|System:||● Canon EOS APS-C (2003)|
|Mount and Flange focal distance:||Canon EF-S [44mm]|
|Imaging plane:||22.5 × 15mm CMOS sensor|
|Resolution:||3504 × 2336 - 8 MP|
|Speeds:||30 - 1/8000 + B|
|Sensor-shift image stabilization:||-|
|Exposure metering:||Through-the-lens (TTL)|
|Exposure modes:||Programmed Auto|
Amstelveen, The Netherlands, 20 August, 2004. Canon, a leader in photographic and imaging technology, today announces its latest Digital SLR: the EOS 20D. With a newly developed second generation APS-C size 8.2 Megapixel CMOS sensor, 5fps shooting speed, 9-point AF and Canon’s new distance-linked ETTL II flash system, the EOS 20D is the first semi-professional camera to deliver all the performance, speed and flexibility of high-end film SLR cameras.
Replacing the critically acclaimed EOS 10D, the EOS 20D is powered by the same DIGIC II processor found in Canon’s professional series EOS-1D Mark II. Second generation DIGIC improves on Canon’s already class-leading colour rendition accuracy and speeds up processing and start-up times. A rugged magnesium alloy body completes the EOS 20D’s professional look and feel.
"The class-leading combination of 8.2 Megapixels and the best of EOS digital SLR technology now surpasses the performance, operability and image quality of film SLRs,” said Mogens Jensen, Head of Canon Consumer Imaging Europe. “To the many semi-professional and serious amateur photographers who have been waiting for an affordable digital alternative to their familiar film bodies, the EOS 20D will represent digital photographic freedom – a digital coming of age.”
Many key elements of the popular EOS 10D have been re-designed to further improve performance and image quality. The second generation DIGIC II processor combines with an increased buffer size to deliver a 23 frame burst rate at 5 fps – ideal for action and nature shoots and nearly double the performance of the EOS 10D. Separate JPEG and RAW files can write simultaneously with no loss in performance.
The second generation 8.2 Megapixel APS-C size CMOS sensor is purpose built for the EOS 20D. An extremely high ISO 3200 setting is selectable to further extend the camera's wide ISO 100-1600 speed range. High pixel density is made possible by the introduction of smaller area photo-diodes with a better S/N ratio and equivalent sensitivity to those of the EOS 10D. Improved high-performance micro lenses positioned above each photo-diode increase the percentage of light reaching the pixels, enhancing high-ISO performance and improving image quality. A new on-chip noise elimination circuit amplifies the signal in slow-read steps to eradicate fixed pattern and random noise, while a 3-layer optical low-pass filter placed in front of the sensor reduces false colour effects.
A new focus sensor and algorithm, and an increase from 7 to 9-point wide-area AF improves auto focusing speed and accuracy, particularly evident with off-centre subjects. Auto focus points not only cover a broader area of the frame, they are distributed such that focusing is fast and sharp when the classic ‘rule-of-thirds’ or ‘golden section’ composition technique is employed. The centre focussing point functions as a cross-type sensor when using lenses with an f/2.8 or faster aperture.
The newly developed APS-C sized 8.2 Megapixel CMOS sensor gives the camera a 1.6x magnification advantage over 35mm format cameras. While this creates an obvious advantage for telephoto lenses, it is less beneficial when meeting wide-angle requirements. The EOS 20D is compatible with more than 60 Canon EF lenses, including Canon’s new EF-S lenses. The camera’s launch is supported with the announcement of two new EF-S lenses, the EF-S 17-85mm f/4-5.6 IS USM and EF-S 10-22mm f/3.5-4.5 USM. These provide photographers with ultra-wide 16-35mm effective, and 5x wide-tele 28-135mm effective ranges. The new lens’ quality and inclusion of ultra-sonic motors is in line with that expected of a semi-professional camera system.
The EOS 20D features Canon’s new E-TTL II distance linked flash algorithm for both its built-in and external Speedlite units for vastly improved flash results. Rather than relying solely on pre-flash metering and focus points, the system takes into account such factors as lens distance information, ambient light readings and the detection of reflective objects in order to calculate flash output. Results improve considerably in circumstances such as recomposed shots, or where the appearance of high or low reflective objects in the frame would otherwise throw off flash exposure. The camera is compatible with the entire EX series Speedlite flash range. This includes Canon’s new Speedlite 580EX, which auto zooms when fitted to the EOS 20D to provide optimum flash coverage for the camera’s APS-C sensor size, and transmits colour temperature information for improved colour stability.
Black & White
In a first for digital SLR, the EOS 20D features a new Monochrome mode, making it possible to shoot in black and white. A range of filter effects (yellow, orange, red and green) can be digitally applied in much the same way that advanced black & white photographers use colour filters. Toning effects (sepia, blue, purple and green) add a colour to the final result, providing the same effect as conventional chemical toning.
The EOS 20D is the first DSLR model from Canon to feature a USB 2.0 Hi-Speed interface, making it viable to shoot with the camera tethered to a computer in a studio environment, recording images straight to hard disk and circumventing the need for post-shoot card downloads. USB 2.0 Hi Speed is approximately 40 times faster than standard USB 1.1, which was used on the previous EOS 10D. The EOS 20D also has a Video out interface to allow monitor viewing, and the camera is PictBridge compliant to support direct printing to any compatible photo printer without the need for first downloading to a computer. It takes both CompactFlash Type I and Type II cards, including cards of 2Gb and larger capacity.
The EOS 20D is compatible with the optional DVK-E2 data verification kit, used in fields such as insurance, reporting and police work to verify the authenticity of images taken with the camera. Software
New image processing software Digital Photo Professional v1.1 provides high-speed processing of lossless RAW files. Processing with Digital Photo Professional is approx. 6 times faster than the previously supplied File Viewer Utility. It allows real-time display and immediate application of adjustments to images and includes a wide array of RAW, TIFF or JPEG image editing functions, which give control over variables such as white balance, dynamic range, exposure compensation and colour tone. The camera JPEG images can be recorded in sRGB or Adobe RGB colour space, and the Digital Photo Professional application supports sRGB, Adobe RGB and Wide Gamut RGB colour spaces. An ICC (International Colour Consortium) profile attaches automatically to RAW images converted to TIFF or JPEG formats. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. Image processing of various parameter changes can now be batched rather than carried out sequentially, vastly increasing the efficiency when applying a number of changes to the same images.
Also provided is Canon EOS Solution Disk 8.0, containing EOS Viewer Utility 1.1, EOS Capture v1.1 and PhotoStitch 3.1. Adobe Photoshop Elements 2.0 is included to allow comprehensive image manipulation when needed.
The EOS 20D includes membership of Canon’s online photo album, CANON iMAGE GATEWAY with 100MB of space for image uploads and photo sharing.
To partner the EOS 20D and provide additional shooting options there’s a new BG-E2 battery grip. Dedicated to the EOS 20D the BG-E2 takes two powerful Lithium-Ion battery packs increasing enabling up to 2000 shots to be taken between charges. The new battery grip can also be used with six AA batteries in the supplied BM-E2 battery magazine. The BG-E2 provides additional shutter release, main dial, AE lock/FE lock and AF point selection controls for easier vertical shooting.
Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.
Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.
Format refers to the shape and size of film or image sensor.
35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.
APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.
Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).
Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.
As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.
A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).
This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),
CF – crop-factor of a sensor,
FL – focal length of a lens.
A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.
A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.
Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.
The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.
Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.
Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.
Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.
The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.
The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.
In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".
Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.
Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.
Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.
Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.
The diaphragm must be stopped down manually by rotating the detent aperture ring.
The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.
The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/ on this lens, and cannot be adjusted.
As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.
Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.
At maximum aperture, the opening will be circular regardless of the number of blades.
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
For lenses with collapsible design, the length is indicated for the working (retracted) state.
A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.
Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.
Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.
The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.
Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.
Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.
Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.
Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.
Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.