New Gear: The Metabones Nikon to Fuji Speedbooster

New Gear: The Metabones Nikon to Fuji Speedbooster

Not too long ago, following the release of Fuji’s most recent firmware update for its X lineup of cameras, I posted an article about extending the Fuji system with Leica lenses using the Fuji X mount to Leica M mount adapter. Indeed, this adapter, along with the Leica 90mm Summarit f/2.5 lens, is my standard portrait setup today. Recently, however, we got in yet another adapter for the Fuji X-mount, and this one’s a total doozy.   The Metabones Nikon to Fuji Speedbooster does for Nikon lenses (including the “G” lenses, which don’t have a manual aperture ring) what the M to X-mount adapter does for Leica lenses – it lets you put them onto Fuji’s X-series cameras, including the X-Pro1, which we rent. Now, if that’s all it did, I’d be pretty pleased as punch that we had added it to our inventory. But adapting the lens is only part of the equation here. First, the adapter works for a much wider variety of lenses. Traditionally, Nikon’s “D” series lenses have been the most easily adapted lenses for other systems, as they have a manual aperture ring and therefore can be used in aperture-priority mode on almost all the mirrorless cameras out there, with adapters. The “G” lenses, however, don’t have aperture rings, so they’re not as easy to adapt. The Metabones adapter gets around this limitation by offering its own aperture ring that maneuvers the tiny iris lever inside the G lens to change the aperture. The aperture ring has an 8-f-stop range ring, with half-stop markings. I have to wonder how accurate this is; what if...
Small Cameras with Big Impact: Traveling Light without Compromising Quality

Small Cameras with Big Impact: Traveling Light without Compromising Quality

Don’t get us wrong – we LOVE our big cameras, especially those pro bodies with huge, high-quality glass. Lugging it around, however, is not so ideal – especially while on vacation or during situations where there just isn’t a lot of room to shoot. High-quality sensors are coming in smaller and smaller form factors, which is good news for globe-trekking photographers or for those who simply need to pack lightly. These small cameras are perfect for: Hiking to get that great sunrise/sunset shot from a high vantage. Inconspicuously taking candids out on the street. Using auto or fully-manual settings on a simplified system. Here are 5 recommended small cameras with incredible image quality: Sony RX1 & Sony RX1R These full frame cameras sport 24 MP sensors and fixed 35mm f/2.0 Carl Zeiss lenses. They shoot full HD 1080p video and have incredible low-light performance. The “R” version lacks an optical low-pass filter, which is ideal for catching extra detail in landscape shooting. The only bummer about these? You’re stuck with that lens. However, on the full frame sensor the 35mm is a great walking-around focal length and the all-metal Zeiss construction is top notch. Another great small-form-factor offering from Sony is their NEX series of mirrorless cameras (with some sample images here). Olympus E-P5 This retro-looking, handsomely-built micro four thirds camera does full HD 1080p video and shoots stills up to 9 FPS on its 16MP sensor. It is very slim and yet still accepts interchangeable lenses, like the fast 17mm f/1.8 M.ZUIKO. Many of our street photographers extol the virtues of this camera. Fuji X100s Another retro beauty, the X100s comes equipped with...
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,...
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...
Playing with Nikon’s Big Guns.

Playing with Nikon’s Big Guns.

Not so long ago, I did a post about Canon’s new “Big Guns”, the 600mm f/4 II and the 1Dx. We’re now waiting for Nikon’s newest super-tele, the 800mm f/5.6, to ship, but I thought I’d take the newest flagship camera from Nikon out for a spin with the venerable 600mm f/4 that they’ve had out for a while.   Initial impressions Shooting with the Nikon D4, with regards to ergonomics and handling, was a substantial change from the D3s. It’s not as angular as that body, something I think Nikon’s been changing lately. The buttons have more feedback to them, and don’t feel soft. The body itself is more bulbous and contoured (dare I say, more Canon-like?), and feels way better in my hands than the D3s. The shutter button is angled down a bit, allowing my finger to lie on it in a more natural fashion. One annoyance is that the AE-L button has been replaced with a little joystick, and I miss that. There’s also a live-view button inset into a rocker switch that lets you move it between photo and video modes, as well as the 8-way d-pad that’s carried over from the D3s. All in all, I liked the changes to body. It’s a more pleasant camera to shoot. In the field My experience didn’t start off well – which was my own dang fault. I’d set the Nikon’s CH (Continuous High) mode to 11 frames per second. Why this wasn’t set to the max by default puzzled me, but I shrugged it off and went out to the Coyote Hills Regional Park in nearby...
Small Flash, Big Box: Using the LumoPro Flash Bracket

Small Flash, Big Box: Using the LumoPro Flash Bracket

There’s no shortage of lighting modifiers for small flashes like the Nikon SB–910 on the market today. From the Apollo softboxes we rent, to grid kits, snoots, umbrellas, and beauty dishes, small flash has really come into its own, especially for photographers working on location. Now there’s a new accessory for Strobist-style shooters that will let you use a much wider variety of softboxes with your existing small flashes, including the high-end modifiers from companies like Profoto. I used it with two Profoto softboxes a couple of weeks ago for a portrait, with excellent results. The acecssory is called the Lumopro Speedring Bracket, and it’s basically a softbox speedring modified to let you use one or two flashes in a standard softbox. If you’re not familiar with speedrings and softboxes, take a look at the article “Understanding Softboxes” on our blog. It describes what speedrings are, and how they are used with various modifiers. The Lumopro bracket is essentially a speedring with two adjustable arms protruding from it. A standard stud allows you to to mount the speedring onto a swivel adapter so you can tilt your setup to angle it. I was doing a shoot for costume designer Katherine Nowacki, who needed a bright, airy headshot for her website. I placed her on a balcony with setting sun directly behind her to act as a rim light. My initial idea was to use a reflector to get some fill light into her face, but then decided I wanted something more powerful to balance out the ambient. I went with two Profoto softboxes, a 3’ Octabox and a 1×4’...
Blowing out the Background

Blowing out the Background

The image above was not shot on a white background. It has a minimal level of adjustment in Lightroom to it, mostly to clean up the edges, but that’s about it. It was taken in front of the greyish-blue wall in the lobby of the BorrowLenses.com offices in San Carlos. The thing about a relatively light-colored background is that it lends itself to a surprisingly large number of options for photographers. Though grey backgrounds work best for this, you can with some tweaking, turn just about any light-colored background — grey, blue, beige — completely black, as I demonstrated in this article on how to kill your background completely. In this article, I’ll show you how to blow out that background completely to make it look like you’re shooting in front of a white backdrop. The setup for this portrait was exceedingly simple. I placed one Nikon SB-910 in a Lastolite Ezybox Hotshoe and one bare-bulb, with the included diffuser attached. The SB-910 in the Lastolite softbox was placed on camera-left, while the bare-bulb SB-910 was placed directly behind Ben, and slightly below the level of his shoulders. It was pointed up at an angle at the wall behind Ben, as shown below. I set the flashes to manual, making sure that the flash hitting the wall was about 2 stops brighter than the flash on Ben’s face. The diffusion in the softbox cut the power of the light on Ben by another 1/3 stop or so, I estimate. That was it. It took a bit of tweaking the power on the lights and the aperture for exposure and...
Shooting Fast Action with a D800E

Shooting Fast Action with a D800E

When you think of fast-action photography, the D800E isn’t exactly the first camera that comes to mind – and with good reason. At a top speed of 4 frames per second and a buffer that will fill up pretty quickly with those massive 36MP files, it’s not a camera that lends itself to that kind of photography easily. If you’re in a pinch, however, and need to be able to use the D800E (or the D800) for a bit of fast-action work, there are a few things you can do to get a bit more performance out of this camera. The first thing you can do is switch your D800/E to DX-mode. This accomplishes a few things. It ups your framerate to 5fps. It makes your file sizes smaller, which gives your camera’s buffer the ability to handle more shots before it chokes your shooting speed. It gives you more “reach” than the FX-mode, so you have the field of view of a 900mm lens when using a 600mm lens. To do this, simply go to the “Image Area” option in the Shooting menu, as shown below. Select the “Choose Image Area” option, then scroll to “DX” and hit the “OK” button on your D800. Now your image size has been dropped down to about 16MP, and if you look through the viewfinder, you’ll see a rectangle outlining the field of view for the cropped image size. Use that to frame your shot. At this point, you’ve already bumped your shooting speed by about 25%, but there’s another way to bump it even more. Rent the MB-D12 battery grip...