Nikon® Lenses: The Complete Guide

Lesson 16 of 57

Nikon® Cine Lenses

 

Nikon® Lenses: The Complete Guide

Lesson 16 of 57

Nikon® Cine Lenses

 

Lesson Info

Nikon® Cine Lenses

Okay, so I want to take a little side trip and talk about the world of movie making because they use lenses and they need lenses that have different requirements than we need it's still photographers look at the prices I'm not going to include too many prices on screen but look at the prices of some of these lenses and these air lenses that are designed to meet somebody's needs who really wants great image quality but has a different set of needs than a still photographer and so I want to take a look at photography lenses versus cinema lenses so that you can kind of appreciate why are lenses are designed with the way they are so first off we like quick auto focusing so that we can quickly get something and focus the movie lenses are all designed for manual focus nice smooth manual focus on it we want to be able to change our apertures very very quickly from one setting to the next in some cases a movie camera is panning across the scene and somebody is changing the aperture setting as ...

the camera moves and they don't want to go in third step clicks they don't want to jump jump, jump they want a nice smooth change from this setting to that setting so somebody's actually manually changing it on the land we like lenses that are generally the smallest possible size on movie cameras they're being held on jj, ibs and rigs and steady cams, and they're put in matt boxes and it's very convenient. If all the lenses are about the same size and so a lot of the lenses within certain parameters are very close in size and weight, whereas we don't really care about that. Generally, photographers own their own equipment. Yeah, we can rent a lot of stuff is we get parental stuff here, but most of us own our own equipment. Where is that? The price is that you saw ninety nine thousand dollars for lance? Most people don't own a lot of those lenses. They rent him for the time of their production. And so it's rental property and it's a crew that's operating it and that's kind of different requirements than just an individual who owns a particular lance. So there's a lot more differences. We like to use f stops, cinema uses t stops. They're similar, but they're different. The basic difference is that an f stop is theoretical. A t stop stands for transmission that's the actual light that comes through. If there was five of us all out shooting at f two point eight and you were to do a really close analysis of the exposure, it would be slightly different, maybe five, ten, fifteen percent different. And for you shooting pictures and you and me, it doesn't make much difference because we're not shooting those pictures and showing them one right after another. But when cameras are shooting and they're switching camera angles, you go from shot to shot immediately and you'll notice the smallest difference in exposure. So we got a little bit of sloppy room in here, and you can actually find out I'm going to give you a location that you could go to to find out what the tea rating is on your land. How much light is actually transmitted through the glass? We like to have auto focus and manual focus. The cinema lenses are manual focus only. All those movies you see, somebody is on the camera manually focusing it. They're very precise about their set up shots. We like doing things and third steps generally because it's about the smallest increment that we will notice. Yeah, that one is brighter than that. That one is darker than that it's a nice little increment for us to work in. But as I mentioned before, that panning system where they like to use their step lis aperture is a different system where they can set any setting they want. We're gonna have our focus scale on top because we're holding our cameras and looking at it like this a lot of times the movie cameras were up a little bit higher or somebody's off to the side because the person pointing it is behind it but somebody who's doing the focusing is off to the side of it so there'll have focusing scales over on the side short focused how far do you turn the lens to go from infinity to close up on our auto focus lenses it's often a very short throw just a little bit here a little bit there infinity close up infinity close up and on a movie lands it's infinity on close up because they want to be able to find tune and focus manually on someone at ten feet or twelve feet or fifteen feet or eighteen feet different types of needs a number of other differences as well a minimal focus breathing I'm gonna explain this this is where the lens actually changes magnification while it's focusing the size changes I got a nice little video to show you I'm not coming up here in a moment pretty much all the sentiment lenses focus internally because they're mounted in these housings and it's just would be terribly inconvenient if they're zooming back and forth we have a mixture sometimes we get internal focusing sometimes we don't depends on the lens and the quality of the level of the lens they also want to zoom really smoothly we don't care it be nice to zoom really smoothly but we're just more interested in getting to point b not what happens between point a and point b whereas in the movies they want to have this nice smooth zoom and they need to have that really smooth otherwise you notice the jerkiness in the video so there's very different requirements as far as actual sharpness of the lens typically photography lenses are sharper because we have higher resolution still cameras then they have movie cameras but the construction issues make that very challenging to do and make them very, very expensive to make which is why their prices our five thousand to one hundred thousand dollars for very similar type equipment with nikon they do not specify this ok, I don't work for them I get to say whatever I want that they do have kind of three clear different categories as faras I can separate they have their entry line entry line of lenses which are typically going to be plastic mt a lot of plastic he built two on plastic focussing ring and they're going to have a slow aperture like three point five five point six next up is kind of what I would call the mid range we're goingto have metal lens mounts were gonna have that silent wave focusing motor and um we're going to have a wider focusing rings that are rubber coated, little bit easier to work with. We're going to have our distance scales in here. We're going to have a manual focus override, which allows us to just grab the lens, turn it and focus overall better construction. And these will generally have a gold stripe on him, and then the top of the line are going to be their professional siri's. And once again, there is no clear line and distinction between midline and professional. So this is just kind of at a certain point. But here is just where everything gets to be the very top quality, the exotic glass that we're going to talk about here in a moment, a lot more metal construction than plastic, and they typically have very fast apertures on him. And so those are three different kind of ranges, and you could pick a lands, look at the characteristics and probably place it into one of those three categories pretty quickly and easily.

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

  1. Nikon® Lens Class Introduction
  2. Nikon® Lens Basics
  3. Focal Length: Angle of View
  4. Focal Length: Normal Lenses

    John Greengo goes in-depth on the difference focal lengths make when shooting with a Nikon® lens.

  5. Focal Length: Wide Angle Lenses
  6. Focal Length: Telephoto Lens
  7. Focal Length Rule of Thumb
  8. Field of View
  9. Aperture Basics
  10. Equivalent Aperture
  11. Depth of Field
  12. Maximum Sharpness
  13. Starburst
  14. Hyper Focal Distance
  15. Nikon® Mount Systems
  16. Nikon® Cine Lenses
  17. Nikon® Lens Design
  18. Focusing and Autofocus with Nikon® Lenses
  19. Nikon® Lens Vibration Reduction
  20. Image Quality
  21. Aperture Control and General Info
  22. Nikon® Standard Zoom Lenses
  23. Nikon® Super Zoom Lenses
  24. Nikon® Wide Angle Lenses
  25. Nikon® Telephoto Zoom Lenses
  26. 3rd Party Zooms Overview
  27. 3rd Party Zooms: Sigma
  28. 3rd Party Zooms: Tamron
  29. 3rd Party Zooms: Tokina
  1. Nikon® Prime Lens: Normal
  2. Nikon® Prime Lens: Wide Angle
  3. Nikon® Prime Lens: Ultra-Wide
  4. Nikon® Prime Lens: Short Telephoto
  5. Nikon® Prime Lens: Medium Telephoto
  6. Nikon® Prime Lens: Super Telephoto
  7. 3rd Party Primes: Sigma
  8. 3rd Party Primes: Zeiss
  9. 3rd Party Primes: Samyang
  10. Lens Accessories: Filters
  11. Lens Accessories: Lens Hood
  12. Lens Accessories: Tripod Mount
  13. Lens Accessories: Extension Tubes
  14. Lens Accessories: Teleconverters
  15. Macro Photography
  16. Nikon® Micro Lens Selection
  17. Fisheye Lenses
  18. Tilt Shift Photography Overview
  19. Tilt Shift Lenses
  20. Building a Nikon® System
  21. Making a Choice: Nikon® Portrait Lenses
  22. Making a Choice: Nikon® Sport Lenses
  23. Making a Choice: Nikon® Landscape Lenses
  24. Nikon® Lens Systems
  25. Lens Maintenance
  26. Buying and Selling Lenses
  27. Final Q&A
  28. What'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.

Chelin
 

What an excellent class! Honest, unbiassed and extremely thorough reviews and descriptions of the main Nikon lenses. I am considering purchasing a couple of lenses for my Nikon DSLR and before I saw this I couldn't find an answer to my questions: price vs quality, which one's the best lens for my needs. I'm not a technical person and I can never understand complicated reviews that you find online, but John Greengo explains in a entertaining way so that anybody can follow. Thank you!