I think I understand (or already knew) all points but the live view (flapping mirror...). What do you mean with this, could you explain a bit more?
If you turn on live view, you have to press the button in the middle of the big wheel to activate/deactivate it. When MLU too is turned on, the mirror flips up when activating live view. If you are using a remote control (there are very cheap wired ones from third parties), and you set up exposure bracketing, with a single press you start shooting all three shots of the bracket. Neither mirror flapping, nor button pressing occurs between the shots, which will be made in a fraction of a second.
Jonathan made a remark, that it is still not totally vobration free due to the shutter movement. This is correct, I have not verified yet the effect, I ope it won't be much. Anyway, I guess this will give the ideal basis for HDR, which may be my next project.
with bokeh I meant capability of defocusing the background
Thankx, but I do now the meaning. Once more: the quality of bokeh has to do *only* with the lens. FF or cropping plays a role only as far as the selection of focal length (and thereby of the lens) depends on cropping.
Every lens, which gives a good bokeh on FF, gives a good one on a cropping camera as well.
My 70-200 f4L hardly diferentiates subject from background in APS-C while in FF it will be much nicer to use for portraits for instance
This is a mistake. F4 is the problem, not the cropping.
My 24-70 f2.8, which already produces a great bokeh in APS-C, is superb to get narrow DOP in FF
Another mistake. The DoF does not depend on cropping either. Note, that the focal length of the lens is the same, no matter on which camera you are using it.
The cleaning system, it's a matter of concept. I know this is argueably, but I prefer to open my camera and blow the sensor from time to time than having something that 'moves' my sensor
I wish you much fun. I rather do it less often than I had to with the 20D.
Regarding wide angle, in the next months I am probably going deep into architecture photographing (who knows if even will purchase some tilt shift lens someday) and I want to be able to have a wider selection of wide angle lenses
If you are doing it professionally, under time pressure, then you need a medium format camera (you can get away already with EUR 20000 or so, plus the lenses).
Otherwise, you may think about panoramas.
There are many examples for that on http://www.panopeeper.com/panorama/Hungary.htm
, or see the Mormon church on http://www.panopeeper.com/panorama/USA.htm
It is unquestionably much more work than with a tilt and shift lens, but with panos
1. your options for creativity are much more,
2. the dynamic range is much higher. This needs explanation. The camera does not get better when shppting pano frames, but the DR of the scenery
is sometimes much higher than the DR of the individual frames.
Examples: Pano from 11 frames
The frames have been shot 4.5 stops apart. With which camera can you do 13 stops?
Btw, I like the Dead Vlei.
Why did you darken so much the skies in the B&W landscapes?
Those sceneries are not B&W candidates in the classinc sense (you can see the same panos in color on the USA page). The B&W versions are rather gimmickry, going for very strong effect; I will try how they look on print. The sky was almost totally clear on all those panos. Though I might try to insert another, strongly cloudy sky (I do this sometimes, when the sky is not nice enough), then I would not blacken it.
(I have a stockpile of panoramic skies for this purpose.)