New Canon EOS R6 Mark III Specifications Revealed

[bn5fg]

I am a Sony fanboy because i gave Sony as an example? You absolute moron! Why you think for landscapes or portraits the sensor readout speed matters at all? With mechanical shutter it doesn't matter at all.

Only Siths and Sonyboyz deal in absolutes.

The R6 line is a hybrid camera, not a dedicated stills camera.

 

[SvO2]

IMO, Canon developed Fv mode (first seen on the EOS R) specifically to facilitate effectively controlling the exposure triangle with two dials. I waited a long time to try it out, once I did I was hooked. My R1 C# modes are all based on Fv, and it’s where the mode dial on my R8 stays. I wish Canon had included it on the PowerShot V1.

It's too bad Canon doesn't allow Fv mode to set the shutter speed faster than 1/8000 while Tv and M can.

 

[blackcoffee17]

Why post the same 10+ days old article on Facebook today? Looks like a new article and when you click you realise it\'s a 2 week old one.

 

[rombe3jr]

Stacked sensor?! This will eat Sony\'s lunch!

 

[Michael Clark]

Funnily enough, I sprung for the R5 (Mk I) over the R6 because I had the same thought. Only to be surprised as well. But to be honest the top LCD also isn't the greatest implementation. Contrast is low and I find the text to be rather dark and small, probably because the screen is a grid of pixels unlike the older ones. Inverting it helps, but only works temporarily and resets (why!). Also it times out a bit too quickly.

And as you say the power button on the right is great. The one thing that still annoys me about my R5 (Mk I) is the power button on the left. I remember people telling me "it's no big deal" and "Canon has the best ergonomics", but my old Nikon had the power button on the right and it really is the better place to put it. Seemingly Canon now thinks so too.

That's an example for a feature many asked for (also in the Olympus camp), but die hard fan boys always argued away as unnecessary comfort feature.

To take me as an anecdotal example: Comfort is the reason I went for Canon even though I think Sony and Nikon have a much better lower-mid budget lens selection, because I prefer the R6II controls and feel in the hand drastically over Sonikon bodies.


So clearly comfort features can be very relevant to users. Hence, I'm happy that I got into Canon when they finally also made the switch to a power switch on the right-hand side.

I rarely turn my cameras off, even during a long day of shooting. They're set to go into standby after a couple of minutes. Half-pressing the shutter button or pressing the AF-ON button wakes them up as I'm bringing the camera to my eye.

What advantage do you find in constantly cycling the power switch?

 

[Michael Clark]

Also, the fact that this switch is used as a lock (ISO, for me), makes it more valuable for me. A great ergonomics innovation, isn't this what also differentiates Canon from most competitors- are you listening, Sony?

OK, that makes a little more sense.

I'm used to the lock feature being a slider underneath the rear dial. But even then, I tend to leave the lock "on" much of the time and when I want to change Tv or Av, I have the DoF button reprogrammed to "unlock while button pressed", so I press the DoF button on the front of the camera with my right hand ring finger and move the top dial with my index finger or the rear dial with my thumb while holding the DoF button with my ring finger.

 

[Michael Clark]

I have no idea about the first part of your post and it might as well be that manufacturing costs are very similar for the mentioned sensors, but that last statement has to be satirical.

If we were to believe that then certainly a Pentium 4 HT has to be basically physically the same as a Ryzen R9 9950X3D or to use less of an exaggeration a Ryzen R5 9600 is physically the same as the aforementioned Ryzen.

Just be clear I'm not arguing that we aren't paying inflated prices, but the argument made should be sound.

CPUs are different. Often the entire high end CPU is printed on a chip. The ones with defects are "de-rated" to the number of cores that do not have defects.

Camera sensors, on the other hand, are "pass" or "fail", based on the total number of defects on each chip cut from the wafer. Defects below the threshold are simply mapped out in the processing pipeline after the sensor is installed in the camera body.

 

[Michael Clark]

Yep, all of that was available looking at the top of my Canon A1 back in those days. I still preferred to see them through the viewfinder where they showed up in an LED line under the image through the lens. I could operate all of the buttons and slides to change shutter, aperature, ISO, mode (A, Av, Tv, M), etc. without taking my eye from the viewfinder. The D and R series afford me the same ability - my eye never leaves the viewfinder. I have a 1DXii with the top LCD, but seldom used it. So I guess I never really missed the top view.

How did you change the speed of the film without taking your eye from the viewfinder?

 

[dcm]

How did you change the speed of the film without taking your eye from the viewfinder?

(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.

 

[Michael Clark]

(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.

 

[dcm]

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.


View attachment 224829


View attachment 224827


View attachment 224825View attachment 224826

I goofed the exposure compensation a few times over the years, but not more than any of the other goofs I managed in the film days.

I do like exposure simulation in digital cameras along with the ability to view the settings and histogram through the view finder. It helps alert you to problems early.