The Switch: Moving from Canon to Nikon, Part 0.5

The Switch: Moving from Canon to Nikon, Part 0.5

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...
The Switch: Moving from Canon to Nikon, Part I

The Switch: Moving from Canon to Nikon, Part I

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. Two of my idols, David Hobby and Joe McNally, both shoot Nikon. Nikon’s CLS (Creative Lighting System) for their external flashes is world-renowned, and is a traditional area of strength for that brand. As someone who uses lighting a lot these days, I had seen what all the fuss was about and wanted to put it through its paces for my own shoots. “Well, no, I’m not looking to switch,” I told Jim. “But if it happens as a result of my experiment, well…” Jim’s a good sport, and we both agreed that it would be worth it to see what a Canon shooter with an open mind would feel about moving wholesale to Nikon gear. So,...
Tilt/Shift: Working With Perspective-Control Lenses, Part 1

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

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. While the latest version of Photoshop does include an “Adaptive Wide Angle” filter to help correct these distortions, a lot of photographers prefer to get things right in-camera, leading to less image manipulation in post. For that reason, both Canon and Nikon, as well as third-party manufacturers like Schneider-Kreuznach, have come out with a range of lenses that address that specific problem. The box below outlines the list of tilt-shift lenses BorrowLenses.com has in our inventory. Canon  TS-E Lenses Nikon PC-E lenses Schneider-Kreuznach TS lenses Canon TS-E 17mm f/4L Tilt-Shift Canon TS-E 24mm f/3.5L II Tilt-Shift Canon TS-E 45mm f/2.8 Tilt-Shift Canon TS-E 90mm f/2.8 Tilt-Shift Nikon 24mm f/3.5D ED PC-E Tilt-Shift Nikon 45mm f/2.8D ED PC-E Tilt-Shift Nikon 85mm f/2.8D PC-E Tilt-Shift Schneider PC Tilt-Shift Super-Angulon 50mm f/2.8 Lens For Canon Schneider 90mm f/4.5 Tilt-Shift Lens for Canon Schneider PC Tilt-Shift Super-Angulon 50mm f/2.8 Lens For Nikon Schneider 90mm f/4.5 Tilt-Shift Lens for Nikon Take a look at the image below. Here, I’m using a 17mm...
Playing With Canon’s New Big Guns

Playing With Canon’s New Big Guns

Canon’s 1Dx and 600mm f/4L IS II lens have been two of the most sought after (and repeatedly delayed) items in their inventory for the past year or so. Now, Canon is finally shipping them with some regularity, and we took this opportunity to put this new combo through its paces. I love photographing birds. A few years ago, I started with a Canon 100-400mm lens and a Rebel XTi, and shot from the comfort of my car. Eventually, I moved up to a Canon 1D Mark IV and a 600mm f/4, or a 500mm f/4 lens. The 1D MKIV/600mm combo became a favorite, and I managed to capture some really cool images with it that are part of my Natural History portfolio. Of course, since then, Canon has introduced its successor to the 1D MKIV and the 600mm f/4. The 1Dx takes over where the 1D MKIV left off, introducing a bigger sensor and better high-ISO performance, among other things, whereas the new 600mm Mark II comes in at slightly shorter and much lighter than its predecessor. I took this combo out for a spin to see if it would match up to my old favorites. As with my previous reviews, I focus more on the shooting experience out in the field, rather than lab tests and results. Handling Canon 1Dx The first thing I do with a new camera is go through the settings to customize it to my specifications. The Canon 1Dx’s menu system is a lot like the 5D Mark III’s, which itself borrows a few things I loved from the 7D, such as the...
Notable Storytellers – Vincent Laforet

Notable Storytellers – Vincent Laforet

Welcome to Notable Storytellers, where we bring you the work of photographers, videographers, and other visual artists we think you should be following.  Vincent Laforet is a filmmaker and photographer that belongs in any reasonable list of Notable Storytellers (read this short piece to understand why we haven’t mentioned him in this column before). Long before he became one of the pioneers (some, including me, would say he is the pioneer) of making films with video-capable DSLRs, he was a staff photographer for the New York Times – and a Pulitzer-prize-winning photographer at that. Reverie was the film that started it all. Shot over the course of a weekend on a pre-release 5D Mark II borrowed from Canon (that he wasn’t supposed to have, but managed to get Canon to loan him anyway), it set off a storm in the world of video and put Vincent, an already accomplished and talented photographer, on the map in that rarified world. Reverie from Vincent Laforet on Vimeo. Reverie was followed eventually by Nocturne, a short film shot to highlight the capabilities of the then-new Canon 1D Mark IV. If Reverie was Vincent “bad cologne commercial,” as he once called it, Nocturne showed off not only his ability to successfully scale a vertical learning curve, but also his increasing prowess as a storyteller in his newly adopted medium. Nocturne from Vincent Laforet on Vimeo. When Canon decided to break into the world of filmmaking in a more “serious” way, they did so with the introduction of the Canon C300. Vincent was one of the filmmakers tapped to create a short film that showcased its capabilities....