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Gear Talk

The Switch – Moving from Canon to Nikon, Part IV

Gear Talk

This is Part IV of a series on moving from an all-Canon setup to an all-Nikon setup for four weeks. Will I go back to Canon at the end of four weeks? I have no idea…

On this edition of “The Switch”, I took a brief sojourn back to Canonland with the 5D Mark III and a gaggle of Canon lenses.

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Kino Flo Celeb 200 DMX LED Lighting Kit

Gear Talk

One of the newest lighting rigs we have here at BorrowLenses is the Celeb 200 LED from Kino Flo. The Celeb features 100 watts of lustrous, soft white light, which can be programmed to display a range between 2700K to 5500K, without changing the light output.

Get the Scoop on Fashion Photography

Gear Talk

The world of fashion photography is an insular one, and newcomers to this field are often left floundering in more ways than one. From the basics of technique, to simple advice on how to break into the field, working with models, and managing and handling a business, aspiring fashion photographers often lack a decent starting point.

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Wide Without the Weird: Zeiss’ New Low-Distortion 15mm f/2.8 Distagon T* ZE for Canon

Gear Talk

The new Zeiss 15mm f/2.8 Distagon T* ZE for Canon is an ultrasharp, full frame lens that controls distortion much better than its other ultrawide peers. Check out our test images to see why.

Controlling Power on a Profoto Pack, Part II

Gear Talk
The Profoto Acute2R 2400

The Profoto Acute2R 2400

Last time, we covered how to control the power on a Profoto pack with a single head attached. In this article, we’ll cover the configurations for two heads.

As I mentioned in Part 1 of this piece, these Profoto power packs are a bit… confusing. Profoto is pretty-much the gold standard of the industry, and their Acute2 packs, which we rent, are considered to be the go-to workhorses for many photographers working with Profoto systems – and with good reason.

In Part 1 of this tip, we looked at how to control the output of the Profoto Acute2R 2400 with just one head connected to it. In this part, we’ll look at adding additional heads to the power pack.
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The Switch – Moving from Canon to Nikon, Part III

Gear Talk

This is Part III of a series on moving from an all-Canon setup to an all-Nikon setup for four weeks. Will I go back to Canon at the end of four weeks? I have no idea…

In this part, I’m going to focus on just one thing: Nikon’s external flash system.

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The Switch: Moving from Canon to Nikon, Part II

Gear Talk

I’ve had the D800 for about 2 weeks now, and have shot with it in the studio, out in the Marin Headlands, and a variety of other spots. In this article, I’ll focus on my initial experiences with the Nikon setup, a few of the challenges I faced, and some observations along the way.

The Switch: Moving from Canon to Nikon, Part 0.5

Gear Talk

This is a quick ‘n dirty post that’s part of my “Switch” series. Part 1 of the series can be found here.

I was in the studio, working on a quick lighting test. The subject was a violin positioned on a tall chair, and I was moving in and out, shooting the whole thing, then switching to some detail work. I had two SB-910′s on stands, with gels and, occasionally, a Lastolite Ezybox Hotshoe on one of them.

The shot you see below was taken with the D800 I currently have for testing, with a Nikon 105mm f/2.8G Micro lens.

The SB-910 shining on it has the aforementioned Lastolite softbox on it, as well as a chocolate gel. There is absolutely no post-production on the shot.

I am really, really liking the tones coming off that Nikon. They are, in a word, luscious.

What blew me away was when I zoomed in at 100% to look at the object in focus, the second knob from the left. Click on the image below to embiggen; the smaller size won’t show you what I’m talking about.

Wow. I mean, yeah, I’m going to have to repeat this experiment with a Canon 5D Mark III and the famed 100mm f/2.8L macro as well, but, well, wow.

I’ve always known that this would a rough experiment. I knew I’d have my preconceptions challenged. I guess I was hoping it wouldn’t be this hard.

The Switch: Moving from Canon to Nikon, Part I

Gear Talk

This is Part I of a series on moving from an all-Canon setup to an all-Nikon setup for four weeks. Will I go back to Canon at the end of four weeks? I have no idea…

The Gear List

The Gear List

“I’m going to check out a bunch of Nikon gear and go shoot with it for four weeks. Then I’ll write a series of articles about it.”

I grinned at Jim Goldstein, BorrowLenses.com’s VP of marketing, and my nominal boss. He stared back at me, first with a blank expression, then with a knowing glint in his eye.

“You’re looking to switch, aren’t you?” he asked. “And you want to use this idea for a series to test the waters on the other side, dontcha?”

He kinda had me there. I’d been eyeing that D800 ever since it was announced, and was eager to give it a try. More importantly, I really was thinking of switching sides. (more…)

BorrowLenses.com iPhone 5 Upgrade Alternative

Cool Stuff Gear Talk

Here at BorrowLenses.com we understand not everyone is impressed enough with the new iPhone 5 to upgrade. For those looking for an alternate upgrade path for their iPhone we’d like to introduce you to our iPhone 5 Upgrade Alternative:

Who needs an iPhone 5 upgrade when you can slap a top of the line CP.2 cinema lens on your iPhone 4. This handy dandy solution knocks out two birds with one stone:
1. No need for a vintage filter app. Enjoy a warm hue, vignetted frame and ample dust spots on a lens adapter magnification screen.
2. Enjoy the optical advantage only the Zeiss CP.2 Super Speed Lens can provide.

Everyone who sees you filming with this bad boy on your iPhone will instantly know you’re a DP on the rise. See some example footage below:

Rent yours today:
Zeiss Compact Prime CP.2 50mm/T 1.5 Super Speed EF Mount
iPhone 4 and iPhone EF mount adapter not included.

More images after the jump…
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Sharpness You Can See: Canon EF 24-70mm f/2.8L USM II

Gear Talk

Canon EF 24-70mm f/2.8L USM II at BorrowLenses.com

The much anticipated release of the Canon EF 24-70mm f/2.8L USM II has been the source of much discussion and debate. While the lens has some notable differences than the original Canon EF 24-70mm f/2.8L USM (we’ll cover those at the end) the #1 attribute of note is its sharpness. (more…)

The Leica Diary, Part V – Final Thoughts

Gear Talk

After about four weeks of shooting with the Leica M9 and various lenses, I came to a dismaying conclusion.

I am not a street photographer. I don’t like street photography. I get nervous, am unsure, and take terrible street photos.

And, for most of the time that I had the M9, I was trying to be a street photographer.  (more…)

D600, anyone?

BL News Gear Talk

So if you follow us on Instagram or Twitter, you already know this, but for our RSS subscribers and blog readers out there, here’s a quick heads-up: WE HAZ DA NEW D600!

D600 in stock. Burger not included.

D600 in stock. Burger not included.

So whether you’re looking to buy one and want to try it out first, or you’re just curious to see how Nikon’s new “budget” full-frame camera performs, you need wait no longer. Get your D600 here: http://www.borrowlenses.com/product/nikon_bodies/Nikon_D600_Digital_Camera

Finding the Photo in the Cruft

Gear Talk
Nikon D800

Nikon D800

I suppose I shouldn’t be surprised by the power of software to bring out something interesting in images that might otherwise be a wash, but wouldn’t you know it, I’m still capable of being amazed.

I’m currently shooting with the Nikon D800 of late as part of an assignment (more to come on that later), and I was up in the hills overlooking the San Francisco Bay Area at night, hoping to get some shots of the brilliantly-lit vista that encompassed San Francisco, Oakland, Berkeley, and parts of the Peninsula area.

Of course, I got up there, and everything was completely fogged in. (more…)

Tilt/Shift: Working With Perspective-Control Lenses, Part 1

Gear Talk
Schneider 50mm on a Canon 5D Mark III

Schneider 50mm on a Canon 5D Mark III

This is Part 1 of a series on using Tilt-Shift or Perspective-Control lenses. In this part, we look at the “Shift” functionality of these unique lenses. Part 2, which covers the “tilt” functionality of these lenses, can be found here.

Anyone who’s ever shot a building or any other structure from the bottom looking up knows that the bottom-up perspective makes it look like the vertical lines of the building are all converging towards the top. This problem is exaggerated with wider-angle lenses, making many of these lenses unsuitable for certain types of architectural photography, where not having those distortions is key. (more…)