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The Gadget Bag: Lens Accessories

Lesson 64 from: Fundamentals of Photography 2016

John Greengo

The Gadget Bag: Lens Accessories

Lesson 64 from: Fundamentals of Photography 2016

John Greengo

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Lesson Info

64. The Gadget Bag: Lens Accessories

Lessons

Class Trailer
1

Class Introduction

17:26
2

Welcome to Photography

13:08
3

Camera Types Overview

02:00
4

Viewing Systems

28:43
5

Viewing Systems Q&A

08:45
6

Lens Systems

32:06
7

Shutter Systems

13:17
8

Shutter Speeds

10:47
9

Choosing a Shutter Speed

31:30
10

Shutter Speeds for Handholding

08:36
11

Shutter Speed Pop Quiz

09:06
12

Camera Settings

25:35
13

General Camera Q&A

14:38
14

Sensor Sizes: The Basics

15:33
15

Sensor Sizes: Compared

19:10
16

Pixels

20:13
17

ISO

21:13
18

Sensor Q&A

13:34
19

Focal Length: Overview

11:09
20

Focal Length: Angle of View

15:09
21

Wide Angle Lenses

08:48
22

Telephoto Lenses

25:23
23

Angle of View Q&A

09:29
24

Fish Eye Lenses

10:39
25

Tilt & Shift Lenses

23:42
26

Subject Zone

17:19
27

Lens Speed

09:56
28

Aperture Basics

08:46
29

Depth of Field

21:49
30

Aperture Pop Quiz

13:23
31

Lens Quality

18:30
32

Photo Equipment Life Cycle

03:57
33

Light Meter Basics

09:25
34

Histogram

15:25
35

Histogram Pop Quiz and Q&A

10:58
36

Dynamic Range

06:03
37

Exposure Modes

15:58
38

Manual Exposure

09:38
39

Sunny 16 Rule

05:54
40

Exposure Bracketing

10:18
41

Exposure Values

27:21
42

Exposure Pop Quiz

26:43
43

Focus Overview

16:15
44

Focusing Systems

05:15
45

Autofocus Controls

11:56
46

Focus Points

07:35
47

Autofocusing on Subjects

20:19
48

Manual Focus

07:52
49

Digital Focusing Assistance

03:40
50

Focus Options: DSLR and Mirrorless

04:58
51

Shutter Speeds for Sharpness and DoF

05:20
52

Depth of Field Pop Quiz

12:14
53

Depth of Field Camera Features

04:54
54

Lens Sharpness

09:58
55

Camera Movement

05:20
56

Handheld and Tripod Focusing

04:32
57

Advanced Techniques

07:12
58

Hyperfocal Distance

06:50
59

Hyperfocal Quiz and Focusing Formula

04:36
60

Micro adjust and AF Fine Tune

05:34
61

Focus Stacking and Post Sharpening

06:00
62

Focus Problem Pop Quiz

18:07
63

The Gadget Bag: Camera Accessories

25:30
64

The Gadget Bag: Lens Accessories

12:46
65

The Gadget Bag: Neutral Density Filter

20:43
66

The Gadget Bag: Lens Hood and Teleconverters

08:55
67

The Gadget Bag: Lens Adapters

05:43
68

The Gadget Bag: Lens Cleaning Supplies

04:34
69

The Gadget Bag: Macro Lenses and Accessories

15:57
70

The Gadget Bag: Flash and Lighting

05:08
71

The Gadget Bag: Tripods and Accessories

18:50
72

The Gadget Bag: Custom Cases

11:20
73

10 Thoughts on Being a Photographer

07:37
74

Direct Sunlight

25:04
75

Indirect Sunlight

18:49
76

Sunrise and Sunset

18:39
77

Cloud Light

14:48
78

Golden Hour

09:50
79

Light Pop Quiz

07:53
80

Light Management

14:00
81

Artificial Light

13:56
82

Speedlights

16:02
83

Off-Camera Flash

27:38
84

Advanced Flash Techniques

09:49
85

Editing Overview

08:24
86

Editing Set-up

08:06
87

Importing Images

16:45
88

Best Use of Files and Folders

20:54
89

Culling

20:56
90

Develop: Fixing in Lightroom

18:13
91

Develop: Treating Your Images

10:53
92

Develop: Optimizing in Lightroom

14:51
93

Art of Editing Q&A

06:01
94

Composition Overview

06:53
95

Photographic Intrusions

10:10
96

Mystery and Working the Scene

16:18
97

Point of View

09:11
98

Better Backgrounds

16:02
99

Unique Perspective

11:02
100

Angle of View

15:06
101

Subject Placement

41:14
102

Subject Placement Q&A

05:18
103

Panorama

07:39
104

Multishot Techniques

13:57
105

Timelapse

16:13
106

Human Vision vs The Camera

20:07
107

Visual Perception

08:35
108

Visual Balance Test

22:56
109

Visual Drama

12:25
110

Elements of Design

28:57
111

The Photographic Process

12:28
112

Working the Shot

27:38
113

The Moment

04:42
114

One Hour Photo - Colby Brown

1:04:32
115

One Hour Photo - John Keatley

1:03:05
116

One Hour Photo - Art Wolfe

59:01
117

One Hour Photo - Rocco Ancora

1:01:20
118

One Hour Photo - Mike Hagen

1:01:20
119

One Hour Photo - Lisa Carney

1:00:52
120

One Hour Photo - Ian Shive

1:08:00
121

One Hour Photo - Sandra Coan

1:10:29
122

One Hour Photo - Daniel Gregory

1:06:07
123

One Hour Photo - Scott Robert Lim

1:05:41

Lesson Info

The Gadget Bag: Lens Accessories

Next topic is lens accessories, and boy do we have a lot of things to talk about here. There's a lot of things that you can attach on the front, the backside of the lenses. Let's go ahead and start with the filters. Okay. On the front of our lens, we can start a major argument in any photography forum about using using filters or not using filters. It appears to me that all the cool kids have said, "Don't use filters. You don't need them," and that you're stupid if you put on this little protective piece of glass on the front of your lens. It's very much a personal choice as to whether you want to do this. The idea about using filters in the past was to have an ultra-violet filter, which would cut down on some of the ultra-violet light that our camera film would pick up that our eyes weren't seeing. It was trying to get the look back to what we see with our own eyes. Nowadays, they're often still called UV filters, and they are simply protection filters. This is a matter of, well, how ...

do you want to deal with the front of your lens? The front of your lens is well-coated. It's a very hard piece of glass, and it's relatively hard to scratch, break, or do anything terrible to. It's amazing at how much abuse you can give it and have it still be okay. If you do want to protect it, a clear UV filter is gonna have extremely small impact on any sort of image quality. I would hazard a guess that I could easily shoot photos with and without the filter, and not have anybody anywhere be able to tell the difference in sharpness. One area that you might see a little bit of difference is in a flare situation, so if you have light hitting the front of the lens, and it's, you don't have a hood or shade, and it's really bouncing around in there, you might get some more flare problems in there. It's really a personal choice as to whether you want to do this. I have used a UV filter on my lenses for several, several years, but it goes to another fact that I'm not gonna get into here, which is the question of whether you want to use a lens cap or not. I find lens caps as one of the most annoying items in the world of photography. I hate pulling out a camera, getting ready to shoot, and then there's a lens cap on it. I don't keep lens caps on any of my cameras, except for the lenses that are so bulbous I can't physically put a lens cap, like a fish-eye lens on there. I store my cameras in my bag with a filter on, pick 'em up, and I shoot 'em. Because of that, they go in and out of the bag. They get a little bit more use than one with a lens cap on it. I might need to replace my filter about every ten years, which is not really that big a deal in my mind. I use filters because I don't want to use lens caps. They're a hassle. You will definitely never see me with a little lens cap hanging down on a little string. That's like the worst ever. When somebody asks me to take a photo with their camera, and this thing is dadang, dadang, dang, dang, dang, dang, dang, dang, I just, it's annoying. It's crazy. Don't let my opinions interfere with what you actually do, okay? We've had the option of UV filter, and then we have the option of the polarizer filter. Now, as we made our way from film to digital, there's all sorts of filters that we used in the film world that we just don't need anymore, for instance, like a yellow and an orange filter. Generally speaking, we just don't need those filters, because we can do that in Photoshop or some other program. The polarizer still holds value because it would be virtually impossible to mimic this in Photoshop or some other program. The polarizer is gonna help reduce the amount of light coming from certain angles in relationship to where you are. It is a filter that you are going to screw onto your lens, and then you can continue to rotate, depending on your position and alignment with the light that is illuminating that particular scene. You'll be able to see this adjustment just holding the polarizer up to your eye. A lot of you, I bet, have polarized sunglasses. You can actually see this just with your sunglasses on. In this case, we have either no polarizing or minimum polarizing, and you'll notice that you can see the reflections of the tree in this pond. Let's go ahead and turn this polarizer, and notice the difference with this image here. Now, we can see the fish in the water, so it is reducing the reflections coming from light at a 45 degree angle. Let's go back to minimum, just to show you what it looked like in the beginning. Now we're seeing the reflections of the trees. Think how hard that would be to do in Photoshop. That'd be a lot of work. I think someone is good enough to do it, but it would be really, really hard to do. Anytime I'm working around water, especially off a boat, that's when I'm really gonna want a polarizer, because I can cut through some of those reflections that I'm getting on the water and see what is in the water more clearly. It works in a lot of different other areas. Here, I'm actually in a forest and this leaf has a lot of white light, coming down through the canopy, reflecting off of it, and it's kind of taking away from the color of it. Here you can see the difference. On the left, without a polarizer, and on the right, with a polarizer. There's many different environments. Here in the forest, let's go ahead and add a polarizer. Watch the vegetation saturation change here, as we go to a polarizer. It can help out quite a bit. Now, this is a short video clip of me with a telephoto lens, and I am turning the polarizer. You'll notice the reflections coming off the edge of the tulips. How much more saturation and how much it's cutting down on those reflections coming off the sides of those tulips. It has a huge impact. You can see this right through the view finder, right as you're shooting a picture. All right, so you're in Seattle. You're up at Kerry Park. You want to shoot a picture of downtown Seattle at sunset. Look at what the polarizer does. Now, as this is going back and forth here, notice Mount Rainier in the background, and notice where the sun is coming from. The sun is illuminating the right side of the mountain, so this is a side-lit situation. This is where polarizers are going to have the most impact, is in a side-lit situation here. One of the big reasons for you using this is we can take an image and really get some nice saturation color out of that sky. Nice saturated color. Notice the blocks, towering blocks here, get a little bit more yellow. Nice yellow saturation in it. Very handy on a sunny day. This is another early morning sunrise. Where is the sun? Look at the Space Needle. You can see it's side-lit, light coming from the right-hand side. Let's go ahead and add a polarizer to this. Look at the significant change here in the look. You can choose as to which one you think is better. They are two very different images. I'm not saying that it radically improved the picture, but it did change it in a huge way. You'll find that in some situations, you will have more impact than others. This is one of the greatest impacts that I have seen. I was really surprised, which is why I am constantly, even though I have been working with polarizers for 30 years, I pull it out of the camera bag, and I hold it up to my eye to see what it does, and I'm sometimes like, "Wow, wonder why it doesn't do it much here," and trying to figure out what's going on with the lighting. In some cases, it's really strong. There's a number of cases where you might want to use it. You want to get that really blue sky, but you don't wanna affect the tonality of the wheel that you're photographing here. It really makes that blue sky really deep, dark blue. Anytime you want a little bit more texture in that blue sky, if you are in a side-lit situation, it's gonna have a really strong impact. It's gonna work in situations where you have strong, directional lighting. That means, in a room like the room that we're in right now, we have lots of different lights. They have like a dozen different lights up above us, and lights coming from all over. It's not gonna have much impact in most rooms, but outside there's usually one significant light source, that being the sun. When you have strong, significant light sources, you're gonna have a good impact. Here we are again. Notice where the sun is coming from. Ninety degrees over to the right-hand side, and look at what it does to that blue sky. Here's probably the biggest change that I saw. This is down at Monument Valley. Side-lit situation again. Look at that blue sky come out. This is not Photoshop. This is just putting a polarizer on the camera. If you don't like it. You think it's too much. You can just dial it back a little bit. That's kind of the nice thing. You can go seamlessly back and forth between these two. I spent the last few years collecting as many examples as possible. Hey, I can do it, one with on, one with off. This is good for you to do, too, just because it reminds you of how much impact it has. People always get kind of mixed up. "Where do I need to be and where is the sun?" Well, you basically look towards the sun, and then turn 90 degrees, and that's where you're gonna get the most impact from a polarizer. Now, what happens if you don't follow this rule? Well, you get a photo like this. The sun is off to the right-hand side, and we're getting maximum polarizing over on the left-hand side of the screen. We used a wide-angle lens here, which means we've polarized the left part of the sky, but not the right part of the sky, because that's pointed over towards the sun here. This is a poor use of a polarizer. Some would call it an unacceptable photograph. Okay, it's not a good use. The polarizer should not have been used here, because it only darkened a portion of the sky, and that's not very realistic looking. The choices here would be to not use a polarizer, to turn the camera more to the left, or maybe just shoot a vertical image over here on the left side, and not shoot that one over on the right side. It may limit the direction that you're pointed at. Had a great morning in Morocco not too long ago. Notice where the light's coming from. From the side. Let's go ahead and add a polarizer. Notice how much more detail and contrast we can see in the sky with those clouds now. Those side-lit situations is where we get a lot of impact from this. You can use it in the forest as well, because light's coming from straight above, and it's very directional lighting. It's gonna reduce reflections. It's gonna increase the saturation, and it's gonna increase the blue in the sky. Do you want to leave it on your lens all the time? No, you don't. Problem is that it steals about 2-stops of light. It's something you would generally not be using inside. I could see potentially using one inside a museum that allowed you to use a tripod, and you were trying to shoot through a glass case, perhaps. I would see that as an exception inside. Depending on your angle of view, that may be where it's at. For me, it's very much an outdoor filter. With the polarizer, you put it on the front. It's a nice, thick filter in many cases, but you do have to be concerned about that if you are using a wide-angle lens. There are options for thinner polarizers. If you are using an ultra-wide lens, a lens that gets down 20 millimeters or wider, maybe even a 24, you may want to look at getting a slim polarizer, which is a little bit less thick. Typically, what they do is they don't have threads in the outside of this for lens caps. If you get a thick one, you can put a lens cap right on the front of it. If it's a thin one, you're gonna have to use a slip-over cover, or it won't have a cap available for it. This is to prevent vignetting, so as you're looking out the corners of your lens, you're not seeing the filter on there. If you do use a UV filter, I highly recommend taking off the UV filter, and using the polarizer. It is unwise to unnecessarily stack filters. Now, I often use UV filters, so what I'll do when it's time to go out in a situation where polarizers are going to be advantageous, is I will take off the UV filter, take out the polarizer, and they just switch positions. I got a place to put the UV, because it goes right in where the polarizer was. It's a very easy swap, and there's a place for it. It's very easy to work with in that regard. If you get a big lens, that'd be a really expensive filter if you had to get a really big filter on the front. Like a 300 2A, there are drop-in filters that you can put in towards the back of the lens. They're actually fairly small, and they should be much cheaper than they're all, but they're all specially designed and machined to fit in there properly. That's the easiest type of filter, because you don't have to worry about going out in front. It doesn't get in the way of the lens hood or anything else. That's something that you'll see on the lenses that are typically 300 millimeters and up.

Class Materials

Free Download

Fundamentals of Photography Outline

Bonus Materials with Purchase

Learning Project Videos
Learning Projects PDF
Slides for The Camera Lessons 1-13
Slides for The Sensor Lessons 14-18
Slides for The Lens Lessons 19-31
Slides for The Exposure Lessons 32-42
Slides for Focus Lessons 43-62
Slides for The Gadget Bag Lessons 63-72
Slides for Light Lesson 73-84
Slides for the Art of Edit Lessons 85-93
Slides for Composition Lesson 94-105
Slides for Photographic Vision Lessons 106-113

Ratings and Reviews

a Creativelive Student
 

Love love all John Greengo classes! Wish to have had him decades ago with this info, but no internet then!! John is the greatest photography teacher I have seen out there, and I watch a lot of Creative Live classes and folks on YouTube too. John is so detailed and there are a ton of ah ha moments for me and I know lots of others. I think I own 4 John Greengo classes so far and want to add this one and Travel Photography!! I just drop everything to watch John on Creative Live. I wish sometime soon he would teach a Lightroom class and his knowledge on photography post editing.!!! That would probably take a LOT OF TIME but I know John would explain it soooooo good, like he does all his Photography classes!! Thank you Creative Live for having such a wonderful instructor with John Greengo!! Make more classes John, for just love them and soak it up! There is soooo much to learn and sometimes just so overwhelming. Is there anyway you might do a Motivation class!!?? Like do this button for this day, and try this technique for a week, or post this subject for this week, etc. Motivation and inspiration, and playing around with what you teach, needed so much and would be so fun.!! Just saying??? Awaiting gadgets class now, while waiting for lunch break to be over. All the filters and gadgets, oh my. Thank you thank you for all you teach John, You are truly a wonderful wonderful instructor and I would highly recommend folks listening and buying your classes.

Eve
 

I don't think that adjectives like beautiful, fantastic or excellent can describe the course and classes with John Greengo well enough. I've just bought my first camera and I am a total amateur but I fell in love with photography while watching the classes with John. It is fun, clear, understandable, entertaining, informative and and and. He is not only a fabulous photographer but a great teacher as well. Easy to follow, clear explanations and fantastic visuals. The only disadvantage I can list here that he is sooooo good that keeps me from going out to shoot as I am just glued to the screen. :-) Don't miss it and well worth the money invested! Thank you John!

Vlad Chiriacescu
 

Wow! John is THE best teacher I have ever had the pleasure of learning from, and this is the most comprehensive, eloquent and fun course I have ever taken (online or off). If you're even / / interested in photography, take this course as soon as possible! You might find out that taking great photos requires much more work than you're willing to invest, or you might get so excited learning from John that you'll start taking your camera with you EVERYWHERE. At the very least, you'll learn the fundamental inner workings and techniques that WILL help you get a better photo. Worried about the cost? Well, I've taken courses that are twice as expensive that offer less than maybe a tenth of the value. You'll be much better off investing in this course than a new camera or a new lens. I cannot reccomend John and this course enough!

Student Work

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