We gave away a brand new Fuji X-A2 Mirrorless Camera with 16-50mm Lens at Imaging in January and we’re upping the ante for the Wedding & Portrait Photography expo in Las Vegas this March 7-9th!
Come to our booth #1450 to enter. You do not need to be present to win but you must be present to enter! You could win your choice of a Canon 5D Mark III, Nikon D810, or a Sony a7SII. We’ll also be handing out show special coupon codes, limited edition freebies and more!
Register for WPPI today.
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We’re giving away a ton of brand new gear this year. Be sure to visit our booth at WPPI this year to win cameras (like a 5D Mark III or a Sony a7S II), plus other great prizes. Subscribe to our newsletter to find out exactly when these events are and what we’re giving away!
Thousands visited us in our booth at Imaging USA this year in Atlanta, Georgia. They got some free gifts and discounts but only 1 gets to win the grand prize of a Fuji X-A2 Mirrorless Camera with 16-50mm Lens!
Congratulations, Guy Bratchard of Houston, TX, for winning a brand new Fuji X-A2 Mirrorless Camera with 16-50mm Lens! We used Random.org to randomly select our lucky winner.
We also had 2 winners of our BL gift certificates! Enjoy your free rentals, JoAnne Blumenshine, of Denver, IA and Arnold Delfin of Fairfield, CA.
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The Sony a7S II has a couple of neat features that make it a worthy upgrade over its predecessor. It still has the same class-leading low-light performance but adds in-camera 4K recording and a new S-Log3 shooting mode – something that’s typically found on Sony’s more expensive video cameras. This clearly makes the Mark II version of the a7S as a very video-centric ILC, so we took it out to see just how different the S-Log3 mode was from the S-Log2.
For this test, we used a Sigma 24-105mm f/4 lens. Camera settings were as follows:
Exposure: ISO 1600, f/8, 1/50th of a second
Framerate: 24 FPS
Codec: X-AVCS 100 MB/s
All footage is straight out of camera, with no color or exposure adjustments.
So, what did we find? Well, S-Log3 really is noticeably flatter than S-Log2. Moreover, it doesn’t seem to increase noise at ISO 1600 over S-Log2 mode, which I’d expected at least in the shadow areas. I see no reason not to shoot in S-Log3 unless you’re looking to match footage with other cameras that don’t have this mode.
Further, the S-Gamut3.Cine gamma profile seems to offer a slightly less contrasty image than S-Gamut3 alone. The difference is small in many cases but, occasionally, it is noticeable.
Finally, – and this might be just my perception – S-Log3 seems to expose about a quarter to a third stop brighter than S-Log2. Again, this might absolutely just be my perception of the increased flatness, but it certainly feels that way.
What do you folks think? Anyone going to switch from shooting S-Log2 to S-Log3? Questions and feedback are always welcome in the comments below.
The field of film emulation software has some pretty well-established players in both the video and stills worlds. On the still photography side, there’s Google’s Nik Collection software, VSCO’s Film Series of plugins, and a variety of others. On the video side, however, things are… somewhat more complex (as all things video generally are).
For starters, there isn’t just one way to get your footage looking like film. LUTs, or Lookup Tables, are an easy way to add film-like color and gamma settings to footage, while scanned blank negatives of 35mm film are converted to digital files and made available from a variety of vendors for you to overlay on your footage (here’s a particularly nice selection of free grain scans from various companies).
This summer, I had the pleasure of shooting for a local online retail store’s catalog. This was a new one for me; I’d never done something like this, but have a good relationship with one of the principles at this company, so I agreed to give it a try.
What was unsaid but implied was that the lighting needed to stay consistent from one shot to the next, without variation.
For this shoot, I decided to start simply. I began with one light, a Paul C. Buff Einstein light inside a large umbrella. We were shooting in a relatively small studio, however, so the light didn’t completely wrap around the model, leaving a shadow on the wall behind. We wanted almost no shadows – just enough, in fact, to bring out the texture on some of the clothing. The single light delivered a bit too much of a shadow, so we added additional lighting. read more…
Our survey asks important questions – how can BL improve? What should we be carrying? Let us know what you love (and hate) about the rental process. We also would like to hear what YOUR photography/videography plans are for 2016! At the end, save your special promo code for a future order. Your opinion counts but we won’t know what it is unless you tell us so please fill out this 10 minute survey. Hurry! You have only until 2/7/16.
There are more than a dozen Neutral Density filters available under the Video section of our website, ranging from screw-on fixed-value ND filters to high-end Schneider rectangular filters for matte box stages. In this video, we walk you through why you’ll want an ND filter when shooting video and what your options are.
Shooting in cold weather isn’t without challenges. Here are some tips that will help armor you against the temptation to let your camera hibernate this winter. read more…
A year in review reveals improvements in our work – whether we realized it along the way or not. Even the pros take stock of their accomplishments, what they learned, and how to do better next time. Below are 20 final products from working photographers and why they feel it is among their best work of 2015. Get inspired and link to your personal best in the comments below!
As they prepare to discontinue their “classic” line of ZF and ZE lenses, Zeiss have released the “Milvus” line of lenses to replace them. I took the 85mm f/1.4 Milvus out for a try and came back much more impressed than I have been with their older ZF/ZE lenses, which have begun to show their age.
Take a break from dinner planning this holiday season to discover a few of our favorite pairings among some of the latest gear to hit the BorrowLenses shelves. Get consumed by these pre-made packages and save money versus renting each item (no coupon clipping required)! read more…
The world of macro photography has been an interest for me ever since I got my first camera. That camera was a little Casio point and shoot that was maybe 2 or 3 megapixels. I was out shooting that first day with it and noticed on the mode dial a little flower icon and thought I’d set it to that and go shoot some flowers. I was several feet back from some Clematis (yes, I remember the exact flower) and the camera would not focus. After some trial and error I realized I needed to be closer to get focus…a LOT closer. I had accidentally discovered macro mode! Since then, it has been a wonderful journey down the road of the minuscule where I explore the “rarely seen” subjects. Here I will be discussing macro photography with the Olympus line of micro four thirds cameras and lenses and why that system is well suited for this genre. read more…