I would have expected to see compatibility with the detachable EVFs in the 6D Mk II. For me this is the most obvious solution to the problem, which takes only very little effort and has the fewest drawbacks in case you don't want the feature. All other solutions I can think of are mechanically bulky and complicated and/or lead to a less bright OVF (if you have a half-transparent surface where you can let the light from the EVF display enter, you also lose some amount of OVF light).traveller said:I wonder if a better solution would simply be to fit a hot shoe with a display connector, like the EOS-M3. If the EVF is more important to your shooting style than this, then probably a mirrorless camera is the answer.
slclick said:Never happened, so sad.
neuroanatomist said:At least you're in good company...
privatebydesign said:I expect to get one next year, my thinking is with TC's it will give 50mm, 70mm and 100mm TS-E's, my 17 works very well with both TC's so I will have six focal lengths covered with the two lenses.
I'm kind of reinvigorated with Canon, I know that is an unpopular idea! But after the 1DX MkII's this year I'm looking to get a 5DSR MkII when it comes out, this TS-E50, the 85 f1.4 and maybe the 35 f1.4 L (I really like the 35 f2 IS though, so maybe not!).
NancyP said:There is NO OTHER field-usable >1X macro lens out there to compare with the MP-E. Laowa has made an infinity to 2x manual lens, I don't know how good it is. For studio work there are plenty of options using bellows and (purpose-made bellows lens, reversed high end enlarger lens, etc). But every insect photographer I know that works in the field, uses the MP-E and some flash apparatus with home-made diffuser. Bellows are too fragile for the field. Diffuser apparatus breaks? Just build another one for $2.00 worth of raw materials.
Mt Spokane Photography said:It is likely useful for still life photos, its my impression that any movement spoils the effect.
That's a example of how something like the still scene at DPR could mislead less experienced photographers into believing that all their photos will benefit.
I know that some, including me, have a camera support that's bolted down (mine is literally bolted down) In that case I could benefit, except that most of my product photos are drastically downsized for the internet, so my support is bolted down for convenience and to prevent accidental bumps rather than ultra high resolution.
unfocused said:You can send it to CPS for a clean and check, but that is no guarantee the shutter won't die the next week. They are going to check the current functions on the camera and clean the sensor, but they won't be able to predict when the shutter will die. Likely that the 200,000 figure is a conservative estimate, but you never know.
You can choose to have the shutter replaced before it fails, or you can wait until it fails. Decision depends on your personal needs, how long you intend to keep the camera and how lucky you feel.
Mikehit said:An interesting interview on Image Resource with Sony Execs about the A7R3. Not so much the camera itself but the main design drivers.
Before now, we didn’t have so many professional or photo enthusiast customers in our user base, therefore, the voice we can get is limited. But now with more and more customers including professionals, we are getting more information, and that helps us to make more decision to set our goals.
So it looks like they are admitting their main impulse was 'cram as much technology as possible' endless [sic] about 'can we design a usable camera'.
dolina said:I wish they'd have AFJames Larsen said:I wish Zeiss lenses weren't so expensive lol![]()
StudentOfLight said:Also, how nicely does it play with DPAF?
9VIII said:Now if only Panasonic would sell their 400f5.6 (equivalent) lens for $1200, it might be worth looking at.
Ok, it’s got IS, I’ll give them $1400, but it’s pretty much guaranteed that the $3,000 M4/3 lens has worse IQ than the 25 year old, $1,150 (on sale now) Canon 400f5.6.