Welcome to the Light Stalking weekly wrap-up of our wonderful little community.
We had another great week on the site this week with some very interesting photographs being submitted for our weekly challenge – Colour in Simplicity.
Here are a few of our favourites.
Pat Garrett:
Frogdaily:
Patrick:
Tersha:
Pat Garrett
Robert Apple
Member Highlight
Over the last several months, Patrick has been producing some extraordinary black-and-white street photography that we thought was well overdue for a bit of a spotlight. Patrick has managed to develop a style all of his own, and, miraculously to us, he manages to produce it on a very regular basis with his posts and his Instagram being updated daily as far as we can see.
Anybody who has been in different photography knows how difficult this is. But here are some of the wonderful images he’s produced lately:
Join the Photography Contest to Win Some Cash!
Don’t forget to jump into our monthly contest for the chance to win some cash. This month, it is Minimalism and Simplicity, which is always a popular type of theme when it comes to photography.
If you’ve really been paying attention to the Instagram profile grid over the last couple of days, you will have spotted that your vertical images that you meticulously cropped to 4:5 aspect ratio are now having the sides trimmed just a little bit. That’s because Instagram has switched to a 3:4 grid ratio on profile pages as it introduces support for images with a 3:4 aspect ratio—i.e., the aspect ratio of the vast majority of smartphone sensors.
The change comes only four months after Instagram did away with their square profile grid, causing many carefully crafted profile pages to no longer look quite so cool. Presumably, the latest move will result in a new wave of similarly incensed users—who spent the last four months perfectly lining up their 4:5 aspect images—but the support for the 3:4 aspect ratio is an eminently sensible decision given that an overwhelming majority of users are trying to make full use of the available screen real estate by posting vertical images shot on their phone.
Of course, users of Micro Four Thirds cameras—underwater shooters included—can also pop the champagne, as their days of cropping vertical images are now officially behind them. Meanwhile, everyone else can at least celebrate the little bit extra in our photos we get to show the world. (Instead of a maximum size of 1080 by 1350 pixels, vertical images can now be 1080 by 1440 pixels.) Before you get too excited, though, keep in mind that there’s a very good chance Instagram will not be switching to a 2:3 grid ratio anytime soon, given the ubiquity of the 3:4 smartphone sensor. Still, one can always dream!
It takes a while to learn to use your camera like a photographer for whom the camera feels natural in the hands, to move your fingers across the buttons almost unthinkingly, with intent and purpose. It takes even longer to think like a photographer for whom thoughts about composition and the look and feel of the image come in a way that feels intuitive.
Photographers seem more excited to lean into the former than into the latter, which is unfortunate if you believe that your thoughts as a photographer must be thunk before you decide what to do with your hands.
Our photographs are a result of how we think about the world, the scenes in front of us, and how our perceptions of those scenes can be translated into a picture by our creative use of the camera.
If you and I were photographing together and you asked me, “What are you looking for?” your actual question would be, “What are you thinking?” It’s not how I use my eyes that you’d be inquiring about, but what I think about what those eyes are seeing. And when I’m alone, sitting in the presence of some wild thing and failing to make the beauty translate to the picture, I usually ask myself the same kind of question: “How should I be thinking about this?”
When the process is challenging, it’s not my eyes that aren’t working; it’s my mind. As a starting point, it sometimes helps to think about specific things and look for them. One of those things is contrast.
The contrasts or differences in the scene are often something we can build a photograph around. That could be a contrast of tones or of colours. It might be a contrast of shape, texture, or line. A contrast between the sizes of elements, perhaps, or the magical contrast of light.
It might be a contrast of ideas, what we usually call juxtaposition. Organic and inorganic in one frame. Hard and soft. Old and new. Ancient and modern. Predator and prey.
And it could also be contrasts that will only really come to life when I amplify them with the camera. A contrast of moving subjects against stationary backgrounds made clearer with a slow shutter speed. A contrast of focused elements against those I allow to blur with a wide aperture. Even the contrast between highlight and shadow might look one way to my eye, but magnified in effect by my exposure choices.
In the images above, which contrasts do you identify? Can you find the colour contrast? The contrast in size? The contrast of ancient and modern? What contrast do you see in the image of the vultures?
It is not necessarily true that the stronger the contrast, the stronger the photograph, but I think it’s certainly the case that more interesting contrasts captivate us. I don’t know why, but I know that we’re drawn to the differences. And I know this:
The fewer interesting contrasts I see in an image, the fewer mood and story hooks there are on which to hang my emotions and my imagination.
Not all contrast is helpful. We’ve all looked at a scene where the light is hot and contrasty, but not in a good way. Some colours contrast in an unappealing way. And there might be other contrasts in a scene that pull the eye, but not how you’d hoped. And maybe that’s what I’m getting at: contrast naturally pulls the eye. You can use that intentionally or pretend it’s not there, but it won’t pull the eye any less without you making some decisions. Maybe that’s where wider apertures and shallower depth of field help. Maybe a longer lens to exclude those unwanted contrasting elements. Perhaps this is when you convert the image with clashing colours into black and white.
Before you mash that shutter button or spin the dials, it’s worth asking which contrasts you see in the scene and if there’s a way—either with the camera or in post-processing—to draw my attention to them. It might just be that all you need to do is notice them and follow whichever instincts take over from there, but I know that learning to see is about learning to notice, and we notice things we think about.
I am amused by the contrast of the “have and have not” in the image on the left (click it to see it larger on my blog). Without that contrast, the image wouldn’t have the interest it does or the appeal to my humour. The image on the right is a contrast of size and age, but also of action: attentive vs. asleep. That’s where the story is.
So think about contrasts. Maybe look at some of your photographs today and seek out the differences. Contrast isn’t everything, but it’s one element I see in the best images. And when you’re sitting down doing post-production, asking where the interesting contrast is and how you might want to amplify it is a worthy question.
Without differences between elements, we have nothing to look at, no hook on which to hang our interest. The more interesting those differences, the more intentionally you work with them, the stronger your photographs have a chance of becoming. The more you think about this, the more you’ll see it.
The Underwater Awards Australasia 2025 is now accepting entries. The premier underwater imaging competition focused on the Australasian region is a three-way collaboration between DPG, Underwater Australasia, and UW Images. This year, entrants are competing for prizes in nine categories, including the contest’s unique “Reels Showcase” video category, with the top image or video among the category winners receiving the distinction of “Best of Show.”
This year’s prize pool has increased in value by more than 40% compared to last year, to a total of A$70,000! The prizes include dive trips with the world’s top resorts and liveaboards as well as the latest underwater imaging equipment and dive gear—even an underwater photography drone and an underwater scooter with photographic platform. The prestigious judging panel comprises photo judges Tobias Friedrich, Jayne Jenkins, Matty Smith, Tanya Houppermans, Scott Portelli and William Tan; and video judges Philip Hamilton and Ross Long.
The competition will culminate in an exhibition and awards ceremony at Go Diving Show ANZ in Sydney, in September 2025. The exhibition will feature high-quality metal prints of the finalist entries in the photo categories. Made by the competition’s Printing Partner PhotoMart, the prints will be available for purchase at the show, with the proceeds going to Environmental Partners Australian Marine Conservation Society and Take 3 for the Sea.
Head over to UnderwaterCompetition.com to find out more about the categories, prizes and judging panel, and make sure to read the rules and guidelines carefully before submitting. Entry fees are US$10 per image or video entered. The competition closes on July 20th, 2025.
Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 248mm, F6.3, 1/1600s, ISO 100
When Sigma reached out to me about testing a new lens, I was immediately curious to find out what it was. When I learned it was the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary, I couldn’t help but be excited, as it was exactly the kind of travel lens I had been hoping for.
About 15 years ago, I used a high-magnification zoom lens from Sigma, and I still remember how incredibly useful it was – not only for travel, but also for commercial shoots.
This new lens feels a bit sleeker, yet sturdier, than the one I used back then. Since I travel so often, minimizing my gear is very important, and with this lens I no longer need to carry extra lenses. It is a real game changer.
I tend to gravitate towards a standard focal length of 40-50mm for street photography. But I also love the creative freedom that zoom lenses provide. The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary, designed for APS-C cameras, offers an effective focal length of 24-450mm, which meant I could easily capture distant scenes without missing a moment.
When I came back from my travels, I took a few photos of my everyday life, and once again I was blown away by the stunning results, especially when shooting in soft backlighting. It actually exceeded my expectations.
I got my hands on this lens just one day before leaving for Portugal. Naturally, my photography was all about exploring Portugal. The camera and lens fit perfectly into my small everyday camera bag, almost as if they were meant to.
Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 154mm, F6.3, 1/800s, ISO 250Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 110mm, F6.3, 1/800s, ISO 1000
As the plane approached Lisbon airport, I noticed storm clouds in the distance. I quickly took out my camera and captured the scene. It was probably the first shot I took with this lens. Even though I wasn’t sitting by the window, the zoom still allowed me to capture the mysterious clouds.
Even though I had been to Portugal before, this trip felt refreshing and new. I think it was because of this lens. One night before Christmas, I hopped on the iconic Tram 28 to experience Lisbon’s nightlife. A few days later, in the new year, I visited the peaceful villages of Alentejo and the coastal town of Nazaré, known for its giant surf waves. Wherever I went, my camera and lens were by my side.
A few years ago, on a trans-Siberian trip, I carried several cameras and several prime lenses to cover all possible focal lengths. My love of photography kept me going, but the physical exhaustion was undeniable. This time, with just one lens, I was able to capture the serene plains and rooftops of Évora Monte, the winter sea from a windy hill in Nazaré, and the ever-changing waves of the ocean. Again and again, I found myself grateful for the lens’s versatility.
Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 300mm, F6.7, 1/500s, ISO 400Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 91mm, F7.1, 1/500s, ISO 100Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 62mm, F5.6, 1/800s, ISO 500Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 76mm, F8, 1/500s, ISO 100
When I was younger, I loved browsing through my father’s photographs. Later, I joined my middle school’s photography club and learned how to use a manual camera. Then, in the early 2000s, I got my hands on a digital camera and began documenting my life in earnest. I studied the work of great masters like Henri Cartier-Bresson and traveled the world to capture an endless number of moments. I was never without a camera. Photography became as natural to me as breathing.
I am inspired by the people I meet, the vibrant colors of nature, and the way light and wind play together. The scents of the places I visit, the books I read, the music I listen to, and the art others create move me deeply. Even longing and solitude are emotions that continue to inspire me. While light, composition, and framing are crucial elements of photography, I believe my photographs are truly defined by the attitude, authenticity, and mindset behind each shot.
If you want to fully experience the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary, I recommend taking it on a trip and exploring with no other lens in your bag. It will give you the freedom to experience each moment and discover how it can move you in different ways. Also, always take the time to look at beautiful photographs and think about what kind of images you want to create and how to achieve them.
Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 300mm, F6.7, 1/500s, ISO 250Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 59mm, F5.6, 1/800s, ISO 320Sigma 16-300mm F3.5-6.7 DC OS | Contemporary Sony A6500 86mm, F5.6, 1/400s, ISO 100
The Sigma BF looks stunning at night. But how are the images?
What does it take to get out of your comfort zone? Over the last 10 years or so, I’ve very rarely shot anything outside of astrophotography. I’ve always had an appreciation for other styles, but very little desire to explore shooting them myself. While I always try to improve my work, my comfort level with astro allows me to fully enjoy being out under the stars and focus on creating.
Hearing about some of the details around the new Sigma BF definitely had me intrigued. While it’s hard to deny the design of the camera stands out, it was really the simplified approach that grabbed me. I visited the pop-up in NYC during March 2025 to get my first look at the camera, and then returned two weeks later so I could have the chance to shoot with one.
With the Sigma America crew and my BF camera, ready to hit the streets.
Getting used to the minimal button system on the back of the camera didn’t take much time at all. Using the dial to make quick adjustments and my personal love for the aperture ring on the 20mm F2 DG | Contemporary lens made taking some of my first street photography images feel a lot more fun than like more of a challenge.
The Sigma BF as a walkaround camera
Street photography in particular is a genre I’ve had a special appreciation for when viewing someone’s work. It looks easy, but like so many things, only when it’s done well. I was a bit unsure about what to photograph, or if what I was photographing was any good, but I was having fun. And, at least personally, I was really enjoying the images I was capturing, too.
SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F8, 1/1000s, ISO 400
SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F8, 1/250s, ISO 400SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F8, 1/500s, ISO 400
I didn’t wait long before heading back out with the BF. This time, I made my way to Princeton, NJ, again with the all-metal 20mm F2 DG | Contemporary, hoping to take some black and white architectural images. The built-in monochrome color mode helped me do just that, although other color modes were just a flick of the wheel away. Just walking around with a wrist strap and this new minimalist camera, I found myself looking at everything to try and find the perfect frame. These new (for me) genres of photography felt fresh and exciting.
SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F9, 1/80s, ISO 100SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F9, 1/400s, ISO 100
I worked my way all the way around buildings, up close and from a distance, watching the back of the camera to find that perfect angle or just waiting until something felt right. That’s such a special feeling when that happens while you’re out photographing. It means you’re completely present in the moment and paying full attention to finding that perfect composition.
SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F8, 1/125s, ISO 100SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F9, 1/30s, ISO 100
I found myself occasionally using the screen to use the tap to focus feature and other times just getting into that zone of snapping away as everything moved through the frame. Admittedly, autofocus is not a feature I’m often concerned with for astrophotography, but it felt extremely fast and accurate on both of my outings.
Exploring a genre outside of my comfort zone and not having to worry about things like autofocus performance or getting lost in menus, really allowed me to find that zone of being present and immerse myself in shooting.
Trying the Sigma BF for astrophotography
After a few days out in busy streets, I really felt like it was time to head out under the stars. With clear skies in the forecast for the entire night, I arrived a few hours before the Milky Way would be rising. I took a handful of test images as I wandered to find the compositions I would be shooting once the core of the Milky Way was sufficiently visible above the horizon.
One of the first things I noticed was how easy dialing in that very precise infinity focus on the stars was with the LCD screen. Even more importantly, one of the things I didn’t notice were the buttons on the back of the camera. It wasn’t until well after I was shooting the Milky Way that I had even thought about them. After two outings during the day, I think easily navigating a new camera in complete darkness speaks to how thoughtfully it was designed.
The Sigma BF only has a few physical controls and very simple menus that quickly become second nature.
I ended up shooting far longer than I anticipated using a number of different techniques ranging from stacking to separate foreground exposures. While admiring an image of the back of the camera is one thing, the real test for those high ISO captures is viewing on a much larger screen…
NOISE TEST IMAGE – SIGMA BF 20mm, F2, 13s, ISO 3200 (NO NOISE REDUCTION)
Working my way through the images and seeing how far I could push the files was probably the biggest surprise of my experience with the BF. It wasn’t that I didn’t have high expectations, it was a matter of those expectations being surpassed. Pushing astrophotography images while editing, bringing back detail in the shadows and trying to pull out detail in the sky, can often result in a very noisy final image. Shooting at these higher ISOs can also mean that your image lacks a bit of sharpness or just doesn’t have much depth to the color you captured, especially in the foreground. Not only was I able to push the files to bring out an incredible amount of detail through the image, they all felt very sharp and full of rich color.
SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F2, 156s, ISO 1600SIGMA BF CAMERA 20mm F2 DG | CONTEMPORARY F2, 156s, ISO 1600
The Sigma BF for wildlife?
After my night under the stars, I had one more test for the Sigma BF. Wildlife. This was also a test for myself, as aside from a few fox photos about a decade ago, this was not something I had ever given a try. I found myself near Myrtle Beach, South Carolina with the BF and the Sigma 500mm F5.6 DG DN OS | Sports. I wandered Huntington State Beach Park with the hopes of photographing alligators. As I kept my eyes on the water, I saw a variety of different birds that I figured, “why not?” and did my best to take some photos along the way. Again, while this was a new genre of photography for me, I think the simplicity of the BF allowed me to just enjoy being in nature. The autofocus was quick to lock in, and while I didn’t attempt any in-flight shots, I was pretty happy with the results!
SIGMA BF CAMERA 500mm F5.6 DG DN OS | Sports F8, 1/320s, ISO 800SIGMA BF CAMERA 500mm F5.6 DG DN OS | Sports F13, 1/400s, ISO 400SIGMA BF CAMERA 500mm F5.6 DG DN OS | Sports F13, 1/250s, ISO 400
For better or worse, the only gators I saw were just peeking out of the swampy waters. Which at first, felt like a bit of a bummer, but I didn’t end the day feeling like I had checked something off a list. If anything, it felt like I was starting a new list.
SIGMA BF CAMERA 500mm F5.6 DG DN OS | Sports F8, 1/320s, ISO 800
SIGMA BF CAMERA 500mm F5.6 DG DN OS | Sports F13, 1/125s, ISO 800SIGMA BF CAMERA 500mm F5.6 DG DN OS | Sports F8, 1/500s, ISO 800
Maybe after a decade of shooting only astrophotography, a few days with the Sigma BF had inspired me to look at things a bit differently again. I’ve been out shooting more styles of photography in the span of a month than I ever have before. I think sometimes, whether it’s intentional or not, a bit of a reset can be a really helpful process to go through. Just taking a second to look at things differently and use that opportunity to step out of our routine.
I’ve always felt, as a photographer, the best gear is whatever helps me focus on creating first. While the world after a photo is taken demands our constant attention with excessive beeps and notifications, it feels refreshing to have those moments where I’ve connected completely to creating art. I think the BF is a camera that does just that, by encouraging you to look at things different and without distractions.
