CANON EOS 2000D

Digital Photograper - - Contents -

Does this mir­ror­less en­try-level DSLR hold its own de­spite some tough com­pe­ti­tion from its ri­vals?

With com­pe­ti­tion from many mir­ror­less ri­vals, does the EOS 2000D main­tain a case for the en­try-level DSLR?

Ear­lier this year, Canon gave its en­try-level EOS DSLR line-up a boost with the ad­di­tion of two new mod­els, and the more se­nior of the two is the cam­era on test. So what’s new? Not much, it seems; the EOS 2000D’s spec sheet is es­sen­tially iden­ti­cal to the EOS 1300D’s that came be­fore it, save for a 24.1MP APS-C sen­sor in place of the pre­vi­ous 18MP ver­sion.

This works in part­ner­ship with a DIGIC 4+ pro­cess­ing en­gine, which en­ables Full HD video and 3fps burst shoot­ing, while a built-in flash and a bat­tery that’s rated to 500 frames per charge also fea­ture. Un­less you’re shoot­ing videos or us­ing Live View, com­po­si­tion hap­pens through a pen­tamir­ror viewfinder with 95% cov­er­age, and there’s not much to fault with it. There’s no cast to speak of and AF points are nice and bright, with plenty of room at its base for key ex­po­sure set­tings.

The 3in LCD be­neath it has a re­spectable 920K dots. It’s fixed in place, which is un­der­stand­able on such a ba­sic model, and the ab­sence of touch func­tion­al­ity, while a pity, is for­give­able. It’s the fact that it’s re­cessed a cou­ple of mil­lime­tres be­hind the outer panel that’s a real shame, as this makes it hard to main­tain vis­i­bil­ity in harsh light.

The nine-point AF sys­tem is ba­sic by even en­try-level DSLR stan­dards, but in good light it finds fo­cus well and doesn’t take too long to do so. And, al­though per­for­mance slows in darker con­di­tions, the cam­era still man­ages to lock onto many low-con­trast sub­jects.

Switch to Live View, how­ever, and the lack of Canon’s Dual Pixel CMOS AF makes it­self ap­par­ent; re­gard­less of the shoot­ing con­di­tions, it’s sim­ply too slow to be use­ful for any­thing but static sub­jects, and sig­nif­i­cantly be­hind cur­rent mir­ror­less mod­els pitched at the same type of user.

The Quick Con­trol screen and top-plate com­mand dial make light work of chang­ing key set­tings, and you can gen­er­ally get to

where you need to be at speed. When set to con­tin­u­ous shoot­ing, the cam­era eas­ily meets its 150 burst depth in JPEG and even ex­ceeds its stated RAW burst depth of 11 frames by three or four frames on av­er­age. Switch to RAW+JPEG and you typ­i­cally get six to seven frames.

Most peo­ple will be buy­ing the EOS 2000D with the EF-S 18-55mm f3.5-5.6 IS II kit lens, which isn’t as bad a per­former as its ‘kit’ des­ig­na­tion may im­ply. Once stopped down to the mid­dle of the aper­ture range, def­i­ni­tion across the frame is more than ac­cept­able.

That said, as the cam­era lacks the full suite of Canon’s lens aber­ra­tion correction tools, curvi­lin­ear dis­tor­tion and chro­matic aber­ra­tion re­main in JPEGs. The lack of these, to­gether with the ab­sence of any in-cam­era RAW ad­just­ment, es­sen­tially means you need a com­puter to get the best out of the files.

Ex­po­sures are largely fine and dy­namic range ap­pears to be per­fectly ad­e­quate for most scenes, with a healthy range of re­cov­er­able de­tails from RAW files. Colours ap­pear faith­ful on the stan­dard set­ting, al­though some low-con­trast scenes ben­e­fit from a touch of un­der­ex­po­sure in order to make their colours more true to life.

Any­one plan­ning on us­ing the cam­era for video may be dis­ap­pointed to learn that, at least with the kit lens, footage ap­pears to lack a little bite. Fur­ther­more, while you can set a shut­ter speed of your choos­ing, it’s not pos­si­ble to use aut­o­fo­cus, which makes it more dif­fi­cult to use ca­su­ally.

Over­all, while the EOS 2000D is a per­fectly ser­vice­able model that be­haves with a pleas­ing pre­dictabil­ity, it’s also a fairly unin­spir­ing re­lease that lacks any real USP. Against a slew of other stur­dier, bet­ter­specced mir­ror­less ri­vals – and even some older DSLRs that cur­rently re­side in the same price bracket – it ul­ti­mately fails to make its case.

“The Quick Con­trol screen and top-plate com­mand dial make light work of chang­ing key set­tings”

Top KIT LENSThe lens isn’t bad stopped down, al­though chro­maticaber­ra­tions are vis­i­bleAbove COLOURSThe Land­scape set­ting gives images like these anex­tra punch

LeftMODE DIALAuto and scene modes right through to man­ual con­trols live hereBelowDI­RECT CON­TROLSDe­spite its ju­nior billing, the body boasts many di­rect con­trols

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