The Sony FE PZ 28-135mm f/4 G OSS Lens is Ready for Your Next Video Shoot

The Sony FE PZ 28-135mm f/4 G OSS Lens is Ready for Your Next Video Shoot

We have a new cine lens for rent – the FE PZ 28-135mm f/4 G OSS. It’s ideal for both the Sony FS7 and the Sony a7S but will mount on any E mount camera. It is ideal for run-and-gun style shooting, documentary filmmaking, and any other cinematic use where portability is important. Here are some features that really stand out about this lens and why should you shoot with it. Focal Length: 28 – 135mm. Versatile range that prevents you from having to change lenses. Maximum Aperture: f/4. Fast enough for most low-light and out-of-focus needs. Designed for full frame Sony E mount cameras. Pair this with Sony’s a7 line. Compatible with crop sensor E Mount cameras. Pair this with the FS700, FS7, or any E mount camera. 1.31′ Minimum Focusing Distance. Relatively close range for a lens reaching up to 135mm. Auto Focus with Manual Focus Override. Fine-tune your focusing without using an AF/MF switch. Image Stabilization (Optical SteadyShot, or OSS). Allows you to gain more stops without sacrificing sharpness when shooting at lower shutter speeds. Super Sonic wave Motor. Silent autofocusing – essential for video. The FE PZ 28-135mm f/4 G OSS is light weight and partially manufactured with polycarbonate, making this lens more impact resistant and also better protected from the sun. It also helps save on weight. You can select between clicked and de-clicked aperture for ultimate control. Having a de-clicked aperture makes it great for run-and-gun shooting and adjusting exposure mid-take like when there is a major shift in exposure walking from indoor to outdoor lighting. This lens was designed side-by-side with the FS7, which boasts internal firmware to correct for aberrations, making this lens...
Red Bull GRC Action Sports Photography with Garth Milan

Red Bull GRC Action Sports Photography with Garth Milan

Action sports photography has taken me all over the world, and my latest trip was to Sin City, where I spent two days shooting the final round of the 2014 Red Bull GRC series for, you guessed it, Red Bull. The event was just off of the Strip at the Linq Casino and Resort, at the base of the newly constructed High Roller Ferris wheel. Knowing how tough access is at any auto racing event, I knew I would need some serious glass, so before I packed my bags or even booked my flight, the first thing I did was arrange to “borrow” a Canon 600mm f/4 lens from Borrowlenses.com. Whether it’s rally racing, Moto GP, or even the Red Bull Air Race series, I typically always bring a minimum of 500mm of glass to these action-filled racing events. To me, the absolute best part of the Borrowlenses.com service, besides the great selection and customer service, is the fact that they are willing to ship huge lenses and equipment like this straight to my hotel room. This is helpful beyond words, as I always travel with a minimum of four bags, between lighting, computers, clothes, etc., so to arrive at my destination with a huge piece of glass waiting for me like this is beyond revolutionary. Handholding my massive 600mm, I headed out to the event for the first day of shooting. I was immediately thankful to have the 600, as the access was as bad as I expected and then some… but with such a massive lens, shooting directly through fencing is easily possible, opening up a whole...
Traveling Cross Country? Tips to Photograph Your Trip: Part 1

Traveling Cross Country? Tips to Photograph Your Trip: Part 1

Upon embarking on my first cross-country road trip, I went to the internet in search of tips suggested by fellow photographers who have also made this iconic exploration. To my surprise, there were few contemporary articles published depicting the experience of others in relation to the photographic aspect of the trip. In my search, however, I did come across a wonderfully inspiring photographer, Amelia Fletcher, who, with the help of a crowd-funding website, trekked across the country on a sole mission to photograph its landscape and inhabitants. This type of trek, of course, is nothing new. It follows in the footsteps of world renowned photographers such as Robert Frank, Lee Friedlander, Gary Winogrand, and William Eggleston just to name a few (do yourself a favor and look these up!). In this first of a 2 part series, fine art photographer Amelia Fletcher was generous with her time after her trip and answered a few questions for us. Continue reading to discover what she had in her camera bag, how she approached subjects to photograph, and what her best successes and failures were. Tips to Photograph Your Trip: Part 1 BL: What were your photographic intentions and/or goals when you first set out to cross the country by car? AF: My photographic goals were comparable to my other hopes for the trip. I wanted to put myself out there, experience different cultures and ways of life here in the United States, and see this beautiful country we live in as best I could. My hope was that my photos would reflect all of that. Everyone and everything I photographed has some...
Small Business Start Up & Tax Tips for Photographers and Videographers

Small Business Start Up & Tax Tips for Photographers and Videographers

Get a jump start on the impending tax season! If you are considering taking your photography/videography to the next level and becoming a business, you will need to know a few things about taxes. Below is a brief list of things to consider, followed by some links to more in-depth guides. • Determine if your photography/videography officially counts as a hobby or a for-profit endeavor. Here is a guide from the IRS to help you. • If your work is more than a hobby, determine if you should be a Sole Proprietorship, a Partnership, a Limited Liability Company (LLC), an S Corp, or a Corporation. • Get your EIN number. You can apply for one here. • Find a Certified Public Accountant (CPA) with existing clients who are photographers/videographers. • Have ready a tally of income, expenses (travel, equipment, props, software, domain costs, and advertising). Even rentals are potentially tax deductible so save your BorrowLenses receipts! • For any independent contractor you hire for more than $600 in one year, you’ll need to fill out a 1099 form for both that person and the government. For more information, check out the following articles: Special Tax Advice: How Photographers Can Get The Right Look From The I.R.S. Photographer’s Corner: Tips for Tax Time The 7 Common Tax Mistakes Made by Photographers 5 Super Simple Accounting Tips for Photographers Wedding Photographer Tax Tips Also check out 5 Important Photography Business Tips to Start the Year Off Right. Disclaimer: The information contained on this post is provided for reference purposes only and is not a substitute for obtaining accounting, tax, or financial advice from a professional tax planner or financial...
Creative Jump Start: Shooting with Fisheye and Ultra Wide-Angle Lenses

Creative Jump Start: Shooting with Fisheye and Ultra Wide-Angle Lenses

Seán Duggan is a fine art photographer, author, educator, and an Adobe Certified Photoshop Expert with extensive experience in both the traditional and digital darkroom. His Jump Start series provides photographers with the informative ideas to effectively experiment with alternative photographic equipment. Creative Jump Start: Shooting with Fisheye and Ultra Wide-Angle Lenses by Seán Duggan On my recent Autumn & Aurora Discoveries workshop in Iceland, I decided to step outside my usual focal length comfort zone and do some experimenting with a 15mm fisheye lens on my full-frame Canon DSLR. BorrowLenses.com is a great resource that makes it easy to take different gear for a test drive and I really appreciate the large selection they have. Sometimes a lens is needed for a very specific purpose but at other times I’ll try out a lens simply because it offers such a different perspective from the lenses I normally use. This was the case with the 15mm f/2.8 lens. Most of my wide-angle shots are made at the 24mm focal length, with occasional images made with a 16–35mm. I knew, however, that the 15mm would offer a much different perspective than the 16mm. It is technically only one millimeter of focal length difference but the level of distortion is significantly more with the 15mm lens. Although the super wide angle-of-view was quite useful for some shots, it was actually the distortion that I was most interested in. Shooting straight at the horizon yielded an image that was very wide with not too much distortion but tilting the camera either up or down yielded a very pronounced curvature of the horizon. Tilting up...