Final Q&A

 

Nikon® Lenses: The Complete Guide

 

Lesson Info

Final Q&A

We still have a little bit more to go but let's check in and see if we have any studio audience questions here yeah great fantastic I just have to ask you have any tips on really learning how to demand your focus I like that holds that screen thing yeah manual focus is tougher on the new cameras because of the new focusing screens they went in there I remember I bought a five hundred millimeter lands and I went down to the park with airplane soccer and I focused a game I didn't shoot the game I focused the game I just went down there to focus and practice and so it's practice is really all it is there's there are some cameras that have bigger, brighter view finders and this is one of the advantages of the full friend cameras is that they have a bigger viewfinder when you put your eye up in there and that's one of the things I don't like about the crop frame finders because that it's it's kind of a small little window and the other one the full frames have a much bigger viewfinder which...

makes manual focusing easier so it depends a little bit on what camera you have when last when you had a cute little gadget when we first started yesterday where you were looking at the focus really close oh if you're looking on the back screen of the camera that is a loop and there's, they're mostly used for video because you're looking at the live view screen, and so I have a let's see a hood man loop, which sells for about a hundred bucks. There is a nicer one from the door to listen za kudo that makes one that mounts on there that's really nice and cushioned and so forth. And so if you want to look at your images on the back screen, look for a good men loop or a zoo kudo loop. I asked on facebook a couple months ago in preparation for this class, what do you want to know? What lends what's the best lands for police complete the answer, and so the five that I thought were the best that maybe I didn't address fully, then I'll just quickly address here, teran asked. What about contacts? Works, mits mixed martial arts boxing? Ok, now, I don't think that there's actually a ton of people that are doing this sort of stuff, but there's a lot of people who are shooting in dark arenas, fast action, whether it's, the swimming, the wrestling, the stage, play these air all events that are taking place under relatively dark conditions and in this case, it's a balance of the longest lens you can get with the fastest aperture. And somewhere in that range it's probably going to be an eighty five one eight one eighty two eighty three hundred f four three hundred to eight it's something in there it depends on where you can be in relationship to your subject that's going to determine the focal length and then it's your budget that's going to be able to determine the aperture and you're probably going to want the fastest aperture that you khun budget and so it's a very tough place to be because the best lenses are typically very expensive don was asking about okay so if you want that really soft shallow out of focus background the fifty eight one eight is the one that has kind of that special bo kay that a number of people really like eighty five one four eighty five one eight are definitely going to do really well and of course those d c lenses those d focus control one o five one thirty five any lens that's long and fast will have good out of focus area as first how do you like the style well that's a little bit of personal preference but nikon has a lot of great ones in that region so go back and look at that portrait selection of lenses janni was asking if you're only gonna have one lands well that's not a right question that's a tough question and here here is where you have to become the yoga master and you have to release and let go of things like there's a little bird over there no, I'm not going to shoot that look at this beautiful wide landscape no I'm not going to shoot that I am going to shoot with a fifty millimeter lands and those that's the way I'm going to view the world and so you have to kind of limit your scope of what you're going to dio and you can shoot with almost any lands and it's kind of fun well okay I'm gonna walk out the door with a twenty four tell chitlins what am I going to find that one left so I'm gonna walk out with a seventy two, two hundred it forces you to look at the world in one way or the other and so having a general zoom lens is not a bad choice until you want to do something very specific eduardo asked about adventure sports photography so I'm thinking here three hundred f for eighty two four hundred some longer lenses that I can still put in a backpack and ski bike hike or get out into some adventurous location I think that eighty two four hundred would really be a fun lands maybe the seventy two, three hundred that's a little bit smaller lighter weight one for another version of that kathleen asked about general ends when you're just first getting started well this is where I go back to you know, I like zooms and I like crimes but zoom's air just so much more versatile that's a great place to start until you figure out exactly what you're doing and once you have that figured in then you can start dialling in those primes and so when you're starting out yeah, just going with those though zooms all right one final question that I'm going to answer this is from kelly and she asked what is my favorite lance that's a tough one? What is my favorite lands? There's no easy answer my friends there are so many from which to choose depends on my subject depends of my views outward bound with just one lands what would I do for what shall I shoot? Would you give me a clue if I know not what I would shoot then it's the standard zoo my first recruit for you beginners who bought the bundle kit that's the eighteen to fifty five it's not what we in the biz call exciting, but if you're good you will survive the pro shooting full frame prefer the twenty four to seventy f two point eight better optics better built a bit for money and a bit more weight the standard zooms in the most versatile I must say at least in a desert island kind of way a fair bit of wide a little bit along you'd be wise to always bring one along if you want to go pro, you need to know the place to go is a zoom in the range of a short telephoto good for subjects that are smaller far like a cigar guitar or possibly a movie star. The serious shooters select the seventy two, two hundred two point eight we won't bicker about which brand is best trust me they're all very first rate from sports to portrait ce news to fashion it's truly a lens for the ages pricey bugger though, so if times get tough you can always sell it to supplement your wages. But what about a super zoom when it that be more to see perhaps for some but not for me zooming from here to there seems like so much fun but what's that they say about jack of all trades oh yeah master of none and what's with that aperture of three point five to five point six I don't care for lenses that play these sorts of tricks focal lengths of such great range we all do prize but sharpness, speed and size are all a part of the unpleasant compromise when going wide how far will I go too much zoom is not a good thing for all bound tto have won it sometime let's just make it a short flame when going wide how far will they go if people are involved? I'll need to know in the land of the ultra wide that's twenty and bolo put your friends near the edge and their features will unusually grow I'm quite content with the classic wide of twenty four I may have wider but I rarely need more it resides perfectly in the middle of the kingdom of wide and you can bet once packed in my bag if ever I'm travelling worldwide I do indeed have favorite focal links tested in time they've proven their strengths lenses that tell stories that my compositions do fit but what about the entire package which lands is my favorite heavy in my hand but lightning my wallet is my three hundred two point eight it's unparalleled in quality there is no debate when shooting sports it's so so sweet freezing following the action it just can't be beat truth be told, I love my twenty four tilton shift for solving the impossible it is unusually fit it fixes lines from the wrong point of view it pushes the limits of what focus khun d'oh and just as a bonus, it makes panorama as easy to pursue fish eyes are fun from time to time but don't overuse them that is a photographic crime I'm certainly quite fond of my fifty one four it's solid and sturdy and definitely very top drawer some say it's a bore I say it's just the ticket for so many a tour it may have no range but that's not so strange it sits in the middle and it's fast is a fiddle for a site with a white it'll prove it's just right no height just fact this lands is sharp as a tack lenses are no more than tools those who think otherwise are just playing fools it's the image that counts not the lands don't be led otherwise my friends whatever lands gets the job done that my dear is my favorite one well, john, we certainly have a lot of clapping coming in from the folks at home congratulations. Thanks, it's good to be done, john this was twenty five years of your photography in the making. Do you have any final words for us, john? Um I don't know maybe can I go rogue now? She you can yes, you I just want to say thanks a lot. Everyone who has bought this class and a bunch of people have already paid for it audit stuff and who bought my other classes and stuff because five years ago creative life was born kind of out of the depression, the russians recession we had I was unemployed and this wasn't even a thought of what's possible I mean, people dream about doing stuff this didn't exist as a dream in the fact that s so many of you have supported creative live on myself it's just so cool because I I'm able to do what I really love to dio and some of you but there's a small little portion of the population that somehow gets it I don't know how or why, but I appreciate that there's a small little fraction of the population that this helps and I'm just very appreciated I guess what I'm trying to say is that I'm not a total failure in at least one thing in life and so that makes me feel good so thank you very much, john as comments that had come through you are incredibly humble human being and the amount of work that you put in you make me cry now it has been an incredible incredible journey and continues to be we both have kind of grown up in creative live in terms of who we are as people today versus five years ago and the really cool thing is it's not just us it's all of those people out there and I can honestly say don that you have changed my photography and I don't know how many fools l don't know how you say tenfold normally but it's like a thousand fooled on dh those are the comments that we see every day all the time about your classes on so thank you for changing so many people's lives are giving them the tools to do so and to take their passion not everybody has a photography business. It's people who want to go out and create and do what they can with what they want to create with their photography, whether it's traveling their family, I mean it's all about creating these memories for ourselves, for our families, and so on. A humble thank you on our behalf here for everything that you do and you give it your own.

Class Description


The world of interchangeable lenses can be both exciting and confusing to all levels of photographers. Nikon® Lenses: The Complete Guide with John Greengo will help you choose 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 Nikon® DSLR lens options and operations into focus. You’ll learn about:

  • Focal length and aperture
  • Nikon® zoom lenses
  • Which lens accessories to buy
  • Third-party lenses
  • Maintaining a lens system
John will cover the full range of Nikon® lenses, from ultra-wide to super-telephoto, zooms to primes, fisheye to tilt-shift. You’ll learn how to match the lens to your needs and get insights on the best ways to use it.

Whether you are looking to buy a new lens or just want to get the most out of what you already have, John Greengo will help you to become a master of the Nikon® lens.

Lessons

1Nikon® Lens Class Introduction 2Nikon® Lens Basics 3Focal Length: Angle of View 4Focal Length: Normal Lenses 5Focal Length: Wide Angle Lenses 6Focal Length: Telephoto Lens 7Focal Length Rule of Thumb 8Field of View 9Aperture Basics 10Equivalent Aperture 11Depth of Field 12Maximum Sharpness 13Starburst 14Hyper Focal Distance 15Nikon® Mount Systems 16Nikon® Cine Lenses 17Nikon® Lens Design 18Focusing and Autofocus with Nikon® Lenses 19Nikon® Lens Vibration Reduction 20Image Quality 21Aperture Control and General Info 22Nikon® Standard Zoom Lenses 23Nikon® Super Zoom Lenses 24Nikon® Wide Angle Lenses 25Nikon® Telephoto Zoom Lenses 263rd Party Zooms Overview 273rd Party Zooms: Sigma 283rd Party Zooms: Tamron 293rd Party Zooms: Tokina 1Nikon® Prime Lens: Normal 2Nikon® Prime Lens: Wide Angle 3Nikon® Prime Lens: Ultra-Wide 4Nikon® Prime Lens: Short Telephoto 5Nikon® Prime Lens: Medium Telephoto 6Nikon® Prime Lens: Super Telephoto 73rd Party Primes: Sigma 83rd Party Primes: Zeiss 93rd Party Primes: Samyang 10Lens Accessories: Filters 11Lens Accessories: Lens Hood 12Lens Accessories: Tripod Mount 13Lens Accessories: Extension Tubes 14Lens Accessories: Teleconverters 15Macro Photography 16Nikon® Micro Lens Selection 17Fisheye Lenses 18Tilt Shift Photography Overview 19Tilt Shift Lenses 20Building a Nikon® System 21Making a Choice: Nikon® Portrait Lenses 22Making a Choice: Nikon® Sport Lenses 23Making a Choice: Nikon® Landscape Lenses 24Nikon® Lens Systems 25Lens Maintenance 26Buying and Selling Lenses 27Final Q&A 28What's in the Frame

Reviews

cliff538
 

Outstanding class! This is a must own. You will refer back to this class many times during your photog career. John has put a ton of work into this class and it shows. Being able to download the slides and other Nikon glass info is wonderful. Even if you're not a Nikon shooter you will still gleam tons of information from this class, John covers in great detail the strength and weaknesses of each lens and when you might consider using it. I was expecting a good class, but this turned into an epic class. I watched multiple videos several times. The only bad thing I can say is I "had" to order a few more lenses! Thank you John Greengo for making a truly amazing class.

Fusako Hara
 

Finally I have some sense of what lens do, know what I have, what I would like to have, what lens to use, and how I can get images that I see. Best part of this session is it was made so clear, simple, logical, and practical. I am glad that I purchased this product. Now, I am going to look for more from John Greengo so I can take better understanding and take better images. Thank You.