Canon® 6D - DSLR Fast Start


Lesson Info


Talk a little bit about some of the options on lenses and a little bit of the alphabet soup involved in all the letters, so e f lenses are elektronik focus that's going to be the main collection of lenses that you're going to look at for this camera, any lens with a red stripe or the l on it is a good lands and so that's their luxury that's their high end professional lenses and so you can kind of rest assured, if you're getting in el lens, you're getting a very nice piece of equipment ah lot of the lenses, but not all of them have image stabilization on it, which is a very nice feature tohave some of these lenses they have come out and made improvements, and we have second generation lenses, which means there really isn't any functional, other change there's, no different motor in it or it's not a different apertura different focal length and it's the second generation so that when you're buying lenses on the ews market, you know whether it's generation one or generation too us sam is...

one of the motors that cannon started putting in their lenses many years ago it's an ultrasonic motor which basically means it's really fast and it's really quiet and it's what they have in a lot of their higher quality lenses. They've introduced a new type of lens called an s t m stepper motor lands, and this works fundamentally a little bit differently on the inside of the lands. The difference is to the user, is that when you're shooting video, it's a little bit quieter when it's focusing shooting video, and so that will be known as s t m, and there are very few lenses that are available that have that option these days, e f s is for short back focus, and these lenses will not work. In fact, they won't even mt on this camera or any of the other cannon full frame cameras. And so if you've used the sixty d or a rebel camera in the past, chances are you have f s lenses and is you upgrade to this land's those lenses, they're not going to work. You're gonna have to sell those lenses, at least that's what I would do because they don't work on this camera. And so cannon has two different lines of lenses e f in e f s lenses. You do not want the s lenses, a few more things on lenses here, some of the higher end lenses will have a focusing limiter, so that if you're focusing, saying a football match, you can be pretty sure that you're not going to be photographing people within say one point, two meters, or four feet of you so you can narrow the search range so the camera might focus a little bit faster. All the lenses will have a manual focus autofocus switch on it. So if you want to switch that aspect of the camera that is done on the lens itself, many lenses have a stabilizer on and off switch. Some of the larger telephoto lenses will have different stabilising modes one and two in the mode. One is where you want to keep it. Most of the time. This is the normal note mode to is for panning, so if you're moving left to right or top to bottom and trying to get a shot while you are panning, you want to flip it into mode, too, because then it turns off the stabilizer in the direction that you are moving on some of the lenses. You'll see a little red line or a red dot, and this is for doing infrared photography. Not a lot of people do this, but you can stick on a really dark red filter, or you can have a camera body altered to shoot only infrared light and infrared light focuses at a different distance than visible light, and so you need to adjust lenses for that when you want to shoot infrared, and when it comes into the best choice of lenses for this camera here's here's my thoughts on lenz is obviously going with any l lens is going to be a great option there. What some call the holy trinity of lenses in zooms is the sixteen to thirty five two point eight twenty four to seventy two point eight and the seventy two, two hundred two point eight these air kind of like the three standard tools that most photographers I would like to have in their camera back they are a little bit big, they are a little bit pricey, they're going to range anywhere from fifteen hundred to twenty three hundred dollars and so a good option for this camera, for I think a lot of people is the siri's of f four zooms now these air all l lenses still they have a very similar range, if not exactly the same range, and they haven't f four aperture, which means the price them is going to be quite a bit less so these ones will range anywhere from eight hundred dollars to twelve hundred dollars. In some cases, they are just a cz good optically there, justus fast to focusing, they're a little bit lighter weight, they just don't have that to eight aperture, so if you don't need that cutting edge of speed. I'm more than fine with the foot f four zoom's over the two wait, I do like that extra speed of the two point eight, so it depends on what your needs are now having a high quality full frame camera of this nature it's nice to have something that's really the best that they make and these air some of their great prime lenses and if you have a good reason to buy one of these prime lenses, you're really going to enjoy it it's going to be a coveted item there's a lot of photographers I don't know anyone who owns all five but there I know a number of people who have one or maybe two of these lenses and these air the fast lenses if you want a really fast lens, which means that lets in a lot of life, which means you can use a fast shutter speed. All of these lenses are just fantastic lenses. Now which lens do you get? Well, it depends on what you do. Everyone has different styles of photography that they enjoy, and all I can say is that if you can find the budget for these which you're going to range from a thousand dollars to two thousand dollars it's going to be a specialty tool that you're really really good to enjoy, all right, let's think a little bit more budget minded some non l lenses just because it's, not in ellen's, doesn't mean you shouldn't buy the limbs. Cannon recently introduced three different wide angle lenses that are very, very nice quality. They're not l lenses, they're still a little on the pricey side between eight, nine hundred dollars, and I will recommend also the tamara in twenty four to seventy it's a non cannon lens. I think it works just fine on this camera and is a whole lot less money. It's thirteen hundred bucks, it's about half the price of the cannon, twenty four to seventy two point eight but this one has vibration control, and the cannon does not have image stabilization, and so optically, the cannon is a little bit better, but you have to have super high demands to get that to need that sharpness out of it. And so if you want a good all around zoom twenty four to seventy, tamron is really nice. I also like the cannon twenty four to one of five and the new cannon twenty four to seventy f four zoom for your kind of general zoom. Now, if you want the absolute best bang for the buck here, the lenses thes air on lee four hundred six hundred fifty dollars now these are kind of less they're lower tier lenses, they're not at the high end lenses, but bang for the buck these air absolutely the best none of these air perfect lenses but then there is no such thing as a perfect lands but like that eighty five one eight you know it's a quarter of the cost of the eighty five one two and the average person buying photographs from a wedding or portrait photographer would not know the difference so any of these lenses I highly recommend I've used all of them and I can highly recommend him would work really good on this camera keeping the budget down if you kind of blew the budget on the camera you can still get some pretty good quality out of this so this might be a good time tio stop and catch up on questions perfect cool. So tom ben asks why does the one thirty five lenses always seemed to be better quality even even in a cheap lens over other lenses? Um well it's easier to make high quality short telephoto lens and so a lens in that eighty five toe one thirty five two hundred rage is relatively logistically easy for them to make a very high quality linds and so most lenses are going to be at their optical best and if you go to other websites where they do optical tests on lenses they usually are using somewhere between eighty five one thirty five and that's just where lenses inherently are just very, very sharp crystal asked if you could pick one prime for portrait photography, which would it be? Well, I know a lot of people would go immediately for the eighty five one point two and that's a nice big chunk chunk of glass, I think for affordability, the eighty five one eight is a great lands optically you may find photographer friends that get really pit picky and see the difference, but if you were to just hold up two photographs to a client, they would be hard pressed to know the difference. I really do like the one thirty five f, too, but the problem is is if you have a normal size studio, which is limited in size, you gotta be back kind of far, so if you do portrait's down at the park, I really like the one thirty five for that, but if you're in a studio, the eighty five works out much more conveniently, because the distance between you and your subject isn't so great. Sam cox has an interesting question, he says. I suppose the camera should be turned off when changing lenses, but well, I heard anything if I change the lens with the camera turned on and I've never heard any there's no harm in changing lenses with the camera turned on, there is a fear, and I don't know that it's grounded in anything real about the sensor collecting dust because the cameras turned on there's an electrical charge it's more likely to get dust now we do have a shutter curtain which is physically completely blocking the sensor and we have a mere which is kind of superficially I mean there's a lot of ways around the mirror but it's kind of superficially blocking any dust a cz well and just because you take the lens off doesn't mean that dust is instantly rushing in there and so there's no problem with leaving your camera turned on and changing it I have not seen anything in the instruction manual recommending turning it off although it wouldn't hurt but and I think a necessary step okay good to know good to know well I think you're one of the few people that reads instruction manual so thank you for interpreting them I have to do it for my job and I do actually go through him and that's why I trying to pull out all the saline thank you we appreciate it and I have been john sitting over here with my calculator okay one hundred for I really want that seven seventy two hundred four I think that's bang for your buck that's a great lands that's that's one that I own I actually the one that I have on screen here is the non stabilized version of it which is ridiculously cheap let's he was last I checked, it was around seven hundred dollars. I think it was the cheapest l lens that cannon made. Now, I really wanted the image stabilization it. So I paid the extra. It was like three or four hundred dollars to get that but it's, available in both versions, at least for the time right now.

Class Description

Take this Canon® 6D tutorial with John Greengo, and you'll learn everything you need to know about the camera! In this photography tutorial, he provides hands-on introduction to your Canon® 6D camera's operations, detailed instructions on how all the menus work, and instruction on how to shoot great photos with this specific Canon® camera model.


Emmon Scott

There’s a saying in golf that it’s the swing, not the club, that counts. I’ve found that true in photography, where the most artistic photographer I know uses a Canon Rebel and an old film camera. His stuff wins awards and gets chosen for big exhibits. As recently as this past summer (2017) he told me he MIGHT upgrade to the camera this course covers, the 6D. Not the newer 6D Mark II — this one. If he gets it, I hope he takes this course. Is this course relevant in 2018, six years after the camera came out? To me, it is. I’ve read the hype about newer cameras — and they sound great — but I like the idea of seeing if I can do more with the 6D in my bag. And this course has already helped with that, really explaining the options and techniques for focusing, techniques I’ve started using and that have impacted how I composed some shots. The teacher, John Greengo, is the guy I’d want to meet behind the counter at a camera store. He knows the camera inside-out and upside-down. In this five-hour class, he takes you through every button, dial, and menu option — judiciously skimming past things less likely to be useful and focusing time on the key stuff. He’s a smart teacher and this is a smart class. Other examples of things he spent time on that caught my attention: How to adjust this camera and shoot remotely with an iPhone. How to use "mirror lockup" to keep the camera still at slow shutter speeds. How to update firmware. If you another camera and John Greengo offers a Fast Start course for it, my guess is you’ll find it worth your time.