I grew up on Canon gear. My first camera was a Canon T70,
followed by a T90, and then on up through the various EOS lines of film and
digital. The last camera I owned before switching to micro four thirds was the
amazing Canon EOS 1D Mk3 – a beast (and beauty) of a camera. So I’m very at
home with Canon camera equipment.
Generally, though, I’ve stayed away from the ‘Rebel’ line of
cameras (although I did review a 400D for the magazine), preferring to use the
more ‘advanced amateur’ or ‘semi pro’ models like the EOS 40D and full frame
EOS 5D. In fact, when I made the move to digital about 10 years ago, I borrowed
a Canon 350D and a Nikon D70 and tried them side by side. The 350D was
horrible. Possibly the worst camera I’ve ever used. The Nikon D70 was
hands-down the better camera, and so that’s what I bought. Fortunately, for
Canon, their Rebel series of digital SLR’s has gotten much better. But I still
wouldn’t buy one :-)
Dixon Park Band Rotunda. Canon 650D with 18-135mm STM IS f3.5/5.6 lens @ f8. |
So for the reasons outlined above, I find it very difficult
to recommend the Canon 650D (or 760D, or whatever triple digital Canon you care
to name). If you’re just starting out in photography and don’t have a lot of
money to spend, I’d actually recommend you go for a used Canon 40D or 50D
(again, if you simply had to have a Canon).
Dixon Park Trees. Canon 650D with 18-135mm STM IS lens @ f8. Chromatic aberration and purple fringing is evident. |
Why a 40/50D instead? Three reasons. First – build quality.
The 650D is of mostly plastic construction – although don’t get me wrong, it’s
still well put together. Plastic cameras have more than proven themselves over
the last ten years (and have come a very long way since the 350D). The 650D feels solid in the hand, and very
well put together. There’s no creaking or moving of joins. But I still think
that the more rugged, magnesium alloy construction of the 40 or 50D is the way
to go.
Sculpture Park. Canon 650D with 18-135mm STM IS lens @ f5.6 |
Second – important features for photographers. When you move
‘up’ to the likes of the 50D from the 650D, then you get a faster, more
responsive, weather sealed camera with a larger/brighter viewfinder. All the
things that actually make a difference when taking photos. No, the 50D doesn’t
have a flippy-out touch screen. So what? No, the 50D doesn’t shoot video. Who
cares (unless, of course, you do)? 18MP vs 15MP. Seriously? It’s not an issue.
It may be ‘older’ but in terms of picture taking, I just think the 50D is the
better camera for the job. And it just gets better if you’re looking at the
60D, 70D or 80D instead (although oddly enough I think the 60D is a step
backwards in terms of construction).
Cranes at the Wharf. Canon 650D |
Third – ergonomics. How a camera handles when taking photos.
I’ve left the best, and most important, until last. Don’t underestimate the
user experience when taking a photo. It is, in fact, crucial to the enjoyment
and experience of photography. If a camera works with you to create images, then you are more likely to want to use
it. If it works against you…. well, you get the idea.
With my brief experience using the Canon 650D, I felt it was
a camera that was working against me
taking pictures. For example, the exposure compensation button is in a very
bizarre, hard to reach place, and has to be held in while changing the value. A
small thing maybe, but it drove me nuts! The scroll wheel on the back of a
40/50/60/70/80D is a much more intuitive and user-friendly way of changing
exposure values on the fly, without taking your eye away from the viewfinder.
But speaking of taking your eye away from the viewfinder –
the experience of shooting with a DSLR, whatever the model, would now be enough
to drive me crazy. Photographers talk about ‘chimping’ – taking a photo and
immediately looking on the back of the camera to see what you’ve got. It’s a
derogatory term, but if you shoot with a DLSR with an optical viewfinder, then
it’s almost impossible not to chimp at least 50% of the time! Shooting
digitally means we have tools like the histogram and highlight/shadow warnings
at our disposal to check exposure. So you’re going to use them – right? But you
get zero feedback about exposure with
a DLSR when looking through the optical viewfinder. So you shoot, you chimp,
and you change the exposure value. You shoot again, chimp again, and change the
exposure value. You compose another image, shoot, chimp, check the exposure,
change the exposure, and shoot again. Ad nauseam.
Historic Coal Wagons. Canon 650D with 18-135mm STM IS lens @f8 |
If it taught me anything, shooting briefly with the Canon
650D taught me how great it truly is to shoot with a camera that uses a
state-of-the-art electronic viewfinder. The day before using the Canon 650D I
had shot all afternoon with my Olympus OMD EM-5 Mk2, and the user experience
was night and day. Whereas my time with the 650D was very stop-start, the EM-5
Mk2 was almost never away from my eye, and I never once looked at the lcd
screen on the back (it was flipped around and closed on the back of the
camera). All the exposure information I needed was accessed through the EVF
while the camera was up to my eye. It’s such a superior shooting experience
that I can’t imagine going back now.
Greymouth History House Museum. Canon 650D with 18-135mm STM IS lens @f8 |
There’s nothing wrong with the images you get from the Canon
650D. With the 18-135mm STM f3.5/5.6 IS ‘kit’ lens they were sharp, colourful
and contrasty. All you would want from a digital file. I just didn’t enjoy the
experience of creating them.
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Thanks for your reply. I really appreciate you taking the time to comment on this post. I will get back to you as soon as I can.
Thanks again
Wayne