Horses for courses, but the 800 f/11 is my only bird lens at present (yes it works in British winters, to all the naysayers who claim it's only for midday on the Equator!), and I'm using it with the 1.4x extender a lot. But I'm mostly shooting perched birds, like entoman, and my budget won't stretch to an RF L lens. The budget RF lenses have definitely opened up opportunities that were missing before.That might work for you, and I do use the 800/11 occasionally for bird photography, but no way would that be my go-to-lens for bird photography. It's pretty well useless for BIF apart from very slow moving distant birds as it focusses only in the middle of the sensor and so has a desperately low field of view in which to find and focus on the bird, and also it focusses a bit slow. It's also large for packing for travel, has a very long minimum focus distance and doesn't zoom to accommodate larger birds a bit beyond that 6m mfd. The RF 100-500mm is my go-to lens. It has blisteringly fast AF, very sharp, folds up small, focusses close, easier to find a small bird in its much wider fov, and put the 2xTC on it and it outresolves the 800mm/11. I also take my RF 100-400mm with me instead of it. The 800/11 for me is one of my niche lenses for occasional use. For our big birding trip next month in Eilat, I'm taking the R5 + RF 100-500mm, and my wife the R7 and RF 100-400mm.
I agree. If it’s going to cost $2000+, it should be a 1.2.I surely would prefer a 1.2. I want new exciting lenses, not repeats of EF predecessors (unless they are materially better like the 50 and 85 1.2)
Generally, I think that people viewing our images are far less critical than we are as photographers, not only regarding sharpness, noise and other technical matters, but also regarding aesthetics, lighting and composition. As photographers we constantly strive for improvement in all areas, and as a "perfectionist" myself, I know that I'll *never* be satisfied, no matter how good the photograph might possibly be.A question I've had for years is, does edge-to-edge sharpness matter as much to the viewers of landscape shots as to practitioners of that genre? I don't do much of that kind of thing myself, but my feeling is when the whole scene is the subject, sharpness matters less than, say, for a bird/insect/flower with a defocused background, where your eye is on one part of the image rather than ranging around or taking it all in at once.
Answering that is taking a dive into the rabbit hole to see how deep it goes ! Content matters above anything else, as long as the technical quality is good enough to not detract from that content. So of course this is variable depending upon what the content is.A question I've had for years is, does edge-to-edge sharpness matter as much to the viewers of landscape shots as to practitioners of that genre? I don't do much of that kind of thing myself, but my feeling is when the whole scene is the subject, sharpness matters less than, say, for a bird/insect/flower with a defocused background, where your eye is on one part of the image rather than ranging around or taking it all in at once.
Most hobbyists got by until relatively recently with an EF 100-400 or an EF 400/5.6. This can still be done with the RF 100-400mm, which is much cheaper than the EF glass. We are now spoiled for choice.Horses for courses, but the 800 f/11 is my only bird lens at present (yes it works in British winters, to all the naysayers who claim it's only for midday on the Equator!), and I'm using it with the 1.4x extender a lot. But I'm mostly shooting perched birds, like entoman, and my budget won't stretch to an RF L lens. The budget RF lenses have definitely opened up opportunities that were missing before.
Would his images stand up to the kind of technical scrutiny people subject modern lenses to? I bet 99.9%+ of people wouldn't even think to look in an extreme corner of a landscape image to see how sharp edges were compared to the centre. Not that such aspects are irrelevant but I do wonder about the rejection of so many optics on that basis. Even more so for astro landscapes - the practitioners of which seem to reject every lens for poor coma, but even though I can see it, I really don't think it matters (but then I'm mostly jealous because I've never even seen the Milky Way properly).Answering that is taking a dive into the rabbit hole to see how deep it goes ! Content matters above anything else, as long as the technical quality is good enough to not detract from that content. So of course this is variable depending upon what the content is.
But regarding landscape, I’d ask a question: would Ansel Adams’s photographs be as appreciated if they weren’t of such high technical quality ?
Firstly, there are decades of Canon DSLR lenses that need to be updated to the new mount so some or many of the popular ones of those have to be ”copied”. Secondly, there has been a series of novel telephoto lenses that are much, much cheaper than previous ones etc.
I'm intrigued... what is it about the R line that is not appealing to you?Exactly my thoughts too
No wonder it’s got IS, you’ll be needing it!!
The R line is not appealing to me tbh
The milky way is pretty impressive especially a full bow late in the year in the southern hemisphere close to the horizon after sunset. Coma control is preferred but not essential for wide angle astro landscapes. A single vertical shot @8mm (EF8-15mm/4) would be fine but it doesn't help if you are stitching multiple rows/shots as most milky way photos are.Would his images stand up to the kind of technical scrutiny people subject modern lenses to? I bet 99.9%+ of people wouldn't even think to look in an extreme corner of a landscape image to see how sharp edges were compared to the centre. Not that such aspects are irrelevant but I do wonder about the rejection of so many optics on that basis. Even more so for astro landscapes - the practitioners of which seem to reject every lens for poor coma, but even though I can see it, I really don't think it matters (but then I'm mostly jealous because I've never even seen the Milky Way properly).
Geez I really hope that’s not true. I’ve been salivating for the rumored 35 1.2 for years now. ImThe last rumor pertaining to the 35 L said it might not be 1.2 and might be 1.4.
Yes they do, but because they are shot on large format and so not enlarged to anything like what we are used to seeing now.Would his images stand up to the kind of technical scrutiny people subject modern lenses to? I bet 99.9%+ of people wouldn't even think to look in an extreme corner of a landscape image to see how sharp edges were compared to the centre. Not that such aspects are irrelevant but I do wonder about the rejection of so many optics on that basis. Even more so for astro landscapes - the practitioners of which seem to reject every lens for poor coma, but even though I can see it, I really don't think it matters (but then I'm mostly jealous because I've never even seen the Milky Way properly).
Evidently not for you. Hasn’t bothered me in the least.Not having access to 3rd party lens is sure working out for RF owners..argh.
By the way, my avatar of a Bee-eater in flight is taken with an 800 f/11 on an R7! The Bee-eater was perched on a wire more than 60m away and that combo is great for long distances - horses for courses. It suddenly flew off and I just caught it - sheer luck, but it could have been planned by waiting there with pre-burst mode.Horses for courses, but the 800 f/11 is my only bird lens at present (yes it works in British winters, to all the naysayers who claim it's only for midday on the Equator!), and I'm using it with the 1.4x extender a lot. But I'm mostly shooting perched birds, like entoman, and my budget won't stretch to an RF L lens. The budget RF lenses have definitely opened up opportunities that were missing before.
For ab $800 FF camera, a sack of potatoes means the kit price lands under $1000 as well. A slow 24-50 isn't useful enough.The 24-105 non-L adds $300 to the RP as a kit. The RF-S 18-45 adds $130 to the R10 as a kit. For an $800 FF camera, a slow 24-50 means the kit price lands under $1000. I'd say that's a bright light, not a shadow.
Canon must use a faster aperture. it must start from 3.5, not 4.5. RF 15-30 f4.5-6.3 is just a waste of money.One of the lenses that Canon will announce in the near future that hasn’t been on our roadmap is a Canon RF 24-50mm f/4.5-6.3 IS STM. I think it’s safe to assume that such a lens will be very small and very light. The price should also be on the lower end of the line-up
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Why ? People moving from crop sensors to FF often get a shock with not enough dof. Even then, most general purpose pictures are taken at around f/5.6 to 8. (With the exception of CR members where I admit most would shoot everything at f/1.2 if possible ). Mirrorless cameras don't need an f/2.8 aperture for optimum performance like a DSLR.Canon must use a faster aperture. it must start from 3.5, not 4.5. RF 15-30 f4.5-6.3 is just a waste of money.
Why ? People moving from crop sensors to FF often get a shock with not enough dof. Even then, most general purpose pictures are taken at around f/5.6 to 8. (With the exception of CR members where I admit most would shoot everything at f/1.2 if possible ). Mirrorless cameras don't need an f/2.8 aperture for optimum performance like a DSLR.
If the lens had been this small but designed completely to use FF sensor without digital manipulations and had a metal mount then I'd have had one as a hiking lens. Unfortunately for me though, if it follows the Nikon route and price this won't be the case.
Sounds like you need RAW conversion software with better noise reduction. I’d also recommend you look into hardware with better hyperbole reduction."Mirrorless cameras don't need an f/2.8 aperture for optimum performance" - They need for light tho if we don't want to use ISO 6 million indoors.