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Learn How To Capture Better Architectural Photos With These Resources

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Architectural photography is not about capturing photos of just buildings, but also about capturing meaningful photographs of structures, their stories and sometimes closer photos of cityscapes as well. A lot of photographers consider it to be a boring genre or one that is used for real estate purposes but if you look closely and work with the best light conditions, while also using the right focal length, architectural photographs can be stunning and very interesting subjects for photography. These can also be combined with other genre like portraits, street, documentary, etc.

When it comes to architectural photography, it almost always involves geometry in it and using geometry in compositions can be a powerful way to capture compelling photographs. Architectural photography can be of both interior and exterior photographs of architecture and if you are new to architectural photography, learn how to capture better architectural photos with the resources listed below.

Photo by Wolfgang Staudt

When it comes to architectural photography, there are quite a lot of factors that need to be taken onto account. Depending on what you wish to shoot and the results you are looking to achieve, starting from the focal length used, you will need to take care of the aperture values, iso, shutter speed, stabilisation, the verticals and so on. This article discusses seven tips to capture perfect architectural photographs.

Photo by Hector Falcon

Outdoor architecture is one where the photographer captures the exteriors of an architectural structure, be it the entire structure or part of it. When capturing outdoor images of architectural structures, do not just point and shoot what is right in front of you or just capture the entire building and stop with that. Close observations under the right light conditions will reveal the intricate details and colours in architectural structures and this article talks about five things you need to consider when photographing outdoor architecture.

Old and new, contrast and juxtaposition are good architectural subjects. By Jason Row Photography

There was a time when photographers thought that architectural photographs could only be captured using a wide angle lens, because most photographers, even when closer to the structure, thought that the structure needs to be completely included in the frame. Architectural structures come with stunning details and colours – the patterns and the geometry can be very compelling and there are many ways in which a photographer can photograph a part of an architectural structure and this article discusses a few.

Photo by Ashim D’Silva

Landscape and nature photography are stunning and there are a ton of opportunities to photograph subjects in nature. The same applies for buildings that range from ancient historical structures, ruins, religious structures, cultural architecture to modern architecture. Architectural photography can also help the photographer slow down and learn to use the camera, especially if you are beginner as there are buildings and structures all around us. This article provides eight reasons why you should try architectural photography.

Photo by Germán Rodríguez

There are a multitude of religions across the world and they all have places of worship or other religious structures built for various purposes. Religious structures can look complicated both on the inside and the outside, but the intricate details are stunning to photograph, if taken time to observe and compose. This article shares some secrets to capture amazing religious architecture.

A four minute exposure using 16 stops of ND was enough to create movement in these slow moving clouds. By Jason Row Photography

Architectural subjects can be great for long exposure photography, where you have a powerful static subject which is your architectural structure, and then you can capture the movements around the structure, be it people, swaying trees in the wind, clouds, water, traffic light trails and so on. Capturing long exposure images of architecture can boost the visual impact of the frame itself and this article is a good guide to long exposure architectural photography.

Photo by Medhat Ayad

Whether you are a real estate photographer or someone interested in capturing the interiors of buildings and other structures, interior architectural photography brings out the character of a building, and shows what the great structures really look like on the inside. It can be quite tricky to capture interiors because of the limited light, sometimes also the limited or huge space inside and composition can also be quite tricky. This article provides some tips to capture indoor architecture easily.

If you are someone who is interested in black and white photography, architectural structures can be great subjects for black and white photography, if done well. Good light, tonal range, patterns or textures, composition, are some important factors to look out when shooting for black and white conversion. This article discusses the art of urban black and white photography.

Photo by William Warby

Converging verticals can be a problem in architectural photography and when shooting certain buildings and structures, it can look stunning and artistic for some buildings/structures but quite odd for the others. Architectural photographers most of the time try to get those verticals right, in order to get the best results. If you are looking for ways to get the verticals straight in your architectural images, check out this article that discusses a few tips.

Further Reading

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19/10/2025
Stronger Photographs With Just One Decision
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Watch the short video above, or keep reading if you prefer the written word.

Too many photographers look to the work they do with the camera as job one, which it is. But it’s not the only job. Your ability to edit down to your keepers, to process them in ways that are consistent with your voice, and to do something with those photographs, are as much a vital part of your craft as the camera work.

What about the edit?

The choice we make to select one final frame from among many is one of the most important choices we can make. It is part of what it means to make a great photograph. When we make a body of work, we have to choose a dozen or two dozen final photographs from what might be hundreds or thousands of sketch images or possible alternatives—the ability to do this is no less important than the ability to choose a shutter speed, aperture, or composition.

So how should we be thinking about these choices? And why are so few photographers talking about it when I know so many of them are overwhelmed by it? I wonder if it’s as simple as believing that it’s just not as important. Just pick something sharp and well-exposed and move on? Or do we just pick all the images that aren’t stinkers and call it done?

I think one of the most overlooked ways to improve your photography right now—without the need to upgrade your camera or get the latest version of your favourite lens—is to get pickier. To begin thinking about your choice of final frames more creatively. More intentionally.

Ansel Adams said that 12 images a year was a good crop. I don’t generally think of my photographs as plants, but I like his point. And I suspect your work would be better if you were more selective, more creative about the ways you looked at editing down to your keepers, and more intentional with what you did with your images. If we all did that we’d make better, stronger photographs.

So, I wonder:
- When you edit or select your best work, what questions are you asking yourself?
- What criteria do you have for making that selection?
- How much do you trust that process?
- Are you still deleting everything that doesn’t make the cut the first time around?
- Are you looking for quantity or quality—and do you have a clear system for understanding what that means to you?
I’ve heard it said that photographers are their own worst editors, but I wonder if that’s only because we often don’t give the editing as much thought as we give to our gear or our camera work.

And—because I’ve been that guy—I wonder how many are just relying on the Un-Suck filter in Photoshop or Lightroom to “polish a turd” rather than choosing an image that’s, ahem, not a turd in the first place.

I have two points to this. The first is a plea. It’s more than the nudge I might normally give you. I’m practically begging you to ask yourself what it would take for you to be pickier with the images you choose as your final selects and which ones you relegate to the archives.

Could you be giving the whole process a little more time, or actually—because my approach to editing takes less time—could you be giving it more focus and attention?

Could you be clearer about your selection criteria and more intentional about what you’re choosing those images for in the first place? What would your accumulated work look like in a year if you didn’t settle on the 3-stars but chose only the ones that were an unqualified “Hell, yes!”?

Your work can be so much stronger simply by choosing stronger photographs, and you can learn to do this.

Earlier this week, I talked about three ways we could love our photographs more. This is the big one: desire more for them. Demand more from them. Hold out for the very best of them. Never settle. But how do we do that?

In a couple days I’ll be inviting you to join me for this year’s Beyond The Shutter course, which I created to help photographers get clearer about one big question and that’s this:

“I just shot a bunch of photographs. Now what?”

It’s about editing down to your best work, but more than that, it’s about how you think about editing, how you can make it less overwhelming, what criteria you can use to select your best work, and how you can use the tools in Adobe Lightroom to help with that?

It’s about doing something beautiful and meaningful with your photographs, like monographs, multi-media presentations, or web-galleries and using the tools you already have in Adobe Lightroom to do this much more easily than you might believe possible.

One of my most popular courses to date, Beyond The Shutter is a video course created to help you become the strongest photographer you can be. To be less intimidated, less overwhelmed by the stuff that needs to happen once you put the camera down, in order to make stronger choices. It’s about the neglected other half of our creative process, a part of our craft that—once I engaged with it myself and stopped being so ad hoc about it—has become one of the most rewarding parts of what I do, rather than a dreaded after-thought.

I want to help change your thinking about it. I want to show you my own process and how I make things like the monographs I send out, and so much more.

You’ll get all the details this Sunday. The ideas and techniques I want to share with you will change your enjoyment of this craft you love so much, and will help you take next steps toward being more creative and intentional in the work you do beyond the shutter, and be more satisfied with the final results.

Last year’s course was amazing and brought huge changes to the photographers who joined me. They said things like:

“I never imagined this course would so increase my joy in making photographs. This deeper understanding of the editing process makes my own camera work more creative, focused, and playful,”

“You’ve hit this one out of the ballpark! I am so impressed with this series. I’m picking up so much concrete advice.“

Keep an eye open for more details on Sunday and your invitation to join me for Beyond The Shutter.

Did you miss the second part of this series? You can still read it or watch the video HERE.

For the Love of the Photograph,
David
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16/10/2025
Photo Gallery: Vibrant Portraits with the Sigma 200mm F2 DG OS Sports Lens

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Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/800s, ISO 640

Sigma is pleased to feature a gallery of fashion and dance portraits by photographer Anabel DFlux. This gallery is comprised entirely of images shot with the Sigma 200mm F2 DG OS | Sports lens. With a large maximum aperture of F2 and a flattering focal length, this premium prime lens is an excellent choice for portraits with exceptional depth and compression, perfect for intentional, beautiful blurring of backgrounds and foregrounds that makes subjects pop.

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/800s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/640s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/320s, ISO 200

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/1000s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/320s, ISO 250

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/320s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/500s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/250s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/200s, ISO 400

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/640s, ISO 640

Sigma 200mm F2 DG OS | Sports
Sony a7R V
F2, 1/250s, ISO 640

Featured model: Lee Lim @fa.mulan.rouge

About

Anabel DFlux is a published photographer in Los Angeles, California. Having started her photography business at the age of 15, Anabel has dedicated her life to her photographic passion. From canine sports to exotic animals, to some of the biggest musicians in the world – Anabel’s work doesn’t fall into any specific niche. She believes there are no limits to what you can create, and to photograph everything that gives you that spark of inspiration.

Equipment used

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This travel gallery – photographed with the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary lens on a Fujifilm X-H2 camera body – was captured by photographer Devon Smith Jr. during a summer trip with Brooklyn to Alaska, an organization dedicated to helping diverse youth from Brooklyn, New York experience a once-in-a-lifetime adventure in Alaska’s rugged natural environment. From climbing a glacier, to rafting down a rushing river, to sleeping in a tent under the stars, BK2AK helps close the gap to outdoor adventure by increasing access to the outdoors.

There are lenses that document life, and then there are lenses that transform it. The Sigma 200mm F2 DG OS | Sports has a way of making the everyday feel extraordinary. See how photographer Meg Loeks uses this lens to make her portraits truly stand out.

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11/10/2025
Capture Authentic Portraits With These Tips, Lighting Techniques, Styles And Poses

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Portrait photography is a genre in photography where the photographer captures the subject’s personality and story. In order to capture effective portraits, the photographer needs to make use of the right light, background, props, attire and poses, as long as they are not candids where instant moments need to be captured.

Portraits can be captured in any environment under any light situations and it depends on the story and mood you are trying to capture in the image. Here are a number of resources that cover everything you need to know about capturing authentic portraits, from lighting to different styles and types of portraits.

Photo by Amir Geshani

Portrait photography may seem like a boring genre for some people who have not actually shot portraits or gotten deep into that genre. When it comes to portraits, there are a number of types of portraits that you can actually shoot and in many creative ways. It’s not just a couple of types like professional, candid, wedding, event, etc. This article talks about 23 different types of portraits you can try today.

Photo by Jason D. Little

Most photographers rely on natural light for their photography and this also applies to a lot of portrait photographers. Natural light is beautiful and if you have a good understanding of light, you can manipulate natural light to your advantage to capture stunning portraits. This article provides tips that will be useful for natural light portrait photographers.

Photo by Leonardo Toshiro Okubo

Professional photographers mostly tend to shoot portraits in studios because they can have full control over the lighting, background and other elements that contribute to the process. It also saves the photographer from scouting for locations which in itself can sometimes be a tedious task. Shooting portraits in a studio also requires taking care of a lot of things and this article provides a ton of tips for shooting studio portraits.

Photo by Aloha Lavina

When we talk about natural light, we immediately think of grand landscapes, outdoor architecture, wildlife, outdoor, sports, nature photography, etc. Portraits can also be shot under natural light and they look really stunning if the light is used wisely. If there are times where your subject may require light to fill in shadows etc., you can use reflectors to fill in light. This article talks about the art of capturing natural portraits using reflectors.

Photo by Warren Wong

Portraits can be shot either indoors or outdoors depending on the time of day, purpose of the shoot, the results that you are looking to achieve, the weather and so many other factors. When capturing portraits outdoors, care needs to be taken when choosing the location and the type of light (golden hour, overcast, midday, night, etc.). This article discusses some secrets to capture perfect outdoor portraits.

Photo by vahid kanani

Portraits that have a black background can look very professional and lend a certain mood to the overall image. In order to get a black background in portraits, you can either choose a black background and use the light settings effectively to keep the background dark. Or, you can make use of the contrast between the light and dark and make the background dark, no matter what the colour. This article discusses how you can capture a portrait with a black background.

Photo by Tanja Heffner

In photography, shooting with available light is a skill as it requires a good understanding of light and some creative thought on how available light can be used for the best images possible. The same applies when capturing portraits – they do not always require additional or artificial lights and can be shot beautifully with available light if well planned. This article discusses how to use available light for good portrait photos

Photo by Cottonbro

There are times, especially indoors or outdoors when the sun is behind the subject and you need some light to bounce off something onto your subject for better illumination of your subjects in portraits. This is where bounce light comes in handy to fill in areas that are dark or need better illumination. Light can be bounced off walls, ceilings, reflectors, etc., and this article talks about some simple ways to bounce light to capture better portraits.

Photo by Timothy Dykes

There are times when the available light is just not enough to capture sharp details and the right colours in your portraits. If you shoot portraits often, then it is good to have a speedlight to improve the quality of your photos. With a single speedlight, there is a lot that you can achieve. This article talks about using speedlights to capture some of the best portraits.

Photo by Samarth Singhai

Having a camera, a good lens, location, subject and maybe a speedlight cannot help with capturing the best portraits all the time. In order for your portraits to be powerful and effective, you need to make use of compelling compositional guidelines that can take your portraits to the next level. Effectively placing the eyes and taking care of other factors when composing a portrait is important and this article talks about some fundamental composition techniques for portraits.

Photo by Pablo Heimplatz

Couple portraits are something that are most sought after in the field of portrait photography. Capturing couples in their candid moments can portray the bond or connection that they have with each other, but it is also good for experienced photographers to know some classic methods for posing in order to get the best results. This article talks about poses for impressive couple portraits.

Photo by Kinga Cichewicz

If you are someone who loves to capture portraits but are nervous to be in front of other photographers, or to capture photos of other people, you can capture your own portraits, which is self portrait. When capturing self portraits, you are working with yourself and you are both the subject and the photographer. You have the freedom to capture your personal moments without worrying about the fact that you have to pose in front of someone else. This article discusses how you can capture storytelling self portraits.

Photo by Taya Iv

Portrait photography does not have to be done with posed subjects, looing into the camera in a perfect location. There are times when you may have limited resources and space, but portraits can always be captured using the available light, simple props lying around the house and sometimes some DIY filters or hacks. This article talks about 10 ways in which you can elevate your portrait photography.

Photo by Brad Starkey

If you are a street photographer, you can also capture stunning and powerful street portraits. Streets are full of moments, stories and colours and it is a great place to capture candid moments of people going about their daily lives. The right location, good use of light and some observational skills along with some patience will yield great street portraits. This article discusses tips on capturing stunning street portraits.

Further Reading

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08/10/2025
Photo Gallery: From Brooklyn to Alaska with the Sigma 16-300mm

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Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
56mm, F7.1, 1/125s, ISO 400

Sigma is pleased to feature a gallery of images by photographer Devon Smith Jr. This gallery is comprised entirely of images shot with the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary lens on a Fujifilm X-H2 camera body.

This travel gallery was captured during Devon’s summer trip with Brooklyn to Alaska, an organization dedicated to helping diverse youth from Brooklyn, New York experience a once-in-a-lifetime adventure in Alaska’s rugged natural environment. From climbing a glacier, to rafting down a rushing river, to sleeping in a tent under the stars, BK2AK helps close the gap to outdoor adventure by increasing access to the outdoors.

Learn more about Brooklyn to Alaska at brooklyntoalaska.org

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
16mm, F5.6, 1/160s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
16mm, F7.1, 1/125s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
86mm, F7.1, 1/125s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
300mm, F6.7, 1/125s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
117mm, F7.1, 1/250s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
37mm, F7.1, 1/125s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
43mm, F7.1, 1/250s, ISO 400

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
92mm, F7.1, 1/125s, ISO 640

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
300mm, F7.1, 1/125s, ISO 640

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
48mm, F6.3, 1/160s, ISO 800

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
156mm, F6.3, 1/160s, ISO 800

Sigma 16-300mm F3.5-6.7 DC OS | Contemporary
Fujifilm X-H2
37mm, F7.1, 1/250s, ISO 400

About

Devon Smith Jr. is a Jamaican street and documentary photographer with roots in the Ocean Hill neighborhood of Brooklyn.

His photography captures the nuanced interactions between people and their environments, blending a deep respect for cultural storytelling with an eye for unique, spontaneous moments.

Devon’s inspiration to pursue photography came from his mentors at The Bklyn Combine, a community-focused collective he is actively involved with and collaborates with regularly. He also has a passion for landscape photography that was sparked during summers with his family in Manchester, Jamaica, where the rich cultural and historical layers of his heritage continue to influence his work.

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Having versatile, reliable gear is critical for young filmmakers and photographers, and a single lens that can handle a variety of scenes is a smart option. Film student Sophia Chew discusses her favorite Sigma zoom lenses and how they fit her needs as a college undergrad.

In this photo gallery, photographer and video producer Nagamitsu Endo explores various peaceful locales in Maine, and captures the quiet beauty of nature along the way. These images are shot entirely on the Sigma BF camera along with the 35mm and 50mm F2 DG | Contemporary lenses.

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05/10/2025
Photo Gallery: A Simple Sojourn Into Nature with the Sigma BF Camera

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Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F8, 1/500s, ISO 250

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 the 35mm F2 DG | Contemporary and 50mm F2 DG | Contemporary lenses.

Photographer Naga Endo enjoys a stroll in Maine along with his Sigma BF camera and 35mm F2 DG | Contemporary lens.

Every photographer, no matter how passionate, eventually faces the moment when they simply don’t know what to shoot. I always try to keep a creative antenna up, searching for scenes and fleeting instants that can only be captured through photography – moments that might never come again. But depending on the season, the weather, the place, or my own state of mind, I occasionally lose sight of what I want to photograph. When that happens, I naturally find myself turning to nature.

For me, nature is like street photography: nothing is staged, everything is real, and my only task is to observe and record. Within a fixed frame, I choose which moment to cut out – knowing it will never return.

Nature’s beauty holds chaos, surprise, and quiet perfection. Immersing myself in that world. I reply on the Sigma BF, a camera that lets me feel each moment with my own senses. By limiting myself to just two prime lenses – 35mm and 50mm F2 – I embrace the constraints, and in doing so, I discover a shared atmosphere that flows through the entire series.

Naga Endo, Photographer

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F8, 1/500s, ISO 200

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F8, 1/500s, ISO 200

Sigma BF Camera
Sigma 50mm F2 DG | Contemporary
F8, 1/500s, ISO 100

Sigma BF Camera
Sigma 50mm F2 DG | Contemporary
F8, 1/2500s, ISO 2000

Sigma BF Camera
Sigma 50mm F2 DG | Contemporary
F2, 1/1000s, ISO 100

Sigma BF Camera
Sigma 50mm F2 DG | Contemporary
F2, 1/6400s, ISO 100

Sigma BF Camera
Sigma 50mm F2 DG | Contemporary
F5.6, 1/400s, ISO 100

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F8, 1/500s, ISO 800

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F8, 1/500s, ISO 1250

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F2, 1/1000s, ISO 100

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F8, 1/250s, ISO 160

Sigma BF Camera
Sigma 35mm F2 DG | Contemporary
F4, 1/320s, ISO 100

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.

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The Sigma BF is not just a stylish camera, but a special piece of imaging gear that enhances personal photography in a completely unique way. Join pro photographer Heather Larkin and learn why the Sigma BF has become an essential part of her daily life.

The Sigma BF is the perfect camera system for casual, everyday photography, with its sleek looks and simple interface. But on the set or in the studio, it becomes the ultimate BTS tool that everyone in the crew wants to pick up, leading to more high-quality candid shots and memories of work that typically goes unnoticed.

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23/09/2025
Capturing the Essence of African Artists with Sigma Cine Lenses

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Filmmaker Xander Ferreira on location with the Sigma 135mm T2, one of several Sigma Cine prime lenses used in this project.

One of the greatest decisions you’ll ever make as a filmmaker heading into the field is choosing your camera rig. It’s not just about gear — it’s about committing to a creative mindset, a visual language. Like a warrior sharpening their blade before battle, your lens choice prepares you to engage with what lies ahead. And in the world of documentary filmmaking, where unpredictability is your constant companion, your gear needs to be as resilient and refined as your vision.

Recently, I had the privilege of joining the visionary Japanese brand, The Inoue Brothers, on a two-week odyssey across Ghana and South Africa. Our mission: to discover artisans whose ancient crafts would form the heart of a socially impactful new collection. It was a journey into the tactile, the sacred, and the raw — the very essence of storytelling through image.

Satoru and Kiyoshi Inoue being filmed with the Sigma Cine 24mm T1.5 FF

From the sprawling, chaotic arteries of Accra’s Kantamanto Market to the humid, emerald depths of South Africa’s Limpopo rainforests and savannas, we were chasing moments — those ephemeral truths that live between hands that weave, eyes that sculpt, and communities that create. Joining me on this extraordinary journey? A carefully curated set of four Sigma Cine prime lenses.

Into the Labyrinth: Kantamanto Market, Accra

The hustle of Ghana’s street markets called for a relatively wide lens — but which one to choose?

Our journey began in Ghana, inside the living organism that is Kantamanto — the largest secondhand clothing market in the world. Tens of thousands of people flowed like rivers through a dense labyrinth of textile and trade. I initially leaned into my favorite lens, the Sigma Cine 35mm T1.5 FF, which to me is the storytelling workhorse. If I had to shoot an entire feature film on one lens, this would be it. It’s intimate, true, versatile, and cinematic.

My favorite overall Sigma CIne lens, the 35mm T1.5 FF.

But Katamanto demanded something wider. The sheer scale of humanity and chaos unfolding before us called for a broader perspective. That’s when the Sigma Cine 24mm T1.5 FF became indispensable. It allowed me to glide through crowds, to duck into alleyways and stalls, and to capture the scale and intensity of human movement. With it, I could place the viewer right there in the midst of the fray — smelling the smoke, hearing the barter, seeing the faces.

The 24mm T1.5 FF allows a filmmaker to compose big scenes in tight spaces, mirroring the feeling of actually being present in those locations.

One particular moment remains etched in my mind: standing on a rooftop, gazing out across Katamanto’s sprawling chaos. I wanted to tell the story from above — of scale, of movement, of patterns. The Sigma Cine 135mm T2 FF was perfect here. It allowed me to follow individuals threading their way through the maze, painting a canvas of human navigation from a distance.

A long lens for long stories.

From the vivid rhythms of Accra, our journey carried us northward to the Tamale region, where the air grew dense with heat and time seemed to slow. We crossed wide rivers by canoe, venturing deeper into a land where centuries of tradition breathed through cloth and ceremony in a place where it felt that time had stood still. In a remote village known for its indigo and kente, we were received with quiet caution by the elders. But as trust and mutual reverence took root, the elders opened a sacred portal — revealing a world where each gesture, color, and woven thread felt guided by an unseen, divine hand. It was as if the very landscape had conspired to show us beauty in its purest, most deliberate form.

The beautiful details of hand-woven textiles are also nicely captured with a longer lens like the 135mm T2 FF.

Into the Trees: Limpopo’s Afro-Montane Forests

Heading further from the cities, we encountered exquisite natural beauty, for which I used a variety of focal lengths including the 85mm T1.5 FF.

We journeyed south into the haunting beauty of the Limpopo province in South Africa. The rainforests here feel ancient and watchful, while the savannas are bountiful with wildlife. Truly the closest thing you could experience from the visceral natural worlds of The Jungle Book and The Lion King. In the ancient afro-montane rainforest, trees towered like cathedrals and mist curled through the canopy like whispers. We met artisans working in the bush — carvers whose hands moved like dancers, beaders stringing stories into color with heartfelt tales of how the project they formed a part of changed their lives.

My kit of Sigma Cine High Speed FF prime lenses accompanied me from the dense city to remote villages.

For these intimate moments, I turned to the Sigma Cine 85mm T1.5 FF. It’s the poet of the kit — rendering shallow depth-of-field closeups with such sensitivity that the viewer could feel the texture of wood being carved, the rhythm of a needle pulling thread. It revealed the sacred in the everyday.

The texture and character of handcrafted tools and materials is depicted perfectly with the 85mm T1.5 FF.

Minimal Rig, Maximum Impact

Given the nature of this shoot — remote locations, constant travel, unpredictable conditions — my rig had to be agile. I ran with a skeleton crew and no focus puller, which meant everything had to be hand-operated. The Sigma Cine High Speed Prime lenses, with their robust build and smooth, long barrel rotation, were ideal. Pulling focus manually felt less like a compromise and more like returning to the purest form of filmmaking — intuitive, reactive, human.

The compact Sigma Cine High Speed Prime line was ideal no matter the location, from dim, cramped interiors to bright, wide-open outdoor settings.

I considered using the Sigma Cine Classic series for their vintage character, but in the end, opted for diffusion filters to get the soft glow I wanted. The T1.5 and T2 primes, with their lighter build and compact size, were the real heroes — easy to pack into a backpack and carry up mountains, yet still delivering uncompromised cinematic quality.

These lenses braved extreme heat, stifling humidity, dust storms, and even sudden rainforest downpours. They never flinched. And that’s the kind of reliability you need when your story demands that you move — fast, light, and with reverence.

No location was off-limits with the Sigma Cine High Speed Prime lenses in my kit. They withstood every environment with no drama whatsoever.

Tools as Philosophy

There’s something deeply philosophical about limiting yourself to a few tools. It forces you to think, to adapt, to find poetry in constraints. Each focal length became a way of seeing — a relationship with the environment and with the people we met.
In our search for artisans, we found not just collaborators, but storytellers in their own right. Carvers, blacksmiths, weavers, embroiderers — their craft is their lens on the world. Through Sigma’s High Speed FF Cine Primes, I hoped to do justice to the depth and dignity of their work.

Meeting artists in both bustling and pastoral locations was a journey worth taking, and these lenses were the ideal tools to bring their stories to life.

In the end, this journey wasn’t just about creating content — it was about connection, legacy, and purpose. The Inoue Brothers’ commitment to ethical fashion and social design aligned with a deeper narrative we were there to capture. The Sigma Cine High Speed Prime lenses didn’t just help tell this story — they became part of the story through Sigma’s own commitment to social impact and the support of craftsmanship in the region of Tohoku, Japan.

If you’re a filmmaker drawn to wild locations, intimate human stories, and visceral visual language, there are few companions as dependable, poetic, and robust as these lenses. Trust your tools. Trust your vision. Prepare meticulously and then succumb to intuition.

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21/09/2025
Eventually, Long Ago: A Journey with the Sigma 135mm F1.4 DG Art Lens

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Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/100s

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

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

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

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/160s

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

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

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

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/100s

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/100s

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

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

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

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

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F2, 1/100s

Enjoying the the Sigma 135mm F1.4 DG | Art mounted on a Leica SL2 mirrorless camera.

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/100s

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 400, F1.4, 1/100s

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F2.8, 1/500s

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/160s

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/100s

Sigma 135mm F1.4 DG | Art
LEICA SL2
ISO 50, F1.4, 1/500s, 135mm

BEHIND THE SCENES

Additional Credits

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

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

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15/09/2025
23 Striking Bird Photographs That Were Shot With A Good Understanding Of Light

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Light is the basis for photography and photographers are constantly looking for the best light possible to photograph their subjects. If you are a photographer who will only shoot under brilliant light situations, then you are missing out on a lot. Imagine you are on a safari or travelling and if you confine yourself to only shooting during the golden hour, you will be missing on the beauty and stories that unfold during the rest of the day.

The same applies to bird photography. Although bird photos turn out great when the light is soft or falling from the side at a lower angle, you can still use available light during any time of the day to get the best shots possible. Understanding light is of paramount importance and if you are struggling to use any light to your advantage, we recommend you to check out this eBook “Understanding Light” by Photzy, and discover how to produce amazing images.

And for your inspiration, here are 23 bird photographs there are shot with a good understanding of light.

Photo by Nitty Ditty

Photo by Rob Potter

Photo by Jonny Gios

Photo by Harshit Suryawanshi

Photo by David Clode

Photo by Tristan chatagny

Photo by René Lehmkuhl

Photo by Huzeyfe Turan

Light changes constantly throughout the day and if you observe carefully. it alters the mood of a scene as it changes. So, when you understand light and start using it, you will be able to alter the mood in your images or use a particular type of light to bring in a certain mood to your images. This eBook, “Understanding Light” by Photzy has 88 easy-to-follow pages packed with training, illustrations and assignments.

Photo by Hansjörg Rath

Photo by Jeremy Hynes

Photo by Rob Potter

Photo by Harshit Suryawanshi

Photo by Anna-Lena Helbrecht

Photo by René Lehmkuhl

Photo by Rohit Varma

Photo by Bob Brewer

When you understand light, you will be able to work around with the available light by either using reflectors or diffusers if necessary to change the intensity of light or to fill in areas where light is less. Understanding light is very interesting once you start to understand how it works and if you are worried where to start, check out this eBook “Understanding Light” by Photzy that will teach you about all the qualities of light and how to use them to your advantage.

Photo by Liliana Morillo

Photo by ruedi häberli

Photo by Roi Dimor

Photo by Daniil Komov

Photo by Matt Bango

Photo by Dmytro Koplyk

Photo by Green Grasshopper

Further Reading

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04/09/2025
Earn Passive Income With the Path Affiliate Program
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Creative agencies and teams know the drill—tight deadlines, demanding clients, and the constant pressure to find new revenue streams. Between managing projects and chasing new business, there’s barely time to explore income opportunities that don’t require more billable hours.

Affiliate programs often get dismissed as something only solopreneurs and influencers can benefit from. But your entire team, agency, or department can turn your professional networks into serious passive income through team affiliate marketing.

30,000 sales and marketing pros get our insights, tips, and best practices delivered weekly.

You use your combined professional relationships to refer people who need editing services for different purposes than what you do. Photo editing affiliate programs like ours work particularly well because they offer high-value services, repeat customers, and longer commission windows. Read on for tips on how to make the most of it.

Why choose the Path affiliate program for photo editing

Here’s how Path’s affiliate program stands out compared to typical industry affiliate programs:

You earn for 12 months, not just once. Most affiliate programs pay you once when someone buys, then you’re done. Path pays you 20% commission on every single order that customer places for their entire first year. One good referral keeps paying you for months.

It doesn’t have income limits. There are no earning caps or referral limits. Refer 5 customers or 50—you get paid for all of them.

Our program works for individuals and businesses. Your agency can participate as a team, pooling referrals and sharing commissions however you want.

You get a longer tracking window. Path tracks your referrals for 60 days using cookies. Most programs only track for 30 days, so you have more time for people to actually place their first order.

The program has a low payout threshold. You get automatic monthly payouts via Wise once you hit just $25.

You receive Industry-competitive rates. Photo editing services typically offer 15–50% commissions, but most pay only on the first purchase. Path’s 20% rate for 12 months means you earn significantly more per referral over time. For example, if a customer spends $500 total on Path editing services in their first year, you earn $100 compared to just $20 from a typical one-time commission program.

You’re recommending quality service. Path uses human editors, not AI. It makes referrals easier because you’re recommending a service that actually works and has a good, established reputation with tons of 5-star reviews.

How the Path affiliate program works

Getting started with our affiliate program takes just 5 minutes:
1. Apply online: Fill out our application form. We manually review each application, which usually takes 1–3 business days.
2. Get your link: Once approved, you get access to your affiliate dashboard and unique referral link. The dashboard shows real-time stats on clicks, conversions, and earnings.
3. Share and earn: When someone signs up with Path through your link, they get 20% off their first order. You earn 20% commission on that order plus every order they place for the next 12 months.
4. Get paid automatically: We send payments via Wise. Once you earn $25 or more, you get paid automatically in the first two weeks of each month.
We designed this affiliate program for photo editing to be simple enough for you and your team to share your links and get paid without waiting for large withdrawal thresholds.

Who should join the Path affiliate program

Our program works best for teams already working in creative and photography spaces. Remember, your team’s combined network is bigger than any individual’s, and you’re not referring Path to competitors, but people who need editing for different purposes or different scales than your work. Below are some ideas and tips for specific referral opportunities for each type of business.

Creative agencies and studios

You outsource editing work, have clients who need consistent photo editing, and can recommend Path when clients need more support. For example, small business clients who need product photos but can’t afford full agency services, startup clients doing their own photography who need professional editing, freelancers you work with who need editing support, corporate clients’ in-house teams handling basic photography, and marketing teams you work with on different projects.

Ecommerce teams and managers

Product photography is part of your daily routine, and you know how frustrating inconsistent editing can be. You can recommend Path to other ecommerce brands in non-competing industries, suppliers who need better product photos for catalogs, and retailers you sell through, such as ecommerce shops that might need different edits for different marketplaces.

Sports photography businesses

You can refer other photographers in different specialties (real estate, weddings, events), smaller companies who can’t afford your services but need editing, and freelancers you collaborate with or mentor. Even venues you shoot for might benefit from a variety of edits when they advertise competitions or events across social media, websites, and print materials like leaflets or posters.

Corporate photography services

Your ongoing relationships with HR departments and corporate clients can create natural moments where editing recommendations come up in conversation. For example, you might deliver a series of team headshots but their marketing team will need to use them in different formats across websites, LinkedIn, or other platforms.

Solo professionals and freelancers

Content creators, photography educators, consultants, business coaches, and equipment vendors all connect with people who need editing help. And unlike agencies and larger brands, solo professionals and freelancers often share behind the scenes of their workflow and tools with others in the same space.

How to maximize your Path affiliate earnings

Successful referrals generally come from understanding your network and making the conversation feel natural, not forced:
- Start with pain points: Your network deals with editing challenges, such as inconsistent quality, slow turnarounds, high costs, no dedicated editing staff. These conversations are where Path fits naturally.
- Make it helpful, not salesy: Work Path into existing conversations, emails, and social posts. You’re sharing a useful resource, not pushing affiliate links.
- Time it right: Promote during busy seasons when people need more editing help, such as during holiday ecommerce prep, sports championships, school headshot seasons.
- Track your progress: Our dashboard shows which referral sources convert best, so you can double down on what’s working and improve campaigns that might not be performing well.
Natural referral touchpoints

If you’re wondering what actual conversations might look like, we have some ideas below. The main idea is to frame your content as helping others, not promoting yourself, because you want your network to trust you, not see you as salesy.

For agencies and studios:
- “If you ever need editing support beyond our scope, I have a great resource.”
- Include Path in a “resources we recommend” section in project wrap-up emails.
- Mention Path in casual conversations about workflow challenges at networking events.
- “Hey, found this editing service that might help with your editing backlog.”
For ecommerce teams:
- “Your online store photos could really benefit from professional editing.”
- Casual chats about business challenges at industry conferences.
- LinkedIn posts: “Here’s how we streamline our product photography workflow.”
- Include Path in a “Resources that might help your business” section in supplier newsletters.
For photographers:
- “If you need future editing support, here’s what I recommend.”
- Answer questions or share editing tips in photography Facebook groups, especially during busy wedding seasons.
- Recommend Path to photographers you’re helping during mentoring conversations.
General social sharing ideas:
- “Great tools for small businesses” roundups.
- “Resources we recommend” posts.
- Answering industry questions without revealing your own processes.
How to sign up as an affiliate with Path

Ready to get started as our affiliate? Here’s how it works:
1. Fill out the application. Head to our affiliate page and complete the form. We’ll ask about your business and how you plan to share Path with your network.
2. Wait for approval. We review each application manually, which usually takes 1–3 business days. Having an established business in creative or photography spaces definitely helps.
3. Get your dashboard and link. Once approved, you’ll get login details for your affiliate dashboard and your unique referral link. Everything updates in real-time so you can track your progress.
4. Focus on your existing network first. Spend your first 30 days talking to people you already know rather than trying to find new contacts. Your established relationships are where you’ll see the best results.
Start earning passive income with Path today

If you’re looking to earn passive income from recommending a reputable service to your network, Path’s affiliate program is a great fit. You earn 20% commissions for 12 months, there are no earning caps, and it’s designed for teams and agencies who want to monetize relationships without competing with similar businesses. Apply today and start earning!

Earn 20% commissions while helping others level up their visuals—with a human-powered photo editing partner they trust..
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02/09/2025