Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens
Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens Reviews
This is a Rebel T4i with a better 18-55 kit lens. It's intended as a drop-in replacement for the T4i, which means it's the same fast, compact stills camera with a touchscreen that simplifies configuration, image review, and the EOS learning curve. There are better movie cameras. Motion tracking for video, while a vast improvement over DSLRs before the T4i, falls short of many mirrorless bodies. I'm reviewing it from the perspective of a working professional, which means I'm at least as concerned about what it's missing as what it has. If you're new to DSLRs, you're likely to find this camera an immense upgrade in many ways. Buy it over mirrorless systems and the T2i/T3i if you want faster shooting and tracking with stills and the immediacy of a optical viewfinder. Choose the SL1 for the most petite size, the 60D for a quicker interface and a deeper buffer for raw files, or the 7D for even better motion-tracking. The T4i alone or with the 18-135 STM is equally compelling if it costs less. Image quality is the same between all the crop bodies. Low-light performance improves with the full-frame 6D and above. MODEL EVOLUTION: ==== T1i: 15 MP 9-point AF w/ 1 cross-point 3.4 fps 11 raw burst 1080p/20, 720p/30 1/4000 max shutter ==== T2i: + 18 MP + 3.7 fps + 1080p/30, 720p/60 + Movie crop + LCD sharper + Metering improved + Auto-ISO improved -- 6 raw burst ==== T3i: + LCD articulates + Movie crop zoom mode + JPEG adjustments & scene modes ==== T4i: + 9-point AF w/ 9 cross-points + Hybrid AF for video + 5 fps + Touchscreen + Stereo mic + Multi-shot noise reduction + Automated 3-shot HDR -- No movie crop zoom mode ==== T5i: + 360-degree mode dial + JPEG effects in Live View + 18-55 kit zoom w/ STM focus ==== 60D: + 5.3 fps + 16 raw burst + Thumb-dial + AF-on button + Top-panel LCD + Mode dial lock + Viewfinder bigger, brighter + 1/8000 max shutter + Battery life doubled -- No touchscreen -- No hybrid AF for video -- No multi-shot noise reduction -- No automated HDR -- Mono mic -- Non-STM 18-135 kit lens HANDLING: All Rebels have three handling characteristics: small grips (for a DSLR), an emphasis on buttons over dials, and many functions intended to be used with the camera away from your face. Those with petite hands may appreciate the small size. I prefer the larger grips of the 60D and above. There's not much practical difference in portability; the T5i, like the 60D, is too large for a pocket or most purses. It is lighter by a quarter, but if you're really sweating the ounces, a mirrorless system or the SL1 is a better choice. Certain adjustments are less accessible than with the 60D and 7D. For lack of a thumb wheel, this Rebel requires more buttons held in combination to activate basic functions like exposure compensation. There's no top LCD, so a quick check of your settings or changing the white balance requires booting the rear screen. Likewise, there's no joystick or 8-way pad for direct AF point selection. The higher-tier cameras make it easier to rapidly correct settings without taking your eye from the viewfinder and missing the subject or the moment. The counterpoint is that showing everything on the rear screen with touch control significantly lowers the EOS learning curve. The touchscreen is capacitive and almost as responsive as a modern smartphone. Adjusting functions (e.g., exposure, white balance, focus points; everything) is as simple as tapping what you want. The camera won't be at the ready when you're manipulating the LCD, but thanks in part to an integrated 'feature guide' that explains most options, you probably won't need to pull out the manual on first acquaintance. Phone gestures (e.g., pinch zoom, swiping) are now part of the picture review system, which makes checking focus vastly quicker and more flexible than on any other non-touch EOS body. Focus itself is touch-enabled in Live View mode, so you can tap to focus on static subjects anywhere in the frame without ever having to manipulate the 9-point AF system. There's no weather-sealing in the body or the kit lenses. Don't use either in the rain without a cover. You do get a popup flash, though for lack of direct diffusion or bounce, using it as a main light will lead to harsh, high-contrast results. The rear LCD swivels to the side almost parallel to the body and rotates a full 360 degrees, so you can easily frame self-portraits, or turn it in to face the body for protection in storage. STILLS QUALITY: This sensor is functionally identical to those in the T2i/T3i/T4i/60D/7D/SL1. Noise and dynamic range are the same in raw, though noise in JPEG is a tick cleaner with the T4i and T5i. Expect acceptable results up to ISO 3200. Nikon's D5100 is slightly better, Sony's A65 slightly worse. It's about two solid stops better than a typical point-and-shoot. Unless you're in a JPEG-only shooting mode (e.g., multi-shot NR, HDR), raw gets the most out of this camera. Post-production creates the bulk of the appeal of many photographs (e.g., Instagram) and JPEG often lacks the requisite flexibility. Raw shooting also lets you defer decisions (e.g., white balance, sharpening, noise reduction, color, distortion, tone curves, and even exposure) that distract from catching whatever moment you're after. HDR combines 3 shots taken in rapid succession. The automated result preserves highlights in a subtle, natural way, but not with greatly more range than a raw file with Highlight Tone Priority enabled. If you want to do your own processing with a program like SNS-HDR, you'll be adjusting exposures manually because Auto Exposure Bracketing (AEB) is limited to 3 shots from -2EV to +2EV. Multi-Shot NR combines 4 shots to create one with less noise. You can set your own starting ISO, but the effects aren't apparent until ISO 800. At high ISO, it's good for about 1.5 stops. If the camera's already on a tripod or you can lean on an IS lens, you might as well lower the ISO and shoot for longer. A limited auto-alignment feature applies to handheld sequences for this feature and the similar 'Handheld Night Scene' shooting mode. STILLS ACTION: This camera has the same phase-detect AF unit (9 points, all cross-type) and nearly the same framerate (5 fps vs. 5.3 fps) as the 60D. That bodes well for capturing motion. What doesn't is the raw buffer. If you hold the shutter down in continuous mode, it'll take 6 raw, 4 raw + JPEG, or up to 30 JPEGs before slowing down. That's barely a second of continuous raw shooting, much less than with the 60D's 16 raw frames. The difference matters if you're trying to time a particular moment. That aside, this T5i has a reasonably high hit-rate (50%+) with recent USM lenses in moderate to bright conditions. The next performance tier is the 7D, and after that, the 5D III. I want to point out: DSLRs suffer when shooting stills from the rear screen. Standard SLR design has a mirror and a prism (or additional mirrors) reflect incoming light into both the viewfinder and the fast phase-detect AF array. If you want a live feed to the rear screen, that mirror has to flip up to expose the sensor, so you can't use that array to focus anymore. You're left with a 'contrast detect' system (or in this particular body, a slightly faster amalgam of contrast and phase-detect) that's much, much slower. Expect to use the viewfinder unless your subject is very still. VIDEO: T5i video is smoother, cleaner, and less contrasty than that of point-and-shoot cameras. As with stills, the right lenses can give you creamy backgrounds and professional-looking subject isolation. The corollary, though, is that focus actually matters. Your first impression reviewing footage is likely to be, "Why is everything always so blurry?" Fortunately, autofocus in video mode was a major upgrade in the T4i and T5i. Canon DSLRs before the T4i had horribly slow contrast-detect AF that couldn't handle any subject motion at all. Canon's never bothered with manual focusing aids, so custom firmware or trial-and-error with the rear LCD were the only alternatives. Thanks to 'Hybrid AF,' this camera is not totally inept with movement. It doesn't work quickly or precisely with non-STM lenses, it tends to hunt (bringing the scene in and out of focus) with all lenses, it doesn't work well outside of the frame center (where it's assisted by phase-detect sensors) or in low light, and it's incapable of tracking anything faster than a caffeinated sloth. But it's not manual focus. Realistically, if you want to film your kid playing soccer or running across the kitchen with DSLR quality, you've three options: prefocus, stop the lens down to get more depth-of-field, and try to stay perpendicular to the action; manually focus and accept that things won't be pin-sharp; or choose a mirrorless camera that can keep up. Canon video is MOV format with H.264 compression. The implementation is inefficient and processing-intensive. You'll want a serious computer (quad-core), lots of space (350 MB/min at 1080p/30), and a decent video editor (e.g., Apple iMovie, Sony Vegas, Adobe Premiere Elements). Results improve with correct white balance and a custom tone curve with low contrast, color, and sharpening. Beware camera shake. Anything over 50mm that isn't stabilized will challenge your ability to record smooth footage. Read more ›. this is my Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens reviews
Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens Specs
- image-stabilization
Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens Best buy
Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens. Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens will.. (Read More)
Canon EOS Rebel T5i 18.0 MP CMOS Digital SLR with 18-135mm EF-S IS STM Lens,
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