Lessons
Class Introduction
07:11 2Canon Lens Basics
14:12 3Focal Length: Angle of View
11:31 4Focal Length: Normal Lenses
09:43 5Focal Length: Wide Angle Lenses
18:15 6Focal Length: Telephoto Lens
21:27 7Focal Length Rule of Thumb
15:36 8Field of View
10:14Aperture Basics
04:41 10Aperture: Maximum Aperture
18:44 11Aperture: Equivalent Focal Length
07:48 12Aperture: Depth of Field
06:23 13Aperture: Maximum Sharpness
08:33 14Aperture: Starburst Effect
05:18 15Aperture: Flare
06:48 16Aperture: Hyperfocal Distance
19:32 17Camera Mount System
14:57 18Canon Lens Compatibility
14:26 19Canon Lens Design
12:29 20Canon Lens Composition
04:30 21Canon Lens Shape
05:50 22Canon Lens Coating
06:53 23Canon Lens Focusing
14:10 24Lens Autofocus
08:17 25Canon Lens Image Stabilization
06:57 26Canon L Lenses
10:18 27Image Quality
09:46 28Canon Zoom Lenses: Standard
17:50 29Canon Super Zooms
05:20 30Canon Wide Zooms
09:48 31Canon Telephoto Zooms
16:09 32Prime Lens: Normal Lenses
09:19 33Prime Lens: Moderate Wide
07:01 34Prime Lens: Wide Angle
05:33 35Prime Lens: Ultra-Wide
09:23 36Prime Lens: Short Telephoto
09:03 37Prime Lens: Medium Telephoto
08:59 38Prime Lens: Super Telephoto
13:59 393rd Party Lenses Overview
06:01 403rd Party Prime Lenses
15:25 413rd Party Zoom Lenses
26:28 42Lens Accessories: Filters
33:42 43Lens Accessories: Lens Hoods
09:58 44Lens Accessories: Tripod Mount
04:51 45Lens Accessories: Extension Tubes
04:30 46Lens Accessories: Extenders
13:11 47Macro Lens: Reproduction Ratio
18:59 48Macro Lens: Technique and Choices
25:59 49Fisheye: Technique and Choices
18:49 50Tilt Shift: Techniques and Choices
27:08 51Make a Lens System Choice
05:37 52Choosing A Portrait Lens
17:21 53Choosing A Sports Lens
17:31 54Choosing A Landscape Lens
10:39 55Best Lenses for You
08:46 56Lens Maintenance
11:19 57Buying and Selling Lens
11:15 58What is John Greengo's Favorite Lens?
08:37Lesson Info
Canon Lens Coating
Okay, so we've got our lenses. We got the right compounds. We got him shaped, right coatings. All right, what goes on the outside of the coating So his light comes through lens, Remember, a little bit of lights gonna bounce off the front of that lens, and as it goes through to the back side of the lens, it's gonna have some light that's bouncing off of that as well. And then that is gonna bounce and hit the front side, and that's gonna bounce back in. And that's gonna hit your subject. And that's gonna cause a loss of contrast as well as a plain old loss of light. So we're losing light, and we're getting a low contrast when we shoot through normal uncoated glass. The coding this thin, transparent film that they put on the lenses usually at magnesium, fluoride or silicon monoxide, is going to improve the transmitters. How much light gets through this glass? This is all this. All this bouncing around is causing flare and ghosting, which is lowering our image quality. It's going to improv...
e our color balance and just overall quality of the lands. It can also provide lens protection. You'll see in one of the coding something to talk about here in just a moment. So imagine a very simple wins. It has six elements, which means you have 12 sides front back side of glass elements. Only 61% of the light is going to get through if you use standard quality glass cause we're losing anywhere from 4 to 10% on every edge of the glass. What about one of these gigantic 72 to hundreds that has 23 elements in it? You're only going to get 15% of the light that entered the lens. And so this is why it's really important to have coatings on your lenses to get as much light through. And so there's a number of coatings that cannon with views. One is called Super Spectra Multi Cody. There's a short list of lenses here that used this. It's just a multilayered coating to reduce reflections on the lens and to get the light through to the sensor, it allows 99.9%. That's a big jump, up from losing 4 to 10% per glass service. And so this is something that they will use on a few of their lenses, and they have In this case, each layer is controlling a slightly different wavelength of light. And, you know, I talk about this like I really know what the engineers were doing. I'm this is magic to me. This is This is my magic how they do this. I think it's just phenomenal. But just getting a glimpse of this really gives me a great appreciation, because when you go up there and you pick up a $ lands, start to know about why it was $ and that'll, of course, improve the color balance. And so that's what the SSC S W C sub wavelength structure. Cody is only been used on a couple of the newer lenses, and this is like one of the weirdest things you'll ever see. This is what it looks like tiny pyramids on the edge of your lands. Now we're talking about nano sized pyramid structures. I mean, this is you can't see this, like with your eye. Okay. Normally, when light hits the front of the surface, it has a direct angle adjustment that it makes refracts with it. Okay, but when it hits this nano structure. It bends rather than making that sharp angle, and that changes the properties of the way the light interest, the lands. How somebody came up with this, I don't know, all right, and so this could be used on large curvature lenses. We'll see that on the 11 to 24. The 24 assumes unusually, at least as far as that goes, but it's on there, so these are very, very thin layers. You're not going to see these with your eye on there, but that's what's going on on the lands. And so this gradual refractive index kind of transitions from air to glass more slowly. And that's what they're trying to do is they're trying to slow down the light as it enters in some ways right there. The flooring. Cody. This one's kind of cool. This is this kind of an important list of lenses. If you have these lenses, these air typically higher in lenses, they're all L lenses with the addition of the extenders on here, and the flooring coating has nothing to do with image quality. It's just about protection of the lens. It's an anti smear coding, and it makes your lenses really easy to be cleaned if you get dirt or oil or anything like that. I've seen an example where one of the sales reps was taking a Sharpie pen and writing on a glass element and then just taking a cleaning cloth and wiping it off. And so it's pretty amazing how easily it makes thes lenses clean. And so what they've done in order to reduce the weight of some of their lenses is they used to produce provide a clear lens on the front of their big glass. So one of these big lenses over here what they would do, let me take the lens hut off of this is that they would put just a straight piece of glass in the front just for protection on the front of their lens. And now what they're doing is they're taking that off so we can save a few ounces, and on the front of it, they're putting that flooring coating on there. So in case you get dirt or water droplets on there, it comes off. And that's one of nice things about this is that water droplets tend to beat up in a way that makes it much easier to shoot through and clean. And so if you have a lens that has this flooring coating on it, you're gonna do much better when it comes to shooting in the rain. Here, sphere coding comes in a close second in the most unusual coatings that is on a lens. And there's only two lenses that are using this. It's a brand new technology. They figure it out, and it's this tiny layer that has air bubbles in it. It's the ups bubble Ralph on the front of your lens, and apparently this changes the way that light enters our lands and it lowers the refractive index. And so we're getting more light in, and it's doing It's not scattering as much as it is is just going through a straight glass element and so very strange things that they're putting on these. And so this will significantly reduce flare and ghosting. And it's these new technologies that come around that enable us to take a lands and make 11 24 which we weren't able to make 20 years ago, perhaps, or were able to make a 100 to 400 that is significantly sharper than the one that was being made 15 years ago. And so this is part of the reasons for the improvements in lenses as we go along the way.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
user-b3a96c
I so appreciate what a good teacher John is. I wish I would have known this much about lenses when I first started out buying my lenses. It was hard finding information about lenses. I didn't want to spend money on a lens I wouldn't use. The better understanding we have about our gear the better photographers we will be. I have never seen a class like this. Invaluable...yes I bought the class! I am really impressed with the high quality photography classes available on Creative Live!
Tami Miller
Have loved the other John Greengo classes I've watched & purchased - and this is another winner! Having been a high school/college science teacher, it is refreshing to take a course with someone who not only is extremely experienced, seems to be a computer having stored so much knowledge, but is equally concerned about making the information truly understandable to different levels. And he shares the information using every tool he can: slides, video, interactive presentations, and great quizzes. I learned so much about my Canon lenses - and lenses in general with their many components. I am excited about testing each of mine to see what macro ratio they handle, and especially appreciated the tutorial on testing each for their specific quirk that affects super sharpness. This class is great whether you own Canon lenses or not. Thanks John Greengo!
Abbeylynne
This was a great class not just about the lenses that Canon offers but also how each lens works. As usual, John's slides are alway informative and entertaining. There is a phrase: John has a slide for that! I am not even a Canon user and found this class to have great information for the use of each specific lens. Great work John! Thank you Creative Live for another great class!
Student Work
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Fundamentals