Should you buy a Nikon D70 or Canon EOS 20D?
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(Updated 6/17/05) Five years ago, Canon released the EOS D30 and shocked a lot of people by proving that there was a large market for a digital SLR under $5,000. While this may sound obvious now, a lot of camera makers were caught by surprise. Five years later, Nikon is still in something of a "catch-up" mode. Their first foray into this market, the D-100 was not price competitive and suffered from performance issues, while the D70, though a very good camera, was priced a little strange. If you’re looking for a mid-level digital SLR – one that offers full features, speedy performance, excellent image quality, and a sturdy build and feel, then you’ve probably been looking closely at the Nikon D70s and Canon EOS 20D. Both are excellent cameras, and I don’t envy you the decision, but there are some quantifiable differences, which I’ll explore in more detail in this article. |
Trying to decide whether to compare the D70s to the 20D or the Rebel XT was not easy. While the body-only prices of the Rebel XT and D70s are fairly comparable, the kit prices are a little more varied. With the Rebel XT, you can get into a complete system – body and lens – for under $1000 (barely). Average street price for the D70s kit is about $1200.
Many will argue that the kit lens that Nikon ships is much better than the 18-55mm lens that Canon includes with the Rebel XT kit, and there’s a lot of merit to this argument. Nevertheless, Canon’s lens is good, and more importantly, the sub-$1000 price point is an important psychological barrier. The XT is clearly aimed at people who don’t want to cross the $1000 line. As such, the XT and the D70s live in different categories.
In addition, the D70s is much closer in size and build quality to the 20D than it is to the Rebel XT. For all of these reasons, I decided to stage a face-off against the 20D.
The easy way out
If you already have a collection of lenses, either Nikon or Canon, then there’s really no need to compare these cameras. Both deliver excellent images and, equivalent feature sets. Though some people will argue the fineries of who makes the better lenses, those arguments probably don’t make a lot of sense in this market. Both companies make excellent lenses, and not so great lenses. If the difference between Canon’s and Nikon’s $7000 prime lenses matter to you, then you’re probably not shopping for an under-$1500 camera.
Both vendors offer a huge array of lenses, and both are supported by a wealth of third-party lenses from manufacturers such as Sigma and Tamron. The D70s offers a 1.5x multiplication factor, versus the 20D’s 1.6x multiplication factor, but Canon offers its S-series lenses which provide a more affordable answer to the trouble of finding wide angle lenses for an APS-sized sensor.
What’s probably most significant is that if you already have an investment in a particular lens system, it’s because you’ve already been shooting with either a Nikon or Canon camera, and so are used to that company’s interface and approach to camera design. When it comes to interface, Canon and Nikon do things fairly differently, and making the switch can be a bit of a headache. Because there’s so little practical difference between these cameras, enduring that headache probably isn’t worth it, so stick with what you’re used to.
If you don’t currently own any lenses (or own any lenses that aren’t going to be useful in a digital world) then your choice becomes a little more critical, as you’ll want to invest in lenses that can grow with you into future cameras. In other words, the choice you make now will leave you as a Nikon or Canon shooter for years to come. No pressure.
The salient details
When comparing these two cameras, there are two numbers that you’ll probably notice right away: price, and resolution.
Currently, the Nikon D70s averages about $900 for the body only, and $1200 for a kit which includes an 18-70mm (actual focal length) zoom lens. The Canon 20D averages around $1125 for the body only and $1425 for a package that includes an 18-55mm lens. So, whether you buy the body only, or a kit, you’re going to spend about $300 more for the Canon.
The sensor in the D70s produces images with pixel dimensions of 3008 x 2000, for a total effective resolution of six megapixels. By contrast, the EOS 20D yields images of 3504 x 2336 pixels for a total effective resolution of 8.1 megapixels.
Megapixel comparisons are tricky because image quality depends on much more than simple pixel counts. Having an extra two megapixels doesn’t always mean you’ll get a better image. A camera that performs poor color calculations, oversharpens, miss-meters and selects a bad white balance is going to produce a bad image no matter what its resolution.
Also, the extra 2 million pixels doesn’t represent a substantial increase in final image size, as you can see here:
Though there’s a 2 megapixel difference in size between the D70s’ images and the 20D’s, this is not a significant increase in area.
To look at it in practical printing terms, the 20D provides enough pixels to print a 14.6 x 9.7" image at 240 pixels per inch without re-sampling. At the same resolution, the D70s produces a print size of 12.5 x 8.3" without resampling.
As we’ll see, both of these cameras produce excellent images – the 20D does not suffer a quality hit for cramming more pixels onto its sensor. It’s difficult to say whether the extra 2 megapixels is worth $300, or a part of that $300. Personally, I’m glad to have as many pixels as I can get, both to facilitate larger printing, and to allow for cropping and enlarging.
Nikon is behind in this regard, and they need to catch up. Canon’s new Digital Rebel XT offers the same resolution as the 20D at a lower price than the D70s. I would never say that higher resolution makes for an inherently better camera, when I can get extra pixels from the competition at a competitive price in the case of the 20D, or a lower price in the case of the Rebel XT, without taking a hit in quality, then it’s time for Nikon to do some upgrading.
Body and Build
Both cameras follow the tried-and-true modern SLR design. On the top of the camera: mode dial on the left; LCD status display on the right, along with a few controls; shutter button on the top of the molded hand grip. LCD screen on the back of the camera with the rest of the controls.
It’s very strange, but though their dimensions are almost the same, the D70s feels noticeably larger than the 20D. The main body on the D70s is slightly taller than the 20D’s, the pentaprism is also a few millimeters taller, the handgrip is slightly deeper – you have to look close to see these differences, but they’re there, and they add up to a camera that feels a little bulkier.
More significantly, though, the D70s feels a little less balanced than the 20D. It’s weighted more to the left side – the side opposite the handgrip. This makes the grip pull more against your hand and generally makes the camera feel a little heavier, and often leaves you feeling like you have a slightly less secure grip on the body, even though the camera is 85 grams lighter than the 20D.
My biggest complaint with the physical design of the camera, though, is the position of the shutter button. On the 20D, the shutter release is located on a sculpted indentation that’s tilted forward. Basically, the shutter release is directly beneath where your forefinger lies if you grip the camera and let your fingers fall into a comfortable, relaxed position.
On the D70s, the shutter release is more on top of the handgrip, meaning you have to pivot your forefinger upwards. It’s a slight difference, but the 20D is more comfortable, particularly if you’ve spent the day carrying the camera and a heavy lens.
Both cameras provide two control wheels. The D70s positions one wheel directly below the shutter button (this is reversed on the 20D) and another wheel, just opposite the first, on the back of the camera.
On the 20D, Canon opts for a large thumbwheel on the back of the camera. These controls on both cameras are fine, and when shooting, both cameras use their rear wheel as an exposure compensation control. Personally, I find the Canon thumbwheel easier to use while looking through the viewfinder. It’s a little easier to find, and much easier to turn.
The D70s has a noticeably larger rear LCD screen, 2" diagonally, versus the 20Ds 1.8". The screen is bright, sharp and easy to see in direct sunlight and the camera ships with a clear, snap-on protective cover, something that Canon’s cameras have needed since the D30.
I always forget how bad the 20D’s power switch is until I use a camera that does it right, like the D70s. The 20D’s power switch is a rocker switch located on the bottom edge of the rear panel. The D70s’ power switch is a rotating affair that surrounds the shutter button, meaning it’s right there beneath your shutter finger. You can easily power up the D70s while raising the camera to your eye, using the same hand that’s holding the camera. You pretty much have to use two hands to turn on the 20D, you can’t easily do it while holding the camera up to your eye, and powering up and down while mounted on a tripod is a drag.
Both cameras offer effectively instantaneous power-up. The D70s doesn’t include a sleep mode so, like the 20D (which has a near-instantaneous wake-from-sleep) it’s always ready to shoot.
As far as the rest of the physical design, there are no other stand-out discrepancies between the two cameras. Both provide good pop-up flashes that raise high-enough to shoot over wide lenses; both support CompactFlash type I and II; both provide excellent battery life using their small, included rechargeable Lithium-Ion batteries.
Both cameras have good viewfinders that are the same size and deliver a nice bright image. The D70s viewfinder has a slight yellowish cast to it which might make your scene appear a little warmer than it really is. In addition, the 20D provides 9 selectable autofocus points, versus the D70s’ 5. Both also claim 95% coverage and offer equivalent in-viewfinder status displays. Neither offers any kind of focusing aid on the focusing screen, making it extremely difficult to perform manual focus in low light.
As a long-time Canon shooter, it’s difficult to evaluate around the things that I’m used to and comfortable with. That said, there are some things that are plainly wrong with the 20D’s design – such as its power switch – as well as some things that seem plainly wrong with the D70s, such as its shutter button and odd balance.
I feel like, overall, the 20D is a more comfortable camera. This is an extremely subjective opinion, of course, but I can say for sure that there’s a big enough difference in the feel of these two cameras that you absolutely should not choose until you’ve had a chance to handle both.
Features
Because detailed feature evaluations are available on many other sites, I’m not going to go into a deep, head-to-head feature comparison. Both of these cameras offer a wealth of powerful customization controls and niggly options for finessing and fine-tuning settings. For example, both offer white balance bracketing – which lets you shoot a series of shots with slightly varying white balances – and white balance fine tuning, which lets you perform slight tweaks to the preset white balance settings. Both cameras also include adjustable sliders for sharpening, contrast, saturation and color, as well as other built-in color processing and adjustment controls.
In addition, both cameras offer the usual complement of pre-set shooting modes ranging from landscape to portrait, sports to slow-sync flash. Both also offer comprehensive playback capabilities with good zooming controls, EXIF display, histogram display, and shadow/highlight clipping display. Neither offers a 3-channel histogram.
If you only plan to shoot JPEG images with little or no editing, then the all of these shooting features can be very important, and I recommend taking a look at some other reviews for evaluations of these capabilities. You’ll probably find that neither camera has a clear advantage in this area, as they both deliver excellent images, and their color controls are robust and capable.
I’m assuming that most readers of this site are planning on going a little deeper, will probably be shooting in raw mode, and expect to do most of their important color correction and adjustment by hand in an image editing program.
Fortunately, both cameras are pretty easily matched here as well, except for one important difference. On the positive side, both cameras are capable of writing out simultaneous raw and JPEG images, as separate files. Both cameras support either sRGB or Adobe RGB color modes, and both provide equivalent basic shooting features. In other words, both cameras provide everything the serious raw shooter will be looking for. As we’ll see shortly, the 20D has a marked performance advantage when burst shooting, which may or may not be a concern, depending on the way you shoot.
What will be a concern is your image editing workflow. The D70s ships with a copy of Nikon View, which you can use for editing raw files – for 30 days. After that, you’ve gotta cough up another $100 for a full, unlocked copy.
For bundled software, Nikon View is actually surprisingly good, offering okay performance, some really cool features, and very good image quality. But after spending $1200, finding a time bomb on an essential piece of bundled software is insulting. Personally, I’ve always assumed that camera makers made their money selling lenses. Nikon now thinks they’re a software company?
Many of you will argue "who cares, I use Photoshop for my raw editing anyway" and I’m right there with you. Photoshop’s highlight recovery alone makes it a better raw converter than Nikon view, never mind the fact that it allows for a much smoother post-production workflow.
At the time of this writing, Adobe Camera Raw (version 3.1) doesn’t fully support the D70s. Though Camera Raw can open Nikon’s raw NEF files, it can’t display thumbnails of the images in the File Browser (if you’re using Photoshop CS or Elements) or in Bridge, (if you’re using CS 2) a deficiency that can hamper your raw workflow. (Note that Camera Raw 3′s “filmstrip” display, which shows multiple raw images, does correctly display thumbnails.) Normally, I would say that it’s only a matter of time before it does. However, with the recent Nikon white balance encryption brouhaha, and Adobe’s statement that they will not be trying to crack encrypted Nikon raw formats, one has to wonder how much support they’ll give to other Nikon models.
The D70s is not listed as having encrypted white balance in its raw format, so, the odds are extremely good that there will be full camera raw support for the D70s, but the next question is how long will that take?
Also, by choosing the D70s, you’re choosing the Nikon lens mount. At some point, you will probably upgrade to a newer Nikon digital SLR, especially once you’ve invested in Nikon lenses. Bear in mind, that there’s no guarantee that you’ll be able to use raw files from that newer camera with Adobe Photoshop, and there’s no guarantee that Nikon won’t try to extort more money from you for software you can use.
The raw situation with the D70s is a real liability, and one you should think about carefully, even if you’ve never shot raw before.
Shooting
Though both cameras offer equivalent controls and shooting features, there are a lot of minor differences in approach that make for noticeably different experiences when shooting.
The first big difference is obvious the moment you shoot with both cameras: the D70s is substantially quieter than the 20D. As reported in my 10D/20D comparison, the 20D has a pretty jarring, slappy shutter sound when compared to the 10D’s. But even the 10D is loud by comparison to the D70s. For most people this will simply be an aesthetic preference, and in that regard, pressing the D70s shutter is simply more satisfying.
For more practical concerns, if you regularly shoot in situations that demand a low-profile – concerts, libraries, secret espionage missions – then the quieter performance of the D70s might be a significant advantage. It’s not as quiet as some of Nikon’s high-end film cameras, but it’s soft shutter is impressive.
There’s a single philosophical difference in the way these cameras approach their controls that makes the cameras feel very different: on the D70s, all controls are interlocked. In other words, any change you want to make requires operating two controls simultaneously, a button and a wheel. For example, to change ISO, you hold down the ISO button on the back of the camera, while turning the rear control wheel. Feedback is provided on the top-mounted status display.
By comparison, on the 20D, you don’t have to operate these controls simultaneously. After pressing the ISO button on the top of the camera, you spin the rear control wheel to select, with feedback provided on the top LCD.
Control interlocks are designed to keep you from accidentally changing settings, which is a great idea on paper. In reality, I’ve never had a control accidentally changed on any of my Canon cameras, either while handling the camera, or toting it in a bag. (There have been plenty of times when I’ve forgotten to change a setting back to normal after using a more obscure setting, but as much as I’d love to, I’m afraid I can’t blame the camera for that.)
The problem with control interlocks is that they’re harder to use. Another example: to change exposure compensation – a feature you’ll use very often – on the 20D you simply spin the control wheel on the back of the camera. Because you can reach it with your thumb while looking through the viewfinder, you never have to remove your forefinger from the shutter button, meaning you’re always ready to shoot.
By contrast, on the D70s, you adjust exposure compensation by pressing and holding a button located behind the shutter button, and spinning the rear control wheel with your thumb. By moving your finger, you’re no longer poised to shoot, and because you have to hold an interlock and use your thumb, your hand has to be slightly more clenched (if it sounds like I’m really nitpicking and whining right now, I should say that I have fairly significant RSIs, so clenching is kind of an issue for me). To Nikon’s credit, weighting the camera more to the left makes this a little easier, as you can support the weight of the camera with your other hand.
The biggest problem with the D70s’ interlocking scheme is that two hands are required for almost every change. ISO, white balance, quality, flash exposure compensation, drive mode, and bracketing are all accessed through buttons on the left side of the camera. There’s simply no way you can these change settings with one hand.
On the 20D, you can easily change exposure compensation, autofocus mode, white balance, drive mode, ISO, metering mode, flash exposure compensation, and focus point selection with one hand. If you’re shooting in a difficult position, or trying to carry other things while shooting, this arrangement can make the difference between getting and missing the shot.
Nikon makes no claims to be competitive with the 20Ds performance, so I won’t go too far into it. The 20D provides between 5 and 6 frames per second when shooting in drive mode, the D70s provides 3.
When shooting with a regular SanDisk CF card in fine JPEG mode, the D70s can shoot 10 shots at full speed before slowing down to buffer. It then drops to roughly one frame per second and never really catches up until you release the shutter for a few seconds. Switching to a SanDisk Ultra II card, things speeds things up considerably. After the initial 10 shots at full speed, the camera slows to about 1.5-2 frames per second, and recovers fairly quickly to a regular burst speed.
In raw mode, the camera can burst for four frames at full speed, and then slows down to about 1 frame per second.
By contrast, the 20D is not only much faster, can shoot larger bursts (14 fine JPEGs, 6 raws) but recovers a little quicker when bursting, managing subsequent smaller bursts more quickly than can the D70s.
Like the 20D, the D70s doesn’t lock up its control and menu system while flushing its buffer. This means that you can shoot a burst of images, then alter your settings while the camera writes out its files. By the time you’ve made your setting changes, the camera will probably be ready to burst again. For shooting bursts of auto-bracketed shots, this capability is essential.
For pretty much all other shooting controls the cameras rank evenly. Both cameras offer speedy, accurate auto-focus that performs well in low light; both cameras offer a control for cycling through reciprocal exposures after metering; both cameras offer full priority and manual modes and adjustable focus points. Though both cameras do an excellent job of metering, the D70s scores over the 20D with its built in spot meter. Both cameras offer auto-bracketing of only 3 shots, a parameters that should be higher.
The D70s offers a narrower ISO range than the 20D. The D70s provides a bottom ISO speed of 200, versus the 20D’s 100 and lacks the 20D’s 3200. Granted, 3200 on the 20D is not particularly useful, so this is no great loss, but the lack of an ISO 100 is frustrating.
However, where the 20D offers ISO choices in full stop intervals – 100, 200, 400, 800, 1600 – the D70s provides fractional choices – 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600. For tricky exposure situations, the greater granularity let you gain some additional shutter speed or aperture latitude without risking more noise than you have to.
Image Quality
Things have changed a lot in camera reviews. Just a few years ago, the bulk of a review would have been comprised of evaluating a range of very specific image quality concerns. Nowadays, when evaluating SLRs from major camera makers, things are much simpler because, in general, image quality is simply very very good. The D70s is no exception. Color rendition, detail, metering, white balance, the camera does a great job on all fronts.
Overall, I have no complaints about the D70s’ image quality performance. Comparing with the 20D is a little tricky both because of the resolution differences, and the fact that I can’t shoot the same lens on both cameras. Because I have only the Nikon kit lens to shoot with, it’s difficult to say whether some color traits I noticed are a function of the camera or the lens. As such, for detailed image samples you’ll need to look elsewhere.
There is a noticeable difference in quality at 1600 ISO. Noise response, both luminance and chromatic, seems fairly identical in both cameras up to ISO 800 (the D70s lacks 100, of course). At 1600, though, the D70s exhibits slightly chunkier luminance noise and greenish chromatic noise in darker shadow areas. Again, it’s difficult to tell if the chunkiness of the noise is related to the camera’s lower resolution. Overall, ISO 1600 images are very clear, the noise I’m mentioning here is just in darker shadows and would not be glaring when printed.
(One curious note, the Photoshop CS File Browser does not display an ISO tag for D70s images, a frustrating annoyance.)
Except for this one ISO detail, you’re probably not going to be able to base your final decision on image quality, as both cameras do a great job.
Conclusion
As I said earlier, I’m a Canon shooter, so it can be difficult for me to work around my own expectations as to how an SLR should function. Nevertheless, I’ve tried to explain why I have the interface complaints that I have. I’m not sure, but I think that if I was starting from scratch, I would still favor Canon’s interface for it’s simpler design, one-handed operation and lack of control interlocks. However, this is an extremely subjective opinion, so before any dedicated Nikon users prepare their flames, I’d like to say that I don’t see the D70s’ interface as a deal-breaker. Rather, I think it’s important for any prospective buyer to try out both cameras while keeping the points that I’ve mentioned in mind.
Similarly, I don’t think there’s any solid difference in image quality that favors one camera over another, they both take great pictures.
However, when it comes to the question of value, I think there are some very quantifiable differences. What do you get for an extra $300 if you choose the 20D? More resolution, better burst speed, better buffering performance, and better Photoshop Camera Raw compatibility. Right now, I think that’s worth the money, unless you have an extremely adverse reaction to Canon’s design and interface.
Nikon’s current raw situation is a serious liability. Though Adobe will most likely release a D70s-compatible Camera Raw update, their recent Camera Raw encryption shenanigans should make Nikon shooters a little nervous about their future upgrade path. If you invest in lenses now and upgrade to another camera later, will you still have Photoshop raw compatibility? And if not, how much extra will you have to pay for Nikon software that allows you to view your own files?
If you know you’ll never shoot raw, then the 20Ds specs are still worthy of the extra money, however you should handle both cameras, and seriously consider the type of shooting you do to determine if the $300 difference is worth it. If raw photography is already a part of your shooting life, or if you plan on exploring raw in the near future, then you might have an easier time with the 20D.
Related Links:
Canon Digital Rebel XT Review
Canon EOS 20D – Full Review
Should you buy a Canon Rebel XT or EOS 20D
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Just for clarification, Nikon view that ships with the D70 is free software from Nikon that allows to convert RAW files into other formats such as JPEG, TIFF. The software that ships as a demo is Nikon Capture, that is a pro level software that allows for very detail image editing with professional level features and image quality. Nikon capture software is $100 after the 30 days trial. So, out of the box the D70 have free high quality software for image conversion of RAW files that can be later edited in Photoshop if more features are needed. Of course as you say, camera Raw will add support for the D70s, making unnecessary the use of Nikon View. Nice review you posted. Miguel Great Review. You said that you would revisit the camera raw issue when Adobe added D70S support. I think that has happened – unless Camera Raw 3 only supports the D70 and not the D70s. Thanks for a very informative comparison. Good call, Jimmy. I just updated the review to reflect the functionality of Camera Raw 3.1. The short of it is: you can open the D70s raw files, but you can’t see thumbnails in Bridge. So, it’s kind of a partial fix. Without thumbnails, normal raw workflow is a little hampered, but you CAN see thumbnails in the multi-image view within the raw converter itself. Thanks for taking time to write this article, It’s quite good. From what I’ve read in other posts & newsgroups, It seems as though the Canon EOS 20D is a bit better than the Nikon D70s. However, I read that the D70s has an onboard database of 30,000 actual photos, and compares what you’re shooting with one of those 30,000, in order to set the “correct” AF settings. Being somewhat of an amature; Would this type of technology help to compensate for only having five AF points. Also, would some one please explain the importance of AF points, and how many are sufficient? I’m impressed by the EOS 20D, but I really like the body and feel of the D70s. I want to do professional work, and am currently studying Photo Journalism. I’m just really on the fence about which camera to get. Any facts, or opinions would be appreciated. Thanks, Sean, the image database inside the D70s is actually for light metering, not focus. The camera is able to compare the current scene against its huge mess of reference images, each of which is “properly” exposed. As for number of autofocus points, I personally don’t find this a real criticial issue. Say you want to frame your shot with your subject on the left side, and a distant landscape on the right. Obviously, you don’t want the camera to focus on the landscape, so having a selectable focus point on the left can help ensure you get the right focus. Or, you can set the center focus point on your subject, focus, reframe, and then shoot. I tend to lock my camera on the central point and work this way, because I’m not in the habit of double-checking that the camera selected the right point. I wouldn’t worry about number of focus points as a serious deal-breaker. The power switch on the 20D is indeed quite bad, but in sleep mode it uses no more battery power than is does when turned off, so I just leave it on all the time. I appreciate the review. In order to really quantify the differences between the two, you should also, include use of the flash system. I had the D70 (not “s”) and switched to the Canon 20D. I still have my Nikon F100, just in case. ‚Ķmore on that later‚Ķ. I think the Nikon flash system is far superior to Canon’s however; Nikon has an issue with saturation in the red’s, for my taste. Also, the D70′s CAM 900 autofocus sensor is not so impressive. There’s no comparison to the F-100. Also, the preflash metering system is slower than on their film cameras, causing me to capture blinks, regularly. Bouncing helps alleviate the problem but, it is a significant issue. The Nikon Capture software is leaps and bounds better than Canon’s DPP. Nikon users should spend the 100 bucks. You can upload custom curves with it to control the color and contrast response and shadow detail, very well. It can process raw and jpegs. One button click, opens the file in Photoshop for editing. It also pulls the files in and neatly into a (single) folder. The Canon 20D makes multiple folders of files on the card — very annoying… The Nikon manages the battery power very well and, wakes up with a push of any button. You must press the shutter release to wake up the 20D. The Nikon seems to be a bit sharper, out of the camera. Since the 20D needs sharpening all the time, it‚Äôs silly that the sharpening tool in DPP does so on export, precluding the ability to preview the effect. However, it was the color, in addition to the slow double burst flash, that made me switch. I did some portraits with the Nikon where the subjects were wearing all black tops. The Nikon rendered one of the sweaters, burgundy-ish. I placed the Pocket Wizard on a Rebel that was available and shot the same scene. All colors came out correctly, right out of the camera. Since I’ve gotten the 20D, it hasn’t been a bed of roses. It locked up at the end of the first job I shot with it. I made it through before it completely locked up. I sent it back to Canon for repair and when I got it back, it locked up again, on the next job. Again, I sent it in for repair, and recently got it back. I used it for a shoot this past weekend with no lockups but, I don’t trust it, yet. Now I see there is another firmware update to make it work with the Capture software, again. No matter how nice a camera seems, at the end of the day, a pro cannot afford to have a tool that may not allow them to get through a job. I need another digital backup but, it won’t be a 20D. And, I’m not spending 4500 dollars on a body, either. People who’ve had a similar problem say “mine’s only locked up a couple of times”. Raise your expectations people! They were lucky they weren’t on a money making venture when it did. I guarantee they would change their tune about the 2000 bucks they spent on their kit. Fortunately for Canon, Nikon isn’t able to solve that color problem I spoke about, to my eye or, the noise problem at high iso settings. I don’t believe they have an acceptable solution to the image quality that pros expect in a full frame sensor (which I want) or, I’d switch back, because I never had a malfunction issue with Nikon. The flash operation, in aperture priority, is great on the Nikon, where the Canon only allows you to select 1/250 sec. or a camera selected, long exposure with the flash. The way around it is selecting manual on the 20D but, during a wedding, when you go from inside to outdoors or, vice versa, you lose the ambient balance that is automatically achieved with the Nikon. You can shoot in AV with or without flash then, turn the flash on and keep shooting without changing modes and the exposures seem more consistant. The camera automatically changes the shutter speed to 1/60 or faster, depending on the ambient light. The upper line Nikon lenses are very nice, as well. My associate has sent his Canon 28-135 I.S. lens in for repair to the zoom mechanism twice. It was never dropped and, he continues to have a problem with it. Granted , it’s not an “L” lens but, they shouldn’t break without cause. Canon has a good product but, I’m not convinced of the reliability at this time. I will say, as a testament to how good the Canon image processing is, I want to use Nikon because I have Nikon equipment. but, I feel the Canon is a lot better, image wise, when it works! I believe the upper line Canon and Nikon bodies solve some of my complaints, not all, but at more than double the price. Thanks, Read this thread for how to get Photoshop CS to read a D70S NEF file. After reading the reviews, it seems that Canon EOS 20D is a bit better than the Nikon D70s. I’m looking forward to buy it. a couple quips: 1) You state that Canon has an edge over Nikon by offering their “S” lenses. Canon only has 2 EF-S lenses. Nikon has 6 (and 1 more coming in December), including 2 that are “pro-level” (12-24mm f/4G ED-IF AF-S DX, and the 17-55mm f/2.8G ED-IF AF-S DX). If anything, you should point out that Canon doesn’t have many EF-S lenses because they are starting to commit to FF with the 5D. 2) Your quip about Nikon encrypting White Balance info (which others has commented on above) has absolutely nothing to do with choosing the Nikon F mount. The same could be said of choosing the Canon EF mount…that whichever body you chose, you’ll be using lenses of that type mount exclusively. If anything, this is actually a negative point for Canon as Nikon’s F mount is backwards compatible to nearly every Nikon glass, with a handful of exceptions (most of which are related to metering). Canon switched from their FD to EF mounts making older FD lenses obsolete for Canon diehards. 3) Also, your interlocking argument is not quite accurate. If i understand Canon workflow properly, you must still click a button, then use the dial to change. That to me is less secure than holding down the button while using the dial to change. However, you did state that you rarely changed the wrong setting. I will give you credit that even as a Canon-user, you have given Nikon credit where due (unlike most Canon die-hards, or vice versa for Nikon die-hards =) It’s refreshing to see a more impartial review of the two just discovered your site today – it is very interesting, and merits closer review Hi I have nikon d70s and I am happy with your images but I like to test canon 20D, thanks for your article is very complet. Your article is a great starting point for testing this cameras. Tell me what you're thinking...
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12 Comments on Should you buy a Nikon D70 or Canon EOS 20D?
Sean
Duane
http://www.nikonians.org/cgi-bin/dcforum/dcboard.cgi?az=read_count&om=7657&forum=DCForumID86
and oh, if you want a pic to show with your comment, go get a gravatar!
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