Photography News

A sunset frame that looked luminous through the viewfinder often opens in Lightroom dark, a little noisy, and short on the warmth you remember. Getting that glow back is mostly a matter of the order you work in and how much room you leave yourself before you start masking.

 

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Every reason to make photography your full-time job has a flip side, and that flip side usually shows up after you've already left the steady paycheck behind. If you're weighing a jump from shooting on weekends to shooting for a living, the hard part is figuring out which of those tradeoffs you can actually live with.

 

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A – Aperture

When it comes to picking an aperture, you don't want to go too wide as this will shorten your shutter speeds so choose an aperture around f/8 or f/11 to start and go from there.

 

 

B – Bulb

Using the BULB setting will keep the shutter open until you take your finger off the shutter button (this is when a release is handy as you can keep the shutter open without having to touch the camera). This can be useful for light trails as you'll be able to take more control over the length of the exposure, stopping and starting it more precisely.

 

C – Compact Camera

If you're an owner of a newer compact camera you may be thinking you won't be able to try this technique but you could be wrong as many modern compacts now offer longer shutter speed ranges.

 

D – DSLR

Even though you can use a compact you're probably still better using a DSLR or an advanced smaller camera that has the power of a DSLR without the body size. This way you can guarantee you'll have the longer shutter speeds needed, plus the option of using Bulb mode (model depending).

 

E – Exposure times

There's no exposure time that's set in stone for this technique so you'll need to experiment until you find a shutter speed that gives you the results you're looking for. Although, a 10-30-second exposure should capture light trails perfectly.

 

F – Find A Location

It's often worth scouting for locations in the daytime so you're not wasting time when the sun's setting searching for ideal spots.

 

Photo by David Pritchard

 

G – Guide The Eye

Compositional rules still apply here so don't forget the power of using lead-in lines in your shots. The light trails can be used as a line to lead the eye through the image to a point of interest which could be a town, city or building glowing in the background.

 

H – Height

Find a spot, after the sun begins to set, where vehicles will pass under/by you with their lights on. The most obvious is a bridge but any high vantage point will work. You could also find a spot that looks over a road that winds down the side of a hill so car lights are turned into sweeping s shapes. 

 

Photo by Joshua Waller

 

I – In The Car

Give the light trail technique an extra twist by shooting from a moving car. Obviously, you can't drive and control the camera at the same time so you'll need a willing friend to help you with this technique. For more tips on this form of light trail photography, have a read of this: Photographing Light Trails From A Car

 

J – Juxtaposition

To really create a sense of movement and pace, shoot your light trails in a built-up area where you can juxtapose still buildings, trees and other objects with the light trails created by traffic.

 

Photo by Joshua Waller

 

K – Keep Checking The LCD

As you'll be experimenting with shutter speeds you should view your images on the LCD screen after capture to see if the shutter speed you used was long enough. For example, you may find the light trail ends half way through the image rather than carrying on until the car has exited the frame which means you need a slightly longer exposure time to capture the full length of the light trails.

 

L – Low ISO

Keep your ISO as low as possible (100 if you can) so noise doesn't cause you too many problems.

 

M – Mount Your Camera On A Support

Due to the length of the shutter speeds you need to use some kind of support. A Tripod's best but you can use a monopod if you prefer.

 

N – Night

You may think that well after the sun has set is a good time for capturing images of light trails and there's nothing wrong with capturing shots at this time, however twilight and just after the sun has set can produce some rather cracking results. Not only will there be more ambient light but there will also be more traffic around which means more chances to get the shot right.

 

Photo by David Pritchard

 

O – Overexposed

Keep an eye out for spots of light such as street lamps overexposing as these bright dots of light spoil your images.

 

P – Patience

You can't expect to set-up, press the shutter and have the perfect shot so patience is very important for this technique. You could find yourself waiting a while for traffic to actually pass through your frame or for the ambient light to be just right, plus with the trail and error approach you could be outside a while.

 

 

Q – Traffic Queues

Find points in your town where you can guarantee large amounts of traffic will flow through. Crossroads can be perfect as they will create lines that criss-cross and move around each other in various directions.

 

R – Roundabouts

Instead of straight lines, why not set-up near or above a roundabout which will give you the opportunity to capture circular patterns of light in your shots.

 

S – Street Level

To give your light trail shots a different twist, don't head for a high vantage point. Instead, take a stroll around the streets, looking for locations where you'll be able to capture light trails from lower angles.

 

Photo by David Clapp

 

T – Trigger – Remote Or Cable

To reduce camera shake, trigger your camera without actually touching it via a remote / cable release. If you don't have one, you can use your camera's self-timer on its shortest setting.

 

U – Underexposed

If you find the shot's underexposed open up the aperture and just make it smaller if it's too bright. Try not to go too wide with your apertures, though, as this will result in more of the shot appearing out of focus. If you find the light trails to be too short you'll need to use a longer shutter speed to extend them through your shot.

 

V – Very Warm Clothing

Don't forget your warm clothing as temperatures are starting to drop lower as we head towards winter.
 

W – Wide-Angle Lens

If you're working from a car, you need to fix the camera, with a wide-angle lens on a tripod into the passenger seat well or back seat of the car. This will mean you'll be able to see the whole windscreen through the viewfinder. When using wider lenses out in the field for this technique, a lens hood will be useful for shielding the lens from ambient light.

 

X – X-Factor

Light trail photography is a great way to add drama and punch to your night-time urban shots and with a little practice, it's rather simple to master.

 

Photo by David Clapp

 

Y – You Should Consider Using Manual Focus

Due to the low light level and lack of contrast, your camera lens may end up continuously searching if you try to use auto focus so switch to manual for more control.

 

Z – Zooming & Panning

Get creative and experiment with zoom or try panning after pressing the shutter to introduce different effects. After all, this is a fun technique, plus you want to capture something original.  

 

   

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

 

Datacolor continues to invest in the ongoing development and enhancement of its SpyderPro software. Following the major feature upgrade introduced last year, its flagship display calibration solution now receives another significant enhancement: Deep Calibration mode. This new technology delivers an even higher level of color accuracy and elevates display calibration to a standard previously associated primarily with professional reference and proofing solutions.

In November of last year, Datacolor introduced the largest software update in SpyderPro's history. Key additions included 3D LUT export for calibrating external video monitors, support for modern display technologies such as OLED, QD-OLED, Mini-LED, and Apple XDR displays, the introduction of Device Preview Plus for simulating content appearance on smartphones, tablets, printers, and other output devices, as well as the integration of Content Credentials to increase transparency in digital content.

With the introduction of Deep Calibration, Datacolor takes the next important step forward in display calibration technology.

 

A New Standard for Color Accuracy

 

SpyderPro's existing Standard Calibration already delivers outstanding color accuracy, achieving an average Delta E00 of 1.26. A Delta E value between 1 and 2 is widely recognized throughout professional image editing, photography, and graphic design as the benchmark for color-critical applications.

The new Deep Calibration mode improves this result to an average Delta E00 of 0.83. This enables SpyderPro to surpass the Delta E00 1.0 threshold, below which color differences become virtually imperceptible to the human eye. Such performance is typically associated with high-end reference displays and professional proofing workflows.

 

How Does Deep Calibration Work?

 

The new calibration mode utilizes a significantly higher number of measurement points across the entire grayscale range. This allows color deviations to be detected and corrected with much greater precision.

 

Key benefits include:

• Improved red-green neutrality
• Reduced blue-yellow color casts
• Higher white point accuracy
• Enhanced grayscale precision
• Cleaner shadow detail
• A more comprehensive calibration report

 

In extensive comparison tests across a wide variety of displays, including OLED, Mini-LED, XDR, and traditional LED-LCD monitors on both Windows and macOS systems, Deep Calibration delivered measurable improvements on every display tested. On average, grayscale accuracy improved by 30%, while some displays achieved improvements of more than 50%.

 

Speed or Maximum Precision? The Choice Is Yours.

 

With the introduction of Deep Calibration, SpyderPro now offers two calibration modes designed to meet different workflow requirements.

 

Standard Calibration

• Professional color accuracy
• Average Delta E00 of 1.26
• Fast calibration process

 

Deep Calibration

• Advanced measurement methodology with significantly more measurement points
• Average Delta E00 of 0.83
• Approximately 30% higher accuracy

 

Users can now choose whether they prefer to achieve excellent calibration results quickly or require the highest possible level of color precision for the most demanding workflows.

 

Free Upgrade for Existing SpyderPro Customers

 

The new Deep Calibration mode is provided free of charge to existing SpyderPro owners as part of the latest software upgrade. Users of Spyder, SpyderX, or SpyderExpress can upgrade to SpyderPro via the Datacolor website and take advantage of these advanced calibration capabilities.

With the introduction of Deep Calibration, Datacolor once again demonstrates its commitment to continuously enhancing its products and delivering meaningful value to customers long after purchase through powerful software updates. For photographers, videographers, content creators, designers, and prepress professionals, this new feature unlocks a level of color precision that until now has only been achievable with significantly more expensive reference-grade solutions.

 

About Datacolor

Datacolor, a global leader in color management solutions, provides software, instruments, and services that ensure the accurate reproduction of colors in materials, products, and images. Leading brands, manufacturers, and creative professionals around the world have trusted Datacolor's innovative solutions for more than 50 years to consistently achieve the right color. The company provides sales, service, and support in more than 100 countries throughout Europe, the Americas, and Asia. For more information, visit www.datacolor.com.

- Partner Content -

 

macOS 27 Golden Gate has just arrived in September, but recovery software has not moved at the same pace. If camera footage, project clips or exported videos disappear from a Mac or memory card, these five tools cover very different recovery jobs — from simple deleted-file scans to fragmented camera video and unfamiliar file formats.

Losing video is rarely a small problem. A single deleted MOV may contain an entire interview, while one formatted SD card can wipe out a day's shoot. The best video recovery software for Mac should therefore do more than find files: it needs to work with current Macs, recognise common camera storage, preview results where possible and give you a safe way to recover to another drive.

 

macOS 27 Has Changed the Mac Recovery Picture

 

Apple released macOS 27 Golden Gate on 14 September 2026. Golden Gate is available only for Macs with Apple silicon, while Intel Macs remain on earlier macOS versions. That means older utilities need a closer compatibility check before you depend on them.

There is another change worth knowing about. Apple's macOS 27 release notes say that if Rosetta was already installed, it is not automatically restored after the upgrade. Rosetta itself is still available, but an older Intel-only utility may not launch until the translation layer is installed again. That is relevant to free tools such as PhotoRec, whose official macOS download is still offered as an Intel 64-bit build.

For MacBook data recovery, the storage device matters just as much as the operating system. Deleted footage on an SD card or external hard drive may still be recoverable if its blocks have not been overwritten. Deleted data on an internal Mac SSD is a harder case because TRIM can make those blocks unavailable to recovery software. 

 

Before You Install Any Recovery Software

 

Recovery software cannot undo new data written over the old footage. Before choosing an app, stop using the storage device that held the missing video. If it is a memory card, remove it from the camera. If it is an external drive, disconnect it until you are ready to scan.

On a Mac, check Trash and any backup before starting a full recovery scan. Videos managed through Photos may also have another copy in iCloud or another synced library. If Time Machine was enabled, check the relevant backup or local snapshot. If the file is no longer available through any of those routes, this guide to recover permanently deleted videos covers the broader options across Mac and other devices.

Avoid installing the recovery app onto the same drive that contained the missing files, and never save recovered footage back to that source during the first pass. Both actions create new writes. For a failing or unstable drive, a byte-for-byte image or clone is preferable because it lets you work from a copy rather than repeatedly reading the original hardware.

If the footage came from a camera card, there is no need to repeat every SD-card recovery step here. ePHOTOzine already has a dedicated guide on how to recover deleted videos from SD card.

 

How We Chose These Mac Video Recovery Tools

 

We compared current Mac recovery tools on the things that decide whether footage comes back, rather than on feature-list length: product documentation, Mac compatibility, free-tier limits, video-specific features, disk-imaging options, file-system support and pricing.

Video recovery also needs a slightly different test from ordinary document recovery. Large camera files are often fragmented, so finding a MOV or MP4 signature is not always enough to rebuild a playable clip. Preview matters, as does the ability to work from an image when the source drive is questionable. And for photographers using newer cameras, support for an unusual file type can matter more than the total number of formats printed on a product page.

For a wider comparison beyond video, this current round-up of mac recovery software covers more general Mac data-loss scenarios.

 

Best Video Recovery Software for Mac: Five Picks

 

Tool Best For Latest macOs publicly listed Free recovery Starting paid price Disk Drill 6 Camera, drone and fragmented video macOS 27 Golden Gate Scan, preview and protected-file recovery; standard deleted-file recovery requires PRO $89/year PhotoRec Completely free signature-based recovery macOS 27 via Homebrew; official Mac download is Intel 64-bit Unlimited Free R-Studio for Mac Advanced scans, disk images and complex storage macOS 26 Tahoe on current download/help pages Demo has recovery limits $79.99 DMDE Low-cost recovery and disk imaging Not stated by version Up to 4,000 files from one selected directory per request $20/year Data Rescue 6 Unusual or unsupported file types Mac version available; check current OS compatibility before use Up to 1 GB for new users $79 for 30 days

 

1. Disk Drill 6 — Best for Camera and Drone Footage

 

Disk Drill 6 is the most video-focused general recovery app in this group. CleverFiles lists full support for macOS 27 Golden Gate, and the Mac version works on current Apple silicon hardware. Its normal scan can recover deleted files from APFS, HFS+, exFAT, FAT and other file systems, but the more relevant feature for ePHOTOzine readers is Advanced Camera Recovery.

 

 

That mode is designed for video recorded by cameras, drones and action cameras, where a large clip may be split across non-contiguous areas of a memory card. Instead of treating the file as one simple block, the software attempts to reconstruct the fragmented recording. That is particularly useful when a conventional raw scan finds an MP4 or MOV but produces a file that will not play correctly.

Disk Drill also lets you create a disk image of a memory card or drive before scanning it, so you can work from a copy rather than repeatedly accessing the original storage device. On Mac, the free edition can scan and preview recoverable files, and it can restore data protected in advance by its recovery-protection features. The important catch is that recovery of ordinary unprotected deleted files requires PRO on macOS. 

Ideal for: photographers and videographers recovering footage from SD cards, action cameras and drones, especially when fragmented video is a concern.

Platforms and pricing: Mac and Windows. On Mac, scanning and preview are free; full recovery of standard lost files requires a paid licence.

 

2. PhotoRec — Best Free Option

 

PhotoRec is the answer if the budget is zero. It is open-source, has no recovery-volume limit and uses file signatures rather than depending on a healthy file system. That makes it useful when a card has been reformatted or its directory information is badly damaged.

The trade-off is usability. PhotoRec runs in a text-based interface, and signature recovery does not normally preserve the original filenames or folder structure. A card with hundreds of clips can therefore come back as a large collection of generically named files that you need to inspect afterwards. There is also no polished preview workflow comparable with the commercial apps above.

macOS 27 adds a compatibility wrinkle: CGSecurity's current 7.3-WIP Mac download is labelled Intel 64-bit, although the page notes that M1 Macs can run it. On Apple silicon, the cleaner route is Homebrew: brew install testdisk installs PhotoRec and TestDisk, and Homebrew currently provides a Golden Gate bottle for Apple silicon. This makes PhotoRec a viable free Mac video recovery option on the newest OS without relying on the vendor's Intel archive.

 

 

Ideal for: technically comfortable users who need free video recovery software for Mac with no recovery-size cap.

Platforms and pricing: macOS, Windows and Linux. Free and open-source.

 

3. R-Studio for Mac — Best for Advanced Recovery

 

R-Studio is less friendly than Disk Drill, but it gives experienced users far more control over how a scan is performed. The Mac edition supports APFS, HFS+, HFSX, exFAT, NTFS and several Linux and Unix file systems, and it can work with disk images, damaged partitions and RAID layouts. For a mixed studio environment, that breadth can be useful.

Its raw-file search can also be extended with user-defined known file types, which helps when a standard signature database does not cover a format you need. That said, this is still general-purpose Mac data recovery software rather than a dedicated camera-video reconstruction tool. If the main problem is a fragmented action-camera clip, a specialised camera mode may be the better first attempt.

 

 

Compatibility deserves a note this year. R-Studio's current download page and system-requirements documentation list macOS 26 Tahoe, while its main product information has not yet been fully updated to macOS 27 Golden Gate. The application is a native Apple Silicon build, so this looks like a documentation lag rather than a technical barrier — but if you have already upgraded, run the demo before you buy.

Ideal for: advanced users dealing with disk images, complex partitions, RAID or several file systems rather than one straightforward deleted clip.

Platforms and pricing: separate Mac, Windows and Linux editions. R-Studio for Mac starts at $79.99 for a permanent licence.

 

4. DMDE — Best Low-Cost Recovery Option

 

DMDE sits in an unusual place between free recovery utilities and expensive professional software. Its interface is dense, but the free edition is much less restrictive than many commercial trials: it can recover up to 4,000 files from one selected directory per request, and DMDE says there is no limit on how many times you repeat that operation.

For video work, that can be enough when a card contains one shoot folder and you only need a manageable set of clips. DMDE supports APFS, HFS+, exFAT and FAT among other file systems, offers raw signature recovery, and includes free disk-imaging and cloning tools. That last feature is useful when you want to preserve a card or questionable external drive before experimenting with scans.

The catch is the interface. DMDE exposes low-level disk and partition tools alongside recovery functions, so if you are not sure what an option does, do not randomly click it. Express is $20 for one year and Standard is $48 for a perpetual licence. For users comparing low-cost data recovery software for Mac, it offers more actual free recovery than most scan-only trials.

 

 

Ideal for: users who want a capable free tier, disk imaging and low-cost paid recovery, and do not mind a technical interface.

Platforms and pricing: macOS, Windows, Linux and DOS. Free edition available; paid options start at $20.

 

5. Data Rescue 6 — Best for Unusual Camera File Types

 

Data Rescue 6 earns its place for a FileIQ feature. If Deep Scan does not recognise a particular file type, FileIQ can analyse several healthy samples of that same type and look for a repeatable pattern that Data Rescue can use as a custom file module. The documentation recommends at least three sample files.

That can be useful with less common camera outputs, proprietary containers or a new workflow that is not yet in a recovery tool's built-in signature database. It is not magic — FileIQ does not work with every file type, and a learned signature cannot restore data that has already been overwritten — but it gives you another route when the problem is recognition rather than the storage device itself.

Data Rescue also includes a clone workflow, which fits the safer approach of working from a copy when the source drive is unstable. Its current Mac pricing gives new users up to 1 GB of recovery for free. The Standard licence is $79 and provides unlimited recovery for 30 days, while the Professional tier is sold annually.

 

 

Ideal for: photographers dealing with an unsupported or unusual file type for which they can provide healthy sample files from the same camera workflow.

Platforms and pricing: Mac and Windows versions are available. New Mac users can recover up to 1 GB free; Standard costs $79 for 30 days of unlimited recovery.

 

What "Free Video Recovery for Mac" Really Means

 

The word “free” is unusually slippery in this category. Some apps are free to download but charge before they write a recovered file to disk. Others let you restore a small amount of data, which may be fine for documents but almost useless for a 4K video clip.

PhotoRec is the clearest example of genuinely free Mac video recovery: there is no paid edition and no recovery-size cap. The cost is time and convenience. You work in a text interface and may lose original names and folder structure.

DMDE takes a different approach. Its free edition limits each recovery request to 4,000 files from the active directory rather than imposing a small gigabyte allowance. For a memory card with a few hundred clips, that can be surprisingly practical.

Data Rescue 6 gives new users up to 1 GB, which is enough to test the recovery path or retrieve shorter clips but can disappear quickly with high-bitrate footage. Disk Drill's free Mac edition is strongest as a diagnostic tool for unprotected deleted files: scan, filter and preview first, then decide whether the files are worth paying to restore. R-Studio also offers a demo, but its restrictions make it more useful for evaluating what the software can see than for recovering a full video archive.

So if you are searching for Mac video recovery software free of charge, look past the download button. The useful question is how much data the app will actually write back, whether preview is available before payment, and whether the free tool can handle the file system and camera format involved.

 

Why a Recovered Video Sometimes Won't Play

 

Finding the filename is only half the job. Video files are large, and cameras often write them across multiple areas of a card as recording continues. A basic raw recovery scan may recognise the beginning of an MP4 or MOV but fail to rebuild every fragment in the correct order. The result can have a plausible filename and file size yet still refuse to open, freeze after a few seconds or show damaged frames.

This is why trying another recovery engine can make sense. Different tools reconstruct files differently, and a camera-specific recovery mode may succeed where simple signature carving does not. If the source card is valuable, create an image first and run those experiments against the image rather than repeatedly scanning the physical card.

There is also a point where recovery ends and repair begins. If recovery itself worked but the MOV or MP4 still will not open, an open-source tool untrunc can use a healthy reference clip — ideally from the same camera — to rebuild parts of the damaged container. On macOS it is more technical than the five apps above and may need to be built with Homebrew dependencies, so it is not a general recovery pick. But it is a useful free option when the file exists and the remaining problem is playback rather than deletion.

 

When Mac Video Recovery Software Won't Help

 

There are two cases where continuing to scan is usually the wrong move.

The first is permanent deletion from an internal Mac SSD. Modern SSDs use TRIM to tell the drive which blocks are no longer needed. Once those blocks have been cleared or made unavailable, a recovery app cannot recreate the original video from nothing. Backups and local snapshots become much more important in that scenario. The same issue appears repeatedly in a recent Mac recovery discussion, where users point back to Time Machine, local snapshots and the limits imposed by TRIM. The thread is anecdotal rather than formal documentation, but the practical lesson is sound: internal SSD recovery is not the same as undeleting a file from an SD card.

The second is physical failure. If a hard drive clicks, repeatedly disconnects, disappears from Disk Utility, becomes unusually hot or produces severe read errors, repeated DIY scans can put more stress on it. If the footage is important enough to justify professional recovery, stop using the device and get the hardware assessed before it deteriorates further.

 

Which Mac Video Recovery Tool Should You Try First?

 

It depends on where the footage was and what you are willing to spend.

Deleted clips on an SD card or from a camera or drone: start with Disk Drill, which handles fragmented footage best of the five. No budget at all: PhotoRec, accepting the Terminal and the lost filenames. Somewhere in between, with a real free allowance: DMDE. Reformatted volumes, RAID or a drive you need to image first: R-Studio. A file type nothing seems to recognise: Data Rescue 6 and FileIQ.

And if the loss was on your Mac's internal SSD, check your backups and snapshots before you run a single scan.

Buy a Canon EOS R7 this afternoon, and the manual will tell you that you can register up to six LP-E6P, LP-E6NH, LP-E6N, or LP-E6 battery packs to it. That last one is the cell Canon put on sale in the EOS 5D Mark II in November 2008, nearly ten years before the RF mount existed. A battery bought for a DSLR still runs a mirrorless camera you can order new today, and that continuity almost never appears as a line in a camera review.

 

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Phone-based content creation has moved well past quick behind-the-scenes clips. Photographers are now shooting more polished promo videos with their phones on a regular basis. That workflow shift changes what your phone needs to be capable of, and internal storage and speed are usually the first barriers. A high-quality portable SSD is worth investing in to help your phone keep up with demands. 

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An ultra-wide lens can make a landscape feel like you're standing inside it, or it can shrink a dramatic scene into a flat strip of distant shapes. The difference usually comes down to where you put your feet and how you aim the camera, which makes it one of the hardest lenses to use well and one of the most rewarding once you get the hang of it.

 

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At $2,199 for the body alone, plus roughly $500 more if you want the optional electronic viewfinder, the Sigma fp II asks a lot for a camera with no mechanical shutter and no in-body stabilization. Sigma bills it as the world's smallest full frame camera, and if you carry a camera all day through crowded streets or up a mountainside, that size decides how often the camera leaves the bag at all.

 

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Nikon's NIKKOR Z 20mm f/1.8 S is the biggest, heaviest, and most expensive lens in a series that was supposed to be the lighter, more affordable side of the S-line. Six years after its release, it still has almost no native autofocus competition at 20mm and f/1.8 on Z mount, so how it performs today decides whether you get a bright ultra-wide prime at all without reaching for an adapter.

 

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Viltrox's 28mm "Chip" showed that an autofocus lens barely thicker than a body cap could make a full frame camera feel close to pocketable, and now TTArtisan has a $99 lens that follows the same design almost line for line. With matching prices, nearly identical dimensions, and the same sliding front cover, the TTArtisan 24mm f/3.8 Mini AF has to earn its place through image quality and handling, since it can't stand out on looks.

 

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Architecture photography is something that's accessible to all and with so many ways to capture structures that line our streets, it's a project that you probably won't get bored of anytime soon. You can shoot skylines at night, look for interesting patterns in small detail, use the height of skyscrapers to add drama to your shots or how about simply making a project about your own home? Don't just think this is a town or city project either as you'll find interesting structures at the coast as well as statues and monuments that are well worth capturing images of. Whatever you decide to do, here are 36 tutorials crammed full of tips to help you improve your architectural photography skills. 

 

1. 6 Top Architectural Night Photography Tips

When buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

 

2. Tips On Taking Photos From Heights In Cities

The beauty with photography is you're not restricted with how you can take a photograph. You can play with as many lights as you can afford, add filters, gels and play with numerous other gadgets to alter the look of your photograph. But even though there are all these toys waiting to be played with, one of the simplest ways to change the way your image looks is to get up high.
 

3. Why Stairs & Steps Draw People To Photograph Them

Stairs and steps may sound boring, however, when you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied. Be it a graphical shot of an industrial set of steps leading up the side of a metal structure or a spiral staircase in a grand house, if you keep your eyes open, you'll soon realise there are many interesting sets of steps and stairs around you that will make an interesting image.

 

4. Guide To Capturing Better City Skyline Shots

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset.

 

Photo by Joshua Waller

 

5. Nine Top Tips For Better Bridge Photography

Most of us use bridges every single day and while it is true that many - big and small, old and new - of them aren’t worth photographing, there are a great many that are extremely photogenic. These are impressive structures that often dominate the area in which they are situated.

 

6. Capturing The Best Of Britain's Architecture 

Britain's bursting with structures and buildings that photographers are naturally drawn to thanks to their postcard-perfect looks and history. It also helps that many of the buildings are in locations that are perfect for a day out, making them subjects photographers can shoot and their families can enjoy too.

 

7. Master Urban Abstracts With These 8 Tips

Capture something you may not have normally noticed by shooting abstracts in the city. To help you out, here are a few tips to get you thinking more creatively about buildings and how you can focus on patterns, textures and shape rather than the structure as a whole. 

 

8. Four Top Tips On Exploring The Urban Jungle

For many of us, when we decide to get out and about with our cameras we automatically turn to the countryside. But with the majority of the population living within easy reach of a major Town or City, is that really the right decision? It’s great fun just walking around a city taking shots of literally everything but if you want to capture great images you need to go with a plan and a bag of kit including a couple of lenses and a tripod.

 

 

9. Give Your City Shots A Creative Twist With These 6 Tips

Thanks to modern architecture that favours glass and steel over bricks and mortar cities are full of reflections which give us an alternative way to photograph the places we live in. 

 

10. Five Tips On Shooting Beach Huts Shots With A Twist

Who said the buildings and structures you capture only have to be inland? Beach huts are a popular feature of the British coastline and provide photographers with colourful detail that's often overlooked. While many of us shoot with a wide-angle and get the huts dramatically stacked in a row under a broody sky there's an alternative option of moving in close for a more abstract shot.

 

11. Seven Easy Ways To Improve Your Stately Home Shots

Stately homes are, in many cases, open to the public. Some are still lived in, with sections cordoned off from public viewing, but the rest is accessible, often with restrictions - no touching, often no flash and sometimes no photography. For those properties that do allow photography, you have the opportunity to photograph grand designs, walls with magnificent paintings, and rooms with exquisite furniture and other items.

 

12. How To Approach Statue Photography In 5 Steps

From the earliest known relic, some 8000 years old, to the latest metallic monstrosities, statues are waiting to be photographed. You could visit a museum or sculpture park but as statues decorate our city streets, local parks and even churchyards, you don't have to venture too far if you don't want to. 

 

 

13. Learn How To Capture Cracking Castle Shots

Want to bring a bit of history and heritage to life? Well, capturing images of one of our many castles is a good way to start. Here are a few tips to help you perfect your castle photography technique. 

 

14. How To Capture Top Shots Of Historical Buildings

When we think of historical buildings we often think of castles and churches, but there's much more to explore. Our towns and villages are brimming with architectural delights from banks to factories to inns and market halls, all waiting to be photographed outside and sometimes (if you're lucky) inside. All you need is a little local knowledge

 

15. Photographing Lighthouse Details

Zooming in with a telephoto and picking on detail is fun to do, plus it's a great way to capture lighthouse shots with an original twist. 

 

16. Five Top Tips On Photographing Bridges

Here are 5 more essential tips on photographing the bridges that dominate our towns, cities and countryside. We look at what time of day is best, what lenses to use, how to give your shots a creative edge and more. 

 

 

17. Tips On Photographing Stained Glass Windows

Stained glass windows are a photogenic subject but they can be a nightmare to photograph. Here are a few tips to help you perfect your technique.

 

18. Photographing Church Interiors

To make the most of what our churches have to offer we have to get inside them which can be trickier than you think. Larger churches and cathedrals may have photographic restrictions (a fee payable to use a tripod, no flash etc.) and certain opening hours but generally smaller, local churches are more willing to give you access any time of the day. 

 

19. Even More Tips On Creative Capturing Castle Shots 

From ruined hill forts to beautifully preserved country houses, castles provide majestic architectural delight that we look in more detail here. 

 

20. Photographing Textures On Buildings

Towns and cities are great places for hunting down textures and once you start looking at detail rather than buildings as a whole, you'll soon find a variety of textures to fill your memory card with. Walls, steps, doors, sheds, modern metal structures, roof tiles and windows are just some of the locations you'll find interesting textures at. 

 

 

21. Church Photography In Low Light

Turn your attention to the local church – or at least one that is lit up. Not every church is so you may have to drive around to find one if you do not already know of a suitable location.

 

22. Tips On Creating HDR Exposures In Churches

Church interiors are difficult to photograph because they usually have huge bright windows and dark nooks and crannies with the rest being a mix of tones illuminated by tungsten light or candles. Fortunately, with digital photography and modern software, there is a solution, it's called HDR (high dynamic range) photography.

 

23. How To Shoot Wide Angle Shots In Cities And Towns

Take a short walk through your town and you'll find a thousand and one things to photograph but instead of walking around for hours photographing trees, postboxes and buildings one at a time try getting your wide-angle lens out to capture and emphasise a wider area of the town.

 

24. Photographing Night-Time Urban Scenes

The nights are drawing in again which means most of us are now driving home from work in the dark. It's a stark reminder that winter's on its way but all's not that bad as it does mean you can shoot some nighttime shots in and around your town before you head home for your evening meal.

 

 

25. Twilight City Photography Tips

Head to a city as the sun sets and get ready to capture twilight themed imagery that will give your architectural shots an interesting, creative twist. 

 

26. How To Shoot Patterns In Architecture

The key to this type of photography is to stop looking at buildings as whole structures and focus on the small pockets of interesting patterns and shapes they're made up of. Don't overlook the ugly looking buildings either as most of the time, once you're zoomed in and focused on one part, you'll find they're perfect subjects when you're on the hunt for architectural patterns.

 

27. Tips On Photographing Interesting Shops With Character

For a while now people have voiced how they're bored of seeing the same line of shops in every town that have repetitive signs, the same window displays and products on offer. But even though these giants are all over the country you can still find the quirky shops with interesting frames and signs to photograph.

 

28. Tips On Photographing Your Town At Night

Here's a quick tutorial that will show you how to photograph urban nightscapes. You'll find kit suggestions as well as tips on how and what to take photos of. 

  29. Infrared Architectural Photography Tips

Infrared photography isn't everyone's cup of tea, however, this technique can add a distinct and interesting twist to your city shots that others may not have thought of. 

 

30. Capture Shots Of Cathedrals And Churches With Ease

Here are a few things to remember when you're heading out on your church photography day trip. Just remember to respect your surroundings when capturing these magnificent structures.  

 

31. Quick Twilight Town Photography Tips 

Everyone likes a sunset but instead of packing your gear up once the sun's set wait around for when the sun has vanished below the horizon and you'll have the chance to capture some really creative images.

 

32. New York Times Square Photography Tips

As Times Square is a popular location for tourists, it can be hard to shoot architectural photos that aren't dominated by people. However, there are a few things you can do to capture shots that aren't so focused on the people visiting this city. 

  33. Quick Tips On Photographing The Brooklyn Bridge

Skyline shots and photos of iconic structures are something all photographers strive to shoot when in Manhattan, New York and David Clapp has headed to one of the most iconic structures in the city - Brooklyn Bridge.

 

34. Practical Photography Tips For Cities And Towns

To help you capture the magic of cities, here are a few tips on photography in general and more specific tips on photographing Krakow in particular.

 

35. Photographing Lighthouses In The Landscape

The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.

 

36. Pier Photography Tips 

You can't visit a seaside town that has a pier without photographing this interesting and often historic architectural structure that heads out to sea. 

On February 17, 2005, Leica Camera AG issued a Verlustanzeige, the notice German stock law requires once a company has lost half its share capital and has to say so to its shareholders. Four days later, it told the market that its banks had partially canceled its credit lines. The fiscal year closed at the end of March on group sales of €92.1 million and a consolidated loss of €18.1 million.

 

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The JBL 305P MkII is down to $99 per speaker, 41% off its $169 list price, and it's the studio monitor I ended up recommending as the best speaker for the money after testing six of them on my desk. 

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For the last few months, I've been doing something that has completely changed how I run my businesses. I set up agentic AI to handle the parts of business I've always hated: email, bills, bookkeeping, taxes, client follow-ups and advertising. It watches everything, it never forgets anything, and when it needs me, it asks a quick question and I tap an answer. 

I'm turning that system into software that I'll be selling, but before it launches, I'm giving it away 100% free to a small group of beta testers.

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You have decided to transition from DSLR to mirrorless, and that should feel exciting, with a whole new way of shooting waiting for you. Changing systems does mean planning around the cost, but you may already own more of the funding than you realize. The DSLR kit sitting in your bag can pay for a good part of the switch, and how you sell it decides how smooth the whole process feels.

 

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© SIGMA

 

Sigma has announced the FP2, a compact full-frame camera equipped with a 24.5-megapixel partially stacked CMOS sensor, continuous shooting at up to approximately 20fps, and support for 6K OpenGate recording and ProRes RAW. A dedicated switch on the top of the body toggles between STILL and CINE modes. Sigma has also announced a new external electronic viewfinder, the EVF-21, along with other dedicated accessories. The FP2 is scheduled for release on November 11, 2026.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa, CEO: Kazuto Yamaki) is pleased to announce  the Sigma FP2, which combines full-fledged shooting capabilities and flexible expandability in the world’s smallest*1 body. Carrying over the concept of the original fp series while enhancing every function, Sigma has perfected the FP2 as a “Small, Powerful, Adaptable” camera.  Its pocket-sized, lightweight body is equipped with powerful shooting features, from a high-performance full-frame sensor to switching between still and cine modes, each with its own dedicated UI. The Sigma FP2, a one-of-a-kind compact system camera that offers a high degree of user-oriented adaptability, will be available on Wednesday, November 11, 2026.

 

Product name: Sigma FP2

Launch: Wednesday, November 11, 2026

* Product appearance and specifications are subject to change.

 

Key Features

 

• Top-class performance in the world’s smallest body
• A full-fledged cinema camera at the flip of a switch
• Accessories for greater expandability

 

Top-class performance in the world’s smallest body

 

Full-frame expressive power and wide dynamic range

At the heart of the Sigma FP2 is an advanced full-frame sensor that captures images with exceptional resolution, rendering power, depth of color and subtle tonal gradation. Its uncompromising performance gives photographers the freedom to capture any scene or subject, no matter the shooting conditions.

 

Color modes for creative freedom in photography

Thirteen color modes, selectable with the dedicated “Color” button, enable intuitive and unrestricted creative expression . Developed on the basis of Sigma’s own color science, this diverse range of preset modes lets photographers craft the tone of their work, capture the atmosphere of the moment and bring out the full appeal of their photography.

© SIGMA

 

A true evolution of the fp series

The Sigma FP2 inherits the innovative concept of the original fp, along with the distinctive character that made it one-of-a-kind.  At the same time, every element and function of the camera has been reexamined and refined to create a more intuitive and expressive shooting experience, making the FP2 a true evolution of the fp series.

 

Tilting LCD for broader perspectives

While keeping its compact body, the Sigma FP2 features a tilting LCD that tilts up 90° and down 45°. From low angles to high angles, it broadens the photographer’s perspective.

 

Dedicated external electronic viewfinder for focused shooting

Easily attached to and detached from the camera via a single USB-C port, the high-resolution, high-luminance electronic viewfinder helps photographers feel deeply immersed  in their photography. Its tilting mechanism angles upward by up to 90°, making it comfortable to shoot not only at eye level but also at waist level.

 

24.5-megapixel partially stacked CMOS sensor

The high-performance partially stacked CMOS sensor delivers outstanding rendering power, advanced AF performance and excellent dynamic range. Its high-speed readout significantly reduces rolling shutter distortion, enabling even faster continuous shooting and video recording at high frame rates.

 

Advanced AF performance

With improved accuracy, speed and low-light performance, the sophisticated AF system captures subjects reliably, so decisive moments are never missed. In addition to people and animals, the advanced subject detection function now also recognizes birds.

 

High-speed continuous shooting at up to approx. 20fps

The Sigma FP2 can shoot continuously at up to approx. 20fps, for up to 200 frames in a single burst. Even in critical moments where a split second makes all the difference , it captures the shot with confidence.

 

High-capacity battery

While maintaining the compact size that defines the fp series, the Sigma FP2 achieves approximately 30% longer battery life than the original fp. Its high-capacity battery can capture approximately 370 still images or about 130 minutes of video, enabling extended shooting sessions.

 

70GB of internal storage

In addition to an SD card slot, the Sigma FP2 features 70GB of internal storage that supports high-speed writing. It allows recording to continue seamlessly when the memory card is full and ensures comfortable shooting in situations that call for additional capacity.

© SIGMA

 

A full-fledged cinema camera at the flip of a switch

 

The Sigma FP2 is both a still camera and a full-fledged cinema camera. A single dedicated switch on the top of the body instantly toggles between STILL mode and CINE mode, each with functions, a user interface and a workflow fully optimized for that mode. Optimized for the creative production process  and highly customizable, the FP2 is a true cinema camera capable of cinema-quality imagery, offering both mobility and performance in an exceptionally compact and lightweight body.

 

A compact, dedicated cinema camera

Transforming to suit its setup, the Sigma FP2 serves as a compact full-frame digital cinema camera for a wide range of video production. With a wealth of functions packed into its compact body, it covers every type of production, from personal vlogs and fly-on-the-wall documentaries  to high-end film and TV productions.

 

6K OpenGate recording

The Sigma FP2 supports 6K OpenGate recording, capturing every bit of information from the full-frame sensor. Footage can be adapted to a variety of formats with different aspect ratios while maintaining high image quality, supporting video production in the multi-platform era.

 

Up to 14.1 stops*2 of dynamic range

Designed with ample highlight headroom, the Sigma FP2 delivers rich tonal gradation even in high-contrast environments. With 7 stops of headroom secured at ISO 1250 and above, it offers greater freedom for color grading in post-production.

 

32-bit float audio recording*3

The Sigma FP2 supports 32-bit float audio recording, reducing noise at low volumes and clipping at high volumes for recording with a wide dynamic range.

© SIGMA

 

Support for advanced post-production

The Sigma FP2 supports ProRes RAW, which combines a high degree of editing flexibility with the efficient data handling of compression. It also supports L-Log from Leica Camera AG , which can be edited directly in a wide range of grading software, accommodating a diverse range of workflows.

 

Director’s Viewfinder function

The Sigma FP2 is equipped with a Director’s Viewfinder function that can simulate the shooting ranges of various brands’ cinema cameras. In addition to the desqueeze display mode for use with anamorphic lenses, the FP2 now supports the latest equipment, including the ARRI ALEXA 35 and Sony VENICE 2 / BURANO. The LCD Viewfinder LVF-21 (sold separately) is also available, allowing users to reliably check the view on the optical axis.

 

Accessories for greater expandability

 

The expandability of the Sigma FP2 is ensured by the screw holes for the strap holders on the left and right sides of the body and the tripod screw hole on the bottom. Standardizing all of these screw holes to the common 1/4-inch size allows a wide variety of Sigma’s own and third-party accessories to be attached. New dedicated accessories have also been added for the Sigma FP2, opening up even more possibilities for expansion and customization.

 

ELECTRONIC VIEWFINDER EVF-21

The ELECTRONIC VIEWFINDER EVF-21 is an external electronic viewfinder designed exclusively for use with the Sigma FP2. The attention to detail is evident in its tilting mechanism, eye sensor, supplied large eye cup and other features , all designed to ensure convenience and comfort during use. With its 0.5-inch OLED panel with approx. 5.76 million dots, this high-resolution, high-luminance viewfinder helps users feel more deeply immersed in their photography and makes shooting an even more enjoyable experience.

 

HOT SHOE UNIT HU-21

The HOT SHOE UNIT HU-21 is an attachable hot shoe unit featuring a flash communication terminal shared with the OM SYSTEM / LUMIX .

 

BASE PLATE BPL-21

The BASE PLATE BPL-21 is a base plate designed exclusively for the Sigma FP2. In addition to being used to attach the LCD Viewfinder LVF-21, it allows standard video accessories to be connected using its 3/8-inch screw.

 

LCD VIEWFINDER LVF-21

The LCD VIEWFINDER LVF-21 is a viewfinder designed exclusively for the Sigma FP2 that mounts over the camera’s LCD monitor and cuts out extraneous light. It has a built-in diopter adjustment mechanism with a range of −2 to +1 (dpt). Magnifying the LCD monitor 2.5x*4, it helps photographers check focus and decide on composition. The specially designed high-performance lens and coating ensure excellent visibility.

 

BATTERY CHARGER BC-91

The BATTERY CHARGER BC-91  is a dedicated charger for the LI-ION BATTERY PACK BP-91 supplied with the camera. It allows for charging in approximately 175 minutes when used with a commercially available USB PD-compatible AC adapter.

 

DC CONNECTOR CN-91

The CN-91 is a connector for connecting the camera body to an AC adapter or external power supply.

 

*1 As of October 2026, by Sigma.

*2 When using 4K FF L-Log.

*3 When the optional HU-21 hot shoe unit is attached and the Panasonic DMW-XLR2 and DMW-DMS1 are used.

*4 The magnification value is calculated according to the definition generally used for loupe magnification.

 

For more information, please visit the Sigma website.

If you shoot Fujifilm and want the classic 85mm-equivalent portrait look at f/1.2, you have two serious, fully weather-sealed choices, and at B&H, one costs about half as much as the other. The Fujifilm XF 56mm f/1.2 R WR and the Viltrox AF 56mm f/1.2 Pro cover one of the most-used focal lengths in the system, and the gaps between them are smaller and odder than a spec sheet suggests.

 

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A 28mm lens sits in an awkward spot between the 24mm and 35mm primes most people already own, and that in-between position is what makes it useful when you film yourself in a small room. If you record talking-head videos, tutorials, or product demos in a spare bedroom or home office, your focal length decides how much of the room shows up, how your face is rendered, and how close the camera has to sit to you.

 

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© SIGMA

 

Sigma has announced the 50mm F1.4 CL DG Contemporary, the first lens in a new lineage of primes within its I series. The lens combines a bright F1.4 aperture with a compact metal body, smooth bokeh and intentionally controlled aberrations for soft rendering and gradual background transitions. It also has a newly developed RDD autofocus actuator, automatic switching to manual focus when the focus ring is turned during autofocus, and a dust- and splash-resistant structure. The lens is scheduled for release in early spring 2027 for L-Mount and Sony E-mount cameras.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa, CEO: Kazuto Yamaki) is pleased to announce  the Sigma 50mm F1.4 CL DG | Contemporary. Housed in a small, lightweight and premium metal body, the lens combines a bright F1.4 aperture with rich textured rendering that gives images a unique expressive character. The CL, which is the start of a new lineage in Sigma’s I series line, harnesses the latest technology to achieve a classic aesthetic with beautiful tonal gradation, and is scheduled for release in early spring 2027.

 

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Lens Hood LH520-04B / LH520-04S, Front Cap LCF-52 IV, Magnetic Metal Lens Cap LCF52-02MB / LCF52-02MS, Rear Cap LCR III, Pouch

Launch: Early spring 2027

 

* Product appearance and specifications are subject to change.

* 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.

* L-Mount is a registered trademark of Leica Camera AG.

 

Key Features

 

• Aberrations intentionally controlled with the latest simulation technology for soft rendering of texture that helps the subject stand out
• Exceptionally compact for a large-aperture F1.4 prime, with the newly developed RDD autofocus actuator
• A new lineage for the I series primes designed to maximize the joy of shooting

 

Aberrations intentionally controlled with the latest simulation technology for soft rendering of texture that helps the subject stand out

 

The Sigma 50mm F1.4 CL DG | Contemporary is a premium compact prime lens that delivers a bright F1.4 aperture and rich textural rendering in a small and lightweight metal body. Its authentic optical system, housed in a barrel that is exceptionally small by the standards of today’s mirrorless lenses, was designed by making full use of the latest optical technology. Through exhaustive simulations, aberrations have been intentionally controlled to achieve a gentle softness within the in-focus plane, smooth and attractive bokeh, and characterful background rendering that helps the subject stand out. Conveying warmth and a natural sense of three-dimensionality across the entire frame, the lens is ideally suited to portraits and snapshots in particular. Its body distills the pure enjoyment of shooting with dedicated photographic equipment, while the latest technology perfects its impressive image quality, with supple rendering of texture and rich tonal gradation. Sigma hopes that the CL, the first in a new lineage of I series primes will help you discover and capture more beauty and joy in your everyday life.

 

© SIGMA

 

Exceptionally compact for a large-aperture F1.4 prime, with the newly developed RDD autofocus actuator   Beautiful bokeh and three-dimensionality only a large-aperture prime can deliver

The lens features a classic optical construction of 9 elements in 6 groups with a whole-lens extension focusing mechanism. 3 aspherical elements and 1 FLD glass element are effectively arranged to achieve a compact and lightweight design. The optimal placement of the aspherical elements also successfully suppresses ghosting, which is difficult to avoid in small, lightweight lenses. Aberrations are precisely controlled while internal reflections are eliminated. The lens is designed so that its bokeh is at its most beautiful and its three-dimensionality at its richest at the maximum aperture of F1.4, offering superb rendering, especially in the beautiful, gradual transitions of its background bokeh.

 

New RDD (Rotary Direct Drive) actuator

To keep the overall length of the lens short, Sigma chose whole-lens extension focusing rather than an inner focus design. To handle the heavier focusing unit this creates, Sigma developed a powerful autofocus actuator in which coils and magnets, as used in the HLA (High-response Linear Actuator), are arranged in a circle to match the shape of the lens barrel. This minimizes any increase in outer diameter, resulting in a slim, high-torque autofocus mechanism.

 

Instant AF/MF switching with the focus ring

Taking advantage of RDD’s ability to drive the focusing optics directly, the lens temporarily switches to manual focus automatically when the focus ring is turned during autofocus operation. This allows photographers to work quickly in fast-changing conditions without needing to adjust AF/MF settings using a switch.

© SIGMA

 

A new lineage for the I series primes designed to maximize the joy of shooting

 

All-metal body with premium quality and a pleasing feel in operation, the hallmark of the I series

As the latest chapter in the I series, the “Premium Compact Primes” that pursue the joy of owning a photographic tool, the CL carries on the series’ all-metal body. Not only the knurled hood, focus ring and aperture ring but also the supplied magnetic metal lens cap  have been inherited as signature elements of the I series identity.

 

Depth-of-field scale

The CL series features a distance scale that runs from the minimum focusing distance to infinity, together with a focus ring that rotates in direct sync with focusing. It is also equipped with a depth-of-field scale, which lets photographers visually check how the depth of field changes with the aperture value. These scales also serve as an icon of the CL, combining the very latest functionality with a classic aesthetic.

 

Dust- and splash-resistant structure* / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, allowing photographers to shoot without concern even in harsh outdoor environments. 

 

* 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.