This week’s Fan Photo of the Week was captured by Roman Kruglov in Manhattan’s Central Park with a Sigma 30mm F2.8 DN | A lens on his Sony NEX camera.
This photo is a stitched panorama made up of seven images, captured with the Sigma 30mm F2.8 DN | A lens by Roman Kruglov.
He tells us:
The image consist of 7 images merged together in Photoshop, they were all taken with Sigma 30mm Art Series for Sony Nex on the NEX-6. ISO 100, F11, 1/125sec. The original image size is 8458 x 3979 so it can be printed pretty large. The idea behind was to capture great colors of central park with classic NYC building in the background, I wanted to have a wide image but at the same time I wanted the building to not appear so small as well as I wanted the ability to print large if needed. The inspiration for the photo came from visiting smugmug offices during my California vacation and seeing some great panorama’s on their walls.
I started with photography in the early age, with my grandfather’s guidance who thought me how to measure the light and what aperture is, and so on. I had my own dark room and developed my own film and pictures. As teenager and through my 20s I had different interests, I always played around with photography but got serious and decided to return about 2 years ago when I started actually sharing my work online.
See more of Roman Kruglov’s photography on his website, Facebook page, Google Plus, Flickr, and 500px!
Late every summer, nature photographers flock to the Pacific Northwest with the hope of capturing the majestic beauty of Mount Rainier and its gorgeous subalpine meadows. After much obsessive planning and conversations with photographers around Washington State, I was able to make my first trip to the region this year. My biggest concern was whether I would arrive on time to catch the peak wildflower bloom. The area experienced a warm spring and summer, and thus the wildflowers emerged earlier than expected. But, as luck would have it, that shouldn’t have been my primary worry.
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The Sigma 24-105mm F4 DG OS HSM | Art lens was one of the hottest lenses at the recent PhotoPlus Expo in New York. This was the first time in North America that the Sigma team, the technical press, and Sigma fans from around were able to get their hands on samples of this just-announced full-frame constant aperture wide-to-tele zoom lens. The newest in the Art line of Global Vision lenses, this lens is going to be an incredibly dependable workhorse lens for tons of location and event photographers.
This full-frame wide-to-tele constant aperture zoom has an $899 street price.
As an art lens, the initial feel and impression in the hands is very similar to the 35mm F1.4 and the 18-35mm F1.8. The build is rock-solid, AF/MF switches are easy enough to flip positions with a flick of the thumb, and it has a pleasing heft to it, thanks in part to that big 82mm front element and the internal lens elements designed for excellent performance all the way from wide to short tele. The barrel does extend as the focal length increases, but it does not rotate. In other words, this lens features internal focus, but not internal zooming and covers an angle of view range of 84.1º-23.3º on a full-frame DSLR.
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Tim Drivas made this Fisheye cityscape with the Canon 5D MKII, with a Sigma EX DG 15mm f/2.8 fisheye lens.
1/250, f/4 ISO 200, 15mm
This week’s Fan Photo of the Week was made by Tim Drivas with the Sigma 15mm F2.8 EX DG HSM Fisheye lens on a Canon 5D Mark II.
He tells us:
A very good friend of mine had a project to complete for his Documentary class. He asked if he could follow me around with a video camera. Getting footage of me doing what I normally do, when I go out grabbing photos. So we agreed to meet in the city and give it a go. So after roaming around Manhattan for a couple hours, him lugging heavy gear and me carrying a measly camera. I seen an opportunity for a photo, so I ran out into the middle of Madison Avenue and East 60th Street and grabbed this shot. I had a few seconds to frame cause the light had just turned red. So with one eye in the view finder and the other on the traffic signals, I got my shot. Afterwards we continued to roam the streets of the upper west side looking for more.
Check out more of Tim’s work on Flickr, on Facebook and on his website.
Learning how and when to use different settings and options for image capture is one of the most important parts of becoming a stronger photographer. There’s no setting or camera function that’s going to be perfect for all situations, while is exactly why there are so many options. For example, every DSLR offers a couple variations on Autofocus for either a Single-shot or Continuously tracking autofocus.
Each has it strengths and purposes, and even with that, there’s still times when switching the lens to manual focus is the best way to ensure that your chosen subject and focal point is sharp in the image. In this piece, we’re going to look at three photos of seagulls to briefly explore and explain the reasons why to choose one type of AF or manual focus over the others.
This laughing gull was perched on a telephone pole for several minutes. I set my camera to Single-shot AF so that once it locked onto the bird, I could fire off a few frames. I choose single-shot for stationary and effectively stationary subjects, such as this.
In a nutshell, here’s how single-shot autofocus works: You aim your lens at the subject and press the shutter button to engage autofocus. Once the AF algorithms determine that there is something in focus at the selected AF points, autofocus stops, and the lens stays at the focal distance until either the shutter is fired or the autofocus is reengaged by letting go of the shutter button to restart AF. This mode of Autofocus is best suited for stationary subjects, such as a family sitting on a bench for a posed portrait, a child napping in a crib, a posed shot of a child in their team uniform, a non-sentient subject such as a statue, or as shown here, a laughing gull sitting atop a telephone pole at water’s edge.
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© 2013 Roman Kurywczak | Lens: Sigma 300-800mm | Aperture: f/8 | Focal length: 536mm | Shutter speed: 1/1000 sec. | ISO 800
I have been blessed to be able to travel to some spectacular places and people always ask me what my favorite place is. I can answer without hesitation that it is a safari to Tanzania to witness the great migration. It is often difficult to capture the chaos of a crossing but the Sigma 300-800 f/5.6 zoom allows me to capture all the action. The images above and below are good examples of this versatility. This spectacle is unrivaled in nature and is something that you should have on your bucket list!
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A year ago I purchased a 24 megapixel Sony NEX-7 to use as a backup camera during a trip to Belgium, Germany and France. I carried Sigma’s 19mm and 30mm f/2.8 prime lenses. The quality of the photographs amazed me every evening when I downloaded the day’s take. Those results made me carry my “big boy” Canon 5D Mark 2 less than I’d originally planned. The professional quality coupled with it’s touristy—amateur look, I was never questioned in museums, cathedrals, gardens or when I was doing street shooting.
A musician playing along the Rue au Beurre in Brussels caught my eye. A single Euro dropped into his guitar case bought permission to make this portrait. The setting, especially with the gentleman on the left looking back toward the music not to mention the sculpted angel seemingly looking down in enjoyment as well. © 2013 Kevin Ames | Lens: 19mm F2.8 DN | Focal Length: 19mm | Shutter speed: 1/1250 sec | Aperture: f4 | ISO: 400
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One way to create eye-catching imagery is to break the rules. When you shatter these rules, you stop people in their tracks! One of the first rules of portrait and fashion photography I learned was to NOT use a wide angle lens when photographing people. I was told this would distort their features and be unflattering to the model. But what if you use the wide angle on purpose to distort and exaggerate a scene? Then it creates visual interest and impact. Now your images stand out and become memorable.
Shooting wide angle when photographing people is one of my favorite rules to break. For this reason, I frequently shoot my Sigma 24-70mm 2.8 lens to create drama in a scene and will pull out the Sigma 12-24mm F4.5-5.6 lens for something more extreme. For me, wide angle lenses allow me to achieve three main goals and visual effects; exaggerate or capture an environment, exaggerate my subject, or set the mood of the scene. Here we will explore some distinct examples of how I’ve put this into practice.
Wide Angle Lenses to Exaggerate or capture an environment:
When I approach a scene with interesting graphic or structural elements, I frequently reach for a wide angle lens. By shooting at a wide angle I can emphasize a graphic scene and also warp lines and structures for dramatic effect.
Let’s take a look at an example where utilizing a wide angle lens allowed me to really capture the essence of a scene.
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Fall is my favorite time of year to take photographs, and I always push myself to get out and make the most of the brief window of brilliant color. I have spent the last week chasing fall foliage in the Pocono Mountains of Pennsylvania. This year, after taking the obvious shots of deep oranges and reds, I used my Sigma 15mm F2.8 Diagonal Fisheye lens to capture the forest from a different perspective.
I find that the most compelling fisheye images include a strong foreground element that is positioned less than 12 inches from the front of the lens. For fall foliage, I decided to find colorful leaves to use as foreground elements to frame the forest in the background.
© 2013 Gabby Salazar | I took this image in the late afternoon, positioning myself underneath the leaves so that they would be backlit by the sun. I included the sun in the frame and like how the fisheye created a small sunburst. The rich blues in the sky were achieved without the use of a polarizing filter.
Sigma 15mm f2.8 Fisheye, 1/1250 sec at f/7.1, ISO 250.
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Many times in my career I’ve had to work in locations I’ve never seen before. During that time I’ve had maybe 20 minutes to figure out where I’m going to set up my session. Whether I’m teaching a workshop/seminar or even with my new clients, it certainly gets my adrenaline working. This article is about the steps I take to make this successful.
First and foremost, the placement of my subjects has to do with the light as always. I’m driven by the quality of light available to me as well as the direction and location of where the light is coming from. Sometimes I will actually test out the light before photographing if possible so that I can see for myself what it looks like on the subject. I’m always looking for the light that will be the most pleasing for my client.
©Judy Host 2013 | Lens: 24-70mm F 2.8 IF EX DG HSM | Aperture: F/3.2 | Shutter speed: 1/640sec | ISO 160 | Focal length 39.0mm | Available light Processed in PhotoShop CC
The next step, once I’m happy with the light, is the location. They both are extremely important when setting up the scene and I place equal value to them when designing and telling my story. There is a lot of planning when setting up a session and not always a lot of time. It’s also important to understand that all of these elements help to create the story you’re trying to tell. How the light illuminates the location and the subject is all a part of my story.
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