is the ability to toggle one-shot with AI-Servo by clicking the DOF preview button (which is now on the right hand side of the camera, in perfect reach of your middle or ring finger). If you are shooting a still subject in one-shot and they start to move, simply push the DOF preview button and you're instantly in AI Servo mode. There is no need to move your hand, or even look away from the viewfinder. When you are done, simply release the button and you're back in one-shot mode.



**CONCLUSION**

Canon finally woke up with the 5D Mark III. The completeness of this refresh is hard to overstate, as there is no part of this camera that was left untouched from the Mark II. The overall experience of using the camera has been transformed to an entirely different level. You will be faster, better, and more efficient with a 5D Mark III relative to its predecessors.



The improvements here will most cater to those who shoot in demanding environments which require high ISO and fast, accurate autofocus. Canon basically fixed most every complaint anyone ever had with the 5DII while maintaining the things which made the 5DII great (resolution, image quality, small body).



The price of this body is probably about $500 too high compared to its primary competition - the $3000 Nikon D800, which is likely to annoy some people. Though individually they cater to different types of photographers and have different strengths over the other, overall these two cameras are comparable products. If you are starting from scratch or have minimal gear investment, the D800 is worth a hard look at. If you are heavily invested in one system or another, you would probably do best just to stick with your current brand. Both are fine cameras and you can't go wrong with either one.

Nikon D7100 24.1 MP DX-Format CMOS Digital SLR (Body Only)

CUSTOMER REVIEW



While I'm hoping Nikon will release a D400, I couldn't resist trying out the new D7100. As a working pro who uses both FX and DX format cameras, my first impressions of the D7100 are very positive.



My simple summary is that this camera is a bargain and that those already inclined to own the best the DX camera Nikon sells should get one.



Having worked for years with the D300 and the D7000 bodies, my perspective on this one is influenced by what I think is good about those two popular cameras. I hoped that the D7100 would really improve in the areas of autofocus, shadow noise, and overall resolution/acuity. This camera has not disappointed me, and has even a few minor improvements I wasn't expecting.



Of first importance, shooters of the D7000 will appreciate the big improvements in AF (you probably know how sketchy that camera is to focus, especially compared to the 51-point standard set by most older/current pro bodies). It's fast, accurate, and doesn't get fooled into moving if you recompose. On single focus mode, it simply acquires and holds where you want. And the tracking AF is on par with Nikon's pro standard. This is huge for me, since I love the quality of images the D7000 gives but hate the unreliability of its AF. Acquiring focus in low light seems a bit snappier and more accurate than even the D300.



The resolving power of this sensor is unlike any DX camera before it. Because the D7100 doesn't have an anti-aliasing/low-pass filter on its 24 megapixel sensor, I knew it would be able to show a perceptible increase in resolving detail over the older D7000, and again I am glad to report it does - IF you use good glass, stopped down a bit, and process from the RAW files. My test shots captured with the Tokina 11-16 and Nikon 70-200 have blown me away. The acuity when zoomed in is night/day compared to the D7000. However, if you use mediocre glass then the only differences you'll notice are larger files and slightly better dynamic range.



In DX images, shadow noise has generally appeared too stippled even at lower ISO values, rendering a texture that the FX sensors don't have at the same ISO's. The D7100 has definitely improved this. The texture gradient is more uniform and it reminds me of the D600 in this way. Although I haven't done tests above ISO 1600, the shadow textures are more uniform and pleasant (natural?) on skin than the previous DX cameras.



Shooters familiar with Nikon's pro camera ergonomics will appreciate that the D7100 has added the quick magnification/zoom feature to the `OK' button on the rear thumbpad. It's great for snappy, quick inspections at defined zoom ratios to check for focus accuracy. This feature is nonexistent on the D7000 and the D600. I find it very handy and preferable to the +/- buttons.



Speaking of the +/- buttons to the left of the LCD, I have no idea why Nikon reversed their positions on this camera. It's a small thing but still annoying.



I'm still getting used to the new viewfinder display, so the jury is out.



The two-shot HDR feature isn't what it should be since it doesn't align the images. I'd use the bracketing feature on a tripod and be done with it.



I like that there's finally a lock button in the center of the program mode dial to avoid accidental switching, which happens too often on the D7000.



The rear LDC screen is slightly larger and also a bit crisper to my eyes.



The overall fit/finish is solid and secure. I have big hands so I only wish it was the same form factor as the D800 (hey Nikon, give us a D400 already), but at this price I'm not complaining.



I wish Nikon could squeeze out better battery performance from their cameras, frankly, and the D7100 hasn't improved upon what has become normal for the past couple years.



Sorry, but I don't mess with video so I cannot speak to this.



As a still image camera (in the DX format) the D7100 has really set a new standard. Even though I'd buy a D400 if it came out tomorrow, there's nothing stopping me from enjoying the D7100 today as the best you can get. I feel that the price is low for what it is and can create. Highly recommended...

Nikon D7000 Digital SLR (Body Only) (OLD MODEL)

CUSTOMER REVIEW



I am a photography teacher in NYC and online. (See my Amazon profile for my website.) I teach beginner and intermediate photography students every week. I've also been a professional photographer for the last five years with images published in The New York Times, GQ, New York Magazine, Women's Wear Daily, The New York Observer, The Village Voice and Time Out New York.



(This review is for beginner photographers.)



If you're a beginner, you're most likely asking yourself: Nikon or Canon? Really, I feel confident in saying that you can't go wrong with either. I've used both brand's cameras extensively and find that they both offer amazing image quality with well-built, solid cameras that, if taken care of, will last decades. There are two differences between the cameras, though, that can be taken into consideration.



The user-interface: If cameras were computers, Nikons would be PCs and Canons would be MACs. PCs are built for people not afraid of technology whereas Macs are built for people who want things super-easy. Nikons excel at customization options which means you'll see so many more options with the Advanced features of a Nikon than you will with a Canon. Canons, on the other hand, excel at ease-of-use for beginners. Canons offer less advanced options and can be easier to learn on. This can be frustrating down the line, though, once you've learned a lot about photography. At that point you may want all of the options that Nikon offers and be frustrated with your Canon. If you're someone who really likes to delve deep into your hobbies or if you're intent on becoming a professional photographer, I'd say a Nikon would be your best bet. If you're someone who wants to learn the basics of photography and only imagine yourself being a hobbyist, Canon would be a better option for you.



Where Nikon excels: Flash photography. I often find myself in situations where I'm shooting event photography (weddings, movie premiers, benefits and galas) where I need to use a lot of flash. For this kind of photography, I'll always prefer to be shooting with a Nikon. Nikon's flash metering (how the camera magically decides how much light to fire out of the flash) is much more consistent than Canon's. You can take a Canon and shoot the same scene three times in a row with flash and all three images will be at different brightness levels. You can do the same thing with a Nikon and all three images will be wonderfully the same. If you're somebody who plans on shooting a lot with flash (indoor photography, event photography, etc.) you'll want to consider going with Nikon.



Where Canon excels: Richness of colors. I've been in numerous situations where I've been on the red carpet taking the exact same picture as the photographer next to me. I'll have a Canon and the person next to me will have a Nikon. This has provided quite a few opportunities to compare the images side-by-side. What I've found is that the colors on the Canon's images look richer and make the image pop more. If I'm doing fine art photography (anything I'd like to someday hang in a gallery), I'll always want to be shooting with a Canon for this reason.



If you're set on Nikon, there are three cameras you should be considering and it all comes down to what your budget is:



D7000 $1,400 without lens

D5100 $750 without lens

D3100 $600 only available with lens

(current prices as of 2/19/11)



Here's what you get for spending extra money (each camera compared to the one below it):



D3100 vs. D5100:



The D3100 is an EXCELLENT camera so if you only have $550 to spend total on camera and lens then go out and buy this camera. You won't regret it. If you're considering spending more money, here's what you'll get from the D5100 in comparison:



-Better performance in low light situations.

-A higher resolution screen on the back of the camera so you can see your images more clearly and make out if they actually turned out well.

-An external mic jack. (If you're planning on shooting video with an external mic, you'll want the D5100 over the D3100.)

-A flip out screen (handy if you want to put your camera anywhere but at your eye level and be able to see what your camera is about to capture before you shoot it)

-Faster continuous shooting. If you're often shooting sports or any fast moving subject, continuous shooting allows you to capture multiple images in a single second. The D3100 shoots at three frames per second whereas the D5100 shoots at four frames per second.

-Higher ISO options. The D5100 offers one more stop of ISO than the D3100 does. If you don't know what ISO means (or what a stop is) just know that this allows you to more easily shoot images in low-light situations.

-Longer battery life. The D5100's battery will last 20% longer than the D3100



The two advantages of the D3100 over the D5100 are: less expensive and less weight. Whenever a camera is less expensive, it means you'll have more in your budget for the lens. The D3100 weighs 10% lighter and is 10% smaller than the D5100.



D5100 vs. D7000:



The D5100 is Nikon's latest and greatest and is even newer than the D7000. Phenomenal camera! If you're stuck, though, between the D5100 and the D7000, here's what you'll get by spending more money on the D7000:



-More focus points. When using auto-focus, the D7000 will have an easier time focusing on what you want it to focus on.

-60% longer lasting batteries.

-Faster continuous shooting. If you're often shooting sports or any fast moving subject, continuous shooting allows you to capture multiple images in a single second. The D5100 shoots at four frames per second whereas the D7000 shoots at six frames per second.

-Weather sealed. This means you can shoot with the D7000 in the rain.

-Two memory card slots. This is really a cool feature. The D7000 has two memory card slots which means you'll be less likely to find yourself standing in front of a gorgeous scene with no more memory left.

-Faster shutter speed. The fastest shutter speed on the D5100 is 1/4000th of a second; on the D7000: 1/8000th of a second. To be honest, I can't think of any practical reason why this would benefit you unless you're planning on shooting some really bright scenes like directly into the sun.



Advantages of the D5100 over the D7000:



-A flip out screen (handy if you want to put your camera anywhere but at your eye level and be able to see what your camera is about to capture before you shoot it)

-Smaller and lighter: The D5100 is 10% smaller and 30% lighter than the D7000. This is something to consider if you plan on carrying your camera around with you a lot.

-Less expensive so you can spend more on your lens!



If I can clarify any of this, please email me!



-JP Pullos, photography teacher, NYC and online (see my Amazon profile for my website)

Canon EOS 60D 18 MP CMOS Digital SLR Camera with 3.0-Inch LCD (Body Only)

CUSTOMER REVIEW



Update: With the release of the T4i, this review needs a short addendum, which I will add to the end.



The newest addition to Canon's XXD line might initially seem like a minor downgrade to the previous XXD cameras, but several new capabilities actually help make this a nice, well-featured camera that will appeal to many people who don't get caught up in whether or not this is a better camera than it's predecessor. Canon certainly made this camera for the price point and was careful to add just enough features to make it desirable over the T2i, but not desirable enough to compete with the 7D. In some respects though, it seems like a beefed-up version of the Rebel line (a "Super-Rebel") instead of a new addition to the XXD line.



As someone who has now had the opportunity to use all three of Canon's mid-range lineup (the T2i, 60D, and 7D), I have to say that I really like the feel of the 60D. Even though it no longer has the magnesium alloy body, it feels solid. In no way does it feel cheap. I have fairly small hands and the 60D feels like it was made for me. It's significantly lighter than the 7D and feels like it would be much more friendly on long hikes. The 7D feels much more robust; however, the 60D feels much more "comfy". It is definitely bigger in size than the T2i, but the angles and design of the camera have a nicely updated feel to them that makes it seem like you are getting a much more substantial camera. The articulating screen was also done very well. My initial worries that the screen would feel cheap and break easily were immediately relieved after using it. The hinges are very solid and feel almost stiff to the point where you are comfortable with it staying right where you want it. It also is very flush with the rest of the body and offers little space in between.



Aside from the feel, the camera takes beautiful pictures. Quality-wise, there is very little difference between the pictures that come out of the T2i, 60D, and 7D. ISO performance is very similar and therefore can not be much of a deciding factor between the models. Most of the decision factors really will focus on which user interface and camera system best appeals to your type and level of photography. Each of Canon's mid-range models has it's own pros and cons, and while there are MANY differences between each camera, these are the main points I considered when deciding between cameras to purchase (hopefully it helps those going through the same decision I did):



60D vs. 50D:



(+) New Sensor - the same 18MP sensor that the 7D and T2i have, better ISO coverage/performance

(+) 63 zone dual-layer metering

(+) Better viewfinder - 96% coverage vs 95% coverage

(+) Video

(+) Articulating screen

(+) Wireless flash control

(+) Horizontal electronic level

(+) In camera processing (new RAW processing feature and in camera filter effects)

(+) Control over max auto-ISO

(+) Eye-Fi wifi file transfer functions



(-) The magnesium alloy body of the 50D has been replaced with a polycarbonate body

(-) 6.3 fps shooting is down to 5.3 fps

(-) No lens microadjustment in 60D



(+/-) Compact flash card slot has been changed to a SD card slot

(+/-) Joystick replaced by directional pad



60D vs. T2i



(+) 9 all cross-type AF points vs T2i's 9 points w/ 1 center cross-type

(+) 96%, .95 magnification pentaprism viewfinder vs T2i's 95%, .87 magnification pentamirror viewfinder

(+) Articulating screen

(+) Wireless flash control

(+) Horizontal electronic level

(+) In camera processing (new RAW processing feature and in camera filter effects)

(+) Top LCD screen

(+) 5.3 fps vs 3.7 fps

(+) Built in adjustable audio level capability in video



60D vs. 7D



(+) Articulating screen

(+) In camera processing (new RAW processing feature and in camera filter effects)

(+) Control over max auto-ISO

(+) Eye-Fi wifi file transfer functions

(+) Built in adjustable audio level capability in video



(-) 9 all cross-type AF points vs 7D's 19 all cross-type points

(-) Less AF features (such as Zone AF and Point Expansion)

(-) Polycarbonate body vs 7D's magnesium alloy

(-) 96%, .95 magnification pentaprism viewfinder vs 7D's 100%, 1.0x magnification pentaprism viewfinder

(-) Transmissive LCD screen on focus screen on 7D

(-) Only horizontal electronic level vs both horizontal and vertical level on 7D

(-) 5.3 fps vs 7D's 8 fps

(-) No lens microadjustment in 60D

(-) Shutter life of 100,000 vs 7D's 150,000

(-) Dual DIGIC 4 processors in 7D

(-) 3 custom settings in 7D; 1 custom settings in 60D

(-) No PC Sync in 60D



By comparing these features, it's easy to see that the 60D fits well in the price point directly between the T2i and 7D, but of course, a large segment of previous 40D and 50D owners hoping for a true successor that isn't watered down to a certain price point will still undoubtedly be disappointed. It's easy to see in comparing the 60D to the 7D and also to Nikon's newest offerings that Canon chose to limit functionality merely so that 60D sales didn't interfere with the 7D. In fact, if you are not completely entrenched in the Canon camp, I would also suggest looking at the new Nikon D7000. It looks like a spectacular camera for not much more than the 60D. I have not used it nor will I, so I can't comment on whether it's a better choice or not.



Even so, the quality of the 60D and new functionality offer enough new aspects that many customers will surely be happy with it. The articulating screen offers a way to attain tough shots that would have previously demanded extra equipment or odd contortions to reach. It also gives a great new avenue for video capture. Eye-fi wireless transfers work well and help out on those lazy days where you just want to set your camera down and have the work of transferring photos be done for you. Much of the in camera post-production comes off as being a little "gimmicky" to me, but having the option to add effects and process photos definitely doesn't detract from the camera. And many people who don't do much of their own post-processing after transfer to a computer will probably find the in camera RAW conversion and creative effects to be a nice addition.



To me, it really came down to one major factor though: autofocus. I tend to do a lot of shooting involving fast moving subjects, so autofocus for my photography is key. The T1i and T2i were disappointing in this respect. 9 points with one cross-type in the T1i/T2i is respectable, but I found that I really could only rely on using the center point in AI servo mode to get many speedy subjects in focus. I purchased a 7D later, and was blown away by the accuracy. The options of using extra points for expansion, using autofocus zones, having 19 full cross-type points, superior subject tracking, and even the option for narrowing the points in spot autofocus really opened up new areas of photography for me. I get about 10x the amount of usable shots than I would with the T1i and T2i. The 60D isn't THAT good, but it is still much better than the T1i/T2i. In fact, just like with almost everything else about the camera, it's just about right in between the T2i and 7D. Autofocus is fast and accurate, but there are still moments where subjects just move too fast and unfortunately, the 60D doesn't have the capabilities of the 7D. If you are deciding between the 7D and 60D, this is the area you should really look at, because this is the real difference between the 2 cameras. I chose the 7D, and then decided to give the 60D a try just to see if I made the right decision. I am happy with my 7D, but the 60D was no slouch.



In my honest opinion, I think this is a huge sticking point for 40D and 50D owners though. The autofocus system needed to be updated from the previous 2 XXD editions. It has the same 9 cross-type points as the 40D and 50D did before it, and same functionality. To be a good upgrade for previous XXD users, it didn't have to be as good or better than the 7D, but it would have been nice for it to be better than the previous 2 models. Removing the magnesium alloy body and lens microadjustment really comes across as a slap in the face to some users who valued those aspects. I have to say that the body is much lighter, doesn't feel significantly less sturdy (even though it probably is less sturdy), and I've never needed to use lens microadjustment though, so I'm not overly upset about those aspects. I am not thrilled about the "non-update" of the autofocus system though.



Now that I have handled and used all 3 cameras currently in Canon's mid-range lineup, I can definitively say that they are all stellar cameras, but just made for different segments of the market. The T2i is an amazing starter camera and takes great photos for those who want to save a little extra money by going without some of the features they might not use. It might be the best budget option for those who don't take many action shots. For an extra few hundred dollars, the 60D adds some intriguing new features and seems to be aimed at the people who want a slightly higher-end camera than the T2i, but aren't ready to shell out the money for the 7D. It's a great compromise, and to me, the main thing you are missing out on is superior autofocus capabilities. The 7D is more aimed towards the pro-sumer market who want/need a faster autofocus and overall faster, more rugged camera. It's hard to go wrong with any of them, but the 60D offers a great blend of features from both the T2i and 7D along with new features of it's own for a price that won't completely break the bank. It seems to have accomplished everything it needed to do, except for one: giving the 40D and 50D owners an option for upgrade aside from the expensive 7D. If the 60D had kept the magnesium alloy body, lens microadjustment, or even just had a slightly better AF system compared to the 50D, I could easily give this camera 5 stars. As it is, I can only give it 4 stars because it's a wonderful camera for a certain segment of customers looking for a new camera, but completely isolates another loyal customer base looking for their beloved XXD line to continue.



Update: With the release of the T4i, Canon's camera playing field has certainly changed. The minor changes to the T3i didn't warrant much more discussion on the 60D vs Rebel DSLR's than was already posted with the T2i, but the T4i brings some new interesting features to the table, puts picture quality and capture characteristics on par with the 60D, and in some respects ends up being a more appealing camera.



Perhaps the most interesting new features on the T4i are that it now has autofocus during video while using Canon's new STM lenses and has a touchscreen display. For those who want or need autofocus while shooting video, this is a big selling point for the new Rebel instead of the 60D. Granted, it's not going to live up to the snappy autofocus you get when not using live-view mode or that when using specialized video camera's, but Canon did a great job with it over all. In my mind, it is a desirable feature to have access to even if you prefer to manual focus video most of the time.



The T4i also upped the Rebel line's bar to include the 5 fps and 9 cross type autofocus points already found on the 60D.



So back to the question at hand though: If you are choosing between the 60D and the T4i, which one do you go for? The 60D still has some major advantages in my opinion, and it really comes down to the better camera body of the 60D vs. the new video features of the T4i. With the 60D, you get the large dial on the back of the camera for rotating through images and selections and you also get the top LCD. The 60D still has a better, brighter viewfinder and can shoot at 1/8000 of a second opposed to the max 1/4000 of a second that the T4i can do. If those aspects don't concern you and you desperately want video autofocus, go for the T4i instead. It's a great camera. If, on the other hand, you would like a slightly more professional body and can live without video autofocus, the 60D is a great choice too. My personal choice still goes to the 7D if you can afford the upgrade though - the autofocus and 8 fps on it really put it in another level.