Drew Allegre

Old-timey mechanical doorbell all the way. 1) Can't be hacked 2) Authentic tones 3) Pleases your guests 4) Breaks the ice at parties

I've had this thought for awhile now, and I've kind of held off, because...well, it's your site and you can do and say as you please. With this and all of the BM stuff, you come across as independent, but not necessarily objective. It kind of begs the question, what is the value of independence without objectivity? You and others may disagree with that assessment, but that is pretty much how I read you these days. I'm probably not alone. As with any media being consumed, at least part of the onus is on the consumer to filter and analyze the information. Reveling in the praise of a guy who is a known copyright violator is not a great look either.

I guess the immediate question in my mind is what is the max card writing speed on the EOS R? ML could definitely make this a much more interesting camera.

It doesn't sound so terrible on paper (on par with many other FFs) until you remember it's a 1.7x crop.

Think in terms of risk analysis: -How severe is the risk? Would it stop your shoot or worse? -How likely is the risk? and then you may add: -How much cost/weight/convenience am I willing to sacrifice to mitigate the risk? And of course it really depends on your system and how you work. Third party chargers are cheap, card readers are cheap, but you could possibly also mitigate the risk by carrying a camera charging/data cable. If you're traveling with 2 or more cameras, you may already have a backup charger. On that note, another risk may be lack of power for an extended period of time, so a power bank or two may be worth carrying. For me it really depends on the shoot, whether it's a wedding or corporate shoot or month long sightseeing trip, the answers will generally be different.

It may be overkill for a small camera, but a great tool for this job is a gyro type stabilizer, like a Kenyon Gyro. I've not used one personally, but we used one for a project that I was on. https://www.ken-lab.com/kenyon-gyro-rentals.html

These questions are causing me existential grief. I used to feel safe and happy in EF land, but now that I switched to Sony, the world is a big unknown place. 1) I really like the 24L II on Canon...hoping I'm going to love the 24 GM on Sony. But a 24 as an only lens? I don't think I could get by with just one, tbh. 2) As far as lenses that I've used extensively, I would say the 135L. It's just effortless to get a good shot, renders nicely, AF is great, MF ring is nice. 3) I would really like to try the Batis 135. Looks like a great lens. I'm hoping to eventually have the 24 GM (pre-ordered), Sony 55 1.8 (own it), and Batis 135 (eventually) 4) I'm really happy with Sony and where they seem to be going with lenses for the E mount (even with the Sony "limitations"). I stayed with Canon for a long time, and I don't see myself switching again any time soon. Also, there are so many things that can be adapted to E mount, it's a nice place to be.

Nature photography is kind of down the list on priorities for me. I'm mostly a wide/normal prime user on FF (hence, I but FF lenses), and I tend to shoot performing arts, events, people, etc. It makes a lot more sense to me to adapt a lens that I already have to a camera that serves multiple purposes for a pursuit that I occasionally enjoy. I keep the 80D around specifically to use with the 300/f4L. It would make a lot of sense to me to move over to a Sony APS-C and find a lens that's workable. 1) I'd gain an APS-C backup to my A7III 2) I'd gain APS-C equivalents for my primes at what will likely be 20+ mp 3) I gain some reach on my longer lenses when I want it 4) I gain a usable second camera for video work that I can (theoretically) seamlessly cut with the A7III The current A6xxx line isn't super attractive to me, because it's not a great form factor to put a long lens on and on top of that I'm left handed and that viewfinder on the corner just does not appeal to me.

Probably an adapted lens like a Sigma 150-600 or Canon 400/5.6L. I currently have the 300/4L, but it doesn't play well at all with Sony (I've heard the 400 is decent) The goal would be to pick up a Sony100-400 at some point. But yes, I would love to see Sony release some quality longer/affordable primes like Canon has. Part of my reasoning is that I moved over to a A73 from a 5D3, and I liked having both APS-C and FF with Canon. It would be nice to have that again with Sony. Fuji doesn't really interest me, because I don't want to get into a dedicated APS-C system.

This could be the end of my 80D (used mostly for birding at this point).

Honestly sounds like the a73 comes pretty close to checking those boxes (colors always debatable and subjective of course).

This should pair nicely with the Philip Bloom woodgrain Pocket Dolly from a few years back. Really helps you get those organic tones as they say.

Do I need a FF sensor in a dedicated video camera? No Do I want a FF sensor in a hybrid camera that will also be used for stills? Yes, absolutely.

I wasn't suggesting good or bad...just wow! I think we've all seen these changes as being on the horizon for awhile now, it's just surprising to me that it's all hitting so close to the same time, esp considering all of these moves would have had to have some significant development lead time.

I wonder when the last time (if ever) 3 or more new mounts were announced this close together. What a time to be alive!