Canon® Lenses: The Complete Guide

Lesson 36 of 58

Prime Lens: Short Telephoto

 

Canon® Lenses: The Complete Guide

Lesson 36 of 58

Prime Lens: Short Telephoto

 

Lesson Info

Prime Lens: Short Telephoto

Okay, so let's continue on into the world of short tele photos in this case we're going to be looking at isolating particular subjects from the scene and we will be doing that in two different ways one by the angle of view that we're shooting and secondly by using shallow depth the fields so that our subject is in focus in everything else is out of focus most commonly associated with portrait photography so if you're into portrait photography this is the first of two areas that we're gonna be talking about so here we're gonna have eighty five one hundred and one thirty five millimeter lenses so let's just go ahead and dive right into it this is a fantastic value and if you want to get into portrait photography and you do not want a portrait lands this is the lens to get it is not very expensive it is not very big it has been around a while but it is still optically a very good lens I actually own this lens myself and when I am called on to do portrait's this is the lens that I am most ...

likely to grab it is very good quality lens it's small it's lightweight that eighty five if you're not really sure where to get an a what portrait lens to get eighty five is the default standard a great place to get a lands? Maybe you're going to find out you prefer one hundred or one thirty five or fifty. But this is a great place to get started. And because it's, an older design, and the research has all been paid off on this it's it's, a very affordable, leads about three hundred fifty dollars. It's got some chromatic aberrations and it's not perfect when it's wide open. But it is an excellent quality lands that I can't highly recommend enough. Most people don't see that eighty five one eight that we just talked about because they are blind sided by the eighty five one two and this this is this is the one that gets all the glory because this is the one that has the shallow a step the field in the eighty five range and so this eighty five one two is really the ultimate portrait lands if somebody said I really 00:01:59.331 --> 00:02:02. want to shoot portrait on the very highest level what lens should I get my question would be what equipment teo now and how long have you been doing this and if they said well I don't have a camera I just want to get into it I would tell them get theeighty five one eight learn how to use that lands after you've learned how to use that one then you can upgrade to this one if you straight out by this one this is the equivalent of giving the lamborghini to the sixteen year old not that they're going to crash this but that they're not going to understand and be able to appreciate because this is a highly tuned item this is dangerous item to use you need to be skilled you need to build up your your skill level before you get to this and so I do not recommend this even if you have the cash do you want a lottery and you just wanting to dump money on photography? This is something that you need to work up to. This is a mountain that you need to climb to get to it, and I don't know if we had one of these over here. Let me just put a couple of these back, and I do. Let me see. Where is two? I have it, I thought I had it. There it is, okay, so we'll do a little live comparison. We just clear a couple of these off. So here are the eighty five. And so here the eighty five and the hood size always is deceptive on exactly how big the lenses. So we take off these hoods here. Cam we go all right so here's our eighty five one eight that I highly recommend I would prefer to have the eighty five one two I'll show you a photo later in the class was shot with this because it it's just beautiful gorgeous out of focus background it's awesome but my nickname for this lands is the shot put okay you guys know the shot put its right about this size put it in here sailors it sze that solid and heavy and this is just much 00:04:01.429 --> 00:04:04. lighter way this is a much more reasonable lance and 00:04:04.4 --> 00:04:07. look at the size if we get a nice close up of the 00:04:07.26 --> 00:04:09. size of the opening in order to get this in here and 00:04:09.87 --> 00:04:12. that is some high quality glass which tends to be 00:04:12.6 --> 00:04:17. very heavy and so this is a chunk of the lands I know 00:04:17.9 --> 00:04:19. we've had some people on our tours that have been 00:04:19.71 --> 00:04:23. walking around the streets of cuba with this and this 00:04:23.69 --> 00:04:27. is a chunk I mean this this really weighs on you it's 00:04:27.78 --> 00:04:30. two point three pounds on the front of the lens and 00:04:30.78 --> 00:04:34. so I mean it's yeah and just holding this like in 00:04:34.31 --> 00:04:37. your hand along with a camera it gets really tiring 00:04:37.8 --> 00:04:39. and so I know there's a number of wedding photographers 00:04:39.69 --> 00:04:42. who would much rather shoot a six hour wedding with 00:04:42.13 --> 00:04:44. that eighty five one eight than the one point two 00:04:44.22 --> 00:04:44. let's the focusing system is actually a little bit slow. And so there might be some sports photographers that we might be interested in this because of light gathering ability. But the focusing system. Because the size of the elements air so big in there, it is a little bit on the slow side. So it's not perfect for really fast action. 00:05:05.87 --> 00:05:08. One hundred two is another one of their older lenses 00:05:08.18 --> 00:05:12. it's a near sibling of the eighty five one eight that 00:05:12.46 --> 00:05:14. we've just been talking about here and it's just a 00:05:14.76 --> 00:05:17. subtle slight difference of a little bit more magnification 00:05:17.89 --> 00:05:21. enough to aperture I think it's great lands I would 00:05:21.04 --> 00:05:24. recommend it as highly as theeighty five you do need 00:05:24.42 --> 00:05:27. to have a little bit more space between you and your 00:05:27.04 --> 00:05:28. subject it means you're going to be back a little 00:05:28.95 --> 00:05:31. bit further if you were doing headshots in your spare 00:05:31.91 --> 00:05:35. bedroom which is fairly small because you don't have 00:05:35.03 --> 00:05:37. much space to work with you we'd probably better get 00:05:37.3 --> 00:05:39. out better get the eighty five because that'll just 00:05:39.44 --> 00:05:42. put you a little bit closer if you have a nice big 00:05:42.44 --> 00:05:45. open area to shoot the one hundred gives you is going 00:05:45.98 --> 00:05:47. to have a little bit more room and so you want a little 00:05:47.94 --> 00:05:50. bit more room for shooting your portrait okay once 00:05:50.75 --> 00:05:53. again no hood supplied cannon naughty naughty and 00:05:53.94 --> 00:05:56. see a chromatic aberration we'll see that's how it's 00:05:56.93 --> 00:05:59. often shortened up so you gotta learn how we like 00:05:59.2 --> 00:06:00. to shorten our words 00:06:01.77 --> 00:06:05. all right so this is from the original collection 00:06:05.49 --> 00:06:08. of lenses that cannon introduced back in nineteen eighty seven it is technically still in the lineup it's probably hard to find it's a very special soft focus lens that has you see this big old ring up in the front of it it says soft zero one and two it's a normal sharp one thirty five millimeter two point eight lands but you khun ad in what I like to call the elizabeth taylor saw filter effect all right so it adds a nice dreamy filter and everything becomes this soft out of focus area and it's interesting I've never really shot with it but it's a very old design and it's very very particular and unique so it's probably not going to be on the want list for our most photographers and so if you found one used and you just wanted to be able to do something a little different than all the other photographers I could see picking it up in that regard just so that you have a different tool that most people don't have in the bag with one thirty five f too this is a favorite even though it's been around for a little while this has been a favorite of portrait photographers for quite some time it's a little bit longer focal length it has been referred to in more than one case as the poor man's eighty five one point two and so if you were lusting after an eighty five one point to but you didn't have you know it's like twenty four hundred dollars for that one if you wanted to get something that had a similar effect as that lends this lands is right about a thousand dollars so it's less than half the price of the eighty five one two and the difference is is that it's a longer focal ink and it's going push you back from your portrait subject a little bit further so I consider this the outdoor portrait leads you better have a really nice big house if you want to shoot pictures inside because you're probably going to be thirty, thirty five feet away in some cases it's incredibly sharp and if you want that shallow depth of field look it has an incredibly good shallow depth of field look ah lot of people are hoping for an upgrade from cannon they would like to see image stabilization added to it which I think would help just because it's it's a lens it's a little hard to hold because it's getting into that longer focal ing because it's one of their in fact I would say it well tonight not quite their longest but it's one of their longest lenses that does not have image stabilization, so I think that would be a nice addition if we are to see an upgrade to that. And so when it comes to the portrait lenses, I think the eighty five is just an easy choice for the absolute top of the line pros who have experience using these lenses eighty five one too if you really want to try to take your photography to the very top level and if you're going to be working outside maybe doing senior portrait type things where you take somebody down to the park and photograph of the one thirty five is going to get to that effect of the eighty five. But at a little bit longer distance. So some very nice lenses. That eighty five one eight is a really good bye.

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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