دسته: فیلتر

  • Bringing the Sigma BF Home: Everyday Photography with Style

    Bringing the Sigma BF Home: Everyday Photography with Style

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    What’s not to love about the new BF camera by Sigma? With a strikingly sleek aesthetic, a solid aluminum build, and a minimalist design, it’s as durable as it is intuitive.

    When I’m out with my children, I need a camera that feels like an extension of myself. I want it to feel like second nature, effortlessly there for every moment. The BF camera is just that and more. From playful afternoons at the arcade with my son to breezy moments at the beach with my daughter, this beautiful, stylish camera lets me stay present and focus on what matters most.

    If I had to pick just two words to describe the BF camera it would be sophisticated and effortless. The sleek, modern design is visually appealing. With looks this good, it could double as modern home decor. This camera’s minimalist design ensures it remains effortlessly user-friendly. A camera doesn’t have to be complicated, and Sigma ensures that with a simple yet stylish aesthetic.

    Compact and lightweight, the body is suited for life on the go, making it an ideal everyday companion. Though lightweight, the camera boasts a sturdy construction and solid build which is especially favorable for a photographer like me who’s often out chasing adventures with my kids in tow.

    One of my favorite features is that there are no memory card slots. The seamless, internal storage design once again makes everything feel effortless. With no cards to manage, it truly keeps things simple and worry-free.

    And as someone who rarely ever uses a viewfinder, I also appreciate its omission allowing for a more compact, sleek camera design and modern LCD screen. As a photographer specifically specializing in children’s portraiture, I’ve always found that composing through the LCD screen gives me a clearer sense of my frame. Not to mention, helping me capture key moments without missing a beat.

    The camera’s continuous capture rate is swift at 8 frames per second. I occasionally found it too quick, in fact, and switched to single capture for more precise control. When my children were on the move, continuous capture was indispensable for freezing those fast-paced, fleeting moments. The autofocus accuracy in low-light conditions, particularly when my son was darting around the arcade, was nothing short of impressive.

    The Sigma BF also camera features automatic face and eye detection for both people and pets, enabling seamless subject tracking. What’s more, the function is active by default, further streamlining the friendly user experience.

    For more precise control, I could switch to single point focus whether in single or continuous autofocus modes. While the autofocusing features of this camera are more curated, they’re ideal and efficient for anyone on the go, allowing for more time to stay immersed in the moment rather than fumbling with countless focus settings.

    Another feature I genuinely love is the touch screen focusing. It’s something I’ve frequently used in the past, so I was pleased to see it thoughtfully included in this camera’s design.

    Last but certainly not least, the image quality is outstanding. Given the Sigma BF camera’s minimalist design, I was thrilled by how sharp and detailed the photos turned out. Even in low light conditions, the clarity and definition held up beautifully. I was also really drawn to the camera’s film-like color rendering. It brings a nostalgic, cinematic feel to images that’s intentional and beautiful.

    Sigma unveiled nine updated prime lenses that color-match the sleek BF camera to maintain a cohesive look. My go-to portrait lens is the 50mm F2 DG | Contemporary, and I was consistently impressed by its focusing performance in a range of challenging lighting conditions, from low light to backlight, while my children were constantly on the go. The bokeh was smooth and round, adding to the overall sense of magic I was able to capture. From icy mornings in our yard to playful adventures at the arcade, the bokeh quality enhances the overall mood and atmosphere of my images.

    Though its minimal design is far from ordinary, this camera is perfectly suited for everyday moments. Its thoughtful design and sleek aesthetic make it ideal for those who value both form and function. It feels like the perfect travel companion, equally at home when you’re doing everything or nothing at all. There’s beauty in keeping things simple, and Sigma makes that possible with the BF camera, letting you stay immersed in the moment rather than gadgets and settings.

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  • April 2025 Photo Contest Winners: The Essence Of Movement

    April 2025 Photo Contest Winners: The Essence Of Movement

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    We’re happy to announce the winner of April’s competition “The Essence Of Movement.”

    For those who don’t know, the Light Stalking Monthly Photography Competition carries a $100 People’s Choice Award and a $250 Overall Winner Award. The People’s Choice Winner is selected by a vote of the community, whereas our guest judge selects the overall winner.

    The “Essence Of Movement” Photo Contest

    Capturing movement in photography is a great way to show dynamism in an otherwise static scene. Most action scenes would benefit from either freezing movements or capturing the movements in the form of motion blur in order to tell the story effectively and photographers will need to study and understand the scene and use the right settings, especially the camera’s shutter speed to get the results they desire.

    Besides the above, for a moving subject, tracking focus will be a great feature to use when capturing movements. The photographer can track the subject’s movement while allowing the background to blur and show movement or can allow the subject to blur and keep the background static. All these depend on the photographer’s creative vision and what they intend to capture.

    Movements in photography can be captured in various ways – one can freeze a moment if desired, using a very fast shutter speed, or use techniques like motion blur, panning, long exposures, etc. This can be done with elements in nature or scenes from day to day life.

    April’s contest theme was “The Essence Of Movement” and the images submitted to the contest were varied, with images from nature, setups, events like dance, sports and the participants used different techniques like panning, long exposure, zoom effect, motion blur, intentional camera movement and even freezing the moment to capture their shots.

    When choosing the winning photos, we wanted to make sure that the decision process was based on a good interpretation of the theme followed by other factors like light, composition, story, details, creative vision / thought, etc. The results are entirely subjective and there are no losers in any competition as we all know. 

    Here are April’s winners:

    First Place: “Happiness in Action” by Jean T

    Happiness in Action – Copyright Jean T

    Jean T has used motion blur to capture the story and he has chosen the right shutter speed to capture enough details, while still showing movement in the photo. The image of the two subjects enjoying the ice skating moment tells the story beautifully though their pose and Jean made sure to capture the right moment.

    Jean has also made sure to not include any more subjects from the scene and to focus on just the two subjects and their interaction. The muted colours in the frame contribute to the cold atmosphere and the exposure is just right to capture some details of the ice and not have any clippings in the bright areas.

    Congratulations on the win Jean and the painterly look of the photo is just beautiful!

    Second Place: “Rush” by Patrick

    Speed and Dynamism – Copyright Patrick

    The photo “Rush” by Patrick shows speed and dynamism as the description provided by Patrick. Patrick has chosen the right shutter speed and used the panning technique to capture movement in the scene. The movement in the frame is evident on the subject, the bicycle and the background, but Patrick has made sure to keep the subject’s face in focus.

    The lines in the frame work together as great compositional elements pointing towards the subject and then the direction of movement of the subject. Patrick’s choice to convert the image to black and white has worked really well allowing the viewer to just focus on the subject and not get distracted by anything else in the frame.

    Congratulations Patrick for this well thought and executed shot!

    Third Place: “Fast Flyer” by Pat Garrett

    Fast Flyer – Copyright Pat Garrett

    The photo “Fast Flyer” by Pat stands true to the title. Hummingbirds are generally difficult to photograph because of their rapid movements and their smaller size. Pat has used the right shutter speed to capture great details on the bird, especially the eyes.

    Without very fast shutter speeds, it can be difficult to capture wing details of the humming bird, but Pat has again made use of the right choice for shutter speed to show wing movement, but also managed to preserve details on both the wings which makes the resulting image look perfect. Also the negative space around the hummingbird, especially more in the direction that it is looking, helps to keep the composition in balance. The slight blur on the birds legs also contribute to the movements captured in the image.

    Congratulations on this amazing shot Pat!

    People’s Choice Award Winner

    Our monthly photo contests also come with a People’s Choice Award. The winner of this part of the contest receives $100 worth of store credit on Lightstalking which they can spend as they please on our blueprints, drills, courses or Presets.

    Water Drops Colliding – Copyright Frogdaily

    The most popular photo for April, voted by the contestants was “Water Drops Colliding” by Frogdaily which has won the people’s choice award. Frogdaily has made use of the right setup that includes light, background and shutter speed to execute this shot. The lighting used and the moment captured is so perfect with the rule of odds in play and the three layers work well together by sharing an interesting connection, while the top layer makes the image even more interesting by breaking repetition.

    The monochrome treatment makes the image stand out and lets the viewer focus on the shapes/forms of the water drops. The black background really makes the water drops stand out by detailing the lines and textures created by light and water drops splashing. Congratulations Frogdaily on the win and a beautifully made image.

    We are two weeks into this month’s photo contest and still have two weeks left to submit photos to our May’s monthly contest. It has already seen some entries with interesting submissions. This month our theme is “Storytelling In A Single Frame.”

    If you would like to join and enter some images into our monthly contest then take a look at your options here.



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  • Fujifilm Launches X half – A Compact Digital Half-Frame Camera

    Fujifilm Launches X half – A Compact Digital Half-Frame Camera

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    Fujifilm has announced the global launch of its most recent camera in the X series, the X half, in June 2025. It is for photographers who would like to rediscover the beauty of film photography in digital format and the design and features are based on the concept of classic half-frame cameras.

    Image via Fujifilm

    The Fujifilm X half or the X-HF1, will be the latest model in the X series and the camera weighs only 240g. The camera design and features evolve from the half frame film cameras that were capable of shooting at half the size of 35mm film. This is not their first half-frame camera – of the many film cameras Fujifilm introduced, Fujica Half was a half frame camera that was released in 1963.

    The camera comes with a frame advance lever so photographers can have a film camera experience in digital format. The aspect ratio used is 3:4 which is very different from what is used in most digital cameras.

    The camera comes with a vertical optical viewfinder and an LCD monitor that helps with vertical composition. There is also a “2in1” function that allows to have two vertical images in a single frame which will be great to create storytelling images.

    Image via Fujifilm

    The film simulation feature will allow the user to have photographic film effects when capturing their images. Besides the simulations there are various filters that can be used based on the subject or scene one is shooting.

    There is also a film camera mode in the X half model, that allows the photographer to shoot through the viewfinder and use the frame advance lever to advance to the next shot. There will be no option to view or preview the images until a specified number of shots are taken.

    Here are some of the most important product features:

    • 18MP vertical CMOS sensor
    • Capture still and videos in 3:4 aspect ratio
    • Back illuminated 1 inch sensor
    • 10.8mm f/2.8 prime lens
    • Create composite photos using the frame advance lever
    • Dedicated X half app to create collages and make edits, create 2in1 and contact sheets
    • 13 film simulation modes and 26 filters
    • Date stamp feature
    • Film camera mode to experience film photography, can be selected between 36, 54 or 72-shots and cancelled any time
    • Prints can be made directly from the camera using Instax Link series

    More information about this product can be found here. The camera is priced at $849.00 and is available to pre-order. Fujifilm mentions that it has named this product “X half” envisioning that it would be a great camera for both newcomers and enthusiasts in photography, but the cost and features seem that this camera could be for someone who takes up photography for fun.

    We have more news for you to read if you are interested at this link here.



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  • Has Camera Technology Peaked – For Now?

    Has Camera Technology Peaked – For Now?

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    My first camera had no battery. Its metering was done by a selenium cell that produced its own power when the light fell on it. Even by the standards of the time, it was as basic as it came.

    This was in the early 1980s, and state-of-the-art then would have been cameras with shutter and aperture priority and perhaps a center-weighted metering system powered by a small coin-sized battery. Often, the shutter mechanism would also be powered by this, so if it ran out, the camera would not work.

    All of this, in a roundabout way, leads me to say that I have seen a lot of technological advances in cameras and photography in general.

    I am also aware that those technological advances come in peaks and troughs. I think that at the moment we are entering one of those troughs. Let me explain why.

    Camera Revolutions I Have Seen

    The first big photographic revolution that I witnessed was the introduction of autofocus. It was both pretty amazing and pretty slow. This innovation by Minolta led to most of the other manufacturers scrambling around trying to create their own autofocus systems. There were some odd attempts to build autofocus into lenses to save people from buying new cameras, but over a period of a few years, focusing developed into pretty much what we see today.

    The Canon F1 was amongst the best 80s SLRs. By Keenan Sultanik on Unsplash

    Perhaps the next revolution was the integration of CPUs into cameras. This allowed for more advanced metering and exposure modes and made life significantly easier for photographers.

    The big one, of course, was the move from film to digital. This was, perhaps, the greatest single advance in the history of photography. It revolutionized and democratized photography.

    A Minolta Dynax 7 film camera seemingly hanging in mid air in a street
    Minolta were the first to introduce mainstream autofocus. By Cameron Rainey on Pexels

    Technological Advances In The Digital Era

    The advent of sensors and CPUs has allowed camera manufacturers to push the boundaries of camera capabilities. The first digital cameras were basic compacts, but soon moved to the more familiar SLR, renamed DSLR. We moved from CCD to CMOS sensors, we entered a megapixel race, we saw the introduction of stabilization, first in lenses, then in camera bodies.

    In 200,7 Steve Jobs stood on stage and showed us an iPhone. Little did we know then that it and its rivals would effectively kill the compact camera market and at the same time bring an entirely new generation to photography.

    Just as smartphone cameras were becoming mainstream, mirrorless cameras arrived, signaling the long, slow, drawn-out death of the DSLR.

    All of these were great leaps in camera technology. Yet none of them happened in the last decade.

    A Canon EOS 6D DSLR camera and lens
    The Canon D6 is a typical DSLR camera. By Oscar Ivan Esquivel Arteaga on Unsplash

    Stagnation Of Technology

    It seems that at the moment, we are on a treadmill of yearly camera updates, each with incremental improvements but no revolutionary new features.

    Two of my recent cameras demonstrate this. The Fuji X-H2 moved from a 26MP to a 40MP sensor and had better video codecs compared to the previous generation Fujis. Nice, but nothing special.

    My Sony a7RV used the same sensor and better processing power as its predecessor. Again, it made it a significantly better camera but without being leaps and bounds ahead of the previous generation.

    It feels like the camera manufacturers are trying to feed our FOMO by pushing out frequent new models offering “amazing” new features that actually offer the photographer very little in practical terms.

    Someone taking a photo with an older smartphone
    Smartphones democratised photography. By Rafeal Leao on Unsplash

    Have We Reached Peak Technology?

    I suspect that whilst camera manufacturers have the ability to innovate, at the moment, there are some aspects that are holding them back. Chief amongst them is the way we view images.

    The vast majority of images these days are seen on the screen of a smartphone. Some will be seen on a decent-sized monitor, and very few will be printed.

    Pretty much any camera produced in the last 10 years is capable of way more quality than even computer monitors can display. This has effectively slowed down the megapixel race, as for the vast majority, huge megapixel counts are not needed.

    Innovation in areas like autofocus and video output still continues but there is nothing revolutionary. It’s step by step, incremental improvements. Even Sony’s AI autofocus, whilst excellent, is not exactly a game-changing feature.

    The fact is that modern cameras are “good enough” for the vast majority of photographers, and any new features tend to be overhyped in order to maintain sales of newer models.

    There is one area where I think we will soon be seeing a technological advance, however, and we can see it happening already.

    An advanced mirrorless camera shooting a sunset.
    Has photographic technology peaked for the moment? By Luis Quintero on Pexels

    Computational Photography, The Next Big Leap

    Computational photography is not a new thing. It has been an integral part of smartphone photography for many years now. It uses the power of a processor and programming to overcome the physical limitations of the smaller sensors and lenses found on phones.

    Using this technology, smartphones are able to produce better images in low light and create shots with a shallow depth of field despite tiny sensors and wide angles.

    This technology is ripe for modern mirrorless cameras. There is one area in particular, I think we will soon see advances – lenses. Fast, large-aperture lenses are both expensive to make and heavy to use. The advances in computational photography will allow manufacturers to produce smaller, slower lenses that are much lighter and use processors to improve low-light performance and give a shallow depth of field. Lenses already communicate a lot of information to the camera, and computational photography can use that data to create similar effects that we see in smartphones.

    Someone taking photos in a forest on an advanced smartphone

    Purists will, of course, balk at this idea, but I am pretty confident we will be seeing it fairly soon. The profit margins on these lighter, more sophisticated lenses will be higher than on bigger glass. I suspect that in 10 years time we could well see a point where multiple focal lengths will not be needed, instead, the power of a processor combined with AI will enable us to zoom in, even after the fact. Rather than a simple sensor crop, these will be full-resolution zooms that maintain the correct perspective and compression, all from a single focal length.

    For now, I suspect the cost of the processors is the main factor holding back mainstream camera manufacturers. That’s why, for me, at the moment, it feels like we are very much in a technological trough when it comes to cameras. When I moved from Fujifilm to Sony, it was more about quality control issues than camera technology. Both systems are great,t but neither offers anything revolutionary over the other.

    I suspect it will be a few years of incremental improvement in technology. That will end when one of the major manufacturers has a big bang moment and puts powerful computational photography into a mainstream camera. My money is on Sony, let’s meet up in a few years to see if I am right.

     



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  • Instagram Trying to Lure New Users in with Cash to Creators

    Instagram Trying to Lure New Users in with Cash to Creators

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    You might think everyone is on Instagram. It certainly feels that way sometimes and perhaps it is in Meta’s best interest to promote this. Or at least posit the idea as an inevitability.

    blue red and green letters illustration
    Blue red and green letters illustration of social media icons. Photo by Alexander Shatov

    Well, you’d be wrong because apparently there are enough people not on the platform to warrant paying creators to bring new to Meta’scrown jewel.

    That’s not a new business tactic, but it’s sort of novel for social media which is probably why it is just in a beta testing phase at the moment, FStoppers reports.

    When you consider some of the recent legislative action in the States, there is some incentive to push forward such a program.

    Creators basically have users sign up via a link and are then paid per sign up or after 1000 “qualified taps.” Successful promoters can earn up to $USD 20,000, the website reports. Naturally, it’s going to be hard to reach that level but there are certainly some accounts that could blow past that requirement with ease given their scale and reach.

    This new strategy would seem to be in direct competition with TikTok’s and YouTube who have similar programs, highlighting the intense competition in the social media space.

    You might recall some time back there was talk of banning TikTok in the United States. While that hasn’t gone anywhere, it did spur a kind of blood-in-the-water approach by rivals to scoop up users left behind if TikTok were banned.

    And while that didn’t happen, the race to secure as many users as possible continues, even while it becomes increasingly harder for creators to make money no matter what the platform.

    Any thoughts on this strategy are welcome in the comments.

    Check out some of our other photography news at this link.



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  • US State of Texas Bans Social Media for Everyone Under 18

    US State of Texas Bans Social Media for Everyone Under 18

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    There’s a lot of debate over the impact of social media, good or ill, on society.

    red curtain near brown wooden chairs
    Red curtain near brown wooden chairs in court room setting. Photo by Jackie Hope

    But there are rarely any real measures launched to combat it and this might be in part due to how lucrative it is.

    That’s all about to change, at least in the state of Texas in the USA.

    A recent proposed law will ban social media accounts for users under 18 in a measure that is somewhat akin to the prohibition against purchasing tobacco that many states have in place.

    Is social media as dangerous to the health of young Texans as tobacco? It would seem so, and there’s more than just anecdotal evidence to underpin this.

    But back to this being a big industry: It remains to be seen whether or not this survives the Texas Senate. The state would not be unique in a ban of some form but would pioneer new avenues in terms of age. Currently, Florida bans social media accounts for users under 14, PetaPixel reports.

    As we have documented on this blog multiple times, social media does not promote the best behavior or choices. Even so, it is a massive industry that has made many people, some younger creators included, very rich. Perhaps a ban is too extreme but a viable middle ground isn’t really forthcoming. Part of this might be a lack of imagination on all our parts, but a large part of it is probably just due to the inertia of how things are. We can’t imagine a world without it, but we also need a world where it is a little more under control than it is now. How to thread that line is a question for the future.

    Any thoughts you might have on the influence of social media on society are welcome in the comments.

    Check out some other photography news at this link.



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  • Emotion in Landscape and some Wild Abstractions!

    Emotion in Landscape and some Wild Abstractions!

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    Welcome to the Light Stalking community wrap up!

    Throughout the years, landscapes have vastly presented themselves as splendid opportunities to be missed by me; yet, I indulge my eyes with a dollop of landscape imagery once in a while. For this week’s visual treat, Diane took the long-shot and asked for emotion in landscape!

    And as you’ll notice right away while scrolling down, landscapes aren’t fixed to wide-angle crispy clean images. Using fixed telephoto lenses from 50mm and beyond triggers the photographic imagination into looking for unexpected angles and frames. Consider such tight compositions in the wild as ready-made abstract images to be grabbed as you roam.

    Now, for the other way around; wide-angle views require extreme levels of control. From sturdy support —achieved via tripod, monopod or others to scouting, generous compositions demand meticulous planning before they occur. Do mind that if you feel inspired and who knows, even triggered to share some of your takes on emotion in landscapes with us.

    Before diving in, remember this is part of a series on storytelling in a single frame; but is also part of an even larger effort to make this world a more literate place in terms of visual data and language.

    Photo of the Week

    This beautiful shot was posted on the emotion in landscape challenge. True, it qualifies better as a street image rather than something related with landscape, but there’s a huge difference between “emotion in landscape” and “emotional landscapes”. Because one can find emotion within a given context, this visual piece works both-ways.

    Congrats Patrick, thanks for sharing such a high quality photograph with us!

    copyright – Patrick

    Belfast city hall Lawns

    Black and white are the colors of photography. To me, they symbolize the alternatives of hope and despair to which mankind is forever subjected – Robert Frank

    Weekly Photography Challenge Digest

    Thanks again to Diane and Dahlia for pushing our creative boundaries one step forward every week!

    copyright – Wendy P

    BLIZZARD

    copyright – Robert Apple

    Lost in the windswept sand dunes!

    copyright – Wendy P
    copyright – Wendy P

    Sadness

    copyright – davidc

    The road less traveled

    copyright – Deidra White

    Abandoned

    copyright – Deidra White

    Sunset at Saguaro National Park, Tucson, Arizona.

    copyright – Michael
    copyright – Robert Apple
    copyright – Frogdaily

    For contributing, check out the original challenge post!

    A Highlight on the Latest Activity at our Community

    Patrick went full minimal and captured one of the most innovative takes on street photography I’ve seen in a while!

    copyright – Patrick

    Stripped Back To The Essentials

    And speaking of you mate, don’t forget checking out the mono edits started by the master himself:

    copyright – Patrick
    copyright – Patrick

    Steve enjoys the quiet moments before the action, and took these right-on-spot storytelling frames!

    copyright – Lightandshadow
    copyright – Lightandshadow

    And last but definitely not least, have you met David Clare? Swing by and say hi,  thanks Dahlia for retaking this series focused on our talented community!

    Don’t forget to check the photo contest winners for the Essence of Movement which will be published soon; and remember, this month’s photo contest is now open for entries. The theme revolves on “Storytelling in a Single Frame“. Submit  your photos for a chance to win $250 and please don’t forget voting as well. Last but not least, keep an eye out for the Members Picks — the instructions are pretty straightforward:

    Members reference what you might consider a five star photo. Give a call out to the photographer and share their photo even if it lies in the Shark Tank and feel free to give a Critique on why it trips your Trigger. Be sure to mention the photographer and the Thread you saw it in.

    And if you want to make out the most of your Light Stalking user account, make sure to check the latest posts. Also, don’t forget to swim the Mobile Monday Challenge! Last but not least, Check out the current reading throwdown, it has some nice insights and recommendations!

    We’d Love To Hear Your Thoughts

    Our Feedback Forum is a fine place for all those people wanting to grow fast as photographers. Here, you’ll get your work reviewed by well-intended photographers, but you’ll also have the chance of commenting on the work of others. We believe in the power of feedback, and here are the latest shots shared in the pool:

    The Shark Tank is a great place to learn and to discuss, but please read the instructions in order to get a better experience. Share your comments, opinions and doubts on any or all of the images above. We also will be delighted to see some of your own images. Remember all comments are given to the photographs; not the photographers. Also, don’t forget to participate in our upcoming challenge!



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  • In America | SIGMA Blog

    In America | SIGMA Blog

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    Through images defined by curiosity and empathy, Fumi offers intimate portrayals of the people she meets and the time she spends with them.

    As a Japanese artist now living in America, Fumi brings a unique perspective. Her projects often span years as she immerses herself in the communities that capture her interest. Documented in books like Marching Wolves (2022) and Dora, Yerkwood, Walker County, Alabama (2023), these projects reflect her desire to capture her subjects on a deeper level.

    The images presented here are part of this ongoing project of capturing everyday life in America. Taken in New York and Texas in December 2024, they showcase tender moments of intimacy and connection, all reflecting Fumi’s compassionate approach to photography.

    “Since 2016, when there was the presidential election, I didn’t really have much of an idea about America, except for New York and big cities. But that election made me curious about the country, and I started paying more attention to what was happening in this place that had been my home for such a long time,” Fumi says.

    “When I started my project in Alabama, I had a friend who lived across the street, and she was from this small town. She took me to where she grew up. Apart from through her, I didn’t have access to small places in the U.S. I’m not from here. I’m from Japan.”

    “People in New York are familiar with photography, but people in small towns aren’t to the same extent,” Fumi notes. “They might have taken photos for school yearbooks or everyday events like that, but photography isn’t as much a part of daily life as it is in big cities. So, in the beginning, it took time for me to make them trust me. A lot of people said no because they thought I was going to charge money or sell their pictures online. I had to build a relationship from the start to be trusted to take their photos for the first time. There was a lot of work outside of photography, and it became my life’s work. It became more than photography to me,” she explains.

    Fumi says that, for her, it is essential to feel authentically intrigued by what she photographs. You get the sense that she invests a lot of emotional energy into her projects.

    “I’m always open, but I have to be inspired to start a personal project. If someone tells me what to do, then it becomes more like a job. For my personal projects, it has to be about my vision. So, I always put myself in situations that challenge me and allow me to experience things first, to see if there’s something I can start, a long-term project. Since I like projects that last for years, I need to make sure that what I commit to is something I can really dig deep into.”

    In her photography, she strives to remove all barriers that might stand between her and the individuals she portrays. “When I photograph people, I don’t want there to be a boundary between the subject and myself. I don’t want to be seen as ‘the photographer’ who takes photos of ‘them.’ It’s more about real friends spending time together, and I want to capture them being themselves. A lot of times, they get nervous or feel like they have to give me something. It’s very important for me to build trust.”

    Where does she find beauty as a photographer? “I think beauty comes from within. I’m interested in intriguing people and their life stories. I see myself as a storyteller, and I tell the stories of the people I photograph. That’s what I see as beauty.”

    Fumi became a photographer by chance. After high school in Japan, she studied hotel management and tourism but knew she wanted to pursue creative work. During a trip to New York, her life took a new turn.

    “I didn’t come to New York to become a photographer, but to find a creative field I could pursue,” Fumi says. She met a Japanese hairdresser who was looking for a roommate and moved in with him. As it happened, her roommate had old issues of Street, a Japanese magazine focused on street fashion and culture outside Japan. The issues were all about London.

    Since she lived in New York, she thought that photos of the city’s street life would be a good fit for the magazine. She pitched her idea to Street’s editor, who took a chance on her. When she turned in the images she had taken of people in New York, the editor offered her a job as a regular contributing photographer.

    Although photography was never Fumi’s plan, it is now an essential part of her life, having grown naturally from her love for the medium. Today, she works with clients such as The New York Times, New York Magazine, and Vogue, as well as brands like Louis Vuitton and Dior. But what first drew her to the medium remains the same: meeting and connecting with people.

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  • Transitional States | SIGMA Blog

    Transitional States | SIGMA Blog

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    In Ola Rindal’s photography, things seem perpetually on the verge of slipping away. Through a raw yet refined and nuanced aesthetic, a poetry of the everyday emerges, infused with understated melancholy.

    We asked Ola to photograph moments that go unnoticed unless one pays attention. In December 2024, during journeys between his hometown, Paris, and his birthplace, Norway, he captured people and objects in states of transition.

    Ola’s images may seem accidental, as if taken by someone getting a lucky shot with their first camera. But upon closer inspection, they reveal an artist in full command of his craft and intention. In the coincidental nature of everyday life, he uncovers hidden moments, transforming them into images of elusive beauty.

    “I photograph quite a lot based on my everyday life. What I see around me. When I walk the kids to school, or if I’m just walking. If there’s something that repeats itself and that I notice I’m interested in, then I might start digging into it and try to build on it. It’s like discovering that you have a kind of theme that you’re intuitively drawn to,” says Ola.

    “You ask yourself a question about the visual world around you. There’s a car over there, a tree over there, and a house over there. And people are walking by. And then you become interested in the spaces in between. Trying to give a language to the things you’re talking about that aren’t either one or the other. That isn’t the car or the house or the person in between. But something else, you know?” he adds. “Something that exists in the gaps. And that’s probably something I’ve been fascinated by and interested in—trying to give a language to what doesn’t have a language.”

    In his photography, Ola searches for true, unrepeatable moments. “I want something to happen that I find interesting—like a bird landing on a branch, a small light on a wall, or a deer suddenly appearing in a clearing, creating a magical atmosphere. I look for things that don’t happen twice.”

    These are moments that, in his eyes, have a sense of enigma. He says he thinks beauty often lies “very close to the ugly.” That tension and resonance which sometimes occur between things are essential to his photography. It raises questions in the viewer’s mind and makes us see everyday things in a new light.

    When asked how he arranges his images for an exhibition or a book, he replies that he doesn’t think in terms of stories that much. He is more concerned with creating a rhythm. His approach is similar to composing a poetry collection. “It’s about creating a feeling. And by arranging the images in a certain way, you create an atmosphere rather than a narrative,” he says.

    Ola’s preference for equipment is very much based on size and weight. “Some people say a good camera is the one you carry with you. If you have a big, bulky 4:5-inch camera, it can be good. But if it just remains at home all the time, then maybe it’s not that useful. So, in that sense, it can be good to have a practical camera that’s easy to take with you.”

    “I’ve always worked with small, light cameras that I can take with me everywhere. Cameras that I can work with relatively quickly. That I can have ready when I see something,” he explains.

    “And I like it if the lens is just the right length, not too long and not too short. I’m not one of those wide-angle people. I like 50mm. I have two lenses that I always use: a 50mm and an 80mm. I feel like I really don’t need much more. I guess it represents how I see the world, in a way.”

    Ola’s venture into photography began with a stolen key and a borrowed camera. The key was to his school’s darkroom, and the camera belonged to his father. Growing up in Lillehammer, in the Norwegian countryside, there was very little to do, so he and his friends experimented in the darkroom and shot with his father’s camera for fun. “I got bitten by the photography bug that way,” he says when we speak with him about the images he shot with the BF camera. “I was quite shy, and photography became my way of speaking.”

    He never considered any other forms of artistic expression. There was just something about photography that clicked for him. “At first, it allowed me to let things out. But over time, I realized photography is about saying something about my world and how I see it.”

    Today, Ola lives in Paris with his family, working on commissions for top fashion brands and magazines. But his true joy comes from capturing the everyday world—whether it’s the streets of Paris or Tokyo, or the snowy countryside of Norway.

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  • First Look: Exploring Patagonia with the Sigma 300-600mm F4 DG OS | Sports Lens

    First Look: Exploring Patagonia with the Sigma 300-600mm F4 DG OS | Sports Lens

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    As outdoor photographers, there are places in the world that beckon to us to explore their photographic wonders. The pull of exotic landscapes bathed in warm light, and huge swaths of wide open areas packed with an abundance of wildlife, are draws impossible to resist for inquisitive adventurers. One of the places at the top of my to-do list was the incomparable Patagonia region of southern Chile.

    There is so much to photograph and explore in Patagonia, so I decided to narrow my vision to Torres del Paine National Park, and more specifically, the wildlife that calls it home. Most prominent of these animals, and what truly piqued my interest, are the park’s famous pumas. With buy-in from local estancias (ranches) that border the park, the pumas have a massive area where there are free to be wild without persecution from hunting and trapping. Because of this, the puma population in Torres del Paine and the surrounding area is absolutely booming.


    The ultimate wildlife photography zoom lens

    My lens of choice for pumas, and all the wildlife I encountered, was the brand new Sigma 300-600mm F4 DG OS | Sports lens. This is a de-facto professional grade lens the likes of which have never been seen before and I put it to good use. In my time there, I saw 17 individual pumas over the course of about 25 encounters. As far as I know, this is not possible anywhere else in the world. That’s what makes this place so special. Of course not every encounter would result in photos but enough did that I was able to get plenty of great photos. In addition to pumas I was able to photograph Andean condors, grey foxes, rheas, an austral pygmy owl, black chested eagles, and of course plenty of guanacos.

    The 300-600mm F4 DG OS | Sports was absolutely perfect for photographing wildlife in the park. The optics are stunningly sharp with nice contrast and great color. The HLA autofocus motor is ultra fast, and when using Animal Eye AF in my camera, it locked on to my subject and consistently yielded professional results. The lens is big and fairly heavy, similar to 500mm and 600mm F4 primes from other lens makers. However, in direct comparisons to other photographers’ setups, mine was usually a bit smaller and lighter. I was able to hand hold the lens for numerous images, but I also had it mounted on a tripod for many of my photos and videos.

    One of my favorite features of the 300-600mm F4 DG OS | Sports is the fact that it’s a zoom that shoots like a prime. There were times when the pumas would come incredibly close, and while other photographers were forced to swap lenses to get the shot, I could simply zoom out! I also love the fast F4 constant aperture. I shot it wide open while recording video clips in pre-dawn light. For still images, the F4 aperture was wonderful for isolating my subjects are rally making them “pop” from their environments. The bottom line here is that you are really getting four ultra-quality F4 prime lenses in a single lens. Oh…and did I mention it’s half the price of one prime lens? Just incredible.

    Torres del Paine National Park is well known to landscape photographers for the combination of lustrous low-angle light of the southern latitudes and soaring rock spires of the Cuernos and Towers. While most of my efforts were focused on pumas, I had to get a few images of this iconic place. With the 300-600mm F4 DG OS | Sports, I had the versatility to try different compositions without moving or changing lenses, not to mention gorgeous compression for unique-looking landscape photos.


    My Sigma lens kit for travel and storytelling

    Flying halfway around the globe to one of the most photogenic places on earth, I’d be crazy not to also shoot some landscapes and culture. To help me tell those stories I brought a few of my favorite lenses: the Sigma 16-28mm F2.8 DG DN | Contemporary, 24-70mm F2.8 DG DN II | Art, and the 70-200mm F2.8 DG DN OS | Sports. This kit has traveled with me all over the world and images from them have been used for cover shots, features length editorial stories and major commercial ad campaigns. I trust this lens trio to get the job done beautifully and once again they handled everything I threw at them.

    Another highlight was a visit to Estancia San Louis. This is a working sheep ranch long owned by a local family. While there, one of the gauchos was rounding up some sheep and even showed us how he sheared them. The gaucho working his dogs and sheep with the Towers in the background made for some very classic images of Patagonia and was a blast to photograph.

    I booked my trip to Patagonia though Chile Nativo. Their intimate knowledge of the area was evident, and the glamping (fancy camping) at Riverside Camp was incredibly cool. My guide, Santiago, was super helpful and made finding the pumas and the landscape areas very easy. The team was great to work with, and if you want to go I would highly recommend them. To get there, I flew to Punta Arenas and rented a car. You could also fly into Puerto Natales, which is closer to Torres del Paine, but is quite a bit more expensive.


    Final thoughts

    Whether you go for wildlife, landscapes or general travel, a trip to Patagonian Chile is something every adventure photographer should put on their list. If your itinerary includes wildlife photography, consider bringing the Sigma 300-600mm F4 DG OS | Sports lens. For me, it was critical to getting my very best images. And bring the rest of your Sigma lenses to photograph the people and the views. You won’t regret it. If you have any questions feel free to reach out. Hope to see you out there!


    Explore Patagonia with Liam (Video)

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