We've begun including links in our reviews to a Thumber-generated
index page for our test shots. The Thumber data includes a host of information
on the images, including shutter speed, ISO setting, compression setting,
etc. Rather than clutter the page below with *all* that detail, we're posting
the Thumber index so only those interested in the information need wade
through it! ;)
Outdoor
portrait: (1419k)
The extreme tonal range of this image makes it a tough shot for many digicams,
which is precisely why we set it up this way. The object is to hold highlight
and shadow detail without producing a "flat" picture with muddy
colors, and the Canon EOS D30 SLR handles the challenge well. We shot with
the automatic (1449k),
daylight (1435k), and
manual (1438k) white balance
settings, choosing the manual setting for our main series. The automatic
setting produced a slightly cool image, while the daylight setting resulted
in a very warm image. Color balance looks great throughout the image, as
the blue flowers and pants look nearly dead-accurate (these blues are somewhat
difficult for many digicams to reproduce correctly). The red flower also
looks good, with a nice level of saturation, and the skin tone is just about
right as well. Resolution is very high, with a lot of fine detail visible
in the flowers, as well as in the model's face and hair. Though we see a
lot of detail in the image, the image appears somewhat soft overall, a characteristic
we noted in all the D30 shots we took. We attribute this to a very low level
of in-camera sharpening, which is good from the standpoint of pros who want
to extract the maximum from their photos, and not lose anything to overaggressive
in-camera image processing. Fairly heavy, small-radius unsharp masking in
Photoshop brings out exquisite detail, perhaps the best we've seen in a
digicam to date. (October, 2000). The low in-camera sharpening does mean
though, that you'll want to process most of your shots after the fact, perhaps
using a Photoshop "Action" to batch-sharpen all your images. Shadow
detail is fantastic, with virtually no sensor noise (we had to look very
hard to find any noise pattern at all!). Our main image was taken with no
exposure compensation applied, meaning the D30's metering system is unusually
accurate on this shot: We almost always have to apply +0.7-1.0 EV of exposure
compensation to adjust for the underexposure usually caused by the high-key
subject. Overall, a very impressive performance with a difficult subject.
The table below shows the results of a range of exposure settings from zero
to +1.3 EV.
The D30 has a "RAW" storage mode that captures all the data exactly
as it comes from the CMOS sensor, using lossless compression to pack it
into roughly 2.5 megabyte image files. One advantage of these files is that
you can use the included ZoomBrowser EX software to process them after the
fact, changing contrast, white point, sharpness and color saturation. Each
parameter offers only two options besides the default, but we found the
degree of the effects produced to be truly useful, in that they corresponded
to fairly moderate adjustments of the base image. These adjustments can
also be loaded into the camera itself using the included software, so you
can alter the camera's basic behavior, and set the preferences you desire.
The series of images in the table below illustrates the effect of the
contrast adjustment. Two things are notable about it: First, as noted
above, the extent of the effect is fairly subtle, which to our mind makes
it much more useful in practice than a more extreme adjustment would be.
Second, the contrast adjustment appears to do exactly what you'd expect
it to, making no change in overall exposure but rather simply increasing
or decreasing the slope of the "S" curve on a hypothetical exposure/density
plot. Overall, a very nice implementation.
The series of images in the table below illustrates the effect of the saturation
adjustment. Again, the effect is both subtle, and confined to saturation,
not affecting tonal range or overall exposure significantly. Once again,
a nice implementation.
Closer
portrait: (1193k)
The D30 also does an excellent job with this closer, portrait shot. Thanks
to the D30's interchangeable lenses, there's no problem with odd distortions
of the model's face due to a too-short focal length. (We shot this with
the 100mm EF Macro lens.) Continuing with the manual white balance setting,
we shot our main image with no exposure compensation adjustment at all.
(This close-up shot generally requires less exposure compensation than the
wider Outdoor Portrait, although as noted above, the D30 had no problem
with the wider shot either.) Resolution and detail look even better with
this closer shot, especially in the strands of the model's hair. Even the
most minute details of the face are completely visible, although we did
notice some artifacts in areas where closely-spaced strands of hair were
at roughly a 45 degree angle. Not a big problem, but we mention it as it
was one of the only areas in which we could find anything to complain about
in the D30's images. Noise remains extremely low in the shadow areas, seemingly
a hallmark of the D30's CMOS sensor. The table below shows the results of
a range of exposure settings on the D30, from zero to +1.0 EV.
Indoor
Portrait, Flash: (1036k)
The D30's built-in flash does an excellent job of illuminating the subject
while maintaining an accurate color balance throughout the image. For our
first series, we experimented with the flash intensity settings, which range
from -2 to +2 in 1/3 EV increments. Among these, we found the best exposure
at the +0.3 EV (999k) flash
exposure adjustment. The D30's flash keeps the lighting relatively even,
without any color casts or strange highlights. The only color cast we noticed
showed up in the normal flash exposure (972k),
as a slightly warm cast on the white wall behind the subject. Still, the
lighting on the subject remains even, with excellent color balance. Next,
we left the white balance in the automatic setting, adjusted the ISO sensitivity
to 200, set the flash exposure adjustment to zero, and manually set the
exposure to a 1/30 second shutter speed and an f/4.0 lens aperture, which
produced this (1036k) slightly
warmer, more naturally lit image. By using a slower shutter speed, we allowed
more ambient light into the image, much like a Slow Sync flash setting on
a consumer camera. Though the shadow areas on the model's shirt now have
a slight blue cast, we liked the softer, more natural lighting of this shot,
which we used for our main image. (We could easily have eliminated the blue
cast by using a warming gel over the flash head, but don't include such
lighting modifications in our testing, wanting to show what the cameras
are capable of by themselves.) We also snapped an image with the D30's Red-Eye
Reduction (983k) flash mode, which effectively
eliminates the Red-Eye Effect in the subject's pupils. The table below shows
a range of flash exposures from zero to +1.0 EV, all shot using the automatic
white balance setting.
Indoor
portrait, no flash: (933k)
This shot is always a very tough test of a camera's white balance capability,
given the strong, yellowish color cast of the household incandescent bulbs
used for the lighting, and the D30's white balance system does an exceptionally
good job, most notably with its manual white-balance option. We tested the
automatic (946k), manual
(941k), and incandescent
(951k) white balance settings, choosing the manual
setting for our main series. The automatic setting resulted in a warm, magenta
cast throughout the image, while the incandescent setting produced a warmer,
more sepia image, with just a hint of magenta. Color balance looks excellent
with the manual white balance setting, though the blue flowers are a shade
dark. Still, the skin tones and the other flowers appear reasonably accurate,
though a little undersaturated. For our main shot, we chose a +0.7 EV adjustment,
as anything beyond that became too bright. Shooting with 35mm lenses, the
shallower depth of field resulting from the longer focal lengths is quite
evident in this shot: The autofocus system zeroed in on the leaves and flowers
against the model's blouse, and the wide-open f/2.8 aperture resulted in
such shallow depth of field that the flowers and even the front of the model's
head was slightly out of focus. Very little noise is present throughout
the image, and is mainly noticeable in the shadows of the model's neck.
We also tested the camera's variable ISO settings, shooting at the 100
(953k), 200 (1056k),
400 (1192k), 800
(1393k), and 1600 (1662k)
ISO equivalents. Exposure stays nearly the same at each ISO level.
Noise is very low at the 100 and 200 ISO settings, increasing slightly at
the 400 and 800 settings. As you'd expect, the highest noise level occurs
with the 1600 ISO setting, although we'd say that the D30's noise at ISO1600
is better than that of some of its competition at ISO 800, and better than
that of many of lesser cameras shooting at ISO 400. The table below shows
a range of exposure adjustments from zero to +1.7 EV.
House shot:
(2108k)
NOTE that this is the "new" house shot, a much higher-resolution
poster than we first used in our tests. Unfortunately, we did not shoot
a comparison image of the old house poster wit the D30.
We shot samples of this image with the automatic
(1017k), daylight (1024k),
and manual (1020k) white
balance modes, choosing the automatic setting as the most accurate. We
were surprised that the manual setting produced slightly warm results.
On the other hand, the daylight setting produced a warm, yellowish image,
as is often the case on this shot. (We're suspecting our lights may have
a bump in the red-yellow portion of the spectrum, relative to the ISO-standard
daylight they're supposed to be delivering. We're going to be recalibrating
them at some point with a spectrophotometer...) Color balance in the automatic
setting appears quite accurate, and resolution again looks excellent.
A tremendous amount of fine detail is visible in the tree limbs, shrubbery,
and bricks, even though the entire image again appears a little soft.
(We found that unsharp masking settings in Photoshop of 150% at a 0.3
pixel radius revealed incredible detail without introducing any unwanted
artifacts.) What little noise is present in the shingles is more than
likely present in the actual poster. The in-camera sharpening is barely
detectable, we noticed less than a pixel of the halo effect around the
light and dark edges of the white trim along the roof line. Despite the
slight softness in the image, the D30 does an excellent job with this
target. The table below shows the full range of resolution and quality
settings for the D30.
Far-Field
Test (1999k)
This image is shot at infinity to test far-field lens performance. NOTE
that this image cannot be directly compared to the other "house"
shot, which is a poster, shot in the studio. The rendering of detail in
the poster will be very different than in this shot, and color values (and
even the presence or absence of leaves on the trees!) will vary in this
subject as the seasons progress. In general though, you can evaluate detail
in the bricks, shingles and window detail, and in the tree branches against
the sky. Compression artifacts are most likely to show in the trim along
the edge of the roof, in the bricks, or in the relatively "flat"
areas in the windows.
We shot this image with the automatic (958k),
daylight (961k), and
manual (959k) white
balance modes, choosing the automatic setting for its more accurate white
value and color balance. The manual setting again produced slightly warm
results, while the daylight setting resulted in a much warmer image. This
shot is a strong test of detail, given the practically infinite range
of fine detail viewable in a natural scene like this. Resolution is again
exceptional, with a great deal of fine detail visible in the pine needles
and tree branches against the sky, as well as in the bricks and shrubbery.
We also judge a camera's dynamic range in this shot, comparing how well
the camera holds detail in both the shadow and highlight areas. The D30
does a reasonably good job here, holding a moderate amount of detail in
the bright bay window area. At the same time, the dark shadow beneath
the cherry tree on the right side of the house shows a lot of detail.
(This shot would be a natural place to use the RAW format and the reduced-contrast
image-import setting.) We did notice a distracting moiré pattern
in the blinds of some of the windows, the first time we've seen that on
this subject. A very moderate amount of noise is visible in the roof shingles,
but really is barely noticeable at all. We also snapped images at the
100 (2003k), 200
(2028k), 400 (2047k),
800 (2150k), and 1600
(1759k) ISO settings. The noise level became much more pronounced
from the 400 setting on, but was still bearable even at ISO 1600. Exposure
was very consistent across all ISO ratings, with the exception of the
ISO 1600 shot, where we unknowingly bumped up against the 1/4000 maximum
shutter speed limit of the D30. The table below shows the full resolution
and quality series in the automatic white balance setting.
Lens Zoom Range
We've received a number of requests from readers to take shots showing the
lens focal length range of those cameras with zoom lenses. In the case of
the D30, zoom range will be entirely a function of the lenses used with
it, although the 1.6x focal length multiplier resulting from the size difference
between the CMOS image sensor and a 35mm film frame means that very wide
angle shots will be hard to achieve, while extreme telephoto shots are readily
attainable. In the images below, we show the attainable range with two of
the lenses Canon loaned us for testing: The 28-70mm and 100-400mm. Applying
the multiplier factor, the effective focal lengths of these lenses became
45-112mm and 160-640mm. (We have to say that an optically-stabilized 160-640mm
zoom lens is a godsend for nature or sports photography: We had quite a
bit of fun at the kid's soccer game handholding 640mm "big glass"
on a digicam with a 3 frame per second motor drive!) The 45mm wide angle
shot looks quite crisp, without any visible distortion from the lens. The
112mm telephoto gets somewhat closer, with increased resolution and fine
detail, as well as a slightly brighter exposure. Likewise, the 160mm wide
angle shot gets even tighter in, and the 640mm telephoto shot picks up a
very small area while keeping fine details crisp. The lack of ultra wide-angle
lenses on SLR digicams is one of their few limitations: Canon's excellent
17-35mm wide-angle zoom lens works well on the D30 (we had one during our
initial testing of the preproduction unit), but even that very wide-angle
lens translates to only about a 27mm equivalent: Usefully wide, but nowhere
near approaching what you can do with a film-based SLR.
In another note, it's in shots like this that you can really see the
differences between the quality of optics used in "prosumer"
digicams and the true professional-grade optics such as Canon's L-series
lenses: These shots are tack sharp corner to corner, with no hint of coma,
chromatic aberration, or other lens defects that are quite common on the
lower-end digicams. (Perhaps not surprising though, when you consider
that either of these lenses alone are at least twice the price of an entire
"high end" prosumer camera!)
Musicians
Poster (1525k)
We shot samples of this target using the automatic
(834k), daylight (898k),
and manual (868k) white
balance settings, again choosing the automatic setting as the most accurate
overall. The daylight setting produced slightly warm results, while the
manual setting resulted in a slightly cool image. (The large amount of blue
in the image often tricks digicams into overcompensating, so the D30's automatic
white balance does a nice job here.) Color balance looks pretty accurate
throughout the image, judging by the skin tones of the models, although
there's a bit of a magenta cast overall. The blue of the Oriental model's
robe is also almost dead accurate, although maybe just a hint too dark (this
is a hard blue for most digicams to reproduce correctly). Resolution is
again very good, with most of detail visible in the bird wings and silver
threads on the blue robe, including the subtle color gradations on the wings.
Likewise, the subtle color variations of the flowers in the Oriental model's
hair is visible. Still, as with some of the other targets, the entire image
seems a little soft. Very little noise is visible, mainly in the blue background
and in some shadows, most of which is probably coming from the poster itself.
Below is our standard resolution and quality series.
Macro Shot (2103k)
Wow! Let's hear it for pro-grade macro lenses! With the 100mm f/2.8 EF-series
macro lens attached, the D30 captured a minimum area of only 0.59 x 0.89
inches (15.0 x 22.5 mm). The image is tack-sharp corner to corner, although
we did notice just a hint of chromatic aberration in the extreme corners
of the image, most noticeable in the upper left.. The long snout of the
100mm lens shadowed the onboard flash badly this close, so we didn't include
a shot of this subject taken with flash illumination.
"Davebox"
Test Target (984k)
Wow! (Again) Exceptional color handling, not to mention incredible dynamic
range! We shot samples of this target using the automatic
(472k) and manual (1321k)
white balance settings, choosing the automatic setting for our main
series. The manual setting produced nearly identical results, so we stuck
with the automatic setting. Color balance looks exceptionally good, with
pretty good saturation in the normally very difficult primary color blocks
(red, green, blue, and the most troublesome cyan, magenta, and yellow).
About the only criticisms we can find to make (and they're very minor indeed)
are that the yellow block is just a shade dark relative to the others, and
the red block just a shade bright. The D30 does a good job distinguishing
between the red and magenta color blocks on the middle, horizontal color
chart, which is a problem area for many digicams. Exposure looks accurate,
as the subtle tonal variations of the Q60 chart are visible up to the "B"
range (this is another common problem area for digicams). The tonal gradations
of the vertical grayscales are completely visible, though the very last
two black bars in the long vertical scale blend together. The shadow area
of the briquettes shows an excellent level of detail, with very little noise,
as we observed above. The white gauze area also holds a lot of detail. Resolution
and sharpness are also as before: Incredible detail, masked somewhat by
the softness of the image due to understated image sharpening. We also shot
with the 100 (960k), 200
(1112k), 400 (1290k),
800 (1522k), and 1600
(1932k) ISO settings. We noticed that the 200 and
400 settings brightened the exposure while maintaining a relatively low
noise level. The 800 setting darkened the exposure somewhat, but raised
the noise level a little, and the 1600 setting brightened the image and
increased noise a bit more. (We were surprised by the variations in exposure,
since our outdoor ISO-variation tests produced very consistent exposure
results. The exposure differences are quite minor though.) We also noticed
that the brighter exposures decreased the visibility of subtle tonal variations.
Below is our standard resolution and quality series.
Contrast Series We shot with the D30's RAW data format and then tweaked the contrast
with the accompanying software package. We noticed that as we increased
the contrast, sharpness increased slightly as well. The adjustments did
a good job of slightly altering the contrast without making too extreme
of an adjustment.
Saturation Series We also tried tweaking the color saturation of imported RAW images.
As with the contrast adjustments, we found the saturation changes fairly
subtle, and therefore (in our opinion) very useful.
Low-Light Tests
Given the exceptionally low noise levels we observed in the D30 in our other
tests, we expected excellent low light performance, and the camera certainly
delivered! We were able to obtain bright, useable images at light levels
as low as 1/16 of a foot candle (0.67 lux), at all the ISO settings. Interestingly,
the 400 ISO setting produced a slightly darker image at the 1/16 foot candle
level. Noise levels are very low with the 100, 200, and 400 ISO settings,
but increase with the 800 and 1600 settings. Though the 800 and 1600 ISO
noise levels are much higher, they remain relatively fine grained and tolerable:
Better than other cameras we've tested at these light levels, with the D30's
ISO 1600 noise looking more like what we're accustomed to seeing at ISO
400 from competing models. Four things about the images stood out: 1) The
exceptionally low noise levels; 2) The excellent color balance; 3) The excellent
color balance, normally a tough issue for digicams at such low light levels;
and 4) The complete absence of "hot pixels", thanks to Canon's
proprietary long-exposure noise-reduction system. (This optionally kicks
in at exposures longer than 1 second, and shows remarkable ability to reduce
noise without disturbing the image information.) To put the D30's low light
performance into perspective, an average city night scene under modern street
lighting corresponds to a light level of about one foot candle. Thus, the
D30's capabilities at the 1/16 foot candle light level are outstanding:
It can literally see better in the dark than you can! Focusing under pitch-black
conditions is also quite good, thanks to the bright autofocus-assist illuminator
lamp on the front of the D30's body. The table below shows the best exposure
we were able to obtain for each of a range of illumination levels, at each
of the available ISO settings. Images in this table (like all of our sample
photos) are untouched, exactly as they came from the camera.
10EV
8fc
88 lux
9EV
4fc
44 lux
8EV
2fc
22 lux
7EV
1fc
11 lux
6EV
1/2fc
5.5 lux
5EV
1/4fc
2.7 lux
4EV
1/8fc
1.3 lux
3EV
1/16fc
0.67 lux
ISO 100
958.9 KB
1/6
F2.8
939.1 KB
1/4
F2.8
952.1 KB
1/ 2
F2.8
1,019.4 KB
1.3
F2.8
1,056.5 KB
2
F2.8
1,162.1 KB
8
F2.8
1,272.8 KB
10
F2.8
1,394.0 KB
15
F2.8
ISO 200
1,089.3 KB
1/13
F2.8
1,066.4 KB
1/8
F2.8
1,063.2 KB
1/ 3
F2.8
1,076.4 KB
1/ 2
F2.8
1,186.8 KB
1/1
F2.8
1,272.3 KB
4
F2.8
1,411.7 KB
8
F2.8
1,500.6 KB
8
F2.8
ISO 400
1,289.5 KB
1/25
F2.8
1,279.1 KB
1/15
F2.8
1,273.4 KB
1/6
F2.8
1,277.9 KB
1/ 3
F2.8
1,258.8 KB
1/ 2
F2.8
1,455.7 KB
2
F2.8
1,602.8 KB
4
F2.8
1,520.9 KB
3
F2.8
ISO 800
1,513.3 KB
1/50
F2.8
1,507.2 KB
1/30
F2.8
1,507.2 KB
1/13
F2.8
1,498.4 KB
1/6
F2.8
1,494.2 KB
1/4
F2.8
1,632.4 KB
1/1
F2.8
1,731.8 KB
2
F2.8
1,824.9 KB
3
F2.8
ISO 1600
1,864.6 KB
1/100
F2.8
1,866.4 KB
1/60
F2.8
1,860.5 KB
1/25
F2.8
1,855.7 KB
1/13
F2.8
1,863.6 KB
1/6
F2.8
1,849.9 KB
1/ 2
F2.8
2,027.6 KB
1/1
F2.8
2,194.9 KB
1/1
F2.8
Love high ISO photography?
Hate noise? Check out Fred Miranda's ISO-R noise-reducing
actions for Photoshop. Incredible noise reduction, with *no*
loss of subject detail. (Pretty amazing, IMHO.) Check
it out!
Flash Range Test With its interchangeable lenses, the D30's flash range will be highly
dependent on the lens it's used with. Canon rates the D30's flash at a guide
number of 12/39 (meters/feet) at ISO 100. Translating this to the 100mm
f/2.8 lens we standardized on for our in-studio testing, the range should
be 39 feet/f2.8 = 13.9 feet. This agreed well with our test results for
the camera (even perhaps being a bit conservative), which showed good brightness
all the way out to the 15 foot limit of our modest studio. The table below
shows the flash test results for distances ranging from 8 to 15 feet.
ISO-12233
(WG-18) Resolution Test (914k)
As we did with the Nikon D1, we spent quite a bit of time futzing about
with the D30's resolution testing, trying different lenses at various apertures.
With the D1, we had several inexpensive lenses to play with, which did indeed
show poorer performance than the more expensive professional Nikon glass.
In the case of the D30, we had only the lenses loaned to us by Canon, which
didn't dip down to the very low price range of some of our Nikon lenses.
Still, the lenses we had to work with covered a fair price range, which
led to us being even more surprised by how well they all performed. (For
the record, the lenses tested here are the Canon 100mm f/2.8 EF-series macro,
the L-series 28-70mm f/2.8 zoom, and the EF-series 24-85mm f/3.5-4.5 zoom.)
In fact, we discovered that the less-expensive 24-85mm f/3.5-4.5 EF-series
zoom lens which Canon seems to be somewhat promoting for use with the D30
in some cases bested the performance of the much more expensive 28-70mm
f/2.8 L-series zoom. (!) (Overall, it's performance wide open wasn't as
uniform across the frame as was that of the 28-70mm, but away from the extreme
corners, it was often superior. Stopped down, performance across the frame
improved dramatically, to the point that we felt it was very much the equal
of the more costly 28-70mm at smaller apertures.)
Before going any further, we have to say that our mission in life is
emphatically not to be lens testers (at least, not yet ;-), so
the tests we performed were far from as exhaustive as some readers might
desire. For instance, we tested the lenses at maximum aperture, which
from a quality standpoint might favor the 24-85mm zoom, since its maximum
aperture is quite a bit smaller than the f/2.8 the other two lenses we
tested could achieve. A more "fair" test would have been to
compare the three lenses at a maximum aperture of f/4.0 or so, but frankly
we simply don't have the time for that level of detail. The conclusion
that we think can be drawn from our testing though, is that the
(relatively) inexpensive 24-85mm lens is indeed a very high-quality piece
of optics, and makes an excellent companion for the D30.
For those particularly interested in the performance of the three lenses,
we've included sets of images shot with each of them wide open, at a medium
aperture of f/8.0, and at a small aperture of f/22. Our main image resolution/quality
series was shot with the 100mm fixed focal length macro lens at f/8.0.
As we noted earlier, the D30's images tend to be slightly soft, due to
a very restrained use of in-camera image sharpening. The level of resolution
and detail is truly exceptional though, actually the highest of any 3
megapixel digicam we've tested to date. (October, 2000) Overall, we "called"
the D30's resolution as 850 lines per picture height vertically, and 900
horizontally before aliasing became visible, although detail was clearly
visible beyond 1000 lines per picture height in both directions.
The first table below shows our normal resolution/image quality series
shot with the 100mm f/2.8 EF macro lens at f/8.0. The subsequent tables
show the performance of each of the three lenses we tested, at three apertures:
Wide open, f/8.0, and f/22.
Resolution test, Aperture Series, 100mm f/2.8 EF-series
macro lens Overall, we'd call this the "best" performing lens,
as it was the most consistently sharp from large to small apertures. It
did show more chromatic aberration (although precious little) at wide apertures
than either of the two zoom lenses.
Resolution test, Aperture Series, 24-85mm EF-series lens A surprisingly good performance relative to the more expensive
zoom. Wide open, there's a moderate amount of "coma" in the upper
left-hand corner, but the image quality is very good otherwise. Stopped
down, the coma goes away, rendering very sharp results.
Resolution test, Aperture Series, 28-70mm L-series lens This lens was more consistent across its aperture range than
the less-expensive 24-85mm, showing little distortion wide open, albeit
with a softer image. Good if you have the money and really need the wider
aperture, but if f/3.5-4.5 is enough, the 24-85mm would be a much better
bargain.
Viewfinder
Accuracy/Flash Uniformity (416k)
Canon rates the D30's viewfinder as being 95% accurate, which agrees well
with our measurement (416k) of
96%. Flash uniformity here was very good, but that's to be expected, as
we were shooting with the 100mm lens on the camera. Even the 28mm lens didn't
stretch the flash's coverage in the slightest, although again that's not
too surprising, given that a 28mm lens on the D30 is only equivalent to
a 45mm on a 35mm film camera. (And thus has a relatively narrow field of
view.)
We normally report on lens distortion in this part of our analysis, but
in the case of the D30, any such distortion will be entirely dependent
on the lens used with it. As we noted earlier though, the Canon lenses
we tested with the D30 were uniformly of exceptionally high quality.
