Patlezinc said:
I was believing what CR wrote here , finally no new 70-200 this year, and now another contradicting news.
The problem is I just bought the 70-200 f4 IS yesterday... I was ready to take the v2...
Not happy reader here...
I don't think you should be worried too much, if you know how to use a camera and lenses, the 70-200 f4 IS should give you full satisfaction. I use it most of the time instead of the f2.8 IS II that I find too cumbersome and it never disappointed me. On my 5DSr it is as sharp if not sharper than the 2.8, and none of my clients ever complained.
It's only negative would be the slightly noisy IS.
I was in the same situation when I finally bought the 45 TS-E a few month before the 50mm TS-E was announced. I was a bit pissed in the first place, and the 50 is much better optically than the 45... But, the 45 cost me 750 Euro used like new when the 50 is more than 3 times that, and finally I prefer the 45mm focal for my use, the terrible chroma can mostly be dealt with in post and its a much smaller lens, once again sharpness is a non issue.
I am not so sure I will replace my 45 and 90 TS-E with the newest models. I am not a fan of Ken Rockwell (sorry if I bring his name here
), but he is right about one thing at least, sharpness is only a concern for amateurs. Every modern lens is sharp enough, the real optical problems are elsewhere (chroma, coma, distortion, field flatness) and ergonomics are more important in real use (filter size, size and weight, MFD). I work with Canon, but my personal photography is made with a 4x5 view camera that uses lenses designed mostly in the 1970's and that never stop to amaze me. I use as well Zeiss , Leica and Olympus lenses adapted on my old 5D2, and image quality is not a problem.
One of the problem with the most recent super sharp lenses is they are quite clinical. It's OK for some uses (architecture, macro, landscape, studio) and a lot of professional applications, but they have zero character. IMO, the imperfection of some lenses make them desirable for a lot of other uses, in the creative sense.
I am thinking about buying the 50mm1.2L not because it's super sharp, but because everything else (bokeh and softness) that give the special look. I am not interested in the least in a Zeiss Otus or Sigma Art, my 50 macro f2.5 does the job perfectly if I want a zero distortion, flat field super sharp picture, it cost me 250€ and weighs 280 gramms.
I am sure you will be fully satisfied with your 70-200mm f4 IS, plus you don't know yet how much the new one will cost. Even if you use a 5DSr on a tripod all the time (which is what I do), I am not sure the slight supposed optical improvement would matter that much. On the ergonomic side, to be honest, we are already close to perfection. If only Canon would have been less greedy and include the tripod collar, the world would be perfect...