Thanks for the review, @Richard CR

It's great, that Sigma supports us with such a unique "pro" lens for APS-C.
And I love to read, how well it performs.

For me, it is too big to pair with my R50 for the typical travel/hiking use.
My personal favourite is Sigma's 18-50/2.8. So small, still f/2.8, and great IQ.

And the best: Sigma offers both

DJI has announced the newest drone in its Mini lineup, the Mini 5 Pro. The new Mini 5 Pro drone now features a 1″ sensor in the sub-250g series for the first time, promising excellent imaging. DJI has made significant improvements to this model, building upon the features of the Mini 4 Pro it replaces. […]

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Very dramatic. I really like this shot. Well done, Berowne.

hello, I have the R6M2 and was using the Older 600exII flash. found a deal at KEH for the EL5 for 200.00 but was looking for a flash Dome? Question do they make one? and did I waste $ getting the EL-5?

justaCanonuser said:

I agree, Fujifilm was the final killer of the S series, their medium format offerings are extremely attractive.

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Very nice cameras indeed, for comparably little money.
I am still tempted, if only I could convince myself I need a Fuji GX camera...

Close up with a portrait-lens
6D & EF 85/1.4L IS. LR, ooC, only crop and export. ISO 100, f 2.5, 1/1000 sec.

Another dramatic sky and a flower motiv. Maybe not the best lens in the RF-Lineup, but my most used glass, did not expect it. It delivers even in close focus with pretty bokeh good contrast.
RF & 24-105/4L IS. LR, some adjustments.

My old EF 85mm f/1.2 II is one of my all time fav lenses, in particular because it still has a touch of vintage look, but this lens may drive me to add a new 85 to my lens selection. The AF drive of the old 85 isn't up to fast movements, and a silent drive for video is definitely a progress (if it IS silent).

Where is the R6III now :/?!

This classic Zeiss-Lens delivers beautiful Bokeh wide open.
Zeiss Planar 1,4/85 & R6. Export with LR, ooC. ISO 160, f 1.4, 1/250sec.

Some Dragonflies. R6 & RF100-500.

Viltrox has announced the first lenses that it will supply to the L-mount. In case you missed it, on September 1st, Viltrox officially announced that the company was joining the L-mount alliance. As a new member, Viltrox is the 10th company to join the L-Mount Alliance since the public announcement of the L-Mount standard at […]

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Laowa has launched a new 180mm F4.5 1.5x Macro lens that they deem APO. What does APO mean, and why does Richard think it’s important? It means that there are little, if any, achromatic aberrations. According to Leica, who know a thing or two about lenses, they state this; Stands for ‘apochromatically corrected’. In normal […]

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There is an interesting post on FStoppers for those interested in another opinion about Canon’s strategy to keep the RF (FF) mount closed. The title is “The Genius of Canon's RF Mount Lens Lockdown”.

A quote from the conclusion (emphasis is mine): “Canon was accused of walling off the garden when they began controlling RF mount access. Critics predicted market share losses, user defection, and ecosystem stagnation. Photography influencers proclaimed Sony's third-party friendly approach the obvious future. The consensus was clear: Canon had made a strategic error that would cost them dearly.

In hindsight, it may have been the construction of a remarkably profitable fortress. With minimal competition for their high-margin premium glass and a comprehensive stable of budget lenses that preempted third-party alternatives, Canon transformed a widely reviled approach into one of the most successful plays of the mirrorless era. The company didn't just survive the transition from DSLR to mirrorless; they maintained strong profitability while commanding premium pricing across their lens lineup.”

See: https://fstoppers.com/business/genius-canons-rf-mount-lens-lockdown-711104

My 50 or so years old Leica-R 2.8/35mm (first series) also produces a nice Leica glow. I Obtained mine for about 250€.

I use the shuttercount app as well. A nice bonus is that the 'Pro' version has the option to automatically adjust the time+date in the camera when connecting.

Bob Howland said:

These lenses raise a question. Why can't/don't still zoom lenses hold the larger aperture for as much of the zoom range as possible. For example, a 300 f/2.8 lens requires a front element of about 107mm. Now consider a 100-300 f/2-2.8. That 107mm should allow that f/2 to be maintained out to 214mm. So why doesn't it? My fantasy lens would be a 200-500 f/2.8-4 with a selectable 1.4x TC. Update: It would hold f/2.8 out to 350 mm.

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Take a look at a zoom lens and you will see a chassis to carry the aperture blades down the barrel, and as the chassis moves down the barrel, you no longer have a 107mm opening. The opening is now down the barrel, not the opening at the end of the lens. That's how it seems to me, anyway and why these types of variable apertures would require a much larger front element and be much larger and heavier than people think. Maybe not even possible to design.

White tailed deer taken with my R10 and RF 85mm f2

Ian K said:

I would rather have 36mp than have diffraction kick in at f5.6.

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Not sure what you mean by "kick in", but there is ALWAYS diffraction, at all apertures. The "diffraction limit" is not a limit. It is a calculation assuming some things about the Airy disk. The resolution of a photo, at the focal plane, is determined by pixel pitch, diffraction, motion, and aberrations. Slightly away from the focal plane, resolution improves by stopping down way narrower than f/5.6. Many of us routinely select f/11 or 13 as the best compromise when shooting macro on an APSC sensor.

Also remember that it's the lens that creates diffraction, not the sensor. Having more pixels doesn't increase diffraction. But you can see its effects better by pixel-peeping.

As long as I can remember (which for me goes back to 8 mpx cameras), there have been fears about noise and diffraction with higher pixel count cameras. Sensors now have an order of magnitude more pixels, yet IQ keeps on improving.

So it seems the camera manufacturers know what they are doing.

I'll be one of the first in line for the R7 II if it has the rumored improvements, and for me, the more pixels the better.

As per https:www.youtube.comwatch?v=6PZEwGkrwlg from IBC, the lens will cost 1799USD for the EF version. Good news.

Sounds an intresting camera and a great value.

Bob Howland said:

Is the slit vertical traveling horizontally or horizontal traveling vertically? Your reply assumes the latter. I believe the EOS-3 and other film cameras moved horizontally. The effect should be to lengthen the car or motorcycle in the picture.

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DhlcadR6 said:

Since the DSLR days Canon's mechanical shutter moves up&down(horizontal travel vertically). I'm not expert in older SLR, and my 1V's mechanical shutter is no different to modern cameras. I don't know Canon did something different for 3.

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AlanF said:

As @DhlcadR6 writes, modern DSLRs travel vertically because it is quicker to traverse 24mm than 36mm.

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All EOS SLRs, both film and digital, have had electronically controlled vertically traveling blade shutters.

The AE-1, AE-1P, New F1, and most other late FD mount bodies in the A-Series and F-Series had horizontally travelling one-piece cloth shutter curtains. This made camera design simpler so that the same mechanical motion from the film advance lever also cocked the shutter curtains. The final FD mount bodies, the T-Series introduced in 1983, had vertical shutters. There were also a limited number, reportedly less than 100, of New F-1 bodies made for use by press photographers at the 1984 Summer Olympics with vertical blade shutters, enhanced motor drives, and pellicle mirrors that could shoot at a then record 14 fps.

The tipping point for going from horizontal to vertical shutter curtains was the elimination of manual film advance levers as 35mm film cameras were introduced with automated film advance built into the body. The shorter transit distance across the short dimension of the frame and blade curtains driven by electronic motors rather than cloth curtains resulted in shorter X-sync timings. Instead of 1/60-1/90 X-sync Tv, cameras quickly went to 1/120-1/180 X-sync for flash photography. The T-90 had an X-sync of 1/250! The professional New F-1 with horizontal cloth shutter was limited to 1/90 X-sync.

For what it's worth, my Konica FS-1 has a built-in 2.5 fps motor drive and a vertically travelling electronically controlled blade shutter. It was introduced in 1979, about four years before the 1.5 fps Canon T-50.

Fremont, CA, USA – Thursday, January 30, 2025 – Blackmagic Design today announced Blackmagic URSA Cine 12K LF Body which is a version of the camera that has all the quality and features of the URSA Cine 12K but excludes many of the accessories. This body only model is perfect for experienced cinematographers and rental houses who already […]

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Today, Fujifilm announced its first digital camera dedicated to cinema filmmaking, the GFX Eterna 55. Over the last year, we’ve heard that this camera was coming, based upon the 100MP sensor found in it’s GFXC 100 II cameras. This camera uses the same spectacular sensor found in the GFX 100, a 44x33mm sensor. The sensor […]

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Well, there were a bunch of preorders for this camera. I'm pleasantly surprised. I'm looking forward to what's next for PowerShot.