Canon® Lenses: The Complete Guide

Lesson 15 of 58

Aperture: Flare

 

Canon® Lenses: The Complete Guide

Lesson 15 of 58

Aperture: Flare

 

Lesson Info

Aperture: Flare

00:00:02.08 --> 00:00:05. But the flare shape is also determined by the aperture. 00:00:05.97 --> 00:00:08. You can actually look in here, and you could count 00:00:08.6 --> 00:00:11. the blades on the aperture by the type of flare in 00:00:11.84 --> 00:00:14. here. And, for instance, on this lands, I can tell. 00:00:14.35 --> 00:00:19. I have one, two, three, four, five, six, seven, eight 00:00:19.12 --> 00:00:20. bladed aperture in this lance. 00:00:24.11 --> 00:00:28. And so our standard apertures are these straight edges 00:00:28.26 --> 00:00:31. this is the easiest way to build an aperture and you 00:00:31.34 --> 00:00:34. will see kind of the lower end lenses built with this 00:00:34.11 --> 00:00:36. type of design one of the things that you might see listed under the characteristics of a lens is a rounded aperture and what this means is they put a little curve in the aperture and I don't design and build lenses myself but I believe this complicates the process of them opening an...

d closing and the way they actually have to move in and out but this is preferable so that we have a rounder out of focus area which doesn't look awkward because imagine if we had a three bladed aperture and we had these triangles on our image is in all our flare areas it would look quite awkward and so you want to have ah lot of blades and you wanna have him rounded or even better you want a truly round aperture so that these air all curves so that when they stop down they form a perfect circle but this perfect circle is very hard to create because they're trying to create perfect circles for all the different apertures and that's why they typically get a rounded when it's kind of a compromise with the largest versus the smallest aperture it's all pretty close to round there are a few lenses that we're able tto have nearly perfectly round aperture settings on and those tend to have very nice flare areas because they're very natural looking this also has an impact on the bouquet or the out of focus area of our photograph we're going to talk about that in the later section as well and so how many blades is in your lands it's not a critical factor on which lens I would choose to buy but it's something to be aware of because it has an impact on our final photographs and I always seem to get questions on starburst I think I've answered him but I well let's just check in on any other questions that we might need to catch up on yeah I love that starburst affection so w m c ward had asked and this is just going back to diffraction so would my seventy mark two which would be a crops and circle have the same diffraction as my five d since if the pixel sizes are about the same yes so it's the pixel size not the sensor size and so it would I was about to say no but I didn't really hear what was the other camera wass and so there are technical places for instance dp review is a great local site that international but they're located locally here and if you go into this the pages about the camera reviews somewhere buried in there will be in the specifications pixel size and it's measured in micro meters and it's going to be like two point three or four point nine and you can actually check the pixel size of the camera that you were using and you can compare that with the other cameras that you might have to see where that might be so that a reason teo at that point b a pixel peeper we're getting into that territory and that's one of the things that I want to avoid a little bit I mean we're comparing lenses but we're not going to be going in incredible detail and comparing the that close of detail between lens and lands word we're trying to do the big scope here right but that's so that the size of the pixels that is different than saying this camera has twenty megapixels and this camera has twenty megapixels that you could help you get well I'm not sure what you're asking but you could have two cameras that have twenty megapixel right that have different let's let's let's add on top of this twenty megapixels twenty megapixels same size sensor they could have slightly different sized pixels 00:04:13.3 --> 00:04:15. it's possible because there's the gap between the 00:04:15.86 --> 00:04:19. pixels and that could very generally they would probably 00:04:19.17 --> 00:04:22. be very very close but you could you could pretty 00:04:22.15 --> 00:04:24. summarize going oh this camera has fifty megapixels 00:04:25.11 --> 00:04:26. and this one has twenty four and they're the same 00:04:26.93 --> 00:04:31. size sensor that fifty has gotta cram a lot more little 00:04:31.08 --> 00:04:33. pixels in there and so they're probably a lot smaller 00:04:33.8 --> 00:04:36. but if they were if there were two different size 00:04:36.02 --> 00:04:36. sensors 00:04:38.03 --> 00:04:39. then you gotta go back to the looking at the individual 00:04:39.87 --> 00:04:43. pixels and so one of the areas where this is concerned 00:04:43.01 --> 00:04:46. people is that cannon has recently introduced a fifty 00:04:46.41 --> 00:04:49. megapixel camera okay, so you got fifty megapixels 00:04:49.94 --> 00:04:52. what does that mean? Smaller pixels packed into that 00:04:52.81 --> 00:04:57. same size area and this is drawn the attention of 00:04:57.14 --> 00:04:59. some landscape photographers because landscape photographers 00:04:59.87 --> 00:05:04. love intricate little small detail but landscape photographers 00:05:04.17 --> 00:05:07. also like stopping their lens down two f sixteen enough 00:05:07.04 --> 00:05:11. twenty two and that's one of the questions that people 00:05:11.38 --> 00:05:13. need to answer is if they're landscape photographer 00:05:13.52 --> 00:05:16. which I do a fair bit of and you stop your lens down 00:05:16.23 --> 00:05:19. two twenty two do you get to much to fraction on a 00:05:19.83 --> 00:05:23. five gs fifty megapixel camera and you have to back 00:05:23.25 --> 00:05:26. up to sixty f sixteen or half eleven in order to hold 00:05:26.41 --> 00:05:29. the sharpness that you need for your photography and 00:05:29.59 --> 00:05:31. so this is 00:05:32.4 --> 00:05:35. potentially one of the limit points of how far we're 00:05:35.08 --> 00:05:38. going to take pixels yeah one hundred megapixel sure 00:05:38.15 --> 00:05:40. that might be fun but we're gonna have a lot of diffraction 00:05:41.0 --> 00:05:44. how about how about a million pixels we're going to 00:05:44.17 --> 00:05:47. have to fraction at f two point eight and so we're 00:05:47.2 --> 00:05:49. gonna have to improve the quality of our lenses if 00:05:49.39 --> 00:05:52. we wanna have pixel levels that are that small and 00:05:52.94 --> 00:05:55. in that great of numbers and so there's a bit of, 00:05:55.33 --> 00:05:58. ah, attack war between the lenses and the sensors 00:05:59.1 --> 00:06:02. that we can't have higher quality sensors until we 00:06:02.54 --> 00:06:05. have higher quality lenses. And if you are upgrading your camera, you need to upgrade your lenses to match that. Because you gotta have kind of equivalent items to work well together. Where on my lens. Does it say the number of blades? It doesn't, it doesn't. But if you look in the instruction manual, if you look at the data online about your lands, a good website would list that in the specifications. However, if you do, take a photograph of yourself a selfie and you use a really long exposure, like one second, you'll see all the blades. And if you do it long enough, you'll be able to count them.

Class Description


Working with interchangeable lenses can be both exciting and daunting to all levels of photographers. Canon® Lenses: The Complete Guide with John Greengo will prepare you to select the right lens and get the most out of all of your lens investments.

John Greengo is the master of making complex photography concepts easy to understand and in this class, he’ll bring all of your Canon® EOS DSLR lens options and operations into focus. You’ll learn about: 

  • Focal length and aperture
  • Canon® zoom lenses
  • Which lens accessories to buy
  • Third-party lenses
  • Maintaining a lens system
John will cover the full range of Canon® lenses, from ultra-wide to super-telephoto, zooms to primes, fisheye to perspective control. You’ll learn how to match the right lens to your needs and get insights on the best ways to use it.

Whether you are thinking about buying a new lens or just want to get the most out of what you already have, Canon® Lenses: The Complete Guide with John Greengo will help you out.

Lessons

  1. Class Introduction
  2. Canon® Lens Basics

    John Greengo gets you up-to-speed on the basics of working with interchangeable Canon® lenses.

  3. Focal Length: Angle of View
  4. Focal Length: Normal Lenses
  5. Focal Length: Wide Angle Lenses
  6. Focal Length: Telephoto Lens
  7. Focal Length Rule of Thumb
  8. Field of View
  9. Aperture Basics
  10. Aperture: Maximum Aperture
  11. Aperture: Equivalent Focal Length
  12. Aperture: Depth of Field
  13. Aperture: Maximum Sharpness
  14. Aperture: Starburst Effect
  15. Aperture: Flare
  16. Aperture: Hyperfocal Distance
  17. Camera Mount System
  18. Canon® Lens Compatibility
  19. Canon® Lens Design
  20. Canon® Lens Composition
  21. Canon® Lens Shape
  22. Canon® Lens Coating
  23. Canon® Lens Focusing
  24. Lens Autofocus
  25. Canon® Lens Image Stabilization
  26. Canon® L Lenses
  27. Image Quality
  28. Canon® Zoom Lenses: Standard
  29. Canon® Super Zooms
  30. Canon® Wide Zooms
  31. Canon® Telephoto Zooms
  32. Prime Lens: Normal Lenses
  33. Prime Lens: Moderate Wide
  34. Prime Lens: Wide Angle
  35. Prime Lens: Ultra-Wide
  36. Prime Lens: Short Telephoto
  37. Prime Lens: Medium Telephoto
  38. Prime Lens: Super Telephoto
  39. 3rd Party Lenses Overview
  40. 3rd Party Prime Lenses
  41. 3rd Party Zoom Lenses
  42. Lens Accessories: Filters
  43. Lens Accessories: Lens Hoods
  44. Lens Accessories: Tripod Mount
  45. Lens Accessories: Extension Tubes
  46. Lens Accessories: Extenders
  47. Macro Lens: Reproduction Ratio
  48. Macro Lens: Technique and Choices
  49. Fisheye: Technique and Choices
  50. Tilt Shift: Techniques and Choices
  51. Make a Lens System Choice
  52. Choosing A Portrait Lens
  53. Choosing A Sports Lens
  54. Choosing A Landscape Lens
  55. Best Lenses for You
  56. Lens Maintenance
  57. Buying and Selling Lens
  58. What is John Greengo's Favorite Lens?

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