Canon® Lenses: The Complete Guide

Lesson 54 of 58

Choosing A Landscape Lens


Canon® Lenses: The Complete Guide

Lesson 54 of 58

Choosing A Landscape Lens


Lesson Info

Choosing A Landscape Lens

So with this, the characteristics that are going to be important in choosing the lens first off going to be the angle of view. What type of photo are you trying to take? And what are you trying to cover? How much depth of field do you want? In many cases, we want lots of depth of field. The sharpness is very high on the list of importance for these photographers, because typically we want very sharp photos in our landscapes. 00:00:33.431 --> 00:00:36. Filter ability? How easy is it to add filters to our 00:00:36.55 --> 00:00:38. particular lens? There's a few lenses that are extremely 00:00:38.98 --> 00:00:41. wide that eleven to twenty for that you can't put filters in front of and that's going to be very challenging to work with some situations if you cannot put a filter in front of that lens, or is it the same size as similar lenses that you might have? 00:00:51.8 --> 00:00:54. Landscape photographers end up walking around a lot carrying a lot of equipment, so size and weight is 00:...

00:56.21 --> 00:00:59. always an issue in that regard, and of course, price 00:00:59.25 --> 00:01:02. is always an issue. So when it comes to landscape photographs, it really kind of comes down to two different 00:01:06.471 --> 00:01:09. arenas. There is the white angle arena, which is where we kind of think about our traditional grand landscape 00:01:12.281 --> 00:01:15. photographs. And then there are tele photos where 00:01:15.48 --> 00:01:18. we're capturing snippets were compressing the landscape we're shooting, small portions have, and so you can 00:01:21.19 --> 00:01:24. really shoot landscapes with a wide variety of lenses, but usually not much in that middle range around fifty 00:01:28.43 --> 00:01:30. and so an eleven millimeter lands 00:01:31.96 --> 00:01:34. allows me to reach all the way up into the heavens 00:01:34.2 --> 00:01:36. that I can see as many stars as possible. Allows me to get very close to my subjects. So it could become very prominent in the frame. Much more practical and easy to use is a sixteen millimeter it's, still an ultra wide lens. But when you really want to show a lot of the environment around you, you want to have subjects close up. Better, leading your eye into the distance for other subjects. Probably my favorite is the twenty four much easier to work with in the sixteen once again, subjects in the foreground, leading our eye to something in the background, talked a lot about the twenty for in this class. I like twenty four. So thirty five, not quite as wide, but sometimes we don't want it quite as wide, because in a case like this, it's just gonna push everything away. I don't have anything in the foreground. That's, really, of significance, and so sometimes thirty five is the right choice. So you have the eleven to twenty four millimeter lands. You want to shoot it at eleven all the time, take it up to eleven, right? Well, it really comes down to what is the right lens, because in this subject I can get as close to this object in the foreground as I want, but I'm very limited to how close to the object in the background. So how important is this object in the background? Well, it's a balance, in my opinion in this image and in eleven, it makes this too small because it's pushing back everything and we're seeing a lot from side to side, and I think this looks better at twenty for it makes this look larger in size, and so I'm choosing a wide angle lens by how big I want my subject in the background. How important is it if I'm trying to push it away? I'll go with a wider lands. If I want to bring it a little bit closer, I could go to a twenty four or maybe a thirty five. You can use tele photos for landscape photography. And this is where we get to pick out smaller portions of the scene in front of us. Different style of nature photography. The details. These are a lot easier to shoot because you don't need his big of area toe look really nice. Pulling out those details with the two hundred millimeter lands, you're probably gonna want to two hundred. If you shoot landscapes. Probably don't need a four hundred. But it just gives you greater opportunity for pulling off details that are a little bit further away and smaller in the frame. So what sort of lenses do you want to choose well least within the cannon lineup I think the sixteen thirty five is the best landscape plans out there very practical range you can add filters to it it's not too big it's not too heavy the eleven twenty four is a really cool lands but it's hard to work with and you can't put filters on it and to be honest with you you really don't need lenses wider than sixteen that often but if you do that's the option that's out there the sixteen to thirty five is a two eight landscape photographers don't really need to eight unless they're using this for something other than landscape photography generally you're not going to be shooting landscapes at sixteen at two point eight unless you're doing star photography and you're shooting nighttime shots and that's where this one sixteen to thirty five is better than the f four's ifyou're doing night photography or if you're going to be using this for general purpose reasons gonna be shooting people with it for instance then there's also the fourteen if you know that you just want something very very wide but I think the sixteen to thirty five is definitely my first choice being easy first choice and then of course we have our tell chef lenses and so this is a very nice lands right here if that focal length works for what you're doing because that gives you all the tilting options that we talked about in the previous section and ways to have depth the fields from right in front of you all the way into the distance without having to stop down to f twenty two in the middle level for landscape photography wide angle the seventeen to forty is a great value, very good value lands. If you just need a single focal length, twenty would do a good job. Also, if you want to do nighttime photography, that faster aperture of two point eight is nice. The twenty four two point eight newer design if you don't need quite as wide angle 00:06:04.56 --> 00:06:06. and their new twenty four two, one oh five if you 00:06:06.39 --> 00:06:08. need a general purpose lands that gets you down to 00:06:08.82 --> 00:06:11. twenty four and that's good enough for a lot of good 00:06:11.62 --> 00:06:14. landscape photography and get you a good general purpose 00:06:14.28 --> 00:06:16. lens these they're all going to be under a thousand 00:06:16.62 --> 00:06:20. dollars, which is very affordable landscape photography 00:06:20.32 --> 00:06:23. in general, with a few exceptions, it is generally 00:06:23.25 --> 00:06:24. much easier on the pocketbook. 00:06:26.32 --> 00:06:28. You can get very nice shots with eighteen to fifty 00:06:28.56 --> 00:06:30. five kitt land sells for like one hundred fifty bucks, 00:06:30.94 --> 00:06:33. you're going to be stopping this lens down generally 00:06:33.57 --> 00:06:36. to get a lot of depth of field to f eight eleven and 00:06:36.69 --> 00:06:38. it's going to look as sharp as many of these other 00:06:38.82 --> 00:06:39. lenses. So the fifteen, eighty five gets us a little bit wider angle. And if you want to go really wide angle. Getting to that ultra wide angle. The ten to twenty for ten to twenty two. And then their ten to eighteen which is they're inexpensive little lands is a great way to dabble in the ultra wide world it's a very lightweight it's not the heaviest built lens which might be kind of nice if you do a lot of hiking and you want something really wide angle but those air gonna range anywhere from two hundred eight hundred dollars there's a lot of different lenses that you can make very good use of it and so I apologize if I can't answer your question on what's the best landscape plans for me because I don't know all the other factors but I could give you some of the criteria to look at and hopefully you can answer this question yourself so on the telephoto side for the landscape lenses if you're pro seventy two two hundred to eight is well it's just a top of the line lens which is great but I think the f four version lighter weight and smaller is going to work out just a cz well for most of your landscape stuff because you're not shooting at two point eight unless you're using this for a lot of other things so if you're doing it for news and traveling and other things that might be nice to seventy two three hundred if you want a little bit more reach is good and if you want the biggest reach that you can get while keeping the lens and a normal camera bag. That would be the one hundred to four hundred. So any one of these, I think, would make really good landscape plans. 00:08:06.19 --> 00:08:09. Next category down mid level seventy two two hundred 00:08:09.03 --> 00:08:11. f or this is the non I s version rumor that's a very 00:08:11.74 --> 00:08:14. good value less than a thousand dollars on that lance 00:08:15.19 --> 00:08:17. just your general seventy two three hundred is not 00:08:17.52 --> 00:08:19. going to be too bad on on it 00:08:20.49 --> 00:08:23. I normally don't recommend the seventy two, three 00:08:23.94 --> 00:08:27. hundred d olin's because optical quality is a little 00:08:27.24 --> 00:08:30. bit less than the rest of the lenses but if somebody 00:08:30.0 --> 00:08:34. was doing a lot of walking and carrying year and weight 00:08:34.05 --> 00:08:36. was a big issue than the seventy two, three hundred 00:08:36.76 --> 00:08:39. would be a logical choice because it is so much smaller 00:08:39.49 --> 00:08:41. and so much lighter weight and if you're willing to 00:08:41.73 --> 00:08:44. put it on a tripod you can get very sharp results 00:08:44.65 --> 00:08:44. out of 00:08:46.69 --> 00:08:50. for your beginner basic basic budget levels you can 00:08:50.2 --> 00:08:52. choose just about any of the seventy two three hundreds 00:08:53.24 --> 00:08:55. and they're going to get you good quality as long 00:08:55.55 --> 00:08:58. as you use them correctly you study them you hold 00:08:58.71 --> 00:09:02. them correctly you can get good results even with 00:09:02.06 --> 00:09:05. the base exum's with the crop frame system the fifty 00:09:05.31 --> 00:09:07. five to two hundreds of these lenses are not much 00:09:07.77 --> 00:09:09. money they're all under three hundred dollars you 00:09:09.94 --> 00:09:13. can do very fine point out details and getting really 00:09:13.26 --> 00:09:16. nice shots without and moving up isn't necessarily 00:09:16.81 --> 00:09:19. going to get you that much sharper oven image it's 00:09:19.25 --> 00:09:21. going to get you a better built lands which is nice, 00:09:21.61 --> 00:09:24. but it will again, be heavier and more money. So it 00:09:24.17 --> 00:09:25. is a bit of a trade off there. 00:09:27.79 --> 00:09:31. So my favorite focal links for those and a variety 00:09:31.45 --> 00:09:34. of other types of endeavors architectural. In recent 00:09:34.96 --> 00:09:36. real estate, you're going to want to be between eight, 00:09:36.68 --> 00:09:39. fourteen and eighty five in most cases, nature and 00:09:39.52 --> 00:09:42. landscape generally sixteen to two hundred. And when 00:09:42.39 --> 00:09:44. I give you numbers, does that mean you are allowed 00:09:44.27 --> 00:09:47. to shoot photos outside these numbers? No, these are 00:09:47.06 --> 00:09:48. the numbers that you have to shoot. 00:09:49.99 --> 00:09:51. No, you can shoot him whatever you want. These air 00:09:51.81 --> 00:09:54. kind of recommended numbers 00:09:55.32 --> 00:09:57. twenty four to two hundred is that general range for 00:09:57.86 --> 00:10:01. almost everything. Travel event street, candid wedding that's, a great range tohave working in the studio. You don't need super wide angle. You don't need super telephoto. Something in the fifty to two hundred range is going to cover you quite well, depending on the sports eighty five all the way up to six hundred depends on how closer proximity you have to your subject and then finally wildlife, you're going to need those longer lenses anywhere from two hundred to eight hundred, depending on once again, proximity of how close you can get to your subject.

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!