Photography News

You've heard it once, you've heard it twice: shoot daily. Sounds like excellent advice (because it is — for some people). Shooting daily is one of the most repeated pieces of advice that gets thrown around. It gets repeated because it's simple and sounds disciplined. But for working adults, parents, busy people, or burned-out creatives, it can quickly become a guilt machine. What if the goal isn't shooting every day, but building a practice you can actually sustain? 

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Portraiture did not begin with photography. It began with control. Long before the camera, someone was already deciding how a face should be seen, remembered, and fixed in time. The portrait has always been an act of authority. Photography didn't change that; it just made the act faster and more invisible. 

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Most portrait photographers obsess over camera settings and flash power, but those aren't what separate a flat, lifeless portrait from one that actually has mood and presence. The real gap comes down to a set of creative decisions that happen before you ever press the shutter. 

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Getting soft, evenly lit studio portraits that don't look flat is harder than it sounds. The difference between a portrait that reads as natural and one that looks like it was shot under a work light usually comes down to how you're bouncing and controlling your light. 

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Shooting more photos is the single most reliable way to get better, and most people already know that but don't actually do it. The gap between knowing and doing is where most people stay stuck for years, sometimes decades. 

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Flat, even lighting is the default for most portrait work, and for good reason. But when a client walks in wanting to show off a fitness transformation, that same setup can actively work against them by erasing the muscle definition they worked hard to build. 

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When you think of flower photography your first thoughts will usually be of shots of a single head taken from an overhead angle or a cropped in shot that focuses on the shapes and colours of the flower. There's nothing wrong with these shots as they do work well but for something different, take a look underneath the flower head.

 

What Gear Do I Need? 

Any camera with a close-up mode will be fine. If you're using a DSLR you'll need a good macro lens and consider using a tripod if you have a model that'll allow you to adjust the centre column and legs so you can work from low angles more easily. 
 

Which Flower?

Flowers, where the petals are translucent, will produce better results and if you have a flowerbed that's sheltered from the breeze head for it as if you're working in the open, even the tiniest of breezes can create blur in your final shot. If you don't have any beds hidden behind walls or hedges try using a piece of card to shield the flower from the wind or use a PLAMP to keep it still.
 

Exposure Tips

If you're shooting against a blue sky you'll usually need to allow for at least one stop extra exposure otherwise the flower will appear as a silhouette. If you're working against a dark background, such as a hedge, you won't need to do this as the camera shouldn't have any problems getting the exposure correct. Make sure you use the smallest aperture you can too to prevent blur creeping into the edges of your shot.
 

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Photography has a public face: the curated Instagram grid, the confidently delivered gallery, the calm professional who shows up with two bodies and a plan. And then there is the private face: the one where you google "how to use back-button focus" in the parking lot two minutes before a portrait session. 

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Understanding how to use color as the subject of your photos can turn a pleasing composition into one that stops people in their tracks. In this video, Alex Kilbee breaks down a few viewer-submitted photos to explain why they work and how you can use the same principles to improve your images. 

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1. What Gear Will I Need? 

• Telephoto zoom lens – Gets you close to the window without having to climb a ladder
• Wide-angle lens – Useful for when the window's particularly large
• Tripod – In dark churches you need a sturdy tripod
• Remote release – minimise shake

 

2. Support

When you walk through the doors of a church you instantly notice how dark the interior is and as flash is banned from most historical buildings you'll be relying on long exposures to get your shot. As a result, a tripod and remote release are essential pieces of kit but if you're out for the day with the family and didn't plan on stumbling across a stained glass window you just had to photograph you need to look for a wall you can put your camera on or find a pillar you can rest against while you take your shot. Just remember to keep your arms tucked into your body and hold your breath while you fire the shutter to minimise shake.

 

Not all churches will allow photographers to use tripods or if they do there may be a fee so it's best to double-check before you start taking your shots.
 

3. Position

In an ideal world, you'd be able to use a ladder or even scaffolding to get you directly in line with the window to minimise distortion but as people would be a little upset if you started erecting poles in the middle of a church, you need to find a spot further back from the window and use a longer lens to zoom into the stained glass. If you can't find a position that lines you up with the centre of the window take the shot anyway as you can edit this as well as problems with converging verticals once you're back home.
 

4. Size

Some stained glass windows are so big that even with a wide-angle lens you can't get the whole window in-frame. You can take several shots of the window and stitch the images together when you're back home or you could forget about the big picture and focus in on the colourful detail.

Due to the size of the window and as you'll be looking up at them you will probably need a small aperture to ensure everything from the bottom to the top of the window is in focus.
 

5. Exposure

A bright window surrounded by dark interiors will confuse the camera's exposure system and you'll either get a shot where the window is too bright as the camera has compensated for the surroundings or a shot of a perfectly exposed window with black surroundings as the camera has taken its reading from the window light. One way to solve this problem is to take two shots, one exposed for the window and the other for the surroundings, then once you're back home you combine them to make one perfectly exposed shot. You must use a tripod and ensure the camera doesn't move if you do this as the slightest of nudges will mean the final shots don't line up correctly.

If you don't want to include any of the building's structure in the shot you can usually rely on the camera to meter correctly unless it's a really sunny day then you'll need to use exposure compensation.

 

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Portrait photography is a very popular subject and with so many ways you can capture a brilliant photo of a person, it's easy to see why it's one of the most uploaded genres to the ePHOTOzine Gallery. From capturing images outdoors with natural light to indoor shoots with a full lighting set-up, close-ups, candids and professional model shoots, there are plenty of themes and methods to keep a photographer occupied!

To get you off on the right path, we've put together 10 top tips all on portrait photography and, please, if you have any top tips of your own, we'd love to see them in the comments below. 

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1. Look Your Subject In The Eye

Make sure the eyes are sharp and breathe more life into your shot by adding catchlights into the eyes.

If you're photographing children get down to their eye level. This leads to a more natural posture as they don't have to look up. The shot will also be more personal and intimate, particularly if you crop in close so they're looking directly out of the frame.

2. Simple Backgrounds

Take a good look around your shot before you hit the shutter button. Make sure there are no lampposts growing out of your subject's head and that cars or rubbish bins aren't stealing your attention. Plain backgrounds will always work best, as they help place emphasis on your subject, however you can't always find a plain wall to take your shots against so make use of your camera's wider apertures and throw the distracting background out of focus.

 

3. Use Flash Outside

Bright sunlight will create ugly shadows on your subject's face so use a pop of flash to eliminate them. Try using the flash from the side as this will give the image more dimension. While on cloudy days you can leave your flash in your camera bag as the soft, diffused light the clouds help create is perfect for portraiture work.

For more tips on using flash outdoors take a look at our previous article – flash outdoors.

 

 

4. Play With Backlight

By placing the sun, window or studio light behind your subject you'll be able to create hair/rim light that lights the edge of your subject. This can really make your subject 'pop' out of the image as the outline of light acts as an extra layer keeping your subject separate from the background.

 

5. Be A Director

Most people won't know what pose works best or what light works where so make sure you talk to them, giving direction when needed. If you make the effort to have a conversion they'll become more relaxed in front of the camera too.

 

6. Don't Centre Everything

Standing centre stage may work for an actor but off the boards and in a photo that's not cropped you want your subject to be slightly to the left or right of the shot. This gives the shot a more pleasing perspective and interest. If your subject's not looking directly into the lens give your subject room to look into and if they're moving through the shot make sure there's space for them to step, run or cycle into.

Imagine a rule of thirds board that looks similar to a naughts and crosses board sat over your scene can help with composition. Take a look at our rule of thirds advice.
 

 

 

7. Create Candids

Candids are shots of people who aren't posed. This could be children playing with their toys, a groom chatting to his new bride quietly in a corner or your mum making a cup of tea. The key to candids is not taking your shot straight away. Wait until the person you're photographing has forgotten about the camera so they're focused on their activity before you take your shot. If you're out on a planned shoot try taking a few photos while you're on a break as your subject won't feel as self-conscious and you'll be able to capture a few natural-looking shots.

If you're working with children make sure they're having fun because the minute they get bored they'll turn unco-operative. Don't forget the odd prop such as balls and sweets. They'll rarely get turned down and they'll soon have them so occupied they'll have forgotten you're there with your camera.

8. Make A Frame

When something gets in the way of your shot the first thing you think to do is move but this isn't always necessary. Finding spots where branches, walls, fences, flowers and other objects can add colour and interest to your composition by creating a frame. Just remember to use a longer focal length to blur your frame so all focus still falls on your subject.

 

9. Get Closer To Your Subject

Using longer zoom lenses will let you crop tighter on your subject without distortion or having to invade their personal space. This bit of extra space will leave your sitter more relaxed and as a result, you'll end up with a more pleasant portrait. As well as having a pleasing perspective your shot's background will be nicely thrown out of focus, even if you're using a smallish aperture and your backdrops only a few feet behind your subject.

Filling the frame with your subject will create a shot that has more impact, is more intimate and if you're using a longer lens, it will help flatter their features for a more pleasing shot.

10. Shoot Reflections And Silhouettes

Your subject's reflection will give you an image that's more visually interesting. For example, getting your subject to place their hands and head on a table with a reflective surface will add depth to a shot. Be creative with the surfaces you use and look for walls and objects that are reflective as well as using the more obvious reflective surfaces such as puddles and glass.
 

All photos by Joshua Waller.
 

 

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If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

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1. What Is Flare?

Flare is caused by direct light entering the lens, which then bounces around the glass elements causing a reduction in the photograph's contrast. Sometimes this will just make the picture look washed out and lacking vibrant colours, but often you would also see a series of coloured shapes across the photo. The shape is an image of the lens' aperture or diaphragm and will often be hexagonal. This is joined with streaks of coloured light crossing the picture. Modern lenses have multicoated lens elements and are designed to reduce flare but even with the most expensive products, it can still occur.
 

2. How Can I Stop It?

The easy way to prevent flare is to shoot with your back to the sun - a method that was always suggested in camera manuals before multicoated optics. The trouble with this suggestion is that there are many occasions when you cannot control where the sun is in relation to your subject. It's easy, for example, to ask a person to turn direction or change the angle that you shoot a flower from, but try shooting a castle on a hilltop or boat out at sea and you're usually stuck with no other choice than to face the sun.

Fortunately, there are things that can be done. First, make sure the sun is at least out of the frame. If this is not possible to adjust the position so that a nearby building or tree shields the sun from the camera position. Alternatively, shield the lens from the sun using your hand or a piece of card. Take care to avoid this creeping into the frame. Better still, use a lens hood.

 

3. What If I Want To Use Flare In My Shot?

 

It's easier to get flare with less expensive lenses and be prepared to work lower to the ground, laying down if it's needed to get the sun in the right position. Remember, you're trying to get the camera to do something it's designed not to do so work in manual and trust your own judgement as your camera will keep telling you your shot is blown out. Position yourself so you're shooting into the sun, just before it starts setting and remember to adjust your exposure so your subject doesn't come out as a silhouette. Don't be afraid to use overexposed backgrounds as this will add to the effect and switch to manual focus if your lens keeps searching for a focus point, which it might do as the background will be the lightest part of your shot so it probably won't want to focus on your subject. If you want to shoot some indoor portraits this technique works just as well with your subject positioned against a window or patio doors.

 

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Today, we thought we'd take a look at some photography tutorials members can have a go at while enjoying the outdoors, plus with these particular tutorials, you probably won't have to venture far from home with your camera to capture some top shots.

As we're taking a walk in the woods, trees are an obvious subject but don't forget to look for small details such as leaves and then later in the year, fungi and berries can make interesting photos. If you're not too noisy, you might spot wildlife with a wide variety of birds making woodland areas their homes along with squirrels and, of course, you might see a friendly dog out for a walk with its owner, too. 

 

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1. Photographing Trees 

 

It's an obvious one we know but as you'll be surrounded by them, it makes sense to pick up some tips on how you can photograph trees a little differently.

Here are three of ePHOTOzine's top tutorials on this subject: 

• Ten Top Ways To Photograph Trees
• Tree And Leaf Photography
• Photographing Long Lines Of Trees

 

2. Drag Landscapes

 

Why not give your woodland shots an abstract twist and shoot a drag landscape? This can be done in-camera or if you prefer, shoot your 'normal' image and then apply the drag effect in Photoshop. 

 

 

3. Capture Sunbeams Through Trees

 

Capturing sunbeams bursting through a treeline will add an extra level of interest and an almost magical/fairytale feel to your woodland shots. However, for the shot to work, you need a few elements to come together at the right time and you can find out what these are in this tutorial: How To Shoot Sunbeams Through Trees

 

4. Have A Go At Macro Photography 

 

From fungi to insects or close-up shots of bark, wooded areas are full of macro photography opportunities. Have a look at these macro photography tutorials for inspiration:

• Dew Drops On Spider Webs
• How To Photograph Lichen
• Photographing Fungi
• Photographing Bees And Other Insects

 

5. Photograph Wildlife

 

If you're patient and don't mind sitting still for a while a spot of bird or even squirrel photography could be something you want to try. Just don't forget your long lens and wrap up warm if heading out early as mornings can still have a bite to them at this time of year. For more tips, have a read of these tutorials:

• 10 Quick Tips On Photographing Garden Birds
• Photographing Red Squirrels

 

You've read the technique now share your related photos for the chance to win prizes: Daily Competition

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Leedslass1 (Day 8 - Pier).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 1

Bad Weather Landscapes

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Day 2

Rainbows

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Day 3

Beach

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  Day 4

Shallow Depth Of Field

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Day 5

Shoot From The Hip

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Day 6

Floral Abstract

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Day 7

Drag Landscapes

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

 

Stone circles are scattered around the country, often in remote locations occasionally surrounded by village developments. There are more than 1000 of these monuments catalogued in the British Isles and Western Europe. It's thought that the circles were constructed for ceremonial use and today they provide subjects for photographers to explore their creative side.

 

Here are ten Stone Circles you should visit and photograph in the UK:   Castlerigg, Cumbria

The circle is one of the oldest in Britain and comprises of 40 stones (as stated by the National Trust) in a 30-meter diameter with the tallest stone being 2.3 meters high. With a backdrop of Skiddaw, Blencathra and Helvellyn peaks this is a very impressive location for a very impressive circle. It's best either photographed on a sunny day for clarity of the distant mountains as a backdrop or when there's mist around for an atmospheric alternative.

Avebury, Wiltshire

This Neolithic monument is situated in several fields with an inner and outer circle. It's hard to get a shot of the entire circle so pick sections and focus on one of the stones as the main subject with several others tailing off. Choose a day with a bright blue sky and use a polariser to darken the sky to provide incredible contrast and definition. The site is owned by the National Trust but it's currently free to visit.

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Nine Stones, Devon

The Nine Maidens, also known as the Seventeen Brothers comprises sixteen stones ranging in height from 0.5 to 0.8m. You have to work hard to get an atmospheric shot of these stones as they are smaller than some, but it's possible, and with a wider angle lens you can frame the whole circle. Shoot from a higher point to get some perspective.

 

Callanish, Isle of Lewis, Outer Hebrides

Next to a road and loch, but from the right position both can be excluded to get a very dramatic set of shots. Shoot from a low viewpoint to exclude near rooftops.  The circle is approximately 13m in diameter and comprises 13 tall and slim stones that are more jagged than most circles and provide opportunities for haunting imagery.
 

Duloe, Cornwall

A circle of approximately 11 meters diameter made from eight quartz stones placed in a grassy field. The highest stone is about 2.6m tall. The surrounding landscape isn't that interesting for this circle, so shoot from the ground up using a wide-angle for most dramatic results.

 

 

 

12 Apostles, Yorkshire Moors

As this circle is situated on Burley Moor, Ilkley, you need to do some walking to get to it so travel light and also do some research with a map first to pinpoint its location as it could easily be missed. It's a ruin with just 12 stones remaining and is in a 16m diameter. The highest stone is 1.2m so you have to work hard to get dramatic results. A distant shot can work better. In a short fall of snow, the stones stand out well against the white covered heather.

 

Stonehenge, Wiltshire

Without doubt, this is the most famous of all the stone circles (it's on many people's bucket lists) and looks very impressive, but sadly for photography purposes, it's now not possible to go close to the stones and shoot from a creative low viewpoint. It's managed by the English Heritage so there's an entrance charge and there's also a small fence rope that needs cloning out from distant shots. But you can walk all the way around and get lots of profile shots and some viewpoints are much more balanced than others. You'll need to use a slightly less wide angle for here - a standard zoom is fine.

 

 

Hurlers, Cornwall

A group of three stone circles situated on the edge of Bodmin Moor, near the village of Minions. It's a group of quite small stones, but several of them are impressive shapes and can make for interesting creative shots. You can walk up the incline onto the moors and photograph the whole circle. The central circle is the largest with a diameter of 41m. You can include distant tin mines in some viewpoints. 

 

Arbor Low, Peak District, Derbyshire

This would have been a brilliant stone circle but it has either collapsed or was never actually erected. The stones are arranged in a circle and there is a small entrance fee now in place to get up-close to the stones. Fortunately, the terrain, which includes a circular ditch, is such that you can still take some impressive shots and include several stones in one scene.  A distant clump of trees on the horizon adds balance to the photo.

 

Merry Maidens, Cornwall

One of the few stone circles that are well preserved and most likely in its original state. The stones form an almost perfect circle with a 24m diameter and a height of about 1.2m. The shapes of the stones are less interesting than some but the site does offer a fair bit of potential in the right light. Shoot from the ground to make them look more dramatic.  It's worth taking a panoramic shot of the whole circle too.
 

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Piers are strong structures that stand along the coastline of many of our favourite seaside resorts and they're a brilliant subject for a photographer. Not only can you photograph them as a whole, but you can also get in close with a macro lens, focus on patterns, point your lens at passers-by or wait for the sky to change and capture these historical structures at sunrise/sunset. 

With so many ways you can photograph piers, you really can keep yourself busy for quite a few hours so with this in mind, here are our 5 top ways you can photograph a pier next time you're at the coast.  

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1. What Photography Kit Do I Need For Pier Photography?

 

Wide-angle lenses will always be useful when photographing piers as you'll be able to capture shots of the beach, sea and pier as well as interesting sunsets or sunrises, depending on what time of the day you're visiting the coast. Close-up lenses or better still, macro lenses will allow you to get detailed shots of textures in the wooden boards, patterns in rust and more. Don't forget your tripod and pack a polarising filter to reduce glare and increase saturation so blue skies appear to be even brighter. This doesn't mean you can't shoot on a dull day, however as rain clouds building in the background of your beach landscape will add mood and create a different feeling in your pier shots.  

 

2. Go Wide On The Beach

 

Shooting from the beach will give you a cracking shot of the pier in its surroundings that works particularly well at sunrise/sunset. For added atmosphere try slowing your shutter speeds down to blur the movement of the sea as it crawls up the beach.

 

3. Get On The Pier, Guide The Eye

 

Take a walk along the boards early morning before the tourists arrive and the empty pier can be used to guide the eye out to sea. If you want to emphasise the bustle of the seaside resort try using slower shutter speeds to blur the movement of the people walking up and down the pier.

 

4. Walk Under The Pier 

 

If it's safe to do so go and have a walk under the pier as you'll often find a symmetrical structure that creates a strong graphical shot when photographed from the beach. The supports closer to the sea will often have interesting tide line patterns, seaweed and creatures worth a quick snap with your macro lens too. Just keep an eye on the tide if you venture under as you don't want you and your kit getting wet or worse still, swept out to sea.
 

5. Patterns Can Be Perfect 

 

When you've photographed the popular pier angles, the patterns in the wooden boards, rust on bolts and peeling paintwork on railings make great texture shots you can blend into other images in Photoshop.
 

Bonus Tip: When you're back at home remember to wipe down all of your gear to remove sand, sea salt etc. and leave it to dry out completely. 
 

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1. What Are Drag Landscapes? 

When you look outside and see the sky's grey and dull you may think your day of landscape shooting is ruined but you're wrong. OK, capturing pin-sharp vistas may be out of the window but you can have a go at drag landscapes. Now, when we say drag we don't mean they're boring! In fact, they are quite the opposite. A drag landscape is about finding a scene with strong lines, pressing the shutter button and as the exposure processes, drag your camera up, down left or right. By doing so, your final landscape will have an abstract or even painting feel to it and you'll be glad to hear that the grey, boring sky is well disguised! The technique also works in harsh contrasty light normally regarded as being no good for photography.

 

2. Flowers As Drag Landscape Subjects

Drag landscapes are something that can work all year round on a variety of subjects but as we mentioned this technique back in March when talking about photographing Daffodils, we thought they'd make the perfect subject.

 

 

3. Drag In One Go

You need to move the camera in one clean, steady movement. Using your arms is a good way to control the movement with freedom or you can use a tripod if you prefer a more structured movement. Make sure you've packed your telephoto zoom lens and if you're venturing quite away from home, don't forget the essentials such as spare batteries and memory cards. 

You can think of drag landscapes a bit like a zoom burst except instead of twisting the lens you're moving the entire camera. You need to find your subject, focus up, then move so your lens is pointing away from it. When you're ready, pan back in and when your subject comes into view hit the shutter button.

Don't stop panning until you're past your subject as your shot won't have the blurry, streaks of lines we want to create if you do. You may have to turn Image Stabilisation off as it will want to create a sharp image and this isn't what we are trying to do.  If you look at the screen and see you have diagonal lines it's because you moved to the side slightly as you moved your arms down which you may like the look of but if you don't, the beauty of digital means you can delete it and just try again. Getting the right exposure can be tricky, we found a 10th or 6th of a sec was just about right but if you do need to slow it down, even more, try fitting a polarising filter.

 

4. Change Direction

Once you have the hang of it try panning in different directions, paying attention to the shapes and lines of the object you're photographing. If your subject's a waterfall, for example, pan up or down following the flow of water. Lines of trees and bright colours such as fields of Poppies and Rapeseed also work well.
 

5. Less Drag

If you want the image to be slightly more recognisable start the exposure and pause before you begin dragging. If your subject doesn't have any hard edges you can create an abstract shot that's more about texture. Dragging your lens in a circular motion rather than in a straight line will further enhance the abstract feeling but it's not something that will work with all subjects. 
 

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The concept of the super zoom continues to stretch, aided by advances in lens design, new materials and precision manufacturing techniques. Once, 28-200mm was amazing, although quality was sometimes a bit suspect. Now, we have reached a remarkable 20-200mm with this very appealing new lens from Sigma. The sheer versatility of a lens offering an ultra-wide 20mm and a very respectable 200mm, whilst being able to focus down to equally amazing magnifications, is not to be underestimated. But what has to give to achieve this? Speed is one thing, with much more restricted apertures to keep the lens size down. Quality is of keenest interest. After all, a lens that is not sharp would be no use no matter how attractive the specification. We are getting used to manufacturers making the once impossible possible, so let's see if Sigma have repeated the trick once again, using the full frame 42MP Sony A7R III.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Handling and Features

High quality plastics help to reduce weight, making it possible for this full frame lens to weigh in at a very modest 540g (FE mount) or 550g (L mount). Dimensions are equally modest, the lens measuring 77.2mm x 115.5mm.

Starting our tour of the lens, there is a provided bayonet fit petal lens hood that clips firmly into position and needs no catch to keep it there. Within the bayonet fit for the hood is a conventional 72mm filter thread. The hood is quite shallow, having to accommodate the 20mm wide end of the range, but fortunately, the lens is not prone to flare anyway. The hood will still be useful to protect the lens against knocks, even if its optical value is limited.

 

 

The reasonably wide manual focus ring is electronic, so operation is as smooth as silk. The AF/MF switch lies behind this, as does the lock switch. The lock fixes the zoom at the widest end so it can be carried without the lens extending under its own weight. There is clearly some weight in glass within the barrel, as even the vertical product shot would find the lens slowly sinking if set to 200mm. If the lens is pointing downwards, for example, to make the text shots in the samples, the same problem occurs and it might have to be focused and then taped into position to ensure the zoom does not drift.

The wide zoom ring does extend the lens and is firm but even in operation. There are clearly marked points for 20mm, 28mm, 35mm, 50mm, 85mm, 135mm and 200mm.

AF is driven by a High Speed Linear Actuator (HLA) and this is fast, accurate and virtually silent. Focusing is down to 16.5cm (6.5”) at 28mm. Between 28-85mm, the maximum magnification is 1:2, or half life size. This is the same as older macro lenses, and another huge benefit. The minimum focusing distance does vary, and is 25cm (9.9”) at the wide end and 65cm (25.6”) at the tele end.

 

 

Optical construction is 18 elements in 14 groups, including 1 FLD, 3 SLD and 4 double-sided aspherical. FLD glass mimics the low dispersion of fluorite, but at a realistic price level that allows its more widespread use. The diaphragm comprises 9 blades, producing as rounded an aperture as possible for enhanced bokeh.

The lens body is dust and splash resistant, almost an essential for active photographers out in the field. This is described as the ability to withstand light rain, but the instructions from Sigma caution that this does not mean waterproof and due care should be taken not to allow water ingress into the lens. There is a water and oil repellent coating to the front element. Finally, the L mount version of the lens is compatible with the Sigma USB dock UD-11.

In use, the convenience of the lens is just amazing. The freedom of having 20mm ultra-wide, 200mm telephoto and 1:2 macro shooting all available in one optic is obviously fantastic. No lens changing needed in inclement weather. Yes, the aperture is somewhat restricted, but with the equally amazing high ISO values that are been well established, it now all depends on the quality of the results, so time to see how things went in the technical tests.

 

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Performance

At 20mm, central sharpness is excellent from f/3.5 all the way through to f/16, remaining very good at f/22. The edges are good at f/3.5, very good from f/4 to f/11 and fair at f/16 and f/22.

At 50mm, central sharpness is excellent at f/5 and f/5.6, very good from f/8 to f/16, good at f/22 and fair at f/32. The edges are very good from f/5 to f/16, good at f/22 and fair at f/32.

At 135mm, central sharpness is fair at f/6.3, good at f/8 and f/11, very good at f/16, good at f/22 and fair at f/32 and f/40. The edges are fair at f/6.3, good from f/8 to f/16 and fair from f/22 to f/40.

Images respond well to a little unsharp mask in Photoshop and yield nicely crisp and attractive images.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is well controlled at the centre, less so at the edges, especially at wider settings. Generally, there is little sign of colour fringing. For more critical subjects, such as tree branches against a bright sky, software solutions may be helpful in reducing unwanted CA effects.

Distortion measures just -0.04% barrel at 20mm, +0.17% pincushion at 50mm and +0.64% pincushion at 135mm. These are very impressive figures for any lens, but especially so for such a wide ranging zoom.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find relaxed and attractive bokeh. The out of focus gradation is gradual and makes a very pleasing backdrop, perhaps especially for portraiture and flower studies.

The flare performance is excellent, with no sign of unwanted artefacts.

Vignetting is very well controlled through the longer focal lengths, being allowed to drift only at the wider 20mm. Even so, there are much worse results than this in much more expensive lenses. Correction in camera or in software can be used if necessary. Having said that, some very attractive natural vignetting at 20mm can help make beautiful landscapes. Lens defects can often be turned to advantage.

 

Aperture 20mm 50mm 135mm f/3,5 -2.7     f/4 -2.4     f/5   -1.6   f/5.6 -1.9 -1.6   f/6.3     -1.3 f/8 -1.6 -1.3 -1.3 f/11 -1.4 -1.2 -1.3 f/16 -1.4 -1.2 -1.3 f/22 -1.4 -1.2 -1 f/32   -1.2 -0.9 f/40     -0.9

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Sample Photos Previous Next

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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Value For Money

The [AMUK]Sigma 20-200mm f/3.5-6.3 DG Contemporary|Sigma+20-200mm+f/3.5-6.3+DG+Contemporary[/AMUK] lens is priced at £799.

The [AMUK]Tamron 25-200mm f/2.8-5.6 Di III VXD G2|Tamron+25-200mm+f/2.8-5.6+Di+III+VXD+G2[/AMUK] lens is priced at £729.

These lenses look to be competing directly, with a clear trade off between the wider 20mm of the Sigma, or the faster 25mm of the Tamron. Both look to be great VFM and they both have their own strengths and weaknesses. Choices!

 

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Verdict

With such an extended zoom range, especially with the ultra-wide 20mm wide end, there are instantly questions as to whether the quality can stand up to close scrutiny. In terms of the 20mm point, it does with consummate ease. The magic continues to unfold to 50mm, with even distortion levels so low that a macro lens might find competing to be a challenge. As we zoom to the longer focal lengths, sharpness drops off, as well it might, as the lens is not immune to the laws of physics. The variable aperture design means that the seven apertures available at 135mm and beyond start at f/6.3, so we soon reach the point of f/16 and beyond, and diffraction is taking a firm hold. 

However, to be fair, who uses such a lens at apertures from f/22 to f/40, probably not wildlife photographers seeking faster shutter speeds to freeze the movement of skittish birds and animals. Used at longer distances also benefits the quality of the results, as again the usual expectation is to be using such a lens in a practical way at a distance rather than to photograph lens test charts.

The new lens does what it is intended to do and makes a very good job of it. It has to be Highly Recommended.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Pros

• Good to excellent central sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled centrally
• Versatile extended zoom range
• Moisture and dust resistant
• Magnification 1:2 between 28mm and 85mm
• Beautiful bokeh
• Affordable pricing

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Cons

• Loses fine detail at edges and longer focal lengths
• High vignetting figures at 20mm
• Limited apertures
• Some CA at edges

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Crisp results and a versatile, extended range from ultra wide 20mm to telephoto 200mm.|E_id=8027[/REVIEW_FOOTER]

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As we are well into spring now and flowers are rapidly starting to take over gardens, we thought we'd carry on with the flower photography theme but this time we're taking things indoors and are adding an arty twist to the scenario. Have a read of the tutorials, have a go at the techniques then why not upload your results to the ePHOTOzine gallery?

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1. Photographing An Arty Flower Shot

 

The location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake. 

 

2. Photographing Flower Blooms With A Lightbox

In this article, I want to share my techniques for using a lightpad and one of the best uses for the lightpad is to help create a high-key look for your photographs. I started with a dead Hydrangea bloom; I removed the delicate petals from the stem and placed them in a random pattern on the lightpad.  Then, I turned on the lightpad and by doing so I could see the veins in the petals.

 

3. Abstract Flower Photography Tips

 

The most popular approach to flower photography is to include the whole flower but by getting in very close or by choosing a less conventional crop you can create a rather exciting image. Plus, it's a technique you can try all year round as you can just buy your flowers from the supermarket when there's none showing their heads in your garden.

 

4. Five Top Tips On Low Key Flower Photography

 

Photographing a flower head on a black background is a simple but effective way to make yourself a piece of wall art. The bright petals against a stark, dark background make a vibrant image that wouldn't look out of place on the shelves of stores that are designed to fill your home with accessories and decorations.

 

5. Flower Photography With A Difference

When you think of flower photography your first thoughts will usually be of shots of a single head taken from an overhead angle or a cropped in shot that focuses on the shapes and colours of the flower. There's nothing wrong with these shots as they do work well but for something different, take a look underneath the flower head.

 

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Compositional rules are there as guides, but that doesn't mean you always have to use them. Sometimes breaking the rules can help you create an image that's far more striking, so here are 8 more ways how breaking the guidelines can help you create an image that has far more impact.
 

1. Centre Your Subject

 

With the rule of thirds, you have to ensure that your main point of focus is positioned on one or more of the four intersecting lines on the nine-square grid you have to imagine is sitting over your image.

However, there are some shots where placing your subject in the middle of it will give you a more striking image. For example, a road or path stretching off towards the horizon, starting so it fills the frame and winding away until it vanishes can look better when positioned in the centre.

The same goes for shots with lots of symmetry. A long table that's set for dinner with rows of chairs and lines of plates, glasses and cutlery on it will make a more interesting photograph if positioned in the centre of the frame, while photographing escalators, steps, piers and tunnels so they sit in the centre of the frame can help exaggerate their length, giving the impression that they go on forever. Portraits are more pleasing to the eye when you use the rule of thirds grid but if you're shooting a portrait that has a more creepy, unusual feel to it, positioning your subject in the centre of the shot will enhance this uneasy feeling.

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2. Split Your Image In Two

 

When you're working with the horizon or lines you should avoid splitting the image in two, so horizons should be slightly higher or lower, depending on where the interest is and lines should be positioned to the left or right of the centre line. However, cutting your image in two will give you a shot that has a lot of impact, particularly if you're going for something more abstract where strong blocks of colour are your focus.

  3. Work Wonky

 

Keeping your horizons level and your shots straight is a rule that's important for landscapes but there are other subjects where tilting your camera will give them more energy and a sense of excitement/fun. If you're going to do this, make sure you do it properly, really turning your camera. If you don't, it'll look like you were going for a straight shot and angled your camera by mistake.

4. Play With White Balance

 

Capturing shots with the right colour temperature is something that's important the majority of the time, however, there are occasions when using the wrong preset or making adjustments after in post-production will help boost colours, make shots more interesting and fun. For example, you can emphasis the coolness of a winter scene with blue tones and give more warmth to Autumn landscapes to enhance the orange and yellows that are prominent during the season.

 

5. Use Higher ISOs

 

For shots that are clean and sharp, you'll generally need to use the lowest ISO possible. Of course, there are many cameras now that cope quite well at higher ISO levels, and they won't leave noise in your shots. However, if you have a camera that still struggles at higher levels, use it to your advantage, shooting some grainy images.

If you don't want to create the look in-camera, shoot at a lower ISO and run your image through photo editing software and apply your grain digitally. The grain works even better with black and white shots so while you have your editing software open, try converting your coloured shot into something much moodier. Portraits are good subjects for this but if you have a few landscape shots you've taken on dull days, try converting them to black and white, add a little grain and a grungy frame and you'll breathe life back into a boring shot.

 

Make The Most Of Out Of Focus Shots

 

For a more dream-like composition, try throwing your whole frame out of focus. A wide aperture will be needed and you'll probably have to focus manually to stop your lens focusing on something in the frame. You want the shot to be out of focus just enough to make it look like you did it intentionally but still leave enough detail to make the scene recognisable. Your other option is to blur what would be considered as your main point of focus and have something in front or behind them sharp. A more subtle way to use the effect is by creating a soft-focus portrait. Take a look at our Photoshop Tutorial for more information on how to do this.

 

Move Your Camera While Taking A Shot

 

The 'try to keep your camera as still as possible' rule only applies when you're not going for a strong, abstract shot that's full of energy. If you're photographing action, a car speeding along a track or dancers spinning in a circle, moving your camera while you take your shot will add a little blur that can increase the feeling of speed and excitement.

Using a slightly slower speed than you'd usually use to capture action will further enhance their movement and you probably don't need to move your camera to do this. Again, having part of the shot a little sharper than the rest will give your viewer a focus point. Try zooming your lens barrel out or in through the exposure too to create a zoom burst. You'll probably want a tripod to hand for this as it makes it easier to turn the barrel of the lens. Zoom bursts work well on stained glass but they can give equally good results on groups of fast-moving dancers who are making their way towards you.

Try removing all sharpness from the shot with a drag landscape. We've covered this on-site in a previous technique which you can find here: Drag Landscapes

 

Shoot From The Hip

 

OK, so shooting with your camera held to your eye or using your camera's screen to frame your shot isn't a rule, just more of a thing that everyone does because that's the way camera's work! But by leaving your camera by your side and 'shooting from the hip' you can get some interesting results. Sure, it can be a little hit and miss but as it doesn't look like you're taking a photograph you stand the chance of capturing much more candid results, particularly on the street.

 

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