R5 v/s R6- here they are. which for you and why ?

John Sheehy wrote in post #19106233
Could it be that it has something to do with the speed and/or power needs of the aperture motor? Perhaps without the extra battery juice of the 1D series, power needs to be restricted more with inefficient or slow aperture motors?

That was my thinking when I heard the comment about not supporting the full frame-rate - it'll be to do with how fast the aperture can fully close & open again.
Likely less of a problem when used at or near wide-open, but Canon may in their infinite wisdom limit the full frame-rate when connected to certain lenses just to avoid the possibility of a timing issue altogether.

butterfly2937 wrote in post #19106309
But they work just fine at 16 to 20 FPS on the 1DX3

Good point!

joeseph wrote in post #19106383
That was my thinking when I heard the comment about not supporting the full frame-rate - it'll be to do with how fast the aperture can fully close & open again.
Likely less of a problem when used at or near wide-open, but Canon may in their infinite wisdom limit the full frame-rate when connected to certain lenses just to avoid the possibility of a timing issue altogether.

Or maybe they just cripple them on purpose because they want R owners to replace those lenses with R glass and to not realize that their EFs are just fine. Maybe could even be better. Some would argue, including me, that the 70-200 2.8 IS II was and still is, the best piece of glass canon ever made. I'll keep mine. Just sayin'...

i-G12 wrote in post #19106229
Seems to me that "professional wedding photographers" are the problem here.

Seriously if I were to be in the market for this camera I think it would work great for me. When I shoot video it's in small spurts like less than 2 minute clips. I don't see how an overheating issue would ever affect the way I use a camera but maybe I'm wrong.

Anyway, carry on!

Who is going to video a perched bird for 2 hrs in HK and invite friends to watch it. For serious production work get the proper cinema camera.

joeseph wrote in post #19106386
Good point!

I don't know how the 1DX III works but the RF bodies and lenses have 3 extra pins for faster transmission speeds. I don't know what that means exactly. There are no RF telephoto lenses besides the RF70-200 and not a lot of examples or feedback. None with the DO's either, mostly stills. I don't think there are any EF camera mount to RF lens adapters out there to test the 100-500 with both the R5 and and 1DX2 and see it if performs better on the R5.

I should have said when the 100-500 comes out.

joeseph wrote in post #19106386
Good point!

Which lenses?

Tom Reichner wrote in post #19106147
.
I'm confused. . What does the lens have to do with the shutter's ability to operate? . I mean, the way it seems to me, a shutter should be able to go however fast it goes, and be unaffected by whatever lens one happens to have mounted on the front of the camera. . The two things seem to be unrelated to me. . So why is it that the lens can limit the shutter's ability to function at its full ability?

.

Nobody who posts on POTN or any other public forum knows.
Some Canon engineers know. Some Sigma and Tamron engineers probably know as a result of them 'reverse engineering' lenses for Canon.

There have been other limitations with Canon: Groups A,B,C,D etc for lenses. Depending on the Group, and body, different numbers of AF points are available.
80D allowed 27 AF points at f8 with both 100-400II and 200-400 f4 lenses when combined with 1.4TCIII.
Why not 1.4TCII? Why not 1.4TC version 1? Why is the 7D2 limited to only centre AF point with surround assists?
Why only those two lenses?

Why do some third party lenses for Sony work with Eye-AF and some don't?
Why do some 3rd party lenses for Sony work at full 20 fps and some don't?

Why does my Sigma 500 f4, that works with A9, with all native features, 20fps, Eye AF, PreAF stop working when AF point moves too far away from centre, in a horizontal direction, but does work when AF point is moved the same distance away from centre in a vertical direction?

Why do some Sony lenses not work with all native features on Sony bodies?

Obviously, all rhetorical questions.

digital paradise wrote in post #19101777
After years of ordering on the web from now I'm buying all my gear at a local mom and pop camera store. No commission, no pressure. I may not be getting the best deal but if it needs repairs I just drop it off and they take care of everything.

I used to be the same,until there were no local shops to buy from. I was always prepared to pay more to support local businesses. The closest shops now are 40 mins each way, plus I have to pay city parking prices so for something like a filter for instance, can end up costing double. Before all the closer shops closed, I was dealing with assistants who never had a clue what an ND grad was. With more people than ever interested in photography, you'd think the business was there for them............

digital paradise wrote in post #19106418
I don't know how the 1DX III works but the RF bodies and lenses have 3 extra pins for faster transmission speeds. I don't know what that means exactly. There are no RF telephoto lenses besides the RF70-200 and not a lot of examples or feedback. None with the DO's either, mostly stills. I don't think there are any EF camera mount to RF lens adapters out there to test the 100-500 with both the R5 and and 1DX2 and see it if performs better on the R5.

I've always wondered if the new RF protocol allows for the use of leaf shutters, even if we aren't seeing them now, if electronic global shutters are slow in coming. I've always thought that it was very sad that my compact and superzoom cameras had less jello and much faster flash speeds than my DSLRs, when they used leaf shutters, allowing strong flash mix in mid-day sun.

John Sheehy wrote in post #19106613
I've always wondered if the new RF protocol allows for the use of leaf shutters, even if we aren't seeing them now, if electronic global shutters are slow in coming. I've always thought that it was very sad that my compact and superzoom cameras had less jello and much faster flash speeds than my DSLRs, when they used leaf shutters, allowing strong flash mix in mid-day sun.

It would be cool to see a return of leaf shutters, but I doubt we will see them with the necessary precision, or doing 1/8000 second exposures.

i-G12 wrote in post #19106229
Seems to me that "professional wedding photographers" are the problem here.

Seriously if I were to be in the market for this camera I think it would work great for me. When I shoot video it's in small spurts like less than 2 minute clips. I don't see how an overheating issue would ever affect the way I use a camera but maybe I'm wrong.

Anyway, carry on!

Likewise.

I’m curious if those that shoot “thousands” of frames at a wedding did so in film days and how many shots are delivered to the customer. Seems like “spray and pray” instead of photography.

LoneRider wrote in post #19106744
Likewise.

I’m curious if those that shoot “thousands” of frames at a wedding did so in film days and how many shots are delivered to the customer. Seems like “spray and pray” instead of photography.

I shot film for many years. we walked into the door with 15 rolls and the clients got about 350-400 proofs for the proof book

Totally different industry today than it was with film

Brides expect all the files back and todays wedding photographer will deliver 5-6-7-1000 pictures back to clients....Its expected

we also now shoot 10 hr days and receptions that are dark. That did not happen in the film days . so far more opportunities for documentation purposes

There is not a lot a spray and prey on my part. I typically shoot 16-1800 for a 10 hour day and I will deliver 11-1200 images to the couple

Archibald wrote in post #19106737
It would be cool to see a return of leaf shutters, but I doubt we will see them with the necessary precision, or doing 1/8000 second exposures.

Who needs that fast to get a benefit? Even 1/1000 makes big headway against the sun for flash.

Also, a leaf shutter allows for artistic uses like flash during the middle of longer exposure, instead of the last moment or first moment of normal flash sync with mechanical curtains.

How would you like to do a tapered or pulsating aperture during long exposure with motion trails?

LoneRider wrote in post #19106744
Likewise.

I’m curious if those that shoot “thousands” of frames at a wedding did so in film days and how many shots are delivered to the customer. Seems like “spray and pray” instead of photography.

When your reputation and legal liability is on the line due to a contract, you will make sure you have enough shots of everything you had in your shot list. This is why there is a 2nd shooter and even a 3rd or more depending on the importance/price tag.

When you have a large group shot, you will take a burst or two just to make sure you have something where eyes are all open for example. It is quite easy to run up thousands of shots across 2 shooters or more in a day. This is why it takes so long to deliver a package to the customer, the culling takes quite some time. I saved money with my daughter's photographer, I told him I would cull all his images and post process, and all he had to do was take all the shots. Saved alot of money, but I also knew the photographer, which helped. I gave him all the files and cards back when I was done, so he could add to his portfolio accordingly. Lots of files though, whew!