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Posts Tagged ‘Sigma’

Video: Shooting the Milky Way hand-held with the Sigma 14mm F1.8 Art

05 Dec

More than once, we’ve called the Sigma 14mm F1.8 DG HSM | Art lens an astrophotographer’s dream lens. From the moment it was announced, we were dying to get our hands on it; and once we did, it did not disappoint. But what’s the big deal? Why pay $ 1,600 for this lens when the very capable Samyang/Rokinon 14mm F2.4 will cost you half as much and resolve nearly as much detail (if not more)?

Light… that’s why. A point explained beautifully by photographer Alyn Wallace, who recently took the 14mm F1.8 Art out for a spin in the night. After managing to take a hand-held photograph of the Milky Way—an insane and somewhat-pointless but also kind-of-fun experiment to see what F1.8 can really do—he pops the lens onto a tripod for some proper astrophotography and is immediately blown away.

“This lens is a light vacuum,” he says. “It’s like I’ve stuck a black hole on the front of my camera.”

DPReview’s Dale Baskin felt similarly after shooting the Aurora with the Sigma 14mm F1.8 Art, writing in his Gear of The Year post, “Once I tried the Sigma 14mm F1.8 it was game over. I knew I had found the one.”

Of course, the lens isn’t perfect, and Wallace gets into that as well, looking closely at the corners and revealing where pushing this lens to F1.8 is going to cost you. To see his results and drool a bit over a piece of glass that may make its way onto your very own “treat yourself” list this holiday season, check out the full video up top.

Articles: Digital Photography Review (dpreview.com)

 
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Astrophotography lens shootout: Samyang 14mm F2.4 vs Sigma 14mm F1.8

02 Dec

If you’re thinking of picking up a great ultra-wide astrophotography lens, chances are good you’ve looked at the three 14mm primes featured in this video. The old Samyang 14mm F2.8 is a classic and affordable choice; the updated Samyang 14mm F2.4 is faster, higher quality, and not prohibitively expensive; and the Sigma 14mm F1.8 Art is a lens astrophotographers have been drooling over ever since it was announced in February.

So which do you pick, and why?

NatureTTL’s Matthew Saville took all three lenses into the middle of the desert to shoot some nightscapes and compare the performance of these extremely popular choices.

You’ll definitely want to check out the full video if you’re deeply uncertain about which to choose—there are some great side-by-side sharpness comparisons that should satisfy the pixel peepers out there—but Saville manages to break the trio down into a very neat categories:

The Sigma 14mm F1.8 Art is your choice if you absolutely need the extra light over the F2.4 and don’t mind spending a bunch more money to get it. It’s extremely sharp, and will deliver exceptional results… even wide open… even in the corners.

The Samyang 14mm F2.4 is hard to beat as an overall choice when you look at performance-to-price ratio. To his eye, it’s a tiny bit sharper in the corners wide open than the Sigma—even when you stop the Sigma down to F2.4—and it’ll cost you half as much. You are, of course, sacrificing AutoFocus over the Sigma, but many nightscape and night sky photographers shoot in manual focus all the time anyway.

The Samyang 14mm F2.8 is by far the most affordable of the bunch. This classic lens will cost you as little as $ 250 on sale, making it less than half as much as the Samyang 14mm F2.4, which was already half the price of the Sigma 14mm. But that drop in price comes with a significant drop in performance. Saville labels it a great choice for those just getting into nightscape photography, as a time-lapse lens if you’ll be displaying your footage in 1080p, or as a solid backup that is so cheap it would be silly not to own one.

Check out the full video up top to hear all of Saville’s thoughts on these three popular 14mm primes. And if you want to find out more about why the Sigma 14mm F1.8 Art lens just might be worth spending that bundle of money on, click on the big blue button below to read about why DPReview’s Dale Baskin named it his Gear of the Year 2017.

Gear of the Year 2017 – Dale’s choice: Sigma 14mm F1.8 Art

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2017 – Dale’s choice: Sigma 14mm F1.8 Art

01 Dec
Sigma’s 14mm F1.8 Art lens makes it easier to get shots like this.
ISO 5000 | 2 seconds | F1.8 | 14mm

Over the past couple years I’ve developed a strong interest in wide-field astrophotography. Specifically, I’ve become passionate about photographing the aurora borealis, commonly known as the northern lights.

The aurora is Mother Nature’s own special effects show, and it’s one of those things that makes you stop to just appreciate the magic of the universe. No photo, IMAX screen, or VR headset will ever replicate the experience of standing under the sky when she flips on the light switch, but maybe that’s why I’m so drawn to aurora photography in the first place: it requires me to go to where I can experience the magic in person.

There are a lot of good lenses out there for this purpose, and I’ve used quite a few of them including the legendary Nikon 14-24mm F2.8, the Rokinon 14mm F2.8, the Venus Optics Laowa 15mm F2, various 16-35mm F2.8 variants, and even Sigma’s own 20mm F1.4 Art, but once I tried the Sigma 14mm F1.8 it was game over. I knew I had found the one.

ISO 1600 | 3.2 seconds | F1.8 | 14mm

One thing you learn quickly when shooting aurora is that you need fast, wide lenses. Fast because you’re shooting at night (duh). Wide because the aurora typically covers a large portion of the sky. It also makes it easier to include some landscape to provide a sense of place. This is where the Sigma 14mm F1.8 Art lens comes in.

What makes this lens so special is the fast F1.8 aperture. That’s 1.3 EV faster than an F2.8 lens. Put another way, wide open the Sigma 14mm has a 2.5x light gathering advantage over F2.8 lenses. That’s huge.

One challenge when photographing the aurora is that it can dance around surprisingly fast at times. Even at high ISO values an exposure may be on the order of several seconds, making it difficult to capture the intricate structure you often see in person. That’s part of the reason time-lapse sequences never look as good as the real thing.

ISO 3200 | 5 seconds | F12.8 | 14mm

Using the Sigma 14mm, however, I can cut my exposure time significantly. Where the Nikon 14-24mm F2.8 might require a 6 second exposure, the Sigma lets me get away with 2.5 seconds. Still not enough to freeze the action, but enough to reduce the degree to which patterns and structure in the aurora get averaged out.

Conversely, there are times when the aurora moves slowly and I’m not too concerned about shutter speed. In that case, I can lower my ISO significantly, say from 6400 to 2500, in order to get higher quality images.

But wait, there’s more! This lens even makes it easier to focus in the dark. I typically use live view to focus on a bright star. Sounds easy, but sometimes it’s not. The extra light at F1.8 makes this easier, making shooting more fun.

Blah, blah, blah… That all means squat if the photos don’t look good. Thankfully, this lens has great image quality.

ISO 6400 | 1.3 seconds | F1.8 | 14mm

Wide open there’s some comatic aberration, which causes point sources of light near the edge of the frame to look distorted, but unless your viewer is pixel-peeping they probably won’t see it. I suppose if I were an astro purist, and the stars were the main subject of my photos, I might get a bit persnickety about this, but I’m not, so I don’t.

There’s also noticeable vignetting wide open, but it’s a smooth transition to the edges, and I’ve generally been able to correct for it effectively in Lightroom. Again, astro purists will probably cringe at this, but for aurora photos it works great.

If there’s any significant downside to this lens, it’s that it’s both big and heavy. This is one place where Sigma’s ‘Make the best optic possible and size be damned’ design approach is visible. Put a couple of these in your pack and you’re going to feel it. (Then again, some of those other lenses I mentioned above are pretty big as well.)

I’m looking forward to doing a lot more aurora photography in the future, and I’ll be doing much of it with this lens. It’s going to take a lot to displace it from my camera, which is why it’s my 2017 gear of the year.

Sigma 14mm F1.8 Art sample galleries

Sample gallery

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Astrophotography sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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Sigma releases full-res sample photos captured with 16mm F1.4 DC DN lens

20 Nov

The new Sigma 16mm F1.4 DC DN | Contemporary lens made for APS-C E-Mount and M43 cameras has a lot of crop-sensor shooters very intrigued. Sigma says this lens boasts quality on par with its Art lens lineup, and our own hands-on at PPE 2017 was very positive. But before you order the lens—which ships at the end of this month and costs a very tempting $ 450—you’ll want to check out the gallery below.

Sigma Global has finally released official, full-resolution sample photos captured with the new lens. Despite the lens being made primarily for APS-C E-Mount, Sigma shooter Wataru Nakamura used a Sony A7RII to capture these samples in the camera’s 3:2 crop mode (17.8MP resolution).

Check them out for yourself below, or head over to the Sigma Global website to download the samples yourself:

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Articles: Digital Photography Review (dpreview.com)

 
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Top 10 sample galleries of the year #6: the Sigma 85mm F1.4 Art

19 Nov

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We’re counting down our top 10 most popular sample galleries of 2017. Our #6 gallery was looked through more than 1.3 million times. So what product attracted this number of eyeballs? Why, the Sigma 85mm F1.4 DH HSM Art lens of course.

Oh the portraits you will take! This lens is capable of outstanding image quality – read our full review and find out why we gave it a gold award. Not only that, it’s one of the most affordable 85mm F1.4 lens available. So peak through our gallery and see just what all the hype is about.


Top 10 most popular sample galleries of 2017:

#10: Sigma 14mm F1.8 Art
#9: Fujifilm GFX 50S
#8: Nikon D7500
#7: Olympus Tough TG-5
#6: Sigma 85mm F1.4
#5: To be revealed on 11/20
#4: To be revealed on 11/21
#3: To be revealed on 11/22
#2: To be revealed on 11/23
#1: To be revealed on 11/24

Articles: Digital Photography Review (dpreview.com)

 
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Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

29 Oct

I believe it was Robert Capa who said, “If your pictures aren’t good enough, you’re not close enough.” While this is not incorrect nor is it bad advice, the fact remains that there will be times when our feet simply can’t do the zooming for us. To facilitate getting up close and personal without actually being up close and personal, photographers rely on telephoto lenses to bridge the gap between themselves and their subject.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The Sigma 100-400mm F5-6.3 Contemporary Lens

With each lens I evaluate with every passing year, I am fortunate enough to bear witness to the staggering advances lens manufacturers are making in the world of photographic optics. Today, there are many instances where aftermarket “non-native” third-party camera lenses either meet or even surpass the performance of their more expensive cousins manufactured by their respective camera brand. We now have a high-grade glass without the high-grade price tags. This is especially true when it comes to long range telephotos and fast primes.

So, when the opportunity arose for me to get my hands on one of the newest budget-conscious telephotos, the Sigma 100-400mm F5-6.3 DG OS HSM Contemporary lens, I lept at the chance. I have a couple of friends who spoke quite favorably of this particular lens, so I had to see it for myself. Take a few minutes, sit back and relax, and let me tell you exactly why the Sigma 100-400mm might be a good choice for you if your bag is missing a good long-range zoom lens.

Build Quality

The main housing of the Sigma 100-400mm lens is made from a solid-feeling hard plastic. Being from the Sigma Contemporary line, it lacks the metallic-feeling TSC (thermally stable composite) construction of their Art series lenses. Even without this type of material, the lens feels incredibly solid in the hand and feels great. The zoom and focus rings are both rubberized and work smoothly.

The Sigma 100-400mm is exceptionally balanced. Overall, for a lens of this size, it feels surprisingly nimble when mounted on my Canon 7D.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Oddly enough, the balance seems to improve when the lens is extended out to its maximum focal length of 400mm. The lens hood included with this lens also offers a great hand-hold which facilitates easy “push/pull” zooming.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The lens sports a zoom-lock switch which is quite useful for carrying around a telephoto lens. This prevents gravity from slowly extending the lens while hiking or walking. The zoom-lock switch on the Sigma 100-400mm firmly locks the lens into place at its 100mm focal length.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Weather sealing

The folks at Sigma have beefed up the weather sealing of their lenses considerably. As primarily an outdoor and wilderness shooter, I am constantly at the mercy of the elements. The weather sealing of this lens is superb.

Something that I love to see is a visible rubber gasket on the lens bayonet mount. This type of extra assurance and protection against dirt and moisture making their way to my camera’s sensor makes me feel all warm and fuzzy inside even when the conditions outside are decidedly not.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

One thing to note on the overall design of the 100-400mm is that it certainly has a lot of external switches. While these switches are each quite actionable and serve a purpose, they also make it difficult to manipulate the various lens functions without looking. With high range zoom lenses such as this such problems aren’t uncommon.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Image Quality

Sharpness

The sharpness of the Sigma 100-400mm is wonderful for the price range of this lens. In fact, I was stunned to see just how crisp the images produced at the maximum apertures actually were. Both at 100mm and 400mm the sharpness was impressive.

 

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

400mm at f/9.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

100mm at f/6.3.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

400mm at f/6.3.

There was slight edge softening while at 100mm f/5 and at 400mm f/6.3. The incredible thing about the sharpness, which I feel speaks to the true quality of this lens, was only noticed while I was examining test images for this review at 3:1 magnification. Look closely at these two photos. The first was made at 100mm.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

100mm

The second is the same scene but zoomed to 400mm.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

At 400mm.

Look closely at the left side of the clock tower. Here, let me help you. Below is the same image magnified in post-processing to about 1:1.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The Same image viewed at 1:1 (100%) in Lightroom.

Yes, those are wasps or some other type of insects swarming around the clock tower! Considering the small size of the insects coupled with the distance, approximately 600 yards, the resolving power of this lens is exceptional.

Chromatic Aberration

Chromatic aberrations detected with the Sigma 100-400mm are barely worth mentioning. At 100mm using a relatively wide f/5 aperture, there is a minutely observable purple/magenta fringe in high contrast areas. Other than that, there is nothing remarkable to speak of with this lens.

Autofocus Performance

Fast and responsive is the best description I can give to the 100-400mm Sigma autofocus. The AF performed well and focused locked well while in AI Servo mode on my Canon. The autofocus was quite silent and worked great for not disturbing “temperamental” wildlife.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Can you spot the hiding deer?

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

There she is, A 400mm reach helps out immeasurably.

Optical Stabilization

The point of vibration reduction, sometimes referred to as optical stabilization, is where the Sigma 100-400mm didn’t exactly impress. Not that the OS didn’t work but the overall improvement was not as drastic as I have observed with some other lenses of this type.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

With no stabilization.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

With OS1 Mode turned on.

There are two OS modes present on the 100-400mm not including the “Off” mode. They are OS1 and OS2. The OS1 mode is general OS. This serves to reduce multi-directional camera shake and what I generally left the lens set to during my tests. OS2 is geared exclusively towards panning with the 100-400mm and works to reduce single plane vibration.

Customization

Sigma offers a USB dock so that firmware and custom modes can be uploaded directly to the lens via computer with the Sigma Optimization utility. That’s where the custom mode switch comes into play. You can customize Autofocus and Optical Stabilization functions within the lens. I have never used the functionality but if you want ultimate control over every aspect of your gear, this is a great option.

The Tripod Collar Conundrum

The common complaint I’ve gathered about the Sigma 100-400mm F5-6.3 is concerning the lens’s tripod collar; there isn’t one. This comes as somewhat of a surprise to some photographers, myself included. Although, it seems to be of more importance to some than others.

Personally, the lack of a tripod ring is not a huge problem for me. The featherlike balance of the lens negates the need for a tripod mount in my opinion. Still, if you plan on using the lens with a smaller, adapted camera body, the weight of the lens could be an issue. If you want a lens with a tripod ring or collar, this might not be the choice for you.

Final Thoughts on the Sigma 100-400mm F5-6.3

So, what’s the bottom line on the Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens?

First of all, the sharpness is outstanding. Even at its widest aperture, the sharpness is exceptional with very little edge softening.

The build quality is more than capable of serving as a “go-to” telephoto for sports and outdoor work and the beefy weather sealing only enhances the workability of this lens.

If you absolutely MUST have the capability of a tripod collar then look elsewhere because the Sigma 100-400mm lens simply doesn’t have one. If you don’t care about that, then for around $ 799 USD, this telephoto from Sigma won’t fail to impress.

The post Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens by Adam Welch appeared first on Digital Photography School.


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Sigma 16mm F1.4 DC DN ‘C’: hands-on and additional details

28 Oct

Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

Sigma has used the Photo Plus Expo show in New York as a launchpad for an all-new lens – the 16mm F1.4 DC DN | Contemporary is a fast, high-quality prime for cropped-sensor Sony E-mount and M43 cameras.

In person, the new lens is a relatively small, but beautifully well-made prime that fills a useful gap in focal lengths for both systems. On a Sony E-mount APS-C format camera, it is equivalent to 24mm, while on a Micro Four Thirds ILC it becomes an effective 32mm medium-wide.

Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

Sigma claims that despite being a ‘C’ (Contemporary) class lens, the new 16mm should have performance in line with the company’s premier ‘Art’ series. As far as build quality is concerned, that’s definitely true. Mechanically, this lens is gorgeous – something that is exemplified in the large, very smooth manual focusing ring.

Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

At 92.3mm (3.6 inches) long, the 16mm is relatively compact, but becomes a lot bigger with the included hood attached, beginning to dwarf the Sony a6300 shown in this image. But at 405g (14 oz) it’s relatively heavy for its size.

Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

Optical construction comprises 16 elements in 13 groups, including two aspherical, two SLD (super-low dispersion) and three FLD (“F” low dispersion) elements. That’s an impressive number of specialized elements and the just-published MTF graphs suggest that sharpness at optimal apertures will be impressive.

Nine rounded aperture blades should ensure pleasant bokeh at wide apertures.

Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

While Sigma typically doesn’t make any specific claims about weather-sealing, a thin rubber ring around the lens throat should help keep dust and moisture from entering the camera. As you can see from the engraved text in this shot, minimum focus is 0.25m (about 10 inches).

Hands-on with new Sigma 16mm F1.4 DC DN | Contemporary

No details on pricing and availability of the 16mm F1.4 have yet been released, but we’re looking forward to trying out a production sample as soon as they become available.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma expands product warranty to cover hurricane damage from Harvey, Irma and Maria

19 Oct

In a move that’s being praised by the photo community at large, Sigma has temporarily extended its product warranty to cover repairs for damage caused by the hurricanes Harvey, Irma and Maria. The only catch being that Sigma must receive your damaged product before December 31st of this year.

This information comes from a statement Sigma provided to Fstoppers, which is reporting that any products that can’t be repaired will be replaced at a special discounted price that is determined on a case-by-case basis. Repairs and return shipment of the products are provided for free, but customers must provide their sales receipt as proof-of-purchase.

Sigma says that customers who no longer have the receipt should contact the company.

You can read the full statement on Fstoppers.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma to reveal new lens at PDN PhotoPlus Expo 2017

05 Oct

Lens maker Sigma will showcase its full range of Sigma Global Vision lenses, Cine high-speed primes and zooms as well as the Foveon sensor-based sd Quattro and Quattro H cameras at the upcoming PDN PhotoPlus Expo 2017 Expo trade show in New York City later this month, but that’s not all they’re doing.

The company has also announced it will reveal one completely new lens at the show, teasing us with this little detail without revealing anything else about the upcoming glass.

Additionally, a number of photographers and other imaging professionals will take the stage at the Sigma booth and talk about how they use Sigma products in the areas of aviation, editorial, glamour, landscape, travel and wedding photography.

As if those weren’t enough reasons to pay a visit, PPE 2017 attendees who visit Sigma’s booth (#837) will also have a chance to enter and win a Sigma 24-70mm F2.8 Art lens. Something to think about if you happen to be in New York at the end of October…

Sigma Reveals its PDN PhotoPlus Expo 2017 Line Up and a Brand New Lens

The breakthrough year for Sigma Global Vision Art, Contemporary and Sport lenses on display; brand new lens addition to be unveiled; Sigma Pros light up stage with new presentations

Ronkonkoma, NY – October 4, 2017 Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, will showcase its full line up of Sigma Global Vision lenses, including a brand-new addition to the line, at the upcoming PDN PhotoPlus Expo 2017 Expo held at the Jacob Javits Convention Center in New York City from October 26-28, 2017 (booth 837).

The company will also have on hand its breakthrough optics for the cinema market – the Sigma Cine high-speed Primes and Zooms – as well as the Foveon sensor-based sd Quattro and Quattro H cameras.

“Sigma has had a landmark year with the introduction of seven new lenses across our Global Vision and Cine product lines,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “Our research and development team is dedicated to creating superior optics that meet the ever-growing requirements of today’s high resolution cameras, taking advantage of every possible design and element to capture the greatest picture detail for both still and moving images. We look forward to showcasing the culmination of what has been a remarkable year in optical advancements for Sigma at this year’s PPE event.”

Sigma 2017 introductions include the award-winning 14mm F1.4 DG HSM Art, 24-70mm F2.8 DG OS HSM Art, 135mm F1.8 DG HSM Art, 100-400mm F5-6.3 DG OS HSM Contemporary Sigma Global Vision lenses and the new Sigma Cine FF High Speed 14mm T2 and 135mm T2 prime lenses.

Sigma Special PPE Presentation – Sigma Pro Phenom Jen Rozenbaum
Sigma Pro Jen Rozenbaum will take the PPE stage on Wednesday, October 25, 11:00 AM – 12:30 PM to deliver a PPE Master Class on “How to make every woman look amazing.”Jen will share with attendees her vast experience in boudoir photography, providing top tips and secret tricks – from wardrobe to posing – that flatter all women. Jen’s presentation will help attendees understand how to best dress and pose any woman of any size and shape as well as gain confidence behind the camera whether they are shooting boudoir, wedding or seniors!

Master Photographers Take the Sigma Stage
Showcasing the very best in photography craft, the expanded Sigma Pro family will headline the Sigma stage and offer attendees a behind the lens look at the techniques and technology that captured some of the year’s most outstanding photographs in the areas of aviation, editorial, glamour, landscapes, travel and weddings.

This year’s prestigious Sigma Pro PPE stage line-up includes outdoor sports and adventure travel photographer Liam Doran, aviation photo expert Jim Koepnick, renowned bird and travel photographer Roman Kurywczak, fearless woman photographer Jen Rozenbaum, and glamour and wedding photographer Jim Schmelzer.

The exciting topics include (listed by Sigma Pro) and showcase lenses from Sigma Global Vision Art, Contemporary and Sport lines:

  • Liam Doran – Adventure Sports Photography: Get a behind the scenes look at the fast-paced world of editorial adventure sports photography with Liam Doran clients Powder, Bike, Ski, Mountain, Outside, Aka Skidor and many more. Showcasing Art and Sport lenses.
  • Liam Doran – Signature Images – A Visual Journey: From skiing in Switzerland to mountain biking in Colorado, Liam shares the backstory on how some of his favorite images were shot and which Sigma lenses helped him capture some of his best work. Showcasing Art and Sport lenses. Liam shoots extensively with the 12-24mm F4 DG HSM Art, 24-70mm F2.8 Art, 100-400mm F5-6.3 Contemporary and the 150-600mm F5-6.3 DG OS Contemporary and the 70-200mm F2.8 EX DG OS HSM lenses among others.
  • Jim Koepnick – Documentary Photography…A Single Lens Solution: While there is a mystique about street photography with an old rangefinder camera and one lens, the bottom line is the photo that is captured, and the story that photo tells the viewer. Jim shares what a pro can do with a Sigma 18-300mm F3.5-6.3 DC Macro OS HSM Contemporary lens.
  • Jim Koepnick – Air Show Photography – Sigma Has It Covered: Air shows are one of the most popular spectator events in the country, and the wide variety of Sigma lenses make it easy to photograph every aspect of exotic aircraft in the air and on the ground. Learn the best techniques for capturing fast moving planes in flight and making creative images of planes and personalities on the ramp using the Sigma 12-24mm F4 Art, 24-70mm F2.8 Art, 100-400mm F5-6.3 Contemporary and the 150-600mm F5-6.3 Contemporary lenses.
  • Roman Kurywczak – For the Love of Landscapes: Roman will take attendees on an inspirational journey showcasing the magic of landscape photography through useful tips, suggested camera settings, instruction on innovative techniques and recommendations for the optimal Sigma brand lenses and gear for capturing stunning images of your very own. Showcasing the Sigma 12-24mm F4 Art, 14mm F1.4 Art, 100-400mm F5-6.3 Contemporary and the 150-600mm F5-6.3 Contemporary lenses.
  • Roman Kurywczak – Getting Close for Impact: This educational lecture will show you the technical tips and tricks needed to take your close-up photography to the next level. Attendees will learn how to consistently capture sharp images, front to back, handheld, and all in a single frame with a variety of Sigma lens options including the Sigma 105mm F2.8 EX DG OS HSM, 150mm F2.8 EX DG HSM, APO Macro 180mm F2.8 EX DG HSM, 18-300mm F3.5-6.3 Contemporary, 100-400mm F5-6.3 Contemporary and the EM-140 DG Macro Flash.
  • Roman Kurywczak – Photographing Wildlife – from Portraits to Action: This exciting photographic journey will give attendees the important information they need to know about photographing wildlife out in the field – from camera settings to Sigma lens and accessory choices. Roman will share striking examples illustrating how the right lens choice positively impacts the image without breaking your budget. Showcasing the Sigma100-400mm F5-6.3 Contemporary, 150-600mm F5-6.3 Contemporary, 300-800mm F5.6 EX DF APO HSM and the 500mm F4 DG OS HSM Sport lenses.
  • Roman Kurywczak – Photography After Dark: This informative how-to program is designed to open up your eyes to the possibilities of photographing landscapes after dark, whether a natural landscape with the star filled sky as a backdrop, or dazzling city lights photographed from a helicopter using a variety of Sigma lenses including the Sigma12-24mm F4 Art, 14mm F1.4 Art and the 24mm F1.4 DG HSM Art lenses.
  • Jen Rozenbaum – Bulletproof Posing for All Women: Confidence is just as important behind the lens as it is in front of it! Posing women is a creative challenge for all photographers. Join Jen as she shows her bulletproof tips and tricks for posing women to make them look simply amazing, and give the photographer and subject the confidence that generates an incredible shoot. Showcasing the Sigma 50mm F1.4 DG HSM Art,85mm F1.4 DG HSM Art, and the 24-105mm F4 DG OS HSM Art lenses.
  • Jim Schmelzer – Glamour Photography Using Exotic Lenses for Impact: Jim will showcase a variety of glamour images shot with Sigma Art and Sport lenses. He will deconstruct shots –sharing tips, including those that he used to capture the stunning images of world-class models from his latest commercial glamour shoot in Cancun Mexico. Showcasing the Sigma 85mm F1.4 DG HSM Art, 120-300mm F2.8 DG OS HSM Sport and the 135mm F1.8 Art lenses.
  • Jim Schmelzer – Choosing the Right Lens for Your Wedding Day Assignment:Wedding day photographers must wear a variety of hats. They need to be an architectural photographer, photojournalist, portrait artist and most importantly, they need to be fast and accurate. Look over Jim’s shoulder as he demonstrates how he captures the versatility in images required of today’s modern wedding photographer. Showcasing the Sigma 12-24mm F4 Art, 24-105mm F4 Art, 35mm F1.4 DG HSM Art and the 85mm F1.4 Art lenses.

For the Sigma Pro presentation schedule days and times, please visit:https://blog.sigmaphoto.com/event/photoplus-2017/ ?

Sigma Super Giveaways at PPE 2017
PPE 2017 attendees who visit Sigma at booth 837 will have a chance to enter and win a Sigma grand giveaway – a 24-70mm F2.8 Art – an MSRP value of $ 1299.00 USD!

Re-engineered and introduced in 2017, the newly updated 24-70mm F2.8 Art lens is Sigma’s workhorse zoom lens. It touts a brand new Optical Stabilizer (OS), Hypersonic Motor (HSM) for highly efficient and fast autofocus, as well as a dust- and splash-proof mount with rubber sealing.

The 24-70mm F2.8 Art lens embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. A popular industry focal range covering a wide array of shooting scenarios, the 24-70mm’s optical design also includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to ensure image accuracy and sharpness. The 24-70mm F2.8 Art aspherical elements use Sigma’s thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion. Available for Canon, Nikon and Sigma camera mounts.

Articles: Digital Photography Review (dpreview.com)

 
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Throwback Thursday: Sigma SD1

28 Sep

The Sigma SD1 was an APS-C DSLR that featured the then-new 15MP (times three) Foveon X3 sensor. Previous models, such as the SD15, had 4.7x3MP sensors with a 1.7x crop, so this was a pretty big jump in resolution as well as a move to a more common sensor size. Foveon sensors capture color in a completely different way than Bayer sensors, with each 15MP layer capturing a primary color. Thus, 45MP of total data is captured at 15 million locations, to give what the company claimed was equivalent to a 30MP Bayer sensor.

Other features on this SA-mount camera include an 11-point ‘twin-cross’ AF system, 3″ 460k-dot LCD and a weather-sealed body. The SD1 was originally announced in 2010 with an MSRP of $ 9,700 but the company then emphasized that it expected it to have a ‘street price’ nearer $ 7,000 by the time it hit the market in mid 2011. Early the following year, the camera was renamed the SD1 Merrill and relaunched for a more down-to-earth $ 2,300.

As with all Foveon ‘X3’ sensors, while the SD1’s low ISO resolution was great, image quality fell apart quickly as the sensitivity climbed.

For those who wanted to carry around something a bit more ‘classy,’ Sigma released a model with a burl wood veneer, which was priced at €10,000, at least in Germany, where it was announced. The body was described as ’emphasizing the camera’s premium appeal by adding a casing made from Amboyna Burl, an expensive and decorative veneer taken from complex growths on a Southeast Asian tree. The case takes around 60 hours to cut, mill and polish.’ Wow.

Sample Gallery

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Articles: Digital Photography Review (dpreview.com)

 
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