Photo Review 8.8
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In summary
Positioned at the upper end of Canon’s entry-level DSLR line-up or the lower end of the enthusiast-orientated cameras, the 80D will suit amateur photographers when want a serious imaging tool and enthusiasts who want functionality and performance. Both types of buyers can benefit from the smaller sensor format, which applies a 1.6x crop factor extension in focal length, particularly when they have only one or two lenses. Improvements to the autofocusing system are likely to be the main reason to purchase this camera. Canon s Dual Pixel CMOS AF technology carries over from the EOS 70D for Live View shooting. But, expanding the number of sensor points in the AF system from 19 in the D70 to 45 in the D80 provides a better base for accurate autofocusing, improved low light capabilities and more accurate focus tracking. All 45 points are cross-type and they can be selected individually or grouped into areas to enable fast and accurate focusing virtually anywhere in the frame. The AF system can operate in light levels as low as moonlight (-3EV), while the central 27 in the array can operate at apertures as small as f/8.
Improvements to video recording may also be of interest, particularly the HDR movie and in-camera time-lapse recording modes, which have been ported across from the 7D II.
Full review
After publishing a detailed First Look at the Canon EOS 80D3 in February, we have now received a production unit. It was supplied with the new EF-S 18-135mm f/3.5-5.6 IS USM lens4, which is reviewed separately. This report complements the initial review, adding comments about our experiences using the new camera plus the results of our standard tests. Use the links to jump between the two reports.
Angled front view of the EOS 80D with the new EF-S 18-135mm f/3.5-5.6 IS USM kit lens. (Source: Canon.)
As discussed in our original report, the 24.2-megapixel EOS 80D provides most of the features a photo enthusiast might desire in a body design that has changed little since the EOS 70D. The increase in resolution is largely immaterial, but the new DIGIC 6 processor enables the 80D to support Full HD video at up to 50p (60p for NTSC) and add in-camera time-lapse recording.
Who’s it For?
Positioned at the upper end of Canon’s entry-level DSLR line-up or the lower end of the enthusiast-orientated cameras, the 80D will suit amateur photographers when want a serious imaging tool and enthusiasts who want functionality and performance. Both types of buyers can benefit from the smaller sensor format, which applies a 1.6x crop factor extension in focal length, particularly when they have only one or two lenses. Improvements to the autofocusing system are likely to be the main reason to purchase this camera. Canon s Dual Pixel CMOS AF technology carries over from the EOS 70D for Live View shooting. But, expanding the number of sensor points in the AF system from 19 in the D70 to 45 in the D80 provides a better base for accurate autofocusing, improved low light capabilities and more accurate focus tracking. All 45 points are cross-type and they can be selected individually or grouped into areas to enable fast and accurate focusing virtually anywhere in the frame. The AF system can operate in light levels as low as moonlight (-3EV), while the central 27 in the array can operate at apertures as small as f/8.
Improvements to video recording may also be of interest, particularly the HDR movie and in-camera time-lapse recording modes, which have been ported across from the 7D II. Also shared with the 7D II is the anti-flicker system, which enables the metering system to detect fluctuating brightness from artificial lights (particularly fluorescent lighting) and adjust the timing of the shutter release to compensate. Users of the 80D can record time-lapse sequences using the camera’s built-in controls. Full coverage of the camera’s features is provided in our detailed First Look5.
Handling
We’ve covered the physical design of the EOS 80D in our First Look6. So in this section we will concentrate on its handling characteristics. Photographers familiar with Canon’s EOS cameras should feel right at home. Most controls are in the same places as previous enthusiast-orientated models and the menu system has the same, logical layout. The new camera is slightly taller but lighter than the original EOS 70D but remains modest in size, fitting between the larger 7D cameras and the smaller, lighter and more basic 7**D models. Its button controls are also similar to previous models in the two-digit series, with a few small modifications.
Front view of the EOS 80D. (Source: Canon.)
The textured, faux-rubber cladding on the 80D’s body makes it secure and comfortable to hold. Similar ergonomics are found across Canon’s cropped-sensor line-up, a factor apparent when the 80D is in the user’s hands.
On the front panel, the clusters of tiny holes for the stereo microphones have been relocated to sit astride the lens mount moulding, roughly level with and inwards of the self-timer LED and the EOS branding. Theoretically at least, this should result in better audio recording, although there’s a greater chance of picking up noises from lens operations. It will be easier to monitor noise intrusions with the 80D, thanks to the new headphone jack that supports live audio monitoring while recording. Support for external microphones and flashguns carries over from the EOS 70D. To that end, Canon has released a new hot-shoe mounted directional stereo microphone, the DM-E17, simultaneously with the 80D, although it wasn’t available for our review. The rest of the control layout has changed little since the 70D, although the modifications that have been made are generally beneficial. A second Custom memory setting has been added to the mode dial on the top panel, which also gains a Creative Filters mode that accesses 10 settings and there are three more Scene presets (Food, Kids and Candlelight)
Top view of the EOS 80D with no lens fitted. (Source: Canon.)
The Live View/Movie Shooting switch on the upper rear panel has been rotated to make it easier to operate. There have been some small but significant internal changes to the viewfinder, which now provides approximately 100% field-of-view coverage, up from 98% in the 70D. The LCD monitor is unchanged.
Back view of the EOS 80D with the monitor reversed onto the camera body.(Source: Canon.)
The addition of built-in Wi-Fi and NFC (Near Field Communication) provides facilities for easy sharing of images and movie clips via Canon Image Gateway to social media, along with backing-up to Cloud-based storage services. Remote control of the camera is available via the EOS Remote app for iOS and Android devices, which is available as a free download. There’s nothing really new here but it’s nice to see Canon considers these facilities essential for new cameras. The camera is supplied with an upgraded LP-E6N rechargeable lithium ion battery pack, which provides a slight capacity improvement over the LP-E6 battery used in the 60D and 7D/7D II. It’s CIPA rated for approximately 960 shots/charge when the viewfinder is used or 300 shots with Live View, compared with 920 or 230 shots/charge, respectively, for the EOS 70D.
Sensor and Image Processing
Resolution-wise, there’s not much difference between the 24.2-megapixel CMOS sensor in the 80D and the 20.2-megapixel chip in the EOS 70D, and the 22.3 x 14.9 mm sensor is essentially unchanged. Both sensors utilise the same Dual Pixel AF technology, although the number of phase-detection pixels has increased to provide 45 all cross-type AF points, compared with 19-points in the EOS 70D. While the AF point array in the 70D covered approximately 80% of the image sensor’s effective pixels, both vertically and horizontally, Canon says the 80D’s array is wider both horizontally and vertically, making it easier to focus on off-centre subjects. Low light AF performance has been improved, enabling the centre point to focus down to -3EV, based on the sensor’s light collecting capabilities.
The RGB+IR metering sensor can also be called upon to increase focusing accuracy for portraiture, thanks to its Colour Tracking function. When a skin tone is detected, AI Servo AF starts off on skin-coloured points and tracks the subject based of the original AF point s colour information, maintaining focus on the person when they re moving. Upgrading the image processor to a DICIC 6 chip provides some worthwhile performance improvements, particularly for video (see below). The maximum frame rate for continuous shooting of stills remains at seven frames/second (fps) but the buffer memory has been expanded to accommodate up to 110 JPEGs or 25 CR2.RAW files (compared with 40 JPEGs or 15 raw files in the 70D). Low-speed and ‘silent’ continuous shooting modes are available, each recording at three frames/second. Raw files can be recorded in three sizes, while there are five options JPEGs and simultaneous RAW+JPEG recording is possible with any combination of raw and JPEG sizes. In Live View mode, users can choose from four aspect ratios: the standard 3:2 plus 4:3, 1:1 and 16:9 aspect ratios, achieved by cropping. The table below provides a guide to the pixel array sizes for 3:2 aspect ratio images.
Image size/ Compression
Pixels
File format
File size
Maximum burst
L/ Fine
6000 x 4000
JPEG
7.6MB
77
L/ Normal
3.9MB
120
M/ Fine
3984 x 2656
4.1MB
140
M/ Normal
2.0MB
140
S1/ Fine
2976 x 1984
2.6MB
140
S1/ Normal
2976 x 1984
1.3MB
150
S2 (*)
1920 x 1280
1.3MB
150
S3 (**)
720 x 480
0.3MB
150
RAW
6000 x 4000
CR2.RAW
28.9MB
20
M RAW
4500 x 3000
22.8MB
21
S RAW
3000 x 2000
15.9MB
27
(*) Ideal size for images that will be displayed on a digital photo frame.
(**) Suitable size for emailing or posting on a website. Note: the maximum burst applies to the high-speed continuous shooting mode. This figure can vary, depending on the card size and write speeds.
Video
So far, Canon hasn’t offered 4K resolution in any consumer/enthusiast or semi-professional DSLR camera so, like its predecessor, the EOS 80D only supports Full HD (1080p) and HD (720p) frame sizes. The VGA recording option in the 70D has been dropped. Still photos cannot be captured while recording a movie clip. If you want to grab a still photo you must switch to the still shooting mode. As usual, Live View is required for shooting movies and fast, high-capacity memory cards are mandatory. Like the 70D, the 80D lets users choose between the MOV format with H.264 compression and linear PCM audio or MP4 format with AAC audio.
The MOV format supports the highest recording quality at 90Mbps (megabits/second) with ALL-I compression (which compresses each frame), but only with frame rates of 30p and 24p (actually 29.97 and 23.98 fps, respectively). This method is best if you plan to do frame-by-frame editing or extract still frames from a movie clip. If you want 50p frame rates, you must use the MP4 format, which uses IPB compression, which records one key frame in full every half second and compresses the intervening frames by recording just the visible changes, referring to the previous and subsequent key frames to extrapolate the sequence. This method is fine if you’re simply shooting movies to playback on a TV set or post online. Typical recording times for the various movie settings are shown in the tables below.
MOV Format
Resolution
Frame rate
Compression
File size
Total recording time on 16GB card
1920 x 1080
30/24p
ALL-I
654 MB/min
23 minutes
MP4 Format
Resolution
Frame rate
Compression
File size
Total recording time on 16GB card
1920 x 1080
50p
IPB
431 MB/min
35 minutes
30/25p/24p
IPB
216 MB/min
1 hour 10 minutes
30/25p
IPB Light
87 MB/min
11 hours 35 minutes
1280 x 720
50p
IPB
184 MB/min
5 hours 24 minutes
30/25p
IPB Light
30 MB/min
33 hours 22 minutes
HDR Movie Shooting
216 MB/min
4 hours 41 minutes
Movie recording will stop automatically if the file size reaches 4GB and a new movie file will be created, without otherwise interrupting the recording. This allows files to be combined in post-production with little or no loss of footage and enables users to gain longer recording times than the 4GB ‘legal’ limit required to keep the camera below the EU’s higher tax rate for video cameras. The Auto, P, Tv, Av, M and B shooting modes are available for recording movies. In the Auto, P and B modes, the auto-exposure controls will take account of the scene brightness and adjust exposure parameters accordingly, depending on the metering mode selected. ISO sensitivity is set automatically between ISO 100 and ISO 12800, although this can be expanded to ISO 25600 in the P, Av and B modes. Exposure compensation of +/- 3EV is available. In the Tv and M modes, shutter speeds can be set between 1/4000 second and either 1/25 second (for 30p, 25p and 24p frame rates) or 1/50 second (for 50p). If highlight tone priority is engaged, the lowest available sensitivity rises to ISO 200.
The camera’s built-in microphones record stereo soundtracks, while a 3.5 mm jack lets you attach an optional stereo mic. A second 3.5 mm jack (not provided on the 70D) enables headphones to be connected for monitoring audio recordings. The camera’s menu provides both recording level and wind attenuation adjustments as well as settings that switch each one off.
Playback and Software
Both are essentially the same as with other recently-released EOS DSLRs. Like most manufacturers, Canon supplies the software for managing and editing images and video clips via a free download service that is accessed from a central website (www.canon.com/icpd8). Instructions for downloading the software can be found on page 233 of the printed user manual supplied with the camera. (We’d like to thank Canon on behalf of our readers for continuing to provide a printed document instead of forcing camera buyers to print their own or read a downloaded PDF on a tablet or phone.)
Three applications are available for downloading:
EOS Utility, a general-purpose application for connecting the camera to a computer and transferring and organising image and video files. It also lets users adjust various camera settings, shoot remotely from a connected computer and copy background music for use as soundtrack for movies or slideshows.
Digital Photo Professional, Canon’s raw file converter. Picture style Editor, which lets users edit the camera’s Picture Styles in order to create and save their own variations. Software instruction manuals are also available for downloading in PDF format, as is the camera user manual. Canon’s Camera Connect app is required for connecting the 80D to a smart-phone or tablet. It’s available free of charge from the App Store or Google Play.
Performance
Our standard Imatest tests, carried out with the EF-S 18-135mm f/3.5-5.6 IS USM lens9, showed the review camera failed to meet the resolution levels we expected from a 24-megapixel APS-C sensor with JPEG files but succeeded with CR2.RAW files with the optimal lens settings. This performance is to be expected from a decent kit lens; a good prime lens would deliver higher resolution.
Resolution remained relatively high for JPEGs up to ISO 400, after which it slowly declined. Raw files maintained a significantly higher resolution throughout the review camera s sensitivity range with a gradual decline as sensitivity was increased. The graph below shows the results of our Imatest tests with both JPEG and CR2.RAW files.
Subjective assessments of image noise at high ISO settings in both long exposures and with flash shots showed them to be slightly better than equivalent shots taken with the EOS 750D10, which we reviewed in July 2015. We found little apparent noise in long exposures taken at up to ISO 6400, with noise and softening beginning to be visible at ISO 12800. Both noise and softening were evident at ISO 25600, although to a lesser degree than we expected. Colour saturation remained relatively high and shots were printable at up to 5×7-inch size before quality became questionable. Flash exposures were consistent across most of the camera’s sensitivity range, although shots taken at ISO 100 were slightly under-exposed. Exposures remained relatively constant from ISO 200 to ISO 6400, after which shots became progressively over-exposed , with ISO 12800 shots roughly 2/3EV over-exposed and shots taken at ISO 25600 about 2EV brighter than the ISO 100 shots. Contrast and sharpness were visibly reduced in flash exposures taken at the two highest ISO settings.
Auto white balance performance was similar to other Canon DSLRs we ve reviewed with shots taken under incandescent lighting remaining partly corrected, while shots taken with fluorescent lighting and with the camera’s built-in flash being almost cast-free. The pre-sets for incandescent and fluorescent lighting types slightly over-corrected but manual measurement delivered a neutral colour balance. Plenty of in-camera adjustments are provided for tweaking images as you shoot and white balance bracketing of +/- three levels in one-step increments is available. Our impression of the autofocusing suggests there has been a worthwhile improvement over the EOS 70D, particularly in low light levels, where there was minimal delay in locking onto subjects. Focusing wasn’t quite as in the Live View mode, although it was quick enough for most still shots unless subjects were moving very quickly or very close to the camera.system
Autofocusing for movies was also acceptably fast in most situations we tested and the lagging we noticed during panning and zooming with the 70D was significantly less in the new camera. As with the 70D, the video quality setting influenced how quickly the camera was able to lock on to moving subjects, particularly in low-contrast lighting and with fast subject movements. Video quality was similar to the clips we obtained from the EOS 70D, which isn’t surprising as this feature has barely changed. The slight differences between Standard and Light (IPB) settings were largely related to their different bit rates. Movies shot with the Light setting were also slightly slower to re-focus and more prone to glitches than those recorded with the Standard setting.
Aside from that, any differences between the HD 1080p and 720p video clips were largely related to the frame resolution and negligible when clips were viewed on a normal HD TV set. Audio quality was similar to that of the EOS 70D we tested. We didn’t detect any pick-up of operational noises when zooming and re-focusing while shooting movie clips. For our timing tests, we used the same 16GB Panasonic SDHC Class 10 UHS-1 memory card as we used when testing the EOS 70D, to provide a speed comparison. Like the 70D, the review camera powered up almost instantly, but it took the AF system roughly half a second to be ready for shooting. When the viewfinder was used for framing, we measured an average capture lag of 0.12 seconds, but this was eliminated by with pre-focusing. In Live View mode, the capture lag averaged 0.3 seconds, reducing to a consistent 0.1 seconds with pre-focusing.
Shot-to-shot times averaged 0.4 seconds without flash and 1.6 seconds with, regardless of file format. On average, it took 1.6 seconds to process each JPEG image, 3.1 seconds for a raw file and 3.6 seconds for each RAW+JPEG pair. In the normal continuous shooting mode, the camera recorded 33 Large/fine JPEG frames in 5 seconds before beginning to slow down. Processing of this burst was completed within 20 seconds of the last frame recorded. On swapping to shooting raw files, the camera slowed down after recording 19 frames in 3.2 seconds. It took 33 seconds to complete the processing of this burst. The same frame rate was retained with RAW+JPEG pairs but the buffer capacity was also limited to 18 pairs of shots, which were recorded in 3.1 seconds. Processing took roughly 35 seconds.
Conclusion
Photographers looking to step up from an entry-level EOS DSLR to one with more serious imaging capabilities should consider the EOS 80D as a possible option, although (like other DSLR cameras) it’s not the best choice for anyone with a serious interest in recording movies. Movie enthusiasts will be better served by a mirrorless camera with an electronic viewfinder, which will run rings around ANY DSLR in usability, functionality and performance.
But if you only shoot the occasional movie clip and want a competent stills camera, the 80D will certainly fit the bill. It’s pleasant to use, provides plenty of control options and performs as well as you would expect from an enthusiast-level camera. Buyers should have few reasons to complain. The EOS 70D is still available and sells in Australia online for between AU£1230 and AU£1300, while the EOS 80D ranges from about AU£1675 to AU£1700 at reputable online re-sellers. Prices at competing US-based online stores are similar to the local prices when currency conversion is applied so you won’t save money by shopping off-shore and you will face extra costs for shipping, insurance and exceeding the AU£1000 tax-free limit on imported goods. If you opt for the kit with an 18-135mm lens, you’ll find the Australian prices are more than £100 less than the US prices and that’s without shipping and insurance costs.
SPECS
Image sensor: Approx. 22.3 x 14.9 mm CMOS sensor with 25.0 million photosites (24.2 megapixels effective); built-in, fixed low-pass filter with fluorine coating
Image processor: DIGIC 6
A/D processing: 14-bit
Lens mount: Canon EF (excluding EF-M lenses)
Focal length crop factor: 1.6x
Image formats: Stills JPEG (Exif 2.3 compliant), RAW (14-bit Canon original RAW 2nd edition), any combination of RAW+JPEG, M-RAW+JPEG, S-RAW+JPEG; Movies MOV/MP4 (H.264 intra-frame/inter-frame); Linear PCM/AAC audio
Image Sizes: Stills 3:2 aspect: 6000 x 4000, 3984 x 2656, 2976 x 1984, 1920 x 1280, 720 x 480; RAW – 6000 x 4000, M-RAW – 4500 x 3000, S-RAW – 3000 x 2000; Movies: 1920×1080 (Full HD) at 50p/30p/25p, 1280×720 (HD) at 50p/25p settings
Image Stabilisation: Lens based
Dust removal: EOS integrated cleaning system
Shutter / speed range: Electronically controlled focal plane shutter / 1/8000 to 30 seconds plus bulb, X-sync at 1/250 sec.
Exposure Compensation: +/- 5EV in 1/3- or 1/2-EV increments
Exposure bracketing: +/-3 EV in 1/3- or 1/2-EV increments (can be combined with manual exposure compensation)
Self-timer: 2 or 10 seconds delay
Focus system: TTL-CT-SIR with a CMOS sensor, 45 sensor points (all cross-type), centre point is f/2.8 and f/5.6 dual cross-type), brightness range EV -3 – 18 (with center AF point, at room temperature, ISO 100)
Focus modes: One-Shot AF, AI Servo AF, AI Focus AF, Manual focusing (MF), Single-point AF (Manual selection), Zone AF (Manual zone selection), automatic selection AF, Predictive AF up to 8 metres, Tracking sensitivity & Acceleration/deceleration tracking adjustment, AF Microadjustment
Exposure metering: 7560-pixel sensor for RGB + IR metering, 63-segment TTL full-aperture metering with Evaluative (linked to all AF points), Centre-weighted average, Partial (approx. 6.0% of viewfinder at centre) and Spot (approx. 3.8% of viewfinder at centre)
Shooting modes: Scene Intelligent Auto, Flash Off, Creative Auto, Special scene Portrait, Landscape, Close-up, Sports, Night Portrait, Handheld Night Scene, HDR Backlight Control, Food, Kids, Candlelight, Creative Filters, Program AE, Shutter-priority AE, Aperture-priority AE, Manual exposure, Bulb exposure, Custom
HDR Shooting: Auto, +/-1 EV, +/-2 EV, +/-3 EV, Auto image align supported
Multiple exposures: 2 to 9 exposures with Additive or Average exposure control
Picture Style/Control settings: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Def. 1 – 3
Colour space options: sRGB, Adobe RGB
Custom functions: 26
ISO range: Auto ISO, ISO 100 – ISO 16000 (in 1/3- or whole-stop increments), or ISO expansion to H (equivalent to ISO 25600)
White balance: Auto (ambience or white priority), Daylight, Shade, Cloudy, Tungsten, White fluorescent, Flash, Custom (1 setting can be registered), Colour temperature setting, WB bracketing (+/- 3 levels)
Flash: Retractable, auto pop-up flash, GN approx. 12 (ISO 100, in meters), coverage to 17mm lens angle of view; integrated Speedlite transmitter
Flash exposure adjustment: +/-3 EV in 1/3- or 1/2-EV increments
Sequence shooting: Max. approx. 7 shots/sec. for up to 110 full-resolution JPEGs or 25 CR2.RAW files with a UHS-I certified SDHC or SDXC card
Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1 compatible
Viewfinder: Eye-level pentaprism with 100% FOV coverage, 22mm eyepoint, approx. 0.95x magnification (-1 m-1 with 50mm lens at infinity), -3.0 to +1.0 dioptre adjustment, fixed focusing screen, electronic level display
LCD monitor: Vari-angle 3-inch 3:2 Clear View II TFT colour LCD with capacitative touch screen technology; approx. 1.04 million dots; 7 levels of brightness adjustment, Dual Axis electronic level display
Live View shooting: 3:2, 4:3, 16:9, 1:1 aspect ratios, Dual Pixel CMOS AF system/Contrast-detection AF system (Face+Tracking, FlexiZone-Multi, FlexiZone-Single), Phase-difference detection with the dedicated AF sensor (Quick mode), Manual focus (approx. 5x and 10x magnified view possible for focus check), 3 types of grid display, histogram, electronic level
Playback functions: Single image display, Single image + Info display (Basic info, shooting info, histogram), 4-image index, 9-image index; highlight alert, Approx. 1.5x – 10x magnification, jump by 10 or 100 images, by shooting date, by folder, by movies, by stills, by rating, movie playback, slideshow (all images, by date, by folder, by movies, by stills, or by rating), movie playback; in-camera raw image processing, direct printing of JPEG and raw images supported
Interface terminals: A/V out/digital terminal USB 2.0, HDMI mini (Type C, CEC-compatible), Wi-Fi with NFC, external microphone IN (3.5 mm stereo jack), 3.5mm terminal for headphone
Power supply: LP-E6N rechargeable lithium-ion battery; CIPA rated for approx. 960 shots/charge (viewfinder) or 300 shots/charge with Live View
Dimensions (wxhxd): Approx. 139.0 x 105.2 x 78.5 mm (body only)
Weight: Approx. 730 grams (CIPA Guidelines, incl. battery and memory card)
TESTS
Based on JPEG files.
Based on CR2.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
30-second exposure at ISO 100, f/3.5, 20mm focal length.
15-second exposure at ISO 800, f/5, 20mm focal length.
8-second exposure at ISO 6400, f/8, 20mm focal length..
3.2-second exposure at ISO 12800, f/11, 20mm focal length.
2-second exposure at ISO 25600, f/14, 20mm focal length.
Flash exposure at ISO 100, 95mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 800, 95mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400, 95mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 12800, 95mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 25600, 95mm focal length, 1/80 second at f/5.6.
Close-up; 135mm focal length, ISO 100, 1/50 second at f/5.6.
Portrait; 72mm focal length, ISO 100, 1/250 second at f/5.6.
135mm focal length, ISO 200, 1/200 second at f/5.6.
74mm focal length, ISO 100, 1/200 second at f/10.
18mm focal length, ISO 3200, 1/20 second at f/5.
75mm focal length, ISO 2500, 1/100 second at f/5.
35mm focal length, ISO 100, 1/100 second at f/9.
56mm focal length, ISO 2000, 1/80 second at f/5.
62mm focal length, ISO 1250, 1/100 second at f/5.
79mm focal length, ISO 200, 1/125 second at f/5.6.
42mm focal length, ISO 200, 1/160 second at f/6.3.
100mm focal length, ISO 2500, 1/60 second at f/5.6.
67mm focal length, ISO 640, 1/100 second at f/5.
20mm focal length, ISO 200, 1/200 second at f/9.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in MOV format with ALL-I compression at 50 fps.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in MP4 format with IPB compression at 50 fps.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in MP4 format with IPB compression at 25 fps.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in MP4 format with IPB Lite compression at 25 fps.
Still frame from HD (1280 x 720 pixels) video clip recorded in MP4 format with IPB compression at 50 fps.
Still frame from HD (1280 x 720 pixels) video clip recorded in MP4 format with IPB Lite compression at 25 fps.
Additional image samples can be found with our review of the EF-S 18-135mm f/3.5-5.6 IS USM lens11.
Rating
RRP: AU£2399; US£1799 (as reviewed with EF-S 18-135mm f/3.5-5.6 IS USM lens)
Build: 8.8
Ease of use: 8.8
Autofocusing: 8.9
Still image quality JPEG: 8.5
Still image quality RAW: 8.7
Video quality: 8.6
BUY
References
^ Log in (www.photoreview.com.au)
^ create a user account (www.photoreview.com.au)
^ First Look at the Canon EOS 80D (www.photoreview.com.au)
^ EF-S 18-135mm f/3.5-5.6 IS USM lens (www.photoreview.com.au)
^ First Look (www.photoreview.com.au)
^ First Look (www.photoreview.com.au)
^ DM-E1 (www.photoreview.com.au)
^ www.canon.com/icpd (www.photoreview.com.au)
^ EF-S 18-135mm f/3.5-5.6 IS USM lens (www.photoreview.com.au)
^ EOS 750D (www.photoreview.com.au)
^ EF-S 18-135mm f/3.5-5.6 IS USM lens (www.photoreview.com.au)