Skip to main content

FAST CLASS: Fundamentals of Photography

Lesson 25 of 52

Lens Adaptors & Cleaning

John Greengo

FAST CLASS: Fundamentals of Photography

John Greengo

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

25. Lens Adaptors & Cleaning


  Class Trailer
Now Playing
1 Photographic Characteristics Duration:06:36
2 Camera Types Duration:02:53
3 Shutter System Duration:08:51
4 Shutter Speed Basics Duration:10:06
5 Camera Settings Overview Duration:16:02
6 Camera Settings - Details Duration:06:05
7 Sensor Size: Basics Duration:16:26
8 Focal Length Duration:11:26
9 Practicing Angle of View Duration:04:49
10 Lens Speed Duration:08:53
11 Aperture Duration:08:15
12 Depth of Field (DOF) Duration:12:32
13 Lens Quality Duration:06:56
14 Light Meter Basics Duration:08:54
15 Histogram Duration:11:38
16 Dynamic Range Duration:07:15
17 Exposure Bracketing Duration:07:59
18 Focusing Basics Duration:12:58
19 Manual Focus Duration:07:04
20 Digital Focus Assistance Duration:07:25
22 DOF Preview & Focusing Screens Duration:04:45
23 Camera Movement Duration:08:13
24 Focus Stacking Duration:07:48
25 Lens Adaptors & Cleaning Duration:08:24
26 Flash & Lighting Duration:04:37
27 Tripods Duration:14:03
28 Cases Duration:02:53
29 Natural Light: Mixed Duration:04:10
30 Sunrise & Sunset Light Duration:17:14
33 Light Management Duration:10:06
34 Speedlights Duration:04:02
35 Built-In & Add-On Flash Duration:10:37
36 Editing Assessments & Goals Duration:08:48
37 Editing Set-Up Duration:06:49
38 Importing Images Duration:03:49
39 Culling Images Duration:13:47
40 Adjusting Exposure Duration:07:53
41 Remove Distractions Duration:03:52
42 Cropping Your Images Duration:09:43
43 Angle of View Duration:14:25
44 Framing Your Shot Duration:07:17
46 Rule of Odds Duration:04:50
47 Visual Drama Duration:12:20
48 Elements of Design Duration:09:14
49 Texture & Negative Space Duration:03:47
50 Black & White & Color Duration:10:23
51 The Photographic Process Duration:08:58
52 What Makes a Great Photograph? Duration:06:39

Lesson Info

Lens Adaptors & Cleaning

all right, so with muralist cameras because they don't have a Mirren, um, we're able to keep or get the lens is closer to the sensor plane, were able to adapt and hook on a lot of different lenses. Mentioned this in the opening segment on cameras. And so, if you want amount a canon lens on a Sony camera, you can do it. Not directly, though, you're gonna need a lens adapter that allows you to make the physical connection as well as the Elektronik connection between them. So that way you can use these other after market, different brand lenses. And there's been a lot of people have a lot of fun picking up old lenses on eBay and at garage sales, using old lenses from the sixties and seventies on their new camera. They're probably not optically, really high quality lenses, like a lot of today's lenses, but they do offer a unique look, and some people they're not after the highest quality. They want a unique look for what they're doing, and so there's a lot of fun that you can have with rel...

atively inexpensive lenses adapting these lenses on here, and I think I have one of these adapters in here. And so I have the adapter, don't have the right cameras and set up here. But this is the adapter so that I could mount canon lenses on a Sony camera. Now there's no optical bits in here. And so it's just the straight optical quality of the canon glass, and it's got the electron ICS in here. And Meta Bones has actually done a good job of getting the electron ICS from the Sony camera to operate the electron ICS of the cannon lance. Now, I don't always use canon lenses. I sometimes use other brands, have a signal ins, and so I think it's kind of funny. Sometimes I have a Sony camera, a meta bones adapter and a sigma lens, and I'm using a cannon mount but no candidate products on DSO. You can have a wide variety of things out there that are mounted on here now. There are a lot of different types of adapters out there, and one of the more interesting adapters is when I want to show you here Speed booster. So if remember how lenses produce an image circle, all right when you have a full frame lands on a small sensor of any sort. It produces a very large image circle, and you are getting a cropped image in there. And so the downside to this is that you've lost the white angle ability of this large image circle. Well, there's been a new invention somewhat recently, and that is the speed booster, and this is available from a few different manufacturers. And another term for this is a reverse tell a convert. And so, rather than giving you mawr telephoto, it gives you more wide angle. What it does is it takes all of that light, put it on the back of your lands, and it concentrates it into a smaller size circle, reducing it back down in size. And this has to interesting effects. One is you get your white angle back that you kind of lost from going to a smaller sensor camera. But by taking a light source and condensing it into a smaller area, it makes it brighter, which it max actually increases the amount of light that would be let through the lens because you're concentrating it in smaller area. We all know this Remember being at Camp with a flashlight. You shine it really broad, and you can't see very far. But you go really narrow and you can see quite a ways. It's the same philosophy with this, and so you can take lenses designed for full frame cameras adaptive onto crop micro 4/3 type cameras and have him lead in quite a bit of light. Now the problem here is that you're kind of changing over electron ICS from one brand of lens to another brand, and you're adding mawr optics into the equation, so you might be losing a little bit when it comes to image quality. But it does get you wide angle back, and sometimes then some. And so this is gonna be good for increasing the brightness and regaining the white angle view. So there's a lot of different adapters, and it can get a little confusing. So here's a few of the things to look for, So if you want to use an SL our lands on a mere Elice camera, you're gonna need a lens adapter. It's possible a speed booster will work depending on the combinations that you are working with. Well, it communicate between the body and the lands. Well, that depends on what you buy. There are some devices out there that are $20 that have no electron ICS in it, and it's just designing for you to mechanically hook one system up to the other. Something else will allow you to do exposure. Something else will do exposure and focus. You've got to find out how compatible is it? How many features continue to work when I mount these two things together? Will there be glass in their lens? Adapters may or may not have him. It depends on what you're doing. The lens and after I got is just I want the straight lands. But sometimes they'll have tilt shift adapters or macro adapters or something else in there, and they'll add elements in there to do something else, and you'll find that there's lots of different adapters in the market. If you do want to speed booster, it absolutely has to have glass in there. In order for that to work, will it increase the light gathering ability? A straight lens adaptor will not, even if it has glass in there. But that's what the Speed boosters are designed to dio and will it increase your white angle of you? That's what the speed boosters do. The lens regular lens adapters. That's not intentions there. Just simply intended on adapting one product to the other. Everybody should be using micro fiber cleaning clause for cleaning your lenses. That's these little fine woven claws like this. And if you're like me, you should probably have a dozen of them because they get lost really easily on dso these air. Nice, soft. They could be washed and just blow a little bit of hot air and clean it off. In fact, I have a great little video here, and I think this would make a fine little vine video that we can just let play and play and play here. And so it's very easy toe clean your lands. So we'll just watch this for the next hour. I think. See, isn't this fun? They're laughing that but the last more the next time see their left and more, we'll just keep watching it. Okay, maybe not, uh, removing filters. Love that challenge. Please come to me. Tell me your filter is stuck on your camera. I just want to try to get it off filters can get stuck on for a variety of reasons. One reason is you just cranked it on too hard. But every time you grab something that is round, it kind of pushes it into an oval shape ever so slightly. And it's quite possible that you could screw on the lands like this and go, okay, that's fine. And then you come here in your and you're squeezing it kind of in the wrong place. And if you grabbed it here, had come off in a second. And I know we've all had the experience totally stuck on there. OK, give it a try and they're just like, See, I'm magic, I can do this and it's about grabbing it in the right spot. It's also about grabbing it in a multitude of locations, and so what you're trying to do is not bend the oval. It hasn't been a lot, but just bends a little bit and so grab it in different locations. Grab it with as many fingers as possible, and you can usually get it off another. There's a lot of tools out there, and a rubber band is also gonna work in getting that off. There's lends wrenches that you'll have in a repair shop or a camera store from getting things that air really stuck off. And I've seen lenses that get dropped in. The only way to get a filter off is by Hack signed very carefully into the filter, so it'll pop off. But generally just using fingers in the right location. And I forget what combination. I have one filter and one lens that you just a little bit too hard, and it feels like it's stuck forever unless you grab it in the secret location. And then it's very easy to get off storing your filters. There's a lot of different ways. The way that I found that I really like is Thea Little Tamarack case that I have here. And I gotta admit, I'm not a fan of fanny packs. I don't think they look real good, but when I am working, this is really practical. My polarizing filters, my neutral density filters air right here, and I always try to wear a belt. So I confuse the system so I can just, uh, take it on and off. And it's a great system that stores about five filters. But there's a lot of other nice padded filter systems out there. I think you want to find something other than those little plastic cases that they came in their fine for storing an individual filter. But once you have a number of filters, it's just really easy to get these. And so if you're interested in this, its the MX 53 88 mine's 10 years old, so they might have had some slight changes in the design to it.

Class Description


Try a Fast Class – now available to all Creator Pass subscribers! Fast Classes are shortened “highlight” versions of our most popular classes that let you consume 10+ hours in about 60 minutes. We’ve edited straight to the most popular moments, actionable techniques, and profound insights into bite-sized chunks– so you can easily find and focus on what matters most to you. (And of course, you can always go back to the full class for a deep dive into your favorite parts.)

Full-length class: Fundamentals of Photography with John Greengo

SUBSCRIBE TO CREATOR PASS and cue up this class and other FAST CLASS classes anytime.

As a photographer, you will need to master the technical basics of the camera and form an understanding of the kind of equipment you need. The Fundamentals of Digital Photography will also teach something even more important (and crucial for success) - how to bring your creative vision to fruition.

Taught by seasoned photographer John Greengo, the Fundamentals of Digital Photography places emphasis on quality visuals and experiential learning. In this course, you’ll learn:

  • How to bring together the elements of manual mode to create an evocative image: shutter speed, aperture, and image composition.
  • How to choose the right gear, and develop efficient workflow.
  • How to recognize and take advantage of beautiful natural light.

John will teach you to step back from your images and think critically about your motivations, process, and ultimate goals for your photography project. You’ll learn to analyze your vision and identify areas for growth. John will also explore the difference between the world seen by the human eye and the world seen by the camera sensor. By forming an awareness of the gap between the two, you will be able to use your equipment to its greatest potential. 


Jasna Crnjaric