Sigma Photo blog

10 stories

Sigma Photo blogMakersHow Sigma Cine Lenses Helped Create the Vintage Look of Japanese Horror Film “Never After Dark” Director of Photography Patrick Ouziel used Sigma FF High-Speed Prime lenses to bring a '70s-inspired vintage aesthetic to Japanese horror film "Never After Dark".

10.27

Sigma Photo blogMakersA Softer Kind of Sharpness: Sigma 50mm F1.4 CL DG Contemporary Lens The Sigma 50mm F1.4 CL DG | Contemporary lens combines modern autofocus and portability with a softer, more organic rendering.

10.23

Sigma Photo blogMakersLoumi’s Hatsuyume: Photographing Unique Art with the Sigma 50mm F1.4 CL DG Contemporary Lens An artist transforms reclaimed eggplant skins into intricate works of art, drawing inspiration from Japanese symbolism and the beauty of everyday materials.

10.23

Sigma Photo blogMakersCaptured with the FP2: Frames of Water Spanish cinematographer Borja Llorens returns to the Mediterranean coast of Alicante to explore his connection with water through kayaking, cave exploration, and night diving.

10.23

Sigma Photo blogMakersCaptured with the Sigma FP2: Your Eyes Nepal Photographer Min Hyunwoo travels to Dolpo, Nepal, to document a Tibetan family as part of his ongoing "Your Eyes" project.

10.23

Sigma Photo blogMakersCaptured with the Sigma FP2: Paris Ciphers Photographer Olya Oleinic explores the intimate connections between people and places through a series of observational images captured near her Paris home.

10.23

Sigma Photo blogMakersBringing It Closer to Home: Local Wildlife Photography with the Sigma 300-600mm F4 DG OS Sports Lens Photographer Martina Abreu takes the Sigma 300-600mm F4 DG OS | Sports into the field, capturing birds and other local wildlife.

10.14

Sigma Photo blogMakersThe Long Journey of Trees: Exploring Japanese Woodworking with the Sigma 16-300mm Zoom Lens Noriko Yamaguchi follows the journey of Japanese cedar from forest to furniture, photographing skilled artisans at work with the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary.

10.08

Sigma Photo blogMakersFreedom to Move: A Family Session with the Sigma 50-120mm F2.8 DC OS Contemporary Lens Photographers Gardères & Dohmen capture a lively family session in France with the Sigma 50-120mm F2.8 DC OS | Contemporary lens.

10.08

Sigma Photo blogMakersThousands of Lives: Countryside Reflections with the Sigma 50-120mm F2.8 DC OS Contemporary Lens Photographer Naoki Miyashita explores the rich life of Ozegahara, capturing landscapes, plants, insects, people and distant animals with the Sigma 50-120mm F2.8 DC OS | Contemporary.

10.08

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo