Canon EOS 80D Review

The 70D’s successor, the Canon EOS 80D, is a digital single-lens reflex camera (DSLR) aimed at enthusiasts. It has a brand-new 24-megapixel APS-C CMOS sensor that, much like the sensor found in the 70D, is equipped with Canon’s Dual Pixel on-sensor phase-detection AF technology.

Update: Canon EOS 90D

In addition, the 80D receives a brand new 45-point hybrid autofocus system, with every single point being of the cross-type variety. This is an improvement over the autofocus system found in the 70D, which only had 19 points. Still, it is not entirely on par with the 65-point coverage in the 7D Mark II, which is geared more toward professional photographers.

The outside of the 80D is made of polycarbonate, while its chassis is made of magnesium alloy. The body of the device is hermetically sealed against dust and moisture. The bulk of the controls may be accessed by the articulating touchscreen on the back of the device and the physical control points. The design is almost comparable to that of its predecessor.

Video is a significant component of the whole package with the 80D. Although it cannot shoot in 4K, it can capture video in 1080p at 60 frames per second and maintains focus continuously, even when recording. Along with its microphone connector, it also includes a headphone jack that was recently added.

Other enhancements include a new mirror vibration management system, which, analogous to that of the 5DS and 7D Mark II, will hopefully assist in mitigating the effects of shutter shock, which may cause images to become blurry. Compared to the 63-zone dual-layer sensor in the 70D, the new 7560-pixel RGB+IR metering sensor featured in the 80D represents a significant upgrade. This new sensor is also available in the Rebel T6s and T6i.

Because of this improved sensor, the camera now has a limited understanding of human subjects, which enables it to follow subjects more accurately through the viewfinder. However, unlike the 7D Mark II, the 80D does not contain Canon’s “Intelligent Tracking and Recognition” (ITR) system. This is a feature that allows the camera to follow subjects by using information from the metering sensor as well as distance information.

This brand-new sensor

It is not a secret that particular Canon shooters have been experiencing frustration due to the rapid advancements that Sony’s sensor technology has made in terms of dynamic range. Thankfully, the 80D marks a big step forward in the evolution of Canon’s sensor, giving far greater dynamic range than the 70D or the 7D Mark II.

However, the new sensor is fascinating for reasons other than the photographs it can take. Continuous focusing is possible during video recording and still capture (when using live view mode) thanks to Dual Pixel AF’s capabilities. It was with the Canon Rebel T6s that we were first introduced to this function, and it is pretty exciting to see that it is now working its way up Canon’s product hierarchy to enthusiast-level cameras.

The Canon EOS 7D Mark II, geared primarily toward professional use, is the closest sister to the Canon EOS 80D, other than the 70D. However, in comparison to the Canon EOS 80D, it has a processor with a somewhat lower resolution and a smaller dynamic range.

While both cameras have the exact fundamental video specifications, the 7D Mark II is better suited for capturing fast-paced action owing to more autofocus points, a dedicated AF joystick, the incorporation of Canon iTR, and a quicker shooting rate. On the other hand, the fact that the 80D can be focused by touching the screen makes it a more desirable option for video.

That the full-frame Canon 6D is currently in a price bracket comparable to that of the 80D and 7D Mark II makes it deserving consideration. Moreover, despite the relatively straightforward nature of its Autofocus (AF) technology, the Canon 6D remains a reliable and well-liked camera even though it is not a new model.

Accessories

Canon also released the DM-E1 shotgun microphone concurrently with the release of the 80D. This microphone is compatible with any camera with a 1/8 “socket). The PZ-E1 Power Zoom Adapter was another product that Canon unveiled.

It can regulate the zoom of the new EF-S 18-135mm f/3.5-5.6 IS USM kit lens by clipping onto it and offering two different speed settings. As a result, the DM-E1 may be purchased for $300. Moreover, PZ-E1 can be purchased for $150.

Our inability to obtain any new accessories for this review is regrettable; however, we will update you on our thoughts as soon as possible.

Body & Design

The Canon EOS 80D and its forerunner, the Canon EOS 70D, include control points that are almost identical to one another. Furthermore, regarding its physical form and button arrangement, the 80D is virtually indistinguishable from the 70D, except for a modification in the physical shape of the Q Menu and Playback button.

There are, however, a few further subtle distinctions between the two, such as the inclusion of a headphone jack on the 80D and an additional custom space on the mode dial (the word “effects” has also been added to the mode dial). Both of these features can be found on the 80D.
The top of the camera.

When viewed from above, the 80D has the same profile as the 70D. The mode dial is located on the camera’s left side and features a locking mechanism to prevent it from being accidentally bumped. Direct access to the Autofocus mode, Drive mode, ISO setting, and Metering setting can be found along the right side of the camera’s LCD.

Because of how EOS DSLRs have developed over the past couple of decades, none of these buttons can be reassigned; nonetheless, we did not anticipate they would be able to be. So, for example, the switch that controls the lighting of the LCD may be found to the right of the Metering mode button.

The AF area selection button is between the control dial and the shutter release button. It is designed to be utilized in a manner that requires one’s sight to be directed toward the finder. Users can easily switch between the four different AF area options by tapping this button (modes are displayed at the top of the finder when the button is hit).

Only the ISO button and the autofocus area selection button may be used with one’s eye still on the viewfinder while using; for example, the camera’s controls are located along the upper right side of the device. To alter any other settings, you must glance at the top LCD.

If you already own a camera from Canon’s Rebel series and are considering upgrading to the 80D, you will receive many additional physical control points. Even an upgrade from the current flagship Rebel T6s, which already has two control wheels, will give you an AF-On button and AF Mode, Drive, and Metering buttons. When you upgrade from any other Rebel camera, the number of control wheels you can access will increase by one.

The rear of the camera

Regarding ergonomics, the AF selection joystick is the feature you will miss the most if you choose the 80D rather than the 7D Mark II. However, you have several choices available to you when it comes to moving your point or Zone across the frame.

The standard procedure comprises pressing the AF Point Selection button, then using the control dial and the Multi-controller to move vertically and horizontally, respectively. You can also reprogram the arrow keys on the Multi-controller to adjust your AF point; however, doing so may be difficult to access.

When I first began writing this review, I also discovered that the position of the AF-On button was a little perplexing. This was especially the case because two other buttons were adjacent to it that was the same size. Because of this, I frequently pressed the wrong button when I wanted to push the AF-On button. And this was especially the case with my attention focused on the discoverer.

The Canon EOS 80D, in addition to having physical buttons, also incorporates a touchscreen that allows users to modify most of the camera’s settings with the tap of a finger. You may learn more about its capabilities by reading this article.

Within your grasp

The vast majority of the control points on the 80D are conveniently located and can be reached with little to no effort. If, on the other hand, you decide to use the multi-controller as your autofocus point selector, it will be pretty challenging to use while keeping one’s eye on the finder. This is because it takes a significant amount of downward pressure to be applied by your thumb.

Controls and Methods of Operation

The 80D utilizes the most recent iteration of Canon’s tabbed menu system. You’ll have access to all five menu parts wSo when you use P, TV, AV, M, B, C1, or C2. However, the number of menu sections you can access will change depending on which model you pick using the Mode dial.

These five parts include the Shooting, Playback, Setup, and Custom Function menus and a My Menu option where you may save your preferred settings for easy access. These settings are seen in the image to the right because of it. The ‘Basic Zone Modes,’ sometimes known as the novice modes, do not include these additional parts, even thoCanon is calling.

Head to the Custom Function Menu ifSo when wanting more control or if you’re going to get into the deep gritty of the process. You’ll discover three sub-sections there: one called Exposure, another called Autofocus, and another called Operation/Other.

The Autofocus sub-section, in particular, contains a variety of choices that might be helpful, and the AF page delves into those options in further detail. Unfortunately, the 80D does not have a separate menu for Autofocus. Unfortunately, they are in contrast to its older sibling, the 7D Mark II.

Utilization of a touchscreen

The user interface of the Canon 80D is almost identical to that of the Canon EOS Rebel T6s, which utilizes the most recent version of Canon’s touchscreen technology. As a result, you can access all of the functions and settings associated with the device’s physical buttons by using the touchscreen interface and navigating to the Q menu (tap the letter ‘Q’ in the screen’s top right corner).

When taking still photographs with the Live VieUnfortunately, the mode enabled, the touchscreen may be utilized to choose a subject to track or lock the focus on a particular spot. One tap of your finger will both focus the camera and trigger the shutter release on the camera. You can do this.

There is an option on page four of the Setup Menu called “Touch control” for those concerned about using the touchscreen when shooting in the cold while wearing gloves.

In this section, you may toggle the touchscreen’s sensitivity settings (or turn the touchscreen off together). I experimented with using the 80D in sensitive mode while wearing gloves on the thinner side, and I found that it was still highly responsive.

When one’s attention is directed toward the finder, one cannot utilize the touchscreen as an autofocus touchpad. We have seen this function supplied by other manufacturers, and it would be a great way to get around the issue that the 80D does not have a physical AF joystick for selecting focusing points. This would be an excellent way to get past the fact that we have seen this feature offered by other manufacturers.

You can also utilize the touchscreen interface in the camera’s Menu or while playing back footage. In addition, users may squeeze and swipe their fingers to zoom in and out of photos. Visit our live View and touchscreen page for further information on how to use the touchscreen and for recommendations on taking the finest stills and videos possible with your camera.

Q Menu

The Quick Menu may be accessed by pressing the ‘Q’ button on the back of the camera while using the viewfinder. It is indistinguishable from the Q Menu in all Canon DSLR cameras produced recently and cannot be customized.

When accessing the Q menu, the touchscreen comes in very helpful for making rapid changes to the settings. Accessing the different settings may also be done with the help of the Multi-controller.

Auto ISO

The 80D takes advantage of the most recent edition of Canon’s Auto ISO, which allows for complete customization of its settings. For example, your minimum shutter speed may be controlled in one of two ways: by selecting a physical shutter speed that ranges in full stops or using a slider to bias the default shutter speed to be faster or slower than the default. Both of these methods are available to you.

The shutter speed set as the default is typically very close to one over the focal length, which, while photographing in the real world, is frequently excessively slow, particularly for anything other than static shots or landscapes. If you want to use Auto ISO, we suggest that you set the bias to a quicker shutter speed. I manually skewed it two stops in either direction across the focal length.

Menu

There are two locations on the mode dial of the 80D where users may save their camera settings. Once the camera is configured to your specifications, you can register it and keep its settings to the C1 or C2 card.

To do so, navigate to the Setup menu on your camera and choose the “Custom shooting mode (C1, C2)” option, which can be located on page four of the Menu. Next, select that option and select “Register settings” from within that Menu, and you will be finished.

This feature might be helpful if you need to take pictures in the exact location regularly. For example, I like taking photographs at a small music venue near my flat.

By utilizing the C setting banks, I can easily dial in the appropriate settings for the lighting at that venue as I photograph wetlands. Because of this, I won’t have to mess around in the dark trying to figure out how to adjust the camera’s settings; instead, I can simply roll into the location and start shooting as soon as I get there.

Performance

The Canon EOS 80D delivers outstanding performance across the board. The camera quickly responds to commands and starts up very quickly. In addition, because the on/off button is situated in such a convenient area, turning the camera on with one’s hand while the device is being brought to one’s eye is simple. Additionally helpful is the fact that the Menu remembers the last spot you visited, making it simple to go back and adjust the settings.

Shooting in bursts

Continuous shooting is possible with the Canon EOS 80D at seven frames per second, the same as the burst rate of its predecessor, the Canon EOS 70D. In contrast, the Canon EOS 7D Mark II can shoot ten frames per second.

In addition, we made the decision addition, because of the 80D’s burst capabilities to the test, putting them to the test both while shooting via the viewfinder and in Live View. In the following charts, “Buffer Limit” refers to the number of shots you may anticipate receiving from the camera before it slows down the burst. An SDXC UHS-II/U3 card was utilized for every one of our tests.

Battery

Most digital single-lens reflex cameras in the EOS system utilize the LP-E6 rechargeable lithium-ion battery. For example, this battery is used in the Canon EOS 80D. (excluding Rebels and the flagship EOS-1D X and 1D X II). In addition, a special LC-E6 wall charger is included with the purchase of this device.

Users of the 80D may anticipate getting at least 960 photos out of the camera with a fully charged LP-E6 battery, as stated by the CIPA. However, in practice, I had no trouble exceeding that amount on a single charge and could do it quickly.

On the first day I used the camera, I took around 700 still images and 35 films, the majority of which were each precisely 30 seconds long, while only using up an indoor example, this quarter of the battery.

Autofocus (through the viewfinder)

In addition to its twin Pixel AF image sensor, the Canon EOS 80D also receives an upgrade to its traditional phase-detection AF system, which results in a system that has 45 cross-type AF points and can be used when shooting via the viewfinder.

In the 45-point However, into-select mode of the EOS 80D, a new 7560-pixel RGB+IR metering sensor is used to assist the autofocus mechanism in the following subjects. Although it is not as sophisticated as the 150,000-pixel RGB metering sensor featured in the 7D Mark II, this metering sensor provides the 80D with improved subject awareness in comparison to before.

When it comes to the performance of the autofocus system when viewed via the viewfinder, the 80D is without a doubt superior to its predecessor, the 70D, which only supplied 19 all cross-type points and utilized a 63-zone dual-layer sensor for tracking. Instead, the 80D has 61 all cross-type points.

However, it is evident, both from the camera’s specs and actual use in the field, that the autofocus mechanism of the 80D is not as sophisticated as the one found in the more expensive EOS 7D Mark II. Furthermore, Canon does not brand the focus tracking feature of the 80D as ‘iTR’ (Intelligent Tracking and Recognition), which may reflect the use of a different algorithm and the lower resolution of the metering/recognition sensor. In contrast, the focus tracking feature of the 7D II is called ‘R.’

Additionally, the 7D II has more autofocus points than the cessor (65), making manually adjusting the AF settings much simpler (via a dedicated joystick).

In addition, there is no specialized AF menu on the 80D. Alterations to the Autofocus may be made using the Custom Functions menu, which can create a submenu for that purpose. However, more on that is provided below.

Focus modes

Four different focus area options are available while shooting via the viewfinder. These are Single-point, Zone, Large Zone, and 45-point Auto Selection. Each of the modes has the potential to be beneficial in a variety of different shooting situations.

When playing in the Zone mode, a 3×3 point square can be moved to any one of nine different spots throughout the 45-point array. In the Large Zone mode, a 3×5 point rectangle can be relocated to one of three other locations.

AF for a single shot (One-shot mode)

When shooting in single AF acquisition mode, the focus tends to be crisp and precise, and the speed of AF acquisition is typically quick (though it does depend on the lens).

The autofocus system on the 80D includes a center point sensitive to -3EV. This corresponds to a capacity to acquire focus even when the available light is relatively low.

While testing the 80D in the real world, I discovered it had no trouble gaining focus utilizing its center point in whatever low light circumstance I put it through. Additionally, we conducted laboratory tests to evaluate the center point sensitivity of the 80D and discovered that it could gain focus in situations that were even dimmer than -3EV.

In addition, when we compared the autofocus capabilities of the Canon 80D’s dual pixel AF in Live View to those of the Sony a6300, we discovered that the Canon was able to focus in even lower light (when using Live View) than the Sony, which is a very outstanding result.

Continuous AF (AI Servo mode using single point or Zone)

Two different approaches may be taken to shoot a moving subject when employing continuous Autofocus.

There is also the tried-and-true approach of picking a single AF point or Zone and attempting to maintain the subject within that region by moving the camera. This method has been around for a long time.

And then, there is something called topic tracking, which is when you tell the camera who or what you want it to follow, and it makes an effort to do so while simultaneously keeping its focus on the subject.

Continuous AF in conjunction with Tracking (AI Servo with tracking)

Even with professional-grade DSLRs, monitoring a subject’s movement through the viewfinder can be challenging. On the live view page, we’ve previously established that the 80D’s Dual Pixel AF can follow issues such as faces fairly effectively at close distances, even while the camera is set to Live View.

However, Live View is not helpful when it comes to following subjects at a great distance while using telephoto lenses. So what exactly is the deal with the 45-point phase-detection AF array?

When I first used the 45-point Auto Select tracking mode on the 80D, I was at a tennis match between the University of Washington women’s teams. I was pretty surprised by the 80D’s ability to retain focus and follow tennis players until I worked out how to switch off the auto AF point selection and turn on the manual AF point selection (more on that below*). After that, the ability of the 80D to track tennis players was awe-inspiring.

On the other hand, tennis is one of the most straightforward examples of subject tracking in the real world because players are restricted to moving within a very narrow area, and the backdrop, while there, is typically relatively devoid of clutter and is distinguishable from the player.

When it came to the competition I attended, the ability to photograph from above made for a background that was even less distracting. In essence, my first test in the real world offered the 80D’s subject tracking after that, then the opportunities it could have, and it was successful.

But how would you handle a more complicated shooting situation? Our technical editor, Rishi Sanyal, took the 80D with him to a rugby match and discovered that the mobility of the players combined with the presence of numerous prospective subjects at the same distance created a circumstance in which the 80D’s tracking was nearly incapable of being of any help.

Therefore, after putting the 80D’s subject tracking to the test in two very distinct real-world circumstances and obtaining varying results from each of them, we decided to put it to the test using our bike test, which is an excellent happy medium between the two instances outlined above: In this particular test, the movement of the rider is difficult to predict (from the perspective of the camera), yet the subject is very easily distinguished in depth from the backdrop.

In addition, there is nothing in the foreground to draw the camera’s attention away from the background (as was often the case in our rugby shooting).

This demonstration’s unsurprising results fell somewhere between Rishi’s experience and mine: many of the photos are blurry, but not all. In addition, when the burst was about halfway through, the 80D frequently failed to bring the focus to the appropriate depth, although it did so later in the shot.

After pulling the frames from the subject tracking test into Canon’s Digital Photo Professional and viewing which AF points were used. While many structures were out of focus, the correct AF points were often illuminated over the subject. This was the case even though the subject tracking test was performed with a moving target.

This implies that the autofocus mechanism cannot acquire focus rapidly enough during the burst, even though the camera can identify and track where the subject is inside the frame.

AF adjustments may be found in the Custom Fn Menu.

Many of the AF changes on the 80D may be found under the Custom Fn. Menu, as opposed to the specialized AF menIn addition, what is included on professional-level Canon DSLRs?

The AF tracking is connected to the first three parameters that may be altered (given in the table below). These parameters can be adjusted as needed.

Regrettably, the camera does not provide much guidance on the circumstances in which altering these three parameters might be beneficial.

Higher-end The Canon DSLRs group these three options into presets aimed at specific shooting scenarios, such as “For subjects that accelerate or decelerate quickly” and “For erratic subjects moving quickly in any direction.” These preset can be accessed through the camera’s menu system by pressing the “A” button.

Users should select the scenario corresponding to the content they are photographing. On the other hand, the settings are provided individually on the 80D, and there is no indication of how they should be configured.

If it seems strange that Canon made the AF tuning settings regarding object tracking more difficult in the 80D than their higher-end cameras, then I agree.

During most of my testing, I did not deviate from the settings already in place for several of these choices. Nevertheless, depending on what you are shooting, you could find that making some adjustments is beneficial. The following is a rundown of all of the available choices:

Video

The Canon EOS 80D is an effective tool for capturing moving images. When shooting in MP4 with Standard IPB compression, it can have up to 1080/60p resolution. In addition, the EOS 80D can record MOV files utilizing All-I compression at either 1080/30p or 1080/24p resolutions for higher-quality video recording options.

The video output of the 80D is satisfactory, even though it does not support 4K capture, which may be a deal-breaker for some. However, in terms of quality, it should be more than sufficient for most hobbyists and shooters who shoot just sometimes.

Compared to its predecessor, the body incorporates a stereo microphone placed closer to the front of the camera to provide improved audio captured outside of the device itself. In addition to that, it has an HDMI connector, a built-in microphone, and a plug for headphones (sadly, ‘clean’ video cannot be sent to an external recorder).

Basic Controls

Taking videos with the 80D is a relatively simple process. To begin recording a mIn addition, move the switch labeled “Still/Video capture” to the lower position on the camera. From that point, you may start shooting by pressing the Start/Stop button.

However, program exposure modes such as Aperture or Shutter Priority are not provided, unlike the more professional-level 7D Mark in 1D X Mark II cameras. Instead, you may choose between exposure settings that are either totally automatic or fully manual (if you wish to give up complete control, there is also an ‘Auto+’ option that can be activated by rotating the mode dial to the green square).

You may choose the aperture and shutter speed and let the camera auto-expose the image by determining the proper ISO when shooting in Manual mode, thanks to the inclusion of Auto ISO in that mode. You may also apply for exposure compensation by pressing the exposure comp symbol and rotating the rear dial to the Manual setting. Alternatively, you can use it for exposure compensation by putting the rear dial into Auto mode.

The video Q menu offers access to most of the available fundamental video settings. In this Menu, you can select your camera’s AF mode, recording size, white balance, and image style. You also have the option to apply a creative effect, use digital zoom, activate the Auto Lighting Optimizer, adjust the audio levels, and take a picture of the video.

Video AF

The Dual Pixel AF technology that the 80D has is one of its most impressive video capabilities. This system enables excellent continuous AF capability when the camera is capturing video. In addition, the touchscreen makes switching attention from one area to another as easy as tapping the screen in the desired location.

Continuous shooting (Servo) mode is always selected as the default for the camera. However, you may temporarily disable Movie Servo AF by pushing the shutter button halfway. This will cause the camera to enter the “One-Shot AF” mode, acquiring and locking focus.

As soon as you take your finger off the shutter button, the focus mechanism will pick up exactly where it left off, even remembering your primary subject if you are using one of the tracking modes (this is an excellent way of momentarily pausing AF during the video). You can turn off Movie Servo AF via the shooting menu or hit the Servo AF symbol on the screen, which will toggle the feature on and off.

The three autofocus (AF) modes available during video capture are the same as those available during still live view capture. These modes are Face+Tracking, FlexiZone-Multi, and FlexiZone-Single. The first option helps fix focus initially; however, you capture a person or subject moving within the frame.

To have the camera attempt to track your subject, all you have to do to lock focus is touch it while it’s displayed on the screen. It should work rather well most of the time. In addition, if no topic is specified, this mode will prioritize focusing on people’s faces. The following is an explanation of how the other two methods operate, excluding tracking:

Tap the screen to select the region you want the camera to focus on, and the camera will adhere to your selection no matter what the surroundings seem like.

Although I found the Servo AF speed preset during video capture to be perfect for most situations, users can modify that speed of focus by using a slider that is included inside the settings (page 4 of the shooting menu).

The sensitivity of the Movie Servo AF tracking may likewise be adjusted by the user using a comparable menu item and slider. However, there is a catch: these choices are only accessible while using the FlexiZone-Single AF area mode; when using the Face+Tracking or FlexiZone-Multi AF area modes, they will not be visible.

The video quality produced by the 80D is marginally superior to that of its predecessor, the 70D. The symmetrical moire pattern found in the Siemens star gives us reason to believe that the 80D does not engage in line skipping, which is something we have reason to believe the 70D does. Additionally, the 80D produces video that looks somewhat clearer and has less false color than the 70D and the 7D Mark II.

Even while the 80D has a superior video quality than its predecessor and its most direct rival, the Nikon D7200, the detail is still not as outstanding as what we’ve seen from other 1080p cameras like the Sony a7S.

Shortcomings

While the Canon EOS 80D focuses on making it simple to record videos, it does not have many tools for editing videos, many of which are considered industry standards in the market for enthusiast cameras. For instance, the 80D lacks focus peaking and zebra stripes as standard features.

The first issue may not be a concern for certain users of the 80D due to the camera’s superior continuous AF performance when recording video. However, there is no option for a clean HDMI output or C-Log gamma (a very flat tone valuable curve for color grading).

Because the 80D does not come with a conventional set of video production tools, users may find it difficult to advance their skills with the camera and utilize it for more professional projects.

In addition, the video quality is not even close to being the best in its class; considering that 4K resolution is quickly becoming the de facto standard for mirrorless cameras, HD is starting to appear slightly inadequate. Also, introducing some faster frame rate video choices, such as 120p for super slow motion, would have been a feature I would have wanted to see.

Accessories

At the same time that it debuted the 80D, Canon also unveiled two attachments, both of which are for video and each of which can be purchased for less than $250. However, the PZ-E1 clip-on zoom motor is the most one-of-a-kind option (shown above).

It can zoom in a way that both stand under your control and attaches to the bottom of the new 18-135mm kit zoom. There are two different zoom rates, and customers can control the unit either through a Wi-Fi app or the desktop-based Smart Utility, in addition to the controls located directly on the device.

Four AAA batteries power it, which may be purchased for $150. In addition, Canon has said it plans to release additional lenses compatible with the PZ-E1 shortly.

Quality of the Image

Our most recent test setting is meant to replicate filming in broad daylight and dimly lit environments. You can between the two by pressing the ‘lighting’ buttons on top of the wiHowever, thet.

The outside picture is captured using a carefully adjusted white balance to obtain neutral grays. For the low-light testing, however, the camera is left in its default Auto mode (except Raw, which is manually corrected during conversion). In addition to this, we have three distinct viewing sizes:

‘Full,’ ‘Print,’ and ‘Comp,’ with the latter two enabling ‘normalized’ comparisons to compare cameras of varying resolutions more fairly by utilizing matching viewing sizes. ‘Full,’ ‘Print,’ and ‘Compare the three modes. The ‘Comp’ option selects the camera with the highest possible resolution shared by the other cameras being evaluated.

The Performance of JPEG

Color is somewhat less saturated than it was with the 70D while shooting in daylight using the JPEG settings that are defaulted to the camera. This is most noticeable in the yellows and reds. The same issue can be noticed when comparing the 5D Mark III to our color benchmark: there is a bit less yellow, which affects the tone of the reds, yellows, oranges, and greens. The 5D Mark III is our color benchmark. This, in turn, affects skin tones, which are less attractive than what we are used to seeing from Canon cameras.

However, the reds are less murky when compared to what we get from the Nikon D7200, and they have less of a yellow cast when compared to the output from the Sony A6300.

Regarding white balance, the auto option retains a significant portion of the warmth the tungsten light source provides. If you want the camera to make more of an attempt to cancel out this warmth, which is suitable for taking video, there is an additional option labeled “AWB W” that you may choose from.

Regarding JPEG sharpening, the algorithm found in the 80D looks slightly harsher than in the 70D. The presence sees this sharpening halos around the black text superimposed on the gray backdrop. Also, when we are to the a6300, which, because it does not have an AA filter as the Canon does, collects a little bit more detail if we look at the Raw files, the Canon does not disclose the same amount of delicate information.

At the lowest ISO setting, noise reduction has almost little effect. However, some finer details have been smoothed out by the time you get to ISO 400. Even at 3200, noise is still being suppressed. However, this comes at the expense of a discernible loss of clarity. Finally, when set to ISO 12,800, the noise reduction is quite severe and removes much more detail than the Nikon D7200 or the Sony a6300, which will likely be the leader in its class.

Pure Acting Capabilities

Compared to the Sony a6300, the absence of moiré points to the use of an anti-aliasing filter, yet, the camera can still capture a respectable level of detail.

WhenAlso, when rated at the same size, the raw noise performance of the EOS 80D is virtually identical to that of the EOS 70D, even at the highest ISOs, which suggests that there is no drawback to the increase in resolution. However, this places it a touch behind the Nikon D7200 and maybe as much as a stop behind the Sony a6300 in terms of its ISO performance.

Exposure Latitude

In this test, we want to investigate how forgiving the Raw files produced by the 80D are when the Exposure is pushed. To do, we Finally when we first exposed our scene with progressively lower exposures, and then, using Adobe Camera Raw, we returned them to the appropriate brightness level. By looking at what happens in the shadows, it is possible to evaluate the exposure latitude, which is effectively the same as the dynamic range of the Raw files.

The findings are only directly comparable across cameras with the same sensor size since the variations in this test noise are predominantly caused by shot noise, primarily driven by the quantity of light the camera has had access to. However, this will also be. However, while shooting in the real world, if you’re limited by what shutter speed you can hold stable, this test is helpful because it indicates the amount of processing latitude different formats allow.

Raw Dynamic Range

ISO Invariance

Because it adds very little noise to the detail obtained in the image’s shadow areas, a camera with a shallow noise floor cane a high dynamic range, this is because it captures very little noise in those areas.

This has some intriguing repercussions, one of which is that it reduces the signal amplification the sensor needs to stay above the noise level (which is what ISO amplification conventionally does). So this is an alternative way of working in requiring higher ISO settings.

In this case, we have done something that may appear to be counter-intuitive: we have used the same aperture and shutter speed at different ISO settings to determine how much of a difference there is between shooting at a particular ISO setting (and making use of hardware amplification) and digitally correcting the brightness at a later time.

This has the benefit that each shot should display the same level of shot noise, and the electronics inside the camera must have caused any changes.

Again, this is while there is a difference between shooting with the 80D at ISO 3200 and shooting with the same Exposure at ISO 100 and then pushing it digitally afterward;afterwardifthisce is far lower than it has been in the past for Canon cameras.

The significance of this is that when shooting in conditions that typically require a high ISO setting, you can dial down the ISO setting while maintaining the same shutter speed and aperture as you would have used at the higher ISO. After that, you can selectively brighten the resulting (dark) Raw image in post-processing, protecting highlights that are now preserved because they were not clipped to white due to higher amplification of an elevated ISO setting.

Because the camera has a relatively low read noise, the noise levels will stay pretty well-controlled when you do so and will be just slightly higher than what you may have received if you had shot with a higher ISO setting. But, again, this is because the camera has a relatively low read noise.

When you compare the EOS 80D to the EOS 7D Mark II, you will see that the narrative is somewhat different: the older camera adds substantial amounts of noise to the shadows, which limits your ability to brighten them in post-production.

Utilizing the proper’ ISO in-camera was more critical when using the 7D Mark II and most of Canon’s earlier cameras. Unfortunately, this meant you had a restricted capacity to protect highlights by purposely underexposing the image.

Even though the performance of the Canon EOS 80D isn’t nearly as good as that of other cameras like the Nikon D7200, which we consider to be virtually flawlessly ISO-invariant, this camera represents a significant improvement for Canon.

Summing up

Our studies of the Raw dynamic range tend to validate the positive effects of this significance. But, again, this is fiction to Canon’s sensor architecture.

The results do not appear to be as good as its predecessors, which are based on Sony. Still, the reduction in noise contribution could give a noticeable improvement in the real world regarding safeguarding highlights without introducing excessive noise in the shadows.

This ought to make Canon’s Highlight Tone Priority more helpful; in the past, it frequently added, unfortunately, this noise than was necessary.

The previous design of Canon’s camera allowed electronic noise to accumulate after the amplification stage. This caused minimal impact at high ISO settings but limited the processing flexibility of low ISO files by adding visible noise when attempting to lift shadows or increase contrast. We refer to this type of noise as “downstream read noise.”

Even while the results of the 80D don’t appear to come up to the best of its competitors exactly, those devoted to Canon’s EF lens mount will find this to be very encouraging news. Now that it has transitioned to an on-chip column ADC architecture, we should anticipate seeing more significant improvements in subsequent generations as the design is refined. But, again, this is because we should expect to see further advancements in future generations.

Canon EOS 80D Specifications

Body type	Mid-size SLR
Body material	Composite
Sensor
Max resolution	6000 x 4000
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	24 megapixels
Sensor photo detectors	26 megapixels
Sensor size	APS-C (22.5 x 15 mm)
Sensor type	CMOS
Processor	DIGIC 6
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-16000 (expands to 25600)
Boosted ISO (maximum)	25600
White balance presets	6
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, normal
File format	JPEG (Exif v2.3)Raw (Canon 14-bit CRW)
Optics & Focus
Autofocus	Number of focus Again, these
Autofocus assist lamp	Yes
Manual focus	Yes
Screen/viewfinder	45
Lens mount	Canon EF/EF-S
Focal length multiplier	1.6×
FoodKidsCandlelightNight PortraitHandheld Night SceneHDR Backlight ControlPortraitLandscapeClose-supports
Articulated LCD	Fully articulated
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Contrast Detect (sensor)Phase DetectMulti-areaCenterSelective single-pointTrackingSingleContinuousTouchFace DetectionLive View	Yes
Viewfinder type	Optical (pentaprism)
Viewfinder coverage	100%
Viewfinder magnification	0.95× (0.59× 35mm equiv.)
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/8000 sec
Exposure modes	ProgramShutter priorityAperture priorityManualBulb
Scene modes	Flash Range
Built-in flash	Yes
SingleHigh speed continuous low speed continuous silent single shootingSilent serial shooting10/2 sec self-timer/remote ctrl	12.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Flash X sync speed	1/250 sec
Drive modes	MultiCenter-weighted spot
Continuous drive	7.0 fps
Self-timer	Yes (2 or 10 sec)
Metering modes	MultiCenter-weightedSpot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
Videography features
Resolutions	1920 x 1080 (60p, 30p, 24p), 1280 x 720 (60p, 30p)
Format	MPEG-4, H.264
Videography notes	Choice of ALL-I or IPB codecs
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC (UHS-I support)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (mini-HDMI)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11/b/g/n with NFC
Remote control	Yes (Wired, wireless, or via smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	LP-E6N lithium-ion battery & charger
Battery Life (CIPA)	960
Weight (inc. batteries)	730 g (1.61 lb / 25.75 oz)
Dimensions	139 x 105 x 79 mm (5.47 x 4.13 x 3.11″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Overall Conclusion

The well-liked enthusiast camera, the Canon EOS 70D, has been improved with the release of the Canon EOS 80D. Although the body of the 80D is similar to that of its predecessor in many respects, it has been upgraded with a new image sensor, a new metering sensor, and a completely redesigned autofocus mechanism. Additionally, it enables continuous Autofocus during live View stills photography, which is made possible by the on-sensor Dual Pixel AF.

The dynamic range of the Canon 80D is far greater than that of its predecessor, the 7D Mark II, or any other APS-C sensor that Canon has produced to this day. And because of its articulating touchscreen and user-friendly touch interface, its implementation of live View is one of the greatest of any DSLR to date, making it one of the best of any DSLR.

And while the 45-point autofocus system of the 80D is not as sophisticated as the one found in its older sibling, the 7D Mark II, it still isn’t all that terrible.

There is much to enjoy about the 80D for those eager to dabble with video, but there are also some drawbacks. For example, on the 80D, doing tasks such as pulling attention may be accomplished by just tapping the screen. In addition, sliders make it possible to customize the speed at which the focus is applied.

The Canon EOS 80D has a lot going for it when it comes to video, and one of the reasons for that is its built-in microphone and headphone connector. However, the fact that there is no flat picture profile, zebra stripes, or a clean HDMI out might be a deal-breaker for specific customers. Also, no 4K.

Canon EOS 80D Price

Canon EOS 80D FAQs

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