Photography for me is more than creating a pretty picture. It’s about telling a story and transporting the viewer to another time and place. The idea that anything is possible if you can dream it is a re-occurring inspiration in my work. If I can create and capture a fantastical scene in our own reality without compositing in Photoshop, I feel that I have succeeded in preserving a little wonder and hope in our world, even if that scene existed for just a brief moment.
Almost everything we do in life is a choice. How we express ourselves, how we see objects, how we create art, all of these elements, although may be intuitive to our nature, are also choices we make.
In regards to photography, we may choose a certain kind of subject to photograph. Some of us prefer to photograph landscapes or children or weddings. Whatever the subject, it’s a choice we make, and in making those choices, we are creating a style and a look to our work.
There are several other style choices that I want to talk about in this article. They include lighting, lenses, angles, locations, props and camera settings.
For many natural light photographers, photographing in the “Sweet Light” is the highlight of what we do. This light happens around an hour before sunset and an hour around sunrise. It’s the most beautiful, sweet and natural light of all. Timing it can sometimes be difficult, but if you allow yourself to set up your subject and get ready for the sun to start it’s decline, you will be rewarded with the prettiest of all light. It only lasts for about 20 minutes and then turns into a different kind of light, twilight, which can also be beautiful to capture. In the following images, my beautiful subject Zoe is dancing in the sweet light in Ocean Beach, California. This session was timed to capture this gorgeous light as she moved to the music in her head. Photographing with Sigma’s 24-105mm F4.0 DG (OS) HSM | A lens, I was able to create these very sharp and beautiful images. I choose to photograph wide open, at f 4.0 and use a fast shutter speed, s 1/400 to keep my images sharp, as Zoe was consistently moving. My ISO was adjusted as the light changed.
Adding either of these Sigma 50mm F1.4s camera lenses to your kit is a great idea. Is the Sigma 50mm F1.4 DG HSM | A or 50mm F1.4 EC DG HSM right for you?
The new Sigma 50mm F1.4 DG HSM I A is the ideal lens for portrait photography in natural or low light situations.
Great gear ideas for the summer, from the team at Sigma. Ideas for cameras and lenses for wherever you’re heading this sunny season!
As a natural light photographer there comes a time when even the best of us struggle with finding the right light. As I have mentioned in earlier blogs, the direction of the light and the beauty of a location may not be cohesive, meaning in order to get good light on your subject, you must use a part of the location that’s not so pretty. Sound familiar? Learning how to make a location and the available light work for you, no matter where you are, is one of the greatest lessons you can learn as a photographer. Even now, as I travel for a living, I find myself in locations for the first time and need to be able to find the light almost immediately.
The Sigma 18-200mm F3.5-6.3 DC OS HSM | C is a fantastic everyday lens for photographers looking for a compact, high-ratio zoom lens for small DSLRs
There is one question that is asked of me most often when I am teaching photography. That question is “Which lens is your favorite”? That’s such a terribly difficult question for me to answer. Lenses are like children, I love them all and hate to play favorites.
All kidding aside, I carry 5 lenses with me everywhere I go. Sigma’s 35mm F1.4, 50mm F1.4, 85mm F1.4, 24-70mm F2.8 and the 70-200mm F2.8. Most of my boudoir shoots are done in studio. My studio is very small (about 10’x10’) so I most often shoot with my 50mm due to size constraints. What if I want to take my client out to the rooftop though? (I’m bringing out the 70-200mm for that!) or into the vestibule (only the 24-70mm will do there). I would be unprepared without the other lenses.