Keslow Camera
@keslowcamera@pixelfed.social
- 20 Followers
- 1 Following
- 67 Posts
Premier motion picture camera rental house with multiple locations:
LA | VN | CGY | SLC | ABQ | DFW | NOLA | CHI | ATL | YSB | TO | HFX
I worked for Otto Nemenz in 1983, and during my time there I learned many things, but my greatest takeaway was how to lead with kindness. Otto had a genuine interest in everyone he met. He was kind, thoughtful, and deeply dedicated.
When I later started my own company, Otto remained a friend. We’d check in from time to time, and our conversations were never about business, they were always about how we were doing personally.
He blazed his own trail in the camera rental industry and set the bar incredibly high. All of us in the camera rental world are better companies because of Otto Nemenz.
On behalf of Keslow Camera, I would like to extend our heartfelt condolences to the Nemenz family and everyone at Otto Nemenz International.
Rest easy, Otto. You will be greatly missed.
- Robert Keslow and the Keslow Camera Family
When I later started my own company, Otto remained a friend. We’d check in from time to time, and our conversations were never about business, they were always about how we were doing personally.
He blazed his own trail in the camera rental industry and set the bar incredibly high. All of us in the camera rental world are better companies because of Otto Nemenz.
On behalf of Keslow Camera, I would like to extend our heartfelt condolences to the Nemenz family and everyone at Otto Nemenz International.
Rest easy, Otto. You will be greatly missed.
- Robert Keslow and the Keslow Camera Family
All episodes of THE PAPER, the latest entry in 'The Office' universe, are NOW STREAMING on Peacock!
In THE PAPER, "a documentary crew searches for new subject, finding a dying Midwestern newspaper and its publisher's efforts to revive it using volunteer reporters."
Keslow Camera is honored to have supported production of this hilarious new series. Swipe to see some BTS from the production! Thank you to Brandon Margulies and Anthony Martin for the BTS snaps 📸
DPs | DJ Stipsen, NZCS & Chloe Weaver
Serviced By | #KeslowCameraLA
In THE PAPER, "a documentary crew searches for new subject, finding a dying Midwestern newspaper and its publisher's efforts to revive it using volunteer reporters."
Keslow Camera is honored to have supported production of this hilarious new series. Swipe to see some BTS from the production! Thank you to Brandon Margulies and Anthony Martin for the BTS snaps 📸
DPs | DJ Stipsen, NZCS & Chloe Weaver
Serviced By | #KeslowCameraLA
🚨 NEW GEAR ALERT 🚨
We're thrilled to offer the Ancient Optics TAMASHII Prime in 18mm!
The TAMASHIIs are reimagined lightweight Japanese vintage primes based on lenses from the 1960’s to 1980’s. They feature modern cinema housings engineered by Zero Optik and Ancient Optics with standard front diameter sizes and gear positioning.
The TAMASHIIs include:
- Exceptional color matching
- Excellent sharpness wide open with almost zero chromatic aberration
- Stunning, multi-color flares
- Smooth, bubbly bokeh
Hit the link below to learn more about the TAMASHIIs for your next project!
https://tinyurl.com/KeslowXancientoptics
🏯
We're thrilled to offer the Ancient Optics TAMASHII Prime in 18mm!
The TAMASHIIs are reimagined lightweight Japanese vintage primes based on lenses from the 1960’s to 1980’s. They feature modern cinema housings engineered by Zero Optik and Ancient Optics with standard front diameter sizes and gear positioning.
The TAMASHIIs include:
- Exceptional color matching
- Excellent sharpness wide open with almost zero chromatic aberration
- Stunning, multi-color flares
- Smooth, bubbly bokeh
Hit the link below to learn more about the TAMASHIIs for your next project!
https://tinyurl.com/KeslowXancientoptics
🏯
DP Larry Blanford walked us through the process of crafting Amazon Prime Top 10 hit, THE PICKUP - from shooting epic car stunts, to utilizing multiple cameras to cover mile-a-minute comedy from a stacked cast featuring Eddie Murphy, Pete Davidson, and Keke Palmer.
"For me, the camera choice mattered more than the lenses. I wanted a clean image because I wasn’t planning to filter much in-camera. Instead, I softened selectively later in the DI, letting some practicals blow out slightly. Since there were visual effects involved and all the armored car interiors were stage work, I needed the cleanest plates possible.
We shot volume, and I knew I didn’t want to “marry” the plates too early. Shooting nine cameras at different speeds—20, 30, 50 mph—creates so much material for VFX to process, so I opted for the most neutral, crisp base image possible. That’s what drove the lens decision.
As for the cameras, the RED V-Raptors were light, and I shot in 6K... RED gave me portability with plenty of light at 800 ASA. Inside the armored car, space was tight, so running three cameras required something compact.
[Keslow Camera has] always prioritized supporting filmmakers over chasing the dollar. With The Pickup, we didn’t even take the package out for bid—we just went with Keslow because we trusted them. Fair deals, great gear, and a human touch." - DP Larry Blanford
Visit the link below read the full interview!
https://tinyurl.com/KeslowXThePickup
Thank you to crew members Bodie Orman, Keith Pokorski, Louis Smith, and Nick Hood for the BTS shots 📸
Unit Stills Photographer - Quantrell Colbert
DP | Larry Blanford
Serviced By | #KeslowCameraAtlanta
"For me, the camera choice mattered more than the lenses. I wanted a clean image because I wasn’t planning to filter much in-camera. Instead, I softened selectively later in the DI, letting some practicals blow out slightly. Since there were visual effects involved and all the armored car interiors were stage work, I needed the cleanest plates possible.
We shot volume, and I knew I didn’t want to “marry” the plates too early. Shooting nine cameras at different speeds—20, 30, 50 mph—creates so much material for VFX to process, so I opted for the most neutral, crisp base image possible. That’s what drove the lens decision.
As for the cameras, the RED V-Raptors were light, and I shot in 6K... RED gave me portability with plenty of light at 800 ASA. Inside the armored car, space was tight, so running three cameras required something compact.
[Keslow Camera has] always prioritized supporting filmmakers over chasing the dollar. With The Pickup, we didn’t even take the package out for bid—we just went with Keslow because we trusted them. Fair deals, great gear, and a human touch." - DP Larry Blanford
Visit the link below read the full interview!
https://tinyurl.com/KeslowXThePickup
Thank you to crew members Bodie Orman, Keith Pokorski, Louis Smith, and Nick Hood for the BTS shots 📸
Unit Stills Photographer - Quantrell Colbert
DP | Larry Blanford
Serviced By | #KeslowCameraAtlanta
In celebration of the series premiere of ALIEN: EARTH, we spoke with DP, director, and producer Dana Gonzales, ASC, about his long term relationship with Keslow Camera, charting his path and collaborations with series creator Noah Hawley.
"Even coming down to the look of it, all the [ALIEN] films have looked different, right? ALIENS looked different than ALIEN; it just did. Different cameramen, different DPs; they just looked different. The worlds they were in were different.
It wasn't like they made Alien, and they didn't make anything else in the franchise for the next 30 years. They literally did make more things with different feelings and different looks. So it was finding that world, but the look of it to me very much started with ALIEN and that filmic look. So then you're starting to look at vintage anamorphic lenses. I ended up using Hawks, from a few different series. I used V-Lites and Hawk V-Series. I probably had 25 lenses on Alien: Earth.
[Keslow has] supported me in every country that I've been in. The film business has changed globally. We wish it hadn’t gone as it did completely, but Keslow Camera has kept up. They now dominate Canada... But they don't stop there, right? So I'm going to Thailand, I'm going to London, I'm going wherever, and they can support me there.
...I don't think any rental house—I can say this honestly—no rental house has ever supported a show the size of Alien: Earth in any country, from America. Especially a TV show. But we did it 100% successfully. ...That just goes to what I'm saying: the support that we needed to create that. I feel like if I went with the local options, there's no way they could have supported us the way Keslow did."
Hit the link below to read the full deep-dive!
https://tinyurl.com/KeslowXDanaGonzalesASC
DPs | Dana Gonzales, ASC, David Franco, Bella Gonzales, Colin Watkinson, ASC, BSC
2nd Unit DPs | Matt Windon, Rapatchanun Cochaputsup
Serviced By | #KeslowCameraLA
"Even coming down to the look of it, all the [ALIEN] films have looked different, right? ALIENS looked different than ALIEN; it just did. Different cameramen, different DPs; they just looked different. The worlds they were in were different.
It wasn't like they made Alien, and they didn't make anything else in the franchise for the next 30 years. They literally did make more things with different feelings and different looks. So it was finding that world, but the look of it to me very much started with ALIEN and that filmic look. So then you're starting to look at vintage anamorphic lenses. I ended up using Hawks, from a few different series. I used V-Lites and Hawk V-Series. I probably had 25 lenses on Alien: Earth.
[Keslow has] supported me in every country that I've been in. The film business has changed globally. We wish it hadn’t gone as it did completely, but Keslow Camera has kept up. They now dominate Canada... But they don't stop there, right? So I'm going to Thailand, I'm going to London, I'm going wherever, and they can support me there.
...I don't think any rental house—I can say this honestly—no rental house has ever supported a show the size of Alien: Earth in any country, from America. Especially a TV show. But we did it 100% successfully. ...That just goes to what I'm saying: the support that we needed to create that. I feel like if I went with the local options, there's no way they could have supported us the way Keslow did."
Hit the link below to read the full deep-dive!
https://tinyurl.com/KeslowXDanaGonzalesASC
DPs | Dana Gonzales, ASC, David Franco, Bella Gonzales, Colin Watkinson, ASC, BSC
2nd Unit DPs | Matt Windon, Rapatchanun Cochaputsup
Serviced By | #KeslowCameraLA
Congratulations to the entire WEAPONS team on another incredible weekend at the box office! Check out some stellar behind-the-scenes shots from production (but beware of spoilers!)
WEAPONS is now playing, only in theaters. Proudly supported by Keslow Camera.
Thank you to Warner Bros., Andrew Hamilton, and Nick Hood for these fantastic BTS snaps! 📸
Unit stills by Quantrell Colbert.
DP | Larkin Seiple
Serviced By | #KeslowCameraAtlanta
#WeaponsMovie
WEAPONS is now playing, only in theaters. Proudly supported by Keslow Camera.
Thank you to Warner Bros., Andrew Hamilton, and Nick Hood for these fantastic BTS snaps! 📸
Unit stills by Quantrell Colbert.
DP | Larkin Seiple
Serviced By | #KeslowCameraAtlanta
#WeaponsMovie
The entire Keslow Camera team is deeply saddened by the news of the passing of DP John Stanley Bartley, ASC, CSC.
John was best known for his work on iconic series such as LOST, Bates Motel, and The X-Files. We were honored to support numerous of his projects over the years, and his loss will leave a lasting impact on the cinematography community.
Please join us in remembering John in the comments below. 🕊️
John Stanley Bartley, ASC, CSC
February 12th, 1947 - August 17th, 2025
John Stanley Bartley, ASC, CSC
February 12th, 1947 - August 17th, 2025
Part two of our spotlight on Netflix's UNTAMED, with middle block DP Brendan Uegama, CSC, is now live! ⛰️
"When you come in as a second DP, your first priority is the show. In order to do that, you must understand the established look - why certain choices were made for camera work, lighting, lenses, etc. You have to embrace all of that. You don’t want to create something completely different. You have to (and should want to) build on what’s already there.
...If you get stuck worrying about gear choices, or what you didn’t get to pick, you’re focusing on the wrong things. The gear should serve the story and aesthetics already established. Once those are set, your job is to tell the story through the camera, lighting, and use the environment and sets to represent the characters the right way." - DP Brendan Uegama, CSC
Click the link below for the full interview! 🧑💻
https://tinyurl.com/KeslowXUntamedP2
Thank you to Netflix and Brendan Uegama, CSC for the BTS shots! 📸
DPs | Michael McDonough, ASC, BSC & Brendan Uegama, CSC
Serviced By | #KeslowCameraVancouver
"When you come in as a second DP, your first priority is the show. In order to do that, you must understand the established look - why certain choices were made for camera work, lighting, lenses, etc. You have to embrace all of that. You don’t want to create something completely different. You have to (and should want to) build on what’s already there.
...If you get stuck worrying about gear choices, or what you didn’t get to pick, you’re focusing on the wrong things. The gear should serve the story and aesthetics already established. Once those are set, your job is to tell the story through the camera, lighting, and use the environment and sets to represent the characters the right way." - DP Brendan Uegama, CSC
Click the link below for the full interview! 🧑💻
https://tinyurl.com/KeslowXUntamedP2
Thank you to Netflix and Brendan Uegama, CSC for the BTS shots! 📸
DPs | Michael McDonough, ASC, BSC & Brendan Uegama, CSC
Serviced By | #KeslowCameraVancouver
Congratulations to team UNTAMED on their surprise renewal for season 2! Catch up on the first season, streaming only on Netflix!
We connected with first block DP Michael McDonough, ASC, BSC (Episodes 1-2, 5-6) to dive deep into the process behind the making of UNTAMED!
“I knew we’d be doing a lot of handheld, and that there were a lot of scenes where we'd have to walk into forested areas or mountain sides, and so I knew that I wanted something lightweight. I also knew I wanted to work with Keslow on this. I’ve had great relationships with Keslow over the years, and Dennis McDonald (COO, Keslow Camera) has always been very helpful.
…I really loved the newest iteration of the Cooke Optics Speed Panchros, the Cooke Panchro Classics. They were super lightweight, well weatherproofed, the glass was lovely, and the biggest thing was that the bokeh was just a perfect circle. It was fantastic. In testing, we also knew that we would have some challenges with trying to capture so wide and then very quickly being able to punch in and get something tight in these landscapes. So the FUJINON Lenses Premier Zooms were really appealing.
I was thinking anamorphic for the flashbacks… The Hawk V-Lite Vintage ‘74s, being about the lightest anamorphics we could find at the time, were helpful in that approach to trying to stay mobile, trying to be able to hike in and out of places. They have a halation that's built in.
It was my first show on ARRI Alexa 35… I felt the form factor of the Alexa 35, as well as everything it can do technically with the sensor, that was going to be a great help for us in some of our more remote locations where we'd literally be hiking up forestry trails.” - DP Michael McDonough, ASC, BSC
Hit the link below for the full interview 🎬
https://tinyurl.com/KeslowXUntamedP1
DPs | Michael McDonough, ASC, BSC & Brendan Uegama, CSC
Serviced By | hashtag#KeslowCameraVancouver
We connected with first block DP Michael McDonough, ASC, BSC (Episodes 1-2, 5-6) to dive deep into the process behind the making of UNTAMED!
“I knew we’d be doing a lot of handheld, and that there were a lot of scenes where we'd have to walk into forested areas or mountain sides, and so I knew that I wanted something lightweight. I also knew I wanted to work with Keslow on this. I’ve had great relationships with Keslow over the years, and Dennis McDonald (COO, Keslow Camera) has always been very helpful.
…I really loved the newest iteration of the Cooke Optics Speed Panchros, the Cooke Panchro Classics. They were super lightweight, well weatherproofed, the glass was lovely, and the biggest thing was that the bokeh was just a perfect circle. It was fantastic. In testing, we also knew that we would have some challenges with trying to capture so wide and then very quickly being able to punch in and get something tight in these landscapes. So the FUJINON Lenses Premier Zooms were really appealing.
I was thinking anamorphic for the flashbacks… The Hawk V-Lite Vintage ‘74s, being about the lightest anamorphics we could find at the time, were helpful in that approach to trying to stay mobile, trying to be able to hike in and out of places. They have a halation that's built in.
It was my first show on ARRI Alexa 35… I felt the form factor of the Alexa 35, as well as everything it can do technically with the sensor, that was going to be a great help for us in some of our more remote locations where we'd literally be hiking up forestry trails.” - DP Michael McDonough, ASC, BSC
Hit the link below for the full interview 🎬
https://tinyurl.com/KeslowXUntamedP1
DPs | Michael McDonough, ASC, BSC & Brendan Uegama, CSC
Serviced By | hashtag#KeslowCameraVancouver