Canon EOS 50D

Canon EOS 50D Gallery

The following images were taken with a final production Canon EOS 50D, running firmware 1.0.1 and equipped with the EF-S 18-200mm IS kit lens.

The EOS 50D was set to Large Fine JPEG quality, Auto White Balance, Evaluative metering and the Standard Picture Style; High ISO Noise Reduction and the Auto Lighting Optimiser were set to their default Standard settings; Highlight Tone Priority was disabled. Image Stabilisation was enabled for all these handheld shots.

The individual exposure mode, file sizes, shutter speeds, aperture, ISO and lens focal length are listed for each image.

The crops are taken from the original files, reproduced at 100% and saved in Adobe Photoshop CS2 as JPEGs with the default Very High quality preset, while the resized images were made in Photoshop CS2 and saved with the default High quality preset. The three crops are typically taken from far left, central and far right portions of each image.

Note: you may wish to open a number of galleries for direct comparison of detail and noise: Nikon D90 gallery, Nikon D300 gallery and Canon EOS 40D gallery.

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Landscape: 4.98MB, Program, 1/250, f10, ISO 100, 18-200mm IS at 18mm (equivalent to 29mm)

  This first shot was taken with the 50D and the EF-S 18-200mm zoomed-out to its widest position.

The 50D’s Standard Picture Style has delivered a natural-looking result that’s neither too punchy nor refrained, and a close look at the crops reveals a high level of detail coupled with Canon’s trademark smoothness.

Towards the edges of the frame though, the EF-S 18-200mm suffers from coloured fringing, some of which is becoming visible even on the first crop.


Landscape: 8.40MB, Program, 1/200, f9, ISO 100, 18-200mm IS at 18mm (equivalent to 29mm)

  Another shot taken at 100 ISO under bright light, with the EF-S 18-200mm lens zoomed-out.

Framing at a very low angle was made easier by Live View, although a flip-out screen would have been preferred.

As before where the lens is performing well, the 50D is resolving a decent amount of detail, but there’s noticeable fringing towards the periphery. This can effectively be removed on RAW files using the supplied Digital Photo Professional software, but we’d prefer it wasn’t there at all.


Landscape: 5.89MB, Program, 1/800, f9, ISO 200, 18-200mm IS at 200mm (equivalent to 320mm)

    Our next shot was taken of an approaching boat with the EF-S 18-200mm zoomed-into its maximum focal length – operating at an equivalent of 320mm.

Image Stabilisation wasn’t strictly required with the fast shutter speed, but made composing the shot much easier by greatly steadying the view.

The increase to 200 ISO hasn’t had any detrimental effect on the crops, although again towards the edges there’s evidence of fringing.


Portrait: 4.36MB, Program, 1/250, f8, ISO 200, 18-200mm IS at 130mm (equivalent to 208mm)

  For this portrait shot we kept the sensitivity at 200 ISO and zoomed the lens to 130mm, operating at an equivalent of 208mm. We manually popped-open the built-in flash to fill-in harsh shadows.

The photo was framed in Live View with Face Detection, but at longer focal lengths it’s slow to use the contrast-based AF and much easier to use the viewfinder.

By shooting in Aperture Priority and zooming-in further, it’s possible to achieve a much smaller depth-of-field with the EF-S 18-200mm.


Macro: 7.01MB, Program, 1/500, f8, ISO 400, 18-200mm IS at 200mm (equivalent to 320mm)

  For this macro shot we increased the sensitivity to 400 ISO and positioned the camera as close at it would focus with the EF-S 18-200mm lens fully zoomed-in.

The increase to 400 ISO hasn’t had a detrimental effect on the image, with the crops still appearing smooth, detailed and free of noise.

The EF-S 18-200mm lens is capable of delivering sharp results at the point of focus from close range when zoomed-in, but optical issues and a small depth-of-field means the image can quickly become soft and suffer from fringing as you move away.


Indoor: 5.84MB, Program, 1/50, f4, ISO 400, 18-200mm IS at 18mm (equivalent to 29mm)

  Our first indoor shot was taken with the EOS 50D at 400 ISO.

We used Live View and Face Detection for this shot, and once again while the frame quickly finds the subject, the contrast-based AF is slow to lock on, by which time the subject could have shifted – so it’s best to use the viewfinder for portraits.

Pixel peepers will notice very slight evidence of noise textures appearing, but it’s nothing to be concerned with here. The 50D at 400 ISO remains very respectable.


Indoor: 5.24MB, Aperture Priority, 1/6, f5.6, ISO 800, 18-200mm IS at 18mm (equivalent to 29mm)

  Our second indoor shot was taken with the sensitivity increased to 800 ISO. We used Aperture Priority to achieve a slightly greater depth of field than Program would have delivered, and the EF-S 18-200’s stabilisation has kept the result steady even at 1/6.

The crops reveal an increase in noise, but it’s still a good-looking result packed with detail. As seen here and in our High ISO results, the 50D’s gapless micro-lenses are maximising the sensor efficiency.


Indoor: 4.85MB, Program, 1/50, f4.5, ISO 1600, 18-200mm IS at 18mm (equivalent to 29mm)

  Our final indoor shot was taken with the sensitivity at 1600 ISO. Here and at 3200 ISO, the 50D applies arguably more noise reduction than necessary, resulting in a slightly smeared appearance. Lower NR settings can however retrieve detail without compromising noise too much – so a good result for the 50D so far.

Beyond 3200 ISO though, the top two sensitivities suffer from visible noise, banding, and at 12800 ISO, red hot-spots. See our High ISO Noise pages for samples of this scene at all the 50D’s sensitivities.

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