5 Camera Facts You Might Be Getting Wrong!


– Cameras, videography, and
photography are confusing. There are a lot of misconceptions
on how things work, and YouTube can sometimes
be a lonely thing to do. Most of the time, it’s just
me here, all by my lonesome, talking to confusing
cameras, so in today’s video, we’re going to attempt to
improve both of those issues by taking a look at clearing up some common misunderstandings
in the camera world with the help of some incredibly talented friends from YouTube. My name is Dunna, and if
you’re new here, welcome, and if this is the kind
of thing that you like, consider hitting that
subscribe button, and the bell, so that you can keep up
with what I’ve got going on. All right, let’s hop right into
things with our first guest, Dr. Chris Nicholas. You might know him from the
channel Becki and Chris. He saves lives, he flies
helicopters, and right now, he’s gonna give you the
rundown on something that a lot of people are confused about. – Hello, Dunna’s audience,
Chris from the channel Becki and Chris here,
and Dunna asked me to weigh in on what I think one
of the biggest misconceptions with cameras is, and that is
the myth of lens compression. Now, I’m gonna start with a question. Do you think that this
lens at 600 millimeters would make the background
of an image bigger with respect to the subject
than a wider angle lens like this 12 millimeter lens? And I would venture to say
that it doesn’t matter. So traditionally, people
have always been taught that a longer, or more
telephoto lens will increase the size of your background
with respect to the subject, as compared to a wider lens. I think that’s a bit of a
myth because it’s the distance you are from your subject
that actually determines how big the background appears. The only difference is, you
have to use a longer lens to get the same framing, and therefore, people always associate the longer lens with the bigger background elements, but it’s really just the
fact that you are far away from your subject. I’m gonna illustrate
this point very quickly, and succinctly with a
dolly zoom shot here. So as I’m moving
backwards, I’m zooming in, and you can see the background gets bigger with respect to the subject. Now, if I move back, the
same camera movement, but leave the focal length the same, but I simulate a zoom
in by just magnifying or enlarging the image in
post, you get that same effect, you get that dolly
zoom, Alfred Hitchcock effect, so there you go. That’s proof that the
focal length, or the lens actually doesn’t have
any effect on the size of the background. It’s all about perspective,
and how far away you are from the subject. If you wanna dive deeper
into this, we actually have a full video on it in
our channel link up here, but in the meantime, back to you, Dunna. – If you wanna see an even
more detailed explanation of what Chris was just
talking about, feel free to head to the description
at the end of this video. There’s another video link
in there that you can go check out, and you might
even see yours truly, but in the meantime, let’s
get on to our next guest, and our next topic. When he’s not busy
editing television shows and documentaries, Mark
Holtze is reminding us that newer isn’t always better. It’s easy to get caught up
in the latest and greatest, but his YouTube channel
is often an affirmation of just how awesome vintage lenses can be. Tell us about that vintage goodness, Mark. Thanks, Dunna. Lenses, it’s said that
lenses are for life, and that they’re one
of the best investments you can make when it comes to photography. This full frame 50 millimeter
f/1.4 lens is 45 years old, and can easily be adapted to
mirror-less digital cameras for use today. So if lenses are for life,
can a 45-year-old vintage lens compete with today’s modern lenses? Well, I say yes, they can. It just depends on how you use them. Vintage SLR lenses still
have a lot going for them when used in photography. They’re fast, inexpensive,
built like tanks, and work almost seamlessly
with modern cameras. This makes them highly
accessible for anybody willing to experiment with them. They may not have that
edge to edge sharpness of modern lenses, but what they
lack in clinical sharpness, they make up for in character, or patina, which is really just a nice way of describing optical imperfections. Embrace imperfection. When properly used, you
can exploit the individual charm these lenses offer
to get some unique shots. For example, the Helios
44M 58 millimeter f/2 is know for its swirly
bokeh, which is best used to emphasize portraits
with nice bokeh background. This effect leads the eye
towards the middle of the image, isolating your subject. It’s an effect that’s hard
to replicate optically with a modern lens. This is just one of many
examples, but if you leverage these flaws, and turn
them into opportunities, you can capture images
that really help you stand out from the pack. Using vintage lenses today
definitely requires you to alter your perception
a bit, but I think there’s a lot of value in that. It’s not only a cheap
alternative to a modern lens, it’s a great opportunity to step outside your comfort zone, learn
photography fundamentals, and to experiment, and
most important, though, it’s fun, and ultimately, that’s what’s gonna keep you going. Thanks, guys. – And, once again, I’ll
link to an awesome video in the description that you can check out if you want more info on this topic. Okay, here’s something
that we can all agree on. If we want to take photos
or videos, we need light. Our next guest is the resident
pro, and host of Aputure’s four-minute film school
show on YouTube, as well as an incredible travel doc
filmmaker, Valentina Vee is here to shed some
light on the situation. Yeah, I’m sticking with it. – Something that a lot
of people come up to me and ask me about is what
lighting should I buy? And then, they don’t
tell me anything else, and what lighting you
should buy really depends on two things, what is your
budget, and what are you making? If you’re just gonna get a
three-pack of these panels, that’s fine, but it’s
probably not gonna be the best in every single one of your situations. Why? This is a multi-source light. As you can see, there are 672 lights here, which means that this light
is only ever going to be soft. You cannot create hard shadows. You cannot imitate sunlight. You can’t do a lot of
things with this light that you can with a light like this. This is the Aputure 300d II. It is a single-source
light, which means it has one giant diode, instead
of 672 small ones, so with something like
this, you’re gonna be really able to not only get
the harshest light you can, but also, the softest light
if you add different types of modifiers like soft boxes. So when you’re considering
what type of lights to buy, again, are you only
ever going to need to light soft things, or large spaces,
or do you wanna invest in something that’s gonna
give you a little bit more flexibility, and is
gonna give you more creativity down the line? That’s it. That’s all I have to say. I don’t have anything else to say. – That is super awesome advice
to a really common question. You need to know stuff like
that when you’re looking to pick up lights for your project. Now, before I get to my
point, we have one more guest that’s gonna blast through
some misconceptions of sensor size. Everyone’s favorite YouTube
camera nerd, Gerald Undone. He’s crazy. – Despite the number of videos
I’ve made on the subject, I’d say the impact of
sensor size is a topic I still see drenched in misconceptions. The most common one is
that larger sensors have a shallower depth of
field, and when it comes to depth of field, the only
role sensor size plays is determining how far you’re
standing from your subject, and what lens you’re using. Focal length and subject distance are the determining
factors, not sensor size. However, if you use a
smaller sensor, you’ll likely be using a lens with
a shorter focal length compared to composing that
same shot on full frame. For example, you might be
using a 16 millimeter lens on Sony APSC, compared
to a 24 millimeter lens on full frame to achieve the same look. This 16 millimeter lens will produce a deeper depth of field
not because of sensor size, but because of the diameter
of the entrance pupil. I have a whole video on that
if you wanna learn more, but the simplified version
is that a 16 millimeter lens, when using the same aperture
will have a smaller front hole for light to get in, which
focuses the rays more closely together, and increases
your depth of field. Sensor size is irrelevant. Shorter lenses always have
a deeper depth of field, when everything else is the
same, and the same is true for subject distance. If you were using the
same lens on both cameras, you’d have to stand farther
away on the crop sensor to achieve the same framing,
and being farther away from your subject will always
increase your depth of field. The only way to compensate
for this is to use a wider aperture on your shorter lens. In our 16 millimeter
example, we need to be at f/2 to match the entrance pupil
size of the 24 millimeter full frame lens at f/2.8. Now, the rays will be coming in similarly, assuming you’re standing
the same distance away, and your depth of field will be similar. Of course, shooting at
f/2 will appear brighter than the f/2.8 exposure,
which is the perfect time to drop your ISO to match
because smaller sensors do, generally, produce
more noise than full frame at similar ISO settings, so
you should reduce your ISO by your crop factor squared to complete the equivalency, and
make your images match. In the case of the 1.5 times APSC crop, this is similar to about
one stop, so ISO 800 at f/2 on APSC will be
quite similar to ISO 1600 at f/2.8 on full frame,
however, this leads to another misconception, which is
that somehow, these rules don’t apply when putting a
lens design for smaller sensors on a matching camera, i.e.,
a crop lens, on a crop body, but they still do apply, and
I’ll pass this back to Dunna to tell you more about
that, since he shot a ton using lenses specifically
designed for APSC. – Oh yeah, the old focal
length misconception is strong when it comes to
lenses built for different sensor sizes, so let’s break it down. This is a 16 millimeter
lens made for full frame camera bodies, and this
is a 16 millimeter lens made for APSC camera bodies. Now, if I take a photo
with each of these lenses on cameras with the intended sensor size, the full frame lens looks like this, and the crop lens looks like this, and just for clarification,
the camera was the exact same distance from the subject in each photo. As you can see, the APSC
crop photo is more zoomed in. It has a narrower angle of view. The thing that trips people up about this is that if they have the
same name, 16 millimeters, how come they don’t look
the same, considering one lens was designed
specifically for crop bodies? Why do we have to do math? And I definitely understand
the confusion because we’re used to thinking
of how wide a lens is, based on that number, the 16 millimeters. What’s happening here is, we’re confusing our focal length of 16
millimeters with our angle of view, which is the true
measurement of how wide our photo or video will be. Those things are definitely
connected, but not the same. The focal length is a physical measurement of the distance between
the lens’ optical center, and the center of the
camera when that lens is focused to infinity. I know that sounds very
complicated, but just remember this, it is literally measuring
a part of the lens. As that measurement gets
longer, let’s say we go from 16 millimeters to 35
millimeters, the angle of view gets narrower, which we
would think of as zooming in. Basically, you are seeing a narrower slice of the scene, or a narrower angle of view. So, the reason that a 16
millimeter lens made for crop sensors is still
called a 16 millimeter, even though the photo looks more zoomed in is because physically, inside
the lens, that measurement is still 16 millimeters. It’s a different angle of view, but it’s still the same focal length. This is why we take
crop factor into account when buying lenses for crop cameras. In that case, you may hear terms
like full frame equivalent. That’s because a 16 millimeter
lens on crop cameras has a similar angle of view
as a 24 millimeter lens on a full frame camera. If I keep going on on this,
I’ll start feeling like I’m talking in circles,
but if I haven’t made myself clear enough, always
feel free to hit me up in the comments, and I’ll do
my best to help you understand. I wanna say a huge thank you
to Chris, Mark, Valentina, and Gerald for helping
me out with this collab. I highly recommend going
and following them all. I’ll leave links to all of their channels in the description. I sincerely hope that you
feel slightly more enlightened than you were coming into this video. If so, make sure to hit that like button, and subscribe to the
channel for more like this. Thank you so much for watching,
and I’ll see you next time. (calm music)

Comments 60

  • Nice!

  • Great video, Dunna!

  • What are some things that you think a lot of people have wrong in the world of Cameras/Photography/Videography?

  • Great colab, Great Vid. πŸ‘πŸ½

  • Thanks for this! Nice that you all of them to come on board too for this video πŸ™‚

  • Great explanation of focal length vs field of view!

  • Thanks for including me in this video Dunna! There's a LOT of info packed into 12 mins here by some pretty amazing/talented and knowledgable people! It was an HONOUR to say the least! Now I'm going to re-watch and take ALL the notes!

  • On the topic of "light". Which kind of light would be better for shooting food or product photography. I'm mainly a nature photographer so indoor photography is kind of a new thing for me, but I'm trying to widen the spectrum of things I can shoot

  • great video man! glad to see more and more filmmaking youtubers collabing!!

  • Thanks for the solid info! Chris blew my mind, as usual lol. (Not that you didn't too πŸ˜…)

  • I love yalls for making this and helping us all plebs take photos that aren't shit

  • Damn, following Gerald when he talks in technical terms is quite a feat for non-english speaker. But damn doesn't he drop knowledge.

  • Great video and collab Dunna πŸ™Œ

  • Thanks for having me on! I like how you put this together. πŸ€“πŸ‘πŸ

  • I love this video
    You renew my perseption about photography

  • I like everyone in this video. Gerald is great but when he goes into super nerd mode my eyes glaze over a bitπŸ˜€

  • Finally! Dunna's back with the dose of desperately needed inspiration. Thank you for your calming videos and keep going like this! You rock!

  • This is a great video. Geeky…and I love it! πŸ™‚

  • Really enjoyed the collab, great work!

  • Great video and very useful…another thing a lot of people don’t get is the β€˜inverse square law’ when it comes to light! πŸ™‚

  • Dunna's graphics/animations are great and improving rapidly. Btw as always great video. Please make a video on how to make those instagram, YouTube subscribe animations, I want to use it for introducing the artists in my music videos. πŸ™‚

  • I already knew everything Gerald was talking about… but still had to watch his segment 3 times to make sure I could think as quickly as he was dropping that knowledge.

  • This is an amazing video ❀️ I learned alot.

  • Mark & his vintage geekery brought me here, but so glad he did. Awesome video Dunna & co, so much value packed into 12 mins it's nuts!!

  • Dunna Did It…Again! Excellent content as usual, thank you!

  • Some really great tips from some of my favourite Youtubers. I love videos like this, it reminds us that youtube is one big community full of knowledge and creativity! Nice one Dunna!

  • Inspired me to start using vintage lenses! Just got 3 for about a hundred bucks! All from the USSR πŸ˜‚

  • How have I not subscribed yet…? Been following you on twitter and watching your vids for a while! Lol better late than never!

  • Dropping knowledge… this is great I always need to hear this type of info as I'm still learning and this info helps me ask less because I understand more. Thx Dunna and this collab was super cool.

  • Epic Collab! What a treat – five of my favourite creators dropping their knowledge in one video. So so good! Thank you

  • At B&H in New York they told me most full frame Sony cameras doesn't even use the whole sensor when filming.

    So buying an A7RII for filming would actually not be any different than an A6500.

  • This is a masterpiece!

  • Very interesting video Dunna!

  • Thanks for having me, Dunna! What a great video.

  • Great video! Love the collabs with my favorite youtubers!

  • I'm sharing this with the newby photo friends. They ask me a lot of questions, that I can't always break down efficiently enough. I just cause way too much confusion. lol

  • Great content…collaboration, etc

  • It can be frustrating when armatures think they know something, and then try to be helpful by sharing incorrect camera information. They are well-intentioned, but just end up confusing people like me when I was starting. πŸ™‚

  • Nice calab Dunna. Well done.

  • Thanks it taught me a lot

  • Gerald got sunburned in LA I guess πŸ˜‚
    Good content guys (and lady)

  • Such a good one! Thanks for having the doc on! Not sure if he’s already left a comment but…. here’s another one πŸ˜‚

  • Dunna, this was very helpful information. Especially because I am going from a full frame camera (that I use for photography) to a crop sensor camera (for video). Thanks for creating this!

  • Clear as day explanations honestly

  • yo Dunna, you have a nice voice for voiceovers or as a voice actor or that "bueller day off" voice

    so yeah…just wanted to say that haha bye!

  • This blew my mind. Specifically, the 16mm comparison on full frame vs. crop. I had always assumed that an aps-c lens on and aps-c body would yield the same outcome as you would see on a full frame set up. Thank you so much for sharing that. This makes me really want to consider switching to FF.
    Just subscribed too. I've been seeing your name around for a while and now I know why! Cheers!

  • The easiest way to remember the crop factor is to just multiply APS-C lens focal length by 1.5 to get the equivalent 35mm or full frame lens. Some manufacturers are slightly different but that's a good ballpark number. Also, remember that 50mm for a full frame is a "normal" view lens – not wide or zoom. That makes it easier to estimate what focal length lens you need for a certain task – just look at the "35mm or full frame equivalent" numbers to compare. Most manufacturers list these numbers. So, a lens with a focal length of 50mm for APS-C is actually a 75mm mild zoom in full frame terms.

  • Regarding sensor size, something a lot of new photographers don't realize is that sensor size and resolution (megapixels) are NOT the same thing. The main determining factor in overall photo quality is the physical sensor size (full frame, APS-C, 1/2.7, etc.). The manufacturers know this and deceptively advertise cheap high megapixel cameras with ridiculously long zooms like 50x with no indication of sensor size. Those mega-zooms usually have tiny 1/2.7 sensors. Consumers buy these and don't understand why they can't get pictures that look any better than what comes out of a smart phone.

  • Gerald just knowledge bombed my ass

  • i use my phone now but i want to get a camera. And you just blew my mind. I have learned so much and it's not scaring me away from getting one, it's making me want one more hehehe. Huge information everyone should know. i have only seen a few videos pop up on this topic. Thanks for sharing

  • The background compression one is not true point being is even though you were able to mimic the look with a wide angle you still had to zoom into the shot digitally.

  • Thanks, Dunna! This was great. I have always been wondering – when we talk about 50 mm being similar the our eye sight, do we mean 50 mm on full frame? How does it apply to APS-C? If I zoom to 50 mm or use 50 mm prime on my Fujifilm X-T30, is that equivalent to my eye sight, or is it 35 mm (because of the crop factor)? Is 35 mm on the X-T30 the same as 50 mm on a full frame body? Thanks…

  • All star cast over here. Got so many feels watching all my favs in one video.

  • Good stuff man

  • Okay. I get "focal length" being a measure of the distance from the lens's optical center to the sensor. makes sense. but what about when I adapt? I use the Canon EOS R. and I have a canon EF 50mm lens and for that, I use an adapter that came with the camera. but the adapter is like an inch and a half thick. so how does that work? is it no longer 50mm to the sensor?

    wait. I think I figured it out. mirrorless cameras put the sensor closer to the lens by design. there is no need to leave room for the mirror. but an EF mount lens was designed for a DSLR, where there would normally be more space between lens and sensor. that's why the adaptor MUST be like an inch and a half. to restore the original dimensions of a DSLR. 😱🀯

    this is by far the longest comment i've ever written. good video man. subbed.

  • Why did every youtuber look the same and use the same lighting these days.

  • @5:00 You totally panned the wrong direction in the edit lol Went the opposite of where he pointed

  • This actually clears a lot of things up that are slightly confusing! Great video man

  • I think it's really key just to stress the point: a crop sensor is called a "crop sensor" because the smaller sensor is literally a crop of the larger sensor. All other things being equal, obviously the output of the smaller sensor is also a crop of what you'd expect as output from the larger sensor. You're just taking a large sensor, and cutting it down to size, and with that goes part of the image, reducing your FoV.

    Whether you crop at the sensor side, or in post, your results are the same – a crop of the full frame. Exposure, focal length .. all of that can be ignored if you just think "the full frame has been cropped."

Leave a Reply

Your email address will not be published. Required fields are marked *