Winter is nearly over but it has given us great gear to take into the spring shooting season. Here is the best camera gear new to BorrowLenses that’s now available to rent!
Quickly following on the heels of the GH5 is the GH5S. The GH5S offers a lot of the same great benefits as the GH5, including – but not limited to – the following:
- Uses the entire width of its sensor for a full 5184 x 3888 (5.1K) sensor readout to downscale to 4K for increased sharpness and less artifacting.
- 225 focus points (up from the GH4’s 49).
- Dual UHS-II SD slots.
- V-Log L gamma profile (our GH5 cameras have it installed – the GH5S cameras already come with it).
- Improved built-in microphone.
But there were some key features missing in the GH5 that got addressed in the GH5S, including:
- Unlimited internal capture of 4:2:2 10-bit C4K.
- A fuller range of frame rates in both Ultra High Definition 4K and Cinema 4K formats (60p in 4K at 8-bit internally or 60p in 4K at 10-bit via the HDMI port – to record in 4K at 4:2:2, 10-bit internally, you are limited to 30p).
- Dual Native ISO – one that maximizes dynamic range and one that minimizes noise.
- Larger pixels (about 1.96x larger than the GH5’s) and more sensitive, resulting in about 1.3x less apparent rolling shutter effects.
- 14-bit RAW stills vs the GH5’s 12-bit RAW stills.
The GH5 provides exceptional hybrid performance in both photography and videography and is ideal for multimedia artists, outdoor shooters, and videographers. Marking a new era for the GH series is the GH5S, which emphasizes video performance while maintaining an ultra portable form factor.
This camera is ideal for those seeking some of the professional qualities of the Varicam and the EVA1 but in a portable and more affordable package that can support the needs of event, narrative, and documentary shooters.
Positioned as the stills-focused sibling to the video-focused GH5S, the G9 is packed with features that Micro Four Thirds hybrid shooters will love:
- 80MP RAW file capabilities compiled from 8 separate images for a massive 10368 x 7776 file (when not using High-Resolution Mode, enjoy 5184 x 3888 file sizes).
- 5-axis in-body image stabilization system with an up to 6.5 stop shutter compensation capability.
- Advanced Depth-from-Defocus technology that better calculates the distance to subjects for much more accurate focusing in continuous AF even at high shooting speeds.
- A reworked shutter to accommodate high shooting speeds of up to 60 FPS (in 8MP mode, up to 9 FPS in 20.3MP mode).
You’ll also take advantage of some key physical benefits borrowed from the GH5S and GH5, including joystick control, dual UHS-II SD slots, and ports for a microphone and headphones.
This camera is a great option for those who mostly shoot stills but who also do some video and need a high-quality option without all the bells and whistles of the GH5S. It’s also a great complementary camera for event photographers who have a video crew already using the GH5 or GH5S and who want to coordinate on sharing lenses and other accessories.
We have a bit of a Goldilocks effect happening here: the Panasonic Varicam LT 4K S35 Digital Cinema Camera might be too hot for some renters ($736 for 3 days) while the GH5/GH5S might be a little too cold (no XLR ports without an additional accessory, no built-in ND filters). The EVA1 sits in the middle with the ergonomics and peripheral benefits of high-end cameras at about half the rental price.
However, many are reporting better low-light performance in the GH5S over the EVA1, despite the latter’s larger sensor, and the GH5S is much more affordable.
Note that a future firmware update adds access to full sensor (5.7K, 5760 x 3072) RAW output at 4:2:2 10-bit to an external recorder. We’re expecting a PL mount version of the EVA1 very soon.
If the photography world had a winter formal, the Sony a7R III would be queen of the ball. Usually you have to choose between speed and resolution and that’s becoming a thing of the past, with the a7R III leading the way.
Rocking a 42.4MP sensor and a shooting speed of 10 frames per second, the a7R III is ideal for higher-action fine art subject matters, like children’s portraits, pet portraits, and weddings.
For sports and wildlife photography, this camera would definitely not be a disappointment but the flagship a9 is a better option thanks to its 20 FPS shooting speed, larger buffer, and incredible 693 phase detection AF point system. The a7S II still remains the low light king, so the a7R III just adds to the line and doesn’t make existing a7 cameras obsolete by any stretch. This is good news, selection-wise, for renters.
Expect even more in this space – the a7 III is arriving soon.
The 24-105mm length is enormously popular among Canon event and travel shooters and full frame E mount Sony users can now natively enjoy this mid-length option. This lens is also compatible with Sony crop frame E mount cameras, such as the a6500, with an effective focal range equivalence of 36-157.5mm.
While maximum aperture is not as wide as in the popular Sony FE 24-70mm f/2.8 GM lens, the 24-105mm has more reach and includes image stabilization while also being smaller, lighter, and cheaper to rent.
This lens is almost universally positively reviewed online for its sharpness, ergonomics, and overall versatility. If you have to shoot with only 1 lens for an event or a trip, this one comes highly recommended.
The RX10 series is beloved for its all-in-one form factor that’s ideal for travel. It really only has one big drawback and that’s its size – it’s nearly as large as your standard DSLR setup. For folks who need to pack very lightly, the RX100 V is the better choice.
It’s hard to beat the built-in reach of the RX10 IV, which provides an amazing 24-600mm (equivalent) range with a variable maximum aperture of f/2.4-4 (very fast for this focal length on an all-in-one system). Other reasons why this camera might just be your new favorite vacation companion:
- Pull 8.29MP stills from 4K recordings.
- Built-in Optical SteadyShot image stabilization.
- Focuses at an extremely close 1.2″ with a .42X maximum magnification for macro subjects.
- Up to 24 FPS shooting speed, headphone and microphone jacks, touchscreen, 315 phase detection AF points, and slow motion video effects up to 1000 FPS.
While a point-and-shoot in a technical sense, this camera is more commonly referred to as a “bridge camera”, which describes both its all-in-one design and its DSLR-ish form factor. Some describe it as having more of a “small camcorder” feel and is a really great budget rental option if you need 1 simple solution for a host of shooting scenarios.
This isn’t a Sony lens but it is for Sony shooters – particularly users of the a6000 series (but also suitable for a7 series users when in crop sensor mode). Sigma offers three main lines for photographers: Art lenses, Sports lenses, and Contemporary lenses. Each has their own specialty and the Contemporary line’s is marrying quality with compactness.
The latest is the Sigma 16mm f/1.4 and it’s equipped with a Stepping Motor for smooth, silent AF while shooting video. This pairs beautifully with Sony’s Fast Hybrid AF feature. It’s also optically designed to minimize sagittal coma flare, which means it’s a good choice for night sky shooting. It joins the Sigma 30mm f/1.4 DC DN Contemporary E Mount Lens on our shelves and we’ll continue to expand our Sigma collection across all lines and in a variety of mounts.
The existing Canon tilt-shift line was already admired but this refresh invites new and exciting possibilities for pros and enthusiasts alike. These specialty, manual-focus-only, perspective control lenses are equipped with a shift of ± 12mm and a tilt of ± 10°, which can be applied independently or in parallel to each other for exceptional control over eliminating converging lines and/or establishing a very specific plane of focus.
This translates to having more options on how architecture, products, and landscapes are expressed in imagery and video. Canon takes it further by making their new tilt-shifts also suitable for some macro subjects thanks to a magnification ratio of 1:2 (0.5x – so, not 1:1 but still suitable for many close subjects).
Here are the new lenses:
- 135mm f/4L Macro Tilt-Shift Lens
- 90mm f/2.8L Macro Tilt-Shift Lens
- 50mm f/2.8L Macro Tilt-Shift Lens
These join the wider set on our shelves, which are particularly ideal for real estate photography:
There is an existing 90mm f/2.8 Tilt-Shift Lens but the new one improves on it not only with its magnification and closer focusing distance but with more nuanced tilting and shifting control, greater contrast, and better color rendering.
Tilt-shift lenses are incredible professional and creative tools but can be difficult to master. Get started with our beginner guides:
The first in the X-series lineup to offer 5-axis in-body image stabilization, Fuji’x X-H1 is an ultra fast new camera for event, wildlife, and sports shooters. It has a special flicker reduction mode for indoor sports shooting and three user-adjustable focusing parameters for AF-C mode, including special modes for accelerating objects or for ignoring obstacles. A convenient joystick provides swift changing of up to 325 focus points while the viewfinder offers 1.6x the brightness and 2x the eye sensor speed of previous models.
Adding to all this quickness is a deeper grip, a 25% thicker frame, and better shock absorption. So this camera can take a beating out in the field (though pretty please maybe don’t test the limits of this claim with our rentals).
For video, the X-H1 can shoot DCI 4K at 24p at 200Mbps for up to 15 minutes (30 minutes with the optional Vertical Power Booster Battery Grip). Plus, there is a fun, new film simulation to go with Fuji’s famed ACROS, Velvia, and the rest: ETERNA, which simulates the output of traditional cinematic film with desaturated colors and rich shadow tones.
Pair this camera with the recently-released Fuji XF 80mm f/2.8 R LM OIS WR Macro lens, which is the first X-series lens with a true-to-life 1:1 (1.0x) magnification ratio. A perfect mate for this camera is the Fuji XF 100-400mm f/4.5-5.6 R LM OIS WR lens – together, you’d have a beast of a setup for photographing wildlife.
These are just a few examples of the best camera gear new to BorrowLenses this winter. To see all of our recent arrivals, visit our New Arrivals page. Keep checking back for more – we add new gear almost daily!
Note: All quoted pricing in this article is as of the publication date and subject to change.
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