As a photographer, I’ve always tried to capture that special moment in time when I take a still image. But there are times I envy the videographer that can actually make that one moment come alive on the screen. Motion adds excitement and energy to the moment.
I was pondering this as I finished up an assignment at the local zoo. One of the llamas couldn’t take his eyes off me when I had my camera raised to photograph him. And I noticed, as he continued eating and watching me, that his mouth seemed to be the only part of body that moved. The light bulb went on and I set up my shot. I rolled a few seconds of video and prepared to make my first cinemagraph with my SIGMA fp camera, a feature that has been enabled with the release of fp firmware version 2.00. (read the full list of Ver. 2.00 updates and upgrades here.)
My first Cinemagraph with the SIGMA fp.
The process is intuitive and only takes a few minutes in the cine menus of the camera. The process is as simple as picking the starting and ending point of your short video, then picking the still and moving areas within the frame. With the camera’s touchscreen, you use your finger to mask out the areas where you want movement. A quick preview to make sure it’s to your liking and its ready to save and export. From there I can I simply transfer the files to my iPad Pro via the USB-C cable and then add to the Apple Photos app and share my creation on social media.
And the response for my llama cinemagraph was fantastic, especially compared to the still photo of the llama that was posted on social media for the zoo. Motion not only added excitement and energy… it added humor.
In-camera Cinemagraph at a railroad crossing.
My mind went to work on where I could take this creative concept next. The flashing warning lights at a train crossing was my next cinemagraph, and it was easy and fun to do.
I had been using my Sigma 45mm DG DN Contemporary lens for the train crossing lights, but then realized how much fun it was to shoot regular traffic lights with a very compressed look using my 60-600 DG OS HSM Sports lens.
The creative possibilities are endless with the wide variety of lenses available for the Sigma fp camera. For me, cinemagraphs are a lot of fun to create… and for my friends, a lot of fun, and maybe just a bit magical, to watch.
See How to Make Cinemagraphs with the Sigma fp in-camera in this How-To video!
Taking a photo you’ve been chasing can be the result of months’ worth of planning and preparation. In order to capture that perfect image, we try to have as many elements planned for as possible. Still, with all the planning in the world, there will inevitably be elements that don’t line up or work out how we hope. In most cases, that leaves us scrambling to make the best out of the situation we’re in. A bit more infrequently, the elements shift not only in a way that we weren’t expecting, but also in our favor. When it comes to shooting the night sky, there are a couple things that could mean. If we’re far enough North, we might get a slightly unexpected showing of the Northern lights. Although that’s still something that can be forecasted. So, what about the completely unpredicted? Of the six times I’ve shot bioluminescence, half of the were completely be surprise. The other half were nights shortly after those surprises.
Shot on SIGMA 14mm F1.8 DG HSM | Art, Sony A7RII.Similar to my approach from San Diego, I used a higher vantage here to help locate where the waves were glowing. After spotting them near the giant rock formation below, I decided that I really liked the composition and enough glow in the waves could make for a great shot.
Each night started out with a plan to shoot the stars along the coast and shifted entirely once I saw the waves glowing blue. When it comes to forecasting or predicting bioluminescence or red tide, your only notification is generally a news article after it’s been spotted somewhere. In addition to being unable to predict when and when it might be seen, there’s also no way to determine how long it will be around. In my personal experience, I’ve seen it last as long as 3 weeks and be as brief as 3 days.
Whether you’re heading out because you’ve heard about it being seen or just want to be ready in case you encounter it unexpectedly, these tips will help make sure you come home with a potential once in a lifetime image.
Shot on SIGMA 14mm F1.8 DG HSM | Art, Sony A7RII.I had been returning to this location for nearly 2 years with hopes of capturing the Milky Way. I had no idea that when everything finally worked I would also be shooting bioluminescence. It felt like the perfect reward for countless attempts and pulling this image off.
Pick the Right Lens
Much like taking photos of the night sky, you’ll want to let as much light in as possible during your exposure. The fast aperture of the ART series lenses make them the perfect choice. My go to lens for capturing those incredible blue waves has been the SIGMA 14mm F1.8 DG HSM |Art lens. Since the exact location of the waves can vary, I like being able to capture a wider field of view.
Shot on SIGMA 14mm F1.8 DG HSM | Art, Sony A7RII.I could never dream of capturing this image. The forecast originally called for clouds, but I decided to drive 2 more hours to chance it. After taking my initial images further down the beach, I noticed the bioluminescence. I took a few photos and decided to try and capture one with both my boxer, Kona, and I standing in it. It turned to be one of my favorite images.
Bring a Tripod
Capturing a great photo of bioluminescence will require you to take a long exposure. That means all your photos will be taken from a tripod.
Shot on SIGMA 24-70 F2.8 DG HSM | Art, Sony A7RII.For the first time in neary 5 years, bioluminescence appeared off the coast of San Diego. I initially chose a higher vantage point along the bluffs to help locate where the waves looked best, but ended up shooting from this vantage for most of the night.
Let Your Camera Find the Light
If the area you’re in has a fair amount of light pollution or if your eyes aren’t fully adjusted to the dark, the blue waves can be easy to miss. On a good night, there’s no mistaking it, but it’s possible for only a light glow to appear to naked eye. Still, in this situation, your camera will pick up a much more impressive blue color during the long exposure. If you know that the bioluminescence has been active and you’re out searching for it, this is a great way to help you find it. Point your camera down the shore line and take a couple long exposures and review each closely. Since it won’t glow in every wave, taking a few exposures over the course of a couple minutes will ensure you don’t move on, too quickly.
Shot on SIGMA 24-70 F2.8 DG HSM | Art, Sony A7RII.Earlier in the night, this trail was packed with people heading back and forth, hoping to see the bioluminescence. It was mostly quiet until about 12:30AM when the glow was much more impressive. By this time, the beaches were mostly empty and capturing this photo became much easier.
Keep Your Shutter Release Close
Once you’ve found your composition and the waves seem to be in the right place it’s all about determining the right amount of patience. Sort of like shooting lightning, each wave might be in a slightly different spot. You might be tempted to take a photo and move your camera right away, but it can be beneficial to try and capture a few different waves. As you pay attention to which waves are glowing more vibrantly, you’ll get an idea of where and when you’ll get the best resulting image. By placing your camera in a continuous shoot mode and using a shutter release, you can be sure not to miss that perfect wave. While one exposure may not capture any bioluminescence at all, the next could glow blue from horizon to horizon.
Shot on SIGMA 24-70 F2.8 DG HSM | Art, Sony A7RII. Another night of chasing the blue waves in San Diego. The beach below was mostly absent of rocks or anything that could be used to anchor a foreground. I decided to place myself in the photo and shoot facing down the coastline to pick up as many glowing waves as possible.
Be Ready to Change
Late last summer, I was planning a visit to Big Sur to photography the Milky Way over a giant rock formation just off the coast. Everything had lined up perfectly for my shot when I noticed the waves glowing just a bit further down the beach. In my ideal world, the waves right in front of me would have lit up blue and the composition I had been shooting would’ve been taken to the next level. Unfortunately, that didn’t seem like it was happening. Because I wasn’t sure how long that night the bioluminescence would be visible, I decided to abandon the composition I had lined up and find something else. It wasn’t an easy call to make.
I drove nearly 9 hours to shoot exactly what my camera was pointed at. Looking for something to anchor my image and show off the waves glowing blue, I kept an eye on the waves to see where they were most active and made my way further down the beach. After finding a large rock closer to the beach, I decided to place myself and my dog Kona in the shot as well. After that we just had to wait for the perfect wave with the right amount of bioluminescence. It didn’t look anything like the image I had set out to take that night, but it turned out to be one of my favorite images I’ve ever taken and something I likely won’t ever be able to recreate. That image ended up being featured as the NASA Astronomy Picture of the Day.
Shot on SIGMA 14mm F1.8 DG HSM | Art, Sony A7RII.Initially, I was set up to just take a test shot when spotted the bioluminescence for the first time this night. Because of the nearby light pollution it was a bit more difficult to see with the naked eye. Instead of a blue, the waves glittered white to pale blue. On this occasion, the long exposure made the waves look much more impressive.
I was a bit perplexed when the assignment first came through. A mountain biking shoot in Bermuda? Based as I am in the Rockies, I didn’t even know there were “mountains” in Bermuda (there’s not, really.) There are plenty of trails and more importantly a community of riders that is wildly enthusiastic about mountain biking, trail riding, and off-pavement adventures. The thought of getting to photograph bikers in an area that had probably never been shot for publication was also very enticing.
The opening spread is a critical shot to get. Be sure to mind the gutter. Sigma 24-70 f2.8 A lens. 1/1250 sec. f/5.6 ISO 1000.
So the plan was solidified. My self and the writer, Brigid Mander, would fly to Bermuda and stay with one of the islands best know bikers and founding member of the advocacy group Fat Tire Massive, James Holloway. We would spend the next four days biking, shooting, and exploring all the island had to offer.
The building is long gone but the remaining staircase made for sporty riding. It was dark in the jungle but an off camera flash helped me keep the rider sharp. Sigma 24-70 f2.8 A lens. 1/100 sec. f/5 ISO 2500.
The goal of the shoot was to produce a story for one of my favorite bike magazines, Freehub. Shooting a feature travel story like this is one of my favorite ways to shoot. When my photography comes with direction and purpose, it’s far more enjoyable and productive than when I am just shooting on my own. I enjoy the pressure to produce strong images as it has me seeing and working creatively from sunrise to sunset.
Long days shooting from the saddle can be exhausting but when you are on assignment you have to deliver the goods. Bike shot: Sigma 24-70 f2.8 A lens. 1/1250 sec. f/5 ISO 2500. Two stop split ND filter.
Henrik Spranz is a Sigma Ambassador representing our partners, Sigma Austria. They have kindly shared this article and fantastic photos with us. Enjoy!
I’ve owned and am still owning the predecessor of the Sigma 120-300 f/2.8 DG OS HSM Sports and I’ve been very curious if this very good lens could be surpassed by its successor.
In short: absolutely!
Many tele lenses crossed my way as a photographer – many of them prime lenses like a 400/2.8, 300/2.8 or 500/4. Despite their benefits like speed and quality they’re having a drawback being inflexible and sometimes it just happens that an animal comes so close it is exceeding your image boundaries or undercutting the minimum focusing distance of the lens. The idea of using a tele zoom is therefore obvious. Most of the time tele lenses are seen as inferior to prime lenses when it comes to quality or speed – but the Sigma is different.
A rare and wild European ground squirrel has a poppy for breakfast. Canon 5d Mk iii, Sigma 120-300 f/2.8 DG OS HSM Sports, ISO-500, f/4, 1/2000, 300mm
Christmas has come and gone and hopefully the lens or camera of your dreams was waiting for you under the tree. And what did you ask Santa for? Maybe a fast-new wide-angle lens like the 14-24mm F2.8 DG HSM | Art. Or maybe you scored the brand new 70-200mm F2.8 DG HSM | Sports lens. If you already have these two amazing lenses maybe you rounded out your lens trifecta with a 24-70mm F2.8 DG OS HSM | Artlens? With these three lenses you can capture just about anything nature throws at you.
SIGMA 24-70mm F2.8 DG OS HSM | Art lens on Canon 7DMKII. 1/1600 sec. f/8 ISO 640.High speed action is tough to capture on its own. When you add tricky lighting and snow and ice things really get challenging. Doug Evans on Loveland Pass.
What is nature throwing at us right now? Snow! The mountains and hills in many parts of the country are covered in a deep blanket of soft snow. Many people in warmer climes are traveling to ski meccas around like Colorado, Utah,Vermont, New Hampshire and many other wintry destinations.
We have some fresh new photo gear and mountains covered in snow. The elements of a ski shoot are coming together nicely! Ski photography is a great way to get outside with family and friends and put your new gear to use in some fun real-world situations.
Where to Start — Camera Setting Tips
Ski photography can be very tricky with challenging lighting situations, fast moving subjects and of course the cold, wet elemental nature of winter. For beginner ski photographers these may seem daunting barriers to entry, but armed with a few bits of knowledge these factors are easily overcome.
First off let’s set up your camera. Shooting in full manual mode is very important. This way you will be adjusting everything to your taste and not letting the camera decide what will look best. Critical to ski photography is a high frame rate so be sure to set your camera to its highest frame rate. 7-10 fps should suffice but if you have a faster pro camera you can get up to 12 or 14 fps. Anything faster than that is pretty overkill.
On a sunny day keep ISO’s somewhere in the 200-400 range. This will enable you to keep your shutter speed very high. Speaking of shutter speeds: for sharp images I try to go no lower than 1/1000 of a sec and often I shoot much faster with shutter speeds between 1/1250 and 1/2000 sec. Be sure to shoot in RAW. There is a lot of intense contrast in ski photography and shooting in RAW will give you more flexibility and latitude in post processing for details in both highlights and shadows.
SIGMA 12-24mm F4 DG HSM | Art lens on Canon 7DMKII. 1/1000 sec f/7.1 ISO 1000Shooting in RAW gives you far more flexibility in post. This image had a very heavy blue cast but I was able to give it more natural color in Lightroom. Skier Greg Hope at the Blanket Glacier Chalet.
Keeping the Snow Bright
With the camera set up let’s get on snow and start shooting. One important piece is to mind your metering. Your meter wants to make everything 18% grey, so if you keep your meter right in the middle you will end up with dark muddy grey snow instead of bright beautiful snow. To overcome this, meter about one stop over. This will keep the bright highlights in the snow.
SIGMA 70-200mm F2.8 DG HSM | Sports lens on Canon 7DMKII. 1/1600 sec. f/8 ISO 200.Be sure to meter ½ to a full stop over what your light meter recommends. This will ensure you bright whites in your snow. Skier Sven Brunso at the Red Mountain Alpine Lodge.
Ski Shooting Techniques
For me there are two main ways to shoot ski photos. The first is the “lock-off” and the second is the “servo”.
When the location and background of the shot is the most important element then I will use a wide-angle lens like the 14-24mm F2.8 DG HSM | Art or 24-70mm F2.8 DG OS HSM | Art lens and lock it off. This means I compose my shot first, determine where I want my skier to be in the image and then pre-focus my camera using “one shot” mode. Now my shot is locked in and I will not move my camera. Next comes the communication with the athlete. Often times I use a snowball to show the skier exactly where I want them to make the turn. Other times it’s more like “I need you five feet left of the shadow in the middle of the slope” or something like that.
SIGMA 14-24mm F2.8 DG HSM | Art lens on Canon 7DMKIII. 1/1250 sec. f/8 ISO 200A classic “lockoff” shot. I kept the camera locked on the scene and then directed my athlete where the turn needed to be. Skier Sven Brunso at the Red Mountain Alpine Lodge.
I will shoot in “servo” or “follow” mode when the skier and the snow conditions are most important. I also do this when I want the skiers to ski a full line and link multiple turns in a row. Skiers like this as well as it means they don’t have to do a “one turn wonder” and actually get to ski.
SIGMA 70-200mm F2.8 EX DG OS HSM on Canon 7DMKII. 1/1250 sec. f/7.1 ISO 200.AI servo mode is much better here as you can catch the athlete in motion. Skier Gary Fondl on Mt Buffalo.
A Few Other Tips
Don’t open your camera bag when you go inside the lodge. You will fog up everything and will need an hour or so for your gear to warm up and dry off.
Keep your horizons level. Images with warped horizon lines look ridiculous.
SIGMA 12-24mm F4 DG HSM | Art lens on Canon 1DX. 1/1600 sec. f/16 ISO 800. Keeping level horizons is critical in wide angle shots like this. Skier Doug Evans at Breckenridge Ski Resort. Stopping down to F/16 gives edge-to-edge and near-to-far sharpness plus an amazing sunburst in this ultrawide composition.
Bring an extra battery. Most DSLR batteries can shoot through a day of ski photography, but it’s always best to have a backup. For most mirrorless cameras two or three batteries will be needed.
Be sure to have a lens cloth with you and use it often. Especially when shooting into the sun.
SIGMA 24-105mm F4 DG OS HSM | Art lens on Canon 7DMKII. 1/1250 sec. f/10 ISO 160.Don’t be afraid to shoot into the sun as it can yield great results. Skier Sven Brunso in Adelboden Switzerland.
Practice Makes Perfect
We have covered the basics of what it takes to get a good ski photo. Now it’s time to get out on the slopes and practice. Ski photography is not easy so the more you shoot the better you get. Once you have some of the basics mastered you may want to take it to the next level: the backcountry.
I would wager that most of the best ski and snowboard shots you have seen (excluding park shots) were taken in the backcountry. Leaving behind the crowded slopes of the ski area gives you a far great chance to shoot much better images.
SIGMA 12-24mm F4 DG HSM | Art on Canon 7DMKII. 1/1250 sec. f/9 ISO 800.Leaving the ski area gives you much more flexibility when shooting at the edges of light. This image was shot a 7:41 a.m. Much earlier than you can get at a ski resort. Skier Gary Fondl on Loveland Pass.
When you are in the backcountry, you can be shooting the edges of the day at sunrise and sunset. Also, you will have fresh snow to put your skiers in which is crucial for getting the best shots. But there are some serious considerations and special skills needed to shoot off-piste.
SIGMA 24-70mm F2.8 DG OS HSM | Art lens on Canon 7DMKII. 1/1600 sec. f/8 ISO 320.Guide Marty Schaffer examines the results of an avalanche we had just triggered. Luckily nobody was hurt.
SAFETY MESSAGE HERE:
Never venture into the backcountry without the proper gear (avalanche beacon, shovel, probe) and the knowledge of how to use them. Start with an Avalanche 101 course and then spend time with professional guides or experienced backcountry users to learn the skills needed to move and shoot efficiently and safely through dangerous terrain.
Know your skills, know your limits, both inbounds and in backcountry…
Whether shooting in-bounds on in the backcountry knowing your skill level, and more importantly the skill level of your athlete, is critically important. Be sure to keep it safe so nobody gets hurt. Sometimes inexperienced athletes can get “camera courage” and want to ski over their ability level. Be sure to temper overenthusiastic skiers and slowly work up to steeper more consequential lines. Safety first!
Having the proper gear is one thing…knowing how to use it is another. Get proper training before going into the backcountry.
Get Out in the Snow
Ski photography is challenging but also rewarding. Getting up early or staying out late watching the snow, light and weather change through the day can sometimes be reward enough.
1/1250 sec. f6.3 ISO 1600. SIGMA 24-105mm F4 DG OS HSM | Art lens on Canon 1DX.Small skier in a big mountain sunset. Sometimes the reward is simply in the experience itself. Getting to be in places like this is something special that not every shooter gets to do. Its moments like this that keep me motivated to be out climbing big peaks in cold temps. Skier Jason McGowin in the San Jouan mountains.
With the release of the brand new SIGMA 40mm F1.4 DG HSM | Art lens, we asked for first impressions of the lens from our SIGMA Ambassadors and fans. Come and see their images and read what they have to say about this awesome addition to the SIGMA Art line!
Meg Loeks
The SIGMA 40mm F1.4 DG HSM | Art is an incredible lens. One of my favorite things about it is its ability to rock low light. I shot with this lens in both natural and artificial low light and it was sharp and fast. Not to mention the dynamic range of this lens, especially in tough lighting situations, makes it a favorite for me. The lens is durable which is crucial as I tend to not be very gentle with my gear while out hiking with my boys. Most importantly, it lives up to the SIGMA Art name with its sharpness even when photographing fast moving children.
Before taking the SIGMA 40mm F1.4 DG HSM | Art lens with me under the stars, I wasn’t totally sure where or if it would fall in to my preferred list of lenses. The 35mm and 50mm Art lenses are two of my favorites, so it had a lot to live up to.
Once the 40mm arrived, I picked out a few spots in the Anza Borrego Desert and knew in the coming days we’d have a great opportunity to see and photograph Comet 46/P. I normally have a bit of a routine for testing a lens at night, but I knew after the first image I took of the stars this lens was something special.
A few days after my first night out and I was just excited to head back out with it as I was to photograph Comet 46/P. Saying this lens is bright and extremely sharp from edge to edge doesn’t do it justice. It’s easily one of the most impressive lenses I’ve used and the quite possibly the quickest to earn a spot in my bag.
My initial reaction was I have a 35mm Art, I have a 50mm Art, so why the heck do I need a 40? But I think the 40mm fits nicely in-between. 5mm may not seem like much, but it does make a difference for me when it comes to stage photography. I only shoot with one body, so I was able to ditch the 35 and 50 and just shoot the 40. Images are sharp, images are in focus, no complaints from me!
After field testing the new SIGMA 40mm 1.4 DG HSM | Art, I’m happy to say I’ve found my new favorite lens. As an ocean and lifestyle photographer based in Hawaii, my style of imagery depends on tough gear that can reliably shoot in a variety of lighting situations.
I’ve been a little long time fan of SIGMA’s prime lenses, specifically the focal lengths of 24mm, 50mm and 85mm. While each of these focal lengths provide their own unique images, Ive come to find they also have their drawbacks. While shooting people, the 24mm tended to be a bit too wide, distorting the subject. And the 50mm and 85mm tended to be a bit too tight, leaving out crucial visual information for the viewer.
As with many photographers, choosing the correct focal length for every situation can get difficult – and can even lead to missed moments. By simply bringing one lens on a shoot, I’ve had more time to enjoy the environment and focus on creating better compositions. For this reason, the 40mm 1.4 Art has become my go-to.
The Sigma Ambassadors are a collection of talented, up-and-coming photographers who utilize Sigma gear in their respective artistic pursuits. The Ambassadors operate in a variety of arenas of photography and film including astrophotography, portraiture, concert photography and more – a testament to just how comprehensive the ever-growing line-up of Sigma products is.
We sent Sigma Ambassador Jack Fusco one of the first samples of the 40mm F1.4 DG HSM | Art lens that arrived here in the US, and he quickly put it to great use, capturing this incredible shot of Comet 46P / Wirtanen, along with his girlfriend, Rachel, and their dog, Kona, in the Anse Borrego Desert State Park in Southern California.
We sat down with Timur Civan, Sigma Corporation of America’s first Cine Pro, to learn more about his career, what inspires him and what things he’s looking forward to working with Sigma.
Born and raised in New York City, Timur Civan has always seen the world through the eyes of an artist. He began pursuing his creative passion as a contemporary sculptor, incorporating video images into some of his works and exploring a variety of innovative art forms, including photography. Becoming a Director of Photography was therefore a natural progression.
After much experimentation with moving images during his brief professional art career, Civan came to the realization that painting an image with light to tell a story was the medium that best expressed his artistic vision. His techniques in cinematography are at the cutting edge of creative imaging, bolstered by his explorations with new and classic lenses, innovative lighting styles, and a deep dive into the latest technologies. Given his naturally inquisitive nature, fascination with science, and acute artistic sensibilities, he is drawn to technically complex commercial and experimental shooting assignments and is highly adept at in-camera special effects, high speed, tabletop, motion control, and macro work. Sigma: How long have you been working as a cinematographer?
Timur: 12 amazing years.
What inspired you to pursue a career in cinematography?
I was initially a working sculptor. Through some very fortunate and somewhat unusual circumstances, I wound up somehow the “DP” of a commercial project I had no business shooting. I had never been on a professional set before, and I got through the day because of the kindness of the gaffer and director, who thought it better, to just help the severely green kid get through the day, than to try to find a replacement. By the end of the day, I was asked back the next week for a different project. As I learned and trained under other DP’s, along the way, I developed an affinity for the challenging balance of creativity, practicality, problem solving and leadership. After a year or two, I stopped making art, and pursued cinematography full time. Continue reading A Conversation with Timur Civan, the First Sigma Cine Pro
The announcement by Sigma that the Art series of prime lenses would be offered in Sony E mount definitely put a smile on the face of this user of Sony cameras. While I tend to use camera bodies from several manufacturers, I have been finding several aspects of the Sony system are better fitting the needs of my current clients. And while my Sigma lenses perform great using the Sigma MC-11 Adapter, offering lenses in Sony E mount, to me, means recognition as well as commitment by Sigma for the growing number of Sony shooters. To put an even bigger smile on my face, I had the privilege to use four of the E mount Art primes this summer.
While zoom lenses tend to get the most use in my newspaper and aviation work, a prime lens just seems to scream “creativity” to me. A prime lens slows me down a bit so I can feel the photograph I see coming together in front of me. It feels more deliberate. To many, a prime lens might relate to extreme sharpness, shallow depth of field when shot wide open and beautiful bokeh- but to me it also means I don’t just stand in one spot and zoom, but have to physically move in or out to align the image in my imagination with the reality in front of me.
I found that especially true when asked to take some outdoor portraits of my friend Anneliese. With the new E mount Sigma 85mm f1.4 Art lens on a Sony A9 camera, I set out to photograph her with the concept of shallow depth of field so the concentration went to her sharply focused eyes. To do that, I used not only continuous AF, but also eye-AF on the camera. I like that continuous AF is always compensating for little movements by the subject. And eye-AF is a Sony setting that allows the camera to lock in on Anneliese’s eye and stay in focus despite the movements of her head or my movements to reframe the composition. One of the advantages of the new Sigma E mount primes is they officially support continuous Auto-focus as well as quicker eye-AF. I like shoot in silent mode and with the new lenses, there is no searching noise.
Sigma 85mm f/1.4 DG HSM Art Lens- ISO 500; f1.4 at 1/2000 second.
Putting these attributes to work on a real newspaper assignment, I took the 85mm Art lens on a Sony A9 to photograph a local music festival. I chose the 85mm again because I prefer staying tight on the action or subject. I was amazed at the fast continuous auto focus under extreme lighting conditions. And the sharpness blew me away. Continue reading Sigma Art lenses for Sony E-Mount: Hands-On Report
