Balko Photo

In part from Camera Labs

Kicking-off with resolution, the EOS 50D packs more pixels into its cropped sensor than any model to date, so there’s obviously concerns over noise levels. But Canon’s bold claims of matching the noise levels of the earlier EOS 40D were confirmed in our High ISO tests. From 100 to 1600 ISO, the EOS 50D’s output really is very similar to that from the EOS 40D when viewed at 100% on a pixel level. At 3200 ISO, the 50D applies greater noise reduction, but tone it down a notch and again it looks similar to the 40D. Admittedly the 50D’s 6400 and 12800 ISO modes are a step too far, but it’s an impressive achievement to boost the total pixels by 50% without any perceptible compromise in noise levels over its 10 Megapixel predecessor at the same sensitivities.

The boost in resolution also means a great deal more data is being handled by the camera, although Canon’s latest DIGIC 4 processor takes care of the challenge very effectively. The 50D feels as responsive as the earlier 40D and support for quick UDMA Compact Flash cards means the camera clears its buffers without much delay. In practice we also measured the 50D’s continuous shooting speed to be the same as the 40D – admittedly at 6fps, both were slightly below their quoted figures, but still very swift.

The EOS 50D also becomes the first Canon DSLR to feature in-camera correction of vignetting, while additionally inheriting the AF micro-adjustment of the professional models – both welcome additions, although we’d also like the in-camera correction of chromatic aberrations like Nikon’s latest models, especially as the new EF-S 18-200mm is no angel in this respect. You can at least do this effectively in the supplied Digital Photo Professional software though.

On paper the 9-point AF system appears to have stood still since the 40D, which makes it look even less impressive compared to the 51-points of the D300, but Canon has improved the AF algorithm on the 50D and you only have to use it in fast action environments to realise it’ll easily handle most situations. If the subject’s moving unpredictably between AF points, the D300’s system has the edge, but we have few complaints with the 50D’s AF system in practice.