Foundations of Photography: Specialty Lenses
Illustration by Petra Stefankova

Words about focal length


From:

Foundations of Photography: Specialty Lenses

with Ben Long

Video: Words about focal length

If you've watched my Foundations of Photography: Lenses course, well actually, I'd like to say thank you. But in addition to that, you should already be familiar with the idea of 35 mm equivalency. Now, if you haven't watched it, if you don't know that term, then you're going to need to take a look at that course before you go on here. In this course, I will be shooting with a Canon 5D Mark III, which has a full-frame sensor. As such, when I speak of focal lengths and field of view, I'm talking about field of view that is equivalent to a 35-mm film camera.
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  1. 4m 10s
    1. Welcome
      1m 46s
    2. Roadmap of the course
      2m 24s
  2. 3m 53s
    1. Words about focal length
      2m 6s
    2. Understanding camera position
      1m 47s
  3. 39m 19s
    1. What filters are for
      2m 37s
    2. Shopping for filters
      3m 55s
    3. Understanding neutral density filters
      4m 53s
    4. Applying neutral density filters
      3m 55s
    5. Polarizing filters
      3m 4s
    6. Some shooting tips for working with a polarizing filter
      2m 32s
    7. Using infrared filters
      9m 15s
    8. Processing the infrared image
      6m 7s
    9. Handling stuck filters
      3m 1s
  4. 38m 37s
    1. Working with ultra-wide lenses
      7m 19s
    2. Using a wide-angle lens
      4m 43s
    3. Understanding fisheye lenses
      4m 2s
    4. Working with fisheye lenses
      3m 59s
    5. Understanding fisheye exposure
      3m 3s
    6. Taking fisheye further
      4m 16s
    7. Processing fisheye and wide-angle images
      7m 38s
    8. Correcting tone in fisheye images
      3m 37s
  5. 35m 37s
    1. Understanding super telephoto
      6m 21s
    2. Shooting distant subjects
      8m 26s
    3. Compressing the sense of depth
      7m 53s
    4. Working with shallow depth of field
      5m 35s
    5. Working with teleconverters
      2m 38s
    6. Editing telephoto images
      4m 44s
  6. 16m 47s
    1. Understanding macro basics
      2m 47s
    2. Shooting close
      4m 52s
    3. Shooting macro
      5m 20s
    4. Working with a point-and-shoot for macro
      1m 58s
    5. Using a two-lens strategy
      1m 50s
  7. 16m 39s
    1. Understanding tilt shift
      3m 37s
    2. Correcting perspective
      4m 29s
    3. Creating the toy effect
      4m 41s
    4. Deepening depth of field
      3m 52s
  8. 32m 39s
    1. Working with specialty lenses
      2m 43s
    2. Using the Lensbaby
      9m 13s
    3. Working with the Lensbaby Macro attachment
      3m 50s
    4. Shooting with a Holga attachment
      3m 4s
    5. Using an alternative mount lens
      2m 18s
    6. Using super-fast lenses
      1m 47s
    7. Correcting Lensbaby images
      9m 44s
  9. 39m 48s
    1. Correcting perspective
      10m 41s
    2. Creating the toy effect
      6m 31s
    3. Getting the lo-fi Holga look
      11m 17s
    4. Reproducing the effect of a Lensbaby
      8m 17s
    5. Cropping and enlarging images
      3m 2s
  10. 2m 47s
    1. Choosing whether to borrow or buy
      2m 0s
    2. Goodbye
      47s

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Watch the Online Video Course Foundations of Photography: Specialty Lenses
3h 50m Intermediate Dec 17, 2012

Viewers: in countries Watching now:

Join photographer, author, and teacher Ben Long on location in San Francisco as he explores the creative options provided by the kinds of lenses and lens accessories that don't always make it into most camera bags.

The course begins with a look at several common and inexpensive lens attachments, from polarizers to neutral density filters. The course then explores ultra-wide angle and fisheye lenses as well as ultra-long telephoto and macro lenses. The course concludes with a look at tilt-shift lenses, which are useful for architectural photography and special effects, and at offbeat lenses, such as Lensbaby and Holga attachments.

The course also contains Photoshop postproduction advice and examples that illustrate the creative possibilities that an expanded lens collection provides. And because some specialty lenses are extremely expensive, the course also contains advice on renting gear.

Subject:
Photography
Software:
Photoshop
Author:
Ben Long

Words about focal length

If you've watched my Foundations of Photography: Lenses course, well actually, I'd like to say thank you. But in addition to that, you should already be familiar with the idea of 35 mm equivalency. Now, if you haven't watched it, if you don't know that term, then you're going to need to take a look at that course before you go on here. In this course, I will be shooting with a Canon 5D Mark III, which has a full-frame sensor. As such, when I speak of focal lengths and field of view, I'm talking about field of view that is equivalent to a 35-mm film camera.

Therefore, from my camera, a 50-mm lens is considered normal, anything longer is considered telephoto, and anything shorter is considered wide angle. If you're shooting with a camera that has a sensor that's smaller than a piece of 35-mm film, then you'll need a lens with a different focal length to get the equivalent field of view to what I'm getting on my camera. Now these smaller sensors are generally referred to as Cropped Sensors. So if you're using a Canon camera with a cropped sensor, then you'll need to multiply all of your focal lengths by 1.6 to figure out the equivalent focal length on my full-frame camera.

If you're using a Nikon camera with a cropped sensor, then you'll multiply by 1.5. Other cameras such as Four Thirds and Micro Four Thirds require multiplying by 2. This is important to understand when you here me categorize lenses by Focal Length. For example, I might say that a 16-mm lens is extremely wide angle, and that's because on my camera, it is. But that same lens on a Canon Rebel would have a Field of View equivalent to a 25-mm lens on my camera. Now that's still wide, but it's not ultra-wide.

To get the same ultra-wide field of view on a Rebel, I need a lens with a focal length of 10 mm, 10 multiplied by 1.6 equals 16. I'll try to point out equivalencies when I can during this course but in general, you'll need to be paying attention to these issues on your own if you use a cropped sensor camera. Now again, if all of this is confusing, check out Foundations of Photography: Lenses, for a more in-depth explanation.

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