I agree there is a gap for the mid-budget shooter. The R is getting long in tooth and I crave a under $2500 full frame with around 30 MP. For lenses the RF24-105L, the RF100-500L, add a 1.4x, and the 100 macro make a nice combo. But for primes we still have to go to the legacy EF glass, which is excellent and the adapter works flawlessly, but I'd rather buy native glass. Now with ibis, the ef400 5.6 is an amazing lens for the price, but a monster to carry around.
Canon r7 & r10 1st video’s and specs
- Thread starter Bennvdm
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John Navitsky
Well-known member
isn't that basically the r6?
Yeah except the r6 is 20 mp.
RikWriter
Well-known member
The R6 is also only 12 fps with mechanical shutter, 20 with electronic.
I'd be fine with that, if it had a few more pixels.
For birds I think 800mm is the right long length lens and the R7 is an 800mm equivalent @ 32MP. My professional friend who shoots a R5/100-500 always has a T/C mounted.
Tom
Tom
That would be the Sony A7iv at 33mpx and about 2500 dollars.
RikWriter
Well-known member
I have the Sony A1 and A7RIV and I almost always use them on crop mode. Why? I know I could crop them in post, but then I'd have to store those huge files, most of which data I don't plan on using. A crop camera would work fine for me. If I hadn't switched from Canon late last year, I'd buy the R7 in a heartbeat.
More research indicates that the Canon 100-500 Collar/Foot is difficult to rotate and if loosened enough to compensate will occasionally release and drop the rig to the ground if the Black Rapid is connected to the foot. I suspect connecting to the camera will be required.
Tom
Tom
RikWriter
Well-known member
Couldn't you just not rotate it? Or after loosening and rotating it to the desired position, re-tighten it?
The short answer is yes. The long answer is more complicated.
The lens is probably light enough that you can suspend the rig from the R7. No collar. However, that means that the rig hangs straight down and the lens will slowly lengthen (zoom) as there is no lock as there is on some cameras.
You can tighten the collar and suspend from it> The question is tighten it in what position? If the foot is on top, then the Black Rapid strap is also connected at the top. If the foot is on the bottom then the rig is carried horizontally but upside down.
My guess is that I will not use the collar. When the rig hangs straight down the switches on the lens can get disturbed by rubbing on the pants. Scotch tape will fix that.
The lens is 3#, without the collar. The collar is 6oz. (In comparison the Sony 200-600, which is fixed length and f/6.3 (versus f/7.1) on the long end is 4# 11oz. The Nikon 500pf is 3# 3 oz)
Tom
RikWriter
Well-known member
I use that strap with my Sony 100-400 and just let it hang horizontally and upside down. Never bothered to adjust the collar.
Dave63401
Well-known member
Jeff,
I have been shooting an R5 with 100-500 and 800f11 for 20 months. I use the control ring on lens for EC. I shoot manual with auto-ISO 99% of time and use EC to custom exposure for backlight ect. Have it set to only be active when meter is active(1/2 press shutter or any BBf button used) to prevent accidents. Can view EC movement in viewfinder by scale and preview. For non-RF lens, I have the adapter for EF Glass that has a control ring built in. It all works well for me. I have preordered an R7 and looking forward to getting it.
Dave
Thanks Dave, that sounds like it would work out well.
Looking at the few (JPEG) shots available from the R7, the issue seems to be slow glass. Many, Steve for example, want subject isolation and strongly prefer F/4 or faster glass. On the other hand, both professionals I have shot with use relatively slow glass with a T/C.
For me the problem is that my requirement for light weight and zoom capabilities means fast glass is not an option.
It seems that the jump between F/4 and F/5.6 is the border between fast and slow glass with zoom lenses coming in at F/6.3-F/7.1. The new Nikon 800 also comes in at F/6.3
I am used to F/5.6 (500pf) and I occasionally notice the difference in subject isolation when shooting 300pf @ F/4 (Cropped sensor).
My question is: How much difference do you see between F/4, F/5.6 and F/6.3-F/7.1?
Tom
For me the problem is that my requirement for light weight and zoom capabilities means fast glass is not an option.
It seems that the jump between F/4 and F/5.6 is the border between fast and slow glass with zoom lenses coming in at F/6.3-F/7.1. The new Nikon 800 also comes in at F/6.3
I am used to F/5.6 (500pf) and I occasionally notice the difference in subject isolation when shooting 300pf @ F/4 (Cropped sensor).
My question is: How much difference do you see between F/4, F/5.6 and F/6.3-F/7.1?
Tom
One thing you can do is go to Flickr and search images for the various lenses and see what people are posting. At least much of what you see there is from real photographers and real conditions. At least it will give you a representative sampling of a broad spectrum of images.
All the normal rules of distance from camera to subject and subject to background apply regardless of the aperture opening on the lens.
Rudy from Canon seems like a real straight shooter. He is part of this very long and wide ranging Adorama video. Disorganized back and forth responding to webinar questions, but still interesting. He mentions the panning mode, where the ibis tries to keep the subject in the same area of your frame as you pan, as far as ibis can shift which I guess isn't too far.
Bennvdm
Active member
Subject isolation is a function of focal length, aperture, distance to subject and subject to background distance. Sensor size also plays a role, distance to subject is closer when using an Fx body over dx to get similar frame of view.
Ie need to stand closer with 500mm pf to fill the frame on fx than with dx. As subject distance is closer, depth of field will be smaller, providing better subject isolation.
With wildlife, it is not so simple to just stand closer to the subject as with a person portrait. Wildlife subjects scare off and will require stalking skills, blinds, camo etc. Therefore you might need a new lens or teleconverter to shoot from same distance when moving from crop to Fx to still fill the frame, or crop in post/ shoot in crop mode.
With portrait lenses on fx, a 85mm f1.4 has similar bokeh than 135mm f1.8. Nikon 105mm f1.4 is smoothest. Nikon 200mm f2 is a lot better than 200mm f2.8. Subject isolation might also be impacted by background compression.
For 500mm & 600mm, f4 aperture appears to be the pro aperture. On 300 & 400mm this is f2.8 and on 800mm this f5.6. The new nikon z 800mm pf is f6.3, so only 1/3 stop slower than f5.6. Steve also ordered the 800mm pf over the 400mm f2.8, that becomes an 800mm f5.6 with 2x teleconverter.
Article on sensor size and depth of field
Sensor Size, Perspective and Depth of Field
photographylife.com
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