Thanks all! The 7DII is on the selling block.

Mt Spokane Photography said:

applecider said:

Mt. Spokane just noticed your avatar or whatever it is called is a 5-1500mm f1.0L IS Lens pretty special I am jealous, and want one (lens not the avatar).

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There were only two made, I was lucky enough to find one at a estate sale for $25. The other one has never surfaced.

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Ah the Honjo Masamune of avatars.

The Leica has surfaced
http://calgaryherald.com/news/local-news/calgary-police-recover-rare-leica-stolen-in-camera-store-break-in/wcm/69fd9f0a-d94a-4d4f-95ee-4b34e787a273

Thanks for the replies, I won't expect anything to fill in the gap then

I had ordered mine on B&H on the 17th of December. While they mention "In Stock" and "Free expedited shipping", I'm yet to receive it. This is frustrating. I'm most likely to cancel my order if I don't receive it by the end of December (since I'm moving out of the country). I was dreaming of owning this. Just hope B&H doesn't disappoint. Two calls to their customer-care have yielded the same results - "We apologize, don't worry, our status says we will be shipping it with 1-day saver...but we cannot guarantee anything". I had NEVER experienced anything of this kind with B&H. Interestingly the other two T-SE lenses are not in stock. Looks like even with this one, they just pre-empted their stock status. In all probability they still don't have it in stock. Sigh!

Indeed, for the 6D2 according to the manual auto ISO with flash in modes P/Tv/Av/M will be ISO 100–ISO 1600. For the 5D4 it will be ISO 400 (with some exceptions).

Don Haines said:

Then there as my war against the starlings who were making nests in the search and rescue satellite dishes.... In my infinite wisdom, I got some plastic owls and mounted them on the dish.... soon after I found that the birds had made a small hole in the plastic owls and were nesting inside!

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;D ;D ;D Funny story.

Talys said:

Another bonus is that the 100L has IS and has gotten really cheap on sale recently. Or, if you want to save some money, get the non-L 100 macro, which is a wonderful lens, though personally, I don't think it's worth it anymore as the price difference is no longer a whole lot.

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+1. The affordability of very high quality '2nd tier' / older pro lenses in the EF lineup is such a huge asset for me as an enthusiast.

There are three big buckets of better-than-entry-level high quality EF lenses that won't put you in the poorhouse:

• Ancient L lenses that continue to slug away: 17-40L, 70-200 f/4L, 135L, 200L (i.e. f/2.8L II), 400 f/5.6L
  
• Recent-ish L lenses that are stellar values: 16-35 f/4L IS, 24-70 f/4L IS, 100L IS Macro, 70-200 f/4L IS
  
• Recent-ish non-L lenses that do not remotely suck: 24/28/35 IS (all three are 'sleeper tiny L lenses without gaskets' to me)
  

And I'm sure I've missed some, but this is the gold part of the lens performance/price curve I most eagerly look towards for future pickups.

- A

bf said:

I don't like the output I see looking at the samples in this review. Unlike Eos M line, I think this has a compact feel.
I wonder how Fuji x100 is out of the comparison tables since that's another fixed lens option with APSC sensor. Also Ricoh GR II. These two have fixed prime lenses and I personally prefer them to G1X.

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Of course it's a comparition of apples and oranges, this was the intention. The point was, that despite they are apples and oranges the difference in IQ and lowlight performance will differ less than expected when one sees the size of the cameras.

The second conclusion is, that from some point on a better performance is a question of lens (> and system) size.

MrFotoFool said:

Somehow I missed your earlier post that clarifies you are going to Grand Canyon. Mule deer and elk are so prolific there that it would be nearly impossible NOT to see them. I mean they are by the lodges and in the parking lots and all over. One time I few years ago I even saw javelina (collared peccaries) which used to be found only in southern Arizona but are expanding their native range northwards. Here is a young mule deer at Grand Canyon that I shot three weeks ago, part of a herd of eight or so that I followed at very close range at dawn.

Also if you are heading south after Grand Canyon, the grasslands around Prescott Valley and Chino Valley are very reliable for pronghorn antelope.

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Very nice shots!

Very cool!

I see a lot of gear like that at Lake Tahoe and in Incline Village. I will keep an eye peeled. BTW, not to offend, but in Nevada, most people, if they saw it going down, would shoot the burglars in the legs and hold them for the local police, who would express their appreciation. I bet the burglars were armed, even in Canada. Here, we hear, "If you see something, say something." I prefer, "If you see something, DO something." This would be true in most of Nevada, except Las Vegas, which is inhabited by many, many out-of-staters just here to make a few dollars.

I raise cattle. And I shoot the coyotes that inevitably try to get to the calves. They do it in a very interesting way too, they eat only the tongues of the calves. Which then die an agonizing death by starvation or predation from some other thing looking for an easy meal.

Just my two bits...

Duct_Taper said:

I suspect a big part of the reason for it being discontinued was/is the proliferation in the number of focus points... the difficulty of accurately determining eye gaze location increases dramatically as the required precision of that location increases. Even going from 3 or 5 points to 9 represents enough of a measurement resolution increase that the required accuracy may have been too problematic to obtain.

That said, it seems like it could possibly be offered in combination with some of the area AF modes where the number of areas to select from is smaller (i.e., 3 to 5) ?

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The EOS 3 managed moderately well it with 45 AF points - that's good enough for me!

With nearly 2 decades of advancements - what could "Eye Control" focus do now?

So much of Canon gear on worst of 2017 and Adobe as well with subscription model.
https://www.youtube.com/watch?v=jJ-LZIc99Mg

I would like to respond to the OP's "In my opinion, the real skills behind photography, patience, searching and exploring for the best composition in any condition with capturing a stunning scene just like it is, with any kind of gear...", with a special focus on "just like it is". The human eye has a higher DR than any 35mm sensor we've been yet able to design. So to me, "just like it is" means "the way it actually looks", not what the sensor is able to produce. My favourite shooting is in low light, especially dusk or dawn when the sun is still below the horizon. Higher DR means lower sensor noise in post. Yes, I can reduce the graininess in post but I also hate to lose resolution. I will take all the DR I can get in a full frame or crop frame camera. We still have a ways to go before it equals the DR of the human eye.

Idea: buy kurvd, cut ends. Rubber shell for lens use all time.

Don Haines said:

KeithBreazeal said:

But it will have awesome donut bokeh!

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mmmmmmmmmm...... donuts.......

This could be an interesting lens, particularly for food photography!

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This might gain them a niche in the police surveillance market as well...

Hi Glen!

Great pictures, great series.

The eye ot that Grebe is really fascinating.

Cheers,
Maximilian

mkabi said:

Mikehit said:

Besisika said:

1080P output from a 4K is the pro standard today. 1080P from a 5D III is a quality of yesteryear.

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Pure BS.
Most real pros shoot 1080p quite happily, use manual focus and produce top quality video for documentaries and films. Most people demanding after 4k DSLR/mirrorless are youtube vlogging wannabes.

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I have to agree with Mike on this one.
Well, I wouldn't have said in that manner... but think about it.
If you are a pro... you have work... and if you have enough work, why would you pile more work on top of that work? Recording straight to 1080p and delivering that is faster and easier...
I have friends who do wedding videos for a living (thats his full time gig), he is averaging 30 odd weddings per year... 8 hours X 2 cameras and 1 of them is from a DSLR. You do the math... I think he has 2 kids and a wife on top of that... I help him out here and there... but if you want spend hours upon hours editing (splicing seconds to minutes of video, color correcting, adding effects, authoring and then publishing). Adding an extra hour or 2 because you have to work with 4K doesn't make sense to me? Does that make sense to you? Because the average consumer can't tell the difference between 1080p straight from the camera and 1080p coming from 4K.

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It's all getting a bit generalistic with the responses here. I'm a filmmaker producing content for TV and there are a number of strict standards and formats you have to adhere to. DSLR/mirrorless, 4K or not, aren't yet really recommended video cameras for that level of work.

Dslrs are great for plenty of non-broadcast quality productions such as the mentioned wedding video market where output standards are not strict. In order to confidently include 4K video in any business, assuming most people will be viewing it at 4K, you will need bigger memory cards as the file sizes are significantly bigger, a lot more hard disk space to store the files and for a few backups plus a pretty powerful PC able to cope with the larger files. It's simply out of the budget for a lot of smaller businesses. Also lens choices become a lot more critical as 4K can really show up a lens' shortcomings, especially cost effective photography lenses adapted for filming.

I've only really seen proper 4K production setups involving cine cameras, not dslrs. The majority of people who would choose a dslr over a cine camera probably don't have the sort of budget to cater for that level of professionalism and are very likely not to have a critical need for it anyway.

They are much much more than acceptable XL+

https://www.dpreview.com/reviews/canon-powershot-g1-x-mark-iii-review

brad-man said:

Then it will have a new mount and a frustratingly limited selection of slow zooms with their native mirrorless mount lens offerings, but a houseload of awesome professional lenses will work from day one.

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Fixed that for you.

Unlike with EOS M, which lacks high quality EF-S glass to adapt, any Canon mirrorless FF offering will have world class glass from day one.

Unless you want world class and native mount from day one, which (a) isn't happening and (b) won't be that small -- only a handful of lenses will lead to smaller aggregate footprint (think pancakes, 35 f/2, 50 1.8, etc.) will you actually save much aggregate space for that sexy thin mount -- if we even get that thin mount.

- A

aceflibble said:

"Everything that makes up and is used by the processor matters... but the processor doesn't matter."

... You two realise how you're contradicting yourselves there, right? Or did you skip the earlier part of the thread? We've already gone over how everything other than the sensor itself is encapsulated by the processor now (and this has been the way for over a decade now).

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I think I've been trolled!! Either that or these people are lumping way too much stuff into their definition of a processor. Apparently including some "magic"!

Uncle, I'm tapping out!