Lens Choice: A Beginner's Guide | Indeana Underhill | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (36m)
    • 1. Introduction

    • 2. Your Project

    • 3. The Crop Factor

    • 4. Portrait Comparison

    • 5. Macro

    • 6. Special Effect Lens: Lensbaby Spark

    • 7. Vintage Lens: Helios 442

    • 8. Things to Keep in Mind

    • 9. Wrap Up

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About This Class

Choosing a Focal Length: A Beginner's Guide

This class was made to help you purchase and use the right lenses for your own personal photography. What decisions go into choosing the right focal length for your image? How does compression and distortion work and on what is it most apparent? What lenses are a must-have in your bag that will help you tell your own story correctly?

These are the questions that you will start to answer in this class. It will focus on doing comparisons between different focal lengths with the same subject, give tips for purchasing lenses and a starter guide for specific genres of photography. Learning about lenses and their relative focal lengths will bring a whole new perspective to your photographic style. You will begin to be able to breakdown your favourite images and think about why your favourite photographer's used that lens versus the other.  

Be creative, daring and take great photos!

For more of my photography classes ranging from beginner principles to intermediate development: 


Automatic to Manual Mode: The 3 Things You Need to Know


Amateur to Freelance: How to Develop a Portfolio


The Travelling Photographer: Choosing the Right Gear for Your Journey



Lenses 101: Shooting with Primes


Lenses 101: Creativity with Vintage Lenses & DIY Filters



Lens Filters: Pushing Your Still Images


Advanced Lens Choice: Editing In-Camera


For more of my work, you can check out my instagram or website.



Meet Your Teacher

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Indeana Underhill

Cinematographer & Photographer


Indeana is a Canadian cinematographer based in Los Angeles. She is an Associate Member of the CSC, a member of the ASC MITC Lens Committee and a graduate of American Film Institute's Cinematography Conservatory Class of 2020. 

With over 35 credits, she has worked professionally in South Korea, Greece, Spain, Scotland, Argentina, Qatar, Egypt, Canada & the US. Her background in photography has enabled her to continue to tell diverse stories through her lens.





See full profile

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1. Introduction: Hi, My name's Indiana and I'm alive. Sadam Travel Photographer Based in Trauma. This class choosing focal lengths is all about getting started with the basics of focal lengths and choosing lenses. Whether they be crimes or zooms through portrait comparison tests will test 14 millimeter wide lenses that are borderline fisheye and go is faras telephoto 200 millimeter. Not only will we be doing comparisons, but we're also learning about the context, in theory, behind things and that learning about how to bring it into the practical and creative element of photography. The most important thing that you'll take away from this class, though, is beginning to develop your own photographic style and personality and look, because it all starts with focal lengths in the morning. You know about it, the more you will be able to really experiment and test it out and see why I like it. Focal lights are the beginning of a really good relationship with your kid. You'll get to know what lenses you may want to start out with which ones you may leave the type of events that you're gonna be shooting, whether it be live or staged, so I hope you'll join me in choosing focal lengths where we'll discover three things. Why focal lengths are important, how we choose them and what it does to your image Thanks. 2. Your Project: So for your class project, it's gonna be pretty easy. All I want to do is get you to shoot two different images that are actually the exact same except with polka line. So don't change the subject. Don't change for framing and don't change the environment or even the white balance. Make sure that the exact same image, but all you're doing is taking them twice at two different focal lights. Why would that be very, very wide and very, very tight. So in 18 and 200 or even it could be a 35 and 50 as long as you're discovering what two different focal lights will do for you and which one you like better than that's a great project. Also, make sure to include why you like which one better? Because it's important to start analyzing your own imagery so that you could be about a photographer and develop the type of look that you're after. Feel free to submit them below so that I can take a look. And if you have any questions, feel free. Teoh. Ask them below this one 3. The Crop Factor: I just wanted to talk about something called crawl Factor, and this will allow you to determine what lenses you might need for certain scenarios based on your camera and its sensor size. This is just something I want you to be aware of for buying lenses in the future and a swell of evaluating what lenses you already have now, because having that 18 mil might not actually mean it's an 18 mil. And I'll explain why it's something called crop factor. And it happens when your sensor size of your camera is smaller than a full frame 35 millimeter sensor. This means your sensor will actually crop in, what the millimeter of your lenses. So you would have to multiply a number by the lens focal length to get the actual focal length for that specific camera. It's very easy to look up. All you need to do is Google your camera making model and crop factor beside it, and it will tell you the ratio that you have to multiply by. This is really important for buying future lenses in case you decide you want a town 10 millimeter lens, but instead you're actually gonna be buying a 17 millimeter lens because you haven't factored in the crop factor, so you won't actually be able to get us wide as you first thought you would. For instance, the cannon crop factor of 1.6 applied to a PSC sensor sizes. This means the 17 would become a 28. 28 would become a 45 that 35 would become a 56 and a 200 would become a 320 millimeter lens . So this is really important when buying lenses, but also when you're shooting things. If you already have a great set of lenses with varying focal lengths, it's just something to keep in mind. Um, a lot of people actually preferred for specific genres, like sports or birdwatching or wildlife photography to have a crop sensor camera because it allows them to take their 200 millimeter lens and make it 320 millimeters, which crops in, and Zoom zooms in to the subject a bit better without having to pay larger sums of money for a 46 or 800 millimeter telephoto lens. Thinking use a crop sensor so it does have its advantages and disadvantages. It's something you really should keep in mind for purchasing cameras and for purchasing lenses. You should know your intent when buying these lenses, so you should also ask about crop factor when you're purchasing. So I urge you after this class to take a look on Google with your cameras making model and crop factor so that you can know what lenses you actually have in your bag. 4. Portrait Comparison: Hi, everyone. We're going to be doing a portrait comparison test first, which is going to be comparing the different focal lengths that we have today. Ah, we're here with our lovely model bullet who has volunteered his time to help us with this test. Today we're gonna be testing a 14 millimeter a 25 millimeter, a 35 50 65 85 100 a 1 35 and a 200 millimeter focal length. Well, this Focal Inc test will also help you determine what focal length you might want to use when telling your certain story. Make sure when doing your own type of comparison tests that you're going to be doing the exact same framing with each lens. So you're gonna have to adjust your body in the distance from your subject That's going to vary, But make sure that this framing is the same cause that will allow you to directly compare and contrast these photos. So 14 milk, Let's do us angled. So as you can see with the 14 mil lens, um, it's not very flattering on our subject here, and it brings his face back and his nose is the most predominant feature on this face. Um, now for a subject like this, depending on what you're shooting for beauty shots, this is probably not the lens that you would choose, however I find with more experimental videos, whether that be music videos or skateboard videos on this brings you a lot closer to your subject, and you're able to get a lot edgier shots. So that might be why you'd choose the 14. But let's move up to the 25. So this is our 25 mil lens. This is a zoom 24 to 105 Uh, can l lens comes with the five d mark three kit land. Sometimes eso we're gonna be shooting are 25 mil on this. So as a comparison, we're gonna be shooting at the exact same height on the mono pod here on, and we're also gonna be trying to match the same frame so that we can do a direct compare. So in the end, So let's get our model in position again. We'll shoot with that 25 so that's that are 25 mil. You can tell that there's quite a bit of its jump between a 14 and 25. That's because 14 this lens is borderline fisheye. And that means that you're gonna get a lot of distortion on this, uh, the corners and the sides of it. However, with the 25 mil, it is just a regular Spiric ALS lens, so you can tell The difference is between the 14th and 25. Thus far is the 25 looks a bit more natural. It brings back his nose and eyes and brings out his ears, and his side's a bit more, making a bit more flattering and a bit more as to what your human I would see. But we're not quite there yet. Next, we're going to try our 35 millimeter lens. So let's take a look how that captures our model here in the exact same frame. Great. So with the 35 lens, this is what I call what the human eye sees its. There's a big argument between 35 50 but I believe that 35 is really with the human I see. So this is really the most natural and personal connection for me and a lot of documentary filmmakers and photographers will use the 35 as their predominant lens. Ah, the 35 brings out his features but doesn't flat on his face too much. I think it's really flattering on whom, and I think it brings his shoulders up a bit, which is quite nice. So let's try our 50 which has been my all time favorite for the past two years. So now we're just shooting with our 50 mil. This is my favorite. Go to Lens. It's a 50 mil. 1.4. You can get a 1.8 for about 100 150 bucks, which is fantastic. Ah, the fifties was my first prime, and it's the one I normally choose to go Dio because it does stop down to a one for which gives you that really nice, shallow depth of field. If you don't know what shall it up the field is, feel free to check out my other class, which who's about the three things you need to go from going from automatic to manual. We talked about that, but for the 50 mil, uh, this is is my favorite lens, and I think it's really gonna bring out his features, and it's really gonna be flattering on him. So let's give this a go. I also wanted to point out that the as you go longer in your focal lengths, you will have to pull back from your subject a bit. And that's because the longer the focal length, the more used Suman as you can see from these comparisons, Um, and so it's really important that if you want to get the same frame, you're gonna have to actually just your body that, rather than playing with a zoom lens all the time, um, this will give you different looks because of your different focal lengths, but as well, a little train use photographer to really look out for framing and to see what you like best in telling your story. So now we're on our 65 lens. I switch back to a 24 to 105 I did switch out to a 50 just cause I wanted to show you how fantastic that prime once. But on the 65 we're gonna have to pull back even further. So as you can see, these kind of keep getting more flattering. And that's because we haven't hit the sweet spot, which is the next one. It's our 85 so I hope you can start to draw a bit of comparison between them. One thing to point out about the 85 mil is it is really a go to for engagements, portrait's head shots, anything portraiture, beauty shots, the longer the focal length. A lot of people say, the more flattering the image. But in the end, you really have to decide whether or not that's the story you want to tell who's the character and how are you bringing out their best features, or how are you getting rid of some features that might not be is appealing to them or to you. So on her 85 we're gonna have to pull back quite a bit. One thing I want to start talking about because I think it's gonna be a pretty important thing when deciding on focal length is you'll start to see on the longer the focal length, the more compressed your background gets to the subject. What I mean by that is, when you're on a wider lens, you're gonna have, you're gonna be able to see the distance in which the background here is compared to our subject bullet. But as we get to an 85 you're going to start to see that they kind of start to weave in together a bit. So the compression in the background, it brings the background further to us more to the foreground, and this makes it a great backdrop. Four bullet to be against. Um, one other thing I wanted to point out is the longer the focal length, as we talked about in the other class, the shallower, the depth of field, which is, I think, contributes a lot to how flattering the 85 can be, um, or any of the longer focal lengths. So now we are on 100 mill macro prime from Canon. It is a fantastic macro lens, but it is also a beautiful portraiture lens. Um, we will be using the 72 200 which a lot of wedding photographers. No, it's their staple. But I thought I would show you what the 100 Milken do because it's quite something. So on the 100 mil you're going to start to see that the background is coming into the foreground and he's really molding against it. But there's this great separation because the bow que in the back is really shallow s. So I think you're really gonna love the 100. So let's give it a go. We're gonna have to step back quite a bit. So looking at the 100 if we're analyzing it a bit, we can see that the background has become considerably more blurry even though we've stayed at the same f stop. And it's not even that shallow once again, As you dio get longer focal lengths, it does increase the depth of field. And you have a smaller and smaller window to focus in, um so if we're looking at it, you can see that there's a great separation between the background and shoulders, his shoulders or completely and focus in the background is completely out of focus, Which makes it which gives it this nice feel. Um, this case. So now you can see we kind of have a big guy on. This is our 72 200 telephoto lens. This is a wedding staple for photographers shooting any sort of wedding engagement. Shoot. This is the four. This is not the 2.8, which would have a lens mount on the bottom because it's quite heavy because they're quite ah, lot of elements of glass in there that air heavy. Um, but the 72 to 200 is fantastic. It's great for reframing quickly. It's great for all things portraiture because you got your 85 year, 100 101 135 and a 200 mil lens in there. So I mean, let's try it out so you can see what it looks like and you can see the difference because I can tell you it's gonna be a pretty great one. So we have had to switch our position of our camera filming just so you can see how far back I'm gonna have to go to get 135 mil and reframe it. So it's the same as our 14 25 35 50 and so on. Um, but let's give it a go 1 35 on our 72 200 on a five d mark three. So really shooting between this tree right there. It ISS and our models ready Now It's funny, cause when you're shooting with this lens. It almost feels like you are birdwatching or trying to get something really quickly. And the speed of the sleds to focus is fantastic. So as you can see the separation in the background in the bow, okay, that's starting to come off on the flecks of with the reflection of the grass. It's just fantastic. Uh huh. So really romantic image to me. Um, just looking between the two. It's just fantastic what it's doing for Hiss Face. But I do think that it's bringing out his ears a bit too much right now. I think the 100 was a bit better for how his face was shaped, but we're going to try with our 200 so we're just gonna quickly reframe and spend the barrel to a 200 same settings. But I'm gonna have to back up even more, and we're barely There we go. That's fantastic. Great. There. So, in summary, that's the difference between our 14 to 200 mil focal length range. I obviously picked a few, but I thought would be substantial enough to give you an idea of the difference in the comparisons between them. So what? We're gonna do it for this is going to stack them so you can quickly just see the difference. And, um, I hope that was very helpful. I also wanted to point out that some of the things you need to keep in mind, which I have said that I just wanted to finish with, is Who were you shooting? What's your motivation behind it? How are you trying to make them love and what's in the background? The biggest thing that you want to keep in mind is their features and who they are as a person, and you might want to have a conversation with them about what are they looking for and what are they trying to get out of the chute? Or if it's fiction, how are you trying to make your character? What are you trying to bring out against? Are you trying to make them look mark, even maybe want to go on wide angle? If you want to bring down their features a bit? Plan theories years you might want to go on a longer on. All these things are trialling here, and they very percent percent and photographer, too. But it's really important. In the end. You develop your own style photographer, and you also develop your own. That was fortunate 5. Macro: So one of the other lenses we probably want to talk about is a macro lens. This lens is 100 millimeter to point a cannon. Yeah, Flynn's. It's fantastic for Portrait, but it's also fantastic opportunity to get really close up the things most lenses will not have this feature. That's why it's called a macro lens, because you're able to get up close and shoot macro minimal vocal distance on this. It is one, but and we could even use after filters, which is girl in the front getting closer. But I just wanted to show you what 100 millimeter looks like on a macro lens and what you can do to be a bit creative and get some special effects to your photos. So that's shoot a little bit. So we're gonna work it here, which we're gonna be shooting. The tip with shooting macro is you want a lot of available, like you want to be able to add light if necessary, because the more you zoom in essentially the closer you get, the less like that's gonna become available because of light loss that happens within the lens with elements shifting. So we take a look at this. The other tip you want with macro is you want to shoot at a higher Apertura number, which means you want to be at maybe like, an F A F 11 F 13 because the closer you get as we know, the more depth of field you'll get. And so the less that will be in focus. So with more depth of field, you'll be able to get more focused when you're really, really close to an object. Let's see what we can get. If we go to our maximum at 0.3 now we're 0.3. Slim has trouble focusing because we're so close to you have to kind of help it out of it. And then if we get leaves, the great thing about macro lenses you can really play around with, um, you contest out what things look like up close that maybe we might not even be able to see . He really changes the perspective. That's why I put it under special effect lenses. You can go further than 100. You can get 100 and 35 200 mil, but I warn you, and playing with those that the depth of field is just gonna be insane. So you really have to train yourself, train your eye to know what's in focus, because your auto focus is only gonna help you so much. So that's what shooting a macro was like one of the other, more normal special effect lenses, but definitely something where it's gonna add something new and creative to your image. 6. Special Effect Lens: Lensbaby Spark: so the next special effect lends. I wanted to talk about waas this baby that I got the lens Babies spark the lens. Baby Spark is a fantastic accordion style lens, which has no mechanics to whatsoever. Does not have an aperture. Doesn't specify what focal length it is, although it's in the wider range of 35 to 50 and ah, I got it for 50 bucks. And it's a very cheap version of the lens. Baby composer. The line of Lens baby creates these fantastic special effect lenses, which really smooth, velvety, creamy skin tones. Or they are selected focus like this one here. So this one I love using when I'm getting raw and really intimate with the subjects that I'm shooting, it allows you to get close, and the way you control it is looking through the viewfinder and playing around with your focus a bit. The great thing about this lenses, it really feels like a handphone lens because it is you're playing up and down. You could even push it forward to get a bit closer to your subject, but it works opposite the closer you push it to the element, the further back it focuses, and when you release it, the closer it goes, it's a really fantastic lens to give you that special focus. Maybe it's a flashback scene. Or maybe it's just a fantastic way to make it really romantic, whether it's photo or video that you're shooting. Here's a test that I shot with a friend when using the lens baby. Obviously, she's gorgeous, but so is the lens itself and the photo that we were able to create. Here's the test that I did with one of my friends. Obviously, she looks fantastic in it. But look at what the lens is doing to it. It's able to focus just on her, or it's able to give us a glimpse here and there, but were not fully just in the realm of her. We're just focusing on the subject, not the environment, which is really great. It also gives you a really cool effect because it's it's once again kind of circular, so it draws your eye to wherever the focal point is, which is really cool for doing some interesting things. So I urge you to experiment with these types of lenses. You could probably create your own office. But it's just it's pretty amazing, can really change the pace of what you're filming with this, which is fantastic. You can choose how fast or slow you're zooming in. It almost feels, or you can choose just to pull it out a bit. But the great thing about the slums is it gives you the creativity and freedom to really play around with it. This lens works in a lot of environments. However, it doesn't go macro. It only does get to a certain point on their face before you can't focus anymore. But I urge you to experiment with it yourself. That's one type of special effect ones as well. 7. Vintage Lens: Helios 442: Okay, so the first special effect lens that we're gonna be talking about is a Helios for four to USSR 58 millimeter F two lens. I read about this online when I saw this beautiful portrait photo and photography page. I just had my they were on the 15 bucks. I got it off and see probably more for shipping than I did the actual lens. And it's been Fantasticks. This one's has a screw it when she might not be used to screw in Mountain, so the amount actually costs about 10 bucks and it slides into PS Mountain and then you literally screw it in. The great thing about this lens and why people love it and wide following is because it has a defect with the aperture blades, so the aperture blades are metal blades that control or aperture. So as you stopped down, so will your trebly. They will close and decree that smaller, smaller look, and then, as you open them up, they will open. But these aperture blades do not create a perfect circle. They create almost satirical effect, like you would get an anamorphic or something, but with this lens, when you're taking a photo defect actually allows you to subconsciously zero in on your subject. I'll show you in photo and video so you kind of get ineffective with this. Does, unfortunately, don't have a model for this test, but I will be showing you with different in animal objects Way Noah's photographers. But the closer you get to your subject, the more okay there's gonna be in the background. Doesn't matter. What depth of field okay will appear differently, but the okay will still be there. So we chose a pretty windy day, but we're gonna test out some photos first from the Helios for four to USSR lens. So with this lens, normally old still lenses are completely manual, obviously, because they didn't have electron ICS that we have now. Today, it's not digital. And so with this, you want to play around with the aperture. So you want to choose, maybe like, that's a to eight. We really want to a lot of okay to show you exactly what this lens conduce. So we're going to go to a to eight. We just changed our frame of That's just so I can show you exactly what I mean. by Brok. So I found the perfect thing. We're gonna focus on this tree here on the leaves, sticking out, shooting up because we have this great pattern of leaves above it. So So as you can see that okay is just fantastic anyway. But it's swirling in two towards our our frame of reference. It's beautiful. And if we go a bit further out to maybe those leaves, that's great. Let's play that up this lens. You're going to get a lot of glare and a lot of light leak. But that's OK, because that's the style and the special effects were going for. So that's just stunning. Let's try and shoot right through all of them like a center point. Once cream, we're just playing around with our shutters feed. Now, if I try and take that on the on his wide open as possible, you can see that believes start toe mold around the center of the image. Just great. Now, if we take some video of this, you can see just how beautiful that background is with the leaves. We pull focus that just check that out, right? That's were leave okay, it's so beautiful. It's just fantastic. So when doing when using this lens, I found you really have to find a particular distance away from your subject, just like we do normally, we have to find the right amount of distance from her subject to get the right amount of Okay. Either we want a lot of focus, a re, don't want anything and focus. I find it's really helpful to get a lot of focus of our subjects and then get that great fall off because the 58 millimeter we are gonna get distortion on faces if you go pretty close and this does go really close, it goes to 0.5 meters just pretty good for this $15 lens. But, uh, you can see just how beautiful that IHS when we pull focus on something just great. You can see this is just one of the fantastic lenses that we have to offer when doing special effects lenses. You might want to be thinking about Bo K in a different way. Now how it can add something to your background because it'll almost becomes the center point of your image voluntarily. And so you may want better. You may not want that. So that is a 50 millimeter Helios fourfourtwo lens. So just one more tip, one shooting with this lends. You want to make sure that there is something in the background, Um, that they're is step, because without that, you're not going to get that. Okay, so if you get this lens, you have another specific ones that kind of does this, and you're not getting the same effect that we just did tests with. That might be because there's nothing behind your subject. If it's against a wall, then you're not going to get a lot of okay in the background because it's not gonna be able to blur out those fragments about image to give you that the field. So make sure you have depth to your image, even if it's just being blurred out. 8. Things to Keep in Mind: so there are a few things to keep in mind when you are trying to choose a focal length, and the biggest thing that comes down Teoh is your practical variables and your creative variables, and what I mean by that is creating a balance between them. The creative variables are probably the most important, but not what you should be thinking about. First, the creative variables are all about what you want and how you want to get it and why you want to get it. It's all about motivation and character and subject and environment. Do you want them to look distorted? How close do you want to beat your subject? How much mood do you want to provoke? And what is that mood, whereas your practical would be on the opposite side? Where are you shooting? What's the practical environment? How much room do you have between the subject? Um, what's the client looking for? And then you would go back to the creative part and you would say, What do we want the background to look like? Do I want it out of focused or one and in focus? How much OK do I want in the back as well. So it's always constantly keeping this balance between the creative and practical. And sometimes that's pretty hard to dio. You will have to sacrifice a few one to get more of the other. But the best is when you can create a level playing field for both elements to come through . That's when you're going to get the best image and the one you're going to be the most happy with the best way of starting toe. Look at this scenario, and knowing what focal length you need to choose is asking yourself questions about not only the practical and creative side of things and finding that balance, but to imagine the scenario before you shoot of what that shoots gonna look like for you. So what's in frame? How many people do you need to get in there? How close are you? What's the room you're shooting in, or is it outdoors? Is it indoors? How much distortion do you want to get on their face? How much do you want to play up their features? Do they have any specific features that they might know? One photographed? Um, do you have to make them look smaller is you have to make them look bigger in the image. What's your foreground look like? Compared to your background, the good way of imagining this is Teoh. Picture it before you shoot, and that will allow you to go into any shoot and already know what the obstacles and the variables are. This will help you begin to see what lens or focal length you may need. In the end, Andi will help you to imagine what different focal lengths will look like when you're imagining taking an image. Do you want 35 to bring out this documentary realistic? Feel seeking You're close to your subject. Do you want to be farther away? Maybe 100 or 135 to play up their features again? They spoke in the background, and maybe you haven't developed that relationship with the client yet, so you want to be a bit more further away so that they don't feel that you're in their personal all space for their comfort zone. These are all things to keep in mind for before you shoot. And even when you're shooting because things can change on the fly and so have a current and collected idea of what you're shooting and how you're gonna shoot. It is really the most important part before the shoot. 9. Wrap Up: help this video got you thinking about your focal lengths and what ones you might be choosing off the shelf in the future to shoot with. Now it's always good to go back and go through your own lens kit and do some of the same comparison tests that we did. A swell, whether that be portrait wildlife event, shoot with different things and see kind of what you're drawn to more. Also, keep in mind that crop factor for when buying future lenses or been deciding on the lens because that 18 might actually be a 35 35 might actually be a 56 and so on. So I thought I'd leave you with some common focal lengths pretty to start out with and try and see if you even like them or not. The 10 to 28 is on our wide end of the spectrum, and that will help you get everything into frame. But you'll get a bit of distortion, and the close to your subject is to the lens and the sensor than the more distortion you're gonna get 35 50. It's more of a documentary or human eye perspective. It's more of a journalist approach, and I would say it's one of my favorite lenses to go to either the 35 or the 50. It's a really good starter. Lens 35 has more of a documentary wide field 50 is a really perfect, just framing tool I find, and 8500 or 1 35 is going to get you into the beauty style of things. So that's more for portrait photography or wedding photography, bringing up the players, separating the foreground from the background by bringing them closer together. So you have more brok in the background or depth of field in the back, and your subject is full front, separated completely. Finally, the 200 plus lens is for telephoto. This is great for any sports photography, live events like concerts, wildlife, bird watching all of the above. Anything where you need to be closer to your subject. He just can't get there. You might consider using one of those lenses. If you have any questions or comments about this course, feel free to post them below. I will be happy Tansen up as well. I look forward to seeing your project keep in mind that is, to images that are the same frame, the same subject, essentially the same image. But taken with two different focal lengths, you can choose how wide on the spectrum that is, whether it be in 18 or 1 35 or even a 50 in 85 as long as you tell me which one you like better and why tune in for the other classes I will have posted in a month or so about shooting of prime forces shooting with zooms. And if you haven't already, check out my principles of photography courses as well as choosing filters. If you like to get into some accessories for your lenses, thanks very much for joining me and enjoy shooting.