Canon EOS 300D Review

Canon EOS 300D Review

A new class of digital cameras is born with the EOS 300D, Canon’s new digital SLR camera: affordable, interchangeable digital SLR cameras that are affordable for a larger group of amateur photographers. In the series of digital SLR cameras, there was already a class for purebred and high-quality professional equipment and a kind of “middle class” about above 2,000 EUR. In view of the relatively low list price of around EUR 1,100, the Canon EOS 300D, on the other hand, appears to be suitable for larger quantities.

Since Canon announced the EOS 300D in August, a “mass hysteria” has truly broken out. With this model, Canon has not only lowered the price limit for entering the world of digital SLR cameras a little, but has literally “shattered” it – and accordingly the enthusiasm for the “People’s DSLRs” is enormous. Suddenly everyone is just talking about the EOS 300D and Canon’s order booklet is already so full of pre-orders that production is barely able to keep up. And even in the few stores that have the EOS 300D in stock, the camera goes like hot cakes.

Around EUR 800 separate the new Canon EOS 300D from its analogue counterpart EOS 300v. Despite this price difference, both cameras are aimed specifically at beginners and have the same basic characteristics as the precise exposure measurement over 35 measuring fields (in addition to center-weighted integral measurement and selective measurement) and the fast focusing on up to 7 autofocus measuring points. Also identical are the 12 exposure modes (program automatic, aperture and time automatic, manual exposure control, 7 subject programs, A-DEP depth of field program) as well as various other features and functions, such as the dipping button or the automatic bracketing function. The EOS 300D and the EOS 300v also have in common the continuous shooting mode with 2.5 frames per second, the built-in flash with guide number 12 and 13 (300v/300D) and of course the SLR viewfinder with diopter compensation, 95 percent field coverage and AF field marking. Like all EOS cameras, both the EOS 300D and EOS 300v are compatible with all EOS system accessories (lenses, E-TTL flash units, other accessories).

The other features of the EOS 300D result from its completely different shooting technology, because it takes its pictures not on 35mm film, but digitally and uses a 6.52 megapixel CMOS image converter. This enables fine images of up to 3,072 x 2,048 pixels in sensitivities ranging from ISO 100 to ISO 800 to be written in RAW or JPEG format to CompactFlash removable memory cards (Type I + II incl. Microdrive). As you would expect from a digital camera, the EOS 300D also features a colour LCD screen (1.8″ with 118,000 pixels), a data interface (USB 1.1 with PTP image transfer protocol) and the DSLR-typical power supply via lithium-ion batteries (BP-511/512). An illuminated liquid crystal status field, signal processing via Canon’s “in-house” DIGIC processor (already proven in all newer Canon digital cameras), a PAL/NTSC video output and direct print compatibility (with PictBridge’s cross-brand standard or Canon’s Direct-Print system) complete the EOS 300D’s summary list of key features.

Due to the smaller image converter – compared to the 35mm film (as used in the EOS 300v) – the EOS 300D gains a little more shutter speed (1/4,000 s or 1/200 s flash sync time) and also manages with a smaller oscillating mirror. The latter allows the edge of the lens to be moved closer to the sensor and has led Canon to develop a lens series based on the Nikon model (with the DX lens series) that is specially adapted to the sensor format. At Canon, this lens series is called EF-S; the EF-S lens starts with 18-55 mm/F3.5-5.6. As with the DX Nikkors, this lens can only be used with digital cameras (EOS 300D and other EOS-D models with the same image converter size), as the smaller image circle only covers the 35mm format incompletely and the rear part of the lens would touch the larger mirror with an analog EOS. The angle of view of the new lens corresponds to that of a zoom with a focal length of 28 to 90 mm for a 35mm image, which can nowadays be described as a standard zoom. If you use ordinary EF lenses with the EOS 300D, their focal length is virtually extended by a factor of 1.6. Interesting is the fact that the Canon EOS 300D is also available as a set with the new EF-S zoom – at an extra charge of only 100 EUR.

Whether it is the desire to continue using an existing lens park, to maintain old habits (compact digital cameras have their own characteristics) or to benefit from the advantages of larger image converters (better noise behaviour, often better image quality, etc.), the appeal of buying a digital SLR camera will overwhelm many sooner or later. The Canon EOS 300D makes the desire for a DSLR (as acronym for “Digital Single Lens Reflex”) accessible to those who, for financial reasons, could only flirt with a compact digital camera of the prosumer class. Because the EOS 300D with a street price of about 1.000 EUR (camera body without lens) is not more expensive than a Minolta Dimage A1, a Sony DSC-F828, a Fujifilm FinePix S7000 or similar and offers almost the same possibilities as a Canon EOS 10D, Nikon D100, Sigma SD9/SD10 or Fujifilm FinePix S2 Pro that is at least 500 EUR more expensive.

As you can already figure out, in order to achieve such a price, the EOS 300D had to cut costs wherever possible. The EOS 300D offers no innovations and hardly anything that has not already been used on another EOS (whether analog or digital). The sensation about this camera is simply its price.

The body of the Canon EOS 300D is made of plastic and conveys a certain degree of solidity despite the lightness of the material. Unlike the analogue EOS cameras in the lowest price range, the bayonet is not made of plastic, but of metal; the same applies to the flash shoe and the tripod thread. The EOS 300D is neither a flyweight (the camera body alone weighs around 650 grams) nor can it be described as compact (external dimensions: 142 x 99 x 73 mm). The BG-E1 battery handle, which is available as an option, improves handling as well as the battery life and professional appearance. Anyone who has ever called any other EOS their own will quickly get along with the EOS 300D. From other EOS models one knows the turntable at the top of the camera that selects the exposure mode (program automatic with shift function, aperture and time control, manual exposure control, depth of field automatic, fully automatic, subject programs) and that the on/off switch of the EOS 300D has “grown” (the switch-on time is approximately 2.8 s). The shutter release button, a rotary knob (for adjusting the aperture and/or shutter speed, among other things), a button for selecting the shutter release mode (self-timer, remote shutter release, continuous advance), a button for metering (reduction magnifier in playback mode), and a button for selecting the AF field (magnifier in playback mode) are all within reach of the handle with the index finger or thumb.

 

 

 

 

 

 

 

 

The camera display is located directly below the viewfinder on the back of the camera. It is divided into a two-line and monochrome status LCD and a 1.8″ color LCD (with 118,000 pixels). While the status LCD is always on when the camera is in use and displays the camera’s main settings (exposure parameters, exposure deviation or compensation, shutter release mode, white balance setting, battery status, and frame counter) day and night (thanks to the corresponding button for illuminating the display), the color screen is only activated at the touch of a button using the menu button. This is used either to play back the captured images or to display the setting menu. There is nothing wrong with the colour LCD in terms of image quality: The resolution is high enough to control the sharpness of the image with the zoom buttons; there are no noise or drag effects due to the system, because – as with almost all DSLRs – there is no live image with the EOS 300D. The four menu levels (Record Settings, Playback Settings, Camera Settings 1, Camera Settings 2) can be navigated with the corresponding control buttons (Left, Right, Top/ISO, Bottom/WB, Input), which are arranged next to the screen in a flower pattern. The 300D has copied the menu structure from the PowerShot models. With the offered settings, the 300D is more reminiscent of the EOS 10D, but the range of functions has been greatly reduced. This becomes most obvious when searching in vain for the individual functions; the EOS 10D after all offers 14 of these custom functions with a total of 38 setting options. The 300D’s most important settings include image quality, resolution, and compression settings (where we would prefer numeric resolution information over spongy information such as “large/medium/small image”), red-eye reduction for the built-in flash, white balance and exposure bracketing, data transfer protocol, and sensor cleaning. The EOS 300D offers a total of 25 menu items to choose from; the most important settings can be stored in three user memories so that you don’t lose track. There, where one finds the user memories in the menu, one can also change the image parameters contrast, sharpness, colour saturation and hue in +/- 2 steps.

The camera also has buttons for entering exposure compensation (which also serves the purpose of setting the aperture in manual exposure mode), unfolding the flash, switching to playback mode, deleting displayed images, displaying shooting data (EXIF information), and jumping from the first displayed image to the last displayed image. Canon has even thought of a dipping button on the EOS 300D. When this is pressed, the camera closes the aperture to the set value. The viewfinder darkens more or less, but in this way you can visually control the depth of field. When the aperture is open, the viewfinder of the EOS 300D appears slightly darker than the viewfinder of the EOS 10D, but this is not due to the focusing screen. Rather, the minimal light loss compared to the EOS 10D is due to the very special prism architecture of the EOS 300D SLR viewfinder. For reasons of cost and miniaturization, the EOS 300D decided to install a pentaprism (a pentagonal glass element) instead of a pentaprismatic mirror construction in the prism box. The viewfinder coverage of the EOS 300D is on the same level as that of the EOS 10D. The viewfinders of both cameras show a 95-percent section of the actually captured image. If you later crop the image to the detail seen during the recording, you practically give away 5 percent resolution.

 

 

 

 

 

Some among us will appreciate the presence of dioptric correction (-3 to +1 dpt.), 0.8x magnification of the viewfinder image, and the 21mm interpupillary distance of the 300D viewfinder. And in fact, the EOS 300D can also be used very well with the glasses on.

The EOS 300D’s viewfinder and the viewfinder mat screen show the seven cross-shaped AF fields on which the automatic focus takes place. Like every modern autofocus camera, the EOS 300D detects the position of the main subject in the picture with considerable reliability and focuses on the corresponding spot. Although the EOS 300D works much more precisely than, for example, a PowerShot G5, which also has a multipoint autofocus, the 300D also occasionally fails and focuses on objects in the foreground instead of on the main subject. Fortunately, such cases are quite rare, but you should still keep an eye on the active AF fields in the viewfinder to be on the safe side. This also shows where Canon has saved with the EOS 300D. Instead of the border of the corresponding mark lighting up red like in other EOS models (no matter if analog or digital), only a small dot in the middle of the box flashes on the EOS 300D. Even if this has no effect on the usability of the camera, it looks less elegant than you would expect from Canon. The marking also outshines the AF field somewhat if the AF field is manually selected by simultaneously using the AF field selection button and the selector wheel on the camera handle. It doesn’t matter whether you preselect the AF field manually or let the automatic function work: The EOS 300D’s autofocus is incredibly fast and far surpasses anything you’d expect from a compact digital camera. The EOS 300D rarely takes more than 0.2 seconds to successfully focus and trigger. The pure release delay is in the millisecond range – which we can no longer measure. Only when the light becomes scarce (the sensitivity of the AF sensor reaches -0.5 IL) can it take up to one second for the focusing process to complete. The AF auxiliary light function of the EOS 300D (and also the EOS 10D) is an absolute mistake in this respect. Here the camera uses a flash salvo to provide the autofocus with sufficient light for focusing. This is neither practical (you have to open the flash every time) nor discreet. At least the EOS 300D supports the red light measuring beam of external flashes (such as Canon’s Speedlite-EX series system flashes), which is much less disturbing. All in all, the EOS 300D achieves almost the same performance level as the EOS 10D in autofocus. This is no wonder, as both cameras use the same AF module. Thanks to a somewhat more complex AF control software, the 10D is still a bit faster and more precise than the 300D, but the difference in performance is insignificant for the ordinary mortal.

 

 

 

 

 

 

However, there are differences between the two cameras in terms of flexibility: If you can set the EOS 10D to automatically focus on static (One-Shot mode) or moving subjects (AI-Servo) (Tracking autofocus) either manually or automatically (AI-Focus), the EOS 300D will not select the AF mode and will be linked to the exposure program. For example, focus tracking in the Sports program and single-frame AF in the Portrait, Landscape, Close-up, Night Portrait, and A-DEP programs are activated; in all other exposure programs (including Program Aperture, Aperture and Aperture Priority, Manual Exposure Control), the camera’s AI focus mode must be left to choose the AF mode.

The EOS 300D behaves similarly when it comes to “choosing” the exposure metering mode. Although the EOS 300D has three different metering modes (matrix or multi-segment metering over 35 metering fields, center-weighted integral metering, selective metering to 9% of the field), only selective metering can be manually selected by the user by pressing the exposure lock button in one of the creative programs (P/Av/Tv/M/A-DEP). With the exception of manual exposure control, all other exposure programs are coupled with multi-segment metering. With manual exposure control, the light is measured after center-weighted integral metering and the difference between the set time/aperture pair is displayed on an exposure scale in the viewfinder and on the status LCD. Shutter speeds can be set (automatically or manually – depending on the selected exposure program) from 1/4,000 to 30 seconds in third steps. Longer shutter speeds are possible thanks to bulb function with shutter release stopped. The range of adjustable apertures depends on the lens used. When using flash, the shortest shutter speed (unless you use the high-speed flash sync function of some flashes) culminates at 1/200 sec. If one relies on the automatic exposure control of the EOS 300D, one is rarely disappointed. Even under difficult light conditions, she cannot be carried away by gross misexposures. The EOS 300D only tends to slightly overexpose weakly reflecting scenes or some scenes with larger shadow areas.

 

 

 

 

 

 

As far as the remaining image quality is concerned, the EOS 300D is somewhat more differentiated. There is nothing wrong with the resolution and the noise behavior. Canon has optimised the manufacturing process of its CMOS image converters, but the reduction in manufacturing costs does not appear to have been at the expense of manufacturing quality. The key data of the EOS-300D image converter are the same as those of the EOS 10D: The CMOS chip accommodates a total of 6,518,336 pixels on an area of 22.7 x 15.1 mm, of which 6,291,456 pixels are used to generate the image files consisting of a maximum of 3,072 x 2,048 pixels. The information content and detail fineness of the images are correspondingly high. There is nothing to criticize about the image noise. Thanks to the large pixels (a single pixel element is about 7.4 µ in size) and sophisticated noise reduction algorithms (implemented by the powerful DiGIC signal processor) compared to compact digital cameras, the noise behaviour of the EOS 300D is in no way inferior to the excellent noise behaviour of its big sister, the EOS 10D. With both automatic (ISO 100 or ISO 400) and manual (ISO 100/200/400/800/1.600) sensitivity settings, the EOS 300D delivers images where the noise is not visible to the naked eye (ISO 100, 200, 400) to barely visible (ISO 800 and 1.600) and not annoying. The tendency towards colour fringes cannot be clearly identified. If the color fringes are more or less strong depending on the quality of the lens used, which indicates chromatic aberrations, even when using very good lenses (e.g. Canon’s L-lens series), a residual fringing can still be seen on closer inspection of some parts of the image. Here the suspicion suggests itself that Blooming produces a kind of color fringing “primer” with the EOS 300D, which only in interaction with the chromatic aberrations ensures that color fringes become disturbingly visible. But if you use lenses of the upper price/performance class, you don’t have to worry because the color fringes are so small that it doesn’t matter whether they are caused by blooming or chromatic aberrations. Much more striking and annoying are the sharpness losses at the edges of the image. A slight tendency to blurred or less sharp corners is noticeable when shooting with the aperture open. Whether with L-lens or with cheap “bottle bottom”: The edge blur is always there – even with flat subjects without depth of field; only its extent increases or decreases with the quality of the lens (from “catastrophic” to “passable”). Depending on quality awareness and motif, you will be more or less disturbed by the edge blur, but sharpness fanatics should definitely close the aperture by at least one value. Whether or not this blur problem is camera specific cannot yet be clearly determined, as the phenomenon has not yet been sufficiently investigated (e.g. on cameras of other brands), but it provides nutrients for Olympus’ thesis or sales argument that 35 mm lenses are not optically well suited for use on digital cameras. Be that as it may, even with such a “handicap” the EOS 300D delivers more than useful images; the EF lenses/EOS-300D combination can definitely still be described as practical.

The white balance automatic of the EOS 300D is also not optimal or not very practical. If this works reliably under most natural light sources, it produces a fairly pronounced red-orange colour cast under artificial light (with certain types of fluorescent lamps and incandescent lamps). With fluorescent lamps, even the corresponding presetting does not help, so it is best to carry out a manual white balance immediately. This is – as is the case with all digital SLR cameras in comparison to compact digital cameras – somewhat cumbersome in its execution (take picture, select reference picture for manual white balance, take picture again), but in any case leads to the desired result. A more convenient, if also more wasting storage space, is an automatic white balance series (WB bracketing). A white balance fine correction function or manual input of the colour temperature, however, is not found with the EOS 300D. In the white balance presets, there is also a presetting for flash light, which leads us directly to the flash system of the EOS 300D. As befits an entry-level camera with high demands, the EOS 300D has both a built-in miniature flash and the connection option for external flash units. The internal flash of the EOS 300D can be activated either by pressing a button or completely automatically (at least in fully automatic mode); it then jumps out if necessary. The usefulness of this little helper is often underestimated; perhaps because it looks “unprofessional” to some if you don’t walk around with a kilo of heavy flashgun. With its guide number of 13 (at ISO 100 and 50 mm focal lengths), the built-in flash is of course not as powerful as an external flash, but in an emergency it is still better than no flash at all. The fact that the miniature flash of the EOS 300D jumps out much higher than, for example, the EOS 10D is very welcome. This further reduces the risk of red-eye and also allows the connection of somewhat more voluminous lenses to the camera without shadowing the flash.

There is no flash correction function on the EOS 300D on the camera side; those who want to correct the flash intensity need an external flash unit that is equipped with a corresponding function. To connect an external flash, the flash shoe is enthroned on the viewfinder “roof”. The contacts on it (centre contact and four manufacturer-specific contacts) are fully utilised. While many PowerShot models only support the basic functions (such as E-TTL flash control, wireless E-TTL flash control and motorized zoom reflector control to the set focal length), the EOS-D models also support the advanced functions. Finally you can also see the red AF auxiliary light of the flash unit in action and flash bracketing is also possible. Both the internal flash and external flash units are E-TTL controlled. In this type of flash control and measurement, the camera uses the same cell to measure ambient light (i.e., natural light) and flash. Simpler TTL systems require a separate measuring cell to measure the flash light. The “fusion” of ambient light measuring cell and flash light measuring cell results in better coordination between flash light and ambient light; the E-TTL system, however, offers further advantages such as wireless control of several flash units, flash exposure metering (FEL) or high-speed flash synchronization.

 

 

 

 

 

 

 

The only requirement is one or more E-TTL compatible flash units, such as Canon’s Speedlite-EX system flash units or compatible external flash units. A simultaneous operation of internal and external flash is not possible, by the way; just as the internal flash cannot be used to control other flash units in E-TTL mode. If you prefer to connect studio flashes to the camera, you will have to buy an adapter for the flash shoe – due to the lack of a PC sync socket – which is available for a few euros in the accessory trade.

In any case, what you have to buy when buying an EOS 300D are the corresponding lenses and a memory card – without which the EOS 300D doesn’t work and which are also not included in the scope of delivery of the camera (at least not in the basic configuration). The EOS 300D is compatible with all Canon EF lenses (or compatible third party lenses) without exception, including special lenses such as Canon’s Tilt-Shift series (e.g. TS-E24). The only limitation is the narrowing of the image angle due to the unequal ratio between CMOS image converter and 35mm film, which “virtually” leads to a focal length extension by the factor 1.6. For example, a 28 mm wide-angle lens becomes a 45 mm standard lens. What annoys wide-angle enthusiasts is a pleasure for fans of long focal lengths, such as animal or sports photographers. Because by extending the focal length, a 300 mm lens suddenly becomes a 480 mm lens, at least in terms of the captured image section. Despite the “economy program”, Canon has granted the EOS 300D a metal connection bayonet, so that even heavy lenses can be mounted on the 300D with a clear conscience. But Canon has saved on another side and profited from the small dimensions of the CMOS image converter compared to the 35mm film in order to reduce the size of the oscillating mirror. This has no effect on image quality, handling (a larger mirror would only capture superfluous parts of the image that would not pass the viewfinder anyway) or lens compatibility – but saves costs. And not only with the camera, but also with special lenses. At the same time as the EOS 300D, Canon introduced the new EF-S 18-55 mm/F3.5-5.6 lens, the design of which has been specially adapted to the smaller oscillating mirror of the camera, which is why the lens is only compatible with the 300D so far. Thus, the rear part of the lens protrudes deeper into the camera than is usual with other cameras, which shortens the extension, i.e. the distance between the image converter and the lens attachment. This “Short Back Focus” construction (hence the ‘S’ in the name ‘EF-S’) allows a much more compact lens design, also because Canon has also adapted the image circle to the size of the oscillating mirror and the CMOS sensor, thus reducing the diameter of the lenses. All this makes it possible to offer the EF-S lens together with the EOS 300D for only 100 EUR surcharge on the basic package. The EF-S zoom lens comes exclusively with the 300D. There are no other advantages than compactness and price with the EF-S lens. Although the EF-S concept is already a tailor-made solution, it cannot be compared to concepts such as the FourThirds system, where system integration goes much further and is expected to bring quality benefits.

 

About the memory cards: The EOS 300D accepts CompactFlash cards type I and II (incl. Microdrive). The EOS 300D is able to automatically recognize which file system (FAT 16 or FAT 32) the memory card has. So you can also use memory cards above the 2-GByte limit. Basically, the EOS 300D takes its pictures either in RAW or JPEG format. In RAW mode, the camera embeds a JPEG image with a lower resolution of 2,048 x 1,360 pixels into the raw data. Since the embedded JPEG image (which can be extracted with the help of the included RAW Image Converter software) can vary in size depending on the compression-friendliness of the motif, the file size of the RAW file, which has the file extension CRW at Canon, also varies. Usually a RAW file is between 5.9 and 6.9 MByte in size and is written to the card within about 5.6 seconds (the time may vary with the speed of the memory card used). The size of the JPEG files depends on the selected quality level (divided into three resolutions with two compression levels each); in the highest resolution (3,072 x 2,048 pixels) and lowest compression an image is on average 1.9 to 2.0 MByte in size and found its way onto the memory card in approx. 2.5 seconds. Thanks to intelligent management of the buffer memory, the 300D is ready to fire again immediately after the shutter is released, regardless of whether you are shooting in single or continuous mode. It is not necessary to wait for the storage times mentioned above in order to be able to continue photographing; the images are stored and processed in the background. In continuous-advance mode, the 300D can capture up to 4 consecutive images at a frame rate of 2.5 frames per second, regardless of whether the images are recorded in RAW or JPEG format. Only then does the 300D take a short break, which only lasts until there is enough space again for at least one more recording in the buffer.

 

It would be annoying if the battery suddenly dies at the decisive moment of a recording. You don’t have to worry about that with the EOS 300D. As the LCD screen is the largest power consumer in digital SLR cameras, it is not in use in recording mode due to the system, which means that the battery yield is higher anyway. 380 images with a charge of the standard BP-511 lithium-ion battery (7.4 V at 1,100 mAh) are normally the minimum; only intensive use of the self-timer can drastically reduce battery performance. Up to 600 images are also possible with the built-in flash and LCD colour screen being handled gently. And if that’s still not enough for you, you can also buy the BG-E1 battery handle, which doubles the battery yield thanks to the second battery and also gives the camera a better hand position (especially for portrait shots) and a portrait shutter release. In terms of interfaces, the EOS 300D is equipped with a switchable PAL/NTSC video output, a connection for an electrical cable remote control and a USB interface. The latter not only serves to transfer the images to the PC (or directly to some printers thanks to PictBridge and Bubble-Jet Direct compatibility), but also allows the camera to be controlled in the other direction from the computer (PC/Mac with the included Remote Capture software).

 

 

 

 

 

 

But even for a “budget” camera like the EOS 300D, an ordinary USB 1.1 interface is an imposition – the 300D delivers images that hopelessly overwhelm such an out-of-date interface in terms of resolution or file size. Thus, the USB interface serves at best for the remote control of the camera or for the USB direct printing; those who like to transfer pictures to their computer prefer to use an external card drive with USB 2.0 or Firewire interface.

Bottom line

Even if the image quality of the Canon EOS 300D seems to reveal the first signs of a conceptual conflict between the design of 35mm lenses and the requirements of a modern digital camera, the CMOS sensor of the EOS 300D shows quite impressively that there is still a lot to be gained from the “good old” 35mm lenses. The EOS 300D delivers excellent images that outperform many compact digital cameras in terms of image quality and can withstand any visual viewing. The fact that the EOS 300D is ultimately nothing more than a “slimmed-down” EOS 10D in terms of function and features, but not in terms of image quality, will hardly bother anyone. Unless, of course, a demanding photographer wants to keep control over functions such as the choice of exposure mode and AF mode and parameterize the camera down to the last detail. However, the EOS 300D is not aimed at such photographers, but at beginners (those who already own EF lenses and want to continue using them) in digital SLR photography. For this clientele it is then not so decisive whether there are more future-proof and/or better integrated systems on the market or whether there will be in the immediate future. What counts for these customers is that the EOS 300D combines the advantages of the proven SLR architecture with the attractions of digital technology for relatively little money. And they are then willing to accept that the new technology may not be fully exploited for reasons of backward compatibility. Be that as it may: With the EOS 300D, Canon has made digital SLR photography accessible to a broader group of buyers and the EOS 300D sets a new milestone in digital photography, at least in terms of price.

Canon EOS 300D Datasheet

Electronics

Sensor CMOS sensor APS-C 22.5 x 15.0 mm (crop factor 1.6
)6.5 megapixels (physical) and 6.3 megapixels (effective)
Pixel pitch 7.3 µm
Photo resolution
3.072 x 2.048 Pixel (3:2)
2.048 x 1.360 pixels (3:2)
1.536 x 1.024 Pixel (3:2)
Picture formats JPG, RAW
Colour depth 24 bits (8 bits per color channel), 36 bits (12 bits per color channel)
Metadata Exif (version 2.2), DCF standard

Lens

Lens mount
Canon EF-S

Focusing

Autofocus mode Phase comparison autofocus with 7 sensors
Autofocus Functions Single AF, Continuous AF, Manual, AF Assist Light
Focus control Depth of field control, dimming button

Viewfinder and Monitor

Reflex viewfinder Reflex viewfinder (mirror viewfinder), diopter compensation (-3.0 to +1.0 dpt), replaceable focusing screens
Monitor 1.8″ TFT LCD monitor with 118,000 pixels
Info display additional info display (rear)

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 Program automatic, Aperture automatic, Time automatic, Manual
Bracketing function Bracket function with maximum 3 shots, increments of 1/3 EV
Exposure compensation -2.0 to +2.0 EV with step size of 1/3 EV
Sensitivity to light ISO 100 to ISO 1.600 (manual)
Remote access Remote tripping
Scene modes various scene modes, landscape, night portrait, close-up, portrait, sports/action, fully automatic, and one more.
White balance Auto, Cloudy, Sun, White balance bracketing, Flash, Fluorescent lamp, Incandescent lamp, Manual
Color space Adobe RGB
Continuous shooting 2.5 frames/s at highest resolution
Self-timer Self-timer with interval of 10 s

Flashgun

Flash built-in flash (hinged
)flash shoe: Canon, standard centre contact
Flash number Guide number 13 (ISO 100)
Flash functions Auto, Fill Flash, Flash On, Flash Off, High Speed Sync, Slow Sync, Red-Eye Reduction

Equipment

Image stabilizer no optical image stabilizer
Memory
CF (Type II, Type I)
Microdrive
Power supply Power supply connection
Power supply 1 x Canon BP-511A (lithium ion (Li-Ion), 7.4 V, 1,390 mAh)
Playback Functions Image rotation, image index
Ports Data interfaces: USBUSB type
:USB 1.0
AV connectors AV output: HDMI output Micro (Type D)
Supported direct printing methods Canon Direct Print, PictBridge
Tripod socket 1/4″
Features and Miscellaneous built-in low-pass filterDIGIC signal processor Simultaneous

JPEG and RAW recording (special driver required)
7-point autofocus with automatically or individually selectable fields of viewSingle autofocus
and/or focus tracking (ONE SHOT/AI FOCUS/AI SERVO)
PTP

B

acklit
LCD status panel Adjustable
image parameters (3 sets of 5 settings each)
Meter reading memory Display of
shooting information in playback mode with highlighting of highlightsPlayback zoom
(1,

5

to 10x magnification)
multilingual menu navigation (ENG/DEU/FRA/NL/DK/FI/ITA/S/SPA/CHI/JAP)

Size and weight

Dimensions W x H x D 142 x 99 x 73 mm
Weight 560 g (ready for operation)

Other

included accessories Canon CB-5L Battery Charger for Special BatteriesCanon
RF-3 (Cover)
Smart Books Adobe Photoshop Elements 2 (Printed Book)
BP-511/512 Lithium Ion BatteryVideo Connection CableUSB Connection CableBajonet CapStrap Camera SoftwareZoomBrowser EX 4.0 for WindowsCamera
Software Image Browser for Macintosh Camera Software
FileViewer UtilityPC Remote Control Software
Remote CaptureDriver
optional accessory Canon ACK-E2 AC AdapterCanon
BG-E1 Rechargeable battery/battery
handleCanon RS-60E3Canon
EF interchangeable lens systemCanon
Speedlite EX system flash unitsSleeve bag
EH16-L
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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.