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05.24.2016
© Judy Host 2016 Sigma’s 50mm F1.4DG HSM Art | F11. s 1/125 ISO 160 Manual mode. | Photographed in Atlanta with two dancers from the Atlanta Ballet Company, Alexis Arria and Keith Justin Reeves

© Judy Host 2016 Sigma’s 50mm F1.4DG HSM Art | F11. s 1/125 ISO 160 Manual mode. | Photographed in Atlanta with two dancers from the Atlanta Ballet Company, Alexis Arria and Keith Justin Reeves

My passion for dancers started many years ago when I first started my photography business.  I found their passion for dancing matched my passion for photography and I found their desire for perfection contagious. Whether I’m creating a scene that is traditional for ballet or simply performance driven, the art, the work, the passion all shines through.

When setting up a session like this, the first decision for me is, what lens will I use? My choice was the Sigma 50mm F1.4DG HSM | Art lens. For me, the lens provides a real perspective as to what the eye actually sees.  The next choice was to use a studio that was large enough for the dancers to move and fly through the air and the 50mm 1.4 with it’s fast shutter allowed me to capture that defining moment with ease. This is an extremely sharp lens that captured not only the muscle tone in their legs and arms, but also the expression of the dancers as they fly through the air.  When you work this hard with such precision and perfection it should be rewarded with beautiful imagery.

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© Judy Host 2016 Sigma’s 50mm F1.4DG HSM Art | Aperture: F11 | Shutter speed: 1/125 | ISO 160 | Manual mode

© Judy Host 2016 Sigma’s 50mm F1.4DG HSM Art | Aperture: F11 | Shutter speed: 1/125 | ISO 160 | Manual mode

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05.19.2016
©2016 Steve Chesler

©2016 Steve Chesler

At the end of every hockey season, I get to play with strobes on the ice at my local ice rink in Western New York. This year I had the opportunity to play with the new Sigma 24-35mm f2 DG HSM along with the Sigma 10mm F2.8 DC Diagonal Fisheye. Shooting with wide angle lenses for sports action allows for a unique look compared to the typical telephoto compression on most sports images.

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05.17.2016

We just recently returned from an awesome 30+ day tour of Japan and the people, food, opportunities, and sights were all amazing, it seemed like there was always a surprise or something new around every corner.

During my winter wildlife tour we visit a few different areas of Japan but before that tour officially begins we had the chance to spend a few days in and around the greater Tokyo area doing street shooting and visiting some of the most photogenic tourist hotspots. This post features some of my favorite images from around Tokyo.

The 24-105mm F4 DG OS Art is my standard short travel lens, the focal length range and compact size makes the perfect compliment to my 120-300mm F2.8 DG Sports and 150-600mm DG OS Sports lenses, giving me coverage from 24-600mm. I never leave home without it!

© 2016 Robert OToole | All Sigma 24-105 art lens and Nikon D810.

© 2016 Robert OToole | All Sigma 24-105 art lens and Nikon D810.

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05.11.2016
 © 2016 Roman Kurywczak | Sigma 150-600mm f/5-6.3 Contemporary handheld on boat at ISO 800 f/7.1 for 1/3200 sec. @388mm


© 2016 Roman Kurywczak | Sigma 150-600mm f/5-6.3 Contemporary handheld on boat at ISO 800 f/7.1 for 1/3200 sec. @388mm

I run multiple bird photography workshops to Florida every year and this year I decided to use only one lens; the Sigma 150-600mm Contemporary.  Don’t worry, I had the Sigma 150-600mm Sport as backup but I wanted to show you all just how revolutionary I find the Contemporary to be.  Its light weight of 4.3 lbs. make this a great hand-holdable lens and the perfect choice for photographing birds in flight especially when combined with the fast frame per second shooting rate of my Canon 1DX.  I take off the removable collar of the lens reducing the weight another 4.5 ounces, which isn’t much, but every bit helps to achieve smooth tracking of the birds.

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05.05.2016

Fly-ins and air shows are exciting. And fun to photograph. But they can wear you out from walking around as you take photos of all the airplanes on the ground and in the air. And it’s not just the walking that wears you out. It’s walking around with every lens and camera you own because you think you might need each one for that certain shot.

The first wheel turning in my head when I pencil in an air show on my calendar is what am I going to take for equipment. How much is too much? My goal is that while my car trunk might be full of gear, I only want to take two camera bodies and two lenses with me as I walk around. I don’t want to carry around too much weight in gear. And I don’t want to change lenses in whatmight be a windy and dusty environment that allows dust to contaminate my camera sensors.

While pretty standard to take a 24-70mm F2.8 and a 70-200mm F2.8 lens, I prefer to shoot more at the extremes if I’m feeling creative. I want to be different from every other photographer at the event. So as I started to think about equipment I would take to a small fly-in at Brodhead, Wisconsin, I decided on the Sigma 24-35mm F2 DG and the Sigma 150-600mm F5-6.3 DG OS Sport lenses. And since there was the chance to shoot an air to air mission with another aircraft, I also brought along the Sigma 70-200 f2.8. The 70-200mm focal range is pretty much the gold standard for an air to air lens.

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05.02.2016

Wow! We’ve just topped 100,000 fans on Facebook! Thanks to everyone who’s followed along as Sigma has grown over the past few years!

We’ve got great things in store for 2016 and beyond, so be sure to Like us on FB, Tweet with us, and Instagram along, too!

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04.25.2016

In Part one of the Boudoir Video Workshop,  Sigma Pro James Schmelzer shows how to use different lighting techniques for three different environments. He shoots with the Sigma 120-300mm F2.8 DG OS HSM | Sports and Sigma 85mm F1.4 DG HSM to isolate the subject and blur the background.

Also check out James’ video on basic etiquette on how to work with models!

 

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04.21.2016

Welcome to Sigma Pro Jen Rozenbaum’s new video series- Shamelessly Feminine: A Modern Take on Iconic Women. Throughout this video series, Jen chooses six iconic women throughout history to explore what shamelessly feminine is all about. Stay tuned to find out who these six women are!

 

JenR

04.19.2016

Great portraits are not just made with a great camera or a great lens.  There are several elements that need to be considered when creating portraits.  Here are some of the most vital elements to consider.

Photo © Ryan Brown

Photo © Ryan Brown

Lens Choice Lens choice is one of the most important elements to a great portrait.  The reason is simple; distortion.  If you are using a full frame digital SLR camera, the normal lens is 50mm.  This means that if you bring to your eye and take it away, objects are about the same size through the viewfinder or without.  If you are using an APS-C sensor camera, the normal lens is around 30mm.  This also is the division between wide angle and telephoto focal lengths.  If we use wide-angle lenses for portraits, it will distort the features of your subject.  If we are trying to flatter our subject this isn’t the way to do it.  With a full frame camera the 85-105mm focal lengths are considered some of the best for lack of distortion and usable working distance.  If you use longer focal lengths, the subject will be more compressed against the background (not a bad thing) but the subject will be further away creating a problem for communication between the photographer and model.

Photo © Ryan Brown

Photo © Ryan Brown

Photo © Ryan Brown

Photo © Ryan Brown

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04.05.2016

24mm F1.4 Art lens Reversed for High Magnification Macro Photography

© 2016 Robert OToole

© 2016 Robert OToole

High Magnification Macro Photography reaches into a fascinating world of details that are normally hidden to the naked eye. The simplest and most cost effective way to get reach high magnification is to reverse mount a wide angle lens. When used in reverse the 24mm F1.4 DG HSM | Art lens gives me sharp detailed images at 5X or five times life-size. Check out some of my favorite images below.

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