برچسب: Lens

  • One Lens, Endless Possibilities | SIGMA Blog

    One Lens, Endless Possibilities | SIGMA Blog

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    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.

    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.

    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.

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  • The Daily Edit – Sacha Stejko talks about balancing vulnerability and power infront of and behind the lens – A Photo Editor

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    Photographer: Sacha Stejko

    I had the pleasure of serving on the 2025 Communication Arts Photography Competition jury—a fantastic opportunity to step outside my usual discipline and review photography alongside my esteemed peers. One standout moment was discovering Sacha Stej Sacha, an Auckland-based photographer represented by Image Driven Content. Her accolades include being named one of the top 200 advertising photographers globally by Lürzer’s Archive and being recognized as one of the 23 World’s Best Sport Photographers by The Agents Club in 2023. I recently had the pleasure of catching up with Sacha to discuss her award-winning image.

    Your photography is known for its cinematic and powerful portrayal of women—what are the key elements you look for when capturing intensity and resilience in your subjects?
    When I’m gearing up to capture my subjects, there are a few key elements I always keep in mind. First and foremost, getting to know my subjects is essential. I want to know what shapes who they are. Before the shoot and even during it, I dive into conversations that reveal what makes them tick.

    Once I have a sense of them, I try matching their emotional tone; if they’re fiery and passionate, I want that to jump off the frame. I aim to include a piece of who they are in every shot, whether it’s a glimmer in their eye or the way they hold themselves. I strive to create an image they can recognize, one that resonates with their energy. It’s all about connection, and that’s what I love most about photography: being able to freeze a slice of someone’s narrative, a moment of resilience and intensity, in time.

    In your “Girls in Sports” campaign for 2 Degrees, you highlighted both strength and vulnerability in your subject. Can you talk about how the casting went and what direction you gave?
    This campaign was shot alongside a TVC, and the fantastic Director Taylor Ferguson did the casting. When I met these young women I could see that they radiated talent and spirit. For this brief, I wanted to capture that passion and grit. They don’t just play the game—they own it. I love the dichotomy between their sweet appearances and the fierce determination they display on the field – there is nothing more badass than seeing these girls in their element. Take the rugby girl, for instance. I asked her to sprint full speed towards the camera, like she was dodging the opposing team. In that moment, she transformed into a powerhouse charging at me like a freight train, the fire in her belly blazing as she zoomed closer. It was exactly the energy we were after.

    How do you balance storytelling with advocacy in your visual work, particularly around gender representation?
    Women in sports face a harsh reality—they often get overshadowed, and it’s disheartening to see that women’s sports internationally don’t get the same spotlight as men’s. That’s why campaigns like this are so crucial; encouraging fans—especially from a young age—to rally behind these amazing athletes.

    In my visual work, I find that storytelling and advocacy naturally go hand in hand—probably without me even realizing it. As a woman photographer, I’m drawn to capturing fierce, strong women because I know just how powerful we can be. In a society that often tries to box us in or undermine our strength, it’s crucial to keep that fire alive. That passion burns even brighter as a mother to a spirited young daughter. I want her to see women as capable and unafraid, sensitive and kind, just like the women I photograph.

    How do you ensure your images challenge traditional portrayals, particularly of femininity and athleticism, while still maintaining authenticity and emotional depth?
    I’m usually guided by how I want the image to feel, especially when it comes to capturing femininity and athleticism. My images become a deep dive into an energy that connects the viewer to the subject. I want to create an atmosphere where the audience feels confronted, pulled into the frame, and unable to look away.

    I find authenticity through genuine human connections, digging beyond the surface, whether I’m photographing a seasoned athlete or someone new to the sport. There’s something superhuman about athletes; they possess more than just physical strength; they embody resilience and discipline. There’s a profound sacrifice that comes with striving for excellence, and that narrative fascinates me. Each image I capture is a testament to that journey—an exploration of what it truly means to balance vulnerability and power.

    Can you talk about the role visual media plays in shifting public perception and promoting equity, especially in underrepresented communities and activist movements? 
    Photography holds a unique power in shaping public perception and promoting equity. As a visual person myself, I’ve always felt that a single image can convey emotions and stories far more effectively than words ever could. It’s the raw authenticity of a photograph that can resonate with someone’s heart, breaking down barriers and connecting us all on a fundamental level.

    Through the lens of a camera, we can reveal the complexities of human nature and amplify voices that often go unheard. In this visual storytelling landscape, images become tools for change, not just documenting reality but actively reshaping how we view each other. Ultimately, photography fosters a shared humanity that can inspire action and fight against injustice. They remind us that, at our core, we are all just humans with similar desires for love, acceptance, and dignity.



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

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

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

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


    The ultimate wildlife photography zoom lens

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

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

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

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


    My Sigma lens kit for travel and storytelling

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

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

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


    Final thoughts

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


    Explore Patagonia with Liam (Video)

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  • Ikelite Announces “Deluxe Version” Fixed Port Housings for Sony a6700 with Power Zoom 16–50mm Lens

    Ikelite Announces “Deluxe Version” Fixed Port Housings for Sony a6700 with Power Zoom 16–50mm Lens

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    Ikelite Announces “Deluxe Version” Fixed Port Housings for Sony a6700 with Power Zoom 16–50mm Lens

    Ikelite has released two “deluxe versions” of its housing for the Sony a6700 featuring a fixed flat port with standard 67mm threads. The housings, which specifically accommodate the camera with the Sony E PZ 16–50mm f/3.5–5.6 OSS lens attached, are designed for use with macro and wide-angle wet lenses with 67mm threads—in much the same way as you would shoot with a compact camera underwater. To make it easier to attach heavier wide-angle lenses, Ikelite recommends using a compatible 67mm-to-bayonet adapter.

    The two housing configurations are as follows: The 200FP/T housing bundles the Sony a6700 housing with the Dual Tray with Dual Handles, Trigger Extensions, Vacuum System, a spare O-ring, and TTL circuitry. The built-in TTL electronics mean that you just need to add a single sync cord or a dual sync cord and one or two compatible Ikelite DS strobes, respectively.

    By contrast, the 200FP/F housing bundles the Sony a6700 housing with the Dual Tray with Dual Handles, Trigger Extensions, Vacuum System, a spare O-ring, and a built-in Fiber Optic Transmitter. The transmitter attaches to the camera’s hotshoe and translates its flash signals to LED pulses that can be read by compatible strobes by manufacturers such as Inon, Sea&Sea, Retra, Weefine, Kraken, AOI, and Backscatter. Strobes can only be used in manual mode.

    Available now from retailers such as Backscatter, the 200FP/T housing is priced at $1,690, while the 200FP/F housing costs $1,715.



     



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

     



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  • Sony Launches The World’s First 50-150mm F/2 Lens

    Sony Launches The World’s First 50-150mm F/2 Lens

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    Sony has announced a telephoto lens with a unique focal range, the FE 50 – 150mm f/2 GM lens which is the world’s first lens to have a maximum focal length of 150mm and f/2 aperture. The lens is lighter, weighing at about 1340g. This the company’s second f/2 zoom lens in the GM series.

    The zoom range of this lens, 50-150mm and the f/2 fixed aperture along the entire zoom range, makes it a great lens for wedding, portrait and event photographers where the subject can be isolated with a shallow depth of field. Unfortunately the lens does not have internal image stabilization.

    Image via Sony

    Similar to Sony’s range of G Master series of other lenses, the FE 50-150mm f2 GM lens produces stunning images of very high resolution and beautifully smooth bokeh. This will make this lens a great choice for professional photographers who already work with the Sony Alpha camera system. This lens will also be a great choice for professional video makers because of its stunning cinematic results and great clarity.

    The lens comes with Nano anti-reflection coating, that will help to reduce flare and ghosting significantly even in backlit situations. The lens also comes with four extreme dynamic linear motors for faster and accurate focusing.

    Some of the most important features of this lens are:

    • Focal length – 50 to 150mm, E mount lens
    • Maximum aperture – f/2
    • Aperture blades – 11, rounded aperture
    • Lens elements – 19 elements in 17 groups
    • Filter size – 95mm
    • Image stabilization – No
    • Internal focusing and zooming – Yes
    • Aperture, focus and zoom rings
    • Weather and dust sealed
    • Weight – 1340g

    The lens seems to be quite expensive, priced at $3,899.99 and is available to pre-order now. The estimated shipping date is towards the end of May, 2025. More details about this lens can be found here.

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



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