The Canon EOS 50D will work with pretty much any EF-mount lens ever made, as well as with the special EF-S lenses designed for cameras with APS-C size sensors.
The 50D hasn't changed its autofocus sensor layout or design from the previous model, the 40D. SLR autofocus accuracy is governed in part by how far apart you can space the sensor elements for a single AF point. The AF points on the Canon 50D cover about 60% of the frame width, and about 50% of the frame height. The Canon 50D uses the built-in flash head as its AF-assist illuminator, rather than a bright light built into the camera's body. First introduced on the Canon Rebel XTi, Canon's system-wide approach to reducing the impact of dust on the image sensor is also included on the Canon 50D.
The principal approach other manufacturers have used to deal with dust has been to make the system self-cleaning, by rapidly vibrating either the anti-aliasing filter itself or a protective cover glass lying above it, to shake loose adhering dust particles. In typical fashion, Canon's camera engineers took a comprehensive look at the issue of sensor contamination, and came up with a multifaceted, system-wide approach to reducing the impact of dust on users' photographs.
Canon's approach uses a vibratory cleaning method as a primary part of the overall strategy, but they've introduced several refinements as well. It's critical for a digital camera to power up and be able to capture the first shot quickly, to avoid missing the action when first starting up. It turns out that only some of the dust that appears in DSLR images comes from outside the camera: As they age, normal wear and tear can make shutter curtains shed microscopic particles that eventually end up on the sensor. Along with the specially treated shutter, Canon has also begun using a different plastic in their DSLR body caps, one less prone to creating shavings that can drop into the mirror box.
Rather than introducing a separate cover glass into the optical chain, Canon has split the Canon 50D'S anti-aliasing filter into two parts. In describing the technology, Canon notes that the outer anti-aliasing element is positioned further from the sensor surface (a millimeter or so) than is normally the case. Previous models in this line of Canon cameras used an anti-static coating on the anti-alias filter to make it harder for dust to gain a foothold in the first place.
No matter how good an automatic cleaning system, there are going to be some stubborn dust particles that it can't dislodge. This sort of image processing to eliminate dust isn't an entirely new development, it's been a feature of Nikon's Capture software for some time. Canon's anti-dust approach is also different in that the dust map ("Dust Delete data") that the software uses to perform its magic is stored in the headers of the JPEG or RAW files created by the camera. We don't have any quantitative way of evaluating dust-removal systems, but based on Canon's description of it, their anti-dust technology does appear to go a step or two beyond anything else currently on the market, providing a more comprehensive solution to the problem of dust in DSLR images than we've seen to date. Despite the many advances in Canon's anti-dust technology, though, we feel compelled to point out that we've thus far seen no anti-dust system that completely eliminates the need for sensor cleaning. The Canon 50D is offered with an 28-135mm IS kit lens, with a fairly generous optical zoom range of ~4.8x, but an odd focal range for a sub-frame camera. As with zoom performance, the Canon 50D's macro performance will depend entirely on the lens in use. The Canon 50D's 28-135mm IS kit lens produced about 0.6 percent barrel distortion at wide-angle, which is slightly below average among the cameras we've tested, but still noticeable in some of its images.
The EOS Rebel T3i has an 18.0 Megapixel CMOS (Complementary Metal Oxide Semiconductor) sensor that captures images with exceptional clarity and tonal range and offers more than enough resolution for big enlargements or crops. The Canon DIGIC 4 Image Processor dramatically speeds up the entire EOS Rebel T3i DSLR’s camera operations for intuitive operation and offers improvements in both fine detail and natural color reproduction. The EOS Rebel T3i features an expanded ISO range that makes shooting possible in situations previously unthinkable without flash.
The EOS Rebel T3i does not just shoot video clips, it offers the enhanced ease-of-use, image quality, smooth frame rates and adaptive exposure compensation necessary in a professional video-making tool by boasting the most advanced EOS video capturing features to date:  When Full HD (1920 x 1080) is set, you can use Movie Digital Zoom to magnify the center of the image by 3–10x while at the same time maintaining gorgeous Canon Full HD image quality. In addition to a number of different recording size and frame rate modes, the EOS Rebel T3i enables easy manual control of exposure, focus and Live View features and even allows for in-camera editing. The EOS Rebel T3i features a bright, high resolution, flip-out Vari-angle 3.0-inch Clear View LCD monitor for shooting at a variety of angles. New Scene Intelligent Auto mode and Picture Style Auto incorporating the new EOS Scene Detection System to capture beautiful scenes with ease. The EOS Rebel T3i DSLR’s new Scene Intelligent Auto mode unites five Canon digital camera technologies – the new Picture Style Auto, plus Automatic Lighting Optimizer, Automatic White Balance, Autofocus, and Automatic Exposure –into a powerful new feature for photographers.
The EOS Rebel T3i features a sophisticated, 63-zone Dual-layer sensor designed to complement the 9-point AF system. In the global network appeared rumors that the Canon will use the CMOS chips instead of CCD for its professional digital camcorder level. As for the new camcorder, who prepares the Canon, it will be similar to the XL-H1 model shown. Our take on this is that the very small pixels of the 50D are a challenge for this somewhat older lens design.
These diagrams shows the basic sensor layout, first in the viewfinder, then on the AF sensor itself.
The diagram top right shows some odd arrangements that don't seem to agree with the diagram below, which has neat little plus symbols over each point.


The illustration above shows the relative spacing between the various AF points, with the distances between them marked in millimeters, at the focal plane.
In practice, this works well: the flash is quite bright, and probably has a longer range than an on-body illuminator bulb. From the beginning, every DSLR has offered a sensor-cleaning mode, in which the mirror is locked up and the shutter opened to permit the sensor to be cleaned with compressed air, a solvent-carrying swab or other means.
This expands creative options enormously, but every time the lens is removed, dust from the environment is free to enter the camera body.
Once dislodged, a strip of sticky material at the bottom of the sensor cavity or mirror box catches and holds them. Some cameras with integrated cleaning systems can take a second or two for the cleaning cycle to complete before they're ready to capture an image.
In the Canon 50D, Canon has introduced a special shutter-curtain coating designed to greatly reduce the shedding of particles. This greater distance reduces the effect of any dust that does adhere, by making the shadow cast by each dust particle larger and softer-edged.
Canon has developed a new fluorine-based coating for the 50D, which purportedly improves this dust resistance property. To deal with these, the Canon 50D has the ability to shoot a dust reference photo, and then transfer that information to Canon's Digital Photo Professional software, which can use it to eliminate the shadows cast by dust particles on the images. Canon's implementation has some additional wrinkles that make it somewhat more useful, though. There's thus no need to keep track of a separate dust image file, the information is always available in the file headers, assuming you've actually performed the dust-mapping process. Starting in the upper left from Shooting Menu Screen 2, selecting Dust Delete Data produces a screen that shows when the last Dust Delete reference image was captured. Sooner or later, you're going to need to clean your sensor, so we strongly recommend purchasing a good-quality sensor cleaning kit right along with your DSLR. The 35mm equivalent range is about 45-216mm, which isn't wide at all at the wide-angle end. At the telephoto end, the 0.2 percent pincushion distortion is quite low and not as noticeable. Material on this site may not be reproduced, distributed, transmitted or otherwise used without the prior written consent of The Imaging Resource. This first-class sensor features many of the same new technologies as used by professional Canon cameras to maximize each pixel’s light-gathering efficiency. It works in concert with the EOS Rebel T3i DSLR’s CMOS Image Sensor to achieve phenomenal levels of performance in nearly any situation. With an ISO rating up to 6400 (expandable to ISO 12800), along with the DIGIC 4 Image Processor's improved noise-reduction technology, creative possibilities abound. With the Video Snapshot feature, the EOS Rebel T3i DSLR will capture short video clips (of 2, 4 or 8 seconds) then combine them automatically into one video file as a snapshot or highlights “album.” With no editing needed after shooting, the compiled video is perfect for sharing online or displaying directly on an HDTV via the camera’s HDMI port. The large CMOS sensor and compatibility with over 60 lenses provide a wealth of depth-of-field options.
By simply rotating the monitor, you can hold the camera directly overhead for above-the-crowd shots at concerts, or hold the camera at a low angle for kids and pets. Superb for reviewing, editing and deleting photos or composing new images in Live View function, the Vari-angle Clear View LCD monitor is also the perfect means for accessing camera settings like ISO, metering modes, AF Point selection, the horizontal Electronic Level and flash options. Using the advanced EOS Scene Detection System, the camera automatically analyzes the image, taking into account faces, colors, brightness, movement and contrast.
By taking into account the color and luminosity surrounding chosen AF points, this system delivers an advanced level of accuracy for better results even in difficult lighting situations. This camera and lens will help photographers who are looking for an easy-to-use camera to create their next masterpiece. If the rumors prove correct, Canon will use CMOS-sensor size of APS-C for high-quality video cameras, which is used in digital SLR cameras.
EF-S lenses can't be used on full-frame Canon cameras, nor on their models with 1.3x crop factors, like the current EOS-1D Mark III, but small-sensor cameras like the 50D can use any full-frame lenses in Canon's arsenal.
For example, a 100mm lens on the Canon 50D will show the same field of view as a 160mm lens on a camera with a 35mm frame size. It's priced at an average of $450 on its own, and reflects only about $200 difference between the kit and body-only suggested retail. You can disable the 50D's internal flash (or external Speedlite) by going into the Flash Control menu, which still lets the AF-assist pulses to fire; but then you lose your flash capability until you turn it back on. As the market has matured and more DSLRs have found their way into the hands of novice users, it has become clear that some automated way of dealing with sensor cleaning is needed. From there, it's only a matter of time before some of it makes its way to the surface of the sensor where it casts shadows that appear as dark blobs in your images. This approach was pioneered by Olympus, but has since been adopted by Canon, Nikon, Pentax, and Sony.
To avoid this problem, the Canon 50D aborts its normal power-on cleaning cycle as soon as the user touches the shutter button.
Dust particles frequently carry static charges, so the anti-static coating avoids one of the key mechanisms by which dust particles adhere.


You can update the Dust Delete data any time you think the camera might have been exposed to dust, or after you've manually cleaned the sensor.
Selecting OK on this screen initiates a cleaning cycle, after which the camera prompts you to take a picture of a blank white surface. Automated anti-dust systems like Canon's will certainly help with some of the dust, typically the dust that the nylon brush-based cleaning systems can also handle. Resolution and detail were high, though with moderate softening in the corners from the lens. This is the tendency for the lens to bend straight lines outward (like a barrel -- usually at wide-angle) or inward (like a pincushion -- usually at telephoto).
Combine the EOS Rebel T3i with one of Canon's EF or EF-S lenses with Optical Image Stabilizer and the shooting possibilities for both movies and stills expand even further. By rotating the LCD monitor fully, the EOS Rebel T3i becomes the ideal camera for self-portraits.
Since the metering sensor has a color measurement function, exposure errors and focus errors caused by different light sources are minimized; the EOS Rebel T3i gives stable exposure from shot to shot in situations where light changes, such as in a theater or concert hall. The next in a long line of phenomenal compact DSLRs, the EOS Rebel T3i continues the Rebel tradition of easy operation, compact design and no-compromise performance. That double zig-zag center sensor array, the one that runs from top to bottom down the center (marked in yellow at right), serves the top, center, and bottom AF points.
You can build sensors with wider baselines, but that also restricts the range of lenses they can be used with.
In truth, it's the anti-aliasing filter that collects dust, rather than the sensor itself, but common parlance refers to "sensor cleaning." For the sake of familiarity, we'll generally refer to sensor cleaning here, but will make mention of the anti-alias or low-pass filter as seems appropriate. The latest dust map is automatically incorporated into the EXIF headers of all JPEG images, or the headers of any RAW files.
An average performance here, especially considering this is a full-frame lens where much of the captured image should be in the sweet-spot of the image circle. The EOS Rebel T3i freely enables easy angle adjustments even if the camera is mounted on a tripod or has a battery grip attached.
Blues and greens are more vivid, “hot” colors are more fiery, and skin tones are smooth and truer to life. This makes the EOS Rebel T3i ideal for scenes with extreme difference in brightness such as brightly lit scenes or backlit scenes; the camera balances exposure of the main subject at the background, and exposures are not overly influenced by bright areas in the shot.
If they decide to use the Canon CMOS chips in professional camcorder likely CCD era will soon come to an end, then as now, these sensors are preferable for use in digital camcorders. Be sure to click on the Blur Index chart for an interactive look at how the lens performs across its range of apertures and zoom settings, as well as our reports on its chromatic aberration, vignetting, and distortion characteristics. The two yellow sensors in the middle are special, as they're essentially reprogrammable on the fly, able to be considered as part of each of the three center AF points, or taken together as one large sensor for extremely out-of-focus subjects.
For non-flash photography, Canon's ST-E2 wireless sync transmitter can apparently also be used for AF assist. While we don't have any technical details on how the dust map is stored, Canon claims that the encoding scheme used for it is very efficient, so the dust map information adds very little to the file size. If the surface you used to capture the image wasn't sufficiently uniform, you'll get an error message, but if the image was good, you'll see the confirmation screen as shown above in step 6.
We ourselves use and recommend products from Copper Hill, which we've found to be both highly effective and among the most reasonably priced on the market. Also among the new opportunities Camcorder mentioned support 12-bit video RAW format that will require a $4,000ish IO box providing SDI and USB 3 output.
If your budget will support it, the best package might be to get the 28-135mm kit lens and the EF-S 18-55mm IS model as well.
As for their zig-zag arrangement, that just means that one sensor is slightly offset from the other, such that if you were to look at them magnified, one pixel would be slightly off from the other, zig-zagging back and forth like tires on an endurance course. The Dust Delete Data just generated will now be included in the headers of any JPEG or RAW images captured, until you decided to capture a new dust reference image. Results at full telephoto are similar with softness across the frame and again, moderate levels of chromatic aberration. That would give you good image quality in the 18-55mm range (the 18-55mm IS is a surprisingly good lens for the money), as well as the longer reach of the 28-135mm for more distant subjects, all with image stabilization. Thus, horizontal lines that would have been missed by one sensor can be picked up by the other.
We liked this lens when we tested it for SLRgear a while back (see our Canon 28-135mm IS review for those details), but it may be that it's just not up to the challenge of a 15MP sensor.
All in all, the EF 28-135mm IS has about average performance for a kit lens, but we really think the average user will want something that starts a little wider.



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