Sometimes a camera wants to see differently. That happens to me I get inspired to go wide… really wide. I’m […]
With the lights this close to the bottle the focal length of the lens is critical to the success of the image. Normal or slightly wide lenses place the camera so close to the subject that controlling the reflection of the camera and studio stand in the bottle becomes an issue. For this set up I used the 150mm f/2.8 APO EX DG OS HSM macro lens made by Sigma. This focal length is perfect. The camera is well back from the set allowing room for working around the set both for adjusting the lighting and for adding to the scene. This lens is incredibly sharp and lens elements are multi-coated- it helps reduce flare from the lights and their reflections in the bottle.
Ok. I admit to being somewhat of a snob when it comes to the speed of the lenses I use. The list of my f/2.8’s includes the 120-300mm, 70-200mm, 24-70mm, 150mm Macro & 105mm Macro and a 15mm fisheye. For f/1.4 the list is all primes with the 85mm, the 50mm and the new 35mm Art lens. All of these speed demons are from Sigma of course.
So along comes the latest member of their new Global Vision lenses; the 24-105mm at what I thought was a not-so-speedy f/4.0…
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.