When you work with a prime lens, you need to make sure that it can adequately cover the sensor. If you have a lens that is too small for your sensor, you can wind up with vignetting. In this movie, authors Richard Harrington and James Ball discuss things to consider when choosing a prime lens that adequately covers your camera’s sensor.
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- As you choose a prime lens, it's important…that it can adequately cover the sensor.…For example, we have two different bodies here from Canon.…One is a 7D and the other is a 5D.…- [Jim] 5D Mark 3.…- And so similar in name, but very…different in function, right?…Big differences here between the sensors.…- 5D Mark 3 is known for its full frame sensor.…If you're going for that shallow depth of field…that you love with wide open aperture prime lenses,…this is gonna make that even more intense,…and then the 70, right, is APSC or crop sensor mode.…
- But because they use the same mount,…we could actually take your 50 millimeter…lens and put it on this body,…I'll trade you there, there we go,…and so it fits fine, but it's no longer…gonna behave as a 50 millimeter lens.…It's gonna look a little different, right?…- Right, so there's a crop factor, a multiplcation…of 1.6x, so your 50 millimeter now…will be 75, 80, and that's the same thing…in the cinema world with the C300,…which they don't necessarily call it an APSC sensor,…
In this course, Rich Harrington joins cinematographer James Ball for a detailed look at the pros and cons of using prime lenses for both photography and video projects. Together, they look at practical implications of shooting with primes as well as creative opportunities and challenges.
- Understanding prime lenses
- Adapting lenses to specific cameras
- Identifying benefits and challenges when working with prime lenses
- Working with specialty prime lenses: macro and Lomography lenses
- Exploring options with a shallow depth of field
- Strategies for success with prime lenses