Photography News

 

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.
 

2. Buy A Guide

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.
 

4. Shutter Speeds & Set-Up

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!

 

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

© 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.

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.

 

[Read More]

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. 

[Read More]

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.

 

[Read More]

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.

 

[Read More]

 

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.
 

2. Lens Choices  Anything goes in respect of lens options. Wide-angles can give dramatic lines and obviously work best if you can walk onto the bridge itself so you can wander around looking for bold foreground details. Set a small lens aperture for an extensive depth-of-field to make the most of scenes. Wides are obviously great too, to put a bridge into context with its surroundings if you can't get back far enough. If you find using a wide-angle lens gives you a shot with too much sky and land in it try shooting in a panoramic format. 

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.

 

 

3. Think Accessories 

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.
 

4. When To Go? 

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.

 

 

8. Contrast Can Be A Problem

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. 

 

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

© 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.

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. 

[Read More]

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.

[Read More]

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.

 

[Read More]

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. 

[Read More]

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.

 

[Read More]

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. 

[Read More]

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.

 

[Read More]

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.

 

[Read More]

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.

 

[Read More]

 

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 Tips

Keep 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 Shore

Not 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.

 

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

 

There are various reasons for the existence of so many 85mm lenses. It is the classic focal length for portraiture, and traditionally also a fast (bright) short telephoto for many applications including landscape. The slightly longer than standard focal length gives a comfortable working distance between model and photographer resulting in an attractive perspective. The wide apertures make it possible to throw backgrounds out of focus and thus emphasise the main subject. Magnificent bokeh is virtually assured. This fine looking lens from Sigma takes us a step further by opening up the maximum aperture to f/1.2, giving wafer thin depth of field at the point of focus. Let's see how this can be exploited by coupling it up with the 42MP Sony A7R III body.

 

Sigma 85mm f/1.2 DG Art Handling and Features

This full-frame lens is one of the Sigma Art series; the pinnacle of their lens making skills. Any 85mm f/1.2 lens is going to be relatively large, and this is no exception. It measures up at 87.2mm x 121.7mm for the Sony FE fit version, and 87.2mm x 119.7mm for the L mount version. However, they are both fairly light for their specification, weighing in at just 902g (measured) for the lens only and 962g (measured) for the lens plus lenshood. The lenshood is a large round tube that bayonets slickly into position. There is a retaining catch and this holds the hood firmly into position. The front element has an oil and water resistant coating and the whole lens is dust- and splash-resistant. There is the usual caveat that this is not the same as being waterproof.

 

 

Continuing our tour of the lens, there is a generous manual focus ring. The L mount version gives a choice of linear or non-linear focus ring control and also is compatible with the Sigma USB Dock UD-11. AF is driven by 2 HLA (High Response Linear Actuator), situated on either side of a group of 8 lens elements. Compact design makes this the smallest and lightest in its class. It also minimises focus breathing, with videographers in mind. The 17 element lens also includes 2 SLD (Super Low Dispersion) and 3 Aspherical elements.

There are a handful of lens controls. The generously sized manual focus ring is silky-smooth, being electronic in operation. There are two focus lock buttons, an AF/MF switch and an aperture ring lock. This lock can be used to lock the ring into the A setting, and alternatively to lock it out of the setting. This means that using the aperture ring with the camera to the eye, the A setting cannot be inadvertently engaged. The aperture ring itself is large and clearly marked in one third of a stop steps.

 

 

Sigma do mention that there is a magnet within the lens, and it is best to avoid bringing it too close to pacemakers and perhaps the magnetic strips on credit cards. This magnetic field extends for about 2 inches from the lens.

An 85mm lens is a powerful portrait focal length, flattering to the subject and giving a working distance close enough for the photographer to engage the model. Social photography and studio portraiture are obvious examples, but also location work. Equally well, like all lenses, we do not have to restrict ourselves to a small area of use, but the 85mm can be used for any short telephoto applications. The f/1.2 maximum aperture gives wafer thin depth of field, so it is important if using it for a portrait to ensure that the focus point is accurately located on the eye. The closest focusing distance of 0.84m (2.76 feet) is a slight limitation and could usefully be closer, but that is the same with most, if not all, of these lenses.

Time then to have a look at the technical performance to see if it matches up to high expectations.

 

 

Sigma 85mm f/1.2 DG Art Performance

Central sharpness is excellent at f/1.2, outstanding from f/1.4 to f/4, excellent from f/5.6 to f/8 and very good at f/11 and f/16. The edges are excellent from f/1.2 all the way through to f/8 and very good at f/11 and f/16. A superb result.

 

Sigma 85mm f/1.2 DG Art 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 42MP Sony A7R III body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very close to zero at the centre and held well within 1 pixel at the edges. CA is not really obvious in most images. Further correction in software could be undertaken if required.

 

Sigma 85mm f/1.2 DG Art 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 42MP Sony A7R III body using Imatest software (www.imatest.com).

 

There is a tiny bit of barrel distortion, measured at -0.04%. This is as close to rectilinear as makes no difference, so straight lines can be expected to stay straight.

Bokeh, the quality of the out of focus areas, is very attractive, smooth and with lovely gradation.

Flare resistance is handled superbly well, and it is extremely difficult to generate any sign of artefacts or loss of contrast.

Vignetting is minimal and not intrusive.

 

Aperture Vignetting f/1.2 -1.4 f/1.4 -1.2 f/2 -1 f/2.8 -0.6 f/4 -0.6 f/5.6 -0.6 f/8 -0.6 f/11 -0.6 f/16 -0.6

 

Sigma 85mm f/1.2 DG Art Sample Photos Previous Next

 

Sigma 85mm f/1.2 DG Art Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Sigma 85mm f/1.2 DG Art|Sigma+85mm+f/1.2+DG+Art[/AMUK] lens is priced at £1299.00

A selection of alternatives:

• [AMUK]Samyang AF 85mm f/1.4|Samyang+AF+85mm+f/1.4[/AMUK], £518
• [AMUK]Sigma 85mm f/1.4 DG DN Art|Sigma+85mm+f/1.4+DG+DN+Art[/AMUK], £518
• [AMUK]Sony FE 85mm f/1.4 GM II|Sony+FE+85mm+f/1.4+GM+II[/AMUK], £1799

Competition is a bit thin on the ground, certainly at f/1.2, but the lens does look to be fairly priced.

 

 

Sigma 85mm f/1.2 DG Art Verdict

An 85mm f/1.2 lens is a beautiful thing, with gorgeous bokeh and wafer thin depth of field when required. This is the stuff of wedding photographers, portrait photographers and those involved in any short telephoto photography. The price is high, but the quality is absolutely superb. In fact, it is so sharp that it may be that the portrait photographer will be reaching for a soft focus filter to flatter the sitter who may not have perfect skin. Arguably better, as the choice is there, as there are plenty of subjects that can be enjoyed with the crisp sharpness that is on offer.

In keeping with the defined objectives of the Sigma Art range, an excellent example of the truly classic lens makers' art, with a truly classic focal length. Highly recommended.

 

Sigma 85mm f/1.2 DG Art Pros

• Outstanding sharpness
• Virtually no distortion
• Very low CA
• Very resistant to flare
• Fast and very accurate AF
• Weather resistant
• Beautiful bokeh
• Modest vignetting

 

Sigma 85mm f/1.2 DG Art Cons

• Could usefully focus closer

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – Beautiful results, especially for high-class portraits and social photography.|E_id=8027[/REVIEW_FOOTER]

.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }

 

Proudly made in Aizu, Japan, Sigma now introduces a new option in standard full-frame zoom lenses, with Sony FE and L-mount versions available. The Contemporary range aims to offer compact and lighter lens options, most suitable for photographers who seek a lighter kit for travel in particular. The construction methods used may well be lighter, with increased use of plastics, but quality of results is still the aim and this has proved to be consistently true.

The 20-60mm f/2.8-4 DG is the most compact of the standard full-frame lenses on offer, so for those who wish to avoid lugging around significantly heavy gear, but without compromise on quality, then this looks like a strong contender. Armed with the 42MP Sony A7R III full-frame mirrorless body, let's see if the lens lives up to its promise.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Handling and Features

As always, the lens is extremely well finished and looks good. It balances beautifully on the Sony A7R III, weighing in at a modest 375g (Sony FE version) or 385g (L mount version). Dimensions are 72.2mm x 88.0mm (FE) or 72.2mm x 86.0mm (L mount).

 

 

There is a provided petal lens hood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 67mm filter thread. The front element of the lens has a special coating to repel oil and water and the whole lens is splash- and dust-resistant. This is not the same as waterproof, and Sigma describes the sealing as enabling use in harsh environments. 

Moving down the lens barrel, first up is the zoom ring. This does physically extend the lens, but it is also smooth and even in action. Focal lengths are clearly marked at 20mm, 24mm, 28mm, 35mm, 50mm and 60mm. Behind this is the manual focus ring, and that's it for controls. 

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. The size of the lens is compact and this is in part through innovations in internal design. For example, a single zoom cam moves three lens groups for increased space efficiency.

 

 

Closest focus depends on the focal length:

• At 20mm, 20cm and 1:5.7
• At 24mm, 16.4cm and 1:3.3
• At 28mm, 15.8cm and 1:2.6
• At 35mm, 16.4cm and 1:2.3
• At 50mm, 20.8cm and 1:2.6
• At 60mm, 25cm and 1:2.9

This demonstrates well one of the advantages of modern zoom lenses – extremely close focus and high levels of magnification. This lens approaches half life size at 35mm, which is almost a macro lens. As the drawing of the lens (distortion) is also very accurate, this makes for an even more versatile optic.

Optical construction is a lens of 15 elements in 6 groups, including 3 Aspherical and 3 SLD (Super Low Distortion). With videographers in mind, the design features minimal focus breathing.

 

 

There are a couple of caveats regarding handling. Firstly, there is a magnet within the lens, and Sigma recommends that caution is observed with pacemakers and also with any magnetic data such as that held on credit cards. Such items should be kept more than 2 inches away from the lens. Secondly, there is some zoom creep when the lens is pointed downwards. This makes copying documents a bit tricky as the lens does not stay at one zoom setting but slowly settles downwards. Holding the lens during the exposure does solve that problem, at the expense of perhaps nudging the camera and lens during the exposure and causing movement. A spot of tape to temporarily hold the lens could also be a solution. However it is dealt with, the end result is excellent and making copies yields good results.

In general use, which is where the lens is aimed, handling is impeccable and it makes a great travel companion that can cover just about all eventualities.

 

 

Sigma 20-60mm f/2.8-4 DG Contemporary Performance

At 20mm, central sharpness is excellent at f/2.8, outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

At 35mm, central sharpness is outstanding from f/3.5 to f/5.6, excellent from f/8 to f/16, very good at f/22 and fair at f/29. The edges are very good at f/3.5 and f/4, excellent from f/5.6 to f/11, very good at f/16, good at f/22 and fair at f/29.

At 60mm, central sharpness is excellent from f/4 to f/11, very good at f/16 and f/22 and fair at f/32. The edges are very good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16, good at f/22 and fair at f/32.

This is an amazing result, of the highest calibre.

Distortion is not a problem and the lens is very suitable for critical architectural photography. Some distortion can be measured, +0.01% pincushion at 20mm, -0.24% barrel at 35mm and +0.24% pincushion at 60mm. This is insignificant and clearly lens and camera are both contributing to this excellent result.

 

Sigma 20-60mm f/2.8-4 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 42MP Sony A7R III body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA is tightly controlled in the centre and although there is a higher reading at the edges, for most subjects colour fringing is not obtrusive. Further correction could be made in software if required.

 

Sigma 20-60mm f/2.8-4 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 42MP Sony A7R III body using Imatest software (www.imatest.com).

 

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are much better than most zoom lenses, especially those that are as wide as this one. It is only noticeable to any degree wide open at 20mm, and even here some gentle vignetting can look very attractive in the final image.

 

Aperture 20mm 35mm 60mm f/2.8 -2     f/3.5   -0.7   f/4 -1.4 -0.6 -1 f/5.6 -1.1 -0.6 -0.8 f/8 -1 -0.6 -0.6 f/11 -0.8 -0.6 -0.5 f/16 -0.8 -0.6 -0.5 f/22 -0.8 -0.6 -0.5 f/29   -0.6   f/32     -0.5

 

Sigma 20-60mm f/2.8-4 DG Contemporary Sample Photos Previous Next

 

Sigma 20-60mm f/2.8-4 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.

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Sigma 20-60mm f/2.8-4 DG Contemporary|Sigma+20-60mm+f/2.8-4+DG+Contemporary[/AMUK] lens is priced at £749.00

This is the widest of the small standard full-frame zoom lenses as well as being the most compact.

Alternatives might be:

• [AMUK]SK Samyang AF 24-60mm f/2.8 FE|SK+Samyang+AF+24-60mm+f/2.8+FE[/AMUK], £476
• [AMUK]Samyang 24-70mm f/2.8 FE|Samyang+24-70mm+f/2.8+FE[/AMUK], £824
• [AMUK]Sony FE 24-70mm f/2.8 GM II|Sony+FE+24-70mm+f/2.8+GM+II[/AMUK], £1899
• [AMUK]Sony FE 20-70mm f/4G|Sony+FE+20-70mm+f/4G[/AMUK], £1233

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

 

 

Sigma 20-60mm f/2.8-4 DG Contemporary Verdict

This is a great combination of a lens that is light and compact, delivers great results and handles beautifully. There are, as mentioned, a couple of small points such as the zoom creep, but overall a near faultless experience. The price is also right, and Sigma has hit the spot again with a cracking good lens that is well within realistic reach.

This will suit those who like wide-angle photography, 20mm being right in the area of ultra-wide. That it extends beyond the usually accepted 50mm standard, right up to 60mm is an added bonus. Whether covering social photography, landscape, travel, events, street or even portraiture, these areas all fall within the capability of 20-60mm. Add the high levels of sharpness and the other excellent technical results to the versatility and weather sealing and we definitely have here an Editor's Choice.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Pros

• Excellent to outstanding central sharpness
• Modest vignetting
• Weather resistance
• Low flare levels
• Virtually rectilinear (no distortion)
• Smooth bokeh
• Close focusing
• Excellent construction standards
• Great VFM

 

Sigma 20-60mm f/2.8-4 DG Contemporary Cons

• Some edge CA
• Some zoom creep when pointing lens down

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – The widest and smallest ultra-wide to standard zoom for Sony FE and L mounts delivers outstanding results.|E_id=8027[/REVIEW_FOOTER]

.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }