Its headline features were near-silent film winding, input of EOS barcode programs, integral auto-zoom flash, twin input dials, an autofocus auxiliary light for low-contrast subjects, a maximum shutter speed of 1/4000s, and five fully automatic modes.

The top left of the body had a Command Dial for choice of either Creative or Image zones and buttons to control the integral flash.

Once the Command Dial had been set for a particular shooting style, all controls could be accessed with the right hand, with the viewfinder feeding back information to the photographer.

The EOS 100 had a single BASIS (BAse Stored Image Sensor) chip, targeting the centre of the viewfinder.

The lens would continuously refocus on the object in the centre of the viewfinder whilst the shutter release button was pressed half-way.

If enabled, the aperture would reduce to show the depth of field every time the AE Lock Button was pressed.

Canon's fully automatic Programmed Image Control modes were Full Auto, Portrait, Landscape, Close-up and Sports.

The viewfinder would still give information on whether the camera thought the shot would be under- or over-exposed, but it wouldn't interfere.

Red-eye reduction was achieved by producing a piercing continuous bright light to the left of the flash.

However, unlike other grip extensions, this provides neither further power solutions (e.g. via AA batteries), nor extra shutter release buttons (e.g. for shooting in vertical, portrait orientation).

Canon published a book of approximately 100 photographs showing different styles of pictures (landscapes, night-time shots, fast moving action, etc.).

Along with the T90, and other older Canon SLR film cameras, used EOS 100s can suffer from a 'sticky shutter' problem.

This is caused by the camera's internal light sealing foam, which degrades over time and becomes stuck to the shutter, affecting exposures.