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Canon Rebel T6 Lens Options

On the front of the camera we have our different little mounting indexes which show us where to line up the lens and so doing a little demo just to make sure people know how to have their lenses lineup on our camera let's go ahead and take the lens off and so you'll notice this lands has a red mark which we're going to line up with the red mark the red marcus for cannons kind of standard lineup of lenses there's also the white ones which we're going to talk about here in a moment and we can see that right here on the side of the camera matches up right there with the red dot in turns and so our lens release is over there on the side and so let's go back to the keynote and we have our lens releasing right off to the side there each of the lenses is going to have some sort of cpu contacts which are communicating with the camera you want to make sure that they're not obstructed dirty or broken in any way the mirror that's the reflex portion of this slr of course the remote sensors so if y...

ou do get that little rc six that's what you're pointing it out that's the direction so don't put any gaffer tape or something on the front of that blocking that if you want to use the remote the self timer lamp and the red eye reduction is this little lamp that turns on in glows I kind of find it a little annoying in some cases and so there's an option for turning that off when we get into the menu system that I will be showing you later on and the camera does have stereo microphones which gives you a little bit better quality sound but if you do want very good quality sound then you're going probably want to be using one of those external microphones all right let's talk a little bit about the lenses that are available for this camera so this canon camera can use the entire collection of currently available cannon lenses with only one minor exception of categories so the main lenses that are designed for this are the e f s lances but it can use thie e f lenses which is their standard lineup of lenses so the e f lenses are pretty obvious they're going to have a red dot on them they're also going tohave 00:02:06.513 --> 00:02:10. an e f in the name of the lands the f s will have 00:02:10.9 --> 00:02:14. an s in the name of the lands and it will have a white 00:02:14.37 --> 00:02:18. square rather than a red circle very different symbols 00:02:18.02 --> 00:02:21. there and here is the difference between these two 00:02:21.07 --> 00:02:25. lenses the e f lenses were designed primarily for 00:02:25.07 --> 00:02:28. the full frame sensor they produce an image circle 00:02:28.08 --> 00:02:31. that is large enough to fill the entire sensor area 00:02:31.75 --> 00:02:35. of those full frame sensors this canon rebel the t 00:02:35.56 --> 00:02:40. six es and I use is a smaller sensor and the e f s 00:02:40.07 --> 00:02:42. lenses are specifically designed to produce an image 00:02:43.05 --> 00:02:47. that fits exactly onto that size sensor where things 00:02:47.12 --> 00:02:49. get interesting is when you want to start switching 00:02:49.46 --> 00:02:53. in using different lenses so let's say that you take 00:02:53.36 --> 00:02:55. the lens that came with your rebel and you wanted 00:02:55.53 --> 00:02:58. to use it on a full frame camera the problem is is 00:02:58.89 --> 00:03:02. that that f s linds doesn't have enough coverage area 00:03:02.92 --> 00:03:06. to fill the sensor from corner to corner and you end 00:03:06.45 --> 00:03:10. up with benetti now canon knows this is a problem 00:03:10.74 --> 00:03:12. and so what they did is they specially designed these 00:03:12.99 --> 00:03:16. lenses so they will not even fit on full frame cameras 00:03:16.23 --> 00:03:18. and so this is not what would actually happen it just 00:03:18.96 --> 00:03:19. went up mount on the camera 00:03:21.02 --> 00:03:24. what would be probably mohr of interest to you t six 00:03:24.14 --> 00:03:27. users is what if you buy an e f lens and use it on 00:03:27.52 --> 00:03:30. this camera well it produces an image circle that 00:03:30.39 --> 00:03:34. is larger than necessary but doesn't cause any problems 00:03:34.32 --> 00:03:37. you are going to be shooting a cropped portion off 00:03:37.03 --> 00:03:39. the middle of the frame so it's perfectly fine to 00:03:39.51 --> 00:03:43. use an e f lands or any f s lands there just kind 00:03:43.78 --> 00:03:46. of designed for different sensors you have the benefit 00:03:46.61 --> 00:03:49. of being able to use all the different lenses if you 00:03:49.37 --> 00:03:51. step up to full frame you have to be a little bit 00:03:51.25 --> 00:03:54. more careful about how you pick your lenses out now 00:03:54.77 --> 00:03:56. the lenses that cannon has and they have a lot of 00:03:56.75 --> 00:03:59. different interesting lenses has a lot of different 00:03:59.54 --> 00:04:02. letters and names on them so a few of the more basic 00:04:02.2 --> 00:04:05. things that you need to know e f stands for electronic 00:04:05.16 --> 00:04:07. focus which is what most of their lenses were going 00:04:07.62 --> 00:04:11. tohave the lenses that come with the rebel ones that 00:04:11.46 --> 00:04:15. are often designed specifically for them are e f s 00:04:15.04 --> 00:04:17. lenses they're designed for the smaller sensor that 00:04:17.89 --> 00:04:21. this camera has now there is a different product out called an e f m lens and this is the one that you cannot use on your camera these air designed for their muralist cameras they're not real prevalent at this point so you're not likely to find many e f m lenses but they will not work on any of the sl ours so let's talk a little bit about some of the available lenses one of the more common kit lenses is thie eighteen toe one thirty five and there'll be a white box on this one because it is an f s lens this one has a stabiliser as many of the common lenses do nowadays and as I said before pretty much all of them will have an auto focus switch that you'll normally leave in the auto focus mouth there'll be a zoom a ring in a focus ring this will very according to whether the lens has a zoom or where those positions maybe each of the lenses has a different filter size there are some common sizes this one happens to be sixty seven millimeters in diameter there's going to be some little notches in there where you can mount a lens hood each lands has its own designated lens hood you'll notice that that lens hood looks very different than the lens hood that I have on the camera here in front of us and you can see on this one it's specifically designed for this lens in the size of it and all of them have their own specific mounting in fact on this when you'll see there's a little red mounting mark and if I turn the lens sideways you'll see there's a little red mark on the side of the lens and so mounting this hood up actually I need to get it to that mark and then I need to turn it to that mark and that's the specific lens hood on this and what this does is it blocks light from hitting the front of the lens and so with the camera source that is filming this which is you guys right out there, we're going to protect the front of the lens as the camera's positioned like this, whereas if I turn this off, you can now see the front of the lens, and that could potentially cause some flair problems and so that's why the lens hood's air out there good thing handy handy thing to have their sold extra on a lot of different lenses so this is the eighteen to one thirty five it's a good general purpose does a little bit of everything has wide angle has some pretty good telephoto the more the most common lens that's going to be sold with this is thie eighteen to fifty five which is what I would consider to be a reasonable lens when it comes to glass quality but they've made a lot of shortcomings in the manufacturer in the construction quality and so it's a lens that's a starter linds for a lot of people I think it's a good lens for the first year or two of photography until you kind of figure out what's important to you in which direction you want to go another lens that some people covet is thie eighteen to two hundred because it's got the most amount of range that starts at eighteen and goes up from their eighteen is going to be a pretty decent wide angle lens so it's going to give you the most range possible so if you wanted one lens that covers as many different focal links that's this lands it is going to sell for quite a bit more then the eighteen to fifty five or eighteen to one thirty five the camera is a little front heavy because it is a very big lens on it and it is not as sharp as the other two lenses and so it's, not my favorite direction to go. But I do know some people who are intu travel, photography and changing lenses is a hassle, and carrying lots of equipment is a major hassle, and this is one way of avoiding that household. All right, I just want to talk about a few of my favorite lenses are a few of the best twice is out there. One of the most common choices is getting a morte telephoto lens. The fifty five two two fifty is what I would call the matching kit lens for this camera. And so if you want something that's going to be able to reach out for sports or action photography, this would make the least expensive way to get there a little bit higher quality way of getting there would be the seventy two, three hundred. This is going to offer a matter lens metal lens, mt, faster focusing and just overall better quality construction. But for somebody who really wanted to step up in quality, the seventy two, three hundred l serious lands these are the ones with the red ellen the red ring around him in the white paint job on him. These have much improved optics on them, as well as mechanics in the lens itself. And so if you wanted the highest quality seventy two, three hundred, there are different levels, and this is true on many different categories of lenses. There's going to be a low end, a medium end and a high end. A great deal for somebody who's interested in wide angle photography is cannon's new ten to eighteen millimeter s t m lens. And so this gets you something that is noticeably wider than the eighteen to fifty five that comes with a lot of the lenses. And so if you are into real estate photography or a landscape photography or architectural work, this would be a great lands and it's. Not too much money it's only about three hundred dollars. These were all zoom lenses prime lenses are lenses that do not zoom they have one focal length and they kind of have one purpose that they do and if you have a need for that purpose getting a prime lands is a great way of getting the lens that is sharper lighter and smaller in size than the zoom lenses and so here are four prime lenses that I think would work quite well with a rebel the forty is a pancake lands very small in size and very near a short telephoto lens so you could do some people photography with the forty that might be very nice the twenty four is a bit more wide angle it's just a slightly wide angle so a little bit of lifestyle photography where you're showing a little bit more of the environment the one that I have on here is the fifty one point eight which is a great one for doing portrait photography it's also one of the best buys in all of photography not just cannons equipment but all of photography the lens sells for around one hundred twenty five dollars and it's a really fast aperture of one point eight so you could get really shallow depth of field it's light it's small it's not the most perfect lens in the world that's got some issues with it but overall it's a really sweet nice little lands at a very good deal if you are interested in close up photography. We mentioned macro work earlier on in the class. The sixty is going to be the least expensive way of getting into macro photography with canada. This is going to allow you to focus much closer than any of these lenses or any of the zoom lenses that I've talked about. Previous to this and so it's, a little bit more money. It's, still under five hundred dollars. So it's still in the mostly affordable range. And so that would be the best way to get into close up photography. Now something you need to be aware of is that cannon makes a lot of higher end lenses now the l lenses is their luxury siri's of lenses it's basically where they said okay we want a lens that does this let's make it for the highest quality possible with materials construction focusing everything else is as good as it gets and so there's a whole bunch of el sarees lenses and my guess is that if you own a rebel you're probably not gonna be owning a lot of el serious lenses because they're so expensive you'd probably be starting to upgrade your body but just be aware that there's a lot of beautiful glass out there and if you are going to be getting into photography long term you know and you know exactly what you're doing and I'm doing this and I'm going to do a lot of it well getting an l series lands is kind of paving the way for where you might be going in photography and so it's an investment that holds its value pretty well I gotta be honest with you and so when you buy a lens you can keep it for a decade and then resell it for most of what you paid for it and it's uh it's a very good value and so it's not a great way to investor money but it's it's a much better way than throwing it away on certain other things and so the l lenses are a great thing to look at incredible sharpness really well built lenses now cannon loves the letters and when something has a neat feature they put letters on their camera let you know what it is I mentioned before e f stands for electronic focused ellis luxury u s m is an ultrasonic motor that is in some of their higher end lenses that focus very very quickly we talked about image stabilization which is not on all the features it's not on this fifty one eight that I really like but it's not going to be on some lenses e f s stands for small censored lens and so a lot of those lenses that comes supplied with the rebels will be e f s lenses and this lens is an s t m lands which some say a smooth transition for motion it's a stepper motor in here it's a different type of lens that focuses differently than the ultrasonic something is either ultrasonic s t m or it could be something else but it's not both of those at the same time and the advantage to the s t m is that it focuses more smoothly when you're shooting video. So as you go from point a to point b b it's a little bit smoother u s m is a little bit rougher but it's very quick in getting to where it needs to go and so if you're going to shoot a lot of video the sdm has is a slightly preferred way to go and it's actually on many of the lower and more affordable lenses so I could go on all day about lenses in fact I could go on for day after day about lenses and in fact I have already done that in another class that I taught that you might be interested in on cannon lenses the complete guide and so this is a class that I todd over two days it's about twelve thirteen hours of information and we go through lenses in full diagnostic detail and so if you are detail orientated if you're fascinated by lenses were going to talk about so many different things in this class and kenna has the pdf that comes from that class because that's a very in depth pdf on that one and it also comes with a lens chart right here where I have all the cannon lenses listed and all the specifications what year they came out, how good is this stabilization the cost of the lands whether it has this or that everything that you would want to know about the lenses in that sheet and so that's another resource that you might be interested in if you want to know more about lenses because I love lenses I'm very excited and so having a two day class on it that's more in depth than anything I've seen anyone do before