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The Canon 50D Delivers
Date of Review: Oct 27, 2008
The Bottom Line: While the many new features are overwhelming, this is an excellent camera.
BACKGROUND
I got into digital photography about seven years ago when we were expecting our first child. During that time, I’ve had three children, changed thousands of diapers and have taken even more photographs. I’ve started out with a Point and Shoot (P&S) Olympus, then went on to a Canon Rebel XT, a Rebel XTi, a 20D, and now the 50D, which Canon released in October 2008.
Rumor has it that Canon released the 50D just one year after releasing the 40D, which was 6 months earlier than their normal 18-month cycle, because of fierce competition from the Nikon D300 and D90.
Since a review of the 50D’s standard and copious new features would overwhelm both me and readers, this review be written with the digital photographer looking to upgrade in mind.
The 50D has an APS-C sized 15.1-megapixel CMOS sensor;, DIGIC 4 Image Processor; can shoot at 6.3 frames per second (FPS); ISO capabilities up to 12,800; 3.0-inch Clear View LCD; Live View Function with automatic face detection; automatic image correction settings, and HDMI output for viewing images on an HDTV.
A STRONG BODY
The 50D has a stainless steel frame covered with a magnesium alloy body. The mirror box is made of engineering plastic, which, according to Wikipedia, “…exhibit[s] superior mechanical and thermal properties in a wide range of conditions…” This helps account for the 100,000 cycle shutter.
Weather sealing has been improved around the battery and CF door, but don’t make the mistake of thinking that means the 50D is weather sealed; It’s more like it is weather resistant. Try to think of it as a watch that is water resistant rather than water proof.
MEGAPIXEL MADNESS
When the Canon 20D debuted, Canon said its 8.2 MP was enough to produce 16” x 24” prints with “very fine” detail. If that’s the case, then 15.1 MP is more than what 99.9% of the “prosumer” market needs. Canon, skip the 15.1 MPs and give me a full-frame sensor with 8.2 MP!
But instead of a full-frame sensor, Canon satisfied our megapixel lust by cramming 15.1 megapixels onto the APS-C sensor. (The 40D puts 10.1 MP on the same size senor.) Most consumers automatically equate more megapixels with higher image quality, but this isn’t necessarily the case.
Eight four percent more megapixels than the 20D on the same sized sensor causes concern because in order to put more megapixels on a sensor, each pixel has to be made smaller. Smaller pixels mean less data and less data means poorer image quality. How Canon handled this dilemma is in the SENSOR OVERLOAD section.
More megapixels also means bigger file sizes which means fewer photos per flash card, longer transfer times, bigger hard drives, more CDs for storage, etc. It took about 40 minutes to transfer 115 high resolution RAW photos from my 133x compact flash card to my PC
According to the 50D’s documentation, a 15.1 MP photo produces about a 20.2 MB RAW file and a 2GB card should hold about 91 photos. The 20D produced RAW photos 8.7 GB in size and the same 2 GB memory card could hold about 216 8.2 MP RAW photos.
Waiting 40 minutes to transfer 115 photos, was maddening slow, but my impatience was tempered by the siren song of better ISO performance and image quality (IQ).
Since I suffer from bouts of megapixel mania, I have to constantly remind myself that more megapixels are not always needed. I recommend getting a camera that has the megapixels needed for the maximum print size you want. Two hundred forty pixels per inch (240 ppi) is the standard for good quality prints and 300 PPI is the standard for professional quality prints. Here is a table listing the maximum and 240 and 300 DPI print size you can get at various megapixels:
01 MP = 4” x 5”, 3”x4”
02 MP = 5” x 7”, 4”x5”
03 MP = 6” x 8”, 5”x7”
04 MP = 7” x 9”, 5”x7”
05 MP = 8” x 10”, 6”x8”
06 MP = 8” x 11”, 7”x9”
07 MP = 9” x 12”, 7”x10”
08 MP = 10” x 13”, 8”x10”
09 MP = 11” x 14”, 8”x11”
10 MP = 10” x 16”, 8”x13”
14 MP = 11” x 14” 300 DPI
23 MP = 13” x 20” 300 DPI
Since the Canon 50D is aimed at the “prosumer” and used by many professionals, providing enough megapixels for an 11” x 14” 300 DPI prints is reasonable, even though it is more than most home users need (but don’t tell my wife that.)
SENSOR OVERLOAD?
What does an APS-C CMOS mean and what does it matter? The three major CMOS sizes for Canon cameras are, from smallest to largest, APS-C (22 x 15mm), APS-H (29 x 19mm), and 35mm full-frame (36 x 24mm.)
If two sensors have the same number of pixels, the larger sensor will offer better image quality because the bigger sensor has better sensitivity and dynamic range, smaller depth of field (DOF) (resulting in pleasantly blurred backgrounds), less noise because more light can be collected, and bigger pixels.
Canon was able to put more megapixels on the APS-C sensor without compromising image quality thanks to improved manufacturing processes, optimizing photo diode placement and size, and placing gapless microlenses over each pixel.
Some industry pundits theorize that Canon will phase out the APS-H sensor, which is currently used in Canon’s 1D mark III SLR camera. I would have loved a full-frame sensor on the 50D even if it meant keeping the MPs in the 8–10 MP range. But then again, I guess that would be Canon’s 12.8 MP 5D that sells for $2000 (body only.) And if I could afford $600 more, I’d own it instead of the 50D.
SELF-CLEANING, NOW WITH FLUORINE!
While I love now sold 20D, getting dust off the sensor caused me to either be a nervous wreck trying to clean it or grouse about paying to have it professionally cleaned. Canon uses high frequency vibration to automatically clean the dust-repelling fluorine coated sensor every time the camera is turned on or off. You can also clean the sensor anytime by selecting a menu option. Manual cleaning is still an option too, if you know what you are doing.
If any dust remains on the sensor, the spots it creates can be removed from images with Canon’s Dust Delete Data Protection. Basically, you photograph a plain, white object and the camera figures maps out where the dust is located. Subsequent images can have the dust marks removed either automatically or manually with the Digital Photo Professional software (included free.)
I can feel myself entering a Zen like state just thinking about the self-cleaning the sensor.
DIGIC 4
The image captured by the CMOS is processed by the camera’s processor before being written to the memory card. The better the processor and its algorithms, the faster and better the image is processed.
The 20D has a DIGIC II processor and boasted 5 FPS. The 50D has a DIGIC 4 processor and 6.3 FPS. This doesn’t sound like much, but the new processor works with the CMOS sensor for 14-bit image processing, better white balance, advanced noise reduction, smoother gradation, and more natural colors.
The 20D can handle 23 frames at its highest JPG resolution while the 50D can handle 60 FPS or 90 FPS with a UDMA Compact Flash card. The 20D shoots at 6 FPS RAW and the 50D shoots 16 FPS RAW.
ISO NOT SO-SO
Canon claims image quality, 15.1 MPs, and higher ISO quality can peacefully co-exist thanks to the previously mentioned gapless micolenses and other innovations.
In practical terms, this means that it would be quite an accomplishment if if all the 50D did was match the ISO performance of the 20D. However, the 50D’s ISO significantly out performs the 20D’s.
Many reviewers say the 50D’s ISO performance is as good a Nikon’s D300 even though the 50D has 3 more MPs. Not having ever owned a Nikon, I have to take this lofty praise at their word.
The 3200 ISO images shot with the Canon 50D are usable if processed with a program like Noise Ninja or NoiseWare (my personal preference.) I haven’t tried ISO 6400 or 12800 yet.
My initial reaction to the 50D’s ISO modes of 6400 and 12800 was that they were probably a joke and if they were worth using, Canon would have made them part of the normal ISO range instead of hiding them in the menu and calling them special functions. While they are not the joke I thought they would be, from the photos I reviewed by other testers, they are passable.
If you do have to shoot in low light conditions, Canon offers four noise reduction settings— Standard, Weak, Strong, or None—to help reduce the noise.
The ISO is adjustable in 1/3 increments. I asked myself “so what?” until I found out the usefulness of fine tuning exposure with it.
LCD SCREEN
Maybe it’s middle age, but I love the 50D’s 3” 640 x 480 LCD screen over the 20D’s 1.8” LCD screen. The photos previews are a thing of beauty.
Besides being easier on the eyes, it’s easier to decide how you want to adjust the camera settings when you have a image to look at it. Because the 20D’s LCD screen is so misleading, I’ve been adjusting settings based on the histogram and light meter, but it’s sometimes difficult to make accurate adjustment based just on them, especially since the light meter on my 20D seems to constantly under expose around ½ stop.
My only complaint about the LCD screen is that it’s very easy to get fingerprints on that nice big display.
Like computer monitors, camera LCD screens are measured diagonally rather then horizontally.
LIVE VIEW
The 50D now lets you look at the LCD screen to frame a shot like you would with a P&S camera with a feature Canon calls Live View (LV.). This is a handy feature for macro photographers and people making the switch from P&S cameras.
The 50D’s live view also has Auto-focus with face detection. That means a P&S photographer could theoretically use LV to have the camera automatically put peoples’ faces in focus. I say theoretically because LV is only available in the Creative Zones and in Program Mode. I find this curious because most people making the switch from P&S photographers would start out using the Basic modes. But then again, I would also recommend people new to dSLRs cut their teeth on something like the $650 Canon Rebel XSi instead of the $1400 50D.
CREATIVE FULL AUTO MODE
In another attempt to lure “advanced amateurs” (Canon’s term), it has added something it calls Creative Full Auto (CA) Mode. Essentially, this feature allows users to make aperture and shutter speed adjustments by giving them the option, via menus, to “blur the background” or “lighten or darken the image.”
In other words, advanced amateurs can adjust things like the shutter speed and aperture setting without knowing that’s what they are doing or even knowing what those terms mean.
AUTOFOCUS MICROADJUSTMENT
For whatever reason, sometimes a lens’s focus is a little off. In the past a photographer had to either manually adjust for it, send the lens off to be recalibrated (which, depending on various factors, the user might have to pay for), or just live with it.
To help lens calibration, Canon incorporated the 1D Mark III’s AF microadjustment feature into the 50D. This allows the photographer to test a Canon lens over and over, making minute adjustments each time until the focus is perfect. The adjustment is then stored in a profile and automatically recalled when that lens is used.
AUTO LIGHTING OPTIMIZER
Before I bought her a Rebel XTi, my spouse would borrow my 20D. Not being an advanced user, she would often under expose subjects that had bright backgrounds. For example, on a sunny day photographing someone standing next to a window would result in the camera adjusting for the light coming through the window and under expose the person so all you would see is the silhouette.
While my spouse is far smarter than I am, remembering to adjust for bright backgrounds is not something she had an interest in learning to do. Auto Lighting Optimizer now gives you the option of automatically lighting these types of scenes correctly with Standard, Low, or Strong options. You can also disable it altogether.
VIGNETTING IS MINE
Canon calls its vignette control “Peripheral Illumination Correction” (PIC.) Why would you pick PIC? When you take a photo, light is decreased around the edges of the lens, which in turn causes the edges of a photograph to be darker. There are times when you want this and intentionally adding vignette to a photograph is something people do in Photoshop.
However, because most photographers want to decide if, when, and how vignette is added, Canon introduced PIC, which automatically applies vignette correcting to JPGs based on the lens attached.
So far, it has developed vignette correction profiles for about 82 of its 125 Canon brand lenses. The camera comes pre-loaded with 26 lens profiles but can store up to 40 of them.
While vignette correction is not applied to RAW files, it is saved in the file, which allows Canon’s Digital Photo Professional Software (DPPS) to read and apply the correction.
SHOOTING IN THE RAW
The Canon 50D also offers sRAW, which are RAW files in 3.8 or 7.1 MP. As you can see by the chart in the MP MADNESS section, a 7.1 MP image can produce a 9” x 12” print at 240 DPI or a 7” x 10” print at 300 DPI. Hmmm…maybe that frustrating transfer time I from 20.2 MP files can saved for the occasions when I really need it. Who am I kidding? I always need the maximum MPs (or at least I’m brainwashed into thinking I do.) I really wish canon would have offered more RAW file size choices.
Should you shoot RAW or JPG? In some people, this topic brings out passion usually reserved for politics. I am biased toward RAW, but I know good photographers who shoot JPG. Here are just a few of the reasons I shoot RAW:
First RAW is like a negative; You can modify the RAW and save it as a JPG multiple times without image degradation. Second, you have more control over how your image will look. If you shoot JPG, the camera’s processor, rather than your PC, will process the data. Third, RAW is more forgiving and you will have an easier time correcting mistakes like the wrong White Balance or Exposure.
What you choose is up to you, but after shooting JPG for 6 years, I tried RAW at the encouragement of several professionals and never looked back.
LENS OR NO LENS?
I already have a good assortment of Canon lenses so I didn’t need to buy this camera with one. But if I was in need of lens, I’d be willing to shell out an extra $500 for the 18-200mm f/3.5–5.6 Image Stabelization (IS) lens.
BELLS AND WHISTLES
I buy a cell phone to make phone calls, not to take photos or to play music. Likewise, I buy a dSLR camera to take photos, not to shoot video. But if that’s something you want, then the 12.3 MP Nikon D90 with geo-tagging may be more to your liking, and you’ll save about $400.
While playing back photos on a HDTV is something that may appeal to some folks, it really doesn’t have much of an appeal to me. I don’t know how you shoot, but I’m not going to take a bunch of photos and then hook the camera up to the TV to show to people. However, I can see how reviewing photos from the camera on a HDTV would be appealing to some.
MENU NAVIGATION
Navigating around the menu is different than the 20D. Annoyingly, you have to use the “multi-controller” (the button above the main dial) to switch between menu folders. I prefer to the 20D’s menu handling: If you reached the end of the menu, the next menu would automatically appear if you kept using the main dial to scroll.
POST PROCESSING:
I was a little worried when I couldn’t open the photos in Photoshop Elements 6 and Irfanview 4.10, but a couple of quick updates took care of those issues.
It’s difficult to gage an improvement in image quality after only 115 photos, especially when taken during the day in bright sunlight, but I can say that the 15 MPs came in handy when cropping. Some indoor shots showed the ISO quality outperformed my expectations. Once I learn the plethora of new features and shoot with the camera more, I’ll better be able to tell if the help image quality is better than the 20D.
50D VS REBEL SERIES
If you’ve been waiting for a good time to upgrade, this is it. If not to the Canon 50D then certainly to one of the earlier D models that have gone down in price since the 50D’s introduction.
50D VS 20D
If you just need a camera to take photos of the kids, don’t do much cropping, and don’t shoot in low light situations, the 20D may be better for you. You can find a good used 20D for around $500, which is a bargain.
50D VS D300
If you’re already invested in Nikon lenses and want something similar to the 50D in the same price range, then you’ll probably prefer the Nikon’s 12 MP D300, which has automatic chromatic aberration (CA) correction.
FEATURES
* New 15.1 Megapixel CMOS sensor with improved noise reduction, wide range ISO 100-3200 (H1: 6400, H2: 12800), 14-bit conversion for smooth color tones and gradations.
* Next generation DIGIC 4 Image Processor for faster processing, 6.3 fps up to 90 JPEGS using UDMA CF cards; 60 consecutive JPEGS or 16 RAW using standard CF cards.
* 3.0-inch Clear View LCD (920,000 dots/VGA) with multiple coatings for improved viewing and smudge-resistant protection.
* Enhanced Live View shooting includes Face Detection Live mode.
* 9 cross-type high-precision sensors for accurate target subject acquisition and diagonal center cross-type AF point with f/2.8 and faster lenses.
* New Lens Peripheral Illumination Correction setting to automatically even the brightness across the image.
* Updated EOS Integrated Cleaning System with a fluorine coating for better resistance to dust.
* Creative Auto goes a step beyond full auto with on screen setting display.
* HDMI (High Definition Multimedia Interface) output for displaying full high-resolution images on a High Definition TV.
* Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories.
SPECIFICATIONS:
Camera: Digital, single-lens reflex, AF/AE camera with built-in flash
Recording Media: CF Card Type I and II, UDMA-compliant CF cards, via external media (USB v.2.0 hard drive, via optional Wireless File Transmitter WFT-E3A)
Image Sensor Size: 22.3mm x 14.9mm
Compatible Lenses: Canon EF lenses (including EF-S lenses) (35mm-equivalent focal length is approx. 1.6x the lens focal length)
Lens Mount: Canon EF mount
Image Sensor : High-sensitivity, high-resolution, large single-plate CMOS sensor
Pixels:
Effective pixels: Approx. 15.10 megapixels
Total Pixels: Total pixels: Approx. 15.50 megapixels
Aspect Ratio: 3:2 (Horizontal: Vertical)
Color Filter System: RGB primary color filters
Low-pass Filter: Fixed position in front of the CMOS sensor
Dust Deletion features:
(1) Automatic sensor cleaning
(2) Manual cleaning of sensor
(3) Dust Delete Data appended to the captured image
Recording Format: Design rule for Camera File System 2.0
Image Type: JPEG, RAW (14-bit, Canon original), sRAW, RAW+JPEG
File Size: Exact file sizes depend on the subject, ISO speed, Picture Style, etc.
(1) Large/Fine: Approx. 5.0MB (4752 x 3168 pixels)
(2) Large/Nomal: Approx. 2.5MB (4752 x 3168 pixels)
(3) Medium/Fine: Approx. 3.0MB (3456 x 2304 pixels)
(4) Medium/Normal: Approx. 1.6MB (3456 x 2304 pixels)
(5) Small/Fine: Approx. 1.7MB (2352 x 1568 pixels)
(6) Small/Normal: Approx. 0.9MB (2352 x 1568 pixels)
(7) RAW: Approx. 20.2MB (4752 x 3168 pixels)
(8) RAW+Large/Fine: Approx. 20.2+5.0MB (4752 x 3168 pixels)
(9) sRAW 1: Approx. 12.6MB (3267 x 2178 pixels)
(10) sRAW 1+Large/Fine: Approx. 12.6+5.0MB (3267 x 2178 pixels)
(11) sRAW 2: Approx. 9.2MB (2376 x 1584 pixels)
(12) sRAW 2+Large/Fine: Approx. 9.2+5.0MB (2376 x 1584 pixels)
Recording Functions: With the WFT-E3A attached, image recording to the CF card and to the USB external media connected to the WFT-E3A will be possible as follows:
(1) Standard
(2) Automatic switching of recording media
(3) Separate recordings according to image-recording quality
(4) Recording images having the same size
Backup Recording: Enabled with WFT-E3A attached
File Numbering: Consecutive numbering, auto reset, manual reset. Possible to create new folders and select folders in the CF card
RAW + JPEG Simultaneous Recording: Provided (sRAW+JPEG also possible)
Color Space: sRGB, Adobe RGB
Picture Style: Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Def. 1-3
White Balance: Auto, Daylight, Shade, Cloudy, Tungsten Light, White Fluorescent Light, Flash, Custom, Color Temperature setting
Color Temperature Compensation:
White balance correction: ±9 stops in full-stop increments
White balance bracketing: ±3 stops in full-stop increments
Blue/amber direction or magenta/green direction possible
Color Temperature Information Transmission: Provided
Viewfinder Type: Eye-level pentaprism
Coverage: Vertical/Horizontal approx. 95%
Magnification: Approx. 0.95x (-1m-1 with 50mm lens at infinity)
Eyepoint: Approx. 22mm (from eyepiece lens center)
Built-in Dioptric Adjustment: -3.0 to +1.0m-1 (diopter)
Focusing Screen: Interchangeable (Ef-D: Grid lines, Ef-S {point of Focus), Ef-A standard focusing screen provided
Mirror: Quick-return half mirror (transmission: reflection ratio of 40:60, no mirror cut-off with EF600mm f/4L IS USM or shorter lenses)
Viewfinder Information:
AF information (AF points, focus confirmation light), Exposure information (shutter speed, aperture, ISO speed, AE lock, exposure level, spot metering circle), Flash information (flash ready, flash exposure compensation, High-speed sync, FE lock, Red-eye reduction light), Image information (Highlight tone priority, monochrome shooting, maximum burst, white balance correction, CF card information)
Depth-of-Field Preview: Enabled with depth-of-field preview button
Autofocus Type: TTL-CT-SIR AF-dedicated CMOS sensor
AF Points: 9 (Cross-type)
Metering Range: EV 0.5-18 (at 73°F/23°C, ISO 100)
Focusing Modes: Auto, One-Shot AF, Predictive AI Servo AF, AI Focus AF, Manual focusing (MF)
AF Point Selection: Automatic selection, manual selection
Selected AF Point Display: Superimposed in viewfinder and indicated on LCD panel
AF-assist Beam: Small series of flashes fired by built-in flash
Effective range: Approx. 13.1 ft./4.0m at center, approx. 11.5 ft./3.5m at periphery
Metering Modes:
35-zone TTL full-aperture metering
Evaluative metering (linkable to any AF point)
Partial metering (approx. 9% of viewfinder at center)
Spot metering (approx. 3.8% of viewfinder at center)
Center-weighted average metering
Metering Range: EV 1-20 (at 73°F/23°C with EF50mm f/1.4 USM lens, ISO 100)
Exposure Control:
Program AE (Shiftable), Shutter-priority AE, Aperture-priority AE, Depth-of-field AE, Creative Auto, Full auto, Programmed image control modes (portrait, landscape, close-up, sports, night portrait, flash off), Manual exposure, E-TTL II autoflash program AE
ISO Speed (Recommended Exposure Index):
Basic Zone modes: ISO 100-1600 set automatically
Creative Zone modes: ISO 100-3200 (in 1/3-stop increments), Auto, or ISO speed can be expanded to ISO 6400 or ISO 12800
Extension settable (with C.Fn.I-3-1): ISO 12800
High Tone Priority settable: ISO 200-1600
Exposure Compensation: Manual: ±3 stops in 1/3- or 1/2-stop increments (can be combined with AEB)
AE Lock:
Auto: Applied in One-Shot AF mode with evaluative metering when focus is achieved
Manual: By AE lock button
Shutter Type: Vertical-travel, mechanical, Electronically-controlled, focal-plane shutter
Shutter Speeds:
1/8000 to 1/60 sec., X-sync at 1/250 sec.
1/8000 to 30 sec., bulb (Total shutter speed range.
Available range varies by shooting mode)
Shutter Release: Soft-touch electromagnetic release
Self-timer: 10-sec. or 2-sec. delay
Remote Control: Remote control with N3-type terminal
Built-in Flash Type: Retractable, auto pop-up flash
Flash Metering: E-TTL II autoflash
Guide Number: 13/43 (ISO 100, in meters/feet)
Recycling Time: Approx. 3 sec.
Flash-ready Indicator: Flash-ready icon lights in viewfinder
Flash Coverage: 17mm lens angle of view
FE Lock: Provided
Flash Exposure Compensation: Up to ±2 stops in 1/3- or 1/2-stop increments
Zooming to Match Focal Length: Provided
Compatible Flash: EX-series Speedlites
Flash Metering: E-TTL II autoflash
External Flash Settings: Flash function settings, Flash C.Fn settings
Drive Modes: Single, High-speed continuous, Low-speed continuous, and Self-timer (10 sec. or 2 sec. delay)
Continuous Shooting Speed:
High-speed: Max. 6.3 shots/sec.
Low-speed: Max. 3 shots/sec.
Maximum Burst:
JPEG (Large/Fine): approx. 60 (CF)/approx. 90 (UDMA CF)
RAW: approx. 16
RAW+JPEG (Large/Fine): approx. 11
Based on Canon's testing standards with a 2GB CF card, high-speed continuous shooting, ISO 100 and Standard Picture Style
Varies depending on the subject, CF card brand, image-recording quality, ISO speed, drive mode, Picture Style, etc.
Shooting Modes:
(1) Live View shooting
(2) Remote Live View shooting (with a personal computer installed with EOS Utility)
Focusing: Manual focus, Autofocus (Live View image interrupted for AF): Quick mode, Live mode, Live Face Detection mode
Metering Modes: Evaluative metering with the image sensor
Metering Range: EV 0-20 (at 73°F/23°C with EF 50mm f/1.4 USM lens, ISO 100)
Magnified View: By 5x or 10x at AF point
Grid Display: Provided
Exposure Simulation: Provided
Silent Shooting: Provided (Mode 1 and 2)
LCD Monitor Type: TFT color, liquid-crystal monitor
Monitor Size: 3.0 in.
Dots: Approx. 920,000 (VGA)
Coverage: Approx. 100% (viewing angle: approx. 160°)
Brightness Adjustment: 7 levels provided
Interface Languages: 25
Display Format:
Single image, Single image + Image-recording quality/shooting information, histogram, 4- or 9-image index, magnified view (approx. 1.5x-10x), rotated image (auto/manual), image jump (by 10/100 images, index screen, by shooting date, by folder), slide show (all images/selected by date/folder)
Highlight Warning: Provided (Overexposed highlights blink)
Image Protection and Erase Protect: Single images can be erase-protected or not
Erase: Single image, check-marked images or all images in the CF card can be erased (except protected images)
Direct Printing:Compatible Printers, PictBridge-compatible printers
Printable Images: JPEG images compliant to Design rule for Camera File System (DPOF printing possible) and RAW/sRAW images captured with the EOS 50D
Easy Print feature: Provided
DPOF: Digital Print Order Format
DPOF: Version 1.1 compatible
Direct Image Transfer Compatible Images: JPEG and RAW images
Only JPEG images can be transferred as wallpaper on the personal computer screen
Custom Functions: Total 25
Camera User Settings:Register under Mode Dial's C1 and C2 positions
My Menu Registration: Provided
Interface USB Terminal: For personal computer communication and direct printing (USB 2.0 Hi-Speed)
Video Out Terminal:
(1) Video OUT terminal: NTSC/PAL selectable
(2) HDMI mini OUT terminal
Extension System Terminal: For connection to WFT-E3A
Battery: One Battery Pack BP-511A
AC power can be supplied via optional AC Adapter Kit ACK-E2 (with optional Battery Grip BG-E2N or BG-E2 attached, AA-size batteries can be used)
Battery Check: Auto
Power Saving: Provided. Power turns off after 1, 2, 4, 8, 15 or 30 min.
Date/Time Battery: One CR2016 lithium-ion battery
Start-up Time: Approx. 0.1 sec. (Based on CIPA testing standards)
Dimensions (WxHxD): Approx. 5.7 x 4.2 x 2.9 in./145.5 x 107.8 x 73.5mm
Weight: Approx. 25.7 oz./730g (body only)
Working Temperature Range: 32-104°F/0-40°C
Working Humidity Range: 85% or less
