If the end of the beginning for serious digital photography was the 1999 launch of the Nikon D1, the first all in-house digital single lens reflex camera from one of the Big Two Japanese camera makers, then the beginning of the end for film SLRs was in 2003. It was triggered by a digital SLR price war caused by Canon's launch of the EOS 300D.
Known in the U.S. as the Digital Rebel, the 300D sported the 7-point autofocus system and 6.1MP sensor like that on Canon's semi-pro EOS 10D, but where the 10D sold as a body only for a $1,999 MSRP, the Rebel could be had for $999 complete with an 18-55mm zoom lens.
How was this done? Well, firstly some features were deleted (and some disabled). Also, the bright, but heavy and expensive, glass pentaprism viewfinder was replaced with a lighter, dimmer, cheaper pentamirror. Finally, the rugged magnesium shell of the 10D got binned in exchange for a thinner plastic body.
The launch of the Digital Rebel brought DSLR cameras in range of the casual photographer and kicked off a price war between Nikon and Canon that reached its apogee... or perigee? ...in 2008-2009, the years that arguably saw the final maturing of the DSLR market. Since then changes in DSLR cameras have been mostly evolutionary rather than revolutionary.
The five years between the introduction of the Rebel and '08-'09 saw furious competition between Nikon and Canon as each tried to grab a bigger share of the entry-level DSLR market by packing ever-cheaper beginner cameras with ever-better features until something had to give.
So Canon and Nikon each peeled off an even cheaper model to serve as an enticing price leader in boxed kits sold in big box stores, leaving the original entry model to continue accruing more advanced features without as much of an eye toward absolute minimum MSRP.
Canon followed the original 300D/Rebel with the 350D/Rebel XT (8MP, same $999 kit price), then the 400D/Rebel XTi (10MP, $899 kit), and then the 450D/Rebel XSi (12MP, $899 kit). Then in 2008, while the Rebel XSi was still fresh on the market, Canon slid an entirely new camera beneath it in the lineup: The Rebel XS, called the 1000D overseas; in Canon's numerical marketing, the fewer the digits, the higher-zoot the camera, with the ultimate pro DSLR body being the 1D series.
Relative to the Rebel XSi, the Rebel XS lost the "i" suffix, as well as a handful of features. It recycled the 10MP sensor from the XTi, and the 7-point autofocus system from the XT. While the XSi had moved to a higher resolution 3" rear LCD display, the XS used the same 2.5" screen as the XTi. These and other shortcuts allowed Canon to drop the price of the basic kit with an 18-55mm zoom lens to only $699, a price point starting to put the squeeze on higher end point-'n'-shoot "bridge cameras".
From this point on, Canon designated their better US-market Rebels with a "T" prefix and an "i" suffix: T1i, T2i, et cetera. The cheaper entry-level models lost the "i", like the T3 below.
Canon didn't iterate these bargain-bin models as frequently, so the 2011 T3 is the direct successor to the XS. It picked up the 12MP sensor and 9-point autofocus system from the XSi, the DIGIC 4 processor (then-current across the Canon DSLR line, but long in the tooth and about to be replaced in the higher-end models), and added the ability to shoot 720p video.
So in 2011 the customer who went looking for a DSLR at Best Buy or in the camera aisle at Walmart or Target (hard to believe now that just ten years ago Wally World and Tahr-jay had a whole aisle of cameras) had their choice of two boxed Canon kits: the 18MP T3i with an 18-55mm lens for $899, or the 12MP T3 with the same lens for only $599.
The price-conscious shopper wasn't going to care about details like a body shell of smoother, thinner plastic, the lack of a separate door for the memory card (it shared the compartment on the bottom with the battery, which was cheaper, but precluded swapping cards while mounted on a tripod), or the fact that the T3 was built in Taiwan rather than Japan. The T3i also had a bigger, articulated LCD screen on the back, the ability to shoot 1080p HD video, and other details... but three hundred bucks is three hundred bucks.
In 2009, Canon's biggest competitor reorganized their entry level line as well. The big box store DSLR shopper would find a pair of kits from Nikon: There was the D5000, which competed head-to head with Canon's T1i. It had 12MP, an articulated LCD, could shoot 720P video, and came with an 18-55mm lens for $850.
Competing with the cheaper Canon Rebel XS was the new Nikon D3000. It was extremely stripped down relative to the D5000, and much smaller. It lacked video recording and an articulated screen, but this wee little DSLR came with a wee little price tag; with the kit lens included, the tariff was only $449.
Essentially, Nikon was using the 10MP CCD sensor and 11-point autofocus sensor from its old D200 semi-professional camera, hooked to the new EXPEED processor.
The D3000 had a built-in tutoring "Guide Mode" for novices, and had a minimum set of physical controls, with fewer buttons and most settings controlled via a menu on the rear LCD screen.
Comparing the extreme entry-level cameras from the two companies (and it's a generalized comparison as the T3 is an iteration newer than the D3000), the Nikon feels more solid in the hands. It combines beginner friendliness in its minimal buttons and "Guide Mode" with features of more expensive cameras that the budget Canon lacks, like the soft textured rubber on the handgrip and the separate side-mounted door for the memory card. The viewfinder on the Nikon is noticeably brighter, although that's relative; both are cramped and dim compared to the pentaprism finders on pro cameras.
The kit lenses both have pretty much identical specs, including "VR" Vibration Reduction on the Nikon and "IS" Image Stabilization on the Canon, as well as the same range of focal lengths and apertures, and are (other than the lens elements themselves) constructed of plastic from the filter ring to the mounting flange. However the
Nikkor DX AF-S 18-55mm f/3.5-5.6G VR feels much more upmarket compared to its rival; once mounted on the camera where you can't see its plastic flange, you could be forgiven for thinking it cost a good bit more than it did, while
Canon's EF-S 18-55mm f/3.5-5.6 IS II never stops letting you know it came in the box with the camera like a prize with some Cracker Jacks.
Literally the only place the Nikon feels chintzier is in the diopter adjustment for the viewfinder, which is a fiddly sliding bar arrangement instead of the normal dial on the Rebel T3.
When I'm done with this DSLR project, I'm going to sell or give away the Rebel T3, but I'm keeping the Nikon D3000. When you get done with Guide Mode and don't need the beginner's training wheels, you can do like I did and go into the menus and switch the status display on the rear LCD screen from its cartoon-like simplified graphic look to the normal white-on-black status display other Nikons use. While in the menu you can also correct the only real physical control shortcoming by reassigning the "Fn" function button on the front of the camera, which comes from the factory set to start the self-timer, and switch it to be the ISO control button.
The basic 10MP CCD sensor and 11-point CAM-1000 autofocus core of the
D3000 is still plenty adequate for solid work if you don't need to shoot video; after all, it's the same guts as the Nikon D200 I used as my main camera for years, just in a smaller and lighter package.
These entry level cameras were key to Canon & Nikon's marketing plans for over a dozen years, intended to bring in new buyers and entice them to move up inside their respective manufacturer's ecosystems to bigger and better things. The Nikon entices you by feeling like a real camera, while the Canon makes you maybe wish you'd spent the extra money for the next level camera from the start...or perhaps bought the Nikon in the showcase next to it.
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