One of the newest lighting kits we have here at BorrowLenses is the Celeb 200 DMX 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. Perfect for videography and filming with a warm or cool lighting tone without having to make color temperature edits in post-processing. It also features a DMX lighting connection to be used with control boxes for video and stage productions.
One of our resident portrait photographer, Alex 2.0, took it for a shoot recently and let us know her impressions.
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.
Natural Proportions for Architecture
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. The natural proportions of this lens, despite its angle-of-view, lends itself well to architecture photographers. The relatively close focus of 0.25m (10”) also makes this lens a great option for those shooting in tight spaces, particularly party and wedding photographers.
Finally a Filter for a 15!
In comparison to similarly wide lenses, the consensus so far is that the Zeiss 15mm outperforms the best of them in terms of sharpness and distortion control. Another advantage of the Zeiss 15mm over the Canon 15mm Fisheye, the 8-15mm, or the 14mm is that this lens comes with a front threaded filter ring that accepts a 95mm filter. This, and the built-in metal hood, provide more protection for the bulbous glass that is natural for a lens of this focal length. The large front element makes this one of the largest wide angle primes we have in inventory.
Full Frame and (almost) Full F-Stop
While this lens is designed for full frame cameras, it can still be used on crop sensor cameras–your angle-of-view being the equivalent of a 24mm on a 1.6x crop camera, such as the Canon 60D or the 7D. At f/2.8, this lens is handy in lower light situations and stops all the way down to f/22. With a 9-blade diaphragm, the Zeiss 15mm produces smooth bokeh that is very surprising on a lens this wide. read more…
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.
This is Part II 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…
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. read more…
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 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.
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…
“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. read more…
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. read more…
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. read more…
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
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. read more…
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. read more…