M. D. Vaden of Oregon said:

My first thought after Polin's review, was Nikon could have skipped the upgrade altogether.

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With the 2020 Olympics coming (Maybe), its a great time to sell a new model. Many want the latest and greatest and will buy even with minimal new features. All the manufacturers do this, Sony did with the A9II, and Canon to a lesser extent with the 1DX MK III.

Its my belief that R&D $$ are going into mirrorless, so new features that cost a ton to develop are being reserved until the market is there to pay for them. That seems like it may take another 4 years if ever. There are often "under the hood" improvements for minor issues in the previous model that are not advertised, so could be a good reason to upgrade.

mkush said:

By the way, Best Buy still seems to have the 1Dx3 in stock for delivery Tuesday if anyone’s interested.

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I got mine yesterday, Feb 13th, as expected. No delay.

I'm going to be using my EOS R to do a video capture of a very long duration soon, probably 8+ hours of continual video. Has anyone used their camera under these conditions? Any overheating issues?

I will likely be using C-Log, shooting at 1080p, and outputting and recording on an external monitor, and also a computer through the USB connection at the same time, for live streaming.

John Smith said:

Looking at the recent developments, there is an intruiginh theory that this is supposed to help in the Canon Camera Cloud. It could also possibly hep in responding to Sony releasing their SDK.

I can only hope it means we can develop apps for the camera.

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Have you looked at the Canon CCAPI?

Great shot. Well done, Glenn.

padam said:

When you reduce the bit depth you increase the readout speed of the sensor. When the electronic shutter is being used, the readout speed has to be as fast as possible to reduce rolling shutter effects.

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Yeah, you have less range for edition, but to call that useless... unless you reaally push your edit it may still be ok (Happen sometimes with landscape).

For sports and wildlife ? I don't really see that as a necessary problem ?
From what even the a9 does that with their compressed raw

3 of my 4 LP-E6 or LP-E6N batteries are showing just one red bar, but both provide lots of juice, work fine and show as "good" on my Nitecore charger. The Nitecore charger measures how many mAh a battery accepts, so when one of these is fully discharged, I'll report what the capacity is.
Seems a bit like printer ink. Lots of ink left when the printer suggests a new cartridge.

joestopper said:

Think twice. Do you have RF 85 and/or the RF 28-70?
I do. These are so bulky and heavy that a more chunky body really would help ..

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I have the R with the 28-70mm, but do use the battery grip. I would be happy with anything between the R and the 5D, but with battery grip. I would agree that the R without the grip works, and has plenty of finger clearance, but I appreciate the extra heft of the BG.

Mt Spokane Photography said:

One issue with mirrorless is that there can be issues when wide apertures and fast shutter speeds are used with a electronic shutter (Silent live view shooting). Its better with the standard mechanical shutter, but still a issue for some. This is mentioned in the manual for my "R".

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IIRC, this is actually an issue with Electronic Front-Curtain Shutter, not Electronic Shutter.

I wonder if EOS RP focus stacking will work with this lens.

I have managed to download it from the Canon website. However it does not look as polished as the EOS-1DX Mark II manual. Perhaps it is a draft.

Quarkcharmed said:

It's definitely not data transfer/processing reason that prevented Nikon to do more than 10fps in silent. It's either a bizarre technical flaw in their design, or, I suspect, slow autofocus in this mode. They don't have DPAF, that's maybe why. Although Sony managed it without DPAF...

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Thats the thing, they don’t have continuous autofocus even at 10.5 fps. It must be some bizarre limitation in this case.

Michael Clark said:

I'm guessing many (most?) potential Rebel buyers have no tablet of any kind and their most used electronic device is a phone. But I guess in your little Apple bubble there aren't many Android phones out there, either?

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The few Android phones still being sold on legacy USB will quickly become obsolete as well as iPhone's that are still using the legacy lightning connector. The type-c connector has been the standard for sometime and will be for quite a few years to come, it is disappointing that any manufacturer would choose to ship a obsolete port. This especially applies to Apple with their insistence on using the lightning connector for iPhones.

Bring both lenses and switch when you want to.

For me, I'd use the RF 35 f/1.8 more at Disney. Use the 24-240 when you need the focal length, but Disney is so "busy" and crowded that I prefer have a shallower DOF. Plus you will be going inside/outside and outside/inside so much that it's nice to have a faster lens to control noise. I'd also bring a flash if you have one, and a tripod for the fireworks. Fireworks are bright, so the 24-240 would be the chose for that.

For the trip out west, the 24-240 will be used more.

MF is familiar territory for Fuji and Pentax, they have a well established MF film history and are used to working on a scale compatible with the volumes the MF market commands. On the other hand, Canon is tuned for mass production of much higher volumes. MF scale markets are likely of no interest to Canon unless they could purchase an existing company and profitably operate it as a stand alone entity (like their consideration of buying Hasselblad a few years back). 40+ years ago when there were several MF manufacturers the demand for MF was greater than now. It was driven mostly by the limitations of film and 35 mm cameras and lenses. Any decent wedding shooter had to use MF to be able to deliver 8x10's with minimal visible grain. Product photography was all done using large format film. As film and lens designs improved 35mm began to show in the wedding/event arena and MF was able to cover some product work. Back then 1600 ASA film was about the fastest film generally available. Royal-X Pan would produce gravel sized grain in an 8x10 from a 35mm negative. As I look at some of my 40 year old MF work I'm convinced even my 20 mp m43 gear produces sharper, higher contrast, better DR and superior overall low light results on average. There are situations that demand MF for more resolution, better color depth and DR; but the vast majority of the market is easily satisfied by FF and often 1.5-2x crop sensors.

What are we, two days away from knowing more?

privatebydesign said:

I don’t care if the author of the OP’s article or anybody else feels they need two card slots and on site backup and a wireless transfer and a digital media manager etc etc, what really pisses me off is somebody telling me I am irresponsible, not professional, etc etc if I choose a different methodology.

it is irresponsible to suggest people with different work practices, even when they have an equally unblemished record of delivering professional results, are irresponsible for not doing things the way you think they should be done.

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Agreed!

i have always claimed that a pro uses the best tool for the job, but I have never claimed that the most expensive tool is the best tool. In the real world we have budget constraints, so that means the best AFFORDABLE tool for the job, and sometimes that means a waterproof P/S camera, and sometimes even a phone!

Dual card slots? Yes, I love them and if I have them on a camera, then I will use them.... but I have a lot more cameras with one slot than 2. My most used camera at work is an Oly because small and light is by far the biggest (smallest?) requirement.

yes, I have had a card die and lost a days shooting, but for me and my workflow it just meant redoing the shots on the next site visit. A bit annoying, but nothing like trying to explain to the bride why there are no wedding pictures! That’s the point here..... just because one person’s workflow works for them does not mean that a different person can’t have a different workflow.

AlanF said:

I believe in selling my gear when I have stopped using it in order to recycle and let others have the benefit. MPB and others actually pay fair prices because they have to receive, check, store and despatch, pay staff, rents and advertising and then have to deal with returns and defective equipment as well as gamble on being able to resell. I've sold and bought happily to and from them and on eBay. I just sold an expensive white lens on eBay as they were doing a £1 maximum fees promotion. I insisted on collection only as the buyer would need to test it. It has gone to a local birder who is over the moon with his purchase as he has dreamed of owning this lens for years. And I am really happy that it has gone directly to someone who will cherish as it compensates for the price hit. Who knows what is going to happen to prices. Times are changing rapidly and new gear is appearing too fast to keep up with.

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Same positive selling experience with MPB.
But, quite often, their used prices are as high as brand-new items outside GB.

Joules said:

The R and RP use special micro lenses to deal better with the small distance between the sensor and lens, right? It's the reason Canon calls the respective sensors 'new', despite clearly being the 5D IV and 6D II sensor underneath the filters/lenses.

I wonder if Canon could have some room to make further advancements in the micro lenses, to reduce vignetting? Especially with IBIS coming now, vignetting could actually become more noticeable. Do we have any idea if the beam splitting from the low pass filter also has an impact on vignetting, and if so, if a new low pass filter like the one from the 1DX III could help?

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I think the micro lenses are already their limit, I strongly suspect that that angle is why DPAF only covers 80% of the width and not 100%.

Quirkz said:

Not long. Seems to just be a few seconds, and not related to the viewfinder eco mode or power settings. Pressing a button or holding the viewfinder to your eye will activate it again quickly.

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Thank You again, those are good news, this is how I like to use it; manually with a button, it's a bit shame that evf turns on upon startup but at least it doesn't stay on.

Thank You
Pawel

Click said:

Nice series. Well done, sixdee.

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Thanks so much! All shot on the Canon 6D.

Thanks for checking on these things. There again I can’t see any need for me to shoot cRaw. But if the occasion comes up, I know it is a possibility.

These guys found just a slight loss in dynamic range: https://www.dpreview.com/articles/0483301097/quick-look-canons-new-compressed-raw-format

Grimbald said:

Wow, if the sensor comes with a DR of 14 Stops + and good low light capabilities it would be a true killer Camera, finally a worthy opponent for the sony a7 RIII and the D850!

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5DMkIV and D850 are NOT so different in DR at ISO 100 and upwards!
5D4 10.83 and D850 11.08 at ISO 100! Similar with EOS R.

Arseni said:

Well, the effect is fairly obvious. If the example is post #1 is not bad enough - here is what it looks like when there are sharp highlights out of focus.
Would you still consider that acceptable for a FF camera? Even at $999
View attachment 188591

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OK that's more obvious than your first example

cruso said:

I am Very disappointed again after waiting for over a year to find out with the price tag of £6500 on the 1dx3 in the uk taking out of the hands of a lot of people

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Me to Been waiting a long time for a new decent crop camera to come out and with the 7d3 being shelved then the news. of the 1dx3 I thought that I would move on to the full frame and waited for the release of the 1dx3 I was disappointed ? I think the pricing is very high and mostly Pro shooters that get Paid for their work will use it ? and cut a lot of the amateur hobbyist out of the game ?