Since its inception, Canon’s X0D series has been able to attract a diverse audience of photography amateurs, semi-professionals, and even some professional photographers who value the availability of a portable and lightweight solution.
For consumers who have outgrown their Rebel or XX0D series camera, each model offered a high enough specification (typically in terms of build quality and AF sophistication) to guarantee that it was both aspirational and achievable for them to upgrade to. The feature set, on the other hand, has always left a substantial gap below the company’s fully-fledged ‘pro’ devices.
The release of the EOS 7D, which featured a highly configurable 19-point autofocus system and the ability to shoot continuously at 8 frames per second, brought about a significant amount of change. The EOS 7D was essentially a “mini 1D,” and it piqued the interest of a great number of people who had been considering purchasing an X0D.
However, the price tag put it out of reach for the majority of individuals who weren’t generating at least a little bit of money from their photography because it was 30 percent more expensive than the 50D when it was first released.
When contrasted to the rebel T2i (EOS 550D) and the EOS 7D, the 50D (and, by extension, the X0D line) began to appear rather superfluous. It was more costly (and, in some ways, less modern) than the 550D, and it lacked the power of the 7D. It was clear that Canon needed something to balance out the EOS line in order to address the large gap that existed between the Rebel and the 7D. The Canon EOS 60D is the result of all of this.
Canon has unabashedly moved the X0D series out of the “semi-pro” category with the release of the 60D and instead shifted their attention to the hobbyist photographer wishing to upgrade from their Rebel camera.
As a consequence of this, it is not the transparent continuation of the pattern that runs from 30D to 40D to 50D as its nomenclature may imply it to be. Instead, it is placed quite well and exactly in the same market position that the ‘Elan’ series of 35mm film SLRs formerly held in the past. This position was once occupied by the Elan series (which in Europe were not-so-coincidentally given double-digit model numbers).
As a result, the magnesium alloy structure that was included in earlier versions has been removed and replaced with a plastic shell that is less in weight. Naturally, the 60D receives some key step up’ features from the Rebel series, including a couple that has trickled down from the EOS 7D. These features include a top panel LCD, a rear control dial, and a greater burst rate.
Additionally, there has a video-friendly 3:2 ratio articulated LCD that is compatible with tripods. In terms of image, it brings the EOS mid-range up to par with those above and below it by increasing the sensor resolution to around 18 megapixels and adding the ability to record movies in full high definition.
The Canon EOS 60D has also been updated with a few of its very own brand-new features. When using the scene modes, there is now a broad variety of color adjustments (also known as “Ambiences”) that can be made to the image, and the result of these adjustments may be evaluated on screen using the Live View feature.
In-camera conversion of raw data to jpeg format is now finally possible with the Canon EOS 60D. This feature also includes the option to adjust for lens imperfections like as distortion and chromatic aberration. You have the extra benefit of being able to go back and apply new “Creative Filters” to files that you have already taken. These new “Creative Filters” include the “Grainy Black and White” and “Toy Camera” styles.
The Canon EOS 60D is positioned almost exactly halfway between the Canon EOS 550D and the Canon EOS 7D in terms of its specifications and features, but it adds a few additional bells and whistles of its own. This is precisely where it ought to be, in our opinion (despite of the anticipated screams of outrage at the seeming “dumbing down” of the time-honored X0D line), as we believe this to be the case.
When compared side-by-side with the 60D, the Canon EOS 50D makes it very evident that the newly released camera is not only an upgrade but rather a relocated model. The most noticeable difference is that it is now significantly smaller, and it also does not have a body made of metal anymore.
Body & Design
Whereas the 50D was almost indistinguishable from its predecessor (the 40D, which was itself merely the most recent in a series that had been gradually progressing ever since the first EOS 10D), the 60D basically re-introduces the “Elan” tier of enthusiast EOS SLRs.
It just so happens that the EOS D60 was the final product that Canon manufactured that belonged to this category (consumer-grade construction, twin control dials, and enthusiast feature set).
The body is notably more compact than that of the EOS 50D, and it is constructed using the same combination of plastic and metal as the EOS 550D. (Rebel T2i). The control arrangement incorporates aspects of both the Rebel and the 7D, but happily, it leans more towards the 7D than the Rebel does for the most part. This is to be expected from a camera that falls between the two.
The joystick and a few of the buttons seen on the EOS 50D and 7D have been removed, but in exchange, you receive a top plate information LCD and a large range of external controls.
Another piece of noteworthy information is that for the first time ever in a Canon SLR, the screen tilts and swivels, providing the same capability as many of the company’s tiny cameras. This is the second piece of noteworthy information.
The extra space that is taken up by the screen’s hinged frame means that there is nowhere for the line of buttons that appears along the side and bottom of the LCD on the EOS 7D and 50D, but Canon has found homes for them elsewhere on the body. The LCD on the EOS 7D and 50D can be tilted up to 180 degrees.
Within your grasp
Both the EOS 50D and 7D feel extremely strong and sturdy in the hand, but both of these cameras are very hefty, with the 7D coming in at just under 2 pounds and the 50D coming in at just under 3 pounds (the best part of a kilogram).
The Canon 60D weighs in at a more reasonable 1.6 pounds (755 grams), which, although being rather substantial, causes a great deal less pressure on the arms and neck over the course of a day.
The camera has a nice feel in the hand, but we miss the joystick for selecting AF points, and we are not fans of the new combined command dial / multi-directional controller, which we believe is not as well-positioned for AF point selection when the camera is held up to the user’s eye.
In contrast to the joystick, which required only a slight movement of the thumb to the left, the new multi-controller necessitates a more significant reach below (and to compound this, if you shoot left-eyed you may find your nose gets in the way too).
Viewfinder specifications and view
Although the specifications state that the viewfinder of the EOS 60D provides an additional 1 percent of viewfinder coverage, we find it hard to believe that Canon has designed an entirely new unit for such a minor change (and the viewfinders certainly do not appear to be very different from one another). It appears that the viewfinder of the EOS 60D is very similar to the viewfinder of the EOS 50D.
The display for the exposure level at the bottom of the camera now goes up to +/- 3.0 EV (compared to the 50D’s 2.0 EV), and there is now a new battery indicator.
The size of the viewfinder is a statistic that is buried somewhere in the specifications of every single SLR (often in a format that makes a direct comparison between competing models impossible).
The size of the viewfinder is an important aspect to consider when determining the usability of a single-lens reflex camera (SLR). The larger the viewfinder, the simpler it is to frame and focus your photographs, as well as the more pleasurable and engaging the process is.
Because viewfinders are measured using a fixed lens rather than a lens of similar magnification, you also need to take into consideration the size of the sensor. As a result, the values in the figure below represent the manufacturer’s specified magnifications divided by the various ‘crop factors.’
Crop from the viewfinder
When you look through the viewfinder of most cameras at this level, the frame is slightly cropped; to put it another way, you end up with slightly more in the final picture than you see when you look through the viewfinder. The Canon EOS 60D displays approximately 96 percent of the frame, both vertically and horizontally.
Screen with articulation
After using one on the Powershot Pro 70 more than a decade ago, Canon has now given its first EOS DSLR, the 60D, an LCD screen that can be flexible in any direction. It utilizes the same 3:2 1,040k dot display that was initially seen on Canon’s EOS 550D and Canon’s Rebel T2i cameras.
It is an excellent screen, and the fact that it can be articulated certainly adds something to it. When shooting video, it is a significant benefit because it eliminates the need to hold the camera with your arms stretched out in front of you. Additionally, it is helpful for framing when shooting at unusual angles or off of a tripod.
The live view focusing of the 60D isn’t particularly good, which isn’t unusual for a single-lens reflex camera. Because of this, the camera’s utility for standard still photography is restricted.
You have the option of using either the contrast-detect AF found in compact cameras, which keeps live view but is decidedly slow (often taking several seconds to focus), or the conventional phase-detect AF found in DSLR cameras, which is significantly faster but requires the camera to flip the mirror down and interrupt live view each time you ask it to focus.
LCD info panel
An LCD control panel that is somewhat smaller than the one on the 50D can be found on top of the camera. This screen displays a broad variety of information on the camera settings and exposure.
It gains the same wider exposure scale as the viewfinder, as well as a 6-level battery indicator, in addition to icons for manual focus and IR remote release, but it loses indicators for file size/quality and white balance (although, strangely, there is a vestigial white balance fine adjust reminder).
The workings and the controls
The handling of the EOS 60D has been drastically altered, despite the fact that it maintains many of the ergonomic elements of the EOS 50D (including, most notably, the big and comfortable hand grip).
The articulating screen prevents the inclusion of the row of buttons that were located under the screen on the 40D and 50D. Instead, these buttons have been positioned on the right-hand side of the screen, in a manner that is very similar to the EOS 550D.
Additionally, the joystick that was used to choose the autofocus point has been removed and replaced with a multi-controller that is integrated into the rear control dial.
Users of the vast majority of entry-level cameras will be instantly comfortable with this, although individuals accustomed to manipulating the joystick may have bewilderment as a result. Canon asserts that this modification was created so that users of a vertical grip will have an easier time getting to the control when using the grip (which seems fair enough).
The 60D as a whole has a few fewer buttons than its predecessor, as well as less functionality associated with the buttons it does have (which, as mentioned earlier, makes it a lot more approachable for the less experienced user).
In order to mitigate the negative effects of this reduction in immediate access, the SET button may be programmed to do a variety of tasks in addition to regulating the white balance (see the Menu section for more details). In addition, the conspicuous ‘Q’ button that allows access to the interactive settings panel is always available to you.
There is no external control that is directly accessible for the white balance or the flash exposure correction (now via the Q button)
Instead of a switch, there is a soft button that may be used to unlock the rear control dial.
Controls at the very top of the camera (right side)
The shutter button, the primary control dial, as well as the AF-ON, *, and AF-point buttons are located in the typical Canon places; however, the buttons on the top panel have been simplified.
In earlier Canons operating at this level, each button had two different tasks that were associated with it. This was simplified in the EOS 60D such that there is just one function associated with each button, and the front and back dials may be used to cycle between the available options for each function.
You have access to the primary camera functions, such as AF mode, drive mode, ISO, and metering; but, white balance and flash exposure correction are restricted to controls with less direct access.
The ISO button is located in what is now the normal position for Canon cameras, which is underneath the control dial. It has a little raised dot on it to make it easier to identify by touch. Because of this, it is especially simple to use when holding the camera up to your eye (always a good thing).
Controls at the very top of the camera (left side)
The mode dial is very unremarkable, however, it does have a lock button in the middle of it to prevent inadvertent activation (which makes it a bit slower and more awkward to operate, at least until you get used to it).
In addition to this, it adds a movie position but only provides a single custom memory as opposed to the two that the 50D provides. The on/off switch for the camera may be found underneath it.
Controls on the back of the camera
The rear of the 60D is considerably different from the back of the 50D. The buttons that used to be in a strip under the LCD have been dispersed over the remainder of the body since there wasn’t enough room on the back of the 60D. (with the replacement of the customizable Func button by the Q menu, and the loss of the Picture Style button altogether).
It is evident how much of this camera’s operation is intended to be done via the rear LCD panel and with the hands in their typical shooting posture because both the live view/movie record button and the Q button have been positioned such that they are within easy reach of the thumb.
Changing imaging characteristics including white balance, image style, file size/quality, and auto lighting optimizer may now be done through the Q menu, which has now been set as the default option. When the top plate isn’t particularly visible, you may alter other camera settings like the metering pattern from this location. Additionally, you can switch on the electronic level display of the 60D from this location (for example with the camera up high on a tripod).
Controls located on the front of the camera
There is a button to pop up the flash as well as a button to examine the depth of field on the front of the camera. When compared to either the 50D or the 550D, the latter has switched sides and is now located in the same position as on the 1D-series cameras.
This brings it under the control of the fingers of your left hand (rather than the thumb), which makes it a bit simpler to use when you’re shooting with larger and heavier lenses: with some effort, you’ll be able to learn how to operate it with your little finger. However, it is not positioned in the best possible way for operation in portrait mode.
Options available after processing
When compared to earlier Canon DSLRs, the EOS 60D provides the photographer with a greater variety of post-shooting processing choices. In addition to the tried-and-true options of resizing and rotating images, which Canon has included in their cameras for many years, there are also four Creative Filters that enable post-shot processing effects to be added to RAW or JPEG files, as well as a raw conversion option that enables you to apply various image presets to already-created RAW files. Both of these features are included in the camera.
Creative filtration systems
The Canon EOS 60D comes with four creative filters that may be added to either RAW or JPEG files after the photo has been taken. Toy Camera, Miniature, Grainy Black and White, and Soft Focus are the four styles that can be selected.
With each of these choices, you have the ability to fine-tune the processing to some degree, changing either the degree to which it is applied or the impact it has. In the Miniature mode, you are able to make fake tilt-shift photographs by keeping only a small portion of the image in in focus while the rest of the picture becomes gradually blurry. It is possible to reposition the area that is in focus anywhere inside the frame, and it may be set up in either a vertical or horizontal orientation.
Corrections for both distortion and CA
In addition to the peripheral illumination correction that the camera can use to correct vignetting while it shoots, the 60D also offers the ability to correct for geometric distortion and lateral chromatic aberration if you use the in-camera raw processing options. This is in addition to the peripheral illumination correction that the camera can use to correct vignetting while it shoots.
In this example, we compare a JPEG that was taken directly from the camera to a reprocessed version of the RAW file that accompanied it. The reprocessed version includes CA correction as well as distortion correction.
The chromatic aberration correction performs a decent job, as measured by its ability to get rid of colorful fringing without significantly degrading the image’s clarity. The application of CA correction alone results in the loss of a few pixels around the frame’s perimeter. After that, the entire picture is rescaled, although this change isn’t particularly obvious to the human eye.
However, performing distortion correction results in a somewhat more extreme version of the same effect. This results in the image being cropped into significantly smaller portions before being magnified back up to its original file size.
When I look at it now, I can see the effect. The final picture, after correction, loses a substantial amount of detail at the edge of the frame at all different focal lengths of the 15-85mm lens. This is not limited to the wide-angle end of the lens, since this is not where you would anticipate to need the greatest correction due to barrel distortion. Having said that, the image’s distortion has been significantly reduced in exchange for a more muted and somewhat cropped appearance (see above).
We simply compare the exposure for each image to the metered light level (using a calibrated Sekonic L-358), and we do this to determine the real sensitivity of each given ISO. This is done using the same shots that are used to determine the ISO noise levels.
We estimate that these results are accurate to within a range of +/- 1/6 EV (the margin of error given in the ISO specifications). It is important to note that the results of these tests are based on the sRGB JPEG output of the cameras. This is done in compliance with ISO 12232:2006, which is the standard that camera manufacturers follow.
Throughout the entirety of the Canon EOS 60D’s sensitivity range, the camera’s measured ISO is within +/- 1/6 EV of the ISO that is reported.
Comprehensive management and operation
The grip of the 60D is bigger than the grip on the Rebel and XXOD series, which makes it more comfortable to hold for extended periods of time when shooting. In summary, the handling of the 60D was a relatively favorable experience.
The 60D’s plastic body also contributes to the impression that it is noticeably lighter than its predecessor, the 50D; nonetheless, the actual weight difference between the two models is not much different (which is less than 100g). The choice to assign individual functions to each of the four top-plate buttons that are located behind the shutter button makes it easier to learn how to use the camera, but in the long term, you will probably find yourself utilizing the Q menu more often. This is not a horrible thing, but it will provide users who are already familiar with the series with another cause to feel excluded.
Particular concerns with the handling of
The general handling of the 60D is pretty pleasant; after all, it is scarcely a revolutionary advancement of a product line that has been around for quite some time. It is normally quick and straightforward to alter the settings since the two control dials, one on the front and one on the back, are both nicely positioned.
The ISO button is conveniently located for use when the camera is held up to the user’s eye, and the repositioned depth of field preview button, which is now under the control of the fingers on the user’s left hand, is arguably better positioned for use when employing long or heavy lenses than the depth of field preview button on previous Canon cameras that were not a part of the 1D series.
However, there is one significant difference between the Canon EOS 60D and its X0D predecessors: the joystick that was located next to the viewfinder on the new camera has been removed. The AF point selection process is made relatively simple by the Canon 60D (Custom Function III.2 allows the use of the eight-way controller to set AF points directly, with the far-right shoulder button re-engaging automatic point selection), but we do not find it to be as quick as when we used the joystick on earlier cameras.
Due to the fact that the design requires you to physically move your thumb (rather than simply rocking it across 8 axes), we discovered that initially selecting the diagonal AF points was a little bit difficult, despite the fact that the correct places were highlighted on the controller. Having said that, after we had worked with the camera for a while, we quickly got over the initial jitters that we had.
The Canon EOS 60D is designed to put live view and video recording at the forefront of the user experience by virtue of its tilt- and swivel-capable LCD. Because of this, the live view button is now located in a more practical location than it was on the 50D. It is now situated immediately to the right of the viewfinder, and it also functions like the record button when the camera is set to movie mode. It is responsive enough that when you try to start or stop video recording, you won’t discover that the camera is swaying to the front in response.
Although the flip-put screen might theoretically be fairly handy for live view stills shooting, its benefits are diminished by the sluggish focusing that occurs in that mode. Video recording is also where you get the most out of using the flip-put screen.
You have the option of using the sluggish contrast-detect method (which Canon refers to as Live Mode), or phase-detection (Quick Mode), which causes the screen to black out before you can take your shot and requires you to exit live view in order to select the AF point. Both of these methods are described as being slow.
In an era in which fast live view focus is becoming more commonplace (whether it be in mirrorless cameras such as Panasonic’s G2, Sony’s innovative SLT series, or even the more ‘traditional’ Nikon D7000 and Olympus E-5), the live view AF performance of the 60D is disappointing; in fact, it feels no different from the performance of the EOS 50D.
The 60D is capable of a level of control customization that is rather high, and it provides a variety of alternative alternatives that may be applied to various groups of buttons. There are 10 possible combinations that may be used to specify the behavior of the buttons, such as the shutter button, the AF-ON button, and the * button.
It’s not quite up to the level of the 7D, on which you can designate camera functions on an almost button-by-button basis, but it’s really decent – especially for a camera at this level – and it’s better than the EOS 50D. Overall, it’s a step up over the EOS 50D.
However, we did discover an irksome bug: the ‘assign SET button’ custom function (CF IV-2) is incompatible with the ‘AF point selection technique’ (CF III-2) function. The SET button will be used to pick the central AF point when the AF point selection method is set to option “1,” which enables direct manual selection of the AF point via the multi-controller.
This takes precedence over the C.Fn IV-2, “Assign Set Button” setting, which is the only other option to have the electronic level appear in the viewfinder. This kind of unflagged function conflict has plagued us in the past (most notably in the EOS-1D Mark IV), and it is really frustrating whenever it occurs.
The fact that most of the 60D’s custom functions can be set through the Q menu and the C.Fn menu is one source of frustration. However, if you are shooting in movie mode, there is another option in the REC menu that is nearly identical to the one in the Q menu. However, this option is not accessible through the Q menu. Because of this type of instability, configuring the camera is far more difficult than it should be.
There are a few issues with Canon’s user interface that have persisted for a very long time and continue to be inaccurate. When the mirror lock-up feature is used, there is no simple way to go back to the regular behavior of the shutter button because it is still inconveniently hidden in the settings. It is a wonder as to why Canon is unable to simply integrate it as a distinct drive mode, even if merely as a mirror pre-fire when utilizing the self-timer, similar to how some of Canon’s rivals have done.
The irritatingly drawn-out process of setting a custom white balance has also been preserved, and it has been made even more cumbersome by the need that the WB setting canbe adjusted via the Q button.
Taking a picture of a white or gray card, designating it as the reference image, and then manually switching to the custom white balance setting are all required steps in the process of creating a custom white balance (as the camera refuses to believe that having selected the reference image, you might actually want to use it).
It makes a lot more sense to use the technique used by the 1D-series cameras and also by the Powershot cameras, which involves aiming the camera at the reference target and directly using that target to determine the custom white balance.
Completeness of the Task at Hand
With the exception of the live view focusing mode, the Canon EOS 60D is a very easy camera to operate, which is exactly what you would anticipate from a design that is the product of several years of gradually improved iterations. It features a quick (phase-detection) focusing speed, and it is highly sensitive to human interaction, provided that the buffer has not been filled up by the continuous shooting of RAW+JPEG photographs.
This holds true for the filming of movies as well, during which you can anticipate the action to begin in a little less than a third of a second after you push the record button. Overall, there is very nothing to criticize about the camera, which is exactly what one would want with a price tag of this magnitude.
Continuous Shooting and Buffered Continuous Shooting
Because there is more data to travel around, the continuous shooting rate of the 60D is not nearly as rapid as that of the 50D. The 60D does not have twin processors like the 7D has, which helps it cope with the fact that there is more data to move around. The performance is still completely commendable, and it is completely in line with what one would anticipate seeing at this level.
Rapidity and precision of autofocus
It features roughly the same nine-point AF system that initially emerged in the EOS 40D, but it loses the capacity of its immediate predecessor, the 50D, to perform AF fine adjustment. This is one of the reasons why the autofocus system of the 60D isn’t very spectacular on paper.
However, even while utilizing the extremely difficult EF 50mm F1.2 L USM lens, we experienced very little difficulty with the AF accuracy. The fact that there is no longer any capability to fine-tune AF may be a deal-breaker for some users. Naturally, there is always the risk that playing with fine adjustment might cause more problems than it solves, but the simple fact that there is no longer any capability to fine-tune AF may be a deal-breaker for some users.
When utilizing live view, often known as “Live Mode,” the whole experience is much less spectacular. The accuracy is excellent, but focusing will typically take between three and four seconds. Because of this, not only can it not be used to photograph moving subjects, but the effectiveness of the articulated screen when used for hand-held still photography is also considerably reduced as a result.
Although the EOS 60D is not the first Canon DSLR to allow video shooting, it is the first to have a screen that can be folded out of the way to make recording more convenient. This function alone may easily justify the increased expense over the Canon 550D or the Canon Rebel T2i for anyone who is wanting to film serious footage. The video capabilities of the 60D, however, are virtually identical to those of the 550D and the 7D in all other significant ways.
The Canon EOS 60D is capable of recording progressive high-definition video at either 1080p resolution and 30 or 25 frames per second or 720p resolution and 60 or 50 frames per second. The available frame rate is determined by whether the camera is set to NTSC or PAL video mode. 720p resolution and 60 or 50 frames per second is the default setting. Regardless of the video system that you’ve chosen, the 1080p resolution also comes with 24 frames per second option.
The Canon EOS 60D is capable of shooting two different variations of VGA video. It may either utilize a 4:3 piece of the camera’s whole sensor or it can use a VGA crop mode that uses a 640×480 segment from the exact center of the frame, which results in a significantly more constrained field of vision.
The sound that is recorded by the internal microphone that is integrated into the device is monophonic; however, there is a connector for a 3.5mm external microphone that enables the recording of stereo sound. In addition, it is able to do fundamental video editing from within the camera by trimming clips to a specified beginning and ending point. Manual adjustment of the recording level is possible with the 60D, just as it is with the 5D Mark II, but it is not possible with the 7D.
|Sizes||• 1920x1080p: 30/24 fps (NTSC), 25/24 fps (PAL)|
• 1280x720p (HD): 60 fps (NTSC), 50 fps (PAL)
• 640×480 (SD): 60 fps (NTSC), 50 fps (PAL)
|Audio||44.1kHz Mono (Internal Mic), Linear PCM|
|Format||.MOV MPEG-4 AVC, H.264|
|File size||5.5 MB/sec (1080P), 5.5 MB/sec (720P), 2.8 MB/sec (VGA)|
|Max file size per clip||4GB|
|Running time (approx. based on 4GB file)||12 min for 1080P, 12 min for 720p, 24 min for VGA|
Using Movie Mode
The primary shooting dial is where you turn to enter the movie shooting mode, much like the EOS 550D. When you reach this stage, the mirror will flip up, and a Live View screen will emerge on the LCD. This screen will be cropped according to the aspect ratio of the recording format that you have selected. After that, you may begin recording video by tapping the Record / Live View button that is located immediately to the right of the viewfinder.
Live Mode (contrast-detect AF – slow but no need to flip the mirror down), Face Detection Live Mode, and Quick Mode are the three types of autofocus that can be selected at the beginning of the recording, just as they are in regular live view. Live Mode (contrast-detect AF) is the default autofocus mode (phase-detection AF, which is very fast but requires the mirror to flip down for focusing, blocking the live view).
When the option to “AF w/shutter button during filming” is set to “Enable,” you may activate the autofocus system while recording in “Live Mode” by half-pressing the shutter button. This works independently of the original configuration that you choose for the camera. You always have the option to manually adjust the focus, too.
You have the option of manually setting and adjusting the exposure, or you can let the camera take care of it automatically. In addition, you have the ability to lock and unlock the exposure while the video is being recorded (and have a choice of which buttons perform each action).
When the shutter button is pressed, still photographs can be shot at any time, and video recording resumes as soon as the button is released, although there is a brief break of around one second while the playback continues.
In general, the video shooting isn’t as seamlessly integrated as it is on the 7D – you still have to select a separate mode to engage video shooting – but, with the articulated screen, variety of frame rates, and control over the behavior of an external mic, it’s a pretty capable piece of kit for budding videographers to have.
Movie mode displays
You are able to modify how the camera handles exposure, focus, and button action when movie recording by using the menu that is found in the movie mode.
The second screen gives the user the ability to select several choices, such as the frame rate and the sound recording options. These are the frame rates used by NTSC.
You are given the ability to manually adjust the recording volume with the 60D. To guarantee that a satisfactory recording level is obtained without clipping or distortion, the recording level can be adjusted to one of about 60 different locations.
The shooting screen used in movies often has very few elements on it, allowing the director to concentrate solely on composing the shot. When you press the INFO button, the display changes between the histogram, the virtual horizon, and a settings screen that looks quite similar to the one in the movie Q.Menu.
Video quality remarks
The video quality of the 60D is excellent, similar to that of the 550D and 7D. The outcomes are sleek and fluid, and the high amount of flexibility that is given over shutter speed, aperture, and frame rate ought to make it possible for technically savvy individuals to get precisely the ‘look’ that they are going for.
The Canon EOS 60D has an APS-C sensor, which prevents it from producing the extremely narrow depth-of-field video that the Canon EOS 5D Mark II is capable of, but it still provides far more control in this regard than the majority of other movie cameras in the market. As you might anticipate, noise becomes more noticeable as the number of available light decreases, and this effect may be made significantly worse by setting Auto Lighting Optimizer to a setting that is too high.
There is a degree of rolling shutter, which is the wobbling effect caused when fast horizontal movement is caught. This effect is present in all big sensor video-capable cameras that are now available on the market. This is due to the fact that, similar to other CMOS chips that are now available, the sensor reads each line of the sensor one at a time. This indicates that the subject being photographed has the ability to move significantly between the time the sensor begins capturing the picture and the time it finishes doing so.
Canon EOS 60D Specifications
|Price (lens kits)|| • $ 1,399 (18-135mm)|
• € 1,249 (18-55mm)
• € 1,399 (18-135mm)
• € 1,449 (17-85mm)
• £ 1,199.99 (18-55mm)
• £ 1,399.99 (18-135mm)
• £ 1,499.99 (17-85mm)
• £ 1999.99 (17-55mm F2.8)
|Body material||Aluminium and polycarbonate resin with glass fibre**|
|Sensor*||• 22.3 x 14.9 mm CMOS sensor|
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 19 million total pixels
• 18 million effective pixels
• 3:2 aspect ratio
|Image processor*||DIGIC 4*|
|A/D conversion||14 bit|
|Image Sizes ( Still) *||RAW|
• 5184 x 3456
• 3888 x 2592
• 2592 x 1728
• 5184 x 3456
• 3456 x 2304
• 2592 x 1728
• 1920 x 1280*
• 720 x 480*
• 4608 x 3456
• 3072 x 2304
• 2304 x 1728
• 1696 x 1280
• 640 x 480
• 5184 x 2912
• 3456 x 1944
• 2592 x 1456
• 1920 x 1080
• 720 x 400
• 3456 x 3456
• 2304 x 2304
• 1728 x 1728
• 480 x 480
|Image Sizes (Movie)*||1920 x 1080 (29.97, 25, 23.976 fps)|
1280 x 720 (59.94, 50 fps)
640 x 480 (59.94, 50 fps)
|File formats (Still)*||• JPEG (EXIF 2.3*) – Fine / Normal|
• RAW + JPEG
• M-RAW + JPEG
• S-RAW + JPEG
|File formats (Movie)*||MOV (Video: H.264, Sound: Linear PCM)|
|Lenses||• Canon EF / EF-S lens mount|
• 1.6x field of view crop
|Dust reduction||• EOS integrated cleaning system with fluorine coating|
• Self-cleaning sensor unit (filter in front of sensor vibrates at high frequency at start-up and shutdown – can be disabled)
• Dust Delete Data – Data from a test shot is used to ‘map’ dust spots and can be later removed using Canon DPP Software
|Auto focus||• TTL-CT-SIR CMOS sensor|
• 9 cross-type AF points (f/2.8 at centre)
• Center point additionally sensitive with lenses of F2.8 or faster
• AF working range: -0.5 – 18 EV (at 23°C, ISO 100)
|Focus modes||• One shot AF|
• AI Servo AF
• AI Focus AF
• Manual focus
|AF point selection||• Auto : 9 point*|
|AF Lock||Locked when shutter button is pressed half way in One Shot AF mode or AF-ON button is pressed|
|Predictive AF||• Up to 8 m|
|AF assist||• Stroboscopic flash|
|Metering||• TTL full aperture metering with 63 zone Dual Layer (iFCL)|
• Metering range: EV 1 – 20 EV
|Metering modes||• Evaluative metering (linked to all AF points)|
• Partial (6.5% at center)*
• Spot metering (approx. 2.8% at center)*
• Center-weighted average
|AE lock||• Auto: One Shot AF with evaluative metering|
• Manual: AE lock button
|Exposure compensation*||• +/-5.0 EV|
• 0.3 or 0.5 EV increments
|Exposure bracketing||• +/- 3.0 EV|
• 0.3 or 0.5 EV increments
|Sensitivity *||• Auto ISO (100-6400)|
• ISO 100-6400 in 0.3 or 1.0 EV increments
• H (12800) expansion
|Shutter||• Focal-plane shutter|
• 30 – 1/8000 sec
• 0.3 or 0.5 EV increments
• Flash X-Sync: 1/250 sec
|Aperture values||• 0.3 or 0.5 EV increments|
• Actual aperture range depends on lens used
|White balance||• Auto|
• White Fluorescent light
• Kelvin (2500 – 10000 K in 100 K steps)
|WB bracketing||• +/-3 levels|
• 3 images
• Blue / Amber or Magenta / Green bias
|WB shift||• Blue (-9) To Amber (+9)|
• Magenta (-9) to Green (+9)
|Picture style||• Standard|
• User def. 1
• User def. 2
• User def. 3
|Custom image parameters||• Sharpness: 0 to 7|
• Contrast: -4 to +4
• Saturation: -4 to +4
• Color tone: -4 to +4
• B&W filter: N, Ye, Or, R, Gvan
• B&W tone: N, S, B, P, G
|Image processing||• Highlight tone priority|
• Auto lighting optimizer (4 settings)
• Long exposure noise reduction
• High ISO noise reduction (4 settings)
• Auto correction of lens peripheral illumination (vignetting)
• Creative filters (Grainy B/W, Soft focus, Toy camera, Miniature effect) – during image Playback only RAW image processing – during image Playback only**
|Color space||• sRGB|
• Adobe RGB
|Viewfinder *||• Eye-level pentaprism|
• 96% frame coverage
• Magnification: 0.95x (-1 diopter with 50 mm lens at infinity)
• Eyepoint: 22 mm
• Interchangeable focusing screen Ef-A standard (2 other types optional)*
• Dioptric adjustment: -3.0 to +1.0 diopter
|Mirror||• Quick-return half mirror (transmission:reflection ratio 40:60)|
• Mirror lock-up (once or multiple exposures)
|Viewfinder info||• AF points|
• Focus confirmation light
• Shutter speed
• Aperture value
• ISO speed (always displayed)
• AE lock
• Exposure level/compensation
• Spot metering circle
• Exposure warning
• Flash ready
• High-speed sync
• FE lock
• Flash exposure compensation
• Red-eye reduction light
• White balance correction
• CF card information
• Monochrome shooting*
• Maximum burst (2 digit display)*
• Highlight tone priority (D+)
• Dual Axis Electronic level*
|LCD monitor||• 3.0 ” TFT LCD|
• 1040,000 dots**
• 100% coverage
• 160 ° viewing angle
• Dual anti-reflection
|LCD Live view||• Live TTL display of scene from CMOS image sensor|
• 100% frame coverage
• 30 fps frame rate
• Real-time evaluative metering using CMOS image sensor
• Best view or exposure simulation
• Silent mode
• Grid optional (x2)
• Magnify optional (5x or 10x at AF point)
• Three AF modes – Live mode/Quick mode/Face Detection
• Multi aspect ratios**
• Remote live view using EOS Utility 2.0 (via USB or WiFi/Ethernet using WFT)
|Flash||• Auto pop-up E-TTL II auto flash|
• FOV coverage up to 17 mm (27 mm equiv.)*
• Guide number approx 13 m (ISO 100)*
• Cycle time approx. 3 sec
• Flash compensation +/-3.0 EV in 0.3 or 0.5 EV increments
• X-Sync: 1/250 sec
|External flash||• E-TTL II auto flash with EX-series Speedlites|
• Wireles flash support *(no multi-group support*)
|Shooting modes||• Auto|
• No Flash
• Creative Auto
• Night Portrait
• Program AE
• Shutter priority AE
• Aperture priority AE
|Drive modes||• Single|
• High-speed continuous
• Low-speed continuous
• Self-timer: 2sec + remote, 10sec + remote
|Burst buffer *||Approx. 5.3 fps (speed maintained for up to 58 JPEGs, 16 images (RAW))|
|Auto rotation||• On (recorded and LCD display)|
• On (recorded only)
|Custom functions *||20 Custom Functions with 59 settings|
|Menu languages||• English|
• Simplified Chinese
• Traditional Chinese
|Portrait grip*||• Optional BG-E9 Battery Grip*|
|Connectivity||• USB 2.0 Hi-Speed|
• Video output (PAL/ NTSC)
• HDMI connector
• E3 type wired remote control
• External microphone (3.5mm Stereo mini jack)
|Storage**||• SD, SDHC, SDXC cards|
|Power*||• Lithium-Ion LP-E6 rechargeable battery (supplied & charger)|
• Built in battery (date/time backup)
• Optional AC adapter
|Wireless connectivity||Compatible with Eye-Fi cards|
|Dimensions**||145 x 106 x 79 mm (5.7 x 4.2 x 3.1 in)|
|Weight **||• Including battery and memory card: 755 g (1.6 lb)|
The Closing Statement
Because it is constructed from known enough components and features familiar enough controls, the Canon EOS 60D does not really startle users in either the image quality or the functioning of the camera. It should not come as a surprise to learn that the Canon EOS 60D is an extremely proficient camera when it comes to both its use and its output because both of these aspects have been strong points of current Canon DSLRs.
Customers who in the past would have purchased a model from the X0D series are now faced with the decision of whether or not the Canon 7D or 60D is a better fit for their requirements. It is not a criticism of the 60D to say that some of them may fairly determine that they require the additional features that the 7D offers; this is a perfectly reasonable conclusion.
The issue that really needs to be asked is whether or not it makes sense to upgrade to the 60D from the 550D or the Rebel T2i. Based on our tests, it does not appear to give any noticeable improvement to the image quality; nevertheless, in terms of ergonomics alone – the wider grip, the improved viewfinder, and the two-dial control mechanism – we believe that it is an option that should be seriously considered.
It is an even simpler choice for you to make if you are the type of person who can make use of the swivel screen. And if you’re looking to improve your Rebel camera, this is a much better option than purchasing a used 40D or 50D in virtually every way.
Pros & Cons
- Excellent ergonomics, an attractive and comfortable form, with a secure hand grip
- Outstanding image quality all the way up to ISO values that were unimaginable only one camera generation ago.
- Exceptionally great detail and resolution at the native ISO, as well as good sharpness per pixel
- Very high performance in low light, with low noise levels and a good capacity for retaining information.
- User interface that may be customized
- The plastic structure does not provide the same level of reassurance as to its metal-bodied competitors.
- The value of having an articulated screen for still photography is diminished when the autofocus in Live Mode is slow.
- Under artificial light, the white balance frequently leans overly orange.
- Choices for post-processing are strangely organized (and do not allow access to the available options for Ambience).
- A little propensity to overexpose in environments with a lot of contrast.