 |  We try three DSLRs designed for the enthusiast but offer professional image quality. Test by Matt Grayson |
If you want professional standard performance without spending the earth, have a close look at these three popular mid-priced DSLRs. Many of the features on offer are pared down versions of what is available on their more expensive relations. For example, the Nikon D90 has the same sensor as the D300 but only 11 AF points powered by the MultiCAM 1000 focus system. The Canon has a lower resolution than the bigger brother full frame EOS 5D MkII. It has an APS-C crop sensor which gives 1.6x magnification but features 6.3fps continuous shooting.
Sony are lucky as a relative newcomer to the scene because it means they're starting from scratch with the Alpha A500. This camera features an articulating screen for high and low level shooting.
Mid range DSLR comparison: Features
Canon decided to focus on the performance of the EOS 50D and upgraded the sensitivity to a maximum of ISO12800. They also upgraded the card format to accept UDMA Compactflash cards and improved the screen to a 920,000dot version.
 A good sized DSLR that fits well in the hands without being overbearing. |  The EOS 50D is the only camera in this test to accept Compactflash cards. |
 On the back plate, you will find Canon's easy to use command dial. |  The screen has been improved and gives brighter, punchier colours. |
When the Nikon D90 was released, it was the first DSLR to feature high definition video capability and some people were up in arms about it. Since then, things have calmed down and more and more cameras are coming out with movie modes, even including top-end models such as the £4K Nikon D3S.
The newest model of the three on test comes from Sony. It has plenty of innovative features including an improved D-Range Optimiser and a new HDR feature that takes two consecutive images at different exposures and merges them to create one image with higher dynamic range.
 Sony's body design and control layout are pretty traditional. |  A dual slot is available to accept SD and Memorystick pro. |
 There are a lot of buttons on the top plate and this can seem confusing at first. |  The function menu is snazzy with nice colours and is easy to navigate. |
 The Nikon is the smallest in this group but still handles well. |  A protector keeps your LCD scratch-free and a nicely laid out back awaits. |
 Like the Canon, the D90 has an LCD screen on the top plate. |  The menu is vast and can seem intimidating, but it's easier to navigate than it looks. |
Nikon and Sony share a similar resolution setting of around 12Mp and they may be on to something with these cameras because there are more models at this classification coming out with the same resolution. Canon have opted for a slightly higher pixel count at 15Mp. 3Mp difference has not really made much difference in the past with upgraded cameras and that could be Canon's downfall in the test or it could make it a winner.
Handling
Canon DSLRs have always been easy to use and even with the revamped menu system, the camera works well with all buttons and dials laid out in a design that works. A large thumbwheel on the back helps with selecting shutter speeds in manual mode or for zooming through the menu system.
Nikon have opted for the buttons option on the back of the D90 and it still works well for the newcomer to the company while loyal users will still see a familiar layout. Because the D90 is the first DSLR to feature movie mode, they've installed a one button video to stills option so you can get back to shooting after a clip of video footage has been shot.
The Sony is more cluttered with buttons and switches all over it, but has the added advantage of a tilting screen. This is especially useful for low level shooting if you like macro photography, or high level shooting for getting over people's heads in a crowd.
Mid range DSLR comparison: Performance
All three cameras were put through their paces in a variety of conditions and tests. All pictures were taken at exactly the same time to ensure fairness and were taken in RAW/JPEG where possible.
Click on any of the thumbnails to open the full size images.
Exposure
The Sony Alpha A500 handles varied lighting well although does give a brighter image than I really like to see even when pattern metering is used. Shadow detail is good and white is white despite a cooler tone to the overall image. With sun directly in the frame, the A500 will burn out clouds in the sky unless they're particularly heavy but it can retain a decent amount of detail in foreground areas that are backlit.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 A darker, warmer shot from the Canon. |  The Nikon gives the most balanced result. |  The Sony has a cooler tone that borders on too blue. |
Click on any of the thumbnails to open the full size images.
Canon's attempt at varied lighting produces dark results and a warmer tone to pale subjects. When this happens, whites tend to take on a slight orange cast to them, which is a shame. While shadow areas have detail in them, I think if the camera had managed a brighter exposure, that would bring more light into those darker areas. The EOS 50D retains more sky detail with backlit subjects as well as keeping plenty of detail in the ground.
The Nikon D90 produces nice images in varied lighting in terms of exposure and adding warmth. Pale subjects get a boost without affecting whites too much but I feel the camera eradicates mild shadows a bit too much. The Nikon works well with backlit subjects, keeping detail in the clouds and foreground areas.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Good results from the Canon with detail in the foreground. |  The Nikon has given a better result retaining more cloud. |  The Alpha A500 has blown the highlights to keep detail. |
Click on any of the thumbnails to open the full size images.
Out of the three, Nikon has produced the best metering and exposure result with the D90. It kept more detail in the cloudy areas when shooting directly into the sun and warmed pale subjects nicely without affecting whites or the blue of the sky. The Alpha A500 produced some very cool images, the pale subject was nearly blue while shooting into the sun lost all the warmth of the sunset.
The lenses
Typical lenses that would be bought with the camera have been used to see how they compare.
The lens used on the Canon EOS 50D was the 17-85mm f/3.5–5.6 and has a level of softness at 17mm when using f/3.5 and f/22. Its optimum all-round best performance was at f/11 when the lens is at its sharpest. This is a similar case at 50mm although the wide and narrow settings are less soft than at the wide angle. At the longest focal length, the Canon produces sharper images at f/5.6 and f/11 but f/22 is still soft. It seems that this lens works better with the camera at full zoom or keeping to around f/11 to get the sharpest results. The focus point was set in the centre throughout the test and not changed.
The lens suffers from chromatic aberration, although not by a lot. In low contrast scenarios, it doesn't come up too harsh, but the starker the contrast gets, the more it shows as purple or green strips.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Mild chroma comes out in the branches of this tree. |  A better exposure but chroma remains. |  A similar result to Canon from the Sony. |
Click on any of the thumbnails to open the full size images.
The Nikon D90 was fitted with the 18-105mm f/3.5–5.6 and its weakest performance comes at the wider end of the focal length range. It does perform better at the wider aperture settings and f/3.5 is softer than f/11 or f/3.5 and moving up to 50mm shows the same problem for the lens at smaller apertures. At full telephoto, f/5.6 is the widest aperture available and this starts to drift out of sharpness while f/11 retains a good level but f/22 still keeps a degree of softness to it. Chroma appears with middle to high contrast but doesn't have a problem in lower contrast settings.
Sony provide the 18-55mm f/3.5–5.6 with the Alpha A500 and frankly, they could put something much better with it. Images are really soft at wide angle and, unusually look better at the wider apertures rather than f/11 or f/16. The smallest aperture is f/22 and this is very poor which is really unfortunate.
Moving the lens to the mid range focal length of 35mm shows a big increase in sharpness and again this is better seen at f/4.5 than at f/11 which I'd expect more. At 55mm, there's little difference between f/5.6 and f/11 but f/22 still shows a lot of softness to it. There's a good chroma performance from the Sony with no sign of colour in low contrast areas but, like the Canon, has a tendency to suffer in the high contrast images.
There's an advantage to the Sony lens if you're going to use wider apertures, but even here the sharpness is not that impressive. The Canon and Nikon lenses show a degree of consistency at least. with reasonable all-round performances.
I think the best results from the three lenses came from the Nikon with sharper images at the wider apertures making the lens more versatile.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Canon 17mm f/4 |  Nikon 18mm f/3.5 |  Sony 18mm f/3.5 |
 Canon 17mm f/11 |  Nikon 18mm f/11 |  Sony 18mm f/11 |
 Canon 17mm f/22 |  Nikon 18mm f/22 |  Sony 18mm f/22 |
 Canon 53mm f/5.6 |  Nikon 50mm f/5 |  Sony 35mm f/4.5 |
 Canon 53mm f/11 |  Nikon 50mm f/11 |  Sony 35mm f/11 |
 Canon 53mm f/22 |  Nikon 50mm f/22 |  Sony 35mm f/22 |
 Canon 85mm f/5.6 |  Nikon 105mm f/5.6 |  Sony 55mm f/5.6 |
 Canon 85mm f/11 |  Nikon 105mm f/11 |  Sony 55mm f/11 |
 Canon 85mm f/22 |  Nikon 105mm f/22 |  Sony 55mm f/22 |
Click on any of the thumbnails to open the full size images.
Focusing
Canon's single point focusing system is the easiest to use by pressing the focus point button on the right shoulder of the camera. Using the thumbwheel on the back will then scroll through the various points until you land on the one you wish to use. If you scroll through the full range of points, all points will be selected. It's a really easy system that has remained the same for years in a “if it isn't broken, don't fix it” philosophy.
The Sony's focusing system allows you to change between AF-S (single), AF-C (continuous) and AF-A (all) which uses both the previous settings and decides which is the best to use at the time. You can also select from wide area, selectable spot and centre spot. The 18-55mm lens has a new feature added called SAM (Smooth Autofocus Mode) and has had some of the motors put into the lens from the camera body to speed the process up and it is faster, but noisy.
Nikon's focusing options are the same as Sony with AF-S, AF-C and AF-A but it's in the custom menu that the D90 is most impressive. In the AF area mode, you can choose from single point, dynamic area, auto area and 3D tracking. Dynamic area will focus on the subject and if the subject leaves the focus point, the camera will adjust the focusing by analysing surrounding focus points. This is different to 3D tracking which will follow the subject using the other focus points if a moving subject tracks across the frame.
It's difficult to give a definite verdict on the focusing systems of any of the cameras because they all found focus quickly and all three cameras have a good amount of options. Canon have the added advantage of USM (Ultra Sonic Motor) lenses which are widely available and make focusing faster and quieter. Nikon's Silent Wave motor offers quiet focusing but this technology is generally limited to the brand's more pricey optics,
Colour and sharpness
The Canon has recorded a good range of colours although I think the primary blue could be more saturated in JPEG. Red is nicely warmed up as are the other warm tones such as orange and yellow. Standard greens come out more pale than what I'd expect as have the earth tones. Pastel tones have been given a gentle boost to ensure they're discernible, which I like. Portraits are recorded brilliantly with lovely, even tones and a nice warmth to the skin. One thing I'd like to see is a sharper image. Despite focusing on the eyes in my portrait test, they're not as sharp as I'd like them to be.
Nikon's colour reproduction on the D90 is more saturated with quite deep reds and a punchy yellow. Blue is bright and even but not as deep as I've seen in the past from Nikon. Not to say that it's unpleasant, just that it doesn't follow past Nikon values. Subtle pastel colours get a nice boost and can clearly be seen in pictures and the camera has no problem with contrasting colours. With portraits, the D90 produces rich skin tones with a nice, warm glow to the skin. Plenty of detail is recorded in fine detail areas such as hair and with a little sharpening in an editing suite, the eyes can be tack sharp.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Nice flesh tones came from the Canon EOS 50D |  The Nikon has brightened the image and warmed the skin. |  The Sony has given a rather pale complexion |
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Chloe Bleackley model portfolio
Click on any of the thumbnails to open the full size images.
The Sony has given a lot of priority to the more subtle tones while saturated colours sit in the background, looking for attention. Primary blue is ok, though, but the warmer tones could do with a little push. Flesh tones are probably the most balanced of the three in this test but the portraits show a different story with skin paler. However, the camera has recorded the sharpest of the three and I'm really impressed with it.
Cooler tones and pastels are given more priority by the Sony while warmer colours are preferred by the Canon. Nikon records good skin tones and has given a good overall result. The Alpha A500 took the sharpest shots straight out of the camera, but the Nikon wasn't far off and nothing a little sharpeniing couldn't solve.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 The Canon prefers warmer colours opting to boost reds. |  The Nikon copes well with contrasting colours. |  The Sony has saturated blues more than reds. |
Click on any of the thumbnails to open the full size images.
Noise
The Canon EOS 50D has a sensitivity range from ISO100 – 12800 including expanded settings with the true settings getting capped at ISO3200. Low ISO settings are good with plenty of detail in all areas and a smooth image overall. Noise doesn't start to show until around ISO800 and isn't a problem until ISO1600 where the image starts to break down. At the final true setting, coloured pixels are starting to invade the image quite dramatically and the problem only exacerbates through to the later stages which aren't governed by ISO rules.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Canon ISO100 test |  Nikon ISO100 equivalent | |
 Canon ISO200 test |  Nikon ISO200 test |  Sony ISO200 test |
 Canon ISO400 test |  Nikon ISO400 test |  Sony ISO400 test |
 Canon ISO800 test |  Nikon ISO800 test |  Sony ISO800 test |
 Canon ISO1600 test |  Nikon ISO1600 test |  Sony ISO1600 test |
 Canon ISO3200 test |  Nikon ISO3200 test |  Sony ISO3200 test |
 Canon ISO6400 equiv. |  Nikon ISO6400 equiv. |  Sony ISO6400 test |
 Canon ISO12800 equiv. |  Sony ISO12800 test |
Click on any of the thumbnails to open the full size images.
Nikon have also added equivalent settings to the D90 and the true settings range from ISO200-3200 with expandable options of ISO100 and ISO6400. Noise is controlled well on the D90 with a softening of the image occurring at ISO800 but actual image degradation doesn't start until around ISO3200 and becomes uncomfortable at the top setting of ISO6400. Even at that setting, I find it a completely acceptable image.
Click on any of the thumbnails to open the full size images.
Sony's range of ISO on the Alpha A500 is ISO200 – 12800 with no expandable settings. Performance like this is usually reserved for the top end cameras, so it's great to see it in a mid-range DSLR. Noise is controlled brilliantly although it's worth noting at this stage that the Sony Alpha A500 doesn't have a way of turning off the noise reduction unless shooting in RAW. The image does get slightly softer as the settings increase but it's not an issue until a lofty ISO6400 with the top setting getting invaded pretty aggressively.
White balance
The Nikon works well with daylight white balance, warming colours such as green that have been cooled due to daylight's naturally blue cast. It overcompensates with settings such as fluorescent giving a pinkish hue, although the setting can be adjusted in the menu system and the D90 has seven fluorescent options to choose from. Stronger casts, such as tungsten, are handled quite well, although some cast still comes through on the preset.
The Sony Alpha A500 works well on milder settings although, like the Nikon, also overcooks the fluorescent settings and gives a pinkish tone. Where the Sony has excelled is the tungsten settings. Colours are the most balanced I've seen in any test. A really good result for Sony in the white balance test.
The EOS 50D also handled daylight well with cooler tones warming up. A similar result to the other cameras on test has occurred with the Canon, giving a pinkish hue to the fluorescent setting. The fluorescent lights used were standard so it's best to check for this if you're in the same situation. Using the tungsten preset has cooled the image down substantially, but not enough to eradicate the cast left by the strong lights.
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
| Daylight | ||
 Canon auto wb daylight |  Nikon auto wb daylight |  Sony auto wb daylight |
 Canon wb daylight |  Nikon wb daylight |  Sony wb daylight |
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
| Fluorescent | ||
 Canon auto wb fluorescent |  Nikon auto wb fluorescent |  Sony auto wb fluorescent |
 Canon wb fluorescent |  Nikon wb fluorescent |  Sony wb fluorescent |
| Tungsten | ||
 Canon auto wb tungsten |  Nikon auto wb tungsten |  Sony auto wb tungsten |
| Canon wb tungsten |  Nikon wb tungsten |  Sony wb tungsten |
Click on any of the thumbnails to open the full size images.
Integral flash modes
All three cameras have a built-in flash as well as supporting external flash with a dedicated hotshoe.
The Alpha A500 has an exclusive hotshoe system that needs an adapter to fit accessories that aren't Sony branded, such as wireless transmitters for studio flash. With a guide number 12 at ISO100, the built-in flash also benefits from +/- 2EV flash compensation as well as rear sync and a shutter speed sync of 1/160sec.
The built-in flash on the EOS 50D has a guide number 13 at ISO100 and features a recycle time of three seconds, rear curtain sync and a shutter speed sync of 1/250sec.
Nikon's D90 has a guide number 12 at ISO100 and offers rear curtain sync, slow sync and flash compensation of +/- 3EV. It also has a sync speed of 1/200sec.
The Canon has the highest guide number of 13 but in practice there is little difference in power output while the Nikon has an extra stop of compensation. Sony's flashgun seems to pop up quite hard, so the hinges could work loose over time.
Battery life
All three cameras take a lithium ion battery for longer life. Sony have taken this a step further by using the Infolithium technology which gives a the battery's condition as a percentage. This means you have a clearer idea of when the battery will run out and if you do prefer the older version of a battery icon slowly depleting, there's one of those too.
By the end of the test, the Sony's battery was showing the biggest sign of depletion as it displayed 75% until recharging was needed. The test was conducted with and without live view on all cameras, looking at the images on the screen after shooting and looking through the menus on a regular basis. Power consumption generally was pretty good and there is no reason why a full battery shouldn't last for a full day's photography.
Mid range DSLR comparison: Verdict
All three cameras have performed really well through the test and I think the Nikon has shown the most consistency throughout the test. While the Canon EOS 50D is a great camera, it had trouble in the varied lighting test and the portraits were slightly soft thanks to the kit lens. The ISO performance is good when viewed on its own, but compared poorly with the Sony.
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Noise performance isn't the best on the Nikon D90, but it simply produces better colours. It also has a vast menu of features, is built really well and has the longest range kit lens. It gave good exposures in tests with varied lighting and produced a warm and bright portrait. The Nikon D90 produced the most consistent performance and that is why it wins this group test.
Mid range DSLR comparison: Pros
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Great buildFast frame rateLive viewLarge thumbwheelClear, bright screen | Smallest bodyLongest lens rangeGood noise controlLive viewPunchy colours | Brilliant noise controlArticulating screenLive view |
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 |
 Underexposes in difficult lightLens could be sharperHigh ISO loses out to Sony | Soft images at wide angle | Lost detail in backlit shotsOverexposes in difficult lightDedicated hotshoe systemPale flesh tones |
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 | |
| FEATURES |  |  |  |
| HANDLING | | | |
| PERFORMANCE | | | |
| PRICE VALUE |  | | |
| OVERALL | | | |
The Canon EOS 50D & 17-85mm IS lens costs around £984 and is available from Warehouse Express here:
Canon EOS 50D & 17-85mm IS
The Nikon D90 & 18-105mm VRII lens costs around £784 and is available from Warehouse Express here:
Nikon D90 & 18-105mm VRII
The Sony Alpha A500 & 18-55mm DT lens costs around £544 and is available from Warehouse Express here:
Sony Alpha A500 & 18-55mm DT
Mid range DSLR comparison: Specification
| Canon EOS 50D | Nikon D90 | Sony Alpha A500 | |
| Resolution: | 15.1Mp | 12.3Mp | 12.3Mp |
| Sensor type: | CMOS | CMOS | CMOS |
| Image size: | 4752x3168 | 4288x2848 | 4272x2848 |
| Sensor size: | 22.3x14.9mm | 23.6x15.8mm | 23.5x15.6mm |
| Autofocus points: | 9 | 11 | 9 |
| Crop factor: | 1.6x | 1.5x | 1.5x |
| Lens mount: | Canon EF/EF-S | DX AF, Type G and D AF Nikkor full compatibility | Sony/KonicaMinolta A lens |
| Metering system: | 35-zone TTL | TTL using 420px RGB sensor | 40-segment honeycomb-pattern SPC |
| Drive: | 6.3fps (UDMA) | 4.5fps | 5fps |
| Sensitivity: | True ISO100-3200 | True ISO200-3200 | True ISO200-12800 |
| Expandable ISO: | ISO6400 & 12800 | ISO100 & 6400 | None |
| Screen size: | 3in | 3in | 3in |
| Card format: | CF, Microdrive, UDMA compliant | SD/SDHC | SD, SDHC, Memorystick |
| Battery model: | BP-511a | EN-EL3e | NP-FM500H |
| Weight: | 450g | 620g | 597g |
| Size: | 145.5x107.8x73.5mm | 132x103x77mm | 137x104x84mm |
| Autofocus system: | TTL-CT-SIR | Multi CAM 1000 with TTL phase detection | TTL phase-detection system |
| Screen resolution: | 920,000 dots (307,000px) | 920,000 dot (307,000px) | 230,400dot (76,800) |
| File formats: | JPEG, RAW | JPEG/RAW | JPEG/RAW |
| Connectivity: | USB2.0 | USB 2.0 | USB 2.0 |
| Flash type: | Integral, hotshoe | Integral, hotshoe | Integral, hotshoe |
| Flash metering: | E-TTL II | i-TTL | ADI TTL flash metering |
| Flash sync speed: | 1/250 | 1/200sec | 1/160sec |
| Image stabilisation: | No, lens based USM system | No, lens based VR system | Yes |
| Integrated cleaning: | Yes | Yes | Yes |
| Live view: | Yes | Yes | Yes |
| Shutter speed: | 30sec - 1/8000sec | 30sec - 1/4000sec | 30sec - 1/4000sec |
| Viewfinder coverage: | 95% coverage | 96% coverage | 95% coverage |
| Movie mode: | No | Yes | No |
