Canon EOS D60

Manufacturer: Canon
Type: Camera (DSLR)
Year introduced: 2002
Resolution: 6.3 megapixels
Sensor: APS-C CMOS (22.7 x 15.1 mm, 1.6x crop factor)
Predecessor: Canon EOS D30
Successor: Canon EOS 10D

Overview

The Canon EOS D60 was Canon’s second consumer-grade digital SLR, released in early 2002 as a successor to the D30. With 6.3 megapixels — double the D30’s resolution — it became one of the most important cameras in the early transition from film to digital underwater photography. The D60 was nearly identical in external dimensions to the D30, which meant existing D30 housings could accommodate it with minimal or no modification (^[1]).

The D60 holds a unique place in underwater photography history: it was the camera used for several landmark “firsts” that proved digital could compete with film at the professional level. Douglas David Seifert used it to shoot the first digital cover of DIVE Magazine (June 2003 issue, whale sharks off Belize) (^[2]), and Eric Cheng shot the second digital cover the very next month (July 2003, his famous “Screaming Turtle” baby loggerhead) (^[3]). Cheng also shot covers for German Tauchen and Shark Diver magazines with the D60 (^[4]). Doug Perrine won the Wildlife Photographer of the Year award with D60 images (^[5]). The camera was also central to Eric Cheng’s RAW converter comparison article, where he used D60 files alongside Canon 1Ds and 1D Mark II files to evaluate processing software (^[6]).

The D60 was in high demand among underwater photographers. Forum posts from late 2002 noted the camera was difficult to find, with one user reporting that 15 shops were backordered and Ritz Camera quoting delivery in early 2003 (^[7]).

Key Users

Several pioneering digital underwater photographers adopted the D60:

• Eric Cheng — Wetpixel co-founder. First tested the D60 underwater in April 2002 in Kona, Hawaii, using Jim Watt’s UK Germany D30 housing. Later switched to a Sea & Sea housing. Shot magazine covers for Tauchen and Shark Diver with the D60 and produced large lightjet prints from D60 files for his NCUPS presentation (^[8], ^[9], ^[10]). Wiseman later recalled Cheng’s progression: “I’ve owned the Canon D60, 20D, and now the 5D, and housings from Sea & Sea and Aquatica” (^[11]).
• Jim Watt — Professional marine photographer based in Kona, Hawaii. Previously shot the Canon D30 in a UK Germany housing (^[12]). Transitioned to the D60 and later acquired a Sea & Sea housing, which he extensively modified with Ikelite strobe bulkheads, remote firing capability, and a Light & Motion 2.5” LCD monitor (^[13]). Reviewed the Sea & Sea D60 housing in Scubadiving.com, shooting over 1,000 frames during a week in Bonaire (^[14]).
• Douglas David Seifert — Shot the first digital cover of DIVE Magazine with the D60 (June 2003 issue), featuring whale sharks off Belize. Also won a Wildlife Photographer of the Year award with D60 images shot in a Sea & Sea housing. His images appeared in the New York Times and Nature’s Best (^[15], ^[16], ^[17]).
• Doug Perrine — Won the British Natural History Museum’s Wildlife Photographer of the Year award (2004) with images shot on a Canon D60 in a UK Germany housing with a Sigma 14mm f/2.8 lens. His winning shot, “Bronze whalers charging a baitball,” was exposed at 1/800s, f/5.6, ISO 200, lit with a Canon 550EX strobe in a UK Germany underwater housing. A second winning image used two INON Z220 strobes (^[18]).
• David Fleetham — Professional marine photographer who participated in the Bahamas 2002 expedition with a D60 (^[19]).
• Andy Sallmon — Professional marine photographer who participated in the Bahamas 2002 expedition with a D60 (^[20]).
• Masa Ushioda — Used the D60 in a Sea & Sea housing for his humpback whale photography in Hawaii, which appeared as a spread in Nature’s Best Magazine (2005) (^[21]).

Housings

The Canon D60 attracted housing support from at least seven manufacturers — remarkable for the era:

UK Germany

The first housing used underwater with the D60. UK Germany’s original Canon D30 housing accommodated the D60 with no modification, as the two camera bodies were nearly identical externally. The only inaccessible control was the on/off switch, which was not critical underwater. Used by Eric Cheng, Jim Watt, David Fleetham, Doug Perrine, and others. Available with a 6-inch dome port, compatible with the Sigma 14mm f/2.8, Canon 16-35mm f/2.8L, Canon 15mm fisheye, and Canon 100mm macro lenses (^[22], ^[23], ^[24], ^[25]). The D60 in a UK Germany housing later informed the discussion around the Canon 5D housing race — Alex Mustard asked whether the 5D might fit into older D60/10D housings, though the size difference proved too great (^[26]).

Sea & Sea

The DX-3060 housing was designed to fit both the Canon D30 and D60. Front case was ABS resin, rear case was polycarbonate. Featured stainless locking latches, a large shutter release, accessory shoe, focus knob near the grip, focus light connector, and LCD viewing on top. Compatible with most NX series ports and gears, including an 8-inch dome port. Two sync cord ports were provided. Prominently displayed at DEMA 2002. Eric Cheng photographed his unit extensively and published detailed images in December 2002. Jim Watt performed extensive modifications to his unit, swapping Nikonos strobe bulkheads for Ikelite bulkheads, adding remote PC firing capability, and mounting a Light & Motion 2.5” LCD monitor with NiMH batteries providing six hours of continuous run time (^[27], ^[28], ^[29], ^[30]). Forum user “simon k” later discussed whether the Sea & Sea D60 housing might accommodate the Canon 5D with modifications, though this proved impractical (^[31]).

Zillion

An all-polycarbonate housing from a Japanese manufacturer, displayed at DEMA 2002 at the Marine Camera Distributors booth with a macro ring-flash assembly. The Zillion was compact and lightweight compared to the Sea & Sea housing — about half the size and a third the weight, according to one user. It lacked an electric port (fiber optic strobe connection only), which some users considered an advantage for flood prevention. The Zillion was approximately $1,000 more expensive than the Sea & Sea housing in Japan. One early adopter reported being the fourth user of the housing worldwide (^[32], ^[33]).

Ikelite

Ikelite offered a custom housing for the D30/D60, but it was not a stock product. Customers were required to send their camera body to Ikelite for fitting, as the company did not purchase a camera body themselves. In a characteristically blunt exchange on the Wetpixel forums, Ikelite’s own representative explained they required the customer’s camera “Because I am too cheap to buy a camera, and we are skeptical how many housings we can sell since view screen is blocked by ribs in housing back.” The representative noted they planned to have an aluminum back for these cameras later in 2002. Part of the LCD was blocked by ribs in the housing back. Ikelite announced plans for a redesigned SLR housing with a polycarbonate front and machined aluminum back for digital SLRs including the D30/D60/10D, with the back design allowing repositioning of windows and buttons for different camera models. As of late 2003, it was rumored the D30/D60/10D would use the same smaller polycarbonate mold as the Canon Digital Rebel housing (^[34], ^[35], ^[36]).

Jonah / Ocean Brite

Korean manufacturer Jonah produced the CD60 housing for the Canon D60. Distributed exclusively in the U.S. by Ocean Brite Systems of Paso Robles, California. The housing shared design characteristics with the broader Jonah line. Announced in January 2003 with availability planned for July 2003. Reviewed in UwP Magazine issue 18 (April 2004) (^[37], ^[38], ^[39]).

Subal

Subal produced a housing for the Canon D60. Distributed in the U.S. by Marine Camera Distributors of San Diego. Availability announced in June 2003 (^[40]).

Underwater Phantaseas / Advanced Design Engineering

Merlin Phillips of Advanced Design Engineering had a Canon D60 housing “in the computer, ready for a first prototype” as of DEMA 2002. The housing would have been sold under the Underwater Phantaseas brand name (^[41]).

Common Lens Choices

Forum discussions and articles reveal the popular lens choices for the D60 underwater, all affected by the 1.6x APS-C crop factor:

• Sigma 14mm f/2.8 — The most widely recommended wide-angle lens for D60 underwater use. Used by Eric Cheng, Jim Watt, David Fleetham, and Doug Perrine. Worked well with both UK Germany and Ikelite dome ports (^[42], ^[43]).
• Canon 15mm f/2.8 Fisheye — Full-frame fisheye that became a standard wide-angle option on the cropped-sensor D60. Used by Eric Cheng (^[44]).
• Canon 16-35mm f/2.8L — Premium wide-angle zoom, used by Eric Cheng and others. One user reported shooting the Yongala wreck in Australia with this lens in a UK Germany dome port (^[45]).
• Canon 100mm f/2.8 Macro — Standard macro lens, though one user noted focus speed was a significant issue underwater in lower light (^[46]).
• Canon 50mm Macro — Used by Eric Cheng underwater (^[47]).

Historical Significance

The Canon D60 arrived at a pivotal moment in underwater photography. At DEMA 2002, digital photography products dominated the show for the first time: “the proliferation of digital photography products and the enthusiastic adoption by some professionals made film look like a boring has-been.” Digital SLR equipment “stole the show, with no less than 9 high-end production and prototype housings on display.” The previous year, only Ikelite had been fully immersed in digital products (^[48]).

Douglas David Seifert’s landmark DIVE Magazine cover in June 2003 demonstrated that digital could match film for professional publication. In his own words, the truly great images from the Belize whale shark spawning shoot “would only be possible with digital, set to ISO 400, 1/8 power Ikelites. Any film images would have been too grainy or muddy to be interesting.” He did acknowledge that the D60 had limitations: “the top water burns out with the D60” when shooting into the sun, and suggested a Nikonos RS with Kodachrome 64 might have produced a better image in midday light. His conclusion: “Once we get a true wide angle format, then digital is my choice so long as one doesn’t shoot into the sun” (^[49]).

Doug Perrine’s Wildlife Photographer of the Year win in 2004 was especially significant as it was the first year that digital entries were allowed. Perrine noted that his winning images “would not have been possible with a film camera” because of the fast-moving, chaotic conditions: “I shot hundreds of images to get those two winning exposures, whereas with film I would have been limited to 72 opportunities.” He praised the instant LCD feedback as essential to working in such conditions (^[50]).

By 2010, Douglas Seifert’s history with the D60 was remembered: when he landed another DIVE Magazine cover, the article noted that “Douglas has a history of using new and crazy gear to capture images destined for covers; he also secured the first digital DIVE cover back in the Canon D60 days” (^[51]).

The D60 also played a role in the Canon-versus-Nikon debate that intensified with the digital transition. Several forum users noted switching from Nikon to Canon specifically because of Eric Cheng’s D60 photographs. By 2005, when the Canon 5D was announced, one commenter observed that Canon had limited housing support historically — the D30/D60 had few housing options, the 10D and Rebel were largely skipped by manufacturers, and it was really the 20D that saw broad housing support. In contrast, the Nikon D100 and D70 had extensive housing availability (^[52]).

Community Discussion

• Canon D60 and Zillion Housing (5 replies) — Early adopter “Ken” reported being the fourth user of the Zillion housing worldwide, praising its compact size and ease of use compared to the INON X-1 housing he previously used (^[53]).
• Need advice on Ikelite D60 housing (8 replies) — Discussion of Ikelite’s custom D60 housing, with Ikelite’s own representative explaining they required the customer’s camera body because they were “too cheap to buy a camera” and were uncertain of sales volume given the partially blocked LCD. A forum user praised this “brutal honesty” (^[54]).
• Wide angle lenses for D60 and Ikelite housing (21 replies) — Comprehensive discussion of lens choices, with Eric Cheng recommending the Sigma 14mm and Canon 15mm fisheye. One user noted the D60 was extremely difficult to find in late 2002, and another reported switching from Nikon to Canon specifically because of Eric Cheng’s D60 photographs (^[55]).
• DSLRs and shutterlag — Discussion touching on D60 autofocus performance and shutter lag compared to other early DSLRs (^[56]).

The Bahamas 2002 Expedition

A pivotal early test for the D60 was the Bahamas 2002 expedition organized through Jim Abernethy’s Scuba Adventures, in which five Canon D60 Digital SLRs were in use — an extraordinary concentration of what was then cutting-edge equipment. The trip included Eric Cheng, Jim Watt, David Fleetham, and Andy Sallmon, along with four UK Germany D60 housings. Other digital systems on the trip included an Ikelite-housed Fuji S1 Pro, an Aquatica-housed Nikon Coolpix 5000, and a Light & Motion-housed Olympus 4040. Eric Cheng published a website documenting the trip (^[57], ^[58]).

Legacy

The D60’s role as a transitional camera was highlighted years later. When James Wiseman reviewed the Seacam Canon 5D housing in 2006, he noted his own progression through the era: “I have been using DSLRs underwater for the past 4 years — I’ve owned the Canon D60, 20D, and now the 5D, and housings from Sea & Sea and Aquatica. Prior to that I shot with a Nikonos” (^[59]). This progression — from film to D60 to crop-sensor to full-frame — was representative of many professionals in the community.

Timeline

• 2002-01: Jim Watt publishes sample Canon D30 photographs taken in UK Germany housing, establishing the housing platform that would accommodate the D60 (^[60])
• 2002-04: Canon D60 arrives at Jim Watt’s in Kona; Eric Cheng stuffs it into the UK Germany D30 housing — near-perfect fit. Eric begins shooting underwater with the D60 (^[61])
• 2002-07: Five D60 units used on the Bahamas 2002 expedition with Eric Cheng, Jim Watt, David Fleetham, and Andy Sallmon (^[62], ^[63])
• 2002-09: Jim Watt’s digital shooting schedule includes the Bonaire Digital Shootout in November (^[64])
• 2002-09: Sea & Sea posts pictures and specs for Canon D30/D60 housing on their US website (^[65])
• 2002-10: DEMA 2002 in Las Vegas: digital photography dominates. Sea & Sea shows D30/D60 housing, Zillion D60 housing with macro ring flash at MCD booth, Ikelite announces redesigned SLR housing for D30/D60, Underwater Phantaseas has D60 housing in prototype design phase (^[66], ^[67])
• 2002-12: Eric Cheng publishes detailed photographs of the Sea & Sea D30/60 housing with Ikelite DS-125 strobes; Jim Watt’s modified housing shown with Light & Motion LCD monitor (^[68])
• 2003-01: Jim Watt reviews Sea & Sea D60 housing after shooting 1,000+ frames in Bonaire; Jonah CD60 housing announced (^[69], ^[70])
• 2003-03: Ocean Brite/Jonah announces D60 housing for July 2003 availability (^[71])
• 2003-05: Douglas David Seifert’s Canon D60 image becomes the first digital cover of DIVE Magazine (June 2003 issue), featuring a whale shark off Belize (^[72])
• 2003-06: Subal D60 housing becomes available through Marine Camera Distributors (^[73])
• 2003-11: Ikelite rumored to fit D30/D60/10D into new smaller polycarbonate mold (^[74])
• 2004-02: Eric Cheng lands cover shots on Tauchen Magazine and Shark Diver Magazine issue #5, both shot with Sea & Sea-housed Canon D60 (^[75])
• 2004-04: Jonah D60 housing reviewed in UwP Magazine issue 18 (^[76])
• 2004-05: Eric Cheng publishes “The Mystery of RAW Converters,” comparing conversion software using Canon D60, 1Ds, and 1D Mark II files (^[77])
• 2004-05: Douglas David Seifert’s D60 whale shark images appear in the New York Times Science section and Nature’s Best (^[78])
• 2004-10: Eric Cheng speaks at NCUPS, bringing large lightjet prints made from Canon D60 and 1Ds images (^[79])
• 2004-10: Doug Perrine wins Wildlife Photographer of the Year with Canon D60 images shot in UK Germany housing — the first year digital entries were accepted (^[80])
• 2005-03: Masa Ushioda’s humpback whale images shot with D60 in Sea & Sea housing appear in Nature’s Best Magazine (^[81])
• 2010-10: Douglas Seifert’s D60 legacy recalled when he secures another DIVE cover: “he also secured the first digital DIVE cover back in the Canon D60 days” (^[82])