Canon announces development of the EOS R5 full-frame mirrorless camera
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On my 5D I never use that iso button, too small and cumbersome to use /find without looking. I use the front main dial for shutter speed....the back control wheel for aperture... And iso is changed with the front main dial while pressing the set button with my thumb. I can change any of it blindly with the camera to my eye
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Me too... So much faster. I can't remember the last time I ever pressed that tiny iso button other than by accidentI've used the combination of 'hold down SET + top dial' to change ISO for so long, I literally forgot there was an ISO button on my camerasMuch easier IMHO!
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In my experience, when stage lighting is changing rapidly it often changes between metering and exposure. I have better luck setting a specific exposure and "sitting" on it (by holding the AF-ON button) with the camera pre-focused until the light comes back to where I've set exposure, especially if the lighting has a cyclical pattern. Another strategy I use is to set exposure for the "best light" (think multi-colored LED lighting going through patterns of different colors - when all three primary colors are lit at the same time you have the most light and the fullest spectrum you're going to get) and then shoot for peak action and play the percentages that some will be underexposed but the ones that are properly exposed will also have the best light to work with. YMMV.
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I shoot bands in dark venues. On my 5D 3 I am often dancing between 3 to 10 thousand iso. I try very hard to avoid going so super high as post processing is a bitch. With auto iso the camera would want to go to those super high iso's regularly. I can't give the camera that option.
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That works great at Live concerts most of the time when you’re shooting relatively stationary subjects. What I’m talking about is a flock of dancers moving and leaping through all those moving lights. You really cant wait for things. If you do, you missed the apex of the jump, the turn, etc... like this one. (And yes, they also have a 30 foot wide 4K LED panel behind the dancers with constant motion graphics. The AF processor on my camera drinks heavily after these shows
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You’ll enjoy something that doesn’t exist...Hmmm, when did you have have your last annual checkup with your family doctor?
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Catching them at the top of their leap helps
(Yeah, he had just stepped off the riser and wasn't moving that fast yet.) Notice the audience facing strobe is still at the tail of a very high energy discharge. If I had relied on any kind of metering for that one it would have been pretty much solid black.
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The magnification between the front of a lens and the physical diaphragm is the only reason an 18-55mm f/3.5-5.6 is not an 18-55mm f/3.5-11, a 70-300mm f/4-5.6 is not a 70-300mm f/4-17, or a 70-200mm f/2.8 is not a 70-200mm f/2.8-8.
The "effective aperture" is the entrance pupil as viewed by the subject (i.e. from the front of the lens). With narrow angle lenses (telephoto lenses), the front element must be at least as large as the entrance pupil because the light it is focusing is almost collimated. With wider angle lenses, the entrance pupil can actually be larger than the diameter of the front element when viewed from a point on the len's center axis, though that causes severe vignetting and "cat's eye" bokeh for objects in the periphery. To keep the entire entrance pupil visible from the entire field of view is why many wide angle lenses have those bulbous front elements that are much larger than the e.p.
When light is refracted by a converging lens, the field density increases in proportion to the magnification, just as the cross sectional area through which the light passes decreases in proportion to the magnification. With a simple thin lens, there is a point halfway between the lens and the point of focus where all light passing through the lens passes through a single point where the two cones of light meet at their tips. That's why the image projected on the film/sensor is inverted.
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I'm pretty sure that switching from using "Rate" button to pressing the shutter and switching from using "Delete" button to pressing the shutter takes about the same time on Canon ILCs.
And how would you use that "Rate" button if the images you want to rate are on another card?
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That's how you magnify the exit pupil.
In order to magnify the entrance pupil so that it's larger than the front lens diameter, you need to put the front element closer to the object. While it might have its use for dedicated macro lenses, it won't work in non-macro settings.
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Maybe the RF 70-200mm f/2.8 L IS? But I'm guessing something else as well, like an RF 300mm f/2.8 L IS.
The EF 300mm f/2.8 L was introduced in November 1987 only eight months after the introduction of the EOS system. It was one of the earliest EF lenses introduced. No "pro" EOS body was introduced until the EOS-1 in September 1989, almost two years later.
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I’m quite certain that you’re with the majority there. I treat an iMac playing a video as I would treat a 27-inch TV. At your working distance you may be able to distinguish between 1080p and 4K video. At normal viewing distances you probably cannot distinguish if you are not prejudiced to see the 4K as sharper by knowing in advance which resolution you are looking at.
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I feel like motion jpeg is unlikely just because I wonder if 8k mjpeg would require more data throughput than a card could receive. That's why I also wonder if it will use SD UHS II cards - I don't know what the max write speed is to them right now, but I wonder if 8k is going to outrun it's capacity and need a cfexpress just to handle 8k at all.
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Maybe not likely, but Canon seems to think it's possible at least!That would be wonderful to see.
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