Canon® Lenses: The Complete Guide

Lesson 17 of 58

Camera Mount System

 

Canon® Lenses: The Complete Guide

Lesson 17 of 58

Camera Mount System

 

Lesson Info

Camera Mount System

All right, so it is time to get into the features and technology section which is where we get to learn about what actually goes into the lenses we make how can we buy a lands if we don't understand what we're buying so this is where we're gonna learn the components of what goes in the lands and what we're getting for all that money we're spending money on all right all that all the stuff that we're getting money on okay? So features and technology and there's a lot of things that were going to cover here just lots of little vignettes of one thing or the other so there is a long list understanding about the mount system and how can it has changed their lends him out over the years we're going to go through all the different types of glasses and coding and there's a lot of terms that you will see listed by lenses and is it absolutely critical to taking photos? No, but it helps having an understanding of what you are buying and how it's been improved from previous generations and what it...

's capable of so I think this is all important more background information than foreground information but it's just about knowing your craft well and if you take your craft seriously you want to learn everything about it and so we're gonna be covering a lot of different topics in here. So cannon has been around for a long time and they started nineteen thirty three their first camera was a range finder camera you could not take the lens on and off on it they didn't get around to making an interchangeable lens mouth until nineteen fifty nine with their cannon flex and this started with what they called at the time the our mountain and this used a breach lock mounting system and a lot of you older photographers who shot with cannons back in the seventies and sixties know all about breach locks and a lot of the kids out there these days they have no idea what a breach mt is and so most of you are used to bayonet mounts which have a small connection part that you stick on the inside and one of the things about a bayonet mount is that the two surfaces are rubbing on each other as you mount the lens to the camera you get the plates are rubbing on each other, kanan said this isn't a good thing you should just match up the plates and have something else connect them together and so on a breach mount locking system and it's hard for me to do but I don't have three d illustrations quite yet is that you would have the mount's come together and then there would be a ring around the outside that would tighten and it was in theory a better system, but it proved to be a bit of a hassle to use out in the field because it took longer and was more cumbersome to switch lenses. And they found that they needed to make some adjustments to their mound. And so they made a modified mount called the f l'm out. And there was compatibility thatyou could use older lenses on newer bodies. But there were some issues, and we're not going to get into these specific issues, because this is a long time ago, in pretty much no one's, using these lenses and cameras anymore. Then, in nineteen nineteen, seventy one, they introduced thie f d mount, which had some additional aperture control. Changes between the body and the land's made it a simpler, more accurate system. And this is when kannan became much more popular because they started introducing professional equipment. So they had both low in and high end equipment. Nineteen seventy for they called it the new fd mount and this is where they replaced the breach mount lock mechanism with the new bayonet system which is much easier and faster to take lenses on and off the camera and that was a good improvement and then everything changed in nineteen eighty seven they decided to introduce an elektronik focusing system and a completely new lens mount that replaced all of their lenses and all of their cameras how would you feel if all the lenses you had spent ten, fifteen years by and all your cameras are now obsolete and they're going on to something else and so there was a lot of photographers they were stinking mad this was I mean, they had a bag full of gear and I saw these guys and they're just like I don't know what I'm gonna do with this now it's cost me thousands of dollars to switch and kanan said that we're going to do this because the leap in technology to this new auto focusing system is so great we're going to hinder ourselves if we try to stick to this system that we started with the nineteen fifty nine let's start from scratch and let's do it right and that's when they developed their auto focus system. And so when we talk about a lens mount there's a lot of different characteristics to what we mean and what is important in a lens mount of any camera system. First off, there's. The whole physical connection system. What is the size of this? Where the prongs, how two things connect, and a big part of that is? How big is that image circle? Because that's going to determine how big a sensor we can have, what size are lenses are and so forth, another really important factor. Is the flans distance now? What the flans distances is the distance from the lens mount to the sensor. This is going to impact how we design the lenses it's going to design whether there's a mere or room for a mere. And so this has a strong importance on the camera because it also has a play with what other lenses we might be able to mount onto the front of that camera. And so that's an important statistic that we want to know about. And the image circle that is created by the lens that we put on our camera is very important because that determines the size of the sensor that we can have in there. And so there are dozens, if not hundreds of lens mount systems for various, you know, whether it's, nikon, cannon, sony, pentax, olympus, fuji, panasonic and a wide variety of other camera systems out there. And so these are some of the main things that the designers of this camera system lock in very early in the process. What is the overall design parameters of the system we're going to be using? So canada developed the canon eos system electro optical systems. Eos is also the titan goddess of the dawn. Okay, so kind of photographic related you're gonna be shooting dawn photos and they have electro focus e f lenses that work on the ile system cameras. And they went with this for a number of reasons. This is why they changed and went to the system that we are currently using. Today is they wanted to have elektronik control of the land, so there'd be elektronik, sin the body. They would pass information off to the lands. This would simplify the design process because they don't need to have mechanical linkages, which are still used in some manufacturers between the body and the lens. This is going to simplify the divine process, it's going to make more precise control of the aperture, focusing and other devices, the focusing motors, they decided revolutionary at the time to put the motors in the lands. And so by doing this, they were able to put the motor's extremely close to where the action actually needed to be worked rather than having a dr sas system, which is what most other companies did at the time might also be able to make things faster and quieter and more precise by putting motors in the lens, as opposed to in the body having a driveshaft mechanism in the lens now they went with a fairly large mount system as faras the diameter of them out it's fifty four millimeters and this enabled them to make a really large aperture lances and I remember when they first introduced the system they had the eighty five one two and they have a new version of that now and at the time they introduced and this is one of those flagship pieces optically it was a terrible lands but they made a fifty one point zero lands and it was it was a brag item we got a fifty one point oh and nobody else does and that's was kind of one of their selling point is they could make these really large aperture lenses and it also enabled them to to approve the viewfinder experience as well the short flans back distance well that improve the lens design so they're able to do a little bit more a little bit more easily with the lenses and kind of completely apart from what kanan wanted it also allowed the adaptation of non cannon lenses onto a cannon body and so there are people who own canon cameras that use nikon and other brand lenses on their camera because that short flashback distance allows them to use a wider variety of lenses so that's kind of the basics of the lens system that was designed back in the in the eighties now the original e f system when it came out cannon knew they needed to come out pretty strong out of the gate with a good collection of lenses and so they came out with twelve lenses that covered everything from fish eye to three hundred millimeters and if you find these lenses on the used market right now they will work with one hundred percent compatibility with your current rebel five d mark three one dx whatever camera you have so the beauty of the cannon system as it stands today is that it is fully compatible all the way back to nineteen eighty seven now you go back into the f d system those lenses will not mount on your camera but these will work and the work perfectly fine and so nice little collection of lenses we've seen a number of camera cos start out new camera systems and they'll come out with two or three lenses come on give me some more I need some more lenses than this and this this was a serious effort to get out there and say we have a lot of lenses for you and they they kind of hit pretty hard on new lenses for for several years because they needed to address a lot of the needs that professionals have soas faras the history of the e f elektronik focusing system started in nineteen eighty seven in two thousand three they developed the e f s system for the crop frame sensors normally on the e f system we have forty three millimeter sensors in a fairly large image circle, they developed a system for their smaller sensors that's only twenty seven millimeter ares diameter. Now the physical connection mount on the lens is exactly the same between the two. All right, it's that the lenses are designed on ly for this smaller size circle here, and they've done that for a number of reasons. Number one it's cheaper, it's, easier to make a lens that doesn't make us bigger image circle. Another reason is that they were able to do more with the design, they're able to make it more compact. But think about this from a technical standpoint. If you put on an e f lands, which has this big image circled in here, you have all this light hitting these other areas in your lens, mouth and that's going to bounce around, and that might cause, ah, little bit of change in the way your image looks, it could lower. The contrast of your image is a little bit if they didn't really black out the inside of this, so this was really designing the perfect lands for that crop frame sensor. Now, in the camera's itself, the flans distance from where you mounted the land's all the way over to the sensor, normally there's a fairly big mirror in it in a full frame camera. When the sensor is smaller, they were able to put in a smaller size mir. And what this enabled them to do just design lenses that protruded into the camera body further than in a normal camera. And this is the reason that you can't use e f s lenses on a full frame camera is that they extend too far into the body and they would hit the mir. And so if you try to mount it, it just won't work. They physically won't work the hit in there. I've heard of stories of people disassembling certain parts of this lens so that they could mount it on there. And so it is technically possible if you want to alter your equipment. But I certainly can't recommend it for most people. And so these e f s lenses for the crop frame sensors, like the rebels and the seventy d cameras like that, they're going to have smaller and lighter lenses in general, partly to the due to this lens mouth. They're going to have better quality, wide angle lenses that get whiter. And they're going to build the reduce the cost and keep those things a little bit more affordable. And so that's. Why they've gone with this somewhat compatible system. Because the e f s users can use thie f blends is on. And then in two thousand twelve they came up with e e f m for muralist system now the lens mount around the outside is exactly the same thing that they've been using on everything else but the camera is very different because they've taken the mere out of the camera and it has an extremely short flans distance of eighteen millimeters and so those normal lenses won't work on here just straight lens on the camera and so in a normal camera it's forty four millimeters and in this eos em system it's only eighteen millimeters in depth and that's why you gotta have that exactly right if you want to mount a lens on there because that's where the image is going to be focused and so we are talking about the e f set of lenses in this two day class and this is the only slide on the e f m lenses were not going to really talk much about him but if that's what you have now is the time toe watch because this is hilly time and so the fm system is cannons it's it's they're just little thank you just dipping their foot in the in the water of muralist it's like they're over here on the ieds and all these other mere listen like ok yeah we have a little camera in here and I'm sorry you can tell I don't work for cannon now they really haven't taken the mirror. Marylise world seriously when they introduce a camera system with four lenses I mean give me some lenses where's my fast lens well I got one fast lands and everything else is slow zooms and so they have a very particular market and they're just kind of testing things out now if you want you can use standard e f lenses or f s lenses on your muralist camera they have an m and m too and am three out on the market now and you can use this e f lands too e f m body adapter and this sells for about a hundred bucks so if you want to use any one of these great lenses over here then you can use that on your muralist camera but you've got to use this adaptor because remember that flans distances shorter where's our flans distance are flans distances shorter so you mount this adaptor on the front of it and then you can mount on all the other cannon e else lenses but you know what good it's a really small camera body if all the lenses are huge in size is kind of a loss of things but it can be done and so that's the f m system that's out we may see that grow in the future can it may take it more seriously and want to do more with it we'll see where they go I have no idea on that one

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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