The root of this problem is even attending a "Photographic Society" meetup. Quite an exclusive set there, a pompous lot uninterested in camaraderie or welcoming new members. I'd had an easier time talking to a fellow with a $7 million hyper sports car than these snooty goofs; rather donate the membership dues to Ken Rockwell.

Thanks for the reply. Yes, just trying to get a straight answer. Canon said it does not seem normal, but the answer is more of a default liability one. They just insist to have the camera inspected, which I'm trying to avoid if not necessary. They also don't want me to use the camera in case of damage.

I honestly wasn't even looking for it. The only reason I noticed it is because I just got the 85mm F2 with no weather sealing gasket on the mount, and after I attached the lens, I noticed the gap, and the gap difference immediately as light from the ground bounced up lit up the gap so I could see it clearly - just by complete fluke. If the "L" RF lens was on, I would definitely not have noticed it as the rubber gasket would of blocked the light (hence, never noticing it till now)

cayenne said:

Why oh Why can't they Just come out with moderately reasonable FF sized anamorphic lenses????

I KNOW there's a market for these things....I'd be in line to buy them.

C

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Alternatively, why can't Canon make an RF-EF anamorphic adapter with 2x..... I see Laowa have the 1.33X Rear Anamorphic Adapter for their OOOM 25-100mm T2.9 Cine.
A native Canon anamorphic adapter would be incredible.

keithcooper said:

I do use the Rogeti TSE Frame for shots with my 17/24 when I know there are crossing near/far elements.

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Thank You Keith!
The Rogeti looks very good but is also not cheap.

navastronia said:

Seconded. You didn't like the lens?

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Thirded. I like this lens too. I hope this will be one of the 1st lenses they make

dwarven said:

You're probably missing all of the people who use big whites on the 7D line. You're missing the fact that a higher end APS-C camera gives you reach without losing resolution, and at a cheaper price than an R5. Cropped to x1.6, even the R5 only gives you 17MP.

Third, you're missing the fact that no RF-S lenses have been rumored or announced, indicating that this camera is not going to be a Rebel spin-off of any kind. It's going to be a high end body that people will mount wildlife and sports lenses on.

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Do EF-S lenses fit on the 7D Mark ii?

Maximilian said:

True, but it also depends a lot on the awareness of people/employees, because IT security cannot block and filter out all web bugs and pests.
I have to make 1 or 2 trainings per year about IT and informational security.
As you say, it costs money - but much less money - and reputation (!) - than an incident.

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Yes... one company a friend of mine worked at got hit by ransomeware. It was a really bad one. Their data was inaccessible for weeks, and refused to make it public for obvious reasons. Live in ignorance I suppose.

quantzpphoto,

Thanks for sharing. Beautiful shots.

andrewmckay said:

Plan wouldn't be to sell the R6 but to keep it as a second body when the R1 hits.

I am apprehensive to sell as well but want to avoid a serious value drop when the R1 does come out.

I have glass I'd sell now as well to start the transition into RF from EF (100-400 II condition 7 body 10 glass, 16-35 II condition 5/8, 70-200 2.8 III 10/10). Already sold my 2nd and third bodies (7D II and T5i + 50mm sigma, 18-135 kit, and gave the accessories to my brother).

I LOVE this camera but don't want to be left behind. Taking a $1000 hit now is fine. I've gotten that much and more value out of it. I just don't want to lose more later.

Thanks for the replies and links all!

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I think you have the right idea in mind, if you're already looking towards transitioning to RF you're probably better to start it now, and I'm sure you will definitely love the R6 if that's what you move towards. The R6 is an incredible amount of camera for the price that you can get out of it, and the R1 is definitely going to knock our socks off.

I love my 1DX2 and the 1D series, but I just couldn't justify upgrading it to the 1DX3 as I knew RF glass is the future for me, so I went with the R5 instead as a replacement for my second body 5D Mark III awhile while I wait for the R1 to replace my 1DX2.

My line of work requires a second camera, so I unfortunately have to hang onto my 1DX2 until next year when the R1 comes out, and then I'll be selling my 1DX2, EF 70-200, EF 35, and EF 16-35 to move totally to RF mount. I think the R1 is going to have to be an absolutely legendary camera to top the R5 and R6, and that in itself will be a huge leap over the 1DX3.

I think the most important thing you can do for yourself is to ask yourself about the kind of video you're doing and how serious of video equipment you need.

My day job is working in commercial video, and we use a pair of C200s on every shoot, aided by EOS Rs and 5D Mark IVs, mainly on gimbals. If you're shooting long interviews, work with complicated audio set-ups, and need ND filters outdoors, absolutely nothing beats a cinema camera. Some of the documentaries I've helped film we've been in situations where we needed to just hit record and leave the C200S rolling nonstop for like four hours straight. Beyond that, hour long interviews are a piece of cake when you're working with the cinema cameras. One boom mic with a long XLR straight into the A camera, shotgun orlav mic for second track, it's tough to beat the functionality and professionalism that a cinema camera brings to a shoot. On top of that, the built-in ND filters are probably one of my most used cinema camera features, and it makes getting F/1.4 outside in daylight a breeze, especially when you're running and gunning and go from inside and outside often. All it takes to switch between 0 ND, 2-stops, 4 stops, 6 stops, 8 stops, is a push of a dedicated button in either direction, and when your exposure changes you always have the option to instantly hit the ND filter to correct for it without changing any other shooting parameters or fumbling on set with lens mounted NDs. The Cinema batteries are also killer, the BP-A60 battery lets you shoot for *so* much longer than my personal R5 does.

We're actually considering soon picking up a C70 to compliment our C200s, mainly for the size/weight savings we would have for being a bit more nimble, all while it maintains the same connectivity with two mini-XLR inputs, full-size HDMI, BP-A batteries, built-in ND, etc. The C70 actually has better quality than the C200 thanks to the new dual-gain C300 Mark III sensor, other than not having raw video, so it's likely the C70 will be our primary A camera. On top of that, we're very interested in the C70's speedbooster giving us some room to have a more full-frame look in some situations, though that's not a deciding factor as super 35 has never felt limiting on the C200s.

The flipside of all of this, is that outside of my day job, I work for a newspaper as a photojournalist using my own R5 and 1DX mark II. I don't do nearly as much or as intense of video for the paper, so in that scenario I have no issue using the R5 and 1DX2. I love my R5 and have absolutely no complaints about it as a stills camera, but if I used it for much paid video work I would definitely miss so many of the features that the C70 and C200 offer.

I can understand your conundrum, though. When the newspaper has me shooting a video of a graduation as well as a gallery of 50 photos, it's a hassle having to juggle cameras to handle both video and photo on the same shoot. Normally, in those assignments, I've used one camera on a tripod just shooting video, and shot photos with another camera. One video perk for the R5 is that when you hit the record button in stills mode, it switches to a custom video mode of your design, which I have set to shutter priority at 1/60th to ensure the proper shutterspeed for video, and switches back to your stills mode when you finish recording. That's nice when I'm on scene of a fire and have to shoot photographs at 1/1000th but also can hit the record button and immediately be at 1/60th recording smooth video when something happens.

I ultimately shoot maybe one video a month at most with my personal equipment, so I could never justify having the kind of equipment I have at my day job, but I've long considered picking up something like a C100 to dedicate to being an A-camera in those instances. I'm very interested by the rumors of a C50 as an RF mount C100 at a price point under the R5, which I think would be an ideal fit for me.

Adorama has the Datacolor SpyderX Pro Color Calibration for $99 (Reg $169) while quantities last.
I love the SpyderX series for its accuracy and calibration speed. I can hang it on my monitor, press start, go make a coffee and when I get back to my desk, it’s done. If you have an older Spyder and the time it takes bothers you, this is a worthwhile upgrade.
Key Features

SpyderX Pro Advanced Monitor Calibration
Fast & easy calibration modes
Supports calibration of multiple displays
Can adjust for room light changes
Shows before & after comparison of display calibration
Offers tools to check the quality of your display (Basic)
Calibration options: Combinations of gamma, white point and brightness (12 Choices)

Datacolor SpyderX Pro Color Calibration $99

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Continue reading...

Today after about 30 hours of being powered from USB, I once again checked the battery and it was still 99%. I've reverted to auto shutoff and ended the experiment. I think you can leave it on indefinitely as long as the battery is charged first so it does not immediately go into charging mode when you plug USB in.

A video using the Canon SL3/250D camera + EF-S 24mm f/2.8 STM (pancake) with the Feiyutech AK4000 + Canon 80D + Sigma Art 18-35mm.

Chris.Chapterten said:

Nice lighting and composition there. I would say you aren’t really pushing those shadows enough to notice a difference between cRAW and RAW. Looks like the cRAW responded very well to the adjustments

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Thanks, Chris.

My goal was to get the best looking photo I could, so I didn't push the shadows any more or they would have looked strange. Only later when I zoomed into the face to check the fine details did I notice my own reflection in the eye. I could have raised the shadows in the eye crop further as a separate virtual image to better show the reflection, but I thought it was better to show everyone exactly how it looks in the finished version.

I started taking R5 photos in RAW & using DXO PL4, but after taking so many photos at ~50MB each you really start to eat up your free memory. So eventually I tried cRAW and I'm becoming very happy with how DXO PL4 can make it look, as it's hard for me to tell the difference between the two.

makera said:

"Yeah, tough luck. But they didn’t do that to spite you."

But they do spite me. They could give update-price for A1-clients.

"Old news. They fixed that with the A1X. "

Too late for me. At 1000 bucks I am precise and meticulous. Profoto told me all is so super perfect and I took her at her word. But everything wasn't perfect, otherwise she wouldn't have released the update after such a short time.

" Can you specify where the incompatibility manifests? "

I don't have the A1x. I don't risk buying it as long as my camera isn't on the compatibility list. I wrote to Profoto Sweden, they reply that they are working on it, I've been waiting for 7 months.
Everything worked fine with my old camera, except for the problems with the magnets and the loose head mount when changing formats quickly.
Now with the 1DX III my old A1 works, but does not flash constantly in series mode. I think the 16 or 20 frames / second are too fast.
I don't know how the new A1x will work.

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Whenever I had to deal with a Swedish company (POC, for instance, Hasselblad etc...) via email, either I didn't get an answer, or got the useless "standard" one (contact your dealer...).
I'm writing about very specific questions, only the manufacturer can usually answer.
Their email behaviour is somehow strange...so, I got used to contacting local or international importers instead, hoping for a usable info.
But do not misunderstand me: I really like Sweden, and the Swedes are some of the nicest people on earth!

I have an M50 I purchased and wondering if the R6 works the same way:

I can be in video mode and change my ISO/Aperture/Shutter speed, then switch to M (Manual photo) mode and change all 3 settings. When I return to video mode, the setting I previously made in video mode (not the Manual photo mode) remain in the video mode. So basically I am saying that the setting changes made in each mode remain only in that mode (another way of wording it: my changes made in one mode do not carry over to the other mode).

Does the R6 work the same way?

I was planing to purchase the R (which I understand does work the way as described above) before it came out but was disappointed that it did not have IBIS so I held off and got the M50 instead.

I like that my M50 has the Video and M mode right next to each other on the mode dial, but the R6 does not. I can live with that, but the setting carrying over between mode I am not sure about.

Michael Clark said:

Cyber Monday is usually the lowest they go. But you never know until it happens. Buy it from B&H and you have a return window until February 1, 2021.

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Yes, that's been my experience. However, occasionally a 1 day sale pops up which has some free items like a printer or battery in addition to any Canon authorized price. I've actually seen lower prices some years in Sept- October than on Black Friday weekend.

For the EOS R, the lowest new camera price was last December so it could happen again if inventory is high.

Canon Rumors Guy said:

There are weird lens lengths in patents from time to time. I wouldn't read too much into it.

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Can someone elaborate on the underwater housing aspect within the patent? Normally the difference in the lens length is adjusted in the housing by changing the port extensions. There are a set number of lengths and a combination of them gets you the length you need. The dome (generally 8" or more) adjusts for the field of view for the air/water interface. 8"/curvature handles from 8mm fisheye upwards so I am not sure why the patent includes it.

Ahh very true with the R5 and R6...hmmm... well I won't delete my post just incase. haha

Yeah I used to sell the 10D and 20D from canon, then Nikon trade marked the D70 and screwed it up for canon.

There was no film 1D. The D started with digital. The last film EOS 1 was the EOS 1v.

tmroper said:

Why Sony? They hardly have any share of the phone market. Samsung, though, is one of the top market leaders. As is Huawei (basically tied with Samsung for the top spot) who would likely attend, too, if the EU would allow them to.

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Sony dominates the phone sensor market.
I read that they lost a lot of market share to Samsung because Huawei was Sony's biggest customer.
Samsung has itself and Apple.

Michael Clark said:

The issue there looks more like slightly missed AF when using too narrow an aperture to me. The bird's left claw and the parts of the metal tube further from the camera are much sharper than most of the visible parts of the bird, most of which are closer to the camera than the in-focus parts.

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. . . I was actually sharing these images to demonstrate how great I think my EF 200/2.8 L II performs, hahahaha

Michael Clark said:

They're interested because sodium is more plentiful, found in more widespread areas, and cheaper. Thus the supply of it is also less subject to the volatilities of global politics.

There's no safety advantage to sodium ion technology versus lithium ion technology. They're both Group IA (Roman numeral one) alkali metals that are soft, shiny, low-melting, and highly reactive which tarnish when exposed to air.

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If anything, sodium is much more reactive. It and potassium tend to have the most violent reactions when dropped into water. Rubidium and cesium are technically even more reactive, but for reasons I am unclear on, don't give as much of a BANG! when dropped into water. In any case those latter two are much too rare to even THINK of using them ubiquitously in batteries, while sodium and potassium are quite common.

It's the IBIS.

YuengLinger said:

Almost as frustrating as interstellar travel being limited to the speed of light.

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Given we've yet to accelerate ANY space vehicle to 1/1000th of the speed of light, this is a frustration that hasn't become real yet! (Fastest so far the Parker solar probe 0.0006 c and that was because the sun and Venus gave us a lot of help.)

Nicely done, jabird56.