دسته: فیلتر

  • You’re Never Too Old To Learn In Photography

    You’re Never Too Old To Learn In Photography

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    I was 50 years old when I bought my first drone. It required me to learn a whole new set of skills not only in flying and navigating a UAV but also in learning new photographic and video techniques for my eye in the sky.

    That was 2017 and last month I was 58 years old. But do you know what? I am still learning new things about photography. It would be cliched to say I learn something new each day, however I think it’s realistic to say I learn something new about photography every week.

    There are two reasons for this. The first is that as photography is my primary source of income, it is important for me to keep ahead of new things. The second is the pace of change in photography – and indeed all technology – is phenomenal. It’s both exciting and scary.

    Today we are going to delve a little deeper into this and look at why you are never too old to learn new things photography.

    Drone capture of the Odesa Opera House in Ukraine, shot at sunrise
    It took a while to adjust to drone photography. By Jason Row Photography

    The Exponential Curve

    My first camera, as some of you will know, was a Zenit 11. It was bought for my 16th birthday way back in 1984. It had zero automation, manual exposure, manual focus, manual metering and of course shot film. My camera as of today is a Sony A7Rv, it’s automatic everything, packed with technology and of course shoots digital.

    The change between that first camera and my current one has been exponential, so has my learning curve. Whilst the Zenit instilled in me an understanding of shutter speed, aperture, ASA and composition, the Sony has taught me things about AI focusing, the differences in video codecs plus a plethora of other high tech tools that I don’t necessarily need, but certainly would like to know about.

    Beyond the actual taking of the image, the way we process those images has changed. My first film on the Zenit went off to Snappy Snaps and came back a week later as glossy 6×4 inch prints. My last “film” on my Sony was uploaded to my computer an hour after I got home, edited in Lightroom and on social media within two hours.

    The fact that I could so comfortably upload, edit and publish my images comes from the steep but highly enjoyable learning curve that I undertook right from the very first days of shooting. The keyword is enjoyable.

    A Zenit 11 film camera on a table with a coffee cup in a cafe in Lviv
    My first camera had such an impact, I bought it again. By Jason Row Photography

    If You Enjoy Your Photography, You Will Learn

    For many of us, photography is not a profession, it’s a pastime. When you use your leisure time to do something, it can feel like somewhat of a chore to learn something new. However, the old phrase, practice makes perfect is not without merit.

    The wonderful thing about photography, is that it doesn’t need hours poring over books or watching YouTube videos. All you need to do is get a gist of the new thing you wish to learn about, than simply go out and shoot. The beauty of digital cameras is that we can keep taking shots until we get it right, or until we have learned the technique we wanted.

    Let’s return to my drone photography. When I first put the drone in the air, the last thing on my mind was taking photos. The main concern was how much this was going to cost me if I crashed. However, within a few flights I found myself enjoying the flying so much that it started to become second nature. So I started to take photos and videos. And you know what? They were awful.

    Top down drone view of Brighton Beach as the sun rises casting long shadows
    A more recent drone image. By Jason Row Photography

    I was at the beginning of a learning curve again. However, the fun factor not only of flying the drone but also of taking photos, drove me on to do better. Slowly, flight by flight, I came to understand the different approaches I would need to take whilst shooting from a drone as opposed to shooting at a fixed location.

    My photography improved as did my desire to go out more often with the drone. Incidentally, the biggest mistake new drone photographers make is to take images from maximum altitude. The best shots come from down at mid and low levels. I created a video about that.

    https://www.youtube.com/watch?v=a9qZ6g5QDSQ

    The point is that as we all enjoy photography, the learning part of it will come naturally. It doesn’t have to be forced, just go out, practice, practice and practice some more. The end results will keep driving you on to learn more.

    Don’t Be Overwhelmed

    As I mentioned, the pace of change in photography can seem like it is exponential. That in turn can make you feel overwhelmed at the sheer amount of new stuff you need to learn. Perhaps to a point where you just decide to stay with what you know.

    You don’t have to be overwhelmed though. Whilst there are seemingly huge amounts of new techniques and technology that need to be absorbed, some, if not the majority of it may not be relevant to your photography.

    If, for example, you don’t shoot video, any new video techniques, codecs or equipment is going to be irrelevant to you. If however, you are a portrait shooter and a new lighting technique becomes available, that may well be something you want to look deeper into. It’s all about learning the things that will make you a better photographer.

    There is another thing to bear in mind, particularly in this short video, TikTok world we live in. That is, viral photographic trends are often just that, trends. They very rarely lead to improved technique or long term betterment of your photography. They are effectively cheap tricks to garner views. Cut this fluff out of your photographic learning process and just concentrate on the information that will improve your creativity.

    Field of Lavender with shallow focus. Shot at Mayfield Farm, Carshalton
    You never stop learning in photography. By Jason Row Photography

    You’re Never Too Young To Learn

    For the bulk of this article I have come at it from the point of an older person. However, I also think many of the things mentioned are as important if not more important to younger photographers. If you are starting your photographic journey today, it is perhaps more vital to try and stay ahead of that ever increasing curve. In the near future, we will have cameras that allow you to change focus and depth of field in editing – we already do with smartphones.

    We have the ever increasing encroachment of AI images and with it the moral considerations of using it. The rate of technological change will only increase and with it our potential to be inundated with information that may not be relevant to us.

    I would suggest that it’s more important than ever for a younger photographer to experiment with genres, but also to concentrate on one or two they enjoy the most.

    Panoramic of Singapore shot at twilight on an iPhone15 Pro
    Smartphone photography will be increasingly important. By Jason Row Photography

    Photography is and always will be a lifelong learning curve. Back in the days when I started, it was pretty simple – learn exposure, learn focus and concentrate on composition.

    Today, the way we shoot has changed massively and to remain relevant we need to concentrate on learning the things that are most important to our photography. If you can sort the chaff from the wheat, you will find yourself continuing to learn and enjoy your photography.

    Further Reading



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  • Eventually, Long Ago: A Journey with the Sigma 135mm F1.4 DG Art Lens

    Eventually, Long Ago: A Journey with the Sigma 135mm F1.4 DG Art Lens

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    I was incredibly excited to test the Sigma 135mm F1.4 DG | Art, and to make the most of this opportunity, I decided to build a visual narrative around the idea of life’s journey.

    The theme, Eventually, Long Ago, explores the concept of timelessness.
    A grounded, universal feeling that transcends any specific moment or place.

    This lens, with its striking optical character and dreamy depth of field, felt like the perfect tool to express that vision.

    Shooting with the Sigma 135mm F1.4 DG | Art was a challenge at first, as I rarely work beyond 50mm. But that limitation quickly turned into an inspiration.

    The lens encouraged me to view the world differently. It revealed fresh, exciting compositions and gave me a completely new visual language to work with.

    The more I used it, the more I appreciated how it reshaped my creative instincts.

    During the shoot, the Sigma 135mm F1.4 DG | Art proved to be more than just technically impressive. It was creatively liberating.

    The autofocus was fast, accurate and dependable, even though I usually rely heavily on manual focus. Its performance allowed me to focus more on storytelling and less on the technical side of things.

    Shooting wide open resulted in a stunningly shallow depth of field that perfectly isolated subjects and added an emotional, almost cinematic quality to the visuals.

    It helped me capture exactly what I set out to create.

    BEHIND THE SCENES


    Additional Credits

    Model:
    Bob Malawau
    https://www.instagram.com/unclebobe

    Behind the Scenes video:
    Lotte van Diepen
    http://www.elvidi.nl/
    https://www.instagram.com/lottevd_/



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  • A Love Letter to Lindbergh: Sigma 135mm F1.4 DG Art Lens

    A Love Letter to Lindbergh: Sigma 135mm F1.4 DG Art Lens

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    I’ve been searching, for some time now, for the answer to a quiet question: “How do you capture longing?”

    The moment I learned about Sigma’s latest Art lens and its ability to create incredibly soft, elegant bokeh with high-contrast resolution, my mind immediately went to Peter Lindbergh.

    If you’re not familiar with Lindbergh’s work, he is widely considered one of the most iconic fashion photographers of our time. He had a singular gift for capturing raw human beauty by stripping away the excess, leaving us with only intimacy. His passing truly broke my heart.

    While sharing the final images made with the Sigma 135mm F1.4 DG | Art lens, I want to take you behind the stillness. Into the spark that lit the idea. The collaborations that gave it breath. The constraints that invited intimacy. And the accidents that turned into magic.

    In fashion photography we always begin with a moodboard to help align the team around a shared visual language.

    To create a story that honored Peter Lindbergh’s interpretation of timeless beauty, I turned to Pinterest, to curate some of my favorite Lindbergh photographs: moody black-and-whites, high contrast, minimal backgrounds, stunning natural light, and that ethereal bokeh that gives the subject space to breathe.

    Looking at Peter’s work, I knew we had to cast someone with a raw, classic kind of beauty. We partnered with Elite Model Management to cast Bojana Reljic. She has a timeless presence, soft yet powerful.

    For makeup, I wanted authenticity. We reached out to Lateisha Grant through P1M. Her approach is subtle, enhancing natural features without masking them.

    It was important to me that Bojana looks like herself. Not a character, not a mannequin, but a woman with a story behind her eyes.

    This season, I’ve been completely taken by the romanticism on the runways, especially the Chloé Winter 2025 collection by Chemena Kamali. Her layering of light fabrics to bring summer dresses into the cool of autumn, felt quietly rebellious. I loved the idea that elegance doesn’t need to be heavy-handed.

    For styling, I brought on wardrobe stylist Rashi Bindra. She’s brilliant at translating high fashion into accessible looks. We talked about how every woman has a silk slip dress in her wardrobe, and how silk pajamas have become the new post-pandemic luxury.

    That conversation led us to Silk Laundry, a Canadian-born brand creating timeless silk pieces. They generously lent us key items from their most recent collection. For jewelry, we worked with Michelle Ross, whose bold yet refined pieces added just the right amount of strength to the looks.

    Shoot day called for thundershowers, but I still wanted to play in natural light to honor Lindbergh’s love for it. To ensure rain was a challenge we were ready for, we chose Neighbourhood Studios for its courtyard access and rain-proof equipment.

    Luckily, there was only a light drizzle, and the cloud cover instead gifted us with a giant diffuser.

    Working with one prime lens meant I had to move. A lot. I had to think more carefully about composition, framing, and angles before pressing the shutter.

    It reminded me of when I first started in photography, working with just one lens and a lot of intention. That limitation became part of the poetry.

    The first time I reviewed an image on the back of the camera, I gasped. The background didn’t just blur, it softened into silence. A visual hush.

    A compression that pulled all attention to the subject without losing the richness of the surrounding textures. Despite shooting in low light, this lens allowed me to open the aperture to F1.4, letting in enough light to keep the mood without compromising detail.

    Even dark tones against dark backdrops came alive. It honestly felt like I was shooting in medium format. I couldn’t believe how crisp and cinematic the images looked.

    One of the biggest distinctions between editorial and advertising photography is the emotion in the details. I love motion blur, soft focus, and layering elements that feel like memory.

    This lens gave me so much room to play. The ability to layer soft neutrals in both wardrobe and backdrop, and still have the subject sing through the frame, is a gift.

    Further honoring Peter, the images are very lightly retouched, only to remove distractions. I worked with Danila Panfilov for his soft touch and minimalist approach.

    To me, a fashion film is its own kind of poetry. It moves differently than traditional cinema. There is no beginning, middle, and end. The story is often circular, not linear. It is made to be watched in loops, whether on social media or playing on screens in showrooms. With each replay, the story settles deeper into your senses.

    Observing the quiet solitude of the studio courtyard, I found myself reflecting and longing for more quiet mornings on my deck. I wanted to romanticize that experience.

    Inspired by The Alchemist by Paulo Coelho, a story of personal transformation and spiritual longing. I hoped to invite the viewer into an intimate moment.

    To witness the vulnerability of someone reflecting on who they are becoming.

    In the film, there’s a moment when the wind moves through the courtyard, and Bojana leans back in her chair, surrendering to it. Just for a second, with eyes closed. That is the kind of shot I live for. And the Sigma 135mm F1.4 DG | Art caught it beautifully. Every thread in soft motion.

    Further, having recently listened to Lana Del Rey’s audiobook Violet Bent Backwards Over the Grass, I fell in love with her approach. Her book isn’t just read, it’s performed.

    Her longing voice over the music was woven into something cinematic yet confessional. It gave me permission to approach this film in the same way.

    So, I wrote a poem. A love letter, to play as the voiceover throughout the film, paired with a minimal score.

    Like Lana’s poetry recordings, the audio is moody and raw. Not everything is explained, but everything is felt.

    These are the kind of visuals that I love. When fashion isn’t about spectacle, but about memory, presence, and emotion.

    Creating this story reminded me why I fell in love with photography and film in the first place. It’s about intimacy, memory, emotion.

    The Sigma 135mm F1.4 DG | Art allowed me to shoot with intentionality, to capture softness in low light, to layer textures and time, all within the frame.

    Thank you, Sigma, for inviting me to explore. For challenging me to tell a story with a single lens. And for giving me the space to honor the artists who have shaped me.

    BEHIND THE SCENES


    Additional Credits:

    Muse: Bojana Reljic

    Director/DOP/ Photographer: Ara Coutts
    Editor: Danila Panfilov
    Costume: Rashi Bindra
    Grooming: Lateisha Grant

    BTS Director: Gajan Balan
    BTS Cinematographer: Thamilini Balakumar

    Director’s Assistant: Carter Gallie
    2nd Assistant: Fred Abramov

    Special Thanks to: Neighbourhood Studios, Silk Laundry, Michelle Ross, Elite Models, P1M

    Music: “The Spanish Heart” by Olivier Olsen

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  • Case Study: Sigma High Speed Cine Primes Lens the Edge of Space in Sci-Fi Short “Termination Shock”

    Case Study: Sigma High Speed Cine Primes Lens the Edge of Space in Sci-Fi Short “Termination Shock”

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    On a decades-long solo mission to the edge of space, an astronaut clings to routine as reality begins to fracture and isolation takes its toll… but are they truly alone?

    Director Cody Mobley turned to Sigma’s Full Frame High Speed Primes and Full Frame Classic Primes for his recent sci-fi short Termination Shock.

    We caught up with Mobley shortly after production wrapped to hear firsthand how the lenses shaped his visual approach and what the experience was like bringing this story to life.

    Low Light Capability

    Sigma:

    The Sigma High Speed Primes open up to T1.5 and as such, are well-regarded for their performance in low light. Did this play an important role in how you approached the darker, atmospheric sequences in Termination Shock?

    Mobley:

    There was a specific moment of deep emotion and anguish where our main character Lieutenant Taylor (played by Darian Michael Garey) has a breakdown. When you ask an actor to go somewhere dark and bring that emotion out, you want to make sure to capture as much of their performance as you can on the first few takes, or risk putting them somewhere deep in their head. Even in the darkened room, with a small splash of color on him, you can see the despair, the tears streaming down his face. We couldn’t have accomplished this shot without great low-light performance. This is an issue many filmmakers have, especially when making a thriller or horror, since you want to show what’s in the dark, without fully showing what’s in the dark.

    World Building

    Sigma:

    Sci-fi demands a visceral sense of atmosphere and immersion. Did the lenses help capture the scale, texture, or detail you needed to sell the story of Termination Shock?

    Mobley:

    The very first shot we tackled was one of our more lengthy and technical takes, where we track down a long hallway and swing to a closeup of a small object on the ground before sliding back to reveal our actor within the space. Going from micro to macro and back again isn’t easy on just any lens, especially on a space ship set flooded with fog, lights, and debris. So to say that the lenses helped capture the scale and detail would be insanely accurate. It was a very cool moment, everyone holding their breath watching on one of the monitors, wondering what the “look” of the story would be — and after I cut, this wave of excitement and awe passed through the crew. We knew at that moment we had something awesome on our hands..

    Creating Isolation

    Sigma:

    Most of Termination Shock unfolds in close quarters with a single character. Was lens choice a consideration regarding how to capture the astronaut’s psychological state or convey something as abstract as the feeling (or reality) of isolation?

    Mobley:

    It was one of the biggest considerations we had when building our rig. Using a single character, with no dialogue, can create obstacles or opportunities, depending on how you look at it. Having the correct lenses was pivotal in showing the inner turmoil that our main character never outwardly expresses, and can be the key to encapsulating the feeling of being trapped while something stalks you through tight spaces — we made the best choice going with the Primes.

    Image Character

    Sigma:

    The High Speed Primes have developed a reputation for their edge-to-edge sharpness and hyper-accurate color rendition. Did the “look” (or even lack thereof) of the lenses contribute to how you and your Director of Photography Eric Payne envisioned the overall look/feel of the film?

    Mobley:

    From day one when we were building the project I was adamant to shoot on the Primes, and all of our pre-production stills and camera tests were done with them; so it’s safe to say that the lenses not only had a large impact on the aesthetic of the film but shaped the look from the beginning. My DP Eric Payne likes to color correct our projects, and sets the shots up knowing what we are looking for in advance, and it was refreshing to see how close the raw footage aligned with our desired look.

    (Practical) Production Demands

    Sigma:

    From a production standpoint, how did the build and practical usability of the lenses support your team on set—especially when working in controlled or minimal spaces like a tiny spacecraft set?

    Mobley:

    Well I can tell you that our cam-op (Jesse Mar Ramirez) definitely appreciated the lighter weight of the Sigma Primes when we went handheld! But honestly, an added benefit was the easy swaps when we were on Steadicam. When you can spend less time balancing the rig and reconfiguring the follow-focus, it takes a lot of stress off the production as a whole. I also can say the close focus listed for each lens was pretty much dead on, so thanks for that.

    Post-Production

    Sigma:

    In terms of post-production, especially if visual effects were involved, how did the image quality from the High-Speed Primes influence your post process?

    Mobley:

    I prefer to go practical with my shoots. Nothing looks as good as real, solid, practical effects. Still, it’s hard to do a spaceship computer screen practically when the screens don’t actually work, so we had to go with a larger visual effect footprint than usual. I had always wanted to stay away from the green or blue tint you generally see on spaceship HUDs, and after going through our footage it was highly beneficial for us to go with a more muted and “older” looking graphic instead. Because the ship looks so real and crisp thanks to the Primes, it became a choice to make the special effects look dated and warped to better convey what you would expect after 27 years running non-stop.

    Creative Flexibility

    Sigma:

    Did having access to a full range of focal lengths in the High Speed Prime set give you more creative freedom in how you framed and told the story? Which focal lengths did the production and your DOP Eric Payne end up utilizing the most? 

    Mobley:

    Absolutely. Being able to craft a story with a full range of lenses is paramount, especially when we want to convey the isolation and turmoil in our main character’s head. Because each “day” in the story is shot differently, we used a variety of focal lengths depending on if we were on steadicam, handheld, or locked off on sticks. That being said, as it generally is on a tightly scheduled film shoot, we ended up relying heavily on the 28, 35, and 50 when we needed to nail a shot. We did capture the final shot of the film on a 35mm Classic though, to give us a bit more flare and ethereal feel to end our journey.


    Watch The High Speed Prime Lenses In Action:

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  • Surfers, Ghost Town And Nature Photos – The Weekly Light Stalking Community Roundup

    Surfers, Ghost Town And Nature Photos – The Weekly Light Stalking Community Roundup

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    Welcome to our weekly community wrap-up.  It’s been another great and exciting week on the Light Stalking forums with some stunning photography by the community.

    Here is the Photo Of The Week that is judged by Federico every week. This week’s photo of the week is by Click and you can read about what Federico had to say about this photo in the link here – Photo of the Week – September 05th

    Night Cycle – Copyright Click

    The weekend photography challenge from last week was framing cityscapes in interesting ways and members had their creative take on some very interesting shots – some of them are shared below.

    A self guided tour – Copyright Patrick
    Copyright – Elin Laxdal
    Ghost Towns – Copyright Robert Apple
    Copyright Pat
    Liberty Park – Copyright Pat
    Copyright Patrick

    Take a look at more submissions here – “Cityscapes Framed

    This week, we have a new challenge that has some very beautiful submissions already. Join the challenge here – “Perspectives Redefined

    If you are someone who captures images with your smartphone, we have a Mobile Photography Challenge where you can post your mobile photos and also check out the works by other photographers. The images must be captured and edited on a smartphone. Join to submit the photos over here. Here are some photos too.

    Copyright Rob Wood
    Copyright Patrick

    There are also some members’ picks that are featured. These can be chosen by any of the members and are put in a whole new thread of their own and called out as being a great addition and shot for the forums. Check out those stunning captures here.

    Patrick started a thread late last year – “Community Inspired Photo Story Challenge” – capture a story in 3 to 6 photos that hold personal significance and post them with a brief description. While that thread was started to be completed within a week, it has been open with ongoing submissions for the past year and is still open where members can post their stories.

    Here are some amazing shots from the past week that we thought were great and should be included here:

    Patrick is working on something different. Join the conversation here.

    The Last Piece – Copyright Patrick
    Self Reflection – Copyright Patrick

    Steve shared a photo from the Saluda River, South Carolina USA. The image looks classic with the black and white treatment and a powerful composition.

    Saluda River – Copyright Steve

    Tersha shared a beautiful photo of a Long Tailed Tit and the post processing, light were perfect with a distinctive style.

    Long Tailed Tit – Copyright Tersha

    Steve also shared another fun photo “Long Necked Gremlin scans their domain” that shows how a change in perspective can make a photo very interesting.

    Long Necked Gremlin scans their domain – Copyright Steve

    Marty had some fun at the beach and shared some very interesting photos of surfers. Check out the discussions and the surfer shots here.

    Surfer – Copyright Marty

    She also shared a few highlights from her recent trip to Arizona and California here:

    Copyright Marty

    Here are some throwdowns to follow and post your own photos,, or you can start your own throwdown too.

    • 2025 Reflections Throwdown – a unique way to capture your own reflection, whether abstract or otherwise. There are many beautiful images to go through for some inspiration.
    • Your Pets – Share photos of your pets here.

    And, there are images posted in the Shark Tank forum where members request for constructive criticism on their photos.

     If you’d like to join in with our members, feel free to join us on the forums.  We’d love to see you there, and we are a friendly bunch.



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  • 21 Beautifully Composed Photographs Of Flowers

    21 Beautifully Composed Photographs Of Flowers

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    Nature has blessed us photographers with a variety of subjects that we can photograph. From the grand mountains and landscapes to the tiny micro critters, everything in nature is photographable and beautiful and it is an educative and rewarding journey. One just needs to learn to slow down, observe the environment around, to capture beautiful photos.

    One of the most photographed subjects is flowers and from experience, I know there are people who think that flowers are subjects for only beginner photographers, but it is not true as it requires some skills to capture stunning flower photographs. Flowers are interesting subjects and if approached from a different perspective in terms of light, angle and composition, they are one of the most beautiful subjects and can yield very artful results. Here are 21 beautifully composed photographs of flowers.

    Composition is a very important factor in photography and if you need to capture unique flower photographs, you need to give importance to composition besides light. If you are new to photography and are finding it difficult to understand compositions then check out this eBook, “Understanding Composition” by Photzy that is a step-by-step guide to learning the fundamentals of composition for stand–out photography.

    Photo by  Annie Spratt 
    Photo by  Jill Dimond
    Photo by  Hulki Okan Tabak
    Photo by Jay-R John Soriano
    Photo by  Thanuj Mathew
    Photo by  William Warby
    Photo by  Wyxina Tresse

    Flowers are simple subjects and can be found in your garden or backyard. The way you photograph a flower and the creative thought behind the composition along with the best light is what will make your flower photographs stand out. There are many factors when composing a photo that will make it great. You need a focal point or some element that will lead the viewer to the focal point and this is achieved with the help of effective compositional techniques. If you want to learn these techniques to improve your photography, check out this eBook “Understanding Composition” by Photzy.

    Photo by Polina
    Photo by  Scurtu Corina
    Photo by Maddy Hunt 
    Photo by  Jei Lee
    Photo by  Zoltan Tasi 
    Photo by J F

    When photographing a particular flower or a bunch of flowers, you can either capture a snapshot or a compelling photo that is more than a snapshot. A strong composition is what differentiates a great photo from a snapshot. If you are looking to improve your compositional techniques, we recommend you to check out this eBook, “Understanding Composition” by Photzy that has 120 step-by-step pages,, 25 key lessons, a lot of sample images with comparisons, self-check quizzes, assignments and exercises to make learning more fun and exciting.

    Photo by  n kono
    Photo by  Anna Meshkov
    Photo by Rebecca Orlov
    Photo by Julia Karnavusha
    Photo by  Skyler Ewing 
    Photo by  Kristīne Zāle
    Photo by Aaron Burden

    Further Reading



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  • These Tutorials Will Help You Master The Art Of Flower Photography

    These Tutorials Will Help You Master The Art Of Flower Photography

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    Flowers are colourful and come in all shapes, sizes, textures and colours. They are also used to celebrate important moments in life and as a daily addition to brighten up spaces. If you are a beginner in photography, flowers are great subjects to start with. Whether you have a camera or just your phone, you can use it to capture beautiful photographs of flowers.

    If you are someone who prints photos to hang in your space, flower photos truly work as great printed pieces and can add a pop of colour to your space. A basic camera and your kit lens or a 50mm lens or even your smartphone, are all you need to get started with flower photography. You can also capture interesting macros of flowers that can be both abstract and intriguing. In this article,, we have put together a set of tutorials that will help you to master the art of flower photography.

    Photo by Zoe Richardson

    When photographing flowers, people may not consider it as a very serious subject and approach it without much thought or any other creative techniques in mind. For example for closeup details of textures on the flower you will need to use a narrow aperture and get quite close to the subject and for a photo where you want the flower to stand out from the background you will need to shoot using a wide aperture. This article provides a detailed guide on how to photograph flowers for great results.

    Photo by Stux

    We cannot imagine a world without flowers, can we? Flowers add a lot of beauty colour and magic to landscapes and gardens. Flowers come in all shapes, colours and sizes and they can be photographed in different ways If you take a little care in terms of light, composition and techniques, and you can create stunning results. This article discusses 8 tips that you should embrace to get the best out of your flower photography.

    We would all imagine that flower photos can only be captured with a wide or moderate focal length lens, but there are times when flowers may be high up on a tree or in a location where you may not be able to get close to the flower/s. Besides, using a telephoto lens for flower photography will also help with achieving various looks and effects in the resulting images. this article discusses how to capture great flower photos using a telephoto lens.

    Photo by Cristiane Teston 

    Flowers are attractive and they most of the time attract birds and other critters with their vibrant colours. There is a lot of science behind why certain flowers are evolved to be in terms of their colour size, form and shape. When the colour is removed you can look deeper into the textures and other details of a flower. Here is a collection of black and white flower images with a small write up of what the author feels about black and white flower photography.

    Photo by  Erik Karits

    Have you looked at flowers up close? Observed their intricate details? There are a lot of beautiful textures, and even some forms that can be observed, which can go unnoticed otherwise. Macro photography of flowers is something that will help you to capture these stunning details. If you take care of the lighting, composition and a few other factors, you will have beautiful resulting images and this article discusses those details.

    Photo by Rapha Wilde

    One of the best subjects for macro photography is flowers. Macro photos of flowers can be captured when in the fields but there are times when the weather may not be favourable, especially if it is windy and in those situations, the flower can be brought indoors to capture its minute details. Unless you have good window light that can illuminate your subject, you may need to use some kind of artificial lighting setup to capture sharp details. This article discusses how to set up a lighting studio to capture macro photos of flowers.

    Photo by Danielle Stein

    Flowers are brightly coloured and they bring in a lot of cheer to the place they are in. Some flowers are very brightly coloured and they just bring a pop and mood to a spot or surroundings. When capturing or editing flower photos one does not always need to stick to the bright and cheerful style but can also lean towards the dark and moody vibe which works great for flower photography. When capturing images for this style, and during the editing process, some care needs to be taken, which may be slightly different. This article talks about capturing and editing dark and moody flowers or in general flora.

    Photo by Charles Smart

    Most of the time, we may be photographing flowers in our own garden. When doing so we have a number of opportunities to capture the flowers differently. The tools we use in the garden and other garden features can serve as interesting backdrops or props and this will help to capture interesting storytelling images. This article was written after taking inspiration from my small garden and explains how to capture photos in your own garden for stunning results.

    Photo by Sheen

    There are many types of flowers on this planet – some big, some small and others very tiny.. There are times when you may come across a field of a particular flower and you may be running out of ideas to photograph in that location. It may look too busy or you may be confused but the right choice of focal length, and composition can help you capture beautiful shots. This article discusses how you can photograph the gorgeous looking sunflowers in different ways. This can also be applied to other flowers.

    Photo by Sheen

    Here is another article that talks about capturing a particular flower – Dahlias. Dahlias come in a variety of colours, shapes and sizes too and choosing the right combination of colours will work great. If you love dahlias and are interested in capturing their beauty, then this article talks about the different ways these flowers can be photographed, creative post processing including black and white, lens choices and more.

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  • Cutting The Cord – X Ways To Use Wireless in Your Photography

    Cutting The Cord – X Ways To Use Wireless in Your Photography

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    We are all used to wireless Internet. It’s been around in one form or another for 25 years and pretty much every connected household will have a Wi-Fi capable router. However, many of us might not realize that modern cameras also have a number of wireless capabilities that can enhance our workflow or allow us to capture unique images.

    Today we are going to cut the cord and take a look at some of the many ways that we can utilize wireless connections in our photography.

    Ethernet cables in the back of a router
    Wifi and BLuetooth has reduced our dependance on wires. By Jonathon on Unsplash

    Ways of Cutting The Cord

    There are actually a number of ways for creating a wireless connection in your camera. This will obviously depend on the camera specification but these are the most common ways.

    • WiFi – In this mode you connect your camera to your local Wifi network. You will need to search for your network then enter your WiFi password. For security reasons it’s best limited to a home, well secured, WiFi network and not open source free WiFi. However if you are looking to have WiFi connections in the field you can buy portable hubs. These are often used to connect multiple devices to 4/5G data whilst traveling.
    • Bluetooth – Many cameras now come with a version of Bluetooth for short range wireless connectivity. As Bluetooth has evolved it has gained more and more capabilities, making it increasingly useful in cameras.
    • On camera adapters – These adapters are most commonly attached to the hot shoe and connected to a camera port via a shot cable. They allow for the wireless connection of more complex peripherals.

    Those are the primary wireless connections that our camera may be able to make. But what can we do with them? Let’s find out,

    Bluetooth Wireless to OEM Smartphone App

    The most common wireless connection we will make with our cameras is to connect to the manufacturer’s dedicated app on a smartphone. Mainly connected through Bluetooth, these apps have varying degrees of capability and usability.

    Some of the functions might include –

    • Remote viewing and shutter triggering.
    • The ability to change camera settings remotely – usually this is limited to exposure controls and sometimes focus points.
    • GPS locations gathering – many cameras do not yet have GPS built in, but some apps can geolocate the camera’s position using the smartphone’s internal GPS.
    • Image transfer to a device – apps can often wirelessly transfer images from the camera to a smartphone, tablet or computer over Bluetooth. Whilst useful in the field, it can be a slow and sometimes unreliable process.
    • Send images to the cloud – usually the OEM’s own cloud server but sometimes sites such as Dropbox or Google Drive
    Wireless connection screen on a Fujifilm camera
    Most modern cameras can connect to Bluetooth and Wifi. By Jason Row Photography

    Manufacturer apps can be a useful way to wirelessly connect your camera. However as they are provided free, often they can be a little clunky, limited or even unreliable. For some cameras there may be third party, paid apps that do a better job.

    Bluetooth to External Accessories

    The increasing capability of Bluetooth has led to the ability for cameras to connect wirelessly to peripherals. The most obvious example of this is connecting the camera to a gimbal via Bluetooth.

    With gimbals, you are able to control the camera directly from an interface on the gimbal itself. Controls might include, triggering the shutter/record button, focussing the camera and even controlling some aspects of the exposure.

    Other uses include connecting hotshoe mounted wireless adapters to a smartphone. Typically this might be a wireless flash trigger that can be controlled from your phone.

    Many printers these days are wireless and can easily connect to a camera directly. You can send images straight from your camera to the printer, without the need to import them to a laptop.

    As Bluetooth is a relatively low powered wireless connection, any peripherals will need to be in close proximity to the camera.

    A Rode Wireless Go II microphone system connected to camera
    The Wirelss Go II system is a good example of cutting the cord. By Jason Row Photography

    Wireless Tethering

    Tethering is the ability to connect our camera directly to our computer, either a desktop or laptop. In wired form it has been around since the early days of digital cameras. However in recent years, it has become increasingly wireless. Mainly this is done over Wifi as it has a better range.

    Why would we need to tether our cameras? The most common use is in a studio environment. A photographer can be shooting whilst the camera is simultaneously downloading the image to an editor. This can greatly speed up the workflow in busy studios.

    Tethering can also allow the photography to see the live image on a large, color calibrated screen. This allows them to make minute adjustments to exposure, color and even focus.

    Recent developments in wireless tethering have allowed our stills cameras to be adapted as high quality webcams. With the advent of video conferencing, especially during the pandemic, this has allowed for much higher video quality in calls.

    Wireless Adapters

    Some more complex wireless photographic systems require specialist adaptors that attach either to the camera’s hot shoe or baseplate. The most common applications for these are in remote photography and flash triggers.

    The simplest form of remote photography will be a wireless shutter/intervalometer. This will allow the photographer to remotely control and trigger the camera from a short distance away. These types of remotes are often used in long exposure and time-lapse photography. There are also often much cheaper third party options available for OEM models .

    Man shooting camera on tripod persched on a high rock
    Wireless remotes allow you to safely step away from the camera. By Blake Cheek on Unsplash

    A more complex type of remote trigger system involves motion detection to trigger the camera. These are often used in camera traps for wildlife photography and research but also, increasingly in sports photography.

    The other main use is to trigger complex flash set ups. A wireless adapter is connected to the hot shoe where it talks to the camera flash dedication module. This adapter is wirelessly connected to multiple flash units and even smartphone apps. The system allows the photographer to minutely control the power output of each flash unit to finely tailor the lighting on the subject.

    Another form of wireless adapter is one that connects to the camera baseplate. These are often OEM models that allow for ultra fast transfer of images to remote computers. Typically these are used in sports photography where images need to be online within seconds of being taken.

    These are just some of the very powerful ways we can wirelessly control our cameras. From simple image transfer to capturing endangered species without encroaching on their habitat, wireless photography has become a powerful tool – one that is almost universally available.

    Do you use wireless for your photography? Feel free to share your experiences in the comments section below. We would love to know!

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  • The Sigma BF in Real Life: The Camera I Keep Reaching For

    The Sigma BF in Real Life: The Camera I Keep Reaching For

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    I’m Heather Larkin, and I have been working as a portrait photographer for the past 20 years. Over the years, I’ve used a wide variety of cameras and lenses, but the new Sigma BF is something entirely different. I’ve completely fallen in love with it as my personal fun camera. In the last few months, I’ve used it to photograph various personal subjects. I’ve experimented with three lenses in very different settings, from baby photos to jellyfish, to my own flower studio at home. It’s not meant to replace my workhorse camera, but it has become my favorite grab-and-go camera.


    Designed to get out of the way

    The Sigma BF is a paragon of minimalist design in the best way possible. It’s intentional, it’s fun to use, and it’s even lovely to look at. The pared-down body and controls are designed in a way to be intuitive and invisible, letting me focus on the experience instead of my gear. It lets me slow down in the most fabulous way.


    Three lenses, three perspectives

    35mm F2 DG | Contemporary – I used this lens for baby photos of my new nieces, in the Seattle downtown area and market, and through the Seattle aquarium. It felt wide enough to handle all of these situations without too much distortion, and it handled tricky lighting super well.

    50mm F2 DG | Contemporary – I used this lens at the 2025 Philadelphia Flower Show, and I also love using it in my own home flower studio for simple flower portraits. It’s great for isolating subjects in busy spaces like the flower show, but I also love the depth it gives on a studio backdrop.

    105mm F2.8 DG DN Macro | Art – This lens is pure fun. I’ve used it in my own garden, for studio macro play, and during quieter moments while traveling. The process is slow and thoughtful, and the images are so rich in detail. I love macro photography, and seeing all the little things brings me so much joy.


    Where has the BF been so far?

    A baby session without the pressure

    I used the BF for a semi-impromptu photo session for my niece’s five-month-old baby pictures. We picked a few simple outfits for a natural light portrait session so I could focus on her little perfect face and bright eyes. She’s not sitting up yet, but she’s certainly going to tell you all about things. The BF was quick to focus while she was wiggling and chatting to me, and I turned on the focus tracking feature so I could concentrate on making Florence smile… a difficult thing when all she wanted to do was watch the camera. I mean, it is gorgeous to look at, right? We didn’t overthink things, and I didn’t have to overthink my gear. The 35mm F2 lens was great for letting me stay close without getting in the way, and the BF is small and light enough to use one handed so I could tickle the baby at the same time.

    Wandering through Pike Place Market

    I am not usually much of a street photographer, but the BF is the perfect camera to take into the crowded market. It’s unobtrusive and light enough to carry all day. The energy, color, and movement of everyday tourist life are captivating. The 35mm lens focuses close enough to capture market details, and it’s wide enough to convey the feel of the whole scene. Every person I spoke to noticed the BF and asked about it, but it wasn’t really noticed otherwise while I was walking around. I had it on my Spider Holster at my hip, and it was small enough to maneuver through the busy crowd without hitting anyone with it.

    Light and shadow at the Seattle Aquarium

    Wow, if you could create a tougher challenge for a camera besides being in the water, I’d like to see it. Lighting issues were the name of the game this afternoon. The colors of the aquarium—the blues and yellows—are already difficult, but then add things like reflections, subject motion, and dark corners, and it becomes quite a challenge for any camera. The BF handled it all with grace. I loved having this camera with me; it made me feel present, and the slower pace allowed me to notice more. I think my favorite photos of the day were the jellyfish.

    Philadelphia Flower Show

    The Philadelphia Flower Show is another set of fun lighting challenges. It’s busy, bold and colorful. So many flowers and so many people and so much texture. I used the 50mm F2 to help simplify cluttered scenes. The BF handled the lighting shifts well and I never felt like I had to babysit the camera, so I got to really enjoy the whole show. I found that controlling the aperture on the lens dial and setting the camera’s ISO to auto while using the exposure compensation on the back dial for changing lighting was the quick way to get the photos I wanted without concentrating too much on my gear.

    Studio flower play

    Unlike the Flower Show, I can control the lighting in my own home studio. It’s a slower setup, making it very zen to just sit there and tilt the flower or adjust the light just so. Tiny adjustments lead to great effects, little by little. It’s a calming practice. The BF makes this enjoyable, simple and relaxing, just like the studio flowers. I chose both the 50mm F2 and the 105mm F2.8 Macro for these shots.

    Home garden macro

    My home and local gardens are really where the camera disappears and lets me create. I love macro at all times, and to have this camera just adds to the calming enjoyment. The spot focus option and tracking are perfect for getting the composition I want while retaining focus while I’m recomposing, or I can just use the touchscreen to change my focal point. The 105mm F2.8 Macro lens on this camera feels light enough to use one-handed occasionally while being nicely balanced. Plus it’s small enough to get into the shrubbery without really scaring any wildlife I might be photographing. I don’t know why, but doing macro with this camera just makes everything feel so much more artistic somehow. The color is absolutely perfect for this.

    Everyday pretty fluff

    I was talking to Aaron, our senior tech rep at Sigma America, and he said something that really stuck with me. He was talking about the BF and how it’s so accessible. He said something that we’ve all heard: “the best camera is the one you have with you.” But then he expanded and said that the BF is the perfect everyday camera because it is so easy to take with him. He takes more pictures and has more photos he loves because he has a good camera with him when he wants to take those photos. It’s inspiring and I really felt that way too. I find myself taking pictures of things I never would on my phone… because the BF is there and I know the result will be so much prettier.


    The camera I keep reaching for

    I am really happy with this camera, and I want to take pictures of everything while I have it. Perfection isn’t my goal; instead, I look for the fun and joy that comes from taking photos, and this camera really brings that! I think nothing is too small to photograph; every little detail can share a story worth telling. This camera isn’t trying to compete with professional studio cameras, nor does it need to. Its main appeal is being stylish and easy to carry — perfect for those who want to enjoy the fun of photography again. I truly believe that everyday creators and artists will love this unique camera, as it helps them show their creativity without the stress of being perfect. It’s a gateway to enjoying photography again.

    I didn’t expect to love the Sigma BF this much. This camera made me slow down in the best way. It keeps reminding me how fun photography can be when it’s just for you. It’s going to keep staying with me because it just makes me want to take and keep those images.

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  • Case Study: Dallas Cowboys Put Sigma Aizu Prime Lenses to Work at Training Camp

    Case Study: Dallas Cowboys Put Sigma Aizu Prime Lenses to Work at Training Camp

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    Three weeks. Long hours under the California sun. Relentless days behind the lens. The Dallas Cowboys’ creative team, led by Drew Ferguson, put the new Aizu Primes through a true test of endurance at their 2025 training camp in Oxnard, CA.

    Here’s what Drew and his team had to say after pushing the Aizu Primes to the max.

    Compactness and Handling

    Sigma:

    The Aizu Primes all maintain 5″ barrels (PL mount) and weigh just a hair over 3.5 pounds (1.7 kg). Did the size and/or weight of the lenses influence the way you worked during spring training?

    Ferguson:

    They were a great size, honestly. We run the DZO Arles for a majority of our shoots, and these are pretty comparable in terms of size and weight. So, we were pretty comfortable working with these like we do with our other cine glass.

    Durability

    Sigma:

    The Aizu Primes feature full metal construction. Is durability a consideration in your line of work, and did the lens’s build meet your expectations in demanding shooting conditions?

    Ferguson:

    Our gear takes a beating. With over 500 shoots a year, some stuff is bound to break, so we’re always factoring in durability of a product before purchasing. The lens’s build met the expectations for our line of work, for sure.

    Fast Aperture

    Sigma:

    The Aizu Primes have a consistent T1.3 aperture value throughout their entire range. Has the speed of these lenses influenced your approach to shooting in different lighting situations on or off the field?

    Ferguson:

    For sure. Having a super speed lens like this gives us a ton of flexibility when we’re having to shoot in dark environments like our tunnels. We don’t have to factor in as much lighting as we use to when we run around with these lenses.

    Bokeh and Depth of Field

    Sigma:

    After spending time with the Aizu Primes, how would your team describe the qualities of the lens’s bokeh or its ability to separate subjects from the background?

    Ferguson:

    Honestly, it’s some of the best I’ve ever used. The separation is so smooth and the character you get out of opening up wide is pretty unique.

    Versatility

    Sigma:

    Did the lenses perform consistently when switching between handheld, gimbal, or tripod setups?

    Ferguson:

    We didn’t do any gimbal work, but it was consistent across handheld, high hats, and tripods for use. It was consistent across all the cameras we used, too, which was really nice, since we don’t always get that consistency when swapping between camera bodies.

    Overall Shooting Experience

    Sigma:

    Did you find certain shots or scenarios where these lenses were particularly well-suited (or challenging) to use?

    Ferguson:

    Interviews were where these really shined for us because we could control the composition and environment, and get exactly what we needed out of the lenses. But, honestly they were still pretty versatile with run-and-gun. There really weren’t many shots where I felt like I missed focused, even when wide open.

    Cine, Meet Football

    Sigma:

    You and your team have expressed a keen interest in pairing the world of cinema lenses with the world of sports in ways many teams haven’t explored. Did the large 46.3mm image circle influence your shooting choices, and did you experiment with pairing the lens with large format cameras or sensors to achieve a particular look or workflow?

    Ferguson:

    We actually didn’t get a chance to test a ton of footage out on the Fujifilm Eterna like we wanted. But, we definitely are interested in pairing it with our Pyxis 12Ks when they arrive in this coming quarter!


    Watch the Aizu Prime lenses in action:

    A look behind the scenes with the creative team:

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