3. Lenses Overview
You're going to be using for the most part, the f lenses, the's, air elektronik, focus lenses, thie eos system, most of the lenses that you're going to probably want to put on this camera are going to be l lenses, luxury lenses. They have the famous red stripe on them. A number of the lens is not all the lenses are image stabilizer lenses, which are very handy for handholding, especially under low light conditions. Cannon is constantly upgrading their lenses and many of their lenses. Now our second generation auto focus lenses, first generation was often back in the nineties, and now they are improving the lenses to match the quality of sensors that they're putting in these cameras. These cameras also have a very fast focusing motor. All the top in lenses use an ultrasonic motor, which basically means it's very quiet and fast. Some of the newest lenses are known as s t e m lenses, which have a stepper motor, which is a special type of motor for focusing under video needs. This still do...
es not help this camera much when it comes to focusing under video, but they are working with some of the lower in canon cameras at this time, there are some lenses that are known as e f s lenses, and they will not work. On this camera, so it is very possible that you could buy a cannon, lands or have a cannon auto focus lens that doesn't work, it won't even mount on the camera, and it's got a short back focus and it's designed for the smaller, more consumer grade cropped frame cameras, and so be aware that you don't want an f s lands now there's a lot of options on the lenses, and we're not going to go to a full tutorial on lenses, but we're going to talk a little bit about some of the major features. Virtually all the longer telephoto lenses will have a focusing limiter, so if you are shooting sports and you know you're not going to shoot anything up real close to you, say within six feet you can limit the search range that your camera will. Folk goes back and forth throughout all the lenses that are auto focus will have an auto focus or and manual focus switch on them, and the lenses that do have stabilizer modes will be turned on and off. With a switch on the lens and some of the tele photos, the longer lenses will have mode one in mode to normally you're going to keep it in mode one, but if you're doing panning he want to turn it into mode to so that the camera doesn't try to stabilize your pan in motion, and so if you're trying to get a panning shot, flip it over to number two, and if anyone is interested in doing infrared photography, some of the lenses will have a special red dot, and that is where you want to focus the lens, because the lens focuses differently under infrared conditions. And so, rather than using the thick white line in the middle, you would focus it in a line with the red dot. All right, so let's talk about some of the cool lenses that you could get on this camera and some recommendations, all right, so l lenses are, for the most part, what you're probably going to be putting on this camera in the eight hundred two twenty four hundred dollars price range is the holy trinity of f two eight soon so these air all version two lenses, they're all two point eight, and you could just put these three lenses in your bag and do pretty much anything so it's a great start having two or three of these lenses absolutely great lenses out there, I can't say enough about him now, if you want to step back just a little bit in price, they do make f four versions of these lenses a cz well and so they've recently introduced the twenty four seventy four version they also have the twenty four one o five the seventy two two hundred four is notably smaller then the two eight versions and so these will be less money and smaller in size in most cases now I'm not going to talk about all the different lenses out there, but there are some great prime lenses and if you can find a reason and a budget to throw one of these five lenses in your bag you were going to be operating at what I call the highest level these air all just fantastic lenses I have a twenty four one four here I like shooting low light worked with a wide angle lens and this is kind of my one choice this is this is a thirty five f to these air just great really bright lenses under in low light conditions and so all of these are just fantastic lenses they're not perfect. They all have little issues where they're not absolutely perfect. No lenses perfect but these are absolutely fantastic lenses. Some of my favorite specialty lenses are these anywhere from a thousand a little over two thousand dollars super wide angle fourteen millimeter there one hundred macro is super sharp if you like the tilt shift options that you can get for architectural work or a variety of other things landscape work they have or the twenty four and the seventeen are excellent lenses and they came out with this really new weird, funky eight to fifteen fish eye, which gives you a circular fisheye full frame fish. I can also work on the crop frame cameras, and so is a very versatile lands throughout the system and because if you're the type of person that owns a one d x, you might be buying one of the big l guns mentioned just some of these these are all great lenses. The two hundred f two is kind of an awkward lands because it's not really that long it's very good, I would say, for indoor sports it would be the perfect volley ball lands it's a little short for shooting sometimes basketball. If you're at the into the court, you might want to have a three hundred to eight for that uh, the two hundred could also be used for portrait photography if you're outside and you have a large room to work with because you have a really soft background, the three hundred to eight is an old standard in photography, it's just two great all purpose, very versatile lands for a lot of different types of sports if I was shooting professional soccer or football or a large field sport and I was doing it on a day to day paying my bills type job I would want to four hundred two point eight, the fast two point eight aperture, and the long reach just makes it the most versatile for professional sports. In most cases, for wildlife photography, I like five hundred f four because it's lighter weight in a little bit longer reach the six hundred f four has been a very good big field len's. The problem with it in the past is that it was just so heavy, but the new version two is so much lighter. It's, about a slight late is the previous five hundred millimeter lands. And so for the wildlife photographer, the burning photographer, anybody who wants that longer reach but still that pretty fast aperture of f four amazing lands and they do make the eight hundred five six so bird photography, surfing and photographing the moon it's a great lens for that. So it's a great pleasure to work with all of these lenses. They're all just fantastically sharp, and if you do work with him, they do have special buttons and controls on them. One of the things that you can do is you can memorize a distance for the lens to focus at let's say, for instance, you're shooting baseball and you gotta run, run first and you have a feeling that they're going to steal. To second base and you want to be ready at second base for action, you can focus on second base program that into the distance set button, and then when you flip the distance memory ring, it will automatically go to that point instantly without having to press any buttons on the camera very handy for certain types of sports photography. We also have a special a button on the lens that we can use for a multitude of different things, and you can go into the camera and program what this button on the owens does, and you could do that in the custom control section in the menu will get to that a little bit later on, but there's a lot of things that you could do sometimes it's handy to focus out there or use the stabilization or switch between focusing systems. And so depending on how you like to shoot sports, it's a great way to customize your entire camera and lens system. Ok, this next slide I did a lot of research on, and I'm sure there's going to be a little bit of controversy as to what I list and what I don't list, but whether sealed lenses very a little bit in their weather ceiling capability, cannon says that using a filter on the lens will help whether ceiling, which means you can't use it on the bigger telephoto and so this is the list of zoom lenses that our weather sealed to some degree now any lens that moves back and forth and zooms inherently his less weather resistant than a fixed lands and so they also have a list of these air the list on lee of currently available lenses from canon that our weather sealed. There are older lenses that our weather seal this well, you'll have to look up about those individually and as I say, not all lenses are sealed equally. Okay, so that kind of takes me through that sections give me another good timeto catch up on some of those questions that might be rolling in. I don't know oh, anyone's left out there the other roller yeah, let's see? So they're kind of all over the board that's fine. Okay, you just need to catch your breath. Good. Um didn't so let's see somebody says eso by switching the focus limiter on does that mean you get even quicker? Focus that's from kg fella. Oh, thank you. Yes, that would be most likely because your camera you don't need to press down on the shutter, release your cameras, not thinking about where do I have to go to focus now it does that really quickly it just goes there virtually instantly and so if you have a very specific spot where let's say you know another cyst scenario would be if you're shooting soccer and you've got the goalie who's standing right in front of the goal, you focus on that in any time you want to focus over there you just flip that rig and no matter if there's a player partially obstructing the focusing points that you've chosen, your camera goes right to that spot ok question from cbl photo in iess mode too does the lens take into account that it may be in portrait orientation when disabling the panning direction? It does yes oh your camera has little vertical sensor and it knows automatically which ones of the adjustments to make or not make very cool and that was new to me I had no idea about that, john yeah guys learn something new, so david t of michigan says, uh the watch battery is user serviceable it seems that he indicated this, but I want to double check if so, how hard is it to replace? Well, I don't know let's take a look on the side of the camera right here because I don't know that I've replaced it yet here and so it is there is a tiny screw in here I don't know if our camera over here can get it but there's a little silver screw so it's a little phillips head screw it's a little least that pops out, and so, yeah, you could do that yourself don't do not need to send it in. Excellent. Okay, kevin one to three with the dual memory slots, can you choose to shoot to one card or the other? Or are you always shooting to both cards? Simultaneous? You can customize this, we will be. I'll describe it in detail when we get into the menu section, but one of the things to notice they popped camera open here is you do have card slot one in card slot two, and some of the options is you can shoot two card number one, you can shoot two card number two, you can shoot the card number one, and if it fills up, it goes into number two, you can shoot to both of them at the same time, or you could split j pegs to one and brought to the other. All right. Mike kay from canada would like to know if you have any recommendation for getting rid of dirt or dust in the viewfinder and off the focus screens. If you do want to clean up inside the near box area, you want to get one of the bulb blowers I don't have one, but they're a little handler there, not the canned air don't don't get the canned air. You just want to get the handler for cleaning that out. If you want, you can take out the but we could do a little operation here. You guys want to play operation, remember? Remember the game off if I don't have the tool but there's a little lever up here at the top and we can take out glazers isn't watching. I'm sure we could take out the the focusing screen right here and we could clean that and that's where some of the dust is getting. You do tend to get more dust on something that is interchangeable. And so let me get this back and they're very carefully and I'll have just enough finger now to click it back in there. Okay, so we're good nothing's been damaged. Do you recommend that? Everybody who owns that camera do that that's it that's pretty easy to do, it's. Not that hard. If I could do it with my finger, I think most people can do it if they take care. Ok, so it's not dangerous. They're not doing dangerous camera surgery? No, but getting dust off the sensor might be a little bit more invasive. And I will explain that with a visual slide later on, okay, what about the few hundred that is in the well, the viewfinder is a sealed environment and so it's limited to what you can do in there and so if it gets bad enough, you may have to send it to canada but it's one of the things that you just have to accept that dust is going to get in there long term what do you claim that you think you're well no, you can't you can't get in there because on the back of this camera this is all sealed in here you can get up below where the prism is so there's certain areas that you can get access to but you can't get access in this back part of the viewfinder ok, another question about lenses from k miller two thousand three, which lends would you use on dance photography with low lighting dance photography? It depends on how big of a area that you're working in, but I would think one thirty five, two and eighty five one point two would be two of the prime choices that eighty five keeps coming up way. All right um there is a question from dave t of michigan how can you give a general idea for sizes on the different raw format? Well, we have let me pull this up and we can kind of take a look in here find out where we are two image type raw and so a large raw is eighteen megapixels a medium raw is ten megapixels and a small raw is four point five megapixels and there are pixel dimensions on long side of just roughly around out numbers fifty two hundred pixels thirty, nine hundred pixels or twenty, six hundred pixels across okay, let's see, you are fascinated by a question that you were not um okay ask a couple more there there was a question about the video and this is from steve hamel dot com from st albums uk wanted to know about the, uh well just read it, he says when talking when taking videos with a camera, you mentioned that the maximum file sizes for gig in twenty nine minutes fifty nine seconds what is when the limits reached with a camera automatically open another file and carry on taking video? I'm about ninety nine percent sure in this answer at twenty nine minutes and fifty nine seconds it stops recording and the reason if you're interested why it doesn't go to thirty minutes is because at thirty minutes it magically transforms into a video camera and is subject to higher taxes and so they disable it and so it has to stop recording at that time so it technically could but it would cost like an extra hundred bucks or whatever the taxes are that's why it's there that's why it chest down now the four gig limit what happens is it creates a file for the first four gigs, and then it creates another file, but there seamless video, but they're broken into two different files, and so the question is yes and no, depending on which aspect they're talking about. So and I'm not sure if this is actually the same question or just a similar one bm photography asks, does the one dx two picture grab while the video is on is picture ah frame grab is something that you'd be doing in a post editing program. You're not gonna be able to do that in camera, ok, but you did say that when you're ready, when you did say, when your video, you can just press the shutter and it will take a still right? Yes, so one of the options if I throw this into live, you and I start recording, assuming that I have this set to record, I can't do that right now because I have this set in a funky mode let me change this and I don't have this program to record right now, so we're not going to the record, but if I had to set up right, I could shoot video and at any time I want to take a picture, I could take a picture. And it would stop the video, shoot a still picture and then go back into shooting video. And so, yes, you can shoot a still picture anytime you want. Uh, why is this set up like this? I should have done more set up on this camera, but that's, the way it would work.
Ratings and Reviews
This is a brilliant course. John explains the camera in a very detailled way. Really great. I wished to have a comparison of noise using different ISO settings and just a second later John offered that. Very good work, very helpful. Thank you for that work, John.
a Creativelive Student
If you own a Canon 1DX DSLR you should take this course. John is a master at explaining in easy to understand detail on how to get the most from this camera. I own one and John's course is the icing on the 1DX cake. I appreciate the amount of time and effort that he put into creating this course. I feel we are lucky to have someone so dedicated to create such a detailed presentation on this camera and others like it. Thank you John!
John Greengo, you are a wonderful teacher. I can't say enough on how thorough you are. I truly enjoyed viewing this video and at my own time and pace. Thank you , thank you, thank you. Looking forward to my next class.