The Switch – Moving from Canon to Nikon, Part III

The Switch – Moving from Canon to Nikon, Part III

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… Previously, in the Switch series: Part 1: I talk our marketing VP into letting me go Nikon for a while. Part 1.5: which was mislabeled Part 0.5, in which I gawk at a violin. Part II: The Nikon gets abusive. In this part, I’m going to focus on just one thing: Nikon’s external flash system. CLS, you’re pretty cool Nikon’s CLS, or Creative Lighting System, is pretty well-known for its simplicity and reliability. On the Canon side, I’m used to working in ratios to set exposure between groups. This is a tad… unwieldy, to say the least. For example, if I want three groups for my external speedlites, I have to jump through some… convolutions. First, I have to have my friend Syl Arena’s book, The Speedliter’s Handbook handy, because Canon’s manual doesn’t really do even a halfway decent job of explaining this.  I have to set the ratio for my first two groups (A and B), then go into the master speedlite’s menu to set FEC (Flash Exposure Compensation) for my third light. Uh… wha? For a better explanation, go to page 144 of Syl’s Speedliter’s Handbook. With Nikon, on the other hand, you get this: This is if you’re using the on-board camera to control your remote speedlights (which are in two other groups, A and B). But you can, of course, control external speedlights with a master on-camera. Here’s what that...
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...
Finding the Photo in the Cruft

Finding the Photo in the Cruft

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. I was miffed. Even the slight glimpse of the city in the background behind the Bay Bridge was mostly obscured by fog. I was ready to pass up on the image, finding not much of value, but then decided to play with it a bit. Since I had megapixels to spare (the D800 has a 36MP sensor), I decided to crop the heck out of it. Okay, That was kind of cool, and it was still a 22MP image. But it was still just a fog-blurred image. I decided to see what Lightroom 4 could do with it. Well, okay, that’s not half-bad. Exposure bump by +0.30, highlights lowered by -16, +48 on Clarity and +51 on Vibrance. Not half-bad at all. I didn’t want to stop there. If Lightroom could bring that much life back into this image, what could I do with one of my favorite software packages, Color Efex Pro 4 from Nik Software. I added a little bit of the Detail Extractor...
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...
Hard at Work

Hard at Work

I’m working on a piece on tilt-shift lenses for our blog and I wanted to get some shots of the historic forts in the Marin Headlands at sunrise. So, I hauled my carcass out of bed at 4:30am and made it to the headlands shortly before sunrise. Turns out, it was one of those beautiful days where the upper reaches of Conzelman road, which overlooks the Golden Gate Bridge and downtown San Francisco, was right above the marine layer. So I pulled over to shoot a bit from there, and guess who I ran into? Our Marketing VP, Jim Goldstein, was out in force, shooting time-lapse videos with two bodies, a dolly, and other miscellaneous gear. This was my first time up there this early (I tend to shoot a lot in the evenings, when I don’t have to ingest large amounts of caffeine to keep my eyes open), and apparently, I had the luck of the beginner, as Jim said it could take as many as ten tries to get the atmospheric conditions we had that morning. Jim, for those of you who aren’t familiar with him, is a professional photographer himself (that’s kind of a running theme with BorrowLenses.com hires – we’re all either pro or avid amateur photographers). You can find out more about him on his blog, http://www.jmg-galleries.com/blog/, or you can follow him on Twitter (@jimgoldstein) or on Google+ at https://plus.google.com/+JimGoldstein/ Jim also has an excellent eBook out now called Inspired Exposure, which tackles an element of photography we often don’t think about as still shooters: time. From Light Painting and Star Trails photography to time-lapses and cinemagraphs, this...