Tripod Collar Sigma 105mm F14 Dg Art Hsm Lens

The Bokeh Main …

Any manufacturer who decides to call their lens the "Bokeh Master" is very much setting themselves up for a fall, so I was very intrigued to run across for myself what the new SIGMA 105mm F1.4 DG HSM | Fine art lens (SPECIFICATION) had to offer. Many aspects about this lens seem a niggling bit unusual at offset glance. The large forepart glass chemical element (filter size 105mm) tells you straight away this is no 'normal' lens and that it's going to scoop a whole bucketful of calorie-free towards the camera sensor. The unusually short squat shape seems a little unwieldy at first glance, nonetheless information technology feels and sits very nicely in the hand (the solid tripod human foot is very easily removed). In general, the lens feels very solid and well-congenital with the metal sun shield merely adding the finishing touch to the quality of engineering. Of form, such a lens begs to be used equally a wedding lens, separating the loving couple from the guests/environs with a wonderful bokeh. Indeed both myself and Ines accept regularly used the lens during our work for the organisation "Dein Sternenkind", where the increased separation to the subject that a 105mm lens brings, every bit well as its wonderful depression light capabilities fit perfectly to the job in mitt.

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I wanted to put the lens through its paces, however, under different conditions. Creative nature photography, concentrating on colour and structure and the interplay of subject and light, is a topic that actually fascinates me. Starting in the fall of last year, in that location have been many opportunities to not just look at the bokeh the lens can produce, but besides to come across the high levels of item the lens can capture. I similar to work a lot with h2o, often aiming for an abstract representation based on the interplay of light with the surface ripples. Although I have to admit that a 105mm CP-Filter, which I would normally utilise to control reflections from the water surface, is not something I have readily to hand, I was able to notice compositions where this was not an issue and was extremely pleased with the shots I was able to capture.

When exploring what the lens could offer I wanted to non just create beautiful backdrops for the subjects I would exist interested in, merely too to explore working creatively with the subjects themselves, that is, most recently, orchids and collywobbles and that would mean getting "nice and close". Ii extension rings for the Sony E-Mount (10mm and 16mm) were thus used either individually or in combination between a Sony alpha 7RII and a SIGMA MC-11 E-SA adapter to achieve this.

Whilst the autumnal images were shot locally in the Taunus, Germany, the majority of the shots were taken on a recent tour to the South of France, whereby a short stop in Valle Verzasca in Switzerland on the return journey completed the evaluation of this captivating lens. And, actually, I really do mean captivating! As I started to work more and more in a "macro" scenario, for case exploring the differences between being near the signal of furthest focus and nearest focus in combination with various F-End settings, ever more than creative avenues seemed to open up themselves upwardly invitingly.

Of course the lens is not but all nearly bokeh and indeed it tin can capture a superb amount of detail. The water worn rocks at Valle Verzasca providing the perfect opportunity to explore color, form and construction:

As the diverse butterfly images show, and every bit perhaps one would expect, capturing a abrupt discipline, which means closing the lens downward somewhat, and yet maintaining or achieving a wonderful bokeh as a back-drop is somewhat of a existent "tour-de-forcefulness" for the lens. I was impressed and from my perspective the lens truly is a "Bokeh Master". The tripod collar that comes with the 105mm lens is a existent bonus, fitting perfectly to how I similar to piece of work 'in the field'. For nearly all of my macro piece of work and contained of the lens / camera combination, I similar to work from an inverted tripod. A lens neckband really gives that actress degree of flexibility when composing the prototype.

Working with the orchids at F/1.four the image subject field is very much larger than the depth of focus and thus the field of study itself drifts very quickly into a diffuse hint of the remaining structure – this was an effect I actually liked. Fifty-fifty when airtight downwards "significantly" the diffusion of the merely out of focus bailiwick was such that it only drifted away into the background without any "masking" by the foreground – wonderful. By placing a reflector behind the orchids, for instance, I was able to get them to fuse into the high-key white background in a really interesting fashion. Certainly an event I will wait to explore more in the future. Interestingly, especially since with the extension rings the depth of focus is much shallower than normal, stopping down to around F/five.six even so maintained a very interesting bokeh.

For virtually all of my photography, I currently (Spring 2019) work with a SIGMA sd Quattro H every bit my go-to camera trunk: Either I am looking to capture detail and tin work in SDF-Mode (SEE Here), or I am looking to work off the special backdrop the Foveon Sensor brings to the camera (SEE Hither). The Sony, excellent that it is, has been the "Redundancy" for when the sd Quattro H is no longer advisable (very low calorie-free / astro-photography etc.). Needing to piece of work with the extension rings meant that I "had to" piece of work with the Sony. However, I establish that the results that the lens gave when used every bit a "macro lens" were so intriguing, that the Sony alpha 7RII /SIGMA 105mm Art combination was becoming ever more than the starting time choice out of the camera handbag – and that was something I really didn't expect. Equally a minor aside: When working "costless manus" with the extension rings, I set the in-camera torso stabilization to a somewhat arbitrary, only nevertheless very sensible, "200mm", therby increasing the level of stabilisation, since I was working considerably closer than the normal minimum focal altitude of around one meter.

This lens is different! Wonderfully different! It looks different, it feels and sits beautifully unlike in the hand and the results are but superb – a creative photographers dream!

The images in this article were taken with the SIGMA 105mm F1.4 DG HSM | Art (LINK) in combination with either a Sony alpha 7RII (LINK) (sensor crop factor 1.0) photographic camera with a SIGMA MC-11 E-SA (LINK) adapter or a SIGMA sd Quattro H (LINK) (sensor ingather factor 1.3) photographic camera and a Rollei Lion Stone 30 Mark II (LINK) carbon tripod.

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