Sigma Vision - Winter 2015

Sigma Corporation of America’s Biannual Magazine Issue 01 Winter 2015

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ADVENTURE SPORTS TIPS FOR ALL SEASONS

PRIME? ZOOM? PROS? CONS?

Tech Features

BEAUTIFUL BIRDSPerfect PhotosTop Tips For Exceptional Avian Imagery

VISION

5REAL WORLDADVICE FORHIGH ALTITUDEPHOTOGRAPHY

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Welcome to Sigma Vision, our new biannual magazine! In each issue, we will be showcasing photographers doing amazing things with Sigma gear, along with tips and tricks, how-tos and tutorials, and technical insights into making the most of your photographic pursuits.

Photography is one of the key currencies of the online experience; and in that spirit, this inaugural issue of Sigma Vision features the work of many photographers that we have originally befriended through our social channels such as Facebook, Twitter, and Google Plus. As a man of many hats—photographer, writer, editor, and marketing professional—I can tell you quite honestly that social networking can yield real results. Ask any of our contributors to this issue and they’ll absolutely say the same thing!

In this issue, we’ve got tips for success on the art show circuit, advice from a high-flying helicopter pilot, adventure sports in all seasons, surefire tips for great shorebird shots, “technical tips,” and much more.

You can look forward to fresh photos and new inspirations in each issue. We’ve designed Sigma Vision with an image-forward philosophy, and with a single clean design aesthetic to be visually appealing and truly readable both in print, and in online presentations.

And if you’ve got an idea for an article, we’d love to hear from you. Email me at [email protected].

Jack Howard

© 2015 Liam Doran This morning sun rises over the San Juan Mountains of southwest Colorado bathing the deep snow on Coal Bank Pass in low angle light. I spent two days skiing and shooting with local pro skier Sven Brunso. His knowledge of the area is extensive and was critical in helping us capture some amazing shots.

Sigma 24-105mm F4 DG OS HSM lens on a Canon 1DX. Shutter speed: 1/1250 sec | Aperture: F16 | ISO 1000

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Kazuto YamakiMark Amir-HamzehChristine MoossmannJack HowardEmi ArataPatrick Santucci

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CONTENTS Issue 01 Winter 2015

TECH FEATURESUnderstanding Optical Stabilization 18

What Does Macro mean in a lens name? 26

What’s the difference between PRIME and ZOOM? 26

Night Light4

A Shore Thing19BEST IN SHOW10

HIGH FLYING PHOTOGRAPHY22

ADVENTURESPORTSACTION14Bokeh and

Background Blur9

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Making stunning night sky images is all about capturing light where there appears to be none. Just about any DSLR camera with full manual controls can accomplish the task if you know the basic photographic formula. I try to think about my night sky shots much the same way as I would approach any daytime landscape images. Including an interesting foreground subject is essential.

Once you know what and where you will be shooting, set your camera up on a tripod with as wide and fast a lens as you have (F2.8 or faster is ideal but F3.5-4 will do just fine to start). Manually focus to infinity with as high an ISO as you dare go with your camera without having too much long-frame noise. I start with exposure times in the 20-30 seconds range and adjust settings accordingly from there based on histogram and LCD review.

Some locations are widely known for being good night sky shooting spots due

to the darkness of the sky or featuring a particular mountain or landmark, and other times I have researched using Google earth, Stellarium, and other apps for location scouting. But in this case, I just got lucky!

I had stopped on the side of a county road in Northern Vermont trying to assess the current position of the Milky Way and where I would shoot next and the shot just lined up nicely right where I was.

Being the height of summer, the biggest obstacle was the bugs. DEET is not always a standard camera bag item but in Vermont in the summertime you’d better have some bug spray with you! Despite the bugs, I got the shot I was looking for. The road appears to fade into the passing headlights of a car going for a drive down the southern leg of the Milky Way. My four hours of driving back roads really paid off that night!

NIGHT LIGHTCapturing the Milky Way with the world’s first F1.8 zoom lens.

By Brian Drourr

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This image was created in a little town in Bluffton, South Carolina. It was photographed at 8:00am in intense heat just as the sun was rising. The Sigma dp2 Quattro camera was tethered to a tripod and two images were captured to create the whole panoramic scene.

It was processed in Sigma Photo Pro 6 for RAW conversion then exported to Photoshop for stitching. My goal was to capture both frames of the entire scene in crisp detail, regardless of distance to lens, so I focused on Susan’s eyes at F/11 to maximize image sharpness and depth

FEATURED PHOTOGRAPHER:

Judy HostMade with Sigma’s dp2 Quattro Compact Digital Camera

Keep Calm and Stay Cool

© 2015 Judy Host

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of field. The dp2 Quattro is an easy-to-use camera with an amazing ability to create extremely large imagery. The end result was printed at 72 inches in length and looks fantastic!

Specs: Aperture: F11 | Shutter speed: 1/15 sec | Exposure mode: Aperture Priority | Model: Susan Adams | Stylist: Judy Host

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© 2015 Jack Howard

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The ability to isolate a selected focal point from the background is one of the key advantages of the SLR and Interchangeable lens compact cameras. Many variables and factors affect the overall feel and background blur effect, including focal length, focal distance, and distance to background. Here, in this photo of a snail shell along the shoreline, the shell is just a few inches from the camera, and the shoreline meanders away getting ever more abstract as distance increases. And the glistening points of sunlight reflecting off the scene become more diffused circles as the distance from the focal plane increases. When you are looking through the optical viewfinder, the lens is set to its maximum aperture, so what you see isn’t what you get. The more you stop down the aperture, the more depth of field you’ll have, and the background blur effect is lessened. Many cameras have a “Depth of Field” preview button to physically stop down the lens to demonstrate what the final photo will look

like, but this seriously darkens up the view through the lens. On cameras with a Live View mode, the effect of changes to the F-stop on the feel of focus and defocus can be viewed and adjusted more easily on the LCD preview screen. There’s no absolute answer as to how much background and foreground blur is exactly “right” for the scene before you. Every scene is different, and sometimes rendering the background as an abstract of color works, and other times, just a light softening up of a recognizable element is the way to go. We explore this topic in much greater depth on our blog. Visit www.SigmaPhoto.com/bokeh-blur to learn more. Image Tech Specs: Sandy Hook, NJ. August, 2013. Sigma 17-70mm F2.8-4.0 DC OS HSM | C lens on a Canon EOS Rebel T3i. 1/1250 at F4.0 ISO 200 at 70mm.

By Jack Howard

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by Walter Arnold

BEST IN SHOWBEST IN SHOW

While working a full time job as a bank manager, I began honing my photographic skills on the side. What started out as an interest, evolved into a hobby, then an obsession, and finally a second job. I wanted to do something different and unique with my work, and after photographing an airplane graveyard in Florida, I found my niche: “The Art of Abandonment”. By capturing beauty in unexpected places, and preserving the history, memories, and stories of abandoned locations, I have been able to present unique perspectives to my audience.

In 2012 I was at a crossroads with my banking job. I chose to take the road less traveled and step out

into the art world to see if I could make a creative living for my family. I had been building my fine art business for the past four years so I was not starting from scratch, but leaving behind a steady income to try to sell art was not an easy choice. The term ‘Starving Artist’ was coined for a reason. I gave myself one year to see if I could make it work.

I began my journey with a journey, hitting the road for almost three weeks to photograph abandoned locations across the South East. I needed to create a backlog of images and stories that I could gradually work on and release over the coming year. Working with property owners and preservation groups we

Walter Arnold turned a layoff from his day job into a golden opportunity to hit the traveling art show circuit. Giving himself a year to make it or break it, he’s won many best in show awards and racked up impressive sales along the way. He offers real-world advice for photographers looking to break into the art show world.

© 2015 Walter Arnold

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photographed many forgotten locations in Tennessee, Arkansas, Louisiana, and Mississippi. When I returned, it was time for the real work to begin.

I began planning and filling my calendar with art festivals all across the South East. I knew that in order to succeed it would take lots of legwork to get my images in front of as many people as I could. I attended shows all over Florida during the first part of the year, then moved north to the Carolinas and Georgia to do shows for the remainder of the year. Focusing on competitive juried art shows, I was honored to receive numerous awards and many “Best of Show” commendations. For patrons and judges alike, seeing my abandonment works was something unique and something that they were not used to seeing from most photographers at festival art shows.

Traveling and putting on these shows is not an easy job. Not only do you have the logistics of transporting a completely mobile gallery, but you also have to deal with Mother Nature. Having several inches of rain on your weekend show that you spent a week prepping for, a day traveling to, and hours setting up for, can be disheartening when it drives all the patrons away.

Throughout this time I was also displaying my images in galleries and museums as well as doing showings at regional locations. The key being, that when people see the work in person, talk with the artist, and learn the stories behind the images, it takes on new meaning and creates value. Having a good website, blog, newsletter, and social media presence is great (and a must), but touring and exhibiting my

Images from the Art of Abandonment series. Top image, “Of Barkeeps Past”Bottom image, “Light shines through everything that is broken” © 2015 Walter Arnold


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work proved to be the key factor in creating consistent, ongoing, and sustainable sales.

Over the coming year I plan to continue traveling and photographing forgotten historic places wherever I can find them. Booking up my calendar with quality festivals across the country, as well as gaining representation in high end art galleries are top priorities. One thing I have learned is the time actually spent behind the camera is quite small when compared to the hours worked on everything else. It is vital to continually capture and create new works, but that time must be budgeted wisely and in tandem with showing and selling your images. Running a successful business takes dedication, sweat, patience, and a lot of drive.

Over the last year I have shown my work at 30 art festivals, 5 art galleries, 2 museum exhibitions, and countless other shows and ‘opening night’s. As my calendar quickly fills up for 2015 I plan on going even bigger and better with more photography expeditions, and participation in some of the top shows and festivals in the country.

1. HAVE A CONCEPT IN MIND AND BE CONSISTENT WITH THE PRESENTATION. When people leave your booth you want them to remember what you are all about, not just that you had interesting photographs. Present a cohesive idea, with images that work together to create a unified concept that will stick with people long after they leave your booth.

2. MAKE AN IMPRESSION! Largely showcase your best work and use that to draw people in. Like a good movie, you need strong lead characters to get people’s attention, and then a solid cast of supporting actors to keep them riveted and interested.

3. KEEP SMILING. Don’t be the person that sits in the back of the booth reading a paperback waiting for someone to buy something. Walk around, introduce yourself, tell your story, and even when you are answering the same question for the hundredth time that day, smile and answer it as if it’s the first time anyone has ever asked you that question.

4. BE PREPARED. Bad weather can do more than dampen your spirits when a freak storm comes blowing in. Properly weighting your tent is a must, and having a plan to quickly protect your products is vital. Make sure you are insured as well, and make sure your merchandise is covered wherever you take it. A good insurance policy is a must.

5. STAY POSITIVE! Not every show will be lucrative. In fact you may lose money on some. That’s part of the ebb and flow of business. The good ones will more than make up for the bad ones!

To view more of Walter’s work visit his website at: www.TheDigitalMirage.com and read about the abandoned locations he visits on his blog: www.ArtofAbandonment.com

REAL WORLD ADVICE FOR HITTING THE ART SHOW CIRCUIT


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By Liam Doran

Life is an adventure for freelance photographer Liam Doran. From his home base in Breckenridge, Colorado, he spends the winter chasing skiers down the slopes all over snow country. Warmer seasons see his photographic focus switch to mountain biking, trail running, fly fishing and all sort of other outdoor activities.

He’s landed the covers of some of the biggest outdoor magazines, and won Powder’s photo of the year, as well as created art for premiere outdoor gear catalogs. For Liam, the passion for photography is the natural outgrowth for his passion for the outdoors, “I’d be a much better

photographer if I didn’t like to ski, bike and fish so much,” he jokes. Pursuit of the perfect powder photo does have its downsides, such as long spells away from his wife and two young children, working in incredibly inhospitable conditions, and the whims and caprices of market forces that are the bane of freelancers everywhere. But when it all comes together, he’ll tell you “it seems I have the perfect job—and it’s one you can’t apply for—chasing fresh powder in amazing locales or maybe stalking the perfect light in the desert southwest. When it all comes together, it can be magical.”

ADVENTURESPORTS

ACTION

© 2015 Liam Doran

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© 2015 Liam Doran

LEARN TO FRAME. Use the natural landscape to help frame your athlete. Also be sure not to center punch your model in the middle of the picture. Learning the rule of thirds will help you compose images better.

CAPTURE THE ACTION. Be sure to shoot your skier, biker, climber, kayaker etc. at the height of action. If the action is lacking try a wide angle lens to capture the environment that the sport is taking place in.

CHANGE YOUR PERSPECTIVE.If you are standing upright holding your camera to your eye you are probably blowing it. Get down low on the ground or get up high in a tree, ladder or use a boom. Do anything that helps you to not be at the same level as your athletes eyes.

TYPICAL GEAR LIST FOR OUTDOOR SPORTS SHOOT:

•Sigma 12-24mm F4.5-5.6 II DG HSM•Sigma 24-70mm F2.8 DG HSM•Sigma 24-105mm F4 DG OS HSM | A•Sigma 70-200mm F2.8 DG OS HSM•Sigma 120-300mm F2.8 DG OS HSM | S•Canon 1DX•Canon Speedlite 600EX-RT or Elinchrome Ranger•Pocketwizard Triggers•All carried in Clik Elite photo packs

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KNOW YOUR CAMERA AND HOW TO USE IT.This may seem basic but many people buy their first DSLR and never take it out of the “green box” mode. Read the manual and learn how to maximize your cameras autofocus and drive modes for outdoor sports shooting.

SEE THE LIGHT.Not always, but more often than not, the best outdoor sport images are made at the edges of the day. Try to set up shoots early in the morning or later in the day for the best light possible.

MAKE PHOTOS DON’T TAKE THEM.Before you go out, have a solid plan of the image or images you want to make and know how you are going to achieve your vision. Scout the location beforehand and know where the light will be at any give time of day.

TIPS from LIAM

© 2015 Liam Doran

© 2013 Liam Doran

© 2015 Liam Doran

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What is Optical Stabilization?

All About Optical Stabilization

Can OS freeze motion?

Can OS and Flash be used together?

FAQ

Should I use OS and a tripod at the same time?

Should OS in a lens be paired with sensor-shifting stabilization?

www.SigmaPhoto.com/lenses/os-lenses

Similar searches

Images for Optical Stabilization

Optical Stabilization is a lens technology that can be used to make sharp handheld photos at slow shutter speeds. OS acts like an invisible tripod to counteract slight camera and lens movements during image capture. The general rule of thumb is that Optical Stabilization can help you make acceptably sharp shots at up to four stops below the reciprocal of the focal length. So, for example, with a lens at 250mm, activating OS will allow a photographer to slow down the shutter speed to between 1/30 and 1/15 and still manage to make photos that aren’t completely blurred. This is very useful for keeping ISOs low to minimize noise in low-light situations. The effectiveness of OS does vary from photographer to photographer based on a number of variables including through-the-viewfinder or LCD framing, camera grip, and overall personal jitteriness. When possible, it’s best to burst a few frames when employing OS, as there is an additional motion involved in clicking the shutter button. But when it’s just not possible to use a tripod for longer exposures, OS can often come to the rescue.

No. OS can only minimize camera and lens movements during the capture. And since OS is activated when shutter speeds slow down, anything moving in the field of view may exhibit motion blur.

Yes, but if flash-frozen subjects move during the longer exposure, there may be some ghosted edges. But this effect can be a fun, creative way to add motion and energy to the image.

Generally no. OS acts like an invisible tripod, and these two in tandem can actually lead to some shake showing up in the photo. But, certain types of OS switches have a Panning mode, which can be used to track a moving subject for a special type of motion effect. In this case, on a panning head, yes, OS and a tripod can be paired.

No. Sensor Shift Stabilization, available in certain cameras, should not be used concurrently with in-lens stabilization. As both are attempting to accomplish the same thing, it can lead to neither shifting element being successful in its task.

Optical StabilizerVibration ReductionImage Stabilizer

SeekSIGMA! Search

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A Shore Thing.Looking at the work of Lisa Franceski,

It’s natural to think many things–for

example, she’s been making wildlife

photos for years, she’s got a ton of high-

end gear, and travels regularly to exotic

locales to make her intimate glimpses

into the lives of shorebirds and other

wild creatures.

© 2015 Lisa Franceski

by Jack Howard

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Her work shows amazing timing, and her patience allows her to catch moments that have serious impact.

You might be surprised to know that Lisa, whose work has graced the cover of Audubon magazine, been featured in National Geographic, and syndicated as note cards, has been making photos with an SLR for less than four years, shoots with an older Canon EOS Rebel T2i, and her absolute favorite

wildlife lens isn’t a gargantuan telephoto prime, it’s the compact, lightweight Sigma 120-400mm F4-5.6, and that most of the images featured in this article were captured near her home base on western Long Island, just a few miles from Laguardia Airport.

If there was ever better proof that artistic vision and genuine passion matters more than the megapixel wars and gear bag envy, we’d be hard-pressed to find it.

1: Go low! Get at the bird’s eye level for serious impact. I regularly crawl on the sand and lie still waiting for the perfect moment.

2: Be patient. It takes time for birds to grow accustomed to your presence, and at all costs, avoid sudden, swift moves or you’ll spook your subjects.

© 2015 Lisa Franceski | “Born”

Top Tips For Exceptional Avian Imagery

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There’s an old news photographer adage to “make photos, not excuses” and looking at her body of work, and growing list of publications, Lisa Franceski embodies this can-do philosophy exceptionally well. Lisa’s amazing images made with the Sigma 120-400mm F4.5-5.6 and 50-500mm F4.5-6.3

are the result of her patience, vision, timing, and understanding of her subjects. She lies on the ground and waits for the birds to get comfortable with her, however long it takes. She waits for the right moment, and she makes amazing images as her reward.

3: For birds on the ground, single-shot Autofocus may work, but for birds in flight, continuous AF is the way to go.

4: Always pay attention to the overall composition, especially when the subject is smaller in the frame.

5: Monitor local birding websites for sightings and spotting of migratory and rare birds to your area to add new species to your photo collection.

© 2015 Lisa Franceski | “The Cross”

© 2015 Lisa Franceski | “The Dozen”

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VIBRATIONS

Control your shutter speeds. For the most part, in good light, try to get an exposure between 1/250th to 1/500th and between f4-f8. Remember you’ll be moving pretty fast and lighting will change. Choose an ISO that will work for these shutter and f/stop combinations to give you room for some brighter and darker frames. Try to avoid using the cameras auto settings in case it selects something too slow and remember NO long exposures unless you are deliberately looking for blurred frames.

LACK OF STABILIZATION

No space for that trusty tripod? Well it wouldn’t help you in this case anyway. I would also not suggest the use of a monopod on the floor as a way to stabilize your camera. You will pick up induced vibration from the Rotor blades if you attempt that. Don’t brace your body or lens against the inside of the helicopter, doing that will directly translate more vibration into your camera. Hold the camera firmly, but not tensely, and turn Optical Stabilizer on, if it is an option.

© 2015 Robert Ruotolo

WINDOW REFLECTIONS

Doors ONWear dark clothes (preferably black) to minimize your reflections in Plexiglas. Bring a microfiber cloth with you for your lens, and the shooting area you might be seated in. (the people that took the tour before you may have a greasy lunch and everyone loves to touch windows.) Another possible use would be as a lens shade if necessary. Avoid using a polarizing filter because depending on the filtering in the window itself, you may get a terrible sheen. Not to mention a light loss making that dreaded slow shutter shot ruining monster appear.

Doors OFF Have a BLAST! but make sure you have no loose items around and everything around you is secured. Make sure camera is tethered to you at all times and avoid changing lenses – No one wants to become famous for dropping anything like a lens from a helicopter, so use a zoom if possible to give the greatest compositional variety.

© 2015 Robert Ruotolo © 2015 Robert Ruotolo

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HIGH FLYING PHOTOGRAPHY

Robert Ruotolo, a commercial photographer based in New York City, specializes in photography from helicopters. His breathtaking work captures the beauty of both the man made and natural worlds. Using a specially-designed gyro stabilizer, Ruotolo’s usual lens of choice is the Sigma 50-500mm for its reach, range and performance where it’s not always possible to quickly and safely change lenses. His other lens of choice is the Sigma 8-16mm F4.5-5.6 for his wide aerial or landscape work.

Visit our Site for more aerial tips and an expanded photo gallery: SigmaPhoto.com/Aerial-Tips Visit Robert Ruotolo’s website: http://ruotolophoto.com/

By Robert Ruotolo

One of the most incredible ways to see a city is to take an Aerial Tour. This type of photography however brings its own set of challenges.

REAL WORLD ADVICE FOR HIGH-ALTITUDE IMAGERY

© 2015 Robert Ruotolo

TIGHT SPACES

Most tour helicopters can present a challenge to getting the shot you want; perhaps you’re sitting on the wrong side of the helicopter when that building you want a shot of goes by. To minimize that from happening to you study the tour route and ask the person loading you in the aircraft to seat you on that side. If that’s not possible just remember some tours go back the way they came and that shot just might be better on the way back so try not to stress it to much.

When shooting from a helicopter with a wide angle lens, be careful when shooting in turns and keeping the camera pointed straight out, or you’ll get an awesome shot of the rotor blades going right through the scene.

GET YOUR EYES OUT OF THE VIEWFINDER

Be sure to look around and enjoy your experience! Plan your shots from a distance instead of reacting to what you what you see right in font of you. In a reaction situation you will most likely not be ready for the shot. Pop Shots rarely work out well from a helicopter. Focus on quality not quantity.

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All in the FamilyFor the Bryants, photography is a shared passion

The love of photography is something that is oftentimes shared and passed down through the generations of a family. Ask a photographer where they first caught the photo bug, and there’s a good chance that a father, uncle, aunt or mother originally sparked that interest.

For ten year old Bailey Bryant of Orlando, Florida, he can look to both his parents, Matt and Cindy, as his source of inspiration. In fact, Matt and Cindy Bryant are, to date, the only husband and wife pair to both be featured as Sigma’s Fan of the Week. And even cooler, both made their winning shots with their pair of Sigma 150-500mm F5-6.3 APO DG OS HSM lenses. And these days, they are having to share their favorite super telephoto zoom lens with their son more and more!

Cindy bought her first DSLR camera nearly three years ago. Her goal was to take wonderful photos of the Bryant family adventures and her two boys growing up. Quickly it was discovered they could achieve two completely different point of views, therefore a second camera setup was necessary. This also accelerated the learning process as Matt and Cindy shared each others progress. Cindy’s creativity coupled with Matt’s technical aptitude is a recipe for success as their photos show.

The adventures soon expanded from themes parks to birding in the wild. Now, they can often be found at the local National Wildlife Area or at the beach photographing shore birds. Wherever the road may take them, it’s an adventure shared (and now documented) by the whole family. When not tracking wildlife

© 2015 Bailey Bryant

by Jack Howard

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Does photography run in your family? Tell us your story at [email protected]

with the super telezooms, they switch over to the Sigma 17-50mm F2.8 EX DC OS HSM for family candids and portraits.

More family adventures are on the horizon, both around their Florida home and farther afield. Cindy is hoping to make photos of Atlantic Puffins and Matt is on the prowl for gray wolves. And their younger son, eight year old, Jordan, is also asking to get his hands on one of the cameras, too, so there’s always talk of expanding the overall photo kit! Wherever they are headed, it is sure to result in fantastic photos from the whole family.

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WHAT’S THE STORY WITH CLOSE FOCUSING

DISTANCE?

WHAT’S THE DIFFERENCE BETWEEN A PRIME

AND A ZOOM?

QA&Lenses are designated as a “Macro” when the maximum magnification is 1:3 or greater. 1:3 magnification means that a 1 inch object will be recorded across one third an inch of the camera sensor. 1:2 magnification means that same one inch object is recorded as half an inch. and 1:1 magnification, also called “life-sized”, records a one-inch object across one inch of the sensor. There are dedicated prime macro lenses, wide angle lenses with high magnification ratios, and zooms with macro capture capabilities, but all lenses with “macro” in the name will be able to capture at 1:3 magnification or greater.

WHAT DOES MACRO MEAN IN A LENS NAME?

Close focusing distance, which you’ll find buried in the list of tech specs for lenses, is quite simply, the nearest distance at which a lens can achieve focus. In zoom lenses, close focus distance may change as focal length increases. But in all cases, the close focusing distance is measured from the focal plane of the camera, which is universally marked with a small slashed circle, and not the front of the lens. So, for example, the Sigma 30mm F1.4 DC HSM | Art lens is 2.5 inches long, and the close focusing distance is 11.8 inches. Subtracting 2.5 from 11.8 tells us that we can close-focus on something 9.3 inches in front of the lens. And the same holds true for lenses where the barrel extends either for focusing or zooming, meaning that it’s often possible to have a subject mere inches from the front lens element and be in sharp focus.

There are two sets of numbers you see in a lens name, focal length(s) and aperture(s). A prime lens is one in which the focal length does not change—there’s no zooming at all. So, if you want to frame the image tighter or looser, you have to move either closer to or farther from your subject. A lens with only one focal length in the name is a prime lens. Prime lenses are designed for exceptional performance at a single focal length.

Zoom lenses offer a range of focal lengths, allowing you to quickly recompose the scene by turning the zoom ring. Zoom lenses feature the widest and longest focal length in the lens name. Zooms are designed to give excellent performance through the entire focal range.

Lenses also include the maximum aperture(s) in the name. Prime lenses, which don’t by definition zoom, include the maximum aperture at its given focal length. Zoom lenses come in two types, constant-aperture and variable aperture. Constant-aperture zoom lenses maintain the same maximum aperture through the entire focal range; while variable aperture lenses change maximum aperture as the lens is zoomed out and feature the maximum aperture at widest and longest focal length in the lens name.

To illustrate each type in order, the Sigma 50mm F1.4 DG HSM | A is a prime lens, the Sigma 24-105mm F4 DG OS HSM | A is a constant aperture zoom, and the Sigma 17-70mm F2.8-4.0 DC OS HSM | C is a variable aperture zoom.

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STUDENT & EDUCATOR SAVINGS PROGRAM

Sigma believes that the future of photography is held in your hands, so we are offering special savings on cameras, lenses, and accessories for qualifying participants at select Sigma USA authorized camera dealers across the country. We understand that students and educators have budgets, and we are here to make it work for you.

For more information on pricing, participating dealers, Institutions, as well as rules and regulations please visit www.Sigma-University.com

Welcome to Sigma University! A program created to make the gear students and educators need easily accessible and, better yet, more affordable.

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THE LIVING ROOM SESSIONS

DIY music vids with the 35mm F1.4 DG HSM | Art

The Last Year, a new wave/alternative band out of Baltimore, MD, recently launched the Living Room

Sessions on their YouTube channel in advance of their new self-released album, coming in spring

2015. Niki Barr, lead singer, chose the Sigma 35mm F1.4 DG HSM | A lens to pair with her DSLRs for

its incredibly sharp wide-open performance—great for the challenging low-light situations typical of

indoor music venues. “We’re a DIY band, and this lens just works perfectly for us, and paired with my

full-frame 6D, it’s great for tight spaces. We’re going to be doing a lot of video work with this camera

and lens combination this year as we create videos for our singles and live shows.” Check out their

website to see all the videos in the Living Room Sessions and more: http://thelastyear.net/

From left to right: Scott Griffith, Niki Barr, BJ Kerwin, Scott Ensign

by The Last Year

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PARTING SHOT

PHOTOGRAPHER:

Ryan BrownMade with Sigma’s dp2 Quattro

This image is of a man named John Sharp. John was a long time horse trainer and roper cowboy from the Midwest. John was photographed as part of a personal project titled “Character Portraits” that I am working on currently. The image was photographed with the Sigma dp2 Quattro at ISO 400 1/30 sec at f/2.8. This image was created originally in the 4:3 aspect ratio in the camera as well as the monochrome setting in the camera. Photoshop adjustments include cropping, contrast, and a little dodging and burning. With my black and white images (even portraits) I try to keep the look of the Zone System technique of black and white photography. I created the image as the sun was going down this past August. The lighting for the portrait is from the dusk sky and the directional look was created by having the subject just inside of a barn. The light from the barn door open keeps the direction while the barn door open on the opposite end brings light in as a separation from the subject and background on the viewers right side. To see more of my “Character Portrait” project, please go to www.theimagejournal.com.

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Sigma Vision - Winter 2015

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