Canon EOS Rebel T1i impressions, head-to-head with Nikon D5000
By Darren Murph 
posted April 30th 2009 11:10AM
posted April 30th 2009 11:10AM
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Design
If you've held the XSi or XTi, you've held the T1i. It checks in a wee bit smaller and lighter than the D5000 (in case you weren't aware, we'll be doing that with some frequency throughout), though it doesn't feel "cheaper." In fact, we'd argue that the T1i feels a bit more "professional" (as in, sturdy, solid and less like a toy) than the D5000. More rubberized grips were in place, the whole body felt exceptionally rigid and one-handed operation is totally feasible thanks to the left-aligned rear LCD monitor.
As with the D5000, Canon has also opted to not include a top-mounted LCD. In other words, you'll be looking at that back panel alone if interested in checking out shutter speed, white balance, RSS feeds (kidding, but we wish we weren't), etc. As for the button layout, that's a mixed bag. In most aspects, we greatly prefer the button layout on the T1i over that on the D5000; the dedicated ISO button makes adjusting levels whilst shooting in low light a breeze, and both the Menu and Display buttons are conveniently placed just above the rear LCD -- right where you thumb naturally falls.
That said, we still found ourselves detesting the teeny, tiny Record button for firing up movies (we greatly prefer the Live View to Record button on the D90 / D5000, though that's totally subjective). We also found the click wheel (used to shuffling through shutter speeds and the like) placement on the D5000 to be far easier to reach than the top-mounted wheel on the T1i. Additionally, the actual button used to snap a picture just feels too shallow and small for our tastes. C'mon Canon -- get a man-sized depressor on this thing, won'tcha? Finally, we're no fans of the mode dial, or more specifically, its inability to shuffle around 360 degrees. On the D5000, users can spin it entirely around in both directions; on the T1i, users can only spin it one way for a limited distance, and afterwards you'll have to back your way into the preferred setting. Petty, but notable. All in all we've got about as many likes as dislikes when it comes to buttons, but we can't help but note that the pros outweigh the cons (read: nuisances).
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Display
Make no mistake, the T1i's display is far less interesting than the Vari-angle monitor that's on the D5000. But in most every way, it's better. It's bigger (3.0-inches diagonally versus 2.7-inches on the D5000), it boasts a higher resolution (920,000 dots versus 230,000 dots on the D5000) and it's better positioned (left-aligned versus center-aligned on the D5000). 'Course, you can change that alignment quite easily on Nikon's offering, but if we're talking default positions, the T1i takes the gold here. The actual screen quality on the T1i is good, but it's certainly not as bright, sharp or crisp as the monitor on the D5000 (and D90, for that matter). Furthermore, the GUI on the T1i just isn't as visually stunning as the one on the D5000, though it does serve the purpose after you've digested a few chapters of the owner's manual.
So, we just know you're wondering which display we prefer. If we're being totally candid, we'd take the T1i's panel in 99 percent of scenarios. As many has recognized, the articulating display just isn't that useful in the vast majority of situations. It's cute, it's intriguing and it's different, but we just didn't find ourselves pulling it out all that often. Yeah, you can chalk that up to our distaste of Nikon's Live View implementation and the fact that we don't generally use our DSLR as a camcorder, but if you find yourself in that same camp, you too would probably find that Vari-angle monitor sat flush against the body most of the time.
What is useful, however, is the ability to really see the shot you just took on the rear of your camera, and nothing helps out more with giving you clear views than sheer resolution. Which, as we've pointed out already, is provided on the T1i's high-res screen. The bottom line? Articulating displays, at least on DSLRs, are overrated. Sorry, but it's true.
Image and video quality
With a sensor borrowed from the heralded 50D, it's easy to understand why the T1i takes gorgeous shots. Indeed, we were thoroughly impressed with the camera's shooting abilities in pretty much every respect. Inside, outside, you name it -- the T1i delivered shots that far exceeded our expectations for a camera at this price point. The ISO 12,800 option -- while largely unimportant due to the remarkable amount of grain it adds -- is still a feature we appreciated having. After all, a shot with loads of noise is better than no shot at all, right?
As you can see in the gallery below, the D5000 and T1i measured up pretty well against each other in terms of image quality. Indeed, we found it exceptionally tough to definitely say that we preferred the output of one over the other in every single shot and scenario. In certain lighting conditions, we found ourselves more partial to the T1i; in others, the D5000. At the end of the day, it's probably not the image quality that'll make this decision for you -- both cameras simply excel in producing beautiful shots.
Now, onto video. On paper, this one's easily an area where the T1i should dominate... right? Unfortunately, the T1i's 1080p movie mode carries along an unorthodox (ad unappreciated) 20fps setting, which is obviously nowhere close to the more widely accepted 24fps and 30fps standards. The 720p mode does do 30fps, but we couldn't but point out that the Full HD isn't quite as luxurious as advertised. Much like the D5000, the T1i also has a limit on capturing clips. With the D5000, there's a five minute per-clip maximum at 720p. On Canon's shooter, there's a 4GB per-clip ceiling, which roughly equates to 18 minutes of 720p footage or 12 minutes of 1080p. Either way, the time limit isn't nearly as strict on the T1i as it is on the D5000.
Oh, the quality? We know the Nikonians hate to hear it, but the Canon takes the cake here -- for two reasons, really. First off, at least the T1i has a 1080p mode, albeit a hamstrung one. When played back on a PC monitor, the output was definitely striking, as was the 720p footage. Secondly, the T1i doesn't exhibit the infamous "jelly effect" nearly as bad as does the D5000. Sure, there's a certain amount of wobble that's capture while walking as flat-footed as possible, but it's still far more tolerable than capturing that same walk with the D5000 (or D90, really). Also, we tended to lose focus a lot less with Canon's cam, and unlike either of Nikon's video-capable DSLRs, at least the T1i has a way (one that's admittedly clunky) to refocus automatically. Before starting a clip, the T1i instructs you to hold the "*" button to get the shot in focus; once you (or your subjects) begin to move, you can simply mash that button again to bring things back into focus without you having to touch the focus ring. We know, professional videographers will scoff at such a notion, but the novice born with only two hands and half a brain, it's a clever shortcut that gets the job done in most situations. Have a look at the clips below to see precisely what we mean.
Read - Unedited Nikon D5000 720p clip, leisurely walk
Read - Unedited Canon EOS Rebel T1i 1080p (20fps) clip, leisurely walk
Read - Unedited Canon EOS Rebel T1i 720p (30fps) clip, backyard / trees
As we close this section, we should point out that the 18-55mm IS lens bundled in the T1i kit is the Canon equivalent to the 18-55mm VR lens that Nikon tosses in the the D5000 kit. Take it from us -- buy the body only. The kit lens just doesn't have much usefulness in the grand scheme of things, and even an 18-105mm or similar would be entirely more flexible as an all-around option. Trust us, once you get this camera (or any DSLR, really), you'll quickly forget all about the kit lens once you splurge on a few nicer pieces of glass. That's not to say the kit lenses won't get the job done for novices, just that you should do a bit of lens research before selecting the kit over the body alone.
Wrap-up
Honestly, we could debate the merits of the D5000 and T1i for days based on specs alone; in some areas, the T1i appears superior, while the D5000 looks like the champ in others. But really, it's about more than numbers and marketing hoopla. It's about "the feel," it's about the features and it's about the value proposition. In case you haven't noticed, we actually compared the T1i to the higher-end D90 on a number of occasions throughout this piece, and for good reason. Somehow, Canon has managed to actually produce a camera that actually rivals a Nikon model that's supposedly one rung up on the ladder of DSLRs. We know, all the marketing suits are insisting that the T1i is really the D5000's main competitor, but frankly, even the D90 should be on red alert.
After using the T1i alongside the D5000, one thing became exceptionally clear to us: the T1i just feels and acts more like a professional camera than does the D5000. It's more rigid, the grips are better built, there's more flexibility due to a higher ISO ceiling and a few more megapixels (we know, we know...), and the video mode is marginally decent -- which is really saying something in the fledgling world of video-capable DSLRs. In terms of image quality, you're really splitting hairs. Both cameras deliver stunning shots for the money, and both are sure to impress their respective buyers. If you're already invested in one brand or the other with lenses and accessories, neither the D5000 nor the T1i offers anything mind-numbing enough to completely derail yourself and hop over to the ambiguous "dark side," but for those brand new to the arena with nothing to lose, it'll be mighty hard to turn down Canon's latest $800 body. In this price range, the only camera we like better than the T1i is Nikon's D90, which is currently streeting for around $90 more (body only) than the T1i's MSRP (body only, also).
We know, you probably zoomed down here hoping for infinite wisdom, an epiphany or a combination of the two, but the sad (happy?) truth is that the "entry-level" DSLR realm is cramped, and we haven't even begun to mix in options from Sony, Pentax and the rest of the gang. If you've somehow narrowed your options down to the D5000 or T1i, spend the extra bones and snag the T1i unless you've got some Nikon-branded accessories weighing you down. You'll appreciate the superior fit and finish, and the 1080p movie mode won't hurt. Oh, and believe us -- you won't miss that articulating display. If you don't mind spending a touch more, we still feel the far more rugged D90 is the way to go when you reach that $900 level. Or, you could just reignite your love affair with that dusty old Holga of yours and forget you were even caught up in this whole "digital" scandal to begin with.
I meant to indicate that I was referring the "fight" gallery. It was funny, though!
D.
D5000 has a built in interval timer for time lapse pics. I just wanted to say that I'll probably buy the D5000 over the D90 and the T1i for that feature. I know that you can set up that feature via a TI-83/89 or a laptop or a dongle, but forget that I want it built in. I just had to get that out there in case anyone at Canon or Nikon is listening.
The kit lenses go for around $115 on Ebay, probably the same on Craigslist.
This guy says it's worthless out of the box.
He sure about that?
How is camera screen resolution defined? Is a dot supposed to be a pixel? I have a simple point and shoot which apprently has a 230,000 dot screen which by my reckoning is around 580x396 pixels but its unsurprisingly not even close to that.
The T1i has 920,000 dots making it around 720HD res in 3 inches which it obviously isnt so how is it measured then? Is a pixel made up of 3 dots which would make 920,000 dots vga?
If you are considering getting either nikon d5000, d90 or canon t1i for the movie mode feature (as I am) I would say do NOT get the canon. the Canon does not have manual exposure control during movie mode, so you can not reliably get bokeh. It is basically like a point and shoot when shooting video. You lose the whole point of using an SLR for video.
I am posting this so you are not disappointed like I am when you are thinking about making all those shallow depth of field videos that look great. If you are not tied to canon due to owning lenses already, GET THE NIKON if video is a big deal for you (yes this is coming from a canon owner)
Finally an articulating display option in a DSLR! I don't care what others say, the articulating display is very beneficial... unless you are over 6 feet tall. Since my younger years, I always used SLR's until my equipment was stolen. Being only 5' 7" and wearing glasses, It was a struggle sometimes to get shots, especially in crowds.
After my equipment was stolen, I went simple and got a digital Nikon Coolpix that allowed vertical rotation of the display. This allowed me to take pictures above crowds and down low very easily. Then I went for a Canon Powershot A-series with the articulating display and it opened up a whole new realm of possibilities.
When I was in the market again for a SLR, I new it had to be digital, but I just could not accept that none of them had an articulating display. If there was one that had it, I would have bought it in a heartbeat. But again, I settled for the latest model Powershot..
If you are less than 5' 10" and/or wear glasses, you will find that an articulating display is much more useful than some think. Thanks to Nikon for starting a new era of DSLRs. For the other DSLR manufacturers... WAKE UP!!!
Andrew
yeah but at least with our height (i'm abt 5'7 as well) you can take perfect portraits of most people without needing an articulating screen or bending down so much
Thanks for the quick reviews... I do think the 50D is the next best camera up from the T1i, Its got excellent all around performance and IQ.
I have posted many image examples and lessons at http://www.learnslr.com
one important factor that i havent seen in the review or comments- the lack of a mic input in either camera. This wouldnt be a major problem if it wasnt for the fact that the inbuilt microphone is right next to the lens. I tried some sample videos (500D/X1i) in the camera store that i work in, and the autofocus motor in the kit lens was so loud that during playback it sounded like someone was using a powerdrill. It really drowned out everything else in the audio. So unless you have a USM lens dont even think about using the AF while recording video. I dont even wanna think about what it would be like with one of the louder third party lenses...
also, probably my biggest issue with the 500D and D5000- the price in the uk. The 500D is currently £100 cheaper than the 50D+18-200 kit. thats simply far too exensive for an 'upper entry level' camera. Noones going to buy it purely for the (hamstrung) video mode when you can get a camera with much better features for the same price...
D90 with high-res articulating screen, please.
I just sold my Canon XTI on eaby. The reason I sold it is a friend of mine who is also a novice got a D60 and the photos were substantially better than my xti. I also wanted a few other features. VIDEO. for movies of the kids. I missed that in my p&s. I do not really care about the 1080 as home movies do not need to be perfect. I also wanted the geotaggin feature that the NIKON has which enables you to hook up a GPS to it. A cool feature. I also liked the many shooting modes. So I am going to get the NIKON D5K
sounds like you're just a bad photographer. you should be able to take the same photos with a D60 or a XTi.
The picture earlier in the article where the Canon is teabagging the Nikon's forehead is even better than the OOF one.
- Kenjis9965,
There’s a lot of misinformation floating around the web regarding DSLRs, and in an attempt to staunch that, I’m going to focus on your post as you obviously know more than the standard target for either of these models.
“If you're looking at the D90 its time to start taking lenses into consideration, and sadly, thats where Nikon loses”
If we weren’t talking about APS-C (small sensor) cameras here I would agree with you. We’re not, however; and as it is, I’ve always found this line disingenuous at best. You list the trinity of f/4 L lenses, but these strike me as being an odd choice on a camera with 1.6x focal length multiplier. The 70 – 200 f/4 L would be the best there, I think, but becomes the 35mm equivalent of a 112 – 320mm f/5.6 (from the perspective of depth of field). The 17 – 40mm f/4 L is meant to be a fine lens on full frame, but on APS-C you’re left with a 27 – 64mm f/5.6. and the 24 – 105 f/4 L becomes a midrange zoom that starts at over 38mm @ f/5.6. (These are equal because the sensor of 35mm DSLRs collects more light due to its larger area & can therefore have its ISO pushed a stop, which negates the 1 stop advantage of these lenses on APS-C). The problem is that the price differential between these lenses and their equivalents on full frame would easily pay the difference between a 50D and a 5D Mk II. The question then becomes which would you rather have?
“And even though the D90 has the built-in focus motor, in-body AF is pretty poor...”
I’d be curious to know what you’re basing this statement on. In front of me at right now are a 40D and a D90 and I would have no problems using either. It should also be pointed out that the in-body focus motor is only used with lenses that don’t have their own, which is currently less than half their stable and shrinking as lenses are replaced.
“Nikon has the best kit lens selection of anyone! [really, no joke, thats about all they bloody make]”
Sure, if we ignore the introduction of new primes, the full tilt/shift set, the exotic super telephotos, and 2/3 of the bread-and-butter PJ lenses in less than two years. Compare the list of lenses introduced or replaced in the last few years by Canon to the same list by Nikon. That said, they should be producing lenses optimized for 95% of their cameras sold.
“But Nikon's AF-S autofocus on their lower end lenses is not as good as Canon's USM”
Again, I disagree. Both companies have cheaper versions of their ultrasonic motors that they utilize in their lower-end lenses. Most recently, Canon used theirs in the EF-S 18 – 200mm f/3.5 – 5.6 IS, a $600 lens.
“Canon also has affordable lenses like their 85mm f/1.8 which works great for indoor sports and portraits...Nikon's works ok for portraits but forget sports with it [it lacks AF-S]”
Funny then that so many people were able to use screw driven Nikkors for sports for years. I would say the real make-or-break area here is the AF system itself, not the lens. That said, is the Canon 85mm 1.8 faster at AF? Probably. Is the Nikkor 85mm unusable for sports? Nope.
“Also the D90's AF is not as good as my 30D”
Again, I have both a D90 & a 40D in my hands right now and notice no difference whatsoever in acquisition. Both have tracking and the AF points cover roughly the same area.
“but right -now- Canon has the larger selection of lenses with USM and no compatability charts”
True. In Nikon’s favor they’ve been making F-mount lenses for exactly 50 years now, all of which with the exception to invasive fisheyes will work with all of their cameras (though you may want to keep a file handy for the pre-AI ones). For those that do video, how about a 50 – 300mm f/4.5 that meters, or 35mm f/1.4 for ≈ $500? There are holes in both line-ups (as noted, more in Nikon’s), but neither is exactly weak.
“Also if you get serious and want to go full frame, the EOS-5D is much cheaper than the D700, it can be had for about $1200-1300 right now...”
Yes, if you’re comparing a 4-year old discontinued camera to a model introduced less than a year ago. You could also buy an even older Nikon mount Kodak DCS 14n for half the above price, and there are still people who rave about that camera at low ISO. However, the current cameras in that class, the D700 & 5D Mk II, are about the same price (≈$2,300). Each has its strengths and weaknesses.
I think the important thing is to decide what your shooting goals are, and then buy the equipment that meets those needs. There isn’t just one answer.
Why no one mention the 11-point focus model on D5000
That is a big step compared to D60...
Pentax BITCHESSSS
I'm a bit late posting to this thread... but I really enjoyed reading the comments. I am in the market for a new camera, having given up on P&S mostly due to photo quality issues, particularly in low light situations.
In a full size DSLR am leaning towards the Canon T1i but would also consider the Nikon D90. However, having come from smaller P&S cameras, I worry about the portability. This is really leaning me towards the upcoming Panasonic GH1 (June release). At debut, it seems like it will be pricier than it should be, but it seems to be an excellent balance of picture quality, movie capability and on the small end of the scale for DSLR.
The Panasonic G1 seems to get very good reviews and the early reviews of the GH1 are also compelling but incomplete.
Any thoughts from the experts in the crowd would be greatly appreciated.
I'm very surprised to read that anyone would think the T1i has "superior fit and finish". I've owned three cameras in the Digital Rebel series and handled all of them. They scream "plastic" like no other. Very nice cameras, but superior fit and finish they don't have.
Hi,
In the sample images I can see that the images taken with D5000 are darker than the ones taken with the Rebel T1i.
Is it the settings or lens or the sensor?
Are we going to see Canon make the 50D have HD video capability one of these days?
Per the video bit....
I wouldn't be looking for top of the line audio out of any DSLR camera with added video capabilities, but it sounds like Canon mounted the microphone inside the focus motor of the T1i. Didn't here a peep out of the D5000.
Picture zooming in as your kid is about to blow out the candles...
Happy Birthd...whhhhirrrrrr...scritch..scritch..scritch...chunk...chunk...you!!!!