BorrowLenses Street Photography Package Shoot Off: Leica, Fuji, and Nikon V1 Reviewed

BorrowLenses Street Photography Package Shoot Off: Leica, Fuji, and Nikon V1 Reviewed

Save time while also saving money with our new Photography and Videography Packages. Packages are a convenient way to rent a group of items with 1 click, whether it be a collection of prime lenses or various parts needed for a successful studio lighting setup. Our Street Photography Packages feature mirrorless bodies for their lightweight and inconspicuous (while still stylish) design–great for on-the-go candid shooting. Ben Revzin of ShouldIGetIt.com took three of our Street Photography Packages for a spin to see which set was the most, well, street savvy! See his results in the video review below. The packages reviewed: Street Photography (Compact) Essentials Package – Leica Street Photography (Compact) Essentials Package – Fuji Street Photography (Compact) Essentials Package – Nikon For more reviews on mirrorless systems, be sure to check out Sohail Mamdani’s Op-Ed on the Fuji X100s and his Leica Diary...
Op-Ed: My Time With the Fuji X100s

Op-Ed: My Time With the Fuji X100s

It’s been a while since I first got my hands on the Fuji X100s, and in that time, I’ve carried this little thing with me just about everywhere I go (including on my honeymoon). I’ve also gotten a few questions about it that range from my general opinion of the Fuji cameras, to what settings I shoot with. In this Op-Ed, I’ll answer a few of those questions and also put down some of my thoughts about why this camera has turned out to be the sensation that it has. It’s not a full review – for that you’ll have to head over to the one I wrote for Chase Jarvis’ website. First, the questions…. Is the X100s really that much better than the X100? Yes. Yes it is. Really? Yes, really. Why? Well, for starters, it focuses a heck of a lot faster. In fact, it’s one of the quickest-focusing compact cameras out there. I love the X-Trans sensor in it, too; I trust this thing to put out great images with solid dynamic range and color accuracy. Low-light performance is incredible, all the way to ISO 6400. Manual focusing aids like Peaking are a nice touch, and welcome. Okay. What’s your one key favorite feature? Low-light performance. Love it, love it, love it. It’s that good? Yes. Here, look: That’s at ISO 6400, straight out of camera JPEG. Also, that’s shot at 1/8 of a second and is plenty sharp. Leaf shutters for the win. Cool. Would you replace your DSLR with it? Nope. I know some photographers have, or have augmented their Medium-Format systems with a...
Elephant Discovers GoPro During Piper Mackay Photographic Safari

Elephant Discovers GoPro During Piper Mackay Photographic Safari

Piper Mackay is a world, wildlife, and cultural photographer based in Long Beach, California. Her work is heavily concentrated on the African continent. On one of her recent photographic safaris, Piper and team had an unexpected encounter with an elephant, who approached and poked at a GoPro recording the action from the ground (pictures and a short video below). “On a recent trip to Namibia, we were blessed with the rare sighting of the desert elephants crossing the desert with dramatic landscapes.  I had rented a couple of GoPros from Borrowlenses to grab some dynamic footage for a big project I am working on in 2014.” “We were actually on our way to check out a campsite when our guide spotted the elephants in the distance.  We could not believe our luck! We lined up our vehicles, grabbed our gear, jumped out and waited. Once they passed we raced to get repositioned. One of us hopped out and got the GoPro down just in time. We never thought the elephant would come right up to the camera and then knock it over with her trunk! She looked at us like she was saying, “Next time I will crush it!”  When her companion followed right behind her, we all held our breath as we were sure he was going to crush it.  It was a close call but successful!” Here is a short video of what the nearly-crushed GoPro captured. Want to have experiences like this? Join Piper on her next adventure! Check out her list of programs here. Special thanks to Piper Mackay Photography for sharing these images with our...
BorrowLenses.com on the Set of Wilfred

BorrowLenses.com on the Set of Wilfred

The FX television series “Wilfred”, starring Elijah Wood, needed to shoot new backing plates for their hit show. Cinematographers take plate shots of empty sets using the same lighting as the final scenes. These “plates” can be used later for special effects. Kurt Jones, Director of Photography, decided to use the new Nikon 28mm 1.8G lens. He needed 13 of them to mount onto 13 Nikon D800 bodies. Borrowlenses.com was able to supply the DP and his television series with the tools they needed. The show shot exterior shots of the character, Ryan’s, house on location in Venice, CA. They then filmed all of the interior shots at a full-sized house that was wrapped in Green Screen on a sound stage at FOX Studios in Los Angeles. The plates are shot of the surrounding neighborhood and composited into the Green Screen during the VFX part of Post Production. Day Plates and Night Plates were photographed over a full day of shooting for Kurt and his crew. Here are some behind-the-scenes photos of the equipment at work. Photos courtesy of Kurt Jones/FX. Season 3 of Wilfred will begin airing on June 20th. Kurt Jones’ work can be found on his site and on his Facebook...
One Strobe, One Trigger, One Camera, and a lot of Luck: Behind the Scenes with Von Wong Photography

One Strobe, One Trigger, One Camera, and a lot of Luck: Behind the Scenes with Von Wong Photography

Photographer Benjamin Von Wong set out to the Salton Sea with some dart rope and a crew of chance encounters who were excited to make the trek to help out with this dramatic shoot. Check out the spectacular results below! Luck, Fire, and a Failed Ecosystem by Von Wong Photography, reprinted with permission. Equipment Used Lighting Gear: Profoto B2 Acute PocketWizard Plus III Camera Gear: Sirui Tripod T2205X, sponsored by LOVINPIX Nikon D800E Nikon 24-70 f/2.8 To see more great behind-the-scenes images and some of the technical notes for this shoot, please visit the full Inspired by Fire post HERE. Special thanks to Von Wong Photography for sharing this experience with us! Benjamin Von Wong will be speaking and doing a demo at at Profusion in Toronto on June,...
The Hasselblad Is Here: First Impressions and Sample Shots

The Hasselblad Is Here: First Impressions and Sample Shots

The Hasselblad H5D40 medium-format digital camera is here, so of course we had to give it a go. We pressed a number of our staffers into service as models, and went through an impromptu portrait session. Sample images as well as first impressions after the jump. First, the sample images… Alex Huff Courtney Newvine and Jo Deguzman Andrew Wills Ryan Tubongbanua Shooting with the Hasselblad H5D40 was a mixed bag in that it was at once familiar and foreign. I’ve shot medium-format digital and film before, mostly on the Phase (digital) and Hasselblad 500C (film). So I was familiar with the H5D40’s basic operation. The shoot was set up in our lobby. We used a large Elinchrom 74″ Octa as the light source, with one 500 w/s Elinchrom BXRI monolight in it, plus a second BXRI scraping across the collapsible background for some of the shots. Both were triggered using the Skyport transceiver included with the Elinchrom BXRI kit. Here are a few initial impressions. Flash sync is up to 1/800th. This is awesome, since it completely eliminates ambient light.  The 120mm f/4 Macro lens I shot with is crazy-sharp. The dynamic range and detail are everything that Hasselblad has promised (more on this in future articles about this new platform). Watch your highlights. There’s a handy histogram in the top LCD that shows you this, so it’s relatively easy. Get a tripod. I shot handheld, but this is a heavy platform. If I was shooting at a lower shutter speed (say, like 1/200th), I’d probably see some camera shake. Since the flash can sync up to 1/800th, it didn’t...
Transitioning from Point-and-Shoot to DSLR: Understanding Full Frame vs Crop Frame Sensors

Transitioning from Point-and-Shoot to DSLR: Understanding Full Frame vs Crop Frame Sensors

Upgrading from a point-and-shoot camera to a digital SLR camera can be daunting, especially when you start hearing people carry on about what kind of sensor to get and you have no idea what they are talking about! The following will help you understand sensor size and how it can be a factor in your photography. This information will better equip you with the knowledge you will need to successfully choose your next camera. What is a Sensor? Every digital camera, even your point-and-shoot, has a sensor inside of it. In the simplest of terms, all these sensors do is convert an optical image (light) into an electronic signal which can be read as digital information–an image you download and can see, edit, and share. Your point-and-shoots have tiny, little sensors inside of them and for the most part they do a good job of converting light into digital information you can use–a photograph! Some of you may have heard people carry on about the “size” of their camera’s sensors. The reason they care about this is because dynamic range and low-light sensitivity generally improves as the size of the sensor increases. Defining Crop Sensors and Full Frame Sensors A piece of 35mm film measures approximately 36 x 24mm in size, and that’s the size of the sensor in Full Frame cameras like the Nikon D4 and the Canon 5D Mark III. Full frame sensor cameras are among some of the most expensive DSLRs you can buy. However, you can buy a DSLR camera with small sensor and still experience much greater image quality than you can from your average point-and-shoot. Cameras like the Nikon D7100 and the Sony A77 have APS-C-sized...
5 Features for Adobe Lightroom 5

5 Features for Adobe Lightroom 5

In this video tutorial, adventure photo journalist Jay Goodrich highlights a few of the features that he finds most useful in the upcoming update to Adobe Photoshop Lightroom. He also has an up coming Lightroom workshop in Seattle, September 14-15, 2013. More information here. 5 Features for Adobe Lightroom 5 by Jay Goodrich, reposted here with permission. This is Episode 3 of Goodrich’s In the Office series of photography tutorials. See more of Goodrich’s work here and stay tuned for more great videos from him here on our blog! To see Episode 2,...
Nikon’s Biggest Gun: A Review of the New 800mm f/5.6E FL ED VR Lens

Nikon’s Biggest Gun: A Review of the New 800mm f/5.6E FL ED VR Lens

Introduction Until recently, Canon’s 800mm f/5.6 lens has been about the longest lens currently in production by one of the big manufacturers. The longest lens on the Nikon side has been the 600mm f/4, which I took out for a spin not too long ago. Now, Nikonians have their own cannon (yes, pun intended) to play with. The Nikon AF-S 800mm f/5.6E FL ED VR lens is finally shipping, and we’ve got them in our inventory for rental. I took this behemoth out for a test to see just what Nikon packed into it. Last week, I posted sample images from that shoot; here’s the full review. A Bad Start My experience with the 800mm began poorly. I took the lens out with a D4, an Induro AT–413 tripod and a Custom Brackets gimbal head to one of my favorite birding spots in the Redwood Shores region of the San Francisco Bay Area. Every spring, these black-and-white birds call Black Skimmers show up around here, and make for some excellent photo opportunities. They gather around the shoreline, and fly low over bodies of water, letting their lower beaks dip into the water as they fly, trying to snap up small fish. Get lucky, and you can walk away with an image of one with its beak creating a wake through water, which is what I was aiming for. Well, things didn’t start out well. I set up everything, balanced the lens on the gimbal, and started shooting. Immediately, I noticed that the lens was incredibly slow to focus. For static subjects, it was fine – you could zero in...
Sample Images from the Nikon 800mm f/5.6

Sample Images from the Nikon 800mm f/5.6

I’ve been out testing the Nikon 800mm f/5.6 lens we just got in, and have a few sample images to share. I went out to the Redwood Shores region of the San Francisco Bay Area to shoot the skimmers that show up around here every spring, and got a handful of other birds as well. The full-up review is coming soon, so stay tuned for that. Black Skimmer   Images © Sohail Mamdani. All rights...