Immature common loon. They won't be back for 3-5 years. Good luck little buddy

Ring billed gull

I have a 6D now and I was just trying out the new R6 Mark III and the R5 Mark II at the Hunt’s show. I’m disappointed how small the Mirrorless bodies are. Sure I could use a battery grip but I don’t like using the grip all the time on my 6D such as when I doing street photography. Why are the bodies smaller but the RF lenses are about the same size as EF glass?

Raising my hand as I MUCH prefer the r5 body form factor. That includes the top lcd.

I can't express enough how much the r62 body felt plasticity to me, and for reference my previous workhorse was a 5d3 tank. All I could do was keep looking at it and thinking ..THIS was 2500.00 + tax?!!

I also adapt my lenses - never selling my ef 70-200 2.8v2 - and in the r62 w/grip, it felt like it was gonna tear off the mount. This is not hyperbole..9t didn't feel right at all.

I'm just glad I enjoy my r5, so I don't need this... because 3k + no sigma lenses...no thank you.

To all else, enjoy....at least it's out of 24mp "jail"

Del Paso said:

Pay attention to prices!
Some lenses, I don't know why, can cost much more than sold by conventional stores. The RF 50mm f/1,8 costs Euro 402 at Panamoz! Twice as much as what you'd pay to conventional online seller. Usually, you can save a lot on the more expensive items, not so on basic ones.

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Thx for the warning I always pay attention to prices. Apparently, the RF 135mm F1.8, the 28-70mm F2 and the 70-200mm F2.8 have great prices at Panamoz, the rest is basically priced the same as in Germany or higher. 135mm sounds tempting, but I´d more or less get the lens to play around with. Since I am planning on getting the 70-135mm F2 (or something similar) once it comes out (whenever that is), I´d dump the 135mm anyway.
So, a used EF version will do for now.

Richard CR said:

Did a secondary article for the R6 Mark III .. my own crazy musings part deux of this release cycle.

I was going to do an R100 vs R6 Mark III, but Craig was worried we'd shame the R6 Mark III too much.

Canon EOS R6 Mark III vs Canon EOS R5 - Canon Rumors

Wanting to choose between the EOS R5 and new EOS R6 Mark III? Our article will help you compare the differences.

www.canonrumors.com

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If you don't stop making fun of the R100, I'll jump ship and join the S**y forum!
R100 forever!
PS: Any infos about Canon's next "glorious" lens/camera launches? I'm still hungry for new L lenses...

m4ndr4ke said:

It really depends on the setting. Disco lights, for instance, can make servo AF very unreliable, because the colors are always changing. Plus, it's not that hard finding venues dark enough that servo AF doesn't work, specially off-centre, where lenses have the most significant vignettes wide open.



I don't mean to sound rude, but I'm confused: you disposed of your time watching videos on how to setup the camera, but didn't bother reading its specifications on the manufacturer's website?

Yes, the asterisks are still there, they'll probably always be.

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Not yet, only got it a week ago and didn't had time to read the full manual.

Richard CR said:

Did a secondary article for the R6 Mark III .. my own crazy musings part deux of this release cycle.

I was going to do an R100 vs R6 Mark III, but Craig was worried we'd shame the R6 Mark III too much.

Canon EOS R6 Mark III vs Canon EOS R5 - Canon Rumors

Wanting to choose between the EOS R5 and new EOS R6 Mark III? Our article will help you compare the differences.

www.canonrumors.com

Click to expand...

Shouldn't the Max video res / rate for the R6 III be 7K/60 (instead of 8K/60)? I thought the 32.5MP was not enough for 8K, though I'm not that much into video so not exactly sure of the correct nomenclature.

justaCanonuser said:

If you want to use such lenses in the street or join a party, you need servo AF to get reliably in-focus shots with such lenses wide open.

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It really depends on the setting. Disco lights, for instance, can make servo AF very unreliable, because the colors are always changing. Plus, it's not that hard finding venues dark enough that servo AF doesn't work, specially off-centre, where lenses have the most significant vignettes wide open.

Eloniel said:

I'm interested in knowing if that still true for R5 MK2 like camera. Because all the videos I saw about configuring the camera said to use Servo AF.

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I don't mean to sound rude, but I'm confused: you disposed of your time watching videos on how to setup the camera, but didn't bother reading its specifications on the manufacturer's website?

Yes, the asterisks are still there, they'll probably always be.

m4ndr4ke said:

That’s not his point. All camera bodies can only achieve the maximum sensitivity for autofocus when using One Shot AF.
Many cameras in the past were rated at EV-3 using f/2.8 — that was achieved using only the central AF point in One Shot AF.
Current cameras are rated at EV-6,5 using f/1.2 — that is achieved using single point AF and One Shot AF as well, but now you can move the point around.
If you’re shooting in extremely low light, One Shot AF is the way to go, as Servo AF isn’t as sensitive.

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I'm interested in knowing if that still true for R5 MK2 like camera. Because all the videos I saw about configuring the camera said to use Servo AF.

m4ndr4ke said:

If you’re shooting in extremely low light, One Shot AF is the way to go, as Servo AF isn’t as sensitive.

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Correct - if you shoot mostly stills or nearly fixed people. If you want to use such lenses in the street or join a party, you need servo AF to get reliably in-focus shots with such lenses wide open. Given the lots of light such glass can suck in, even with my old 5D3 that was officially only sensitive to -2 EV in the center AF field (if I remember correctly), I could use AF in surprsingly dark settings. Of course, there were limits, but last but not least photography is based on light, not on the total absence of light

But as I said: if you shoot wide open real people enjoying themselves then you need servo AF. For me these modern AF systems were a sort of revelation, because they made superfast glass really useable. The servo AF setting was a sort of emancipation for these lenses from a very steady, quite frozen world.

Speaking about vintage fast glass look: I just received my ordered RF-M39 (Leica thread mount, LTM) adapter from Novoflex. Works very well on my R5 II. Here is my vintage glass beamed into new digital life.

Canon 50mm f/1.4 rangefinder lens, Model 1961 (really tiny for such fast glass):

And here Canon's 85mm 1.8 rangefinder lens, Model 1961:


First images are quite promising (too private familiy shots to show here). So that's an additional option, of course with manually focusing lenses, but with the magnifying option of the EVF focusing is quite easy if the motif isn't too vividly moving.

Notice the yellowish-brown tang of the lenses - typical for thorium containing glass. Interestingly, this slight tang doesn't interfere with the colors of the images out of the camera. They look totally natural. I knew from color film photography that this tang isn't an issue in real life but I wasn't sure about digital cameras.

I'm ok with the softness but certainly not expected this much CA. Looks like a 50 year old manual focus lens. The Nikon Z 50mm f1.8 S is exactly the same price in UK and there is no question which one is the better lens.

On the other hand it does do a remarkable job of converting stars into Cylon Raiders, if that's an aspect of photography you've been pursuing.



From:

Canon you are shameful how can you put the 4k oversampling at 60fps in the r6 mk3 that has no high temperature setting and no air intake and not put it in the r5 mk2 which costs much more?!? But wake up and do this damn firmware update and give the 4k overcamoyed at 60fps on the r5 mk2 !!! You're ridiculous!!!

SnowMiku said:

Which website I can find the MTF charts for this lens and older Canon lenses?

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canon.jp's website - i've used it so much i don't even have to translate, and i don't even know japanese.

Did a secondary article for the R6 Mark III .. my own crazy musings part deux of this release cycle.

I was going to do an R100 vs R6 Mark III, but Craig was worried we'd shame the R6 Mark III too much.

Maximilian said:

Hooray! Waiting and guessing is over!
Prices also as expected (and of course too high ), In Germany 2899,- incl. VAT.
Now let's see the first RL hands on and sensor measurements and until then all the whiners whine

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I'll stick with a winner - my R5. I'm almost exclusively a stills photographer. If the R6 shows to have significantly better DR for stills, I'll reconsider, but for my purposes, the 5 still far exceeds my capabilities.

Nice shot, Nemorino.

Very nice series, Nemorino. I especially like the first one.

justaCanonuser said:

That's no wonder that you had trouble with in-focus shots wide open. With such a superfast lens you need always to have "servo AF" activated,

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That’s not his point. All camera bodies can only achieve the maximum sensitivity for autofocus when using One Shot AF.
Many cameras in the past were rated at EV-3 using f/2.8 — that was achieved using only the central AF point in One Shot AF.
Current cameras are rated at EV-6,5 using f/1.2 — that is achieved using single point AF and One Shot AF as well, but now you can move the point around.
If you’re shooting in extremely low light, One Shot AF is the way to go, as Servo AF isn’t as sensitive.

GMCPhotographics said:

I had several copies of the EF 50mm f1.2 L and I found it to be a frustrating lens to use. It was built like a tank and handled lfare really well. It had great colours and a lot of charector. BUT in low light (exactly when you want to use a f1.2 lens) it's AF was ponderous, hessitant and often would not lock on. I'm talking single point One shot mode.

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That's no wonder that you had trouble with in-focus shots wide open. With such a superfast lens you need always to have "servo AF" activated, because the razor thin depth of field doesn't tolerate even small movements of the motif and the photographer for- and backwards. I used even my EF 85mm f/1.2 (single point or small AF range selected) very successfully for social shots with my 5D3, in fact my copy of that camera really shined in terms of AF precision with that lens - but always with servo AF activated. The EF 50mm f/1.2 focuses indeed less reliably wide open than the 85 II, I think because the contrast fall-off is more pronounced wide open, but still it worked quite well on my 5D3/4. My Tamron 24-70mm f/2.8 (G1) that I used for many years because it had a good VR and a good optical performance, was focusing much less reliably (I replaced it by an RF 24-70mmf/2.8).

Besisika said:

I might be wrong in assuming that you might refer to a head shot taken at F1.2. If yes, below is my answer, if not; my apologies.

It is not about a cheap filter look; it is about having options when you need it.
Many assume that if I buy a 1.2 lens, I could use it only at F1.2
Reminder:
1 - depth of field is a function of distance. If people have been using it for a head shot at f1.2; that is their choice. I use my F1.2 when a full length person occupies 1/3rd of the screen. At that distance a dof of a 50mm 1.2 is deep enough. Believe it or not but under moon light, only that f-stop can save you from smear fat from a too high ISO without blurred movement.
2 - An f1.2 lens is a lot sharper at F1.8. Not because you bought an F1.2 that you will be shooting all the time at F1.2. In fact, I have Sirui F1.2 and I use it most of the time at F1.6. Finally, it is now time to be able to shoot with an auto-focus.
3 - having an F1.2 gives you chance to have that amount of light when needed, compared to not having it at all; cheap or expensive filter look.
4 - There are many things out there that don't care much about what is your dof. Flat surfaces for example; you can shoot them wide-open and dof is plenty enough.
Now, combine all four options and see if the lens might be useful to many photographers. I am sure that others have found other ways to use such a lens too.

Looking at an F1.2, or even F0.95 lens, I pay attention to sharpness, chromatic aberration, but mostly proneness to flare against the sun; then I decide if it is worth or not.

Having an F1.2 is about choices; compared to not having it at all. I wish Canon does the same thing at 20mm for example, without spending 2K.

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I was joking a bit, but I do use my beloved 85mm f/1.2 II, to bring a bit more crazy example, even for street (preferably night settings), not only for typical head shots, often wide open. And this lens has really a small DoF distance in which a motif appears to be sharp. I then mostly shoot from a medium to bigger tele distance, and even complete people that then fit into the shallow DoF. But using such an extreme lens means that you really have to learn where it shines and where its limits are. Being undercorrected, this 85 shows a lot of lateral chromatic abberations in contrast rich settings - e.g. bright edges in light spots of night settings. Fortunately in the digital age this can easily be corrected by post-processing. But I never would use such a lens wide open in bright sunlight stettings, in fact, I'd never take it with me then. It is not made for lunchtime-in-the-desert settings

With my EF 50mm 1.2 it is a bit of a different story, since this lens delivers nicely sharp images when stopped down, and it is relatively compact and light. So it is much more versatile as a standard prime lens one can carry frequently in a handy gear. And like you state, you always have the option to go up to f/1.2, with widens the application range of such a lens. That's quite attractive.

Regarding F/0.95 and 50mm I guess you may mean Canon's classic "dream" or "nightmare" (depending on the reception) 0.95/50mm lens with the classic Leica M39 thread mount (LTM) - for many years the fastest lens sort of "mass" (not really) produced industrially. I have two Canon 7 bodies with a set of 1950s/60s Canon lenses, but I am no collector, so I never was interested in investing several thousand dollars in that monster 50mm that Canon mainly created to show-off against Nikon in their new rivalry back then (before, they co-operated for many years, Canon made the cameras, Nikon the lenses). At least with a classic manual focusing rangefinder with 47mm rangefinder base, like the Canon 7 that was designed for this lens, in real life you never have any realistic chance to get a non-steady motif intentionally sharp wide open, only by pure chance. So, since I still use these vintage bodies for film photography (the soft but precise and luxury sound of its titanium shutter is already worth it), I got Canon's wonderfully compact and light 1.4/50mm lens. It makes much more sense for real photography (Canon made also a 1.2/50mm back then). Of course, with a modern ML camera and all its little EVF helpers, you may have more chances to get a motif that isn't particularly standing completely still, in focus with a superfast manual focusing lens.

My experience with superfast lenses over many years is, in a nutshell: only with a precise AF they are really useful in real life.

muentzer said:

I switched to the RF mount in 2020, first with an R5 and currently with an R5 II. From the outset, I had considered buying a second, smaller, lighter body. Initially, I considered the RP, then the R8, but as I have started making more videos recently, I finally took the plunge yesterday and ordered an R50V. It arrived today and is sitting on my shelf right now, eagerly awaiting the 1.2/45, which I also pre-ordered yesterday. The R50V pairs very well with the RF 1.8/24 IS STM, and I'm sure that, together with the 1.2/45, it will make a wonderful, small, lightweight kit for everyday use. I can't wait for it to arrive!

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I liked the R50V a lot, but I sold it yesterday. The lack of useable electronic shutter bothered me more than expected. The AF wasn’t as good as the R8 either.
I would still like a camera in the R50V formfactor, but with R8 like performance

The R50V is great for video, though.

SnowMiku said:

Which website I can find the MTF charts for this lens and older Canon lenses?

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You can find them on Canon Japans website. Google translated link, then select the lens you want and select ‘Specification’.