Canon EOS 700D w/18-135mm IS STM Lens Digital SLR Camera
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The EOS 700D is Canon’s most advanced consumer EOS model to date. Boasting 5 frames-per-second (fps) shooting, a wide 9-point all cross type AF system and Vari-angle Clear View II LCD touch screen. Ignite your creativity and polish your skills with this powerful entry-level DSLR. Experience the amazing image quality and extremely accurate focusing that comes with the EOS 700D's DiG!C 5 processor, 18 Megapixel image sensor and superior auto focus system. Amazing low light performance, the easiest FULL HD movie recording and the speed of capturing up to five frames per second will take your creative eye further. With the EOS 700D's 18 Megapixel CMOS sensor, you can shoot as you like and then enlarge and crop your images later. Shooting up to five frames per second continuously, your EOS 700D will ensure you never miss a minute of the action. Always capture incredibly high detail, even when the light gets low with the EOS 700D's ISO range of 100-25,600. Creative and scene modes let you put your own unique spin on your images. Never miss a moment with the EOS 700D's high speed continuous shooting at up to five frames per second. Easily capture incredibly smooth and professional looking Full HD movies on your travels with your EOS 700D DSLR camera.
|Dimensions||133.1 x 99.8 x 78.8 mm|
|Exposure Modes||14 Standard Modes|
|Interface||Hi-Speed USB/ HDMI / Stereo Audio OUT/ External Microphone IN / Remote Control Terminal (RS-60E3)|
|Lens||18-135mm IS STM Lens|
|Metering Range||ISO 100-12800 (expandable to ISO 25600)|
|Multiple Exposure||1/3 or 1/2-stop increments Normal: ±5; Manual, AEB: ±2|
|Power||Lithium Ion LP-E8|
|Screen Size||3.0" Vari Angle ClearView II LCD Touch Screen|
|Sensitivity||Standard ISO (100-12800)|
|Shutter Speed||1/4000 sec – 30, bulb, X-sync 1/200 sec.|
|View Finder||-3 to +1m dpt|
|Video Type||Full HD Video Recording|
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- "...a camera that simply gets on with the job"| by CAMERA MagazineIn the D-SLR world, the EOS 700D is the closest thing there is to royalty. It can trace its lineage all the way back to the EOS 300D, the first D-SLR specifi cally designed for consumer-level shooters and the camera that fi nally kick-started the category.
It was also the first D-SLR smaller than a house brick and the first that didn’t require taking out a second mortgage to make the purchase. The EOS 700D is an ninth-generation descendent, following the 350D, 400D, 450D, 500D, 550D, 600D and 650D so this lineage also represents the longest in D-SLR history so far.
An awful lot of photographers have cut their D-SLR teeth on these cameras. Of course, there’s now a bit more competition around, including from within Canon’s own ranks now that we have many more levels of models, under the banners of ‘entry’, ‘enthusiast’ and ‘professional’. In fact, the 700D was launched with a potential competitor in the scaled-down shape of the EOS 100D with which it shares quite a few features, including the sensor. However, remarkable though the 100D’s smallness is, Canon has made sure the 700D has its own attractions and, in truth, the target markets are a little different. After all, size isn’t everything, is it? So, if you aren’t afraid of a standard size D-SLR then the EOS 700D continues its predecessors’ policy of providing a lot of bang for your buck.
For the record, Canon classifies it as an “entry level plus” model which essentially means it can work in the hands of everybody from new converts to the D-SLR to the more experienced user branching out into new areas of photography. Interestingly, it’s the 650D that’s been retired while the 600D continues on, repriced to make it a competitive alternative if you don’t feel the need to have the latest model. The 700D’s bodyshell still comprises GRP covers, but it now has what Canon calls a “premium fi nish” which basically seems to mean panels with a textured fi nish to look like the leatherette inserts of old. The chassis beneath is stainless steel.
Compared to the 100D, there’s a bigger grip and the monitor screen is adjustable for tilt and swing which means it can be folded away faceplate fi rst for protection when the camera isn’t being used. It’s a 7.7 cm, 3.2 aspect ratio panel with a resolution of 1.04 million pixels and touch controls. It’s now a capacitive display rather than the earlier resistive type so it works like the touch screens on a smartphone or tablet, responding to touch rather than pressure and allowing for a greater range of actions. For example, during playback, pinching with the thumb and forefi nger accesses the thumbnail pages while the opposite action magnifi es the image. Browsing is performed by swiping and, for capture, the touch operations include focusing point selection and shutter release.
While the 700D can still be driven conventionally, the touch controls are a very effi cient alternative which, once tried, are likely to be used quite regularly. The 700D’s control layout follows that of its immediate siblings so operations are centred around a main mode dial – now able to rotate freely through 360 degrees for reasons we can’t fully fathom – an input wheel (located atop the handgrip), a navigator keypad and various function buttons.
The four-way navigator keys double as function buttons so pretty well all the capture essentials – ISO, white balance, AF operation, picture presets, exposure compensation and drive modes – are all accessible externally. Alternatively, there’s a ‘Quick Control’ screen which is displayed on the monitor screen and enables quick access to a host of functions, by-passing the need to delve into the menus.
The function tiles in ‘Quick Control’ can be selected ‘mechanically’ (i.e. via the navigator pad and input wheel) or by simply touching on the function tiles and settings. Of course, it’s possible to mix and match the way the 700D operates to fi nd the most intuitive, comfortable and effi cient combination.
Conveniently, the movie mode is selected via the main power switch – which makes sense – and there’s a dedicated recording start/stop button which otherwise activates live view. Live view has its own version of ‘Quick Control’ with the function tiles arranged down each side of the image display, and the 700D allows for its ‘Creative Filter’ effects to be previewed and then applied at the point of capture (rather than solely post-capture as was the case with the 650D).
Obviously pretty everything else – including white balance, exposure and the picture presets – can be previewed in live view too.
It also has Canon’s ‘Hybrid CMOS AF’ system (but, curiously, not the Mark II iteration used in the 100D) which uses dedicated pixel arrays set into the imager for performing phase-difference detection autofocusing. This is nowhere near as sophisticated as what Canon has subsequently announced in the EOS 70D, but it still allows for faster AF operations in both live view and when shooting video than relying on contrast-detection measurements alone.
It’s also particularly designed to assist with smoother continuous autofocusing during video recording. In basic terms, the phasedifference detection system does the heavy-lifting, locating the subject and performing the coarse adjustments, while the contrast-detection system does the fi ne-tuning, generally saving time overall.
The 100D offers wider coverage with its phase-detection arrays while the new “Dual Pixel CMOS AF” system in the 70D is much smarter yet again, but the 700D’s AF in live view and video is still superior to much of what’s on offer elsewhere. Should you still want to do things the old way, Canon has retained the euphemistically named ‘Quick Mode’ which interrupts the live view feed, dropping the refl ex mirror to perform autofocusing using the camera’s conventional AF module. It’s clumsy and it’s certainly not particularly quick overall, but it’s there if you want it. in Touch The EOS 700D has a nine-point AF system like the 100D, but instead of just the central point being a cross-type array, they all are. The points can be selected manually and, like on most of Canon’s D-SLRs, there’s the option of ‘AI Focus AF’ which automatically switches between the single-shot and continuous modes if subject movement is detected. Sensitivity extends down to EV -0.5 after which the built-in illuminator provides assistance.
In live view the number of focusing points increases to 31 (at the standard 3:2 aspect ratio) and, for manual selection, the size of target zone can be magnifi ed by up to ten times. This is where the touch focus operation is available and it’s simply a case of touching the screen to focus the image at that point.
For manual focusing in live view, the magnifi ed image – at 5x or 10x – is again available. The 700D’s shutter has a speed range of 30-1/4000 second with fl ash sync up to 1/200 second. Incidentally, all exposure adjustments on the 650D can be switched between 1/3 or ½ stop increments via the Custom menu. As before, the built-in fl ash has a metric guide number of 13 (ISO 100) and coverage equivalent to the angle-of-view of a 17mm lens (i.e. 27mm in 35mm format terms).
The on-board flash modes include red-eye reduction (via a built-in illuminator), balanced fi ll-in, fi rst/ second curtain sync switching and a manual mode which allows the output to be reduced to just 1/128 of full power. Flash exposure compensation is available over a range of +/-2.0 EV and, additionally, the built-in fl ash can operate as the master unit in a wireless TTL fl ash set-up. Like the autofocusing system, the 700D’s metering is another proven performer – Canon’s 63- zone ‘iFCL’ colour sensitive module which was fi rst introduced on the 7D. The initials stand for ‘Intelligent Focus Colour & Luminance’ and the sensor’s design compensates for the different way the colours in the red and green-blue ranges are exposed.
The alternative metering methods are selective area (representing nine percent of the total frame area), spot (four percent) and centre-weighted average. The standard set of ‘PASM’ exposures control modes (although it’s actually ‘PAvTvM’ on a Canon) is supplemented by four subject modes and three ‘Special Scene’ modes. As before, the subject modes each have their own positions on the main mode dial, but the ‘Special Scene’ modes are accessed via the ‘SCN’ setting.
In the camera’s fully automatic mode ‘Scene Intelligent Auto’ operates, selecting the most appropriate mode – from portrait, landscape, sports and close-up – according to the type of lighting, the subject’s size in the frame and whether it’s stationary or moving. The three ‘Special Scene’ modes are Night Portrait, Handheld Night Scene and HDR Backlight control. Both latter two capture multiple exposures – four and three respectively – which are then merged and processed. TraininG WheeLS Like its predecessor, the 700D also has a ‘Creative Auto’ mode (CA on the dial) which is essentially fully automatic, but allows for some basic adjustments, namely Background Blur, Ambience and Lighting/Scene Type.
The first allows for the sharpness of the background to be adjusted over fi ve steps by changing the aperture (and increasing or decreasing the ISO to compensate) so it’s a quasi depth-of-fi eld control. Ambience is essentially a variation on the ‘Picture Styles’ and has settings for Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochrome.
Most offer a choice of low, standard and strong settings (alternatively low/medium/ high) while the Monochome adjustments are for blue or sepia toning. Lighting/Scene is really white balance control by another name which is made clear in the choice of settings – Daylight, Shade, Cloudy, Tungsten, Fluorescent and Sunset (plus Default). The Ambience and Light/ Scene settings are also available with the all subject modes except the HDR Backlight Control. All the CA adjustments are made via sliding scales shown in the monitor screen which also allow for touch control.
CA is essentially ‘training wheels’ for the 700D’s grown-up picture processing functions with start with staple set of six ‘Picture Style’ presets that are found across the EOS D-SLR range plus the more recent automatically adjusts the colour tone (or hue) to suit the scene data addition of an Auto setting. This is derived from the iFCL metering. Otherwise, the picture parameters for sharpness, contrast, saturation and colour tone can be manually adjusted in the Standard, Portrait, Landscape, Neutral and Faithful colour presets, and there’s provision for storing up to three customised ‘Picture Styles’.
The Monochrome preset has adjustments for contrast and sharpness plus fi lter and toning effects (but not as an extensive choice of the latter as Nikon now offers at this level with the D3200). Making corrections The 700D has both Canon’s ‘Auto Lighting Optimiser’ (ALO) correction for dynamic range expansion and ‘Highlight Tone Priority’ (HTP) processing. ALO has four settings – Low, Standard, Strong and Disable (with the sensible option of checking ‘Disable during manual exposure’) and it works by analysing the scene for brightness and contrast and then automatically adjusts the levels to avoid underexposure while still preserving tonality in the highlights.
The important point to make here is that ALO doesn’t alter the exposure settings which could otherwise affect either depth-of- field or the degree of blurring/ freezing movement. HTP works differently in that it leaves the shadows untouched, but adjusts the tone curve in the range from 18 percent grey (i.e. the mid-tone) to white (the brightest highlight) in order to preserve detailing.
HTP is either on or off, and, for reasons best known to Canon, it’s buried in the custom functions rather than being provided in the main shooting menu. When it’s activated at ISO 100, the sensitivity is automatically bumped up to ISO 200 to give more ‘headroom’ in the highlights and a ‘D+’ indicator is shown alongside the sensitivity setting in the displays (i.e. viewfinder and monitor). Correction is provided for lens vignetting – Canon calls it “peripheral illumination” – and chromatic aberrations. The correction data for 25 EOS system lenses is preloaded, but this list can be amended via the EOS Utility software supplied with the camera.
Noise reduction processing is available for both high ISOs and long exposures, the latter with an Auto option which kicks in at durations of one second or longer. The white balance control options are the same as those provided on the 650D and comprise auto correction supplemented by six presets, one custom measurement, auto bracketing and fine-tuning. All the presets (plus the auto mode) can be fine-tuned in both the blue-toamber and/or green-to-magenta colour ranges, but the three-shot bracketing sequences are made over either one or the other.
Up To Speed The standard sensitivity range is equivalent to ISO 100-12,800 with a one-stop push to ISO 25,600. As noted at the outset, the sensor is shared with the 100D and outgoing 650D so it has an imaging area of 22.3x14.9 mm and the total pixel count is 18.5 million. The maximum image size is 5184x3456 pixels for both 14-bit RAW files and JPEGs, but the latter can be recorded in one of four smaller sizes and at one of two compression levels.
A choice of four aspect ratios is provided – 3:2, 4:3, 16:9 and 1:1 – but the latter three are all crops of the first. There is one RAW+JPEG capture option which combines the CR2 file with a large/fine JPEG.
The maximum continuous shooting speed is quoted as 5.0 fps (compared to the 100D’s 4.0 fps) for a burst of 22 maximum quality JPEGs or six RAW files. There’s a single SD format memory card slot which supports the HC and XC types plus UHS-I high-speed data transfer. Video clips are recorded in the easy-toedit MOV format using MPEG 4 AVC/H.264 compression and in Full HD resolution of 1920x1080 pixels at either 24 fps or 25 fps. Clips can also be recorded at 1280x720 pixels and 50 fps. The old 4.0 GB file size limitation is no longer an issue as the camera automatically creates a new one at this point.
The 700D has both built-in stereo microphones and a stereo audio input. There’s the choice of auto or manual control of the recording levels and both a wind filter and an attenuator.
The aperture, shutter speed, ISO (up to ISO 12,800) and white balance can all be manually set for video recording plus the ‘Picture Style’ presets are available. All can be previewed via ‘Final Image Simulation’.
Also available – and previewable – are the ‘Auto Lighting Optimiser’, ‘Highlight Tone Priority’ and ‘Peripheral Illumination’ processing functions. Alternatively, the auto controls include scene selection – portrait, landscape or close-up – exposure, sensitivity (over a range of ISO 100 to 6400), and autofocusing, including automatic subject tracking via ‘Movie Servo AF’ (but which requires an ‘STM’ type lens). The 700D has the ‘Video Snapshot’ feature originally introduced on the 600D and which captures clips that are two, four or eight seconds in duration.
‘Final Image Simulation’ is, of course, also available in live view and with a larger selection of elements, including the Ambience and Light/Scene settings, and the ‘Creative Art’ effects.
A real-time histogram can also be displayed along with a choice of information displays and, as noted earlier, a version of the ‘Quick Control’ menu designed to allow viewfinding to continue. A choice of two grid displays is also available, but these aren’t shown in the optical viewfinder. A ‘Quick Control’ menu is also available in playback, enabling quick access to a number of functions, including the ‘Creative Art’ effects (for pots-capture application), resizing and applying a star rating.
There are four image review/replay screens which display basic capture info or a thumbnail image with a highlight alert and various combinations of luminance and/or RGB histograms. The playback modes include four or nine thumbnail pages, zooming between 1.5x to 10x and a slide show with adjustable image display times (plus a repeat function). Additionally, the slide show can be set to only replay selected images – for example, according to the date of capture, folder name or star rating. Speed and performance Loaded with our reference Gold Series Panasonic 16 GB UHS-I class SDHC memory card, the EOS 700D fired off a sequence of 17 JPEG/large/fine frames in 3.384 seconds, representing a shooting speed of 5.02 fps which is as close to the quoted speed as makes no difference. The buffer emptied very quickly. For the record, the average file size was 9.8 MB.
Subsequent test sequences achieved burst lengths of 18 and 19 frames so we fell short of the quoted 22, but not by much. The camera will go on shooting while the buffer is emptying at a much slower rate. The hybrid autofocusing system in live view may not be the latestand- greatest in the light of the 70D, but it’s still reasonably fast.
Shooting video with the new 18- 55mm ‘STM’ standard zoom, the continuous autofocusing was also reasonably smooth and certainly an improvement on what’s gone before.
The conventional AF system is both fast and reliable while there isn’t much that upsets the 63-zone metering, although the HTP processing really helps preserve more detail in the brighter highlights.
On paper, there shouldn’t be much difference between the imaging performance of the 700D and its predecessor, except that there’s continuous finetuning going so anything newer is always going to embody a few tweaks here and there.
Some evidence of this is apparent in the high ISO performance with noise levels commendably low all the way up to ISO 3200 and still acceptable at both ISO 6400 and 12,800 which is impressive given the size of the pixels. In fact, the 700D’s performance at ISO 12,800 is the best we’ve seen in an ‘APS-C’ format D-SLR with images exhibiting very little loss of colour saturation and only a small diminishing of definition.
Even the one-stop push to ISO 25,600 isn’t entirely unusable (provided the image is going to be reproduced reasonably small). At the lower ISO settings then, the image quality is exceptionally good with the RAW files, in particular, delivering impressive levels of crisply-defined detailing, very smooth tonal gradations and accurate colour renditions. Of course, the ‘Picture Style’ adjustments provide plenty of scope for fine-tuning the JPEGs to suit personal preferences.
The Verdict, The EOS 700D is more of a quick tidy-up of its predecessor than a major upgrade, although there are plenty of small changes which all add up in the end. However, 650D owners can take some comfort in the fact that their pride-and-joy hasn’t been made unacceptably obsolete. Like its predecessor though, the 700D is a thoroughly workable D-SLR at every level from its ergonomics through to its capabilities and overall performance.
This is a camera that simply gets on with the job, with the typical Canon emphasis on functionality over frills and unnecessary flashiness. Traditionalists may frown at the touch screen controls, but the reality is that they work exceedingly well and greatly enhance efficiency. However, if so desired, everything can still be done the old way too, and the efficiency levels are high here too. While it’s hard not to be seduced by the 100D’s size, if millimetres and grams really aren’t an issue, the 700D is the better package.
The articulated monitor screen is a godsend in live view and when shooting video, the faster continuous shooting speed is welcome, and nine crosspattern AF arrays are definitely better than one. The competition for the EOS 700D outside the Canon camp hasn’t got any easier either, but cohesiveness and competence means it’s more than up to the task.
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