SIGMA Art lenses in the Chernobyl Disaster Zone by photographer Tom Adamson

SIGMA Art lenses in the Chernobyl Disaster Zone by photographer Tom Adamson

Photographer Tom Adamson has found a way of making derelict buildings beautiful again by photographing them with the SIGMA Art series of lenses; the SIGMA 20mm F1.4 DG HSM | Art and the SIGMA 24-35mm F2 DG HSM | Art lenses. In this blog Tom describes his ideal opportunity of photographing the remains of Chernobyl disaster zone and how these lenses helped him to achieve the quality of images he wanted to produce.

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Deconstructing the dp Quattro

Deconstructing the dp Quattro

For the new dp series, we rethought and redesigned every aspect of the camera, including the sensor, engine, lens and body. While retaining its famous textural expression, the updated Foveon direct image sensor produces images that are more colorful, rich, deep, and faithful than ever before.

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Sigma Photo Pro 5.5 – Fade to Grey

Sigma Photo Pro 5.5 – Fade to Grey

Sigma Photo Pro has been a steady compainion of the Foveon-based camera range, from the SD9 to the latest DP3 Merrill. Right now we're in the same situation we were when the SD9 first launched, reliant on a dedicated processing application from the manufacturer, and in an era of widespread third party support it is a little unusual.

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Sigma 35mm F1.4 – a new era

Sigma 35mm F1.4 – a new era

Sigma's evolutionary approach to lens design has already resulted in improvements in quality and performance with each new model - price is no longer the only reason to opt for Sigma's optics, and in the case of the Macro and OS models has not been for some time. Yet Photokina's announcement of the new Global vision for Sigma made it clear that it was felt that the products could perform to even higher levels and be design leaders.

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Getting a grip on the SD1

Getting a grip on the SD1

One of the most appealing aspects of the SD1 is the compact design. Despite packing dual processors and a 46Mp sensor, it's one of the lightest, smallest professional bodies made, with a comfortable grip and well placed controls for normal horizontal use. Using it for portrait orientation photos has been a little less comfortable, as the shallow body provides little to hold onto.

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Sigma 8-16mm f/4.5-5.6 DC HSM

Sigma 8-16mm f/4.5-5.6 DC HSM

This Sigma 12-24mm has been a popular choice for photographers, with nothing on the market that wide without producing a fisheye effect. The new Sigma 8-16mm provides APS-C size camera users with exactly the same angle-of-view as the 12-24mm does on full frame, opening up new possibilities to a wider photographic market.

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Sigma 50mm F1.4 HSM

Sigma 50mm F1.4 HSM

Richard Kilpatrick tested the Sigma 50mm f/1.4 on both the cameras it could almost have been built for, the Nikon D3X and the Sony Alpha 900. To the Sony, it added – for the first time in his hands – HSM to an Alpha mount body. Here's what he found out.

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