Disney World Upgrades to the Pepsi of PhotoPass Cameras.
As every exceptional photographer knows, Nikon is the gold standard. The Coca-Cola of cameras, if you will. Sony is second-best, and widely considered to be the Pepsi of photography. Canon is the Beverly of cameras at this point; something that maybe was once good, but now tastes stale. Fujifilm is Mr. Pibb. Leica is Zeiva. No, I will not be taking any questions.
In actuality, none of this is agreed-upon. But photographers love a good camera war, and I’m happy to oblige and poke fun. About the only thing everyone will agree on is that Leica is Zeiva. Us non-Leica shooters will either say “what’s that?!” or “hahaha, it’s fitting” and Leica lovers will miss the joke. But I digress.
There’s real news to report, and not just a long-winded joke that 99% of you won’t understand. Walt Disney World and Disneyland just made a massive, unequivocal upgrade to their PhotoPass equipment. During a recent press event intended to quickly show off new MagicShots for the 2025 EPCOT Food & Wine Festival, I spent almost the entirety of my time talking shop with spokespeople from PhotoPass. (They didn’t even see me coming!) From these conversations, I learned a lot about the new equipment and software glow-up that’s worth sharing…
Walt Disney World has a long legacy of corporate alliances with camera companies. The original Journey into Imagination was sponsored by Kodak, and the whole reason that Figment is purple is because Kodak executives were concerned with the mascot being green and white, resembling the trade dress of its main competitor, Mr. Pibb–I mean, Fujifilm. (If you’ve ever wondered why Figment’s sweater is yellow and red, this is also your answer!)
As you’re no doubt aware, Kodak went the way of Dinoland and Walt Disney World landed a sponsorship deal with Nikon a little over a decade ago. That partnership not only included Nikon branding in the theme parks, but it also upgraded camera equipment that Disney used for its PhotoPass service. With this, Disney got a brand-new batch of DSLRs.
The Nikon partnership came to an unceremonious end almost 5 years ago. Nikon branding was removed from the theme parks, Cast Member costumes, and beyond. As is often the case, no new corporate alliance was forged. The Nikon branding is long gone, but the old Nikon D7500 DSLRs and lenses utilized by PhotoPass remained stuck in its last life cycle with no upgrades in the last 8 years, until mid-2025.
While photographers may not be able to agree on which brand is best, there will be consensus on one thing: 8 years is a ridiculously long time to go between camera upgrades. Photographers famously have GAS (not to be confused with gas, lowercase), which stands for Gear Acquisition Syndrome. I’m one of millions plagued by this affliction.
Part of this is technology moving fast, and camera companies mostly moving on from DSLRs to mirrorless. But it’s doubly true in the case of PhotoPass because that equipment is getting daily use. I’m sure Disney had technicians servicing the gear or sent it off to Nikon, but that only can do so much. Even as someone who uses pro-grade photography equipment, I’ve had to replace lenses and bodies in less time than 8 years due to normal wear and tear.
The big news is that PhotoPass at both Walt Disney World and Disneyland have upgraded to the Sony a7 IV Full-frame Mirrorless Camera across all parks. The rollout began earlier this summer and was recently completed, with upgrades to more than 500 cameras across Walt Disney World.
Along with the Sony a7 IV, PhotoPass is utilizing the Sony FE 24-105mm f/4 G-series lens paired with a Sony flash as its primary set-up. There are a few locations where specialized lenses are used; for example, you might spot a Sony ultra-wide by the fountain in front of Spaceship Earth or an f/1.8 prime for portraiture.
Just so we’re completely clear, the Sony a7 IV is a massive upgrade from the Nikon D7500. Even most diehard Nikonian wouldn’t dispute that. Especially ~8 year old cameras that have been punished day in and day out. It’s an upgrade to move from crop sensor to full frame, and likewise from older technology to newer. The electronic viewfinder is brighter and easier to see in the sun, and there are several ‘quality of life’ features that exist today with mirrorless cameras that just didn’t with DSLRs.
The most underrated upgrade of all (although aside from me, I doubt there’s much “rating” of this upgrade going on) is in the glass. I’ve shot with that Sony 24-105mm, and it is tremendous as a workhorse lens. Both Sony and Nikon have made major strides with the quality of their glass in the mirrorless era, arguably more so than the cameras themselves. (This is what I actually believe is underrated among photogs.)
Another major improvement from the upgrade is low light performance. Not to get too in the weeds here, but nighttime photo quality has been hit or miss with PhotoPass when using the old Nikon DSLRs. This is partially a matter of settings, and partially tech limitations. That should improve noticeably with the Sony a7 IV.
It won’t be perfect–again, the wrong settings could lead to noisy images–but it’ll be a lot better. There should even be circumstances when more dynamic shooting without a tripod yields great results. Part of that comes down to whether Disney is willing to let the shutter speed dip down a bit, which they should given superior image stabilization.
Autofocus technology has likewise made tremendous strides in the last several years, and Sony’s facial recognition eye-focus tracking is second-to-none. So if you’ve ever received PhotoPass images where the background is in focus but your family’s faces are blurry (illustrative file photo above), that shouldn’t happen again. And if it does, be impressed–it’ll take some serious “talent” to overcome the tech and somehow focus on the background with the Sony a7 IV!
Beyond everything else, simply not using equipment well past the end of its usable life is a massive win. While most PhotoPass images we’ve had taken in the last few years have been fine, we’ve also had plenty of duds. Photos with an unacceptable level of noise, or more commonly, shot with glass that clearly needed servicing (or outright replacement).
This instantly addresses both issues. All of this amounts to a major win for the guest experience, and photo quality should be noticeably better, especially in suboptimal circumstances (if you visited in the last couple of months and have night photos from both EPCOT and Magic Kingdom, you should be able to spot the difference.)
During my conversation with the PhotoPass spokespeople, they revealed that the team went into the process of choosing a new camera ecosystem with an eye on Cast Member comfort first and foremost.
The PhotoPass team tested 16 different cameras from Sony, Nikon, Fujifilm, and other manufacturers to see what worked best. Once they narrowed down their choices, Disney entered negotiations and tried to find an agreement that would work best for their unique needs.
The goal was not finding a new corporate alliance–and they didn’t. There is no sponsorship with Sony, which is probably why there was no announcement of this deal. Disney likely doesn’t want to provide “free publicity” to Sony, even if this is a guest-friendly upgrade that should be lauded.
In addition to extended warranties, one of the things that Sony offered was customized software for PhotoPass purposes. An example of this is a programmable function button that allows photographers to switch from landscape to portrait mode without moving the camera. This may not seem like a bit deal to a casual photographer, but keep in mind that PhotoPass Cast Members are taking thousands of shots per day, and that repetitive motion probably wasn’t the greatest for their wrists.
The PhotoPass spokespeople were pretty proud of this new solution, and understandably so. My understanding is that it’s (necessarily) software-based, meaning that when the photographer hits the function button, the electronic viewfinder blacks out the sides on the landscape orientation to produce a portrait.
I’d assume it’s simply losing however many megapixels, but that doesn’t really matter. Again, probably getting too in the weeds here. The bottom line is that this is a good thing. My hope and assumption is that this also helps a bit with composition. Less camera movement should, in theory, mean that the photographers are less hurried and have time to level the camera. Here’s hoping that the virtual horizon is activated for the EVF, but new tech can only do so much to help with composition.
The PhotoPass reps also informed me that they’re using new PDAs built for the Florida heat, and that with this newer technology should come slightly faster downloads. I didn’t press on the PDAs beyond that; I’m more of an iPhone guy, so not really my area of expertise.
Oh, and here’s a sneak peek at the PhotoPass Magic Shots for the 2025 EPCOT Food & Wine Festival:
Ultimately, it’s great to see Walt Disney World and Disneyland make a major investment in PhotoPass equipment again. Finally. Even as a Nikon guy who has tried Sony twice, I love this upgrade. For all of my joking, Sony arguably is the gold standard at this point; I’m just a dinosaur who couldn’t overcome muscle memory or clunky menus. These newer, lighter cameras will be great for Cast comfort, and excellent for guest image output.
The total retail cost of the equipment here is over $4,500. While you might be inclined to assume that Disney got a bulk order discount, my guess is that they paid more than retail between the extended warranty, customized software, and who knows what else. Because, again, this is not a corporate alliance where Disney is advertising the Sony brand in exchange for the product.
It would not surprise me in the least if Disney dropped over $3 million on this upgrade. Maybe it’s less than that, but I wouldn’t bank on it. That’s undeniably a lot of money, although with the way Disney spends like a drunken sailor, perhaps not. So I guess what I’m saying is: don’t be surprised when Memory Maker prices increase in October!
Planning a Walt Disney World trip? Learn about hotels on our Walt Disney World Hotels Reviews page. For where to eat, read our Walt Disney World Restaurant Reviews. To save money on tickets or determine which type to buy, read our Tips for Saving Money on Walt Disney World Tickets post. Our What to Pack for Disney Trips post takes a unique look at clever items to take. For what to do and when to do it, our Walt Disney World Ride Guides will help. For comprehensive advice, the best place to start is our Walt Disney World Trip Planning Guide for everything you need to know!
Your Thoughts
What are your thoughts about this news? Pleased to see Walt Disney World and Disneyland invest in new PhotoPass gear? If photography were a Pepsi vs. Coke debate, which brand would be which? Agree or disagree with our assessment of the news? Hearing your feedback—even when you disagree with us—is both interesting to us and helpful to other readers, so please share your thoughts below in the comments!
This is why your Disney blog is my favourite Tom. Without putting an English pun on it, it’s quite simply ‘my cup of tea’.
I don’t mean this in any way derogatory, but while other blogs focus on the latest Lounge Fly drop, you focus on what others might see as the mundane, or as I prefer to refer to it as the ‘detail’. I love posts like this. This is the type of post I will chat with enthusiasm to my wife and kids ahead of our next visit and how it will improve our visit only to be met with the biggest eye roll in the universe .
Please don’t change
One of the many reasons I wish Josh were still with us is to write a blog with 9000 words and 3000 images about why you’re wrong for besmirching Canon.
As a user of Sony equipment for many years, this is welcome news. I have to agree that Sony is currently the gold standard, and the prices are now reflecting that. About a year ago, I bought an a7RV along with a 24-70 2.8 GM II to replace my a99 M2. This is probably overkill for WDW’s needs, but man it takes unbelievable pictures. The photopass photographers are going to love the new equipment, and so will the guests – even if they don’t know why their pictures are so much better.
We’ve always purchased Photopass for the extra magic shots and for photos with the angles the photographers get. They are able to get the most magical shots when the kids are walking over to characters while we’re next up in line. You’re never guaranteed to get that shot, which is unfortunate because my Canon 5d Mark lll with 50mm lens is far superior than the Nikons they’ve almost always used. The color and quality isn’t comparable and we can tell which shots are mine or theirs. I’ve had many photopass photographers comment they’d prefer my camera over theirs. Seriously. But it’s okay because the cast members controlling the character wait line almost always offers to use my camera so I can be in the photos without me even asking. Thank you Disney cast members. We always laugh when they twist the focus ring on the prime lens to zoom! All jokes aside, I’m glad they have upgraded equipment, they deserve it for the memories they are capturing. Sony’s are fantastic but Canons glass is better. And Tom, as a fellow Michigander, GO LIONS!
That was pretty much over my head, but I got the main point. Better photos. Now if they could do the same with the ride photos.
“8 years is a ridiculously long time to go between camera upgrades”. Hmm. My 5DMk4 is ~6 years old and my lenses are probably 10-11 years old. Luckily, I don’t have GAS – my camera takes as good of photos now as the day I bought it so I haven’t looked at upgrades. Plus, as Adam said phones have come so far that for 95% of my usage, they are fine. As to branding, I was shooting at a sporting event this weekend and did see Nikons and Sonys, but still saw more Canon than anything else. Though I think mostly the R5 and not my old dinosaur.
I wasn’t going to say anything since cameras aren’t my jam, but after reading the comments section I realized I did actually have something to add! Namely, with regard to the ‘worth’ of the photo pass package.
As someone who dresses up but also who frequently travels alone to Disney, I’ve actually found the service to be invaluable. Sure, I get a ton of dud photos…but I’ve also found that if you catch a photographer when there is no line, and are really kind to them and ask nicely? They’ll take you for a little private photoshoot at no charge. This has happened to me most often in Galaxy’s Edge and Animal Kingdom, but I’ve lucked out just about everywhere if I was patient enough, and gotten some really stellar photographs along with a fun few minutes of time! I imagine that would be even better now with this gear.
The other thing I have to note is that my partner spent over a year looking for a good camera case specifically for Disney – something that would protect the camera/lenses but was easy to get into and out of for security purposes. And customizable! Good camera bags are very expensive, but we ended up getting a nice soft waterproof-cooler with cotton exterior, that we’ve stuck a ton of patches on. It’s a super-economical way to have it all!
Going mirrorless will probably help cut down on repair costs. The mechanism to flip the shutter has a certain about of flips before it brakes down and needs to be replaced. Same with the shutter button. I would disagree with saying 8 years is a long time between upgrading the cameras. They started with the D70 which at the time was basically top of the line. There was an upgrade about 2 years later I think. They really don’t need all the bells and whistles like you might think. They generally are shooting on P mode and only need the megapixels to be a certain amount to print a 8×10. Staying with Nikon for so long meant they didn’t have to upgrade lenses and flashes too, just the bodies.
Is it me or is the lighting off in the pics you shared? To me, it honestly looks like SSE is a backdrop cloth, even up to the plants in the near foreground. It gets the impression the lighting isn’t balanced enough to the background light conditions and maybe some weird bokeh effect?
It is a backdrop cloth! Those photos were taken at a media event, not in front of Spaceship Earth.
Haha that caught me for a second too. Thought “man, Tom was sick when he processed those”, but then realized it’s a scrim.
For phone photogs, you can make some pretty impressive tweaks to pics in your phone with Snapseed. It’s now free and quite powerful. And you can run it on a PC in Windows using an Android emulator like Bluestacks too. As with EasyHDR or pretty much any software you can overdo it (or intentionally make it look like an Impressionist painting) but you have a lot of control.
In your conversation with the Photopass spokesperson, was there any discussion of image resolution? Any chance of Disney going back to 300 ppi for Photopass downloads? I’m sure storage space will always be a minor concern for Photopass with the sheer volume of images they are creating everyday, but at the same time, only providing photos at 72 ppi to guests is ridiculous.
I asked about resolution, but they only gave non-answers. Sorry!
You forgot to mention Disney’s partnership with GAF cameras and film. I still remember the TV commercials with Henry Fonda saying, “G-A-F” like he was drunk.
As for me, I’m still using my Minolta SR-7 with a telephoto lens. Yeah, that setup must weigh 17 pounds… Those Sony cameras are sounding like a nice upgrade option.
Who doesn’t still have a GAF Super 8 camera and projector?
I’m happy to see a photography focused post again for the first time in a long time.
I’m still happily sipping on my (nearly 8 year old) Mr. Pibb and dreaming of a fresher one, but the price hikes just made that wait that much longer.
I’m not the biggest Sony fanboy, but this is a HUGE upgrade overall for the quality from PhotoPass.
I might actually let them take the photos with their equipment rather than handing over my Mr. Pibb.
Hey, to each their own–some people love Mr. Pibb! 😉
There are at least a couple more photography posts in the pipeline. I keep buying new camera bags, telling Sarah it’s “for research” or “for the blog.” She’s going to catch on soon if I don’t actually write about them!
Wild to me to invest that much in equipment when 80% of the pics they take are awful. I find this service so frustrating.
The Disney PhotoPass cast members are always so nice and work very hard. But yeah, it’s clear they are not trained in photography much at all.
Hahahahahhaaa, that’s good! Except as you know, Pepsi really IS better than Coke, and RC is better than Coke too. Although I’m usually happy with even the store brand if it’s made with cane sugar and not high-fructose corn syrup. But I digress. I am a Sony guy, but still have my old Canon EOS Elan IIe 35mm. Bought a replacement latch for it, but haven’t installed it to use some of the 2000’+ of film I still have on hand in a fridge. Never used a Nikon, they were always more than I could or would spend, but friends had them and they were top-notch.
Was using an old Sony a3000 I got cheap, and the upgrade for me to an a7RIVA is not even a comparison. I really wanted the higher resolution in the R version, so that’s what I bought. YES, Sony menus are…clunky and often weird. Still working out how I want to program the custom buttons for my style of shooting. But the in-body and in-lens optical stabilization is pretty amazing. Currently using the Sony 12-24G and the 200-600G lenses. I may consider getting the 24-105 at some point though I mostly shoot at the extreme ends for landscapes or wildlife.
One problem I am having is finding a good neoprene cover that will hold the body with the 12-24 attached. These new lenses (from ALL manufacturers, including binoculars, scopes, etc) are incredible compared to even 10 years ago. High quality optical glass used to be available only from alchemists in remote caves, but now everyone can make it. And it’s cheaper, though pro grade stuff is still…not.
I’d bet the new rig is heavier than the old Nikons, but performance is going to be pretty amazing, especially with custom software. A fantastic upgrade, no matter your preferences!
I was always a Pepsi guy growing up, but I’ve come to appreciate both Coke and Pepsi. Especially the throwback versions with real sugar, but honestly, I’m a sucker even for the Coke Freestyle machines. It’s so rare for me to drink anything than water that on the rare occasion that I do have soda, I love it. And I appreciate that each have distinct tastes.
I’m very envious of that Sony 12-24! Someday, probably in a few years when I forget just how much I hate the Sony menu system or how its button configuration doesn’t “work” for me, I’ll probably try it again. Really wish Nikon and an ultra wide @ 12mm!
Oh, for sure. Tastes change over time. And And one may be better for mixing with certain other liquids than the other. I mean, it’s called rum and coke for a reason, right? And yes, the cane sugar versions are all much better.
I actually took a chance on the 12-24 lens as used in great condition from a photo place selling through Amazon, and saved $1170 on it! Seriously. It is clear, sharp, and sweet. The one thing is I wish I could use filters with it. I like to use a UV and polarizer in many situations. Sure, you can do a lot in post-processing especially with raw images, but cutting glare and such up front helps a lot. But that lens is very wide (and a little heavy) and it would take a huge filter, so more $$$. For 35mm, I still have my old Sigma 17-35mm which was my workhorse back when I was poorer. but this Sony is so much better! Which is good, because even with purpose-designed adapters, the older 35mm lenses don’t work well with modern AF bodies and you lack the in-lens optical stabilization.
Not sure what the next lens will be to sit between 24 and 200. I really don’t need a continuous coverage. Have the Rokinon 24/1.8 and 45/1.8 which are small, light, fast, and inexpensive while still working quite well. I am really considering doing a parks trip with the new camera and the super-wide at some point but who knows. Missed the opportunity to take it to TSI! I’m too lazy for tripods, but a squat one just for near-ground or railing shots might be doable.
Will be interested to see your camera bag analysis!
Tom, I have never bought Photo Pass before, because I had always read that the photographers and the equipment were not of good quality and, thus, not worth it – we should take our own photos and save the money. So, in all of this great information you have written, would you say that, with the newer gear, Photo Pass becomes well worth the expense now? Sorry to be thick here, but I was quickly reading through. 🙂
Thank you very much!
It’s tough for me to ever say PhotoPass is “well worth it.”
Cast Members will take your photos with your phone, so it really comes down to whether you want Magic Shots, photos at night, and other variables. On the one hand, this upgrade makes PhotoPass more worthwhile; on the other hand, the technological gains of cameras in smartphones have really bridged the gap in the last decade.
On a related note, is Disney tourist photography dead?
It is Disney travel photography that largely igniting my passion for photography. Self-taught, I even started doing some professional work. My GAS led to a gear collection worth thousands — Including the Sony A7iv, A7riv, and some great glass. (I outgrew the 24-105/4 for better glass).
When I started taking picturing at Disney 15 years ago, nobody would seriously use a phone for anything beyond a casual snapshot. I’d say 20% of families were lugging around a dSLR and 50% were at least carrying a point and shoot.
With upgraded full frame cameras and fast lenses, I was finally taking pictures of dark rides. Great landscapes with ultrawides. If I lugged a telephoto zoom, some great shots at the AK Safari.
But now, when I travel to Disney or any tourist destination, seems less than 2% of families are carrying a separate camera. GoPros and Osmo Pockets outnumber photography cameras.
At the height of my passion, I was using my camera 1-3 times per week, taking pictures at least on weekends. Now, my camera gear can go months at a time unused.
Fact is, the phone does a job almost indistinguishable from my camera gear, for most shots. Sure, if I was making a 30 inch print, the camera still does better… but I make a print like that only once every couple of years. For a casual portrait or landscape, the phone does really well. I can’t do telephoto pictures, but I rarely would lug my telephoto lens regardless — too big and heavy to carry around theme parks all day. And I can’t truly do dark rides with my phone. Oh well.
But the phone has ultrawide. It even does quite good night photography without a tripod.
If I’m not going to lug around a tripod for fireworks and a telephoto lens, what do I even gain with a “real” camera?
I’m really debating whether to even bring my camera on my Christmas 2025 trip. It would make it my first trip without a camera in decades. (I’d still bring an osmopocket!)
Tom — if it wasn’t for the blog, would you always bring your camera? Do you always bring your camera or resort to your phone sometimes?
I really should consider selling off a lot of my gear. I still love it when I use it, but not sure I still love it enough to lug around.
Some of this is outside my expertise, but to answer your original question, no, I don’t think Disney travel photography is dead. It wouldn’t surprise me if there are actually more people participating in it than 20 years ago, it’s just that as you point out, phone cameras are so good now they can do the overwhelming majority of what most people want/need. And since they are going to have their phone with them regardless, that’s what the casual hobbyists are using.
I take thousands of pictures when travel; went to Japan for 2 weeks this spring and I literally took 8k+ photos. When I get home, I go through all of them, keep the best ones, even do some light editing (mostly cropping). I do this all with my iPhone because for what I use the pictures for – showing friends, reminding myself of the trip, the occasional print – the quality is more than good enough. At this point I’d consider myself an amateur photographer, but I don’t have the motivation to take the next step to learn the ins and out of actual photography equipment/lens sizes/etc. or make the financial investment to get a setup that would provide a noticeable upgrade over my iPhone.
I imagine there are many others, probably even the majority, in a similar boat. I certainly can appreciate the value added by high quality camera equipment, like in Tom’s photos or those taken by my brother (who does still bring his camera bag with him everywhere). This is all a long-winded way to say that I think amateur travel photography is absolutely still a thing, it just looks different thanks to the evolving tech.
Hahah, I’ve seen the same. The worst are the ipad dorks holding these things up and blocking the view of others for parades or fireworks, animals, etc. I’ve been carrying my little Sony RX-100 V a lot still, with a filter attachment, and it is far better than phone cameras while still being small. But my Samsung Galaxy S24 Ultra was when introduced by far the best phone camera except maybe for a Sony which was not widely available in these USA. Sony is terrible with marketing, even after decades of making the best technology! I bet the newer S25 is even better, and I’ve taken some pretty nice shots with my S24 under all kinds of lighting.
Honestly, I bought the a7RIVA for rocket launches. Got some sweet shots of the Kuiper I launch from six miles away with that 200-600 G lens… Ironically, Starship Heavy is likely launching flight 10 today and I am stuck 5 hours away at the office. I did get some outstanding shots of bighorn sheep at Glacier Natl Park a couple months ago, so tight you can see flies not just on the animals but in the air. But carrying that monster lens in a park all day? Nope. I am admittedly too lazy these days.
“Tom — if it wasn’t for the blog, would you always bring your camera? Do you always bring your camera or resort to your phone sometimes?”
Yes, absolutely. I can say that with 100% certainty because I take the camera everywhere else we travel, and compulsively take photos of every meal, hotel room, etc. Honestly not even completely sure why, as those almost never get used at this point.
Even ~98% of the photos I take in the parks don’t get used on the blog.
To answer your question, I wouldn’t say Disney parks photography is dead–but it does seem less popular. It’s also wild to go to actual media events and be one of the only people there with a professional camera. Even most mainstream reporters now just use their phones (although that’s probably as attributable to budget cuts in legacy media, and writers now “becoming” photographers as a result).
Aside from being wrong about Canon (I joke…) this is huge. Going from an old kit thats nearly a decade old to something new thats actually in the prosumer space is going to help so much with photos. Maybe next they can move the camera spots on a schedule so we’re not stareing into the sun?
Here’s hoping Membership Magic Beyond keeps the Photo Pass benefit!
Here’s hoping Membership Magic Beyond refines what, exactly, it is and refines the offering for 2026. It’s definitely intriguing, but not quite there yet for us.
Give me late access to the EPCOT lounge whenever and I’d absolutely pull the trigger on it!
Loved this update! Thank you so much! I’m a total gear and Photopass fan and I enjoyed learning about the latest stuff.
Whew! Thought I almost had to unsubscribe from your blog after the first two sentences. This almost became your most controversial post of all time. As a Canon guy of 30+ years it was almost too much to stomach.
Glad I kept reading! Great recovery!