Welcome to this new section of the course about camera as accessories.
I did want to go over some of the main accessories you might want for your can.
DSL are the first one is not necessarily an accessory, but it's a necessity.
And it's your lens.
We've already seen a few lenses that I've popped onto the camera throughout the course, but I wanted
to show you just a variety of lens options and then talk about what I would recommend when you're building
out your kit and upgrading your lens selection.
So the first lens you'll probably have is the one that comes with it.
This is the canon 18 to 135.
This is a zoom lens, as we saw earlier.
That means that it can zoom or in or out.
And it has multiple focal lengths.
The focal length is basically what refers to how wide or narrow or how wide or telephoto your view is
going to be.
And so 18 or the smaller numbers are the wider focal lengths.
And then the higher the number, it's the more telephoto you you're in.
So with this lens, it's pretty it's a pretty good all around lens.
If you want just one lens that you can kind of carry around, you can get portraits, you can get wide
landscapes.
You could also zoom in and get some telephoto zoom shots.
This is a great one to have.
The difference between a zoom lens with multiple focal lens is the prime lens.
So the prime lens has only one focal length.
Here's an example of that lens.
This is the fifty millimeter prime.
This is what's called the Nifty 50.
It's a name or a term they called this lens because it's relatively cheap, but it's actually really
cool.
And good lens.
So if you are looking to upgrade your first lens or get your first prime and you have a very limited
budget, look for the 50 millimeter lens.
That's around 100 to 200 dollars.
You might even be able to get it for cheaper if you get it used.
Most camera brands have a very similar option.
The 50 millimeter, that's a lot cheaper, but the cannon one is known for being actually pretty high
quality.
So there's still isn't there sort of next level tier?
So the pro level, which we'll get to in a minute, is called the L series, and that's represented
by the L that's on the lens and also the red band that you see on the lens itself as well.
But the more basic level of lens doesn't have that, which means the build quality isn't going to be
as good.
They're going gonna be a little bit more plastic than metal.
They might not be whether star sealed, meaning that if it's raining outside or something, you don't
want to necessarily shoot with it, because if water gets into it, which water can get into it, that
can mess up your lens.
So the quality of the build just isn't as great.
And also the quality of the image might not be as great.
So now hopefully, you know what the difference between a zoom lens and a prime lens is.
So this, again, is the fifty millimeter prime.
This one right here is the 24 millimeter prime pancake lens.
Again, a small, cheaper, quality lens.
But it's really nice for travel.
I like the 24 millimeter size.
I actually took this lens to Australia with me with a bunch of other lenses when I was traveling.
And I used this one the most when walking around and just doing typical kind of travel street photography
just because of the small form factor.
This is nice compared to putting this lens on here.
This becomes like the real deal.
And people are going to start noticing you a lot more if you're carrying around a super large lens like
that.
So just switching over hopping over here, this is the 24 to 70 millimeter L series lens.
Now, this is the first Mach one version.
They have a newer Mach two version.
When you hear that term, Mach one, Mach two, that just signifies that it's a the version of it.
So Mach two will be the newer version, Mach three.
If they come out with it, it will be the next sort of iteration.
Now, this lands is what a lot of photographers and videographers choose.
The twenty four to seventy is a great focal length, meaning the how wide and how telephoto it is is
pretty good for most situations.
It's not going to be able to get you a super wide landscape photo it.
It's also not going to allow you to get super zoomed in photos.
So not great for wildlife photography or necessarily sports, but for general everyday photography.
This is a great lens.
If you could feel this lands, you would notice that it's really, really heavy.
So compared to this one, which is the 18 to 135, which is actually a has a wider range in the Zoome.
It's way heavier.
And that's because the amount of glass and everything inside of this is metal and or not everything's
metal, but parts of it are metal.
And it just feels like a tank.
The other difference between a higher quality lens typically is going to be the aperture options.
We kind of cover this earlier in the class when we talked about options, but some lenses just don't
open up to a wide aperture or the widest aperture they open up to is something like an F 4.0 versus
this lens can open up to an F 2.8.
Some lenses can open up to an F one point two.
And the benefit of that is not only being able to photograph in darker situations without having to
boost your ISO or slow down your shutter speed too much.
But the quality of the blur in the background, the bouquet, as we call it, in photography, that
bouquet looks really amazing when you have a super wide open aperture and it takes a lot of technology
and engineering to create a lens that can open up to a wider aperture.
And so that's why this is going to be in a more expensive lens.
The other thing you'll notice is if you're zooming in some lenses, for example, this lens right here,
if I put this on this camera and I zoom in, the aperture will change.
So with so let me just put that on really quick so we can see what that looks like.
So if I set it to manual mode.
And I guess I'm zoomed out all the way now.
Why does my aperture can go as F three point five?
But if I zoom in, it automatically changes the aperture to F.
Five point six.
And that's just because the way this lens is built.
If I zoom in the option for a wider open aperture, just it's it's impossible.
The way they built this lens with a more expensive lens like this one.
It has a fixed aperture.
You might hear that term as well, meaning that even if I zoom in or out, I can choose whatever aperture
I want that this lens allows.
If I have it at F 2.8, it will stay at F 2.8.
If I zoom in.
So covering a lot of stuff in this lesson.
And again, like always, if you want to learn more about the ins and outs of lens choices, why you
choose certain lens and that kind of thing.
Definitely check out the photography master class, which covers all of these things in more depth.
The other thing, though, I wanted to mention was that you don't have to pick Candan lenses to shoot
with your DSL.
Are Canon has been around for such a long time that other brands such as Tamron or Tokino Sigma.
There's other brands out there.
They create lenses that fit the Canon E Mount.
So Canon uses what's called the E Mount.
That's what this mountain is called.
Or Canada a large use the email anyways.
And so if you get a lens from another brand like Tamron or Tokino and it says E Mount, it will fit
on this camera.
So here is a lens.
This is the Tokino.
Eleven to sixteen millimeter lens, a zoom lens.
It's really wide.
Great for landscapes.
And as I love this lens for your video and all kinds of stuff too.
It's a pretty small lens, too, for taking around and capturing just architecture shots, street photography
as well.
This Tokino was one of my very first zoom lens is that I got.
It's a much cheaper lens.
The quality is an amazing.
But if you're just looking for something with a lot of zoom, this is the seventy five to 300 millimeter
zoom Tamron lens.
And again, the size.
Look at the size.
About the same.
It's not as wide as the 24 to 70, but it has a much longer zoom.
That being said, the quality isn't as great.
But still, Tamron nowadays makes some pretty good lenses that go on Canon.
So check out other brands.
Sigma.
Definitely.
For sure.
They make a great line of lenses for Canon DSL Lars.
Now, the last thing I want to quickly mention, because you might not be using the Canon T7 eye is
about Crop Factor.
We haven't talked about this before in this class, but depending on the size of your sensor, it's
going to basically adjust what the actual focal length is for your lens.
The number for the focal length on your lens is actually referring to what the focal length is for a
full frame sensor.
So a canon camera like the five D or the 60s or the one the X.
That's a full frame sensor.
Those sensors are bigger and therefore it's able to capture more information, more light and just all
around generally going to be a better image depending on the sensor size as well.
Changes the focal length.
So with a smaller.
Censor, it actually ends up being a little bit more zoomed in.
So if I put on this 24 millimeter on this camera, the T7 eye, which is a crop sensor, meaning a smaller
sensor and take a photo.
And then I put the same lens on a full frame camera.
It's actually going to look more zoomed in on the cropped sensor camera.
There's a lot of technology behind this about why.
But basically understand that the crop sensor camera will look a little bit more zoomed in than a full
frame camera.
Now, you might say, well, that's cool.
That's kind of a benefit.
And yes, it is.
If you're a wildlife photographer or a sports photographer, a lot of people like using crop sensor
cameras.
Because of that fact, you can put on the same zoom lens and get even more reach, be able to zoom in
even further with it.
But the drawback is that the quality of the sensor sometimes is a little bit less.
Now, this is a debate that has raged on between photographers for many years, full frame versus crop
frame.
To be honest, crop frame or crop frames, crop sensors are super high quality now.
And to take professional photography, you do not need to have a full frame camera or a full frame sensor.
That being said, some people love the full frame.
They're fulfilling cameras.
And of course, you're gonna get some more pixels with full frame sensors.
The look is a little bit different in terms of the bouquet.
The background blur on full frame sensors.
And also you get a little bit of extra light.
So meaning you can shoot in a little bit darker situations with a full frame camera.
That being said, depending on what lens you're using, whatever your setup, you can basically get
the same exact photo with both types of cameras.
But I want the reason why I'm mentioning this is because you might hear someone say like, well, what's
the full frame equivalent or what's the actual focal length of the 50 millimeter on a crop frame sensor?
What's called the crop factor is that mathematical equation.
And for this camera and for most Cannan crop sensors, it's one point six times.
So if you take this 50 millimeter and you multiply it by one point six, it's actually going to end
up being 80 millimeters.
So this 50 millimeters is actually photographing like an 80 millimeter lens on a full frame camera.
Does that make sense?
I know it's super confusing.
But if you're if you're like you, you might be coming from a full frame camera shooting with a fifty
millimeter prime.
And then you get to your cop frame camera, you put on a fifty millimeter prime and you're like, well,
I'm a little bit zoomed in.
I need to back up a little bit more.
And that's because you'll want more of like a 35 millimeter lens or a zoom that goes to thirty five
millimeters to get that same 50 millimeter focal length.
All right.
This is getting way too confusing, really at the end of the day.
If you're shooting with a cross frame sensor camera, it's not going to matter to you because you're
just going to be shooting with it and you're not going to notice if it's bigger or wider or longer or
closer or anything unless you are really comparing between two cameras or you have two cameras.
The last thing about that, though, is that some lenses are made specifically for crop frame cameras
that won't work on full frame cameras.
Most full frame cameras.
It has a mode nowadays that will switch it to like crop frame mode.
But a lens like this one right here, which is the CFS 18 to 135 millimeters lens, this is made for
the crop frame camera.
And if I put this on a full frame sensor camera while it will work, you can put it on.
You might when you're zoomed out all the way, have like a big vignette.
You might even see black around the edges because the full frame sensor is actually too large for the
way that this lens is made.
So another lens like this, the cannon 24 to 70, though, is made for both full frame and crop frame
cameras.
So that's just something to look at when you are buying a lens.
If you ever think you're going to upgrade to a full frame camera, maybe it's something you pay attention
to and only buy lenses that work with a full frame camera.
Because if you do upgrade to a full frame camera, you'll want to be able to use your lenses.
All right.
I know we've covered a lot of stuff here, but that's a really general overview of a lot that has to
do with lenses.
If you have any questions, please let me know.
And of course, I haven't mentioned it much in this class, but if you have questions, you can join
the Photography and Friends group on Facebook.
This is a community of beginner photographers who would be happy to help you and answer any questions
you have about lenses.
If you're thinking about a specific lens, there's probably people that have it.
So you can join the Photography and Friends group and ask questions there as well.
All right.
Have a great day.
And we'll see in the next lesson.