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  • Underwater Whale Photography with the Sigma 14mm F1.4 DG DN Art Lens

    Underwater Whale Photography with the Sigma 14mm F1.4 DG DN Art Lens

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    I recently returned from two months of guiding, photographing, and filming ocean safaris in the South Pacific and Caribbean. I work for Just the Wild, a company that specializes in ethical in-water whale and other marine megafauna encounters. Akin to that, I also work as a professional nature and adventure photographer and filmmaker with a specialty in underwater imagery. Before departing, I felt like my underwater images had stagnated in look and aesthetic. Before leaving, I wanted to get my hands on a lens that few underwater shooters have yet to discover. I quickly honed in on the Sigma 14mm F1.4 DG DN | Art.

    This lens stood out to me because of its design for astrophotography. The night sky and underwater imagery world overlap a lot. When shooting underwater, you need to be using a lens that’s extremely wide, has fast and accurate autofocus, and, most important to me, satisfies my greed for sharpness.


    My underwater setup:

    My current go-to underwater setup is the Sony Alpha 1 with a Sigma 14mm F1.4 DG DN | Art contained within a Nauticam housing with a 230mm dome port. While my setup changes depending on what I’m shooting, I rarely make changes when it comes to shooting large animals such as whales.

    For anyone looking to get into the underwater world, there are now numerous great housing options. You can’t go wrong with Nauticam, Marelux, Isotta, Aquatica, and for entry-level, I’ve seen great results with Sea Frogs housings. Whatever you go with, make sure you get a housing with a vacuum pump. This will ensure you never flood your housing. I’ve lost a few cameras before I spent the extra money on that safety feature. I’d also recommend consulting distributors like Reef Photo & Video (an authorized Sigma dealer as well) on getting the proper dome and extension ring setup for your lens (I’ll come back to this on maximizing the sharpness for lenses like the 14mm F1.4).


    General tips and settings:

    Like I said earlier when it comes to underwater, you have to adapt your setup and settings to fit your target subject. That being said, these are the settings for 98% of my whale and other large animal species. The golden ticket to never missing a shot: 1/800 shutter or faster, F8 or above depending on light, and auto ISO.

    Now I know you’re scratching your head with the auto ISO. Isn’t it better to manually adjust? New mirrorless cameras give you the ability to set a range for your auto ISO. I limit my camera from being able to shoot above 6400. New mirrorless cameras can easily handle that ISO with very little noise. This allows me to worry more about my composition rather than my settings, which is essential in a dynamic situation like snorkeling with a whale.


    Standout features of the Sigma 14mm 1.4:

    BUILD QUALITY:

    Upon getting the lens, the first thing that stood out to me was the craftsmanship of the build. This lens boasts meticulous and detailed care the engineers put into it. You can’t help but marvel at the beautiful front element and the design of the aperture ring. The other must for me is the weather resistance. This lens is designed to be left outside all night photographing stars, making it tough. Every now and then, I have to open my housing on a boat, a not-so-dry environment, I might add. This lens gives me the peace of mind that my day won’t end in catastrophe if I get water on it.

    FOCAL LENGTH:

    As I mentioned before, the front element of this lens is a work of art. Boasting a 114-degree field of view, this lens is very wide. When shooting underwater, you want as little space between you and your subject as possible. The water and the particulates in it distort your color and detail, so have to be right up in the action. When you’re close to a 35-foot-plus giant, this lens assures that the entire animal will be in view.

    F1.4 APERTURE:

    For most other underwater shooters, having the ability to shoot at F1.4 isn’t a big sell. When shooting underwater with a dome port, you typically want an aperture of F8 or smaller, otherwise, your edges will become soft. However, I find it extremely useful when filming. When it comes to video, I don’t focus as much on the absolute sharpness I desire with my photos. Especially if I’m shooting a subject I can’t use lighting on, the F1.4 aperture allows me to film later in the day and in darker water. There’s now also the advent of new dome ports by Nauticam called WACP ports. These ports now allow you to shoot much sharper and wider apertures. These ports allow you to use your lenses at a wider aperture without sacrificing corner sharpness. While a port like this doesn’t yet exist for the 14mm, Nauticam has been consistently innovating, and I wouldn’t be surprised if they come out with one soon.

    EXAMPLE OF VIDEO SHOT AT F1.4

    SHARPNESS:

    Have I mentioned I’m a sharpness snob? One of the reasons I wanted to switch from a 16-35mm to a wide prime like the Sigma 14mm F1.4 DG DN | Art is the sharpness. Aside from this lens being insanely sharp on its own accord, the fact that it’s a fixed length makes it that much sharper underwater.

    When building your underwater rig, the distance between the front element and the dome port is a huge factor in how sharp your images will be. If you’re changing that distance by zooming in and out, you’ll affect how sharp your images are. By having the 14mm sitting at the perfect distance from the dome port at all time, it maximizes the sharpness of the lens. So much that I can massively crop in on my images and see things like sea lice and other parasites hitching a ride on our giant friends. It’s also extremely valuable for me to crop in on other details of these animals, such as their eye, or pectoral fin, to derive unique compositions. This is only possible with glass this sharp.

    EDGE-TO-EDGE QUALITY:

    Another huge draw to this lens for underwater shooters is the edge-to-edge quality. As underwater shooters, we’re constantly battling soft and distorted edges in our images. My first day with the lens, I had a humpback calf inches from the front of my lens. After reviewing the images, I quickly noticed the edges preserved almost all their detail, so much so that I could see the hair follicles on the whale. While still a little soft, something that’s inevitable underwater, the effect is leagues better than shooting on a fisheye or a zoom lens.

    AUTOFOCUS:

    There’s not much to say here besides that the autofocus is flawless. Once I have a whale in frame, I hold down the trigger and let the continuous autofocus go to work. Of the 20,000+ images I took over the two months, I don’t think I had a single miss. While I encounter a lot of animal guiding, every moment is unique and fleeting. Having the ability to capture every unrepeated moment might mean the difference between a good image and an exceptional one.


    Conclusions and final thoughts:

    My favorite aspect of the images the 14mm F1.4 DG DN | Art produces is the dimensionality of the photo’s aesthetics. After my first day with this lens, I sent a video I filmed with it to a colleague of mine, and his response was, “That whale looks like it’s about to pop out of the screen.” This was the look I’ve been craving in my images, which wasn’t possible with a 16-35mm. I’d recommend this lens to any underwater shooter who’s looking to obtain peak sharpness, flawless autofocus, and wants to add a unique aesthetic to your imagery.

    It’s safe to say that this lens will be my go-to workhorse on my future underwater adventures.

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  • How to Choose the Right Photo Editing Services

    How to Choose the Right Photo Editing Services

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    When you need photo edits and see a long list of editing services and techniques, it’s easy to feel a bit overwhelmed. With so many options plus multiple ways to combine them, where do you even start?

    It makes perfect sense to go with what feels familiar, like basic retouching or background removal. But we’ve learned from working with thousands of photographers and business owners that your photos often benefit from multiple services working together. Combining services gets you better results with less hassle, since you can handle everything in one order instead of juggling separate projects. Let’s show you how to pick the right edits for your photos.

    How to identify what your photos actually need

    Before you start combining services, let’s figure out what you’re actually working with—it’ll save you time and help you get better results.

    Photo diagnosis checklist

    Take a look at your images and ask yourself if you spot any of these:

    • Background issues: Is the background distracting, the wrong color, or inconsistent across your batch? Does it look messy or unprofessional?
    • Subject problems: Are there imperfections, poor lighting, or color issues with your main subject? For apparel, does it need to show fit and drape without a model?
    • Technical fixes: Is anything crooked? Are shadows missing or looking unnatural? Any dust, dirt, or glare issues?
    • Brand requirements: Do you need multiple product colors? Specific formats? Transparent backgrounds for marketing materials?

    Common photo problems and their solutions

    Here are some scenarios we see all the time:

    • “My product looks flat and boring” → clipping path + shadows
    • “The background is messy and distracting” → background removal + retouching
    • “I need to show this product in 5 different colors” → clipping path + color change
    • “The model’s hair isn’t looking right” → image masking + retouching
    • “My apparel needs to show shape without the mannequin” → ghost mannequin + retouching + symmetry

    Most photo challenges need two to three services working together, not just one by itself.

    How Path services work better together

    Here’s why thinking in combinations instead of individual services makes more sense:

    • Save admin time: Upload everything you need edited in a single order and get it all back together, ready to use. No juggling multiple orders or trying to keep track of which image versions are where.
    • Speed up your workflow: Everything gets delivered together in the formats you need. Your designer handles all the edits for each image, so there’s consistency across the entire batch.
    • Keep all photos consistent: When the same designer handles all your edits, you get cohesive results. Colors match, shadows look natural together, and the overall style stays consistent.
    • Keep costs down: We offer discounts when you bundle multiple editing services together.

    You can combine pretty much any of our services together—two, three, four, or more. What matters is understanding which combinations work best for your specific type of photography.

    Service combinations by photography type

    Every photography project has different needs, and you might even use the same image for different purposes. Here are some proven editing combinations that work well for different situations:

    Sports photographers

    When you’re dealing with high-volume shoots and tight deadlines, you need services that work fast and handle the most common issues in sports photography.

    Your typical service combo:

    • Image masking for complex backgrounds, hair, equipment details, etc.
    • Background removal for clean, professional shots and official team photos, etc.
    • Photo retouching for spot removal, color correction, skin touch-ups, etc.

    There may be time-critical events such as championship coverage where you need polished images fast, or you might need to update and create consistent team roster headshots across an entire squad, just like this photographer does. You can choose different services depending on what each batch of images needs, whether that’s processing 200+ action shots or creating headshots with a uniform, professional look.

    We offer turnarounds from 6 hours, so you can deliver images to your clients, magazines, or publications fast.

    Product and ecommerce brands and photographers

    For ecommerce, consistency is everything. Your product photos need to look professional, meet marketplace (like Amazon) standards, and convert browsers into buyers.

    A standard combo:

    • Clipping path for clean cutouts that meet marketplace requirements or create a clean website look.
    • Shadow services add depth and dimension so products don’t look flat.
    • Color change shows all available product colors without reshooting every single variant.

    Advanced ecommerce stack (add these for even more polished results):

    New ecommerce brands often start with the foundation combo (clipping path + shadows + color change) and add ghost mannequin as their apparel inventory grows. Established retailers may go with the full stack approach for complete consistency across their entire product catalog.

    Portrait and headshot photographers

    Professional portraits and headshots need to look polished but still natural. The goal is enhancing what’s already there, not creating something fake.

    Typical professional edits for portraits and headshots include:

    • Background removal/clipping path gives you versatile backgrounds for different marketing uses.
    • Photo retouching helps with natural beauty enhancement, color correction, and flyaway hair fixes.

    Corporate headshot scenarios may include:

    • Basic combo of background removal + basic retouching.
    • Premium package, adding advanced retouching and multiple background options for different brand uses.

    Advanced portrait combination (for high-end clients or special projects) may include:

    • Image masking for complex hair or clothing details.
    • Color change for different outfit variations or brand color matching.
    • Multiple background options so clients can use the same headshot across different marketing materials.

    Wedding and event portrait combinations may include:

    • Image masking for intricate dress details and flowing fabric.
    • Retouching for flawless, natural skin and perfect lighting.
    • Background removal for ceremony photos that need to work in albums and marketing.

    How to choose your perfect edit combination

    Use this simple framework to figure out which services make sense for any project:

    1. What’s your end goal? Are these photos for marketplace listings, marketing materials, portfolio work, or client galleries?
    2. What’s your biggest time constraint? Do you have a tight deadline, a high volume of images, or particularly complex edits?
    3. What’s your budget priority? Are you focused on cost per image, or is premium quality and time savings more important?

    Consider your photo use case

    Sometimes the same photo needs different sets of edits depending on how you plan to use it. For example, a product photo might need:

    • For marketplace listing: clipping path + white background + basic retouching.
    • For social media: same photo but with different background + enhanced colors + shadows.
    • For print: higher resolution + color matching + vector conversion.

    How to mix and match your edits

    Use this simple approach to figuring out which services work best for your projects:

    • Start simple: Pick two to three core services that address your biggest pain points.
    • Test combinations: Try different combos on smaller image batches to see what works best for your workflow.
    • Scale up when it makes sense: Add more services as you see results and understand how they improve your final images.

    When to add each editing service

    Not sure which services you actually need? Here’s a quick reference for what each one does best.

    Clipping path: When you need hand-drawn, crisp clean cutouts that you can use on any background.

    Background removal: When you want clean white (or any color) backgrounds for product photos.

    Image masking: For intricate shots with hair, fur, or complex borders that need precise, natural-looking cutouts.

    Shadow: When products look flat or unrealistic—shadows add depth and dimension, and they actually help generate more sales.

    Ghost mannequin: For apparel that needs to show natural fit and drape without models or mannequins, essential for consistent ecommerce catalogs.

    Color change: When you have multiple color options and need to show true-to-life colors without reshooting every single shade.

    Photo retouching: When imperfections distract from your subject—this corrects flaws and makes every element shine.

    Multi-clipping path: When you need to select multiple areas within images for separate editing (like changing just the shirt color but not the pants).

    Vector conversion: When you need scalable graphics and logos that maintain quality at any size.

    Symmetry: When product alignment matters for brand consistency and that premium, professional look that converts better.

    Flowchart titled “What does your photo need?” showing how to choose photo editing services like clipping path, image masking, shadow, ghost mannequin, and retouching based on background issues, subject problems, technical fixes, and business needs.

    How to place your Path order

    Ready to try combining services? Here’s exactly how to do it and how it works:

    Getting started

    1. Sign up for your Path account
    2. Top up Path credits (optional but recommended—you get bonus credits when you top up)

    The ordering process

    1. Click “new order” to start your project
    2. Select all the services you need for this batch—you can choose as many as you want
    3. Upload your images using drag and drop
    4. Get instant quote and you’ll see your total cost immediately
    5. Set preferences like:
      a) File format for your edited images
      b) Additional comments or instructions
      c) Upload any supporting files if needed
    6. Select turnaround time (longer turnaround means cheaper pricing, or choose rush for time-sensitive projects)
    7. Review and approve your quote
    8. Choose payment method and submit your order

    If you need 1,000+ images edited a month, we offer bulk pricing with better rates and priority support.

    Ordering edits with Path couldn’t be any easier

    Now that you know which combinations work for your type of photography, placing an order is straightforward. Try Path free with 2 free edits and see how much better your photos look with the right services working together.

    Let us look after your image edits, so you can get back to the fun stuff. Try Path free.

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  • Announcing the Sixth Think Pink Photo Competition

    Announcing the Sixth Think Pink Photo Competition

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    DPG is very proud to announce the opening of the Sixth Think Pink Photo Competition, organized by nonprofit organization Dive into the Pink, and hosted by DPG, with proceeds used to support the fight against breast cancer. This year, the judging panel is made up of pro underwater shooters Shane Gross, Richard Barnden, and Tanya Houppermans.

    We’re once again talking all things PINK! We want to see your most eye-popping images featuring the color pink, from the hue of your foreground subject to the pink polyps in the background reef, from an intense fuchsia to a delicate rosé. Photos may be entered into two categories, Macro and Wide Angle, and may have been taken anywhere, anytime. (For inspiration, see the winners of the First, Second, Third, Fourth, Fifth Think Pink Photo Competition.)

    This year’s awesome prize sponsors include Crystal Blue Resort, Anilao, Philippines, Lissenung Island Resort, Kavieng, Papua New Guinea, Backscatter Underwater Photo & Video, Marelux, Kraken Sports, and Ultralight Camera Solutions.

    ​Entry is via donation to Dive into the Pink ($15 per single entry, $35 for three entries, $50 for five entries). The deadline for submission is August 31st, 11:59pm EST.

     

     

    Please read the full Rules and Guidelines (on DiveIntoThePink.org) before entering.

     

    Thank you for supporting Dive into the Pink! 100% of the proceeds from this effort will be used to support the fight against breast cancer.

     


     

    About Dive into the Pink

    Dive into the Pink, Inc. was started in 2015 by Allison Vitsky, a breast cancer survivor, veteran scuba diver, and underwater photographer, who wanted to raise money to fight cancer in an unconventional way—by going scuba diving with friends.

    Most of its funds are split between the Young Survival Coalition (YSC) and the Guise Laboratory at M.D. Anderson Cancer Center. The YSC is an international organization dedicated to the critical issues of young women with breast cancer—specifically, Dive into the Pink supports and promotes the YSC’s incredible patient support network. The Guise Laboratory is part of the Department of Endocrinology at Indiana University; funds are earmarked for a project examining whether characteristics of the bone marrow microenvironment can alter or promote the spread of breast and other cancers to the bones.

    Dive into the Pink is a salary-free, low-administrative cost 501c3 organization.



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  • Sheep, Trees and Puppies – The Weekly Light Stalking Community Update

    Sheep, Trees and Puppies – The Weekly Light Stalking Community Update

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    Welcome to our weekly community wrapup.  It’s been another cracker on the Light Stalking forums with some wonderful photography. Both discuss produced. 

     Let’s start with the photo of the week.

     This one,  judged by Federico,  is a dip touch of some art by Patrick.  you can read about Federico’s logic for his judgment decisions over here.  And well done, Patrick.

     Don’t forget to join in this Weekly Photography Challenge with the theme of nighttime reflections.  You can join in here.  Amazing to think that this is our 759th weekly photography challenge on the forums!

     You also don’t want to miss out on the opportunity to submit one of your mobile photography shots to our ongoing Monday Mobile Challenge.  The rules are that you must have taken the image and edited, all on a mobile device of any sort.  This really stretches your creativity with a bit of restriction.  Join in here.

     There’s also the opportunity to join in the community photo story challenge, which is an ongoing callout for community members to tell a story with several of their photographs.  This is more of a deep dive into a project scenario where you need to take several images at least.  It’s great to see what people are coming up with, as it’s sparking a lot of creativity.  join here.

     And also, here are a few of the photos from this week that I just thought needed to be shared even more because I just thought they were great.

     You know when Elin Laxdal starts a thread on Light Stalking, there is going to be some exceptional photography in it.  This week was no exception, with Elin sharing some images of livestock that she had taken during the week.  You can join in the conversation here.

     One of the most photographed objects in the world is the famous Wanaka tree in New Zealand.  And I think this shot by Rob Eyers is a very solid attempt at a very well-photographed image.  Well done, Rob.

     If any of you have been around the four of the very long, then you will almost certainly know Patrick and, by extension, Patrick’s puppy.  I love seeing this little guy come across my feed, either on Light Stalking or even on Instagram, so I thought I’d include him in the collection here.

    Member LightAndShadow has been experimenting with a bit of black-and-white treatment with his images,  but I specifically thought this one stood out for the very obvious draw on the eye of those three flowers.  I thought this one deserved to be called out.  We are discussing it over in this thread. https://lightstalking.us/forums/topic/mallow-wood-and-stone/

     I also thought this was a very interesting image –  it looks like a pretty standard shot of a rough day at a Lighthouse until you spot the dark figure in the mid-ground going out into the surf, at which point I feel the image becomes quite terrifying.  If emotional response to an image is the measure of a success, as many people say then I think this one achieved that quite well.  Well done DavidC.

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



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  • Extremophiles Discovered at Depths Beyond 30,000 Feet for the First Time

    Extremophiles Discovered at Depths Beyond 30,000 Feet for the First Time

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    By Ian Bongso-Seldrup, July 31, 2025 @ 10:30 PM (EST)
    Source: BBC

    Macellicephaloides grandicirra, a species of polychaete worm known for its white, spiky appearance

     

    A Chinese-led research team has captured images of life at depths of more than 30,000 feet—over 9.5 kilometers—for the first time. During an expedition to the Kuril–Kamchatka Trench and the western Aleutian Trench in the bathyscaphe Fendouzhe, the scientists discovered fields of tube worms, beds of mollusks, and mats of bacteria. Previously, the deepest marine vertebrate life captured on film was a snailfish swimming in a trench at 27,350 feet (8,336 meters) off the Japanese coast in 2023.

    “It’s exciting—especially for a deep-sea scientist—to go to a place that human beings have not explored,” one of the lead researchers, Dr Xiaotong Peng, told BBC News. “It’s a great opportunity to discover new things. And what we saw was quite amazing.” The expedition explored trenches at depths of between 19,000 feet (5,800 meters) and 31,276 feet (9,533 meters), covering a distance of around 1,500 miles. Their work has just been published in the journal Nature.

    In the absence of sunlight, the “chemosynthetic” organisms surviving at such depths get their energy from hydrogen sulfide and methane seeping out of cracks in the Earth’s crust. The researchers are aiming to understand how these animals convert these chemicals into energy—and also how they adapt to life under such extreme pressure.

     

    Beds of mollusks feeding off the chemicals seeping from the seabed

     

    Dense colonies of tube worms up to a foot long

     

    Composite image of the Fendouzhe submersible in a deep ocean trench created by the scientific team

     

    The bathyscaphe Fendouzhe, or Striver, pictured being transported (upside down) aboard its mother ship. The deep-submergence vehicle is designed to reach depths of more than 10,000 meters



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  • The Big Dune – Stuck in Customs

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    Daily Photo – The Big Dune

    I got one of those Google reminders today of an image from the past and it sent me down a little rabbit hole on my Smugmug portfolio. One of the little branches ended up at this image which quite connected with me today for some reason, so I thought I’d share. Maybe it’s because it is the middle of winter where I am… who knows. Whatever the case, I hope it gives you a little bit of joy in your day too. 🙂

    Photo Information

    • Date Taken2014-09-25 20:55:45
    • CameraILCE-7R
    • Camera MakeSony
    • Exposure Time1/2500
    • Aperture4
    • ISO100
    • Focal Length70.0 mm
    • FlashOff, Did not fire
    • Exposure ProgramAperture-priority AE
    • Exposure Bias+0.3



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  • The Right Tool for the Job: Sigma 16-300mm F3.5-6.7 DC OS Contemporary

    The Right Tool for the Job: Sigma 16-300mm F3.5-6.7 DC OS Contemporary

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    For every photographic project that we undertake, there is going to be a best “tool for the job”. If you are heading to northern Canada to photograph the aurora borealis, then a fast, wide prime lens like Sigma’s 15mm F1.4 DG DN Diagonal Fisheye | Art would be a great choice. Heading to Yellowstone for wildlife? Then a super-telephoto zoom like the 60-600mm F4.5-6.3 DG DN OS | Sports lens would be ideal. For my latest adventure, the perfect piece of gear was Sigma’s 16-300mm F3.5-6.7 DC OS | Contemporary lens for crop sensor cameras.


    Why was this lens the best choice?

    Well, I suppose I should start by telling you what I was getting myself into. After almost thirty years exploring the mountains around my hometown of Breckenridge, Colorado, I was looking for a backpacking trip that would sum up the entire area into one big, unifying hike. Going over my maps, I found the perfect route and it would begin and end at my front door. It would be almost forty miles in length and include about 10,500 vertical feet up, and over 11,000 down. I would hike over four mountain passes on the east and south side of town, and then link four remote drainages on the west side of town. Most of my hiking would be done off-trail and require significant effort and route finding skills, and would take me four nights and five days to complete.

    Of course, there’s no way I’m doing an adventure like this without a camera in hand. There would be opportunity for both landscape and wildlife photography during my time in the field. Clearly the best tool for the job would be something lightweight yet powerful. Wide enough for epic landscapes but also with plenty of telephoto power to bring in distant wildlife. Luckily, Sigma had just released a lens that fit the bill perfectly – the 16-300mm F3.5-6.7 DC OS | Contemporary, available for Sony E-mount, L-Mount, Fujifilm X Mount, and Canon RF Mount. I paired it with the relatively small Canon EOS R7 for an easy-to-carry combo.

    The Canon mount version of this lens weighs just 22 ounces (625g) a with a nice, compact size that fit perfectly in my Think Tank front mount pack. This was great because much of the photography would be a bit more documentary in style and I wanted instant access during the entirety of the hike. The lens also features Sigma’s updated OS2 (optical stabilization) system which meant I could easily handhold many of my shots. The very close focusing distance (minimum is 6.7 inches at the wide end) was awesome for getting close-up images of the many wildflowers that were absolutely peaking on my hike.

    It was great to have the extensive range of the 16-300mm. On a Canon APS-C camera, this is the equivalent of a 26-480mm lens on a full-frame camera. With that kind of range, I was able to capture everything from epic mountain vistas to simple snapshots documenting my journey.

    The image quality of the Sigma 16-300mm was even better than I had expected. It’s been a long time since I last used a crop sensor super zoom lens. I had decent results back then and was kind of expecting the same, but I was pleasantly surprised to find the results approaching that of the high-end Art and Sport line lenses. Images were nice and sharp, and chromatic aberration was held in check even when shooting in extreme lighting situations, which I often like to shoot. Autofocus was fast and accurate, and seemed to work very well with the Canon AF system.

    One other welcome feature on an excursion like this is the dust and splash-resistant construction – it’s actually the first Sigma Contemporary lens to have weather sealing throughout the entire lens body. There was plenty of adverse weather to deal with including rain, hail and sleet daily, and the 16-300mm handled it all nicely.


    Consider the Sigma 16-300mm

    A backpacking adventure like this calls for a lens that can handle everything thrown at it, from gorgeous wide vistas to distant wildlife and colorful wildflowers. If you have an upcoming trip where keeping size and weight to a minimum are paramount, take a good look at the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary. It’s sharp, fast, light and portable, making it the perfect one-lens solution for many of your photographic endeavors. Pick one up today, and hope to see you out there!

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  • Godox Has Announced Ultra Compact Affordable Flash – The New iT20/iT22

    Godox Has Announced Ultra Compact Affordable Flash – The New iT20/iT22

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    Godox, a company popularly known for photography lighting equipment, has recently released a couple of mini TTL flashes – the Godox iT20 and iT22, that are ultra compact and will easily fit into your pocket. These camera flashes are perfect for both indoor and outdoor photography use, and come with magnetic accessories for quick switching between light effects.

    Image via Godox

    The mini flashes are almost identical with the iT20 slightly smaller than the iT22 and come in an ultra compact design and weigh only 45g (iT20) and 52g (iT22), which means they can be carried in your pocket, ready to be grabbed and used when needed. There is a dedicated button that allows the user to toggle between manual and TTL modes. Real time settings are displayed, so one can view them for any adjustments required.

    Image via Godox

    The accessories that come with the flash like the light spreader or diffuser and two color filters, are all magnetic, so they can be easily snapped on to the flash when required. There are also other optional accessories that can be purchased, like diffuser, gels and honeycomb grids which are magnetic. These accessories help with capturing creative and atmospheric effects in your photograph.

    Image via Godox

    The flash intensity can be adjusted across 6 stops in steps of 1/3. The recycling time for the flashes is 1.5s at full power and a single charge lasts more than 700 flashes. The built-in lithium battery can be charged quickly (approximately 1h 10mins) with a USB-C cable.

    Another optional accessory is the “Hot Shoe Riser” that helps to lift the flash by 30mm, so it has clear spread of light without blockage, when using wide angle or long lenses. There is also a 0 – 90 degrees tilt adjustment that helps to bounce light off the flash when required.

    The flash is compatible with Canon E-TTL II, Nikon i-TTL, Sony, Fujifilm, OM System and Panasonic TTL systems, supporting both auto flash and High-Speed sync functions. More details about the flash can be found here.

    The flash is available to pre-order and costs less than $50.00. We have more news for you to read if you are interested at this link here.



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  • Behind the Scenes on a Fashion Shoot with the Sigma BF

    Behind the Scenes on a Fashion Shoot with the Sigma BF

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    The Sigma BF camera has become my unexpected companion on set. When I normally juggle multiple cameras for different casual use cases, this chic aluminum unibody camera now efficiently handles all of my behind-the-scenes needs.

    At its core is a 24.6 megapixel full-frame sensor delivering files crisp enough to blend seamlessly with my main camera’s output when needed. Its video capabilities are surprisingly high-quality for such a compact body: 6K at 30fps for primary footage and 120fps in Full HD when you need that slow-motion moment. It won’t replace dedicated cinema gear, but it exceeds expectations for quick clips and social content.

    The 230GB internal storage might be my favorite practical feature. Say goodbye to that sinking feeling when you realize you’ve left your cards at home. When the day wraps, one USB-C cable handles both file transfers and recharging — a small but meaningful workflow improvement. No more juggling multiple memory cards and card readers.

    Sigma embraces minimalism with the streamlined menu, shutter button, a single dial, and just a handful of essential buttons. The uncluttered screen allows for thoughtful and accurate composition. For lower lift shoots, I typically offer a second camera to an assistant to snap some BTS. The simple interface of the BF means they catch on fast, letting me focus on the main project.

    With no viewfinder or tilt/swivel screen, the fixed LCD screen initially threw me off. But what seemed like a limitation actually became liberating as it forced me to break my usual patterns and discover new perspectives. This disruption to my workflow pushed me to engage with subjects more intentionally, something that’s easy to lose when you’re operating on photographer autopilot. It’s definitely not for everyone, but this constraint ultimately refreshed my own creative approach.

    As an L-Mount camera, the BF plays nicely with lenses from Sigma, Leica, and Panasonic. I’ve been pairing it with a classic 50mm prime for straightforward BTS work, but Sigma’s variety of zoom lenses provide versatility when capturing wider sets or working in a smaller studio.

    Battery life typically handles a full day of stills, though heavy video recording will drain it faster. The ability to charge via fast USB-C keeps things moving when I’m recording extensively.

    A few standouts from the 13 color modes available are Standard, Rich, Teal & Orange, and Monochrome. The color modes offer creative options you can quickly cycle through to customize each photo without post-processing. I generally stick with the Rich color mode which warms up the image without drastically distorting colors, but having all of the alternatives helps match any specific mood or lighting situation.

    The simplicity and design are the obvious standouts of the BF, but arguably more importantly is how this camera facilitates human connection. Its distinctive design sparks conversations, and its approachable interface encourages others on set to pick it up and capture moments themselves. This collaborative aspect creates more authentic behind-the-scenes content than I could manage alone.

    In an industry where content deliverables now often include BTS video or social-friendly extras, having a camera like the BF feels less like a luxury and more like a smart adaptation. It seamlessly transitioned from being just a tool on set to becoming the camera I reach for in my personal life too. It’s so effortless to use that I find myself grabbing it for weekend walks, dinners with friends, or travel moments I used to leave undocumented.

    It’s rare for a camera to feel equally at home in both work and life, but the Sigma BF has genuinely brought back the simple joy of photography for me. No overthinking settings, no menu diving… just seeing, composing, and shooting. It reminded me why I fell in love with photography in the first place.

    This camera won’t replace your professional level gear, or those needing dual card slots or built-in viewfinders, because it’s not supposed to.

    What it offers instead is something increasingly rare: photography stripped back to its essence of seeing and capturing, consistently delivering beautiful results.


    Photo Shoot Credits

    Photographer: Jillian Lenser
    Wardrobe/AD: Sionán Murtagh
    Hair: Kayra Theodore
    MUA: Mai Ospedales
    Model: Raegan Camille
    Lighting Tech: Richard Saralertsophon
    Photo Assist: Atiwat Mondee
    BTS Photo/Video: Nic Bui
    Studio: TAWAN Studio
    Designers: Emily Eanae, Michael Chamberlin, Nan Yu



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  • Follow These Tutorials To Capture Night Sky Objects With The Camera You Have

    Follow These Tutorials To Capture Night Sky Objects With The Camera You Have

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    Night sky is an addictive subject to photograph and if you look closer, there are many night sky objects that you can photograph, other than the moon and the Milky Way. On very clear nights, you will be able to see a lot of nebulae, star clusters, cloud complexes and even a galaxy without the aid of a telescope.

    Right now it is the Milky Way season in the Northern Hemisphere, but for those who live in the Southern Hemisphere, there are many objects in the Winter sky that are worth photographing. If you are new to astrophotography, start by photographing the moon and then move on to photograph the Milky Way, before working towards photographing deep space objects.


    Grab your Milky Way Photography Blueprint for free right here.


     

    In this article here, we have put together a collection of tutorials that are highly detailed and provide you with every information you need to photograph the sky at night. Don’t forget to check out the “Further Reading” section.

    Let us start with the Moon which is the natural satellite to our planet Earth and it is one of the closest and brightest subjects in the night sky, that you can easily photograph. If you observe the moon over a few weeks, you will get an understanding of the phases of the moon, its rising and setting time, etc. You just need to do a little bit of planning to get the best shot.

    Graphic by Light Stalking

    If you are wondering what if you do not have a camera yet, but only a smartphone that you use to capture photos right now? Smartphone technology has advanced quite a lot in the recent years and they can be used to capture beautiful images of the moon and some brighter objects in the night sky. Especially if you are a a beginner in astrophotography, with some practice and knowledge, you can capture interesting photos of the moon with your smartphone.

    Photo by Dahlia Ambrose using Samsung Galaxy S22 – 20x digital zoom. ISO 25, 69mm, -0.2 ev, f/2.4, 1/583s. Cropped to fill the frame.

    And, did you know that the moon is not just white, but has some colours due to the mineral deposits on its surface? If you zoom in on live view with a long lens, on a very clear night, you will be able to observe these colours faintly. You can photograph the moon and bring in those beautiful colours and this article will help you achieve that. It is interesting and can be done during any phase of the moon, but remember that you will have to take a series of shots to get the best results in terms of colours and details.

    Photo by Dahlia Ambrose

    We have heard of rules for correctly setting exposure for certain subjects in photography, rules that do not need to be followed as such, but rules that can help you get started initially and then can be refined further according to the situation. One such rule to capture the moon is the Looney 11 rule which can be a start to estimate exposure times. We will summarise the rule here:

    • Set aperture to f/11 and shutter speed to the reciprocal value of ISO.

    Check out the article to learn more about this rule.

    Graphic by Light Stalking

    We live in the Milky Way galaxy and it is one of the easiest subjects to photograph, after the moon. Depending on the time of the year, you will be able to photograph only specific areas of the Milky Way galaxy. The core is the most stunning region and it is above the horizon at night, a few months every year. So keep an eye on the weather forecast and find the darkest location possible and photograph the Milky Way with the camera you have in hand.

    Photo by John Lemieux

    If you want to go a bit further after some experience and photograph a nebula, the Orion Nebula is one of the easiest to capture and one that is most commonly photographed too. You can use the camera that you have in hand and a moderate focal length lens to capture the frames and then with some detailed post processing, you will have a beautiful image. You will need to capture a series of shots including calibration frames and everything is explained in detail in this article.

    Photo by Dahlia Ambrose

    Now, similar to the rule we mentioned above to set exposure for moon photography, if you are a beginner and not sure where to start in terms of settings for your night sky photography like stars, nebulae, etc., start with the 500 rule. It is not very accurate, but is a great start to get an image of the stars, galaxies and the Milky Way. Here is the rule summarised below:

    • Set your camera to ISO 3200 or 6400, your Aperture to f/2.8 (or as wide as possible) and your shutter speed to 500 divided by the focal length of your camera, taking into account the crop factor of your camera.

    There is also a 600 rule where you replace the 500 above with 600 and see if it works better than the above setting.

    Snapwire at Pexels

    With more advanced cameras and sensors, sometimes the 500 or 600 rule may not get you the best results, especially if you want to have a large print. Sometimes there may be some trailing in the stars instead of point sharp stars. To avoid this situation, the photographer needs to calculate exposure based on the type of camera and lens combination.

    A formula was devised by Frédéric Michaud for the Société Astronòmique du Havre called the NPF rule which is quite complex, where

    • N stands for aperture, the letter N is used to represent aperture in optics.
    • P for photosites or pixel density or pixel pitch (distance between two pixels)
    • F for focal length

    If you have an app called PhotoPills, you can easily calculate exposure times using the NPF rule on that app.

    Screenshot from PhotoPills App showing different exposure times for two different full frame cameras

    Star photography is easy, but in order to get the best results like sharp and noise free images, there are a few things that you will need to keep in mind. It also requires you to choose the right location, weather conditions, keep an eye on the moon phases and use the right tools and accessories to get the best shot. Last but not the least, patience and practice is key to perfect star images.

    Photo by Skeeze

    Cameras come with noise reduction features called high iso noise reduction and long exposure noise reduction. Many photographers seem to be confused if they need to leave these settings on for astrophotography, in order to get the best results. Depending on what you are shooting, these features can cause some delay in sequences, can cause heat, and also remove faint star details. Read to find if you should leave these settings on or off for astrophotography and why.

    Image by Benjamin Voros

    When capturing night sky or dep space object, you are working with very little light and longer exposure times. Factors like heat due to long exposure and high iso can induce thermal and/or digital noise in these photographs that can leave unwanted effects/artifacts in the images that also greatly reduce the sharpness and quality of the image. Here are some ways in which noise can be reduced in your night sky images.

    This is how noise looks in photographs – this is for illustration purposes only. Image by MartinThoma

    Further Reading



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