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rombe3jr · Jun 26, 2025

Canon lenses are so expensive to start with. This is going to really hurt.

EOS 4 Life · Jun 26, 2025

Sporgon said:
I just wondered if the a7Siii was an example of a camera that had too few megapixels ;-)

Sony cameras are always perfect.
Canon cameras are always crippled.

EOS 4 Life · Jun 26, 2025

Michael Clark said:
The 1-Series is not aimed at a plurality of pros nor is it aimed at a plurality of amateurs, or even a plurality of all Canon buyers. It's aimed a plurality of shooters, whether pro, semi-pro, or amateur who need/want speed and AF accuracy over all else in a body rugged enough to use to club someone to death and then use to take their photo after and aren't deterred by the high cost to get that.

Canon surveys pros when they take suggestions for the 1 series.
For the rest of the line, they take suggestions from any Canon users.

Amingo · Jun 26, 2025

Guess you guys now know how it feels to buy Canon Gear in Europe. Sorry, not sorry.

neuroanatomist · Jun 26, 2025

mimbu said:
It happened with every single new Canon camera.

Oh. First time I’ve heard that. But you clearly know what you know.

mimbu said:
B&H lists those lenses at $699, $429, and $599 for a total of $1727.

Are you unaware of the tariff-induced price increases that just Canon just put into effect?

mimbu said:
Defend Canon if it makes you feel better but personally I will never buy back into a closed system, or even a controlled system where only certain lenses are permitted. Far too restrictive.

Then it’s a good thing you have other options. Clearly, your viewpoint is not that of the majority of camera buyers since Canon continues to dominate the market that they’ve successfully led for over 20 years.

OldDudePhotog · Jun 26, 2025

David - Sydney said:
serious question... how do you review such a high number of stills?
I assume that you are doing a lot of bursts but what would be the number of keepers/images shared after such a day of shooting?

I do shoot bursts, I use Lightroom to sort, and keep many of them (1/2 -2/3). I sort them by event. Usually takes about an hour to sort that many.

mimbu · Jun 26, 2025

neuroanatomist said:
I suspect that most people considering an ‘entry point into FF mirrorless’ would not be looking at jumping in with an f/2.8 trinity. Take your FE system and put together a set of variable aperture FF zooms covering 15mm to 400mm. Can you beat the $1450 for the RF 15-30, 24-105 and 100-400?

B&H lists those lenses at $699, $429, and $599 for a total of $1727. I'd personally have a very hard time recommending anyone buy a set of lenses that slow, but I guess that's the Canon way.

The Tamron 50-400mm f/4.5-6.3 Di III VC VXD is $1099 at B&H as I write this and the Tamron 17-50mm f/4 Di III VXD is $549. That comes to $1648 and the optical performance will far exceed that Canon trinity while being a 2-lens set instead of 3. Both have magnetic linear drive motors too, lightning fast AF all the way from 17mm to 400mm. And much faster apertures throughout most of that range. Yes, the Tamrons are on sale but I suspect the Canons were on sale when you found the $1450 price.

(Here in Japan the Tamron pair is only $1300 and the Canon trio is $1410. Regular prices. Amazing how much cheaper things can be when manufacturer price controls aren't in place.)

Daniel Lindblom · Jun 26, 2025

Pour souls! In the meantime, we in Europe have paid premium prices for decades.

For example, the EOS R1 is 91.290 SEK in Sweden which equals 9500 USD!!! And without VAT (25%) the price is still 73.032 SEK which is around 7700 USD.

mimbu · Jun 26, 2025

You might want to look up the definition of the word evidence. It clearly eludes you. You have claimed, twice, that Canon intentionally broke compatibility with 3rd party lenses. Prove it.

It happened with every single new Canon camera. I get that you love Canon and you don't want to think this about them, but Canon hates 3rd party glass and always has. If you don't care at all about 3rd party glass then this is a non-issue, but many people do want a wider lens selection. Personally I picked up a Tamron 28-200/2.8-5.6 recently for an absolute bargain, it's a brilliant general purpose travel lens, and it was well under $500 for me. Of course people want options like that.

You might consider that Canon has broken compatibility with their own lenses on many occasions, too. Lenses that they still supported and presumably would have been easily able to test with new firmware releases. Was that intentional, too?

Nah, that's incompetence.

Defend Canon if it makes you feel better but personally I will never buy back into a closed system, or even a controlled system where only certain lenses are permitted. Far too restrictive. There's never been more incredible 3rd party glass around and I love to experiment with it. Picked up an AF 75/2 a while back for $170. Incredible performance, far beyond the price. So much stuff out there like that.

mimbu · Jun 26, 2025

neuroanatomist said:
Perhaps you didn't notice that the Sony and Canon 100-500 lenses in that comparison are essentially the same size and weight? Canon's 200-800 is only 1/3 stop slower and covers the 200-400mm (4x vs 2x zoom range), but the brand new Sony lens is 3 cm longer and 20% (425 g) heavier. Kinda the opposite of your point, so yeah, thanks for the chuckle. Canon's new 70-200/2.8 Z is pretty much the same size as Sony's 70-200/2.8, but Canon also offers a version that's the same weight but the Sony lens is 30% (55 mm) longer, so it seems Canon cared about making a compact 70-200/2.8 but Sony did not. Canon has a 10-20mm f/4 and Sony...doesn't have anything that wide. But Canon's lens is the same weight and size as Sony's 12-24mm f/4, so...ok.

We could cherry pick examples all day, but the bottom line is that both manufacturers offer compact/light options and also sometimes prioritize other features, and what's really laughable here is your support of @t.linn's inane assertion that Canon doesn't care about making small/compact lenses and bodies.

You and I both know that Canon's 200-800 is a very weak lens, and that it does not resolve any additional detail beyond about 640mm. The Sony lens has drawbacks of size & weight but it runs circles around the Canon lens when it comes to optical performance. And to focusing speed, for that matter. All things being equal, smaller and lighter is great. But not when it comes with such a massive hit to image quality. Canon should have just made it a 200-600.

mimbu · Jun 26, 2025

P-visie said:
These are just anecdotes, not evidence. The need to upgrade the chips in the lenses may just as well, or rather far more likely, been caused by incomplete or faulty re-engineering of the EF communication protocols by the third party lens manufacturers.
Sony opened the E-mount because they needed third party lenses.

Oh yeah, it was just total coincidence that every new Canon camera broke compatibility.

Next you'll tell me that Microsoft didn't intentionally break compatibility of Lotus 1-2-3 to push Excel.

Would you by chance be interested in purchasing a bridge?

mimbu · Jun 26, 2025

koenkooi said:
Has Sigma actually announced the 12/1.4? I can only find it here and SAR...

Not yet. There are leaked images but Sigma postponed the release for unknown reasons.

koenkooi · Jun 26, 2025

TTran said:
As a Powershot V1 owner, Canon please make a multifunction hotshoe small flash. It does not make sense to buy an adapter just to use hotshoe flash.

As an R50V owner: yes!

TTran said:
Should’ve just built one in the camera.

We'll have to disagree on that

koenkooi · Jun 26, 2025

Michael Clark said:
The software I use to import from camera to computer automatically creates folders for each calendar day based on the EXIF 'original date created' tags. [...]

Renaming on import has been a huge quality of life upgrade for me! I'm purely a hobbyist, so the only restrictions are time and motivation

Like your system, I like to keep everything sortable by date:

20240808 1715 IMG_1456 Canon EOS R7 - Canon MP-E 65mm f2.8 1-5x Macro Photo at 2.0x - Electronic First Curtain Shutter - RAW - IMG_1456.CR3
20250412 1107 IMG_4986 Canon EOS R5m2 - Canon RF 100-500mm F4.5-7.1L IS USM at 238 mm - 11.71 m - Electronic Shutter - CRAW - IMG_4986.CR3
20250625 2012 IMG_8446 Canon EOS R5m2 - Canon RF 100mm F2.8L MACRO IS USM - 0.25 m - Electronic Shutter - CRAW - IMG_8446.CR3

With a few extras: zoom lenses get their focal length added, for the MP-E the magnifcation gets added and when available, the focus distance as well. The original image name is in there twice, the first entry is to keep it chronologically sorted, the second one to make it easier to ID when the file browser shortens the filename.
This works very well for my macro+family niche of photography

koenkooi · Jun 26, 2025

Michael Clark said:
How do you do focus stacking with the MP-E 65? It only has a single specific focus distance at any specific magnification level. If you move the lens+camera on a macro rail, doesn't the size of the subject change?

The slice that is in focus will always have the same magnification, so there will be some distortion when stacking. In Helicon Focus that will show as a really weird border around the resulting image. There is some tolerance for that, both Helicon and Zerene can do adjustments to align the pictures, I don't know if they will do single digit percentage resizes or not.
A similar issue exists when keeping the distance the same and changing focus (on a non-fixed focus lens!), all macro lenses that I have used will show heavy focus breathing around MFD, so that may result in an even bigger perspective change than the focus rail.

My focus rail arrived last week, still getting up to speed on 'best practices'. An M6II+MP-E+MR14 is very hit and miss currently, I think I need to practice on a less complex subject. The damselfly exuvia have a lot of overlapping sections that are hard to stack.

This was done handheld using the built-in focus bracketing on the R5II+RF100+EL5, you can see the 'halos' around the legs with the concrete background and around the white cords. I think this is an area where generative 'AI' could be a big help: generating the missing parts and/or removing the bokeh 'haze'. Or learn how to use Photoshop masking and blending

Schermafbeelding 2025-06-26 om 09.57.17.png

Michael Clark · Jun 26, 2025

neuroanatomist said:
Indeed…one lens, no extension tubes, etc. They’ve added ‘half-macro’ capability to several non-L primes, but personally I don’t count that. Fortunately, my adapted MP-E 65 continues to work well.

How do you do focus stacking with the MP-E 65? It only has a single specific focus distance at any specific magnification level. If you move the lens+camera on a macro rail, doesn't the size of the subject change?

Michael Clark · Jun 26, 2025

Toamelicious said:
Without this I'll switch to sony

Michael Clark · Jun 26, 2025

David - Sydney said:
Having some feedback would be good eg the haptic patent from some time ago.
I’m not a studio portrait photographer but wouldn’t the shutter noise help models with poses?

Flashes popping do the same thing. Of course, more and more of the newest breed of portraitists are going to constant LED lighting, so...

Michael Clark · Jun 26, 2025

David - Sydney said:
The a7siii is used by astro photographers for it's low light performance.
Shooting panos will remove some of the low mp issues but in reality, very few people are printing large these days.
I am not sure if Sony will release an updated version as it is getting old (by Sony product life cycle) at 5 years.

If printing using inkjet or dye sublimation, astro work really uses the ink/pigment like nothing else.

Michael Clark · Jun 25, 2025

dcm said:
(edit: a few additions and clarifications)

The A1 has +/-2 stops of exposure compensation which is why most people would change the film speed. That was enough to address most situations I encountered after I learned to read the scene and decide if I needed to address backlighting or shadows when using automatic exposure. The compensation was on the external film speed dial but I could change it while looking through the lens to monitor the exposure meter, albiet a bit awkward.

Since there was no exposure simulation (unless you wanted to do stopped down metering), this was something you did from experience, just as we did with aperture and shutter speed using rules like Sunny 16, Looney 11, and other photography rules when shooting manual (which was my normal mode as I gained experience). Rather than exposure compensation, I might just change the aperture or shutter depending on what I was trying to prioritize. My Nikon School Handbook was a useful reference and always in my bag. Still is on some occassions. (I went through Nilkon School with my A1)

I wasn't into push processing and did not develop my own film, so I chose to set film speed correctly when I loaded the film and didn't change it. I chose film for the conditions before I started a shoot and carried some film alternatives so I could switch between ASA/ISO, film/slide, or color/mono if I wanted. The latter two occurred more often - there was no camera setting for that with film cameras.

When I went out to shoot, I was usually going through a couple of rolls and I would finish them off so I could start the next shoot with fresh film. I never took just one image, it was usually 3 to 5 at a time so I went through film pretty quick. The cost of the some unexposed film didn't bother me if I had to switch. I digitized several hundred rolls of film/slides quite a while ago.

My workflow adapted to digital quite nicely and now I have all of the flexibility in camera or post processing. Today, I'm always in Fv mode, setting aperture, shutter, and ISO manually. It is wonderful to have exposure simulation.

My granddaughter was in a recent middle school play. I went the first night to dial in the settings and lenses that I used the second night - R6/R8, RF85 f/2, RF 28-70 f/2.8. I also identified the key things that I wanted to shoot and where would be best to shoot from in the audience based on the lighting and lines of sight (they tended to face towards the left, I was right of center the first night). All I had to do was shoot, very little post processing because the exposure and white balance was consistent across all photos. I didn't have to adjust each photo individually. Autoexposure can be your enemy in these types of situations. I published the best 150 of 1800 images taken for my granddaughter to share with the cast, crew, and director. Parents were amazed by the difference between my photos and their cell phone pics.

R8, RF 85 f/2, 1/250sec, ISO 2500, DxO PL8 - +30 shadows/midtones, -30 highlights, vignetting, sharpness and NR.
View attachment 224571

I used the ASA dial for meter calibration compensation on some of my film cameras (because that's what 'exposure compensation' really is with a film camera) if I was pushing the entire roll of film, but generally just adjusted Tv or Av so the meter was showing +1 or -1/2 or whatever for specific lighting situations like back lighting. One reason I didn't like to move the ASA dial to do meter calibration compensation is I would forget to change it back after shooting with the needed compensation, then turning to shoot at a different angle from the sun or other light. But then I typically shot manual exposure in tricky lighting situations. Still do.

I've done a lot of theatrical and concert work under theatrical lighting. Sometimes in fairly steady lighting, sometimes in constantly changing lighting. It all depends on the lighting designer of the show or concert. These days I tend to shoot theatrical productions at dress rehearsals, so I have complete freedom of movement, both in audience areas and off stage to either side. Concerts are live.

David - Sydney · Jun 25, 2025

JeanRobson said:
Having upgraded software in march I took my R5 mkii to the arctic, at temperatures of minus 18 to minus 28 it just shut down ( lasted about 5 images) changing battery for warm ones made no difference, someone else there had similar but less severe, nikon on Sony users were find. I have contacted canon (uk) having had unhelpful responses from first person I asked for a senior person- again he was uninterested and just went back to it’s only designed for use above zero. I have seen on other forums that this is not an isolated issue, but also seems to happen to some and not others.

I was using my R5 in Norway/Sweden 18 months ago in -15C to -18C temps (no wind chill) and no issues... mostly on tripod ie not handheld.
I have heard of many people having no issues with the R5 in cold weather. Hopefully it isn't a design issue with the R5ii.

For night work, I use dew heaters for astro work to reduce condensation on lenses. The same principle could be used in your scenario assuming you are carrying a large powerbank inside your jacket. Just a thought.

Frodo · Jun 25, 2025

A further update. The lens cap from Bioluminous arrived yesterday. I bought it over the Zemlin version as it was more conservative in styling and it was USD15 cheaper (with exchange rates and shipping to New Zealand this adds up to a total cost of NZD 165), with both made in the US.
Quality is excellent and it fits tight. A much better option than the LensCoat "hoodie" I bought previously and way better than the OEM cover.
Note that the colour is black, not grey as in many online images.
Highly recommended - I just don't understand why Canon (and other major manufacturers) don't provide these instead of the clumsy velco / fabric covers.

David - Sydney · Jun 25, 2025

OldDudePhotog said:
Yes, I routinely shoot 14k+ images at an all-day track and field event and have shot more than 10k at an all-day motorsports event.

serious question... how do you review such a high number of stills?
I assume that you are doing a lot of bursts but what would be the number of keepers/images shared after such a day of shooting?

David - Sydney · Jun 25, 2025

Sporgon said:
I just wondered if the a7Siii was an example of a camera that had too few megapixels ;-)

Although MP size and low light performance are not correlated anymore, the a7Siii has very good low light performance. Useful for astro work or maybe night/stage events where that is the primary issue.

David - Sydney · Jun 25, 2025

EOS 4 Life said:
Not very many people use the a7S III for photography.
12 MP is perfect for 4K video.
Now that the FX3 is out, not very many people buy one at all.
It is not that 12 MP is unusable, but no one wants to pay that much for it.
Older cameras with 12 MP or less sell very well, just for a lot less money.

The a7siii is used by astro photographers for it's low light performance.
Shooting panos will remove some of the low mp issues but in reality, very few people are printing large these days.
I am not sure if Sony will release an updated version as it is getting old (by Sony product life cycle) at 5 years.

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