With the EOS 200D, Canon has the smallest available DSLR with APS-C sensor and folding monitor on offer. Whether Canon had to compromise on the design of the small camera, we discover in this review. The image quality of the camera and the lens were also determined for this test in our own test laboratory. Of course, we have also taken the handling of the camera under the microscope and say whether the camera has a real “glue factor” and you would not want to give out of hand.
Ergonomics and workmanship
After unpacking the EOS 200D from the box, one can be astonished that Canon has managed to install a 25.8 megapixel APS-C CMOS sensor into a housing measuring 122 x 93 x 70 mm (W x H x D) ) to get. Without a lens, the weight of the camera is only 453 grams including the lithium-ion battery and a memory card with SD form factor. Of course, SDHC and SDXC memory cards fit in the camera, they are even recommended for continuous shooting and video recordings.
The EOS 200D looks like a standard Canon EOS camera, just a little smaller. Like any small camera, the 200D is not an ideal camera for photographers with very large hands. Hands with glove size “L” despite the small size have no problems packing the camera on the handle. Canon has designed this so that the upper phalanges are comfortable against the handle. Only to trigger the handle widens in a rounding and ensures a surprisingly good grip. This is also supported by a really grippy rubber coating, which encloses the handle in one element. Also easy to reach for the index finger is the trigger. This is characterized by a pleasant pressure point. The control wheel behind the shutter button is just as easy to reach as the ISO and display function buttons.
Canon sunk the mode dial a bit. This can be achieved very comfortably by the thumb and snaps securely in each mode. Right next to it is the on-off switch. This has not only the significant function but also the switch to the video function. The optical viewfinder is located below the TTL hot shoe and provides a good overview, which is still ok with about 95 percent image coverage. Technologically, the viewfinder is a mirror finder in which the image is “rotated” by an array of mirrors and displayed correctly. However, spectacle wearers have to live with limitations due to the viewfinder size. If the visual defect is not too big, the diopter compensation can be used instead. As usual, a removable rubber shell protects the glasses and the photographer’s eye from the hard camera body. Also in the “hump” of the camera top is the fold-out flash housed, which offers according to our measurement with a guide number of ten even higher performance than specified by the manufacturer. On the left side is the button for all wireless functions of the camera. What the camera offers here for the photographer, we clarify later in the test.
In the DSLR viewfinder mode, on the other hand, before using the touchscreen, the photographer must first activate it with the “Q” button. In the test, it has been shown that a “mixing operation” of function keys with the thumb wheel and the touch screen was easiest of the hand, and the function and setting choice was quickly learned. In addition to the quickly accessible basic functions, the photographer is free to make major adjustments in the form of custom functions. Changes in this area result in significant changes in camera behavior in most cases. For example, the photographer can turn on mirror advance, or decouple autofocus from the shutter button and place it on another button.
Somewhat awkward was the change in the aspect ratio. This is only possible if the camera has previously been put into Live View mode. If the camera is not in live view mode, the corresponding tab does not appear in the camera’s shooting menu. Here, Canon could have put a subtle hint that the menu is visible only in live view mode.
Due to the larger size, the various ports of the camera were distributed to the left and right sides. While the HDMI mini and USB ports are located on the right side of the camera, the photographer can connect a microphone (3.5 mm jack) and an optional remote cable remote control. On the bottom there is a ¼ “tripod socket and the flap, which provides access to the battery and the memory card. The opening of the flap was no problem with a Giotto’s quick release plate of 40 x 40 mm attached to the tripod thread. On the front of the camera is located next to the lens made of metal lens and the release for the lens also a dimming button, so that the photographer can control the focus area visually in the viewfinder.
Although the housing is made of plastic, it never gives the impression of being filigree or inferior. The gaps are even and soft plastic covers fit. The mechanism of the monitor is solid and provides enough resistance to prevent accidental unfolding. We tested the EOS 200D with the optically stabilized lens EF-S 18-55 mm 4-5.6 IS STM. After the stabilizer, the fast stepper motor is the only highlight of the lens and can be precisely controlled by the camera, especially for video recordings. A metal bayonet looking for the photographer on the lens unfortunately in vain.
Canon classifies the EOS 200D as a beginner camera and for this purpose, the manufacturer also gave her everything necessary. In addition to a scene automatic, eleven scene programs are available, which can be selected by the photographer himself. Among them are the “classics” for portrait, night, sports and landscape photography. The special feature of the scene programs is that the photographer first selects the program, then decides whether the image should be brighter or darker and whether it should be taken with continuous shooting, single shots or self-timer. The photographer then gets a kind of “guided” photography. Another help is provided by the EOS 200D when the “Explanations” in the menu are activated. Then every time the mode is changed, the camera displays a small explanation on the mode dial.
No modern camera can do without special effects. The EOS 200D is no exception. A total of ten different and a little customizable special effect filters are available. In addition, the photographer can change the shooting characteristics. A total of seven of these also picture style mentioned specifications are available to the photographer. In addition, an automatic mode is available. Image style presets can be adjusted in various parameters such as contrast, color saturation, and sharpness. In addition, a total of three memory slots for completely own picture style specifications are available. In addition, the camera can correct lens errors electronically. This works only if a Canon lens is mounted. The photographer can also choose which lens errors to correct.
Somewhat cumbersome is the manual white balance. With the EOS 200D, this is not done in “real time” when recording a gray card, but the gray card must first be photographed. After that, the photographer must select the main menu and the corresponding manual white balance entry, select the image of the gray card and activate the function. After that, the photographer can select the white balance so saved.
Entry-level cameras also in the SLR segment have in addition to the recording function and a variety of playback functions. In the case of the EOS 200D these include special effects as well as the usual trimming, rotation, evaluation and search functions. These special effects are the same as those available to the photographer in the shooting menu. However, the additional special effects have the advantage that the recording can remain in the original and is thus available in both versions.
Modern digital SLR cameras have had a live view function for several years. In this case, the mirror is folded up and the monitor on the back displays the image. Of course, the viewfinder stays dark. The disadvantage of the live view was that the autofocus was controlled by the contrasts determined on the sensor. This system is very sluggish on DSLRs and made the combination of live-view and autofocus patience in low light conditions. Remedy here creates a so-called hybrid autofocus. In this system, the pick-up sensor has specialized elements that have the same functionality as the classic phase auto-focus system of a DSLR. Of course, the 200D also has a phase autofocus when the live view is not active.
The longest shutter delay with autofocus showed the EOS 200D with 55 mm focal length adjustment with live view. This was 0.75 seconds, the measurement under the same conditions with phase autofocus was only 0.4 seconds. In wide-angle at 18 mm, the speed was 0.3 seconds and with live view at 0.5 seconds. Despite the hybrid autofocus system, the phase autofocus is faster. In total, the photographer has 49 measuring fields in live view and nine measuring fields including a central circle sensor with phase autofocus available. The other sensors are less accurate line sensors. A focus tracking for moving objects and objects to be moved as well as a face recognition are also available. Occasionally, in our laboratory test, imprecise behavior of focusing occurred
The built-in flash is, as already mentioned, with a measured guide number of ten slightly above the power specified by the manufacturer. The photographer uses a separate flash exposure compensation and also has a function to light the flash at the end of the shot. This allows a better use of the existing light when shooting. All in all, the built-in flash is just an “emergency light”. The flash is better with an external Aufsteckblitz. Fitting for the EOS 200D has a TTL hot shoe. With this, the camera can communicate with a compatible flash and precisely control the amount of light, as required. A control for the unleashed flashing offers the EOS 200D only with an external system flash or control unit on the hot shoe.
The video function of the EOS 200D can be called standard without being pejorative. More than a Full HD resolution (1,920 x 1,080 pixels) with 50 frames per second in PAL mode and 60 frames per second in NTSC mode are not in it. A 4K resolution does not offer the camera. As in the photo mode, the video mode is equipped with a scene automatic, manual and semi-automatic modes are also available. In addition, special effects can be recorded during recording. In total, the photographer has five different special effects available, which provide the video, for example, with a retro effect, so that the video resembles an old scratched analog film. However, these effects are permanent and can not be undone. The EOS 200D has a built-in stereo microphone that is automatically controlled. If that is not enough, a microphone with a 3.5 mm jack plug can be connected. If you want to watch the videos right away, the camera can be connected to a TV with HDMI connection. Autofocus tracking works satisfactorily when using the STM set lens.
As mentioned at the beginning, the EOS 200D has a WLAN and Bluetooth function. The connection of the camera via Bluetooth with the smartphone was unfortunately very fiddly. For example, the app only accepts connections made using the Canon Camera Connect app. Manually created connections via the Smartphone system menu must be deleted. After the Bluetooth connection has been established, the photographer can activate the geotagging connection. The EOS 200D requires a permanent Bluetooth connection so that the location information can be written to the metadata of the image. If the photographer selects the remote control function, the WLAN will be activated. The theory is that the camera then automatically connects to the smartphone. In our test, the app refused to establish a Wi-Fi connection between a Samsung S5 and EOS 200D. The connection between a Sony Xperia XZ and the camera, however, worked smoothly and quickly. The Xperia XZ could even be used as a pure remote trigger without live view.
The NFC function helps to quickly establish the WLAN connection. With the smartphone, the photographer can change all the recording settings and trigger the recording of his smartphone after successful connection. The images can also be transferred to the smartphone so that they can be shared and forwarded immediately. The NFC function helps to quickly establish the WLAN connection. With the smartphone, the photographer can change all the recording settings and trigger the recording of his smartphone after successful connection. The images can also be transferred to the smartphone so that they can be shared and forwarded immediately. The NFC function helps to quickly establish the WLAN connection. With the smartphone, the photographer can change all the recording settings and trigger the recording of his smartphone after successful connection. The images can also be transferred to the smartphone so that they can be shared and forwarded immediately.
We thoroughly measured the Canon EOS 200D with the EF-S 18-55 mm 4-5.6 IS STM in our lab and give an overview of the expected image quality of the camera and the lens in this section of the review. If you are interested in more details of the lab test, you can retrieve it for a small fee as a single test on the links. In addition, we offer a “laboratory test flat rate”, in which all laboratory tests made so far are available.
The sharpness decrease of the lens is on 20 x 30 centimeters output size quite low. Since the values show an overshoot, it can be assumed that the image processor “helps” here. Diffraction blur is not so strong at any focal length that images are visibly blurred. There is a border darkening, but with a maximum of 0.3 EV it is almost invisible in all focal lengths. The distortion, which shows the 18-55 mm, is very visible in the wide angle range barrel-shaped and in the telephoto visible pillow-shaped. The chromatic aberrations, on the other hand, are small and only become visible in the telephoto range. Although the EOS 200D with the 18-55 mm 4-5.6 IS STM with open aperture in wide-angle shows a respectable resolution, but the highest resolution of about 54 line pairs per millimeter in the center of the picture is achieved in the medium focal length at F5.6. To the edge, the resolution falls in some areas significantly.
The signal-to-noise ratio, which is important for picture quality, indicates how much the picture signal differs from the picture noise. In the case of the EOS 200D, this shows a high distance up to ISO 200, after which the distance is reduced further and at just over ISO 800 becomes low. As of ISO 6,400, noise suppression appears to be in use, keeping the distance to ISO 12,800 constant. In addition, the distance decreases continuously. Recordings above ISO 12,800 are therefore not recommended anymore.
The loss of detail about the ISO levels is measured using a textual chart. This, too, confirms the impression of the camera-internal exaggeration of the pictures. Above ISO 1,600, images start to blur visibly. However, the threshold for the very blurred image is barely reached even at the maximum ISO of 51,200. Image noise is barely visible up to ISO 3.200 and is becoming increasingly visible. The very disturbing color noise is up to ISO 6,400 no problem. After that, the noise reduction strongly increases and from 12,800 ISO the color noise increases significantly. Compared to a competitor’s equivalent camera, the EOS 200D is slightly below its image quality in high ISO ranges.
The input dynamics of a camera shows which subject contrast it can handle. The EOS 200D achieves something more than twelve f-stops here at ISO 200, for example. In addition, the input dynamics continue to drop and fall short of ISO 12,800 nine f-stops. On the output side, the tonal transmission, the camera shows a bulbous curve, which is typical for cameras, which are designed for shoot-to-print. The tonal range is very high and is almost fully 256 brightness levels. Shortly before ISO 1,600, this falls below the threshold between good and acceptable with 160 brightness levels. The measurement of color fidelity shows that the EOS 200D represents the magenta tones much more reddish. Orange and green are only slightly shifted and cyan shades are almost nonexistent. The color deviation is rather low on average.
All in all, the camera performs well in combination with the lens. The full potential of the camera, however, is not scratched by the lens. Photographers who want more should think twice about using the EOS 200D with a higher-quality lens. Due to the very shoot-to-print image processing, the ability to edit the JPEG files is limited. Here only the consistent use of the raw data format or the image style adjustment helps by drastically reducing the image sharpness.
The EOS 200D clearly shows that Canon understands very well what an entry-level camera needs and what it does not. Starting with the excellently processed and very non-slip housing up to the always understandable operation over the high-resolution and still movable touch screen there was no ambiguity with the operating concept with the camera. The switches, dials and buttons are taut, but can always be operated properly. A separate memory card slot would have been nice, but is the price that has to be paid for the really small size. In the recording programs, there is also nothing to complain about and the scene automatically detects quite safe different recording scenarios. It is a pity that there is no 4K video recording on the camera, especially Canon in terms of video is not a blank sheet and such a function could have implemented from the sleeve.
The image quality is no cause for complaint as long as the photographer remains below ISO 1600. In addition, the blurring by image noise and noise reduction increases continuously. As usual with set lenses, the EF-S 18-55 mm 4-5.6 IS STM was the limiting factor in this case as well. The camera can deliver much more in terms of resolution than the lens. 6 IS STM the limiting factor. The camera can deliver much more in terms of resolution than the lens. 6 IS STM the limiting factor. The camera can deliver much more in terms of resolution than the lens.