Sigma Launches Redesigned Lens Filter Lineup
© Sigma
Sigma has launched a redesigned lens filter lineup featuring anti-reflection surface treatments, slimmer frames, and verified vignetting-free compatibility across all Sigma lenses. The four-model series includes the high-impact WR Ceramic Protector PTC-21, WR Protector + UV PUV-21, standard Protector LPT-21, and WR Circular PL Filter CPL-21.
From Sigma:
Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa; CEO: Kazuto Yamaki) is pleased to announce the renewal of Sigma's filter series for interchangeable lenses. The entire lineup has been completely redesigned to achieve further performance improvements. Additionally, the design and packaging have been updated to align with Sigma’s new visual identity, introduced in 2025.
Four filter models will be released on November 5th, 2026: the Sigma WR Ceramic Protector PTC-21, a ceramic protector offering exceptional impact resistance; the Sigma WR Protector + UV PUV-21, featuring UV protection and water- and oil-repellent coating; the standard Sigma Protector LPT-21; and the Sigma WR Circular PL Filter CPL-21, a circular polarizing filter with water- and oil-repellent coating.
Product Name:
Sigma WR Ceramic Protector PTC-21
Sigma WR Protector + UV PUV-21
Sigma Protector LPT-21
Sigma WR Circular PL Filter CPL-21
Launch: November 5th, 2026
- Product appearance and specifications are subject to change without notice.
- The image shown is the Sigma WR Ceramic Protector PTC-21.
© Sigma
Key Features
Completely redesigned construction
As part of this renewal, the entire lineup has been redesigned from the ground up to further minimize impact on image quality while enhancing overall usability. Improvements to the surface treatment of the filter frames reduce internal reflections compared to previous models, while an optimized design has enabled a slimmer profile for the large-diameter 95mm and 105mm sizes.
New exterior design and packaging
These filters feature an exterior design and packaging aligned with Sigma’s new visual identity, introduced in 2025.
Verified compatibility with all Sigma lenses
Compatibility with all Sigma lenses has been fully verified, allowing for worry-free shooting without vignetting, even when using ultra-wide-angle lenses. Despite the slim design, these filters ensure secure lens cap attachment, providing users with peace of mind.
Product Lineup
WR Ceramic Protector PTC-21
67mm / 72mm / 77mm / 82mm / 95mm / 105mm
Other 3 Models (WR Protector + UV PUV-21, Protector LPT-21, WR Circular PL Filter CPL-21)
52mm / 55mm / 58mm / 62mm / 67mm / 72mm / 77mm
82mm / 95mm / 105mm
For more information, please visit the Sigma website.
Sigma 85mm F1.2 DG Art Lens for E-Mount & L-Mount Announced
© Sigma
Sigma introduced the 85mm F1.2 DG | Art, a compact medium-telephoto prime for L-Mount and Sony E-mount set to ship on September 30. Weighing just 905g, it is the smallest and lightest autofocus 85mm F1.2 lens in its class. Engineered for high-end portraiture and cinematic video, it pairs a 13-blade diaphragm for circular bokeh with a fast, quiet dual HLA autofocus system, completing Sigma's F1.2 Art lens lineup.
From Sigma:
Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa; CEO: Kazuto Yamaki) is pleased to announce the Sigma 85mm F1.2 DG | Art, a large-aperture medium-telephoto lens for full-frame cameras that combines unparalleled rendering power with a compact, lightweight design.
At 85mm, a focal length widely regarded as ideal for portrait photography, the lens achieves Sigma's brightest-ever F1.2 aperture while also delivering outstanding portability, and will be available beginning September 30th, 2026.
Product name: Sigma 85mm F1.2 DG | Art
Available mounts: L-Mount, Sony E-mount
Launch: September 30th, 2026
- Product appearance and specifications are subject to change.
- L-Mount is a registered trademark of Leica Camera AG.
- This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
Key features
- Uncompromising resolution and beautiful bokeh to make the most of F1.2
- Overwhelming mobility that breaks the conventions of an 85mm F1.2
- A full range of functions and build quality that meet the demands of professional use
- Rounding out the F1.2 lineup across wide-angle, standard, and medium-telephoto focal lengths
Uncompromising resolution and beautiful bokeh to make the most of F1.2
Overwhelming resolving power
In addition to two SLD glass elements, glass with high anomalous dispersion is used to suppress the axial chromatic aberration inherent to large-aperture lenses to the utmost limit. Aspherical lens elements further thoroughly correct spherical aberration and sagittal coma flare. The lens boasts reliably high resolving power from the maximum aperture, fully bringing out the rendering that only F1.2 can offer. It captures every detail of the subject’s expression and texture, taking the quality of both photographs and video to a higher level.
Beautiful bokeh that makes the subject stand out
The combination of a large-aperture F1.2 and a medium-telephoto 85mm delivers an extremely shallow depth of field and beautiful, rich bokeh. The adoption of a 13-blade diaphragm maintains a near-circular bokeh even when the aperture is stopped down. Natural bokeh rendering that suppresses color bleeding and double-line bokeh makes the subject stand out impressively, bringing overwhelming three-dimensionality and immersion to portraits and video work.
Designed to minimize flare and ghosting
Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.
© Sigma
Overwhelming mobility that breaks the conventions of an 85mm F1.2
The smallest and lightest in its class for an 85mm F1.2
By effectively arranging aspherical lens elements within the focus groups, the number of lens elements making up the focus unit has been significantly reduced. Despite incorporating a complex floating mechanism, a precise mechanical design pared down to the absolute minimum has achieved the smallest and lightest weight in its class for an 85mm F1.2*1 at 905g*2. It can be used comfortably even during long shoots or in situations that demand mobility, dramatically enhancing agility on set.
*1 As an AF 85mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of September 2026 by Sigma)
*2 These figures are for L-Mount.
Fast and quiet autofocusing with dual HLA
The fast and quiet AF driven by the dual HLA (High-response Linear Actuator) delivers reliable tracking performance for both stills and video. Even with the shallow depth of field of the maximum F1.2 aperture, it captures the subject accurately, enabling smooth and precise shooting in any scene.
The pride of a creative tool: the high build quality of the Art line
By constructing the lens from high-precision parts made of lightweight, high-strength materials such as TSC*1, it offers the rigidity and durability of the Art line without compromising portability, along with the build quality to serve as a reliable photographic tool over the long term.
*1 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.
A full range of functions and build quality that meet the demands of professional use
Designed to minimize focus breathing
Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.
Various shooting assist functions
The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch*1 and a click switch to turn the click on and off.
*1 If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.
© Sigma
Dust- and splash-resistant structure*1 and water- and oil-repellent coating
In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.
*1 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.
Rounding out the F1.2 lineup across wide-angle, standard, and medium-telephoto focal lengths
With the arrival of this product, the Sigma F1.2 Art Series is finally complete with three lenses, together with the 35mm F1.2 DG II | Art and the 50mm F1.2 DG DN | Art.
Outstanding optical performance that delivers high resolving power across the entire focus range from the maximum aperture. Fast, high-precision AF made possible by dual HLA. And a compact, lightweight body that ranks among the best in its class.
Backed by the advanced design and manufacturing technology Sigma has cultivated over the years, the overwhelming presence and spatial depth created by these three uncompromising lenses render your work all the more striking.
Sigma 35mm F1.2 DG II | Art
Further improved optical performance and operability condensed into a compact, lightweight body
Sigma 50mm F1.2 DG DN | Art
The ultimate Art F1.2 that transforms everything it captures, and even the shooting experience itself, into something special
Sigma 85mm F1.2 DG | Art
Overwhelming rendering power and unprecedented mobility
For more information, please visit the Sigma website.
Basic Butterfly Photography Tips
1. Where To Go?
Meadows with wildflowers growing in abundance are great places for photographing butterflies but please don't trespass on other people's property. You could also visit one of the many nature reserves or public gardens found right across the UK.
If you can't get out and about to photograph butterflies it's worth growing plants in your garden or window boxes etc. that will attract butterflies. These include Aubrieta, Buddleia, Primrose, Honeysuckle, Lavender, Lilac, Marigold, Phlox, Mint, and Thyme. Get to know which plants caterpillars feed upon, too, as you can plant them in your garden or look out for them on your travels.
A butterfly guide book can be very useful in identifying the species whilst out in the field. Occasionally, you may come across a species which is rare or not even native to the UK, it’s handy to know if you have spotted a rare species or even one in decline so you can report your sighting. Of course, you can also use the internet once back home for your research.
3. Time Of Day
The best time of day to maximise your chances of photographing butterflies will be early morning or in the evening as they don't move around as quickly. At these times, you may even be lucky enough to see one emerging or covered in dew which can make for that extra special photograph.
Try to stand/approach them so your shadow doesn't cover them as they'll tend to fly off in search of a sunnier spot.
If you start out early and temperatures are relatively cool then you may get lucky and find a few sleeping. By approaching slowly and quietly you may be able to move distracting stems etc. out of the way without disturbing your subject, to help with a more pleasing composition. Do take care not to destroy their habitat as many species are declining in numbers.
Another way to increase your chances of capturing a good shot is by switching to burst mode / continuous shooting. By doing so your camera will rapidly take a series of shots.
Instead of chasing a butterfly around your garden, it can be easier to find a plant you know they like and set up nearby. Then you just have to wait patiently for your subject to land on the part of the plant you're framed upon. It can be a little hit and miss and you will, more than likely, end up waiting a while but on a warm summer's day, having to sit out in your garden isn't really a bad way to pass a few hours!
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Sigma 20-60mm F2.8-4 DG Contemporary: Compact Ultra-Wide Zoom Lens for Full-Frame Systems
© Sigma
Sigma Corporation has expanded its full-frame lens lineup with the debut of the Sigma 20-60mm F2.8-4 DG Contemporary zoom lens, scheduled for release on September 30, 2026. Designed for ultimate portability without sacrificing image quality, this compact lens weighs just 385g (L-Mount) and covers an ultra-wide 20mm to standard 60mm range. Built for both stills and video, it combines a fast F2.8 aperture at the wide end, an HLA linear motor AF system, minimal focus breathing, and impressive close-up performance with up to 1:2.3 magnification, making it an adaptable everyday walkaround option for L-Mount and Sony E-mount photographers.
From Sigma:
Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa, CEO: Kazuto Yamaki) is pleased to announce the “Sigma 20-60mm F2.8-4 DG | Contemporary,” a standard zoom lens for full-frame cameras, covering an ultra-wide 20mm to a standard 60mm.
Designed to deliver both a wide-angle perspective and exceptional portability, this lens packs uncompromising sharpness and impressive close-up capabilities into a palm-sized design.
This new lens option from Sigma is designed to maximize the mobility of full-frame systems, and will be available on Wednesday, September 30th, 2026.
*1 The figure is for L-Mount.
Product name: Sigma 20-60mm F2.8-4 DG | Contemporary
Available mounts: L-Mount, Sony E-mount
Launch: September 30th, 2026
- Product appearance and specifications are subject to change.
- L-Mount is a registered trademark of Leica Camera AG.
- This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
KEY FEATURES
Combining a dynamic 20mm perspective with exceptional agility
Uncompromising optical performance
Reliability for effortless shooting
© Sigma
Combining a dynamic 20mm perspective with exceptional agility
20–60mm: Freedom to compose
From an expansive 20mm ultra-wide to a natural 60mm perspective, this lens delivers a wide range of expression in a versatile zoom. Capture everything from sweeping landscapes to everyday snapshots and portraits—without changing lenses.
With a maximum aperture of F2.8 at 20mm, you can shoot confidently in low light environments such as indoors and nightscapes, while keeping ISO low.
Bringing 20mm into your everyday
Weighing just 385g*1, this 3x zoom achieves an incredibly compact design—remarkable for an ultra-wide lens starting at F2.8. Its slim form fits easily into any bag, making it ideal for everything from daily snapshots and travel to hiking and video creation. Experience full-frame rendering performance with unprecedented portability.
*1 The figure is for L-Mount.
Uncompromising Optical Performance
Consistent high optical performance across the entire zoom range
While prioritizing improved portability, no compromises have been made in image quality. The optical design—featuring 15 elements in 13 groups, including three aspherical lenses and three SLD glass elements—delivers consistent sharpness throughout the entire zoom range. From everyday scenes to breathtaking travel moments, it renders every detail with striking clarity.
Macro capabilities for versatile expression
Impressive close-up capability expands shooting versatility.
With a minimum focusing distance of 15.8 cm at 28mm and a maximum magnification ratio of 1:2.3 at 35mm, this lens delivers richly detailed close-up images approaching half-macro performance.
Even at the 60mm telephoto end, it maintains a high magnification of 1:2.9—ensuring a seamless shooting experience across the zoom range, allowing full focus on composition without concern for subject distance.
Designed to minimize flare and ghosting
Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.
© Sigma
Reliability for effortless shooting
Fast and quiet autofocusing with HLA system
A linear motor HLA (High-response Linear Actuator) is employed for the AF actuator, delivering high-speed autofocus with high-precision drive to capture decisive moments.
It also offers outstanding tracking performance for fast-moving subjects, even at high frame rates. Engineered for modern hybrid shooting, it ensures seamless performance across stills and video.
Minimal focus breathing
The lens is designed to minimize changes in the angle of view caused by focusing, enabling smooth, natural-looking focus pulls when recording video.
Dust- and splash-resistant structure*1 / water- and oil-repellent coating
In addition to a dust- and splash-resistant structure*1, the frontmost surface of the lens has a water- and oil-repellent coating applied, allowing photographers to shoot without concern even in harsh outdoor environments.
*1 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction.
For more information, please visit the Sigma website.
Two Action Cameras, $260 Apart: Which One Earns It
A 1-inch, 50-megapixel sensor, 8K open gate, and slow motion running past 900 frames per second sit on one side. A smaller sensor, a faster lens, and a $260 lower price sit on the other. That gap is the whole story, and deciding which camera wins depends less on the spec sheet than you'd expect.
OM System Revives the Legendary PEN Camera With an EVF, Weather Sealing, and 30 fps Shooting
OM Digital Solutions has announced the OM SYSTEM PEN, a new Micro Four Thirds interchangeable-lens camera built around a 20.4-megapixel Live MOS sensor, TruePic IX processor, 5-axis in-body image stabilization, and a compact rangefinder-style body. It is the first PEN-series camera released under the OM System brand, as well as the first model in the series to combine an electronic viewfinder with a dustproof and IPX1-rated splashproof design.
The Last DSLR Maker Just Discontinued Its Whole Lineup
Ricoh is ending production of its current Pentax K-series digital SLRs and starting work on a brand-new line built on what it calls an entirely new concept. The move retires the existing lineup while the company tries to reinvent what a DSLR can be.
From 20mm to 60mm: I Test Sigma’s New Full Frame Compact All-Rounder
Sigma is adding an interesting new option to its full frame mirrorless standard zoom lineup: a lens that combines a 20mm wide angle starting point with a compact, lightweight design. The idea was to create a versatile zoom that can stay on the camera most of the time, reducing the need to carry multiple lenses or constantly stop to change them. That makes it particularly appealing for travel, hiking, street photography, and anyone who wants to keep their camera setup as light and mobile as possible.
9 Top Tips For Better Bridge Photography
Most of us use bridges every single day and while it is true that many - big and small, old and new - of them aren’t worth photographing, there are a great many that are extremely photogenic. These are impressive structures that often dominate the area in which they are situated.
1. Safety First
Before you head off to the nearest suspension bridge with your camera bag, it is worth saying that you should take care and be considerate in your pursuit of bridge images. Park only where you are allowed, stick to recognised pedestrian areas and do not endanger yourself or anyone else – that includes tripping fellow visitors with your tripod.
If you want to compress perspective, it is time to fit a telephoto lens. Long lenses are handy too for isolating structure details and the like. Longer lenses give a stronger flattening effect and it can look great when there are lots of lines to compress.
A polariser is worth considering, particularly on sunny days when it can enrich blue skies as well as eliminate glare for saturated colours. Just watch your apertures and shutter speeds.
It is worth having a tripod in the car and although you might not need it for most of the time, it will pay for itself when the lighting levels drop or when you want to use slow shutter speeds to blur traffic.
Time of day and lighting are two crucial aspects to consider. Most weather conditions work for bridges although one exception to that is dull, flat, blank sky days. Early morning or late evening are good times when a low sun gives oblique lighting to highlight textures in the scene and the warm lighting adds to the mood. If you make the effort to get there for the evening light you might as well as hang around for twilight and a bit of low light photography. This is where the tripod and remote release are essential. A head torch comes in handy too as the light levels drop away.
5. Shoot Detail
As well as overall views of the bridge, do get in close and shoot details too. Nuts and bolts, suspension wires, supports, signs and much more can make for good images. You could even set yourself a mini project and shoot a series of images that sums up the structure. This is a great idea for older structures but works for new bridges too. Look for interesting patterns when working at these close distances which can be turned into graphical, abstract shots.
6. Choose Your Angle
The angle you shoot a bridge can make it look more powerful. When you see a bridge in the distance, consider where else you could go nearer to the bridge or from other angles to get better / different viewpoints.
7. Longer Shutter Speeds
Once daylight has given way to twilight it is time to explore the long shutter speeds of your camera. You could try the B (Bulb) setting where the shutter stays open so long as the shutter button is held down using the remote release. Most advanced cameras have lengthy shutter speed options available, and if you want to shoot longer B is the setting to use, but it is important to make sure your battery has plenty of charge. If the battery fails before the image is finished and saved you will lose it.
On a bright day, the contrast between the sunlit bridge's walls and the shadowed arches can be very different. If you take a meter reading from the lit bricks they'll come out fine but underneath the arches, they'll be no detail as it'll be black. If you expose for the darker shadow areas the bricks will still be light but they won't have any detail. To fix this, you can either expose for the highlights (brick) and use flash to fill in the shadow area or bracket the shot.
9. Guide The Eye
You can use bridges as paths that lead the eye through your shot or use colourful lines created by traffic crossing the bridge when captured with slower shutter speeds to guide the eye through the image. You can also use bridge arches as in-picture frames to focus the eye on a particular part of the shot. Just keep an eye on the exposure when doing this to make sure the scene doesn't appear too dark.
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Nikon Wins Big at EISA 2026 with Four Awards
© EISA
Nikon's on a roll at the 2026 EISA Awards, landing four accolades that span both camera and lens categories. The recognition covers a solid range of gear, from the specialist ZR video camera to everyday workhorse lenses. The judges clearly valued Nikon's approach to building a complete, capable system. From solo videographers to working photographers, there's something in this award haul worth considering.
From Nikon:
Nikon proudly announces its success at the 2026–2027 Expert Imaging and Sound Association (EISA) Awards, receiving four accolades across a range of product categories.
The accolades include:
- The Nikon ZR awarded “Photo/Video Camera 2026-2027"
- The NIKKOR Z 24-70mm f/2.8 S II lens awarded “Lens of the Year”
- The NIKKOR Z DX MC 35mm f/1.7 lens taking home “Standard Lens” award
- The NIKKOR Z 70-200mm f/2.8 VR S II lens receiving the “Telephoto Zoom Lens” award
Nikon's cutting-edge dedicated video camera, the ZR, impressed the judges with its advanced subject-tracking autofocus, built-in 7.5-stop image stabilisation, impressive video quality, excellent audio, and large, bright 4-inch screen. Incorporating advanced video codecs and colour technology from Nikon-owned RED, while providing access to the expansive Nikon Z system, the ZR was praised as a unique tool for ambitious videographers.
Nikon's next-gen NIKKOR Z 24-70mm f/2.8 S II lens was lauded in its category for its lighter design, enhanced optical performance, and video-friendly internal zoom construction. The lens stood out for its more lightweight design, faster autofocus and improved sharpness at close distances, with the judges describing the lens as a “top-class professional lens without any weaknesses”.
Judges were also impressed by Nikon’s compact NIKKOR Z DX MC 35mm f/1.7 lens, citing its versatile macro capabilities, bright f/1.7 aperture, and excellent optical performance in their acclaim. Judges praised it as the perfect second lens for Nikon DX users, offering the versatility of both a standard and macro lens in a lightweight, compact design.
Nikon’s second-generation NIKKOR Z 70-200mm f/2.8 VR S II lens was recognised for its impressive range of improvements, including a lighter design, faster autofocus, and enhanced optical performance. Featuring improved coatings, an 11-blade aperture for beautifully smooth bokeh, and up to 6 stops of image stabilisation when paired with compatible Nikon cameras, the lens delivers outstanding results for both stills and video.
The four awards showcase Nikon’s continued commitment to world-class design and engineering excellence, empowering photographers and videographers with pioneering equipment that allow them to push the boundaries of creativity and achieve exceptional results.
© EISA
EISA comments for “Photo/Video Camera 2026-2027" award
With the ZR, Nikon has created a dedicated video camera packed with attractive features at a reasonable price. Incorporating advanced video codecs and colour technology from Nikon-owned RED, videographers get a unique tool with access to the expansive Nikon Z system. Impressive video quality, excellent audio, built-in 7.5-stop image stabilisation, Nikon’s advanced subject-tracking autofocus, and a huge, bright 4” screen provide solo creators and ambitious videographers with a complete, highly capable tool with extensive production potential.
© EISA
EISA comments for the NIKKOR Z 24-70mm f/2.8 S II ”Lens of the Year 2026-2027" award
Nikon has improved its fast standard zoom lens in a number of impressive ways. The Nikon NIKKOR Z 24-70mm f/2.8 S II is 130 grams lighter than its predecessor, and it’s better suited for video thanks to internal zoom construction, which makes it easier to operate on a gimbal. Focusing has become even faster with minimal breathing, while sharpness has been improved at shorter distances. The anti-reflective coating is improved and is now class leading. Overall, this results in a top-class professional lens without any weaknesses. It’s true workhorse for professionals and a real investment in image quality for photo enthusiasts.
© EISA
EISA comments for the NIKKOR Z DX MC 35mm f/1.7 “Standard Lens” award 2026-2027
The NIKKOR Z DX MC 35mm f/1.7 is a real jewel in Nikon’s lens range. The optical construction is designed for DX (APS-C) sensors, and it functions as both a macro lens for close-ups, and a standard lens with relatively high brightness. Compact size, low weight and great sharpness are among its many attractive features. Linear distortion is almost unnoticeable and there’s little vignetting either. Other practical features are weather sealing and inner focusing. The lens covers the same subject area as a 1:1 macro lens for full frame. It’s the perfect second lens for owners of DX-format mirrorless Nikon cameras.
© EISA
EISA comments for the NIKKOR Z 70-200mm F2.8 VR S II “Telephoto Zoom Lens”award 2025-2026
This second-generation professional telephoto zoom boasts an impressive array of improvements over its already excellent predecessor. The NIKKOR Z 70-200mm F2.8 VR S II is significantly lighter, focuses faster and closer, is perfectly balanced and ideal for both video and stills. With the uncompromising quality of Nikon’s S series, improved coating and 11 aperture blades, this zoom delivers superb image quality and strikingly fine bokeh, whether you’re shooting portraits or following fast athletes. The detachable tripod foot is now Arca-Swiss compatible, while the optical image stabiliser provides 6 stops shake compensation while working together with the camera’s in-body stabilisation. It’s Nikon’s best zoom yet.
Every year, the EISA Awards celebrate those new products that combine the most advanced technology and desirable features with class-leading performance. The EISA Awards extend from the most affordable, high-value products to the most aspirational expressions of modern consumer electronics. Award categories change from year to year, reflecting the evolution of product design and connectivity, but every EISA Award winner remains the very best in its class.
For more information, please visit the EISA website.
The Best Value Lens for Every Camera Mount You Can Buy Now
Every camera mount has one lens that makes the rest of the lineup look overpriced. It is rarely the flashiest piece of glass in the catalog, and it is almost never the one the marketing pushes hardest. What follows is the single best value in each major mount you can still buy new today, one pick apiece, from Canon RF through Leica M and the two medium format systems to the three DSLR mounts that refuse to die.
Finding a New Perspective With the Sigma 150-600mm f/5-6.3 DG DN OS Sports Lens
Certain pieces of photographic equipment make you rethink the way you photograph, and for me, the Sigma 150-600mm f/5-6.3 DG DN OS Sports lens was one of those lenses. I should probably start by admitting that wildlife photography isn't really my usual territory. I'm primarily a landscape photographer, and most of my photographic life has involved looking for dramatic mountains, interesting light, and compositions that don't move. Wildlife, or should I say in this instance local wildlife, by comparison, has always seemed like a rather different discipline.
Double the Resolution, Same Image Quality? A Real Sony Test
A $1,600 price gap and double the resolution should settle which Sony camera wins on image quality. After a side-by-side test, the answer refuses to cooperate.
From Circular to Diagonal: Hands-On With the Sony FE 8-14mm F3.5 Fisheye G
What if you could replace your heaviest ultra-wide rig with a single, highly specialized piece of glass that fits in the palm of your hand?
I recently headed down to the Old Town car show in Kissimmee, Florida, to take the Sony FE 8-14mm f/3.5 Fisheye G lens for a test drive and see exactly what it could do. Surrounded by neon lights, massive crowds, and pristine classic cars, it was the ideal proving ground to see if I could minimize my physical load while maximizing creative flexibility.
Three Anchor Points to Kill Aperture Overthinking
Aperture stalls you in the field because you treat it as a math problem with dozens of correct answers. The same setting looks different across cameras, lenses, and shooting distances, so memorizing what each value produces is a losing bet.
Adobe Adds Generative Video, Music, Smarter Audio, and an AI Assistant to Premiere and After Effects
Adobe has announced a substantial collection of AI-powered additions to Premiere and After Effects, with the updates focusing on generating media inside an edit, automating repetitive post-production work, improving audio cleanup, and expanding color-grading tools.
The Cheapest Autofocus 85mm You Can Buy, Tested Against a G Master
Put two portrait shots side by side, one taken with an $1,800 Sony lens and one taken with a $99 lens, and most people can't call which is which at a glance. That gap between price and image quality is worth understanding before you spend money on your next portrait lens.
The Funnest Drone to Fly, With One Big Image-Quality Catch
A 360 camera bolted to a 249 g drone changes how you fly, because you stop fighting the camera and the flight path at the same time. That single shift is what makes the Antigravity A1 worth a serious look, and it explains why one creator kept reaching for it long after the video was supposed to be finished.
Creating a Mobile Photography Studio Across America
This September, we are turning our Toyota Tacoma into a mobile photography studio, building a custom set into the truck bed, and driving it 7,500 miles across the United States, photographing that same set against dramatically changing landscapes along the way.
5 Top Tips On Shooting Water Sports Photography
Head to the coast on a sunny day or even to your local reservoir and you'll probably find someone skimming along the water, holding onto a sail fasted to a windsurf board or getting pulled along by a boat on a board. The pros make it look easy and their jumps, turns and sheer speed make water sports a great photographic subject.
1. Kit Choices If you're not up for getting your feet wet you'll need a long telephoto to bring the action to you. A monopod or tripod can also be handy, but not everyone finds them useful, especially when you're panning at quite fast speeds.For those of you who don't mind braving cold, British water get your wetsuit on to get right in among the action. Here, you can use a slightly shorter lens or even a fisheye to capture some unusual action shots. However, if you're new to this type of photography it's worth sticking with a slightly longer focal length, around 100mm, to keep a safe amount of distance between you and the action. Wides also work well when you want to give your shots context but your subject may look a little small in the frame if you use them on-shore so do check your frame and switch lenses if this is the case.
If you do want to head out into the waves please always think about safety and make sure you can be clearly seen by those on land as well as the sailors around you. Don't get in anyone's way and always be aware of your surroundings.
You'll also need a waterproof camera or waterproof housing for your camera that doesn't like getting wet. If you plan on leaving your camera bag near the shore make sure it's fastened up and if you have one, put a waterproof cover on it to stop spray and water that comes off the windsurfers as they exit the water getting on your not so water-friendly kit. Remember to test your waterproof housing without your kit in it to start to make sure there are no leaks and when you do put your camera inside it, place it in shallow water first before heading out deeper just to double-check the seals etc. are working correctly.
If you're heading to the beach to capture shots of surfers rather than spending some time by your local reservoir, try not to change lenses on the sand as you don't want grains getting inside your kit.
2. Speed & Action
Windsurfing and other water sports tend to have quite a lot of pace and action which does mean there's plenty to photograph but as bad light, bad weather and the speed at which they move at makes life difficult, it can be tricky to get a perfect shot.
If you've not photographed this kind of subject before try to find a reservoir where beginners practise as these will be moving at a slower pace so will be easier to keep up with. It's also worth focusing and tracking one individual rather than moving your focus from one person to another and while doing so, try not to get others in-frame who may full attention from your main subject.
If you do want to go after the pros you'll need to crank your shutter speeds up to freeze their movement and have your panning perfected before you arrive so you can keep them in shot. Shutter speeds of 1/100 and above are often needed to capture action in your frame and it's worth switching to continuous shooting mode to increase your chances of capturing that perfect action shot. Auto-focus can work so long as it's continuously tracking your subject and try to leave room for your subject to ride into.
If you want to add an extra sense of pace to your photos try selecting a slightly slower shutter speed (half a second should be enough) and pan at the same speed your subject is moving at to blur the background. You could combine the slower shutter speed panning technique with a pop of flash to freeze your subject against a nicely out of focus, blurred background that will enhance the feeling of speed in your shot.
Photo by Josh Waller
3. Framing Advice
Always make sure you've filled the frame as unless there's something interesting such as a giant wave they're jumping, a tiny person in the middle of a mass of water's not really interesting and they'll be completely lost in the image. Watch out for wonky horizons too, although these are quite easily corrected in post-production once you're back home and consider shooting in a vertical as well as a horizontal format when the scene suits it.
4. Metering TipsKeep an eye on your metering when you're on the edge or out in the water as a bright sky and reflections off the water can confuse the camera into thinking it's brighter than it is and you'll end up with an underexposed image. It's worth checking your histogram and using the highlight clipping feature on your camera to ensure your shot isn't overexposed. You may also want to consider using exposure compensation and dialling down to a negative figure to balance the exposure correctly.
If you happen to be out on a day when the light's really bad your images can look flat and lose impact. However, if you focus your attention more on showing the big waves and cropping in close to show the huge amounts of spray coming off the boards you can still get some decent images.
5. On ShoreNot everyone will have the kit needed to capture action shots and if this is the case for you, just re-think the shots you're taking and focus your attention onshore. People entering/exiting the water, riders getting kit ready and putting wetsuits on are just a few of the things you can capture without the need for a long lens or getting your feet wet and they can be just as interesting as the shots of the water.
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