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Canon Lens Compatibility

compatibility between the lenses. All right, so this is a little confusing for people, and I will try to clarify it the best I can. E f Elektronik focus Is there standard full frame set up lenses, which is a good majority of the lenses that we're gonna be talking about? There is a collection of F s lenses s stands for small sensor and these will not work on the full frame cameras. They won't even mount on the full frame cameras. And then they have their new toes in the water e f EM system for their mirror Elice camera. And that will not work on any of their sl ours at all. And so what does this compatibility look like? Well, the F lenses will definitely work on the E f body, so that's good. The F S lenses will not mount, will not work on the full frame bodies and the mirror list lenses will not work down here. Now the F lenses can be used on everything GFs lenses definitely on any F s body. But the muralists will not work over here. Of course, the muralist will work well with the mural...

ist lenses and you can use the E F s if you use Theodore actor. All right, you can use the E F lenses if you use the adopter. And so in some ways this is the most versatile because it can use the most variety of lenses. But they only have one camera out. It's, you know, limited in features. And so there's not a lot of selection when it comes to camera bodies in here. And so that's how the compatibility works. It depends in this case, between the F S and the F between the size of the sensor. So we're trying to get images that cover the right area. And then when it comes down to here, it's that plans distance that was causing the problem and why some of those lenses were not compatible with other systems. Cannon also makes movie lenses, and although we're not talking about movie lenses in here, I think talking about him briefly will help us understand what's going on in the design of our still photography lenses. Canon does have actually a couple wines of movie making lenses. Their consumer video lenses are ones that we're going to talk more about which are these STM lenses, and they have special motors that are designed for focusing while you are recording video, and they do a little better job than their traditional focusing lenses in still image and still lenses. Now they also make a whole nother Siri's and normally I'm not going to give you prices. But I thought I would give you a few prices here just so that you can see what these sini lenses are costing there. They're a little bit more money than your standard lenses, so let's talk about some of their sinner cinematography lenses. Now. These have numbers that are fairly similar. Two. They're still photography are gonna compare these exactly straight up side by side. But you can see this is kind of their standard line. They don't have, you know, high end low in line. They have a standard high end line here, and these were some very nice lenses that can be used on canon cameras, your canon camera for producing movies so they make a 50 millimeter 1.2 l. We'll talk more about this later, and I want to compare it against the 50 t 1.3 l because I think they started out in the womb as twins, but then they got separated and they went different directions. How they implemented kind of the same technology, the same glass, but went different directions with it. So when we're comparing what a still photographer wants versus a movie photographer, still Photographer likes quick autofocus. Quickly get me on that and focus and these Cindy lenses. They're all manual focus. You do not get auto focus for $5000 because they have somebody on the side of the lens that is pulling focus. So when you watch a movie and they change focus, there's somebody on the side of that lens that is doing this. That's how all those lenses, all those Hollywood movies, they're all manually focused and they want, but a smooth focus E All right, we want to have quick aperture control. We want to change it from F 16 f to weight really quick because we take a quick shot here in a quick shot there, over in the cinema side. You know what? We're doing this panning shot and it gets darker over here, and we need to slowly change our exposure. Ever so slightly not just in third stops, but in hundreds of a stop. And so they want to have really smooth control. So, traditionally on old photographic lenses, you'd have these click stops, click, click, click and on the city lenses. No clicks. Just stop it wherever you need to stop it. We prefer to have our lenses as small as we possibly can. The movie lenses its size is not an issue at all. In fact, it's better if they're just consistent in size. Because if you look at the rigs that movies air set upon, sometimes they're on steady cams, and they're all weighted in such a way that when you change this lens out to this one, you don't wanna have to re balance your steady camp. Or if it's on a jib or some other type of device. It's behind a mat box, and it has certain size filters. It's just better if all the lenses are almost identical in size. They do very in some cases, but they try to keep him much more similar in size For the still photographers. Most people own their own equipment, most p. I mean you can rent this stuff there's great rental. We talked about the rental, but a lot of people just owned. Most photographers own their own equipment, but most people who make movies rent their equipment because it is so incredibly expensive. And so this type of equipment is often kept in rental houses. It goes out for a few weeks at a time and comes back so it has a whole different use cycle than a standard individual lands. Some other differences between these lenses the ratings of how the light comes in F stops versus T stops, how much light comes in. And the difference is, is that a T stop? Is the transmission light coming through the lens? It is the actual amount of light coming through the lens, whereas an F stop is more theoretical. All right, so let's just take this lens. F 1.2 isn't enough 1.2. Or is it enough? 1.23 or in F 1.28? And this is where it's very important if you have three cameras and they're all shooting the same exposure and it adjust by 1/3 of a stop is you switch from camera to camera you're going to notice that in video. But as you taken individual shot, your camera will just go. Oh, we need a little more light. Let's change our shutter speed or we need more eyes. So it depends on how your camera is set. And so here they need to know. This is exactly the amount of life we're in our photographic lenses. There's places that you can go see the testing of your lands, and it might be a 72 200 to 8 that you own. But it's really a 200 F 2.9, and you're not going to really notice a difference. It still has the aperture in depth of field of a two point A, but it's lost a little bit of translation transmission in light. Maybe because there's so many elements in the let's we'll talk more about that coming up in a moment, so that's T stops and F stops. We're gonna have autofocus manual control. The cinema lenses, air manual focus only mentioned that before we're gonna have third steps aperture. Why do we have third steps? I don't know, but I think I know it's about the smallest change in light that you can see is you go from one picture to the next. But as I mentioned before, we have the step Lis aperture because in movies as you see it consistently, 1/3 step is a big jump. Visually, it's like, OK, I clearly noticed that. And you don't like that jump when you're shooting video? We have a very basic focusing scale on top. We've seen this focusing scale over here and now we're gonna have a far more detailed one on the side of the lands, and it needs to be far more detailed because in a movie they might be focusing on a character that is eight feet away and then 6.5 feet away, and they can actually see that written right on the lens. And why is it on the side of the lands? Well, if you operate your own camera, chances are you hold it up and you look at it like this. But if you're working with a big movie camera and you're the focus puller, you're gonna be standing off to the side like this and you need to be able to see the numbers from the side. A short focus throw, which means if I want to go from infinity to close up, it might be like this and on a cinema lens because they want to be very precise. Infinity might be over here and close focusing might be over here. So how much turning of the focusing do you want? The cinema folks want it really long because they want to be really, really accurate with their manual focusing in designing the lands. The designers want to make it as short as possible because that means that will focus more quickly. But if you like to manually focus, you want the right focus. Throw on your lens Next up, something called minimal focus breathing. And this is where the lens changes magnification as you're focusing. When you focus, you are actually changing the magnification of your lens, and they prefer that to do it as little as possible because they don't want their framing to change when they're changing focus during a shot here. You don't need to worry about it cause you're not shooting pictures in between one focus point and the other. We're gonna have internal focusing on these. So that they keep their size and weight well balanced oftentimes, because cameras were mounted in different types of rigs and steady cams. And they need to have an extremely smooth zooming system because occasionally they want to do is zoom as they're shooting their film, and they needed to be incredibly smooth. Resinous still lands. We just need to get from Point A to point B. We don't care what happens between Point A and Point B, and so there's a lot of differences between movie and stills, and this is why I've always believed that there is always going to be the separate worlds of movie and stills, and I know we're really closely related, like cousins, but we're not like identical twins. There are different needs when you're shooting movies versus stills, and if you think that you're gonna buy one camera that's going to do both super great, you're just wrong because there are so many differences when you get into the details like this. And I think understanding these differences kind of helps you appreciate the design and what goes in tow. A lens designed for a still photographer in canniness lineup, they have general groupings and this is not put out by Canon. This is this is my ranking in grading of their lenses, they have an entry line of lenses which generally are gonna have plastic mounts, a lot of plastic involved in the construction of it, plastic focusing ring. And they have very slow apertures. And this is where many of us start out in photography. And there's nothing wrong with because you can get great photos here, but we don't have all the other features and construction quality that we do higher up the next step up, they're gonna have metal lens mounts there gonna have ultrasonic motors, which I'm gonna explain further coming up, they're gonna have nice, wide focusing rings. Look how wide that focusing ring is compared to this little tiny guy. And they're also rubber, so they feel a little bit better. And you're gonna want to manually focus a little bit more easily with one of these than this little tiny plastic ring there. Then there's another little group that I call the Upper Mid range. And these were gonna add focusing scales on him and a feature called FTM full time manual focus. Which means you can just grab the focusing ring and start turning, focusing whenever you want. And you can't necessarily do that down here depends a little bit on the lance, Just Joe. Overall, General, better construction. And then we get to their professional quality lenses. And this is where it's pretty much top quality Everything throughout the lands. They're using some exotic glass that I'm gonna explain here in a moment metal body construction, and you get a red stripe who red stripe, and we're gonna talk more about those l lenses as well. And so these air kind of the four different categories that they have. And it seems to me that Cannon has a designer who designs the look of their lenses, and it doesn't seem to be a very secure job. They seem to get fired about every three years, and somebody new steps in and says, OK, we're going to use new materials and a new color coding. We're gonna use new fonts and they change the look of their lenses. And so if you go back in history, the lenses look different than they did now. And there's just changes that that all the manufacturers do from time to time. So there are a lot of letters and codes and symbols on your lands, and each one of those has a meaning for something different. And we're gonna go through and really break this down as to what it does. Is it important? And, you know, I'm sure for the designers who have come up with a new feature or idea, do I get a letter on the lens? Because sometimes it's not a very big feature, and it's just, well, it's part of the lands. Other times it's a pretty big feature, and all right, we're gonna we're gonna plaster your feature on the edge of the of the lands. And so if it's a pretty important feature, they're gonna put it up there right there in the naming protocol of that lands. And so let's go through and talk about some of these ways to identify the different lenses. Currently, they're putting a silver ring on their basic line of lenses. Now, in days gone by, they kind of had this gold ultrasonic ban that told you had an ultrasonic focusing motor which let you know that it was very quiet and very fast and focusing, and for a long time that was just the standard of fastest focusing and so on. Ultrasonic is a is a good lens toe have because it's got fast focusing. But that's on Lee speaking to the focusing motor. There are a couple of lenses that we'll talk about in particular, that used a fractal optics that have a green line on them. There's only two of those lenses out right now, and then there is their red ring, which indicates their luxury line of lenses, and we'll talk more about these as well. And so that's just some of the identifying marks that you will see on these lenses.