CAMERAS Canon 500D (Rebel T1i) Review

Canon 500D (Rebel T1i) Review

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Canon 500D (Rebel T1i) Review

Home CAMERAS Canon 500D (Rebel T1i) Review

Canon 500D (Rebel T1i) Review: A Camera For Beginners But With Interesting Features

Canon once again knows how to put together an attractive overall package. The EOS 500D (Rebel T1i in the US) is a real multi-functional device that not only records 15.1 megapixel photos, but also FullHD video at 20 fps. The 3″ (7.6 cm) screen has a resolution of 920,000 pixels and can also be used as a live viewfinder. And the whole package is available for just under 800 euros. The EOS 500D (Rebel T1i) is aimed primarily at ambitious amateur photographers.

Brief assessment

Pros

  • Very good image quality (although heavily processed as typical for Canon)
  • Fast autofocus
  • Video function with good image quality
  • Excellent screen

Cons

  • No image processing functions in the camera
  • Material and processing do not make the best impression
  • AF auxiliary light with flash salvo
  • Video function without continuous AF and stereo microphone input

 

With the EOS 500D (Rebel T1i in the United States), Canon has launched the first amateur DSLR with video function (even in FullHD resolution) for well under 1,000 EUR. First and foremost, however, it is still a photo camera and as such offers beginners and hobbyists interesting features such as 15 megapixel resolution, 3″ screen and LiveView with face recognition. We took a close look at the camera in the test.

The sound for the videos is only recorded in mono. The MOV format is used as storage container, compression is done by modern H.264 codec, an MPEG4 derivative. If the 20 fps with FullHD (1,920 x 1,080 pixels) is not enough for you, you will have to accept restrictions in resolution. At 30 fps the camera records “only” 1,280 x 720 or 640 x 480 pixels. The focus can be adjusted automatically or manually during movie recording. Movies can be played back on high-definition television sets via the integrated HDMI interface (type C).

For photo and video recording, a 15.5 megapixel CMOS sensor in APS-C size (22.3 x 14.9 mm) is used, which is 1.6 times smaller than 35 mm film. Due to the large sensor it is possible to achieve an exemption during video recording, which is otherwise only possible with professional and very expensive video film cameras. In photo mode, the EOS 500D (Rebel T1i in the United States) records 15.1 megapixels, with the user having the choice of JPEG or RAW. The continuous shooting function reaches 3.4 fps, with 170 consecutive images in JPEG mode and 9 in RAW mode.

 

 

Canon has also slightly revised the autofocus sensor. It has nine measuring fields, whereby the middle one is optimized for lenses with a speed of F2.8, i.e. it works particularly accurately with these. The viewfinder itself, on the other hand, is not one of the largest. The image is deflected with a mirror roof edge construction (pentascope mirror) and achieves a magnification of 0.87 with an image field coverage of 95%. In contrast, a field of view of 100% is achieved in LiveView mode via the 3″ (7.6 cm) large and 920,000 pixels (640 x 480 pixels) resolution TFT screen. Then you can also display the grid, recording information and live histogram. During the LiveView, automatic focusing by means of contrast measurement on the sensor and face recognition is possible, as well as manual focusing using a 5x or 10x detail magnification. The proximity sensor automatically turns off the screen as soon as the eye approaches the viewfinder.

As image processor the DiGIC 4 is used, which is supposed to provide an efficient noise reduction. Sensitivity ranges from ISO 100-1,600 in auto mode or manual in one-third increments from ISO 100 to ISO 3,200, and even ISO 6,400 and 12,800 (in whole EV increments) in high sensitivity mode. The entire technology is contained in a relatively compact plastic case (with steel reinforcement) with dimensions of 128.8 x 97.5 x 61.9 mm (W x H x D), which weighs only 480 g net.

The market launch of the SLR camera took place near the end of 2009, with the housing without lens being offered for EUR 800. Alternatively, kits are available either for 900 EUR with the image stabilized F3.5-5.6/18-55mm IS lens or for 1,300 EUR with the 18-200 mm IS, which is also image stabilized.

Ergonomics and Workmanship

The Canon EOS 300D was once notorious as a “Fisher-Price” plastic camera, but the quality of the housing was rather sad. Although the Canon EOS 500D (Rebel T1i) – some generations and years later – is better manufactured, the plastic housing still doesn’t inspire much confidence, and here the competitors are even better. At least the fitting accuracy of the housing shells is okay. The grip looks much better. The handle is suitable for small to medium hands, for large hands the grip is not pronounced enough. An edge running along the top of the handle and leather-look rubber coatings on the handle and the back of the camera provide a secure grip.

Well designed are both the SD/SDHC card compartment on the handle side and the battery door on the underside of the camera. In particular, the battery (7.4 V, 1,080 mAh corresponding to 7.4 Wh) is designed so that it cannot be inserted upside down. The solid tripod thread is located in the optical axis, and the battery compartment is so far away that at least normal sized tripod exchange plates do not block it. One looks in vain for a power supply connection, but it is provided by a battery dummy with a cable bushing at the side of the battery compartment. On the left side of the camera are the connections for HDMI, USB, AV and cable remote release, which are protected by a rubber strap.

As a DSLR, the SLR viewfinder remains the focal point of the Canon EOS 500D (Rebel T1i) despite LiveView functionality. With a magnification factor of 0.81 it is not one of the largest and uses only a mirror construction instead of a solid prism, but it can be used. Within certain limits, a dioptre correction (-3 to 1 dpt) can be adjusted, so that you may not need to use glasses, because the exit pupil is relatively small, so that the wearer of glasses cannot get close enough to the viewfinder to have a full view. As usual, there are information panels below the viewfinder so that the photographer always has the aperture, exposure time and other important shooting parameters in view.

Unlike the viewfinder, the rear screen is a real feast for the eyes. It measures 3″ (7.6 cm) diagonally and has a resolution of 922,000 pixels, which corresponds approximately to a VGA resolution of 640 x 480 pixels. It has a plastic protective pane with slight anti-reflection coating. The picture is not only brilliant, but also visible from all sides, because the viewing angle is 170°. With the LiveView-button at the right side of the screen, one switches on the LiveView-function that displays the image to be captured quite accurately, also an exposure preview is included. If LiveView is not activated, the screen also serves as a status display, whereby you can jump directly to the displayed values in order to change them without detours via the menu. Conveniently, there is a proximity sensor between the viewfinder and the screen so that the screen goes off when the camera is dangling in front of your stomach or when you look through the viewfinder so that it is not disturbed by unnecessary light in the corner of your eye.

The menus are clearly arranged and Canon remains true to its menu structure and design, so users who already use a Canon should find their way around quickly. Thereby, only the flash adjustments with a 2x nested menu are a little confusing, specially as the anti-red eye pre-flash has to be activated separately in the main menu. Canon pulls this off with iron, and you get used to it.

Beginners should not only find the LiveView function helpful – they can work as they are used to with a compact camera – but also the corresponding scene mode programmes, whereby Canon limits itself to the six most important ones such as portrait, landscape, macro, sport, night portrait and flash off. But there is also a fully automatic mode, where you can only adjust very little and thus make mistakes. For advanced or experimental users, on the other hand, there are the familiar programs such as program, aperture and aperture priority, as well as the manual mode with bulb long exposure. All programs are quickly accessible on a dial.

The overall ergonomics of the camera are good, e.g. the on/off switch can be ideally reached with the thumb, and numerous direct selection buttons make operation easier in combination with the rotary wheel on the handle. In addition, the set key can be freely assigned if desired. The probably most important button, however, the shutter release button, is less successful. He seems to have three pressure points, which takes some getting used to. The shutter-release button can be pressed partway down to the first apparent pressure point, which is without function, then the resistance increases until a noticeable second, true pressure point is reached, at which point the focus is locked. If the shutter button is pressed even further, the camera takes a picture.

Equipment

There is hardly anything to criticize about the flash and the possibilities of the camera. The EOS 500D (Rebel T1i) has the same “professional” technology as much more expensive EOS models. This applies not only to the E-TTL II measuring technique, which is very precise and mixes ambient light with flash light in a very balanced way, but also to the extensive setting options in the menu, which are even separate for internal and external flash attached to the system hot shoe, whether you need a pre-flash to reduce red-eye or a synchronisation to the 2nd shutter curtain (flash ignition at the end of the exposure).

Of course, the power of the flash can also be adjusted with a flash exposure correction, even the flash metering method can be changed from multi-field to center-weighted integral, only manual power levels are not switchable for the internal flash. By the way, it opens quite high, so that even voluminous lenses do not cast a shadow into the picture and the danger of red-eye is reduced. With the attachable flashes, one can fall back on the full Canon program, whereby the wireless flash control only works with an attached flash, but the internal flash cannot be used as “master” as it is the case in some competitors (Pentax, Sony, Olympus), so that for the wireless flash, one always needs at least 2 system flashes and/or at least one control unit.

The LiveView function of the Canon Rebel T1i has a contrast autofocus, but compared to phase AF, it works quite slowly. You have facial recognition for that. Alternatively, you can also set in the menu that the camera uses phase AF instead of contrast AF, although this requires the mirror to be folded down briefly during the measurement. The manual focus really comes into its own during the LiveView, as here one can enlarge any image section for a better sharpness assessment. Of course, a grid (with two differently “dense” line patterns) and histogram can also be displayed in LiveView mode.

The video function seems to inspire on paper: FullHD resolution (1,920 x 1,080 pixels) at 20 frames per second (30 fps up to max. 1,280 x 720), modern H.264 compression in Quicktime (MOV) format and autofocus. By the way, a video recording is started and stopped using the LiveView button on the back of the camera and not the shutter release. In practice, however, one has to live with numerous restrictions. The picture quality is good, but the focus is only adjusted at the touch of a button and then quite slowly and jerkily, which is truly not a feast for the eyes. With panning, the “jelly movie effect” also occurs: Due to the electronic line-by-line shutter, vertical lines actually have an oblique effect when panning. It is also annoying that one cannot influence the aperture and therewith the depth of field, only an exposure correction is possible. The ears suffer even more, as the sound quality is not only moderate, one also hears the autofocus, if operated, working very loudly; even if one uses the exposure correction during filming, the index finger wheel can be heard loudly on the soundtrack. Unfortunately, the 500D (Canon Rebel T1i) does not have a microphone input, so there is no possibility to switch to an external microphone. All in all, the fun with the video function can be spoiled.

On the other hand, the continuous shooting mode, which reaches about 2.8 fps and allows very long image series, especially when saved in JPEG format (see measured values in the profile on the left), does justice to the entry-level class, provided that a fast SDHC memory card is used. Also important equipment features, which should simply be standard, are not missed. These include the bracketing function and exposure metering settings. A Canon standard is also “built in”: the image styles. This allows the user to adjust the image impression individually. In addition to Standard, there is, for example, one setting for Portrait and one for Landscape and one for Black and White. All presets can be individually adjusted in contrast and sharpness. In addition, three individual setting memories are also available to the user. Another possibility for individualization is the user menu, in which frequently used menu items can be copied into it, so that they can be accessed faster and without searching.

 

Lens

The Canon EOS 500D (Rebel T1i) is equipped with the Canon EF bayonet and can therefore use a wide range of lenses. The bayonet is fully electronic, i.e. the aperture adjustment and the autofocus drive are also located in the lens and are controlled electronically by the camera. The 500D’s CMOS image sensor is 1.6 times smaller than that of a 35mm full frame camera, which means the mirror is also smaller, allowing the 500D (Rebel T1i) to accommodate EF-S lenses that extend further into the camera. EF-S lenses are optically designed specifically for the smaller image sensor, i.e. the image circle and optical correction are limited to the smaller sensor format.

Because Canon has a fixed image sensor, the mechanical image stabilisation takes place optically in the lens. This has both advantages and disadvantages. The advantages are a stabilized viewfinder image and also a stabilized image for the autofocus, which can work better that way. The disadvantage is the more complex optical construction, which can lead to slight losses in image quality and a higher price of the lenses.

In order to catch up with competitors with mechanically image-stabilized image sensors, at least for the set lenses, Canon has launched image-stabilized set lenses on the market. For the 500D (Rebel T1i) , the corresponding EF-S 18-55mm F3.5-5.6 IS was available for testing. The lens is quite light with only 210 g, the construction is made of plastic including the bayonet. The latter in particular does not inspire much confidence, but this is due to the low price. The focus ring of the lens is very narrow, which makes manual focusing difficult; the front lens that rotates with it is also a tribute to the cheap construction and makes the use of polarizing filters, which are adjusted by rotation, very cumbersome, as you have to readjust them after focusing.

For the beginner the lens offers a quite universal range of applications. With a focal length range of 18-55 mm, which is rather 28-90 mm (which is equivalent to a 35 mm focal length due to the small sensor format), the lens covers everyday subjects from wide angle to light telephoto – also suitable for portraits – quite well. The low close-up limit of 25 cm from the sensor level, which is marked on the top of the camera to the left of the flash, allows first attempts in macro photography, especially when it comes to flowers or larger insects. If you want to try out optical filters, you can screw them into the 58mm filter thread.

The autofocus motor of the 18-55 mm works quite loud and reminds of a cordless screwdriver. If you want quieter focusing, you should use lenses with USM ultrasound drive, which are not only quiet but also focus particularly fast. By the way, you can recognize higher quality Canon lenses by the red ring and the typical “L” in the name. The autofocus module (phase AF) of the Canon EOS 500D (Rebel T1i) has 9 measuring fields, whereby 8 further ones are distributed in addition to the central sensor in such a way that also objects outside of the picture center can be well seized both in portrait and landscape format. The speed is convincing even with the set lens (18-55 mm IS), the camera rarely needs more than 0.4 s to focus. This applies both to bright daylight and interior lighting. If it gets even darker, the autofocus can be supported by an auxiliary light, but this is achieved by the internal flash. This garish stroboscopic light is very unpleasant and at least with lively motifs it does not provide much spontaneity.

Image quality

Canon accommodates about 15.1 million pixels on the approximately 22 x 15 mm CMOS sensor, which corresponds to a rather high integration (the highest at APS-C). Such a resolution places high demands on both the lenses and the signal processing.

It’s amazing that Canon offers up to ISO 12,800 at the 500D, at least after activation – the lowest sensitivity is ISO 100, which means aggressive noise reduction, especially for the higher sensitivities. Thus, Canon manages that the 500D up to ISO 3.200 is still quite usable, whereby the noise here already increases noticeably. From ISO 6.400 onwards, in addition to brightness noise, so-called salt and pepper pixels also occur, i.e. individual black and white pixels where they do not actually belong. Color noise is then also visible in the form of “color clouds”, i.e. it is not so much individual pixels of different colors, but rather entire pixel groups with a slight color cast, usually green or magenta. These high sensitivities should therefore be “saved” for emergencies.

Another problem is the rather uneven noise reduction. Shadow noise in particular is strongly suppressed, which leads to better measurement results depending on the test, but is disappointing in real scene mode situations, as more noise is visible in sensitive skin and sky areas than the measured values would lead you to believe. All in all, this leads to a rather uneven image rendition and an increased loss of detail in the shadows. On the positive side, this uneven noise suppression results in a rather high input dynamic range. At ISO 800, it reaches its highest value with 9 f-stops, but is still quite good even at ISO 3,200 with almost 8 f-stops and respectable at ISO 12,800 with 6.8 f-stops. The high input dynamic range tightens Canon to a crisp reproduction in the medium brightness levels, while the shadows and highlights are rather soft to get drawing there. This corresponds to a typical inverse S-shaped tone value curve. Thereby, the brightness range is well exhausted in the lights, but it could be a little darker in the shadows, thus, Canon gives away some really deep black in the images.

The crisp processing is also noticeable in the resolution and efficiency, where the 500D (Rebel T1i) performs very well. Although there is an edge drop of the lens especially in the wide angle, the edge resolution is still good. Faded down by 2 steps, the edge drop is much lower, but here the high resolution of the sensor in connection with diffraction becomes noticeable, as the maximum resolution in the center of the image is already below that at open aperture. In order to exploit the 500D to the full in terms of resolution, very good and therefore expensive lenses are required which already have a high resolution at open aperture. However, the aggressive processing of fine image details also has its downsides. Distracting artifacts become visible on fine structures, making the camera less suitable for the natural reproduction of fine structures. Also the strong sharpness of the image leads to slight double lines at brighter edges. This seems to increase the resolution in the first moment and the pictures seem to be more crisp, but if you look closer, it is slightly disturbing. This is especially disadvantageous for the image postprocessing at the computer together with the strong artifacts, which is why one should resort to the RAW format if one wants a finer adjustment.

Two image quality parameters are mainly due to the lens, whereby the camera-internal image processing is increasingly intervening here as well. Thus, the vignetting turns out to be surprisingly low, which is due to a correction within the camera. The disadvantage of this might be the slightly increased noise in the outermost corners of the image, whereby this correction can also be switched off in the menu. Anyway, it only works with original lenses that the camera knows. The distortion is quite noticeable at 18 mm focal length, making the 18-55 mm less suitable for architectural or landscape photography. At medium and long focal length, however, distortion is low and hardly noticeable. All in all, the camera-internal image processing cuts a very good figure, especially considering the target group – namely beginner photographers. Despite heavy processing – or perhaps because of it – the result is very useful images that hardly require any post-processing. If this is too much for you, the RAW format with many possibilities of intervention is the right choice.

When compressing images in JPEG, the 500D offers two levels of compression. The less compressing, i.e. qualitatively better compression stage works artifact-free. At the higher compression level, twice as many images fit on the memory card. The gradation is quite well chosen, even if you have to expect artifacts on fine structures and block formation in even color areas when using stronger compression. Almost unbeatable is the camera’s exposure metering, which works very reliably in practically all lighting situations. Although individual “slip-ups” cannot be ruled out, it is up to the creativity and knowledge of the photographer to achieve the desired image effect through corrections or manual exposure. The same can almost be said about the automatic white balance, which works very reliably in almost all lighting conditions. Only very warm light (candles, fire, light bulbs) leads to a moderate color cast. Here, one should fall back on the default setting “incandescent light” or a manual adjustment, if at all a neutral reproduction is desired, because the color cast underlines the mood of the picture depending on the situation.

Conclusion

The Canon EOS 500D (Rebel T1i) is a DSLR, which can convince mainly by its image quality. Although the camera-internal processing is very offensive, it leads to good, directly usable results, which the beginner does not have to edit laboriously on the computer first. The equipment of the camera is balanced, although the video function is not necessarily convincing. The speed is different, at which the camera does not need to hide behind the competition – the autofocus is blazing fast, the continuous shooting speed should be sufficient for beginners. The low price of the camera is most noticeable in the case material, which is not fully convincing.

Canon releases Firmware 1.1.0 for EOS 500D (Rebel T1i) : Bug fix

Canon releases a new firmware for the EOS 500D, which carries the version number 1.1.0. It eliminates two sources of error: On the one hand, this improves the stability of the camera during LiveView recordings. It could happen that the mirror did not fold up properly and the screen remained black. Secondly, minor errors in the menu languages English, Swedish and Arabic are corrected. The firmware, including instructions, can be downloaded from the Canon website and installed by the user. If you are afraid of the risk involved, you should contact a specialist dealer or Canon Service.

Profile

Profile
Manufacturer Canon
Model EOS 500D – (Rebel T1i)
Price approx. EUR 720**
Sensor Resolution 15.1 megapixels
Max. Image resolution 4.752 x 3.168
(aspect ratio) (3:2)
Lens Canon EF-S 18-55mm 1:3.5-5.6 IS
Filter thread 58 mm
Searcher Pentas Mirror
Field of view 95%
Enlargement 0.87 times
Dioptre compensation -3 to +1 dpt.
LCD monitor 3″
Resolution 920.000
rotatable
swiveling
as viewfinder yes
Video output PAL/NTSC, HDMI
as viewfinder yes
Automatic programming yes
Automatic aperture control yes
Automatic timer yes
manual exposure yes
BULB long time exposure yes
Scene mode programmes
Portrait yes
Children/baby
Landscape yes
Macro yes
Sports/action yes
further 2 additional scene modes are available.
Exposure metering Multi-field, center-weighted Integral, Selective, Spot
Flash yes
Guide number 13.4 (measurement)
Flash connection System hot shoe
Remote release Cable, infrared
Interval recording
Storage medium SD/SDHC
Video mode
Format Quicktime (MOV)
Codec H.264 (MPEG4)
Resolution (max.) 1.920 x 1.080
Frame rate (max.) 20 (with FullHD, otherwise 30)
Sensitivity
automatically 100-1.600
manually ISO 100-12,800
White balance
Automatic yes
Sun yes
Clouds yes
Fluorescent lamp yes
Incandescent lamp yes
Miscellaneous Shadow, Lightning
Manually yes
Autofocus
Number of measurement fields 9
AF auxiliary light Flash
Speed < 0,3-0,4 s
Languages Yes, many
further 24 languages
Switch-on time 1,3 s
One-hand operation
(zoom and shutter release)
Weight (Ready for operation) 525 g (body only)735 g (with lens**)
Continuous shooting function*
Number of serial images 85 (JPEG
)9 (RAW)
Frequency
(frames/s
)
2.8 (JPEG
)2.8 (RAW)
Continuous run
(images/s)
2.1 (JPEG
)0.7 (RAW)
with flash yes
Zoom
Zoom adjustment at the lens
Zoom levels infinitely variable
Time WW to Tele
Memory speeds*
JPEG 1.0 s (4.7 MByte)
RAW 2.2 s (18.4 MByte)
Trip during
.Saving possible.
yes
Battery life about 400 pictures
– = “not applicable
“* with Panasonic 4 GB Class 6 SDHC memory card**
with lens Canon EF-S 18-55mm 1:3.5-5.6 IS

Brief assessment

Pros

  • Very good image quality (although heavily processed as typical for Canon)
  • Fast autofocus
  • Video function with good image quality
  • Excellent screen

Cons

  • No image processing functions in the camera
  • Material and processing do not make the best impression
  • AF auxiliary light with flash salvo
  • Video function without continuous AF and stereo microphone input

Canon EOS 500D data sheet

Electronics

Sensor CMOS sensor APS-C 22.5 x 15.0 mm (crop factor 1.6
)15.5 megapixels (physical) and 15.1 megapixels (effective)
Pixelpitch 4.7 µm
Photo resolution
4.752 x 3.168 pixels (3:2)
3.088 x 2.056 pixels (3:2)
2.256 x 1.505 pixels (3:2)
Image formats JPG, RAW
Color depth 24 bits (8 bits per color channel), 42 bits (14 bits per color channel)
Metadata Exif (version 2.21), DCF standard
Video resolution
1.920 x 1.080 (16:9) 20 p
1.280 x 720 (16:9) 30 p
640 x 480 (4:3) 30 p
Video format
MOV (codec n.a.)
Audio format (video) WAV

Lens

Lens mount
Canon EF-S

Focus

Autofocus mode Phase comparison autofocus with 9 sensors
Autofocus functions Single AF, Continuous AF, Manual, AF Assist Light
Sharpness control Depth of field control, Live View

Viewfinder and monitor

SLR viewfinder Reflex viewfinder (mirror viewfinder) (95 % image coverage), 19 mm eye relief, dioptre compensation (-3.0 to +1.0 dpt), replaceable focusing screens, grid can be inserted
Monitor 3.0″ TFT LCD monitor with 920,000 pixels

Exposure

Exposure metering Center-weighted integral measurement, matrix/multi-field measurement over 35 fields
Exposure times 1/4,000 to 30 s (Automatic
) Bulb function
Exposure control Programmed automatic, Shutter priority, Aperture priority, Manual
Exposure bracketing function Exposure bracketing function with a maximum of 3 shots, step size from 1/3 to 1/2 EV
Exposure Compensation -2.0 to +2.0 EV with step size of 1/3 EV
Photosensitivity ISO 100 to ISO 1,600 (automatic
)ISO 100 to ISO 12,800 (manual)
Scene modes various scene modes, landscape, night scene, close-up, portrait, sports/action, full auto, 1 additional scene mode
Picture effects B/W filter in yellow/orange/red/green, B/W tinting effects in blue/violet/green
White balance Auto, Cloudy, Sun, White balance bracket, Shadow, Flash, Fluorescent, Tungsten, Kelvin input, Manual
Colour space Adobe RGB, sRGB
Continuous shooting 3.9 fps at highest resolution, or 9 RAW images in sequence at 1.5 fps
Self-timer Self-timer with 2 s interval, special features: or 10 s (optional)
Recording functions Live histogram

Flashgun

Flash built-in flash (flip up
)Flash shoe: Canon, standard center contact
Flash code Guide number 13 (ISO 100)
Flash functions Auto, fill-in flash, flash on, flash off, high-speed sync, long-term sync, red-eye reduction

Equipment

Image stabilizer no optical image stabilizer
Memory
SD
Power supply unit Power supply connection
Power supply 1 x Canon LP-E5 (Lithium ion (Li-Ion), 7.4 V, 1,080 mAh)
Playback functions Playback histogram, image index
Voice memo Voice memo (WAV format)
Special functions Orientation sensor, Live View
Connections Data interfaces: USBUSB type
:USB 2.0 High Speed
AV Connections AV output: HDMI output Micro (Type D)
Supported direct printing methods Canon Direct Print, PictBridge
Tripod thread 1/4″
Special features and miscellaneous built-in low-pass filter with dust protection functionHighISO
approx. ISO 12.
8
00DIGIC-IV signal processing processorHighlightTone PriorityAuto
Lighting OptimizerSimultaneous
JPEG and RAW recording possible9-point autofocus
with automatically or individually selectable fields of viewAF working range
from -0,5to 18 EVSingle autofocus
and/or predictive focus (ONE SHOT/AI FOCUS/AI SERVO)
PTP supportAdjustable
image parameters (6 Picture Style presets 3 custom settings)
AE Metering memoryDisplay of
shooting information in playback mode with highlighting of highlightsPlayback zoom
(1.5 to 10x magnification)
Orientation sensor for automatic image orientation13
Personalization function with 39 settings6
Picture Styles plus 3 custom settings

Size and weight

Dimensions W x H x D 126 x 98 x 62 mm
Weight 480 g (ready for operation)

Miscellaneous

standard accessory Canon LP-E5 Special BatteryCanon
RF-3 (Body Cover)
Battery Charger LC-E5EVideo Connection CableUSB-Connection CableBayonetCapBeltRemote CaptureCamera SoftwareEOS Utility / Remote CaptureCamera Software
Photo StitchTwain
Driver 2000Image Viewing
and Management Software Zoom Browser EX (PC) or Image Browser (Mac)
additional accessories AC Adapter ACK-E5
,Battery Charger LC-E5E,
Car Charger CBC-E5,
Cable Remote Control RS-60E3Canon
EF and EF-S Interchangeable Lens SystemCanon
Speedlite EX System Flashes, Eyepiece Extension EP-EX15IIISlip-Top
EH-19L
Peter Dench
Peter Dench
I am Peter Dench. Digital Photographer, born in London 1972, currently living in Deerfield, near Chicago. I have numerous photography expositions and also working in model photography. In this website, PhotoPoint, I usually review cameras provided by local dealers in Illinois and by the manufacturers. Sometimes I, Peter Dench, review lenses too, but only when I have a suitable camera for them. Please let me know in the comments if I can improve any of these articles.

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