late BlOOMEr Canon EOS M

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1 Canon EOS M W hatever Canon s reasons for waiting so long to launch its mirrorless interchangeable lens camera system, there s little doubt the strategy has worked in its favour. For starters, rustedon Canon users are unlikely to have gone elsewhere, so the new EOS M is greeted with plenty of pent-up demand. Then, of course, everybody has been waiting to see what Canon would do, so the M is guaranteed plenty of attention regardless. Finally, Canon has had time to fine-tune its offering in the light of what its rivals have done over the last couple of years. And it shows. The EOS M exhibits a maturity of conception and execution that suggests Canon has been building compact system cameras since the very beginning. It s designed primarily as an entry-level model, with the clear inference from Canon that there will be a more enthusiastorientated version before too long. This allows Canon to excuse two key omissions an eyelevel viewfinder and a main mode dial in the belief that the typical buyer of the EOS M is going to feel more at home using the multitouch capacitive monitor screen for both viewfinding and controlling the camera. This may well be the case, but given Canon has essentially managed to stuff the EOS 650D into the M s compact body (obviously minus the mirror box and optical viewfinder), it ends up having a lot of potential appeal for the more experienced shooter. Rest assured the user interface isn t as inscrutable as that of the Nikon V1... yet don t expect to slip quite as easily into the EOS M from any EOS D-SLR as might be the case with a more traditional design configuration. 42 late BlOOMEr Canon s first compact system camera is deliberately aimed at the cross over user, but it s still packed solid with D-SLR features. report by Paul Burrows. SiZE And StYlE However, there s another good reason why you might decide to persevere with the M, and that s because it s a thoroughly appealing little camera from its quiet but very attractive styling onwards. It s true that Canon has probably very consciously decided not to scare the horses with the way its first CSC looks especially in the light of the flak Nikon has copped for both the V1 and V2 but this doesn t mean the EOS M lacks either character or individuality. Canon has obviously worked hard to balance the external dimensions with, firstly, retaining an APS-C size sensor and, secondly, the handling

2 challenges when an EF-S or even an EF mount Canon lens is fitted. Consequently, the M is compact compared to even the smallest D-SLR, but it s not too compact. In fact, it could have easily carried a main mode dial, but presumably Canon is saving this up for whatever happens next. The lens mount is designated EF-M and has a diameter of 58 millimetres compared to the standard fitting s 65 millimetres. This isn t a huge difference, but it symbolises the balancing act between smallness and practicality that informs pretty well every aspect of the M s design. The flange back distance is 18 millimetres (compared to 44 millimetres for the 650D) so expect a rash of mount adapters to allow the use of 35mm rangefinder and SLR lenses on M. Incidentally, it s interesting that Leica has allowed Canon to use this model designation given it now also has a camera called the M and, back in the early 1970s, it forced Olympus to change its M-1 to OM-1. Canon s own adaptor is labelled the EF-EOS M, which maintains full compatibility (AF, AE and IS) with the EF-S and EF mount lenses and, usefully, incorporates a detachable tripod mounting bracket. Canon says everything up to its 600mm f4.0 supertelephoto can be used on the M via the adapter, but clearly this big lens would seriously overwhelm it physically, so this is also a capability intended for future models. Two EF-M mount lenses have been launched with the M body and these are an 18-55mm f standard zoom and a 22mm f2.0 prime which isn t really quite a pancake design, but is still only 23.7 millimetres in depth. Both EF-M lenses are equipped with Canon s Stepper Motor Technology (STM) autofocusing drives, which are designed to deliver smoother and quieter operation with contrastdetection autofocusing particularly beneficial when shooting video. Canon s APS-C focal length magnification factor of 1.6x remains so the 22mm is effectively a 35mm; let s hope something wider is on the way. One of the main casualties of the diet plan Canon devised for the M is a built-in flash actually not all that unusual in this class of camera so there s a neat little compact companion Speedlite called the 90EX, which has a metric guide number of nine. However, it s an additional purchase and not bundled with the camera as a matter of course, although it is included in some of the kits being offered by Canon Australia. These include a body-only option with the EF-EOS M adapter which is aimed at anybody who wants to go straight to running their existing Canon D-SLR lenses on the M. PiXElS And PrOcESSing At the heart of the EOS M is the same 18.5 megapixels CMOS sensor that Canon uses in the 650D and which has an imaging area of 14.9x22.3 mm. It s what Canon calls a Hybrid CMOS which means it incorporates the pixel arrays to enable phase-difference detection autofocusing to supplement the contrast-detection measurements. The effective pixel count is 18 million, giving a maximum image size of 5184x3456 pixels for both RAW files and JPEGs. The latter can be recorded at one of four smaller sizes (Medium and Small 1 to 3) and at one of two compression levels. RAW+JPEG capture options are limited to appending a large/ fine file only. The sensitivity range is equivalent to ISO 100 to 12,800 with a one-stop push to ISO 25,600. The sensor is mated with Canon s latest DiG!C 5 processor, which powers the camera to a shooting speed of 4.3 fps at full resolution, but with the focus and exposure locked to the first frame. Continuous adjustment slows the camera to a rather pedestrian 1.7 fps with the 18-55mm EF-M zoom, and down to just 1.2 fps with the 22mm prime. There s another good reason why you might decide to persevere with the M and that s because it s a thoroughly appealing little camera from its quiet but very attractive styling onwards. The EOS M s top panel is home to stereo microphones, a hot shoe, the power button, shutter release and a basic mode selector. The built-in stereo microphones are located side-by-side on the top panel, but the EOS M also has a stereo audio input. Levels can be adjusted manually over 64 steps. The connection bay comprises a USB 2.0 connector, an HDMI output and the 3.5 mm stereo audio input. 43 Canon EOS M

3 Test images captured as JPEG/large/ fine files exhibit good sharpness, excellent colours and smooth tonal gradations. Noise levels are very low all the way up to ISO Of course, the EOS M provides a lot of scope for tweaking the sharpness, colour saturation and contrast to suit the subject matter or personal tastes.

4 DiG!C 5 also drives some advanced image processing functions including lens corrections for chromatic aberrations and peripheral illumination (a.k.a. vignetting or brightness fall-off). The correction data for 25 lenses is already loaded into the camera (including, obviously, the two EF-M models), but additional models can be added via the EOS Utility software. The in-camera correction is applied to the JPEGs, but the RAW files can be corrected in the Digital Photo Professional software. The EOS M also gets a set of seven Creative Art special effects which are the same as those provided on the 650D, but with the choice of applying them at the point of capture or post-capture which creates a new, edited JPEG file. The EOS M also has Canon s Auto Lighting Optimiser (ALO) correction for dynamic range expansion and Highlight Tone Priority processing. ALO analyses an image for exposure and contrast and then automatically adjusts the levels to avoid underexposure while still preserving tonality in the highlights. There are four settings Low, Standard, Strong and Off with the option of checking Disable during manual exposure. With RAW capture these corrections are appended to the file and can be applied during post-production. The HTP processing leaves the shadows alone, but adjusts the tone curve in the range from 18 percent grey (the mid-tone) to white (the brightest highlight) to help preserve detailing. HTP is either on or off, and, as with Canon s D-SLR, is tucked away in the Custom Functions rather being in the main shooting menu along with ALO. The M has noise reduction processing for both long exposures and high ISO settings, the latter with Off, Low, Medium or High settings and Multi-Shot NR. This fires off a short sharp sequence of frames which are then combined in-camera to effectively increase the sensitivity without increasing the noise levels. It s a popular feature in the compact camera world and works pretty effectively as long as the subject doesn t move. Picture Modes And Image Processing The EOS M is also in lock-step with Canon s D-SLRs with its picture presets and adjustable parameters. So there s the standard choice of six Picture Styles presets called Standard, Portrait, Landscape, Neutral, Faithful and Monochrome plus the Auto Picture Style mode introduced on the EOS 650D. This automatically adjusts the colour tone to suit the scene, based on analysis from the metering system which, of course, is using the imaging sensor. Each of the colour presets has adjustments for sharpness, contrast, saturation and colour tone (or hue). It s worth noting again that while the Standard, Neutral and Faithful presets all look the same, according to Canon, the latter two are designed to allow for postcamera tweaking of colour and so provide a basic starting point. The key difference between the two is that Faithful gives a colorimetric adjustment to match the subject s colour when shooting under neutral daylight (which Canon determines at 5200 degrees Kelvin). The Monochrome Picture Style has the adjustments for sharpness and contrast plus a set of B&W contrast control filters (yellow, orange, red, green) and a set of toning effects (sepia, blue, purple, green). Up to three adjusted Picture Styles can be subsequently stored in the camera as User Def 1 to 3 and new styles can also be created in the supplied EOS Utility software. In terms of its camera control systems, the EOS M pretty well shadows the 650D except for the changes imposed by it being a mirrorless design. Consequently, the autofocusing uses the hybrid system all the time, and both detection methods are used when the subject is near the centre of the frame, but only contrast detection at other times. Up to 31 AF points are available (depending on the lens speed) with two FlexiZone modes single point or multiple and a face detection/auto tracking mode. Both a single point and the Multi clusters can be selected via touch control by simply tapping the monitor screen at the required spot. Switching between singleshot and continuous operation is performed manually. There s a builtin illuminator for low-light assist and manual focusing is aided by a magnified image either at 5x or 10x with the frame dragged to the desired location on the subject via touch. We ll talk about the EOS M s touch controls in more detail shortly, but the focus-related operations are already pretty neat. Exposure control is based on 315 measuring zones with the option of selective area (representing 11 percent of the frame), spot (representing 2.8 percent) or centreweighted average. The standard choice of program, aperture/ shutter speed priority modes is supplemented by a set of seven subject/scene modes for portraits, landscapes, close-up, sports, night portrait, Handheld Night Scene and HDR Backlight Control. Scene Intelligent Auto (SIA) selects from these automatically using input from the metering and autofocusing systems (including face detection). This is where, in operational terms, the CSC parts company with the D-SLR. SIA is a stand-alone setup on the EOS M. Next comes a Creative Auto mode along with the subject/scene modes and these are collectively in the Basic Zone. The PASM modes are in the Creative Zone. On a Canon D-SLR this would refer, of course, to their groupings on the main mode dial, but the EOS M doesn t have one well, it does technically speaking, but it only has three positions, namely for Scene Intelligent Auto, Still Photos and Movies. This means, gulp, setting an exposure mode has to be done via the touch screen and the Quick Control displays (of which there are two; one that only shows info and icons and one that superimposes them over the live view image). It certainly works well enough once you get used to it, but it s hard to see why the EOS M doesn t have a plain old mode dial it s not like there isn t room for one on the top panel. Taking Control Let s return briefly to the Scene Intelligent Auto control, because a chart in the Basic Instruction Manual (the full manual is on a CD) gives some idea of how it works. Subject analysis is divided into portrait and non-portrait; the former divided between stationary and movement, the latter into three sub-sections nature and outdoor scene, movement and close-up. Also factored into the analysis are the background type and colour, namely bright, blue sky included, sunset, spotlight, and dark. The first two have a subset for backlit situations and the background colour will have an influence on matters if it s predominantly gray, light blue, orange (i.e. at sunset) or dark blue (signalling night time). All this leads to the selection of the most suitable mode and the appropriate icon is displayed in the corner of the monitor screen. In practice, it s quite interesting to watch how this changes as you move the camera around. The next step up in terms of manual control is the Creative Auto mode, which is essentially still fully automatic but allows for a small amount of manual adjustment. This is applied using simple slider controls displayed in the screen. The range of available adjustments is the same as those on the 650D, namely for Blurring/ Sharpening (of the background so, in other words, altering depth-offield) and Ambience which provides the choice of Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochrome. Most offer a choice of low, standard and strong settings (or low, medium and high) while the Monochome adjustments are for blue, neutral or sepia toning. These settings can also be applied to any of the subject/scene programs except the HDR Backlight Control. Furthermore, a set of Lighting or Scene Type settings are available for application with the portrait, landscape, close-up and sports modes in order to finetune the colour balance. These are Daylight, Shade, Cloudy, Tungsten, Fluorescent and Sunset so they re essentially white balance presets by another name. By the way, the HDR mode captures three exposures in quick succession which are subsequently merged in-camera, but the degree of exposure variation can t be manually adjusted so it s applied according the brightness range detected in the scene. Heading towards full manual control, the M s main exposure modes are backed by the usual selection of manual overrides, namely program shift, exposure compensation up to +/-3.0 EV, an AE lock and auto exposure bracketing. For bracketing up to +/-2.0 EV of adjustment is available per frame over a sequence of three frames, and this can be combined with the exposure compensation settings to allow for a total possible variation of up to plus/minus five stops (but obviously not in the same bracketing sequence). A very helpful scale display allows for easy shifting of the bracketing point over the +/-3.0 EV compensation range and shows exactly what the exposure variations will then be with the bracketed frames. It also includes simple Darker and Brighter labels. The EOS M shutter combines an electronic first curtain with a physical set of second blades (as, indeed, do most of Canon s D-SLRs). This arrangement is used primarily to reduce shutter lag, so the exposure is made by switching 45 Canon EOS M

5 46 The menu system is identical to that used on Canon s D-SLR and comprises colourcoded sections with the option of creating a custom menu under the My Menu tab. The custom functions number seven and include the option of switching the exposure adjustment increments between 1/3 or ½ stop increments. The replay/review screens include the option of RGB channel histograms with basic capture data or both luminance and RGB histograms. The Quick Menu screen provides access to the Creative Art special effects for application at the point of capture, but they can also be applied post-capture to create a new file. on the sensor s pixels line-by-line and then completed by the physical shutter closing. The speed range is 30-1/4000 second with flash sync up to 1/200 second. As with the 650D, all exposure adjustments can be made in either 1/3 or ½ stop increments, selected via one of the EOS M s seven custom settings. The white balance control options comprise an auto mode backed by six presets, the provision for making one custom measurement, an auto bracketing function and fine-tuning. All the presets (plus the auto mode) can be fine-tuned in both the blue-toamber and/or green-to-magenta colour ranges, but the three-shot bracketing sequences are made over either one or the other. Video Sweet The EOS 650D is pretty capable as a video camera, so the EOS M follows suit, but with the advantage of being a whole lot more compact and lighter. Video is recorded in the Full HD resolution of 1920x 1080 pixels and at either 24 fps or 25 fps using MPEG 4 AVC/ H.264 compression. Clips can also be recorded at 1280x720 pixels and 50 fps. The M has both built-in stereo microphones and a stereo audio input. There s the choice of either auto or manual audio level adjustment, the latter over 64 steps. When the 4.0 GB file size limit is reached (after about 11 minutes in Full HD), a new file is commenced automatically. The aperture, shutter speed, ISO and white balance can all be manually set for video recording plus the Picture Style presets. All can be previewed via Final Image Simulation which is also available for still capture. Also available are the Auto Lighting Optimiser, Highlight Tone Priority and Peripheral Illumination processing functions. Full auto control includes scene selection portrait, landscape or close-up exposure, sensitivity over ISO 100 to 6400, and autofocusing with automatic tracking of moving subjects via Movie Servo AF (which is where the STM lenses come into their own). The EOS M has Canon s Video Snapshot feature which captures clips of two, four or eight seconds in duration. These are stored in a Snapshot Album and then replayed consecutively as a short movie with, if desired, background music. New snapshots can be added to an existing album, albeit only with all the same settings as those already in the folder. Other limitations are the inability to change the order of the snapshots or the length of any subsequent clips once the duration has been selected for the first. In The Hand We ve already noted one aspect of the EOS M s operation that differs markedly from that of its D-SLR cousin, but it has to be said that Canon has done its best to make driving its first CSC as intuitive as possible. So there is no conventional main mode dial, but there is a master input dial surrounding the navigational keypad which has its four quadrants also assigned to various short-cuts. Usefully, these include the AE lock and exposure compensation. However, the M s user interface is largely based on either the capacitive touch screen controls or the Quick Control displays, so there is only a small handful of external controls. Of course, the Quick Control menu is also found on Canon s currentgeneration D-SLRs and you don t have to use touch control if you don t want to, as it can be navigated via the four-way keypad. This said, using the touch control makes the most sense as it s far more efficient and, as noted earlier, Canon provides the option of having the icons re-arranged over the live view image should you want to keep viewfinding while you re changing settings. Panasonic has led the way with touch controls on CSCs, but Canon catches up in one fell swoop to the point you almost don t miss the external controls. Normal service is resumed with the menu system which is pretty much identical to what you ll find on Canon s D-SLRs. The M s layout comprises 11 pages arranged into four colour-coded sections. As on the D-SLRs each page is a separate entity so there s no continuous scrolling and, after a selection is highlighted, it s necessary to press the navigator s central Set button in order to access the settings and make any adjustments. Touch screen operations are accompanied by a Feature Guide panel which provides basic explanations of the modes and functions (and can be disabled in the Set Up menu as they re really unnecessary for the more experienced shooter). There s a Touch Shutter release which operates in conjunction with touch focusing by simply touching on the subject. The main menus, Quick Control settings, short-cut functions and playback operations are covered by touch control, with both tap and swipe actions (the latter working with, for example, the slider-type adjusters). The live view screen can be configured to show a range of settings, one of two grid overlays (3x3 or 6x4) and either brightness or RGB real-time histograms (the latter a first in our experience). There are four image review/ replay screens with various combinations of capture info, a thumbnail image and a histogram display (either brightness only or with the RGB channels) and a highlight alert. The playback modes include four or nine thumbnail pages, zooming between 1.5x to 10x and a slide show with adjustable image display times (plus a repeat function). Additionally, the slide show can be set to replay only selected images for example, according to the date of capture, folder name or rating level. Background music is also available. The Quick Control menu in playback enables quick access to the special effects by simply tapping on the icons (or using the navigator) and images can be browsed via a swipe action. Playback zoom is achieved by spreading two fingers and access to the thumbnail displays by a pinching action. Movie editing is limited to trimming the start and finish in one-second intervals. Speed and Performance With a 16 GB Panasonic Class 10 UHS-1 SDHC memory card aboard, the EOS M fired off a sequence 14 JPEG/large/fine frames in seconds. This represents a continuous shooting speed of 4.49 fps which is slightly better than the quoted spec, but it needs to be remembered that this speed is only achieved with the AF locked to the first frame. The burst length is also close to the quoted spec, but this is very dependent on the speed at which the memory card can accept data from the buffer memory. The new metering system appears to be very capable in dealing with whatever it sees before it, even when bright sunlight is creating quite contrasty conditions. Of course, the EOS M provides plenty of scope for tweaking exposures and contrast, but the camera mostly does a good job without requiring too much intervention. The autofocusing is

6 47 reliably accurate, but certainly not among the fastest even with an STM-equipped lens compared to what s being achieved by, most particularly, both Olympus and Panasonic. In some instances it was quicker to use manual focusing with its excellent method of targeting the magnified image for assistance. Given its heritage in terms of sensor and processor, we weren t really expecting the EOS M to put in anything other than a strong imaging performance. With 18 megapixels to play with, Canon s first CSC delivers images with plenty of crisply-defined detailing, nicely smooth gradations, nicely saturated colours and low noise levels up to ISO Images captured at this sensitivity setting exhibit a small amount of graininess in areas of uniform tone, but overall both the colour and the contrast are still very good. All the higher settings deliver progressively increasing graininess and the ISO 25,600 push is probably only good for emergencies (but might be needed given the EOS M doesn t have a built-in flash). The dynamic range is reasonable without any enhancement processing, but tonality in the brighter highlights is much improved by using, in particular, the Highlight Tone Priority function. Overall in terms of image quality, the Canon EOS M pitches into the CSC club alongside the better performing APS-C models, and it s certainly capable of holding its own against its direct rivals from Sony and Samsung. the VErdict There s lots to like about the Canon EOS M the way it looks and feels, the truly excellent touch screen controls and the comprehensive feature set. On the other hand, the absence of a built-in flash is a bit hard to comprehend and why not provide the option of fitting an EVF for those who want one? On the performance side, the slow autofocusing may or may not be a problem depending on what and how you shoot, but it s the one blemish on an otherwise very capable package. It s probably necessary to keep in mind the primary audience for this camera and that a model more targeted at enthusiasts is on the way. If it retains everything that s good about the M, it ll be superb. Right now, though, the EOS M still does enough to make you want one. CANON EOS M $999* *with EF-M 18-55mm IS STM zoom. Estimated street price. The rear panel is dominated by the 7.7 cm capacitive LCD screen which has a resolution of 1.04 megapixels and is a joy to behold. Type: Compact system camera with Canon EF-M bayonet lens mount (fully compatible with EF-S and EF type lenses via optional EF-EOS M mount adaptor). Focusing: Automatic via hybrid phase-difference detection and contrast detection systems. 31-point wide-area system. Focus points may be selected manually or automatically by the camera. One-shot and continuous modes (the latter with a predictive function), with manual or automatic switching. AF+MF mode allows for manual fine-tuning. Face detection and auto tracking. Sensitivity range is EV (ISO 100). AF assist in low light/ contrast situations is provided by a built-in LED illuminator. Metering: 315-zone evaluative, selective area (11.0% of image area), spot (2.8%), centre-weighted average and E-TTL II auto flash. Metering range is EV 1 to 20 (ISO 100). Exposure Modes: Continuouslyvariable program with shift, shutter-priority auto, aperture-priority auto, Creative Auto, depth-offield AE, metered manual, E-TTL II auto flash. Seven subject programs for portraits, landscapes, close-up, sports, night portrait, held-held night scene and HDR backlight control. Scene Intelligent Auto for automatic subject mode selection. Shutter: Electronically-controlled vertical travel focal plane type, 30-1/4000 second plus B. Flash sync to 1/200 second. Exposure compensation up to +/-3.0 EV in either ½ or 1/3 stop increments. Flash: No built-in flash. External flash units sync via hoshoe. Viewfinder: 7.7 cm LCD monitor screen (1.04 megapixels) with adjustable brightness and touch controls. No built-in eyelevel viewfinder or connection for an external unit. Additional Features: Magnesium alloy/aluminium bodyshell, auto exposure bracketing, depth-offield preview, AE lock, dual-mode self-timer (two and ten second delays), audible signals, wireless remote control, seven custom functions. DIGITAL SECTION Sensor: 18.5 million pixels (total) Hybrid CMOS with 22.3x14.9 mm area and 3:2 aspect ratio. Sensitivity equivalent to ISO ,800 (expandable to ISO 25,600). Focal Length Increase: 1.6x. Formats/Resolution: Two JPEG compression settings plus RAW lossless compression. Five JPEG resolution settings: 5184x3456, 3456x2304, 2592x1728, 1920x1280 and 720x480 pixels. RAW images are captured at 5184x3456 pixels. 42-bit RGB colour. RAW+JPEG capture is possible. The four smaller image sizes also have a choice of aspect ratios 4:3, 3:2, 16:9 and 1:1. Video Recording: Full HD = 1920x1080 pixels at 24 or 25 fps and 16:9 aspect ratio. HD = 1280x720 pixels at 50 fps and 16:9 aspect ratio. SD = 640x480 pixels at 25 fps and 4:3. MPEG 4 AVC/H.264 compression. Up to 4.0 GB file size or 29:59 minutes clip duration. Video snapshot mode captures two, four or eight seconds grabs. Built-in stereo microphones and stereo audio input. Manually adjustable sound levels. Recording Media: SD/SDHC/ SDXC memory cards with UHS-1 support. Burst Rate: Up to 15 frames at 4.3 fps in JPEG/large/fine mode, up to six frames in RAW mode. AF and AE locked to first frame. Up to 1.7 fps with focus tracking. White Balance: Auto/manual with six presets and one custom setting, white balance bracketing, and white balance correction (plus/minus nine levels; blueamber and/or green-magenta colour ranges). Interfaces: USB 2.0/AV, mini HDMI, stereo audio input. Additional Digital Features: Sensor cleaning, brightness/rgb histograms, highlight alert, srgb or Adobe RGB colour space, six Picture Style presets (Standard, Portrait, Landscape, Neutral, Faithful and Monochrome), adjustable Picture Style parameters (Contrast, Sharpness, Colour Saturation and Colour Tone), three user-definable Picture Styles, B&W filter effects (Yellow, Orange, Red, Green), B&W toning effects (Sepia, Blue, Purple, Green), seven Creative Art at-capture or post-capture filters (Fish-Eye, Soft Focus, Toy Camera, Grainy B&W, Miniature, Art Bold and Water Painting), long exposure noise reduction (Auto, On, Off), high ISO noise reduction (Standard, Low, Strong, Disable), HDR capture (three exposures), Highlight Tone Priority (dynamic range expansion), Auto Lighting Optimiser settings (Standard, Low, Strong, Disable), Peripheral Illumination correction (for lens vignetting), chromatic aberration correction, My Menu set-up, adjustable image display time, auto playback, auto image rotation, 4/9 thumbnails, zoom playback (up to 10x), auto power-off (adjustable duration), infrared remote control, DPOF and PictBridge support. Power: Rechargeable 7.2 volts, 875 mah lithium-ion battery pack (LP-E12 type). Dimensions (WxHxD): body only = 108.6x66.5x32.3 mm. Weight: body only = 262 grams (without battery pack). Price: $899 body only with EF-EOS M adapter. $999 with Canon EF-M 18-55mm f IS STM zoom and Speedlite 90EX. Available in black, white or red body colours. Estimated street prices. Distributor: Canon Australia Pty Ltd, telephone or visit

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