Let's talk about the lens system. Has I mentioned towards the beginning of class? Cannon has four categories of cameras at this time. We have muralists and DSLR, and then we have full frame and we have cropped frame camera. So this is part of their muralist system. It's the Eos are uses The R F Lens Mount uses lenses that are R F lenses. Up to this 0.1 of most popular type has been the DSLR systems. And so, for instance, the five D mark for a very popular camera has what's known as an E F Mount, and it uses E F lenses on it. The crop train versions, like the 70 mark, to also has an e f lens mount, and they will use E F s lenses and e F lenses. So you do have a lot of options down there with the 70 mark to now. You can use the E F lenses on this camera, but you need an adapter now the fourth category. Our cameras like the M five, which is a crop frame muralist, which has its distinct and own lens mount that it uses now with that FM mount, you can get an adapter to use the E F lenses so ...
the F lenses can be adapted to all the muralists. And so there are certain things that you can't do. One of them, where there's a hard light, is between the two muralist versions. You cannot use the E F M lenses on this full frame. Marylise camera. Let's look at some of the lenses that are available for this new our system. So 24 to 105 is a good example. You're gonna have a lot of your standard features as faras the Auto Focus manual Focus. Switch, Zoom ring on all your zoom lenses. We have our manual focus ring, but now we have a control ring. There's a little ring up front that is a little clicky ring, and it's just like one of the control dials on the camera. And this control ring can be used to control a variety of functions whatever you choose by going into the custom menus. And so one of the options that I like is aperture because that's the way we always used to control apertures with is what the ring on the lands. But I sometimes like to have the apertures a little bit more accessible right up on the camera. And so using it as an eso setting is something that other people like. And one of the things that's kind of interesting is that you can de click this ring if you want, because it has a little clicky sound to it. And so if I get close to the camera here, you can hear the little clicky sound. And if you want to send the camera or the lens back to Canon Service, they can de click the ring. So if you're shooting video, you can change. Let's say the I s o City smoothly without any sort of clicks. While you're shooting your video, this particular lands has a zoom lock over on the side so that it doesn't extend while it might be hanging from your shoulder. Most lenses will have a specific lens hood mount in a specific, dedicated lands that is designed to block extraneous light from hitting the front of the glass. To get the maximum contrast, and most lenses will have a particular size filter, this one uses a 77 different lenses will have different size filters. So with the introduction of this camera, Canon introduced a few new lenses. 24 to 105 is very similar to previous 2124 to 1 or five optically. It's a little bit better, thanks to new design and the muralist design on this, which gives them a little bit more options. And so one of the things I've noticed is that when shooting at 24 on this land's versus previous lens, there's far less distortion. There's still a little bit of distortion on this, but far less distortion than on a previous 24 to 105 Canon, of course, has a lot of different technology that they're throwing at their lenses, and they'll often put letters on their lens toe, let you know what they are. Most of the lenses, and I think this kind of interesting that they have introduced so far are l lenses. Thes is their top of the line professional lenses that are made really to the best quality that they can. In most cases, one of the groundbreaking lenses was the 28 to f to zoom. Nobody's had an F to zoom at a 28 to 74. Full frame camera. It's a monster of a lands, and so it's gonna be very unwieldy, a little bit on this camera. But if you need it, nobody else has it. The 35 macro is the smallest lightest of the current lenses available for this camera enables you to focus very close, but has a nice general point of view for a lot of different types of photography. And then the 51 2 which is one of the best 50 millimeters in sharpness. Out on the market. They've recently introduced lenses or a production announcement that they're gonna be introducing these lenses very soon. They're not currently available at the time that we're recording this class, but they all be out relatively soon. And what I find interesting is that it seems like they've taken it up a notch with every single lens. And so the 15 to 35 I don't know of any other lands that goes down to 15. That is a 2.8, that you can put straight filters on the front, and so this is the first that hasn't been done before. The 24 to 70 is Cannon's 1st 24 to 70 with image stabilization. People have been asking for it in their SLR lenses for quite some time. Can it never did it over there. But now they've done it here. And the 72 200? No, I didn't photo shopped this image and try to make it look weird and short and squatty. They have reduced the size of this lens by about three inches and it looks like it's gonna be a telescoping Lynn. So there is a little bit of controversy because we don't know for sure at this point, but it looks like when you zoom, it's gonna be like the 100 to 400 word extends out. The previous version was all internal. All the zooming was done inside, which made it a little bit more impervious to weather and rain and dust and so forth. So it'll be interesting to see how well this one is weather sealed and how water resistant it ISS. But they have reduced the size of the 72 200 to 8 by huge margins. Here. One of their few non l lenses that we've seen so far is the 20 4200. So this is your super zoom for somebody who doesn't want to switch lenses and have a great range. And so that is quite a range. And the 85 we've seen the 85 12 before, but now we have two versions of it. We have the 85 12 l u S M. D s for D Focus smoothing. And so they're not letting out too much about exactly what's going on. But we've seen these lenses from other manufacturers, and usually there's some sort of control and maybe with something we can't see, it could be with the clicker on the click ring on this that you're able to de focus the out of focus background to change the bouquet look of your images. And so, for somebody who's a portrait photographer who wants a distinctive look, this D focus Moving is a whole new category of lens, at least in the canon world. So for those of you who are migrating from the DSL, ours to the mirror lists, cannon has three different adapters that you can get. They have your standard adapter. They have your adapter with a control ring on it, and then they have an option for droppin filters. And they will either come supplied with a circular polarizer or a variable in D filter. You can buy these filters individually is where as well as a clear filter. So for the person who wants to shoot video, having that indie filter built in makes life very easy. And so that is a great system toe have there. And so some of you might be interested in how that how this all works. So I have some little toys up here. And so what I have right here in my hand is the second of these rings, and this is the clicker ring. And so this one has a click on here that I can program to be the I S O or the focusing point or a number of different features on their habit, be the aperture and so forth. And if you want amount, older lenses on the camera will go ahead and take off the our lands and you'll see that the shutter automatically closes in here. So that sensor is not exposed to dust. And so I'm gonna mount up the red and the red dot ovals here, Turn that on. I'm going to take a really basic lens here. This is the 50 millimeter 1.8 brands and match up my red dot to red dot and turn that on and operating this camera with one of the e f lenses on it is perfect, it 100% compatible. There doesn't seem to be really any problems, I think the main thing is is that the new lenses have new opportunities for design for being optically improved. And so the new lenses might optically be better than the old ones ever could be. I think the adapter here is really nice that you can control your apertures, I esos or anything else. And this allows you to make kind of a seamless transition from your E f lenses to the R F lenses. I do like the ARF lenses. I think the design is fantastic. They look great, they feel good in the hands, their weather sealed, and they're just giving us more capabilities than they've ever had before. So let me get you in here really tight on the lands because I want to show you when I take this lens off. I think you're gonna see the sensor for just a moment, and then the shutters gonna come in and close to protect it. So I'm gonna try to do this quickly. And so where is our shudder? Shudder should be closing there. Maybe it doesn't do it with. So if I do it here, it's tried again. Why is it not closing? That's interesting. I didn't know you could do that. It's always well, there. We closed. So let's try this again. I'm I wonder if I haven't set to shoot without a lens on there. There's an option where you can shoot without a lands. And so if you haven't adapter hooked up and it doesn't have any Elektronik contacts like you're hooking up to a telescope or some sort of mount adapter, the shutter doesn't close so that you can actually shoot photos, and that may have been programmed on there. But we did get to see it close, at least so adapting lenses not a problem on this. It works more seamlessly here than on any other system. For instance, I've tried using so many cameras and canon lenses on there, and it's not quite as smooth in that regard, but this one, the focusing work smooth you can use it with video works perfectly fine and so adapting lens is not a problem and very easy to do on here. And that's important because there are so many E F lenses out there, their value is going to hold for a while. And so if you do have a collection of these, don't feel like you need to run out and sell them right away at a cheap price. If you do, send me an email and I'll maybe give you an offer on him because you're gonna be able to use these on the R F cameras for years to come. Speaking of lenses, if you are interested in learning more about lenses, I do have some lens classes of available. One is specifically on canon lenses. It goes in depth to all the different focal links and operating and choosing different lenses. And so whether you're gonna be buying a lands or whether you're trying to figure out what the right one to shoot a subject is, there's a great class for you there. If you're just looking for a little bit shorter class on choosing the right camera lens. I do also have a shorter class for those of you who want to just get the basics and get out the door. Can anyone might jump in here and see how we're doing on questions? Yeah, Don. We did have a couple of questions come in about lenses, and Elizabeth had asked if there was a way to diminish the lag she's seeing after taking a photo even with Image Review off. And she's once she's using an E F Mount lens, and she's wondering if that's because of that. Or and if that led will be gone with the offline lag time. I wonder what she's exactly referring to from picture to picture. So I think we have a moment. Let's do a quick little test e gonna throw on my adapter and my lands. Take it off here. Let me just make sure my camera set up for general shooting pretty quickly. And so if I want Teoh shoot pretty quickly, I'm gonna put the motor drive on and image review. She said she had turned off. Is that correct? OK, so I will do the same on that. Turn that off. And so, uh, I'm not sure it so I don't think it's a problem with the camera, cause my camera did. It wasn't Laghi at all. And so it's possible that something else may be turned on That is forcing that to go a little bit slower and see, uh, let me change one thing on this camera real quickly. I'm going to go in and change. Come on. Uh, the focusing to make sure that it's ah working on focusing as well. So it is focusing, and it is the Justine. Okay? Took a little longer. Yeah, it seems to be pretty quick, but I mean, that's a good example, because I just have the camera. Let me go to a single point focusing cause that allow me to go from So this this lens is struggling a little bit, and I think it's more this lens in the camera getting from close up too far away. But it's pretty quick. Great. Thank you.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Understand how to navigate the menus, modes and settings
- Know how to use Compact Raw files for faster post-processing
- Utilize Canon camera features that cross over to several Canon EOS models
- Use the 4k film options for incredible video performance with amazing opportunities for color grading when in post-production
ABOUT JOHN'S CLASS:
The Canon® EOS R is a workhorse Canon camera, hauling features from the RF lens mount to the 0.3MP full-frame CMOS sensor and 4K video recording. But the EOS R camera’s impressive list of features are simply wasted if you don’t know how to find and put them to use. Skip the floundering through menus and join photographer John Greengo in exploring the mirrorless camera’s many features, from customizing the camera to understanding dual-pixel autofocus.
The EOS R leads off a whole new full-frame mirrorless system for Canon; its smaller size brings a host of new controls to the world of EOS cameras. The latest updates prioritize image quality with a high resolution sensor and equally impressive OLED electronic viewfinder. Fast autofocus in video, with numerous video centric features, as well as a variety of ports make video a priority on this camera.
This class is designed for photographers using the Canon EOS R, from those just pulling it out of the box to photographers that just haven’t found all the camera’s features yet. The class can also serve as an in-depth look if you’re not yet sure if the EOS R is the best Canon camera for you. Learn your new Canon inside out as John Greengo shares the essentials in less time than it takes to analyze the menu -- and have more fun doing it too.
WHO THIS CLASS IS FOR:
- New and potential Canon EOS R owners
- Outdoor photographers
- Portrait photographers
ABOUT YOUR INSTRUCTOR:
An award-winning photographer specializing in outdoor and travel photography for over three decades, John Greengo has developed an unrivaled understanding of the industry, tools, techniques, and art of photography. As an educator, he’s led more than 50 classes covering the in-depth features of several different DSLR camera models and mirrorless options, including Fast Starts for Canon, Nikon, Sony, Fujifilm, and Panasonic. Greengo’s experience is extensive, having used the 5D series since its first model release. Beyond the basics, he’s also led photographers through the ins and outs of advanced options like the EOS 80D and EOS 7D Mark II to entry-level Canon Rebel cameras like the Rebel T6i and T6. John’s unique blend of illustrations, animations and photographs make learning photography easy and fun.