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Nikon Lenses: The Complete Guide

Lesson 32 of 57

Nikon Prime Lens: Ultra-Wide

John Greengo

Nikon Lenses: The Complete Guide

John Greengo

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Lesson Info

32. Nikon Prime Lens: Ultra-Wide


  Class Trailer
Now Playing
2 Nikon Lens Basics Duration:14:05
3 Focal Length: Angle of View Duration:11:44
4 Focal Length: Normal Lenses Duration:06:41
6 Focal Length: Telephoto Lens Duration:16:22
7 Focal Length Rule of Thumb Duration:15:59
8 Field of View Duration:10:06
9 Aperture Basics Duration:15:35
10 Equivalent Aperture Duration:07:17
11 Depth of Field Duration:12:58
12 Maximum Sharpness Duration:09:50
13 Starburst Duration:06:48
14 Hyper Focal Distance Duration:18:42
15 Nikon Mount Systems Duration:26:41
16 Nikon Cine Lenses Duration:07:06
17 Nikon Lens Design Duration:20:56
19 Nikon Lens Vibration Reduction Duration:06:28
20 Image Quality Duration:04:44
22 Nikon Standard Zoom Lenses Duration:21:56
23 Nikon Super Zoom Lenses Duration:06:07
24 Nikon Wide Angle Lenses Duration:08:28
25 Nikon Telephoto Zoom Lenses Duration:16:48
26 3rd Party Zooms Overview Duration:06:06
27 3rd Party Zooms: Sigma Duration:16:02
28 3rd Party Zooms: Tamron Duration:07:31
29 3rd Party Zooms: Tokina Duration:03:50
  Class Trailer
Now Playing
1 Nikon Prime Lens: Normal Duration:13:50
2 Nikon Prime Lens: Wide Angle Duration:14:17
3 Nikon Prime Lens: Ultra-Wide Duration:09:29
7 3rd Party Primes: Sigma Duration:07:19
8 3rd Party Primes: Zeiss Duration:03:25
9 3rd Party Primes: Samyang Duration:05:34
10 Lens Accessories: Filters Duration:30:44
11 Lens Accessories: Lens Hood Duration:13:40
12 Lens Accessories: Tripod Mount Duration:04:41
15 Macro Photography Duration:19:11
16 Nikon Micro Lens Selection Duration:18:29
17 Fisheye Lenses Duration:17:59
19 Tilt Shift Lenses Duration:06:00
20 Building a Nikon System Duration:05:16
24 Nikon Lens Systems Duration:11:18
25 Lens Maintenance Duration:10:54
26 Buying and Selling Lenses Duration:17:36
27 Final Q&A Duration:12:08
28 What's in the Frame Duration:03:29

Lesson Info

Nikon Prime Lens: Ultra-Wide

Okay, so the ultra wide category we're going from twenty all the way down to fourteen so we're talking about landscape photography, architectural photography trying to get in as much as we can from side to side not a lot of choices in here there used to be more choices back in the days of manual focus lenses and what's changed is that the quality of zoom lenses have changed so much that there needs have been met by those zoom lenses and so there's very few choices when it comes to these ultra wide angle lenses they could do it and do it very well like with that fourteen to twenty four amazing sharply okay, this is the twenty we're actually just looking a little demo here in the class with this one it's part of their new one point eight siri's very well designed a little bit more on the pricey side so we're talking most of these one eight lenses air seven hundred eight hundred fifty dollars right now but they do have nice optics in him fantastic manual focus rings nikon taking them thir...

ty years but they really got it when it comes to what a good manual focus ring is going to look like now this one with its extreme wide angle of you is gonna have been getting or darkening of the corners when you shoot it wide open this is gonna be a common theme that you're going to see in a lot of lenses and the on ly lenses that aren't gonna have this for the most part. Well, all this is we're going to have it, but the lenses, they're gonna have it at the loot. Smallest degree would be a like a three hundred to eight, four hundred to eight. Some of the bigger tele photos they don't have nearly as much been getting as the wide angles d'oh and their whitest lands is a fourteen millimeter. Now you can tell by just looking at this lands with that aperture caller on there. This is one of their older d lenses. They haven't taken this to the g or even the e level, and so it's possible, we could see an update not too long into the future changing this, but right now this is a lens that can be used on an incredibly wide range of cameras right now could be used on all the modern cameras and can be used on all the manual folks camera so it could be used, as they say, from current cameras all the way back to the seventies, sixties and so forth on their cameras, so it is a little soft, wide open depends on if you need to shoot it fourteen at two point eight for astro photography, nighttime photography. You might have to, uh for a lot of other landscape type photography and architectural photography, you're probably going to be stopping down to f eleven or sixteen so that's not an issue at all so that fourteen is a pricey little guy that's actually not the littlest guy it's a fairly good chunk of weight there so you pay a lot when you want to go to those extreme wide angle needs can I don't have a human a question here, but I thought it might be nice just to check in to see if there's anybody in class who have questions or if there's anything I should address online that st john I know that we are focusing on full frame sensors and we talked about this yesterday, but as we kind of look at these things, I'm still getting a lot of questions about some of these lenses on crop brains versus full frames so maybe you can answer one quick question about that. So for example uh let's say paula in ohio people say that the fifty one point eight is not good for portrait because it distorts faces is that also true and using on a crop sensor with the one point six factor which makes the focal length act like an eighty millimeter lands? Well, I think this is something that I will have nice visual examples for in our final section in the whole class, where I talk about the best lens for a portrait photography, and when it says it distorts the face, I would argue that no, it doesn't. It forces you into a perspective that you may not appreciate, but I don't think it distorts it, and when you use it with the crop frame what's happening is that well, let's, just imagine for the moment that I am shooting somebody sitting right here with a full frame camera and it's a fifty millimeter, one point eight lands correct? Well, to get a head and shoulder shot, I'm probably going to be about this far away. They may not like that perspective, and I could understand that most serious photographers it's not their favorite perspective. I don't think it's the worst, and I'll show you some examples that I've shot like that, but when you stick it on a crop frame camera, the image gets cropped, and so what you end up doing is, well, that's too tight, I need to back up and guess what now you are standing in a different position and your perspective, the way you are, seeing that face looks different, and so when they do put that fifty on their crop frame camera, it forces them into a new position, and it forces a perspective. That more people appreciate then what it would be with a full frame camera and so they do get that nice eighty five millimeter looked at a lot of people like wait so we can get out of the way again does the one point five crop factor apply to a dxe land on a dx body or just to an fx lens on the dx body? Please clarify this important and most crucial point many thanks. Well, okay so sometimes that the wording of it confuses me but a lens is a lens is a lance ok, there is no such thing as a crop plants ok, just it's a focal length of the lance it's thirty forty fifty sixty seven it's whatever that number is and then your frame size will determine exactly what you see on it. And so let's hear the question again? Does the one point five crop factor apply teo a dx lens on a dx body or just to an fx lens on a dx body? Please clarify so the one point four five crop factor up applies to the dx body, not the lands and every lens that goes on it then has to go through that formula whether it says dx on it or not so for instance nikon makes and I don't know if I have it over here I thought I might I don't, but nikon makes a thirty five one point eight dx we talked about it, I think was our first lands. They also make a thirty five one point eight non dx put those two lenses on your camera, one after the other, and you're not going to see a difference at all. You take those two lenses and you put him on a full frame camera. The dx lands is going to show a lot of getting you're going to see around image in the darkening of the corners and the other on the standard thirty five one eight, you'll see the just a regular rectangle that you would normally see, and so when you stick those thirty five dx and fx on your crop frame body, they will look exactly the same. The reason that they are making that thirty five one point eight d x is because they make they make it for less money because they don't need to put in the same glass and it needs to have a small can have a smaller image, sir, so they're able to make it and make it more affordable to you. And this is one of the reasons why they don't make dx lenses in every focal length in every situation it's easier. Just in the telephoto realm just to use a standard telephoto because they're already making it and they don't need to make a special lens for it they could and they do in some cases but uh hopefully that clarifies the issue a little bit more you know it's it's always hard for people to get their brains wrapped around this crop factor thing on dh so just one more question again as we are a cz we are looking at the difference between prime lenses and zoom lenses or just talking to them so question is setting aside the advantage of zoom which will b let's say and they this question might actually be inaccurate as their ass but the question is setting aside the advantage of a zoom which will be best quality picture at the same focal length of one hundred five millimeter one hundred five millimeter two point eight or the seventy two, two hundred two point eight zoom does that make sense? I think the question is if you're at one hundred five focal length is and at the same point two point eight is it better quality on that zoom lens or on the prime? Well on the lenses that they happen to state are a huge impact into the actual one that said different lenses I might have different answers and so in that case they're comparing a zoom lens versus one of their micro lenses and micro lenses tend to be really sharp. And so that one, oh five, two point eight is going to be a little bit sharper than the seventy, two hundred would be is where I placed money, placed good money on it. It's. They're both really good lenses, and I have no problem shooting portrait with that seventy, two hundred. But just at one o five, that one of five is going to be a little bit sharper. But then you do have to ask. The other question is, how sharp do you want your parts? Do we really need to see every pore in the face? And so that's that's? Another issue? That kind of goes beyond this glass.

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.



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.

Anna Fennell

Wow! What a course! Very in depth, lots of valuable information. John instructs with great knowledge and integrity. I have taken other online courses, NOT from Creative Live (my bad!) and was left feeling like a monkey who had learned tricks without understanding or knowledge. Now I feel I have the confidence to move forward on my photographic journey securely knowing how lenses function, what to look for and what price range I can expect. Bravo John! I'd love to see a 2020 update video as an addendum.

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.