Canon® Lenses: The Complete Guide

Lesson 18 of 58

Canon® Lens Compatibility


Canon® Lenses: The Complete Guide

Lesson 18 of 58

Canon® Lens Compatibility


Lesson Info

Canon® Lens Compatibility

00:00:02.04 --> 00:00:04. Compatibility between the lenses all right so this 00:00:04.27 --> 00:00:07. is a little confusing for people and I'll try to clarify 00:00:07.29 --> 00:00:11. it the best I can e f elektronik focus is their standard 00:00:11.84 --> 00:00:14. full frame set of lenses which is a good majority 00:00:14.36 --> 00:00:15. of the lenses that we're going to be talking about 00:00:16.5 --> 00:00:21. there is a collection of f s lenses s stands for small 00:00:21.01 --> 00:00:24. sensor and these will not work on the full friend 00:00:24.36 --> 00:00:27. cameras they won't even mount on the full frame cameras 00:00:27.78 --> 00:00:32. and then they have their new toes in the water f m 00:00:32.77 --> 00:00:35. system for their muralist camera and that will not 00:00:35.81 --> 00:00:37. work on any of their sl ours 00:00:38.88 --> 00:00:39. at all 00:00:40.65 --> 00:00:44. and so what what is this compatibility look like well 00:00:44.86 --> 00:00:46. the f lenses 00:00...

:47.45 --> 00:00:50. will definitely work on the e f body so that's good the s lenses will not mount will not work on the full frame bodies and the muralist lenses will not work down here now the f lenses can be used on everything gfs linds is definitely on any f s body but the muralist will not work over here of course the muralist will work well with the muralist lenses and you can use thie f s if you use theodore actor all right you can use thie f lenses if you use the adopter and so in some ways this is the most versatile because it can use the most variety of lenses but they only have one camera out it's you know limited and features and so there's not a lot of selection when it comes to camera bodies in here and so that's how the compatibility works it depends in this case between f s and f between the size of the sensor so we're trying to get images that cover the right area and then when it comes down to here it's that flans distance that was causing the problem and why some of those lenses were not compatible with other systems cannon also makes movie lenses and although we're not talking about movie lenses in here, I think talking about him briefly will help us understand what's going on in the design of our still photography lens now canon does have actually couple wines of movie making lenses their consumer video lenses are ones that were going to talk more about which are these s t m lenses and they have special motors that air designed for focusing while you are recording video and they do a little better job than their traditional focusing lenses in still in it and still lenses now they also make a whole nother siri's and normally I'm not going to give you prices, but I thought I would give you a few prices here just so that you can see what these sini lenses are costing they're they're a little bit more money than your standard lenses so let's talk about some of their synar cinematography lenses now these have numbers that are fairly similar to their still photography I'm gonna compare these exactly straight up side by side but you can see this is kind of their standard line they don't have you know high end low in line they have a standard high end line here and these are some very nice lenses that can be used on canon cameras your candid camera for producing movies so they make a fifty millimeter one point to l a we'll talk more about this later and I want to compare it against the fifty t one point three ill because I think they started out in the womb has twins but then they got separated they went different directions how they implemented kind of the same technology the same glass but went different directions with so when we're comparing what a still photographer wants versus a movie photographer still photographer likes quick auto focus quickly get me on that and focus and these cindy lenses they're all manual focus you do not get auto focus for five thousand dollars because they have somebody on the side of the lens that is pulling focus so when you watch a movie and they change focus there's somebody on the side of that lens that is doing this and that's how all those lenses all those hollywood movies they're all manually focused and they want but a smooth focusing all right we want to have a quick aperture control we want to change it from f sixteen to wait really quit, because we take a quick shot here in a quick shot there, over in the cinema side. You know what we're doing? This panning shot, and it gets darker over here, and we need to slowly change our exposure ever so slightly, not just in third stops, but in hundreds of a stop. And so they want to have a really smooth control. So traditionally on old photographic lenses, you'd have these click stops, click, click, click and on the city lenses. No cliques. Just stop it wherever you need to stop. We prefer to have our lenses as small as we possibly can the movie lenses its size is not an issue at all. In fact, it's better if they're just consistent in size, because if you look at the rigs that movie's air set upon, sometimes they're on steady cams and they're all waited in situate that when you change this lens out to this one, you don't want to have to re balance your steadicam or if it's on a jib or some other type of device it's behind a matchbox, and it has certain sized filters. It's just better if all the lenses are almost identical in size, they do very in some cases, but they try to keep a much more similar in size for the still photographers. Most people own their own equipment most p I mean, you can rent this stuff. There's great rental. We talked about the rental, but a lot of people just owned. Most photographers owned their own equipment, but most people who make movies rent their equipment because it is so incredibly expensive. And so this type of equipment is often kept in rental houses. It goes out for a few weeks at a time and comes back so it has a whole different use cycle than a standard individual lance, some other differences between these lenses 00:05:57.903 --> 00:06:02. the ratings of howthe light comes in f stops versus 00:06:02.21 --> 00:06:05. t stops how much light comes in and the difference 00:06:05.22 --> 00:06:09. is is that a t stop? Is the transmission light coming 00:06:09.05 --> 00:06:11. through the lens? It is the actual amount of light 00:06:11.7 --> 00:06:15. coming through the lens whereas an f stop is more 00:06:15.0 --> 00:06:18. theoretical all right so let's just take this land's 00:06:19.29 --> 00:06:22. f one point two isn't enough one point two or is it 00:06:22.35 --> 00:06:26. enough one point two three or in f one point two eight 00:06:26.86 --> 00:06:30. and this is where it's very important if you have 00:06:30.15 --> 00:06:33. three cameras and they're all shooting the same exposure 00:06:33.8 --> 00:06:36. and it adjust by a third of a stop is you switch from 00:06:36.43 --> 00:06:38. camera to camera you're going to notice that in video 00:06:39.26 --> 00:06:41. but as you taken individual shot your camera we'll 00:06:41.62 --> 00:06:43. just go oh we need a little more light let's change 00:06:43.74 --> 00:06:46. our shutter speed or we need more so it depends on 00:06:46.45 --> 00:06:49. how your camera is set and so here they need to know 00:06:50.0 --> 00:06:53. this is exactly the amount of life we're on our photographic 00:06:53.65 --> 00:06:56. lenses there's places that you can go see the testing 00:06:56.41 --> 00:06:59. of your lands and it might be a seventy two two hundred 00:06:59.64 --> 00:07:02. to eight that you own but it's really a seventy two 00:07:02.69 --> 00:07:06. two hundred f two point nine and you're not going 00:07:06.22 --> 00:07:08. to really notice a difference. It still has the aperture 00:07:08.94 --> 00:07:11. and depth of field of a two point a but it's lost 00:07:11.58 --> 00:07:14. a little bit of translation transmission and light, 00:07:14.7 --> 00:07:17. maybe because there's so many elements in the let's, 00:07:17.18 --> 00:07:19. we'll talk more about that coming up in a moment so 00:07:19.46 --> 00:07:22. that's t stops and f stops, we're going to have auto 00:07:22.3 --> 00:07:24. focus, manual control, the cinema lenses or manual 00:07:24.65 --> 00:07:26. focus only mentioned that before 00:07:27.76 --> 00:07:29. we're going to have third steps. Aperture, why do 00:07:29.65 --> 00:07:32. we have third steps? I don't know, but I think I know 00:07:33.16 --> 00:07:35. it's about the smallest change in light that you can 00:07:35.73 --> 00:07:38. see is you go from one picture to the next. But as 00:07:38.91 --> 00:07:40. I mentioned before, we have the step lis aperture, 00:07:40.86 --> 00:07:44. because in movies, as you see it consistently, a third 00:07:44.02 --> 00:07:47. step is a big jump, visually it's, like, okay, I clearly 00:07:47.27 --> 00:07:50. noticed that, and you don't like that jump when you're 00:07:50.34 --> 00:07:51. shooting video. 00:07:54.26 --> 00:07:56. We have a very basic focusing scale on top we've seen 00:07:56.75 --> 00:07:58. this focusing scale over here and now we're gonna 00:07:58.57 --> 00:08:02. have a far more detailed one on the side of the lance 00:08:03.05 --> 00:08:05. and it needs to be far more detailed because in a 00:08:05.34 --> 00:08:07. movie they might be focusing on a character that is 00:08:07.49 --> 00:08:10. eight feet away and then six and a half feet away 00:08:10.21 --> 00:08:12. and they can actually see that written right on the 00:08:12.29 --> 00:08:15. lens and why is it on the side of the lands well if 00:08:15.54 --> 00:08:18. you operate your own camera, chances are you hold 00:08:18.0 --> 00:08:20. it up and you look at it like this but if you're working 00:08:20.48 --> 00:08:22. with a big movie camera and you're the focus puller 00:08:23.24 --> 00:08:26. you're going to be standing off to the side like this 00:08:26.04 --> 00:08:27. and you need to be able to see the numbers from the 00:08:27.59 --> 00:08:30. side a short focus through which means if I want to 00:08:30.9 --> 00:08:33. go from infinity to close up it might be 00:08:34.98 --> 00:08:38. like this and on a cinema lens because they want to 00:08:38.03 --> 00:08:42. be very precise infiniti might be over here and close 00:08:42.32 --> 00:08:45. focusing might be over here so how much turning of 00:08:45.18 --> 00:08:48. the focusing do you want the cinema folks want it 00:08:48.01 --> 00:08:50. really long because they want to be really, really 00:08:50.33 --> 00:08:53. accurate with their manual focusing in designing the 00:08:53.6 --> 00:08:56. lands the designers want to make it as short as possible 00:08:56.55 --> 00:08:59. because that means that will focus more quickly. But 00:08:59.18 --> 00:09:02. if you like to manually focus you want the right focus. 00:09:02.41 --> 00:09:03. Throw on your lands 00:09:05.93 --> 00:09:08. next up, something called minimal focus breathing. And this is where the lens changes magnification. As you're focusing, when you focus, you are actually changing the magnification of your lands. And they prefer that to do it as little as possible, because they don't want their framing to change when they're changing. Focus during a shot here. You don't need to worry about it because you're not shooting pictures in between one focus point and the other. We're going to have internal focusing on these so that they keep their size and weight well balanced oftentimes because cameras are mounted in different types of riggs and steady cams and they need to have an extremely smooth zooming system because occasionally they want to do a zoom as they're shooting their film and they needed to be incredibly smooth resinous still lands we just need to get from point a to point b we don't care what happens between point a and point 00:09:59.366 --> 00:10:03. b and so there's a lot of differences between movie 00:10:03.16 --> 00:10:06. and stills and this is why I've always believed that 00:10:06.52 --> 00:10:09. there is always going to be theseventy worlds of movie 00:10:09.94 --> 00:10:12. and stills and I know we're really closely related 00:10:12.39 --> 00:10:15. work we're like cousins but we're not like identical 00:10:15.56 --> 00:10:18. twins there are different needs when you're shooting 00:10:18.16 --> 00:10:21. movies versus stills and if you think that you're 00:10:21.69 --> 00:10:24. going to buy one camera that's going to do both super 00:10:24.84 --> 00:10:27. great you're just wrong because there are so many 00:10:27.95 --> 00:10:30. differences when you get into the details like this 00:10:30.16 --> 00:10:32. and I think understanding these differences kind of 00:10:32.84 --> 00:10:35. helps you appreciate the design and what goes in tow 00:10:35.7 --> 00:10:37. a lens designed for a still photographer 00:10:39.15 --> 00:10:42. in canniness lineup they have general groupings and 00:10:42.94 --> 00:10:46. this is not put out by cannon this is this is my ranking 00:10:46.85 --> 00:10:49. and grating of their lenses they have an entry line 00:10:49.94 --> 00:10:52. of lenses which generally are goingto have plastic 00:10:52.72 --> 00:10:55. mounts a lot of plastic involved in the construction 00:10:55.64 --> 00:10:58. of it plastic focussing ring and they have very slow 00:10:58.6 --> 00:11:01. apertures and this is where many of us start out in 00:11:01.14 --> 00:11:02. photography and there's nothing wrong because you 00:11:02.88 --> 00:11:05. can get great photos here but we don't have all the 00:11:05.77 --> 00:11:08. other features and construction quality that we do 00:11:08.71 --> 00:11:11. higher up the next step up they're going to have metal 00:11:11.59 --> 00:11:13. lens mounts they're goingto have ultrasonic motors 00:11:13.97 --> 00:11:16. which I'm going to explain further coming up they're 00:11:16.1 --> 00:11:18. going to have nice wide focusing rings look how wide 00:11:18.44 --> 00:11:20. that focusing ring is compared to this little tiny 00:11:20.83 --> 00:11:23. guy and they're also rubber so they feel a little 00:11:23.1 --> 00:11:25. bit better and you're gonna want to manually focus 00:11:25.15 --> 00:11:28. a little bit uh more easily with one of these than 00:11:28.29 --> 00:11:29. this little tiny plastic ring there 00:11:31.35 --> 00:11:34. then there's another little group that I call the 00:11:34.37 --> 00:11:38. upper mid range and these air going tto add focusing 00:11:38.03 --> 00:11:41. scales on him and a feature called ftm full time manual 00:11:41.39 --> 00:11:44. focus which means you can just grab the focusing ring 00:11:44.45 --> 00:11:47. and start turning focusing whenever you want and you 00:11:47.03 --> 00:11:49. can't necessarily do that down here depends a little 00:11:49.53 --> 00:11:50. bit on the last 00:11:51.35 --> 00:11:53. just overall general better construction and then 00:11:53.95 --> 00:11:56. we get to their professional quality lenses and this 00:11:56.71 --> 00:11:59. is where it's pretty much top quality everything throughout 00:11:59.25 --> 00:12:01. the lands there using some exotic class that I'm gonna 00:12:01.82 --> 00:12:04. explain here in a moment middle body construction and you get a red stripe who red stripe and we're gonna talk more about those ellen's, isas well, and so these air kind of the four different categories that they have. And it seems to me that cannon has a designer who designs the look of their lenses, and it doesn't seem to be a very secure job. They seem to get fired about every three years, and somebody new steps in and says, okay, we're going to use new materials and a new color coding. We're going to use new fonts, and they change the look of their lenses. And so is you go back in history. The lenses looked different, then they did now, and there's just changes that that all the manufacturers do from time to time. So there are a lot of letters and codes and symbols on your lands and each one of those has a meaning for something different and we're going to go through and really break this down as to what it does is it important and you know I'm sure for the designers who have come up with a new feature or idea do I get a letter on the lands because sometimes it's not a very big feature and it's just well it's part of the lands other times it's a pretty big feature and all right we're gonna we're gonna plaster your feature on the edge of the of the lands and so if it's a pretty important feature they're going to put it up there right there in the naming protocol of that lands and so let's go through and talk about some of these ways to identify the different lenses currently they're putting a silver ring on their basic line of lenses now in days gone by they kind of had this gold ultrasonic band that told you had an ultrasonic focusing motor which let you know that it was very quiet and very fast and focusing and for a long time that was just the standard of fastest focusing and so an ultrasonic is a is a good lens tohave because it's got fast focusing but that's on ly speaking to the focusing motor there are a couple of lenses that we'll talk about in particular that used to fracked of optics. Tohave a green line on them, there's. Only two of those lenses out right now. And then there is there red ring, which indicates their luxury line of lenses. And we'll talk more about these as well. And so that's. Just some of the identifying marks that you will see on these lenses.

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.


  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?



I so appreciate what a good teacher John is. I wish I would have known this much about lenses when I first started out buying my lenses. It was hard finding information about lenses. I didn't want to spend money on a lens I wouldn't use. The better understanding we have about our gear the better photographers we will be. I have never seen a class like this. Invaluable...yes I bought the class! I am really impressed with the high quality photography classes available on Creative Live!


This was a great class not just about the lenses that Canon offers but also how each lens works. As usual, John's slides are alway informative and entertaining. There is a phrase: John has a slide for that! I am not even a Canon user and found this class to have great information for the use of each specific lens. Great work John! Thank you Creative Live for another great class!

a Creativelive Student

Have loved the other John Greengo classes I've watched & purchased - and this is another winner! Having been a high school/college science teacher, it is refreshing to take a course with someone who not only is extremely experienced, seems to be a computer having stored so much knowledge, but is equally concerned about making the information truly understandable to different levels. And he shares the information using every tool he can: slides, video, interactive presentations, and great quizzes. I learned so much about my Canon lenses - and lenses in general with their many components. I am excited about testing each of mine to see what macro ratio they handle, and especially appreciated the tutorial on testing each for their specific quirk that affects super sharpness. This class is great whether you own Canon lenses or not. Thanks John Greengo!