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I've returned from my Pentecost holiday, CR continued to spam my inbox.I'll wait a few days more, but if there's no reaction, I'll unscribe, too.
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That we can see, they might've overhauled the complete memory allocation framework or upgraded to a new version of dryOS. But I agree that from a user standpoint, the 2.x seems a bit overly dramatic for the changes delivered.Canon doesn't seem to follow conventional naming nomenclature for their firmware releases. R5's v2.0 didn't have much in it based on a full number increment.
I'd like IBIS as well, but not at the expense of making the camera a lot thicker.I would be delighted to upgrade my R8 to the next version. My only request is IBIS. Without IBIS, I have no reason to upgrade it...
It wouldn't seem prudent that survey cards/emails are used for features on one hand and input from very few "pros" on the other. Nor just input from internal marketing employees even if those people are located in different parts of the world.They send multiple choice form surveys to a lot of users. Questions like, "Pick two from the following list (of 8-10 or more features) that you consider the most important when selecting a camera." Or statements with a range of numbers with "0" being 'strongly disagree' and "5" being 'strongly agree'. (These days they're digital, but in the 1990s they used to be hard copy.) The results are aggregated and I get the distinct impression from listening to those who are more in a position to know than I am that those making decisions in Japan mostly just see the aggregate numbers.
I was told years ago by a very high ranking Canon Technical Advisor in the U.S. that Japan takes free form suggestions regarding the 1-Series seriously from only a few handfuls of pros that are closely affiliated with Canon. I've also been told by a PJ acquaintance who shoots a lot of major college sports within a certain radius of his location for the national media conglomerate who owns the local publication for which he works that a lot of top level pros in the sports world know who some of those shooters are, and will offer suggestions to them in hopes they will pass them on rather than contacting Canon directly and their suggestion never being seen by anyone with any authority to consider it.
We all have wish lists. Hopefully, we won't have to wait another year for an outcome.That's it. We'll see with which specs Canon will finally come up. For me personally, a 200-500mm f/5.6 L quality zoom (that does not extend while zooming) would be very attractive. I think I then would trade in my RW 200-800, because I'd prefer a more rugged L lens design that isn't prone to break into two pieces. In fact, I find myself that I nearly always take my big EF 600mm f/4.0 III with me even when a lighter gear would do it, because I do not want to end up with a broken lens during a photo trip. So, such a faster 200-500mm + TC's would be a better solution for photographers with a profile like mine, and I guess I am not the only one.
I've been using Color Oracle to view color scheme issues for many years, on web development, papers, and presentations. It's a simple tool to quickly check color perception by color deficient members of the audience. It helps simplify my presentations since I can switch on the fly during my accessibilty presentation. You should see the jaws drop.
Color Oracle | Color Oracle
colororacle.org
There are a new generation of tools that can analyze a web page for color contrast. I'll see if I can find a reference.
That's why I prefer to use the in-camera focus bracketing with my EF 100mm f/2.8 L IS USM lens because it has an efficient AF and IS. It's magnification does not match the MP-E 65, of course, but extension tubes can help if necessary. If it isn't windy and you can hold still enough, the R7's in-camera focus bracketing can deliver stunning results just the easy way. Best strategy is to reduce the number of stacking images and width of the bracketing depth to a minimum you really need - images that are completely sharp from front to back don't look very natural anyway. Here is an example, a nursery web spider (Pisaura mirabilis):Thanks for that explanation. I've never done focus stacking, and only played around with an MP-E 65 1X-5X a couple of times many years ago. As in "still shooting film" number of years ago.
I suppose it depends on who’s buying P&S cameras these days. I suspect it’s not mostly photographers.I am eagerly awaiting the photographer forward release. Enough video cameras....
“Canon’s first shift lens, the FD mount TS 35mm f/2.8 SSC appeared in 1973, and although updated in 1975, Canon has never got round to offering another 35mm tilt/shift since then”
I’d love it if someone made a 35mm TS.
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.
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For composition reasons I didn't. The mushroom would be too close to the bottom.but I'd probably crop out the foreground blur which I find a little intrusive.
So is this new one by @mimbu and the fact that he cannot produce any evidence to back up his claim is telling. But some people like to attach their tinfoil hats to their heads with cyanoacrylates.Those old conspiracy theories are, frankly, garbage.