|The 3 most obvious lenses for the Canon 100D are the three modern lenses with a quiet and quick stepper motor: Canon EF-S 18-135 mm IS STM, Canon EF-S 18-55 mm IS STM and Canon 40 mm f/2.8 STM pancake lens. These lenses have a new stepper motor for more precision and – importantly for video and nice for photography – super quiet autofocus. We tested all three STM Canon lenses. The Canon 40 mm STM offers the highest image quality and far and away also the smallest. That would be our first choice for the Canon 100D.
Canon 100D versus Canon 1100D
|If you compare the Canon 100D entry level model with the EOS 1100D, then you see that a lot has happened in 2 years. Although you can still make great pictures with a EOS 1100D, the speed, experience and image quality of the Canon 100D is many times better. This is thanks to a higher resolution (12 Mp versus 18 Mp), a better processor (Digic 4 versus Digic 5) and a nice LCD screen (2.7 “230 k versus 3”, 1040k, multi-touch). And funnily enough the Canon EOS 100D also fits better in the hand than the 1100D.
Canon 110D versus Panasonic GM-1 versus Panasonic GX7
|For high image quality you need a ‘big’ sensor: APS-C or micro Four Thirds. You then have the choice of DSLRs or mirrorless cameras (CSC). If the camera should be as small as possible, then you choose a CSC, like the Panasonic GM-1. You trade in on ergonomics and operation though. If you find those two aspects of interest, then you can consider the more ‘mature’ Panasonic GX7, but that’s in a higher price range. For the novice photographer all three camera systems have virtually equal capabilities, although the Panasonic GM-1 has no viewfinder and no flash contact for an add-on flash.
Viewfinder, screen and menu
|With the Canon 100D you can frame the subject with the viewfinder, which looks through the lens (TTL, 97% frame) or with the LCD screen on the back of the camera. This is high resolution (3 “, 1040k) and has a very good brightness and viewing angle, so you – even given the compactness of the Canon 100D – quickly adjust to using this as a standard viewfinder. Thanks to the excellent touch sensitivity, the LCD screen is well suited to setting up the camera, and with the multi-touch, it’s a joy to go through the photos on the camera by sweeping and to zoom in/out. The menus are standard as with all EOS models, so clear and easy. The Canon 100D offers lens correction for vignetting and chromatic aberration.
Sharpness Canon 100D
|In September 2009, Canon introduced the EOS 7D 18Mp application of its highly praised CMOS image sensor. Many models have since inherited it and it’s also used in the Canon 100D. With regard to resolution and detail registration, this new camera anno 2013 thus delivers no surprising results. In RAW photos in Lightroom the Canon 7D is hardly distinguishable from the Canon 100D. However, there is a big difference in JPEG quality, because the image processing (noise reduction, color and contrast at high ISO) of the Digic 5 in the Canon 100D is improved relative to the Digic 4, found in the EOS 7D. Even with shots in the dark, such as the test shot of the light artist above, this enhanced image processing is very good.
Dynamic range Canon 100D
|The total dynamic range is quite constant over the range of 100 ISO to 6400 ISO. At high ISO settings the dynamic range is equal to that of a Nikon D3200, but at low ISO settings, we found a lower dynamic range for the Canon 100D. At low ISO values we measured for a RAW file without noise suppression a dynamic range of nearly 10 stops and a usable dynamic range of 6.3 stops. That agrees with our findings for the EOS 650D, which has the same sensor.
|The dynamic range of the Canon 100D is sufficient in most situations to sufficiently high to prevent simultaneous overexposure of the highlights and underexposure of the shadow areas. In sporadic cases, such as for the test shot above, that still appears.
|If the personal choice “C.Fn II-3 Highlight tone priority” is selected, bleached-out highlights, as in the above shot, are prevented. It also delivers, surprisingly enough, a slightly higher dynamic range. The disadvantages of the highlight tone priority are that the ISO value can only be set between 200 and 6400 and that a bit more noise appears in the shot.
Noise Canon 100D
|Because the sensor of the Canon 100D is comparable to that of for example the EOS 650D, in RAW in Lightroom there is virtually no distinction in the amount of noise over the entire ISO range. And that means that the signal/noise ratio is fine, and well-lit shots at ISO 1600 or 3200 ISO are fine for display and printing up to A4. However, the competition is not standing still and, for example, an Olympus OM-D E-M1 delivers with a smaller mFT sensor at ISO 3200 a cleaner RAW image than the Canon 100D, although the difference is small and only visible at 100% view.
In JPEG, the amount of visible noise is mainly determined by the image processing and the noise reduction (NR). The extent to which this should be done on the Canon 100D can be set, and the default value is a fine balance between preservation of detail and the remaining grain.
A nice option is the Multishot noise reduction. If it is enabled, then makes the camera multiple recordings and assembles them into a photo with less noise. The best results are obtained when working with a tripod and the subject has no moving parts.
Color reproduction Canon 100D
|The color reproduction of modern cameras is in daylight very similar. Often the chosen image style greatly affects the accuracy of the color reproduction. The Canon 100D delivers in daylight JPEG (picture style: natural) and RAW files in terms of color reproduction just as good as, for example, the color reproduction of the Canon 7D or the Canon 600D – so very true to life and appealing.
The white balance is usually good, but a neutral color registration in artificial light – just all in all other cameras – remains difficult. In all cases the shots made in artificial light tend clearly to orange. In artificial light or mixed light situations, it is therefore recommended to shoot in RAW and to correct the color balance afterwards. Anyone who photographs in RAW will significantly improve the white balance in artificial light relative to the automatic white balance.