Canon EOS 7D-front. The 7D is shown here with built-in flash ready for action, with EF-S 15-85mm lens attached. I hadn't worked with this lens, but the camera itself should be a model for future EOS designs. Canon photo.

I was all set to begin this review with a diatribe about all the negatives pertaining to movie shooting and Live View, but then thought better of it and opted to take the journey into 7D-dom with a positive foot forward.

When you look at the real meat and potatoes inside this machine, you’ll discover, as I did, that when you peel back the movie capture veneer, the Canon EOS 7D is a very capable DSLR. That’s especially true when it comes to capturing breaking action, owing to a highly responsive, albeit not flawless, AF system coupled with an even more responsive shutter release. There-I took the high road. Too bad Bob Hope isn’t around to do the movie version: “The 7D Road to Bali, the Musical.“ I could even write the music and lyrics.

On the Outside

Canon 7D-top. One of my favorite features on Canon DSLRs is the shooting mode dial on the left. It does away with otherwise having to resort to the LCD plus function button. Shown with EF-S 18-135mm lens (not tested). Canon photo.

The interface on the 7D should be familiar to current EOS D-series users, so adding the 7D as a backup to a late-model 5D or 1Ds shouldn’t put you too far back on the learning curve. Although it would benefit you to mate this camera with lenses designed for the Canon APS-C/EF-S mount to get the most from the matched combo in terms of optical performance.

If this is your first foray into Canon EOS-dom, then expect to spend some time with the manual-just so you can trick this baby out to do your bidding. I’ve never really found any Canon EOS to offer any stumbling blocks to immediate use right out of the box. However, I do find myself turning to the manual on occasion to customize some of the functions, particularly to put myself on surer footing. Of course, as with any new camera, don’t stray too far from that little booklet: You may encounter unanticipated situations that require further finessing of the 7D’s parameters.

I do feel that some of the function buttons on the 7D could be more clearly labeled. In point of fact, I prefer the physical interface on my D300, which would be the Nikon counterpart to this camera, if somewhat lower in resolution. I simply prefer the arrangement of buttons and controllers on that camera to what we have on the 7D. But one can easily take the opposing viewpoint if you’ve been working with Canon D-series cams all this time.

Canon 7D-back. Here you can see one of the many menu screens, this one governing the 580EX II flash seated in the hot shoe. Canon photo.

As for the Main Menu, I feel that the Nikon screens on my D300 are easier to navigate. I just find jumping across numerous screens in the 7D to be confusing. But again, that’s a judgment call. You could easily argue that it simplifies navigation, replacing the need to scroll through countless menu options.

The top panel surrounding the data display gives you four function buttons huddled together above the display, plus one more button and a dial behind the shutter release. Except for the data illumination button, the three others above the display are dual-purpose. I gotta tell ya, I’m not a fan of dual-purpose buttons. One dial controls one parameter, the other the alternate parameter.

Problem is trying to decipher which does which. Okay, well maybe there is a logical system here-when you stop to figure it out. The function on the left corresponds to the wheel in front (behind the shutter button); the function to the right goes with the dial in back. Yeah, so it’s not rocket science, but I don’t always carry my pocket-edition “Logic Will Out” by Spock (an entertaining read for all my fellow Star Trek fans, by the way).

The Live View/Movie controls are found to the right of the optical finder, which features a comfy rubber eyecup and dioptre adjustment dial in the upper right. The camera icon signifies Live View for still capture, whereas the movie camera icon to the left obviously represents movie shooting. The Start/Stop button is for movies. One other button you might want to become familiar with is AF-ON, to help you target the subject. But a word of caution: when shooting movies, set focus first. Otherwise the camera searches for a focusing target and totally throws the movie out of whack.

The textured grip is ergonomically designed, with a likewise textured thumb-rest for a surer grasp. Physically, the camera is built to take some punishment, in terms of the elements: It boasts a magnesium body with dust and weather sealants. More importantly, it feels solid and worthy of that $1700 price tag (give or take). The 7D, as Canon’s flagship APS-C model, has almost made me forget the Rebel T1i, although, at less than half the price, that more modest DSLR remains a tempting tidbit.

Rockefeller Center Christmas Tree. A Christmas in New York album would not be complete without a shot of the tree, the largest ever at Rockefeller Center. For this Manual exposure with the 17-55mm IS lens at 17mm, I used an exposure of f/4 and 1/15 sec, handholding the camera-image stabilization engaged. I had to boost highlight levels to bring up the tonality of the ice skating rink. ©Jack Neubart. All rights reserved.

On the Inside

The EOS sports an 18 MP CMOS sensor. Which means it provides ample room for cropping. Granted, it does fall a bit short of the 21.1 MP resolution of the 5D Mark II, its big brother, if you will, but at considerably lower cost.

The camera also boasts dual Digic 4 processors (like the new 1D Mark IV), which places it one step above the 5D Mark II. The 21.1 MP 1Ds Mark III employs Digic 3. The Digic processor is the firmware basically in charge of all that magical mumbo-jumbo that we tech-heads like to go on about. If the CMOS sensor is the heart, then Digic is the brain-both working in tandem.

Out of the box, this camera can reach burst speeds of up to 8 fps and up to 15 continuous RAW captures (126 large/JPEGS) on a UDMA CF card (not bad when you consider that the much higher-priced 1D Mk4 goes to 10 fps, albeit permitting more frames to be shot before filling up the buffer-and way more than the piddling 3.9 fps on the 5D Mk2). In fact, aside from the full-frame sensor benefiting the 5D, that camera appears to be eating the 7D’s dust on numerous levels. By the way, in terms of burst rates, the 7D beats out the Nikon D300S by a nose (up to 7 fps on the Nikon, with standard battery).

The camera uses 19 cross-type focusing points designed to respond to subjects (especially movement) along the horizontal and vertical axes. To optimize focusing at maximum aperture, notably with fast lenses, the AF system includes dual diagonal cross-type sensors. I got further clarification from Canon on what they refer to as dual diagonal cross-type sensors that are also employed: “The center point is a dual cross-type sensor that is sensitive to both vertical and horizontal lines and compatible with both f/5.6 and f/2.8 lenses.” As I understand it, these dual sensors are optimized for fast lenses and thereby are more sensitive to movement and hard-to-focus subjects under varying light conditions.

ISO settings range from 100 to 6400 (expandable to 12,800). Canon has also upped the ante on the metering system incorporated into the 7D. As they explain: “The EOS 7D features a new, 63 zone dual-layer sensor designed to complement the 19-point AF system. By taking into account the color and luminosity surrounding chosen AF points, this new system delivers an entirely new level of accuracy for better results even in difficult lighting situations. Since the metering sensor has a color measurement function, exposure errors and focus errors caused by different light sources are minimized; the EOS 7D gives stable exposure from shot to shot in situations where light changes, such as in a theater or concert hall. This makes the EOS 7D ideal for scenes with extreme difference in brightness such as brightly lit scenes or backlit scenes; the camera balances exposure of the main subject at the background, and exposures are not overly influenced by bright areas in the shot.”

As even further clarification, Canon provided me with this information regarding the dual-layer sensor: “The sensor’s light receiving component has two layers. The upper layer detects the amount of light in the Blue/Green wavelengths and the lower layer detects the amount of light in the Red/Green wavelengths.” Well, that’s the hype. Read on for the rest of the story.

Metering and Shooting Modes. I photographed the Brooklyn Diner and Radio City Music Hall with the 7D in Programmed autoexposure mode, while I captured St. Patrick's Cathedral by setting the camera to Manual. For the diner I used a +1.33 EV override (f/2.8, 1/20 sec), and +0.67 EV for Radio City (f/2.8, 1/15 sec). Switching to Manual (f/2.8, 1/4 sec) did away with trying to second-guess exposure overrides. Camera was set to ISO 400 for each exposure, with image stabilization on the lens switched on. ©Jack Neubart. All rights reserved.

Movies and Live View

I absolutely refused to get involved with Live View and movie shooting on the Canon EOS 5D Mark II. And perhaps that was a good thing. Because movie shooting was practically my first entanglement with the EOS 7D the moment I stepped out the door with this camera. And that was likely a big mistake, tainting my impression of the 7D at the outset.

What Canon – and everyone out there who buys an EOS camera largely on the merits of movie shooting – fails to realize is that this is not the camera’s strong suit. In fact, it’s the weak link that begs the question: Why even bother with it? I know, you’re going to tell me there’s one person who made a big splash producing a video with an EOS. Whoop-de-do!

If you read the credits, you’ll see it was a major undertaking to squeeze out that quality from these cameras. And if I’m not mistaken, each “scene” was carefully staged to minimize focusing, exposure, and white balance variables. The end result was a highly polished production that does indeed rival anything produced with a commercial digital video camera.

Pro photographers might use movie capture to record sets and lighting. However, for most of us, the movie capture feature is just a way to record special moments with family and friends or snippets of vacations. Shooting your entire vacation with this camera will likely prove a disappointing experience. And you’ll find you’ve burned through your memory cards just when that rare moment happens, as baby takes its first steps.

Much of the woes behind movie shooting reside in Live View capture. It’s just not up to the task, at least where this camera is concerned. Admittedly, some other cameras do a much better job of movie shooting and Live View operation, so I won’t say, don’t buy a still digital for its movie or Live View feature. What am I really saying? Buy a 7D not in hopes of becoming the next Otto Preminger or Steven Spielberg but because you need a high-quality still camera.

Lenses Tested

You might think that Canon is supporting its APS-C lineup with a whole slew of lenses, but when you look more closely you realize that ain’t the case: There’s only a smattering of EF-S lenses, mostly standard zooms, plus one ultra-wide zoom, one telephoto zoom, and a macro. Canon definitely needs to get on track with this series of optics. For this review, Canon sent me the EF-S 17-55mm IS and EF-S 18-200mm IS, as I’d requested-I wanted lenses that would cover a wide range.

EF-S 17-55mm IS lens. Fairly well constructed mechanically, this lens does suffer from lens creep. Optically it receives a passing grade. Canon photo.

EF-S 18-200 IS lens. Despite its serious tendency toward lens creep and a few other shortcomings, this lens did prove itself when confronted with breaking action. Canon photo.

Both lenses tested with the 7D feature Canon’s proprietary Image Stabilization (IS). I didn’t specifically set out to test IS in these lenses, but from shots taken with the shorter zoom, IS wasn’t all that effective: I was lucky to squeeze out an extra two stops before camera shake hit; rarely three stops.

By the way, you should be prepared for the 1.6X sensor factor that internally crops your images. Not a problem (and some see it as a benefit-myself included) when it comes to telephotos, but a serious drawback when working with wide-angles-my old full-frame Canon fisheye purchased just for the 5D has now lost a good deal of its allure.

From a mechanical perspective, the 17-55 is the superior lens. While both suffer from lens creep, the sheer force of gravity grabs hold of the 18-200 lens barrel, preventing it from remaining in a fixed position the moment the lens is tilted downward. It definitely needs a zoom lock, which is absent on both lenses. At least on the 17-55, when the lens barrel is fully retracted, it remains stationary. It’s only when you zoom the lens out that lens creep sets in.

Using the Built-in Flash. I was in Times Square one evening when I came upon this popular cartoon character posing with tourists. I employed the camera's built-in flash, with the 17-55mm lens and lens shade attached. Note that the lens/shade combo blocks the flash. Exposure made with the camera in Manual mode. ©Jack Neubart. All rights reserved.

My other problem with the 18-200 lens is that it does not come with a lens shade-which is the case with practically all non-L-series Canon lenses. Lens flare can be a serious problem, so watch for bright light sources when shooting.

The slower maximum aperture and DC focusing motor on the longer lens did not appear to impede AF tracking response. Continuous tracking was more important with this lens than with the 17-55, since my primary objective here was sports activities. With the wider lens I focused on more stationary targets, largely architectural and landscape elements. The camera’s native phase-difference detection AF system certainly proved more capable than contrast detection employed by Live View.

As for manual focusing, I had little occasion to use it with either lens. The longer zoom has a very inconveniently positioned, thin focusing ring at the front edge of the lens. When manually focusing this lens, set the switch to M-otherwise you’ll experience considerable resistance, as of gears grating, even though you may see the focus shift as you rotate the ring: The lens does not support manual override during AF operation.

The arrangement of focusing and zooming rings on the 17-55 is just the reverse. This shorter lens features improved manual focus control that works when the lens is set for either M or AF, while employing Canon’s USM (Ultrasonic motor) for quieter and smoother autofocusing. Both lenses feature internal focusing, which means you can use a polarizer without worrying about having to realign the filter after focusing.

Aside from that, both lenses performed fairly well from an optical standpoint, although the 17-55 did impress me as being a tad on the soft side. More to the point, both lenses exhibited fairly noticeable vignetting wide open, but it was less disturbing in everyday shooting (just watch for it in clear skies and monotones).

Inside St. Patrick's Cathedral. I photographed this NYC landmark shortly before Christmas, with the 7D and 17-55mm lens-handheld, with image stabilization engaged, all at ISO 400. Vertical: available light, f/2.8, 1/15 sec, at 35mm (= 56mm in 35mm equivalent). Verticals with lens tilted upward: here I shot by available light and then flash (apparent by all the brightly lit backs of heads), with the lens at 17mm (= 27mm) and an available-light exposure at 1/10 sec (1/60 with flash). Horizontals: even bounce flash (evident with the bright vaulting arch framing the sculpture) was not an ideal solution, and the existing lighting proved to be a better choice. The flash used was a Canon 580EX. ©Jack Neubart. All rights reserved.

Does It Make the Grade?

The Canon single-digit D-series cameras have always stood for top-of-the-line products. So we can expect nothing less of any other Canon EOS model that bears this moniker.

The Canon EOS 7D is remarkably noise-free, from a practical standpoint. Digital noise is either indiscernible or barely so at ISO levels through ISO 800. Luminosity noise is certainly well-controlled. And you just start to get a feeling of color noise peeking out at you at ISO 1600-but you really have to be looking for it. Color noise starts to become more seriously observable at ISO 3200, and you may find it objectionable at ISO 6400.

Digital Noise. Here you can see noise levels, which are practically non-existent at low ISO levels, but increase exponentially as we hit the highest light sensitivity levels. Color noise in particular is evident at ISO 3200 and most apparent at ISO 6400. These are actual-size cropped sections. ©Jack Neubart. All rights reserved.

However, I’d say it was still within acceptable tolerances, especially for an APS-C sensor. The 7D’s noise levels are higher than those found in the 5D Mk2, notably at the highest ISO levels. I judged noise in the 5D Mk2 at ISO 6400 to be roughly equivalent to that found at ISO 3200 in the 7D. However, I’d still choose this camera over many competitors, were I choosing on the basis of noise levels alone. And considering the 7D’s feature set in general and lower cost, I’d pick it over the 5D Mk2, unless I really needed that camera’s full-frame sensor and those few extra megapixels.

The shutter button on the 7D has a hair-trigger response, which, if I recollect correctly, aligns it closer to the flagship 1Ds than the 5D (but don’t hold me to that-been a while since I worked with either). Either way, it was certainly responsive enough when shooting sports activities-and that’s what counts. Granted, this may not be your first choice for action photography, but it does a commendable job (that’s why they built the 1D Mark IV).

Despite dual Digic chips, I can’t say that I saw a tangible improvement in white balance performance. Camera technology tries to emulate the human neuro-optical system, but it has a long way to go. The same goes for exposure. I found myself making the same judgment calls as with any other camera, overriding auto exposures where necessary and even switching to manual on occasion. There is a further issue with the camera correctly evaluating and capturing contrast-and here we still need to make manual adjustments in post. But the 7D is not alone where any of this is concerned.

I just wanted to show Saks Fifth Avenue and St. Patrick's Cathedral in relation to each other. You'll see Saks featured in my Light Show Christmas video on Vimeo. ©Jack Neubart. All rights reserved.

In Conclusion

Canon did lots of things right with this camera. But most importantly, if you think you’re sacrificing a clean noise-free image to save a few bucks, think again. The Canon EOS 7D makes no compromises. In many respects it flies past the 5D Mark II.

The only drawback to the 7D is the range of available Canon lenses, notably at the wide end. Fortunately, third-party manufacturers, namely Sigma, Tamron, and Tokina, are stepping up to the plate and filling in any gaps. And Canon’s own EF-S 10-22 and EF-S 60mm macro are lenses worth owning right out of the gate. As for the lenses, the test sample 17-55 is kind of pricey and proved to be a tad on the soft side.

Mechanically, I found the 18-200 vastly inferior to anything I’d worked with from Canon, but optically it’s more than acceptable. You could argue that because the lens has been around the block a few times (it wasn’t new when I got it), it’s to be expected. I argue just the opposite: The lens should have staying power.

You’ll note I avoided ending with a mention of movie shooting. Oh darn, I went and did it anyway! By the way, just to be fair, I did produce a short movie using clips and stills captured with the 7D. The movie focuses on Christmas in New York City and is available on Vimeo:

I trust you’ll enjoy it. Comments are certainly welcome. Just remember: I didn’t set out to produce something to be entered in the Cannes, Toronto, Tribeca, or Sundance film festival, although feel free to enter it as a nominee.

NEWS FLASH. Canon’s EOS E1 video plug-in for Apple’s Final Cut Pro was just released. According to Canon, “This new plug-in allows simple and easy transfer of video content from Canon’s EOS DSLR cameras directly into Apple Final Cut Pro. The EOS E1 video plug-in takes advantage of Final Cut Pro’s powerful Log and Transfer feature, which allows users to select and mark the video directly while it is still on the camera, add custom metadata and ingest the clips in the background so the editing can begin immediately.”

The EOS E1 video plug-in is a free download available at Apple http://www.apple.com/downloads/macosx/finalcutstudio/. The plug-in is compatible with Final Cut Pro 6 or higher and currently supports Canon EOS 5D Mark II, EOS 7D and EOS 1D Mark IV cameras.


Verdict: Buy the Canon EOS 7D for its awesome still capture capabilities. This DSLR is hard to beat in an APS-C camera. But, aside from the Canon 10-22 and 60 macro, you might want to look elsewhere for APS-C lenses. I was not blown away by the 17-55 IS and 18-200 IS lenses that I tested-lens creep being a chief concern, especially in the longer lens.

Amateur Football with Continuous Autofocus. I captured this series with the 7D and 18-200mm IS lens with the lens at 200mm (= 320mm) for most shots, except the tackle (lens at 130mm). Note the rapid sequence-do you really need a faster burst rate? I had to adjust white balance for this entire series in particular. ©Jack Neubart. All rights reserved.

Additional Information and Technical Specifications

• For more information, visit: Canon USA

• For technical specifications, visit: Canon EOS 7D

• For prices and user reviews of this camera, check out: Amazon (about $1699) Canon EOS 7D 18 MP CMOS Digital SLR Camera with 3-inch LCD (Body Only); or B&H (about $1699) Canon EOS 7D 18 MP CMOS DSLR

• For prices and user reviews of the Canon EF-S 17-55mm f/2.8 IS USM, check out: Amazon (about $1060) Canon EF-S 17-55mm f/2.8 IS USM Lens for Canon DSLR Cameras; or B&H (about $1060) Canon EF-S 17-55mm f/2.8 IS USM Lens

• For prices and user reviews of the Canon EF-S 18-200mm f/3.5-5.6 IS, check out: Amazon (about $584) Canon EF-S 18-200mm f/3.5-5.6 IS Standard Zoom Lens for Canon DSLR Cameras; or B&H (about $595) Canon EF-S 18-200mm f/3.5-5.6 IS Lens

For that purpose, I want good high-ISO performance (but I may not need world-class). I also want a lot of cropably-delicious little pixels–for anything else I’ll do with the camera, I’ll have a tripod.

I don’t think of the 7D (as some have suggested) as a “bad upgrade to the 5D Mark II”, I think that misses the point of this camera entirely. I think of it sort of as a “1D lite” the way that the 5D Mark II is sort of a “1Ds lite”. Of course, I have yet to discover if the 7D lives up to that standard, but I have a few good first impressions.

First, let me share with you a few badly-controlled handheld shots from my living room. Before you go look, let me apologize that the 1600 image isn’t pin-sharp because of camera movement, you should be able to get a sense of the noise characteristics despite these flaws.

Canon 7D, "H" (aka ISO 12800), 100% Crop

Canon 7D, ISO 6400, 100% Crop

Canon 7D, ISO 3200, 100% Crop

Canon 7D, ISO 1600, 100% Crop

Images were converted using Adobe Photoshop Lightroom 3 Beta 1, with standard settings save for white balance. Those standard settings include some color noise correction but no luminance noise reduction, at least in terms of the settings provided. Whether these images are “good enough” for a particular purpose depends a lot on the specific purpose involved, but the ISO 12800 images compare favorably with the ISO 1250 results from the original Canon 1DS, which is still only about five years old.

Landing Approach

Still, I can imagine using the black and white conversions of the ISO 12800 images for a number of artistic uses, and by the time we’re at ISO 3200 I’m starting to think that with a little work I could make a good-quality, large-sized print from the results. Stop for just a moment and put aside the fact that folks are advertising cameras which can shoot at ISOs over 100,000, for many purposes this 7D is going to be more than sensitive enough and the 18 megapixel image leaves some room for cropping lower ISO images and still producing excellent results.

I have had less opportunity to really give the autofocus a workout, in part because a good deal of my own work doesn’t stress autofocus. Still, Landing Approach demonstrates what the camera can do. The shot was taken at at ISO with the Canon EF 400/5.6L at f/5.6 and 1/1000s (there is a bit of subject blur apparent). The pano-shaped image is a full-width crop from the 7D frame (in other words, about 5100 pixels wide); at 100%, the eye is in clear focus.

Whether the 7D will appeal to you depends a lot on your needs (and your pocketbook), but you can count me as (at least so far) very impressed. Good job, Canon!

Update: There have been some reports of ghosting during continuous shooting with the 7D. While I did not observe them myself, I do note that Canon has just released a firmware update (1.1.0) to correct the issue.

Canon EOS 5D Mark II + 16-35mm lens. This is a versatile combination, which proved itself street shooting in New York City, with subjects ranging from street scenes to candid portraits-even a celebrity sighting at a film premiere. Copyright ©2009 Jack Neubart. All rights reserved.

I remember when long intervals would go by before a new SLR was introduced, back when we were shooting film. Today, those intervals are growing remarkably shorter and shorter, although not short enough for some of us who eagerly await the next iteration. Technology, it seems, waits for no man or woman.

When the original, and very reasonably priced, EOS 5D came out, I bought it and chucked my APS-C Canons. I had heretofore resisted buying EF-S glass expecting to make this move one day. And while I’d considered the pricier 1Ds-series cameras, I felt that, for my needs, the 5D would do. In fact, for the same price as a 1Ds, I could buy the 5D and several lenses.

More to the point, I bought a Canon fisheye for starters, to take advantage of the full-frame sensor. So I felt like I had my cake and could eat it too. To top it off, all my Canon EF lenses would now be true to form. No more dealing with sensor factors. My wide-angles would be truly wide, although I did miss that extra boost my telephotos got with the 1.6X factor (applicable to Canon APS-C). But coming back to that fisheye, I now could take pleasure in that unique fisheye perspective. (Sadly, it wasn’t till I bought the Tokina fisheye zoom-for an APS-C camera, no less, namely the D300-that I truly began to exploit the possibilities of fisheye optics.)

With continued use, I could sense that there were certain features lacking on my original 5D, but I wasn’t really looking forward to upgrading too quickly. Besides, for me to take the plunge, a new 5D would have to be packing some serious new hardware-or software (technically, firmware).

Well, I’ve finally got my hands on the 5D Mark II. But is it all it’s cracked up to be, enough so for me to upgrade? Having tested the 1Ds Mark III adds another twist to this story. That 1Ds is a marvelous piece of machinery, if pricey. Should I continue to play the waiting game? Well, the only way to find out is to put the new 5D through its paces and see how it compares. (Unless otherwise noted, all references to the 5D henceforward are to the Mark II, just as references to the 1Ds apply to the Mark III.)

1Ds MkIII vs 5D MkII

While both cameras boast a 21.1 megapixel CMOS sensor, the similarities pretty much end there. There are obvious differences between the two cameras in size and heft, with the 1Ds-series always being the more robust. But aside from some functions we have yet to deal with on the new 5D and which are lacking in the more professional 1Ds, that camera does leave the 5D in the dust when it comes to autofocusing.

The 5D is as easily distracted as a horny teenager when a group of cheerleaders walks by. The big brother to the 5D, on the other hand, refuses to be distracted by subjects moving into the frame (unless you want it to via a custom function). For anyone photographing sports or capturing faces in the street, such distractions can prove annoying. More to the point, it can lead to missed shots. Hence, advantage 1Ds.

To me, this is the key difference, and I just wanted to get it out there for anyone still mulling over these choices or asking why I bothered with a review of the 1Ds Mark III so late in the game.
But if that’s not enough, the 1Ds’s resilient battery is another excuse to own this camera. And, if I hadn’t mentioned it, by comparison the hair trigger on the 1Ds gives it yet another advantage, no matter what you’re shooting. The 5D’s shutter button takes a little more effort to actualize an exposure. That hadn’t been a problem on my original 5D, but now that I’ve experienced the 1Ds, it becomes noticeable.

Okay. Enough about the 1Ds. We’ve come to talk about the 5D Mark II, so let’s commence.

Interface

5D Mark II - top panel. The changes here are also subtle, but you will note that the hot shoe has gone from black to silver on the new model, which shows less wear and tear. Copyright ©2009 Jack Neubart. All rights reserved.

You’d be hard-pressed to immediately point out the differences between the 5D and 5D Mark II on the surface, aside from the obvious larger LCD on the new model. But look closer and you’ll see new buttons and a slight reconfiguration of the button array.

But before I get into the function buttons, I have to remark on the shutter release. While this button doesn’t appear any more responsive on the new camera than on the original 5D, it has been very slightly repositioned-but enough to make it a truly ergonomic fit. I don’t feel as if my index finger is being twisted out of joint. It’s nestled in there, perfectly at home-and that’s as it should be.

In the move toward improved ergonomics, Canon also saw fit to move the LCD illumination button to the right, immediately behind the upper dial. But why they reconfigured the pairings of functions for the other buttons located next to it is beyond me. If you haven’t worked with the 5D, then no matter. If you have, this may take a little getting used to.

One of the features I like in Canon DSLRs is the mode dial. This dial makes it easy to switch shooting modes on the fly, with your left hand. The new dial adds more custom settings-not that I’ve ever used the custom settings on my own 5D. I like the idea of having multiple custom mode settings-three on this camera, but I can never remember which one is which, so it seems moot, unless you use it regularly.

On the back are the multi-controller, the thumbwheel, and the set button-all with lots of functionality. And what you will find especially welcome is that by pressing the multi-controller, you bring up a screen with all key functions displayed on the large monitor, which saves you from having to look for the individual buttons-not that they’re especially hard to find, but it is nice to have control centralized on this screen. Now it just becomes a matter of using the right combination of dials, controller, and set button to navigate and select them.

The Jump button on the back has been replaced with the Picture Style button. Picture style is a feature that I don’t normally use, so it’s wasted on me. And Canon has rearranged all the function buttons back here on the left, so that the delete button lines up with the rest (at the bottom). I actually preferred having it set off from the others, so it was easier to locate by touch. So without that Jump button, how do you jump from one menu screen to the next? Well, stay tuned…

A distinctly new AF-on button joins the two original buttons (governing sensor array and AE lock) at the top, behind the LCD panel. This button comes in handy in that it lets you separate AF from shutter operation, potentially speeding up the camera’s response time.

Soccer. I had just put camera to eye when I saw this action unfolding and quickly released the shutter (ISO 800/1/800 sec; shutter priority). While AI Servo (continuous AF) didn't work in every instance, notably when someone stepped in front of the camera, there was nothing to distract the sensor from capturing this moment. I did do some cropping, since I stood a bit far from the action, even with a 200mm f/2.8 lens. As for the doggie shot, well you can see the tie-in: to the victor go the spoils. This was another grab shot with the same lens. Copyright ©2009 Jack Neubart. All rights reserved.

Menus & Color Monitor

The real startling difference makes itself apparent when you switch on the menu. Now, instead of having to scroll through the menu options, or using the aforementioned jump button, you jump from one screen to the next with the aid of the main dial behind the shutter button.

The thumbwheel on the back scrolls through the options on each screen without you first having to activate that screen, speeding up the process and making it more user-friendly. Beyond this point, you’ll have to fall into a routine, since it seems that the multi-controller and set button can be used interchangeably. So make it a habit to use one or the other and avoid confusion.

But the real startling aspect of all this is the plethora of screens. Now, instead of simply three sub-menus, you have nine distinct sub-menu screens. The last one of these is My Menu, where you can go to quickly access your most frequently used menu options. So if it’s starting to look as if they’ve redesigned the 5D to make it more user-friendly, you’d be on the mark-Mark II, that is.

5D Mark II vs. 5D - menu/back panel. The back may not appear that different on the two cameras, but the menus and LCD scream "notice me!" (you'll get the "scream" part when you get to the later shots). Copyright ©2009 Jack Neubart. All rights reserved.

A typical night in New York City. It turns out that the movie Zombieland was premiering nearby and everyone came dressed for the occasion. I obviously used flash (Canon 430EX) for these shots. The 16-35 lens was at 16mm for the "I almost got bit by a zombie" shot; 35mm for the others. Copyright ©2009 Jack Neubart. All rights reserved.

Celebrity sighting. Actor Woody Harrelson entering the movie theater for the premiere of his new flick Zombieland. I know, he's not exactly in focus, but I didn't have time to do more than raise the camera above the heads of the crowd and hope for the best. As it turns out, he's very amiable, to the point of shaking hands with fans. Copyright ©2009 Jack Neubart. All rights reserved.

EF 16-35mm f/2.8L II USM Lens

While fast lenses have the advantage of speed, they come at a cost. When you add the price of this $1500 lens to a $2700 camera, it certainly begins to add up. On the other hand, the lens will stay with you for a very long time (and may lose little resale value), whereas you may be swapping out the camera in two or three years. So, in my book, a good lens is a better investment than a camera body.

The other price you have to pay is size and weight. At 4.4 in. and 22.6 oz., this lens is long and heavy in comparison to the 17-40 f/4 (3.8 in./17.6 oz.), not to mention twice the price of that other lens. But for me, the real difference, aside from the faster maximum aperture on this lens, is the 82mm filter diameter, since my filters top out at 77mm. And do you know what it means to buy a filter that size-and schlep it around along with those 77mm filters for my other lenses (okay, I could buy a stepper ring, but really-spend still more money?).

So, now it comes down to performance. Sadly, this lens is not rectilinear. Barrel distortion is readily apparent at the 16mm setting, and pincushion distortion can be seen at 35mm and even at 25mm. I found less distortion on the EF-S 10-22 than on this lens, albeit I can’t use that lens here. But the point is, that APS-C lens is much less expensive, albeit much slower. Other than that, I had no complaints. Vignetting is well-controlled here. Sharpness may falter at that f/2.8 maximum aperture, but it’s only noticeable when compared to a similar image produced with the lens stopped down. So all in all, I was very happy with the results.

Focal length range. I'm not sure why this attractive young woman was standing there, but she made a nice addition, helping me illustrate the focal length range of the lens at the 16mm and 35mm settings. ISO 400: f/3.2, 1/60 + Canon 430EX flash. Copyright ©2009 Jack Neubart. All rights reserved.

Other Stuff

The 5D MkII also features automated sensor cleaning, which we’re beginning to take for granted in a 35mm-style DSLR these days-but it’s still worth mentioning, since this feature was notably absent in the original 5D (to my chagrin). Battery life on the 5D MkII is longer than in the 5D (1800 mAh for the new battery vs. 1390 mAh for the old). The specs say you should get 50 more exposures.

More remarkable is control over digital noise-and that’s without invoking in-camera noise reduction! Yes, you do see luminance and color noise at high ISO levels, namely 3200 and beyond, but not at disturbing levels. And if you apply a noise-reduction filter, then, as we say in my Brooklyn neighborhood, fageddaboudit! And did I mention you can climb the ISO ladder all the way up to 6400? And that’s not interpolated. That’s an actual stated value. The original 5D only went to ISO 1600.

Digital noise. I found that digital noise was well-controlled, even at high ISO settings. For this shot the camera was set to ISO 3200. While a close look will reveal that the image is grainy, that graininess is certainly tolerable and easily corrected with noise-reduction software. The same holds for shots made at ISO 6400. Copyright ©2009 Jack Neubart. All rights reserved.

"How much is that doggie in the window?" You may have heard the song, but I was lucky enough to see the picture. As the dog was repositioning itself in the frame, I repositioned myself to get this shot, again with my Canon 200mm f/2.8. Even at ISO 1000, the image looks quite clean. Copyright ©2009 Jack Neubart. All rights reserved.

And I guess I have to talk about live view and movie recording. Some have made a big to-do about shooting movies with this camera and even considered buying it for this feature. For me, it’s much ado about nothing. When I read (in the user manual) about all the caveats associated with live view and movie shooting-especially noise buildup with increased heat levels during prolonged use, I look back at my Sony Handycam and think: All I had to do there was look in the optical viewfinder (I had that option), select any of a myriad of effects, and press a button. Simple. Using a digital still camera for movies-with all those caveats, it seems so caveman! When you bring digital still movies out of the Stone Age, come and talk to me.

Candid portrait. As this distinguished-looking gentleman passed me on the street, I quickly snapped his picture, then asked him to pose for this shot, captured by available light (ISO 800: f/3.5, 1/400). Copyright ©2009 Jack Neubart. All rights reserved.

Why is it I can never find two pairs of black leather pumps in my size? Again a grab shot, at ISO 1000, f/5.6, 1/800 sec. Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. If you’re upgrading from the original 5D, you’ll find the enhancements well worth it. If you’re new to full-frame DSLRs, this is certainly the right step to take. If you’re already a Canon DSLR aficionado, the only proviso is this: no, if you’ve stocked up on EF-S lenses; yes, otherwise, or willing to start building your lens armory from scratch.

Indoor portrait. As I was heading toward my train, I came upon this very talented blues singer, so I grabbed the 5D Mark II with 16-35mm lens and composed the shot. The first image was made by available light (at 1/25 sec.-who need image stabilization?); flash was added for the second. If you're wondering why the performer is pointing at me, I was moving in for the shot and he noticed not me and the camera so much as my Tilley hat, which he obligingly incorporated into the song-to the amusement of the crowd. A little laughter at my expense, but it was worth it. Copyright ©2009 Jack Neubart. All rights reserved.

For more information on the Canon EOS 5D Mark II: Visit Canon USA
Tech specs/EF 16-35mm f/2.8L II USM: Visit Canon USA
For Prices and User Reviews: Visit B&H Photo (about $2699) and Amazon (about $2699) Canon EOS 5D Mark II 21.1MP Full Frame CMOS Digital SLR Camera (Body Only)

Canon EOS 1Ds Mark III - front. This is a rugged camera, with everything needed to deliver top quality images from day one. Granted, the heavy-duty battery gives it a large footprint and considerable heft, but still this is one camera you'd be proud to be seen with. Copyright ©2009 Jack Neubart. All rights reserved.

I’ve been working with Canon EOS single-lens-reflex cameras since they burst upon the scene. Well, actually, since shortly before, when I and other members of the photo press were introduced to the very first one-the EOS 1-on a top secret junket in Bar Harbor, Maine, many, many moons ago. Back then the photo press consisted entirely of print publications and cameras were analog, or as we simply liked to call them, cameras.

Fast forward to the digital age-and the full-frame EOS 1Ds DSLR. The 1-series continues to be the ranking member in the EOS lineup, designed for every imaginable professional application, with durability, functionality, reliability, and consistency at the forefront. And you’ve no doubt heard of the EOS 1Ds Mark III (MkIII, for short), the current flagship. While not the newest EOS on the block, like the 5D Mark II, it shares a 21.1 megapixel CMOS sensor.

But more to the point, it maintains the longstanding tradition established by its progenitors. And since Photocrati is a new site, we thought we’d take this camera out for a spin and round out our experiences with the EOS, with newer cameras to come under our scrutiny when available. In the meantime, here goes. Oh, and at the outset, at roughly $7,000, we should also point out that this is not the cheapest camera out there. But you’re getting a lot of bang for your buck and a camera that will probably outlast you in the field.

The EOS Interface

Canon EOS 1Ds Mark III - back. As you can see, this camera has lots of buttons, and not all of them readily accessible without diverting attention away from the subject. The large color monitor can be used for live view, but only with manual focusing, which, in my view, defeats the purpose of this feature. Copyright ©2009 Jack Neubart. All rights reserved.

When it comes to cameras, familiarity breeds anything but contempt. The EOS interface remains familiar territory, although some things inevitably were bound to change, for better and worse. I do wish camera manufacturers would stop using two dials with interchangeable functionality on the one hand, unique attributes on the other. But I’m guessing that will never change, even if a rocker switch were to replace one of the dials. So we might as well learn to live with it. (Although I’ll probably continue to list it as a pet peeve.)

While being familiar with EOS DSLRs in general was helpful, I was still troubled by the plethora of buttons all over the place. I know, this is not the first camera to bear the brunt of this complaint, but that doesn’t ameliorate the situation. I would often find fingers playing Twister with the buttons-not fun (unlike the board game) when you’re trying to do things quickly.

I also found it difficult to read the data displays. There’s the typical display on top, and a smaller one below the color monitor on the back. Hopefully the T1i’s data display will migrate to the next generation 1Ds when that comes along. Of course, you could say I should get new glasses-but, really, do I need to whip out my glasses just to read the display? Fortunately, the optical viewfinder gives you much of the working info you need, so that’s a quick workaround.

Data Panels. There are two data panels, the main one on top provides the most used information, and a smaller one on the rear that was of no practical use to me. Copyright ©2009 Jack Neubart. All rights reserved.

Canon EOS 1Ds Mark III - top view. In case you didn't think there were enough buttons on the back, here are a few more for you to get your fingers around. Okay, perhaps I'm making light of the configuration, and I should point out that this plethora of controls on top and in back do give you quick access to many needed functions. Copyright ©2009 Jack Neubart. All rights reserved.

By the way, the dioptric adjustment is under the eyecup: squeeze the sides in and lift straight up to reveal the tiny dial on the left. The adjustment appeared to be finer than on other cameras I’ve worked with. And there’s also a built-in eyepiece blind, activated via a lever-nice touch, instead of that very inconvenient eyepiece cover that is often used (assuming you didn’t lose or misplace it). Granted, I rarely, if ever, find myself shading the eyepiece-if I do, it’s usually with a hand. But this definitely facilitates the process and is a more effective approach that I would avail myself of when necessary.

One more thing you’ll notice is the large footprint. That’s due to the large, high-capacity battery. You need that kind of battery to drive this kind of machine-we’re talking NASCAR, not go-karts. Expect to get good mileage. Since this is the 1Ds and not the 1D (twice as fast at half the resolution), you’ll have to contend with 5 fps (at the “H” drive setting)-which is fine, unless your bread-and-butter is sports/action photography.

Under the Hood

To begin, the 1Ds MkIII supports two memory cards: CF and SD, operating in tandem. That can prove very handy. But to maximize capture rates at highest resolution, use the fastest cards you can get. Slow cards will slow you down and put you in pause mode as the frame buffer empties out. Still, I did find myself maxing out the buffer even with a SanDisk Extreme III SDHC class 6 card, when shooting RAW + small JPEG. (The only reason for the JPEGs was in case I used a geotagger to geographically ID the files, plus backup insurance.)

By the way, I can understand taking preventive measures so the card door doesn’t open inadvertently, but I think they’ve gone overboard on this one. Try holding a memory card while accessing the card chamber and you’ll understand what I’m talking about. It’s inelegance taken to a new level. Or another level of Twister-except, again, without the element of fun.

Canon EOS 1Ds Mark III - card door. The camera's card door has an inconvenient latch that makes accessing this compartment rather awkward. On the plus side, there are two slots: for SD and CF cards that work in tandem, so there's little fear of running out of card memory during a fast-paced and arduous shoot. Copyright ©2009 Jack Neubart. All rights reserved.

While not currently the highest resolution camera on the block, the 1Ds MkIII still gives you plenty of pixels to work with. That translates into plenty of room to crop. And at this resolution, it gives you pause to consider whether you still need a medium format DSLR. (On the other hand, as one who has worked with medium format digitals with resolutions reaching 60 megapixels, it’s no contest.)

The 1Ds MkIII boasts twin Digic III processors. That means the camera has processors working in tandem so that it can almost anticipate your every need. They may not be next generation as in the 7D, but they go a long way toward optimizing performance. That said, one can always wish for something better and faster. And I can’t wait for the next-gen 1Ds (sorry, no clue when that will arrive).
Of greater practical importance, perhaps, is the durability factor. The shutter has been tested to 300,000 cycles-twice that typically rated for other “pro-level” cameras. And it is fully sealed against dust and moisture-so, combined with an L-series Canon lens (equally dust/moisture-resistant), you have a camera that will go virtually anywhere imaginable-at least on this planet. (When we start testing cameras on Venus or Pluto, I’ll give you an update).

As mentioned, burst rates top out at 5 fps for that shutter, although the frame buffer is the limiting factor if you’re shooting RAW, or worse, RAW + JPEG. But if you’re shooting JPEG alone, you can reach 56 frames before the camera needs a breather. Capture is 14-bit, just shy of 16-bit that medium format cameras have standardized on–may not seem like much, but those bits add up exponentially. There’s also the option of sRAW (smaller file sizes), although I’m not sure why you’d spend $7000 on a camera only to choose this option.

Autofocusing–On Track & Off

The AF system in the 1Ds MkIII features 19 cross-type AF points with f/2.8 or faster lenses, and 26 additional “assist points.” Unfortunately, the functionality of these cross-type sensors changes with the maximum aperture of the lens, so you have fewer and fewer of them as the lens gets slower and slower, until they are only horizontal-line sensitive AF points with f/5.6 lenses. The Assist AF points help in focus-tracking when predictive AF is employed (a function of AI Servo continuous AF).

Having said all that, it brings us to a recent squabble some have voiced. Or more to the point, much has been made of the woes plaguing the latest 1D-series EOS cameras with regard to autofocusing, notably concerning focus-tracking. Well, from my experience with the 70-200mm f/4 lens attached, Canon apparently addressed that problem with a good deal of success, if not unqualifiedly, with the latest firmware update (already installed on this test camera when I received it). Keep in mind that this f/4 lens makes use of only one central cross-type sensor surrounded by horizontal sensors.

So after a largely successful run with my zoom, I decided to try AF with an f/2.8 lens, choosing my f/2.8 macro-perhaps not the ideal candidate for this test. My reason for saying that is this: With the 100mm f/2.8 macro lens attached, things did not go quite as smoothly. In fact, I found myself resorting to my usual routine, namely switching to full manual focusing. And this happened despite the fact that some exposures were made with subjects exhibiting plenty of contrast and texture-and less than life-size, which should have made it easier for the AF sensors to lock on. So I guess we don’t live in a perfect world just yet.

You also have some flexibility in the way AF works, via the Custom Functions. When using the macro lens, I briefly played with one of these Custom Functions governing the assist points-but, again, perhaps not the best lens for this test, since it did not seem to make a difference.

Custom Functions Galore

There are a ton of Custom Functions. Seventeen of these address AF and drive functions, as part of the C.Fn III subset. For instance, you might want to set tracking sensitivity for AI Servo to better deal with obstacles that come between you and the subject. This way you can avoid getting off track as soon as, say, someone walks into the frame in front of the subject. As an extension of this, another Custom Function lets you place priority on a subject entering the field of view closer to you than the original subject. You can also prioritize if the camera continues to track the subject at the expense of drive functions, or if the drive takes priority so that you can continue to shoot at a fast clip, at the expense of AF.

Fifteen Custom Functions are devoted to exposure alone (C.Fn I subset). Among these, you might want to address exposure and ISO increments. And, when shooting in Aperture Priority, if you want to avoid long shutter speeds under low lighting conditions when employing flash, opt for the fixed 1/250 flash sync speed. This, however, may not be the most prudent choice for fill-flash applications, where the flash takes a backseat to the ambient lighting.

There are over two dozen more Custom Functions contained in two additional subsets. If ever you’ve wanted a camera that you could customize to your heart’s content, this is it. But as I’ve said before, go slow so you don’t end up sinking underneath all those Custom Functions. Start with the most vital ones then play around with the rest at your leisure.

Other Functions

Automatic sensor cleaning is a welcome feature, albeit quite commonplace in today’s DSLR world. However, I believe that activating this feature both when the camera is switched on and when switched off is overkill. You can choose to activate this function, but not when it’s activated. It would be nice to be able to choose whether to initiate the process when the camera is turned on, turned off, or both, as well as none of the above. Of course, manual activation is possible. And for those who really feel the need, you can initiate a manual process (I’m getting this sense of déjà-vu that I’ve said this before).

There is also live view. But on this camera that means setting the lens to manual focusing. I tried it with my macro lens under bright lighting conditions. It was doable, but not my first choice. Sometimes I simply had no other option, since a plant or bug was otherwise out of reach.

Conclusions

Considering that I feel, in a sense, I’ve taken a ride in Mr. Peabody’s Wayback Machine, although I’ve transported myself only a very short distance into the past, and viewing this camera in light of its design and accomplishments, I have to say I was impressed. Now sling-shotting back to the future, in light of more recent technologies that have been introduced, I still say-I’m impressed. I’ve always found Canon to deliver very usable images, with quantifiably good exposures and white balance. And I definitely like having more real estate to work with.

Since I wasn’t testing any new lenses with this 1Ds Mark III, I can only say that the lenses I employed performed as expected. As for camera operation itself, the release was certainly responsive enough (there’s also a second one, for vertical shooting-but I never used it), with no measurable shutter lag to speak of-any delay is best attributed to human failure to respond in a timely manner to unfolding action. And while I found autofocusing and focus-tracking well within acceptable tolerances, I once again found myself having to take the manual route when using a macro lens. But in this instance, manual control extended to shooting at less than life-size, which was unexpected.

One thing that struck me about this camera when I tried to squeeze it into a compact shoulder bag for my meanderings about town: It wouldn’t fit. And then it dawned on me. It wasn’t supposed to. Given the heavy-duty battery and the resulting overall bulk of this camera, this EOS was not made for quick jaunts. Admittedly, I did find it fatiguing to schlep around hanging from my neck for extended periods, but I was sure glad I wasn’t using my 300mm f/4 IS or a faster piece of glass.

Still, we come back to this: The EOS 1Ds Mark III is a serious camera for the serious-minded. No pro has come to me complaining about this camera. Pros use it, and abuse it. In fact, given a choice between using a 1Ds and 5D on the job in the studio, pros pull out the 1Ds. They tell me it impresses their clients-no minor point in a highly competitive arena.

There are cameras out there that are faster and smarter, but sometimes what you need is a workhorse camera. And this 1Ds Mark III, my friends, is a workhorse designed to stay the course.

Verdict: Buy it. It will work for your professional needs and your professional image.

Live-Action Soccer. All these shots were taken with the 70-200mm f/4 lens (generally zoomed out), with the camera in shutter-priority mode and set to 1/800 second to freeze movement as best as possible without the need to crank up ISO to outrageous levels (ISO was set to 400 for most exposures, with the first three frames at ISO 100), while delivering a usable f-stop (which often ended up at or near maximum aperture). A number of frames were cropped, but certainly not all, the intent being to focus attention on the play in motion--in particular, the sequential exposures occurring within a hair's breadth of each other. AF was set to continuous focus tracking, and with few exceptions the camera did an admirable job. Copyright ©2009 Jack Neubart. All rights reserved.

For more information: Visit Canon USA
Tech specs: Canon USA
For prices and user reviews check out: Amazon (Canon EOS 1Ds Mark III 21.1MP Digital SLR Camera (Body Only)) (about $6,100), TestFreaks (Canon 1Ds Mark III, rated 7/10), and B&H Photo (about $6,100)

Canon Rebel T1i--front. The Canon Rebel T1i is a neat little DSLR to tool around with. You'll hardly know it's hanging from your neck, owing to the cozy size and heft of the camera/kit lens combo. By the way, look closely at the lens: if it appears that there's no focusing ring, look again--it's an annoyingly thin, knurled ring on the very front of the lens barrel. Copyright ©2009 Jack Neubart. All rights reserved.

The Rebel has always been Canon’s sleek but inexpensive choice in a digital SLR. That’s true even now. The T1i, while still not the sharpest tack in the bunch, manages to make a point with a solid feel and comprehensive feature set.

Each succeeding Rebel climbs one rung up the ladder, with this latest Rebel offering higher resolution–15.1 MP–and faster processing–Digic 4 (one of those acronyms that has never really caught on as such, but does appear to deliver in principle) on its CMOS chip. Then add a larger LCD and HD video capture (if you go in for that), and the camera becomes even more appealing. Of course, when you include an image-stabilized lens in the package and price it all under $900, there are bound to be some compromises. But are these compromises you can live with? Well, that depends.

Canon Rebel T1i--rear. The most used functions are clearly labeled; more esoteric functions may be foreign to those new to Canon cameras. The camera, however, does provide clues on the data screen as to what various functions do. Still, clear labeling would be better. Copyright ©2009 Jack Neubart. All rights reserved.

Light Is Right

Sometimes a lightweight camera is what you need-sometimes not. But on occasion, it does feel good not to be weighed down by a ton of gear around your neck. And I’ll admit, I liked that feeling when working with the T1i, even if it was merely a temporary reprieve from my everyday camera system. So, yes, the kit combo is a decidedly good match where weight is concerned-and size. And there’s a good balance between body and lens. The camera itself has a good, rubberized and contoured grip on the front, with a rubberized thumb grip on the back, making the body easy to grasp securely.

However, lighter lenses can also be more difficult to handhold without incurring camera shake, since the downward torque of a heavier lens tends to act as a built-in stabilizer. And that’s where this lens’s image stabilization (IS) comes into play. I was surprised to see IS in a kit lens (why not round it out with a lens shade, Canon?).

Testing IS range. With the 18-55mm lens at 55mm (x1.6 Canon APS-C = 88mm), I pre-focused on the wall of the emporium, then made exposures from 1/6 to 1/100 (with 1/100 sec calculated to be the optimum exposure for blur-free results at this focal length), with all images similarly processed--and cropped. The photo shot at 1/6 begins to show some of the strain of shooting at a relatively slow shutter speed. Note how the window notices begin to go slightly soft (above image). Copyright ©2009 Jack Neubart. All rights reserved.

So far, I’m likin’ what I’m seein’. So far…

Then we move to the lens mount on the body. It’s metal, so it looks sturdy enough. But would I feel secure attaching my 300 f/4 IS lens, or worse a 300 f/2.8? I don’t think so. I stop at the 70-200 f/4.
Still, that leaves a lot of lenses at your disposal-and really, would you attach a lens costing several thousands to this body? Doubtful anyone would even entertain that thought.

Lens mount. The T1i features a metal lens mount. Note the red and white dots (lens mounting indexes). The white dot is for Canon EF-S (APS-C) lenses; the red for Canon's EF lenses. Copyright ©2009 Jack Neubart. All rights reserved.

We’ll get back to the lens in a moment. First we need to look at the camera’s functionality.

A Whole Mess o’ Functions

There are lots of functions for a camera this size and one supposedly this easy to operate. To begin, many of the function buttons are cryptic for a first-time user. Then switch on the menu-8 screens. Do we really need all that?

This is not a pro-level camera, even though, as a pro, I liked tooling around with it. But if I only used the camera sporadically, I’d have to resort to the manual each time before taking it out of the house (and did, on occasion). And then there’s the matter of having to hit the Set button to activate a menu choice. Do we need all these steps? Same with Delete. Just too many steps-it gets in the way of truly enjoying this camera.

On top of that, the four cursor buttons operate interchangeably with the control dial behind the shutter button-not always, though, which is where it gets confusing. Sometimes they can be made to work at cross purposes with each other.

LCD monitor. Make the camera smaller and you have to maximize the available real estate, hence the lack of a top data panel. So now the LCD monitor takes over this function. Interestingly, put an eye to the optical viewfinder and this display extinguishes until you pull away from the camera--nice touch (note the display-off sensor immediately above). Copyright ©2009 Jack Neubart. All rights reserved.

Am I being picayune, as an ex-girlfriend once commented? Well, it’s often the small stuff that matters the most. So the saying, “Don’t sweat the small stuff”-well, that ain’t in my vocabulary. If you let the little things slip through the cracks, you’ll be missing the bigger picture. That’s my story, mixed metaphors and all, and I’m sticking to it.

One of the nice features is automatic sensor cleaning. You can also activate this function manually. And then there’s the sensor cleaning function for those of you who live in a clean room-entirely manual, which involves raising the mirror and going in there with a swab (I’ve had my fill of that, thank you). Oh, and good luck trying to find the right menu screen in the first place. Again, it’s easier if you use the camera on a daily basis.

There are some other functions, some worth mentioning, others not. But I’ll reserve comment on the ones I tested in the photo captions. Suffice to say, many of these functions are best reserved for JPEG captures. Hence, it’s wise to shoot JPEGs, even when shooting RAW, just so you can take advantage of these, such as the picture scene modes (activated via the mode dial) and auto lighting optimizer, a function increasingly found in today’s DSLRs (a custom function on this camera and one not entirely to my liking). (Note: Canon points out that its included Digital Photo Professional software extends functionality to RAW captures.)

Auto Lighting Optimizer. The Auto Lighting Optimizer only works with JPEGs, sadly. You can readily see how it reduced contrast (at the Strong setting), mostly in the shadows (middle photo). And it works with fill-flash as well as ambient lighting. However, you can achieve much, much better results working from the RAW file, which also lets you recapture washed out highlights (the related image should be obvious) (bottom photo). Copyright ©2009 Jack Neubart. All rights reserved.

Digital noise tests. Digital noise is tolerable at ISO levels up to 800 (although the graininess is visible), but begins to take its toll at ISO 1600, and certainly at ISO 3200 (shown). Copyright ©2009 Jack Neubart. All rights reserved.

AF and Live View

One-shot AF is fast, no doubt about it. However, I wasn’t all that thrilled with continuous AF tracking. This failure to track moving subjects is likely due to the dearth of AF points: there are only 9 of them, although they do cover a large enough portion of the screen.

Switch to live view, and like any camera that uses the LCD to focus, AF moves at a snail’s pace, at least to my way of thinking. I avoided it once I tried it. I know, many of you love live view. Well, what can I say? I’m old-school when it comes to focusing. That is, given the choice between the optical and LCD viewfinder, I opt for optical. Besides, the LCD on this camera is locked in place. For live view to be practical, the monitor should swing out and tilt/rotate.

Squirrel. I found that relying on AF tracking was iffy, so I went back to the tried-and-true: one-shot AF, setting focus on the squirrel's eye and hoping she didn't move while I recomposed the shot. Here I used a 70-200mm f/4 at 200mm (= 320mm), with a 580EX shoe-mount to freeze the animal's movements. Copyright ©2009 Jack Neubart. All rights reserved.

HD Video

As far as shooting video with this camera, especially HD (high-def), I wouldn’t leave the video camera home on my next vacation. While the T1i does support AF and AE, with full manual zooming, still, you don’t get nearly one-tenth the functionality of a true digital camcorder. And the sound? It picks up all ambient noise from camera handling. Yes, that can also be a problem with any camcorder with a built-in mic-but at least with camcorders you have a much higher quality microphone-and those recordings are in stereo!

And wait…What exactly can you do with those movie files? Edit them? Canon doesn’t provide the best software, so you have to go out and buy it.

And consider all the space this eats up on your memory card. Okay, I’ll admit. I originally thought it was a good idea to include a movie mode on a DSLR. But I know that the next time I’m out shooting in a once-in-a-lifetime situation and down to my last memory card, and just when that one shot avails itself-and I see CARD FULL popping up, I’ll scream and kick myself for the movie clip I shot of those cute bear cubs, when I could have captured an amazing series of stills of mama bear chowing down on a misguided tourist. Yeah, I’ve been watching too many movies on FearNet.

EF-S 18-55mm f/3.5-5.6 IS Kit Lens

When you compare a Canon lens with and without image stabilizer, you’ll see that the additional cost for IS is more than the cost of this lens alone, were you to buy it separately. That tells you that you’re getting a bargain. But there’s always the devil to pay in any bargain.

This all-plastic lens is a featherweight. As mentioned, that gives it a nice balance with the T1i body. But physically, that’s the only positive. Zooming is not altogether smooth. And manual focusing? As they say in my Brooklyn neighborhood, fagedaboudit!

Okay, perhaps I exaggerate–just a bit. Fact is, the focusing ring has been relegated to a thin collar around the front of the lens barrel-as if someone remembered about it at the last second. And that design really, really bugs me! How easy is it to put a finger on the front element while trying to grab the focusing collar in haste or when distracted! Seriously, Canon…

And if you haven’t guessed, forget about using a circular polarizer. Even with AF, that rotating front element makes that impractical. What’s more, if the lens is set to AF and you think you’ve set it to MF, you’ll note, in your abortive attempt to manually focus, that you seem to be grinding gears as you instead shift the zoom focal length. Not a pretty picture-or sound.

Talk about sounds. You may hear a clicking sound if you pick the camera up while the lens is resting on a surface. That’s the lens barrel shifting position. Nudge it gently and you’ll get the same result. It’s not a loose cannon (get the pun?), but is disturbing.

On the plus side, the lens accepts 58mm front-mounted filters, which you likely have already. In addition to adding a filter, buy a lens shade-as overpriced as they are. You can get a knock-off for almost $10 less than Canon’s EW-60C. But don’t get a rubber lens shade, as they tend to deform, which could cause vignetting.

Now let’s move past the book’s cover and see how good a read it is. I was happily surprised by the lens’s performance. I don’t think Canon souped-up sharpness and contrast in the T1i to make up for possible deficiencies in the lens optically, since I also tested it with one of my regular Canon zooms. So I’d have to say, in terms of sharpness, contrast, and color rendition, this lens appeared to hold its own. Another pleasant surprise was the close-focusing limit, at just under 10 inches.

White horse. I photographed this white horse with the kit lens and a Canon 430EX flash held just off camera. Note how nicely the lens captures detail in the cropped version. Surprising for the lens of this ilk. Copyright ©2009 Jack Neubart. All rights reserved.

One more thing. Remember the missing lens shade? Well, the lens seems to have been designed with adequate internal baffling, in conjunction with anti-flare components in the body, to produce flare-free images when shooting against the light. Obviously, I haven’t tested every situation, and I’m sure flare ghosts will pop up under the right conditions. But with a bright light source behind the subject, the resulting image did not exhibit any non-image-forming light.

Shooting wide with fill-flash. This is an enormous statue--part of an annual Italian festival. So I set the 18-55 at its widest setting and photographed it first by available light and then with fill from a 430EX strobe. Fill lighting makes a difference. These are RAW captures, so the Auto Lighting Optimizer didn't play a role here. Copyright ©2009 Jack Neubart. All rights reserved.

All fired up. I wanted to capture the flames shooting up from the grill, so I set a relatively long exposure (1/15 sec) and fired a 430EX flash to provide overall illumination. Copyright ©2009 Jack Neubart. All rights reserved.

Conclusions

I’m not really sure that Canon knows exactly what to do with this camera. It seems simple enough, judging by weight and size, but is otherwise a complex tool with lots of oomph built in. If you’re looking to move up to a digital SLR without making a heavy investment or simply want an inexpensive and lightweight DSLR that you can tool around with on your next vacation, the Rebel T1i would be a good choice.

However, don’t buy this camera if you expect to use it extensively to shoot video-HD or otherwise, as you may be disappointed. Buy it as a still digital, and use the video capture as an adjunct feature to capture special moments when a camcorder isn’t handy.

On that note, Canon recommends a super-fast/high-speed SDHC memory card for HD video capture. Since I devoted my time to shooting stills, I had expected such a card would be suitable for large bursts while shooting continuously. I hadn’t anticipated being stymied by the internal memory buffer. Shooting RAW+JPEG only allowed maybe 4 consecutive captures before the memory buffer filled up. Disappointing.

Shooting life-size. I photographed this Pennsylvania leatherwing with a macro lens at life-size magnification with the aid of a ring-flash. As is my wont, I manually set the lens to the closest focusing point and fine-tune focus by physically moving the camera. Since the flash needs time to recycle so that I couldn't shoot fast bursts, the T1i's limited memory buffer was not a problem. Copyright ©2009 Jack Neubart. All rights reserved.

And if you’ve already set your eyes on the Rebel to begin with, then rest assured you’ve made a good choice in this model. Buying one of the earlier iterations is just out of the question, unless you really need to save the few greenbacks.

Candid portrait. I met photographer Abby Ross at an Italian festival in my neighborhood. As she began to walk away, I yelled "smile," at which point she obligingly turned around. I snapped the shot without even looking through the finder, with the flash held a short distance from the camera. You can see this talented photographer's work at www.abbyross.com. Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. The Rebel T1i may not be as much fun to use as some cameras in this size or price range, but it delivers plenty of bang for the buck. Just be sure to buy a second lens, in case the kit lens should meet with an untimely demise.


For more information: Canon USA
Technical Specifications/Rebel T1i: Canon USA Rebel T1i
Technical Specifications/18-55 kit lens: Canon USA 18-55 kit lens

For more information and user reviews visit Amazon (Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens) and/or B&H Photo (Canon Rebel T1i).

From the Editor: To see another great review of the Canon Rebel T1i, check out Mark Goldstein’s article over at PhotographyBlog.com.

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I don’t know of any point-and-shoot camera that commercial advertising shooters have used more than Canon’s PowerShot G-series. Yes, there are other very capable point-and-shoots out there, but none has garnered the G-series’ rep. As with its predecessors, the G10 remains the flagship in Canon’s point-and-shoot lineup, and as such, this camera proudly carries the colors into the heat of battle.

Canon G10 (front). The compact Canon G10 features an equally compact 5X zoom. Start-up is quite fast. Fast enough so as not to miss a vital shot. Copyright ©2009 Jack Neubart. All rights reserved.

The G10 ups the ante in resolution, compared with earlier models in the G-series, delivering 14.7 megapixels (MP). That gives you enough real estate for cropping. Granted, it’s a CCD chip. Chatter on the Net is that the next G will be the G-whiz wunderkind, with a CMOS sensor adding new vitality into this series. (With that said, should you buy the G10 or wait? Well, you’ll need to read further.)

On the Surface

The G10 has some heft to it, but is still small enough to be easily pocketed. In fact, I kept it in a vest pocket most of the time, since I also had a DSLR hanging from my neck.

The G10 is an odd little tyke. Previous versions featured a 6X optical zoom (I don’t even look at digital zoom, since that is such a waste of time with any digital camera). The current G10 has a 5X zoom, 6.1-30.5mm f/2.8~4.5 (35mm equivalent: 28-140mm). That means the new model goes wider than before (cf. 7.4 = 35mm effectively), but not as deep (effectively 210mm on the G9). Wider is better for shots of groups and scenics, but I’m often more concerned with the reach of a zoom lens in this range. So, as you can imagine, I feel I’ve literally been shortchanged here.

The overall dimensions have changed slightly, so I’d say it’s a wash as to which is actually–and noticeably–bigger: the G9 or G10. However, at 12.3 oz, the G10 is a full ounce heavier, if that means anything to you. The stocky build gives the camera a solid feel. On the other hand, this camera doesn’t sport the best grip–it feels more plastic than rubbery, and the camera lacks a thumb grip on the back for a surer grasp. So, ergonomic it’s not. And it lacks the stylish allure of other PowerShots. I know, I’m quibbling.

Aside from that, there have been subtle changes to the G10′s interface. Subtle, yet substantive. The exposure compensation function has moved to a dial at the top of the camera–a very logical place for it to be. That means no more futzing around with dual controls. With the EV override indication now readily visible, you don’t have to search it out in the viewfinder.

Canon G10 (top). The most important functions have found their way to the top of the camera, where they are readily accessible. Pay particular attention to the dedicated hot shoe supporting all Canon's TTL shoe-mount flashes. You don't find this kind of functionality on just any point-and-shoot. Copyright ©2009 Jack Neubart. All rights reserved.

Of course, that change bumped the ISO dial from its original slot. Where did that go? It is now the lap on which the shooting mode dial sits. Both dials are adjacent to the zoom lever, which surrounds the firing button. And that means that all the most frequently-used functions are at your fingertips.

The back of the camera features the usual array of functions (menu, display, playback, AF frame selector, metering mode, cursor wheel, flash, AF/M, drive, macro/normal focus, built-in ND filter). And there is one little button on the front: a lens release so you can mount the optional converter–a toy I never played with (nor felt the need to) so can’t comment on.

The LCD’s the Thing

While the G10 does have an optical finder and the requisite diopter correction (to the left), the finder is not all that functional. It cuts off some of the view, but worse, there are no frames to identify what the sensor is locking onto. So you have to visually extrapolate the target. As someone who loves optical viewfinders in SLRs (film or digital), I found this to be disheartening, and soon found myself switching to the live view on the LCD. Granted, I had worked with an earlier G-cam and frankly don’t recall having had this problem, though I likely did.

Thankfully, Canon saw fit to fit this camera with a large 3-inch PureColor LCD II (460,000 dots/VGA) monitor screen. Canon points out that it’s scratch-resistant, with anti-reflective coating. On the practical side (all fancy monikers aside), the LCD is viewable from practically any angle–even in fairly bright light. I had no problem following the action of a soccer match on this display. How well the camera did in action–well, there you go, jumping ahead of me again.

Canon G10 (back). Many of the key function buttons are found here. More importantly, the large LCD is a full-information viewfinder, including AF frame and live histogram. This LCD is your lifeline to shooting with the G10, so get used to it. Copyright ©2009 Jack Neubart. All rights reserved.

So, what it came down to was this: If I was going to take any pictures with this camera of anything other than the wide open spaces, then I’m going to live with the fact that I’ll be using the exterior display as viewfinder. The good news is that it gave me a more precise gauge of my compositions, as well as focusing. The bad news is that I had to hold the camera in such a way that might induce camera shake.

Well, toward that end, built-in image stabilization (IS) did manage to save the day on more than one occasion with relatively slow shutter speeds (again, it has no real effect with fast shutter speeds). I set IS at Continuous, which means it also prevented the viewfinder image from having the jitters. There are other options, aside from Off. Shoot Only becomes apparent in the final capture. Panning IS is great if you’re photographing a runner or a race with everyone or everything moving in the same horizontal direction. I almost availed myself of this IS mode during the soccer match, but since I sometimes found myself fixated on a certain spot, it didn’t seem the most prudent step to take.

Soccer. I made practically all my soccer exposures using the LCD as viewfinder with the lens zoomed all the way out. While face detection didn't seem to kick in with fast action, shutter lag did cause me to miss some prime shots. Evaluative metering was used for all images shown in this report. Shutter-priority, ISO 400, 1/500, f/8. Copyright ©2009 Jack Neubart. All rights reserved.

RAW Capture

The G9 restored RAW capture to this mighty camera series, and, thankfully Canon has let it be. So you have a variety of capture modes, with various JPEG compression levels/sizes and a 16:9 widescreen rendition. There is no TIFF capture, and frankly, I know no reason to have it. Movie clips are at 640×480 at their best–another feature the next G will no doubt improve upon with HD video.

I’d set the camera for simultaneous RAW and JPEG capture. I like shooting both on cameras I’m testing, especially point-and-shoots: This way I see how the camera’s software interprets the scene, and what it looks like without all the sugarcoating. I also find this approach useful when geotagging images, since RAW files are rarely supported.

I should point out that Adobe ACR in CS3 does not support these RAW files. And since Photoshop CS4 on my PC became corrupted–thankfully after I’d finished a couple of projects–and destabilized the system, I removed it, which restored my system to normal (by the way, I’d like to hear of similar experiences with CS4–and solutions). That said, Lightroom 2.4 easily read these RAW files, so I imagine the same should apply to CS4. Phase One’s Capture One 4 Pro also had no problem with these native files. And since Canon Digital Photo Professional, or DPP, is so minimalistic, I bypassed it and availed myself of these other more robust RAW conversion utilities. All editing was done on a Gateway laptop, using a Dell 24-inch display.

On the Inside

Everyone has their own proprietary image processing firmware, and Canon certainly has theirs, called Digic 4. Digic 4 is said to improve face detection and add Servo AF and Intelligent Contrast Correction (“i-Contrast”). Servo AF holds focus on a subject, no matter where it moves in the frame. I-Contrast is the camera’s attempt to stretch tonal range so that areas of deep shadow are brought out of the doldrums. This is a function that can also be applied post-capture. However, it only applies to JPEG images. Great for snapshooters, not so great for the rest of us shooting RAW.

After reviewing all the manual has to say about autofocusing, including face detection, I was ready to return to my trusty DSLR–the one that doesn’t have a hodgepodge of AF modes. Or more to the point, it offers AF modes I can readily sink my teeth into. This camera has way too many combinations and permutations involving AF operation, among them caveats about what will or will not work and when. Do pros really need or want face detection? (I’d be interested to hear views from readers.)

Anyway, I’d made what I felt were all the appropriate settings and just went with it. I wasn’t about to resort to the manual to see if any particular set of conditions applied in any one situation. To me that defeats the purpose of a point-and-shoot. I know this is not a PhD (push here, dummy) camera, as we used to say back in the day when discussing point-and-shoots, but still, the camera should be user-friendly–and up till now, I’d thought it was.

We also have exposure options. Lots of shooting modes, including scene modes, stitch-assist (panorama), movie, and two custom modes. And a choice of evaluative metering, centerweighted, and spot. Pretty much the usual cast of characters we find in a camera of this ilk. Much of it begs the question: Why? If the camera is to be taken seriously, why add functions that appeal to rank amateurs. I’d rather season the RAW file to my own taste and let it cook slowly than have the camera prepare a fast-food meal that will not appeal to my palate in the least, or that would lull me into a sense of being falsely satiated.

In Action

In entertainment news. I was in Times Square (in New York City) when I came upon this scene involving a celebrity reporter preparing to shoot the intro for a daily entertainment TV show. The G10 came in handy. I just pulled it out of a vest pocket, set focal length to the widest position (to encompass the entire scene before me) and shooting mode to Program AE. When I shot tighter, I added flash, but that was inappropriate given the people right in front of me--although they did work nicely as a framing device. ISO 100, 1/160, f/4. Copyright ©2009 Jack Neubart. All rights reserved.

I was both pleased and disappointed with the operation of this camera and the resultant images. Face detection seemed to work only on people standing relatively still. When I tried focusing on the soccer players in action, I had as many misses as hits. But the worst part was the shutter lag. It was obvious.

Shutter lag. This is an example of shutter lag in action. I had released the shutter just as the cotton candy vendor had moved into the right half of the frame, for a more interesting composition. By the time the camera responded, he'd taken a few steps, enough to practically put him center-frame and throw off my composition. Copyright ©2009 Jack Neubart. All rights reserved.

On the other hand, I was able to get quite close to a caterpillar in close-up mode. Fill-flash worked admirably, so long as I wasn’t too close (to the point where the lens apparently blocked the light beam).

Caterpillar. Here was a real test of the G10. Would it be able to do a decent job with this beautiful Anise Swallowtail caterpillar? While not as dramatic as a life-size shot I'd taken earlier with my DSLR, still this shot, with Macro mode engaged, has much going for it. The problem was staying far enough away so that the full blast of the flash would adequately cover the entire insect, providing just the right amount of fill against the ambient garden setting. Copyright ©2009 Jack Neubart. All rights reserved.

Flash on, flash off. The more brightly toned lilies benefit from fill-flash, whereas the other scene, more subdued in tone, was shot entirely by available light. No exposure or tonal adjustments were made for these two shots (except for a boost in Clarity and saturation in Lightroom). You be the judge as to which rendition is preferable. Copyright ©2009 Jack Neubart. All rights reserved.

Optical performance was very good, with the only apparent distortion at the wide end–and mild barrel distortion at that. Color fringing was fairly well controlled. Images may not have been the punchiest, but they were sharp. Editing in post helped.

Before a storm. The clouds were brewing up a storm, so I grabbed this shot as an example of using the lens at its widest setting. Copyright ©2009 Jack Neubart. All rights reserved.

Reflections. Here I simply wanted to see if I could be more artistically expressive with the camera, by focusing on a reflection of the church in a pool of water by the curb. And at the same time, this also let me test image stabilization--unintentionally, I might add, since the camera was set to Program AE, delivering an 0.6 sec exposure at ISO 100, at the widest lens setting (effectively 28mm). However you do the math, not bad. Copyright ©2009 Jack Neubart. All rights reserved.

Plant still life. I photographed this Oregon grape shrub as a still life study, again letting my artistic side show through and testing to see if the camera would really let me fully express myself. I employed the built-in flash for this ISO 100 exposure. Copyright ©2009 Jack Neubart. All rights reserved.

Auto WB was reasonably reliable out of the box, but as with everything digital, a little tweaking in post couldn’t hurt. Noise was well controlled down to ISO 100, with graininess becoming somewhat apparent when ISO reached 400. However, at ISO 1600, the noise–notably color noise–was ear-shattering.

High ISO noise. At ISO 1600, color noise was so pronounced as to be deafening. It's readily apparent in the sidewalk. Copyright ©2009 Jack Neubart. All rights reserved.

Evaluative metering did a nice job with exposures. In fact, I often found that my usual penchant for compensating exposure on the plus side proved counterproductive. Having said that, the habit a core group of photographers has adopted, namely “exposing to the right” (overexposing just a bit to bring down noise levels when the histogram is brought back to nominal levels) is not advisable, as that may result in irretrievable highlight data–which reflects poorly on the sensor.

All in all, the Canon G10 will not replace my DSLR, but there is a reason to own one. I’d certainly use it in the capacity that it’s being used by many pros, namely to shoot background elements that they can incorporate into complex digital composite images.

Close encounter. I didn't have any time to do more than grab the camera, turn it on, point and shoot. Thankfully, the G10 is ready almost at a moment's notice. Although I do miss the chirping bird found in earlier models. (For faster startup, do away with all the shenanigans, like opening pictures and sounds.) Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. It’s easy to carry and will always come in handy. Besides, there’s nothing better out there in this genre–at the moment, at least.

For more information visit: Canon USA.

Tech specs: Canon PowerShot G10
Canon PowerShot G10 street price: $499.

See prices and reviews at: Amazon ($445) Canon Powershot G10 14.7MP Digital Camera with 5x Wide Angle Optical Image Stabilized Zoom and at B&H ($499) B&H.

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