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FAST CLASS: Fundamentals of Photography

Lesson 7 of 52

Sensor Size: Basics

John Greengo

FAST CLASS: Fundamentals of Photography

John Greengo

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Lesson Info

7. Sensor Size: Basics

Lessons

  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

Sensor Size: Basics

so the sensor in the camera has a huge impact on the final image, and there's a lot of different things going on, and this is the time to talk about those different aspects. So we're gonna talk about the size of the sensor. I got lots of comparison photos shot with different size image sensors. And then we'll get to pixels and setting the eso, which is what we're gonna be doing ultimately in our camera all the time. All right, inside your camera behind the lands. If you have an SLR behind the mirror behind the shutter in there is the image sensor to your camera, and this is the all important mighty piece in the camera recording the information. Now there's a lot of arguments and debates as to what the perfect sensor is because there are different needs that different people have, and you'll see that some people argue that you should have more pixels, and other people argue that you should have less pixels, and we'll talk about why that Issa's We go through this section here. Some peopl...

e think a bigger sensor is better and other people think, well, no speaker sensor means a bigger camera, and that doesn't work for me. So some people want a smaller sensor. And so the camera. The sensor is kind of like automobiles. Some people want and need to drive a big truck, and other people just need a little tiny car to get to work and back. And they don't need to carry very many things. And so it's personal, a car according to your needs. We all want accurate color we all want. A greater dynamic range will talk about the dynamic dynamic range, which is the range of brightness that your cameras can handle. Of course, it's good to have faster processing so that it can process all those images very, very quickly. And that's part of the sensor as well. And it's of course, good to have things that are low cost now. There's gonna be a lot of compromises in this as well as a lot of other things in photography, and it's a matter of really knowing what's important to you and how you want to use a camera and the results that you want to get from it. So let's go back and talk about sensor size. We hinted at it a little bit earlier. There's different cameras. There's different size sensors, and it plays a large part into what they can do, what their best attributes are in a big part into the types of lenses that you can use with them. So with the sensor, the most popular size for quite a while was 35 millimeter film, and that was because 35 millimeter film was this happy medium of a film that was large enough that we could make, say, a poster size enlargement. But it was small enough that we could walk around Europe for weeks on end, and we could have a bag full of interchangeable lenses. It was just a really convenient size. Now, of course, they made cameras and film that were smaller and bigger, But this was the happy medium. So when we transitioned from film to digital, all the serious photographers said, I want a sensor that's the same size that I currently have, so I can use all my lenses, which is where a lot of the money ends up. Being spent is on the lens is not on the cameras, so that's where many of us wanted to g o. But it's difficult to make a large sensor, and that's considered a relatively large sensor. So they started making sensors that are smaller in size, and so you'll find a lot of cameras out there that have this smaller A PSC sensor. Now a PSC refers to a film that was based in the nineties, and I'm actually going to talk more about that comparison to full frame Nikon Canon have slightly different sizes you're not gonna worry about right now. The micro 4/3 system from Olympus and Panasonic are using this smaller size sensor yet, And then there is thes one inch sensors and all these compact cameras that have really small sensors and then down at the very bottom of list. You have your phone. Your top of the line new current phone is gonna have the smallest sensor on it because it's a really small device, and it has to be kept small. Now I hate the names of these sensors. We have words, letters, numbers pick one and go with it. And that's just where the industry really isn't controlled by any one person. But if I could change one thing, it would be these ridiculous names that somebody who's new to photography makes no sense. Imagine if the engine in your car well, this is a 4 50 and that's the platypus car, and that's the X Y Z cars. How does that compare? And so I think looking at the actual size of the sensors would be better to tell you how ridiculous this is. A one inch sensor, which is being used in a lot of the high end point and shoots. It's called a one inch type sensor, and what that means is that it's nine millimeters in height, 13 millimeters across and millimeters diagonally. Can anyone tell me where the one inch comes from? It's not from the measurements of the sensor, and it's called a one inch type sensor in the sense that this is a cheese food. It's not actually food, but we call it cheese food to let you know that you can eat it. It's not a one inch sensor, but it goes back. It's a long story we're not gonna get into. It goes back to TV tubes and what type sensors needed to be used in a TV tube for a certain size. And so this is considered a one inch type sensor, nothing one inch about it completely misleading. It is not one inch in any dimension at all, and it's just misleading what some of these names are. And so, if I could change something in photography, it would be the sizing of the sensors. We would measure it like any other conventional thing that we do. Let's just measure it diagonally, like our TV screens or computer screens. And now we can reference. Oh, this is eight. That 16. I know what that difference is. 28. 43. Okay, I have an idea of what the differences between these now there is kind of a little secret formula. If you know what size sensor is in your camera to figure out what lenses do in your camera. I'm not gonna talk officially about lenses in a moment, but I know a lot of you already know things about lenses, and here's a rule of thumb when it comes to your sensor size. If you have a lens on that is about the same number as your sensor size. That's gonna be a normal lens. If we go to our full frame camera. 43. 43 millimeters is a normal lens. Round that up to 50. That's a normal lens for a full frame camera. If you were to take your sensor size and divide it by two, that would make for a very nice wide angle landscape lens with our full frame user. 23 or 43 divided by two gets us around 2122 millimeters. Yeah, that's a pretty good, solid wide angle lens for it. If you have a smaller size sensor like in a 4/3 sensor, you're gonna need 11 millimeter lands for a nice wide angle. Let's if you want to shoot Portrait's 43 millimeters times two is 86 millimeters most people's favorite portrait lenses in 85 millimeter lens. And so this works. No matter what size sensor you have, you wanna multiply by four. That's probably going pretty good for a lot of different sports photography. You multiply it by eight. That's probably gonna be a pretty good wildlife lens. And so if we were to take our full frame, let's just round it up to 50 for simple math. I like simple math 50 times eight gives us up to 400 millimeters. That's a good place to be for a lot of wildlife photography, so sensor size will affect lenses, and we're gonna talk lots more about that in future sections. Now I have found that most people who are getting into photography and wanting to learn how it numan do manual generally are using these four different sensor sizes. Anything from full frame the A PSC crop down to the 4/3 system. If you want a full frame camera, you can get him from Cannon like a Nikon, Pentax and Sony. There's some very good options. They tend to be a little bit on this spendy side because these larger sensors are more difficult to manufacture the smaller size sensors. This is probably where I have more students than anywhere else. Shooting on this 28 millimeter a PSC sensor Fuji like a Nikon, Pentax, Sony, these air, all making a lot of different cameras. This is kind of the bread and butter. There's a heart and soul of where most photographers have their cameras thes days. Canon is well, actually, we should mention 28 millimeters 43. Why do we call it 1.5 crop? Talk more about it, but it's the relationship between 43 28. If you multiply 28 by 1.5, you end up to 43 it's the relationship between the two. And this is important because millimeter film was the most popular film of all time, and it's kind of a standard that we adhere to. So we like to have a common standard that we can talk about when we go talk about lenses and angle of you and so forth. The cannon, uh, they chose just something a little bit different. Its 1.6 It's kind of the same things. The 1.5, but just a tiny bit smaller. And then the 4/3 is notably smaller at a two times a crop factor here, and so they're working together on their own system right there. Now, the sensor size and the difference between them is one of the most confusing things to new people and photography. And it's confusing because, well, it's a little bit odd. And why does everyone have to adhere to one standard? And so let's think about it this way. We have a full frame sensor were capturing an image on our full frame sensor, and that's all well and good. But what if we don't have a full frame sensor? What if we're shooting this with the same lens in the same position with a cropped frame sensor? What happens to the image? Well, we're using a smaller sensor, and it's this area in the middle. And is this the exact same shot as the previous image? It's similar. It's of the same thing, but it's not the same shot because we're getting a different angle of view because we're using a smaller size sensor, and so lenses and sensors are very much related, and you need to know one before you really want to start talking about the other. In some ways now, this was originally a problem on the early digital cameras because we didn't have really wide angle lenses for these new small sensors. We had white angles for the full frame, and if we wanted to do it on a crop frame, well, it took a while for the manufacturers to start producing lenses. But finally they have produced a good number of lenses in order to get the same shot with a cropped frame sensor. So, yes, you can get the same shot with the crop frame sensor. But because you have a different sensor, you're gonna need a different lens that has a different number to it. Now you're gonna need a 10 millimeter lens in this case because 10 times the crop factor of that sensor gets us to 16 millimeters. And I know some of you right now are probably saying, Don't worry, hang with me. We'll get this figured out. And so different sensors need different lenses. That's the main thing that you need to know about now. As I say in the early days, this is a real disadvantage for the crop trained sensors. They didn't have a lot of white angle options. They still don't have as many as you do in full frame now, but we'll get to that. They are there and they can do the job. But there was on a secret advantage of these crop trained cameras. All right, so let's go out and shoot some wildlife here. So we got a wild tiger in India with a full frame That's a nice little shot there. What about our buddy next to us, who has a crop frame camera with the exact same lens? What are they getting in their photograph? Will they have a smaller sensor? Same lens. They're tiger is going to fill up more pixels on their sensor. And this is going to do a better job because you're using up those pixels on the sensor, which is good. And so it's not the same angle of you because we have a different sensor in there. And so to capture that sort of image, you're gonna need something like a 300 millimeter lands. All right, that's a big lens. But you know, that's something that could be doable by a lot of photographers. And as we talk about sensors, I know some of you I know a lot of you probably own smaller size sensors and you're gonna be thinking, Wow, maybe I really need to up my game and get myself a full frame camera. When you get a full frame camera, you need to upgrade your lenses as well. So let's let's check in with our photographer who shot with the 300 millimeter lens on the crop frame and figure out what they need to do to upgrade to full frame. Now, all right, you can get the same thing on full frame, but here's what you need to do. Take your lens, multiply it by the crop factor, and you will get the new lens you need to go out by. And lucky for you, they make a 500. Okay, it's twice the length, three times the weight and seven times the price, and you can do the exact same angle of you, but you'll be a little bit higher quality. How much of a difference is there between these two? Well, that's hard to quantify, but it's not a lot. It's some. And if you're competing with other photographers and you're like, Oh, man, I'm trying to create compete with Sports Illustrated on getting the best photograph. Well, that's what they're using, cause that's the best equipment out there. And so if you're trying to compete with the very best out there, well, you gotta use bigger guns against bigger guns. But personally, this might be a lot easier to work with financially weight wise, and so there are advantages to both systems. Personally, I own both systems because there are advantages to both systems and you can work with them back and forth. You can get really good results with a lot of different size sensors. Now, full frame kind of sounds like That's the end. All be all of everything that's as good as it gets. Boy, I hope for a full frame. Well, in photography, you've got to be really careful about climbing the quality ladder because it gets really steep and really expensive as you get up there. So full frame is just the same as 35 millimeter film. There's nothing special about it these days. In fact, it's kind of quaint and antiquated that we're basing our cameras on film people shot 2030 years ago. If you want, you can get into medium format cameras, all right. They have larger size sensors. All right, like a system. Fuji recently introduced a nice little system. Hassa Blatt. They have a great system. Pentax has another system that's been around for a long time. These air players that have been in the medium format world for a long time, and they have larger image sensors which means you're gonna get better image quality on them. Cameras cost three times as much as do the lenses. But, you know, if you want better, you guys still want better. Okay, well, we'll go up even larger. Hasselblad just introduced a camera that shoots at 400 megapixels. All right, these cameras from can run close to $50, lens not included. All right, you know, 3 to 10 grand per lands. And so there's always another step up if you want to spend that money now there's all sorts of downsides to these larger cameras that lenses air larger. There's less options. There's different shutter speeds that are available depending on what you're doing. And so commercial photographers on high end shoots are oftentimes using these higher in ones. And as great as they are, we're not going to be addressing them for the rest of this glass. Most of the people are not using these, but yes, I do want to acknowledge that they're out there and you can always keep sliding up that quality scale. And we're all gonna have to call a point where you know what? This is where I'm happy and somebody's gonna come along and say, Oh, but you could do more. Yes, but it comes at diminishing returns. How much better is one of these, then, at $60,000 in a $10,000 a little bit better, maybe a fair bit better in some special situations, you want to get bigger? Well, they still make four by five. View cameras if you want to put film in them. Haven't figured out a way to make a sensor big enough to fit on the back of this. But if you want ah, larger image. Area 43 you thought was a big image area. We're now up to 162. They make eight by 10. And yes, they've gone beyond eight by 10. But this is kind of the largest of the standard sizes. This is something like Ansel Adams used to use here Large image area. But we can now get very, very high quality images in a full frame sensor. And so, for most of the photographic world, it's gonna be on one of those intermediate to kind of larger size sensors that you're gonna be working with. So first thing to know is. What do you have in your camera right now? And if you don't go, Google it, look it up, find it in your camera. It's usually not listed on the front or the bottom of your camera, but it was part of the literature when you bought your camera. So first thing, figure it out and then followed through with the rest of the class to figure out how good that is. Different things.

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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.
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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. 

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