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07.20.2015

First Look: dp0 Quattro

The fourth addition to the dp Quattro lineup, the dp0 Quattro, is the widest dp camera using a 14mm F4 lens. The dp0’s most unique feature is its wide F4 lens, which is a first for the Quattro series with the dp1 (19mm), dp2 (30mm), dp3 (50mm), all utilizing a 2.8 aperture. This camera was made for sweeping landscapes, cityscapes, architecture and anything that benefits from a wide perspective. Since the Foveon sensor is an APS-C, this camera equates to a roughly 21mm equivalence on a 35mm camera.

© 2015 Patrick Santucci | Aperture: f8 | iso 100 | Shutter speed: 1/125sec

© 2015 Patrick Santucci | Aperture: f8 | iso 100 | Shutter speed: 1/125sec

Out of the box, the lens is larger than all of the other cameras in the series, roughly about the size of the Sigma 60mm 2.8 DN. But, overall the camera system is actually pretty light and I have no issue adding any of these cameras into my camera bag when doing city walks or hikes. They really do not take up much room and they offer a unique addition to a camera kit. I find that when doing large prints, these cameras are the way to go.

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07.14.2015
Canon 1D Mark 3 with the Sigma 150-600mm f/5-6.3 DG OS HSM Sport at 250mm @f/9 for 1/3200 sec. and ISO 800 hand held on moving boat

Canon 1D Mark 3 with the Sigma 150-600mm f/5-6.3 DG OS HSM Sport at 250mm @f/9 for 1/3200 sec. and ISO 800 hand held on moving boat

In part 1 of my throwdown blog, I compared the Sigma 150-600mm f/5-6.3 DG OS HSM C lens versus the Canon 100-400 f/4.5L IS ll USM lens.  The results were a bit shocking to some,  but not to me.  After all, I have owned the Sigmonster aka; Sigma 300-800mm F5.6 EX DG APO HSM, for over 8 years and just love everything about the lens.  It has unmatched versatility, amazing sharpness, and lethal performance when I am out photographing wildlife, so I expected nothing less from one of the new global visions lineup lenses.

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07.10.2015

The Sigma 24-35mm F2 DG HSM | Art is the world’s first full-frame zoom lens with a constant F2 maximum aperture, and its 1.45x zoom range manages to bridge three of the most popular wide angle fixed focal lengths for lenses: 24mm, 28mm and 35mm. The zoom range is subtle, but the compositional effects are noticeable as the smooth zoom ring shifts the field of view from 24mm through to 35mm.

An earring hangs on a display rod at an artisan's market. 1/800 F2 ISO 100 at 35mm on a Canon EOS 6D.

An earring hangs on a display rod at an artisan’s market. 1/800 F2 ISO 100 at 35mm on a Canon EOS 6D. All images here are converted from CR2 RAW to highest quality JPEG in Adobe Camera RAW 9, with light tonal adjustments. No lens correction applied to any photo, because this lens is too new to be in the Adobe Lens Profile database.

It is an Art lens—it is designed first and foremost with an eye and intention on total image quality. The build, heft, and hand feel is completely in line with the others in the Art stable. At 33.2 ounces with a 3.4 inch diameter barrel that’s 4.8 inches long without lens hood, it is slightly larger than the 18-35 F1.8 DC HSM | Art lens, due to the larger, full-frame imaging circle.

A reverse-angle variation of the above, again at 35mm. Same tech specs as above.

A reverse-angle variation of the above, again at 35mm. Same tech specs as above.

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07.07.2015
© 2015 Roman Kurywczak | Canon 1Dx with the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary at 600mm @f/6.3 for 1/2500 sec. and ISO 1250 hand held.

© 2015 Roman Kurywczak | Canon 1Dx with the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary at 600mm @f/6.3 for 1/2500 sec. and ISO 1250 hand held.

People often approach me at lectures and tradeshows asking me about the performance and sharpness of Sigma lenses.  I have used the Sigma 300-800mm for over 8 years and have always loved the sharpness, versatility, and performance it has provided me but I also realize that many people can’t afford or don’t want to carry those big lenses.  With the arrival of the two versions of the Sigma 150-600mm f/5-6.3 DG OS HSM Sport and Contemporary lenses photographers now have two very affordable long telephoto lenses with eye opening performance to match.  But how would they stack up to similar Canon and Nikon telephoto lenses?  Well, there was only one way for me to find out!  I went online to borrowlenses.com and rented a Canon 100-400 f/4.5L IS ll USM lens along with the Canon EF 200-400mm f/4L IS USM Lens with Internal 1.4x Extender as well as Canon’s newest version lll 1.4x teleconverter for a week and a throwdown was born.

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07.02.2015

In the second episode, Sigma Pro Jen Rozenbaum provides great advice on how to pose in small spaces with the 50mm F1.4 DG HSM |Art lens.

Check out her sample images from the photo shoot after the jump!

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06.30.2015

July’s Sigma SuperFan is actually a couple! Alex and Lila Trejo of Northern Virginia, outside of DC, work together as photographers in their studio; as well as being husband and wife! We were struck by their shared passion for photography, and their love for Sigma lenses. Here’s the details from our great chat with our July #SigmaSuperFan!

Alex and Lila Trejo are our SigmaSuperFans for July!

Alex and Lila Trejo are our SigmaSuperFans for July!

Alex and Lila Trejo are a husband and wife team who support each other’s art photography and shoot weddings as Studio Trejo. After working together in a gallery and studio space in Philadelphia, they now live and work in the Washington DC area, in Northern Virginia.

Lila is a native of Washington, DC, whose dad used one of the bathrooms in their home as a darkroom while she was still a baby. “I don’t remember particularly formal training as a kid, but my dad would let me take pictures and teach me where to brace my arms and when to breath in and out so as to be as still a possible clicking the shutter. Seems not as critical these days with super fast lenses and digital equipment, I still do it without even thinking about it.”

Photo © Lila Trejo with the Sigma 85mm F1.4 EX DG HSM. 1/100 F/10 ISO 800.

Photo © Lila Trejo with the Sigma 85mm F1.4 EX DG HSM. 1/100 F/10 ISO 800.

Whenever she wasn’t at her office job (though often her design and photography skills came into use there somehow), Lila photographed candid moments of friends and family—informal portraits capturing a subject’s inner personality. After growing up in Northern Virginia, she moved to New York City where she discovered an interest in and studied jewelry design, selling her work in local boutiques. After ten years, she moved to Philadelphia, where she met Alex.

Photo of Cleveland, OH © Alex Trejo, made with the Sigma 10-20 F4-5.6 lens. 1/320 F11 ISO 200.

Photo of Cleveland, OH © Alex Trejo, made with the Sigma 10-20 F4-5.6 lens. 1/320 F11 ISO 200.

Alex was born in raised in Philadelphia. He studied architecture and worked in that field for about a decade before he realized that his hobby of photography was actually more of a passion. This realization conveniently coincided with a major slowdown in building and found the freedom to forge a new career path. He took a photography class at Philadelphia’s University of the Arts and looked for every opportunity to create a body of work and show it.  After exhibiting in local coffee shops, events and galleries, an opportunity came up to take over a gallery in the city. Having one’s own gallery to present and sell work, constantly seeing the response from strangers walking in, and even supporting and exhibiting other artists’, was an invaluable experience. Currently, Alex works with a local firm, DS Creative, photographing homes and portraits for Real Estate professionals in Northern Virginia, as well as other freelance architectural work with DC area architects and engineers.

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06.30.2015

Editor’s Note: A few years back, we first came to notice the outstanding work Liam Doran was creating with the Sigma 10-20mm F3.5 EX DC HSM on Facebook. We invited him to be a Fan Photo of the Week contributor for one of these shots, which then turned into series of guest blog postings. This year, Liam has officially joined the elite Sigma Pro team. His work with this constant-aperture ultrawide zoom lens shows a mastery of the wide-angle format for capturing the spirit and energy of a subject and situation.

1/800 sec. f8.0 ISO 400 at 10mm on Canon 7D with off camera flash.  From top to bottom and foreground to background there is a lot for the eye to see in this image.  That is the beauty of a wide angle like the 10-20 f3.5 EX DC HSM to put an athlete in an environment.

1/800 sec. f8.0 ISO 400 at 10mm on Canon 7D with off camera flash. From top to bottom and foreground to background there is a lot for the eye to see in this image. That is the beauty of a wide angle like the 10-20 f3.5 EX DC HSM to put an athlete in an environment.

 

For many photographers their first camera is typically a crop sensor camera.  This is because they are generally less expensive, and more compact than their full frame counterparts.  Additionally most of these entry level or even mid level cameras come paired with a kit lens like an 18-55, 28-135 or even 24-105.  And while this is a great place to start your lens collection you will soon notice that you are missing the “big picture”. And what I mean by this of course is  the wide angle view for taking it all in.  Enter the Sigma 10-20 f3.5.  On a crop sensor camera like the Canon 7DMKII or Nikon D7200 the Sigma 10-20 f3.5 will convert to either a 16mm-33mm or 15mm-30mm, respectively.  And unlike a fisheye lens, the 10-20 f3.5 is rectilinear meaning that it won’t distort straight lines while taking in very wide fields of view which is great for landscape, event and editorial photographers! Here’s a sampling of outdoor and adventure images made with this outstanding ultrawide!

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06.29.2015

Sigma Pro Judy Host offers great tips for photographing children, from Maternity through teen years in this new video series.

This episode covers children 2-5 years old and how to bring out their personalities.

Watch the series

Introduction

Episode 1: Maternity Sessions

Episode 2: Babies and Toddlers

Episode 3: Toddlers

06.26.2015

Last year, Sigma announced a pair of zoom lenses for full-frame cameras, the 150-600mm F5-6.3 DG OS HSM | Sports and 150-600mm F5-6.3 DG OS HSM | Contemporary.  With identical focal lengths and apertures, and advanced feature sets including the Sigma-exclusive lens customization, these two new champion zoom lenses share a significant amount of DNA. So, what is the difference between the Sports and Contemporary version of the Sigma 150-600mm zoom lenses?

The Sigma 150-600mm F5-6.3 DG OS HSM | Contemporary lens has a removable tripod collar. When the collar is removed, there is a rubberized ring that slides into place to cover the mounting bolts for a better hand-held experience. Sigma is rethinking lenses. From the innovative zoom lock at all marked focal distances, to lens customization for AF speed, custom focus limiter and more, the 150-600mm F5-6.3 DG OS HSM | Contemporary is a fantastic hyper-tele zoom lens designed with an eye on portability and performance.

The Sigma 150-600mm F5-6.3 DG OS HSM | Contemporary lens has a removable tripod collar. When the collar is removed, there is a rubberized ring that slides into place to cover the mounting bolts for a better hand-held experience. Sigma is rethinking lenses. From the innovative zoom lock at all marked focal distances, to lens customization for AF speed, custom focus limiter and more, the 150-600mm F5-6.3 DG OS HSM | Contemporary is a fantastic hyper-tele zoom lens designed with an eye on portability and performance.

The short answer can be summarized as such: three pounds, weather-sealing, and around nine hundred bucks. Yes, the Sports version is built like a tank. It is heavier with an aluminum alloy barrel, and it has a much more weatherized build, and it has an optical configuration with 24 elements in 16 groups and a larger front element (105mm thread diameter). And the higher price reflects these changes.

The 150-600mm F5-6.3 DG OS HSM | Sports hyper-telephoto zoom lens is built on an aluminum alloy barrel, and is designed for performance in the most demanding conditions.

The 150-600mm F5-6.3 DG OS HSM | Sports hyper-telephoto zoom lens is built on an aluminum alloy frame, and is designed for performance in the most demanding conditions.

The Contemporary version has a different optical configuration (20 elements in 16 groups) and accepts 95mm front filters. Between the smaller diameter lens groupings and the barrel being composed of thermally stable composite, it is noticeably lighter at just over four pounds. True, it lacks the squall-braving sealing of the Sports version, but it does offer a water and oil resistant front element and gasketing at the camera mount; and is fully compatible with a variety of aftermarket rain sleeves for tougher conditions.

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06.23.2015

Absolutely!

©2015 Roman Kurywczak | Lens: Sigma 120-300 f/2.8 DG OS HSM Sport with the new Sigma TC-2001 2x teleconverter | Camera: Canon 1D Mark 3 body |Focal length: 600mm | Aperture: f/7.1 | Shutter speed: 1/2500 sec. | ISO 800 with Center Weighted Average Metering

©2015 Roman Kurywczak | Lens: Sigma 120-300 f/2.8 DG OS HSM Sport with the new Sigma TC-2001 2x teleconverter | Camera: Canon 1D Mark 3 body |Focal length: 600mm | Aperture: f/7.1 | Shutter speed: 1/2500 sec. | ISO 800 with Center Weighted Average Metering

In part 1 of the relevance of teleconverters, I discussed the using the new Sigma TC-1401 1.4x teleconverter out in Bosque Del Apache NWR with the new Sigma 150-600mm f/5-6.3 DG OS HSM | Sports.  In this post, I will cover using the new Sigma TC-2001 2x Teleconverter. All images were photographed hand held.

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