The Blog: See what
Sigma is saying.

09.15.2015

In the fourth episode of the Boudoir Photography Sessions, Sigma Pro Jen Rozenbaum provides great advice on what negative space is and how to utilize it with the Sigma 35mm F1.4 DG HSM |Art lens.

© Jen Rozenbaum | Sigma 35mm F1.4 DG HSM | Art

© Jen Rozenbaum | Sigma 35mm F1.4 DG HSM | Art

Check out more images below the jump!

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09.12.2015

Editor’s Note: I have known Matt Mitchell for nearly four decades now. After seeing another video John Isberg of Swede Films did for the band, which includes Matt and wife, Elizabeth Majerus, along with Matt Cohn, we struck up a Facebook conversation about the Black Magic Cameras and Sigma Art lenses, which resulted in the video below, filmed with the Sigma 18-35mm F1.8 DC HSM | Art lens and the 50mm F1.4 DG HSM | Art paired with a Black Magic Cinema Camera. We talked recently with John about his experiences working with these two lens for music video production paired with the BMCC. ~ Jack Howard/Sigma Corporation of America

John, so you work with Black Magic Cine cameras and a variety of lenses. How did the Sigma18-35mm and 50mm Art lenses measure up to other gear you’ve used before?

When I got started, the main lens I used was a 50 1.8 from Nikkor.  Just an old lens but I loved how the 50 looked.  The 50 is definitely my favorite lens for getting great bokeh and one of the things about the Sigma 50mm art lens I loved so much was the separation that I got, how sharp the image was and how closely I was able to focus on little details.  I felt it was a giant step up in terms of definition and sharpness.  I felt like it made the Blackmagic come alive in a way that my other lenses didn’t before.  Definitely with the Blackmagic Cinema Camera, there is a crop factor to take into account but I usually just move my camera until I get what I’m looking for.

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Video Frame by John Isberg

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09.09.2015

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INTRODUCTION: SIGMA 18-300mm Contemporary

The Sigma 18-300mm 3.5-6.3 DC HSM OS Macro │ Contemporary lens is by far and away the very best multi-purpose optic that I have ever used. I added “by far and away” to emphasize how exceptional this lens really is, namely because I have photographed with some not-so-impressive multi-purposes glass in the past. The Sigma 18-300mm, however, is just the opposite: it’s extraordinarily impressive.

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08.31.2015

Adrian DeGroot of Chevy Chase, Maryland, is our #SigmaSuperFan for September. Originally from the Netherlands, Adri is a big fan of Sigma cameras, and the total feel and image quality of Sigma’s Foveon Sensors. We spent a few minutes talking with the newest member of the SuperFan Winner’s Circle!

Adrian DeGroot, of Chevy Chase, Maryland, is the Sigma SuperFan winner for September!

Adrian DeGroot, of Chevy Chase, Maryland, is the Sigma SuperFan winner for September!

Tell us about yourself

I was born in the Netherlands in an art and music loving home environment, which inspired both my artistic vision as well as my musical development (I became a professional musician). The country itself is like a museum, and this further inspired me to take photographs. Currently, I live in the United States, very close to the beautiful city of Washington DC.

All photos © Adrian DeGroot.

All photos © Adrian DeGroot.

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08.29.2015
All images © Al Satterwhite

All images © Al Satterwhite

If you are in the Los Angeles area this month, be sure to check out Al Satterwhite’s aRound New York exhibition at the Leica Gallery/Los Angeles for his unique circular perspective on the Big Apple made through the Sigma 8mm Fisheye lens!

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08.28.2015

Sigma Art lenses are renowned for razor-sharp detail on the focal plane, even at widest apertures. It seems simple, enough, doesn’t it? If you are buying a very fast aperture lens, you will want to take advantage of the extra light-gathering power, not just for the through-the viewfinder experience, but also for the on-the-sensor feel of an F1.4, F1.8 or F2 aperture, whether in dim lighting situations to keep ISOs low, or simply for the aesthetic that a very shallow focal plane offers and how the foreground and background are rendered.

A raindrop hangs from a leaf as seen through the Sigma 50mm F1.4 DG HSM | Art lens wide open at F1.4. 1/200 F1.4 ISO 400 on a Canon EOS 6D. The focal point is sharp and crisp, while the depth of field is ridiculously shallow.

A raindrop hangs from a leaf as seen through the Sigma 50mm F1.4 DG HSM | Art lens wide open at F1.4. 1/200 F1.4 ISO 400 on a Canon EOS 6D. The focal point is sharp and crisp, while the depth of field is ridiculously shallow.

The laws of optical physics do insist that every lens will be a bit sharper overall when the aperture is stopped down slightly, and the same holds true for Sigma Art lenses. This is most noticeable on test targets, which, honestly, are one of the most boring photo subjects ever. In real world situations, Sigma Art lenses are growing more legendary each day for the total imaging performance this gear delivers, whether wide open,  or stopped down a touch.

Razor thin focus on a hibiscus flower, which is mirrored in color by the red umbrellas blurred in the background. Sigma 24-35mm F2 DG HSM | Art wide open at F2 at 35mm on the 6D. 1/1000 at F2.0 ISO 100

Razor thin focus on a hibiscus flower, which is mirrored in color by the red umbrellas blurred in the background. Sigma 24-35mm F2 DG HSM | Art wide open at F2 at 35mm on the 6D. 1/1000 at F2.0 ISO 100

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08.21.2015
© 2015 Steve Chesler |

© 2015 Steve Chesler |

I was about 13 years old when I saw the USAF Thunderbirds air demonstration team for the first time. I knew at that moment that I wanted to be a fighter pilot, but alas, it was not meant to be. My eye sight wasn’t 20/20, which back in the 80’s meant that I was ineligible. Nevertheless, my passion for flight never dwindled and I make it a point to see every air show that I can. At this years Rochester International Air Show, I had the opportunity to photograph the Navy’s Blue Angels with Sigma’s 150-600mm Sport lens. Could this lens possibly be the best lens ever to photograph an air show?

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08.19.2015
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© 2015 James Schmelzer | SIGMA 70-200mm @ 168mm | ISO 100 | Aperture: F8 | Shutter speed: 1/3200sec

Shooting on location in the middle of the day can make controlling the sunlight very difficult. I have chosen my canon 5D mk iii.  So if I want to shoot with flash off camera to control the bright sun I’m limited to a x sync of 1/200 of a second. This is going to make my aperture F16 and that is too much depth of field for my preference. I don’t like to use ND filters to open up my aperture because they make it difficult to see through the camera. I could use high-speed sync but this technique is flawed by the fact that the flash is at its lowest power as it pulses across the chip. Also, it would never give me enough power to overpower the sun in the middle of the day, so I only use this technique on cloudy days.

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08.12.2015

Timing

Getting the best experience out of a wildlife photo tour in Alaska means choosing the optimal month to visit to get the best balance of daylight, temperature, and weather. Learn what animals, mammals, and plants / flowers to look out for on your tour. Learn what to do and what not to do around wildlife. Get advice from from an expert guide or tour leader, ask locals or join an experienced photo tour leader. My favorite month for photographing brown bear is July to late August, for bald eagles, March is my favorite time of the year.

Bring the Perfect Lens

When I first starting traveling to Alaska 10 years ago to photograph wildlife the best equipment at that time was a 600mm lens on a tripod and 300mm prime as a secondary lens. The problem with a system like that was the limited flexibility when it came to framing as there were times where you would too tight or too loose when the action broke out. With modern zoom lenses that problem is long gone, now you can just relax and wait for the action with the confidence that you will be able to frame and capture the action perfectly whatever happens, even if the subject heads straight at you. Once you use a modern lens like the 150-600 sports lens, the image quality and high coverage zoom ratio will make it very hard to justify going back to a long prime lens.
This is my current lens arsenal that I will taking to Alaska in July and August this year.

 

Lenses

This four lens set-up has me perfect coverage from 12mm up to 600mm (up to 900mm equivalent with a crop sensor) with professional image quality. The 120-300 F2.8 DG OS HSM | Sports lens with and without the 1.4X or 2X has me covered in low light situations.

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08.03.2015
©2015 Roman Kurywczak | Canon 1Dx body with the Sigma 12-24mm F4.5-5.6 DG HSM II at 12mm, f/16 for 0.5 sec. at ISO 50 all mounted on Induro CT304 tripod and BHL3 head.

©2015 Roman Kurywczak | Canon 1Dx body with the Sigma 12-24mm F4.5-5.6 DG HSM II at 12mm, f/16 for 0.5 sec. at ISO 50 all mounted on Induro CT304 tripod and BHL3 head.

Many people often ask me how I travel to my Roamin’ with Roman Photo Tours workshop locations with my camera gear? I’ll try to answer that with the gear I brought with me to Iceland on my just concluded workshop. Iceland is fast becoming my favorite landscape destination mostly because I can travel light!  This year, I traveled there with just four Sigma lenses; the 12-24mm F4.5-5.6 DG HSM II, my new 24mm F1.4 DG HSM Art, the 24-105mm F4 DG OS HSM Art, and the 150-600mm F5-6.3 DG OS HSM Contemporary.  These four lenses would allow me to capture everything from the grand waterfalls to the puffin and Icelandic horses with everything else in between.  The image up top of Selandjafoss and the colorful boat below are good examples of the ultra wide-angle view the Sigma 12-24mm F4.5-5.6 DG HSM II making it my favorite lens when I want to capture that extreme view.  I do not run perspective control (although I easily could) on the lens, as I really like the extreme look.

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