Canon EOS Rebel T3i (with 18-55mm IS II lens)

The good: The Canon EOS Rebel T3i delivers excellent video capabilities and image and video quality.

The bad: If you shoot both still and video, the T3i's controls can be frustrating to operate, and it's not terribly fast for burst shooting sports, kids, or pets.

The bottom line: For the money, the Canon EOS Rebel T3i is a great choice for dSLR videographers--though the cheaper T2i can still suffice if you don't need the articulated LCD--and it's a solid choice for creative still shooters. But though the image quality and general shooting performance are top-notch, if you're upgrading to capture sports, kids, or pets, the T3i may not be able to keep up.

Review:

Photo gallery:
Canon EOS Rebel T3i

If you didn't think the 60D was overpriced when it shipped, you will now. The Canon EOS Rebel T3i (aka the EOS 600D), the 60D's younger and cheaper sibling, offers the same basic camera with some corners cut--most notably a slightly less well-constructed body and a (purposely?) stunted burst shooting speed. You can also think of it as a slightly more expensive T2i, with the addition of an articulated LCD and a few features for the auto-always crowd. Either way, the T3i remains a solid if unexciting follow-up to its predecessor, although ... Expand full review

If you didn't think the 60D was overpriced when it shipped, you will now. The Canon EOS Rebel T3i (aka the EOS 600D), the 60D's younger and cheaper sibling, offers the same basic camera with some corners cut--most notably a slightly less well-constructed body and a (purposely?) stunted burst shooting speed. You can also think of it as a slightly more expensive T2i, with the addition of an articulated LCD and a few features for the auto-always crowd. Either way, the T3i remains a solid if unexciting follow-up to its predecessor, although one that seems to cater more to videophiles than still shooters.
That's not to say it compromises on still photo quality. Overall, the T3i has an excellent noise profile, unsurprisingly similar to that of the 60D's. JPEGs look very clean up through ISO 400, and even at ISO 800 you really have to scrutinize to see the beginnings of detail degradation; at ISO 1,600 the noise becomes more obvious but still isn't too bad.

Canon EOS Rebel T3i photo samples

ISO 400 is sort of my tipping-point sensitivity; to shoot action outdoors, I generally have to bump up the setting to at least ISO 400 in order to reach a sufficiently fast shutter speed. And because few consumer cameras are fast enough at shooting burst raw+JPEG, the in-camera JPEG processing has to be decent as well. The T3i fared pretty well under these conditions. Overall, I consider shots at this setting good enough to use, but I still wish I would have been able to shoot raw to clean them up.
Canon's JPEG processing remains very good. Even at ISO 1,600 I couldn't obtain unambiguously better results processing the raw--Canon seems to optimize for exposure at the expense of sharpness, and I couldn't get sharper results without losing some shadow detail (you may do better). At ISO 3,200 I was able to achieve a significant reduction in color noise without losing too much shadow detail. And by ISO 6,400, I started to see hot pixels as a side-effect of the in-camera noise reduction (those white spots) in the JPEGs.
On all other counts the photos looked good on the default settings, though my favored setting with Canon models is Neutral with sharpening bumped up a few notches. Colors look both relatively accurate and saturated; metering and exposures are consistent and predictable; and the dynamic range is broad enough to allow a reasonable amount of highlight and shadow recovery.
As usual, the video looks very good. There's some moiré, but not a lot of rolling shutter, and moving edges look surprisingly sharp. At its highest quality, it seems to deliver an average bit rate of roughly 45Mbps. It offers the same great set of frame rates and manual exposure controls as the 60D, including highlight tone priority for fine-tuning high-key exposures. Though the built-in microphone is mono, it sounds surprisingly good, and there's a wind filter along with the same 64-level sound controls. Canon also incorporates the Video Snapshot feature from its camcorders--it lets you snap up to 8-second clips--and some in-camera special-effects filters, too.

	Canon EOS Rebel T1i	Canon EOS Rebel T2i	Canon EOS Rebel T3i	Canon EOS 60D
Sensor (effective resolution)	15.1-megapixel CMOS	18-megapixel CMOS	18-megapixel CMOS	18-megapixel CMOS
	22.3 x 14.9mm	22.3 x 14.9mm	22.3 x 14.9mm	22.3 mm x 14.9mm
Image processor version	Digic 4	Digic 4	Digic 4	Digic 4
Sensitivity range	ISO 100 - ISO 3,200/12,800 (expanded)	ISO 100 - ISO 6,400/ 12,800 (expanded)	ISO 100 - ISO 6,400/ 12,800 (expanded)	ISO 100 - ISO 6,400/ 12,800 (expanded)
Continuous shooting	3.5fps 6 raw/53 JPEG	3.7fps 6 raw/34 JPEG	3.7 fps 6 raw/34 JPEG	5.3fps 16 raw/58 JPEG
Viewfinder (mag/ effective mag)	95% coverage 0.87x/0.54x	95% coverage 0.87x/0.54x	95% coverage 0.85x/0.53x	96% coverage 0.95x/0.59x
Autofocus	9-pt AF center cross-type	9-pt AF center cross-type to f2.8	9-pt AF center cross-type to f2.8	9-pt AF all cross-type; center cross to f2.8
Shutter Speed	1/4,000 to 30 secs; bulb; 1/160 x-sync	1/4,000 to 30 secs; bulb; 1/160 x-sync	1/4,000 to 30 secs; bulb; 1/200 x-sync	1/8,000 to 30 secs; bulb; 1/250 sec x-sync
Metering	35 zones	63-zone iFCL	63-zone iFCL	63-zone iFCL
Video	H.264 QuickTime MOV 1080/20p; 720/30p	H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/50p/ 60p	H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/50p/ 60p	H.264 QuickTime MOV 1080/30p/25p/24p; 720/60p/50p
Manual aperture and shutter in video	No	Yes	Yes	Yes
Audio	Mono	Mono; mic input	Mono; mic input	Mono; mic input
Maximum best-quality recording time	4GB/12m	4GB/12m	4GB/11m	4GB/12m
Image stabilization	Optical	Optical	Optical	Optical
LCD size	3 inches fixed 920,000 pixels	3 inches fixed 1.04 megapixels	3 inches articulated 1.04 megapixels	3 inches articulated 1.04 megapixels
Memory slots	1 x SDHC	1 x SDXC	1 x SDXC	1 x SDXC
Wireless flash	No	No	Yes	Yes
Battery life (CIPA rating)	400 shots	550 shots	470 shots	1,100 shots
Dimensions (WHD, inches)	5.1 x 3.8 x 2.4	5.1 x 3.8 x 3.0	5.1 x 3.8 x 3.0	5.7 x 4.1 x 3.1
Body operating weight (ounces)	18.6	18.6	20	27
Mfr. Price	$549 (est; body only)	$699.99 (est; body only)	$799.99 (body only)	$1,099.99 (body only)
	$799.99 (with 18-55mm IS lens)	$899.99 (with 18-55mm IS lens)	$899.99 (with 18-55mm IS II lens)	$1,399.99 (with 18-135mm lens)
	n/a	$980 (est; with 18-135mm IS lens)	$1,099.99 (with 18-135mm IS lens)	n/a
Release date	April 2009	March 2010	March 2011	November 2010

I'm not as fond of the new 18-55mm IS II lens as the old kit lens; unfortunately, I didn't have the old lens available to do direct comparisons, but the new lens seemed to have more issues with fringing than the old. The new lens claims an extra stop of image stabilization, but I didn't find it more effective (of course, it's always possible that I'm a year shakier). The 18-55mm kit lens displays visible but not terrible asymmetric barrel distortion at its widest. In shots with the previous version of the lens, the distortion looks more symmetrical, but I don't have exact comparison shots--they put up scaffolding months ago, which prevents me from replicating my test shot.
The camera's performance remains fast, but, surprisingly, in some cases not quite as fast as its predecessor's. It powers on, focuses, and shoots in about 0.3 second, with a fast 0.3-second shot lag in good lighting and solid 0.6-second in dim (a tad slower than the T2i). JPEG shot-to-shot time is also good at about 0.4 second; raw takes a little longer at about 0.5 second. Adding flash bumps that up by another couple tenths of a second. Its burst rate is essentially equal to the T2i's, but both are at what I consider the slowest acceptable continuous-shooting speed for a dSLR and slower than less-expensive competitors like the Nikon D5000 or the Pentax K-x.
With a few exceptions, the T3i's body and interface are almost identical to the T2i's. It's slightly heavier (but not larger) thanks to the bright, flip-and-twist LCD. It feels sturdy, and though the texture rubberized grip feels kind of cheap, the camera is comfortable to hold and shoot single-handed, and can stand up to the weight of a good lens. I've never been a huge fan of the Rebel series' viewfinder, and this one is actually a slightly lower magnification than previous models. I don't know that I noticed the difference, but there are better ones out there. Also, I don't like the tiny, too-briefly-flashing AF points.
Canon carries over the control layout and user interface from the T2i, although it has moved the Display button to the top and replaced it with Info. Camera operation is straightforward. On the back there are direct-access controls for Live View/video recording, exposure compensation, white balance, autofocus method (single, AI focus and AI servo), drive mode, Picture Style, AE/AF lock, and focus area (single-point manual or all-points auto). You can also change these settings, plus metering, flash, image quality, and a few others, via the typical Quick Control screen. My one quibble here is that the buttons all feel a bit too flat.
The mode dial includes the usual set of manual, semimanual, automatic, and scene modes. It doesn't lock, which may bother some folks (though not me). As with the 60D, however, I find the placement of the movie mode--at the opposite side of the dial from the advanced modes--insanely frustrating. I've actually missed video opportunities by having to scroll around from shutter-priority mode to video. Ironically, this design is more suited to pros who plan to use the camera as a cheap video dSLR and never take it off the video setting than to the consumers at whom it's ostensibly targeted.

	Canon EOS Rebel T3i	Pentax K-r	Sony Alpha SLT-A55	Sony Alpha DSLR-A580
Sensor (effective resolution)	18-megapixel CMOS	12.4-megapixel CMOS	16.2-megapixel Exmor HD CMOS	16.2-megapixel Exmor HD CMOS
	22.3 x 14.9mm	23.6 x 15.8mm	23.5 x 15.6mm	23.5 x 15.6mm
Focal-length multiplier	1.6x	1.5x	1.5x	1.5x
Sensitivity range	ISO 100 - ISO 6,400/12,800 (expanded)	ISO 100 (expanded)/200 - ISO 6,400/25,600 (expanded)	ISO 100 - ISO 1,600/12,800 (expanded)	ISO 100 - ISO 12,800/25,600 (expanded)
Continuous shooting	3.7fps 6 raw/34 JPEG	6fps n/a raw/25 JPEG	6fps (10fps with auto exposure) 20 raw/35 JPEG	5fps (7fps with auto exposure) 22 raw/45 JPEG
Viewfinder (magnification/ effective magnification)	Optical 95% coverage 0.85x/0.53x	Optical 96% coverage 0.85x/0.57x	Electronic 0.46 inches/1.2 million dots 100% coverage 1.1x/0.73x	Optical n/a 95% coverage 0.80x/0.53x
Autofocus	9-pt AF center cross-type to f2.8	11-pt AF 9 cross-type (SAFOX IX)	15-pt phase-detection AF 3 cross-type	15-pt phase-detection AF 3 cross-type
Shutter Speed	1/4,000 to 30 secs; bulb; 1/200 x-sync	1/6,000 to 30 secs; bulb; 1/180 sec x-sync	1/4,000 to 30 secs; bulb; 1/160 x-sync	1/4,000 to 30 secs; bulb; 1/160 x-sync
Metering	63-zone iFCL	16 segment	1,200 zone	1,200 zone
Video	H.264 QuickTime MOV 1080/24p/25p/30p; 720/50p/60p	720/25p Motion JPEG AVI	AVCHD 1080/60i @ 17Mbps; H.264 MPEG-4 1440x1080/30p @ 12Mbps	AVCHD 1080/60i @ 17Mbps; H.264 MPEG-4 1440x1080/30p @ 12Mbps
Audio	Mono; mic input	Mono	Stereo; mic input	Stereo; mic input
Manual aperture and shutter in video	Yes	n/a	Yes	Yes
Maximum best-quality recording time	4GB/12 minutes	4GB/25 minutes	2GB/9 minutes	2GB/14 minutes
Image stabilization	Optical	Sensor shift	Sensor shift	Sensor shift
LCD size	3 inches articulated 1.04 megapixels	3 inches fixed 921,000 dots	3 inches articulated 921,600 dots	3 inches articulated 921,600 dots
Memory slots	1 x SDXC	1 x SDXC/SDHC (SDXC requires firmware upgrade)	1 x SDXC	1 x SDXC
Wireless flash	Yes	Yes	Yes	Yes
Battery life (CIPA rating)	470 shots	560 shots (NiMH batteries)	330 shots	1,050 shots
Dimensions (WHD, inches)	5.1 x 3.8 x 3.0	4.8 x 3.6 x 2.7	4.9 x 3.6 x 3.3	5.4 x 4.1 x 3.3
Body operating weight (ounces)	20	20.4 (est)	17.8	24 (est)
Mfr. Price	$799.99 (body only)	n/a	$749.99 (body only)	$799.99 (body only)
	$899.99 (with 18-55mm IS II lens)	$749.95 (with 18-55mm lens)	$849.99 (with 18-55mm lens)	$899.99 (with 18-55mm lens)
	$1,099.99 (with 18-135mm IS lens)	n/a	n/a	n/a
Release date	March 2011	October 2010	September 2010	November 2010

Canon's version of an easy mode, Creative Auto, operates via what it calls "ambience selection"--Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker, and Monochrome--for which you can set it to one of three levels. The scene modes also utilize the ambience selection options, making them a little more flexible.
While Canon offers quite a few options for video shooters, it doesn't have much beyond the basics to inspire or streamline shooting for still photographers. The T3i supplies basic Eye-Fi wireless integration--you can enable or disable the card and the camera provides connection strength information. For bracketing, you're still limited to a three-shot bracket and a range of two stops around the center, though the complete range goes up to seven stops in either direction. And it supports wireless flash. But there's no way to save custom settings, no creative features like time-lapse or multiple-exposure shooting or filters (only a handful of postprocessing effects). Furthermore, with increasing resolutions, the ability to shoot raw plus small or medium JPEG--as opposed to full size--isn't just a pro necessity anymore, especially if you plan to transmit wirelessly. For a complete account of the T3i's features and operation, you can download the PDF manual.
Conclusion
For the money, the T3i is a great choice for dSLR videographers--though the cheaper T2i can still suffice if you don't need the articulated LCD--and is a solid choice for creative still shooters. But while the image quality and general shooting performance are top-notch, if you're upgrading to shoot sports, kids, or pets, the T3i may not be able to keep up.

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Canon PowerShot A1200 Reviews

The good: The Canon PowerShot A1200 IS is inexpensive while still offering very good features and photo and video quality.

The bad: The camera's shooting performance is slow.

The bottom line: As long as you're not in a hurry and your subject is stationary, the Canon PowerShot A1200 is an excellent little camera for the money.

Review:

Editors' note: Several of the design, features, and shooting options are identical between the Canon PowerShot A1200 and the PowerShot A3300 IS we reviewed earlier, so readers of the earlier review may experience some deja vu when reading the same sections below.

Canon all but abandoned optical viewfinders on its PowerShot cameras; the high-end G12 was the only one. That changed at CES 2011, though, with the announcement of the Canon PowerShot A1200, an entry-level point-and-shoot with a real-image zoom viewfinder.

Along with the viewfinder, this budget-friendly 12-megapixel compact is powered by AA-size batteries, has a large selection of shooting ... Expand full review

Editors' note: Several of the design, features, and shooting options are identical between the Canon PowerShot A1200 and the PowerShot A3300 IS we reviewed earlier, so readers of the earlier review may experience some deja vu when reading the same sections below.

Canon all but abandoned optical viewfinders on its PowerShot cameras; the high-end G12 was the only one. That changed at CES 2011, though, with the announcement of the Canon PowerShot A1200, an entry-level point-and-shoot with a real-image zoom viewfinder.

Along with the viewfinder, this budget-friendly 12-megapixel compact is powered by AA-size batteries, has a large selection of shooting options, uses an f2.8 28mm-equivalent wide-angle lens with a 4x zoom, and captures 720 HD-resolution movie clips. About the only thing missing is optical image stabilization, but you can counteract hand shake by using the viewfinder.

Like most cameras in its price range, though, the A1200 is slow, so I wouldn't recommend it for regularly shooting active kids and pets. It also isn't great at higher ISO sensitivities, so low-light photos without a flash aren't the greatest. Still, given the cost, they're hardly disappointing.

Key specs Canon PowerShot A1200

Price (MSRP) $109.99

Dimensions (WHD) 3.8x2.5x1.2 inches

Weight (with battery and media) 6.5 ounces

Megapixels, image sensor size, type 12 megapixels, 1/2.3-inch CCD

LCD size, resolution/viewfinder 2.7-inch LCD, 230K dots/Yes, optical

Lens (zoom, aperture, focal length) 4x, f2.8-5.9, 28-112mm (35mm equivalent)

File format (still/video) JPEG/H.264 (.MOV)

Highest resolution size (still/video) 4,000x3,000 pixels/ 1,280x720 at 24fps

Image stabilization type Digital

Battery type, CIPA rated life AA-size batteries (2), 200 shots (alkaline)

Battery charged in camera No

Storage media SD/SDHC/SDXC Memory Card, MultiMediaCard, MMCplus Card, HC MMCplus Card

Bundled software ZoomBrowser EX 6.7/PhotoStitch 3.1 (Windows); CameraWindow DC 8.4 transfer utility; ImageBrowser 6.7/PhotoStitch 3.2 (Mac)

For its sub-$110 price, the A1200 is capable of turning out some excellent photos. But like most compacts, this really depends on how much light you have--the more, the better. At and below ISO 200, photos have great color and generally look sharp with good detail. At ISO 400, a sensitivity regularly used for shooting indoors without flash, photos get softer-looking, but noise and noise suppression are well balanced making 4x6 prints possible. There is a noticeable increase in noise at ISO 800 resulting in faint yellow blotches, and colors start getting slightly washed out. They're still pleasing enough for Web use at small sizes, though. However, everything that happens at ISO 800 increases at 1,600; use it for when you absolutely need to control motion blur and don't have a enough light or can't use the flash. Basically, this camera is great with a lot of light and very good indoors with bright lighting and/or a flash, but I wouldn't recommend it for regularly shooting in low-light conditions.

Sample photos: Canon PowerShot A1200

Sample photos:

Canon PowerShot A1200

There is slight barrel distortion at the wide end of the A1200's lens and maybe a hint of it with the lens in telephoto, too. Center sharpness is very good, and though it softens a touch as you move out, it was still remarkably consistent edge to edge and in the corners compared with other budget cameras I've tested. Also, there was very little fringing in high-contrast areas of photos.

Color performance is excellent from the A1200: bright, vivid, and accurate. Exposure is also very good. Highlights will blow out on occasion. The auto white balance indoors is a little warm, but otherwise it's good and you can always take advantage of the presets or manual white balance if you're not happy with the results.

Video quality is on par with a basic HD pocket video camera; it's good enough for Web use and nondiscriminating TV viewing. Panning the camera will create judder that's typical of the video from most compact cameras, and you'll notice motion trailing on fast-moving subjects. The zoom lens does not function while recording, but you do have a digital zoom; I suggest not using it as the results are not pleasant.

General shooting options Canon PowerShot A1200

ISO sensitivity (full resolution) Auto, 80, 100, 200, 400, 800, 1,600

White balance Auto, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Custom

Recording modes Program, Live View Control, Auto, Easy, SCN, Creative Filters, Discreet, Movie

Focus modes Normal AF (Face, Tracking, Center), Macro, Infinity

Macro 1.2 inches (Wide)

Metering modes Evaluative, Center-weighted average, Spot

Color effects Vivid, Neutral, Sepia, Black & White, Custom (contrast, sharpness, and saturation)

Burst mode shot limit (full resolution) Unlimited continuous

Shooting modes are geared for point-and-shoot use, so no semimanual or full manual modes. The most control you get over settings is in Program mode, letting you select things like white balance, ISO, and metering. It's also the only mode with access to the camera's My Color options like Vivid and Sepia, as well as a Custom option with adjustments for contrast, sharpness, and saturation. On the other hand, you have the new Live View Control mode, which enables you to adjust brightness, color, and tone with onscreen sliders and see what the photo will look like as you make the changes.

If you just want to point and shoot, there's Canon's Smart Auto, which determines the appropriate settings based on the scene you're shooting. An Easy mode works similarly, but it heavily limits settings. There's a new Discreet mode, too, that shuts off all sound and lights so you can shoot without accidentally disturbing the subject or those around you.

The Scene mode has all the usual suspects: Portrait, Landscape, Kids & Pets, Low Light, Beach, Foliage, Snow, Fireworks, and Long Shutter (exposure settings from 1 to 15 seconds). Oddly, there's no panorama option, which is a pretty popular option these days. Canon does include its Smart Shutter option in the Scene mode, though, providing a smile-activated shutter release and Wink and Face Detection self-timers. Wink allows you to set off the shutter simply by winking at the camera, and with the Face Detection option, the camera will wait until it detects a new face in front of the camera before it fires off a shot. Both work well. Also, since there is no optical image stabilization, there is a Blur Reduction mode that captures 2-megapixel photos using a high ISO sensitivity to keep shutter speed as fast as possible.

Canon's Creative Filters are now all located under a spot on the mode dial, where you can select Toy Camera Effect, Monochrome, Super Vivid, Poster Effect, Fish-eye Effect, and Miniature Effect. While some may find these to be a bit goofy, they can be a lot of fun to play with, if only to add some interest to what would otherwise be a boring shot. I particularly liked the results from the Toy Camera Effect, which has Standard, Warm, and Cool settings.

If you like to shoot close-ups, the A1200 can focus as close as 1.2 inches from a subject. The 12-megapixel resolution allows you to inspect fine details, but they're still a little soft and could use some sharpening with photo-editing software. Also, the f2.8 aperture does create a shallow depth of field in macro, which can make for some nice photos.

Shooting performance is overall slow. From off to first shot takes 2.4 seconds. The wait between subsequent shots averaged 3 seconds; using the flash basically doubles that time. Shutter lag--the time from pressing the shutter release to capturing a photo--is 0.5 second in bright lighting and 0.9 second in low-light conditions. The continuous shooting speed is pretty slow, too, at 0.7 frames per second with focus and exposure set with the first shot. The performance might not be a problem if most of your photos are of stationary subjects. But, if you're trying to capture active children and pets or sports, it'll be tricky to get the shot you want with this camera.

Canon has improved the fit and finish of the A-series cameras for 2011. For as inexpensive as the camera is and being made almost entirely of plastic, the A1200 still looks good. Its two AA-size batteries add weight as well as allow for a wider grip on the right side. The optical viewfinder is, again, a rarity on an entry-level compact. The area visible is about 80 percent of what will be in your image, but it's very nice to have. The 2.7-inch LCD covers 100 percent, and is bright with good color, should you want to use it for framing instead.

The controls and menus are straightforward, too. The buttons are flat, but they're big and easy to press. Plus, a display button allows you to quickly shut off the LCD so you don't waste battery life when using the viewfinder.

On the right side is a Mini-USB port for connecting to a computer as well as an AV output for an optional AV cable and DC in jack for an optional AC power adapter. The battery and SD memory card compartment is in the bottom of the camera behind a locking sliding door. Battery life is average with alkaline batteries; you get about 200 shots. However, you can extend that count greatly by only using the viewfinder or switching to NiMH rechargeable batteries.

Conclusions The Canon PowerShot A1200 is an excellent option for those just looking to take a good snapshot. After slowly watching optical viewfinders disappear from Canon compact cameras (and everyone else's), it's great to see one available on something other than a high-end camera. The convenience of AA batteries is a plus, too. And although some will miss having full control over shutter speed and aperture, they're of limited value in this camera. Instead you get the additions of the Live View Control and Creative Filters modes that let you do some cool things with little or no effort. As long as you don't need speedy shooting, it's a bargain.

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Canon EOS 100D Review

Though it essentially uses the same body as the 450D, it shaves a couple of grams of the weight; it only weighs 450 grams. Its smooth, plastic body still feels a little on the cheap side, and we're not crazy about the grip. We can't quite put our finger on the reason; it's not especially shallow, and Canon has improved it over the 400D's by giving it a more rubbery-feeling cover. Still, we don't find it as comfortable to hold as most other dSLRs. Almost all the buttons lie under your right hand, and each feels slightly different so that you can grope them without looking. None require two-handed operation; when you push the button to change ISO, white balance, metering and so on, the menu persists while you navigate the options.

The biggest operational advantage the 1000D offers over competitors is My Menu, which, unlike some other features, it inherits from higher-end models. With My Menu you can build a go-to-list of the most frequently accessed menu settings — in our case, for instance, Format and Live View settings. However, like the 450D, the menus can be — irritatingly — a little inconsistent and sometimes dumb. For instance, you can change ISO sensitivity with either the dial or the navigation buttons, but can only navigate metering choices via the navigation buttons. Also, in some cases, when you have two columns to navigate, as with Picture Style settings, it doesn't let you navigate to the right or left; you must navigate all the way down the first column to get to the settings in the second.

But, we consider the AF indicators in the viewfinder the most annoying aspect of operating the 1000D (this was true in the 450D, as well). The AF indicators are tiny red dots that briefly flash when focus locks. They're neither persistent nor large enough to be easy to spot, so we frequently found ourselves having to prefocus several times to make sure that the spot was on the correct subject and that it was focused. As you can imagine, it slows shooting a bit. Is it more annoying than the faint focus lines Sony uses? We think so.
Features

For the most part, the 1000D offers a solid set of entry-level specs: 10-megapixel, APS-C-size, CMOS sensor (for Canon's traditional 1.6x focal-length multiplier) and 7-point user-selectable autofocus system. That falls behind the Nikon D3000's 11-point AF system and the 9-point AF in the Sony Alpha DSLR-A230. We also mark the switch from CompactFlash to SD/SDHC in the plus column. Also, like the 450D, the 1000D includes Canon's Auto Lighting Optimiser, which automatically adjusts contrast and brightness in case the image you captured isn't quite perfect. Introduced in the 40D, the Auto Lighting Optimiser is now available in all exposure modes and employs face detection to prevent the underexposure of backlit faces we complained about in the 400D. Remaining specifications are in line with the 450D. For example, shutter speeds range from 30 seconds to 1/4000th of a second, with a flash sync speed of 1/200th of a second, and the camera employs a 35-zone TTL-metering system. Canon also offers the BG-E5 battery grip. On the other hand, the 1000D lacks common perks Sony, Pentax, and Olympus include in their cameras, like in-body mechanical stabilisation and a wireless flash controller in the body — a feature that we occasionally find quite useful. The inclusion of an image-stabilising lens in some of the kits doesn't quite compensate, since additional optically stabilised lenses tend to cost more in the long run. The 1000D's sensitivity range also tops out at ISO 1600, whereas some others go to ISO 3200 (but those models generally don't have usable photo quality at that level). Though it offers a Live View shooting mode with contrast-detection AF, Live View's usefulness is limited without support from an articulating LCD, and it functions too slowly to be of any use with live subjects. Furthermore, all the manufacturers seem to incorrectly think that the equivalent of Canon's Picture Styles — custom contrast, sharpness saturation and colour tone — are more important in this market segment than the capability to save groups of custom exposure, white balance, metering, drive-mode settings, and so on. Our biggest peeve, though, is the lack of a spot meter — not even the huge four per cent spot from the 450D. Another attribute of the 450D that the 1000D lacks is the Highlight Tone Priority mode, which helps preserve detail in the brightest portion of a scene. And the 1000D has a 2.5-inch LCD compared with the 450D's 3-inch version — the A200 and K200D have 2.7-inch LCDs. Performance Overall, in CNET Labs' tests the 1000D outperforms all but the Nikon D60 for shooting speed. It goes from power-to-photo in a bit less than 0.2 second. At 0.4 second in good conditions, the 1000D's JPEG-shooting lag matches the rest; its 0.8 second duration in dim conditions is quite good for any class — just a bit slower than the D60 and inexplicably far better than the 450D. Once focused, shot-to-shot time typically takes about 0.7 second for RAW shots. Oddly, JPEG shooting is a much faster 0.4 second — these days there's typically no difference between RAW and JPEG speed in dSLRs. Adding flash-recycling time bumps it to only 0.8 second, which is also very good for any class, and is the same as the D60. Burst JPEG shooting outpaces all but the K200D, however that camera is limited to about five shots per burst whereas the 1000D goes to at least 85. It's pretty close to the D60's burst rate, however. Shooting RAW slows down after three frames and, like the 450D, maxes out at six frames; you'll have to move to another class of camera if you take shooting your childrens' soccer games really seriously.

Image Quality

The 1000D's only really obvious advantage over the competition is its photo quality, which is quite good, especially at high ISO sensitivities. In general, colour and exposures are accurate (as accurate as you can get when the situation doesn't require a spot meter), it renders a relatively broad dynamic range, and the kit lens delivers sharp photos for its class.

Conclusion

All of which leads us to two burning questions: is it worth the extra bucks for the 450D over the 1000D? And how does the 1000D stack up overall compared with its sub-AU$1,000 competitors? As to the first: if you crop a lot, need a spot meter, or merely want the larger LCD, then it's worth paying a little extra for the 450D; otherwise, the 1000D will probably serve your needs well. For more information, check out our Which Canon digital SLR? feature. And if you want the best photo quality and/or need fast, low-light focus, the Canon 1000D outshines its competitors. However, it doesn't deliver the best value for the money overall; that nod goes to the Pentax K200D. You can read more about the competition in Best digital SLRs for beginners.
 

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Nikon D5000 Review

Nikon jumped on the consumer digital SLR/HD video bandwagon this morning but with a slight twist – not only does its new 12.3MP D5000 snap photos and capture high-def movies, it also sports a unique 2.7-inch flip-out LCD screen.
Along with the vari-angle screen, the new Nikon D5000 trumps the recently announced Canon EOS Rebel T1i (500D) in one other area – price. Retailing for $849 as a kit with a NIKKOR 18-55mm VR lens – $749, body only – the D5000 is about $50 cheaper than the 15.1MP Rebel T1i.

Otherwise though, the two cameras have some similar features and are targeted toward the same audiences – entry-level consumers – making the DSLR/HD combo-cam one of the hottest categories in photography right now. Up until recently, these types of two-in-one DSLRs were aimed mostly at advanced users and professionals.
Along with its similarities to the Canon Rebel T1i, the Nikon D5000 has a lot in common with the entry-level Nikon D60 which is staying in the line; and the aforementioned Nikon D90, which shares the same DX-format (aka non-full-frame) sensor.

(I'm told the Nikon D40, which was released way back in 2006, will also be staying in the line. If you're looking for a bargain, that 6.1MP, entry-entry-level camera is now selling for as low as $400 for the kit.)

The D5000's small black body has a lot in common with the D60 which, if you have small hands, might be appealing. Large-handed folks such as yours truly aren't so thrilled with these tiny DSLRs though.

While carrying the camera around yesterday, I almost felt like I was holding a dainty teacup. But that's just my own pet peeve. It's clear that Nikon is aiming the D5000 at entry-level females photographers, such as new moms, who will likely find the camera's petite profile easy to hold and inviting. (Though it's been about a month since I shot with the Canon Rebel T1i – which is also a small camera – the D5000 feels smaller.)

Despite its small size, the D5000 is a powerful, feature-rich camera. Along with all the previously mentioned specs, the D5000 can capture still images at a fairly fast speed of 4 frames per second, making this a solid choice for Soccer Moms and Soccer Dads wanting to capture their kids in action.

As for the D5000's 12.3MP CMOS imaging sensor, I'm told it's exactly the same as the one in the prosumer-level Nikon D90, which is Nikon's other DSLR/HD combo cam. So in many ways, the D5000 is a hybrid of a hybrid; blending entry-level and advanced digital SLR features while offering the ability to capture high-resolution photos and HD (720p) video at 24 frames per second.

And then, of course, there's that twist – the flip-out screen which can be turned below the camera for capturing low-angle photos via the D5000's Live View mode, and low-angle HD videos in D-Movie mode. The screen can't turn and twist to the side of the camera as on some of Olympus' digital SLRs which have vari-angle LCDs, but it can tilt from the back of the camera to help you compose photos when shooting overhead.

Since Olympus' DSLRs don't capture video, the Nikon D5000 now has the distinction of being the only DSLR with a vari-angle screen which can also shoot HD video. A bit of a small niche, perhaps, but it is a first.

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