If you ignore the continuous shooting capability, the Canon EOS Rebel SL1 offers the same performance as the T5i.
Trimming the T5i, it seems, brings out the Rebel SL1.  The fixed LCD and the lower and easier grip make the SL1 different from other dSLR cameras. Autofocus speeds depend mainly on two things: whether you're using live view, and what lens is attached. There isn't any shutter lag when shooting with the viewfinder, though there is tiny delay when using any of the live view modes. I've kept the above table as brief as possible, highlighting only the default 3:2 aspect ratio.
The menu system is unchanged since the Rebel T2i, which makes it attractive and easy to navigate. A somewhat related feature is highlight tone priority, which is buried in the custom settings menu. It's pretty clear that you get back some detail in the brighter parts of the Campanile with the highlight tone priority feature turned on. I'm going to take a break from menus for a while, getting back to movie and playback options a bit later. Usually I get out my 70-200 F4L IS lens whenever I test a Canon D-SLR, but this time I decided to see how the kit lens would fare, seeing how most Rebel owners aren't going to drop $1350 on a telephoto lens. The first thing you'll probably notice about the RAW conversions is how much highlight detail you get back.
I've always had trouble with redeye on the Rebel-series cameras, and the T3i continues that tradition. Below you can see the ISO 6400 and 12800 photos as both original JPEGs and as RAW conversions (with and without post-processing).
There's not much to say -- there's a big improvement to be had by shooting RAW at high ISOs and doing some easy post-processing on your computer. Overall, I was very pleased with the image quality on the Rebel T3i, just as I was with the T2i that came before it.
If you don't need to shoot at 1080p, there are a few other resolutions available, including 1280 x 720 and 640 x 480, both of which have a frame rate of 60 fps. I have a pair of action-packed sample movies, both of which were taken at the 1080p30 setting.
The Rebel T3i's playback mode has a more elaborate playback mode than that of its predecessor.
Photos can be rotated and resized, but not cropped (unless you're connected to a printer, which is also when a redeye correction tool becomes available). A new feature on the Rebel T3i is called Creative Filters, which should look pretty familiar, as most other D-SLR and interchangeable lens cameras have something like this these days. What's new and interesting is Canon's Auto Lighting Optimizer, which if it works as well as Nikon's Automatic Dynamic Range Adjustement, will be a huge help in making significantly better pictures. The new Canon Rebel XS is also called the EOS 1000D in Europe and Korea, and the Kiss F in Japan. There is a dedicated WB button on the back, which is very important for getting great color. The last menu item I want to tell you about is highlight tone priority, which is buried in the custom settings menu.
A {very} Beginner's Guide to DSLR Cameras - It's Time to Ditch Your Point-and-Shoot!
Now at the top of the Rebel line, the Canon T1i takes on the Nikon D90, with its video mode, while the XS and XSi are left to challenge the Nikon D3000 and D5000. While the new HD movie mode is the gee-whiz feature on the Canon Rebel T1i, the important feature for most photographers is the still image quality at 15.1 megapixels. Controls and body styling are nearly identical (differences are broken down in the User Report below); the main changes are internal.
The Canon T1i's 3-inch LCD is a 640x480 design with 920,000 dots, making for a noticeably sharper onscreen image, great for focusing and confirming sharpness after capture. Other features come to the Canon T1i from the 50D, including the Peripheral Illumination Correction and multiple noise reduction settings. Movie mode comes to the Rebel T1i with quite similar capabilities to the Canon 5D Mark II, though it's highest complete HD resolution is 720p at 30fps. Also introduced at the same time is the very small Speedlite 270EX, a new flash that is easy to pocket and gives cameras like the Rebel T1i and the PowerShot G10 an accessory flash that won't threaten to flip these lightweight cameras over. Body-only, the Canon EOS Rebel T1i lists for $800, and the kit with the 18-55mm IS lens carries an estimated retail price of $900; both started shipping in May 2009. Canon's new flagship consumer SLR, the Rebel T1i, gathers the best from its more expensive brethren into a more affordable, compact package. The prospect of capturing video with a wide array of lenses, from super-wide-angle to long telephoto is what makes capturing video with Canon Rebel T1i interesting. The Rebel T1i's ISO button is in the same place here on the top deck, but it sticks up from the surface more, making for easier activation, especially when changing ISO while looking through the optical viewfinder. What stands out the most from the rear of the Canon T1i is the 920,000-pixel LCD (to better appreciate the increase in resolution, click on the above image to see a very large version). Few differences: The Rebel T1i is almost identical to the XSi, with only a few cosmetic changes. Before anyone complains, I'll point out that none of the Rebel T1i's live view autofocus modes is particularly fast. Select Live Face Detect mode, and the Canon T1i can find and set both exposure and focus based on the faces in finds, up to 35 faces. If you'd like to more precisely select an autofocus point, you can switch to Quick mode and use one of the Canon T1i's nine phase-detect autofocus points (phase-detect vs face-detect: there's a near homophone that linguistic historians will have to explain). The Canon T1i's Live view mode also offers a choice of two grids: one that divides the screen into 3x3 blocks, and another that divides the screen into 4x6 blocks. If you can wrap your mind around the concept of setting up and capturing video snapshots, however, you can begin to use the Canon T1i's Movie mode the way it was intended. The enthusiast videographer will enjoy the Canon T1i's Movie mode, but there are some shortcomings for them as well. Not having an external microphone jack on the Canon T1i is another real downer for the enthusiast videographer, because capturing direct audio is essential in many situations, especially outdoors. There's a lot of beauty still to be had in the Canon T1i's Movie mode, including the use of all of Canon's EF and EF-S lenses, from super-wide-angle to long telephoto, which allow you to see the world in a way that few camcorders will let you. Just like the Canon long zoom PowerShot S-series cameras, you can capture a full-resolution still image in the midst of recording a movie on the Rebel T1i.
Where the Canon T1i's sensor differs is in the data path and the microlens array: whereas the 50D's sensor has a four-channel readout, the Rebel T1i's sensor uses a 2-channel readout, which means that the image data will come off the T1i's sensor more slowly. The Rebel T1i also doesn't have multiple RAW formats, nor the dozens of permutations when saving RAW+JPEG files. The Canon T1i also uses the same battery as the XSi, the LP-E5, a 1080 mAh lithium-ion battery with concealed electrical contacts. Unfortunately, it doesn't tilt down for macro shots, and it doesn't go back beyond 90 degrees for more face-filling bounce shots.
Another problem I ran into with the Canon T1i was not unexpected, but nonetheless a limitation for shooters like me. Part of the problem is that SDHC isn't as fast as a fast CompactFlash card, but the bigger problem is just moving the Canon T1i's 15 megapixels of RAW data. Of course, put a consumer camera in the hands of a more aggressive shooter and he's likely to find the limits pretty quickly. So my advice with the Canon T1i's cutting-edge features like Live View and Movie mode is to learn to use them as they are, and don't expect too much. Overall, the Canon T1i's image quality is among the best on the market: That was our conclusion based on what we saw in the prototype unit, and it was confirmed by our testing of a full production sample as well.
It's clear from the top two images that the Canon T1i has made a few leaps in terms of detail and noise suppression, but the cost is also evident, again in the red leaf fabric. Now you can back out of the menu, and hit INFO until you have a comfortable amount of information on screen. Now, if you haven't used the video mode before, it should be set to auto-exposure in video mode, so you're ready to roll immediately. That's all there is to getting started in video, but you didn't come here for a short version of the manual. I've found that unlike my older 40D, the T3i is fairly amenable to ISO adjustment and it can be used to complete the exposure triangle quite happily.
Similarly, aperture is a creative choice about depth of field, so all that's left to adjust once you've set the sensitivity of the camera.
If you're shooting outside, you can usually just set it to maybe four or five stops of ND (the amount you need will depend on the brightness, of course) and shoot away happily at your wide-open settings for the aesthetic you want. Using the histogram on the on-screen display really helps give a more empirical idea of your exposure levels than just guessing from how the video looks.
This means you can use the screen to judge exposure, but I like having a visual indicator of things I may otherwise miss. In fact, because there's no downsampling or pixel binning (throwing away pixel data to reduce processing), the quality of this punched-in video is generally a little sharper and contains less moire than the normal video settings, and because it's only using the central portion of the lens, even lower-quality lenses will work well.
As I said, there's no continuous AF while rolling (although the T4i and T5i both have the option, it doesn't work great), so you end up with two options. First, set your focus before shooting and maintain the same camera-to-subject distance at all times. The other option is continual manual focus, regularly used in filmmaking, where frequently both camera and subject are moving around. As a beginner, you can just use the normal focus ring, or maybe attach a ziptie or jar opener or something to make more precise movements with it. A little trick to help with focusing on the T3i before shooting if you're not in too much of a hurry is to put the lens on AF, move the focus box over your subject, and half-depress the shutter button. You can even do it while recording, although you'll lose a few seconds of video while it brightens the scene and the lens hunts back and forth. Audio is without a doubt the most overlooked aspect of videography and filmmaking, despite it being 50% of the final product. Change the "Sound rec." option to "Manual," so that you can set the appropriate audio levels for your recording environment.
If you're serious about video, you need good audio, and the only way to get that is by ditching the internal mic and plugging in an external microphone such as the Rode VideoMic, currently starting around $150. The problem with this setup is that there's no headphone socket for you to monitor audio while shooting, so you just have to keep an eye on the audio levels meter in the Sound Recording options screen of the main menu before each take and hope that it's coming out ok.
If you're really serious about audio, use the built-in mic (or a cheap external one) to get what's known as scratch audio, used really only for timing because it's recorded in sync with the video.
This audio-only track can then be synced up in the edit to the scratch audio from the camera (this is partially what the "clack" from a slate is for, too). There are two final options that you should be aware of before I sign off; white balance and picture style. To change white balance, just hit the "Q" (for "Quick Menu") button in live view and scroll down to the second option.
Picture styles are important in video because DSLR video isn't RAW, and can't be pushed and pulled all over the place.
There is also a picture style available from Technicolor called "Cinestyle" for Canon DSLRs which can be saved to your camera's internal memory and will give you the maximum dynamic range possible. If you're just going to use the raw videos straight out of camera, then I'd recommend the Faithful style.
Well, I hope you've enjoyed this little dip into the waters of basic Rebel filmmaking, and now know the important menu options you should be using and why while shooting. Rob TaylorRob is an English artist and writer living in the US, in the process of transitioning out of his comfort zone of nature photography towards more commercial work. Canon EOS Digital Rebel XTi (400D) is a thrilling new digital SLR, successor to the current EOS 350D (Digital Rebel XT) that offers easy operation and affordability in a lightweight ergonomic body. Subscribe to receive one FREE ebook and even more Photography Tips and Tricks that will improve your photos. If you FAIL to read this FREE GUIDE YOU have 92,5% chance of NEVER BEING ABLE to take better photos!
You can grip the camera with one hand conveniently, given that your hands are small or middle sized. If you compare it with mirrorless interchangeable-lens camera that have power zoom lens, it is not that small.
The dust reduction system silently runs for about two or three seconds, though you can interrupt it at any time by pressing the shutter release button.
When shooting with the optical viewfinder and 18 - 135 mm kit lens (which is what Canon sent along with my T3i), the camera locked focused quickly. Despite the addition of some beginner friendly features in other parts of the T3i's user interface, the menus lack any kind of help screen. The image as a whole got darker, though, so you may end up needing to use the ALO feature that I just described to get some of it back. The figurine is sharp, yet still has the smooth appearance that one comes to expect from a Canon D-SLR. At ISO 800 you can start to see just a bit of detail loss, but that shouldn't prevent you from making a midsize or large print at that sensitivity.
The blown out US Bank sign is a lot more readable now, though the purple fringing caused by the lens is still visible. If you ask me, I think it's because Canon relies on a pretty weak redeye reduction lamp on the front of the camera (rather than the flash) to shrink your subject's pupils.
You can see the effects of this distortion by looking at the building on the right side of this photo. You still won't be printing posters of that ISO 12800 photo, but its still noticeably better than the original JPEG!
As with any digital SLR, photo quality is only as good as the lens you're using, and neither of the kit lenses will win any awards for sharpness.
Two other features of note are movie digital zoom, which gives you use 3X to 10X of extra zoom power, though video quality may be degraded if you use too much of it. For each you can view the original movie, or a downsized 720p version that'll download a lot quicker. Basic features include slideshows, image protection, DPOF print marking, thumbnail view, and playback zoom. As I hinted at in the previous paragraph, you can rate photos on a scale of one to five stars, which helps you find your favorite pictures with ease. There are five filters to choose from, including grainy black & white, soft focus, fisheye, toy camera effect, and miniature effect. Those date from film cameras, and I prefer to have my information on the rear of the camera where I can see it. One thing that's missing here (that's now found on Canon's PowerShot cameras) are descriptions of the various menu items, which would be helpful for beginners.
With the exception of the night shots, which were taken with the F4.0L, 70 - 200 mm IS lens, all of these photos were taken with the 18 - 55 mm IS kit lens. Once again, we see a new SLR from Canon in less than 18 months from the last in a given line. With the Rebel T1i, Canon is answering the pincer move that Nikon's put on it in the past few years, now matching them model-to-model at the low end, because the XS and XSi will remain in the lineup. According to our tests, its only rival even near this price point is the Canon EOS 50D or the more recently-announced Pentax K-7, both of which are considerably more expensive at retail.
You can also now capture RAW images in all of the Canon T1i's modes, whether Basic or Creative Zone. Auto Lighting Optimizer and Highlight Tone Priority were already brought over with the XSi, but Creative Auto is now included, a unique mode that endeavors to bring creative control to the amateur shooter.

The Canon Speedlite 270EX has a retail price of $219.99, but is selling for around $149 online. The Rebel T1i now sports a 15.1-megapixel sensor like the EOS 50D, and records HD video like the 5D Mark II. Before now, you'd have to save a pile of cash and join the long waiting-lists at camera retailers to get a Canon 5D Mark II to explore these new video features, but the availability of the Rebel T1i should shorten those lines for many aspiring videographers.
Physically, the Canon T1i is very similar to the Canon XSi, with a few minor cosmetic changes as well as the addition of holes for a microphone on the front and a speaker on the back.
The textured rubber surface of the Canon Rebel T1i's grip feels more tacky than the more worn-in surface on our copy of the XSi, and our fingertips get to enjoy a little more of the grip, since it now extends further toward the lens of the camera; while on the XSi, it stops just right of the grip and your fingertips touch more of the painted surface of the camera than the grippy area. As was the case with the 50D vs the 40D, the silver bezel is the main cosmetic feature to set the Canon T1i apart from the XSi, with its black Mode dial. The layout of the Status display has changed a bit thanks to the greater resolution, but the only addition to the available display is the D+ icon that appears right of the ISO number when Highlight Tone Priority is enabled via the Custom functions (you can't actually turn this on or off via the Quick menu, however). The textured thumb pad is identical to the XSi, offering an attractive, leather-like surface that's comfortable to the touch. Flash control has been moved from the Rebel T1i's second Settings menu to the first Record menu, a sensible change, and a second Playback menu has been added to allow for the Jump settings menu item. Brought over from the 50D, the Rebel T1i's Peripheral illumination correction compensates for vignetting in the corners of a lens. For the first time, a Rebel-series camera has ISO expansion available, and in this case the amount of expansion is significant.
Click on the image above for a sample video that will give you an idea of how long it takes to autofocus, as well as how navigation works in Live View mode. The Canon T1i's Live view mode works pretty much the same as Live View on the Canon 50D, with Quick mode, Live mode, and Live Face Detect mode. If you're used to using a digicam, however, you'll be most accustomed to the two Live modes, which are contrast-detect.
Phase-detect is the same method that the Canon T1i uses when you're looking through the optical viewfinder, so it's arguable that it will be more familiar to most experienced digital SLR users. The camera will show you onscreen what the image will look like when you press the shutter release, at least for non-flash shots. Autofocus behaves somewhat differently in the Canon T1i's Movie mode, which can be a bit confusing. One is that they can't control shutter speed, aperture, or ISO, nor can they know what the camera is setting. And though you can't control aperture with the Canon T1i, you can still take advantage of the bokeh available with prime lenses so long as you can control the light and movement of your subject for the duration of each video snapshot. The video stream is interrupted with a still image while the full-res image is saved to the card, taking a little over two seconds. Since the Canon T1i has a slower framerate, the four-channel readout may have been deemed unnecessary.
Just like the Rebel XSi, the Canon Rebel T1i uses 14-bit Analog-to-Digital conversion when creating JPEGs, for smoother color transitions, and RAW files are saved as 14-bit files.
The Auto Lighting Optimizer introduced on the Rebel XSi allows the photographer to expose for the highlights, and then the camera adjusts the image to open up the shadows during image capture.
HDR (High Dynamic Range) shooters have a new tool in the Canon T1i's enhanced AE Bracketing feature. The Canon T1i includes an HDMI (High-Definition Multimedia Interface) port, for displaying images and movies on a high-definition television. One of the key reasons I'd buy a Canon 50D is its AF Microadjustment feature, which allows me to adjust the autofocus system for various lenses in my collection. Though it's useful in certain wildlife situations, it would not deter me from buying the Canon Rebel T1i, despite its loud shutter mechanism, mostly because I don't shoot much wildlife; if you shoot wildlife often, though, the 50D wins again.
This really isn't a terrible loss either, since so many options are likely to confuse the average consumer photographer into making a critical error.
The Rebel T1i comes with the same kit lens that shipped with the XSi: the image-stabilized 18-55mm EF-S lens that so impressed us at its debut. The XSi's battery grip, the BG-E5, also works with the Canon T1i, and duplicates the shutter release and control wheel, as well as AE lock and focus point buttons for vertical-format shooting.
These guys were nearly inseparable and seldom stopped moving, but this was one rare moment where they stayed relatively still. This shot looked properly exposed on the LCD after I tweaked the exposure a bit to -0.7EV, but on the computer it's clear that the background is still too bright and the shadow portions could be darker. What threw me at times was trying to judge the exposure based on what I saw on the Canon T1i's LCD. Whether shooting animals or people, I take many shots in rapid succession as my subject moves, in hopes of catching that perfect pose or expression. Switching to Large Fine JPEG eliminated the problem, but I lost the post-processing flexibility that RAW gives me, which was a shame. But since I know that quite a few of my readers are similarly aggressive, I have to mention the boundaries I met with the Canon T1i. Know that though the Canon Rebel T1i has some digicam-like features, it's still a digital SLR, and it should be judged primarily on how it performs as such. With either the 50D or Canon T1i, you can see that ISO 1,600 is a good safe place to run when shooting in low light. The image from the XSi is much closer to the true look of the fabric than you get from the Canon T1i at left. This comparison pits the $900 Canon T1i against the $1,500 Canon 50D, the $2,700 Nikon D700, the $1,200 Nikon D90, and the $700-900 Canon XSi. So it's pretty clear that the Canon Rebel T1i's image quality is at least as good as the Canon 50D, delivering more detail than most of the 12-megapixel cameras on the market for less money.
The camera immediately clicks into live view mode, and the default or last-used settings are up.
Personally, I like to shoot with everything on-screen, including the histogram for continuous checking of exposure levels. So what should you be thinking about, and what can you do to improve this first video you just shot? However, where stills eventually gained auto-everything, video has been fully manual since the birth of cinema, so there are plenty of tools and information out there to help with this part if you're new to manual camera use. This is especially useful because in video, generally the shutter speed is locked to the closest available shutter speed to the reciprocal of double the frame rate (ie. When shooting in dim light, ramping the ISO up to 800 or so doesn't tend to significantly impact the look of the video, especially if you can add a light pass of de-noiser in post-production. Of course, video isn't RAW, it's baked before the write, so how it looks in-camera will be how it looks on-screen.
I generally want the main spike at around 70% brightness to allow headroom for highlights, although some scenes can be tricky. Most of the time this isn't much use and should be left off, but if you want to extend the range of a long lens, turning the digital zoom on and leaving it zoomed out to 3x (technically 2.7x) essentially gives you a 3x teleconverter built into the camera with no loss of exposure- nor resolution, as the camera crops into the central 1920x1080 pixels of the sensor. Largely, I'd say it's best used for distance-limited things like wildlife, sports and wedding videography when combined with, say, a 70-200mm lens. This is most useful for interview-type scenarios, where the subject is sitting and the camera is locked on them. If you continue heavily with the video side of things, you may wish to invest in a follow focus, which is a geared knob that attaches to the side of the lens and grips the focus ring to allow for easy, precise focus pulling without the possibility of jerking the lens. They don't maintain the same focus point throughout their zoom range at any given focus ring setting, and you'll end up with blurry footage. If you want good sound, turn the audio levels to manual by going into the menu, then going into "Sound recording" on the second tab. When this is on "Auto" the camera tends to ramp the levels up and down, making the audio sound strange. This may seem expensive, but unless you're just making home videos, it makes no sense to spend $700 on a camera to create nice-looking video, but the only thing the audience perceives is tinny, crackly, fading audio from the built-in mic.
Then use a more expensive mic (the Videomic would be fine) and external audio recorder like the Zoom H4n (which does have a headphone socket) to get the "real" audio.
White balance should be manual in video, especially if you're shooting multiple clips and editing them together.
If you're shooting to edit and color grade, the best built-in picture style to use is a custom variant of "Faithful" with -4 Contrast and -2 Saturation. I've found that the video looks naturally good in this style without being too contrasty or having horrible sharpness artifacts.
I've glossed over a number of other menu options, because they're not really applicable to getting to grips with shooting, but are more personal preferences. Its based on the second generation DIGIC II Image Processor, compatible with more than 50 EF and EF-S lenses. For macro shooting you may want to check out the MR-14EX ring lite or the MT-24EX twin lite. Canon, but your cameras probably have the slowest contrast detect autofocus of any digital SLR. The photo taken with the 18 - 135 mm kit lens is soft (especially toward the edges of the frame), and loaded with purple fringing (click here to see how the Rebel T2i and the aforementioned 70-200 did with the same scene).
The RAW conversions do have a lot more noise, but after a trip through NeatImage and some sharpening, the results are much better than the original JPEGs.
Unfortunately, there's no tool to remove redeye in playback mode, so you'll have to fix this annoyance on your computer. While this lens doesn't have an issue with vignetting (and I'm sure the peripheral illumination correction feature has something to do with that), you will encounter some corner blurring. Noise becomes more apparent at ISO 3200 and there's a drop in color saturation, but still, very usable. Exposure was accurate most of the time, though you will encounter some highlight clipping from time-to-time. If you want stereo sound, you can attach a microphone to the port on the side of the camera. Another feature is called Video Snapshot, which lets you take short (2, 4, or 8 second) videos which you can later compile into an album.
The slideshow feature now supports filtering, transitions, and background music (which you can copy over from your Mac or PC).
Movie editing consists of a function to remove unwanted footage from the beginning or end of a clip. As with Peripheral Illumination Correction, the Auto Lighting Optimizer setting is also something that can be adjusted in RAW files. It's actually only eight months since the XS was announced, and about 14 since the XSi; either way you look at it, competition has shortened product cycles in the digital SLR space. Naturally, a few features are also missing from the Canon Rebel T1i, most of which consumers will not know to want at all, but that enthusiasts should consider when deciding from among these three cameras. There's a slightly larger bump in front of the Canon T1i's knurled Command dial, and off the right shoulder we find holes for the new microphone, and below that there's a new raised pad for the EOS logo (on the XSi, this logo is pad-printed directly on the surface). The Quick menu that was new to the Canon 50D has made its way over to the Rebel T1i as well, activated with the SET button.
The new processor is said to offer improvements in processing speed necessary to handle the 15.1-megapixel files with reasonable speed. Flash Exposure compensation is now buried in the Flash control menu, as it is on the 50D and 5D Mark II, unfortunately. Correction changes depending on which lens is mounted; selecting this menu item brings up a screen where you can see which lens the camera has detected and either enable or disable this function. Not only is the Canon T1i the first Rebel to offer ISO 3,200, but the two expansion settings enable ISOs 6,400 and 12,800, offering the consumer Canon enthusiast greater opportunities in low light than ever before. You can see the camera focusing onscreen, and the Canon T1i will tell you where it's decided to focus; or if you've selected a focus area with the floating box, that area will turn green once focus is achieved. It's also historically faster and more accurate than contrast-detect systems; but that's not true here in Live View mode.
This is a great feature, especially when you're shooting in Shutter, Aperture, or Manual modes, because you can see what each setting adjustment will give you in terms of exposure. I recall the manual suggesting that I use the snapshot method, recording only 10 seconds of a scene and moving on, to avoid making a boring video.
Most camcorder users don't expect to be able to select fast or slow shutter speeds, except perhaps a sports mode, but from a camera where you can set both aperture and shutter speed for stills you can be forgiven for expecting a little more control in Movie mode. That's regardless whether you capture a low-res JPEG or a RAW+JPEG (at least in the pre-release camera). The sensor and processor combination in the Canon T1i seems to be a little better overall, producing sharper images with greater detail. Converting from 14-bits worth of data means that the saved images are theoretically formed from four times the color information than was available to the Canon XTi, which was only able to generate 4,096 colors per channel.
The feature allows you to bracket images starting from four stops darker or ending four stops brighter than the meter's selected exposure value, over a two-stop range, when combining exposure compensation with AE Bracketing. Equivalent to a 29-88mm lens on a full-frame 35mm camera, this is a good mid-range zoom lens that is quite light. It's a shame that they're not compatible with Canon's higher-end digital SLRs, which use CompactFlash cards (except the very expensive professional 1D-series cameras, which use both). Those who have trouble with the smaller grip on the Canon Rebel series will find that the battery grip makes the camera more satisfying to use; and those who shoot vertical frequently will enjoy the vertical shutter release, which allows you to shoot with less strain. We're betting it's going to be quite popular thanks to its easy pocketability, light weight (5 ounces), and reasonable range.
However, the Canon Rebel T1i's menu can control the flash for manual exposure adjustments; indeed, it's the only way you can control the 270EX (it's unclear which other cameras will be able to control the flash at this time). It's more natural to transition with this button than having to hit the Display button on the left side as on the Canon 50D. The optical viewfinder is still quite small, making the Live View mode on the 640x480 screen that much more useful, especially with the camera mounted on a tripod.
It was easy to see which I was using, of course, especially once I got back to the computer. Though the coating does cut the glare significantly, the blue cast can sometimes hide the overall contrast captured in an image. Not just holding down the shutter, mind you, but grabbing each shot as a new pose presents itself. Casual consumer snapshooters won't likely come up against this limitation, with the ability to hold up to nine RAW + JPEG images in the buffer, but anyone shooting models, kids, or animals for work will not enjoy this limitation. I also have to remember that more amateur shooters will be surprised by these limitations if I don't mention them, and hold me accountable for not educating them, which is precisely why I mentioned many of the potential pitfalls of the Rebel T1i's Movie mode. This result is partly due to the higher resolution, which means that smaller pixels are producing the overall image. Noise suppression is a bigger factor, but you can also turn that noise reduction down or off completely, or shoot 14-bit RAW.
If you're shooting for TV or just want to get on with it and shoot some video, stick with the other one. Then set your aperture and ISO to balance the exposure, and focus the lens (to see the options here, skip to the "Focusing" section below).
Unfortunately, Canon haven't decided to put a proper waveform monitor into their DSLRs, so there's a tiny bit of guesswork involved.
Experimentation is easy with variable NDs, as you don't need to keep stopping to add or remove ND filters as the light changes. Bear in mind that you can only change the actual volume level in this menu by using the "Rec. This setup is used by most filmmakers, who often have separate camera and sound people to ensure both are getting recorded properly. This menu will also allow you to change the recording size and picture style without going into the main menu.

The raw video will look quite flat and dull, but you'll have a little bit more dynamic range to use when grading.
I never recommend turning up the sharpness from zero on any HDSLR, as it will increase the effects of moire and aliasing.
Happy shooting!And, of course, once you've shot your footage, the work is only just beginning.
This camera has a high-precision 9-point AF system for speedy and accurate focusing in any situation. Because of using a combination of my photographic knowledge, with those of internet marketing, I like to call myself a "photomarketer". However, the EVOLT incorporated Four Thirds-size sensor, which is not used in traditional dSLRs. The dSLR has the same three multishot modes (HDR Backlight Control, four-shot Handheld Night Scene mode, and Night Portrait) as the T5i.
On the SL1, the touch screen offers most navigation controls such as white balance, drive mode, and autofocus mode.
At $700, it offers basic features but lacks many advanced capabilities such as GPS, wireless. In low light, the camera uses its built-in flash to illuminate your subject (which can be blinding), and focus times are typically around a second. Aside from those lens-related issues, the camera did take in plenty of light, as you'd expect given its full manual controls. The edges of the buildings start to fade in the background at ISO 3200, so this is probably a good place to stop, or switch to RAW (see below). You'll experience many of the same issues on the 18 - 55 mm kit lens (see the Rebel T2i review for more).
Finally one day I got so frustrated with not being able to get a good shot of something I was photographing for the blog that I spent the day researching DSLRs and pushed the order button on Amazon. From here you can also see that the knurl on the Canon T1i's Mode dial is cut both horizontally and vertically, rather than the coarse vertical lines found on the XSi. On the Canon 5D Mark II, you access the Movie mode via Live View mode, but setting the Mode dial is the only way you can enter Movie mode on the Canon T1i, which dedicates all functions to movie capture, something that will be more familiar to digicam users, and which is more straightforward. The Canon T1i's DIGIC 4 processor also keeps the noise down when compared to the Canon XSi, according to our tests, despite the smaller pixels. Also included in the series at left is a screenshot that shows the D+ indicator for Highlight Tone Priority mode.
When set to CA mode, the Canon 50D allows the user to adjust the Flash, resolution, drive mode, and Picture Style. Live View mode is only available, surprisingly, in the Rebel T1i's Creative zone modes, namely Program, Shutter, Aperture, Manual, and A-DEP.
Thanks to the new high-resolution LCD, you'll be able to tell roughly whether the area is indeed in focus. To use phase-detect autofocus, SLRs have to leave Live-view mode because their autofocus sensors are dependent on having the mirror down for the light to reach them. I also edit my videos on the computer, so it doesn't bother me too much if I have to refocus a scene while recording, because I'll just cut it out of the video on the computer.
Many 5D Mark II users have learned to trick the camera by locking the exposure, but it's unclear how to achieve this with the Rebel T1i (the 5D Mark II has since been updated, but not the Rebel T1i).
This video, shot on the Rebel T1i, is also a good test of whether your computer can handle HD playback; if it doesn't play smoothly, you might need to upgrade your computer before investing in a Rebel T1i.
Incidentally, the artificial shutter sound recorded into the video, consisting of a light clicking sound, is much quieter than the Canon T1i's actual shutter sound, which is still fraught with a stamping and winding noise.
Judging from our test images, Canon has indeed managed to improve image quality while raising ISO and increasing resolution at the same time. The Canon Rebel T1i can recognize 16,384 colors per channel, which should mean smoother tones and more accurate color overall. This omission locks Canon enthusiasts into either the Canon 50D or 5D Mark II, which both have the AF Microadjustment feature. You can still choose all the standard JPEG resolution and compression options when not shooting RAW with the Canon T1i. The simpler design of the SD card means there should be no problems with bent pins on the Canon T1i, as occasionally happened on the XTi and older models when users accidentally inserted the CF card sideways. Though it's powered by only two AA batteries, the 270EX has the same range as the older Speedlite 220EX that requires four AAs (charging time is increased, however, taking 4.5 seconds instead of 3). Otherwise, the camera controls the flash's exposure via E-TTL II, Canon's excellent through-the-lens exposure system. The Rebel T1i didn't feel too tiny behind the large pro lens, and I managed to squeeze off a few good shots.
I had shots where the default exposure looked quite dim, often due to backlighting, so I made an exposure adjustment to compensate. I quickly ran into the Rebel T1i's buffer limitation when shooting in RAW + JPEG, and had to wait way too long for it to clear, even with a Class 6 SDHC card, as my subject often continued to present interesting poses I wasn't happy to miss.
Like Live View, Movie mode in digital SLRs is an evolving feature, and the next model is likely to have a more advanced version. It's clear that Canon has more fully transitioned into the Nikon way of thinking when it comes to noise suppression, however, as chroma noise is completely expunged in both images. With less light on each pixel, the processor has more noise to deal with, which results in a loss of detail in low-contrast areas.
On top are ISO 100 images, below ISO 3,200 images, with the exception of the XSi whose ISO only goes to 1,600.
One of the most popular cameras in recent times for beginners to start shooting on is the Canon Rebel series. Hit the menu button to go into the video contextual area of the main menu, so you can set your resolution and frame rate on the second tab under "Movie rec. Everything's set, so hit the Live View button to start and stop recording and you're rolling! When in doubt, I just stick by the rule of holding the highlights and letting the shadows fall where they may.
If you're just doing single-take videos like vlogs and home movies, it's slightly less imperative, but best practice is to manually set white balance before every take.
If you need help with the next stage, check out the range of professional yet affordable video editing services available on Envato Studio. Now, the Canon EOS Rebel SL1 is all laced to break the years of glory of the E-410 EVOLT, in terms of weight and compactness. During shooting burst, the little focus points on the viewfinder make it difficult to position the focus on the subject. Moreover, the Rebel SL1 offers additional modes such as the kids, food, and candlelight scenes.
Surprisingly, it lacks even the common features such as multiple exposure, time-lapse, and intervalometer (for counting time intervals). Low light focusing is nearly impossible, due in large part to the fact that you can't use the AF-assist lamp.
The scene is a bit brown (something I also saw in my indoor church shot), and you'll find some highlight clipping in places, too. DIGIC 4's greater power is the reason the T1i can incorporate many of the following improvements, from menu animations to expanded ISO. As with all recent Canon digital SLRs, pressing the right or left arrows navigates among the menu screens without requiring you to scroll to the tab at the top of the screen, a much faster way to work. When activated, the Canon T1i is limited to a range from ISO 200 to 3,200, with no High ISO options. Setting aperture and exposure are converted to easier concepts of background blur (blurred or sharp), and exposure level (darker or brighter) with a slider that's adjusted with the Quick Control dial. The order of these modes has been inverted on the Rebel T1i, starting with Live Mode, then Live Face Detect, and finally Quick mode.
If it's important enough, you can even check by pressing the Canon T1i's Magnify button on the upper right of the camera back and zoom in by five or 10 times. So when you press the star button on the back of the Canon T1i, you're going to lose Live view for a moment while the camera does it's phase-detect operation.
When you do, the Canon T1i's exposure will gain up a bit to let in more and less light, perhaps to help the processor find the best contrast, and the focus will move around until it locks on something. Though JPEGs will still be saved as 8-bit color, RAW images will benefit more fully from the 14-bit depth, making for more accurate 16-bit images in programs like Photoshop.
Canon Rebel T1i owners will need to turn to a Canon service center if they think a lens has a back or front-focus problem that needs to be addressed.
Canon claims you can shoot at up to four stops slower than normal and still get a stable shot. If you want to bounce flash off the ceiling when shooting in vertical mode, you'll still require at least the 430EX, but for basic snapshots, the Speedlite 270EX looks like a handy accessory. You'll see both what the Canon T1i's autofocus operation and photo capture look like in this video. Zoo Atlanta features a lot of glass to protect the visitors, which made shooting a little more difficult, so some of the shots you see in the Gallery would need to be post-processed to compensate for the glare and focus before printing. The results on the LCD looked fine, but when I got them back to the computer, the ones that looked dark to me were actually properly exposed, and the ones I'd tweaked were over-exposed.
The Canon T1i has slightly more sharpening as well, which accounts for the random grain in the shadow behind the bottle in the image at top.
Today, I'm going to take a look at the basics of getting your Rebel rolling, and provide some ideas on how to improve and develop those first attempts.
You can try using an aperture around F8, or just increase the in-camera sharpening to improve things a bit. I often find that the best tips for someone jumping into something new come from someone who did the same thing not long ago (vs. It's unfortunate that there are so many ways to enter this relatively new mode depending on which EOS you're using, but it's not uncommon to Canon cameras to change a bit with each generation.
The last item highlighted in each of the Rebel T1i's screens also remains highlighted, which is great when you're consistently changing two specific items.
Live view will come back, and the selected autofocus points will light up to tell you which areas are in sharp focus.
You can do this while recording, but both the exposure and focus changes will be recorded in the movie. It's such a no-brainer to include this function, likely requiring no extra hardware, that it's tough to understand why they'd leave it out -- except, of course, to avoid cannibalizing sales of the EOS 50D. Slightly more sharpness and greater contrast shows in the Rebel T1i, just right for consumers. There are also sharpening artifacts, or halos around especially the ISO 100 images on all three Canon cameras. If you're moving the camera into the outside from an indoor location in a single take, they get around the limitations of no aperture control with modern lenses or clicky iris rings in older lenses, and can save your footage from completely blowing out. You'll lose the live view while the camera is focusing, but the performance is much closer to what you get when using the viewfinder. As the previous test illustrated, the T3i keeps noise away for a very long time, so there's no need to avoid high sensitivities (and again, you'll get the best results by using the RAW format at high ISOs). Other remappings on the Canon T1i include putting White Balance on the up arrow, replacing the Metering mode option (which can now be changed with the Quick menu or the Main menu).
Moving between items and screens is also animated with a quick fade out and in with each press of the navigation buttons.
The exposure slider is the more useful, standing in as a more comprehensible EV adjustment. But the noise suppression's zeal really badly distorted the red leaves in what has turned out to be one of our ultimate low-contrast noise suppression torture tests. Still, of the three cameras, the Canon T1i seems to offer the greatest detail from a consumer perspective, and its images print very well, even at ISO 3,200. This results in better autofocus outside the center area in Live View shooting mode and movie capture mode. Purple fringing was an issue at times with the 18 - 135 mm kit lens, and not so much with the 18-55. Sometimes the blur or depth-of-field slider isn't available, as when shooting indoors, because the Rebel T1i's flash is deployed automatically. Your results may vary, and remember that image stabilization compensates for camera movement, not for subject movement, so tell your subject to hold very still or shoot with a faster shutter speed at a higher ISO. Once could easily argue that the $2,500, 12.1-megapixel Nikon D700 does quite well at 3,200, which is true, but the story really is that the far less expensive Canon T1i does so well with an APS-C sensor against this full-frame camera with larger pixels.
To choose a specific camera, I recommend reading online reviews of DSLRs from sources such as PC Magazine and CNET, reading the camera descriptions and reviews on Amazon and, if you have a local camera store, pay one a visit to take a few cameras for a test drive.
Turning on the flash brings this control back, though, so it's handy that you can actually disable the Rebel T1i's flash in a full-auto mode.
I ended up going with a Canon Rebel T3i with the 18-55mm starter lens originally and then recently upgraded to the Canon Rebel T6i (and gave my old camera to my daughter who has developed an interest in photography!).
Of course you’re not going to get your best pictures that way but if you want to be able to use your new camera straight out of the box, you can.
The day that my camera arrived, I charged the battery, went outside, and snapped some pics, including this one of Hope. It was the sharpest, best quality picture I had ever taken of her and it was done using my new DSLR just like I had used my point-and-shoot.Baby Step Away From Auto ModeThe feature that I love the most about my Cannon Rebel is that it has a Creative Auto mode that is the baby step between full auto and manual. It allows me to choose the spot that the camera focuses on, turn the flash on or off, make the background sharp or blurred, allow in more or less light, and shoot on a timer. The options show up on the screen and you just toggle and select.
Simple and quick.Shoot Your Pics in RAW instead of JPEGYour DSLR camera gives you the option to shoot either JPEG or RAW files.
These images are compressed to a smaller size by your camera with certain information being removed from the image, resulting in the loss of some detail and color variation. In the two unedited pics below, they both need to be lightened but you can see that the RAW photo has better color and detail in comparison to the JPEG (the difference is especially apparent in the purple flowers in front):The negative is that the RAW file sizes are many times larger than the JPEG and certain photo editing programs are limited to JPEG files (I use Lightroom which works great with RAW files). Definitely a must-have!Invest in a Few LensesAbout a year ago I bought {this 50mm lens} for close-ups – it was under $100 and great for crystal clear, sharp detail of the focal point of your photo with gradual blurring of the background. I’m still a manual-shoot newbie but recently took the Shoot Fly Shoot Photography 101 Course and found it to be really helpful (check out their free introduction to photography class so you can see what their classes are like).
They also have some more advanced courses and courses on using Lightroom for photo editing.
I hope you all have found some helpful tips and maybe some encouragement to add a a DSLR camera to your holiday present wish list.
Both of my daughters have recently gotten into photography so there’s quite a bit of camera equipment on ours! Thank you!Reply Kris Jarrett saysNovember 24, 2015 at 11:02 pm So glad that you found it helpful Tammy! Have a wonderful Thanksgiving!Reply Jenn saysNovember 24, 2015 at 1:56 pm Thank you for this! The point and shoot pics have been so substandard and kept me from doing posts on my own home due to the lack of quality of my photography.
I’m so happy Cindy (rough luxe) and Debra (5th and State) introduced me to your blog site.
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