Most cameras comes with built-in electronic flashes. You’ll improve your pictures greatly buying an electronic flash, also called a strobe, either from the camera maker or a third party such as Vivitar or Sunpak. Expect to pay $100 to $500. Yep, you could spend as much on the flash as you did on the camera. It gives you more range, naturally lit images, no red eye, sometimes outdoor shooting in bright light. The flash will likely work automatically on your pocket camera if it’s from the same maker.

A $5000 camera is not within reach for most people. So this Nikon D3s review is a bit different—it’s a peek at the near future of photography where shooting in any lighting condition is possible. It’s really exciting.

ISO Is the New Megapixel: A Case Study

Nikon effectively declared the pixel war over with D3 two years ago: Its $5000 flagship shot a mere 12 megapixels—less than many point-and-shoots—and began the low-light arms race. The D3s again forsakes more megapixels for more light, sticking with 12 megapixels, and it’s a tiny miracle of engineering.

The D3s isn’t a thoughtless product rehash—as you might expect given that Nikon’s simply tacked an ‘s’ onto the end of the D3. Unlike the D300s, which didn’t progress all that far in the two interceding years, the D3s is steady evolution at its best: It offers roughly double the low-light performance as the original D3.

What All This Low Light and ISO Business Means

A brief explanation of low-light digital photography and ISO is in order (click here for the long explanation). The focal point of engineering with the D3s, and other cameras of this caliber, has been boosting their ability to pick up more light (because a photo = light). That photo directly above with a 100 percent crop in the loupe? Taken at night at ISO 102,400.

The D3s uses a completely new sensor that refines elements of the original D3’s sensor, like a new gapless microlens architecture that directs more available light onto the sensor’s photodiodes. With film, ISO speed is a standard that indicates how sensitive the film is to light—higher speeds are more sensitive. With digital cameras, when you set the ISO speed, it’s supposed to be equivalent to the film standard. In low-light conditions, you boost the ISO, so you don’t need a long exposure time or wide open aperture. The problem with cranking up the ISO is that when you boost the camera’s sensitivity to light (the signal) you’re also boosting its sensitivity to noise—which can be sexy with film, but isn’t really with digital photos. The D3s shoots up ISO 102,400, far beyond any film you could buy at Walgreen’s. (Does Walgreen’s still sell film?) At that level, you’re talking night vision, practically, though the resulting noisy ass photo’s nothing you’d want to print.

So, here’s what the D3s offers, practically. In the most common DSLRs that people own, or with the latest crop of Micro Four Thirds cameras, the borderline for what we’d call good ISO performance is around ISO 800. In the original D3, it was ISO 3200, orders of magnitude better.

The D3s doubles the low-light performance of the D3: ISO 6400 photos look just about as clean ISO 3200 photos taken with the D3 (they look good), and ISO 3200 photos are whistle clean to all but the most trained eye, especially if they’re down-res’d to web or print size. ISO 12,800 is the new ISO 6400—the outer limit of acceptably printable. In short, the D3s is the best low-light camera we’ve ever used, a leap beyond last-generation’s low-light killers. You can basically shoot in any lighting condition. That’s incredible.

It’s Built for Photographers

The D3s is built for war zones, and being slung in the mud at 40mph. It weighs nearly 3 pounds, without a lens. Yet it’s well-balanced and supremely comfortable to hold, with the best ergonomics in its class—Canon’s 1D Mark IV feels surprisingly awkward by comparison—so we could shoot for hours on end in the closest thing to gadget blogging’s war zones, CES and the iPad launch, and slug people who got in our way. (The dual CF card slots and ginormous battery help with shooting for hours. We didn’t quite reach the 4,200 shots it’s spec’d for, but we definitely shot a couple thousand photos per charge.)

It feels like what a pro camera should feel like, with almost all of the controls you need at your fingertips—the addition of a dedicated live view button versus the original D3 definitely helped there, though a more natural way to change the ISO setting while using the camera’s vertical grip would be nice.

It is a photographer’s camera, though, to be sure. Even as it shoots a crazyfast 9 frames per second at full-resolution RAW and its 51-point autofocus proved fast and accurate for us at trade shows, Nikon continues to lag behind Canon when it comes to video, with it feeling more tacked on than any of Canon’s shooters—it’s still 720p video using the bleh Motion JPEG codec—it’s functionally better than the D300s, though, with improved autofocus in live view mode. That said, given that Nikon’s announced its first 1080p-shooting camera, we’re hopeful for the seemingly inevitable D700s on the video front, anyway.

Most of our testing took place at CES and the iPad event, which are marked by shitty and ever-changing light conditions, and we’ve never felt more comfortable shooting handheld without a flash or tripod. It’s truly liberating. Light is your bitch—you can shoot wherever, whatever you want. (Especially with a fast lens, but even “slow” lenses suddenly feel eminently more usable.) While auto white balance was never quite perfect, the pop and saturation of the D3s’s colors are just about unbeatable. It’s the ultimate gadget-shooting-in-crappy-conditions camera. Here’s some of posts we used the D3s to shoot:

• iPad Hands On
• iPad Liveblog
• Slayer Espresso
• E-Ink Is Dead, Pixel Qi Just Killed It
• Ballmer CES Keynote
• CES We’re Here

(You can also check out our previous hands on with a pre-production unit for more samples. And for a more technical review, DPReview’s got you covered.) A note: You’ll notice I don’t have a ton of sample photos, and that’s because somehow hundreds of them completely poofed from my hard drive.

The D3s doesn’t operate under any new philosophy, but it does remarkably take the game a step further, revealing with more clarity a world where camera performance doubles roughly every two years. Much like processors, where the tradeoff is more power or more efficiency, the choice is more megapixels or better performance. (But newspapers and monitors are only so big.)

We’re running through Canon’s answer to the D3s, the 1D Mark IV at this very moment, so we’re intensely interested to see who’s wearing what pants at the end of this. Either way, it shows that competition is a very good thing: Everybody wins.

The best low-light camera we’ve ever used

Fast and accurate 51-point AF to go with its 9FPS rapid fire

Solid ergonomics

Would prefer a more accessible ISO button

There’s still a major disconnect with video, which lags behind Canon quality and otherwise

It’s $5000, so this amazing low-light performance is out of reach for most people for a few more years (not really a knock against the camera, just a general frowny face)

[Nikon]

In 1975, the first digital camera took 23 seconds to record a 100-line black-and-white photo onto cassette tape. Today, a Nikon D3s takes photos with 12 million pixels at 1/8000 of a second. And it can see in the dark.

The conventional wisdom is that the romp-stomp-stomp of progress in digital imaging has proceeded on the mostly one-way track of ballooning pixel counts. Which wasn’t always a pointless enterprise. I mean, 1.3-megapixel images, like you could take in 1991, aren’t very big. The Nikon D1, introduced in 1999, was the digital camera that “replaced film at forward-looking newspapers.” It was $5,000 and shot 2.7 megapixel images using a CCD sensor, large enough for many print applications. But still, there was room to grow, and so it did. Now pretty much every (non-phone) camera shoots at least 10-megapixel pictures, with 14 megapixels common even in baseline point-and-shoots. Cheap DSLRs from Canon are now scratching 18MP as standard. Megapixels were an easy-to-swallow specification to pitch in marketing, and became the way normal people assessed camera quality.

The now-common geek contrarianism is that more megapixels ain’t more better. The new go-to standard for folks who consider themselves savvy is low-light performance. Arguably, this revamped arms race was kickstarted by the D3, Nikon’s flagship DSLR that forsook megapixels for ISO. (Rumor had it that the D3 and D300 led Canon to shitcan their original, middling update to the 5D, pushing full-steam-ahead for a year to bring us the incredible 5D Mark II.) However it began, “amazing low-light performance” is now a standard bullet point for any camera that costs more than $300 (even if it’s not true). Nikon and Canon’s latest DSLRs have ISO speeds of over 100,000. Welcome to the new image war.

How a Camera Sees

The name of the game, as you’ve probably gathered by now, is collecting light. And in fact, the way a digital camera “sees” actually isn’t all that different from the way our eyeballs do, at one level. Light, which is made up of photons, enters through a lens, and hits the image sensor (that boring looking rectangle above) which converts it into an electrical signal, sorta like it enters through an eye’s lens and strikes the retina, where it’s also converted into an electrical signal. If nothing else after this makes sense, keep this in mind: The more light an image sensor can collect, the better.

When a camera is spec’d at 10 megapixels, it’s not just telling you that its biggest photos will contain about 10 million pixels. Generally, it’s also telling you the number of photosites, or photodiodes on the image sensor; confusingly, these are also often referred to as pixels. Photodiodes are the part of the sensor that’s actually sensitive to light, and if you remember your science, a photodiode converts light (photons) into electricity (electrons). The standard trope for explaining photosites is that they’re tiny buckets left out in a downpour of photons, collecting the light particles as they rain down. As you might expect, the bigger the photosite, the more photons it can collect at the moment when it’s exposed (i.e., when you press the shutter button).

Image sensors come in a range of sizes, as you can see in this helpful diagram from Wikipedia. A bigger sensor, like the full-frame slab used in the Canon 5D or Nikon D3, has more space for photosites than the thumbnail-sized sensor that fits in little point-and-shoots. So, if they’re both 12-megapixels, that is, they both have 12 million photosites, the bigger sensor can obviously collect a lot more light per pixel, since the pixels are bigger.

If you’re grasping for a specification to look for, the distance between photosites is referred to as pixel pitch, which roughly tells you how big the photosite, or pixel, is. For instance, a Nikon D3 with a 36mm x 23.9mm sensor has a pixel pitch of 8.45 microns, while a Canon S90 point-and-shoot with a 7.60 mm x 5.70 mm sensor has a pitch of 2 microns. To put that in less math-y terms, if you got the same amount of light to hit the image sensors the D3 and the S90—you know, you took the exact same exposure—the bigger pixels in the D3 would be able to collect and hold on to more of the light. When you’re looking for low-light performance, it’s immediately obvious why that’s a good thing.

Catch More Light, Faster, Faster

Okay, so that’s easy enough: As an axiom, larger photodiodes result in more light sensitivity. (So with the 1D Mark IV, Canon kept the same photodiode size, but the shrunk the rest of the pixel to fit more of them on the same-size chip as its predecessor). There’s more to an image sensor than simply photosites, though, which is why I called up Dr. Peter B. Catrysse from the Department of Electrical Engineering at Stanford University. The “ideal pixel,” he says, would be flat-just an area that collects light-nearly bare silicon. But even at a basic level, a silicon photodiode sits below many other structures and layers including a micro lens (which directs light onto the photodiode), a color filter (necessary, ’cause image sensors are in fact color blind) and the metal wiring layers inside each pixel. These structures affect the amount of light that the photodiode “sees.” So one way manufacturers are improving sensors is by trying to make all of these structures as thin as possible-we’re talking hundreds of nanometers-so more light gets through.

One major way that’s happening, he says, is with back-illuminated sensors, which move the wiring to the back-side of the silicon substrate, as illustrated in this diagram by Sony. It’s currently still more expensive to make sensors this way, but since more light’s getting through, you can use smaller pixels (and have more of them).

In your basic image sensor construction, there’s an array of microlenses sitting above the photosites to direct light into them. Previously, you had gaps between the microlenses, which meant you had light falling through that wasn’t being directed onto the actually light-sensitive parts of the sensor. Canon and Nikon have created gapless microlenses, so more of the light falling onto the sensor is directed into the diode, and not wasted. If you must persist with the bucket metaphor, think of it as putting a larger funnel over the bucket, one that can grab more because it has a wider mouth. Here’s a shot of gapless microlens architecture:

A chief reason to gather as much light as possible is to bring up your signal-to-noise ratio, which is the province of true digital imaging nerds. Anyways, there are several different sources and kinds of noise. Worth knowing is “photon shot” or just “shot” noise, which occurs because the stream of photons hitting the image sensor aren’t perfectly consistent in their timing; there’s “read” noise, which is inherent to image sensors; and “dark current” noise, which is basically stray electrons striking the sensor that aren’t generated by visible light—they’re often caused by heat.

Taken with a Nikon D3s at ISO 102,400
Back in the day, when people shot photographs on this stuff called film, they actually bought it according to its light sensitivity, expressed as an ISO speed. (A standard set by the International Organization for Standardization, confusingly aka ISO. The film speed standard is ISO 5800:1987.) With digital cameras, you also can tell your camera how sensitive to light it should be using ISO, which is supposed to be equivalent to the film standard.

The thing is, whether you’re shooting at ISO 100 or ISO 1600, the same number of photons hit your sensor—you’re just boosting the signal from the sensor, and along with it, all the noise that was picked up on the way. If you’ve got more signal to work with—like in a camera whose sensor has some fat photon-collecting pixels, you get a higher signal-to-noise ratio when you crank it up, which is one reason a photo taken D3 at ISO 6400 looks way better than one from a teeny point-and-shoot, and why a 1D Mark IV or D3s can even think about shooting at an ISO of over 100,000, like the photo above. (Another reason is that a 1D Mark IV-level camera possesses vastly superior image processing, with faster processors that can crunch complex algorithms to help reduce noise.)

Sensor Shake and Bake

There are two kinds of image sensors that most digital cameras use today: CCD (charge-coupled device) sensors and CMOS (complementary metal-oxide-semiconductor) sensors, which are actually a kind of active-pixel sensor, but the way they’re made have become a shorthand name. “Fundamentally, at least physics-wise, they work exactly the same,” says Dr. Catrysse, so one’s not intrinsically more awesome than the other. CCD sensors are the more mature imaging technology. So for a long time, they tended to be better, but now CMOS sensors are taking over, having almost completely crowded them out of cellphones and even high-end DSLRs (Leica’s M9 is an exception). Dr. Catrysse suspects CCD sensors will be around for some time, but perhaps more likely in scientific and niche applications where high-level integration, speed and power usage are less of an issue as compared to mainstream mobile applications.

A “CMOS sensor” is one that’s made using the CMOS process, the way you make all kinds of integrated circuits—you know, stuff like CPUs, GPUs and RAM—so they’re actually cheaper to make than CCD sensors. (The cheap-to-make aspect is why they’ve been the sensor of choice in cameraphones, and conversely, DSLRs with huge chips.) And, unlike a CCD sensor, which has to move all of the electrons off of the chip to run them through an analog-to-digital converter, with a CMOS sensor, all of that happens on the same integrated chip. So they’re faster, and they use less power. Something to think about as well: Because they’re made pretty much the same way as any other semiconductor, CMOS sensors progress along with advances in semiconductor manufacturing. Smaller transistors allow for more circuits in a pixel and the potential to remove more noise at the source, says Dr. Catrysse, bringing us closer to fundamental physical limits, like photon noise, and performance that was once the prerogative of CCD sensors. And then we’re talking about using small features in advanced semiconductor manufacturing technology for controlling light at the nanoscale.

The Point

We’ve reached, in many ways, a point of megapixel fatigue: They’re not as valuable, or even as buzzy as they used to be. Not many of us print billboard-sized images. But the technology continues to progress—more refined sensors, smarter image processors, sharper glass—and the camera industry needs something to sell us every year.

But that’s not entirely a bad thing. Our friend and badass war photographer Teru Kuwayama says that while “increasing megapixel counts are mostly just a pain in the ass, unless you happen to be in the hard drive or memory card business, skyrocketing ISOs on the other hand, are a quantum leap, opening up a time-space dimension that didn’t exist for previous generations of photographers. I’d happily trade half the megapixels for twice the light sensitivity.”

Better images, not just bigger images. That’s the promise of this massive shift. The clouds to this silver lining are that by next year, ISO speeds will likely be the headline, easy-to-digest spec for consumers. And like any other spec, just because the ISO ratings go higher doesn’t mean low-light performance will be better. Remember, “more” isn’t more better.

Still something you wanna know? Send questions about ISO, isometric exercise or isolation here with “Giz Explains” in the subject line.

The T1i’s not even a year old, and Canon’s knocking it down: The Rebel T2i pulls from the 7D, delivering 18 megapixels and legit 1080p video (24, 25 or 30fps) for $900.

The T2i pulls from the higher-end 7D almost the same way the T1i pulled from the 50D, though it has its own sensor that simply borrows the gapless microlens tech from the 7D, which was supposedly why it could cram 18MP onto an APS-C-sized chip without noise the size of boulders. (We’ll see if that’s the case.) The main thing you do lose from the 7D is that you only get a 4-channel readout with this sensor, vs. the 7D’s 8-channel, and it’s only got one DIGIC IV processor, not two.

It shoots at 18.1 megappixels, with an ISO range of 100-6400 (extended up to 12,800), with a 9-point AF (only the center point is cross-type though) and the 7D’s IFCL 63-layer dual-zone metering system, but adapted for the 9 AF points. Oh, and it shoots at 3.7FPS in bursts of up to 34 JPEG or six RAW.

The 1080p video isn’t gimped like the T1i, either, with fully select framerates (30, 24 or 25fps) and manual exposure (+/- 5 stops), plus the codec’s H.264. Sound’s mono, but you can jack in a stereo mic. Cutting it down to the 720p or standard def nets you 50 or 60fps. Also, there’s a new “movie crop” mode that effectively zooms in 7x by only using the center part of the sensor, though you only get standard def video out of it.

The interface, ergonomics and controls and more like the 7D’s as well, with a dedicated movie button and quick info screen, though you can’t customize the controls quite as extensively. The body’s not quite as durable, swapping metal for polycarbonite (one of the things the extra $1000 for the 7D gets you). The screen sounds impressive: 1.2-million dots should pop out of the 3-inch display. Lastly, for memory you’ve got your choice of SDHC of SDXC.

The Rebel’s getting shuffled a bit: The T1i is sliding down to be the new mid-entry-level, while the XSi is going away, and the XS sticks around as the bottom of the barrel DSLR.

At $899 for the kit with a pretty standard 18-55mm lens, or $799 body only, this, people, is the new entry-level camera to get when it hits in March. (At least on paper.)

THE NEW CANON REBEL T2i DIGITAL SLR TAKES ASPIRING PHOTOGRAPHERS BEYOND THE STILL WITH ADVANCED VIDEO FEATURES

The Family Camera is Back, Introducing the EOS Rebel T2i Featuring a Large 18-Megapixel
CMOS Sensor and Full HD Video Recording with Selectable Frame Rates up to 30 fps

LAKE SUCCESS, N.Y., February 8, 2010 – Canon U.S.A., Inc., a leader in digital imaging, today introduced the new flagship model for the Company’s highly popular Rebel DSLR line: the Canon EOS Rebel T2i Digital SLR camera. Today’s photo enthusiast is looking for a camera that will grow with them as they learn, and that is a perfect description of the new EOS Rebel T2i Digital SLR camera. Retaining all of the traditional characteristics that have made the EOS Rebel series beloved by entry-level photographers and an industry best-seller, the new Rebel T2i succeeds in bridging the gap between an entry-level camera and a true pro-sumer camera.

The Rebel T2i Digital SLR camera includes a variety of new features for photographic assignments as varied as grabbing that action shot from the sidelines or creating memorable family portraits, including: 3.7 fps shooting, an ISO range of 100-6400 (expandable to 12,800), a 63-zone Dual Layer Metering System, and Canon’s DIGIC 4 Imaging Processor. There are some moments in our lives where video helps capture the moment better than a still image, and the Rebel T2i offers the best of both worlds with Full HD 1080p video as well as 18-megapixel still images. The Rebel T2i DSLR continues Canon’s industry-leading trend in Full HD DSLR video capture with manual exposure control, selectable frame rates and a new external microphone input. There is also a new feature for standard definition recording, Movie Crop, which provides an approximate 7x additional zoom with no loss of image quality when shooting SD quality video.

“There is no question that HD video is the biggest trend in DSLR technology and because of this we are seeing the creativity of still photographers transferring to the moving image. Still photographers are using the various lenses and accessories they are already familiar with to create amazing video footage,” stated Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A. “Taking that HD video quality and putting it in the hands of entry-level photographers with cameras like our new EOS Rebel T2i, we are seeing a new generation of creative digital artists emerge.”

Lights, Rebel, Action – EOS HD Video
Canon’s EOS HD video capture has helped spark a major movement in digital imaging, empowering still photographers with the ability to experiment, learn and capture stunning high-definition video through a variety of creative lenses. Continuing this imaging revolution, the new EOS Rebel T2i puts entry-level photographers on the frontline equipped with all the latest EOS HD video features including full HD video at 1920×1080 resolution, selectable frame rates, full manual exposure control and the visual options of interchangeable lenses. Manual video exposure control provides novice filmmakers with the image control they are accustomed to in a still camera, all while shooting professional-level cinematic video. Professional photographers utilize creative lighting, adjustable depth-of-field and a variety of lenses to create powerful still images and video footage, and these are exactly the tools that the new Rebel T2i gives to budding photo and video enthusiasts. Adding a new professional-level feature for EOS cameras, the Rebel T2i includes an Auto ISO function that works in all Creative Zone exposure modes including Manual where users can set a limit to the highest ISO the camera will use, enabling them to retain the lighting and look they desire for a scene. By setting an Auto ISO range, videographers can retain dark shadow areas and avoid blowing out highlight areas in a scene while still retaining the benefit of automatic ISO adjustments. The Rebel T2i DSLR captures video in both NTSC (National Television System Committee) and PAL (Phase Altering Line) standards at selectable frame rates including Full HD 1920 x 1080 at 30 (29.97), 25 or 24 (23.976) fps, and HD 1280 x 720 or Standard Definition 640 x 480 quality video, at 60 (59.94) or 50 fps.

For easier video recording operation and familiar functionality for beginners, the Rebel T2i’s autofocus can be operated before or during video recording by pressing the shutter button half-way down in video mode. Another feature debuting in the Rebel T2i is Canon’s new Movie Crop mode, where the user can achieve 7x magnification when shooting SD video for a significantly increased “telephoto” effect. Unlike the digital zoom feature found in many compact digital cameras, Canon’s new Movie Crop mode actually crops the image directly from the CMOS sensor at full SD resolution to preserve maximum image quality and provide additional zoom power. The new Movie Crop feature is especially helpful for achieving extra full resolution zoom power when filming youth sports, such as a child running to the furthest end of a field. For better sound quality when shooting video, the Rebel T2i DSLR includes an external stereo microphone jack, a first for an EOS Rebel model, in addition to its built-in monaural microphone. These audio and video features supplement a tremendous range of additional must-have video features in an entry-level Digital SLR camera.

For enhanced viewing pleasure and easy video sharing at home, the HDMI video-out capability of the Rebel T2i DSLR includes a new Consumer Electronics Control (CEC) compatibility which allows users to play back still or video files on a CEC-compliant HDTV, using the TV remote to control the camera when connected via HDMI interface.

Camera Feature Set
The EOS Rebel T2i DSLR features a newly developed 18-million-pixel Canon CMOS imaging sensor providing outstanding resolution and light sensitivity for amazing poster-sized prints with fine detail and stunning color. The camera exhibits exceptional low-noise performance incorporating many of the same technologies used to reduce noise in professional cameras such as the EOS 7D. The Rebel T2i camera’s basic ISO range is an amazing 100~6400, and via a Custom Function, it can be extended to ISO 12,800. The outstanding ISO range combined with its noise reduction technology allows the Rebel T2i to capture outstanding low-light pictures at events such as candlelit birthday celebrations or recitals where flash photography may be prohibited.

The camera provides 3.7 fps continuous shooting for still photos, making it the fastest shooting Rebel model to date and enabling users to capture that great image of a little leaguer’s first swing. The camera features Canon’s proprietary iFCL 63-zone dual-layer metering system offering intelligent Evaluative metering with much finer segmentation than any previous EOS Rebel model. The new Rebel T2i also has an expanded ± 5 EV exposure compensation range allowing for much more versatility when shooting in extremely bright or dark environments; or when shooting HDR (high dynamic range) images.

The Rebel T2i DSLR includes a number of professional-level user-selectable Canon image processing features to enhance the image quality of in-camera JPEG files, and to tag RAW images for processing later through Canon’s Digital Photo Professional software (included with the camera). These features include Canon’s Auto Lighting Optimizer to enhance shadow detail and add contrast to “flat” scenes, Highlight Tone Priority adding up to one stop of detail in bright highlight areas, Peripheral Illumination Correction for automatic correction of vignetting, High ISO Noise Reduction with four user-selectable settings, and Long Exposure Noise Reduction applied to exposures one second or longer. These Canon image enhancements provide new photographers with professional quality automatic image correction on JPEG files right out of the camera.

The EOS Rebel T2i digital camera includes a new enhanced 3-inch LCD monitor featuring 1.04 million dots with a wide 3:2 aspect ratio, wider than previous EOS models. The Rebel T2i camera’s LCD monitor can display a full-screen video image utilizing the entire screen during playback. For maximum storage capacity the new EOS Rebel T2i Digital SLR camera is the first EOS model to support SDXC memory cards. With all the new and exciting features of the EOS Rebel T2i, the Rebel series continues to provide great Canon features such as Live View, a built-in pop-up flash, and the EOS integrated cleaning system, as well as compatibility with Canon EX-series Speedlites and Canon EF and EF-S lenses allowing users to fully explore multiple creative photographic possibilities. The new EOS Rebel T2i Digital SLR camera is also compatible with Canon’s new BG-E8 battery grip and new RC-6 wireless remote control for both still images and video capture.

Pricing and Availability
The Canon EOS Rebel T2i Digital SLR camera is scheduled to be delivered to U.S. dealers in early March, and will be sold in a body-only configuration at an estimated retail price of $799.99. It will also be offered in a kit version with Canon’s EF-S 18-55mm f/3.5-5.6 IS zoom lens at an estimated retail price of $899.99.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked fourth overall in the U.S. in 2009†, with global revenues of US $35 billion, is listed as number four in the computer industry on Fortune Magazine’s World’s Most Admired Companies 2009 list, and is on the 2009 BusinessWeek list of “100 Best Global Brands.” Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei – “all people, regardless of race, religion or culture, harmoniously living and working together into the future” – Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at www.usa.canon.com/kyosei. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

Canon T2i/550D walkthrough video: