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  • How to use crop modes on your full frame digital camera.


    The reality of the world is that images are almost always cropped from what they were in camera no matter how we share them. This is largely due to the constraints of mobile phones where wide aspect ratio images can be hard to view on phones when the phone is held in portrait mode.

    The weird thing is that every website or app is a little bit different. Some sites force your images into their own highly restricted crop such as Instagram, and some sites like Flickr don’t care what crop is used. The main concern for using either of those services is how people are most likely to view your images which as far as I know is still a mobile device.

    To help photographers deal with this, did you knot that most (if not all) full frame 35mm digital cameras have built in “crop modes” which apply a digital crop to your image in camera?

    For example, my camera will shoot in 4 different crop modes (also called aspect ratios). It will shoot in a 4:3 aspect ratio which is the old TV standard for HD television. It will shoot in 1:1 format which is a square format used as we all know on Instagram. It will shoot in 16:9 which is the modern standard for television screens, computer monitors, and many TV shows. Take a look at the comparisons below to get more of an idea of how these different formats relate to each other.

    When using these alternate aspect ratios the RAW image remains unaffected. After opening the RAW files in Lightroom a crop will be automatically applied to the image but you can just remove the crop and voila, you’re back to having a full frame image again. If shooting JPG the final image is cropped and the 35mm full frame image can’t be recovered.

    Since the RAW file retains the 35mm full frame image a different aspect ratio can be used as a bit of a cheat to help avoid framing mistakes. Say you’re the type who tends to shoot with a tilt or off to the right all the time, or maybe you tend to shoot with the subject low or high and cut off people’s feet. If you’re one of those types then using one of these alternate aspect ratios can force you to frame your images better.

    For instance, if you want to make sure you always have room on the sides of your images, you can use the 4:3 crop to force yourself to frame a little wider on your subject. This might be especially useful if you’re shooting fast action such as sports and you want to make sure that there is room in the image to get a nice frame around your subject for publication.

    For instance, if I was shooting baseball or basketball where there is usually a focus on what a single player is doing, I might choose to shoot in RAW with the 1:1 crop active. This would force me to put the player close to the center of the frame at all times.

    Think of it as a way of making a repetive job a little easier on yourself and you might start to see the benefits of using different crop ratios when you’re taking pictures.

    It would be really cool if the camera allowed me to create a couple custom crop ratios for all the different websites out there as well, but, I haven’t heard of a camera that can do that yet.

    The R5 can also shoot with a full APS-C crop. Below is a comparison of the full frame area vs the APS-C area.

    If you’re far away from the subject, say a bird or other kind of wildlife, then shooting with an APS-C crop not only saves some file size but it can help the photographer get better framing for their final images. It also allows the R5 to work a little more seamlessly with other APS-C cameras if other people happen to be using those.

    Despite all this, many if not most photographers will immediately ask why anyone would throw out all those pixels that they paid so much money for in a full frame camera. Well, they honestly have a good point and it’s why I rarely to never use APS-C crop on my camera. For one, while the APS-C crop does offer some logic, it’s really better to use a longer focal length to achieve precise framing. On the R5 a full APS-C crop is still 17.2 megapixels which isn’t too far off from actual crop sensor cameras that are often around 24 megapixels. But it is a far cry from the 45 megapixels of the R5’s full frame sensor. Bottom line: going to APS-C on the R5 throws out more than half the resolution and that would be true with any FF camera that offers the ability to shoot in crop mode.



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  • Photo Gallery: Sigma BF Camera & 35mm F2 DG Contemporary Lens

    Photo Gallery: Sigma BF Camera & 35mm F2 DG Contemporary Lens


    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 320

    Sigma is pleased to feature a gallery of images by photographer and video producer Nagamitsu Endo. This gallery is comprised entirely of images shot with the Sigma BF camera, along with its natural street photography companion, the 35mm F2 DG | Contemporary lens.

    Naga Endo demonstrates the Sigma BF camera (in black) before heading out for an afternoon of street photography.

    When photographing in Tokyo, I’m always drawn to the nostalgic neighborhoods where the spirit of the Showa era lingers in the quiet residential streets where families and elders live side by side, and to the time-honored shopping arcades that still thrive near the train stations. With the Sigma BF, I capture the interplay of light and shadow – the vibrant, everyday scenes that define the city’s unique blend of older and charming disorder.

    Compact and easy to carry, the BF is my companion for strolls through the city. For street photographers, it becomes an essential eye, intuitively capturing the moments that matter most.

    Naga Endo, Photographer

    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 1600
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F4, 1/1000s, ISO 100
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 100
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F2, 1/200s, ISO 16000
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1600s, ISO 1250
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 125
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1600s, ISO 400
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 6400
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 250
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F2, 1/1000s, ISO 200
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1600s, ISO 1000
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F4, 1/1000s, ISO 125
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F4, 1/1000s, ISO 125
    Sigma BF Camera + 35mm F2 DG | Contemporary
    F5.6, 1/1000s, ISO 1250

    About

    Nagamitsu Endo is the founder and producer of NAGAVISION INC., specializing in visual storytelling. While his work revolves around video production, the art of still photography is an everyday part of Naga’s life. Whether exploring the streets of New York City or capturing moments behind the scenes on set, Naga is always on the lookout for captivating visuals.

    Equipment used


    BF Camera


    35mm F2 DG | C

    EXPLORE MORE

    Sigma is pleased to feature a gallery of images by professional photographer Jim Koepnick. This gallery is comprised entirely of images shot with the extremely versatile 16-300mm F3.5-6.7 DC OS | Contemporary lens, released in 2025 for APS-C format mirrorless cameras.


    Despite its simple design and interface, the Sigma BF camera is surprisingly versatile, with the power to photograph the night sky as well as the streets below.



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  • Apple Is Redesigning Its Camera App In iOS26

    Apple Is Redesigning Its Camera App In iOS26


    In the recent Worldwide Developers Conference (WWDC), Apple previewed the iOS 26 that will elevate the user experience with their iPhones. The release will be in late 2025 and it will deliver a new design, powerful Apple intelligence which many users complained about in their latest iPhones and exciting ways to stay connected to their apps while ignoring unwanted or distracting notifications.

    Image by Apple

    While there are a lot of new features that will be introduced in the iOS 26 release, the one that looks quite interesting for photographers is the update for iPhone’s camera app. There hasn’t been much in terms of design for the camera app in the recent years and many users may feel that the app is not quite straightforward or user-friendly in terms of certain features.

    Also, with the many tabs at the bottom when launching the camera app, some users may find it overwhelming or cluttered, or even accidentally tap on a tab that they do not intend to use. It looks like the new redesign will have just the basic tabs by default and one will have to access the other advanced modes by swiping on the screen.

    While the Camera app has a new look with the very simplified Photo and Video tabs layout, Apple has also brought back the Library and Collections tab on the main page of the Photos app. This will be a relief as media types and other collections will be displayed in different tabs, rather than having to scroll down the screen.

    Apple also has mentioned a “Lens Cleaning Hints” feature, which may be useful when the lenses have marks and the photographer isn’t aware. This may need to be turned on in the settings app. Some Android phones already have this feature. Besides the above, the Photos app is getting a “Liquid Glass” design. This means the controls will be displayed in a semi-transparent tab or pane.

    Apple also mentions that it will be updating its Airpods to add remote functionality, which means users can press and hold the AirPods stem to capture photos or start and stop recording videos. This feature will work with the native camera app and compatible third party camera apps. You can read more about the iOS 26 experience here in Apple’s newsroom.

    Note: Apple has changed the naming structure for their operating system updates, tying them to the year after its launch.

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





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  • Are LiDAR Systems on Cars Destroying Camera Sensors?

    Are LiDAR Systems on Cars Destroying Camera Sensors?


    There’s a bit of growing unrest among photographers on whether LiDAR systems that are being fitted in new cars are actually capable of destroying camera sensors.

    LiDAR systems are used by car manufacturers with self-driving cars to build 3D models of the surrounding environment so that the car knows where to steer.

    A thread on Reddit talks about how a car photographer had several cameras destroyed after doing a car photo shoot.

    What seems to be happening is that the laser from a LiDAR is too much for certain camera sensors to handle, and results in irreparable damage to those sensors.

    As you can see from the video below, it certainly seems to be the case that LiDARs are destroying sensors in some scenarios.

    But what is the nuance here?

    In the first video, it is unclear what type of camera is being used to show the damage being done.

    https://www.youtube.com/watch?v=AM6XWKTDezs

    You will notice in the second video that the gentleman has trouble trying to damage his phone camera, whereas the LiDAR does damage the older iPad camera sensor.

    https://www.youtube.com/watch?v=EyqWoMLz9Eo

    Either way, it is clear that this doesn’t happen on every camera sensor every time it’s exposed to LiDAR lasers.

    It also becomes clear from the comments that using a filter such as a UV filter will not protect your camera sensor from such damage. UV filters are designed to protect from ultraviolet light around 400nm, whereas LiDAR light at around 905nm to 1550nm will pass straight through such protective filters.

    According to the gentleman in the second video, when he contacted Volvo about their LiDAR and the potential damage to camera sensors, they responded that they were aware of the situation and that people should be cautious about using cameras around LiDAR.

    Where do you think things go from here?





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  • Sony Announces Compact Full-Frame FX2 Cinema Camera

    Sony Announces Compact Full-Frame FX2 Cinema Camera


    Sony has unveiled the latest addition to its Cinema Line—the FX2. The compact full-frame video camera has a similar body design to the four-year-old full-frame FX3 and almost three-year-old cropped-sensor FX30. But where the FX3 borrowed the a7S III’s 12MP sensor and lacked an EVF, the FX2 takes the 33MP sensor from the a7 IV while featuring a video-camera-style 3.68-M-dot EVF, which can be tilted up to 90 degrees. Like the a7 IV, the FX2 supports Dual Base ISO (800 and 4000) when using S-Log3.

    With its a7 IV DNA, the FX2 promises to be a much more useful hybrid camera, offering not just high-end video recording and powerful video-focused tools, but also high-quality still image capture. (In addition, there’s a handy movie/still lever to switch between modes.) The FX2 can record up to 4K/30p and 1080/120p using the full width of the sensor, and supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes. Shooting 4K/60p entails an APS-C crop factor.

    To round things off, the FX2 offers a large dedicated record button, a full-size HDMI port, and an internal cooling fan. The camera has two memory card slots compatible with SD UHS-I/II cards, with one slot also capable of accepting a CFexpress 2 Type A card.

    Available in August, the Sony FX2 will be available for a body-only price of  $2,700.

     


    PRESS RELEASE

    Sony Electronics Introduces the FX2 Compact Camera, Expanding Cinema Line’s Versatility for Creatives

    The new FX2 has the look and operability of Cinema Line cameras with the ability to shoot high-resolution photos and comes equipped with an articulating eyepiece

    Sony Electronics Inc. is proud to announce today the latest addition to its established Cinema Line family, the FX2. The FX2 will offer a seamless entry point into the broader Cinema Line range, giving greater cinematic expression to independent creators or small crews needing a versatile camera.

    “The hybrid cinema camera was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece, and enhancements for versatile production needs. The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production,” says Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics Inc.

    FX2 Features: Full-frame Photo and Video Capabilities

    The FX2 comes with a full-frame sensor that delivers stunning imagery and beautiful bokeh effects. Equipped with a 33.0 effective megapixel1 back-illuminated Exmor R™ sensor with up to 15+ stops of wide latitude using S-Log3, it captures impressive detail in both highlights and shadows.

    Designed for versatile shooting environments, the FX2 offers Dual Base ISO at 800 and 4000, ensuring optimal performance in both bright and low-light conditions. Its ISO sensitivity for video can be extended up to 102400, making it ideal for challenging lighting scenarios. The camera supports a wide range of recording formats—including 4:2:2 10-bit All-Intra—and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p, providing professionals with the tools needed for flexible, high-end production workflows.

    The FX2 can also continuously record for up to 13 hours in 4K 60p2 thanks to its internal cooling fan and effective heat dissipation structure. The FX2 offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5x slow-motion effect) and up to 120 fps in Full HD (for up to 5x slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creators can import up to 16 user LUTs for on-camera preview, enabling precise color monitoring on set.

    Filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone™ set as the default, along with a range of Picture Profile and Creative Look presets. A de-squeeze display function is available, supporting both 1.3x and 2.0x anamorphic lenses for accurate framing.

    Improved Usability for Comfortable Solo Operation

    The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration, offering greater flexibility for rigging. An optional top handle (ILME-FX2) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring approximately 5 1/8 x 3 1/8 x 4 1/8 in and weighing approximately 1 lb 8.0 oz—makes it ideal for solo operators or small crew productions.

    The camera offers advanced focus features designed for precision and creativity. Its new Real-time Recognition AF (auto focus) delivers fast and reliable performance with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles, and insects, with an Auto mode available for effortless detection. For even more control, tools like focus breathing compensation, AF Assist, and customizable autofocus transition speed and sensitivity give creators the flexibility to fine-tune focus for expressive, cinematic imagery. The FX2 comes with Active Mode and Dynamic active Mode, which is new to the Cinema Line, and are both designed to ensure smooth and steady handheld shooting.

    The Auto Framing feature automatically crops and tracks a subject to keep them in a prominent position when the camera is mounted on a tripod, producing footage that looks like it was shot by an experienced operator. The Framing Stabilizer function automatically keeps the subject in the same position within the frame, which can be useful, for example, when the camera operator is moving alongside the subject.

    From a still image perspective, the camera features an additional log shooting option with a newly added ‘Log shooting’ menu. This feature allows creators to shoot high-resolution 33MP stills, optimized for color grading in post-production. The FX2 also offers smooth operation with a MOVIE/STILL mode lever, allowing for a quick switchover between still and movie shooting. Depending on the selected mode, the displayed menu items will automatically adjust. Additionally, mode selection is made easy with a long press of the Fn button, which recalls and changes the shooting mode.

    FX2 Features: Improved but Familiar Hardware Inherited From Sony’s Cinema Cameras

    The FX2 is equipped with a new high-resolution 3.68-million-dot tiltable EVF3 (electronic view finder) designed specifically for video production, offering a wide viewing angle and enhanced immersion thanks to its included deep eyepiece. Complementing the EVF is a 3.0-type vari-angle touchscreen LCD, making it easy to frame shots from virtually any angle. Intuitively arranged controls on the top panel and grip, along with tally lamps for clear recording status, support efficient on-set operation. The camera also introduces a customizable “BIG6” home screen that provides quick access to essential shooting parameters, such as FPS, ISO, shutter speed (angle or speed), Look presets, white balance, iris, and neutral-density (ND) filter settings. Addressing the growing demand for vertical content creation, the FX2 supports vertical menu display during shooting—ideal for social media formats. The handle-equipped model further enhances professional usability with two XLR/TRS terminals and a 3.5mm stereo mic jack, enabling 4-channel, 24-bit digital audio capture.

    The camera offers extensive expandability and connectivity options, including an HDMI Type-A terminal capable of outputting up to 4K 60p 4:2:2 10-bit video and 16-bit RAW4 for high-end recording and monitoring. For seamless data transfer and remote control, it supports dual-band Wi-Fi (2.4 GHz and 5 GHz5) as well as wired LAN via a compatible adapter6. Additionally, the USB Type-C port enables SuperSpeed USB up to 10Gbps data transfers and supports USB Power Delivery (PD)7, while built-in USB and network streaming support enables live broadcasting and remote production workflows.

    Social Responsibility

    Aligned with Sony’s global environment plan, ‘Road to Zero’, this product supports the company’s vision for achieving a zero environmental footprint by 2050. The manufacturing process reflects this commitment through facilities powered entirely by renewable energy sources8.

    The camera system incorporates comprehensive accessibility options, including a Screen Reader function9 and Display Magnification, to support visually impaired users across an expanded range of menu items. Additional intuitive controls enhance usability for all shooters, featuring:

    • Real-time recognition autofocus that reduces manual adjustments

    • Streamlined touch interface operations for direct menu navigation

    • Tactile button design with clear differentiation

    These inclusive design elements ensure professional imaging tools remain accessible to creators of all abilities while maintaining full operational capability

    The FX2 will be available early August for a suggested retail price of $2,699.99 USD and $3,499.99 CAD body only or $3,099.99 USD and $3,999.99 CAD with XLR handle. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

    1 For stills. Max. 27.6 megapixels for movie.

    2 Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto power off temperature: High, Cooling fan: Auto. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit) Actual performance varies based on settings, environmental conditions, storage, and usage. Batteries are consumable products and their capacity degrades over time as they age. Sony does not guarantee the life span of the battery.

    3 Adjustable from 0° to +90° for flexible shooting angles.

    4 The output image will be in the APS-C size /Super 35mm equivalent angle of view.

    5 The 5 GHz band may not be available in some countries or region

    6 A commercially available USB-LAN adapter is required.

    7 A USB PD compatible external power supply device with 9V/3A or higher output capacity and a USB Type-C cable that can handle 3A or more is required

    8 Further reducing environmental impact, the product utilizes recycled packaging materials that minimize plastic content without compromising protection. These sustainable practices demonstrate our dedication to eco-conscious production while maintaining the highest quality standards.

    9 Download of compatible language file may be necessary. Please refer to the Help Guide for details.





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  • Capturing the Stars and Everything Below with the Sigma BF Camera

    Capturing the Stars and Everything Below with the Sigma BF Camera


    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 400
    SIGMA 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 100
    SIGMA 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 100
    SIGMA 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 1600
    SIGMA 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 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/400s, ISO 400
    SIGMA 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 800
    SIGMA 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.



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

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


    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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  • Isotta Launches Housing for RED V-Raptor X Cinema Camera

    Isotta Launches Housing for RED V-Raptor X Cinema Camera


    Red housing for a RED camera? Yup, in a surprising move, Isotta has unveiled its first housing for a pro cinema camera—the top-of-the-line V-Raptor X. Featuring the flagship DSMC3 modular body, the V-Raptor boasts an 8K VV 35.4-megapixel global shutter sensor offering 8K/120p and 4K/240p recording and 17+ stops of dynamic range. Previously sporting an adaptable Canon RF lens mount, the camera is now also available with Nikon’s Z mount for even more lens flexibility. (Remember this?)

    Hewn from aluminum, anodized and painted signature red, the Isotta housing for the RED V-Raptor X looks to be an impressive piece of kit. Sporting Isotta’s classic single-handed open/close knob and built around the company’s B120 port system, the housing features a back that is entirely detachable from the front, and a lockable tray, allowing for easy insertion of the camera. All buttons and removable parts have double O-ring seals, and there’s a moisture sensor with LED indicator fitted as standard. As well as three M16 ports, there are two M24 ports, allowing straightforward connection of a monitor such as the Atomos Ninja V+. There’s also a full complement of M6 holes for attaching brackets, tripods, handles, etc.

    Available now from retailers such as Backscatter, the Isotta housing for the RED V-Raptor X is priced at $8,965.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    RED V-RAPTOR [X]

    Technical Data

    • Red color anodized aluminum body;

    • Ergonomic side handles, adjustable (via optional accessory);

    • Three M16 holes, one M24 hole and one M24 hole for using accessories such as vacuum systems, monitors;

    • Back housing completely detachable from the front housing;

    • Tray with lock for the easy insertion of the camera;

    • Single-hand closing knob for the back of the housing;

    • Aluminum buttons at the buttons with window for viewing the menu display;

    • Magnetic buttons and levers in aluminum for electronic control of the V-Raptor [X];

    • Double O-Ring seals on all buttons and removable parts;

    • Moisture sensor with LED indicator (replaceable battery);

    • Removable port B120 bayonet;

    • Safety lock on the porthole to prevent accidental opening;

    • Wide, rubber covered feet for solid footing on boat floors or sea floor;

    • Upper and rear M6 hole grid to apply various accessories (spotlight, spheres, handle, etc.);

    • Four M6 holes located on housing bottom side for different accessories such as brackets or tripods

    • Four pairs of M5 holes per side for attaching balls with plate;

    • Prepared for ISOTTA vacuum system (not included);

    • Working depth: 100 meters;

    Commands

    • ON/OFF lever of the RED V-Raptor [X];

    • Ergonomic mechanical lever for movie shooting button, easy to use even with gloves;

    • Movie shooting button (REC);

    • Lens release button;

    • Filter dial;

    • Zoom knob;

    • Focus knob;

    • Port safety lever;

    • Menu navigation buttons;

    • AutoFocus lever;

    • ISO+/ISO- lever;

    • Diaphragm +/Diaphragm- lever;

    • FPS+ button;

    • FPS- button;

    • White Balance + button;

    • White Balance – button;

    • Shutter + button;

    • Shutter – button;

    • Playback button;

    • Auto White Balance button;

    Optional

    • Ninja V+ monitor housing;

    • M28x1 bulkhead;

    • Connection cable;

    • XL adjustable balance tray;

    • Vacuum system;

    • Handles extension;

    Spare Parts

    • Set O-ring for RED V-Raptor [X] housing;

    • 1895 – Housing front lid B120;

    • 1905 – M16X1 cap;

    • 3352 – M24X1 cap;

    What Is Included

    • Housing;

    • Front lid;

    • Handles;

    • Humidity sensor;

    • Replacement O-ring kit;

    • Silicone lubricant 15gr / 0,5 oz;

    • Warranty: 2 years manufacturer’s (excluding batteries);

     

     

     

     

     

     





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  • Has Camera Technology Peaked – For Now?

    Has Camera Technology Peaked – For Now?


    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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  • This Photographer Just Choked Out a Camera Thief!

    This Photographer Just Choked Out a Camera Thief!


    When photographers travel abroad, one of the most crucial matters they need to be aware and take care of is safety for their gear and themselves. There are many incidents of thieves snatching cameras from photographers all around the world and a very few are usually able to get their equipment back.

    Photo by Filtergrade

    In Barcelona, Spain, a Chinese photographer, Jia Daming, was able to choke down the thief who snatched his camera and this news has gone viral for his heroic act. Footage of the incident can be found here on X. The photographer was not harmed and was able to get his equipment back.

    The photographer who travels the world to shoot for fashion, celebrity brands and wedding photography, was filming a newlywed couple in a famous landmark in Barcelona, Spain, when a group of three men tried to steal the camera. The photographer got hold of one of the thieves while the other two fled the scene.

    Witnesses in that area, besides capturing this incident, quickly called the local police to report the incident. The thief was choked by the photographer in an act of self-defence and to restrain him till the police arrived. The police handcuffed the thief and according to other reports, the police are investigating this matter.

    The footage from the scene have been shared on social media and has attracted millions of views. Onlookers and social media users applauded the photographer for his brave act. While it can be very dangerous to restrain a thief, it looks like the photographer used martial arts to neck choke hold the thief and this can sometimes even cause death because of the restricted air and blood flow to the brain.

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





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