When I shoot fashion editorials for magazines, I am shooting a series of images to tell a story. In 6-10 images I must engage the viewer and pull their eye through the story. I can use lighting, posing, styling to help unite each image into a single series. If the images are too different than they do not hold together as on unified story. On the other hand, if all the images are the same focal length and scene, they can also become stagnant and leave your story falling flat.
For this reason I enjoy varying my focal lengths to provide visual variety. For each look I tend to get a full length shot or shot that incorporates the environment. Then I move in for a tight shot where the viewer can better study the subject’s face, clothing or detail in the scene. When in a striking location I treat the scene much like story-telling in the movies. I begin with wide angle to introduce the environment. Move in to a mid-length focal length to introduce my subject, and then grab a telephone to capture a detail. This process of slowly introducing more detail and information is very common in cinematography.
Over the past 8 months I’ve really embraced two lenses over and over again to help me achieve my fashion editorial goals, whether in the studio or on location. My one-two punch is the Sigma 24-105mm f4.0 and the Sigma 70-200mm f2.8. Between these two lenses I find that I am able to have the versatility and quality needed for these series of images that appear in fashion magazines around the world. Let’s take a look at why this has become such a powerful combination for me and then review this pairing in action.
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Image copyright Roman Kurywczak Canon 1D Mark 3 body with the Sigma 12-24mm f/4.5-5.6 at 12mm for 30 seconds at f/5 and ISO 6400 mounted on Induro CT 304 tripod with BHL3 head. Painted with flashlight for approximately 15 seconds.
Roman Kurywczak, Sigma Pro and Brett Wells, Sigma Tech Rep
Roman: As a Sigma Pro team member I had the privilege of being invited to give lectures and workshops at the 2014 Festival of Cranes out at the Bosque del Apache National Wildlife Refuge. I have visited the refuge many times before, and, while I was excited about being able to photograph the birds again, I was most excited about my two nighttime lectures and workshops at the Very Large Array (VLA). These giant radio telescopes would make a great foreground subject for a star filled sky. Nobody has been allowed on the property at night since 2009, so I was very excited about taking a group out to the location. Sigma Photo would sponsor the event, and I agreed with the organizers of the festival to take out 40 participants each night. With a group that size, I knew I wouldn’t get much of a chance to take pictures myself, but it would be a great learning opportunity for the class. The image at top is one of the few I was able to take during a break in the instruction.
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Sigma 150-600mm f5-6.3 Sport lens on Nikon D600 body | Focal length: 600mm | Aperture: f/8 | Shutter speed: 1/2000 sec. | ISO 800 hand held. © 2014 | Roman Kurywczak
I was fortunate enough to get a chance to test out the new Sigma 150-600mm f5-6.3 Sport lens at the Festival of Cranes out in New Mexico. The images above and below are some of the first I captured with it early one morning at the Bosque del Apache NWR. What is unusual about the images is that I normally use a Canon 1D Mark 3 body, but as fate would have it, the Canon mount Sigma 150-600mm f5-6.3 Sport lens got lost on its way to the festival. What to do? Sigma tech rep and photographer Brett Wells came to my rescue and offered me his Nikon version of the Sigma 150-600mm f5-6.3 Sport lens along with his Nikon D600 body. So while it was a bit uncomfortable for me working with a camera body that I wasn’t familiar with, I had no problem putting the lens through its paces. After all, Sigma makes most of their lenses in Canon, Nikon, Sony, Pentax, and Sigma mounts. As I returned to the festival tent I had a surprise awaiting me as the case with the Canon mount Sigma 150-600mm Sport had just came in and was at our booth. I could now use that lens for the next few days in combination with my Canon 1D Mark 3 body.
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Labs love water, right? Throw a stick into a pond, and your retriever will dart into the water likety split. But giving her a bath may be an entirely different story. So for your puppy’s first cleaning, make sure to have your camera in-hand.
For Rowan, her first time in the tub wasn’t too bad. Of course, pouring the initial containers of water on her head elicited a natural drawing away, a great subject for a close-up shot.
This one-eyed grimace captures the whole first bath narrative: a bit scared, looking to her owner for reassurance, but also calm due to her innate love of water. Notice that by placing the subjects head to the right of center it helps emphasize the stream of water and Rowan’s mild attempt to avoid it. Nikon D800E. Sigma 24-105mm F4 DG (OS)* HSM | Art Lens at 75mm. f/16, 1/250 sec., ISO 800. Processed in Adobe Camera Raw and Photoshop CS5. Photo © 2014 David FitzSimmons. All rights reserved.
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2014 was a very busy year for Sigma! We announced a host of new lenses and cameras, offered the Sigma dp2 Quattro Test Shoot, and participated in trade shows, and dealer events across the country. Photographers all around the world have been talking about our new lenses in the Art, Sports, and Contemporary lines, as well as the completely redesigned dp series cameras.
As we are approaching this holiday season and end of the year, here are is a small collection of our favorite quotes from reviews, prestigious product awards and recognitions. We’ll be updating this list throughout December as more publications and sites announce their year-end honors!
Award Winning Products: 2014
- Popular Photography 2014 Outstanding Product
- Hot One Award from Professional Photographer: Standard Prime
- American Photo: 2014 Editor’s Choice
- EISA: DSLR Lens of 2014-2015
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There’s a chill in the air and the ground is covered with crisp Autumn leaves. It must be football season. Having played with the Sigma 120-300 F2.8 Sport lens all summer shooting baseball and lacrosse, it was time to hit the gridiron with it, along with Sigma’s 2.0X Teleconverter EX APO DG. Putting the converter on this beast of a lens doubled it’s focal length from 120-300 to 240-600 while decreasing the widest aperture to 5.6. When used with my Nikon D300 crop sensor, the effective focal length became 360-900 while maintaining its aperture at 5.6. I was easily able to shoot half way across the field as if they were right in front of me.
© 2014 Steve Chesler | The Sigma 120-300 2.8 Sports lens and the Sigma 2.0X Teleconverter EX APO DG with it’s effective focal length of 360-900mm on my crop sensor D300 allowed me to capture action more than half way across the field.
Using a 2X does come with it’s concerns but there are ways to overcome them. The first and most serious concern is that adding a 2X to a lens can have a significant impact on the image quality. What good is a closer image if it’s a poor image? Fortunately, the Sigma 120-300 f2.8 Sport lens is exceptionally sharp to begin with and the Sigma 2.0X Teleconverter EX APO DG is also very well built, minimizing the loss of quality. Even shooting mostly at 5.6, the image quality was not an issue with this duo. Several photographers I spoke with prefer the results of the 1.4X converter stopped down a few stops for increased image quality and then cropping the image in post production.
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by Peyton Hale
This year I was fortunate to come on board as an instructor for The Giving Lens (TGL), an organization founded by renowned international photographer Colby Brown. The idea behind The Giving Lens is to blend together travel, photo education, and the ability to give back to the communities we visit through the contribution of our time, cameras, and financial support to nongovernmental organizations in the countries we visit.
© 2014 Peyton Hale | Lens: Sigma 24-105mm F4 DG OS HSM | Focal length: 80mm | Aperture: F5.6 | Shutter speed: 1/125 sec
I’ve had the added benefit of watching The Giving Lens blossom from an idea to now seeing how that idea has matured into the organization it is now, delivering a positive impact its making through worldwide trips. From the beginning I have had an interest in being able to bridge photography and travel with making a lasting positive impact to the places we visit. Coming from a conservation oriented field of study, I’ve seen the power of images make a difference in species and land protection. Transitioning into a humanitarian focused organization was a new endeavor, but the same ideas are at the root of the cause – raise awareness and establish a sustainable, positive influence in the places our trips are focusing our efforts. The trips also have the reverse influence, making a lasting impact on both participants and leaders working with NGO’s around the globe.
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It’s a funny thing nowadays…the world is telling us that nobody reads print magazines anymore; and yet the ultimate expression of success for any photographer’s work is the inclusion in the print edition of the leading magazine in their niche. Websites, blogs, and social media in the outdoor and adventure sports category are often filled with mediocre, uninspired stock photography because it is cheap, there’s a deadline, and it is “just today’s quick online refresh”.
We made this image last winter during a huge snow cycle at Breckenridge, CO. It was one of the only days I was not shooting on assignment and just out having fun with some buddies. It was snowing very hard which can wreak havoc on a cameras autofocus so getting this shot tack sharp was a testament to the abilities of this camera lens combo.Canon 1DX with Sigma 70-200 f2.8 lens. 1/1600 sec at f7.1 ISO 800
Many print titles, on the other hand, are staying true to the roots and publishing nothing but the best work. And I would argue that the bar has risen to an impossibly high standard in the last few years. What was a cover shot six years ago might not even be considered for a thumbnail today! Flip through the pages of today’s best outdoor sport publications like Powder, Surfers Journal, Climbing, Bike, The Drake and your mouth drops in awe. Powerful images thoughtfully crafted by insanely talented photographers explode from the pages and burn into your retinas.
So how do they do it? What is the magic formula? How do I get myself published in outdoor magazines?
Well let’s start off with the one thing that nearly all of these shooters have in common: They live and breathe the sports they shoot. What does that mean? Well, it means that they are active participants in the sports they cover and nearly every aspect of their lives is set up to capture the most elusive of moments in skiing, biking, climbing, surfing or whatever they shoot. While anyone regardless of fitness or athletic skill can cover MLB, NFL, track and field sports, from the sidelines; in general only a big wall climber/photographer will be shooting big wall climbing and only a backcountry skier/photographer will be covering backcountry skiing day in and day out.
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Rowan’s first visit to a dog park was great fun, both for our pup as well as her owners. While a number of big dogs trotted all around the fenced-in park, Rowan found a more quiet spot of grass where she quickly engaged in wrestling Bear, another Lab pup better matched in size. They nipped, chased, rolled, pounced, paused, and then went at it again, seemingly with limitless energy and enthusiasm.
Rowan, twelve weeks-old, plays with Bear, a black Lab puppy she met at Wheeler Dog Park, Columbus, Ohio. Photographing your pet with another dog with contrasting colors helps to define both subjects and emphasizes the back and forth of their play. Nikon D800E. Sigma 70-300mm F4-5.6 APO DG Macro at 170mm. 1/1000 sec., f/8, ISO 800. Wheeler Dog Park, Columbus, Ohio USA. Photo © 2014 David FitzSimmons. All rights reserved.
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Whether you are shooting boudoir photography in a big city, or a small town, you must know how to make the most of shooting in small spaces. Whether it’s a studio, hotel room, or a clients home, being creative in a small space can sometimes be a challenge.
I would know. I started shooting boudoir 6 years ago out of the bedroom in my home. I moved about three years later to a studio in NYC (Long Island City to be exact) . The studio is 10’ wide by 20’ long. I used the space in many ways. Yes, of course I use it to shoot in. I’m also storing my equipment such as lighting, fabrics and reflectors there as well. Between the storage and the makeup/hair area I would say about 1/3 of the studio is off limits to shooting.
How’s that for small? 200 square feet knocked down to about 130-150 square feet left to shoot in. In addition to being small, my studio is also boring. 4 white walls and window is pretty much all I am working with. I do have a bed in the studio. Even that is simple with a small backboard and a frame on wheels for easy movement.
I have been shooting there for three years now. Yes, it gets boring at time and redundant – so I have to be creative in order to get some new looks and please my clients.
Here are 5 ways to get creative in a small, boring space.
© 2014 Jennifer Rozenbaum
I have fabric stapled to one corner of my studio. I can use it in many different ways. I use it as something for my clients to play with, I can shoot through it, you can even use it as a background! I use a neutral color. Don’t be afraid of trying something different though. Red, black, blue – any of those will give your studio an entirely different look.
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