In a recent interview with Quesabesde, Miguel Angel Garcia, the CEO of Olympus Spain, dropped another “official” hint at what the camera company is cooking up to replace the E-5. The subsequent article, which initially said that the camera would be compatible with both Micro Four Thirds and Four Thirds Lenses, has since been reworded to state simply that the replacement for the E-5 will be “capable of harnessing the full potential of Four Thirds lenses.”

All of the remaining details come courtesy of DSLRmagazine and previous statements made by President of Olympus, Haruo Ogawa. They’re reporting that the next iteration will be somewhere between the E-M5 and E-5 in size and come equipped with a “spectacular” electronic view finder, some very advanced new features, and a price tag that outweighs the one you’ll find attached to the E-M5. In regards to lenses, the magazine says to expect an MFT mount, and a special FT adapter that will make good on Mr. Garcia’s promise mentioned above.

The upcoming E-5 replacement is said to be smaller than the E-5 DSLR but larger than the E-M5 mirrorless camera

The E-5, released in 2010, is a Four Thirds DSLR in earnest — no if’s, and’s, or electronic viewfinders. All of the recent statements and rumors, however, seem to point away from a true SLR as a replacement. After all, why specify that it’s going to be compatible with the full range of four thirds lenses unless it comes with a Micro Four Thirds body?

As you can tell, details are still thin, but it seems that reports from way back in 2010 that Olympus would be moving away from SLRs entirely are finally starting to come to fruition.

(via Photorumors and 4/3 Rumors)

In the latest issue of Japanese magazine Impress, there’s a two-page section that predicts the new DSLRs that Canon and Nikon will be unleashing in this upcoming year. Alongside each model name, design illustration, and spec list is a percentage that indicates the likelihood of the rumor coming true.

Canon

On the Canon end, there will reportedly be four new models ranging from the serious amateur end to the high-end professional end. The Canon 7D Mark II may include a brand spankin’ new CMOS sensor that offers up to ISO 25600, and 10fps continuous shooting (85% chance). It’s younger sibling, the 70D, may feature the same guts and a 3-inch swiveling LCD screen (70% chance).

There’s also mention of a Canon EOS M2 (80%) and a Canon 1DSx (50%). The M2 may be the viewfinder-equipped successor that is rumored to have a late 2013 arrival date.

Nikon

On the Nikon side of things, there may be a Nikon D7200 with a 39-point autofocus system and ISO that goes up to 25600 (90% chance). The D9000 may feature a new sensor, 10fps shooting, and a 51-point AF system (35%).

There’s also mention of a Nikon V3 (75%) and a Nikon D4x (30%).

Back in January, the magazine also published a report with a number of predictions for many other camera makers.

(via Northlight Images)

Reviews of the new entry-level full-frame Canon 6D DSLR are starting to make their ways onto the Web. While most reviewers seem to agree that the still image quality of the camera is quite good, the camera appears to suffer from a horrible moiré pattern problem. Gizmodo created the comparison test above pitting the 6D against the 5DMk3, and writes in their review:

All signs pointed toward the 6D sharing the same great video quality of the 5D MK3. The thing that the 5D3 does so well—that no other DSLR has accomplished—is reducing moire patterns (rainbow-like bands along detailed surfaces). But the 6D fails where the 5D3 prevailed. Moire is rampant. This single failure ruins the 6D as a viable alternative to the 5D3 for professional video.

If you’ve been eyeing the 6D, you might want to look elsewhere if solid video recording performance is a must-have for you.

Canon EOS 6D Review: Beautiful Full-Frame Stills, Crummy Full-Frame Video [Gizmodo]

P.S. You can find some other sample videos captured using the 6D here. The camera performs quite well in low light at high ISOs.

It’s been a while since we’ve shared some DigitalRev tomfoolery, but the most recent question posed by Kai and his buddies is an interesting one: given how expensive “entry-level” full-frame DSLRs are, would a dirt cheap 35mm SLR be a realistic alternative?

The three cameras up for debate are the Nikon F65, Canon A2e (EOS 5), and Minolta Maxxum 7000. The age range represented runs from the ’80s all the way into the 2000s, with each camera offering its own interesting feature set.

The Nikon, although it was the newest, offered a simple, stripped down experience; the Minolta, although it was the oldest, used an impressive touch-sensitive shutter button complete with shutter-speed alarm; and the Canon EOS 5 came with an AF system that used your eye to pick the focus point.

If that last one sounds familiar, that’s because (rumor has it) Sony is looking to introduce a similar feature sometime soon — hopefully it’s not as finicky than Kai’s Canon.

We won’t spoil the results for you, but the pictures turned out well, the conclusions they came to were justified, and, as usual, the humor didn’t hurt.

When Milan-based engineer and photographer Andrea Biffi needed a constant source of power for his Canon 40D in order to shoot time-lapse photos over many hours, he decided to save some money by going the DIY route. Biffi turned a defunct lithium DSLR battery into a power supply unit that can be used with everything from a wall outlet to a car battery.

You can do the same thing at home, but you’ll need a bit of engineering know-how to accomplish the hack.

The main thing you’ll need (besides some tools) is a step-down adjustable power supply module that you’ll use to replace the guts of your battery. You can find them for a few bucks over on eBay.

Once you have the appropriate module, you’ll need to crack open your battery like a nut and remove the two lithium-ion batteries inside.

Then, drill a hole into the case for the new wires to pass through, and then solder the wires into the input and output terminals of the module.

After some adjustments and fine tuning — you’ll want to take steps to ensure that it works just right, lest you fry your camera — simply seal everything up, find a female plug, do some final tests, and you’re good to go!

That’s an extremely dumbed down explanation of what Biffi’s battery hack involves. If you’re serious about doing it yourself (and are sure you won’t kill either yourself or your camera), you can find a much more detailed step-by-step tutorial over on Instructables.

Cheap and Easy PSU for Canon EOS [Instructables]

Jack over at the astrophotography blog The Landingfield has published a series of photographs showing what a digital camera’s CMOS sensor looks like when viewed through a microscope. The sensor (seen above) was taken from a broken Nikon D2H — a DSLR from back in the early 2000s.

There are a number of challenges when it comes to photographing a sensor under a microscope. Jack writes,

Photographing an opaque sample compared to biological slice is extremely difficult, since ordinary trans-illumination will not work. An epi-illumination, de facto illuminating through the objective, should be used instead. Basically a half mirror is in place of the optical path to direct light towards the objective, then back in to the eyepiece and camera. Epi-fluorescence will use a dichroic mirror and a pair of filters.

Let’s begin zooming in!

Here’s what the sensor above looks like when viewed in color and at 10x magnification:

Now we go into the world of monochrome images as we magnify the sensor to 40x. Here’s a close look at the sensor’s effective pixel array (the bright pixels are green while the darker ones are red and blue):

As we move out toward the side of the sensor, we see what are known as optical black pixels and bare color filter arrays:

Finally, at the very edge, we see the channels through which data travels off the sensor and into the camera:

For a better understanding of what you’re seeing in the photos above, here’s a 4-minute video we shared a couple of years ago that offers a glimpse into how CMOS sensors work:

If the photographs above piqued your interest, be sure to head over to Jack’s full blog post below. There are more photos and a more technical description of what the images show.

Peeping into Pixel – A Micrograph of CMOS Sensor The Landingfieldvia The Digital Picture]

Image credits: Photographs by Jack/The Landingfield and used with permission

Did you know that 90% of the cells in (or on) the human body are bacteria and other microorganisms? Have you ever thought about how many bacteria live on your DSLR camera? Chicago Tribute staff photographer Alex Garcia recently dove into this second question while visiting the Argonne National Laboratory outside Chicago.

He met with environmental microbiologist Jack Gilbert, who’s working on a project that involves taking and analyzing microbe samples of ordinary things used in everyday life (e.g. phones and shoes).

Gilbert decided to take a sample from Garcia’s Canon 1D Mark IV DSLR. When Garcia received the results, he says he was treated to “an alphabet soup of taxonomic units that required more analysis than you would want to read on a photography blog.”

Turns out the camera had around twenty different species of bacteria on its surface, with “Mycoplasma” being the most common genus.

Although there may be bad bacteria on your camera and in your body, your body is generally balanced and strong enough to keep everything under control. In certain situations, however, they might make you very sick. Garcia, who lost his father-in-law to a hospital infection, recommends that photographers be careful as they take their cameras from assignment to assignment:

Wash your hands during this cold and flu season, and watch what you handle on assignment – especially if you’ve just undergone a round of antibiotics or have a compromised immune system.

To learn more about this issue, check out Garcia’s blog post over at the Chicago Tribune, which features a video interview in which Gilbert discuss cameras, bacteria, and the human body.

“Your Camera is a Rainforest of Bacteria” [Chicago Tribune]

Image credit: Photograph by Alex Garcia/Chicago Tribune

A more complete list of specs has emerged for the rumored Canon 7D Mark II. The camera may be a miniature counterpart to the EOS-1D X, likely featuring a smaller body, less features (maybe), less weathersealing, and a lower price point than the 1D X.

Craig Blair of Canon Rumors writes that he received a list of specs over this past weekend from a good known source.

The camera will reportedly contain a 24.1 megapixel APS-C sensor, Dual DIGIC V processors, 10 frame per second continuous shooting (something we reported back in December), dual memory card slots, 61 autofocus points, a 3.2-inch LCD screen on the back, 5D Mark III-esque build quality, “lots of video features,” and GPS/Wi-Fi capabilities.

The camera may have a price tag of $2199 when it launches. This is about $500 more than the original 7D’s price point, pushing the camera into the price range of full frame cameras.

Current word is that the camera may make its official debut sometime at the end of this summer and then arrive on store shelves very shortly afterward.

There may be multiple prototypes of this camera floating around with slightly different specs, and we’re not sure yet that it will even be called the 7D Mark II, but this list likely gives a pretty accurate idea of what we can be expecting from Canon this year.

Nikon has announced its latest DSLR, the D7100. As the successor to the D7000, the D7100 is an midrange DSLR geared toward serious photography enthusiasts, and is the new flagship camera of Nikon’s DX-format DSLR lineup.

It’s a light and compact camera that’s loaded with a 24.1-megapixel DX-format CMOS sensor that eschews an optical low pass filter, resulting in photos that “explode with more clarity and detail.” The camera has an ISO range of 100-6400 (expandable to 25,600).

For people who need speed, both in shooting and in response, the D7100 has a maximum continuous burst rate of 6 frames per second (apply a new 1.3x crop mode and you can up this figure to 7fps) and a shutter release lag time of just 0.052 seconds. Focusing is done through a new 51-point autofocus system that has 15 cross-type points.

Regarding the 1.3x crop mode: it’s a new feature that crops the frame, reducing resolution to 15.4MP while providing an extra 2x telephoto boost, the faster frame rate mentioned above, and better frame coverage by the 51-point AF system. The system is great for things like sports photography, when you might be willing to sacrifice some resolution for extra speed and focusing powers.

On the side of the camera are dual SD card slots. On the backside is a new 3.2-inch 1.23-million-dot LCD viewfinder — one that doesn’t tilt or swivel. The optical viewfinder on the camera offers 100% frame coverage, which is a nice feature to have for lower-tier DSLRs.

In terms of build quality, the D7100 has top and rear covers made of magnesium alloy, and the shutter inside the camera is rated to 150,000 actuations.

For filmmakers, the camera can shoot 1080/30p HD video. Drop into the 1.3x crop mode and you can capture 60i/50i.

Want to shoot and transfer photos wirelessly? The D7100 is fully compatible with Nikon’s WU-1a Wireless Mobile Adapter. Pair the two together, and you’ll be able to remotely control your camera using an Android smartphone or tablet, and photos snapped can be quickly beamed wirelessly to the device.

The D7100 will be available starting in March 2013 with a price tag of $1200 for the body only, or $1600 when bundled with a 18-105mm f/3.5-5.6 kit lens.

Launched in 1992 and discontinued in 1996, Nikon’s Nikonos RS was considered one of the best underwater photography solutions back in the 90s. The cameras and the 50mm f/2.8 macro, 28mm, 13mm fisheye, and 20-35mm lenses still sell for relatively high prices these days. Unfortunately for Nikon enthusiasts, the RS mount lenses were not compatible with F mount cameras… until now.

Underwater photographer Andrej Belic spent over a decade dreaming of using an RS lens on his Nikon DSLR, and over the past year he was able to get the combo working.

The two lenses Belic managed to make compatible are the 13mm fisheye and the 20-35mm wide angle (the first underwater zoom lens) — two lenses that are considered the best in underwater optics.

Belic writes that the RS lens bayonet is identical to F one, so the lenses fit without any modifications. He then began look into allowing the lens and the camera to communicate with one another electronically, and eventually figured out how to make it work.

Here are two videos showing RS lenses working on a Nikon DSLR, with autofocus and camera settings all functional:

You can follow along with Belic’s progress through his blog and see some of his beautiful underwater photography here.

(via Andrej Belic via Nikon Rumors)

Image credits: Photo and videos by Andrej Belic

It looks like we’ll be seeing at least two new DSLRs appear on the market between now and the end of this year. The latest rumors are saying that Canon will be launching a successor to the 60D shortly — perhaps by the end of this month — and that Olympus will be following up its E-5 DSLR with another pro-level Four Thirds DSLR body.

The Canon rumor comes courtesy of Craig Blair over at Canon Rumors, who hears that there will be a Canon DSLR announcement near the end of March (possibly on Tuesday the 19th or Tuesday the 26th). The new camera is “most likely the replacement for the EOS 60D.”

Canon is reportedly planning a big jump in terms of specs from the 60D to the 70D, with the camera pushing toward its pro-level counterparts in terms of build quality. Blair writes that both the 70D and the 7D Mark II will be higher tier cameras than their predecessors.

Back in June 2012, CanonWatch reported that the 70D will be the combination of the 7D and 60D lines, taking the title of Canon’s flagship APS-C camera. This means it will have higher-end features, better performance, and a more durable build.

Rumors are also heating up about a potential followup to the Olympus E-5. 43Rumors is reporting that a new Four Thirds camera will likely be announced this year.

Earlier reports suggested that the E-5 successor would be some kind of hybrid camera that can work with both Micro Four Thirds and Four Thirds lenses, but this latest rumor suggest that it will simply be a Four Thirds camera named the Olympus E-7.

43Rumors writes that the camera is set to go into final product now (all the specs have been finalized) and that it will hit store shelves in the second half of this year — good news for photographers who have built up personal collections of Four Thirds lenses.

It’s not uncommon for digital cameras to have burst modes as fast as 10 frames per second these days — especially in mirrorless and pellicle mirror cameras — but do you think you have a good understanding of just how fast 10FPS is? If not, check out this video by YouTube user krnabrnydziobak, who pointed a Phantom Miro eX2 at a Nikon D4 to see what 10FPS looks like when captured at a staggering 1920FPS.

The D4 shoots 10FPS ordinarily, but can be boosted to 11FPS if auto-exposure and autofocus are disabled.

The video shows the mirror and shutter mechanism flapping up and down, with the curtain opening for 1/200th of a second in each exposure.

Want a more detailed look at what goes on during one of these cycles? Check out this video that shows a Nikon D4 shutter flapping through 5000FPS footage. Want to see what the D4′s 11FPS looks like in slow-mo? Here’s a video showing 11FPS at 1000FPS.

Thanks for sending in the tip, Chad!

Dustin McLean of DustFilms creates extremely low-budget remakes of Hollywood trailers and movie scenes using items and equipment that you may already have lying around at home. The above is a shot-for-shot remake of the Iron Man 3 trailer that was created at home without any computer-generated visual effects added in. McLean simply used good ol’ fashioned creativity to remake shots that cost Hollywood millions of dollars to create.

To see just how faithfully this cheapo trailer follows the real thing, check out this side-by-side comparison with the two trailers running concurrently:

McLean used an entry-level Canon DSLR and an iPhone to capture the 67 shots in the trailer (some of which only appear on screen for half a second).

For certain shots, McLean had to use forced perspective, making things that are close to the camera seem far, and making same-sized objects appear different.

Here’s the full behind-the-scenes video in which McLean explains how various aspects of the project were done:

You can find more of McLean’s homemade trailers through his YouTube channel.

(via Doobybrain)

Image credits: Videos and stills by Dustin McLean/DustFilms

Gigapixel photography has become all the rage as of late, as photographers around the world are using special rigs to shoot numerous photos of a scene and then stitching them together into an uber-high-res panorama. Austrian photographer Kurt Hoerbst is taking the high-res photo-stitching concept and applying it to a different subject: human subjects.

He says his project is designed to be the “counterpoint” to the high speeds found in many types of digital photography. To slow the process down, Hoerbst has his subjects lie down and used a DSLR mounted to a track to shoot a number of photographs of the people from head to toe. In essence, he’s creating the portraits by “scanning” the subjects, as if he were using a giant flatbed scanner.

Each finished portrait consists of up to 20 high-resolution photographs, resulting in a life-sized image that captures extremely fine details about each person, their body, and their clothing.

[It's] the slowing down of what is normally a very spontaneous act in portrait photography [...] The photographer takes on an exceptionally domineering role in this ‘game’. He literally rises above the model. The model has no possibility of movement. He or she is at the mercy of the photographer for one to two minutes.

The result is a form of victim/assailant situation (as is very often the case in photography). The shooting angle does the rest, making sure that once the exhibition picture is put up vertically again, there is something strange, distant and removed about it. An impersonal, unapproachable image develops, something that can only be the result of personal trust and personal closeness.

Here are a selection of the portraits Hoerbst has created so far:

The project is titled People Scans. You can find out more about it over on its website.

People Scans by Kurt Hoerbst (via Core77)

Image credits: Photographs by Kurt Hoerbst and used with permission

It’s fairly well known that not all lenses are created equal. Put that in combination with manufacturing variables and lenses don’t always perfectly align with the camera mount. Generally the differences are minor and for the most part negligible, but I buy old Minolta lenses from eBay and I want to get the best bang for buck out of them.

I started making micro adjustments to my lens/camera combinations when I first got Sony’s a77, and have now micro adjusted all my lenses for the a99 and D3. After reading what the Internet had to offer regarding “micro adjustment” or the “fine tune” functions higher level DSLRs offer, I quickly printed off some charts similar to rulers and taped them to my wall to start making adjustments.

I noticed an immediate benefit, especially to my prime lenses. A good majority of my lenses had been back focusing, and strangely the new Sony 16-50mm f/2.8 front focused by quite a bit. I no longer have that lens but it’s known to be a high performing lens, and can I just say how much sharper it got after the micro adjustment? So sharp that if you gave it a glance you might bleed.

Anyway, I recently invested in a new (used) DSLR and a really used lens that I knew needed adjustment. I was getting pretty annoyed with printing sheets off and taping it to my wall, then angling my camera at a 45 degree on a tripod. Yep, I’m THAT lazy.

So I decided to open up Adobe Illustrator and make a nice little reusable tool to get the job done quickly. Simply place it on a flat/level surface with your DSLR on a tripod, focus on the target and take a picture with the lens aperture wide open. Reference the ruler to the right and you should be able to see where the depth of field is, and whether or not your lens/camera combination is preferring to back or front focus. There’s a lot of information on how/what/why people do this so I won’t go into that, this post is about how to make your own “GhettoCAL” target.

Here are the ingredients you’ll need:

• Foam core
• Ruler
• Printer
• X-Acto knife
• Double sided and regular scotch tape
• Cutting board (unless you don’t mind cuts on your desk)
• Paper clip
• ~15-20 minutes (if you’re not jacked up on coffee)

First, print out the PDF template I’ve linked HERE.

Get a piece of foam core and use double sided tape to position and hold the template over the foam core board. Be sure to put the tape under specific components (target, base, ruler etc.)

I designed the template so the edges of the components end at the edge of the paper, so you not only retain a perfectly straight line but you also have one less side to cut (see what I mean about me being lazy? Some call it efficient, I’m more honest.)

You want to cut with 3-4 careful strokes over the same line (trust me, it works out infinitely better this way).

Once you’re done knocking out the pieces, use the scotch tape and tape down the edges of the template to the foam core, you want a clean level surface that won’t catch on something and rip your cool project. I don’t know about you but I only want to do this once.

Match the “Insert” tab with the slot cutout on the base. This is where Illustrator was incredibly useful, I made sure the sizing was right so it wasn’t a loose but solid fit.

You don’t have to do this next step, but I included a piece designed to be back support for the target. I just like the psychological comfort of knowing the structure has more support. If you so choose you can take the piece labeled “Target Back Rest” and tape that to the back of the target. Be careful to put the 90 degree side on the back of the target and the base.

Take the paper clip and insert it into the side of the target indicated “Pin Guide”, now insert the other end into the ruler, being careful to match the lines.

You don’t have to match the lines exactly but if you don’t, you need to make a mental note that “0″ on the ruler will likely not be functional as the center point. You’ll have to figure out depending on what line is “level” with the target, that that line will then become your “correct” focal point matching the plane of the target. (When I look on my target/ruler below from side the “0″ line is on the same plane as the target, that’s how I’ll know focusing on the target will match the “0″ point of the ruler.)

Now put the final pin between the “base” and bottom of the “ruler” where it indicates “Pin Guide”. It’s just to hold the pieces in place and again reinforce the overall structure. It’s not even a good solution, as I ended up adding a bit of tape on the bottom of the base and ruler to hold it in place more.

And there you have it, the GhettoCAL.

Here’s a blown up image of the Nikon D3 and Nikkor 28-105 f/3.5-4.5D combo at 105mm: it looks like the lens front focuses slightly.

Remember, these targets work well with primes and high-end zooms. Lower end zooms with variable apertures and long focal ranges generally will have multiple issues, and calibrating for a front focus at 105mm might cause the lens to back focus at 28mm.

Don’t consider this an end all be all, it’s a guideline to approximate with and compromise to get improved results from otherwise “unknown” combinations.

About the author: David Liang is a photographer who specializes in studio, portrait, and fashion photography. Visit his website here and his blog here. This article was originally published here.

Canon’s EOS M mirrorless camera is meant to offer DSLR-caliber image quality inside a compact camera-sized body. However, stuffing an APS-C sensor into a tiny form factor may not be the only way Canon is trying to go small. There are now murmurings that Canon may have a super small DSLR camera in the works for photogs who need a little extra portability.

This rumor comes courtesy of Stefan over at CanonWatch, who writes that a new source tipped him off to the pint-sized camera.

It’s reportedly not part of the Rebel/XXXD lineup, which is the lowest tier Canon offers at this point. In other words, you can’t currently get more entry-level than a Canon Rebel.

That may soon change. The rumor says that the new DSLR will be geared toward budget-conscious consumers, and will be the smallest and lightest DSLR Canon has ever produced.

Canon will try to offer a small and compact DSLR as alternative to the EOS M. A DSLR that is almost as small and light as a mirrorless camera. The new DSLR will support EF and EF-S lenses, and it should not have the AF issues of the EOS M. And there should be also a new kit zoom lens for this new, super-small DSLR, a kit zoom that is also said to be light-weighted and of small size.

So how realistic is this rumor? We’re not sure. Craig over at Canon Rumors says that although he hasn’t heard anything about this camera before, its development is “definitely possible.”

One of the things in favor of this rumor is the fact that Canon recently published patents for a 100% optical viewfinder that’s tiny in size. While the patent could be for some technology that will appear inside the upcoming viewfinder-equipped EOS M followup, 100% viewfinder coverage is usually only discussed when talking about DSLRs, not mirrorless cameras.

Since the next EOS M camera will be a mirrorless camera, the patents could very well be for something that is meant to reduce the size of a traditional DSLR.

Image credits: The only Canon DSLR around by sayamindu, Image credit: view’d by Robert S. Donovan

Yesterday we reported on a very early stage rumor that Canon may be building an ultra-portable DSLR that packs the punch and form of a DSLR in a body the size of a mirrorless camera. The rumor has heat up overnight, and now there’s a first list of leaked specs that offer a better idea of what the camera may be like.

CanonWatch, which originally broke the story via a tip from a first-time source, now writes that a very trustworthy source has not only confirmed the rumor, but provided a short list of specifications.

The camera reportedly shares many of the same technologies as the not-so-popular Canon EOS M mirrorless camera. It has the same 18-megapixel APS-C sensor as the EOS M and the 650D, a DIGIC 5 image processor, a touchscreen that’s similar to the one in the EOS M, 9 autofocus points, a new hybrid autofocus system, an optical viewfinder with 98% coverage, 6fps burst mode, ISO that goes up to 25600, support for both EF and EF-S lenses, and HD video recording.

The 98% viewfinder seems like a different one than the 100% viewfinder that appeared in a Canon patent a short while ago.

CanonRumors confirms the rumor that the next Rebel is set to have the same sensor as the 650D and the EOS M. However, the uber-tiny DSLR is supposedly not part of the Rebel line of entry-level DSLRs.

If this new DSLR is indeed a separate camera from the next Rebel, then it’s main difference may lie in size and user interface.

No word yet on when we might be seeing this tiny DSLR announced, but prototypes are reportedly floating around in the wild already. There will also be an announcement for a new Canon 70D DSLR next week, but this camera may not arrive at the same time.

Canon’s new pint-sized DSLR, the EOS-b/EOS100, leaked onto the web over the past week, but there’s a second DSLR that’s likely going to be announced around the same time — and that one has now leaked as well. It’ll be called the Rebel T5i, which succeeds the Rebel T4i/650D.

It doesn’t seem like there will be too much new with the new Rebel besides a new kit lens, the EF-S 18-55mm f/3.5-5.6 IS STM, which may appear packaged with the EOS-b as well.

The camera will reportedly have an 18MP sensor, a DIGIC 5 processor, 9 autofocus points (all cross type), a 3-inch swiveling LCD touchscreen with 1.04-million dots, 5FPS continuous shooting, HD video recording, a flash sync speed of 1/200s, an ISO range of 100 to 25600, creative filters, and an SD card slot.

The weight of the camera, including the battery and memory card, will be 580 grams, which is 173 grams heavier than the 407g of the new tiny DSLR. Here’s a side-by-side comparison of the new Rebel (left) and the new EOS-b (right), roughly to scale:

Expect the camera to hit store shelves at around the end of April 2013 alongside a EF-S 18-55mm IS STM or an EF-S 18-135mm IS STM.

We also know a little more about the new kit lens that will be unveiled.

The EF-S 18-55mm f/3.5-5.6 IS STM will be a “high-precision aspherical lens” that uses a silent stepping motor for quiet and smooth autofocusing — ideal for video recording.

It has 4 stop image stabilization, and will have a price tag of ¥33000 (~$345) over in Japan.

(via Digicam-info via Canon Rumors)

Canon did a pretty good job of keeping its new tiny DSLR a secret… until last week. One week after rumors of the camera first emerged, Canon has officially announced the Rebel SL1, the world’s smallest and lightest DSLR.

The camera packs DSLR image quality, form factors, and controls into a package that’s a little smaller than its larger Rebel counterpart and a little bigger than the EOS M mirrorless camera.

The camera measures 4.6×3.57.2.74-inches, and weighs just 14.36 ounces. It’s 25% smaller and 28% lighter than its older sibling, the Rebel T4i.

Inside the camera is an 18-megapixel APS-C CMOS sensor that has an ISO range of 100 to 12800 (expandable to 25600). Backed by a DIGIC 5 processor, the camera is capable of shooting up to 4 frames per second.

Focusing is aided by a new nine-point autofocus system with a cross-type point at the center.

On the video side of things, there’s Full HD video recording with Movie Servo AF, which does continuous autofocus tracking on moving subjects.

On the back of the camera is a 3-inch touchscreen with multi-touch capabilities.

On the top is a pop-up flash:

For consumers and beginning photographers (the target demographic for this new camera), there are helpful features for ensuring high quality shots. A Scene Intelligent Auto Mode detects the subject of photos and automatically chooses proper exposure settings for you.

There’s also an Effect Shot mode that can use Creative Filters and Background Blur Simulations. After shooting photographs, users can edit photos immediately using editing and cropping tools build right into the camera.

The Canon Rebel SL1 will hit store shelves starting in April 2013 with a price of $650 for the body itself or $800 when bundled with a new EF-S 18-55mm f/3.5-5.6 IS STM kit lens.

Canon’s special announcement today is the its tiny new Rebel SL1 DSLR, but it has a second new DSLR to show off. The Rebel T5i succeeds the Rebel T4i (AKA 650D AKA Kiss X6i) as the new flagship Rebel, and is geared toward entry-level photographers.

The improvements over the T4i are very minor. Not much has changed between that camera, announced in June 2012, and the new T5i announced today.

The sensor is still an 18-megapixel APS-C CMOS sensor backed by a DIGIC 5 processor. ISO still goes up to 12800, and is expandable to 25600. Continuous shooting speed remains at 5 frames per second. The autofocus is still a 9-point system with all cross-type points. There’s a 3-inch swiveling touchscreen on the back.

Live View autofocusing is still aided by the same Hybrid CMOS AF system.

One of the main improvements isn’t the camera at all, but the new kit lens that’ll be bundled with the camera and the new SL1. It’s the EF-S 18-55mm f/3.5-5.6 IS STM, which is designed to focus quickly and silently for both stills and videos.

As with the T4i, the T5i offers special features designed for consumers. There are seven creative filters that can be previewed in real-time using Live View: ArtBold, Water Painting, Grainy Black and White, Soft Focus, Toy Camera, Fish-Eye and Miniature.

Creative Shooting modes can help owners snap acceptable shots without having to deal with manual adjustments. Modes include Handheld Night Scene, HDR Backlight Contro, and Multi-Shot Noise Reduction. The camera’s mode dial now features a special option for selecting Scene mode.

For video recording, the T5i can capture 1080p Full HD video footage. The camera’s Hybrid CMOS AF system and the Movie Servo AF can help lock onto moving subjects with minimal hunting.

The Canon EOS Rebel T5i will be available starting in April 2013 with a price tag of $750 for the body by itself, or $900 when bundled with the new 18-55mm kit lens. If you need more reach, you can also pay $1,100 for the kit lens to be the EF-S 18-135mm f/3.5-5.6 IS STM.

The new 18-55mm kit lens will also be sold separately for $250.