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08.29
11

Review: Canon EOS Rebel T3i 18 MP CMOS Digital SLR Camera and DIGIC 4 Imaging with EF-S 18-55mm f/3.5-5.6 IS Lens

by admin ·

The Canon Rebel T3i takes the consumer level dSLR a couple steps closer to the mid-level Canon 60D with the addition of the rotating rear LCD screen, remote flash firing, and in-camera processing features. The already highly competent, older Rebel T2i already shared many important features with the 60D (and even features of the semi-pro 7D) including the 18 MP sensor, 63-zone exposure metering system, high ISO performance, HD movie capabilities, and Digic 4 image processor. With these new upgrades, it might make it even more difficult to choose between them. But there are some important differences.

If you are considering the Rebel T3i vs T2i, the Rebel T3i is replacing the T2i. Since both cameras share the same 18 megapixel sensor and Digic 4 processor, both the T2i and T3i will create images with exactly the same image quality, produce the same low light/ high ISO performance, shoot at 3.7 frames per second, and have nearly the same size and build quality. They are both offered with the same 18-55mm kit lens (with some minor cosmetic differences on the new T3i kit lens). The T3i is very slightly larger and heavier due to the addition of the rotating rear LCD monitor. And that is one of the biggest differences between the two cameras. Do you want and need a vari-angle rear screen or not? The other major difference is the ability of the T3i to remotely control multiple off-camera flashes. Like the 60D and 7D, you can use the built-in flash of the T3i to trigger other Canon Speedlites. Some other minor additions to the T3i include the Scene Intelligent Auto Mode, which is a feature borrowed from point and shoot cameras. When in Auto mode, the T3i will make a determination of what type of scene you are shooting – close-up, portrait, landscape, etc. – and automatically configure the camera settings accordingly. However, if you want to use a powerful and costly digital SLR as a point and shoot, you should probably save the money and just buy a nice, high quality point and shoot like the Canon S95. Other additional but not essential upgrades include the in-camera processing Creative Filters, and the ability to choose different image size ratios and to rate your images. (Helpful hint: press the Q Button while in image playback and you can access features like rating, rotating, and Creative Filters.) There is also a marginally helpful Feature Guide which gives brief descriptions of various settings and some additional video features like Video Snapshot, which you can use to shoot short video clips that are automatically joined together into a video, with music.

Canon Rebel T3i vs. 60D vs. 7D
Sensor and Image Quality: All three cameras share a very similar sensor and 18 megapixels, and so their image quality will be virtually the same. All are capable of taking professional quality images.

Exposure Metering: The three cameras all share the latest 63-zone, dual-layer exposure metering system and 4 metering modes. That means they will all determine the exposure virtually identically and enable you to take properly exposed photos in most every situation, including difficult back-lit scenes. The size of the areas metered for Partial and Spot metering vary slightly between the cameras, but that isn’t anything critical.

Autofocus: The T3i shares a similar autofocus system to the 60D, with 9 focus points and three auto focusing modes. However the 9 AF points of the 60D are more sensitive than those of the T3i: all are cross-type in the 60D, only the center is cross-type in the T3i. The 60D autofocus system is much less complex than the sophisticated AF system of the 7D with its 19 AF point system and its additional Zone, Spot, and Expansion focus modes. These various modes address how you want to deal with and group the numerous AF points. Plus the custom settings of the 7D allow one to customize how the AF system works – how it tracks subjects, how it deals with objects that come between you and your initial subject, how quickly it responds to these changes of possible subjects that are at different distances from you, etc. However, if you are not an avid sports photographer, a wildlife shooter, or someone who understands, needs, and will use the elaborate features of the 7D AF system, then this shouldn’t sway you.

Construction: As you can probably figure out from the prices, each camera is not built the same. The T3i has relatively strong construction of a stainless steel frame with polycarbonate body. The 60D has a stronger and lighter aluminum frame and polycarbonate body, but not as strong as the 7D’s magnesium alloy construction. The 60D also has some amount of weather sealing – more than the T3i, less than the 7D. But for most users, including even those using the camera daily or in travel situations, the construction of any of these cameras is far more than good enough, strong enough, and durable enough.

ISO: Since they all share a very similar sensor, the ISO sensitivity and performance at high ISO settings is virtually the same for these three cameras. But don’t take my word for it, don’t be swayed by pixel peepers on forums, instead check out the camera sensor tests at dxomark to verify this. As you can see, they all share the exact same overall score, and show very similar performance.

Controls: As with construction, the buttons and controls vary with these cameras. Unlike the T3i, the 60D and 7D have nearly every control an advanced photographer needs on the exterior of the camera and they also have the top LCD panel and rear Quick Control Dial that are not on the T3i. With all the cameras, any controls can also be easily accessed with the Q Button and Q Menu or in the other menus on the rear LCD monitor. The top buttons of the 60D set only one setting each, so this is less complicated than the multiple-setting buttons of the 7D. Canon has removed the white balance (WB) button on the 60D that the 7D has, but that isn’t a big deal – use the Q Menu. Another change on the 60D is that the Multi-controller has been moved from the thumb joystick like the 7D and 50D and placed in the middle of the rear Quick-control dial. This doesn’t change how it functions, and should just be a matter of getting used to the difference. If you plan on using your camera on Auto or Program most of the time, then the controls of the T3i are more than sufficient for your needs. If you work in Av, Tv, or M modes and need quicker and more direct access to your controls and the additional top LCD screen to view and change your current settings, then you need to consider the 60D or 7D over the T3i.

Menus and Custom Functions: These allow for greater control over customizing how the camera functions. The T3i has less Menu and Custom Function setting options than the 60D, and the 7D has yet a few more than the 60D. These settings enable you to customize the operation, function, and controls to work how you want them to, including things like exposure increments, peripheral illuminations correction for lenses (fixes dark corners), tweaking how the autofocus system operates, setting more precise white balance settings, and customizing which button does what. There are ebooks such as my Canon T3i Experience – The Still Photographer’s Guide to Operation and Image Creation With the Canon Rebel T3i / EOS 600D and Your World 60D – The Photographer’s Guide to Operation and Image Creation with the Canon 60D which walk you through all of the Menu settings and Custom Function settings so that you can set up your camera to work best for how you photograph, and also begin to learn to master all the advanced features, settings, and controls of these powerful dSLR camera.

Wireless Flash: Like the 7D and 60D, the T3i incorporates wireless flash triggering. This allows you to trigger multiple off camera flashes at different output levels. The T2i does not have this feature.

Articulating LCD Screen: The big new feature that the 60D and T3i have that the 7D and T2i do not is the articulating rear LCD screen. This may prove useful for videographers, as well as for setting up compositions while the camera is on a tripod, for macro use, or for using it from unusually low or high vantage points. Some users will be able to avoid buying an expensive angle finder because of this feature. There is also an electronic level in the 7D and 60D, visible in the viewfinder, rear LCD, or top LCD.

Viewfinder: The T3i has a pentamirror viewfinder with 95% coverage of the actual resulting image. The 60D has a large, bright pentaprism viewfinder with 96% coverage, not quite as nice as the nearly 100% view of the 7D pentaprism.

Processor: The T3i shares the same Digic 4 processor as the 60D. The 7D has dual Digic 4 processors. However, if you don’t need to shoot dozens of continuous images, you probably won’t notice any processing speed issues.

Continuous Shooting Speed: The T3i can shoot 3.7 frames per second. The 7D can shoot a blazing 8 frames per second, in which the photos barely change from frame to frame. The 60D can shoot a respectable 5.3 fps which is actually a more useful rate. If you need the extremely high fps for sports, wildlife, or other action shooting, get the 7D. If not, don’t be swayed by this excessive feature.

Memory Card: The T3i and 60D use the SD memory card. The 7D uses the CF card.

Battery: The T3i and T2i use the smaller LP-E8 battery with less capacity than the LP-E6 battery used by the 60D and 7D.

Size and Weight: The T3i is smaller and lighter than the 60D, which in turn is smaller and lighter than the 7D. Go to a store and hold them to get a better…

03.23
11

Canon EOS Rebel T3i (Body Only)

by admin ·

Photo gallery: Canon EOS Rebel T3i
Photo gallery:
Canon EOS Rebel T3i

If you didn’t think the 60D was overpriced when it shipped, you will now. The Canon EOS Rebel T3i (aka the EOS 600D), the 60D’s younger and cheaper sibling, offers the same basic camera with some corners cut–most notably a slightly less well-constructed body and a (purposely?) stunted burst shooting speed. You can also think of it as a slightly more expensive T2i, with the addition of an articulated LCD and a few features for the auto-always crowd. Either way, the T3i remains a solid if unexciting follow-up to its predecessor, although one that seems to cater more to videophiles than still shooters.

That’s not to say it compromises on still photo quality. Overall, the T3i has an excellent noise profile, unsurprisingly similar to that of the 60D’s. JPEGs look very clean up through ISO 400, and even at ISO 800 you really have to scrutinize to see the beginnings of detail degradation; at ISO 1600 the noise becomes more obvious but still isn’t too bad.




Canon EOS Rebel T3i photo samples

ISO 400 is sort of my tipping-point sensitivity; to shoot action outdoors, I generally have to bump up the setting to at least ISO 400 in order to reach a sufficiently fast shutter speed. And because few consumer cameras are fast enough at shooting burst raw+JPEG, the in-camera JPEG processing has to be decent as well. The T3i fared pretty well under these conditions. Overall, I consider shots at this setting good enough to use, but I still wish I would have been able to shoot raw to clean them up.

Canon’s JPEG processing remains very good. Even at ISO 1600 I couldn’t obtain unambiguously better results processing the raw–Canon seems to optimize for exposure at the expense of sharpness, and I couldn’t get sharper results without losing some shadow detail (you may do better). At ISO 3200 I was able to achieve a significant reduction in color noise without losing too much shadow detail. And by ISO 6400, I started to see hot pixels as a side-effect of the in-camera noise reduction (those white spots) in the JPEGs.

On all other counts the photos looked good on the default settings, though my favored setting with Canon models is Neutral with sharpening bumped up a few notches. Colors look both relatively accurate and saturated; metering and exposures are consistent and predictable; and the dynamic range is broad enough to allow a reasonable amount of highlight and shadow recovery.

As usual, the video looks very good. There’s some moiré, but not a lot of rolling shutter, and moving edges look surprisingly sharp. At its highest quality, it seems to deliver an average bit rate of roughly 45Mbps. It offers the same great set of frame rates and manual exposure controls as the 60D, including highlight tone priority for fine-tuning high-key exposures. Though the built-in microphone is mono, it sounds surprisingly good, and there’s a wind filter along with the same 64-level sound controls. Canon also incorporates the Video Snapshot feature from its camcorders–it lets you snap up to 8-second clips–and some in-camera special-effects filters, too.

 
Canon EOS Rebel T1i
Canon EOS Rebel T2i
Canon EOS Rebel T3i
Canon EOS 60D
Sensor (effective resolution)
15.1-megapixel CMOS
18-megapixel CMOS
18-megapixel CMOS
18-megapixel CMOS
22.3 x 14.9mm 22.3 x 14.9mm 22.3 x 14.9mm 22.3 mm x 14.9mm Image processor version Digic 4 Digic 4 Digic 4 Digic 4
Sensitivity range
ISO 100 – ISO 3200/12,800 (expanded)
ISO 100 – ISO 6400/ 12,800 (expanded)
ISO 100 – ISO 6400/ 12,800 (expanded)
ISO 100 – ISO 6400/ 12,800 (expanded)
Continuous shooting 3.5 fps
6 raw/53 JPEG
3.7 fps
6 raw/34 JPEG
3.7 fps
6 raw/34 JPEG
5.3fps
16 raw/58 JPEG
Viewfinder (mag/ effective mag)
95% coverage
0.87x/0.54x
95% coverage
0.87x/0.54x
95% coverage
0.85x/0.53x
96% coverage
0.95x/0.59x
Autofocus
9-pt AF
center cross-type

9-pt AF
center cross-type to f2.8
9-pt AF
center cross-type to f2.8
9-pt AF all cross-type; center cross to f2.8
Shutter Speed 1/4000 to 30 secs; bulb; 1/160 x-sync 1/4000 to 30 secs; bulb; 1/160 x-sync 1/4000 to 30 secs; bulb; 1/200 x-sync 1/8000 to 30 secs; bulb; 1/250 sec x-sync Metering 35 zones 63-zone iFCL 63-zone iFCL 63-zone iFCL Video H.264 QuickTime MOV 1080/20p; 720/30p H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/50p/ 60p H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/50p/ 60p H.264 QuickTime MOV 1080/30p/25p/24p; 720/60p/50p
Manual aperture and shutter in video No Yes Yes Yes
Audio Mono Mono; mic input Mono; mic input Mono; mic input
Maximum best-quality recording time 4GB/12m 4GB/12m 4GB/11m 4GB/12m
Image stabilization Optical Optical Optical Optical LCD size
3 inches fixed
920,000 pixels
3 inches fixed
1.04 megapixels
3 inches articulated
1.04 megapixels
3 inches articulated
1.04 megapixels
Memory slots 1 x SDHC 1 x SDXC 1 x SDXC 1 x SDXC Wireless flash No No Yes Yes Battery life (CIPA rating)
400 shots
550 shots
470 shots
1100 shots
Dimensions (WHD, inches)
5.1 x 3.8 x 2.4
5.1 x 3.8 x 3.0
5.1 x 3.8 x 3.0
5.7 x 4.1 x 3.1
Body operating weight (ounces)
18.6
18.6
20
27
Mfr. Price $549 (est; body only) $699.99 (est; body only) $799.99 (body only) $1,099.99 (body only) $799.99 (with 18-55mm IS lens) $899.99 (with 18-55mm IS lens) $899.99 (with 18-55mm IS II lens)
$1,399.99 (with 18-135mm lens) n/a
$980 (est; with 18-135mm IS lens)
$1,099.99 (with 18-135mm IS lens)
n/a
Release date April 2009 March 2010 March 2011 November 2010

I’m not as fond of the new 18-55mm IS II lens as the old kit lens; unfortunately, I didn’t have the old lens available to do direct comparisons, but the new lens seemed to have more issues with fringing than the old. The new lens claims an extra stop of image stabilization, but I didn’t find it more effective (of course, it’s always possible that I’m a year shakier.) The 18-55mm kit lens displays visible but not terrible asymmetric barrel distortion at its widest. In shots with the previous version of the lens the distortion looks more symmetrical, but I don’t have exact comparison shots–they put up scaffolding months ago which prevents me from replicating my test shot.

The camera’s performance remains fast, but, surprisingly, in some cases not quite as fast as its predecessor’s. It powers on, focuses, and shoots in about 0.3 second, with a fast 0.3-second shot lag in good lighting and solid 0.6-second in dim (a tad slower than the T2i). JPEG shot-to-shot time is also good at about 0.4 second; raw takes a little longer at about 0.5 second. Adding flash bumps that up by another couple tenths of a second. Its burst rate is essentially equal to the T2i’s, but both are at what I consider the slowest acceptable continuous-shooting speed for a dSLR and slower than less-expensive competitors like the Nikon D5000 or the Pentax K-x.

With a few exceptions, the T3i’s body and interface are almost identical to the T2i’s. It’s slightly heavier (but not larger) thanks to the bright, flip-and-twist LCD. It feels sturdy, and though the texture rubberized grip feels kind of cheap, the camera is comfortable to hold and shoot single-handed, and can stand up to the weight of a good lens. I’ve never been a huge fan of the Rebel series’ viewfinder, and this one is actually a slightly lower magnification than previous models. I don’t know that I noticed the difference, but there are better ones out there. Also, I don’t like the tiny, too-briefly-flashing AF points.

Canon carries over the control layout and user interface from the T2i, although it has moved the Display button to the top and replaced it with Info. Camera operation is straightforward. On the back there are direct-access controls for Live View/video recording, exposure compensation, white balance, autofocus method (single, AI focus and AI servo), drive mode, Picture Style, AE/AF lock, and focus area (single-point manual or all-points auto). You can also change these settings, plus metering, flash, image quality, and a few others, via the typical Quick Control screen. My one quibble here is that the buttons all feel a bit too flat.

The mode dial includes the usual set of manual, semimanual, automatic, and scene modes. It doesn’t lock, which may bother some folks (though not me). As with the 60D, however, I find the placement of the movie mode–at the opposite side of the dial from the advanced modes–insanely frustrating. I’ve actually missed video opportunities by having to scroll around from shutter-priority mode to video. Ironically, this design is more suited to pros who plan to use the camera as a cheap video dSLR and never take it off the video setting than to the consumers at whom it’s ostensibly targeted.

 
Canon EOS Rebel T3i
Pentax K-r

Sony Alpha SLT-A55

Sony Alpha DSLR-A580

Sensor (effective resolution)
18-megapixel CMOS
12.4-megapixel CMOS
16.2-megapixel Exmor HD CMOS
16.2-megapixel Exmor HD CMOS
22.3 x 14.9mm 23.6 x 15.8mm 23.5 x 15.6mm 23.5 x 15.6mm Focal-length multiplier 1.6x 1.5x 1.5x 1.5x Sensitivity range
ISO 100 – ISO 6400/12,800 (expanded)
ISO 100 (expanded)/200 – ISO 6400/25,600 (expanded)
ISO 100 – ISO 1600/12,800 (expanded)
ISO 100 – ISO 12,800/25,600 (expanded)
Continuous shooting 3.7 fps
6 raw/34 JPEG
6 fps
n/a raw/25 JPEG
6 fps (10fps with auto exposure)
20 raw/35 JPEG
5 fps (7fps with auto exposure)
22 raw/45 JPEG
Viewfinder (magnification/ effective magnification)
Optical
95% coverage
0.85x/0.53x
Optical
96% coverage
0.85x/0.57x
Electronic
0.46 inches/1.2 million dots
100% coverage
1.1x/0.73x
Optical
n/a
95% coverage
0.80x/0.53x
Autofocus
9-pt AF
center cross-type to f2.8
11-pt AF
9 cross-type
(SAFOX IX)
15-pt phase-detection AF
3 cross-type
15-pt phase-detection AF
3 cross-type
Shutter Speed 1/4000 to 30 secs; bulb; 1/200 x-sync 1/6000 to 30 secs; bulb; 1/180 sec x-sync 1/4000 to 30 secs; bulb; 1/160 x-sync 1/4000 to 30 secs; bulb; 1/160 x-sync Metering 63-zone iFCL 16 segment 1200 zone 1200 zone Video H.264 QuickTime MOV 1080/24p/25p/30p; 720/50p/60p 720/25p Motion JPEG AVI
AVCHD 1080/60i @ 17Mbps; H.264 MPEG-4 1440×1080/30p @ 12Mbps AVCHD 1080/60i @ 17Mbps; H.264 MPEG-4 1440×1080/30p @ 12Mbps Audio Mono; mic input Mono Stereo; mic input Stereo; mic input Manual aperture and shutter in video Yes n/a Yes Yes
Maximum best-quality recording time 4GB/12 minutes 4GB/25 minutes 2GB/9 minutes 2GB/14 minutes
Image stabilization Optical Sensor shift Sensor shift Sensor shift LCD size
3 inches articulated
1.04 megapixels
3 inches fixed
921,000 dots
3 inches articulated
921,600 dots
3 inches articulated
921,600 dots
Memory slots 1 x SDXC 1 x SDXC/SDHC
(SDXC requires firmware upgrade) 1 x SDXC 1 x SDXC Wireless flash Yes Yes Yes Yes Battery life (CIPA rating)
470 shots
560 shots (NiMH batteries)
330 shots
1050 shots
Dimensions (WHD, inches)
5.1 x 3.8 x 3.0
4.8 x 3.6 x 2.7
4.9 x 3.6 x 3.3
5.4 x 4.1 x 3.3
Body operating weight (ounces)
20
20.4 (est)
17.8
24 (est)
Mfr. Price $799.99 (body only) n/a $749.99 (body only) $799.99 (body only)
$899.99 (with 18-55mm IS II lens)
$749.95 (with 18-55mm lens) $849.99 (with 18-55mm lens) $899.99 (with 18-55mm lens) $1,099.99 (with 18-135mm IS lens)
n/a
n/a
n/a
Release date March 2011 October 2010 September 2010 November 2010

Canon’s version of an easy mode, Creative Auto, operates via what it calls “ambience selection”–Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker, and Monochrome–for which you can set it to one of three levels. The scene modes also utilize the ambience selection options, making them a little more flexible.

While Canon offers quite a few options for video shooters, it doesn’t have much beyond the basics to inspire or streamline shooting for still photographers. The T3i supplies basic Eye-Fi wireless integration–you can enable or disable the card and the camera provides connection strength information. For bracketing, you’re still limited to a three-shot bracket and a range of two stops around the center, though the complete range goes up to seven stops in either direction. And it supports wireless flash. But there’s no way to save custom settings, no creative features like time-lapse or multiple-exposure shooting or filters (only a handful of postprocessing effects). Furthermore, with increasing resolutions, the ability to shoot raw plus small or medium JPEG–as opposed to full size–isn’t just a pro necessity anymore, especially if you plan to transmit wirelessly. For a complete account of the T3i’s features and operation, you can download the PDF manual.

Conclusion
For the money, the T3i is a great choice for dSLR videographers–though the cheaper T2i can still suffice if you don’t need the articulated LCD–and is a solid choice for creative still shooters. But while the image quality and general shooting performance are top-notch, if you’re upgrading to shoot sports, kids, or pets, the T3i may not be able to keep up.

Shooting speed (in seconds)
(Shorter bars indicate better performance)

Time to first shot  

Raw shot-to-shot time  

Typical shot-to-shot time  

Shutter lag (dim light)  

Shutter lag (typical)  


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03.23
11

Canon EOS Rebel T3i (with 18-135mm IS lens)

by admin ·

Photo gallery: Canon EOS Rebel T3i
Photo gallery:
Canon EOS Rebel T3i

If you didn’t think the 60D was overpriced when it shipped, you will now. The Canon EOS Rebel T3i (aka the EOS 600D), the 60D’s younger and cheaper sibling, offers the same basic camera with some corners cut–most notably a slightly less well-constructed body and a (purposely?) stunted burst shooting speed. You can also think of it as a slightly more expensive T2i, with the addition of an articulated LCD and a few features for the auto-always crowd. Either way, the T3i remains a solid if unexciting follow-up to its predecessor, although one that seems to cater more to videophiles than still shooters.

That’s not to say it compromises on still photo quality. Overall, the T3i has an excellent noise profile, unsurprisingly similar to that of the 60D’s. JPEGs look very clean up through ISO 400, and even at ISO 800 you really have to scrutinize to see the beginnings of detail degradation; at ISO 1600 the noise becomes more obvious but still isn’t too bad.




Canon EOS Rebel T3i photo samples

ISO 400 is sort of my tipping-point sensitivity; to shoot action outdoors, I generally have to bump up the setting to at least ISO 400 in order to reach a sufficiently fast shutter speed. And because few consumer cameras are fast enough at shooting burst raw+JPEG, the in-camera JPEG processing has to be decent as well. The T3i fared pretty well under these conditions. Overall, I consider shots at this setting good enough to use, but I still wish I would have been able to shoot raw to clean them up.

Canon’s JPEG processing remains very good. Even at ISO 1600 I couldn’t obtain unambiguously better results processing the raw–Canon seems to optimize for exposure at the expense of sharpness, and I couldn’t get sharper results without losing some shadow detail (you may do better). At ISO 3200 I was able to achieve a significant reduction in color noise without losing too much shadow detail. And by ISO 6400, I started to see hot pixels as a side-effect of the in-camera noise reduction (those white spots) in the JPEGs.

On all other counts the photos looked good on the default settings, though my favored setting with Canon models is Neutral with sharpening bumped up a few notches. Colors look both relatively accurate and saturated; metering and exposures are consistent and predictable; and the dynamic range is broad enough to allow a reasonable amount of highlight and shadow recovery.

As usual, the video looks very good. There’s some moiré, but not a lot of rolling shutter, and moving edges look surprisingly sharp. At its highest quality, it seems to deliver an average bit rate of roughly 45Mbps. It offers the same great set of frame rates and manual exposure controls as the 60D, including highlight tone priority for fine-tuning high-key exposures. Though the built-in microphone is mono, it sounds surprisingly good, and there’s a wind filter along with the same 64-level sound controls. Canon also incorporates the Video Snapshot feature from its camcorders–it lets you snap up to 8-second clips–and some in-camera special-effects filters, too.

 
Canon EOS Rebel T1i
Canon EOS Rebel T2i
Canon EOS Rebel T3i
Canon EOS 60D
Sensor (effective resolution)
15.1-megapixel CMOS
18-megapixel CMOS
18-megapixel CMOS
18-megapixel CMOS
22.3 x 14.9mm 22.3 x 14.9mm 22.3 x 14.9mm 22.3 mm x 14.9mm Image processor version Digic 4 Digic 4 Digic 4 Digic 4
Sensitivity range
ISO 100 – ISO 3200/12,800 (expanded)
ISO 100 – ISO 6400/ 12,800 (expanded)
ISO 100 – ISO 6400/ 12,800 (expanded)
ISO 100 – ISO 6400/ 12,800 (expanded)
Continuous shooting 3.5 fps
6 raw/53 JPEG
3.7 fps
6 raw/34 JPEG
3.7 fps
6 raw/34 JPEG
5.3fps
16 raw/58 JPEG
Viewfinder (mag/ effective mag)
95% coverage
0.87x/0.54x
95% coverage
0.87x/0.54x
95% coverage
0.85x/0.53x
96% coverage
0.95x/0.59x
Autofocus
9-pt AF
center cross-type

9-pt AF
center cross-type to f2.8
9-pt AF
center cross-type to f2.8
9-pt AF all cross-type; center cross to f2.8
Shutter Speed 1/4000 to 30 secs; bulb; 1/160 x-sync 1/4000 to 30 secs; bulb; 1/160 x-sync 1/4000 to 30 secs; bulb; 1/200 x-sync 1/8000 to 30 secs; bulb; 1/250 sec x-sync Metering 35 zones 63-zone iFCL 63-zone iFCL 63-zone iFCL Video H.264 QuickTime MOV 1080/20p; 720/30p H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/50p/ 60p H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/50p/ 60p H.264 QuickTime MOV 1080/30p/25p/24p; 720/60p/50p
Manual aperture and shutter in video No Yes Yes Yes
Audio Mono Mono; mic input Mono; mic input Mono; mic input
Maximum best-quality recording time 4GB/12m 4GB/12m 4GB/11m 4GB/12m
Image stabilization Optical Optical Optical Optical LCD size
3 inches fixed
920,000 pixels
3 inches fixed
1.04 megapixels
3 inches articulated
1.04 megapixels
3 inches articulated
1.04 megapixels
Memory slots 1 x SDHC 1 x SDXC 1 x SDXC 1 x SDXC Wireless flash No No Yes Yes Battery life (CIPA rating)
400 shots
550 shots
470 shots
1100 shots
Dimensions (WHD, inches)
5.1 x 3.8 x 2.4
5.1 x 3.8 x 3.0
5.1 x 3.8 x 3.0
5.7 x 4.1 x 3.1
Body operating weight (ounces)
18.6
18.6
20
27
Mfr. Price $549 (est; body only) $699.99 (est; body only) $799.99 (body only) $1,099.99 (body only) $799.99 (with 18-55mm IS lens) $899.99 (with 18-55mm IS lens) $899.99 (with 18-55mm IS II lens)
$1,399.99 (with 18-135mm lens) n/a
$980 (est; with 18-135mm IS lens)
$1,099.99 (with 18-135mm IS lens)
n/a
Release date April 2009 March 2010 March 2011 November 2010

I’m not as fond of the new 18-55mm IS II lens as the old kit lens; unfortunately, I didn’t have the old lens available to do direct comparisons, but the new lens seemed to have more issues with fringing than the old. The new lens claims an extra stop of image stabilization, but I didn’t find it more effective (of course, it’s always possible that I’m a year shakier.) The 18-55mm kit lens displays visible but not terrible asymmetric barrel distortion at its widest. In shots with the previous version of the lens the distortion looks more symmetrical, but I don’t have exact comparison shots–they put up scaffolding months ago which prevents me from replicating my test shot.

The camera’s performance remains fast, but, surprisingly, in some cases not quite as fast as its predecessor’s. It powers on, focuses, and shoots in about 0.3 second, with a fast 0.3-second shot lag in good lighting and solid 0.6-second in dim (a tad slower than the T2i). JPEG shot-to-shot time is also good at about 0.4 second; raw takes a little longer at about 0.5 second. Adding flash bumps that up by another couple tenths of a second. Its burst rate is essentially equal to the T2i’s, but both are at what I consider the slowest acceptable continuous-shooting speed for a dSLR and slower than less-expensive competitors like the Nikon D5000 or the Pentax K-x.

With a few exceptions, the T3i’s body and interface are almost identical to the T2i’s. It’s slightly heavier (but not larger) thanks to the bright, flip-and-twist LCD. It feels sturdy, and though the texture rubberized grip feels kind of cheap, the camera is comfortable to hold and shoot single-handed, and can stand up to the weight of a good lens. I’ve never been a huge fan of the Rebel series’ viewfinder, and this one is actually a slightly lower magnification than previous models. I don’t know that I noticed the difference, but there are better ones out there. Also, I don’t like the tiny, too-briefly-flashing AF points.

Canon carries over the control layout and user interface from the T2i, although it has moved the Display button to the top and replaced it with Info. Camera operation is straightforward. On the back there are direct-access controls for Live View/video recording, exposure compensation, white balance, autofocus method (single, AI focus and AI servo), drive mode, Picture Style, AE/AF lock, and focus area (single-point manual or all-points auto). You can also change these settings, plus metering, flash, image quality, and a few others, via the typical Quick Control screen. My one quibble here is that the buttons all feel a bit too flat.

The mode dial includes the usual set of manual, semimanual, automatic, and scene modes. It doesn’t lock, which may bother some folks (though not me). As with the 60D, however, I find the placement of the movie mode–at the opposite side of the dial from the advanced modes–insanely frustrating. I’ve actually missed video opportunities by having to scroll around from shutter-priority mode to video. Ironically, this design is more suited to pros who plan to use the camera as a cheap video dSLR and never take it off the video setting than to the consumers at whom it’s ostensibly targeted.

 
Canon EOS Rebel T3i
Pentax K-r

Sony Alpha SLT-A55

Sony Alpha DSLR-A580

Sensor (effective resolution)
18-megapixel CMOS
12.4-megapixel CMOS
16.2-megapixel Exmor HD CMOS
16.2-megapixel Exmor HD CMOS
22.3 x 14.9mm 23.6 x 15.8mm 23.5 x 15.6mm 23.5 x 15.6mm Focal-length multiplier 1.6x 1.5x 1.5x 1.5x Sensitivity range
ISO 100 – ISO 6400/12,800 (expanded)
ISO 100 (expanded)/200 – ISO 6400/25,600 (expanded)
ISO 100 – ISO 1600/12,800 (expanded)
ISO 100 – ISO 12,800/25,600 (expanded)
Continuous shooting 3.7 fps
6 raw/34 JPEG
6 fps
n/a raw/25 JPEG
6 fps (10fps with auto exposure)
20 raw/35 JPEG
5 fps (7fps with auto exposure)
22 raw/45 JPEG
Viewfinder (magnification/ effective magnification)
Optical
95% coverage
0.85x/0.53x
Optical
96% coverage
0.85x/0.57x
Electronic
0.46 inches/1.2 million dots
100% coverage
1.1x/0.73x
Optical
n/a
95% coverage
0.80x/0.53x
Autofocus
9-pt AF
center cross-type to f2.8
11-pt AF
9 cross-type
(SAFOX IX)
15-pt phase-detection AF
3 cross-type
15-pt phase-detection AF
3 cross-type
Shutter Speed 1/4000 to 30 secs; bulb; 1/200 x-sync 1/6000 to 30 secs; bulb; 1/180 sec x-sync 1/4000 to 30 secs; bulb; 1/160 x-sync 1/4000 to 30 secs; bulb; 1/160 x-sync Metering 63-zone iFCL 16 segment 1200 zone 1200 zone Video H.264 QuickTime MOV 1080/24p/25p/30p; 720/50p/60p 720/25p Motion JPEG AVI
AVCHD 1080/60i @ 17Mbps; H.264 MPEG-4 1440×1080/30p @ 12Mbps AVCHD 1080/60i @ 17Mbps; H.264 MPEG-4 1440×1080/30p @ 12Mbps Audio Mono; mic input Mono Stereo; mic input Stereo; mic input Manual aperture and shutter in video Yes n/a Yes Yes
Maximum best-quality recording time 4GB/12 minutes 4GB/25 minutes 2GB/9 minutes 2GB/14 minutes
Image stabilization Optical Sensor shift Sensor shift Sensor shift LCD size
3 inches articulated
1.04 megapixels
3 inches fixed
921,000 dots
3 inches articulated
921,600 dots
3 inches articulated
921,600 dots
Memory slots 1 x SDXC 1 x SDXC/SDHC
(SDXC requires firmware upgrade) 1 x SDXC 1 x SDXC Wireless flash Yes Yes Yes Yes Battery life (CIPA rating)
470 shots
560 shots (NiMH batteries)
330 shots
1050 shots
Dimensions (WHD, inches)
5.1 x 3.8 x 3.0
4.8 x 3.6 x 2.7
4.9 x 3.6 x 3.3
5.4 x 4.1 x 3.3
Body operating weight (ounces)
20
20.4 (est)
17.8
24 (est)
Mfr. Price $799.99 (body only) n/a $749.99 (body only) $799.99 (body only)
$899.99 (with 18-55mm IS II lens)
$749.95 (with 18-55mm lens) $849.99 (with 18-55mm lens) $899.99 (with 18-55mm lens) $1,099.99 (with 18-135mm IS lens)
n/a
n/a
n/a
Release date March 2011 October 2010 September 2010 November 2010

Canon’s version of an easy mode, Creative Auto, operates via what it calls “ambience selection”–Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker, and Monochrome–for which you can set it to one of three levels. The scene modes also utilize the ambience selection options, making them a little more flexible.

While Canon offers quite a few options for video shooters, it doesn’t have much beyond the basics to inspire or streamline shooting for still photographers. The T3i supplies basic Eye-Fi wireless integration–you can enable or disable the card and the camera provides connection strength information. For bracketing, you’re still limited to a three-shot bracket and a range of two stops around the center, though the complete range goes up to seven stops in either direction. And it supports wireless flash. But there’s no way to save custom settings, no creative features like time-lapse or multiple-exposure shooting or filters (only a handful of postprocessing effects). Furthermore, with increasing resolutions, the ability to shoot raw plus small or medium JPEG–as opposed to full size–isn’t just a pro necessity anymore, especially if you plan to transmit wirelessly. For a complete account of the T3i’s features and operation, you can download the PDF manual.

Conclusion
For the money, the T3i is a great choice for dSLR videographers–though the cheaper T2i can still suffice if you don’t need the articulated LCD–and is a solid choice for creative still shooters. But while the image quality and general shooting performance are top-notch, if you’re upgrading to shoot sports, kids, or pets, the T3i may not be able to keep up.

Shooting speed (in seconds)
(Shorter bars indicate better performance)

Time to first shot  

Raw shot-to-shot time  

Typical shot-to-shot time  

Shutter lag (dim light)  

Shutter lag (typical)  


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