EF-S 17-55mm f/2.8 IS USM Samples (M6 II) and 2nd day

MAC wrote:

thunder storm wrote:

MAC wrote:

nnowak wrote:

RLight wrote:

Still processing all this, but I'm thinking both systems have their place. Too bad folks like Sony are running the opposite direction in cancelling their APS-C platform.

Aside from the a6100, not canceling, just taking a pandemic parts shortage hiatus.

IMO, they were one revision away on their body from getting it right. Slap that new 26MP APS-C sensor that's in those Fuji's in it, and revise your colors, handling.

Sony did, just not in the way you're thinking

Likewise, Canon is one rev away, make a M5 platform with IBIS. So close, but so far away in the existing climate... This is how we land ourselves with needing to solutions instead of one as the options we have in FF and APS-C don't quite do-it-all just yet, and may never.

You can "do-it-all" if you do it different.

Take a look at the A7R IV. APS-C crop mode on that camera is 26mp and the burst rate is 10fps even with the full 60mp. Mount up a big 24-70mm f/2.8 for low light events

cool

The Tamron 35-150mm f/2.0-2.8 might be even cooler for low light events.

and that is a great point to consider

If you need wider than 35mm you will often end up with too much distortion, and in cases you don't end up with too much distortion you often don't really need wider than 35mm.

well, having shot events for 15 years as the commissioned shooter, I would respectfully disagree. I'm needing to shoot large groups and environmental portraits and 24 mm is essential. Remember, at one time Canon had the old 28-70 f2.8 that they stopped manufacturing because photographers needed 24 mm.

and switch to the crop 70-350mm for outdoor activities.

525 FOV

You could even add that tiny 18-50mm f/2.8 Sigma when you need something smaller. A couple small crop lenses and a couple big bright full frame lenses all on the same body.

interesting, 26 mpxl and IBIS with the 18-50

The Nikon Z7/Z7 II would give you a similar ability, but with 20mp in crop mode. The Z 16-50mm and 50-250mm are both relatively small and good optically.

Either of these bodies in crop mode would produce better image quality than the M50 II. Actually, both of these bodies would also produce better full frame image quality than your R.

Plus, you'd get IBIS.

He'll push back on colors but Sony has caught up - and combine with dxo PL5 I think the sony would meet his all in one wants

My R5 has lots of frames per second, but I never use it. To my eye it's a useless spec. Too many pics too sort out afterwards.... That's for pros.

when you need to get a shot, motor, whether you are a pro or not imo

If I needed fps, I would go R6 + 24-105 f/4.0 L.

to be honest -- I'm not motoring with this lens much. When I think of motoring, it is with f2.8 or wider

Combined with f/2.0 Goliath it's pretty much all you need. If the Nuth Cracker Camera Torture can be done with an M50II + 55-200mm, it can be done with an R6 + RF 100-400 as well.

go to be careful not to draw attention and hit someone in the head with this stuff

Fast AF, light weight, high ISO performance of the R6 is excellent, and Rlight knows how to get rid of noise in post.

no he doesn't- the images he posted here at iso 3200 and 1600 are noisy -- he doesn't have DXO PL5

Again, if it can be done with an M50II + 55-200mm, it can be done with an R6 + RF 100-400 as well. True, the 55-200mm is smaller, however, if you need an M50II next to it to run it the advantage is gone.

small isn't the best indoors

Personally I would simply quit if my 105mm Art isn't long enough, but that's me.

when going pro, which someday you will need pro, you will need longer

And if you need around 200mm on crop a 70-200 f/2.8 isn't gonna cut it either.

70-200 F2.8 is core staple for commissioned event shooters

+2 on this.

A lot of it simply comes from having different needs (and styles).  IMHO most pros would agree with this characterization tho.

R2