EOS Magazine had the chance to interview Mike Burnhill of Canon Europe and discuss the future of the EOS R system as well as DSLRs and lenses.
There are some interesting bits of information throughout the interview as Mr Burnhill discusses the continued need of DSLRs as well as the fact EF lens development is going to continue and we should see some new ones in 2020.
Talking about DSLRs:
AA: Will Canon be introducing more DSLR cameras?
MB: Yes. Canon still sees demand for all sorts of cameras – including DSLR and mirrorless – so we will continue to produce across multiple product lines. We've only just phased out the EOS-1 film camera because there were still people buying it in certain markets, and we will see the same with the DSLR cameras.
Mike addresses a question about an APS-C EOS R camera, something we feel is inevitable.
AA: Which brings us onto APS-C with the R system…
MB: Yes, the system could support it, but again it's not a priority because we have the M, and what we need to fill out is the lens range for the EOS R full-frame.
I'll over analyse what Mr Burhill said about future EOS R system cameras.
AA: Do you see a full-frame camera coming in at a price below the RP?
MB: Yes.
AA: And a pro version before the 2020 Olympics in Tokyo?
MB: Well, that's the million dollar question…
He directly answers the first question with a “Yes” and doesn't answer the second question. In my experience, this means the “full-frame camera” below the EOS RP isn't on the official product roadmap and he gave his opinion. Not answering the second question tells you that there is definitely a pro level EOS R body in advanced development and is officially on the roadmap and no one can talk about it.
I suspect sometime in the next 12 months we're going to be getting that pro level camera body (not the high-resolution model). You can check out the full interview here.
AA: Which brings us onto APS-C with the R system…
MB: Yes, the system could support it, but again it’s not a priority because we have the M, and what we need to fill out is the lens range for the EOS R full-frame.
Now, will it overlap with a 1Dx III? I think no. If the rumors are to be believed, people trying to freeze moments and wanting high frame rates will be offered the 1Dx III. Then, I can see Canon making some great marketing claims of "using 70 MP to capture the finest details of the 2020 Olympics." Two niches, two cameras.
Honestly, as I think about it, what a two camera combination. Shoot wildlife with a 1Dx III and a big white supertile and then have the high resolution R?? with a 70-200 or 24-70 on your side for landscape or context pictures where you can zoom or crop with great detail.. Drool.
I think the real “million dollar question” is what anyone means by “pro body,” and whether that could even refer to the kind of camera you describe. Does a high-rez R count? Many would say that it does not. Does a 5Div successor count? I happen to think so.
In my opinion the most obvious need is a fast-ish standard zoom. Something like the Fuji 18-55mm f2.8-4. That lens also shows that it is almost definitely possible with the Canon M standard lens diameter (it is 63mm vs 61mm for Canon M lenses). Another one I'd look for if I were to buy into Canon M as a system is an internally focusing prime. Both the 22mm and the 32mm are telescoping. This obviously make the lenses quite slow to focus, and focusing speed is a very important factor for me personally, but it also makes them fragile, as any impact to the front of the lens is stressing the focusing motor, possibly throwing it out of alignment or even breaking it.
There are plenty of other lenses that you could ask for, but some might not be possible to do with a 61mm lens diameter. A fast or fast-ish 16mm prime. A short telephoto zoom with fast-ish aperture (like a 40-150mm f2.8). A portrait prime. But for me the top two priorities are a fast-ish standard zoom and an internally focusing normal/wide-ish prime.
What’s a “real” pro body? One with extensive weather and dust sealing. It also used to be described as being able to be used as a hammer in emergencies. But that last is too harsh for sensor driven bodies. Let’s say, a camera that can withstand hard handling with knocks and drops.
By those standards, only the 1D is a pro model. Same thing for nikon and the D5
I'm aware that's the traditional definition of a pro body (rough and tumble), but pinning down exactly what that means today is wily, especially for the reasons you state (sensor cameras are more fragile). Plus, I warrant many more people who consider themselves professionals shoot with 5D bodies than with 1D bodies due to equivalent image quality and significantly lower cost. The 5Div and the 1Dxii are both rain resistant. They both have magnesium chassis. The line between prosumer and professional is pretty blurry where I'm standing, save for regarding FPS.
If the interviewer wanted to know if a 1D series R body was coming in time for the Olympics, I could do with less ambiguity (i.e., simply ask "are we getting a 1D-equivalent/style R body?" instead of asking if it was pro).
With the 22 f/2 and 32 f/1.4 I'm starting to miss a fast 50mm. The EF 50 + adapter works, but feels bulky. And for really wishfull thinking: some form of MP-E 65mm, with strong, diffused ring LEDs and IS. A 40mm version that goes from infinity to 2x would be very well suited for the things I want to photograph. The EF-M 28mm showed what is possible.
Here's a clip of a mason bee shot with the EF-M 28mm. The crop factor for 4k really helps for macro, the non-DPAF AF on the other hand....
Sony is courting sports photographers really hard too. I recently attended a Sony event with photographers from all over Europe where we got to try all their pro gear and meet with the engineers and give them feedback. There wasn’t a single photographer there who did not leave incredibly impressed with what Sony has available and is doing.
Thanks! It took a few tries, the 28mm allowed me to brace my hand against both the lens and the wood, the lens IS helped a lot, it did have some more stabilizing done in post. Compare it to a day earlier, MP-E65 on an RP where I couldn't brace the lens, had double the working distance and no IS. And no builtin lights, those help a bit to light the shadow side of the bee.
For still pictures nothing beats the MP-E + Mt24-EX + diffusers from Ian McConnachie.
The biggest glaring problem here is that the R series really reveals what Canon could be doing with the Ms if they wanted. Like most of their recent lens offerings, the RF lenses are impressive optically. But they've adapted to the size advantages of the mirrorless platform to make lenses that are smaller, or faster, or both. And they're continuing to develop it with the idea that people want native lenses. They've even developed a fairly robust - and sometimes surprisingly impressive - EF-S lens lineup for their APS-C DSLRs. Somehow, they didn't get the picture that people want lenses with the M platform, and that's a little bit baffling.