I want to talk about some of the lens options that you have with this camera so looking at the lenses in general they have different filter threads there's different standard sizes this particular lenses seventy two you want to look for that little diameters say's sign a symbol to see what size filters you take on your lands you'll notice these little notches this is for the hood or shade that you can get most of their lenses have a supplied hood and each lens has its own very specific lens hood you don't want to try to swap lens hood's on two different lenses it's very specifically designed for the coverage that that lens has handy when it's bright and sunny a little off to the side of the camera also helps out with there's a light rain or missed prevent preventing moisture on the front of the lens this particular lens has a zoom ring and it shows you your focal length has a nice little focussing ring and this lens but not all of them have this is a distant scale which show you where ...
your lens is focused at be some lens information I'm going to detail this in the next slide there's your lens mounting index so that when you mounted on the camera you'll just line that up with the white bubble on the lens and just be aware that nikon lenses mountain reverse of all the other brands on the market and so you kind of turn it left rather than right to tighten it on to the camera and then our contacts which are communicating with the camera. I talked about the autofocus switch on the lens and this is the main switch that you would use for manual focus or auto focus. Some lenses have the option of a and em, which is very simple you're either in manufacture ce or auto focus on the more advanced lenses they have an m option for manual and the m es option is automatic focus with manual override, which means the lens has a special clutch in the motor which allows you to just grab the lands and turn it even though it's in the auto focus mode and so what I could do with this lanza's aiken auto focus. But if I want to manually focus, I could just come up here and grab it because this lens has the m es option on it and it's something on most of their intermediate and all their higher and lenses as well. Now nikon, in my opinion, is a very big fan of the alphabet. They love different letters and norman pleasures. We did this to a lens let's add another letter to indicate what we've done their little secret code and so let me take you through some of the most common letters that you're going to see on the lenses f is for a standard auto focus lens if it just says a f it's an older manual focus lens, the newer ones say a f s, which means it into hey indicates that it has the new silent wave motor for focusing and what this does is it allows it to focus quicker, more quietly and allows you to switch to manual focusing very, very quickly. Dee was something that followed the aperture and added distance information into the photo they now have ease, which have elektronik, diaphragm, there's only one lens right now the four hundred to eight e which has that in there after that, we have the x, which stands for the smaller format, and so they're special lenses that are designed for the smaller sensor size. This camera uses fx lenses while you can use dx. It does come with the caveat, and I will visually show that in the next slide e t was kind of the standard high quality lenses that they had early on. This was their extra low dispersion glass that was typically on there longer telephoto lenses, but they've now incorporated that technology in a much, much wider range of lenses, and you'll find it even on wide angle lenses these days some of their lenses, like their new four hundred to eight, use a new floor in coding and these air all to get the greatest sharpness the best color the least amount of chromatic aberration and some of them just have it some of them don't some of them needed some don't next up g uh g is the new d so there was a lot of f lenses and then there was dealings a fd lenses and now there's gee lenses and g hasn't electronically controlled aperture eso it's elektronik li controlled from the camera setting and most of the current lenses that you're going to find are going to end like this example on screen two point eight g and in the future it looks like nikon will be going teo e as their new one is their new four hundred to eight and so they went from like just two point eight two two point eight d now there are two point eight g and then they'll have to point eight e if the lens is an aperture of two point eight I hope that was clear some lenses have internal focusing and they like to brag about that micro is close up lenses and some lenses are better at close up than others and they'll throw micro one knows next up is in which is kind of their premier letter if you have a lens that has in on it as in the example we have on screen it's got the nano crystal coating to get the greatest sharpness and the least amount of chromatic aberration v r r the select set of lenses that have vibration reduction, and these will vary in how much vibration reduction you'll get out of it anywhere from two to four stops of image stabilization to help you out for hand holding under low light conditions with slow shutter speeds. And if you see a two after it means it's, a second generation lands, so the lens on screen is the second a f s seventy two hundred that nikon has made, so you'll see that a second generation and you'll see more and more of those lenses as we progress into this new f s category of lenses that is out now. The difference between dx and fx I wanted to visually explain to you this camera is best, in my opinion with fx lenses, but you can also use the dx lenses on it, so let's talk about what's the difference between these lenses. The fx lands is designed for full frame sensors, the dx lenses designed for the dx or the one point five crop sensors. As light comes through and fx lands, it creates a very large image circle large enough to fit the entire size of that full frame sensor. As light goes through the dx censor, it produces a smaller image circle, but fitz appropriately with the dx sensor or the one point five crop. Where things get interesting is when you start to switch lenses and body, so if you take a dx lands and you mounted on your d eight ten camera, it doesn't have the coverage of the full frame sensor, so you're going to end up with a heavily vignette id scene, and you can either accept that or you can have your camera turned into an auto dx crop, which will automatically crop the image to the dx format so that the image you get does not haven't even getting, albeit it's, not the same coverage of angle of view from side to side. Now you will be able to take any fx lands and kind of work with it on any other nikon camera, no matter what size sensor and fx lens is just going to produce a very large image circle and on a dx body like a d seventy, one hundred or fifty, three hundred or thirty three hundred it's just going to grab a cropped area within that larger areas so it's perfectly acceptable, it just works a little bit differently. And so, with the d a ten, I highly recommend the nikon f x lenses and just to make things confusing, nikon does not label their lenses with an f x on it. But they do label the d access, so if you see it says d x you probably don't want to use it on this camera because it has that vignette ing effect now when the eight hundred and eight hundred e came out, there was a warning it said the slightest movement during exposure can cause the blur and so it had a number of recommendations for different types of scenarios and so here's their recommendations for static subjects basically using a tripod, turning off the air system and doing everything you can to get the sharpest possible pictures reducing the vibration of the camera if you're shooting portrait sor subjects that are moving around using the v r using the single point so you're very, very accurate in the focusing and then using a very fast shutter speed in order to ensure sharpness. Now they don't have the specifically out there for the d a ten, but I think this these guidelines are smart and good to know about when using this camera because it is very high resolution and if you're trying to squeeze as much quality out of this camera, you need to go to a little extra work in many cases. I hope you didn't think that you were just buying a really expensive camera that was going to take great pictures on its own you've got to go through a little bit of work yourself now when it did come out with the d a hundred they had a list of lenses that had enhanced sharpness and these air their best lens this is what they are. The list has grown quite long at this time and there's a lot of the primes pretty much any of the primes is almost going to be one of the ones have recommend, but they do have very high quality zooms very good macros and there crisco perspective controlling our course excellent. But if you're really trying to get the most out of this cameras, this is the list at least currently available today as a recording of this uh broadcast these air the lenses that they have in there as their best qualities. Once inside, I'll just leave that on screen for a moment for you to take note do you have these lenses? Do you have other lenses so let me throw down my recommended lenses so the holy trinity the great three lenses are there to eight constant aperture zoo fourteen to twenty four, twenty four to seventy and seventy two hundred I know there's a lot of pros that basically just by these three and they're done that's all they need for shooting for travel, photography for landscape photography for a lot of people who have a little bit of a budget to concern themselves with where they want a little bit lighter weight package I would look at these next four zooms these air kind of sweet spot zooms if you ask me, they cover a similar type range, they're not quite exactly the same. I think that twenty four to one twenty is a great travel lands a lot of very, very good focal links right in there all in one nice reasonably compact lands, it's still a chunky lens, but it's reasonably compact to carry an individual primes. All right, if you can find a reason if you can find the budget to get at least one of these great primes, I highly recommended these things are really sweet, they're very fast and aperture, they're going to work really well in low light, and they're very, very sharp. They have a number of other very good attributes about nice big focusing rings, focusing scales on them really, really nice lenses. Now, if you can't really throw down the budget for these there's, some other really good primes out there, these air lenses that have been recently updated and I'm just a big fan of these little lenses. They're lightweight, compact. They're not a lot of money. The great primes, you know, sixteen hundred to two thousand dollars three slower in one's, five hundred to seven hundred bucks
John Greengo is an award-winning photographer specializing in outdoor and travel photography. Shooting for over 3 decades, John has developed an unrivaled understanding of the industry, tools, techniques and art of photography. When he's not traveling for a new shoot,
All of the instructors here at Creative live are fun and informative to watch and learn from. But when it comes to serious education and really getting into the detail of what you're trying to learn, I would say that John Greengo is that Top Instructor that everyone should be looking for. I have Quite a few classes that I've purchased from Creative live and I follow all the instructors pages and blogs and just continuously soak up knowledge from them... But whether you need broad instruction about a general subject like "photography" or something specific like This Course Fast Start Nikon D810, John is your Go-To guy. I also have his Fundamentals courses, his Nikon D5000 series class and his Beginners essentials class. (though I am not a beginner it's fantastic for brushing up on skills you may have forgotten) I not only recommend THIS class, but any class that John teaches. Especially his Fast Start Classes whether you're just getting a new camera model or you've had yours for a while and you want to learn more about it's capabilities.
Thanks John, an excellent and logical familiarisation with a camera I now love and use comfortably. Notes are brilliant and offer easy catch up with bits I forget. Great knowledge and teacher.
Wow, what a class, bit apprehensive at taking an online course but I was enthralled at the way John kept my interest and the size of the video are bite size enough to digest the information and assimilate. I bought a Nikon D810, whilst I don't profess to be a professional, I'd like to think that I'm a decent photographer and the move up from D300 was a massive decision and I always wanted to try and get on a course for that camera, but unfortunately, due to and cost in some cases it was not possible. I was determined to find something for the D810 and I came across creative live and I thought why not. I love the structure and I know more about the camera now than I did when I bought it 2 weeks ago. I watched all videos without the camera, just so I did not get distracted from what John was saying, now I will watch them again with the camera. Thank you so much for an interesting and engaging course, which was the better than being in a classroom.