Photography News

 

 

Carnival and festival season is once again upon us and these events give photographers great opportunities to photograph colourful, vibrant and exciting shots.

 

1. What Gear Do I Need:

• A compact with a longer zoom will fit easily in your pocket when moving around the busy streets or pack a DSLR combined with a zoom lens.
• Zoom lens, with a good range – means you can photograph people without getting in their faces and capture a few wide shots of the whole parade. It also means you're not carrying several lenses with you all day which can get tiring.
• Camera Bag – Don't take anything too big as it will just get in the way and make sure you have it with you at all times. You don't want to create a security threat and you don't want anyone to steal your stuff either.
• Memory – Pack spare memory cards and plenty of them. You can end up taking lots and lots of shots at events like these. It doesn't hurt to carry spare batteries, too.
• Support – There won't be room for a tripod so if you really do want some extra support take a monopod with you. Although, at big carnivals such as Notting Hill there may not be the space for one and you can end up getting in the way.

  2. Elbow Room

If you have lots of space to work in without others pushing you or getting in your shot you're very lucky. You can try to arrive very, very early to get a spot at the front of the curb and just be ready for the pushes who try to steal your spot. By arriving early, it also gives you the chance to scout around the parade route to see if you can find the participants setting up. If you do find them, it'll give you a chance to shoot a few portraits before the crowds arrive. Don't be afraid to ask people if you can shoot a few portraits as the majority of them will be happy to stop what they're doing for you and as the parade still hasn't started at that point, their hair and make-up should be perfect, too. If you don't fancy the elbow fight, try and find a spot that gives you a little height over the crowd. This could be steps leading up to a doorway or something in the street you can stand on. Either way, you'll be able to stay in this one location, photographing the parade as it passes without others knocking you or getting in your shot.

  3. Light Problems

Your kit won't like soggy, wet days but bright, sunlight won't do you any favours either as you can end up with shots full of harsh shadows and washed-out colours. Couple with those exposure problems and you can find yourself fighting to get a decent shot. Later in the afternoon the light's lower and more even but the buildings which often run along the sides of the streets the parade makes its way around will start to leave long shadows. If you have exposure problems try bracketing and add a pop of flash to fill in shadows that dance across the faces of those involved in the parade. This works particularly well when they're wearing hats and large headpieces that shade the face.

  4. Don't Miss The Action 

There will be a lot of movement for you to capture and if you want to freeze the dancers in your frame you'll need a quick shutter speed. If you want to be more creative, use slower shutter speeds to blur their movements so the speed they're moving at is exaggerated.

  5. Wide Shots

Wider shots, showing the crowds, street, stalls and parade can be interesting but try not to overrun your shot with too many focal points. If the eye doesn't have something to focus on the shot can be rather confusing and look too busy.

  6. Detail

Costumes often take hours if not days to put together so take the time to focus in on the colours and decorations on them. These close up shots work well when positioned against larger shots of the parade.

  7. Street Candids

Try shooting from the hip to see what shots of the crowd you can capture and don't forget about the food stalls, merchandise booths and even the long, long queues for the toilets which all help you create a great, overall account of the carnival.
 

 

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    1. Use The Sky

A popular shot to capture when you're photographing beach huts is to use a wide-angle lens to get a full line of these colourful structures in the frame. If you plan on doing this, try to get a large expanse of sky in the shot too. Be careful if you're using a particularly wide lens as you can end up with objects creeping into frame that you didn't want to capture and keep an eye on your exposure.

Most of the time you'll find the sky will come out lighter than the foreground and you may need to use a graduated ND filter to balance the light levels in the shot. In some cases, you might even find the foreground to be brighter than the sky, such as when there's a storm brewing behind the huts. The highlight detail is our main focus so make sure you meter from this (usually the sky) and leave the shadow areas to their own devices. If you find your foreground looks a little dull after doing this try using +1EV and reshoot. For shots where the sky's really interesting try lining the roofs up along the bottom of the frame.

 

2. Get In Close

An alternative option is to move in close for a more abstract viewpoint. You won't have to move your feet very far to find ropes, padlocks, panels, signs, ornaments, cobwebs etc. You could even shoot a few photos of peeling paint and rust which can be used as textures in other shots. If you want to be more focused pick a theme, colours work well and shoot it. This isn't something that just has to be restricted to one day either as you can build your collection up over a few weeks then combine them to make an interesting piece of wall art.

Make sure you move in close and concentrate on balancing the shot so the composition works. You can shoot close up shots on any days, but overcast ones are easier to work in, giving you a more balanced look to the tonal range.

 

3. Include People

If the owners of the beach huts are home, ask if you can shoot a few portraits of them. For more candid shots try working further away with a wider lens so you can look like you're photographing something else but still capture the person you want in the frame. If the huts are open you could also ask if you could shoot a few shots inside them as you'll find some that are well decorated and full of trinkets or other items worth a quick shot for the album.

 

4. Out Of Season

When summer ends head back to the coast when everything is boarded up as the tired exteriors and the peeling paintwork on the lonely beach huts will still make interesting photographic subjects even if there's not much going on in the rest of the seaside town.

Winter light is low and will give colourful beach huts more punch. If you're lucky to visit on a sunny day, a blue sky will lift a shot taken at the coast during winter while a sky full of rain will help emphasis the sense of loneliness and abandonment.

 

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Photography has a fantastic ability to isolate things: details, shapes, colours or patterns. You can remove a subject from its distracting surroundings in just the same way that you can place it there; by thoughtful framing. During your travels see if you can find patterns in the places you visit that will remind you of the trip later.

 

1. Gear Choices

There is no special equipment needed to photograph pattern, though standard and slightly longer lenses can make the framing easier, but you do need to look carefully at what you are shooting. Very long lenses are also useful since they will flatten the perspective of distant shapes which often uncovers the patterns they make. Try and fill the frame aligning the pattern carefully. A tripod makes this easier but is not essential. You can crop out distractions later, but it is better to get it right ‘in camera’.

 

2. Patterns Are Everywhere

 

Patterns can be quite addictive: once you start seeing them it is hard to stop. Look for quantities of a single item and see how they fit together, regularly or random. In nature, this could be stones on a beach or marks in the sand, clouds or a flock of birds, even the leaves on a tree. In towns, look along streets at how the buildings fit together, sometimes just the steps leading to the door of a building make a good pattern.

Markets and Souvenir Shops are great places to find patterns: stockpiled high or artfully displayed is a gift to a photographer. Whether it is tourist tat or delicious-looking local produce it is likely to work as both a reminder of your holiday and an interesting composition. Look out especially for shops selling lots of versions of a similar thing; they often fit together really nicely. Don’t be afraid to get right in close.

Buildings and architecture by their very nature are full of patterns, but look beyond the obvious: bricks and tiles work, but so do whole buildings if viewed from the right angle. If you can get above the roof level of a town the rooftops will often make beautiful patterns. The great thing about patterns is that they do not have a particular scale; they can be vast or macro, but to make a good picture out of a pattern, the pattern needs to be the star.

 

3. How To Capture Patterns Successfully

 

There are no rules other than that you should crop tight to fill the frame. You may like to avoid irregularities (though I rather like them since they seem to emphasize the pattern). You can shoot square on or oblique and, if you are shooting oblique, you can shoot wide open to isolate a detail in the shot or stop down to keep it all sharp, so set the camera to aperture priority to make life easier. Whatever you choose make it a definite choice, very narrow depth of field or very deep, otherwise, it won’t look intentional.

You will generally only need to add a little extra contrast to emphasize the pattern, this can be achieved with a simple curves adjustment. But the graphic nature of patterns means that they are often ideally suited to image manipulation if you want to.

Even the most mundane subject can give you a good picture; you just need enough of it to make a strong pattern.

 

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Always an interesting subject for photographers, standing stones and stone circles have fascinated people for centuries; but what is the best way to photograph them?

 

1. Lens Choice

Use a wider angle lens 16-20mm (about 24-30mm in 35mm terms)
 

2. Focus On Parts Of The Circle

Try isolating two or three of the stones and shoot from a low angle.

3. Get Up High

Find a vantage point at a distance where you can shoot the entire ring from a higher point to show its shape.
 

4. Check The Weather 

Shoot on a bright day for contrast and texture in the stones, but watch for shadows.
 

5. Get Down Low

Shoot from a low viewpoint to make the stones appear large and dominating.

 

 

6. Go Mono

Try switching to black & white or shoot in infrared for a more moody result.
 

7. Use Filters

Use a polariser to darken the blue sky to give the shot more impact.
 

8. Try HDR

Bracket the exposure and merge using HDR technique rather than using a graduated filter as the filter will darken the top half of the stone.
 

9. No People

Avoid shots with people if you don't want to date the photograph.
 

10. Create Scale

Include people if you want to show a sense of scale.

 

 

11. Look For Angles

Walk around a few times without taking pictures to get a feeling for the stones and the best angles.
 

12. Early Or Late?

Light is usually better at the start or towards the end of the day, however as fewer people prefer early starts, photographers tend to have to get up early if they want to capture people-free shots.
 

13. Think About The Sky

If you're trying to capture the whole circle, you'll need an interesting (large) sky to add balance to your shot as the foreground will appear to be long and thin.
 

14. Give Panoramas A Try

Try shooting a panorama where you take a series of images that can be joined in post-production (or most cameras have this feature built-in) to capture the whole circle.
 

15. Do Your Research

For inspiration and to find out the location of some of the most photogenic stone circles do you research before you leave your house. We have an article listing some of the most popular stone circles in the UK, you can read it here: Stone Circle Locations

 

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  1. What's A Catchlight?

A catchlight is simply a light's highlight reflected off the surface of your subject's eyes. They subtly breathe life into portraits by adding a little more depth to the eyes and are something that painters were using in portraits long before photography was a popular pastime.

 

2. How Do I Create Them?

What light source you're using, how strong it is and how far it is from your subject will change the shape and size of the catchlight. The larger the light source, the bigger the catchlight will be and if you have multiple light sources, you can end up with more than one catchlight appearing on the eyes.

You can use artificial or natural light to create catchlights, just remember that direct flash will produce a much smaller catchlight than flash that's reflected off a brolly and if you're working outside, the catchlights can have a slight blue tint to them. When working indoors with fill-in light as well as a key / main light source, your additional, fill-in light may create an additional set of catchlights in your subject's eyes. Some people like the effect so if you're one of these, just make sure one is dimmer than the other so they're not too distracting. You can always try removing one set in your editing software too, but it's always easier to get it right in-camera first rather than relying on Photoshop.

 

 

3. Where To Position The Catchlights?

If you look at the eye as if it was a clock you should try and get the catchlight to sit, ideally, at 10 or 12 o'clock but anywhere between a quarter to and quarter past should work just as well. Of course, this isn't set in stone and you may prefer to use a lower position. Placing your light source above your subject's head will also help you get the positioning of the catchlights right.

 

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Waterfalls, the pools of water in front of them and streams will always be popular photographic subjects but just because everyone's taking photos of these photogenic landscape spots doesn't mean all of your shots have to be the same as the next photographer who comes along. With this in mind, let us share a few tips with you on how to shoot waterfall shots that have a bit of a twist. 

 

1. Capture More Close-Up Shots

 

Instead of capturing the whole scene why not focus on a small area of the waterfall. Focus on movement and colour rather than a landscape as a whole or use rocks that cause smaller cascades further downstream to fill your images with sharp shapes that contrast well against the smooth flow of water.  

 

2. Use Fast Shutter Speeds

 

When you think of waterfall images the shot of silky water cascading down rocks probably springs to-mind but there's no reason why you can't switch this around and capture a sense of motion and power. If you're working in aperture priority you can set a wide aperture (f/2.8 - 4) to get the quicker shutter speeds you need. You can also bump up your ISO to gain a faster shutter speed. To freeze movement you have to set a fast enough shutter speed to prevent the subject’s movement blurring as it moves across the sensor. What shutter speed you need will change depending on how fast the water is moving so experimentation is key but keeping the speed under one second should be a good starting point.

 

3. Go Abstract - Shoot Bubbles

 

At the foot of the waterfall or even further downstream you'll find water bubbles that can be captured and turned into abstract pieces for your wall. Please take care on slippery rocks and obviously take care of your kit. Remember to wipe it down after use and unless you are using a camera which is weather-resistant try not to stand in a spot where the spray will be a problem. Shoot plenty with fast shutter speeds and focus manually. For more tips on this subject, have a read of this: Why And How To Shoot Creative Abstract Photos Of Water Bubbles

Further downstream the currents of bubbles can be turned into spirals that decorate the surface of the water when shot with longer shutter speeds but try to not make the shutter speed too long as this will add too much blur and you'll lose definition. 

 

4. Head Out On 'Bad' Weather Days

 

Most of us aren't fans of rain and cloudy days but after a shower, foliage appears more vibrant and it'll help your image to really 'pop'. The contrast will be lower too which makes it easier to get the shot you want without having to worry about bracketing. Later in the year when frost and ice begin to make an appearance, you'll be able to capture shots with icicles decorating banks and if it's really cold, the waterfall may be frozen all together giving you the opportunity to capture a waterfall shot that's certainly different from the norm. Just remember to be careful when walking at the side of streams and rivers as surfaces will be slippery. 

 

5. Do A Black & White Conversion 

 

If you think your shot is lacking punch, apply a black & white conversion and you may be surprised with the results. The cascade of water will really stand out against darker, wet rocks and foliage, plus a black and white conversion can often add mood to a waterfall shot that wasn't there in the colour version. 

 

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Ulanzi, a global provider of photography accessories, ranked No.1 by Sales Volume of Photography Accessories in the World, announces the release of its latest tripod models, the GlideGo JJ06 and JJ05. Designed to meet the practical needs of videographers and photographers working across varied scenarios, both models offer a stable, lightweight build and enhanced cinematic camera movements for more dynamic shot composition.

 

Visit the Ulanzi official website for GlideGo JJ05/JJ06: bit.ly/40AerQv. There is a 4-year warranty for purchases on the Ulanzi official website!

Visit B&H Photo Video for GlideGo JJ05/JJ06: https://bit.ly/46lyl5x

JJ05: https://amzn.to/3GOFCAs

JJ06: https://amzn.to/45gPoo8

Ulanzi is offering $30 off for 2 weeks from July 28th for these two products!

You will save an extra 5% when you use the code “1536.”

 

Features

 

• Dual-Stage No-Remove Horizontal Center Column Design - Both tripods include a foldable, horizontal centre column that transitions smoothly between standard, inverted, and overhead positions. This no-remove design enables cinematic camera movements like pan, tilt or dolly. Also, this design allows the tripod to reach a maximum height of 1.87 meters, allowing users to shoot in more scenes.

 

 

• Dual Panoramic Control - Panoramic heads are located on both the column and tripod head. This feature enables subtle sliding movements and smoother directional control for precise framing.

 

 

• Material & Build - The tripods utilize CNC-machined aluminum alloy paired with 3K twill weave carbon fiber legs. All metal components are precisely crafted using CNC machining, ensuring tighter tolerances and improved part accuracy. This results in greater rigidity and reliability across the entire structure. The total weight remains low at 1.56 kg (3.44 lbs), making the setup portable without compromising strength.

 

• Stability Improvements - Compared with previous models, the GlideGo series improves structural stability by 35%. The leg locks have been upgraded with a quick-flip design, increasing locking force by 28%. This allows for secure height adjustment with faster setup and repositioning, especially in outdoor environments.

 

 

• Quick-Release System - The Uka Quick-Release System replaces traditional knob-style locks with a mechanical clip, allowing faster mounting and dismounting. It is compatible with Uka and F38 quick release plates, enabling seamless transitions between equipment setups while maintaining secure and reliable connections.

 

Pricing & Availability

 

• JJ05 GlideGo Travel Tripod (Ball Head) — $269
• JJ06 GlideGo Video Tripod (Video & Ball Head 2-in-1) — $299

 

Customers who order the Ulanzi GlideGo JJ05 or JJ06 tripod within the first two weeks of release will receive a limited-time launch discount of $30 USD for both models. For more details, visit Ulanzi’s official website.

 

  Key OS Differences Affecting Everyday Use

The battle between iOS and Android continues to define the smartphone landscape. iOS, available only on Apple devices, offers a closed, highly optimised system with deep integration across its own ecosystem. Android, meanwhile, powers a wide variety of handsets from Samsung, Google, OnePlus, and others, offering more choice, customisation, and price flexibility.

iOS typically presents a smoother learning curve for users accustomed to simplicity and a polished interface. Android, however, appeals to those who value granular control, with options to personalise everything from the home screen layout to app automation.

 

Photography Tools & Camera Performance

While hardware varies widely across Android models, flagship devices such as the Samsung Galaxy S24 Ultra and Google Pixel 8 Pro now compete head-to-head with the latest iPhone 15 Pro in photographic performance.

• Android highlights: Multiple lens setups, higher-resolution sensors, and extensive manual controls in native apps.
• iOS strengths: Apple’s computational photography and ProRAW capabilities offer exceptional results for those editing in post.

For photographers, the availability of professional apps like Lightroom Mobile, Snapseed, and Halide on both platforms ensures high-quality editing on the go. However, iOS still holds an edge in third-party app optimisation and smoother workflow integration with macOS devices.

 

Security, Ecosystem, and Smart Features

iPhones are widely seen as the more secure option, thanks to Apple’s strict App Store policies and hardware-level encryption. However, Android has made significant strides with regular security updates and sandboxed app access, especially on Google Pixel devices.

Smart assistant integration also differs. Android leads with Google Assistant’s superior contextual understanding and smart home integration. Siri, though improving, still lags in flexibility and command interpretation.

Photographers using smart displays, voice-activated editing reminders, or cloud storage tools may find Android a more fluid experience, though Apple’s iCloud Photo Library offers seamless syncing across devices.

 

 

App Compatibility and File Management

For those working with RAW files, large image libraries, or cloud-based editing apps, Android's openness offers more flexibility in file handling and storage management. iOS users benefit from more intuitive, app-centric workflows but may find file transfer or cross-platform sharing slightly more restrictive.

That said, both platforms now support RAW editing, 10-bit HDR playback, and integration with cloud platforms like Dropbox, OneDrive, and Adobe Creative Cloud.

 

Price and Upgrade Considerations

Android phones come in a wide range of prices, from entry-level models under £200 to ultra-premium devices exceeding £1,200. iPhones, by contrast, occupy a narrower, more premium range. However, Apple devices retain higher resale value and typically receive OS updates for longer.

For buyers looking to stretch their budget, discount platforms like Discoup.com list promotional codes and offers for both iOS and Android devices across a range of UK retailers, allowing users to access flagship tech at more accessible prices.

 

Final Thoughts

Whether upgrading your smartphone for better photo performance or switching ecosystems entirely, the decision between Android and iOS should go beyond brand loyalty. Consider your photography needs, editing workflow, device compatibility, and long-term value.

For many creatives, the choice comes down to flexibility vs. integration, and both platforms now offer compelling tools for mobile photographers at every level.

 

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Medium format cameras have always occupied a unique space in the imaging world, offering unparalleled image quality at a premium price point. The Hasselblad 907X and CFV 100C represents a fascinating blend of heritage design and cutting-edge technology that challenges how you think about camera ergonomics.

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[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

A camera that has eye-catching style, but more than that can deliver eye-catchingly superb results. There are perhaps mixed feelings about the handling and the lack of image stabilisation in particular, but for travel, landscape and general social photography the BF will deliver the goods.

 

Take a solid block of Aluminium, add no doubt some phenomenally expensive drilling equipment with copious amounts of oil to cool all the drilling, and we end up with the very different looking Sigma BF. Sigma have never been afraid of pushing the boundaries with different camera designs, and this is a very obviously unique piece of kit. Minimalistic in appearance and also in ergonomic approach, with few switches and dials and a very heavy dependence on combinations of button pressing and a touch sensitive screen. There are plenty of camera designs for both button and dial enthusiasts and menu driven enthusiasts, so let's see if the Sigma BF can win the day with its sleek, less-is-more styling and operation as well as due consideration being given to the quality of the images it produces.

 

Sigma BF Features

The camera feels chunky and solid, as well it might considering its unibody construction, but weighs in at a surprisingly light 388g, or 446g including battery. Normally that might read "battery and card" but in this instance the BF has no card slot, but a built in storage of some 230GB. There is a USB-C interface, covering recharging, data transfer and also the attachment of external storage devices. When attached to a computer, the camera acts as a mass storage device and images can be transferred. However, there's no card to be removed and stored separately as another backup and this may or may not be an issue for the individual photographer.

The body is dust and splash resistant, but has no image stabilisation built in. There is electronic stabilisation for video only. The top plate has the shutter release. The front has the L mount. The bottom plate houses the battery that is a complete unit that requires no battery compartment door, plus the substantial looking tripod mount.

 

 

The back has the 3.2" touch sensitive TFT monitor with 2,100,000 dots and this is of course the only way of composing images as there is no EVF. There is also a small status window that displays whatever parameter is currently selected. This can then be instantly altered using the rotary dial. The centre button on the dial selects the opportunity to change the selected parameter. There is an info button that opens up more detail, a playback and an on/off, thus completing the very basic methods of accessing the camera's functions. 

The specification is detailed below, but we have a 24.6 MP Full Frame CMOS BI sensor, giving images of 6016 x 4012 pixels. Operational temperature range is 0C to 40C. Drive options include a video setting, offering 6K 30p, 4K, FHD and 120fps. Subject detection covers humans and animals, humans or animals. The electronic shutter has speeds of 30s - 1/25,600s plus B (up to 5 minutes). Frame rates are 3, 5 and 8 fps.

To complete the picture, the Contemporary lenses 17mm f/4, 20mm f/2, 24mm f/2, 24mm f/3.5, 35mm f/2, 45mm f/2.8, 50mm f/2, 65mm f/2 and 90mm f/2.8 are available with the same Aluminium finish as the camera body, albeit it in some instances (but not all) at a higher price than their black counterparts.

 

 

Sigma BF Key Features

• Full Frame
• L Mount
• 24.6MP CMOS BI sensor
• Formats 21:9, 16:9, 3:2, A, 4:3, 6x7, 1:1
• 13 Colour modes
• 230GB Internal Storage
• 14 bit DNG/JPEG
• Electronic shutter 30s - 1/25,600s + B (up to 5 minutes)
• Drive rates 3, 5, 8 fps
• Hybrid AF -5 to +18 EV
• Subject detection humans + animals, humans, animals
• Exposure metering range -7EV to +20EV
• ISO range 100-102,400
• 3.2” fixed touch sensitive LCD monitor, 2.1M dots
• 6K 30p
• 4K
• FHD 120fps
• Operation 0C to +40C
• Splash and dust resistance
• Li-Ion BP-81 battery - 260 images/60mins video
• 446g including battery
• 130.1mm x 72.8mm x 36.8mm

 

Sigma BF Handling

This is a tricky one to approach, as it might well claim to be a uniquely new approach to ergonomic design. I doubt that it could be considered intuitive in that multiple combinations buttons need to be pressed to find and alter the common parameters. P, A, S and M modes are clear enough, but some of the other settings are opaquely placed. A video switch would have been useful, but instead, selection is found under the drive options. In the end, Aperture Priority was used almost exclusively, with the aperture ring on the lens, and this proved to be the most useful combination. Other photographers will disagree and use different settings, and that is fair enough. Can buttons be pressed accidentally? They can and were, especially at first, so the use can be somewhat fiddly. It merits constant checking, especially that the focus point has not been inadvertently shifted. 

The AF is snappy and accurate, so no problem there. Likewise, exposure is accurate and when the exposure compensation is selected, then that can be easily altered by using the rotary dial. Thus handling does start to come together and after a while things start to flow. It is still potentially fiddly, but more likeable and certainly delivering some superb quality images.

The electronic shutter does not seem to read particularly quickly, so distortion of moving wheels and fan blades, for example, is quite obvious. It is not a problem with still subject matter. 

Is the unibody Aluminium construction an advantage? It results in a very angular appearance, with sharp edges. The review sample has been through a few users, and already the edges on the body and even the lens hood are showing small nicks that we would not expect to see in, say, a plastic bodied camera. However in terms of appearance it is certainly an eye-catcher and more than one complete stranger asked what it was, although it might be vaguely insulting that the camera is noticed before the photographer...

Handling issues are one thing, and with such a unique design one photographer's approach might be quite different from another's. For those who like few buttons and dials and a menu-driven design ethos, then here it is. The final benefit of all this has to be the excellent image quality and a camera best suited to still subject matter.

 

[SECTION]PERFORMANCE[/SECTION]

Sigma BF Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Sigma BF Sample Photos Previous Next

 

Lens Performance – The Sigma 35mm f/2 DG Contemporary lens has been previously tested and reviewed, and found to be an excellent and Highly Recommended performer. 

 

A summary of the performance:

Sharpness leaves nothing to be desired. Centrally, it is excellent from f/2 to f/4, outstanding at f/5.6 and f/8, excellent at f/11 and f/16 and still very good at f/22. The edges are very good at f/2 and f/2.8, excellent at f/4, outstanding at f/5.6 and f/8, excellent at f/11, very good at f/16 and it is only at f/22 that things soften to still being reasonably good. Still, this is an outstanding result generally and even at f/22 the lens can be used to obtain very satisfactory results. 

CA (Chromatic Aberration) is measured with any in-camera corrections switched off, as far as we can know anyway, and the end result is almost no CA at the centre. The edges do show colour fringing in demanding subjects such as branches against the bright sky. If this is a problem then the corrections in-camera can be switched on or other software can be used. 

Distortion measures -2.16% barrel, again with corrections switched off, and this is quite obvious when we have straight lines at the edge of the image. Of course, many subjects will not find this to be a problem, but if it is either in-camera or software solutions are available.

Bokeh is helped considerably by the rounded diaphragm and is very pleasant. It may not be so critical in a wide-angle lens where the objective may be to maximise depth of field, but if out of focus backgrounds are required then the bokeh is very easy on the eye.

Flare resistance is excellent and no flare is generally visible, even under quite demanding situations.

Vignetting is obvious wide open, but stopping down soon sees it brought under control to quite reasonable levels. Again though, with the right subject matter, vignetting can be useful, and correction can be switched on in-camera or other software can be used.

 

Sigma BF ISO test images Previous Next

 

ISO Performance – Noise levels are controlled well, with clean images up to and including ISO 400. Noise starts to creep in, but is still subtle and sharpness is well maintained from ISO 800 to ISO 3200. There is a dip at ISO 6400, which can be regarded as the limit for the best quality. ISO 12800 and ISO 25600 perform well, with very obvious noise but a good retention of detail. ISO 52200 and ISO 102400 lose the plot, noise takes over and although the boxes on the test chart retain their integrity, sharpness is not good. Overall, an impressive performance.

 

Sigma BF White-balance test images Previous Next

 

White Balance – The options are AWB, AWB ambient, tungsten, fluorescent, daylight, cloudy and shade. Most of the images were shot using the AWB setting with ambient light priority and this seemed to serve most eventualities very well.

 

Sigma BF Digital filters Previous Next

 

Digital Filters – Sigma describe the digital filters as Colour Modes and the following are offered: Standard, Rich, Calm, Powder Blue, Warm Gold, Teal & Orange, FOV Classic Blue, FOV Classic Yellow, Forest Green, Sunset Red, Cinema, 709 Look and Monochrome. Given the current popularity of monochrome images and even cameras, the mono choices could be usefully expanded. Otherwise, a curious choice in many ways, but the show stopper seems to be Warm Gold, which caught the attention of the non-photographers who glanced at the images as they were being prepared.

 

 

Video –  The BF has a basic specification that covers casual video shooting, but it seems unlikely that this would be chosen as a primarily video shooting camera.

• 6K, 4K, FHD 120fps
• H.264, H.265, L-Log
• Electronic image stabilisation (video only feature)
• 60 minutes shooting battery life

 

[SECTION]VERDICT[/SECTION]

 

Value For Money

The [AMUK]Sigma BF|Sigma+BF[/AMUK] body is priced at £1969.00

The full range of silver finish lenses to match the camera covers 17mm, 20mm, 24mm, 35mm, 45mm, 50mm, 65mm and 90mm. The lenses are well made and well priced. Some have a premium price over the black versions, but this seems to be variable and many are the same price.

• 17mm f/4, £579
• 20mm f/2, £659
• 24mm f/3.5, £489
• 24mm f/2, £579
• 35mm f/2, £579
• 45mm f/2.8, £659
• 50mm f/2, £649
• 65mm f/2, £659
• 90mm f/2.8, £579

With quirky designs like the BF there may be no direct competitors, but we can look at alternative 24MP compact full frame cameras:

• [AMUK]Panasonic Lumix S9|Panasonic+Lumix+S9[/AMUK], £999
• [AMUK]Sigma Fp L|Sigma+Fp+L[/AMUK], £1999
• [AMUK]Sigma fp|Sigma+fp[/AMUK], £1599
• [AMUK]Sony A7C II|Sony+A7C+II[/AMUK], £1899

This leaves the Sigma BF a bit short on specifications and facilities and relying on its unique construction and style to justify its premium price position.

 

Sigma BF Verdict

The Sigma BF is clearly capable of producing some superb images. Stills photographers looking for quality in travel, landscape, portrait, social, still life and general image making will not be disappointed. The BF is less suitable for fast moving subjects because of the rolling shutter distortion so is probably not for sports enthusiasts, or indeed racing and motor sports. It is also very menu-oriented so if that suits the photographer that's fine, but less fine for those who prefer dedicated dials and buttons.

It is quirky, which is a good thing in that individuality in design means that those who gel with the concepts have something ideal for them. The maverick who stands out from the crowd will appreciate the eye-catching design and the simple good feeling of using well made, individualistic technology that delivers the goods. 

The lack of some commonly desired facilities such as image stabilisation will trouble the mainstream of users, as will the Aluminium uniblock design that is all about style but perhaps has fewer practical benefits. So although there's no recommendation for the general photographers, we can recognise the quality, the unique style and the excellent lenses that could be absolutely spot on for the individual.

 

Sigma BF Pros

• Superb image quality
• Stylish design
• Impressive ISO performance
• Creative Filter options
• Dust and splash resistance
• High quality lens range at keen price levels
• L mount

 

Sigma BF Cons

• No image stabilisation
• No EVF
• No articulated screen
• Sharp edges prone to damage
• No memory cards

 

[REVIEW_FOOTER]R_features=3.5|R_handling=3.5|R_performance=4.5|R_value=3.5|R_overall=3.5|A_level=3.5|A_text=A stylish and individualistic camera that delivers superb image quality|E_id=8016[/REVIEW_FOOTER]

 

View the Sigma BF camera specs in the equipment database.

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