The year is coming to a close and we’ll be having some holiday closures ourselves – as well as some amazing camera gear sales! Look for both used camera gear and rental deals now through the rest of the year! Spoiler: there is sale happening now! Use code DEC20OFF at checkout to save 20% off your rental or use code DEC7FOR7 to get 7 days free when you rent for a week!
How to Find Camera Gear Sales
• Sign up for our newsletter. It’s a gem delivered once a week and it has the most up-to-date discount info as well as photography and videography tutorials.
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BorrowLenses Holiday Hours
Thanksgiving: Closed on 11/22 and 11/23.
Christmas: Closed on 12/25.
New Years: Closed on 1/1.
Rent Smart, Rent Early: Shipping Cut-Off Holiday Danger Zones
The busiest shipping season of the year is upon us! Don’t leave your gear arrivals, whether for pro gigs or casual projects, to chance. Because of unforeseen weather delays and UPS mishaps outside of our control, it is very wise to book early and have your gear shipped well in advance of our cut-off dates. But if you like living dangerously, we’re shipping up to the last minute so here are our cut-off dates for getting your gear shipped just under the wire of the holidays:
Thanksgiving: Order by 1PM PST on 11/19 if you use standard shipping and by 1 PM PST on 11/20 if you use overnight shipping. Hawaii and Alaska customers should assume a shipping cutoff of 11/16 for standard (we cannot ship on weekends). UPS will be delivering packages on Black Friday but not on Thanksgiving.
Christmas: Order by 1PM PST on 12/20 if you use standard shipping and by 1 PM PST on 12/21 if you use overnight shipping. Hawaii and Alaska customers should assume a shipping cutoff of 12/19 for standard. UPS will be delivering packages on Christmas Eve but not Christmas Day.
New Years: Order by 1PM PST on 12/27 if you use standard shipping and by 1 PM PST on 12/28 if you use overnight shipping. Hawaii and Alaska customers should assume a shipping cutoff of 12/26 for standard. UPS will be delivering packages on New Years Eve but not New Years Day.
Biggest Reason to Rent Early
Holiday Hours For the Locals
Walk-ins are welcome at our San Carlos, California and Waltham, Massachusetts offices on days other than those listed under BorrowLenses Holiday Hours. We are open both Christmas Eve and New Years Eve for last-minute renters. Please note that we are always closed on Sundays.
Recommended Camera Gear for the Holiday Season
2018 was a big year for releases and there is no better way to find out what the hype is all about than by renting. Here are a few of the top rentals that will make your season bright.
Canon 70-200mm f/2.8L IS III ($64 for a 3 Day Rental – See More) and Canon 70-200mm f/4L IS II ($42 for a 3 Day Rental – See More)
🎵 On the first day of Christmas my true love gave to me! 🎵 We’ll spare you. But if you’ve been holding out on getting a 70-200mm, then you’ll be singing too. That’s because Canon has gifted us with updated versions of their esteemed tele zoom. Featuring a fast and near-silent AF system, the Canon EF 70-200mm f/2.8L IS III is optimized for wildlife and sports shooting. As with the Mark II, it features a fast and near-silent AF system. This series has long produced remarkably sharp and agile telephoto zooms with little need for optical improvements. However, the coatings of the Mark II were examined and updated coatings have been applied to the Mark III. This makes a noticeable difference in contrast and perceived sharpness for shooters who encounter a lot of backlighting.
The Canon EF 70-200mm f/4L IS II is equipped with even more updates and improves on its predecessor, the Canon EF 70-200mm f/4L IS, with a closer minimum focusing distance, reduced flare and ghosting, an upgraded Image Stabilization system, and a 9-blade aperture (vs the prior’s 8 blades) for smoother rendering of out-of-focus areas.
Telephoto zooms in the 70-200mm length are some of the most versatile, high quality, and downright popular lenses we other. And they aren’t only the domain of Canon. Rent 70-200mm lenses in Nikon, Sony, Pentax, and more. See our entire 70-200mm telephoto zoom collection here.
The GH5 is a great tool on its own, with exceptional hybrid performance in both photography and videography, and is ideal for multimedia artists. But Panasonic left out some very key features that videographers craved, which were addressed in the quick followup release of the GH5S. These features include (but are not limited to) the following:
• 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.
If you don’t need all that, you can save a little renting the GH5 without sacrificing features like multiple picture styles, built-in stabilization, and a fast Advanced Depth From Defocus autofocus system.
These past few years have been defined by Sony’s trailblazing full frame sensor mirrorless cameras. 2018 saw a couple of big upgrades here – both the a7 III and its big-resolution sibling, the a7R III, combined various stellar features from prior models and created two formidable multimedia machines. The a7 III sports data processing capabilities that are 1.8x higher than its predecessor. The a7R III made large improvements to its shooting speed as well, with 2x faster AF speeds in dim lighting over previous models.
Both are equipped with internal 4K shooting abilities, S-Log3 profiles, touchscreens, built-in stabilization, and dual SD card slots. If you need massive light sensitivity, opt for the a7 III with its 50-204800 (expanded) ISO. If you need the uppermost resolution, go with the a7R III with its 42.4MP sensor. Or check out our entire collection of Sony full frame mirrorless cameras, plus the very best G Master lenses to go with them.
Tired of Sony taking all of the glory, Nikon and Canon both finally released full frame mirrorless models in 2018. Nikon blended all the advantages of a lightweight mirrorless form factor with high-end DSLR shooting power for a versatile multimedia system. The Z7 (expect the Z6 soon), offers a 46MP backside-illuminated CMOS sensor nestled behind a newly-designed mount, which allows for new Z mount lenses (listed below) to be equipped with large, light-gathering rear elements and ultra-fast apertures.
New Z Mount Lenses:
Finally responding to the popularity of high-resolution, full frame mirrorless cameras from competitors, Canon released a brand new system: the EOS R. While this also introduces a new mount (Canon RF), it is designed specifically to integrate smoothly with existing EF and EF-S lenses with the use of optional adapters (seen in use above). The flange distance (the distance between a lens’ mount and the surface of the sensor) has been reduced from 44mm in the EF/EF-S system to a mere 20mm for this new RF lens system. Having larger optical elements very close to the sensor means fewer aberrations, greater brightness, and better image performance overall.
Aside from the new mount, the standout feature in the EOS R is its customization. This extends into the lenses. RF lenses provide the unique ability to assign custom shooting functions directly to the lens. A special tactile control ring on the barrel of the lens can be assigned to functions like aperture value, shutter speed, ISO adjustment, and exposure compensation. With all of these customization features, you can make your EOS R one-of-a-kind for your particular shooting style.
Quasar Science is obsessed with high quality lighting not only for media uses but for hospitals, offices, labs, and galleries. Their exacting color technology is best demonstrated in their new Rainbow series of LEDs. These self-ballasted, low profile, stackable tubes not only offer your standard RGB color mixing but they go extra on it with the ability to crossfade independent 2000-6000º diodes for amazing color saturation. With more and more RGB-mixable lighting being released, Quasar Science stands out among the competition thanks to their affordable and versatile lights that can also produce pastels, neon, and everything in between.
Achieve amazing color manipulation right on the built-in control panel where you can adjust intensity, Kelvin, hue, and saturation – all without having to ever mess with gels. Onboard effects include fire, police light, strobe, and more. They are also energy efficient and can be powered conveniently with 10-26V DC. Our rental comes with a Matthews MyWay plate so that you can mount the 2 tubes together to a C stand for 1 larger source. We’re currently renting out 2′ kits but will soon offer 4′ kits, too. These lights are sure to get your creativity flowing.
Sigma 105mm f/1.4 DG HSM Art Lens ($60 for a 3 Day Rental for Canon, Nikon, and Sony E Mount)
This self-proclaimed “bokeh master” is a dream lens for portrait shooters. The soft bokeh and natural color rendition is paired with incredible sharpness – controllable with a broad, comfortable focus ring. It exhibits well-controlled sagittal coma, allowing stars to be photographed as pinpoints from center to corner even at wider apertures – which is an awesome feature for astrophotographers. Its “no compromises” build makes it incredibly heavy thanks to the fast maximum aperture and massive front element, which was designed specifically to improve peripheral illumination. Because of this, it comes with its own robust Arca-Swiss foot. This lens is as beautiful as the images it helps capture. It is available in three mounts: Canon EF, Nikon F, and Sony E.
Sigma has become synonymous with prime lenses that boast incredible sharpness, high contrast, and superior distortion control at prices more affordable than many of their competitors. Their Art line of primes and zooms are particular notable. See our entire collection of Sigma Art lenses in multiple mounts here.
The already-beloved tilt-shift lineup got a refresh this year from Canon. These specialty perspective lenses are equipped nuanced tilting and shifting, 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 is assisted by large, tactile knobs for fast adjustments. They can be used without tilting or shifting as normal lenses and feature a half life-size magnification (0.5x) that pairs well with a broad upper-range aperture (2 of these lenses stop down to f/45, while one stops down to f/32). This lends itself well to macro work, where the depth of field is extremely thin.
Here are the new lenses:
These join the wider set on our shelves, which are particularly ideal for real estate photography:
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 delivers an extremely fast processing engine for overall speed increases in autofocusing, continuous shooting, and interval shooting over previous X-series models. Further enhancing wildlife and sports applications are the three user-adjustable focusing parameters for AF-C mode, including special modes for accelerating objects or for ignoring obstacles. To maximize the performance of the built-in stabilization, the X-H1’s shutter unit has been redesigned for better shock absorption to reduce camera shake. This is helped even further by the 25% thicker frame. The viewfinder offers 1.6x the brightness and 2x the eye sensor speed of previous models, so viewing all this action is now even easier.
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.
This year, SLR Magic expanded their line of cinema lenses by actually going smaller on form factor. These small-but-mighty MicroPrimes cover up to full frame and each lens exhibits similar weight distribution for little-to-no recalibration when swapping them out on a gimbal (gimbal compatibility was one of SLR Magic’s top concerns when creating this line). Gearing is built into the lenses for use with follow focus units but the throw is only 150º. For their size and pairing with the Sony a7 series cameras, this an ample amount – longer than photographic lenses but not what you’ll find on larger cinema lenses. They use a standard and consistent 85mm diameter for use with matte boxes but also have convenient front filter threads that accommodate 82mm screw-on type filters.
What makes these lenses special is that they provide a stepping stone for new videographers already invested in (or want to start investing in) the Sony full frame mirrorless system. They have many of the features you’ll find in much more expensive cinema lenses but maintain the kind of approachability most photographic lenses have. If you’re transitioning from photography to video and are also a Sony a7 series shooter, these lenses are worth trying out.
Check Back for More Gear News and Save 20%
This brief gear list is only the beginning of our year-end roundup. There are so many more great releases to discuss, including the
soon-to-arrive NOW AVAILABLE Blackmagic Pocket Cinema Camera 4K.
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