Canon T1i Review: Full Review. Imaging Resource rating. Canon EOS Rebel T1i. EOS 5. 00. DOverviewby Shawn Barnett, Dave Etchells, and Zig Weidelich. Hands- On Preview: 0. Updated to final production- level review: 1. Canon's consumer SLR line has a new flagship: the 1.

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Canon EOS Rebel T1i. Once again, we see a new SLR from Canon in less than 1. It's actually only eight months since the XS was announced, and about 1. XSi; either way you look at it, competition has shortened product cycles in the digital SLR space. Now at the top of the Rebel line, the Canon T1i takes on the Nikon D9. XS and XSi are left to challenge the Nikon D3. D5. 00. 0. With the Rebel T1i, Canon is answering the pincer move that Nikon's put on it in the past few years, now matching them model- to- model at the low end, because the XS and XSi will remain in the lineup.

Canon Rebel T1i Features. While the new HD movie mode is the gee- whiz feature on the Canon Rebel T1i, the important feature for most photographers is the still image quality at 1. According to our tests, its only rival even near this price point is the Canon EOS 5.

D or the more recently- announced Pentax K- 7, both of which are considerably more expensive at retail. But both of which are also more ruggedly constructed, particularly the Pentax, which has a die- cast body and significant environmental sealing.)Controls and body styling are nearly identical (differences are broken down in the User Report below); the main changes are internal. The Canon T1i's new sensor is ever slightly larger at 2. XSi's sensor, but the bigger change is the new sensor's high ISO capabilities, running from 1. Watch Mr. Holmes Online Mr. Holmes Full Movie Online.

Canon's new DIGIC 4 processor handles the larger 4,7. XSi's 3. 5 fps), with a maximum JPEG burst of 1. RAW frames. You can also now capture RAW images in all of the Canon T1i's modes, whether Basic or Creative Zone. The Canon T1i's 3- inch LCD is a 6. The Canon T1i is the first Rebel to have such a high- res screen.

Other features come to the Canon T1i from the 5. D, including the Peripheral Illumination Correction and multiple noise reduction settings. Auto Lighting Optimizer and Highlight Tone Priority were already brought over with the XSi, but Creative Auto is now included, a unique mode that endeavors to bring creative control to the amateur shooter. Movie mode comes to the Rebel T1i with quite similar capabilities to the Canon 5. D Mark II, though it's highest complete HD resolution is 7. It can capture 1. Standard 6. 40x. 48.

You can manually focus or autofocus via contrast detect by pressing the Canon T1i's rear AE/AF- Lock button. The Canon Rebel T1i accepts EF and EF- S lenses, and uses SD/SDHC cards, including Eye- Fi wireless cards.

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The battery is the same as the XSi, and it uses the same battery grip. Also introduced at the same time is the very small Speedlite 2. EX, a new flash that is easy to pocket and gives cameras like the Rebel T1i and the Power. Shot G1. 0 an accessory flash that won't threaten to flip these lightweight cameras over.

The flash head zooms manually from 2. Like other EX Speedlites, the 2. EX transmits color temperature information to the camera. Power comes from two AA batteries. Canon EOS Rebel T1i Pricing and Availability. Body- only, the Canon EOS Rebel T1i lists for $8. IS lens carries an estimated retail price of $9.

May 2. 00. 9. The Canon Speedlite 2. EX has a retail price of $2. Canon EOS Rebel T1i. EOS 5. 00. D User Reportby Shawn Barnett. Canon's new flagship consumer SLR, the Rebel T1i, gathers the best from its more expensive brethren into a more affordable, compact package. The Rebel T1i now sports a 1. EOS 5. 0D, and records HD video like the 5.

D Mark II. Naturally, a few features are also missing from the Canon Rebel T1i, most of which consumers will not know to want at all, but that enthusiasts should consider when deciding from among these three cameras. The prospect of capturing video with a wide array of lenses, from super- wide- angle to long telephoto is what makes capturing video with Canon Rebel T1i interesting.

Before now, you'd have to save a pile of cash and join the long waiting- lists at camera retailers to get a Canon 5. D Mark II to explore these new video features, but the availability of the Rebel T1i should shorten those lines for many aspiring videographers. There are a few shortcomings, however, which we'll get to soon.

Look and feel. Physically, the Canon T1i is very similar to the Canon XSi, with a few minor cosmetic changes as well as the addition of holes for a microphone on the front and a speaker on the back. Heft is good, not much heavier than the XSi's 2. Watch My One And Only Online here. Without the lens, the Canon Rebel T1i plus battery and card weighs 1. From the front you can see that the grip improvements continue. The textured rubber surface of the Canon Rebel T1i's grip feels more tacky than the more worn- in surface on our copy of the XSi, and our fingertips get to enjoy a little more of the grip, since it now extends further toward the lens of the camera; while on the XSi, it stops just right of the grip and your fingertips touch more of the painted surface of the camera than the grippy area. There's a slightly larger bump in front of the Canon T1i's knurled Command dial, and off the right shoulder we find holes for the new microphone, and below that there's a new raised pad for the EOS logo (on the XSi, this logo is pad- printed directly on the surface). From here you can also see that the knurl on the Canon T1i's Mode dial is cut both horizontally and vertically, rather than the coarse vertical lines found on the XSi.

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The only major difference on the top of the Canon Rebel T1i is on the Mode dial. As was the case with the 5.

D vs the 4. 0D, the silver bezel is the main cosmetic feature to set the Canon T1i apart from the XSi, with its black Mode dial. On the mode dial you'll find two new icons, one for Creative Auto and one for Movie mode. On the Canon 5. D Mark II, you access the Movie mode via Live View mode, but setting the Mode dial is the only way you can enter Movie mode on the Canon T1i, which dedicates all functions to movie capture, something that will be more familiar to digicam users, and which is more straightforward. You can capture stills in Movie mode, though, which is nice. The Rebel T1i's ISO button is in the same place here on the top deck, but it sticks up from the surface more, making for easier activation, especially when changing ISO while looking through the optical viewfinder. What stands out the most from the rear of the Canon T1i is the 9.

LCD (to better appreciate the increase in resolution, click on the above image to see a very large version). The layout of the Status display has changed a bit thanks to the greater resolution, but the only addition to the available display is the D+ icon that appears right of the ISO number when Highlight Tone Priority is enabled via the Custom functions (you can't actually turn this on or off via the Quick menu, however). The Quick menu that was new to the Canon 5. D has made its way over to the Rebel T1i as well, activated with the SET button. On the XSi, the SET button takes you in the Live View mode if it's active, but pressing the Print/Share button now activates Live View on the Rebel T1i.

This is also a different location than is found on the 5. D, where the DISP/Print/Share button turns on Live View. It's unfortunate that there are so many ways to enter this relatively new mode depending on which EOS you're using, but it's not uncommon to Canon cameras to change a bit with each generation.

First They Killed My Father’ Review: Angelina Jolie’s Best Film“First They Killed My Father: A Daughter of Cambodia Remembers” is the movie that Angelina Jolie has been working toward for the duration of her short filmmaking career. With each directing effort, Jolie has dismantled any semblance of the glossy stardom that burdens her reputation. Her slick 2. 01. 1 debut “In the Land of Blood and Honey” was a grim tale of star- crossed lovers set against the Bosnian war, while 2. Unbroken”  had the scope and visceral intensity of a WWII epic. By the Sea” was an uneven expressionistic romance in which she co- starred alongside then- husband Brad Pitt, but it hardly glamorized the couple’s insular world. Now comes a more focused, involving work than any of her earlier efforts, a taut wartime tale about surviving the Khmer Rouge that’s rooted in a child’s perspective rather than a simplistic, westernized gaze.

Despite a few missteps, it’s the clearest illustration of her filmmaking talent to date. Read More: Review: Annette Bening Does Justice to Gloria Grahame in ‘Film Stars Don’t Die in Liverpool,’ but It’s a Generic Romance. Regardless of the heavyweights behind the camera — along with Jolie, the movie features competent work by veteran cinematographer Anthony Dod Mantle (“Slumdog Millionaire,” “Dogville”) and composer Marco Beltrami (“Logan”) — much of the movie resists the presumptuous overstatement that could topple its potential. Adapted from the memoir by Cambodian activist Loung Ung, who shares a screenwriting credit with the director, “First They Killed My Father” follows five- year- old Long (newcomer Sreymouch Sareum) as her family is torn from Phnom Penh to endure a dangerous nomadic life under the Pol Pot regime. The Khmer Rouge forces her through a series of work camps until she’s left to wander the wilderness of her own, bearing witness to relentless persecution that she can only comprehend in bits and pieces.

Jolie establishes this conceit with a masterful opening montage, hurtling through a collage of early ’7. Richard Nixon denies the secret bombing of Cambodia before withdrawing troops and leaving the menacing Khmer Rouge to take charge. As the Rolling Stones blare over the soundtrack, it seems as though “First They Killed My Father” will offer little more than a bird’s- eye view of the conflict at hand. Moments later, Jolie shifts to a shot of young Long’s reflection in a vacant television screen in her childhood home, and the media filter melts away. It’s 1. 97. 5, and despite the encroaching regime, Lou exists in a bubble of idyllic juvenilia that’s about to be tested. While it clocks in at 1. First They Killed My Father” eschews complex plotting in favor of staying close to Loung’s limited perspective.

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Blithely singing along to a pop song on the radio, she overhears her parents worrying about the incoming Khmer Rouge invasion even as she fails to comprehend its ramifications. Moments later, she’s marching through the streets in a mob of thousands, her parents eager to escape the advancing troops. As the unwieldy title implies, it’s only a matter of time before the family finds themselves at the mercy of gun- wielding soldiers, and Long’s father becomes the first victim in a slow process that forces the young girl out of her passive state. Eventually fleeing to a children’s camp, she’s exposed to aggressive propaganda and the prospects of dire punishment for disobedience, only to wind up dodging further gunfire as Vietnamese forces face off with the regime’s soldiers.

Throughout she barely says a word, propelled by terror and resolve. Jolie’s filmmaking constantly pushes forward with rapid- fire editing to suggest the passage of time, but nothing tells the story more than Sareum’s face.“First They Killed My Father”Few contemporary movies rely so heavily on a single ongoing reaction shot to tell their stories. Non- professional actress Much comes across less as a performer than a placeholder for the events, a conceit reminiscent of silent film. That’s a tricky proposition (and one that’s exacerbated by reports of a controversial casting exercise), but the movie remains enthralling because it returns so often to Loung’s gaze.  The subtitle — “A Daughter of Cambodia Remembers” — implies that the movie exists primarily as a single, protracted memory. Lacking the maturity to respond to her world, all Loung can do is watch and process, and the movie becomes a meditation on witnessing history without having the tools to comprehend it. The only moment she understands in full is the trauma of saying goodbye to a loved one, and it arrives as an appropriately devastating crescendo.

Not everything works. As Loung wanders the dusty landscape witnessing executions and torture at every turn, the roaming plot threatens to become a grim theme- park ride through a dark chapter in history. Jolie occasionally pushes too far with the sentiment, and a closing title card celebrates the movie’s very existence with a not- so- humble pat on the back.

But such shortcomings are marginalized by jarring shootouts and tense close encounters. One especially powerful scene finds a village ablaze at night while Jolie’s camera captures Long at the center of the mayhem, frozen in fear and devoid of language to assess the chaos destroying her world. Read More: Telluride Reveals 2. Lineup: ‘The Shape of Water,’ ‘Downsizing,’ Christian Bale Tribute, and Angelina Jolie. The result is relentless and involving even when it stumbles. Jolie may not be a full- fledged auteur yet, but she unquestionably possesses a singular aesthetic that courses through her work and exists completely apart from her high- profile acting career.

Her movies unfold almost exclusively within the confines of claustrophobic circumstances, with characters overwhelmed by events spiraling out of control; in the process of battling through the confusion, they triumph simply by living through it. Grade: B+“First They Killed My Father” premiered at the 2. Watch Magus Online. Telluride Film Festival. It premieres on Netflix on September 1.